13/14 vso allegro issue #4

March 15 to May 5, 2014 Volume 19, Issue 4

The VSO’s first annual Spring Festival

featuring the music of RACHMANINOFF

allegroMagazine of the Vancouver Symphony

Carl Orff’s Carmina Burana

John McDermottwith the VSO

Louis Lortieplays Chopin

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Bramwell Tovey conducts Bernstein and Tchaikovsky

Poulenc’s Gloriaat the Chan Centre

The Cocktail Hour: Music of the Mad Men Era

Amy Grant with the VSO

September 28 to November 10, 2013 Volume 19, Issue 1

Nicola Benedettiplays Bruch’s Scottish Fantasy



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First ViolinsDale Barltrop, ConcertmasterJoan Blackman, Associate ConcertmasterNicholas Wright, Assistant ConcertmasterJennie Press, Second Assistant ConcertmasterRobin Braun Mary Sokol BrownMrs. Cheng Koon Lee Chair

Jenny EssersAkira Nagai, Associate Concertmaster EmeritusXue Feng WeiRebecca WhitlingYi Zhou

Second ViolinsJason Ho, PrincipalKaren Gerbrecht, Associate Principal Jim and Edith le Nobel Chair

Jeanette Bernal-Singh, Assistant PrincipalAdrian Shu-On ChuiDaniel NortonAnn OkagaitoAshley Plaut

ViolasNeil Miskey, Principal Andrew Brown, Associate PrincipalStephen Wilkes, Assistant PrincipalLawrence BlackmanEstelle & Michael Jacobson Chair

Matthew DaviesEmilie Grimes Angela SchneiderProfessors Mr. & Mrs. Ngou Kang Chair

Ian Wenham

CellosAriel Barnes, PrincipalNezhat and Hassan Khosrowshahi Chair

Janet Steinberg, Associate PrincipalZoltan Rozsnyai, Assistant PrincipalOlivia Blander Gerhard and Ariane Bruendl Chair

Natasha Boyko Mary & Gordon Christopher Chair

Joseph Elworthy Dr. Malcolm Hayes and Lester Soo Chair

Charles InkmanCristian Markos

BassesDylan Palmer, Principal Brandon McLean, Associate Principal Brendan Kane, Assistant Principal David BrownJ. Warren LongFrederick Schipizky

FlutesChristie Reside, Principal Nadia Kyne, Assistant Principal Rosanne Wieringa §Michael & Estelle Jacobson Chair

PiccoloNadia KyneHermann & Erika Stölting Chair

OboesRoger Cole, PrincipalWayne & Leslie Ann Ingram Chair

Beth Orson, Assistant PrincipalKarin WalshPaul Moritz Chair

English HornBeth OrsonChair in Memory of John S. Hodge

ClarinetsJeanette Jonquil, Principal Cris Inguanti, Assistant Principal

Bass ClarinetCris Inguanti

BassoonsJulia Lockhart, PrincipalSophie Dansereau, Assistant Principal Gwen Seaton

ContrabassoonSophie Dansereau

French HornsOliver de Clercq, PrincipalBenjamin Kinsman Werner & Helga Höing Chair

David Haskins, Associate PrincipalAndrew MeeWinslow & Betsy Bennett Chair

Richard Mingus, Assistant Principal

TrumpetsLarry Knopp, Principal Marcus Goddard, Associate PrincipalVincent Vohradsky W. Neil Harcourt in memory of Frank N. Harcourt Chair

TrombonesMatthew Crozier, Principal Gregory A. Cox

Bass TromboneDouglas Sparkes Arthur H. Willms Family Chair

TubaPeder MacLellan, Principal

TimpaniAaron McDonald, Principal

PercussionVern Griffiths, PrincipalMartha Lou Henley Chair

Tony Phillipps

HarpElizabeth Volpé Bligh, Principal

Piano, CelesteLinda Lee Thomas, PrincipalCarter (Family) Deux Mille Foundation Chair

Orchestra Personnel ManagerDeAnne Eisch

Music LibrarianMinella F. LacsonRon & Ardelle Cliff Chair

Master Carpenter Pierre Boyard

Master ElectricianLeonard Lummis

Piano TechnicianThomas Clarke

*Supported by The Canada Council for the Arts

§ Leave of Absence

Vancouver Symphony OrchestraBRAMWELL TOVEY MUSIC DIRECTORKAZUYOSHI AKIYAMA CONDUCTOR LAUREATEJEFF TYZIK PRINCIPAL POPS CONDUCTOR

GORDON GERRARD ASSISTANT CONDUCTOR*Marsha & George Taylor Chair

EDWARD TOP COMPOSER-IN-RESIDENCE*

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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: [email protected] / customer service: 604.876.3434 / VSO office: 604.684.9100 / website: vancouversymphony.ca Allegro staff: published by The Vancouver Symphony Society / editor/publisher: Anna Gove / contributors: Cover photo credit: Jonathon Vaughn / Don Anderson / art direction, design & production: bay6 creative inc. 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.

In this IssueAdvertise in Allegro . . . . . . . . . . . . . . . . . . . 2The Orchestra . . . . . . . . . . . . . . . . . . . . . . . 3Allegro Staff List . . . . . . . . . . . . . . . . . . . . . 4Government Support . . . . . . . . . . . . . . . . . . 6Message from the Chairman . . . . . . . . . . . 7 and the President & CEOVancouver Symphony Foundation . . . . . . 25VSO 2014/2015 Season . . . . . . . . . . . . . . 36VSO Lottery . . . . . . . . . . . . . . . . . . . . . . . . 46Patrons’ Circle . . . . . . . . . . . . . . . . . . . . . . 50VSO School of Music . . . . . . . . . . . . . . . . . 51Corporate Partners . . . . . . . . . . . . . . . . . . 68At the Concert / VSO Staff List . . . . . . . . . 70Board of Directors / Volunteer Council . . . 71VSO Upcoming Concerts . . . . . . . . . . . . . . 72

allegroMarch 15 to May 5, 2014 / Volume 19, Issue 4

53Dale Barltrop

Magazine of the Vancouver Symphony

17

61 Pixar in Concert

John McDermott

27AlexanderGavrylyuk

9 Louis Lortie

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ConcertsMARCH 15, 17 / Goldcorp Masterworks Gold / John Storgårds, conductor . . . . . . . . . . . . . . . . . . . . . 9 Louis Lortie, piano

MARCH 20 / Pacific Arbour Tea & Trumpets / Great Russian Classics / . . . . . . . . . . . . . . . . . . . . . . .13 Gordon Gerrard conductor, Christopher Gaze host, Esther Hwang violin

MARCH 21, 22 / London Drugs VSO Pops / John McDermott / John Morris Russell, conductor . . .17 John McDermott, Gary Craig, percussion, Jason Fowler, guitar, Christine Bougie, guitar Maury Lafoy, bass, Melody Ye Yuan, violin, Eire Born Irish Dancers

MARCH 23 / Kids' Koncerts / The Hockey Sweater / . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22 Gordon Gerrard, conductor, Roch Carrier, author & narrator, Abigail Richardson, composer

MARCH 29 TO APRIL 7 / VSO Spring Festival Featuring the Music of Rachmaninoff / . . . . . . . . . . .27 Bramwell Tovey, conductor, Alexander Gavrylyuk, piano

APRIL 10, 13 / VSO Chamber Players / Nicholas Wright, violin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47 Dale Barltrop, violin, Emilie Grimes, viola, Olivia Blander, cello, Christie Reside, flute Dylan Palmer, bass, Jeanette Jonquil, clarinet, Gwen Seaton, bassoon, David Haskins, horn

APRIL 14 / Specials / Amy Grant / David Hamilton conductor, Amy Grant . . . . . . . . . . . . . . . . . . . . .48APRIL 25, 26, 28 / Classical Traditions at the Chan Centre / Surrey Nights / . . . . . . . . . . . . . . . . . . .53 Dale Barltrop, leader/violin, Nicholas Wright, violin

APRIL 27 / The Vancouver Sun Symphony at the Annex / Adjusting the Sails / . . . . . . . . . . . . . . . . .57 Bramwell Tovey, conductor, Joan Blackman, violin

APRIL 30 / Specials / Pixar in Concert / Gordon Gerrard, conductor. . . . . . . . . . . . . . . . . . . . . . . . . .61MAY 3, 5 / Specials / Carmina Burana / Kazuyoshi Akiyama, conductor, Tracy Dahl, soprano . . . . .63 Roger Honeywell, tenor, James Westman, baritone, Vancouver Bach Choir, Tokyo Academy Chorus

22The Hockey

Sweater

27Bramwell

Tovey

48Amy Grant

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 29% of the cost of the orchestra’s extensive programs and activities.

This vital investment enables the Vancouver Symphony Orchestra to present over 150 life-enriching concerts in 16 diverse venues throughout the Lower Mainland and Whistler, attract some of the world’s best musicians to live and work in our community, produce Grammy® and Juno® award-winning recordings, tour domestically and internationally, and, through our renowned educational programs, touch the lives of over 50,000 children annually.

Thank you!Christy Clark, Premier of British Columbia

Shelly Glover, Minister of Canadian Heritage

and Official Languages

Gregor Robertson, Mayor of Vancouver

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FRED G. WITHERS JEFF ALEXANDER

Dear Friends,

It is that time of year when Maestro Tovey announces the VSO’s plans for the upcoming season. Subscribers have received a beautifully designed 2014/2015 season brochure in the mail, with an invitation to renew their subscription and be the first to purchase tickets to the wide variety of exciting specials.

The 2014/2015 classical season is filled with many wonderful works by Beethoven, Berlioz, Brahms, Chopin, Elgar, Gershwin, Mahler, Mendelssohn, Ravel, Sibelius, Shostakovich, Strauss, Tchaikovsky, Vivaldi, and many more. In addition, we are pleased to be continuing several new initiatives launched this season including the annual VSO Spring Festival, next year featuring the music of Mozart; the New Music Festival and the Pacific Rim Festival, featuring concerts celebrating the Chinese New Year and the 125th anniversary of diplomatic relations with Japan.

We are pleased to continue our series of concerts at the Chan Centre for the Performing Arts at U.B.C., the Centennial Theatre in North Vancouver, the contemporary music series at the Orpheum Annex, VSO Chamber Players Series in Pyatt Hall, and to expand our series at the Bell Centre for Performing Arts in Surrey.

And of course, the season also includes several programs for children and their families in the Elementary School Concerts, Kids' Koncerts and Tiny Tots series as part of our renowned education and community programs, experienced by over 50,000 children each year.

Whether you prefer a Masterworks Series, Symphony Sundays, Tea & Trumpets, Musically Speaking or VSO Pops, there is something in the 2014/2015 season for every musical taste, and many benefits to being a VSO subscriber.

If you have not received a brochure for next season, and would like one, simply call us at 604.876.3434, pick up a copy at the box office or in the lobby, or visit our website at vancouversymphony.ca.

At the VSO we work every day to fulfill our purpose: to enrich and transform lives through music. We do this by presenting passionate, high-quality performances of classical, popular and culturally diverse music, creating meaningful engagement with audiences of all ages and backgrounds wherever we perform, and developing and delivering inspirational education and community programs.

We look forward to having you with us for another season of great music and inspiration.

Please enjoy today’s concert.

Sincerely yours,

Fred G. Withers Chair, Board of Directors

Jeff Alexander President & Chief Executive Officer

Message from the VSO Chairman and President & CEO

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VISIT THE SYMPHONY GIFT SHOP FOR CD SELECTIONS

GOLDCORP MASTERWORKS GOLDORPHEUM THEATRE, 8PM

Saturday & Monday, March 15 & 17

John Storgårds conductorLouis Lortie piano

DOROTHY CHANG Strange Air

CHOPIN Piano Concerto No. 1 in E minor, Op. 11 I. Allegro maestoso II. Romanze: Larghetto III. Rondo: Vivace

INTERMISSION

SIBELIUS Symphony No. 1 in E minor, Op. 39 I. Andante, ma non troppo – Allegro energico II. Andante (ma non troppo lento) III. Scherzo: Allegro IV. Finale (Quasi una Fantasia): Andante – Allegro molto

PRE-CONCERT TALKS free to ticketholders at 7:05pm.

Concert Program

MASTERWORKS GOLD SERIES SPONSOR

MASTERWORKS GOLD RADIO SPONSOR

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JOHN STORGÅRDS

LOUIS LORTIE

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John Storgårds conductor

Chief Conductor of the Helsinki Philharmonic Orchestra and Principal Guest Conductor of BBC Philharmonic Orchestra, John Storgårds is one of Finland's exceptional artists who have taken the classical music world by storm in recent decades. He has a dual career as a conductor and violin virtuoso and is widely recognized for his creative flair for programming and his commitment to contemporary music. He additionally holds the title of Artistic Director of the Chamber Orchestra of Lapland with which he programs some of Europe's most imaginative concerts north of the Arctic Circle.

Mr. Storgårds' discography includes the award-winning Vasks' Violin Concerto Distant Light and Second Symphony, Saariaho's Graal Theatre, the Sibelius Violin Concerto with Frank Peter Zimmermann and most recently, an extremely well-received disc of works by Erich Wolfgang Korngold. His next recording project will be the complete Sibelius symphonies with the BBC Philharmonic for Chandos Records.

John Storgårds was concert master of the Swedish Radio Symphony Orchestra during Esa-Pekka Salonen's tenure and subsequently studied conducting with Jorma Panula and Eri Klas. He received the Finnish State Prize for Music in 2002.

Louis Lortie piano

French-Canadian pianist Louis Lortie has attracted critical acclaim throughout Europe, Asia, and the United States. He has extended his interpretative voice across a broad range of repertoire rather than choosing to specialize in one particular style. The London Times, describing his playing as "ever immaculate, ever imaginative," has identified the artist's "combination of total spontaneity and meditated ripeness that only great pianists have."

Louis Lortie studied in Montréal with Yvonne Hubert (a pupil of the legendary Alfred Cortot), in Vienna with Beethoven specialist Dieter Weber, and subsequently with Schnabel disciple Leon Fleisher. He made his debut with the Montréal Symphony at the age of thirteen; three years later, his first appearance

with the Toronto Symphony Orchestra led to an historic tour of the People's Republic of China and Japan. In 1984, he won First Prize in the Busoni Competition and was also prizewinner at the Leeds Competition. In 1992, he was named Officer of the Order of Canada, and received both the Order of Québec and an honorary doctorate from Université Laval. He has lived in Berlin since 1997 and also has homes in Canada and Italy.

Dorothy Chang b. Winfield, Illinois, USA / November 12, 1970

Strange Air Described as “evocative and kaleidoscopic” (Seattle Times), the music of Dorothy Chang has been praised for its colourful and often impressionistic scoring, as well as for its dramatic intensity and expressive lyricism. Her music is rooted in the Western art music tradition but reflects the eclectic mix of musical influences from her youth, ranging from marching band to traditional Chinese music. Dorothy’s catalogue includes over fifty compositions, ranging from solo, chamber and large ensemble works to collaborations involving theatre, dance and video. From 2005–2008, she served as a Music Alive composer-in-residence with the Albany Symphony Orchestra. She is an Associate Professor of Music at the University of British Columbia.

The composer has provided the following note.

Vancouver has been my home since 2003, but I continue to be awestruck by the beauty and intensity of its natural surroundings. I am most fascinated by the precipitousness of change and the volatility of the west coast environment: looking out at the horizon, the wide span of ocean and sky is in constant flux as coastal winds push the clouds and rain at sometimes astonishing speeds, revealing patches of serene blue sky in between surging systems. From day to day and even hour to hour, the panorama evolves and transforms in unexpected and often spectacular ways.

Strange Air was initially inspired by this phenomenon, reflecting at times the restlessness and turbulence, and other times the stillness and fragility of this environment. However, during the months of writing this

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work I experienced a deep personal loss, and the composition suddenly took on greater significance as an expression of the emotional turmoil of grief and sorrow, and the challenge of coming to terms with a painful loss.

The piece is in four continuous sections, with contrast and change creating a shifting mosaic of colours and textures. The work opens with the introduction of two opposing fragments: three sustained notes embellished with small surges of activity, and a low, dark descending figure. These two figures are in constant conflict as they alternate, building in intensity and complexity with each repetition. A quiet lyrical section follows, characterized by melodic woodwind solos, slowly shifting harmonies and sparse shimmering textures. This slow section gradually settles into complete stasis, from which rhythmic fragments emerge and evolve into a driving ostinato. As momentum builds, themes from the preceding sections return vibrantly transformed. The closing revisits the melody and transparent texture of the lyrical section with soft bells, distant chimes and string glissandi floating higher and higher, fading away into stillness, as if bidding a gentle and final farewell.

Fryderyk Franciszek Chopin b. Zelozowa, Wola (near Warsaw), March 1, 1810 d. Paris, France / October 17, 1849

Piano Concerto No. 1 in E minor, Op. 11 In addition to numerous solo works for intimate recitals, Chopin also created six pieces with orchestral accompaniment. He composed two fullscale concertos between 1829 and 1830. Due to a delay in publishing, they appeared in the reverse order of composition. The piece you will hear first this evening is the latter of the two.

The first movement opens with a substantial orchestral introduction. It sets forth the two main themes; the first is dramatic, the second lyrical. Once the piano enters, it dominates the proceedings completely, save for orchestral interludes that elaborate the principal materials.

The second movement features a lovely melody whose nature is so vocal that it almost sounds as if Chopin had transcribed

it from an opera. The concluding rondo opens somewhat hesitantly. But before long, Chopin launches into a joyful succession of dance themes, some of which show the influence of his beloved Polish folk music.

Jean Sibelius b. Hämeenlinna, Finland / December 8, 1865 d. Järvenpää, Finland / September 20, 1957

Symphony No. 1 in E minor, Op. 39 During Sibelius’s youth, Finland’s culture was dominated by art from western Europe and Russia. He determined to forge a distinctly Finnish musical style. He did so not by working with folk music, but by capturing the bold, visionary spirit of the people.

By 1898, he felt sufficiently confident and experienced to write a symphony, a genre considered at the time the highest form of musical expression. He conducted the premiere of Symphony No. 1 himself, in Helsinki on April 26, 1899. It won an exceptionally warm reception. Naturally for the work of a fairly young musician, it displays the influences of other composers he admired. Among them are Borodin, Bruckner, and above all, Tchaikovsky.

It opens quietly, mysteriously, with the solo clarinet giving out a melancholy theme. This introduction paves the way for the first movement proper, an epic creation built on an array of sharply characterized ideas. After a grand build-up in tension, it concludes with strong pizzicato chords. The slow movement begins with a heartfelt string theme. A series of contrasting episodes follows, some fanciful, some lyrical, leading to a harsh and agitated climax. Finally, the opening subject returns to restore calm.

Timpani set the pace for the following scherzo, a dynamic piece fuelled by a tremendous sense of forward drive. Horns introduce the contrasting trio section, an oasis of repose amidst the fireworks. The finale opens with a passionate restatement of the theme which began the first movement. The main body contrasts drama with yearning, the latter expressed in another big, passionate tune. The conclusion is emotionally enigmatic, and once again pizzicato. ■Program Notes © 2014 Don Anderson

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TEA & TRUMPETS SERIES SPONSOR

PACIFIC ARBOUR TEA & TRUMPETSORPHEUM THEATRE, 2PM

Thursday, March 20

Great Russian ClassicsGordon Gerrard conductorChristopher Gaze hostEsther Hwang violin

GLINKA Russlan and Ludmilla Overture

TCHAIKOVSKY Eugene Onegin: Polonaise

LIADOV The Enchanted Lake

PROKOFIEV Violin Concerto No. 2 in G minor II. Andante assai

MUSSORGSKY/RAVEL Pictures at an Exhibition: Great Gate of Kiev

TCHAIKOVSKY Sleeping Beauty: No. 5 Waltz

RIMSKY-KORSAKOV Le Coq d’or: Wedding March

STRAVINSKY Firebird: Infernal Dance, Berceuse and Finale

TEA & COOKIES Don’t miss tea and cookies served in the lobby one hour before each concert, compliments of Tetley Tea and LU Biscuits.

Concert Program

CHRISTOPHER GAZE

GORDON GERRARD

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Gordon Gerrard conductor

Gordon Gerrard has established a unique place in the new generation of Canadian musicians as one of its fastest rising stars. Trained first as a pianist and subsequently as a specialist in operatic repertoire, Gordon brings a fresh perspective to the podium. His passion and his dedication to producing thrilling musical experiences have endeared him to his fellow musicians and the public alike.

A passionate and gifted educator, Gordon has been engaged as a conductor and lecturer by many institutions, including McGill University, the University of Manitoba and Iowa State University. In 2012, Gordon conducted a production of Don Giovanni for Opera McGill. He has served as conductor for Opera Nuova (Edmonton) for the past ten years, and on the music staffs of the Opera as Theatre Programme at the Banff Centre for the Arts, the Canadian Vocal Arts Institute (Montreal), Halifax Summer Opera Workshop and the Undergraduate Opera Studio at the Manhattan School of Music.

Gordon is delighted to be in his second season with Maestro Bramwell Tovey and the Vancouver Symphony Orchestra as Assistant Conductor.

Christopher Gaze host

Born and educated in England, Christopher Gaze was inspired to come to Canada in 1975 by his mentor, legendary Shakespearean actor Douglas Campbell. He spent three seasons at the Shaw Festival in Niagara-on-the-Lake then moved to Vancouver in 1983. After a couple of experiences with other outdoor Shakespeare events, Christopher recognized the potential in blending excellent Shakespeare productions with Vancouver’s spectacular location. In 1990 he founded Bard on the Beach Shakespeare Festival where Bard’s signature open-ended performance tent allowed the actors to perform against a backdrop of the city’s skyline and mountains.

A gifted public speaker, Christopher frequently shares his insights on the theatre and Shakespeare out in the community with school groups, service organizations and local businesses.

Christopher’s many honours include induction into the BC Entertainment Hall of Fame, Canada’s Meritorious Service Medal (2004), Honorary Doctorates from UBC & SFU, the BC Community Achievement Award (2007), the Gold Medallion from the Children’s Theatre Foundation of America (2007), the Mayor’s Arts Award for Theatre (2011) and the Order of British Columbia (2012).

Esther Hwang violin

Esther Hwang, sixteen, began violin studies at age three in Korea and immigrated to Canada at age five. Her current teachers are Gerald Stanick and Lawrie Hill.

Since the age of nine, Ms. Hwang has performed as a soloist with the Vancouver Symphony Orchestra on many occasions, with conductors Ken Hsieh, Evan Mitchell, and Bramwell Tovey. She performed in the Vancouver Recital Society’s Young Masters’ Project 2008.

Miss Hwang was the 1st place winner in her age category in 2010 Canadian Music Competition National and performed in the Gala with CMC Orchestra. Esther has attended prestigious summer music programs such as Banff Centre Master Classes for Strings, Morningside Music Bridge, and Orford Arts Centre since 2010. ■

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LONDON DRUGS VSO POPS ORPHEUM THEATRE, 8PM

Friday & Saturday, March 21 & 22John McDermottJohn Morris Russell conductorJohn McDermott vocalistGary Craig percussion Jason Fowler guitarChristine Bougie guitarMaury Lafoy bassMelody Ye Yuan violinEire Born Irish Dancers

MACMILLAN Fantasy on Scottish Melodies

BRUCH Scottish Fantasy: Second Movement

HORNER ARR. MOSS Titanic Movie Music

HERMANN Traditional Irish Sing-along McNamara’s Band My Wild Irish Rose Irish Washerwoman Sweet Rosie O’Grady Harrigan When Irish Eyes are Smiling

TRADITIONAL Voyage Skyeboat Song Believe Me

BRACKETT/PELLET Simple Gifts: A Celtic Dance

INTERMISSION

HORNER/LARRY MOORE Irish Party in Third Class

TRADITIONAL My Ain Folk The Dreamer Flow Gently Sweet Afton Greenfields of France Gift of Years How Deep The Father’s Love The Old Man By Yon Bonnie Banks My Bonnie

Concert Program

VSO POPS RADIO SPONSORVSO POPS SERIES SPONSOR

MARCH 21 CONCERT SPONSOR

JOHN MCDERMOTT

JOHN MORRIS RUSSELL

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EIRE BORN IRISH DANCERS

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John Morris Russell conductor

At the close of the 2011/2012 season, John Morris Russell completed his first full season as Conductor of the Cincinnati Pops, one of Cincinnati’s most treasured assets and one of the world’s most respected pops orchestras. Consistently winning international praise for his extraordinary music-making and visionary leadership, he was recently named Music Director of the Hilton Head Symphony Orchestra, in Hilton Head, South Carolina. He completed his role as Music Director of the Windsor Symphony Orchestra in Ontario, Canada at the end of the 11/12 season whereupon he was named that orchestra’s first Conductor Laureate.

John Morris Russell received a Master of Music degree in conducting from the University of Southern California, Los Angeles, and a Bachelor of Arts degree in music from Williams College in Massachusetts. He has also studied at the Guildhall School of Music and Drama in London, the Cleveland Institute of Music, the Aspen Music Festival in Colorado, and the Pierre Monteux School for Conductors in Hancock, Maine.

John McDermott vocalist

John McDermott can recall the precise moment when he realized he had made the right decision to give up his day job and make singing his full-time career. That moment came on October 5th, 1993 at the Rebecca Cohn Theatre in Nova Scotia as he walked on stage to a thunderous welcome. John remembers the details well because it was the first concert with his own band, following a year as the opening act for the internationally renowned Irish group, The Chieftains.

Since the beginning of his musical career, John has recorded more than twenty-five albums, three of which have gone platinum while another has reached double platinum status and another achieved a triple platinum ranking. His latest offerings are entitled The Old House – a collaboration with his long-time musical director, guitarist and artist in his own right, Jason Fowler – and My Gentle

Harp: A Tribute To Thomas Moore. The Old House offers such perennial favourites as Wild Mountain Thyme, The Cliffs of Doneen and Red is the Rose, as well as the hilarious crowd-pleaser I’m My Own Grandpa.

Gary Craig percussion

Gary Craig is regarded as the most sought after drummer in Canada. The Toronto-based, award-winning musician has performed live and in the studio with many artists including Anne Murray, Bruce Cockburn, Blackie and the Rodeo Kings, Tom Cochrane, Jann Arden, Kathleen Edwards, The Rankin Family, George Canyon, The Wilkinsons, Allanah Myles, John Bottomley, Lawrence Gowan, The Kings, Eddie Schwartz, Karyn Ellis and Trudy Artman.

Jason Fowler guitar

Jason Fowler is a highly respected Toronto singer/songwriter, session guitarist and producer. He has released six independent CDs under his own name and has played on over 100 albums. In addition to his own successful solo career, Jason is also currently the Musical Director & Guitarist for renowned tenor John McDermott, and has toured with him since 2001, even recently collaborating on an album together titled The Old House, which has the two recording songs that have inspired them throughout their careers, including traditional favourites such as The Cliffs of Dooneen, Wild Mountain Thyme, Red is the Rose and the hilarious I’m My Own Grandpa.

JASON FOWLERGARY CRAIG

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Christine Bougie guitar

Christine Bougie is a renowned guitarist and one of Canada's most in-demand session musicians. A former student of Humber College's Jazz Program, Bougie has appeared on at least 30 recordings with the likes of Amy Millan and Julie Fader. Specializing in guitar (acoustic and electric), lap steel, banjo, vibraphone, and zither, her fourth and latest solo album, titled Hearts & Galaxies has been critically hailed as compelling, distinctive, and a breath of fresh air in the music world.

Maury Lafoy bass

A bassist first and foremost, Maury LaFoy has played with a virtual who’s who in the Canadian music scene. Currently Bassist in Colin James’s band, he has performed on both recordings and in live settings with artists as diverse as Sarah Harmer, k-os, Bruce Cockburn, Olivia Newton-John, The Barenaked Ladies, Lindy, Lynn Miles, The Monkey Bunch, Jann Arden, Frankie Avalon, Mary-Margaret O’Hara and Ron Sexsmith.

Melody Ye Yuan violin

Sixteen year-old Melody Ye Yuan began lessons in China at the age of five with Ms. Zhao Xiao and at eight came to Vancouver to study With Taras Gabora. She has already performed in six countries and The seventh will take place May, 2014 in the country of her birth, China, with two recitals in Beijing and Guangzhou.

Melody has won numerous prizes and awards, notably First Prize at the Jenkelevich International Violin Competition

in Omsk, Russia, the Gabora Prize for the best performance at the Casalmaggiore International Festival in 2012 and 2013, and first prize at the Bjorn and Lori Hareid Strings Competition 2014 at the Vancouver Academy of Music.

Melody is performing on a Carlo Giuseppe Testore violin made in 1708.

Eire Born Irish DancersInternationally recognized, Eire Born Irish Dancers have performed in New York City and Switzerland. They have toured with Natalie MacMaster in North America and danced for the Queen.

Eire Born shows are plentiful throughout Vancouver’s Lower Mainland and across Western Canada. Their resumé is packed with occasions such as setting the Vancouver Symphony Orchestra’s stage on fire, rocking the docks at Steveston Pier, providing traditional dance shows, hilarious skits and audience participatory components for corporate and community events. Eire Born endears senior residences with music and dance that is not easily forgotten. They have also been known to liven up many a pub (Irish or not) with several rounds of thunderous Irish dance.

Championship dancers wow the audience and the wee five to seven-year-old performers steal the show! We are celebrating that twenty of our dancers will be competing at the World Championships of Irish Dancing in London, England in April of 2014.

Eire Born loves to dance and they are consistently invited back. ■

MAURY LAFOYCHRISTINE BOUGIE MELODY YE YUAN

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VISIT THE SYMPHONY GIFT SHOP FOR CD & BOOK SELECTIONS

KIDS' KONCERTSORPHEUM THEATRE, 2PM

Sunday, March 23The Hockey SweaterGordon Gerrard conductorRoch Carrier author & narrator Abigail Richardson composer

Join the VSO for the Vancouver premiere of a work co-commissioned by the TSO, CPO and NACO, based on Roch Carrier’s classic story, The Hockey Sweater. Inspired by Carrier’s own childhood, The Hockey Sweater is a story about a boy who was forced to wear a Maple Leafs sweater in a small, hockey-mad town in Québec where he grew up. Music composed by Abigail Richardson.

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THE VSO’S KIDS’ KONCERTS HAVE BEEN ENDOWED BY A GENEROUS GIFT FROM THE WILLIAM & IRENE MCEWEN FUND.

BC Sports Hall of Fame & the VSO Instrument Fair Join us and Vancouver Canuck's mascot FIN in the Orpheum lobby at 1:00pm for an exciting exhibit of hockey memorabilia from the BC Sports Hall of Fame as well as the VSO Instrument Fair, where children have the opportunity to touch and play real orchestral instruments generously provided by Tom Lee Music.

Images used by arrangement with Tundra

VANCOUVER CANUCKS CONTEST!Special prize raffle from the Vancouver Canucks. Win a signed jersey or a team-signed hockey stick. All ticket holders in attendance have a chance to win!

THE HOCKEY SWEATER BOOK SIGNING WITH ROCH CARRIER AND ABIGAIL RICHARDSON FOLLOWING THE CONCERT

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Gordon Gerrard conductorFor a biography of Gordon Gerrard please refer to page 15.

Roch Carrier author & narratorRoch Carrier, poet, writer of fiction and drama, essayist, former National Librarian of Canada. After publishing two collections of poetry,

Les Jeux incompris (1956) and Cherche tes mots, cherche tes pas (1958), Carrier offered critics Jolis deuils (1964), a group of bizarre stories that won him a province of Québec award, Les Concours littéraires du Québec (1965).

Carrier has also produced a considerable amount of work for children, and work written from the perspective of a child that can be read as children's literature. His most famous work is The Hockey Sweater, originally a short story published in the collection Les Enfants du bonhomme dans la lune (1979). Republished in 1984 as The Hockey Sweater, it has been read by millions and watched by millions more in the form of The Sweater, the NFB short film adaptation. A sequel, The Boxing Champion, was published in 1991. Further works for children, published in both French and English, include A Happy New Year's Day (1991); The Longest Home Run (1993); The Basketball Player (1996); and The Flying Canoe (2004).

GORDON GERRARD ROCH CARRIER

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Images used by arrangement with TundraAbigail Richardson composerAbigail Richardson-Schulte was born in Oxford, England. Ironically, she was diagnosed incurably deaf at the age of five. Upon moving to Canada, her hearing was fully intact within months. After growing up in Calgary and studying composition there, she received a Doctorate degree from the University of Toronto. Abigail won the first Karen Kieser Prize, the CMC Prairie Region award, and a Dora award for Best New Opera. Most significantly, she won first at the prestigious UNESCO International Rostrum of Composers,

after which her music was broadcast in 35 countries. She was Affiliate Composer for the Toronto Symphony Orchestra from 2006–2009 and is currently Festival Coordinator of their New Creations Festival. Abigail wrote The Hockey Sweater with narration by Roch Carrier, co-commissioned by TSO/NACO/CPO. It has been seen by over 45,000 audience members across 30 performances since the premiere in 2012. Abigail is Composer-in-Residence with the Hamilton Philharmonic Orchestra. ■

ABIGAIL RICHARDSON

Gordon Gerrard conductor Enchantment Theatre CompanyInspired by the rich musical imagery of composer Maurice Ravel, we enter the fascinating world of Mother Goose as she tells the enchanting stories of her childhood: Sleeping Beauty, Tom Thumb, the Princess of the Pagodas, and more. As she spins her tales, magic takes hold and she herself is transformed into each romantic heroine, discovering youth, lost love, and new possibilities.

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VSO SPRINGFEST ADDITIONAL CONCERTSCONCERT 2 . . . . . . . PAGE 33CONCERT 3 . . . . . . . PAGE 39CONCERT 4 . . . . . . . PAGE 42

Welcome to the first annual VSO Spring Festival! The 2013/2014 VSO SpringFest features sensational Russian pianist Alexander Gavrylyuk performing all five of Sergei Rachmaninoff's works for piano and orchestra. The festival also features two famous orchestral arrangements of compositions for piano; music by composers who influenced Rachmaninoff; and four of Rachmaninoff’s orchestral masterpieces.

ORPHEUM THEATRE, 8PM

Saturday, March 29 Bramwell Tovey conductorAlexander Gavrylyuk piano

RACHMANINOFF Prélude in C-sharp minor, Op. 3, No. 2 Orchestrated by Lucien Cailliet RACHMANINOFF Piano Concerto No. 1 in F-sharp minor, Op. 1 I. Vivace II. Andante III. Allegro vivace

INTERMISSIONRACHMANINOFF Symphony No. 2 in E minor, Op. 27 I. Largo – Allegro moderato II. Allegro molto III. Adagio IV. Allegro vivace

Pre-Concert Talks 7:05pm with Bramwell Tovey

Post-Concert “Deconstructing Rachmaninoff” Discussion with Alexander Gavrylyuk and Bramwell Tovey in the auditorium, immediately following the concert.

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Bramwell Tovey, O.C. conductor

A musician of striking versatility, Grammy® Award winning conductor Bramwell Tovey is acknowledged around the world for his artistic depth and his warm, charismatic personality on the podium. Tovey’s career as a conductor is uniquely enhanced by his 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 have been characterized by his expertise in operatic, choral, British and contemporary repertoire.

Mr. Tovey who is entering his fourteenth season as Music Director of the Vancouver Symphony, also continues his association with the Los Angeles Philharmonic at the Hollywood Bowl, and as founding host and conductor of the New York Philharmonic’s Summertime Classics series at Avery Fisher Hall. In 2008, both orchestras co-commissioned him to write a new work, the well-received Urban Runway, subsequently programmed by a number of orchestras in the US and Canada. He was honoured with 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 major orchestras in Europe and North America, including the London Philharmonic, London Symphony and Frankfurt Radio Orchestra. His trumpet concerto, Songs of the Paradise Saloon, commissioned by Toronto Symphony received its premiere in winter of 2009, and a preview of his first full-length opera

The Inventor premiered in Calgary in winter 2011. Other recent engagements included visits to the Nashville and Montreal symphonies as well as a return to Australia where he has already worked with the symphonies in Perth, Sydney and Melbourne.

Touring is an important aspect of his artistic leadership with the Vancouver Symphony and, in the winter of 2013 they embarked on a west coast US tour. Finally, to his already busy summer schedule this year he added return visits to the Philadelphia Orchestra in Saratoga, NY, and the Cleveland Orchestra at Blossom Music Center.

Mr. Tovey has been awarded honorary degrees, including a Fellowship from the Royal Academy of Music in London, Honorary Doctorates from the universities of Winnipeg, Manitoba, British Columbia, and Kwantlen University College, as well as a Royal Conservatory of Music Fellowship in Toronto. 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. In 2013, he also received an honorary appointment as an Officer of the Order of Canada for his outstanding achievements as a conductor and composer, and for his commitment to promoting new Canadian music.

Alexander Gavrylyuk piano

Born in 1984, Alexander Gavrylyuk began his piano studies at the age of seven and gave his first concerto performance when he was nine years old. He went on to win First Prize and Gold Medal at the 1999 Horowitz International Piano Competition,

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and First Prize at the Hamamatsu International Piano Competition in Japan in 2000 where the Japanese press lauded him as the “best sixteen-year-old pianist of the late 20th century.” In 2005, he took both the coveted Gold Medal as well as the award for Best Performance of a Classical Concerto at the internationally renowned Arthur Rubinstein International Piano Masters Competition.

Mr. Gavrylyuk supports a number of charities including Theme and Variations Young Pianist Trust which aims to provide support and encouragement to young and aspiring Australian pianists, as well as Opportunity Cambodia, which has built a residential educational facility for needy Cambodian children.

Sergei Rachmaninoff b. Semyonovo, Russia / April 1, 1873 d. Beverley Hills, USA / March 28, 1943

“A composer’s music should express the country of his birth, his love affairs, his religion, the books which have influenced him, the pictures he loves... My music is the product of my temperament, and so it is Russian music.” – Rachmaninoff

Sometimes it pays to be ‘old-fashioned,’ if that means writing attractive, communicative, emotional music. Opinions come and go, but old-fashioned composers such as Rachmaninoff have the goods to weather the whims of critical opinion and maintain their popularity. Audiences loved his music during his lifetime, they still do, and it is likely they will continue to do so for a long time to come. He rarely smiled in public, but his friends – and his music – testify to a warm, generous nature.

The tall, lanky Russian’s musical gifts were threefold. He was a brilliant pianist, the main source of his fame and income during his lifetime; a gifted conductor, whom the symphony orchestras of Boston and Cincinnati offered the post of music director; and a fine composer, the pursuit which he valued most of all.

Rachmaninoff made numerous piano recordings, so his sovereign artistry in that field is available to sample. He also recorded his Symphony No. 3, The Isle of

The Dead and Vocalise with the Philadelphia Orchestra, giving us the chance to hear his impressive skills as a conductor. Albums of his compositions are legion, testifying to the beauty and enduring human values his music contains.

Prélude in C-sharp minor, Op. 3, No. 2 Orchestrated by Lucien Cailliet Rachmaninoff composed this piece in 1892, in its original form for piano solo. He premiered it that same year, at his first public recital. He added four pieces to make up a suite that was published as Morceaux de fantaisie (Fantasy Pieces). The Prélude’s evocation of old Russia, with its chanting monks and tolling church bells – sounds that echo throughout his music – made it so popular that audiences on his later, worldwide tours virtually demanded that he perform it. He understandably grew weary of doing so.

Piano Concerto No. 1 in F-sharp minor, Op. 1Dating from 1891, this was the eighteen-year-old student composer’s longest and most ambitious piece to date, and the first he deemed worthy of bearing an opus number. Its entire creation occupied him for only a brief time – he wrote the last two movements, in fact, in less than three days! The premiere took place at a student concert the following March, with the composer as soloist. It made little impression.

As his fame grew, so did curiosity over his First Concerto, especially after its successors proved extremely popular. He resisted requests to perform it again, as he planned to revise a work that he considered immature to a level closer in quality to his later compositions for piano and orchestra. He finally found time to do so in 1917, during the Bolshevik Revolution and shortly before what proved to be his reluctant but permanent departure from his homeland. It is this revised version of Concerto No. 1 that has been performed ever since.

In it may be heard, if not in fully polished states, many of the characteristics familiar from his mature compositions: the soaring romantic themes, the lush orchestration, the brilliance and power of the solo part, which reflect his own abilities. The slow second movement is perhaps the most memorable segment. It is a tender, nocturnelike creation

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where Rachmaninoff skillfully used the woodwind instruments to support the piano.

Symphony No. 2 in E minor, Op. 27By the autumn of 1906, Rachmaninoff came to feel that his concert activities were leaving too little time for composition. The political situation in Russia had become dangerously volatile, as well. Seeking a retreat from these stresses, he chose Dresden, Germany. He leased a villa, in which he would spend several months during each of the next two-and-a-half years. In that idyllic setting, he was free to relax, to ponder, and to allow his inherently expansive creative impulses to define their limits.

During this period, he composed several important scores, including Piano Sonata No. 1, a symphonic poem, The Isle of the Dead, and Symphony No. 2. He took great care with the symphony, hoping to erase the memory of Symphony No. 1’s disastrous premiere in 1897. His efforts were fully vindicated when he conducted the triumphant first performance in St. Petersburg on February 8, 1908.

As would be the case in all three of his symphonies, the second is bound together by a brief, simple recurring theme, a ‘motto.’ This one is played by the double basses at the beginning of the first movement’s slow, brooding introduction. The main Allegro presents a balance of restless, dramatic, and yearning elements. In its urgency and rhythmic drive, the following scherzo leans toward the tart style of Prokofiev, but only Rachmaninoff (or perhaps his idol, Tchaikovsky) could have written the soaring second theme.

The third movement Adagio is the symphony’s beating heart, an outpouring of passionate lyricism virtually unsurpassed in all music. The principal theme is a long, glowing melody introduced by solo clarinet. As the movement develops, it touches repeated heights of rapture, before dying away into contented stillness. The symphony concludes with a surging, joyful rondo. Reminiscences of previous movements pass fleetingly by, en route to the exhilarating conclusion. ■Program Notes © 2014 Don Anderson

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BRAMWELL TOVEY


Monday, March 31Bramwell Tovey conductorAlexander Gavrylyuk piano

RACHMANINOFF Vocalise, Op. 34, No. 14 RIMSKY-KORSAKOV Scheherazade, Op. 35 I. The Sea and Sinbad’s Ship II. The Tale of the Kalender Prince III. The Young Prince and the Young Princess IV. Festival in Bagdad – Shipwreck – Conclusion

INTERMISSIONRACHMANINOFF Piano Concerto No. 2 in C minor, Op. 18 I. Moderato II. Adagio sostenuto III. Allegro scherzando



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Concert 2 Program


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For a biography of Maestro Tovey please refer to page 29.



Sergei Rachmaninoff b. Semyonovo, Russia / April 1, 1873 d. Beverley Hills, USA / March 28, 1943

Vocalise, Op. 34, No. 14It is ironic that out of Rachmaninoff’s more than seventy songs, the one which has become the most popular is the only one that does not have words: this haunting, intensely beautiful Vocalise. It comes from a collection of fourteen songs that composed between 1910 and 1912. As he often did, he tailored it to the voice of a singer he knew personally. In this case it was Antonina Nezhdanova, coloratura soloist with the Moscow Grand Opera. A vocalise is usually a piece designed strictly as a training exercise for the voice. Rachmaninoff conceived this example more as a wordless aria. He prepared this arrangement for orchestra in 1915. Other hands have prepared many further transcriptions.

Nikolai Andreyevich Rimsky-Korsakov b. Tikhvin, Russia / March 18, 1844 d. Lyubensk, Russia / June 21, 1908

Scheherazade, Op. 35Surely it was destiny that led Rimsky-Korsakov to compose a piece inspired by the Arabian Nights legends. He spent decades acquiring the necessary skills to do the material justice, above all a mastery of colourful orchestration and a flair for composing sweeping, exotic melodies. He created Scheherazade in 1888.

The printed score includes the following introduction, drawn from the original stories: “The Sultan Shakriar, convinced of the falsehood and inconstancy of all women, had sworn an oath to put to death each

of his wives after the first night. However the Sultana Scheherazade saved her life by arousing his interest in the tales which she told during the 1001 nights. Driven by curiosity, the Sultan postponed her execution from day to day, and at last abandoned his bloodthirsty design.”

The orchestration of Scheherazade is masterly, drawing the maximum in colour from what is a not particularly large ensemble. The suite is bound together by a recurring motive, a bewitching melody sung by the solo violin: the voice of Scheherazade. Early on, Rimsky began to dot the score with the brief featured passages for solo instruments that make the entire suite a marvellous orchestral showpiece.

The first movement gives a strong impression of the sea, complete with the swell of ocean breezes, the roll of the waves and the adventurous call of foreign ports. At the start of the scherzo-like second movement, Scheherazade’s theme again declares “Once upon a time...” Solo bassoon launches the tale, sinuously, like the chant of an ancient storyteller. A war-like fanfare introduced by trombones and tuba plays an important role in the fantastic proceedings.

The third movement can’t be anything but a love scene. A dance, tinged with light percussion, appears at the core. The finale opens with alternations of furious orchestral outbursts and passionate violin solos. Rimsky then kicks off a boisterous carnival, where themes heard earlier in the suite jostle for attention. At the height of festivities we appear to return to the sea, sailing majestically until a colossal climax is reached. The Scheherazade theme returns one last time, keening softly in the heights to close her storytelling – for tonight.

Sergei Rachmaninoff Piano Concerto No. 2 in C minor, Op. 18In 1897, the disastrous premiere of Rachmaninoff’s First Symphony threw his promising career as a composer into disarray. For three agonizing years, he found himself unable to create anything significant. He sought the help of Dr. Nikolai Dahl, a psychoanalyst. As the composer recalled, “My relations had told Dr. Dahl that he must

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at all costs cure me of my apathetic condition and achieve such results that I would again begin to compose. Dahl asked what manner of composition they desired and had received the answer, ‘a concerto for pianoforte,’ for this I had promised to the people in London and had given it up in despair. Consequently I heard the same hypnotic formula repeated day after day while I lay half asleep in my armchair in Dr. Dahl’s study, ‘You will begin to write your concerto....You will work with great facility....The concerto will be of excellent quality....’ It was always the same, without interruption.

“Although it may sound incredible, this cure really helped me. Already at the start of the summer, I was composing once more. The material accumulated, and new musical ideas began to stir within me – many more than I needed for my concerto. By autumn I had completed two movements (the andante and the finale)....These I played that same season at a charity concert, with gratifying success....By the spring I had finished the first movement (moderato)...and felt that Dr. Dahl’s treatment had strengthened my

nervous system to a miraculous degree. Out of gratitude I dedicated my Second Concerto to him.”

To be precise, he composed the concerto in 1900 and 1901. The second and third movements were premiered on December 15, 1900, and the full concerto on November 9, 1901. Both performances took place in Moscow, with the composer performing the piano part. His cousin, Aleksandr Ziloti, conducted the second.

The reasons for the concerto’s enormous popularity are clear. It displays its emotions directly, particularly warmth and melancholy. The themes are attractive and memorable; Rachmaninoff clothed them in lush orchestral colours; and the solo part is brilliant, mirroring the power and expressiveness of the composer’s own magnificent performing skills. He played it himself no fewer than 143 times, and recorded it twice. ■

Program Notes © 2014 Don Anderson

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ALEXANDER GAVRYLYUK

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Saturday, April 5 Bramwell Tovey conductorAlexander Gavrylyuk piano

RACHMANINOFF Prélude in G minor, Op. 23, No. 5 Orchestrated by Lucien Cailliet

MUSSORGSKY Pictures at an Exhibition Orchestrated by Maurice Ravel I. Promenade II. The Gnome III. Promenade IV. The Old Castle V. Promenade VI. Tuileries VII. Bydlo VIII. Promenade IX. Ballet of the Chicks in Their Shells X. Samuel Goldenberg and Schmuyle XI. Limoges – The Market Place XII. Catacombs (Roman Sepulchre) – with the Dead in a Dead Language XIII. The Hut on Fowl’s Legs XIV. The Great Gate of Kiev

INTERMISSIONRACHMANINOFF Piano Concerto No. 3 in D minor, Op. 30 I. Allegro ma non tanto II. Intermezzo: Adagio III. Finale: Alla breve




Concert 3 Program

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Sergei Rachmaninoffb. Semyonovo, Russia / April 1, 1873 d. Beverley Hills, USA / March 28, 1943

Prélude in G minor, Op. 23, No. 5Orchestrated by Lucien Cailliet Wishing to follow the example of his idol, Frédéric Chopin, by composing a prélude in each of the major and minor keys, Rachmaninoff added twenty-three pieces to the previously existing Prélude in C-sharp minor. He did so in two stages, with the 10 Préludes, Op. 23 (1901) and the 13 Préludes, Op. 32 (1910). This stirring, march-like piece in G minor stands second in popularity among the préludes only to the ubiquitous C-sharp minor.

Modest Mussorgsky b. Karevo, Russia / March 21, 1839 d. St. Petersburg, Russia / March 28, 1881

Scheherazade, Op. 35Orchestrated by Maurice Ravel Mussorgsky was the most talented, imaginative and perceptive of the late-nineteenth-century Russian composers

who followed Mikhail Glinka’s example in taking their homeland’s folk music as a model for concert and theatre works.

He befriended Victor Hartmann, a brilliant young artist and architect, in 1862. Hartmann’s death eleven years later plunged Mussorgsky into a deep depression. The following year, a memorial exhibition in St. Petersburg displayed Hartmann’s paintings, costumes, architectural designs and sketches. Mussorgsky’s visit to it, combined with his desire to compose a piece in his friend’s memory, inspired him to compose Pictures at an Exhibition. Although it is his finest piano work, its colourful nature cries out for the rich palette of instrumental effects that only an orchestra can provide. The orchestral transcription that the renowned Russian conductor Sergei Koussevizky commissioned from French composer Maurice Ravel in 1922 is by far the most popular of the several that have appeared.

The music opens with a majestic, recurring theme called Promenade, depicting visitors strolling through the gallery. The first picture, The Gnome, describes a grotesque nutcracker that Hartmann designed as a children’s Christmas present. The Old Castle portrays a troubadour serenading his beloved by moonlight.

Tuileries is a miniature scherzo, depicting children and their nurses in a Parisian garden. The tuba takes centre stage in Bydlo, which follows the lumbering approach and retreat of a heavy Polish oxcart. This is followed by another light scherzo, The Ballet of the Chicks in Their Shells, inspired by a sketch for a children’s ballet costume.

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Samuel Goldenberg and Schmuyle describes two Polish Jews. The first is rich and pompous (low strings), the second poor and excitable (muted trumpet). After a bustling portrait of the marketplace in the French city of Limoges, the scene switches abruptly to Catacombs (A Roman Sepulcher), a stark, menacing portrait of an ancient tomb. In the second half of this section, With the Dead in a Dead Language, the music drops to a ghostly whisper for a vision of skulls glowing in the dark.

Next comes a dynamic, phantasmagorical picture of BabaYaga, an evil witch from Russian fairy tales. The suite concludes with a stirring evocation of Hartmann’s plan for an immense stone gate. It was intended for the Ukrainian city of Kiev but was never built. Mussorgsky’s music evokes the chants of a Russian church ceremony, alternately meditative and celebratory.

Sergei Rachmaninoff Piano Concerto No. 3 in D minor, Op. 30In anticipation of his first visit to America, Rachmaninoff decided to compose a new piano concerto, with which he hoped to conquer the new world as both composer and soloist. He wrote it during the summer and autumn of 1909. Such was the tightness of his schedule that he was forced to practice the concerto, using a silent, “dummy” piano, on board the ship that was taking him to America. With Walter Damrosch conducting the Orchestra of the New York Symphony Society, Rachmaninoff give the premiere of Concerto No. 3 on November 28. It impressed neither audiences nor critics. They considered it too long, too complex, and less immediately attractive than his beloved No. 2.

That second-class status remained in effect for many years, and not just because of the initial reaction. Rachmaninoff was not only one of the greatest pianists of the day, he was also one of the strongest. Bearing his own, almost superhuman gifts in mind, he had written a solo part so exhausting that few, if any others were equal to its demands. Even Josef Hofmann, the eminent virtuoso to whom Rachmaninoff dedicated it, declined to perform it.

This unfortunate situation remained in effect until the arrival of a new lion of the keyboard, Rachmaninoff’s fellow Russian, Vladimir Horowitz. For many years, few save he and Rachmaninoff played the Third Concerto. But times have changed. With increasing numbers of new, ever more virtuosic pianists coming on the scene, it has come to rival Concerto No. 2 in numbers of performances. The prominent part it plays in the Academy Award-winning motion picture Shine (1996) has given it an even greater lease on life.

The opening movement begins with a leisurely theme suggestive of a melancholy Russian folk song. It appears simple, but it is remarkably haunting; it is also ripe for elaboration, and Rachmaninoff realizes its potential to the full. A solo cadenza of unprecedented power and difficulty crowns the movement. The slow second section is an imaginative, wide-ranging theme and variations. A brilliant outburst from the soloist then heralds the dashing finale. This is a tour-de-force for all concerned, ending in a galvanizing toccata-like section. ■


BRAMWELL TOVEY WITH THE VSO

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4CONCERTSMARCH 29

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Monday, April 7 Bramwell Tovey conductorAlexander Gavrylyuk piano

BACH Toccata and Fugue in D minor, BWV 565 Orchestrated by Leopold Stokowski

RACHMANINOFF Piano Concerto No. 4 in G minor, Op. 40 I. Allegro vivace II. Largo III. Allegro vivace

INTERMISSIONBALAKIREV Islamey Orchestrated by Sergei LiapounovRACHMANINOFF Rhapsody on a Theme of Paganini, Op. 43



Concert 4 Program


CONCERT SPONSOR

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Johann Sebastian Bachb. Eisenach, Germany / March 21, 1685 d. Leipzig, Germany / July 28, 1750

Toccata and Fugue in D minor, BWV 565Orchestrated by Leopold Stokowski The most familiar piece of organ music ever written is equally well-known in this vivid orchestral transcription, especially as the soundtrack for the abstract opening number in Walt Disney’s trailblazing animated concert feature, Fantasia (1940). It was first performed by Stokowski and the Philadelphia Orchestra in 1926. The 78-rpm recording they made the next year became a best-seller. It, Stokowski’s dozens of later Bach transcriptions, and Disney’s Fantasia introduced whole generations not only to the genius of Bach but to symphonic music in general.

Sergei Rachmaninoffb. Semyonovo, Russia / April 1, 1873 d. Beverley Hills, USA / March 28, 1943

Piano Concerto No. 4 in G minor, Op. 40In 1926, following seven years of virtually uninterrupted concertizing, Rachmaninoff decided to take a year off. He had two goals: to rest from performing, and to return to what he considered his true calling: composition. His first new work was this piano concerto, which he began in January and completed, while on holiday in France, in August. The premiere was given by the Philadelphia Orchestra in March 1927, with the composer as soloist and Leopold Stokowski conducting.The Rachmaninoff who composed it was not the same person who created the highly emotional and very Russian-sounding Second (1901) and Third (1909) Concertos. In the interim, he had been through a great deal of personal turmoil, primarily because of his

separation – a permanent one, as it turned out – from his beloved homeland. In addition, he had been exposed to America and its music. There was much in it that he found new and fascinating, and much that he liked enormously, jazz and folk music in particular.

These elements cross-pollinated with his own, established methods. The resulting style, though still recognizably Rachmaninoff’s, is noticeably different from that heard in his earlier works. The primary change is a greater sense of economy, both of means and materials. The Fourth Concerto’s “advanced” style – at least compared to his previous pieces – disappointed its first audiences. This led him to revise it slightly. This made no difference to its reception, so he set it aside for future revision. It was 1941 before he finally did so. Changes to the first two movements were cosmetic, largely a matter of orchestration, but he decided virtually to compose the finale anew. That October, a second premiere took place, but the result was no more successful. To this day it remains the stepchild of his concertos.

The first movement opens with a bold, athletic subject. The second theme is troubled and questioning in nature. The following slow movement is a most effective foil – a languorous reverie with a touch of the Orient. The finale then follows on without a break. It is a vivacious creation, sparkling with equal parts energy and humorous fantasy.

Mily Balakirev b. Nizhiy Novgorod, Russia / January 2, 1837 d. St. Petersburg, Russia / May 29, 1910

IslameyOrchestrated by Sergei Liapounov Balakirev’s role as mentor to a group of young composers who took inspiration from Russian folksong proved more important than his own music. He composed Islamey, his best-known piece and one of the most difficult piano solos ever written, in 1869. He collected the principal melody (a Kabardian dance which gives the piece its name) on location in the Caucasus. The lyrical central tune is a Tartar theme he heard sung by an American actor at Tchaikovsky’s home in Moscow. The dazzling orchestral transcription to be heard at this concert was prepared by Balakirev’s pupil, Sergei Liapounov, in 1912.

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Sergei RachmaninoffRhapsody on a Theme of Paganini, Op. 43Distressed by audiences’ negative reaction to Piano Concerto No. 4, Rachmaninoff determined to make his next (and as it turned out, final) work for piano and orchestra more approachable. As other composers have done, he turned for inspiration to the last of violin virtuoso Niccolò Paganini’s 24 Caprices for Solo Violin. He composed Rhapsody on a Theme of Paganini – a set of two dozen variations on the 24th Caprice between July and August 1934 at his summer residence, a villa on Lake Lucerne in Switzerland. The première took place in Baltimore on November 7, with the composer as soloist and Leopold Stokowski conducting the Philadelphia Orchestra. It won a huge success, by far the greatest of Rachmaninoff’s latter-day works. It entered the international repertoire with astonishing speed.

It begins playfully, presenting not the theme itself, but the first variation. Aptly, it is the violins which present Paganini’s catchy tune. In the seventh variation, Rachmaninoff introduces the Dies irae (Day of Wrath). This sombre theme, drawn from the medieval plainchant Mass for the Dead, portrays the fearsome day of final judgement. Rachmaninoff quoted it in several works scattered throughout his career.

The rhapsody’s emotional climax arrives in the eighteenth variation. It is a lyrical outpouring of emotion, ingeniously based on a simple inversion of the beginning of Paganini’s theme. Across the remaining six variations, Rachmaninoff builds wave upon wave of increasing excitement, crowned by a thunderous statement of the Dies irae in the brass. But it is the soloist who has the final word, banishing the storm of sound and fury with a sardonic quip from Paganini’s ghost. ■


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VSO CHAMBER PLAYERS ALAN AND GWENDOLINE PYATT HALLDR. H.N. MACCORKINDALE STAGE VSO SCHOOL OF MUSIC

Thursday, April 10, 7:30pm

Sunday, April 13, 2pm

BARTÓK String Quartet No. 3, Sz. 85Nicholas Wright violinDale Barltrop violinEmilie Grimes violaOlivia Blander cello

SCHULHOFF Concertino for Flute, Viola and Double Bass

Christie Reside fluteEmilie Grimes violaDylan Palmer bass

INTERMISSION

SCHUBERT Octet in F major, D. 803

Dale Barltrop violinNicholas Wright violinEmilie Grimes violaOlivia Blander celloDylan Palmer bassJeanette Jonquil clarinetGwen Seaton bassoonDavid Haskins horn

Concert Program

EMILIE GRIMES

OLIVIA BLANDER

DALE BARLTROP

WITH SUPPORT FROM

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SPECIALSORPHEUM THEATRE, 8PM

Monday, April 14

Amy Grant with the VSOAmy GrantDavid Hamilton conductor

Six-time Grammy® Award winner and multi-platinum recording artist Amy Grant brings her special brand of music making to the Orpheum, live in concert with the Vancouver Symphony Orchestra. The evening will feature some of Ms. Grant’s biggest hits from an extensive repertoire that spans her twenty-five year career as one of the most celebrated artists in the Pop and Christian music industry.

Concert Program

DAVID HAMILTON


AMY GRANT

Amy GrantAmy Grant’s career spans over twenty-five years and stretches from her roots in gospel into her experience as an iconic pop star, songwriter, television personality and philanthropist. Grant is beloved for both her Contemporary Christian music and mainstream hits like Baby Baby, Every Heartbeat, That’s What Love is For, I Will Remember You, Lead Me On, El Shaddai, and more. Grant has sold more than thirty million albums, including one five-time platinum album, one triple platinum and one double platinum album, as well as six platinum and four gold albums. She has won six GRAMMY® Awards and twenty-five GMA Dove Awards, including four Artist of the Year awards. Out of her ten Top 40 pop singles, six have become No. 1 hits, including Baby, Baby and Every Heartbeat.

Last year, Grant released her first full-length studio album in ten years, How Mercy Looks From Here (May 14, 2013), a soundtrack that embraces both the triumphs and challenges of life. Grant has always found a way to share her life through her music, and in the process has become not only the best-selling Christian music artist of all time but also one of the most celebrated artists in the pop music industry.

Her music continues to be part of the fabric of life for long-time listeners and brand new fans. For more information, visit www.AmyGrant.com.

David Hamilton conductor

David Hamilton is an accomplished musician respected for his versatility and artistic passion. He has earned a reputation as a premiere orchestral arranger and as a gifted conductor, producer, pianist, and composer. His music spans a wide range of genres on recordings by Shania Twain and Ricky Skaggs, to Renee Fleming and Lang Lang, to The Canadian Tenors, Amy Grant, Michael W. Smith, Israel Houghton, Heather Headley, Sandi Patty and many others. He has arranged music for films, for the Walt Disney Company, Macy’s, the Boston Pops, the New York Pops and the Nashville Symphony. Also, David’s sacred choral writing has become a regular part of the musical expression of many churches.

The famous quote by Saint Iraneus “The Glory of God is man fully alive” holds deep meaning for David. If you ask him about it he’ll tell you, “I’m grateful to feel more fully alive in the joy of making music not simply for the joy alone, but for the reason why – which for me, makes all the difference.” ■

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For more information about the Patrons' Circle and the exclusive benefits associated with this program, please contact Leanne Davis Vice President, Chief Development Officer at

604.684.9100 ext. 236 or email [email protected]

GOLD BATON CLUB Gifts from $50,000 and UpDr. Peter and Mrs. Stephanie ChungMrs. Maria LoganMrs. Irene McEwen*Mr. Alan and Mrs. Gwendoline Pyatt

MAESTRO'S CIRCLE Gifts from $35,000 to $49,999Heathcliff Foundation*

Gifts from $25,000 to $34,999Mary and Gordon Christopher Foundation*Mr. Gerald McGavin, C.M., O.B.C. and Mrs. Sheahan McGavin*Jane McLennanThe R & J Stern Family FoundationArthur H. Willms Family*

CONCERTMASTER'S CIRCLE Gifts from $15,000 to $24,999The Christopher Foundation (Education Fund)Martha Lou Henley*Lagniappe FoundationMichael O’Brian Family FoundationMr. Fred Withers and Dr. Kathy JonesAnonymous*

Gifts from $10,000 to $14,999Larry and Sherrill BergMr. and Mrs. G.A. CooperMrs. Margaret M. DuncanThe Gudewill FamilyWerner (Vern) and Helga Höing*Yoshiko KarasawaMcGrane-Pearson Endowment Fund

Mr. Brian W. and Mrs. Joan MitchellMollie Massie and Hein Poulus*Thomas and Lorraine SkidmoreMaestro Bramwell Tovey and Mrs. Lana Penner-Tovey*William and Jean WymanGordon YoungAnonymous

PRINCIPAL PLAYERS Gifts from $7,500 to $9,999In Memory of John Hodge*Mr. Ken and Mrs. Patricia Shields

Gifts from $5,000 to $7,499Dr. and Mrs. J. AbelJeff and Keiko Alexander*Etienne BrusonDr. Don and Mrs. Susan CameronPhilip and Pauline Chan Mrs. Joyce E. ClarkeDave CunninghamIan and Frances DowdeswellThe Grayross FoundationMr. Sam and Mrs. Patti GudewillHillary HagganDiane HodginsDr. Marla Kiess*Judi and David KorbinSam and Anita Lee The Lutsky FamiliesKenneth W. and Ellen L. Mahon*Mirhady Family FundJohn Hardie Mitchell Family FoundationAndrè and Julie MolnarMs. Nina RumenJohn Slater and Patrick Wang

Stanis and Joanne SmithLeon and Joan Tuey*Bruce Munro WrightAnonymous (3)

BENEFACTORS Gifts from $3,500 to $4,999Kathy and Stephen Bellringer*Hank and Janice KetchamProf. Kin Lo*Christine NicolasDr. and Mrs. Edward Yeung

Gifts from $2,500 to $3,499Ann Claire Angus FundOlin and Suzanne AntonBetsy Bennett* The Ken Birdsall FundGerhard and Ariane Bruendl*Marnie Carter*Janis and Bill ClarkeEdward Colin and Alanna NadeauMs. Judy GarnerJon and Lisa GreyellAlasdair and Alison HamiltonHeather HolmesJohn and Daniella Icke* Olga IlichHerbert JenkinGordon and Kelly JohnsonDon and Lou LaishleyMr. and Mrs. Hebert Menten*M. Lois MilsomJoan Morris in loving memory of Dr. Hugh C. MorrisChantel O'Neil and Colin Erb*Joan and Michael Riley

The Vancouver Symphony is grateful for the generosity shown by the following individuals and foundations, whose annual investment in the VSO has helped the orchestra reach new heights and garner national and international recognition.

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Mr. and Mrs. Maurice A. RodenBernard Rowe and Annette StarkDr. Earl and Mrs. Anne ShepherdMs. Dorothy P. ShieldsWallace and Gloria ShoemayMrs. Mary Anne SigalMel and June Tanemura*George and Marsha Taylor*Mr. and Mrs. David H. TrischukMichael and Irene WebbAnonymous (3)

PATRONS Gifts from $2,000 to $2,499Leslie G. Cliff and Mark P. Tindle Michael L. Fish In Memory of Betty HowardMr. Hassan and Mrs. Nezhat Khosrowshahi*Bill and Risa LevineNancy and Frank MargitanDr. Robert S. Rothwell*Anonymous (4)

Gifts from $1,500 to $1,999Gordon and Minke ArmstrongDerek and Stella Atkins

Mr. R. Paul and Mrs. Elizabeth BeckmannRoberta Lando Beiser*Dr. and Mrs. J. Deen BrosnanMrs. May Brown, C.M., O.B.C.*Mr. Justice Edward Chiasson and Mrs. Dorothy Chiasson*Doug and Anne CourtemancheLeanne Davis and Vern GriffithsBarbara J. DempseyCount and Countess Enrico and Aline DobrzenskyJean DonaldsonSharon F. DouglasMrs. San GivenDr. Donald G. HedgesJohn and Marietta Hurst*Michael and Estelle Jacobson*D.L. Janzen in memory of Jeannie KuyperSigne JurcicC.V. KentDrs. Colleen Kirkham and Stephen KurdyakUri and Naomi Kolet in honor of Aviva’s New York OrdinationHugh and Judy LindsayViolet and Bruce MacdonaldNancy Morrison

Mr. Dal Richards C.M. and Mrs. Muriel RichardsDr. William H. and Ruthie RossMrs. Joan ScobellDavid and Cathy ScottDr. Peter and Mrs. Sandra Stevenson-MooreL. ThomGarth and Lynette ThurberDr. Hamed Umedaly and Dr. Susan PurkissDr. Johann Van EedenNico and Linda Verbeek*Beverley and Eric Watt*Michael R. WilliamsDr. Brian WilloughbyEric and Shirley WilsonDr. I.D. WoodhouseNancy WuAnonymous (5) ■

* Members of the Patrons’ Circle who have further demonstrated their support by making an additional gift to the VSO Endowment Fund.

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CLASSICAL TRADITIONS CHAN CENTRE FOR THE PERFORMING ARTS, 8PM

Friday & Saturday, April 25 & 26SURREY NIGHTS BELL PERFORMING ARTS CENTRE, SURREY

Monday, April 28Dale Barltrop leader/violinNicholas Wright violin

GEMINIANI Concerto grosso in D minor La Follia

BACH Concerto for Two Violins in D minor, BWV 1043 I. Vivace II. Largo ma non tanto III. Allegro

GOLIJOV Last Round I. Movido, urgente II. Muertes del angel (Deaths of the Angel)

INTERMISSION

DVORÁK Serenade for Strings in E Major, Op. 22 I. Moderato II. Tempo di valse III. Scherzo: Vivace IV. Larghetto V. Finale: Allegro vivace

Concert Program

DALE BARLTROP

THE PRESENTATION OF THE CLASSICAL TRADITIONS SERIES IS MADE POSSIBLE, IN PART, THROUGH THE GENEROUS ASSISTANCE OF THE CHAN FOUNDATION AT UBC, AND THE CHAN CENTRE FOR THE PERFORMING ARTS.

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NICHOLAS WRIGHT

THE VSO’S SURREY NIGHTS SERIES HAS BEEN ENDOWED BY A GENEROUS GIFT FROM WERNER AND HELGA HÖING.

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▼

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Dale Barltrop leader/violin

Hailing from Brisbane, Australia, Dale Barltrop has performed across North America, Europe and Australia. He served as Principal Second Violin in the Saint Paul Chamber Orchestra for six years prior to his appointment with the Vancouver Symphony. Barltrop is a regular artist at the Mainly Mozart Festival in San Diego and the Festival Mozaic in San Luis Obispo. He has also performed at the Yellow Barn, Kneisel Hall, Swannanoa and Tanglewood music festivals, Music in the Vineyards and the New York String Orchestra Seminar. Barltrop moved to the United States in 1998 to attend the University of Maryland as a student of Gerald Fischbach and the Guarneri Quartet. He continued his studies at the Cleveland Institute of Music with William Preucil. Barltrop has a keen interest in teaching and has served on the faculty of the National Orchestral Institute and worked regularly with the Greater Twin Cities Youth Symphonies. In addition to playing the violin, Dale loves to travel and enjoys swimming, running, hiking and skiing.

Nicholas Wright violin

A native of England, Nicholas’s engagements as soloist, chamber and orchestral musician have taken him to most of the major concert halls in Europe, Asia and North America. He has performed as soloist and guest concertmaster with orchestras including the BBC Concert Orchestra, Bournemouth Symphony, Ulster Orchestra and the Vancouver Symphony Orchestra. His concerts have been broadcast on BBC and CBC networks.

He is the first violinist of the Vancouver based Koerner Quartet and has collaborated with many renowned artists including Martin Roscoe. In 2003 he was made the youngest member of the London Symphony Orchestra where he held the first violin sub-principal position and worked with many of the world's most renowned conductors. He is currently the assistant concertmaster of the VSO.

Nicholas has studied at the Royal College of Music in London and with many eminent musicians including Ruggiero Ricci and Gil Shaham. He is currently head of the violin department at the Vancouver Academy of Music.

Francesco Geminiani b. Lucca, Italy / December 5, 1687 d. Dublin, Ireland / September 17, 1762

Concerto grosso in D minor La Follia Geminiani earned acclaim on several fronts: he was one of the greatest violinists of his era, a composer of original and expressive music, and a teacher whose influence passed to countless others through his widely circulated and highly esteemed book, The Art of Playing the Violin (1751).

“...he was one of the greatest violinists of his era, a composer of original and expressive music, and a teacher...”

He published several sets of concerti grossi, which he scored for two groups of strings, the smaller concertino and the larger ripieno. His being an exceptional violinist meant that he regularly gave the first violin of the concertino group the lion’s share of the major thematic material, and the most frequent opportunities for solo display. Some of the concertos are transcriptions of sonatas for violin and continuo by his teacher, Arcangelo Corelli. The original Corelli sonata that Geminiani used as the basis for this concerto is a set of variations on a traditional and widely familiar melody, possibly of Spanish origin, known as La Follia. Geminiani’s arrangement takes Corelli’s ingenuity and virtuosity a step further, creating a dazzling showcase for the full ensemble.

Johann Sebastian Bachb. Eisenach, Germany / March 21, 1685 d. Leipzig, Germany / July 28, 1750

Concerto for Two Violins in D minor, BWV 1043Bach arrived in the German town of Anhalt-Cöthen in 1717, to take up the position of Kapellmeister to Prince Leopold. Since he wasn’t required to compose church music for Leopold’s Calvinist court, he turned his attention to creating instrumental works. As nearly as has yet been determined, many of his finest nonvocal compositions date from his six-year term in Cöthen, including this marvellous piece for two violins. The soloists

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perform very much as equals, sharing and passing between them the richly inventive thematic materials.

“...a true pearl of noble, heartfelt song.”

The outer movements crackle with energy. In the slow middle movement Bach created, in the words of biographer Julius Spitta, “a true pearl of noble, heartfelt song.”

Osvaldo Golijovb. La Plata, Argentina / December 5, 1960

Last RoundGolijov’s appealing, label-defying music reflects his mixed heritage and upbringing. Born into an Eastern European Jewish family who had emigrated to Argentina, his youthful ears were filled with a heady mixture of classical chamber music, Jewish liturgical and klezmer music, and the non-traditional, sophisticated tangos of Argentinean composer Astor Piazzolla. His major international breakthrough came in 2000 with the highly acclaimed premiere of St. Mark Passion. His many international commissions have come from such prestigious organizations as the Boston Symphony Orchestra and Lincoln Centre, New York.

He composed what became the final movement of Last Round in 1991, after hearing that Astor Piazzolla had suffered a stroke. Friends encouraged him to compose an opening movement to complement it, and he completed the piece in 1996. As the composer has written, The title is borrowed from a short story on boxing by Julio Cortázar, the metaphor for an imaginary chance for Piazzolla’s spirit to fight one more time (he used to get into fistfights throughout his life). The piece is conceived as an idealized bandoneon, a small accordion-like instrument without keyboard that was invented in Germany in the nineteenth century to serve as a portable church organ and which, after finding its true home in the bordellos of Buenos Aires’ slums in the 1920s, went back to Europe to conquer Paris’s high society in the 1930s. Since then it reigned as the essential instrument for any Tango ensemble.

The first movement represents the act of a violent compression of the instrument and the second a final, seemingly endless opening

sigh. But Last Round is also a sublimated tango dance. Two quartets confront each other, separated by the focal bass, with violins and violas standing up as in the traditional tango orchestras. The bows fly in the air as inverted legs in crisscrossed choreography, always attracting and repelling each other, always in danger of clashing, always avoiding it with the immutability that can only be acquired by transforming hot passion into pure pattern.

Antonín Dvorák b. Nelahozeves, Bohemia / September 8, 1841 d. Prague, Bohemia / May 1, 1904

Serenade for Strings in E Major, Op. 22This charming Serenade is one of Dvorák's first truly characteristic works, as well as the earliest of his compositions to receive regular international performances. Its optimistic tone reflected his happiness at the time he created it. He had recently won a monetary grant from the Austrian government, one which would allow him to devote more time to composition. He wrote the serenade in just twelve days, May 3 to 14, 1875. Attractive melody flows through each of its five concise movements.

“Its minor-key tonality adds an overlay of wistfulness, and the central trio section builds to an almost vehement climax.”

The opening section, Moderato, is sweet, warm and relaxed. The gentleness continues throughout much of the following waltz. Its minor-key tonality adds an overlay of wistfulness, and the central trio section builds to an almost vehement climax. Every emotional cloud is sent packing in the vivacious scherzo that follows. This is the movement of the serenade where Dvorák displayed his Czech heritage most directly. Even it is not carefree. The pulsing melody of the central section has an almost operatic personality. The serenade’s emotional heart lies in the slow, gloriously expressive fourth movement. The brisk, exultant finale pauses for breath only long enough to give the serenade a cyclical feeling by briefly quoting themes from, in turn, the fourth and first movements. ■Program Notes © 2014 Don Anderson

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SYMPHONY AT THE ANNEX ORPHEUM ANNEX, 8PM

Sunday, April 27

Adjusting the SailsBramwell Tovey conductorJoan Blackman violin

MORTON FELDMAN Madame Press Died Last Week at Ninety

KURT WEILL Violin Concerto I. Andante con moto II. a) Notturno b) Cadenza c) Serenata III. Allegro molto, un poco agitato

INTERMISSION

JAMES ROLFE Juggle

EDWARD TOP Riff

STOCKHAUSEN Kontra-Punkte

Concert Program

BRAMWELL TOVEY WITH THE VSO

JOAN BLACKMAN

SYMPHONY AT THE ANNEXSERIES SPONSOR

FINANCIAL SUPPORT PROVIDED BY

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Joan Blackman violin

Joan Blackman, Associate Concertmaster of the Vancouver Symphony, enjoys a vibrant musical life in our community. She is also an active teacher, giving master classes throughout B.C. Joan has performed and recorded as soloist with Vancouver Symphony, Victoria Symphony, and the Banff Festival Orchestra.

"Shapelier phrases and sweeter tone would be hard to imagine," "a ravishing tone," "first rate soloist," "exchanged lines meltingly in a flawless performance," "playing with lyricism, precision, and evident joy;" are accolades that have graced Joan's reviews. Zach Carstensen of Seattle's Gathering Note writes "Your heart would need to be made of stone not to have loved Joan Blackman's splendid solo."

As Artistic Director of the Vetta Chamber Music and Recital Society, she programs and performs with the best of BC talent along with invited guests from afar. She is also a member of the acclaimed American String Project, which brings together concertmasters and soloists throughout North America.

Adjusting the SailsAdjust your sails to catch fresh winds at the second installment of this season’s Symphony at the Annex. The wind instruments are kept on a tight leash in James Rolfe’s Juggle and Kurt Weill’s uniquely scored modern-classic Violin Concerto. Contrary winds blow in Edward Top’s Riff, after two flutes gently play a motive in memory of Morton Feldman’s piano teacher. The evening comes to a closure in Stockhausen’s counterpoint of classic serialism.

Morton Feldman b. New York, USA / January 12, 1926 d. Buffalo, USA / September 3, 1987

Madame Press Died Last Week at Ninety In 1970, something unexpected happened. After about thirteen years my music again

changed, and changed radically. I still had a preference for very soft sounds but I began to notate the music again precisely, if not more precisely than before. The music also became, for lack of a better term, 'motivic'. This all began with a composition in memory of my piano teacher called Madame Press Died Last Week at Ninety. The whole work is based on a repeated two-note figure alternating between two flutes. The beginning harmonies of Madame Press are vaguely Hollywoodian, then recall Edgard Varèse and slowly metamorphise into something more my own. I was consciously attempting to relive my own musical history while thinking of her. Those were the harmonies of my youth. What was unconscious was the significance of putting the tempo at quarter note equals ninety. It was also unconscious that I repeated those falling thirds 87 times, very close to that fated number of her death. The recapitulation at the end goes into double-time as if to symbolize all the years I didn't see her, which were passing so quickly.Program Notes © 2014 Morton Feldman

Kurt Weillb. Dessau, Germany / March 2, 1900 d. New York, USA / April 3, 1950

Violin ConcertoKurt Weill was a musically-split-personality, a stylistic chameleon whose output is impossible to pigeonhole. He himself didn’t distinguish between avant-garde and Broadway, classical and light music. To him there was only good and bad music. The Violin Concerto is an early work, composed in Berlin in the spring of 1924. It dates from his so-called ‘serious’ period before his well-known theatrical song scores. The Concerto reveals hints of the theatrical-style-to-come, but mainly shows traces of his teacher Busoni and a Stravinsky-like clarity. Composed for the violinist Joseph Szigeti, but first performed by Marcel Darrieux, it has the unique scoring of an orchestra of winds and percussion requiring a powerful tone of the soloist to compete with such wind and percussive force!

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James Rolfeb. Ottawa, Canada / July 20, 1961

JuggleJuggle is a kind of scherzo. At times it bursts with energy and puts on substantial airs, only to backpedal and disappear into itself. There is a steady stream of composer tricks – retrogrades, inversions, quotes – leading to a sense of déjà vu, a feeling that we’ve heard these notes before.

“At times it bursts with energy and puts on substantial airs, only to backpedal and disappear into itself.”

The winds are kept on a tight leash, given sardonic and terse lines, and only rarely allowed to wax lyrical. Juggle was commissioned by the Guelph Spring Festival with the assistance of The Laidlaw Foundation.Program Notes © 2014 James Rolfe

Edward TopComposer-in-Residence of the Vancouver Symphony Orchestrab. Ommen, Overijssel, Holland / January 1, 1972

RiffRiff is built around an ostinato figure, with the directness and rawness of a heavy-metal riff. It eventually becomes the subject for an out- of-control fugue that it develops into.

Karlheinz Stockhausenb. Burg Mödrath, Germany / August 22, 1928 d. Kürten, Germany / December 5, 2007

Kontra-PunkteKontra-Punkte, or, Counterpoints, is a key composition of the twentieth century, written at a time right after the devastation of World War II. At that time the only plausible direction for music composing seemed a rational and almost scientific approach, leaving behind the bombastic emotions of the Romantic tradition and human memory of the neo-styles. There was a general sense of not looking back and starting anew. Kontra-Punkte is an early manifestation of this new musical style – of which Stockhausen

was a major instigator – called serialism. Serialism was a compositional approach where pitches, rhythm, choice of instruments (timbre), dynamics, register, etc. were carefully laid out in series of values, hence the term. It seems no surprise that it was the radical avant-garde direction of Anton Webern right before WWII that became the inspiration, among others, for the serialists. Webern had distilled the basic cells from late-romantic gestures into highly expressive, but rigidly calculated and structured musical miniatures. Webern’s cells would often consist of only three notes. Stockhausen’s Kontra-Punkte goes a step further, however, with only individual notes by each instrument, sounding against each other, leading back to the original meaning of the term counterpoint: point against point.Despite the rational compositional approach in Kontra-Punkte the work is full of expressionist gestures and creative ideas, not in the least the Farewell-like dropping out of instruments towards the end. ■Program Notes © 2014 Edward Top

In Memoriam

The Vancouver Symphony Society mourns the loss and celebrates the life of

PETER CHERNIAVSKYNovember 5, 1926 – December 25, 2013

Grandson of VSO Founder Mrs. B.T. Rogers

VSO Patron and Subscriber for over 70 years

Major donor to the Vancouver Symphony Foundation and the Campaign to create the VSO School of Music

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From Toy Story to Brave, Pixar’s extraordinary animated features have

changed filmmaking forever, and for the very first time, the Vancouver

Symphony Orchestra performs this extraordinary music from these films

live in concert together with stunning video clips on the big screen!

P I X A RI N C O N C E R T

THE VSO PRESENTS

Presentation licensed by Disney Concerts © Disney/Pixar

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GORDON GERRARD

Concert Program


Wednesday, April 30 Gordon Gerrard conductor

RANDY NEWMAN Fanfare / Toy Story ©1995 Walt Disney Music Company

THOMAS NEWMAN Finding Nemo ©2003 Pixar Music and Wonderland Music Company, Inc.

MICHAEL GIACCHINO Ratatouille ©2007 Pixar Talking Pictures and Walt Disney Music Company

RANDY NEWMAN A Bug’s Life ©1998 Pixar Talking Pictures and Walt Disney Music Company

THOMAS NEWMAN Wall-E ©2008 Pixar Music and Wonderland Music Company, Inc.

RANDY NEWMAN Toy Story 2 ©1999 Pixar Talking Pictures and Walt Disney Music Company

RANDY NEWMAN Cars ©2006 Pixar Talking Pictures and Walt Disney Music Company

MICHAEL GIACCHINO Up ©2009 Pixar Talking Pictures and Walt Disney Music Company

INTERMISSION

MICHAEL GIACCHINO The Incredibles ©2004 Pixar Talking Pictures and Walt Disney Music Company

RANDY NEWMAN Monsters, Inc. ©2001 Pixar Talking Pictures and Walt Disney Music Company

RANDY NEWMAN Cars 2 ©2011 Pixar Talking Pictures and Walt Disney Music Company

PATRICK DOYLE Brave ©2012 Pixar Talking Pictures and Walt Disney Music Company

RANDY NEWMAN Toy Story 3 ©2010 Pixar Talking Pictures and Walt Disney Music Company

Gordon Gerrard conductorFor a biography of Gordon Gerrard please refer to page 15. ■

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Saturday & Monday, May 3 & 5

Carmina BuranaKazuyoshi Akiyama conductor Tracy Dahl soprano Roger Honeywell tenor James Westman baritone Vancouver Bach Choir Tokyo Academy Chorus

RIMSKY-KORSAKOV Russian Easter Overture, Op. 36

BORODIN Prince Igor: Polovtsian Dances

INTERMISSION

ORFF Carmina Burana I. Fortuna Imperatrix Mundi II. Primo vere III. Uf dem anger IV. In Taberna V. Cour d’amours VI. Blanziflor et Helena VII. Fortuna Imperatrix Mundi

Please visit the VSO’S SILENT AUCTION pre-concert and during intermission in the Westcoast Energy Hall.

Concert Program

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TRACY DAHL

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ROGER HONEYWELL JAMES WESTMANVISIT THE SYMPHONY GIFT SHOP FOR CD SELECTIONS

KAZUYOSHI AKIYAMA

VANCOUVER BACH CHOIR TOKYO ACADEMY CHORUS

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Kazuyoshi Akiyama conductor

"Whenever conductor emeritus Kazuyoshi Akiyama returns to Syracuse, performances tend to exhibit an extra spark and zing. It's almost like a group of students placed before a onetime teacher, all eager to show that they remember the lessons they have learned. Akiyama is the kind of conductor that can take us all back to school." —The Post-Standard

Saturday April 17, 2004Kazuyoshi Akiyama has had long-standing relationships with the leading orchestras of Japan and now serves as Principal Conductor of the Hiroshima Symphony and also the Kyushu Symphony Orchestra. The Tokyo Symphony has honored him with the title of Conductor Laureate. He has also been Music Director of the Syracuse Symphony and the Vancouver Symphony. Maestro Akiyama is the recipient of numerous citations, including the Suntory Music Award, the Kyoto Music Award, the Mainichi Arts Award, and the Arts Encouragement Prize of the Minister of Education. In 2001, he was awarded the Emperor’s Purple Ribbon Medal from the Japanese Government for his outstanding contribution to the country’s musical culture.

Tracy Dahl soprano

With her 2006 debut at La Scala as Zerbinetta in Ariadne auf Naxos, Canada's premier coloratura soprano Tracy Dahl has taken another milestone in a career that has brought her together with such opera houses as the Metropolitan Opera, San Francisco Opera, Houston Grand Opera, Santa Fe Opera, Canadian Opera Company, and the Chatelet in Paris, to name a few. Highlights of 2011/12 include two trips to Australia with the Melbourne and Sydney symphonies, works by Bach and Mozart with the Vancouver Symphony, and the title role of Maria Stuarda with Pacific Opera Victoria.

Her discography includes A Disney Spectacular with the Cincinnati Pops (Telarc), Glitter and Be Gay with the Calgary Philharmonic (CBC), A Gilbert and Sullivan Gala with the Winnipeg Symphony Orchestra (CBC), and Love Walked In, a Gershwin collection with the Bramwell Tovey Trio (Red Phone Box Company).

Roger Honeywell tenor

Canadian tenor Roger Honeywell has been acclaimed as a performer “with the right kind of heroic mettle to his voice” (Opera Now).

After a career as an actor in Canada working at many of the country’s foremost companies including five seasons with Shaw Festival and five seasons with the Stratford Shakespearean Festival of Canada, Mr Honeywell joined the Canadian Opera Company’s young artist program where he was heard in the title role of Giulio Cesare by Antonio Sartario, and Narraboth in Salome. He then joined the Lyric Opera of Chicago’s Ryan Center where he sang the role of Frederick in The Pirates of Penzance with Elizabeth Futral.

Roger is a graduate of the Ryerson Theatre school in Toronto and has received numerous awards, among which are a Dora Mavor Moore award for his role of Arnaud de Tilh in The House of Martin Guerre, a Maureen Forrester Award and a Tyrone Guthrie Award from the Stratford Festival.

James Westman baritone

Formerly a successful boy treble, Mr. Westman toured with the American Boys Choir, the Paris Boys Choir and the Vienna Boys Choir. Known as Jamie Westman, he was the first boy ever to perform the fourth movement of Mahler's Symphony No. 4, (Childs View of Heaven) and toured this work with the Boston Philharmonic Orchestra in Austria, Poland, Czechoslovakia, East and West Germany and Russia, performing in the Musikverein, Roy Thompson Hall and Carnegie Hall at the young age of twelve.

Mr. Westman was Baritone in Residence with the prestigious San Francisco Opera Adler Fellowship program until March 2000. His Debut with the English National Opera marked his 100th professional performance of his calling card role ‘Germont’ from Verdi’s La Traviata. In 2012, Westman, created the leading role (Sandy Keith) of Bramwell Tovey's new opera, The Inventor, to rave reviews!

James Westman has studied with such renowned artists as Dame Joan Sutherland, Richard Bonynge, Renato Capecchi, Paul Esswood, John F.M. Wood, Carl Duggan, Louis Marshall, Patricia Kern, Régine Crespin, Warren Jones, Martin Katz, Virginia Zeani, Marlena Malas, Theadore Uppman, Diane Forlano, and Marilyn Horne.

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Vancouver Bach ChoirSituated in Vancouver, the gateway of the Pacific Rim, the Vancouver Bach Choir is an award-winning symphonic choir committed to offering vibrant and culturally diverse choral experiences to its audiences.

As one of the largest choral organizations in Canada, the Vancouver Bach Choir explores a wide range of repertoire from the past to the present with passion and commitment. Through its series of concerts presented at the magnificent Orpheum Theatre, the VBC continues to meet its mandate of commissioning and performing works by British Columbian and Canadian composers and presenting the world’s favourite symphonic choral works.

Over the past eight decades, the choir has performed with numerous world-class musicians. Under the baton of Maestro Leslie Dala, the VBC continues its mission and tradition to share the beauty of choral music with local, national and international communities. As the Vancouver Bach Choir celebrates its 83rd anniversary in the 2013/2014 season, it is poised to enter the next exciting chapter.

Tokyo Academy Chorus Tokyo Academy Chorus (TAC) was founded in 1964 by amateur singers who shared a passion for choral music, starting with Handel’s Messiah at its inaugural concert.

TAC is comprised of around 150 members and is committed to perform both classic and contemporary choral works at the highest musical standard with professional orchestras under the baton of Maestro Kazuyoshi Akiyama who has been Music Director since 1967.

Recent programs include Requiems by Verdi, Brahms, Mozart, Lloyd Webber and Rutter and Mahler’s Resurrection. It plans the 50th anniversary concert in November 2014 to perform J.S. Bach’s St. Matthew Passion.

TAC is a financially independent organization and is operated and managed by its own members.

Nikolai Andreyevich Rimsky-Korsakov b. Tikhvin, Russia / March 18, 1844 d. Lyubensk, Russia / June 21, 1908

Russian Easter Overture, Op. 36 Rimsky-Korsakov and Borodin belonged to a circle of composers who dedicated themselves to carrying on Mikhail Glinka’s pioneering efforts in using Russian folk song as a source or pattern for music for the concert hall and opera house. Their fellow members were Mily Balakirev, César Cui and Modest Mussorgsky. For centuries, Easter has been Russia’s most significant holiday. It represents not only a major Christian festival, but also a reminder of earlier traditions marking the arrival of spring. Rimsky-Korsakov chose the themes for this overture (which he composed in 1888) from a collection of traditional church canticles. The opening section unmistakably evokes the solemn chanting and the responsorial style of the Orthodox Church service, while the main section in fast tempo celebrates Christ’s resurrection with tremendous energy and joyfulness.

Alexander Borodinb. St. Petersburg, Russia / November 12, 1833 d. St. Petersburg / February 27, 1887

Prince Igor: Polovtsian DancesBorodin’s career as a doctor and professor of chemistry left him little time for music. His artless, disorganized but sweet and generous temperament also contributed to the slimness of his catalogue. The regrettably small number of works he did complete offer exceptional melodic charm (often with an appealing Asian tang, reflecting his family pedigree) and sensuous, poetic beauty.

“...exceptional melodic charm ...and sensuous, poetic beauty.”

This self-proclaimed “Sunday composer’s” magnum opus, the opera Prince Igor, lay incomplete at his death, despite nearly twenty years’ intermittent labour. It was finished (and to some extent, actually composed) by Rimsky-Korsakov and his pupil, Alexander Glazunov. Drawn from Russian history, the plot concerns the twelfth-century conflict between the forces of Igor, a Russian

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prince, and Konchak, leader of an Eastern tribe, the Polovtsians. After Konchak takes Igor prisoner, he offers to set him free if he will swear never to attack the Polovtsians again. Igor refuses. Konchak cannot help but admire his adversary’s bravery. To divert him from his melancholy state, he calls upon his people to entertain the Prince. They do so in the barbaric and poetic Polovtsian Dances.

Carl Orffb. Munich, Germany / July 10, 1895 d. Munich / March 29, 1982

Carmina BuranaBy the mid1920s, music – especially the works of Arnold Schoenberg and his followers – had become more complicated and more intellectualized than most listeners could grasp, or were willing to tolerate. Composers in several lands recognized the need for a shift in attitude. German composer Carl Orff chose the approach of creating theatrical spectacles in which straightforward, communicative music, words and movement combined to produce immediate and striking impressions that appealed to a broad range of audiences. At the beginning of the `30s, while serving as conductor of the Munich Bach Society, he produced a number of arrangements of early music. His researches in this area eventually led to the creation of Carmina Burana, his first (and greatest) success.

“The earthier part contains some 200 drinking songs, love lyrics and recruiting songs.”

The texts are what give the score its name. In 1803, at the monastery of Benediktbeuern in Upper Bavaria, musicologist J. A. Schmeller discovered a manuscript collection of lyrics, dating from the twelfth and thirteenth centuries. When it was published in 1847, Schmeller dubbed it Carmina Burana (Songs from the beuern, or in Latin, Burana district). Probably the work of wandering scholars and defrocked priests, its texts are mostly in Latin, with a sprinkling of old German. The polite side of the collection includes six plays based on the Christmas, Passion and Easter mysteries. The earthier part contains some 200 drinking songs, love lyrics and recruiting songs.

When Orff came across the manuscript in 1935, he saw in it the ideal vehicle to express the kind of basic, uncomplicated human emotions he had in mind. Choosing two dozen poems from the collection, with the assistance of Michel Hofmann, he matched them with equally direct music, featuring simple yet striking rhythms, melodies and harmonies. “It’s not sophisticated, not intellectual,” he wrote, “and the themes of my work are themes that everyone knows...There is a spiritual power behind my work, that’s why it is accepted throughout the world.” The premiere took place in Frankfurt on June 8, 1937.

“...luck as a revolving wheel, blindly governing people's destinies.”

The illuminated pictures that accompanied the original poems intrigued Orff virtually as much as the words. The cover showed luck as a revolving wheel, blindly governing people’s destinies. Orff begins his Carmina Burana with a grandiose hymn, Fortuna Imperatrix Mundi (Luck, Empress of the World), saluting this inscrutable, unpredictable concept. Primo vere (In Springtime), follows. It deals, mostly in quiet, mysterious fashion, with the anticipated arrival of that season. Joy eventually breaks forth as Spring itself appears. It is celebrated in the section entitled Uf dem anger (On the Green).

The next segment, In Taberna (In the Tavern) salutes the juice of the grape in riotous fashion. The tenor soloist, singing in falsetto, takes the role of a swan roasting slowly and sadly on a spit. The baritone is an Abbot who launches the men of the choir into a rollicking ode to drink.

Cour d’amours (Court of Love) brings several of Orff’s loveliest, most lyrical moments. The soprano solo In trutina (In the Balance), a glowing anticipation of fulfillment, is a particular highlight. After the ecstatic fervour of Blanziflor et Helena (Blanchefleur and Helen, the principal characters in a medieval romance), Orff’s ode to luck returns, to close Carmina Burana as majestically as it began. ■Program Notes © 2014 Don Anderson

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Vancouver Symphony PartnersThe Vancouver Symphony Orchestra gratefully acknowledges the generosity of the following Government Agencies, Corporations and Foundations that have made a financial contribution through sponsorship or a charitable donation.

SERIES SPONSORS

CONCERT AND SPECIAL EVENT SPONSORS

IMPORTANT:For Usage below 1-1/2” wide

VANCOUVERSYMPHONY

VOLUNTEERS

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For more information about the VSO Corporate Partners Programs and the exclusive benefits associated with this program please contact Ryan Butt, Manager of Corporate & Donor Relations at

604.684.9100 extension 260 or email [email protected]

$150,000+TELUS CorporationVancouver Sun

$100,000+Goldcorp Inc.

$70,000+ Mardon Group InsuranceVancouver Foundation

$50,000+ City of Burnaby Parks, Recreation and Cultural ServicesCKNWCKWX News 1130Georgia StraightIndustrial Alliance Insurance and Financial Services Inc.Jemini FoundationQM-FM

$40,000+Air CanadaLondon DrugsRBC Foundation

$30,000+BMO Financial GroupHSBC Bank CanadaPacific Arbour Retirement CommunitiesPrimaCorp Ventures Inc.PwCVancouver Airport Authority

$20,000+Blake, Cassels & Graydon LLPBMO Capital Markets Borden Ladner Gervais LLPThe Chan Endowment Fund of UBCCIBCConcord PacificErnst & Young LLPHolland America Line Inc.Rogers Group FinancialSpectra EnergyTD Bank GroupUpright Décor Rentals and Events DesignVancouver Symphony VolunteersWesbild Holdings Ltd.Anonymous (1)

$10,000+AvigilonCanadian Western BankCraftsman CollisionDeans Knight Capital Management Ltd.Edgewater CasinoKPMG LLPPacific SurgicalPark Royal Shopping CentreSilver WheatonStikeman Elliott LLPSun Life Financial Tom Lee MusicWall Financial

$5,000+Anthem Properties Group Ltd.BCLCCadillac Dealers of Greater VancouverCassels BrockCenterplate at Vancouver Convention CentreDeloitte and Touche LLPFarris, Vaughan, Wills & Murphy LLPGenus Capital ManagementGraphic Angel DesignHaywood Securities Inc.Image Group Inc. Innovation LightingKingswood Capital CorporationLedcor Properties Inc.Macdonald Development CorporationMarin Investments LimitedMcElhanney Consulting Services Ltd.Mercedes-Benz Vancouver Retail GroupDr. Tom Moonen Inc.Michael O’Brian Family FoundationOdlum Brown LimitedRBC Royal BankScotiaMcLeodStantecTD Wealth – Tim Wyman Teck Resources LimitedTerus Construction Ltd.Tourism British Columbia

UK Trade & InvestmentXibitaAnonymous (1)

$2,500+Central 1 Credit UnionEthical Bean CoffeeGeorgian Court Hotel Hawksworth Restaurant Kian Show Services Ltd.The Lazy GourmetLU BiscuitsMcCarthy Tétrault FoundationNesters Market YaletownSOCAN FoundationTala FloristsWindsor Plywood Foundation

$1,000+ABC Recycling Ltd.API Asset Performance Inc.Best BuyBing Thom Architects FoundationCibo TrattoriaDomaine ChandonDunbar Dental Enotecca Wineries & Resorts Inc.Fluor CanadaThe Hamber FoundationHUB InternationalLa Scala Integrated MediaLantic Inc.Long & McQuade MusicNestle WatersRenaissance Wine Merchants The Simons FoundationWolrige Foundation

EDUCATIONAL PROGRAM SPONSORS AND PARTNERS


MEDIA PARTNERS

JEMINIFOUNDATION

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CONCERT COURTESIESFor your enjoyment, and the enjoyment of others, please remember concert etiquette. Talking, coughing, leaning over the balcony railings, unwrapping candies, and the wearing of strong perfume may disturb the performers as well as other audience members.

LATECOMERSUshers 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 SYSTEMSHearing-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 WATCHESPlease 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 EQUIPMENTCameras 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 AND SCENTSAll venues are non-smoking and scent-free environments.

PROGRAM, GUEST ARTISTS AND/OR PROGRAM ORDER ARE SUBJECT TO CHANGE.

Jeff Alexander, President & Chief Executive Officer

Finance & Administration: Mary-Ann Moir, Vice-President, Finance & AdministrationAntonio Andreescu, Junior Database & Network Administrator Debra Marcus, Director, Information Technology & Human ResourcesAnn Surachatchaikul, AccountantRay Wang, Payroll Clerk & IT Assistant

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Development: Leanne Davis, Vice-President, Chief Development OfficerRyan Butt, Manager, Corporate & Donor Relations Mary Butterfield, Director, Individual & Legacy GivingDawn Nash, Development Officer, Special ProjectsAnn True, Development CoordinatorLauren Watson, Development AssistantRachel Wong, Lotteries Assistant

Artistic Operations & Education: Joanne Harada, Vice-President, Artistic Operations & EducationDeAnne Eisch, Orchestra Personnel ManagerDavid Humphrey, Operations Manager Minella F. Lacson, Librarian Ron & Ardelle Cliff Chair

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Pearl Schachter, Artistic Operations & Education AssistantTracie Yee, Artistic Operations Associate

The Stage Crew of the Orpheum Theatre are members of Local 118 of the International Alliance of Theatrical Stage Employees.

The Vancouver Symphony Orchestra is a proud member of

At the Concert

Vancouver Symphony Administration 604.684.9100

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Ronald Laird Cliff, C.M., ChairMarnie CarterCharles Filewych

Board of Directors

Gordon R. Johnson, ChairHein Poulus, Q.C.Patricia ShieldsMarsha Walden

Executive Committee

Fred Withers, Chair Chief Development Officer Ernst & Young

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Directors

Joan Chambers Partner, Blakes

Chair . . . . . . . . . . . . . . . Sheila FoleyVice-Chair/Treasurer . . . Nancy WuSecretary. . . . . . . . . . . . Joni MacArthurMember. . . . . . . . . . . . . Marlies WagnerImmediate Past Chair. . . Anne Janmohamed

Scheduling Concerts (all venues) . . . Shirley BidewellGift Shop . . . . . . . . . . . . Barbara Morris Helen DubasLotteries in Malls . . . . . . Gloria Davies

Reception Shifts. . . . . . . Gloria DaviesTea & Trumpets . . . . . . . Shirley Featherstone Marlene StrainSpecial Events Symphony of Style 2013 . . . Paddy Aiken Estelle Fu Holland America On-Board Luncheon 2013 . . Sheila Foley Marlies WagnerMembership Volunteer Hours . . . . . . . . . Angelina Bao

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Ashley Plaut Violin

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Ronald Laird Cliff, C.M.

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Nezhat Khosrowshahi Gerald A.B. McGavin, C.M., O.B.C.Ronald N. Stern Arthur H. Willms

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BRAMWELL TOVEY

CURTIS STIGERS

UPCOMING CONCERTS Highlights of the next issue of allegro...

Full concert listings and tickets at

vancouversymphony.ca or call 604.876.3434

VSO POPS:CURTIS STIGERS Let's Fall in LoveFRI & SAT, MAY 16 & 17, ORPHEUM THEATREJeff Tyzik conductor Curtis Stigers vocals/saxophone

Exciting jazz vocalist and saxophone player Curtis Stigers presents a program of love songs that runs the gamut of old jazz standards from Jelly Roll Morton and Jerome Kern, to Pop favourites by John Lennon, Tom Waits, Bob Dylan and more.

MAHLER’S NINTH!SAT & SUN, MAY 24 & 26, ORPHEUM THEATREBramwell Tovey conductor

MAHLER Symphony No. 9 in D Major

The monumental Symphony No. 9 by Gustav Mahler speaks profoundly of a deep love of nature and the earth, and this landmark performance marks the crowning achievement of Bramwell Tovey’s Mahler cycle with the VSO.

THE PLANETS SAT & SUN, JUNE 7 & 8, ORPHEUM THEATREBramwell Tovey conductor Christie Reside flute* Elektra Women’s Choirº

TOVEY Three Jacobean SongsNIELSEN Flute Concerto*HOLST The Planets°

95TH ANNIVERSARY SEASON FINALE:ROMANS AND BRITONS, with James EhnesSAT & MON, JUNE 14 & 16, ORPHEUM THEATREBramwell Tovey conductor James Ehnes violin

Maestro Tovey and the VSO’s Grammy® and Juno®-winning partner, Canadian violinist James Ehnes, bring the 95th Anniversary season to a close with Elgar’s monumental Violin Concerto, and Respighi’s sensational Pines of Rome.

ELEKTRA WOMEN'S CHOIR

JAMES EHNES

13/14 vso allegro issue #4

Documents

associate principal

principal cris inguanti

principal brandon mclean

assistant principaladrian

principal andrew brown

principal nadia kyne

principal marcus goddard

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