issue three - Vancouver Symphony Orchestra

January 13 to March 11, 2013, Volume 18, Issue 3 

allegro 

Magazine of the Vancouver Symphony 

Members of 

the Vancouver Symphony Orchestra 

Dal Richards 

celebrating the legend’s 95th birthday 

The music of Nat ‘King’ Cole 

a VSO Pops tribute 

Jon Kimura Parker 

Plays Grieg 

Vadim Gluzman 

superstar violinist plays Bernstein

Vancouver Symphony Orchestra 

BRAMWELL TOVEY MUSIC DIRECTOR 

KAZUYOSHI AKIYAMA CONDUCTOR LAUREATE 

JEFF TYZIK PRINCIPAL POPS CONDUCTOR 

First Violins 

Dale Barltrop, 

Concertmaster 

Joan Blackman, 

Associate Concertmaster 

Nicholas Wright, 

Assistant Concertmaster 

Jennie Press, Second 

Assistant Concertmaster 

Robin Braun § 

Mary Sokol Brown 

Mrs. Cheng Koon Lee Chair 

Jenny Essers 

Jason Ho 

Akira Nagai, Associate 

Concertmaster Emeritus 

Xue Feng Wei 

Rebecca Whitling 

Yi Zhou § 

Angela Cavadas ◊ 

Nancy DiNovo ◊ 

Ruth Schipizky ◊ 

Second Violins 

Principal Second Violin 

Karen Gerbrecht, 

Associate Principal 

Jim and Edith le Nobel Chair 

Jeanette Bernal-Singh, 

Assistant Principal 

Adrian Shu-On Chui 

Daniel Norton 

Ann Okagaito 

Ashley Plaut 

DeAnne Eisch ◊ 

Erin James ◊ 

Violas 

Neil Miskey, Principal 

Andrew Brown, 


Stephen Wilkes, 


Lawrence Blackman 

Estelle & Michael Jacobson Chair 

Matthew Davies 

Emilie Grimes 

Angela Schneider 

Professors Mr. & Mrs. 

Ngou Kang Chair 

Ian Wenham 

Cellos 

Principal Cello 

Nezhat and Hassan 

Khosrowshahi Chair 

Janet Steinberg, 


Zoltan Rozsnyai, 


Olivia Blander 

Natasha Boyko 

Mary & Gordon 

Christopher Chair 

Joseph Elworthy 

Charles Inkman 

Cristian Markos § 

Basses 

Dylan Palmer, 

Principal 

Chang-Min Lee, 

Associate Principal § 

Brendan Kane 

Assistant Principal ∆ 

David Brown 

J. Warren Long 

Frederick Schipizky 

Christopher Light ◊ 

Flutes 

Christie Reside, 

Principal 

Nadia Kyne, 


Rosanne Wieringa 

Michael & Estelle Jacobson Chair 

Piccolo 

Nadia Kyne 

Hermann & Erika Stölting Chair 

Oboes 

Roger Cole, Principal 

Wayne & Leslie Ann Ingram Chair 

GORDON GERRARD ASSISTANT CONDUCTOR 

Marsha & George Taylor Chair 

EDWARD TOP COMPOSER-IN-RESIDENCE 

Supported by The Canada Council for the Arts 

Beth Orson, 


Karin Walsh 

Paul Moritz Chair 

English Horn 

Beth Orson 

Chair in Memory of 

John S. Hodge 

Clarinets 

Jeanette Jonquil, 

Principal 

Cris Inguanti, 


Todd Cope 

E-Flat Clarinet 

Todd Cope 

Bass Clarinet 

Cris Inguanti 

Bassoons 

Julia Lockhart, 

Principal 

Sophie Dansereau, 


Gwen Seaton 

Contrabassoon 

Sophie Dansereau 

French Horns 

Oliver de Clercq, 

Principal 

Benjamin Kinsman 

Werner & Helga Höing Chair 

David Haskins, 


Andrew Mee 

Winslow & Betsy Bennett Chair 

Richard Mingus, 


Trumpets 

Larry Knopp, Principal 

Marcus Goddard, 


Vincent Vohradsky 

W. Neil Harcourt in memory 

of Frank N. Harcourt Chair 

Trombones 

Matthew Crozier, Principal 

Gregory A. Cox 

Bass Trombone 

Douglas Sparkes 

Arthur H. Willms Family Chair 

Tuba 

Peder MacLellan, Principal 

Timpani 

Aaron McDonald, Principal 

Percussion 

Vern Griffiths, Principal 

Martha Lou Henley Chair 

Tony Phillipps 

Harp 

Elizabeth Volpé, Principal 

Piano, Celeste 

Linda Lee Thomas, 

Principal 

Carter (Family) Deux Mille 

Foundation Chair 

Orchestra 

Personnel Manager 

DeAnne Eisch 

Music Librarian 

Minella F. Lacson 

Ron & Ardelle Cliff Chair 

Master Carpenter 

Pierre Boyard 

Master Electrician 

Leonard Lummis 

Piano Technician 

Thomas Clarke 

*Supported by The Canada 

Council for the Arts 

§ Leave of Absence 

∆ One-year Position 

◊ Extra Musician 

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January 

13 Jon Kimura Parker 

4 allegro 

8 

Dal Richards 

49 

José Luis Gómez 

13 to March 11, 2013. 

Volume 18, Issue 3 

In this Issue 

VSO Lottery ......................... 2 

The Orchestra ....................... 3 

Allegro Staff List ..................... 5 

Government Support .................. 6 

Message from the Chairman ........... 7 

and the President & CEO 

A Tribute to Art Willms. ...............11 

VSO Group Sales . . . . . . . . . . . . . . . . . . . . 24 

Vancouver Symphony Foundation ......27 

Patrons’ Circle ......................36 

VSO Gift Shop ......................38 

Advertise in Allegro ..................40 

VSO Mobile Site. ....................47 

VSO School of Music .................54 

Corporate Partners ..................60 

At the Concert / VSO Staff List .........62 

Board of Directors / Volunteer Council ...63 

In the next Issue of Allegro ............64 

8 

Bramwell Tovey

Concerts 

JAN 13 / Specials / Dal Richards at 95! / Bramwell Tovey conductor, Dal Richards ..............8 

JAN 19, 21 / BMO Financial Group Masterworks Silver ....................................13 

Bramwell Tovey conductor, Jon Kimura Parker piano 

FEB 7 / Pacific Arbour Tea & Trumpets / Classics of Vienna.................................19 

Gordon Gerrard conductor, Christopher Gaze host 

FEB 8, 9 / London Drugs VSO Pops / Unforgettable: Nat ‘King’ Cole ..........................23 

Jeff Tyzik conductor, Denzal Sinclaire vocalist 

FEB 10 / Spectra Energy Kids’ Koncerts / Magic Circle Mime: The Listener. ...................28 

Gordon Gerrard conductor, Magic Circle Mime 

FEB 16, 17, 18 / Air Canada Masterworks Diamond / Rogers Group Financial Symphony Sundays ...31 

Bramwell Tovey conductor, Dale Barltrop violin, Vancouver Youth Symphony Orchestra 

FEB 22, 23, 25 / Classical Traditions / Surrey Nights .....................................39 

Bramwell Tovey conductor, Jeanette Jonquil clarinet 

FEB 24 / Vancouver Sun Symphony at The Annex / Recollections............................45 

Bramwell Tovey conductor, Christie Reside flute 

MAR 2, 4 / Musically Speaking / North Shore Classics ....................................49 

José Luis Gómez conductor, Dina Yoffe piano 

MAR 7, 10 / Industrial Alliance VSO Chamber Players / French Masters ......................53 

Beth Orson oboe, Gwen Seaton bassoon, Terence Dawson piano, Christie Reside flute, 

Dale Barltrop violin, Cris Inguanti clarinet, David Haskins horn 

MAR 9, 11 / BMO Financial Group Masterworks Silver ....................................55 

James Gaffigan conductor, Vadim Gluzman violin 

28 

Magic Circle 

Mime 

55 

James Gaffigan 

23 

Denzal Sinclaire 

55 

Vadim Gluzman 

We welcome your comments on this magazine. Please forward them to: Vancouver Symphony, 500 – 833 Seymour Street, Vancouver, BC 

V6B 0G4 Allegro contact and advertising enquiries: vsoallegro@yahoo.com / customer service: 604.876.3434 / VSO office: 604.684.9100 

/ website: www.vancouversymphony.ca Allegro staff: published by The Vancouver Symphony Society / editor/publisher: Anna Gove / 

contributors: Don Anderson, James Alexander / art direction, design & production: bay6creative.com Printed in Canada by Web Impressions. 

All rights reserved. Reproduction in whole or in part without written consent is prohibited. Contents copyrighted by the 

Vancouver Symphony, with the exception of material written by contributors. 

Allegro Magazine has been endowed by a generous gift from Adera Development Corporation. 

allegro 5

The Vancouver Symphony Society 

is grateful to the Government of Canada 

and the Canada Council for the Arts, 

Province of British Columbia and the BC Arts Council, 

and the City of Vancouver for their ongoing support. 

The combined investment in the VSO by the three levels 

of government annually funds over 29% of the cost of 

the orchestra’s extensive programs and activities. 

This vital investment enables the Vancouver Symphony Orchestra to present over 140 

life-enriching concerts in 12 diverse venues throughout the Lower Mainland, attract 

some of the world’s best musicians to live and work in our community, produce Grammy ® 

and Juno ® award-winning recordings, participate in CBC broadcasts – bringing the sounds 

of the VSO to listeners across the country – and, through our renowned educational 

programs, touch the lives of over 50,000 children annually. 

James Moore, Minister 

of Canadian Heritage 

and Official Languages 

Christy Clark, Premier 

of British Columbia 

Thank you! 

Gregor Robertson, 

Mayor of Vancouver

Message from the VSO Chairman 

and VSO President & CEO 

Dear Friends, 

FRED G. WITHERS JEFF ALEXANDER 

Thank you for joining us for today’s concert. 

We are delighted to have you with us. 

Half way through the 2012/2013 season, we 

are pleased to report the year is going well. 

Tens of thousands of people of all ages have 

heard the orchestra perform since the season 

opened in September, and we have enjoyed a 

wide variety of outstanding concerts and guest 

artists in the Orpheum Theatre and numerous 

venues throughout the Lower Mainland. 

This past November, the VSO Chamber Players 

series was inaugurated with two sold-out 

performances in the Pyatt Hall at the VSO School 

of Music (the series continues in March and 

May). In addition, the Annual General Meeting 

of the Vancouver Symphony Society took place, 

with reports given on the extraordinary level of 

activities carried out by the orchestra during 

the 2011/2012 season. At the meeting, our long 

time Board Chair, Art Willms, concluded his 

4th and final term, and stepped down as Chair 

after serving the Society in this capacity for 

eleven years, and twelve years on the Board 

of Directors. Please see our tribute to Art on 

page eleven in this issue of Allegro. 

In December we presented over 25 concerts 

to packed houses, including our run of 

Traditional Christmas Concerts in 7 different 

locations; annual performances of Vivaldi’s 

The Four Seasons at the Chan Centre for the 

Performing Arts at U.B.C; Tiny Tots presentations 

at the Playhouse Theatre and Terry Fox Theatre 

in Port Coquitlam; a performance with the 

Vancouver Bach Choir and a Kids' Koncert 

with Al Simmons. 

In January the orchestra will undertake its 

first tour of the U.S. West coast since 1978 

with concerts in Seattle, Washington; Las Vegas, 

Nevada; Northridge, Santa Barbara, Aliso Viejo 

and Palm Desert, California; Scottsdale and 

Tucson, Arizona. We are pleased to be cultural 

ambassadors for our city, province and country, 

as we undertake this important tour. For tour 

details and information on the second half of the 

season in Vancouver, please visit our website 

vancouversymphony.ca. 

We are grateful to all of our subscribers, 

single ticket buyers, donors, sponsors, the 

Department of Canadian Heritage and Canada 

Council for the Arts, Province of British Columbia 

and BC Arts Council, and City of Vancouver, as 

well as the hundreds of volunteers who work 

together to make the VSO one of the most active 

and successful performing arts organizations 

in North America. 

Please enjoy today’s concert. 

Fred G. Withers 

Chair, Board of Directors 

Jeff Alexander 

President & Chief Executive Officer 

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Concert Program 

DAL RIChARDS 

BRAMWeLL ToVey 

VISIT The SyMPhony GIfT ShoP 

foR CD SeLeCTIonS 

CONCERT SPONSOR 

8 allegro 

DAL RIChARDS 

◆ ◆ ◆ 

SPECIALS 

ORPHEUM THEATRE, 4PM 

Sunday, January 13 

Pacific Arbour Presents 

Dal Richards at 95! 

Bramwell Tovey conductor 

Dal Richards band leader 

Dal Richards Band 

UBC opera ensemble 

SIBELIUS Finlandia 

TCHAIKOVSKY Nutcracker: excerpts 

March 

Arabian Dance 

Dance of the Mirlitons 

Dance of the Sugar Plum Fairy 

Russian Trepak 

VERDI La Traviata: Libiamo (Brindisi) 

VERDI Nabucco: Va Pensiero 

(Chorus of Hebrew Slaves) 

INTERMISSION 

VSo strings with the Dal Richards orchestra 

Birthday Celebration 

In the Mood 

Over the Rainbow 

Sway 

Kalamazoo 

Too Darn Hot 

Oodles of Noodles 

Cheek to Cheek 

Swinging with Dal 

Colonel Bogey 

Jump, Jive ‘n’ Wail 

Sing, Sing, Sing/When The Saints Go Marching In 

As Time Goes By 

Dal’s Theme: Hour of Parting


Grammy ® Award winning conductor Bramwell 

Tovey is acknowledged around the world for 

his artistic depth and his warm, charismatic 

personality on the podium. Tovey’s career 

as a conductor is uniquely enhanced by his 

work as a composer and pianist, lending 

him a remarkable musical perspective. His 

tenures as Music Director with the Vancouver 

Symphony, Luxembourg Philharmonic and 

Winnipeg Symphony Orchestras have been 

characterized by his expertise in operatic, 

choral, British and contemporary repertoire. 

Touring is an important aspect of his artistic 

leadership with the Vancouver Symphony 

Orchestra, and in winter 2013 they will 

embark on a west coast US tour including 

visits to multiple venues in Washington, 

California, Nevada and Arizona. 

Mr. Tovey, who is entering his thirteenth 

season as Music Director of the Vancouver 

Symphony, also continues his association 

with the Los Angeles Philharmonic at the 

Hollywood Bowl, and as founding host and 

conductor of the New York Philharmonic’s 

Summertime Classics series at Avery 

Fisher Hall. In 2008, both orchestras cocommissioned 

him to write a new work, the 

well-received Urban Runway, subsequently 

programmed by a number of orchestras in 

the US and Canada. 

An esteemed guest conductor, Mr. Tovey has 

worked with orchestras in North America and 

Europe, including the London Philharmonic, 

London Symphony, and Frankfurt Radio 

Orchestra, as well as symphonies in Perth, 

Sydney and Melbourne. In North America, 

Mr. Tovey has made guest appearances 

with the orchestras of Boston, Baltimore, 

Philadelphia, St. Louis, Pittsburgh, Detroit, 

Seattle and Montreal as well as ongoing 

performances with Toronto, where his trumpet 

concerto, commissioned by that orchestra 

received its premiere in winter of 2009 as 

a preview of his first full-length opera The 

Inventor premiered in Calgary in winter 2011. 

With a profound commitment to new 

music, Mr. Tovey has established himself 

as a formidable composer and is the 

first artist to win a Juno ® Award in both 

conducting and composing. Mr. Tovey’s 

other accomplishments as a composer 

include receiving the Best Canadian Classical 

Composition 2003 Juno ® Award for his 

Requiem for a Charred Skull. As conductor, 

his recording with the Vancouver Symphony 

and James Ehnes of the Walton, Korngold 

and Barber concerti received both Grammy ® 

and Juno ® Awards in 2007. 

Awarded numerous honorary degrees, 

Mr. Tovey has received a Fellowship from the 

Royal Academy of Music in London, honorary 

Doctorates from the Universities of Winnipeg, 

Manitoba, British Columbia, and Kwantlen 

University College, as well as a Fellowship 

from the Royal Conservatory of Music in 

Toronto. In 1999, he received the M. Joan 

Chalmers National Award for Artistic 

Direction, a prestigious Canadian prize 

awarded to premier artists for outstanding 

contributions in professional performing 

arts organizations. 

allegro 9

Dal Richards band leader 

For more than 75 years the music of 

Dal Richards has been a touchstone of 

Vancouver’s social history. Dal formed his first 

band in 1938, and by June of 1940 he was 

booked into Vancouver’s signature nightspot, 

the Hotel Vancouver’s Panorama Roof. What 

started as a six-week engagement stretched 

into a twenty-five year run. The Dal Richards 

Orchestra was the toast of Vancouver, playing 

for visiting stars like Jack Benny, Bing Crosby 

and Bob Hope – and Dal’s weekly national 

CBC broadcasts from the Roof ensured his 

place in the musical history of Vancouver. 

Dal and his band have played for most of the 

City’s memorable occasions – the opening 

of the Vogue and Queen Elizabeth Theatres, 

Empire Stadium, Pacific Centre, BC Place, and 

the Vancouver Convention Centre…as well 

as for the opening of the 2010 Paralympic 

Games. At age 95 Dal has no intention of 

slowing down; he already has a number of 

engagements booked in 2013, including his 

annual 17-day run at the PNE. 

10 allegro 

“A fast-paced, comedic romp” 

—The Austin Chronicle 

BOEING- 

BOEING 

presenting 

sponsor 

BY MARC CAMOLETTI 

JAN 24 – FEB 24 

season 

sponsors 

UBC Opera Ensemble 

The University of British Columbia Opera 

Ensemble was founded by Canadian lyric 

coloratura Nancy Hermiston in 1995. 

Beginning with a core of seven performers, 

Ms. Hermiston has built the program to 

a 70-member company, now performing 

three main-stage productions at UBC every 

season, six Opera Tea Concerts, and several 

engagements with local community partners. 

The Ensemble’s mission is to educate 

gifted opera singers, preparing them for 

international careers. 

The Ensemble tours regularly throughout 

Canada, the Czech Republic, Germany 

and China. In the 2012–2013 Season, 

the Ensemble presents Mozart’s wonderful 

comedy, Cosi fan tutte, Poulenc’s 

masterpiece, Dialogues of the Carmelites 

and Rossini’s hilarious farce, The Italian 

Girl in Algiers. ■ 

PMS SILVER 877 

40% GREY 

FROM 

$29! 

A MILE– HIGH COMEDY 

BOEING-BOEING 

PMS SILVER 877 

40% GREY

Art Willms 

retires as 

Board Chair 

At the November 27th Annual General Meeting of the Vancouver Symphony 

Society, our longtime Board Chair, Arthur H. Willms, concluded his fourth 

consecutive three-year term on the Board and his eleventh year serving as Chair. 

Art’s association with the VSO goes back 23 years to 1989 when he was handpicked 

by then Mayor Gordon Campbell to join the Board of the Society. Rotating 

off the Board in 1993, Art rejoined in the fall of 2000 and became Chair in 2001. 

During Art’s tenure as our volunteer Chair, the VSO significantly expanded its 

concert offerings and educational activities in the Lower Mainland; made seven 

recordings; won a Grammy ® and a Juno ® award; toured Asia and Central Canada; 

presented over 1,500 concerts in twenty-five venues in five countries on two 

continents; undertook the Society’s first Endowment Campaign and conceived of 

and opened the 25,000 square foot VSO School of Music. 

While serving the past eleven years as our Chair, Art and his wife, 

Mary Ann Clark, who is a dedicated member of the Symphony Lovers' Ball 

committee, have also been major financial contributors to the VSO, inspiring 

countless other individuals and corporations to begin, maintain or increase their 

support of the organization. He has also played an important role in continuously 

developing our relationships with the three levels of government that play such 

an important role in our ability to succeed. 

At the November AGM the membership voted to make Art an Honorary Life 

Vice President of the Society. We look forward to continuing to work with Art 

and to his friendship, wisdom and support, and express our sincere gratitude 

for his extraordinary dedication to the Vancouver Symphony Society and the 

Vancouver Symphony Orchestra; a dedication from which we will all benefit 

for decades to come. 

Thank you, Art! 

allegro 11


Jon KIMURA PARKeR 



MASTERWORKS SILVER 

SERIES SPONSOR 

◆ 

◆ 

VSO TOURS THE U.S. WEST COAST 

BMO fINANCIAL GROUP 

MASTERWORkS SILVER 


Saturday & Monday, 

January 19 & 21 


Jon Kimura Parker piano 

Cherniavsky Laureate 

TOP 

Totem (VSO Commission/World Premiere) 

Angst 

Rite 

Mosh 

GRIEG 

Piano Concerto in A minor, Op. 16 

I. Allegro molto moderato 

II. Adagio 

III. Allegro moderato molto e marcato 

INTERMISSION 

PROKOFIEV 

Symphony No. 5 in B-flat Major, Op. 100 

I. Andante 

II. Allegro marcato 

III. Adagio 

IV. Allegro giocoso 

From January 23 through February 1, the Vancouver Symphony Orchestra will perform this 

program on tour to the U.S. West Coast, with concerts in Seattle, Washington; Las Vegas, 

Nevada; Northridge, Santa Barbara, Aliso Viejo and Palm Desert, California; Scottsdale and 

Tucson, Arizona. This will be the first U.S. tour for the VSO since 1978, and we are delighted 

to be representing Vancouver, British Columbia and Canada in these important regions. 

For detailed information on the tour, visit our website. 

The Vancouver Symphony Orchestra is grateful to the following for support of its 2013 U.S. Tour: 

The Alan and Gwendoline 

Pyatt Foundation 

Arthur H. Willms & 

Mary Ann Clark 

Michael Fish 

allegro 13


For a biography of Maestro Tovey please 

refer to page 9. 

Jon kimura Parker piano 

One of the most sought-after 

performing pianists today, Jon Kimura 

Parker performed an unprecedented array 

of piano concertos in the 2010-2011 season, 

including Rachmaninoff No. 3, Brahms 

No. 2, Tchaikovsky No. 1, Barber, Gershwin, 

Beethoven No. 4, Beethoven Emperor, Grieg, 

and several by Mozart. A true Canadian 

ambassador of music, Mr. Parker has given 

command performances for Queen Elizabeth 

II, the United States Supreme Court, and 

the Prime Ministers of Canada and Japan. 

He is an Officer of The Order of Canada, his 

country's highest civilian honor. 

CheRniaVSKy LaureaTe Chair 

The vancouver symphony society is grateful to the Gudewill family 

who, in honour of their mother, Mrs. Janey Gudewill, uncle, Mr. Peter 

Cherniavsky, grandfather, Mr. Jan Cherniavsky and great grandmother, 

Mrs. B.T. Rogers have established a fund to create the Vancouver 

Symphony Orchestra Cherniavsky Laureate Chair. 

each season, the fund supports the appearance of a distinguished guest 

pianist with the vso. Jon Kimura Parker joins us this weekend as the ninth 

Cherniavsky Laureate, performing with Maestro Tovey and the orchestra in 

the orpheum Theatre on January 19 and 21. 

Mrs. rogers co-founded the vancouver symphony society in 1919, served as 

President of the society from 1931 to 1938, and as honorary Life President, 

continuing to sustain it with her financial support and inspirational leadership 

until her passing in 1965. Jan Cherniavsky, a renowned concert pianist, performed 

as soloist with the vso on numerous occasions and in 1967 founded the 

Cherniavsky Junior Club for the Performing arts. he was its spiritual leader 

until his death in 1989. The CJCPa is an endowment to fund costs associated 

with children’s concerts during class time for schools throughout the province. 

Last year, nearly 9,000 children attended such concerts, with the hope 

of reaching even more students in the future. 

The gudewills are the 4th generation in this extraordinary family to support 

the vancouver symphony orchestra. support for which we are most grateful. 

“Jackie” Parker studied with Edward Parker 

and Keiko Parker privately, Lee Kum-Sing 

at the Vancouver Academy of Music and 

the University of British Columbia, Marek 

Jablonski at the Banff Centre, and Adele 

Marcus at The Juilliard School. He won the 

Gold Medal at the 1984 Leeds International 

Piano Competition. Mr. Parker has recorded 

for Telarc with Yoel Levi, Andre Previn and 

Peter Schickele. He was born, raised and 

educated in Vancouver. He lives in Houston 

with his wife, violinist Aloysia Friedmann and 

their daughter Sophie. 

Edward Top Composer-in-Residence 

of the Vancouver Symphony Orchestra 

b. Ommen, Overijssel, Holland / January 1, 1972 

Totem (VSO Commission/World Premiere) 

One view of totemism is that it is a belief 

that humans are transcendental beings or 

direct descendants from a particular totem, 

Cherniavsky 

Mrs. B.T. rogers (1869–1965), 

Mr. Jan Cherniavsky (1892–1989) 

allegro 15

a family or clan symbol, often derived from 

nature such as animals or plants. Totemism 

is observed in different cultures, in particular 

the First Nations People of the Northwest 

Coast. The depiction of themselves as the 

human embodiment of their totem creates 

a powerful, living-bridge between the self 

and their ancestors. 

This bridge has become a rich source of 

inspiration to create three tableaus that 

encompass a transformational experience. 

In the first tableau, Angst, the mind is held 

hostage by fear of the unknown dangers 

within nature. The object of fear represents 

the totem animal. The second tableau, Rite, 

begins and ends with a moral children’s song 

passed down to me from my ancestors in 

Holland. The piece develops into a climatic 

third tableau, Mosh, an out-of-control 

slam dance. This represents a ceremonial 

enactment as when an entranced dancer 

becomes the totem. As the piece unfolds, 

the importance of the totemic symbol is 

gradually eclipsed by the overall “collective 

unconscious.” 

Totem is conceived to be primeval, 

percussive, and stripped back to the bone of 

carnal instincts. As such, it is not intended to 

imitate the music of First Nations People, 

but rather borrow its commanding pulses 

and gestures. 

Edward Top is the Vancouver Symphony 

Orchestra’s Composer-In-Residence; his 

position is supported by The Canada Council 

for the Arts. Born in The Netherlands, he 

has won many international prizes for his 

compositions, most recently during the 2012 

2-Agosto Festival in Bologna Italy, where 

his work My Skeletonized Portrait for violin 

and orchestra was performed. Originally a 

violinist, Top studied music at the Rotterdam 

Conservatory and King’s College London. 

www.edwardtop.com 

Program Notes © 2012 Edward Top 

Edvard Grieg 

b. Bergen, Norway / June 15, 1843 

d. Bergen, Norway / September 4, 1907 

Piano Concerto in A minor, Op. 16 

The newly-married Grieg spent the summer 

of 1868 in Denmark, living and working in 

the village of Søllerød. He shared a house 

16 allegro 

with pianist Edmund Neupert, who gave him 

regular advice on the concerto’s solo part, 

and to whom, in gratitude, he dedicated it. 

The premiere took place the following year 

in Copenhagen, with Neupert as soloist. It 

was hugely successful. This led to numerous 

further performances, and the foundation of 

Grieg’s international fame. Between 1882 and 

1883, he worked on a second concerto, only 

to abandon it in favour of revising this one. It 

reached its final form, the one in which it is 

known, shortly before his death. 

"As wistful and poetic a melody as 

Grieg ever penned..." 

The first movement boasts one of the most 

familiar openings in the entire concerto 

repertoire; much of its memorability springs 

from its very simplicity. The movement proper 

wears a rather melancholy expression, 

although warmth is amply present as well. 

The second movement is a tender song 

without words. The finale follows on directly, 

led off by an insistent, almost march-like 

theme. It is modeled on the springdans 

(leaping dance), a Norwegian folk step. 

The second theme offers strong contrast. 

As wistful and poetic a melody as Grieg 

ever penned, in the concluding pages he 

demonstrates that it also has the capacity to 

become a grand, triumphant hymn. 

Sergei Prokofiev 

b. Sontsovka, Ukraine / April 27, 1891 

d. Moscow, Russia / March 5, 1953 

Symphony No. 5 in B-flat Major, Op. 100 

In June 1944, Prokofiev took up residence at 

a vacation estate, a collective poultry farm, 

that the Union of Composers operated near 

Ivanovo, 150 miles northeast of Moscow. 

Between summer and autumn, he created the 

two most mature and serious works he had 

composed so far: Piano Sonata No. 8 

and Symphony No. 5. 

“I attach great importance (to the 

symphony),” he wrote. “I thought of it as a 

work glorifying the human spirit. I wanted to 

sing of man free and happy, his strength, his 

generosity and the purity of his soul. I cannot 

say that I chose this theme; it was innate in 

me and had to be expressed.”

He conducted the first performance himself, 

in the Moscow Conservatory, on January 13, 

1945. Pianist Sviatoslav Richter recalled the 

occasion: “When Prokofiev had taken his 

place on the podium and silence reigned in 

the hall, artillery salvos suddenly thundered 

forth. His baton was raised. He waited, and 

began only after the cannons had stopped. 

There was something very significant in this, 

something symbolic. It was as if all of us, 

including Prokofiev, had reached some kind 

of shared turning point.” The salvos were 

paying tribute to Soviet soldiers beginning 

their victory march into Nazi Germany. 

"It has maintained its reputation 

through its superb balance of 

grandeur, powerful emotions and 

sparkling wit." 

The symphony’s immediate popularity sprang 

from its representing precisely what Soviet 

audiences needed: a hopeful vision of better 

times after six years of horrific conflict. It has 

maintained its reputation through its superb 

balance of grandeur, powerful emotions 

and sparkling wit. In it Prokofiev may be 

heard to achieve the language – direct and 

approachable yet still individual – that would 

satisfy both himself and the conservative 

bureaucrats who regularly criticized his and 

other Soviet composers’ music. 

The four movements alternate slow and fast 

tempos. The first generates an impression of 

optimism, rising to a climax of overwhelming 

heft and forcefulness. A bustling movement 

laced with typically biting Prokofiev 

humour follows. The dark, questioning third 

movement mirrors the matching section of 

Shostakovich’s Fifth, which since its debut 

in 1937 had been the model for Soviet 

symphonic tragedies. The finale opens in 

a mood of gentle musing, only to shift to 

an impudent, carnival-like atmosphere 

that sweeps the music along joyfully to the 

celebratory conclusion. ■ 

Program Notes © 2012 Don Anderson


GoRDon GeRRARD 

ChRISToPheR GAZe 

oRPheUM TheATRe 

PACIfIC ARBOUR TEA & TRUMPETS 


Thursday, february 7 

Classics of Vienna 

Gordon Gerrard conductor 

Christopher Gaze host 

MOZART The Magic Flute: Overture 

STRAUSS Tales from the Vienna Woods 

LEHÁR Gold and Silver Waltz 

STRAUSS Wine, Women and Song 

VON SUPPE Light Cavalry: Overture 

STRAUSS Blue Danube Waltz 

TEA & COOKIES Don’t miss tea and cookies 

served in the lobby one hour before each concert, 

compliments of Tetley Tea and LU Biscuits. 



TEA & TRUMPETS SERIES SPONSOR 

allegro 19

THE ROARING TWENTIES 

A six-part series at SFU’s Vancouver campus 

Lectures run February–March 

The Jazz Age Begins American Writers in Paris Learn more and register: 

Monkey Trials, Foreigners, Prohibition, Gangsters, 778-782-8000 

and Immigration 

and Bosses à la Hollywood www.sfu.ca/liberal-arts


Gordon Gerrard has established a unique 

place in the new generation of Canadian 

musicians as one of its fastest rising stars. 

Trained first as a pianist and subsequently 

as a specialist in operatic repertoire, 

Gordon brings a fresh perspective to the 

podium. His passion and his dedication to 

producing thrilling musical experiences have 

endeared him to his fellow musicians and 

the public alike. 

A passionate and gifted educator, Gordon 

has been engaged as a conductor and 

lecturer by many institutions, including 

McGill University, the University of Manitoba 

and Iowa State University. In 2012, Gordon 

conducted a production of Don Giovanni for 

Opera McGill. He has served as conductor 

for Opera Nuova (Edmonton) for the past ten 

years, and on the music staffs of the Opera 

as Theatre Programme at the Banff Centre 

for the Arts, the Canadian Vocal Arts Institute 

(Montreal), Halifax Summer Opera Workshop 

and the Undergraduate Opera Studio at the 

Manhattan School of Music. 

Gordon is delighted to begin work with 

Maestro Bramwell Tovey and the Vancouver 

Symphony Orchestra as Assistant Conductor. 

Christopher Gaze, OBC host 

Best known as Artistic Director of 

Vancouver’s Bard on the Beach Shakespeare 

Festival, Christopher Gaze has performed in 

England, the USA and across Canada. Born 

in England, he trained at the Bristol Old Vic 

Theatre School before coming to Canada 

in 1975 where he spent three seasons at 

the Shaw Festival. 

He moved to Vancouver in 1983 and in 1990 

founded Bard on the Beach which he has 

since nurtured to become one of the most 

successful not-for-profit arts organizations 

in North America, with attendance exceeding 

91,000. In addition to performing and 

directing for Bard, Christopher’s voice 

is heard regularly in cartoon series, 

commercials and on the radio. He also 

hosts Vancouver Symphony’s popular Tea & 

Trumpets series and their annual Christmas 

concerts. His many honours include induction 

into the BC Entertainment Hall of Fame, 

Canada’s Meritorious Service Medal (2004), 

Honorary Doctorates from UBC & SFU, the 

BC Community Achievement Award (2007), 

the Gold Medallion from the Children’s 

Theatre Foundation of America (2007), the 

Mayor’s Arts Award for Theatre (2011) and 

the Order of British Columbia (2012). 

A gifted public speaker, Christopher frequently 

shares his insights on Shakespeare and 

theatre with students, service organizations 

and businesses. In December 2012, 

Christopher starred in and directed Vancouver 

Opera’s The Pirates of Penzance. ■ 

allegro 21


Jeff TyZIK 

DenZAL SInCLAIRe 



VSO POPS SERIES SPONSOR 

FEBRUARY 8 


VSO POPS RADIO SPONSOR 

FEBRUARY 9 


LONDON DRUGS VSO POPS 


friday & Saturday, 

february 8 & 9 

Unforgettable: 

Nat ‘king’ Cole 

Jeff Tyzik conductor 

Denzal Sinclaire vocalist 

SELECTIONS INCLUDE: 

NAT 'KING' COLE 

Unforgettable 

Day In, Day Out 

L.O.V.E 

Route 66 

Smile 

Mona Lisa 

Walking My Baby Back Home 

When I Fall In Love 

Nature Boy 

To The Ends Of The Earth 

INTERMISSION 

Amazing Grace 

I've Got The World On A String 

Follow You, Follow Me 

Always On My Mind 

You And The Night And The Music 

A Pretty World 

This Is My Lucky Day 

allegro 23

Jeff Tyzik conductor 

Jeff Tyzik has earned a reputation as one of 

America's most innovative pops conductors, 

recognized for his brilliant arrangements, 

original programming, and engaging rapport 

with audiences of all ages. Principal pops 

conductor of the Rochester Philharmonic 

Orchestra for over nineteen years, he also 

serves as principal pops conductor of the 

Seattle Symphony, Detroit Symphony Oregon 

Symphony, The Florida Orchestra and the 

Vancouver Symphony Orchestra. 

A native of Hyde Park, New York, Tyzik began 

his life in music at age nine playing the 

cornet. He studied both classical and jazz 

throughout high school and went on to earn 

both his bachelor’s and master’s degrees 

from the Eastman School of Music, where he 

studied composition/arranging with Radio City 

Music Hall’s Ray Wright and jazz studies with 

the great band leader Chuck Mangione. 

Tyzik has produced a Grammy ® Awardwinning 

album, The Tonight Show Band with 

Doc Severinsen, Vol. 1, and released six of 

his own albums. 

Denzal Sinclaire vocalist 

Toronto-born vocalist/pianist/composer, 

Denzal Sinclaire has earned his reputation 

as Canada’s most popular male jazz vocalist. 

Sinclaire is a graduate of Montreal’s McGill 

University where he received a Bachelor’s 

Degree in Jazz Performance. 

Denzal’s vocal timbre is similar to some of the 

great singers. Nat King Cole, Johnny Hartman 

and there are even glimpses of Johnny 

Mathis’ jazz days. However, Denzal does have 

what every artist strives for. After singing just 

a few notes you know it is him. 

A multiple Juno ® Award nominee, and 

recipient of the 2004 National Jazz Award 

for “Best Album,” he has graced the stages 

of numerous high-profile jazz festivals, 

performed with symphony orchestras, and 

starred in his own one hour television special 

for BRAVO! In 2005, Denzal was inducted 

into the British Columbia Entertainment 

Hall of Fame. 

Denzal has recorded three albums for 

Universal Music, I Found Love (EmArcy); 

the self-titled, Denzal Sinclaire (Verve); 

and his highly anticipated new release, 

My One and Only Love (Verve). ■ 

LET OUR GROUP 

ENTERTAIN YOUR GROUP! 

Get a group together and save! 

Groups of 10 or more receive 

DISCOUNTS AND 

PREFERRED SEATING! 

Contact Katherine, Group Sales Manager at 604.684.9100 ext 252 or 

groupsales@vancouversymphony.ca

PROUD SPONSOR OF THE 

VANCOUVER SYMPHONY 

ORCHESTRA 

Helping to foster Vancouver’s art community is a 

privilege for Borden Ladner Gervais LLP. 

For more information on our community involvement, 

please visit us at blg.com 

Calgary | Montréal | Ottawa 

Toronto | Vancouver | Waterloo Region 

Lawyers | Patent & Trade-mark Agents 

Borden Ladner Gervais LLP 

is an Ontario Limited Liability Partnership. 

blg.com

Vancouver Symphony foundation 

Ensure the VSO’s future 

with a special gift to the 

Vancouver Symphony 

Foundation, established 

to secure the long term 

success of the Vancouver 

Symphony Orchestra. 

$3,500,000 or more 

Government of Canada through the 

Department of Canadian Heritage 

Endowment Incentives Program 

$1,000,000 or more 

Martha Lou Henley 

Province of BC through the BC Arts 

Renaissance Fund under the 

stewardship of the Vancouver 

Foundation 

$500,000 or more 

Werner (Vern) and Helga Höing 

Wayne and Leslie Ann Ingram 

The Estate of Jim and Edith le Nobel 

$250,000 or more 

Estate of Ruth Ellen Baldwin 

Carter (Family) Deux Mille Foundation 

Chan Foundation of Canada 

Ron and Ardelle Cliff 

Estate of Steve Floris 

Mr. Hassan and Mrs. Nezhat Khosrowshahi 

The Tong and Geraldine Louie 

Family Foundation 

Hermann and Erika Stölting 

Arthur H. Willms Family 

$100,000 or more 

Estate of Winslow W. Bennett 

Mary and Gordon Christopher 

Janey Gudewill & Peter Cherniavsky 

in memory of their Father 

Jan Cherniavsky and Grandmother 

Mrs. B.T. Rogers 

In memory of John S. Hodge 

Michael and Estelle Jacobson 

S.K. Lee in memory of Mrs. Cheng Koon Lee 

Katherine Lu in memory of Professors 

Mr. and Mrs. Ngou Kang 

Tax creditable gifts of cash, securities and planned gifts are all gratefully 

received by the Vancouver Symphony Foundation, and your gift is enhanced 

by the availability of matching funds from the Federal Government. 

Please call Leanne Davis at 

604.684.9100 extension 236 

or email leanne@vancouversymphony.ca to make a gift or 

learn more about the naming opportunities that are available 

to honour a family member, celebrate the memory of a loved 

one or simply recognize your generosity. 

Support the Power of Music We extend our sincere thanks to these donors, whose gifts will ensure the 

Vancouver Symphony Orchestra remains a strong and vital force in our community long into the future: 

William and Irene McEwen Fund 

Sheahan and Gerald McGavin, C.M., O.B.C. 

McGrane-Pearson Endowment Fund 

Estate of John Rand 

Nancy and Peter Paul Saunders 

Ken and Patricia Shields 

George and Marsha Taylor 

Whittall Family Fund 

$50,000 or more 

Adera Development Corporation 

Brazfin Investments Ltd. 

Mary Ann Clark 

Estate of Margaret Jean Paquin 

Estate of Rachel Tancred Rout 

Estate of Mary Flavelle Stewart 

Leon and Joan Tuey 

Rosemarie Wertchek, Q.C. 

$25,000 or more 

Jeff and Keiko Alexander 

Estate of Dorothy Freda Bailey 

Mrs. May Brown, C.M., O.B.C. 

Mrs. Margaret M. Duncan 

W. Neil Harcourt in memory 

of Frank N. Harcourt 

Daniella and John Icke 

Mollie Massie and Hein Poulus 

Estate of Margot Lynn McKenzie 

Paul Moritz 

Mrs. Gordon T. Southam, C.M. 

Maestro Bramwell Tovey and 

Mrs. Lana Penner-Tovey 

Anonymous (1) 

$10,000 or more 

Mrs. Marti Barregar 

Kathy and Stephen Bellringer 

Mrs. Geraldine Biely 

K. Taryn Brodie 

Robert G. Brodie and K. Suzanne Brodie 

Douglas and Marie-Elle Carrothers 

Mr. Justice Edward Chiasson and 

Mrs. Dorothy Chiasson 

Dr. Marla Kiess 

Chantel O’Neil and Colin Erb 

Dan and Trudy Pekarsky 

Bob and Paulette Reid 

Nancy and Robert Stewart 

Beverley and Eric Watt 

Anonymous (2) 

$5,000 or more 

Estate of Clarice Marjory Bankes 

Charles and Barbara Filewych 

Estate of Muriel F. Gilchrist 

Edwina and Paul Heller 

Kaatza Foundation 

Estate of Alfred P. Knowles 

Prof. Kin Lo 

Rex and Joanne McLennan 

Marion L. Pearson and James M. Orr 

Melvyn and June Tanemura 

$2,500 or more 

In memory of Lynd Forguson 

Stephen F. Graf 

John and Marietta Hurst 

Mr. Gerald A. Nordheimer 

Harvey and Connie Permack 

Robert and Darlene Spevakow 

Winfred Mary (Mollie) Steele 

Estate of Jan Wolf Wynand 

Anonymous (1) 

Due to space limitations, donations 

of $2,500 or more are listed, but every 

gift is sincerely appreciated and 

gratefully received. THANK YOU. 

allegro 27


SPECTRA ENERGy kIDS’ kONCERTS 


Sunday, february 10 

Magic Circle Mime: 

The Listener 


Magic Circle Mime entertainers 

BRITTEN A Young Person’s 

Guide to the Orchestra 

BERNSTEIN Candide Overture 

SHOSTAKOVICH The Age of Gold: Polka 

JOHN WILLIAMS Raiders of the Lost Ark: 

Raders March 

TCHAIKOVSKY Swan Lake Suite, 

Op. 20: Dance of the Little Swans 

BIZET Carmen Suite No. 1: Les Toreadors 

MOZART Symphony No. 39: Finale 

BRITTEN A Young Person’s 

Guide to the Orchestra 

28 allegro 

PREMIER EDUCATION PARTNE 

PREMIER EDUCATION PARTNER 

KIDS’ KONCERTS SERIES CO-SPONSOR 

MAGIC CIRCLe MIMe 

VSO Instrument fair The Kids' 

Koncerts series continues with the popular 

VSO Instrument Fair, which allows music 

lovers of all ages (but especially kids!) to 

touch and play real orchestra instruments 

in the Orpheum lobby one hour before 

concert start time. All instruments are 

generously provided by Tom Lee Music. 



THE VSO’S KIDS’ KONCERTS HAVE BEEN 

ENDOWED BY A GENEROUS GIFT FROM 

THE WILLIAM & IRENE MCEWEN FUND.

GoRDon GeRRARD 


For a biography of Gordon Gerrard please 


Magic Circle Mime 

Magic Circle Mime Company is regarded as 

one of today's premier family attractions. 

Their highly acclaimed performances, which 

unite the concert orchestra with visual theater, 

are consistently praised for imaginative and 

innovative content. 

Magic Circle Mime Company performs 

with virtually every major orchestra in North 

America and has performed on numerous 

occasions with the Symphony Orchestras of 

Atlanta, Detroit, Chicago, Montreal, Saint Louis, 

Seattle and Toronto; the Cleveland Orchestra, 

Minnesota Orchestra and Philadelphia 

Orchestra; and on more than half a dozen 

occasions at The Kennedy Center For The 

Performing Arts with the National Symphony 

Orchestra. 

Magic Circle Mime Company is the creative 

partnership of Maggie Petersen and Douglas 

MacIntyre. Both artists have backgrounds in 

theatre and instrumental music, and have 

utilized that training to create their highly 

regarded programs. Their newest production, 

Orchestra from Planet X, explores the impact 

of the New World on the music of the 

orchestra. ■



DALe BARLTRoP 



MASTERWORKS DIAMOND 


SYMPHONY SUNDAYS 


◆ 

▼ 

◆ 

▼ 

AIR CANADA 

MASTERWORkS DIAMOND 




ROGERS GROUP fINANCIAL 

SyMPHONy SUNDAyS 




Dale Barltrop violin 

Vancouver youth Symphony orchestra* 

DELIUS Brigg Fair, An English Rhapsody 

BRITTEN Violin Concerto No. 1, Op. 15 

I. Moderato con moto 

II. Vivace 

III. Passacaglia: Andante lento 

INTERMISSION 

ELGAR 

Variations on an Original Theme, Op. 36, Enigma 

Theme: Andante 

Var. 1: C. A. E.: L’istesso tempo 

Var. 2: H. D. S-P.: Allegro 

Var. 3: R. B. T.: Allegretto 

Var. 4: W. M. B.: Allegro di molto 

Var. 5: R. P. A.: Moderato 

Var. 6: Ysobel: Andantino 

Var. 7: Troyte: Presto 

Var. 8: W. N.: Allegretto 

Var. 9: Nimrod: Adagio 

Var. 10: Dorabella (Intermezzo): Allegretto 

Var. 11: G. R. S.: Allegro di molto 

Var. 12: B. G. N.: Andante 

Var. 13: (***) (Romanza): Moderato 

Var. 14: E. D. U. (Finale): Allegro 

*The VYSO joins the VSO on February 16th & 18th 

for the performance of Elgar's Enigma Variations. 

PRE-CONCERT TALKS 

Saturday & Monday, free to ticketholders at 7:05pm. 

allegro 31





Hailing from Brisbane, Australia, Dale 

Barltrop has performed across North 

America, Europe and Australia. He served 

as Principal Second Violin in the Saint Paul 

Chamber Orchestra for six years prior to his 

appointment with the Vancouver Symphony. 

During this time, Barltrop appeared regularly 

as soloist with the SPCO, including a series 

of baroque concerts under his direction and 

a performance of his own orchestration of 

Schubert's Rondo in B minor. 

Barltrop moved to the United States in 

1998 to attend the University of Maryland 

as a student of Gerald Fischbach and the 

Guarneri Quartet. He continued his studies 

at the Cleveland Institute of Music with 

William Preucil. Barltrop has a keen interest 

in teaching and has served on the faculty of 

the National Orchestral Institute and worked 

regularly with the Greater Twin Cities Youth 

Symphonies. 

In addition to playing the violin, Dale loves 

to travel and enjoys swimming, running, 

hiking and skiing. 

Vancouver youth 

Symphony Orchestra 

The Vancouver Youth Symphony has a long, 

proud history in Vancouver, dating back to 

1930. An amateur flautist named R. Cyril 

VAnCoUVeR yoUTh SyMPhony oRCheSTRA 

Haworth was the prime mover in forming the 

"Vancouver Little Symphony," first under the 

direction of the students themselves and later, 

under the baton of its first Music Director, 

Mr. George Coutts. Mr. Coutts was known 

to be "one of the very best," "a fun kind 

of chap" and a Scottish-trained, all-round 

musician with talent and generosity as a 

community leader. 

The orchestra thrived and in 1938, the 

ensemble became an "educational project" 

of the Vancouver Symphony Orchestra and 

the name was changed to "Vancouver Junior 

Symphony Orchestra." In 1945 the group 

was reorganized as independent and became 

the "Vancouver Youth Symphony Orchestra." 

Today, the Vancouver Youth Symphony 

Orchestra is a dynamic, independent 

organization that is recognized throughout 

Greater Vancouver for its very fine, multi-level 

orchestral training programme. 

VYSO musicians continue to proudly 

represent Vancouver locally, nationally 

and internationally. Many former VYSO 

musicians have gone on to acclaimed musical 

careers and there is never a shortage of 

current young VYSO musicians following 

in their paths. Roger Cole is the VYSO's Music 

Director and Principal Oboe of the VSO. 

frederick Delius 

b. Bradford, England / January 29, 1862 

d. Grez-sur-Loing, France / June 10, 1934 

Brigg Fair, An English Rhapsody 

Delius spent more than half his life in France, 

which may go some way toward explaining 

why his music has more in common with the 

French schools of the period than the English. 

allegro 33

Its primary qualities are sensuousness 

of colour, intimate identification with nature, 

and a profound sense of spiritual serenity. 

Brigg Fair is a melancholy English folk tune 

that Australian composer Percy Grainger 

collected in the field and passed on to 

Delius. In 1907, Delius used it as the point 

of departure for this set of variations. 

After a dreamy, delicately scored introduction, 

he introduced the melody of Brigg Fair on 

solo oboe. Energy and colour characterize 

the initial variations, before the appearance 

of a restful interlude featuring the strings. 

Further variations follow, building gradually 

to a broad, stirring climax. At the close, the 

oboe once again sings the haunting melody 

of Brigg Fair, before the music dies away 

into silence. 

Benjamin Britten 

(Lord Britten of Aldeburgh) 

b. Lowestoft, England / November 22, 1913 

d. Aldeburgh, England / December 4, 1976 

Violin Conceto No. 1, Op. 15 

Britten followed through rapidly on the 

Piano Concerto he composed in 1938 with 

this violin concerto. He started work on it in 

England in November 1938 and completed it 

in September 1939, after he had emigrated 

from England and was living in St. Jovite, 

Québec. A few years before, he and a 

Spanish violinist, Antonio Brosa, had spent 

time together in Spain during the Civil War. 

During that period, Brosa gave the premiere 

of Britten’s Suite for Violin and Piano, 

Op. 6, accompanied by the composer. Brosa 

also premiered the concerto, on March 28, 

1940, with Sir John Barbirolli conducting 

the New York Philharmonic. It made a deep 

impression. Unsatisfied with it, Britten revised 

it three times before it arrived at its definitive 

form in 1965. 

World events may have played a role in its 

character, as it did with such other Britten 

works of this period as the orchestral work 

Sinfonia da Requiem. According to Brosa, 

hints of Spanish flavour dot the concerto. In 

addition, its dark overall mood may reflect 

Britten’s feelings toward both the Spanish 

conflict and the outbreak of the Second World 

War. His pacifist stance had been one of the 

reasons for his relocating to North America. 

Despite the concerto’s abundant technical 

demands (Jascha Heifetz declared it 

“unplayable”), it is no brilliant virtuoso 

showpiece, but more of a warning, or at 

the close, a prayer. Like Beethoven’s Violin 

Concerto, it opens with the sound of timpani. 

The violin soloist introduces both of the 

opening movement’s themes: the first is 

soaring and lyrical; the second tart and 

sinewy. An emotionally tentative section leads 

without pause into the second movement, a 

flashing, diabolical scherzo shot through with 

macabre orchestration. A solo cadenza serves 

as a bridge to the concluding passacaglia, 

Britten’s first venture into this baroque-era 

theme-and-variations form in which he 

worked with great eloquence throughout 

his career. Trombones introduce the sombre 

theme. Once it reaches a grandiose climax, 

the music dissolves into a melancholy 

processional, the soloist, in author Michael 

Kennedy’s words, “repeating an elegiac 

phrase as if mourning an irreparable loss.” 

allegro 35

GOLD BATON CLUB 

Gifts from $50,000 and Up 

Dr. Peter and Mrs. Stephanie Chung 

Mr. Alan and Mrs. Gwendoline Pyatt 

Grenville Thomas 

MAESTRO'S CIRCLE 

Gifts from $35,000 to $49,999 

Heathcliff Foundation* 

Gifts from $25,000 to $34,999 

Michael Audain, O.C., O.B.C. 

and Yoshiko Karasawa 

Mary and Gordon Christopher Foundation* 

Mrs. Maria Logan 

Mr. Gerald McGavin, C.M., O.B.C. 

and Mrs. Sheahan McGavin* 

Mrs. Jane McLennan 

Michael O'Brian Family Foundation 

Mr. Ronald N. and Mrs. Janet Stern 

Arthur H. Willms Family* 

CONCERTMASTER'S CIRCLE 

Gifts from $15,000 to $24,999 

The Christopher Foundation 

(Education Fund) 

Martha Lou Henley* 

Lagniappe Foundation 

Mr. Fred Withers and Dr. Kathy Jones 

Gifts from $10,000 to $14,999 

Larry and Sherrill Berg 

Betsy Bennett* 

Mrs. Margaret M. Duncan 

The Gudewill Family 

Diane Hodgins 

Werner (Vern) and Helga Höing* 

Mr. Brian W. and Mrs. Joan Mitchell 

Mollie Massie and Hein Poulus* 

Maestro Bramwell Tovey 

and Mrs. Lana Penner-Tovey* 

For more information about the Patrons' Circle 

and the exclusive benefits associated with this program please contact Leanne Davis at 

604.684.9100 extension 236 or email leanne@vancouversymphony.ca 

36 allegro 

Denise Turner 

Gordon Young 

Anonymous (2) 

PRINCIPAL PLAYERS 

Gifts from $7,500 to $9,999 

Mrs. Joyce E. Clarke 

Ian and Frances Dowdeswell 

In Memory of John Hodge* 

Mr. Ken and Mrs. Patricia Shields* 

Gifts from $5,000 to $7,499 

Dr. and Mrs. J. Abel 

Jeff and Keiko Alexander* 

Dr. and Mrs. Cameron 

Dave Cunningham 

The Grayross Foundation 

Mr. and Mrs. Sam Gudewill 

Hillary Haggan 

Dr. Marla Kiess* 

Robert H. Lee, C.M., O.B.C. 

and Lily Lee 

The Lutsky Families 

Kenneth W. and Ellen L. Mahon* 

Mrs. Irene McEwen* 

Dr. Katherine Mirhady 

John Hardie Mitchell Family Foundation 

André and Julie Molnar 

Joan and Michael Riley 

Ms. Nina Rumen 

Thomas and Lorraine Skidmore 

Bruce Munro Wright 

Anonymous (3) 

BENEFACTORS 

Gifts from $3,500 to $4,999 

Kathy and Stephen Bellringer* 

Mr. and Mrs. G. A. Cooper 

Christine Nicolas 

Mrs. Lorraine Redmond, 

in loving memory of Mrs. M. Quast 

The Vancouver Symphony is grateful for the 

generosity shown by the following individuals and 

foundations, whose annual investment in the VSO 

has helped this orchestra reach new heights and 

garner national and international recognition. 

Dr. and Mrs. Edward Yeung 

Gifts from $2,500 to $3,499 

Mr. and Mrs. Francesco Alongi 

Olin and Suzanne Anton 

The Ken Birdsall Fund 

Gerhard and Ariane Bruendl 

Marnie Carter* 

Joan and Darryl Chambers 

Janis and Bill Clarke 

Edward Colin and Alanna Nadeau 

Drs. B. Forster and K. Mayson 

Jon and Lisa Greyell 

Alasdair and Alison Hamilton 

Heather Holmes 

John and Daniella Icke* 

Olga Ilich 

Herbert Jenkin 

Gordon and Kelly Johnson 

Judi and David Korbin 

Prof. Kin Lo* 

Mr. and Mrs. Herbert Menten* 

M. Lois Milsom 

Hugh and Joan Morris 

Chantel O'Neil and Colin Erb* 

Mr. and Mrs. Maurice A. Roden 

Bernard Rowe and Annette Stark 

Dr. Earl and Mrs. Anne Shepherd 

Ms. Dorothy P. Shields 

Mr. Wallace and Mrs. Gloria Shoemay 

Mel and June Tanemura* 

George and Marsha Taylor* 

Mr. and Mrs. David H. Trischuk 

Leon and Joan Tuey* 

Beverley and Eric Watt* 

Michael and Irene Webb 

Anonymous (4)

PATRONS 

Gifts from $2,000 to $2,499 

Ms. Judy Garner 

In Memory of Betty Howard 

Mr. Hassan and Mrs. Nezhat 

Khosrowshahi* 

Don and Lou Laishley 

Bill and Risa Levine 

Mr. and Mrs. Bruce Macdonald 

Mrs. Pamela Metal 

Dr. Robert S. Rothwell* 

Mrs. Mary Anne Sigal 

Dr. Brian Willoughby 

Anonymous (3) 

Gifts from $1,500 to $1,999 

Gordon and Minke Armstrong 

Mr. R. Paul and Mrs. Elizabeth Beckmann 

Roberta Lando Beiser* 

Dr. and Mrs. J. Deen Brosnan 

Mrs. May Brown, C.M., O.B.C.* 

Mr. Peter Cherniavsky* 

Mr. Justice Edward Chiasson 

and Mrs. Dorothy Chiasson* 

Sir Edward Elgar 

b. Broadheath, England / June 2, 1857 

d. Worcester, England / February 23, 1934 

Variations on an Original Theme, 

Op. 36 Enigma 

Elgar conceived this glorious and hugely 

entertaining work, with which he made his 

breakthrough to fame, as a set of portraits of 

his friends. He never fully explained a mystery 

he had woven into it. In later years he stated 

that throughout the variations “another and 

larger theme ‘goes,’ but it is not played. It was 

so well known that it was strange no one had 

discovered it.” Its identity remains unknown. 

After the theme has been presented, the 

affectionate Variation 1 characterized 

Elgar’s wife, Caroline. The nervous bustle 

of Variation 2 mimicked Hew David 

SteuartPowell’s characteristic warm-up at 

the piano, while the third variation’s lighthearted 

mood recalled the mimicking talents 

of Richard Baxter Townshend. The sharply 

accented Variation 4 presented a portrait of 

the brusque country squire William Meath 

Baker. It is followed in by Variation 5 by 

a gently dreaming picture of music lover 

Richard Penrose Arnold. 

Doug and Anne Courtemanche 

Leanne Davis and Vern Griffiths 

Barbara J. Dempsey 

Count and Countess Enrico 

and Aline Dobrzensky 

Sharon F. Douglas 

Darren Downs and Jacqueline Harris 

Mrs. San Given 

Mr. Brian Gusko 

Dr. Donald G. Hedges 

John and Marietta Hurst* 

Michael and Estelle Jacobson* 

D.L. Janzen in memory of Jeannie Kuyper 

C.V. Kent 

Drs. Colleen Kirkham and Stephen Kurdyak 

Sherry and Alex Klopfer 

Uri and Naomi Kolet 

Mr. Robert M. Ledingham 

Hugh and Judy Lindsay 

Nancy and Frank Margitan 

Nancy Morrison 

Mr. Dal Richards C.M. 

and Mrs. Muriel Richards 

Dr. William H. and Ruthie Ross 

Mrs. Joan Scobell 

David and Cathy Scott 

Dr. Peter and Mrs. Sandra 

Stevenson-Moore 

Randall Takasaki 

L. Thom 

Garth and Lynette Thurber 

Dr. Hamed Umedaly and Dr. Susan Purkiss 

Dr. Johann Van Eeden 

Nico and Linda Verbeek* 

Michael Williams 

Eric and Shirley Wilson 

Dr. I. D. Woodhouse 

Anonymous (3) 

* Members of the Patrons’ Circle 

who have further demonstrated their 

support by making an additional gift to 

the VSO’s Support the Power of Music 

endowment campaign. ■ 

Elgar portrayed the amateur violist Isabel 

Fitton in a lyrical variation featuring her 

chosen instrument. A rambunctious variation 

featuring timpani and trombones then showed 

us Arthur Troyte Griffith, an outgoing architect. 

Variation 8 took a glowingly coloured look at 

a young woman named Winifred Norbury. 

Nimrod offered Elgar’s heartfelt tribute 

to one of his most steadfast friends, Germanborn 

music editor and journalist August 

Johannes Jaeger. The fleet, delicately 

orchestrated Variation 10 brought us 

Dora Penny, portraying her stammer in a 

delicately affectionate manner. The boisterous 

Variation 11 presented not so much its 

dedicatee, organist George Robertson Sinclair, 

as his bulldog Dan, leaping into the river 

to fetch a stick. 

A gorgeous cello solo is featured in Variation 

12, depicting Basil G. Nevinson, who played 

that instrument. Variation 13 painted a 

rather sombre portrait of Lady Mary Lygon. 

The finale is a selfportrait, written, as 

Elgar stated, “at a time when friends were 

dubious and generally discouraging as to the 

composer’s musical future.” His reply to their 

doubtfulness was bold and vigorous. ■ 

Program Notes © 2012 Don Anderson 

allegro 37

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allegro 

Bramwell Tovey 

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Alondra de la Parra 

conducts Mozart and Brahms 

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VSO Pops: 

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your business. Email allegro@vancouversymphony.ca for details and a rate kit, 

or download a rate kit and copies of current and past issues of allegro. 

September 21 to november 5, 2012, Volume 18, Issue 1 

vancouversymphony.ca/allegro 

VSO Gift Shop 

VISIT US IN THE ORPHEUM LOBBY ON THE ORCHESTRA LEVEL 

Specially selected CDs including classics and current best-sellers. 

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JeAneTTe JonqUIL 

TTHE PRESENTATION OF THE CLASSICAL TRADITIONS SERIES 

IS MADE POSSIBLE, IN PART, THROUGH THE GENEROUS 

ASSISTANCE OF THE CHAN FOUNDATION AT UBC, AND 

THE CHAN CENTRE FOR THE PERFORMING ARTS. 

THE VSO’S SURREY NIGHTS SERIES HAS 

BEEN ENDOWED BY A GENEROUS GIFT FROM 

WERNER AND HELGA HöING. 

◆ ◆ 

CLASSICAL TRADITIONS 

CHAN CENTRE fOR 

THE PERfORMING ARTS, 8PM 

friday & Saturday, 


SURREy NIGHTS 

BELL PERfORMING ARTS CENTRE, 8PM 

Monday, february 25 


Jeanette Jonquil clarinet 

ELGAR 

Sospiri, Op. 70 

MOZART 

Clarinet Concerto in A Major, K. 622 

I. Allegro 

II. Adagio 

III. Rondo: Allegro 

INTERMISSION 

BEETHOVEN 

Symphony No. 5 in C minor, Op. 67 

I. Allegro con brio 

II. Andante con moto 

III. Allegro 

IV. Allegro 

allegro 39

Early Music Vancouver at the Chan Centre: 

March 8 & 9: The Goldberg Experience 

Two Contrasting & Complementing Approaches to Bach’s Masterpiece 

Old meets new, for an exciting and thought-provoking exchange, building a bridge across centuries and 

between genres – with two contrasting and complementing approaches to this masterpiece, the pinnacle 

of Bach’s keyboard compositions. The two events in the weekend of March 8 & 9 will take place at the 

intimate and acoustically ideal Telus Studio Theatre at the Chan Centre for the Performing Arts at UBC. 

Jazz Pianist Dan Tepfer: 

Goldberg Variations / Variations 

Dan Tepfer, one of the most formidable jazz musicians 

on the international stage, performs Bach’s original 

variations and adds, after each one, his own improvised 

variation, generating an inspired and stimulating 

dialogue with the old master. 

Saturday 9 March at 8 pm, pre-concert talk at 7:15 

Telus Studio Theatre at the Chan Centre 

Harpsichordist Mahan Esfahani: 

JS Bach: Goldberg Variations 

Mahan Esfahani, a rising star in the international field 

of early music, presents his electrifying interpretation of 

Bach’s most complex and ambitious work. 

Friday 8 March at 8 pm, pre-concert talk at 7:15 

Telus Studio Theatre at the Chan Centre 

Vancouver Early Music Festival 2013: 

G.F. Handel: “Israel in Egypt” 

Alexander Weimannn music director 

Suzie LeBlanc, Shannon Mercer & Catherine Webster soprano Laura Pudwell alto 

Colin Balzer & Sumner Thompson tenor Tyler Duncan & Robert McDonald baritone/bass 

With the Pacific Baroque Orchestra & Early Music Vancouver Vocal Ensemble 

(strings, flutes, oboes, bassoons, trumpets, trombones & timpani, and two choirs of 12 singers each) 

Wednesday August 7, 2013 at 8 pm | Chan Centre for the Performing Arts 

For details on all our activities: Early Music Vancouver, www.earlymusic.bc.ca




Jeanette Jonquil clarinet 

Jeanette Jonquil has been the principal 

clarinetist with the VSO since 2005. 

Previously, she was the principal clarinetist 

in the Charleston Symphony Orchestra and 

the 2nd/Eb clarinetist in the Milwaukee 

Symphony Orchestra. She has performed as 

guest principal with the Cincinnati Symphony 

Orchestra, the Minnesota Orchestra and the 

New Zealand Symphony Orchestra. 

For several summers, Ms. Jonquil was 

the principal clarinetist with the Colorado 

Music Festival Orchestra in Boulder. She has 

attended the Schleswig-Holstein, Spoleto, 

Chautauqua and Pacific Music Festivals. She 

was also a fellow at Tanglewood where she 

was awarded the Gino B. Cioffi Memorial 

Prize for most outstanding woodwind playing. 

Ms. Jonquil studied with Russell Dagon at 

Northwestern University and David Shifrin 

at Yale, where she was the winner of the 

Woolsey Hall Concerto Competition and 

the Daniel Nyfenger Prize for excellence in 

woodwind playing. She has appeared as 

a soloist with the Vancouver Symphony, 

Charleston Symphony, Utica Symphony and 

Yale Philharmonia. 

Sir Edward Elgar 

b. Broadheath, England / June 2, 1857 

d. Worcester, England / February 23, 1934 

Sospiri, Op. 70 

Elgar’s expert understanding of string 

instruments can be heard clearly in his works 

for string orchestra such as the Serenade and 

the Introduction and Allegro. 

"...it conveys a great depth 

of melancholy..." 

He composed Sospiri (Sighs) in 1914, and 

dedicated it to a close friend, the violinist 

William Henry Reed. 

Imaginatively scored for strings, harp and 

organ, it conveys a great depth of melancholy 

in just a few minutes’ time. Author Michael 

Kennedy called it “a major work of grave 

beauty, an epitome of Elgar’s ability to 

express nostalgic regret.” It may also be 

taken as a forecast of the ghastly war years 

ahead. 

Wolfgang 

Amadeus Mozart 

b. Salzburg, Austria / January 27, 1756 

d. Vienna, Austria / December 5, 1791 

Clarinet Concerto in A Major, K. 622 

Mozart spent the final decade of his life in 

Vienna. His first years there were the most 

successful period of his career. Audiences 

adored his music and his piano playing, while 

a steady stream of students and commissions 

for fresh pieces came his way. 

"...one masterpiece after another 

flowed from his pen." 

But Viennese listeners proved fickle. The 

adult Mozart, no longer the fashionable child 

prodigy who had dazzled them in decades 

gone by, became just another musician in 

their eyes. Throughout his final years, he 

continued to earn money, but his complete 

inability to manage his finances swallowed 

it up. Also, mounting despair and increasingly 

poor health sapped his energies. His creative 

powers burned undimmed, however, and 

one masterpiece after another flowed from 

his pen. 

The Clarinet Concerto, one of his final 

creations, displayed his unsurpassed skill 

at creating balanced, mutually enriching 

dialogue between solo instruments and 

the orchestra. As had so often been the 

case, its inspiration came from a personal 

acquaintance. Mozart and clarinettist Anton 

Stadler first met in Salzburg, but it was only 

in Vienna that their personal and professional 

relationship came to full flower. 

For Stadler, by then a member of the Austrian 

capital’s Imperial Court Orchestra, Mozart first 

allegro 41

composed a magnificent quintet for clarinet 

and strings, then this concerto. He probably 

began writing it immediately following the 

premiere of the comic opera, The Magic 

Flute, on September 30, 1791. He crafted 

it to suit Stadler’s preferred instrument, the 

basset clarinet, whose range extended lower 

than the modern orchestral clarinet. The 

concerto is known today in an anonymous 

transcription, dating from about 1800, 

adapted to suit the type of clarinet that has 

been commonly used since then. 

The mellow, expressive voice of the clarinet 

proved to be the perfect medium to express 

what Mozart must have been feeling at the 

time. The central movement, with a tempo 

marking Adagio (very slow), is heartbreakingly 

sweet. One of its inspirations may have been 

the frequent absences of his beloved wife, 

Constanze, who was undergoing out-of-town 

medical treatments during this period. 

Ludwig van Beethoven 

b. Bonn, Germany / baptized December 17, 1770 

d. Vienna, Austria / March 26, 1827 

Symphony No. 5 in C minor, Op. 67 

Beethoven completed the Fifth Symphony 

during the first months of 1808. It and the 

Sixth premiered at the same, all-Beethoven 

marathon concert, in Vienna in December 

1808 (albeit in reverse order of their 

numbering). 

"...Beethoven was addressing 

momentous concepts 

in this music." 

It has perhaps the most familiar opening 

of any piece of classical orchestral music. 

This is also, surely, the most intense, even 

obsessive first movement anyone had 

written up to that time. Beethoven’s friend 

Anton Schindler, whose reminiscences are 

not always to be trusted, claimed that the 

composer pointed to the opening notes in the 

score and stated, “Thus fate knocks at the 

door!” That opening rhythm appears in almost 

every bar of the first movement. Whether 

listeners take the analogy that Schindler 

mentions literally or metaphorically, it is clear 

that Beethoven was addressing momentous 

concepts in this music. 

Recognizing the need to follow such a 

revolutionary tempest with something relaxed 

and traditional, in the second movement 

Beethoven offered a Haydn-esque set 

of variations, cast as a nonchalant stroll 

punctuated with pompous fanfares. The third 

movement is a dark, dramatic scherzo. After 

the whispered opening on the strings, the 

horns introduce a bold theme, clearly related 

to the opening movement’s first subject. Later, 

Beethoven puts the lower strings through 

some spectacular paces. 

"...with heart-stirring suddenness, 

we emerge into the blazing 

sunlight of a glorious new dawn." 

The scherzo’s closing measures, veiled in 

uncertainty, point to a tragic conclusion. 

In another act of symphonic innovation, 

Beethoven led us straight on to the finale. The 

path lies through a tunnel, echoing eerily with 

the muffled, heart-like beat of the timpani, the 

rhythm once again recalling the symphony’s 

opening motive. Then with heart-stirring 

suddenness, we emerge into the blazing 

sunlight of a glorious new dawn. Beethoven 

gave extra colour and solidity to this 

exhilarating finale (which includes a reprise of 

the main scherzo theme) by bringing piccolo, 

trombones and contrabassoon into the 

symphonic orchestra for the first time. 

With this section, Beethoven and his listeners 

concluded an emotional journey from 

darkness to light, the first such expedition 

undertaken in a symphony. This sequence 

of moods has the power to stir audiences 

on a fundamental level, embracing them in 

a common sense of victory. It also holds out 

the promise of hope, a tonic whose necessity 

never fades. This generosity of spirit is the 

foundation stone of Beethoven’s reputation – 

and his immortality. ■ 

Program Notes © 2012 Don Anderson 

allegro 43

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Recollections 


Christie Reside flute 

BRAMWeLL ToVey/VSo 

ALFREDO SANTA ANA Through the Burrow 

MICHAEL FINNISSY Obrecht Motetten I 

VINCENT HO Remnants of a Glass Cathedral 

INTERMISSION 

JAMES MAxWELL Vovere 

HARRISON BIRTWISTLE Tragoedia 

allegro 45





Christie Reside began studying flute with 

both of her parents at the age of six. Since 

then, she has been an active participant in 

numerous competitions, winning the National 

Music Festival of Canada, and placing second 

at the Tunbridge Wells International Young 

Concert Artists Competition. She has been 

invited to participate in numerous festivals 

around the world, including the Spoleto Music 

Festival, and the Mountain View International 

Festival of Song and Chamber Music. 

An enthusiastic chamber musician, 

Ms. Reside has collaborated with artists 

such as Rudolf Jansen, Olivier Thouin, 

Yegor Dyachkov, and Lise Daoust. She 

has also appeared as a soloist with the 

Montreal Symphony Orchestra, l'Orchestre 

Symphonique de Quebec, the Calgary 

Philharmonic Orchestra, and the Vancouver 

Symphony Orchestra, among others. 

Ms. Reside is currently the Principal Flute 

of the Vancouver Symphony Orchestra and 

is grateful to the Canada Council of the Arts 

for their generous support of her career. 

Program Notes 

Recollections brings the VSO in the smaller 

format of the sinfonietta ensemble into the 

intimate space of the Annex. Hot off the press, 

three works by the youngest generation of 

Canadian composers alongside two British 

modern classics reinterpret the past in this 

evening of contemplative, and at times 

melancholic new music. 

Alfredo Santa Ana b. 1981 

Through The Burrow, 2011 

The title Through The Burrow is a reference 

to Kafka’s unfinished story The Burrow, in 

which a mole-like creature struggles to find 

peace in an intricate system of underground 

tunnels it painstakingly builds throughout 

the entire story. Looking at this short story 

through a musical lens, I was drawn by the 

46 allegro 

rich psychological context in which the story 

unfolds. Through The Burrow is a form of 

musical memory of Kafka’s story, and the 

focus of the work is the setting in which 

the narrative takes place – conveying mood 

and atmosphere rather than specific plot 

points. In the description of the creature’s 

burrow, Kafka depicts a complex underground 

labyrinth made up of tunnels and chambers 

designed to protect the main character. The 

meticulous design of this subterranean home 

and the way the creature interacts with 

the space suggested the formal equivalent 

of a through-composed piece, where the 

musical material constantly keeps changing 

and evolving through familiar and unknown 

territories. 

This piece was written for the National 

Arts Centre Summer Institute’s Composers 

Programme in the summer of 2011 and was 

premiered at the Ann Southam Hall in Ottawa 

on June 2011. 

Michael finnissy b. 1946 

Obrecht Motetten I, 1989 

The Obrecht Motets is a series of five works 

using material derived from the motets Salve 

Regina and Ave regina caelorum by the 

Netherlands composer Jacobus Obrecht. The 

pieces do not imitate or reproduce Obrecht's 

style of composition. Fragments of the original 

melodic material, and the plainsong on which 

it is based are varied and permutated. 

Vincent Ho b. 1975 

Remnants of a Glass Cathedral, 2005 

Composed for the National Arts Centre’s 

Young Composers’ Programme, the work was 

premiered in Ottawa, Ontario, by l’Orchestre 

de la francophonie (Alexander Mickelthwate, 

cond.), in August 2005. 

The work was inspired by Ken Follett’s 

historical novel, The Pillars of the Earth. 

The book was the culmination of Mr. Follett’s 

lifelong fascination with Gothic cathedrals 

and the era in which they were built. For 

me, his vivid depiction of the period and the 

characters captured a level of believability 

that is rare in novels, making the whole era 

richly alive to the modern reader. From this

came the inspiration for my piece: a musical 

work that would conjure up church music of 

the past (Gregorian chants to be exact) but 

conveyed within the context of our time. In 

a way, I wanted to take the audience on a 

journey to the medieval church world and 

experience it from a modern perspective. 

In some sense, the work represents my 

attempt to “visit” a distant period while 

keeping one foot in the present time. 

The work starts out with the strings 

performing the primary musical material in 

a highly expressive fantasia-like manner. 

Gradually, other instruments join in to 

expand the colouristic palette. As the music 

coalesces, a chant-like theme emerges. 

It is set against a kinetic version of the 

initial musical material, thus bringing the 

two worlds together in counterpoint. The 

work unfolds with these two entities vying 

for supremacy until the primary material 

overpowers everything else and makes its 

effort to bring the audience back home. 

James Maxwell b. 1968 

Vovere for flute solo and ensemble, 2011 

Vovere is a re-thinking and re-working of an 

earlier work for flute solo, called invidere. 

Although much of the material comes directly 

from the solo, its treatment in the new work 

transforms the intention of the original, 

instilling it with an evocative and deeply 

personal quality. 

Thematically the work focuses on respiration 

and breath—that most fundamental human 

need, which supports us in life, and escapes 

us in death. Although it seems obvious, the 

flow of the breath is something the flute 

articulates with an uncommon beauty, 

always revealing the passage of air across its 

mouthpiece, rather than hiding it within the 

instrumental body itself. This articulation of 

respiration and breathing, and their 

final cessation, form the central struggle 

of the work. 

Vovere (to vow, dedicate) is dedicated to the 

memory of Maxwell's mother, Martha Rose 

Grymaloski. 

Sir Harrison Birtwistle b. 1934 

Tragoedia, 1965 

Tragoedia (the original meaning of which is 

“goat-song”) is abstract theatre. Although 

violence often dominates the music’s 

character, the mood in no way suggests 

tragedy. The ensemble seldom plays 

simultaneously; for the most part, groups 

of instruments or soloists are juxtaposed, 

creating highly original sonic colours. The 

horn, cello and harp are especially important 

– the horn quite savage, the cello more 

tender and fragile, with the harp among the 

other two. Tragoedia is a classic of modern 

chamber-music literature. ■ 

allegro 47


VISIT The LoBBy 


MUSICALLY SPEAKING 

VIDEO SCREEN SPONSOR 

JoSÉ LUIS GÓMeZ 

DInA yoffe 

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MUSICALLy SPEAkING 


Saturday, March 2 

NORTH SHORE CLASSICS 

CENTENNIAL THEATRE, 8PM 

Monday, March 4 

José Luis Gómez conductor 

Dina yoffe piano 

MUSSORGSKY Night on Bald Mountain 

CHOPIN Piano Concerto No. 2 in F minor, Op. 21 

I. Maestoso 

II. Larghetto 

III. Allegro vivace 

INTERMISSION 

PROKOFIEV Romeo and Juliet 

From Suite 2: 

No. 1 Montagues and Capulets (Andante) 

No. 2 The Child Juliet (Vivace) 

No. 3 Friar Laurence (Andante espressivo) 

No. 4 Dance (Vivo) 

No. 5 Romeo and Juliet Before Parting (Lento) 

No. 6 Dance of the Antilles Girls (Andante con eleganza) 

No. 7 Romeo at the Grave of Juliet (Adagio funebre) 

From Suite 1: 

No. 2 Scene (Allegretto) 

No. 5 Masks (Andante marciale) 

No. 7 Tybalt’s Death (Precipitato) 

allegro 49

José Luis Gómez conductor 

The young Venezuelan-born, Spanish 

conductor José Luis Gómez was catapulted to 

international attention when he captured the 

First Prize at the 5th International Sir Georg 

Solti Conductor’s Competition in Frankfurt in 

September, 2010 by a sensational and rare 

unanimous decision of the jury. 

Gómez’ electrifying energy, talent, and 

creativity earned him immediate acclaim from 

the Frankfurt Radio Symphony Orchestra – 

where he was appointed to the position of 

Assistant Conductor – a post newly created 

specifically for him by Paavo Jarvi and the 

orchestra directly upon the conclusion of 

the competition. 

From the age of eleven, Gómez was 

Concertmaster of the Youth Orchestra of Zulia 

State – part of the El Sistema de Orquestas 

Juveniles de Venezuela – following which 

he earned his degree in music and violin 

from the Maracaibo Music Conservatory and 

pursued graduate studies at the Manhattan 

School of Music in New York. 

Maestro Gómez is fluent in Italian, Spanish, 

English and French and is an avid devotee 

of languages. 

Dina yoffe piano 

Dina Yoffe is the top prize-winner at the 

R. Schumann international competition 

in Germany and prestigious F. Chopin 

Competition in Warsaw, Poland. She 

participates at international music festivals 

in Europe, Japan, and the U.S. and is an 

honorary member of Japan Piano Teachers 

Association, and the Artistic Director of 

Festival and Master Classes "Recontres 

Estivales au Moulin" (D'Ande, France). 

Originally from Riga (Latvia), Dina Yoffe 

started her musical education at the 

distinguished Emil Darzin's Special School 

of Music in her hometown, and continued at 

The Central Music School in Moscow. Dina 

graduated from the Tchaikovsky Conservatory 

of Music in Moscow, under the tutelage of 

Professor Vera Gornostayeva, one of the 

most important proponents of the legendary 

Heinrich Neuhaus school. 

Together with the wide solo and orchestral 

career, Dina Yoffe is also an active participant 

in chamber music festivals, where she 

plays with many internationally renowned 

musicians, such as Kremer, Bashmet, 

Tretiakov, Repin, Vaiman, and Brunello, 

to name a few. 

Modest Mussorgsky 

b. Karevo, Russia / March 21, 1839 

d. St. Petersburg, Russia / March 28, 1881 

Night on Bald Mountain 

Mussorgsky prepared several editions of this 

darkly atmospheric work, but none of them 

were performed during his lifetime. In 1886, 

his colleague Nikolay Rimsky-Korsakov took 

the version Mussorgsky had created for the 

comic opera Sorochintskï Fair as the basis for 

this setting, the one in which the piece is best 

known. It was published with the following 

program attached: Subterranean sounds of 

unearthly voices. Appearance of the Spirits 

of Darkness, followed by that of the god 

Tchernobog (the Devil of Russian folk lore). 

Glorification of Tchernobog and celebration 

of the Black Mass. Witches’ Sabbath. At the 

height of the orgy the bell of the little village 

church is heard from afar. The Spirits of 

Darkness are dispersed. Daybreak. 

fryderyk Chopin 

b. Zelozowa, Wola (near Warsaw), March 1, 1810 

d. Paris, France / October 17, 1849 

Piano Concerto No. 2 in F minor, Op. 21 

Chopin composed his two piano concertos 

between 1829 and 1830, at the end of 

his teens. Due to a delay in publishing, 

they appeared in the reverse order of their 

composition. Therefore the Concerto in 

F Minor, Op. 21, which will be performed at 

these concerts, though labeled No. 2, is actually 

the earlier piece. 

"...she who was in my mind when 

I composed the slow movement 

of my concerto." 

At the time he composed it, he was in the midst 

of his first important love affair. The object 

allegro 51

of his regard was a gifted singer, Konstancja 

Gladkowska. Naturally his feelings made 

themselves felt in his music. He wrote to a 

friend, “I have already found my ideal, whom 

I worship faithfully and sincerely. Six months 

have elapsed, and I haven’t yet exchanged 

a syllable with her of whom I dream every 

night – she who was in my mind when I 

composed the slow movement of my concerto.” 

It received its premiere, in Warsaw, shortly after 

its completion. Chopin himself was the soloist, 

making his public debut in his nation’s capital. 

The concert was a great success for him. 

"The second movement is one 

of Chopin’s loveliest creations, 

flowing straight from his 

lovestricken heart." 

In typical early Romantic fashion, the first 

movement begins with a lengthy orchestral 

introduction. It presents the two main themes, 

and sets the music’s overall tone of poetic 

melancholy. The second movement is one of 

Chopin’s loveliest creations, flowing straight 

from his lovestricken heart. The finale, brisk 

but never overstated, features hints of Polishflavoured 

dance music. It gradually discards its 

early traces of emotional uncertainty, to end the 

concerto in a totally carefree atmosphere. 

The VSO has 

gone mobile! 

check out the mobile website at 

vancouversymphony.ca 

for concert listings, artist photos/bios, 

calendar, and ticket purchases. 

52 allegro 

@VSOrchestra 

Sergei Prokofiev 

b. Sontsovka, Ukraine / April 27, 1891 

d. Moscow, Russia / March 5, 1953 

Romeo and Juliet, Op. 64: Selections 

In 1934, the Leningrad Opera and Ballet 

Company commissioned Prokofiev to compose 

a ballet based on Romeo and Juliet. He and 

the company’s director, Sergei Radlov, spent 

months working on the scenario. Meanwhile a 

newly-installed company management decided 

to withdraw from the project. Undaunted, 

Prokofiev struck a deal to have it staged by 

Moscow’s Bolshoi Theater. He then proceeded 

to complete his score, which he did in five 

months’ worth of concentrated, inspired 

effort ending in September 1935. Alas, history 

repeated itself and the Bolshoi decided to pass 

on it, too. In order to have the music heard, 

Prokofiev drew upon it for a set of ten piano 

transcriptions and two concert suites (a third 

followed in 1947). 

Romeo and Juliet finally saw the stage in 

December, 1938 in Brno, Czechoslovakia. That 

production was successful enough. More than a 

year passed before the appearance of the first 

staging to do the score justice, once the Kirov 

agreed to mount the first production within the 

Soviet Union. It scored an unqualified triumph 

at its debut on January 11, 1940. ■ 

Program Notes © 2012 Don Anderson


DALe BARLTRoP 

PyATT hALL 

VSO CHAMBER PLAYERS 


INDUSTRIAL ALLIANCE 

VSO CHAMBER PLAyERS 

ALAN AND 

GWENDOLINE PyATT HALL 

DR. H.N. MACCORkINDALE STAGE, 

VSO SCHOOL Of MUSIC 

Thursday, March 7, 7:30pm 

Sunday, March 10, 2pm 

POULENC Trio for Oboe, Bassoon and Piano 

Beth orson oboe 

Gwen Seaton bassoon 

Terence Dawson piano 

MARTIN Ballade for Flute and Piano 



IBERT 

Deux Interludes for Flute, Violin and Piano 




DEBUSSY Sonata for Violin and Piano 



INTERMISSION 

FRANçAIx Trio for Oboe, Clarinet and Bassoon 


Cris Inguanti clarinet 


POULENC Sextet for Winds and Piano 



Cris Inguanti clarinet 


David haskins horn 


allegro 53

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March 9 & 11 

James Gaffigan conductor 

Vadim Gluzman violin 

STRAUSS 

Serenade for Winds in E-flat Major, Op. 7 

BERNSTEIN Serenade 

I. Phaedrus: Pausanias 

II. Aristophanes 

III. Eryximachus 

IV. Agathon 

V. Socrates: Alcibiades 

INTERMISSION 

BEETHOVEN 

Symphony No. 3 in E-flat Major, Op. 55, Eroica 

I. Allegro con brio 

II. Marcia funebre. Adagio assai 

III. Scherzo. Allegro vivace – Trio 

IV. Finale. Allegro molto 

allegro 55

James Gaffigan conductor 

American conductor James Gaffigan is 

praised for the precision and natural ease 

of his conducting and the illuminating 

insight of his musicianship. Mr. Gaffigan was 

recently appointed Chief Conductor of the 

Lucerne Symphony Orchestra and Principal 

Guest Conductor of the Netherlands Radio 

Philharmonic Orchestra and assumed both 

positions in the summer of 2011. 

Mr. Gaffigan's international career was 

launched when he was named a first 

prize winner at the 2004 Sir Georg Solti 

International Conducting Competition in 

Frankfurt, Germany. In 2009 Mr. Gaffigan 

completed his three-year tenure as Associate 

Conductor with the San Francisco Symphony 

where he assisted Michael Tilson Thomas, 

led subscription concerts and was Artistic 

Director of the orchestra's 'Summer in the 

City' festival. 

A New York City native, Mr. Gaffigan 

resides in Lucerne with his wife, Lee Taylor 

Gaffigan, and his daughter, Sofia. He is also 

an enthusiastic gourmand and his blogs, 

which can be found on his website, www. 

jamesgaffigan.com, frequently contain 

restaurant and wine recommendations 

along with his experiences as he travels the 

world as a conductor. You can also follow 

Mr. Gaffigan on Twitter, @jamesgaffigan and 

Facebook. 

Vadim Gluzman violin 

Vadim Gluzman’s extraordinary artistry both 

sustains the great violinistic tradition of the 

19th and 20th centuries and enlivens it with 

the dynamism of today. The Israeli violinist 

appears regularly with major orchestras 

and his collaborators are among the world’s 

foremost conductors. 

Vadim Gluzman was born in 1973 in the 

Ukraine, and began studying the violin at 

the age of seven. Before moving in 1990 to 

Israel, where he was a student of Yair Kless, 

he studied with Roman Sne in Latvia and 

Zakhar Bron in Russia. In the United States, 

his teachers were Arkady Fomin and, at 

the Juilliard School, the late Dorothy DeLay 

and Masao Kawasaki. Early in his career, 

56 allegro 

Mr. Gluzman enjoyed the encouragement 

and support of Isaac Stern and, in 1994, he 

received the prestigious Henryk Szeryng 

Foundation Career Award. 

Vadim Gluzman plays the 1690 ‘ex-Leopold 

Auer’ Stradivari, on extended loan to him 

through the generosity of the Stradivari 

Society of Chicago. 

Richard Strauss 

b. Munich, Germany / June 11, 1864 

d. Garmisch-Partenkirchen, Germany / Sept. 8, 1949 

Serenade for Winds in E-flat major, Op. 7 

The Serenade for Winds is the first of four 

works for large wind ensemble that Richard 

Strauss wrote. Scored for pairs of flutes, 

oboes, clarinets and bassoons, with four 

horns and double bassoon, Strauss wrote the 

work in 1881 at the age of only seventeen. 

Strauss’s musical influences at this point in 

his musical career were, more than any other 

composers, Mozart, Haydn and Beethoven 

– no doubt gleaned from his father’s tastes – 

and these influences are clearly heard in the 

Serenade. 

"...some of the most lyrical writing 

of Strauss’s early career." 

Though cast in the sonata form innovated in 

the Classical era, the Serenade is far from 

merely an imitation of the works of these 

great composers; rather, it is a synthesis of 

an older style and Strauss’s own emerging 

and maturing musical sensibilities. The work 

is presented in a single movement, with some 

of the most lyrical writing of Strauss’s early 

career. It is easy to hear the potential of this 

extraordinary composer and orchestrator 

in this beautiful, early work, and indeed, 

when the legendary conductor Hans von 

Bülow conducted this work two years after 

its debut, he famously referred to Richard 

Strauss prophetically as “an uncommonly 

gifted young man, by far the most striking 

personality since Brahms.”

Leonard Bernstein 

b. Lawrence, Massachusetts, USA / August 25, 1918 

d. New York, USA / October 14, 1990 

Serenade 

Commissioned by the Koussevitzky Musical 

Foundation, Bernstein also dedicated the 

Serenade (also referred to as Serenade after 

Plato’s Symposium) to his conducting mentor, 

Serge Koussevitzky. Bernstein wrote the 

Serenade in 1954, and described it in his own 

words as follows: 

“There is no literal program for this Serenade. 

The music, like Plato’s dialogue, is a series 

of related statements in praise of love. The 

‘relatedness’ of the movements does not 

depend on common thematic material, but 

rather on a system whereby each movement 

evolves out of elements in the preceding one, 

a form I initiated in my Second Symphony. 

“I. Phaedrus; Pausanias (Lento; Allegro). 

Phaedrus opens the symposium with a lyrical 

oration in praise of Eros, the god of Love. 

(Fugato, begun by the solo violin.) Pausanias 

continues by describing the duality of the 

lover as compared with the beloved. This is 

expressed in a classical sonata-allegro, based 

on the material of the opening fugato. 

“II. Aristophanes (Allegretto). Aristophanes 

does not play the role of clown in this 

dialogue, but instead that of the bedtime 

storyteller, invoking the fairy-tale mythology 

of love. The atmosphere is one of quiet 

charm. 

“III. Erixymathus (Presto). The physician 

speaks of bodily harmony as a scientific 

model for the workings of love patterns. This 

is an extremely short fugato scherzo, born of 

a blend of mystery and humor. 

“IV. Agathon (Adagio). Perhaps the most 

moving (and famous) speech of the dialogue, 

Agathon’s panegyric embraces all aspects of 

love’s powers, charms, and functions. This 

movement is simply a three-part song. 

“V. Socrates; Alcibiades (Molto tenuto; Allegro 

molto vivace). Socrates describes his visit 

to the seer Diotima, quoting her speech on 

the demonology of love. Love as a demon 

is Socrates’ image for the profundity of 

58 allegro 

love, and his seniority adds to the feeling of 

didactic soberness in an otherwise pleasant 

and convivial after-dinner discussion. This is a 

slow introduction of greater weight than any 

of the preceding movements, and serves as a 

highly developed reprise of the middle section 

of the Agathon movement, thus suggesting 

a hidden sonata form. 

The famous interruption by Alcibiades and 

his band of drunken revelers ushers in the 

Allegro, which is an extended Rondo ranging 

in spirit from agitation through jig-like dance 

music to joyful celebration. If there is a hint 

of jazz in the celebration [there is more 

than a hint], I hope it will not be taken as 

anachronistic Greek party music, but rather 

the natural expression of a contemporary 

American composer imbued with the spirit of 

that timeless dinner party.” 

Ludwig van Beethoven 

b. Bonn, Germany / baptized December 17, 1770 

d. Vienna, Austria / March 26, 1827 

Symphony No. 3 in E-flat Major, 

Op. 55, Eroica 

Beethoven’s ‘Heroic’ Symphony No. 3 was 

indeed heroic in many senses of the word. 

A stunning compositional achievement, 

the Eroica symphony changed the way 

symphonies were written, and changed 

everyone’s perception of what a symphony 

can be. In fact, a year before composing the 

Eroica, Beethoven declared that he was not 

satisfied with anything he had composed 

before, and wanted to take a new direction; 

and did he ever. The Third Symphony was 

bigger in literal terms than anything written 

to that point – but not only did Beethoven 

create something for a larger orchestra, he 

opened up an extraordinary vision of what 

symphonic music can be, on a scale never 

before dreamed of. 

Although perhaps too much has been made 

of this in the fullness of time, Beethoven did 

in fact originally dedicate the composition of 

the Eroica (Heroic) symphony to Napoleon 

Bonaparte; or, perhaps more accurately, to the 

humanitarian ideals of the French Revolution 

that Bonaparte seemed to represent and 

champion. But of course, Bonaparte revealed

his true nature when he declared himself 

Emperor, much to the chagrin of Beethoven, 

who already harboured some doubts about 

the soon-to-be-dictator before this work was 

ever completed. Beethoven’s friend Ferdinand 

Ries tells the story of being the first to tell 

Beethoven of Napoleon’s declaration: “I was 

the first to announce to him that Napoleon 

had declared himself Emperor, whereupon 

he flew into a rage and cried out: ‘Then he, 

too, is nothing but an ordinary mortal! Now 

he, too, will trample on the rights of man and 

indulge only his own ambition!’ Beethoven 

went to the table, took hold of the title page 

by the top, tore it apart and flung it on the 

ground. The first page was rewritten and not 

until then was the symphony entitled Sinfonia 

Eroica (Heroic Symphony).” 

This extraordinary work reveals its treasures 

gradually after the listener’s attention is 

grabbed by the two simple, sharp chords that 

start the symphony. Layer upon layer of the 

immensity of this work unfold throughout 

the first movement, setting the epic tone 

for what is to come. The sheer originality 

of the composition, in the context of its 

time, is dazzling. The second movement is 

a funeral march in place of a typical slow 

movement, and it is a march of sublime 

depth and astonishing power. The march is 

perhaps a metaphor of grief for the human 

condition, and a profound statement of pain 

for the tragedies of war being inflicted upon 

Beethoven’s Europe at this time. Whatever 

the motivation, the mood that this wonderful 

march evokes is washed away immediately 

by the balm of a fresh, vital, sparkling 

Scherzo – in place of the traditional Minuet 

– in the third movement. The Scherzo gives 

way to a finale that is a set of variations on 

a melody from Creatures of Prometheus, a 

ballet that Beethoven composed in 1801. 

These variations are full of joy and life and 

freshness, yet always tinged with hints of 

drama and seriousness befitting the epic 

scope and scale of this work’s conception. 

The symphony comes to the kind of rousing 

conclusion one might expect, wrapping up an 

astonishing work that is, indeed, heroic. ■ 

Program Notes © 2012 James Alexander 

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The Vancouver Symphony gratefully acknowledges the generosity of the following Corporations, 

Foundations, and Government Agencies that have made a financial contribution through 

sponsorship and/or a charitable donation for the 2012/2013 season. 

SERIES SPONSORS 

CONCERT AND SPECIAL EVENT SPONSORS 

 

 

60 allegro 

KINGSWOOD CAPITAL CORPORATION 

KINGSWOOD CAPITAL CORPORATION 

VANCOUVER 

SYMPHONY 

VOLUNTEERS 

IMPORTANT: 

For Usage below 1-1/2” wide

EDUCATIONAL PROGRAM SPONSORS AND PARTNERS 

JeMInI 

foUnDATIon 

MEDIA PARTNERS 

$150,000+ 

TELUS Corporation 

Vancouver Sun 

$100,000+ 

Goldcorp Inc. 

$50,000+ 

City of Burnaby Parks, 

Recreation and Cultural 

Services 

Jemini Foundation 

Industrial Alliance Insurance 

and Financial Services Inc. 

Vancouver Foundation 

$40,000+ 

Air Canada 

BMO Financial Group 

Pacific Arbour 

Retirement Communities 

PwC 

RBC Foundation 

$30,000+ 

Borden Ladner Gervais LLP 

Eminata Group 

HSBC Bank Canada 

London Drugs 

YVR–Vancouver Airport Authority 

$20,000+ 

Best Buy Canada 

Blake, Cassels & Graydon LLP 

The Chan Endowment 

Fund of UBC 

Concord Pacific 

PREMIER EDUCATION PARTNER 

David T.K. Ho Enterprises 

Ernst & Young LLP 

Great Century Foundation 

Holland America Line Inc. 

Polygon Homes Ltd. 

Rogers Group Financial 

Spectra Energy 

TD 

Upright Decor Rentals 

and Event Design 

Vancouver Symphony Volunteers 

Wall Financial 

Wesbild Holdings Ltd. 

$10,000+ 

Aspac Developments Ltd. 

BA Blacktop Ltd. 

Canadian Western Bank 

Canfor Corporation 

Canron Western 

Constructors LP 

Craftsman Collision 

Heritage Office Furnishings 

Keir Surgical 

Kingswood Capital Corporation 

KPMG LLP 

Park Royal Shopping Centre 

Peter Kiewit Infrastructure Co. 

Sierra Systems 

Stikeman Elliott LLP 

Teck Resources Limited 

Tom Lee Music 

$5,000+ 

Anthem Properties Group Ltd. 

Aurcana Corporation 

BCLC 

Centerplate at Vancouver 

Convention Centre 

Commonwealth 

Insurance Company 

CIBC 

Deloitte & Touche LLP 

Farris, Vaughan, Wills 

& Murphy LLP 

Genus Capital Management 

Graphic Angel Design 

Grosvenor 

Goodmans LLP 

Harris Rebar 

Hatch Mott MacDonald 

Haywood Securities Inc. 

Koffman Kalef LLP/Northstar 

Trade Finance Inc. 

The Lazy Gourmet 

LMS Reinforcing Steel Group 

Ledcor Properties Inc. 

Macdonald Development 

Corporation 

Marin Investments Limited 

McElhanney Consulting 

Services Ltd. 

MCL Motor Cars— 

Dilawri Group of Companies 

MMM Group Limited 

Dr. Tom Moonen Inc. 

Michael O’Brian 

Family Foundation 

PCL Constructors Westcoast Inc. 

Porte Industries 

ScotiaMcLeod 

Silver Wheaton 

Stantec 

Terus Construction Ltd. 

The Titanstar 

Group of Companies 

Xibita 

Yamaha 

Anonymous (1) 

$2,500+ 

Armtec Limited Partnership 

B&B Contracting Ltd. 

Central 1 Credit Union 

Epic Production Technologies 

Ethical Bean Coffee 

Kian Show Services Ltd. 

LU Biscuits 

McCarthy Tétrault Foundation 

Norburn Lighting & Bath Centre 

SOCAN Foundation 

Windsor Plywood Foundation 

For more information about the VSO Corporate Partners Programs 

and the exclusive benefits associated with this program please contact Jennifer Polci at 

604.684.9100 extension 239 or email jennifer@vancouversymphony.ca 

$1,000+ 

ABC Recycling Ltd. 

Bing Thom Architects Foundation 

Cibo Trattoria 

Dunbar Dental 

Encore Software 

The Hamber Foundation 

HUB International 

Insurance Brokers 

Lantic Inc. 

The Simons Foundation 

Tala Florists 

West Coast Reduction Ltd. 

Wolrige Foundation 

allegro 61

At the Concert 

ConCeRT CoURTeSIeS 

For your enjoyment, and the enjoyment of 

others, please remember concert etiquette. 

Talking, coughing, leaning over the balcony 

railings, unwrapping cellophane-wrapped 

candies, and the wearing of strong perfume 

may disturb the performers as well as other 

audience members. 

LATeCoMeRS 

Ushers will escort latecomers into the 

auditorium at a suitable break in the 

performance chosen by the conductor. 

Patrons who leave the auditorium during 

the performance will not be re-admitted 

until a suitable break in the performance. 

heARInG-ASSIST SySTeMS 

Hearing-impaired patrons may borrow 

complimentary Sennheiser Infrared Hearing 

System headsets, available at the coat-check 

in the Orpheum Theatre only, after leaving 

a driver’s licence or credit card. 

Jeff Alexander, President & Chief Executive Officer 

Finance & Administration: 

Mary-Ann Moir, Vice-President, Finance & 

Administration 

Debra Marcus, Director of Information Technology 

& Human Resources 

Ann Surachatchaikul, Accountant 

Ray Wang, Payroll Clerk & IT Assistant 

Marketing, Sales & Customer Service: 

Alan Gove, Vice-President, Marketing & Sales 

Shirley Bidewell, Manager of Gift Shop & Volunteers 

Estelle and Michael Jacobson Chair 

Stephanie Fung, Marketing Manager 

Anna Gove, Editor & Publisher, Allegro Magazine 

Katherine Houang, Group Sales & Special Ticket Services 

Kenneth Livingstone, Database Manager 

Cameron Rowe, Director of Audience & Ticket Services 

Laura-Anne Scherer, Public Relations & Social Media 

Manager & Assistant to the President 

Customer Service Representatives: 

Christine Fraser, Customer Service Supervisor 

Jeff Cancade Jenny Jung Thalia McWatt 

Acacia Cresswell Shawn Lau Karl Ventura 

Jason Ho Jonah McGarva 

The Stage Crew of the Orpheum Theatre are members of Local 

118 of the International Alliance of Theatrical Stage Employees. 

62 allegro 

CeLL PhoneS, PAGeRS, DIGITAL WATCheS 

Please turn off cell phones and ensure 

that digital watches do not sound during 

performances. Doctors and other professionals 

expecting calls are asked to please leave 

personal pagers, telephones and seat locations 

at the coat-check. 

CAMeRAS, ReCoRDInG eqUIPMenT 

Cameras and audio/video recording 

equipment of any kind are strictly prohibited 

in all venues and must be left at the coat-check 

in the main lobby. Under no circumstances 

may photographs, video recordings or audio 

recordings be taken during a performance. 

SMoKInG AnD SCenTS 

All venues are non-smoking and scent-free 

environments. 

PRoGRAM, GUeST ARTISTS AnD/oR 

PRoGRAM oRDeR ARe SUBJeCT To ChAnGe. 

Vancouver Symphony Administration 604.684.9100 

Development: 

Leanne Davis, Vice-President, Chief Development Officer 

Laura Barton, Development Officer, Special Projects 

Ryan Butt, Development Officer, Corporate & Donor Relations 

Jennifer Polci, Director, Corporate & Major Gifts 

Ann True, Development Coordinator 

Jessica Tung, Lotteries Assistant 

Lauren Watson, Development Assistant 

Artistic Operations & Education: 

Joanne Harada, Vice-President, Artistic Operations 

& Education 

DeAnne Eisch, Orchestra Personnel Manager 

Aaron Hawn, Assistant Librarian & Digital Projects Coordinator 

David Humphrey, Operations Manager 

Karen Jeffery, Artistic Operations Assistant 

& Assistant to Maestro Tovey 

Minella F. Lacson, Librarian 

Ron & Ardelle Cliff Chair 

Christin Reardon MacLellan, Education and Community 

Programmes Manager 

Ken & Patricia Shields Chair 

Pearl Schachter, Artistic Operations & Education Assistant 

The Vancouver Symphony Orchestra is a proud member of

Vancouver Symphony Society Board of Directors 

Executive Committee 

Fred Withers, Chair 

Chief Development Officer 

Ernst & Young 

Larry Berg, Vice Chair 

President & CEO 

Vancouver International Airport Authority 

Colin Erb, Treasurer 

Partner, Deloitte & Touche LLP 

Dave Cunningham, Secretary 

VP Government Relations, TELUS 

Alan Pyatt, Member-at-Large 

Chairman, President and CEO (Ret.) 

Sandwell International Inc. 

Directors 

Suzanne Anton 

Corporate Director 

Joan Chambers 

Partner, Blakes 

Dr. Peter Chung 

Executive Chairman, Eminata Group 

Ronald Laird Cliff, C.M., Chair 

Marnie Carter 

Charles Filewych 

Board of Directors 

Gordon R. Johnson, Chair 

Thomas Beswick 

Hein Poulus, Q.C. 

Gerry Sayers 

Patricia Shields 

Chair . . . . . . . . . . . . . . . Sheila Foley 

Vice-Chair/Treasurer ...Nancy Wu 

Secretary............Joni MacArthur 

Immediate Past Chair. ..Anne Janmohamed 

Scheduling 

Concerts (all venues) ...Shirley Bidewell 

Gift Shop . . . . . . . . . . . . Barbara Morris 

Helen Dubas 

Lotteries in Malls ......Gloria Davies 

Reception Shifts. ......Gloria Davies 

Tea & Trumpets .......Shirley Featherstone 

Marlene Strain 

Michael L. Fish 

President, Keir Surgical 

Lindsay Hall 

Executive Vice-President and CFO 

Goldcorp Inc. 

Diane Hodgins 

Director, Century Group Lands Corporation 

John Icke 

President and CEO 

Resinco Capital Partners 

Olga Ilich 

President, Suncor Development Corporation 

Gordon R. Johnson 

Partner, Borden Ladner Gervais 

Julie Molnar 

Director, The Molnar Group 


Partner, Stikeman Elliot 

Patricia Shields 

Education Consultant 

John Icke 

Judi Korbin 

Richard Mew 


Alan Pyatt 

Arthur H. Willms 

Special Events 

Symphony of Style 2012 ... Estelle Fu 

Nancy Wu 

Holland America 

Luncheon 2012 . . . . . . . . . . Sheila Foley 

Education & Community 

Musical Encounters ....... Isabella Morrow 

Hospitality .............. Maria Estrope 

Scholarship ............. Pat Hoebig 

Membership 

Volunteer Hours ......... Angelina Bao 

Denise Turner 

Executive Vice-President 

TitanStar Group of Companies 

Michael Webb 

SVP, Human Resources 

HSBC Bank Canada 

Musician Representatives 

Dylan Palmer, Principal Bass 

Christie Reside, Principal Flute 

Honorary Life President 

Ronald Laird Cliff, C.M. 

Honorary Life Vice-Presidents 

Nezhat Khosrowshahi 

Gerald A.B. McGavin, C.M., O.B.C. 

Ronald N. Stern 

Arthur H. Willms 

Vancouver Symphony foundation Board of Trustees 

VSO School of Music Society 

George Taylor 

Marsha Walden 

Administration 

Jeff Alexander 

President & CEO 

Curtis Pendleton 

Executive Director 

Louise Ironside 

Registrar & Communications 

Coordinator 

Fred Withers 

Tim Wyman 

Lindy Gray 

Front Desk Supervisor 

& Gift Shop Manager 

Vancouver Symphony Volunteer Council 2012/2013 

Manager, Gift Shop 

and Volunteer Resources 

Shirley Bidewell 

Tel 604.684.9100 ext 240 

shirley@vancouversymphony.ca 

Assistant 

Gift Shop Manager 

Robert Rose 

allegro 63

UPCOMING CONCERTS 

Highlights of the next issue of allegro... 

InGRID 

fLITeR 

LEAHY 

AVAN YU 

RAy Chen 

JOHN PIZZARELLI 

A CELTIC CELEBRATION 

FRI & SAT, MARCH 15 & 16, ORPHEUM THEATRE 

Steven Reineke conductor Leahy 

Celebrate St. Paddy’s Day with Leahy, Canada’s first family of Celtic 

and Cape Breton style music. Leahy’s thrilling and emotional reels and 

jigs will take your breath away, and tug on your heartstrings, too. From 

Danny Boy to Far and Away, from a medley of U2 songs to Simple Gifts, 

Steven Reineke’s arrangements and Leahy’s pure, joyous music 

straight from the heart will captivate you. 

THE LITTLE RUSSIAN SyMPHONy 

SAT, SUN & MON, APRIL 6, 7 & 8, ORPHEUM THEATRE 

DaYe Lin conductor Avan Yu piano 

The epic Brahms Piano Concerto No. 2 is tackled by extraordinary 

Canadian pianist Avan Yu in a program that also features Tchaikovsky’s 

beautiful, joyous Little Russian symphony. 

fROM THE NEW WORLD 

SAT & MON, APRIL 13 & 15, ORPHEUM THEATRE 

Andrew Grams conductor Ray Chen violin 

Ray Chen is among the most compelling young violinists in the world 

today, and he performs two of Sarasate’s arm-twisting thrillers. This 

concert also features one of the most popular symphonies ever written, 

Dvorˇák’s magnificent ‘New World’ Symphony. 

PIZZARELLI PLAyS ELLINGTON 

FRI & SAT, APRIL 26 & 27, ORPHEUM THEATRE 

Gordon Gerrard conductor Tony Tedesco drums 

John Pizzarelli guitar/vocals Martin Pizzarelli bass 

Larry Fuller piano 

Son of legendary guitarist Bucky Pizzarelli, John Pizzarelli grew up 

surrounded by jazz and swing legends and became a legend-in-themaking 

himself, with unmatched class, talent and wit. Known worldwide 

for his extraordinary rapport with audiences, smooth vocals and fantastic 

jazz guitar playing, John Pizzarelli delivers performances to rave reviews 

wherever he goes. Don’t miss his sizzling, swingin’ tribute to The Duke. 

THE MERRy PRANkS Of TILL EULENSPIEGEL 

SAT, SUN & MON, MAY 4, 5 & 6, ORPHEUM THEATRE 

Kazuyoshi Akiyama conductor Ingrid Fliter piano 

One of the great interpreters of the classical repertoire, pianist 

Ingrid Fliter always delivers exhilarating performances, and is right 

at home with the music of Mendelssohn. Richard Strauss’s funky, 

fantastic tone poem about the kooky exploits of Till Eulenspiegel makes 

for a satisfying concert finale (well, for audiences, not for Till!). 

full concert listings and tickets at 

vancouversymphony.ca or call 604.876.3434

issue three - Vancouver Symphony Orchestra

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