Magazine of the Vancouver Symphony
September 24 to November 14, 2016 Volume 22, Issue 1
Bramwell Tovey with the VSO
Verdi's Requiem Epic choral masterpiece
VSO Pops Returns to the Cotton Club Karen Gomyo plays Bruch The Italian Symphony at the Chan Centre
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Vancouver Symphony Orchestra BRAMWELL TOVEY MUSIC DIRECTOR KAZUYOSHI AKIYAMA CONDUCTOR LAUREATE WILLIAM ROWSON ASSISTANT CONDUCTOR* Marsha & George Taylor Chair
Nicholas Wright, Acting Concertmaster Jennie Press, Acting Assistant Concertmaster Rebecca Whitling, Acting Second Assistant Concertmaster Jae-Won Bang Mary Sokol Brown Mrs. Cheng Koon Lee Chair
Jenny Essers Akira Nagai, Associate Concertmaster Emeritus Xue Feng Wei Yi Zhou
Jason Ho, Principal Karen Gerbrecht, Associate Principal
Jim and Edith le Nobel Chair
Jeanette Bernal-Singh, Assistant Principal Cassandra Bequary Adrian Shu-On Chui Byron Hitchcock Daniel Norton Ann Okagaito Ashley Plaut
Neil Miskey, Principal Andrew Brown, Acting Principal Emilie Grimes, Acting Associate Principal Dr. Malcolm Hayes and Lester Soo Chair
Stephen Wilkes, Assistant Principal Lawrence Blackman
Matthew Davies Angela Schneider
Professors Mr. & Mrs. Ngou Kang Chair
Ariel Barnes, Principal
JOCELYN MORLOCK COMPOSER-IN-RESIDENCE MARCUS GODDARD COMPOSER-IN-ASSOCIATION
W. Neil Harcourt in memory of Frank N. Harcourt Chair
Beth Orson, Assistant Principal Karin Walsh
Wayne & Leslie Ann Ingram Chair
Nezhat and Hassan Khosrowshahi Chair
Paul Moritz Chair
Janet Steinberg, Associate Principal Zoltan Rozsnyai, Assistant Principal Olivia Blander
Nadia Kyne §
Estelle & Michael Jacobson Chair
Hermann & Erika Stölting Chair
The Stage Crew of the Orpheum Theatre are members of Local 118 of the International Alliance of Theatrical Stage Employees.
Gregory A. Cox, Acting Principal
Andrew Poirier, Acting Bass Trombone
Chair in Memory of John S. Hodge
Jeanette Jonquil, Principal Gerhard and Ariane Bruendl Chair Alexander Morris, Natasha Boyko Mary & Gordon Christopher Chair Assistant Principal Charles Inkman Bass Clarinet Alexander Morris Luke Kim Cristian Márkos Bassoons Julia Lockhart, § Basses Principal Dylan Palmer, Sophie Dansereau, Principal Acting Principal Evan Hulbert, Gwen Seaton Associate Principal Noah Reitman, Contrabassoon Assistant Principal Sophie Dansereau David Brown French Horns J. Warren Long Oliver de Clercq, Frederick Schipizky Principal Second Horn Flutes Werner & Helga Höing Chair Christie Reside, Principal Ron & Ardelle Cliff Chair David Haskins, Associate Principal Nadia Kyne, § Andrew Mee Assistant Principal Winslow & Betsy Bennett Chair Lara Deutsch, Richard Mingus, Assistant Principal Assistant Principal Rosanne Wieringa § Michael & Estelle Jacobson Chair
Roger Cole, Principal
Larry Knopp, Principal Marcus Goddard, Associate Principal
The Vancouver Symphony Orchestra is a proud member of
Arthur H. Willms Family Chair
Peder MacLellan, Principal
Aaron McDonald, Principal
Vern Griffiths, Principal Martha Lou Henley Chair
Elizabeth Volpé Bligh, Principal
Linda Lee Thomas, Principal Carter (Family) Deux Mille Foundation Chair
Orchestra Personnel Manager DeAnne Eisch
Music Librarian Minella F. Lacson
Head Carpenter Paul McManus
Head Electrician Brendan Keith
Piano Technician Thomas Clarke
*Supported by The Canada Council for the Arts § Leave of Absence
allegro Magazine of the Vancouver Symphony
September 24 to November 14, 2016 Volume 22, Issue 1
In this Issue
Advertise in Allegro . . . . . . . . . . . . . . . . . . . . . 2 The Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . 3 Allegro Staff . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Government Support . . . . . . . . . . . . . . . . . . . 6 Message from the Chairman . . . . . . . . . . . . . 7 and the President Vancouver Symphony Foundation . . . . . . . . 27 Patronsâ€™ Circle . . . . . . . . . . . . . . . . . . . . . . . 32 VSO School of Music . . . . . . . . . . . . . . . . . . 33 Musician Profile . . . . . . . . . . . . . . . . . . . . . . 36 VSO Traditional Christmas . . . . . . . . . . . . . . 52 VSO Stradivarius Legacy Circle . . . . . . . . . . 52 VSO Car Lottery . . . . . . . . . . . . . . . . . . . . . . 66 Friends of the VSO . . . . . . . . . . . . . . . . . . . . 72 Corporate Partners . . . . . . . . . . . . . . . . . . . . 76 At the Concert / VSO Staff . . . . . . . . . . . . . . 78 Board of Directors / Volunteer Council . . . . 79 VSO Upcoming Concerts . . . . . . . . . . . . . . . 80 @VSOrchestra We welcome your comments on this magazine. Please forward them to: Vancouver Symphony, 500â€“833 Seymour Street, Vancouver, BC V6B 0G4. Allegro contact and advertising enquiries: email@example.com / customer service: 604.876.3434 / VSO office: 604.684.9100 / website: vancouversymphony.ca / Allegro staff: published by The Vancouver Symphony Society / editor publisher: Anna Gove / contributors: Don Anderson / orchestra photo credit: Johnathon Vaughn / art direction, design & production: bay6 creative inc. Printed in Canada by Web Impressions Ltd. All rights reserved. Reproduction in whole or in part without written consent is prohibited. Contents copyrighted by the Vancouver Symphony, with the exception of material written by contributors.
Allegro Magazine has been endowed by a generous gift from Adera Development Corporation.
Andrew von Oeyen
34 A SYMPHONIC NIGHT AT THE MOVIES
Musician Profile Ann Okagaito
THE MUSIC OF
DAVID BOWIE A SYMPHONIC ODYSSEY of the
Concerts SEPTEMBER 24, 25, 26 / Goldcorp Masterworks Gold / . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Rogers Group Financial Symphony Sundays / Bramwell Tovey conductor, Alexander Gavrylyuk piano OCTOBER 1, 2, 3 / Mardon Group Insurance Musically Speaking / Westminster Savings . . . . . . . . 17 Surrey Nights / North Shore Classics / Cristian Ma˘celaru conductor, Arnaud Sussmann violin OCTOBER 5 / Specials / The Music of David Bowie — A Symphonic Odyssey / . . . . . . . . . . . . . . . . 23 Brent Havens conductor, Tony Vincent vocalist OCTOBER 6 / Tea & Trumpets / The Look of Love / . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 William Rowson conductor, Christopher Gaze host, UBC Opera Ensemble OCTOBER 7, 8 / London Drugs VSO Pops / Return to the Cotton Club / . . . . . . . . . . . . . . . . . . . . . . 29 Jeff Tyzik conductor, Byron Stripling trumpet/vocalist, Miche Braden vocalist, Ted Louis Levy tap dancer/vocalist, Robert Breithaupt drums OCTOBER 12 / Specials: The VSO at the Movies / Alfred Hitchcock’s Psycho / . . . . . . . . . . . . . . . . . 34 Scott Terrell conductor, John Goberman producer, Vancouver Symphony Orchestra OCTOBER 15, 17 / Air Canada Masterworks Diamond / . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Karina Canellakis conductor, Karen Gomyo violin OCTOBER 22, 23, 24 / Goldcorp Masterworks Gold / Rogers Group Financial . . . . . . . . . . . . . . . . . 45 Symphony Sundays / Jun Märkl conductor, Stefan Jackiw violin OCTOBER 25, 26, 27, 30 / VSO Chamber Players / A Trio of Trios / Vincent Vohradsky trumpet, . . . 51 David Haskins horn, Gregory A. Cox trombone, Jeanette Bernal-Singh violin, Ariel Barnes cello, Grace Huang piano, Rebecca Whitling violin, Olivia Blander cello OCTOBER 28, 29 / Classical Traditions / Carlo Montanaro conductor, Andrew von Oeyen piano . . . 53 NOVEMBER 5, 6 / Specials: The VSO at the Movies / Raiders of the Lost Ark / . . . . . . . . . . . . . . . . . 58 Constantine Kitsopoulos conductor, Vancouver Symphony Orchestra NOVEMBER 12, 14 / Air Canada Masterworks Diamond / Bramwell Tovey conductor . . . . . . . . . . . 63 Lyne Fortin soprano, Susan Platts mezzo-soprano, David Pomeroy tenor, Teddy Tahu Rhodes bass, UBC University Singers & Choral Union, Graeme Langager choral director 5allegro allegro5
The Vancouver Symphony Society is grateful to the Government of Canada and the Canada Council for the Arts, Province of British Columbia and the BC Arts Council, and the City of Vancouver for their ongoing support. The combined investment in the VSO by the three levels of government annually funds over 28% of the cost of the orchestra’s extensive programs and activities. This vital investment enables the Vancouver Symphony Orchestra to present over 150 life-enriching concerts in 16 diverse venues throughout the Lower Mainland and Whistler, attract some of the world’s best musicians to live and work in our community, produce Grammy® and Juno® award-winning recordings, tour domestically and internationally, and, through our renowned educational programs, touch the lives of over 50,000 children annually.
Mélanie Joly, Minister of Canadian Heritage and Official Languages
Christy Clark, Premier of British Columbia
Gregor Robertson, Mayor of Vancouver
FRED G. WITHERS
the VSO Chairman and President
Welcome to the opening concerts of the Vancouver Symphony Orchestra’s exciting 98th season! The VSO is proud to have been serving the people of British Columbia since 1919, and we are delighted you are with us for today’s concert.
Every new VSO season opens with a certain type of energy and for the VSO that means that music is in the air. Between now and mid-November we welcome back both our audiences and the VSO musicians. As we open the 2016/2017 season, we embrace our community with concerts of partnership and possibility.
The purpose of the Vancouver Symphony Orchestra is to enrich and transform lives through music — and this summer saw the orchestra perform concerts on the Canada Day weekend at the Whistler Olympic Plaza and our annual outdoor concert at Deer Lake Park in Burnaby. Over 16,000 members of our communities — of all ages and ethnicities — were able to hear the orchestra perform at these free outdoor concerts in beautiful settings. This summer the VSO also become the first orchestra in Canada to première the first Harry Potter film in a live orchestra performance. Over 7,500 Harry Potter fans — young and old, and many in costume — attended three sold-out concerts. Many were experiencing a live orchestra performance for the first time! The summer also marked the second year of the very successful Vancouver Symphony Orchestral Institute at Whistler. This initiative brought together 88 music students aged 14 to 28 from around the world for an expanded ten days of immersion in music instruction by members of the orchestra — and included a number of free outdoor chamber concerts and a concert finale at the Olympic Plaza. During the 2016/2017 season the orchestra will perform over 150 concerts in 16 different venues throughout the Lower Mainland and in Whistler. We will welcome a number of new members to the orchestra, including our new Assistant Conductor, William Rowson, and we will have several guest concertmasters auditioning with us. We will see the return visits of well-known and accomplished guest performers and conductors, as well as the debuts with the orchestra of exciting new artists. This season will also see the continuation and expansion of our extraordinary education and community programs, with over 50,000 children experiencing performances by the full VSO and over 100 classroom visits by Maestro Tovey and members of the orchestra. On behalf of the Board of Directors, Maestro Tovey, our musicians, staff and volunteers, I thank you for your commitment to the VSO, and wish you a most delightful and inspirational 2016/2017 season. Sincerely yours,
Fred G. Withers Chair, Board of Directors
During this 98th season, the VSO continues to perform the great symphonic works, works that are less familiar, while championing the music of our time. Music Director Bramwell Tovey’s opening night concerts are a great example with the well-known and devilishly difficult Rite of Spring paired with a contemporary work by our composer-inresidence Jocelyn Morlock that pays homage to Stravinsky and her own musical voice. Bramwell’s return in early November brings the UBC Choir and a superb cast of soloists for Verdi’s Requiem — a magnificent evening in the Orpheum that you won’t want to miss. As Canada’s largest cultural organization west of Ontario, the VSO also presents master ensembles that broaden our musical landscape. In that regard, we will be joining Poly Culture North America to present the China Philharmonic Orchestra at the Chan Centre on November 30th with Long Yu on the podium. This is a great example of a cultural partnership many years in the making, as Long Yu personally invited the VSO to perform in China as part of its 2008 Asia tour and the VSO was presented in several Poly Culture concert venues. Throughout the 2016/2017 season we will also be celebrating the many women that are making their mark on the classical music stage including two women conductors making their VSO debuts this fall, a partnership with mezzo-soprano Marion Newman as we begin our work with our First Nations community, and a few more surprises along the way. Let the music begin!
Kelly Tweeddale President
Concert Program G OL D C ORP M ASTE RWO R KS G O LD OR P H EU M , 8P M
Saturday & Monday, September 24 & 26 ROG ERS G ROU P FIN AN C IAL S Y M P H ON Y S U N D AY S OR P H EU M , 2P M
Sunday, September 25 ◆
Bramwell Tovey conductor Alexander Gavrylyuk piano (Cherniavsky Laureate pianist) MORLOCK Oiseaux bleus et sauvages
TCHAIKOVSKY Piano Concerto No. 1 in B-flat minor, Op. 23 I. II. III.
CHERNIAVSKY LAUREATE PIANIST
The Cherniavsky Laureate position is supported annually by the Gudewill Family, in honour of Janey Gudewill, Peter Cherniavsky, Mrs. B.T. Rogers and the Cherniavsky Junior Club for the Performing Arts, a foundation that annually underwrites the cost of thousands of children attending concerts during class time for schools throughout the Province.
VISIT THE SYMPHONY GIFT SHOP FOR CD SELECTIONS MASTERWORKS GOLD SERIES SPONSOR
SYMPHONY SUNDAYS SERIES SPONSOR
MASTERWORKS GOLD RADIO SPONSOR
Allegro ma non troppo e molto maestoso – Allegro con spirito Andantino simplice Allegro con fuoco
STRAVINSKY The Rite of Spring
Part One: The Adoration of the Earth
I. Introduction II. Augurs of Spring (Dance of the Young Girls) III. Mock Abduction IV. Spring Round Dances V. Games of the Rival Tribes VI. Procession of the Wise Elder VII. Adoration of the Earth (The Wise Elder) VIII. Dance of the Earth
Part Two: The Sacrifice
I. Introduction II. Mystical Circles of the Young Girls III. Glorification of the Chosen Victim IV. Summoning of the Ancestors V. Ritual of the Ancestors VI. Sacrificial Dance (The Chosen Victim)
Free to ticketholders, September 24 & 26, 7:05pm to 7:30pm, in the auditorium. allegro 9
C H E R N I AV S K Y L A U R E AT E C H A I R
The Vancouver Symphony Society is grateful to the Gudewill family who, in honour of their mother, Mrs. Janey Gudewill, uncle, Mr. Peter Cherniavsky, grandfather, Mr. Jan Cherniavsky and great grandmother, Mrs. B.T. Rogers have established a fund to create the Vancouver Symphony Orchestra Cherniavsky Laureate Chair. Each season, the fund supports the appearance of a distinguished guest pianist with the VSO. Alexander Gavrylyuk joins us as the twelfth Cherniavsky Laureate, performing with Maestro Tovey and the VSO at the Orpheum Theatre on September 24th and 26th at 8pm, and September 25th at 2pm. Mrs. Rogers co-founded the Vancouver Symphony Society in 1919, served as President of the Society from 1931 to 1938, and as Honorary Life President, continuing to sustain it with her financial support and inspirational leadership until her death in 1965. Jan Cherniavsky, a renowned concert pianist, performed as soloist with the VSO on numerous occasions and in 1967 founded the Cherniavsky Junior Club for the Performing Arts. He was its spiritual leader until his death in 1989. The CJCPA is an endowment to fund costs associated with children’s concerts during class time for schools throughout the province. Last year, nearly 5,000 children attended such concerts, with the hope of reaching even more students in the future. The Gudewills are the 4th generation in this extraordinary family to support the Vancouver Symphony Orchestra. Support for which we are most grateful.
MRS. B.T. ROGERS (1869–1965), MR. JAN CHERNIAVSKY (1892–1989)
Bramwell Tovey 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 Advisor of the VSO School of Music, a state-ofthe-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, the establishment of an annual festival dedicated to contemporary music, as well as the VSO Orchestral Institute at Whistler (VSOIW), a comprehensive orchestral training program for young musicians held in the scenic mountain resort of Whistler/Blackcomb. In 2018, the VSO’s centenary year, he will become the orchestra’s Music Director Emeritus.
In 2003 Bramwell Tovey won the Juno® Award for Best Classical Composition for his choral and brass work Requiem for a Charred Skull. His trumpet concerto, Songs of the Paradise Saloon, was performed in 2014 by the LA Philharmonic and the Philadelphia Orchestra, both with Alison Balsom as soloist. A recording of his opera, The Inventor, with the original cast, the VSO with UBC Opera will be released this season by Naxos. 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.
“His tenure has included complete Alexander Gavrylyuk piano symphony cycles of Beethoven, in 1984, Alexander Gavrylyuk began his Mahler, Brahms, the establishment Born piano studies at the age of seven and gave of an annual festival dedicated to his first concerto performance when he was nine years old. He grew up in Sydney and contemporary music...” During the 16/17 season Mr. Tovey’s guest appearances include the symphonies of Rhode Island, Helsingborg, Boston, Chicago, Melbourne and Sydney, as well as the BBC Concert Orchestra, Philadelphia Orchestra, the Royal Conservatory Orchestra and the Los Angeles Philharmonic. Summer programs will include a return to Vail with the New York Philharmonic, as well as performances at Tanglewood, Saratoga with the Philadelphia Orchestra, and the Hollywood Bowl. In the 15/16 season Mr. Tovey directed performances of Korngold’s Die tote Stadt, for Calgary Opera, as well as the symphonies of Montréal, Melbourne, New Zealand, the Pacific Symphony, the Philadelphia Orchestra and New York Philharmonic. He also led the première his work Time Tracks, a suite from his opera, The Inventor.
has performed with all the main Australian orchestras. In 2009 he made an acclaimed recording of the complete Prokofiev Concerti with Vladimir Ashkenazy at the Sydney Opera House. Following his debut in 2010 with the Royal Concertgebouw Orchestra Gavrylyuk has returned to Amsterdam each year, and he is now increasingly in demand for his noble and compelling interpretations. He has performed the complete Rachmaninoff Concerti and the Rhapsody with both the Orchestre de la Suisse Romande and Neeme Järvi (May 2013) and as part of the Vancouver Symphony’s Rachmaninoff Festival in March 2014 with Bramwell Tovey. The opening of Gavrylyuk’s 16/17 season also includes performances of Chopin’s Piano Concerto No. 2 with the Netherlands Radio Philharmonic, Prokofiev’s Concertos Nos. 4 & 5 in Rotterdam with conductor Valery Gergiev, and a recital tour with the violinist Janine Jansens. allegro 11
Jocelyn Morlock b. St. Boniface, Manitoba, Canada / 1969
Oiseaux bleus et sauvages (VSO Commission) The composer has provided the following note. Many composers have been inspired by birdsong — the most celebrated example of this being Olivier Messiaen whose Oiseaux exotiques include bird-songs from India, China, and other distant locales. Unlike Messiaen, a composer who travelled the world in search of his birds, I did not have to look far for mine; they’re in the eaves of our apartment, and may well be the loudest things that occur in nature! These vociferous creatures embody the exuberance and delight of summer, and it is that joyous energy which drives my piece, Oiseaux bleus et sauvages.
Pyotr Il’yich Tchaikovsky b. Kamsko-Votkinsk, Russia / May 7, 1840 d. St. Petersburg, Russia / November 6, 1893
Piano Concerto No. 1 in B-flat minor, Op. 23 This ever-popular concerto caused a rift between Tchaikovsky and Nikolai Rubinstein. After composing it over the year-end holidays of 1874-1875, Tchaikovsky played it through for Rubinstein, an accomplished pianist. To Tchaikovsky’s horror, Rubinstein condemned every aspect of the piece. Tchaikovsky made a few changes in response to Rubinstein’s comments, but he refused to undertake anything like the massive overhaul Rubinstein suggested. Perhaps fearing that the concerto might meet with a frosty reception in front of his friends and colleagues, he arranged for German pianist Hans von Bülow to give the première, in America. The first performance took place in Boston in October 1875. Tchaikovsky needn’t have worried. The concerto scored a sensational triumph, launching it on the path to its indestructible popularity.
The broad canvas of the opening movement begins with a sweeping introductory section. The balance of this movement contrasts a lively first theme with a pair of wistful, haunting counter-subjects. An elaborate development section ushers in a substantial, dramatic solo cadenza. A brief, forceful coda concludes the movement. The outer panels of the slow movement are all wistfulness and tender romance, framing a bright, tripping middle section that quotes a French popular song entitled Il faut s’amuser et rire (We must enjoy ourselves and laugh). The finale bursts forth with a vigorous Ukrainian folk tune, then melts into one of those lyrical tunes so typical of Tchaikovsky. A thunderous climax and a scampering conclusion bring the concerto home.
Igor Fyodorovich Stravinsky b. Oranienbaum, Russia / June 17, 1882 d. New York, New York, USA / April 6, 1971
The Rite of Spring Many works of art — books, paintings, plays, movies — have caused scandals when they debuted, but few of these headline-grabbers have gone on to earn long-term acclaim. Stravinsky’s ballet The Rite of Spring is one of the most noteworthy exceptions. It sparked the most infamous opening-night uproar in the history of music, but it endures as a landmark in its art. Stravinsky shot to fame in 1910, when Les Ballets Russes premièred his dance score, The Firebird. During the final stages of composing it, Stravinsky had a vision: “I saw in imagination a solemn pagan rite: wise elders, seated in a circle, watching a young girl dance herself to death. They were sacrificing her to propitiate the god of Spring.” Sergei Diaghilev, impresario of the company, sensed the choreographic possibilities in this material and asked Stravinsky to develop them. The composer and scenic designer/archaeologist Nicholaus Roerich collaborated on the scenario of Le sacre du printemps (The Rite of Spring), fleshing out Stravinsky’s original conception and placing it in an ancient Slavic community.
GET TO KNOW THE MUSICIANS OF THE VSO THROUGH THE MUSICIAN PROFILES SERIES
Get to know your VSO musicians through a series of video and written profiles focusing on various VSO musicians, in the pages of Allegro and online. #knowyourvso
Stravinsky began the score in Russia but composed the majority of it in Clarens, Switzerland. Diaghilev entrusted the choreography to Vaslav Nijinsky, one of his company’s most gifted soloists, but an inexperienced dance master. The rehearsals degenerated into little more than frantic exercises in counting, resulting in frayed nerves and explosions of temper. Still, the final run through went off smoothly, without a hint of possible controversy. All that changed at the first performance, in the Théâtre du Champs Elysées in Paris on May 29, 1913. “Mild protests against the music could be heard from the beginning,” Stravinsky wrote. “Then, when the curtain opened on a group of knock-kneed and long-braided Lolitas jumping up and down the storm broke.” The infuriated composer rushed backstage, where Diaghilev was turning the house lights off and on in an attempt to quiet the audience. Nijinsky stood on a chair in the wings, shouting instructions to the dancers; Stravinsky stood behind him throughout the performance. Meanwhile, the auditorium was in an uproar, the production’s
supporters and detractors clamouring to make their feelings known. Overnight, The Rite of Spring transformed perceptions of Stravinsky from talented if dutiful follower of Rimsky-Korsakov and Debussy to the ranks of such “wild men” of music as Bartók and Schoenberg. In 1921, choreographer Léonide Massine mounted an entirely new stage production for Les Ballets Russes, one which dispensed with prehistoric associations and turned the piece into an abstract ballet. Stravinsky preferred this edition to the original. It also confirmed in his mind a view which he had begun to hold shortly after the première: that the music’s true home lies in the concert hall. Away from the theatre, listeners are free to make with it whatever associations they wish, or can simply react in a non-specific way to this propulsive, literally earth-shaking score. Its ability to astonish and electrify remains undiminished, more than a century after it took the world by storm. ■ Program Notes © 2016 Don Anderson
Concert Program M A R D ON G R OUP IN SUR AN C E M U S IC A L LY S P E AKIN G OR P H EU M , 8P M
Saturday, October 1 W ES T M IN S T ER SAV IN G S S U R REY N IG H T S B EL L P ERF ORM IN G ARTS C EN T R E, S U RR EY, 8 P M
Sunday, October 2 N ORT H S H OR E C LASSIC S C EN T EN N IA L T H E ATR E , N ORT H VA N C O UV E R , 8 P M
Monday, October 3 Cristian Ma˘celaru conductor Arnaud Sussmann violin DVORˇÁK Carnival Overture, Op. 92 BRAHMS Violin Concerto in D Major, Op. 77
I. Allegro non troppo II. Adagio III. Allegro giocoso, ma non troppo vivace
Symphony No. 1 in E-flat Major, Op. 13
I. Assez vif et rhythmé II. Lent III. Vif et vigoreux
VISIT THE SYMPHONY GIFT SHOP FOR CD SELECTIONS MUSICALLY SPEAKING SERIES SPONSOR
MUSICALLY SPEAKING RADIO SPONSOR
MUSICALLY SPEAKING VIDEO SCREEN SPONSOR
SURREY NIGHTS SERIES SPONSOR
Cristian Ma˘celaru conductor
Winner of the 2014 Solti Conducting Award and the conductor-in-residence of the Philadelphia Orchestra, Cristian Ma˘celaru has established himself as one of the fast-rising stars of the conducting world. The 2016/17 season sees Ma˘celaru returning to the Philadelphia Orchestra and National Symphony Orchestra and the symphony orchestras of St. Louis, San Diego, Milwaukee, Colorado, and Detroit, and his debut in Vancouver. Internationally he leads the Bayerischen Rundfunk Symphonieorchester, Rotterdam Philharmonic, Gothenburg Symphony Orchestra, City of Birmingham Symphony Orchestra, WDR Sinfonieorchester, Weimar Staatskapelle, Halle Orchestra, Royal Flemish Philharmonic, Royal Scottish National Orchestra and he leads the New Japan Philharmonic with Anne-Sophie Mutter as soloist. In addition to being appointed the 2014 Solti Fellow, Ma˘celaru previously received the Sir Georg Solti Emerging Conductor Award in 2012, a prestigious honor only awarded once before in the Foundation’s history. Ma˘celaru formerly held the position of Resident Conductor at Rice University’s Shepherd School of Music.
Arnaud Sussmann violin Winner of a 2009 Avery Fisher Career Grant, Arnaud Sussmann has distinguished himself with his unique sound, bravura and profound musicianship. A thrilling young musician attracting attention for his unmatched sound, Arnaud Sussmann makes debuts in the 2016/17 season with the Vancouver Symphony and Cristian Ma˘celaru, Pacific Symphony and Carl St. Clair, and Alabama Symphony and Carlos Izcaray, amongst other orchestras. He performs Chausson’s Concerto for Violin, Piano and String Quartet at Lincoln Center’s Alice Tully Hall with the Chamber Music Society of Lincoln Center and a recital with pianist Michael Brown at Columbia University’s Italian Academy Teatro in New York. Sussmann has performed with many of today’s leading artists including Itzhak Perlman,
Menahem Pressler, Gary Hoffman, Shmuel Ashkenasi, Wu Han, David Finckel, Jan Vogler and members of the Emerson String Quartet. A dedicated chamber musician, he has been a member of the Chamber Music Society of Lincoln Center since 2006. Born in France and based now in New York City, Arnaud Sussmann trained at the Conservatoire de Paris and The Juilliard School with Boris Garlitsky and Itzhak Perlman.
Antonín Dvorˇák b. Nelahozeves, Bohemia / September 8, 1841 d. Prague, Bohemia / May 1, 1904
Carnival Overture, Op. 92 To Dvorˇák, “nature” meant more than woods and fields. It was the driving force behind life itself, and it contained both positive and negative elements. Early in 1891, he set out to compose an orchestral piece designed to express his views on it. The result was a set of three overtures or symphonic poems, to which he gave the working title Nature, Life and Love. He conducted their joint premières in Prague on April 28, 1892, just before embarking on a three-year stay in New York. To help bind them together, he created a melody, a gentle “nature” theme, that appears in each of them. By the time they were published in 1894, he settled on calling them In Nature’s Realm, Carnival, and Othello. Carnival has become his most popular short orchestral work. Aside from the peaceful central interlude (where he introduces the “nature” theme on solo clarinet), it is all rambunctious energy, a clear display of his joyous enthusiasm for life. The VSO will perform the Othello Overture at the next concert in this series, on December 3.
Johannes Brahms b. Hamburg, Germany / May 7, 1833 d. Vienna, Austria / April 3, 1897
Violin Concerto in D Major, Op. 77 By the time Brahms began work on this marvellous concerto in 1878, he and Joseph Joachim had been friends for 25 years. One of the most outstanding musicians of the era, Joachim won fame as violinist, chamber musician, conductor, and composer. Like Brahms, he wore conservative musical colours. Both of them favoured the Classical allegro 19
poise and purity of Beethoven, over the Romantic excess of such contemporary composers as Berlioz, Liszt and Wagner.
concerto, but as always elements of display never overwhelm good taste and musical substance.
Joachim studied the concerto-in-progress closely, and made numerous suggestions to make it more practical. Brahms ignored almost all of them, choosing to follow his own inclinations. With Joachim as soloist, and Brahms himself conducting, the concerto received its première in Leipzig on New Year’s Day, 1879.
The warm, expansive introduction to the opening movement sets the tone and scale for the entire segment. Beethoven-esque in scale and ambition, the movement nevertheless bears Brahms’s own stamps of urgency and introspective lyricism. An especially dramatic passage sets up the violinist’s solo cadenza, which as expected is substantial rather than showy. The heartfelt slow movement begins sweetly and quietly with a spotlight on the wind section. The solo oboe emerges with the lovely, expressive main theme, which the soloist takes up and elaborates. The music generates a limited amount of emotional heat, but it dissolves back into the opening serene reverie. The finale is also reserved, at least in comparison with contemporary concertos such as Tchaikovsky’s. The recurring refrain is a jovial, heavy-footed peasant dance. This is the most technically demanding section of the
b. Liveni Virnav, Romania / August 19, 1881 d. Paris, France , May 4, 1955
Symphony No. 1 in E-flat Major, Op. 13 Enescu was the most important musician his country has produced, as well as one of the most active and versatile musical figures of his era. He won international renown as composer, conductor, violinist and teacher. His dislike of self-promotion led to a widespread underappreciation of his compositions. He is widely known only for a pair of early works, the two colourful Romanian Rhapsodies that he created in 1900 and 1901. His other compositions include chamber works, piano pieces, choral music and an opera, Oedipe (Oedipus, 1936). Enescu’s published orchestral creations include three each of symphonies and suites (four additional, early symphonies remain unpublished). He composed the first “official” symphony, the one you will hear at this concert, in 1905. At that time, all composers lay under the long shadows of such eminent figures as Wagner, Brahms and Strauss. The rich, highly emotional French spirit of Franck and Chausson was also very much in the air. All these sources played a role in the character of Enescu’s Symphony No. 1, filtered through his ability to compose what author Paul Banks has called
“essentially optimistic music that is genuinely self-confident and consistently compelling.” Symphony No. 1 was premièred on January 21, 1906 in Paris, conducted by Édouard Colonne, and was received with considerable enthusiasm. Enescu chose for it the same key that Beethoven had used for his Third Symphony, the mighty “Eroica,” Schumann for the colourful “Rhenish” Symphony, and Strauss for the tone poem Ein Heldenleben (A Hero’s Life). Enescu’s piece displays something of the sweep and energy of those vital works. Throughout the piece, the orchestration is rich and impressively varied. A stirring brass fanfare launches the bold, energetic first movement. Lyricism plays a
substantial role in it, too, but the overwhelming impression is of colossal forces at work. The slow second movement is highly atmospheric, almost dream-like in mood, and its imaginative orchestral textures provide constant fascination. Enescu builds the music to a passionate central climax, then gradually dissipates it to close the movement on a contented, poetic note. The vigorous and (relatively) compact third movement combines elements of a scherzo and a finale — the humorous energy of the first and the transcendent majesty of the second — to round off the symphony in sturdily triumphant fashion. ■ Program Notes © 2016 Don Anderson
Concert Program S P EC IA L S OR P H EU M , 8P M
Wednesday, October 5 Brent Havens conductor Tony Vincent vocalist WINDBORNE MUSIC
THE MUSIC OF
“It’s a rock concert with a symphony orchestra!” Guest conductor Brent Havens, a full rock band and the Vancouver Symphony Orchestra will take you on a symphonic odyssey in tribute to the legendary musician, innovator and epic storyteller, David Bowie. The incredible range of the rock giant’s five-decade career is celebrated, including the hits Space Oddity, Changes, Under Pressure, Heroes, Rebel Rebel, Fame, China Girl and more.
A SYMPHONIC ODYSSEY
Brent Havens conductor
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Berklee-trained arranger/conductor Brent Havens has written music for orchestras, feature films and virtually every kind of television. His TV work includes movies for networks such as ABC, CBS and ABC Family Channel Network, commercials, sports music for networks such as ESPN and even cartoons. Havens has also worked with the Doobie Brothers and the Milwaukee Symphony, arranging and conducting the combined group for Harley Davidson's 100th Anniversary Birthday Party Finale attended by over 150,000 fans. He has worked with some of the world's greatest orchestras including the Royal Philharmonic in London, the Cincinnati Symphony Orchestra, the Minnesota Orchestra, and countless others. In 2013 Havens conducted the Malaysian Philharmonic for the Music of Michael Jackson show there and returned to Kuala Lampur in 2014 with the Music of Led Zeppelin and 2015 with the Music of Queen. Havens recently completed the score for the film Quo Vadis, a Premier Pictures remake of the 1951 gladiator film. allegro 23
Tony Vincent vocalist
Tony Vincent may be best known for his appearance on the second season of NBC's reality singing competition, The Voice. The appearance was but one in a string of roles in various genres that Vincent has assumed in a span of more than 20 years. They range from Christian Contemporary Rock to performances on stage and film in shows such as RENT, Jesus Christ Superstar, Queen’s We Will Rock You and Green Day's American Idiot. Tony Vincent’s latest venture balances his passion for rock performance with his theatrical experience. He has toured widely in Windborne Music’s The Music of David Bowie, with conductor Brent Havens, and a full rock band on a symphonic musical odyssey that explores the incredible range of David Bowie's music. Tony Vincent continues to write and produce for future projects, both as a solo artist, as a producer for other artists and under the band moniker Mercer.
Windborne Productions, Inc. has been in existence since 1990 beginning work in both television and movies. The first live production of classic rock music with orchestra was in late 1995 — The Music of Led Zeppelin. After the initial response from that show, Brent Havens realized that this was something that had the potential to spread throughout the country. He is arranger/guest conductor for more than a dozen symphonic rock programs — the Music of Led Zeppelin, the Music of the Doors, the Music of Pink Floyd, the Music of the Eagles, the Music of Queen, the Music of Michael Jackson, the Music of The Who, the Music of Whitney Houston, the Music of the Rolling Stones, the Music of U2, and most recently, the Music of Journey! Havens has also premièred a full orchestral show featuring Lou Gramm, the voice of Foreigner, and NOW, the Music of David Bowie! ■
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Thursday, October 6
The Look of Love William Rowson conductor Christopher Gaze host UBC Opera Ensemble VERDI La Forza del Destino: Overture VERDI Rigoletto: Bella figlia dell’amore PUCCINI Manon Lescaut: Intermezzo PUCCINI Gianni Schicchi: O mio babbino caro STRAUSS Die Fledermaus
I. Overture II. Orlofski’s Aria III. Champagne Aria/Bruderlein (No. 11 Finale to Act II)
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INTRODUCING WILLIAM ROWSON, THE VSO'S NEW ASSISTANT CONDUCTOR
William Rowson conductor
Conductor William Rowson is rapidly establishing a reputation as one of Canada's most versatile emerging talents. Known for his intimate knowledge of the standard repertoire as well as his facile handling of new works, Rowson recently won the position of Assistant Conductor of the Vancouver Symphony Orchestra.
Bill grew up in musical family, starting the violin at age three in his hometown of Saskatoon. He began conducting at the Curtis Institute of Music and since then, has been a frequent guest of many of Canada’s leading ensembles.
UBC OPERA ENSEMBLE
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In the 2015 /16 season, Rowson returned as the Resident Conductor of the Hamilton Philharmonic Orchestra’s ‘What Next’ Festival, conducting five Canadian operas in one week, in concert. Also an accomplished composer, Bill was a finalist for the position of RBC Composer-in-Residence with the Toronto Symphony Orchestra. His film score for the feature length film Big Muddy has been showcased at the Toronto International Film Festival. allegro 25
Christopher Gaze host
UBC Opera Ensemble
Christopher Gaze is best known as the Founding Artistic Director of Bard on the Beach Shakespeare Festival. He hosts the Vancouver Symphony Orchestra's ever popular Tea & Trumpets series and has hosted its annual traditional Christmas concerts for over 20 years.
The University of British Columbia Opera Ensemble was founded by Canadian lyric coloratura Nancy Hermiston in 1995. Beginning with a core of seven performers, Miss Hermiston has built the program to a 90-member company, performing three main productions at UBC every season, seven Opera Tea Concerts, and several engagements with local community partners. The Ensemble’s mission is to educate young, gifted opera singers, preparing them for international careers.
His many honours include Canada’s Meritorious Service Medal, Honorary Doctorates from UBC and SFU, the Mayor’s Arts Award for Theatre and the Order of British Columbia. In 2015, he directed the world première of C.C. Humphreys’ Shakespeare's Rebel. Christopher plays a leading role in British Columbia as an advocate for the arts in general, and his passionate dedication to Bard on the Beach has fuelled its growth into one of the largest professional theatre companies in Canada, drawing more than 1.5 million patrons since its inception in 1990.
The Ensemble's 2016/17 Season includes The Consul, Eugene Onegin and Ariadne auf Naxos. In celebration of UBC’s Centennial, The Ensemble presented concerts in China, Czech Republic and Germany. In recent years, the UBC Opera Ensemble has been involved in several collaborations with the Vancouver Symphony Orchestra under Maestro Bramwell Tovey, as well as the VSO’s guest conductors. Many of its young soloists have been featured guests for cameo appearance in concerts, and the organization appreciates its frequent performances opportunities with the VSO. ■
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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 Michael and Estelle Jacobson S.K. Lee in memory of Mrs. Cheng Koon Lee
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Concert Program L ON D ON D RU G S V SO P O P S OR P H EU M , 8P M
Friday & Saturday, October 7 & 8
Return to the Cotton Club Jeff Tyzik conductor Byron Stripling trumpet/vocalist Miche Braden vocalist Ted Louis Levy tap dancer/vocalist Robert Breithaupt drums
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ELLINGTON (ARR. TYZIK) It Don’t Mean A Thing If It Ain’t Got That Swing ARMSTRONG (ARR. TYZIK) Swing That Music WILSON (ARR. TYZIK) Gimme a Pigfoot and a Bottle of Beer MCHUGH/FIELDS (ARR. TYZIK) I Can’t Give You Anything But Love ELLINGTON (ARR. TYZIK) Mood Indigo/Harlem Congo MARSALES/LYMAN (ARR. TYZIK) Smile Darn Ya FISHER/BENSON (ARR. TYZIK) Your Feets Too Big HANDY (ARR. EBY, ORCH. TYZIK) St. Louis Blues INTERMISSION HAWKINS/PARRISH (ARR. TYZIK) Swing Out CALLOWAY/MILLS (ARR. TYZIK) Minnie the Moocher ARLEN/KOEHLER (ARR. TYZIK) Kickin’ The Gong Around GERSHWIN (ARR. TYZIK) I Got Rhythm ARLEN/KOEHLER (ARR. TYZIK) Stormy Weather AKST/CLARKE (ARR. TYZIK) Am I Blue WALLER (ARR. TYZIK) Ain't Misbehavin' CANNON (ARR. MACKERAL, ORCH. TYZIK) Bill Bailey allegro 29
TED LOUIS LEVY
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. Tyzik recently celebrated his 22nd season as Principal Pops Conductor of the Rochester Philharmonic Orchestra. Highly sought after as a guest conductor, he has appeared with the Boston Pops, Cincinnati Pops, Milwaukee Symphony, Pittsburgh Symphony, Toronto Symphony, Indianapolis Symphony, Philadelphia Orchestra and the Los Angeles Philharmonic. Jeff Tyzik made his UK debut in 2010 with the Royal Scottish National Orchestra. He holds Bachelor of Music and Master of Music degrees from the Eastman School of Music.
Byron Stripling trumpet/vocalist With a contagious smile and captivating charm, trumpet virtuoso Byron Stripling has ignited audiences internationally. Since his Carnegie Hall debut with Skitch Henderson and the New York Pops, Stripling has become a pops orchestra favorite throughout the country. Stripling earned his stripes as lead trumpeter and soloist with the Count Basie Orchestra under the direction of Thad Jones and Frank Foster. He has also played and recorded extensively with the bands of Dizzy Gillespie, 30 allegro
Woody Herman, Dave Brubeck, Lionel Hampton, Clark Terry, Louis Bellson, and Buck Clayton in addition to The Lincoln Center Jazz Orchestra, The Carnegie Hall Jazz Band, and The GRP All Star Big Band. Stripling enjoys conducting seminars and master classes, where his incomparable wit and charm make him a favorite guest speaker to groups of all ages. A resident of Ohio, Byron Stripling lives in the country with his wife, choreographer and writer Alexis Wilson, and their beautiful daughters.
Miche Braden vocalist Miche Braden is a singer, actor, musician, songwriter, arranger, and musical director. She is a product of the rich musical heritage of her hometown, Detroit, Michigan, where she was an Artist in Residence with the Detroit Council of the Arts, the founder and former lead singer of Straight Ahead (women‘s jazz band), and was a protégé of Motown musicians Thomas “Beans” Bowles, Earl Van Dyke (leader of The Funk Brothers), and jazz master composer Harold McKinney. As an actor, Miche has appeared in and served as musical director/arranger in The People’s Temple, Gee’s Bend, The Bluest Eye, and Lady Day at Emerson’s Bar & Grill. Her most recent vehicle is The Devil's Music: The Life & Blues of Bessie Smith. As a singer, Miche has shared the stage with Regina Carter, Alexis P. Suter, Milt Hinton, Lionel Hampton, Frenchie Davis and Byron Stripling. Her fabulous week long gig with Byron’s Columbus Jazz Orchestra garnered her this gig with Jeff Tyzik’s Cotton Club production.
Ted Louis Levy tap dancer/vocalist Robert Breithaupt drums Ted Louis Levy made his Broadway debut in the smash hit Black & Blue. He collaborated with George C. Wolfe and Gregory Hines on the choreography of Jelly’s Last Jam, for which he received a Tony Nomination, Drama Desk Nomination, and the 1993 Outer Critics Circle Award. Levy was awarded an Emmy Award for his television debut performance in the PBS Special Precious Memories and appeared in Spike Lee’s Malcolm X for his film debut. His production of Ted Levy and Friends, directed by Gregory Hines, celebrated Levy as one of America’s premier tap dance artists. He also assisted in the choreography of Broadway’s Tony Award-winning hit Bring In ‘Da Noise! Bring In ‘Da Funk! Levy appeared in the movie Bojangles with Gregory Hines, returning to Broadway as Papa Jack in Susan Stroman and Harry Connick Jr.’s Thou Shalt Not, and as The Mikado in The Ford Theater’s production of The Hot Mikado, for which he won a Helen Hayes Award.
Robert Breithaupt is professor of music and department chair of Performance Studies at Capital, and one of today's foremost leaders in percussion education. Since 1978, he has developed one of the most recognized undergraduate percussion programs in the United States. During more than 30 years of concerts and tours, Breithaupt has performed with jazz talents like Terry Gibbs, John Pizzarelli, Kirk Whalum and many more. He regularly performs with many of the nation's finest orchestras along with trumpet virtuoso Byron Stripling. He was executive director of the Jazz Arts Group of Columbus from 2001 to 2012 and has served as the drummer of JAG's Columbus Jazz Orchestra since 1980. In addition to being the recipient of numerous awards, Breithaupt is an artist/endorser and consultant for the Yamaha Corporation, Sabian Ltd. and Remo Inc. and has his own signature drum line. ■
The Vancouver Symphony gratefully acknowledges the generosity of these community leaders whose ongoing annual support makes it possible to present 150 performances and 13 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 Heathcliff Foundation* Mr. Alan and Mrs. Gwendoline Pyatt* MAESTRO'S CIRCLE Gifts from $35,000 to $49,999 The R & J Stern Family Foundation Gifts from $25,000 to $34,999 Dr. Peter and Mrs. Stephanie Chung Lagniappe Foundation Mr. Gerald McGavin, C.M., O.B.C. and Mrs. Sheahan McGavin* Jane McLennan Mr. Fred Withers and Dr. Kathy Jones CONCERTMASTER'S CIRCLE Gifts from $15,000 to $24,999 The Christopher Foundation (Education Fund) Mary and Gordon Christopher Foundation* Mrs. Margaret M. Duncan Martha Lou Henley C.M.* Mrs. Irene McEwen* The Tuey Charitable Foundation* Anonymous* Gifts from $10,000 to $14,999 Larry and Sherrill Berg Mrs. Joyce E. Clarke Mr. and Mrs. G. A. Cooper Mohammed A. Faris The Gudewill Family In Memory of John Hodge* Diane Hodgins Werner (Vern) and Helga Höing* Ms. Sumiko Hui Yoshiko Karasawa McGrane-Pearson Endowment Fund*
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AT THE MOVIES!
A SYMPHONIC NIGHT AT THE MOVIES S P EC IA L S OR P H EU M , 7: 3 0 P M
Wednesday, October 12 SCOTT TERRELL
PRODUCTION CREDITS Producer . . . . . . . . . . . . . . John Goberman Music Consultant . . . . . . John Waxman The producer wishes to acknowledge the contributions and extraordinary support of John Waxman (Themes & Variations). A Symphonic Night at the Movies is a production of PGM Productions, Inc. (New York) and appears by arrangement with IMG Artists.
Scott Terrell conductor John Goberman producer Prepare for Hallowe’en with a very special screening of Alfred Hitchcock’s Psycho. Bernard Herrmann’s spine-tingling score elevates this cinematic masterpiece to new heights in a thrilling big-screen presentation, accompanied by the Vancouver Symphony Orchestra. Relive one of the greatest thrillers of all time and rediscover one of the most iconic scores in cinema history.
FILM CREDITS CAST: Anthony Perkins . . . . . . . Norman Bates Vera Miles . . . . . . . . . . . . . Lila Crane John Gavin . . . . . . . . . . . . Sam Loomis Martin Balsam . . . . . . . . Milton Arbogast John McIntire . . . . . . . . . Deputy Sheriff Al Chambers Simon Oakland . . . . . . . . Dr. Fred Richmond Vaughn Taylor . . . . . . . . . George Lowery Frank Albertson . . . . . . . Tom Cassidy Lurene Tuttle . . . . . . . . . . Mrs. Chambers Patricia Hitchcock . . . . . Caroline (as Pat Hitchcock) John Anderson . . . . . . . . California Charlie Mort Mills . . . . . . . . . . . . . Highway Patrol Officer Janet Leigh . . . . . . . . . . . Marion Crane
SCREENPLAY BY: Joseph Stefano Robert Bloch DIRECTED BY: Alfred Hitchcock MUSIC BY: Bernard Herrmann
PSYCHO "A Symphonic Night at the Movies" is a production of PGM Productions, Inc. (New York) and appears by arrangement with IMG Artists. Classification: 14A. Suitable for people 14 years of age or older. Those under 14 should view with an adult. May contain violence, coarse language and/ or sexually suggestive scenes.
Scott Terrell conductor
John Goberman producer
Music Director of the Lexington Philharmonic since 2009, conductor Scott Terrell has transformed the orchestra with imaginative programs that “entertain and educate, innovate with new works and revitalize the old.” In great demand as an international guest conductor, this coming season he will lead opera performances of William Bolcom’s A Wedding at the Aspen Music Festival. He also debuts with the National Arts Centre Orchestra and the Vancouver Symphony.
John Goberman is probably best known as the creator and founding producer of Live from Lincoln Center, which he led from 1976 to 2012. The award-winning series of television specials has brought the finest of the performing arts to American audiences for over 40 years. For his work on public and commercial television, Goberman has received 13 Emmy Awards, three Peabody Awards, eight Sigma Alpha Iota awards, the first Television Critics Circle Award for Achievement in Music and has 53 Emmy Award nominations. He received an Honorary Doctorate from the University of Bridgeport and was cited by Symphony Magazine as one of the fifty most important people who have made a difference in the history of American music. Goberman pioneered “live to picture” performance through the recreation of Prokofiev’s scores for Alexander Nevsky and Ivan the Terrible, as well as Hollywood classics such as The Wizard of Oz, Singin' in the Rain, Casablanca and Psycho. ■
Terrell has presented many innovative films, theatrical and operatic programs during his LexPhil tenure. Projects have included Philip Glass’ Icarus at the Edge of Time, Peter Boyer’s Ellis Island, and Osvaldo Golijov’s Ainadamar. He has been a regular collaborative partner with the Colorado Symphony, leading their presentations of Casablanca, The Magical Music of Harry Potter, and A Colorado Christmas. A native of Michigan, Maestro Terrell is a graduate of Western Michigan University, and the University of Minnesota in orchestral conducting.
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MUSICIAN PROFILE SERIES: ANN OKAGAITO SECOND VIOLIN
“ What goes on in the middle and lower voices of the orchestra, underneath the melody is very interesting.”
FROM TORONTO, and began the violin as “ I'M a Suzuki student at a young age at the Royal
Conservatory of Music. I started my Bachelor's Degree at Oberlin College, but then my teachers, Almita and Roland Vamos, (a husband and wife team) switched to Northwestern University in Chicago so the whole studio moved there and that's where I got my first degree. I then went to the Cleveland Institute of Music for my Master's to study with Paul Kantor and finally to the New World Symphony (America's Orchestral Academy) in Miami Beach, Florida. Conductor Michael Tilson Thomas and Carnival Cruise Lines were behind its founding. There was a healthy competitiveness there to try to win an orchestral job and everyone was very supportive of each other because we all knew how hard it was! Apart from playing a full orchestral season there and having lessons with many prominent artists as part of our training, we fellows would often play for each other to ask for constructive criticism before we went to an audition. Most people, when they get nervous performing, get agitated and
they start playing really fast. For some reason, I have the opposite reaction — I tend to slow down, so the performance coach there, Dr. Don Greene, encouraged me to do a bunch of jumping jacks in the dressing room before going on stage to get my heart-rate going. That's what I did before my Vancouver audition and it worked! What I like most about being an orchestral musician is the variety, playing music from different eras and genres — a Mozart rehearsal in the morning and a Video Games Live concert in the evening. We do the big, main works for symphonies — Mahler, Tchaikovsky, Brahms etc. — but then several times a year the orchestra splits in half. One half will do a chamber orchestra programme from the Baroque or Classical eras at the Chan Centre. That same week, the other half of the orchestra will play a Contemporary Music concert at the Annex. We also have the VSO Chamber Players concerts, so there's chamber music, new music, chamber orchestra, and the classical war horses!
I think I'm a second violinist at heart. People sometimes misunderstand and devalue the second violins but our job is not easy. We often have to play the tricky, fast, noodley passages underneath a soaring melody. I have always thought that what goes on in the middle and lower voices of the orchestra, underneath the melody is very interesting. We often bolster higher melodic lines by playing the exact same thing an octave lower. In addition to providing rhythmic accompaniment, we also help give harmonic color, beauty, meaning and depth to the notes in the melody. I especially enjoy Beethoven and Brahms Symphonies for their great and fun second violin parts. When I have some free time, I like to work at the VSO library. For each piece, the concertmaster marks a copy of the violin part, indicating how phrases are to be played — upbow here, down-bow there, how many notes are phrased together — then gives that to each of the principals and they mark their parts similarly for their section. That way each group will be playing with matched bowings and phrasings. My job is to copy the bowings that they have provided into everyone else's parts. When I started, I was just so overwhelmed with how long it takes to copy in the bowings, typically at least three hours. The librarians, Minella and Alex are such good people and great company. It's amazing how much work goes on in an orchestral library but when done well, it can save a lot of time in rehearsal. One of the things that I do outside of music is remedial mathematics. I've always been fascinated by numbers. I'm also trying to learn how to play Japanese chess, called Shogi. I started because my dad had a set at home and I didn't know how to play but I was always curious to learn and I found out that there was a new club for it in Vancouver. It's one way for me to connect with my heritage, that is if I ever succeed in making any progress! One of the differences between Chess and Shogi is that once you capture your opponent's pieces, they start working for you and you can use them to defeat your opponent. Every summer I play in the Colorado Music Festival orchestra in Boulder, Colorado, which is practically my second home. It is beautiful
there and it's similar to Vancouver in that there are mountains, as well as a liberal, healthy lifestyle culture. Unlike here though, there is plenty of sun and dryness, high altitude and no ocean! A lot of my close friends from college and New World Symphony play there too so it's really a reunion each year! We all play in different orchestras around North America and it’s great to learn and hear about their orchestras. I also like the fact that the violin section is rotational there so we get to play First Violin in some concerts and Second Violin in others.
FAST FUN FACTS ABOUT ANN: My paternal grandmother was a direct descendant of Samurais, so I have Samurai ancestry. My childhood dream was to be a ballerina so I have taken both ballet and flamenco in the past. I haven't danced for a while but I still enjoy watching. I have synesthesia. I've always strongly associated different colours with numbers and letters. It's completely involuntary — for example, the letter A has always been red to me, and the number 3 dark blue. I'm fascinated with mathematics found in nature, ie. symmetry in snowflakes, Fibonacci numbers in flowers, seashells etc. If I weren't a musician, I might be in a field that combines mathematics with human biology.
A IR C A N A D A M A S T ERW OR K S D IAMO N D OR P H EU M , 8P M
Saturday & Monday, October 15 & 17 Karina Canellakis conductor Karen Gomyo violin MOZART The Magic Flute: Overture, K620 BERG Violin Concerto
I. Andante — Allegretto II. Allegro — Adagio
Symphony No. 2 in E minor, Op. 27
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I. Largo — Allegro moderato II. Allegro molto III. Adagio IV. Allegro vivace
Free to ticketholders, 7:05pm to 7:30pm, in the auditorium. allegro 39
Karina Canellakis conductor
Winner of the 2016 Sir George Solti Conducting Award, Karina Canellakis has rapidly gained international recognition as one of today’s most dynamic and exciting young American conductors. She was Assistant Conductor of the Dallas Symphony Orchestra for two seasons and concluded her tenure at the end of 2015 /16. Highlights of Canellakis' 2016/17 season include debuts with the Swedish Radio Orchestra, City of Birmingham Symphony Orchestra, Royal Scottish National Orchestra, Orchestre National de Lyon, and the symphony orchestras of Toronto, Vancouver, Milwaukee, among others. She also conducts Verdi's Requiem at the Zurich Opera House, the première of David Lang's the loser at the Brooklyn Academy of Music, and Peter Maxwell Davies' final work, the opera The Hogboon with the Luxembourg Philharmonic.
Symphony conducted by Edo de Waart. Ms. Gomyo plays the rare “Ex Foulis” Stradivarius of 1703 that was bought for her exclusive use by a private sponsor. She makes her home in New York City.
Wolfgang Amadeus Mozart b. Salzburg, Austria / January 27, 1756 d. Vienna, Austria / December 5, 1791
The Magic Flute: Overture, K620 The Magic Flute, Mozart’s final opera, premièred in Vienna just two months before his death. The libretto is a dizzying mixture of storybook fantasy, low comedy, melodrama and high minded philosophy. The plot concerns Prince Tamino, who must bravely undergo rituals of spiritual purification in order to achieve two goals: priesthood in the Temple of Wisdom, and the hand of his sweetheart, Pamina. The overture begins with great solemnity, but this quickly gives way to sparkling vigour and infectious good humour.
Canellakis received a 2015 Solti Foundation U.S. Career Assistance Award and was the winner of the 2013 Taki Concordia Conducting Fellowship. She holds a Bachelor’s degree in violin from the Curtis Institute of Music and a Master’s degree in orchestral conducting from b. Vienna, Austria / February 9, 1885 d. Vienna, Austria / December 24, 1935 The Juilliard School. Violin Concerto violin Berg was the most traditionally expressive member of the Second Viennese School, a Born in Tokyo, violinist Karen Gomyo grew circle of composers whose other members up in Montréal and New York. Praised by were Arnold Schoenberg, its founder, and the Chicago Tribune as “a first-rate artist Anton Webern. In the Violin Concerto, he of real musical command, vitality, brilliance employed the innovative, controversial and intensity”, she continues to captivate methods of composition that Schoenberg audiences worldwide. developed. Biographer Karen Monson wrote Ms. Gomyo’s 2016/2017 season highlights of it, “lush enough to gratify twentieth-century include engagements with the Hong Kong symphonic tastes, and certainly quicker and Philharmonic conducted by Jaap Van easier to assimilate than Berg’s full length Zweden, Orchestra Sinfonica de Estado operas, the Violin Concerto was quickly to de Sao Paulo and Marin Alsop, Orchestra become his most popular work.” Philharmonique de Radio France in Paris American violinist Louis Krasner strongly and the WDR Symphony Orchestra Cologne with Jakub Hrusa, debuts with the Barcelona championed new music. Impressed by Berg’s compositions, he approached him, early in Symphony, North Netherlands Symphony, as 1935, to commission a concerto. At first, well as returns to the Minnesota Orchestra, Berg resisted, as he was deeply involved in the Symphony Orchestras of Dallas, Utah, composing the opera Lulu, but he finally gave Vancouver, Toronto, and Québec, returns to in to Krasner’s entreaties. the Tasmanian Symphony and Perth’s WASO in Australia, and a tour with the New Zealand
He originally planned to make it an abstract work. He gradually began to think of it in more programmatic terms, a direction crystallized by a dramatic development in his personal life. On April 22, Manon Gropius, the eighteen-year-old daughter of Berg’s friend Alma (widow of Gustav Mahler) and architect Walter Gropius, died from polio. Deeply moved by the loss of this lovely, warm hearted young woman, Berg decided to make his new concerto both a character sketch of Manon, in which she is portrayed by the violin, and a requiem to her spirit. He completed it on August 12, a short period by his usually painstaking standards. He inscribed the score to Louis Krasner and “To the memory of an angel.” Berg didn’t live to hear the concerto played, as he died that December. It can therefore be taken, however unintentionally, as his own requiem, as well as that of Manon Gropius. Krasner gave the première in Barcelona, Spain on April 19, 1936. The concerto has two movements, each consisting of two continuous sections. Apparently, Berg desired the first movement to portray Manon in life, while the second represents her death and transfiguration. In addition to original themes, the concerto includes the merry Austrian folk song A Bird on the Plum Tree Has Awakened Me (second part of the first movement), and in the second half of the second movement, a Lutheran chorale melody, Es ist genug (It is enough).
Sergei Rachmaninoff b. Semyonovo, Russia / April 1, 1873 d. Beverley Hills, USA / March 28, 1943
Symphony No. 2 in E minor, Op. 27 By the autumn of 1906, Rachmaninoff came to feel that his activities as pianist and conductor were leaving him too little time for his first love, composition. Seeking a retreat from these stresses, he chose Dresden, Germany. He leased a villa there, in which he would spend several months during each of the next two-and-a-half years. In that idyllic setting, he was free to relax, to ponder, and to allow his inherently expansive creative impulses to define their limits.
Having finally exorcised the demon of his First Symphony’s dismal failure, he was able to consider the creation of a successor. He took great care with it, sincerely wishing it to succeed. His efforts won total vindication when the first performance, which he conducted himself in St. Petersburg on February 8, 1908, scored a resounding triumph. The symphony’s length was remarked upon from the beginning. A review of the second performance stated, “After listening with unflagging attention to its four movements, one notes with surprise that the hands of the watch have moved 65 minutes forward. This may be slightly long for the general audience, but how fresh, how beautiful the music is...” Under pressure, Rachmaninoff reluctantly agreed to authorize cuts, but fortunately has been abandoned. The symphony makes its full, carefully balanced effect only when heard in its entirety, as it will be at these performances. This reveals it as a vast, unbroken outpouring of emotion, dramatic, sumptuously scored and above all lyrical in expression. As would be the case in all three Rachmaninoff symphonies, the Second is bound together by a brief, simple recurring theme, a “motto.” This one is played by the double basses at the beginning of the first movement’s slow, brooding introduction. The main Allegro presents a balance of restless, dramatic, and yearning elements. In its urgency and rhythmic drive, the following scherzo leans toward the tart style of Prokofiev, but only Rachmaninoff could have written the soaring second theme. The third movement Adagio is the symphony’s beating heart, an outpouring of passionate lyricism virtually unsurpassed in all music. The principal theme is a long, glowing melody introduced by solo clarinet. As the movement develops, it touches repeated heights of rapture, before dying away into contented stillness. The symphony concludes with a surging, joyful rondo. Fleeting reminiscences of previous movements crop up, en route to the exhilarating conclusion. ■ Program Notes © 2016 Don Anderson
Concert Program G OL D C ORP M ASTE RWO R KS G O LD OR P H EU M , 8P M
Saturday & Monday, October 22 & 24 ROG ERS G ROU P FIN AN C IAL S Y M P H ON Y S U N D AY S OR P H EU M , 2P M
Jun Märkl conductor Stefan Jackiw violin
Sunday, October 23
HOSOKAWA Blossoming II MENDELSSOHN Violin Concerto in E minor, Op. 64
I. Allegro molto appassionato II. Andante III. Allegretto non troppo — Allegro molto vivace
I. Gigues II. Ibéria In the Streets and Byways The Fragrances of the Night The Morning of a Festival Day III. Rondes de printemps
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Jun Märkl conductor
Jun Märkl has long been a highly respected interpreter of the core Germanic and French repertoire from the symphonic and operatic traditions. He was music director of the National Orchestra of Lyon (2005–2011) and of the MDR Leipzig Radio Symphony Orchestra until 2012. He guest conducts throughout Europe, Japan and North America. In 2012, Märkl was honored by the French Ministry of Culture with the Chevalier de l’Ordre des Arts et des Lettres in recognition of his achievements in Lyon, including his ground breaking Debussy recording project for Naxos. In addition Märkl has also recorded numerous disks on the Altus, Exton, and Telarc labels. An ardent supporter of young musicians, Märkl frequently conducts youth orchestras throughout the world, and holds the position of Principal Conductor at the Pacific Music Festival Sapporo and the Aspen Music Festival. He recently accepted the position of Invited Professor at the Kunitachi School of Music in Tokyo.
Stefan Jackiw violin Violinist Stefan Jackiw is recognized as one of his generation’s most significant artists, captivating audiences with playing that combines poetry and purity with an impeccable technique. Jackiw has appeared as soloist with the Boston, Chicago, Cleveland, New York, Philadelphia, and San Francisco symphony orchestras, among others. Stefan has recorded the complete Brahms sonatas for Sony. He is also a member of Ensemble Ditto — a wildly popular Korea-based chamber music group, which has played to sold out halls across the country, presenting works from Bach, Mozart, and Beethoven to George Crumb, Steven Reich, and John Zorn. Born in 1985 to physicist parents of Korean and German descent, Stefan Jackiw began playing the violin at the age of four. He holds a Bachelor of Arts from Harvard University, as well as an Artist Diploma from the New England Conservatory, and is the recipient of a prestigious Avery Fisher Career Grant. He lives in New York City.
Toshio Hosokawa b. Hiroshima, Japan / October 23, 1955
Blossoming II Hosokawa, Japan’s pre-eminent living composer, creates his distinctive musical language from the fascinating relationship between western avant-garde art and traditional Japanese culture. His music is strongly connected to the aesthetic and spiritual roots of the Japanese arts, as well as to those of Japanese court music. His catalogue of 130 works is performed worldwide by a host of eminent musicians. Blossoming II was commissioned by the Edinburgh International Festival Society and was premièred by the Scottish Chamber Orchestra in August 2011. The composer writes: “I have composed many works on the theme of ‘Blossoming.’ To express musically the energy of a flower’s blossoming carries deep meaning. I perceive music as plantlike development and growth, and I wish to continue composing music with a different viewpoint from that of European composers, who construct music architecturally. It is a special feature of this series that at the beginning of the piece there is one long sustained note in the middle register out of which develops the mother’s body from which is born a song (a fragment of melody) as the flower. This sustained note symbolizes the surface of a pond, and what is lower than the note symbolizes under the water, while what is higher symbolizes the world above the water. Then this note which is the flower grows from the womb of harmony lying dormant deep beneath the surface, and continues to rise toward the surface. The inspiration for this series came from my reading a book on Buddhism about how the lotus blossom comes into flower. In creating my own music, I wish to base it firmly once more on my own musical and cultural roots, and from there to let it blossom internally.”
Felix Mendelssohn b. Hamburg, Germany / February 3, 1809 d. Leipzig, Germany / November 4, 1847
Violin Concerto in E minor, Op. 64 In 1835, Mendelssohn took up the post of Music Director of the Gewandhaus Orchestra of Leipzig. Under his patient, exacting supervision, only a few years passed before that ensemble's concerts came to be considered the finest given anywhere in Europe. The orchestra’s concertmaster, Mendelssohn’s old friend, Ferdinand David, made important contributions to that upgrading process. In gratitude, Mendelssohn composed this Violin Concerto for him. David performed the première, in Leipzig on March 13, 1845. Mendelssohn being too ill to conduct, his assistant, Niels Gade, performed the honours instead.
“...the concerto’s dramatic content unfolds during the urgent first movement.” The concerto is a beautifully polished work of art, combining sureness of construction with passion, warmth and playfulness. Mendelssohn directed that its three sections be played without any breaks between them, a typical Romantic practice designed to increase the music’s cohesiveness and sense of momentum. The majority of the concerto’s dramatic content unfolds during the urgent first movement. The second movement is an interlude of gentle melodic beauty. A brief bridge passage then ushers in the impish finale. Its solo fireworks are backed by the kind of light, gossamer orchestration which became a Mendelssohn trademark.
by France — but his approach to them varied. At times, Gigues and Rondes, the singlemovement first and third Images, are ironic in tone, while the second piece, the threemovement Ibéria, is one of the most purely joyous scores ever to flow from his pen. Gigues (original title, Gigues tristes/Sad Jigs) opens and closes in a mood of misty melancholy. The main, central panel, repeatedly quoting an English Folk Song, The Keel Row, exhibits a jollity that, as Debussy intended, is never fully convincing. His music had won success in England, and he had travelled there several times to conduct it, but this piece, and its original title, may reveal an ambivalent attitude toward that country. Debussy paid a single visit to Spain, even then only to spend part of one day in Saint Sebastian attending a bullfight. That encounter, plus books, paintings, travel tales told by friends and his vivid imagination — the last as always his preferred and most potent inspiration — sparked him to create several Spanish-flavoured works. True to his nature, they address Spain’s spirit and atmosphere, rather than mirroring the realities of a country about which he essentially knew nothing. In contrast to the other Images, all of Ibéria’s themes are original. The opening movement, In the Streets and Byways, blazes with bright, sharply-chiselled colours, and pulses with vivacious rhythms. The second movement, Fragrances of the Night, is a still, shimmering nocturne. As the warmth of the night gradually dissolves with the approach of daybreak, this panel overlaps ingeniously with the exuberant, free-wheeling finale, The Morning of a Festival Day.
Debussy incorporated two French folk songs into the final Image, Rondes de printemps: a b. St. Germaine-en-Laye, France / August 22, 1862 nursery song, Do, do, l’enfant do, and Nour d. Paris, France / March 25, 1918 n’irons plus au bois. The latter appears first Images in sombre, minor-key dress, then blossoms into major-key glory toward the close — an The set of three Images was Debussy’s final apt transformation given the joy that always significant orchestral work. He composed them separately, over the years 1905 to 1912, greets the arrival of spring. This Image’s vivacious rhythms and sparkling orchestration and they received separate premières. Each piece was inspired by a particular location — help give the entire work a satisfying Gigues (Jigs) by England, Ibéria by Spain, and conclusion. ■ Rondes de printemps (Spring Round Dances) Program Notes © 2016 Don Anderson allegro 49
CHRISTMAS WITH THE VSO William Rowson conductor Christopher Gaze host UBC Opera Ensemble EnChor It is the Holiday music tradition: The VSO’s Traditional Christmas concerts, featuring host Christopher Gaze, EnChor, the UBC Opera Ensemble, and the VSO’s new Assistant Conductor, William Rowson. WILLIAM ROWSON
ST. ANDREW’S-WESLEY CHURCH, VANCOUVER
Thursday, December 8 at 7:30 pm Friday, December 9 at 4 pm & 7:30 pm Saturday, December 10 at 4 pm & 7:30 pm Sunday, December 11 at 7:30 pm
SOUTH DELTA BAPTIST CHURCH, DELTA Wednesday, December 14 at 7:30 pm
BELL PERFORMING ARTS CENTRE, SURREY Thursday, December 15 at 4:30 pm & 8 pm CHRISTOPHER GAZE
CENTENNIAL THEATRE, NORTH VANCOUVER
Friday, December 16 at 4 pm & 7:30 pm
KAY MEEK CENTRE, WEST VANCOUVER Saturday, December 17 at 4 pm & 7:30 pm
MICHAEL J. FOX THEATRE, BURNABY Sunday, December 18 at 4 pm & 7:30 pm
Concert Program VS O C H A M B ER P LAY E R S K AY M EEK C ENTR E , W ES T VA N C OUV E R
Tuesday, October 25, 7:30pm ALAN AND G W EN DOL IN E P YAT T HALL
D R. H . N . M A C CO R KIN D ALE STAG E VS O S C H OOL OF MUSIC VINCENT VOHRADSKY
Wednesday & Thursday, October 26 & 27, 7:30pm Sunday, October 30, 2pm
ANTHONY PLOG Trio for Brass Vincent Vohradsky trumpet David Haskins horn Gregory A. Cox trombone PIAZZOLLA The Four Seasons of Buenos Aires Jeanette Bernal-Singh violin Ariel Barnes cello Grace Huang piano INTERMISSION
SCHUBERT Piano Trio No. 1 in B-flat Major Rebecca Whitling violin Olivia Blander cello Grace Huang piano
WITH SUPPORT FROM
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the following individuals for which we extend our sincere gratitude.
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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 x 238 or email firstname.lastname@example.org
ANDREW VON OEYEN
C L A S S IC A L T R AD ITIO N S C H A N C EN T RE FO R T H E P ER F OR M ING ARTS, 8 PM
Friday & Saturday, October 28 & 29 Carlo Montanaro conductor Andrew von Oeyen piano MOZART The Marriage of Figaro: Overture, K492 MENDELSSOHN Piano Concerto No. 1 in G minor, Op. 25
I. Molto allegro con fuoco II. Andante III. Presto: Molto allegro e vivace
MENDELSSOHN Symphony No. 4 in A Major, Op. 90 Italian
I. II. III. IV.
Allegro vivace Andante con moto Con moto moderato Saltarello: Presto
THE PRESENTATION OF THIS SERIES IS MADE POSSIBLE, IN PART, THROUGH THE GENEROUS ASSISTANCE OF THE CHAN ENDOWMENT FUND AT THE UNIVERSITY OF BRITISH COLUMBIA.
Poly Culture North America 保
THE CHINA PHILHARMONIC Vancouver Debut
THE CHINA PHILHARMONIC ORCHESTRA
WEDNESDAY, NOVEMBER 30
7:30PM, CHAN CENTRE, UBC Long Yu conductor
Serena Wang piano
ZHENG LU/MA HONG-YEH Good News from Beijing BEETHOVEN Piano Concerto No. 1 in C Major DVOŘÁK Symphony No. 9, From the New World Poly Culture, Alligga and the VSO are proud to present the Vancouver debut of the worldrenowned China Philharmonic Orchestra. The China Philharmonic Orchestra was named "One of the World’s most Inspiring Orchestras" by Gramophone online, and this event will be a milestone celebration during the 2015/2016 China-Canada Cultural Exchange Year. The concert will be conducted by Maestro Long Yu, one of the most distinguished Chinese conductors with an established international reputation. TICKETS: @VSOrchestra
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Carlo Montanaro conductor
Carlo Montanaro was Music Director at Teatr Wielki in Warsaw from 2011 to 2014, and he has performed on the most important stages worldwide. These include Bayerische Staatsoper (La Traviata, Aida, L’elisir d’amore, Carmen), Paris Opera (Il barbiere di Siviglia), Seattle Opera (Don Quichotte, Attila, La Bohème, The Consul, Maria Stuarda, Nabucco), Hamburgische Staatsoper (Manon Lescaut, Turandot, Macbeth, Falstaff, Madama Butterfly, La fanciulla del West), Oper Frankfurt (La Bohème, Mefistofele, Adriana Lecouvreur, Don Carlo, Simon Boccanegra), San Francisco Opera (Carmen), La Scala (La Traviata), La Fenice and Verona (Roméo et Juliette), Graz Musikverein (Giovanna d’Arco), Dresden Semperoper (Carmen, Un ballo in maschera, Il barbiere di Siviglia), Maggio Fiorentino (La Bohème), Tokyo NNT (Madama Butterfly, Il barbiere di Siviglia), Bilbao Opera (Lucia di Lammermoor). On the concert platform, he conducted Cincinnati Symphony, Atlanta Symphony, Seattle Symphony, Boston Symphony, WDR Köln, Hungarian National Philharmonic, Santa Cecilia Orchestra. Future plans include La Traviata in Dallas, Madama Butterfly in Seattle and La Bohème in San Francisco.
Andrew von Oeyen piano Andrew von Oeyen has established himself as one of the most captivating pianists of his generation. He has appeared with many of the major orchestras of the world, including the Philadelphia Orchestra, Los Angeles Philharmonic, San Francisco Symphony, National Symphony, Detroit Symphony, Saint Louis Symphony, Seattle Symphony, Atlanta Symphony, Mariinsky Theatre Orchestra, Berlin Symphony Orchestra, New Japan Philharmonic, Singapore Symphony and Spoleto Festival Orchestra. He has appeared in recital at Wigmore Hall, Barbican Hall, Lincoln Center, the Kennedy Center, Boston Symphony Hall, Zürich Tonhalle, Bolshoi Zal in St. Petersburg, Dublin’s National Concert Hall, Sala São Paulo, Rome, Muscat, Hanoi, Bucharest and in every major concert hall of Japan and South Korea.
In June 2016 Mr. von Oeyen signed an exclusive recording contract with Warner Classics. Born in the US, he began his piano studies at age five, made his solo orchestral debut at age ten and won the Gilmore Young Artist Award at age nineteen. He lives in Paris and Los Angeles.
Wolfgang Amadeus Mozart b. Salzburg, Austria / January 27, 1756 d. Vienna, Austria / December 5, 1791
The Marriage of Figaro: Overture, K492 This program of music by the two greatest prodigies in the history of music opens with the prelude to Mozart’s masterpiece of comic opera. The Marriage of Figaro is a play by the Frenchman Pierre Augustin Caron de Beaumarchais, a sequel to The Barber of Seville. Various love affairs and romantic deceptions are resolved by the final curtain, but not before Count Almaviva’s servants, including Figaro the barber, have proven themselves as intelligent and as sympathetic — if not more so — as he (quite a revolutionary concept for the late eighteenth century!). Mozart’s operatic version premièred with great success in Vienna in May, 1786. The overture is a compact miracle of wit and playfulness.
Felix Mendelssohn b. Hamburg, Germany / February 3, 1809 d. Leipzig, Germany / November 4, 1847
Piano Concerto No. 1 in G minor, Op. 25 Mendelssohn spent the years 1830–1832 on a journey throughout Europe, one concerned with equal parts furthering his career and simple pleasure. En route to Italy during the summer of 1830, he stopped over in Munich, Germany. There he met Delphine von Schauroth, a seventeen-year-old pianist with whom he developed a strong mutual attraction. He continued on to Rome, where among other musical activities he sketched this concerto. He completed it on his return to Munich and dedicated it to his young lady friend. allegro 55
The composer himself appeared as soloist in the première, which took place during an allMendelssohn concert in Munich on October 17, 1831. “My concerto was applauded long and loud,” he wrote home to his father. “The orchestra accompanied well, and the work itself was truly mad.” As for Delphine von Schauroth, time and distance gradually dissolved her relationship with Mendelssohn. In many ways, the concerto reflects Mendelssohn’s role as a bridge between the Classical and Romantic eras. On the Classical side, the three movements follow fairly traditional models: sonata, song and rondo, respectively. But following a practice instituted by Beethoven, Mendelssohn directs that they be performed as a continuous whole. He did so primarily for artistic reasons, to give the concerto a greater sense of flow and cohesiveness. The concerto also employed another favourite Romantic practice, cyclical reference. The same brass fanfare introduces both the second and third movements, and the finale includes a brief quotation from the first movement.
Symphony No. 4 in A Major, Op. 90 Italian Mendelssohn had long wanted to visit Italy, the cradle of so much European culture. After his way was finally cleared in late 1830, he spent the following 18 months there. Visiting Rome, Milan, Florence, Venice, and Naples, he enjoyed the scenery and art treasures every bit as much as he had hoped. On the down side, he occasionally found the people distant and the music second-rate, but that didn’t stop him from having a grand time. As the journey progressed, ideas for a symphony reflecting his impressions and experiences came rushing to him. He worked on it as he went, neglecting the sketches for another symphony, eventually known as the Scottish, which he had begun on a trip to that country in 1829, and was carrying with him. “The loveliest time of the year in Italy is the period from April 15 to May 15,” he wrote home from Rome in 1831. “Who then can blame me for not being able to return to the mists of Scotland?”
Referring to his newest symphony, he wrote to his sisters that “It will be the jolliest piece I have ever done, especially the last movement.” He finished the “Italian” Symphony (his own nickname) in March, 1833, after his return to Berlin. His immediate inspiration for doing so was a commission from the Philharmonic Society of London. Mendelssohn conducted the première himself, in London on May 13, with the orchestra maintained by that organization. Although the first performance was a success, he withdrew the symphony for revision less than a year later. Never fully satisfied with it, he refused to allow either its performance in Germany or its publication. It saw print, complete with his most recent revisions, in 1851, four years after his death. Its designation Symphony No. 4 springs from its order of publication, not composition. Its place within an accurate chronological listing of the five symphonies he composed as an adult would be No. 3 (the “Scottish” would be No. 5, since it was the last to be completed). Only an overdeveloped sense of self criticism can be blamed for his attitude toward the “Italian” Symphony, since it is as polished and appealing a gem as ever he created. The outer movements sparkle with energy and joy. The first is not specifically Italian in the folk-music sense, but it joyfully evokes the country’s sunshine and high spirits. The inner two movements — the processional second and the minuet-like third — present more reserved but equally affecting evocations of the same landscape (a well mannered northern traveler’s view of the less inhibited south?). The finale is the only section with an unmistakably Italian flavour. It is a breathtaking symphonic version of the saltarello (first cousin of the tarantella), a lively Neapolitan leaping dance which Mendelssohn witnessed during his travels. ■ Program Notes © 2016 Don Anderson
AT THE MOVIES!
SPE C IA L S O R P HE UM, 7: 30P M
Saturday, November 5 O RPHE U M , 2 P M
Sunday, November 6
Constantine Kitsopoulos conductor Special 35th Anniversary Celebration The film that gave the world one of its greatest movie heroes, Indiana Jones, is back and better than ever before! Relive the magic on the silver screen with the original great adventure… Raiders of the Lost Ark… with John Williams’ epic score performed live to picture by your Vancouver Symphony Orchestra! The year is 1936, and professor of archeology and “obtainer of rare antiquities” Indiana Jones (Harrison Ford) is tasked by U.S. Army Intelligence to recover the legendary Ark of the Covenant before it falls into the hands of the Nazis. Indy’s quest takes him to Nepal and Egypt, reuniting him with an old friend (John Rhys-Davies), an old foe (Paul Freeman), and an ex-flame (Karen Allen) who falls somewhere in between. Armed with his hat, whip and wits, our intrepid hero must face formidable enemies — and impossible odds — to save the day and the world.
FILM CREDITS PARAMOUNT PICTURES Presents A LUCASFILM LTD Production A STEVEN SPIELBERG Film
RAIDERS OF THE LOST ARK
Starring HARRISON FORD KAREN ALLEN JOHN RHYS-DAVIES RONALD LACEY PAUL FREEMAN DENHOLM ELLIOTT Music by JOHN WILLIAMS Executive Producers GEORGE LUCAS & HOWARD KAZANJIAN Screenplay by LAWRENCE KASDAN Story by GEORGE LUCAS and PHILIP KAUFMAN Produced by FRANK MARSHALL Directed by STEVEN SPIELBERG
“RAIDERS OF THE LOST ARK” licensed by LUCASFILM, LTD and PARAMOUNT PICTURES. Motion Picture, Artwork, Photos © 1981 Lucasfilm, Ltd. All Rights Reserved.
MUSIC WRITTEN BY JOHN WILLIAMS BANTHA MUSIC (BMI) ALL RIGHTS ADMINISTERED BY WARNER-TAMERLANE PUBLISHING CORP. (BMI) ALL RIGHTS RESERVED. USED BY PERMISSION. Classification: PG. Parental Guidance Suggested. Some material may not be suitable for children.
PRODUCTION CREDITS Raiders of the Lost Ark — Film with Orchestra produced by Film Concerts Live!, a joint venture of IMG Artists, LLC and The Gorfaine/Schwartz Agency, Inc. Producers . . . . . . . . . . . . . . . . . . . . . . . . . . . . Steven A. Linder and Jamie Richardson Production Manager . . . . . . . . . . . . . . . . . . . . Rob Stogsdill Production Coordinator . . . . . . . . . . . . . . . . . . Rebekah Wood Worldwide Representation . . . . . . . . . . . . . . . IMG Artists, LLC Supervising Technical Director . . . . . . . . . . . . Mike Runice Technical Director . . . . . . . . . . . . . . . . . . . . . . Warren Brown Music Composed by . . . . . . . . . . . . . . . . . . . . John Williams Music Preparation . . . . . . . . . . . . . . . . . . . . . . Jo Ann Kane Music Service Film Preparation for Concert Performance . . . . Ramiro Belgardt Technical Consultant . . . . . . . . . . . . . . . . . . . . Laura Gibson Sound Remixing for Concert Performance . . . . Chace Audio by Deluxe The score for Raiders of the Lost Ark has been adapted for live concert performance. With special thanks to: Paramount Pictures, Lucasfilm Ltd, Steven Spielberg, Frank Marshall, John Williams, Alan Bergman, Howard Roffman, Chris Holm, Chip McLean, Darryl J. Franklin, Dan Butler, Pat Woods and Mark Graham. allegro 59
the first time a composer was honored with this award.
John Williams composer In a career spanning five decades, John Williams has become one of America’s most accomplished and successful composers for film and for the concert stage, and he remains one of our nation’s most distinguished and contributive musical voices. He has composed the music for more than one hundred films, including all seven Star Wars films, the first three Harry Potter films, Superman, Memoirs of a Geisha, Home Alone and The Book Thief. His 40-year artistic partnership with director Steven Spielberg has resulted in many of Hollywood’s most acclaimed and successful films, including Schindler’s List, E.T. the Extra-Terrestrial, Jaws, Jurassic Park, Close Encounters of the Third Kind, the Indiana Jones films, Saving Private Ryan, and Lincoln. Mr. Williams has composed themes for four Olympic Games. He served as music director of the Boston Pops Orchestra for fourteen seasons and remains their Laureate Conductor. He has composed numerous works for the concert stage including two symphonies, and concertos commissioned by many of America’s most prominent orchestras. Mr. Williams has received five Academy Awards and 50 Oscar nominations (making him the second-most nominated person in the history of the Oscars), seven British Academy Awards, twenty-two Grammys, four Golden Globes, and five Emmys. In 2003, he received the Olympic Order (the IOC’s highest honor) for his contributions to the Olympic movement. In 2004, he received the Kennedy Center Honors, and in 2009 he received the National Medal of Arts, the highest award given to artists by the U.S. Government. In 2016 he received the 44th Life Achievement Award from the American Film Institute —
In creating the character Indiana Jones, George Lucas and Steven Spielberg introduced an enduring and much loved figure into the pantheon of fictional movie heroes. Raiders of the Lost Ark was illuminated by the superb comedy-action performance of Harrison Ford and enlivened by the spirited direction of Steven Spielberg. A note from John Williams: "Speaking for myself, I must say that the experience of composing the music for this film, and for the subsequent installments in the series, was a very happy one, and offered me a wild and truly joyous ride. I’m especially delighted that the magnificent Vancouver Symphony Orchestra has agreed to perform the music this evening in a live presentation of the movie. I know I speak for everyone connected with the making of Raiders, in saying that we are greatly honored by this event… and I hope that tonight’s audience will experience some measure of the joy and fun we did when making the film nearly thirty-five years ago."
Constantine Kitsopoulos conductor
The 2016–17 season will mark Constantine Kitsopoulos' 7th as Music Director of the Festival of the Arts BOCA. He was Artistic Director of the OK Mozart Festival from 2013– 15 and spent eight years as Music Director of the Queens Symphony Orchestra. In 16–17, Kitsopoulos includes return engagements with the New Jersey, Baltimore, Vancouver and Detroit Symphonies, the Philadelphia Orchestra, Louisiana and Calgary Philharmonics and Symphony Silicon Valley. He will make debuts with the Pacific and Fort Worth Symphonies. He returns to Indiana Opera Theatre to lead their production of The Music Man and New York University to conduct three different programs with their orchestras. In addition to his work as a conductor, Kitsopoulos will make his debut as a composer at Michigan State University with a workshop of a new music theatre piece entitled Temple. ■
TEDDY TAHU RHODES
A IR C A N A D A M A S T ERW ORK S D IAMO N D ORP H EU M , 8P M
Saturday & Monday, November 12 & 14 UBC UNIVERSITY SINGERS
VISIT THE SYMPHONY GIFT SHOP FOR CD SELECTIONS MASTERWORKS DIAMOND SERIES SPONSOR
NOVEMBER 14 CONCERT SPONSOR
Bramwell Tovey conductor Lyne Fortin soprano Susan Platts mezzo-soprano David Pomeroy tenor Teddy Tahu Rhodes bass UBC University Singers & Choral Union Graeme Langager choral director VERDI Messa da Requiem
I. Requiem II. Dies irae III. Offertorio IV. Sanctus V. Agnus Dei VI. Lux aeterna VII. Libera me
Free to ticketholders, 7:05pm to 7:30pm, in the auditorium.
Bramwell Tovey conductor
For a biography of Maestro Bramwell Tovey, please refer to page 11.
Lyne Fortin soprano Lyne Fortin is one of Canada's leading sopranos, in performances that include L'Opera de Montréal, Canadian Opera Company, Vancouver Opera, Calgary Opera, Edmonton Opera, Opera de Québec, and Pacific Opera Victoria. In the United States, she has appeared with major companies in Baltimore, Seattle, Connecticut, Kentucky, Arizona Opera, Michigan, Akron, New Jersey and Portland. She has also sung at the Vlaamse Opera in Belgium and Scottish Opera. She appeared at the Montreal Jazz Festival and in Avignon, France as Regine St. Laurent in Rufus Wainwright’s Prima Donna. Future engagements include appearances with the National Reisopera in the Netherlands as Marietta and to Paris, France as Regine St. Laurent. A notable concert artist, Ms. Fortin has appeared as a featured soloist with the orchestras throughout Canada as well as Fort Myers, and Pacific Symphony. In Europe, she has appeared at the Prague Spring Festival and on tour with Les Violons du Roy and in Paris, Montreal, and Québec City as the featured singer in the Starmania spectacle.
Susan Platts mezzo-soprano Though Rolex-Prize-winning Canadian mezzo Susan Platts’ concert repertoire is nearly all-inclusive, she enjoys particular renown as among the foremost Mahlerians of her generation. She has been welcomed at La Scala, Carnegie Hall and Lincoln Center as well as in all the major Canadian venues with the country’s top orchestras and conductors. In America she has appeared with the Boston, Houston, Baltimore, Oregon, American and San Diego Symphonies and Minnesota Orchestra. Invitations abroad include the Royal Scottish National Orchestra, Germany’s Staatskapelle Halle, Tokyo Metropolitan Orchestra, Malaysian and Krakow Philharmonics, Orchestre de Paris and BBC Symphony and Royal Opera House, Covent Garden. Opera appearances include three roles at Pacific Opera Victoria
and Florence Pike in the Vancouver Opera production of Britten’s Albert Herring. Recordings including the chamber and fullorchestral versions of Mahler’s Das Lied von der Erde and the same composer’s Lieder eines fahrenden Gesellen as well as an acclaimed solo recital.
David Pomeroy tenor Internationally acclaimed for his rich voice with thrilling top notes, Canadian tenor David Pomeroy is enjoying a career in the spotlight at some of the world's most important opera houses and concert halls. The Newfoundland native made his Metropolitan Opera debut in 2009, as Hoffmann in Les contes d'Hoffmann opposite Anna Netrebko conducted by James Levine. Further Met appearances include the title role in Faust and Pollione in Norma. In the 2016 /17 season, Pomeroy looks forward to a house debut with Oper Köln as Florestan in Fidelio, Braunfel’s Te Deum for the Warsaw Philharmonic, and his role debut as Calaf in Turandot for Edmonton and Calgary. His 17/18 season includes appearances with the Seattle Opera and Canadian Opera Company. Additional credits include The Royal Danish Opera, Staatsoper Stuttgart, Frankfurt Opera, Toronto Symphony, Opera Australia, Michigan Opera Theatre, Vancouver Opera and Janacek’s Glagolitic Mass with Orchestre Metropolitain du Grand Montréal under the baton of Yannick Nézet-Séguin.
Teddy Tahu Rhodes bass New Zealand baritone Teddy Tahu Rhodes graduated from the Guildhall School of Music and Drama and studied with David Harper. For Opera Australia he has sung Dandini, Count Almaviva, Demetrius, Escamillo, Guglielmo, Belcore, Harlekin, Don Giovanni, Billy Budd and Méphistophélès. He has also performed with the opera houses of San Francisco, Philadelphia, Austin, Washington, Houston, Dallas, Cincinnati, Santa Fe, Munich, Hamburg and Leipzig, and for the Welsh National Opera, Scottish Opera, Chatelet Theatre Paris and Theater an der Wien. His many recordings include DVDs of Peter Grimes (EMI) and Carmen (Deutsche Grammophon) from the Metropolitan Opera. allegro 65
Engagements during the 2016/17 season and beyond include his debut with the Aix-en-Provence Festival as Escamillo, Daland in Der Fliegende Höllander with the St. Louis Symphony Orchestra under David Robertson, and the title role of Oedipe in London and Bucharest with conductor Vladimir Jurowski, as part of the George Enescu Festival.
nd the master's degree at California State University, Long Beach. Langager returned to Vancouver in 2009 to take over the reigns as UBC’s Director of Choirs after a 15-year career in the US, with conducting positions in California, North Carolina, Ohio, and Arkansas.
Langager is sought after as a guest conductor, choral clinician, and adjudicator, and is active as a composer and arranger. Langager’s choirs have been invited to perform at major music conferences, including ACDA, MENC, NCCO, and IAJE. His University Singers is the premier choral choirs have performed throughout Europe and ensemble in the UBC School of Music. This the United States including such prestigious 40-voice ensemble performs the most venues as St. Peter’s Basilica in Rome, advanced and exciting music for chamber Stefansdom in Vienna, Notre Dame in Paris, choir written in recent decades, as well as St. Nicholas in Prague, and St. Stephen’s in motets and other historically important works. Budapest. The University Singers also performs with orchestra annually, including such works as Beethoven’s Symphony No. 9, Handel’s b. Le Roncole, Italy / October 10, 1813 Messiah, and Brahms’ Requiem. The choir d. Milan, Italy / January 27, 1901 tours often, including local, North American, and international destinations. The University Messa da Requiem (Requiem Mass) Singers performs four feature concerts Verdi’s Requiem dates from a fallow period in each year, as well as occasional run-out his operatic career. He composed no operas performances throughout the Vancouver for 16 years following the première of Aïda area. The University Singers recently won in 1871. For the remainder of his life, only first place among university choirs in the projects whose call his heart would not permit 2015 National Competition for Canadian him to refuse stirred his creative muse into Amateur Choirs. action. Choral Union is UBC’s largest choir. Boasting The Requiem was inspired by his high esteem over 150 singers, the Choral Union performs for two fellow Italian artists. The first was major choral repertoire from beautiful pieces composer Gioachino Rossini. On November of Renaissance music to dynamic modern 17, 1868, just four days after Rossini’s compositions. As well, the Choral Union death, Verdi put forward the suggestion that performs with the UBC Symphony Orchestra a group of composers pool their talents and each year, including works such as Mozart’s write a joint requiem mass in his honour. He Requiem, and Orff’s Carmina Burana. This contributed the final section, Libera me. For ensemble is comprised of both music majors practical reasons, the projected performance and non-music majors and performs four never took place. The second vital figure concerts each year. was author Alessandro Manzoni. His novel I promessi sposi (‘The Betrothed’) remained Verdi’s favourite novel throughout his life. choral director Alberto Mazzucato, a member of the
UBC University Singers & Choral Union
Dr. Graeme Langager is Director of Choral Activities at the UBC School of Music, and the Artistic Director and Conductor of the acclaimed Phoenix Chamber Choir. A native of Lethbridge, Alberta, Langager received the doctor of musical arts degree at the Cincinnati College-Conservatory of Music a
committee that had decided which composer would write which portion of the joint Requiem for Rossini, examined Verdi’s Libera me and gave it the highest praise. He also expressed the desire that Verdi use it as the basis for a complete requiem. The composer appreciated the encouragement but begged off.
By early 1873, he changed his mind. Inspiration may have flowed from his publisher’s returning the manuscript of the unused Libera me. Another cause may have been a realization that Manzoni, then 89 years old, might not have long left to live, and that his passing would merit the creation of a suitably grand musical testimonial. His timing turned out to be prophetic: Manzoni died on May 22. The news struck Verdi so forcibly that he was unable to attend the state funeral. He then made a proposal to the mayor of Milan: he would finish his Requiem and dedicate it to Manzoni’s memory. He stipulated that it would be performed in Milan on the first anniversary of Manzoni’s death. The mayor agreed.
Wishing the first performance to represent something more than a simple “performance,” he insisted that it be given in a church rather than a theatre. He chose the cathedral of San Marco in Milan for the debut, because of its size and its excellent acoustics. For three weeks, he carefully and intensively rehearsed the vast performing forces (four solo singers, plus a chorus of 120 and an orchestra of 100), ensuring an expert première performance on May 22.
The reaction was sensational, the Requiem achieving instant acclaim as a masterpiece. Johannes Brahms stated, “Only a genius could have written such a work.” Wherever it was performed, a few listeners criticized it as too theatrical, too operatic for its sacred subject. But what else could anyone have Sequestered in a suite at the Hôtel de Bade expected from Verdi, a man whose heart, soul in Paris that summer, Verdi set to work and instincts were firmly rooted in the theatre, intensively. He continued his labours after and whose responsibility was to set to music returning to Italy in mid-September. He put the emotional contents of the text at hand, be the finishing touches to the Requiem in April 1874, well in time for the scheduled première. it sacred or secular? Perhaps in recognition of its theatricality, throughout the European tour
EMANUEL AX WITH THE VSO
WEDNESDAY, JANUARY 18 8PM, ORPHEUM
Bramwell Tovey conductor Emanuel Ax piano* BEETHOVEN Wellington's Victory MOZART Piano Concerto No. 16 in D Major* BEETHOVEN Piano Concerto No. 5 in E-flat Major, Emperor* Maestro Bramwell Tovey teams with legendary pianist, the great Emanuel Ax, in a program that features two piano concertos: Beethoven’s powerful Emperor Concerto, and Mozart’s beguiling Piano Concerto No. 16. Hear the master at work, in his first appearance with the VSO in over twenty years. @VSOrchestra
that followed the première, it was performed in theatres rather than churches, a practice which has proven to be the norm ever since. The opening section, Requiem aeternam (Grant them eternal rest), is scored for chorus and orchestra. It is slow, quiet and filled with a deep sense of grieving. Passing into the Kyrie (Lord, have mercy), the tempo quickens, and the levels of volume and animation rise as the solo quartet enters. The quiet close of this section sets up the greatest possible contrast with the following Dies irae (Day of wrath). This apocalyptic vision of the terrifying day when God passes judgement on the souls of all humanity is the longest and most varied portion of the score. The opening is violent and raging, punctuated with thunderous strokes on the bass drum. The ensuing subsections resemble a set of contrasting operatic arias, while offstage brass add a stirring effect to the Tuba mirum (The mighty trumpet) section. The opening tempest returns, but this section concludes with Lacrymosa (Day of sorrow), a gentle prayer for mercy.
The next three movements are more positive in feeling. Offertorio (Offering) is a heartfelt piece featuring the solo quartet; Sanctus (Holy, holy, holy), a brief, joyous fugal hymn for divided chorus; and Agnus dei (Lamb of God), which begins as a restrained, chant-like duet for soprano and mezzo-soprano soloists, unaccompanied, gradually grows in fervour, colour and number of performers. Lux aeterna (Eternal light) opens in similar mode, but a sense of unease returns to the music, especially when the Requiem’s very opening text, Requiem aeternam, is heard again as a bass solo. The final movement, Libera me (Free me) adopts highly operatic procedures in its stark contrasts and dramatic surprises. After an agitated soprano solo, the Dies irae is heard again, briefly, then the Requiem text, quietly and ethereally, for one last time. A grand fugue on Libera me crowns the score, only to cede to an impressive final gesture: a quiet ending. ■ Program Notes © 2016 Don Anderson
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Mr. Norman E. & Mrs. Marlene Franks Maurice Freer Miss Anne E. Funk Jean & Hubert Gabrielse Mary Gagnon Ms. Sheila M. Gair Barbara Ganger George Garrett Nancy Garrett Dr. Ivan G. & Ms. Laurie Gasoi Mr. Kenneth C. Gehrs Mr. Richard L. George Mary Georgilas Mrs. M.C.L. Gerry Ron Gibbs Ms. Erica Gilbert Mr. Terence Gilbraith Marion & Jack Gillingham Maryke Gilmore Robert Goddard & Catherine Condon Elaine Godwin V. Godwin Myer & Reita Goldberg Robert & Ann-Shirley Goodell John & Julia Gosden Mary Ellen Graham Win Granger Robin Gray Mr. & Mrs. George Gregr Paul Greisman David Griffiths Mrs. Elizabeth Guilbride V. J. Gum Penelope & Lyman W. Gurney Robert Hackney Mr. Robert Hamill Ian Hampton Ms. Shannon Handfield Richard Hankin & Heather Jones Hankin Dr. & Mrs. H. Wayne Hanna Pauline & Alan Hannam Kevin Hanvey & Helen Goodland Joanne Harada & Timothy Lee James Harcott P. & M. Harrison Pat Harrold & Paul Hart Mrs. Constance M. Hatherton Dr. E. G. Hauptmann Rev. David G. Hawkins W.M. Hay Grayden & Shirley Hayward Martha Hazevoet Mrs. Lennice Hemsworth Hemy-Bain Family Nancy E. Henderson Barbara & Sheldon Hershberg Audrey Hetherington Mr. Lyle Hillaby Patricia M. Hoebig Mr. Carl Hofbauer Carey Galen Cornelius Hoffman Clive & Carol Holloway Ms. Dorothy Holme Mrs. Johanne Homer Dr. Brenda Horner Mrs. Marjorie Hougham Ronald Howard, in memory of Georgia Mr. & Mrs. John A. Hull Bill & Barb Humen Continued on page 74 . . .
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At the Concert CONCERT COURTESIES
CELL PHONES, PAGERS, DIGITAL WATCHES
CAMERAS, RECORDING EQUIPMENT
For your enjoyment, and the enjoyment of others, please remember concert etiquette. Talking, coughing, leaning over the balcony railings, unwrapping candies, and the wearing of strong perfume may disturb the performers as well as other audience members. Ushers will escort latecomers into the auditorium at a suitable break in the performance chosen by the conductor. Patrons who leave the auditorium during the performance will not be re-admitted until a suitable break in the performance.
Hearing-impaired patrons may borrow complimentary Sennheiser Infrared Hearing System headsets, available at the coat-check in the Orpheum Theatre only, after leaving a driverâ€™s licence or credit card.
Please turn off cell phones and ensure that digital watches do not sound during performances. Doctors and other professionals expecting calls are asked to please leave personal pagers, telephones and seat locations at the coat check.
Photography and video/audio recording of any kind are prohibited during the performance. Pictures taken pre-concert, at intermission, and post-concert are encouraged. Please feel free to tweet and post to Facebook or Instagram pre-concert, during intermission or after the concert @VSOrchestra. During the performance, please do not use your mobile device in any way.
SMOKING AND SCENTS All venues are
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PROGRAM, GUEST ARTISTS AND/OR PROGRAM ORDER ARE SUBJECT TO CHANGE.
Vancouver Symphony Administration 604.684.9100 Kelly Tweeddale, President Mehgan Atchison, Executive Assistant Finance & Administration: Mary-Ann Moir, Vice-President, Finance & Administration Antonio Andreescu, Junior Database & Network Administrator Debra Marcus, Director, Information Technology & Human Resources Diane Chen Liu, Accountant Ray Wang, Payroll Clerk & IT Assistant Marketing, Sales & Customer Service: Alan Gove, Vice-President, Marketing & Sales; Matthew Baird, Public Relations Manager & Assistant to the Music Director Shirley Bidewell, Manager, Gift Shop & Volunteers
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Vancouver Symphony Society Board of Directors Roy Millen
Board Executive Committee
Fred Withers, Chair
Partner, International Tax Services Ernst & Young LLP
Judith Korbin, Vice Chair
Philip KY Chan
Hein Poulus, Q.C.
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Musician Representatives Larry Knopp Principal Trumpet
Vern Griffiths Principal Percussion
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Michael L. Fish
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Irene McEwen Gerald A.B. McGavin, C.M., O.B.C. Hein Poulus, Q.C.
Alan Pyatt Arthur H. Willms
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Gordon R. Johnson, Chair Claire Hunter Fiona Lin Hein Poulus, Q.C. Patricia Shields
Eric Watt Arthur H. Willms
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Jose Valenzuela Accountant Scott Jeffrey Registrar
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Nancy Wu Marlies Wagner Gail Franko Paddy Aiken Azmina Manji Jean Pirie Sheila Foley Shirley Bidewell Barbara Morris
Lotteries in Malls . . . . . . . Gloria Davies Reception Shifts . . . . . . . . Gloria Davies Tea & Trumpets . . . . . . . . . Shirley Featherstone Marlene Strain Special Events Symphony of Style 2016 . . Paddy Aiken Azmina Manji Holland America Luncheon 2016 . . . . . . . . . Marlies Wagner
Membership Volunteer Hours . . . . . . . . Sheila Foley Manager, Gift Shop and Volunteer Resources Shirley Bidewell Tel 604.684.9100 ext 240 email@example.com Assistant Gift Shop Manager Robert Rose
UPCOMING CONCERTS Highlights of the next issue of allegro... VSO CHAMBER PLAYERS:
MUSIC OF THE MASTERS
WED & THURS, NOVEMBER 30 & DECEMBER 1 7:30PM SUN, DECEMBER 4 2PM, PYATT HALL, VSO SCHOOL OF MUSIC ROSSINI String Sonata No. 3 in C Major HAYDN String Quartet. Op. 76, No. 6 BEETHOVEN Eyeglasses Duo for Viola and Cello VERDI String Quartet in E minor
TCHAIKOVSKY & BRUCH
SAT, DECEMBER 3 8PM, ORPHEUM MON, DECEMBER 5 8PM, BELL PERFORMING ARTS CENTRE, SURREY Mikhail Agrest conductor Simone Porter violin* DVOŘÁK Othello Overture BRUCH Violin Concerto No. 1 in G minor* TCHAIKOVSKY Orchestral Suite No. 3 in G Major
ELLIS HALL — SOUL UNLIMITED
FRI & SAT, JANUARY 6 & 7 8PM, ORPHEUM John Morris Russell conductor Ellis Hall piano/vocalist Superstar vocalist and instrumentalist Ellis Hall channels the greats in a concert with soul. Get your groove on to classic music by Stevie Wonder, Marvin Gaye, the Temptations, Earth Wind and Fire, Otis Redding, and of course, the great Ray Charles.
EMANUEL AX WITH THE VSO
WED, JANUARY 18 8PM, ORPHEUM Bramwell Tovey conductor Emanuel Ax piano* BEETHOVEN Wellington’s Victory MOZART Piano Concerto No. 16 in D Major* BEETHOVEN Piano Concerto No. 5 in E-flat Major, Emperor* Maestro Bramwell Tovey teams with legendary pianist, the great Emanuel Ax, in a program that features two piano concertos: Beethoven’s powerful Emperor Concerto, and Mozart’s beguiling Piano Concerto No. 16. Hear the master at work, in his first appearance with the VSO in over twenty years.
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