Magazine of the Vancouver Symphony
VSO Music Director
Season Finale: Mahlerâ€™s Symphony No. 1 Titan Pink Martini with the VSO VSO at the Movies: E.T. The Extra-Terrestrial The Hoebig-Moroz Trio plays Beethoven
May 6 to June 12, 2017 Volume 22, Issue 5
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VSO Music Director
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Season Finale: Mahler’s Symphony No. 1 Titan Pink Martini with the VSO VSO at the Movies: E.T. The Extra-Terrestrial The Hoebig-Moroz Trio plays Beethoven
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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
Nezhat and Hassan Khosrowshahi Chair
Janet Steinberg, Associate Principal Zoltan Rozsnyai, Assistant Principal Olivia Blander
Chair in Memory of John S. Hodge Bass Trombone Arthur H. Willms Family Chair Clarinets
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
Estelle & Michael Jacobson Chair
Tegen Davidge Matthew Davies Angela Schneider
Professors Mr. & Mrs. Ngou Kang Chair
Ariel Barnes, Principal
Paul Moritz Chair
Gregory A. Cox, Acting Principal
Jeanette Jonquil, Principal Gerhard and Ariane Bruendl Chair Alexander Morris, Assistant Principal Natasha Boyko Mary & Gordon Christopher Chair Michelle Goddard Charles Inkman Bass Clarinet Luke Kim Alexander Morris Cristian Márkos
Dylan Palmer, Principal Evan Hulbert, Associate Principal Noah Reitman, Assistant Principal David Brown J. Warren Long Frederick Schipizky
Christie Reside, Principal Ron & Ardelle Cliff Chair
Nadia Kyne, § Assistant Principal Lara Deutsch, Assistant Principal Rosanne Wieringa §
Michael & Estelle Jacobson Chair
Nadia Kyne §
Hermann & Erika Stölting Chair
Roger Cole, Principal
Wayne & Leslie Ann Ingram Chair
Beth Orson, Assistant Principal
The Stage Crew of the Orpheum Theatre are members of Local 118 of the International Alliance of Theatrical Stage Employees.
Peder MacLellan, Principal
Aaron McDonald, Principal
Vern Griffiths, Principal Martha Lou Henley Chair
Tony Phillipps Elizabeth Volpé Bligh, Principal
Julia Lockhart, § Principal Sophie Dansereau, Acting Principal Gwen Seaton, Acting Assistant Principal
Linda Lee Thomas, Principal Carter (Family) Deux Mille Foundation Chair
Orchestra Personnel Manager Music Librarian Minella F. Lacson
Oliver de Clercq, Principal Second Horn
Werner & Helga Höing Chair
David Haskins, Associate Principal Andrew Mee
Winslow & Betsy Bennett Chair
Richard Mingus, Assistant Principal
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
Head Sound Alex Livland
*Supported by The Canada Council for the Arts § Leave of Absence
allegro Magazine of the Vancouver Symphony
In this Issue Advertise in Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . 2 The Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Allegro Staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Government Support . . . . . . . . . . . . . . . . . . . . . . . . 6 Message from the Chairman . . . . . . . . . . . . . . . . . . 7 Vancouver Symphony Foundation . . . . . . . . . . . . . 25 VSO School of Music . . . . . . . . . . . . . . . . . . . . . . . 36 VSO Stradivarius Legacy Circle . . . . . . . . . . . . . . . 43 Patronsâ€™ Circle . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 VSO Musician Profile . . . . . . . . . . . . . . . . . . . . . . . 50 VSO Lottery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Corporate Partners . . . . . . . . . . . . . . . . . . . . . . . . . 68 At the Concert / VSO Staff . . . . . . . . . . . . . . . . . . . 70 Board of Directors / Volunteer Council . . . . . . . . . 71 VSO Summer Concerts . . . . . . . . . . . . . . . . . . . . . . 72
May 6 to June 12, 2017 Volume 22, Issue 5
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.
Cirque de la Symphonie
Concerts MAY 6, 8 / Air Canada Masterworks Diamond / . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Bramwell Tovey conductor, Ariel Barnes cello MAY 9 / Specials / Louis Lortie in Recital / Louis Lortie piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 MAY 10, 11 / Specials / The VSO at the Movies / E.T. THE EXTRA-TERRESTRIAL / . . . . . . . . . . . . . 18 Constantine Kitsopoulos conductor MAY 13 / Specials / Pink Martini with the VSO / William Rowson conductor, . . . . . . . . . . . . . . . . . . 23 Thomas Lauderdale piano, China Forbes vocalist MAY 19, 20, 21 / Classical Traditions / Westminster Savings Surrey Nights / . . . . . . . . . . . . . . . . . . 27 Alexandre Bloch conductor, Jonathan Biss piano MAY 20 / Vancouver Sun Symphony at the Annex / Sweet Air / . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 William Rowson conductor MAY 25 / Tea & Trumpets / Mozart and Vienna / . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 William Rowson conductor, Christopher Gaze host MAY 26, 27 / London Drugs VSO Pops / Sophisticated Ladies / . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Steven Reineke conductor, Montego Glover vocalist, Capathia Jenkins vocalist, Sy Smith vocalist MAY 28 / OriginO Kidsâ€™ Koncerts / Classical Kids: Tchaikovsky Discovers America / . . . . . . . . . . . . 45 William Rowson conductor, Classical Kids MAY 31 / Specials / Cirque Goes to the Cinema / . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 William Rowson conductor, Cirque de la Symphonie JUNE 3, 5 / Mardon Group Insurance Musically Speaking / North Shore Classics / . . . . . . . . . . . . . 57 Bramwell Tovey conductor, Hoebig/Moroz Trio: Gwen Hoebig violin, Desmond Hoebig, cello, David Moroz, piano JUNE 10, 11, 12 / Goldcorp Masterworks Gold / Rogers Group Financial Symphony Sundays / . . . 61 Bramwell Tovey conductor, Baiba Skride, violin, Marion Newman, mezzo-soprano 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
Our 98th Season is drawing to a close, but not before we are treated to more wonderful performances by Maestro Tovey, our Orchestra and renowned guest artists.
As we enter the final months of our 98th season, I would like to extend my thanks to all who support symphonic music in our community. The VSO has a dedicated team of staff, volunteers, board, and musicians that make the art of producing music both joyful and meaningful. But we also have an entire team of corporate partners that believe that having music in our lives is a priority and invest accordingly. You can see our proud partners listed on page 68 and I invite you to support them just as you support the VSO.
As an organization, we continue to enjoy artistic and operational success. Underpinning this success, is a solid financial foundation — thanks in part to our loyal subscribers, single-ticket buyers and Friends and Patrons' donors. An important group of supporters of the VSO are members of our Stradivarius Legacy Circle — individuals who have made a gift, or planned a gift, to our Vancouver Symphony Foundation. This year, gifts to the Vancouver Symphony Foundation totaled $1.7 million thanks to the generosity of individual gifts and matching funds from the Canada Cultural Investment Fund.To all of you, we express our sincerest appreciation and thanks. This time of year is also a time where we salute our 300+ volunteers who together contribute over 10,000 hours a year to the operational success of the VSO. They are our unsung heroes! If you visit our offices you will be greeted by a volunteer — they staff our reception desk. Or you might see a group of volunteers working with our administrative staff on various office related tasks. At the Orpheum Theatre, our volunteers staff the gift shop — and at all our concert venues our volunteers staff the information desks, silent auction tables and lottery ticket sales desks. As well, our volunteers conduct their own fundraising initiatives in support of capital and strategic needs of the VSO. Simply put, our volunteers make a tremendous contribution to the success of the VSO. Please join me in acknowledging and saying a “thank you” to our volunteers. If you would like to volunteer with the VSO, please feel free to contact our office. The VSO is a cultural institution of which we can all be proud. We are the cornerstone of the performing arts scene in our city and region — and are pleased to be a part of the very rich cultural fabric that makes up our community. Thank you for your support! Yours sincerely,
Fred G. Withers Chair, Board of Directors
In addition to corporate support, the VSO is also supported by all levels of government. Thanks to the City of Vancouver’s Cultural grants, our performances in the Orpheum and our work with youth are not only possible, but expanding. We also serve many communities in the Lower Mainland with a wide variety of concerts and in-school curriculum, made possible thanks to the unrestricted support of the BC Arts Council. Support from the Canada Council for the Arts allows us to bring great talent to the stage while investing in the next generation of music lovers and music makers. A perfect example of that support is on stage with Maestro Tovey’s closing concert of the season featuring a new work for Canada’s 150th celebration, the incomparable violinist Baiba Skride, and Mahler’s 'Titan' Symphony. But our purpose is best expressed through the art of making music and summer is a great time to do so. The VSO and the VSO Institute at Whistler will be mentoring at least 90 of the best young musicians from Canada and around the world from June 25–July 4 at one of our region’s most breathtaking places with free concerts and music programs. Our free Deer Lake concert will take place on July 9 and we will be presenting our third film in the Harry Potter series: Harry Potter & The Prisoner of Azkaban In Concert, July 13–15. In closing, whether you are here for masterpiece or popular repertoire, thank you for making music a part of your life. There is no better way to celebrate both excellence and humanity than through notes transformed into music, played in real time, by talented musicians.
Kelly Tweeddale President, VSO & VSO School of Music allegro 7
WE TAKE PEOPLE PLACES. BUT IT’S MUSIC THAT WE TAKE PEOPLE PLACES. TRULY MOVES THEM. Proud VSO’s Masterworks Diamond series. BUTto sponsor IT’StheMUSIC THAT TRULY MOVES THEM. Proud to sponsor the VSO’s Masterworks Diamond series.
SILENT AUCTION please visit the silent auction in Westcoast Energy Hall pre-concert and during intermission.
COULEURS:COULEURS: C M
0000C0000C 0000C 0000C Y C KM 0000C Y K0000C
Bramwell Tovey conductor Ariel Barnes cello
Client : Client Air: Canada Air Canada Nº dossier : Nº 1143458 dossier : 1143458 Format du PAP Format : 100du % PAP : 100 % Description : Description Commandite : Commandite Trim : Trim 5.375" : x 8.25" 5.375" x 8.25" Publication : Publication VSO : VSO Nº annonce :Nº annonce : Type : Type 4.625" : x 7.625" 4.625" x 7.625" Date parutionDate : 17parution novembre : 17- 18 novembre janvier - 18 janvier Bleed : Bleed 5.675" : x 8.5"5.675" x 8.5" InfographisteInfographiste : NM : NM Visible : Visible N/A : N/A Nom du fichier Nom : 1143458_AC_Comm_VSO_5.375x8.25po_4C_EN_Sept du fichier : 1143458_AC_Comm_VSO_5.375x8.25po_4C_EN_Sept Sortie laser @ Sortie 100 %laser @ 100 % PAGE 1
DATE : DATE : OCTOBER 18, OCTOBER 2016 11:38 18, 2016 AM 11:38 AM
ÉPREUVEÉPREUVE STUDIO STUDIO # #
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, May 6 & 8
DEBUSSY/ORCH. STOKOWSKI Clair de lune MORLOCK
Lucid Dreams, Concerto for Violoncello and Orchestra (World Première)
FAURÉ Pelléas et Mélisande Suite, Op. 80
I. Prelude II. The Spinner III. Sicilienne IV. The Death of Mélisande
RAVEL Daphnis et Chloé: Suite No. 2
I. Sunrise II. Pantomime III. General Dance
PRE-CONCERT TALKS FREE TO TICKETHOLDERS,
7:05pm to 7:30pm, in the auditorium.
VISIT THE SYMPHONY GIFT SHOP FOR CD SELECTIONS
MASTERWORKS DIAMOND SERIES SPONSOR
Bramwell Tovey conductor
Grammy® and Juno® award-winning conductor/composer Bramwell Tovey was appointed Music Director of the Vancouver Symphony Orchestra in 2000. Under his leadership the VSO has toured to China, Korea, across Canada and the United States. Mr. Tovey is also the Artistic Advisor of the VSO School of Music, a state-ofthe-art facility and recital hall next to the Orpheum, the VSO’s historic home. His tenure has included complete symphony cycles of Beethoven, Mahler, Brahms, the establishment of an annual festival dedicated to contemporary music, as well as the VSO Orchestral Institute at Whistler (VSOIW), a comprehensive orchestral training program for young musicians held in the scenic mountain resort of Whistler/Blackcomb. In 2018, the VSO’s centenary year, he will become the orchestra’s Music Director Emeritus. During the 16/17 season Mr. Tovey’s guest appearances include the symphonies of Rhode Island, Helsingborg, Boston, Chicago, Melbourne and Sydney, as well as the BBC Concert Orchestra, Philadelphia Orchestra, the Royal Conservatory Orchestra and the Los Angeles Philharmonic. Summer programs will include a return to Vail with the New York Philharmonic, as well as performances at Tanglewood, Saratoga with the Philadelphia Orchestra, and the Hollywood Bowl. In the 15/16 season Mr. Tovey directed performances of Korngold’s Die tote Stadt, for Calgary Opera, as well as the symphonies of Montréal, Melbourne, New Zealand, the Pacific Symphony, the Philadelphia Orchestra and New York Philharmonic. He also led the première of his work Time Tracks, a suite from his opera, The Inventor. In 2003 Bramwell Tovey won the Juno® Award for Best Classical Composition for his choral and brass work Requiem for a Charred Skull. His trumpet concerto, Songs of the Paradise Saloon, was performed in 2014 by the LA Philharmonic and the Philadelphia Orchestra, both with Alison Balsom as soloist. A recording of his opera, The Inventor, with
the original cast, the VSO with UBC Opera will be released this season by Naxos. 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.
Ariel Barnes cello Described as creating a “mesmerizing musical experience” by combining his “deep personal connection” (Toronto Live Music Report), “luscious tone and technical prowess” (The Vancouver Sun), Ariel Barnes has been hailed as “truly an inspiring artist…the outstanding Canadian Cellist of his generation” (Maestro Bramwell Tovey). His international concert engagements include concerto appearances, chamber music collaborations, solo recitals and world premierès of contemporary art music. His solo and chamber music recordings have been received with critical acclaim, having been nominated for a Juno® Award and two Western Canadian Music Awards. He was one of six Canadian cellists featured in videos of Bach’s unaccompanied cello suites produced by cbcmusic.ca. His performances in recent years include the concertos of Elgar, Dvorˇák, Saint-Saëns, Brahms (Double), Ernst Bloch’s Schelomo, Tchaikovsky’s Rococo Variations, and recital appearances in New York, Toronto, Ottawa, Halifax, Québec City, Vancouver, San Francisco and Guadalajara, Mexico.
(Orchestrated by Leopold Stokowski)
b. Pamiers, France / May 12, 1845 d. Paris, France / November 4, 1924
b. St. Germaine-en-Laye, France / August 22, 1862 d. Paris, France / March 25, 1918
Clair de lune Before Debussy became the master of Impressionism, creating worlds of misty, exotic sounds, he served his apprenticeship as a composer of typically lush, melodic late-nineteenth-century French music. The four-movement piano composition, Suite bergamasque (1890), belongs to that early period. Three of its sections are romanticized recreations of Baroque and Classical dances: prelude, minuet, and passepied.
“This delicate, wistful reverie is one of his most famous compositions.” Debussy most resembles his mature self in the third movement, Clair de lune (Moonlight). This delicate, wistful reverie is one of his most famous compositions. Revered conductor Leopold Stokowski’s orchestral transcription further enhances the mood. No less stern a commentator as Arnold Schoenberg found the arrangement so convincing in terms of replicating the composer’s style that he “thought it was an original of Debussy.”
Jocelyn Morlock b. St. Boniface, Manitoba, Canada / December 14, 1969
Lucid Dreams, Concerto for Violoncello and Orchestra (World Première) Lucid Dreams, a concerto for violoncello and orchestra, is inspired by the strange nocturnal world of the mind, where the unfamiliar feels normal and even nostalgic, where sudden changes of mood seem logical, and where it is all too easy to shift from a seemingly perfect world to one that is disturbed and surreal. The solo cello functions as protagonist in the hypnagogic soundworld of the orchestra. Program Note © 2017 Jocelyn Morlock
Pelléas et Mélisande: Suite, Op. 80 Belgian author Maurice Maeterlinck’s dream-like play, Pelléas and Mélisande, premièred in Paris in 1893. Prince Golaud discovers the maiden Mélisande, weeping and lost in the forest. He takes her back to the castle of his grandfather the king and marries her. Infatuation grows between Mélisande and Golaud’s step-brother Pelléas. Golaud’s jealousy leads him to kill Pelléas, and Mélisande dies from grief. The play rapidly inspired a wealth of excellent music. Within months of the première, Claude Debussy began sketching his operatic version. He completed it in 1895, but it didn’t reach the stage until seven years later. Meanwhile, Fauré created an incidental score in 1898, and subsequently Arnold Schoenberg composed a symphonic poem on the subject in 1902-03, and Jean Sibelius an incidental score in 1905. Planning an English-language staging of Pelléas in London, producer/actress Mrs. Patrick Campbell approached Debussy to extract orchestral selections from his opera to use as an incidental score. He declined. Campbell turned to Fauré, whose regular visits to London had made his name known there. She gave him just six weeks to compose a score. To meet the deadline, he drew upon previously existing material, and left the orchestration to a pupil, Charles Koechlin. His elegant, understated style perfectly matched the play’s whispered intimacies. He arranged three of the score’s more substantial portions into a concert suite, adding the Sicilienne in 1909. In the process, he expanded the instrumentation to full symphony orchestra. The suite consists of the atmospheric Prelude; The Spinner, gently animated music for Mélisande’s scene at the spinning wheel; a gracefully flowing Sicilienne, which accompanied a scene where the lovers meet beside a fountain; and the introduction to the final act, forecasting in elegiac manner the death of Mélisande.
Maurice Ravel b. Ciboure, Basses Pyrénées, France / March 7, 1875 d. Paris, France / December 28, 1937
Daphnis et Chloé: Suite No. 2 This concert concludes another French composer’s music inspired by another pair of lovers. Ravel’s lengthiest composition, the ballet Daphnis et Chloé (Daphnis and Chloé) is widely considered his masterpiece. It epitomized his impeccable craftsmanship and superlative skill at evoking atmosphere. It was commissioned by the noted Russian ballet impresario, Sergei Diaghilev. Mikhail Fokine, his company’s principal choreographer, chose for a subject a story by Longus, a poet of Classical Greece. It concerned the love between a shepherd, Daphnis, and a maiden, Chloé. Ravel worked on the score at his usual slow, fastidious rate. Three years passed before he completed it, much to Diaghilev’s annoyance. So did Ravel’s insistence on a wordless chorus, which Diaghilev considered an unnecessary expense. At one point the impresario
threatened to cancel the project. Further delays cropped up during rehearsals, especially when the dancers encountered difficulty at mastering the 5/4 rhythm of the finale. The première took place in Paris in June 1912. It won only a modest success. Many observers praised the music, but found the scenario, choreography and décor of lesser value. Ravel’s score makes its greatest effect in the concert hall, where listeners can conjure up their own imagery to match its glorious colours and sensuous moods. Ravel prepared two concert suites (or “symphonic fragments”) from the full score. No. 2 opens with a glittering, ecstatic depiction of sunrise. Daphnis and Chloé are joyfully reunited. They dance a capricious pantomime retelling the amorous encounter between Pan and a maiden, Syrinx. The score concludes with the increasingly delirious strains of a bacchanalian General Dance. ■ Program Notes © 2017 Don Anderson
Concert Program CHOPIN 12 Études, Op. 10
No. 1 in C Major: Allegro No. 2 in A minor: Allegro No. 3 in E Major: Lento ma non troppo No. 4 in C-sharp minor: Presto No. 5 in G-flat Major: Vivace No. 6 in E-flat minor: Andante No. 7 in C Major: Vivace No. 8 in F Major: Allegro No. 9 in F minor: Allegro molto agitato No. 10 in A-flat Major: Vivace assai No. 11 in E-flat Major: Allegretto No. 12 in C minor: Allegro con fuoco
CHOPIN 12 Études, Op. 25
S PE CIALS O RPHE UM , 8 P M
Tuesday, May 9 Louis Lortie in Recital Louis Lortie piano
VISIT THE SYMPHONY GIFT SHOP FOR CD SELECTIONS
No. 1 in A-flat Major: Allegro sostenuto No. 2 in F minor: Presto No. 3 in F Major: Allegro No. 4 in A minor: Agitato No. 5 in E minor: Vivace No. 6 in G-Sharp minor: Allegro No. 7 in C-sharp minor: Lento No. 8 in D-flat Major: Vivace No. 9 in G-flat Major: Allegro assai No. 10 in B minor: Allegro con fuoco No. 11 in A minor: Lento – Allegro con brio No. 12 in C minor: Allegro molto con fuoco
CHOPIN 24 Préludes, Op. 28
No. 1 in C Major: Agitato No. 2 in A minor: Lento No. 3 in G Major: Vivace No. 4 in E minor: Largo No. 5 in D Major: Molto allegro No. 6 In B minor: Lento assai No. 7 in A Major: Andantino No. 8 in F-sharp minor: Molto agitato No. 9 in E Major: Largo No. 10 in C-sharp minor: Molto allegro No. 11 in B Major: Vivace No. 12 in G-sharp minor: Presto No. 13 in F-sharp Major: Lento No. 14 in E-flat minor: Allegro No. 15 in D-flat Major: Sostenuto No. 16 in B-flat minor: Presto con fuoco No. 17 in A-flat Major: Allegretto No. 18 in F minor: Molto allegro No. 19 in E-flat Major: Vivace No. 20 in C minor: Largo No. 21 in B-flat Major: Cantabile No. 22 in G minor: Molto agitato No. 23 in F Major: Moderato No. 24 in D minor: Allegro appassionato allegro 15
Louis Lortie piano
French-Canadian pianist Louis Lortie has attracted critical acclaim throughout Europe, Asia, and the United States. He has extended his interpretative voice across a broad range of repertoire rather than choosing to specialize in one particular style. The London Times, describing his playing as "ever immaculate, ever imaginative," has identified the artist's "combination of total spontaneity and meditated ripeness that only great pianists have.” Louis Lortie studied in Montréal with Yvonne Hubert (a pupil of the legendary Alfred Cortot), in Vienna with Beethoven specialist Dieter Weber, and subsequently with Schnabel disciple Leon Fleisher. He made his debut with the Montréal Symphony at the age of 13; three years later, his first appearance with the Toronto Symphony Orchestra led to an historic tour of the People's Republic of China and Japan. In 1984, he won First Prize in the Busoni Competition and was also prizewinner at the Leeds Competition. In 1992, he was named Officer of the Order of Canada, and received both the Order of Québec and an honorary doctorate from Université Laval. He has lived in Berlin since 1997 and also has homes in Canada and Italy.
Fryderyk Franciszek Chopin b. Zelozowa, Wola (near Warsaw), March 1, 1810 d. Paris, France / October 17, 1849
12 Études, Op. 10 12 Études, Op. 25 24 Préludes, Op. 28 The brief, turbulent life of Chopin, Poland’s most illustrious musician of the nineteenth century, revolved exclusively around the piano. He played it, with incomparable grace and brilliance; taught it, for the artistic benefit of others, and the financial benefit of himself; and composed for it, with complete understanding of its expressive capabilities. So intense was his preoccupation with it that he included it in every piece he composed. He was also a strong patriot, expressing his love of his people through dozens of pieces in traditional Polish dance forms such as the polonaise and mazurka. 16 allegro
The études and préludes number among his most significant abstract compositions. The vivid characters they exhibit have led other people to give some of them nicknames, such as the “revolutionary” étude (Op. 10, No. 12) and the “raindrop” prélude (No. 15). As a full-blooded Romantic, he may have borne in mind poetic notions such as these during the process of composition. This evening’s performance offers a rare opportunity to experience these pieces in comprehensive ways. It will demonstrate the ingenuity Chopin lavished upon them as 12 or 24-part collections. Each set carries more meaning when heard complete. The term “étude” (literally meaning a “study”) implies that the piece is designed for instructional purposes. Prior to Chopin’s lifetime, it had been the pedantic province of such modestly gifted composers as Muzio Clementi and Johann Hummel. His genius elevated the form to something far more imaginative and expressive, and firmly worthy of a place in the public recital room. Nearly two centuries after Chopin composed them, they remain daunting tests of virtuosity. Even Artur Rubinstein (1887–1982), one of the twentieth century’s greatest Chopin interpreters, felt “scared to death,” as he put it, about performing them. “To do them justice is a most difficult task,” he wrote in 1962, “which I haven’t yet had the courage to attempt.” Chopin composed the first set of études from 1829 to 1832. They were published in 1833 with a dedication “to my friend Franz Liszt.” The robust constitution of Liszt, the supreme piano virtuoso of the day, gave him the strength to perform them more brilliantly than the frail Chopin. That same year, Chopin wrote, “I hardly even know what my pen is scribbling, since at the moment Liszt is playing one of my études and distracting my attention from my respectable thoughts. I would love to acquire from him the manner in which he plays my (études).” Between the rippling, heroic textures of the ‘overture’ (No. 1) to the first set of études, and the unprecedented forcefulness and drama of the ‘finale’ (No. 12), Chopin focused on primarily energetic pieces. More often than not, they are
quick in tempo, concentrated, and filled with powerful forward momentum and full, cascading textures. Experiencing them complete is likely to leave the audience as drained as the performer. Among the contrasting, reflective pieces, No. 6 presents a slow, soulful melody buried in rippling figuration, and No. 11 a capricious sense of fantasy. Yet it is the sweet, dreamy No. 3 that makes the strongest impression. It is as memorable as any Chopin nocturne. The second set of études followed in the years 1832 to 1836. They are even more succinct that the Op. 10 études, and since they include just one piece in slow tempo — the slow but emotionally bleak No. 7, strategically placed at the mid-way point – the impression the entire set makes is one of enormous energy and power. Prominent among them are études displaying unhurried majesty (No. 1), an exciting, galloping rhythm (No. 3), and the three increasingly thunderous minor-key works that conclude the set. “Prélude” suggests that the work in question introduces another, longer and/or more substantial piece. By Chopin’s day, in the realm of keyboard music it had come to mean virtually any sort of short piano piece. Subsequent composers adopted a similar approach, sometimes, as with Debussy and Rachmaninoff, incorporating a descriptive element. In composing the préludes, Chopin took inspiration from The Well-Tempered Clavier
by one of the composers he most revered, Johann Sebastian Bach. It consists of two sets of 24 preludes and fugues. Both of Bach’s sets, and Chopin’s préludes, are made up of pieces in each of the major and minor keys. Unlike the études, Chopin intended the préludes as public concert music from the beginning. He composed them in 1836–1839. Many of them are even more concentrated than the études. A handful of these gem-like sketches and mood pieces take less than a minute each to perform. In contrast to the études, they contain a significantly higher amount of music in slow tempo. Examples of this shift in expressive emphasis include the almost funereal No. 2; the introspective and questioning No. 6; the sweet, short, simple yet nevertheless haunting No. 7; the stately, almost regal No. 9; No. 15, the ‘raindrop’ prelude, which is not only the most poetic of the préludes but also the only one that runs longer than three minutes; and the gentle, caressing serenade of No. 21. The collection’s energetic side embraces everything from the light and breezy No. 5 to the raging onslaught of No. 8, the tiny, scherzo-like Nos. 10 and 11, and the hard-charging No. 12. Like the last of the études, the finale of the préludes is another grand statement. Could Chopin have intended it as a proud declaration in support of his beloved and beleaguered Polish nation? ■ Program Notes © 2017 Don Anderson
AT THE MOVIES!
SPE C IA L S O R P HE UM T H EAT RE, 7: 30P M
Wednesday & Thursday, May 10 & 11 Constantine Kitsopoulos conductor
Vancouver Symphony Orchestra
Celebrating the 35th Anniversary of E.T. THE EXTRA-TERRESTRIAL. One of the highest-grossing and most beloved movies of all time, Steven Spielbergâ€™s timeless classic will be shown in high definition on the big screen as the Vancouver Symphony Orchestra plays the heartwarming, award-winning John Williams score live on the Orpheum stage. MAY 11 CONCERT SPONSOR
FILM CREDITS A STEVEN SPIELBERG Film
E.T. THE EXTRA-TERRESTRIAL Starring DEE WALLACE PETER COYOTE HENRY THOMAS as ELLIOTT Music by JOHN WILLIAMS Written by MELISSA MATHISON Produced by STEVEN SPIELBERG & KATHLEEN KENNEDY Directed by STEVEN SPIELBERG A UNIVERSAL PICTURE
E.T. THE EXTRA-TERRESTRIAL is a trademark and copyright of Universal Studios. Licensed by Universal Studios Licensing LLC. All Rights Reserved. E.T. THE EXTRA-TERRESTRIAL — Available on Blu-ray and DVD from Universal Pictures Home Entertainment. Classification: PG. Parental Guidance Suggested. Some material may not be suitable for children.
PRODUCTION CREDITS E.T. THE EXTRA-TERRESTRIAL — Film with Orchestra produced by Film Concerts Live!, a joint venture of IMG Artists, LLC and The Gorfaine/Schwartz Agency, Inc. Producers . . . . . . . . . . . . . . . . . . . . . . . . . . . . Steven A. Linder and Jamie Richardson Production Coordinator . . . . . . . . . . . . . . . . . . Rob Stogsdill Worldwide Representation . . . . . . . . . . . . . . . IMG Artists, LLC Technical Director . . . . . . . . . . . . . . . . . . . . . . Mike Runice Marketing Coordinator . . . . . . . . . . . . . . . . . . Dan Barry Music Composed by . . . . . . . . . . . . . . . . . . . . John Williams Music Preparation . . . . . . . . . . . . . . . . . . . . . . Jo Ann Kane Music Service Film Preparation for Concert Performance . . . . Ramiro Belgardt Technical Consultant . . . . . . . . . . . . . . . . . . . . Laura Gibson Sound Remixing for Concert Performance . . . . Chace Audio by Deluxe The score for E.T. THE EXTRA-TERRESTRIAL has been adapted for live concert performance. With special thanks to: Universal Studios, Steven Spielberg, Kathleen Kennedy, John Williams, David Newman, Chris Herzberger, Tamara Woolfork, Adrienne Crew, Darice Murphy and Mark Graham.
artists by the U.S. Government. In 2016 he received the 44th Life Achievement Award from the American Film Institute — the first time a composer was honored with this award. A note from John Williams:
John Williams composer In a career spanning five decades, John Williams has become one of America’s most accomplished and successful composers for film and for the concert stage, and he remains one of our nation’s most distinguished and contributive musical voices. He has composed the music for more than one hundred films, including all seven Star Wars films, the first three Harry Potter films, Superman, Memoirs of a Geisha, Home Alone and The Book Thief. His 40-year artistic partnership with director Steven Spielberg has resulted in many of Hollywood’s most acclaimed and successful films, including Schindler’s List, E.T. THE EXTRA-TERRESTRIAL, Jaws, Jurassic Park, Close Encounters of the Third Kind, the Indiana Jones films, Saving Private Ryan, and Lincoln. Mr. Williams has composed themes for four Olympic Games. He served as music director of the Boston Pops Orchestra for fourteen seasons and remains their Laureate Conductor. He has composed numerous works for the concert stage including two symphonies, and concertos commissioned by many of America’s most prominent orchestras. Mr. Williams has received five Academy Awards and 50 Oscar nominations (making him the second-most nominated person in the history of the Oscars), seven British Academy Awards, twenty-two Grammys, four Golden Globes, and five Emmys. In 2003, he received the Olympic Order (the IOC’s highest honor) for his contributions to the Olympic movement. In 2004, he received the Kennedy Center Honors, and in 2009 he received the National Medal of Arts, the highest award given to
"Steven Spielberg’s film E.T. THE EXTRATERRESTRIAL has always held a special place in my heart, and I personally think it’s his masterpiece. In looking at it today, it’s as fresh and new as when it was made in 1982. Cars may change, along with hairstyles and clothes... but the performances, particularly by the children and by E.T. himself, are so honest, timeless and true, that the film absolutely qualifies to be ranked as a classic. What’s particularly special about tonight’s concert is that we’ll hear one of our great symphony orchestras, the Vancouver Symphony Orchestra, performing the entire score live, along with the complete picture, sound effects and dialogue. I know I speak for everyone connected with the making of E.T. in saying that we’re greatly honored by this event... and I hope that tonight’s audience will find great joy in experiencing this magical film."
Constantine Kitsopoulos conductor
The 2016–17 season will mark Constantine Kitsopoulos' 7th as Music Director of the Festival of the Arts BOCA. He was Artistic Director of the OK Mozart Festival from 2013–15 and spent eight years as Music Director of the Queens Symphony Orchestra. In 16–17, Kitsopoulos includes return engagements with the New Jersey, Baltimore, Vancouver and Detroit Symphonies, the Philadelphia Orchestra, Louisiana and Calgary Philharmonics and Symphony Silicon Valley. He will make debuts with the Pacific and Fort Worth Symphonies. He returns to Indiana Opera Theatre to lead their production of The Music Man and New York University to conduct three different programs with their orchestras. In addition to his work as a conductor, Kitsopoulos will make his debut as a composer at Michigan State University with a workshop of a new music theatre piece entitled Temple. ■ allegro 21
vancouversymphony.ca 604.876.3434 Justin Freer conductor The Harry Potter™ film series is one of those once-in-a-lifetime cultural phenomena that continues to delight millions of fans around the world. This concert will feature the Vancouver Symphony Orchestra performing every note from Harry Potter and the Prisoner of Azkaban.™ In their third year at Hogwarts, Harry, Ron and Hermione meet escaped prisoner Sirius Black™ and learn to handle a half-horse/half-eagle Hippogriff, repel shape-shifting Boggarts and master the art of Divination. Harry must also withstand soul-sucking Dementors™, outsmart a dangerous werewolf and deal with the truth about Sirius and his relationship to Harry and his parents.
"This is rich, hugely approachable music, utterly cosmopolitan yet utterly unpretentious. (It speaks) to just about everybody...from grade-schoolers to grandmothers to the young and hip and beautiful." â€”The Washington Post
Pink Martini, the 'little orchestra' from Portland, Oregon, 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 you're sure to love. They'll weave together classic songs and original material from their forthcoming album, which is set for a 2017 release. Join Pink Martini and the VSO for an amazing, not-to-be-missed evening.
VISIT THE SYMPHONY GIFT SHOP FOR CD SELECTIONS
S P EC IA L S OR P H EU M , 8P M
Saturday, May 13 Pink Martini with the VSO William Rowson conductor Thomas Lauderdale piano China Forbes vocalist PROGRAM TO BE ANNOUNCED FROM THE STAGE.
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 studying conducting at the Curtis Institute of Music and since then, has been a frequent guest of many of Canada’s leading ensembles. In the 2015 /16 season, Rowson returned as the Resident Conductor of the Hamilton Philharmonic Orchestra’s ‘What Next’ Festival, conducting five Canadian operas in one week, in concert. Also an accomplished composer, Bill was a finalist for the position of RBC Composer-in-Residence with the Toronto Symphony Orchestra. His film score for the feature length film Big Muddy has been showcased at the Toronto International Film Festival.
Thomas Lauderdale piano
Thomas Lauderdale was raised in rural Indiana and began piano lessons at age six. When his family moved to Portland in 1982, he began studying with Sylvia Killman, who remains his coach and mentor today. At the age of 14, he made his first appearance with the Oregon Symphony under the direction of Norman Leyden. Lauderdale founded Pink Martini in 1994 to play political fundraisers for progressive causes such as civil rights, the environment and affordable housing. 24 allegro
Now in its 21st year, Pink Martini and Lauderdale are Oregon’s “musical ambassadors to the world,” performing a multilingual repertoire on concert stages from Carnegie Hall to the Hollywood Bowl to Royal Albert Hall, and with more than 50 symphony orchestras throughout Europe, Asia, the Middle East, Africa, Australia, New Zealand and the Americas. The band has released ten albums on its own label Heinz Records, most recently Dream a Little Dream, a collaboration with the von Trapps, and the brand new studio album Je di oui!
China Forbes vocalist China Forbes (vocals) was born and raised in Cambridge, Massachusetts where she graduated cum laude from Harvard and was awarded the Jonathan Levy Prize for acting. She appeared in New York regional theatre and off-off Broadway productions, earning her Equity card alongside future stars of stage and screen such as Norm Lewis, Peter Jacobson and Rainn Wilson. At that same time she was plucked from New York City by Harvard classmate Thomas Lauderdale to sing with Pink Martini, and has since written many of Pink Martini’s most beloved songs with Lauderdale, including Sympathique, Lilly, Clementine, Let’s Never Stop Falling in Love, Over the Valley and most recently A Snowglobe Christmas, which can be heard on Pink Martini's holiday album Joy to the World. In the spring of 2011 China took a leave of absence from Pink Martini to undergo surgery on her vocal chords and to spend time with her son. Thankfully all went very well and she is thrilled to be back on stage singing every chance she gets. ■
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 email@example.com to learn more. allegro 25
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, UBC , 8 P M
Friday & Saturday, May 19 & 20
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 ARTS C E N TR E , S U RR EY, 8P M
Alexandre Bloch conductor Jonathan Biss piano
Sunday, May 21
SCHUMANN Manfred, Op. 115: Overture MOZART Piano Concerto No. 21 in C Major, K. 467
I. Allegro maestoso II. Andante III. Allegro vivace assai
HAYDN Symphony No. 92 in G Major, Oxford
I. Adagio – Allegro II. Largo III. Menuetto: Allegretto IV. Finale: Allegro con spirito
SURREY NIGHTS SERIES SPONSOR
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.
Alexandre Bloch conductor
At the start of the 2016/17 season, Frenchborn Alexandre Bloch assumed the position of Music Director of Orchestre National de Lille and since September, 2015 has been Principal Guest Conductor of Düsseldorfer Symphoniker. His First Prize at the 2012 Donatella Flick LSO Conducting Competition brought him to international attention and he served as Assistant Conductor of the London Symphony Orchestra. Within weeks, he made his debut with Royal Concertgebouw Orchestra, replacing Mariss Jansons at short notice to conduct three performances of a challenging programme that included Richard Strauss’ Tod und Verklärung and a Jörg Widmann commission for large orchestra. Alexandre Bloch first graduated with diplomas in cello performance, harmony and conducting from Tours, Orléans and Lille. He then entered the Conservatoire National Supérieur de Musique et de Danse de Paris, to further his studies in composition and conducting. In 2012, he completed his Master’s Degree in Conducting in the studio of Zsolt Nagy, prior to gaining a Diploma and the Sir John Zochonis Junior Fellowship (2012–2013 season) at the Royal Northern College of Music.
Jonathan Biss piano Pianist Jonathan Biss shares his talent, passion, and intellectual curiosity with classical music lovers in the concert hall and beyond. Over nearly two decades on the concert stage, he has forged relationships with the New York Philharmonic; the Philadelphia, Cleveland, and Philharmonia orchestras; the Boston, Chicago, the Budapest Festival, and Royal Concertgebouw orchestras, among many others. Biss' noted recording career includes an album of Schubert sonatas and two short Kurtág pieces that NPR Music named as one of the best albums of the year. His recent albums for EMI won Diapason d’Or de l’année and Edison awards, and in 2017 he releases the sixth volume of his nine-year, nine-disc recording cycle of Beethoven’s complete piano sonatas. 28 allegro
Biss led the first massive open online course offered by a classical music conservatory, Exploring Beethoven's Piano Sonatas, which has reached more than 150,000 people in 185 countries. His bestselling Beethoven’s Shadow was the first Kindle Single written by a classical musician.
Robert Schumann b. Zwickau, Germany / June 8, 1810 d. Endenich, Germany / July 29, 1856
Manfred, Op. 115: Overture The vivid, fanciful works of English poet George Gordon Byron (1788–1824, known as Lord Byron), have inspired many first-rate composers, including Berlioz, Verdi, Liszt, Donizetti and Tchaikovsky. Schumann felt an intense identification with Manfred, Byron’s character who wanders through the Alps in search of consolation for a broken heart. Schumann’s musical setting of Manfred resulted from a request from Franz Liszt, who asked for over a dozen selections — including an overture, entr’actes and brief sections of musical underscoring — to be performed as part of a dramatized recitation of the poem. Schumann composed his score during the summer of 1848. Problems with staging the production in an effective way delayed its presentation. Two performances finally did take place, four years later in Leipzig, but neither of them presented the material successfully. Only the overture from Schumann’s score is still performed regularly, its survival based on its considerable musical merits. Filled with equal parts drama and lyricism, it paints not only a compelling portrait of a single, specific character, but of the entire Romantic era.
Wolfgang Amadeus Mozart b. Salzburg, Austria / January 27, 1756 d. Vienna, Austria / December 5, 1791
Piano Concerto No. 21 in C Major, K. 467 In May 1781, Mozart was unceremoniously discharged from the service of Hieronymous Colleredo, the Prince-Archbishop of Salzburg. Delighted to be free from this unappreciative
BRANFORD MARSALIS WITH THE VSO
WEDNESDAY, JUNE 28 8PM, ORPHEUM
William Rowson conductor Branford Marsalis saxophone Joey Calderazzo piano NEA Jazz Master, renowned Grammy® Award-winning saxophonist Branford Marsalis is one of the most revered instrumentalists of his time. Leader of one of the finest jazz quartets today, and a frequent soloist with classical ensembles, Branford has become increasingly sought after as a featured soloist with acclaimed orchestras around the world. Branford performs the first half with the Vancouver Symphony Orchestra, and in the second half is joined by his longtime quartet pianist Joey Calderazzo.
"a gracious poise and supple tone... and an insouciant swagger" —New York Times
IN PARTNERSHIP WITH
TD VANCOUVER INTERNATIONAL JAZZ FESTIVAL.
and demeaning relationship, he relocated from the cultural backwater of Salzburg to the bustling musical metropolis of Vienna. The city was ripe for free-lance artists with his talent and drive. Before long he had immersed himself in a frantic schedule of composing, performing and teaching. Vienna valued Mozart for his piano playing above all, and naturally he responded to this preference. In a glorious burst of activity, he composed 12 superlative piano concertos from February 1784 to December 1786. They are deeper in feeling, broader in scope and richer in color than any written before. In years to come, they would serve as models of their kind, ones to which Beethoven, Brahms and other similarly high-minded composers would turn for inspiration. Mozart gave the premières of most of these “golden dozen” concertos himself, often within days of their completion, and usually at subscription concerts designed for his own benefit. Such was the case with this piece. Its first performance took place, with great success, on March 10, 1785. The concerto whose creation preceded it by just four weeks — No. 20 in D minor — is one of the darkest, most Romantic pieces Mozart composed in any form. In terms of personality, this “sequel” is its polar opposite. He followed this pattern of extreme contrasts between consecutive examples of certain types of pieces on several other occasions, as with the String Quintets in C Major, K. 515 and G minor, K. 516. The opening movement of Piano Concerto No. 21 is built on a fully symphonic scale, with an orchestral backing that matches the solo part for interest and variety. Mozart here balances forcefulness, elegance and wit with perfect ease. The dreamlike slow movement is based on the simplest of materials; its effect, nevertheless, is magical. Its placid beauty served as a most effective backdrop for the 1967 Swedish film romance Elvira Madigan. The concerto concludes with a merry rondo. It echoes with the laughter of comic opera, looking ahead to Mozart’s masterpiece in this genre, The Marriage of Figaro, whose creation followed just one year later.
Joseph Haydn b. Rohrau, Lower Austria / March 31, 1732 d. Vienna, Austria / May 31, 1809
Symphony No. 92 in G Major Oxford Haydn composed the Symphonies 82 to 87 on commission from Le Concert de la Loge Olympique, an elegant and virtuosic orchestra based in Paris. He composed Nos. 90 to 92 for them, as well. Cannily, he also used the latter three symphonies to fulfill a request from a second patron, the Bavarian nobleman Kraft-Ernst, Prince of Oettingen-Wallerstein. Symphony No. 92 (1789) is a highly imaginative and colourful work, qualities that have led many commentators to rank it with the 12 symphonies Haydn composed after it — the last of his career — the “London” Symphonies. It has another, more direct English connection. Haydn arrived in London for the first time in 1791. Shortly thereafter, Oxford University awarded him an honorary doctorate. He had yet to compose any of the “London” Symphonies, so as a gesture of gratitude at the award ceremony, he conducted his most recent Symphony, No. 92. This is how it acquired its nickname.
“... a highly imaginative and colourful work... ” The first movement consists of a teasing, nonchalant introduction in slow tempo and a brisk and cheeky main Allegro. Here as he does throughout the symphony, Haydn diverts attention from the skill and imagination of the music’s construction by providing attractive themes and developing them with great ingenuity. Based on a traditional hymn tune, the slow second movement radiates peaceful beauty. Haydn spotlighted the solo winds of the orchestra, and used the trumpets and timpani to add weight to the occasional outbursts of more dramatic feeling. A substantial minuet of a rather serious nature follows, the central trio section sporting some delightful rhythmic displacements. The symphony concludes with a headlong comic gallop. ■ Program Notes © 2017 Don Anderson
Concert Program VA N C OU VER S UN S Y M P H ON Y AT TH E AN N E X T H E A N N EX , 7:3 0 P M
Saturday, May 20 Sweet Air William Rowson conductor DAVID LANG sweet air MARCUS GODDARD Voices Rising JOCELYN MORLOCK Icarus, landing INTERMISSION
KEITH HAMEL Dreamer WILLIAM ROWSON
JOCELYN MORLOCK VSO COMPOSERIN-RESIDENCE
ANDY AKIHO Speaking Tree
MARCUS GODDARD VSO COMPOSERIN-ASSOCIATION
VISIT THE SYMPHONY GIFT SHOP FOR CD SELECTIONS SYMPHONY AT THE ANNEX SERIES SPONSOR
FINANCIAL SUPPORT FOR THE ANNEX SERIES PROVIDED BY
William Rowson conductor
For a biography of William Rowson, please refer to page 24.
Program Notes Named for David Lang's mesmerizing sweet air, this concert brings together music that mimics, was created in, or perhaps even causes an altered state of mind. The name sweet air refers to laughing gas, and the music creates a hypnotically pleasurable, yet slightly uneasy environment.
“... works that are influenced by the most profound changes of mental and physical states... ” VSO Composer-in-Association Marcus Goddard and VSO Composer-in-Residence Jocelyn Morlock each contribute works that are influenced by the most profound changes of mental and physical states — the journey between life and death. Goddard’s Voices Rising is inspired by a classic Dylan Thomas poem; Morlock’s Icarus, landing is an examination of changing mental states as illness progresses to an inexorable close. In Dreamer, Keith Hamel works with spectral analyses of the words of murdered pacifists Dr. Martin Luther King Jr. and John Lennon. Insomniac composer Andy Akiho’s music concerns a nocturnal stroll on which he encountered “an intriguing tree…”
of music's traditional roles has always been to soothe the uneasy. I must say I have never been that interested in exploring this role. It is much easier to comfort the listener than to show why the listener might need to be comforted. My piece sweet air tries to show a little bit of both. In sweet air, simple, gentle musical fragments float by, leaving a faint haze of dissonance in their wake.” Program Notes © 2017 Jocelyn Morlock
Marcus Goddard b. Newport, Vermont, USA / July 14, 1973
Voices Rising Marcus Goddard is both the Associate Principal Trumpet and the Composer-in-Association with the Vancouver Symphony Orchestra. As a composer, Goddard has over thirty-five works in his catalog, including numerous recent pieces for large orchestra and varied chamber ensembles. His 2016 orchestral work Regenerations is lauded in the Vancouver Sun as one that "showed him operating at an astonishingly high pitch...Regenerations consistently thrills, walking the fine line between professionalism and individuality with complete confidence." Goddard writes: “Voices Rising was composed in 2005 for the Turning Point Ensemble and was inspired by the Dylan Thomas poem, Do not go gentle into that good night. Within the ensemble, the trombone loosely parallels the poem’s refrain of “Rage, rage against the dying of the light.” Program Notes © 2017 Jocelyn Morlock
b. Los Angeles, California, USA / January 8, 1957
b. St. Boniface, Manitoba, Canada / December 14, 1959
sweet air Pulitzer Prize-winning composer David Lang is one of the most-performed American composers, and is known as co-founder and co-artistic director of the iconic Bang on a Can music collective. Lang writes: “During a trip to the dentist my oldest son Isaac was given laughing gas. The dentist called it sweet air, a gentle name to take the fear out of having a cavity filled. It worked. My son experienced something—a drug—so comforting that it made him ignore all signs of unpleasantness. This seemed somehow musical to me. One
“... there is a sense of barely controlled panic, confusion and lack of control... ” VSO Composer-in-Residence Jocelyn Morlock’s music is hailed as being "airy but rhythmic, tuneful but complex" and with "uncanny yet toothsome beauty" (Georgia Straight). Her music is recorded on 20 CDs, including Cobalt, whose title track won the 2015 Western
Canadian Music Award for Best Classical Composition. In a broad context, Icarus, landing deals with nostalgia and how events beyond human control can alter our lives. The work begins with a dream-like and somewhat nostalgic atmosphere. This is transformed into a more somber mood, which gradually disintegrates into disturbed disorder. In the final section of the piece, there is a sense of barely controlled panic, confusion and lack of control, which remains unresolved at the end. Program Notes © 2017 Jocelyn Morlock
Keith Hamel b. Morden, Manitoba, Canada / November 21, 1956
Dreamer Keith Hamel is a Vancouver-based composer and computer music specialist. Hamel writes acoustic and electroacoustic music, and has been awarded many prizes in both media. He has been commissioned by many national and international ensembles and organizations, and his works have been performed in Canada, the U.S., Asia and Europe. Dreamer is based on material deconstructed from two sources. The first is the 1963 speech given by Dr. Martin Luther King Jr. at the Lincoln Memorial – the famous “I Have a Dream” speech. The second is the 1971 song Imagine by John Lennon. There is a strong connection between these two men and their messages. Both dreamed of a future world where peace, tolerance and equality among all people would become
a reality. It is now almost half a century since these men imagined their better world, yet there is probably more conflict, injustice and intolerance in the world than ever. Program Notes © 2017 Keith Hamel
Andy Akiho b. Columbia, South Carolina, USA / 1979
Speaking Tree Eclectic composer and percussionist Andy Akiho counts among his recent performances several by the Los Angeles Philharmonic, the New York Philharmonic, and the Calder Quartet. He was chosen from over 500 applicants as the grand prize winner of the 2011 Finale National Composition Contest. His Speaking Tree has a wonderfully squirrely creation story: in Akiho’s words “the solitude of late nights is a primary source of my creativity: I think much clearer at three or four in the morning when there are no distractions… On one particularly late night in August, while trying to start this piece, I took my routine long walk around town and wound up strolling through the Princeton Cemetery, where I came across an intriguing tree. I am not always observant of my natural surroundings, but this particular tree captivated me. I fell asleep under this speaking tree.”Akiho woke after his arboreal nap, wrote all night, and conceived of Speaking Tree by morning. ■ Program Notes © 2017 Jocelyn Morlock
CELEBRATING 200 YEARS! The VSO congratulates BMO Financial Group on the occasion of their 200th Anniversary. Canada’s first bank went on to play an instrumental role in the building of a nation.
William Rowson conductor For a biography of William Rowson, please refer to page 24.
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. 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. ■
VISIT THE SYMPHONY GIFT SHOP FOR CD SELECTIONS
T EA & T RU M P ETS ORP H EU M , 2P M
Thursday, May 25 Mozart and Vienna William Rowson conductor Christopher Gaze host MOZART The Marriage of Figaro: Overture STRAUSS Tales from the Vienna Woods BEETHOVEN Symphony No. 6 in F Major, Op. 68, Pastoral
II. Szene am Bach
VON SUPPE Morning, Noon and Night in Vienna MOZART The Magic Flute: Overture STRAUSS Blue Danube Waltz
TEA & COOKIES served in the lobby one hour before each concert. Tea compliments of Tetley Tea.
L ON D ON D RU G S V SO P O P S OR P H EU M , 8P M
Friday & Saturday, May 26 & 27 Sophisticated Ladies MONTEGO GLOVER
Steven Reineke conductor Montego Glover vocalist Capathia Jenkins vocalist Sy Smith vocalist STRAYHORN/ARR. SHOUP Take the ‘A’ Train GEORGE & IRA GERSHWIN/ARR. RIDDLE Strike Up The Band
GEORGE & IRA GERSHWIN/ARR. RIDDLE Clap Yo’ Hands
CALLOWAY III/ARR. CRENSHAW/O’LOUGHLIN Zaz Zuh Zaz
ARLEN/KOEHLER Stormy Weather COOTS/GILLESPIE You Go To My Head MCHUGH/FIELDS
I Can’t Give You Anything But Love, Baby RODGERS/ARR. REINEKE The Lady Is A Tramp
GEORGE & IRA GERSHWIN/ARR. RIDDLE Love Is Here To Stay
GEORGE & IRA GERSHWIN/ARR. RIDDLE They Can’t Take That Away From Me
ARLEN/MERCER/ARR. HENDERSON Come Rain or Come Shine
INTERMISSION BASIE/ARR. ELLIOTT One O’Clock Jump GEORGE & IRA GERSHWIN/ARR. RIDDLE
VISIT THE SYMPHONY GIFT SHOP FOR CD SELECTIONS
MERCER/ARR. DESARE/ORCH. FIRTH Something’s Gotta Give
COLEMAN/LEIGH/ARR. JONES The Best Is Yet To Come
VSO POPS SERIES SPONSOR
VSO POPS RADIO SPONSOR
WEILL/ARR. REINEKE Mack the Knife ARLEN/MERCER/ARR. BYARS
One for My Baby (and One More For the Road)
HOLIDAY/HERZOG JR./ARR. O’LOUGHLIN God Bless the Child MAY 26 CONCERT SPONSOR
MAY 27 CONCERT SPONSOR
GEORGE & IRA GERSHWIN/HEYWARD/ ARR. RAINER Summertime ARLEN/MERCER/ARR. & ORCH. PODD Blues in the Night
Steven Reineke conductor
Steven Reineke’s boundless enthusiasm and exceptional artistry have made him one of the nation’s most sought‐after pops conductors, composers and arrangers. Mr. Reineke is the Music Director of The New York Pops at Carnegie Hall, Principal Pops Conductor of the National Symphony Orchestra at the John F. Kennedy Centre for the Performing Arts, Principal Pops Conductor of the Toronto Symphony Orchestra and Principal Pops Conductor Designate of the Houston Symphony. He previously held the posts of Principal Pops Conductor of the Long Beach and Modesto Symphony Orchestras and Associate Conductor of the Cincinnati Pops Orchestra. As the creator of more than one hundred orchestral arrangements for the Cincinnati Pops Orchestra, Mr. Reineke’s work has been performed worldwide, and can be heard on numerous Cincinnati Pops Orchestra recordings on the Telarc label. A native of Ohio, Mr. Reineke is a graduate of Miami University of Ohio, where he earned bachelor of music degrees with honours in both trumpet performance and music composition. He currently resides in New York City with his husband Eric Gabbard.
Montego Glover vocalist A graduate of Florida State University with a BFA in Music Theatre, Montego made her Broadway debut in The Color Purple in the roles of Celie & Nettie. She created the role of Felicia Farrell in the Broadway hit musical Memphis and received a Tony Award Nomination for Lead Actress in a Musical as well as a Drama League Nomination and won both the Outer Critics’ Circle Award and the Drama Desk Award for her performance. Travel has also given Montego an impressive list of credits in concert work both in New York and around the country. She has been a Guest Artist for the New York Pops at Carnegie Hall, Jazz at Lincoln Center, New York City Center, Philadelphia Orchestra, Atlanta Symphony Orchestra, and most recently Houston Symphony Orchestra to name a few.
Montego has served on the Artists’ Committee for the Kennedy Center Honors, and recently joined the community efforts of the New York Pops by becoming a Pops Ed Ambassador.
Capathia Jenkins vocalist This Brooklyn-born and raised actress most recently starred as ‘Medda’ in the hit Disney production of Newsies on Broadway. She made her Broadway debut in The Civil War, where she created the role of Harriet Jackson. She then starred in the Off-Broadway 2000 revival of Godspell, where she wowed audiences with her stirring rendition of ‘Turn Back, O Man’ which can still be heard on the original cast recording. Ms. Jenkins then created the roles of ‘The Washing Machine’ in Caroline, Or Change and ‘Frieda May’ in Martin Short-Fame Becomes Me where she sang ‘Stop the Show’ and brought the house down every night. Her television credits include 30 Rock, The Practice, Law & Order SVU, The Sopranos, Law & Order. She can be seen in the 2012 film ‘Musical Chairs’ directed by Susan Seidelman. She can be heard on the following film soundtracks: Nine, Chicago, Legally Blonde 2.
Sy Smith vocalist Sy Smith has long since solidified her place in underground soul music. This Los Angelesbased singer/songwriter/producer helped cultivate the nu-soul scene in that city more than ten years ago, a scene which now easily boasts some of the most progressive artists of that genre to date, some of whom came directly from Sy’s own band line-ups. But never one to rest on her laurels, Sy has continued to take her sound and her songs to new heights. With 3 albums, 2 EPs, 1 greatest hits collection, and a live DVD already under her belt, Sy released her fourth studio project “Fast And Curious” in early 2012. Sy’s easy elegance, professional stature, impressive resumé and refusal to stand stagnant has garnered her the title of “the hardest working woman in underground soul”. But she’s determined to surpass that, she’s going for the crown. ■
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 Scott 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 James Harcott 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 Clive Langley Hugh & Judy Lindsay
Nancy Macdonald Dorothy MacLeod Robert Maxwell Irene McEwen Piet Meyerhof Paul Richard Moritz Barbara Morris Martin O’Connor Liisa O'Hara 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 Bella Tata 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.
Phyllis Celia Fisher Margot Lynn McKenzie $10,000 or more Cecilia & Bruce Carter $500,000 or more The Kitty Heller Jim and Edith le Nobel Alter Ego Trust Kathleen Margaret Mann Dorothy Elizabeth Hilton Anna Ruth Leith $100,000 or more Kaye Leaney Brian William Dunlop $5,000 or more Steve Floris Howard and Jean Mann Anne de Barrett Allwork Ann Claire Angus John Rand Clarice Marjory Bankes Hermann and Lawrence M. Carlson Erika Stölting 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 Mary Isabel Whyte $25,000 or more Jan Wolf Wynand Dorothy Freda Bailey
$1,000 or more Eleanor Doke Caldwell Jean Ethel Holler Bernard Van Snellenberg BEQUESTS TO THE VANCOUVER SYMPHONY SOCIETY $250,000 or more Ruth Ellen Baldwin $100,000 or more Reta Alden Dorothy Jane Boyce Roy Joseph Fietsch Hector MacKay Valerie Taggart $50,000 or more Clayton K. Williams Fritz Ziegler $25,000 or more Dorothy M. Grant Lillian Erva Hawkins
Florence Elizabeth Kavanagh Mary Fassenden Law Geraldine Oldfield Alice Rumball Dr. Barbara Iola Stafford Anne Ethel Stevens 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 performing
KIDS’ KONCERTS ORPHEUM THEATRE, 2PM
Sunday, May 28
William Rowson conductor Paul Pement director & producer Susan Hammond series creator Classical Kids featuring: Roger Anderson as Peter Ilyich Tchaikovsky Nicole Hren as Jennie Petroff
Playwright & Music Editor by Douglas Cowling Dramaturge & Music Timing by Paul Pement Light Design by Paul Pement Production Stage Management & Technical Coordination by Paul Pement Costume Design by Alex Meadows
Follow us! Facebook @ ClassicalKidsLive / Twitter @ Classical_Kids Classical Kids CDs/Merchandise Available at www.ClassicalKidsLive.com
TCHAIKOVSKY Trumpet Fanfare from Swan Lake, Op. 20 Piano Concerto No. 1 in B-flat Major, Op. 23, 1st mvmt. Danse napolitaine from Swan Lake, Op. 20 Trépak (Russian Dance) from The Nutcracker, Op. 71 Waltz from Act I of Swan Lake, Op. 20 Serenade in C Major for String Orchestra, Op. 48, 2nd mvmt. Tea (Chinese Dance) from The Nutcracker, Op. 71 Overture to The Nutcracker, Op. 71 Coffee (Arabian Dance) from The Nutcracker, Op. 71 Chocolate (Spanish Dance) from The Nutcracker, Op. 71 Waltz from Sleeping Beauty, Op. 66 Introduction to Act II of Swan Lake, Op. 20 Ragtime on "Silver" from Sleeping Beauty, Op. 66
Traditional Swing Low, Sweet Chariot Old Russia from 1812 Overture, Op. 49 Violente from Sleeping Beauty, Op. 66 Piano Concerto No. 1 in B-flat Major, Op. 23, 2nd mvmt. Marche Slav ("Slavic March") in B-flat Major for Orchestra, Op. 31 Coda from Act II of The Nutcracker, Op. 71 Dance of the Sugar Plum Fairy from The Nutcracker, Op. 71 Entr'acte symphonique and Panorama from Sleeping Beauty, Op. 66 Symphony No. 5 in E minor, Op. 64, 2nd mvmt. Le Cygne Noir ("The Black Swan") from Swan Lake, Op. 20 Traditional Amazing Grace Serenade in C Major for String Orchestra, Op. 48, 1st mvmt. Serenade in C Major for String Orchestra, Op. 48, 4th mvmt. Finale from 1812 Overture, Op. 49
VSO INSTRUMENT FAIR The Kids' Koncerts series continues with the popular VSO Instrument Fair, which allows music lovers of all ages (but especially kids!) to touch and play real orchestra instruments in the Orpheum lobby one hour before concert start time. All instruments are generously provided by Tom Lee Music.
VISIT THE SYMPHONY GIFT SHOP FOR CD SELECTIONS KIDS' KONCERTS SERIES SPONSOR
MAY 28 CONCERT SPONSOR
PREMIER EDUCATION PARTNER
THE VSO’S KIDS’ KONCERTS HAVE BEEN ENDOWED BY A GENEROUS GIFT FROM THE WILLIAM & IRENE MCEWEN FUND.
The theatrical concert version of Tchaikovsky Discovers America, is an adaptation of the best-selling and award-winning Classical Kids recording, Tchaikovsky Discovers America, produced by Susan Hammond. Classical Kids® is a trademark of Classical Productions for Children Ltd., used under exclusive license by Pement Enterprises, Inc., and produced by Classical Kids Music Education, NFP. Classical Kids recordings are marketed by The Children's Group. Actors and Production Stage Manager are members of Actors' Equity Association.
William Rowson conductor
For a biography of William Rowson, please refer to page 24.
Paul Pement director & producer Paul serves as Executive & Artistic Director of Classical Kids Music Education, a non-profit arts organization focused on introducing children (and their parents) to the lives and musical masterpieces of the great classical composers. A BFA in theatre from the University of Illinois Urbana-Champaign and professional experience as an actor, singer, dancer, director, choreographer and stage manager have enabled Paul to achieve success with Classical Kids LIVE! programming — the “gold-star” leader in the field for creating theatrical family concerts presented by professional symphony orchestras throughout North America and abroad. Production titles include Beethoven Lives Upstairs, Mozart’s Magnificent Voyage, Vivaldi’s Ring of Mystery, Tchaikovsky Discovers America and the brand new, Gershwin’s Magic Key — the first-ever symphony concert production that introduces new generations to the extraordinary legacy of the great American composer, George Gershwin.
Susan Hammond series creator Susan has created a whole new generation of classical music fans through her innovative and award-winning Classical Kids recordings. She is the executive producer of a 16 title series of children’s classical music recordings known collectively as Classical Kids, selling to date 46 allegro
nearly 5 million CDs, DVDs and books worldwide, and earning over 100 prestigious awards and honors. Each story entails its own adventure featuring a unique combination of music, history, and theatricality to engage the imaginations of children. Susan holds the philosophy that, “Where the heart goes, the mind will follow.” An accomplished concert pianist and music teacher, Hammond searched for recordings about classical music to share with her young daughters. One day, she sat reading to her girls with a classical music radio station on in the background and noticed how they responded to the literature in a different way when enhanced by music. The rest, as they say, is history. Susan is the recipient of Billboard Magazine’s International Achievement Award and resides with her husband in Toronto where she is a member of the Order of Canada for her contribution to the arts.
Douglas Cowling playwright / music editor Douglas is a writer, musician and educator with a lifelong interest in bringing classical music to wider audiences. He is the writer of five Classical Kids audio productions: Mozart's Magic Fantasy, Tchaikovsky Discovers America, Vivaldi's Ring of Mystery, Hallelujah Handel! and Mozart's Magnificent Voyage. He was also associate producer on Daydreams and Lullabies and serves as the principle writer /music editor for the Classical Kids Live! theatrical symphony concert series.
Kiss Me Kate, Camelot, Superman, and Meet Me in St. Louis at Drury Lane Theatre; Chicago at Pheasant Run Dinner Theater; Singin' in the Rain at the Chicago Center for the Performing Arts; and Association, The Musical at the Arie Crown Theater in Chicago's McCormick Place. Nicole performed for many years with Moraine Valley Theater for Young Audiences as an artist in residence in the following productions: The Little Mermaid, The Velveteen Rabbit, Babes in Toyland, Cinderella, The Odyssey, and The Diary of Anne Frank. Nicole lives in the Chicago area with her husband, Gideon. Special thanks to Paul for this amazing opportunity!
Peter Ilyich Tchaikovsky Roger is a nationally acclaimed actor and musical theatre artist based in Chicago and is proud to be a part of the acclaimed Classical Kids concert series. He has been featured in films and commercials for United Airlines, Sony, Microsoft, IBM, Volvo, Ford Motor Company, Fidelity Investments, S.C. Johnson, Colgate, and the New York Stock Exchange. He has had the privilege to work on musical theatre stages across the country with Patti LuPone, Audra MacDonald, David Hyde Pierce, Michael Cerveris, and Sean Hayes as well as under the baton of Zubin Mehta and Andre Previn. His performances have included appearances at The White House, The Kennedy Center, Walt Disney World and the Ravinia Festival. Regional musical theatre credits include: Juan Peron in Evita, Jacob/Potiphar in Joseph and the Amazing Technicolor Dreamcoat, Harold Hill in Music Man, Barnum in Barnum, KoKo in The Mikado, Petruchio in Kiss Me Kate, Georges in La Cage Aux Folles, Sergeant of Police in Pirates of Penzance and Roger DeBris in The Producers. He currently sings with the Chicago based vocal group Table For Five and, along with his career as an actor, is a practicing Speech/Language Pathologist.
Classical Kids Music Education, NFP was formed for charitable and educational purposes to build pathways for progression in music so that all young people, whatever their background or abilities, have access to the rich and diverse range of influence classical music offers. Reduced funding to the arts has diminished the ability of many symphony orchestras to provide high-quality educational and family programs like the one you are seeing today. It is imperative that more organizations are able to reach students and families through excellent music education programs in a time when affordable and worthy programming is lacking. Classical Kids Music Education, NFP was created to “bridge the gap” by securing funding for high-caliber projects and, together with individual donor support, help to bring music education into the 21st century by creating more opportunities for young people to be exposed to their interest and develop their talents to the fullest. Please visit www.ckme.org to learn more about how you can help. ■
NICOLE HREN AND ROGER ANDERSON
Nicole Hren Jennie Nicole is currently in her eighth season performing with Classical Kids. Recent credits include Guys and Dolls, The Music Man, A Chorus Line, Beauty and the Beast, Swing! at the Marriot Theatre; the Radio City Christmas Spectacular in Atlanta, Orlando, and Nashville, Seven Brides for Seven Brothers, Meet Me in St. Louis, Hairspray, at the MUNY Theater in St. Louis; Funny Girl, Thoroughly Modern Millie, A Christmas Carol, Curtains, Sweet Charity, Fiddler on the Roof,
Classical Kids Music Education, NFP
Actors’ Equity Association Actors and Stage Managers of Classical Kids are members of Actors’ Equity Association. Actors' Equity Association, founded in 1913, is the labor union that represents more than 45,000 Actors and Stage Managers in the United States. Equity seeks to advance, promote and foster the art of live theatre as an essential component of our society. Equity negotiates wages and working conditions and provides a wide range of benefits, including health and pension plans, for its members. Actors' Equity is a member of the AFL-CIO, and is affiliated with FIA, an international organization of performing arts unions. allegro 47
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 Gerhard & Ariane Bruendl Mrs. Joyce E. Clarke Mr. and Mrs. G. A. Cooper Mrs. Margaret M. Duncan Mohammed A. Faris The Gudewill Family In Memory of John Hodge* Diane Hodgins Werner (Vern) and Helga Höing* Ms. Sumiko Hui Yoshiko Karasawa
The Lecky Foundation McGrane-Pearson Endowment Fund* Mr. Brian W. and Mrs. Joan Mitchell André and Julie Molnar Thomas and Lorraine Skidmore Arthur H. Willms Family* Gordon W. Young Anonymous PRINCIPAL PLAYERS Gifts from $7,500 to $9,999 Kenneth W. and Ellen L. Mahon* Mollie Massie and Hein Poulus* Gifts from $5,000 to $7,499 Dr. and Mrs. J. Abel Hans and Nancy Alwart Eric and Alex Bretsen Etienne Bruson Philip & Pauline Chan Dave Cunningham Ian and Frances Dowdeswell Elisabeth and David Finch Debra Finlay Cathy Grant Mr. and Mrs. Sam Gudewill Hillary Haggan Paula and Doug Hart Kaatza Foundation Hank and Janice Ketcham Dr. Marla Kiess* Judi and David Korbin Sam and Anita Lee Doug and Teri Loughran The Lutsky Families Bruce and Margo MacDonald Alexandra Mauler-Steinmann and Michael Steinmann Monique Mercier Roy Millen and Ruth Webber Mirhady Family Fund, held at Vancouver Foundation
Fred R. Pletcher & Beverley G. Ellingson Vince and Noella Ready Joanne and Stanis Smith Mel and June Tanemura* Dean and Kelly Tweeddale Dr. Rosemary Wilkinson Anonymous (2) BENEFACTORS Gifts from $3,500 to $4,999 Ann Claire Angus Fund Fred Boyd Brown Fund, held at Vancouver Foundation George and Janice Burke Count Enrico and Countess Aline Dobrzensky Mr. and Mrs. Herbert Menten* Jill and Matt Tipping Fei Wong Anonymous* Anonymous Gifts from $2,500 to $3,499 Jeff and Keiko Alexander* Anako Foundation Nicholas Asimakopulos The Ken Birdsall Fund Dr. and Mrs. J. Deen Brosnan Marnie Carter* Eva and Doug Christopher Edward Colin and Alanna Nadeau Ms. Louise M. Cecil Rafael and Miryam Filosof Ms. Judy Garner Heather Holmes Olga Ilich Herbert Jenkin John Hardie Mitchell Family Foundation Gordon and Kelly Johnson Signe Jurcic Don and Lou Laishley Bill and Risa Levine
For more information about the PATRONS' CIRCLE and the exclusive benefits associated with this program, please contact Mary Butterfield, Director, Individual & Legacy Giving at
604.684.9100 x 238 or email email@example.com 48 allegro
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 Denis Walker 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 Ann Ehrcke and Michael Levy 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 George Pick and Santi Pelaez
Maurice and Vi Roden Bella Tata* Arthur Toft in memory of Fred and Minnie Toft Anonymous (6) Gifts from $1,500 to $1,999 Olin and Suzanne Anton Gordon and Minke Armstrong Derek and Stella Atkins Mr. R. Paul and Mrs. Elizabeth Beckmann Roberta Lando Beiser* Jay Biskupski & Catherine Imrie Joanne Boyd Mrs. May Brown, C.M., O.B.C.* Dr. Kam and Mrs. Katie Cheung Mr. Justice Edward Chiasson and Mrs. Dorothy Chiasson* Leanne Davis and Vern Griffiths Feisal Dedhar and Angela Stopa Barbara J. Dempsey Sharon F. Douglas Darren Downs and Jacqueline Harris Nancy and Alain Duncan Michael and Dana Freeman Dennis Friesen for Gwen Mrs. San Given Anna and Alan Gove John Hooge Marietta Hurst* Michael and Estelle Jacobson* Uri and Naomi Kolet
Harold and Jenny Locke Harvey Loen & Lois Binder Christopher Loh In tribute of late Johnny Loh Hank and Andrea Luck Nancy Morrison Mr. Cleveland Mullings Jan and Ken Rea Dal Richards Foundation, held at Vancouver Foundation Dr. William H. and Ruthie Ross Mrs. Joan Scobell David and Cathy Scott Dr. Peter and Mrs. Sandra Stevenson-Moore Zelie and Vincent Tan L. Thom Garth and Lynette Thurber Nico & Linda Verbeek* James and Veronica Weinkam Dr. Brian Willoughby Eric and Shirley Wilson Dr. I. D. Woodhouse Nancy Wu Anonymous (2) ■ * Members of the Patrons’ Circle who have further demonstrated their support by making an additional gift to the Vancouver Symphony Foundation’s endowment fund.
PRINCIPAL DOUBLE BASS
“ It is super-competitive but also very supportive. That sums up bass players in general. As a group, I think there’s a strong sense of camaraderie.
A studio session at CBC for Eleanor McCain's True North project
Dylan with the VSO
If you‘ve watched the television series “Breaking Bad,” you’ll have seen quite a lot of the city of Albuquerque, New Mexico. Set on the Rio Grande, high in the southern Rockies, it is home to the world’s biggest Hot Air Balloon Fiesta and a lively food culture. It was also an interesting and unique place to grow up for the VSO Principal Bass, Dylan Palmer, who spoke to Allegro about his journey in music.
Dylan in a Recital
listening to the Bill Evans Trio. Two of his bass players, Scott LaFaro and then Eddie Gomez, were a real inspiration to me. I’m also a big fan of Christian McBride and a ton of other bass players, but Scott and Eddie were the two that got me hooked on the double bass. When it came time to get a proper instrument, there was a catch: to get a double bass from school, you had to also join the orchestra. The fingerboard / left hand, was similar enough, Luckily for me, Albuquerque has a great but using a bow and the right hand was a orchestra and youth symphony program as well complete mystery, so at that point I had to get as some very good bass teachers in particular. private classical lessons. My father connected I didn’t start with a double bass though. My me up with a teacher and I became attached dad is actually an amateur trombonist and has to classical quite quickly. Nowadays, I think a degree in composition and in business, and classical music is challenging enough and pursued the business side of things. While he we play a lot of difficult music at a really high was classically trained, he played a lot of salsa level, so I focus pretty much exclusively on the and jazz. So I grew up with a lot of that and classical side of things. I dabble in jazz, and I started with jazz guitar as my first instrument. still listen to a lot of jazz, and maybe one day “I gradually shifted towards electric bass I'll get back into it. and then double bass. What enticed me was 50 allegro
“When we moved to El Paso, Texas for my last couple years of secondary school, I was able to join the El Paso Symphony. From there I made the trek to Denton (in the Dallas-Fort Worth area) to University of North Texas. The attraction was to study with Jeff Bradetich, with whom I had lessons when I was in high school. He has always specialized in solo repertoire and bass pedagogy. He’s a great orchestral player too, but it was amazing to hear some of the things that he could do as a soloist. He was president of the International Society of Bassists (ISB) for several years. They have some amazing conventions with solo, orchestral and jazz competitions, suited for different age groups. It's a great chance to connect with other bass players. It's a little intense and the nerdiest bass scene in the world: talking about rosin; French or German bow; stand to play or sit; tuning in 4ths or 5ths, or maybe Viennese tuning – that’s a popular topic now. “I spent a couple of summers at another Mecca for bassists, the Tanglewood Festival in the Berkshires. Serge Koussevitzky was the long time conductor of the Boston Symphony Orchestra. But in the bass world, we all know him for the concerto that he wrote and recognize him, first and foremost, as a bassist. He commissioned a lot of contemporary music and was a vital supporter of many composers. The BSO is considered to have one of the world's best bass sections. Each bass player at Tanglewood gets to sit in with the Boston Symphony and the play a concert with the full orchestra.
same thing but also trying to help each other at the same time. We all took the audition in November of 2009, and I won the position and I started in January of 2010. The very first concert that I played here was Beethoven’s Ninth Symphony, and right after that came Mahler’s Symphony of a Thousand at the Queen Elizabeth Theatre in the lead up to the Vancouver Winter Olympics. “People are very curious about the instrument and it's great to speak to our audience members at the edge of the Orpheum stage. This summer I will be at the Vancouver Symphony Orchestral Institute at Whistler (VSOIW) once again. It gives me an opportunity to work with aspiring professional bass players, to connect with them, as well as with each other. My main responsibility is coaching sectionals and master classes, but we all end up teaching each other as much as we can. Over the years we have played some great repertoire including Strauss’s Don Juan, Stravinsky's Rite of Spring, Rachmaninoff’s Symphonic Dances, and Prokofiev’s Romeo and Juliet. This year it will be Mahler’s Symphony No. 6 which is a giant piece. It will be a lot of fun!
“I came to the VSO from the New World Symphony in Miami. It is super-competitive but also very supportive. That sums up bass players in general. As a group, I think there’s a strong sense of camaraderie. The experience gained there was probably a prime reason for my arrival in Vancouver. I auditioned for Principal Double Bass when my predecessor, Kenneth Friedman, retired in 2009. Three or four of us in Miami prepared the VSO audition repertoire list, giving each other tips. And on the day of the audition, there were more than 40 other bassists in attendance. It was very interesting in that you're all reaching for the
CIRQUE DE LA SYMPHONIE
S P EC IA L S OR P H EU M , 7: 3 0 P M
Wednesday, May 31 Cirque de la Symphonie: Cirque Goes to the Cinema William Rowson conductor Cirque de la Symphonie
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Cirque de la Symphonie combines the magic of Cirque, the sweeping melodies of the movies and the sonic splendour of the concert hall. An exciting adaptation of artistic performances widely seen in theaters and arenas everywhere, live on stage with the Vancouver Symphony Orchestra. Cirque artists include the most amazing veterans of exceptional cirque programs throughout the worldâ€”aerial flyers, acrobats, contortionists, dancers, jugglers, balancers, and strongmen. Each artist's performance is professionally choreographed to famous film scores, as well as classical masterpieces and popular contemporary music. allegro 53
William Rowson conductor
For a biography of William Rowson, please refer to page 24.
Cirque de la Symphonie
Cirque de la Symphonie is an exciting production designed to bring the magic of cirque to the music hall. It is an elegant adaptation of some of the most amazing cirque performances witnessed anywhere, and it showcases many of the best artists in the world. The audience is thrilled and bedazzled by aerial flyers, acrobats, contortionists, dancers, jugglers, balancers, and strongmen. These are some of the most accomplished veterans of exceptional cirque programs from across the globe. They include world record holders, gold-medal winners of
international competitions, Olympians and some of the most original talent ever seen. Each performance is perfectly choreographed to the music, raising cirque artistry to a fine arts level. Adding a stunning visual element to the concert experience, these aerialists and acrobats provide a three dimensional entertainment extravaganza. Orchestras play with enhanced enthusiasm while patrons marvel at the jawdropping spectacle of aerialists flying overhead and astonishing acrobatic feats. Fusing the power and majesty of the live orchestra with the best of cirque artistry, Cirque de la Symphonie is the only cirque company in the world that performs exclusively with symphony orchestras. Over one hundred orchestras worldwide have featured Cirque de la Symphonie, and they last appeared with the VSO in 2010.â€‚ â–
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Monday, June 5 Bramwell Tovey conductor Hoebig/Moroz Trio: Gwen Hoebig violin Desmond Hoebig cello David Moroz piano
BEETHOVEN Egmont Overture, Op. 84 BEETHOVEN Concerto for Violin, Cello and Piano in C Major, Op. 56, Triple
I. Allegro II. Largo III. Rondo alla polacca
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I. Allegro con brio II. Marcia funebre: Adagio assai III. Scherzo: Allegro vivace IV. Finale: Allegro molto allegro 57
Bramwell Tovey conductor For a biography of Maestro Bramwell Tovey, please refer to page 11.
Hoebig/Moroz Trio One of Canada's most distinguished chamber music ensembles, The Hoebig/Moroz Trio was formed in 1979, while its members were still students at the celebrated Juilliard School in New York City. The Trio has performed extensively across Canada, the United States and the United Kingdom, and while their active individual careers have limited their appearances as a trio in recent years, their performances together are always greeted with great enthusiasm and critical acclaim.
Gwen Hoebig violin Recognized as one of Canada's most outstanding violinists, Gwen Hoebig is a graduate of The Juilliard School in New York City. A champion of new music, she has given the Canadian premieres of violin concertos by S. C. EckhardtGramatté, T. P. Carrabré, Randolph Peters, Gary Kulesha, Joan Tower, Christopher Rouse and Philip Glass, and as soloist with orchestra she has performed all the major violin concerti with orchestras across Canada, the United States and Europe. Concertmaster of the Winnipeg Symphony Orchestra since 1987, she was honoured by the Government of Canada in 1993 when she received the Commemorative Medal for the 125th Anniversary of Canadian Confederation, in recognition of her contribution to the Arts. She is founder and has been Co-Director of The Morningside Music Bridge, an international summer program featuring the finest young violinists, cellists and pianists from across China, Europe, the United States and Canada.
Desmond Hoebig cello One of North America's finest instrumentalists, cellist Desmond Hoebig was a first prize winner at the Munich International Competition, the CBC Talent Competition, and the Canadian Music Competition; he was also an award-winner at Moscow's Tchaikovsky Competition. Born and raised in Vancouver, Hoebig studied at the Curtis Institute of Music with David Soyer and at The Juilliard School of Music with Leonard Rose and Channing Robbins.
As a chamber musician, he was a cellist with the Orford String Quartet, which performed extensively throughout North America, Europe, and Asia. The quartet won a Juno® award for best classical album in 1990. He has also performed for almost 30 years with the Hoebig-Moroz Trio and a duo with Andrew Tunis. Hoebig has served as associate principal of the Montreal Symphony Orchestra and principal cellist of the Cincinnati Symphony Orchestra. Before joining the Cleveland Orchestra, he was principal cellist of the Houston Symphony Orchestra.
David Moroz piano A graduate of The Juilliard School, Winnipeg-born pianist David Moroz enjoys a career as one of Canada’s most versatile artists. As soloist he has performed in every major Canadian city, and as a collaborative artist he appears regularly in recital with Canada’s most distinguished musicians. Twice nominated for Manitoba’s Artist of the Year, he is a frequent guest of CBC Radio and is a veteran performer at Canada’s most important music festivals. David Moroz was awarded a Doctor of Music degree from the University of Montréal, and holds both Bachelor and Master of Music degrees from the celebrated Juilliard School in New York City. He has been Artistic Director of The Winnipeg Chamber Music Society since 1987, and presently serves as Chair of the Piano Department of the University of Manitoba’s Desautels Faculty of Music. Most recently he was awarded the Queen Elizabeth II Diamond Jubilee Medal by the Government of Canada, in recognition of his contribution to the Arts.
Ludwig van Beethoven b. Bonn, Germany / baptized December 17, 1770 d. Vienna, Austria / March 26, 1827
Egmont Overture, Op. 84 Johann Wolfgang von Goethe completed his play Egmont in 1778. In 1809, the directors of Vienna’s City Theatre approached Beethoven to compose a score to accompany a revival of it. He accepted the offer eagerly, Goethe being one of his favourite writers. His score includes an overture that captures the dramatic and heroic essence of the play, and several additional pieces. He and Goethe shared interests in personal independence, integrity, and resistance to tyranny. These are the very issues that Goethe deals with in Egmont.
It takes place in Brussels during the sixteenth century, when the Netherlands lay under Spanish occupation. The King of Spain’s representative has the local resistance leader, Count Egmont, imprisoned and condemned to death. His grief-stricken wife takes her own life. The night before Egmont’s execution, she appears to him in a dream, transformed into the goddess of freedom. She foretells that his death will inspire his countrymen first to rebellion, then to the re-establishment of their liberty. Heartened by this vision, Egmont is able to face his execution with dignity. Concerto for Violin, Cello and Piano in C Major, Op. 56 Triple Despite its widely acknowledged quality, this grand work remains the least performed of Beethoven’s concertos. The primary reason is the difficulty of finding three equally gifted soloists who are familiar with each other. A concert such as this, spotlighting a superbly talented and deeply seasoned ensemble, presents the concerto’s finest opportunity to shine. Beethoven set himself several simultaneous challenges in composing this work: creating a credible sense of interplay, not only among the soloists but between solo group and orchestra; problems of balance involving the same combinations; creating themes suitable to this context; and designing a convincing overall structure. Truly a genius of his magnitude was required to solve all these problems, and even he had to expend great amounts of thought and energy to achieve the goal. He probably did most of the work on it during the summer of 1804. The earliest fully documented public performance took place in Leipzig, Germany in April 1808. The opening bars, scored for orchestral cellos and basses, are unusually subdued and mysterious, a typical Beethoven joke aimed at creating false expectations. A rapid crescendo leads to the revelation of the main theme as sunny and confident instead of gloomy. This launches a leisurely, expansive movement, the longest in any Beethoven concerto. His insight ensures that it seems neither too long nor overcrowded. Characterized by an unforced elegance, it gives all three soloists their time in the spotlight. The orchestration skillfully and tastefully fills out and adds colour to the trio texture. A brief, sublimely beautiful slow movement follows. It ends almost too quickly. Beethoven
seems impatient to move on to the finale, which follows without a pause. Cast in the stately rhythm of a polonaise, it is nearly as spacious as the first movement. Skillfully balancing elegance, humour and energy as it dances grandly forward, it also makes the concerto’s grandest demands for solo virtuosity. Symphony No. 3 in E-flat Major, Op. 55 Eroica In 1802, Beethoven declared to a friend, “I am not satisfied with my works up to the present time. From today I mean to take a new road.” On the symphonic front, he did so by composing his Third, a longer and more innovative symphony than any previous piece of its kind. Composed in 1803, it is an altogether astonishing watershed in the history of orchestral music: a stirring declaration of artistic and spiritual independence, and in both physical size and visionary spirit a model for countless compositions by later composers. Initially he considered dedicating it to Napoleon Bonaparte. “I was the first to announce to him that Napoleon had declared himself Emperor,” Beethoven’s friend Ferdinand Ries recalled, “whereupon he flew into a rage and cried out: ‘Then he, too, is nothing but an ordinary mortal! Now he, too, will trample on the rights of man and indulge only his own ambition!’ Beethoven went to the table, took hold of the title page by the top, tore it apart and flung it on the ground. The first page was rewritten and not until then was the symphony entitled Sinfonia eroica (Heroic Symphony).” It received its public première, under Beethoven’s own direction, in Vienna on April 7, 1805. The first movement opens with two sharp chords, simply yet effectively setting this titanic creation in motion. As this movement unfolds, both the vastness of its structure and the wealth of its materials gradually become clear. Another innovation in the Eroica is the inclusion of a funeral march for the first time in a symphony. In its heartfelt gravity, this second movement can be taken as a lament for the fallen soldiers of Europe, or even a generalized grieving over the tragedies of life. An immensely vital, red-blooded scherzo sweeps away the funeral march’s clouds. The finale consists of a joyful set of variations on a melody that Beethoven had composed for the ballet The Creatures of Prometheus. Here it reaches its apotheosis, transformed by his genius into material fit to crown this mightiest of symphonies. ■ Program Notes © 2017 Don Anderson
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KORNGOLD Violin Concerto in D Major, Op. 35
I. Moderato nobile II. Romance: Andante III. Finale: Allegro assai vivace
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Bramwell Tovey conductor
For a biography of Maestro Bramwell Tovey, please refer to page 11.
Baiba Skride violin Baiba Skride’s natural approach to her musicmaking has endeared her to some of today’s most important conductors and orchestras worldwide. She is consistently invited for her refreshing interpretations, her sensitivity and delight in the music. In February 2016, Baiba Skride made her debut with the New York Philharmonic with Christoph Eschenbach. The concerts were a huge success with Vivien Schweitzer in the New York Times writing, “Ms. Skride brought a wide tonal palette to her insightful and passionate interpretation, her tone meaty and bold to open, then sweet, gossamer and brash.’’
Messiah (Gordon Gerrard, conductor) and again with the Okanagan Symphony Orchestra under Rosemary Thomson.
Bramwell Tovey b. Ilford Essex, England / July 11, 1953
New Work in celebration of Canada 150 (World Première) Notes on this work were not available at the time of printing. Please refer to the insert placed in your magazine for Maestro's notes.
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Skride was born into a musical Latvian family in Riga where she began her studies, transferring in 1995 to the Conservatory of Music and Theatre in Rostock. In 2001 she won the 1st prize of the Queen Elizabeth Competition. Baiba Skride plays the Yfrah Neaman Stradivarius kindly loaned to her by the Neaman family through the Beares International Violin Society.
Marion Newman mezzo-soprano
First Nations mezzo-soprano Marion Newman "has a distinctive, dusky voice that suggests drama with every note" (Toronto Star) and has been designated "a show stealer" by BBC Music Magazine. In her debut in Ireland as Carmen, she was widely praised for her “superbly sinuous sexuality” and as “a very exciting new talent” by the Irish Examiner. Acclaimed for her interpretation of contemporary vocal works, Marion starred in Toronto Masque Theatre’s Dora Award-winning production of The Lesson of Da Ji (recorded for Centrediscs), and sang the première of Anna Höstman's Singing the Earth with Continuum Contemporary Music. Marion joined the holiday fun last December, with Toronto Masque Theatre in The Mummer’s Masque, Dean Burry’s outrageous version of Newfoundland’s 400-year-old tradition of music and story-telling. In 2016/17, Marion debuts as a soloist with the Regina Symphony Orchestra in Handel’s
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Erich Wolfgang Korngold b. Brno, Bohemia / May 29, 1897 d. Hollywood, California, USA / November 29, 1957
Violin Concerto in D Major, Op. 35 For several years, Korngold shuttled back and forth between Europe and America, creating operas and concert scores for the old world and outstanding symphonic film music for the new. With the onset of the Second World War, he and his family settled in California. After the war, he returned to writing concert music in his previous style. Attitudes had changed so much in the interim that his works were condemned as old-fashioned. As the wheel of taste revolves, however, Korngold’s brand of lush, emotional music has regained much of its early popularity. After the soloist to whom Korngold offered the premiere of the Violin Concerto decided not to perform it, Korngold persuaded the renowned virtuoso, Jascha Heifetz, to give the première (although he insisted that Korngold increase the finale’s technical difficulty!). The first performance took place on February 15, 1947,
with Vladimir Golschmann conducting the St. Louis Symphony Orchestra. Korngold took the themes from his film scores: Another Dawn and Juarez (first movement); Anthony Adverse (second movement); and The Prince and the Pauper (third movement). It is above all a lyrical creation, intended, in the composer’s words, “for a Caruso rather than a Paganini.” After two tender and expressive movements, the joyful finale, as Heifetz requested, bristles with virtuoso fireworks.
Gustav Mahler b. Kalischt, Bohemia / July 7, 1860 d. Vienna, Austria / May 18, 1911
Symphony No. 1 in D Major, Titan Reactions to Mahler’s First Symphony reflect a century’s worth of change in musical taste. He conducted the première himself, during his tenure as Director of the Royal Budapest Opera. Given that the audience was accustomed to little save mainstream Italian opera, the indifferent, if not hostile response came as no surprise. Press reaction was almost unanimously negative.
But what struck so many ears as shapeless and vulgar in 1889 has become loveable, even quaint. This robust score bursts with the boldness and fire of youth, proudly displays a burgeoning mastery of orchestration, and flirts cheekily with traditional ideas of good taste.
“peasant” scherzo. Its strong accents and rustic themes, with their echoes of yodelling, recall the mid-European country dances Mahler had known and loved from childhood onwards.
At first, Mahler referred to the work as a symphonic poem rather than a symphony, and gave each of the four movements a programmatic association — nature’s awakening after the long sleep of winter (first movement); the hunter’s funeral procession (third movement); from the inferno to paradise (fourth movement), and so forth. At other times, he associated the symphony with the Titan, a novel by one of his favourite authors, Jean Paul. He eventually disavowed all these outside inspirations, confessing that he made them up after composing the music, in the sole hope of making the pieces easier to understand. In the first movement, he built a crescendo of sound and emotional awakening. It grows from a quiet beginning dotted with bird calls, through a warmly flowing melody for cellos, to a jubilant conclusion. The second movement is a hearty
“... he built a crescendo of sound and emotional awakening. ” Timpani set the pace for the third movement, an ironic funeral march. The solo double bass introduces a minor-key version of the old French children's round song Frère Jacques, or Brüder Martin, as Mahler knew it. A witty, klezmer-like parody of military band music intrudes. The march resumes, only to fade away into silence. The finale bursts in abruptly with an explosion of heated emotion. Romantic yearning wages battle with darker sentiments, but positive feelings win the day. Mahler reprised materials from the symphony’s opening movement, and crowned the symphony with a lengthy, unreservedly triumphant coda. ■ Program Notes © 2017 Don Anderson
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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
VSO SUMMER CONCERTS FREE OUTDOOR CONCERTS:
WHISTLER PRESENTS A SUMMER OF ENTERTAINMENT FEATURING THE VSO
SAT, JULY 1 8:30PM WHISTLER OLYMPIC PLAZA SUN, JULY 2 8:30PM, WHISTLER OLYMPIC PLAZA Book your Whistler accommodations at:
whistler.com/entertainment | 1.800.WHISTLER
SYMPHONY IN THE PARK
SUN, JULY 9 7PM, DEER LAKE PARK, BURNABY
PRINCETON ENTERTAINMENT PRESENTS
POKÉMON: SYMPHONIC EVOLUTIONS
FRI, JULY 7 7PM, ORPHEUM The VSO presents Pokémon: Symphonic Evolutions, performed live by the Vancouver Symphony Orchestra. This is the must-see video game concert of the year, giving fans and newcomers of all ages a chance to experience the evolution of the Pokémon franchise like never before. PIKACHU
Tickets: vancouversymphony.ca | 604.876.3434 THE VSO @ BARD: CLASSICAL MASTERS -
MOZART AND BEETHOVEN
MON, JULY 10 7:30PM, BMO MAINSTAGE, VANIER PARK, BARD ON THE BEACH The VSO and conductor William Rowson perform some of the most beautiful Classical music ever written, in the beautiful setting of Bard on the Beach. Extraordinary VSO Principal Clarinet Jeannette Jonquil performs Mozart's sublime Clarinet Concerto, and the orchestra performs selections by the greatest of the great masters, Mozart and Beethoven. WILLIAM ROWSON
Tickets: Bardonthebeach.org | 604.739.0559
HARRY POTTER AND THE PRISONER OF AZKABAN™ IN CONCERT THURS & FRI, JULY 13 & 14 7PM, ORPHEUM SAT, JULY 15 2PM, ORPHEUM The Harry Potter™ film series is one of those once-ina-lifetime cultural phenomena that continues to delight millions of fans around the world. This concert will feature the Vancouver Symphony Orchestra performing every note from Harry Potter and the Prisoner of Azkaban.™ Tickets: vancouversymphony.ca | 604.876.3434
FULL CONCERT LISTINGS AT