conductor - Vancouver Symphony Orchestra

Transcription

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MAGAZINE OF THE VANCOUVER SYMPHONY
SEPTEMBER 24–NOVEMBER 4, 2011–VOLUME 17–ISSUE 1
Lang Lang
plays Beethoven
Violin Prodigy Chad Hoopes
Makes His VSO Debut
Nikki Yanofsky
Jazz sensation performs
with the VSO
Mozart and Bach
at the Chan Centre at UBC
Stradivarius Ensemble
of the Mariinsky Orchestra
with conductor Valery Gergiev
BOOK YOUR SEATS TODAY–TICKETS SELL OUT EARLY!
A Traditional
Christmas!
ST. ANDREW’S-WESLEY CHURCH, VANCOUVER
Thursday, December 8, 7:30pm
Friday, December 9, 7:30pm
Saturday, December 10, 4pm & 7:30pm
Pierre Simard conductor
Christopher Gaze host
UBC Opera Ensemble
EnChor
MICHAEL J. FOX THEATRE, BURNABY
Sunday, December 11, 7:30pm
The Lower Mainland’s most beloved
Holiday Music Tradition! Secure your
tickets now for a beautiful evening of
heartwarming Christmas music and
carols, with the Vancouver Symphony
Orchestra, hosted by the inimitable
Christopher Gaze and conducted by
Pierre Simard.
SOUTH DELTA BAPTIST CHURCH, DELTA
Wednesday, December 14, 4pm & 7:30pm
BELL PERFORMING ARTS CENTRE, SURREY
Thursday, December 15, 4pm & 7:30pm
CENTENNIAL THEATRE, NORTH VANCOUVER
Friday, December 16, 4pm & 7:30pm
KAY MEEK THEATRE, WEST VANCOUVER
Saturday, December 17, 4pm & 7:30pm
PRESENTING SPONSOR
THE VSO’S TRADITIONAL CHRISTMAS
CONCERTS HAVE BEEN ENDOWED BY A
GENEROUS GIFT FROM SHEAHAN AND
GERALD MCGAVIN, C.M., O.B.C.
A TRADITIONAL CHRISTMAS
SECTION
A
ADULT SENIOR STUDENT SUBSCRIBER
$ 36.50 $ 32.75
Tickets online at
or call
$32.75
$ 31.00
Pierre Simard
Christopher Gaze
vancouversymphony.ca
604.876.3434
vancouver symphony orchestra
BRAMWELL TOVEY MUSIC DIRECTOR
KAZUYOSHI AKIYAMA CONDUCTOR LAUREATE
JEFF TYZIK PRINCIPAL POPS CONDUCTOR
* PIERRE SIMARD ASSISTANT CONDUCTOR
Marsha & George Taylor Chair
* EDWARD TOP COMPOSER-IN-RESIDENCE
first violins
Dale Barltrop,
Concertmaster
Joan Blackman,
Associate Concertmaster
Jennie Press, Second
Assistant Concertmaster
Robin Braun
Mary Sokol Brown
Mrs. Cheng Koon Lee Chair
Jenny Essers
Jason Ho
Akira Nagai, Associate
Concertmaster Emeritus
Xue Feng Wei
Rebecca Whitling
Yi Zhou
Nancy DiNovo ◊
Kimi Hamaguchi ◊
Paul Luchkow ◊
Ruth Schipizky ◊
second violins
Brent Akins, Principal §
Nicholas Wright, Principal ∆
Karen Gerbrecht,
Associate Principal
Jim and Edith le Nobel Chair
Jeanette Bernal-Singh,
Assistant Principal
Adrian Shu-On Chui
Daniel Norton
Ann Okagaito
Ashley Plaut
Alana Chang ◊
Maya De Forest ◊
DeAnne Eisch ◊
Pamela Marks ◊
§ Leave of Absence
∆One-year Position
◊Extra Musician
violas
Neil Miskey, Principal
Andrew Brown,
Associate Principal
Stephen Wilkes,
Assistant Principal
Lawrence Blackman
Estelle & Michael Jacobson Chair
Angela Schneider
Professors Mr. and Mrs.
Ngou Kang Chair
Ian Wenham
Chi Ng ◊
Reginald Quiring ◊
Marcus Takizawa ◊
cellos
Principal Cello
Nezhat and Hassan
Khosrowshahi Chair
Janet Steinberg,
Associate Principal
Zoltan Rozsnyai,
Assistant Principal
Olivia Blander
Natasha Boyko
Mary & Gordon
Christopher Chair
piccolo
Nadia Kyne
Hermann & Erika Stölting Chair
oboes
Roger Cole, Principal
Beth Orson,
Assistant Principal
Karin Walsh
trombones
Paul Moritz Chair
Nathan Zgonc, Principal
Gregory A. Cox
english horn
bass trombone
Beth Orson
Chair in Memory of
John S. Hodge
clarinets
Jeanette Jonquil,
Principal
Cris Inguanti,
Assistant Principal
Todd Cope
e-flat clarinet
Todd Cope
Douglas Sparkes
Arthur H. Willms Family Chair
tuba
Ellis Wean, Principal §
Peder MacLellan, Principal ∆
timpani
Aaron McDonald, Principal
percussion
Vern Griffiths, Principal
Martha Lou Henley Chair
bass clarinet
Tony Phillipps
bassoons
Elizabeth Volpé, Principal
Heidi Krutzen ◊
Cris Inguanti
Joseph Elworthy
Charles Inkman
Cristian Markos
Ariel Barnes ◊
basses
contrabassoon
Dylan Palmer,
Principal
Chang-Min Lee,
Associate Principal
David Brown
J. Warren Long
Frederick Schipizky
Christopher Light ◊
Leanna Wong ◊
Sophie Dansereau
flutes
Richard Mingus,
Assistant Principal
Michael & Estelle Jacobson Chair
Larry Knopp, Principal
Marcus Goddard,
Associate Principal
Vincent Vohradsky
Wayne and Leslie Ann Ingram Chair W. Neil Harcourt in memory
of Frank N. Harcourt Chair
Julia Lockhart,
Principal
Sophie Dansereau,
Assistant Principal
Gwen Seaton
Christie Reside,
Principal
Nadia Kyne,
Assistant Principal
Rosanne Wieringa
trumpets
french horns
Oliver de Clercq,
Principal
Benjamin Kinsman
Werner & Helga Höing Chair
David Haskins,
Associate Principal
Fourth Horn
Winslow & Betsy Bennett Chair
harp
piano, celeste
Linda Lee Thomas,
Principal
Carter (Family) Deux Mille
Foundation Chair
orchestra personnel
manager
DeAnne Eisch
music librarian
Minella F. Lacson
Ron & Ardelle Cliff Chair
master carpenter
Pierre Boyard
master electrician
Leonard Lummis
piano technician
Thomas Clarke
*Supported by The Canada
Council for the Arts
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MAGAZINE OF THE VANCOUVER SYMPHONY
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SEPTEMBER 24 – NOVEMBER 4, 2011 – VOLUME 17 – ISSUE 1
A S E R I E S F O R E V E RY TA S T E
C L A S S I C S MA STE RWO R KS G O L D / MA STE RWO R KS D I AMO N D / MA STE RWO R KS S I LV E R O N A
L I G H T E R N OT E M U S I CA L LY S P EA K I N G / BAC H & B EYO N D V S O P O P S MATINEES TEA &
TRUMPETS / SYMPHONY SU N DAYS R OA D T R I P S VS O AT TH E A N N EX / N O RTH S H O R E
C L A S S I C S / S U R R EY N I G H TS K I D S RULE! TI NY TOTS / KI DS’ KONC ERTS S P E C I A L S
CONCERTS
8
SEPTEMBER 24, 26
Goldcorp Masterworks Gold
Bramwell Tovey conductor
John Kimura Parker piano
14
OCTOBER 1, 2, 3
Musically Speaking
Symphony Sundays
Surrey Nights
Chad Hoopes violin
18
22
OCTOBER 5
Specials
Nikki Yanofsky with the VSO
Nikki Yanofsky vocalist
OCTOBER 6
Pacific Arbour Tea & Trumpets
Overtures & Intermezzi
Hannah Han piano
26
OCTOBER 7, 8
London Drugs VSO Pops
California Dreamin’: Classics
of the Boomer Generation
Jeff Tyzik conductor
Kaleidoscope vocalists
30
OCTOBER 14, 15, 17
Bach & Beyond
North Shore Classics
Tracy Dahl soprano
Larry Knopp trumpet
36
OCTOBER 16
Spectra Energy Kids’ Koncerts
Inspector Tovey Investigates Rhythm
Granville Street Irregulars
38
OCTOBER 20
Specials
Stradivarius Ensemble of the
Mariinsky Theatre Orchestra
Valery Gergiev conductor
Alexander Toradze piano
44
OCTOBER 22, 24
Masterworks Diamond
Till Fellner piano
Vancouver Bach Choir
48
OCTOBER 29, 31
Masterworks Silver
Douglas Boyd conductor
Daniel Müller-Schott cello
56
8
BRAMWELL TOVEY, VSO MUSIC DIRECTOR
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NOVEMBER 4
Specials
Lang Lang Plays Beethoven
Jean-Marie Zeitouni conductor
Lang Lang piano
18 NIKKI YANOFSKY
8
48 DANIEL MÜLLER-SCHOTT
JON KIMURA PARKER
IN THIS ISSUE
3
5
7
38 VALERY GERGIEV & THE MARIINSKY THEATRE ORCHESTRA 64 21
32
43
52
60
62
63
the orchestra
allegro staff list
message from the Chairman
and the President & CEO
vancouver symphony foundation
VSO 2011/2012 season
patrons’ circle
friends’ campaign
corporate partners
at the concert / vso staff list
board of directors / thanks /
volunteer council
advertise in allegro
We welcome your comments on this magazine. Please forward them to: Vancouver Symphony, 601 Smithe Street,
Vancouver, BC V6B 5G1 Allegro contact and advertising enquiries: [email protected] / customer service:
604.876.3434 / VSO office: 604.684.9100 / website: www.vancouversymphony.ca Allegro staff: published by The Vancouver
Symphony Society / editor / publisher: Anna Gove / contributors: Don Anderson, Sophia Vincent / art direction, design &
production: basic elements design Pass it on: It’s the right thing to do! Please feel free to bring your Allegro Magazine
home at the end of the concert. If you do not wish to keep it, please return it to an usher. Printed in Canada by Web
Impressions. All rights reserved. Reproduction in whole or in part without written consent is prohibited.
Contents copyrighted by the Vancouver Symphony, with the exception of material written by contributors.
Allegro Magazine has been endowed by a generous gift from Adera Development Corporation.
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MESSAGE FROM
vso chairman and vso president & CEO
Dear Friends,
Welcome to the opening concerts of the
Vancouver Symphony Orchestra’s exciting
2011/2012 season! The VSO has been a
proud pillar of British Columbia’s cultural
community for more than ninety years,
and we are delighted that you are with us
for today’s concert.
The 2010/2011 season was an extremely
successful one, and we look forward to
building on that success in the upcoming year.
In addition to Maestro Tovey and the Orchestra
performing at a very high level to many
packed houses, and our educational programs
continuing to flourish – reaching over 50,000
children last season – the VSO once again
posted a surplus on annual operations. We are
grateful for the continued support of audience
members, donors, sponsors, and all levels of
government, support which has now resulted in
eight consecutive years of balanced budgets.
During the 2011/2012 season, the orchestra
will perform over 140 concerts in 12 different
venues throughout the Lower Mainland. In
addition to the Orpheum Theatre, St. Andrew’s
Wesley Church, the Vancouver Playhouse
and Orpheum Annex in downtown Vancouver,
VSO presentations can be experienced at the
Chan Centre for the Performing Arts at UBC,
Centennial Theatre in North Vancouver, Bell
Centre in Surrey, Michael J. Fox Theatre and
Deer Lake Park in Burnaby, Kay Meek Theatre
in West Vancouver, South Delta Baptist Church,
and the Terry Fox Theatre in Port Coquitlam.
This season will also see the continuation of
our extraordinary education programs, and,
as of early September, the opening of the
VSO School of Music directly adjacent to the
Orpheum Theatre. www.vsoschoolofmusic.ca
The mission of the Vancouver Symphony
Orchestra is to enrich the quality of life in,
and bring prestige to our city, province and
country through the presentation of high-quality
performances of classical and popular music,
and the delivery of excellent education and
community programs. Because of you, our
audience, donors, sponsors and government
funders, we are able to achieve these goals.
On behalf of the Board of Directors, Maestro
Tovey, our musicians, staff and volunteers, we
thank you for your commitment to the VSO, and
wish you a most delightful 2011/2012 season.
Please enjoy today’s concert.
Sincerely yours,
Arthur H. Willms
Chair, Board of Directors
Jeff Alexander
President & Chief Executive Officer
ARTHUR H. WILLMS
JEFF ALEXANDER
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JON KIMURA PARKER
CONCERT PROGRAM
GOLDCOR P MASTERWOR KS GOLD / OR PH EUM TH EATR E, 8PM
saturday & monday, september 24, 26
◆ Jon Kimura Parker piano
REZNICEK Donna Diana: Overture
◆ RACHMANINOFF Piano Concerto No. 3 in D minor, Op. 30
I.
II.
III.
Allegro ma non tanto
Intermezzo. Adagio
Finale. Alla breve
INTERMISSION
TCHAIKOVSKY Symphony No. 5 in E minor, Op. 64
I.
II.
III.
IV.
Andante – Allegro con anima
Andante cantabile, con alcuna licenza – Moderato con anima – Andante mosso
– Allegro non troppo – Tempo I
Valse: Allegro moderato
Finale: Andante maestoso – Allegro vivace – Molto vivace
– Moderato assai e molto maestoso – Presto
PRE-CONCERT TALKS free to ticketholders at 7:05pm.
VISIT THE SYMPHONY GIFT SHOP FOR CD SELECTIONS
MASTERWORKS GOLD
SERIES SPONSOR
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RADIO SPONSOR
BRAMWELL TOVEY
GRAMMY® Award winning conductor
Bramwell Tovey is acknowledged around the
world for his artistic vision and depth, and
his warm, charismatic personality. Tovey’s
career as a conductor is uniquely enhanced
by his extensive work as a composer and
pianist, lending him a remarkable musical
perspective. His tenures as music director
with the Vancouver Symphony, Luxembourg
Philharmonic and Winnipeg Symphony
Orchestras and as Principal Guest Conductor
of the Los Angeles Philharmonic at the
Hollywood Bowl have been characterized by
his expertise in operatic, choral, British and
contemporary repertoire.
Mr. Tovey, who is entering his twelfth season
as Music Director of the Vancouver Symphony,
celebrated his 100th concert this past July as
a guest conductor of the New Philharmonic.
He is founding host and conductor of the New
York Philharmonic’s Summertime Classics
series at Avery Fisher Hall, Lincoln Center.
In 2008, the New York and Los Angeles
Philharmonics co-commissioned him to
write a new work, Urban Runway, which has
been played across Canada, the US and in
Australia. He was awarded the Best Canadian
Classical Composition Juno® Award in 2003
for his Requiem for a Charred Skull.
An esteemed guest conductor, Mr. Tovey has
worked with orchestras in the United States
and Europe including the City of Birmingham,
London Philharmonic, London Symphony and
Frankfurt Radio orchestras. In North America,
Mr. Tovey has made guest appearances with
the orchestras of Baltimore, Philadelphia,
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St. Louis, Pittsburgh, Detroit, Seattle and
Montreal as well as ongoing performances
with Toronto, where his trumpet concerto,
Songs of the Paradise Saloon commissioned
by the TSO, received its premiere in
December of 2009 as a preview of his first
full-length opera The Inventor which was
commissioned and premiered by Calgary
Opera in January 2011. During the summer
of 2011 he debuted with the Cleveland
Orchestra at the Blossom Festival and the
Boston Symphony at Tanglewood and made
a return visit to the Philadelphia Orchestra,
this time in their summer series in Saratoga,
NY. This season he will guest conduct the
Melbourne, Western Australia (Perth) and
Sydney Symphony orchestras in Australia.
Tovey has been awarded honourary
degrees, including a Fellowship from
the Royal Academy of Music in London,
honourary Doctorates of Law from the
universities of Winnipeg and Manitoba, and
Kwantlen University College, as well as
a Royal Conservatory of Music Fellowship
in Toronto. He is a member of the Order
of Manitoba. In 1999, he received the
M. Joan Chalmers National Award for Artistic
Direction, a Canadian prize awarded to
artists for outstanding contributions in the
performing arts.
Jon Kimura Parker piano
Internationally acclaimed concert pianist Jon
Kimura Parker’s extraordinary career has
taken him from Carnegie Hall and London’s
Royal Festival Hall to Baffin Island and
Zimbabwe. A true Canadian ambassador of
music, Mr. Parker has given two command
performances for Queen Elizabeth II, special
performances for the United States Supreme
Court, and has performed for the Prime
Ministers of Canada and Japan. He is an
Officer of The Order of Canada, his country’s
highest civilian honour.
“Jackie” Parker received all of his early
education in Canada, training with his
uncle, Edward Parker and his mother, Keiko
Parker. He studied with Lee Kum-Sing at the
Vancouver Academy of Music and University
of British Columbia, Marek Jablonski at The
Banff Centre, and with renowned pedagogue
Adele Marcus at The Juilliard School, where
he received his doctorate.
Mr. Parker has recorded for Telarc with Yoel
Levi, Andre Previn and Peter Schickele. He
was born, raised and educated in Vancouver.
He lives in Houston with his wife, violinist
Aloysia Friedmann and their daughter Sophie.
writers of lush, Romantic melody who ever
put pen to paper, Rachmaninoff’s music
has enjoyed enduring popularity. And of all
of Rachmaninoff’s works, nothing has been
more popular over the years than his second
and third piano concertos.
The Piano Concerto No. 3 in D minor may be
ever so slightly less popular than the second
concerto, but it remained the favourite of
the composer himself. In an interview in
b. Vienna, Austria / May 4, 1860
The Etude, Rachmaninoff said: “I believe in
d. Berlin, Germany / August 2, 1945
indigenous music for the piano…So much
Donna Diana: Overture
has been written for the instrument that is
The first name to leap to mind when
really alien…Even with my own concertos I
considering late-Romantic Austrian
much prefer the third, because my second is
composers is probably not Emil von Reznicek. uncomfortable to play.” The work opens with
Nevertheless, his most famous piece (actually, a beautiful and nostalgic theme that many
probably the only one still known, even if the
have thought to be a Russian folk-song of
name is not) is the Overture to Donna Diana,
some sort, though Rachmaninoff insisted on
a symphonic work that introduces the comic
its pure originality. This theme, so thoroughly
opera that Reznicek wrote in 1894. The opera Russian in all respects, winds its way through
is based on the German translation of the
the entirety of the work in one form or
Spanish comedy El desdén con el desdén
another.
(Contempt with contempt) by the Madrid-born
A seemingly complex web of melody and
playwright Agustin Moreto y Cavana; itself
elaboration throughout the concerto rests
spun to some extent out of works by the
on the foundation of this one simple but
great Lope de Vega (got all that?). Back to
beautiful idea. This idea comes home in the
this piece being famous: it was used as the
glorious third movement, which marches
theme for the America radio series Challenge
towards a stunning climax punctuated by
of the Yukon, which later became the TV
a brief, dazzling cadenza and a dramatic,
series Sergeant Preston of the Yukon. And
soaring coda. Perhaps the most technically
for good measure, it also served as the
challenging of all Romantic piano concertos,
theme for the BBC Children’s Hour by
Rachmaninoff’s third – in the hands of the
Stephen King-Hall for talks on current affairs
right soloist – still sings like no other.
– all of this in the 1950s.
Emil von Reznicek
Sergei Rachmaninoff
b. Semyonovo, Russia / April 1, 1873
d. Beverley Hills, USA / March 28, 1943
Piano Concerto No. 3 in D minor, Op. 30
Sergei Rachmaninoff was one of the greatest
pianists of his time, and as a composer was
the last of the great Russian Romantics. His
early compositional years were marked by the
obvious influence of Tchaikovsky and RimskyKorsakov, but he later developed a style all his
own. His legacy is not that of a quintessential
“Russian” style, but rather a compositional
style that is purely Rachmaninoff. Lyrical
and individual, and one of the greatest
12 allegro
Pyotr Il’yich Tchaikovsky
b. Kamsko-Votkinsk, Russia / May 7, 1840
d. St. Petersburg, Russia / November 6, 1893
Tchaikovsky Symphony No.5
in E minor, Op. 64
The difficult, complex life of Tchaikovsky led
him in many different musical directions,
but almost always his ideas pointed to one
particular path: expression of angst and
speculation about the ultimate hopelessness
of life. A benefit of this was that it added a
profound sense of drama and excitement to
his music; most of Tchaikovsky’s musical
output, and certainly the symphonies, contain
a passion and energy few other composers
can match. This energy and passion was
focused on working through the central
question of Tchaikovsky’s life and music: fate.
fate, as Tchaikovsky once again entered
into a creative process with the purpose of
working out an answer to the question of free
will versus determinism.
Tchaikovsky agonized over the debate
between free will and the idea that life was
The fate motto is heard throughout the work,
predestined, and one’s choices mattered little. beginning with a statement of “complete
One could struggle to break free from
resignation before fate” in the composer’s
words. The motto weaves its way through
fate, but ultimately, were all efforts doomed
the piece dramatically, always returning in
to failure? This question is grappled with
explicitly and implicitly through Tchaikovsky’s march-like form, couched in a pessimistic
fourth and fifth symphonies, intimately related minor tonality.
works though ten years apart.
Tchaikovsky’s Symphony No. 5 was written
in the summer of 1888, premiering the
following November in St. Petersburg, with
the composer at the helm. Tchaikovsky was
pursued by many demons, and had struggled
mightily with a numbing depression in the
years leading up to the Fifth’s composition.
However, by that summer he was feeling in
better spirits and eager to prove that he still
had plenty to give as a composer. Inspiration
struck in the form of a motto representing
It is only in the finale that the clouds seem to
part, and the fate motto is transformed into a
triumphal E major march to bring the work to
a rousing conclusion. But has fate really been
vanquished? The triumphant nature of this
work’s conclusion seems unconvincing, as a
dark shadow seems to hover in background,
a whisper of doubt that perhaps keeps the
door open a crack for the struggle to continue
in the Sixth Symphony, where Tchaikovsky’s
final answer is given. ■
Program Notes © 2011 Sophia Vincent
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BRAMWELL TOVEY
CHAD HOOPES
CONCERT PROGRAM
MUSICALLY SPEAKI NG / OR PH EUM TH EATR E, 8PM
saturday, october 1
SYMPHONY SU N DAYS / OR PH EUM TH EATR E, 2PM
sunday, october 2
SU R R EY N IGHTS / BELL PER FORMI NG ARTS C ENTR E, 8PM
monday, october 3
◆ Chad Hoopes violin
BERLIOZ Hungarian March
◆ LALO Symphonie espagnole, Op. 21
I.
II.
III.
IV.
V.
Allegro non troppo
Scherzando: Allegro molto
Intermezzo: Allegro non troppo
Andante
Rondo: Allegro
INTERMISSION
LISZT Mesphisto Waltz No. 1
ENESCO Rumanian Rhapsody No. 1 in A Major, Op. 11
RAVEL Boléro
VIDEO SCREEN SPONSOR
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The VSO’s Surrey Nights Series has been endowed by
a generous gift from Werner and Helga Höing.
For a biography of Maestro Tovey please
refer to page 10.
by the tune that caused so much patriotic
fervour in reality.
Edouard Lalo
Chad Hoopes violin
b. Lille, France / January 27, 1823
d. Paris, France / April 22, 1892
At age seventeen, Chad Hoopes already
possesses the kind of technical mastery, ease
of expression and joyful talent that come
along only once in a generation. Symphonie espagnole
for Violin and Orchestra
Debuted in Paris by virtuoso Spanish violinist
Pablo de Sarasate one month before Bizet’s
Carmen received its premiere in that same
city, Lalo’s Symphonie espagnole (often
tagged with “for Violin and Orchestra” just to
make sure everyone knows that it is actually
a concerto, sort of) effectively launched the
trend of French composers’ fascination for
Spain and Spanish melodies.
Chad began his violin studies at the age of
four in Minneapolis with Nancy Lokken and
continued with Sally O’Reilly at the University
of Minnesota, then studied with David
Russell, David Cerone, Joel Smirnoff and
William Preucil at the Cleveland Institute of
Music. In April 2008, he won first prize in the
Young Artists Division of the Yehudi Menuhin
International Violin Competition. In the Fall of
2011, he matriculates at The Curtis Institute
of Music for study with Pamela Frank and
Joseph Silverstein.
In addition to his solo engagements, Chad
performs in a trio with his two sisters; they
appeared live on From the Top in 2007 and
have been featured twice on The Early Show,
on WCLV radio, and on WVIZ TV in Cleveland.
Chad is also active in the Boy Scouts of
America, having advanced to the rank of
Eagle Scout. He plays the 1713 Antonio
Stradivari Cooper; Hakkert; ex Ceci violin,
courtesy of Jonathan Moulds.
Hector Berlioz
b. La Côte-St-André, Isère / December 11, 1803
d. Paris, France / March 8, 1869
The Damnation of Faust, Op. 24:
Hungarian March, “Rakoczy March”
Of all the memorable moments produced
by The Damnation of Faust by the great
French composer Hector Berlioz, possibly the
most famous is the Rákóczy March (often
referred to as the Hungarian March). This
work is a famous Hungarian folk piece that
Berlioz arranged for use at a concert in the
Hungarian capital of Pest, to great effect on
the patriotic audience. Berlioz forces the
March into Damnation of Faust, causing
Goethe’s protagonist to randomly pop up in
Hungary – where he is singularly unmoved
The relationship between Lalo and Sarasate
was a fortunate one for Lalo; he owes
Sarasate for much of his inspiration and fame
as a composer. Sarasate came along when
Lalo was essentially inactive as a composer
of orchestral material, having spent much of
his career as a teacher and writer of chamber
music. With a flamboyant Spanish style and
fiery Spanish spirit, Sarasate and his playing
galvanized Lalo, himself a violinist, to write
full-scale music for violin and orchestra – and
awakened in Lalo a love for the music of
Sarasate’s native Spain.
In addition to his now-forgotten Violin
Concerto, Lalo wrote the Symphonie
espagnole with Sarasate in mind. Not quite
a symphony, and not quite a concerto (it has
landed fully in the camp of “concerto” in
modern times, and featured as such in the
repertoire of most major violinists), the piece
is nevertheless brilliant in its construction
and its spirit.
The first movement, the most symphonic of
the five movements, gets to work right away
in introducing Spanish themes and rhythmic
devices. The violin jumps in early and hardly
steps out again for the rest of the piece. Good
thing, too – Lalo’s writing for the solo violin is
nothing short of brilliant; fiery and virtuosic,
but extraordinarily musical and melodic – no
mere showpiece for the violin.
The Scherzo canters along expectedly, with
beautiful, arching violin heard over pizzicato
allegro 15
strings, evoking the sound of Spanish
guitars floating gently through the air on a
sultry night in Seville. The colourful, deeplySpanish Intermezzo provides a transition to a
brooding, passionate Andante, music that one
might recognize from the hills of Andalusia.
Finally, the Rondo finale stomps in like a
Flamenco dancer, dazzling orchestral colour
washing over the audience until – after a
moment’s pause to build anticipation and let
the soloist muster their strength for the grand
finale – the musical fireworks end in a rush of
colour and Spanish passion. Bravo, Lalo!
Want a Drink; the rest of the tunes in the
work remain anonymous. As the piece rolls
on, the pace becomes more and more lively,
until it climaxes in a deliciously frenetic,
nearly chaotic, finale of unbridled joy. Though
Enesco claimed that the piece was “just a few
tunes thrown together without thinking about
it,” it is clear that the structure and quality
of this work was carefully constructed – and
remains a testament to a great talent and a
national treasure.
Franz Liszt
b. Ciboure, France / March 7, 1875
d. Paris, France / December 28, 1937
b. Doborjan, Hungary / October 22, 1811
d. Bayreuth, Germany / July 31, 1886
Boléro
Maurice Ravel was one of the very greatest of
French composers – a brilliant orchestrator,
a bold innovator, and creator of a distinctive
style that remains as popular today as it was
in Ravel’s time. A great delighter of audiences
is his famous and much loved ode to musical
absurdity, Boléro.
Mephisto Waltz No. 1
Another take on the legend of Faust is
Liszt’s Mephisto Waltzes, based on Nikolaus
Lenau’s version of the Faust story, written
shortly after Goethe’s great drama.
In Mephisto Waltz No. 1, known originally
under the title The Dance in the Village Inn,
Mephistopheles and Faust come to a village
where people are joyfully dancing. Faust is
attracted to the daughter of the Inn’s landlord,
while Mephistopheles, unhappy with the
music being played, grabs a violin and plays –
picking up the pace with some rather devilish
music. The dancers are bewitched through
the sinister music, and surrender
to love (lust?), before Mephistopheles leads
the people away to the woods.
George Enesco
b. Liveni Virnav, Romania / August 19, 1881
d. Paris, France , May 4, 1955
Rumanian Rhapsody, Op. 11: No. 1
Romania’s most important composer –
indeed, its most important musician – George
Enesco was a writer, conductor, violinist,
and teacher (with no less a luminary than
the great Yehudi Menuhin counted amongst
his pupils). Composed in Paris in 1901, the
Rumanian Rhapsody remains Enesco’s most
popular and famous piece. The Romanian
Rhapsody No. 1 is a medley of Romanian
folk-dance themes, the first of which is a
drinking song called I Have a Coin and I
16 allegro
Maurice Ravel
Boléro was commissioned by the dancer Ida
Rubinstein, who debuted the piece in 1928
at the Paris opera. Though described by the
composer as “a piece for orchestra without
music” Boléro through the years has exerted
an unshakable hold on the imagination
of countless concertgoers. Perhaps it is
the simplicity, the unabated energy, or the
sensual nature of the piece that attracts; an
exercise in crescendo, Boléro teases and
feints, offering one unfulfilled crescendo after
another while constantly building toward the
final shattering climax.
The work itself features two dance tunes
alternating repeatedly while being passed
through a constantly changing set of
instruments, revealing beautiful differences
in tonal colour and continuously refreshing
the tunes themselves. As much as some
critics have charged that Boléro is a musical
joke (and perhaps it is) it is an extremely
compelling exercise, one that gives great
insight into Ravel’s magnificent talent
for orchestration. Boléro may be a guilty
pleasure, but it is a very sweet one indeed. ■
“Yanofsky is something
else, with a bright,
pitch-perfect voice...”
–The Washington Post
NIKKI YANOFSKY
CONCERT PROGRAM
SPEC IALS / OR PH EUM TH EATR E, 8PM
wednesday, october 5
PRESENTS
Nikki Yanofsky with the VSO
Cheek to Cheek
Sweet Georgia Brown
Bienvenue dans ma vie
I’ve Got a Crush on You
Accentuate the Positive
Grey Skies
Baby, I Love You
No More Blues
Mr. Paganini
Heart of the Matter
Lullaby of Birdland
Plus je t’embrasse
Nature Boy
Airmail Special
Oh! Darling
Someone to Watch Over Me
I’ve Got Rhythm
INTERMISSION
18 allegro
and five Conservatory Prizes from the
Conservatoire de musique de Montréal, Pierre
Simard studied with Raffi Armenian, Frederik
Prausnitz, JoAnn Falletta and Marin Alsop.
The VSO’s Assistant Conductor position is
made possible with the support of the Canada
Council for the Arts.
PIERRE SIMARD
This is Pierre Simard’s second season
as Assistant Conductor of the Vancouver
Symphony Orchestra. He is also Artistic
Director of both the Vancouver Island
Symphony (BC) and the Orchestre
Symphonique de Drummondville (QC).
Having served as Associate Conductor with
the Calgary Philharmonic Orchestra, he also
performs as guest conductor with major
orchestras in Milwaukee, Toronto, Ottawa
(National Arts Centre), Victoria, Hamilton,
Okanagan, Hot Springs (AR), Trois-Rivières,
Québec’s Les Violons du Roy and Montreal’s
Orchestre Métropolitain. Pierre Simard was
awarded the Canada Council’s Jean-Marie
Beaudet Award in Conducting, recognizing his
work on a national scale. He is also grantee
of the Québec Music Council, the Québec Arts
Council and the Montreal Mayor’s Foundation.
A passionate defender of orchestral
repertoire, Pierre Simard devotes himself
to reinventing the concert form, combining
his fresh ideas, fantasy and humour with
music. Holder of a Master’s Degree in
Conducting from the Peabody Institute
20 allegro
Nikki Yanofsky is a seventeen-year-old
musical prodigy. Since her debut at the 2006
Montreal International Jazz Festival, where
she won the hearts of the 100,000+ people in
the audience, Nikki has never looked back.
Accomplishments early in her career were
plentiful, including recordings, performances
and accolades. At thirteen, she was the
youngest singer ever on a Verve Records
Release with “Airmail Special,” released
on the Ella Fitzgerald tribute album We All
Love Ella: Celebrating the First Lady of Song.
On her fourteenth birthday, she began a
collaboration with Marvin Hamlisch with a
performance at Carnegie Hall and continued
on a North American tour performing with
many esteemed orchestras.
In the winter of 2010, Nikki was a featured
artist at the 2010 Olympic and Paralympic
Winter Games held in Vancouver, performing
Canada’s national anthem at the Opening
Ceremonies of the Olympics, and appearing
before a worldwide audience of 3.2 billion
people. Nikki was also chosen to sing
I Believe, the anthem for Canadian spirit
during the Winter Olympic Games. This song
quickly became a #1 hit in Canada. ■
vancouver symphony foundation
Ensure the VSO’s future
with a special gift to the
Vancouver Symphony
Foundation, established
to secure the long term
success of the Vancouver
Symphony Orchestra.
Tax creditable gifts of cash, securities and planned gifts
are all gratefully received by the Vancouver Symphony
Foundation, and your gift is enhanced by the availability
of matching funds from the Federal Government.
Please call Leanne Davis at
604.684.9100 extension 236
or email [email protected] to make a gift or
learn more about the naming opportunities that are available
to honour a family member, celebrate the memory of a loved
one or simply recognize your generosity.
Support the Power of Music We extend our sincere thanks to these donors, whose gifts will ensure the
Vancouver Symphony Orchestra remains a strong and vital force in our community long into the future:
$1,000,000 or more
Martha Lou Henley
Government of Canada through the
Department of Canadian Heritage
Endowment Incentives Program
Province of BC through the BC Arts
Renaissance Fund under the
stewardship of the Vancouver
FoundatioN
$500,000 or more
Wayne and Leslie Ann Ingram
The Estate of Jim and Edith le Nobel
$250,000 or more
Estate of Ruth Ellen Baldwin
Carter (Family) Deux Mille Foundation
Chan Foundation of Canada
Ron and Ardelle Cliff
Estate of Steve Floris
Werner (Vern) and Helga Höing
Mr. Hassan and Mrs. Nezhat Khosrowshahi
The Tong and Geraldine Louie
Family Foundation
Hermann and Erika Stölting
Arthur H. Willms Family
$100,000 or more
Estate of Winslow W. Bennett
Mary and Gordon Christopher
Janey Gudewill & Peter Cherniavsky
in memory of their Father
Jan Cherniavsky and Grandmother
Mrs. B.T. Rogers
In memory of John S. Hodge
Michael and Estelle Jacobson
S.K. Lee in memory of Mrs. Cheng Koon Lee
Katherine Lu in memory of Professors
Mr. and Mrs. Ngou Kang
William and Irene McEwen Fund
Sheahan and Gerald McGavin, C.M., O.B.C.
McGrane-Pearson Endowment Fund
Estate of John Rand
Nancy and Peter Paul Saunders
Ken and Patricia Shields
George and Marsha Taylor
Whittall Family Fund
$50,000 or more
Adera Development Corporation
Brazfin Investments Ltd.
Mary Ann Clark
Estate of Rachel Tancred Rout
Estate of Mary Flavelle Stewart
Leon and Joan Tuey
In memory of John Wertschek,
Cello Section Player
$25,000 or more
Jeff and Keiko Alexander
Estate of Dorothy Freda Bailey
Mrs. May Brown, C.M., O.B.C.
Mrs. Margaret M. Duncan
W. Neil Harcourt in memory
of Frank N. Harcourt
Daniella and John Icke
Mollie Massie and Hein Poulus
Estate of Margot Lynn McKenzie
Paul Moritz
Mrs. Gordon T. Southam, C.M.
Maestro Bramwell Tovey and
Mrs. Lana Penner-Tovey
Anonymous (1)
$10,000 or more
Mrs. Marti Barregar
Kathy and Stephen Bellringer
Mrs. Geraldine Biely
Robert G. Brodie and K. Suzanne Brodie
Douglas and Marie-Elle Carrothers
Mr. Justice Edward Chiasson and
Mrs. Dorothy Chiasson
Dr. Marla Kiess
Chantel O’Neil and Colin Erb
Dan and Trudy Pekarsky
Bob and Paulette Reid
Nancy and Robert Stewart
Beverley and Eric Watt
Anonymous (1)
$5,000 or more
Estate of Clarice Marjory Bankes
Charles and Barbara Filewych
Estate of Muriel F. Gilchrist
Edwina and Paul Heller
Kaatza Foundation
Prof. Kin Lo
Rex and Joanne McLennan
Marion L. Pearson and James M. Orr
Melvyn and June Tanemura
$2,500 or more
In memory of Lynd Forguson
Stephen F. Graf
John and Marietta Hurst
Mr. Gerald A. Nordheimer
Harvey and Connie Permack
Robert and Darlene Spevakow
Winfred Mary (Mollie) Steele
Estate of Jan Wolf Wynand
Anonymous (1)
Due to space limitations, donations
of $2,500 or more are listed, but every
gift is sincerely appreciated and
gratefully received. THANK YOU.
allegro 21
CHRISTOPHER
GAZE
PIERRE SIMARD
HANNAH HAN
CONCERT PROGRAM
PAC I FIC AR BOU R TEA & TRUMPETS / OR PH EUM TH EATR E, 2PM
thursday, october 6
Pierre Simard conductor*
◆ Hannah Han piano
Overtures & Intermezzi
OFFENBACH Orpheus in the Underworld: Overture
STRAUSS Gypsy Baron: Overture
◆ TCHAIKOVSKY Piano Concerto No. 1 in B-flat minor, Op. 23
I. Allegro non troppo
MENDELSSOHN A Midsummer Night’s Dream, Op. 61: Intermezzo
VON SUPPE Light Cavalry: Overture
STRAUSS A Night in Venice: Overture
TEA & COOKIES Don’t miss tea and cookies served in the lobby one hour
before each concert, compliments of Tetley Tea and LU Biscuits.
*For a biography of Pierre Simard please refer to page 20.
TEA & TRUMPETS SERIES SPONSOR
22 allegro
Hannah Han piano
Best known as Artistic Director of Vancouver’s
Bard on the Beach Shakespeare Festival,
Christopher Gaze has performed in England,
the USA and across Canada. Born in England,
he trained at the Bristol Old Vic Theatre
School before coming to Canada in 1975
where he spent three seasons at the Shaw
Festival. He moved to Vancouver in 1983 and
in 1990 founded Bard on the Beach which
he has since nurtured to one of the most
successful not-for-profit arts organizations
in North America, with attendance exceeding
91,000. In addition to performing and
directing for Bard, Christopher’s voice is heard
regularly in cartoon series, commercials and
on the radio. As well as Tea & Trumpets, he
also hosts Vancouver Symphony’s popular
Christmas concerts.
Born in Calgary, Alberta, Hannah began
studying music at the age of five. She started
her piano studies with Edward J. Parker
and throughout the years, she also received
lessons from Ian Parker. Besides completing
both her ARCT Performer and Teacher’s, she
has also competed in many music festivals
such as the Guild Festival, Kiwanis, CDMF
and the Burnaby Clef and won numerous
awards including the silver medal from RCM
Examinations. When Hannah was nine years
old, she was selected to perform for Alexina
Louie at the UBC Recital Hall. Then in 2008,
she was invited as a guest soloist to perform
at the I’Park Mall in South Korea. Recently,
in 2010, Hannah performed as a part of the
Symphonic Hall of Fame with the VSO.
As an Olympic ambassador, Christopher was
honoured to run with the Olympic flame for
the 2010 Games. A gifted public speaker,
Christopher frequently shares his insights
on Shakespeare and theatre with students,
service organizations and businesses.
24 allegro
Besides a love for music, Hannah shares a
passion for languages. Apart from English,
she is able to speak French, Korean and some
Japanese. Her future goal is to study music
and become a concert pianist. ■
JEFF TYZIK
KALEIDOSCOPE
CONCERT PROGRAM
LON DON DRUGS VSO POPS / OR PH EUM TH EATR E, 8PM
friday & saturday, october 7, 8
Michelle Johnson
Sally Stewart
Cushney Roberts
Mark Speights
California Dreamin’:
Classics of the Boomer Generation
Pops classics from the Baby Boom generation. Kaleidoscope and
Principal Pops Conductor Jeff Tyzik take you down memory lane
with sizzling orchestral arrangements of groovy songs you loved, like
California Dreamin’, I Heard it Through the Grapevine, I Feel The Earth Move,
Close To You, and many more Boomer classics!
CONCERT SELECTIONS TO BE ANNOUNCED FROM THE STAGE.
VSO POPS SERIES SPONSOR
26 allegro
RADIO SPONSOR
Grammy Award winner Jeff Tyzik is
recognized as one of America’s most
innovative pops conductors. Tyzik is known
for his brilliant arrangements, original
programming, and engaging rapport with
audiences of all ages. Now in his 17th
season as Principal Pops Conductor of the
Rochester Philharmonic Orchestra, Tyzik also
currently serves as Principal Pops Conductor
of the Oregon Symphony and the Vancouver
Symphony Orchestra.
Formed in Las Vegas in response to a
continuous clamouring for musical programs
with a strong focus on the soundtrack of
the lives of The Baby Boomer Generation,
Kaleidoscope takes on the unenviable task of
credibly covering what was the vast, varied
and ever-evolving musical repertoire of the
mid-Sixties to the early Seventies.
A native of Hyde Park, New York, Tyzik began
his life in music at nine years of age, when
he first picked up a cornet. He studied both
classical and jazz throughout high school,
and went on to earn both his bachelor’s and
master’s degrees from the Eastman School
of Music, where he studied composition/
arranging with Radio City Music Hall’s Ray
Wright and jazz studies with the great band
leader Chuck Mangione, both of whom
profoundly impacted him as a musician.
Tyzik currently serves on the Board of
Managers of the Eastman School of Music,
and as a board member of the Hochstein
School of Music and Dance. He lives in
Rochester, New York, with his wife Jill.
28 allegro
Folk-Rock, Pop-Rock, Soul, Psychedelic-Rock,
Blue-Eyed Soul, Songs of Love & Peace, a
New Era of Standards and so much more.
One can only begin to describe what’s in
store from a show by Kaleidoscope by naming
some of the artists that gave voice to this
era of music which defies categorization:
The Mamas & The Papas, Simon and
Garfunkel, Petula Clark, The Byrds, The
Supremes, The Carpenters, The Beatles, The
Righteous Brothers, Aretha Franklin, The
Doobie Brothers, Marvin Gaye, Neil Diamond;
need we say more? Kaleidoscope wows its
audiences with the best songs from some of
the best artists ever. Despite the extraordinary
individual achievements of vocalists Michelle
Johnson, Sally Stewart, Cushney Roberts
and Mark Speights, Kaleidoscope is a perfect
example in which “The Whole is Greater Than
the Sum of Its Parts.”
BRAMWELL TOVEY
& MEMBERS OF THE VSO
CONCERT PROGRAM
BAC H & BEYON D / C HAN C ENTR E FOR TH E PER FORMI NG ARTS AT U BC, 8PM
friday & saturday, october 14, 15
NORTH SHOR E C LASSICS / C ENTEN N IAL TH EATR E, 8PM
monday, october 17
◆ Tracy Dahl soprano
▲ Larry Knopp trumpet
BACH Suite No. 4 in D Major, BWV1069
I.
II.
III.
IV.
V.
Ouverture
Bourrée I & II
Gavotte
Menuet I & II
Réjouissance
◆ ▲ BACH Cantata No. 51, Jauchzet Gott in allen Landen!
INTERMISSION
◆ MOZART Exsultate, Jubilate, K165
I.
II.
III.
Exsultate, jubilate
Tu virginum corona, tu nobis pacem dona
Alleluja
HAYDN Symphony No. 47 in G Major
I.
II.
III.
IV.
Allegro
Un poco adagio, cantabile
Menuet & Trio
Finale: Presto assai
The presentation of the Bach & Beyond Series is made possible,
in part, through the generous assistance of the Chan Centre for
the Performing Arts of the University of British Columbia.
30 allegro
TRACY DAHL
LARRY KNOPP
Larry Knopp trumpet
refer to page 10.
Larry Knopp began his career as Acting
Principal Trumpet of the Edmonton Symphony
Orchestra at the age of twenty. He has also
held positions as Principal Trumpet with
Orchestra London, the Hamilton Philharmonic,
and the Malaysia Philharmonic Orchestra,
and is currently Principal Trumpet of the
Vancouver Symphony Orchestra, as well
as the National Broadcast Orchestra. Larry
has performed and recorded with the
Boston Symphony Orchestra, the New York
Philharmonic, as well as The Three Tenors.
Tracy Dahl soprano
With her 2006 debut at La Scala as Zerbinetta
in Ariadne auf Naxos, Canada’s premier
coloratura soprano Tracy Dahl has taken
another milestone in a career that has
brought her together with such opera houses
as the Metropolitan Opera, San Francisco
Opera, Houston Grand Opera, Santa Fe Opera,
Canadian Opera Company, and the Chatelet
in Paris, to name a few. Her “superlative
coloratura” (Globe and Mail), “deliciously
accurate, stratospheric” (Opera), is regularly
singled out by critics. “Her extreme high
notes, and she threw in a lot of them, are
easy and spectacular.” (Boston Globe). In
2009 she was awarded the prestigious Opera
Canada Award.
Her discography includes A Disney
Spectacular with the Cincinnati Pops
(Telarc), Glitter and Be Gay with the Calgary
Philharmonic (CBC), A Gilbert and Sullivan
Gala with the Winnipeg Symphony Orchestra
(CBC), and Love Walked In, a Gershwin
collection with the Bramwell Tovey Trio (Red
Phone Box Company).
Larry completed his Master’s degree at
Northwestern University, where he played
in the Chicago Civic Orchestra, and studied
with Vincent Cichowicz. He has finished the
academic work for his Doctoral degree at the
Eastman School of Music where he studied
with Barbara Butler.
Larry has performed as a soloist and recitalist
on television as well as CBC local and national
radio, including solo performances with the
Edmonton Symphony, Orchestra London,
the Hamilton Philharmonic, the Vancouver
Symphony, the CBC Vancouver Orchestra, and
the Malaysia Philharmonic Orchestra.
...program notes begin on page 34
allegro 31
Passion&
THE THRILLING 2011/2
JON KIMURA PARKER
NIKKI YANOFSKY
ISABEL BAYRAKDARIAN
RENEE
FLEMING
LANG LANG
CHRIS BOTTI
ORDER ONLINE and select your own subscription seats!
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& POWER
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ouversymphony.ca
Johann Sebastian Bach
b. Eisenach, Germany / March 21, 1685
d. Leipzig, Germany / July 28, 1750
Suite No. 4 in D Major, BWV 1069
By Bach’s time, virtually every important
German composer had created independent
suites for orchestra. Some of his four
surviving examples may date from his
years in service to Prince Leopold of Cöthen
(1717-1723), others from the subsequent
period in Leipzig.
The opening movement of a Baroque suite
typically being the freest in form (as opposed
to the more formalized dance movements),
the Overture of Suite No. 4 is the longest and
most intricately wrought section. The suite
includes two sets of dances in pairs. In such
groupings the second dance appears as a
contrasting central “trio” section between
appearances of the first. Bach opens the
dance-movement section of the suite with
a set of bourrées, a lively French folk dance
which originated during his era and was later
adopted as a more formal court dance.
Bourrée No. 1 is brisk and joyful, the second
a bit more subdued, almost shadowy. Next
up is a single example of the gavotte, another
French folk and court dance that emerged
during Bach’s lifetime. This one has a refined
bearing. The following pair of minuets
continues this air of restraint. The second is
more lightly scored than the first. The suite
concludes with Réjouissance (Rejoicing), a
bracing, almost rowdy finale.
Johann Sebastian Bach
b. Eisenach, Germany / March 21, 1685
d. Leipzig, Germany / July 28, 1750
Cantata No. 51,
Jauchzet Gott in allen Landen!
Bach composed a huge number of cantatas,
works for a combination of voices and
instruments. More than 200 survive. They
cover an enormous range of styles, forms and
purposes: jubilant, mournful and humorous;
sacred and secular; straightforward and
complex; brief and lengthy, and make up
a vast treasure-house of sublime music.
34 allegro
Cantata No. 51, Jauchzet Gott in allen
Landen! (Praise God in Every Land!) dates
from roughly 1730, when Bach was living
in Leipzig. It is a sacred piece, intended for
performance on the fifteenth Sunday after
Trinity. Its joyous nature has led to its being
one of his most popular cantatas. Both the
soprano soloist and the orchestra’s trumpet
player are called upon to perform great feats
of virtuosity.
Wolfgang
Amadeus Mozart
b. Salzburg, Austria / January 27, 1756
d. Vienna, Austria / December 5, 1791
Exsultate, jubilate, K. 165
Mozart set out on what proved to be his third
and final visit to Italy in October 1772. He
bore with him the first sketches for Lucio
Silla, an opera he had been commissioned
to write for the upcoming carnival season
in Milan. The premiere on December 26 at
the Regio Ducal Teatro found great favour.
Much credit for this was due to a renowned
castrato, Venanzio Rauzzini, who performed
the important role of Cecilio. Mozart admired
the brilliance and agility of his voice, and
gladly agreed to compose a work showcasing
them. Rauzzini premiered the motet,
Exsultate, jubilate on January 17, 1773.
The author of the non-liturgical Latin text
is unknown.
Nothing save brilliance and energy radiates
from the outer sections. An orchestral
introduction, delightfully coloured by oboe
and horn flourishes, precedes the opening
aria, Exsultate, jubilate (Rejoice, shout, O you
blessed souls). After a compact recitative,
the second and considerably longer aria, Tu
virginum corona, tu nobis pacem dona (Crown
of all virgins, grant us peace) is launched
on its gentle, consoling way. Mozart aptly
pares back the scoring to strings and organ.
The full ensemble is restored to support the
enchanting concluding Alleluja, which leans
toward popular music style. One of Mozart’s
most well-known vocal compositions, it is
frequently performed on its own.
Joseph Haydn
b. Rohrau, Lower Austria / March 31, 1732
d. Vienna, Austria / May 31, 1809
Symphony No. 47 in G Major
By the time Haydn composed this
symphony in 1772, he had been working
for a wealthy, aristocratic Hungarian family,
the Esterházys, for just over a decade.
Isolated from the world due to his strict
contract with them, he used their private
orchestra to perform experiments in
symphonic composition. It was at that time
that his symphonies began to become more
individual and original. A prime example
was another piece he created that year.
In the finale of the well-known “Farewell”
Symphony (No. 45), the orchestra grows
gradually smaller as the players
leave the stage.
Symphony No. 47 conceals the ingenuity
of its construction under a highly appealing
surface. The first movement opens with a
lively, march-like theme announced by the
horns. The nonchalant second theme stands
in strong contrast. The march theme becomes
increasingly dark and forceful, only to be
banished in the end by the light-hearted
second tune. Haydn constructed the variations
that make up the second movement so that
the theme and its accompaniment could trade
places back and forth between upper and
lower voices.
“Symphony No. 47
conceals the ingenuity of its
construction under a highly
appealing surface.”
The following minuet is even more
ingenious. In the main, outer sections, and
the central trio, the music is heard first
forwards, then precisely in reverse. Haydn
devised both themes of the finale from the
same thematic materials. This quick, witty
movement contains echoes of East
European folk music. ■
Program Notes © 2011 Don Anderson
allegro 35
BRAMWELL TOVEY
CONCERT PROGRAM
SPECTRA EN ERGY KI DS KONC ERTS / OR PH EUM TH EATR E, 2PM
sunday, october 16
Inspector Tovey Investigates Rhythm
TOVEY Cool Cats Rhyme Time
SOUSA Liberty Bell March
BEETHOVEN Symphony No. 5, I. Allegro con brio
STRAUSS Perpetuum Mobile
ANDERSON Belle of the Ball
TCHAIKOVSKY Symphony No. 6, Pathétique
STRAUSS Pizzicato Polka
ANDERSON Sandpaper Ballet
Inspector Tovey investigates the musical concept of rhythm,
with help from the Granville Street Irregulars.
VSO Instrument Fair The Kids’ Koncerts series continues with the popular VSO
Instrument Fair, which allows music lovers of all ages (but especially kids!) to touch
and play real orchestra instruments in the Orpheum lobby one hour before concert
start time. All instruments are generously provided by Tom Lee Music.
KIDS’ KONCERTS SERIES
CO-SPONSOR
36 allegro
PREMIER EDUCATION PARTNER
The VSO’s Kids’ Koncerts have been endowed by a
generous gift from the William & Irene McEwen Fund.
refer to page 10.
Inspector Tovey was inspired by the masterly
detective Sherlock Holmes, whose band of
supporters included the famous Baker Street
Irregulars. These irregular detectives were
young boys and girls who helped the great
detective as he solved the most difficult
mysteries of his age. Like Mr. Holmes,
Inspector Tovey needs a group of young boys
and girls to lend their support in his search
for the ultimate truths of rhythm, melody and
harmony. Inspector Tovey is very grateful to
the young musicians who are accompanying
him on his search today – and we will reveal
their secret identities during the performance!
allegro 37
VALERY GERGIEV
ALEXANDER
TORADZE
CONCERT PROGRAM
thursday, october 20
PRESENTS
Stradivarius Ensemble of the
Mariinsky Theatre Orchestra
R. STRAUSS Metamorphosen
SHOSTAKOVICH Piano Concerto No. 1 in C minor, Op. 35
I.
II.
III.
IV.
Allegretto
Lento
Moderato
Allegro con brio
INTERMISSION
TCHAIKOVSKY Serenade in C Major, Op. 48
I.
II.
III.
IV.
Pezzo in forma di sonatina: Andante non troppo – Allegro moderato
Valse: Moderato – Tempo di valse
Élégie: Larghetto elegiaco
Finale (Tema russo): Andante – Allegro con spirito
38 allegro
Valery Gergiev’s inspired leadership as Artistic
and General Director of the Mariinsky Theatre
since 1988 has taken Mariinsky ensembles
to 45 countries and has brought universal
acclaim to this legendary institution, now in
its 228th season. At home in St. Petersburg,
his leadership has resulted in the new and
superb Mariinsky Concert Hall, which opened
in November 2006, and the Mariinsky Label,
which was launched in 2009.
Alexander Toradze is universally recognized
as a masterful virtuoso in the grand Romantic
tradition. He has enriched the Great Russian
pianistic heritage with his own unorthodox
interpretative conceptions, deeply poetic
lyricism, and intensely emotional excitement.
Born in 1952 in Tbilisi, Georgia, Alexander
Toradze graduated from the Tchaikovsky
Conservatory in Moscow and soon became
a professor there. In 1983, he moved
Presently Principal Conductor of the London
permanently to the United States and in
Symphony Orchestra and The World Orchestra 1991, he was appointed as the Martin
of Peace, Valery Gergiev is also founder and
Endowed Chair Professor of Piano at Indiana
Artistic Director of the Stars of the White
University South Bend, where he has created
Nights Festival and New Horizons Festival in
a teaching environment that is unparalleled
St. Petersburg, the Moscow Easter Festival,
in its unique concept. The members of the
the Gergiev Rotterdam Festival, the Mikkeli
multi-national Toradze Piano Studio have
International Festival, and the Red Sea
developed into a worldwide touring ensemble
Festival in Eilat, Israel.
that has gathered great critical acclaim on
Maestro Gergiev is the recipient of a Grammy an international level. In the 2002-2003
season, the Studio appeared in New York
Award, the Dmitri Shostakovich Award,
performing the complete cycle of Bach solo
Golden Mask Award, People’s Artist of
concerti, as well as Scriabin’s complete
Russia Award, the World Economic Forum’s
sonata cycle. The Studio has also performed
Crystal Award, Sweden’s Polar Music Prize,
projects detailing the piano and chamber
Netherlands’s Knight of the Order of the
works of Rachmaninoff, Prokofiev, Dvořák
Dutch Lion, Japan’s Order of the Rising Sun,
and Stravinsky, in Rome, Venice and Ravenna
Valencia’s Silver Medal, the Herbert von
Karajan prize and France’s Royal Order of the in Italy; the Klavier Festival Ruhr and Berlin
Festivals in Germany; and in Boston, Chicago
Legion of Honour.
and Washington DC.
The Mariinsky Theatre
Stradivarius Ensemble
The Mariinsky Theatre Stradivarius Ensemble
comprises a group of musicians performing
on the most famous and unique-sounding
string instruments in the world. The ensemble
was established on the initiative of Valery
Gergiev, Artistic and General Director of the
Mariinsky Theatre. The Stradivarius Ensemble
is made up of the best musicians and leading
soloists of the Theatre’s Symphony Orchestra.
Their performances of popular and dearlyloved classical works sound completely
different to concerts thanks to the incredibly
rich and unbelievably beautiful timbres of
the instruments made by Amati, Stradivarius,
Guarneri, Guandini and Gofriller.
40 allegro
Richard Strauss
b. Munich, Germany / June 11, 1864
d. Garmisch-Partenkirchen, Germany / Sept. 8, 1949
Metamorphosen
The late-Romantic composer Richard Strauss
was a disciple of Wagner and Liszt, following
in the footsteps of the latter composer by
expanding the symphonic poem concept and
creating the orchestral tone poem. Though
not strictly a tone poem, the Metamorphosen
is a study for strings, and a setting of late
poetry by Goethe. Strauss wrote the piece
in the last months of the Second World War,
in deep mourning for the destruction of
German culture in general, and specifically,
the Munich Opera House and the Goethehaus.
Though a strikingly-original masterpiece, and
Strauss’s greatest late-career achievement,
the Metamorphosen is as notable for
Strauss’s extensive use of the funeral march
theme from Beethoven’s Eroica symphony,
as a motif for his memorial to lost German
culture. The theme is alluded to early in the
work, then directly quoted in the powerful and
moving closing bars, marked on the score
with the words In Memoriam.
Dmitry Shostakovich
b. St. Petersburg, Russia / September 25, 1906
d. Moscow, Russia / August 9, 1975
Piano Concerto No.1 in C minor, Op. 35
The extraordinary life and times of Dmitry
Shostakovich forged him into one of the
great composers of the Russian school of
music; in fact, one of the great composers
of any kind, anywhere. Though known much
more for his epic symphonies, Shostakovich
was also a great writer of concerti for solo
instruments and orchestra. And although he
was a bit of a late bloomer as a piano player
by the standards of other famous musical
prodigies (he only started lessons at the age
of nine), Shostakovich very quickly became
a master of the instrument. As a student, he
pursued piano studies and composition with
equal fervour, until the second place finish at
the 1927 International Chopin Competition
convinced him to focus on composition.
According to the diaries of Shostakovich’s
pupil Evgeny Makarov, the Piano Concerto
No.1 had its genesis as a trumpet concerto,
only gradually metamorphosing into what
we now know as a concerto for piano and
orchestra, with a large trumpet part. The
concerto is brilliant, in many ways not a
product of Soviet Russia, though firmly
Shostakovich. The concerto’s mixture of
lyricism and frivolity makes it a cousin
of Ravel’s G major and Prokofiev’s Fifth
Piano Concerto. There is also more than
a hint of Gershwin’s Concerto in F in the
slow movement, and even of Stravinsky’s
Petroushka in the fast first and final
movements. Often Shostakovich quotes
other pieces, including his own works,
mixing genres in a totally modern way while
still adhering to the confines of “socialist
realism” expected during this time. In the
second movement, Shostakovich presents
a parody of a theme from his ballet The
Golden Age, sometimes in a jazzy version. He
includes excerpts from his opera Christopher
Columbus and presents an uproarious
reading of Beethoven’s Rondo a capriccio
in the final movement. An explanation for
this wide variation in style can be found in
that for the six years previous to writing this
concerto, Shostakovich had been composing
almost exclusively for stage and screen; the
impact of which is heard dramatically in this
concerto’s willingness to quote or paraphrase
this wide range of pre-existing music, and in
its restless shifting from one style to another.
Shostakovich himself gave the premiere of
this work on October 15th, 1933, with the
Leningrad Philharmonic.
Pyotr Il’yich Tchaikovsky
b. Kamsko-Votkinsk, Russia / May 7, 1840
d. St. Petersburg, Russia / November 6, 1893
Serenade for Strings in C, Op. 48
Tchaikovsky is clearly the most popular and
well known of all Russian composers, though
this was not always the case in his lifetime.
Suffering through many crises both real and
imagined, Tchaikovsky’s music was fueled
by an energy and angst that few composers
before or since could match. His mastery of
texture, melody and orchestral colour shines
through in the exceptional Serenade for
Strings, completed in 1881.
The work probably began its life as either a
symphony or a string quartet, before evolving
into a serenade for strings; but one with a
symphonic structure and scope. Tchaikovsky
deeply admired Mozart, who he believed
to be the greatest composer to ever live,
and in Tchaikovsky’s words, this Serenade
“is my homage to Mozart; it is intended to
be an imitation of his style, and I should
be delighted if I thought I had in any way
approached my model.” There is indeed much
of Mozart in the spirit of this work, though it
is firmly cast in the Romantic style, dripping
with texture and richness throughout.
A slow, emotional, measured introduction
makes an emphatic statement, leading into
a cheeky Allegro, whizzing up and down
the orchestral scale but always in control
allegro 41
– Tchaikovsky deftly demonstrating the
possibilities of orchestral colour available to
a string orchestra. The Valse section mirrors
the Minuets of Mozart’s time, though this is a
dance movement that reminds the listener of
Tchaikovsky’s utter mastery of ballet.
Each section of the orchestra plays with
the dance melodies, passing them back
and forth in masterful counterpoint, before
the movement gives way to a sentimental
Elegy. The movement builds in intensity
before giving way once again to the gentle,
thoughtful Elegiac theme, ending the
movement in a nostalgic whisper, like a
setting sun.
The Finale is all-Russian in its conception
and feeling. Featuring two Russian folk
tunes – including a vigorous dance – that are
played with and elaborated upon, the Finale
moves ahead briskly toward a recapitulation
of the opening theme presented boldly and
emotionally. In a brilliant twist, the Andante
theme melts back into the dance theme,
bringing the work to an energetic and
immensely satisfying conclusion. ■
The VSO Celebrates the Lives of
Zena Wagstaff and Robert Gordon Brodie
ZENA WAGSTAFF passed peacefully on July 4, 2011.
She is survived by her sister Helen, nieces Diana and
Lorri, and great-nieces Catherine and Melissa. An
accomplished violinist and member of the Vancouver
Symphony Orchestra for 50 years, Zena was also
prominent in Vancouver’s music scene through
Zena’s Musical Staff. She was inducted into the BC
Entertainment Hall of Fame in 1997 for her services to
the music industry. Our ‘queen’ had exquisite taste
and class and will be very much missed.
Zena Wagstaff
ROBERT GORDON BRODIE passed peacefully on May 6, 2011. Robert leaves
behind his loving wife Suzanne and daughters Taryn, Dallas (David Ash) and Fiona
(Peter Rose), and his five grandchildren whom he loved so dearly: Alana, Andrew,
Charlie, Katie and Madeleine. Robert also leaves behind his
brother Mac (Nancy) and his sister-in-law Jone (Russ
Fraser). He was predeceased by his brother Hall. Robert
was President and Chairman of the Vancouver Symphony
Society (1972-4), and during his tenure, the VSO realized
great success including its first ever international concert
tour. In 1977 the VSO moved into the Orpheum, which
was saved in part due to Bob’s on stage appeals. Robert
was also founding Chairman of the Vancouver Symphony
Foundation (1992-2000) and in 1993 he received the
125th Confederation Medal of Canada for “significant
contributions to compatriots, community and Canada.”
Robert Gordon Brodie
42 allegro
patrons’ circle
The Vancouver Symphony is grateful for the generosity shown by the following individuals and
foundations, whose annual investment in the VSO has helped this orchestra reach new heights
and garner national and international recognition.
PLATINUM BATON
$50,000 and above
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Jemini Foundation
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Mr. Fred Withers & Ms. Kathy Jones
Bruce Munro Wright
Anonymous (2)
GOLD BATON
$25,000—$49,999
PRINCIPAL PLAYER
$2,500—$4,999
Michael Audain, O.C., O.B.C. and
Yoshiko Karasawa
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Heathcliff Foundation*
Mr. Gerald McGavin, C.M., O.B.C. and
Mrs. Sheahan McGavin*
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Mr. Ronald N. and Mrs. Janet Stern
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MAESTRO’S CIRCLE
$10,000—$24,999
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Mrs. Lana Penner-Tovey*
Gordon Young
Anonymous* (1)
Anonymous (1)
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$5,000—$9,999
Dr. and Mrs. J. Abel
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Ann Claire Angus Fund
Larry and Sherrill Berg
Dave Cunningham
Mr. Ian and Mrs. Frances Dowdeswell
Mrs. Margaret M. Duncan
Hillary Haggan
In Memory of John Hodge*
Diane Hodgins
Kaatza Foundation*
Dr. Marla Kiess*
Robert H. Lee, C.M., O.B.C. and Lily Lee
The Lutsky Families
Kenneth W. and Ellen L. Mahon*
Mrs. Irene H. McEwen*
Dr. Katharine Mirhady
John Hardie Mitchell family foundation
Joan and Michael Riley
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Kathy and Stephen Bellringer*
Gerhard & Ariane Bruendl
Dr. and Mrs. Cameron
Marnie Carter*
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Janis and Bill Clarke
Mr. and Mrs. G. A. Cooper
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Drs. B. Forster and K. Mayson
Yuri Fulmer
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Hugh and Joan Morris
Mrs. Dorothy Nairne
Christine Nicolas
Chantel O’Neil and Colin Erb*
Mrs. Lorraine Redmond, in loving memory
of Mrs. M. Quast
Mr. and Mrs. Maurice A. Roden
Bernard Rowe and Annette Stark
Dorothy Shields
Wallace and Gloria Shoemay
Dr. Peter and Mrs. Sandra Stevenson-Moore
Mel and June Tanemura*
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Anonymous* (1)
Anonymous (1)
PATRON
$1,500—$2,499
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Ms. Natalie Freeman
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Roberta Lando Beiser*
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Mrs. Dorothy Chiasson*
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Aline Dobrzensky
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Miryam and Rafael Filosof
Ms. Judy Garner
Mrs. San Given
Dr. Donald G. Hedges
In Memory of Betty Howard
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Herbert Jenkin
C.V. Kent
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L. Thom
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Michael Williams
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Anonymous (7)
* Members of the Patrons’ Circle
who have made an additional gift to
the VSO’s endowment campaign,
for which we are most thankful.
For more information about the patrons’ circle and the exclusive benefits associated
with this program, please contact Leanne Davis at 604.684.9100 extension 236
or email [email protected]
allegro 43
BRAMWELL TOVEY
TILL FELLNER
CONCERT PROGRAM
MASTERWOR KS DIAMON D / OR PH EUM TH EATR E, 8PM
saturday & monday, october 22, 24
Fellner piano
◗ Vancouver Bach Choir
▲ Till
◗ CHATMAN Earth Songs
▲
I.
II.
III.
IV.
V.
VI.
Light Upon the Earth
Earth and Sky
The Butterfly
The Waterfall
Dance of the Raindrops
Smile, O Voluptuous Cool Breath’d Earth
BEETHOVEN Piano Concerto No. 2 in B-flat Major, Op. 19
I.
II.
III.
Allegro con brio
Adagio
Rondo: Molto allegro
INTERMISSION
MOZART Symphony No. 40 in G minor, K550
I.
II.
III.
IV.
Molto allegro
Andante
Menuetto and Trio
Allegro assai
PRE-CONCERT TALKS free to ticketholders at 7:05pm.
44 allegro
VANCOUVER BACH CHOIR
refer to page 10.
Till Fellner piano
Pianist Till Fellner plays with scrupulous
musicianship, purity of style, and sparkling
keyboard command – qualities that have
earned him plaudits throughout Europe, and
in the United States and Japan. His readings
of the works of Bach and Beethoven in
particular have already placed him among
the elect in this repertoire, and the inspired
ingenuity of his performances of such 20th
century masters as Gyórgy Kurtág and Elliott
Carter have earned him many accolades.
This season sees the completion of Mr.
Fellner’s traversal of the complete Beethoven
piano sonatas; the critically acclaimed
cycle is being presented in New York at the
Metropolitan Museum of Art; in Washington,
DC as a co-presentation with the National
Gallery, the Embassy Series and the Austrian
Cultural Forum; as well at the Konzerthaus
in Vienna; Wigmore Hall in London; the Salle
Gaveau in Paris; and Toppan Hall in Tokyo.
Till Fellner was a student of Helene SedoStadler and has studied privately with Alfred
Brendel, Meira Farkas, Oleg Maisenberg, and
Claus-Christian Schuster.
Vancouver Bach Choir
The Vancouver Bach Choir gave its first
concert at the Orpheum in December 1930.
During its long history, the choir has sung
with such world-renowned conductors as
Bruno Walter, Sir Ernest MacMillan, Zubin
Mehta, Sir Arthur Bliss, Meredith Davies,
Kazuyoshi Akiyama, Simon Streatfeild,
Andrew Davis and Simon Preston. Leslie Dala
was appointed Music Director in July 2010,
following Bruce Pullan who had been music
Director for twenty-seven years.
Since 1930, the Vancouver Bach Choir’s
Canadian reputation has grown through
numerous broadcasts by the Canadian
Broadcasting Corporation, an Eastern
Canadian tour in 1974 and the cross-Canada
viewing of a television film of the Easter
music from Handel’s Messiah.
In Vancouver the Vancouver Bach Choir
presents a series of concerts each season
and has been responsible for the British
Columbia premiere of a number of major
works including Rossini’s Stabat Mater,
Fanshawe’s African Sanctus, Lloyd Webber’s
Requiem, Paul McCartney’s Liverpool
allegro 45
Oratorio, Berlioz’ Messe Solennelle and
Penderecki’s Polish Requiem. The choir has
also commissioned and premiered extended
works by Canadian composers John Estacio
and Christos Hatzis as well as many shorter
pieces by other Canadian composers.
Stephen Chatman
b. Faribault, Minnesota, USA / February 28, 1950
Earth Songs
Stephen Chatman, Professor and Head,
Composition Division at the University of
British Columbia since 1976, is recognized
internationally as a composer of choral,
orchestral, and piano music.
His approximately 100 choral works have
sold more than 400,000 printed copies.
Recorded works include three choral
collections performed by the Vancouver
Chamber Choir. His orchestral works,
commissioned by the Vancouver, Toronto and
Edmonton symphonies, among others, have
been performed and recorded by the B.B.C.
Symphony Orchestra, Berlin Radio Orchestra,
Hong Kong Philharmonic, San Francisco,
Montréal, Calgary, and Winnipeg symphonies,
among others.
He studied at the Oberlin Conservatory and
the University of Michigan in Ann Arbor.
Stylistically, many of his pre-1982 works are
complex, virtuosic, and atonal. In 1982, he
began composing choral music influenced by
various traditional musical styles, signalling
his gradual departure from modernism and a
path toward post-modernism, spirituality, and
a wider audience.
He composed Earth Songs in 2007 and 2008.
It was commissioned by the University of
British Columbia for a gala concert honouring
its centenary. Alain Trudel conducted the
premiere in Vancouver on September 28,
2008, leading the UBC Singers and the CBC
Radio Orchestra. “Early on,” Chatman said,
“I wanted to involve the university singers,
so I knew I wanted to write for choir and
orchestra. But for some time I’ve had some
ideas of writing something that deals with
ecology. This is one of the greatest challenges
of our times, both locally and globally. But
46 allegro
ecology, earth and water are also very much
what this place is all about. So Earth Songs
was a natural fit in terms of what I think the
piece could mean…It celebrates the universal
spirit of and beauty of the natural world and
is meant to inspire the global community to
respect, restore and protect the natural and
human world.”
Chatman chose texts in a variety of
languages. The dynamic first song, Light Upon
the Earth, sets words from the Biblical book
of Genesis, translated into Latin. The radiantly
beautiful second song, Earth and Sky, used an
environmentally-conscious poem that George
McWhirter, Vancouver’s Poet Laureate, wrote
especially for Chatman to set here. Next is an
aptly fast, delicate setting of
The Butterfly, by the British poet, Robert
Stephen Hawker. Chatman envelopes The
Waterfall by the medieval Chinese poet,
Zhang Jiuling, in exotic orchestral textures
that include several authentic Chinese folk
instruments. Dance of the Raindrops, with
a text by Chatman himself, begins quietly
but rises to an ecstatic climax. Earth Songs
concludes thoughtfully with Chatman’s
uplifting setting of Walt Whitman’s Smile
O Voluptuous Cool-Breath’d Earth.
Ludwig van Beethoven
b. Bonn, Germany / baptized December 17, 1770
d. Vienna, Austria / March 26, 1827
Piano Concerto No. 2
in B-flat Major, Op. 19
Beethoven arrived in Vienna at the end of
1792. He established his reputation through
his piano playing, and by composing solo
works for his own performance. He also
revised several existing creations, including
this concerto. The earliest version may date
back as far as 1788. After several revisions,
the final version was published in 1801.
Because it came into print after the Concerto
“No. 1” in C Major that he had composed in
1795, it is known as “No. 2.”
The first movement opens with arresting
call to attention, followed by a vigorous
first theme and a relaxed second. The
slow movement is rather formal but still
expressive, with a particularly poetic
concluding section. The finale is a bright, witty
romp, with a cuckoo-like falling interval in the
main rondo theme. The intervening episodes
include a zesty minor-key excursion into
Hungarian/Gypsy territory.
programmed on several occasions, such as
a subscription concert at the Vienna Casino
later in 1788, or during the concert tours that
took him to Germany in 1788 and 1789.
In the opening movement of Symphony
No. 40, an overriding mood of resignation
undercuts the music’s plentiful energy. The
second theme resembles nothing so much
as a series of sighs. The symphony’s sole
oasis of repose arrives in the placid second
b. Salzburg, Austria / January 27, 1756
movement. The ensuing minuet lies as far
d. Vienna, Austria / December 5, 1791
from the ballroom as may be imagined.
Its almost menacing outer panels make it
Symphony No. 40 in G minor, K. 550
perhaps the most disturbing example of its
Mozart could not have known that the three
kind. The central trio section offers the barest
symphonies he composed between June 26
glimpse of happier times. The forward drive
and August 10, 1788 would be his last. They
are quite different from each other: Symphony of the first movement returns in the
finale, with a more insistent edge added.
No. 39 is one of his most elegant creations,
Considerable momentum is generated, but
its successor among his most pathetic.
the atmosphere of gloomy defiance persists
And appropriately, No. 41 is the grandest
to the very last bar. ■
and most joyous of all his symphonies.
Uncertainty surrounds their being performed
during Mozart’s lifetime. Circumstantial
evidence points to one or more of them being
Wolfgang
Amadeus Mozart
allegro 47
DANIEL MÜLLER-SCHOTT
CONCERT PROGRAM
MASTERWOR KS SI LVER / OR PH EUM TH EATR E, 8PM
CONCERT PROGRAM
saturday & monday, october 29, 31
▲ Daniel Müller-Schott cello
▲
DVOŘÁK Three Slavonic Dances: Op. 46, No. 8 and No. 3; Op. 72, No. 7
SHOSTAKOVICH Cello Concerto No. 2 in G Major, Op. 126
I.
II.
III.
Largo
Allegretto
Allegretto
INTERMISSION
DVOŘÁK Symphony No. 8 in G Major, Op. 88
I.
II.
III.
IV.
Allegro con brio
Adagio
Allegretto grazioso
Allegro ma non troppo
VIDEO SCREEN SPONSOR
48 allegro
committed to the music of our time. In North
America, Mr. Müller-Schott has appeared with
The Philadelphia Orchestra, the Los Angeles
Philharmonic (Hollywood Bowl) and the New
York Philharmonic to name a few.
DOUGLAS BOYD
Douglas Boyd’s international reputation as
a conductor is on the rise. Now in his ninth
season as Music Director of the Manchester
Camerata, Boyd continues to transform the
orchestra into one of England’s finest. Like
so many of Boyd’s performances, his debut
with the Camerata at London’s fabled Proms
concerts was praised for clarity, vibrancy and
musicality.
Boyd is now in his sixth and final year as
Artistic Partner of the St. Paul Chamber
Orchestra, with whom he performs, records
and tours regularly, including an acclaimed
performance at Carnegie Hall. Boyd was
recently appointed Principal Guest Conductor
of the Colorado Symphony and also holds this
title with the City of London Sinfonia.
Boyd’s recording of the Bach Concerti for
Deutsche Grammophon marked his recording
debut as director/soloist. His live recordings
as a conductor with Manchester Camerata of
Beethoven, Mahler and Mozart symphonies
have received universal critical acclaim. Boyd
also recorded the works of George Tsontakis
(KOCH International Classics) with the St.
Paul Chamber Orchestra. The Second Violin
Concerto on the Tsontakis recording received
both a 2008 Grammy Award nomination and
the prestigious Grawemeyer Award.
Daniel Müller-Schott cello
One of the finest cellists in the world
today, Daniel Müller-Schott electrifies
audiences everywhere with his cool passion
and technical brilliance. Often cited for
insightful and imaginative interpretations
of the standard repertoire, he is also deeply
An enthusiastic recitalist, Daniel Müller-Schott
appears regularly in many of the world’s
great venues, among them the Munich
Philharmonie, Salzburg Mozarteum, Wigmore
Hall, Amsterdam Concertgebouw, Vancouver
Recital Society and the Zurich Tonhalle.
Also an avid chamber musician,
Mr. Müller-Schott has collaborated with
Nicholas Angelich, Jonathan Biss, Renaud
Capuçon, Julia Fischer, Jonathan Gilad,
Viviane Hagner, Daniel Hope, Steven Isserlis,
Robert Kulek, Olli Mustonen, Anne-Sophie
Mutter, Sir André Previn, Christian Tetzlaff,
Jean-Yves Thibaudet and Lars Vogt, as well
as the Ebne, Fauré and Vogler quartets. He
has also appeared and recorded extensively
with Canadian pianist, Angela Hewitt.
Antonín Dvořák
b. Nelahozeves, Bohemia / September 8, 1841
d. Prague, Bohemia / May 1, 1904
Three Slavonic Dances:
Op. 46, No. 8 and No. 3; Op. 72, No. 7
Dvořák overcame a lengthy, unpromising
apprenticeship to become an internationally
respected and beloved composer. He lived
in a rustic backwater for decades, barely
making ends meet by performing everyday
musical tasks such as working as an organist,
choir master, and viola player in a folk band.
In 1874, at thirty-three, he applied for a grant
that the Austrian government made available
to young, impoverished composers. The
works he submitted deeply impressed the
panel of judges, headed by Johannes Brahms.
He went on to win the prize several times.
His initial win launched a close friendship
with Brahms, one result of which was
a strong recommendation to Brahms’s
Berlin publisher, Fritz Simrock. Simrock
commissioned Dvořák to compose a set of
Slavonic Dances, to be patterned on Brahms’s
popular Hungarian Dances. People throughout
Europe immediately fell in love with these
sprightly, and to their ears, exotic pieces.
allegro 49
Unlike the Brahms dances, they were based
on original themes in folk style, rather than
authentic native melodies. You will hear
No. 8, a lively furiant, and No. 3, a cheeky
polka. Dvořák composed a second set of
Slavonic Dances in 1886. In them, he cast his
net more widely, including dance forms from
outside his native Bohemia. From that set, you
will hear No. 7, a vivacious Serbian kolo.
Dmitry Shostakovich
b. St. Petersburg, Russia / September 25, 1906
d. Moscow, Russia / August 9, 1975
Cello Concerto No. 2 in G Major, Op. 126
During the gap of seven years that separated
the creation of Shostakovich’s two cello
concertos, a serious decline in his health
resulted in his music acquiring an increasing
spareness, both in emotion and texture. This
trend intensified even further throughout the
remaining decade of his life.
Both his cello concertos were written for,
dedicated to, and premiered by a close
friend: the eminent Russian soloist, Mstislav
Rostropovich. Shostakovich composed No.
2 from March to April, 1966. The premiere
took place in Moscow on September 25 of
that year, at a concert celebrating his sixtieth
birthday. Yevgeny Svetlanov conducted the
USSR State Symphony Orchestra.
Concerto No. 1 is a vibrant, often humorous
virtuoso display piece. No. 2 is subdued
in nature, and it gives the orchestra a
role virtually equal in importance to the
solo instrument. Never as popular as its
predecessor, it awaits discovery as the
fascinating creation it is.
Perhaps it reminded him of the innocent days
of his youth, although here, filtered through
the prism of experience, it takes on a bitter
character.
Horn fanfares usher in the finale, which
follows on without a pause. The most
enigmatic and daring section of the concerto,
it intermingles many disparate elements: a
solo cadenza accompanied by a tambourine;
dialogues between the soloist and several
orchestral principals; passages of manic
violence, and others that unsuccessfully
pursue repose.
Antonín Dvořák
b. Nelahozeves, Bohemia / September 8, 1841
d. Prague, Bohemia / May 1, 1904
Symphony No. 8 in G Major, Op. 88
Dvořák overcame a lengthy, unpromising
apprenticeship to become an internationally
respected and beloved composer. He lived
in a rustic backwater for decades, barely
making ends meet by performing everyday
musical tasks such as working as an organist,
choir master, and viola player in a folk band.
In 1874, at thirty-three, he applied for a
grant that the Austrian government made
available to young, impoverished composers.
The works he submitted deeply impressed
the panel of judges, headed by Johannes
Brahms. He went on to win the prize several
times, thus lightening his financial burden
and sustaining his dream of a career as a
composer.
His initial win launched a close friendship
with Brahms, one result of which was
a strong recommendation to the senior
It opens in an atmosphere of deep meditation, composer’s Berlin publisher, Fritz Simrock.
Simrock published the Moravian Duets
a mood which even the usually consoling
participation of a harp can do little to soothe. that had helped win Dvořák the prize the
first time. He then commissioned a set of
The entrance of the xylophone announces
Slavonic Dances. People throughout Europe
an animated central panel that provides only
immediately fell in love with those eight
brief relief from the dark atmosphere.
sprightly, and to their ears, exotic pieces.
The main theme of the scherzo-like second
What won Dvořák his place of honour in
movement is a sweet Ukrainian street song:
musical history was his unsurpassed ability
Pretzels, Buy My Pretzels. At a New Year’s
to subject his folk-flavoured inventions to the
party earlier that year, Shostakovich had
discipline of classical composition. His finest
put it forward as one of his favourite tunes.
50 allegro
creations offer a virtually irresistible blend of
art and craft, of emotion and intellect. They
also surmount any considerations of national
origin. They are works of art that speak
directly to the hearts of listeners everywhere.
He composed the eighth of his nine
symphonies during the summer and autumn
of 1889, in the idyllic surroundings of his
country estate at Vysoká. Its contented,
pastoral nature mirrors that location. He
conducted the premiere himself, in Prague on
February 2, 1890. Over the next few months,
he directed further performances as gestures
of thanks to the Universities of Cambridge
and Prague for the degrees they bestowed
upon him. Those occasions bore a tinge of
irony, since the Eighth is the least “academic”
of his symphonies. The innovative approach
to form that is one of its major characteristics
reflects his stated desire to make it “different
from the other symphonies, with individual
thoughts worked out in a new way.”
It begins with a rather melancholy
introduction, but this mood is quickly swept
away by a genial, birdlike theme on the flute.
The first movement proper then opens at
a gallop. Aside from a moment of anxiety
towards the end, all here is bright and
happy. The rustic atmosphere (and bird calls)
continue in the slow second movement.
Author Alec Robertson writes that “it could
stand as a miniature tone poem of Czech
village life described by a highly sensitive
man.”
Rather than violate the tranquil mood with
a boisterous scherzo, Dvořák presents a
graceful, nostalgic dance piece, truly one
of his loveliest creations. Trumpets herald
the finale. Like the matching portion of
Beethoven’s Eroica, it is one of the few
symphonic finales in the form of a theme
and variations. The warm-hearted theme is
introduced by the cellos. The initial variations
build to a joyous climax, followed by a tranquil
passage and a final injection of energy to
bring the symphony home. ■
allegro 51
friends of the vancouver symphony
The VSO is extremely grateful for the support it receives from Friends of the Vancouver
Symphony. And, thanks to the generous matching gift from Maria Logan this past season,
we received numerous new gifts and are pleased to welcome many new friends to the
symphony family.
Due to space limitations, donations of $100 and more are listed, but every gift is sincerely appreciated.
Thank you to all of our donors for playing your part in the VSO’s ongoing success.
BRAVO: $1,000 – $1,499
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In Memory of a good friend
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Christopher Midmore
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For more information about the friends of the vancouver symphony
and the benefits associated with this program please contact Ann Byczko
at 604.684.9100 extension 237 or email [email protected]
52 allegro
Harold & Simone Knutson
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Anonymous (32)
OVERTURE: $100 – $299
Mr. Frank Abbott
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In Loving Memory of our Dear
Aunt Mrs. Shirley Bradner
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continued . . .
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omissions please accept our apologies and contact the Development Department at 604.684.9100
extension 234 so that we can make the necessary corrections to recognize your generosity. Thank you.
allegro 53
friends of the vancouver symphony continued . . .
Ms. Annette Gardiner
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of Eleanor Malkin
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54 allegro
Michiko Higgins-Kato
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1936-2011
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Keray & Cathleen Murphy
Eileen & Bob Murray
Mr. David & Mrs. Marlaine Nairn
L. Nakashima
Rayleen Nash
Roberto Neagu
Philip Neame & Eva Lister
Dianne Nichols
Mr. Malcolm Nicholson
Jon & Liz Nightingale
Mrs. Diane Noble
V. Noble
Mr. Volmar & Ms. Sally Nordman
Lynne Northfield
Ms. Agnes Notte
Cornelia Oberlander
Mrs. Beverley Oldham
Mr. & Mrs. Kevin O’Malley
Cindy & Gary Onstad
Neil & Donna Ornstein
Mrs. Aster Osen
Ms. Raya Ostrogolow
Ron & Betty Otke
Mrs. Thérèse Ozanic
Sunny & Nini Pal
Dr. Chris Palmer
Jim & Diane Palmer
Nancy & Elliott Pap
Ms. Wendy Parfitt
Walter S. Parker
Ms. Teddie Pasut
Dr. Hawa Patel
Mr. Douglas D. Paterson
Mr. John & Mrs. Betty Paterson
Nancy & George Patrick
Randie Patterson
Frank & Wendy Patton
Robert & Kay Pedersen
Susan P. Pedersen
Mr. James Penty
Ms. Sheila Pepper
B. Perowne
Tremayne Perry
Mr. Jaime Peschiera
Mrs. Elaine Peterson
Ross & Beryl Petty
Ms. Patricia Phillips
Patricia R. Phillips
Marjorie Picard
Mr. George Pick
In Memory of May Pimlott
Conrad & Dorli Pinette
Ms. Sybil Plommer
Tony & Margaret Plomp
Mr. & Mrs. Podut
Myrna & Art Poisson
Jennifer Polci
Marion Poliakoff
Mrs. Judy Poliquin
Dr. Anne Pomeroy Autor
Marilyn & Jack Pomfret
Mr. Gordon Porteous
Bill Potma
Deborah Pound
Nancy Pow
Jay Powell & Vickie Jensen
Mrs. Susan Preast
Rose Marie Preston
Tim & Pat Quan
Arthur & Wendy Quan
M. A. Quinlan
Karl & Eveline Raab
Mrs. Doreen Rainer
Laasha Randyne
Mrs. A. Rashed
Margaret Ray
Eleanor Reemeyer
Ruth Reid
Reliant Arms Flooring
Mrs. Louise Rempel
Mr. Charles Reynolds
Connie Ricci
Mr. Paul Richards
Bob & Helen Richards
Sharon Riches
Evelyn M. Riley
W. G. Risk
Edie Rittinger
Dr. & Mrs. W.A. Rivers
Mrs. Cc Roa
Tim Roark & Pat Wolczuk*
Mrs. Mary Roberts
Mr. Frank A. Robertson
S.M. Robertson
Bill & Dorothy Robertson
Mr. & Mrs. Howard M. Robinson
John Roeder
Carolyn J. Rogers
Patricia K. Rogers
Ms. Marie Rorman
Mr. John Donald Rose
Marilyn & John Ross
Susan Ross
Dr. & Mrs. Brien Roy
Mrs. Michelyne Roy
Steven Rudy
Hans Ruger
Mr. R. Bruce Russell
Ms. Winona Russell
J.M. Ryder
In Memory of Ellen Sacre
Lindsay Salt
Helen Samuel
Ms. Annie Santini
L.S. Sawatsky
Ms. Brenda Sawyer
Miss Marguerite Sawyer
Miss Agnes Schapansky
Semi Weightlifting Club
Dianne & Nick Sharfe
Rita Schick
Mr. Rolf & Mrs. Ilse Schiller
Mr. David Schreck
John & Marlene Schreiner
Shirley Sexsmith
Anne & David Seymour
Ms. Shirley M. Sharf
Ann & Robert Shinkle
H.L. Shore
Mr. & Mrs. James W. Shrimpton
Karen Shuster
Rebecca Siah
Barbara & Roman Siedlaczek
Dr. & Mrs. Cecil Sigal
Michael Sims
Alastair & Sylvia Sinclair
Betty Sing*
Ms. Marie Singh
Grace Skinner
Ms. Holly Slaney
Bob & Doris Smit
Carol Smith
Ms. Carol Smith
Douglas Gwynn Smith
Erwen & Patricia Smith
Stanis & Joanne Smith
Dr. Jack Sniderman
Ms. Rebecca Soberon-Blake
Ms. Eva Solt
John & Constance Southcott
Mariluz Souto
Chris Spencer
Ms. Georgina Spies
Pam Spouge
Paul Stagg
Ms. Mary Stark
Ruth & Nick Stebbing
Peter M. Steele*
Kim Sterling-Klor
T. W. Stevens
Peter & Pat Stigings
Penni Stock
Ms. Andrea Stolte
M. Stone*
Elizabeth Stout
Mr. James W. Stout
Beverley Straight
Bill & Margo Strain & the Staff
at Villa Electric In Memory
of Shirley Bradner
Ms. Hilary Strauss
Ms. Rhoda Stromberg
Irene & Irv Strong
Mr. Stephen Stuckey
D. & L. Sturgess
Ms. Elena Surcheva
Ms. Elizabeth Surowiec
Wendy K. Sutton
Elke Swantje
Paul Swartz
Mr. & Mrs. C. Roy Sworder
Mrs. Xenia M. Syz
S.A. Szabo
Mrs. Alison Taylor
Ms. Anne Taylor
Ian & Claudette Taylor
In Memory of Christopher
E. Taylor & Janice Critchley
Robert & Ida Taylor
Norman & Margaret Taylor
Tom & Margaret Taylor
Mr. Howard &
Mrs. Barbara Teasley
Paddy Tennant
Mollie Thackeray
Mr. & Mrs. Peter Thaler
Edith L. Thomas
Ms. Jean K. Thompson
Ms. Judy Thomsen
Anona Thorne
Ms. Deirdre Thornton
Marilyn Thorsteinsson
Dr. & Mrs. David Tobias
Ms. Lorraine Toljanich
Ms. Clara Tong
Ms. Jennifer R. Toone &
Mr. Derek A. Applegarth
Mrs. Cate Tootill
P. Tracy
Trinity & Felicity Tran
Mr. Rémi Tremblay
Karen A. Truscott
Tseng Family
Cyril & Patsy Tsou
Mr. & Mrs. Paul J. Tutsch
Angeles Uda
Mr. Takaya Ueda
Beverley Unsworth
Jill & Hans van der Slagt
John & Angela Van Luven
Bernard Van Snellenberg
Mr. Gabor Vasarhelyi
Mariana Ve’csey
Mr. Lyle Viereck
Mr. Mark Virgin
G. Vonder Muhll
Jill Wade
Robin Waine
C.E. Walker
Miss Elizabeth B. Walker
G.W. Walker
Ms. Lois I. Walker
William M. Walker
Jasper & Jennifer Wall
Mary Wallace Poole
Robert Walters
Mrs. May Mei Fang Wang
Ann Warrender
Vivien & Nigel Watkinson
Helen Watson
In Memory of James &
Margaret Watson
Robert & Alison Watt
Trevor & Mary Alice Watts
Mr. & Mrs. R. J. Webster
Marvin & Rita Weintraub
J. Wells
Ms. Anne Westerhof
Monica J. Wheatley
Gerald B. Whittall
Mrs. Norma Wieland
Mr. & Mrs. Erwin O. Wieler
Mr. Jakub &
Mrs. Apolonia Wilczynski
Gordon Wilkinson
Mrs. M.E. Williams
Dr. Marilyn D. Willman
Professor R.J.A. Wilson
Ms. Loma Wing
Ms. Cynthia Wishart
In Memory of Shirley
Annette Woodward
Mr. Thomas W. Wood
Carol Woodworth
Olga & Leon Woolf
Mrs. Margaret Wright
Bock & Kay Yip
Elizabeth Yip
Ms. Anna Yoo
E.M. York
Nancy J. Yurkovich
Mr. & Mrs. Henryk Zawadzki
Mr. & Mrs. E. Zeidler
Mrs. Erna Zinn
Anonymous* (2)
Anonymous (278)
*Generous Friends donors who
have further demonstrated their
support by making an additional
gift to the VSO’s Support the
Power of Music endowment
campaign.
For more information about the friends of the vancouver symphony
and the benefits associated with this program please contact Ann Byczko
at 604.684.9100 extension 237 or email [email protected]
allegro 55
LANG LANG
JEAN-MARIE ZEITOUNI
CONCERT PROGRAM
friday, november 4
◆ Lang Lang piano
Presenting Sponsor of Lang Lang at the Vancouver Symphony
Lang Lang plays Beethoven
BEETHOVEN Fidelio: Op. 72, Overture
BEETHOVEN Symphony No. 4 in B-flat Major, Op. 60
I.
II.
III.
IV.
Adagio – Allegro vivace
Adagio
Allegro vivace
Allegro ma non troppo
INTERMISSION
◆ BEETHOVEN Piano Concerto No. 5 in E-flat Major, Op. 73, Emperor
I.
II.
III.
Allegro
Adagio un poco mosso
Rondo: Allegro VISIT THE SYMPHONY GIFT SHOP FOR CD SELECTIONS
56 allegro
Jean-Marie Zeitouni, recently named music
director of the Columbus Symphony, has
emerged as one of Canada’s brightest
young conductors whose eloquent yet fiery
style in repertoire ranging from Baroque to
contemporary music results in regular reengagements across North America.
His association with Les Violons du Roy
goes back ten years, first as Conductor-inResidence, then as Associate Conductor, and
since 2008 as Principal Guest Conductor.
Over the years, he has led the ensemble in
more than 200 performances in the province
of Québec, across Canada and in Mexico.
In 2006, he recorded his first CD with Les
Violons du Roy entitled Piazzolla which
received a JUNO® Award for Classical Album
Of The Year in the category Solo or Chamber
Ensemble in 2007.
Jean-Marie Zeitouni graduated from the
Montreal Conservatory in conducting,
percussion and theory. He studied with
Maestro Raffi Armenian.
Lang Lang piano
Heralded as the “hottest artist on the classical
music planet” by the New York Times, the
star, twenty-eight year-old Lang Lang has
played sold out recitals and concerts in
every major city in the world and is the first
Chinese pianist to be engaged by the Vienna
Philharmonic, Berlin Philharmonic and all the
top American orchestras.
His biography, Journey of a Thousand Miles,
published by Random House in eleven
languages, was released to critical acclaim.
As part of his commitment to the education
of children, he released a version of his
autobiography specifically for younger
readers, entitled Playing with Flying Keys.
Lang Lang’s break into stardom came at
age seventeen, when he was called upon for
a dramatic last-minute substitution at the
“Gala of the Century,” playing a Tchaikovsky
concerto with the Chicago Symphony.
Following this gigantic debut, he performed
58 allegro
successful concerts around the world. The
Times in London remarked: “Lang Lang took
a sold-out Albert Hall by storm... This could
well be history in the making.”
In February 2010, Lang Lang joined Sony
Music Entertainment as an exclusive
recording artist; his first album with Sony
features a live recording of his 2010 recital at
Vienna’s legendary Musikverein.
Ludwig van Beethoven
b. Bonn, Germany / baptized December 17, 1770
d. Vienna, Austria / March 26, 1827
Fidelio, Op. 72, Overture
“Of all my children, this is the one that
caused me the worst birth pangs, the one
that brought me the most sorrow, and for
that reason, it is the one most dear to me.”
So wrote Beethoven of his only opera, Fidelio,
originally titled Leonore. Its creation and
revisions spanned an entire, difficult decade.
He ended up composing no less than four
overtures to introduce it. For various reasons
the first three proved unsuitable, although
the Leonore Overtures 2 and 3 have become
popular concert fare. He created the fourth prelude, the one to be
heard at this concert, in 1814 for the début
of the opera’s final version. Known as the
Fidelio Overture, it has been used to introduce
virtually every production of the opera since
that time. This concise, compelling work
provides an aptly stirring introduction to this
noble tale of devotion and heroism. Possibly
based on actual events from the “Reign of
Terror” that followed the French Revolution,
Fidelio’s libretto is a “rescue” story, a genre
popular throughout Europe during this period.
Leonore disguises herself as a boy, Fidelio,
and frees her unjustly imprisoned husband. Symphony No. 4 in B-flat Major, Op. 60
Beethoven completed Symphony No. 3, the
mighty “Eroica,” in 1803. He began his next
symphonic project shortly thereafter, but an
overcrowded work schedule and uncertainty
regarding the new piece’s structure caused
him to set it aside. In 1808, it would become
Symphony No. 5. He then successfully
brought Symphony No. 4 to term. He did most
of the work on it in 1806, another busy year
which witnessed the creation of the Violin
Concerto, Piano Concerto No. 4 and the three
“Razumovsky” string quartets, Op. 59, as
well as the first, unsuccessful revision of his
opera, Fidelio. all that has preceded it for sheer excitement
and high spirits.
Piano Concerto No. 5 in E-flat Major,
Op. 73, Emperor Beethoven composed this monumental
concerto between 1808 and 1809, against
the backdrop of French dictator Napoleon
Bonaparte’s rise to the zenith of his power.
That autumn he visited his patron Prince
Beethoven had once admired the “Little
Lichnowsky at his summer estate near
Corporal” for his early devotion to the
Troppau. There he met another great music
lover, the Prince’s neighbour, Count Franz von humanitarian ideals of the French Revolution.
Oppersdorf. An ardent admirer of Beethoven’s, Once Bonaparte crowned himself Emperor
of France in 1804, however, Beethoven’s
the Count invited him and the Prince to his
attitude changed instantly to scorn. He struck
castle. He had his private orchestra perform
Napoleon’s name from the title page of his
Beethoven’s Symphony No. 2 during their
Third Symphony, a work he had planned to
stay, then commissioned a new symphony
dedicate to him. from him. The fee of 500 florins gave him
six months’ exclusive rights to it. Symphony
In May 1809, French troops besieged and
No. 4 is dedicated to him; he would later
captured Vienna. During the period when
commission No. 5, as well. It is probable
Beethoven was at work on this concerto, their
but not proven that the Count’s orchestra
regular artillery bombardments were chipping
gave the Fourth its première. The first fully
away at the last shreds of his hearing. He
documented reading was a private one that
fled to the basement of his brother’s house
took place in Vienna in March 1807.
and covered his head with pillows. Part of his
A prominent element in Beethoven’s sense
of humour was a love of creating false
expectations. This led him to begin this
symphony, in essence a light-hearted work,
with an introduction forecasting the exact
opposite. Gloomy and questioning, it appears
to be prefacing a dark, dramatic composition.
This makes the arrival of the main allegro,
which disperses these clouds with music
of joyous abandon, all the more effective.
Throughout the movement, Beethoven
regularly offers the musical equivalent of
pokes in the ribs, through displaced accents
and sudden shifts in dynamics.
thinking in making this concerto so heroic in
nature may have been to thumb his nose at
Bonaparte, to take a musical stand against
the tyranny that the dictator represented. “Its magic remains
undimmed, no matter how
many times you hear it.”
The opening movement is bold and sweeping,
a confident statement of power and
celebration. In its own, serene and lyrical
way, the slow second movement is every
bit as assured as the first. A simple bridge
The slow movement glows with warmth.
passage connects it to the third movement.
Beethoven keeps it moving by underpinning it Its magic remains undimmed, no matter how
with a gentle but steady rhythmic pulse. The
many times you hear it. The piano quietly
ensuing menuetto is in fact a rough-hewn
anticipates the theme of the rondo finale,
rustic scherzo, its title a typical Beethoven jibe before that exuberant, dancing melody bursts
aimed at tradition. The rambunctious opening in with full vigour. ■
and the languid central trio sections coming
round and round in playful succession, a
practice he would repeat in Symphonies 7
and 9. The finale, an exhilarating exercise in
forward-pressing perpetual motion, surpasses
allegro 59
vancouver symphony partners
The Vancouver Symphony gratefully acknowledges the generosity of the following
Corporations, Foundations, and Government Agencies that have made a financial contribution
through sponsorship and/or a charitable donation for the 2011/2012 season.
SERIES SPONSORS
CONCERT AND SPECIAL EVENT SPONSORS
&$1521
:(67(51&216758&7256/7'
IMPORTANT:
For Usage below 1-1/2” wide
KINGSWOOD CAPITAL CORPORATION
KINGSWOOD CAPITAL CORPORATION
Platinum Baton Club Sponsors of the Vancouver Symphony Orchestra
60 allegro
EDUCATIONAL PROGRAM SPONSORS AND PARTNERS
JEMINI
FOUNDATION
PREMIER EDUCATION PARTNER
MEDIA PARTNERS
$150,000+
TELUS
Vancouver Sun
$50,000+
City of Burnaby Parks,
Recreation and Cultural
Services
Goldcorp Inc.
Jemini Foundation
$30,000+
BMO Harris Private Banking
Borden Ladner Gervais LLP
CIBC
Holland America Line Inc.
HSBC Bank Canada
Industrial Alliance Pacific
London Drugs
Pacific Arbour Retirement
Communities
PricewaterhouseCoopers LLP
$20,000+
Blake, Cassels & Graydon LLP
The Chan Endowment
Fund of UBC
Chan Foundation
Concord Pacific Group Inc.
Deloitte & Touche LLP
Ernst & Young LLP
OriginO
RBC Foundation
Spectra Energy
TD Canada Trust
Wesbild Holdings Ltd.
YVR - Vancouver Airport
Authority
$10,000+
Atiga Investments Inc.
BA Blacktop Ltd.
Canadian Western Bank
Canron Western
Constructors Ltd.
Corus Entertainment
Craftsman Collision Ltd.
Deans Knight Capital
Management Ltd.
Keir Surgical
Kingswood Capital Corporation
KPMG
Odlum Brown Limited
Park Royal Shopping Centre
Peter Kiewit Sons Co.
Polygon Homes Ltd.
Raymond James Ltd.
Stikeman Elliott LLP
Tiffany & Co.
Tom Lee Music
University Canada West
Vincor International Inc.
$5,000+
$2,500+
Allied Holdings Ltd.
Anthem Properties Group Ltd.
Commonwealth Insurance
Company
Genus Capital Management
Grosvenor
Harris Rebar
Hatch Mott MacDonald
Lazy Gourmet Inc.
LMS Reinforcing Steel Group
McCarthy Tétrault Foundation
Marin Investments Limited
Michael O’Brian
Family Foundation
MMM Group Limited
Dr. Tom Moonen Inc.
PCL Constructors Westcoast Inc.
The Portables
PresiNET Systems Corp.
SOCAN Foundation
Terus Construction Ltd.
The Titanstar Group
of Companies
The James and Kathleen Winton
Foundation
Concord National Inc.
Gateway Casinos
LU Biscuits
Larkspur Foundation
Norburn Lighting & Bath Centre
$1,000+
ABC Recycling Ltd.
Bing Thom Architects Foundation
Charton Hobbs Inc.
Encore Software Inc.
The Hamber Foundation
HUB International
Insurance Brokers
Lantic Inc.
Anonymous (1)
For more information about vso
corporate partners programs please contact:
Jennifer Polci at 604.684.9100 extension 239 or email [email protected]
allegro 61
at the concert
CONCERT COURTESIES
For your enjoyment, and the enjoyment of
others, please remember concert etiquette.
Talking, coughing, leaning over the balcony
railings, unwrapping cellophane-wrapped
candies, and the wearing of strong perfume
may disturb the performers as well as other
audience members.
LATECOMERS
Ushers will escort latecomers into the
auditorium at a suitable break in the
performance chosen by the conductor.
Patrons who leave the auditorium during the
performance will not be re-admitted until a
suitable break in the performance.
HEARING-ASSIST SYSTEMS
Hearing-impaired patrons may borrow
complimentary Sennheiser Infrared Hearing
System headsets, available at the coat-check
in the Orpheum Theatre only, after leaving
a driver’s licence or credit card.
CELL PHONES, PAGERS, DIGITAL WATCHES
Please turn off cell phones and ensure
that digital watches do not sound during
performances. Doctors and other professionals
expecting calls are asked to please leave
personal pagers, telephones and seat locations
at the coat-check.
CAMERAS, RECORDING EQUIPMENT
Cameras and audio/video recording
equipment of any kind are strictly prohibited
in all venues and must be left at the coat-check
in the main lobby. Under no circumstances
may photographs, video recordings or audio
recordings be taken during a performance.
SMOKING
All venues are non-smoking.
PROGRAM, GUEST ARTISTS AND/OR
PROGRAM ORDER ARE SUBJECT TO CHANGE.
vancouver symphony administration 604.684.9100
Jeff Alexander, President & Chief Executive Officer
Finance & Administration:
Mary-Ann Moir, Vice-President, Finance &
Administration
Debra Marcus, Director of Information Technology
& Human Resources
Ann Surachatchaikul, Accountant
Ray Wang, Payroll Clerk & IT Assistant
Marketing, Sales & Customer Service:
Alan Gove, Vice-President, Marketing & Sales
Shirley Bidewell, Manager of Gift Shop & Volunteers
Estelle and Michael Jacobson Chair
Stephanie Fung, Marketing Projects Manager
Anna Gove, Editor & Publisher, Allegro Magazine
Katherine Houang, Group Sales & Special Ticket Services
Kenneth Livingstone, Database Manager
Cameron Rowe, Director of Audience & Ticket Services
Jaime Moore Hirsbrunner, Marketing Assistant &
Assistant to the President and CEO
Customer Service Representatives:
Jason Ho
Thalia McWatt
Shawn Lau Karl Ventura
The Stage Crew of the Orpheum Theatre are members of Local
118 of the International Alliance of Theatrical Stage Employees.
62 allegro
Development:
Leanne Davis, Vice-President, Chief Development Officer
Ryan Butt, Development Officer, Corporate & Donor Relations
Ann Byczko, Development Officer, Annual Giving
Sandy Ewart, Development Assistant
Jennifer Polci, Director, Corporate & Major Gifts
William Wong, Development Coordinator
Artistic Operations:
Joanne Harada, Vice-President, Artistic Operations
& Education
DeAnne Eisch, Orchestra Personnel Manager
Aaron Hawn, Digital Projects Coordinator
& Library Assistant
Susan Hudson, Education Manager
Ken & Patricia Shields Chair
David Humphrey, Operations Manager
Karen Jeffery, Artistic Operations Assistant
& Assistant to Maestro Tovey
Minella F. Lacson, Librarian
Ron & Ardelle Cliff Chair
Pearl Schachter, Artistic Operations & Education Assistant
The Vancouver Symphony Orchestra is a proud member of
vancouver symphony society board of directors
Executive Committee
Arthur H. Willms, Chair
Charles Filewych
Michael Webb
Alan Pyatt, Vice Chair
Michael L. Fish
Fred Withers
Co-Chief Executive Officer
Corinex Communications Corp.
President (Ret.), Westcoast Energy
President, Keir Surgical
Chairman, President and CEO (Ret.)
Sandwell International Inc.
Chief Development Officer
Ernst & Young
Lindsay Hall
Executive Vice-President and CFO
Goldcorp, Inc.
Colin Erb, Treasurer
Partner, Deloitte & Touche LLP
Diane Hodgins
Dave Cunningham, Secretary
Director, Century Group Lands Corporation
VP Government Relations, TELUS
Ilich
Patricia Shields, Member-at-Large Olga
President, Suncor Development Corporation
Education Consultant
Gordon R. Johnson
Larry Berg
President & CEO
Vancouver International Airport Authority
SVP, Human Resources
HSBC Bank Canada
Partner, Borden Ladner Gervais
Michael E. Riley, CA
Joan Chambers
Corporate Director
Dr. Peter Chung
Executive Vice President
TitanStar Group of Companies
Musician Representatives
Christie Reside, Principal Flute
Aaron McDonald,
Principal Timpani
Honourary Life Vice-Presidents
Ronald Laird Cliff, C.M.
Nezhat Khosrowshahi
Gerald A.B. McGavin, C.M., O.B.C.
Ronald N. Stern
Denise Turner
Partner, Blakes
Executive Chairman, Eminata Group
vancouver symphony foundation board of trustees
Ronald Laird Cliff, C.M., Chair
Marnie Carter
John Icke
Judi Korbin
Hein Poulus, Q.C.
Robert T. Stewart
Arthur H. Willms
Tim Wyman
vso school of music society
Board of Directors
Gordon R. Johnson, Chair
Hein Poulus, Q.C.
Gerry Sayers
Patricia Shields
George Taylor
Administration
Jeff Alexander
Edwin Kwong
Shaun Taylor
Louise Ironside
President & CEO
Executive Director
Business Manager &
Office Administrator
Lindy Gray
Front Desk Administrator
Registrar & Communications
Coordinator
vancouver symphony volunteer council 2011/2012
Chair . . . . . . . . . . . . . . .
Vice-Chair/Treasurer . . . .
Secretary . . . . . . . . . . . .
Immediate Past Chair . . .
Anne Janmohamed
Sheila Foley
Nancy Wu
Estelle Jacobson
Scheduling
Concerts (all venues) . . .
Gift Shop . . . . . . . . . . . .
Lotteries in Malls . . . . . .
Reception Shifts . . . . . . .
Tea & Trumpets . . . . . . . .
Special Events
Symphony of Style 2011 . . . . Nancy Wu
Anne Janmohamed
Holland America
Luncheon 2011 . . . . . . . . . . Sheila Foley
Manager, Gift Shop
and Volunteer Resources
Shirley Bidewell
Tel 604.684.9100 ext 240
[email protected]
Shirley Bidewell
Barbara Morris
Helen Dubas
Gloria Davies
Gloria Davies
Shirley Featherstone
Marlene Strain
Education & Community
Musical Encounters . . . . . . . Isabella Morrow
Hospitality . . . . . . . . . . . . . . . Maria Estrope
Scholarship . . . . . . . . . . . . . . Pat Hoebig
Assistant
Gift Shop Manager
Michelle Beldi
Membership
Volunteer Hours . . . . . . . . . . Angelina Bao
allegro 63
ADVERTISE HERE
for the HOLIDAYS
Don’t miss the Allegro Holiday Issue, out
on November 13th. Spanning the Holiday
Season, it’s always the most popular
advertising issue of the year!
advertise your restaurant to host parties and romantic
dinner dates
advertise your spa for that luxury gift card
advertise your salon so people can look their best for
all those holiday parties
advertise your travel agency to people who want to
escape the season altogether
advertise engagement rings and jewelry for those
extra-special holiday gifts
advertise your hotel for a romatic getaway in the city
advertise anything and everything!
The Holiday issue of Allegro sells out year
after year—so don’t wait, reserve your
space now!
Contact Anna for details:
[email protected]

conductor - Vancouver Symphony Orchestra

Transcription

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