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You have unique goals for yourself, your family and your future. Coastal Community Private Wealth Group is committed to helping you achieve those goals, as we do for thousands of Vancouver Islanders and their families. Let’s talk about how we can protect and grow your wealth to serve you and your family’s needs. 1.800.806.2332 coastalwealth.ca

Proud Season Sponsor of the Vancouver Island Symphony

Coastal Community Private Wealth Group is a division of Coastal Community Financial Management Inc., which is a wholly-owned wealth management subsidiary of Coastal Community Credit Union.

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January — April 2017


ARTISTIC DIRECTOR’S MESSAGE

Music Moves

A MESSAGE FROM THE ARTISTIC DIRECTOR MOVEMENT, in a way, gives us a measure of our perception of life - our own and around us. Music stands as a heightened, refined version of this perception - and all meanings of movements are on hand for the Vancouver Island Symphony’s 23rd season, and the 10th under my artistic leadership. On this occasion, I personally chose a major kind of movement in one’s life moving with my whole family to the Island, and finally calling Nanaimo my home! After commuting from different cities for all these past seasons, I am excited and proud to devote my main artistic efforts in conducting this wonderful orchestra, for - at least - the next five seasons. Movement will acquire a whole new meaning - with less physical distances traveled, but greater poetic, dramatic, musical ones! And movement can also mean “coming closer” - an aspect of music-making which I am highly looking forward to accomplishing alongside my esteemed musician colleagues of the VIS. As always, our orchestra translates musical movements in all guises and shapes, from all times, in stylish, elegant, and direct manner. I am especially proud of the growth of our organization over time - the latest witness of this growth being this year’s inauguration of the Origin Matinee Series; a three-concert, afternoon series featuring main repertoire from Saturday evening programs! Of course, we are staying the course with our Symphony

Soundbites Series - with two familiar string orchestra masterworks by Mozart and Schubert. A delicious combination of food and music, delighting all senses! Our offerings for the main series of concerts are as varied as as they are compelling: first off, an exquisite program of true Classical music at the peak of its perfection, with celebrates works by Mozart and the Haydn Brothers. Then, music’s history most direct legacy is spotlighted, with works by the three B’s: Bach, Beethoven and Brahms. A festive St. Patrick celebration with John McDermott will lead the way towards the apotheosis of our season - my own 10th anniversary party - concert featuring the symphony with which I was welcomed: Beethoven’s eternal Ninth, including his famous “Ode to Joy” The Vancouver Island Symphony is a true gem on the Island. I am honoured and excited to be part of it, and happy to further its being a creative asset in our community, along with our VIS team. Live symphony performances are essential in enhancing our lives through the universal and powerful language of music. Thank you for your presence in our home, here at the Port Theatre, and best wishes for another enjoyable season together. Join us at every concert and let yourself be swayed and transported, as Music Moves!

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At Windsor Plywood, we are proud to continue sponsoring the Vancouver Island Symphony and the Arts throughout BC. Serving communities in BC since 1969.

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A Proud Supporter of the Vancouver Island Symphony

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62 locations to serve you! Visit us online at www.windsorplywood.com to find a location near you.

4 • encore! JANUARY - APRIL 2018 www.vancouverislandsymphony.com

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TABLE OF CONTENTS

Greetings from our Season Sponsor

Coastal Community Private Wealth Group Coastal Community Private Wealth Group is very privileged and honored to be the Vancouver Island Symphony’s Season Sponsor for the third consecutive year. Through music, our symphony culturally connects & enriches our lives on this spectacular island we call home. Under the direction of Artistic Director Pierre Simard, the symphony gives back to the community in more ways than we can imagine and we know the 2017/18 season will be a wonderful year. Everyone at Coastal Community Private Wealth Group, and the Coastal Community family of companies, is passionate about building stronger relationships to improve financial health, enrich people’s lives and build healthier communities. Our partnership with the Vancouver Island Symphony enables us to bring this passion to life. Enjoy,

Vancouver Island Symphony Greetings from the Artistic Director...................3 Greetings from the Board........................................7 Administrative Team...................................................7 About the VI Symphony........................................... 9 Artistic Director Pierre Simard.............................11 Members of the Orchestra.................................... 13 CONCERT ~ January 21, 2018 Mozart and a Drum Roll Programme................................................................... 15 Guest Artist.................................................................... 16 Programme Notes..................................................... 17 CONCERT ~ February 16, 2018 Origins Symphony Matinee - Origin Opus #2 Programme................................................................... 19 Programme Notes.....................................................23 CONCERT ~ February 17, 2018 Mozart and a Drum Roll Guest Artists.................................................................20 Programme................................................................... 21 Programme Notes.....................................................23 Symphony Champions.....................................24-25 CONCERT ~ March 17, 2018 Irish and Scottish Favourites Guest Artist....................................................................30 Programme................................................................... 31 CONCERT ~ March 22, 2018 Symphony SoundBites Series #2 Mozart & Schubert Programme...................................................................33 Programme Notes.....................................................35 CONCERT ~ April 20, 2018 Origins Symphony Matinee - Origin Opus #3 Programme...................................................................39 CONCERT ~ April 21, 2018 Pierre’s 10th Anniversary Concert Programme .................................................................. 41 Women of Note...........................................................45

Don Tamelin Vice President & General Manager www.coastalwealth.ca Coastal Community Private Wealth Group is a division of Coastal Community Financial Management Inc., which is a wholly-owned wealth management subsidiary of Coastal Community Credit Union.

PROGRAMS SUBJECT TO CHANGE PHOTO CREDIT PHOTOGRAPHS OF VIS PERSONNEL AND EVENTS AND OTHER IMAGES ON PAGES 3, 9, 11, 24,, 38, 39, 41 BY HEYDEMANN ART OF PHOTOGRAPHY

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vancouverislandsymphony.com

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KNIGHT “Music education makes smarter, more successful students who grow up to be more productive adults.”

Doug Routley, MLA Nanaimo~North Cowichan

Box 269 | #1 – 16 High Street Ladysmith, BC V9G 1A2 Phone 250.245.9375 | Fax 250.245.8164 Unit 112 50 Tenth Street Nanaimo, BC V9R 6L1 Phone 250.716.5221 | Fax 250.716.5222 Email douglas.routley.mla@leg.bc.ca | Website www.dougroutley.ca www.vancouverislandsymphony.com encore_WinterSpring2017.indd 7

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About the Vancouver Island Symphony UNDER THE ARTISTIC DIRECTION of our noted conductor, Pierre Simard, the Vancouver Island Symphony is a professional Canadian orchestra - one of only two on Vancouver Island. Now in its 23rd year, the VIS presents an 14-concert season of world-class orchestral performances at the beautiful harbour setting of Nanaimo’s Port Theatre. In addition, this Season the VIS will perform three concerts at the Sid Williams Theatre in Courtenay. By attracting professional musicians and soloists from across the country, offering special education and community

BIOGRAPHIES

concerts and programming, and engaging active volunteers and donors, the VIS serves as a creative asset to the many communities of the growing Central Island area. Its wide-reaching audience and commitment to education are helping to Keep Music Live and foster the next generation of audiences and performers. The VI Symphony values the continued support it receives from its patrons through tickets sales and donations. Buy a ticket, make a donation and join us in Keeping Music Live on the Island!

MANNING LAW BARRISTER & SOLICITORS

JOHN R. MANNING*

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Pierre Simard

BIOGRAPHIES

ARTISTIC DIRECTOR

ACCLAIMED IN CANADA and internationally, Pierre Simard is a prominent conductor, composer and arranger. Artistic and Music Director with the Vancouver Island Symphony (BC) and formerly Associate and Resident Conductor with the Calgary Philharmonic Orchestra (AB) and the Vancouver Symphony Orchestra (BC), Pierre Simard’s artistry is versatile, compelling and nuanced, performing every masterwork with remarkable musicianship. A guest conductor with major symphonies and ensembles in North America and Europe, Pierre Simard is namely invited with the Milwaukee Symphony (MI), the Tucson Symphony (AZ), for the Hot Springs Music Festival (AR), the Toronto Symphony, at the Ottawa’s Jazzfest with the National Arts Centre Orchestra, at Lanaudière’s International Music Festival, and with symphony orchestras in Edmon-

ton, Victoria, Kingston, Okanagan, Hamilton, Trois-Rivières, Québec’s Les Violons du Roy and Montréal’s Orchestre Métropolitain. He is a former Artistic and Music Director with the Orchestre symphonique de Drummondville (QC). Pierre Simard guest conducts performances with virtuosi and solo artists of all genres, notably trumpet legend Chris Botti, singers Colin James, Chantal Kreviazuk and Nikki Yanofsky, Cirque du Soleil acts as well as classical stars such as Jan Lisiecki, Angela Cheng, Alexandre Da Costa, Ian Parker, Benjamin Grosvenor and other accomplished international soloists. Amongst many distinctions in Canada and the United States, Pierre Simard was granted an Award in Orchestral Conducting from the Canada Council for the Arts, two Opus Prizes from the Quebec Council of Music, and many prizes recognizing his outstanding artistic contribution. Pierre Simard holds a Master’s Degree from Johns Hopkins University’s Peabody Institute in Baltimore (MD) and five prizes from Montréal’s Conservatory of Music. An accomplished composer and arranger, his works are notably performed by the Tasmanian Symphony, the Toronto Symphony, the Calgary Philharmonic and Montreal-based Ensemble Pentaèdre. Pierre Simard’s warm personality on and off stage combined with his unwavering commitment to music performance have drawn concertgoers of all generations to celebrate a large and diversified repertoire.

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Do you have a favourite Musician or instrument in the Symphony? Did you know you can name a Symphony Chair in memory of a loved one, as tribute to a friend or just because you enjoy hearing one of our talented musicians perform?

We are pleased to announce the naming of the Principal Viola Chair in Memory of Betty St. Jean. She was a community volunteer, a music lover and Symphony Fan for many years! To Name a Symphony Chair for a four year period requires a donation of $4000. A Tax receipt will be issued for your donation. Please call Margot Holmes or Christine McAuley at the Symphony office, 250-754-0177 to name a Symphony Chair.

Our best investment? You and our community. At CIBC Wood Gundy, we care about the communities where our clients and employees live and work. That’s why we are happy to lend our support to the Vancouver Island Symphony. Nathan Thornton, CIM, FCSI, Vice-President, Portfolio Manager, Investment Advisor 250 753-4366 • 1 800 563-8281 • nathan.thornton@cibc.ca

Thornton Harding Investment Group CIBC Wood Gundy is a division of CIBC World Markets Inc., a subsidiary of CIBC and a Member of the Canadian Investor Protection Fund and Investment Industry Regulatory Organization of Canada.

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SYMPHONY PERSONNEL

Vancouver Island Symphony FIRST VIOLIN

CELLO

TRUMPET

Calvin Dyck, Concertmaster

Marina Hasselberg*†

Stevan Paranosic*† Mark D’Angelo†

Eveline O’Rourke Honourary Concertmaster Chair

Alana Lopez† Erin Dorfer† Susan Cosco Larisa Lebeda Elyssa Lafugey-Smith Louise Lee Julia Lim John Matthews Nick Ross SECOND VIOLIN

Judy Fraser Memorial Chair

Alexandra Lee Laine Longton Brendan Millbank Helena Jung Mark Beaty*† Michael Vaughan† Yee Feng Yin Mark Haney Leanna Wong

Samuel Tsui*† James Mark† Kathleen Hovey† Marjorie Cullerne† Carol Hur Karl Rainer Llowyn Ball Hannah Chung Ji In Kim Molly Mackinnon VIOLA

CLARINET

Manti Poon*†

Christopher Lee*† Krystal Morrison † Ken Lee

Guyonne Le Louarn† Shifra Day Ju Dee Ang Jennifer Ho Peter Ing Guyonne la Louarn Henry Liang Steven Lin

Andrew Poirier*† Shawn Wright† Matt McConchie

DOUBLE BASS

FLUTE

Betty St. Jean Memorial Chair

TROMBONE

Paolo Bortolussi*† Emily Nagelbach† Mark McGregor OBOE Dr. Marjorie S. Holmes Memorial Chair

Geronimo Mendoza† John Lee Morgan Zentner

BASSOON

Anthony Averay*† Olivia Martin† Katrina Russell

BASS TROMBONE

Scott MacInnes*† TUBA

Eric Morton*† PERCUSSION

Jonathan Bernard*† Jonathan Eng TIMPANI

Nicole Arendt*† Jonathan Bernard * Principal † VIS Core Musician Mark Beaty

Personnel Manager

Karl Rainer Librarian

Jim Kent

Technical Director

Musicians listed will perform on one or more Vancouver Island Symphony concerts this year.

FRENCH HORN

Andrew Clark*† Keon Birney† Karen Hough† Heather Walker†

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FEATURED ARTIST

Christopher Lee

CLARINET

Clarinetist, CHRISTOPHER LEE completed his Master’s degree at Juilliard School where he received Bachelor’s degree on Irene Diamond Graduate Fellowship and Eve Lyndlemarch Scholarship. He has studied with renowned clarinetist Charles Neidich and Ayako Oshima at The Juilliard School. Christopher has won the first and grand prizes at many competitions such as Korean Clarinet Competition, Vancouver Burnaby Clef Society Competition, “VAM” Competition, Korean Young Artist Competition and more. He was invited to perform and received the certificate at the 5th Carl Nielsen International Clarinet Competition in Odense, Denmark that only opens every 4 years.

7

Signature Events

Explore Nanaimo March 2O17

Great Shows • Visual Arts • Heritage Walk Cycle • Beer & Scotch Events • Dine-Arounds St. Paddy’s Day • Nanaimo’s Dog Photo 2017 PirateFest, March Break Activities • Parades Christopher had been appointed as a principal clarinet National Youth Symphony and ofofcourse... Nanaimo Bars galore!

March 21-25

Orchestra of Canada, Vancouver Youth Symphony Orchestra and “VAM” Symphony Orchestra while giving out concerts tour in 12 different cities in North America. For his outstanding musicality, he was selectP ROUD TO SUPPORT THE per concert a year since 2009 at their annued for “Award of Excellence” with $5,000OVER 50 SHOPS VANCOUVER ISLAND al concert benefiting the children in North scholarship in NYOC. He has appeared as SYMPHONY! SERVICES Korea. a soloist with many orchestras including AND Vancouver Symphony Orchestra, Pilgrim ~ INSIDE Christopher is currently principal clarinet & OUT Orchestra, The Korean Clarinet Orchestra of Vancouver Island Symphony and ocSAVE-ON-FOODS and VYSO. He had been invited again to casionally performs with Vancouver and JYSK perform with VSO for the annual concert Victoria Symphonies. He is also devoted at the Deer Lake Park in Canada and with to teaching and conducting, he joined the LA-Z-BOY FURNITURE The Korean Clarinet Orchestra at Seoul clarinet BEST faculty of Vancouver Academy of BUY Art Center in South Korea. In 2010, he had Music since 2014 and he is the music diSHOPPERS DRUG MART become as an executive director of “First rector of “Jubilate Clarinet Ensemble” and Where Bowen Road Meets Steps Benefit Concert Series” in Vancouver,the Island “Vancouver Korean Presbyterian Church’s Highway • Nanaimo which has raised approximately $30,000 Choir”.

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JANUARY 20, 2018 PROGRAMME NOTES

Mozart and a Drum Roll

PROGRAMME NOTES BY EVELINE O’ROURKE

The Hebrides, op.26 – Felix Mendelssohn (1809 – 1847)

Also known as Fingal’s Cave, this overture was written while Mendelssohn was on a visit to the Hebrides in 1829. After his teenage years, Felix was sent on a tour of Europe and the British Isles. He was deeply moved by Scotland’s landscape, particularly the spectacular Fingal’s Cave where huge ocean waves rushed into a strange, pillared cavern. The sounds and echoes within the caves inspired him. He jotted down measures of music complete with orchestration and dynamics which would become The Hebrides Overture. Mendelssohn was a perfectionist; it took several years to perfect the middle section. The opening themes are calm and picture the rolling seas and the enchantment of the islands with cellos and bassoons playing both the first and the seconds themes. They are soon joined by violas and violins. Excitement builds as the woodwinds and brass join them. The middle section opens quietly but suggests the hint of a storm. This builds into a loud climax followed by a softening which restates the opening theme. Two clarinets then reminisce over the second theme. The Overture ends with a gentle fading of the opening theme.

Clarinet Concerto in A major, KV 622 – Wolfgang Amadeus Mozart (1756 – 1791)

This Clarinet Concerto is the last work that Mozart completed before his death. Its lighthearted nature reflects a man who loved people, loved to party and enjoyed life to the fullest. Anton Stadler, a clarinet virtuoso, was Mozart’s closest friend and shared the composer’s ‘joie de vivre’. The clarinet was a new instrument at that time and Mozart composed a great deal of music for his friend. Stadler preferred the lower register of the instrument and even extended the range downward with tubing, bringing the lowest note down a major third. Today, that instrument is known as ‘the basset clarinet’. The work allows the clarinet to show all its possibilities from piercing high registers down to its depth, with huge leaps in the solo parts. The orchestra and clarinet seem to converse back and forth and have lively discussions.

Symphony no.37, KV 444 - Mozart/M. Haydn (brother of Joseph)

Three months after their marriage in Salzburg while living with his father, Wolfgang and his new bride, Constanze Weber, returned to Vienna after stopping in Linz to visit an old friend. The three months spent in Salzburg had not been pleasant since Wolfgang’s father did not approve of his new bride. Linz proved to be a haven. Mozart enjoyed it so much that he decided to give a concert – but had no symphonies with him. His Symphony in C major KV 425 was written in four days! While there he also composed a slow introduction for a Symphony in G major written by his colleague Michael Haydn, a brother of Joseph. The entire work became known as Mozart’s Symphony no. 37, KV 444

Symphonie no. 103 (Drum Roll) in E flat major – Franz Joseph Haydn (1732 – 1809) Haydn’s musical career began when he was five years old. After his voice broke at the age of seventeen, he lived in poverty as a teacher and accompanist until he was engaged by Prince Esterhazy as Kapellmeister (director of music) at his Court. Haydn remained with the Esterhazy family for 30 years. During that time, he produced a stream of works in many genres. His fame spread throughout Austria, Germany and Italy and later in London as his music was published. When music-loving Prince Nicolaus died, his successors dismissed the musicians and Haydn’s life at Esterhazy ended – but he retained his salary and went to Vienna. When a famous impresario and conductor of the day was returning to London from one of his visits heard of Prince Nicolaus’ death, he ordered the coachman to go straight back to Vienna. He said, “I am Solomon and have come to fetch you.” In London Haydn composed six symphonies for Salomon’s concerts, conducting their premieres. He eagerly later accepted a second trip to London and stayed for nearly two years composing many symphonies, concertos, operas, oratorios, cantatas, keyboard and vocal music. Haydn’s Symphony no. 103 was written in London in 1795 and is one of the most intriguing of all his symphonies.

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At Origin at Longwood you decide what you want to do and when. Take part in award winning life enrichment programs, enjoy state-of-the art amenities or go to the Vancouver Island Symphony. Improve your health in our fitness programs or enjoy heart healthy delicious cuisine in our restaurants or pubs. Whatever you choose to do today, do it your way at an Origin Community.

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FEATURED ARTISTS

Calvin Dyck

Violin

Raised in Mission on a Christmas tree farm, CALVIN DYCK was introduced to the accordion at the age of 5 by a travelling salesman, and started Suzuki Violin at the age of 8. Calvin has been concertmaster for the Vancouver Island Symphony in Nanaimo for 18 years, and directs the summer show “Symphony by the Sea” for the VIS. He is also the director for the Abbotsford Youth Orchestra, and in 2014 they toured all 10 provinces in Canada along with the British Columbia Boys Choir. Calvin has played concerts in over 15 countries, and is in demand as a producer, teacher, conductor and adjudicator. In September, 2017 Calvin had the opportunity to travel to East Africa on a “learning tour” with MCC (Mennonite Central Committee). His next big fundraising event in May will focus on helping people at risk in that region. Calvin has recorded four CDs to benefit Communitas, a BC charity which provides services to people living with disabilities. In 2012 Calvin was awarded the Queen Elizabeth II Diamond Jubilee Medal for service to the community. In April, 2013 he was awarded an honorary Doctor of Humanities by Trinity Western University. Calvin plays on an 1807 violin made by Johannes Cupyers of the Netherlands. His bow is a Charles Espey bow from 1991.

Marina Hasselberg

Cello

Cellist MARINA HASSELBERG’s musical career led her from her birth country of Portugal across the world to Vancouver’s eclectic music scene. Starting as a chamber musician specializing in classical music, her passions have expanded to include baroque music, new music, improv, and interdisciplinary works that cross genre boundaries. Marina has played cello for various orchestras, chamber music ensembles, theatre and dance productions, and films. She serves as the principal cellist of the Vancouver Island Symphony, while also performing with groups such as Vancouver New Music, Early Music Vancouver, Sound of Dragon Ensemble, Turning Point Ensemble, Plastic Acid Orchestra, Redshift Music Society, Vancouver Pro Musica, the Okanagan and Kamloops symphonies, and pop stars including Michael Bublé, Rod Stewart, Mariah Carey, and Father John Misty. Marina recently received the City of Vancouver Mayor’s Arts Award for emerging artist in Music, and a Jessie award for outstanding artistic achievement in music ensemble work for “Onegin” (Arts Club Theatre). She was select as the Feature Artist for Pro Musica’s 2017 Sonic Boom Music Festival. Her own NOVO Ensemble was voted Vancouver Courier’s best classical music ensemble of 2016 alongside the VSO and Vancouver Chinese Music Ensemble. As the artistic director of NOVO Ensemble, she commissions and presents new works, especially by Canadian composers.

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THAT’S ENTERTAINMENT! Nanaimo – Vancouver 18 minutes Victoria – Vancouver 35 minutes

Proud supporter of the Vancouver Island Symphony

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FEBRUARY 17, 2018 PROGRAMME NOTES

3Bs - Bach, Beethoven, Brahms

PROGRAMME NOTES BY EVELINE O’ROURKE

The Veil of Pierrette: Pierrot’s Complaint of Love - Ernst von Dohnanyi (1873 – 1960) Ernst von Dohnanyi was a Hungarian composer, pianist and conductor. This sorrowful tale tells of Pierrette leaving her lover Pierrot to wed a rich man. Her guilt forces her back to Pierrot - they make a suicide pact. Pierrot dies but she is afraid to take the poison and returns to her wedding. She has forgotten her veil – Pierrot’s ghost returns it and reveals her infidelity. She breaks down and dies. The story is told in five movements – you will hear the first movement, (1) Pierrot’s Complaint of Love; (2) Waltz Round Dance; (3) Jolly Funeral March); (4) Wedding Waltz; (5) Pierrette’s Dance of Madness). Double Concerto in A minor for Violin and Cello op. 102 Johannes Brahms (1833 – 1897) This Violin Concerto was written by Brahms for his very close friend and advisor, Joseph Joachim, a wellknown violinist and composer. Joachim was a faithful champion of Brahms music and introduced many of his works. A rift in Joachim’s marriage caused a rift in their friendship because Brahms sided with Frau Joachim. This rift was healed when Brahms composed his Double Concerto in A minor for Violin and Cello and asked Joachim for advice. The concerto was like a work of reconciliation and the two friends spoke to each other after years of silence. The first movement is prefaced by a bold introduction by the soloists. Then the orchestra tries to announce the main theme but is interrupted by the cello. A complementary theme by the woodwinds is taken over by the entire orchestra. The tender second theme is introduced by the woodwind choir and the soloists join the orchestra in developing the themes. A coda rounds out this very expressive movement. Horns and woodwinds summon the beginning of the second movement. The warm melody of the introduction is presented by the violin and cello. The woodwinds usher in the second part which is lovely and steeped in a rich, mysterious tone. The finale is a playful rondo with vibrant Gypsy rhythms and glorious melodies which bring the work to a joyful triumph and happy ending. Fantasia and Fugue in C minor, BWV 537 - Bach/Simard J.S. Bach’s Fantasia and Fugue for organ in C minor, BWV 537 is not a particularly long piece, but it is a dense and involved one in which a very un-flashy and serious-minded approach to prelude and fugue-type composition can be heard and seen. This is a departure begun by Bach more or less during his Weimar years (1708 - 1717), toward the end of which period the present work was probably composed, as were, with similar electrifyingly virtuosic style, such early works as the famous Toccata and Fugue in D minor, BWV 565 and the Prelude and Fugue in E major, BWV 566. The music of the Fantasia and Fugue in C minor, BWV 537, especially that of the fantasia, is still very lush and ornate, but there is not a single cadenza-like passage in the entire work; not once does a virtuoso passage interrupt the high-minded musical essay. The fantasia is in 6/4 meter and falls into two unequal halves, each of which takes up the same two basic musical ideas, a dotted-rhythm tune, in imitation, and then, a little later (also in imitation, initiated by the pedals), a leaping eighth-note idea. The fugue’s steady subject insists, four times in a row, on the pitch G (or C in the tonal answer form) and is thus easily recognized each time it appears during the 130 contrapuntal bars. Symphony no. 8 in F Major, Op.93 - Ludwig van Beethoven (1770 – 1827) Some of Beethoven’s later works sometimes suffered in comparison with his more popular earlier works. He often wrote his symphonies in pairs, which was the case with his Seventh and Eighth Symphonies. The Seventh was greeted by the public with great enthusiasm and the Eighth with a puzzled reaction. Both symphonies were written during a critical time in his life. It was summer of 1812 and due to primitive conditions in Vienna, sanitary conditions were poor. He relocated to Bohemia where he was closer to nature. Beethoven completed the Eighth Symphony in October while he was in Linz where he was visiting his brother Johann. He was growing increasingly deaf, his health was poor and he was disturbed over an affair that Johann was having with his housekeeper. After several violent arguments, Johann settled the problem by marrying her. The Eighth Symphony was premiered 18 months later in Vienna. Written in four movements, the symphony is light-hearted. Many portions are cheerfully loud. The first movement has no introduction, no chords, just a jump start which stumbles along with musical jokes and humour. The second movement is not the conventional slow movement. Instead there is a “scherzoish (playful)” Allegretto that ticks along like a metronome. The third movement is a Minuet and Trio which is humorous in the main section and very lyrical in the Trio. The finale begins softly and features silent hesitations. A loud interruption introduces the huge coda which is considered one of Beethoven’s greatest symphonic gems.

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Investor Protection Fund and Investment Industry Regulatory Organization of Canada.

Supporting the Arts in Downtown Nanaimo!

THAT’S ENTERTAINMENT! Nanaimo – Vancouver 18 minutes Victoria – Vancouver 35 minutes

www.dnbia.ca

250-754-8141

Proud supporter of the Vancouver Island Symphony

Spring Feature Exhibit (Feb 17 - Sep 5): Canada 150: Centennial Stories Centennial Stories Presentation (Mar 1) Spring Break Programs (Mar 20 - Apr Book 1) online at helijet.com or call 1.800.665.4354 www.musicnanaimo.com nanaimomuseum.ca •250.753.1821 26 |  encore!

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2017-01-16 5:23 PM

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Proud to Support the Incredible Talent of the Vancouver Island Symphony 250.248.2625, Michelle.Stilwe.MLA@leg.bc.ca @Stilwell2013, www.facebook.com/MichelleStilwellMLA

ARCT | ALCM | RMT

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Refreshingly local West Coast cuisine. Reserve early for dinner before the Symphony or join us for a nightcap after the performance.

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2017-01-16 5:23 PM


ARTS CLUB THEATRE COMPANY

ONEGIN

Wednesday, February 14, 2018 at 7:30pm Book, music, and lyrics by Amiel Gladstone and Veda Hille Based on the poem by Pushkin and the opera by Tchaikovsky

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ONE OF CANADA’S GREAT VOICES Sunday, April 8, 2018 at 7:30pm

Community Partners:

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MARCH 22, 2018 PROGRAMME NOTES

MOZART & SCHUBERT PROGRAMME NOTES BY EVELINE O’ROURKE

Eine Kleine Nachtmusik, K.525 Wolfgang Amadeus Mozart (1756 – 1791) “A Little Night Music, or Serenade” was written in 1787 for an unknown occasion. It is elegant and simple and has four movements which are compact and beautifully proportioned. The first movement opens with an energetic Allegro which has a march-like character – the musicians seem to be arriving for their cheerful performance. The first and second themes lead to a closing theme which expands into a vigorous coda. The second movement, Romanze, begins with a sweet main theme followed by a passionate middle section. The last section is heard against a restless background of quick notes. The Minuet and Trio movement is short and light and filled with exquisite phrases. The rondo finale, Allegro, presents a contrast of direction. There is a downward ‘dip’ of the first measure which stands out against the upward-skipping in the principal theme. It concludes with positive coda. The original manuscript of Eine Kleine Nachtmusik was found in 1955 and indicates a 5th movement which has never been found. Mozart is one of the supreme artists of all time – the voice of musical beauty in music and the most musical composer that ever lived.

Quartet in D minor (“Death of a Maiden”) D.810 Schubert/Mahler It was common practice around the turn of the twentieth century for conductors to make arrangements of established chamber works in order to bring them to a wider audience. Mahler was in the habit of altering the texts of well known published scores and would frequently make considerable changes to scores he was conducting. Mahler’s friend Natalie Bauer-Lechner wrote that he had remarked to her that, “One could take Schubert’s themes and start off developing them. In fact that would do them no harm at all, so utterly unelaborated are they”. Mahler obtained a score of Schubert’s eminent String Quartet “Death and the Maiden” and made detailed notes indicating how the music could be arranged for string orchestra and given an opportunity to make its way into larger concert halls. What he left behind was an incomplete arrangement, marked with copious and detailed notes on instrumentation, dynamics and articulation. Long after his death, Mahler’s daughter Anna discovered the unfinished arrangement and brought it to the attention of the Mahler scholars; David Matthews and Donald Mitchell. They extracted the orchestral parts according to Mahler’s annotations and the score was published in 1984. The famous quartet, written in 1826, is an intense work with the theme of death at its heart. The title Death and the Maiden stems from the reuse in the andante of Schubert’s song by the same name. The text is by the German Romantic Matthias Claudius and the lyrics recount an old European myth, where a sovereign (in this case, Death) demands a pre-nuptial night with a bride-to-be. If she declines, Death will take her betrothed on their wedding day. The Maiden sings: “Leave me, terrible specter, I am so young, go away and let me be”. To which Death replies: “Give me your hand, beautiful and sweet creature, I am your friend, and have not come to punish you. Have courage! You will sleep sweetly in my arms’. Only Death’s section is used in the quartet. While Death and the Maiden is a string quartet in every respect, it could also be seen and a romantic tone poem. Throughout the work, Schubert’s writing creates a dramatic scene, evoking death in all his guises, both harsh and gentle. Furthermore, the composer chooses D minor a key which Schubert generally reserved for songs containing poignant expressions of death, penitence, shadowy dreams, and shrouded moonlight.

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