Joyce Yang - Vancouver Symphony Orchestra

allegro MAGAZINE OF THE VANCOUVER SYMPHONY January 26 – march 12, 2012 – VOLUME 17 – ISSUE 3 Joyce Yang plays Rachmaninoff in a special Valentine’s Celebration Wicked Divas! Stars of the original Broadway production shine in VSO Pops Bramwell Tovey conducts Beethoven Benedetto Lupo renowned pianist performs Mozart at the Chan Centre Renée Fleming with the VSO PRESENTS “Perfect voice, endless breath, sensual tone...she is sheer perfection.” - Le Monde Wednesday March 21 • 8pm ORPHEUM THEATRE Renée Fleming soprano Sebastian Lang-Lessing conductor The world’s greatest soprano, Renee Fleming, returns to the Orpheum stage to perform a sensational program of operatic and classical arias live with the Vancouver Symphony Orchestra. www.reneefleming.com Tickets online at or call vancouversymphony.ca 604.876.3434 media partner vancouver symphony orchestra BRAMWELL TOVEY MUSIC DIRECTOR KAZUYOSHI AKIYAMA CONDUCTOR LAUREATE JEFF TYZIK PRINCIPAL POPS CONDUCTOR * Pierre Simard ASSISTANT CONDUCTOR Marsha & George Taylor Chair * EDWARD TOP COMPOSER-IN-RESIDENCE first violins Dale Barltrop, Concertmaster Joan Blackman, Associate Concertmaster Jennie Press, Second Assistant Concertmaster Robin Braun Mary Sokol Brown Mrs. Cheng Koon Lee Chair Jenny Essers Jason Ho Akira Nagai, Associate Concertmaster Emeritus Xue Feng Wei Rebecca Whitling Yi Zhou Angela Cavadas ◊ Nancy DiNovo ◊ Ruth Schipizky ◊ second violins Brent Akins, Principal § Nicholas Wright, Principal ∆ Karen Gerbrecht, Associate Principal Jim and Edith le Nobel Chair Jeanette Bernal-Singh, Assistant Principal Adrian Shu-On Chui Daniel Norton Ann Okagaito Ashley Plaut Maya De Forest ◊ DeAnne Eisch ◊ Erin James ◊ Pamela Marks ◊ § Leave of Absence ∆One-year Position ◊Extra Musician violas Neil Miskey, Principal Andrew Brown, Associate Principal Stephen Wilkes, Assistant Principal Lawrence Blackman Estelle & Michael Jacobson Chair Angela Schneider Professors Mr. and Mrs. Ngou Kang Chair Ian Wenham Chi Ng ◊ Reginald Quiring ◊ Marcus Takizawa ◊ cellos Principal Cello Nezhat and Hassan Khosrowshahi Chair Janet Steinberg, Associate Principal Zoltan Rozsnyai, Assistant Principal Olivia Blander Natasha Boyko Mary & Gordon Christopher Chair Joseph Elworthy Charles Inkman Cristian Markos basses piccolo Nadia Kyne Hermann & Erika Stölting Chair oboes Roger Cole, Principal Beth Orson, Assistant Principal Karin Walsh trombones Paul Moritz Chair Vacant, Principal Gregory A. Cox english horn bass trombone Beth Orson Chair in Memory of John S. Hodge clarinets Jeanette Jonquil, Principal Cris Inguanti, Assistant Principal Todd Cope e-flat clarinet Todd Cope Douglas Sparkes Arthur H. Willms Family Chair tuba Ellis Wean, Principal § Peder MacLellan, Principal ∆ timpani Aaron McDonald, Principal percussion Vern Griffiths, Principal Martha Lou Henley Chair bass clarinet Tony Phillipps bassoons Elizabeth Volpé, Principal Heidi Krutzen ◊ Cris Inguanti Julia Lockhart, Principal Sophie Dansereau, Assistant Principal Gwen Seaton contrabassoon flutes Winslow & Betsy Bennett Chair Michael & Estelle Jacobson Chair Larry Knopp, Principal Marcus Goddard, Associate Principal Vincent Vohradsky Wayne and Leslie Ann Ingram Chair W. Neil Harcourt in memory of Frank N. Harcourt Chair Dylan Palmer, Principal Chang-Min Lee, Associate Principal David Brown J. Warren Long Frederick Schipizky Christopher Light ◊ Leanna Wong ◊ Christie Reside, Principal Nadia Kyne, Assistant Principal Rosanne Wieringa trumpets Sophie Dansereau french horns Oliver de Clercq, Principal Benjamin Kinsman Werner & Helga Höing Chair David Haskins, Associate Principal Fourth Horn Richard Mingus, Assistant Principal harp piano, celeste Linda Lee Thomas, Principal Carter (Family) Deux Mille Foundation Chair orchestra personnel manager DeAnne Eisch music librarian Minella F. Lacson Ron & Ardelle Cliff Chair master carpenter Pierre Boyard master electrician Leonard Lummis piano technician Thomas Clarke *Supported by The Canada Council for the Arts allegro 3 MAGAZINE OF THE VANCOUVER SYMPHONY allegro January 26 – march 12, 2012 – VOLUME 17 – ISSUE 3 A S E R I E S F O R E V E RY TA S T E C L A S S IC S MA STE RWO R KS G O L D / MA STE RWO R KS D I AMO N D / MA STE RWO R KS S I LV E R O N A L I G H T E R N OT E M U S I CA L LY S P EA K I N G / BAC H & B EYO N D V S O P O P S MATINEES TEA & TRUMPETS / SYMPHONY SU N DAYS R OA D T R IP S VS O AT TH E A N N EX / N O RTH S H O R E C L A S S I C S / S U R R EY N I G H TS K I D S RULE! TI NY TOTS / KI DS’ KONC ERTS S PECIA L S CONCERTS 9 JANUARY 26 Pacific Arbour Tea & Trumpets Opera Goes Symphonic Pierre Simard conductor Christopher Gaze host Nadya Blanchette soprano 13 JANUARY 27, 28 London Drugs VSO Pops Classic Crooning with Tony DeSare Jeff Tyzik conductor Tony DeSare singer/piano 16 JANUARY 29 Spectra Energy Kids’ Koncerts Al Simmons: Something’s Fishy at Camp Wiganishie Pierre Simard conductor Al Simmons entertainer Zing! Children’s Choir FEBRUARY 4, 6 Musically Speaking Surrey Nights Bramwell Tovey conductor 26 FEBRUARY 11, 13 Masterworks Silver Bramwell Tovey conductor Joyce Yang piano 31 FEBRUARY 18, 20 Goldcorp Masterworks Gold Bramwell Tovey conductor John Lill piano 38 FEBRUARY 24, 25 Bach & Beyond David Lockington conductor Benedetto Lupo piano 43 FEBRUARY 25 Vancouver Sun Symphony at the Annex Pierre Simard conductor 16 4 allegro AL SIMMONS March 1 Pacific Arbour Tea & Trumpets Come Fly With Me! Pierre Simard conductor Christopher Gaze host Jeanette Bernal-Singh violin 49 March 2, 3 London Drugs VSO Pops Wicked Divas Steven Reineke conductor Wicked Divas: Stephanie J. Block Julia Murney 52 March 4 Spectra Energy Kids’ Koncerts Wall to Wall Percussion Pierre Simard conductor Vern Griffiths percussion 55 March 10, 11, 12 Musically Speaking Rogers Group Financial Symphony Sundays North Shore Classics Pierre Simard conductor Benjamin Grosvenor piano 21 46 9 Nadya Blanchette IN THIS ISSUE 3 5 6 7 25 28 32 35 37 53 58 60 63 the orchestra allegro staff list government support vancouver symphony foundation patrons’ circle order vso tickets online friends of the VSO vso school of music vso upcoming concerts advertise in allegro corporate partners at the concert / vso staff list board of directors / thanks / volunteer council 13 TONY DESARE 38 Benedetto Lupo 21 BRAMWELL TOVEY We welcome your comments on this magazine. Please forward them to: Vancouver Symphony, 500 – 833 Seymour Street, Vancouver, BC V6B 0G4 Allegro contact and advertising enquiries: vsoallegro@yahoo.com / customer service: 604.876.3434 / VSO office: 604.684.9100 / website: www.vancouversymphony.ca Allegro staff: published by The Vancouver Symphony Society / editor / publisher: Anna Gove / contributors: Don Anderson, Sophia Vincent / art direction, design & production: basic elements design Pass it on: It’s the right thing to do! Please feel free to bring your Allegro Magazine home at the end of the concert. If you do not wish to keep it, please return it to an usher. Printed in Canada by Web Impressions. All rights reserved. Reproduction in whole or in part without written consent is prohibited. Contents copyrighted by the Vancouver Symphony, with the exception of material written by contributors. Allegro Magazine has been endowed by a generous gift from Adera Development Corporation. allegro 5 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 12 diverse venues throughout the Lower Mainland, attract some of the world’s best musicians to live and work in our community, produce Grammy® and Juno® award-winning recordings, participate in numerous CBC Radio broadcasts – bringing the sounds of the VSO to listeners across the country and, through our renowned educational programs, touch the lives of over 50,000 children. Thank you! vancouver symphony foundation Ensure the VSO’s future with a special gift to the Vancouver Symphony Foundation, established to secure the long term success of the Vancouver Symphony Orchestra. Tax creditable gifts of cash, securities and planned gifts are all gratefully received by the Vancouver Symphony Foundation, and your gift is enhanced by the availability of matching funds from the Federal Government. Please call Leanne Davis at 604.684.9100 extension 236 or email leanne@vancouversymphony.ca to make a gift or learn more about the naming opportunities that are available to honour a family member, celebrate the memory of a loved one or simply recognize your generosity. Support the Power of Music We extend our sincere thanks to these donors, whose gifts will ensure the Vancouver Symphony Orchestra remains a strong and vital force in our community long into the future: $1,000,000 or more Martha Lou Henley Government of Canada through the Department of Canadian Heritage Endowment Incentives Program Province of BC through the BC Arts Renaissance Fund under the stewardship of the Vancouver FoundatioN $500,000 or more Wayne and Leslie Ann Ingram The Estate of Jim and Edith le Nobel $250,000 or more Estate of Ruth Ellen Baldwin Carter (Family) Deux Mille Foundation Chan Foundation of Canada Ron and Ardelle Cliff Estate of Steve Floris Werner (Vern) and Helga Höing Mr. Hassan and Mrs. Nezhat Khosrowshahi The Tong and Geraldine Louie Family Foundation Hermann and Erika Stölting Arthur H. Willms Family $100,000 or more Estate of Winslow W. Bennett Mary and Gordon Christopher Janey Gudewill & Peter Cherniavsky in memory of their Father Jan Cherniavsky and Grandmother Mrs. B.T. Rogers In memory of John S. Hodge Michael and Estelle Jacobson S.K. Lee in memory of Mrs. Cheng Koon Lee Katherine Lu in memory of Professors Mr. and Mrs. Ngou Kang William and Irene McEwen Fund Sheahan and Gerald McGavin, C.M., O.B.C. McGrane-Pearson Endowment Fund Estate of John Rand Nancy and Peter Paul Saunders Ken and Patricia Shields George and Marsha Taylor Whittall Family Fund $50,000 or more Adera Development Corporation Brazfin Investments Ltd. Mary Ann Clark Estate of Rachel Tancred Rout Estate of Mary Flavelle Stewart Leon and Joan Tuey In memory of John Wertschek, Cello Section Player $25,000 or more Jeff and Keiko Alexander Estate of Dorothy Freda Bailey Mrs. May Brown, C.M., O.B.C. Mrs. Margaret M. Duncan W. Neil Harcourt in memory of Frank N. Harcourt Daniella and John Icke Mollie Massie and Hein Poulus Estate of Margot Lynn McKenzie Paul Moritz Mrs. Gordon T. Southam, C.M. Maestro Bramwell Tovey and Mrs. Lana Penner-Tovey Anonymous (1) $10,000 or more Mrs. Marti Barregar Kathy and Stephen Bellringer Mrs. Geraldine Biely Robert G. Brodie and K. Suzanne Brodie Douglas and Marie-Elle Carrothers Mr. Justice Edward Chiasson and Mrs. Dorothy Chiasson Dr. Marla Kiess Chantel O’Neil and Colin Erb Dan and Trudy Pekarsky Bob and Paulette Reid Nancy and Robert Stewart Beverley and Eric Watt Anonymous (1) $5,000 or more Estate of Clarice Marjory Bankes Charles and Barbara Filewych Estate of Muriel F. Gilchrist Edwina and Paul Heller Kaatza Foundation Prof. Kin Lo Rex and Joanne McLennan Marion L. Pearson and James M. Orr Melvyn and June Tanemura $2,500 or more In memory of Lynd Forguson Stephen F. Graf John and Marietta Hurst Mr. Gerald A. Nordheimer Harvey and Connie Permack Robert and Darlene Spevakow Winfred Mary (Mollie) Steele Estate of Jan Wolf Wynand Anonymous (1) Due to space limitations, donations of $2,500 or more are listed, but every gift is sincerely appreciated and gratefully received. THANK YOU. allegro 7 PIERRE SIMARD CHRISTOPHER GAZE Nadya Blanchette CONCERT PROGRAM PAC I FIC AR BOU R TEA & TRUMPETS / OR PH EUM TH EATR E, 2PM thursday, january 26 Pierre Simard conductor Christopher Gaze host ◆ Nadya Blanchette soprano Opera Goes Symphonic Rossini Barber of Seville: Overture ◆ Donizetti Don Pasquale: Quel guardo, il cavaliere Bizet Carmen Suite No. 1: I. Prelude and Aragonaise ◆ Bizet Carmen:Je dis que rien ne m’épouvante Près des remparts de Séville Smetana The Bartered Bride: Dance of the Comedians ◆ DVOŘÁK Rusalka: Song To The Moon Mascagni Cavalleria rusticana: Intermezzo ◆ Puccini La bohème:Quando me’n vo Si, mi chiamano Mimi Tchaikovsky Eugene Onegin: Polonaise Tea & Cookies Don’t miss tea and cookies served in the lobby one hour before each concert, compliments of Tetley Tea and LU Biscuits. Visit the Symphony Gift Shop for CD selections TEA & TRUMPETS SERIES SPONSOR allegro 9 Pierre Simard conductor This is Pierre Simard’s second season as Assistant Conductor of the Vancouver Symphony Orchestra. He is also Artistic Director of both the Vancouver Island Symphony (BC) and the Orchestre Symphonique de Drummondville (QC). Having served as Associate Conductor with the Calgary Philharmonic Orchestra, he also performs as guest conductor with major orchestras in Milwaukee, Toronto, Ottawa (National Arts Centre), Victoria, Hamilton, Okanagan, Hot Springs (AR), Trois-Rivières, Québec’s Les Violons du Roy and Montreal’s Orchestre Métropolitain. Pierre Simard was awarded the Canada Council’s Jean-Marie Beaudet Award in Conducting, recognizing his work on a national scale. He is also grantee of the Québec Music Council, the Québec Arts Council and the Montreal Mayor’s Foundation. A passionate defender of orchestral repertoire, Pierre Simard devotes himself to reinventing the concert form, combining his fresh ideas, fantasy and humour with music. Holder of a Master’s Degree in Conducting from the Peabody Institute and five Conservatory Prizes from the Conservatoire de musique de Montréal, Pierre Simard studied with Raffi Armenian, Frederik Prausnitz, JoAnn Falletta and Marin Alsop. The VSO’s Assistant Conductor position is made possible with the support of the Canada Council for the Arts. Christopher Gaze host Best known as Artistic Director of Vancouver’s Bard on the Beach Shakespeare Festival, Christopher Gaze has performed in England, the USA and across Canada. Born in England, he trained at the Bristol Old Vic Theatre School before coming to Canada in 1975 where he spent three seasons at the Shaw Festival. He moved to Vancouver in 1983 and in 1990 founded Bard on the Beach which he has since nurtured to one of the most successful not-for-profit arts organizations in North America, with attendance exceeding 91,000. In addition to performing and directing for Bard, Christopher’s voice is heard 10 allegro regularly in cartoon series, commercials and on the radio. Aside from Tea & Trumpets, he also hosts Vancouver Symphony’s popular Christmas concerts. As an Olympic ambassador, Christopher was honoured to run with the Olympic flame for the 2010 Games. A gifted public speaker, Christopher frequently shares his insights on Shakespeare and theatre with students, service organizations and businesses. Nadya Blanchette soprano Acclaimed worldwide for her lustrous voice and charismatic stage presence, Nadya Blanchette is a guest soloist in Europe, USA, Japan, South Africa, Venezuela and China for concerts, recitals and prestigious international events. A multi-faceted artist, she is remembered for her compelling performance of Gounod’s Ave Maria at the state funeral of Pierre Trudeau, broadcast on all Canadian radio and television networks. With Cirque du Soleil, Nadya Blanchette performed in nearly 450 shows as a dazzling diva in Germany and Monaco. Nadya Blanchette received numerous distinctions while obtaining a Master’s Degree in Voice Performance at the Université de Montréal, among which the Prize for Best Performance of a Canadian Work in the Montreal Symphony Orchestra Competition, the Second Prize at the Stepping Stone of the Canadian Music Competition and the First Prize of the Mount-Royal Symphony Orchestra. Nadya Blanchette founded À tout chant, an ensemble performing original shows for voice and chamber orchestra created in a new, whimsical way. She is currently touring a new show entitled French Kiss, which includes beloved opera arias and original symphony arrangements of immortal songs. ■ Jeff Tyzik Tony DeSare CONCERT PROGRAM LON DON DRUGS VSO POPS / OR PH EUM TH EATR E, 8PM friday & saturday, january 27, 28 Jeff Tyzik conductor Tony DeSare singer/piano ◆ Dale Barltrop violin Classic Crooning with Tony DeSare Ellington arr. Tyzik It Don’t Mean A Thing If It Ain’t Got That Swing Ellington arr. Tyzik Satin Doll Arr. Tyzik Night Train Arlen/Mercer That Old Black Magic Cole Porter Night and Day Prince Kiss Mancini/Mercer Two For The Road Coleman/Fields Baby, Dream Your Dream Tony DeSare How I Will Say I Love You Irving Berlin I Love A Piano INTERMISSION Basie arr. Tyzik One O’Clock Jump ◆ Duke arr. TyziK Autumn in New York Styne/Cahn Just In Time Tony DeSare Let’s Just Stay In Bart Howard Fly Me To The Moon Bruce Springsteen Fire Tony DeSare New Orleans Tango Kosma/Mercer Autumn Leaves Rodgers/Hart My Funny Valentine Johnny MerceR Something’s Gotta Give Visit the Symphony Gift Shop for CD selections VSO POPS SERIES SPONSOR RADIO SPONSOR allegro 13 Jeff Tyzik conductor Grammy® Award winner Jeff Tyzik is recognized as one of America’s most innovative pops conductors. Tyzik is known for his brilliant arrangements, original programming, and engaging rapport with audiences of all ages. Now in his 17th season as Principal Pops Conductor of the Rochester Philharmonic Orchestra, Tyzik also currently serves as Principal Pops Conductor of the Oregon Symphony and the Vancouver Symphony Orchestra. A native of Hyde Park, New York, Tyzik began his life in music at nine years of age, when he first picked up a cornet. He studied both classical and jazz throughout high school, and went on to earn both his bachelor’s and master’s degrees from the Eastman School of Music, where he studied composition/ arranging with Radio City Music Hall’s Ray Wright and jazz studies with the great band leader Chuck Mangione, both of whom profoundly impacted him as a musician. Tyzik currently serves on the Board of Managers of the Eastman School of Music, and as a board member of the Hochstein School of Music and Dance. He lives in Rochester, New York, with his wife Jill. 14 allegro Tony DeSare singer/piano Singer, pianist and songwriter Tony DeSare was named a “Rising Star” Male Vocalist in the Downbeat Critics Poll. He has won popular acclaim for his concert performances throughout the United States and around the world. Let’s Just Stay In, one of the Tony’s original songs, is featured in the 20th Century Fox film Tooth Fairy, starring Billy Crystal and Julie Andrews. He recently made his Carnegie Hall debut performing with The New York Pops, regularly opens for the legendary Don Rickles and is appearing with the Atlanta, Baltimore, Vancouver and Modesto Symphony Orchestras. “With his dark hair, bright brown eyes and toothpaste smile that rarely fades,” raved The New York Times, “DeSare is one of the most promising young male performers. He is a Sinatra acolyte in his early 30s who sings Prince as well as Johnny Mercer.” ■ allegro 15 SPECTRA EN ERGY KI DS KONC ERTS / OR PH EUM TH EATR E, 2PM sunday, january 29 CONCERT PROGRAM Pierre Simard conductor Al Simmons entertainer Zing! Children’s Choir Something’s Fishy at Camp Wiganishie Selections Include: Something In My Shoe I Got My Axe Something’s Fishy at Camp Wiganishie It’s Raining, It’s Pouring One Little Bird The Stew Song I.M.4.U. The Dog That Went To Yale Lego House I Collect Rocks I Want A Pancake Where Did You Get That Hat? Cry Of The Wild Goose Visit the Symphony Gift Shop for CD selections KIDS’ KONCERTS SERIES Co-Sponsor 16 allegro PREMIER EDUCATION PARTNER The VSO’s Kids’ Koncerts have been endowed by a generous gift from the William & Irene McEwen Fund. Al Simmons 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. PIERRE SIMARD Pierre Simard conductor For a biography of Pierre Simard please refer to page 10. allegro 17 Zing! Children’s Choir Zing! Children’s Choir Al Simmons entertainer A creative genius with the soul of a vaudevillian, Al Simmons continues the tradition of the comedy greats. He is a wizard of one-liners, quick costume changes, out-ofthis-world theatrical props, peculiar musical instruments and other assorted gadgets. Albert Simmons and his imagination grew up in Winnipeg, Manitoba with parents who nourished his creativity with their own love of storytelling, music and old-fashioned fun. Al has had a flair for performing since he was old enough to walk. Zing! Children’s Choir, founded in November, 2005, is one of Vancouver’s most exciting choirs available to children of all ages, from kindergarten to grade twelve. Based at the Shaughnessy Heights United Church and St. Philips Anglican Church, we offer the choristers training in classical singing with emphasis on contemporary repertoire, while encouraging the children to develop their own voices. Choristers also have the opportunity to attend summer music camps that help them unleash their creativity in a relaxed, natural setting. Zing! Children’s Choir has performed twice with the Vancouver Symphony Orchestra, worked with Juno® Award winning artist Brad Turner, and opera star Laura Whalen. Zing! has participated in workshops with Canadian choral master, Susan Knight, and performed Christmas concerts with Vancouver’s premier men’s choir, Chor Leoni and the much celebrated Elektra Women’s Choir, under the direction of their conductor emerita, Diane Loomer. ■ Al’s debut album Something’s Fishy at Camp Wiganishie takes young listeners on a madcap journey though Al’s imaginary world of counting feathers, collecting rocks, eating pancakes and wearing Lego underwear. Al continues to take his show to fans both young and young at heart all over North America. Al, Barbara and their three sons live in Anola, Manitoba. Their home is a Simmons original creation in itself, featuring a real train bunk car, fire pole, and a padded, pillow playroom. Al Simmons 18 allegro BRAMWELL TOVEY WITH THE VSO CONCERT PROGRAM Musically Speaking / OR PH EUM TH EATR E, 8PM saturday, february 4 Surrey N ights / Bell Performing Arts C entre, 8pm monday, february 6 Bramwell Tovey conductor/narrator Stravinsky Circus Polka Glazunov Concert Waltz No. 1 in D Major, Op. 47 Arensky Variations on a Theme by Tchaikovsky, Op. 35a I ntermission Prokofiev Peter and the Wolf, Op. 67 Tchaikovsky Marche Slave, Op. 31 Visit the Symphony Gift Shop for CD selections FEBRUARY 4 concert thanks to MUSICALLY SPEAKING VIDEO SCREEN SPONSOR The VSO’s Surrey Nights Series has been endowed by a generous gift from Werner and Helga Höing. This concert is being recorded for future broadcast on In Concert with host Bill Richardson, heard Sundays from 11 a.m. to 3 p.m. on CBC Radio 2, 105.7 in Vancouver. allegro 21 Bramwell Tovey conductor Grammy® Award winning conductor Bramwell Tovey is acknowledged around the world for his artistic vision and depth, and his warm, charismatic personality. Tovey’s career as a conductor is uniquely enhanced by his extensive work as a composer and pianist, lending him a remarkable musical perspective. His tenures as music director with the Vancouver Symphony, Luxembourg Philharmonic and Winnipeg Symphony Orchestras and as Principal Guest Conductor of the Los Angeles Philharmonic at the Hollywood Bowl have been characterized by his expertise in operatic, choral, British and contemporary repertoire. Philharmonics co-commissioned him to write a new work, Urban Runway, which has been played across Canada, the US and in Australia. He was awarded the Best Canadian Classical Composition Juno® Award in 2003 for his Requiem for a Charred Skull. An esteemed guest conductor, Mr. Tovey has worked with orchestras in the United States and Europe including the City of Birmingham, London Philharmonic, London Symphony and Frankfurt Radio orchestras. In North America, Mr. Tovey has made guest appearances with the orchestras of Baltimore, Philadelphia, St. Louis, Pittsburgh, Detroit, Seattle and Montreal as well as ongoing performances with Toronto, where his trumpet concerto, Songs of the Paradise Saloon commissioned Mr. Tovey, who is entering his twelfth season by the TSO, received its premiere in as Music Director of the Vancouver Symphony, December of 2009 as a preview of his first celebrated his 100th concert this past July as full-length opera The Inventor which was a guest conductor of the New Philharmonic. commissioned and premiered by Calgary He is founding host and conductor of the New Opera in January 2011. During the summer York Philharmonic’s Summertime Classics of 2011 he debuted with the Cleveland series at Avery Fisher Hall, Lincoln Center. Orchestra at the Blossom Festival and the In 2008, the New York and Los Angeles Boston Symphony at Tanglewood and made 22 allegro a return visit to the Philadelphia Orchestra, this time in their summer series in Saratoga, NY. This season he will guest conduct the Melbourne, Western Australia (Perth) and Sydney Symphony orchestras in Australia. Tovey has been awarded honourary degrees, including a Fellowship from the Royal Academy of Music in London, honourary Doctorates of Law from the universities of Winnipeg and Manitoba, and Kwantlen University College, as well as a Royal Conservatory of Music Fellowship in Toronto. He is a member of the Order of Manitoba. In 1999, he received the M. Joan Chalmers National Award for Artistic Direction, a Canadian prize awarded to artists for outstanding contributions in the performing arts. Igor Fyodorovich Stravinsky b. Oranienbaum, Russia / June 17, 1882 d. New York, USA / April 6, 1971 Circus Polka Stravinsky, Glazunov and Arensky studied with Nikolay Rimsky-Korsakov, one of the foremost figures among those nineteenthcentury Russian composers who took their country’s folk music as their primary inspiration. Glazunov and Arensky maintained that style throughout their lives. Stravinsky started there, but over time he moved off into several other, more contemporary directions. His dry sense of humour rarely deserted him. It comes across clearly in the cheerful burlesque of the Circus Polka, which he composed in 1942. “The idea was (choreographer) George Balanchine’s,” he wrote. “He wanted a short piece for a ballet of elephants, one of which was to carry Vera Zorina, who was at that time Balanchine’s wife. The quotation from Schubert’s Marche militaire came to me as an absolutely natural thing, which is to say I circumvent the inevitable German professor who is going to call my use of it a parody. The music was first performed in someone else’s arrangement for the Ringling Brothers’ Circus Band. After conducting my orchestral original, in Boston in 1944, I received a congratulatory telegram from Bessie, the young pachyderm who had carried the bella ballerina and who had heard my broadcast in winter quarters of the circus in Sarasota. I never saw the ballet, but I met Bessie in Los Angeles once and shook her foot.” Aleksandr Glazunov b. St. Petersburg, Russia / August 10, 1865 d. Paris, France / March 21, 1936 Concert Waltz No. 1 in D Major, Op. 47 In Glazunov’s position as director of the St. Petersburg Conservatory, he taught many significant Russian composers, Sergei Prokofiev and Dmitri Shostakovich among them. He found some of their music bewildering, but the support he gave them rarely wavered. Distressed by the changes brought about by the Bolshevik Revolution, he stuck it out for a decade before leaving Russia in 1928. Settling in Paris, he toured the world as a conductor and continued to compose, but without his previous energy and flair. His early pieces are best, including the melodious, gorgeously scored ballets Raymonda (1897) and The Seasons (1899). Those same qualities are equally prominent in the two concert waltzes, the first of which he composed in 1893. Anton Arensky b. Novgorod, Russia / July 12, 1861 d. Terioki, Finland / February 25, 1906 Variations on a Theme by Tchaikovsky, Op. 35a Arensky also taught several distinguished composers, Rachmaninoff, Scriabin, and Glière among them. He composed chamber pieces, songs and piano works, plus two each of symphonies and operas. He enjoyed a mutually respectful relationship with Tchaikovsky, whom he considered the greatest Russian composer of the era. The year after Tchaikovsky’s death, Arensky paid tribute to him in the slow movement of his String Quartet No. 2. It is an attractive, well-balanced set of seven variations on allegro 23 Legend (Christ in the Garden), the fifth of Tchaikovsky’s 16 Songs for Children, Op. 54. So close is the matching of styles that it could pass for a portion of a lost piece by Tchaikovsky. Arensky arranged it for full string orchestra. premiere on May 2 met only a lukewarm response. A second performance quickly turned the tide, launching its indestructible global popularity. Sergei Prokofiev b. Kamsko-Votkinsk, Russia / May 7, 1840 d. St. Petersburg, Russia / November 6, 1893 Pyotr Il’yich Tchaikovsky b. Sontsovka, Ukraine / April 27, 1891 d. Moscow, Russia / March 5, 1953 Marche slave, Op. 31 War broke out between Turkey and the Balkan Peter and the Wolf, Op. 67 states of Serbia and Montenegro during the After spending nearly two decades in the summer of 1876. By autumn, Russian troops west, Prokofiev returned to Russia in the were streaming to reinforce the Balkan side. mid-1930s. For the remainder of his life, he In Moscow, the Russian Musical Society encountered difficulty in giving the repressive organized a concert to raise funds for the Soviet cultural authorities the kind of Slavonic Charity Committee’s work on behalf simple, uplifting music they demanded. This of the Russian combatants. Conductor delightful, evergreen piece was an exception. Nikolay Rubinstein asked Tchaikovsky to Early in 1936, at the invitation of Natalia Satz, compose a new work along patriotic lines the director of the Moscow Children’s Musical to be premiered at the event. In just five days, Tchaikovsky completed the thrilling Theatre, he embarked on a project designed to introduce children to the instruments of the Marche slave (Slavonic March). He based it on three Serbian folk songs and God Save orchestra. He and Satz settled on a fairythe Tsar, the Russian national anthem (which tale-type story involving the interaction of he quoted again in several works, including humans and animals. Each major character would have its own musical theme, and each the 1812 Overture). The premiere of the theme would feature a different instrument or March, at the charity concert on November section of the orchestra. Prokofiev created the 17 under Rubinstein’s direction, won such text as well as the music. The first, impromptu an enthusiastic reception that it had to be encored immediately. ■ performance with piano accompaniment Program Notes © 2011 Don Anderson delighted a group of children, but the formal VSO Gift Shop VISIT US IN THE ORPHEUM LOBBY ON THE ORCHESTRA LEVEL Specially selected CDs including classics and current best-sellers. Unique giftware, books and musically themed items. Open 1 hour prior to concert, during intermission and post concert. Your purchases support the VSO. Staffed by VSO Volunteers. 24 allegro patrons’ circle The Vancouver Symphony is grateful for the generosity shown by the following individuals and foundations, whose annual investment in the VSO has helped this orchestra reach new heights and garner national and international recognition. PLATINUM BATON $50,000 and above Dr. Peter and Mrs. Stephanie Chung Jemini Foundation Grenville Thomas GOLD BATON $25,000—$49,999 Michael Audain, O.C., O.B.C. and Yoshiko Karasawa Mary and Gordon Christopher Foundation* Heathcliff Foundation* Mr. Gerald McGavin, C.M., O.B.C. and Mrs. Sheahan McGavin* Jane McLennan Michael O’Brian Family Foundation Mr. Alan and Mrs. Gwendoline Pyatt Mr. Ronald N. and Mrs. Janet Stern Arthur H. Willms Family* MAESTRO’S CIRCLE $10,000—$24,999 Larry and Sherrill Berg Mrs. Joyce E. Clarke The Christopher Foundation (Education Fund) Mrs. Margaret M. Duncan Martha Lou Henley* Werner (Vern) and Helga Höing* Lagniappe Foundation Meriem Foundation Mr. Brian W. and Mrs. Joan Mitchell Mollie Massie and Hein Poulus* Maestro Bramwell Tovey and Mrs. Lana Penner-Tovey* Gordon Young Anonymous* (1) Anonymous (1) CONCERTMASTER’S CIRCLE $5,000—$9,999 Dr. and Mrs. J. 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Deen Brosnan Mrs. May Brown, C.M., O.B.C.* Mr. Peter Cherniavsky* Mr. Justice Edward Chiasson and Mrs. Dorothy Chiasson* Gerry and Barbara Clow Doug and Anne Courtemanche Leanne Davis and Vern Griffiths Barbara J. Dempsey Erik and Debbie Dierks* Count and Countess Enrico and Aline Dobrzensky Darren Downs and Jacqueline Harris Miryam and Rafael Filosof Ms. Judy Garner Mrs. San Given Mr. Brian Gusko Dr. Donald G. Hedges In Memory of Betty Howard John and Marietta Hurst* Michael and Estelle Jacobson* D.L. Janzen in memory of Jeannie Kuyper Herbert Jenkin C.V. Kent Hank and Janice Ketcham Mr. Hassan and Mrs. Nezhat Khosrowshahi* Drs. Colleen Kirkham & Stephen Kurdyak Sherry and Alex Klopfer Uri and Naomi Kolet Judi and David Korbin Don and Lou Laishley Robert M. Ledingham Bill and Risa Levine Mrs. Maria Logan Mrs. Pamela Metal M. Lois Milsom Nancy Morrison Dal and Muriel Richards Dr. Bill and Ruthie Ross Dr. Robert S. Rothwell* Mrs. Joan Scobell David and Cathy Scott Dr. Earl & Mrs. Anne Shepherd Mrs. Mary Anne Sigal Randall Takasaki L. Thom Garth and Lynette Thurber Michael Williams Dr. Brian Willoughby Eric and Shirley Wilson Milton and Fei Wong Dr. I.D. Woodhouse Anonymous (7) * Members of the Patrons’ Circle who have made an additional gift to the VSO’s endowment campaign, for which we are most thankful. For more information about the patrons’ circle and the exclusive benefits associated with this program, please contact Leanne Davis at 604.684.9100 extension 236 or email leanne@vancouversymphony.ca allegro 25 BRAMWELL TOVEY JOYCE YANG CONCERT PROGRAM MASTERWOR KS SI LVER / OR PH EUM TH EATR E, 8PM saturday & monday, february 11, 13 Bramwell Tovey conductor ◆ Joyce Yang piano Good The Kiss ◆ Rachmaninoff Rhapsody on a Theme of Paganini I ntermission R. Strauss Der Rosenkavalier: Suite, Op. 59 Ravel La Valse Visit the Symphony Gift Shop for CD selections This concert is being recorded for future broadcast on In Concert with host Bill Richardson, heard Sundays from 11 a.m. to 3 p.m. on CBC Radio 2, 105.7 in Vancouver. 26 allegro Bramwell Tovey conductor For a biography of Maestro Tovey, please refer to page 22. Joyce Yang piano Critically acclaimed as “the most gifted young pianist of her generation” with a “million-volt stage presence,” pianist Joyce Yang captivates audiences around the globe with her stunning virtuosity combined with heartfelt lyricism and interpretive sensitivity. Just twenty-four, she has established herself as one of the leading artists of her generation through her innovative solo recitals and notable collaborations with the world’s top orchestras. In 2010 she was awarded an Avery Fisher Career Grant, one of the most prestigious prizes in classical music. Born in Seoul, Korea, Ms. Yang received her first piano lesson at age four from her aunt. She quickly took to the instrument, and over the next few years won several national piano competitions in Korea. Joyce Yang is featured in In The Heart of Music, the film documentary about the 2005 Van Cliburn International Piano Competition. Her debut disc, distributed by harmonia mundi usa, includes live performances of works by Bach, Liszt, Scarlatti, and the Australian composer Carl Vine. A Steinway Artist since 2008, she currently resides in New York City. Scott Good b. Toronto, Ontario / April 8, 1972 The Kiss Several years ago, I attended an exhibit at the National Gallery featuring the works of the renowned French sculptor Auguste Rodin. I was immediately struck by his work. The Kiss had a particularly profound impact on me with its sense of proportion, and physical sensuality. The bodies are in perfect balance with each other, neither one dominating the other. The music is partitioned into two main themes representing the man and the woman in The Kiss. When performed simultaneously, they form a harmonic progression that becomes a central idea in its own right. After an extended atmospheric introduction in which the core harmonies are alluded to, the bassoon introduces the man’s theme, which is melancholy and lyric in nature. The more exotic and almost improvisational woman’s theme follows in the oboe. In a way, I am not only trying to depict the characters of the story but also to explore archetypal narratives as realized by Rodin’s sculptural interpretation. Thus, the man’s melody embodies a desire for fulfillment, and the woman’s fantasia-like theme refers to the illusive and complicated promise of that desire. Program Notes © 2011 Scott Good Sergey Rachmaninoff b. Semyonovo, Russia / April 1, 1873 d. Beverley Hills, USA / March 28, 1943 Rhapsody on a Theme of Paganini Sergey Rachmaninoff was one of the greatest pianists of his time, and as a composer was the last of the great Russian Romantics. His early compositional years were marked by the obvious influence of Tchaikovsky and RimskyKorsakov, but he later developed a style all his own. His legacy is not that of a quintessential “Russian” style, but rather a compositional style that is purely his own. “...one of the greatest writers of melody who ever put pen to paper...” Lyrical and individual, and one of the greatest writers of melody who ever put pen to paper, Rachmaninoff’s music has enjoyed enduring popularity. His Rhapsody on a Theme of Paginini (not really a rhapsody at all, rather a set of variations on a theme) is the last work he wrote for piano. The theme is of course Paganini’s last of twenty-four caprices for solo violin, a devilish arm-twister if there ever was one; and Rachmaninoff doesn’t let the piano player have any easier of a time with his set of variations – he brilliantly captures the magnificent complexity of Paganini’s technical mastery. allegro 27 Rachmaninoff also stirs another intriguing idea into the pot, juxtaposing Paganini’s theme with the motif of the Dies Irae, the ubiquitous hymn tune from the Latin Requiem. Rachmaninoff makes use of this motif frequently throughout his compositions, but here it provides not only substance and interest, but a point of humour, playing on the famous rumours that Paganini must have received his “diabolical” technical prowess from a deal with the devil. Rachmaninoff created twenty-four variations on Paganini’s theme, grouped into three sections loosely based on the traditional three-movement structure of a concerto: variations 1 to 10 mostly allegro, a cadenza in variation 11, variations 12 to 18 mostly adagio, and variations 19 to 24 representing a fast and nearly continuous finale. The use of the theme, whether straight-up or modified inversions as in the extraordinarily beautiful variation 18 (the one that everyone knows and loves), is brilliant – nods to Paganini exist throughout (fittingly, the introduction of the theme for the very first time comes in the strings, not the piano), and the adept use of the Dies Irae motif adds just the right amount of ominous depth. Though Rachmaninoff’s music can often be dismissed as indulgent and sentimental romanticism, the reality is that in this work, like so many others, Rachmaninoff created an enduring masterpiece. Richard Strauss b. Munich, Germany / June 11, 1864 d. Garmisch-Partenkirchen, Germany / September 8, 1949 Der Rosenkavalier: Suite, Op. 59 Der Rosenkavalier (The Knight of the Rose) is an opera penned by German composer Richard Strauss. The opera, a work of great genius, was first performed in Dresden in 1911, with a libretto written especially for Strauss by Hugo von Hofmannsthal. Though it bears the description “A Comedy for Music,” the grandness of expression and brilliance of orchestration inherent throughout the piece belies this simple description. The opera is set in the mid-eighteenth century, during the early years of the reign of the Empress Maria Theresa, and is, ultimately, a bittersweet tale of love and farce. One of the defining characteristics of the opera, quite at odds with the Viennese music scene of the time, is the presence of many waltzes and waltz-like episodes. Though not in any way related to the Strauss family of later waltz Order Your VSO Tickets Online Easy, Secure and Convenient Order online and print your tickets from the comfort of your own home! With the VSO’s Select Your Own Seat online ticketing system, purchasing your tickets online has never been easier! To set up your online account to be able to easily log in and select your seats, call VSO Customer Service or emailcustomerservice@vancouversymphony.ca Also, sign up for email updates on the VSO website—you will receive periodic emails with upcoming concerts, information, offers and promotions exclusive to email club members. vancouversymphony.ca VSO Customer Service 604.876.3434 28 allegro fame, Richard wove a rich tapestry of waltz music throughout Der Rosenkavalier, waltz music that figures prominently in the Suite played today. Strauss’s suite encapsulates the best moments of the opera, from the frenetic opening that mirrors a first-time sexual experience, to the poignant ending that sees the heroine of the piece yielding her young lover to his future bride. The second half of the piece features every melody from the first half again, but with a twist in each waltz theme. “...the waltz begins to swirl and swirl, gathering momentum.” Something is now different; Ravel has altered each waltz theme with unexpected modulations and instrumentations, creating b. Ciboure, Basses Pyrénées, France / March 7, 1875 quite a different feeling, as the waltz begins d. Paris, France / December 28, 1937 to swirl and swirl, gathering momentum. La Valse Suddenly, a rather disconcerting danse Ravel’s La Valse is often the subject of macabre appears and the work ends with debate, in terms of the genesis of the idea for a crash – and, symbolically, with the only the work, and what the music actually means. measure not in traditional waltz-time, fulfilling Many writers and musicologists have argued perhaps the one agenda Ravel had in the that the piece, written in 1919 to 1920, is a creation of this brilliant work: a lamentation metaphor for the collapse of European society for the loss of a musical genre he loved. ■ and the horrors of the first World War. It has Program Notes © 2011 Sophia Vincent also been argued that the work chronicles the life and death of the Waltz genre. However, the words of the composer himself seem to render the perspective of La Valse as a metaphor for the consequences of war somewhat moot: “While some discover an attempt at parody, indeed caricature, others categorically see a tragic allusion in it – the end of the Second Empire, the situation in Vienna after the war, etc.... This dance may seem tragic, like any other emotion... pushed to the extreme. But one should only see in it what the music expresses: an ascending progression of sonority, to which the stage comes along to add light and movement…. FEBRUARY 25, 2012 In the course of La Valse, I did not envision a dance of death or a struggle between life 8pm, Orpheum Theatre and death.” Maurice Ravel passion What is undeniable is the depth of power and Romanticism, and genius of orchestration, that Ravel displays throughout this marvelous work. The music begins quietly, the merest suggestion of waltzing couples perceived through the mist. Soon, the clouds part and a series of waltzes follow the introduction of the main waltz theme. About halfway through, the music approaches what feels like a climax, only to dreamily dissipate once more into the mist that we encountered in the beginning. Stravinsky’s Les Noces Orff’s Catulli Carmina Bergmann’s Midsummer Flower T I C K E T S vancouverbachchoir.com 604.872.8789 allegro 29 BRAMWELL TOVEY John Lill CONCERT PROGRAM GOLDCOR P MASTERWOR KS GOLD / OR PH EUM TH EATR E, 8PM saturday & monday, february 18, 20 Bramwell Tovey conductor ◆ John Lill piano Buhr Jyotir ◆ Beethoven Piano Concerto No. 4 in G Major, Op. 58 I. II. III. Allegro moderato Andante con moto Rondo: Vivace I ntermission Elgar Symphony No. 2 in E-flat Major, Op. 63 I. II. III. IV. Allegro vivace e nobilmente Larghetto Rondo Moderato e maestoso PRE-CONCERT TALKS free to ticketholders at 7:05pm. Visit the Symphony Gift Shop for CD selections Masterworks GOLD SERIES SPONSOR RADIO SPONSOR allegro 31 Are YOU like US? Together we APPRECIATE the artistic excellence of our orchestra and the int year across the Lower Mainland. LEARN about the history of the world’s great music through the V CARE deeply about the cultural vibrancy of our community and ma CELEBRATE with others at social events, open rehearsals, conce Because of who we are and the values we sh If YOU are like US, please consider becoming a Friend of the Vancouver Symphony by making a financial investment in your orchestra. To become a Friend or for more information please contact Ms. Curtis Pendleton at 604.684.9100 extension 238 You can also join at: vancouversymphony.ca/friends ternationally-recognized soloists who perform 140 concerts each VSO’s engaging educational opportunities. aintaining one of its most invaluable cultural assets. erts and whenever we come together to enjoy great music. hare, we invest in the VSO. During the month of February, volunteers are waiting in the lobby to tell you about the many benefits of membership, receive your contribution, and welcome you into our family of supporters. Please join us. Fr ends of the Vancouver Symphony Bramwell Tovey conductor Montreal and Toronto Symphony Orchestras, and pianist Janina Fialkowska. His music For a biography of Maestro Tovey, please has been performed all over the world by refer to page 22. such diverse ensembles as the London Sinfonia, Detroit Symphony Orchestra, BBC Symphony, and pianist Louis Lortie. In 2003, piano his full-length ballet, Beauty and the Beast, John Lill’s concert career spans over fifty was premiered by England’s Birmingham years. His rare talent emerged at an early Royal Ballet. It has since toured the United age – he gave his first piano recital at Kingdom three times, for a total of more than the age of nine. At eighteen he performed 100 performances. Dr. Buhr is Professor Rachmaninov’s Third Piano Concerto under of Music Composition and Improvisation in Sir Adrian Boult, followed by his muchthe Contemporary Music Program at Wilfrid acclaimed London debut playing Beethoven’s Laurier University, and the Artistic Director of ‘Emperor’ Piano Concerto at the Royal Festival NUMUS Concerts in Kitchener-Waterloo. Hall. His success was reflected in many He writes, “Jyotir (1989) is a brief study in prestigious international prizes and awards, virtuosic orchestral writing. It is unrelentingly and in 1970 he won the most coveted of these, the Moscow International Tchaikovsky fast with several virtuoso sections for the Competition, further consolidating his already woodwinds and in improvised drum solo toward the end. As the title suggests (jyotir is busy international concert schedule. the Sanskrit word for brilliance), the work is Unanimously described as the leading British strongly influenced by the music of India.” pianist of his generation, John Lill’s career has taken him to over fifty countries, both as a recitalist and as a soloist with the world’s b. Bonn, Germany / baptized December 17, 1770 greatest orchestras. John Lill Ludwig van Beethoven His most recent recording projects have been the 60th birthday release of piano works by Schumann on the Classics for Pleasure label and two new releases for Signum records of Schumann and Brahms and Haydn Piano Sonatas. John Lill has been awarded eight Honorary Doctorates from British universities as well as several Fellowships from the leading musical colleges and academies. Glenn Buhr b. Winnipeg, Manitoba, Canada / December 18, 1954 Jyotir Glenn Buhr is a composer, music curator and producer, band leader, and improvisational pianist. He was Composer-in-Residence with the Winnipeg Symphony Orchestra, and curator of the internationally-renowned New Music Festival, from 1990 to 1996. He has received commissions from many important performers and ensembles including the 34 allegro d. Vienna, Austria / March 26, 1827 Piano Concerto No. 4 in G Major, Op. 58 This concerto’s serenity and gentle humour place it in sharp contrast with both the stresses and storms of Beethoven’s No. 3, and the grand rhetoric of No. 5. He composed it between 1805 and 1806. As he had done with his three previous piano concertos, he played the first performance himself, in March 1807. The 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 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 to Orpheus taming the wild beasts with his lyre. The lower strings begin the conversation, gruffly. The piano gives such an impassioned plea for conciliation that the orchestra can only capitulate. The concluding, high-spirited rondo follows on without a break. It is the most conventional part of the concerto, but Beethoven still peppers it with enough individual touches of humour and instrumental colour to ensure it is worthy of its predecessors. Sir Edward Elgar b. Broadheath, England / June 2, 1857 d. Worcester, England / February 23, 1934 Symphony No. 2 in E-flat Major, Op. 63 The impetus to compose a second symphony came strongly to Elgar in October 1909, but a year passed before he set to work on it in earnest. He completed it by the end of February 1911. The king of England died on May 6. Feeling the loss strongly, Elgar dedicated the symphony to “the memory of His late Majesty King Edward VII.” He headed the score with a quotation from Percy Shelley’s poem Invocation: “Rarely, rarely comest thou, Spirit of Delight!” This could be interpreted as the cry of a soul in torment, but Elgar, at least in public, tried to put a more positive spin on it. He conducted the first performance himself, leading the Queen’s Hall Orchestra in London on May 24, 1911. It played to a less-than-full house, and earned a respectful rather than enthusiastic reception. What Elgar saw as the failure of the symphony’s launching weighed on him heavily for some time. The piece lay neglected until after the First World War. A young conductor named Adrian Boult took it up and helped it win the respect that such a grand, moving and superbly orchestrated work deserves. On the whole, the first movement is warmhearted and sweeping. A lengthy section in a brooding, inward-looking manner lies at the core. “I have written the most extraordinary passage, a sort of malign influence wandering thro’ the summer night in the garden,” was how Elgar described it in a letter to a friend. The opening atmosphere of exuberance returns to counter this, if not to erase its impact completely. Like the corresponding section of Beethoven’s “Eroica” Symphony (which is set in the same key), the second movement has the manner of a funeral march. Because it communicates the most profound feelings of sorrow, there can be little wonder why many listeners believed initially (and mistakenly) that it had been inspired by the death of King Edward. Elgar here gives eloquent voice to a more universal grief than any particular event could have been inspired. He next presents an energetic but rather unsettling scherzo, unusually cast in the form of a rondo. The finale opens with a mellow, gracefully ambling theme. Another, stirring subject was inspired, Elgar stated, by his great champion, conductor Hans Richter. The development section includes a glance backward at the symphony’s opening subject. Gradually, the tensions and conflicts that have accumulated from the symphony’s opening bars evaporate. This leads to a concluding section of sweet, if not entirely untroubled serenity, one all the more satisfying for having been earned against such heavy opposition. ■ Program Notes © 2011 Don Anderson 36 allegro UPCOMING CONCERTS Highlights of the next issue of Allegro... Electrifying! Nadja Salerno-Sonnenberg SATURDAY & MONDAY, MARCH 24 & 26 Nadja Salerno-Sonnenberg Andrew Litton conductor Nadja Salerno-Sonnenberg violin GLINKA Ruslan and Ludmilla: Overture Shostakovich Violin Concerto No. 1 Prokofiev Symphony No. 4 THE WIZARD OF OZ! monday, APRIL 2 Constantine Kitsopoulos conductor Vancouver Symphony Orchestra COME IN COSTUME to Oz with the Orchestra! Follow the yellow brick road to the Orpheum to watch this beloved classic, beautifully restored in full colour, on the big screen with the stunning original score performed live by the Vancouver Symphony Orchestra. Seoul Philharmonic Orchestra WITH CONDUCTOR MYUNG-WHUN CHUNG SUNDAY, APRIL 15 Myung-Whun Chung Myung-Whun Chung conductor Wu Wei sheng Ravel Ma Mere l’Oye Unsuk Chin Šu Tchaikovsky Symphony No. 6 in B minor, Pathetique Bach & Mendelssohn with Dale Barltrop Friday, Saturday & Monday, April 20, 21 & 22 Dale Barltrop Dale Barltrop leader / violin Bach Brandenburg Concerto No. 3 Mendelssohn String Symphony No. 13 Bach Violin Concerto No. 2 Mendelssohn Octet LARRY KING STANDING UP THURSDAY, APRIL 26 LARRY KING Larry King entertainer Broadcasting legend Larry King brings his own hilarious and insightful stories from over 25 years of broadcasting history to the Orpheum stage for an exclusive one-night-only performance! Full concert listings and tickets at: vancouversymphony.ca or call 604.876.3434 David Lockington Benedetto Lupo CONCERT PROGRAM BAC H & BEYON D / C HAN C ENTR E FOR TH E PER FORMI NG ARTS AT U BC, 8PM CONCERT PROGRAM friday & saturday, february 24, 25 ▲ David Lockington conductor Benedetto Lupo piano JC Bach Symphony in G minor, Op. 6, No. 6, WC12 ▲ I. Allegro II. Andante piu tosto adagio III. Allegro molto Mozart Piano Concerto No. 23 in A Major, K.488 I. Allegro – Cadenza – Tempo I II. Adagio III. Allegro assai I ntermission Mozart Symphony No. 41 in C Major, K.551, Jupiter I. II. III. IV. Allegro vivace Andante cantabile Menuetto: Allegretto – Trio Finale: Molto allegro Visit the Symphony Gift Shop for CD selections The presentation of this Series is made possible, in part, through the generous assistance of the Chan Centre for the Performing Arts of the University of British Columbia. 38 allegro David Lockington conductor Over the past twenty-five years, David Lockington has developed an impressive conducting career in the United States. A native of Great Britain, he has served as the Music Director of the Grand Rapids Symphony Orchestra since January 1999 and was appointed Music Director of the Modesto Symphony in May 2007. Since his arrival to the United States in 1978, Mr. Lockington has held numerous positions with American orchestras, including serving as Assistant Conductor with the Denver Symphony Orchestra and Opera Colorado and Assistant and Associate Conductor of the Baltimore Symphony Orchestra. David Lockington began his career as a cellist and was the Principal with the National Youth Orchestra of Great Britain for two years. After completing his Bachelor of Arts degree at the University of Cambridge, Mr. Lockington came to the United States on a scholarship to Yale University where he received his Master’s degree in cello performance and studied conducting with Otto Werner Mueller. He was a member of the New Haven Symphony Orchestra and served as assistant principal cellist for three years with the Denver Symphony Orchestra before turning to conducting. Benedetto Lupo piano Benedetto Lupo has been described by critics as an “exceptionally fine pianist ... who has a remarkably fine touch and beautiful tone control” (The Oregonian). Praised for his “keen musical intelligence and probing intellect” (Miami Herald), and for combining “meticulous technique with romantic sensitivity” (Birmingham News), he has gained worldwide recognition. After winning the bronze medal in the 1989 Van Cliburn International Piano Competition, he made acclaimed debuts with several major American orchestras. Benedetto Lupo teaches at the Nino Rota Conservatory in Italy, gives master classes around the world, and has served on the jury of both the Cleveland International Competition and the Gina Bachauer Competition in Salt Lake City, from which he previously won second and third prize, respectively. He is featured on the Emmyaward winning documentary Here to Make Music: The Eighth Van Cliburn International Piano Competition and the seven-part series Encore! The Final Round of Performances of the Eighth Van Cliburn International Piano Competition, both for PBS. Johann Christian Bach b. Leipzig, Germany / September 5, 1735 d. London, England / January 1, 1782 Symphony in G minor, Op. 6, No. 6 Johann Christian Bach was the eleventh and youngest son of the great Baroque master Johann Sebastian Bach. The youngest Bach, though overshadowed by his father and older brother C.P.E. Bach, was an important contributor to the development of the Classical style ushered into a post-Baroque world. In fact, J.C. Bach was an early teacher of Mozart’s (making this concert a brilliantlyprogrammed look at the transition of music from the Baroque to the Classical era) and influenced the young composer’s style and thoughts. J.C. Bach traveled to London in 1762, ending up staying there as his base for the rest of his life, establishing a series of concerts that went on for many years – in fact, writing most of his instrumental music for those concerts. His Opus 6 symphonies, six in all, were published in 1770, and contain some of his best and most important work. Symphony No. 6 in G minor featured in today’s concert is considered to be one of the most important of a series of G minor symphonies written by Classical composers around that time, including the famous works by Haydn and Mozart. Easily the most serious of his Opus 6 symphonies, befitting the minor key, strong parallels are to be found between this work and Mozart’s famous “little G minor” Symphony No. 25 in their powerful and strident outer movements surrounding grave, sober middle sections. allegro 39 Wolfgang Amadeus Mozart b. Salzburg, Austria / January 27, 1756 d. Vienna, Austria / December 5, 1791 Piano Concerto No. 23 in A Major, K. 488 There is no doubt that Wolfgang Amadeus Mozart is amongst the very greatest of creative minds in human history, and pretty much everything that he touched turned to gold, in musical terms. There was really nothing that Mozart could not compose well, and in fact, there is no style or genre in which some of the very best examples ever written did not come from the pen of Mozart. This of course also applies to his multiple works for piano and orchestra, including the Piano Concerto No. 23. “...pretty much everything that he touched turned to gold, in musical terms.” in obvious need of the money. Part of the mystery of Mozart’s last years is, with all the problems and worries he faced, how could he have come up with such a tremendously joyful and free work such as his last symphony – and why did he write it, when there is no evidence of a commission? One thing is certain: Mozart saved the best for last in terms of his symphonies. Completed in August of 1888, Symphony No. 41 “Jupiter” (a nickname given to the work by London violinist and orchestral director Johann Peter Salomon) is truly, by anyone’s standards, one of the greatest and most joyful pieces of music of any kind ever written. This symphony has everything: technical mastery, a grand sense of scale, pathos, and pure, unadulterated joy. Immediately, the first movement of this symphony begins exploring contrapuntal combinations of subject and countersubject; this becomes characteristic of the symphony as a whole. Through a beautiful, muted second movement, to a menuetto-trio combination Like many of his piano works, Mozart wrote that is curious in form, yet brilliant in effect, this concerto to be played by himself at his own subscription concert series. Many things Symphony No. 41 defies expectations and make this concerto remarkable – not the least revels in its brilliance. Yet, all that comes before the fourth movement seems merely as of which is a greater tenderness and more prelude once this extraordinary finale begins, profound depth of expression than most of his preceding concerti for piano. Interestingly, a finale that is truly one of the greatest final Mozart substitutes clarinets in place of oboes movements in all of the symphonic repertoire. in this work, giving a gentle warmth to the orchestration. “...soaring grace, beauty, The expressive Adagio is Mozart’s only piece in F sharp minor, and is poetic radiance personified; it even supplies a section that figures into his opera Don Giovanni. The finale goes back to Mozart’s favourite rondo form, and is happy but, as so often seen in Mozart’s music, tinged with faint expressions of sadness. Symphony No. 41, Jupiter Mozart’s genius is of course well known, but much else about his life and motivations remains mysterious. What exactly was Mozart thinking in the last years of his life, when financial and health problems plagued him? What was his mood? What led him to accept commissions such as the Requiem, for which he was plagued with doubt – though 40 allegro humour, and profound joy...” The main subject is a simple four-note motif that appeared in Mozart’s first symphony and other works; this subject is then combined with others, with soaring grace, beauty, humour, and profound joy – all with seemingly effortless skill. As a fitting conclusion, let us ponder the words of the great composer Joseph Haydn, when he told Mozart’s father, “Before God, and as an honest man, I tell you that your son is the greatest composer known to me in person or by name. He has taste, and, what is more, the greatest knowledge of composition.” ■ Program Notes © 2011 Sophia Vincent PIERRE SIMARD MEMBERS OF THE VSO CONCERT PROGRAM VANCOUVER SU N SYMPHONY AT TH E AN N EX / OR PH EUM AN N EX, 8PM CONCERT PROGRAM saturday, february 25 Pierre Simard conductor Jubilees JosÉ Evangelista Ô Bali Franco Donatoni Spiri Peter-Jan Wagemans Viderunt Omnes I ntermission Salvatore Sciarrino Vento d’ombra Magnus Lindberg Jubilees A continuation of the Symphony at the Roundhouse series,, this first edition at the Annex celebrates new music from around the world. Balinese gamalan in Evangelista’s Ô Bali, the European Middle Ages in Wagemans’ Viderunt Omnes, Italian avant-garde of metamorphosis and silence in Donatoni’s Spiri and Sciarrino’s Vento d’Ombra, and Finnish short form in Magnus Lindberg’s Jubilees. Visit the Symphony Gift Shop for CD selections SYMPHONY AT THE ANNEX SERIES SPONSOR FINANCIAL SUPPORT FOR THIS SERIES PROVIDED BY allegro 43 Pierre Simard conductor For a biography of Pierre Simard please refer to page 10. José Evangelista b. Valencia, Spain / August 5, 1943 Ô Bali ‘The first major contact of the West with Indonesian music was made during the 1889 Exposition Universelle in Paris, after which composers like Debussy started to incorporate features of gamelan into their own works (like Nuages and Estampes). To commemorate the centenary of this first major contact of the West with Indonesian music, Ô Bali was commissioned by RadioCanada. Evangelista comments: “To pay homage to the extraordinary music of Bali, I have composed this work following the principles of Balinese music, though freely interpreted. For example, my piece is based on two melodies played by the flutes that are at the same time ornamented and punctuated by the other instruments.” Besides studying music with Vicente Asencio, André Prévost and Bruce Mather, José Evangelista also studied physics. He has been a professor at the University of Montreal since 1979. Evangelista has received several awards and numerous commissions, and was composer-inresidence with the Montreal Symphony Orchestra between 1993 and 1995. Franco Donatoni b. Verona, Italy / June 9, 1927 d. Milan, Italy / August 17, 2000 Spiri Created after a period of virtual abandonment of writing music at all in the 1970s, Spiri is a turning point in Donatoni’s composing. It marks a significant break with the serial approach he supported since the 1950s. In Spiri, a compositional approach akin to Bartók is applied, using motivic cells from which the entire composition grows organically. Upon its completion, Donatoni described this new 44 allegro period as ‘joyous, almost euphoric.’ Franco Donatoni was one of the most prominent Italian composers of his generation. At least three generations of composers studied with him, among them Magnus Lindberg, Esa Pekka Salonen, and Vancouver composer Giorgio Magnanensi. Born in Verona, Donatoni won many prestigious prizes and for Spiri, he won the Psacaropoulo prize in 1979. Peter-Jan Wagemans b. The Hague, The Netherlands / September 7, 1952 Viderunt Omnes In contrast with the pulse-driven music of Louis Andriessen’s The Hague School, Wagemans’ style represents another side of Dutch composing. In Viderunt Omnes, an organum by Perotinus from the Medieval Academy of Notre Dame is reinterpreted. Wagemans permits himself creative freedom by adding layers of voices, accentuations and extra notes whilst retaining a Gregorian character. This, on top of the jubilant orchestration, makes for a post-modern view of the Middle Ages. Peter-Jan Wagemans studied organ, composition and music theory at the Royal Conservatory in The Hague in The Netherlands. He also briefly studied with Klaus Huber in Freiburg in Germany. All major orchestras in The Netherlands regularly perform his music, including the Royal Concertgebouw and the Rotterdam Philharmonic. Although Wagemans is one of the most important living composers in the Netherlands, he is virtually unknown outside of his own country. Salvatore Sciarrino b. Palermo, Italy / April 4, 1947 Vento d’ombra A unique voice within the avant-garde, Sicilian Salvatore Sciarrino is mostly selftaught as a composer. His musical signature is very recognizable, and is often described as ‘verging on silence.’ In Vento d’ombra, silences are encapsulated by gestures of tiny musical cells often expressed through a wide variety of extended instrumental techniques. The fragmented form appears as a stationary condition, a pointillist tapestry of colourful sounds. Salvatore Sciarrino is a prolific composer with regular commissions and performances all over Europe. He is the first-prize winner of the newly created Salzburg Music Prize in 2006. He has taught at the Music Academies of Milan, Perugia and Florence. His works are published at Ricordi and Rai trade. Magnus Lindberg b. Helsinki, Finland / June 27, 1958 Jubilees Jubilees was originally composed as a set of six piano works. The first and most complex was commissioned by the Royal Festival Hall in London as a birthday present for Pierre Boulez in 2000. Lindberg continued the series so that the set of six was completed within the year. The works were orchestrated for chamber orchestra in 2003. Jubilees shares certain parallels with Chopin, Debussy and Scriabin. Magnus Lindberg entered the Sibelius Academy, where his composition teachers included Einojuhani Rautavaara and Paavo Heininen. He made a decisive move in 1981, traveling to Paris for studies with Globokar and Grisey. During this time, he also attended Donatoni’s classes in Siena. His early works combined experimentalism, complexity and primitivism, working with extremes of musical material. During the late 1980s his music transformed itself towards a new modernist classicism, in which many of the communicative ingredients of a vibrant musical language were re-interpreted afresh for the post-serial era. Lindberg is Composerin-Residence of the New York Philharmonic between 2009 and 2012. He is published by Boosey & Hawkes. Reprinted by kind permission of Boosey & Hawkes. ■ Program Notes © 2011 Edward Top Thank you to the VSO volunteers! Maestro Bramwell Tovey and the Vancouver Symphony Orchestra extend their sincerest appreciation and admiration to the over three hundred VSO Volunteers; not only for providing invaluable assistance to the operations through thousands of hours spent on administrative work, reception, concert presence, Gift Shop staffing, and lottery ticket sales on site and in malls throughout the Lower Mainland, but also for their remarkable efforts in raising funds through numerous projects such as Symphony of Style, Musical Encounters, and the Holland America Luncheon. To the hundreds of VSO volunteers and the Volunteer Executive Council for their extraordinary and inspiring dedication: Bramwell Tovey, VSO MUSIC DIRECTOR Thank you! allegro 45 PIERRE SIMARD CHRISTOPHER GAZE Jeanette Bernal-Singh CONCERT PROGRAM PAC I FIC AR BOU R TEA & TRUMPETS / OR PH EUM TH EATR E, 2PM thursday, march 1 Pierre Simard conductor Christopher Gaze host ◆ Jeanette Bernal-Singh violin Come Fly With Me! Wagner Die Walküre: Ride of the Valkyries Rimsky-Korsakov Le Coq d’or: Wedding March Strauss Sphärenklänge Humperdinck Hänsel und Gretel: Hexenritt ◆ Lalo Symphonie espagnole IV. Andante V. Rondo: Allegro Tchaikovsky Swan Lake Suite VI. Danse espagnole VII. Danse napolitaine VIII. Mazurka Vaughan Williams Aristophanic Suite from The Wasps V. Ballet & Final Tableau Tea & Cookies Don’t miss tea and cookies served in the lobby one hour before each concert, compliments of Tetley Tea and LU Biscuits. Visit the Symphony Gift Shop for CD selections TEA & TRUMPETS SERIES SPONSOR 46 allegro Pierre Simard conductor For a biography of Pierre Simard please refer to page 10. Christopher Gaze host For a biography of Christopher Gaze please refer to page 10. Jeanette Bernal-Singh violin Jeanette Singh, Assistant Principal second violin of the Vancouver Symphony, was born in Mexico and began her violin studies at the age of three with her mother Joan King and step-father, Pablo Diemecke. Jeanette has won many national and international awards and competitions. Her performances have taken her all over North America, Europe, South East Asia, India and Australia. She did her undergraduate studies at Indiana University, earning a fellowship and several scholarships and awards. Jeanette holds a master’s degree, attained with honours, from the University of British Columbia. Her teachers include Gerald Stanick, Paul Biss, Franco Gulli, Stanley Ritchie and Sidney Humphreys. Jeanette has recorded for broadcasts and CDs of Indian, Mexican, and Chinese music. She was a member of the Malaysia Philharmonic. In her spare time, Jeanette is concertmaster of the Orchestre Des Concerts Diemecke (Die Mahler Enterprises). She performs Indian music, and has been a guest on several TV shows. ■ Passion& POWER THE THRILLING 2011/2012 SEASON BRAMWELL TOVEY WITH THE VSO LET OUR GROUP ENTERTAIN YOUR GROUP! Great Classics, swingin’ Pops, concerts for children and families – the VSO’s 2011/2012 Season offers all this and more! Don’t miss extraordinary guest artists like Joyce Yang, Yevgeny Sudbin, Benedetto Lupo, Nadja Salerno-Sonnenberg and many more, in a season filled with musical treasures. Call Katherine at 604.684.9100 ext 252 for more information about Group Sales discounts. DISCOUNTS AND PREFERRED SEATING! JOYCE YANG Contact Group Sales at 604.684.9100 ext 252 or groupsales@vancouversymphony.ca Katherine Houang, Group Sales & Special Ticket Services vancouversymphony.ca Julia Murney Stephanie J. Block CONCERT PROGRAM LON DON DRUGS VSO POPS / OR PH EUM TH EATR E, 8PM friday & saturday, march 2, 3 Steven Reineke conductor Wicked Divas: Stephanie J. Block Julia Murney Wicked Divas Selections Include: Stephen Flaherty (arr. Steven Reineke) Ragtime James Horner (arr. Steven Reineke) My Heart Will Go On from Titanic Alan Jay Lerner & Frederick Lowe I Could Have Danced All Night from My Fair Lady Andrew Lloyd Webber (arr. Bob Lowden) Highlights from Evita Alan Menken (orch. Pasatieri) Part of Your World from The Little Mermaid Harold Arlen/E.Y. “YIP” Harburg (arr. Skitch Henderson/Dick Lieb) Over the Rainbow from The Wizard of Oz Stephen Schwartz (arr. Brohn/Fleischer) The Wizard and I from Wicked Stephen Schwartz (arr. William David Brohn) Popular from Wicked Stephen Schwartz Defying Gravity from Wicked Stephen Schwartz For Good from Wicked Visit the Symphony Gift Shop for CD selections VSO POPS SERIES SPONSOR MARCH 2 CONCERT SPONSOR MARCH 3 CONCERT SPONSOR RADIO SPONSOR allegro 49 Stephanie J. Block Steven Reineke Steven Reineke conductor Steven Reineke’s boundless enthusiasm and exceptional artistry have made him one of the nation’s most sought-after pops conductors, composers and arrangers. In 2010/2011, Reineke began his second season as Music Director of The New York Pops. In addition to conducting the orchestra’s annual Carnegie Hall concert series, Reineke leads concert tours, recordings and nationwide telecasts, including the Macy’s 4th of July Fireworks on NBC Television. New York’s only permanent and professional symphonic pops orchestra, The New York Pops is the largest independent pops orchestra in the United States. In addition Mr. Reineke serves as Principal Pops Conductor of the Long Beach and Modesto Symphony Orchestras and he retains the title of Associate Conductor of the Cincinnati Pops Orchestra, where for fifteen years he served as a composer, arranger and conducting protégé of the late celebrated pops conductor Erich Kunzel. A native of Ohio, Mr. Reineke is a graduate of Miami University of Ohio, where he earned bachelor of music degrees with honors in both trumpet performance and music composition. He currently resides in New York City. Mr. Reineke is represented by Peter Throm Management, LLC. 50 allegro Stephanie comes to 9 to 5 straight from playing the role of Elphaba in the Broadway Company of Wicked. Audiences may also recognize her for her portrayal as Grace O’Malley in The Pirate Queen and Liza Minnelli opposite Hugh Jackman in The Boy From Oz. Stephanie also starred in the First National Touring Company of Wicked as Elphaba for which she won the 2006 Helen Hayes Award for Outstanding Actress. Some of her regional credits include Funny Girl, Crazy For You (L.A. Ovation Award Nominee), Oliver (Critics Award-Best Actress), James Joyce’s The Dead, Triumph Of Love, The Grass Harp, South Pacific, Will Rogers Follies and the World Premiere of Wicked. Her voice can be heard on a number of cast recordings as well as numerous commercial jingles. She is a proud member of The Musical Theatre Guild and has been a member of Actors’ Equity since 1995. “To my family, loved ones and my God-Thanks and Praise!” Julia Murney Julia Murney last appeared on Broadway as Elphaba in Wicked after playing the role on the national tour for which she received an Acclaim Award. Other New York credits include Lennon, Andrew Lippa’s The Wild Party (Drama Desk nomination), The Vagina Monologues, A Class Act, Saved, Crimes of the Heart, First Lady Suite, and Time and Again (Lucille Lortel nomination). She’s been seen regionally all over the U.S.: Signature, Williamstown, Reprise! LA, Sacramento Music Circus, NCT, Lyric, Rubicon and Goodspeed, to name a few-and in concert she has performed at Joe’s Pub, Feinstein’s, The Kennedy Center, Caramoor, Town Hall and Birdland as well as with Peter Nero and the Philly Pops and Steven Reineke and the Cincinnati Pops. Among her TV credits are 30 Rock, Sex and the City, Ed, NYPD Blue, all three Law and Orders and about a gazillion voiceovers. A Syracuse University graduate, her recordings include the original cast albums of The Wild Party and A Class Act, the Grammy® nominated Actor’s Fund Benefit of Hair and her first solo album, I’m Not Waiting which is available on Sh-K-Boom records. ■ CONCERT PROGRAM SPECTRA EN ERGY KI DS KONC ERTS / OR PH EUM TH EATR E, 2PM sunday, march 4 Pierre Simard conductor Vern Griffiths percussion Wall to Wall Percussion Sousa Washington Post March Milhaud Percussion Concerto Green/Cahn Xylophonia Mussorgsky/Ravel Pictures at an Exhibition: III Tuileries Saint Saens The Swan Khachaturian Sabre Dance Bizet Carmen: Aragonaise Williams Star Wars Suite: I. Main Title Anderson Sandpaper Ballet Freedman Oiseaux Exotique: Conga Tchaikovsky 1812 Overture Schifrin Mission Impossible 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 Co-Sponsor 52 allegro PREMIER EDUCATION PARTNER The VSO’s Kids’ Koncerts have been endowed by a generous gift from the William & Irene McEwen Fund. PIERRE SIMARD Vern Griffiths Pierre Simard conductor UBC and the Manhattan School of Music, and now teaches at UBC and the VSO School of Music. For a biography of Pierre Simard please refer to page 10. Vern Griffiths percussion Vern Griffiths joined the Vancouver Symphony Orchestra as Principal Percussionist in 1997, and is also a member of the new music groups Standing Wave and the Turning Point Ensemble. He has recorded with all of these groups, and has also recorded soundtracks for Disney, ABC, IMAX, NFB, EA Sports, PBS, Lions Gate, and Dreamworks. He studied at His passion for connecting with audiences of all ages led him to write the show Wall to Wall Percussion, which he has now performed ten times with the Vancouver, Victoria, and Toronto Symphonies. In a highly interactive and fun presentation, the audience will be transported to ‘Vern’s house,’ where they will be introduced to a wide variety of instruments, styles, roles of the percussionist, as well as how to make instruments at home! ■ allegro Speak directly to your audience: Advertise in Allegro Rates starting at only $600! ALLEGRO DEMOGRAPHICS ◆ Affluent ◆ Educated ◆ Home Owners ◆ Culturally Diverse ◆ Influential ALLEGRO FACTS ◆ 5 Issues per Season ◆ Each Issue Active 2 Months ◆ Read by Over 200,000 People Each Year ◆ Distributed at the Orpheum, Chan Centre, and ten other venues around the Lower Mainland Highly targeted and highly effective, advertising in Allegro makes sense for your business. Email allegro@vancouversymphony.ca for details and a rate kit. vancouversymphony.ca/allegro Benjamin Grosvenor Pierre Simard CONCERT PROGRAM MUSICALLY SPEAKI NG / OR PH EUM TH EATR E, 8PM saturday, march 10 ROGERS GROU P FI NANC IAL SYMPHONY SU N DAYS / OR PH EUM TH EATR E, 2PM sunday, march 11 North Shore C lassics / C ENTEN N IAL TH EATR E, 8PM monday, march 12 Pierre Simard conductor ◆ Benjamin Grosvenor piano Dukas The Sorcerer’s Apprentice ◆ Ravel Piano Concerto in G Major I. Allegramente II. Adagio assai III. Presto I ntermission Berlioz Roman Carnival: Overture L’Arlésienne Suite No. 2 Bizet L’Arlésienne Suite No. 1 I. II. III. IV. Prelude Minuetto Adagietto Carillon I. II. III. IV. Pastorale Intermezzo Minuetto Farandole Visit the Symphony Gift Shop for CD selections MUSICALLY SPEAKING VIDEO SCREEN SPONSOR SYMPHONY SUNDAYS SERIES SPONSOR allegro 55 Pierre Simard conductor For a biography of Pierre Simard please refer to page 10. Benjamin Grosvenor piano Eighteen-year-old British pianist Benjamin Grosvenor is internationally recognized for his electrifying performances and penetrating interpretations. An exquisite technique and ingenious flair for tonal colour are the hallmarks which make Benjamin Grosvenor one of the most sought-after young pianists in the world. His virtuosic command over the most strenuous technical complexities never compromises the formidable depth and intelligence of his interpretations. Benjamin first came to prominence as the outstanding winner of the Keyboard Final of the 2004 BBC Young Musician Competition at the age of eleven. Since then, Benjamin has become an internationally regarded pianist performing concerti with renowned orchestras from the London Philharmonic and the Tokyo Symphony to the Brazilian Symphony. The youngest of five brothers, Benjamin Grosvenor began playing the piano aged six. He currently studies with Christopher Elton at the Royal Academy of Music on an affiliated scholarship and has also studied with Leif Ove Andsnes, Stephen Hough, and Arnaldo Cohen amongst others. Paul Dukas b. Paris, France / October 1, 1865 d. Paris, France / May 17, 1935 The Sorcerer’s Apprentice Paul Dukas was one of the most gifted of the turn of the century French composers, though also the most self-critical. This unrelenting self-criticism led Dukas to destroy the majority of his works in the latter stages of his life, which in turn led to the composer’s reputation sitting squarely on only fifteen surviving works, including of course his bestknown work – The Sorcerer’s Apprentice. The Sorcerer’s Apprentice is based on Goethe’s 1797 ballad of the same name; 56 allegro Goethe, in turn, based his work on Philopseudes, a story by Lucian of Samosata. It tells the story of a sorcerer’s apprentice who has been left in the workshop to perform his chores – and who, having soon tired of fetching water, enchants a broomstick to do the work for him. Of course, all will not be well – the apprentice has used magic in which he has not been fully trained. As the broomstick’s behaviour spins wildly out of control, with much splashing and spilling of water, the apprentice, in despair of not knowing the command to de-animate the broom, chops it in two with an axe. To his dismay, however, each piece continues picking up buckets of water, and splashing and spilling, faster and faster – for each chop in two, two more “broomlets” add to the chaos. “...the central genius of this piece is how it all flows so naturally...” When the sorcerer returns, he commands the brooms back to inanimate objects, and generally rights the situation. In some versions, the sorcerer expels the apprentice; in others, he is mildly amused and merely chastises him. Through it all, of course (thanks to Walt Disney and Fantasia), one cannot help but picture Mickey Mouse as the hapless apprentice chasing brooms around the workshop! However rigourously composed in programmatic style, the central genius of this piece is how it all flows so naturally, and how dazzling orchestral colours make The Sorcerer’s Apprentice such a vividly visual experience. Maurice Ravel b. Ciboure, Basses Pyrénées, France / March 7, 1875 d. Paris, France / December 28, 1937 Piano Concerto in G Major Maurice Ravel was a composer whose music is utterly unique and characteristic. Ravel’s music is Ravel’s music – there is no mistaking it. Ravel’s extraordinary orchestration skills contributed greatly to his sound. Precise, rich and imaginative, his masterful orchestrations are the stuff of legend. Studying under Fauré, Ravel gained a deep appreciation for the Classical style; yet his instincts and talents urged him to create harmonies and moods that identified him with the Impressionist school of Debussy. More interested in the abstract than Debussy, Ravel created vivid orchestral colours in his music, while incorporating different musical styles into some of his compositions. “...Ravel created vivid orchestral colours in his music...” The Piano Concerto in G Major is a work that, in a way, both typifies Ravel and finds him out of his comfort zone. Ravel said of his concerto, “The music of a concerto, in my opinion, should be light-hearted and brilliant, and not aim at profundity or at dramatic effects.” He is true to his opinion in this work, the first and third movements being relatively light and celebratory, with marked jazz influences. The finale particularly brims with sensual colours and textures, and an unabashed sense of cheeriness. Waxing much more poetic in the Adagio movement, Ravel becomes introspective and sentimental, infusing the music with beautiful lyricism and style that creates a reflective, longing mood. As soon as the Presto finale hits, however, we are back in the world of jazz-influenced colours and moods that take the concerto to a triumphant conclusion. Hector Berlioz b. La Côte-St-André, Isère / December 11, 1803 d. Paris, France / March 8, 1869 Roman Carnival: Overture Though perceived as a bit of an outsider in the eyes of the French musical establishment, Hector Berlioz was a composer with extraordinary talent for orchestration and became the most important of French Romantic composers. His Requiem and Symphonie Fantastique stand as two of the greatest blockbusters ever written, and numerous overtures have become a part of standard orchestral repertoire. The Roman Carnival Overture was intended as a stand-alone work, and is based on the composer’s opera Benvenuto Cellini. Most notably, the work contains quotes from the carnival scene in the opera – thus the overture’s title – and a famous passage for the English Horn. A rollicking good tune from front to back, Roman Carnival is one of the most popular stand-alone overtures in the orchestral repertoire. Georges Bizet b. Ciboure, Basses Pyrénées, France / October 25, 1838 d. Bougival, France / June 3, 1875 L’Arlésienne Suite No. 1 & 2 Born the year Ravel died, Georges Bizet was a child prodigy who died young (four months shy of his 37th birthday), and who eventually became known for his exceptional operas. In addition to his operatic compositions, Bizet demonstrated great skills in writing orchestral music. The music of the L’Arlesienne Suites clearly falls into this category. “The work resounds with colour, vitality, energy...” Bizet wrote L’Arlesienne (“the lady from Arles”) as incidental music for the play by Alphonse Daudet; the hour-long score later inspired two suites. The suites were actually compiled after Bizet’s death by Ernest Giraud based on Bizet’s original writings and themes. The first movement of the suite contains an interesting parallel to Boléro, in that the central melodies are repeated by various sections of the orchestra. The work resounds with colour, vitality, energy and the orchestral spirit of Carmen. ■ Program Notes © 2011 Sophia Vincent allegro 57 vancouver symphony partners The Vancouver Symphony gratefully acknowledges the generosity of the following Corporations, Foundations, and Government Agencies that have made a financial contribution through sponsorship and/or a charitable donation for the 2011/2012 season. SERIES SPONSORS Concert and Special Event SPonsors &$1521 :(67(51&216758&7256/7' IMPORTANT: For Usage below 1-1/2” wide KINGSWOOD CAPITAL CORPORATION KINGSWOOD CAPITAL CORPORATION VANCOUVER SYMPHONY VOLUNTEERS 58 allegro EDUCATIONAL PROGRAM SPONSORS AND PARTNERS JEMINI FOUNDATION PREMIER EDUCATION PARTNER MEDIA PARTNERS $150,000+ TELUS Vancouver Sun $50,000+ City of Burnaby Parks, Recreation and Cultural Services Goldcorp Inc. Jemini Foundation $40,000+ BMO Harris Private Banking CIBC Industrial Alliance Pacific $30,000+ Borden Ladner Gervais LLP Holland America Line Inc. HSBC Bank Canada London Drugs Pacific Arbour Retirement Communities PwC RBC Foundation YVR–Vancouver Airport Authority $20,000+ Air Canada Best Buy Blake, Cassels & Graydon LLP The Chan Endowment Fund of UBC Chan Foundation of Canada Concord Pacific Group Inc. Deloitte & Touche LLP Eminata Ernst & Young LLP OriginO Rogers Group Financial Spectra Energy TD Canada Trust Vancouver Symphony Volunteers Wesbild Holdings Ltd. $10,000+ Atiga Investments Inc. BA Blacktop Ltd. BCLC Canadian Western Bank Canron Western Constructors Ltd. Corus Entertainment Craftsman Collision Ltd. Deans Knight Capital Management Ltd. Heritage Office Furnishings Keir Surgical Kingswood Capital Corporation KPMG Odlum Brown Limited Park Royal Shopping Centre Peter Kiewit Infrastructure Co. Polygon Homes Ltd. Raymond James Ltd. Stikeman Elliott LLP Teck Resources Limited Tiffany & Co. Tom Lee Music $5,000+ Allied Holdings Group Anthem Properties Group Ltd. Commonwealth Insurance Company Eminata Group Genus Capital Management Graphic Angel Design Grosvenor Harris Rebar Hatch Mott MacDonald Lazy Gourmet Inc. LMS Reinforcing Steel Group Marin Investments Limited Dr. Tom Moonen Inc. MMM Group Limited Michael O’Brian Family Foundation PCL Constructors Westcoast Inc. SOCAN Foundation Terus Construction Ltd. The Titanstar Group of Companies The James and Kathleen Winton Foundation Xibita $2,500+ Concord National Inc. Gateway Casinos Ethical Bean Coffee LU Biscuits McCarthy Tétrault Norburn Lighting & Bath Centre Pedersen’s Rentals Ltd. $1,000+ ABC Recycling Ltd. Bing Thom Architects Foundation Charton Hobbs Inc. Encore Software Inc. The Hamber Foundation HUB International Insurance Brokers Lantic Inc. Rhino Print Solutions The Simons Foundation Anonymous (1) For more information about vso corporate partners programs please contact: Jennifer Polci at 604.684.9100 extension 239 or email jennifer@vancouversymphony.ca allegro 59 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 cellophane-wrapped candies, and the wearing of strong perfume may disturb the performers as well as other audience members. Latecomers 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-assist systems 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. 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 Cameras and audio/video recording equipment of any kind are strictly prohibited in all venues and must be left at the coat-check in the main lobby. Under no circumstances may photographs, video recordings or audio recordings be taken during a performance. Smoking All venues are non-smoking. Program, Guest Artists and/or Program Order are subject to change. vancouver symphony administration 604.684.9100 Jeff Alexander, President & Chief Executive Officer Finance & Administration: Mary-Ann Moir, Vice-President, Finance & Administration Debra Marcus, Director of Information Technology & Human Resources Ann Surachatchaikul, Accountant Ray Wang, Payroll Clerk & IT Assistant Marketing, Sales & Customer Service: Alan Gove, Vice-President, Marketing & Sales Shirley Bidewell, Manager of Gift Shop & Volunteers Estelle and Michael Jacobson Chair Stephanie Fung, Marketing Projects Manager Anna Gove, Editor & Publisher, Allegro Magazine Katherine Houang, Group Sales & Special Ticket Services Kenneth Livingstone, Database Manager Jaime Moore Hirsbrunner, Marketing Assistant & Assistant to the President and CEO Cameron Rowe, Director of Audience & Ticket Services Customer Service Representatives: Christine Fraser, Customer Service Supervisor Penny Camens Shawn Lau Lauren Watson Jeff Cancade Thalia McWatt Jason Ho Karl Ventura The Stage Crew of the Orpheum Theatre are members of Local 118 of the International Alliance of Theatrical Stage Employees. 60 allegro Development: Leanne Davis, Vice-President, Chief Development Officer Hoori Barkh, Lotteries Assistant William Brennan, Development Coordinator Ryan Butt, Development Officer, Corporate & Donor Relations Ann Byczko, Development Officer, Annual Giving Curtis Pendleton, Senior Development Officer, Individual Giving Jennifer Polci, Director, Corporate & Major Gifts Daniel Zomparelli, Development Assistant Artistic Operations & Education: Joanne Harada, Vice-President, Artistic Operations & Education DeAnne Eisch, Orchestra Personnel Manager Aaron Hawn, Digital Projects Coordinator & Library Assistant Vacant, Education Manager Ken & Patricia Shields Chair David Humphrey, Operations Manager Karen Jeffery, Artistic Operations Assistant & Assistant to Maestro Tovey Minella F. Lacson, Librarian Ron & Ardelle Cliff Chair Pearl Schachter, Artistic Operations & Education Assistant The Vancouver Symphony Orchestra is a proud member of vancouver symphony society board of directors Executive Committee Arthur H. Willms, Chair Charles Filewych Michael Webb Alan Pyatt, Vice Chair Michael L. Fish Fred Withers Co-Chief Executive Officer Corinex Communications Corp. President (Ret.), Westcoast Energy President, Keir Surgical Chairman, President and CEO (Ret.) Sandwell International Inc. Chief Development Officer Ernst & Young Lindsay Hall Executive Vice-President and CFO Goldcorp Inc. Colin Erb, Treasurer Partner, Deloitte & Touche LLP Diane Hodgins Dave Cunningham, Secretary Director, Century Group Lands Corporation VP Government Relations, TELUS Ilich Patricia Shields, Member-at-Large Olga President, Suncor Development Corporation Education Consultant Gordon R. Johnson Larry Berg President & CEO Vancouver International Airport Authority Joan Chambers Partner, Blakes SVP, Human Resources HSBC Bank Canada Partner, Borden Ladner Gervais Michael E. Riley, CA Corporate Director Partner (Ret.), Ernst & Young Musician Representatives Christie Reside, Principal Flute Aaron McDonald, Principal Timpani Honorary Life Vice-Presidents Ronald Laird Cliff, C.M. Nezhat Khosrowshahi Gerald A.B. McGavin, C.M., O.B.C. Ronald N. Stern Denise Turner Dr. Peter Chung Executive Chairman, Eminata Group Executive Vice-President TitanStar Group of Companies vancouver symphony foundation board of trustees Ronald Laird Cliff, C.M., Chair Marnie Carter John Icke Judi Korbin Hein Poulus, Q.C. Robert T. Stewart Arthur H. Willms Tim Wyman vso school of music society Board of Directors Gordon R. Johnson, Chair Hein Poulus, Q.C. Gerry Sayers Patricia Shields George Taylor Administration Jeff Alexander Edwin Kwong Shaun Taylor Louise Ironside President & CEO Executive Director Business Manager & Office Administrator Lindy Gray Front Desk Administrator Registrar & Communications Coordinator vancouver symphony volunteer council 2011/2012 Chair . . . . . . . . . . . . . . . Vice-Chair/Treasurer . . . . Secretary . . . . . . . . . . . . Immediate Past Chair . . . Anne Janmohamed Sheila Foley Nancy Wu Estelle Jacobson Scheduling Concerts (all venues) . . . Gift Shop . . . . . . . . . . . . Lotteries in Malls . . . . . . Reception Shifts . . . . . . . Tea & Trumpets . . . . . . . . Special Events Symphony of Style 2011 . . . . Nancy Wu Anne Janmohamed Holland America Luncheon 2011 . . . . . . . . . . Sheila Foley Manager, Gift Shop and Volunteer Resources Shirley Bidewell Tel 604.684.9100 ext 240 shirley@vancouversymphony.ca Shirley Bidewell Barbara Morris Helen Dubas Gloria Davies Gloria Davies Shirley Featherstone Marlene Strain Education & Community Musical Encounters . . . . . . . Isabella Morrow Hospitality . . . . . . . . . . . . . . . Maria Estrope Scholarship . . . . . . . . . . . . . . Pat Hoebig Assistant Gift Shop Manager Michelle Beldi Membership Volunteer Hours . . . . . . . . . . Angelina Bao allegro 63 The Symphony Sampler 99 $ 4 Tickets for as low as SAMPLE THE SYMPHONY FOR AS LOW AS $99 FOR FOUR TICKETS! A customizable 4-ticket package is the perfect way to sample the Symphony, or add even more great concerts to your schedule: choose from a wide range of speciallyselected concerts, with choices ranging from the great classics to jazz, Broadway, and more. Order your Symphony Sampler today! Order online and you can even print the Gift Certificates at home! Details online at media partner vancouversymphony.ca/sampler or call 604.876.3434

Joyce Yang - Vancouver Symphony Orchestra

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Joyce Yang - Vancouver Symphony Orchestra

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