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Magazine of the Vancouver Symphony

Febuary 5 to March 7, 2016 Volume 21, Issue 3

Itzhak Perlman

The legend returns to the Orpheum stage

The VSO New Music Festival Celebrating new creations and contemporary classics

VSO Pops: The Soul of the Tango Lunar New Year: the Year of the Monkey


First Violins

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

Second Violins

Jason Ho, Principal Karen Gerbrecht, Associate Principal

Angela Schneider

Professors Mr. & Mrs. Ngou Kang Chair

Ian Wenham


Ariel Barnes, Principal

Beth Orson, Assistant Principal Karin Walsh

Matthew Crozier, Principal Gregory A. Cox, Acting Principal Andrew Poirier

Bass Trombone Douglas Sparkes

Beth Orson




English Horn

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



Vern Griffiths, Principal

E-flat Clarinet

Martha Lou Henley Chair

David Lemelin

Tony Phillipps



Julia Lockhart, Principal Sophie Dansereau, Assistant Principal Gwen Seaton

Elizabeth Volpé Bligh, Principal


Orchestra Personnel Manager

Sophie Dansereau

French Horns

Piano, Celeste

Linda Lee Thomas, Principal Carter (Family) Deux Mille Foundation Chair

DeAnne Eisch

Oliver de Clercq, Principal Benjamin Kinsman §

Music Librarian

David Haskins, Associate Principal Andrew Mee

Head Electrician

Thomas Clarke

Michael & Estelle Jacobson Chair

Richard Mingus, Assistant Principal



Christie Reside, Principal Ron & Ardelle Cliff Chair

Nadia Kyne, Assistant Principal Rosanne Wieringa

Nadia Kyne

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


Bramwell Tovey

Kronos Quartet


Febuary 5 to March 7, 2016 Volume 21, Issue 3


Standing Wave

Concerts FEBRUARY 5, 6 / London Drugs VSO Pops / The Soul of the Tango / Jeff Tyzik conductor . . . . . . . . . 9 Tango Caliente: Malena Dayen vocalist, Hector Del Curto bandoneon, Patricio Touceda dancer Eva Lucero dancer, Mario Consiglieri dancer, Anabella Diaz-Hojman dancer FEBRUARY 7 / Kids’ Koncerts / The Mozart Experience / Gordon Gerrard conductor . . . . . . . . . . . . 17 Magic Circle Mime Co., Scott Brooks baritone, Julia Lockhart bassoon FEBRUARY 13 / Specials / A Lunar New Year Celebration with Avan Yu . . . . . . . . . . . . . . . . . . . . . . . 21 Gordon Gerrard conductor, Avan Yu piano, Lucy Wang violin FEBRUARY 19, 20, 22 / Classical Traditions / Surrey Nights / Bramwell Tovey conductor . . . . . . . . . 25 FEBRUARY 21 / Vancouver Sun Symphony at the Annex / Something Old, Something New . . . . . . . . 29 Bramwell Tovey conductor FEBRUARY 25 / Specials / VSO New Music Festival / Nouvelle Vogue / Standing Wave . . . . . . . . . 33 FEBRUARY 26 / Specials / VSO New Music Festival / Kronos: Moments in Time / Kronos Quartet . 39 FEBRUARY 27 / Specials / VSO New Music Festival / Sacred and Profane . . . . . . . . . . . . . . . . . . . . 43 Bramwell Tovey conductor/host, Vancouver Symphony Orchestra FEBRUARY 28 / Specials / VSO New Music Festival / City of Angels . . . . . . . . . . . . . . . . . . . . . . . . . 49 Bramwell Tovey conductor/host, Kronos Quartet, Vancouver Symphony Orchestra MARCH 2 / Specials / BMO presents The Legendary Itzhak Perlman / . . . . . . . . . . . . . . . . . . . . . . . . . 55 Bramwell Tovey conductor, Itzhak Perlman violin MARCH 5, 7 / Mardon Group Insurance Musically Speaking / North Shore Classics / . . . . . . . . . . . . . 61 Rory Macdonald conductor, Angelo Xiang Yu violin 4 allegro

In this Issue

The Orchestra . . . . . . . . . . . . . . . . . . . . . . . . 3 Allegro Staff . . . . . . . . . . . . . . . . . . . . . . . . . 5 Government Support . . . . . . . . . . . . . . . . . . 6 Message from the Chairman . . . . . . . . . . . . 7 and the President Profile: Kelly Tweeddale . . . . . . . . . . . . . . . 14 the VSO's new President VSO Friends . . . . . . . . . . . . . . . . . . . . . . . . 32 VSO SpringFest . . . . . . . . . . . . . . . . . . . . . . 36 VSO Stradivarius Legacy Circle . . . . . . . . . 38 Vancouver Symphony Foundation . . . . . . . 42 VSO Musician Profile . . . . . . . . . . . . . . . . . 46 VSO Spring Movies . . . . . . . . . . . . . . . . . . . 51 Patrons’ Circle . . . . . . . . . . . . . . . . . . . . . . 52 VSO School of Music . . . . . . . . . . . . . . . . . 53 VSO Group Sales . . . . . . . . . . . . . . . . . . . . 57 Advertise in Allegro . . . . . . . . . . . . . . . . . . 64 Corporate Partners . . . . . . . . . . . . . . . . . . . 66 At the Concert / VSO Staff . . . . . . . . . . . . . 68 Board of Directors / Volunteer Council . . . 70 VSO Upcoming Concerts . . . . . . . . . . . . . . 72


Itzhak Perlman


Angelo Xiang Yu


VSO Musician Profiles: Andrew Brown


Avan Yu


Tango Caliente We welcome your comments on this magazine. Please forward them to: Vancouver Symphony, 500–833 Seymour Street, Vancouver, BC V6B 0G4. Allegro contact and advertising enquiries: / customer service: 604.876.3434 / VSO office: 604.684.9100 / website: / Allegro staff: published by The Vancouver Symphony Society / editor/publisher: Anna Gove / contributors: Don Anderson / 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

Thank you!



Messages from the VSO Chairman and President

Dear Friends,


Thank you for joining us for today’s concert; we are delighted to have you with us.

It has been my sincere pleasure to join the VSO and the VSO School of Music. Both organizations are experiencing healthy growth through increasing subscriber and enrollment bases; and donors, corporate sponsors, and government supporters who continue to champion the important role that music plays in our community.

Our purpose at the VSO is to enrich and transform lives through music. We strive to fulfill this purpose every day by presenting passionate, high-quality performances of classical, popular and culturally diverse music; creating meaningful engagement with audiences of all ages and backgrounds wherever we perform; and developing and delivering inspirational education and community programs. Halfway through the 2015/2016 Season, I am pleased to report the year is going well. We continue to build a strong and vibrant enterprise— increasing our audiences and continuing stewardship of a sustainable business model. Led by our esteemed Music Director Bramwell Tovey, this past Fall saw some of your favourite guest artists as well as new artists joining the Orchestra for joyful music making. Looking forward, our New Music Festival in February, our Spring Festival in May, along with a visit by the incomparable Itzhak Perlman, are just a few of the highlights of our remaining Season. In November, the Annual General Meeting of the Vancouver Symphony Society took place. The Meeting is an opportunity to recount the numerous activities carried out by the Orchestra during the 2014/2015 Season, and to thank those who make what we do possible – our three levels of government, our corporate sponsors, our Patrons, our Friends and you our audience.We successfully concluded our 2014/15 Season with a small surplus on financial results for the eleventh time in the past twelve years. Enjoy the concert and thank you for making music a part of your everyday life.

Fred G. Withers Chair, Board of Directors

That commitment is heartwarming as I hold a deep belief that music matters. The natural beauty of Vancouver, the enterprising nature of the city, and the fierce commitment to excellence by the musicians, artists, audiences, board, and staff of the VSO is a rare and exciting combination. The VSO is an organization that has led through its actions to make music a part of as many people’s life as possible. But we have so much more to do. I have been astounded how you, the lovers of music, have an unwavering commitment to excellence as well as to the place where we live. It is that combination that makes the VSO’s future bright and an extraordinary organization to be a part of. As I look to the VSO’s future, I will be asking all of us to contemplate the following questions: • How do we create a legacy AND a future? • How do we serve existing audiences AND the audiences we haven’t met yet? • How do we both curate AND create? • How do we sustain AND innovate? • How do we master AND learn? These questions and the continued practice of honing solutions that are both relevant to our community AND our future are what will continue to set us apart as a unique and vibrant enterprise with a promising future. Thank you for joining us, giving your support to the VSO, and creating a musical legacy in this city.

Kelly Tweeddale President allegro 7

Concert Program


Friday & Saturday, February 5 & 6 The Soul of The Tango



Jeff Tyzik conductor Tango Caliente: Malena Dayen vocalist Héctor Del Curto bandoneon Patricio Touceda dancer Eva Lucero dancer Mario Consiglieri dancer Anabella Diaz-Hojman dancer






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Malena Dayen vocalist




Jeff Tyzik conductor Grammy® Award winner Jeff Tyzik is one of America's most innovative and sought after pops conductors. Tyzik is recognized for his brilliant arrangements, original programming and engaging rapport with audiences of all ages. Tyzik holds The Dot and Paul Mason Principal Pops Conductor's Podium at the Dallas Symphony Orchestra and also serves as Principal Pops Conductor of the Seattle Symphony, the Detroit Symphony, the Oregon Symphony and The Florida Orchestra. This season, Tyzik will celebrate his 22nd season as Principal Pops Conductor of the Rochester Philharmonic Orchestra. In May 2007, the Harmonia Mundi label released his recording of works by Gershwin with pianist Jon Nakamatsu and the RPO which stayed in the Top 10 on the Billboard classical chart for over three months. Alex Ross of The New Yorker, called it “one of the snappiest Gershwin discs in years.” He has created numerous original programs that include the greatest music from jazz and classical to Motown, Broadway, film, dance, Latin and swing. Tyzik holds Bachelor of Music and Master of Music degrees from the Eastman School of Music.

Praised by The New York Times as “Outstanding” for her March 2013 performance at Carnegie Hall, Argentinian mezzo-soprano Malena Dayen made her debut as Carmen with the Natchez Opera Festival, and repeated the role at the Festival d’Art Vocal de Montréal, New York Lyric Opera Theatre and the International Institute of Vocal Arts. In the summer of 2014 she performed the role of Mercedes (Carmen) at the Teatro Municipal de São Paulo, Brazil, where she will return next summer to perform roles in Manon Lescaut and Thais. Other upcoming engagements include the role of María in Piazzolla’s Maria de Buenos Aires with Opera Naples. Frequently sought after by composers Ms. Dayen recently was a featured soloist for the New York première of The Blizzard Voices (Paul Moravec) and Requiem (Bradley Ellingboe), both at the Stern Auditorium at Carnegie Hall. She created the role of the Nurse in the world premiere of Phaedra ed Hippolytus (Chris Park) at the Palacio das Artes in Belo Horizonte, Brazil.

Héctor Del Curto bandoneon Praised by The New York Times as a "splendid player," Argentinean bandoneonist Héctor Del Curto's career, spanning for more than twenty–five years, has encompassed the traditional Tango, New Tango, Jazz, Classical and World music. As one of the most sought– after bandoneonists, he has performed with luminaries across many musical genres including the Tango legends, Astor Piazzolla and Osvaldo Pugliese, pianist Pablo Ziegler, clarinetist Paquito D'Rivera, saxophonist Joe Lovano, violinist Cho–Liang Lin and appeared with prestigious orchestras such as Metropolitan Opera Orchestra, National Symphony Orchestra, Orpheus Chamber Orchestra, Rochester Philharmonic Orchestra, Mobile Symphony and Buenos Aires Symphony Orchestra. Mr. Del Curto recently produced and released his second album Eternal Piazzolla featuring allegro 11

Anabella Diaz-Hojman & Mario Consiglieri

his quintet with a sold out CD release concert at Le Poisson Rouge in New York City. He was tango team featured along with his first CD Eternal Tango on BBC News which was broadcasted nationaly Mario Consiglieri and Anabella Diaz-Hojman and internationaly and on Public Radio have been dancing, teaching, and performing International's The World. tango together for the past eleven years. A mesmerizing couple to watch, embodied by the use of dynamic displacements, fluid movements and delicious interpretation of the tango team music. Forming part of a generation that is bridging old-new, social-theatrical, they have Eva and Patricio have danced together since developed an extremely rich and expressive 2001. Both of them started dancing at a very interpretive repertoire that delivers the young age. Eva started ballet training at age message of the earlier tango orchestras of seven. Patricio was ten years old when he the 20's, 30's, 40's, and 50's all the way took his first folk dance class. They both have through the more modern arrangers and more than twenty years of experience as professional dancers. In the most recent years composers of today. Eva and Patricio starred in different major Having formed and trained with many of the productions, the most notorious include Luis great instructors and mentors of their time, Bravo’s Forever Tango; and ZAIA, the first show Mario and Anabella continue to develop and staged by “Cirque du Soleil” in Macau. grow as artists. They generously share their passion and appreciation for the Tango in Besides being passionate about dancing, communities around the world. They have Eva and Patricio have a great reputation taught and performed in major communities as dance instructors. They have taught in in Argentina, Australia, Canada, Germany, Argentina and traveled many times around Holland, Italy, Japan, Switzerland, and Turkey. the world to teach special workshops to They have also performed in the following students of all levels. US cities: Austin, Boston, Chicago, Minneapolis, New York, Princeton, Washington D.C., Seattle, San Francisco, Los Angeles, New Orleans, and Tampa.  ■

Eva Lucero & Patricio Touceda

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EXCITED ABOUT THE FUTURE OF THE VANCOUVER SYMPHONY ORCHESTRA Since moving from Seattle, what are some of your favourite discoveries in the time that you've been in Vancouver? It's an easy city to navigate. I don't need my car for most of the time, and that's been a surprise. I guess it's been so much easier than I had thought, just acclimating. I tend to love this weather, so that's not a bad thing! I'm a runner, and there are lots of trails and places to explore, so that's been a great discovery. Granville Island Public Market is new to me and I can walk there from where I am living. I must admit I kind of miss “catching” my fish at Pike Place Market in Seattle, (where they literally toss it to you!).

What kind of similarities do you see between Vancouver and Seattle and by contrast what are some of the big differences? Vancouver and Seattle are both beautiful places. The natural beauty here is something that is incomparable to any other city I've been in. I think there's a passion for living here, and a sense that you want to be here, and not someplace else. People aren't here just because their job brought them here, or because they have to be here — they CHOSE to be here and that's very much like Seattle. As for the things that are different? I think the arts and culture scene in Seattle is very, very collaborative and there isn't a sense of competition. It's a little bit early for me to make a comparison with BRAMWELL TOVEY WITH THE VSO

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Vancouver, but I think Seattle is a little bit more developed as far as all of their disciplines. I think that’s the exciting opportunity for Vancouver because there's a lot to build on. You have the passion, you've got the people who have been here for a long time, who have been stewards in the arts. I think I can bring some of my experience as to how to move from having the passion and then how to impart that same enthusiasm to the public. That's where I think Seattle's arts sector has done well, in getting the public as excited about the arts as the people who are producing it.

How did you first become connected to the world of performance and music? I chose the flute in school and played that for many years, and then I also danced. So for me it was a bit of competition between physical movement set to music, and the actual making of music. I learned a lot of classical ballet repertoire, but then I went to university. I had really high math and science scores, and I was told that, as a woman, I should become an engineer. The only thing I really loved about those courses was the drafting classes and problem solving — the creative side. At the same time, I had work/study jobs, and all of those opportunities happened to end up in areas such as the costume department for the drama school, or working on a radio program, producing cultural stories, so that opened up

a whole new world for me. I worked for an improvisational dance company as well, so I soon discovered there were jobs to be had in the things that I loved. I asked myself, "What kind of skills would it take to have a job in this world if you didn't want to be a performer?" That led me into communications, because that's where you told the stories. If you're someone who has a passion and if you are not a practioner yourself, relaying the "why" and the "how" is just as rewarding. So that's where I got my start: in communications and advertising and being an evangelist for the Arts. When I graduated I took a good corporate job in communications and advertising for an insurance company. Then I saw an ad for the advertising manager for the Seattle Symphony and thought, “that is exactly what I've been trained to do.” It was, of course, for half the pay of the corporate position, but I took the leap and I never looked back. Running an arts organisation is very much like running a large business, but with some unique challenges. If you're a huge manufacturing company, what you make can be something that you have perfected over the years, achieving ever greater efficiencies. In the Arts we are constantly in the production and the prototype phases! We do a concert and then we begin that creative process all over again — again and again. Even the largest organizations really struggle at doing that. We have to have KELLY TWEEDDALE all the skills of a major business because we're also partnering with businesses within our community. We need to understand where they're coming from. But we're also producing at a very creative level. We're often ten steps into being a startup and ten steps into being an established company, and so managing that balance is the really hard part. That's particularly true because the product is somewhat ephemeral — here today, and but a memory tomorrow. The live concert experience

is something that you're never going to be able to repeat, but the memory is lasting. We're in the business of both creating experiences and moments that people remember. If we do both well, then we are successful. I think the VSO's job is to provide music at every level, meeting people where they want to participate. We do so much more than simply offering concerts, by going into communities and inviting people to discover music that they may not be aware of, because it's not part of their culture. We have an obligation to reach out to music of other cultures and see how it informs the music that we perform. In the end it’s a two-way street. It's not just us providing access, but it is becoming immersed in the communities around us. That's happening through our school programs, and through inviting and bringing a friend. That happens through community concerts throughout the Lower Mainland and that happens in how we invite people to participate in the creative process.

You’ve participated in several re-development projects. Do you feel like a wrecking ball sometimes? I remember telling my husband when the Seattle Symphony’s Benaroya Hall was being built, “You only have the opportunity to do this kind of a project once in a hundred years.” Then you get some expertise and you get to do it over and over and over again! I have never worked at an arts organization where place hasn't defined the organization. At the Seattle Symphony that was the building of Benaroya Hall. At the Cleveland Orchestra we renovated the historically significant Severance Hall. At Seattle Opera we did a major transformation of the old Seattle Opera House into McCaw Hall. All of those projects equally transformed the organization. Here, you have the Orpheum Theatre which has three sides of one major downtown block, sitting adjacent to our school, and to the Annex performance space. So it has the possibility of being a major music centre in the downtown core that could be its crown jewel. What I have learned is that the organization transforms because it's ready, and not because of the new hall. The hall becomes the manifestation of how your organisation has grown and what it's becoming and what it wants to be. That's what I think is exciting! The VSO has so many possibilities!  ■ allegro 15

Concert Program K ID S ’ K ON C ERT S OR P H EU M T H EATR E , 2 P M

Sunday, February 7

The Mozart Experience


Gordon Gerrard conductor Magic Circle Mime Co. Scott Brooks baritone Julia Lockhart bassoon MOZART 12 variations on Ah, vous dirai-je Maman, KV265

The Magic Flute Papageno’s Song Der Vogelfanger bin Ich ja

The Impressario, K486: Overture

Bassoon Concerto, KV191 III. Rondo

Serenade in G Major, K525 Eine kleine Nachtmusik Don Giovanni: Overture Symphony No. 41 in C Major, K551, Jupiter


Molto allegro






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Gordon Gerrard conductor

Scott Brooks baritone

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 was promoted to the newly created post of Associate Conductor. He has recently 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 returned to Calgary Opera to lead their production of Lakmé in November, and made 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.

Canadian bass-baritone Scott Brooks is in the final year of his Master of Music degree with UBC Opera. He appeared last season at the Vancouver Symphony Orchestra’s Tea and Trumpets concert with UBC Opera, under conductor Gordon Gerrard, as Mephistopheles. His portrayals have been noted in Opera Canada, on, and elsewhere, with observations revolving around his powerful voice and commanding stage presence. His professional debut came in 2010 at the Wexford Opera Festival, in the role of Schaunard in Puccini’s La bohème. Scott has also appeared as the bass soloist in Beethoven’s 9th Symphony under conductor Bruce Dunn with the Kamloops Symphony Orchestra. He will be returning there in May 2016 to provide the bass solo in Mozart’s Coronation Mass in C Major. After completing a double-major in Opera and Honours English at UBC in 2008, Scott went to the University of St Andrews, in Scotland, to earn his Ph.D. in English Literature.

Magic Circle Mime Co.

Julia Lockhart

Magic Circle Mime Company is regarded as one of today’s premier family attractions. Their highly acclaimed performances, which unite the concert orchestra with visual theater, are consistently praised for imaginative and innovative content. Magic Circle Mime Company performs with virtually every major orchestra in North America and has performed on numerous occasions with the symphony orchestras of Atlanta, Detroit, Chicago, Montréal, St. Louis, Seattle, Toronto, Vancouver and Winnipeg; the Cleveland Orchestra, Minnesota Orchestra and Philadelphia Orchestra; and on more than half a dozen occasions at The Kennedy Center For The Performing Arts with the National Symphony Orchestra. The 2014-15 season marks their fourth appearance at the National Arts Centre of Canada. Magic Circle Mime Company is the creative partnership of Maggie Petersen and Douglas MacIntyre. Both artists have backgrounds in theatre and instrumental music, and have utilized that training to create their highly regarded programs. 18 allegro

VSO principal bassoon A native of Calgary, Julia Lockhart has been a member of the VSO bassoon section since 2002, and became Principal Bassoon in 2005. She is a graduate of the Curtis Institute of Music in Philadelphia, where she earned a Bachelor of Music in bassoon and a Diploma in harpsichord. Her Masters' degree was completed through studies at Yale and the University of British Columbia. Julia has studied with Bernard Garfield, Nadina Mackie Jackson, Jesse Read, Frank Morelli and Michael Hope. Julia serves on the faculty of the University of British Columbia and the VSO School of Music. She has given master classes at the University of Toronto, Wilfrid Laurier University, and Mount Royal University in Calgary. A dedicated chamber musician, Julia is a founding member of the Harlequin Bassoon Quartet. She has created and performed several arrangements for solo bassoon with piano, with classical guitar, and for bassoon quartet.  ■

Concert Program



S P EC IA L S OR P H EU M T H EATR E , 7 : 3 0 P M

Saturday, February 13

A Lunar New Year Celebration with Avan Yu Gordon Gerrard conductor Avan Yu piano Lucy Wang violin ZHENG LU

Good News from Beijing Spreads to the Border ▼



The Butterfly Lovers (Violin Concerto) I. Falling in Love II. Protesting the Wedding III. Transformation ◆



Piano Concerto No. 2 in C minor, Op. 18 I. Moderato II. Adagio sostenuto III. Allegro scherzando allegro 21

Gordon Gerrard conductor

Lucy gained valuable experience, as concertmaster and soloist, with the For a biography of Gordon Gerrard, Semiahmoo Strings Youth Orchestra, before please refer to page 18. making her debut with the Vancouver Symphony Orchestra and Bramwell Tovey in 2014. The grand prize she received as winner piano of the 2014 VSO School of Music Concerto One of Canada’s most exciting young pianists, Competition includes the opportunity to Avan Yu achieved international recognition perform as soloist in the VSO’s season finale when he won the Sydney International Piano concert, in June, 2015. Competition. Early on in his career, Avan was noticed by Pinchas Zukerman and Bramwell Tovey, who invited him to perform with their b. Banqiao, China / October 6, 1933 orchestras: the National Arts Centre Orchestra Good News from Beijing and the Vancouver Symphony. Yo-Yo Ma, after hearing Avan play at the age of sixteen, Spreads to the Border In a compositional career lasting many invited him to perform with him in Ottawa a decades, Zheng Lu has written orchestral few years later. Since then, he has appeared works, chamber music and more than 300 with conductors and musicians such as songs in Chinese and other languages. His Rafael Frühbeck de Burgos, Johannes Moser works cover a wide range of subjects and and the Armida Quartet. He has performed genres. They are characterized by beautiful throughout the world and at venues such as Carnegie Hall, Concertgebouw in Amsterdam, melodies, a simple yet rich ethnic style, and innovative, colourful orchestration. Philharmonie in Berlin, Salle Cortot in Paris and the Sydney Opera House. Composed in 1973 as a work for wind

Avan Yu

Zheng Lu

His latest recording of Liszt's transcriptions of Schubert's Winterreise and Schwanengesang, released by Naxos, received glowing reviews from Gramophone Magazine, American Record Guide and Fono Forum.

Lucy Wang violin Nineteen-year-old Lucy Wang began her violin studies at the age of three and, for the past several years, has studied with Carla Birston, at the VSO School of Music, and Gerald Stanick. She is currently a sophomore at the prestigious Colburn Conservatory of Music, where she studies with internationally renowned violinist Martin Beaver. Lucy has been a prizewinner in numerous competitions, including the Canadian Music Competition, the Shean Competition, the Montreal Symphony Orchestra Competition, and the Seattle Young Artists Competition, where she was awarded the opportunity to perform Tchaikovsky’s Violin Concerto with the Philharmonia Northwest.

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ensemble, and revised for symphony orchestra in 1976, Good News from Beijing Spreads to the Border is a lively, melodious and dancelike piece suitable for festive occasions of any kind. It was co-composed with Ma Hongye. To quote information obtained from the Hong Kong government, “It describes the emotional scene of jubilation among the ethnic minority groups in the remote border areas of Yunnan when they hear the good news coming from Beijing.”

Chen Gang b. Shanghai, China / 1935 & He Zhanhao b. Zhuji, China / 1933 The Butterfly Lovers (Violin Concerto) A key composing figure in contemporary China, Chen Gang first studied composition with his father, Chen Ge Xin, followed by entry to the Shanghai Conservatory of Music in 1955. In 1959, his final year of study at the conservatory he composed, together with He Zhanhao, The Butterfly Lovers. At first it generated little interest, but by the 1970s it had gained great popularity, both in China and abroad. Co-composer He Zhanhao

played in the orchestra of the Zhejiang Yueju Opera Troupe, later entering the Shanghai Conservatory of Music as a violin student. His other major works include the symphonic poem, Longhua Pagoda.

on November 9, 1901. Both performances took place in Moscow, with the composer performing the piano part. His cousin, Alexander Ziloti, conducted the second performance.

The story that The Butterfly Lovers Violin Concerto tells dates back to the Jin Dynasty (265-420 A.D.) The solo violin symbolizes Zhu Yingtai, the story’s female protagonist, and the solo cello portrays Liang Shanbo, her male lover. The concerto is in three movements that are performed without pauses between them.

In 1897, the disastrous premiere of Rachmaninoff’s Symphony No. 1 threw his promising career as a composer into disarray. For three agonizing years, he found himself unable to create anything significant. He sought the help of Dr. Nikolai Dahl, a psychoanalyst. As the composer recalled, “My relations had told Dr. Dahl that he must at all costs cure me of my apathetic condition and achieve such results that I would again begin to compose. Dahl asked what manner of composition they desired and had received the answer, ‘a concerto for pianoforte,’ for this I had promised to the people in London and had given it up in despair. Consequently I heard the same hypnotic formula repeated day after day while I lay half asleep in my armchair in Dr. Dahl’s study, ‘You will begin to write your concerto.... You will work with great facility....The concerto will be of excellent quality....’ It was always the same, without interruption.

The first movement illustrates how Zhu Yingtai disguised herself as a boy and set out to study in Hangzhou. She met Liang Shanbo, an impoverished scholar. Eventually she fell in love with him. She was too shy to mention it, and he didn’t twig to the hints she made to him that she was a girl. When both students had to return home, Zhu invited Liang to visit her family and to court her sister. He didn’t know that Zhu was really inviting him to marry her. When Liang arrived, he saw Zhu, realized that she was a woman, and their love became mutual. In the second movement, Liang learned that in his absence, Zhu had been betrothed to another man. Depicting the attempt by Zhu’s father to force her into marriage with a wealthy neighbour, the orchestra plays loud and accented chords in between the softer cello and violin parts. Liang became sick and died, as the music replays the duet of their love. In the third movement, Zhu’s bridal procession passes Liang’s grave. As a thunderstorm broke, Liang’s grave opened, Zhu threw herself into it, and the grave closed again. After the storm, a rainbow appeared. Among the flowers rose two butterflies, said to be the souls of the immortal lovers, transformed and united forever.

Sergei Rachmaninoff b. Semyonovo, Russia / April 1, 1873 d. Beverly Hills, USA / March 28, 1943

Piano Concerto No. 2 in C minor, Op. 18 Rachmaninoff composed Piano Concerto No. 2 in 1900 and 1901. The second and third movements were premièred on December 15, 1900, and the full concerto

“Although it may sound incredible, this cure really helped me. Already at the start of the summer, I was composing once more. The material accumulated, and new musical ideas began to stir within me – many more than I needed for my concerto…I felt that Dr. Dahl’s treatment had strengthened my nervous system to a miraculous degree. Out of gratitude I dedicated my Second Concerto to him.” The reasons for its enormous and enduring popularity are clear. It displays its emotions directly, particularly warmth and melancholy. The themes are attractive and memorable; Rachmaninoff clothed them in lush orchestral colours; and the solo part is brilliant, mirroring the power and expressiveness of the composer’s own magnificent performing skills. He played it himself no fewer than 143 times, and recorded it twice.  ■ Program Notes © 2015 Don Anderson

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Friday & Saturday, February 19 & 20 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, February 22 Bramwell Tovey conductor MILHAUD La création du monde, Op. 81 BRITTEN

Variations on a Theme of Frank Bridge, Op. 10


I. Introduction and Theme II. Adagio III. March IV. Romance V. Aria Italiana VI. Bourrée Classique VII. Wiener Walzer VIII. Moto Perpetuo IX. Funeral March X. Chant XI. Fugue and Finale



Concerto in E-flat Major, Dumbarton Oaks I. Tempo giusto II. Allegretto III. Con moto

GLASS Symphony No. 3


First Movement Second Movement Third Movement Fourth Movement


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Bramwell Tovey, O.C. conductor

Grammy® and Juno® award-winning conductor/composer Bramwell Tovey was appointed Music Director of the Vancouver Symphony Orchestra in 2000. Under his leadership the VSO has toured to China, Korea, across Canada and the United States. Mr. Tovey is also the Artistic Adviser of the VSO School of Music, a state-of-the-art facility and recital hall next to the Orpheum, the VSO’s historic home. His tenure has included complete symphony cycles of Beethoven, Mahler, Brahms as well as the establishment of an annual festival dedicated to contemporary music. In 2018, the VSO’s centenary year, he will become the orchestra’s Music Director Emeritus.

A talented pianist as well as conductor and composer, he has appeared as soloist with many major orchestras, including his own Pictures in the Smoke with the Melbourne and Helsingborg Symphonies and the Royal Philharmonic. Mr. Tovey is a Fellow of the Royal Academy of Music in London, the Royal Conservatory of Music in Toronto and holds honorary degrees from the universities of British Columbia, Manitoba, Kwantlen and Winnipeg. In 2013 he was appointed an honorary Officer of the Order of Canada for services to music.

Darius Milhaud b. Marseille, France / September 4, 1892 d. Geneva, Switzerland / June 22, 1974

La création du monde, Op. 81 The anti-romantic taste and enquiring mind of the young Milhaud naturally found American jazz attractive. Its influence was felt most strongly in the music he composed in the wake of his first exposure to it, in 1920. Three years later, he received a commission from the innovative Swedish Ballet. The scenario was inspired by African myths about the beginnings of life. In the original production, the curtain rose on near darkness, gradually revealing a mass of intertwined dancers. The African gods of creation intervened in this state of chaos by In the 14/15 season Mr. Tovey made chanting magic spells. Life began to erupt: guest appearances with several US trees shot up and dropped their leaves, which orchestras. In Europe he performed with sprouted into animals. As night turned into the BBC Philharmonic and the Helsingborgs day, human limbs began to appear, until a Symfoniorkester and he traveled to male and a female dancer emerged and Australia on two separate occasions for performed a dance of desire, then a mating engagements with the symphonies of dance. Finally the couple, united by love, Melbourne and Sydney. stood peacefully on stage, as the first ® In 2003 Bramwell Tovey won the Juno spring began. Award for Best Classical Composition for his choral and brass work Requiem for a Charred Here is Milhaud’s own description of his emotionally charged, yet tender and dignified Skull. Commissions include the New York music: “The expansive saxophone melody and Los Angeles Philharmonics, the Toronto Symphony and Calgary Opera who premiered is followed by the rhythmic theme, the his first full length opera The Inventor in 2011. fugue that infects the whole orchestra with A recording of the work by the VSO with UBC its agitation. The music accompanying the Opera and the original cast was made for the appearance of the plants and animals is very Naxos label and will be released this season. sinuous. Furthermore there is the clarinet concertino which heralds the dance of desire, In 2014 his trumpet concerto, Songs of the then the superimposition of the concertino Paradise Saloon, was performed by the LA Philharmonic and the Philadelphia Orchestra, and the fugue which marks the climax of the ballet, the mating dance. The saxophone both with Alison Balsom as soloist. During the 15/16 season Mr. Tovey’s guest appearances include the symphonies of Montreal, Melbourne, New Zealand, and Pacific Symphony, and the Philadelphia Orchestra and New York Philharmonic, reprising his programs with both at Bravo! Vail in summer 2016. The summer also includes returns to the Cleveland and Chicago symphonies and the Los Angeles Philharmonic. In the winter of 2016 he will conduct Korngold's Die tote Stadt with Calgary Opera.

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is heard once again and the coda brings together and disperses the work’s different melodic elements within the space of a few bars.”

champion, the legendary French pedagogue, Nadia Boulanger, conducted the performance.

Benjamin Britten

b. Baltimore, Maryland, USA / January 31, 1937

Philip Glass

Symphony No. 3 Through his operas, symphonies, compositions for his own ensemble, and his wide-ranging b. Lowestoft, England / November 22, 1913 d. Aldeburgh, England / December 4, 1976 collaborations with artists ranging from Twyla Tharp to Allen Ginsberg, from Woody Allen to Variations on a Theme David Bowie, Glass has had an extraordinary of Frank Bridge, Op. 10 impact upon the musical and intellectual English music for strings received a major life of his times. In the past 25 years, he has stimulus when conductor Boyd Neel founded composed more than twenty operas, large a virtuoso string orchestra in 1933. He and small; ten symphonies; concertos for commissioned a work from Britten that would violin, piano, timpani, and saxophone quartet; be premiered in 1937 at the prestigious soundtracks to numerous films; five string Salzburg Festival. Britten chose to compose quartets; and a growing body of work for solo a set of variations, and took the theme upon piano and organ. which he based it from the second of three Symphony No. 3 was commissioned by the Idylls by his much-respected teacher, Frank Bridge. The first performance scored a triumph Wurth Foundation for the Stuttgart Chamber Orchestra. The premiere took place on and established the twenty-four-year-old Britten’s international reputation. The variations February 5, 1995 in Künzelsau, Germany, with Dennis Russell Davies conducting. range far and wide, with special emphasis on two qualities that Britten had already mastered: This is what Glass has to say about it: “Written a pointed taste for parody and an eloquent for the 19 string players of the Stuttgart seriousness. Chamber Orchestra, using them all as individual (or solo) players, the work in four movements has still the structure of a true symphony. The opening movement, a quiet, moderately paced piece, functions as a prelude to movements two and three, which are the main body of the b. Oranienbaum, Russia / June 17, 1882 symphony. The second movement mode of d. New York, New York, USA / April 6, 1971 fast-moving compound meters explores the Concerto in E-flat Major, Dumbarton Oaks textures from unison to multi-harmonic writing This athletic and witty concerto, scored for what for the whole ensemble. It ends when it moves is in effect an ensemble of soloists, is one of the without transition to a new closing theme, primary examples of Stravinsky’s Neo-Classical mixing a melody and pizzicato writing. The period. While he was composing it, he even told third movement is in the form of a chaconne, a friend that he considered it a “...little concerto a repeated harmonic sequence. It begins with in the style of (Bach’s) Brandenburgs.” Its all three cellos and four violas, and with each origins date from Stravinsky’s visit to the repetition more voices are added until, in the United States in 1937. Wealthy arts patrons, final variation, all 19 players have been woven Mr. and Mrs. Robert Woods Bliss, commissioned into the music. The fourth movement, a short it to mark their thirtieth wedding anniversary. finale, returns to the closing theme of the Stravinsky visited them at Dumbarton Oaks, second movement, which quickly reintegrates their elaborate estate near Washington, D.C. the compound meters from earlier in that He was duly impressed with its size and movement. A new closing theme is introduced beauty, the enormous gardens in particular. to bring the symphony to its conclusion.”  ■ The concerto’s first performance was a private Program Notes © 2015 Don Anderson one at Dumbarton Oaks on May 8, 1938. The composer being ill, his friend and ardent

(Lord Britten of Aldeburgh)

Igor Fyodorovich Stravinsky

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Concert Program



Sunday, February 21 JOCELYN MORLOCK


Something Old, Something New Bramwell Tovey conductor HARRISON BIRTWISTLE Silbury Air JOCELYN MORLOCK Zart JOHN ORFE Dowland Remix (Flow My Tears) (Canadian Première)



PETER HATCH Il Cimento dell'armonia e dell'inventione (Three Seasonings)




Music from Elsewhereless


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Bramwell Tovey, O.C. conductor

For a biography of Maestro Tovey, please refer to page 26.

Harrison Birtwistle b. Accrington, Lancashire, England / 1934

Silbury Air At age eighty, Birtwistle remains one of the greatest and most uncompromising European composers. His most widely-heard piece is Panic, a saxophone concertante work premiered at the BBC’s Last Night of the Proms, and broadcast worldwide in 1995 to an estimated 100 million people. His recent birthday celebrations include a new piano concerto Responses, written for Pierre-Laurent Aimard. In the composer's words, "Silbury Air is named after Silbury Hill, a prehistoric mound in Wiltshire, the biggest artificial mound in Europe. Its use and purpose, after centuries of speculation, remain a mystery. I have often alluded to my music of landscape presenting musical ideas through the juxtaposition and repetition of “static blocks” of, preferable for my terminology, objects. These objects themselves being subjected to a vigorous invented logic via modes of juxtaposition, modes of repetition, modes of change. The sum total of these processes is a compound artificial landscape or ‘imaginary’ landscape, to use Paul Klee's title. Program Notes © 2015 Jocelyn Morlock, Harrison Birtwistle edited by Jocelyn Morlock

Jocelyn Morlock b. St. Boniface, Manitoba, Canada / 1969

Zart Juno®-nominated composer Jocelyn Morlock is one of Canada’s most distinctive voices. “A lyrical wonder, exquisite writing [with] an acute feeling for sonority… deftly idiomatic.” (Vancouver Sun). Her music received two nominations at the 2014 Western Canadian Music Awards. She is currently the Vancouver Symphony Orchestra’s composer-in-residence. Recent CD releases include her first orchestral CD, Cobalt; Couloir’s Wine Dark Sea; and 30 allegro

Standing Wave’s Liquid States. Zart: (adj.) delicate; soft; tender; fragile, frail, gentle. 2. (adv.) delicately (coloured, fragrant); (kiss, touch) gently. Mozart’s music has been said to combine a childlike joy of life with a deep mystical longing. In keeping with the spirit of the 250th anniversary of his birth, I’ve let my piece run the gamut of moods from slightly silly to very serious, interspersing and developing very short quotations into a diverse mélange of colours and textures. Program Notes © 2015 Jocelyn Morlock

John Orfe b. Chicago, Illinois, USA / 1976

Dowland Remix (Flow My Tears) (Canadian Première) Assistant Professor of Music at Bradley University, Dr. John Orfe has won a Jacob K. Javits Fellowship, a Tanglewood Fellowship, a Morton Gould Award and thirteen Standard Awards from ASCAP, the Heckscher Prize from Ithaca College, the William Schuman and Boudleaux Bryant prizes from BMI, a Charles Ives Scholarship from the American Academy of Arts and Letters, and first prizes in competitions held by the Choral Arts Society, Pacific Chorale, and the Eastern Trombone Workshop. Dowland Remix is a rave recomposition of John Dowland's Lacrimae, his most famous ayre. Flow My Tears was the composer's signature song (he signed as "Jo. Dolandi de Lachrimae"). Published in 1596, the Lacrimae became one of the favourite improvisational themes of the 16th and 17th centuries; over 100 manuscript and printed arrangements exist. A techno/industrial setting of the Lacrimae for emo audiences seemed appropriate, if not overdue. Program Notes © 2015 John Orfe, edited by Jocelyn Morlock

Peter Hatch b. Toronto, Ontario, Canada / 1957

Il Cimento dell'armonia e dell'inventione (Three Seasonings) Peter Hatch has composed works in genres ranging from orchestral and chamber music

to instrumental theatre, electroacoustics and installations. Known for his interest in revitalizing the listening experience, Hatch's compositions are heady and playful, profound and humourous.

and direction by Atom Egoyan. The orchestral introduction to scene four was begun the day of Toru Takemitsu's death in 1996 and is in some ways an homage to his music. In the opera, the music accompanies a series of projections Il Cimento dell'armonia et dell'inventione is the of nineteenth century "stereopticon" slides of fourth in a series of works that 'revisit' musical colonial Africa. A Canadian diplomat is viewing masterworks of the past. We are surrounded by these as his houseboy enters to ask for a letter of recommendation to go elsewhere, these works in ways completely unlike when they were written: behind movies and television to a Canadian university. Program Notes © 2015 Dr. Rodney Sharman, shows, in doctor's offices, shopping malls, edited by Jocelyn Morlock elevators and while on hold on the telephone. This exposure gives us an interesting relationship to them: we have become highly acquainted with them, while at the same b. Toronto, Ontario, Canada / 1970 time we’ve developed skills to tune them out. Amerika

Chris Paul Harman

My work quotes, misquotes and alludes to various parts of Vivaldi's work and other eighteenth century musics and musical devices, these 'earmarks' contextualizing the rest of the work. Its three movements (fast/slow/fast) follow the form of most of Vivaldi's concerti. Program Notes © 2015 Peter Hatch, edited by Jocelyn Morlock

Rodney Sharman b. Biggar, Saskatchewan / May 24, 1958

Music from Elsewhereless Dr. Rodney Sharman has been Composer-inResidence with the Victoria Symphony, the National Youth Orchestra of Canada and the Vancouver Symphony Orchestra. His score for the music-dance-theatre piece, From The House Of Mirth, won the 2013 Dora Mavor Moore Award for outstanding sound design/ composition. He was a 2014 Djerassi Artist-inResidence, Woodside, California. Elsewhereless (1998) is a chamber opera with music by Rodney Sharman and libretto

Chris Paul Harman earned his PhD in music composition from the University of Birmingham in 2012. His work Amerika was awarded the Jules Léger Prize in 2001, and was shortlisted for the Prix de Composition de la Fondation Prince Pierre de Monaco. Since 2005, Mr. Harman has served as a professor at the Schulich School of Music of McGill University in Montréal, where he is currently Music Research Area Chair for Composition. Since the 1990s, I have explored what might be described as "intra-art transfer" by modeling the music of other composers as source material. The key characteristics of my approach involve fragmentation of surface features and modification of such content through finite operations. In this way, one may ultimately discern a shadow of the original music in a new context. My goal is to create in part, a music I have not yet imagined, or perhaps could not have imagined otherwise.  ■ Program Notes © 2015 Chris Paul Harman, edited by Jocelyn Morlock


604.876.3434 allegro 31



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Connect. Discover. Inspire. 32 allegro


Concert Program



Thursday, February 25 BRAMWELL TOVEY


PRE-CONCERT TALK in the Orpheum auditorium at 6:30pm hosted by Bramwell Tovey, VSO Music Director and Jocelyn Morlock, VSO Composer-in-Residence. POST-CONCERT GATHERING in the West Coast Energy Hall following the concert.



VSO New Music Festival 1: Nouvelle Vague Bramwell Tovey host Jocelyn Morlock host Standing Wave Christie Reside flute AK Coope clarinet Rebecca Whitling violin Peggy Lee cello Allen Stiles piano Vern Griffiths percussion JOCELYN MORLOCK Undark JEFFREY RYAN Readings from Book of Love PHILIP GLASS Music in Similar Motion INTERMISSION

GORDON FITZELL evanescence NICOLE LIZテ右 Hitchcock Etudes allegro 33

Bramwell Tovey, O.C. conductor

For a biography of Maestro Tovey, please refer to page 26.

Standing Wave Made up of six of Vancouver’s most soughtafter musical multitaskers, Standing Wave is dedicated to commissioning and performing contemporary chamber music by Canadian and international composers. The ensemble ventures into a wide array of musical worlds with passion and assurance, bringing an audaciously intimate aesthetic to the most complex and groundbreaking music. In its 24 year history, Standing Wave has commissioned and premiered over 75 works, toured across Canada, and released 3 CDs, including Liquid States (2013) which was recorded live in CBC Studio One and nominated for two Western Canadian Music Awards. The group’s fourth CD, New Wave, is scheduled to be released in February 2016. Recent highlights include performances at the 2014 and 2015 VSO New Music Festivals, an appearance at Ottawa’s Chamberfest in August of 2015, premieres of works by Nicole Lizée, Vincent Ho, and Michael Oesterle, and collaborations with Kokoro Dance and filmmaker Mina Shum.

Jocelyn Morlock b. St. Boniface, Manitoba, Canada / 1969

Undark JUNO®-nominated composer Jocelyn Morlock is one of Canada’s most distinctive voices. “A lyrical wonder, exquisite writing” with “an acute feeling for sonority” and an approach that is “deftly idiomatic” (Vancouver Sun), Morlock's music has received numerous accolades, most recently winning Classical Composition of the Year at the Western Canadian Music Awards (2015.) She began her term as Vancouver Symphony Orchestra's Composer-in-Residence in September 2014. Approximately 100 years ago, there was a craze for radium products; radium soda, hair tonic, toothpaste; soon a glowing, radiumbased paint named “Undark” was patented.

34 allegro

Thousands of young women were hired to paint the numbers on clocks and wristwatches with “Undark.” This caused horrific health problems. Many women died, though not before suing their employers and, ultimately, making huge advances in industrial safety standards. Undark is a snarky, mercurial piece that rebounds between whimsical fascination and creeping horror. Observing a nation’s love for an incredibly dangerous substance might remind listeners of events in the modern world.

Jeffrey Ryan b. Toronto, Ontario / 1962

Readings from Book of Love Praised for his “strong and unique voice” (Winnipeg Free Press), and “masterful command of instrumental colour” (Georgia Straight), Jeffrey Ryan writes music running the gamut from opera, art song, and choral music to chamber and orchestral work, garnering awards and recognition including four JUNO® nominations and SOCAN’s 2014 Jan Matejcek New Classical Music Award. His relationship with the VSO as ComposerIn-Residence (2002–2007) and Composer Laureate (2008/09) produced the awardwinning Fugitive Colours (VSO/Gryphon Trio/ Tovey) on Naxos Canadian Classics. Book of Love (2015) is an hour-long collaborative dance/music exploration of love’s many manifestations and dimensions. The ways it drives us. The ways we seek it. The ways it evolves. It was commissioned by Kokoro Dance and premièred in November 2015, with choreography by Barbara Bourget and Jay Hirabayashi, and live music performance by Standing Wave. This suite of Readings from Book of Love draws from several of the work’s nine chapters.

Philip Glass b. Baltimore, Maryland, USA / January 31, 1937

Music in Similar Motion Philip Glass is a graduate of the University of Chicago and The Juilliard School. In the early 1960s, Glass spent two years of intensive study in Paris with Nadia Boulanger. By 1974, Glass had a number of innovative projects,

culminating in Music in Twelve Parts and Einstein on the Beach. Since Einstein, Glass has expanded his repertoire to include music for opera, dance, theater, chamber ensemble, orchestra, and film. Glass will celebrate his 80th birthday on January 31st, 2017 with the world premiere of his 11th Symphony.

but the violence inherent in the very structure of a work of art. evanescence was premiered in 2007 at The Kitchen in New York and appears on eighth blackbird’s Grammy-winning album strange imaginary animals.

The real innovation in Similar Motion is its sense of drama. Earlier pieces were meditative, steady-state pieces that established a mood and stayed there. Similar Motion starts with one voice, adds another playing a fourth above the original, another playing a fourth below, and finally a last line kicks in to complete the sound. As each new voice enters, there is dramatic change in the music.

b. Gravelbourg, Saskatchewan / 1973

Nicole Lizée

Hitchcock Etudes Called a “brilliant musical scientist”, Nicole Lizée creates new music from an eclectic mix of influences including early MTV videos, turntablism, 1960s psychedelia and rave culture. A Civitella Ranieri Foundation Fellow and recipient of the Jules Léger Prize, her commission list includes Kronos Quartet, BBC Proms, Eve Egoyan, and San Francisco Symphony. Her music has been performed b. Portage La Prairie, Manitoba / 1968 worldwide in venues including Carnegie Hall, Royal Albert Hall, and Muziekgebouw. evanescence Canadian composer, performer and media artist The premise for Hitchcock Études (2015) is centered around my preoccupation with Gordon Fitzell has worked with outstanding the fallibility of media. Technology has the ensembles including BIT20 Ensemble, potential to fail and can fail in spectacular PianOrquestra, and Ensemble contemporain ways, creating fascinating sounds and visuals. de Montréal (ECM+), whose recording of Soundtrack material and visuals are from his work Magister Ludi was nominated for middle period Hitchcock films: deconstructed, Classical Composition of the Year at the 2015 spliced and otherwise damaged—resulting in JUNO® Awards. Fitzell teaches composition at layers of erratic rhythmic material and twisted the University of Manitoba and is an artistic melodic lines and harmonies. Living performers co-director of the Winnipeg new music interact with lost, forgotten or even dead icons, organization GroundSwell. simultaneously breathing new life and emotion evanescence (2001/2006) is an interactive into the characters while bending, stretching, work for chamber ensemble and live and hacking the original context and storyline. electronics based on my 2001 work violence,  ■ originally commissioned by American sextet Program Notes © 2015 edited by Jocelyn Morlock eighth blackbird. In writing the piece I was interested in exploring the concept of aesthetic violence—not the aestheticization of violence,

Gordon Fitzell



APRIL 7–18, 5-CONCERT FESTIVAL It was the mid-1800s, and Beethoven’s towering genius still loomed over the world of music. As composers tried to come to grips with the shadow cast by Beethoven’s works, a conflict emerged —The War of the Romantics had begun. In one corner: Johannes Brahms, Robert/Clara Schumann, and the Leipzig Conservatoire, founded by Mendelssohn. This “conservative” camp viewed Beethoven’s music as the unassailable, unchallengeable peak of music, and their compositions aspired toward this lofty ideal. In the other corner, the avant-garde champions of “modern” music: Wagner and Liszt. These “progressive” composers felt that Beethoven represented a new beginning in music, and that it was their calling to continue to push the boundaries forward from where Beethoven left off. The Vancouver Symphony Orchestra’s 2016 Spring Festival explores the War of the Romantics, one of the most important periods in classical music history, and a time when some of history’s greatest music was written and performed. The Festival includes the piece that started it all, Beethoven’s extraordinary Symphony No. 9 — and for the very first time, the VSO performs Gustav Mahler’s orchestration of this legendary work. Next, Wagner and Brahms go toe-to-toe in a concert that features the first symphony that Brahms was finally able to write, after a full twenty years of despairing in Beethoven’s shadow. After this, we hear an all-Brahms concert, as the Conservative camp makes their final statement, headlined by the epic choral masterpiece that is the Brahms German Requiem. Then it’s the New School’s turn, and Wagner’s game-changing operatic saga, the Ring Cycle is selected as their champion, as the VSO performs The Ring Without Words — an astonishing 75-minute arrangement of all the major orchestral themes in Wagner’s four-opera cycle. Join the VSO and Maestro Bramwell Tovey for the 2016 SPRING FESTIVAL: THE WAR OF THE ROMANTICS!



Bramwell Tovey conductor/host Actors and Chamber Music


Bramwell Tovey conductor/host Jeanette Jonquil clarinet* Monica Huisman soprano+ Sarah Fryer mezzo-soprano+ David Pomeroy tenor+ Alfred Walker bass+ UBC University Singers UBC Choral Union+ Graeme Langager chorus director WAGNER Lohengrin Prelude to Act III BRAHMS (ORCH. BERIO) Clarinet Sonata No.1 in F minor* BEETHOVEN (ARR. MAHLER) Symphony No. 9 in D minor+


Bramwell Tovey conductor/host WAGNER Die Meistersinger Overture WAGNER Tristan and Isolde: Prelude and Liebestod BRAHMS Symphony No. 1 in C minor


Bramwell Tovey conductor/host Tracy Dahl soprano+ James Westman baritone+ Phoenix Chamber Choir+ UBC University Singers+ Vancouver Cantata Singers+ Graeme Langager chorus director BRAHMS A German Requiem+


Bramwell Tovey conductor/host LISZT Les Preludes WAGNER Der Ring Ohne Worte (The Ring Without Words)




FESTIVAL SPECIAL EVENTS The VSO Spring Festival includes Pre-Concert

Talks at 7:05pm for concerts 2 through 5. Post-Concert mix-and-mingle with Maestro Bramwell Tovey and musicians of the VSO each night. FREE TO TICKETHOLDERS.

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 Brigitte Daigle 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 (4) *Estate

Bequests The Vancouver Symphony is grateful to have received bequests


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 Brian William Dunlop $5,000 or more Steve Floris Howard and Jean Mann Anne de Barrett Allwork John Rand Clarice Marjory Bankes Hermann and Lawrence M. Carlson Erika Stölting Muriel F. Gilchrist J. Stuart Keate $50,000 or more Gerald Nordheimer Winslow Bennett Margaret Jean Paquin Audrey M. Piggot Ronald Albert Timmis Rachel Tancred Rout Mary Flavelle Stewart Jan Wolf Wynand $1,000 or more Eleanor Doke Caldwell

Jean Ethel Holler Bernard Van Snellenberg 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 Dorothy Ethel 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 Sharone Young $5,000 or more Kathleen Grace Boyle 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 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

Concert Program S P EC IA L S : VA N C O UV E R SUN N EW M U S IC F ESTIVAL OR P H EU M T H EATR E , 7 : 3 0 P M

Friday, February 26 VSO New Music Festival 2: Kronos: Moments in Time


PRE-CONCERT TALK in the Orpheum auditorium at 6:30pm hosted by Bramwell Tovey, VSO Music Director and Jocelyn Morlock, VSO Composer-in-Residence.

Bramwell Tovey host Jocelyn Morlock host Kronos Quartet David Harrington violin John Sherba violin Hank Dutt viola Sunny Yang cello GARTH KNOX Selection from Satellites Composed for Fifty for the Future: The Kronos Learning Repertoire


POST-CONCERT GATHERING in the West Coast Energy Hall following the concert.

Dadra in Raga Bhairavi (Canadian Première)

Please Note: Tonight's performance of Bombs of Beirut includes actual recordings of the sounds of warfare, including incoming missiles and the detonation of bombs, all at high decibel levels. These are loud sounds that continue for approximately four minutes. Audience members may wish to avoid this piece if there is any history of PTSD, anxiety disorders, or other psychological or medical conditions that would likely be exacerbated by exposure to such sounds.

MICHAEL GORDON Clouded Yellow NICOLE LIZÉE The Golden Age of


FRANGHIZ ALI-ZADEH Regs (Dance) Composed for Fifty for the Future: The Kronos Learning Repertoire

the Radiophonic Workshop [Fibre-Optic Flowers] (Canadian Première)

PETE TOWNSHEND/ ARR. JACOB GARCHIK Baba O’Riley (Canadian Première)





Bombs of Beirut (Canadian Première) FESTIVAL SPONSOR

I. Before the War II. The War III. After the War

allegro 39

Bramwell Tovey, O.C. host

N. Rajam (Arr. Reena Esmail)

For a biography of Maestro Tovey, please refer to page 26.

b. Chennai, India / 1938

Jocelyn Morlock host For a biography of Jocelyn Morlock, please refer to page 34.

Kronos Quartet For more than 40 years, San Francisco’s Kronos Quartet—David Harrington (violin), John Sherba (violin), Hank Dutt (viola), and Sunny Yang (cello)— has combined a spirit of fearless exploration with a commitment to continually re-imagining the string quartet experience. In the process, Kronos has become one of the world’s most celebrated and influential ensembles, performing thousands of concerts, releasing more than 50 recordings, collaborating with an eclectic mix of composers and performers, and commissioning over 850 works and arrangements for string quartet. A Grammy® winner, Kronos also received the Polar Music Prize and the Avery Fisher Prize. The nonprofit Kronos Performing Arts Association (KPAA) manages all aspects of Kronos’ work, including the commissioning of new works, concert tours and home-season performances, education programs, and its new presenting program KRONOS PRESENTS. In 2015 KPAA launched a new fiveyear commissioning and education initiative, Fifty for the Future: The Kronos Learning Repertoire, which will commission 50 new works (five by women and five by men each year) designed to train students and emerging professionals, and be distributed online for free.

Garth Knox b. Dublin, Ireland / 1956

Selection from Satellites Composed for Fifty for the Future: The Kronos Learning Repertoire Garth Knox is one of today’s leading performers of contemporary music, and his formative experience as a member of Pierre Boulez’s Ensemble InterContemporain and then as violist of the Arditti Quartet has given him a very comprehensive grasp of new music. Garth Knox’s Satellites was written for Kronos’ Fifty for the Future program. 40 allegro

Dadra in Raga Bhairavi (Canadian Première) A magical performer, Dr. N. Rajam has an unerring touch on the violin. She studied initially with her father, Arupathi Natesa Iyer, before training with Omkarnath Thakur, a renowned vocalist. In her notes to her Music Today album she quotes her guru's advice about playing: "Approach the musical notes with utmost tenderness, love and humility, caress them, cajole them." It is advice she has taken to heart.

Franghiz Ali-Zadeh b. Baku, Azerbaijan / 1947

Regs (Dance) Composed for Fifty for the Future: The Kronos Learning Repertoire Franghiz Ali-Zadeh was born in Azerbaijan, a republic of the Soviet States. Ali-Zadeh is highly regarded for her creativity and distinctive style. Her compositions draw from the vocabulary of modern European classical music, including the Second Viennese School, and incorporate the sounds of mugham (the main modal unit of Arabic music), music traditional to Azerbaijan. Franghiz Ali-Zadeh’s Regs (Dance) was written for Kronos’ Fifty for the Future program. (See above.) sikorski. de/229/en/ali_zadeh_franghiz.html

Michael Gordon b. Miami Beach, Florida / 1956

Clouded Yellow Michael Gordon’s music, which combines the intensity and power of rock music and his formal composition studies at Yale, has been performed throughout the world. Gordon’s early compositions demonstrate a deep exploration into the possibilities and nature of rhythm and what happens when rhythms are piled on top of each other, creating a glorious confusion. Clouded Yellow (2010)—Working on this string quartet, I found myself thinking about the clouded yellow. This butterfly takes part in mass migrations that are referred to in England as ‘clouded yellow years.’ I love the image of a cloud of bright yellow butterflies, and I think the word ‘clouded’ describes the blurred harmonies and melodies of this piece.

Nicole Lizée b. Gravelbourg, Saskatchewan / 1973

The Golden Age of the Radiophonic Workshop [Fibre-Optic Flowers] (Canadian Première) For a biography of Nicole Lizée, please refer to page 39. The Golden Age of the Radiophonic Workshop [Fibre-Optic Flowers] (2012)—The BBC Radiophonic Workshop in the 1960s was a place where the role of electronic music in our sound world began to take shape and be defined for ensuing generations. Delia Derbyshire coaxed a palette of otherworldly sounds from everyday objects (a favorite being a metallic green lampshade that produced a pure ringing tone when struck). While the Radiophonic Workshop didn’t work with acoustic instruments in the traditional sense, this piece makes the kind of sound that might have been conjured had a string quartet been readily available.

Pete Townshend (Arr. Jacob Garchik)

b. Chiswick, West London, UK / 1945

Baba O’Riley (Canadian Première) Pete Townshend, The Who’s guitarist and principal songwriter, was born into a musical family in Chiswick, West London. Townshend soon found himself at the forefront of the British musical boom of the sixties. As guitarist and composer of the band, he became the driving force behind one of the most powerful, inventive and articulate bodies of work in rock.

(1893–1986), recorded in 1916. The poem reads, in part, “A crane has lost its way across the heavens, / From yonder stormy cloud I hear him cry./ …I am exiled from my ruined nest, / And roam with faltering steps from hill to hill./ … Every bird its homeward way can trace, / But I must roam in darkness, lone and lost.”

Laurie Anderson (Arr. Jacob Garchik) b. Glen Ellyn, Illinois / 1947

Flow Laurie Anderson is one of America’s most renowned—and daring—creative pioneers. Her work, which encompasses music, visual art, poetry, film, and photography, has challenged and delighted audiences around the world for more than 30 years. Anderson’s visual and installation work has been presented since 1980 in major museums throughout the world. In addition she has directed several films and recorded many works for film and dance.

Mary Kouyoumdjian b. Contra Costa County, California / 1983

Bombs of Beirut (Canadian Première) Mary Kouyoumdjian’s projects range from concert works to multimedia collaborations and film scores. She uses a sonic palette that draws on her heritage, interest in folk music, and background in experimental composition to progressively blend the old with the new.

Komitas (Arr. Mary Kouyoumdjian)

Bombs of Beirut (2013)—Lebanon, once the refuge where my grandparents and great-grandparents sought safety from the Armenian Genocide, became the dangerous home my parents and brother were forced to abandon during the Lebanese Civil War. It is my hope that Bombs of Beirut provides a sonic picture of what day-to-day life is like in a turbulent Middle East—not filtered through news and media, but through the real words of real people.  ■

b. Kütahya, Ottoman Empire / 1869–1935

Program Notes © 2015 edited by Jocelyn Morlock

Baba O’Riley (also known as Teenage Wasteland) was recorded by The Who for the 1971 album Who’s Next. The title is inspired by Meher Baba, the Indian spiritual master, and Terry Riley, whose A Rainbow in Curved Air was a great influence on Townshend.

Groong (Canadian Première) (ca. 1912) The 19th-century poem titled Groong (Crane) by Hovhaness Tumanian was set by the Armenian monk and composer known as Komitas (born Soghomon Soghomonian). This arrangement is based on a version sung by Zabelle Panosian allegro 41

Vancouver Symphony Foundation

Ensure the VSO’s future with a special gift to the Vancouver Symphony Foundation, established to secure the long term success of the Vancouver Symphony Orchestra. The Vancouver Symphony family extends its sincere thanks to these donors, whose gifts will ensure that the VSO remains a strong and vital force in our community long into the future. $4,000,000 or more Government of Canada through the Department of Canadian Heritage Endowment Incentives Program $1,000,000 or more Ron and Ardelle Cliff Martha Lou Henley, C.M. Province of BC through the BC Arts Renaissance Fund under the stewardship of the Vancouver Foundation Alan and Gwendoline Pyatt The Jim Pattison Foundation $500,000 or more Werner (Vern) and Helga Höing Wayne and Leslie Ann Ingram $250,000 or more Carter (Family) Deux Mille Foundation Mr. Hassan and Mrs. Nezhat Khosrowshahi The Tong and Geraldine Louie Family Foundation Arthur H. Willms Family $100,000 or more Mary and Gordon Christopher Janey Gudewill and Peter Cherniavsky In memory of their Father Jan Cherniavsky and Grandmother Mrs. B.T. Rogers Malcolm Hayes and Lester Soo In Memory of John S. Hodge Michael and Estelle Jacobson

S.K. Lee in memory of Mrs. Cheng Koon Lee Katherine Lu in memory of Professors Mr. and Mrs. Ngou Kang William and Irene McEwen Fund Sheahan and Gerald McGavin, C.M., O.B.C. McGrane-Pearson Endowment Fund Nancy and Peter Paul Saunders Ken and Patricia Shields Whittall Family Fund $50,000 or more Adera Development Corporation Winslow and Betsy Bennett Brazfin Investments Ltd. The Bruendl Foundation Mary Ann Clark Leon and Joan Tuey Rosemarie Wertschek,Q.C. $25,000 or more Jeff and Keiko Alexander Kathy and Stephen Bellringer Robert G. Brodie and K. Suzanne Brodie Mrs. May Brown, C.M., O.B.C. Mrs. Margaret M. Duncan Mollie Massie and Hein Poulus Mrs. Gordon T. Southam, C.M. Marsha & George Taylor Maestro Bramwell Tovey and Mrs. Lana Penner-Tovey $10,000 or more Mrs. Marti Barregar Mrs. Geraldine Biely

K. Taryn Brodie Douglas and Marie-Elle Carrothers Mr. Justice Edward Chiasson and Mrs. Dorothy Chiasson Daniella and John Icke Dr. Marla Kiess Chantal O’Neil and Colin Erb Dan and Trudy Pekarsky Bob and Paulette Reid Nancy and Robert Stewart Beverley and Eric Watt Anonymous (2) $5,000 or more Charles and Barbara Filewych Stephen F. Graf Edwina and Paul Heller Marietta Hurst Kaatza Foundation Prof. Kin Lo Rex and Joanne McLennan Marion L. Pearson and James M. Orr In Memory of Pauline Summers Melvyn and June Tanemura Bella Tata/Zarine Dastur: In Memory of Shiring (Kermani) and Dali Tata Nico and Linda Verbeek Anonymous (1) The Vancouver Symphony gratefully acknowledges the support of those donors who have made a commitment of up to $5,000 to the Vancouver Symphony Foundation. Regretfully, space limitations prevent a complete listing.

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

Please call Leanne Davis Vice President, Chief Development Officer at 604.684.9100 ext. 236 or email to learn more.

Concert Program S P EC IA L S : VA N C O UV E R SUN N EW M U S IC F ESTIVAL OR P H EU M T H EATR E , 7 : 3 0 P M

Saturday, February 27

VSO New Music Festival 3: Sacred and Profane



Bramwell Tovey conductor/host Jocelyn Morlock host Ariel Barnes cello Rachel Kiyo Iwaasa piano Brendan Wyatt dancer Marie-Josée Chartier choreographer Vancouver Symphony Orchestra LINDA C. SMITH Adagietto GLENN BUHR in gloriam JENNIFER HIGDON blue cathedral INTERMISSION


Aerial Courser (World Première)


Three Screaming Popes

RODNEY SHARMAN study for a crouching figure / étude pour silhouette accroupie

I. Echo and Narcissus, for piano and amplified string quartet II. Narcissus, for solo piano




PRE-CONCERT TALK in the Orpheum auditorium at 6:30pm hosted by Bramwell Tovey, VSO Music Director and Jocelyn Morlock, VSO Composer-in-Residence. POST-CONCERT GATHERING in the West Coast Energy Hall following the concert.

allegro 43

Bramwell Tovey, O.C.

Winnipeg’s Contemporary Dancers, Chartier Danse, and Bagashree Vase.

For a biography of Maestro Tovey, please refer to page 26.

Marie-Josée Chartier


Jocelyn Morlock host For a biography of Jocelyn Morlock, please refer to page 34.

Ariel Barnes cello Described as creating a “mesmerizing musical experience” by combining his “deep personal connection” (Toronto Live Music Report), “luscious tone and technical prowess” (The Vancouver Sun), cellist Ariel Barnes has been engaging audiences with his imaginative interpretations and commanding stage presence. Critically acclaimed by the press, he has been hailed as a “rising star” by the Georgia Straight, “a surprising standout” by the KW Gazette, “new wave” by L’Acadie Nouvelle and “a musician of real stature” by the Vancouver Sun.


A multi-faceted artist, Marie-Josée Chartier moves easily between the worlds of dance, music, opera and multi-media in the roles of choreographer, performer, director, vocalist or teacher. Her choreographic works have been presented in festivals in Canada, Europe and Latin America and have been featured on documentary films and presented on national television and film festivals.

Linda C. Smith b. New York, NY, USA / 1957

Adagietto Linda Catlin Smith grew up in New York and lives in Toronto. A new CD of her piano music has just been released on the World Editions label featuring pianist Eve Egoyan. Linda teaches composition privately and at Wilfrid Laurier University.

Rachel Kiyo Iwaasa piano

Adagietto (2014)—I have always loved listening to orchestral music, in particular slow Hailed as a "keyboard virtuoso" (Georgia movements of the classical and Baroque eras. Straight) with the “emotional intensity” to take I find that slow movements allow for more a piece “from notes on a page to a stunning complex harmony to be heard, and for all of the work of art” (Victoria Times Colonist), pianist subtle details to come through. I think of my Rachel Kiyo Iwaasa has performed as soloist new work Adagietto as a small sea of harmony and chamber musician in Canada, the United with occasional melodic lines arising from it. States and Germany. Known for bold and The work was supported by an Individual Artist innovative concerts, Rachel combines her Grant from the Canada Council for the Arts. warmth and curiosity to touch the hearts and minds of audiences, whether she is playing Beethoven and Schumann or Ligeti and Saariaho.

Glenn Buhr

b. Winnipeg, Manitoba / 1954

Brendan Wyatt dancer Brendan Wyatt is an award-winning Canadian dancer and choreographer who has worked extensively with many of the country’s major companies and artists, including Zata Omm Dance Projects, adelheid dance projects, Proarte Danza and DA Hoskins/The Dietrich Group, Sasha Ivanochko, Karen Jamieson Dance, tiger princess dance projects, BoucharDanse, Little Pear Garden Collective, 44 allegro

in gloriam Glenn Buhr became well-known in the mid80's when the Toronto and Montreal Symphony Orchestras championed his work, and in the mid-90's as front man—with Bramwell Tovey—of the Winnipeg Symphony Orchestra’s New Music Festival. He won a Genie in 2005, and his ballet Beauty and the Beast has had over 150 performances worldwide. Dr. Buhr is Professor of Music Composition and

Improvisation at Wilfrid Laurier University, and is leader of The Button Factory Band. in gloriam (2000) begins with a setting of the Gloria text from the Catholic liturgy. The solo cello plays the part sopranos would traditionally sing, and sets the mood. The next two sections are richly ornamented variations of the opening material. The work glides to its end with three statements of the final Amen at the original tempo while gentle bell sounds in the piano and glockenspiel maintain a faster tempo.

Jennifer Higdon b. Brooklyn, NY, USA / 1962

Christopher Mayo b. Toronto, Ontario / 1980

Aerial Courser Christopher Mayo is a composer of “poignant” and “persuasive” music (The Independent), whose “attractive and intelligent compositional voice” (Musicworks Magazine) has brought him recognition in Canada, across Europe and the United States. Projects include commissions for the London Symphony Orchestra, Carnegie Hall, English National Ballet, MATA Festival, London Sinfonietta, Ensemble Contemporain de Montréal and Rambert Dance Company. Aerial Courser (2009)—From 1896 to 1897 there was a wave of sightings of “Mystery Airships.” Crews of these airships were described as descendants of the lost tribes of Israel; a nude couple who had travelled from Mars; a man holding many women hostage at gunpoint. The following was printed in the San Francisco Call, 18 November 1896:

blue cathedral Jennifer Higdon is a major figure in contemporary Classical music, receiving the 2010 Pulitzer Prize in Music for her Violin Concerto and a 2010 Grammy for her Percussion Concerto. Higdon enjoys several hundred performances a year of her works, CLAIM THEY SAW A FLYING AIRSHIP and blue cathedral is one of America’s most Strange Tale of Sacramento performed contemporary orchestral works, with Men Not Addicted to more than 600 performances worldwide since Prevarication. its premiere in 2000. Her works have been Viewed an Aerial Courser as It recorded on over four dozen CDs. Higdon's Passed Over the City most current project is an opera based on at Night. the best-selling novel, Cold Mountain, by Declare They Heard Voices of Those Charles Frazier. It was Premièred by the Santa Aboard Joined in Merry Fe Opera in August of 2015 and will travel to Chorus. Opera Philadelphia, Minnesota Opera and North Carolina Opera in the next two seasons. Higdon holds the Rock Chair in Composition at The Curtis Institute of Music in Philadelphia. Her music is published exclusively by Lawdon Press. b. Corringham, UK / 1960 Three Screaming Popes blue cathedral (2000)—Blue…like the sky. Where all possibilities soar. Cathedrals…a Mark-Anthony Turnage is among the most place of thought, growth, spiritual expression… relevant communicators and creators today. serving as a symbolic doorway into and out of His music is forthright and confrontational, this world. Coming to the writing of this piece unafraid to mirror realities of modern life, yet at a unique juncture in my life, I found myself exhilarating. Turnage produces work with pondering the question of what makes a life. strong appeal to an enquiring, often young The recent loss of my younger brother, Andrew audience; at the same time his music is Blue, made me reflect on the amazing journeys capable of expressing deep tenderness. that we all make. This piece represents the Three Screaming Popes (1989)—In 1985 expression of the individual and the whole of I went to see a stunning exhibition of Francis the group…our journeys and the places our Bacon’s paintings at the Tate Gallery. I was souls carry us. particularly taken with the paintings based on

Mark-Anthony Turnage

Pope Innocent X by Velázquez; my idea was to allegro 45


“ How tall is your Dad?” When I replied “Six-foot

two,” she declared, “All right—next week: Viola. ”

SCAN THE TALLEST POINTS of the Vancouver skyline and you can quickly pick out Living Shangri-La, the Private Residences at Hotel Georgia or the Sheraton Wall Centre. Scan the VSO, and there’s someone in the violas, head and shoulders above many of his colleagues. With his six-foot three-inch frame and chiselled jaw, we joked with Andrew Brown about considering a career as a male model.

“ If I stick out in a crowd, put it down to good Outstanding in His Field

posture or perhaps the wooden blocks under my chair that lift it up a few inches! Have I ever been approached about modelling? No! I was once interested in acting until I realized it's all about auditions. When I won my job


46 allegro

with the VSO I thought, "Oh great! That's the last audition I'll have to take—marvellous, I’m home!” The thought of constantly being assessed by casting agents and directors, to determine whether you fit the part or are right for their purposes? I don't think my ego could tolerate that! [laughter] I'm much too thin skinned!

The Family that Plays Together… My siblings and I began our musical journey with singing; our entire family sang in Saint Andrews Wesley Church choirs. Inspired by a VSO Christmas concert that featured the church choir accompanied by harp in Benjamin Britten’s Ceremony of Carols, my sister, Miranda, began harp lessons. I expressed an interest in playing the violin. When I went to my first lesson, at age seven, Mrs. Foli looked me over and asked, "How tall is your Dad?" When I replied "Six-foot two,” she declared, “All right—next week: Viola.” So I had precisely one lesson on the violin! Later, my brother David chose the bass. Now we had three unconventional instruments in the family. All of us studied with VSO musicians and began our orchestral careers together in the Vancouver Youth Orchestra Preparatory division. It must have been quite a sight to see my Dad drive all three of us and our instruments to rehearsals in a Plymouth Valiant! My younger brothers, Christopher and Paul were talented boy sopranos; Christopher also played the cello but Paul resisted all attempts to coerce him into playing the piano. He’s now a very successful physiotherapist in North Vancouver.

It's been one thing to have my older brother, David, playing with me in the orchestra, but he's now President of the Vancouver Musician’s Association, Local 145, so I really have to behave! Miranda is a songwriter and arranger and has made numerous CDs of her

and time restraints of a classical recording session don't seem so prevalent. However, I had the most embarrassing moments in my musical career in a session for the rock group “Our Lady Peace.” Legendary producer, Bob Rock, wanted a solo viola for the last chorus of the song Somewhere Out There. So the entire orchestra, except me, left the studio. It took an hour to record four bars of music! Everyone was wondering "What is going on in there?”—that's Bob Rock—he’s a perfectionist. But still, seventy musicians getting paid 100 dollars an hour while waiting for me to record a four note sequence lasting about twelve seconds in the song? I think that might set a record as the most expensive viola solo ever!

Care and Handling Sports, physical activity, and movement are a very important part of my life. My dad has been a great influence—he was a professor at UBC in Physical Education (now Kinesiology), and has been very fit and active throughout his life. I enjoy playing tennis and swimming; it’s a necessary change from the restriction of standing still to practice and sitting in rehearsal. I also have a Ridley road bike that I like to take out when the weather cooperates. I had an active life as a high school athlete, playing on Magee High School’s provincial champion rugby team and for three years on the senior basketball team. Many of my VSO colleagues are athletic, I think it goes naturally with the coordination that's required to play well. Playing an instrument over the years puts a lot of strain on your joints and muscles—with the viola, one arm is pronated over, while the other is under. You are twisted and you are also seated a lot of the time which is not ideal. As a result, musicians know physiotherapists, massage therapists and chiropractors very, very well!


compositions, but prior to that she played second harp with the VSO. In the past I have performed frequently in the VSO alongside Miranda, David, and his wife, violinist Mary Sokol Brown. Speaking of Mary; my career has been intertwined with hers through our group, Trio Accord. We have toured extensively, commissioned a work entitled Wind, Sand and Stars from VSO Composer-in- Association, Marcus Goddard, and recorded J.S. Bach’s Goldberg Variations for Skylark Records. Mary and I have been featured with the VSO on three occasions performing double concertos by Bruch and Karl Atterberg.

Inside The Studio I was a member of the CBC Radio Orchestra before its sad demise. Much of our work was live-to-air and required you to be on your toes. By comparison, four rehearsals [with the VSO] is a real luxury. Working in the studio with rock musicians is interesting, as the tight budgets

allegro 47

write a piece which distorted a set of Spanish dances as Bacon had distorted and restated the Velázquez. In the process of writing, the dances became so submerged in the other textures of the piece that only a faint trace is visible – just a hint of a tango here and there.

Rodney Sharman b. Biggar, Saskatchewan / 1958

study for a crouching figure / étude pour silhouette accroupie For a biography of Rodney Sharman, please refer to page 31. It is common for visual artists to create a series of related works; in music, far less

common. Echo and Narcissus (1990) for piano and amplified string quartet is an expansion and re-thinking of Narcissus (1981) for solo piano. Marie-Josée Chartier put them together as companion pieces in her striking and brilliant choreography, study for a crouching figure/ étude pour silhouette accroupie* (1995) inspired by the work of painter Francis Bacon. In both, the piano does not employ the central three octaves of the keyboard, playing chords of great sweetness exclusively in the extreme registers. The quartet plays the same chords condensed into the register forbidden to the piano.  ■ Program Notes © 2015 edited by Jocelyn Morlock

Concert Program




Sunday, February 28

VSO New Music Festival 4: City of Angels


PRE-CONCERT TALK in the Orpheum auditorium at 6:30pm hosted by Bramwell Tovey, VSO Music Director and Jocelyn Morlock, VSO Composer-in-Residence.


MARCUS GODDARD Regenerations (World Première) ◆

POST-CONCERT GATHERING in the West Coast Energy Hall following the concert.

Bramwell Tovey conductor/host Jocelyn Morlock host Kronos Quartet David Harrington violin John Sherba violin Hank Dutt viola Sunny Yang cello Vancouver Symphony Orchestra



Doc. Josephs Microphones Glitter Mollusk Skipping Flat Loop (Both Feet In) Ice Moss Will You Stay Rile Push Cart Flying Fish Crystal Plunge


JOCELYN MORLOCK Earthfall (World Première) ESA-PEKKA SALONEN LA Variations allegro 49

Bramwell Tovey, O.C. conductor/host

For a biography of Maestro Tovey, please refer to page 26.

Jocelyn Morlock host For a biography of Jocelyn Morlock, please refer to page 34.

Kronos Quartet For a biography of the Kronos Quartet, please refer to page 40.

Marcus Goddard b. Newport, Vermont / 1973

Regenerations (World Première) The VSO’s first Composer-in-Association is also the VSO Associate Principal Trumpet. As a composer, Goddard has over thirty-five works in his catalog, including four recent pieces for large orchestra, as well as many works for varied chamber ensembles. His work, I Send Only Angels, was commissioned by the Vancouver Symphony Orchestra and Premièred in February 2007 with Roberto Minczuk conducting. Critics, musicians, and audience members alike praised the work, describing its "shimmering, translucent, winning eloquence" and "perfectly judged" form and structure. Regenerations (2015)—I’ve always been fascinated by the possible origins of both the universe and of life on our planet. Regenerations began in my mind as a miniature musical snapshot of progressive eras in the development of life, from the very first murmurings to the natural and cultural worlds of today. As the work has progressed, it has become a reflection on the constant rebirth of innocence. The two large sections of the work slowly grow into furious climaxes, each followed by hushed new murmurings. The final coda is ushered in by wild cries in the bass clarinet. vancouversymphony. ca/orchestra/meet-the-composer-in-residence/ marcus-goddard

50 allegro

Thomas Newman b. Los Angeles, California / 1955

It Got Dark Thomas Newman is widely acclaimed as one of today’s most prominent composers for film. He has composed music for more than 50 motion pictures and television series, and has earned ten Academy Award® nominations and five Grammy® Awards. A turning point in Newman’s career took place while working as a musical assistant on the 1984 film Reckless, for which he was quickly promoted to the position of composer. He has contributed distinctive and evocative scores to dozens of notable films including Scent of a Woman, American Beauty, The Green Mile, and Wall-E. It Got Dark (2009) is a result of many years of collecting ephemera—photographs, postcards, recorded interviews—from the areas surrounding my home on the west side of Los Angeles. I always meant to organize them in a way that shed light or cast shadow over what is now vs. what was then, and my unique position of seeing both at once…the feeling I get looking at something and the feeling I wish to evoke through listening. To that end, it is music of loss and memory, much distorted by my interpretation of hope and hopelessness, sorrow and joy. affiliate/C578

Jocelyn Morlock b. St. Boniface, Manitoba / 1969

Earthfall (World Première) Earthfall (2015)—Recently I've been experimenting with large-scale mosaic textures in my orchestral writing. In Earthfall, I have tried using them as both a source of momentum, and of stability. This insidiously pulsing, slightly creepy piece originates in cumulative textures built up from relatively simple, metrically stable materials. Later the textures become more gnarled, registrally extreme, and rhythmically complex, wreaking vociferous havoc on the stable structures that were first created. After some tense moments, Earthfall ultimately settles itself, and steals off to a relatively peaceful conclusion.

Esa-Pekka Salonen b. Helsinki, Finland / 1958

LA Variations Esa-Pekka Salonen has a restless innovation that marks him as one of the most important artists in classical music. The Boston Globe has said that he displays "a kind of complete musicianship rarely encountered today.” Salonen is currently the Principal Conductor and Artistic Advisor for London’s Philharmonia Orchestra and the Conductor Laureate for the Los Angeles Philharmonic. Trained in the austere world of European modernism and enjoying a close relationship with the sunny city of Los Angeles, Salonen composes works that move freely between contemporary idioms, combining intricacy and technical virtuosity with playful rhythmic and melodic innovations.

LA Variations (1996) is essentially variations on two chords, each consisting of six notes. Together they cover all twelve notes of a chromatic scale. Therefore the basic material of LA Variations has an ambiguous character: sometimes (most of the time, actually) it is modal (hexatonic), sometimes chromatic, when the two hexachords are used together as a twelve-tone structure. This ambiguity, combining serial and non-serial thinking, is characteristic of my work since the mid-eighties, but LA Variations tilts the balance drastically towards the non-serial. This piece is clear in its form and direct in its expression. The two hexachords are introduced, melodically, in the opening measures of the piece. Some of the variations that follow are based on this melody, others on the deeper, invisible (or inaudible) aspects of the material.  ■ Program Notes © 2015 edited by Jocelyn Morlock

THE VSO SPRING MOVIES AT Two great movie nights on the big screen at the historic Orpheum, with the Vancouver Symphony Orchestra playing the music for the films live on stage! THE VSO PRESENTS




Presentation licensed by Disney Music Publishing and Buena Vista Concerts, a division of ABC Inc. © All rights reserved

Classification: MPA-C 18A — Strong violence & coarse language. Persons under the age of 18 must be accompanied by an adult.

Gordon Gerrard conductor Vancouver Symphony Orchestra


Justin Freer conductor Vancouver Symphony Orchestra


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* MAESTRO'S CIRCLE Gifts from $35,000 to $49,999 Heathcliff Foundation* The R & J Stern Family Foundation Gifts from $25,000 to $34,999 Mary and Gordon Christopher Foundation* Dr. Peter and Mrs. Stephanie Chung Lagniappe Foundation Mr. Gerald McGavin, C.M., O.B.C. and Mrs. Sheahan McGavin* McGrane-Pearson Endowment Fund* Jane McLennan CONCERTMASTER'S CIRCLE Gifts from $15,000 to $24,999 The Christopher Foundation (Education Fund) Mrs. Margaret M. Duncan Martha Lou Henley* 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 The Gudewill Family In Memory of John Hodge* Werner (Vern) and Helga Höing* Ms. Sumiko Hui Yoshiko Karasawa Mrs. Irene McEwen* Mr. Brian W. and Mrs. Joan Mitchell André and Julie Molnar Tom and Lorraine Skidmore Arthur H. Willms Family*

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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 Doug and Anne Courtemanche Jean Donaldson In Memory of Betty Howard 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 Denis Walker Anonymous* Anonymous (5)

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.* Ms. Louise M. Cecil Ben and Beth Cherniavsky Dr. Kam and Katie Cheung Mr. Justice Edward Chiasson and Mrs. Dorothy Chiasson* 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. Robert S. Rothwell* 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.

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Concert Program S P EC IA L S OR P H EU M T H EATR E , 8 P M

Wednesday, March 2

The Legendary Itzhak Perlman Bramwell Tovey conductor Itzhak Perlman violin BEETHOVEN Symphony No. 7 in A Major, Op. 92


I. Poco sostenuto – Vivace II. Allegretto III. Presto IV. Allegro con brio


BRUCH Violin Concerto No. 1 in G minor, Op. 26

I. Prelude: Allegro moderato II. Adagio III. Finale: Allegro energico



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Bramwell Tovey, O.C. conductor

For a biography of Maestro Tovey, please refer to page 26.

Itzhak Perlman violin Undeniably the reigning virtuoso of the violin, Itzhak Perlman enjoys superstar status rarely afforded a classical musician. Beloved for his charm and humanity as well as his talent, he is treasured by audiences throughout the world. The 2015-16 season commemorates Itzhak Perlman’s 70th birthday with worldwide concert tours and three album releases: a new Deutsche Grammophon album with pianist Emanuel Ax, a 25-disc box set of his complete Deutsche Grammophon/ Decca discography, and a 77-disc box set of his complete EMI/Teldec discography. For the first time in many years, this season Mr. Perlman tours with pianist and longtime friend Emanuel Ax in special duo recitals across America. In December 2015, he performed at Carnegie Hall in a special trio collaboration with pianist Evgeny Kissin and cellist Mischa Maisky, marking the first time he and Mr. Kissin have performed together. He performs season-opening gala concerts with the Toronto Symphony under Peter Oundjian and the Pittsburgh Symphony under Manfred Honeck, and makes conducting appearances with the Los Angeles Philharmonic and San Francisco Symphony. Mr. Perlman performs further recitals with his regular collaborator, pianist Rohan De Silva, in concerts that take them across North America, Asia and to Europe. Over the past two decades, Mr. Perlman has become more actively involved in music education through his work with the Perlman Music Program and The Juilliard School. Itzhak Perlman has been honored with 16 Grammy® Awards, four Emmy® Awards, a Kennedy Center Honour, and a Grammy® Lifetime Achievement Award. In 2015, he was awarded the Presidential Medal of Freedom by Barack Obama, the highest civilian honour in the USA. 56 allegro

Ludwig van Beethoven b. Bonn, Germany / baptized December 17, 1770 d. Vienna, Austria / March 26, 1827

Symphony No. 7 in A Major, Op. 92 Three years had passed since Beethoven had completed the Sixth Symphony, the relaxed, rustic Pastoral, before the urge to compose another piece of this kind came upon him. He wrote the principal sketches for the Seventh Symphony during the autumn of 1811, while taking a rest cure in Teplitz, a small resort town near Prague. He returned to his home in Vienna later that year. Taking up the new symphony once again early in 1812, he finished it in May.

“...his acclaim as one of the great masters of his day became virtually unanimous.” The Seventh, and the ludicrous Battle Symphony, Wellington’s Victory, made their public debuts at a benefit concert in the Grand Hall of the University of Vienna on December 8, 1813. Shortly before, Austrian and Bavarian forces had defeated Napoleon Bonaparte’s French army at the battle of Hanau. That crucial victory signaled the beginning of the end of the Napoleonic wars. The Seventh was received warmly, to the point that the audience demanded an encore of the second movement. The entire program was repeated four days later, with equal success. With those events, his acclaim as one of the great masters of his day became virtually unanimous. The range of moods the Seventh Symphony covers is striking, even by Beethoven’s standards. Three of its four movements overflow with blazing energy and rollicking high spirits, a fact that led composer Richard Wagner, writing in 1849, to state, “this symphony is the apotheosis of the dance herself: it is dance in her highest aspect, as it were the loftiest deed of bodily motion incorporated in an ideal mould of tone.” The first movement begins with an introduction in slow tempo, one much longer than any to be found in the symphonies of Haydn, Mozart or Beethoven himself. It is bold and teasing in



604.684.9100 EXT 252

its forecast of what is to follow: an exhilarating romp. The eminent English musicologist Sir George Grove wrote, “It is full of swift, unexpected changes and contrasts, exciting the imagination in the highest degree, and whirling it suddenly into new and strange regions. There are some places in the Vivace where an instant change occurs from fortissimo to pianissimo, which have an effect unknown elsewhere.”

“It hurtles along joyously with scarcely a pause to catch its breath between first bar and last.” In terms of form, the third movement scherzo duplicates the corresponding movement in the Fourth Symphony. The restrained trio section appears repeatedly in alteration with the bustling opening panel. The finale is a headlong perpetual motion engine. It hurtles along joyously with scarcely a pause to catch its breath between first bar and last. On the other hand, the second movement – the one that so impressed the first audience – communicates the most profound expression of grief and despair that had been heard in symphonic music up to that time. It became so popular, in fact, that during the balance of the nineteenth century it was regularly inserted in performances of other Beethoven symphonies (No. 2 in particular), to replace slow movements that audiences found less to their liking. Moving forward upon an implacable rhythm, it bears the air of a melancholy, even funereal procession. Two brief episodes in the major provide the only consolation. The movement has appeared on the soundtracks of several films, notably in the 2010 Oscarwinner, The King’s Speech.

Max Bruch b. Cologne, Rhine Province / January 6, 1838 d. house in Berlin Friedenau / October 2, 1920

Violin Concerto No. 1 in G minor, Op. 26 Bruch never abandoned (or significantly advanced upon) the style that he adopted in his youth – the warm, expressive Romantic German school of Mendelssohn and Schumann.

Although this concerto – his most enduringly popular composition – sounds smooth and effortless, it followed a difficult course to its final form. Bruch began work on it in 1864. It won a favourable reception at its first public performance, which took place on April 24, 1866, in Koblenz, Germany, but it still left Bruch unsatisfied. Seeking advice on how to improve it, he consulted with the widely-respected Hungarian violinist, Joseph Joachim. Joachim gave him a long, detailed evaluation. Relieved by this expert counsel, Bruch dedicated the concerto to Joachim. He took up some of Joachim’s suggested changes, to which he added second thoughts of his own. The debut of the revised edition – in Bremen, Germany, on January 7, 1868, with Joachim as soloist – drew a warm response from audience and composer alike. Bruch entitled the concerto’s opening section prelude, implying that it serves primarily as an introduction to the more important second movement, the adagio. The prelude opens in an air of quiet, brooding melancholy before breaking out into a full-blown and impassioned allegro. It builds up to two major climaxes before dying away in emotional exhaustion. Bruch segues without pause into the heartfelt central adagio. This begins in a prayer-like atmosphere, then gradually gains both in activity and expressiveness. It features some of the most beautiful writing in the entire literature for violin.

“The prelude opens in an air of quiet, brooding melancholy before breaking out into a full-blown and impassioned allegro.” Bruch concludes the concerto with a propulsive, gypsy-flavoured finale. It anticipates the last movement of the concerto that Johannes Brahms wrote 10 years later, a work also dedicated to, and premiered by, Joseph Joachim. It’s definitely a dance, but in keeping with the concerto’s overall character, it’s still a rather serious one. The second theme has a noble contour, more elevated than heroic.  ■ Program Notes © 2015 Don Anderson

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Saturday, March 5 N ORT H S H OR E C LASSIC S C EN T EN N IA L T HE ATR E , N ORT H VA N C OUV E R , 8 P M

Monday, March 7 Rory Macdonald conductor Angelo Xiang Yu violin



Colas Breugnon, Op. 24: Overture


Violin Concerto No. 2 in G minor, Op. 63

I. Allegro moderato II. Andante assai III. Allegro, ben marcato



The Fairy’s Kiss: Divertimento

I. Sinfonia II. Swiss Dances III. Scherzo IV. Pas de deux

PROKOFIEV The Love for Three Oranges: Symphonic Suite, Op. 33bis



I. The Buffoons II. Infernal Scene III. March IV. Scherzo V. The Prince and the Princess V. The Flight



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Rory Macdonald conductor

One of the brightest stars of the younger generation of conductors, Rory Macdonald’s career was launched following assisting roles with Iván Fischer (Budapest Festival Orchestra ), Sir Mark Elder (Hallé Orchestra)and Antonio Pappano (Young Artists Programme at the Royal Opera House). Equally at home on the concert platform and in the opera house, he draws out distinctive interpretations of classical and romantic repertoire, and brings passion and intellectual insight to contemporary scores. Rory Macdonald studied music at Cambridge University, and plays violin and piano. While at university he studied under David Zinman and Jorma Panula at the American Academy of Conducting in Aspen. Following his highly successful North American debut with the Canadian Opera Company, (Carmen, 2010) Macdonald made his US debut that autumn at Lyric Opera of Chicago, conducting a new production of A Midsummer Night's Dream. These present performance mark Rory Macdonald’s debut with the VSO.

Angelo Xiang Yu violin

Winner of the prestigious Yehudi Menuhin International Violin Competition in 2010, violinist Angelo Xiang Yu is regarded as one of today’s most talented and creative young violinists. His astonishing technique and exceptional musical talent have won him consistent critical acclaim and enthusiastic audience response worldwide for his solo recitals, orchestral engagements and chamber music performances.

Dmitry Kabalevsky b. St. Petersburg, Russia / December 30, 1904 d. Moscow, Russia / February 14, 1987

Colas Breugnon, Op. 24: Overture The literary source of Kabalevsky’s opera Colas Breugnon (1938) was a novel by French author Romain Rolland. The story takes place during the sixteenth century in the village of Clamecy in France. Colas Breugnon, the town’s master sculptor and craftsman, is a free spirit and an incurable optimist. At the opera’s premiere, the music won praise but the libretto received sharp criticism. Kabalevsky completed a major and successful revision in 1968. During those intervening decades, the score remained in view only through the brightly coloured, impish and rhythmically bracing overture, a sketch of the opera’s title character.

Sergei Prokofiev b. Sontsovka, Ukraine / April 27, 1891 d. Moscow, Russia / March 5, 1953

Violin Concerto No. 2 in G minor, Op. 63 Prokofiev’s two violin concertos bookend the years he spent away from the USSR. The light, whimsical No. 1 dates from the summer of 1917, and the warmer, more substantial No. 2 from 1935, just before his permanent resettlement. No. 2 was commissioned for French violinist Robert Soëtans. He gave the first performance in Barcelona, Spain, on December 1, 1935.

The concerto begins with the solo violin, unaccompanied, playing a rather melancholy theme with the distinct flavour of Russian folk music. The second subject is also rather subdued. The slow second movement offers Born in Inner Mongolia, Angelo Xiang Yu moved sweetness without saccharine. The finale to Shanghai at the age of eleven and received is bright in spirit and highly rhythmic. It is his early training from violinist Qing Zheng at the virtually a satire, complete with castanets, Shanghai Conservatory. He is currently studying of the gypsy-flavoured rondos featured at the New England Conservatory of Music in in violin concertos by composers such as Boston, where he is the recipient of the Irene Brahms and Bruch. M. Stare Presidential Scholarship in Violin and is a student of Donald Weilerstein and Kim Kashkashian. After earning his Bachelor’s degree in 2012, Mr. Yu was the only instrumentalist invited to be a candidate for NEC’s prestigious Artist Diploma, which he was awarded in May 2014. 62 allegro

Igor Fyodorovich Stravinsky b. Oranienbaum, Russia / June 17, 1882 d. New York, New York, USA / April 6, 1971

The Fairy’s Kiss: Divertimento Stravinsky’s teacher, Nikolay RimskyKorsakov, nurtured him in the folk-inspired Russian national school. It coloured such early works as the ballet The Firebird. But Stravinsky also felt deep admiration for a more cosmopolitan Russian composer of Rimsky’s generation: Tchaikovsky. He considered Tchaikovsky’s music the true spirit of their homeland. In 1927, choreographer Ida Rubinstein commissioned a ballet from Stravinsky. The artist Alexandre Benois suggested a score inspired by the music of Tchaikovsky. Stravinsky took the concept one step further, basing his music on his idol’s actual compositions. To avoid direct imitation, he chose pieces, mainly piano works and songs, that Tchaikovsky hadn’t orchestrated. He

adapted them and filtered them through his own, decidedly non-romantic sensibilities. He also contributed original material, created to mirror Tchaikovsky’s style. For the scenario, he chose The Ice Maiden, a fairy tale by a contemporary of Tchaikovsky, Danish author Hans Christian Andersen. He changed the name to The Fairy’s Kiss. The ballet’s premiere took place in Paris on November 27, 1928. In 1934, Stravinsky arranged this twenty-minute concert suite from the ballet, choosing the name divertimento because of its largely lighthearted character. Here is the full scenario: “During a storm, a mother is separated from her child, who is found and kissed by a fairy, then taken away to be looked after by villagers. Eighteen years later the young man is celebrating with his fiancée at a village festival. The fairy, disguised as a gypsy, tells his fortune and promises him great happiness, then leads him back to his fiancée and friends. By a mill, the young man dances with his lady love, but after she leaves to put on her bridal

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dress, the fairy appears instead in bridal disguise. Exerting her supernatural power, she confuses the young man and persuades him to follow her. In the epilogue, the fairy bestows her fatal kiss upon him, and encloses him forever in the Land of Eternal Dwelling.”

Sergei Prokofiev b. Sontsovka, Ukraine / April 27, 1891 d. Moscow, Russia / March 5, 1953

The Love for Three Oranges: Symphonic Suite, Op. 33bis While performing in Chicago in 1919, Prokofiev received a commission for an opera. He wrote the libretto himself, based on The Love for Three Oranges, a satiric fairy tale by the celebrated eighteenth-century Italian author, Carlo Gozzi. The première took place in Chicago in December 1921. The opera won only a modest initial success, but it has enjoyed numerous revivals in recent years. Prokofiev prepared this concert suite in 1924. It fully captured the score’s madcap humour and brash, satirical edge. An ‘audience’ of commentators sits on stage and discusses the action. Prokofiev depicts their clownish antics in the opening movement of the suite. The hero of the story is a prince, whose hypochondria can only be cured by laughter. In the bristling infernal scene of the suite’s second movement, the king’s guardian magician plays cards with Fata Morgana, an evil witch, with supreme power at stake. The music clearly tells us that the forces of evil win out. A strutting, very familiar march introduces festivities designed to make the prince laugh, but the only thing that does so is seeing the witch trip and fall. She curses him to pursue three huge, magic oranges around the world. A sparkling scherzo describes the prince’s travels. He finds the oranges and flees to a desert. The oranges contain princesses, two of whom die from thirst. Members of the onstage audience save the third by giving her water. She and the prince fall immediately in love, to the sweetly yearning music of the fifth movement. The suite concludes with a brisk, cartoonish pursuit that ends with the villains disappearing into a hole in the ground.  ■ Program Notes © 2015 Don Anderson

Vancouver Symphony Partners The Vancouver Symphony Orchestra gratefully acknowledges the generosity of the following Government Agencies, Corporations and Foundations that have made a financial contribution through sponsorship, charitable donation or participation in a Special Event.










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

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For your enjoyment, and the enjoyment of others, please remember concert etiquette. Talking, coughing, leaning over the balcony railings, unwrapping candies, and the wearing of strong perfume may disturb the performers as well as other audience members. Ushers will escort latecomers into the auditorium at a suitable break in the performance chosen by the conductor. Patrons who leave the auditorium during the performance will not be re-admitted until a suitable break in the performance.


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Please turn off cell phones and ensure that digital watches do not sound during performances. Doctors and other professionals expecting calls are asked to please leave personal pagers, telephones and seat locations at the coat check.

Photography and video/audio recording of any kind are prohibited during the performance. Pictures taken pre-concert, at intermission, and post-concert are encouraged. Please feel free to tweet and post to Facebook or Instagram pre-concert, during intermission or after the concert. During the performance, please do not use your mobile device in any way.


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The Vancouver Symphony Society is grateful to the Alan and Gwendoline Pyatt Foundation for generously providing our Administrative Offices.

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Customer Service Representatives: Jason Ho, Senior Customer Service Representative Shawn Lau Stacey Menzies Michelle Allin Jade McDonald Kim Smith Taylor Beaumont Jonah McGarva Anthony Soon Kaylie Hanna Kathy Siu Paycia Khamvongsa Michael McNair Development: Leanne Davis, Vice-President, Chief Development Officer Ryan Butt, Manager, Corporate Programs Mary Butterfield, Director, Individual & Legacy Giving Chris Loh, Development Coordinator Kate Lucas, Director, Annual Giving Dawn Nash, Stewardship Officer Ann True, Development Officer, Direct Response Lauren Watson, Development Officer, Special Projects Nicole Galloway, Special Projects Assistant Artistic Operations & Education: Joanne Harada, Vice-President, Artistic Operations & Education Sarah Boonstra, Operations Manager Rheanna Buursma, Assistant Librarian & Artistic Operations Assistant DeAnne Eisch, Orchestra Personnel Manager Kaylie Hanna, Artistic Operations & Education Assistant Ryan Kett, Artistic Operations & Education Assistant Minella F. Lacson, Music Librarian Christin Reardon MacLellan, Director of Education & Community Programmes

Ken & Patricia Shields Chair

Tracie Yee, Artistic Operations Associate

Vancouver Symphony Society Board of Directors Philip KY Chan

Board Executive Committee

Roy Millen

General Sales Manager, Mercedes-Benz Canada

Fred Withers, Chair

Chief Development Officer (Ret.) Ernst & Young

Partner, Blakes

Julie Molnar

Doug Christopher

Judith Korbin, Vice Chair

President, Montrose Development Ltd.

Etienne Bruson, Treasurer

Debra Finlay

Dave Cunningham, Secretary

Elisabeth Finch


Director, The Molnar Group

Fred Pletcher

Partner, Chair of the National Mining Group Borden Ladner Gervais LLP

Partner, McCarthy Tetrault LLP

Managing Partner, BC, Deloitte

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Partner, PwC

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Hein Poulus, Q.C.

Partner, Stikeman Elliot

Stanis Smith

Michael L. Fish

President & CEO (Ret.) Vancouver International Airport Authority Executive Chairman, PrimaCorp Ventures Inc.

Senior Vice President, Buildings, Stantec

Musician Representatives Larry Knopp Principal Trumpet

Cathy Grant

Elizabeth VolpĂŠ Bligh Principal Harp

Doug Hart

Honorary Life President

Diane Hodgins

Honorary Life Vice-Presidents

Ronald Laird Cliff, C.M.

Executive Director (Ret.), South Surrey & White Rock Chamber of Commerce

Lindsay Hall

Executive Vice-President and CFO Goldcorp Inc.

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

Director, Century Group Lands Corporation

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Sam Lee

Eric Bretsen

Managing Director, Global Mining Group CIBC World Markets

Partner, International Tax Services Ernst & Young LLP

Monique Mercier

Executive Vice President, Corporate Affairs, Telus Corporation

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

Irene McEwen Gerald A.B. McGavin, C.M., O.B.C. Hein Poulus, Q.C.

Alan Pyatt Arthur H. Willms

Fred Withers Tim Wyman

VSO School of Music Society Board of Directors


Gordon R. Johnson, Chair Claire Hunter Fiona Lin Hein Poulus, Q.C.

Patricia Shields Eric Watt Arthur H. Willms

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David Law

Louise Ironside

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

UPCOMING CONCERTS Highlights of the next issue of allegro... VSO CHAMBER PLAYERS:



WED & THURS, MARCH 16 & 17 7:30PM SUN, MARCH 20 2PM, PYATT HALL, VSO SCHOOL OF MUSIC BRITTEN Fanfare for St. Edmundsbury GODDARD Brass Quintet SCHNITTKE String Trio BRAHMS Piano Quartet in C minor, Op. 60

BEETHOVEN'S EMPEROR CONCERTO SAT & MON, MARCH 12 & 14 8PM, ORPHEUM Christopher Seaman conductor Alexander Melnikov piano*


BEETHOVEN Piano Concerto No. 5 in E-flat Major, Emperor* WALTON Symphony No. 1 in B-flat minor




FRI & SAT, APRIL 1 & 2 8PM, ORPHEUM John Morris Russell conductor Chris Hadfield guitar/vocals UBC Opera Ensemble Canadian astronaut Chris Hadfield became an international celebrity for his fascinating musical broadcasts from Earth’s orbit. See him live with the Vancouver Symphony Orchestra in an out-of-this-world Symphony Pops concert that includes music from Holst’s Planets, Also Sprach Zarathrustra, scores from Star Wars and Star Trek, selections from Dvořák’s New World Symphony, Elton John’s Rocket Man, and more!


SUN, APRIL 3 2PM, ORPHEUM Tania Miller conductor Stewart Goodyear piano*


MICHAEL OESTERLE Entr'actes COPLAND Appalachian Spring GRIEG Piano Concerto* STRAVINSKY Firebird Suite The Victoria Symphony travels from Vancouver Island for a very special performance at the Orpheum. Hear our sister orchestra, with outstanding Canadian pianist Stewart Goodyear, and Victoria Symphony Music Director (and former VSO Associate Conductor), the wonderful Tania Miller.


15/16 VSO Allegro Issue #3