VSO Season Finale - Vancouver Symphony Orchestra

I N T H I S I S S U E3 the orchestra5 allegro staff list7 message from the Chairmanand the President & CEO32 21st annual symphonylovers’ ball33 friends’ campaign37 patrons’ circle51 vancouver symphony foundation56 advertise in allegro59 at the concert / vso staff list60 corporate partners63 board of directors / thanks /volunteer council12 ALESSIO BAX38 byron stripling54 JAMES EHNES16 NATALIE MACMASTERWe welcome your comments on this magazine. Please forward them to: Vancouver Symphony, 601 Smithe Street,Vancouver, BC V6B 5G1 Allegro contact and advertising enquiries: vsoallegro@yahoo.com / customer service:604.876.3434 / VSO office: 604.684.9100 / website: www.vancouversymphony.ca Allegro staff: published by The VancouverSymphony Society / editor / publisher: Anna Gove / contributors: Don Anderson, Sophia Vincent / art direction, design &production: basic elements design Pass it on: It’s the right thing to do! Please feel free to bring your Allegro Magazinehome at the end of the concert. If you do not wish to keep it, please return it to an usher. Printed in Canada by WebImpressions. All rights reserved. Reproduction in whole or in part without written consent is prohibited.Contents copyrighted by the Vancouver Symphony, with the exception of material written by contributors.Allegro Magazine has been endowed by a generous gift from Adera Development Corporation.allegro 5

M E S S A G E F R O Mvso chairman and vso president & CEODear Friends,In the concluding weeks of the 2010/2011season we will be treated to many wonderfulperformances and welcome severalrenowned artists to VSO concerts performedin the Orpheum Theatre, Chan Centre for thePerforming Arts at UBC, Centennial Theatrein North Vancouver and RoundhouseCommunity Centre.This has been, and continues to be, a verysuccessful season for the Vancouver SymphonyOrchestra, thanks to the support of our loyalsubscribers, single-ticket buyers, donors,sponsors and government funders. On behalfof Maestro Tovey, the musicians, Board ofDirectors, volunteers and administrativestaff, we express our sincere appreciationto you.We also thank those who have made acommitment to the VSO this year by organizing,donating to or attending the 21st annualSymphony Lovers’ Ball. The Ball took place onFebruary 3rd and was a triumph, raising over$690,000 in support of the orchestra’s activities.We invite you to read page 32 of this issueof Allegro and to join us in thanking ourextraordinary Lovers’ Ball Committee, donorsand sponsors.The Vancouver Symphony Orchestra is a culturalinstitution of which we can all be proud. For overninety years it has been the cornerstone of theperforming arts scene in our city and region.We are pleased to be a part of the very richcultural fabric that makes up our community,and to annually offer over one hundred andforty exciting concerts to a wide and diverseaudience. We are also very proud of ourextensive educational programs that touch thelives of over 50,000 children each year.If you have not yet subscribed to the2011/2012 season we invite you to do so.Subscribers receive significant discounts andnumerous other benefits throughout the year.And you do not have to worry about missinga note, because your subscription tickets areeasily exchanged if you have a schedule conflict.Copies of the new season brochure areavailable in the lobby. Once you have selectedyour concerts, or if you have any questions,feel free to call our customer servicerepresentatives at 604.876.3434 to selectyour seats, or order your subscription onlineat www.vancouversymphony.ca.Thank you once again for your support, andplease enjoy today’s concert!Arthur H. WillmsChair, Board of DirectorsJeff AlexanderPresident & Chief Executive OfficerARTHUR WILLMSJEFF ALEXANDERallegro 7

KAZUYOSHIAKIYAMAAUGUSTIN HADELICHCONCERT PROGRAMMASTERWOR KS DIAMON D / OR PH EUM TH EATR E, 8PMsaturday & monday, april 30, may 2SYMPHONYS SU N DAYS / OR PH EUM TH EATR E, 2PMsunday, may 1Kazuyoshi Akiyama conductor◆ Augustin Hadelich violinLouie The Eternal EarthI. Summoning the Earth SpiritII. To The Ends Of The EarthIII. The Radiant Universe◆ Sibelius Violin Concerto in D minor, Op. 47I. Allegro moderatoII. Adagio di moltoIII. Allegro ma non tantoIntermissionBrahms Symphony No.1 in C minor, Op. 68I. Un poco sostenuto – AllegroII. Andante sostenutoIII. Un poco Allegretto e graziosoIV. Adagio – Piu andante – Allegro non troppo, ma con brioPRE-CONCERT TALKS free to ticketholders at 7:05pm.8 allegroVisit the Symphony Gift Shop for CD selections

Jean Sibeliusb. Hämeenlinna, Finland / December 8, 1865d. Järvenpää, Finland / September 20, 1957Violin Concerto in D minor, Op. 47A strongly nationalistic composer, Sibelius’sfierce pride for his homeland’s cultureand history led him to write extraordinarysymphonies and tone poems that, more sothan any other composer’s works, vividlyportrayed uniquely Finnish landscapes,themes and stories.His Violin Concerto in D minor is certainlyno exception to this style of composition,though perhaps not the most overt example.Sibelius’s only large-scale work for violin andorchestra, the Violin Concerto was originallywritten for the violinist Willy Burmesterin 1903, after repeated requests. To theviolinist’s chagrin, the premiere was madeby another violinist after circumstancesdemanded a hasty arrangement of thepremiere. Maybe it was karma, but theconcerto was a near total failure at the time.After many revisions, mostly to the solo parts,Sibelius debuted the new and improvedconcerto to great success in Berlin in 1905,with Richard Strauss conducting.This concerto simply feels Scandinavian.Brooding melodies interrupted by flashes ofbrightness; feelings of yearning and longing,entwined with deeply felt Romantic moments;and a stark though complex and beautifulorchestral landscape. Overall, the concertocarries a startling depth of emotionality,and it all begins with the soloist enteringalmost immediately, seemingly rising from afog-shrouded, half-glimpsed mythical world.The central section of the first movement is,uniquely, an intense, extended cadenza-likepassage for the violin. This gives way to asevere coda, leading into the romantic heartof the concerto in the second movementAdagio. The Adagio begins rather quietly,its emotion kept in check, until a waveof sound from the orchestra introduces adeeply emotional melody while the soloistsoars above. The finale is a characteristicallyintense end to the work, Sibelius rarelywriting joyfully in his finales, but ratherpurposefully and with drama and excitement.The final movement frees the violin from itsconstant dialogue with the orchestra, givingthe soloist plenty of virtuoso fireworks to playwith. The conclusion is strident, dynamic,and immensely satisfying – the logical andthrilling conclusion of a breathtaking journeythrough the culture and traditions of Finland.Johannes Brahmsb. Hamburg, Germany / May 7, 1833d. Vienna, Austria / April 3, 1897Symphony No.1 in C minor, Op. 68Johannes Brahms was of course one ofhistory’s greatest composers; firmly cast inthe Romantic era, but gracefully writing in theMUSIC LESSONS FROMMEMBERS OF THE VSOMusicians of the Vancouver Symphony Orchestramake up the core faculties of music in many ofthe region’s universities, colleges, academiesand studios.If you are interested in arranging lessonsfor yourself, a child, friend or family member,and would like a referral, please contactLarry Blackman at 604.684.9100 ext. 231or larry@vancouversymphony.ca10 allegro

Kazuyoshi Akiyama conductorFor a biography of Kazuyoshi Akiyama pleaserefer to page 9.Alessio Bax pianoPianist Alessio Bax, first prize winner at theLeeds and Hamamatsu competitions, is a2009 Avery Fisher Career Grant recipient.He has appeared as soloist with over 80orchestras worldwide, including the Londonand Royal Philharmonic Orchestras, Dallasand Houston Symphonies, and the NHKSymphony in Japan. Mr. Bax’s 2004 recordingfor Warner Classics, Baroque Reflections,was selected as “Editor’s Choice” byGramophone magazine. His new CD, BachTranscribed, received rave reviews fromGramophone and Fanfare. This past summerBax recorded a Rachmaninoff CD, touredin Japan, Spain and South Korea, andplayed chamber music at four U.S. festivals,including a Carte Blanche recital at Music@Menlo. At age fourteen, he graduated withtop honors from the conservatory of hishometown, Bari, Italy, studied in Franceand Siena, and moved to Dallas in 1994 tocontinue his studies with Joaquín Achúcarroat Southern Methodist University, where he isnow on the teaching faculty. He and his wife,pianist Lucille Chung, reside in New York City.Mr. Bax is a member of the Chamber MusicSociety of Lincoln Center’s CMS Two.Toru Takemitsub. Tokyo, Japan / October 8, 1930d. Tokyo / February 20, 1996Rain ComingThe dramatic expressionist influence ofSchoenberg and Berg can be heard inTakemitsu’s early works. It was replaced bythe delicate impressionist tints of Debussy,which remained with him for the rest ofhis career. Over time, traditional Japanesemusic and the contemplation of nature alsoimpacted his approach.He composed in most major genres:orchestral works, ballets, incidental musicfor theatre, films and television, concertante,chamber, solo and vocal works. He had amarvelous flair for striking and evocativetitles: A Flock Descends into the PentagonalGarden; I Hear the Water Dreaming; SpiritGarden; November Steps; How Slow the Wind,and many more.His mature creations number among the mostbeautiful compositions of recent decades.They earned him numerous internationalcommissions, awards and honorary degrees,plus frequent invitations to participate inmajor music festivals. Those who knew himpraised his warm, generous spirit and keenintelligence.He composed Rain Coming in 1982, oncommission from the London Sinfonietta. Itis part of a collection of pieces, bearing theoverall title Waterscape, which are linked bythe common theme of rain. This is gentle,ethereal music, evocative of colourful, dreamlikelandscapes. The deep, breathy soundof the alto flute gives it a particularly exoticflavour.Wolfgang AmadeusMozartb. Salzburg, Austria / January 27, 1756d. Vienna, Austria / December 5, 1791Piano Concerto No. 27in B-flat Major, K. 595Mozart completed this piece, his final pianoconcerto, on January 5, 1791, eleven monthsbefore his death. Since no record hassurvived of its being written on commission,he may have created it solely for his ownsatisfaction. That circumstance would havegiven him a better chance than had theprevious concerto, the brilliant yet somewhatsuperficial “Coronation” concerto, to reflectthe true state of his emotions.By then, his popularity with the fickleViennese public had largely evaporated. Asa result, the premiere of his newest pianoconcerto didn’t take place at one of his ownsubscription concerts, as many of the earlierpieces had, but at an event whose featuredperformer was clarinettist Joseph Bahr.Mozart’s health was failing badly, too. Theseunhappy developments show themselves,to varying degrees, in much of the music14 allegro

he composed during that last year of hislife. In some pieces, such as the ClarinetConcerto and the unfinished Requiem, asense of resignation and nostalgia is clearlydetectable. In others, this concerto included,the poignancy is subtler, but no less profound.Its restraint is evident from the very openingmeasures. The first movement goes onto balance brilliance and humour withmellowness. Throughout, Mozart allows usglimpses of the heartbreak lurking behind themusic’s veneer of gracefulness. A gentle slowmovement follows, angelic in its tendernessand artless simplicity. The solo piano launchesthe finale, a rondo. In keeping with theconcerto’s overall conception, its merriness iselevated rather than rustic.Carl Nielsenb. Sortelung, Denmark / June 9, 1865d. Copenhagen, Denmark / October 3, 1931Symphony No. 4, Op. 29(The Inextinguishable)Nielsen began his Fourth Symphony in 1914and completed it two years later. AlthoughDenmark wasn’t directly involved in theFirst World War, its citizens – and artistseverywhere – naturally felt the impact ofits horrific events. Nielsen was by nature aconfirmed optimist. In the face of the dreadfulsituation engulfing Europe, he decided tocompose a symphony which would celebratethe positive aspects of life, including what hebelieved would be their inevitable victory overthe powers of darkness and despair. He setdown his intentions in a note he attached tothe score: “The composer has tried to indicatewith a single word that which only the musicitself has the power to express fully: theelementary will to live. Music is life, and likelife, inextinguishable.”The Inextinguishable Symphony is a closelyorganized piece. Its themes spring from oneanother, and certain ones also reappear atstrategic moments. For further continuity, thefour sections are played without any pausesbetween them. Nielsen immediately sets aturbulent, angry mode – music representingthe dark and negative side of life. Yet almostfrom the start, he laces it with expressions ofmore positive forces bubbling side-by-side.As the movement unfolds, these opposingthemes engage in ever-more-forceful conflict.At a point where it seems that good mightprevail, Nielsen instead segues quietlyinto the second movement. It is more of arelaxed, rustic intermezzo than a rough-hewnBeethoven-style joke. He treats the folksy,almost naïve material in sophisticated ways.Spotlighting the woodwinds magnifies thebucolic atmosphere.The next section, the slow movement, is filledwith equal measures plaintive yearning andpowerful dramatic expression. It rises withmassive inevitability to a stirring climax. Thefinale emerges out of its desolate aftermath,the strings surging forward with a mightyand uplifting sense of exultancy. Nielsenhere indulges himself in terms of sonorityby adding a second set of timpani, placedantiphonally from the other. They engage inan electrifying competitive duel as the musicmoves proudly forward to a celebratoryconclusion. ■Programme Notes © 2011 Don Andersonallegro 15

NATALIE MACMASTERPIERRE SIMARDCONCERT PROGRAMSPEC IALS / OR PH EUM TH EATR E, 8PMwednesday, may 11Pierre Simard conductorNatalie MacMaster fiddleCOPLAND Rodeo: HoedownTRAD. ARR. MACMILLANTunes a PlentyIf Ever You Were MineO’ Carolan’s ConcertoStrathspey & ReelsBACH Devil’s DreamTRAD. ARR. MACMILLAN Stars On The Hill MedleyINTERMISSIONDUNN Les VoyageursTRAD. ARR. MACMILLANJesse’s PolkaThree JigsAnniversary WaltzCarnival Medley16 allegroVisit the Symphony Gift Shop for CD selections

Pierre Simard conductorThe 2010/11 season marks Pierre Simard’sfirst year as Assistant Conductor of theVancouver Symphony Orchestra. He is alsoArtistic Director with both the VancouverIsland Symphony (BC) and the OrchestreSymphonique de Drummondville (QC).Having served as Associate Conductor withthe Calgary Philharmonic Orchestra, he alsoperforms as guest conductor with majororchestras in Milwaukee, Toronto, Ottawa(National Arts Centre), Victoria, Hamilton,Okanagan, Hot Springs (AR), Trois-Rivières,and with Quebec’s Les Violons du Roy andMontreal’s Orchestre Métropolitain.A passionate supporter of orchestralrepertoire, Pierre devotes himself toreinventing the concert form, combining hisfresh ideas, fantasy and humour with music.His outstanding creativity and engagementwith youth audiences inspire him to write andperform original symphonic shows, featuredall across Canada. Holder of a Master’sDegree in Conducting from the PeabodyInstitute and five Conservatory Prizes fromthe Conservatoire de musique de Montréal,Pierre studied with Raffi Armenian, FrederikPrausnitz, JoAnn Falletta and Marin Alsop.The VSO’s Assistant Conductor positionis made possible with the support of theCanada Council for the Arts.of Canada’s most captivating performers.Natalie MacMaster is one of the distinguishedguest artists who share the 2010 BestClassical Crossover Album Grammy Award forcollaborating on Yo-Yo Ma & Friends: Songs OfJoy And Peace [Sony Classical].Born June 13, 1972 to her parents Alex andMinnie MacMaster in Troy, Inverness County,Nova Scotia, Natalie MacMaster’s impressivemusical lineage includes a cadre of amazingfiddlers, including her uncle, fiddle prodigyBuddy MacMaster (with whom Natalierecorded the 2005 gem “Natalie & BuddyMacMaster”, Traditional Music From CapeBreton Island); her cousin Andrea Beaton andthe late, great Canadian folk icon John AllanCameron.Her strength and confidence in performingthe fiddle continues to drive her passion andhunger to explore her love of music evenfurther – and satisfy her audiences, andherself, in the process. ■Natalie MacMaster fiddleMeet Natalie MacMaster: wife, mother andvirtuoso Cape Breton fiddler.You know her more as the latter than theformer; an electrifying performer whosepassionate proficiency on the beloved fourstringamplifies the traditional East Coastsound for contemporary times.It’s a signature sound that has resonated withworld audiences through 10 albums, multiplegold albums and 27 years; numerous Junoand East Coast Music Awards; two honorarydegrees and an honorary doctorate; theOrder Of Canada – and a reputation as oneallegro 17

BRAMWELL TOVEYALEXANDER GAVRYLYUKCONCERT PROGRAMMUSICALLY SPEAKI NG / OR PH EUM TH EATR E, 8PMsaturday, may 14NORTH SHOR E C LASSICS / C ENTEN N IAL TH EATR E, 8PMmonday, may 16Bramwell Tovey conductor◆ Alexander Gavrylyuk pianoGliere The Red Poppy, Op. 70: Russian Sailors’ DanceProkofiev Romeo and Juliet, Op. 64: Act III: Final Scene◆ Rachmaninoff Piano Concerto No. 1 in F-sharp minor, Op. 1I. VivaceII. AndanteIII. Allegro vivaceIntermissionTchaikovsky Francesca da Rimini, Op. 32Glazunov Raymonda, Op. 57: Act III: DancesVisit the Symphony Gift Shop for CD selectionsMay 14CONCERT SPONSORVIDEO SCREEN SPONSORVIDEO PRESENTATION SPONSOR18 allegro

Bramwell Tovey conductorA musician of striking versatility, BramwellTovey is acknowledged around the worldfor his artistic depth and warm, charismaticpersonality on the podium. Tovey’s career asa conductor is uniquely enhanced by his workas a composer and pianist, lending him aremarkable musical perspective. He has beenMusic Director of the Vancouver SymphonyOrchestra since September 2000.Tovey garnered a 2008 Grammy ® Award anda 2008 Juno ® Award for his recording withviolinist James Ehnes and the VancouverSymphony. Recently named Principal GuestConductor for the Los Angeles Philharmonic atthe Hollywood Bowl, he works frequently withthe Toronto Symphony, Montreal Symphony,Royal Philharmonic and the BournemouthSymphony Orchestras, among many others.He has presided as host and conductor ofthe New York Philharmonic’s SummertimeClassics series at Avery Fisher Hall sinceits founding in 2004.As a composer, he was honoured withthe Best Canadian Classical CompositionJuno ® Award in 2003 for his Requiem for aCharred Skull. New works include a cocommissionfor the New York and Los AngelesPhilharmonics’ 2008 summer seasons as wellas a full-length opera for the Calgary Opera,The Inventor, which premiered in Januaryof 2011.Tovey has been awarded honorary degrees,including a Fellowship from the RoyalAcademy of Music in London, honoraryDoctorates of Law from the universitiesof Winnipeg and Manitoba, and KwantlenUniversity College, as well as a RoyalConservatory of Music Fellowship in Toronto.In 1999, he received the M. Joan ChalmersNational Award for Artistic Direction,a Canadian prize awarded to artistsfor outstanding contributions in theperforming arts.Alexander Gavrylyuk pianoAlexander Gavrylyuk began his piano studiesat the age of seven and gave his firstconcerto performance when he was nineyears old. The next big step for Alexanderwas going to compete at the Third Horowitz20 allegro

International Piano Competition and winningthe coveted First Prize and Gold Medal in1999.Alexander Gavrylyuk was proclaimed as“the best sixteen year old pianist of the latetwentieth century” by critics in Japan inNovember 2000, after winning the First Prizeof the prestigious Hamamatsu InternationalPiano Competition in Japan. He was sixteenyears old in a field of competitors ranging inage from sixteen to thirty-two.In 2003 he joined the honour roll and becamea Steinway artist. Alexander performsregularly at the Concertgebouw, the Great Hallof the Moscow Conservatory, TchaikovskyHall, Lincoln Center, Sydney Opera Houseand Suntory Hall. He has also performed asolo recital at the Kremlin. In 2009 Alexanderrecorded the complete Prokofiev Concertiwith Vladimir Ashkenazy and the SydneySymphony Orchestra.Reinhold Glièreb. Kiev, Ukraine / January 11, 1875d. Moscow, Russia / June 23, 1956The Red Poppy, Op. 70:Russian Sailors’ DanceGlière carried forward the appealing folkbasedstyle of Russian nationalists such asTchaikovsky and Rimsky-Korsakov into thetwentieth century. His ballet The Red Poppypremiered at Moscow’s Bolshoi Theatre in1927. The required pro-communist plot seesthe Chinese lover of a young Russian sailormeet her death at the hands of her capitalistrival. The ballet’s best-known number, theRussian Sailors’ Dance, is an increasinglyexciting set of variations on a Russian folksong called Little Apple.Sergey Prokofievb. Sontsovka, Ukraine / April 27, 1891d. Moscow, Russia / March 5, 1953Romeo and Juliet,Op. 64: Act III: Finale SceneIn spite of the fact that Prokofiev’s balletbased on Shakespeare’s tragic romance isclearly his masterpiece, it took several yearsto reach the stage. Originally undertaken bythe Kirov Ballet of St. Petersburg in 1934, itpassed on to the Bolshoi Theatre in Moscow,and finally to the ballet company in Brno,Czechoslovakia, which gave the belatedpremiere in January 1940. The final scenetakes place in the vault where the membersof Juliet Capulet’s family are buried. Romeo,not knowing that she has taken a potionwhich gives her the appearance of death, killshimself from grief. She awakens, finds himdead, then kills herself, too. Prokofiev’s musicmatches every emotion of this poignantscene.Sergei Rachmaninoffb. Oneg, Russia / March 20, 1873d. Beverly Hills, California, USA / March 28, 1943Piano Concerto No. 1in F-sharp minor, Op. 1Rachmaninoff completed this concertoin 1891. It was the eighteen-year-oldcomposer’s longest and most ambitious pieceto date, and the first he deemed worthy ofbearing an opus number. The premiere tookplace at a student concert the followingMarch, with the composer as soloist, but itmade little impression. As his fame grew, sodid curiosity over his first concerto, especiallyafter Concerto No. 2 proved enormouslyallegro 21

popular. He revised it in 1917, during theBolshevik Revolution and shortly before whatproved to be his reluctant but permanentdeparture from his homeland. It is this revisedversion, premiered in New York in 1919,which has been performed ever since. In itmay be heard, if not in fully polished states,many of the characteristics familiar from hismature compositions: the passion, the soaringromantic themes, the lush orchestration, thebrilliance and power of the solo part, whichreflect his own abilities.Pyotr Il’yich Tchaikovskyb. Kamsko-Votkinsk, Russia / May 7, 1840d. St. Petersburg, Russia / November 6, 1893Francesca da Rimini, Op. 32In 1876, Tchaikovsky read Dante Alighieri’sthirteenth-century poem, The Divine Comedy.An episode from the Inferno section fired hisimagination: the pathetic tale of Francesca,a young woman from the Italian town ofRimini who has been condemned to eternaldamnation because of an illicit love affair. Hefirst thought of using the story as the basisfor an opera, only to settle on an orchestralsetting instead.The poet’s spirit is guided towards the secondcircle of hell. After a sombre, unsettlingintroduction, Tchaikovsky vividly depicts theharsh winds that howl relentlessly throughthis region. Once the second circle has beenreached, the music dies away to a whisper.A pathetic theme on solo clarinet launchesFrancesca’s tale. In love with the handsomePaolo, she was given in marriage to hishateful, hunchbacked brother Gianciottoinstead. Francesca and Paolo continued theiraffair for years unbeknownst to Gianciotto,until one day he came upon them togetherand killed them. A violent episode depictsthe lovers’ deaths. The driving winds of hellreturn, eventually bringing the piece to a starkconclusion.Aleksandr Glazunovb. St. Petersburg, Russia / August 10, 1865d. Paris, France / March 21, 1936Raymonda, Op. 57: Act III: DancesGlazunov is an important transitional figurein Russian music, linking the folk-based styleof the late nineteenth century with the morecosmopolitan schools of the twentieth.In his ballet music, he followed in themelodious, lavishly-scored tradition ofTchaikovsky, rather than striking out innew, less Romantic directions as did hisfellow pupil of Rimsky-Korsakov, IgorStravinsky. The three-act ballet Raymondawas commissioned by the Imperial Theatreof St. Petersburg, who sought to maintainthe company’s high standard of productionfollowing the death of Tchaikovsky in 1893.With choreography by the revered MariusPetipa, it premiered in January 1898. Itremains in the repertoire of major Russiancompanies, but is produced abroad, in full,only occasionally.The scenario takes place in Hungary at thetime of the Crusades. The virtuous Raymondais saved from abduction by a Saracenchieftain through the return of her crusadingfiancé. With the storyline fully played out bythe end of Act Two, the final act is devotedto the happy couple’s Hungarian-flavouredwedding celebration. ■Programme Notes © 2010 Don Andersonallegro 23

KENNETH SLOWIK JOAN BLACKMAN CHRISTIE RESIDECONCERT PROGRAMBAC H & BEYON D / C HAN C ENTR E, 8PMfriday & saturday, may 20, 21◆ Kenneth Slowik conductor/ harpsichord◆ Joan Blackman violin◆ Christie Reside flute◆ JS Bach Brandenburg Concerto No. 5 in D Major, BWV 1050I. AllegroII. AffettuosoIII. AllegroHaydn Symphony No. 94 in G Major (Surprise)I. Adagio – Vivace assaiII. AndanteIII. Menuetto e Trio: Allegro moltoIV. Finale: Allegro di moltoIntermissionSchumann Symphony No. 1 in B-flat Major, Op. 38 (Spring)I. Andante un poco maestoso – Allegro molto vivaceII. LarghettoIII. Scherzo: Molto vivaceIV. Allegro animato e graziosoVisit the Symphony Gift Shop for CD selections24 allegroRADIO SPONSORThe presentation of the Bach & BeyondSeries is made possible, in part, throughthe generous assistance of the Chan Centrefor the Performing Arts of the University ofBritish Columbia.

Kenneth Slowikconductor/ harpsichordConductor Kenneth Slowik, Artistic Directorof the Smithsonian Chamber Music Society,appears frequently with prominent orchestrasthroughout North America and across Europe.Many orchestral engagements feature him inthe dual role of conductor/soloist. Slowik alsoworks regularly with leading chamber groupsas a featured guest artist and has performedwith most of the top early music ensembles inthe United States. He often provides the organor harpsichord continuo for performances oflarge-scale baroque works at various festivalshere and abroad. He appears in recital bothas a harpsichordist and as a fortepianocollaborator for duo sonatas and Lieder.His impressive discography comprises overseventy recordings; many of these havewon prestigious international awards suchas France’s ‘Diapason d’Or,’ Italy’s “PremioInternazionale del Disco Antonio Vivaldi’and two GRAMMY © nominations as well asnumerous ‘Record of the Month’ and ‘Recordof the Year’ prizes.Slowik received his training in his nativeChicago, in Salzburg, and – as a FulbrightScholar – in Vienna, studying with a numberof prominent cellists, conductors, andmusicologists. In 1993 Slowik was namedArtistic Director of the Baroque PerformanceInstitute at the Oberlin College Conservatory.Joan Blackman violinJoan Blackman, Associate Concertmaster ofthe Vancouver Symphony, enjoys a vibrantmusical life in our community. Besides playingin the orchestra, she is sought after as a firstclass chamber musician in North America.She is also an active teacher, giving masterclasses throughout B.C. Joan has performedand recorded as soloist with VancouverSymphony, Victoria Symphony, CBC RadioOrchestra, and the Banff Festival Orchestra.“Shapelier phrases and sweeter tone wouldbe hard to imagine,” “a ravishing tone,” “firstrate soloist,” “exchanged lines meltingly in aflawless performance,” “playing with lyricism,precision, and evident joy;” are accolades thathave graced Joan’s reviews. Zach Carstensenof Seattle’s Gathering Note writes” Your heartwould need to be made of stone not to haveloved Joan Blackman’s splendid solo.”As Artistic Director of the Vetta ChamberMusic and Recital Society, she programs andperforms with the best of BC talent alongwith invited guests from afar. She is also amember of the acclaimed American StringProject, which brings together concertmastersand soloists throughout North America. Joanhas performed at several summer festivalsincluding the Hornby Island and PenderHarbour Chamber Music festival.Christie Reside fluteChristie Reside began studying flute with bothof her parents at the age of six. She continuedher studies at McGill University with TimothyHutchins, and at the Banff Centre for theArts. She has been invited to participatein numerous festivals around the world,including the Spoleto Music Festival in Italy,and the Mountain View International Festivalof Song and Chamber Music.An enthusiastic chamber musician,Ms. Reside has collaborated with artistssuch as Rudolf Jansen, Yegor Dyachkov,and Lise Daoust. She performs frequentlyaround the Lower Mainland with the Reside/Dawson duo and with the dynamic newmusic group Standing Wave. She hasalso appeared as a soloist with numerousorchestras across Canada, including theMontreal Symphony Orchestra, l’OrchestreSymphonique de Quebec, and the CalgaryPhilharmonic Orchestra. Ms. Reside isgrateful to the Canada Council of the Artsfor its generous support of her career.www.residedawsonduo.comwww.standingwave.caallegro 25

Johann Sebastian Bachb. Eisenach, Germany / March 21, 1685d. Leipzig, Germany / July 28, 1750Brandenburg Concerto No. 5in D Major, BWV 1050In 1719, Bach’s employer sent him toBerlin, to bring back a harpsichord hehad purchased there. Bach made theacquaintance of Christian Ludwig, Margrave(or ruler) of Brandenburg, a town in Prussia.After revising and polishing six concertos,Bach sent them off to Brandenburg, a lavishdedication attached. That inscription – whichdemonstrates that lengthy, flowery thankyousto wealthy patrons are nothing new– earned them the nickname BrandenburgConcertos. The Margrave showed littleinterest in them. They passed, probablyunplayed, into a library in Berlin following hisdeath. They were published for the first timein 1850, in an edition marking the centenaryof Bach’s birth.Each concerto has a different set of featuredinstruments. No. 5 has three soloists: flute,violin and harpsichord. The graciouslyanimated opening movement is the mostextended (lasting as long as the other twocombined) section in the entire set. The slowmovement offers the featured instrumentsmany splendid opportunities for quiet,expressive playing, the flute in particular. Thesuperb entertainment provided by the finalediverts attention from the impressive intricacyof its structure.Joseph Haydnb. Rohrau, Lower Austria / March 31, 1732d. Vienna, Austria / May 31, 1809Symphony No. 94 in G Major (Surprise)Haydn made two trips to England, in 1791-92and 1794-95. For them, he composed 12new symphonies (Nos. 93 through 104), sixfor each season. They have become knownas his “London” Symphonies. During andimmediately after his lifetime, two of themwon unequalled popularity: the Surprise(94) and Military (100) Symphonies. Neithernickname originated with him. In the case ofthe Surprise, the story goes (whether it’s truescarcely matters) that he designed the loud,unanticipated chord in the sixteenth bar of thesecond movement to startle into wakefulnessany audience members who might be dozing.It gets the job done, in the genteel manner ofthe day, and never fails to raise a smile eventoday. The symphony was heard for the firsttime at the Hanover Square concert room inLondon on March 23, 1792.In the opening movement, a restfulintroduction precedes a main Allegro whosebasic good cheer survives an almost stormydevelopment section to emerge once moreinto the sun. Haydn based the variationsthat make up the second movement onone of those artless, nursery-rhyme tunesthat seemed to come to him with no effortwhatsoever. His unending inventivenessensures that he explores every possible facetof it – from pomposity through puckishnessto pathos – with brilliant, self-effacing skill.Although the third movement is labeled a26 allegro

minuet, its hearty, clumping steps would bemuch more at home in a country tavern thana big city ballroom. A racing galop of a comicoperafinale brings the symphony home.Robert Schumannb. Zwickau, Germany / June 8, 1810d. Endenich, Germany / July 29, 1856Symphony No. 1 in B-flat Major,Op. 38 (Spring)In 1840, Schumann declared himself“tingling to be at work on a symphony, andI believe something will come of it once Iam happily married to Clara.” His beloved’sfather opposed the marriage, however, andit was only in the autumn that Schumannand Clara Wieck were able to be joined inmatrimony. He began the symphony threemonths later. Clara recorded in her diary thathe had worked on it mostly at night, gettinglittle sleep, and that he had sketched it infull in just four days. The orchestration wascompleted by mid-February.In a letter to fellow composer Louis Spohr,Schumann made clear his intentions in thesymphony: “I did not wish to describe orpaint, but I firmly believe that the time whenit came into being influenced its characterand form, and made it what it is.” To furtherdeemphasize any programmatic content,Schumann deleted the subtitles he hadoriginally assigned to the symphony’s fourmovements: Spring’s Awakening; Evening;Merry Playmates; and Spring’s Farewell.He did allow the overall nickname to stand,however.The Schumanns’ friend Felix Mendelssohnagreed to premiere it in Leipzig, where hewas in charge of the Gewandhaus Orchestraconcerts. On March 31, 1841, the firstperformance won a huge success, launchingSchumann’s career as a symphonistunder the most auspicious circumstancesimaginable.The symphony opens with a commandingbrass fanfare, which Schumann wanted tosound “as if coming from on high, like a callto awaken.” This slow introduction continues,building anticipation, until the arrival of abold theme sets the vigorous first movementproper under way. The warm-hearted, deeplyexpressive slow movement displays thesymphonic side of Schumann the great, lyricalsong writer. The scherzo follows on without abreak. The appearances of its rather darkhuedprincipal section are interspersed with notone, but two separate trios. Schumann wasthe first composer to use this pattern. Each ofthem offers jolly, almost rustic contrast. Thefinale displays virtually unclouded joy, witha final burst of energy to wrap up. ■Programme Notes © 2010 Don Andersonallegro 27

CONCERT PROGRAMVANCOUVER SYMPHONY AT TH E ROU N DHOUSE /ROU N DHOUSE COMMU N ITY C ENTR E, YALETOWN, 8PM◆sunday, may 22Bramwell Tovey conductorJanice Jackson sopranoSweet!Scott Good Etudes for Chamber Ensemble1. Introduction2. Song3. RondoEmily Doolittle four pieces about water1. running water2. salt water3. frozen water4. rain waterDorothy Chang Chamber Variations1. Stone and Granite2. Spin Machine3. In StillnessIntermission◆ Tim Brady Hardcore (World Premiere)Lyrics by Gordon Downie (of the Tragically Hip)Taken from his 2001 book of poems entitled Coke Machine GlowUsed with permission of the author1. We’re Hardcore2. Gift Advice3. W’s Mind4. Nothing but Heartache in Your Social Life5. The Never-Ending Present6. Elaborate7. I Stand Before the Songwriter’s CabalCommissioned by the Vancouver Symphony Orchestra with funds fromthe Conseil des arts et des lettres du Québec.Visit the Symphony Gift Shop for CD selectionsSYMPHONY AT THE ROUNDHOUSESERIES SPONSORFINANCIAL SUPPORTFOR THIS SERIES PROVIDED BY28 allegro

BRAMWELL TOVEYjanicejacksonBramwell Tovey conductorFor a biography of Maestro Tovey pleaserefer to page 20.Janice Jackson sopranoJanice Jackson is one of Canada’s foremostinterpreters of contemporary vocal repertoire.She has sung over 170 world premieres ofnew works, many written specifically for her,and performed in modern music festivalsand concert halls around the world – Beijing,Paris, Vienna, Amsterdam, Hamburg, Torino,Toronto, Montreal, and more. Jackson hasbeen a frequent guest artist with modernmusic ensembles in Canada, Europe, andChina, and she has made numerous radiorecordings with Dutch radio and the CanadianBroadcasting Corporation.Ms. Jackson has produced and starred in foursold out solo shows combining contemporarymusic and theatre in Halifax. Her latest onewoman show was “Vonda de Ville in TemporalFollies” composed by Lukas Pearse receivedrave reviews. She is the Artistic Director ofVocalypse Productions based in Halifax.Scott Goodb. Toronto, Ontario / April 8, 1972Etudes for Chamber EnsembleA musician is, to varying degree, a publicfigure, subject like all to public scrutiny in theform of the review. Sometimes, this publishedcritique can be less than flattering.In one particular instance, I wanted to reactdefensively, but realized an argument ofwords would be useless, and perhaps muchmore damaging. Thus, I decided to compose apiece of music in reflection of the experience,allowing the critic to be my teacher. Theseétudes are that piece. The étude nature ofthis collection is of both compositional andperformance in purpose. In particular, a studyin using minimal materials, and of differingand irregular meters and rhythms.Program Notes © 2011 Scott GoodEmily Doolittleb. Halifax, Nova Scotia / October 16, 1972four pieces about waterfour pieces about water was one of fivepieces by five young composers fromacross Canada commissioned by EnsembleContemporain de Montréal for their“Generation 2000” tour. Each composer wasasked to write a piece that reflected theregion of the country from which they came.Being from Nova Scotia, one of the CanadianMaritime provinces, I chose the idea of wateras a unifying theme. Not only does “water”relate to many of the natural features andweather systems which are so prominent inthe Maritimes – rivers, ocean, snow and rain– but it also immediately suggested manycolorful and varied musical ideas. Though thepiece is mostly fairly abstract, it occasionallyuses extended techniques such as blowingthrough the instruments without playing apitch, to evoke specific sounds from variousnatural environments.Program Notes © 2011 Emily Doolittle30 allegro

Dorothy Changb. Winfield, Illinois / November 12, 1970Chamber VariationsChamber Variations was commissioned fora performance in the Assembly Chamberof the New York State Capitol Building, witheach movement inspired by a differentaspect of this magnificent historical hall.The first movement, ‘Stone and Granite’takes it inspiration from the grandeur of theoriginal structure. Completed in 1879, thehall featured a huge Gothic-arch vaultedstone ceiling with numerous supporting ribsand four massive granite pillars. The musicmirrors the architectural structure of theroom, with pairs of instruments outliningindependent lines rising at various rates,and an overall air of stateliness. The secondmovement, ‘Spin Machine’, is characterizedby declamatory statements and surges ofmotion and intensity. The fast paced energyof this movement is meant to convey asense of ‘fast-forwarding’ through time withconstant shifts and bustling activity. The thirdmovement, ‘In Stillness’, is a reflection of theAssembly Chamber as it stands today, withits original floors covered in deep rich redcarpeting and the grand stone ceiling hiddenby wooden reinforcements. The room is moreserene than grandiose, but still striking. ‘InStillness’ depicts the beauty of the afternoonsun streaming through the chamber’sstained-glass windows, creating a warm glowthroughout the silent hall.Program Notes © 2011 Dorothy ChangTim Bradyb. Montréal, Québec / July 11, 1956HardcoreMy wife introduced me to the music of TheTragically Hip in the 1990’s. Their leadsinger, Gord Downie, also writes the lyrics,which I love. So when I discovered a bookof his poetry in a second-hand book storein Halifax, I knew I had to write this piece,inspired by the words of Gord Downie. ■Program Notes © 2011 Tim Bradyallegro 31

Thanks to our sponsors, donors, auction contributors, and attendees of the 21 st AnnualSymphony Lovers’ Ball, over $691,000 was raised in support of the Vancouver Symphony!THANK YOU! The VSO and the Symphony Lovers’ Ball Committee extend their gratitude andthanks to the following for their generosity and in-kind contributions.super sponsorsevent sponsorsPlatinum Baton Club Sponsors of the Vancouver Symphony OrchestraWe also thank Arthur H. Willms and Mary Ann Clark for their generous supportmaestro’s circleAllied Holdings GroupCIBCHatch Mott MacDonaldLMS Reinforcing Steel GroupSusan Mendelson& Jack LutskyMichael O’Brian FamilyFoundationour heartfelt thanksPwCSpectra EnergyStikeman Elliott LLPTDTELUSTerus Construction Ltd.concertmaster’s circleAnthem PropertiesGenus Capital ManagementHarris RebarKPMGMMM Group Ltd.PCL ConstructorsWestcoast Inc.The TitanStar Groupof CompaniesJames and Kathleen WintonFoundationAll VolunteersAG Photography – Portraits by Anita AlbertoMohamed Asani & Stefan CihelkaChan FoundationConsulate General of theUnited States of AmericaChristopher Gaze, Master of CeremoniesDhol Nation AcademyCount & Countess DobrzenskyEmployees of DeloitteFairmont Hotel VancouverThe Lazy GourmetMusicians of the VSOMercedes BenzNorburn Lighting & Bath CentreOpenRoad Auto GroupBarry Scott, MaynardsRod SenftSLJ ProductionsKarin Smith – Remax RealtyTala FloristThomas Haas ChocolatesUpright DecorVij’s RestaurantChampagne Reception Graphic Design Sponsors Raffle SponsorProgram Print SponsorsRhino Print SolutionsWe have done our best to include all donors and supporters— our most sincere apologies if your name was inadvertently omitted.

my first trip to the symphonyDear Vancouver Symphony Orchestra,I don’t think I could ever forget thefield trip! It was the first time I’ve beento a symphony and I loved it. My alltime favourite piece was the one byBeethoven. I also liked that you madethe performance more fun for kids.I hope I can come there again withmy family and friends.Your biggest fan,Angelap.s. it was greatThe VSO believes that musicis vital to a well-roundededucation and enriching life.Each year our numerouseducation programs reachover 50,000 children. We areproud of this accomplishmentand are honoured thatthousands of people in ourcommunity have joined usin making this possible.You too can bring the joy of symphonic music to childrenin our community. Please make a donation today.For more information about our education programs visit our website atvancouversymphony.ca. To support these programs contact Rebekah Bull,Development Officer, Individual Giving at 604.684.9100 extension 238or rebekah@vancouversymphony.ca.

PIERRE SIMARDCHRISTOPHER GAZECONCERT PROGRAMPAC I FIC AR BOU R TEA & TRUMPETS / OR PH EUM TH EATR E, 2PMthursday, may 26Pierre Simard conductorChristopher Gaze hostJeffrey Luo pianoTales from the Vienna WoodsMozart The Marriage of Figaro: OvertureStrauss Tales from the Vienna WoodsBeethoven Symphony No. 6 in F Major, Op. 68, PastoralII. Scene by the BrookVon Suppe Morning, Noon and Night in ViennaMozart Piano Concerto No. 21 in C Major, K467, Elvira MadiganII. AndanteIII. Allegro vivace assaiStrauss Blue Danube WaltzTea & Cookies Don’t miss tea and cookies served in the lobby one hourbefore each concert. Compliments of Tetley Tea and Peek Freans.Visit the Symphony Gift Shop for CD selectionsTEA & TRUMPETS SERIES SPONSOR34 allegro

theatre with students, service organizationsand businesses. This fall he played Henry inThe Fantasticks for The Playhouse.JEFFREY LUOPierre Simard conductorFor a biography of Pierre Simard pleaserefer to page 17.Jeffrey Luo pianoEleven-year-old Jeffrey Luo has won manyprizes from local festivals including First Placein the Canadian Music Competition in 2007and in 2010. HIs professional engagementsinclude playing Christmas Carols at the WestVan Public Library for the last three years, aperformance for guests of His Holiness theDalai Lama during the 2009 Peace Summit inVancouver, and his first public recital last fallin Qualicum Beach.Jeffrey started piano lessons at age five withSasha Starcevich and for the last three years,he has been studying with Ralph Markhamand Kenneth Broadway. Jeffrey is a seriouschess player, and enjoys golf and skiing. ■Christopher Gaze hostHost of our Tea & Trumpets series and theChristmas concerts, Christopher Gaze isbest known as Artistic Director of Bard onthe Beach Shakespeare Festival, whichhas just celebrated its 21st season. Born inEngland and trained at the Bristol Old VicTheatre School, Christopher has performedin England, the USA and across Canada,including Shaw Festival. He came to Canadain 1975 and moved to Vancouver in 1983. In1990 he founded Bard on the Beach, whichhe has nurtured to one of the most successfulnot-for-profit arts organizations in NorthAmerica.His honours include induction into theBC Entertainment Hall of Fame, Canada’sMeritorious Service Medal, HonoraryDoctorates from UBC and SFU, the BCCommunity Achievement Award, theChildren’s Theatre Foundation of America’sGold Medallion, and a Jessie Award for BestSupporting Actor for Equus at The Playhouse.A gifted public speaker, Christopher frequentlyshares his insights on Shakespeare and36 allegro

patrons’ circleThe Vancouver Symphony is grateful for the generosity shown by the following individuals andfoundations, whose annual investment in the VSO has helped this orchestra reach new heightsand garner national and international recognition.PLATINUM BATON$50,000 and aboveDr. Peter and Mrs. Stephanie ChungJemini FoundationMrs. Maria LoganGOLD BATON$25,000—$49,999Michael Audain, O.B.C. and Yoshiko KarasawaMary and Gordon Christopher Foundation*Heathcliff Foundation*Mr. Gerald McGavin, C.M., O.B.C.and Mrs. Sheahan McGavin*Jane McLennanMichael O’Brian Family FoundationMr. Alan and Mrs. Gwendoline PyattMr. Ronald N. and Mrs. Janet SternArthur H. Willms Family*MAESTRO’S CIRCLE$10,000—$24,999The Christopher Foundation (Education Fund)Martha Lou Henley*Werner (Vern) and Helga Höing*Lagniappe FoundationMollie Massie and Hein Poulus*Meriem FoundationMr. Brian W. and Mrs. Joan MitchellMaestro Bramwell Tovey andMrs. Lana Penner-Tovey*Gordon YoungAnonymous* (1)CONCERTMASTER’S CIRCLE$5,000—$9,999Dr. and Mrs. J. AbelJeff and Keiko Alexander*Ann Claire Angus FundThe Morris and Helen Belkin FoundationBetsy Bennett*Larry and Sherrill BergMrs. Joyce E. ClarkeMr. Ian and Mrs. Frances DowdeswellMrs. Margaret M. DuncanHillary HagganLindsay HallIn memory of John Hodge*Diane HodginsKaatza Foundation*Mr. Hassan and Mrs. Nezhat Khosrowshahi*Dr. Marla Kiess*Robert H. Lee, C.M., O.B.C. and Lily LeeThe Lutsky FamiliesKenneth W. and Ellen L. Mahon*Mrs. Irene H. McEwen*Dr. Katharine MirhadyJohn Hardie Mitchell family foundationJoan and Michael RileyMs. Nina RumenMr. Shigetoshi and Mrs. Naomi SayamaMr. Ken and Mrs. Patricia Shields*Thomas and Lorraine SkidmoreRick and Denise TurnerMr. Fred Withers & Ms. Kathy JonesBruce Munro WrightAnonymous (2)PRINCIPAL PLAYER$2,500—$4,999Mr. and Mrs. Francesco AlongiKathy and Stephen Bellringer*Marnie Carter*Joan and Darryl ChambersJanis and Bill ClarkeMr. and Mrs. G. A. CooperDave CunninghamCharles and Barbara Filewych*Drs. B. Forster and K. MaysonYuri FulmerJon and Lisa GreyellDr. Elisabeth Hall and Ms. Catherine Hall WedgeAlasdair and Alison HamiltonEdwina and Paul Heller*Heather HolmesDavid and Laura Howard*John and Daniella Icke*Olga IlichGordon and Kelly JohnsonDr. LiangProf. Kin Lo*Mr. and Mrs. Herbert Menten*Andrè and Julie MolnarHugh and Joan MorrisMrs. Dorothy NairneChantel O’Neil and Colin Erb*Mrs. Lorraine Redmond,in loving memory of Mrs. M. QuastMr. and Mrs. Maurice A. RodenBernard Rowe and Annette StarkDorothy ShieldsDr. Peter and Mrs. Sandra Stevenson-MooreRobert Sunter and Cynthia Fung-Sunter*Melvyn and June Tanemura*George and Marsha Taylor*Mr. and Mrs. David H. TrischukLeon and Joan Tuey*Beverley and Eric Watt*Anonymous* (1)Anonymous (1)PATRON$1,500—$2,499Gordon and Minke ArmstrongThe Honourable Jack Austin andMs. Natalie FreemanMr. R. Paul and Mrs. Elizabeth BeckmannRoberta Lando Beiser*Dr. and Mrs. J. Deen BrosnanMrs. May Brown, C.M., O.B.C.*Gerhard & Ariane BruendlDr. Don Cameron and Susan CameronMr. Peter Cherniavsky*Mr. Justice Edward Chiassonand Mrs. Dorothy Chiasson*Edward Colin and Alanna NadeauDoug and Anne CourtemancheLeanne Davis and Vern GriffithsErik and Debbie Dierks*Marna DisbrowCount and Countess Enrico andAline DobrzenskyDarren Downs and Jacqueline HarrisMs. Judy GarnerMrs. San GivenDr. Donald G. HedgesMs. Marian M. HingstonIn memory of Betty HowardJohn and Marietta Hurst*Michael and Estelle Jacobson*D.L. Janzen in memory of Jeannie KuyperHerbert JenkinC.V. KentJohn C. Kerr Family FoundationHank and Janice KetchamDrs. Colleen Kirkham & Stephen KurdyakSherry and Alex KlopferUri and Naomi KoletJudi and David KorbinDon and Lou LaishleyRobert M. LedinghamBill and Risa LevineGeorgina and Andrew MacDonaldBill and Ethel McIntoshM. Lois MilsomNancy MorrisonChristine NicolasBob and Paulette Reid*Dal and Muriel RichardsThe Ruth E. and Dr. William H.Y.Ross FoundationDr. Robert S. Rothwell*Mrs. Joan ScobellDavid and Cathy ScottDr. Earl & Mrs. Anne ShepherdWallace and Gloria ShoemayMrs. Mary Anne SigalL. ThomGarth and Lynette ThurberNico & Linda Verbeek*Michael R. WilliamsDr. Brian WilloughbyEric and Shirley WilsonMilton and Fei WongDr. I.D. WoodhouseDr. and Mrs. Edward YeungAnonymous (5)* Members of the Patrons’ Circlewho have made an additional gift tothe VSO’s endowment campaign,for which we are most thankful.For more information about the patrons’ circle and the exclusive benefits associatedwith this program, please contact Leanne Davis at 604.684.9100 extension 236or email leanne@vancouversymphony.caallegro 37

JEFF TYZIKBYRON STRIPLINGCARMENBRADFORDCONCERT PROGRAMLON DON DRUGS VSO POPS / OR PH EUM TH EATR E, 8PMfriday & saturday, may 27, 28Jeff Tyzik conductorByron Stripling trumpet/vocalsCarmen Bradford vocalistTed Levy tap dancer/vocalistBob Breithaupt drumsA Night at the Cotton Club, with Byron StriplingIt Don’t Mean A Thing If It Ain’t Got That SwingDinahSt. James InfirmarySymphony In RiffsStormy WeatherI Can’t Give You Anything But LoveSmile Darn YouI Got RhythmintermissionClap Hands Here Comes CharlieSt. Louis BluesCotton Club MedleyMinnie The MoocherKickin’ The Gong AroundAm I BlueBill BaileyVisit the Symphony Gift Shop for CD selectionsVSO POPS SERIES SPONSORRADIO SPONSOR38 allegro

ted levyJeff Tyzik conductorGrammy Award-winner Jeff Tyzik isrecognized as one of America’s mostinnovative pops conductors. Now in his7th season as the Vancouver Symphony’sPrincipal Pops Conductor, he also servesas Principal Pops Conductor of the OregonSymphony and the Rochester PhilharmonicOrchestra.A native of Hyde Park, New York, Tyzik beganhis life in music at age nine playing thecornet. He studied both classical and jazzthroughout high school and went on to earnboth his bachelor’s and master’s degreesfrom the Eastman School of Music, where hestudied composition/arranging with Radio CityMusic Hall’s Ray Wright and jazz studies withthe great band leader Chuck Mangione.An accomplished composer and arranger,he has written over 160 works for orchestra,some of which have been recorded by theLondon Symphony, Erich Kunzel/CincinnatiPops and Doc Severinsen/Royal Philharmonic.Tyzik has produced a Grammy Award-winningalbum, The Tonight Show Band with DocSeverinsen, Vol. 1 and released six of his ownalbums. A 2007 harmonia mundi release ofworks by Gershwin with Jon Nakamatsu andTyzik conducting the Rochester Philharmonicreached No. 3 on the Billboard classical chart.Byron Stripling trumpet/vocalsA spectacular trumpeter with a very widerange, a beautiful tone, and the ability toblend together many influences into hisown style, Byron Stripling is also the artistic40 allegroBOB BREITHAUPTdirector of the Columbus Jazz Orchestra,leader of his own quartet, and constantly indemand to play with pops orchestras aroundthe world.Byron Stripling was born in Atlanta, the sonof a classical singer. “I heard gospel musicin church early on. In our house, music wasessential to everything. My father loved jazz.My brother played clarinet and sax and Iplayed trumpet. I did a lot of singing fromthe start because, when your father is thechoir director, you have to sing whatever heneeds.”Byron is an extroverted performer who bringsthe audience into his music. The happinessthat he exudes through his trumpet, hisvocals and his words is reminiscent of LouisArmstrong yet very much his own.Carmen Bradford vocalistBorn in Austin, Texas and raised in Altadena,California, Carmen Bradford grew up withmusic in her home and heart. It was onlynatural that Carmen would follow in thefootsteps of her great family legacy being thedaughter of legendary trumpeter/composerBobby Bradford and world renowned vocalist/composer Melba Joyce. Her grandfather, jazzvocalist Melvin Moore, sang with Millander’sBig Band in the 1940’s and recorded withDizzy Gillespie, making Carmen the thirdgeneration of incredible musicians.Carmen was discovered and hired by Mr.William Count Basie and was the featuredvocalist in the legendary Count BasieOrchestra for nine years. Carmen performedon two Grammy Award winning albums withthe Count Basie Orchestra in the 1980’s andlater collaborated on a third Grammy Awardwinning album, “Big Boss Band.”At present, Carmen Bradford has returnedto her big band roots, making guestappearances with the Count Basie Orchestra.Ted Levy tap dancer/vocalistTed Levy studied extensively with Chicago’stap masters and made his Broadway debut inthe smash hit Black & Blue. He collaborated

with George C. Wolfe and Gregory Hineson the choreography of Jelly’s Last Jam,receiving numerous awards. For his televisiondebut as host of the PBS Special PreciousMemories, Ted received an Emmy. He washonoured as one of America’s premierTap Dance Artists in Ted Levy and Friends,directed by Gregory Hines, with Savion Gloverand Jimmy Slyde. Ted appeared in SpikeLee’s movie Malcolm X and in Bojangles withGregory Hines. He directed Savion Glover’sDancing Under The Stars at the New YorkShakespeare Festival and assisted in thechoreography of the Tony Award-winning hitBring In ‘Da Noise! Bring In ‘Da Funk! OneMore Rhythm is the nucleus of five showsTed Levy and Marshall Davis Jr. are currentlydeveloping, including a new musical based onthe life of the legendary Cholly Atkins.Bob Breithaupt drumsRobert Breithaupt enjoys one of America’smost diverse musical careers. He isconsidered one of the nation’s leadersin percussion education. He is Professorof Music and Department Chair of MusicBusiness & Industry Studies at CapitalUniversity. He has developed one of themost recognized undergraduate percussionprograms in the United States. He is the codirectorof the Summer Drum Set Workshops,the author of the textbook, The CompletePercussionist, the DVD entitled Snare DrumBasics, and presents and is featured in clinicsand seminars worldwide.The recipient of numerous honors andawards, he was awarded Bowling Green StateUniversity’s Outstanding Graduate Award,participated as a fellow in the JeffersonAcademy for Leadership and Governance,was a participant in the prestigious ExecutiveProgram for Nonprofit Leaders in the Arts,a joint program of National Arts Strategiesand the Stanford Graduate School ofBusiness, and currently serves as thechair of the Columbus Cultural LeadershipConsortium. ■allegro 41

MEMBERS OF THE VSOTANIA MILLERCONCERT PROGRAMSPECTRA EN CONCERT ERGY KI PROGRAMDS’ KONC ERTS / OR PH EUM TH EATR E, 2PMsunday, may 29Tania Miller conductorThe Mischievous Adventuresof the Rascally RhythmThat rascally rhythm! Find out why this musical concept is so important, withVictoria Symphony Music Director Tania Miller leading the way.VSO Instrument Fair The Kids’ Koncerts series continues with the popular VSOInstrument Fair, which allows music lovers of all ages (but especially kids!) to touchand play real orchestra instruments in the Orpheum lobby one hour before concertstart time. And don’t miss the special Composition Table, where kids can “write”their own music—and have it played by a member of the VSO! All instruments aregenerously provided by Tom Lee Music.Visit the Symphony Gift Shop for CD selectionsKIDS’ KONCERTS SERIESCo-Sponsor42 allegroMAY 29CONCERT SponsorPREMIER EDUCATION PARTNERThe VSO’s Kids’ Koncerts have been endowed by agenerous gift from the William & Irene McEwen Fund.

Tania Miller conductorThe 2010/2011 season marks Tania Miller’seighth as Music Director of the VictoriaSymphony Orchestra, an appointment thatdeemed her the first Canadian woman to beappointed to such a significant position inCanada. Her vibrancy and dynamic approachto music-making have inspired many newinnovations with the Victoria Symphony and anew era of artistic growth for the orchestra.Prior to her appointment in Victoria, Ms. Millerwas Assistant and then Associate Conductorwith the Vancouver Symphony Orchestrafor four seasons. She was the AssistantConductor of the Carmel Bach Festivalfor several years working closely with theinternationally renowned conductor BrunoWeil and many of the world’s leading Baroqueartists. She began her work in the field ofcontemporary music as Assistant Conductorof the Banff Festival of the Arts in Banff,Canada. She served as Artistic Director ofMichigan Opera Works in Ann Arbor, Michiganfor four seasons conducting many operasof the baroque and classical era and was aregular guest conductor with Opera McGill’sprestigious opera program in 2000 and 2001in Montreal, Canada.Originally from Foam Lake, Saskatchewan,Tania Miller received her Doctorate andMaster’s degrees in conducting fromthe University of Michigan in Ann Arbor,Michigan. ■

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amwell toveyCONCERT PROGRAMPwC MASTERWOR KS SI LVER / OR PH EUM TH EATR E, 8PMsaturday & monday, june 4, 6Bramwell Tovey conductorAllyson McHardy mezzo-sopranoJohn Mac Master tenorLiadov The Enchanted Lake, Op. 62Britten Peter Grimes: Four Sea Interludes, Op. 33aI. DawnII. Sunday MorningIII. MoonlightIV. StormIntermissionMahler Das Lied von der Erde (The Song of the Earth)I. Das Trinklied vom Jammer der Erde(The Drinking-Song of Earth’s Misery)II. Der Einsame im Herbst (The Lonely One in Autumn)III. Von der Jugend (Youth)IV. Von der Schönheit (Beauty)V. Der Trunkene im Frühling (The Drunkard in Spring)VI. Der Abschied (The Farewell)The Vancouver Symphony Society dedicates these concertsto the memory of Eleanor (Mrs. H. R.) Malkin, C.M., O.B.C.Visit the Symphony Gift Shop for CD selectionsMasterworks SILVER SERIES SPONSOR VIDEO SCREEN SPONSOR VIDEO PRESENTATION SPONSOR46 allegro

allyson mchardyJOHN MAC MASTERBramwell Tovey conductorFor a biography of Maestro Tovey pleaserefer to page 20.Allyson McHardy mezzo-sopranoMezzo-soprano Allyson McHardy is “a singerof enormous imagination and versatility, sanga lustrous and energetic Rosina (Il barbieredi Siviglia)” according to the San FranciscoChronicle’s Joshua Kosman.Highlights of Ms. McHardy’s 2010-2011season include a return to the Grant ParkFestival in Chicago for Mahler’s SymphonyNo. 2, the lead role in Rossini’s Cenerentolaat Glyndebourne, Annio in L’Opéra Nationalede Paris’s Clemenza Di Tito, Mahler’s Das LiedVon Der Erde with Tovey and the VancouverSymphony, Isabella in L’italiana In Algeri inLimoges and Aix en Provence, Flosshilde inDas Rheingold with Nagano and the MontrealSymphony, Mozart’s Requiem with the SeattleSymphony and Houston’s Mercury BaroqueOrchestra, La Damnation De Faust with theVancouver Bach Choir and Messiah withthe Grand Philharmonic Choir of KitchenerWaterloo, Ontario.Ms. McHardy began her 2009-2010 seasonas Suzuki in Madama Butterfly for theCanadian Opera Company and was also seenas Jo in Little Women for Calgary Opera. Asa concert artist she sang Messiahs in Madridwith Lopez-Cobos, Vancouver and with theIseler Singers of Toronto.John Mac Master TenorSince his astonishing portrayal of Canioin Pagliacci at Glimmerglass Opera, JohnMac Master has been in demand at thehighest international level for the dramatictenor repertoire. Recent performances andrecording projects include Florestan in Fideliowith Sir Colin Davis in London, Beethoven’sSymphony No. 9 with Sir Bernard Haitink(both with the London Symphony Orchestra),Calaf in Turandot for Dresden and Euryanthein Warsaw for the Beethoven Festival. HisMetropolitan Opera debut came as Canio inPagliacci including the Saturday Afternoon‘Live from the Met’ broadcast. In 2010-2011,engagements included Glagolitic Mass inAtlanta and at Carnegie Hall with RobertSpano and in Toronto with Peter Oundjian. Hestarred in Pagliacci and Cavalleria Rusticanafor the Kentucky Opera, as Herodes in Salomefor L’Opéra de Montréal and in Emperor ofAtlantis for Boston Lyric Opera. Further creditsinclude Beethoven’s Symphony No. 9 withthe Dallas Symphony, Tristan und Isolde inconcert with Daniel Harding in Europe, andMahler’s Symphony No. 8 in Vancouver withBramwell Tovey.Anatoly Liadovb. St. Petersburg, Russia / May 11, 1855d. Polinovka, Russia / August 28, 1914The Enchanted Lake, Op. 62A minor but likeable and technically giftedfigure in late-nineteenth century Russianmusic, Liadov worked under the shadow ofsuch superior and more industrious talents ashis teacher, Nikolay Rimsky-Korsakov. Despiteabundant talent, his laziness and lack ofself-esteem prevented him from realizing hisgifts to the full. Among his most successfulworks are several highly atmospheric,exquisitely scored orchestral miniaturesinspired by Russian folklore. The EnchantedLake (1910) is a glowing, quietly etherealportrait of a magic landscape, apparentlyuninhabited. Russian Romanticism here joinshands with the misty, pastel tints of FrenchImpressionism.48 allegro

Benjamin Britten (LordBritten of Aldeburgh)b. Lowestoft, England / November 22, 1913d. Aldeburgh, England / December 4, 1976Peter Grimes: Four Sea Interludes, Op. 33aWhen Britten’s opera Peter Grimes debuted in1945, it catalyzed a rebirth of interest in operain England. Grimes is a gruff fisherman whoseneighbours distrust him for his individualityand reclusiveness. He dreams of a better lifewith Ellen, the widowed schoolmistress, buta tightening web of circumstance drives himto lose his mind and commit suicide. Theorchestra plays a pivotal role in the opera,nowhere more crucially than in the interludesthat introduce and bridge the scenes. Thefirst, Dawn, shows the sea basically at peacewith itself, yet still harbouring the promiseof disturbing events to come. In SundayMorning, the mood is boisterous, withhorns boldly imitating the sound of churchbells as the sun’s rays sparkle upon therippling waves. Moonlight depicts the townand harbour lying in tranquility on a warmsummer night. Storm shows the sea reactingin brutal, graphically scored protest, afterGrimes decides to forsake it in exchange forEllen’s love.Gustav Mahlerb. Kalischt, Bohemia / July 7, 1860d. Vienna, Austria / May 18, 1911Das Lied von der ErdeMahler composed Das Lied for Erde (TheSong of the Earth) during the summers of1907 and 1908. Bruno Walter conducted thepremiere in Munich, Germany, on November20, 1911.For Mahler, 1907 proved to be a year offateful developments. First, he resigned fromhis position as Music Director of the ViennaCourt Opera. Second, Maria, the elder ofhis two daughters, died of scarlet fever anddiphtheria at the age of four-and-a-half. Third,doctors diagnosed a serious and progressiveheart condition. They advised that it wouldThe VSO Celebratesthe Life of Eleanor MalkinOn March 9, 2011, Eleanor (Mrs. H.R.) Malkin, C.M., O.B.C., the Vancouver SymphonySociety’s Honorary Life President, passed away at the age of 98.Eleanor Malkin was a devoted supporter of the Vancouver Symphony Orchestrafor over 80 years, having first volunteered in the VSO box office in 1928 at age 16.As Chair of the Symphony Womens’Committee in the late 1940s, aboard member and President of theBoard in the 1950s, and HonoraryLife President for over 40 years,Mrs. Malkin was an assiduousfundraiser and advocate for, mentorto, and member of the Symphonycommunity, significantly andcontinuously contributingto its well being. We will beforever grateful.Arthur H. Willms, Mrs. H.R. Malkin and Bramwell ToveyThe Vancouver Symphony Society is dedicating the June 4 and 6performances to Mrs. Malkin’s memory.allegro 49

not only necessitate a severe limitation ofhis typically strenuous physical activities,but would also result in a drastic shorteningof his life expectancy. The resulting life ofcompromise – the thing his lofty artisticstandards made him despise above all –added yet another layer of despair to hisagonized state of mind.By fortunate coincidence, a friend hadrecently given him The Chinese Flute, HansBethge’s German paraphrases of Chinesepoems that date back to the eighth century.In their melancholy wisdom, Mahler foundthe ideal embodiment of his emotions. Withadditions and revisions of his own, six of thembecame the text for The Song of the Earth.Prize winner from theInternational Society of Poets,Washington DC, Miriam Batts’ Aiko’s Journey parts1 and 2 are part memoir, part historical fiction. Theytell the story of a girl of mixed Korean and Japanesedecent living in Japan during the 1930s and ‘40’s.“Readers will hunger to discover what fateawaits the characters, and enjoy each step oftheir journey. An addictive page turner.“Kirkus DiscoveriesAvailable at: Trafford Publishing: www.trafford.com1-888-232-4444, Dr. Sun Yat-Sen Garden at578 Carall St., Vancouver and from author:mbatts@telus.net50 allegroNostalgia pervades the music, but rarely ina self-pitying manner. The end result is aburning, uplifting ode to life, not a morbid,tear-drenched fixation upon death. Hecontinued to express such feelings in theNinth Symphony, which he completed afterwriting this work, and in the Tenth, which layunfinished at his death.Mahler called The Song of the Earth asymphony, a designation that continueshis previous practice of expanding thedimensions and diversifying the contents ofthis musical form. Like his Third Symphony,for example, it includes voices and has sixmovements. Here he divides the sectionsevenly, in alteration, between solos for tenorand mezzo-soprano voices (he indicatedthe alternative of the mezzo songs beingperformed by a baritone, but this has beendone only rarely). The orchestration – rich andringing, or spare and delicate, as the text andmood dictate – matches word and sound withconsummate insight. The influence of time –night and day, the changing of the seasons– is regularly and strongly felt.The Drinking-Song of Earth’s Misery drawsthe listener instantly in, offering a vibranttoast to life through a balance of stirringdeclamation and nostalgia. The Lonely Onein Autumn, is quiet, chilly and mournful.Three briefer, lighter pieces follow. Youthpresents a warm, cheerful surface, reflectingpast innocence. The mature, cynical Mahlerrecognizes this as wishful thinking. Beauty,too remains frustratingly transitory, as thefollowing song indicates so wistfully. Seekingescape in drink and self-deception is thesubject of the superficially jovial fifth song,The Drunkard in Spring.The expansive final song, The Farewell, isMahler’s supreme achievement in vocalmusic. The two expansive stanzas, telling oftwo friends who meet for the last time, areseparated by a funeral march for orchestraalone. After a final, rapturous ode to the earthand to life, the music rises disembodiedabove human cares, dissolving into silence tothe other-worldly rippling of the celesta andthe mezzo’s fading, repeated, “forever…” ■Program Notes © 2011 Don Anderson

vancouver symphony foundationEnsure the VSO’s futurewith a special gift to theVancouver SymphonyFoundation, establishedto secure the long termsuccess of the VancouverSymphony Orchestra.Tax creditable gifts of cash, securities and planned giftsare all gratefully received by the Vancouver SymphonyFoundation, and your gift is enhanced by the availabilityof matching funds from the Federal Government.Please call Leanne Davis at604.684.9100 extension 236or email leanne@vancouversymphony.ca to make a gift orlearn more about the naming opportunities that are availableto honour a family member, celebrate the memory of a lovedone or simply recognize your generosity.Support the Power of Music We extend our sincere thanks to these donors, whose gifts will ensure theVancouver Symphony Orchestra remains a strong and vital force in our community long into the future:$3,000,000 or moreGovernment of Canada through theDepartment of Canadian HeritageEndowment Incentives Program$1,000,000 or moreMartha Lou HenleyProvince of BC through the BC ArtsRenaissance Fund under thestewardship of the VancouverFoundation$500,000 or moreWayne and Leslie Ann IngramThe Estate of Jim and Edith le Nobel$250,000 or moreCarter (Family) Deux Mille FoundationChan Foundation of CanadaRon and Ardelle CliffEstate of Steve FlorisWerner (Vern) and Helga HöingMr. Hassan and Mrs.Nezhat KhosrowshahiThe Tong and GeraldineLouie Family FoundationHermann and Erika StöltingArthur H. Willms Family$100,000 or moreEstate of Winslow W. BennettMary and Gordon ChristopherJaney Gudewill and Peter Cherniavskyin memory of their FatherJan Cherniavsky and GrandmotherMrs. B.T. RogersIn memory of John S. HodgeMichael and Estelle JacobsonS.K. Lee in memory ofMrs. Cheng Koon LeeKatherine Lu in memory of ProfessorsMr. and Mrs. Ngou KangWilliam and Irene McEwen FundSheahan and Gerald McGavin, C.M., O.B.C.Mrs. Yvonne R. McGraneEstate of John RandNancy and Peter Paul SaundersKen and Patricia ShieldsGeorge and Marsha TaylorWhittall Family Fund$50,000 or moreAdera Development CorporationBrazfin Investments Ltd.Mary Ann ClarkEstate of Rachel Tancred RoutEstate of Mary Flavelle StewartLeon and Joan TueyIn memory of John Wertschek,Cello Section Player$25,000 or moreJeff and Keiko AlexanderEstate of Dorothy Freda BaileyMrs. May Brown, C.M., O.B.C.Mrs. Margaret M. DuncanW. Neil Harcourt in memory ofFrank N. HarcourtDaniella and John IckeMollie Massie and Hein PoulusEstate of Margot Lynn McKenziePaul MoritzMrs. Gordon T. Southam, C.M.Maestro Bramwell Tovey andMrs. Lana Penner-ToveyAnonymous (1)$10,000 or moreMrs. Marti BarregarKathy and Stephen BellringerMrs. Geraldine BielyRobert G. Brodie and K. Suzanne BrodieDouglas and Marie-Elle CarrothersMr. Justice Edward Chiasson andMrs. Dorothy ChiassonDr. Marla KiessChantel O’Neil and Colin ErbDan and Trudy PekarskyBob and Paulette ReidEstate of Alice Ruamy RumballNancy and Robert StewartBeverley and Eric WattAnonymous (1)$5,000 or moreEstate of Clarice Marjory BankesCharles and Barbara FilewychEstate of Muriel F. GilchristEdwina and Paul HellerKaatza FoundationProf. Kin LoRex and Joanne McLennanMarion L. Pearson and James M. OrrMelvyn and June Tanemura$2,500 or moreIn memory of Lynd ForgusonJohn and Marietta HurstMr. Gerald A. NordheimerHarvey and Connie PermackRobert and Darlene SpevakowWinfred Mary (Mollie) SteeleEstate of Jan Wolf WynandAnonymous (1)Due to space limitations, donationsof $2,500 or more are listed, but everygift is sincerely appreciated andgratefully received. THANK YOU.allegro 51

VANCOUVER BACH CHOIR52 allegroCONCERT PROGRAMSPEC IALS / OR PH EUM TH EATR E, 8PMwednesday, june 8Bramwell Tovey conductorDal Richards conductor/vocalist/saxaphoneVancouver Bach ChoirDiane Lines vocalist/piano Tim Stacey bassJennifer Hayes vocalist Chris Startup & Julia Nolan alto saxDawn Chubai vocalist Bill Abbott & Saul Berson tenor saxCaroline Markos vocalist Jamie Croil trumpet & singerGary Mussatto drums Derry Byrne trumpetLast Night of the PromsCoward Noel Coward MedleyNovello I’ll Be Seeing YouElgar Pomp and Circumstance No. 1Parry/Elgar JerusalemIntermissionIn the MoodMack the KnifeFeverCheek to CheekMemories from CatsKansas CityStars of the Orpheum Stage Theme SongWhen the Saints Go Marching InJump, Jive and WailColonel BogeyARR. BT We’ll Meet AgainARR. BT White Cliffs of DoverSing Sing SingAs Time Goes ByVisit the Symphony Gift Shop for CD selections

amwell tovey WITH THE VSODAL RICHARDSBramwell Tovey conductorFor a biography of Maestro Tovey pleaserefer to page 20.Dal Richardsconductor/vocalist/saxaphoneAs he approaches his 80th year in the musicbusiness, Dal is not one to sit back and baskin the memory of magical days gone by....instead he’s looking ahead to the next gig. Infact, he is still one of the busiest musicians inVancouver. Whether it’s a quartet at a senior’scentre, a six-piece band at a wedding, a nineor eleven piece swing band for a conventionor his fourteen piece big band at the PNE,Dal’s music is always enthusiasticallyreceived.One of Dal’s most memorable honourscame in early in 2010 when, shortly aftercelebrating his 92nd birthday on January5th, Dal was chosen to represent the citizensof downtown Vancouver to carry – and runwith – the torch in the 2010 Olympic TorchRelay as it arrived in Vancouver. Dal andhis band have entertained audiences for 72consecutive years at the PNE, quite a feat.What’s next for Dal? ‘I’m still having funleading the band and entertaining BritishColumbians; and I plan to keep going as longas I can,’ Dal states.Vancouver Bach ChoirSince its inception in 1930, the VancouverBach Choir has become one of the world’smost celebrated symphonic choirs. Todate it has won top prizes in internationalcompetitions and performed with suchmusical luminaries as Bruno Walter, ZubinMehta and Sir Andrew Davis.Through its own series of concerts presentedat the Orpheum each season, the choir hasbecome known for presenting the Canadianor British Columbian premieres of manyimportant choral works such as Mahler’s8th Symphony, Berlioz’ Messe Solennelle,Andrew Lloyd Webber’s Requiem and PaulMcCartney’s Liverpool Oratorio as well as abroad spectrum of music from the symphonicchoral repertoire.In addition, the choir has made severalsuccessful films for television includingWhalesong, the Gemini Award-winningfilm of its Expo 86 concert. The choir hasalso undertaken numerous national andinternational tours and has sung from Londonto Tokyo and from Warsaw and Paris toToronto and Calgary. ■allegro 53

james EHNESbramwell toveyCONCERT PROGRAMMASTERWOR KS DIAMON D / OR PH EUM TH EATR E, 8PMsaturday & monday, june 11, 13▲Bramwell Tovey conductorJames Ehnes violinGood Resonance Unfolding: Homage Olivier Messiaen (World Premiere)▲ Tchaikovsky Violin Concerto in D Major, Op. 35I. Allegro moderatoII. Canzonetta (Andante)III. Finale (Allegro vivacissimo)IntermsissionMahler Symphony No. 1 in D Major, TitanI. Langsam, schleppendII. Kraftig bewegt, doch nicht zu schnellIII. Feierlich und gemessen, ohne zu schleppenIV. Sturmisch bewegtPRE-CONCERT TALKS free to ticketholders at 7:05pm.Visit the Symphony Gift Shop for CD selections54 allegroJUNe 11CONCERT SponsorThe Vancouver Symphony Society welcomes delegatesof the ORCHESTRAS CANADA/ORCHESTRES CANADA NationalConference to the June 13 concert. www.oc.ca

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Bramwell Tovey conductorFor a biography of Maestro Tovey pleaserefer to page 20.James Ehnes violinHailed as “the Jascha Heifetz of our day”(Globe and Mail), violinist James Ehnes iswidely considered one of the most dynamicand exciting performers in classical music.James added to his extensive discography ofover 20 recordings with the Fall 2010 releaseof a disc featuring the Mendelssohn ViolinConcerto and Octet (ONYX). His recordingshave been honoured with many internationalawards and prizes, including a Grammy © , aGramophone, and six JUNO © Awards.James’s CD featuring the violin concertosof Korngold, Walton and Barber with theVancouver Symphony Orchestra, BramwellTovey conducting (CBC) was widelyconsidered a highlight of 2006 and won the2008 Grammy © and JUNO © Awards.James Ehnes was born in Brandon, Manitoba,Canada. He began violin studies at the ageof four, at age nine he became a protégéof the noted Canadian violinist FrancisChaplin. He studied with Sally Thomas at theMeadowmount School of Music and from1993 to 1997 at The Juilliard School, winningthe Peter Mennin Prize for OutstandingAchievement and Leadership in Music uponhis graduation.James Ehnes plays the “Marsick” Stradivariusof 1715 and gratefully acknowledges itsextended loan from the Fulton Collection. Hecurrently lives in Bradenton, Florida with hiswife Kate.allegroSpeak directly to your audience:Advertise in AllegroALLEGRO DEMOGRAPHICS◆ Affluent◆ Educated◆ Home Owners◆ Culturally Diverse◆ InfluentialALLEGRO FACTS◆ 5 Issues per Season◆ Each Issue Active 2 Months◆ Read by Over 200,000 People Each Year◆ Distributed at the Orpheum, Chan Centre,and ten other venues around theLower MainlandHighly targeted and highly effective, advertising in Allegromakes sense for your business. Rates starting at only $600!Email allegro@vancouversymphony.ca for details and a rate kit.vancouversymphony.ca/allegro56 allegro

Scott Goodb. Toronto, Ontario / April 8, 1972Resonance Unfolding:Homage to Olivier MessiaenResonance Unfolding is a study in soundpresented with lyric sensitivity. In essence,the harmony is constantly shifting by movingthrough the cycle of 5ths, and the tonecolours of the orchestra are also movingconstantly to give the sense akin to a slowlyturning kaleidoscope - of continuous evolvingand movement.At times, the music is released from metricconstraint, and the players improvise withmelodic fragments in their own time, resultingin a stew of sounds in which the individualplayer is absorbed in the entirety of the fullorchestra sonority.Pyotr Il’yich Tchaikovskyb. Kamsko-Votkinsk, Russia / May 7, 1840d. St. Petersburg, Russia / November 6, 1893Violin Concerto in D Major, Op. 35Tchaikovsky was pursued by many demons.His life was prime-time material, andplayed itself out through his music. Torturedby conflicting emotions, self doubt andconfusion, Tchaikovsky was capable ofextreme highs and lows in his music – musicwhich often reflected his own personaltroubles, but also sometimes provided anescape from his personal woes.Tchaikovsky’s only Violin Concerto hastaken its place in the pantheon of the mostpopular works in the classical repertoire,though it certainly did not start out its life inthis way. Leopold Auer, the great violinist ofTchaikovsky’s time, pronounced it unplayablewhen presented to him, and the piece didnot receive its debut until December of 1881with the Vienna Philharmonic, two years afterit was written, with Adolf Brodsky manningthe fiddle. It was not well received, to say theleast. Only later did the piece receive its dueas the masterpiece that it is (Auer eventuallybacktracked from his initial petulantpronouncement, saying he misjudged thepiece and adding it to his repertoire).The genesis of the piece came afterTchaikovsky fled from a marriage that onecould only characterize as disastrous. Hespent time in Switzerland, where he wasvisited by his pupil, the violinist Yosif Kotek.They worked on many ideas together, andTchaikovsky was motivated to write a violinOrder Your VSO Tickets OnlineEasy, Secure and ConvenientonlineNew: Order online and print your ticketsfrom the comfort of your own home!With the VSO’s Select Your Own Seat online ticketing system, purchasing your tickets online hasnever been easier! To set up your online account to be able to easily log in and select yourseats, call VSO Customer Service or emailcustomerservice@vancouversymphony.caAlso, sign up for email updates on the VSO website—you will receive periodic emails withupcoming concerts, information, offers and promotions exclusive to email club members.vancouversymphony.caVSO Customer Service 604.876.3434allegro 57

concerto (initially dedicated to Kotek, later toAuer, finally to Brodsky). He wrote the piecerather quickly, and turned to his brother,Modest, and to Kotek for advice. Both lovedthe first movement, but were not so keen onthe Adagio – so Tchaikovsky discarded it (thismovement eventually became beloved as oneof the three pieces of his “Souvenir d’un lieucher”). The concerto remains one of the mosttechnically demanding works for violin to play,but is a piece that is infinitely rewarding tothe listener – as much as it is terrifying forthe soloist (and their violin!).The long first movement explores the maintheme in many guises, and contains some ofthe most exquisite and awesome passagesfor the violin ever written. The audiencecan really only listen in amazement to thesounds coming from the violin and orchestra,and as the first movement comes to anend, we realize that something epic andgroundbreaking is going on here. The secondmovement relaxes the pace significantly.Tchaikovsky explores deeper feelingsand emotions, utilizing longer, sustainedmelodies and a rich, chromatic scale in hisorchestration. The finale is a jolt and a half.Throughout the concerto, Tchaikovsky writesas imaginatively for the orchestra as he doesfor the violin, but no more so than in thefinal movement. And the demands on thesoloist continue to amaze, as the work movesrelentlessly toward a massive, triumphantconclusion.Gustav Mahlerb. Kalischt, Bohemia / July 7, 1860d. Vienna, Austria / May 18, 1911Symphony No. 1 in D Major, TitanIn his time, Gustav Mahler was much betterknown as a conductor than a composer,holding posts in various European operahouses before becoming Kapellmeister ofthe Vienna Hofoper, an extremely prestigiousposition. Throughout his conducting career,however, he continued to compose, thoughironically not in the field of opera; rather,it is his symphonic songs and symphoniesfor which Mahler is known today. The firstversion of his Symphony No. 1, Titan was58 allegrocompleted in 1888, and debuted in Budapestin 1889 – to a not too terribly friendlyreception.The work was originally intended as asymphonic poem without title that takes theearly Romantic writer Jean Paul as a literarysource. The title of “Titan” that was addedyears after the composition and after theorchestration was fleshed out and certainrevisions made, comes from the eponymousnovel by Jean Paul, in which two intellectualtitans vie with one another for their separateobjectives of intellectual freedom andpleasure.The music itself draws from Mahler’s ownSongs of a Wayfarer, composed a couple ofyears before the symphony, utilizing thesethemes in the first and second movements.The work starts off quietly, with a slowsection interrupted by a fanfare quoting fromWayfarer, which gives way to another slowsection that is just a touch more ominousand foreboding than the first one we hear.After this, a lively Scherzo appears to dispelthe hint of darkness and lead into a trio thatcloses the movement.A funeral march begins the second section,heavy with timpani. We hear in the basssection a solo that quotes the children’s songFrere Jacques (or Bruder Martin, as it wasknown in Vienna) before the next quotationfrom the Wayfarer songs provides an interludeto the finale. And what a finale. The dramaticintensity of the final section of music in thissymphony has rarely been matched (in fact,during the debut performance in Budapest,a woman jumped out of her seat in alarm asthe movement began, an incident that Mahlerfound to be quite amusing!).A powerful march gives way to a tunefuland restrained melody before the stormreappears, driving the piece to its stunningconclusion, in which, after a brief quote of theHallelujah Chorus from Handel’s Messiah, theforces of happiness win the day and over thedark storms that threatened to overwhelm themusic. Mahler’s resounding first symphonicstatement was complete. ■Program Notes © 2011 Sophia Vincent

at the concertConcert COURTESIESFor your enjoyment, and the enjoyment ofothers, please remember concert etiquette.Talking, coughing, leaning over the balconyrailings, unwrapping cellophane-wrappedcandies, and the wearing of strong perfumemay disturb the performers as well as otheraudience members.LatecomersUshers will escort latecomers into theauditorium at a suitable break in theperformance chosen by the conductor.Patrons who leave the auditorium during theperformance will not be re-admitted until asuitable break in the performance.Hearing-assist systemsHearing-impaired patrons may borrowcomplimentary Sennheiser Infrared HearingSystem headsets, available at the coat-checkin the Orpheum Theatre only, after leavinga driver’s licence or credit card.Cell phones, pagers, digital watchesPlease turn off cell phones and ensurethat digital watches do not sound duringperformances. Doctors and other professionalsexpecting calls are asked to please leavepersonal pagers, telephones and seat locationsat the coat-check.Cameras, recording equipmentCameras and audio/video recordingequipment of any kind are strictly prohibitedin all venues and must be left at the coat-checkin the main lobby. Under no circumstancesmay photographs, video recordings or audiorecordings be taken during a performance.SmokingAll venues are non-smoking.Program, Guest Artists and/orProgram Order are subject to change.vancouver symphony administration 604.684.9100Jeff Alexander, President & Chief Executive OfficerFinance & Administration:Mary-Ann Moir, Vice-President, Finance andAdministrationDebra Marcus, Director of Information Technologyand Human RelationsAnn Surachatchaikul, AccountantRay Wang, Payroll Clerk & IT AssistantMarketing, Sales & Customer Service:Alan Gove, Vice-President, Marketing and SalesShirley Bidewell, Manager of Gift Shop and VolunteersEstelle and Michael Jacobson ChairStephanie Fung, Marketing Projects ManagerAnna Gove, Editor & Publisher, Allegro MagazineKatherine Houang, Group Sales and Special Ticket ServicesKenneth Livingstone, Database ManagerCameron Rowe, Director of Audience and Ticket ServicesLaura-Anne Scherer, Marketing Assistant andAssistant to the President and CEOCustomer Service Representatives:Jason Lau, Customer Service SupervisorLindy Gray Shawn LauJason Ho Kimberly SmithThe Stage Crew of the Orpheum Theatre are members of Local118 of the International Alliance of Theatrical Stage Employees.Development:Leanne Davis, Vice-President, Chief Development OfficerRebekah Bull, Development Officer, Individual GivingAnn Byczko, Development Officer, Annual GivingSandy Ewart, Development AssistantAdelle Kim, Lottery AssistantJennifer Polci, Director, Corporate and Major GiftsWilliam Wong, Development CoordinatorArtistic Operations:Joanne Harada, Vice-President, Artistic Operationsand EducationLarry Blackman, Orchestra Personnel ManagerAaron Hawn, Digital Projects Coordinator& Library AssistantSusan Hudson, Education ManagerKen & Patricia Shields ChairDavid Humphrey, Operations ManagerKaren Jeffery, Artistic Operations Assistantand Assistant to Maestro ToveyMinella F. Lacson, LibrarianRon & Ardelle Cliff ChairPearl Schachter, Artistic Operations & Education AssistantThe Vancouver Symphony Orchestra is a proud member ofallegro 59

vancouver symphony partnersThe Vancouver Symphony gratefully acknowledges the generosity of the followingCorporations, Foundations, and Government Agencies that have made a financial contributionthrough sponsorship and/or a charitable donation for the 2010/2011 season.SERIES SPONSORSConcert and Special Event SPonsors IMPORTANT:For Usage below 1-1/2” wideKINGSWOOD CAPITAL CORPORATIONKINGSWOOD CAPITAL CORPORATIONPlatinum Baton Club Sponsors of the Vancouver Symphony Orchestra60 allegro

EDUCATIONAL PROGRAM SPONSORS AND PARTNERSPREMIER EDUCATION PARTNERJEMINIFOUNDATIONMEDIA PARTNERS$150,000+TELUSVancouver Sun$50,000+City of Burnaby Parks,Recreation and CulturalServicesGoldcorp Inc.Jemini Foundation$30,000+BMO Harris Private BankingBorden Ladner Gervais LLPHolland America Line Inc.HSBC Bank CanadaIndustrial Alliance PacificLondon DrugsPacific Arbour RetirementCommunitiesPricewaterhouseCoopers LLP$20,000+Blake, Cassels & Graydon LLPThe Chan EndowmentFund of UBCChan FoundationConcord Pacific Group Inc.Deloitte & Touche LLPErnst & Young LLPOriginORBC FoundationSpectra EnergyTD Canada TrustWesbild Holdings Ltd.YVR - Vancouver AirportAuthority$10,000+Atiga Investments Inc.BA Blacktop Ltd.Canadian Western BankCanron WesternConstructors Ltd.Corus EntertainmentCraftsman Collision Ltd.Deans Knight CapitalManagement Ltd.Keir SurgicalKingswood Capital CorporationKPMGOdlum Brown LimitedPark Royal Shopping CentrePeter Kiewit Sons Co.Playnow.comPolygon Homes Ltd.Raymond James Ltd.ScotiabankStikeman Elliott LLPTiffany & Co.Tom Lee MusicUniversity Canada WestVincor International Inc.$5,000+Allied Holdings Ltd.Anthem Properties Group Ltd.CIBCCommonwealth InsuranceCompanyGateway CasinosGenus Capital ManagementThe Globe and MailHarris RebarHatch Mott MacDonaldLazy Gourmet Inc.LMS Reinforcing Steel GroupMcCarthy Tétrault FoundationMarin Investments LimitedMichael O’BrianFamily FoundationMMM Group LimitedDr. Tom Moonen Inc.PCL Constructors Westcoast Inc.The PortablesPresiNET Systems Corp.Terus Construction Ltd.The Titanstar Groupof CompaniesThe James and Kathleen WintonFoundation$2,500+Bing Thom Architects FoundationConcord National Inc.Kraft CanadaLarkspur FoundationNorburn Lighting & Bath CentreSOCAN Foundation$1,000+ABC Recycling Ltd.Charton Hobbs Inc.Encore Software Inc.The Hamber FoundationLantic Inc.The William Tell RestaurantYamaha CanadaAnonymous (1)For more information about vso corporate partners programs please contact:Jennifer Polci at 604.684.9100 extension 239 or email jennifer@vancouversymphony.caallegro 61

vancouver symphony society board of directorsExecutive CommitteeArthur H. Willms, ChairPresident (Ret.), Westcoast EnergyAlan Pyatt, Vice ChairChairman, President and CEO (Ret.)Sandwell International Inc.Colin Erb, TreasurerPartner, Deloitte & Touche LLPDave Cunningham, SecretaryVP Government Relations, TELUSPatricia Shields, Member-at-LargeEducation ConsultantBoard MembersLarry BergPresident & CEOVancouver International Airport AuthorityJoan ChambersPartner, BlakesDr. Peter ChungExecutive Chairman, Eminata GroupCharles FilewychCo-Chief Executive OfficerCorinex Communications Corp.Michael L. FishPresident, Keir SurgicalLindsay HallExecutive Vice-President and CFOGoldcorp, Inc.Diane HodginsDirector, Century Group Lands CorporationOlga IlichPresident, Suncor Development CorporationGordon R. JohnsonPartner, Borden Ladner GervaisMichael E. Riley, CACorporate DirectorDenise TurnerExecutive Vice PresidentTitanStar Group of CompaniesMichael WebbSVP, Human ResourcesHSBC Bank CanadaFred WithersManaging Partner for Western CanadaErnst & YoungMusician RepresentativesChristie Reside, Principal FluteAaron McDonald,Principal TimpaniHonorary Life Vice-PresidentsRonald Laird Cliff, C.M.Nezhat KhosrowshahiGerald A.B. McGavin, C.M., O.B.C.Ronald N. Sternvancouver symphony foundation board of trusteesRonald Laird Cliff, C.M., ChairMarnie CarterJohn IckeJudi KorbinHein Poulus, Q.C.Robert T. StewartArthur H. WillmsTim Wymanvso school of music societyBoard of DirectorsGordon R. Johnson, ChairHein Poulus, Q.C.Gerry SayersPatricia ShieldsGeorge TaylorAdministrationJeff AlexanderPresident & CEOShaun TaylorExecutive DirectorVancouver Symphony Centre& VSO School of MusicEmily KeyBusiness ManagerLouise IronsideRegistrarvancouver symphony volunteer council 2010/2011Chair . . . . . . . . . . . . . . . Anne JanmohamedVice-Chair/Treasurer . . . Sheila FoleySecretary. . . . . . . . . . . . Nancy WuImmediate Past Chair. . . Estelle JacobsonSchedulingConcerts (Orpheum). . . . Bertha FoyleShirley BidewellGift Shop . . . . . . . . . . . . Barbara MorrisHelen DubasLotteries in Malls . . . . . . Gloria DaviesReception Shifts. . . . . . . Gloria DaviesTea & Trumpets . . . . . . . Shirley FeatherstoneSuzanne KunzliMarlene StrainSpecial EventsFashion Show Convener. . . . Nancy WuFashion Show Co-Convener . Anne JanmohamedHolland AmericaLuncheon 2011 . . . . . . . . . . Sheila FoleyEducation & CommunityMusical Encounters . . . . . . . Barbara KaiserGisele SchloeglMaria EstropeScholarship . . . . . . . . . . . . . Pat HoebigMembershipVolunteer Hours . . . . . . . . . Angelina BaoConcert Services . . . . . . . . . Bertha FoyleManager, Gift Shopand Volunteer ResourcesShirley BidewellTel 604.684.9100 ext 240shirley@vancouversymphony.caAssistantGift Shop ManagerMichelle Beldiallegro 63

VSO Season Finale - Vancouver Symphony Orchestra

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