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Program Fantasy on a Theme by Beethoven
Larysa Kuzmenko
Romance No. 1 in G Major, Op. 40
Ludwig van Beethoven
Frank Ho, violin John Fedor, conductor
-intermissionSymphony No. 5 in C Minor, Op. 67 I. Allegro con brio II. Andante con moto III. Allegro IV. Allegro
Ludwig van Beethoven
Program notes By Jennifer Gregory
Fantasy on a Theme by Beethoven The Calgary Philharmonic Orchestra commissioned Canadian composer Larysa Kuzmenko to write a piece to celebrate Ludwig van Beethoven’s 250th birthday. Using a theme and variation format, Kuzmenko alters Beethoven’s Symphony No. 1 original theme of C G B C C to D Ab C D D to give it a modern edge. The challenge for Kuzmenko was to work within Beethoven’s orchestration. The premiere date of February 14, 2020, was quite fitting to the work’s romantic and sensual moments. These moments are found in the slower variations and the use of the oboe to represent Beethoven’s love interest from his 1812 letter. This is contrasted with the faster movements which are energetic and fiery, capturing what Kuzmenko sees as Beethoven’s character and embraces the celebratory purpose of the commission. Opening with the theme, there are a total of seven variations which are part of this eight-minute musical journey.
Romance No. 1 in G Major, Op. 40 Beethoven wrote two “Romance” compositions scored for solo violin and small orchestra. Although it is believed that the Romance No. 2, Op. 50 was written earlier, Romance No. 1 was published first in 1803. The piece has a lyrical character that demonstrates Beethoven’s ability to bring out the violin’s expressive qualities. While this Romance is a much beloved part of the violin repertoire, not much is known about it, including who premiered it and what inspired Beethoven to write the piece.
Symphony No. 5 in C Minor, Op. 67 This symphony premiered in 1808 in an epic four-hour concert alongside other Beethoven new works, including Symphony No. 6, Choral Fantasy, and Piano Concerto No. 4. Symphony No. 5, also known as the “Fate Symphony” is one of the most recognizable starting with its distinctive four-note motif (below). The motif has been purportedly described by Beethoven himself, as “fate knocking at the door”. Since World War II, the work was deemed the “Victory Symphony” which was used as part of “V for Victory” campaign (V in roman numerals is the number five). Interestingly, although coincidental, the letter V in morse code is spelt out like the musical motif as short, short, short, long. The first movement, Allegro con brio, opens with the four-note motif, which is expanded through imitations and sequences within a sonata form. The lyrical second movement, Andante con moto, uses two themes within a double variation form, and features a march with trumpets and timpani. The next movement, Scherzo: Allegro, opens with the cellos and double basses, which uses another similar four-note motif, progressing through a fugue, returning to the scherzo which moves directly into the final movement. The high energy last movement, Allegro, reaches many resounding ‘victory’ moments including the triumphant coda ending in C major.
This Evening’s Performers
VIOLIN I Frank Ho, concertmaster Allan Nelson Arwen Bylsma Raymond Leung* Karin Bassani Rebekah Ney Svitlana Remniakova Laszlo Szajko
VIOLIN II Marie Krejcar Michelle Makila Song Gee Lydia Yu Harold Steinbrenner Linnea Barisoff Amy Kao
VIOLA Darrell Soetaert Anna Schultz Joe Dupuis Alan Dunn
Cello John Fedor Ryan Hoffman Julia Darby Sharon Toronchuk Katarina Loutas
BASS Victor Sanchez Dante Wright*
FLUTE / PICCOLO Rock Larochelle Jennifer Gregory
OBOE Stephanie Wong* Natalie Dies
CLARINET Amber Campbell Cindy Richardson
BASSOON Douglas Ridgway Lyndsey Cohen
FRENCH HORN Martin Grasdal Catherine Labbe Caralie Heinrichs
TRUMPET Nancy Stepney Scott Watson
TROMBONE Fenton Corey John Benzies Ken Burns
PERCUSSION Rigel Rendón Jacob Kryger
*CUE student Angelica Moreno Barbosa*, CSO marketing assistant Jorge Garza Zabaleta*, digital program design Rock Larochelle, CSO Flute, 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.
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.
Frank Ho, Violin Violinist FRANK HO enjoys a multi-faceted career as a chamber musician, soloist, and pedagogue. He holds Bachelor of Arts and Master of Arts degrees from the University of Alberta, as well as a Certificate in Performance and a Master of Music degree from Yale University. His principal teachers were Evan Verchomin and James Keene (Alberta College Conservatory in Edmonton); Sidney Harth and Erick Friedman (Yale School of Music); and Yfrah Neaman (Guildhall School of Music and Drama in London, England). He has participated in masterclasses with distinguished artists such as Franco Gulli, Steven Staryk, Gyorgy Pauk, and Jaap Schroder. His performing career as soloist and chamber musician has taken him across three continents. Highlights include concerts at prestigious venues such the Royal Festival Hall and the Purcell Room in London; Weill Recital Hall, Alice Tully Hall, and Merkin Hall in New York City; and numerous campuses and concert series in western Canada. Many of his concerts have been featured on the CBC. Mr. Ho was the director of the Strathcona Conservatory of Music in Edmonton from 2005 to 2010, where he also maintained a private studio. He is currently a faculty member of the MacEwan University Conservatory of Music and sessional violin instructor at King’s University College, as well as a much sought-after private instructor. His students have been prizewinners in local, provincial, and national competitions in Canada, and many have been accepted to institutions such as the McGill Schulich School of Music, the University of Victoria, the University of Alberta, and the University of Ottawa. Mr. Ho is an active adjudicator at music festivals across the country and has been a member of the College of Examiners for the Royal Conservatory of Music in Toronto since 2006. mMr. Ho makes his home in Edmonton with his wife and three children. He currently performs on a violin by Toronto maker John Newton, and a bow by Canadian maker Reid Hudson.
Save the Date
Coming in the spring