Magazine of the Vancouver Symphony
James Ehnes stars in the VSO Spring Festival
Jon Kimura Parker performs Beethoven
The Mambo Kings in Hot Latin Nights The Planets: An HD Odyssey
March 11 to May 1, 2017 Volume 22, Issue 4
Vancouver Symphony Orchestra BRAMWELL TOVEY MUSIC DIRECTOR KAZUYOSHI AKIYAMA CONDUCTOR LAUREATE WILLIAM ROWSON ASSISTANT CONDUCTOR*
JOCELYN MORLOCK COMPOSER-IN-RESIDENCE MARCUS GODDARD COMPOSER-IN-ASSOCIATION
Wayne & Leslie Ann Ingram Chair
Marsha & George Taylor Chair
Nicholas Wright, Acting Concertmaster Jennie Press, Acting Associate Concertmaster Rebecca Whitling, Acting 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 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
Professors Mr. & Mrs. Ngou Kang Chair
Ariel Barnes, Principal Nezhat and Hassan Khosrowshahi Chair
Janet Steinberg, Associate Principal Zoltan Rozsnyai, Assistant Principal Olivia Blander
Gregory A. Cox, Acting Principal
Arthur H. Willms Family Chair
Paul Moritz Chair
Ilan Morgenstern, Bass Trombone
Chair in Memory of John S. Hodge Peder MacLellan, Principal
Jeanette Jonquil, Gerhard and Ariane Bruendl Chair Principal 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 Ron & Ardelle Cliff Chair
Beth Orson, Assistant Principal Karin Walsh
Werner & Helga Höing Chair
Nadia Kyne, § Assistant Principal Lara Deutsch, Assistant Principal Rosanne Wieringa §
David Haskins, Associate Principal Andrew Mee
Aaron McDonald, Principal
Vern Griffiths, Principal Martha Lou Henley Chair
Elizabeth Volpé Bligh, Principal
Linda Lee Thomas, Principal Carter (Family) Deux Mille Foundation Chair
Orchestra Personnel Manager DeAnne Eisch
Music Librarian Minella F. Lacson
Head Carpenter Paul McManus
Head Electrician Brendan Keith
Winslow & Betsy Bennett Chair
Michael & Estelle Jacobson Chair
Richard Mingus, Assistant Principal
*Supported by The Canada Council for the Arts
Nadia Kyne §
Estelle & Michael Jacobson Chair
Hermann & Erika Stölting Chair
Tegen Davidge Matthew Davies Angela Schneider
Roger Cole, Principal
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 Vincent Vohradsky
W. Neil Harcourt in memory of Frank N. Harcourt Chair
The Vancouver Symphony Orchestra is a proud member of
§ 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 Patronsâ€™ Circle . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 VSO School of Music . . . . . . . . . . . . . . . . . . . . . . . 31 Welcome to the Arts . . . . . . . . . . . . . . . . . . . . . . . . 36 VSO Stradivarius Legacy Circle . . . . . . . . . . . . . . . 54 VSO Lottery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Advertise in Allegro . . . . . . . . . . . . . . . . . . . . . . . . 62 Vancouver Symphony Foundation . . . . . . . . . . . . . 65 VSO Symphony Ball . . . . . . . . . . . . . . . . . . . . . . . . 66 Corporate Partners . . . . . . . . . . . . . . . . . . . . . . . . . 68 At the Concert / VSO Staff . . . . . . . . . . . . . . . . . . . 70 Board of Directors / Volunteer Council . . . . . . . . . 71 Upcoming Concerts . . . . . . . . . . . . . . . . . . . . . . . . 72 4 allegro
March 11 to May 1, 2017 Volume 22, Issue 4
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 MARCH 11, 13 / Mardon Group Insurance Musically Speaking / . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Westminster Savings Surrey Nights / Bramwell Tovey conductor, Alessio Bax piano, Jeanette Jonquil clarinet MARCH 12 / OriginO Kids’ Koncerts / Inspector Tovey Investigates the Orchestra / . . . . . . . . . . . . . 15 Bramwell Tovey conductor, Iman Habibi and Deborah Grimmett, piano duo MARCH 15 / Specials / Chris Botti in Concert with the VSO / William Rowson conductor, . . . . . . . 17 Chris Botti trumpet MARCH 16 / Tea & Trumpets / The City of Light / William Rowson conductor, . . . . . . . . . . . . . . . . . 21 Christopher Gaze host, Matthew Yep violin MARCH 17, 18 / London Drugs VSO Pops / The Mambo Kings in Hot Latin Nights! / . . . . . . . . . . . . 23 Jeff Tyzik conductor, Mambo Kings MARCH 24, 25, 27 / Classical Traditions / North Shore Classics / . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Joshua Weilerstein conductor, Jon Kimura Parker piano MARCH 25 / Vancouver Sun Symphony at the Annex / The Idea of North / . . . . . . . . . . . . . . . . . . . . 33 William Rowson conductor APRIL 1, 2, 3 / Air Canada Masterworks Diamond / Rogers Group Financial . . . . . . . . . . . . . . . . . . 39 Symphony Sundays / James Gaffigan conductor, Henning Kraggerud violin APRIL 5, 6, 9 / VSO Chamber Players / Homelands / Roger Cole oboe, Lara Deutsch flute, . . . . . . 45 Alexander Morris clarinet, Sophie Dansereau bassoon, Andrew Mee horn, Amanda Chan piano, Jennie Press violin, Zoltan Rozsnyai cello APRIL 22 / PwC Springfest / Songs & Serenades / James Ehnes leader/violin/viola . . . . . . . . . . . 47 APRIL 24 / PwC Springfest / The Planets: An HD Odyssey / Bramwell Tovey conductor, . . . . . . . . . 51 James Ehnes viola, Elektra Women’s Choir, Morna Edmundson chorus director APRIL 29 / PwC Springfest / Henry V / Bramwell Tovey conductor, . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Ian Parker piano, Christopher Gaze, narrator APRIL 30 / PwC Springfest / Enigma / Bramwell Tovey conductor/piano . . . . . . . . . . . . . . . . . . . . . 59 MAY 1 / PwC Springfest / Last Night of the Proms / Bramwell Tovey conductor, . . . . . . . . . . . . . . . 63 Vancouver Bach Choir
Jon Kimura Parker 5allegro allegro5
The Vancouver Symphony Society is grateful to the Government of Canada and the Canada Council for the Arts, Province of British Columbia and the BC Arts Council, and the City of Vancouver for their ongoing support. The combined investment in the VSO by the three levels of government annually funds over 28% of the cost of the orchestra’s extensive programs and activities. This vital investment enables the Vancouver Symphony Orchestra to present over 150 life-enriching concerts in 16 diverse venues throughout the Lower Mainland and Whistler, attract some of the world’s best musicians to live and work in our community, produce Grammy® and Juno® award-winning recordings, tour domestically and internationally, and, through our renowned educational programs, touch the lives of over 50,000 children annually.
Mélanie Joly, Minister of Canadian Heritage and Official Languages
Christy Clark, Premier of British Columbia
Gregor Robertson, Mayor of Vancouver
FRED G. WITHERS
the VSO Chairman and President
With Spring upon us, it continues to be a very exciting time at the VSO — with the celebration of Maestro Bramwell Tovey’s legacy in our 99th year upcoming. Immediately thereafter, we will be the first major orchestra in Canada to achieve and celebrate a 100th Anniversary.
Spring is upon us and that also beckons a time, musically, for new celebrations and beginnings. We are incredibly pleased that you are with us whether it is for your regular subscription concert or for one of our many exciting special performances. The VSO is excited to welcome back jazz trumpeter Chris Botti to the Orpheum on March 15th backed by the VSO in an entertaining night of standards and pop classics. For Harry Potter fans young and old, the VSO presents the second movie in the series, Harry Potter and the Chamber of Secrets performed with live orchestra April 7–9. The first movie sold out for three performances, so don’t delay reserving your tickets to what is a great symphonic cinema experience.
Recently, we were delighted to introduce Maestro Otto Tausk as the Music Director Designate of the VSO. Maestro Tausk will begin his Music Director duties on July 1, 2018 for our 100th Anniversary Season. From The Netherlands, Maestro Tausk is currently the Music Director of the Orchestra and Opera Company in St. Gallen, Switzerland. A musician of the highest order, Maestro Tausk will continue to focus on the artistic development and growth of our Orchestra and on expanding our community engagement opportunities. Please visit vancouversymphony.ca to learn more about Maestro Tausk and this exciting announcement. World renowned pianist Emmanuel Ax’s recent visit to Vancouver to perform with the Orchestra reminded me of the extraordinary generosity of our Orchestra musicians and guest artists. While only in the city for two days, Emmanuel’s visit included a morning, with Maestro Tovey and VSO musicians, at the St. James Music Academy on the Downtown eastside to work with young musicians. This was followed by a piano masterclass for young musicians at the VSO School of Music and a 5th Anniversary Dinner event honouring significant donors to the VSO School of Music. The time VSO musicians and guest artists spend in our community help us to enrich and transform lives through music. President Kelly Tweeddale touches on our 99th Season program in her adjoining letter. I am particularly proud that this 99th Season will include an Orchestra tour of four communities in the Okanagan, as well as Chilliwack. The tour, which will occur in September, will be the first time in over twenty years that our Orchestra has performed in the Interior communities of B.C. Please let your friends in Kamloops, Vernon, Kelowna, Penticton and Chilliwack know that they will have an opportunity to attend a performance of the VSO. Please enjoy today’s concert.
Music Director Bramwell Tovey has invited the Canadian virtuoso James Ehnes to join us for our 2017 SpringFest playing both violin and viola. This year the SpringFest focuses on favorites in the British tradition including Holst's The Planets and Elgar's Enigma Variations. This year’s festival runs from April 22 through May 1 concluding with the traditional “Last Night at the Proms.” You can find details of all our SpringFest events on vancouversymphony.ca as well as purchase your tickets. As this program was sent to press, the VSO announced its 2017/2018 season celebrating the incredible legacy of Music Director Bramwell Tovey. This will be a commemorative season and the last before Maestro Tovey becomes the Music Director Emeritus in our 100th season. This will be a season you’ll want to be a part of as a subscriber, patron, and ticket buyer. The season will also offer you the opportunity get to know our Music Director Designate, Maestro Otto Tausk, who will join the orchestra twice during the 2017/2018 season. Listen, enjoy, and share the tremendous breadth of music the VSO has to offer. Music has no limits or boundaries, just an open door to you, our community.
Yours sincerely, Kelly Tweeddale President, VSO & VSO School of Music Fred G. Withers Chair, Board of Directors allegro 7
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, March 11 W ES T M IN S T ER SAV IN G S S U R REY N IG H T S B EL L P ER F OR M I N G A RT S C EN T RE, 8 P M
Monday, March 13
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Bramwell Tovey conductor Alessio Bax piano Jeanette Jonquil clarinet MORAWETZ The Railway Station BERNSTEIN Prelude, Fugue and Riffs MACDOWELL Piano Concerto No. 2 in D minor, Op. 23
I. Larghetto calmato II. Presto giocoso III. Largo – Molto allegro
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I. Molto moderato – with simple expression II. Allegro molto III. Andantino quasi allegretto IV. Molto deliberato
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. 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.
“...Tovey won the Juno ® Award for Best Classical Composition... ” 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.
Alessio Bax piano Pianist Alessio Bax — a first-prize winner at the Leeds and Hamamatsu International Piano Competitions and a 2009 Avery Fisher Career Grant recipient — has appeared as soloist with more than 100 orchestras worldwide, including the London Philharmonic, Houston Symphony, and Japan’s NHK Symphony. This season he makes his solo recital debut at London’s Wigmore Hall with a program of Schubert, Scriabin and Ravel; gives solo recitals in Spain, Italy and California; and performs with his wife, pianist Lucille Chung, in Guatemala, the U.S., and in fall 2017, at the Fundación Beethoven in Santiago, Chile. He also tours Japan with Daishin Kashimoto (concertmaster of the Berlin Philharmonic) with whom he also reunites for a summer recital at Wigmore Hall. Alessio Bax will also tour the U.S. with his frequent recital partner, violinist Joshua Bell, as well as with the Chamber Music Society of Lincoln Center. Alessio Bax was recently appointed Artistic Director of Italy’s Incontri in Terra di Siena Festival, for a three-year term starting in 2017.
Jeanette Jonquil clarinet Jeanette Jonquil has been the principal clarinetist in the Vancouver Symphony Orchestra since 2005. Before moving to Vancouver, she was the principal clarinetist in the Charleston Symphony Orchestra (South Carolina). She has also performed with the New Zealand Symphony Orchestra in Wellington and the Milwaukee Symphony Orchestra. For several summers, Ms. Jonquil was the principal clarinetist of the Colorado Music Festival Orchestra in Boulder. She has played at the Pender Harbour Chamber Music Festival on the Sunshine Coast, at numerous international festivals, and was a fellow at Tanglewood where she was awarded the Gino B. Cioffi Memorial Prize for most outstanding woodwind playing. Originally from Utica, New York, Ms. Jonquil received her Bachelor of Music degree from Northwestern University and her Master of Music degree from Yale University. She has appeared as a soloist with the Yale Philharmonia, Utica Symphony, Charleston Symphony and Vancouver Symphony.
Oskar Morawetz Sveˇtlá nad Sázavou, Bohemia / January 17, 1917 d. Toronto, Ontario / June 13, 2007
The Railway Station Morawetz was one of Canada’s most distinguished and most frequently performed composers. After early studies in Prague, Vienna and Paris, in 1940 he escaped from the growing tide of Nazi terror by emigrating to Toronto. He was appointed a professor at the U of T in 1952, and served there with distinction until his retirement 30 years later. He created a substantial catalogue of music in virtually all major forms, from piano solos and songs through chamber music to choral works and orchestral music. The tone poem The Railway Station was commissioned in 1978 by the National Youth Orchestra of Canada. They gave the première in Kingston, Ontario in August 1980. It was inspired by a poem by the celebrated Canadian author Archibald Lampman. The music 12 allegro
alternates graphic depictions of the clangour and bustle of a railway station, with the more restrained, even melancholy emotions of the crowds who come and go from it.
Leonard Bernstein b. Lawrence, Massachusetts, USA / August 25, 1918 d. New York, USA / October 14, 1990
Prelude, Fugue and Riffs Bernstein wrote this exuberant, jazz flavoured work in 1949, for band leader Woody Herman. Various circumstances delayed its debut. It was first performed in October 1955 by another versatile clarinettist, Benny Goodman, on What is Jazz, one of Bernstein's educational television broadcasts. Scored for clarinet and jazz combo, it blends classical elements (especially the Baroque-era forms, prelude and fugue) and popular ones (the ‘riffs’ of jazz) in diverting ways. The three sections are performed as a continuous whole, and the last one has the feel of a spontaneous jazz jam session.
Edward MacDowell b. New York, New York, USA / December 18, 1860 d. New York, New York, USA / January 23, 1908
Piano Concerto No. 2 in D minor, Op. 23 MacDowell was the first American-born composer to achieve significant international fame. As was typical of the times, it was necessary to launch his career abroad. He received most of his training in Germany. By the time he returned to America in 1888, his music and his great skill as a pianist had established themselves strongly in Europe. He rapidly achieved equal fame in his homeland. His catalogue of music includes a substantial number of piano works. They range from largescale sonatas to dozens of poetic miniatures. He also wrote several symphonic poems and two piano concertos, all of them dating from his years in Germany. They reflect the models of Liszt, with their vibrant colours and thematic links between sections. MacDowell completed Concerto No. 2 in 1885. He played the solo part himself at the première, which took place in New York in 1889. The first major piano concerto by an American composer, it is his most frequently performed large-scale work.
The slow movement appears first, It begins with a hushed introduction for orchestra. The piano enters in declamatory style. The introduction returns, after which the piano introduces the surging main theme. The lyrical second subject is a clever transformation of the introduction. A swift and charming scherzo follows. The finale opens with a prelude in slow tempo that recalls the themes of the first movement. Before long, a new and joyous theme appears. Together with a second, waltzlike subject, it sweeps away the concerto’s preceding gloom and paves the way for a brilliant and exciting conclusion.
the score just before rehearsals were to start for the première, October 18, 1946.” Copland cast the first movement in the shape of an arch, opening and closing in a mood of serene contemplation. In between these bookends, the music rises to heights of measured eloquence and barely restrained power. The following scherzo-like movement is a witty, headlong emotional rush floated on waves of thrusting, syncopated rhythms. Copland provides contrast through a lyrical central Trio section spotlighting the woodwinds. The Trio’s theme returns, transformed and bolstered by percussion, to cap the movement in grandiose fashion.
Copland thins out the texture considerably in the slow third movement. In form it draws close to a set of variations, embracing a range Symphony No. 3 of moods from withdrawn and pathetic to The commission for this majestic work arrived bright and charming. Out of the gentle, ethereal in 1943, from Serge Koussevitzky, conductor of wisps of the closing pages, the symphony’s the Boston Symphony Orchestra. Copland knew mighty finale emerges without pause. The familiar strains of Copland’s Fanfare for the that Koussevitzky liked big, dramatic works and would expect something along those lines Common Man are heard quietly in the winds, from him. This suited Copland’s frame of mind only to blossom forth in volume and splendour shortly thereafter. Thus Copland sets the stage perfectly, because he had been collecting to launch the vigorous, festive finale proper. materials for a “grand symphony” for some The symphony concludes with a broad, time. In the summer of 1945, he wrote, “The thunderous restatement of the theme with commission from Koussevitzky stimulated me which the entire work began. ■ to focus my ideas and arrange the material I had collected into some semblance of Program Notes © 2017 Don Anderson order…The finishing touches were put on b. Brooklyn, New York, USA / November 14, 1900 d. Peekskill, New York, USA / December 2, 1990
ORIGINO K I DS' K O N CE RT S ORPHE UM THE ATR E , 2 P M
Sunday, March 12 Inspector Tovey Investigates the Orchestra Bramwell Tovey conductor Iman Habibi and Deborah Grimmett piano duo Maestro Bramwell Tovey dons the Inspector hat to investigate the instruments of a symphony orchestra, in a fun and educational concert centred on Saint-Saëns’s famous Carnival of the Animals.
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THE VSO’S KIDS’ KONCERTS HAVE BEEN ENDOWED BY A GENEROUS GIFT FROM THE WILLIAM & IRENE MCEWEN FUND.
IMAN HABIBI AND DEBORAH GRIMMETT
Bramwell Tovey conductor
For a biography of Maestro Bramwell Tovey, please refer to page 11.
Iman Habibi and Deborah Grimmet piano duo The Canadian duo Piano Pinnacle (comprised of pianists Deborah Grimmett and Iman Habibi) has established itself as a leading new piano duo ensemble. Its performances have been hailed as a “true tour de force[…], ” and “an absolute delight” (Musetta Stone). Piano Pinnacle won first-prize at the United States International Duo Piano Competition (USIDPC – 2014), and Second Prize at the Northwest International Piano Ensemble Competition (NWIPEC), and has twice attained the Audience Choice award at the latter. Piano Pinnacle is dedicated to rejuvenating the piano duo genre, by presenting an eclectic mix of old and new repertoire with “a passion that could only be achieved by years of patience[…]” (The Other Press). The ensemble aspires to promote and nurture the development of new music, and was the inspiration and dedicatee of over 80 new works for piano duo, of which 15 were selected for performance in New York City. The Duo divides its time between Vancouver, BC, and Ann Arbor, Michigan, where Iman is currently completing his Doctorate of Musical Arts degree at the University of Michigan. ■ allegro 15
S P EC IA L S OR P H EU M , 8P M
Wednesday, March 15 Chris Botti in Concert with the VSO WILLIAM ROWSON
William Rowson conductor Chris Botti trumpet Smooth jazz superstar Chris Botti performs with the Vancouver Symphony Orchestra.
Selections will be announced from the stage VISIT THE SYMPHONY GIFT SHOP FOR CD SELECTIONS
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.
Chris Botti trumpet Since the release of his 2004 critically acclaimed CD When I Fall In Love, Chris Botti has become the largest-selling American instrumental artist. His success has crossed over to audiences usually reserved for pop music and his ongoing association with PBS has led to four #1 jazz albums, as well as multiple Gold, Platinum and Grammy® Awards.
Over the past three decades, Botti has recorded and performed with the best in music, including Sting, Barbra Streisand, Tony Bennett, Lady Gaga, Josh Groban, Yo-Yo Ma, Michael Bublé, Paul Simon, Joni Mitchell, John Mayer, Andrea Bocelli, Joshua Bell, In the 2015 /16 season, Rowson returned Aerosmith's Steven Tyler and even Frank as the Resident Conductor of the Hamilton Sinatra. The trumpeter has also performed Philharmonic Orchestra’s ‘What Next’ Festival, with many of the finest symphonies and at conducting five Canadian operas in one week, some of the world's most prestigious venues in concert. Also an accomplished composer, from Carnegie Hall and the Hollywood Bowl Bill was a finalist for the position of RBC to the Sydney Opera House and the Real Composer-in-Residence with the Toronto Teatro di San Carlo in Italy. Symphony Orchestra. His film score for the Impressions, Botti's 2012 Columbia Records feature length film Big Muddy has been showcased at the Toronto International and Grammy® winning release, is the latest in Film Festival. a stellar parade of albums. With Impressions and the albums that preceded it, Chris Botti has thoroughly established himself as one of the important, innovative figures of the contemporary music world. ■
Concert Program William Rowson conductor
For a biography of William Rowson, please refer to page 18.
Christopher Gaze host 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. CHRISTOPHER GAZE
TE A & TR UM PE TS ORPHE UM, 2 PM
Thursday, March 16
The City of Light William Rowson conductor Christopher Gaze host Matthew Yep violin WEBER Invitation to the Dance ROSSINI William Tell: Pas de six SAINT-SAËNS Danse Macabre SAINT-SAËNS Havanaise INTERMISSION
DEBUSSY / MOUTON Clair de lune DELIBES Sylvia Suite: No. 3 Pizzicati BERLIOZ Symphonie fantastique: Un Bal TEA & COOKIES served in the lobby one hour before each concert. Tea compliments of Tetley Tea. MARCH 16 CONCERT SPONSOR
Matthew Yep is the VSO School of Music's 2016 Senior Division Future of Excellence Winner.The VSO School of Music's Future of Excellence competition is made possible with generous funding from the
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.
Matthew Yep violin Eighteen-year-old violinist Matthew Yep began his violin studies at the age of five. He currently studies with David Gillham at the University of British Columbia, while pursuing a dual degree in music performance and computer science. Matthew recently graduated from the Royal Conservatory of Music with his ARCT Diploma in Violin Performance, receiving the National Gold Medal for the highest mark in Canada. As the grand prize winner of the VSO School of Music Future of Excellence Competition, Matthew was awarded the opportunity to perform with the Vancouver Symphony Orchestra. In 2015, Matthew had the privilege of performing Vivaldi’s Concerto for Two Violins with Dale Barltrop at the VSO Symphony Ball, and was co-concertmaster of the Whistler Institute Orchestra under the direction of Maestro Bramwell Tovey. Matthew has held concertmaster positions with the VSO School of Music Sinfonietta, Semiahmoo Strings, Surrey Strings, and Surrey Junior Strings orchestras. He has had the opportunity to work with world renowned artists including James Ehnes, Nicola Benedetti, Dale Barltrop, Martin Beaver, Gerald Stanick, Karen Gomyo, Ian Swensen and David Harrington. ■
VISIT THE SYMPHONY GIFT SHOP FOR CD SELECTIONS allegro 21
Concert Program L ON D ON D RU G S V SO P O P S OR P H EU M , 8P M
Friday & Saturday, March 17 & 18 The Mambo Kings in Hot Latin Nights! Jeff Tyzik conductor Mambo Kings
GIMENEZ La Boda de Luis Alonso: Intermedio DELANEY Melodia: Son Guajira BRUBECK/ARR. DELANEY Blue Mambo à la Turk MAMBO KINGS solo CASTILLO/ARR. DELANEY Tres Lindas Cubanas INTERMISSION
PIAZZOLLA/ARR. GUNZENHAUSER La muerte del ángel
LENNON-MCCARTNEY/ARR. DELANEY Day Tripper
PIAZZOLA/ARR. DELANEY Milonga del ángel DELANEY Marinera DELANEY Danzón MAMBO KINGS solo PUENTE/ARR. DELANEY Oye Como Va
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Jeff Tyzik conductor
Grammy® Award winner Jeff Tyzik is one of America’s most innovative and sought after pops conductors. Tyzik is recognized for his brilliant arrangements, original programming, and engaging rapport with audiences of all ages. Tyzik holds The Dot and Paul Mason Principal Pops Conductor’s Podium at the Dallas Symphony Orchestra and also serves as Principal Pops Conductor of the Seattle Symphony, the Detroit Symphony, the Oregon Symphony and The Florida Orchestra. Tyzik recently celebrated his 22nd season as Principal Pops Conductor of the Rochester Philharmonic Orchestra. Highly sought after as a guest conductor, he has appeared with the Boston Pops, Cincinnati Pops, Milwaukee Symphony, Pittsburgh Symphony, Toronto Symphony, Indianapolis Symphony, Philadelphia Orchestra and the Los Angeles Philharmonic. Jeff Tyzik made his UK debut in 2010 with the Royal Scottish National Orchestra. He holds Bachelor of Music and Master of Music degrees from the Eastman School of Music. 24 allegro
Mambo Kings Mambo Kings Hot Latin Nights! takes the audience on a fascinating journey through the music of Latin America and the U.S. From the sultry melancholy of Astor Piazzolla and the burning Afro Cuban jazz of Tito Puente, to the rhythmic playfulness of jazz great Dave Brubeck and the pop strains of The Beatles, Mambo Kings will be your guide on a Latin jazz tour of the Pan American experience, featuring original orchestral arrangements and compositions of music from the U.S., Peru, Argentina, Cuba and Puerto Rico. Mambo Kings, together since 1995, are enjoying great success as America’s foremost Latin Jazz Ensemble, and have rapidly earned a national reputation for their explosive blend of Afro-Cuban rhythms and jazz improvisation. Since their orchestral debut, Mambo Kings have appeared in Pops concerts throughout the country, performing original compositions and arrangements by pianist Richard DeLaney. Band members include pianist and musical director Richard DeLaney, saxophonist and woodwind specialist John Viavattine, bassist Hector Díaz, conguero Tony Padilla and drummer and percussionist Freddy Colón. ■
Concert Program C L A S S IC A L T R AD ITIO N S C H A N C EN T RE FO R TH E P ERF ORM IN G ARTS, 8 P M
Friday & Saturday, March 24 & 25 N ORT H S H OR E C LASSIC S C EN T EN N IA L T HE ATR E , 8 P M
Monday, March 27
Jon Kimura Parker plays Beethoven Joshua Weilerstein conductor Jon Kimura Parker piano NIELSEN Pan and Syrinx, Op. 49 BEETHOVEN Piano Concerto No. 1 in C Major, Op. 15 JON KIMURA PARKER
I. Allegro con brio II. Largo III. Rondo: Allegro scherzando
SCHUMANN Symphony No. 3 in E-flat Major, Op. 97 Rhenish
I. Lebhaft II. Scherzo: Sehr mässig III. Nicht schnell IV. Feierlich V. Lebhaft
Joshua Weilerstein conductor
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.
Joshua Weilerstein is the Artistic Director of the Orchestre de Chambre de Lausanne. His clarity of musical expression, unforced manner and deep natural musicianship connects him with orchestras and has led him to conduct extensively in both Europe and America. His enthusiasm for a wide range of repertoire, including his support for programming works by living composers, is combined with an ambition to bring new audiences to the concert hall. allegro 27
Weilerstein’s career was launched when he won the 2009 Malko Competition. From 2011–2014 he served as Assistant Conductor of the New York Philharmonic, and he has since rapidly become one of the most sought-after young conductors in the world. He previously served as concertmaster of Discovery Ensemble, a Boston-based chamber orchestra dedicated to presenting classical music to inner-city schools. Weilerstein feels that it is essential to have an open communication between the stage and the audience. He is accessible on social media for conversation about the future of classical music, programming, and the experience of concert-going.
Jon Kimura Parker piano Jon Kimura Parker was born, raised and educated in Vancouver, studying piano with his uncle Edward Parker, music theory with his mother Keiko Parker, and subequently with Lee Kum-Sing at the Vancouver Academy of Music and at the University of British Columbia. This season Mr. Parker performed as guest soloist with the National Symphony at the Kennedy Center, in Carnegie Hall in Prokofiev Piano Concerto No. 3, and on tour with the Montrose Trio and with iconic Police drummer Stewart Copeland in Off the Score. He has hosted Whole Notes on Bravo! and also CBC Radio’s Up And Coming. In May he was awarded an Honorary Fellowship of the Royal Conversatory of Music and this spring will receive an Honorary Doctorate from UBC. He is an Officer of the Order of Canada. Jon Kimura Parker is Professor of Piano at Rice University in Houston. For further information please see jonkimuraparker.com.
Carl Nielsen b. Sortelung, Denmark / June 9, 1865 d. Copenhagen, Denmark / October 3, 1931
Pan and Syrinx, Op. 49 Unlike his contemporary and fellow Scandinavian, Jean Sibelius, Nielsen did not make a major international impact during his lifetime. Until the last 50 years, his music was hardly known outside his homeland. Thanks to recordings and a dedicated group of performers, his bold, life-enhancing 28 allegro
compositions have gradually been reaching the audiences they deserve. His catalogue of works includes six remarkable symphonies, three concertos, numerous chamber and solo works, pieces for chorus, incidental music for stage productions and a handful of brief, miscellaneous orchestral works. The “nature scene” Pan and Syrinx belongs to this final group. Nielsen, who greatly enjoyed Greek mythology, completed it in 1918, under the inspiration of Ovid’s poem entitled Metamorphoses. The following note in the published score recounts the story. “The goat-footed sylvan deity Pan happens to spy the nymph Syrinx among the satyrs and dryads in the hilly Arcadian forests; he persecutes her with his dances and bleating homage. She, terrified by this fierce wooer, flees to the edge of a forest lake. From here there is no escape left for her, and the gods, taking pity on her, transform her into a reed.” Nielsen chose the solo flute to characterize Syrinx, the clarinet section and tremolo strings to show us Pan. He filled the score with numerous atmospheric touches and imaginative use of light percussion instruments. “After a climax of terror,” wrote author Robert Simpson, “there is a magical release…suggesting the breeze blowing gently through the reed into which Syrinx has mercifully been changed.”
Ludwig van Beethoven b. Bonn, Germany / baptized December 17, 1770 d. Vienna, Austria / March 26, 1827
Piano Concerto No. 1 in C Major, Op. 15 Beethoven arrived in Vienna in 1792, intending merely to finish his musical education with Joseph Haydn before returning to Bonn. Circumstances led him to change those plans. The Austrian capital was destined to remain his centre of activities for the remainder of his life. He won his first fame there as a pianist. He also composed solo piano works for his own performance. He revised certain of his existing creations as well, including the Piano Concerto No. 2, his earliest complete work in this form. In order to retain the performing rights to it, he delayed its publication until 1801. This explains why it is numbered higher than Concerto No. 1, which he composed from 1796 to 1797.
Beethoven himself played the solo part at the première of the Concerto in C, as he would with the first four of the five piano concertos. The opening movement unfolds with unhurried grace and charm. The second movement presents a gentle reverie, uninterrupted by darker episodes. Beethoven here excluded flute, oboes, trumpets and timpani from the orchestra, giving this portion a texture that is airier than the flanking movements. He showed more of his mature self in the finale than anywhere else in the concerto. His gruff good humour made itself felt in this expansive, genial rondo.
Robert Schumann b. Zwickau, Germany / June 8, 1810 d. Endenich, Germany / July 29, 1856
Symphony No. 3 in E-flat Major, Op. 97 Rhenish In September 1850, Schumann and his wife Clara moved to Düsseldorf, where Robert had been engaged as conductor of the local orchestra and chorus, his first public appointment. Enchanted with the city and the welcome opportunity of having his own orchestra to work with, he promptly began to compose again, something that recent illness had kept him from doing. First came a cello concerto. Then, in a typically rapid four weeks in early 1851, he set down his impressions of his new home and its verdant setting on the banks of the Rhine river (as well as his happiness in being there)
in a new symphony. This is the source of its nickname, the Rhenish or Rhineland Symphony. He conducted the première himself, in Düsseldorf, on February 6. It is the only one of his symphonies with five movements rather than four. This may represent a tribute to Beethoven’s Sixth, the similarly picturesque and rustic 'Pastoral' Symphony. The opening movement, a sweeping piece with a genuine sense of joy, lays claim to be his finest orchestral creation. Renowned British musicologist Sir Donald Tovey draws a parallel between it and the first movement of Beethoven’s Third, the 'Eroica' Symphony, with which it shares the same key. Although Schumann called the second movement a scherzo, it the leisurely air of a country dance rather than the boisterous energy of a musical joke. His original title for it was Morning on the Rhine. The first of two slow movements is a lyrical song without words, similar in character to his vocal and piano romances. The second is virtually a miniature tone poem or mood picture. It was inspired by a ceremony – the elevation of Archbishop Geissel to the office of Cardinal – that the Schumanns had witnessed the previous September at the magnificent (although at that time, unfinished) Gothic cathedral in the nearby city of Cologne. The addition of trombones to the orchestra lends it an aptly solemn, stately air. Schumann returns us to the sunlight of the Rhine valley for the vigorous and cheerful finale. ■ Program Notes © 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
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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 Gordon and Kelly Johnson Signe Jurcic
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604.684.9100 x 238 or email email@example.com 30 allegro
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 Dr. Robert S. Rothwell* 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 Frances Huang C.V. Kent in memory of Vivian Jung Hugh and Judy Lindsay Violet and Bruce Macdonald
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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
Saturday, March 25 The Idea of North William Rowson conductor ANA SOKOLOVIC´ Jeu des portraits KAIJA SAARRIAHO Lichtbogen ANNA THORVALDSDOTTIR Aequilibria HARRY STAFYLAKIS Arc of Horizon
The Idea of North examines how composers respond musically to the places they’re born or immersed in. Drawing on Glenn Gould’s The Idea of North for inspiration, we present music that originated in cold climates, Canadian and otherwise: each piece is inspired by the composer’s cultural or geographical homes. Jeu des portraits, Ana Sokolovic´’s striking evocation of four significant Québec composers, creates a cultural portrait-in-miniature. Finnish composer Kaija Saariaho's Lichtbogen, a classic of modern chamber music, was influenced by the beauty and immensity of the Northern Lights. Anna Thorvaldsdottir begins Aequilibria from a similar vantage point — the natural beauty of the Icelandic sky. Her organically-building musical language, by turns peaceful and intense, is remarkably contrasting to Saariaho’s. Harry Stafylakis’ Arc of Horizon was inspired by countless trips between Montreal and New York City. Transitions from one home to the other evoked emotions of fear, longing, aspiration, nostalgia; Stafylakis’ exciting musical language is influenced by progressive metal and concert music, representing his past and his present.
William Rowson conductor
For a biography of William Rowson, please refer to page 18.
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FINANCIAL SUPPORT FOR THE ANNEX SERIES PROVIDED BY
Ana Sokolovic´ b. Belgrade, Yugoslavia (now Serbia) / September 7, 1968
Jeu des portraits Ana Sokolovic´’s work is suffused with her fascination for different forms of artistic expression. Rich and playful, her compositions draw the listener into a vividly allegro 33
imagined world, often inspired by Balkan folk music and its asymmetrical festive rhythms. “I wrote an homage to Québec music as part of a concert celebrating the thirtieth anniversary of the SMCQ, choosing four composers who made a strong impression on musical modernism in Québec.” Jeu de portraits is in four movements: I. Vagues, homage to Rodolphe Mathieu (1890–1962) II. Vents, homage to Jean Papineau-Couture (1916–2000) III. Plages, homage to Serge Garant (1929–1986) IV. Chants, homage to Claude Vivier (1948–1983) anasokolovic.com Program Notes © 2017 Ana Sokolovic´ edited by Jocelyn Morlock
Kaija Saarriaho b. Helsinki, Finland / October 14, 1952
Lichtbogen Kaija Saariaho is a prominent member of a group of Finnish composers and performers who are now, in mid-career, making a worldwide impact. She studied composition in Helsinki, Freiburg and Paris, where she has lived since 1982. Her studies and research at IRCAM have had a major influence on her music and her characteristically luxuriant and mysterious textures are often created by combining live music and electronics. The name Lichtbogen stems from Northern Lights which I saw in the Arctic sky when starting to work with this piece. When looking at the movements of these immense, silent lights which run over the black sky, first ideas concerning the form and language for the piece started to move in my mind. What is the dependence — and does it exist at all? — between this phenomenon of nature and my piece, I don't know. saariaho.org Program Notes © 2017 Kaija Saariaho
Anna Thorvaldsdottir b. Borgarnes, Iceland / July 11, 1977
imaginative listening to landscapes and nature. Her music portrays a flowing world of sounds with an enigmatic lyrical atmosphere. Anna’s music is frequently performed internationally; her works have been nominated and awarded on many occasions — most notably, as recipient of the Nordic Council Music Prize 2012, and The New York Philharmonic's Kravis Emerging Composer Award. Aequilibria is, according to Thorvaldsdottir, “inspired by various states of balancing forces - by looking at the sky - the natural breath between expansion and contraction, and the perspectives of translucence and opacity.” Her music creates lush, comforting harmonies and timbres which veer towards disturbing at a moment’s notice, keeping her music continually fascinating. annathorvalds.com Program Notes © 2017 Anna Thorvaldsdottir edited by Jocelyn Morlock
Harry Stafylakis b. Montréal, Québec / December 15, 1982
Arc of Horizon Harry Stafylakis is a Canadian–American composer based in NYC. He is Composer-InResidence of the Winnipeg Symphony Orchestra and co-curator of the Winnipeg New Music Festival. His works have been performed by the American Composers Orchestra, the Toronto, Winnipeg, Spokane, Stamford, Victoria, and PEI symphonies, McGill Chamber Orchestra, Mivos Quartet, Quatuor Bozzini, and Aspen Contemporary Ensemble, among others. The title Arc of Horizon is drawn from the Greek "ὁρίζων κύκλος" (horizōn kyklos) — "separating circle" — which symbolizes the sliver of visible horizon that always remains in the distance no matter how much one tries to reach it. Musically, Arc of Horizon emerges from my symbolic personal transition between my past in Montréal as a progressive metal musician and my present in NYC as an orchestral composer. I seem to perpetually chase whichever horizon seems newest, and having arrived I turn back to chase it again. hstafylakis.com ■ Program Notes © 2017 Harry Stafylakis
Aequilibria Anna Thorvaldsdottir frequently works with large sonic structures, reflecting her sense of allegro 35
VSO PROUDLY PARTICIPATES IN THE ARTS & CULTURE WELCOME REFUGEES INITIATIVE
Bravo! Canadian artists across the country have been opening their doors to recently arrived Syrian families through The Arts and Culture Welcome Refugees initiative of the Canada Council for the Arts. The Vancouver Symphony Orchestra has been proud to participate by welcoming parents and children to concerts in the Westminster Savings Surrey Nights series at the Bell Performing Arts Centre and at the OriginO Kids’ Koncerts performances at the Orpheum Theatre. Our partners in this opportunity have included Options Community Services Society, DIVERSEcity Community Resources Society, Immigrant Services Society of BC, Surrey School District English Language Learners, and MOSAIC Surrey Newcomers’ Centre. would like to thank everyone at the Orpheum for your help and assistance with our group. “ We All the families enjoyed the VSO’s Musical Instrument Fair and the Enchantment Theatre
Company’s performance of The Firebird very much. The kids had a lot of fun. The children had a chance to learn how to write music notes, to hear their "compositions" played by members of the VSO, and had a chance to hold and try playing the real musical instruments! Meeting with the VSO’s assistant conductor, Mr. Bill Rowson, was very special too. We are very grateful for the 'Welcome to the Arts' and the VSO’s generous offer of the tickets for Syrian refugees.
— Irina Ahmad, Settlement Worker, Surrey School District ELL Welcome Centre 36 allegro
The VSO is proud to be a part of The Arts and Culture Welcome Refugees initiative made possible by a grant from the Canada Council for the Arts, in partnership with SunLife Financial.
WE TAKE PEOPLE PLACES. BUT IT’S MUSIC THAT TRULY MOVES THEM.
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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, April 1 & 3 R OG ER S G R OUP FIN AN C IAL S Y M P H ON Y S UN D AY S ORP H EU M , 2P M
Sunday, April 2 The Music of Mozart and Bruckner
James Gaffigan conductor Henning Kraggerud violin MOZART Adagio and Fugue in C minor, K. 546 MOZART Violin Concerto No. 4 in D Major, K. 218 I. Allegro II. Andante cantabile III. Rondeau: Andante grazioso – Allegro ma non troppo
BRUCKNER Symphony No. 7 in E Major HENNING KRAGGERUD
I. Allegro moderato II. Adagio: Sehr feierlich und langsam III. Scherzo: Sehr schnell; Trio: Etwas langsamer IV. Finale: Bewegt, doch nicht zu schnell
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James Gaffigan conductor
Hailed for the natural ease of his conducting and the compelling insight of his musicianship, James Gaffigan continues to attract international attention and is considered by many to be the most outstanding young American conductor working today. In January 2010, he was appointed Chief Conductor of the Lucerne Symphony Orchestra and Principal Guest Conductor of the Netherlands Radio Philharmonic Orchestra and recently concluded his tenure as Principal Guest Conductor of the Gurzenich Orchestra in Cologne. James Gaffigan’s international career was launched when he was named a first prize winner at the 2004 Sir Georg Solti International Conducting Competition in Frankfurt, Germany. Born in New York City in 1979, Mr. Gaffigan attended the New England Conservatory of Music and the Shepherd School of Music at Rice University in Houston, where he earned his Masters of Music in conducting. He was also chosen to study at the American Academy of Conducting at the Aspen Music Festival and School and was a conducting fellow at the Tanglewood Music Center.
Henning Kraggerud violin Norwegian violinist Henning Kraggerud is co-Artistic Director of the Risør Festival of Chamber Music and Artistic Director of the Arctic Philharmonic Chamber Orchestra. A dedicated chamber musician, Henning regularly performs both on violin and viola at major festivals and venues. In the spirit of the old masters such as Fritz Kreisler and Eugène Ysaÿe, Henning composes his own music, performing many of his own works, arrangements and cadenzas in concert. Born in Oslo in 1973, Henning studied with Camilla Wicks and Emanuel Hurwitz. He is a recipient of Norway’s prestigious Grieg Prize and in 2007 was awarded the Sibelius Prize for his interpretations and recording of Sibelius’ music around the world. Henning is a Professor at the Barratt Due music conservatoire in Oslo, where he plays/directs the Oslo Camerata. As of September 2015, he is the International Chair in Violin at the Royal Northern College of Music in Manchester.
Henning Kraggerud plays on a 1744 Guarneri del Gesù, provided by Dextra Musica AS. This company is founded by Sparebankstiftelsen DNB.
Wolfgang Amadeus Mozart b. Salzburg, Austria / January 27, 1756 d. Vienna, Austria / December 5, 1791
Adagio and Fugue in C minor, K. 546 Mozart composed the two halves of this piece on separate occasions. The energetic and sombre fugue came first, in 1783, as a piece for two pianos. Five years later, as he was composing his final three symphonies, he created the stark, emotionally bleak Adagio to introduce the fugue. He then scored the entire work for strings. It pays homage to Johann Sebastian Bach, with whose music he had only recently become acquainted, and which had impressed him deeply. Violin Concerto No. 4 in D Major, K. 218 Mozart, the greatest of all child prodigies in music, received from his father Leopold a thorough education in composition and performance. The latter including piano, harpsichord and violin. Young Wolfgang frequently performed as violin soloist on the concert tours his family made during the 1760s. His father once wrote to him that “You yourself do not know how well you play the violin…when you play with energy and with your whole heart and soul, yes indeed, it’s just as though you were the finest violinist in all of Europe.” This was no small compliment, coming from a renowned authority on the instrument. He published his widely used violin method in the year of Wolfgang’s birth. In 1769, Wolfgang was awarded the post of Honorary Concertmaster in his home city’s court orchestra. His duties included leading it from the first desk (this being before the rise of the conductor, as we know the role), playing solos, and writing new music for it to perform. Between April and December 1775, he composed four of the five violin concertos that can be unquestionably attributed to him. No. 4 appeared in October. He modeled it on a work in the same key, written 10 years previously by Italian composer Luigi Boccherini. It opens with allegro 41
a bold, almost military declamation, setting the stage for the soloist’s entry. From then on, the music radiates grace, good humour and perfect taste. The slow movement offers warmth and serenity. Mozart scholar Alfred Einstein called it “an uninterrupted song, an avowal of love.” The finale opens gently, then breaks happily into a rustic dance tune. The appealing sequence of varied episodes that follows includes references to several popular airs of the day.
Anton Bruckner b. Ansfelden, Austria / September 4, 1824 d. Vienna, Austria / October 11, 1896
Symphony No. 7 in E Major There were two sharply contrasted sides to Bruckner: the timid, unsophisticated man from the countryside, and the composer of symphonies and masses of exalting breadth and grandeur. One, uncomplicated fact bridged this vast gap: his deep and abiding faith in God. It kept him naïve and self effacing, at the same time as it helped him create a unique and magnificent set of symphonies. Bruckner moved to Vienna in 1868. During his early years there, his compositions drew generally positive reviews from the press, whose most powerful figure was the arch conservative critic Eduard Hanslick. But once Bruckner dedicated his Third Symphony to Richard Wagner, Hanslick’s most detested adversary in the “tradition vs. innovation” musical debate then in full flower, Hanslick’s wrath descended upon Bruckner harshly and repeatedly. Such tribulations might have broken the spirit of an artist with less faith in his God and his own abilities, but Bruckner’s beliefs kept him steadfast. During the last 15 years of his life, numerous performances and honours finally came his way. He died a contented, vindicated man. Bruckner began Symphony No. 7 in September 1881, just three weeks after completing No. 6. He devoted the next two years almost entirely to it. In the summer of 1882, he journeyed to Bayreuth for the premiere of Wagner’s final opera, Parsifal. It was the last time the two composers met. Many scholars speculated that Wagner’s impending death inspired the especially
grave beauty of the Seventh Symphony’s slow movement. Bruckner completed the symphony in September. Arthur Nikisch conducted the première, in Leipzig on December 30, 1884. The ecstatic reception marked the greatest success of Bruckner’s life. Still, he implored the Vienna Philharmonic not to perform it, fearing that the inevitably negative press would jeopardize his prospects. The first performance, as well as the equally well-received second, which took place under Hermann Levi’s baton in Munich on March 10, 1885, proved crucial: first, for the long-delayed establishment of Bruckner’s reputation; and second, for the subsequent dissemination of his music. Additional performances followed quickly, in Cologne, Hamburg, Graz, Vienna and Amsterdam. By 1887 he had also been heard in England and the USA.
“...rich, spacious themes; rustic dance rhythms in the scherzo... and the extra degree of exaltation which was his alone.” The Seventh numbers among Bruckner’s most frequently-performed works. It presents all of his principal characteristics in one of their most successful incarnations: rich, spacious themes; rustic dance rhythms in the scherzo (whose main trumpet theme is said to have been inspired by the crowing of a rooster); and the extra degree of exaltation which was his alone. The orchestration included a quartet of the special brass instruments (“Wagner tubas”) that Wagner had invented for his Ring operas. The sound they produce falls between the traditional orchestral horn and tuba. Their appearance here represented the first time anyone had written for them outside the theatre. As they were not available for the symphony’s first performance, four traditional horns were added to the orchestra instead. ■ Program Notes © 2017 Don Anderson
Concert Program VS O C H A M B ER P LAY E R S
ALAN AND G W EN DOL IN E P YAT T HALL
D R. H . N . M A C CO R KIN D ALE STAG E VS O S C H OOL OF MUSIC
Wednesday & Thursday, April 5 & 6, 7:30pm ROGER COLE
Sunday, April 9, 2pm Homelands GINASTERA Duo for Oboe and Flute Lara Deutsch flute Roger Cole oboe RIMSKY-KORSAKOV
Quintet for Piano and Winds
Lara Deutsch flute Alexander Morris clarinet Sophie Dansereau bassoon Andrew Mee horn Amanda Chan piano
SHOSTAKOVICH Piano Trio No. 2 Jennie Press violin Zoltan Rozsnyai cello Amanda Chan piano
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Concert Program PRESENTS
VSO SPRING FESTIVAL A BRITISH FANTASY
MAESTRO BRAMWELL TOVEY and the Vancouver Symphony Orchestra present the 2017 Spring Festival. This season, SpringFest focuses on great British composers and their most popular works. The Festival begins with Canadian classical music superstar James Ehnes, pulling triple duty (conductor, violinist, violist) with three of the best-known English composers: Elgar, Britten, and Vaughan Williams. Next up, Ehnes performs Walton’s Viola Concerto, and Maestro Tovey takes up the baton in a concert that features Holst’s incredible journey through the solar system in The Planets — complete with High-Definition NASA footage from Voyager, Pioneer, and Discovery missions. The next concert features Vancouver’s own Ian Parker as well as William Walton’s epic score for Henry V narrated by Christopher Gaze. The next night, Maestro Tovey joins VSO Principal musicians to perform the Elgar Piano Quintet, and then explores the mysteries and humour of Elgar’s Enigma Variations. The 2017 Spring Festival fittingly concludes with the pomp and circumstance of The Last Night of the Proms. Enjoy the VSO Spring Festival! S P RIN G F ES T 1 O R P H E UM, 8 P M
Saturday, April 22 Songs and Serenades James Ehnes leader/violin/viola ELGAR Serenade for Strings in E minor, Op. 20
I. Allegro piacevole II. Larghetto III. Allegretto
BRITTEN Lachrymae, Op. 48a VAUGHAN WILLIAMS
Fantasia on a Theme by Thomas Tallis
INTERMISSION JAMES EHNES
ELGAR Introduction and Allegro, Op. 47 VAUGHAN WILLIAMS The Lark Ascending BRITTEN Prelude and Fugue for 18 strings, Op. 29 allegro 47
James Ehnes leader/violin/viola
Known for his virtuosity and probing musicianship, violinist James Ehnes has performed in over 35 countries on five continents, appearing regularly in the world’s great concert halls and with many of the most celebrated orchestras and conductors. In the 2016–2017 season James continues his cross-Canada recital tour in celebration of his 40th birthday, performs the complete Bach Sonatas and Partitas in Stresa, Montreux, Los Angeles, Liverpool, and Amsterdam, and joins the City of Birmingham Symphony Orchestra on a tour of China and the National Arts Centre Orchestra on a tour of Eastern Canada. James also holds artist residencies with the Melbourne Symphony, Royal Liverpool Philharmonic, l’Orchestre symphonique de Montréal, and the Scotia Festival, undertakes two tours with the Ehnes Quartet, and leads the winter and summer festivals of the Seattle Chamber Music Society, where he is the Artistic Director. In 2010 the Governor General of Canada appointed James a Member of the Order of Canada, and in 2013 he was named an Honorary Member of the Royal Academy of Music. James Ehnes plays the "Marsick" Stradivarius of 1715. He currently lives in Bradenton, Florida with his family.
Sir Edward Elgar b. Broadheath, England / June 2, 1857 d. Worcester, England / February 23, 1934
Serenade for Strings in E minor, Op. 20 The origins of this warm-hearted work appear to lie in three pieces, dating from 1888, that have disappeared. Elgar revised them in the spring of 1892, re-christened them Serenade, and presented the resulting piece to his wife Alice as a third anniversary present. The first complete professional performance was given in Antwerp, Belgium in 1896. It remained unheard in London until 1906, when Elgar conducted it himself. He held an abiding affection for it, frequently referring to it as his favourite among his own compositions. It has three brief movements, two compact, animated sections bookending a haunting larghetto.
Benjamin Britten (Lord Britten of Aldeburgh) b. Lowestoft, England / November 22, 1913 d. Aldeburgh, England / December 4, 1976
Lachrymae (Tears), Op. 48a Britten paid his respects to English composers of bygone eras on several occasions. For this deeply expressive piece, he took as the point of departure a song, If my complaints could passions move, by John Dowland (15631626), one of the foremost composers of the Elizabethan period. He created the original version for viola and piano in 1950, for the illustrious Scottish soloist William Primrose, to reward him for performing at the annual music festival that Britten had recently established in Aldeburgh. This version for viola and string orchestra followed in 1976, shortly before Britten’s death. He subtitled the piece reflections, although variations would be equally apt. The work is unusual in presenting the theme in full only in the final pages. At the impassioned central climax, Britten quoted another Dowland melody, Flow my tears. Britten wrote, “Dowland put at the top of one of his pieces ‘Semper Dowland, semper dolens’ (always Dowland, always sad), and this piece darkly reflects that introspective melancholy that was so much a part of the Elizabethan temperament.”
Ralph Vaughan Williams b. Down Ampney, England / October 12, 1872 d. London, England / August 26, 1958
Fantasia on a Theme by Thomas Tallis Thomas Tallis (c. 1505-1585) was one of Tudor England’s most celebrated musicians. In 1567, he contributed eight themes to the Archbishop of Canterbury’s hymn book. When Vaughan Williams helped edit a new version of the English Hymnal in 1906, he restored to circulation the third of Tallis’ melodies from the earlier collection. It inspired him to compose a piece founded upon it. He conducted the première of this hauntingly beautiful Fantasia in Gloucester Cathedral, at the 1910 Three Choirs Festival. He scored it for three strings groups: solo quartet and two orchestras of different sizes. His wife Ursula wrote, “With the Norman grandeurs of Gloucester Cathedral in mind and
the strange quality of the resonance of stone, the ‘echo’ idea of three different groups of instruments was well judged.”
At first the orchestral strings envelope it in a soft halo of sound, as it soars gracefully above a sun-dappled summer countryside. A gentle dance-like rhythm animates the central section, where the lark trills in contented rapture. Tranquility is restored in the concluding panel, Introduction and Allegro, Op. 47 which evokes sunset, in both the physical The newly founded London Symphony Orchestra and spiritual senses. was eager to have Elgar conduct a concert of his music, hopefully to include a new work. The concert, which included the first performance of the Introduction and Allegro for string quartet and string orchestra, took place on March 8, Prelude and Fugue, Op. 29 1905. It drew a cool reception. So technically demanding a piece needed time to be mastered Britten composed several outstanding works for by the players. This kept it from widespread string orchestra, the first of which, Variations on popularity until the general upgrade in playing a Theme of Frank Bridge, was commissioned standards that came in the wake of the Second by the enterprising English/Canadian conductor, World War. The introduction is a bustling, Boyd Neel, for his own orchestra. The successful rhythmic tour de force. What Elgar called “a very première at the 1937 Salzburg Festival laid the devil of a fugue…with all sorts of japes and foundation of Britten’s international reputation. counterpoints” follows. After much masterfully In 1943, in celebration of the Neel Orchestra’s constructed elaboration, the work concludes tenth anniversary, he composed another work with a triumphant return of the introduction. for them (this time as a gift, not in response to a commission): the Prelude and Fugue. Neel was particularly pleased with two facets of the fugue: Britten gave each of the 18 musicians who would be performing the première a separate and distinct part to play in it, and the fact that The Lark Ascending the theme is, as Neel put it, “tossed from one It would be difficult to imagine a stronger player to another like a ping pong ball on a contrast than that between this peaceful idyll fountain.” Britten gave the piece a satisfying and the state of world affairs when it was sense of closure by re-introducing the prelude, written. It dates from 1914, as Europe teetered in an emotionally heightened form, toward on the brink of the most horrific conflict the end of the piece. ■ humanity had yet witnessed. The solo violin Program Notes © 2017 Don Anderson sings the lark’s achingly beautiful songs.
Sir Edward Elgar
Benjamin Britten (Lord Britten of Aldeburgh)
Ralph Vaughan Williams
Concert Program PRESENTS
VSO SPRING FESTIVAL A BRITISH FANTASY
S P RIN G F ES T 2 O R P H E UM, 8 P M
Monday, April 24
The Planets: An HD Odyssey
Bramwell Tovey conductor James Ehnes viola Elektra Women’s Choir Morna Edmundson chorus director HIGGINS Velocity WALTON Viola Concerto (Revised 1961 version)
I. Andante comodo II. Vivo, con molto preciso III. Allegro moderato
Video presentation of THE PLANETS: AN HD ODYSSEY was created by filmmaker Duncan Copp and produced by the Houston Symphony.
HOLST The Planets, Op. 32
I. Mars, the Bringer of War II. Venus, the Bringer of Peace III. Mercury, the Winged Messenger IV. Jupiter, the Bringer of Jollity V. Saturn, the Bringer of Old Age VI. Uranus, the Magician VII. Neptune, the Mystic
Created by filmmaker Duncan Copp and produced by The Houston Symphony, THE PLANETS: AN HD ODYSSEY is a spectacular presentation of Gustav Holst’s c osmic masterpiece, The Planets. The video was c reated by celebrated director/producer D uncan Copp in cooperation with NASA and Jet Propulsion Laboratories. Duncan Copp is best known as the producer of In the Shadow of the Moon, a 2006 documentary film on the U.S. manned missions to the Moon, which was presented by Ron Howard and introduced at the Sundance Film Festival. allegro 51
For a biography of James Ehnes, please refer to page 48.
Vancouver, Bellingham, and Stockholm, Sweden where her teachers included Eric Ericson. In 1987, she co-founded Elektra Women’s Choir with Diane Loomer, a treasured partnership that lasted 22 years. In 2009, Morna became Elektra’s sole Artistic Director, continuing the choir’s strong leadership role in concert presentation, commissioning, recording, and mentorship. For 14 years Morna was Associate Artistic Director of Coastal Sound Music Academy, where she was Music Director of the mixed-voice Youth Chamber Choir. In June 2011 Morna received a Vancouver YWCA Woman of Distinction award in recognition of her work with Elektra. Since 2013, she has served as a Board member of Chorus America, the advocacy, research, and leadership development organization that gives voice to the choral field.
Elektra Women’s Choir
ELEKTRA WOMEN’S CHOIR WITH MORNA EDMUNDSON
Bramwell Tovey conductor
For a biography of Maestro Bramwell Tovey, please refer to page 11.
James Ehnes viola
Elektra Women’s Choir was formed by CoFounders Morna Edmundson and Diane Loomer, C.M. (1940–2012) in 1987. In 2009 Morna Edmundson was appointed Artistic Director and Diane Loomer, became Conductor Emerita. The choir is honoured to work with an outstanding accompanist, Dr. Stephen Smith.
b. Gloucester, England / April 18, 1983
Velocity Described as “boldly imaginative” and “extraordinary,” Gavin Higgins has been consistently praised by critics for his distinct and visceral compositional style. He comes from a long lineage of brass band musicians. The choir has long been recognized as a He has continued this heritage with high profile leader among women’s choir with several commissions and performances of vigorous, performances at national conventions of the daring brass band pieces. He followed an initial American Choral Directors Association, Chorus musical training in the family brass band, America, and Choral Canada and representing with studies of horn and composition at the Canada at the 1996 World Symposium on Royal Northern College of Music and the Royal Choral Music in Sydney, Australia. In the College of Music. The early stages of his career summer of 2017 Elektra is proud to again saw him receive substantial commissions from represent Canada at the World Symposium on such leading orchestras as the BBC and London Choral Music, this time in Barcelona, Spain. Philharmonic. Outreach programs are a priority for Elektra, The composer has provided the following note. many of which encourage youth: Mira “I was asked by the BBC to write a ‘crashMentorship Program for High School Singers, Choral Leadership for Young Women workshops, bang-wallop’ fanfare that would open the Last Night of the Proms with suitable clout. Although Reading Sessions of New Works, a Conductor Velocity is not a ‘fanfare’ in the traditional Mentorship Program, and a Women’s Singing sense, there are certainly plenty of crashes, workshop. bangs and wallops to start the concert fittingly. Velocity has a very simple introduction and allegro structure. The main element of the work chorus director — a six-note motif that is heard throughout the Morna Edmundson is one of Canada’s piece in various guises — is clearly presented best-known choral conductors with a strong in the opening brass statements and soaring reputation for excellence. Passionate since string melody. This music quickly moves into childhood about choral singing, she obtained a lively and energetic rhythmic allegro where degrees and diplomas in vocal music in playful woodwind lines and bells dominate.
After an extended build, a short euphoric climax on strings provides a moment’s respite before the brass figures from the opening return and the work drives furiously on to its inevitable climax. I have endeavoured to capture the spirit of this celebratory concert and write an optimistic, exhilarating and uplifting concert opener. Velocity was commissioned by BBC Radio 3 for the BBC Symphony Orchestra and first performed at the Last Night of the Proms on September 13, 2014.”
Sir William Walton b. Oldham, England / March 29, 1902 d. Ischia, Italy / March 8, 1983
Viola Concerto This piece ushered in a new, more mature phase in Walton’s career, one where lyricism and melancholy played greatly increased roles. Perfectly attuned to the reserved yet expressive personality of the featured instrument, and astutely scored so that the soloist is never obscured, it also contains Walton’s firmest commitment to date to traditional musical forms. The two most highly esteemed viola soloists of the day were the Englishman Lionel Tertis and the German Paul Hindemith, the latter even more renowned as a composer. In 1962, Walton recalled that it was celebrated conductor Sir Thomas Beecham who suggested his writing a viola concerto for Tertis. Walton did most of the work on it in Amalfi, Italy, beginning in November 1928. When it was completed he sent it to Tertis, who “turned it down sharply by return of post, which depressed me a good deal as virtuoso violists are scarce,” Walton recalled. Edward Clark, head of the music section of the BBC, suggested that Walton turn to Hindemith. Hindemith agreed to première the concerto in London, with the composer conducting. The first performance, which took place on October 3, 1929, appears to have been less than ideal. Nevertheless, it won a warm reception. Placed first, the slow movement establishes the concerto’s bittersweet personality right from the start. Although it contains passages of drama and animation, it is basically calm and thoughtful. A compact rondo with the bustling, witty character of a scherzo follows. The energy
never flags for a second as the viola gets a rare opportunity to let its hair down. The finale is the longest and most elaborate movement. Walton combined new material with themes from the first movement.
Gustav Holst b. Cheltenham, England / September 21, 1874 d. London, England / May 25, 1934
The Planets, Op. 32 On a tour of Spain in 1912, a fellow traveler introduced Holst to astrology. The curiosity thus aroused sowed the seeds of this spectacular orchestral suite, his most popular creation. It portrays the astrological, rather than the mythological characters of seven planets in our solar system. He composed it between 1914 and 1916. Mars, the Bringer of War, presents a harrowing portrait of cold, inhuman power. The brass section takes centre stage, hammering forth harsh blocks of sound over an implacable, motor like rhythmic tread. Venus, the Bringer of Peace offers total contrast: a calm, tranquil reverie, set far from the scene of any conflict and shot through with gorgeous instrumental solos. Holst associated Mercury, the Winged Messenger with the process of human thought. It flits by with appropriate speed and delicacy. Jupiter, the Bringer of Jollity has both its jovial feet planted firmly on the ground. Hearty tunes steeped in Holst’s study of English folk dances drive the opening and closing sections. In between rests a hymn-like theme evoking a more ceremonial type of rejoicing. In the miniature tone poem Saturn, the Bringer of Old Age, Holst sets forth his views on the stages of human life: the uncertain beginning, the struggles and heartbreaks of maturation, and finally the emergence in late years of wisdom, with its serene acceptance of imperfection and mortality. Next comes the dynamic conjuring act of Uranus, the Magician. Holst puts the orchestra through many spectacular paces, dramatic and grotesquely humorous alike. The suite concludes with the cool, disembodied meditations of Neptune, the Mystic. They arrive as if having traveled across vast distances of outer and inner space. ■ Program Notes © 2017 Don Anderson
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 Gerald Nordheimer Margaret Jean Paquin Audrey M. Piggot Rachel Tancred Rout Elisabeth Schipizky Mary Flavelle Stewart 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
For further information on leaving a LEGACY gift to the VSO please contact Mary Butterfield, Director, Individual & Legacy Giving at
Heather Gillis 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 ■
604.684.9100 x 238 or email firstname.lastname@example.org
Concert Program PRESENTS
VSO SPRING FESTIVAL A BRITISH FANTASY
S P RIN G F ES T 3 O R P H E UM, 8 P M
Saturday, April 29
Bramwell Tovey conductor Ian Parker piano Christopher Gaze narrator MACONCHY Overture, Proud Thames MACMILLAN Fantasy on Scottish Melodies RIDOUT Fall Fair ADDINSELL Warsaw Concerto
WALTON Henry V – A Shakespearean Scenario Edited by David Lloyd-Jones and Arranged by Christopher Palmer
I. Prologue II. Interlude – At the Boar’s Head III. Embarkation IV. Interlude – ‘Touch her soft lips and part’ VI. Harfleur VII. The Night Watch VI. Agincourt VII. Interlude – At the French Court VIII. Epilogue
Bramwell Tovey conductor
For a biography of Maestro Bramwell Tovey, please refer to page 11.
Ian Parker piano
Charismatic and delightfully articulate, Canadian pianist Ian Parker captivates audiences wherever he goes. He has appeared with the philharmonic orchestras from Buffalo to Calgary, as well as the Cleveland Orchestra at Blossom, and the symphonies of Cincinnati, Edmonton, Greenwich, Honolulu, National (Washington, D.C.), San Francisco, Santa Barbara, Spokane, Toronto, Vancouver, and Winnipeg, among many others. During the 2016/2017 season, he will make his debut with the Illinois Symphony performing his vibrant Gershwin repertoire. An enthusiastic recitalist and chamber musician, Mr. Parker has performed across the United States, throughout Canada, Western Europe, and Israel. He made his Lincoln Center recital debut at the Walter Reade Theater in 2004, and since 2005, he has toured extensively with the internationally renowned Vogler Quartet.
quartets, three ballets, choral, solo and chamber works. The majestic overture Proud Thames, which she composed in 1952 and 1953, won the competition organized by the London County Council for music related to the pending coronation of Queen Elizabeth II. “The inspiration of the overture is the river itself,” she wrote. “The music is intended to express its rapid growth from small beginnings to a great river of sound – from its trickling source among green fields to London, where the full tide of the life of the capital centres on the river.”
Sir Ernest MacMillan b. Mimico, Ontario / August 18, 1893 d. Toronto, Ontario / May 6, 1973
Fantasy on Scottish Melodies Sir Ernest MacMillan earned the status of Canada’s elder musical statesman through his tireless and widespread activities as conductor, composer, arranger, educator, broadcaster and administrator. He earned the only knighthood yet to be bestowed upon a Canadian musician. He created this appealing and colourfully orchestrated work in 1946. He cast it in three continuous sections. The first and last are lively and dance-like, the second, wistfully nostalgic.
Born in Vancouver to a family of pianists, Ian Parker holds both Bachelor and Master of Music degrees from The Juilliard School, where b. Toronto, Ontario / May 6, 1918 d. Toronto, Ontario / November 24, 1984 he was a student of Yoheved Kaplinsky. Fall Fair This exciting and tuneful piece is one of narrator the most frequently performed Canadian For a biography of Christopher Gaze, orchestral works. In addition to composing, please refer to page 21. Ridout taught music with distinction for more than 40 years and earned a high reputation as a knowledgeable writer on many aspects of music. Fall Fair (1961) was commissioned through the CBC for a United Nations Day b. Broxbourne, England / March 19, 1907 concert at the General Assembly Building d. Norwich, England / November 11, 1994 in New York. Sir Ernest MacMillan conducted Overture, Proud Thames the première. A student of Ralph Vaughan Williams, Maconchy won considerable success “...one of the most frequently before the outbreak of the Second World performed Canadian orchestral War. The war restricted her activities but she regained her creative momentum once works.” it was over. Her catalogue includes 13 string
Christopher Gaze Dame Elizabeth Maconchy
Richard Addinsell b. London, England / January 13, 1904 d. London, England / November 14, 1977
Warsaw Concerto Addinsell wrote almost exclusively for movies, theatre and radio. Out of his many creations, this ultra-romantic miniature piano concerto is by far the best known. It began life as the score for the movie Dangerous Moonlight (1941, also known as Suicide Squadron. It’s about Stefan Radetzky, a Polish concert pianist who joins England’s Royal Air Force, only to lose his memory in a plane crash. Rather than using a pre-existing concerto by Rachmaninoff or Tchaikovsky for the climactic scenes of Radetzky regaining his memory by gradually recalling one of his compositions, Addinsell decided to write a new one instead. As soon as the film was released, requests for recordings and sheet music of the Warsaw Concerto came rushing in.
Sir William Walton b. Oldham, England / March 29, 1902 d. Ischia, Italy / March 8, 1983
Henry V – A Shakespearean Scenario Walton’s ability to compose quickly when need be, plus his natural dramatic sense, ensured success in composing film music. He created his finest scores for the three brilliant Shakespearean movies on which he collaborated with director/star Sir Laurence Olivier: Henry V (1944), Hamlet (1948) and Richard III (1955).
“...added touches of colour, drama and excitement.” Filmed in glorious Technicolor under difficult wartime conditions, Henry V gave British home front morale a much-needed boost. Walton’s superb, Oscar-nominated score added touches of colour, drama and excitement. It consists of original material in his own style, red-blooded and majestic, or warm and tender when called for. He gave it dashes of historical flavour by including adaptations of authentic English music of the period.
Prologue: As in the film, orchestra and wordless chorus majestically set the scene for a performance of Henry V at the Globe Theatre, London, about 1600. The narrator, taking the role of the Chorus, gives the historical background and promises a grand spectacle to come. Interlude: At the Boar’s Head. One of the youthful Henry’s best friends was the jovial knight Sir John Falstaff. When Henry became king, he put Falstaff aside. This movement opens with a droll theme for Falstaff’s henchman, the ruffian Pistol. It gives way to a sombre passacaglia for strings that describes Falstaff’s broken-hearted death. Embarkation: The Chorus describes the British fleet’s departure for war in France. Interlude: Touch her soft lips and part. To the light, muted strains of this second interlude for strings, Pistol tenderly bids farewell to his new wife, Mistress Quickly, before setting off for France. Harfleur: Landing in France, English forces swarm over Harfleur beach. In one of Shakespeare’s most fiery (and familiar) speeches, Henry inspires his men to give of their best in battle. The Night Watch: Both armies camp restlessly for the night. Henry walks among his troops, offering words of encouragement and comfort, then delivers a final, hushed prayer for victory and the deliverance of his men. Agincourt: Once day has broken, Henry climbs on a cart and delivers his eloquent rallying speech to the soldiers gathered around him. Despite being outnumbered four to one, the English army prevails. Interlude: At the French Court: Peace between the two countries is sealed. King Henry woos and wins Princess Katherine of France. Epilogue: Henry addresses his ladylove in words of tender emotion. The King of France blesses his daughter’s marriage to Henry. The scene returns to the Globe Theatre to close the story. ■ Program Notes © 2017 Don Anderson
Concert Program PRESENTS
VSO SPRING FESTIVAL A BRITISH FANTASY
S P RIN G F ES T 4 O R P H E UM, 7 P M
Sunday, April 30 Enigma Bramwell Tovey conductor/piano Nicholas Wright violin Jason Ho violin Andrew Brown viola Ariel Barnes cello ELGAR Piano Quintet in A minor, Op. 84
I. Moderato — Allegro II. Adagio III. Andante — Allegro
ELGAR Variations on an Original Theme, Op. 36 Enigma
Theme: Andante BRAMWELL TOVEY
Join Bramwell Tovey and the VSO for a very special presentation of Elgar’s Enigma Variations: Maestro Tovey will deconstruct and explain this fascinating work with his trademark insight and wit, and then the orchestra will play the full piece, with all its secrets freshly revealed! In the first half, Maestro Tovey joins Principals from the orchestra to perform Elgar’s Piano Quintet.
Var. 1: C. A. E.: L’istesso tempo Var. 2: H. D. S-P.: Allegro Var. 3: R. B. T.: Allegretto Var. 4: W. M. B.: Allegro di molto Var. 5: R. P. A.: Moderato Var. 6: Ysobel: Andantino Var. 7: Troyte: Presto Var. 8: W. N.: Allegretto Var. 9: Nimrod: Adagio Var. 10: Dorabella (Intermezzo): Allegretto Var. 11: G. R. S.: Allegro di molto Var. 12: R. G. N.: Andante Var. 13: (***) (Romanza): Moderato Var. 14: E. D. U. (Finale): Allegro
Bramwell Tovey conductor/piano For a biography of Maestro Bramwell Tovey, please refer to page 11.
Sir Edward Elgar b. Broadheath, England / June 2, 1857 d. Worcester, England / February 23, 1934
Piano Quintet in A minor, Op. 84 By 1918, five long years had passed since Elgar’s most recent major work, the magnificent “symphonic study” of Shakespeare’s fascinating knight, Sir John Falstaff. While convalescing from an operation, he and his wife Alice rented Brinkwells, a thatched-roof cottage in the peaceful province of Sussex. Refreshed by the idyllic atmosphere, he began sketching several pieces of chamber music, a genre to which he had previously made only minor contributions. A Sonata for Violin and Piano was the first work he completed, followed by a String Quartet, and finally, in January 1919, by the most ambitious and expansive of the three works, a Piano Quintet. The quintet and quartet received their premières at the same concert in London on May 21, 1919.
“'It is strange music, and I think I like it,' Elgar wrote 'but — it's ghostly stuff.'” Much of the music Elgar composed in the wake of the war reflected his melancholy realization that the comfortable world in which he had grown up — and of which he had long been England’s primary musical spokesperson — had vanished forever. Works such as the Cello Concerto (whose composition overlapped the three chamber pieces) made this clear. So too the quintet, though its sense of lost innocence is not as pervasive as the concerto’s. Elgar cast it on a broad scale, one that rivals the Piano Quintet of Brahms. The first movement opens with a restrained, chantlike introduction in slow tempo. “It is strange music, and I think I like it,” Elgar wrote, “but — it’s ghostly stuff.” The spooky legends and strikingly eerie dead trees that he encountered in Sussex may have played a role in the 60 allegro
character of this music. The tone shifts to urgent energy as the movement proper gets underway. The attractive second theme has a vaguely “Spanish” dance-lilt. Elgar developed these themes in tempestuous fashion, before bringing back the music of the introduction to close the movement enigmatically.
“'Emotions grow heated as this reverie unfolds, only to dissipate into utter tranquility by the end.” The second movement is gloriously warm, melodic and heartfelt. Emotions grow heated as this reverie unfolds, only to dissipate into utter tranquility by the end. “A fine slow movement is a matter of course with you,” the music critic (and later, renowned playwright) George Bernard Shaw wrote to Elgar. “Nobody else has really done it since Beethoven.” In the finale, Elgar once again began the movement with an introduction. This one functions as merely a taking in of breath before he launched launch the main Allegro. He tempered the expected confident exuberance with a full measure of wistfulness. Haunted echoes of the first movement sap some of the music’s bravura, but only temporarily. It regains its forward momentum and powers ahead exultantly.
Variations on an Original Theme 'Enigma', Op. 36 The origins of the “Enigma” Variations date from October 21, 1898. As Elgar recalled, “One evening after a long and tiresome day’s teaching, aided by a cigar, I musingly played on the piano the theme as it now stands. The voice of Lady Elgar asked with a sound of approval ‘What was that?’ I answered, ‘Nothing – but something might be made of it; Powell would have done this (Variation 2) or Nevinson would have looked at it like this (Variation 12).’ Variation 4 was then played and the question asked, ‘Who is that like?’ The answer was, ‘I cannot quite say, but it is exactly the way W.M.B. (William Meath Baker) goes out of the room. You are doing something which I think
has never been done before.’ Thus the work grew into its full shape. Elgar never fully explained a mystery he had woven into it. In later years he stated that throughout the variations “another and larger theme ‘goes,’ but it is not played. It was so well known that it was strange no one had discovered it.” Its identity remains unknown. After the rather melancholy theme has been presented, the affectionate Variation 1 characterized Elgar’s wife, Caroline Alice. The nervous bustle of Variation 2 mimicked Hew David Steuart Powell’s characteristic warm-up at the piano, while the third variation’s lighthearted mood recalled the mimicking talents of Richard Baxter Townshend. The sharply accented Variation 4 presented a portrait of the brusque country squire William Meath Baker. It is followed in by Variation 5 by a gently dreaming picture of music lover Richard Penrose Arnold. Elgar portrayed the amateur violist Isabel Fitton in a lyrical variation featuring her chosen instrument. A rambunctious variation
featuring timpani and trombones then showed us Arthur Troyte Griffith, an outgoing architect. Variation 8 took a glowingly coloured look at a young woman named Winifred Norbury. Nimrod offered Elgar’s heartfelt tribute to one of his most steadfast friends, German-born music editor and journalist August Johannes Jaeger. The fleet, delicately orchestrated Variation 10 brought us Dora Penny, portraying her stammer in a delicately affectionate manner. The boisterous Variation 11 presented not so much its dedicatee, organist George Robertson Sinclair, as his bulldog Dan, leaping into the river to fetch a stick. A gorgeous cello solo is featured in Variation 12, depicting Basil G. Nevinson, who played that instrument. Variation 13 painted a rather sombre portrait of Lady Mary Lygon. The finale is a self portrait, written, as Elgar stated, “at a time when friends were dubious and generally discouraging as to the composer’s musical future.” His reply to their doubtfulness was bold and self-confident. ■ Program Notes © 2017 Don Anderson
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Concert Program PRESENTS
VSO SPRING FESTIVAL A BRITISH FANTASY
S P RIN G F ES T 5 O R P H E UM, 8 P M
Monday, May 1 Last Night of the Proms
Bramwell Tovey conductor Vancouver Bach Choir Leslie Dala music director VSO School of Music Sinfonietta Carla Birston director
Vancouver Bach Choir
The Vancouver Bach Choir gave its first concert at the Orpheum in December 1930. Leslie Dala was appointed Music Director in July 2010, following Bruce Pullan who had been Music Director for 27 years.
VANCOUVER BACH CHOIR
Bramwell Tovey conductor
For a biography of Maestro Bramwell Tovey, please refer to page 11.
Since 1930, the Vancouver Bach Choir’s Canadian reputation has grown through numerous broadcasts by the Canadian Broadcasting Corporation, an Eastern Canadian tour in 1974 and the crossCanada viewing of a television film of the Easter music from Handel’s Messiah. In Vancouver the Vancouver Bach Choir presents a series of concerts each season, and has been responsible for the British Columbia première of a number of major works including Rossini’s Stabat Mater, Fanshawe’s African Sanctus, Lloyd Webber’s Requiem, Paul McCartney’s Liverpool Oratorio, Berlioz’ Messe Solennelle and Penderecki’s Polish Requiem. The choir has also commissioned and premiered extended works by Canadian composers John Estacio and Christos Hatzis as well as many shorter pieces by other Canadian composers. ■
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.
On February 9, 2017, the VSO held the 27 th Annual Vancouver Symphony Ball. Thanks to the generous support of our dedicated sponsors, live and silent auction contributors, donors, volunteers, and the tireless efforts of our planning committee, $750,000 was raised to support the VSO’s performances and education initiatives this season. The VSO and Vancouver Symphony Ball Committee extend their gratitude and sincere thanks to the following for their generosity and in-kind contributions. SYMPHONY BALL COMMITTEE
AJ McLean, Co-Chair Karin Smith, Co-Chair Nezhat Khosrowshahi, Honorary Chair Lauren Armstrong Margaret Brodie Mary Ann Clark Laura Hansen Diane Hodgins Lori Joyce
Christian Martin Dave Mason Alexandra Mauler-Steinmann Maria Menten Erynn Smith Kim Spencer-Nairn Colin Upright Ruirui Zhu
OUR HEARTFELT THANKS
Anita Alberto Photography Bacci’s bay6 creative inc. Robert Bell Leah Bickford Gearforce Granville Island Florist Greenscape Design & Décor Yiyi Hsu – Student from VSOSoM Innovation Technologies Eric Jiang – Student from VSOSoM Kelcie Jones Peter Legge Marquis Wine Cellars
Stuart McFadden Franco Michienzi Montecristo Jewellers Musicians of the Vancouver Symphony Orchestra Nasco Productions Pedersens Event Rentals Chef Blair Rasmussen Maestro William Rowson Mel & June Tanemura Thomas Haas Chocolates Upright Décor Rentals & Event Design Vancouver Convention Centre Vancouver Symphony Volunteers VSO School of Music – Sinfonietta
Arthur H. Willms & Mary Ann Clark GOLD SPONSOR CONCERTMASTER’S CIRCLE
The Collective You Face of Today INF Influencer Agency Inc. & Gillian Segal Design PARTYSKIRTS
Anthem Properties Beedie Development Group Borden Ladner Gervais LLP Cassels Brock & Blackwell LLP Centerplate at Vancouver Convention Centre Delphos Investments Inc. Greyell Portfolio Management HSBC Bank Canada Image Group Inc. Korn Ferry KPMG LLP McCarthy Tétrault RBC PH&N Investment Counsel Inc. RBC Royal Bank Ready and Korbin, Arbitrators Michael Steinmann & Alexandra Mauler-Steinmann Stikeman Elliott LLP Tim Wyman, TD Wealth UBS Bank (Canada) Wilson M. Beck Insurance
CHAMPAGNE RECEPTION SPONSOR
Norburn Lighting & Bath Centre
Dentons Canada LLP Genus Capital Management Macdonald Development Group John & Dana Montalbano Alan & Gwendoline Pyatt Silver Wheaton Terus Construction Ltd. Fred Withers & Dr. Kathy Jones 40 UNDER 40
Vancouver Symphony Partners The Vancouver Symphony Orchestra gratefully acknowledges the generosity of the following Government Agencies, Corporations and Foundations that have made a financial contribution through sponsorship, charitable donation or participation in a Special Event.
VANCOUVER SYMPHONY FOUNDATION
CONCERT AND SPECIAL EVENT SPONSORS
EDUCATIONAL PROGRAM SPONSORS AND PARTNERS
PREMIER EDUCATION PARTNER
Vancouver Symphony Foundation Endowment Fund VSO Patrons’ Circle
Avigilon BMO Capital Markets Borden Ladner Gervais LLP The Chan Endowment Fund of UBC CIBC Concord Pacific Developments Inc. Deloitte & Touche LLP The McLean Group Mercedes-Benz Vancouver Area Retail Group Origin Organic Farms Osler, Hoskin & Harcourt LLP Rogers Group Financial Scotia Wealth Management TD Bank Group Wesbild Holdings Limited Westminster Savings Anonymous (1)
$250,000+ Friends of the Vancouver Symphony Vancouver Sun
$150,000+ Alan and Gwendoline Pyatt Foundation TELUS Corporation
$100,000+ Goldcorp Inc.
$60,000+ iA Financial Group
$50,000+ Air Canada City of Burnaby Parks, Recreation and Cultural Services CKNW CKWX News 1130 Georgia Straight Mardon Group Insurance QM-FM
Blake, Cassels & Graydon LLP Canadian Western Bank Toni & Hildegard Cavelti Century Group Craftsman Collision Ernst & Young LLP Great-West Life, London Life $40,000+ and Canada Life BMO Financial Group Holland America Line Inc. London Drugs Hugh Davidson Fund through RBC Foundation the Victoria Foundation Vancouver Symphony Volunteers The Kingswood Group of Companies $30,000+ KPMG LLP PwC Lawson Lundell LLP
MacDonald Development Corporation McCarthy Tétrault LLP Montridge Financial Group Pacific Surgical Phillips, Hager & North Investment Management PrimaCorp Ventures Inc. Silver Wheaton Spectra Energy Stikeman Elliott LLP Sun Life Financial Time & Gold Tom Lee Music UBS Bank (Canada) Upright Decor Rentals and Event Design Wall Financial Corporation
$5,000+ Anthem Properties Beedie Development Group Bosa Properties Inc. Cassels Brock & Blackwell LLP Centerplate at Vancouver Convention Centre Chubb Insurance Company of Canada and AON Dentons Canada LLP Genus Capital Management Element Lifestyle Retirement Grosvenor Americas HSBC Bank Canada Image Group Inc. Innovation Lighting Korn Ferry Ledcor Group Marin Investments Limited Dr. Tom Moonen Inc.
Nordstrom Norton Rose Fulbright Canada LLP Odlum Brown Limited Opal by elementTM Pan American Silver RBC Royal Bank Reliance Properties Rolls-Royce Motor Cars Vancouver Scotia Wealth Management — Greyell Portfolio Management Stantec Consulting TD Wealth TitanStar Capital Corp. Wilson M. Beck Insurance Xibita
$2,500+ Granville Island Florist Gearforce Nesters Market Yaletown SOCAN Foundation Walkers Shortbread Windsor Plywood Foundation
$1,000+ BFL Canada Bing Thom Architects Cibo Trattoria Ethical Bean Coffee Greenscape Design and Decor Hamber Foundation Lantic The Lazy Gourmet Long & McQuade Music Marsh Canada Moda Hotel Norburn Lighting & Bath Centre ■
For more information about the VSO CORPORATE PARTNERS PROGRAMS and the exclusive benefits associated with this program please contact Ryan Butt, Manager, Corporate Programs
604.684.9100 x 260 or email email@example.com
At the Concert CONCERT COURTESIES
CELL PHONES, PAGERS, DIGITAL WATCHES
CAMERAS, RECORDING EQUIPMENT
For your enjoyment, and the enjoyment of others, please remember concert etiquette. Talking, coughing, leaning over the balcony railings, unwrapping candies, and the wearing of strong perfume may disturb the performers as well as other audience members. Ushers will escort latecomers into the auditorium at a suitable break in the performance chosen by the conductor. Patrons who leave the auditorium during the performance will not be re-admitted until a suitable break in the performance.
Hearing-impaired patrons may borrow complimentary Sennheiser Infrared Hearing System headsets, available at the coat-check in the Orpheum Theatre only, after leaving a driverâ€™s licence or credit card.
Please turn off cell phones and ensure that digital watches do not sound during performances. Doctors and other professionals expecting calls are asked to please leave personal pagers, telephones and seat locations at the coat check.
Photography and video/audio recording of any kind are prohibited during the performance. Pictures taken pre-concert, at intermission, and post-concert are encouraged. Please feel free to tweet and post to Facebook or Instagram pre-concert, during intermission or after the concert @VSOrchestra. During the performance, please do not use your mobile device in any way.
SMOKING AND SCENTS All venues are
non-smoking and scent-free environments.
PROGRAM, GUEST ARTISTS AND/OR PROGRAM ORDER ARE SUBJECT TO CHANGE.
Vancouver Symphony Administration 604.684.9100 Kelly Tweeddale, President, VSO & VSO School of Music Mehgan Atchison, Executive Assistant Finance & Administration: Mary-Ann Moir, Vice-President, Finance & Administration Antonio Andreescu, Junior Database & Network Administrator Debra Marcus, Director, Information Technology & Human Resources Diane Chen Liu, Accountant Ray Wang, Payroll Clerk & IT Assistant Marketing, Sales & Customer Service: Alan Gove, Vice-President, Marketing & Sales; Matthew Baird, Public Relations Manager & Assistant to the Music Director Shirley Bidewell, Manager, Gift Shop & Volunteers
Estelle and Michael Jacobson Chair
Stephanie Fung, Marketing Manager Anna Gove, Editor & Publisher, Allegro Magazine Katherine Houang, Group Sales & Special Ticket Services Kenneth Livingstone, Database Manager Robert Rose, Front of House Coordinator Cameron Rowe, Director, Audience & Ticket Services Customer Service Representatives: Jason Ho, Senior Customer Service Representative Jade McDonald Kim Smith Rati Arora Stacey Menzies Anthony Soon Taylor Beaumont Maryam Nourzai Mark Sutherland Shawn Lau Kathy Siu Jarika Winfield Audrey Ling
Development: Leanne Davis, Vice-President, Chief Development Officer Elyse Bannerman, Development Assistant Ryan Butt, Manager, Corporate Programs Mary Butterfield, Director, Individual & Legacy Giving Kate Lucas, Director, Annual Giving Dawn Nash, Stewardship Officer Ann True, Development Officer, Direct Response Lauren Watson, Development Officer, Special Projects Silje Akerjord, Special Projects Assistant Artistic Operations & Education: Joanne Harada, Vice-President, Artistic Operations & Education Alex Clark, Assistant Librarian & Artistic Operations Assistant DeAnne Eisch, Orchestra Personnel Manager Kaylie Hanna, Artistic Operations & Education Assistant Sarah Jacques, Operations Manager Ryan Kett, Artistic Operations & Education Assistant Minella F. Lacson, Music Librarian Christin Reardon MacLellan, Director of Education & Community Programmes
Ken & Patricia Shields Chair
Tracie Yee, Artistic Operations Associate
The Vancouver Symphony Society is grateful to the Alan and Gwendoline Pyatt Foundation for generously providing our Administrative Offices.
Vancouver Symphony Society Board of Directors Doug Christopher
Hein Poulus, Q.C.
Chief Development Officer (Ret.) Ernst & Young LLP
Judith Korbin, Vice Chair
Melvyn R.T. Tanemura
Musician Representatives Larry Knopp Principal Trumpet
Vern Griffiths Principal Percussion
Board Executive Committee
President, Montrose Development Ltd.
Fred Withers, Chair
Partner, Stikeman Elliott LLP
Partner, McCarthy Tetrault LLP
Executive Vice President, Buildings, Stantec M.R.T. Tanemura CPA Inc.
Partner, PricewaterhouseCoopers LLP
Etienne Bruson, Treasurer Managing Partner, BC, Deloitte
Vice President, Operations & CFO, Schneider Electric
Vice President, Sales & Officer (Ret.) Industrial Alliance Pacific Life Insurance
Michael L. Fish
President, Pacific Surgical Limited
President, Cathy Grant Inc. Real Estate Sales and Marketing Specialist
Managing Director, Global Mining Group CIBC World Markets President, AMS Petrography Ltd.
Senior Vice-President & CFO Hecla Mining Company
Honorary Life President
Director, Century Group Lands Corporation
Ronald Laird Cliff, C.M.
Executive Vice President, Corporate Affairs, Telus Corporation Honorary Life Vice-Presidents
Nezhat Khosrowshahi Gerald A.B. McGavin, C.M., O.B.C. Ronald N. Stern Fred Pletcher Partner, Chair of the National Mining Group Arthur H. Willms Partner, Blake, Cassels & Graydon LLP
Partner, International Tax Services Ernst & Young LLP
Borden Ladner Gervais LLP
Vancouver Symphony Foundation Board of Trustees Ronald Laird Cliff, C.M., Chair Marnie Carter Richard Mew
Irene McEwen Gerald A.B. McGavin, C.M., O.B.C. Hein Poulus, Q.C.
Alan Pyatt Arthur H. Willms
Fred Withers Tim Wyman
VSO School of Music Society Board of Directors
Gordon R. Johnson, Chair Dave Cunningham Claire Hunter Fiona Lin Hein Poulus, Q.C. Patricia Shields
Eric Watt Arthur H. Willms Administration
Ms. Curtis Pendleton Executive Director
Louise Ironside Assistant Director
Operations & Facilities Manager, and Rental Coordinator Accountant
Assistant Registrar & Chinese Language Student Services Payroll/Accounts Payable
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... LOUIS LORTIE IN RECITAL TUES, MAY 9 8PM, ORPHEUM Louis Lortie piano CHOPIN Etudes, Op. 10 & 25 CHOPIN 24 Preludes, Op. 28
Louis Lortie is recognised as one of the finest interpreters of Chopin today. He first recorded Chopin’s Études more than twenty years ago; the disc was named as one of the ‘50 great performances by superlative pianists’ by BBC Music.
PINK MARTINI WITH THE VSO
SAT, MAY 13 8PM, ORPHEUM William Rowson conductor Thomas Lauderdale piano China Forbes vocalist
Pink Martini, the 'little orchestra' joins forces with the Vancouver Symphony Orchestra. Pianist/bandleader Thomas Lauderdale, chanteuse China Forbes and the rest of the band draw musical inspiration from all over the world, crossing classical, jazz, and Latin genres with an international vibe for heart-warming, toe-tapping songs.
CIRQUE DE LA SYMPHONIE: CIRQUE GOES TO THE CINEMA WED, MAY 31 8PM, ORPHEUM William Rowson conductor
CIRQUE DE LA SYMPHONIE
Cirque de la Symphonie combines the magic of Cirque, the sweeping melodies of the movies and the sonic splendour of the concert hall, live on stage with the Vancouver Symphony Orchestra and professionally choreographed to classical masterpieces and popular contemporary music.
THE TITAN: VSO SEASON FINALE
SAT & MON, JUNE 10 & 12 8PM, ORPHEUM Bramwell Tovey conductor Baiba Skride violin* Marion Newman mezzo-soprano°
BRAMWELL TOVEY New work in celebration of Canada 150 (World Première)° KORNGOLD Violin Concerto in D Major* MAHLER Symphony No. 1 in D Major, Titan
TICKETS: vancouversymphony.ca VSO CUSTOMER SERVICE