Magazine of the Vancouver Symphony
September 26 to November 26, 2015 Volume 21, Issue 1
Faureâ€™s magnificent Requiem Angela Cheng plays Beethoven
VSO Chamber Players at Pyatt Hall
Stephen Hough Wagner, Schumann, Bartok
Vancouver Symphony Orchestra BRAMWELL TOVEY MUSIC DIRECTOR KAZUYOSHI AKIYAMA CONDUCTOR LAUREATE GORDON GERRARD ASSOCIATE CONDUCTOR Chair endowed by an anonymous donor
Dale Barltrop, Concertmaster Nicholas Wright, Acting Associate Concertmaster Jennie Press, Acting Assistant Concertmaster Rebecca Whitling, Acting Second Assistant Concertmaster Mary Sokol Brown Mrs. Cheng Koon Lee Chair
Jenny Essers Akira Nagai, Associate Concertmaster Emeritus Xue Feng Wei Yi Zhou
Jason Ho, Principal Karen Gerbrecht, Associate Principal §
Professors Mr. & Mrs. Ngou Kang Chair
Ariel Barnes, Principal
Beth Orson, Assistant Principal Karin Walsh
Matthew Crozier, Principal Gregory A. Cox, Acting Principal Andrew Poirier
Bass Trombone Douglas Sparkes
Arthur H. Willms Family Chair
Chair in Memory of John S. Hodge Peder MacLellan, Principal
Jeanette Jonquil, Principal Gerhard and Ariane Bruendl Chair David Lemelin Natasha Boyko
Aaron McDonald, Principal
Charles Inkman Luke Wook-Young Kim Cristian Markos
Mary & Gordon Christopher Chair
Stephen Wilkes, Assistant Principal Lawrence Blackman
Wayne & Leslie Ann Ingram Chair
Janet Steinberg, Associate Principal Zoltan Rozsnyai, Assistant Principal Olivia Blander
Dr. Malcolm Hayes and Lester Soo Chair
Roger Cole, Principal
Paul Moritz Chair
Jeanette Bernal-Singh, Assistant Principal Adrian Shu-On Chui Byron Hitchcock Daniel Norton Ann Okagaito Ashley Plaut Neil Miskey, Principal Andrew Brown, Acting Principal Emilie Grimes, Acting Associate Principal
Nezhat and Hassan Khosrowshahi Chair
Dylan Palmer, Principal Evan Hulbert, Associate Principal Noah Reitman, Assistant Principal David Brown J. Warren Long Frederick Schipizky §
Jim and Edith le Nobel Chair
JOCELYN MORLOCK COMPOSER-IN-RESIDENCE* MARCUS GODDARD COMPOSER-IN-ASSOCIATION
Vern Griffiths, Principal
Martha Lou Henley Chair
Julia Lockhart, Principal Sophie Dansereau, Assistant Principal Gwen Seaton
Elizabeth Volpé Bligh, Principal
Orchestra Personnel Manager
Linda Lee Thomas, Principal Carter (Family) Deux Mille Foundation Chair
Oliver de Clercq, Principal Benjamin Kinsman §
David Haskins, Associate Principal Andrew Mee
Michael & Estelle Jacobson Chair
Richard Mingus, Assistant Principal
Christie Reside, Principal Ron & Ardelle Cliff Chair
Nadia Kyne, Assistant Principal Rosanne Wieringa
Hermann & Erika Stölting Chair
Estelle & Michael Jacobson Chair
Matthew Davies The Stage Crew of the Orpheum Theatre are members of Local 118 of the International Alliance of Theatrical Stage Employees.
Werner & Helga Höing Chair
Winslow & Betsy Bennett Chair
Larry Knopp, Principal Marcus Goddard, Associate Principal Vincent Vohradsky
W. Neil Harcourt in memory of Frank N. Harcourt Chair
The Vancouver Symphony Orchestra is a proud member of
Minella F. Lacson
Head Carpenter Paul McManus Brendan Keith
Piano Technician *Supported by The Canada Council for the Arts § Leave of Absence
allegro Magazine of the Vancouver Symphony
September 26 to November 26, 2015 Volume 21, Issue 1
27 9 Angela Cheng
Bugs Bunny at the Symphony II TM & (C) WARNER BROS. ENTERTAINMENT INC.
In this Issue The Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Allegro Staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Government Support . . . . . . . . . . . . . . . . . . . . . . . . 6 Message from the Chairman . . . . . . . . . . . . . . . . . . 7 VSO Musician Profile . . . . . . . . . . . . . . . . . . . . . . . 20 VSO Stradivarius Legacy Circle . . . . . . . . . . . . . . . 30 Upcoming Concerts . . . . . . . . . . . . . . . . . . . . . . . . 38 Patrons’ Circle . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 VSO School of Music . . . . . . . . . . . . . . . . . . . . . . . 41 Advertise in Allegro for Christmas . . . . . . . . . . . . . 42 VSO Friends’ Campaign . . . . . . . . . . . . . . . . . . . . . 62 Corporate Partners . . . . . . . . . . . . . . . . . . . . . . . . . 66
VSO Musician Profiles: Julia Lockhart
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: email@example.com / customer service: 604.876.3434 / VSO office: 604.684.9100 / website: vancouversymphony.ca / Allegro staff: published by The Vancouver Symphony Society / editor/publisher: Anna Gove / contributors: Don Anderson / orchestra photo credit: Johnathon 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.
At the Concert / VSO Staff . . . . . . . . . . . . . . . . . . . 68 VSO Car Lottery . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 Board of Directors / Volunteer Council . . . . . . . . . 70 4 allegro
Concerts SEPTEMBER 26, 28 / Goldcorp Masterworks Gold / Bramwell Tovey conductor . . . . . . . . . . . . . . . . 9 Miriam Fried violin OCTOBER 3, 4, 5 / Air Canada Masterworks Diamond / Rogers Group Financial . . . . . . . . . . . . . . . 15 Symphony Sundays / Carlos Miguel Prieto conductor, Tianwa Yang violin OCTOBER 9, 10 / Classical Traditions / Alexandre Bloch conductor, Ingrid Fliter piano . . . . . . . . . . 23 OCTOBER 17, 19 / Mardon Group Insurance Musically Speaking / North Shore Classics / . . . . . . . 27 Darrell Ang conductor, Angela Cheng piano OCTOBER 24, 26 / Goldcorp Masterworks Gold / Bramwell Tovey conductor . . . . . . . . . . . . . . . . . . 33 Anne-Marie McDermott piano (Cherniavsky Laureate pianist) OCTOBER 25 / Kids’ Koncerts / Inspector Tovey Investigates Melody / . . . . . . . . . . . . . . . . . . . . . . . 37 Bramwell Tovey conductor, Children of the VSO Family OCTOBER 29 / Tea & Trumpets / In An English Country Garden / Bramwell Tovey conductor . . . . . 39 Christopher Gaze series host OCTOBER 28, 29, NOVEMBER 1 / VSO Chamber Players / . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Sophie Dansereau bassoon, Elizabeth Volpé Bligh harp, Yi Zhou violin, Charles Inkman cello, Dale Barltrop violin, Ariel Barnes cello, Chiharu Iinuma piano OCTOBER 30, 31 / London Drugs VSO Pops / A Halloween Spectacular / . . . . . . . . . . . . . . . . . . . . . 45 John Morris Russell conductor, Carman J. Price, vocalist NOVEMBER 7, 8 / Specials / Bugs Bunny at the Symphony II / . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 George Daugherty conductor, Vancouver Symphony Orchestra NOVEMBER 14, 15, 16 / Mardon Group Insurance Musically Speaking / Rogers Group . . . . . . . . . 53 Financial Symphony Sundays / Surrey Nights / Bramwell Tovey conductor, Stephen Hough piano NOVEMBER 21, 23 / Air Canada Masterworks Diamond / Bramwell Tovey conductor . . . . . . . . . . . 56 Nathalie Paulin soprano, David John Pike baritone, UBC University Singers, Phoenix Chamber Choir, Graeme Langager choral director NOVEMBER 26 / Tea & Trumpets / Classics at the Movies / Gordon Gerrard conductor . . . . . . . . . . 60 Christopher Gaze series host, Alan Liu, guitar
Stephen Hough 5allegro allegro5
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
Gregor Robertson, Mayor of Vancouver
Message from the VSO Chairman FRED G. WITHERS
Dear Friends, Welcome to the opening concerts of the Vancouver Symphony Orchestra’s exciting 97th season! The VSO is proud to have been serving the people of British Columbia since 1919, and we are delighted you are with us for today’s concert. During the 2015/2016 season the orchestra will perform over 150 concerts in 16 different venues throughout the Lower Mainland and in Whistler. In addition to the Orpheum Theatre, Orpheum Annex, Pyatt Hall, St. Andrew’s Wesley Church, and the Vancouver Playhouse in downtown Vancouver, VSO presentations can be experienced at the Chan Centre for the Performing Arts at UBC, Centennial Theatre in North Vancouver, Bell Centre in Surrey, Michael J. Fox Theatre and Deer Lake Park in Burnaby, Kay Meek Theatre in West Vancouver, South Delta Baptist Church, The Anvil Centre in New Westminster, Bard on the Beach and the Whistler Olympic Pavilion. This season will also see the continuation and expansion of our extraordinary education and community programs, with over 50,000 children experiencing performances by the full VSO and over 100 classroom visits by Maestro Tovey and members of the orchestra. One of our new education initiatives was launched in the Summer of 2015 with the successful creation of the Vancouver Symphony Orchestral Institute in Whistler. This initiative brought together 72 music students aged 15 to 25 from around the
world for a week of immersion in music instruction by members of the orchestra. The VSO is also proud to oversee the activities of the state-of-the-art VSO School of Music, a community music school for students of all ages and abilities, directly next to the Orpheum, now with nearly 1,500 students and over 100 faculty members. The purpose of the Vancouver Symphony Orchestra is to enrich and transform lives through music — by presenting passionate, high-quality performances of classical, popular and culturally diverse music; creating meaningful engagement with audiences of all ages and backgrounds wherever we perform; and developing and delivering inspirational education and community programs. Because of you, our audience members, donors, sponsors and government funders, we are achieving our purpose. On behalf of the Board of Directors, Maestro Tovey, our musicians, staff and volunteers, I thank you for your commitment to the VSO, and wish you a most delightful and inspirational 2015/2016 season. Please enjoy today’s concert. Sincerely yours,
Fred G. Withers Chair, Board of Directors
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
Saturday & Monday, September 26 & 28 Bramwell Tovey conductor Miriam Fried violin BERLIOZ Le corsaire, Op. 21 BEETHOVEN Violin Concerto in D Major, Op. 61 I. Allegro, ma non troppo II. Larghetto III. Rondo
VIVIAN FUNG Biennale Snapshots (World Première Commission by the Vancouver Biennale)* Breath Song Tree Graffiti Mashup Interludium: Water Rising Grass
STRAUSS Suite from Der Rosenkavalier, Op. 59
PRE-CONCERT TALKS MIRIAM FRIED
VISIT THE SYMPHONY GIFT SHOP FOR CD SELECTIONS MASTERWORKS GOLD SERIES SPONSOR
MASTERWORKS GOLD RADIO SPONSOR
RECEPTION CAKES GENEROUSLY DONATED BY ANNA'S CAKE HOUSE
Free to ticketholders, 7:05pm to 7:30pm, in the auditorium. *Commissioned by the 2014–2016 Vancouver Biennale, in celebration of the 2014–2016 Open Air Museum installations, with partial funding from the Canada Council for the Arts and the Buschlen Mowatt Nichol Foundation (Canada). The Vancouver Biennale is a non-profit charitable organization that celebrates art in public space, creating a catalyst for learning, community engagement and social action. The 2014–2016 Vancouver Biennale features diverse works by established and breakthrough international artists in keeping with the exhibition theme Open Borders / Crossroads Vancouver. allegro 9
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, across Canada and the United States. Mr. Tovey is also the Artistic Adviser of the VSO School of Music, a state-of-the-art facility and recital hall next to the Orpheum, the VSO’s historic home. His tenure has included complete symphony cycles of Beethoven, Mahler, 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. During the 15/16 season Mr. Tovey’s guest appearances include the symphonies of Montreal, Melbourne, New Zealand, and Pacific Symphony, and the Philadelphia Orchestra and New York Philharmonic, reprising his programs with both at Bravo! Vail in summer 2016. The summer also includes returns to the Cleveland and Chicago symphonies and the Los Angeles Philharmonic. In the winter of 2016 he will conduct Korngold's Die tote Stadt with Calgary Opera. In the 14/15 season Mr. Tovey made guest appearances with several US orchestras. In Europe he performed with the BBC Philharmonic and the Helsingborgs Symfoniorkester and he traveled to Australia on two separate occasions for engagements with the symphonies of Melbourne and Sydney. In 2003 Bramwell Tovey won the Juno® Award for Best Classical Composition for his choral and brass work Requiem for a Charred Skull. Commissions include the New York and Los Angeles Philharmonics, the Toronto Symphony and Calgary Opera who premiered his first full length opera The Inventor in 2011. A recording of the work by the VSO with UBC Opera and the original cast was made for the Naxos label and will be released this season. In 2014 his trumpet concerto, Songs of the Paradise Saloon, was performed by the LA Philharmonic and the Philadelphia Orchestra, both with Alison Balsom as soloist. 10 allegro
A talented pianist as well as conductor and composer, he has appeared as soloist with many major orchestras, including 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, Manitoba, Kwantlen and Winnipeg. In 2013 he was appointed an honorary Officer of the Order of Canada for services to music.
Miriam Fried violin Miriam Fried has been recognized for many years as one of the world’s preeminent violinists. A consummate musician, she has been heralded for her “fiery intensity and emotional depth” (Musical America) as well as for her technical mastery. Miriam has played with virtually every major orchestra in the United States and Europe and actively maintains chamber music as an important part of her musical life. She has served as the first violinist of the Mendelssohn String Quartet and collaborates regularly with her son, pianist Jonathan Biss. A noted pedagogue, Ms. Fried is on the faculty of New England Conservatory and is invited to give master classes throughout the world. Since 1993 she has been Artistic Director of the Ravinia Institute. She plays a particularly noteworthy violin, a 1718 Stradivarius that is said to have been the favorite of its 18th-century owner, the composer-conductor Louis Spohr.
Hector Berlioz b. La Côte-St-André, Isère / December 11, 1803 d. Paris, France / March 8, 1869
Le corsaire, Op. 21 In the summer of 1844, Berlioz traveled to Nice on the French Riviera. The locale and its stunning vistas inspired this vigorous and expressive overture. He launched it with a rousing opening flourish, where strings and winds scurry about in a state of excited animation. A section of quiet beauty follows, as if the title character were making a tender farewell to his ladylove before setting sail.
The decks cleared and the anchor weighed, Berlioz and his crew head out in search of high adventure. Their rousing, highly eventful voyage is marked by strings swelling like sails under a crisp, bellowing breeze, and brass chords bursting sharply like cannon shots. All this is underpinned by an ever-mounting wave of heroic energy.
She began her composition studies with Violet Archer and later studied with Narcis Bonet in France. She received her doctorate from The Juilliard School in New York, where her mentors included David Diamond and Robert Beaser. She was a faculty member at Juilliard from 2002 to 2010, and currently lives in San Francisco.
Ludwig van Beethoven
The composer has provided the following note:
b. Bonn, Germany / baptized December 17, 1770 d. Vienna, Austria / March 26, 1827
Violin Concerto in D Major, Op. 61 This magnificent concerto was commissioned by twenty-six-year-old Franz Clement, a child prodigy who had risen to the status of acclaimed soloist. Beethoven reflected his refined, aristocratic style in the concerto he wrote for him. Clement set a specific date for the premiere: December 23, 1806. Due to the foot-dragging casualness with which Beethoven regularly completed commissioned works, the first performance turned out to be virtually a read-through at sight. Clement’s playing drew raves from the press, but the piece received at best a lukewarm reception. It was only in 1844, when thirteen-year-old soloist Joseph Joachim demonstrated the concerto’s manifold excellences through his performances in London under Felix Mendelssohn’s direction, that it began to establish itself. The expansive first movement bears a relaxed, leisurely expression. From time to time, moments of drama and unease provide contrast. The slow section, a set of variations on a lyrical theme, glows with Olympian warmth. The gracefully dancing final rondo, which follows on without a break, brings the concerto firmly and joyfully back to earth.
Vivian Fung b. Edmonton, Alberta / February 6, 1975
Biennale Snapshots (World Première Commission by the Vancouver Biennale) This JUNO® Award-winning composer has a talent for combining idiosyncratic textures and styles into large-scale works, often including influences such as non-western folk music, gamelan touches, Tibetan chant, and tango music, sometimes in the same composition. 12 allegro
The movements of Biennale Snapshots pay homage to artworks featured in the 2014–2016 Vancouver Biennale. Breath Song, inspired by Sumakshi Singh’s work, comprises whispers and other sounds reflecting the ephemeral nature of the original. This leads directly into Tree, inspired by Konstantin Dimopoulos’s Blue Trees. Tree starts gently, builds in waves, and grows urgent, reflecting Dimopoulos’s mission to bring awareness to global deforestation. Graffiti Mashup is a chaotic mix of elements underlying OSGEMEOS’s Giants in a rhythmically robust movement including quotations from Tropicalia and hip-hop. Interludium: Water Rising reflects the undulations of Ren Jun’s Water sculptures, with waves building into lush chords and ascending in a current that ends with water gongs. Grass reveals the defiant and whimsical nature of Ai Weiwei’s F Grass. It features loud pedal tones in the brass, counteracted by nasal woodwinds. A fanfare atmosphere is complemented by virtuosic passages, colliding in a triumphant close.
Richard Strauss b. Munich, Germany / June 11, 1864 d. Garmisch-Partenkirchen, Germany / September 8, 1949
Suite from Der Rosenkavalier, Op. 59 The emotionally bruising operatic dramas Salome (1905) and Elektra (1909) seem to have purged a taste for such ghoulish material from Strauss’s system. For his next stage project, he pulled a complete aboutface and produced, in close tandem with the librettist Hugo von Hofmannsthal, the delicious, supremely tuneful ‘comedy for music’ Der Rosenkavalier (The Knight of the Rose). Admirers of the previous operas were taken aback by this startling shift in style, but audiences gave the new score a swift
and eager embrace as soon as it premièred in Dresden, Germany on January 26, 1911, conducted by Ernst von Schuch. Fifty sold-out performances followed before the year was out, and it remains his most popular opera. The music combines Classical period charm à la Mozart, with nineteenth-century dance rhythms, all of it clothed in Strauss’s ripe, late-Romantic orchestration. The plot unfolds in Vienna during the eighteenth-century reign of Empress Maria Theresa. The Marschallin, a worldly woman in her thirties, is having an affair with a young nobleman, Octavian. When Octavian falls in love with Sophie, a more suitable match for
him, the Marschallin graciously steps aside and lets true, young love take its course. Instrumental excerpts from the opera have been performed in concert virtually since its creation, although Strauss did not prepare all of them himself. This popular concert suite appeared in 1945, without crediting an arranger. It presents an enchanting medley of the opera’s most glorious moments, including the surging Prelude; the presentation of the silver rose; a luscious love duet between Sophie and Octavian; a teasing, languorous waltz associated with the lecherous Baron Ochs; the ecstatic final trio and duet; and another, quicker waltz to finish. ■ Program Notes © 2015 Don Anderson
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, October 3 & 5 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, October 4 Carlos Miguel Prieto conductor Tianwa Yang violin JOHANN SEBASTIAN BACH, (ORCH. STOKOWSKI)
Passacaglia and Fugue in C minor, BWV 582 ◆
CARLOS MIGUEL PRIETO
PAGANINI Violin Concerto No. 2 in B minor, Op. 7, La campanella
I. Allegro maestoso II. Adagio III. Rondo ‘La campanella’
BEETHOVEN Symphony No. 8 in F Major, Op. 93
I. Allegro vivace e con brio II. Allegretto scherzando III. Tempo di Menuetto IV. Allegro vivace
VISIT THE SYMPHONY GIFT SHOP FOR CD SELECTIONS
Free to ticketholders, 7:05pm, in the auditorium for concerts on October 3 & 5.
MASTERWORKS DIAMOND SERIES SPONSOR
SYMPHONY SUNDAYS SERIES SPONSOR
Carlos Miguel Prieto conductor Carlos Miguel Prieto’s charismatic conducting, characterized by its dynamism and the expressivity of his interpretations, has led to major engagements and popular acclaim throughout North America and in Europe. In great demand as a guest conductor with many top North American orchestras, his relationships with orchestras in Europe, Latin America and the United Kingdom continue to expand. Recognized as the leading Mexican conductor of his generation, Prieto is Music Director of the Orquesta Sinfónica Nacional de Mexico, Orquesta Sinfónica de Minería, the Louisiana Philharmonic Orchestra, and the YOA Orchestra of the Americas. A renowned champion of Latin American music, Prieto has conducted over 50 world premieres of works by Mexican and American composers, many commissioned by him. An active recording artist, his discography covers labels including Naxos, Sony, and Cedille. A graduate of Princeton and Harvard universities, Prieto studied conducting with Jorge Mester, Enrique Diemecke, Charles Bruck and Michael Jinbo.
and Hong Kong Philharmonics, and the Ravinia, Virginia Arts and Schwetzingen Festivals. She debuted in Canada in 2012 performing Prokofiev in a four city tour, including Vancouver, with the Hong Kong Sinfonietta. She has won several awards during her career including the Volkswagen Foundation prize “Star of Tomorrow” presented by Seiji Ozawa and the 2006 “Prix Montblanc.” She performs on a Guarneri del Gesu (1730) on kind loan from Mr. Kei Mei Rin in Singapore.
Johann Sebastian Bach b. Eisenach, Germany / March 21, 1685 d. Leipzig, Germany / July 28, 1750
Passacaglia and Fugue in C minor, BWV 582 During particular periods in Bach’s career, the responsibilities of his employment required him to focus upon composing particular kinds of music. Much of his organ music dates from his terms as soloist on that instrument in Arnstad, Mühlhausen and Weimar (1703-1717). This mighty, encyclopaedic collection of more than 250 works – large and small, simple and complex, joyous, playful, stern and majestic – forms the enduring bedrock of the classical organist’s repertoire. violin This Passacaglia and Fugue is not only his Violinist Tianwa Yang recently won the much coveted ECHO Klassik 2015 Best Instrumentalist longest organ work, it is also one of the most imposing of all his creations. He cast it in two of of the Year Award for her recording of Ysaye the Baroque era’s most popular music forms. In Solo Sonatas on the Naxos label, the Annual a passacaglia, a set of variations unfolds above Prize of the German Record Critics 2014 and numerous Diapason D'or, Classic FM, Pizzicato a repeating bass line. Intentionally or not (no one is certain), the opening half of the eight-bar Supersonic and CHOC Classica awards for her theme upon which Bach based this passacaglia extensive discography on the Naxos label. Her performances worldwide in concert and recital corresponds to a theme from an organ Mass by French composer André Raison (1650-1720). include those with the Baltimore, Detroit, Bach subjected it to twenty brief, ingeniously MDR-Leipzig, SWR- Baden-Baden-Frieburg, contrasting variations. In a fugue, a theme is Seattle, and New Zealand Symphonies; the repeated, the texture growing larger and more BBC, Royal Philharmonic, Buffalo, Malaysian
intricate as the music unfolds. Bach gives this Passacaglia and Fugue an increased sense of unity by linking the two halves thematically: the first part of the opening passacaglia’s theme becomes the theme of the concluding fugue. This piece has attracted not only organists but also several musicians who have sensed in it larger, wider instrumental possibilities. Among those who have transcribed it for orchestra are composer Ottorino Respighi and conductors Leopold Stokowski, Eugene Ormandy and Sir Andrew Davis.
virtually operatic in character, with the soloist adopting the lyrical bel canto style of such contemporaries as Rossini and Bellini. The small orchestral bell that announces each return of the virtuosic finale’s catchy rondo tune gave the concerto its nickname, La campanella (The Little Bell). Liszt used the melody as the basis for a dazzling piano piece, one of the Six Transcendental Etudes after Paganini.
Ludwig van Beethoven b. Bonn, Germany / baptized December 17, 1770 d. Vienna, Austria / March 26, 1827
Symphony No. 8 in F Major, Op. 93 In terms of style and content, this is a lighthearted creation but far from a light-headed one. In it, Beethoven glanced backward toward Violin Concerto No. 2 in B minor, the Classical style of Mozart and Haydn, with Op. 7, La campanella touches of his own characteristically brusque Paganini revolutionized the art of playing the violin. Such was his incredible virtuosity, and so sense of humour added in. unique the new sounds he produced from his It was premiered in Vienna on February instrument, that audiences were literally struck 27, 1814, in a concert that included two dumb by what they heard. Franz Liszt was so compositions that had already found great thunderstruck by what Paganini could do that it favour: the gloriously invigorating Symphony literally changed the course of his life. No. 7, and the ludicrous ‘battle symphony,’ He vowed to become ‘the Paganini of the Wellington’s Victory. The comparisons that the piano’ – and he did. Eighth invited in this company worked against its success, resulting in a lukewarm audience Together with his tall, thin frame, long, dark reception. hair and pale complexion, Paganini’s abilities gave birth to the rumour that he had sold his There are no preliminary gestures. Beethoven soul to the Devil in exchange for his incredible plunges immediate into a world of energy performing skill. Another tale suggested that and verve. The second theme begins in an he had developed his talents in prison while exceptionally gracious manner but quickly serving a sentence for murder. Canny showman turns impudent. The development section veers that he was, he never made serious efforts toward drama, only to stop short of real stress to deny any of these attention-grabbing, and profundity. At the climax, the first theme, box-office-enhancing stories. Another touch returning in the lower end of the orchestra, of mystery came from his regular absences underneath nervous high tremolo strings, draws from public view. Some of these periods were the mood back to poise and good manners. The caused by ill health, others by love affairs with coda is energetic, the final bars coyly subdued. wealthy women. At first the genteel, witty spirit of Haydn lingers He completed the first of the six violin concertos over the second movement, a light, teasing which are known today (there may have been stroll rather than an authentic slow movement. others) in 1816. During the following decade, Strongly contrasted outbursts, however, mark he devoted most of the time he had available it unmistakably as Beethoven’s. The following for composition to chamber music. He returned minuet is almost satirical in its degree of stately to write concertos in 1826, in Naples, while pomposity. The central trio section is equally recovering from a bout of illness. regal, with two horns and a clarinet taking the spotlight. The finale opens with quietly The first movement of No. 2 opens with scurrying activity, only to burst forth into loud, a substantial orchestral introduction that joyous animation. ■ sets up the soloist’s commanding entrance. Program Notes © 2015 Don Anderson Dramatic and lyrical episodes alternate as the movement unfolds. The second movement is b. Genoa, Italy / October 27, 1782 d. Nice, France / May 27, 1840
MUSICIAN PROFILE SERIES: JULIA LOCKHART VSO PRINCIPAL BASSOON
“ I wanted to play bassoon
right from the beginning ”
AN AMUSING POST that has made “ THERE’S the rounds on Facebook recently. The words of
a pre-concert announcement are typed boldly on a card “If your electrical device (watch, phone, pager, etc.) activates anytime during the concert, you will be required to go on stage and PLAY THE BASSOON!” If the thought of wrestling with a tall, heavy, “bundle of sticks” petrifies you, think of the phrase “I’m all thumbs.” There are more than a dozen keys on the bassoon that are operated by your two thumbs. This summer several newspapers in the UK ran articles on how the bassoon was in danger of becoming extinct, part of a campaign to get more young people interested in playing the instrument. The VSO’s Principal Bassoonist, Julia Lockhart, shares a
few thoughts on how SHE came to take up the bassoon and those who have inspired her.
A future without bassoons? Well, it's a troubling prospect. It is very good that these bassoonists in Europe are thinking this far ahead into the future. I've been seeing signs of it in Vancouver lately. The youth and academy orchestras have been searching hard to fill their bassoon section chairs. In band programs, a lot of the time the bassoon students get a commercially made reed. These reeds are constructed without any of the trimming or refinements necessary to make it easier for a younger player to make a sound. So that can make playing the bassoon pretty frustrating for kids.
This one time, at band camp… I was in grade seven in a junior high school band program in Calgary, Alberta and I wanted to play bassoon right from the beginning. I wanted to play something that no one else was playing and I remembered it very clearly from a Calgary Philharmonic school concert that I had attended in elementary school. I met my very first bassoon teacher when I was in grade eight at a winter band camp. I had been playing the bassoon for a few months, just having taught myself out of a beginner band book. Calgary bassoonist Michael Hope and a few other CPO wind players were brought in by our band director to work with all of us. We talked about how much air support you really have to use all the time to make a beautiful sound. Michael is also a singer, an accomplished baritone, and he always brought a very singing-oriented approach to bassoon playing that I have taken with me ever since. 20 allegro
To the Curtis Institute, and beyondâ€Ś I have been very fortunate to have studied with several wonderful bassoonists. Both of my first teachers, Michael Hope and Nadina Mackie Jackson at the University of Toronto
had studied at the Curtis Institute with Bernard Garfield, and they both had that school in mind for me. I got accepted when I was nineteen. I had auditioned for two years before that but they only accept one player every year. Mr. Garfield had been principal bassoon of the Philadelphia Orchestra for 43 years. He is now in his early nineties and we are still in touch pretty regularly. He's a wonderful guy. My former teacher Nadina Mackie Jackson is also an inspiring bassoonist to me. She is mainly a soloist, commissioning new works all the time. She has a completely unlimited view of what is possible on the bassoon, and what kinds of music we should feel free to play. After I finished my undergrad at Curtis, I went to Yale for a year and studied with Frank Morelli. He transcribed a lot of opera arias for the bassoon. He has a very well-rounded approach to the instrument, where you can draw all kinds of inspiration from unlikely places. Most recently, I completed my Master's degree at UBC. I learned a tremendous amount from studying with Prof. Jesse Read, who has had an inspiring career as a soloist, recording artist, and scholar.
I also studied harpsichord at Curtis, as I've always loved Baroque music. There is a beautiful double manual French harpsichord at Curtis and I could often hear my friend Paul Jacobs practicing (he's now the chair of the organ department at Juilliard). He and I had played continuo together in a lot of Baroque chamber music, and I always thought it was fascinating to hear him improvise. Early Music itself has always been my favourite era of music in which the bassoon has a part. And I regularly apply the principles I learned in harpsichord to my bassoon playing when I play baroque music. When you play together in a basso continuo role, you certainly can bring all of those same ideas into shaping a bass line on the bassoon and end up giving it a whole lot more life that way.
Tool time Other than performing music I also have a part time job repairing musical instruments. The better you get at it, the more you can see how far you still have to go! I wouldn't want to fix a crack yet, but I can usually figure out a mechanical problem and correct little details like corks, elevation of pads, floating pads and things like that. I'm pretty handy with tools through reed-making, and through jewelrymaking. My main hobby outside of music is making mosaic art. I've always loved ancient Roman art â€” the intricate patterns of their mosaics. So I've made a bunch of different replicas of those. It takes a lot of time and patience and attention to detail but it's very satisfying.
Concert Program C L A S S IC A L T R AD ITIO N S C H A N C EN T RE FO R T H E P ER F OR M ING ARTS, 8 PM
Friday & Saturday, October 9 & 10 Alexandre Bloch conductor Ingrid Fliter piano MESSIAEN ◆
Les offrandes oubliées
Piano Concerto in D Major
I. Vivace II. Un poco adagio III. Rondo all’ Ungherese: Allegro assai
Symphony No. 9 in C Major, D. 944, The Great
I. II. III. IV.
Andante – Allegro, ma non troppo Andante con moto Scherzo: Allegro vivace Allegro vivace
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Alexandre Bloch conductor Admired for his enthusiasm and energy, Alexandre Bloch is Principal Guest Conductor of Düsseldorf Symphoniker from September 2015. The French conductor came to international attention as winner of Donatella Flick’s LSO Conducting Competition in October 2012, after which he was appointed Assistant Conductor at the London Symphony Orchestra. The 15/16 season includes debuts with Oslo Philharmonic, Vancouver Symphony, Deutsche Kammerphilharmonie Bremen and Nash Ensemble at the Wigmore Hall. He returns to Concertgebouw Orkest, Scottish Chamber, Royal Northern Sinfonia, Royal Liverpool Philharmonic, BBCNOW, Poznan Philharmonic, NWD Philharmonie and Australian Youth Orchestra. Future plans include his debut with Orchestre Philharmonique de Radio France, and returns to the Scottish Chamber Orchestra and Orchestre National de Lille.
Ingrid Fliter piano Argentine pianist Ingrid Fliter has won the admiration and hearts of audiences around the world for her passionate yet thoughtful and sensitive music making played with an effortless technique. Winner of the 2006 Gilmore Artist Award, one of only a handful of pianists and the only woman to have received this honour, Ms. Fliter divides her time between North America and Europe. Ingrid Fliter made her American orchestral debut with the Atlanta Symphony, just days after the announcement of her Gilmore award. Since then she has appeared with the Cleveland and Minnesota Orchestras, Los Angeles Philharmonic, the Toronto, San Francisco, National, Cincinnati, Dallas, Houston, Puerto Rico, Utah and Nashville symphonies among others, as well as at the Mostly Mozart, Grant Park, Aspen, Ravinia, Blossom and Brevard festivals.
Olivier Messiaen b. Avignon, France / December 10, 1908 d. Clichy, France / April 27, 1992
Les offrandes oubliées Messiaen’s unique style combined many varied elements, from Hindu rhythms and birdsong to medieval plainchant, Roman 24 allegro
Catholic mysticism, and the complex metres of Classical Greek verse. His music won him international fame. He also found success as a teacher and as an organ soloist. He composed Les offrandes oubliées (The Forgotten Offerings), his first published orchestral piece, in 1930, just after the completion of his studies with Paul Dukas and Marcel Dupré at the Paris Conservatoire. As strikingly original a work as this brought him his first significant attention, and it forecast a formidable career. At that time, his music still showed the influence of composers he admired, such as Debussy and Wagner. Sub-titled ‘symphonic meditation,’ Les offrandes oubliées was one of his first compositions to proclaim his profound religious faith. It falls into three sections. The opening and closing panels (the last inspired by the Eucharist) are slow and reflective. The second is violent and dramatic in the manner of Stravinsky’s The Rite of Spring (1913). Messiaen placed the following prose poem at the beginning of the published score. Arms outstretched, afflicted unto death, you shed your blood on the cross. We have forgotten, sweet Jesus, how you love us. Driven onward by madness and forked tongues, in breathless, uncontrolled and headlong flight, we have fallen into sin like a bottomless pit. It is here to be found, the unsullied table, the source of charitability, the feast of the poor, the well of holy sympathy which is to us the very bread of life and love. We have forgotten, sweet Jesus, how you love us.
Joseph Haydn b. Rohrau, Lower Austria / March 31, 1732 d. Vienna, Austria / May 31, 1809
Piano Concerto in D Major During Haydn’s lifetime, the piano gradually replaced the harpsichord as the dominant keyboard instrument. He composed more than a dozen concertos for keyboard. It is uncertain if he intended them to be performed on harpsichord or piano, but they make an equally superb effect on either instrument. This concerto, probably the last of the series, was published in 1784. Beyond that, its history remains cloudy. During Haydn’s lifetime it
received more performances than any of his other concertos. Reflecting the fact that he was not a keyboard virtuoso, it demands more in terms of fluency, warmth and taste than technical brilliance. It may lack some of the depth of thought and the richness of instrumentation of his friend Mozart’s piano concertos, a fact that has limited its appeal to soloists. Nevertheless it is a highly attractive and satisfying work. The opening movement is energetic and virtually carefree. The second movement is a calm, restful reverie. The finale is the main source of the concerto’s popularity. It is a vivacious rondo, based on an authentic Hungarian or Bosnian-Dalmatian folk tune. This is an early example of a practice through which numerous Austro-German composers, through to Brahms, gave their audiences a delightful taste of the exotic.
Franz Schubert b. Vienna, Austria / January 31, 1797 d. Vienna, Austria / November 19, 1828
Symphony No. 9 in C Major, D. 944 The Great Schubert began but did not complete four symphonies between 1818 and 1822. These failed attempts, and his emotional maturation, ensured that the last of them, the familiar ‘Unfinished’ Symphony in B minor, possesses a sense of drama and a depth of tragic feeling previously unheard in any of his symphonies. Gradually rebuilding his self-confidence, he determined to compose what he considered a ‘grand’ symphony. By giving it a broader scale than his previous symphonies, and providing materials of sufficient substance to justify its dimensions, he believed it could rival the masterworks of Beethoven (whose Ninth had premiered the year before), while still bearing the imprint of his own personality. It is most likely that he sketched it – this symphony in C major – during the summer of 1825, then developed and revised it over the remaining three years of his life. No one was interested in performing it. After his death, the manuscript passed into the possession of his brother Ferdinand. In 1835, Ferdinand revealed the existence of the symphony and several additional Schubert manuscripts. Robert Schumann came to see about them. Schumann passed the symphony
to his friend Felix Mendelssohn, who conducted the symphony’s first performance, in Leipzig on March 21, 1839. It met with a mixed response and did not achieve genuine recognition easily. It was only toward the close of the nineteenth century that it firmly established itself as a repertoire staple. Schubert cast each of its four movements on a vast scale. The first opens with a majestic introduction, and proceeds with a bold and vigorous Allegro. The theme of the prelude returns to end this section affirmatively. The strolling tempo of the second movement is set right from the beginning. After a central climax which verges on emotional disaster, the mood gradually relaxes back to its opening sense of gentility. The following scherzo is not at all a simple joke or dance, but an immense outburst of Olympian energy. A commanding call to attention heralds the confident finale. In it Schubert builds an exhilarating sense of joyful forward momentum, propelled by an insistent, galloping string rhythm and bolstered by the ever-moreforceful underpinning of trombones. ■ Program Notes © 2015 Don Anderson
Concert Program M A R D ON G R OUP IN SUR AN C E M U S IC A L LY S P E AKIN G OR P H EU M T H EATR E , 8 P M
Saturday, October 17 N ORT H S H OR E C LASSIC S C EN T EN N IA L T HE ATR E , N ORT H VA N C OUV E R , 8 P M
Monday, October 19 ◆
Darrell Ang conductor Angela Cheng piano ZHOU LONG The Rhyme of Taigu
First Movement Second Movement Third Movement
Piano Concerto No. 1 in C Major, Op. 15
I. Allegro con brio II. Largo III. Rondo: Allegro scherzando
DEBUSSY Prélude à l’après-midi d’un faune DEBUSSY La mer
I. From Dawn Until Noon Upon the Sea II. Play of the Waves III. Dialogue of the Wind and the Sea
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Darrell Ang conductor
An avid recitalist, Angela Cheng appears regularly on recital series throughout the Darrell Ang's triumph at the 50th Besançon U.S. and Canada, and recently, at the Wigmore International Young Conductor's Competition, Hall in London. Also an active chamber where he took all three top awards – Grand musician, she performs at music festivals Prize, Audience Prize and Orchestra Prize – throughout the Americas in collaboration with launched his international career. He served as such ensembles as the Takács, Colorado, music director of the Orchestre Symphonique and Vogler quartets. de Bretagne and has been a guest conductor with Orchestre Philharmonique de Radio France, Orchestre National de Lyon, Orchestra b. Beijing, China / July 8, 1953 Sinfonica di Milano “Giuseppe Verdi,” and The Rhyme of Taigu Konzerthaus Orchestra Berlin, among others. In his native Singapore he became Zhou Long is internationally recognized for the youngest Associate Conductor of the creating a unique body of music that brings Singapore Symphony Orchestra and served as together the aesthetic concepts and musical the Music Director of the Singapore National elements of east and west. Deeply grounded Youth Orchestra. Darrell Ang's uncommon gift in the entire spectrum of his Chinese heritage, was discovered at the age of four when he including folk, philosophical, and spiritual began to play violin and piano. His training as ideals, he is a pioneer in transferring the a conductor was in St Petersburg, followed idiomatic sounds and techniques of ancient by study at Yale. Chinese musical traditions to modern Western instruments and ensembles. He holds the position of Distinguished Professor piano of Composition at the University of MissouriConsistently praised for her brilliant technique, Kansas City. He won the 2011 Pulitzer Prize for tonal beauty, and superb musicianship, Music for his opera, Madame White Snake. pianist Angela Cheng is one of Canada’s The publisher of Rhyme of Taigu has national treasures. A regular guest artist with provided the following note: virtually every orchestra in Canada, she has also performed extensively with orchestras Taigu is the Chinese pronunciation of the throughout the U.S. and worldwide. Ms. Cheng Japanese word Taiko (fat drum). Although made her highly acclaimed Carnegie Hall the tradition of taiko drumming has existed debut with the Edmonton Symphony in 2012. in Japan for many centuries, its origins can be traced back to the taigu drumming At the invitation of Pinchas Zukerman, Ms. Cheng toured the U.S., Europe, South America, tradition that grew out of Buddhist doctrines and courtly ceremonies from China. In this and China as a member of the Zukerman three-movement work, Zhou Long explores Chamber Players. In 2013, with Mr. Zukerman and cellist Amanda Forsyth, she the energy and the spirit behind this unique art form, in which organized rhythmic materials made her debuts at the Verbier, Edinburgh, generate a dramatic and powerful music. Miyazaki, and Enescu/Romania festivals.
Ludwig van Beethoven b. Bonn, Germany / baptized December 17, 1770 d. Vienna, Austria / March 26, 1827
Piano Concerto No. 1 in C Major, Op. 15 Beethoven arrived in Vienna in 1792, intending merely to finish his musical education with Haydn before returning to Bonn. Circumstances led him to change those plans. The Austrian capital was destined to remain his centre of activities for the remainder of his life. He won his first fame there as a pianist. He also composed solo piano works for his own performance. He revised certain of his existing creations as well, including the Piano Concerto ‘No. 2,’ his earliest complete work in this form. In order to retain the performing rights, he delayed its publication until 1801. This explains why it is numbered higher than Concerto ‘No. 1,’ which he composed from 1796 to 1797. Beethoven himself played the solo part at the premiere of the Concerto in C, as he would with the first four of the five piano concertos. The opening movement unfolds with unhurried grace and charm. The second movement
presents a gentle reverie, uninterrupted by darker episodes. Beethoven here excluded flute, oboes, trumpets and timpani from the orchestra, giving this portion a texture that is airier than the flanking movements. He showed more of his mature self in the finale than anywhere else in the concerto. His gruff good humour made itself felt in this expansive, genial rondo.
Claude Debussy b. St. Germaine-en-Laye, France / August 22, 1862 d. Paris, France / March 25, 1918
Prélude à l’après-midi d’un faune This poetically atmospheric work, the first piece to announce the emergence of Debussy’s sensuous mature style (widely known as Impressionism, although he never cared for the name), developed out of his admiration for Stéphane Mallarmé’s poem, The Afternoon of a Faun. Debussy recognized in it a style similar to his own view of music. He composed his Prelude during the summer of 1894. The words of the poem are those of a faun or satyr, a languid, pleasure-loving half-man, half-goat figure from Classical mythology.
The Stradivarius Legacy Circle The Stradivarius Legacy Circle recognizes and thanks individuals in their lifetime for making arrangements for a gift in their will to the Vancouver Symphony Foundation—creating a lasting legacy of exceptional symphonic music and music education in our community. We sincerely thank our members for their foresight, generosity and commitment to the VSO's future. George Abakhan Janet M. Allan Renate A. Anderson K.-Jane Baker Lorna Barr Susan Boutwood Peter & Mary Brunold Dr. William. T. Bryson Ralph & Gillian Carder Mrs. Diana Gael Coomber Mr. and Mrs. G.A. Cooper David & Valerie Davies Gloria Davies Julia Dodwell
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Debussy wrote, “The music of this Prelude is a very free illustration of Mallarmé’s beautiful poem. It is not to be seen as an attempt at a synthesis of the poem; that is suggested rather by the succession of scenes through which the faun’s dreams and desires in the heat of the afternoon are expressed. Then, weary of continuing the pursuit of the sacred waternymphs and spirits, he abandons himself to enriching sleep, which is full of finally fulfilled dreams, of complete possession of the natural world.” Music as free and as sensuous as this had never been heard before. Its improvisational quality would become a Debussy trademark. Conjured out of silence by the unaccompanied call of the faun’s flute, it evokes Mallarmé’s hazy, dream-like ideas with effortless tonal magic. Short phrases melt languorously one into the other; solo winds take the spotlight in turn; ethereal coolness alternates with passion.
La mer Given Debussy’s taste for sparkling colours and fluid rhythms, the sea seemed a virtually inevitable subject for him. La mer (The Sea, subtitled Three Symphonic Sketches) is the most expansive and luxurious of his several seascapes. Anticipating criticism for not composing it while living close to the subject, he wrote, “You will tell me that the ocean doesn’t lap against the slopes of Burgundy... and that what I am doing is like painting landscapes in a studio. But I have so many memories; in my view they are more valuable than reality, which usually weighs too heavily on one’s thoughts.” The first performance took place in Paris on October 15, 1905. The first movement, From Dawn Until Noon Upon the Sea, opens quietly, its colours muted and misty. Debussy builds a gradual instrumental and emotional crescendo, surging ever forward until it reaches a stirring climax. Play of the Waves, the second movement, is a flashing, limpid scherzo, portraying the quicksilver patterns of light and water which endlessly crisscross the face of the ocean. Debussy unleashes the full resources of the orchestra in the concluding movement, Dialogue of the Wind and the Sea. It concludes with a majestic coda, portraying the sea as a powerful yet benign force of nature. ■ Program Notes © 2015 Don Anderson
C H E R N I AV S K Y L A U R E AT E C H A I R
The Vancouver Symphony Society is grateful to the Gudewill family who, in honour of their mother, Mrs. Janey Gudewill, uncle, Mr. Peter Cherniavsky, grandfather, Mr. Jan Cherniavsky and great grandmother, Mrs. B.T. Rogers have established a fund to create the Vancouver Symphony Orchestra Cherniavsky Laureate Chair. Each season, the fund supports the appearance of a distinguished guest pianist with the VSO. Anne-Marie McDermott joins us as the eleventh Cherniavsky Laureate, performing with Maestro Tovey and the VSO at the Orpheum Theatre on October 24th and 26th at 8pm. Mrs. Rogers co-founded the Vancouver Symphony Society in 1919, served as President of the Society from 1931 to 1938, and as Honorary Life President, continuing to sustain it with her financial support and inspirational leadership until her death in 1965. Jan Cherniavsky, a renowned concert pianist, performed as soloist with the VSO on numerous occasions and in 1967 founded the Cherniavsky Junior Club for the Performing Arts. He was its spiritual leader until his death in 1989. The CJCPA is an endowment to fund costs associated with children’s concerts during class time for schools throughout the province. Last year, nearly 5,000 children attended such concerts, with the hope of reaching even more students in the future. The Gudewills are the 4th generation in this extraordinary family to support the Vancouver Symphony Orchestra. Support for which we are most grateful.
MRS. B.T. ROGERS (1869–1965), MR. JAN CHERNIAVSKY (1892–1989)
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
Saturday & Monday, October 24 & 26 Bramwell Tovey conductor Anne-Marie McDermott piano (Cherniavsky Laureate pianist) STRAVINSKY Pulcinella: Suite ◆
I. Sinfonia (Overture) II. Serenata III. Scherzino – Allegro – Andantino IV. Tarantella V. Toccata VI. Gavotta con due variazioni VII. Vivo VIII. Minuetto IX. Finale
Rhapsody on a Theme of Paganini, Op. 43 ◆
POUL RUDERS Paganini Variations
(Piano Concerto No. 3) (World Première)
SIBELIUS Symphony No. 7 in C Major, Op. 105
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For a biography of Maestro Tovey please refer to page 10.
Igor Fyodorovich Stravinsky b. Oranienbaum, Russia / June 17, 1882 d. New York, USA / April 6, 1971
Pulcinella: Suite In 1919, dance impresario Diaghilev hatched piano (Cherniavsky Laureate pianist) the idea of a ballet based on music of the For over 25 years Anne-Marie McDermott has Baroque period. He chose the Italian composer played concertos, recitals and chamber music Giovanni Battista Pergolesi (1710-1736) as the source, and asked Stravinsky to consider in hundreds of cities throughout the United adapting it. At first Stravinsky resisted, but States, Europe, and Asia. She also serves once he examined the music, he fell in love as Artistic Director of the Bravo! Vail Music with it. He kept Pergolesi’s melodies and bass and Ocean Reef Music Festivals, as well as lines virtually intact, but placed his own, tart Curator for Chamber Music for the Mainly stamp upon them. Diaghilev, Stravinsky and Mozart Festival in San Diego. choreographer Léonide Massine collaborated In the 2015/16 season she will appear with on the ballet’s plot. It follows the merry the Pacific Symphony, Nashville Symphony, adventures of Pulcinella, a character from and Dallas Symphony among others. After the Neapolitan theatre tradition known as premiering Poul Ruders’ concerto with the commedia dell’arte. The ballet’s premiere took Vancouver Symphony, she will go on to record place in Paris on May 15, 1920, and Stravinsky the piece for Bridge Records. Last season, prepared this concert suite two years later. she appeared with the Detroit and Toronto Symphonies and returned to play with the New York Philharmonic and Dallas Symphony in Vail. b. Semyonovo, Russia / April 1, 1873 d. Beverley Hills, USA / March 28, 1943 She is a longtime member of the Chamber Music Society of Lincoln Center with whom Rhapsody on a Theme of Paganini, Op. 43 she performs and tours extensively each Distressed by the negative reaction to Piano season. Ms. McDermott also enjoys touring as Concerto No. 4, Rachmaninoff determined to a member of OPUS ONE. make his next (and as it turned out, final) work for piano and orchestra more approachable. As several other composers have done, he
turned for inspiration to the last of violin virtuoso Niccolò Paganini’s 24 Caprices for solo violin. He composed Rhapsody on a Theme of Paganini – a set of two dozen variations on the twenty-fourth caprice – from July to August 1934. It won a huge success and entered the international repertoire with astonishing speed. In the seventh variation, Rachmaninoff introduced the Dies irae (Day of Wrath). This sombre theme, drawn from the medieval plainchant Mass for the Dead, portrays the fearsome day of final judgement. The rhapsody’s emotional climax arrives in the eighteenth variation, a lyrical outpouring of emotion ingeniously based on an inversion of the beginning of Paganini’s theme.
Poul Ruders b. Ringsted, Denmark / March 27, 1949
Paganini Variations (Piano Concerto No. 3) (World Première) Ruders has created a large body of music ranging from opera and orchestral works through chamber, vocal and solo music in a variety of styles, from imitation Baroque to explosive modernism. The composer writes, In 1999 my friend, the American guitar virtuoso, David Starobin, asked me to write a concerto for guitar and orchestra. It quickly dawned on me that this commission presented a golden opportunity to contribute to the time-honoured tradition of composing a series of variations on Niccolò Paganini's celebrated twenty-fourth caprice for solo violin, a work which itself is a set of variations. The sixteen-bar theme is not particularly intricate, but its inherent simplicity and logic just grows on you, almost to the point of distraction. The secret behind it being hauled through ‘the wringer’ by composers as disparate as Liszt, Brahms, Rachmaninoff, and Lutoslawski is perhaps found in its (what I’ll call, with a quick nervous look over my shoulder) brilliant banality. You can do anything with that tune. It’ll always be recognizable and just there, no matter how much you maul it. The guitar concerto was composed, performed and recorded, and everyone was happy. But the story didn’t end there, and it must be the ultimate proof of the durability of the theme, not to mention the far-sightedness of David Starobin, when he asked, fourteen years later, “why not make a version for piano?” The idea
appealed to me immediately. One thing was clear from the beginning: the new version should in no way sound like a transcription. My aim was to end up with a solo-part sounding like it were “the one-and-only.” Paganini's theme is heard at the outset, and is followed by 21 variations and a finale, played in a single span. The piece shifts mood frequently as befits a series of interconnected variations, leading to a furious finale, where the piccolo wraps the whole piece up with a smile. Paganini Variations (Piano Concerto No. 3) is dedicated to the American pianist, Anne-Marie McDermott.
Jean Sibelius b. Hämeenlinna, Finland / December 8, 1865 d. Järvenpää, Finland / September 20, 1957
Symphony No. 7 in C Major In 1918, Sibelius envisioned a symphonic composition in three movements. By the early `20s it had come to have four movements, but during the summer of 1923 it began to take on its final, one-movement form. He conducted the premiere of what he entitled a Fantasia sinfonica (Symphonic Fantasy) in Stockholm, Sweden on March 24, 1924. It was only when it was published in 1925 that he settled on calling it Symphony No. 7. For some years, he had been pursuing the process of symphonic compression. This imposing, emotionally compelling work takes that concept to its ultimate goal, distilling the contrasting sections of a traditional symphony into one seamless, closely integrated whole (albeit with the slow movement placed first). Author Robert Layton has written of it, “No work could be more symphonic in its organic growth, in its capacity for what one might term ‘continuous creation.’ In its seemingly inexhaustible capacity for evolving new material from the same basic germinal ideas and in its control of contrasting tempos, the Seventh Symphony is a remarkable achievement with few precedents in the symphonic repertoire. The chief landmark, a kind of Alpine chain that runs along its spine, is the appearance on three occasions of a massive, noble idea on the trombone; each time, its grandeur and intensity become more commanding.” ■ Program Notes © 2015 Don Anderson
Concert Program K ID S ’ K ON C ERT S OR P H EU M T H EATR E , 2 P M
Sunday, October 25 Inspector Tovey Investigates Melody Bramwell Tovey conductor Children of the VSO Family When you hear or read the words "Twinkle, Twinkle, Little Star," what pops into your mind? A picture perhaps? Possibly also a Tune and a Rhythm? Inspector Tovey Investigates Melody, with the assistance of some of our extended VSO family! BRAMWELL TOVEY
Bramwell Tovey, O.C. conductor For a biography of Maestro Tovey please PREMIER EDUCATION PARTNER PREMIER EDUCATION PARTNER
refer to page 10. ■
THE VSO’S KIDS’ KONCERTS HAVE BEEN ENDOWED BY A GENEROUS GIFT FROM THE WILLIAM & IRENE MCEWEN FUND.
UPCOMING CONCERTS Highlights of the next issue of allegro...
VSO POPS: FIFTY YEARS OF BOND
FRI & SAT, NOVEMBER 27 & 28 8PM, ORPHEUM THEATRE John Morris Russell conductor Capathia Jenkins vocalist Jeremy Kushnier vocalist His name is Bond. James Bond. Just in time for the release of 007’s twenty-fourth movie, SPECTRE, you will hear the most memorable songs and music from Dr. No through Goldfinger, Live and Let Die, From Russia With Love, For Your Eyes Only and all the way up to the Oscar-winning Skyfall. Celebrate Fifty Years of Bond with the VSO!
SARAH CHANG WITH THE VSO
SAT & MON, DECEMBER 5 & 7 8PM, ORPHEUM THEATRE Pietari Inkinen conductor Sarah Chang violin* JORDAN PAL Burn DVORˇ ÁK Violin Concerto in A minor* TCHAIKOVSKY Symphony No. 4 in F minor
VIVALDI’S FOUR SEASONS, WITH
FRI & SAT, DEC 18 & 19 8PM, CHAN CENTRE, UBC Vadim Gluzman leader/violin*
MOZART Divertimento in D Major Salzburg Symphony No.1 KANCHELI A Little Daneliade MOZART Eine kleine Nachtmusik VIVALDI Four Seasons*
TCHAIKOVSKY AND THE MERMAID
SAT & MON, JANUARY 16 & 18 8PM, ORPHEUM THEATRE John Storgårds conductor Augustin Hadelich violin*
GLENN BUHR …this is the murmur of yearning TCHAIKOVSKY Violin Concerto in D Major* ZEMLINSKY The Mermaid: Symphonic Fantasy after Hans Christian Andersen
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Bramwell Tovey, O.C. conductor
For a biography of Maestro Tovey please refer to page 10.
Christopher Gaze host & narrator
Christopher is best known as the Founding Artistic Director of Bard on the Beach Shakespeare Festival. He hosts the Vancouver Symphony Orchestra's ever popular Tea & Trumpets series and has hosted their annual Christmas concerts for over twenty years. His many honours include Canada’s Meritorious Service Medal, Honorary Doctorates from UBC & SFU, the Mayor’s Arts Award for Theatre and the Order of British Columbia. Earlier this year, Christopher played Frosch in Die Fledermaus for Vancouver Opera, and he recently directed the world premiere of C.C. Humphreys’ Shakespeare's Rebel, part of Bard's 2015 season. Christopher plays a leading role in British Columbia as an advocate for the arts in general, and his passionate dedication to Bard on the Beach has fuelled its growth into the largest professional Shakespeare festival in Western Canada, with attendance of over 100,000. ■
T EA & T R U M P ET S OR P H EU M T H EATR E , 2 P M
Thursday, October 29 In An English Country Garden Bramwell Tovey conductor Christopher Gaze host WALTON Crown Imperial March DELIUS The Walk to the Paradise Garden WALTON Spitfire: Prelude and Fugue COATES By the Sleepy Lagoon GRAINGER Shepherd’s Hey ELGAR Salut d’amour, Op. 12 BINGE Elizabethan Serenade HOLST Jupiter, the Bringer of Jollity
TEA & COOKIES served in the lobby one hour before each concert compliments of Tetley Tea and Walkers Shortbread.
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Concert Program VS O C H A M B ER P LAY E R S
ALAN AND G W EN DOL IN E P YAT T HALL
D R. H . N . M A C CO R KIN D ALE STAG E VS O S C H OOL OF MUSIC
Wednesday, October 28, 7:30pm Thursday, October 29, 7:30pm
Sunday, November 1, 2pm MORLOCK Nightsong Sophie Dansereau bassoon Elizabeth Volpé Bligh harp YI ZHOU
IBERT Trio for Violin, Cello and Harp Yi Zhou violin Charles Inkman cello Elizabeth Volpé Bligh harp INTERMISSION
TCHAIKOVSKY Piano Trio in A minor, Op.50 Dale Barltrop violin Ariel Barnes cello Chiharu Iinuma piano
ELIZABETH VOLPÉ BLIGH
WITH SUPPORT FROM
L ON D ON D RU G S V SO P O P S OR P H EU M T H EATR E , 8 P M
Friday & Saturday, October 30 & 31
A Halloween Spectacular John Morris Russell conductor Carman J. Price vocalist
JOHN MORRIS RUSSELL
John Morris Russell conductor
John Morris Russell is Conductor of the Cincinnati Pops, Music Director of the Hilton Head Symphony and Conductor Laureate of the Windsor (ON) Symphony Orchestra. As a guest conductor, Maestro Russell has led many of North Americaâ€™s most distinguished ensembles, including the orchestras of Vancouver, Toronto, Calgary, Edmonton, Detroit, Houston, Indianapolis, Dallas, Minnesota, the Cleveland Orchestra, the Boston Pops, the New York Philharmonic and the Los Angeles Philharmonic. With his position in Cincinnati, John Morris Russell leads sold-out performances at Music Hall and at the Riverbend Music Center. He led that orchestra on their first-ever Florida tour in the 2014/2015 season and has had two recordings released with the Cincinnati Pops: Home for the Holidays and Superheroes! Mr. Russell received a Master of Music degree in conducting from the University of Southern California, Los Angeles, and a Bachelor of Arts degree in music from Williams College in Massachusetts.
GRIEG In the Hall of the Mountain King MUSSORGSKY Night on Bald Mountain VAN HEUSEN/KAHN Come Fly With Me KOEHLER/ARLEN Stormy Weather / Come Sunday LANE (ARR. JOHN MACLEOD) Old Devil Moon WILLIAMS/BRUBAKER Harry Potter Suite: selections DEBUSSY/MOUTON Clair de lune BERLIOZ Dies irae from Symphonie fantastique INTERMISSION LLOYD-WEBBER/CUSTER Phantom of the Opera: excerpt GOUNOD Funeral March of a Marionette BERLIOZ March to the Scaffold from Symphonie fantastique COLEMAN Witchcraft KERN (ARR. JOHN MACLEOD) The Way You Look Tonight WILLIAMS Adventures on Earth from ET
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CARMAN J. PRICE
Carman J. Price vocalist Carman J. Price has a warm tenor sound and stylistic adaptability that have made him one of Vancouver's most sought-after singers. An alumnus of the Capilano University jazz
program, he has led his own group with some of Vancouver's premier jazz musicians, appearing at the Vancouver International Jazz Festival and Cory Weeds' Cellar Jazz Club. He recently released his first album of jazz standards entitled I Do. A true student of popular song, Carman's sensitive lyrical approach and effortless charm make his performances a delight. Carman's classical experience includes many years with the choral group musica intima. He appears on their albums o nata lux (2008) and the JUNOÂŽ-nominated into light (2010). He is now a member of the Vancouver Chamber Choir and recently appeared on the Orpheum stage as tenor soloist for their performance of Mozart's Requiem. â–
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CONDUCTED BY GEORGE DAUGHERTY CREATED BY GEORGE DAUGHERTY & DAVID KA LIK WONG
VSO PERFORMANCES BROUGHT TO YOU BY
SATURDAY, NOVEMBER 7, 7:30PM, ORPHEUM THEATRE SUNDAY, NOVEMBER 8, 2PM & 7:30PM, ORPHEUM THEATRE George Daugherty conductor Stephanie Lynne Smith piano-celeste/slide guitar Joseph Pusateri drums/percussion Vancouver Symphony Orchestra
Bugs Bunny at the Symphony II celebrates the world’s most beloved Looney Tunes and their legendary stars projected on the big screen — Bugs Bunny, Daffy Duck, Elmer Fudd, Pepe Le Pew, Tweety, Sylvester, Wile E. Coyote, and Road Runner — while their extraordinary original scores are played LIVE by the Vancouver Symphony Orchestra! This new version of the concert spotlights acclaimed classics like What's Opera, Doc?, The Rabbit of Seville, and Rhapsody Rabbit, alongside eye-popping brand-new Warner Bros. 3D theatrical shorts Rabid Rider and Coyote Falls. And don’t miss special guest stars Tom and Jerry!
LOONEY TUNES and all related characters and elements © & TM Warner Bros. Entertainment Inc. TOM AND JERRY and all related characters and elements © & TM Turner Entertainment Co. WB SHIELD: TM & © WBEI. (s15)
Program Subject To Change Without Notice.
George Daugherty creator/music director/conductor/producer George Daugherty has conducted more than 150 American and international orchestras and earned a Primetime Emmy Award, five Emmy nominations, and numerous other awards for his work in television and film. He made his debut with the New York Philharmonic in May, conducting four sold-out performances at Avery Fisher Hall at Lincoln Center, and has conducted over 20 times each for the Los Angeles Philharmonic at The Hollywood Bowl, and the National Symphony Orchestra at Wolf Trap. Recent appearances also include the Pittsburgh and San Francisco Symphony Orchestras; The Cleveland, Philadelphia, and Minnesota orchestras; Hong Kong Philharmonic; Mexico’s Bellas Artes Opera House, and Royal Philharmonic Concert Orchestra in London and on tour, including to the United States and Canada with Dame Julie Andrews and Christopher Plummer. He has conducted frequently at The Sydney Opera House, and with Sydney Symphony (with whom he has also recorded.) Mr. Daugherty has also conducted the symphony orchestras of Dallas, Houston, Seattle, Baltimore, Montréal, Milwaukee, Buffalo, Vancouver, Toronto, Atlanta, Fort Worth, San Antonio, Indianapolis, Cincinnati, Louisville, Colorado, Syracuse, Winnipeg, Columbus, Edmonton, North Carolina, Charlotte, Delaware, Phoenix, and Grant Park; Rochester Philharmonic, Hollywood Bowl Orchestra, National Arts Centre Orchestra, Calgary Philharmonic, Pacific Symphony, and many others. International credits include Danish National, Moscow, West Australia, Melbourne, and Adelaide symphony orchestras; Malaysian Philharmonic Orchestra; Ireland’s RTÉ Concert Orchestra; Russian National Orchestra; Auckland Philharmonia; New Japan Philharmonic; and the major Italian opera houses of Rome, Florence, Torino, and Reggio Emilia.
DAVID KA LIK WONG AND GEORGE DAUGHERTY (L.to R.)
Outstanding Music Direction. He was executive producer and writer of Sagwa, The Chinese Siamese Cat for PBS, and received an Emmy nomination for his ABC music education series Rhythm & Jam,. Mr. Daugherty (with David Wong) created Bugs Bunny on Broadway in 1990, followed by Bugs Bunny at the Symphony (2010) and Bugs Bunny at the Symphony II (2013). The concerts have played to millions of people worldwide.
David Ka Lik Wong creator/ producer/technical director/tour director David Ka Lik Wong was awarded with a coveted Emmy Award for his work as producer on Peter and the Wolf in 1996, and was also nominated for an Emmy in 1994 for his work as producer of Rhythm & Jam, the ABC series of Saturday morning music education specials for children. He has been creator/producer of Bugs Bunny On Broadway and its sequel Bugs Bunny at the Symphony since 1991, and he has also produced innovative concerts for some of the world’s leading orchestras, including the New York Philharmonic, National Symphony, The Philadelphia Orchestra, the Royal Philharmonic, Sydney Opera House, San Francisco Symphony, Los Angeles Philharmonic, and more.
His extensive television credits including the critically acclaimed children’s series Sagwa, A noted ballet conductor, he has led performances The Chinese Siamese Cat, which he co-created, for American Ballet Theatre among many produced, story edited, and served as one of companies, and has been music director of the writers. Ballet Chicago, Chicago City Ballet, Louisville In addition to his Emmy Awards and nominations, Ballet, and Ballet San Jose. he has won numerous other awards during his He received a Primetime Emmy as executive career, including the Grand Award of both the producer of ABC’s Peter and the Wolf, which Houston and Chicago International Film Festivals, he also directed, wrote, and conducted, and a Silver Award of the Chicago Film Festival, for which he was also Emmy- nominated for two Parents’ Choice Awards, and the Kids First Award. ■ 50 allegro
Concert Program M A R D ON G R OUP IN SUR AN C E M U S IC A L LY S P E AKIN G OR P H EU M T H EATR E , 8 P M
Saturday, November 14 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 15 S U R REY N IG H T S B EL L P ERF ORM IN G ARTS C E N TR E , S U R REY, 8P M
Monday, November 16 ◆
Bramwell Tovey conductor Stephen Hough piano
BRAMWELL TOVEY WITH THE VSO
WAGNER Prelude to Act 3 of Tristan and Isolde SCHUMANN Piano Concerto in A minor, Op. 54
I. Allegro affettuoso II. Intermezzo: Andantino grazioso III. Allegro vivace
BARTÓK Concerto for Orchestra
Introduction: Andante non troppo – Allegro vivace Game of the Pairs: Allegretto scherzando Elegy: Andante non troppo Interrupted Intermezzo: Allegretto Finale: Pesante – Presto
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Bramwell Tovey, O.C.
conductor For a biography of Maestro Tovey please refer to page 10.
Robert Schumann b. Zwickau, Germany / June 8, 1810 d. Endenich, Germany / July 29, 1856
Piano Concerto in A minor, Op. 54 In 1841, shortly after his marriage to his beloved Clara, Schumann composed a singlepiano movement Phantasie for piano and orchestra. Stephen Hough is regarded as a Renaissance No publisher would touch it. Four years man of his time. Over the course of his career he has distinguished himself as a true polymath, later, he set out to make it more ‘marketfriendly’ by revising it and adding two further not only securing a reputation as a uniquely movements to form a full-scale concerto. insightful concert pianist, but also as a writer and composer. Mr. Hough is commended for his Clara played the solo part at the premiere in Dresden on December 4, 1845. Unsuccessful mastery of the instrument which has earned at first, it was saved from oblivion only by him a long-standing following throughout her great popularity. Her persistence and Europe, North America and Asia and many of his catalogue of over 50 albums have garnered listeners’ growing familiarity eventually made it one of the most popular of all international prizes. Mr. Hough resides in piano concertos. London where he is a visiting professor at the Royal Academy of Music and holds the Schumann based it on the permutations International Chair of Piano Studies at his of a single theme, the melancholy opening alma mater, the Royal Northern College in subject. One of the concerto’s sharpest Manchester. He is also a member of the changes from traditions comes at the very faculty at The Juilliard School. beginning. The first movement opens not with an expansive, well-mannered orchestral introduction, but with almost startling abruptness. This mercurial movement wears b. Leipzig, Germany / May 22, 1813 a rather sad face, filled as it is with wistful d. Venice, Italy / February 13, 1883 romantic yearning. Prelude to Act 3 of Tristan and Isolde The brief, more straightforward second Wagner’s opera Tristan und Isolde premiered movement, Intermezzo, serves as much as in 1865. In its intensity, lengthy periods of an introduction to the spacious finale as it unresolved emotional conflict, and morbid does a traditional, soulful slow movement. storyline, it is a seminal work for one direction It displays touches of humour, as well as that music would take, the one followed by much ingratiating writing for violas and Mahler, Schoenberg and Weill, among many cellos. The finale follows on without a others. Based on a medieval English legend, break. The principal subject is a boisterous the plot tells of the all-consuming passion transformation of the concerto’s main theme. which develops, as the result of a love-potion, The finale overflows with imaginative ideas between Tristan, a Cornish knight, and Isolde, and joyous energy, its bounding forward an Irish princess. Their circumstances make progress floating dizzily upon numerous it impossible for them to have a normal intricacies of rhythm. romantic relationship; it is only in death, with the cares and rules of earthly life behind them, that they can know true peace and fulfillment. As the third and final act begins, b. Nagyszentmiklós, Hungary / March 25, 1881 d. New York, New York, USA / September 26, 1945 the lovers have been forcibly separated. Tristan lies gravely wounded at his seaside Concerto for Orchestra castle in Brittany, longing for Isolde. Wagner sets the scene with music of darkly brooding In 1940, to avoid being trapped in Hungary by the advancing Nazi forces, Bartók emigrated intensity. to the United States. Circumstances led to his finding himself virtually destitute, but his proud nature would not allow him to accept anything resembling charity. Violinist Joseph Szigeti and conductor Fritz Reiner persuaded
Béla Viktor János Bartók
Serge Koussevitzky, Music Director of the Boston Symphony Orchestra, to commission a new work from Bartók. Bartók composed the Concerto for Orchestra from August to October 1943. Koussevitzky conducted the highly successful premiere on December 1, 1944. “The title concerto for this symphony-like orchestral work is explained by its tendency to treat single instruments or groups in a concertante or soloist manner,” Bartók explained. “The general mood represents, apart from the jesting second movement, a gradual transition from the sternness of the first movement and the lugubrious death-song of the third, to the life-assertion of the last one.” The first movement opens with an emotionally clouded introduction, then plunges into a restless, thrusting principal section. A powerful climax spotlighting the brass leads to a defiant close. Game of the Pairs, the first of two scherzo-like movements, showcases the poker-faced side of Bartók’s sense of humour. Two bassoons introduce the droll principal theme. Variations on it are then played in turn by pairs of oboes, clarinets,
flutes and trumpets. A solemn brass chorale provides contrast, before the game resumes its course. The concerto’s emotional heart lies in the following movement, Elegy. After woodwinds and harp have set the ethereal mood, Bartók gradually builds a searing central climax. He brings this section full circle by ending it as calmly and forlornly as it began. The second scherzo, Interrupted Intermezzo, is less subtle than the first but just as amusing. A banal idea introduced by the clarinet launches the central ‘interruption.’ Bartók took the tune from Dmitri Shostakovich’s Symphony No. 7, which had recently been smuggled out of Russia past the Nazi blockade of Leningrad. Broadcast relentlessly, more as a gesture of political support than for musical reasons, Bartók came to dislike it intensely. He took this opportunity to thumb his nose at it. A grand flourish by the horns introduces the concerto’s exuberant finale. The strings execute swirling, perpetual motion figurations, intertwined with heroic brass fanfares and stamping Hungarian dance rhythms. ■ Program Notes © 2015 Don Anderson
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 21 & 23 Bramwell Tovey conductor Nathalie Paulin soprano David John Pike baritone UBC University Singers Phoenix Chamber Choir Graeme Langager choral director STRAVINSKY Symphony of Psalms
First Movement: Psalm 38 Second Movement: Psalm 39 Third Movement: Psalm 150
HAYDN Symphony No. 100 in G Major, Military
I. Adagio – Allegro II. Allegretto III. Menuet: Moderato IV. Finale: Presto
DAVID JOHN PIKE
FAURÉ Requiem, Op. 48
I. Requiem: Introit and Kyrie II. Offertoire III. Sanctus IV. Pie Jesu V. Agnus Dei VI. Libera me VII. In paradisum
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UBC UNIVERSITY SINGERS
Bramwell Tovey, O.C. conductor
For a biography of Maestro Tovey please refer to page 10.
Nathalie Paulin soprano An interpretative artist of the very first rank, Dora Mavor Moore Award Winner Nathalie Paulin has collaborated with conductors including Jane Glover, Bramwell Tovey, Yannick Nézet-Séguin, Roger Norrington, Bernard Labadie, Michael Christie, and Andrew Litton on both concert and opera stages. Recent engagements include Beethoven’s Mass in C with Nagano conducting Tafelmusik, the title role in Cincinnati Opera’s La Calisto, Carmina Burana for Festival de Lanaudière, Messiah for the symphonies of New Jersey and Trois Rivières, the title role in Theodora for Vancouver Early Music and the Countess in Le nozze di Figaro for Opera Lyra Ottawa. She has also appeared as Micaëla in Opera Tampa’s Carmen, Handel and Vivaldi for Harry Christophers and the Handel and Haydn Society and Beethoven’s Symphony No. 9 for the Seattle Symphony. Further credits include the Wexford Festival, Rotterdam Philharmonic, Bard Summerscape and Boston Baroque. In addition to Fauré’s Requiem for Vancouver Symphony, upcoming performances include Mozart’s Requiem for Symphony Nova Scotia and a return engagement with Opera Lafayette in Washington and New York.
David John Pike baritone Canadian / British baritone David John Pike has worked with leading ensembles including the Academy of St. Martin-in-the-Fields, Glyndebourne and Tonhalle-Orchester under Dutoit, Jurowski, Koopman, Marriner, Mehta, Rattle and Zinman. He now has a growing international reputation as an operatic and concert soloist. His first solo disc on Signum Classics, Whither must I wander?, features works by Vaughan Williams, Finzi and Quilter. It earned a 5-star review from BBC Music Magazine, and was nominated for Recording of the Year by MusicWeb International. A new recording project is planned for release in 2016 and will include works related to the First World War. He has worked with celebrated baritone Sherrill Milnes and English tenor Ian Bostridge. He studied with Theresa Goble of the Guildhall, London, William Perry at the Royal Conservatory, Toronto, and currently works with American bass Daniel Lewis Williams in Germany. David lives with his family in the Moselle region of Luxembourg.
UBC University Singers UBC University Singers is the premier choral ensemble in the UBC School of Music. This 40-voice ensemble performs the most advanced and exciting music for chamber choir written in recent decades, as well as motets and other historically important works. The UBC University Singers also performs with orchestra annually, including such works as Beethoven’s Symphony No. 9, Handel’s Messiah, and Brahms’ Requiem. The choir has won several awards, including the CBC allegro 57
Graeme Langager UBC Director of Choral Activities
PHOENIX CHAMBER CHOIR
National Choral Competition and the BBC International Choral Competition. The choir tours often including local, North American, and international destinations. Recently the choir has embarked on performance tours in Spain and the U.S. Previous choral experience, a strong ear, and music reading ability is encouraged for participation in this ensemble. The University Singers perform four feature concerts each year, as well as occasional run-out performances throughout the Vancouver area. The UBC University Singers recently won first place among university choirs in the 2015 National Competition for Canadian Amateur Choirs.
Phoenix Chamber Choir The Phoenix Chamber Choir recently celebrated its 30th anniversary as one of Canada’s finest vocal ensembles, renowned for diverse and eclectic programming from the Renaissance to the contemporary, commissions from Canadian and international composers, and North American premieres of significant new works. Phoenix Chamber Choir won three awards in Choral Canada’s 2015 National Choral Competition for Amateur Choirs. Phoenix was winner and three-time finalist in the European Broadcasting Union’s Let The Peoples Sing competition; 13time winner at the CBC National Radio Competition for Amateur Choirs; choir-inresidence at the Copenhagen Choir Festival and Banff Arts Festival 2000 (Banff Centre for the Arts); and featured performer at the National Conductors’ Symposium and World Symposium on Choral Music. Phoenix Chamber Choir is heard regularly on radio across North America, Europe and Australia. 58 allegro
Graeme Langager is the Director of Choral Activities at the University of British Columbia School of Music, and the Artistic Director and Conductor of the award-winning Phoenix Chamber Choir of Vancouver, Canada. Langager is a dynamic, and sensitive conductor and educator, and is sought-after as a clinician, adjudicator, and guest conductor. Langager has performed throughout Europe and across North America, appearing in such venues as Carnegie Hall in New York, St. Peter’s in Rome, Stefansdom in Vienna, and many others in Spain, Italy, France, Austria, and the Czech Republic. He has taught for more than 20 years in universities and colleges in both the United States and Canada, and is active also as a composer and arranger.
Igor Fyodorovich Stravinsky b. Oranienbaum, Russia / June 17, 1882 d. New York, New York, USA / April 6, 1971
Symphony of Psalms This stirring work was commissioned in 1929 by conductor Serge Koussevitzky, for the fiftieth anniversary of the Boston Symphony Orchestra. The only stipulation he made was that it be symphonic. Stravinsky used the opportunity to realize a project he had been considering for some time: a setting of selected Biblical Psalms for chorus and orchestra. “I began with Psalm 150,” he wrote. “After finishing the fast-tempo sections, I went back to compose the first and second movements…The first movement, Hear my prayer, O Lord, (Psalm 38) was composed in a state of religious and musical ebullience. The Waiting for the Lord Psalm (No. 39, the second movement of the symphony) makes the most overt use of musical symbolism in any of my music before The Flood. It consists of an upside-down pyramid of fugues. “The Allegro in Psalm 150 (finale of the symphony) was inspired by a vision of Elijah’s chariot climbing to the heavens; never before had I written anything quite so literal as the
triplets for horns and piano to suggest the horses and chariot. In setting the words of this b. Pamiers, France / May 12, 1845 final hymn, I cared above all for the sounds of d. Paris, France / November 4, 1924 the syllables, and I have indulged my besetting pleasure of regulating prosody in my own way.” Requiem, Op. 48 Fauré’s refined taste, and his dislike of strong Stravinsky, who had become a regular emotions and loud effects, characterize communicant of the Russian Orthodox Church virtually all his works, the Requiem included. in 1926, inscribed the score of Symphony of Psalms ‘To the Glory of God.’ The orchestration Those qualities separate it from most settings of this text. The Requiems by Mozart, Berlioz includes enlarged wind and brass sections, and Verdi, for example, emphasize the drama and excludes violins and violas. inherent in such passages of the text as the Die irae (Day of Wrath). But as Fauré wrote to a friend in 1902, “My Requiem...has been said to express no fear of death. It has been called b. Rohrau, Lower Austria / March 31, 1732 d. Vienna, Austria / May 31, 1809 a lullaby of death. But that is how I see death: as a joyful deliverance, an aspiration towards a Symphony No. 100 in G Major, Military happiness beyond the grave, rather than as a Under a contract with the London-based painful experience.” impresario Johann Peter Salomon, Haydn Fauré did not compose the Requiem to honour made two visits to England, in 1791-92 and 1794-95. Each proved enormously successful, a particular person, or on commission, but solely, in his words, “for pleasure, if I may call in terms of both art and commerce. For those it that.” Its creation covered nearly 20 years, trips, he composed 12 new symphonies (Nos. 93 through 104), six for each season. He never beginning around 1877. The first version, in five movements with small orchestra, was given wrote another. in Paris in 1888. The Offertory (composed in His second series of concerts in London 1889) and Libera me (1892) were added for the inspired even greater enthusiasm than the second version (1893). The third version with first, and Symphony No. 100 proved to be their full orchestra – the one that will be performed crown jewel. He composed it in early 1794 at this concert – premiered in 1900. and directed the premiere himself in London The first portion of the opening section, Introit on March 31. Within a month of the premiere, and Kyrie, is noble, restrained, slow and the press had given it the nickname, Military, grieving. The second is more animated but by which it has been known ever since. For at scarcely less sombre. The Offertory, with its least a decade, it remained the most frequently consoling baritone solo, offers sacrifices and performed symphony by any composer. prayers along with praise to God. The following Sanctus is sweet and gentle, with a rapturous One reason for its immense popularity is the appearance of ‘Turkish’ percussion instruments violin solo adding a heavenly touch. Pie Jesu is an exquisite, angelic soprano solo. in the second and fourth movements. Their popularity in Vienna may be traced back to the The Agnus Dei (Lamb of God) movement opens 1670s and `80s, when the Turks, with their with a firmly flowing and rhythmic melody. The percussion-laced military orchestras, laid siege mood grows more clouded and less confident to the city. in the middle panel. The Requiem music from the first movement returns, only to dissolve Haydn did not introduce percussion into this beautifully into the return of the Agnus Dei symphony solely for the sake of colour. In the theme. The Libera me includes a brief portion second movement (which he reworked from an earlier concerto for two hurdy-gurdies) they of the Dies irae text. Hence this section, with baritone solo, offers the score’s most intense also add a touch of menace. Audiences during moments of anxiety. All troubled feelings are this symphony’s early career associated this countered and dispersed in the warm glow portion of it with the Napoleonic Wars that had of the peaceful concluding movement, just begun in Europe. In paradisum (In Paradise). ■
Program Notes © 2015 Don Anderson
GORDON GERRARD WITH THE VSO
Gordon Gerrard conductor
Thursday, November 26
Classics at the Movies
Gordon Gerrard is a respected figure in the new generation of Canadian musicians. His passion and his dedication to producing thrilling musical experiences have endeared him to his fellow musicians and the public alike. After two successful seasons as Assistant Conductor of the Vancouver Symphony Orchestra, Gordon has been promoted to the newly created post of Associate Conductor. He has been appointed as Music Director of the Regina Symphony Orchestra effective July 2016. This season, Gordon will lead the VSO in concerts on the Masterworks, Tea & Trumpets, and Kids’ Koncerts series. This season Gordon returns to Calgary Opera to lead their production of Lakmé in November, and he will make his debut with The National Ballet of Canada in their production of The Nutcracker. Guest appearances this season include two Masterworks concerts for the Regina Symphony Orchestra as well as debuts with the Victoria Symphony and the Sudbury Symphony.
T EA & T R U M P ET S OR P H EU M T H EATR E , 2 P M
Gordon Gerrard conductor Christopher Gaze host Alan Liu guitar ROSSINI Barber of Seville: Overture TCHAIKOVSKY Swan Lake: Scene No. 1 RODRIGO Fantasía para un gentilhombre
BEETHOVEN Symphony No. 7 in A Major, Op. 92
STRAUSS Kaiser Waltz (Emperor Waltz), Op. 437 MOZART Symphony No. 29 in A Major, K201(186a)
WAGNER Die Walkure: Ride of the Valkyries TEA & COOKIES served in the lobby one hour before each concert compliments of Tetley Tea and Walkers Shortbread.
VISIT THE SYMPHONY GIFT SHOP FOR CD SELECTIONS 60 allegro
Christopher Gaze host For a biography of Mr. Gaze please refer to page 39.
Alan Liu guitar Born in Xi’An (China) in December of 2001, Alan (Xu Kun) Liu has been studying the guitar as well as piano since he was five. At the age of 13 he has already amassed an impressive list of first prizes in music competitions on both instruments. Among his recent awards are the first prize in the VSO School of Music 2015 Future of Excellence Competition and second place in the Parkening Young Guitarist Competition (for performers aged 17 and under) at Pepperdine University in Malibu, California. He also gained first prizes at the 2015 Northwest Guitar Competition in Seattle, the 2014 GFA International Youth competition
in Los Angeles, and the 2014 Guitare Montréal International Youth Competition, among a growing number of awards in in regional, national and international events. Alan Liu has participated in numerous master classes and has won several scholarships to support his studies. He continues to have lessons with guitarist Daniel Bolshoy at the VSO School of Music. ■
The VSO is extremely grateful for the support we receive from our Friends of the Vancouver Symphony. Thanks to a generous matching gift from The Mary and Gordon Christopher Foundation this past season, we welcomed many new and returning Friends to the VSO family. Every single gift is gratefully received and sincerely appreciated. Due to limited space, members with annual gifts of $100 or more are listed. We thank all of our Friends for playing an instrumental part in the VSOâ€™s continued success. Thank you!
BRAVO members Gifts of $1,000 to $1,499 Horst & Hildegard Aschenbroich Alan Ballard R.J. Brebner Nancy & Stephen Carlman Patricia Charles Dr. Philip B. Clement Julian & Dorothy Davies William Ehrcke & Donna Welstein Dale Collin Essar Michael & Dana Freeman John Hooge Jay Biskupski & Catherine Imrie Sharon Jeroski Harold & Jenny Locke Dr. Alan & Helen Maberley Mrs. Pauline F. Main Paul & Pauline Martin Mr. & Mrs. Kenneth G. McDonald Christina McLeod Jocelyn Morlock Mr. Laurier & Mrs. Danae Peaker Dr. Marion Pearson and Dr. James Orr* The Reid Family Charitable Gift Fund Alfred & Dorothee Schenk Mr. John & Mrs. Marlene Schreiner Al & Leona Valerie Manning Taggart Mrs. Jacqueline & Mr. Milton Toft Jacqueline & Sankaran Vish Viswanathan U. Wallersteiner James & Veronica Weinkam Anonymous (9) SYMPHONY members Gifts of $500 to $999 Thomas & Catherine Adair K.-Jane Baker Lawrence Wm. Barbour Gordon & Cheryl Barefoot Dr. Vicki Bernstein Ted Bielby Joost Blom Joanne Boyd Alrich Custom Cabinets (1988) Ltd. Peter & Mary Brunold Ms. Margaret A. Bullock John & Mary Butterfield Rob & Joan Carne Polly Carnsew Dr. Heather F. Clarke
Mr. & Mrs. D.E. Couling Mrs. Elisabeth de Halmy Dolores de Paiva Mr. & Mrs. Lawrence Diamond Mrs. Gloria Doubleday Mr. David Dyer Ann Ehrcke & Michael Levy Jim Evans Terry Fidgeon Bob & Dorothy Findlay Nancy & Jim Forbes Ms. Gail A. Fosbrooke Mrs. Ruth Freeman Mr. Claude Gadoua Mr. Grant Gayman Anne Gray Dr. Laurel H. Gray P.M. Hansen Ainslie Harvey Ms. Lorna M Herberts Rev. Cecil Herran-Venables Akira & Hamako Horii Don & Pat Hudson Daphne & Bryan Johnson Barbara & Peter Kaiser Dr. Judith Kalla Linda & Hal Kalman Jennifer Kappler Marilynn King Ms. Barbara Kissuras Lorna Klohn W. H. Longstaff Bernice Lyon Mrs. Nancy M. Macdonald M.Z.I. McDougall Bob & Carol Mitchell Margaret E. Monck Mr. Cleveland Mullings Marv & Esther Neufeld Mrs. Patricia North Mr. & Mrs. Martin O'Connor Mrs. Beverley Oldham Barbara M. Olson Richard G. Orlaw Mrs. Aster Osen Carey Parkward Ian & Barbara Paterson Maureen & Roy Patrick Anne Pearson Tremayne and Margaret Perry Tom & Beth Perry Louise C. Peters Colin & Diana Price Hilda Lei Quan Larry & Darlene Rhodes Mr. & Mrs. Donald Risk W.D. Robertson
Peter & Elfriede Rohloff* Harley Rothstein & Eleanor Boyle Hans J. Ruger Rita Schick Anne & David Seymour Mr. David S. Shymko Dr. Charles Snelling Natalie & Norman Speckmaier Mr. William Stannix Dr. Larry Stonesifer & Mr. Ronald Angress Beverley Tamboline Theodore Powis Foundation* W.G. Thomson Mr. Robert Tulk Beverley Unsworth Mrs. Shelagh Van Kempen Mrs. Betty Jane Walker Alan & Susi Wilson Mrs. Selma Wingrove Jane Woolnough Anonymous (22) CONCERTO members Gifts of $300 to $499 Margaret M. Adie Mrs. Jill Alexander Mr. David J. Allen Frank Anfield, In memory of Marilyn Anfield Mrs. Mary Lou Astoria L & P Baker Bernard Barton Ms. Brenda Benham David & Georgia Black Catherine & Jay Black Maria C. Bojadziev M. Braun J + S Buttar Christopher Callaghan Joan Campbell Mr. Richard D. Campbell Dr. Peter Cass Jane Chambers Marie Cheong David & Elaine Chin Mr. Joseph Chow Charles Clapham Ms. Jane Davis Audrey R. Dewan Mr. & Mrs. Ronald W. Edwards Frank & Denise Ervin Noreen M. Fairweather Ian A. Falconer H.D. Feller Christian Findlay M. E. Fitch
Linda & Alastair Fraser Ms. Denise Foster Mr. & Mrs. Leon Glassman David Gowe Henry Hawthorn & Jane Durante Marie Hook Mr. Jan & Mrs. Anne Janmohamed Ms. Marion Keith Robert & Raymonde Kendrick Robert & Marilyn Krell In memory of Karen Knights RN Phyllis D. Lavelle Fred Leonard Erica Levy & Alan Kingstone Kate & Craig Lucas Donna M. Macdonald John & Sidney Madden Miss Lisa Madetoja E. J. Makortoff Jane A. Martin Anne Mathisen John G. McBain* Ray L. McNabb Peter J. Mercer Don Morrison Rene Eugen Muchenberger Liz & Jon Nightingale Ms. Patricia Phillips Dr. A. Posthuma Ron & Judy Remick W. G. Risk S.R. Rogers Diane Ronan Ms. Masako Ryan Annie Santini Miss Agnes Schapansky Mr. David Schreck Lillian & Brent Scott Ms. Pat Sexsmith & Mr. David Yorke Donia Sims Alastair & Sylvia Sinclair Ms. Marie Singh Dr. Jack Sniderman Adrian & Charlotte Sparham Ms. Margaret M. Stearn Gordon & Darcy Stewart Peter & Pat Stigings Mrs. Elke Swantje Tom & Margaret Taylor Mary I. Thomas Dr. & Mrs. David L. Tobias Patricia E. Tracy In Memory of Gloria Breault C.E. Walker Ms. Lois I. Walker
Mary Jane Walker Chris & Wendy Walker J. Wells Ms. Dorothy Wenzel John & Nora Wheeler Mrs. Morag Whitfield Jennifer M. Yule Anonymous* (1) Anonymous (22) OVERTURE members Gifts of $100 to $299 Ms. Kim Aasen Mr. Frank Abbott Frank & Phyllis Abbott David Abramowitz Dr. Robert J. Adderley Linda G. Adshead Timothy Agg Catharine & Norman Alban* Mrs. Donna Aldous Helen Alko Peter Allen Mrs. Sue Anderlini Inger & Per Andersen John M. Anderson Ted & Jean Andrew Ms. Beverley D. Andrews Sky & Lori Andrews Tony Antonias Ms. Sabine Arbuckle Bill & Joy Armerding Dr. James Armstrong, In Memory of Dorothy Adams Ms. Susan Atherton Pauline Atkinson Dana Audet Don L. Axford Jean Baker Mrs. Cheryl Banfield Jane Banfield* Aline Banno Ms. Helen Bansal Mr. Ronald Barber Dr. Philip & Lori Barer Miss Sheila M. Barford Caryn Barlow Elizabeth Barlow Sir James Barlow Michael & Geri Barnes For Patricia, from George Dr. Misao M. Batts Dr. Ron Beaton Stephen Beaton B. Lynn Beattie McArthur Dorothy Beckel Mrs. Janet Becker Mrs. Maya Begg Alan & Elizabeth Bell Norman Barr & Bernice Bell Dr. Gail D. Bellward Dr. Jonathan Berkowitz Florence Beytin Karen & Mark Bichin Mrs. Doris Bietenholz Ms. Dianne Bishop Milt Bishop Ms. Janet M. Blanchet Ms. Maya Bleiler Dr. A. Blokmanis Mr. Frank Boege
David Boettcher Ms. Janine Bond Ms. Linda Boronowski Mr. Roger & Mrs. Jean Bose Dr. & Mrs. C. John M. Boston Helen Boultbee Norma Boutillier Susan Boutwood, In honour of Mrs. Beryl Saxon Cathleen Boyle Mrs. Phyllis Braidwood Rodney Briggs & Roberta Pascoe Mr. Donald C. Brinton Mr. & Mrs. Malcolm N. Brodie Ruth Brodie Donald Brown* Mr. & Mrs. M. BrulĂŠ Mrs. Ronny Brumec Karen Brumelle & Paul Wright Marie-Luise Brunnhofer Alan & Rosemarie Bruyneel James Buck Peter Burch & Kathryn Cholette Dr. Don Burgess Walter & Margaret Burian Lloyd Burritt Ryan Butt & Julia White Sheila Butt Susi & Thor Beverly J. Campbell Brooke & Janet Campbell Mr. & Mrs. Odis L. Campbell Ralph & Gill Carder Hon. Pat Carney PC CM Mr. Brian & Mrs. Katherine Casidy Charlens & Dhorea Challmie Donna Chan Tammy Chan Ms. Selena Chang JoAnne Chase Gillian Chetty Mrs. Stefania Ciccone Mr. Brian & Mrs. Adrienne Clark Ms. Hilary Clark Anne Clemens David & Judy Coblin Stephen Cochrane Hilde & Peter Colenbrander Patricia Collins Mr. & Mrs. Robert Confrey Thalia, Sophie & Amanda Conway & Their Parents Deborah Cooper* Alison Courage David & Janet Courage S. Courtemanche Kathleen Cowtan Ms. Barbara Creighton Mrs. Suzan Crewe E. Crewes Mrs. Sylvia Crooks Ms. Carissa Dadivas Mrs. Gunnel Dahlquist Ms. Patricia Dairon Mrs. Lucia Daley Ms. Denyse Dallaire Ms. Mary Daniel Ms. A. Danserau Dar Woon Family Anita Daude-Lagrave
Mr. Serge Davidian David & Valerie Davies Gloria Davies* Sandra & Michael Davies Ms. Janet F. Davis Terence Dawson Eva & Ralph De Coste Mrs. Yvonne de Troye-Lukas Anne-Marie Dekker Mr. Giuseppe Del Vicario Samuel Dezell Isadore & Valerie Diamond Ms. Rapit Dietrich & Mr. John Parker P. & D. Docherty Julia Dodwell Muriel K. Don Evelyn Downs Paul T. Draper Ms. Helen P. Duffy Ms. Marilyn A. Dumoret David & Catherine Duncan Xue Wu & Francis Duncan Ms. Susan Duncan Mrs. Pat Dunnett Mr. Leon Dutfield Tatiana Easton Joan & Roger Eastwood Dr. & Dr. Allen C. Eaves Barbara Ebelt Mrs. Donna Eden* Dr. Mary Jane Edwards G.J. Elliot Mrs. Valerie Elton Marilyn Elvidge Joseph & Cecilia Ergas Duncan & Nora Etches Susan & Brent Ewing In memory of Dr. Jim Farmer Stephanie & Michael Farnsworth E. M. Fawcett Mrs. Shirley Featherstone Mr. & Mrs. Charles Buchan Michael & Edith Fenner Peter & Eva Ferguson Harry & Sandra Ferguson, In memory of Smyth Humphreys Flora B. Field Ms. Pauline Fitzgerald Ms. Ioana Floresco Ms. Sheila Foley Ms. Marguerite Ford In memory of Lynd Forguson* Mrs. Jackie A. Frangi Maurice Freer W.G. & S.P. Friend Shirley & Doug Fromson C. Fung Miss Anne E. Funk Jean & Hubert Gabrielse Ms. Sheila M. Gair Barbara Ganger George Garrett Nancy Garrett Dr. Ivan G. & Ms. Laurie Gasoi Dr. Ross A. & Dr. Czesia F. Geddes Mr. Kenneth C. Gehrs Mr. Richard L. George In memory of Dr. M.C.L. Gerry Ms. Erica Gilbert Mr. Terence Gilbraith
Marion & Jack Gillingham Elaine Godwin Myer & Reita Goldberg Ann-Shirley and Rob Goodell John & Julia Gosden Ursula Graf Mary Ellen Graham Win Granger Robin Gray Stephanie & Raymond Greenwood Mr. & Mrs. George Gregr Paul Greisman B.E. Griffiths Pam Grover & Christopher Clutchey Mr. Bernard Guichon & Mrs. Faye Bremner Mrs. Elizabeth Guilbride Carl Hoyt Ms. V. J Gum Don & Patti Gunning Pam & Dave Gurd Penelope & Lyman W. Gurney Robert Hackney Pauline Hall Mr. Robert Hamill Ian Hampton Ms. Shannon Handfield Richard Hankin & Heather Jones Hankin Pauline & Alan Hannam Joanne Harada & Timothy Lee James Harcott Mr. Don Harder Gordon Harding P. & M. Harrison Pat Harrold & Paul Hart Mrs. Constance M. Hatherton Rev. David G. Hawkins W.M. Hay Dr. Malcolm Hayes* Martha Hazevoet Stephen Heder Bill Hegel Nancy E. Henderson Joyce Hendriks Carol Herbert & Fred Swartz Ms. Annie Hess Audrey Hetherington Michiko Higgins-Kato Mrs. Gloria J. High Wo Patricia M. Hoebig Mr. Carl Hofbauer Carey Galen Cornelius Hoffman Ralph & Helen Hoffman Clive & Carol Holloway Mrs. Johanne Homer Dr. Brenda Horner Dr. Martin Hosking & Mrs. Jacqueline Page Don Hoskins Mrs. Elizabeth Hough Mrs. Marjorie Hougham Ms. Georgia Howard Mrs. Jane Huang C. Hughes Mr. & Mrs. John A. Hull Kirk & Janice Hulse Continued on page 64 . . .
. . . Continued A.F. Hyndman Ms. Yuko Ikegami Lee Zara Jackson Ms. Joan A. James Wesley Jay Michael Jin Dr. Ronald Jobe Graham & Susan Johnsen Mrs. Brenda Johnston Mr. & Mrs. Ian S. Johnston Mr. Paul Johnston & Ms. Marnie McGrath Kirby & Fae Johnstone Gwynneth C.D. Jones Ms. Shirley Jones The Joseph Family Ms. Barb Juriga Lynn Kagan Mr. Peter & Dr. Stefanie Kappel Howard & Rosalind Karby Frank & Ildiko Karika In memory of David Tynan Drs. Brian & Andrea Katz Rosemary Elizabeth Keelan Michael F. Keenlyside Robert & Elizabeth Kellogg Mrs. Doreen Kemick Louise & Gary Kenwood Mr. & Mrs. Rudy Kerklaan Lyda Kerr Mr. Malcolm & Mrs. Evelyn Kerr Mr. Yuri Khramov Mr. & Mrs. T. Kikuchi
Mrs. Seonok Kim Ms. Sarah King Mr. & Mrs. W. Harvey King Joan E. Kirkwood Mr. Peter Kitching Joslin Kobylka Mr. Paul Kopas Thais Kornder Seda & Stanford Korsch Mike & Jean Kovich Edgar Krieger Robert & Marie Kuhn Ms. Ursula Kummel Dr. & Mrs. Robin Kuritzky Mr. Matthew F. Kurnicki Peter Kwok Ms. Vicki Kyle Mr. & Mrs. Alwin Lacson Dan Lahey Harold & Patricia Laimon Bruce H. Lang Mrs. Gillian Lang Ms. Sheila Lanktree Edna Larsen Mrs. Joan Larsen William G. Larsen Mrs. Kathy Lauwers Robert James Leader Gerald J. Lecovin, Q.C. Dr. R. J. Lee & Mrs. S. M. Lee Ms. Veronica Lee Mrs. Vivienne Lenhart Mrs. Erli Lepik Neil & Karen Lerner Mrs. Anne H. Lesack Anna Lester
Mrs. Katherine Leung Mr. Terence Leung Jayne Le Vierge Mrs. Susan Lewis Mrs. Ann Ligertwood William A. Lim Harald & Erika Lincke E. & M. Lindstrom Ann Little Sunya Lloyd Mr. & Mrs. Gillen Lo Natalie E. Logan Mrs. Georgina Lopez & Mr. Salvador Huerta Ms. Elizabeth Lowe Peter & Vivienne Lowenstein Linda Lowry Ms. Rena Lyon Dr. Donald & Ms. Carol Lyster Mrs. Jean R. Lytwyn Mr. John W. MacDonald Mr. Robert MacDonald & Ms. Monique Prudhomme J. M. MacIntyre Mrs. Sally MacLachlan Margaret MacLean Dorothy MacLeod Doug MacMillan K.L. Madore Michael & Nancy-Ann Magnee Ms. Bernadette Mah Walter John Mail Mrs. Irene Makelke-Way Ms. Suzanna Man Ming Lee Floyd & Dorota Mann Ms. Diane Manuel
Mr. Emil Marek Mrs. Caroline Markos Valentine Marten Mr. Hubert L. Martin Mr. John & Mrs. Jean Martin S. R. Mason Sheila McCallum William McEachern Doug McFee Mrs. Inge McGarry Catherine McGrath Ralph & Margaret McRae Bruce McTavish Kim Mead Mr. Peter Meyerhof Barbara Milacek-Welters Mrs. Eliska Milacek Dr. M. Martin & Mrs. Patricia Milewski Anton & Mary Irene Miller Mr. Ernest V. Milne Pamela & Angus Mitchell Hugh & Elonna Mitchell Lillian Mitchell Mrs. Doreen M'Lot Richard & Laurie Molstad Claudia Morawetz & Kevin Tate Barbara Morris Mrs. Helen Morris Ian Morris BG Morrish Nina Morrison Charmian Moul Jean Cockburn & Jack Mounce M. Muckle
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At the Concert CONCERT COURTESIES
CELL PHONES, PAGERS, DIGITAL WATCHES
CAMERAS, RECORDING EQUIPMENT
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 driverâ€™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.
Photography and video/audio recording of any kind are prohibited during the performance. Pictures taken pre-concert, at intermission, and post-concert are encouraged. Please feel free to tweet and post to Facebook or Instagram pre-concert, during intermission or after the concert. During the performance, please do not use your mobile device in any way.
SMOKING AND SCENTS All venues are
non-smoking and scent-free environments.
PROGRAM, GUEST ARTISTS AND/OR PROGRAM ORDER ARE SUBJECT TO CHANGE.
Vancouver Symphony Administration 604.684.9100 Finance & Administration: Mary-Ann Moir, Vice-President, Finance & Administration Antonio Andreescu, Junior Database & Network Administrator Debra Marcus, Director, Information Technology & Human Resources Diane Chen Liu, Accountant Ray Wang, Payroll Clerk & IT Assistant Marketing, Sales & Customer Service: Alan Gove, Acting President & CEO; Vice-President, Marketing & Sales; Matthew Baird, Public Relations Manager & Assistant to the Music Director Shirley Bidewell, Manager, Gift Shop & Volunteers
Estelle and Michael Jacobson Chair
Stephanie Fung, Interim Director of Marketing Anna Gove, Editor & Publisher, Allegro Magazine Katherine Houang, Group Sales & Special Ticket Services Kenneth Livingstone, Database Manager Robert Rose, Front of House Coordinator Cameron Rowe, Director, Audience & Ticket Services Victoria Sie, Marketing Assistant & Assistant to the President & CEO
The Vancouver Symphony Society is grateful to the Alan and Gwendoline Pyatt Foundation for generously providing our Administrative Offices.
Customer Service Representatives: Jason Ho, Senior Customer Service Representative Kim Smith Odessa Cadieux-Rey Jonah McGarva Anthony Soon Paycia Khamvongsa Michael McNair Stacey Menzies Kathy Siu Shawn Lau Xavier de Salaberry Jade McDonald Development: Leanne Davis, Vice-President, Chief Development Officer Ryan Butt, Manager, Corporate Programs Mary Butterfield, Director, Individual & Legacy Giving Chris Loh, Development Coordinator Kate Lucas, Director, Annual Giving Dawn Nash, Stewardship Officer Ann True, Development Officer, Direct Response Lauren Watson, Development Officer, Special Projects Nicole Galloway, Special Projects Assistant Artistic Operations & Education: Joanne Harada, Vice-President, Artistic Operations & Education Sarah Boonstra, Operations Manager Rheanna Buursma, Assistant Librarian & Artistic Operations Assistant DeAnne Eisch, Orchestra Personnel Manager Kaylie Hanna, Artistic Operations & Education Assistant Ryan Kett, Artistic Operations & Education Assistant Minella F. Lacson, Music Librarian Christin Reardon MacLellan, Education & Community Programmes Manager
Ken & Patricia Shields Chair
Tracie Yee, Artistic Operations Associate
Vancouver Symphony Society Board of Directors Philip KY Chan
Board Executive Committee
General Sales Manager, Mercedes-Benz Canada
Fred Withers, Chair
Chief Development Officer (Ret.) Ernst & Young
Director, The Molnar Group
Partner, McCarthy Tetrault LLP
Larry Berg, Vice Chair
President & CEO (Ret.) Vancouver International Airport Authority
Elisabeth Finch Partner, PwC
Partner, Chair of the National Mining Group Borden Ladner Gervais LLP
Etienne Bruson, Treasurer
Michael L. Fish
Hein Poulus, Q.C.
Musician Representatives Larry Knopp Principal Trumpet
Partner, International Tax, Deloitte
Partner, Stikeman Elliot
President, Pacific Surgical
Dave Cunningham, Secretary Chief Communications Officer Provincial Health Services Authority
Dr. Peter Chung
Senior Vice President, Marketing & Sales and Managing Broker Intracorp Realty LTD.
Executive Director (Ret.), South Surrey & White Rock Chamber of Commerce
Elizabeth VolpĂŠ Bligh Principal Harp
Executive Vice-President and CFO Goldcorp Inc.
Honorary Life President
Director, Century Group Lands Corporation
Ronald Laird Cliff, C.M.
Honorary Life Vice-Presidents
Executive Chairman, PrimaCorp Ventures Inc.
Chairman, President and CEO (Ret.) Sandwell International Inc.
Senior Vice President, Buildings, Stantec
Nezhat Khosrowshahi Gerald A.B. McGavin, C.M., O.B.C. Ronald N. Stern Arthur H. Willms
Managing Director, Global Mining Group CIBC World Markets
Partner, International Tax Services Ernst & Young LLP
Vancouver Symphony Foundation Board of Trustees Ronald Laird Cliff, C.M., Chair Marnie Carter Richard Mew
Irene McEwen 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 Claire Hunter Fiona Lin Hein Poulus, Q.C.
Patricia Shields Eric Watt Arthur H. Willms
Ms. Curtis Pendleton
Executive Director Assistant Director
Operations & Facilities Manager Registrar
Vancouver Symphony Volunteer Council 2015/2016 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 2015 . . Paddy Aiken Holland America On-Board Luncheon 2015 . Marlies Wagner
Membership Volunteer Hours . . . . . . . . Sheila Foley
Manager, Gift Shop and Volunteer Resources Shirley Bidewell Tel 604.684.9100 ext 240 email@example.com Assistant Gift Shop Manager Robert Rose