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LoCSO has discontinued printed program books. In its place, we offer an easily accessed digital program with a QR code. -—— 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. 8 in G Major, Op. 88, B. 163
Antonín Dvořák
I. Allegro con brio II. Adagio III. Allegretto grazioso - Molto vivace IV. Allegro, ma non troppo
INTERMISSION Piano Concerto No. 2 in B-Flat Major, Op. 83 I. Allegro non troppo II. Allegro appassionato III. Andante IV. Allegretto grazioso Boris Konovalov, piano
Johannes Brahms
PROGRAM NOTES BY JENNIFER GREGORY
Dvořák: Symphony No. 8 Written in his summer residence in Bohemia, Dvořák was inspired to create this unique masterpiece which was first performed in Prague on February 2, 1890. When the symphony premiered in London a few months later, the composer recounted increasingly louder applause following each movement, and the British press declared Dvořák as the rightful successor to Beethoven. The symphony departs from his previous symphony, with a lively and cheerful mood taking inspiration from Czech and Slavonic folk music. Although the work is in a typical classical structure, Dvořák finds many ways to refresh the format to make it distinctively charming, whether it be through unexpected tempos, thematic treatment, or use of instrumentation. The first movement starts with a slow introduction and features multiple themes with contrasting moods including solemn cellos and a lively flute melody which develops from stormy to calm then to ending energetically. The next movement has some striking contrasts starting with tranquility with more conversational groupings within the orchestra working off the same melodic material. The third movement is a graceful waltz with Bohemian folk dance influences, ending in an energetic 2/4 coda. In the final movement, a trumpet fanfare opens the work which is in a theme and variation structure. The modulation changes in the middle section which adds intensity before returning to a slower lyrical section, finally ending in a spirited chromatic coda.
Brahms Piano Concerto No. 2 in B-flat major, Op. 83 With a 22-year gap from Brahms’ first piano concerto, this work was premiered in Budapest on November 9, 1881, to immediate success at the height of Brahms’ musical maturity. Despite Brahms downplaying the work (calling it a “tiny little concerto”), the work departs from typical concerto format with four movements with a typical performance time of 50 minutes. The concerto has many moments of musical interest. It opens with a simple 8-note horn solo with the piano charmingly answering this call and quickly moving to an unusually early cadenza before developing in a typical classical sonata format. This is followed by the second scherzo movement starting energetically, with contrasting gentle moments with a noble trio section nested within the structure. The third movement features an extended cello theme, which is passed throughout the orchestra while the piano offers and expands on contrasting musical material that becomes increasingly turbulent. In the final rondo movement explores 5 delightful lively musical themes.
THIS EVENING’S PERFORMERS VIOLIN I Frank Ho, Concertmaster Allan Nelson Arwen Bylsma Raymond Leung* Svitlana Remniakova Karin Bassani Rebekah Ney VIOLIN II Marie Krejcar Michelle Makila Song Gee Harold Steinbrenner Lydia Yu VIOLA Darrell Soetaert Anna Schultz Joe Depuis Alan Dunn
CELLO John Fedor Ryan Hoffman Katarina Loutas Sharon Toronchuk Julia Darby Oksana Fonya BASS Dante Wright* Murray Wood FLUTE Jennifer Gregory Rock Larochelle OBOE Stephanie Wong* Natalie Dies CLARINET Amber Campbell Cindy Richardson
BASSOON Douglas Ridgway FRENCH HORN Martin Grasdal Catherine Labbe Caralie Heinrichs Caitlin Coppell TRUMPET Nancy Stepney Heidi Schwonik TROMBONE Fenton Corey Linda Reinholdt Ken Burns TUBA David Salmon PERCUSSION Rigel Rendón
*CUE student Angelica Moreno Barbosa*, CSO marketing assistant Rock Larochelle, CSO Flute, Manager/Communications/Librarian
DANIELLE LISBOA, CONDUCTOR 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 and a Master’s degree in Orchestral Conducting from the University of Houston with an emphasis in Opera Conducting. For two years, she served as assistant conductor to Peter Jacoby at the Moores Opera House being credited with the music direction and conducting of distinguished operatic performances. She was granted numerous scholarships and awards throughout her career, including the Schissler Conducting Prize and award from the international conducting competition Fundação Oriente held in Portugal. Her academic studies began at Brazil’s largest university , Federal University of Rio de Janeiro, where she founded a chamber orchestra dedicated to promoting music of emerging Brazilian composers. 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 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 and Chair of the Fine Arts department. Lisboa is former music director of the Edmonton Metropolitan Orchestra and the Edmonton Philharmonic Orchestra. Her current research interests encompass topics of women and leadership on the orchestral podium and analysis and transcription of sacred ritual music 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. Recent speaking engagements include her participation at the International Conductors Guild Conference held in Valencia, Spain early in the year.
BORIS KONOVALOV, PIANO "Boris Konovalov is a wonderful, sensitive, and interesting musician, a pianist with something special to say."
Peter Feuchtwanger, Vice President of European Piano Teachers Association (U.K.)
One of the most prominent pianists of his generation, Dr. Boris Konovalov has received his education from Novosibirsk Glinka Conservatory,MD under Prof. S. Gindis, and then Moscow Tchaikovsky Conservatory, DMA under Prof. Vera Gornostaeva, who was a student of legendary H. Neuhaus--the teacher of Gilels and Richter. At the age 11 Boris won his first prize atthe All-Siberia piano competition. At the age 21 he won First prize at All-Russia piano competition in Kazan, 1977. Since then Dr. Konovalov had numerous tours across the globe, including Israel, Germany, England, Austria, USA, China, South Korea, Bulgaria, Mexico, Japan, and Canada. the All-Siberia piano competition. At the age 21 he won First prize at All-Russia piano competition in Kazan, 1977. Since then Dr. Konovalov had numerous tours across the globe, including Israel, Germany, England, Austria, USA, China, South Korea, Bulgaria, Mexico, Japan, and Canada. The highlights of these concerts are performances at The Chopin Society in London, International Festivals in Jerusalem, Banff, Clavis Bavaria, Petrof Festival in the Czech Republic, and recitals in Vienna, Austria. Boris Konovalov performed Liszt's Concerto #1 at the age of 16. Since then he collaborated with such distinguished conductors as Arnold Katz and Boris Gruzin ( Russia), Vassilij Sinaisky ( UK ), Robert Bernhardt (USA), Lu Sha (China) , Alexei Kornienko ( Austria ), Anatoly Zatin (Mexico), and others. Dr. Konovalov started teaching at the age of 23.His teaching experience includes Professor’s positions at Novosibirsk Glinka Conservatory (Russia), Jerusalem Rubin Academy and Mevasseret-Zion Music Conservatory (Israel), Alberta College Music Conservatory (Edmonton, Canada), Tom Lee Music Academy (Vancouver, Canada). Master classes were held at the Art College of Nicosia, Cyprus, University of Arizona, Tucson, USA, University and Art High School in Seoul, South Korea, Sapporo music Conservatory, Japan, Baunatal Conservatory, Germany, Phoenix State University, USA, and University of Colima, Mexico.
Dr. Konovalov is in great demand as adjudicator on various Festivals and Competitions, including the North Shore Festival and the Russian Music Festival in Vancouver, Canadian Music Competition (CMC), and others. Boris Konovalov released six solo CDs, recorded live from his concerts. He also recorded numerous live concerts on the Radio of Israel, Russian TV, and Radio music programs etc. The vast repertoire of Boris Konovalov includes Beethoven’s 32 sonatas, 40 solo programs and 30 piano Concertos. Dr. Konovalov is a member of the Faculty at International Music Festivals in Italy, Germany, Batumi Music Academy in Georgia, and Petrof Festival in the Czech Republic. Currently, Dr. Boris Konovalov is running his piano studio in North Vancouver. "Boris Konovalov is an extraordinary pianist with constant vigor of self-perfection" Arnold Katz, Conductor, People's Artist of Russia "Boris Konovalov had a recital that placed him among the most brilliant pianists. His performance showed not only a powerful technique, but a wide range of musicianship." The Jerusalem Post, Israel "Konovalov received two standing ovations. Many in the audience were moved to tears." The Week, Canada
SAVE THE DATE! On Sunday, December 10 2023 at 3:00 p.m., CSO presents: “FATE” L. van Beethoven SYMPHONY NO. 5 L. van Beethoven ROMANCE NO. 1 Frank Ho, violin Larysa Kuzmenko FANTASY ON A THEME BY BEETHOVEN
THE CSO CHAMBER NUCLEUS TOUR FUNDRAISER On Saturday, November 18, 2023 at 7:00 p.m., the CSO Chamber Nucleus returns with: The CSO Chamber Music Series: CONCERT I Would you like to receive information about our upcoming concerts? Please add your email to our mailing list: CSO MAILING LIST
COMING THIS SPRING!
The Global Musician Tour (Switzerland - Austria - Italy) JUNE 2024
The CSO is currently fundraising for its first international tour in 2024. The goal of this initiative is to promote less-known repertoire to a wider audience abroad and to introduce Canadian music to international audiences. Please consider a charitable donation to CSO to support our fundraising efforts. Donations can be made by email at donations@concordia.ab.ca or online using this link.
Musicians interested in joining the Global Musician tour, please contact us at: CSOEuroTour@gmail.com
Note: Donations over $20 will receive a donation receipt. Charitable Registration number is 10696 6468 RR0001
Would you like to receive information about our upcoming concerts? Please add your email to our mailing list: CSO MAILING LIST