Magazine of the Vancouver Symphony
January 21 to March 6, 2017 Volume 22, Issue 3
celebrating the Lunar New Year
The VSO New Music Festival Adrianne Pieczonka sings Strauss
The Sounds of Simon & Garfunkel
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
Roger Cole, Principal
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
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 Acting Assistant Principal Noah Reitman, Assistant Principal Contrabassoon David Brown Sophie Dansereau J. Warren Long French Horns Frederick Schipizky Oliver de Clercq, Principal Flutes Second Horn Christie Reside, Principal
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
Werner & Helga Höing Chair
Nadia Kyne, § Assistant Principal Lara Deutsch, Assistant Principal Rosanne Wieringa §
David Haskins, Associate Principal Andrew Mee
Winslow & Betsy Bennett Chair
Piano Technician Thomas Clarke
Michael & Estelle Jacobson Chair
Richard Mingus, Assistant Principal
Ron & Ardelle Cliff Chair
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.
Larry Knopp, Principal Marcus Goddard, Associate Principal The Vancouver Symphony Orchestra is a proud member of
*Supported by The Canada Council for the Arts § Leave of Absence
allegro Magazine of the Vancouver Symphony
In this Issue The Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Allegro Staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Government Support . . . . . . . . . . . . . . . . . . . . . . . . 6 Message from the Chairman . . . . . . . . . . . . . . . . . . 7 Advertise in Allegro . . . . . . . . . . . . . . . . . . . . . . . . 22 VSO Stradivarius Legacy Circle . . . . . . . . . . . . . . . 26 Patronsâ€™ Circle . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 VSO School of Music . . . . . . . . . . . . . . . . . . . . . . . 31 VSO Musician Profile . . . . . . . . . . . . . . . . . . . . . . . 38 Vancouver Symphony Foundation . . . . . . . . . . . . . 54 Corporate Partners . . . . . . . . . . . . . . . . . . . . . . . . . 68 At the Concert / VSO Staff . . . . . . . . . . . . . . . . . . . 70 Board of Directors / Volunteer Council . . . . . . . . . 71 Upcoming Concerts . . . . . . . . . . . . . . . . . . . . . . . . 72 4 allegro
January 21 to March 6, 2017 Volume 22, Issue 3
Musician Profile Karen Gerbrecht
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: vsoallegro@ yahoo.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.
Concerts JANUARY 21, 23 / Air Canada Masterworks Diamond / Bramwell Tovey conductor . . . . . . . . . . . . . . 9 Adrianne Pieczonka soprano JANUARY 24 / VSO New Music Festival / Hard Rubber Orchestra / John Korsrud director . . . . . . . 15 JANUARY 25 / VSO New Music Festival / New Music for Old Instruments I / . . . . . . . . . . . . . . . . . . 16 Camille Hesketh soprano, Vicki Boekman recorder, Chloe Meyers violin, Soile Stratkauskas flute, Beiliang Zhu gamba/cello, Alexander Weimann harpsichord JANUARY 26 / VSO New Music Festival / Pure Piano / Rachel Kiyo Iwaasa piano . . . . . . . . . . . . . . 17 Miranda Wong piano, Lisa Cay Miller, piano, Corey Hamm piano JANUARY 27 / VSO New Music Festival / Requiem for a Generation / . . . . . . . . . . . . . . . . . . . . . . . 18 Bramwell Tovey conductor, Zorana Sadiq soprano, Rebecca Hass mezzo-soprano, Colin Ainsworth tenor, Brett Polegato baritone, UBC University Singers & Choral Union, Graeme Langager chorus director, Langley Fine Arts School Youth Choir, Jim Sparks chorus director, Glenn Buhr & The Button Factory Band JANUARY 28 / VSO New Music Festival / New Music for Old Instruments II / . . . . . . . . . . . . . . . . . . 19 Pacific Baroque Orchestra, Alexander Weimann music director, Reginald L. Mobley counter-tenor JANUARY 29 / VSO New Music Festival / On a Wire / Bramwell Tovey conductor, Standing Wave . . 20 FEBRUARY 1 / Specials / Lunar New Year / Avan Yu piano & host . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Lucy Wang violin, Karen Wong sheng, Zhongxi Wu suona, Nestor Wu percussion, Vancouver Zion Mission Choir, Stephanie Chung pianist/choral director, Ho Jin Choi piano, VSO String Quartet: Nicholas Wright violin, Jason Ho violin, Andrew Brown viola, Ariel Barnes cello FEBRUARY 4, 5 / Mardon Group Insurance Musically Speaking / Rogers Group Financial . . . . . . . 33 Symphony Sundays / Constantin Trinks conductor, Juho Pohjonen piano FEBRUARY 10, 11 / London Drugs VSO Pops / Sounds of Simon & Garfunkel / . . . . . . . . . . . . . . . . 41 Michael Krajewski conductor, AJ Swearingen vocalist, Jonathan Beedle vocalist FEBRUARY 12 / OriginO Kidsâ€™ Koncerts / Platypus Theatre: How the Gimquat Found Her Song / . . . 45 William Rowson conductor, Platypus Theatre FEBRUARY 16 / Tea & Trumpets / Making Overtures / William Rowson conductor . . . . . . . . . . . . . 49 Christopher Gaze series host, Joshua Tromans piano FEBRUARY 18, 20 / Air Canada Masterworks Diamond / Lahav Shani conductor . . . . . . . . . . . . . . 51 Kirill Gerstein piano FEBRUARY 24, 25 / Classical Traditions / Bramwell Tovey conductor . . . . . . . . . . . . . . . . . . . . . . . . 55 Garrick Ohlsson piano FEBRUARY 26 / Vancouver Sun Symphony at the Annex / Fugitive Voices / . . . . . . . . . . . . . . . . . . . 59 Bramwell Tovey conductor, Robyn Driedger-Klassen soprano, Eve-Lyn de la Haye soprano, Marion Newman mezzo-soprano, Jelena Milojevic accordion MARCH 4, 6 / Goldcorp Masterworks Gold / David Danzmayr conductor, Jeremy Denk piano . . . . 65 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
Dear friends, Thank you for joining us for today’s concert; we are delighted to have you with us. Halfway through the 2016/2017 Season, we take the opportunity to look forward with excitement at programming and guest artists ahead (see President Kelly Tweeddale’s adjoining greetings) and to reflect back on our Season to date. I am pleased to report that we continue to build and operate a strong and vibrant organization — expanding our programming and increasing our audiences while continuing to steward a sustainable business model. Led by esteemed Music Director Bramwell Tovey, this past Fall saw some of our favourite guest artists as well as new artists joining the Orchestra for joyful music making. Also joining us during the Fall were a number of guest conductors as part of the continuing Music Director search process. In November, the Annual General Meeting of the Vancouver Symphony Society took place. We adopted a new format for this year’s Meeting, inviting Patrons, Friends and our new musicians to join us for both the business of the Meeting and a following reception. The Meeting is an opportunity to recount the many activities of the Orchestra during the 2015/2016 Season, and to thank those who make what we do possible — our three levels of government, our corporate sponsors, our Patrons, our Friends and you our audience. We successfully concluded our 2015/2016 Season with a small surplus on financial results for the twelfth time in the past thirteen years. In December, the Board of Directors approved and the musicians of the Orchestra ratified a new four year contract, taking us through the 2019/2020 Season. The new contract will see the organization take a significant step forward in musician compensation and benefits — ensuring we retain and attract the very best musicians. The collective bargaining process itself — a six month process led by our senior management team and representatives of the Orchestra — provides an opportunity to review the health of the Orchestra and the organization, to share aspirations and to renew the sense of partnership that underpins our success as an organization. I am very pleased with the outcome of this process. Enjoy the concert — and thank you for making the VSO a part of your everyday life.
the VSO Chairman and President A new year is always time for reflecting on the old and embracing the new, and the VSO is actively doing both with celebration of beloved works such as Richard Strauss’ Four Last Songs and his masterpiece for orchestra: Ein Heldenleben, followed by our exploration of contemporary music with the VSO New Music Festival which runs from January 24–29 at various venues. (see pages 15–20) This year’s festival combines new music for old instruments, features Jeff Ryan’s Afghanistan: Requiem for a Generation, written with poet Suzanne M. Steele, reflecting the impact of the Afghanistan war, the festival debut of Glenn Buhr & The Button Factory Band, and works by Canadian composers near and far. If you haven’t attended a New Music Festival concert, the atmosphere is friendly and adventurous, followed by an artist/musician mix and mingle post-concert. The VSO is committed to connecting with the relevant stories of today, and it was our pleasure in December to welcome our first group of Syrian immigrants to the VSO at the Bell Performing Arts Centre in December, just a few days shy of the one year anniversary marking the arrival of the first Syrian families to Canada. In most cases, this was an orchestral “first” experience and it proved that music is indeed a universal language and a connector. With support from the Canada Council, we will be inviting and hosting additional immigrants to our classical and family concerts through March as part of our ongoing outreach and welcome to all new audiences. In February, Vancouver native Avan Yu hosts our Lunar New Year celebration with a potpourri of guests and musical traditions. Music Director Bramwell Tovey takes the podium once again in the Annex Theatre to welcome mezzo-soprano Marion Newman to perform his work Fugitive Voices inspired by the Underground Railroad and to perform Anna Höstman’s composition and installation inspired by the Bella Coola Valley. Based on the diverse VSO musical calendar, 2017 is going to be a very good year!
Fred G. Withers Chair, Board of Directors
Kelly Tweeddale President, VSO & VSO School of Music allegro 7
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Concert Program A IR C A N A D A M A S T ERW OR K S D IAMO N D OR P H EU M , 8P M
Saturday & Monday, January 21 & 23 Bramwell Tovey conductor Adrianne Pieczonka soprano STRAUSS Intermezzo, Op. 72: BRAMWELL TOVEY
Travel Fever and Waltz Scene
STRAUSS Vier letzte Lieder (Four Last Songs)
I. Frühling (Spring) II. September III. Beim Schlafengehen (Falling Asleep) IV. Im Abendrot (In the Evening’s Glow)
Ein Heldenleben (A Hero’s Life), Op. 40
I. The Hero II. The Hero’s Adversaries III. The Hero’s Beloved IV. The Hero’s Battlefield V. The Hero’s Works of Peace VI. The Hero’s Withdrawal from the World VII. Renunciation
PRE-CONCERT TALKS ADRIANNE PIECZONKA
FREE TO TICKETHOLDERS, 7:05pm to 7:30pm, in the auditorium.
VISIT THE SYMPHONY GIFT SHOP FOR CD SELECTIONS MASTERWORKS DIAMOND SERIES SPONSOR
JANUARY 21 MASTERWORKS DIAMOND CONCERT SPONSOR
JANUARY 23 MASTERWORKS DIAMOND CONCERT SPONSOR
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. 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 of his work Time Tracks, a suite from his opera, The Inventor. 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.
“... Tovey won the Juno® Award for Best Classical Composition... ” 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.
Adrianne Pieczonka soprano Internationally acclaimed for her interpretations of Wagner, Strauss, Verdi and Puccini on opera stages across the globe, Canadian soprano Adrianne Pieczonka has brought to life such powerful women as Senta, Chrysothemis, Sieglinde, the Marschallin, the Kaiserin, Tosca, Elisabetta, and Amelia. Performances have taken her to New York’s Metropolitan Opera, the Vienna Staatsoper, ROH Covent Garden, Paris, Berlin, Madrid, Munich, Frankfurt, Los Angeles, and La Scala, as well as to major summer festivals including Salzburg, Bayreuth, Glyndebourne, the Schubertiade in Schwarzenberg, and Aixen-Provence. This season Adrianne reprises her highly acclaimed role of Chrysothemis at the Gran Teatre del Liceu in Barcelona and the Staatsoper in Berlin. She also appears in Fidelio at the Metropolitan Opera in New York, Un Ballo in Maschera with the Deutsche Oper in Berlin and the Staatsoper in Munich, and in the title role of Verdi’s Tosca at the Vienna Staatsoper and the COC in Toronto. She will also be heard in Schubert’s great song cycle Die Winterreise in Toronto. allegro 11
Richard Strauss b. Munich, Germany / June 11, 1864 d. Garmisch-Partenkirchen, Germany / September 8, 1949
Intermezzo, Op. 72: Travel Fever and Waltz Scene By the time this “bourgeois comedy with symphonic interludes,” as Strauss called it, premièred in 1924, it had been five years since the debut of his previous opera, the complex, mystical drama The Woman without a Shadow. Seeking a more straightforward and realistic plot for his next opera, he came up with Intermezzo, creating both the music and the libretto. He made no attempt to conceal the fact that he based the plot on events in his family’s own life, especially his wife’s mistakenly thinking that he was having an affair, and her encounter with a scheming gigolo. He thus continued the practice – one he had already followed in Ein Heldenleben and Symphonia Domestica – of giving certain compositions an autobiographical element.
Intermezzo includes 11 orchestral interludes. In 1933, Strauss adapted four of them into a concert suite. This program opens with the concluding portion of the first one. Previously, the principal character, Christine, had met the handsome, charming Baron Lummer at a party. Their paths cross again in a resort town and they dance together to the chain of waltzes you will hear at this concert. It rivals those from Strauss’s Der Rosenkavalier for charm and melodic appeal.
Four Last Songs In 1946, four years after he had composed his most recent songs, Strauss came across Im Abendrot (In the Evening’s Glow), a poem by Joseph von Eichendorff (1788–1857). Its mood suited his world-weary, post-war frame of mind perfectly. The characters, an elderly couple gazing into the sunset, reflected his and his wife Pauline’s situation like a glove. He completed his setting on May 6, 1948. An admirer had recently sent him a volume of poems by Hermann Hesse (1877–1962). From
it he chose four pieces, possibly intending to join them together with Im Abendrot to form a song-cycle. He completed only three of them: Frühling (Spring), Beim Schlafengehen (Falling Asleep), and September.
“... returned to the ripely Romantic style of his own early music, deepened by vast intervening experience. ” He died without hearing them in concert. He left no indication that he intended them to be performed together, and therefore no sequence of presentation. Ernst Roth, an editor at his publishing company, Boosey and Hawkes, decided that they formed a cycle. The performing order upon which he settled – Beim Schlafengehen, September, Frühling, and Im Abendrot – was followed at the première. That took place in London on May 22, 1950, eight months after Strauss’s death. Norwegian soprano Kirsten Flagstad was the soloist and Wilhelm Furtwängler conducted the Philharmonia Orchestra. Soon afterwards Roth, with the benefit of having heard the songs performed, revised the order into the one by which they have been known ever since. These mellow, achingly beautiful works represent – consciously so – Strauss’s musical last will and testament. In them he put aside the realistic horrors of midtwentieth century life and returned to the ripely Romantic style of his own early music, deepened by vast intervening experience. Spring, the first song, pays rapturous, nostalgic tribute to that glorious season of the year, one that seems full of hope after the chill of winter. The cycle of seasons continues in September, the second song. As summer turns inexorably to autumn, text, atmosphere and music darken and decay, as the poet begins to accept the inevitable end of all things. Falling Asleep, the third song, continues the poet’s journey towards the afterlife. In the Evening’s Glow, the fourth song, completes the voyage. After the soprano has sung the
final words, “ist dies etwa der Tod?” (can this, perhaps, be death?), Strauss quoted the “transfiguration” theme from Death and Transfiguration, a tone poem he had composed 60 years previously. Pauline died less than a year later, nine days after the first performance of the Four Last Songs.
Ein Heldenleben (A Hero’s Life), Op. 40 In the sequence of Strauss’s tone poems, A Hero’s Life followed Don Quixote, and preceded Symphonia Domestica. Across its continuous, 40-minute span, he took stock of his considerable achievements, especially the magnificent command of the orchestra which the thirty-four-year-old composer/ conductor already possessed. He led the première himself, in Frankfurt, Germany, on March 3, 1899. Reflecting the morally clouded era in which he composed it, this hero knows selfdoubt. Through the medley of quotations from Strauss’s earlier compositions that appears after the central battle scene, the composer suggested that he himself was the protagonist. In a broader sense, he presented himself as the embodiment of the innovative, individualistic artist, persecuted for daring to meddle with the established order. He knew this role intimately, having endured his share of critical roasting. In the second section of A Hero’s Life, he portrays his critics as squealing nincompoops. They sound especially ignoble in the wake of the opening, a swaggering, supremely confident portrait of the hero. After a lengthy rendezvous with his paramour (exquisitely embodied by solo violin), the hero takes to the field to trounce his adversaries and their backward-looking ideas. But once the hero’s foes are vanquished, he is beset by misgivings. Being also a thinker and a man of peace, he does not seek further battles. Instead he withdraws from the world, in marked contrast to the generally aggressive political spirit of Strauss’s times. This hero’s life concludes not with a final showdown, weapon in hand, but with vast, rolling washes of soothing, contented beauty. ■ Program Notes © 2017 Don Anderson
VSO New Music Festival C ON C ERT ON E : OR P H EU M , 7: 3 0 P M
Tuesday, January 24 Hard Rubber Orchestra John Korsrud director
HARD RUBBER ORCHESTRA
CAMERON WILSON Joe Canada GIORGIO MAGNANENSI TDU/HRO • le feu et l’artifice
PEGGY LEE If You Hear JOHN KORSRUD Crush INTERMISSION
KENNY WHEELER First Movement: Suite for HRO RENÉ LUSSIER Extremities from Vaiseau d’Or MARIAH MENNIE Music of the Spheres JOHN KORSRUD Cruel Yet Fair JOHN KORSRUD
POST-CONCERT MIX AND MINGLE
in the Orpheum lobby, featuring live DJ and cash bar, immediately following concert.
FOR MORE INFORMATION AND PROGRAM NOTES, please see the VSO website at
vancouversymphony.ca/nmf NEW MUSIC FESTIVAL SUPPORT PROVIDED BY: Hugh Davidson Fund through The Victoria Foundation David Gordon Duke Jocelyn Morlock Kelly and Dean Tweeddale
VSO New Music Festival CONCERT TWO: CHRIST CHURCH CATHEDRAL, 7:30PM
Wednesday, January 25 New Music for Old Instruments I
Camille Hesketh soprano Vicki Boekman recorder Chloe Meyers violin Soile Stratkauskas flute Beiliang Zhu gamba/cello Alexander Weimann harpsichord CHRISTOPHER REICHE An Overture for Joy MARKUS ZAHNHAUSEN Two movements from Winterbilder
Two Pieces for Solo Viola da Gamba CAMILLE HESKETH
1. Adagio 2. Allegretto
LOUIS ANDRIESSEN Ende GYÃ–RGY LIGETI Continuum MORITZ EGGERT Ausser Atem (Breathless) LINDA CATLIN SMITH Grey Broken INTERMISSION
ANONYMOUS Motet a voix seule au St Sacrement PETER HANNAN Trinkets of Little Value FOR MORE INFORMATION AND PROGRAM NOTES, please see the VSO website at
vancouversymphony.ca/nmf 16 allegro
PRE-CONCERT CHAT 6:45pm, Free to ticketholders.
VSO New Music Festival C ON C ERT T H R EE : OR P H EU M , 8: 3 0 P M
Thursday, January 26
RACHEL KIYO IWAASA
Pure Piano Rachel Kiyo Iwaasa piano Miranda Wong piano Lisa Cay Miller piano Corey Hamm piano LISA CAY MILLER mid-range — excerpt from
Color Codes (prepared piano)
LISA CAY MILLER
HANS ABRAHAMSEN Ten Studies, selections No. 1 No. 3 No. 7 No. 9 No. 2
Traumlied Arabeske Blues Cascades Sturm
BENT SØRENSEN Vuggeviser (Lullabies) LISA CAY MILLER
bendy & five — two excerpts from Color Codes (prepared piano) Locusts Anthill Alive
RONN YEDIDIA Ether JOCEYLYN MORLOCK Corybantic FARSHID SAMANDARI vanishing borders POST-CONCERT MIX AND MINGLE
FOR MORE INFORMATION AND PROGRAM NOTES,
in the Orpheum lobby, featuring live DJ and cash bar, immediately following concert.
please see the VSO website at
vancouversymphony.ca/nmf allegro 17
VSO New Music Festival C ON C ERT F OU R : OR P H EU M , 7: 3 0 P M
Friday, January 27 Requiem for a Generation
BRAMWELL TOVEY WITH JOCELYN MORLOCK & THE VSO
Bramwell Tovey conductor Vancouver Symphony Orchestra Zorana Sadiq soprano Rebecca Hass mezzo-soprano Colin Ainsworth tenor Brett Polegato baritone UBC University Singers & Choral Union Graeme Langager chorus director Langley Fine Arts School Youth Choir Jim Sparks chorus director Glenn Buhr & The Button Factory Band Glenn Buhr Mike Anderson Victor Bateman Brandon Valdivia GLENN BUHR Symphony no. 4 (Guernica 2017) (World Première)
1. While the Babies Sleep 2. god of war 3. Moon Song 4. Thunder without Rain Texts: Glenn Buhr (1, 3, 4) and Margaret Sweatman (2)
POST-CONCERT MIX AND MINGLE
in the Orpheum lobby, featuring live DJ and cash bar, immediately following concert.
FOR MORE INFORMATION AND PROGRAM NOTES, please see the VSO website at
vancouversymphony.ca/nmf 18 allegro
JEFFREY RYAN/SUZANNE M. STEELE Afghanistan: Requiem for a Generation I. Requiem Aeternam II. Kyrie III. Die Irae IV. Offertorium V. Sanctus
VI. VII. VIII. IX.
Agnus Dei Lux Aeterna Libera Me In Paradisum
VSO New Music Festival C ON C ERT F IVE: C H R IS T C H U R C H C ATH E D R AL, 7 : 3 0 P M
Saturday, January 28 New Music for Old Instruments II Pacific Baroque Orchestra Alexander Weimann music director Reginald L. Mobley counter-tenor PACIFIC BAROQUE ORCHESTRA
EMILY DOOLITTLE Falling Still THIERRY TIDROW Ricercar LINDA CATLIN SMITH Sinfonia (2016) (EMV commission)
RODNEY SHARMAN She Walks in Beauty ANDRÉ RISTIC Fandango Immanis INTERMISSION
JOCELYN MORLOCK Golden PATRICK GIGUÈRE La Belle-Anse RODNEY SHARMAN Obsessions RODNEY SHARMAN Liebesleid/Lovepain RODNEY SHARMAN Song from Faust (2016) JOE RAPOSO/ARR. WEIMANN Bein’ Green GEORGE AND IRA GERSHWIN/ ARR. WEIMANN Lady Be Good COLE PORTER/ARR. SHARMAN Ev'ry Time We Say Goodbye
IMPROVISATIONS ON OLD STANDARDS FOR MORE INFORMATION AND PROGRAM NOTES,
by Reggie Mobley, Bramwell Tovey, Alex Weimann and more
please see the VSO website at
6:45pm, Free to ticketholders.
VSO New Music Festival C ON C ERT S IX : OR P H EU M , 7: 3 0 P M
Sunday, January 29
On a Wire
Bramwell Tovey conductor Vancouver Symphony Orchestra Standing Wave Christie Reside flute AK Coope clarinet Rebecca Whitling violin Olivia Blander cello Allen Stiles piano Vern Griffiths percussion JOCELYN MORLOCK Hullabaloo—A Fanfare for the Sesquicentennial (World Première) JOCELYN MORLOCK Corvid (World Première) EMILIE LEBEL monograph of bird's eye views MARCUS GODDARD Spooky Action at a Distance
FOR MORE INFORMATION AND PROGRAM NOTES, please see the VSO website at
vancouversymphony.ca/nmf WITH THANKS TO: Hugh Davidson Fund through The Victoria Foundation for the Marcus Goddard Première
NIKOLAI KORNDORF The Smile of Maud Lewis JENNIFER HIGDON On a Wire POST-CONCERT MIX AND MINGLE
in the Orpheum lobby, featuring live DJ and cash bar, immediately following concert.
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Concert Program S P EC IA L S OR P H EU M , 7: 3 0 P M
Wednesday, February 1 Lunar New Year
Avan Yu piano/host Lucy Wang violin Karen Wong sheng Zhongxi Wu suona Nestor Wu percussion Ho Jin Choi piano Vancouver Zion Mission Choir Stephanie Chung piano/choral director VSO String Quartet Nicholas Wright violin Jason Ho violin Andrew Brown viola Ariel Barnes cello KREISLER Tambourin Chinois RAVEL Tzigane TRADITIONAL/ARR. REN TONGXIANG Hun Li Qu (Wedding Song)
VANCOUVER ZION MISSION CHOIR
WANG JIAN ZHANG Pieces for solo piano ARR. MARK HAYES Swinginâ€™ with the Saints JI HOON PARK Gloria INTERMISSION
JEOFFREY BENWARD/JEFF SILVEY He Is ARR. GYU-YOUNG JIN Arirang CHOPIN Piano Concerto No. 1 in E minor NOTE: This performance is presented by the VSO, and does not feature the orchestra.
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Avan Yu piano/host
Canadian Music Competition, the Shean Competition, the OSM Manulife Competition, and the Seattle Young Artists’ Competition. Ms. Wang has participated in the NAC’s Young Artists’ Program, Morningside Music Bridge, and the New York String Orchestra Seminar. She has also been a fellow at the Music Academy of the West and the Aspen Music Festival. Ms. Wang was named on CBC Radio’s list of 30 hot Canadian classical musicians under 30 in 2014.
Avan Yu has performed extensively throughout Europe, North America, Asia and Australia and at venues such as the Weill Recital Hall in Carnegie Hall, Concertgebouw in Amsterdam, the Philharmonie in Berlin, the Salle Cortot in Paris, and the Sydney Opera House. His latest recording of Liszt's transcriptions of Schubert's Winterreise and Schwanengesang, released by Naxos, won positive reviews from critics at Gramophone Magazine, American Record Guide, Fono Forum, among others.
Karen Wong, Zhongxi & Nestor Wu
One of Canada’s most exciting young pianists, Avan Yu achieved international recognition when he triumphed at the Sydney International Piano Competition in 2012, winning First Prize along with nine special awards. Following his win, the newspaper West Australian wrote: “But while he is second to few in the glittering virtuosity of which he is capable at the keyboard, there is also — and this is far more important — an ability to probe and reveal the inner depths of whatever he plays.”
Lucy Wang violin
Violinist Lucy Wang is a Bachelor of Music degree candidate at the Colburn Conservatory of Music, where she studies with renowned violinist Martin Beaver. Originally from Vancouver, Canada, she studied there with Gerald Stanick and Carla Birston. She made her solo debut with the Vancouver Symphony Orchestra and Bramwell Tovey in 2014 and has since performed with the orchestra numerous times, including being featured at its 2015 season finale. Ms. Wang was a featured soloist on CBC Radio’s Young Artist Series and NW Focus Live on King FM in Seattle. She has also been a prizewinner in numerous competitions, including the
Karen Wong and Zhongxi Wu are actively involved in the application, education and performance of music in both Western and Chinese traditions. In this Lunar New Year program, they provide a colourful range of sounds from some traditional Chinese instruments, with the assistance of their young son, Nestor Wu. Karen Wong grew up in Canada and was educated in piano performance in the western classical tradition at Oberlin. She also studied Chinese wind instruments growing up in Vancouver. Her fascination with performance, history and culture led her to complete a Masters degree at the Tisch School of the Arts in New York, where she wrote about evolving Chinese cultural traditions of music, performance and theatre. She also cultivated an interest in the Chinese sheng (a type of free-reed mouth organ) and performed with Chinese artists in music ensembles,in traditional and experimental operas, as well as theatrical productions. Since moving back to Vancouver in 2000, she has collaborated allegro 25
The Stradivarius Legacy Circle The Vancouver Symphony wishes to thank all those who have made arrangements to leave a bequest or planned gift in their will or estate plans. We are honoured to recognize you in your lifetime for your foresight, commitment and generosity. George Abakhan Janet M. Allan Renate A. Anderson K.-Jane Baker Lorna Barr Dr. Vicky Bernstein Susan Boutwood Janice Brown Peter & Mary Brunold Nadia Campagnolo Ralph & Gillian Carder John Chapman Marylin P. Clark Dr. Philip Clement Mrs. Diana Gael Coomber Mr. and Mrs. G.A. Cooper Brigitte Daigle
David & Valerie Davies Gloria Davies Julia Dodwell Sharon Douglas Michael L. Fish Jacklin Frangi Robert & Ann-Shirley Goodell Lorraine Grescoe W. Neil Harcourt in memory of Frank N. Harcourt Renate R. Huxtable Wayne & Leslie Ann Ingram Margaret Irving Estelle & Michael Jacobson Mary Jordan Lorna Jean Klohn Dorothy Kuva
Hugh & Judy Lindsay Dorothy MacLeod Robert Maxwell Irene McEwen Piet Meyerhof Paul Richard Moritz Barbara Morris Martin O’Connor Sue M. Okuda Josephine Pegler Eleanor Phillips Marion Poliakoff Diane Ronan Louis & Rhona Rosen Bernard Rowe & Annette Stark L.S. Sawatsky Dorothy Shields
Mary Anne Sigal Doris Smit Robert & Darlene Spevakow Elizabeth Tait Melvyn & June Tanemura Marsha & George Taylor Lillian J. Thom Tuey Family Trust Lisa Tucker Robert & Carol Tulk David & Ruth Turnbull Ruth Warren Tessa Wilson Kelley Wong Bob Wood in memory of my parents, John & Hazel Wood Anonymous (4)
Bequests The Vancouver Symphony has received bequests since 2000 from
BEQUESTS TO THE VANCOUVER SYMPHONY FOUNDATION
the following individuals for which we extend our sincere gratitude.
$25,000 or more Dorothy Freda Bailey Phyllis Celia Fisher Margot Lynn McKenzie $500,000 or more $10,000 or more Jim and Edith le Nobel The Kitty Heller Kathleen Margaret Mann Alter Ego Trust Dorothy Elizabeth Hilton $100,000 or more Anna Ruth Leith Brian William Dunlop Kaye Leaney Steve Floris Howard and Jean Mann $5,000 or more John Rand Anne de Barrett Allwork Hermann and Clarice Marjory Bankes Erika Stölting Lawrence M. Carlson Muriel F. Gilchrist $50,000 or more J. Stuart Keate Winslow Bennett Margaret Jean Paquin Gerald Nordheimer Audrey M. Piggot Rachel Tancred Rout Mary Flavelle Stewart Elisabeth Schipizky Ronald Albert Timmis Jan Wolf Wynand
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Florence Elizabeth Kavanagh Mary Fassenden Law Geraldine Oldfield Alice Rumball Dr. Barbara Iola Stafford Anne Ethel Stevens Dorothy Ethel Williams $10,000 or more Dr. Sherold Fishman John Devereux Fitz-Gerald Dorothea Leuchters Verna Noble Robert V. Osokin Elizabeth Jean Proven Freda Margaret Rush Doris Kathleen Skelton Sharone Young $5,000 or more Kathleen Grace Boyle Raymond John Casson
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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 ■
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with with a variety of small ensembles locally and abroad, performing traditional repertory, as well as new works by contemporary composers. Karen also holds a Master of Occupational Therapy degree. She enjoys bringing her knowledge of Classical and Chinese music traditions, as well as the art and science of rehabilitation, into a creative music teaching practice. Zhongxi (“Jonesy”) Wu was born in Heilongjiang Province in northeastern China, where his father and elder brother began teaching him reed instruments at the age of eight. Zhongxi later graduated from the College of Performing Arts there, and has performed as a soloist in Japan, Hong Kong and in many U.S. cities. He was a guest artist on the sheng at the Carrefour mondial de l’accordeon in Quebec in 2008 and in 2012, he was appointed as a member of the China Nationalities Orchestra Society. As a resident of Vancouver, B.C., he has taught sheng, guanzi and suona (the latter a double-reeded horn, akin to an oboe). As a member of the Delta Police Pipe Band, Zhongxi also plays the Scottish Highland Bagpipes, and has performed for the Queen in England and toured to Holland, and has arranged EastMeets-West collaborations between suona and bagpipes. In 2015, he performed a concerto for suona, Lady Hua Mulan, with the B.C. Chinese Orchestra for their 20th anniversary tour. Both Zhongxi and Karen currently teach at the VSO School of Music, as part of its new and unique Chinese Music Program. Their son, Nestor, is eight years old and a student at Miller Park Community School in Coquitlam. In his spare time he loves playing Minecraft and following in his very musical parent’s footsteps by learning to play a drum set.
Vancouver Zion Mission Choir
The Vancouver Zion Mission Choir (VZMC) was formed as a non-profit, nondenominational Christian organization in 1982. The Choir's purpose is to bring glory to God and spread the Gospel around the
world through music. The VZMC has grown tremendously under the directorship of Dr. Stephanie Chung, who has brought the VZMC to the world stage, garnering standing ovations at many prestigious venues. Highlights include performances at the Korean Presidential Palace and the Sejong Cultural Centre in Seoul, Korea, (2010), the Vancouver Multicultural Choral Festival (2010), Milal Hymn Festival at Carnegie Hall, New York City (2011), and Voices Together at Rogers Arena (Canada Day, 2013). Most recently, they performed in Ottawa at the invitation of the Canadian Government as part of the celebrations of the 50th anniversary of diplomatic relations between Korea and Canada. The VZMC is a proud recipient of the Korean President’s medal for its contributions to humanity.
pianist/choral director Dr. Stephanie Chung graduated from Seoul National University School of Music with a degree specializing STEPHANIE CHUNG in piano, followed by graduate studies at USC. In 2012 she was awarded an honorary doctorate in humanities, art, and music from Trinity Western University. Dr. Chung participated in the VSO’s Pacific Rim celebration at the Orpheum in 2014, for which she received unsparing praise. She has been honoured to play for the Canadian Parliament, has received a service award from US President Barak Obama, and, in 2015, the Order of Civil Merit “Dongbaek Medal” from South Korean President Geunhye Park in recognition of her contribution to promoting the rights and interests of Koreans abroad. She is also an executive director of Coram Deo Foundation, and is an ambassador of an international relief organization, GAiN, Global Aid Network thus practicing the love of God. Currently, she is the executive music director of Vancouver Zion Mission Choir and a conductor of Grace Korean Church Choir. allegro 27
Fryderyk Franciszek Chopin b. Zelozowa, Wola (near Warsaw), March 1, 1810 d. Paris, France / October 17, 1849
Piano Concerto No. 1 in E minor, Op. 11 (Transcription for piano and string quartet) In addition to solo works that Chopin designed for the intimate drawing rooms which were his favoured performing venues, he composed six pieces with orchestral accompaniment, for the occasional public concerts where larger forces were available. At the same time, chamber-scale versions of the two full concertos have been prepared (whether it was Chopin himself who did so remains uncertain). Their purpose was to bring the music to audiences who had no access to orchestral concerts. Due to a delay in publishing, the concertos appeared in reverse order of their composition. Although the Concerto in E minor, which will be performed at this concert, is labelled No. 1, it is actually the later piece. In July 1829, Chopin made his first trip to Vienna. He won great success there, effectively launching his international career. Hoping to earn equal acclaim when he returned to Warsaw, he composed the Concerto in F minor for the occasion. That event, too, brought him much hearty applause.
“...he was haunted by fears that he might never return to his homeland. ” The E minor Concerto followed over that summer. Chopin was reluctant to première it. He planned to tour abroad after the first performance, and he was haunted by fears that he might never return to his homeland. “I believe that when I leave it will be to forget my home forever,” he wrote. “I feel that I am leaving home only to die – and how awful it must be to die far away from where one has lived! How frightful it will be for me to see some cold-hearted doctor or servant by my deathbed instead of my family!”
He went ahead with the première of the E minor Concerto nonetheless, and he once again reaped tremendous acclaim. The press reported that the new concerto “was regarded by connoisseurs as one of the most sublime of all musical works.” As he feared, it proved to be his final appearance in Poland. He settled in Paris, which remained the centre of his regrettably short life. He performed the E minor Concerto, or at least some movements from it, on several further occasions, but never again the F minor. After a private performance in Paris for noted pianist Friedrich Kalkbrenner, Chopin decided to dedicate the E minor concerto to him. The first movement opens with a substantial orchestral introduction. It presents the two main themes: the first is dramatic, the second, lyrical. Both are touched with a degree of melancholy. Once the piano enters, it dominates the proceedings completely, save for orchestral interludes that elaborate the principal materials.
“The lovely primary melody is so vocal in nature that it almost sounds as if Chopin had transplanted it from an opera. ” Here is how Chopin described the second movement in a letter to a friend: “It is a Romance, calm and melancholy, giving the impression of someone looking gently towards a spot that calls to mind a thousand happy memories. It is a kind of reverie in the moonlight on a beautiful spring evening.” The lovely primary melody is so vocal in nature that it almost sounds as if Chopin had transplanted it from an opera. The soloist spins it out gracefully. Agitation sets in, but by the end of this movement, a total sense of calm has been restored. The finale is the concerto’s sole direct bow to patriotic feeling. It is a rondo whose recurring main theme has the character of a joyful Polish folk dance, the krakowiak. ■ Program Note © 2017 Don Anderson
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 The Christopher Foundation (Education Fund) 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 Mary and Gordon Christopher Foundation* Martha Lou Henley C.M.* Mrs. Irene McEwen* George W. Norgan Fund, held at Vancouver Foundation 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 Mrs. Margaret M. Duncan Mohammed A. Faris The Gudewill Family In Memory of John Hodge* Diane Hodgins Werner (Vern) and Helga Höing* Ms. Sumiko Hui Yoshiko Karasawa
The Lecky Foundation McGrane-Pearson Endowment Fund* Mr. Brian W. and Mrs. Joan Mitchell André and Julie Molnar Thomas and Lorraine Skidmore Arthur H. Willms Family* Gordon W. Young Anonymous PRINCIPAL PLAYERS Gifts from $7,500 to $9,999 Kenneth W. and Ellen L. Mahon* Mollie Massie and Hein Poulus* Gifts from $5,000 to $7,499 Dr. and Mrs. J. Abel Hans and Nancy Alwart Eric and Alex Bretsen Gerhard & Ariane Bruendl Etienne Bruson Philip & Pauline Chan Dave Cunningham Ian and Frances Dowdeswell Elisabeth and David Finch Debra Finlay Cathy Grant Mr. and Mrs. Sam Gudewill Hillary Haggan Paula and Doug Hart Kaatza Foundation Hank and Janice Ketcham Dr. Marla Kiess* Judi and David Korbin Sam and Anita Lee Doug and Teri Loughran The Lutsky Families Bruce and Margo MacDonald Alexandra Mauler-Steinmann and Michael Steinmann Monique Mercier Roy Millen and Ruth Webber
Mirhady Family Fund, held at Vancouver Foundation Fred R. Pletcher & Beverley G. Ellingson Vince and Noella Ready Joanne and Stanis Smith Mel and June Tanemura* Dean and Kelly Tweeddale Dr. Rosemary Wilkinson Anonymous (2) BENEFACTORS Gifts from $3,500 to $4,999 Ann Claire Angus Fund Fred Boyd Brown Fund, held at Vancouver Foundation George and Janice Burke Mr. and Mrs. Herbert Menten* Maurice and Vi Roden Denis Walker Fei Wong Anonymous* Anonymous Gifts from $2,500 to $3,499 Jeff and Keiko Alexander* Anako Foundation Nicholas Asimakopulos The Ken Birdsall Fund Dr. and Mrs. J. Deen Brosnan Marnie Carter* Eva and Doug Christopher Edward Colin and Alanna Nadeau Ms. Louise M. Cecil Count Enrico and Countess Aline Dobrzensky Rafael and Miryam Filosof Ms. Judy Garner Heather Holmes Olga Ilich Herbert Jenkin John Hardie Mitchell Family Foundation
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Gordon and Kelly Johnson Signe Jurcic Don and Lou Laishley Bill and Risa Levine Dr. & Mrs. Nizar R. Makan M. Lois Milsom Joan Morris in loving memory of Dr. Hugh C. Morris Christine Nicolas Bernard Rowe and Annette Stark Dorothy Shields Mr. Ken and Mrs. Patricia Shields* Wallace and Gloria Shoemay Mrs. Mary Anne Sigal Mr. and Mrs. David H. Trischuk Michael Williams Dr. and Mrs. Edward Yeung Anonymous PATRONS Gifts from $2,000 to $2,499 P. Carnsew and D. Janzen Ben and Beth Cherniavsky Leslie Cliff and Mark Tindle Dr. A. Douglas and Mrs. Anne Courtemanche Jean Donaldson In Memory of Betty Howard Steven and Francis Huang C.V. Kent in memory of Vivian Jung Hugh and Judy Lindsay
Violet and Bruce Macdonald George Pick and Santi Pelaez Bella Tata* Arthur Toft in memory of Fred and Minnie Toft Anonymous (6) Gifts from $1,500 to $1,999 Olin and Suzanne Anton Gordon and Minke Armstrong Derek and Stella Atkins Mr. R. Paul and Mrs. Elizabeth Beckmann Roberta Lando Beiser* Jay Biskupski & Catherine Imrie Joanne Boyd Mrs. May Brown, C.M., O.B.C.* Dr. Kam and Mrs. Katie Cheung Mr. Justice Edward Chiasson and Mrs. Dorothy Chiasson* Leanne Davis and Vern Griffiths Barbara J. Dempsey Sharon F. Douglas Darren Downs and Jacqueline Harris Nancy and Alain Duncan Michael and Dana Freeman Dennis Friesen for Gwen Mrs. San Given Anna and Alan Gove Marietta Hurst* Michael and Estelle Jacobson* Uri and Naomi Kolet
Christopher Loh In tribute of late Johnny Loh Hank and Andrea Luck Nancy Morrison Mr. Cleveland Mullings Jan and Ken Rea Dal Richards Foundation, held at Vancouver Foundation Dr. William H. and Ruthie Ross Dr. Robert S. Rothwell* Mrs. Joan Scobell David and Cathy Scott Dr. Peter and Mrs. Sandra Stevenson-Moore Zelie and Vincent Tan L. Thom Garth and Lynette Thurber Nico & Linda Verbeek* James and Veronica Weinkam Dr. Brian Willoughby Eric and Shirley Wilson Dr. I. D. Woodhouse Nancy Wu Anonymous (2) ■ * Members of the Patrons’ Circle who have further demonstrated their support by making an additional gift to the Vancouver Symphony Foundation’s endowment fund.
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, February 4 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, February 5 Constantin Trinks conductor Juho Pohjonen piano PROKOFIEV Symphony No. 1 in D Major, Op. 25 Classical
MUSICALLY SPEAKING SERIES SPONSOR
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I. Allegro II. Larghetto III. Gavotta: non troppo allegro IV. Finale: Molto vivace
PROKOFIEV Piano Concerto No. 1 in D-flat Major, Op. 10
I. Allegro brioso II. Andante assai III. Allegro scherzando
DVORˇÁK Symphony No. 9 in E minor, Op. 95 MUSICALLY SPEAKING RADIO SPONSOR
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From the New World
I. Adagio – Allegro molto II. Largo III. Scherzo: Molto vivace IV. Allegro con fuoco allegro 33
Constantin Trinks conductor
Constantin Trinks was born in Karlsruhe, Germany, and started his career as an assistant to Christian Thielemann in Bayreuth. He soon took up a leading position in Saarbrücken, followed by Darmstadt where he conducted Wagner's entire Ring Cycle. Trinks came to international attention conducting Strauss’ Der Rosenkavalier for its centenary at Semperoper Dresden in 2010 and at the Bavarian State Opera. This season Constantin Trinks returns to Munich for Così fan tutte and Arabella and will conduct a new production of Salomé in Strasbourg. Following an acclaimed Hans Heiling (Marschner) at Theater an der Wien he will return to Vienna for a new edition of Wagner’s Ring. Constantin Trinks is also a refined symphonist and this summer made his debut with Münich Philharmonic and the Bavarian Radio Symphony Orchestra. His reputation as a connoisseur of Germanic romanticism has been established with the recent recording of Hans Rott’s Symphony (Hänssler), an important predecessor to Gustav Mahler.
Juho Pohjonen piano Celebrated as one of Finland's most outstanding pianists, Juho Pohjonen is widely praised for his stellar musicianship and distinctive interpretations of a broad range of repertoire from Bach to Salonen. His 2016/2017 season includes his third invitation to the Atlanta Symphony Orchestra, performing Beethoven’s Piano Concerto No. 4 with Robert Spano, as well as his debut with the Vancouver Symphony and conductor Constantin Trinks in Prokofiev’s Piano Concerto No. 1. He continues his close association with The Chamber Music Society of Lincoln Center in a program of Mendelssohn and Schubert at Alice Tully Hall, performs a chamber program at the Library of Congress and gives recitals in New York City and Howland, New York. European highlights include a performance of Esa-Pekka Salonen’s Piano Concerto with the Szczecin Philharmonic and Rune Bergman, Mozart’s 34 allegro
Piano Concerto No. 23 with the Finnish Radio Orchestra and Tomas Djupsjöbacka, as well as a debut with the Antalya State Symphony and conductor Adrian Prabava, performing Rachmaninoff’s Piano Concerto No. 2.
Sergei Prokofiev b. Sontsovka, Ukraine / April 27, 1891 d. Moscow, Russia / March 5, 1953
Symphony No. 1 in D Major, Op. 25 Classical “It seemed to me that had Haydn lived in our day he would have retained his own style while accepting something of the new at the same time,” Prokofiev wrote. “That was the kind of symphony I wanted to write: a symphony in the classical style. And when I saw that my idea was beginning to work, I called it the ‘Classical’ Symphony: in the first place because it was simpler, and secondly for the fun of it, to ‘tease the geese,’ and in the secret hope that I would prove to be right if the symphony really did achieve the status of a classic.” He conducted the première, in Petrograd, Russia, on April 21, 1918, launching what has become one of his most beloved and frequently performed works.
“At a gentle walking pace, the first violins sing the sweet, restful main theme, bedecked with bird-like, rococo-style trills.” The first movement opens with a flourish and a pert, cheeky theme. The second subject, appearing on the violins, is equally saucy and impudent. A dreamy slow movement follows. At a gentle walking pace, the first violins sing the sweet, restful main theme, bedecked with birdlike, rococo-style trills. Prokofiev poked gentle fun at aristocratic figures in powdered wigs in the brief, pungent gavotte, a French folk dance dating back to the baroque period. The symphony wraps up with a joyful, breakneck finale, filled to the brim with demanding writing for the entire orchestra.
Piano Concerto No. 1 in D-flat Major, Op. 10 “Self-Portrait of the Artist as an Enfant terrible” would be an apt nickname for this fiery concerto, which Prokofiev composed during
his studies at the St. Petersburg Conservatory. He played the solo part himself at the first performance, in Moscow on August 7, 1912. Opinions were sharply divided, a fact that didn’t disturb the brash young composer in the slightest. Flaunting the hidebound requirements of the conservatory, which required students to perform standard-repertoire concertos at the annual Anton Rubinstein Piano Competition, Prokofiev decided to conclude his decade of studies with a bang — 1914 was his graduation year — by using his own concerto to display his performing gifts. The judges insisted on studying it first, so he purchased twenty copies of the freshly-printed score and distributed them to the panel. “When I mounted the platform,” he recalled, “the first thing I saw was my concerto set out on twenty pairs of knees. What an unforgettable sight for a composer who had just succeeded in getting some of his works published!” Despite grumblings from the more conservative judges about “harmful tendencies” in Prokofiev’s music, he won first prize, a grand piano, as well as the cheers of like-minded fellow students and faculty. A few weeks later, he played the concerto again at the official graduation ceremony. Its three sub-sections are played as a continuous whole. The majestic opening subject returns twice, first to introduce the dreamy but totally unsentimental central movement in slow tempo, and second to crown the concerto’s conclusion. In between comes much humour, wrist-breaking aggression and downright impudence – everything a selfconfident young genius would be expected to produce.
Antonín Dvorˇák b. Nelahozeves, Bohemia / September 8, 1841 d. Prague, Bohemia / May 1, 1904
Symphony No. 9 in E minor, Op. 95 From the New World By the early 1890s, Dvorˇák's fame had become so great that he was invited to become the Director of the newly opened National Conservatory of Music in New York. His arrival in the autumn of 1892 marked the
beginning of a three year period spent almost entirely in America. He developed a deep interest in the music of African-Americans and Native Americans, though he didn’t quote authentic folk tunes in any of his “New World” compositions, of which this symphony was the first to appear. Four days before the première, which took place in New York on December 16, 1893, he made his methods and goals perfectly clear: “I have simply written themes embodying the peculiarities of the Indian music, and have developed them with all the resources of modern rhythm, harmony, counterpoint, and orchestral colour.” Following a short, expectant introduction, the opening movement presents two themes. The first is bold and commanding. It is the idea that binds the entire symphony together, appearing at least briefly in all four movements. The second subject appears on solo flute. It is as sweet, restful and haunting a theme as Dvorˇák ever penned. A solemn brass chorale ushers in the slow movement. The English horn then gives out the main theme, a tranquil melody that gives eloquent voice to the homesickness that Dvorˇák felt throughout his stay in America. Words were later added to it to create Goin’ Home, a song in the style of a spiritual. The middle section is increasingly agitated, climaxing in a grand combination of the Goin’ Home theme with the opening movement’s first subject.
“The finale surges ahead urgently, its unfolding shot through with episodes of nostalgic expressiveness.” The following scherzo bustles with dynamic dance rhythms, be they old world or new. Two separate trios provide graceful contrast. The finale surges ahead urgently, its unfolding shot through with episodes of nostalgic expressiveness. Dvorˇák interleaves new themes with fleeting reminiscences of melodies from each previous movement, en route to a stirring yet eventually enigmatic conclusion. ■ Program Notes © 2017 Don Anderson
MUSICIAN PROFILE SERIES: KAREN GERBRECHT
ASSOCIATE PRINCIPAL SECOND VIOLIN Karen Gerbrecht occupies the Jim and Edith le Nobel Chair— named for long time VSO subscribers and donors who left a generous legacy gift to the VSO’s endowment fund.
was a student of Shinichi Suzuki who “ Ideveloped the Suzuki method of teaching the
violin. He was my very first teacher. I was three years old, and Dr. Suzuki taught me in public to demonstrate his teaching methods. We would go around to concert halls and he would put me up onstage and teach people, especially aspiring violin teachers, how to teach Suzuki. Because I was a tiny three year old, Dr. Suzuki put me on a coffee table to raise me up so that he didn’t have to bend over, and I just loved standing on the furniture! I knew you weren’t supposed to do that, but I got to do it! I sort of fell into a musical career. It was a “perfect storm” of good teachers; a family that took me to all of the lessons and classes I needed, and some plain old good luck. After graduating high school, I thought about journalism, but then I was offered a full scholarship to the North Carolina School of the Arts. They had just been featured on the cover of Smithsonian Magazine and, since the entire school was made up of performing arts students and those on the cover were juggling
Karen and Jennie Press
and sword-fighting, I thought “I want to go there!” A full scholarship just made the final decision for me. I was born in the USA, in the Smoky Mountains, Tennessee, but we moved to Vancouver when I was in kindergarten. I was the first person in my extended family to become a Canadian citizen, at the age of twelve. I did it all on my own, because I was, and am, in love with Canada and especially British Columbia. I have several siblings; my youngest sister is a ballerina, my brother is in business, and my older sister trained in physics but is now a Montessori teacher. I’m a fourth generation professional musician, so I follow in the footsteps of my father, uncles, grandfather, and great-grandfather. I have a famous greatuncle, no longer living, named Edward “Pinky” Gerbrecht. Jazz aficionados know of him as a cornetist in a number of New Orleans Dixieland bands, including his own “Crescent City Footwarmers”; one of the first bands to play live on the radio, and also one of the first to record.
Karen with her Vuillaume violin
My dad, Jerold Gerbrecht, was Principal Trumpet with the VSO for thirty years. He was also Principal Trumpet in the CBC Vancouver Orchestra and Music Director at the Vancouver Academy of Music. When I won my audition and joined the VSO I returned to Vancouver from the US where I’d been teaching and heading the Chamber Music Department at Davidson College, NC. So I hadn’t ever worked professionally with my Dad at that point. At my very first VSO rehearsal we were playing Prokofiev. Early on in the rehearsal someone made a loud mistake in the violin section. My dad stood up in the trumpet section and looked over and said “WAS THAT YOU?” I knew then I was going to be in for a little bit of ribbing! As the Associate Principal Second Violin, I think I’m physically the closest person to the conductor on the stage. The seat is amazing for seeing the front of the orchestra, and for hearing the orchestra I think it’s the best seat in the house! I’m genuinely thrilled to be there. Most of the violin section rotates, which means they change stand-partners every couple of weeks. But Principals and Associates sit together; we don’t rotate. So I’ve only had three stand partners in my long (29 years!) career here. My first Principal and stand partner was Brent Akins; we sat together for eighteen years. When Nick Wright joined he was my stand partner for one year, and now I sit with Jason Ho. I can’t imagine three better violinists or more gracious and talented leaders. I’ve had incredible good fortune — they are all wonderful musicians.
I love my violin, it’s made by Greiner. There’s another Greiner in the VSO, played by our acting concertmaster Nick Wright. I’m incredibly fortunate to have such a fine instrument. The Greiner I play belongs to a patron who bought it especially for me. We named it Felix, for luck. For some happy karmic reason, Karen with Felix I’ve been given instruments a number of times in my life. When I was in university a lovely man named Lionel Goodman (who was on the board of VAM and was a big fundraiser) sent me a Hill violin bow. He made a little joke on his card, writing, “You might have other Beaus, but here’s a Bow for you from Vancouver.” From that moment on I can’t tell you the number of instruments I’ve been given! Some I can play and some I can’t. I’ve been given a harpsichord and quite a good cello. For a long time I played a Vuillaume violin that was purchased on my behalf by a patron and I’m now on my second patron-appointed violin. I intend to pay it forward. The harpsichord and the cello were both given to the appropriate players. The deal that I have with the patron of the Greiner is that when I’m ready to retire, I’ll get to choose the next player to play this lovely violin. I don’t know if people realize how incredibly expensive these instruments are. You are getting a deal if you spend $70- or 80-thousand US. To buy fine string instruments and to insure them is a huge expense for an up-and-coming young player, or even a player who has been established for over 20 years. It’s a big, big expense, so to have patrons who are able to support the arts in this particular way is an incredible boon. Chamber music has always been important to me. There’s just a huge repertoire of chamber music with violin, so it’s going to take my whole lifetime to work through even a thousandth of what’s out there. The VSO has a series, The VSO Chamber Players, which gives the musicians a chance to play some of their favourite works. I’ve played Stravinsky, Prokofiev, and most recently Brahms’ Clarinet Quintet this January. Working with my colleagues at pieces we programmed ourselves — I’ve never been happier onstage than I have been for these performances.
Concert Program LO ND O N DR UG S V SO P OP S O RPHE UM , 8 P M
Friday & Saturday, February 10 & 11 Sounds of Simon & Garfunkel
A.J. SWEARINGEN & JONATHAN BEEDLE
VISIT THE SYMPHONY GIFT SHOP FOR CD SELECTIONS VSO POPS SERIES SPONSOR
FEBRUARY 10 CONCERT SPONSER
Michael Krajewski conductor AJ Swearingen vocalist Jonathan Beedle vocalist SIMON & GARFUNKEL/ARR. PRECHEL Sounds of Simon and Garfunkel: Bridge Over Troubled Waters, The Sound of Silence, Mrs. Robinson SIMON & GARFUNKEL/ARR. WILLS Homeward Bound SIMON & GARFUNKEL/ARR. WILLS The 59th Street Bridge Song (Feelin’ Groovy) FELICE & BOUDLEAUX BRYANT/ARR. WILLS All I Have To Do Is Dream SIMON/ARR. DAVID YACKLEY I Am A Rock SIMON The Sounds of Silence SIMON & GARFUNKEL/ARR. WILLS Cecilia SIMON/ARR. JOEL PIERSON Keep The Customer Satisfied KENNER, LEKA, DE CARLO, FRASHUER, MCCARTNEY/ARR. & ORCH. PRECHEL Na Na Medley: Land of 1000 Dances, Kiss Him Goodbye, Hey Jude INTERMISSION SIMON Paul Simon in Concert (Medley): You Can Call Me Al, Kodachrome, Loves Me Like A Rock, Slip Slidin’ Away, Still Crazy, 50 Ways To Leave Your Lover, Me and Julio, Mother and Child Reunion JIMMY WEBB/ARR. & ORCH. PRECHEL All I Know SIMON & GARFUNKEL/ARR. WILLS A Hazy Shade of Winter The Dangling Conversation America SIMON Scarborough Fair SIMON & GARFUNKEL/ARR. WILLS Old Friends/Bookends Bridge Over Troubled Water SIMON/ARR. TIM BERENS Mrs. Robinson
VSO POPS RADIO SPONSOR
Michael Krajewski conductor Known for his entertaining programs and clever humor, Michael Krajewski is a much sought after conductor of symphonic pops. He is Music Director of The Philly Pops and Principal Pops Conductor of the Houston, Atlanta and Jacksonville Symphonies.
As a guest conductor Michael has performed with the Cleveland and Philadelphia Orchestras; the Boston and Cincinnati Pops; and numerous other orchestras across the United States. In Canada he has led Ottawa’s National Arts Centre Orchestra, the Toronto Symphony Orchestra, Calgary Philharmonic, and the Edmonton, Winnipeg and KitchenerWaterloo symphonies. Other international appearances include performances in Dublin and Belfast with the Ulster Orchestra as well as performances with the Hong Kong Philharmonic, Malaysian Philharmonic Orchestra, the Iceland Symphony Orchestra and Spain’s Bilbao Symphony Orchestra. With degrees from Wayne State University in Detroit and the University of Cincinnati College-Conservatory of Music, Michael furthered his training at the Pierre Monteux Domaine School for Conductors. Michael lives in Orlando, Florida with his wife Darcy. When not conducting he enjoys travel, photography and solving crossword puzzles.
AJ Swearingen vocalist AJ Swearingen has been writing, performing and producing his own style of acoustic music for well over a decade. His voice is rich and uniquely soulful and his contemporary songwriting clearly pays homage to the
standout iconic folk artists of the past. In 2012, Swearingen merged with singersongwriter Jayne Kelli to form the folk-pop duo, Swearingen & Kelli. They released a fresh collection of songs in 2014 including Swearingen's You're Not Here with Me, also recorded by folk icon Tom Rush. Swearingen’s musical journey started in Bethlehem, Pennsylvania, where he honed his signature sound on vocals and guitar. Swearingen has shared the stage with recording artists including Kenny Rogers, Dave Mason and Livingston Taylor.
Jonathan Beedle vocalist Vocalist Jonathan Beedle has been a performing musician for more than 30 years. Collaborations with former partners and band mates seasoned Beedle as a performer and they came to rely on his innate musicianship. In 2005, he released his first CD A Long Day Gone, a disc full of rich and heartfelt songs in the storytelling style that Jonathan was raised on. His voice was heard in the Season 1 finale of the HBO series Big Love, singing the Civil War-era classic, Lorena. A partnership with Bethlehem, Pennsylvania, native AJ Swearingen resulted in the jointly produced CD, Paper Walls. Released in 2001, the duo subsequently created a national touring act that pays a heartfelt and loving tribute to the famed duo Simon and Garfunkel. Beedle has travelled all over the United States and has shared the stage with Steve Forbert, The Strawbs, Lucy Kaplansky and Jimmy Webb. ■
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O RIGINO K I DS' K O N C ERT S O RPHE U M THE ATR E , 2P M
Sunday, February 12 How the Gimquat Found Her Song William Rowson conductor Platypus Theatre Written by: Peter Duschenes Stage direction and puppet design: Peter Duschenes and Meredyth Babcock Originally produced by: Michael Duschenes Performers: Gimquat: Danielle Desormeaux Wizard: Peter Duschenes Stage Manager: Wendy Rockburn Embark on a musical expedition across continents and through centuries to help a discouraged bird discover her unique voice. How the Gimquat Found Her Song is a heartwarming tale about the search for identity and a celebration of music in all of its forms. Platypus Theatre wants to hear from you! Leave a comment at platypustheatre.com or follow us on Twitter or YouTube.
VSO Instrument Fair
The OriginO Kids' Koncerts series continues with the popular VSO Instrument Fair, which allows music lovers of all ages (but especially kids!) to touch and play real orchestra instruments in the Orpheum lobby one hour before concert start time. All instruments are generously provided by Tom Lee Music.
VISIT THE SYMPHONY GIFT SHOP FOR CD SELECTIONS KIDS' KONCERTS SERIES SPONSOR
THE VSO’S KIDS’ KONCERTS HAVE BEEN PREMIER EDUCATION PARTNER
PREMIER EDUCATION PARTNER
ENDOWED BY A GENEROUS GIFT FROM THE WILLIAM & IRENE MCEWEN FUND.
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.
Children laugh, sing and empathize with the characters while learning musical concepts, styles, and much more. In 2006, one of Platypus’ most cherished productions How the Gimquat Found her Song was produced for TV and went on to win several awards including Best Children’s Program at the prestigious Banff World Television Festival. In 1991, Platypus was the subject of a nationally broadcast documentary on CTV, followed by a PBS full-performance broadcast in 2000.
During its 25th anniversary year, Platypus premièred its eighth original production, Latin Beats, Heroic Feats, in partnership with four orchestras across Canada. In addition to In the 2015 /16 season, Rowson returned Gimquat the company’s programs include: as the Resident Conductor of the Hamilton Emily Saves the Orchestra, Rhythm in Your Philharmonic Orchestra’s ‘What Next’ Festival, Rubbish, Bach to the Future, Presto Mambo, conducting five Canadian operas in one week, Charlotte and the Music-Maker, and in concert. Also an accomplished composer, A Flicker of Light on a Christmas Night. Bill was a finalist for the position of RBC www.platypustheatre.com 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 artistic director and writer Film Festival. Thousands of young classical music fans have Peter to thank for introducing them to symphonic music. He co-founded the Platypus Theatre touring company in 1989 to Since 1989, almost one million young make orchestral music accessible for youth, audience members have been introduced and more than half a million concert-goers to classical music through Platypus Theatre. After more than 500 performances with more have benefitted from his creativity. As an award-winning playwright, Peter’s writing than 65 orchestras worldwide, Platypus has credits include — among others — all established itself as one of North America’s première music education theatre companies. eight Platypus productions, the television adaptation of How the Gimquat Found Her Original and engaging storylines are Song which won Best Children’s Program at presented in an intelligent and interactive the prestigious Banff World Television Festival way, with music always taking the lead role. in 2008. In addition to his roles in Platypus
shows, he has also acted and directed with companies across Canada and the United States. When Peter isn’t busy helping the Gimquat find her song, he and his wife Sarah are helping their children, Magda and Theo, find their socks.
Danielle Desormeaux actor
Danielle is one of the more adaptable creatures in the Platypus Theatre touring company. You can see her as the Gimquat in How the Gimquat Found Her Song, as Corky in Bach to the Future, as Emily in Emily Saves the Orchestra and as a hobo in Rhythm in Your Rubbish, a production she helped create. She is a highly-accomplished actor who has worked extensively in theatre, in film, and also as several animated characters on TV. She is also an experienced improviser and clown, and has written and created a number of critically-acclaimed works. Danielle has been a part of the Platypus touring company for 17 years but will never forget “the first time I heard a live orchestra playing on stage
with me it literally took my breath away. I couldn’t believe how powerful the sound was. Then I thought: Wow! Best job ever!”
Wendy Rockburn stage manager Want to know who and what goes where and when and how? Wendy’s the one who has it well under control. Since 2005, Wendy has expertly juggled all of the details for Platypus Theatre productions, from monster’s heads to lighting cues. Not only does she manage the Platypus touring company’s stage, but she also works with theatres all over Eastern and Central Canada. And as often as possible, she jets off to far places to photograph the world, and has been known to skydive over the desert in Namibia or outrace a gaucho in Argentina. Her favourite part about Platypus shows is watching the kids follow every turn in the story in rapt attention. And the climax of the Gimquat still makes her cry, even after all of these years. No wonder we’re wild about Wendy! ■
Concert Program William Rowson conductor
For a biography of William Rowson, please refer to page 46.
Christopher Gaze host CHRISTOPHER GAZE
TEA & T RU M PE TS ORPHE UM, 2 PM
Thursday, February 16
Making Overtures William Rowson conductor Christopher Gaze host Joshua Tromans piano WAGNER Die Meistersinger Overture REZNICEK Donna Diana: Overture STRAUSS Gypsy Baron: Overture MENDELSSOHN A Midsummer Night’s ◆
Dream, Op. 61: Intermezzo
CHOPIN Piano Concerto No. 1 in E minor SUPPÉ Light Cavalry Overture TEA & COOKIES served in the lobby one hour before each concert. Tea compliments of Tetley Tea.
Joshua Tromans is the VSO School of Music's 2016 Junior Division Future of Excellence Winner. The VSO School of Music's Future of Excellence competition is made possible with generous funding from the
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. 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.
Joshua Tromans piano Ever since babyhood, Joshua Tromans was intensely drawn to classical music, always listening to it with great sensitivity. After insisting for piano lessons at the age of two, he started studying piano when he was almost four years old. Developing faster than anybody had anticipated, he performed in masterclasses for some of the best contemporary world class pianists such as Yefim Bronfman, Joyce Yang, Inon Barnatan, Tomislav Baynov, and Angela Cheng, being enthusiastically praised by all. When he was seven years old, Joshua was featured as a piano prodigy on the CBC Radio One popular show The Early Edition. He received his ARCT in Piano Performance at the age of ten and his Grade 10 at the age of eight with First Class Honors with distinction. He is regularly awarded top prizes and performs in gala concerts in music festivals. In 2015, Joshua was Lang Lang's duet partner in the 101 Pianist event in Vancouver. Currently, Joshua continues his musical education under the guidance of a noted Russian-Canadian pianist and pedagogue Sergei Saratovsky at the VSO School of Music. ■
VISIT THE SYMPHONY GIFT SHOP FOR CD SELECTIONS allegro 49
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, February 18 & 20 Lahav Shani conductor Kirill Gerstein piano BRAHMS Piano Concerto No. 1 in D minor, Op. 15 I. Maestoso II. Adagio III. Rondo: Allegro non troppo
VISIT THE SYMPHONY GIFT SHOP FOR CD SELECTIONS
Pelléas and Melisande, Op. 5
MASTERWORKS DIAMOND SERIES SPONSOR
FREE TO TICKETHOLDERS, 7:05pm to 7:30pm, in the auditorium. FEBRUARY 18 CONCERT SPONSOR
Lahav Shani conductor
Lahav Shani’s career was launched when he won first prize at the 2013 Gustav Mahler International Conducting Competition. Since then, the 27 year old Israeli musician has quickly established himself as one of the most talked about young conducting talents, displaying astonishing maturity and natural, instinctive musicality. In June 2014, Shani made a sensational debut in Berlin, replacing Michael Gielen, with the Berlin Staatskapelle. He returns to conduct the orchestra for four performances of La Bohème in December 2016 at the Berliner Staatsoper and for orchestral concerts in the Berlin Philharmonie in May 2017. In the 2017/18 season Shani will become Principal Guest Conductor of the Vienna Symphony Orchestra, and, in 2018/19, Chief Conductor of the Rotterdam Philharmonic Orchestra. Lahav Shani’s close relationship with the Israel Philharmonic started in 2007 when he performed Tchaikovsky's Piano Concerto under the baton of Zubin Mehta, and continued in 2010 when he joined Mehta and the orchestra on tour in Asia, where he participated as solo pianist, conductor’s assistant and as double bass player.
Kirill Gerstein piano The multifaceted pianist Kirill Gerstein is rapidly ascending into classical music’s highest ranks. With a masterful technique, discerning intelligence, and a musical curiosity that has led him to explore repertoire spanning centuries and numerous styles, he has proven to be one of today’s most intriguing and versatile musicians. In 2010 Mr. Gerstein became the eighth recipient of the prestigious Gilmore Artist Award, which is given every four years to a pianist who possesses profound musicianship and charisma and who can sustain an international concert career. Mr. Gerstein was also awarded First Prize at the 2001 Arthur Rubinstein Piano Competition in Tel Aviv, and 52 allegro
received a 2002 Gilmore Young Artist Award and a 2010 Avery Fisher Grant. Highlights of his 2016/17 season in North America include return appearances with the Cleveland Orchestra, New York Philharmonic, Boston Symphony, and the symphony orchestras of Detroit, St. Louis, Atlanta, Vancouver, New Jersey and San Diego, as well as solo recitals across the country.
Johannes Brahms b. Hamburg, Germany / May 7, 1833 d. Vienna, Austria / April 3, 1897
Piano Concerto No. 1 in D minor, Op. 15 Brahms had not yet become the sturdy conservative whom his supporters set up as the opponent of Wagner, Liszt and other revolutionary composer when in 1854, at 21, he began composing a large-scale work. He eventually decided that the ideal medium was a concerto for piano and orchestra. Four years passed before he felt sufficiently satisfied to bring it to performance. The public première, with Brahms as soloist and his close friend Joseph Joachim conducting, took place in Hanover, Germany, on January 22, 1859. The somewhat puzzled reaction earned by the debut of this fully symphonic concerto — so much more substantial than was the norm at that time — might have been expected. Not until 1865, when Brahms performed it in Mannheim, did it begin to find a place in the repertoire. The vast opening movement begins with a stark orchestral introduction. The piano enters with a more resigned idea before it, too, is caught up in the emotional tumult. Contrast is provided by a warmer second theme. The sombre mood in which the movement began continues through to the final bars. The second movement is a serene meditation. Scarcely a ripple of darker emotion disturbs its warm, placid surface. The concerto concludes with a big, bold rondo, lighter in tone than the preceding movements but substantial enough to fit into the overall ground-plan. Its Hungarian or Gypsy/Romani flavouring anticipates the corresponding movements in several Brahms works, including the Piano Quartet in G minor.
Arnold Schoenberg b. Leopoldstadt, Austria / September 13, 1874 d. Los Angeles, California, USA / July 13, 1951
Pelléas and Melisande, Op. 5 Schoenberg admired Brahms profoundly. He expressed that feeling in a major musicological article, Brahms the Progressive, and by creating an orchestral transcription of Brahms’ Piano Quartet in G minor. Belgian author Maurice Maeterlinck’s dreamlike play, Pelléas and Melisande, premièred in Paris in 1893. Prince Golaud discovers the maiden Melisande, weeping and lost in the forest. He takes her back to the castle of his grandfather the king and marries her. Infatuation grows between Melisande and Golaud’s step-brother Pelléas. Golaud’s jealousy leads him to kill Pelléas, and Melisande dies from grief. The play is a prime example of the symbolist/anti-realist school that dominated so much art at that time. It rapidly inspired a wealth of excellent music. Within months of the première, Claude Debussy began sketching his operatic version. He completed it in 1895, but it didn’t reach the stage until seven years later. Meanwhile Gabriel Fauré created an incidental score in 1898 (the VSO will perform it on February 18 and 20), and subsequently Arnold Schoenberg composed a symphonic poem on the subject in 1902-03, and Jean Sibelius composed an incidental score in 1905. The Schoenberg of atonality and serial composition — the innovative, controversial procedures that demonized him in the minds of many listeners — lay a few years ahead when he composed this thoroughly late-Romantic piece. Its emotional tone and orchestral colouring are considerably darker than any of the other three settings mentioned above. No less a figure than the already wellestablished Richard Strauss, who appreciated Schoenberg’s as yet unrecognized talent and wished to encourage him, suggested he compose an opera based on Maeterlinck’s play. Apparently neither of them was aware of Debussy’s already-completed piece. Schoenberg accepted the subject but decided to make his work a purely instrumental one instead, and to give it not only a narrative basis
inspired by the play, but a quasi-symphonic structure as well. To this latter end, he cast it in a four-movement form, albeit without pauses between them. Author Arnold Whittall has written, “The fundamental elements of symphonic design are indeed present in the background as the story unfolds, but they rise closer to the surface in some places than in others.” In a procedure harking back to the operas of Richard Wagner, Schoenberg based the piece on a group of short themes that he developed and transformed continuously over the course of the work.
“...deftly, providing, with equal skill, fully-scored passages of surging passion and intimate, delicate moments.” Pelléas was Schoenberg’s first major orchestral composition, and it was to remain his longest such piece. He scored it for a very large orchestra, along the order of Strauss and another of their contemporaries, Gustav Mahler. He used it deftly, providing, with equal skill, fully-scored passages of surging passion and intimate, delicate moments. “I tried to mirror every detail of the play,” he wrote, “with only a few omissions and slight changes in the order of the scenes.” A closer analysis of the work reveals that he focused on just eight of the play’s 15 scenes: Melisande wandering in the forest; the episode at the fountain the park; the tower scene where Melisande combs her hair; the vaults of the castle; in the castle, when Golaud seizes Melisande by the hair; the love scene in the park; the entrance of the women servants in the castle; and the final scene of Melisande’s death. Schoenberg conducted the première himself, in Vienna on January 25, 1905. It received a hostile reception. Over the next few years it began to find some degree of acceptance, as shown by the fact that the first performance in Berlin, in 1910, was greeted significantly more cordially than the première. ■ Program Notes © 2017 Don Anderson
Vancouver Symphony Foundation
Ensure the VSO’s future with a special gift to the Vancouver Symphony Foundation, established to secure the long term success of the Vancouver Symphony Orchestra. The Vancouver Symphony family extends its sincere thanks to these donors whose gifts will ensure that the VSO remains a strong and vital force in our community long into the future. $4,000,000 or more Government of Canada through the Department of Canadian Heritage Endowment Incentives Program $1,000,000 or more Ron and Ardelle Cliff Martha Lou Henley, C.M. Province of BC through the BC Arts Renaissance Fund under the stewardship of the Vancouver Foundation Alan and Gwendoline Pyatt The Jim Pattison Foundation $500,000 or more Werner (Vern) and Helga Höing Wayne and Leslie Ann Ingram $250,000 or more Carter (Family) Deux Mille Foundation Mr. Hassan and Mrs. Nezhat Khosrowshahi The Tong and Geraldine Louie Family Foundation Arthur H. Willms Family $100,000 or more Mary and Gordon Christopher Janey Gudewill and Peter Cherniavsky In memory of their Father Jan Cherniavsky and Grandmother Mrs. B.T. Rogers Malcolm Hayes and Lester Soo Michael and Estelle Jacobson S.K. Lee in memory of Mrs. Cheng Koon Lee
Katherine Lu in memory of Professors Mr. and Mrs. Ngou Kang William and Irene McEwen Fund Sheahan and Gerald McGavin, C.M., O.B.C. McGrane-Pearson Endowment Fund Nancy and Peter Paul Saunders Ken and Patricia Shields Whittall Family Fund $50,000 or more Adera Development Corporation Winslow and Betsy Bennett The Bruendl Foundation Mary Ann Clark Leon and Joan Tuey Rosemarie Wertschek,Q.C. $25,000 or more Jeff and Keiko Alexander Kathy and Stephen Bellringer Brazfin Investments Ltd. Robert G. Brodie and K. Suzanne Brodie Mrs. May Brown, C.M., O.B.C. Mrs. Margaret M. Duncan Mollie Massie and Hein Poulus Mrs. Gordon T. Southam, C.M. Maestro Bramwell Tovey and Mrs. Lana Penner-Tovey $10,000 or more Mrs. Marti Barregar Mrs. Geraldine Biely K. Taryn Brodie
Douglas and Marie-Elle Carrothers Mr. Justice Edward Chiasson and Mrs. Dorothy Chiasson Daniella and John Icke Dr. Marla Kiess Dan and Trudy Pekarsky Bob and Paulette Reid Nancy and Robert Stewart Beverley and Eric Watt Anonymous (2) $5,000 or more Charles and Barbara Filewych Stephen F. Graf Edwina and Paul Heller Marietta Hurst Kaatza Foundation Prof. Kin Lo Rex and Joanne McLennan Chantal O’Neil and Colin Erb Marion L. Pearson and James M. Orr In Memory of Pauline Summers Melvyn and June Tanemura Bella Tata / Zarine Dastur: In Memory of Shiring (Kermani) and Dali Tata Nico and Linda Verbeek Anonymous (1) The Vancouver Symphony gratefully acknowledges the support of those donors who have made a commitment of up to $5,000 to the Vancouver Symphony Foundation. Regretfully, space limitations prevent a complete listing.
Tax creditable gifts of cash, securities and planned gifts are gratefully received and your gift is enhanced with matching funds from the Federal Government.
Please call Leanne Davis, Vice President, Chief Development Officer at 604.684.9100 x 236 or email firstname.lastname@example.org to learn more.
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, February 24 & 25 Bramwell Tovey conductor Garrick Ohlsson piano BRAHMS/ORCH. PAUL JUON ◆
Hungarian Dance No. 4 in F-sharp minor
BRAHMS Piano Concerto No. 2 in B-flat Major, Op. 83
I. Allegro non troppo II. Allegro appassionato III. Andante IV. Allegretto grazioso
BRAHMS Symphony No. 2 in D Major, Op. 73
I. II. III. IV.
Allegro non troppo Adagio non troppo Allegretto grazioso (Quasi Andantino) Allegro con spirito
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.
Bramwell Tovey conductor
For a biography of Maestro Bramwell Tovey, please refer to page 11.
Garrick Ohlsson piano Since his triumph as winner of the 1970 Chopin International Piano Competition, pianist Garrick Ohlsson has established himself worldwide as a musician of magisterial interpretive and technical prowess. Mr. Ohlsson has come to be noted for his masterly performances of the works of Mozart, Beethoven and Schubert, as well as the Romantic repertoire. To date he has at his command more than 80 concertos, ranging from Haydn and Mozart to works of the 21st century, many commissioned for him. This season that vast repertoire can be sampled in concerti ranging from Rachmaninoff’s popular Third and rarely performed Fourth, to Brahms Nos. 1 and 2, Beethoven, Mozart, Grieg and Copland in cities including Philadelphia, Atlanta, Detroit, Dallas, Miami, Toronto, Vancouver, San Francisco, Liverpool, and Madrid ending with a spring US West Coast tour with the St. Petersburg Philharmonic conducted by Yuri Temirkanov. Mr. Ohlsson is also the 2014 recipient of the Jean Gimbel Lane Prize in Piano Performance from the Northwestern University Bienen School of Music. He makes his home in San Francisco.
Johannes Brahms b. Hamburg, Germany / May 7, 1833 d. Vienna, Austria / April 3, 1897
Hungarian Dance No. 4 in F-sharp minor
(Orchestrated by Paul Juon)
When Brahms was twenty, he undertook a concert tour as the piano accompanist to a Hungarian violinist, Ede Reményi. Reményi’s playing gave him his first exposure to Gypsy or Romani music. It affected him profoundly, and inspired him to compose the Hungarian Dances. The first two sets were published in 1869 and the second two in 1880, for a total of 21 pieces, all scored for piano duet. Research has shown that some of the tunes he used are neither Gypsy/Romani tunes nor Hungarian 56 allegro
folk melodies — they were so familiar that they just seemed to be! They are concert works by a variety of lesser-known composers. Orchestral transcriptions of all 21 Hungarian Dances have been prepared. Brahms himself transcribed three of them: Nos. 1, 3 and 10. This arrangement of the soulful and vivacious No. 4 was prepared by Russian/Swiss composer Paul Juon.
Piano Concerto No. 2 in B-flat Major, Op. 83 As serious and tradition-orientated a composer as Brahms considered a concerto no less important than a symphony. Not for him the flashy, empty-headed concertos designed solely to show off soloists’ technique. Each of his concertos is as substantial and thoughtful as any of his symphonies. Maintaining an interest in such long-standing musical forms as the concerto and the symphony set him apart from many of his contemporaries. Two of them, Franz Liszt and Richard Wagner – the self-declared creators of the “music of the future” – preferred to work in such freer, more innovative domains as the symphonic poem and opera. The sketches for Brahms’ Piano Concerto No. 2 date from 1878, the same year as the Violin Concerto. His creative schedule was so crowded, however, that three years passed between the piano concerto’s conception and completion. He finished it during the summer of 1881, as part of a working holiday in the Austrian town of Pressbaum. Brahms himself was the soloist at the first performance, in Budapest on November 9, 1881, with Hans von Bülow conducting. In emotional terms, he divided it into two pairs of movements. The first couple contains virtually all the drama. The opening horn solo casts a spell of geniality over the broadlyscaled opening movement. The mood becomes more agitated toward the centre, only to reach a conclusion as optimistic as the opening. The second movement is a tough, often passionate segment that makes use of materials intended for the abandoned scherzo of the Violin Concerto. Only its brief, dance like middle panel offers a haven from the emotional storms.
What follows is total contrast: one of the most serene of all Brahms’ inventions. The radiant third movement features a prominent role for solo cello. To conclude the concerto, Brahms declines to repeat himself by offering a rambunctious or heaven storming rondo. He serves up relaxed Viennese charm instead. Here is author Malcolm MacDonald’s description of the concerto’s finale: “Brahms never wrote a movement that was more of an unalloyed entertainment, nor more feline in its humour; the proportions remain kingly, but the lion now moves with a kitten’s lightness and a cat’s precise, unconscious grace.”
Symphony No. 2 in D Major, Op. 73 Brahms needed 20 years of intermittent work to compose a symphony that he felt was worthy of comparison with Beethoven. Once he had passed that test – his first symphony enjoyed a highly acclaimed première in 1876 – he wasted little time in creating a second. Comfortably ensconced in the lakeside Alpine resort of Pörtschach, he composed Symphony No. 2 during the summer of 1877. Its genial personality reflected several developments, including the contented, optimistic state of mind that his flourishing career was bringing him, and the green, sunny, spectacularly beautiful location where he composed it. With typically sardonic humour, he misled his correspondents regarding its character. “I do not know whether I have a pretty symphony,” he wrote to a friend, “I must enquire of clever
persons.” He continued these pranks right up to the first performance, which took place in Vienna, with Hans Richter conducting, on December 30, 1877. The orchestra would have to wear crepe arm bands for the occasion, he claimed, because of the music’s “dirge like” effect. “It will be printed on black-edged paper,” he added. After a brief, quiet introduction featuring the horns, the violins introduce the first movement’s pastoral opening subject. Soon afterwards, violas and cellos give out the gently dancing second theme, first cousin to his familiar Lullaby. Brahms proceeds to concentrate on the opening idea, with touches of drama and stress making themselves felt from time to time. But the return of the second subject returns warmth and tranquility to the music. The slow second movement opens with a melancholy, hymn like theme on the cellos. A central episode brings agitation, but it passes, ushering in a peaceful conclusion. The following movement sparkles with delightful Viennese charm. It has its share of unforced ingenuity, too: the two rapid central episodes are transformations of the opening theme. The finale begins quietly, but soon bursts forth into joyful animation. A solemn, almost chorale-like theme appears in the violins and violas. Brahms brings it back, transfigured into a majestic peal of triumph, to close the symphony. ■ Program Notes © 2017 Don Anderson
Concert Program VA N C OU VER S UN S Y M P H ON Y AT TH E AN N E X T H E A N N EX , 7:3 0 P M
Sunday, February 26
▼ ◆ ◆ ●
Bramwell Tovey conductor Robyn Driedger-Klassen soprano I Eve-Lyn de la Haye soprano II Marion Newman mezzo-soprano Jelena Milojevic accordion
Fugitive Voices ● ▼
INTERMISSION BRAMWELL TOVEY WITH THE VSO
Nuyamł-ił Kulhulmx – Singing the Earth – 11 Pieces about a Place. Anna Höstman installation and composition Dylan Robinson installation and dramaturgy Patrick Nickleson installation and research Marion Newman research ROBYN DRIEDGER-KLASSEN
EVE-LYN DE LA HAYE
PRE-CONCERT SHOWING of Nuxalk filmmaker
Banchi Hanuse’s multi-award-winning documentary Cry Rock at 6:45pm. FREE TO TICKETHOLDERS. Cry Rock courtesy of Moving Images Distribution.
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Bramwell Tovey conductor
For a biography of Maestro Bramwell Tovey, please refer to page 11.
Robyn Driedger-Klassen soprano I
Robyn Driedger-Klassen has a passion for the performance of contemporary vocal repertoire. Some of her favourite living composers include Leslie Uyeda, David McIntyre, Jeffrey Ryan, Jocelyn Morlock, Jake Heggie, Tom Cipullo, Kaaija Saariaho, Libby Larsen, Brian Current and Ana Sokolovic. This is an exciting time to be working with North American composers and Robyn is thrilled to make their songs come alive. She does, however, always make time to sing Mozart, Schubert or Richard Strauss! Robyn is the Head of Voice at the Vancouver Academy of Music and is on the core faculty of the Vancouver International Song Institute. Robyn loves books, geraniums, canoes, cups of tea and a clean house. She lives with her husband and two vocal critics under the age of five. She can bake a wicked loaf of bread and in recent times, has learned a considerable amount about fast cars, dinosaurs and how to avoid Lego underfoot.
Eve-Lyn de la Haye soprano II Lyric coloratura Eve-Lyn de la Haye has been praised for her ‘liquid-clear, fragrant and intensely sweet voice.’ Recent highlights include Nannetta (Falstaff) and Yum Yum (The Mikado) for Calgary Opera, soprano soloist in Elijah and St. Matthew Passion with the Vancouver Bach Choir and her Vancouver Opera debut as Zina in the Canadian première of Dark Sisters by Nico Muhly. Ms. de la Haye has performed frequently with Soundstreams Canada including a CBC Radio recording of Six Voices for Sirens by Ana Sokolovic, several major works by Steve Reich and concerts of contemporary chamber music in Mexico and Canada with the Tambuco Percussion Ensemble.
Ms. de la Haye is a graduate of the University of Toronto’s Opera Division and is an alumna of the Aldeburgh Festival, Tanglewood Music Festival, and the Banff Centre for the Performing Arts. Other performances include Mahler's Symphony No. 4 and Vaughan Williams' Symphony No. 3 with the West Coast Symphony and Handel’s Messiah with the Victoria Symphony.
Marion Newman mezzo-soprano
First Nations mezzo-soprano Marion Newman "has a distinctive, dusky voice that suggests drama with every note" (Toronto Star) and has been designated "a show stealer" by BBC Music Magazine. In her debut in Ireland as Carmen, she was widely praised for her “superbly sinuous sexuality” and as “a very exciting new talent” by the Irish Examiner. Acclaimed for her interpretation of contemporary vocal works, Marion starred in Toronto Masque Theatre’s Dora Awardwinning production of The Lesson of Da Ji (recorded for Centrediscs), and sang the première of Anna Höstman's Singing the Earth with Continuum Contemporary Music. Marion joined the holiday fun last December, with Toronto Masque Theatre in The Mummer’s Masque, Dean Burry’s outrageous version of Newfoundland’s 400 year old tradition of music and story-telling. In 2016/17, Marion debuts as a soloist with the Regina Symphony Orchestra in Handel’s Messiah (Gordon Gerrard, Conductor) and again with the Okanagan Symphony Orchestra under Rosemary Thomson.
Jelena Milojevic accordion Jelena Milojevic is one of the foremost accordion performers of today. Born and raised in Croatia, received her Master’s Degree in Accordion Performance and Education from one of the most recognized accordion centres in the world, the Music Academy in Kragujevac (Serbia). She is the winner of some of the most prestigious international accordion
competitions. Her 2009 debut concert at the Weill Recital Hall in Carnegie Hall was the first accordion recital in that prestigious venue in 30 years. Her performances have been acclaimed as ‘an explosion of cosmic sensuality” and she has been praised for her “brilliant virtuosity”. She continues to actively collaborate with composers and performs and records new music for accordion.
not know is that it was inspired, in part, by memoirs published under the title The Life of Josiah Henson, Formerly a Slave, Now an Inhabitant of Canada, as Narrated by Himself. In 2007, Bramwell Tovey was commissioned to write a piece to commemorate the 150th anniversary of the founding of Owen Sound, and to celebrate the region’s historic role as the terminus of the Underground Railroad. The result was the composition Fugitive Voices, With her family, Jelena Milojevic lives and inspired by the written records left behind by creates in Victoria, BC where she also teaches American slaves who found sanctuary students at Camosun College and Tempo in Canada. Trend Studios. She is the Artistic Director of Similar narratives were collected in a scholarly the Victoria International Accordion Festival, work by Sterling Lecater Bland, Jr., titled and a frequent adjudicator at the biggest Voices of the fugitives: runaway slave stories international accordion competitions. and their fictions of self-creation. That book
Bramwell Tovey b. Ilford Essex, England / July 11, 1953
Fugitive Voices Uncle Tom’s Cabin, by Harriet Beecher Stowe, may be the most familiar tale about the Underground Railroad. What you may
provided both the title and individual words and passages for Bramwell Tovey’s work Fugitive Voices. Written for a small string ensemble and three soprano voices, it brings to life some of the perils faced by the victims, and the comforting balm of faith that they found in biblical teachings.
In a CBC interview at the time of the work’s première, Bramwell Tovey described the impact of “these incredibly powerful words from these slaves — they’re so direct, they have no artifice, they have no kind of fancy literary camouflage designed to make them read better on the page. In order to write this piece I had to keep really true to those witness impact statements." Property...A boy must be whipped!... He called two dogs...They bit me...The marks of the teeth are all around my knees...I took to the woods... “There were a number of concepts that just sort of slammed into my quasi-waspish consciousness…the sheer concept of property and of one human belonging to another. There were so many of these words— goods, chattels, even words like dogs. I thought well why not deal with the actual word itself which is why the piece begins with this very pompous voice just saying the word “PROP-er-ty!”
“Property...A boy must be whipped!...He called two dogs... They bit me...The marks of the teeth are all around my knees... I took to the woods...”
these bars. With this ‘Amen', I had this feeling of was looking into a high vaulted building, perhaps with stained glass, and the feeling of release, and reaching for the heavens. That’s what I wanted to depict. In a sense too it was a release for me.” Program Notes 2017 VSO (Matthew Baird, with thanks to CBC Producer Madonna Hamel).
Anna Höstman b. Bella Coola, British Columbia / June 2, 1972
Nuyamł-ił Kulhulmx — Singing the Earth — 11 Pieces about a Place This work is an artistic response to the people, environment and spirit of the Bella Coola Valley of coastal British Columbia. It draws on historical and contemporary sources in four languages (Nuxalk, Norwegian, English and Japanese) to create 11 short pieces about an isolated and beautiful place— 1. moss 2. smallpox 3. potlatch ban 4. three Bella Coola stories (the folly of deer, mink and cloud, herring and olachen) 5. halling 6. field notes 7. cannery 8. quiet; stille 9. lonesome lake 10. glossary 11. near
He called two dogs. They bit me. They bit me. I knew the dog would go for my throat.
Created with Stó:loˉ installation artist Dylan Robinson, Kwagiulth mezzo-soprano Marion Newman, Patrick Nickleson, the kind assistance of people from the Bella Coola Valley, and Toronto’s Continuum Ensemble, Singing the Earth incorporates text, installation, video, audio interviews, photography and erasure poetry. Over the two years of its creation, we made three trips to the Valley, interviewing residents about their culture and history, about loss and regeneration of language, and changing relationships with the environment. We spent hours walking along its rivers and creeks, through its moss and devil’sclub-filled forests, filming, photographing, and listening. The resulting concert-installation for mezzo soprano and chamber ensemble offers glimpses into its history, stories, and ongoing currents of loss and change.
“There is a juxtaposition of faith and redemption alongside the violence and hypocrisy. When you write a piece, when you get near the end you so desperately want to get to the end it just possesses you, it takes you over. When I hit these bars, I actually found it…extraordinarily cathartic to write
Some texts were created through erasure "I 'whited-out' text of McIlwraith’s 1920s anthropological study The Bella Coola Indians, leaving fewer than 10 words on each of the 672 pages. Erasing this proportion of text was a reflection of language loss: in 1890, there was 100% fluency in BC first nations
“The more I got into it the more I thought that music can actually express something of the unspoken response to this dreadfully violent subject. I wanted to provide some redemption…to depict the dignity of the people and the fact that their story was told, and that nothing can remove the dignity of any human being.” Thou shalt love the Lord thy God! With all thy heart and all thy soul with all thy strength and with all thy mind. And thy neighbor as thyself.
languages. By the year 2010, this had plummeted to 5.1%. In Bella Coola, we learned that increasing the understanding of and everyday use of the Nuxalk language in the community is very close to the heart of many residents."
Anna Höstman installation and composition
Anna Höstman’s music seeks out tactile encounters with the world while extending into story, memory, and landscape. Described as "suggestive, elegant" and "hauntingly beautiful", her works have been performed in Canada, China, the U.K., Mexico, Italy and Russia. From 2005–8, she was Composer-inResidence of the Victoria Symphony during which time her opera, What Time is it Now (P.K. Page, libretto), was recorded and broadcast by the CBC. Her DMA from the University of Toronto explores the chamber works of Martin Arnold. She has received the Toronto Emerging Composer's Award, K.M. Hunter Award, and Chalmers grant for a residency at Concordia University's Matralab. She serves on the editorial board of new music journal, Tempo, Cambridge University Press. Program Notes © 2017 Anna Höstman, edited Jocelyn Morlock
Patrick Nickleson installation and research
b. Windsor, Ontario / February 13, 1987
Patrick Nickleson is a doctoral candidate in musicology at the University of Toronto. He is currently completing his dissertation, which examines the politics of authorship and historiography in early minimalist music. From 2012 through 2015, Patrick was research assistant to Dylan Robinson, which included field work trips to the Bella Coola Valley and artistic involvement in Nuyamł-ił Kulhulmx – Singing the Earth. His reviews and criticism can be read in New Music Box, Intersections, Transnational Social Review, and Performance Research; he has published entries in the Routledge Encyclopedia of Modernism, and has a forthcoming article on minimalism and transcription in Twentieth-Century Music. Program Notes © 2017 Patrick Nickleson, edited Jocelyn Morlock
Marion Newman research
b. Bella Coola, British Columbia / April 27, 1972
Please refer to Ms. Newman's biography on page 60.
installation and dramaturgy
b. S’olh temexw / November 21, 1976
Filmmaker Banchi Hanuse is the founder and station manager of Bella Coola’s community radio station, Nuxalk Radio 91.1 FM. She completed a Bachelor's Degree from the University of British Columbia in First Nations Studies with a Minor in International Relations. Her directorial debut, Cry Rock, won nine awards including Indigenous Filmmakers Award (Social Change Film Festival 2012) and Kodak Image Award (Spotlight Awards | Women in Film & Television Vancouver 2012) following its première at National Geographic's All Roads Film Festival. She is in post-production on her latest documentary, Sputc: We Shall Eat When the River is Full. ■
Dylan Robinson is a scholar and artist of Stó:loˉ First Nations descent who holds the Canada Research Chair in Indigenous Arts at Queen’s University, located on the traditional lands of the Haudenosaunee and Anishinaabe people. His co-edited collection Arts of Engagement (2016) includes a wide range of interviews and essays that consider the role the arts played in Canada’s recent Truth and Reconciliation Commission on the Indian Residential Schools. His collection Opera Indigene: Re/presenting First Nations and Indigenous Cultures (2011) examines the representation of Indigenous people in opera and the lesser-known history of opera created by Indigenous composers and artists.
Program Notes © 2017 Banchi Hanuse, edited Jocelyn Morlock
Program Notes © 2017 Dylan Robinson, edited Jocelyn Morlock
G OL D C ORP M ASTE RWO R KS G O LD OR P H EU M , 8P M
David Danzmayr conductor Jeremy Denk piano
Saturday & Monday, March 4 & 6
SHOSTAKOVICH Festive Overture, Op. 96 MOZART Piano Concerto No. 19 in F Major, K. 459 I. Allegro II. Allegretto III. Allegro assai
SHOSTAKOVICH Symphony No. 12 in D minor, Op. 112 The Year 1917
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I. Revolutionary Petrograd II. Razliv III. Aurora IV. The Dawn of Humanity
PRE-CONCERT TALKS FREE TO TICKETHOLDERS, 7:05pm to 7:30pm, in the auditorium.
David Danzmayr conductor
Described by The Herald as “extremely good, concise, clear, incisive and expressive,” David Danzmayr is widely regarded as one of the most talented and exciting European conductors of his generation. Danzmayr is Chief Conductor of the Zagreb Philharmonic Orchestra, the first to hold this title in seven years. Last season, he led the orchestra in a highly successful tour to the Salzburg Festspielhaus. In the US, David is Music Director of the ProMusica Chamber Orchestra, where his contract was recently extended, as well as the Artistic Advisor of the Breckenridge Music Festival. David has won prizes at some of the world's most prestigious conducting competitions, including a 2nd prize at the International Gustav Mahler Conducting Competition and prizes at the International Malko Conducting Competition. For his extraordinary success, he was awarded the Bernhard Paumgartner Medal by the Internationale Stiftung Mozarteum. Besides numerous re-invitations, future engagements will include concerts with the Milwaukee Symphony, Pacific Symphony, Colorado Symphony, Essener Philharmoniker and Hamburger Symphoniker.
Jeremy Denk piano Jeremy Denk is one of America’s foremost pianists — an artist The New York Times hails as someone "you want to hear no matter what he performs." He is a winner of a MacArthur "Genius" Fellowship, the Avery Fisher Prize, and Musical America’s Instrumentalist of the Year award. In 16/17, Denk embarks on a recital tour of the UK, including a return to Wigmore Hall, and he will make his debut at the Philharmonie in Cologne. He appears on tour throughout the US, including Chicago Symphony Hall and Lincoln Center's White Light Festival. He will release a solo recording, The Classical Style, and joins his long-time musical partners, Joshua Bell and Steven Isserlis in a recording of Brahms' Trio in B-Major. He continues to work with The St. Paul Chamber Orchestra, as one of six Artistic Partners who collaborate with the SPCO to develop distinctive multi-year programming. 66 allegro
Dmitri Shostakovich b. St. Petersburg, Russia / September 25, 1906 d. Moscow, Russia / August 9, 1975
Festive Overture, Op. 96 Shostakovich composed this exciting and merry piece in 1954, for a concert marking the thirty-seventh anniversary of the Bolshevik Revolution. Once the last-minute request arrived, he set to work immediately. “The speed with which he wrote was truly astounding,” said an eyewitness. “When he wrote light music he was able to talk, make jokes and compose simultaneously, like the legendary Mozart. He sat there scribbling away and the couriers came in turn to take away the pages while the ink was still wet.”
Wolfgang Amadeus Mozart b. Salzburg, Austria / January 27, 1756 d. Vienna, Austria / December 5, 1791
Piano Concerto No. 19 in F Major, K. 459 In 1781, Mozart split with his detested and unappreciative employer, Hieronymous Colleredo, Prince-Archbishop of Salzburg. He quickly relocated to Vienna as a freelance artist. Vienna came to love him best for his piano playing, and he responded to that preference by composing numerous works involving that instrument.
“They are deeper in feeling, broader in scope and richer in colour...” Between 1784 and 1786, in an astonishing burst of concentrated creativity, he composed 12 piano concertos, Nos. 14–25, all but a handful to perform at his own concerts. They are deeper in feeling, broader in scope and richer in colour than any which he or any other composer had written before. In years to come, they would serve as models of their kind, ones to which Beethoven, Brahms and other similarly high-minded composers would turn for inspiration. Although Mozart created two additional piano concertos after that sensational run, neither is superior to the best of this fabulous dozen.
Most of their premières followed within days of completion. He finished this Concerto in F Major on December 11, 1784, as he was about to be formally indoctrinated into one of Vienna’s most prestigious Masonic lodges. He may well have given the first performance to celebrate that event, although a work as sunny and playful as this one might have seemed a bit lightweight for so august an occasion!
attempts passed by (some of which included vocal settings of pro-revolution texts by Lenin) before he firmly set to work on it, as his Twelfth Symphony. By the autumn of 1960, he had narrowed its programmatic content from a portrayal of Lenin’s complete life to the major events of 1917. Yevgeny Mravinsky conducted the Leningrad Philharmonic Orchestra in the première, on October 4, 1961.
As author Cuthbert Girdlestone has noted, comparing it with Mozart’s concertos from earlier in the year, “It sings the same confidence and happiness, the same triumph of the composer and executant, master of his talent and his public. It sings them in the highest degree and never more in his work shall we hear so whole-hearted a joy so ingenuously expressed.” Mozart held it in high enough regard to perform it in Frankfurt, Germany in 1790, in connection with the coronation of Emperor Leopold II.
Audiences and musicians expressed disappointment with it, finding it a less imaginative depiction of historical events than Symphony No. 11 (1957), but the Soviet cultural authorities hailed it as a triumphant act of Socialist Realism. Theories about its contents swirl about it, as they do with many of Shostakovich’s major works. Is it a sincere salute to Lenin and the revolution, or veiled satire? Shostakovich’s friend, the musicologist and author, Lev Lebedinsky, wrote that Shostakovich told him it was a parody, and that he re-composed it hastily to make the criticisms it contained less obvious.
“...it is the finale which contains the greatest emotional and creative substance...” Throughout it, he regularly and dexterously featured the wind section of the orchestra, a practice borne of the enchanting Quintet for Piano and Winds he had written just eight months before. The opening movement is totally gracious and carefree. A gently wistful not-quite slow movement follows. Mozart gave it the unusually rapid tempo indication Allegretto. In a further innovative move, it is the finale which contains the greatest emotional and creative substance, including passages in fugal style, although in keeping with the preceding movements, Mozart leavens its finesse with ample humour.
It carried forward two practices from Symphony No. 11, a work which portrayed the failed Russian revolution of 1905: the four movements unfold as one, continuous whole, and Shostakovich intensified the entire work’s cohesiveness by sharing themes among movements. The first movement of No. 12, Revolutionary Petrograd (as St. Petersburg was known from 1914 to 1924), expends enormous energy in depicting the turbulent atmosphere of the time and place. Razliv, the brooding second movement, portrays the quiet village from which Lenin directed his revolutionary activities in mid-1917, while hiding from his opponents. The suspenseful third movement, Aurora, was named after a battleship that was lying in Petrograd harbour. When a blank shot was fired from it on October 25, it gave the signal to launch the attack on the Tsar’s Winter Palace with which the final phase of the Revolution began. The finale, The Dawn of Humanity, predicts with bold and massive sonority a glorious future for the Soviet Union. ■
Symphony No. 12 in D minor, Op. 112 The Year 1917 Shostakovich had declared as early as 1924 that he intended to dedicate a symphonic work to Vladimir Ilyich Lenin, the leader of the 1917 Program Notes © 2017 Don Anderson revolution that had toppled Russia’s oppressive, centuries-old imperial Romanov dynasty and replaced it with a Communist government. Thirty-five years, and several incomplete
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President, Pacific Surgical
Vice President, Operations & CFO, Schneider Electric
President, Cathy Grant Inc. Doug Hart Real Estate Sales and Marketing Specialist Executive Director (Ret.), South Surrey & White Rock Chamber of Commerce Lindsay Hall Senior Vice President and Chief Sam Lee Financial Officer, Hecla Mining Company Managing Director, Global Mining Group CIBC World Markets Diane Hodgins Director, Century Group Lands Corporation Alexandra Mauler President, AMS Petrography Ltd.
Musician Representatives Larry Knopp Principal Trumpet
Vern Griffiths Principal Percussion Honorary Life President
Ronald Laird Cliff, C.M. Honorary Life Vice-Presidents
Nezhat Khosrowshahi Gerald A.B. McGavin, C.M., O.B.C. Ronald N. Stern Arthur H. Willms
Executive Vice President, Corporate Affairs, Telus Corporation
Vancouver Symphony Foundation Board of Trustees Ronald Laird Cliff, C.M., Chair Marnie Carter Richard Mew
Irene McEwen Gerald A.B. McGavin, C.M., O.B.C. Hein Poulus, Q.C.
Alan Pyatt Arthur H. Willms
Fred Withers Tim Wyman
VSO School of Music Society Board of Directors
Gordon R. Johnson, Chair Claire Hunter Fiona Lin Hein Poulus, Q.C. Patricia Shields
Eric Watt Arthur H. Willms
Ms. Curtis Pendleton Executive Director
Operations & Facilities Manager
Jose Valenzuela Accountant Scott Jeffrey Registrar
Vancouver Symphony Volunteer Council 2016/2017 Chair . . . . . . . . . . . . . . . . . . . . . . Paddy Aiken Vice-Chair . . . . . . . . . . . . . . . . Azmina Manji Secretary/Treasurer . . . . . . Marlies Wagner Member . . . . . . . . . . . . . . . . . . . Candace Bailes Member . . . . . . . . . . . . . . . . . . . Noelene Buckner Member . . . . . . . . . . . . . . . . . . . Jean Pirie Immediate Past Chair . . . . Nancy Wu Scheduling Concerts (all venues) . . . . . Shirley Bidewell Gift Shop . . . . . . . . . . . . . . . . . . Barbara Morris
Lotteries in Malls . . . . . . . . . . . Gloria Davies Reception Shifts . . . . . . . . . . . . Gloria Davies Tea & Trumpets . . . . . . . . . . . . . Shirley Featherstone Marlene Strain Special Events Symphony of Style 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 firstname.lastname@example.org Assistant Gift Shop Manager Robert Rose
UPCOMING CONCERTS Highlights of the next issue of allegro... CHRIS BOTTI
IN CONCERT WITH THE VSO
WED, MARCH 15 8PM, ORPHEUM William Rowson conductor Chris Botti trumpet Chris Botti is the consummate instrumental entertainer, seamlessly switching from best-selling pop classics to essential jazz standards, such as When I Fall in Love, Emmanuel and The Very Thought of You. Hear him live with the Vancouver Symphony Orchestra.
VSO POPS: THE MAMBO KINGS,
IN HOT LATIN NIGHTS!
FRI & SAT, MARCH 17 & 18 8PM, ORPHEUM Jeff Tyzik conductor Mambo Kings
Renowned Pops conductor Jeff Tyzik teams up with the Mambo Kings for a sizzling night of Latin-inspired hits. Seamlessly blending symphonic music with Latin jazz and Salsa, the Mambo Kings light up the stage with music by Astor Piazzolla, Gershwin’s Cuban Overture, Santana’s Oye Como Va, Dave Brubeck’s Blue Rondo, and their own hot Salsa stylings.
JON KIMURA PARKER PLAYS BEETHOVEN
FRI & SAT, MARCH 24 & 25 8PM, CHAN CENTRE, UBC Joshua Weilerstein conductor Jon Kimura Parker piano*
JON KIMURA PARKER
NIELSEN Pan and Syrinx BEETHOVEN Piano Concerto No. 1 in C Major* SCHUMANN Symphony No. 3 in E-flat Major, Rhenish
VSO SPRING FESTIVAL A BRITISH FANTASY
APRIL 22 TO MAY 1 5 CONCERT FESTIVAL THE 2017 VSO SPRING FESTIVAL features Maestro Bramwell Tovey, violinist/violist James Ehnes, and pianist Ian Parker, in a celebration of British composers and their most popular works. Highlights include Holst The Planets, Elgar Enigma Variations, and The Last Night of the Proms. JAMES EHNES
TICKETS: vancouversymphony.ca VSO CUSTOMER SERVICE