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Magazine of the Vancouver Symphony

November 10, 2014 to January 26, 2015 Volume 20, Issue 2

Philippe Quint performs Mozart's Violin Concerto No. 4

Vivaldi's Four Seasons with VSO Concertmaster Dale Barltrop

The Best of Lerner and Loewe Violinist Ryu Goto performs Brahms Tea & Trumpets: the World of Shakespeare


First Violins

Dale Barltrop, Concertmaster Joan Blackman, § Associate Concertmaster Nicholas Wright, Assistant Concertmaster Jennie Press, Second Assistant Concertmaster Mary Sokol Brown Mrs. Cheng Koon Lee Chair

Jenny Essers Akira Nagai, Associate Concertmaster Emeritus Xue Feng Wei Rebecca Whitling Yi Zhou

Second Violins

Jason Ho, 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


Neil Miskey, Principal Andrew Brown, Associate Principal Stephen Wilkes, Assistant Principal Lawrence Blackman

Estelle & Michael Jacobson Chair

Matthew Davies Emilie Grimes

Dr. Malcolm Hayes and Lester Soo Chair

Angela Schneider

Professors Mr. & Mrs. Ngou Kang Chair

Ian Wenham


Ariel Barnes, Principal Nezhat and Hassan Khosrowshahi Chair

Janet Steinberg, Associate Principal Zoltan Rozsnyai, Assistant Principal Olivia Blander


Karin Walsh

Paul Moritz Chair

English Horn


Chair in Memory of John S. Hodge

Matthew Crozier, Principal Gregory A. Cox


Bass Trombone

Jeanette Jonquil, Principal Cris Inguanti, § Assistant Principal David Lemelin

E-flat Clarinet

Natasha Boyko

David Lemelin

Charles Inkman Cristian Markos


Dylan Palmer, Principal Brandon McLean, Associate Principal David Brown J. Warren Long Frederick Schipizky


Christie Reside, Principal Ron & Ardelle Cliff Chair

Nadia Kyne, Assistant Principal Rosanne Wieringa

Michael & Estelle Jacobson Chair


Nadia Kyne

Hermann & Erika Stölting Chair


Roger Cole, Principal

Wayne & Leslie Ann Ingram Chair

Beth Orson, Assistant Principal

W. Neil Harcourt in memory of Frank N. Harcourt Chair

Beth Orson

Gerhard and Ariane Bruendl Chair Mary & Gordon Christopher Chair

Vincent Vohradsky

Bass Clarinet Cris Inguanti §


Douglas Sparkes

Arthur H. Willms Family Chair


Peder MacLellan, Principal


Aaron McDonald, Principal


Vern Griffiths, Principal Martha Lou Henley Chair

Tony Phillipps

Julia Lockhart, Principal Sophie Dansereau, Assistant Principal Gwen Seaton



Carter (Family) Deux Mille Foundation Chair

French Horns

Orchestra Personnel Manager

Sophie Dansereau Oliver de Clercq, Principal Benjamin Kinsman

Werner & Helga Höing Chair

David Haskins, Associate Principal Andrew Mee

Elizabeth Volpé Bligh, Principal

Piano, Celeste

Linda Lee Thomas, Principal

DeAnne Eisch

Music Librarian Minella F. Lacson

Master Carpenter Pierre Boyard

Winslow & Betsy Bennett Chair

Master Electrician

Richard Mingus, Assistant Principal

Leonard Lummis

Piano Technician


Thomas Clarke

Larry Knopp, Principal Marcus Goddard, Associate Principal

*Supported by The Canada Council for the Arts § Leave of Absence

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allegro Magazine of the Vancouver Symphony

November 15, 2014 to January 26, 2015 Volume 20, Issue 2


Tasmin Little


Bramwell Tovey


Kirill Gerstein


NOVEMBER 15, 16, 17 / Mardon Group Insurance Musically Speaking* / . . . . . . . . . . . . . . . . . . . . . 9 Rogers Group Financial Symphony Sundays / Surrey Nights Bramwell Tovey conductor, Tasmin Little piano, The Vancouver Youth Symphony Orchestra* NOVEMBER 21, 22 / London Drugs VSO Pops / The Best of Lerner and Loewe / . . . . . . . . . . . . . . . 19 Steven Reineke conductor, Amy Wallis vocalist, David Curry vocalist, Jonathan Estabrooks vocalist, UBC Opera Ensemble NOVEMBER 20, 23 / VSO Chamber Players / Roger Cole oboe, Jeanette Jonquil clarinet . . . . . . . . . 27 Sophie Dansereau bassoon, Christie Reside flute, David Haskins horn, Nicholas Wright violin, Ariel Barnes cello, Grace Huang piano NOVEMBER 29, DECEMBER 1 / Air Canada Masterworks Diamond / . . . . . . . . . . . . . . . . . . . . . . . . 29 James Gaffigan conductor, Philippe Quint violin NOVEMBER 30 / Kids’ Koncerts / Nathaniel Stookey: The Composer is Dead! / . . . . . . . . . . . . . . . . 34 Gordon Gerrard conductor DECEMBER 4 / Tea & Trumpets / Americana / Gordon Gerrard conductor . . . . . . . . . . . . . . . . . . . . 37 Christopher Gaze host/narrator, Beth Orson english horn, Larry Knopp trumpet DECEMBER 6, 8 / Goldcorp Masterworks Gold / Lahav Shani conductor, Ryu Goto violin . . . . . . . . . 43 DECEMBER 19, 20 / Specials / Vivaldi’s Four Seasons / Dale Barltrop leader/violin . . . . . . . . . . . . . . 51 JANUARY 8 / Tea & Trumpets / The World of Shakespeare / Gordon Gerrard conductor . . . . . . . . . . . 57 Christopher Gaze host/narrator, Eve-Lyn de la Haye soprano JANUARY 9, 10 / London Drugs VSO Pops / In the Mood for a Melody / . . . . . . . . . . . . . . . . . . . . . . 61 Jonathan Tessero conductor, James Scheider piano/vocals JANUARY 24, 26 / Mardon Group Insurance Musically Speaking / Surrey Nights . . . . . . . . . . . . . . 65 Ben Gernon conductor, Kirill Gerstein piano 4 allegro

In this Issue

The Orchestra . . . . . . . . . . . . . . . . . . . . . . . . 3 Allegro Staff . . . . . . . . . . . . . . . . . . . . . . . . . 5 Government Support . . . . . . . . . . . . . . . . . . 6 Message from the Chairman . . . . . . . . . . . . 7 and the President & CEO A VSO Tribuite to Jeff Alexander . . . . . . . . . 8 VSO AGM announcement . . . . . . . . . . . . . . 11 VSO Traditional Christmas . . . . . . . . . . . . . 15 VSO Musician Profile . . . . . . . . . . . . . . . . . 24 VSO Mobile Website . . . . . . . . . . . . . . . . . . 26 VSO Stradivarius Legacy Circle . . . . . . . . . 38 VSO Spring Festival . . . . . . . . . . . . . . . . . . 40 Patrons’ Circle . . . . . . . . . . . . . . . . . . . . . . 48 VSO School of Music . . . . . . . . . . . . . . . . . 49 Vancouver Symphony Foundation . . . . . . . 50 Advertise in Allegro . . . . . . . . . . . . . . . . . . 56 VSO Car Lottery . . . . . . . . . . . . . . . . . . . . . 58 VSO Group Sales . . . . . . . . . . . . . . . . . . . . 63 Corporate Partners . . . . . . . . . . . . . . . . . . . 68 At the Concert / VSO Staff . . . . . . . . . . . . . 70 Board of Directors / Volunteer Council . . . 71 VSO Upcoming Concerts . . . . . . . . . . . . . . 72

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Philippe Quint

Christopher Gaze


James Scheider




VSO Musician Profiles: Nadia Kyne

We welcome your comments on this magazine. Please forward them to: Vancouver Symphony, 500 – 833 Seymour Street, Vancouver, BC V6B 0G4 Allegro contact and advertising enquiries: / customer service: 604.876.3434 / VSO office: 604.684.9100 / website: / Allegro staff: published by The Vancouver Symphony Society / editor/publisher: Anna Gove / contributors: Don Anderson, James Alexander / orchestra photo credit: Jonathon Vaughn / art direction, design & production: bay6 creative inc. Printed in Canada by Web Impressions Ltd. 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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The Vancouver Symphony Society is grateful to the Government of Canada and the Canada Council for the Arts, Province of British Columbia and the BC Arts Council, and the City of Vancouver for their ongoing support. The combined investment in the VSO by the three levels of government annually funds over 28% of the cost of the orchestra’s extensive programs and activities. This vital investment enables the Vancouver Symphony Orchestra to present over 150 life-enriching concerts in 16 diverse venues throughout the Lower Mainland and Whistler, attract some of the world’s best musicians to live and work in our community, produce Grammy® and Juno® award-winning recordings, tour domestically and internationally, and, through our renowned educational programs, touch the lives of over 50,000 children annually.

Shelly Glover, Minister of Canadian Heritage and Official Languages

Christy Clark, Premier of British Columbia

Thank you!

Gregor Robertson, Mayor of Vancouver

Message from the VSO Chairman, and President & CEO entertaining in nature. There is still time to subscribe to this series, and to treat your children or grandchildren to the joys of classical music.



Dear Friends, Thank you for joining us for today’s concert. We are delighted to have you with us. The Vancouver Symphony Orchestra’s 2014/2015 Season has already included many wonderful performances, and there are many more to come. We invite you to look through this edition of Allegro for upcoming concerts, or visit our website at to get a complete season listing, and to order your tickets online or by calling 604.876.3434. In addition to the many evening and matinee concerts performed by the orchestra, we are proud to present two sets of Elementary School Concerts in November and February this season. Over 400 schools and home school groups from throughout the Lower Mainland, Fraser Valley and as far afield as Nanaimo and Hope will be bringing over 35,000 children to hear the orchestra perform at these weekday morning concerts. The joy and life-enriching experiences these concerts bring to students are an important part of the VSO’s purpose. We are very grateful to Industrial Alliance Pacific for generously sponsoring this series, and to TELUS for being our Premier Education Partner.

And of course, if you or any of your loved ones would like to begin or continue study of a musical instrument, the exciting VSO School of Music is right next door to the Orpheum Theatre! Lessons are available from VSO musicians for students of any age and ability. Detailed information can be found at December 11 through 21 we are pleased to present the VSO’s annual Traditional Christmas concerts: 15 performances in 6 different locations throughout the Lower Mainland. Performances will take place in St. Andrew’s-Wesley Church in downtown Vancouver, Bell Performing Arts Centre in Surrey, South Delta Baptist Church, Centennial Theatre in North Vancouver, Kay Meek Theatre in West Vancouver and the Michael J. Fox Theatre in Burnaby. In addition, we invite you to enjoy Vivaldi’s The Four Seasons at the Chan Centre for the Performing Arts on December 19 and 20 featuring VSO Concertmaster Dale Barltrop. Finally, we invite you to experience the second annual VSO New Music Festival taking place in mid-January. On behalf of the Board of Directors, Maestro Tovey, our musicians, staff and volunteers, we thank you for your commitment to the VSO and send our best wishes for the holiday season. Please enjoy today’s concert.,

Fred G. Withers Chair, Board of Directors The VSO maintains thirteen distinct educational programs that reach over 50,000 children annually. In addition to the Elementary School Concerts, we are proud to present the Jeff Alexander Sunday afternoon “Kids' Koncerts” Series. These concerts, for children ages five to eleven President & Chief Executive Officer and their families, are both educational and allegro 7


Fourteen years of success...


AS OF THE END OF DECEMBER OF 2014, the VSO’s President & CEO of fourteen years, Jeff Alexander, departs Vancouver to assume the role of President of the Chicago Symphony Orchestra. Together, the orchestra, Board of Directors, staff and volunteers would like to express our sincere gratitude to Mr. Alexander for his leadership and vision in guiding the organization through one of the brightest periods in its history. Jeff Alexander served the Vancouver Symphony Orchestra as President & CEO since September of 2000. During his tenure, Mr. Alexander presided over a period of significant growth and unprecedented stability, playing integral roles in the creation and implementation of the new and thriving VSO School of Music; the Society’s first and ongoing endowment campaign; the institution of a domestic and international touring program that has seen the orchestra give critically-acclaimed performances in Central Canada, the U.S West Coast, and Asia; unprecedented fiscal stability; significant growth in ticket sales, fundraising, and government support; and surplus budgets in ten of the last eleven fiscal years. As a fixture at VSO concerts, Mr. Alexander became well known to you, our audiences, through the years, attending nearly every VSO performance during his tenure. Please join everyone at the Vancouver Symphony in thanking Jeff for all that he has done for the organization and the music community in Vancouver, and wishing him well at the Chicago Symphony.

Thank you, Jeff Alexander! ■

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Concert Program ▼


Saturday, November 15 ROG ERS G ROU P FIN AN C IAL S Y M P H ON Y S U N D AY S OR P H EU M T H EATR E , 2 P M

Sunday, November 16 S U R REY N IG H T S B EL L P ERF ORM IN G ARTS C E N TR E , 8 P M


Monday, November 17 ▼


Bramwell Tovey conductor Tasmin Little violin The Vancouver Youth Symphony Orchestra BERNSTEIN Fancy Free: Three Dance Variations

I. Galop II. Waltz III. Danzón


COPLAND Rodeo: Four Dance Episodes





I. Moderato nobile II. Romance: Andante III. Finale: Allegro assai vivace



KORNGOLD Violin Concerto in D Major, Op. 35


I. Buckaroo Holiday II. Corral Nocturne III. Saturday Night Waltz IV. Hoe-Down

GERSHWIN An American in Paris


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Bramwell Tovey, O.C. conductor

Grammy® and Juno® award-winning conductor/composer Bramwell Tovey was appointed Music Director of the Vancouver Symphony Orchestra in 2000. Under his leadership the VSO has toured to China, Korea, and across Canada and the United States. Mr. Tovey is also the Artistic Adviser of the VSO School of Music, a state-ofthe-art facility which opened in downtown Vancouver in 2011 next to the Orpheum, the VSO’s historic home. His tenure at the VSO has included complete symphony cycles of Beethoven, Mahler, and Brahms; as well as the establishment of an annual festival dedicated to contemporary music. In 2018, the VSO’s centenary year, he will become the orchestra’s Music Director Emeritus. In the 14/15 season Mr. Tovey will make guest appearances with leading US orchestras including the Philadelphia Orchestra, New York Philharmonic, and Kansas City Symphony. In Europe he will perform with the BBC Philharmonic and the Helsingborgs Symfoniorkester, and will travel to Australia for engagements with the symphonies of Melbourne and Sydney. During the 13/14 season Mr. Tovey’s guest appearances included the BBC and Royal Philharmonics; the New York and Los Angeles Philharmonics; and the Boston, Philadelphia, Cleveland, and Toronto Symphonies. In 2003 Mr. Tovey won the Juno® Award for Best Classical Composition for his choral and brass work Requiem for a Charred Skull. Commissions have included works for the New York and Los Angeles Philharmonics, the Toronto Symphony, and Calgary Opera who premiered his first full-length opera

The Inventor in 2011. Earlier in 2014 his trumpet concerto, Songs of the Paradise Saloon, was performed by the LA Philharmonic with Alison Balsom as soloist, who will also perform the work with the Philadelphia Orchestra in December 2014. A talented pianist as well as conductor and composer, he has appeared as soloist with many major orchestras including the New York, Sydney, Melbourne, Los Angeles, Pittsburgh, St Louis, Toronto, and Royal Scottish orchestras. In the summer of 2014 he played and conducted Gershwin’s Rhapsody in Blue at the Hollywood Bowl with the LA Phil, and in Saratoga with the Philadelphia Orchestra. He has performed his own Pictures in the Smoke with the Melbourne and Helsingborg Symphonies and the Royal Philharmonic. Mr. Tovey is a Fellow of the Royal Academy of Music in London, the Royal Conservatory of Music in Toronto, and holds honorary degrees from the universities of British Columbia and Manitoba. In 2013 he was appointed an honorary Officer of the Order of Canada for services to music.

Tasmin Little violin Tasmin Little has firmly established herself as one of today's leading international violinists. She has performed on the world’s most prestigious stages including Carnegie Hall, Royal Concertgebouw, Berlin’s Philharmonie, London’s Royal Albert Hall; and has collaborated with many esteemed conductors including Sir Andrew Davis, Gustavo Dudamel, Kurt Masur, Sir Simon Rattle, and Leonard Slatkin. Tasmin’s concerto appearances include the Berliner Philharmoniker, London Symphony,


ANNUAL GENERAL MEETING Wednesday, November 26, 2014 @10:15am Annual donors of $35 or more are members of the Society and welcome to attend. If you would like to attend, please call Mary Butterfield at 604.684.9100 ext. 238 for more details. allegro 11


programme. VYSO musicians continue to proudly represent Vancouver locally, nationally and internationally. Many former VYSO musicians have gone on to acclaimed musical careers, and there is never a shortage of current young VYSO musicians following in their paths.

Leonard Bernstein b. Lawrence, Massachusetts, USA / August 25, 1918 d. New York, New York, USA / October 14, 1990

New York Philharmonic, Seattle Symphony, and Singapore Symphony, and she has also appeared at many renowned Festivals throughout the world. As an exclusive recording artist for Chandos, Tasmin has an extensive and acclaimed discography including the works of Walton, Britten, Elgar, Delius, Lutoslawski, Strauss, and Beethoven. Tasmin is an Ambassador for The Prince’s Foundation for Children and was awarded the Gold Badge Award for Services to Music. In June 2012, she was appointed an Officer of the Order of the British Empire (OBE) in the Queen's Diamond Jubilee Birthday Honours List, for Services to Music. She plays a 1757 Giovanni Battista Guadagnini violin.

Fancy Free: Three Dance Variations Set in a New York bar, Bernstein's jazzflavoured ballet Fancy Free (1944) follows the adventures of three sailors on leave. They hold a dance contest to determine who will win the affections of two young women. Each sailor dances to a variation of the same theme, but even this vibrant music and the brilliant steps that go with it cannot resolve the romantic dilemma.

Erich Wolfgang Korngold b. Brno, Bohemia / May 29, 1897 d. Hollywood, California, USA / November 29, 1957

Violin Concerto in D Major, Op. 35 Korngold composed his first music at eight and saw his ballet The Snowman produced professionally five years later. His loyalty to nineteenth-century tradition won him many performing champions, including such renowned artists as conductor Bruno Walter, pianist Artur Schnabel and violinist Fritz Kreisler. The Vancouver Youth Symphony dates back to 1930. An amateur flautist named R. Cyril He also played a role in reviving the operettas Haworth was the prime mover in forming the of Johann Strauss, Jr., an activity that "Vancouver Little Symphony," first under the brought him together with the celebrated direction of the students themselves and later, impresario Max Reinhardt. When Reinhardt under the baton of its first Music Director, travelled to Hollywood in 1934 to produce a Mr. George Coutts. The orchestra thrived film of Shakespeare’s A Midsummer Night’s and in 1938, the ensemble became an Dream, he brought Korngold along to adapt "educational project" of the Vancouver Mendelssohn’s incidental stage score for Symphony Orchestra and the name was use in the film. Impressed by Korngold’s changed to "Vancouver Junior Symphony work, the Warner Brothers studio asked him Orchestra." to compose original film scores. He wrote eighteen in all, winning Academy Awards for In 1945 the group was reorganized as Anthony Adverse (1936) and The Adventures independent and became the "Vancouver of Robin Hood (1938). Youth Symphony Orchestra." Today, the Vancouver Youth Symphony Orchestra is For several years, he shuttled back and forth a dynamic, independent organization that between Europe and America, creating operas is recognized throughout Greater Vancouver and concert scores for the old world and for its very fine, multi level orchestral training outstanding symphonic film music for the

The Vancouver Youth Symphony Orchestra

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new. With the onset of the Second World War, he and his family settled in California. After the war, he returned to writing concert music in his previous style. Attitudes had changed so much in the interim that his works were condemned as old-fashioned. As the wheel of taste revolves, however, Korngold’s brand of lush and emotional music has regained much of its early popularity.

"After two tender and expressive movements, the joyful finale, as Heifetz requested, bristles with virtuoso fireworks." After the soloist to whom Korngold offered the premiere of the Violin Concerto decided not to perform it, Korngold persuaded the renowned virtuoso, Jascha Heifetz, to give the premiere (although he insisted that Korngold increase the finale’s technical difficulty!). The first performance took place on February 15, 1947, with Vladimir Golschmann conducting the St. Louis Symphony Orchestra. Korngold took the themes from his film scores: Another Dawn and Juarez (first

movement); Anthony Adverse (second movement); and The Prince and the Pauper (third movement). It is a above all a lyrical creation, intended, in the composer’s words, “for a Caruso rather than a Paganini.” After two tender and expressive movements, the joyful finale, as Heifetz requested, bristles with virtuoso fireworks.

Aaron Copland b. Brooklyn, New York, USA / November 14, 1900 d. Peekskill, New York, USA / December 2, 1990

Rodeo: Four Dance Episodes Looking to show its support for America’s efforts in the Second World War, the renowned dance company Les Ballets russes de Monte Carlo commissioned a ballet on an American subject from dancer/choreographer Agnes de Mille. She turned to Copland for the music because of his success four years earlier with another ballet, Billy the Kid. The premiere of Rodeo (New York, October 16, 1942), with de Mille dancing the lead, scored a huge success.

We create places that help communities shine Design with community in mind

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CHRISTMAS ST. ANDREW’S-WESLEY CHURCH, VANCOUVER Thursday, December 11 at 7:30 pm Friday, December 12 at 4 pm & 7:30 pm Saturday, December 13 at 4 pm & 7:30 pm Sunday, December 14 at 7:30 pm

SOUTH DELTA BAPTIST CHURCH, DELTA Wednesday, December 17 at 7:30 pm

BELL PERFORMING ARTS CENTRE, SURREY Thursday, December 18 at 4 pm & 7:30 pm

CENTENNIAL THEATRE, NORTH VANCOUVER Friday, December 19 at 4 pm & 7:30 pm


Saturday, December 20 at 4 pm & 7:30 pm


Sunday, December 21 at 4pm & 7:30 pm

Gordon Gerrard conductor UBC Opera Ensemble

Christopher Gaze host Enchor

Metro Vancouver’s most beloved Holiday music tradition plays to SOLD OUT HOUSES in South Delta, Burnaby, the North Shore, Surrey, and downtown Vancouver. Get your tickets now!

Gordon Gerrard


Christopher Gaze


The plot is simplicity itself, though many will think it a museum piece. A cowgirl who is infatuated with a handsome wrangler dresses and acts like a man in hopes of impressing him. It doesn’t work, so she goes back to wearing skirts and wins him over. In addition to original material, Copland’s score for Rodeo makes use of several authentic cowboy songs: If He Be a Buckaroo by His Trade, Sis Joe, Old Paint, Bonyparte, and McLeod’s Reel. The full score contains music for solo piano, which Copland omitted when preparing this otherwise complete concert version. Buckaroo Holiday, the rambunctious opening section, is followed by the tranquil Corral Nocturne and the wistful Saturday Night Waltz. Heroine and hero express their joy in finding each other in the high-stepping finale, Hoe-Down.

George Gershwin b. Brooklyn, New York, USA / September 26, 1898 d. Hollywood, California, USA / July 11, 1937

An American in Paris The New York Symphony Society, which had commissioned and premiered Gershwin’s Piano Concerto in 1925, next commissioned him to compose a work for orchestra alone. Three years later, with the early sketches for the new piece in tow, Gershwin travelled to Paris for an extended working holiday. The composition took shape there. Back in New York, he completed An American in Paris just in time for its scheduled premiere that December. Here is his own introduction: My purpose is to portray the impression of an American visitor in Paris, as he strolls about the city, and listens to various street noises and absorbs the French atmosphere. The opening gay section is followed by a rich blues with a strong rhythmic undercurrent. Our American friend perhaps after strolling into a café and having a couple of drinks, has succumbed to a spasm of homesickness. This blues rises to a climax followed by a coda in which the spirit of the music return to the vivacity and bubbling exuberance of the opening part with its impressions of Paris.  ■ Program Notes © 2014 Don Anderson

Concert Program


Friday & Saturday, November 21 & 22 The Best of Lerner & Loewe Steven Reineke conductor Amy Wallis vocalist David Curry vocalist Jonathan Estabrooks vocalist UBC Opera Ensemble MUSIC BY FREDERICK LOEWE LYRICS BY ALAN JAY LERNER ARRANGEMENTS BY JOHNNY GREEN


Lerner and Loewe Overture Selections from Camelot

Camelot What Do the Simple Folk Do? If Ever I Would Leave You

Selections from Paint Your Wagon



I Talk to the Trees They Call the Wind Maria Another Autumn How Can I Wait? There's a Coach Comin' In & I’m On My Way

Selections from Gigi

Say a Prayer for Me Tonight The Night They Invented Champagne I Remember It Well Gigi

INTERMISSION Selections from Brigadoon





Overture Come to Me, Bend to Me The Heather on the Hill I’ll Go Home with Bonnie Jean It’s Almost Like Being in Love

Selections from My Fair Lady

Orchestral Prelude Wouldn’t It Be Loverly? The Rain in Spain I Could Have Danced All Night Get Me to the Church on Time On the Street Where You Live Show Me I’ve Grown Accustomed to Her Face

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Steven Reineke conductor

Steven Reineke’s boundless enthusiasm and exceptional artistry have made him one of the nation’s most sought-after pops conductors, composers and arrangers. Mr. Reineke is the Music Director of The New York Pops at Carnegie Hall, Principal Pops Conductor of the National Symphony Orchestra at the John F. Kennedy Center for the Performing Arts, and Principal Pops Conductor of the Toronto Symphony Orchestra. He previously held the posts of Principal Pops Conductor of the Long Beach and Modesto Symphony Orchestras and Associate Conductor of the Cincinnati Pops Orchestra.

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As the creator of more than one hundred orchestral arrangements for the Cincinnati Pops Orchestra, Mr. Reineke’s work has been performed worldwide, and can be heard on numerous Cincinnati Pops Orchestra recordings on the Telarc label. A native of Ohio, Mr. Reineke is a graduate of Miami University of Ohio, where he earned bachelor of music degrees with honors in both trumpet performance and music composition. He currently resides in New York City with his partner Eric Gabbard.

Amy Wallis vocalist Vancouver-born, soprano Amy Wallis’s career has taken her to concert and music theatre stages across Canada. She first gained

national attention as Anne Shirley in the Charlottetown Festival’s production of Anne of Green Gables. More recently, Ms. Wallis starred at the Stratford Festival as Mabel in The Pirates of Penzance and Sally in You’re a Good Man, Charlie Brown. Last season, she debuted with the Edmonton Symphony in Operetta Magic conducted by Robert Bernhardt and joined the Toronto Symphony as the headliner in Classic Broadway; Lerner & Loewe conducted by Steven Reineke. Further credits include Belle in Beauty and the Beast for the Arts Club Theatre Company, Dorothy in The Wizard of Oz for Drayton Entertainment, and Peter in Peter Pan for Royal City Musical Theatre. Ms. Wallis has been featured on CBC, for P&O Cruise Lines and with Marvin Hamlisch and the Seattle Symphony.

David Curry vocalist David Curry is renowned for his many performances in Paris at Théâtre du Châtelet, where he created the role of Stathis Borens in the world premiere of Shore’s The Fly, directed by David Cronenberg and conducted by Placido Domingo. Further Châtelet engagements include Henrik in Sondheim’s A Little Night Music and Pirelli in Sweeney Todd, a role he reprises for Vancouver Opera. Recent and upcoming engagements include The Best of Lerner & Loewe with Reineke and the Toronto Symphony, the Duke in Rigoletto for Oscarsborg Operaen in Norway, Nanki Poo in Mikado for Michigan Opera Theater, and Vanja in Katya Kabanova for Den Jyske Opera in Denmark. Further credits include the Wexford Festival, Welsh National Opera, Amsterdam’s Concertgebouw, Teatro Colon (Buenos Aires), Den Nye Opera (Norway), Opéra Lille, Opéra Reims, English National Opera and Theatre Athénée Paris. David trained at the Royal Academy of Music, London Royal Schools Opera, Royal College of Music and the National Opera Studio.

Jonathan Estabrooks vocalist Hailed by the New York Times as a 'robust baritone,' and an alumni of the Juilliard School, Canadian baritone Jonathan Estabrooks performs extensively with major

symphony orchestras and opera companies around the world. The 2013/14 season saw multiple debuts including Carnegie Hall, The Kennedy Center, the Oratorio Society of New York, Lyric Opera Virginia and the Toronto Symphony Orchestra. Opera appearance included The Baron with Opera Lyra Ottawa (La Traviata), created the role of Alan Turning with American Lyric Theatre (The Turing Project), Le Podestat (Dr. Miracle) in Montréal and a return to the Caramoor Center for the Arts. Discovered this year by 5-time Grammy® Award winning producer Dave Reitzas (Groban, Streisand, Buble), he traveled to the famed Westlake Studios in Hollywood to record his debut crossover album These Miles with the Macedonia Radio Orchestra, available now on Amazon and iTunes. Mr. Estabrooks will be signing copies in the lobby after tonight's performance.

UBC Opera Ensemble The University of British Columbia Opera Ensemble was founded by Canadian lyric coloratura Nancy Hermiston in 1995. Beginning with a core of seven performers, Miss Hermiston has built the program to a 90-member company, performing three main productions at UBC every season, seven Opera Tea Concerts, and several engagements with local community partners. The Ensemble’s mission is to educate young, gifted opera singers, preparing them for international careers. Past main stage productions have included  Le Nozze di Figaro, Die Zauberflöte, The Merry Wives of Windsor, Suor Angelica, La Bohème, Dido and Aeneas, The Merry Widow, Manon, Eugene Onegin, Falstaff, Don Giovanni, Cendrillon, Albert Herring, the Western Canadian premiere of Harry Somers’ Louis Riel, The Crucible, Rusalka, Così fan tutte, Dialogues des Carmélites, and Carmen. 2014/2015 season includes The Bartered Bride, Le Nozze di Figaro and La Traviata. They travelled to the Czech Republic this summer performing Smetena’s opera  The Bartered Bride.  ■

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“ From Student to Teacher ” ONE OF THE WAYS that the Vancouver Symphony Orchestra makes the greatest impact in the community at-large is by way of its education programs. Study after study continues to prove how overwhelmingly positive it can be to include music in a child’s education from an early age into adulthood. From increasing a child’s empathy towards others, to learning problem solving strategies, to helping a child learn life-long communication skills, in a day and age when children seem to be increasingly isolated, having a child participate in music lessons not only helps them build skills and friendships to help them succeed in their own life, it

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helps our society become more well-rounded, progressive, tolerant, and inclusive. One of the greatest joys in the lives of many musicians in the VSO is doing just this— teaching music to children. Whether they teach at one of the many music schools or academies in the Lower Mainland, or they teach privately in their homes, most of the VSO musicians teach real-world music and life skills to hundreds of children each week. VSO Assistant Principal Flute Nadia Kyne is one of these musicians. And being the youngest of five children, all of whom studied music, she knows a thing or two about the effect of music on a child’s life.

The flute was all that was left to play! I grew up in White Rock and all of my four siblings and I studied music and learned an instrument. My parents felt it was important that we all had music in our lives, and they had us pick different instruments so that there wouldn’t be any competition between us. By the time I was old enough to start lessons, my siblings were doing piano, cello, and violin – the flute was the only Suzuki instrument left to play. A few times a week we would make the trip into Vancouver for lessons at the Vancouver Academy of Music. I started out in the Suzuki program, and when I started High School I joined the Academy’s orchestra. Roger Cole (VSO Principal Oboe) who leads the Vancouver Youth Symphony Orchestra today, led the woodwind sectionals at the Academy back then, and Karin Walsh (VSO Oboe) and Gwen Seaton (VSO Bassoon) were also in the wind section. Auditions for professional orchestras are so competitive that the chances of winning a job in one’s hometown orchestra are slim – it’s pretty incredible that we are all playing in the VSO now!"

White Rock to New York City “After high school I went to the Curtis Institute of Music in Philadelphia for my B.Mus, and from there received my Masters from The Juilliard School in New York City. I was fortunate to receive fellowships for both degrees, which enabled me to study with Jeffrey Khaner, the Principal Flutist of the Philadelphia Orchestra. After I graduated from Julliard I worked in New York for a year, but I soon realized that

I wanted to come home to Vancouver and focus on auditioning for an orchestral job. Luckily for me, about a month after I moved back from New York, the VSO announced a vacancy for the position that I currently hold."

From student to teacher “It’s been a few decades since I first started playing, and I now teach at the Vancouver Academy of Music. A few years ago I also started teaching at the St. James Music Academy in Vancouver’s downtown eastside. It’s an amazing place. Almost two hundred children go this after-school program two or three times a week and study their chosen instrument, as well as orchestra, choir and theory, all at no cost to their families. The kids are given a healthy meal before the start of their music classes, and the incredible staff there provides a safe, welcoming community that is often an escape from difficult home situations. I love seeing how these kids grow and thrive over the course of a few years in the program. It’s very inspiring and I’m so lucky to be a part of it.

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GONE MOBILE! check out the mobile website at Concert listings, photos/bios, concert planning, and ticket sales — all at your fingertips!


Concert Program VS O C H A M B ER P LAY E R S



Thursday, November 20, 7:30pm JEANETTE JONQUIL

Sunday, November 23, 2pm TOMASI Concert Champetre

for oboe, clarinet and bassoon

Roger Cole oboe Jeanette Jonquil clarinet Sophie Dansereau bassoon

BERIO Opus Number Zoo

(Children’s Play for Wind Quintet) ROGER COLE ARIEL BARNES

Christie Reside flute Roger Cole oboe Jeanette Jonquil clarinet Sophie Dansereau bassoon David Haskins horn

LIGETI Six Bagatelles for Wind Quintet Christie Reside flute Roger Cole oboe Jeanette Jonquil clarinet Sophie Dansereau bassoon David Haskins horn INTERMISSION

VILLA-LOBOS Bachianas Brasileiras No. 6 for flute and bassoon

Christie Reside flute Sophie Dansereau bassoon


RAVEL Piano Trio in A minor Nicholas Wright violin Ariel Barnes cello Grace Huang piano allegro 27

Concert Program A IR C A N A D A M A S T ERW OR K S D IAMO N D OR P H EU M T H EATR E , 8 P M

Saturday & Monday, November 29 & December 1 James Gaffigan conductor Philippe Quint violin BARBER ◆

Vanessa, Op. 32: Intermezzo


Violin Concerto No. 4 in D Major, K. 218 I. Allegro II. Andante cantabile III. Rondeau: Andante grazioso – Allegro ma non troppo



SHOSTAKOVICH Symphony No. 7 in C Major, Op. 60 Leningrad I. Allegretto II. Moderato (Poco allegretto) III. Adagio IV. Allegro non troppo



with Nicolas Krusek free to ticketholders at 7:05pm.


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James Gaffigan conductor Hailed for the natural ease of his conducting and the compelling insight of his musicianship, James Gaffigan continues to attract international attention and is considered by many to be the most outstanding young American conductor working today. In January 2010, he was appointed Chief Conductor of the Lucerne Symphony Orchestra and Principal Guest Conductor of the Netherlands Radio Philharmonic Orchestra and at the beginning of the 12/13 season, Gaffigan was named the first ever Guest Conductor of Cologne’s Gürzenich Orchestra. James Gaffigan’s international career was launched when he was named a first prize winner at the 2004 Sir Georg Solti International Conducting Competition in Frankfurt, Germany. Since then, he has become a sought-after guest conductor throughout Europe and North America, working with prestigious orchestras such as the Munich and Rotterdam Philharmonics, Deutsches Symphony Orchestra Berlin, London and Czech Philharmonics, Tonhalle

Orchestra and the Camerata Salzburg among others. James Gaffigan resides in Lucerne with his wife, the writer Lee Taylor Gaffigan, and their children, Sofia and Liam.

Philippe Quint violin Award-winning American violinist Philippe Quint is a multifaceted artist whose wide range of interests has led to several Grammy® nominations for his albums, performances with major orchestras throughout the world, a leading role in a major independent film called Downtown Express, and explorations of tango with his band The Quint Quintet. Highlights of his 2014/2015 season include performances with many North American orchestras including the Indianapolis Symphony, Kansas City Symphony, San Diego Symphony, Grand Rapids Symphony, Vancouver Symphony and Puerto Rico Symphony. Quint’s first album for Avanticlassic, was a recording of the Mendelssohn and Bruch

Violin Concertos and Beethoven’s Romances; it was released in 2012. His recordings of William Schuman’s Violin Concerto (2007) and Korngold’s Violin Concerto (2009) were both nominated for Grammy® Awards. Born in Russia, Philippe Quint studied at Moscow's Special Music School for the Gifted and made his orchestral debut at the age of nine. After emigrating to the United States, he earned both Bachelor's and Master's degrees from Juilliard.

baroness, Vanessa’s mother; and Anatol, the son of Vanessa’s deceased lover. This lushly scored, beautifully melancholy Intermezzo appears between the two scenes of Act Three.

Wolfgang Amadeus Mozart b. Salzburg, Austria / January 27, 1756 d. Vienna, Austria / December 5, 1791

Violin Concerto No. 4 in D Major, K. 218 In 1769, the thirteen-year-old Mozart was awarded the post of Honorary Concertmaster in his home city’s court orchestra. His duties b. West Chester, Pennsylvania, USA / March 9, 1910 d. New York, New York, USA / January 23, 1981 included leading it from the first desk (this being before the rise of the conductor), Vanessa, Op. 32: Intermezzo playing solos, and writing new music for it to Barber’s vivid, neo-romantic drama Vanessa perform. Between April and December 1775, premiered at the Metropolitan Opera in 1958. he composed four of the five violin concertos The premiere production was directed by the that can be unquestionably attributed to author of the libretto, fellow composer Gian him. No. 4 appeared in October. He modeled Carlo Menotti. Set in a luxurious northern it on a work in the same key, written 10 villa during the early years of the twentieth years previously by the Italian composer, century, the plot concerns the emotional Luigi Boccherini. It opens with a bold, almost conflicts between Vanessa, a beautiful woman military declamation, setting the stage for in her late thirties; Erika, her niece; the old the soloist’s entry. From then on, the music

Samuel Barber

radiates grace, good humour and perfect taste. The slow movement offers warmth and serenity. Mozart scholar Alfred Einstein called it “an uninterrupted song, an avowal of love.” The finale opens gently, then breaks happily into a rustic dance tune. The appealing sequence of varied episodes that follows includes references to several popular airs of the day.

Dmitri Shostakovich b. St. Petersburg, Russia / September 25, 1906 d. Moscow, Russia / August 9, 1975

Symphony No. 7 in C Major, Op. 60 Leningrad Shostakovich composed the first three movements of this epic piece during the summer of 1941, after Hitler’s Nazi army had begun the siege of Leningrad (formerly and subsequently known as St. Petersburg). On September 30, he was evacuated to the town of Kuybïshev. He completed the symphony there on December 27, and dedicated it “to the city of Leningrad.” The premiere took place in Kuybïshev on March 5, 1942. Hundreds of international performances quickly followed. It was smuggled past the Nazi blockade on microfilm and rushed to North America, where eminent conductors Arturo Toscanini and Leopold Stokowski vied mightily to give the local premiere (Toscanini won the race, by a hair’s breadth). Inevitably, any work that achieves such swift and overwhelming acclaim must suffer reaction. After the war it virtually disappeared from concert halls. It was rehabilitated by a considered re-evaluation, which revealed that it contains a great deal that is dramatically effective and musically valuable. Descriptions of its purposes and contents vary widely and controversially. The following comes from an ‘official’ program note, published under the composer’s name and circulated before the symphony was completed: “The exposition of the first movement tells of the happy, peaceful life of people sure of themselves and their future. This is the simple, peaceful life lived before the war by thousands of Leningrad militiamen, by the whole city, by our country. In the development, war bursts into the peaceful life of these people.”

This ‘invasion’ or ‘war’ section is the symphony’s most celebrated (or notorious) feature. “Idle critics will no doubt reproach me for imitating Ravel’s Bolero,” the ‘official’ program note reads. “Well, let them, for this is how I hear the war. The reprise is a funeral march or, rather a requiem for the victims of the war. After the requiem there is an even more tragic episode. Maybe what is here are a mother’s tears or even the feeling when grief is so great that there are no tears left. These two lyrical fragments lead to the conclusion of the first movement, to the apotheosis of life, of the sun. At the very end distant thunder appears again reminding us that the war continues. “The second and third movements are not associated with a specific program. They are intended to serve as lyrical respite… The second movement is a very lyrical scherzo. There is little humour in it.” A later, revised version of the note continues, “The third movement, a pathetic Adagio, expressing ecstatic love of life and the beauties of nature, passes uninterrupted into the fourth which, like the rest, is a

fundamental movement of the symphony. The first movement is expressive of struggle, the fourth of approaching victory.” Contrast the above with the following excerpts from Testimony, the controversial volume of memoirs that was published after the composer’s death: “The Seventh Symphony had been planned before the war and consequently it simply cannot be seen as a reaction to Hitler’s attack. The ‘invasion theme’ has nothing to do with the attack. I was thinking of other enemies of humanity when I composed the theme… The war brought much new sorrow and much new destruction, but I haven’t forgotten the horrible pre-war years. That is what all my symphonies, beginning with the Fourth, are about…Actually, I have nothing against calling the Seventh the ‘Leningrad’ Symphony, but it’s not about Leningrad under siege, it’s about the Leningrad that Stalin destroyed and Hitler nearly finished off.”  ■ Program Notes © 2014 Don Anderson

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Concert Program KIDS' KO N CE RTS / O RPHE U M THE ATR E , 2P M

Sunday, November 30

Nathaniel Stookey: The Composer is Dead! Text by Lemony Snicket Gordon Gerrard conductor

Gordon Gerrard conductor Gordon Gerrard is a respected figure in the new generation of Canadian musicians. Trained first as a pianist and subsequently as a specialist in operatic repertoire, Gordon brings a fresh perspective to the podium. For four seasons Gordon held the positions of Resident Conductor and Repetiteur for Calgary Opera. He led many productions while in residence in Calgary, and has subsequently been invited back to help launch Calgary Opera’s summer opera festival Opera in the Village with productions of Candide and The Pirates of Penzance. Gordon has also conducted productions for Opera Hamilton to critical acclaim, and was Assistant Conductor for several productions at Opera Lyra Ottawa. Gordon returns to Opera McGill this season to lead a production of Le Nozze di Figaro. After two successful seasons as Assistant Conductor of the Vancouver Symphony Orchestra, Gordon has recently been promoted to the newly created post of Associate Conductor.  ■ 34 allegro


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.



Concert Program T EA & T RU M P ETS ORP H EU M T H EATR E , 2 P M

Thursday, December 4

Americana Gordon Gerrard conductor Christopher Gaze host/narrator Beth Orson english horn Larry Knopp trumpet BERNSTEIN Candide: Overture DVORˇÁK Symphony No. 9 in E minor, Op. 95 From the New World I. Adagio-Allegro molto


COPLAND Quiet City BERNSTEIN West Side Story: Tonight COPLAND Rodeo

I. Buckaroo Holiday II. Corral Nocturne III. Saturday Night Waltz IV. Hoe Down

GROFE Grand Canyon Suite


III. On the Trail

TEA & COOKIES Don’t miss tea and cookies served in the lobby one hour before each concert. Tea provided compliments of Tetley Tea.



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The Stradivarius Legacy Circle The Stradivarius Legacy Circle recognizes and thanks individuals in their lifetime for making arrangements to leave a bequest or planned gift in their will or estate plans to the Vancouver Symphony Foundation—creating a lasting legacy of exceptional symphonic music and music education in our community. We sincerely thank the following members for their foresight, generosity and commitment to the VSO's future. George Abakhan Janet M. Allan Renate A. Anderson Lorna Barr Janice Brown Peter & Mary Brunhold Dr. William. T. Bryson Ralph & Gillian Carder John & Patricia Chapman David & Valerie Davies Gloria Davies Sharon Douglas Jackie Frangi

Rob & Anne Shirley Goodell Renate R. Huxtable Wayne & Leslie Ann Ingram Margaret Irving Estelle & Michael Jacobson Mary Jordan Dorothy Kuva Dorothy MacLeod Irene McEwen Paul Richard Moritz

Barbara Morris Martin O’Connor Josephine Pegler Eleanor Phillips Marion Poliakoff Diane Ronan Louis Rosen Bernard Rowe & Annette Stark Shirley Sawatsky Dorothy Shields Mary Ann Sigal Doris Smit

Robert & Darlene Spevakow Dr. Barbara Stafford Hermann Stolting Elizabeth Tait Melvyn & June Tanemura Tuey Family Trust Robert & Carol Tulk David & Ruth Turnbull Tessa Wilson Kelley Wong Anonymous (3)

Bequests The Vancouver Symphony is grateful to have received bequests since 2000 from the following individuals. BEQUESTS TO THE VANCOUVER SYMPHONY FOUNDATION $500,000 or more Jim and Edith le Nobel Kathleen Margaret Mann $100,000 or more Steve Floris John Rand $50,000 or more Winslow Bennett Margaret Jean Paquin Rachel Tancred Rout Mary Flavelle Stewart $25,000 or more Dorothy Freda Bailey

Phyllis Celia Fisher Margot Lynn McKenzie $10,000 or more The Kitty Heller Alter Ego Trust Kaye Leaney $5,000 or more Anne de Barrett Allwork Clarice Marjory Bankes Lawrence M. Carlson Muriel F. Gilchrist J. Stuart Keate Gerald Nordheimer Audrey M. Piggot Jan Wolf Wynand $1,000 or more Eleanor Doke Caldwell

BEQUESTS TO THE VANCOUVER SYMPHONY SOCIETY $250,000 or more Ruth Ellen Baldwin $100,000 or more Rita Alden Dorothy Jane Boyce Roy Joseph Fietsch Hector MacKay $50,000 or more Fritz Ziegler $25,000 or more Dorothy M. Grant Lillian Erva Hawkins

Florence Elizabeth Kavanagh Mary Fassenden Law Geraldine Oldfield Alice Rumball Anne Ethel Stevens $10,000 or more Dorothea Leuchters Robert V. Osokin Elizabeth Jean Proven Freda Margaret Rush Doris Kathleen Skelton $5,000 or more Raymond John Casson Alfred Knowles Gordon McConkey Evelyn Ann van der Veen

Joan Marion Wasson Dorothy Ethel Williams $1,000 or more Phyllis Victoria Ethel Bailly Joyce Basham Doris May Bond Kathleen Grace Boyle Kathleen Mary DeClercq Jean Haszard Grace Barbara Isobel Hooper Lewis Wilkinson Hunter Annie Velma Pickell Jean Semple Wilhelmina Stobie  ■

For further information on leaving a Legacy gift to the VSO please call Mary Butterfield, Director, Individual and Legacy Giving at 604.684.9100 ext. 238 or email

Gordon Gerrard conductor For a biography of Gordon Gerrard please refer to page 34.

Christopher Gaze

host/narrator Born and educated in England, Christopher Gaze was inspired to come to Canada in 1975 by his mentor, legendary Shakespearean actor Douglas Campbell. He spent three seasons at the Shaw Festival in Niagara-onthe-Lake then moved to Vancouver in 1983. After a couple of experiences with other outdoor Shakespeare events, Christopher recognized the potential in blending excellent Shakespeare productions with Vancouver’s spectacular location. In 1990 he founded Bard on the Beach Shakespeare Festival where Bard’s signature open-ended performance tent allowed the actors to perform against a backdrop of the city’s skyline and mountains. A gifted public speaker, Christopher frequently shares his insights on the theatre and Shakespeare out in the community with school groups, service organizations and local businesses. Christopher’s many honours include induction into the BC Entertainment Hall of Fame, Canada’s Meritorious Service Medal (2004), Honorary Doctorates from UBC & SFU, the BC Community Achievement Award (2007), the Gold Medallion from the Children’s Theatre Foundation of America (2007), the Mayor’s Arts Award for Theatre (2011) and the Order of British Columbia (2012).



A graduate of the Oberlin Conservatory and winner of the Oberlin Concerto Competition, Ms. Orson's principal teachers were Laurence Thorstenberg, James Caldwell, and Elaine Douvas. Before moving to Vancouver, Ms. Orson worked as a freelance musician in New York City where she often performed with the orchestras of the Metropolitan and New York City Operas, the Orchestra of St.Luke’s, Philharmonia Virtuosi, and on Broadway.

Larry Knopp trumpet

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 Malaysian Philharmonic Orchestra, and is currently Principal Trumpet of the Vancouver Symphony Orchestra. 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 english horn studied with Barbara Butler. As an educator and conductor with a Bachelor of Education Beth Orson has played Assistant Principal Degree, Larry has directed ensembles from Oboe and English Horn with the Vancouver junior high to university levels, and has Symphony Orchestra since 1990. As a chamber musician, Ms. Orson often performs recently finished appointments as visiting with the Turning Point Ensemble and in recital Professor of Trumpet at the Eastman School at the University of British Columbia. Principal of Music and the Northwestern University School of Music. Oboe of the NY Symphonic Ensemble from 1988–2005, she completed nineteen tours to Larry is active as a clinician throughout North Japan with this renowned chamber orchestra, America, Australia and Asia. As a faculty performing in every major concert hall in member at many summer festivals Larry Japan, often as oboe soloist. attracts numerous students to Vancouver, teaching at the University of British Columbia Ms. Orson has recorded for CBC Records, and the Vancouver Academy of Music.  ■ Deutsche Grammophon, Essay, New World, Parnassus and Technics Records.

Beth Orson

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The 2015 VSO SPRING FESTIVAL focuses on the music of the greatest composer who ever lived, and one of history’s greatest creative geniuses: Wolfgang Amadeus Mozart. Beginning with the Oscar®-winning film Amadeus, MOZART PLUS explores the music of this extraordinary composer, and the writings of some of the many composers who were influenced by his miraculous music. Maestro Bramwell Tovey and the VSO lead us through Mozart’s life and career, starting with two very different explorations of the apocryphal legend of Salieri’s poisoning of Mozart; we hear Mozart’s three last, great symphonies; an aria from Don Giovanni; one of Mozart’s great Serenades; funeral music written for Mozart’s Masonic Lodge; and his last composition, the Requiem — an unfinished work that lay at Mozart’s bedside as he died a tragically-early death at the age of 36. After the resounding success of the first VSO SPRING FESTIVAL, these concerts are sure to sell out, so order your tickets now!

The VSO Spring Festival includes Pre-Concert Talks each night with Maestro Bramwell Tovey. FREE TO TICKETHOLDERS.

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604.876.3434 or



Winner of 8 ACADEMY AWARDS (including Best Picture), director Milos Forman’s Amadeus chronicles the imagined story of Mozart and Salieri. Relive it in all its cinematic and musical glory on the big screen at the Orpheum!





Bramwell Tovey conductor Michael Colvin tenor* James Westman baritone* RIMSKY-KORSAKOV Mozart & Salieri* MOZART Symphony No. 39 in E-flat Major

Bramwell Tovey conductor James Westman baritone* MOZART Serenade No. 6 in D Major, Serenata Notturna MOZART Don Giovanni: Deh, vieni alla finestra* R. STRAUSS Don Juan MOZART Symphony No. 40 in G minor



Bramwell Tovey conductor HAYDN March for the Royal Society of Musicians HAYDN (LEOPOLD MOZART) Toy Symphony BRAHMS Variations on a Theme of Joseph Haydn MOZART Symphony No. 41 in C Major, Jupiter



Bramwell Tovey conductor Melanie Krueger soprano* Marion Newman mezzo-soprano* Colin Ainsworth tenor* Stephen Hegedus baritone* UBC Opera Ensemble* MOZART Masonic Funeral Music TCHAIKOVSKY Suite No. 4 in G Major, Mozartiana MOZART Requiem*

7-year old Mozart on tour in Paris with his sister Nannerl and his father Leopold in 1763. Carmontelle (ca. 1763) watercolour

BONUS SAVINGS! Order the FESTIVAL PASS and SAVE 30% over single concert prices! AMADEUS, THE MOVIE, APRIL 10





DRESS $ 90.00 $ 90.00 $ 90.00 A 69.00 64.50 51.75 B 52.00 50.00 40.00 C 38.00 36.00 28.50 D 25.00 25.00 21.00

$ 76.50 58.50 46.00 32.25 21.25




DRESS $ 267 $ 267 A 208 195 B 160 155 C 125 120 D 105 99

$ 267 160 125 99 90

$ 229 179 145 115 90

Bramwell Tovey with the VSO

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Concert Program G OL D C ORP M ASTE RWO R KS G O LD OR P H EU M T H EATR E , 8 P M

Lahav Shani conductor Ryu Goto violin

Saturday & Monday, December 6 & 8

GLINKA Russlan and Ludmilla: Overture BRAHMS Violin Concerto in D Major, Op. 77

I. Allegro non troppo II. Adagio III. Allegro giocoso, ma non troppo vivace LAHAV SHANI



Symphony No. 5 in E minor, Op. 64 I. II. III. IV.

Andante – Allegro con anima Andante cantabile, con alcuna licenza Valse: Allegro moderato Finale: Andante maestoso – Allegro vivace (alla breve)


with Gordon Gerrard free to ticketholders at 7:05pm.




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Lahav Shani conductor

world's top institutions. Efforts include the "Ryu Goto Excellence In Music Initiative In 2013, twenty-five year old Israeli conductor, Scholarship" with the NYC Department of Education, as well as collaborations with Lahav Shani, burst onto the international scene after winning first prize at the Bamberg institutions like the Juilliard School and the Harvard Bach Society Orchestra. Ryu records Symphony Orchestra’s prestigious Gustav Mahler International Conducting Competition. for Deutsche Grammophon in collaboration with Universal Classics Japan. In May 2011, Following the competition, Shani was invited he graduated from Harvard University with to open the Israel Philharmonic Orchestra’s a BA in Physics. Ryu performs on the 1722 2013/14 season. In November 2013, Shani 'Jupiter' Stradivarius, on loan from the stepped in to replace Gustavo Dudamel for Nippon Music Foundation. three highly successful concerts with the Bamberger Symphoniker, and in June 2014, Shani made a sensational debut in Berlin, replacing Michael Gielen with the Berlin b. Novospasskoye, Russia / June 1, 1804 Staatskapelle. d. Berlin, Germany / February 15, 1857 Over the next two seasons, Shani will conduct Russlan and Ludmilla: Overture esteemed orchestras such as the RundfunkSporting melodies patterned on folk music, Sinfonieorchester Berlin, Netherlands Radio and scored in lavish orchestral colours, Philharmonic, Philharmonia Orchestra, Czech Russlan and Ludmilla (1842) founded Philharmonic, Frankfurt Radio Symphony, the Russian national school of opera. The Gürzenich Orchester Köln and NDR wedding between Ludmilla, daughter of the Radiophilharmonie. grand prince of Kiev, and Russlan, a knight Also an accomplished pianist and in the prince’s service, is disrupted when double bassist, in 2007 Shani performed the bride is abducted by Chernomor, an evil Tchaikovsky's Piano Concerto under magician. Russlan locates the magician’s the baton of Zubin Mehta with the Israel castle and cuts off Chernomor’s beard, Philharmonic. In 2010, he again joined Mehta the source of his evil power, then revives and the orchestra on tour in Asia, where Ludmilla with the help of a magic ring. he participated as solo pianist, conductor’s Glinka sets the scene for these fanciful assistant and as double bass player. goings-on with the perfect curtain-raiser: brisk, compact and tuneful.

Mikhail Glinka

Ryu Goto violin

Japanese-American violinist Ryu Goto has established himself as a significant voice in classical music, with a large and growing public in Asia, North America and Europe. Ryu's career began at age seven when he made his debut at the Pacific Music Festival in Sapporo, Japan, playing Paganini's Violin Concerto No.1. Since then, Ryu has appeared as a soloist with many of the world's leading orchestras, ensembles including National Symphony Orchestra, London Philharmonic, Wiener Symphoniker, European Union Youth Orchestra, China Philharmonic Orchestra, Shanghai Symphony Orchestra and Orpheus Chamber Orchestra. Ryu's philanthropic work includes working with student musicians throughout the world, mentoring their development, conducting master classes in conjunction with the 44 allegro

Johannes Brahms b. Hamburg, Germany / May 7, 1833 d. Vienna, Austria / April 3, 1897

Violin Concerto in D Major, Op. 77 By the time Brahms began work on this marvellous concerto in 1878, he and Joseph Joachim had been friends for twenty-five years. One of the most outstanding musicians of the era, Joachim won fame as violinist, chamber musician, conductor, and composer. Like Brahms, he wore conservative musical colours. Both of them favoured the Classical poise and purity of Beethoven, over the Romantic excess of such contemporary composers as Berlioz, Liszt and Wagner. Joachim studied the concerto-in-progress closely, and made numerous suggestions to make it more practical. Brahms ignored almost all of them, choosing to follow his

own inclinations. With Joachim as soloist, and Brahms himself conducting, the concerto received its premiere in Leipzig on New Year’s Day, 1879. The warm, expansive introduction to the opening movement sets the tone and scale for the entire segment. Beethoven-esque in scale and ambition, the movement nevertheless bears Brahms’s own stamps of urgency and introspective lyricism. An especially dramatic passage sets up the violinist’s solo cadenza, which as expected is substantial rather than showy. The heartfelt slow movement begins sweetly and quietly with a spotlight on the wind section. The solo oboe emerges with the lovely, expressive main theme, which the soloist takes up and elaborates. The music generates a limited amount of emotional heat, but it dissolves back into the opening serene reverie. The finale is also reserved, at least in comparison with contemporary concertos such as Tchaikovsky’s. The recurring refrain is a jovial, heavy-footed peasant dance. This is the most technically demanding section of the concerto, but as always elements of display never overwhelm good taste and musical substance.

Pyotr Il’yich Tchaikovsky b. Kamsko-Votkinsk, Russia / May 7, 1840 d. St. Petersburg, Russia / November 6, 1893

Symphony No. 5 in E minor, Op. 64 Ten years passed between the composition of Tchaikovsky’s fourth and fifth symphonies. He made sketches for No. 5 during the summer of 1887, set to work in earnest in May 1888, and completed it by August. In November, he conducted the first two performances himself. Audiences loved it. Critics, on the other hand, reacted with hostility (“disruptive waltz themes,” “cheap showmanship,” etc.). Tchaikovsky was devastated. In typically mercurial fashion, a further performance in Hamburg, under another conductor, instantly erased his pessimistic feelings. Everyone there adored the piece, and their acclaim convinced him of its worth. As he had done with the fourth, he based the fifth on a recurring musical theme that represented his outlook on life at that time.

By then, his attitude to fate had softened somewhat, possibly due to a rebirth in religious feeling. He now referred to it by the less intimidating name ‘providence.’ Reflecting this shift, the Fifth Symphony’s ‘providence’ theme is much less aggressive that its counterpart in Symphony No. 4. It appears in the opening bars, intoned quietly and soberly by the clarinets. Where the Fourth Symphony’s ‘fate’ theme is heard only in the first and last movements, and remains unchanged from one appearance to the next, the Fifth’s ‘providence’ theme plays a role in each of the four movements. Its character also evolves to match the emotional progress of the music.

"Its sweeping, swelling raptures are twice interrupted, with a newly developed sense of forcefulness..." After the introduction, the opening movement contrasts restlell. Its sweeping, swelling raptures are twice interrupted, with a newly developed sense of forcefulness, by the ‘providence’ theme. The second occurrence makes a particularly devastating impact. Next comes a typically elegant Tchaikovsky waltz. He based it on a popular song he heard being sung by a boy in the street during a visit to Florence, Italy. The sole blemish on its courtly façade is provided by a brief, almost casual appearance of ‘providence,’ just before the end. Thus softened, the once-gloomy theme sounds ripe for transfiguration. It stands proudly on display in the slow-tempo introduction to the finale, where it is heard in a major key for the first time. The finale proper emerges swiftly out of the final bars of this passage. It is one of Tchaikovsky’s most joyous and energetic symphonic movements, strongly coloured with the hearty flavours and dancing rhythms of Russian folk music. Brass fanfares and a thunderous timpani roll herald a pause for breath (no applause, please!). Its transformation complete, ‘providence’ passes by in a sturdy processional, before a whirlwind coda concludes the symphony.  ■ Program Notes © 2014 Don Anderson

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The Vancouver Symphony gratefully acknowledges the generosity of the following supporters who made a commitment to the 2013/2014 season and thanks those who have demonstrated their leadership with an early commitment to the 2014/2015 season.

GOLD BATON CLUB Gifts from $50,000 and Up Dr. Peter and Mrs. Stephanie Chung Mrs. Irene McEwen* Mr. Alan and Mrs. Gwendoline Pyatt* MAESTRO'S CIRCLE Gifts from $35,000 to $49,999 Heathcliff Foundation* The R & J Stern Family Foundation Gifts from $25,000 to $34,999 Mr. Gerald McGavin, C.M., O.B.C. and Mrs. Sheahan McGavin* Michael and Irene Webb CONCERTMASTER'S CIRCLE Gifts from $15,000 to $24,999 The Christopher Foundation (Education Fund) Martha Lou Henley, C.M.* Lagniappe Foundation Michael O’Brian Family Foundation Mr. Fred Withers and Dr. Kathy Jones Anonymous* Gifts from $10,000 to $14,999 Larry and Sherrill Berg Mary and Gordon Christopher Foundation* Mr. and Mrs. G.A. Cooper Mrs. Margaret M. Duncan The Gudewill Family Werner (Vern) and Helga Höing* Ms. Sumiko Hui Yoshiko Karasawa McGrane-Pearson Endowment Fund Mr. Brian W. and Mrs. Joan Mitchell Andrè and Julie Molnar

Thomas and Lorraine Skidmore Maestro Bramwell Tovey and Mrs. Lana Penner-Tovey* Arthur H. Willms Family* Gordon Young Anonymous PRINCIPAL PLAYERS Gifts from $7,500 to $9,999 Mrs. Joyce E. Clarke Dave Cunningham In Memory of John Hodge* Kenneth W. and Ellen L. Mahon* Mollie Massie and Hein Poulus* Mr. Ken and Mrs. Patricia Shields Gifts from $5,000 to $7,499 Dr. and Mrs. J. Abel Jeff and Keiko Alexander* Etienne Bruson Dr. Don and Mrs. Susan Cameron Philip and Pauline Chan Ian and Frances Dowdeswell Cathy Grant Mr. Sam and Mrs. Patti Gudewill Hillary Haggan Diane Hodgins Dr. Marla Kiess* Judi and David Korbin Sam and Anita Lee The Lutsky Families Bruce and Margo MacDonald Mirhady Family Fund, held at the Vancouver Foundation John Hardie Mitchell Family Foundation John Slater and Patrick Wang Stanis and Joanne Smith Leon and Joan Tuey*

Anonymous (2) BENEFACTORS Gifts from $3,500 to $4,999 Mr. Hans and Mrs. Nancy Alwart Kathy and Stephen Bellringer* Hank and Janice Ketcham Prof. Kin Lo* Mr. and Mrs. Hebert Menten* Christine Nicolas Dr. Rosemary Wilkinson Dr. and Mrs. Edward Yeung Gifts from $2,500 to $3,499 Ann Claire Angus Fund Nicholas Asimakopulos Betsy Bennett* The Ken Birdsall Fund Gerhard and Ariane Bruendl* Marnie Carter* Janis and Bill Clarke Edward Colin and Alanna Nadeau Ms. Judy Garner Heather Holmes John and Daniella Icke* Olga Ilich Herbert Jenkin Gordon and Kelly Johnson Don and Lou Laishley M. Lois Milson Joan Morris in loving Memory of Dr. Hugh C. Morris Joan and Michael Riley Mr. and Mrs. Maurice A. Roden Bernard Rowe and Annette Stark Dr. Earl and Mrs. Anne Shepherd Ms. Dorothy P. Shields Wallace and Gloria Shoemay

For more information about the Patrons' Circle and the exclusive benefits associated with this program, please contact Leanne Davis Vice President, Chief Development Officer at

604.684.9100 ext. 236 or email 48 allegro

Mrs. Mary Anne Sigal Mel and June Tanemura* George and Marsha Taylor* Mr. and Mrs. David H. Trischuk Michael R. Williams Bruce Munro Wright Anonymous* Anonymous PATRONS Gifts from $2,000 to $2,499 Count Enrico and Countess Aline Dobrzensky Ann Ehrcke and Michael Levy In Memory of Betty Howard Mr. Hassan and Mrs. Nezhat Khosrowshahi* Bill and Risa Levine Violet and Bruce Macdonald Nancy and Frank Margitan Dr. Robert S. Rothwell* Bella Tata* Mark Tindle and Leslie Cliff Arthur Toft in Memory of Fred and Minnie Toft Anonymous (2)

Gifts from $1,500 to $1,999 Gordon and Minke Armstrong Derek and Stella Atkins Mr. R. Paul and Mrs. Elizabeth Beckmann Roberta Lando Beiser* Dr. and Mrs. J. Deen Brosnan Mrs. May Brown, C.M., O.B.C.* Mr. Justice Edward Chiasson and Mrs. Dorothy Chiasson* Doug and Anne Courtemanche Leanne Davis and Vern Griffiths Barbara J. Dempsey Jean Donaldson Sharon F. Douglas Darren Downs and Jacqueline Harris Dennis Friesen for Gwen Mrs. San Given Marietta Hurst* Michael and Estelle Jacobson* D.L. Janzen in Memory of Jeannie Kuyper Signe Jurcic C.V. Kent Drs. Colleen Kirkham and Stephen Kurdyak Uri and Naomi Kolet in honor of Aviva’s New York Ordination Hugh and Judy Lindsay

Hank and Andrea Luck Art and Angela Monahan Nancy Morrison Dal and Muriel Richards Dr. William H. and Ruthie Ross Mrs. Joan Scobell David and Cathy Scott Dr. Peter and Mrs. Sandra Stevenson-Moore Dr. Ian and Jane Strang L. Thom Garth and Lynette Thurber Dr. Johann Van Eeden Nico and Linda Verbeek Beverley and Eric Watt* Dr. Brian Willoughby Eric and Shirley Wilson Dr. I.D. Woodhouse Nancy Wu Anonymous (3)  ■ * Members of the Patrons’ Circle who have further demonstrated their support by making an additional gift to the Vancouver Symphony Foundation’s endowment fund.

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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. The Vancouver Symphony family extends its sincere thanks to these donors, whose gifts will ensure that the VSO remains a strong and vital force in our community long into the future. $4,000,000 or more Government of Canada through the Department of Canadian Heritage Endowment Incentives Program $1,000,000 or more Ron and Ardelle Cliff Martha Lou Henley, C.M. Province of BC through the BC Arts Renaissance Fund under the stewardship of the Vancouver Foundation Alan and Gwendoline Pyatt The Jim Pattison Foundation $500,000 or more Werner (Vern) and Helga Höing Wayne and Leslie Ann Ingram $250,000 or more Carter (Family) Deux Mille Foundation 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 Mary and Gordon Christopher Janey Gudewill and Peter Cherniavsky In memory of their Father Jan Cherniavsky and Grandmother Mrs. B.T. Rogers Malcolm Hayes and Lester Soo 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 Nancy and Peter Paul Saunders Ken and Patricia Shields George and Marsha Taylor Whittall Family Fund $50,000 or more Adera Development Corporation Winslow and Betsy Bennett Brazfin Investments Ltd. Mary Ann Clark Leon and Joan Tuey Rosemarie Wertschek, Q.C. $25,000 or more Jeff and Keiko Alexander Kathy and Stephen Bellringer Robert G. Brodie and K. Suzanne Brodie 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 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 Mrs. Geraldine Biely K. Taryn Brodie Douglas and Marie-Elle Carrothers Mr. Justice Edward Chiasson and Mrs. Dorothy Chiasson Dr. Marla Kiess Chantal O’Neil and Colin Erb Dan and Trudy Pekarsky Bob and Paulette Reid Nancy and Robert Stewart Beverley and Eric Watt Anonymous (2) $5,000 or more Charles and Barbara Filewych Edwina and Paul Heller Kaatza Foundation Prof. Kin Lo Rex and Joanne McLennan Marion L. Pearson and James M. Orr Melvyn and June Tanemura Bella Tata / Zarine Dastur: In Memory of Shirin (Kermani) and Dali Tata Nico and Linda Verbeek Anonymous (1) The Vancouver Symphony gratefully acknowledges the support of those donors who have made a commitment of up to $5,000 to the Vancouver Symphony Foundation. Regretfully, space limitations prevent a complete listing.

Tax creditable gifts of cash, securities and planned gifts are gratefully received and your gift is enhanced with matching funds from the Federal Government.

Please call Mary Butterfield Director of Individual & Legacy Giving at 604.684.9100 ext. 238 or email to learn more. 50 allegro

Concert Program S P EC IA L S C H A N C EN T RE FO R T H E P ER F OR M ING ARTS, UBC , 8 PM

Friday & Saturday, December 19 & 20 Vivaldi's Four Seasons Dale Barltrop leader/violin MOZART Divertimento in F Major, K. 138 I. Allegro II. Andante III. Presto DALE BARLTROP

VASKS Cantabile HANDEL Concerto grosso in F Major, Op. 6 No. 2

I. Andante larghetto II. Allegro III. Largo – Adagio – Larghetto andante, e piano IV. Allegro, ma non troppo


VIVALDI The Four Seasons



Concerto No. 1 in E Major, RV 269 Spring I. Allegro II. Largo e pianissimo sempre III. Danza pastorale: Allegro Concerto No. 2 in G minor, RV 315 Summer I. Allegro non molto II. Adagio – Presto III. Presto Concerto No. 3 in F Major, RV 293 Autumn I. Allegro II. Adagio molto III. Allegro Concerto No. 4 in F minor, RV 297 Winter I. Allegro non molto II. Largo III. Allegro


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Dale Barltrop leader/violin

Australian violinist Dale Barltrop has been Concertmaster of the Vancouver Symphony Orchestra since 2009, and was appointed Co-Concertmaster of the Melbourne Symphony Orchestra in 2014, dividing his time between the two orchestras. Before coming to Vancouver he served as Principal Second Violin of the St. Paul Chamber Orchestra. Barltrop has also appeared as guest director of the Australian Chamber Orchestra and the Camerata of St. John’s chamber orchestra in Brisbane. He has performed at numerous music festivals across North America, including Mainly Mozart, Festival Mozaic, Music in the Vineyards, Tanglewood, Yellow Barn and Kneisel Hall. Barltrop serves on the faculty of the VSO School of Music and the Vancouver Academy of Music and has taught at the University of British Columbia, National Orchestral Institute in Maryland, Australian National Academy of Music and Australian Youth Orchestra.

Wolfgang Amadeus Mozart b. Salzburg, Austria / January 27, 1756 d. Vienna, Austria / December 5, 1791

Divertimento in F Major, K. 138 The sixteen-year-old Mozart composed a set of three divertimenti, of which K. 138 is the last, in Salzburg during the early months of 1772. He had recently returned from his second trip to Italy, and arrived back in Salzburg bearing a commission for a new opera, Lucio Silla, which was to be premiered in Milan. Why he composed the divertimenti remains a mystery. He may have planned to take them along on his next trip to Italy. They share two unusual features: each has three movements, rather than the four or more that were typical of a divertimento or serenade, and Mozart scored them for strings alone, rather than the standard mixed-instrument ensemble. 52 allegro

"The following Andante flows gently, radiating sweetness. A lively and hearty Presto, given added appeal through Mozart’s charming use of pizzicato, concludes this truly ‘diverting’ work." This Divertimento in F Major begins with a lively and melodious Allegro. The following Andante flows gently, radiating sweetness. A lively and hearty Presto, given added appeal through Mozart’s charming use of pizzicato, concludes this truly ‘diverting’ work.

Pe¯teris Vasks b. Aizpute, Latvia / April 16, 1946

Cantabile Together with Arvo Pärt, Henryk Górecki and Sir John Tavener, Vasks is an exponent of the new spirituality that has blossomed in music during recent years. The rebirth of freedom that swept through the former Soviet Union after the downfall of communism had a particularly liberating effect on artists such as he. Not only did it reinforce his basic optimism, it enabled his music to reach a much wider audience. Since the early 1990s, he has won a growing circle of first-rank advocates, including violinist Gidon Kremer, the Kronos Quartet and the Hilliard Ensemble. His early works follow the models of Lutoslawski, Penderecki and Crumb: harsh, dissonant, firmly opposed to tradition. The late `70s brought the mellower, more individual style to which he still adheres. He considers each composition a message (one piece even bears this title). He does not wish the programmatic titles to be taken as directly illustrative; in fact he frequently chooses them after the pieces are finished. “More important,” he says, “is the spiritual temperature and whether it can overwhelm or take the listener and lift him or not.”

"At times slow and rapturous, gliding forward on energetic feet at others, it radiates well-being from first bar to last." In Vasks’ words, he composed Cantabile for string orchestra (1979) to express “how beautiful and harmonious the world is... using only the white notes of the piano.” Cantabile (“in a singing style”) perfectly describes this music’s purity. At times slow and rapturous, gliding forward on energetic feet at others, it radiates well-being from first bar to last.

George Frideric Handel b. Halle, Germany / February 23, 1685 d. London, England / April 14, 1759

Concerto grosso in F Major, Op. 6 No. 2 The concerto grosso (grand concerto) became one of the most popular musical forms of the Baroque era. In contrast to the solo concerto, it is founded on the interplay between two groups of performers: the smaller concertino (most often, as here, two violins and a cello), and the ripieno, a larger group consisting of strings and continuo. Handel created two sets of concerti grossi. The first set – six pieces, Op. 3, that he scored for an ensemble of wind instruments and strings – appeared in 1734. The twelve concerti for strings that make up Op. 6 are widely regarded as his greatest instrumental work. He composed them between September and October 1739. He was aided in the speed of its creation through heavy borrowing from his own previous compositions.

"The concerto continues with a warmly expressive movement in slow tempo, and concludes with a vigorous, graceful finale." Concerto No. 2 has four compact movements. The first is a sweetly flowing Andante, the second a brisk fugal Allegro. The concerto continues with a warmly expressive movement in slow tempo, and concludes with a vigorous, graceful finale.

Antonio Vivaldi b. Venice, Italy / March 4, 1678 d. Vienna, Austria / July 28, 1741

The Four Seasons Vivaldi’s busy and productive career as composer, violinist and teacher drew its due share of acclaim. He played a major role in several significant musical developments, the rise of the concerto above all. His 500plus concertos – he holds the record for the highest number, by a large margin – feature a wide variety of soloists. As you would expect, the lion’s share, more than 200, focus on the violin.

"Storms and other blustery weather recur throughout the score, blowing through gustily in spring, summer and winter." His reputation suffered a severe lapse following his death. During that “down time,” virtually his only piece to remain in the standard repertoire was the set of four violin concertos that he himself entitled The Four Seasons. It was published by the Dutch company Le Cène in 1725, although he undoubtedly composed at least some of it much earlier. It appeared as the opening third of a set of twelve concertos bearing the overall title The Contest Between Harmony and Invention. Its enduring popularity has been based to great degree on its nature as descriptive or programmatic music, an area in whose orchestral division Vivaldi made pioneering efforts. The original edition featured quite elaborate descriptions of the music’s content, including four sonnets, one for each concerto. Some of his original manuscripts are even more explicit. The barking of the goatherd’s dog in the second movement of the spring concerto, for example, is only identified in the viola part. Storms and other blustery weather recur throughout the score, blowing through gustily in spring, summer and winter. The spring and autumn concertos wrap up with festive rustic dances.  ■ Program Notes © 2014 Don Anderson

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Concert Program T EA & T RU M P ETS ORP H EU M T H EATR E , 2 P M

Thursday, January 8

The World of Shakespeare


Gordon Gerrard conductor Christopher Gaze host/narrator Eve-Lyn de la Haye soprano PROKOFIEV Romeo and Juliet Suite No. 2:

No. 1 Montagues and Capulets

VERDI Falstaff: Nanetta’s Aria “Sul fil d’un soffio etesio”

PROKOFIEV Romeo and Juliet Suite No. 1: ◆

No. 1 Folk Dance

BERLIOZ Beatrice and Benedict: Hero’s aria “Je vais le voir”

PROKOFIEV Romeo and Juliet Suite No. 2: ◆

No. 3 Friar Lawrence CHRISTOPHER GAZE

GOUNOD Romeo and Juliet: Juliet’s Waltz “Je veux vivre”

PROKOFIEV Romeo and Juliet Suite No. 1: No. 4 Minuet


Romeo and Juliet Fantasy Overture


TEA & COOKIES Don’t miss tea and cookies served in the lobby one hour before each concert. Tea provided compliments of Tetley Tea.



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Gordon Gerrard conductor For a biography of Gordon Gerrard please refer to page 34.

Christopher Gaze host/narrator

For a biography of Christopher Gaze please refer to page 39.

Eve-Lyn de la Haye soprano From Victoria, British Columbia, soprano Eve-Lyn de la Haye was hailed as ‘thrilling, a high point of the opera’ in Verdi’s Falstaff for Calgary Opera and her performance as Nanetta places her in the front ranks of the lyric coloraturas of her generation. Her recent schedule has included Echo in Ariadne auf Naxos with Pacific Opera Victoria, Colette in Rousseau’s Le devin du village and Beethoven’s Egmont with the Victoria Symphony. She has performed frequently with Soundstreams Canada including Six Voices for Sirens by Ana Sokolovic and Steve Reich’s Daniel Variations and Proverb. Other highlights include Messiah, Brahms' Requiem, Carmina Burana, and recitals with the Aldeburgh Connection in Toronto.  She looks forward to her debut engagement with the Vancouver Symphony as well as Elijah with the Vancouver Bach Choir. Ms. de la Haye is a graduate of the Victoria Conservatory of Music and the University of Toronto’s Opera Division. Further honours include a grant from the Jacqueline Desmarais Foundation.  ■

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Concert Program


Friday & Saturday, January 9 & 10

In the Mood for a Melody Jonathan Tessero conductor James Scheider piano/vocals Overture


Intro, Rhapsody on a Theme of Paganini, Op. 43 BARRY Theme from Somewhere in Time BEETHOVEN Piano Sonata No. 14 in C-sharp minor, Op. 27: 1 GUARALDI Linus and Lucy


Ain’t That a Shame / Blueberry Hill Party for Piano Sweet Caroline Brown Eyed Girl Old Time Rock’N’Roll Shout Mustang Sally R.E.S.P.E.C.T. Build Me Up Buttercup Oh What A Night

INTERMISSION Whole Lotta Shakin’ Goin’ On Great Balls of Fire You Are the Sunshine of My Life Georgia New York State of Mind She’s Got a Way Piano Man I Guess That’s Why They Call It The Blues Candle in the Wind Don’t Let the Sun Go Down on Me




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Jonathan Tessero

James Scheider piano/vocals


From the studio to the stage, Jonathan Tessero is redefining symphonic pops for a new generation. He combines his experiences as a pianist, arranger, conductor and impresario to develop captivating programming, unique instrumentations, and unforgettable musical experiences. In the decade following his Broadway debut as a pianist at age eighteen, he has become a respected music director and symphonic conductor as well as an in-demand creative consultant.

James Scheider is an actor, singer, and musician currently residing in Manhattan. He made his Broadway debut understudying Tony Award-winner Levi Kreis as Jerry Lee Lewis in the original Broadway cast of Million Dollar Quartet.  He played the role of Jerry Lee in the Chicago cast of MDQ, and has also understudied in the 1st National Tour, in addition to originating the role at Village Theatre’s Festival of New Musicals in 2006.  

Regional credits include: Flat Rock Play House: The Cotton Patch Gospel (Matthew), Tribute to Creedence Clearwater Revival (John His recording credits include recordings Fogerty). Village Theatre: Jesus Christ with the Broadway cast of Elton John and Superstar (Simon), 42nd St. (Billy Lawlor), Aida, Tim Rice’s Aida, the cast and orchestra of the The Who’s Tommy (Hawker US). 5th Avenue Broadway company of The Phantom of the Opera, members of the Louisiana Philharmonic, Theatre: White Christmas (Phil US), Hello Dolly!, 7 Brides for 7 Brothers (Joel/Gideon US), singers Nikki M. James, Tituss Burgess, and Mame! He is a founding member of the James “Delisco” Beeks, Hugh Panaro, Anne band, The Ol' So and So's, as well as his solo Runolfsson and many of the country's top project, Shades of Grey. James has been session orchestras. a proud AEA member since 2008.  ■ He has produced On Broadway twice, written a documentary that plays daily at the National World War II Museum, is a graduate of NYU, and is a member of The League of American Orchestras, and the AFM.




604.684.9100 EXT 252 allegro 63


Saturday, January 24 S U R REY N IG H T S B EL L P ERF ORM IN G ARTS C E N TR E , 8 P M

Monday, January 26 BEN GERNON

Ben Gernon conductor Kirill Gerstein piano NIELSEN Aladdin, Op. 34: Suite

I. Oriental March II. Aladdin’s Dream and Dance of the Morning Mists III. Hindu Dance IV. Chinese Dance V. The Marketplace at Ispahan VI. Dance of the Prisoners VII. Negro Dance


Piano Concerto No. 2 in F Major, Op. 102 I. Allegro II. Andante III. Allegro


SIBELIUS Symphony No. 5 in E-flat Major, Op. 82 KIRILL GERSTEIN

I. Tempo molto moderato II. Andante mosso, quasi allegretto III. Allegro molto





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Ben Gernon conductor British conductor Ben Gernon was the 2013 winner of the Nestlé and Salzburg Festival Young Conductors Award, and last season was appointed a Dudamel Fellow of the Los Angeles Philharmonic. He also counts Sian Edwards and Sir Colin Davis as his recent mentors. Upcoming engagements include anticipated debuts at the BBC Proms, National Philharmonic of Russia, Copenhagen Philharmonic, Sinfonietta Lausanne, and the Nagoya Philharmonic. Highlights of recent seasons include the London Symphony Orchestra and successful debuts with the Los Angeles Philharmonic, and both BBC Symphony and BBC Scottish Symphony Orchestras. Recent opera engagements include Mozart's Die Entführung aus dem Serail at the Salzburg Festival, and assisting with Gerald Barry’s The Importance of Being Earnest at Northern Ireland Opera. A former tuba player, in 2009 Ben was awarded first prize in the National Association of Brass Band Conductors. He has been featured by BBC Music Magazine as their “Rising Star: Great artist of tomorrow” and played a key role in the ‘Discover Dudamel’ project during the LA Philharmonic residency at the Barbican in 2013.

Kirill Gerstein piano The multifaceted pianist Kirill Gerstein has rapidly ascended into classical music’s highest ranks. In January 2010, Mr. Gerstein was named the recipient of the 2010 Gilmore Artist Award; only the sixth pianist to have been so honored. The Gilmore Award is awarded to an exceptional pianist who, regardless of age or nationality, possesses broad and profound musicianship and who desires and can sustain a career as a major international concert artist. Mr. Gerstein was also awarded an Avery Fisher Career Grant in April 2010, and received a 2002 Gilmore Young Artist Award as well as first prize at the 2001 Arthur Rubinstein Piano Competition in Tel Aviv. Internationally, Kirill Gerstein has worked with such prominent European orchestras as the Munich, Rotterdam and Royal Philharmonics, 66 allegro

Dresden Staatskappelle, Zurich Tonhalle, the Swedish Radio Orchestra, and the Simon Bolivar Youth Orchestra with Gustavo Dudamel. He has also performed recitals in Paris, Prague, London’s Wigmore Hall and Queen Elizabeth Hall and at the Liszt Academy in Budapest.

Carl Nielsen b. Sortelung, Denmark / June 9, 1865 d. Copenhagen, Denmark / October 3, 1931

Aladdin, Op. 34: Suite In 1917, Nielsen was invited to compose the score for a lavish revival of a fairy tale stage drama: Aladdin, or the Wonderful Lamp. The play, which Danish poet Adam Oehlschläger adapted from the familiar Arabian Nights legend, dated back to 1805. Nielsen responded with an elaborate score for vocal soloists, chorus and orchestra. The first performance took place in Copenhagen in February 1919. He created this instrumental concert suite a short time later.

"...combined sounds of four separate ensembles, playing simultaneously in different rhythms..." It opens with a bold, almost menacing Oriental March. Three light, delicately exotic sections follow: Aladdin’s Dream and Dance of the Morning Mists; Hindu Dance; and Chinese Dance. Next comes the remarkable Market Place at Ispahan, in which the combined sounds of four separate ensembles, playing simultaneously in different rhythms, portray a bustling Oriental bazaar. After the harshly dramatic Dance of the Prisoners, the suite concludes with the driving rhythms of the Negro Dance.

Dmitri Shostakovich b. St. Petersburg, Russia / September 25, 1906 d. Moscow, Russia / August 9, 1975

Piano Concerto No. 2 in F Major, Op. 102 For several generations, the members of the Shostakovich family have enjoyed extremely close relationships, sharing both their lives and their art. To composer Dmitri’s children, his son Maxim in particular, he gave many

kinds of devotion. Maxim showed exceptional musical gifts from an early age. As his talents grew, so did his father’s interest in them. For Maxim and his sister Galya, Dmitri composed several volumes of increasingly difficult piano studies, and then, for Maxim and himself to play, a carefree Concertino for two pianos. “But my dream,” Maxim has written, “was for a big, serious piano concerto. Finally, my perseverance was rewarded, and to my enormous joy, the concerto was written. I was especially proud of the fact that my father dedicated it to me. Learning the score when it was still fresh, I often rehearsed it on two pianos with him. We argued, and I defended heatedly my youthful ideas. I recall that in musical circles, when it became known that father had written this concerto especially for me, it was jokingly noted, ‘Have you heard that Shostakovich has composed a new concerto for Maxim and orchestra?’ At last, on my nineteenth birthday (May 10, 1957), the first performance took place, in Moscow.” Nikolai Anosov conducted the USSR Sate Symphony Orchestra. Maxim later traded in the piano for a baton, becoming a noted conductor of his father’s and other composers’ music. Befitting the concerto’s youthful dedicatee, and the prankish side of the composer’s personality, it brims over with energy and impudent high spirits. The finale contains clear parodies of the monotonous finger exercises that young Maxim, like all piano students, was forced to endure. The second movement offers total contrast. In its tender wistfulness, it makes the father’s feelings for the son perfectly clear.

Jean Sibelius b. Hämeenlinna, Finland / December 8, 1865 d. Järvenpää, Finland / September 20, 1957

Symphony No. 5 in E-flat Major, Op. 82 Sibelius’s Fifth Symphony underwent the longest, most difficult gestation of all his works. He began composing it during the late summer of 1914, with the goal of having it premiered as the centrepiece of a concert to be given in Helsinki as part of the gala celebrations honouring his fiftieth birthday. He made slow progress, writing in his diary, “It is as if God the Father had thrown down

mosaic pieces from heaven’s floor and asked me to put them back as they were.” Nevertheless, the premiere took place as planned on December 8, 1915. What the audience members heard was much different from the work as it is known today. They reacted favourably, but the composer, who had completed it in some haste in order to meet the deadline, did not. The following year, he produced a revised version. Still not satisfied, he produced the definitive edition in the autumn of 1919. Everything, at last, seemed natural, cohesive, inevitable.

"Eventually a grandiose climax ushers in the brightly animated, scherzo-like second half of the movement." The very opening is rich with atmosphere: quiet, dreamy, like a forest before break of day. The music’s thematic fragments coalesce as the piece unfolds. Eventually a grandiose climax ushers in the brightly animated, scherzo-like second half of the movement. The second movement is a set of variations, as much on the opening rhythm as on any theme. Much of it is lightness personified. Only occasionally do clouds darken the sky. The finale begins with little volume but much scurrying activity. The second theme is a noble melody introduced on the horns. In Sibelius’s diary, in an entry dated April 21, 1915, he stated that it represents a specific image: “Today at ten to eleven I saw 16 swans. One of my greatest experiences! Lord God, what beauty! They circled over me for a long time. Disappeared into the solar haze like a gleaming silver ribbon. Their call the same woodwind type as that of cranes, but without tremolo… A low-pitched refrain reminiscent of a small child crying. Nature mysticism and life’s angst! The Fifth Symphony’s finaletheme: legato in the trumpets!” After much energy is expended, the ‘swan’ theme rides a torrent of sound to crown the symphony. Six mighty, broadly spaced chords (the bane of over-anxious or inattentive listeners) set the seal.  ■ Program Notes © 2014 Don Anderson

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$10,000+ Avigilon Canadian Western Bank Craftsman Collision Deans Knight Capital Management Ltd. Encana Great-West Life, London Life and Canada Life Holland America Line Inc. HSBC Bank Canada KGHM International Ltd. KPMG LLP Montridge Financial Group Pacific Surgical Park Royal Shopping Centre Scotiabank

Silver Wheaton Stikeman Elliott LLP Sun Life Financial Teck Time & Gold Tom Lee Music Wall Financial

$5,000+ Anthem Properties Group Ltd. BCLC Cassels Brock Centerplate at Vancouver Convention Centre Friends of the Jewish Family Service Agency Genus Capital Management Greyell Wealth Management Grosvenor Americas Haywood Securities Inc. Image Group Inc. Innovation Lighting Kingswood Capital Corporation Ledcor Properties Inc. Macdonald Development Corporation Marin Investments Limited McElhanney Consulting Services Ltd. Dr. Tom Moonen Inc. Michael O’Brian Family Foundation Odlum Brown Limited Peter and Joanne Brown Foundation RBC Royal Bank Reliance Properties ScotiaMcLeod Stantec TD Wealth–Tim Wyman

Terus Construction Ltd. Xibita Anonymous (1)

$2,500+ British Consulate-General Vancouver Georgian Court Hotel Hawksworth Restaurant Kian Show Services Ltd. McCarthy Tétrault Foundation Nesters Market Yaletown SOCAN Foundation Tala Florists Windsor Plywood Foundation

$1,000+ ABC Recycling Ltd. API Asset Performance Inc. Best Buy Bing Thom Architects Foundation Cibo Trattoria Domaine Chandon Dunbar Dental Ethical Bean Coffee Enotecca Wineries & Resorts Inc. EY-In honour of Fred Withers' retirement Fluor Canada The Hamber Foundation Health Arts Society HUB International Lantic Inc. The Lazy Gourmet Long & McQuade Music Norburn Lighting & Bath Centre The Simons Foundation

For more information about the VSO Corporate Partners Programs and the exclusive benefits associated with this program please contact Ryan Butt, Manager, Corporate Programs

604.684.9100 extension 260 or email

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For your enjoyment, and the enjoyment of others, please remember concert etiquette. Talking, coughing, leaning over the balcony railings, unwrapping candies, and the wearing of strong perfume may disturb the performers as well as other audience members. 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-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.

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 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. All venues are non-smoking and scent-free environments.


Vancouver Symphony Administration 604.684.9100 Jeff Alexander, President & Chief Executive Officer Finance & Administration: Mary-Ann Moir, Vice-President, Finance & Administration Antonio Andreescu, Junior Database & Network Administrator Debra Marcus, Director, 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, Gift Shop & Volunteers

Estelle and Michael Jacobson Chair

Stephanie Fung, Marketing Manager Anna Gove, Editor & Publisher, Allegro Magazine Katherine Houang, Group Sales & Special Ticket Services Kenneth Livingstone, Database Manager Caroline MĂĄrkos, PR Associate & Assistant to the Music Director and President & CEO Robert Rose, Front of House Coordinator Cameron Rowe, Director, Audience & Ticket Services Laura-Anne Scherer, Social Media The Stage Crew of the Orpheum Theatre are members of Local 118 of the International Alliance of Theatrical Stage Employees. The Vancouver Symphony Orchestra is a proud member of

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Customer Service Representatives: Jason Ho, Senior Customer Service Representative Acacia Cresswell Jonah McGarva Anthony Soon Paycia Khamvongsa Stacey Menzies Jessica Tung Shawn Lau Kathy Siu Karl Ventura Jadene McDonald Kim Smith Development: Leanne Davis, Vice-President, Chief Development Officer Ryan Butt, Manager, Corporate Programs Mary Butterfield, Director, Individual & Legacy Giving Dawn Nash, Stewardship Officer Ann True, Development Officer, Direct Response Lauren Watson, Development Officer, Special Projects Deanna Cheng, Special Projects Assistant Artistic Operations & Education: Joanne Harada, Vice-President, Artistic Operations & Education Matthew Baird, Artistic Operations Assistant Sarah Boonstra, Operations Manager Rheanna Buursma, Assistant Librarian and Artistic Operations Assistant DeAnne Eisch, Orchestra Personnel Manager Minella F. Lacson, Music Librarian Christin Reardon MacLellan, Education & Community Programmes Manager

Ken & Patricia Shields Chair

Vancouver Symphony Society Board of Directors Philip KY Chan

Sam Lee

Debra Finlay

Roy Millen

President & CEO (Ret.) Vancouver International Airport Authority

Michael L. Fish

Julie Molnar

Etienne Bruson, Treasurer

Cathy Grant

Hein Poulus, Q.C.

Executive Committee

General Sales Manager, Mercedes-Benz Canada

Fred Withers, Chair

Chief Development Officer (Ret.) Ernst & Young

Managing Director, CIBC World Markets Global Mining Group

Partner, McCarthy Tetrault LLP

Larry Berg, Vice Chair

Partner, International Tax, Deloitte

President, Pacific Surgical

Director, The Molnar Group

VP Government Relations, TELUS

Senior Vice President, Marketing & Sales and Managing Broker Intracorp Realty LTD.

Executive Chairman, PrimaCorp Ventures Inc.

Executive Vice-President and CFO Goldcorp Inc.

Dave Cunningham, Secretary

Partner, Blakes

Partner, Stikeman Elliot

Stanis Smith

Senior Vice President, Buildings, Stantec

Dr. Peter Chung, Member-at-Large Lindsay Hall

Musician Representatives Ashley Plaut Violin

Diane Hodgins

Alan Pyatt, Member-at-Large

Elizabeth VolpĂŠ Bligh Harp

Director, Century Group Lands Corporation

Chairman, President and CEO (Ret.) Sandwell International Inc.

John Icke

Honorary Life President

Gordon R. Johnson

Honorary Life Vice-Presidents

Ronald Laird Cliff, C.M.

President and CEO Resinco Capital Partners

Nezhat Khosrowshahi Gerald A.B. McGavin, C.M., O.B.C. Ronald N. Stern Arthur H. Willms

Partner, Borden Ladner Gervais

Judith Korbin Arbitrator

Vancouver Symphony Foundation Board of Trustees Ronald Laird Cliff, C.M., Chair Marnie Carter Charles Filewych

John Icke Richard Mew Gerald A.B. McGavin, C.M., O.B.C.

Hein Poulus, Q.C. Alan Pyatt Arthur H. Willms

Fred Withers Tim Wyman

VSO School of Music Society Board of Directors


Gordon R. Johnson, Chair Fiona Lin Hein Poulus, Q.C. Patricia Shields

Marsha Walden Eric Watt Arthur H. Willms

Jeff Alexander President & CEO

Curtis Pendleton Executive Director

Louise Ironside Assistant Director

David Law

Operations & Facilities Manager

Vancouver Symphony Volunteer Council 2014/2015 Chair . . . . . . . . . . . . . . . Secretary . . . . . . . . . . . . Treasurer . . . . . . . . . . . . Member . . . . . . . . . . . . . Member . . . . . . . . . . . . . Immediate Past Chair . . .

Nancy Wu Marlies Wagner Gail Franko Paddy Aiken Azmina Manji Sheila Foley

Scheduling Concerts (all venues) . . . Shirley Bidewell Gift Shop . . . . . . . . . . . . Barbara Morris Lotteries in Malls . . . . . . Gloria Davies

Reception Shifts . . . . . . . . Gloria Davies Tea & Trumpets . . . . . . . . . Shirley Featherstone Marlene Strain Special Events Symphony of Style 2014 . . Paddy Aiken Holland America On-Board Luncheon 2014 . Marlies Wagner

Membership Volunteer Hours . . . . . . . . Sheila Foley

Manager, Gift Shop and Volunteer Resources Shirley Bidewell Tel 604.684.9100 ext 240 Assistant Gift Shop Manager Robert Rose

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SAT & MON, FEB 14 & 16, ORPHEUM THEATRE Thomas Søndergård conductor Dale Barltrop violin*


HAYDN Symphony No. 99 in E-flat Major BARTÓK Violin Concerto No. 1* BEETHOVEN Symphony No. 2 in D Major

MENDELSSOHN’S GREAT HYMN OF PRAISE FRI & SAT, FEB 20 & 21, CHAN CENTRE, UBC Bramwell Tovey conductor Laura Whalen soprano* Monica Huisman soprano* Isaiah Bell tenor* Elektra Women’s Choir ° Chor Leoni+


BRAHMS Vier Gesänge° MENDELSSOHN Vespergesang, Op. 121, I. Adspice Domine+ MENDELSSOHN Symphony No. 2, Op. 52, Hymn of Praise*°+


SAT, FEB 28, ORPHEUM THEATRE Perry So conductor Guilian Liu pipa Li Bo lute Claire Huangci piano



SUN, MAR 1, ORPHEUM THEATRE Gordon Gerrard conductor Akiko Suwanai violin Yuriko Nariya koto


LEGENDARY BARBRA STREISAND FRI & SAT, MARCH 13 & 14, ORPHEUM THEATRE John Morris Russell conductor Ann Hampton Callaway vocalist


Multi-platinum singer Ann Hampton Callaway joins conductor John Morris Russell and the VSO in a musical tribute to the most celebrated singer of our time, Barbra Streisand.


14/15 VSO Allegro Issue #2