Magazine of the Vancouver Symphony
November 27, 2015 to Febuary 4, 2016 Volume 21, Issue 2
Plays Dvorˇák’s Violin Concerto in A minor
Vivaldi's Four Seasons a Holiday tradition at the Chan Centre
Fifty Years of James Bond Augustin Hadelich plays Tchaikovsky
Vancouver Symphony Orchestra BRAMWELL TOVEY MUSIC DIRECTOR KAZUYOSHI AKIYAMA CONDUCTOR LAUREATE GORDON GERRARD ASSOCIATE CONDUCTOR Marsha & George Taylor Chair
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
November 27, 2015 to Febuary 4, 2016 Volume 21, Issue 2
NOVEMBER 27, 28 / London Drugs VSO Pops / Fifty Years of Bond…James Bond / . . . . . . . . . . . . . 9 John Morris Russell conductor, Capathia Jenkins vocalist, Jeremy Kushnier vocalist NOVEMBER 29 / Kids’ Koncerts / Winter Solstice / Gordon Gerrard conductor . . . . . . . . . . . . . . . . . 13 Samantha Whelan Kotkas author/narrator, Keon Birney composer DECEMBER 2, 3, 6 / VSO Chamber Players / Nadia Kyne flute, Beth Orson oboe . . . . . . . . . . . . . . . 17 Jeanette Jonquil clarinet, Gwen Seaton bassoon, Andrew Mee horn, Ann Okagaito violin, Matthew Davies viola, Janet Steinberg cello, Terence Dawson piano DECEMBER 5, 7 / Goldcorp Masterworks Gold / Pietari Inkinen conductor . . . . . . . . . . . . . . . . . . . . 19 Sarah Chang violin DECEMBER 18, 19 / Specials / Vivaldi’s Four Seasons / Vadim Gluzman leader/violin . . . . . . . . . . 27 JANUARY 7 / Tea & Trumpets / Myths and Legends / . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Gordon Gerrard conductor, Christopher Gaze host, Kurt Chen violin JANUARY 8, 9 / London Drugs VSO Pops / As Heard on TV / . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Steven Reineke conductor, Christina Bianco vocalist JANUARY 10 / Kids’ Koncerts / Gershwin’s Magic Key / Gordon Gerrard conductor . . . . . . . . . . . . . . 42 Classical Kids: Elic Bramlett, George Gershwin, Leslie Ann Sheppard, "Kid," Will Martin, piano JANUARY 16, 18 / Air Canada Masterworks Diamond / John Storgårds conductor . . . . . . . . . . . . . . . 49 Augustin Hadelich violin JANUARY 23, 25 / Mardon Group Insurance Musically Speaking / Surrey Nights / . . . . . . . . . . . . . . . 55 Otto Tausk conductor, Simon Trpcˇeski piano JANUARY 30, 31, FEBRUARY 1 / Goldcorp Masterworks Gold / Rogers Group Financial . . . . . . . . . 60 Symphony Sundays / Gordon Gerrard conductor, Louis Lortie piano FEBRUARY 4 / Tea & Trumpets / An Evening in Roma / Gordon Gerrard conductor . . . . . . . . . . . . . 64 Christopher Gaze host, Sheila Christie soprano, Frédérik Robert tenor
Louis Lortie 4 allegro
Fifty Years of Bond
In this Issue
The Orchestra . . . . . . . . . . . . . . . . . . . . . . . . 3 Allegro Staff . . . . . . . . . . . . . . . . . . . . . . . . . 5 Government Support . . . . . . . . . . . . . . . . . . 6 Message from the Chairman . . . . . . . . . . . . 7 and the President & CEO VSO Upcoming Concerts . . . . . . . . . . . . . . 22 VSO Musician Profile . . . . . . . . . . . . . . . . . 24 VSO Stradivarius Legacy Circle . . . . . . . . . 34 Patrons’ Circle . . . . . . . . . . . . . . . . . . . . . . 40 VSO School of Music . . . . . . . . . . . . . . . . . 41 Advertise in Allegro . . . . . . . . . . . . . . . . . . 47 VSO Friends’ . . . . . . . . . . . . . . . . . . . . . . . . 54 Vancouver Symphony Foundation . . . . . . . 57 Corporate Partners . . . . . . . . . . . . . . . . . . . 66 At the Concert / VSO Staff . . . . . . . . . . . . . 68 VSO Car Lottery . . . . . . . . . . . . . . . . . . . . . 69 Board of Directors / Volunteer Council . . . 70
VSO Musician Profiles: Aaron McDonald
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: firstname.lastname@example.org / 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: bay6creative 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.
@VSOrchestra allegro 5
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.
Mélanie Joly, Minister of Canadian Heritage and Official Languages
Christy Clark, Premier of British Columbia
Gregor Robertson, Mayor of Vancouver
FRED G. WITHERS
Dear Friends, Thank you for joining us for today’s concert. We are delighted to have you with us. The Vancouver Symphony Orchestra’s 2015/2016 Season has already included many wonderful performances, and there are many more to come. We invite you to look through this edition of Allegro for upcoming concerts, or visit our website at vancouversymphony.ca to get a complete season listing; you can order your tickets online or by calling 604.876.3434.
Message from the VSO Chairman and President if you or any of your loved ones would like to begin or continue study of a musical instrument, the exciting VSO School of Music is right next door to the Orpheum Theatre! Lessons are available from VSO musicians for students of any age and ability. Detailed information can be found at vsoschoolofmusic.ca.
On behalf of the VSO family, we are thrilled to welcome Kelly Tweeddale (pictured above) as the new President of the VSO and the VSO School of Music. One of the most respected arts administrators in North In addition to the many evening and matinee America, Kelly brings a diverse and unique range of skills and experiences to Vancouver. concerts performed by the Orchestra, we are proud to present two sets of Elementary Her proven track record and intimate knowledge of the performing arts and the challenges and School Concerts in November and February this season. Over 400 schools and home school opportunities that confront the performing arts in the 21st century are a perfect fit for the VSO. groups from throughout the Lower Mainland, We are delighted to welcome Kelly’s passion, Fraser Valley and as far afield as Nanaimo and energy and leadership skills to our Orchestra Hope will be bringing over 25,000 children to and know she will look forward to meeting hear the Orchestra perform at these weekday many of you in the months ahead. morning concerts. The joy and life-enriching experiences these concerts bring to students On behalf of the Board of Directors, Maestro are an important part of the VSO’s purpose. Tovey, our musicians, staff and volunteers, we We are very grateful to Industrial Alliance thank you for your commitment to the VSO and Pacific for generously sponsoring this send our best wishes for the holiday season. series, and to TELUS for being our Premier Please enjoy today’s concert. Education Partner. The VSO maintains thirteen distinct educational programs that reach over 50,000 children annually. In addition to the Elementary Fred G. Withers School Concerts, we are proud to present the Chair, Board of Directors Sunday afternoon “Kids' Koncerts” Series. These concerts, for children ages five to eleven and their families, are both educational and entertaining in nature. There is still time to subscribe to this series, and to treat your children or grandchildren to the joys of classical music. And of course,
Kelly Tweeddale President
Concert Program 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, November 27 & 28 Fifty Years of Bond… James Bond John Morris Russell conductor Capathia Jenkins vocalist Jeremy Kushnier vocalist BARRY/RAINE James Bond Main Theme BARRY/RAINE Diamonds are Forever ARNOLD/RAINE Tomorrow Never Dies ARNOLD/RAINE Surrender BARRY/RAINE On Her Majesty's Secret Service CONTI/RAINE For Your Eyes Only KAMEN/RAINE License to Kill BARRY/RAINE Dr. No Suite BACHARACH/RAINE The Look of Love ADKINS/RAINE Skyfall
JOHN MORRIS RUSSELL
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VSO POPS RADIO SPONSOR
BARRY/RAINE Thunderball BARRY/RAINE From Russia with Love MANCINI Peter Gunn Theme JOHNSON/PELLETT The Avengers SCHIFRIN Mission Impossible QUINCY JONES/WIEBE Soul Bossa Nova HAYES/PELLETT Theme from Shaft MANCINI Pink Panther PAUL AND LINDA MCCARTNEY/RAINE Live and Let Die CORNELL/RAINE You Know My Name SMITH/RAINE Writing’s On The Wall
NOVEMBER 27 CONCERT SPONSOR
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 America’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!
to Broadway in The Look of Love and was critically acclaimed for her performances of the Bacharach/David hits. This December, Ms. Jenkins will be the guest soloist with Peter Nero and the Philly Pops and will make her debut this season with the Cincinnati Pops. Her television credits include 30 Rock, The Practice, Law & Order SVU, The Sopranos, and Law & Order. She can be seen in the 2012 film Musical Chairs directed by Susan Seidelman. She can be heard on the following film soundtracks: Nine, Chicago, and Legally Blonde 2.
Jeremy Kushnier vocalist
This Canadian-born actor most recently starred as Tommy Devito in the hit Broadway production of Jersey Boys. He made his Broadway debut in Footloose, where he created the role of Ren McCormick. He then Mr. Russell received a Master of Music degree toured Canada and the US with the musicals in conducting from the University of Southern Rent and Elton John’s Aida. He returned to Broadway with the most recent revival California, Los Angeles, and a Bachelor of of Jesus Christ Superstar playing the roles Arts degree in music from Williams College Jesus, Judas and Pontius Pilate. in Massachusetts.
Capathia Jenkins vocalist This Brooklyn-born and raised actress most recently starred as Medda in the hit Disney production of Newsies on Broadway. She made her Broadway debut in The Civil War, where she created the role of Harriet Jackson. She then starred in the Off-Broadway 2000 revival of Godspell, where she wowed audiences with her stirring rendition of Turn Back, O Man which can still be heard on the original cast recording. She returned
He's sung with Elton John, Barry Manilow, Bruce Hornsby, Mickey Dolenze. He’s appeared on both The Tony awards and The Emmys. He has had his original music played on TV and Film. His recent TV credits include, Nurse Jackie, Person of Interest and The Good Wife. He can be seen in the short films WILL and Subject both written and directed by his brother Serge Kushnier. Jeremy has two CDs of original music that can both be found at www.Jeremykushnier.com ■
CONNECT WITH THE VSO! @VSOrchestra
K ID S ’ K ON C ERT S OR P H EU M T H EAT RE, 2 P M
Sunday, November 29 Winter Solstice Gordon Gerrard conductor Samantha Whelan Kotkas author/narrator Keon Birney composer ROSSINI Barber of Seville: Overture KEON BIRNEY Prelude/Introduction I. Overture II. Interlude (Hoedown) III. Introduction
The Journey I. II. III. IV. V. VI.
The Flats The Big Down Hill and the Crash Mushroom Snow Pillows and the Blue Water Fairy The Red Fire Fairy and Tobogganing off Bryant Creek Shelter Orchestral Interlude – Tobogganing The Mini Avalanche
I. The Gigantic Pass II. The Mountain and the Green Forest Fairy
The Northern Lights
I. PARTNER Yellow Wind Fairy Comes to Find Me PREMIER EDUCATION PREMIER EDUCATION PARTNER THE VSO’S KIDS’ KONCERTS HAVE BEEN ENDOWED BY A GENEROUS GIFT FROM THE WILLIAM & IRENE MCEWEN FUND.
II. The Huge Avalanche III. Baby Fairy
The Trip Home
I. Trip Home with Millions of New Fairies in the Area II. Reflection III. Finale allegro 13
consultant and professional musician. For the past fifteen years, she has combined her love of music and education as a professional teaching musician in Calgary, Alberta.
SAMANTHA WHELAN KOTKAS
Gordon Gerrard conductor 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.
Samantha Whelan Kotkas author/narrator Born in Canada, raised in Africa and educated in Calgary and Houston, Samantha has been praised for creating truly unique and totally engaging experiences for young audiences. She has travelled internationally as a creative 14 allegro
Samantha has produced and performed children's presentations for the National Symposium on Arts Education, Calgary’s Pro Musica Society, the Banff Centre for the Arts, the Calgary Philharmonic Orchestra, the Edmonton Symphony Orchestra and the National Arts Centre of Canada. Samantha is an award winning children’s book producer. She believes that the goal of education must be to inspire life long learning. Samantha is also an active performer on trumpet with the Red Deer Symphony, the Calgary Bach Society and Altius Brass. Her high energy and fun filled workshops and performances have made her a crowd favourite for small and large audiences alike. If you would like to know more about Samantha Whelan Kotkas please visit her website at www.storyfair.com
Keon Birney composer Keon Birney received his musical training at the University of Calgary where he studied composition with Allan Gordon Bell, David Eagle, and William Jordan. His music has been performed by the Calgary Philharmonic, Turning Point Ensemble, Foothills Brass Quintet, Northern Lights Brass Quintet, Altius Brass, Alberta Winds, and a variety of amateur music ensembles. His music has also been performed during Pro Musica society's Sonic Boom Festival and Further East Further West music series and he has been invited to composer workshops hosted by the Calgary Philharmonic Orchestra, the Vancouver Symphony Orchestra and the Thunder Bay Symphony Orchestra. Birney currently lives and works as a freelance musician and instructor in the city of North Vancouver, British Columbia. ■
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, December 2, 7:30pm NADIA KYNE
Thursday, December 3, 7:30pm Sunday, December 6, 2pm
BARBER Summer Music Nadia Kyne flute Beth Orson oboe Jeanette Jonquil clarinet Gwen Seaton bassoon Andrew Mee french horn NIELSEN Wind Quintet, Op. 43 Nadia Kyne flute Beth Orson oboe Jeanette Jonquil clarinet Gwen Seaton bassoon Andrew Mee french horn INTERMISSION
FAURĂ‰ Piano Quartet in C minor, Op.15 Ann Okagaito violin Andrew Brown viola Janet Steinberg cello Terence Dawson piano
WITH SUPPORT FROM
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, December 5 & 7 Pietari Inkinen conductor Sarah Chang violin JORDAN PAL Burn DVORˇÁK Violin Concerto in A minor, Op. 53
I. Allegro ma non troppo II. Adagio, ma non troppo III. Finale: Allegro giocoso, ma non troppo
Symphony No. 4 in F minor, Op. 36
I. II. III. IV.
Andante sostenuto – Moderato con anima Andantino in modo di canzone Scherzo: Pizzicato ostinato, Allegro Allegro con fuoco
Free to ticketholders, 7:05pm to 7:30pm, in the auditorium.
VISIT THE SYMPHONY GIFT SHOP FOR CD SELECTIONS MASTERWORKS GOLD SERIES SPONSOR
MASTERWORKS GOLD RADIO SPONSOR
Pietari Inkinen conductor In 2015 Pietari Inkinen began his tenure as Chief Conductor of Prague Symphony Orchestra as well as the Ludwigsburg Schlossfestspiele. 2015 also marks his eighth and final season as Music Director of the New Zealand Symphony Orchestra, where he will become Honorary Guest Conductor from 2016. During his tenure there, Inkinen won unanimous praise from audiences and critics both for his performances on tour in New Zealand and for his recordings with the Orchestra on Naxos and for EMI. In 16/17 Inkinen will also become the Chief Conductor of the Japan Philharmonic Orchestra, where he currently holds the title of Principal Guest Conductor. The highlights of 2015-2016 season and beyond include performances with Prague Symphony Orchestra, Japan Philharmonic Orchestra, Tonkünstler Orchestra, the Moscow State Symphonic Orchestra with Vadim Repin as soloist, Vancouver Symphony Orchestra, Bamberg Symphoniker, RTÉ National Symphony Orchestra, Ludwigsburg Schlossfestspiele and Eugene Onegin in Dresden Semperoper and Wagner’s Ring Cycle in Australia autumn 2016. Inkinen is also an accomplished violinist and studied at the Cologne Music Academy with Zakhar Bron.
Sarah Chang violin
Prize, Gramophone’s “Young Artist of the Year” award, Germany’s “Echo” Schallplattenpreis, “Newcomer of the Year” honours at the International Classical Music Awards in London, and Korea’s “Nan Pa” award. Ms. Chang has been named the US Embassy’s Artistic Ambassador from 2011.
Jordan Pal b. Toronto, Ontario / August 5, 1983
Burn With performances of his works by the Montréal Symphony, Vancouver Symphony, National Arts Centre Orchestra, Québec Symphony, Gryphon Trio, St. Lawrence String Quartet and many more, Jordan Pal is regarded as one of Canada’s most exciting new composers. His work has been lauded by audiences, critics and leading industry professionals. Regarding Burn, the composer writes, “The Toronto Symphony Youth Orchestra premiered the work under Alain Trudel on February 4, 2012. As the title suggests, it brings to mind the qualities, characteristics and properties of fire: its volatile, destructive and unpredictable nature, and its often-overlooked sublime and evanescent states. Although I did not set out to programmatically depict the element in Burn, fire provides a metaphor for the compositional process. My objective was to compose a work that is harmonically, motivically and rhythmically concentrated, and where colour and character are of absolute importance.”
Sarah Chang is recognized as one of the world’s great violinists. Since her debut with the New York Philharmonic at the age of eight she has performed with the greatest orchestras, b. Nelahozeves, Bohemia / September 8, 1841 conductors and accompanists internationally in d. Prague, Bohemia / May 1, 1904 a career spanning more than two decades. Violin Concerto in A minor, Op. 53 Ms. Chang’s most recent recording for EMI After years of working without recognition, Classics, performances of Brahms and Dvorˇák earned his big breakthrough in 1878 Bruch violin concertos with Kurt Masur and when his first set of Slavonic Dances took the Dresdner Philharmonic was received to Europe by storm. Later that year, his Berlin excellent critical and popular acclaim and was publisher Fritz Simrock suggested that he her 20th album for the label. compose a violin concerto. In July 1879 he travelled to Berlin to hear the renowned In 2005, Yale University dedicated a chair Joachim Quartet perform his music. Although in Sprague Hall in Sarah Chang’s name and he was a decent fiddler, he asked for and in 2012 Harvard University gave her the received advice on the technical aspects of 'Distinguished Leadership in the Arts Award'. his concerto from the quartet’s distinguished She is a past recipient of the Avery Fisher
UPCOMING CONCERTS Highlights of the next issue of allegro...
VSO POPS: THE SOUL OF THE TANGO FRI & SAT, FEBRUARY 5 & 6 8PM, ORPHEUM THEATRE Jeff Tyzik conductor Tango Caliente
The VSO and Tango Caliente invite you to a sizzling Symphony Pops program that is muy caliente! You’ll be mesmerized by lush arrangements of some of the best Tango and Latin American music, including Astor Piazzolla, while these incredible dancers light up the stage with their sultry stylings.
LUNAR NEW YEAR WITH AVAN YU SAT, FEBRUARY 13 7:30PM, ORPHEUM THEATRE Gordon Gerrard conductor Avan Yu piano Lucy Wang violin
Welcome the Year of the Monkey with the Vancouver Symphony Orchestra and Vancouver-born, internationallyrenowned pianist Avan Yu and violinist Lucy Wang, for a very special celebration of the Lunar New Year.
EXHILARATING SOUNDSCAPES FRI & SAT, FEBRUARY 19 & 20 8PM, CHAN CENTRE, UBC MON, FEBRUARY 22 BELL PERFORMING ARTS CENTRE, SURREY Bramwell Tovey conductor
MILHAUD The Creation of the World BRITTEN Variations on a Theme of Frank Bridge, Op. 10 STRAVINSKY Concerto in E-flat, Dumbarton Oaks PHILIP GLASS Symphony No. 3
THE LEGENDARY ITZHAK PERLMAN WED, MARCH 2 8PM, ORPHEUM THEATRE Bramwell Tovey conductor Itzhak Perlman violin* BEETHOVEN Symphony No. 7 in A Major BRUCH Concerto No. 1 in G minor* The one and only Itzhak Perlman. Simply one of the greatest musicians to ever hold an instrument, legendary violinist Itzhak Perlman returns to the VSO to perform Bruch’s remarkable Violin Concerto No. 1. VSO Music Director Bramwell Tovey conducts this once-in-a-lifetime concert that will also include Maestro Perlman performing the heartbreaking theme from Schindler’s List, by John Williams. ITZHAK PERLMAN
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leader, Joseph Joachim. After he had finished it, and Joachim had accepted the dedication, Joachim twice asked for revisions. Dvorˇák obliged, but still Joachim wasn’t satisfied. As it turned out, he never did perform the concerto. The frustrated composer passed it on to his friend, František Ondrˇ icˇ ek, who gave the premiere in Prague on October 14, 1883. The opening two movements are performed as a continuous whole. The first is rhapsodic, filled with passion, yearning and drama; the second is serene, with only the occasional dramatic outburst to disturb its tranquility. The finale is a joyful dance led off by the solo violin.
Pyotr Il’yich Tchaikovsky b. Kamsko-Votkinsk, Russia / May 7, 1840 d. St. Petersburg, Russia / November 6, 1893
Symphony No. 4 in F minor, Op. 36 Tchaikovsky’s Fourth Symphony reflected the great personal turmoil he underwent during its creation. He began composing it in February 1877, during the same period that he entered into highly influential relationships with two women. The first was Nadezhda von Meck, an immensely wealthy patron of music. She agreed to supply him with a monthly allowance that would give him the freedom to compose more freely. The second was Antonina Milyukova, an emotionally unstable former student in his composition class at the Moscow Conservatory. Her declarations of love left him deeply confused. His desperate desire to conceal his homosexuality, and Milyukova’s persistence led him to give in to her advances. They were married on July 6, but the relationship quickly fell apart. He became so distraught that he had a nervous breakdown and attempted suicide. Fleeing to Italy, he completed the symphony in Venice during January 1878. In a letter to his patroness, Tchaikovsky disclosed the emotions that he had borne in mind while composing the symphony. A harsh brass fanfare opens the symphony and recurs throughout it. “This is fate,” he wrote, “the power which hinders one in the pursuit of happiness from gaining the goal, which
jealousy provides that peace and comfort do not prevail, that the sky is not free from clouds – a might that swings, like the sword of Damocles, constantly over the head, that poisons continually the soul. There is nothing to do but submit and vainly to complain.” The two main themes of the first movement proper are a restless, yearning string melody and a wistful, dance-like theme introduced by solo clarinet. The latter offers some moments of consolation, only to be driven savagely into the background by the ‘fate’ theme. “The second movement shows another phase of sadness,” Tchaikovsky continued. “Here is that melancholy feeling that enwraps one when he sits alone at night in the house exhausted by work; a swarm of reminiscences arises. It is sad, yet sweet, to lose one’s self in the past.” The atmosphere of gloom is dispelled by the playful third movement, where the strings play pizzicato from first bar to last. “Here are capricious arabesques, vague figures which slip into the imagination when one has taken wine and is slightly intoxicated,” according to Tchaikovsky. A brilliant flourish for full orchestra gets the finale under way at top speed. Woodwinds introduce the main theme, a Russian folk song called In the Meadow There Stands a Birch Tree. This builds rapidly to the appearance of a confident, march-like theme. After this sequence is repeated more elaborately, the atmosphere gradually loses its sense of wellbeing. The ‘fate’ theme makes a catastrophic reappearance, bringing the festivities to a grinding halt. But all is not lost, as Tchaikovsky confided to Madame von Meck. “If you find no pleasure in yourself, look about you. Go to the people. See how they can enjoy life and give themselves up entirely to festivity. There still is happiness, simple, naive happiness. Rejoice in the happiness of others – and you can still live.” The music regains its momentum, to end in a blaze of celebration. ■ Program Notes © 2015 Don Anderson
MUSICIAN PROFILE SERIES: AARON McDONALD VSO PRINCIPAL TIMPANI
He sits high atop a throne, very much in the public’s view. As the crowd before him falls silent, he casts his eye to the left, and then to the right, surveying that all are prepared to hear his proclamation. Under this commanding presence, he raises his hand in a gesture of anticipation. The cue is given, and striking out with a rolling, thunderous voice the timpani speaks, the national anthem has begun and a new orchestral season is underway! Given Aaron McDonald’s position as Principal Timpanist of the VSO, does he sometimes feel like a King? YOU TRY NOT TO LET IT GO YOUR HEAD! “ HA! You have a lot of different roles, perhaps most
often as the pulse or heartbeat of the orchestra. But it changes depending on what period of music you’re playing. Early on, the timpanist was mostly playing with trumpets and it was really just a rhythmic thing in fanfares and such. In the Romantic period you start to take on a little more soloistic or melodic role, when the instruments developed and changing pitches
became easier. In the 20th and 21st century you’re juggling everything. Sometimes my role is to just listen and fit in with what the other musicians are doing around me, but if I am playing with a section of the orchestra that is far away from me, and I play with what I hear, then I will be late. In these situations or when the timpani and brass are playing loud enough that I can’t hear the entire orchestra then I lock in on the conductor’s beat and convey that to the orchestra as a whole. Sometimes you are the Big Band drummer just laying down the beat for everyone so that THEY feel comfortable. There are some great conductors who were timpanists: Simon Rattle, Kurt Masur, Zdeneˇk Mácal, and Thomas Søndergård who was here last season — he was terrific.
Getting to know you I grew up in St. Louis, Missouri, a very MidWestern town, but it also has a little Southern influence being right in the middle of the U.S.. In St. Louis, a lot of people who’ve grown up there decide to stay, or at least come back to it. My great-grandfather was born in Scotland, but was orphaned and adopted, moved first to Nova Scotia, and then to Kansas City, Missouri. We all have kilts that come out at weddings. I have two older brothers in my immediate family — it’s an Irish Catholic household so lots of big gatherings when we all get together. But Scottish is the smallest element, there are German and Irish 24 allegro
Sue, Aaron, Quinlan, Einin & Lyra
roots too. Missouri is called the “Show Me State,” reputedly stalwart and conservative in character. But it’s also cosmopolitan enough that there is a liberal dynamic too. I grew up with “hippy 60s” kind of parents, very warm, friendly, open to talking and sharing with you, and I see that in myself a bit.
Friday Night Lights You can’t think of percussion in the Midwest without picturing the drum corps of a marching band. That was part of my education. I can remember my freshman year in high school my friend and I were the only ones who could play mallet instruments and we both had to carry these really heavy xylophones. It was St. Patrick’s Day in St. Louis and really hot and by the end of the parade we were sweating and stumbling and people were hoisting us up and pushing us on just to get through it. It’s often the first time you’re performing for a sizable crowd of people and they’re very much into what you are doing. For me it was a real motivator — you could see the rewards of your lessons and it feeds you to push on. To be able to perform in those large venues for lots of people and to see the response that you get — it’s crazy.
Family matters My wife, Sue, was a dance major at the University of Missouri-Kansas City, where we met. But she grew up in Victoria, BC and when
Lyra, Einin & Aaron on stage at the Orpheum during a VSO Kids' Koncert
the job came up with the VSO eight years ago it seemed like it was meant to be. We have twin girls, Einin and Lyra, now almost nine, both of whom participated in a recent VSO Kids' Koncert, and a son, Quinlan, who’s three. They have lots of energy so they’re into swimming and sports and music and dance. Dance is rhythm in motion so it’s been fun to watch them.
School days I think that the level and enthusiasm of young percussionists in BC would go up if they had more opportunities to play and see what can be achieved on the instruments. The U.S. has marching bands and drum corps which draws a lot of kids into playing all the instruments because it looks fun and exciting. This gets them involved in performing with a large musical group, and most of the students end up taking private lessons either because they want to get better or they are required to as part of being in the music program. I am definitely not suggesting we push drum corps here in BC, but I would like to give students more opportunities to play in small or large groups here with the hopes of inspiring them. I have built a pretty successful percussion program at the VSO School of Music which includes both private lessons and a percussion ensemble. My hope is to keep the percussion department growing and get more students involved.
Concert Program S P EC IA L S C H A N C EN T RE FO R T H E P ER F OR M ING ARTS, 8 PM
Friday & Saturday, December 18 & 19 Vivaldi’s Four Seasons Vadim Gluzman leader/violin MOZART Divertimento in D Major, K. 136, Salzburg Symphony No. 1 I. Allegro II. Andante III. Presto
KANCHELI Eine kleine Daneliade (A Little Daneliade) MOZART Eine kleine Nachtmusik, K. 525
I. Allegro II. Romance: Andante III. Menuetto and Trio: Allegretto IV. Rondo: Allegro
VIVALDI The Four Seasons Concerto No. 1 in E Major, RV 269, Spring I. Allegro II. Largo e pianissimo sempre III. Danza pastorale: Allegro
Concerto No. 2 in G minor, RV 315, Summer I. Allegro non molto II. Adagio – Presto III. Presto
Concerto No. 3 in F Major, RV 293, Autumn I. Allegro II. Adagio molto III. Allegro
Concerto No. 4 in F minor, RV 297, Winter SPONSORED BY:
I. Allegro non molto II. Largo III. Allegro
Vadim Gluzman leader/violin Vadim Gluzman’s extraordinary artistry brings back to life the glorious violinistic tradition of the 19th and 20th centuries. His wide repertoire embraces contemporary music and his performances are heard around the world through live broadcasts and a striking catalogue of award-winning recordings exclusively for the BIS label. Mr. Gluzman’s latest CD features Sergey Prokofiev’s Sonatas No. 1 and 2 as well as three transcriptions from Romeo and Juliet. Born in the former Soviet Union in 1973, Vadim Gluzman began violin studies at age seven. Before moving to Israel in 1990, where he was a student of Yair Kless, he studied with Roman Sne in Latvia and Zakhar Bron in Russia. In the US his teachers were Arkady Fomin and, at the Juilliard School, the late Dorothy DeLay and Masao Kawasaki. Early in his career, Mr. Gluzman enjoyed the encouragement and support of Isaac Stern, and in 1994 he received the prestigious Henryk Szeryng Foundation Career Award. Vadim Gluzman plays the extraordinary 1690 ‘ex-Leopold Auer’ Stradivari, on extended loan to him through the generosity of the Stradivari Society of Chicago.
Wolfgang Amadeus Mozart b. Salzburg, Austria / January 27, 1756 d. Vienna, Austria / December 5, 1791
Divertimento in D Major, K. 136, Salzburg Symphony No. 1 Ever the practical composer, Mozart never hesitated to write music that was designed solely to entertain. He did so with as much skill and taste as anyone ever has, and without compromising in the slightest his magnificent creative gifts. His works in this vein include sets of dances – minuets, German dances, country dances and so on – plus marches, serenades, divertimentos, cassations and notturnos. These last three terms were virtually interchangeable at the time in referring to light-hearted, multimovement pieces designed as background music for fancy aristocratic functions, name28 allegro
days and birthdays, betrothals and weddings, ends of university terms, carnivals and so on. Within this area of his catalogue lies a remarkable range of material. Some of it, such as the two delicious works you’ll be hearing tonight, is as light as a feather. Others, especially the Serenade for Winds in C minor, are remarkably sombre. He also created works of virtually symphonic breadth and grandeur in this field, such as the magnificent orchestral serenades nicknamed Haffner and Posthorn, as well as the Gran Partita in B-flat Major for 13 Winds.
“The bright and sunny opening...is followed by a warm, songful andante and a merry, breathless presto.” The sixteen-year-old Mozart composed the three divertimenti for strings, of which K. 136 is the first, in short order during the early months of 1772. They share two unusual features: each has three movements, rather than the four or more that were typical of a divertimento or serenade, and Mozart scored them for strings alone, rather than the standard mixed-instrument ensemble. The bright and sunny opening movement of the D Major is followed by a warm, songful andante and a merry, breathless presto.
Giya Kancheli b. Tbilisi, Georgia / August 10, 1935
Eine kleine Daneliade (A Little Daneliade) The thaw that followed the collapse of the Soviet Union brought growing exposure for and recognition of Kancheli’s distinctive musical voice, leading to prestigious commissions and increasingly frequent performances. He composed A Little Daneliade in 2000. He based it on scores that he had composed for two films of the celebrated Georgian director, Georgi Danelia. When asked what his films are about, Danelia replied, “our longing for goodness!” Kancheli said, “There is a reason why I especially love the Little Daneliade. In it, I have endeavoured to show that ‘tears do not always overflow’ in my music, but that I am occasionally capable of smiling as well.”
Wolfgang Amadeus Mozart
b. Salzburg, Austria / January 27, 1756 d. Vienna, Austria / December 5, 1791
The Four Seasons Vivaldi played a major role in several significant musical developments, the rise of the concerto above all. His 500-plus concertos — he holds the record for the highest number, by a large margin — feature a wide variety of soloists. The lion’s share, more than 200, feature his own performing instrument, the violin.
Eine kleine Nachtmusik, K. 525 Mozart completed this enchanting serenade for strings on August 10, 1787, while working on his masterful serio-comic opera, Don Giovanni. It is not known if it was performed during his lifetime, and the piece as it is known today exists in an incomplete form. Early in its existence someone tore out of the manuscript score the minuet that originally came between what are now the first two movements. Some doubt exists as to whether Mozart intended the piece to be played as a chamber work, or as has been most common, by a string orchestra. What no one questions is its beguiling freshness and charm. The bracing opening allegro has an almost march-like character. A tender, virtually operatic romance follows, then a brief, brisk minuet and a joyful finale.
b. Venice, Italy / March 4, 1678 d. Vienna, Austria / July 28, 1741
His reputation suffered a severe lapse following his death. His music’s return to widespread currency dates only from the years following the Second World War. It returned to favour after two centuries of neglect thanks to the recording industry and the rise in popularity of the chamber orchestra. During that ‘down time,’ virtually his only piece to remain in the standard repertoire was the set of four violin concertos that he himself entitled The Four Seasons. It was published by the Dutch company Le Cène in 1725, although he undoubtedly composed at least some of it much earlier. It appeared as the opening third of a set of 12 concertos bearing the overall title The Contest Between Harmony and Invention. In the title, he put face-to-face two opposing musical tendencies: the time-honoured tradition of following the current rules of composition, and the wish to give unrestrained play to the imagination. It is clearly the latter that takes centre stage in The Four Seasons. Its enduring popularity has been based to great degree on its nature as descriptive or programmatic music, an area in whose orchestral division Vivaldi made pioneering efforts. The original edition featured quite elaborate descriptions of the music’s content, including four sonnets, one for each concerto. Some of his original manuscripts are even more explicit. The barking of the goatherd’s dog in the second movement of the spring concerto, for example, is only identified in the viola part. Storms and other blustery weather recur throughout the score, blowing through gustily in spring, summer and winter. The spring and autumn concertos wrap up with festive rustic dances. ■ Program Notes © 2015 Don Anderson
Concert Program T EA & T R U M P ET S OR P H EU M T H EATR E , 2 P M
Thursday, January 7
Myths and Legends
Gordon Gerrard conductor Christopher Gaze host Kurt Chen violin BEETHOVEN Creatures of Prometheus: Overture MOZART Symphony No. 41 in C Major, K.551, Jupiter
WIENIAWSKI Legend GRIEG Peer Gynt Suite No. 1: Morning WAGNER Lohengrin: Prelude to Act I SAINT-SAËNS Samson & Delilah: Danse Bacchanale
TEA & COOKIES served in the lobby one hour before each concert. Tea compliments of Tetley Tea.
VISIT THE SYMPHONY GIFT SHOP FOR CD SELECTIONS allegro 33
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 Sharon Douglas
Jackie Frangi Robert & Ann-Shirley Goodell W. Neil Harcourt in memory of Frank N. Harcourt In memory of John S. Hodge Renate R. Huxtable Wayne & Leslie Ann Ingram Margaret Irving Estelle & Michael Jacobson Mary Jordan Dorothy Kuva Hugh & Judy Lindsay Dorothy MacLeod Robert Maxwell Irene McEwen
Piet Meyerhof Paul Richard Moritz Barbara Morris Martin O’Connor Sue M. Okuda Josephine Pegler Eleanor Phillips Marion Poliakoff Diane Ronan Louis Rosen Bernard Rowe & Annette Stark Shirley Sawatsky Dorothy Shields Mary Ann Sigal Doris Smit
Robert & Darlene Spevakow Dr. Barbara Iola Stafford* Elizabeth Tait Melvyn & June Tanemura Marsha & George Taylor Tuey Family Trust Robert & Carol Tulk David & Ruth Turnbull Ruth Warren Tessa Wilson Kelley Wong Bob Wood in memory of my parents, John & Hazel Wood Anonymous (3) *Estate
Bequests The Vancouver Symphony is grateful to have received bequests
BEQUESTS TO THE VANCOUVER SYMPHONY FOUNDATION
from the following individuals.
$25,000 or more Dorothy Freda Bailey Phyllis Celia Fisher Margot Lynn McKenzie $500,000 or more $10,000 or more Jim and Edith le Nobel The Kitty Heller Kathleen Margaret Mann Alter Ego Trust Anna Ruth Leith $100,000 or more Kaye Leaney Steve Floris Howard and Jean Mann $5,000 or more John Rand Anne de Barrett Allwork Hermann and Clarice Marjory Bankes Erika Stölting Lawrence M. Carlson Muriel F. Gilchrist $50,000 or more J. Stuart Keate Winslow Bennett Margaret Jean Paquin Gerald Nordheimer Audrey M. Piggot Rachel Tancred Rout Mary Flavelle Stewart Ronald Albert Timmis Jan Wolf Wynand
$1,000 or more Eleanor Doke Caldwell Jean Ethel Holler BEQUESTS TO THE VANCOUVER SYMPHONY SOCIETY $250,000 or more Ruth Ellen Baldwin $100,000 or more Reta Alden Dorothy Jane Boyce Roy Joseph Fietsch Hector MacKay $50,000 or more Fritz Ziegler $25,000 or more Dorothy M. Grant Lillian Erva Hawkins Florence Elizabeth Kavanagh
Mary Fassenden Law Geraldine Oldfield Alice Rumball Dr. Barbara Iola Stafford Anne Ethel Stevens Clayton K. Williams $10,000 or more Dr. Sherold Fishman John Devereux Fitz-Gerald Dorothea Leuchters Robert V. Osokin Elizabeth Jean Proven Freda Margaret Rush Doris Kathleen Skelton Dorothy Ethel Williams Sharone Young $5,000 or more Raymond John Casson Alfred Knowles Gordon McConkey
Evelyn Ann van der Veen Joan Marion Wasson $1,000 or more Phyllis Victoria Ethel Bailly Joyce Basham Doris May Bond Kathleen Grace Boyle Kathleen Mary DeClerq Betty Dunhaver Jean Haszard Grace Barbara Isobel Hooper Lewis Wilkinson Hunter Marjorie Lucille Keddy Annie Velma Pickell Jean Semple Kathleen Stemshorn Wilhelmina Stobie Marion Kathleen Laurette Whyte ■
For further information on leaving a Legacy gift to the VSO please call Mary Butterfield, Director, Individual and Legacy Giving at 604.684.9100 ext. 238 or email email@example.com.
Gordon Gerrard conductor For a biography of Gordon Gerrard, please refer to page 14.
Christopher Gaze host 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 20 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.
Kurt Chen violin Sixteen year old Kurt Chen’s interest in violin emerged at the young age of four. He began training under Mr. Mo Yeung. He was also taught by Ms. Xiu Feng Wei and Ms. Evelyn Creaser-Rumley. Mr. Nicholas Wright is his present mentor. He has been participating annually at the Vancouver Kiwanis Music (VKM) Festival since he was seven years old. He has been a member of the Vancouver Academy of Music’s orchestras and the Chamber Music Institute for the past years. The first half of 2015 was truly an unforgettable experience for Kurt. He had the opportunity to perform at the VKM Festival’s annual Gala Concert and the BC Performing Arts Festival in Powell River, BC in May. In late June, he attended the inaugural VSOIW (Vancouver Symphony Orchestral Institute at Whistler). It was in this event that he was able to meet other talented young musicians across Canada and from other countries in a week-long comprehensive training program and be mentored by world class musicians. He is very grateful to his parents, sister, extended family and friends for their endless support in his musical endeavours. ■
Concert Program 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, January 8 & 9
As Heard on TV
Steven Reineke conductor Christina Bianco vocalist History of TV Overture Don’t Forget Me / Let Me Be Your Star from Smash Downtown Ed Sullivan Welcomes The Beatles Game Show Medley Olympic Fanfare
VISIT THE SYMPHONY GIFT SHOP FOR CD SELECTIONS VSO POPS SERIES SPONSOR
INTERMISSION The Liberty Bell March Monty Python’s Flying Circus Masterpiece Theatre Theme [Rondeau] & Downton Abbey Theme Game of Thrones Theme Neverland from Peter Pan TV Theme Song Sing Along Jim Henson’s Musical World The Muppet Show, Sesame Street, Fraggle Rock The Judy Garland Show Tribute: You Made Me Love You / For Me and My Gal / The Trolley Song Down With Love
VSO POPS RADIO SPONSOR
JANUARY 9 CONCERT SPONSOR
Steven Reineke conductor
Christina Bianco vocalist
Steven Reineke’s boundless enthusiasm and exceptional artistry have made him one of the nation’s most sought-after pops conductors, composers and arrangers. Mr. Reineke is the Music Director of The New York Pops at Carnegie Hall, Principal Pops Conductor of the National Symphony Orchestra at the John F. Kennedy Center for the Performing Arts, Principal Pops Conductor of the Toronto Symphony Orchestra and Principal Pops Conductor Designate of the Houston Symphony. He previously held the posts of Principal Pops Conductor of the Long Beach and Modesto Symphony Orchestras and Associate Conductor of the Cincinnati Pops Orchestra. As the creator of more than one hundred orchestral arrangements for the Cincinnati Pops Orchestra, Mr. Reineke’s work has been performed worldwide, and can be heard on numerous Cincinnati Pops Orchestra recordings on the Telarc label. A native of Ohio, Mr. Reineke is a graduate of Miami University of Ohio, where he earned bachelor of music degrees with honors in both trumpet performance and music composition. He currently resides in New York City with his husband Eric Gabbard.
Two time Drama Desk Award nominated actress, singer and impressionist Christina Bianco has become a YouTube sensation with her diva impression videos. Gaining over 21 million views worldwide, Christina is best known for her renditions of Total Eclipse of the Heart and Let It Go, leading to performances on major television programs such as The Ellen Degeneres Show and The Queen Latifah Show. Christina made her West End debut starring in The Menier Chocolate Factory’s hailed production of Forbidden Broadway at the Vaudeville Theatre in London. In New York, Christina recently starred Off-Broadway in the one-woman, multi-character comedy, Application Pending (Drama Desk Award Nomination). Christina has performed her critically acclaimed solo shows, Diva Moments and Party Of One, to sold out crowds at NYC’s Birdland and regionally across the U.S. Abroad, Christina has sold out extended runs headlining at London’s famed Hippodrome and Royal Albert Hall’s prestigious Elgar Room. This fall, she’ll appear as Mindy in the Hallmark original movie series, Signed, Sealed, Delivered. ■
The Vancouver Symphony gratefully acknowledges the generosity of these community leaders whose ongoing annual support makes it possible to present 150 passionate performances and inspiring education and community programs every year. Thank you for your loyalty and commitment to the VSO’s ongoing success. GOLD BATON CLUB Gifts from $50,000 and Up Mr. Alan and Mrs. Gwendoline Pyatt*
Arthur H. Willms Family* Gordon W. Young Anonymous
MAESTRO'S CIRCLE Gifts from $35,000 to $49,999 Heathcliff Foundation* The R & J Stern Family Foundation
PRINCIPAL PLAYERS Gifts from $7,500 to $9,999 Mrs. Joyce E. Clarke Dave Cunningham Mollie Massie and Hein Poulus*
Gifts from $25,000 to $34,999 Mary and Gordon Christopher Foundation* Dr. Peter and Mrs. Stephanie Chung Mr. Gerald McGavin, C.M., O.B.C. and Mrs. Sheahan McGavin* Jane McLennan CONCERTMASTER'S CIRCLE Gifts from $15,000 to $24,999 The Christopher Foundation (Education Fund) Martha Lou Henley* Lagniappe Foundation Mr. Fred Withers and Dr. Kathy Jones Anonymous* Gifts from $10,000 to $14,999 Larry and Sherrill Berg Mr. and Mrs. G. A. Cooper Mrs. Margaret M. Duncan The Gudewill Family In Memory of John Hodge* Werner (Vern) and Helga Höing* Ms. Sumiko Hui Yoshiko Karasawa Mrs. Irene McEwen* McGrane-Pearson Endowment Fund Mr. Brian W. and Mrs. Joan Mitchell André and Julie Molnar Tom and Lorraine Skidmore
Gifts from $5,000 to $7,499 Dr. and Mrs. J. Abel Jeff and Keiko Alexander* Hans and Nancy Alwart Eric and Alex Bretsen Gerhard & Ariane Bruendl Etienne Bruson Philip & Pauline Chan Ian and Frances Dowdeswell Mohammed A. Faris Elisabeth and David Finch Debra Finlay Cathy Grant Mr. and Mrs. Sam Gudewill Hillary Haggan Paula and Doug Hart Diane Hodgins Kaatza Foundation Hank and Janice Ketcham Dr. Marla Kiess* Judi and David Korbin Sam and Anita Lee Doug and Teri Loughran The Lutsky Families Bruce and Margo MacDonald Roy Millen and Ruth Webber Mirhady Family Fund, held at Vancouver Foundation Fred R. Pletcher & Beverley G. Ellingson Joanne and Stanis Smith
Maestro Bramwell Tovey and Mrs. Lana Penner-Tovey* The Tuey Charitable Foundation* Mrs. Jane Wang Dr. Rosemary Wilkinson Milton and Fei Wong Anonymous (2) BENEFACTORS Gifts from $3,500 to $4,999 Ann Claire Angus Fund, held at Vancouver Foundation Kathy and Stephen Bellringer* Prof. Kin Lo* Mr. and Mrs. Herbert Menten* Christine Nicolas Gifts from $2,500 to $3,499 Anako Foundation Olin and Suzanne Anton Nicholas Asimakopulos Betsy Bennett* The Ken Birdsall Fund Marnie Carter* Edward Colin and Alanna Nadeau Count Enrico and Countess Aline Dobrzensky In Honour of Jocelyn Morlock Ms. Judy Garner Heather Holmes Olga Ilich Herbert Jenkin Gordon and Kelly Johnson Don and Lou Laishley Bill and Risa Levine M. Lois Milsom Joan Morris in loving memory of Dr. Hugh C. Morris Vince and Noella Ready Dr. Robert S. Rothwell*
For more information about the Patrons' Circle and the exclusive benefits associated with this program, please contact Mary Butterfield Director, Individual & Legacy Giving at
604.684.9100 ext. 238 or email firstname.lastname@example.org. 40 allegro
Bernard Rowe and Annette Stark Dorothy Shields Wallace and Gloria Shoemay Mrs. Mary Anne Sigal Mel and June Tanemura* Mr. and Mrs. David H. Trischuk Michael R. Williams Bruce Munro Wright Dr. and Mrs. Edward Yeung John Hardie Mitchell Family Foundation Anonymous* Anonymous PATRONS Gifts from $2,000 to $2,499 P. Carnsew and D. Janzen In Memory of Betty Howard Jean Donaldson Mr. Hassan Khosrowshahi, O.B.C. and Mrs. Nezhat Khosrowshahi* In Tribute of late Johnny Loh Violet and Bruce Macdonald Nancy and Frank Margitan Maurice and Vi Roden Ian and Jane Strang Bella Tata* Mark Tindle and Leslie Cliff Anonymous (4)
Gifts from $1,500 to $1,999 Gordon and Minke Armstrong Derek and Stella Atkins Mr. R. Paul and Mrs. Elizabeth Beckmann Roberta Lando Beiser* Nathan Brine Dr. and Mrs. J. Deen Brosnan Mrs. May Brown, C.M., O.B.C.* Ben and Beth Cherniavsky Dr. Kam and Katie Cheung Mr. Justice Edward Chiasson and Mrs. Dorothy Chiasson* Doug and Anne Courtemanche Leanne Davis and Vern Griffiths Barbara J. Dempsey Sharon F. Douglas Darren Downs and Jacqueline Harris Nancy and Alain Duncan Rafael and Miryam Filosof Dennis Friesen for Gwen Mrs. San Given Anna and Alan Gove Marietta Hurst* Michael and Estelle Jacobson* Signe Jurcic C.V. Kent in memory of Vivian Jung Drs. Colleen Kirkham and Stephen Kurdyak
Uri and Naomi Kolet in honor of Aviva’s New York Ordination Hugh and Judy Lindsay Christopher Loh Hank and Andrea Luck Nancy Morrison Mrs. Louise Pronovost Dal and Muriel Richards Dr. William H. and Ruthie Ross Mrs. Joan Scobell David and Cathy Scott Dr. Peter and Mrs. Sandra Stevenson-Moore L. Thom Garth and Lynette Thurber Dr. Hamed Umedaly and Dr. Susan Purkiss Nico & Linda Verbeek* Dr. Brian Willoughby Eric and Shirley Wilson Dr. D. Woodhouse Nancy Wu Anonymous (4) ■ * Members of the Patrons’ Circle who have further demonstrated their support by making an additional gift to the Vancouver Symphony Foundation’s endowment fund.
Concert Program KIDS’ KONCERTS ORPHEUM THEATRE, 2PM
Sunday, January 10
The Vancouver Symphony Orchestra presents
Music by George Gershwin Lyrics by Ira Gershwin Created and Directed by Paul Pement Written by: Will Martin, Elizabeth Wheeler, Paul Pement Gordon Gerrard conductor Classical Kids featuring: Elic Bramlett as George Gershwin Leslie Ann Sheppard as “Kid” Will Martin piano
Production Advisor: Kevin Cole Music Copyist/Engraver: John Blane Lighting Design: Paul Pement Projections: Scott Fairchild Music Supervisor: Will Martin Associate Director: Steve Hiltebrand Costumes: Alex Meadows Props/Wigs: Kevin Barthel THE WORLDWIDE COPYRIGHTS IN THE MUSIC OF GEORGE AND IRA GERSHWIN FOR THIS PRODUCTION ARE LICENSED BY THE GERSHWIN® FAMILY. Porgy and Bess permissions granted by the Dubose and Dorothy Heyward Memorial Fund. Projection footage and imagery courtesy of Harold Lloyd Entertainment and the Library of Congress. Actors and Stage Manager are members of Actors' Equity Association.
LEARN MORE ABOUT CLASSICAL KIDS: CLASSICALKIDSLIVE.COM ENGAGE on Facebook at ClassicalKidsLive and Twitter at Classical_Kids
VISIT THE SYMPHONY GIFT SHOP FOR CD SELECTIONS PREMIER EDUCATION PARTNER
THE VSO’S KIDS’ KONCERTS HAVE BEEN ENDOWED BY A GENEROUS GIFT FROM THE WILLIAM & IRENE MCEWEN FUND.
MUSICAL EXCERPTS Overture from Catfish Row: Symphonic Suite in Five Parts: I "Swanee" (Gershwin/Wodehouse) Fugue subject from Catfish Row: Symphonic Suite in Five Parts: I "I Got Plenty O’Nuttin" from Catfish Row: Symphonic Suite in Five Parts: II "Strike Up The Band" (Gershwin/MacPherson) "Take Me Out to the Ball Game" (Norworth and Tilzer) "I’ll Build a Stairway to Paradise" "Nice Work If You Can Get It" (Gershwin/Bennett) Period Medley: "Oh, You Beautiful Doll" (Ayer) & "Baby Face" (Akst) "Rialto Ripples"(Gershwin/Tyzik) Humoresque Op. 101 No. 7 (Dvorˇák/Trinkaus) Second Rhapsody (New York Rhapsody) "Promenade" (Gershwin/Berkowitz) An American in Paris "Summertime" & "Bess, You Is My Woman Now" from Catfish Row: Symphonic Suite in Five Parts: I & II "Oh Lord, I’m On My Way" from Catfish Row: Symphonic Suite in Five Parts: V Concerto in F: III Medley from "Oh, Kay!" (Gershwin/Warner) Classical Kids LIVE! is produced by Classical Kids "Second Prelude" (Blue Lullaby) Music Education, a Chicago-based not-for-profit organization that works to enrich communities Cuban Overture through direct access to culturally significant "I Got Rhythm" (Gershwin/Bennett) venues, professional artists and organizations, and high-quality theatrical concert productions, while "Fascinating Rhythm" (Gershwin/Warner) fostering new appreciation for classical music and Rhapsody in Blue music history. In combination with the Classical
Kids Teaching Edition, Classical Kids LIVE! serves as one of the worlds best educational outreach and community engagement programs contributing to the long-term health of classical music. Having received more awards and honors than any other entity of its kind, Classical Kids is proud to say, “We’re making a difference!” Join our newsletter at ClasicalKidsLive.com.
VSO Instrument Fair The Kids' Koncerts series continues with the popular VSO Instrument Fair, which allows music lovers of all ages (but especially kids!) to touch and play real orchestra instruments in the Orpheum lobby one hour before concert start time. All instruments are generously provided by Tom Lee Music. allegro 43
Plot Synopsis The story tells of a chance meeting on the streets of New York City between a poor newspaper boy and the great American composer, George Gershwin. The orchestra magically weaves Gershwin’s greatest hits into the drama as the master composer shares historical anecdotes about his life and musical passion. A bonding friendship develops as they explore the vast melting pot of American music and discover the key to unlocking the boy’s own musical potential. Family and student audiences will be captivated by over twenty of Gershwin’s most popular compositions from classical compositions including Porgy & Bess, American in Paris, Cuban Overture, Concerto in F and Rhapsody in Blue to popular hits from the American Songbook including I Got Rhythm, Swanee, The Man I Love, Someone to Watch Over Me, and Fascinating Rhythm.
LESLIE ANN SHEPPARD
all musician parts, period costumes, props, lighting & sound coordination. The music is magically woven into the drama as two actors share their anecdotes and observations based on true incidents from the composer’s life. Presenting history, drama, music and fun, this engaging concert is an ideal addition to any children’s education program or family concert series. The performance is approximately 50 minutes in length and is recommended for audiences age five and up.
Gordon Gerrard conductor For a biography of Gordon Gerrard, please refer to page 14.
Paul Pement creator and director
Paul serves as Executive and Artistic Director of Classical Kids Music Education, a non-profit arts organization focused on introducing children to the lives and musical masterpieces of the great classical composers. A BFA in theatre from the Endorsed by the Gershwin Family Interests University of Illinois Urbana-Champaign and supported by the National Endowment and professional experience as an actor, for the Arts, Gershwin’s Magic Key is the singer, dancer, director, choreographer first-ever educationally-entertaining theatrical and stage manager have enabled Paul to symphony concert exposing children and their achieve success with Classical Kids LIVE! parents to the extraordinary life and musical programming — the leader in the field of masterpieces of one of the greatest American family concert programming presented by composers of all time! Classical Kids LIVE! orchestras throughout North America and produces and performs this fully directed abroad. Over the past decade Mr. Pement has theatrical production with full symphony led the organization in processes that include orchestra and includes a featured pianist, strategic planning, board and committee 2 professional actors and an onsite director. development, financial accounting, funding The production also includes full score and development, community engagement, and
marketing and communications. Together with the help of dedicated consultants and passionate board and committee members, Paul is proud to have created the organization's newest program, Gershwin’s Magic Key — the first-ever symphony concert production that introduces future generations to the legacy of the great American composer, George Gershwin.
Elic Bramlett George Gershwin Elic is excited to be playing George Gershwin in the new Classical Kids LIVE! Production, Gershwin’s Magic Key. After joining Classical Kids during the 2005–06 season he has toured the US, Canada and Malaysia playing Mozart. A native of Phoenix, AZ, Elic now makes his home in the suburbs of Chicago. Stage credits include: The Music Man at Marriott Lincolnshire, Stage Kiss and The Boys are Coming Home at The Goodman; Western Civilization at Noble Fool; Teapot Scandals, Elegies, Sweeney Todd, Macabaret, Hereafter, and Three Sisters at Porchlight; The Musical Comedy Murders of 1940, Charlotte's Web, and Cinderella at Drury Lane; The Bomb-itty of Errors at The Royal George; and Saturday Night with Pegasus Players. In Forever Plaid, he has played the roles of Jinx, Frankie, and Sparky at several theatres including Chicago's original Royal George production. Elic also makes his living as a TV/film actor, voice over talent, and as a director, producer, and teacher in the Chicagoland area. He would like to dedicate this performance to his loving and supportive wife Carrie Beth, and their beautiful children, Pearle and Theodore.
Leslie Ann Sheppard “Kid” Leslie Ann is thrilled to add Gershwin’s Magic Key to her Classical Kids repertoire. A principal actor with Classical Kids, she performs as Katarina in Vivaldi’s Ring of Mystery, Christoph in Beethoven Lives Upstairs, and Karl in Mozart’s Magnificent Voyage. An actor, musician, playwright and stage combatant, Leslie Ann acquired a BA
degree from Illinois State University and is the Artistic Director and a founding company member of the Suitcase Shakespeare Co. Chicago theatre credits include productions at Victory Gardens, Steppenwolf, Northlight, TimeLine, Chicago Children's Theatre, The Artistic Home, the Illinois Shakespeare Festival, the Bristol Renaissance Faire, and the Chicago Fringe Festival. Film credits include The Mob Doctor, Powers, I Will Be Waiting, and Skull Speakers. Above all, faith, family, respect and the love of creating and sharing art drive Leslie Ann to strive for excellence. Mrs. Sheppard resides in Chicago with her husband, runs marathons for Team World Vision, and is a member of Actors’ Equity Association and SAG-AFTRA.
pianist, co-writer, music supervisor Will is very pleased to play a pivotal role in the creation of Gershwin’s Magic Key as cowriter, music supervisor and featured pianist. He graduated from Lawrence University in 2010, where he took the B.M. piano performance magna cum laude and the B.A. English magna cum laude. There, he received additional honours for his scholarly work on the original manuscripts of Gershwin’s Rhapsody in Blue. He studied piano under Anthony Padilla, Michael Mizrahi and Emma Tahmizian at the Lawrence Conservatory of Music. Will has garnered acclaim for his exciting and idiomatic interpretations of Gershwin’s music in particular. He has performed on broadcast in the Impromptu series on Chicago’s WFMT 98.7, in concert on Wisconsin Public Radio, and won first prize in the Neale-Silva Young Artists Competition. Currently, Will works with the world’s leading Gershwin pianist and archivist, Kevin Cole and continues to study piano with Sheila Paige. He began his musical journey at age seven when he was given the Classical Kids recording Mr. Bach Comes to Call. He is very proud to now be working with that same organization to expose children to his favourite composer, George Gershwin. allegro 45
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vancouversymphony.ca/allegro Elizabeth Wheeler co-writer Elizabeth joins the creative team of Classical Kids as a contributing writer. Her first young adult novel, Asher’s Fault, won the National Federation of Women’s Press and Illinois Women’s Press Association Young Adult Creative Fiction Book of the Year. Her second novel, Asher’s Shot, received accolades from USA Today, and her final book in the trilogy, Asher’s Out, is scheduled for release through Bold Strokes Books in July 2015. Elizabeth is driven by a quest to unleash the authentic human experience in literature, on the stage, and in life. As an educator, she is touched and inspired by the real-world examples of how students, facing adversity, assimilate the lessons learned from those experiences to persevere and transform into triumphant adults. As an advocate for storytelling in the print and digital world, Elizabeth has spoken at international and regional educational conferences. She is a graduate of the University of Florida and the inaugural novel writing program at the University of Chicago's Graham School. ■
Actors’ Equity Association Actors and Stage Managers are members of Actors’ Equity Association. Actors' Equity Association, founded in 1913, is the labor union that represents more than 45,000 Actors and Stage Managers in the United States. Equity seeks to advance, promote and foster the art of live theatre as an essential component of our society. Equity negotiates wages and working conditions and provides a wide range of benefits, including health and pension plans, for its members. Actors' Equity is a member of the AFL-CIO, and is affiliated with FIA, an international organization of performing arts unions. allegro 47
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, January 16 & 18 John Storgårds conductor Augustin Hadelich violin BUHR ◆
…this is the murmur of yearning
TCHAIKOVSKY Violin Concerto in D Major, Op. 35
I. Allegro moderato II. Canzonetta: Andante III. Finale: Allegro vivacissimo
ZEMLINSKY The Mermaid, Symphonic Fantasy after Hans Christian Andersen
I. Sehr mässig bewegt II. Sehr bewegt, rauschend III. Sehr gedehnt, mit schmerzvollem Ausdruck
Free to ticketholders, 7:05pm to 7:30pm, in the auditorium. AUGUSTIN HADELICH
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John Storgårds conductor Chief Conductor of the Helsinki Philharmonic Orchestra and Principal Guest Conductor of BBC Philharmonic Orchestra, John Storgårds has a dual career as a conductor and violin virtuoso and is widely recognized for his creative flair for programming and his commitment to contemporary music. He additionally holds the title of Artistic Director of the Chamber Orchestra of Lapland. Storgårds’ much anticipated recording of the complete Sibelius symphonies with the BBC Philharmonic, which includes the Three Late Fragments, thought to be sketches for an eighth symphony, was released on Chandos in the spring 2014. Additional notable releases include discs of works by Korngold and Rautavaara, the latter receiving a Grammy nomination and a Gramophone Award in 2012. Mr. Storgårds studied violin with Chaim Taub, was concertmaster of the Swedish Radio Symphony Orchestra under Esa-Pekka Salonen and subsequently studied conducting with Jorma Panula and Eri Klas at the famed Sibelius Academy. He received the Finnish State Prize for Music in 2002 and the Pro Finlandia Prize 2012.
Augustin Hadelich violin Continuing to astonish audiences with his phenomenal technique, poetic sensitivity, and gorgeous tone, Augustin Hadelich has established himself as one of the most sought-after violinists of his generation. His remarkable consistency throughout the repertoire, from Paganini, to Brahms, to Bartók, to Adès, is seldom encountered in a single artist. Augustin Hadelich’s first major orchestral recording, featuring the violin concertos of Jean Sibelius and Thomas Adès (Concentric Paths) with Hannu Lintu conducting the Royal Liverpool Philharmonic Orchestra, was released to great acclaim in March 2014 on the AVIE label. The disc has been nominated for a Gramophone Award, and was listed by NPR on their Top 10 Classical CDs of 2014. The son of German parents, Augustin Hadelich was born and raised in Italy. A resident of
New York City since 2004, he holds an artist diploma from The Juilliard School, where he was a student of Joel Smirnoff. He plays on the 1723 “Ex-Kiesewetter” Stradivari violin, on loan from Clement and Karen Arrison through the Stradivari Society of Chicago.
Glenn Buhr b. Winnipeg, Manitoba, Canada / December 18, 1954
…this is the murmur of yearning Glenn Buhr is a composer, pianist/guitarist, music curator and producer, songwriter and band leader. His music has been performed all over the world by such diverse ensembles as the London Sinfonia, Detroit Symphony Orchestra, BBC Symphony, pianist Louis Lortie, and soprano Tracy Dahl. In 2003, his full length ballet Beauty and the Beast was premiéred by England’s Birmingham Royal Ballet. His book Our Native Song – a collection of essays on music – was published in 2013. The composer has provided the following note. …this is the murmur of yearning borrows its emotional energy from the flow of the seasons. (The title is a quote from Walt Whitman’s Leaves of Grass). The opening flittering motion (spring) overlaps with a lush summer, followed by the violent energy of autumn (inspired by eagles that I once saw in September, warring in the air before migration), then the gentle ice/ glass hovering harmonies of winter.
Pyotr Il’yich Tchaikovsky b. Kamsko-Votkinsk, Russia / May 7, 1840 d. St. Petersburg, Russia / November 6, 1893
Violin Concerto in D Major, Op. 35 Once Tchaikovsky had completed this concerto in 1878, he sent it to Leopold Auer, the distinguished Hungarian soloist. To his horror, Auer declined to perform it, citing technical and artistic shortcomings. Some time later, German soloist Adolf Brodsky expressed an interest, and spent the better part of two years preparing to give the premiére. That took place in Vienna on December 4, 1881. The audience loved Brodsky’s playing, but they hissed the piece. The press heaped abuse upon it, too. Despite this initial hostility, it lost little time in establishing itself as a concert favourite. allegro 51
In breadth of conception and richness of contents, the opening movement is virtually a complete concerto in itself. Since both principal themes are lyrical, Tchaikovsky achieves the necessary contrast by alternating lightly scored passages for violin and orchestra, with more forceful sections scored for orchestra alone.
“The solo violin then leads off an exhilarating chase which brings the concerto to a dashing close.”
a choice example of his attempts to achieve this synthesis, as the two-pronged sub-title, symphonic fantasy, openly declares. The immediate inspiration for his desire to compose a sizeable piece for orchestra was Ein Heldenleben (A Hero’s Life, 1899), by Richard Strauss. Zemlinsky studied this grandiose tone poem closely, just a few days before setting to work on The Mermaid. He composed it between February 1902 and March 1903 and conducted the premiére himself, in Vienna on January 25, 1905.
In its ample time scale, sumptuous textures and youthful energy it resembles Strauss, Woodwinds introduce the wistful, elegant but it is a more intimate, less self-conscious second movement. The soloist uses a mute, work. In addition to the Brahms/Wagner/ giving the instrument a veiled, restrained sound Strauss influences, the impressionist colours most appropriate to the music. The vivacious, and textures of Claude Debussy & Co. may be folk-flavoured dance rhythms of the finale detected in it, as well. burst in abruptly. Two warm contrasting ideas Hans Christian Andersen’s fairy tale story The are subjected to elaborate presentation. The solo violin then leads off an exhilarating chase Little Mermaid was published in 1836. The mermaid wishes to become fully human and which brings the concerto to a dashing close. to gain an immortal soul. She hopes to achieve this by winning the love of a prince whom she saves from a shipwreck. A witch gives her a magic potion that transforms her into a human. b. Vienna, Austria / October 14, 1871 d. Larchmont, New York / March 16, 1942 The mermaid’s plan fails when the prince barely notices her and marries a princess The Mermaid, Symphonic Fantasy instead. The mermaid intends to kill him, but at after Hans Christian Andersen the last moment she relents. Thanks to this act Few composers have undergone so thorough of selfless renunciation, she is re-incarnated a revival as Zemlinsky. His music virtually as an air sprite and is given the chance to earn disappeared after his death, and even 45 years ago he was little more than a footnote in her longed-for immortality through performing good deeds. history books (Arnold Schoenberg’s brotherin-law, noted conductor, etc.). A revelatory The three movements of Zemlinsky’s piece retrospective of his works was given in became separated when he fled to America Graz, Austria, in 1974, and the first major in 1938, and were not reunited until 1984. He scholarly studies and recordings followed had originally conceived it as a piece in two soon afterwards. By now all his major works movements. He described their programmatic have been recorded, in some cases several contents in a letter to Schoenberg: “First times, and his soulful, opulently scored music Part: on the ocean bed (entire exposition); the turns up regularly on concert programmes mermaid and the human world; the storm, the worldwide. Lovers of Mahler, Strauss and prince’s rescue. Second Part: the mermaid’s Wagner have embraced it enthusiastically. longing; in the domain of the sea-witch; the prince’s wedding; the mermaid’s end.” He In his music, as with the early works of expanded the score to three movements by Schoenberg, he sought to reconcile two inserting a second. It depicts a subsidiary schools whose conflict had been causing scene, a festive ball in the palace of the tremendous ferment in Europe for decades: mermaid’s father, the Sea-King. ■ the conservative, abstract style of Brahms, Program Notes © 2015 Don Anderson and the hyper-emotional, programmatic school of Wagner and Liszt. The Mermaid is
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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, January 23 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, January 25 Otto Tausk conductor Simon Trpcˇeski piano
MOZART The Abduction from the Seraglio,
K. 384: Overture
Symphony No. 38 in D Major, K. 504, Prague
I. Adagio – Allegro II. Andante III. Presto
LISZT Piano Concerto No. 2 in A Major SMETANA Má Vlast: The Moldau, Šárka
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Otto Tausk conductor
As Music Director of the Symphony Orchestra and Opera Theatre St Gallen, Otto Tausk has energised his musicians and singers to impressive levels earning him enthusiastic and critical acclaim. Otto Tausk is also a hugely respected musical personality in his native Holland working with all its major orchestras. In 2011 Otto Tausk was presented with the ‘de Olifant’ prize by the City of Haarlem. He received this prestigious award for his contribution to the Arts in the Netherlands, in particular his extensive work with Holland Symfonia with whom he was Music Director from 2007 to 2012. Otto Tausk, born in Utrecht, studied violin with Viktor Liberman and Istvan Parkanyi as well as orchestral conducting with Jurjen Hempel and Kenneth Montgomery. He continued his studies with Lithuanian conductor and professor Jonas Aleksa at the Vilnius Conservatoire, a period of study that had a profound impact on him. Between 2004 – 2006 Tausk was assistant conductor to Valery Gergiev with the Rotterdam Philharmonic.
Simon Trpcˇeski piano
Macedonian pianist Simon Trpcˇeski has established himself as one of the most remarkable musicians to have emerged in recent years. Mr. Trpcˇeski is praised not only for his impeccable technique and delicate expression, but also for his warm personality and commitment to strengthening Macedonia’s cultural image. A superb recitalist, Simon has received widespread acclaim for his recital recordings on the EMI label. His first recording, released in 2002, featured works by Tchaikovsky, Scriabin, Stravinsky and Prokofiev, and received both the “Editor’s Choice” and “Debut Album” awards at the Gramophone Awards. With the special support of KulturOp — Macedonia’s leading cultural and arts organization — and the Ministry of Culture of the Republic of Macedonia, Mr. Trpcˇeski works regularly with young musicians in Macedonia 56 allegro
in order to cultivate the talent of the country’s next generation of artists. Simon is a graduate of the School of Music at the University of St. Cyril and St. Methodius in Skopje, where he studied with Professor Boris Romanov. He makes his home in Skopje with his family.
Wolfgang Amadeus Mozart b. Salzburg, Austria / January 27, 1756 d. Vienna, Austria / December 5, 1791
The Abduction from the Seraglio, K. 384: Overture In May 1781, Mozart relocated from what he considered the cultural backwater of Salzburg to the bustling musical metropolis of Vienna. The following year, he won his first great success there with this mischievous comic opera. It follows the amorous adventures of two sets of lovers who have been shipwrecked in Turkey. Turkish armies had laid siege to Vienna on several occasions in past centuries. Their military orchestras, which included cymbals, triangles, bass drums and other percussion instruments, had caught the fancy of the Viennese. Mozart’s opera marked the introduction of these exotic sounds into Western art music. Their playful jingling heightens the merriment of the opera’s brisk overture. “I don’t believe anyone will sleep through it,” Mozart wrote to his father, “even if they’ve missed an entire night’s sleep.” Symphony No. 38 in D Major, K. 504, Prague Mozart traveled from Vienna to Prague in January 1787 to hear the city’s outstanding production of his comic opera, The Marriage of Figaro. During his visit he conducted it himself, gave a piano recital and staged a concert of his music. The concert included a new symphony that he had brought with him. The fact that it was heard for the first time in Prague has resulted in the nickname by which it has been known ever since. The ‘Prague’ Symphony is unusual among his late symphonies in having only three movements. Mozart’s treatment of the orchestra is the most elaborate in any of his
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symphonies to date, thus making it the most challenging to perform. The opening movement consists of a noble introduction in slow tempo, and a buoyant but still substantial main body. The slow movement is all contentment and tranquility. There follows one of Mozart’s merriest symphonic finales, coloured by the most delicious sort of writing for winds.
Franz Liszt b. Doborjan, Hungary / October 22, 1811 d. Bayreuth, Germany / July 31, 1886
Piano Concerto No. 2 in A Major Liszt was not only the foremost virtuoso pianist of his era, but also a prime mover behind many important innovations in the field of composition. One of his most striking and influential creative achievements was the development of the symphonic poem, a free-form type of orchestral piece inspired by such extra-musical concepts as literature, artwork and natural phenomena. To bind the various and continuous sections of such works together, he developed a compositional method through which the entire piece is based on the evolution and transformation of a few short, simple themes.
“One of his most striking and influential creative achievements was the development of the symphonic poem...” His piano concertos also make use of this technique. They are, in effect, symphonic poems with the piano soloist as the central character. Concertos 1 and 2 evolved over lengthy periods, perhaps as much as 30 years. He completed the initial version of Concerto No. 2 in 1849. He revamped it several times before its publication in 1861. The first performance had taken place four years before that, in Weimar, Germany. Liszt conducted, and his pupil Hans von Bronsart played the solo part. The concerto is cast in one, continuous movement consisting of subsections in contrasting tempos. Though it contains its full share of virtuoso writing for piano and orchestra alike, it also displays a welcome variety of texture in the orchestration.
Bedrˇich Smetana b. Litomyšl, Bohemia / March 2, 1824 d. Prague, Bohemia / May 12, 1884
Má Vlast: The Moldau, Šárka Smetana’s most important orchestral work is Má Vlast (My Homeland), a cycle of six thematically-interrelated symphonic poems that he composed during the 1870s. Together they survey in stirring fashion the history, folklore and landscapes of Bohemia. The second piece is the most familiar, a loving evocation of the country’s principal river, the Vltava (or as it is better known in the west, the Moldau). Smetana wrote of it, “The composition depicts the course of the river, from its beginnings where two brooks, one cold, the other warm, join a stream, running through forests and meadows and a lovely countryside where merry feasts are celebrated; water-sprites dance in the moonlight; on nearby rocks can be seen the outline of ruined castles, proudly soaring into the sky. The river swirls through the St. John Rapids and flows in a broad stream towards Prague. It passes Vyšehrad rock and disappears majestically into the distance.” Šárka is the third piece in the cycle. Smetana wrote of it, “It begins with a portrayal of the enraged girl swearing vengeance on the whole male race for the infidelity of her lover. From afar is heard the arrival of armed men led by Ctirad who has come to punish Šárka and her rebel maidens. In the distance Ctirad hears the feigned cries of a girl (Šárka) bound to a tree. On seeing her he is overcome by her beauty and so inflamed with love that he is moved to free her. By means of a previously prepared potion, she intoxicates him and his men who finally fall asleep. As she blows her horn in a pre-arranged signal, the rebel maidens, hidden nearby rocks, rush to the spot and commit the bloody deed. The horror of general slaughter and the passion and fury of Šárka’s revenge form the end of the composition.” ■ Program Notes © 2015 Don Anderson
G OL D C OR P M ASTE RWO R KS G O LD ORP H EU M T H EATR E , 8 P M
Saturday & Monday, January 30 & February 1
GORDON GERRARD WITH THE VSO
R OG ER S G R OUP FIN AN C IAL S Y M P H ON Y S UN D AY S ORP H EU M T H EATR E , 2 P M
Sunday, January 31
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Gordon Gerrard conductor Louis Lortie piano BEETHOVEN Coriolan Overture, Op. 62 SAINT SAËNS Piano Concerto No. 5 in F Major, Op. 103, Egyptian I. Allegro animato II. Andante III. Molto allegro
SIBELIUS Symphony No. 2 in D Major, Op. 43
I. Allegretto II. Tempo Andante, ma rubato III. Vivacissimo IV. Finale: Allegro moderato
Free to ticketholders, 7:05pm, in the auditorium for concerts on January 30 & February 1. 60 allegro
Gordon Gerrard conductor For a biography of Gordon Gerrard, please refer to page 14.
Louis Lortie piano French-Canadian pianist Louis Lortie has attracted critical acclaim throughout Europe, Asia, and the United States. He has extended his interpretative voice across a broad range of repertoire rather than choosing to specialize in one particular style. Louis Lortie celebrated the bicentenary of Liszt's birth in 2011 by performing the complete Années de pèlerinage at international music capitals and festivals, and he returned to Carnegie Hall in April, 2014 to perform it there. His Chandos recording of this monumental work was named one of the ten best of 2012 by the New Yorker magazine. Louis Lortie studied in Montréal with Yvonne Hubert (a pupil of the legendary Alfred Cortot), in Vienna with Beethoven specialist Dieter Weber, and subsequently with Schnabel disciple Leon Fleisher. He made his debut with the Montreal Symphony at the age of thirteen; three years later, his first appearance with the Toronto Symphony Orchestra led to an historic tour of the People's Republic of China and Japan. In 1992, he was named Officer of the Order of Canada, and received both the Order of Québec and an honorary doctorate from Université Laval.
Ludwig van Beethoven b. Bonn, Germany / baptized December 17, 1770 d. Vienna, Austria / March 26, 1827
Coriolan Overture, Op. 62 According to Plutarch, an historian of ancient Rome, Coriolanus was a general whose troops defeated a neighboring tribe, the Volscians. Coriolanus’ hatred of the uncouth citizens who ruled his native city led him to insult them, resulting in his exile. Driven by his need for revenge, he joined the Volscians to attack Rome. The city lay at his mercy, until his foes sent his wife, mother and young son to plead with him for clemency. Coriolanus relented, and the Volscians, feeling betrayed, slew him.
Coriolan playwright Heinrich Joseph von Collin’s version of the story, debuted in Vienna in 1802. Beethoven composed his stirring Coriolan Overture in 1807. By that time, Collin’s play had vanished from the stage. It was remounted the next month, however, largely in order to profit from Beethoven’s superbly dramatic musical evocation.
Camille Saint-Saëns b. Paris, France / October 9, 1835 d. Algiers, Algeria / December 16, 1921
Piano Concerto No. 5 in F Major, Op. 103, Egyptian Music was only the foremost of Saint-Saëns’ many interests. This nineteenth-century Renaissance man also developed a working knowledge of several sciences, published volumes of poetry, saw his plays produced on the stage, and wrote reams of newspaper articles on many different topics, while somehow finding time to travel extensively. He had made his public debut as a pianist in 1846, age eleven. To honour the fiftieth anniversary of that event, a gala concert was to be staged at the Salle Pleyel in Paris. For the occasion, he composed a new piano concerto, his fifth, and played the solo part himself at the premiére on June 3, 1896. He had written it during the previous winter, during a vacation in North Africa. He had often visited that locale since his first trip there in 1873. The concerto contains several impressions of his journeys: the blinding brightness of an Egyptian morning (first movement), the twilight croaking of frogs in the Nile valley (second movement), and in the finale, the sound of a ship’s propellers. The second movement is particularly evocative, including as it does a Nubian love song that Saint-Saëns heard sung by boatmen, then jotted down on his shirt cuff. Together, these reminiscences have earned the concerto its nickname, ‘Egyptian.’ The first movement’s simple, gentle opening offers the key to its basic nature. To be sure, it contains moments of drama, and the orchestral colouring is fairly exotic, but on the whole this is a restrained creation. The rhapsodic reverie of the second movement opens with allegro 61
bold flourishes, after which the solo piano introduces the languorous, highly ornamented principal theme. The second subject bears a less ‘eastern’ but equally romantic profile. Virtuosity and animation, having so far played relatively minor parts in the concerto, at last make their presences felt in the finale. This is a playful, charming movement that concludes with a burst of bravura from the soloist.
Jean Sibelius b. Hämeenlinna, Finland / December 8, 1865 d. Järvenpää, Finland / September 20, 1957
Symphony No. 2 in D Major, Op. 43 With Symphony No. 2, Sibelius began to speak his own, personal symphonic language. The music retains the richness of thought and spirit displayed in Symphony No. 1 (1899), yet it is significantly tauter in form, more focused in expression, and less reminiscent of Tchaikovsky and Bruckner. He began to sketch it during a stay in Italy during the early months of 1901. The sunshine and easygoing lifestyle helped revitalize his blocked creative muse. Initially, he felt that the ideas that came to him might be suitable for a set of tone poems or a four-movement symphonic fantasy, inspired by either the Don Juan legend or Dante’s Divine Comedy. He eventually decided that a full, nonprogrammatic symphony would suit them best. He completed it in essence after his return to Finland that autumn, although he continued to revise it right up to the premiere. He conducted the first performance himself, in Helsinki on March 8, 1902.
Finnish audiences embraced it rapturously, but some time passed before it found acceptance in other lands. Many commentators saw in it a fiercely patriotic composer’s defiant gesture towards his country’s repressive Russian occupiers. Sibelius firmly denied all concrete outside inspirations. He regarded the symphony as too universal in content to be saddled with specific associations. The majestic themes and heroic spirit have made it the most popular of his seven symphonies. Sibelius ingeniously cast the first movement in the form of an arch, the virtually identical pastoral opening and closing sections bookending a dramatic, highly eventful central panel. A restless slow movement follows, its few moments of genuine calm repeatedly interrupted by forceful outbursts. Sibelius here displayed his mastery of effective writing for brass and timpani. The third movement, a scherzo, opens with scurrying energy, then relaxes for the solo oboe to sing one of Sibelius’s most fetching lyrical melodies. Scherzo and trio are both repeated, the latter gradually forming a bridge to the bold, uplifting finale. The second subject of this concluding section is a prayerful lament that rises to heights of tragic eloquence. It was subsequently revealed that Sibelius took inspiration for it from the death by suicide of his sister-in-law. The music re-establishes its sense of optimism, leading to a triumphant coda. ■ Program Notes © 2015 Don Anderson
T EA & T R U M P E TS OR P H EU M T H E ATR E , 2 P M
Thursday, February 4
An Evening in Roma Gordon Gerrard conductor Christopher Gaze host Sheila Christie soprano Frédérik Robert tenor BERLIOZ Roman Carnival: Overture ROSSINI The Thieving Magpie: Overture PUCCINI Tosca: Recondita armonia MENDELSSOHN Symphony No. 4, Italian
PUCCINI Tosca: Vissi d’arte RESPIGHI Ancient Airs and Dances —
Suite I: III Villanella
VISIT THE SYMPHONY GIFT SHOP FOR CD SELECTIONS 64 allegro
PUCCINI Tosca: E lucevan le stelle VERDI La Forza del destino: Overture TEA & COOKIES served in the lobby one hour before each concert. Tea compliments of Tetley Tea.
Gordon Gerrard conductor For a biography of Gordon Gerrard, please refer to page 14.
In addition to her performing career, Sheila is a member of the musical theatre faculty at the Richmond Academy of Dance and offers private vocal instruction.
Christopher Gaze host
Frédérik Robert tenor
For a biography of Christopher Gaze, please refer to page 35.
Vancouver French Canadian tenor Frédérik Robert is quickly becoming one of Canada's most promising young tenors.
Sheila Christie soprano Dramatic soprano Sheila Christie most recently appeared with Vancouver Opera as a member of the Yulanda M. Faris Young Artist Program. While in the program, Sheila performed as the title character in Gustav Holst’s Savitri and covered four mainstage roles including, Tosca (Tosca), Lady Billows (Albert Herring), Donna Anna (Don Giovanni), and Elisabetta (Don Carlo). Sheila holds a Master of Music degree in Opera Performance from the University of British Columbia. She was semi-finalist in The Third Annual China (Ningbo) International Vocal Competition and received an Encouragement Award at the Metropolitan Opera National Council Auditions. She was recently awarded the Vancouver Opera Guild’s grant for a promising BC singer, a VOCE grant, and the Joe Boxer Memorial Fund Award from Vancouver Opera.
With his warm full-bodied tenor sound he has performed roles with Vancouver Opera, Calgary Opera, Edmonton Opera and Saskatoon Opera companies. Other concert works include: Vancouver International Song Institute, Vancouver Bach Choir, Da Camera Singers, Pacific Orchestra, Chorale St. Jean, Vancouver Philharmonic and Alberta Baroque Ensemble. Frédérik spent five years as a member of both the Canadian Tenors & Romanza "L'arte del tenore" where he sang over 200 performances across North America. Mr. Robert has also performed with The Arts Club (Tony Candolino in Masterclass by Terrence McNally) and BC Living Arts (Lead Man in Marry Me a Little by Stephen Sondheim and Ed in the world premiere of Dragging Piaf a live performance of Edith Piaf songs with a film starring Frédérik). Whether he is singing opera, musical theatre or cabaret, Frédérik is a versatile and heartfelt vocalist. ■
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