THE CONCORDIA SYMPHONY ORCHESTRA PRESENTS
Tchaikovsky Variations on a Rococo Theme Beethoven Symphony No. 3, “Eroica”
Robert Tegler Student Centre Saturday, April 16, 2022 at 7pm
Please silence your cell phones, alarms and other audible electronic devices before the concert begins. Turn your screen brightness down if you plan to use your phone in a dark setting.
ProGraM Symphony No. 3 in E-Flat Major, Op. 55, “Eroica”
Ludwig van Beethoven
I. Allegro con brio II. Marcia funebre: Adagio assai III. Scherzo: Allegro vivace IV. Finale: Allegro molto
INTERMISSION
Variations on a Rococo Theme in A Major, Op. 33
Ryan Hoffman, cello
Pyotr Ilyich Tchaikovsky
ProGraM NoTeS
by Jennifer Gregory
Symphony No. 3, Op. 55, “Eroica” The Eroica Symphony was written in 1803, during a time when Beethoven was struggling with hearing loss and disappointment following the French Revolution in 1798. The work gave Beethoven a purpose and a vision of hope for the future. He thought he had found the heroic figure he desperately wanted to bring a more egalitarian society and aspired to create the symphonic equivalent to a Homeric epic paying tribute to Napoleon Bonaparte. In 1804, when Bonaparte declared himself Emperor, Beethoven realized that he was not a hero and in a rage Beethoven ripped up the symphony title page and flung on the floor. When the symphony was published in 1806, the title page read “Heroic symphony in celebration of the memory of a great man”. Despite the background of the Eroica Symphony, it is still a masterpiece which brought new advancements to the symphonic format. Beethoven innovations included new thematic material in the development section of the first movement, using a funeral march for the second movement, replacing the typical third movement Minuet for a Scherzo, and opting for a theme and variations format for the final movement. The symphony is programmatic throughout. The first movement has the cellos introduce a deep, rich heroic theme which is picked up later by the horns to end the movement. There are fragmented lyrical moments contrasted with dissonances suggesting the violence of war. The second movement reflects on the cost of war, heard especially in the double basses simulating the drums of a funeral march procession, and the hushed melodic material to heighten intense grief through a dissonant fugue format. The third movement evokes soldierly comradery through passing the melodic material around from instrument to instrument until it is expressed by the whole orchestra. The fourth movement has a more uplifting mood perhaps reflecting society at peace. While it returns to the hymn to remember the costs of war, it switches back to glory for a triumphant finish.
Variations on a Rococo Theme in A Major, Op. 33 Variations on a Rococo Theme was premiered in 1877 in Tchaikovsky’s absence by cellist Wilhelm Fitzenhagen who was a colleague and fellow composer. Fitzenhagen was given Tchaikovsky’s manuscript to play from and it seems that he couldn’t resist putting his own
ProGraM NoTeS (Continued) mark on the piece. Fitzenhagen’ changes included rearranging variation order, removing one variation completely, adding repeats, changing phrasing and augmenting flourishes to show off the soloist's virtuosity. It was only when Tchaikovsky wanted to publish the piece, did he see the original manuscript marked up with all the changes. Tchaikovsky was angered, but reluctantly allowed the piece to be published with Fitzenhagen’s changes, which is the preferred version despite efforts to revive the original version. The piece is a staple in the solo cello repertoire. Despite Fitzenhagen’s changes, the piece still captures Tchaikovsky’s signature romantic lyrical style including choice of timber. The piece is based on a rococo-inspired theme and pays homage to Mozart, whom Tchaikovsky greatly admired. The work opens with a brief introduction in the orchestra, followed by a meditative horn call, followed by the soloist introducing the theme in a simple and rustic manner. The first variation states the theme quietly and calmly in triplet rhythm, which leads to a more spirited second variation shared by soloist and orchestra ending in a cadenza. The third variation brings a key and mood change, opening up a dialogue with the soloist and the winds. The fourth variation marked Andante Grazioso flows into the fifth variation where the flute holds the theme and the cello breaks free to add a more decorative layer, including two lengthy cadenzas. The sixth variation changes back to a more relaxed mood featuring the winds’ response to the soloist’s contemplative material. The seventh variation is a race to finish the piece with technical brilliance.
This Evening's Performers
VIOLIN I
Frank Ho Allan Nelson Daniel Graf Eliska Wall Arwen Bylsma
VIOLIN II
Marie Krejcar Saara Belliveau Amy Kao
VIOLA
Darrell Soetaert Alan Dunn
CELLO
John Fedor Sharon Toronchuk Frances Elgaard Katarina Loutas Bhavisha Kotecha *
BASS
Benjamin Eldon Victor Sanchez Rodriguez Dante Wright* * Concordia University of Edmonton student
FLUTE
Jennifer Gregory Rock Larochelle
OBOE
Beth Levia Wilda Medisky
CLARINET
Amber Campbell Janice Robinson
BASSOON
Douglas Ridgway Lyndsey Cohen
FRENCH HORN
Martin Grasdal Ross McLean Anne Ridgway
TRUMPET
Anthony Woloszyn Nancy Stepney
PERCUSSION Joe Caruk
Danielle Lisboa, conductor/piano Brazilian-born Danielle Lisboa leads an active career as an orchestral conductor, music educator and scholar, regularly conducting community and professional ensembles. Lisboa holds a doctorate in orchestral conducting from the Eastman School of Music University of Rochester. On arriving in Canada in 2008, she became Orchestra Toronto’s first apprentice conductor, was named assistant conductor two months later and shortly after was appointed the orchestra’s music director and conductor. During her tenure, Lisboa became known for her cutting-edge programming and public engagement. Her vision and Tyler Baker Photography dynamic leadership took Orchestra Toronto into new paths for outreach and youth initiatives, including the Marta Hidy Concerto Competition and the popular annual children’s concerts. Two years later she led Bellus Barbari, the Toronto Women’s Symphony Orchestra, in its inaugural Ontario tour. Lisboa currently serves as Associate Professor of Music at Concordia University of Edmonton in the areas of conducting and music theory. Lisboa is former music director and co-founder of the Edmonton Metropolitan Orchestra and continues to maintain an active presence in the community with the Edmonton Philharmonic Orchestra in outreach concerts to local continuing care hospitals and schools. Her current research interests encompass topics of women and leadership on the orchestral podium and analysis and transcription of sacred rituals of native peoples of Brazil with recent partnerships and publications in Portugal and Brazil. Lisboa reinstated the Concordia Symphony Orchestra as a new ensemble in fall of 2017. She spearheaded Concordia’s first operatic project, developed a summer string camp for youth, and a provincial concerto competition. Most recently, she led the Orchestral Training and Leadership workshop to mentor young conductors and orchestral players into leadership roles.
Ryan Hoffman, cello Ryan Hoffman is a cellist with over 15 years of teaching experience, who recently moved to Edmonton from the United States. He has been teaching here since Fall of 2020, and has been active with Alberta String Association, Opus@12 Chamber Music Society, and Concordia Symphony. Ryan teaches Suzuki cello lessons and group classes at Society for Talent Education, and also teaches cello at Edmonton Academy of Music, The Turner Guitar Studio in Leduc, and privately in Prince Charles. Prior to moving, Ryan taught and performed in and around Virginia. He taught both Suzuki and traditional students at several schools, including Eastern Mennonite University and Bridgewater College. He performed in several orchestras, including Altoona Symphony, Fairfax Symphony, Huntington Symphony, and Waynesboro Symphony, and as a chamber musician with Two Rivers Chamber Music and Melodious Strings. Ryan's academic degrees include a Doctor of Musical Arts from James Madison University, a Master of Music from Penn State University, and a BA in Music from Susquehanna University.
CONCORDIA SYMPHONY
CONCERTO COMPETITION FOR CONCORDIA FELLOWS Saturday, April 30 Tegler Centre
Live performances 9:30AM - 11:00AM
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Thank you for coming!