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VSO NEW MUSIC FESTIVAL VSO CHAMBER PLAYERS C L ASS I C A L M YST E RY TO U R : T H E M U S I C O F T H E B E AT L E S A SY M P H O N Y P O P S VA L E N T I N E B R A M W E L L TOV E Y CO N D U C TS B E R L I OZ ST E P H E N H O U G H P L AYS B E E T H OV E N P L AT Y P U S T H E AT R E JAN UARY TO F E B R UARY, 2018
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
FIRST VIOLINS Nicholas Wright, Concertmaster
Marsha & George Taylor Chair
Ron and Ardelle Cliff Chair
Timothy Steeves, Acting Associate Concertmaster
Professors Mr. and Mrs. Ngou Kang Chair
CELLOS Principal Cello
Nezhat and Hassan Khosrowshahi Chair
Paul Moritz Chair
ENGLISH HORN Beth Orson
Chair in Memory of John S. Hodge
TROMBONES Brian Wendel, Principal Gregory A. Cox BASS TROMBONE Ilan Morgenstern
Arthur H. Willms Family Chair CLARINETS Jeanette Jonquil, Janet Steinberg, TUBA Principal Robert G. and Suzanne Brodie Chair Acting Principal Robert G. and Suzanne Brodie Chair Peder MacLellan, Principal Jae-Won Bang Zoltan Rozsnyai, TIMPANI Alexander Morris, Assistant Principal Mary Sokol Brown Assistant Principal Aaron McDonald, Principal Mrs. Cheng Koon Lee Chair Olivia Blander Taryn Brodie Chair Gerhard and Ariane Bruendl Chair Jenny Essers PERCUSSION Michelle Goddard Vern Griffiths, Principal Natasha Boyko Akira Nagai, Associate Martha Lou Henley Chair Mary and Gordon Christopher Chair BASS CLARINET Concertmaster Emeritus Alexander Morris Michael Jarrett Charles Inkman Jennie Press § Xue Feng Wei Tony Phillipps Luke Kim E-FLAT CLARINET Cristian Márkos Michelle Goddard Rebecca Whitling HARP Timothy & Susan Wyman Chair Elizabeth Volpé Bligh, Principal Yi Zhou BASSOONS BASSES Julia Lockhart, Principal PIANO, CELESTE SECOND VIOLINS Dylan Palmer, § Sophie Dansereau, Linda Lee Thomas, Principal Jason Ho, Principal Principal Carter (Family) Deux Mille Assistant Principal Karen Gerbrecht, Evan Hulbert, Foundation Chair Gwen Seaton Associate Principal Associate Principal Jim and Edith le Nobel Chair ORCHESTRA Noah Reitman, CONTRABASSOON PERSONNEL MANAGER Jeanette Bernal-Singh, Assistant Principal Sophie Dansereau Assistant Principal Pippa Williams David Brown FRENCH HORNS Cassandra Bequary MUSIC LIBRARIAN J. Warren Long Oliver de Clercq, Adrian Shu-On Chui Minella F. Lacson Frederick Schipizky Principal Daniel Norton ASSISTANT MUSIC Russell Rybicki FLUTES Ann Okagaito LIBRARIAN Werner and Helga Höing Chair Christie Reside, Principal Ashley Plaut Alex Clark David Haskins, Ron and Ardelle Cliff Chair Associate Principal Chris James, Assistant VIOLAS HEAD CARPENTER Andrew Mee Principal Flute & Piccolo Andrew Brown, Paul McManus Winslow and Betsy Bennett Chair Acting Principal Rosanne Wieringa HEAD ELECTRICIAN Michael and Estelle Jacobson Chair Richard Mingus, Emilie Grimes, Acting Brendan Keith Assistant Principal Associate Principal PICCOLO Dr. Malcolm Hayes and PIANO TECHNICIAN TRUMPETS Chris James Lester Soo Chair Thomas Clarke Hermann and Erika Stölting Chair Larry Knopp, Principal Stephen Wilkes, Marcus Goddard, HEAD SOUND Assistant Principal OBOES Associate Principal Alex Livland Roger Cole, Principal Lawrence Blackman Estelle and Michael Jacobson Chair Wayne and Leslie Ann Ingram Chair Vincent Vohradsky W. Neil Harcourt in memory Beth Orson, Tegen Davidge *Supported by The Canada of Frank N. Harcourt Chair Assistant Principal Council for the Arts Matthew Davies § Leave of Absence William and Irene McEwen Chair
The Stage Crew of the Orpheum Theatre are members of Local 118 of the International Alliance of Theatrical Stage Employees.
The Vancouver Symphony Orchestra is a proud member of
Allegro IN THIS ISSUE
3 The Orchestra 6 Government Support 7 Message from the Chairman & President 8 Advertise in Allegro 26 Vancouver Symphony Foundation 32 Upcoming Concerts 40 Patronsâ€™ Circle 41 VSO School of Music 53 VSO Stradivarius Legacy Circle 67 At the Concert / VSO & Allegro Staff 68 Corporate Partners 70 Board of Directors / Volunteer Council
12 GIRLS BAND: CHINESE NEW YEAR
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Allegro Magazine has been endowed by a generous gift from Adera Development Corporation.
PACIFIC BAROQUE ORCHESTRA
CONCERTS 9 JANUARY 18 / VSO New Music Festival / Standing Wave 13 JANUARY 19 / VSO New Music Festival / New Music for Old Instruments: After Bach /
Pacific Baroque Orchestra, Alexander Weimann, music director, Bramwell Tovey, piano Rodney Sharman, curator
15 JANUARY 20 / VSO New Music Festival / Cobalt Clouds and Clear Blue Seas / Bramwell Tovey conductor, Rachel Barton Pine violin, Nicholas Wright violin, Christie Reside flute, Chris James flute, Larry Knopp trumpet
CLASSICAL MYSTERY TOUR
21 JANUARY 21 / VSO New Music Festival / Intimate NMF Cabaret /
Camille Hesketh soprano, Rachel Kiyo Iwaasa piano, michael red dj, laptop & midi controllers Robyn Driedger-Klassen soprano, Terence Dawson piano, Miranda Wong piano
27 JANUARY 22 / VSO New Music Festival / Dawn to Dusk: From Aurora to Winter Sky /
Vancouver Symphony Orchestra, Bramwell Tovey conductor, Rachel Barton Pine violin
31 JANUARY 24, 25, 28 / VSO Chamber Players / Jason Ho violin, Luke Kim cello,
Amanda Chan piano, Beth Orson oboe, Alexander Morris clarinet, Julia Lockhart bassoon, Andrew Mee horn
33 JANUARY 27, 29 / Musically Speaking / North Shore Classics /
Bramwell Tovey conductor, Roger Cole oboe, Vancouver Youth Symphony Orchestra
37 JANUARY 31 / Specials / Classical Mystery Tour: The Music of the Beatles /
Martin Herman conductor, Jim Owen rhythm guitar, piano vocals, Tony Kishman bass guitar, piano, vocals, Tom Teeley lead guitar, vocals, Chris Camilleri drums, vocals
43 FEBRUARY 3, 5 / Air Canada Masterworks Diamond / Perry So conductor, Alexandra Soumm violin
47 FEBRUARY 8 / Tea & Trumpets: Musical Legends and Fairy Tales / William Rowson, conductor, Christopher Gaze, host, Singers from UBC Opera Ensemble, Nancy Hermiston, director
51 FEBRUARY 9, 10 / London Drugs VSO Pops / A Romantic Pops Valentine /
William Rowson, conductor, Jon Nakamatsu, piano, Robyn Driedger-Klassen, soprano, Frédérik Robert, baritone
55 FEBRUARY 11 / OriginO Kids’ Koncerts / Platypus Theatre: Peter and the Wolf / William Rowson conductor, Platypus Theatre
59 FEBRUARY 16, 17 / Classical Traditions / David Danzmayr conductor, Stephen Hough piano 63 FEBRUARY 17 / Vancouver Sun Symphony at the Annex / William Rowson conductor, Sophie Dansereau contrabassoon
66 FEBRUARY 19 / Specials / The 12 Girls Band in a Chinese New Year Celebration 5 5allegro allegro
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
JOHN HORGAN, PREMIER OF BRITISH COLUMBIA
GREGOR ROBERTSON, MAYOR OF VANCOUVER
FRED G. WITHERS
THE VSO CHAIRMAN AND PRESIDENT
As we begin the second half of our 99th Season, we look forward with excitement at the programming and guest artists ahead. Most importantly, we will continue to recognize and celebrate the many contributions and accomplishments of Maestro Bramwell Tovey as his 18 year tenure draws to a close in June 2018. A mini tour of Canada by the Orchestra (Winnipeg, Ottawa and Toronto) in the late Spring will certainly be a highlight.
A new year is always time for reflecting on traditions and embracing new perspectives, and the VSO is actively doing both with Maestro Bramwell Tovey’s return to the podium for Berlioz Symphonie fantastique in a side-by-side performance with the Vancouver Youth Symphony and the fifth annual VSO New Music Festival. The New Music Festival runs from January 18–22 at various venues (see pp. 9–27). This year’s festival continues our exploration with Early Music Vancouver of new music for old instruments, features a cabaret concert in the Annex and a stand-alone concert with the Standing Wave Ensemble. The orchestra then takes the stage for John Estacio’s Trumpet Concerto featuring Principal Trumpet Larry Knopp, a world première by our Composer-in-Association Marcus Goddard written for and performed by violinist Rachel Barton Pine, as well as orchestral works by our Composer-in-Residence Jocelyn Morlock, Kaija Saariaho, Anna Clyne, Samy Moussa, and more. If you haven’t attended a New Music Festival concert, the atmosphere is friendly and adventurous, followed by an opportunity to mingle with artists and musicians post-concert.
I am pleased to report that we continue to build and operate a strong and vibrant organization—expanding our programming and increasing our audiences while continuing to steward a sustainable business model. In November, the Annual General Meeting of the Vancouver Symphony Society took place. Again for this year’s Meeting, we invited Patrons, Friends and musicians to join us for both the business of the Meeting and a following reception. The Meeting is an opportunity to recount the many activities of the Orchestra during the 2016/2017 Season, and to thank those who make what we do possible — our three levels of Government, our Corporate Sponsors, our Patrons, our Friends and you our audience. We successfully concluded our 2016/17 Season with a small surplus on financial results for the thirteenth time in the past fourteen years. Looking ahead, we are busy planning for our 100th Anniversary Season. As the first major orchestra in Canada to reach this milestone, there are many exciting programs, initiatives and activities being planned that will be a fitting celebration of your Orchestra and our community. Welcoming Music Director Designate, Maestro Otto Tausk, as our new Music Director will be a major highlight. Stay tuned! At the same time, the Board of Directors and Senior Management are taking steps to ready the organization, both financially and operationally, for our second century of enriching and transforming lives in our community. Enjoy today’s concert — and thank you for making the VSO a part of your everyday life.
Fred G. Withers Chair, Board of Directors
The VSO is committed to connecting with the diverse cultures in our community. In February, we will copresent the 12 Girls Band in the Orpheum on February 19 in celebration of Chinese New Year. Traditional Chinese instruments will be played by one of China’s top ensembles exploring music from traditional Chinese and pop culture, as well as classical music transcribed for Chinese instruments. This will be a one night only event. This winter you can also see additional VSO musicians in starring roles: Principal Oboe Roger Cole performing the Strauss Oboe Concerto (Jan. 27, 29), Concertmaster Nick Wright performing with Rachel Barton Pine in the New Music Festival (Jan. 20), and representatives of our string, woodwind and horn sections in the VSO Chamber Players series in Pyatt Hall (Jan. 24, 25, 28) located in the VSO School of Music Based on the diverse VSO musical calendar, 2018 is off to a great musical start!
Kelly Tweeddale President, VSO & VSO School of Music
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AUSTRALIAN STRING QUARTET WITH BRAMWELL TOVEY LANG LANG! F R E D P E N N E R VA D I M G LU Z M A N W I T H T H E VS O N AT I O N A L A RTS C E N T R E O R C H E ST R A : L I F E R E F L E C T E D T E R R A A N D B E YO N D , W I T H C H R I S H A D F I E L D A N D DA N N Y M I C H E L DA M E E V E LY N G L E N N I E
SE P T E M B E R TO NOVE M B E R, 2017
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CONCERT PROGRAM VSO NEW MUSIC FESTIVAL | ORPHEUM, 7:30PM
THURSDAY, JANUARY 18 VSO NEW MUSIC FESTIVAL 1: STANDING WAVE
Standing Wave Christie Reside flute AK Coope clarinet Rebecca Whitling violin Peggy Lee cello Allen Stiles piano Vern Griffiths percussion
NICO MUHLY Doublespeak RODNEY SHARMAN
Pavane, Galliard and Variations
VINCENT HO Sandman’s Realm I N T E R M ISSI O N
BERNARD PARMEGIANI/ ARR. JAMES O’CALLAGHAN
Accidents/Harmoniques (World Première)
LOUIS ANDRIESSEN Workers Union POST-CONCERT LOUNGE Join DJ michael red, musicians, and composers for a post-concert lounge in the Westcoast Energy Hall lobby. Cash bar.
STANDING WAVE Lauded as “Vancouver’s most adventurous chamber ensemble” (Alex Varty, The Georgia Straight), Standing Wave are six of Vancouver's most sought-after musical multitaskers. The ensemble ventures into a wide array of musical worlds with passion and assurance, bringing an audaciously intimate aesthetic to the most complex and ground-breaking music. In its 26-year history, Standing Wave has commissioned and premiered over 85 works, toured across Canada, and released 4 CDs - the most recent of which, New Wave, won the 2017 Western Canadian Music Award for Classical Artist/Ensemble of the Year. Recent highlights include a sold-out show at ISCM World New Music Day 2017, critically acclaimed performances for the VSO New Music Festivals (2014-2017), an 8-night run of Jeffrey Ryan’s Book of Love with Kokoro Dance and an appearance at Ottawa’s Chamberfest. Standing Wave presented the multi-media program, Sculptress: the Music of Nicole Lizée with Lizée on live electronics, at the 2017 PuSh International Performing Arts Festival and at the 2017 SMCQ Montréal New Music Festival.
PROGRAM NOTE Tonight’s program celebrates the raw energy and wild colouristic possibilities of chamber music being written in the 21st century, even as it, in many cases, harkens back to music from earlier eras. Nico Muhly’s Doublespeak references 1970s minimalism; James O’Callaghan’s Accidents/Harmoniques is an acoustic reworking of 1970s electronic music. Rodney Sharman’s Pavane, Galliard and Variations explores the keyboard music of Renaissance composer William Byrd in the broad colour palette of the sextet. In Sandman’s Realm, Vincent Ho uses as his starting point the huge variety of timbral possibilities that can be created by the tamtam. Taking yet another look back at 1970s music, this time with an extreme focus on rhythm and noise, Louis Andriessen’s Workers Union (1975), written for any loud sounding group of instruments, demands
rhythmic fidelity while allowing for maximal variety of pitch and tone colour.
b. Randolph, Vermont, USA / August 26, 1981
Doublespeak Nico Muhly’s musical influences range from minimalist American works to the music of Byrd, Gibbons, Weelkes, and others of the Anglican choral tradition in which he was raised. He has collaborated with artists as diverse as Ben Frost, Joanna Newsom, Sufjan Stevens, and Björk. Doublespeak n. deliberately euphemistic, ambiguous, or obscure language The composer writes: “Doublespeak was written for eighth blackbird for Bryce Dessner’s Music Now festival in Cincinnati, in honour of Philip Glass’s 75th birthday. This piece harks back to a time in the 1970s when classical music perfected obsessive repetition.” References to Steve Reich, Terry Riley, and Philip Glass are audible throughout nearly all of the frenetically active work, which ends in a more static, mystical state. Program Notes © 2018 Jocelyn Morlock
DR. RODNEY SHARMAN
Former Resident Composer with theVancouver and Victoria Symphony Orchestras b. Biggar, Saskatchewan / May 24, 1958
Pavane, Galliard and Variations Rodney Sharman is Composer-inResidence of Early Music Vancouver’s “New Music for Old Instruments.” He has been Composer-in-Residence of the Victoria Symphony, National Youth Orchestra of Canada, Vancouver Symphony Orchestra, and Composer-Host of the Calgary Philharmonic’s New Music Festival. In addition to concert music, Sharman writes for cabaret, opera and dance. (RS) Pavane, Galliard and Variations (2010, arr. 2017) is a transcription for Standing Wave of keyboard works by William Byrd (ca. 1540-1623), particularly Pavana—
the Earle of Salisbury, a "mash" of the two galliards that follow it, and A Ground. The pavane and galliard were typically paired together, as were these two by the composer. The former is a processional dance, the latter a "leaping" dance. I sang Byrd's music in choirs when I was a teenager, but came to know his keyboard music only recently, through musicologist David Metzer. In taking up Byrd's dances, I layer, fragment, extend, and colour the originals in the manner of a fantasia, another genre in which Byrd excelled. Program Notes © 2018 Rodney Sharman
b. Ottawa, Ontario / August 20, 1975
Sandman’s Realm Vincent Ho currently serves as the Calgary Philharmonic Orchestra’s new Music Advisor and Land’s End Ensemble’s Artistic Director. In addition to his many awards, he received degrees from the University of Calgary, the University of Toronto, and the University of Southern California Sandman’s Realm (2017) was a work created as an outgrowth of my solo tam-tam piece Sandman’s Castle. In Castle, I tried to explore as many sonic and expressive possibilities as I could from the tam-tam instrument. From those results, I decided to apply them into the creation of a chamber work as an attempt to extend the tam-tam’s sonic palette to other instruments. The result is a work that captures a mystical journey through the world of dreams as expressed by a chamber ensemble with the tam-tam serving as the sonic foundation. Program Notes © 2018 Vincent Ho
BERNARD PARMEGIANI/ ARR. JAMES O’CALLAGHAN
b. Burnaby, British Columbia / May 14, 1988
Accidents/Harmoniques (World Première) James O’Callaghan is a composer and sound artist based in Montréal. His music intersects acoustic and electroacoustic media, employing field recordings, amplified
found objects, computer-assisted transcription of environmental sounds, and unique performance conditions. His works span chamber, orchestral, live electronic and acousmatic idioms, audio installations, and site-specific performances. Bernard Parmegiani’s De Natura Sonorum is a monolithic twelve-movement work of electronic music, premièred in 1975. In this arrangement for sextet of the second movement, Accidents/Harmoniques, I have set myself the impossible task of distilling the infinite world of electronic sound into something reproducible by acoustic instruments. Such a process can hold a lens to the parent work to see it in a new way, be a means to discover new techniques and sounds in instrumental composition, and opens questions of reducibility: What are the essential features of a work? To what extent can we say that such a reproduction is ‘the same’ or of the same category of its source material? Program Notes © 2018 James O’Callaghan
b. Utrecht, The Netherlands / June 6, 1939
Workers Union Louis Andriessen is arguably the most renowned living Dutch composer. His ferocious, angular music combines the energy and rhythmic force of American minimalism with the harsh dissonance of post-WWII European modernism. Biography © 2018 Jocelyn Morlock
Workers Union (1975) was originally written for the orchestra De Volharding (Perseverance), in which I myself figured as a pianist at that time. This piece is a combination of individual freedom and severe discipline: its rhythm is exactly fixed; the pitch, on the other hand, is indicated only approximately, on a single-lined stave. It is difficult to play in an ensemble and to remain in step, sort of like organising and carrying on political action.” ■ Program Notes © 2018 Louis Andriessen
CONCERT PROGRAM VSO NEW MUSIC FESTIVAL | CHRIST CHURCH CATHEDRAL, 7:30PM
FRIDAY, JANUARY 19 VSO NEW MUSIC FESTIVAL 2: NEW MUSIC FOR OLD INSTRUMENTS: AFTER BACH
PACIFIC BAROQUE ORCHESTRA
Pacific Baroque Orchestra Alexander Weimann music director Bramwell Tovey piano Rodney Sharman curator RODNEY SHARMAN Snared Harmony
DOUGLAS FINCH Chorale-Threnody JOCELYN MORLOCK Revenant BRAMWELL TOVEY
ALEXANDER WEIMANN/ BRAMWELL TOVEY Improvisations I N T E R M ISSI O N
GYÖRGY LIGETI Passacaglia Ungherese BACH Brandenburg Concerto No. 5 BRAMWELL TOVEY World Première Commission (based on Brandenburg Concerto No. 5)
For more information about this concert and to order tickets, please visit: earlymusic.bc.ca
RGF Integrated Wealth Management is a proud sponsor of the VSO.
CONCERT PROGRAM VSO NEW MUSIC FESTIVAL | ORPHEUM, 7:30PM
SATURDAY, JANUARY 20 VSO NEW MUSIC FESTIVAL 3: COBALT CLOUDS AND CLEAR BLUE SEAS
ANNA CLYNE Prince of Clouds
JOHN ESTACIO Trumpet Concerto I N T E R M ISSI O N
Vancouver Symphony Orchestra Bramwell Tovey conductor Rachel Barton Pine violin Nicholas Wright violin Christie Reside flute Chris James flute Larry Knopp trumpet
RACHEL BARTON PINE
JOCELYN MORLOCK Cobalt SCHNITTKE Concerto Grosso No. 1 for Two Flutes, Strings, Harpsichord and prepared Piano
POST-CONCERT LOUNGE Join DJ michael red, musicians, and composers for a post-concert lounge in the Westcoast Energy Hall lobby. Cash bar.
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. His unprecedented 18-year tenure as VSO Music Director has included complete symphony cycles of Beethoven, Mahler and 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 2017/2018, as the VSO marks its 99th season, Maestro Tovey’s long tenure will be celebrated with Mahler's monumental “Resurrection” Symphony. Mr. Tovey will also lead some of his favourite works by Leonard Bernstein and première new compositions of his own. Bookending the season will be tours within British Columbia and across Canada, as well as a Gala Celebration (May 31). As the VSO reaches its centenary season, Mr. Tovey will be honored with the title of Music Director Emeritus. Throughout the summer Mr. Tovey has led performances at the Elora Festival; at Bravo! Vail with the New York Philharmonic; with the Boston Symphony at Tanglewood; in Saratoga with the Philadelphia Orchestra; and at the Hollywood Bowl. During the 2017/2018 season Mr. Tovey’s guest appearances will see him return to Rhode Island, Philadelphia, the New York Philharmonic, Indianapolis, St. Louis and Houston symphonies; as well Regina and Toronto. He maintains roots in the banding tradition as a frequent guest of the National Youth Brass Band of Great Britain, and as President of the Foden’s Band. In 2003 Bramwell Tovey won the JUNO® Award for Best Classical Composition for his choral and brass work Requiem for a Charred Skull. His song cycle, Ancestral Voices, was written in consultation with First Nations mezzo-soprano Marion 16 allegro
Newman, and earned much acclaim in its première performances in June of 2017. 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, features the original cast, members of UBC Opera and the VSO. A talented pianist as well as conductor and composer, he has appeared as soloist with many major orchestras, including his own work Pictures in the Smoke with the Melbourne and Helsingborg Symphonies and the Royal Philharmonic, and recently in the music of Gershwin with the Chicago Symphony. 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. Since 2006 he has been Artistic Director of the National Youth Brass Band of Great Britain. In 2017 he joined the faculty of Boston University where he teaches conducting and oversees BU’s extensive orchestra programme, and since January 2018 he has been the new Principal Conductor of the BBC Concert Orchestra.
RACHEL BARTON PINE violin
Heralded as a leading interpreter of the great classical masterworks, international concert violinist Rachel Barton Pine thrills audiences with her dazzling technique, lustrous tone, and emotional honesty. With an infectious joy in music-making and a passion for connecting historical research to performance, Pine transforms audiences’ experiences of classical music. Her 2017-18 season includes performances with the Sacramento Philharmonic, the Tel Aviv Soloists, the Orquestra Sinfónica Nacional de Costa Rica, the Eugene Symphony, and Symphony Nova Scotia, and recitals for the Ladies’ Morning Musical Club in Montreal and Early Music Seattle. Over the course of a career that began
with her debut at the age of 10 with the Chicago Symphony, Pine has appeared as soloist with many of the world’s most prestigious ensembles and released 36 albums. The winner of several of the world’s leading competitions, she was the youngest gold medal-winner ever at the J.S. Bach International Violin Competition. Pine performs on the Joseph Guarnerius del Gesu (Cremona 1742), known as the “exBazzini, ex-Soldat,” on lifetime loan from her anonymous patron.
NICHOLAS WRIGHT violin
Concertmaster of the Vancouver Symphony Orchestra, Nicholas Wright is a native of England. His engagements as soloist, chamber and orchestral musician have taken him to most of the major concert halls in Europe, Asia and North America. His repertoire spans works from Handel to premieres by composers such as Kelly-Marie Murphy and Jocelyn Morlock, whose works he recently recorded for the Naxos label. As a chamber musician Nicholas regularly takes part in series such as the Mainly Mozart Festival, Ribble Valley Festival, LSO and VSO Chamber Players and Vancouver's Music on Main. Prior to his appointment as concertmaster of the VSO, he was first violinist of the critically acclaimed Vancouver based Koerner Quartet. Nicholas received his training as a scholar at the Royal College of Music in London, studying with Itzhak Rashkovsky B E L L I N G H A M Michael Palmer, Artistic Director
and Rodney Friend. Nicholas enjoys teaching and has given many masterclasses internationally. He is on the faculty of the VSO School of Music. Nicholas plays on a violin by Stefan-Peter Greiner.
CHRISTIE RESIDE flute
A native of Calgary, Christie Reside began her career in the Vancouver Symphony Orchestra as second flute at the age of 19. She received her formal training with Timothy Hutchins at McGill University in Montreal, and continued her training at the Banff Centre for the Arts. As an enthusiastic chamber musician, Ms. Reside has been invited to participate in several festivals around the world, including the Spoleto Music Festival in Italy, the Bellingham Music Festival, and the Mountain View International Festival of Song and Chamber Music. Ms. Reside is currently the Principal Flute of the Vancouver Symphony Orchestra, a position she has held since 2004, and is a proud member of the Vancouver-based Standing Wave Ensemble, which recently won Ensemble of the Year at the 2017 Western Canadian Music Awards. She has previously held the position of Principal Flute of the Seattle Symphony and has also performed as Principal Flute with the Malaysian Philharmonic Orchestra. She teaches at the University of British Columbia, as well as at the Vancouver Academy of Music.
2 01 8
Silver Anniversary Season INTERSECTION TRIO
IN BFM ANNUAL WINTER RECITAL Violinist Laura Frautschi, Cellist Kristina Reiko Cooper, Pianist John Novacek
February 8, 2018, 7:30 PM Western Washington University PAC 516 High St. Bellingham, WA 98225 360-650-6146 or www.tickets.wwu.edu
Tickets now on sale for 25th Silver Anniversary Season www.tickets.wwu.edu
CHRIS JAMES flute Canadian flutist Chris James is a highly versatile young performer. Praised by the New York Times for his "brilliant" orchestral playing, Chris has held positions with the Memphis, Missouri, and Ann Arbor symphonies, and appeared with orchestras including the Detroit, Toronto, Albany, and Nashville symphonies, the National Arts Centre Orchestra, the National Ballet of Canada Orchestra, the Michigan Opera Theater Orchestra, and the Buffalo Philharmonic. Also an active chamber musician and soloist, Chris has won prizes at competitions at home and abroad, including the National Flute Association's Young Artist Competition and the Federation of Canadian Music Festivals' National Competition. Recent honours include performances at the the 9th Kobe International Flute Competition, and an appearance on CBC Music's "30 Hot Canadian Classical Musicians Under 30" (2017). Chris is a graduate of Manhattan School of Music and Toronto's Royal Conservatory. Formative teachers have included Linda Chesis, Vicki Blechta, Tara Helen O'Connor, Nora Shulman, and Susan Hoeppner.
LARRY KNOPP trumpet Larry Knopp began his career as Acting Principal Trumpet of the Edmonton Symphony Orchestra at the age of 20. He has also held positions as Principal Trumpet with Orchestra London, the Hamilton Philharmonic, the CBC Radio Orchestra, as well as the Malaysian Philharmonic Orchestra, and is currently Principal Trumpet of the Vancouver Symphony Orchestra. Larry completed his Master's degree at Northwestern University, where he played in the Chicago Civic Orchestra, and studied with Vincent Cichowicz. He has finished the academic work for his Doctoral degree at the Eastman School of Music where he studied with Barbara Butler. As an educator and conductor Larry has directed ensembles from junior high to university levels, and he is active as a clinician throughout North America, Australia and Asia. As a faculty member at many summer festivals, Larry 18 allegro
attracts numerous students to Vancouver, teaching at the University of British Columbia. Larry Knopp is a Yamaha artist.
PROGRAM NOTE Tonight’s concert is comprised of four powerful concerti of the 20th and 21st centuries. Much of the evening’s work is influenced by, or responds to, the beauty and power of the sea and the sky, including Anna Clyne's luxuriant Prince of Clouds, Jocelyn Morlock's radioactive Cobalt, and John Estacio's heroic, Triton-inspired Trumpet Concerto. As in our January 22nd concert, the progression of moods in tonight’s program travels from the bright light of day towards more nocturnal sounds. The evening concludes with one of the first pieces to create a strong connection between “early music” and “new music.” Alfred Schnittke’s famous and highly influential Concerto Grosso No. 1, originally for two violin soloists, is heard tonight in the lesser-known 1988 version for two solo flutes – a Canadian première of this groundbreaking work in Schnittke’s polystylistic mode.
b. Newmarket, Ontario / April 8, 1966
Trumpet Concerto JUNO®-nominated composer John Estacio is a recipient of the 2017 Lieutenant Governor of Alberta Distinguished Artist Award. His Trumpet Concerto was commissioned by 19 Canadian orchestras and will be performed throughout the country in the 2017/18 season. In 2017, the NACO and conductor Alexander Shelley toured Canada with his work I Lost My Talk, inspired by Rita Joe’s poem and commissioned for the Right Honourable Joe Clark on the occasion of his 75th birthday. johnestacio.com Trumpet Concerto (Triton’s Trumpet) (2017) – The first movement of this tripartite work, Triton’s Trumpet, is inspired by Poseidon's mythical son Triton and his conch shelltrumpet which can both soothe and agitate the seas. The music of this movement alternates between lyrical passages and more ominous, fervent sections, ending in a rather chaotic mood. The second
movement, Ballad, showcases the lyrical aspect of the trumpet; Rondo, the final movement, is more spirited, energetic, and kaleidoscopic.
b. London, United Kingdom / March 9, 1980
Prince of Clouds Grammy®-nominated composer Anna Clyne has been described as "dazzlingly inventive" (Time Out New York) and as a "composer of uncommon gifts and unusual methods" (New York Times) Having served as Composer-in-Residence for the Chicago Symphony Orchestra (2010-15), and for both the Baltimore Symphony Orchestra (2015-16) and L’Orchestre national d’Îlede-France (2014-16), she is currently the Music Alive Composer-in-Residence with the Berkeley Symphony. annaclyne.com Anna Clyne notes: When writing Prince of Clouds I was contemplating the presence of musical lineage—a family-tree of sorts that passes from generation to generation. This transfer of knowledge and inspiration between generations is a beautiful gift. Composed specifically for Jennifer Koh and her mentor at the Curtis Institute of Music, Jaime Laredo, this thread was in the foreground of my imagination as a dialogue between the soloists and ensemble. As a composer, working with such virtuosic, passionate and unique musicians is also another branch of this musical chain.
b. St. Boniface, Manitoba / December 14, 1969
Cobalt JUNO®-nominated composer Jocelyn Morlock's music is hailed as "airy but rhythmic, tuneful but complex" and with "uncanny yet toothsome beauty" (Georgia Straight.) Her music is recorded on 22 CDs including newly-released Halcyon, and Cobalt, whose title track won the 2015 Western Canadian Music Award for Best Classical Composition. Jocelyn won the 2016 Mayor's Arts Award for Music in Vancouver, and is Vancouver Symphony Orchestra's Composer in Residence. jocelynmorlock.com
Cobalt (2012) is poisonous, magnetic, and radioactive. The element was originally named after a kobold, a mischievous and possibly evil goblin or sprite found in German folklore. Though it is a necessary element found in both humans and animals, in large amounts it is highly toxic, and cobalt salts used to create this vivid shade of blue in pottery or glasswork can be fatal if touched or inhaled. The luminous cobalt blue of the night sky, just before it becomes completely dark, is one of the most beautiful colours found in nature, visible only for a very short time every evening.
b. Engels, Russia / November 24, 1934 d. Hamburg, Germany / August 3, 1998
Concerto Grosso No. 1 for Two Flutes, Strings, Harpsichord and prepared Piano Renowned Russian/German composer Alfred Schnittke’s early work showed a marked influence of Shostakovich. By the mid-1960s he explored serialism, but wasn’t satisfied with that as a sole method of writing. His Symphony No. 1 (1969-1974) was the first work in which he began writing in what he called polystylism, the mashup technique for which he is best known, and which influences countless composers and musical collaborations to this day. britannica.com/biography/ Alfred-Schnittke Concerto Grosso No. 1 (1977/1988), one of the best-known of Schnittke’s groundbreaking “polystylistic” pieces, aims to unite popular and serious styles of music within one composition. Among the many stylistic markers heard in the piece are the almost academically serious use of the BACH motto in the second movement (Toccata), frequent stylistic references to Vivaldi (which may be considered both “serious” and “popular”) throughout the piece, and the rather vulgar use of tango in the fifth movement (Rondo). Perhaps the biggest juxtaposition, if not pile-on, of styles occurs at the end of the second movement, where a 12-tone waltz occurs, beginning with the BACH motive. ■ Program Notes © 2018 Jocelyn Morlock
"We love to practice on our Fazioli piano!" – XinYi Wang & Ray Zhang, Fazioli Young Artists –
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CONCERT PROGRAM VSO NEW MUSIC FESTIVAL | ANNEX, 4PM & 7:30PM
SUNDAY, JANUARY 21 VSO NEW MUSIC FESTIVAL 4: INTIMATE NMF CABARET
Camille Hesketh soprano Rachel Kiyo Iwaasa piano michael red dj, laptop & midi controllers Robyn Driedger-Klassen soprano Terence Dawson piano Miranda Wong piano
RACHEL KIYO IWAASA
We asked some of our favourite performers to reveal the music that makes them tick! This concert showcases these masterful Canadian musicians and composers in performance, in the intimate setting of the Orpheum Annex.
Hor ch'è tempo di dormire
KEVIN MORSE Listen LESLIE UYEDA/LORNA CROZIER
Midnight Watch (World Première) TERENCE DAWSON
OSVALDO GOLIJOV Lúa Descolorida MATTHIAS PINTSCHER
Un grand sommeil noir
OLIVER KNUSSEN Ophelia's Last Dance PIERRE BOULEZ Incises TARQUINIO MERULA
Hor ch'è tempo di dormire: reprise michael red
CAMILLE HESKETH soprano Whether in early music, classical, contemporary opera, music theatre, chamber or electro-acoustic repertoire, Camille Hesketh is a versatile soprano whose performances have taken her across Europe, to Canada, the US, South America, India and China. Currently residing in Burnaby, Canada, Camille completed her Bachelor's degree at the Vancouver Academy of Music, and her Master's at the Royal Conservatory in The Hague, Netherlands. She also holds a Bachelor's in education from Simon Fraser University and is contract voice faculty at Douglas College, New Westminster.
2 TI FO CK R ET 1 S
Camille has received several awards for her research in contemporary vocal music and performance from both the Netherlands and the Canada Council for the Arts, most recently including a commission with composer Graham Flett and Vancouver's Ethos Collective, and for research in physical
theatre practices for singers. In addition to her musical life and commitment to teaching, Camille has researched physical theatre applications to vocal and musical performance with numerous ensembles and institutions.
RACHEL KIYO IWAASA piano Hailed in the press as a "keyboard virtuoso" (Georgia Straight) with the “emotional intensity” to take a piece “from notes on a page to a stunning work of art” (Victoria Times Colonist), pianist Rachel Kiyo Iwaasa has performed as soloist and chamber musician in Canada, the United States and Germany. Known for bold and innovative concerts, Rachel combines her warmth and curiosity to touch the hearts and minds of audiences, whether she is playing Beethoven and Schumann or Ligeti and Saariaho. Rachel has a shameless passion for contemporary music, and has performed numerous premières, including pieces written
VETTA CHAMBER MUSIC
2017 - 18 32nd Season Joan Blackman Artistic Director
SEA AND SKY Bill Richardson with Special Guest
Sat March 3 at 7:30pm
Featuring Bill Richardson’s version of Stravinsky’s Soldier’s Tale!
CELEBRATE THE LAUNCH OF OUR NEW SERIES AT PYATT HALL 2 FOR 1 TICKETS
Get 2 tickets for $35 email: firstname.lastname@example.org Martha Lou Henley Charitable Foundation
especially for her by Rodney Sharman, Jeffrey Ryan, Jocelyn Morlock, Emily Doolittle, Alexander Pechenyuk, and many other Canadian composers.
university programs, she decided that music was the only career for her so, she undertook the voice performance program at UBC with vigour.
She performs regularly with Mark McGregor as the flute and piano duo Tiresias. Rachel holds a Doctor of Musical Arts from the University of British Columbia, a Master of Music from Indiana University, and a Bachelor of Music from the University of Victoria. She is currently on the faculty at UBC, the Richmond Music School and the Salina Cheng Music Academy. iwaasa.com
Recent performances include The Lost Operas of Mozart with City Opera, Orff’s Carmina Burana, Jeffrey Ryan’s Timepieces, Rachmaninoff’s The Bells, and a short film about Murray Adaskin featuring his song for soprano and string quartet, A Wedding Toast. In February she will appear in a London Drugs VSO Pops performance: A Romantic Pops Valentine.
Robyn has served on the core faculty of the Vancouver International Song Institute, and is also very pleased to find herself Head of Voice at the Vancouver Academy of Music. She lives with her husband and two vocal critics under the age of five, and in recent times, has learned a considerable amount about monster trucks, dinosaurs and how to avoid Lego underfoot.
dj, laptop & midi controllers michael red is a Vancouver and Sunshine Coast based electronic music producer, performer and DJ. The founding member of the respected bass music collective Lighta! Sound, head of the Low Indigo leftfield music label, one half of the experimental dub duo Chambers, curator for New Forms Festival for over ten years, Bass Coast Music Festival resident, Shambhala Music Festival performer over ten years, former long term collaborator with throat singer Tanya Tagaq, and ambient/experimental artist under the alias Souns. His music has been released on Modern Math, New Kanada, Mutek Recordings, South Fork Sound, King Deluxe, Debacle, Beacon Sound, Deep Sea Mining Syndicate, Panospria, Sensing Waves and more. Michael's performed across Canada, Europe, Australia, New Zealand, Mexico, New York and has been written about in The Wire, XLR8R, Resident Advisor, and Vice's Thump. Ongoing influences include: dub music, all nature, outer space, the unseen world, transcendence and evolution.
At the age of sixteen, Robyn DreidgerKlassen discovered that singing came more naturally than her attempts on the piano at Bach Preludes and Fugues. She won a few competitions in those early days and after a few years of dilly-dallying in other
TERENCE DAWSON piano British born, Canadian pianist Terence Dawson has firmly established himself as one of British Columbia’s most respected and versatile musicians. His reputation has resulted in repeat engagements from coast to coast across Canada, as well as in the USA, England and Asia. His many performances have garnered critical acclaim: “lucid” (Globe and Mail), “stunning” (Vancouver Sun), and possessing “trademark elegance and technical flair” (Georgia Straight). Terence Dawson was principal pianist for the CBC Curio Ensemble and Artistic Director and pianist of Vancouver’s celebrated Masterpiece Chamber Music Series. He has recorded nine commercial discs of chamber repertoire, and is a familiar name to CBC radio audiences. Dr. Dawson has also served as a jury member for several important competitions, including the Canadian Music Competition, the Canadian Federation of Music Teacher’s National Piano Competition, and the Canada Council. He was a founding Faculty member of the Vancouver International Song Institute allegro 23
and teaches annually at the VSO Summer Institute at Whistler. Following doctoral studies with pianist Jane Coop, Terence Dawson joined the UBC School of Music faculty in 1991. Currently, he serves as Chair of the Keyboard Division, Undergraduate and Graduate Keyboard Division Coordinator, and teaches piano, chamber music and collaborative studies.
MIRANDA WONG piano As solo recitalist, chamber musician, and teacher, Miranda Wong is equally at home with the traditional classical repertoire, as well as with the complexities of the contemporary idiom. Her solo career has taken her to stages across Canada, the United States, and England, and before the microphones of CBC Radio. Over the past ten years as pianist of Aventa Ensemble, a chamber group renowned for its innovative programming in the contemporary music scene, her performances have embraced numerous world premières (notably chamber works by the eminent British composers, Peter Maxwell Davies and Michael Finnissy), and appearances at contemporary music festivals in Europe and North America. The belief that it takes a world to raise a musician ensures that teaching remains an extremely significant focus in her professional life. “Grow the person, grow the music” is the adage that informs her approach. Miranda Wong currently serves on the faculty of the University of British Columbia, School of Music.
PROGRAM NOTE All of the modern music in today’s concert is framed by the hypnotic beauty of Tarquinio Merula’s 17th century lullaby sung to the infant Jesus. From the initial quietude of the repeating notes of Kevin Morse’s Listen, to the luxuriant relaxation of Golijov’s Lúa Descolorida and the lilting quality of Oliver Knussen’s Ophelia's Last Dance, much of the music on this concert builds from that sense of hushed awe.
“All of the modern music in today’s concert is framed by the hypnotic beauty of Tarquinio Merula’s 17th century lullaby...” Edgard Varèse moves in a more somber direction in Un grand sommeil noir; Matthias Pintscher’s Erstes Schneebild, while delicate, is somewhat stark, and Pierre Boulez’s Incises is the frenetic sound of absolute disquietude before a final lullaby. A central focus of the concert is Leslie Uyeda and Lorna Crozier’s song cycle Midnight Watch, whose harshly beautiful music and words are given their world première today.
b. Busseto, Italy / November 24, 1595 d. Cremona, Italy / December 10, 1665
Hor ch'è tempo di dormire The entire musical form of this lullaby is built on a gently rocking, two-note ostinato. Above the hypnotic bassline Merula has written melodies of striking originality, and has created a beautiful jumping-off point for improvisation by all three performers.
b. Chiang Mai, Thailand / 1980
Listen Pianist Terence Dawson writes, “beginning with a series of repeated notes, the composition evokes the recognition of the procedure a technician adopts while listening to the temperament and sonority of various notes during a tuning. The listener is drawn into this repetition and expansion of a single note, gradually focusing more on the emerging melody and harmony.”
b. Montréal, Québec / January 2, 1953
Midnight Watch (World Première) text by Lorna Crozier The composer writes: “Lorna Crozier has said that good poetry “is a kind of thinking, of proposing, of reasoning that can teach us the most because it’s done at a level
beyond thought. There’s always that slide between silence and speaking, and the friction that’s created between those two planes—what we cannot possibly say, but what we say anyway—is remarkably charged.”
was only 23 and still a student of Widor. The dark, lush, tonal harmonies and lyrical vocal writing may come as quite a surprise to those familiar with his radical later works; the brilliant level of expertise already on display, less so.
The owl, the crow, the barn animals – all speak to us “at a level beyond thought”. Crozier’s birds and animals say what we won’t, or can’t, and in their luminous language, offer a shield from our own stubbornness and folly.
“The dark, lush, tonal harmonies and lyrical vocal writing may come as quite a surprise...”
I composed these three songs specifically for soprano Robyn Driedger-Klassen and pianist Terence Dawson, two artists who are the very definition of a composer’s dream.”
b. La Plata, Argentina / December 5, 1960
Lúa Descolorida Golijov writes of his opulent, gorgeous Lúa Descolorida, “The song is at once a slow motion ride in a cosmic horse, an homage to Couperin's melismas in his Lessons of Tenebrae, and velvet bells coming from three different churches. But the strongest inspiration for Lúa Descolorida was Dawn Upshaw's rainbow of a voice.”
b. Marl, Germany / January 29, 1971
“...whispering, pizzicato, delicate scraping on strings...” This tiny, ethereal miniature only lasts two minutes, but the enhanced colour palette in Pintscher’s vocal and piano writing (whispering, pizzicato, delicate scraping on strings) perfectly captures the beauty, delicacy, and chill of a silent snowfall.
b. Paris, France / December 22, 1883 d. New York, New York / November 6, 1965
b. Glasgow, United Kingdom / June 12, 1952
Ophelia's Last Dance Knussen wrote the original melody for his gently whimsical Ophelia’s Last Dance in 1974, thinking to use it for his Third Symphony. While this never happened, he hung onto it for some 36 years until finally completing this rhapsodic solo piano work in 2010. The composer writes that in addition to the original melody, “a number of other ‘homeless’ dance-fragments – related more by personal history and by mood than anything more concrete – are bound together by means of variously wrought transitions to and from rondo-like recurrences of the original melody.”
b. Montbrison, France / March 26, 1925 d. Baden-Baden, Germany / January 5, 2016
Incises Boulez’s concise Incises (“Interpolations”) begins with quite contrasting, interruptive and rather ferocious gestures, and its energy only builds from there. Within the first 45 seconds of the piece, the insistent repeating note textures that will overtake the entire work are introduced; from then on, a sense of fury continues right to the end of the piece as the pianist traverses the full range of the keyboard with manic speed. ■ Program Notes © 2018 Jocelyn Morlock
Un grand sommeil noir Un grand sommeil noir is the earliest extant composition of Varèse, written when he allegro 25
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CONCERT PROGRAM VSO NEW MUSIC FESTIVAL | ORPHEUM, 7:30PM
MONDAY, JANUARY 22 VSO NEW MUSIC FESTIVAL 5: DAWN TO DUSK: FROM AURORA TO WINTER SKY
Vancouver Symphony Orchestra Bramwell Tovey conductor Rachel Barton Pine violin EVE DE CASTRO-ROBINSON Aurora JOCELYN MORLOCK
Night, Herself (World Première)
Violin Concerto (World Première)* I. Allegro II. Elegy III. Presto I N T E R M ISSI O N
ANDREW STANILAND Vast Machine SAMY MOUSSA Nocturne KAIJA SAARIAHO Ciel d’hiver POST-CONCERT LOUNGE Join DJ michael red, musicians, and composers for a post-concert lounge in the Westcoast Energy Hall lobby. Cash bar.
RACHEL BARTON PINE
The Victoria Foundation is honoured to hold the Hugh Davidson Fund established through the Will of the late Mr. Hugh Hanson Davidson (May 27, 1930–July 14, 2014). Hugh Davidson’s passion for music and his support of contemporary composers and composition has been felt in our community through the private commissions of new works for performance by the Vancouver and Victoria Symphonies. This legacy continues through the establishment of the Hugh Davidson Fund. The purpose of this fund is to promote the wide knowledge of, and education in, newly composed Canadian orchestral music – music commissioned or written by Canadian citizens to be performed by an orchestra. It was Hugh’s vision to aid the public rehearsal, performance, and recording of this music by the Vancouver Symphony and the Victoria Symphony Orchestra. GODDARD’S VIOLIN CONCERTO WAS * MARCUS COMMISSIONED WITH THE GENEROUS SUPPORT OF THE HUGH DAVIDSON FUND OF THE VICTORIA FOUNDATION.
BRAMWELL TOVEY conductor Please refer to page 16 for a biography of Maestro Tovey.
RACHEL BARTON PINE violin Please refer to page 16 for a biography of Ms. Barton Pine.
PROGRAM NOTE Tonight’s program begins with music celebrating the dawn – Eve De CastroRobinson’s Aurora is a wild fanfare of birdsong. From this raucously avian morning, we venture towards Andrew Staniland’s Vast Machine, a ferociously brilliant, dystopian riff on the Large Hadron Collider that lies 175 meters below the ground where day and night have no meaning. The evening concludes with Samy Moussa's moody and eloquent Nocturne and Kaija Saariaho's hypnotic, gorgeous Ciel d'hiver. The centerpiece of the night’s concert is the world premiere of Marcus Goddard’s brilliant and multi-faceted Violin Concerto, written especially for Rachel Barton-Pine; the connective thread of early music co-existing with/influencing new music, a thematic connection made throughout the festival, is provided tonight by another world première - Jocelyn Morlock’s Purcell-infused Night, Herself.
EVE DE CASTRO-ROBINSON
b. London, England / November 9, 1956
Aurora Eve de Castro-Robinson is Senior Lecturer in composition at the University of Auckland. She has been commissioned by many groups—from the New Zealand Symphony Orchestra to the Nash Ensemble of London —and her works are performed throughout Australia, Belgium, New Zealand, the Philippines, the UK and the USA. Twice winner of the Philip Neill Memorial Prize, she also won the inaugural SOUNZ Contemporary Award in 1998. The composer writes “Aurora was commissioned by the Auckland Philharmonia in 1990, as a short fanfare to welcome in a new decade. I took the 28 allegro
theme of the New Zealand dawn chorus, beginning with the bright, liquid tones of the native tui, whose distinctive call begins in the early hours. It pervades the work, which continues with a boisterous avian texture including the kiwi, riroriro, and others.” Program Notes © 2018 Eve de Castro-Robinson
b. St. Boniface, Manitoba / December 14, 1969
Night, Herself (World Première) Please refer to page 19 for a biography of Ms. Morlock. Night, Herself takes as its starting point some of the melodies and harmonic progressions found in Purcell’s See, even night herself is here. The calm, mysterious, and nocturnal qualities of Purcell’s song are evident at the start of my piece, which begins with a slow, deliberate chaconne (repeating bassline.) As it progresses, more voices are added and the music becomes faster and more energetic. At the close of the piece, the starting chaconne returns. jocelynmorlock.com Program Notes © 2018 Jocelyn Morlock
b. Newport, Vermont / July 14, 1973
Violin Concerto (World Première) The VSO’s first Composer-in-Association is also the VSO Associate Principal Trumpet. Goddard has over thirty-five works in his composition catalog, including four recent pieces for large orchestra and many works for varied chamber ensembles. His work, I Send Only Angels, was commissioned by the VSO and premièred February 2007. Critics, musicians, and audience members alike praised the work, describing its "shimmering, translucent, winning eloquence" and "perfectly judged" form and structure. marcusgoddard.com The composer writes “My Violin Concerto (2017) was written for Rachel Barton-Pine and the Vancouver Symphony Orchestra. The first movement was influenced by the grinding glisses, slides, and virtuosic runs found in heavy metal music. The second movement is a lyrical, chaconne-
like elegy for a vibrant and energetic close friend who recently passed away. In the moto-perpetuo third movement, biting rhythmic bursts are contrasted by a more tender middle section that revisits themes from earlier movements. This work was commissioned by Maestro Bramwell Tovey and the Vancouver Symphony Orchestra with generous support from the Hugh Davidson Fund of the Victoria Foundation.” Program Notes © 2018 Marcus Goddard
b. Red Deer, AB, Canada / June 6, 1977
Vast Machine Described as a “new music visionary” (National Arts Centre), composer Andrew Staniland has established himself as one of Canada’s most important and innovative musical voices. His music is performed and broadcast internationally and has been described by Alex Ross in the New Yorker Magazine as “alternately beautiful and terrifying”. andrewstaniland.com The composer writes of Vast Machine (2014) “What does the world’s fastest and largest machine sound like? As I composed this piece, I found that I was drawn more to the metaphorical than to the literal. In the Large Hadron Collider, humankind has created the largest machine ever made so that we can smash things apart in an attempt to see what is inside. Imagine smashing open a vase just to see what is inside! But unlike cultural artifacts, particles are plentiful, and natural collisions happen all the time outside such machines. But what would happen if one tried to collide musical ideas in a similar way?”
b. Montréal, Québec / June 1, 1984
Nocturne Composer and conductor Samy Moussa has collaborated with a number of orchestras, among them the Vienna Radio Symphony Orchestra, the Dallas Symphony Orchestra, the Bavarian Radio Symphony Orchestra, the Orchestre symphonique de Montréal and the Toronto Symphony Orchestra. Moussa was awarded the
Composers’ Prize 2013 from the Ernst von Siemens Music Foundation. In 2015, he was named Québec’s “Composer of the year”. In 2017, he was awarded the Hindemith Prize. Samy Moussa lives in Paris and Berlin. samymoussa.com About his Nocturne (2014), Samy Moussa writes, “The night is not always restful. Night can also be solemn and forbidding.” Moussa’s Nocturne may be solemn, but it is also passionate, and not at all forbidding. First announced in the solo horn, its incessant thematic material permeates the work. It appears in many guises of various orchestrational colour and texture, but is not really varied – in fact, the relentless reliance on the thematic material of the opening is what gives Nocturne its strong structural coherence despite its kaleidoscope of ever-changing moods.
b. Helsinki, Finland / October 14, 1952
Ciel d’hiver Kaija Saariaho is a prominent member of a group of Finnish composers and performers who are now, in mid-career, making a worldwide impact. She studied composition in Helsinki, Freiburg and Paris, where she has lived since 1982. Her studies and research at IRCAM have had a major influence on her music and her characteristically luxuriant and mysterious textures are often created by combining live music and electronics. saariaho.org Ciel d'hiver, an arrangement of the second movement of Orion, begins with a plaintive piccolo solo veering out from an incredibly strange and disturbing orchestral texture. The solo material is passed along to various instruments including violin, clarinet, oboe, and trumpet, but the true fascination here is the ghostly, fluttering tone colours that make up the writhing clouds of orchestral atmosphere. (Composers, this music will eat your brains. Fortunately the score is online at musicsalesclassical.com/composer/ work/1350/49307). ■ Program Notes © 2018 Jocelyn Morlock
CONCERT PROGRAM VSO CHAMBER PLAYERS |
ALAN AND GWENDOLINE PYATT HALL
DR. H.N. MACCORKINDALE STAGE, VSO SCHOOL OF MUSIC
WEDNESDAY & THURSDAY, JANUARY 24 & 25 7:30PM SUNDAY, JANUARY 28 2PM MOZART PLUS MOZART Piano Trio in G Major, K. 496
Jason Ho violin Luke Kim cello Amanda Chan piano ARVO PÃ„RT Mozart-Adagio (from Piano Sonata in F Major K. 280)
Jason Ho violin Luke Kim cello Amanda Chan piano JASON HO
I N T E R M ISSI O N
Trio for Oboe, Clarinet, and Bassoon
Beth Orson oboe Alexander Morris clarinet Julia Lockhart bassoon MOZART Quintet in E-flat Major, K. 452 for Piano and Winds
Beth Orson oboe Alexander Morris clarinet Julia Lockhart bassoon Andrew Mee horn Amanda Chan piano
WITH SUPPORT FROM
UPCOMING CONCERTS THE VSO SPRING FESTIVAL: LEGENDS
Join Maestro Tovey and the Vancouver Symphony Orchestra for a magical, musical journey through some of history’s most enduring and fascinating legends, as we also honour the 100th anniversary of the birth of Leonard Bernstein. SATURDAY, MARCH 17, 8PM, ORPHEUM CARMINA BURANA Bramwell Tovey conductor Tracy Dahl soprano Benjamin Butterfield tenor James Westman baritone UBC University Singers & Choral Union: Dr. Graeme Langager director Langley Fine Arts School Choir: Jim Sparks director
MONDAY, MARCH 19, 8PM, ORPHEUM THE AGE OF ANXIETY Bramwell Tovey conductor Joyce Yang piano Augustin Hadelich violin
SATURDAY, MARCH 24, 8PM, ORPHEUM WEST SIDE STORY Bramwell Tovey conductor Tracy Dahl soprano
MONDAY, MARCH 26, 8PM, ORPHEUM ZUKERMAN PLAYS MOZART Bramwell Tovey conductor Pinchas Zukerman violin/viola Amanda Forsyth cello
VSO POPS: THE DOO WOP PROJECT
THE DOO WOP PROJECT
FRIDAY & SATURDAY, APRIL 6 & 7, 8PM, ORPHEUM Stuart Chafetz conductor The Doo Wop Project The Doo Wop Project begins at the beginning, tracing the evolution of Doo Wop from the classic sound of five guys singing tight harmonies on a street corner to the biggest hits on the radio today. The Doo Wop Project is history you can dance to! Stars of Broadway’s smash hits Jersey Boys and Motown: The Musical join together and harmonize the classics of some of the greatest music in American Pop and Rock history.
THE MUSIC OF BRAHMS AND SIBELIUS
FRIDAY & SATURDAY, APRIL 13 & 14, 8PM, CHAN CENTRE, UBC MONDAY, APRIL 16, 8PM, BELL PERFORMING ARTS CENTRE, SURREY Karina Canellakis conductor Esther Yoo violin* DVOŘÁK Noon Witch SIBELIUS Violin Concerto* BRAHMS Symphony No. 3 in F Major KARINA CANELLAKIS
FULL CONCERT LISTINGS AT
CONCERT PROGRAM MUSICALLY SPEAKING | ORPHEUM, 8PM
SATURDAY, JANUARY 27
NORTH SHORE CLASSICS | CENTENNIAL THEATRE, NORTH VANCOUVER 8PM
MONDAY, JANUARY 29
Bramwell Tovey conductor Roger Cole oboe Vancouver Youth Symphony Orchestra
JULIET PALMER Secret Arnold R. STRAUSS Oboe Concerto in D Major
I. Allegro moderato II. Andante III. Vivace – Allegro
I N T E R M ISSI O N
BERLIOZ Symphonie fantastique, Op. 14
I. Rêveries – Passions (Dreams, Passions): Largo – Allegro agitato e appassionato assai II. Un bal (A Ball): Valse: Allegro non troppo III. Scène aux champs (Country Scene): Adagio IV. Marche au supplice (March to the Scaffold): Allegretto non troppo V. Songe d’une nuit du sabbat (Dream of a Witches’ Sabbath): Larghetto – Allegro
Note: The Vancouver Youth Symphony performs side by side with the VSO, at the Orpheum Theatre only.
VANCOUVER YOUTH SYMPHONY ORCHESTRA
VISIT THE SYMPHONY GIFT SHOP AT THE ORPHEUM FOR CD SELECTIONS
BRAMWELL TOVEY conductor
Please refer to page 16 for a biography of Maestro Tovey.
ROGER COLE oboe
Roger Cole was appointed Principal Oboist of the Vancouver Symphony by Maestro Kazuyoshi Akiyama in 1976. At age 22 he was the youngest principal player of the VSO. Today he is one of the oldest principal players. Mr. Cole received his early musical training in Seattle, Washington and went on to become a scholarship student at Yale University and The Juilliard School where he studied with the renowned American oboist, Robert Bloom. Mr. Cole teaches at the University of British Columbia, the Vancouver Academy of Music and the VSO School of Music. He has given master class across North America and in Asia. He also has an active oboe studio at his home in North Vancouver. In June 2003 Mr. Cole was named Music Director and Senior Orchestra Conductor of the Vancouver Youth Symphony Orchestra. Under his guidance the VYSO has flourished and is considered one of the finest youth orchestras in Canada. The VYSO has performed many times alongside the VSO under Maestro Bramwell Tovey.
VANCOUVER YOUTH SYMPHONY ORCHESTRA
The Vancouver Youth Symphony Orchestra (VYSO) is British Columbia’s première youth orchestra. With an esteemed history in Vancouver dating back to 1930, the VYSO is now a dynamic, independent non-profit organization, recognized in Metro Vancouver for its fine multi-level orchestral training program. Comprised annually of 285+ musicians aged 8 through 22, the program is broad with performances, weekly rehearsals, sectionals and workshops under the tutelage of local professionals. The organization's mission is to support and develop young musicians as they discover and achieve their potential as artists and as individuals. The experience of VYSO musicians is a lifelong love of music, with many accomplishing acclaimed musical careers across Canada, the USA and Europe. 34 allegro
The Vancouver Youth Symphony Orchestra is firmly committed to keeping our program accessible for all young musicians. It has a firm commitment to community outreach and public performances and is proud to contribute to the rich cultural fabric of British Columbia.
b. Kapiti, New Zealand / 1967
Secret Arnold New Zealand-Canadian composer Juliet Palmer is known as a “post-modernist with a conscience” (The Listener) whose work “crosses so many genres as to be in a category of its own” (Toronto Star). Based in Toronto since 1997, her work has been featured around the world with performances at New York’s Lincoln Center, London’s Southbank Centre, Voix Nouvelles France, Italy’s Angelica Festival and many others. She was the 2011/12 Creative New Zealand/Jack C. Richards composerin-residence at the New Zealand School of Music, and the 2012 composer-inresidence of Orchestra Wellington. Secret Arnold was commissioned by the Auckland Philharmonia Orchestra of New Zealand and was premièred by them in May 1999. The composer has provided the following note. In his Second String Quartet Op. 10, Arnold Schoenberg stepped outside the four corners of the quartet and created a sublime part for soprano. In the last movement she sings “I feel air from other planets.” Just as Schoenberg opened a door for classical music with his Second String Quartet, Jamaican dub started the sampling and scratching scene which grooved all the way to `90s Bristol. Clive Randy Chin’s Easy Come Dub is a stripped down remix of The Wailers’ It Won’t Come Easy. In Only You from 1997, the Bristol-based band Portishead create an ambient space in which even the ‘Inspector Clouseau’ theme finds a new identity. Compressing time and space, Secret Arnold finds room for all three: Schoenberg, Randy and Portishead.
b. Munich, Germany / June 11, 1864 d. Garmisch-Partenkirchen, Germany / September 8, 1949
Oboe Concerto in D Major During the final days of the Second World War, American forces reached Garmisch Partenkirchen, the Alpine German town where Strauss and his wife Pauline had come to live a short time before. One of the soldiers stationed there was John de Lancie, a Paris-trained professional musician who would soon afterwards become Principal Oboe of the Philadelphia Orchestra. “During one of my visits with Strauss,” de Lancie recalled, “I asked him if, in view of the numerous beautiful lyric solos for oboe in almost all his works, he had ever considered writing a concerto for oboe. He answered ‘No!’ And there was no more conversation on the subject. He later told a fellow musician friend of mine that the idea had taken hold of him as a result of that remark.”
“The central section in slow tempo is exceptionally sweet and lyrical.” The Strauss Oboe Concerto unfolds in one, continuous movement. Its principal characteristics are warmth, charm and beauty. The central section in slow tempo is exceptionally sweet and lyrical. The writing for the soloist is long-breathed, virtually operatic in style. A quasi-cadenza accompanied by pizzicato strings leads into the bright, witty Finale, where the oboist displays considerable agility and virtuosity.
b. La Côte-St-André, Isère / December 11, 1803 d. Paris, France / March 8, 1869
Symphonie fantastique, Op. 14 In 1827, while Berlioz was studying at the Paris Conservatoire, he developed a typically all-consuming passion for Harriet Smithson, an Irish actress whom he saw perform a number of works by Shakespeare. His attempts to communicate
with her came to nothing. This unhappy experience inspired him to compose Episode in the Life of an Artist – Grand Fantastic Symphony in Five Parts. He did so partly at the call of his brilliant creative imagination, partly for a more practical reason: he hoped it would win him the kind of reputation that would impress Harriet Smithson. In it, he broke new compositional ground by synthesizing events from his life with purely imaginary ones.
“...partly at the call of his brilliant creative imagination...” Smithson’s stage company returned to Paris in 1832, and Berlioz made sure she heard the piece he had written for her. They were married the following year, but their relationship proved an unhappy one. “A young musician of morbidly sensitive temperament and fiery imagination poisons himself with opium in a fit of lovesick despair,” the final revision of the symphony’s published program begins. “The dose of the narcotic, too weak to kill him, plunges him into a slumber accompanied by the strangest visions, during which his sensations, his emotions, his memories are transformed in his sick mind into musical thoughts and images.
“He hears it, in various transformations, amidst the turbulence of the opening movement...” The loved one herself has become a melody to him, an idée fixe (fixed idea) as it were, that he encounters and hears everywhere.” He hears it, in various transformations, amidst the turbulence of the opening movement; the waltz rhythms of the second; the tranquil country scene of the third; the sinister march to the scaffold of the fourth; and the hallucinatory revels of the concluding Witches’ Sabbath. ■ Program Notes © 2018 Don Anderson
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RACHMANINOV VESPERS and Lauridsen Lux aeterna
8pm FRIDAY, MARCH 30, 2018 The Orpheum with Vancouver Chamber Choir | Pacifica Singers | Vancouver Cantata Singers Vancouver Youth Choir | Vancouver Chamber Orchestra | Jon Washburn, conductor Russian composer Sergei Rachmaninov’s music for the Orthodox All-Night Vigil - often known in the West as the Vespers - is known as his finest unaccompanied choral work, one of the landmarks of the entire choral repertoire. The Vancouver Chamber Choir combines with the Vancouver Cantata Singers to create a suitable Slavic sonority. As a companion piece, the Pacifica Singers join us for a 21st-century masterpiece and Vancouver Chamber Choir favourite – Morten Lauridsen’s Lux aeterna for choirs and orchestra, an intimate work of quiet serenity centred around a universal symbol of John William Trotter hope, reassurance and goodness. And as a little bonus, Gabriel Fauré’s exquisite Messe basse in Jon Washburn’s orchestral version, featuring the vibrant young singers of the Vancouver Youth Choir.
1.855.985.ARTS (2787) vancouverchamberchoir.com
CONCERT PROGRAM SPECIALS | ORPHEUM, 8PM
WEDNESDAY, JANUARY 31 CLASSICAL MYSTERY TOUR: THE MUSIC OF THE BEATLES
Martin Herman conductor Classical Mystery Tour Jim Owen
rhythm guitar, piano, vocals
bass guitar, piano, vocals Tom Teeley lead guitar, vocals Chris Camilleri drums, vocals PROGRAM
To be announced from the stage.
“...more than just an incredible simulation...the swelling strings and soaring French horn lines gave the live performance a high goose-bump quotient...the crowd stood and bellowed for more.” —Los Angeles Times
VISIT THE SYMPHONY GIFT SHOP FOR CD SELECTIONS CONCERT SPONSOR
CLASSICAL MYSTERY TOUR The four musicians in Classical Mystery Tour look and sound just like The Beatles, but Classical Mystery Tour is more than just a rock concert. The show presents more than two dozen Beatles tunes performed exactly as they were originally recorded, from Yesterday featuring a string quartet to A Day in the Life and its lush, full symphonic sound.
“Classical Mystery Tour is the best of The Beatles like you've never heard them before...” 2018 marks the 50th anniversary of The White Album and Classical Mystery Tour has added a special White Album segment to their concert, featuring the songs Dear Prudence, Revolution, Ob-La-Di, Ob-La-Da, While My Guitar Gently Weeps, and other White Album classics. From early Beatles music on through the solo years, Classical Mystery Tour is the best of The Beatles like you've never heard them before – live, with the Vancouver Symphony Orchestra!
MARTIN HERMAN conductor A resident of Los Angeles, Martin Herman was educated at Duke University, University of Pennsylvania, University of California at Berkeley, and Stanford University. He also spent two years in Paris on a Fulbright Grant where he worked as a composer and conductor with the “New American Music in Europe” and “American Music Week” festivals. Aside from his conducting interests, Herman is an active composer and arranger. He has received fellowships and grants from the American Music Center, the Camargo Foundation, Meet the Composer, Trust for Mutual Understanding, and the National Endowment for the Arts. He has written chamber and orchestral works as well as three operas. He is recorded on the Albany Record label. As a long time Beatles fan, Martin was commissioned to provide the orchestral transcriptions heard on the Classical Mystery Tour show. 38 allegro
JIM OWEN (JOHN LENNON)
rhythm guitar, piano, vocals
Jim Owen was born and raised in Huntington Beach, California. He gained rich musical experience from his father who played music from the classics for him on the piano and from his extensive library of recordings by the great classical artists. Owen began studying piano at six and won honors in various piano performance competitions through his teenage years. He was eight years old when he first heard The Beatles and promptly decided to take up the study of the guitar. His first professional performance as a Beatle was at 16. Then, at age 18 he began touring internationally with various productions of Beatlemania, visiting Japan, Korea, China, Canada, Mexico, and much of South America. In 1996, Owen began working on his idea for a new show with orchestra. It has long been his dream to share with the public live performances of some of the greatest music ever written and recorded. Classical Mystery Tour is the result.
TONY KISHMAN (PAUL MCCARTNEY)
bass guitar, piano, vocals Singer-songwriter Tony Kishman was born in Tucson, Arizona where he began his musical career in the early 1970s. Although he had been playing guitar for a number of years, it was not until age 19 that Tony started performing seriously. Kishman’s early influences included Wishbone Ash, Bad Company and Peter Frampton. Between 1973 and 1978, he played guitar in the group Cheap Trix, a cover band performing Top 40 as well as originals. Starting in 1979, Kishman played bass and guitar for six years as Paul McCartney in both the national and international tours of Beatlemania. He then went on to perform in Legends in Concert and produced shows that ran in Las Vegas and Lake Tahoe. He joined the classic supergroup Wishbone Ash for a tour of Europe and the recording of the group’s 18th album.
TOM TEELEY (GEORGE HARRISON)
lead guitar, vocals
Tom Teeley has starred as George Harrison in both the Broadway production of Beatlemania as well as the film version. His vocal impersonations of numerous other rock icons have also been featured in many television ads as well as other Broadway productions. He has released solo works on the A&M record label, written songs for artists such as Alice Cooper, as well as touring the world as singer-guitarist for Joe Jackson, Marshall Crenshaw and many others. Tom still enjoys recreating the classic Beatles recordings in a live performance setting, most recently working in tandem with Geoff Emerick, the chief engineer for the Beatles at Abbey Road studios, as musical consultant and performer, in the British production Sessions at Abbey Road.
CHRIS CAMILLERI (RINGO STARR)
Born and raised in Long Island, New York, Chris Camilleri had a convenient drum teacher: his dad. He started listening to Beatles records at a young age, and for many years played drums and sang along
to the recordings. Gradually Chris gravitated to progressive rock bands, but retained a fondness for The Beatles and eventually formed the internationally-renowned Beatles cover band Liverpool, which still reunites to perform at the Fests For Beatles Fans (formerly Beatlefest). Chris has played drums for a variety of touring artists, including Peter Noone (of Herman’s Hermits fame), Badfinger, Micky Dolenz, Joe Walsh, and other Beatlesera bands. He became a good friend and musical associate to Harry Nilsson (who was a contemporary and close friend to all the individual Beatles). In addition to The Beatles, his musical influences include Jethro Tull, Genesis, ELP, and David Bowie. When not playing music, Chris has an active commercial and voice-over career. While he doesn’t have a favourite Beatles song in the Classical Mystery Tour show, Chris admits he favours the material that features the full orchestra. “It’s like playing in my living room at age 13 again – there’s the wonderful ‘pop’ music, but with this huge orchestral background, which is just as important to the tune as the band. It’s completely enlightening.” ■
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 Dr. Peter and Mrs. Stephanie Chung 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) Signe Jurcic 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. The Lecky Foundation Mrs. Irene McEwen George W. Norgan Fund, held at Vancouver Foundation Thomas and Lorraine Skidmore Anonymous (1) GIFTS FROM $10,000 TO $14,999 Larry and Sherrill Berg Gerhard and 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 McGrane-Pearson Endowment Fund Brian and Joan Mitchell Arthur H. Willms Family Gordon W. Young Anonymous (1) 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 The D & B Atkins Charitable Gift Fund Fred Boyd Brown Fund, held at Vancouver Foundation Eric and Alex Bretsen Etienne Bruson Ian and Frances Dowdeswell Elisabeth and David Finch Debra Finlay David Garofalo Cathy Grant Mr. and Mrs. Sam Gudewill Hillary Haggan Paula and Doug Hart 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 John S. McDonald
AJ and Jason McLean Monique Mercier Roy Millen and Ruth Webber Mirhady Family Fund, held at Vancouver Foundation André and Julie Molnar Fred R. Pletcher and Beverley G. Ellingson Vince and Noella Ready Joanne and Stanis Smith Mel and June Tanemura The Tuey Charitable Foundation Dean and Kelly Tweeddale Dr. Rosemary Wilkinson Anonymous (2) BENEFACTORS GIFTS FROM $3,500 TO $4,999 Ann Claire Angus Fund Count Enrico and Countess Aline Dobrzensky Jill and Matt Tipping Fei Wong Anonymous (1) GIFTS FROM $2,500 TO $3,499 Jeff and Keiko Alexander Anako Foundation Nicholas Asimakopulos The Ken Birdsall Fund Dallas Brodie Dr. and Mrs. J. Deen Brosnan Marnie Carter Eva and Doug Christopher Edward Colin and Alanna Nadeau Dave Cunningham and Katarina Osterlind Jean Donaldson Rafael and Miryam Filosof Ms. Judy Garner David and Julia Hodder
For more information about the PATRONS' CIRCLE and exclusive benefits associated with this program, please contact Mary Butterfield, Director, Individual & Legacy Giving at x238 or email firstname.lastname@example.org 40 604.684.9100 allegro
Heather Holmes Olga Ilich Herbert Jenkin Gordon and Kelly Johnson Don and Lou Laishley Bill and Risa Levine Violet Macdonald Dr. and Mrs. Nizar R. Makan M. Lois Milsom Joan Morris in loving memory of Dr. Hugh C. Morris Christine Nicolas Dr. Robert S. Rothwell Mr. Ken and Mrs. Patricia Shields Wallace and Gloria Shoemay Mrs. Mary Anne Sigal Arthur Toft in memory of Fred and Minnie Toft Mr. and Mrs. David H. Trischuk Denis Walker Michael Williams Dr. and Mrs. Edward Yeung Mrs. Guoxiang Zhou PATRONS GIFTS FROM $2,000 TO $2,499 P. Carnsew and D. Janzen Leslie Cliff and Mark Tindle Anne and Douglas Courtemanche Dolores de Paiva 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 Mr. and Mrs. Herbert Menten George Pick and Santi Pelaez Jan and Ken Rea Maurice and Vi Roden Bella Tata Anonymous (4) GIFTS OF $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 and 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
in making music
YO-YO MA with VSOSoM Sinfonietta
Anna and Alan Gove John Hooge Marietta Hurst Michael and Estelle Jacobson Sharon Jeroski Amy Jiang Uri and Naomi Kolet Harold and Jenny Locke Harvey Loen and Lois Binder In tribute of late Johnny Loh Hank and Andrea Luck Nancy Morrison Mr. Cleveland Mullings Dal Richards Foundation, held at Vancouver Foundation Dr. William H. and Ruthie Ross Bernard Rowe and Annette Stark 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 and Linda Verbeek G. S. Webster James and Veronica Weinkam Dr. Brian Willoughby Eric and Shirley Wilson Dr. I. D. Woodhouse Nancy Wu Anonymous (3)
Take part in joyful learning and playing opportunities for ALL ages and abilities at the VSO School of Music.
LANG LANG with VSOSoM Pianists
• Classical, Jazz and World music • Private Lessons, group classes, ensembles and lecture series • Acclaimed faculty including members of the VSO
604.915.9300 allegro 41
CONCERT PROGRAM AIR CANADA MASTERWORKS DIAMOND | ORPHEUM, 8PM
SATURDAY & MONDAY, FEBRUARY 3 & 5
Perry So conductor Alexandra Soumm violin
JOCELYN MORLOCK Earthfall PERRY SO
LALO Symphonie espagnole, Op. 21
I. Allegro non troppo II. Scherzando: Allegro molto III. Intermezzo: Allegretto non troppo IV. Andante V. Rondo: Allegro
I N T E R M ISSI O N
SCHUMANN Symphony No. 4 in D minor, Op. 120 PRE-CONCERT TALKS Free to ticketholders, 7:05pm to 7:30pm, in the auditorium.
I. Ziemlich langsam – Lebhaft II. Romanze: Ziemlich langsam III. Scherzo: Lebhaft IV. Langsam – Lebhaft
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PERRY SO conductor In the 2017-18 Season, conductor Perry So returns to the Orquesta Sinfónica del Principado de Asturias as the orchestra's Artistic Partner. He makes his European operatic debut at the Royal Danish Opera in Die Zauberflöte, opens the season at the Orquesta Sinfónica de Tenerife, and debuts with the Szczecin Philharmonic and the Nürnberger Symphoniker, which he will lead on tour to Milan. Other highlights include a return to the Vancouver Symphony, and a four-program festival with the Cape Town Philharmonic. Recent debuts include the Cleveland and Minnesota Orchestras, Houston, Detroit, New Jersey, Israel and Shanghai Symphony Orchestras, the China Philharmonic, and the Residentie Orkest in the Hague. He has been a frequent guest both at Walt Disney Hall and the Hollywood Bowl following his stint as an inaugural Dudamel Conducting Fellow of the Los Angeles Philharmonic. He led the Hong Kong Philharmonic with Lang Lang in an internationally televised celebration of the 15th Anniversary of Hong Kong's return to China at the close of his four years as Assistant, then Associate Conductor. He toured the Balkan Peninsula with the Zagreb Philharmonic in the first series of cultural exchanges established after the breakup of Yugoslavia.
ALEXANDRA SOUMM violin French violinist Alexandra Soumm is a multi-faceted artist who is equally at home in concerto and chamber repertoire. Highlights of the 2017-2018 season include debuts with Vancouver Symphony Orchestra, Orchestre Français des Jeunes, and Bruckner Orchester Linz, and returns to the BBC Scottish Symphony, Orquesta Sinfonica de Galicia, BBC Symphony Orchestra, and Bournemouth Symphony Orchestra. Alexandra’s strongest ties are to France and England where she has ongoing relationships with many leading orchestras including Paris, Toulouse, Bordeaux, Lyon, Montpellier, and most of the BBC ensembles with whom she worked as former BBC 3 New Generation Artist 44 allegro
and London Music Masters Awardee. Born in Moscow, Alexandra started to learn the violin at the age of five and gave her first concert two years later. She later moved to Vienna to study with the renowned pedagogue Boris Kuschnir and won the Eurovision Competition in 2004. Now based in Paris, she, along with two friends, founded the non-profit organization Esperanz’Arts, whose goal is making the Arts in all its forms accessible to people in schools, hospitals, prisons and homeless shelters.
b. St. Boniface, Manitoba / December 14, 1969
“...insidiously pulsing, slightly creepy piece originates in cumulative textures...” Recently I've been experimenting with large-scale mosaic textures in my orchestral writing. In Earthfall, I have tried using them as both a source of momentum, and of stability. This insidiously pulsing, slightly creepy piece originates in cumulative textures built up from relatively simple, metrically stable materials. Later the textures become more gnarled, registrally extreme, and rhythmically complex, wreaking vociferous havoc on the stable structures that were first created. After some tense moments, Earthfall ultimately settles itself, and steals off to a relatively peaceful conclusion. Program Notes © 2018 Jocelyn Morlock
b. Lille, France / January 27, 1823 d. Paris, France / April 22, 1892
Symphonie espagnole, Op. 21 Lalo belongs to that group of composers who are known by a single work. In his case it is the colourful and melodious showpiece for violin and orchestra that will be performed at these concerts. If you enjoy it, you might also appreciate his ballet Namouna and his opera Le Roi d’Ys (The King of Ys).
His talent bloomed late, resulting in his winning acclaim only in the final 20 years of his life. This was due above all to French musical tastes of the era, which favoured lightness and grace over substance. A serious, high-minded fellow such as Lalo was bound to get the cold shoulder from listeners, critics and fellow composers with an outlook such as this. Indifference to his music was so strong and prolonged that he actually gave up composing for a number of years. A supportive marriage buoyed his spirits and rekindled his muse.
“...a violin solo soaring above the rigid form of an old symphony...” The folk music idioms of foreign lands held strong appeal for Lalo. His catalogue includes a Concerto russe (Russian Concerto) for violin, and a Rapsodie norvégienne (Norwegian Rhapsody) for orchestra. Spain also drew his attention, not surprisingly since he, like his younger fellow Frenchman, Maurice Ravel, traced his ancestry to that country. The Symphonie espagnole (Spanish Symphony) has a further Spanish connection. In 1872, the artistry of Spanish violin virtuoso Pablo de Sarasate (who had lived in Paris since the age of 11) inspired Lalo to create his Violin Concerto, one of his first popular successes. Their collaboration continued the following year with the Symphonie espagnole. Lalo was quite sure that he wanted to call it a symphony, instead of a concerto. “I kept the title,” he wrote, “first because it conveyed my thought – that is to say, a violin solo soaring above the rigid form of an old symphony – and then because the title was less banal than those proposed to me. The cries and criticisms have died or will die down; the title will remain.” As further evidence of his intentions, Lalo initially gave his piece four movements instead of the three which had long been typical for a concerto. He later added a fifth section, Intermezzo. Be it symphony, concerto or suite, Symphonie espagnole is enchanting music.
The first movement is the most serious and substantial of the five. The remaining sections offer a sampling of Spanish songs and dances: playful, passionate, tender and witty, respectively. A luscious episode in the style of a habanera serves as the central episode in the finale.
b. Zwickau, Germany / June 8, 1810 d. Endenich, Germany / July 29, 1856
Symphony No. 4 in D minor, Op. 120 Schumann’s career spanned the early heyday of Romanticism, with its increased expression of emotion through music, and its search for new ways to do so. He and many of his contemporaries continued to compose symphonies, for example, but each of them also helped expand the horizons of what a symphony could express, and how it might achieve that goal. Hungarian composer Franz Liszt took extreme steps along this path of experimentation. He developed the symphonic poem, a form of music inspired by extra-musical concepts. In order to increase its cohesiveness and flow, a symphonic poem is based upon the transformation and interrelation of a handful of themes.
“...each of them also helped expand the horizons of what a symphony could express...” Schumann’s most extreme use of Liszt’s method came in Symphony No. 4. He completed the original version in 1841, just two months after the première of Symphony No. 1 (the “Spring” Symphony). As with one of Liszt’s symphonic poems, he based it on a small group of themes, and he intended to have it performed as a continuous whole. He retreated from that approach, instructing that only the last two movements be played without interruption. The indifferent response to the première led him to shelve the piece.
“The ensuing romance offers strong, lyrical contrast, dotted with expressive passages...” Following the successful launch of Symphony No. 3 (“Rhenish”) in February 1851, he felt confident enough to perform a “rescue mission” on the Symphony in D minor. His revisions included changes in orchestration and a strengthening of the interrelationships between themes. He also decided to carry through on his original intention, directing that all four movements be played without breaks between them. He also settled on calling it Symphony No. 4.
Virtually all the materials for the entire work appear in the slow, unsettled introduction to the first movement. An urgent allegro follows. The ensuing romance offers strong, lyrical contrast, dotted with expressive passages featuring oboe, cello and violin. The scherzo is a rustic, strongly rhythmic affair. The uncertain mood of the following bridge passage is firmly resolved by the arrival of the exuberant finale. ■ Program Notes © 2018 Don Anderson
An intoxicating brew of R&B, gospel, jazz, and pop!
TAKE 6 in Concert
April 6 | 8pm Queen elizabeth theatre, VanCouVer ticketstonight.ca | 1.877.840.0457
CONCERT PROGRAM TEA & TRUMPETS | ORPHEUM, 2PM
THURSDAY, FEBRUARY 8 MUSICAL LEGENDS AND FAIRY TALES
William Rowson conductor Christopher Gaze host Singers from UBC Opera Ensemble: Nancy Hermiston director Elizabeth Harris soprano Yenny Lee soprano Ivy Calvert soprano ROSSINI La Cenerentola: Overture HUMPERDINCK Hansel & Gretel: Evening Prayer & Dream Pantomime
RAVEL Mother Goose Suite OFFENBACH Tales of Hoffman: Barcarolle OFFENBACH
Tales of Hoffman: Olympia’s Doll Song
A Midsummer Night’s Dream: Nocturne
TEA & COOKIES Served in the lobby one hour before each concert. Tea compliments of Tetley Tea.
VISIT THE SYMPHONY GIFT SHOP FOR CD SELECTIONS allegro 47
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 completed his first season as the Assistant Conductor of the Vancouver Symphony Orchestra. Bill grew up in a musical family, starting the violin at age 3 in his hometown of Saskatoon. He began the study of conducting at the Curtis Institute of Music and since then, has been a frequent guest of many of Canada’s leading ensembles. In the 2016/17 season Rowson led the VSO in 45 performances as well as guest conducting appearances with the Hamilton Philharmonic Orchestra and Stratford Symphony Orchestra. Also an accomplished composer, the Toronto Symphony Orchestra performed the world première of his Fanfare-A Sesquie for Canada’s 150th to critical acclaim. His film score for the feature length film Big Muddy has been showcased at the Toronto International Film Festival.
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 their annual traditional Christmas concerts for 25 years. 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 fueled its growth into one of the largest professional theatre companies in Canada, drawing more than 1.7 million patrons since its inception in 1990. His many honours include Canada’s Meritorious Service Medal, Honorary Doctorates from UBC & SFU, the Mayor’s Arts Award for Theatre and the Order of British Columbia.
UBC OPERA ENSEMBLE
UBC OPERA ENSEMBLE The University of British Columbia Opera Ensemble was founded by Canadian lyric coloratura Nancy Hermiston in 1995. Beginning with a core of seven performers, Miss Hermiston has built the program to a 90-member company, performing three main productions at UBC every season, seven Opera Tea Concerts, and several engagements with local community partners. The Ensemble’s mission is to educate young, gifted opera singers, preparing them for international careers. The Ensemble's 2017/18 Season comprises productions of Gluck’s Orpheo ed Euridice (November 2-5), Rossini’s La Cenerentola (February 1-4) and Puccini’s Il tabarro/Gianni Schicchi (June 21-24). In celebration of UBC’s Centennial, The Ensemble presented concerts in China, Czech Republic and Germany. In recent years, the UBC Opera Ensemble has been involved in several collaborations with the Vancouver Symphony Orchestra under Maestro Bramwell Tovey, as well as the VSO’s guest conductors. Many of its young soloists have been featured guests for cameo appearances in concerts, and the organization appreciates its frequent performances opportunities with the VSO. ■
CONCERT PROGRAM LONDON DRUGS VSO POPS | ORPHEUM, 8PM
FRIDAY & SATURDAY, FEBRUARY 9 & 10 A ROMANTIC POPS VALENTINE William Rowson conductor Jon Nakamatsu piano Robyn Driedger-Klassen soprano Frédérik Robert tenor MASCAGNI
Cavalleria Rusticana: Intermezzo
Gianni Schicchi: O mio babbino caro
PUCCINI Tosca: E lucevan le stele (Act 3) MASSENET Manon: Toi! Vous!...”Oui…C’est moi! GERSHWIN Rhapsody in Blue I N T E R M ISSI O N
BIZET Carmen Suite No. 1:
Prelude & Aragonaise Intermezzo Seguedille Les Toréadors
STRAUSS Morgen GOUNOD
Romeo and Juliet: Ah! Je veux vivre
VERDI La Traviata: Parigi, O cara BERNSTEIN/MASON
West Side Story: Selections
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VSO POPS RADIO SPONSOR
and The Juilliard School. Mr. Nakamatsu studied privately with Marina Derryberry and has worked with Karl Ulrich Schnabel, son of the great pianist Artur Schnabel. He is a graduate of Stanford University with a bachelor's degree in German Studies and a master's degree in Education.
soprano FRÉDÉRIK ROBERT
WILLIAM ROWSON conductor
Please refer to page 49 for a biography of Maestro Rowson.
JON NAKAMATSU piano
American pianist Jon Nakamatsu continues to draw unanimous praise as a true aristocrat of the keyboard, whose playing combines elegance, clarity, and electrifying power. A native of California, Mr. Nakamatsu came to international attention in 1997 when he was named Gold Medalist of the Tenth Van Cliburn International Piano Competition, the only American to have achieved this distinction since 1981. Mr. Nakamatsu records exclusively for harmonia mundi usa, which has released thirteen CDs to date. His all-Gershwin recording with Jeff Tyzik and the Rochester Philharmonic featuring Rhapsody in Blue and the Concerto in F rose to number three on Billboard's classical music charts, earning extraordinary critical praise. Since 1997, Mr. Nakamatsu has served on multiple international piano competition juries and has also been invited as a guest speaker at numerous institutions including the Van Cliburn Foundation, Stanford University
Please refer to page 23 for a biography of Ms. Driedger-Klassen.
FRÉDÉRIK ROBERT tenor
Vancouver French Canadian tenor Frédérik Robert is quickly becoming one of Canada's most promising young tenors. With his warm full-bodied tenor sound he has performed roles with Vancouver Opera, Calgary Opera, Edmonton Opera and Saskatoon Opera companies. He has been contracted in concert work with the Winnipeg Symphony, Regina Symphony, and National Arts Center Orchestra. Frédérik spent five years as a member of both the Canadian Tenors & Romanza "L'arte del tenore" where he sang over 200 performances across North America. Mr. Robert has also performed with The Arts Club (Tony Candolino in Masterclass by Terrence McNally) and BC Living Arts (Lead Man in Marry Me a Little by Stephen Sondheim) and Ed in the world première of Dragging Piaf (a live performance of Edith Piaf songs with a film starring Frédérik). Whether he is singing opera, musical theater or cabaret, Frédérik is a versatile and heartfelt vocalist. Mr. Robert currently studies with the legendary soprano and voice teacher Virginia Zeani. ■
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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
Marion Poliakoff Diane Ronan Louis & Rhona Rosen Bernard Rowe & Annette Stark Vicki Roubicek 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 Lisa Tucker Tuey Family Trust Robert & Carol Tulk David & Ruth Turnbull Ruth Warren Beryl Wilson Tessa Wilson Kelley Wong Bob Wood in memory of my parents, John & Hazel Wood Anonymous (4)
The Vancouver Symphony has received bequests since 2000 from the following individuals for which we extend our sincere gratitude.
Bequests to the Vancouver Symphony Foundation $500,000 or more Taryn Brodie Jim and Edith le Nobel Kathleen Margaret Mann $100,000 or more Brian William Dunlop Steve Floris Howard and Jean Mann John Rand Hermann and Erika Stölting $50,000 or more Winslow Bennett Margaret Jean Paquin Josephine Norah Reid Rachel Tancred Rout Winnifred Searle Mary Flavelle Stewart $25,000 or more Dorothy Freda Bailey Phyllis Celia Fisher Margot Lynn McKenzie $10,000 or more Cecilia & Bruce Carter Muriel Kathleen Don The Kitty Heller Alter Ego Trust Dorothy Elizabeth Hilton Anna Ruth Leith Kaye Leaney $5,000 or more Anne de Barrett Allwork Anne Claire Angus Clarice Marjory Bankes
James Harcott W. Neil Harcourt in memory of Frank N. Harcourt John Hooge 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 Myrna Elizabeth McRae Piet Meyerhof Paul Richard Moritz Barbara Morris Martin O’Connor Liisa O’Hara Sue M. Okuda Josephine Pegler Eleanor Phillips
Lawrence M. Carlson Muriel F. Gilchrist J. Stuart Keate Gerald Nordheimer Audrey M. Piggot Elisabeth Schipizky Ronald Albert Timmis Mary Isabel Whyte Jan Wolf Wynand $1,000 or more Eleanor Doke Caldwell Jean Ethel Holler Bernard Van Snellenberg Bequests to the Vancouver Symphony Society $250,000 or more Ruth Ellen Baldwin $100,000 or more Reta Alden Dorothy Jane Boyce Roy Joseph Fietsch Hector MacKay 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 Heather Gillis Alfred Knowles Gordon McConkey Evelyn Ann van der Veen Joan Marion Wasson $1,000 or more Phyllis Victoria Ethel Bailly Joyce Basham Adele Wulsin Bennett Doris May Bond Kathleen Mary DeClerq Betty Dunhaver Jean Haszard Grace Barbara Isobel Hooper Lewis Wilkinson Hunter Marjorie Lucille Keddy Annie Velma Pickell Jean Semple Kathleen Stemshorn Wilhelmina Stobie Marion Kathleen Laurette Whyte
For further information on leaving a LEGACY gift to the VSO please contact Mary Butterfield, Director, Individual & Legacy Giving at 604.684.9100 x238 or email email@example.com
CONCERT PROGRAM ORIGINO KIDS' KONCERTS | ORPHEUM, 2PM
SUNDAY, FEBRUARY 11
William Rowson conductor Platypus Theatre
PROKOFIEV Symphony No. 1 (4th movement)
Conceived by Peter Duschenes and Lisa Griffiths Written and directed by Peter Duschenes Mask design and creation Almut Ellinghaus Set and Costume Design Sarah Waghorn,
“In the Hall of the Mountain King” from Peer Gynt Suite No. 1
Julia Holbert and Glynis Bateson
Platypus Theatre wants to hear from you! Leave a comment at platypustheatre.com or follow us on Twitter or YouTube.
"Traumerei" from Kinderszenen
Flight of the Bumblebee BEETHOVEN Prometheus Overture PROKOFIEV Peter and the Wolf
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
PREMIER EDUCATION PARTNER
ORIGINALLY CREATED IN COLLABORATION WITH THE TORONTO SYMPHONY ORCHESTRA.
WILLIAM ROWSON conductor Please refer to page 49 for a biography of Maestro Rowson.
PLATYPUS THEATRE Since 1989, almost one million young audience members have been introduced to classical music through Platypus Theatre. After more than 500 performances with more than 60 orchestras worldwide, Platypus has established itself as one of North America’s première music education theatre companies. Original and engaging storylines are presented in an intelligent and interactive way, with music always taking the lead role. Children laugh, sing and empathize with the characters while learning musical concepts, styles, and much more. In 2006, one of Platypus’ most cherished productions How the Gimquat Found her Song was produced for TV and went on to win several awards including Best Children’s Program at the prestigious Banff World Television Festival. In 1991, Platypus was the subject of a nationally broadcast documentary on CTV, followed by a PBS full-performance broadcast in 2000. During its 25th anniversary year, Platypus will premiere its eighth original production, Latin Beats, Heroic Feats, in partnership with four orchestras across Canada. Other Platypus Productions include Emily Saves the Orchestra, Rhythm in your Rubbish, Bach to 56 allegro
the Future, Charlotte and the Music-Maker, Flicker of Light on a Winter’s Night, and Peter and the Wolf.
writer, director, actor
Thousands of young classical music fans have Peter to thank for introducing them to symphonic music. He cofounded the Platypus Theatre touring company in 1989 to make orchestral music accessible for youth, and more than half a million concertgoers have benefitted from his creativity. As an award-winning playwright, Peter’s writing credits include—among others—all eight Platypus productions, the television adaptation of How the Gimquat Found Her Song which won Best Children’s Program at the prestigious Banff World Television Festival in 2008. In addition to his roles in Platypus shows, he has also acted and directed with companies across Canada and the United States and is a recent recipient of a Chalmer’s Fellowship from the Ontario Arts Council. When Peter isn’t busy helping the Gimquat find her song, he and his wife Sarah are helping their children, Magda and Theo, find their socks.
AMELIA GRIFFIN dancer Amelia is one of the more graceful platypuses in the puddle, although she plays one of the most fearsome characters:
around Ottawa, including at the National Arts Centre in Ottawa. She is also a certified Ashtanga Yoga instructor, and Yoga Therapist.
MÉLISSA ROY dancer
THE MONSTER, Cacopholous, (and Timpy and Melody) in Emily Saves the Orchestra, as well as the Bird, Duck, Cat, Custodian, and the big bad Wolf in Peter and the Wolf. One of her favourite memories is seeing a young boy post-show, introducing herself as the monster, and seeing the look of amazement and confusion pass over his face. Outside of her work with Platypus touring company, Amelia dances professionally for Dorsale Danse, Tara Luz Danse, Théatre Dérives Urbaines, and Propeller Dance, and regularly presents her own choreographic work
Mélissa is the most recent platypus to enter the puddle. She mostly plays Peter in Platypus Theatre’s newest production Peter and the Wolf, but is also sometimes a cop or a cat or a bird. There are a lot of crazy costume changes in that show. Since graduating from the professional contemporary dance program at the School of Dance in 2010, she has developed her craft as a dancer and choreographer with a number of prominent companies in Montréal, Québec and Ottawa, Ontario. In Peter and the Wolf, her favourite part is the duet between Peter and his duck. The kids in the audience always burst out laughing, and it reminds her why she loves to dance. Mélissa is also a certified Body Harmonics Pilates teacher. ■
CONCERT PROGRAM CLASSICAL TRADITIONS | CHAN CENTRE FOR THE PERFORMING ARTS, 8PM
FRIDAY & SATURDAY, FEBRUARY 16 & 17
David Danzmayr conductor Stephen Hough piano
JOCELYN MORLOCK Solace BEETHOVEN Piano Concerto No. 4 in G Major, Op. 58
I. Allegro moderato II. Andante con moto III. Rondo: Vivace
I N T E R M ISSI O N
BEETHOVEN Symphony No. 6
in F Major, Op. 68 Pastoral
I. Allegro ma non troppo (Awakening of Happy Feelings upon Arriving in the Country) II. Andante molto mosso (Scene by the Brook) III. Allegro (Merry Gathering of Country Folk) IV. Allegro (Thunderstorm) V. Allegretto (Shepherd’s Song; Happy, Thankful Feelings Following the Storm)
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.
GUEST ARTIST: PIANO SOLOIST IS MADE POSSIBLE WITH A GENEROUS GIFT BY GERALD AND SHEAHAN MCGAVIN
DAVID DANZMAYR conductor
David Danzmayr is Chief Conductor of the Zagreb Philharmonic Orchestra. Last season, he led the orchestra in a highly successful tour to the Salzburg Festspielhaus where they performed the prestigious New Year’s concert and were immediately re-invited to perform in future seasons. In the US, David is Music Director of the ProMusica Chamber Orchestra, where his contract was recently extended, as well as the Artistic Advisor of the Breckenridge Music Festival. David has won prizes at some of the world´s most prestigious conducting competitions, including the International Gustav Mahler Conducting Competition and the International Malko Conducting Competition. For his extraordinary success, he has been awarded the Bernhard Paumgartner Medal by the Internationale Stiftung Mozarteum. David frequently appears in the world´s major concert halls, such as the Musikverein and Konzerthaus in Vienna, Grosses Festspielhaus Salzburg, Usher Hall Edinburgh and the Symphony Hall in Chicago. David Danzmayr received his musical training at the University Mozarteum in Salzburg where, after initially studying piano, he went on to study conducting in the class of Dennis Russell Davies. He finished his studies with the highest honours.
STEPHEN HOUGH piano
Stephen Hough is regarded as a renaissance man of his time. Over the course of his career he has distinguished himself as a true polymath, not only securing a reputation as a uniquely insightful concert pianist, but also as a writer and composer. Mr. Hough is commended for his mastery of the instrument along with an individual and inquisitive mind which has earned him a multitude of prestigious awards and a long-standing international following. Highlights of Mr. Hough’s 17/18 season include re-engagements with the Detroit, Dallas, Vancouver, Baltimore, New Jersey and Utah symphonies. Internationally, he appears with the Seoul Philharmonic and the Singapore Symphony in Asia; makes his annual appearance at the BBC Proms; plays a Beethoven cycle with the Royal Liverpool Philharmonic Orchestra; and returns in recital 60 allegro
to London’s Royal Festival Hall with additional recitals in Paris at the Louvre and in Milan and Naples. Mr. Hough resides in London where he is a visiting professor at the Royal Academy of Music and holds the International Chair of Piano Studies at his alma mater, the Royal Northern College in Manchester. He is also a member of the faculty at The Juilliard School.
b. St. Boniface, Manitoba / December 14, 1969
Solace The composer has provided the following note. In my first year of university, I heard all kinds of music that I’d never known existed. It was thrilling, like seeing a new colour for the first time. In particular, the profound joy and beauty of Josquin’s Missa L’Homme Armé inspired me to write Solace. Unlike most string orchestra works, Solace requires the group to be divided into three smaller sub-ensembles: 1. The “early music” ensemble, consisting of two violins, two violas, cello and double bass, playing music that is partially derived from the Agnus Dei of Josquin’s Missa L’Homme Armé (sexti toni). 2. The more ethereal-sounding group of five violins, positioned above the rest of the ensemble, playing very long, slow harmonics. 3. The violin and cello soloists, whose music is a response to that of the “early music” ensemble.
LUDWIG VAN BEETHOVEN
b. Bonn, Germany / baptized December 17, 1770 d. Vienna, Austria / March 26, 1827
Piano Concerto No. 4 in G Major, Op. 58 Beethoven created this lovely piece from 1805 to 1806. This astonishingly fertile period also produced the Fourth Symphony and the Violin Concerto, pieces which share the piano concerto’s contented nature. As he had done with his three previous piano concertos, he played the first performance himself, in March 1807, before an aristocratic audience in the Vienna home of his friend
Prince Lobkowitz. Listeners responded with only polite applause, and the public debut proved even less successful. It was only when no less a piano soloist than Felix Mendelssohn took it up during the 1830s, that it finally began to find a place for itself in the standard repertoire. Its very beginning is one of its most arresting features. The piano, rather than the orchestra has the first word, and it enters not with crashing chords (that type of salvo would have to wait for the “Emperor” Concerto, No. 5), but with simple, gentle phrases. The effect is magical, establishing the opening movement’s tranquil mood with one brief, telling stroke. The brief second movement is another gem. It has been compared with the mythological character of Orpheus taming the wild beasts with his lyre. The orchestra’s lower strings begin the conversation, gruffly. The piano responds with soothing caresses. The orchestra’s protestations gradually lose steam until the soloist delivers such an impassioned plea for conciliation that the orchestra can only capitulate, meekly. The concluding, high-spirited rondo follows on without a break. It is the most conventional part of the concerto, but Beethoven still peppered it with enough individual touches of humour and instrumental colour (introducing trumpets and timpani into the concerto for the first time) to ensure it is worthy of the preceding movements.
LUDWIG VAN BEETHOVEN
Symphony No. 6 in F Major, Op. 68 Pastoral
Beethoven’s friends and biographers have left ample evidence of his deep love of nature. When residing in Vienna, hardly a day passed that he didn’t take a long walk through the woods and fields surrounding the city, drinking in the sights and sounds of the countryside. He found that setting ideal for thinking through whatever piece he was composing – and shouting it out at the top of his lungs! The main musical manifestation of this love is his Sixth Symphony. He began sketching it as early as 1802, but he only buckled down to concentrated effort between 1807
and 1808. The premiere took place, along with that of Symphony No. 5, at a marathon all-Beethoven concert in Vienna at the close of the latter year. He thought of it this way: “Pastoral Symphony, in which is expressed not tone-painting, but feelings that are awakened by one’s enjoyment of the country; in this work some impressions of country life are portrayed.” His sketchbook for the final period of the symphony’s composition contain such further musings on this subject as “leave the listeners to work out the situations for themselves,” and “all tone-painting will lose its effect in instrumental music if pushed too far.” The suggestive movement titles, and most importantly the music itself, are all that listeners need to summon up whatever impressions of country life they may see fit. The first movement, Awakening of Cheerful Thoughts Upon Arriving in the Country, proceeds at a leisurely pace; even its climaxes are restrained. The following Scene by the Brook unfolds with aptly flowing grace. At the very end, Beethoven has woodwinds imitate specific birds: flute, nightingale; oboe, quail; clarinet, cuckoo. The remaining three movements are played without pauses between them. For his scherzo, Merry Gathering of Country Folk, Beethoven summoned a band of rustics for a cheerful group of dances. A vivid thunderstorm intrudes violently, but the symphony’s opening mood of serenity is restored by the final, uplifting Shepherds’ Song of Thanksgiving. “The entire finale seems an ecstatic hymn of thanks to some pantheistic god, to nature with a capital ‘N,’ to whatever beneficent power one can perceive in a universe that seemed as dark and terrifyingly irrational in Beethoven’s days as it can in ours,” wrote musicologist Edward Downes. “That a man of sorrow and self-inflicted injuries like Beethoven could glimpse such glory and, by the incomprehensible alchemy of his art, lift us to share his vision – even if only for a few moments – is a miracle that remains as fresh as tomorrow’s sunrise.” ■ Program Notes © 2018 Don Anderson
CONCERT PROGRAM VANCOUVER SUN SYMPHONY AT THE ANNEX | ANNEX, DOWNTOWN VANCOUVER, 7:30PM
SATURDAY, FEBRUARY 17 plum(b)
WILLIAM ROWSON conductor Please refer to page 49 for a biography of Maestro Rowson.
William Rowson conductor Sophie Dansereau contrabassoon
JOCELYN MORLOCK I Love Paul Klee (World Première version for Chamber Ensemble) JEFFREY RYAN Plumb* (World Première Chamber Concerto for Contrabassoon) I N T E R M ISSI O N
EUGENE ASTAPOV Hear My Voice CHRISTOPHER MAYO
Clean Room Design: sous les mers
NICO MUHLY By All Means
Born in Sorel-Tracy, Sophie Dansereau obtained the "Prix avec Grande Distinction à l'unanimité" in bassoon and chamber music from the Conservatoire de Musique du Québec as well as a Masters of Music from Yale University. Her main teachers are Richard Gagnon, Frank Morelli, Christopher Millard and Stéphane Lévesque. Contrabassoonist and assistant principal bassoonist of the Vancouver Symphony, Sophie has performed with the Auckland Philharmonic (New Zealand), the New World Symphony, the National Art Centre and l'Orchestre Symphonique de Québec, as well as several major music festivals around the world. A sought-after bassoonist in chamber music, she is a member of the Admare Quintet. Sophie, who had received the Governor General Medal for Academic Merit in 1992, has also served on the faculty of the University of British Columbia. She is now teaching at the Vancouver Academy of Music, the VSO School of Music and has her private studio. She is also a piano coach for her daughter Gabrielle, and Sophie is expanding her knowledge in learning a new instrument, the cello, through the first book of cello preparatory class for her youngest daughter Emma. ■
VISIT THE SYMPHONY GIFT SHOP FOR CD SELECTIONS SYMPHONY AT THE ANNEX SERIES SPONSOR
FINANCIAL SUPPORT FOR THE ANNEX SERIES PROVIDED BY
RYAN’S PLUMB WAS * JEFFREY COMMISSIONED WITH THE GENEROUS SUPPORT OF THE BRITISH COLUMBIA ARTS COUNCIL
PROGRAM NOTES Plum(b), presents music that explores depths of pitch, hue, and even time past. On Saturday, February 17, 2018, we present Plum(b), a concert exploring various associations of both “plum” (colour/visual associations) and “plumb” (depths of pitch and of time past). Jocelyn Morlock’s I Love Paul Klee (WP) engages with the colouristic aspect of plum(b). The paintings she references, Twittering Machine and She Bellows, We Play, are replete with gentle purples and blues, whimsical but disturbing subjects in clearly-drawn outlines. Morlocks’s music is similarly playful yet menacing—layers of comforting harmony are prodded by jagged, piercing sonorities.
“...a concert exploring various associations of both “plum” (colour/visual associations) and “plumb” (depths of pitch and of time past).” Eugene Astapov’s Hear My Voice incorporates one of the earliest-known sound recordings, dating from 1884. Alexander Graham Bell’s ghostly voice, echoing amid the live sounds of instruments hundreds of years older than any recording, creates a fascinating meditation on the speed of technological/societal change. Christopher Mayo’s Clean Room Design: sous les mers began from a sound clip of an adaptation of Jules Verne’s 1869 novel, Twenty Thousand Leagues Under the Sea. Mayo renders the original source inaudible but the conceptual connection to an adventurer, deep in the ocean and 150 years in the past, remains. Looking further back in time, Nico Muhly’s By All Means is ostensibly based on Webern, but more audibly quotes Thomas Weelkes (1576-1623). By All Means creates a soundworld that traverses time. Drawing threads of visual and temporal association together is Jeffrey Ryan’s Plumb (WP), featuring VSO contrabassoonist Sophie Dansereau. Taking as inspiration the “plumb 64 allegro
line” works of Canadian painter Jean McEwen, Ryan’s music focuses on striking, rich colouration, and multiple layers in a precise structure.
b. St. Boniface, Manitoba / December 14, 1969
I Love Paul Klee (World Première version for Chamber Ensemble) JUNO®-nominated composer Jocelyn Morlock's music is hailed as "airy but rhythmic, tuneful but complex" and with "uncanny yet toothsome beauty" (Georgia Straight) Her music is recorded on 22 CDs including newly-released Halcyon, and Cobalt, whose title track won the 2015 Western Canadian Music Award for Best Classical Composition. jocelynmorlock.com The title of I Love Paul Klee (2017) is the absolute truth – Paul Klee is my favourite painter. His work is by turns innocently joyful, manic, menacing, and humorous. It makes me happy just to look at Twittering Machine and She Bellows, We Play, and what better excuse to look at them than to write music inspired by them?
Composer Laureate of the Vancouver Symphony Orchestra b. Toronto, Ontario / 1962
Plumb (World Première Chamber Concerto for Contrabassoon) Praised for his “strong personal voice” (Globe and Mail) and “masterful command of instrumental colour” (Georgia Straight), Vancouver-based composer Jeffrey Ryan’s music has been heard around the world, garnering awards and recognition including four JUNO® nominations and SOCAN’s 2014 Jan Matejcek New Classical Music Award for career achievement. jeffreyryan.com
“Though music is sound, my job is visual—representing that sound on the page...” The composer writes, “Though music is sound, my job is visual—representing that sound on the page—so it is no surprise that
I am often inspired by visual art. Plumb (2017) takes its title from the “plumb line” paintings of Jean McEwen (1923-1999, Montréal). McEwen’s vibrant large-scale works are richly coloured by many layers of paint, with a strong relationship to visual rhythm and shape. My music, too, is composed and coloured in layers, within a carefully structured framework. McEwen’s trademark use of bold vertical lines defines and gives depth to the visual space. Like a plumb line, Plumb drops to the lowest registers where the contrabassoon lives while “plumbing the depths” musically, emotionally and dramatically.”
b. Kerch, Crimea / August 4, 1988
Hear My Voice Acclaimed by The New York Times for the 'richness of his harmony', composer Eugene Astapov is a graduate of The Juilliard School. Eugene has worked with many major Canadian ensembles including the Toronto Symphony, Vancouver Symphony, Victoria Symphony, Esprit Orchestra, and l'Orchestre de la Francophonie Canadienne among others. astapovmusic.com
b. Toronto, Ontario / October 20, 1980
Clean Room Design: sous les mers Christopher Mayo is a Toronto-based composer of orchestral, chamber, vocal and electronic music. His work, variously described as “cogent, haunting and… desperately poignant” (The Times) and “a steampunk collection of gnarly machinelike noises, flashy timbres, and explosive rhythms” (Classical Voice North America), is characterized by its distinctive rhythmic language and wide range of diverse and eclectic inspirations. christophermayo.net The composer writes, “Clean Room Design: sous les mers (2010) was commissioned by Nouvel Ensemble Moderne. It was first performed August 20, 2010 at Domaine Forget by NEM conducted by Lorraine Vaillancourt. Clean room design is a type of reverse engineering which is used to copy and recreate a design without infringing on the copyright or trade secrets associated with the original. Clean Room Design: sous les mers is a fictionalized attempt to recreate the soundtrack of a Spanish cartoon version of Jules Verne’s Twenty Thousand Leagues Under the Sea using only a tiny fragment of the original audio source.”
“This piece draws inspiration from Alexander Graham Bell’s earliest NICO MUHLY b. Randolph, Vermont, USA / August 26, 1981 surviving sound recordings.” The composer writes of Hear My Voice (2017), “Commissioned by Esprit Orchestra as part of the celebration of 150 years of Ontario’s entrance into Confederation. This piece draws inspiration from Alexander Graham Bell’s earliest surviving sound recordings. The work uses several excerpts from Bell’s recordings and evokes the image of this powerful ancient voice coming to live. At certain points we hear him count numbers, at other points we hear him say his name. The most significant phrase – “Hear My Voice” – appears during meaningful structural points of the music. The music is meant to be free, flowing and alive.”
By All Means Please refer to page 10 for a biography of Nico Muhly. Asked to write a work referencing Webern’s Op. 24, Muhly found that serial music evoked in him a surprising response: “I was immediately reminded of the crossrelations in Weelkes motet…By All Means (2004) is a large arch of several textures in which both Weelkes and Webern can coexist and collaborate: the scattered points of Webern’s orchestration organized together by a Tudor resolution, or the shimmering counterpoint of Weelkes sent astray by sudden chromatic variation. ■ Program Notes © 2018 Jocelyn Morlock
CONCERT PROGRAM SPECIALS | ORPHEUM, 7:30PM
MONDAY, FEBRUARY 19 POLY CULTURE & THE VSO PRESENT:
THE 12 GIRLS BAND IN A CHINESE NEW YEAR CELEBRATION
Good news from China! The world famous 12 Girls Band performs at the Orpheum in a very special celebration of the Chinese New Year, the most important traditional holiday in China. The 12 Girls Band is an internationally-renowned phenomenon, having presented more than 2,600 performances around the world. Retaining the rich colour of Chinese music while working with various musical styles, the 12 Girls Band was the first Chinese music group to be nominated for a GrammyÂ® Award. VISIT THE SYMPHONY GIFT SHOP FOR CD SELECTIONS TITLE SPONSOR
AT THE CONCERT CONCERT COURTESIES
For your enjoyment, and the enjoyment of others, please remember concert etiquette. Talking, coughing, leaning over the balcony railings, unwrapping candies, and the wearing of strong perfume may disturb the performers as well as other audience members.
Ushers will escort latecomers into the auditorium at a suitable break in the performance chosen by the conductor. Patrons who leave the auditorium during the performance will not be re-admitted until a suitable break in the performance.
Hearing-impaired patrons may borrow complimentary Sennheiser Infrared Hearing System headsets, available at the coat-check in the Orpheum Theatre only, after leaving a driver’s licence or credit card. PROGRAM, GUEST ARTISTS AND/OR PROGRAM ORDER ARE SUBJECT TO CHANGE.
CELL PHONES, PAGERS, DIGITAL WATCHES
Please turn off cell phones and ensure that digital watches do not sound during performances. Doctors and other professionals expecting calls are asked to please leave personal pagers, telephones and seat locations at the coat check.
CAMERAS, RECORDING EQUIPMENT
Photography and video/audio recording of any kind are prohibited during the performance. Pictures taken pre-concert, at intermission, and post-concert are encouraged. Please feel free to tweet and post to Facebook or Instagram preconcert, during intermission or after the concert @VSOrchestra. During the performance, please do not use your mobile device in any way.
SMOKING AND SCENTS
All venues are non-smoking and scent-free environments.
VANCOUVER SYMPHONY ADMINISTRATION 604.684.9100 Kelly Tweeddale, President, VSO & VSO School of Music Mehgan Atchison, Executive Assistant Finance & Administration: Mary-Ann Moir, Vice-President, Finance & Administration Debra Marcus, Director, Information Technology & Human Resources Diane Chen Liu, Accountant Garry Sibilleau, Applications and Systems Specialist Ray Wang, Payroll Clerk & IT Assistant Marketing, Sales & Customer Service: Alan Gove, Vice-President, Marketing & Sales; Matthew Baird, Public Relations Manager & Assistant to the Music Director Elyse Bannerman, Marketing Coordinator Castine Breckwoldt, Manager, Gift Shop & Volunteers
Estelle and Michael Jacobson Chair
Anna Gove, Editor & Publisher, Allegro Magazine Katherine Houang, Group Sales & Special Ticket Services Kenneth Livingstone, Database Manager Robert Rose, Front of House Coordinator Cameron Rowe, Director, Audience & Ticket Services Customer Service Representatives: Jason Ho and Audrey Ling, Senior Customer Service Representatives Kathy Siu, Concert Shift Captain Fiona Li Anthony Soon Rati Arora Kate Mill Mark Sutherland Taylor Beaumont Shawn Lau
Development: Leanne Davis, Vice-President, Chief Development Officer Pegah Behnammoradi, Development Officer, Special Projects Rochelle Blaak-Herron, Development Assistant Mary Butterfield, Director, Individual & Legacy Giving Jason Hulbert, Manager, Corporate Programs Kate Lucas, Director, Annual Giving § Natalina MacLeod, 100th Anniversary Campaign Director Dawn Nash, Stewardship Officer Ann True, Development Officer, Direct Response Lauren Watson, Manager, Annual Giving Artistic Operations & Education: Joanne Harada, Vice-President, Artistic Operations & Education Alex Clark, Assistant Librarian & Artistic Operations Assistant Kaylie Hanna, Artistic Operations & Education Assistant Sarah Jacques, Operations Manager Ryan Kett, Artistic Operations & Education Assistant Minella F. Lacson, Music Librarian Christin Reardon MacLellan, Director of Education & Community Programmes
Ken & Patricia Shields Chair
Duncan Watts-Grant, Community Engagement Specialist Pippa Williams, Orchestra Personnel Manager Tracie Yee, Artistic Operations Associate § Leave of Absence The Vancouver Symphony Society is grateful to the ALAN AND GWENDOLINE PYATT FOUNDATION for generously providing its Administrative Offices.
VANCOUVER SYMPHONY PARTNERS
The Vancouver Symphony Orchestra gratefully acknowledges the generosity of the following Government Agencies, Corporations and Foundations that have made a financial contribution through sponsorship, charitable donation or participation in a Special Event.
VANCOUVER SYMPHONY FOUNDATION
CONCERT AND SPECIAL EVENT SPONSORS
MARTHA LOU HENLEY CHARITABLE FOUNDATION
EDUCATION AND COMMUNITY OUTREACH SPONSORS AND PARTNERS PREMIER EDUCATION PARTNER
BC TOUR SPONSORS
McGrane-Pearson Endowment Fund Diane Hodgins AJ McLean
Alexandra Mauler-Steinmann and Michael Steinmann Fred Pletcher Fred Withers and Kathy Jones Jill Tipping
CANADA TOUR SPONSORS Fred Withers and Kathy Jones
$500,000+ Vancouver Symphony Foundation Endowment Fund VSO Patrons’ Circle $250,000+ Friends of the Vancouver Symphony Vancouver Sun $150,000+ Alan and Gwendoline Pyatt Foundation TELUS Corporation $100,000+ Creative BC: BC Music Fund Goldcorp Inc. $60,000+ iA Financial Group Vancouver Foundation $50,000+ Air Canada BMO Financial Group City of Burnaby Parks, Recreation and Cultural Services CKNW Georgia Straight QM-FM $40,000+ London Drugs RBC Foundation Vancouver Symphony Volunteers $30,000+ PwC $20,000+ Avigilon BC Lottery Corp. Borden Ladner Gervais LLP
The Chan Endowment Fund of UBC CIBC CN Rail Concord Pacific Developments Inc. Deloitte The McLean Group Martha Lou Henley Charitable Foundation Mercedes-Benz Vancouver Area Retail Group Origin Organic Farms Osler, Hoskin & Harcourt LLP Poly Culture North America RGF Integrated Wealth Management Scotia Wealth Management TD Bank Group Wesbild Holdings Limited Westminster Savings Anonymous (1) $10,000+ Blake, Cassels & Graydon LLP Canadian Western Bank Century Group Craftsman Collision Ernst & Young LLP Great-West Life, London Life and Canada Life Holland America Line Inc. Hugh Davidson Fund through the Victoria Foundation Intergulf Development Group The Kingswood Group of Companies KPMG LLP Lawson Lundell LLP MacDonald Development Corporation
McCarthy Tétrault LLP Montecristo Jewellers Montridge Advisory Group Pacific Surgical Spectra Energy Sun Life Financial Terus Construction Ltd. Time & Gold Tom Lee Music Upright Decor Rentals and Event Design Visual College of Art and Design Wall Financial Corporation Wheaton Precious Metals $5,000+ Anthem Properties Beedie Development Group Cassels Brock & Blackwell LLP Centerplate at Vancouver Convention Centre Delphos Investments Inc. Dentons Canada LLP Element Lifestyle Retirement Genus Capital Management Grosvenor Americas Hamber Foundation HSBC Bank Canada Image Group Inc. Innovation Lighting Korn Ferry Ledcor Group Macdonald Development Corporation Marin Investments Limited Dr. Tom Moonen Inc. Nordstrom Norton Rose Fulbright Canada LLP
Odlum Brown Limited Opal by element Pan American Silver RBC Royal Bank RBC PH&N Investment Counsel Inc. Ready and Korbin, Arbitrators Reliance Properties Scotia Wealth Management — Greyell Portfolio Management Stantec Consulting Stikeman Elliott LLP TD Wealth Tim Wyman, TD Wealth UBS Bank (Canada) Wilson M. Beck Insurance $2,500+ The Collective You Face Of Today INF Influencer Agency Inc. and Gillian Segal Design PARTYSKIRTS SOCAN Foundation Tree of Life (Walkers Shortbread) Windsor Plywood Foundation Xibita $1,000+ BFL Canada Bing Thom Architects CIBO Trattoria Ethical Bean Coffee Gearforce Granville Island Florist IGA Robson Street The Lazy Gourmet Norburn Lighting & Bath Centre Windsor Plywood Foundation ■
For more information about the VSO Corporate Partners Programs and the exclusive benefits associated with this program contact Jason Hulbert, Manager Corporate Programs at 604.684.9100 x260 or email firstname.lastname@example.org
VANCOUVER SYMPHONY SOCIETY BOARD OF DIRECTORS Elisabeth Finch
Hein Poulus, Q.C.
Chief Development Officer (Ret.) Ernst & Young LLP
Judith Korbin, Vice Chair
Board Executive Committee
Partner, PricewaterhouseCoopers LLP
Fred Withers, Chair
Partner, Stikeman Elliott LLP Executive Vice President, Buildings, Stantec
President, Goldcorp Vice President, Sales & Officer (Ret.) Industrial Alliance Pacific Life Insurance
Melvyn R.T. Tanemura
Michael L. Fish
Musician Representatives Aaron McDonald Principal Timpani
Etienne Bruson, Treasurer Managing Partner, BC, Deloitte
Diane Hodgins, Secretary
Director, Century Group Lands Corporation
M.R.T. Tanemura CPA Inc. President & CEO, BC Tech Association
Managing Director, Global Mining Group CIBC World Markets Portfolio Manager, McLean Group
President, Pacific Surgical Limited Senior Vice President, Sales & Marketing Coromandel Properties Ltd.
President, AMS Petrography Ltd.
Vern Griffiths Principal Percussion
Honorary Life President
Honorary Life Vice-Presidents
Executive Vice President, Corporate Affairs, Telus Corporation
Suzanne Anton, Q.C. Corporate Director
Ronald Laird Cliff, C.M. Nezhat Khosrowshahi Gerald A.B. McGavin, C.M., O.B.C. Ronald N. Stern Arthur H. Willms
Partner, Blake, Cassels & Graydon LLP
President, Montrose Development Ltd.
Partner, Chair of the National Mining Group Borden Ladner Gervais LLP
Partner, McCarthy Tetrault LLP
VANCOUVER SYMPHONY FOUNDATION BOARD OF TRUSTEES Ronald Laird Cliff, C.M., Chair Dallas Brodie Marnie Carter
Lindsay Hall Irene McEwen Gerald A.B. McGavin, C.M., O.B.C.
Alan Pyatt Arthur H. Willms
Fred Withers Tim Wyman
VSO SCHOOL OF MUSIC SOCIETY Board of Directors
Gordon R. Johnson, Chair Dave Cunningham Claire Hunter Hein Poulus, Q.C. Patricia Shields Ned Southerland
Eric Watt Arthur H. Willms Administration
Louise Ironside Assistant Director
Operations & Facilities Manager
Jose Valenzuela Accountant
Scott Jeffrey Registrar
Assistant Registrar & Chinese Language Student Services
VANCOUVER SYMPHONY VOLUNTEER COUNCIL 2017/2018 Chair . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Paddy Aiken Vice-Chair . . . . . . . . . . . . . . . . . . . . . . . Azmina Manji Secretary/Treasurer . . . . . . Marlies Wagner Member . . . . . . . . . . . . . . . . . . . . . . . . . . Candace Bailes Member . . . . . . . . . . . . . . . . . . . . . . . . . . Noelene Buckner Member . . . . . . . . . . . . . . . . . . . . . . . . . . Beryl Ferguson Member . . . . . . . . . . . . . . . . . . . . . . . . . . Jean Pirie Immediate Past Chair . . . . . . Nancy Wu
Scheduling Gift Shop . . . . . . . . . . . . . . . . . . . . . . . . . . . . Barbara Morris Reception Shifts . . . . . . . . . . . . . . . . . Gloria Davies Tea & Trumpets . . . . . . . . . . . . . . . . . . Marlene Strain Special Events Symphony of Style 2017 . . . . Paddy Aiken Azmina Manji Holland America Luncheon 2017 . . . . . . . . . . . . . . . . . . Marlies Wagner
Membership Volunteer Hours . . . . . . . . Sheila Foley Manager, Gift Shop & Volunteer Resources Castine Breckwoldt 604.684.9100 ext 240 Castine@vancouversymphony.ca Assistant Gift Shop Managers Robert Rose Stacey Menzies
Allegro contact and advertising enquiries: email@example.com / Allegro staff: published by The Vancouver Symphony Society / editor publisher: Anna Gove / orchestra photo credit: Johnathon Vaughn / orchestra photo credit: Albert Law / 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.