issue one - Vancouver Symphony Orchestra
issue one - Vancouver Symphony Orchestra
issue one - Vancouver Symphony Orchestra
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allegro<br />
MAGAZINE OF THE VANCOUVER SYMPHONY<br />
Anne-Sophie<br />
Mutter<br />
SEPTEMBER 25–NOVEMBER 9, 2010–VOLUME 16–ISSUE 1<br />
Opening Night with<br />
Bramwell Tovey<br />
and Avan Yu<br />
The Music of<br />
Gilbert & Sullivan!<br />
Han-Na Chang<br />
Extraordinary cellist plays Elgar<br />
Chantal Kreviazuk<br />
Pop superstar performs<br />
with the VSO
a traditionaL<br />
christmas<br />
TICKETS ALWAYS SELL OUT EARLY, GET YOURS TODAY!<br />
Bramwell Tovey conductor<br />
Christopher Gaze host<br />
UBC Opera Ensemble<br />
EnChor<br />
The Lower Mainland’s most beloved<br />
Holiday music tradition! This season,<br />
Music Director Bramwell Tovey<br />
leads the orchestra in a celebration<br />
of the Holiday spirit, with carols,<br />
heartwarming Christmas music, and<br />
plenty of audience sing-a-longs!<br />
Christopher Gaze narrates.<br />
St. Andrew’s Wesley CHURCH, <strong>Vancouver</strong><br />
Thursday, December 9, 7:30pm<br />
Friday, December 10, 7:30pm<br />
Saturday, December 11, 4pm & 7:30pm<br />
Bell Performing Arts Centre, Surrey<br />
Sunday, December 12, 4pm & 7:30pm<br />
South Delta Baptist Church, DELTA<br />
Wednesday, December 15, 4pm & 7:30pm<br />
Michael J. Fox Theatre, BURNABY<br />
Thursday, December 16, 7:30pm<br />
Centennial Theatre, North <strong>Vancouver</strong><br />
Friday, December 17, 4pm & 7:30pm<br />
Kay Meek Theatre, West <strong>Vancouver</strong><br />
Saturday, December 18, 4pm & 7:30pm<br />
Bramwell Tovey<br />
Christopher Gaze<br />
Tickets online at vancouversymphony.ca<br />
or call VSO Customer Service at<br />
604.876.3434<br />
The VSO’s Traditional Christmas<br />
Concerts have been endowed bY<br />
a generous gift from Sheahan and<br />
Gerald McGavin, C.M., O.B.C.<br />
PRESENTING SPONSOR<br />
MEDIA PARTNER
vancouver symphony orchestra<br />
BRAMWELL TOVEY MUSIC DIRECTOR<br />
KAZUYOSHI AKIYAMA CONDUCTOR LAUREATE<br />
JEFF TYZIK PRINCIPAL POPS CONDUCTOR<br />
* Pierre Simard ASSISTANT CONDUCTOR<br />
Marsha & George Taylor Chair<br />
* SCOTT GOOD COMPOSER-IN-RESIDENCE<br />
first violins<br />
Dale Barltrop,<br />
Concertmaster<br />
Joan Blackman,<br />
Associate Concertmaster<br />
Jennie Press, Second<br />
Assistant Concertmaster<br />
Robin Braun<br />
Mary Sokol Brown<br />
Mrs. Cheng Koon Lee Chair<br />
Jenny Essers<br />
Jason Ho<br />
Akira Nagai, Associate<br />
Concertmaster Emeritus<br />
Xue Feng Wei<br />
Rebecca Whitling<br />
Yi Zhou<br />
Nancy DiNovo ◊<br />
Kimi Hamaguchi ◊<br />
Paul Luchkow ◊<br />
Ruth Schipizky ◊<br />
second violins<br />
Brent Akins, Principal<br />
Karen Gerbrecht,<br />
Associate Principal<br />
Jim and Edith le Nobel Chair<br />
Jeanette Bernal-Singh,<br />
Assistant Principal<br />
Adrian Shu-On Chui<br />
Daniel Norton<br />
Ann Okagaito<br />
Ashley Plaut<br />
Alana Chang ◊<br />
Maya De Forest ◊<br />
DeAnne Eisch ◊<br />
Angela Goddard ◊<br />
Pamela Marks ◊<br />
§ Leave of Absence<br />
∆ One-year Position<br />
◊ Extra Musician<br />
violas<br />
Neil Miskey, Principal<br />
Andrew Brown,<br />
Associate Principal<br />
Stephen Wilkes,<br />
Assistant Principal<br />
Lawrence Blackman<br />
Estelle & Michael Jacobson Chair<br />
Angela Schneider<br />
Professors Mr. and Mrs.<br />
Ngou Kang Chair<br />
Ian Wenham<br />
Chi Ng ◊<br />
Reginald Quiring ◊<br />
Marcus Takizawa ◊<br />
cellos<br />
Lee Duckles, Principal<br />
Nezhat and Hassan<br />
Khosrowshahi Chair<br />
Janet Steinberg,<br />
Associate Principal<br />
Zoltan Rozsnyai,<br />
Assistant Principal<br />
Olivia Blander<br />
Natasha Boyko<br />
Mary & Gordon<br />
Christopher Chair<br />
Joseph Elworthy<br />
Charles Inkman<br />
Cristian Markos<br />
Ariel Barnes ◊<br />
basses<br />
Dylan Palmer,<br />
Principal<br />
Chang-Min Lee,<br />
Associate Principal<br />
David Brown<br />
Patricia Hutter<br />
J. Warren Long<br />
Frederick Schipizky<br />
Christopher Light ◊<br />
Leanna Wong ◊<br />
flutes<br />
Christie Reside,<br />
Principal<br />
Rosanne Wieringa,<br />
Acting Assistant Principal<br />
Michael & Estelle Jacobson Chair<br />
Ahilya Ramharry ◊<br />
piccolo<br />
Ahilya Ramharry ◊<br />
Hermann & Erika Stölting Chair<br />
oboes<br />
Roger Cole, Principal<br />
Wayne and Leslie Ann Ingram Chair<br />
Beth Orson,<br />
Assistant Principal<br />
Karin Walsh<br />
english horn<br />
Beth Orson<br />
Chair in Memory of<br />
John S. Hodge<br />
clarinets<br />
Jeanette Jonquil,<br />
Principal §<br />
Cris Inguanti,<br />
Acting Principal<br />
Marie-Julie Chagnon,<br />
Acting Assistant Principal ∆<br />
Michelle Goddard ◊<br />
e-flat clarinet<br />
Michelle Goddard ◊<br />
bass clarinet<br />
Marie-Julie Chagnon ∆<br />
bassoons<br />
Julia Lockhart,<br />
Principal<br />
Sophie Dansereau,<br />
Assistant Principal §<br />
Gwen Seaton<br />
Ingrid Chiang ◊<br />
contrabassoon<br />
Sophie Dansereau §<br />
french horns<br />
Oliver de Clercq,<br />
Principal<br />
Joy Branagan<br />
Werner & Helga Höing Chair<br />
David Haskins,<br />
Associate Principal<br />
Benjamin Kinsman<br />
Winslow & Betsy Bennett Chair<br />
Richard Mingus,<br />
Assistant Principal<br />
trumpets<br />
Larry Knopp, Principal<br />
Marcus Goddard,<br />
Associate Principal<br />
Christopher Mitchell ◊<br />
W. Neil Harcourt in memory of<br />
Frank N. Harcourt Chair<br />
tromb<strong>one</strong>s<br />
Nathan Zgonc, Principal<br />
Gregory A. Cox<br />
bass tromb<strong>one</strong><br />
Douglas Sparkes<br />
Arthur H. Willms Family Chair<br />
tuba<br />
Ellis Wean, Principal<br />
timpani<br />
Aaron McDonald, Principal<br />
percussion<br />
Vern Griffiths, Principal<br />
Martha Lou Henley Chair<br />
Tony Phillipps<br />
harp<br />
Elizabeth Volpé, Principal<br />
Heidi Krutzen ◊<br />
piano, celeste<br />
Linda Lee Thomas,<br />
Principal<br />
Carter (Family) Deux Mille<br />
Foundation Chair<br />
personnel manager<br />
Lawrence Blackman<br />
music librarian<br />
Minella F. Lacson<br />
Ron & Ardelle Cliff Chair<br />
master carpenter<br />
Pierre Boyard<br />
master electrician<br />
Leonard Lummis<br />
piano technician<br />
Thomas Clarke<br />
*Supported by The Canada<br />
Council for the Arts<br />
allegro 3
MAGAZINE OF THE VANCOUVER SYMPHONY<br />
allegroSEPTEMBER 25–NOVEMBER 9, 2010–VOLUME 16–ISSUE 1<br />
A SERIES FOR EVERY TASTE<br />
C L ASSICS M A S T E R W O R K S G O L D / M A S T E R W O R K S D I A M O N D / M A S T E R W O R K S S I L V E R ON A<br />
L IGHTER NOT E M U S I C A L L Y S P E A K I N G / B A C H & B E Y O N D V SO POPS MATINEES TEA &<br />
TRUMPETS / SYMPHONY SUNDAYS R OA D T R I P S V S O A T T H E R O U N D H O U S E / N O R T H<br />
S H O R E C L A S S I C S / S U R R E Y N I G H T S K I D S RULE! TINY TOTS / KIDS’ KONCERTS SPECIALS<br />
C O N C E R T S<br />
8 SEPTEMBER 25, 26, 27<br />
goldcorp Masterworks Gold<br />
<strong>Symphony</strong> Sundays<br />
Bramwell Tovey conductor<br />
Avan Yu piano<br />
14 OCTOBER 2, 4<br />
Masterworks Diamond<br />
Jesús López-Cobos conductor<br />
han-Na Chang cello<br />
18 OCTOBER 7<br />
Pacific Arbour Tea & Trumpets<br />
Gilbert & Sullivan<br />
Bramwell Tovey conductor<br />
Christopher Gaze host<br />
Jill Pert mezzo-soprano<br />
Richard Suart barit<strong>one</strong><br />
22 OCTOBER 8, 9<br />
london Drugs VSO Pops<br />
An Evening of Gilbert & Sullivan<br />
Bramwell Tovey conductor<br />
Tracy Dahl soprano<br />
Jill Pert mezzo-soprano<br />
Philippe Castagner tenor<br />
Richard Suart barit<strong>one</strong><br />
UBC Opera Ensemble<br />
26 OCTOBER 10<br />
Spectra Energy Kids’ Koncerts<br />
Inspector Tovey Investigates Composing<br />
Bramwell Tovey conductor<br />
4 allegro<br />
8 AVAN YU 30 MARC-ANDRÉ HAMELIN 14 HAN-NA CHANG<br />
30 OCTOBER 15, 16, 18<br />
bach & Beyond<br />
Surrey Nights<br />
Bramwell Tovey conductor<br />
Marc-André Hamelin piano<br />
34 OCTOBER 23, 25<br />
PricewaterhouseCoopers Masterworks Silver<br />
Günther Herbig conductor<br />
Dale Barltrop violin<br />
40 OCTOBER 27<br />
Specials<br />
Chantal Kreviazuk with the VSO<br />
Pierre Simard conductor<br />
46 OCTOBER 30*, NOVEMBER 1<br />
Musically Speaking<br />
North Shore Classics<br />
bramwell Tovey conductor<br />
Martin Chalifour violin<br />
<strong>Vancouver</strong> Youth <strong>Symphony</strong> <strong>Orchestra</strong>*<br />
52 November 6, 7, 8<br />
PricewaterhouseCoopers Masterworks Silver<br />
<strong>Symphony</strong> Sundays<br />
Bramwell Tovey conductor<br />
Stephen Hough piano<br />
62 NOVEMBER 9<br />
Specials<br />
The Mutter, Bashmet, Harrell Trio<br />
Anne-Sophie Mutter violin<br />
Yuri Bashmet viola<br />
Lynn Harrell cello
I N T H I S I S S U E<br />
3 the orchestra<br />
4 vso lottery<br />
5 allegro staff list<br />
7 message from the Chairman<br />
and the President & CEO<br />
29 vancouver symphony foundation<br />
32 advertise in allegro<br />
38 patrons’ circle<br />
42 upcoming concerts<br />
50 vso group sales<br />
57 friends campaign<br />
66 corporate partners<br />
68 at the concert / vso staff list<br />
71 board of directors / thanks /<br />
volunteer council<br />
40 CHANTAL KREVIAZUK<br />
62 YURI BASHMET<br />
62 LYNN HARRELL<br />
8 BRAMWELL TOVEY<br />
We welcome your comments on this magazine. Please forward them to: <strong>Vancouver</strong> <strong>Symphony</strong>, 601 Smithe Street,<br />
<strong>Vancouver</strong>, BC V6B 5G1 Allegro contact and advertising enquiries: vsoallegro@yahoo.com / customer service:<br />
604.876.3434 / VSO office: 604.684.9100 / website: www.vancouversymphony.ca Allegro staff: published by The <strong>Vancouver</strong><br />
<strong>Symphony</strong> Society / editor / publisher: Anna Gove / contributors: Don Anderson, Sophia Vincent / art direction, design &<br />
production: basic elements design Pass it on: It’s the right thing to do! Please feel free to bring your Allegro Magazine<br />
home at the end of the concert. If you do not wish to keep it, please return it to an usher. Printed in Canada by Web<br />
Impressions. All rights reserved. Reproduction in whole or in part without written consent is prohibited.<br />
Contents copyrighted by the <strong>Vancouver</strong> <strong>Symphony</strong>, with the exception of material written by contributors.<br />
Allegro Magazine has been endowed by a generous gift from Adera Development Corporation.<br />
allegro 5
The <strong>Vancouver</strong> <strong>Symphony</strong> Society<br />
is grateful to Premier Gordon Campbell and<br />
the Province of British Columbia, Minister<br />
of Canadian Heritage James Moore<br />
and the Government of Canada,<br />
Mayor Gregor Robertson<br />
and the City of <strong>Vancouver</strong>.<br />
Gordon Campbell James Moore Gregor Robertson<br />
The combined investment in<br />
the VSO by the three levels of<br />
government annually funds over<br />
28% of the cost of the orchestra’s<br />
extensive programs and activities.<br />
This vital investment enables the <strong>Vancouver</strong> <strong>Symphony</strong> <strong>Orchestra</strong> to present over 150 life-enriching<br />
concerts in 12 diverse venues throughout the Lower Mainland, attract some of the world’s best<br />
musicians to live and work in our community, produce Grammy ® and Juno ® award-winning recordings,<br />
participate in numerous CBC Radio broadcasts – bringing the sounds of the VSO to listeners across the<br />
country and, through our renowned educational programs, touch the lives of over 50,000 children.<br />
Thank you!
M E S S A G E F R O M<br />
vso chairman and vso president & CEO<br />
Dear Friends,<br />
Welcome to the opening concerts of the<br />
<strong>Vancouver</strong> <strong>Symphony</strong> <strong>Orchestra</strong>’s exciting<br />
2010-2011 season. The VSO is proud to<br />
have been serving the people of British<br />
Columbia since 1919, and we are delighted<br />
you are with us for today’s concert.<br />
The 2009-2010 season was <strong>one</strong> of the<br />
most successful for the VSO in recent<br />
history. In addition to Maestro Tovey and the<br />
<strong>Orchestra</strong> performing at a very high level to<br />
packed houses and our educational programs<br />
continuing to flourish, reaching over 50,000<br />
children, significant increases in ticket sales<br />
volume and donations from individuals,<br />
along with prudent management of expenses<br />
resulted in a surplus on annual operations<br />
for the seventh consecutive fiscal year.<br />
During the 2010-2011 season the<br />
orchestra will perform over 150 concerts<br />
in 12 different venues throughout the<br />
Lower Mainland. In addition to the Orpheum<br />
Theatre, St. Andrew’s Wesley Church, the<br />
<strong>Vancouver</strong> Playhouse and Roundhouse<br />
Community Centre in downtown <strong>Vancouver</strong>,<br />
VSO presentations can be experienced at the<br />
Chan Centre for the Performing Arts at UBC,<br />
Centennial Theatre in North <strong>Vancouver</strong>, Bell<br />
Centre in Surrey, Michael J. Fox Theatre and<br />
Deer Lake Park in Burnaby, Kay Meek Theatre<br />
in West <strong>Vancouver</strong>, South Delta Baptist<br />
Church, and the Terry Fox Theatre in<br />
Port Coquitlam.<br />
This season will also see the continuation<br />
of our extraordinary education programs,<br />
as well as the February 2011 opening of<br />
the <strong>Vancouver</strong> <strong>Symphony</strong> Centre and<br />
VSO School of Music directly next to the<br />
Orpheum Theatre.<br />
The mission of the <strong>Vancouver</strong> <strong>Symphony</strong><br />
<strong>Orchestra</strong> is to enrich the quality of life in,<br />
and bring prestige to our city, province and<br />
country through the presentation of highquality<br />
performances of classical and<br />
popular music, and the delivery of excellent<br />
education and community programs.<br />
Because of you, our audience, donors,<br />
sponsors and government funders, we<br />
are able to achieve these goals.<br />
On behalf of the Board of Directors, Maestro<br />
Tovey, our musicians, staff and volunteers,<br />
we thank you for your commitment to the<br />
VSO, and wish you a most delightful<br />
2010-2011 season.<br />
Please enjoy today’s concert.<br />
Sincerely yours,<br />
Arthur H. Willms<br />
Chair, Board of Directors<br />
Jeff Alexander<br />
President & Chief Executive Officer<br />
ARTHUR WILLMS<br />
JEFF ALEXANDER<br />
allegro 7
BRAMWELL TOVEY<br />
AVAN YU<br />
CONCERT PROGRAM<br />
GOLDCORP MASTERWORKS GOLD / ORPHEUM THEATRE, 8PM<br />
saturday & monday, september 25, 27<br />
SYMPHONY SUNDAYS / ORPHEUM THEATRE, 2PM<br />
sunday, september 26<br />
Bramwell Tovey conductor<br />
◆ Avan Yu piano<br />
Saint-Saëns Coronation March, Op. 117<br />
◆ Saint-Saëns Piano Concerto No. 5 in F Major, Op. 103 Egyptian<br />
I. Allegro animato<br />
II. Andante<br />
III. Molto allegro<br />
INTERMISSION<br />
Ravel Daphnis et Chloé: Suites Nos. 1 & 2<br />
I. Nocturne<br />
II. Interlude<br />
III. War-Like Dance<br />
IV. Sunrise<br />
V. Pantomime<br />
VI. General Dance<br />
PRE-CONCERT TALKS free to ticketholders at 7:05pm, featuring VSO Musicians.<br />
Visit the <strong>Symphony</strong> Gift Shop for CD selections<br />
8 allegro<br />
Masterworks GOLD<br />
SERIES SPONSOR<br />
September 27<br />
Concert Sponsor<br />
This concert is being<br />
recorded for broadcast Nov. 28<br />
on In Concert and at a later<br />
date on Tempo on CBC Radio 2,<br />
105.7 in <strong>Vancouver</strong>.
Bramwell Tovey conductor<br />
A musician of striking versatility, Bramwell<br />
Tovey is acknowledged around the world<br />
for his artistic depth and warm, charismatic<br />
personality on the podium. Tovey’s career as<br />
a conductor is uniquely enhanced by his work<br />
as a composer and pianist, lending him a<br />
remarkable musical perspective. He has been<br />
Music Director of the <strong>Vancouver</strong> <strong>Symphony</strong><br />
<strong>Orchestra</strong> since September 2000.<br />
Tovey garnered a 2008 Grammy ® Award and<br />
a 2008 Juno ® Award for his recording with<br />
violinist James Ehnes and the <strong>Vancouver</strong><br />
<strong>Symphony</strong>. Recently named Principal Guest<br />
Conductor for the Los Angeles Philharmonic at<br />
the Hollywood Bowl, he works frequently with<br />
the Toronto <strong>Symphony</strong>, Montreal <strong>Symphony</strong>,<br />
Royal Philharmonic and the Bournemouth<br />
<strong>Symphony</strong> <strong>Orchestra</strong>s, among many others.<br />
He has presided as host and conductor of<br />
the New York Philharmonic’s Summertime<br />
Classics series at Avery Fisher Hall since<br />
its founding in 2004.<br />
As a composer, he was honoured with<br />
the Best Canadian Classical Composition<br />
Juno ® Award in 2003 for his Requiem for a<br />
Charred Skull. New works include a cocommission<br />
for the New York and Los Angeles<br />
Philharmonics’ 2008 summer seasons as well<br />
as a full-length opera for the Calgary Opera,<br />
The Inventor, to première in January of 2011.<br />
Tovey has been awarded honorary degrees,<br />
including a Fellowship from the Royal<br />
Academy of Music in London, honorary<br />
Doctorates of Law from the universities<br />
of Winnipeg and Manitoba, and Kwantlen<br />
University College, as well as a Royal<br />
Conservatory of Music Fellowship in Toronto.<br />
In 1999, he received the M. Joan Chalmers<br />
National Award for Artistic Direction,<br />
a Canadian prize awarded to artists<br />
for outstanding contributions in the<br />
performing arts.<br />
Avan Yu piano<br />
At twenty-three years of age, Canadian<br />
pianist Avan Yu has performed in recital and<br />
as soloist with orchestras on four continents,<br />
consistently captivating audiences with his<br />
extraordinary musicianship. Avan made<br />
his New York debut at Carnegie Hall’s Weill<br />
Recital Hall in the fall of 2008 after winning<br />
Silver Medal at the 16th Paloma O’Shea<br />
Santander International Piano Competition<br />
in the same year. He first came to national<br />
attention by winning first prize at the<br />
Canadian Chopin Competition at the age of<br />
seventeen, and is the only pianist to win<br />
First Prize in both the Junior and Senior<br />
Divisions of the Missouri Southern<br />
International Piano Competition.<br />
Born in Hong Kong and raised in <strong>Vancouver</strong>,<br />
he currently studies at the University of Fine<br />
Arts in Berlin with Klaus Hellwig. In <strong>Vancouver</strong>,<br />
he began his studies with Kut Kau Sum,<br />
and since 2003 has been working with the<br />
Canadian Duo Ralph Markham and Kenneth<br />
Broadway.<br />
Camille Saint-Saëns<br />
b. Paris, France / October 9, 1835<br />
d. Algiers, Algeria / December 16, 1921<br />
Coronation March, Op. 117<br />
Music was only the foremost of Saint-Saëns’<br />
many interests. This nineteenth-century<br />
Renaissance man also developed a working<br />
knowledge of several sciences, published<br />
volumes of poetry, saw his plays produced<br />
on the stage, and wrote reams of newspaper<br />
articles on many different topics, while<br />
somehow finding time to travel extensively.<br />
He led a full musical life, as well. During a<br />
period when French composers’ reputations<br />
rested first of all with their degree of success<br />
in the emotional world of the theater,<br />
Saint-Saëns proved himself a maverick by<br />
preferring the cooler, more abstract realm of<br />
instrumental music.<br />
10 allegro
Like many Frenchmen of his era, Saint-<br />
Saëns was an ardent Anglophile, a lover of<br />
all things British. British audiences returned<br />
the interest. As a result, he visited England<br />
on a regular basis to revel in the popularity<br />
his music enjoyed there. He was received<br />
several times by Queen Victoria, and it<br />
was the London Philharmonic Society who<br />
commissi<strong>one</strong>d and premièred his most<br />
celebrated orchestral work, the spectacular<br />
“Organ” <strong>Symphony</strong> (1886).<br />
One of his most popular operas was based<br />
on the life of King Henry VIII. In it he quoted a<br />
centuries-old English melody which he had<br />
uncovered in the music library at Buckingham<br />
Palace. In 1902, he composed a march in<br />
honour of the upcoming coronation of King<br />
Edward VII, and in it he quoted the same<br />
melody. The future king’s bout of appendicitis<br />
postp<strong>one</strong>d the event, making it impossible<br />
for Saint-Saëns to attend. The march was<br />
performed in Westminster Abbey during a<br />
morning concert on the day of the coronation<br />
ceremonies. The composer received a royal<br />
citation, Commander of the Order of Victoria,<br />
a short time later.<br />
Camille Saint-Saëns<br />
Piano Concerto No. 5 in F Major,<br />
Op. 103 Egyptian<br />
Saint-Saëns had made his public debut<br />
as a pianist in 1846, age eleven. To honor<br />
the fiftieth anniversary of that event, a gala<br />
concert was to be staged at the Salle Pleyel<br />
in Paris. For the occasion, he composed a<br />
new piano concerto, his fifth, and played the<br />
solo part himself at the premiere on June 3,<br />
1896. He had written it during the previous<br />
winter, while on vacation in North Africa. He<br />
had often visited that locale since his first trip<br />
there in 1873. The concerto contains several<br />
impressions of his journeys: the blinding<br />
brightness of an Egyptian morning (first<br />
movement), the twilight croaking of frogs in<br />
the Nile valley (second movement), and in the<br />
finale, the sound of a ship’s propellers. The<br />
second movement is particularly evocative,<br />
including as it does a Nubian love song that<br />
allegro 11
Saint-Saëns heard sung by boatmen, then<br />
jotted down on his shirt cuff. Together, these<br />
reminiscences have earned the concerto its<br />
nickname, Egyptian.<br />
The first movement’s simple, gentle opening<br />
offers the key to its basic nature. To be<br />
sure, it contains moments of drama, and the<br />
orchestral colouring is fairly exotic, but on<br />
the whole this is a restrained creation. The<br />
rhapsodic reverie of the second movement<br />
opens with bold flourishes, after which the<br />
solo piano introduces the languorous, highly<br />
ornamented principal theme. Virtuosity and<br />
animation, having so far played relatively<br />
minor parts in the concerto, at last make their<br />
presences felt in the finale. This is a playful,<br />
charming movement that concludes with a<br />
burst of bravura from the soloist.<br />
Maurice Ravel<br />
b. Ciboure, France / March 7, 1875<br />
d. Paris, France / December 28, 1937<br />
Daphnis and Chloé: Suites Nos. 1 and 2<br />
Ravel’s lengthiest composition, the ballet<br />
Daphnis et Chloé is widely considered his<br />
masterpiece. It epitomized his impeccable<br />
craftsmanship and superlative sense<br />
of atmosphere. In 1909, he accepted<br />
a commission from the noted Russian<br />
impresario, Sergei Diaghilev. Mikhail Fokine,<br />
Diaghilev’s principal choreographer, chose<br />
for a subject a story by Longus, a Greek poet<br />
of the third or fourth century, B. C., about the<br />
love between a shepherd, Daphnis, and a<br />
maiden, Chloé. The ballet premiered in Paris<br />
in June 1912. It won only a modest success.<br />
Many observers praised the music, but found<br />
the scenario, choreography and décor of<br />
lesser value. The music makes its greatest<br />
effect in the concert hall, where listeners<br />
can conjure up their own imagery to match<br />
the glorious colours and sensuous moods of<br />
Ravel’s music.<br />
He arranged two concert suites from it,<br />
consisting of the second and third of its three<br />
scenes. The events depicted in the first suite<br />
take place in a meadow on the edge of a<br />
forest which is sacred to the god Pan. Among<br />
the young people present are the lovers<br />
Daphnis and Chloé. Daphnis fends off the<br />
unwanted attention that the oafish cowherd<br />
Dorcon has been paying to Chloé by defeating<br />
him in a dance contest. Chloé and her friends<br />
enter running, pursued by a band of pirates.<br />
The ruffians abduct the girls, leaving Daphnis<br />
behind, unconscious.<br />
Suite No. 2 opens with a glittering, ecstatic<br />
depiction of sunrise over a meadow. Daphnis<br />
and Chloé are joyfully reunited. They dance a<br />
pantomime retelling the amorous encounter<br />
between the god Pan and a maiden, Syrinx.<br />
The score concludes with the delirious strains<br />
of a bacchanalian General Dance. ■<br />
Programme Notes © 2010 Don Anderson<br />
MUSIC LESSONS FROM<br />
MEMBERS OF THE VSO<br />
Musicians of the <strong>Vancouver</strong> <strong>Symphony</strong> <strong>Orchestra</strong><br />
make up the core faculties of music in many of<br />
the region’s universities, colleges, academies<br />
and studios.<br />
If you are interested in arranging lessons<br />
for yourself, a child, friend or family member,<br />
and would like a referral, please contact<br />
Larry Blackman at 604.684.9100 ext. 231<br />
or larry@vancouversymphony.ca<br />
allegro 13
HAN-NA CHANG<br />
JESÚS LÓPEZ-COBOS<br />
CONCERT PROGRAM<br />
MASTERWORKS DIAMOND / ORPHEUM THEATRE, 8PM<br />
saturday & monday, october 2, 4<br />
Jesús López-Cobos conductor<br />
◆ Han-Na Chang cello<br />
Wagner Tannhäuser: Overture<br />
◆ Elgar Cello Concerto in E minor, Op. 85<br />
I. Adagio – Moderato<br />
II. Lento – Allegro molto<br />
III. Adagio<br />
IV. Allegro<br />
INTERMISSION<br />
DVOŘ ÁK <strong>Symphony</strong> No. 7 in D minor, Op. 70<br />
I. Allegro maestoso<br />
II. Poco adagio<br />
III. Scherzo: Vivace<br />
IV. Finale: Allegro<br />
PRE-CONCERT TALKS free to ticketholders at 7:05pm, featuring VSO Musicians.<br />
Visit the <strong>Symphony</strong> Gift Shop for CD selections<br />
October 2 Concert Benefactor<br />
14 allegro<br />
Platinum Baton Club Sponsors of the <strong>Vancouver</strong> <strong>Symphony</strong> <strong>Orchestra</strong>
Jesús López-Cobos conductor<br />
Spanish-born Jesús López-Cobos recently<br />
completed his tenure as Music Director of<br />
the Teatro Real in Madrid. He is Conductor<br />
Emeritus of the Cincinnati <strong>Symphony</strong><br />
<strong>Orchestra</strong>, having served as the orchestra’s<br />
Music Director from 1986-2001. Under his<br />
leadership for fifteen seasons, the orchestra<br />
earned international acclaim for its tour<br />
performances and its extensive catalogue of<br />
recordings for Telarc. Mr. López-Cobos has<br />
previously served as General Music Director<br />
of the Deutsche Oper Berlin and Music<br />
Director of the famed Lausanne Chamber<br />
<strong>Orchestra</strong> in Switzerland.<br />
Mr. Lopez-Cobos’ recent guest conducting<br />
appearances in North America have included<br />
ten performances of Massenet’s Thais at<br />
the Metropolitan Opera as well as concerts<br />
with the Los Angeles Philharmonic and the<br />
symphony orchestras of Montreal, Atlanta,<br />
Seattle, St. Louis, Dallas, New Jersey and<br />
Cincinnati. Other recent highlights have<br />
included a production of Manon with the<br />
Metropolitan Opera and a production of<br />
Rigoletto with the Lyric Opera of Chicago.<br />
Among the many awards bestowed upon<br />
him, most recently, in 2001 he was presented<br />
with the Medal of Bellas Artes (“Gold Medal<br />
of the Fine Arts”) by Spain’s King Juan Carlos<br />
and Queen Sophia in 2001. Mr. López-Cobos<br />
also holds an Honorary Doctorate from the<br />
University of Cincinnati.<br />
Han-Na Chang cello<br />
Cellist Han-Na Chang has established an<br />
extraordinary international career, performing<br />
regularly on the most prestigious concert<br />
stages of Europe, North America and Asia.<br />
She first won recognition for her exceptional<br />
musical gifts in 1994 when at the age of<br />
eleven she won both the First Prize and<br />
the Contemporary Music Prize at the Fifth<br />
Rostropovich International Cello Competition<br />
in Paris. Since that time, her superb artistry<br />
and virtuosity coupled with the astonishing<br />
depth of her interpretations have placed<br />
Han-Na Chang at the forefront of the world’s<br />
new generation of artists.<br />
Her recording Romance presents rarely<br />
performed works for cello and orchestra by<br />
much loved late-Romantic composers such<br />
as Lalo, Tchaikovsky, Glazunov, Saint-Saens<br />
and Dvořák. In 2008, her much anticipated<br />
recording of seven Vivaldi Cello Concertos<br />
was released to critical acclaim.<br />
Han-Na Chang has studied privately<br />
with both Mischa Maisky and Mstislav<br />
Rostropovich. She has studied philosophy at<br />
Harvard University, and is currently studying<br />
conducting with Lorin Maazel.<br />
Richard Wagner<br />
b. Leipzig, Germany / May 22, 1813<br />
d. Venice, Italy / February 13, 1883<br />
Tannhäuser: Overture<br />
Wagner conducted the premiere of his fifth<br />
opera, Tannhäuser und der Sängerkrieg<br />
auf Wartburg (Tannhäuser and the Singers’<br />
Contest on the Wartburg), in Dresden on<br />
October 19, 1845. After an uncertain debut,<br />
it quickly found success in all of Europe’s<br />
major musical centres. The title character is<br />
a thirteenth-century German minstrel knight.<br />
His affections are divided between Elisabeth,<br />
the saintly niece of a local nobleman, and<br />
Venus, the ancient goddess of love, who since<br />
the fall of classical antiquity has withdrawn<br />
to the interior of a nearby mountain. Despite<br />
Tannhäuser’s many transgressions, he<br />
is eventually redeemed by the purity of<br />
Elizabeth’s love.<br />
Wagner introduces the opera with what is<br />
virtually a symphonic poem. Constructed<br />
from the score’s principal musical themes,<br />
the overture also summarizes the plot. In it<br />
are heard the uplifting hymn sung by pilgrims<br />
on their way to Rome to be blessed by the<br />
Pope; Tannhäuser’s passionate ode in praise<br />
of Venus; and the bacchanalian revels danced<br />
by the love goddess’s followers. The return<br />
of the pilgrims’ exalted music brings the<br />
overture to a glorious conclusion, predicting<br />
the redemption that the title character will<br />
achieve after his death.<br />
allegro 15
Sir Edward Elgar<br />
b. Broadheath, England / June 2, 1857<br />
d. Worcester, England / February 23, 1934<br />
Cello Concerto in E minor, Op. 85<br />
Several musical movements sprang up<br />
or came to full flood in the wake of the<br />
First World War. Elgar represented those<br />
composers who longed for the comfortable<br />
optimism of the past, but sensed that the<br />
horrific conflict which had engulfed Europe<br />
for the preceding four years had banished<br />
it forever. He gave voice to his world’s<br />
saddening, to its growing inwardness and<br />
pessimism. In the warm, noble voice of<br />
the cello, he found the perfect medium to<br />
express his brooding, nostalgic emotions.<br />
He composed the Cello Concerto, his final<br />
instrumental masterwork, at his home in the<br />
rural county of Sussex. The premiere took<br />
place in London on October 27, 1919. Elgar<br />
himself conducted, and Felix Salmond – the<br />
performer who had given him technical<br />
advice on it, and to whom it is dedicated –<br />
played the solo part.<br />
It is a restrained piece, at least in comparison<br />
with the more outgoing virtuoso concertos<br />
of the nineteenth century. After a brief<br />
introduction, the first movement is founded<br />
on two themes, both melancholy in character.<br />
The scherzo-like second movement follows<br />
without a pause. For all its brilliance, it is<br />
far from carefree. The succeeding section<br />
is an interlude of searching meditation. The<br />
concerto then concludes with an energetic, if<br />
hardly exuberant, final rondo. A heartfelt coda<br />
recalls earlier material, before the concerto<br />
ends with a final statement of the rondo’s<br />
main subject.<br />
Antonín Dvořák<br />
b. Nelahozeves, Bohemia / September 8, 1841<br />
d. Prague, Bohemia / May 1, 1904<br />
<strong>Symphony</strong> No. 7 in D minor, Op. 70<br />
For Dvořák, music’s primary function was to<br />
praise the many aspects of life which gave<br />
him joy. As he put it in a letter he wrote to a<br />
friend during the composition of his Seventh<br />
<strong>Symphony</strong>, “Today I have just finished the<br />
second movement of my new symphony, and<br />
am again as happy and contented in my work<br />
as I always have been and, God grant, may<br />
always be, for my slogan is and always shall<br />
be: God, love and country! And that al<strong>one</strong> can<br />
lead to a happy goal.”<br />
By the mid-1880s, the Slavonic Dances and<br />
other works inspired by the folk music of<br />
his native country had won him a following<br />
throughout Europe. A token of this renown<br />
came in June 1884, when the Philharmonic<br />
Society of London bestowed an honorary<br />
membership upon him. In return, he agreed to<br />
write them a new symphony.<br />
He decided to take the opportunity to satisfy a<br />
goal which had been occupying his thoughts<br />
for some time: a desire to expand his creative<br />
range. This wish sprang from his realization<br />
that the folkbased style he had been<br />
cultivating had its limitations. In order to win<br />
recognition as a great composer, regardless<br />
of origin, he knew he would have to write<br />
music which, like the works of his friend and<br />
mentor, Brahms, communicated universal<br />
sentiments through international musical<br />
language.<br />
He completed <strong>Symphony</strong> No. 7 on March<br />
17, 1885. He traveled to London to conduct<br />
the first performance, and to accept his<br />
Philharmonic membership. Emotionally<br />
powerful and richly scored, the symphony is a<br />
work of which any composer might be proud.<br />
The folk-like elements which play such an<br />
important role in much of his output are here<br />
displayed less prominently.<br />
After the emotional tempests of the opening<br />
movement, the second begins in a mood<br />
of tranquil reverie. Solace proves elusive,<br />
however. Troubling emotions intrude upon<br />
this idyll at regular intervals. The scherzo is<br />
driven by bracing dance rhythms, but here it<br />
wears what is for Dvořák an unusually stern<br />
expression. The dark mood in which the finale<br />
opens recalls the first movement. After much<br />
dramatic energy is expended, it eventually<br />
ends on a note of triumph, <strong>one</strong> snatched at<br />
the last possible moment from the jaws of<br />
defeat. ■<br />
Programme Notes © 2010 Don Anderson<br />
allegro 17
CONCERT PROGRAM<br />
PACIFIC ARBOUR TEA & TRUMPETS / ORPHEUM THEATRE, 2PM<br />
thursday, october 7<br />
Bramwell Tovey conductor<br />
Christopher Gaze host<br />
Jill Pert mezzo-soprano<br />
Richard Suart barit<strong>one</strong><br />
UBC Opera Ensemble<br />
Gilbert & Sullivan<br />
HMS PINAFORE<br />
We Sail The Ocean Blue<br />
I’m Called Little Buttercup<br />
Now Give Three Cheers<br />
When I Was A Lad<br />
PIRATES OF PENZANCE<br />
When Frederic Was A Little Lad<br />
Climbing Over Rocky Mountains<br />
I Am The Very Model Of A Modern Major General<br />
PATIENCE<br />
Am I Al<strong>one</strong> – If You’re Anxious So To Shine<br />
Sad Is That Woman’s Lot<br />
So Go To Him<br />
MIKADO<br />
Behold The Lord High Executi<strong>one</strong>r<br />
As Some Day It May Happen<br />
Comes a Train Of Little Ladies<br />
Al<strong>one</strong>, And Yet Alive<br />
Willow, Tit Willow<br />
There is Beauty In The Bellow of The Blast<br />
Tea & Cookies Don’t miss tea and cookies served in the lobby <strong>one</strong> hour<br />
before each concert. Compliments of Tetley Tea and Peek Freans.<br />
Visit the <strong>Symphony</strong> Gift Shop for CD selections<br />
TEA & TRUMPETS SERIES SPONSOR<br />
18 allegro
BRAMWELL TOVEY<br />
CHRISTOPHER GAZE<br />
JILL PERT<br />
RICHARD SUART<br />
Bramwell Tovey conductor<br />
For a biography of Maestro Tovey please<br />
refer to page 9.<br />
Christopher Gaze host<br />
Host of our Tea & Trumpets series and the<br />
Christmas concerts, Christopher Gaze is<br />
best known as Artistic Director of Bard on<br />
the Beach Shakespeare Festival, which<br />
has just celebrated its 21st season. Born in<br />
England and trained at the Bristol Old Vic<br />
Theatre School, Christopher has performed<br />
in England, the USA and across Canada,<br />
including Shaw Festival. He came to Canada<br />
in 1975 and moved to <strong>Vancouver</strong> in 1983. In<br />
1990 he founded Bard on the Beach, which<br />
he has nurtured to <strong>one</strong> of the most successful<br />
not-for-profit arts organizations in North<br />
America.<br />
His honours include induction into the<br />
BC Entertainment Hall of Fame, Canada’s<br />
Meritorious Service Medal, Honorary<br />
Doctorates from UBC and SFU, the BC<br />
Community Achievement Award, the<br />
Children’s Theatre Foundation of America’s<br />
Gold Medallion, and a Jessie Award for Best<br />
Supporting Actor for Equus at The Playhouse.<br />
A gifted public speaker, Christopher frequently<br />
shares his insights on Shakespeare and<br />
theatre with students, service organizations<br />
and businesses. This fall he will play Henry in<br />
The Fantasticks for The Playhouse.<br />
Jill Pert mezzo-soprano<br />
Jill’s early training and experience was<br />
in Canada, where she appeared in opera,<br />
concerts and oratorio. She returned to<br />
England in 1979 and as a member of the<br />
D’Oyly Carte Opera Company she played<br />
many principal roles throughout the U.K. and<br />
on tours of Australia and New Zealand.<br />
She has appeared at English National Opera<br />
(Street Scene, Clarissa, Princess Ida), on tour<br />
throughout the UK as the Mother Abbess<br />
in The Sound Of Music, at the Chichester<br />
Festival in Robert And Elizabeth, and played<br />
leading roles in regional theatres all over the<br />
country in My Fair Lady, Oklahoma!, Candide,<br />
Alice In Wonderland, Nunsense and Carousel,<br />
among many others. Above all, however, she<br />
is known for her interpretation of the G & S<br />
major contralto roles, originally for the D’Oyly<br />
Carte company, with whom she has also<br />
recorded them, and subsequently elsewhere.<br />
In 2009 she appeared for Holland Park Opera<br />
as Juno in a new production of Orpheus<br />
In The Underworld, and also appeared for<br />
Raymond Gubbay Ltd in a star-studded<br />
concert performance.<br />
Richard Suart barit<strong>one</strong><br />
Richard Suart was born in Lancashire<br />
and has worked for all the major British<br />
opera houses – for English National Opera;<br />
The Pirates of Penzance (Major-General),<br />
The Mikado (Ko-Ko), The Merry Widow<br />
(Baron Zeta), Agrippina (Lesbo) and Die<br />
Fledermaus (Frank): for Welsh National Opera;<br />
allegro 19
UBC OPERA ENSEMBLE<br />
The Yeomen of the Guard (Jack Point), also<br />
at the Royal Opera House, Covent Garden:<br />
for Opera North; Playing Away (Stan Stock),<br />
Of Thee I sing (French Ambassador), Let ‘em<br />
eat cake (General Snookfield) and Paradise<br />
Moscow (Barabashkin).<br />
Work abroad includes The Mikado (City<br />
Opera, New York, Venice, <strong>Vancouver</strong>), Iolanthe<br />
(San Francisco <strong>Symphony</strong>), After Life (Der<br />
Nederlands Oper and L’Opera Nationale de<br />
Lyon), Playing Away and Paradise Moscow<br />
(Bregenz), Le Grand Macabre (Salzburg<br />
Festival ), Candide at The Hollywood Bowl .<br />
He has recorded several Savoy Operas<br />
with WNO under Sir Charles Mackerras;<br />
other recordings include Greek, The Geisha,<br />
Candide, The Maid of the Mountains, The<br />
Fairy Queen, and The Little Prince.<br />
He is a regular visitor to the International G&S<br />
Festival in Buxton and is a Fellow of the Royal<br />
Academy of Music.<br />
UBC Opera Ensemble<br />
The University of British Columbia Opera<br />
Ensemble was founded by Canadian lyric<br />
coloratura Nancy Hermiston in 1995.<br />
Beginning with a core of seven performers,<br />
Ms. Hermiston has built the program to a<br />
70-member company, now performing three<br />
main-stage productions at UBC every season,<br />
seven Opera Tea Concerts, and several<br />
engagements with local community partners.<br />
The Ensemble’s mission is to educate<br />
young gifted opera singers preparing them<br />
for international careers. Past main-stage<br />
productions have included Le Nozze di<br />
Figaro, Die Zauberflöte, Die Gärtnerin aus<br />
Liebe, The Merry Wives of Windsor, Robert<br />
Ward’s The Crucible based on the Pulitzer<br />
Prize winning play by Arthur Miller, Gianni<br />
Schicchi, Suor Angelica, La Bohème, Dido<br />
and Aeneas, The Merry Widow, The Bartered<br />
Bride, Manon, Eugene Onegin, Florence Lady<br />
with the Lamp, Dreamhealer, Falstaff and the<br />
Western Canadian Premiere of Harry Somer’s<br />
Louis Riel. In the 2010-2011 Season, the<br />
Ensemble presents Mozart’s Don Giovanni,<br />
and Benjamin Britten’s Albert Herring, in the<br />
renewed Old Auditorium and Massenet’s<br />
Cendrillon in the Chan Centre. ■
CONCERT PROGRAM<br />
LONDON DRUGS SYMPHONY POPS / ORPHEUM THEATRE, 8PM<br />
friday & saturday, october 8, 9<br />
Bramwell Tovey conductor<br />
Tracy Dahl soprano<br />
Jill Pert mezzo-soprano<br />
Philippe Castagner tenor<br />
Richard Suart barit<strong>one</strong><br />
UBC Opera Ensemble<br />
An Evening of Gilbert & Sullivan<br />
HMS PINAFORE<br />
We Sail The Ocean Blue<br />
I’m Called Little Buttercup<br />
Now Give Three Cheers<br />
When I Was A Lad<br />
PIRATES OF PENZANCE<br />
When Frederic Was A Little Lad<br />
Climbing Over Rocky Mountains<br />
Stop Ladies Pray<br />
Oh, Is There Not One Maiden Breast<br />
Poor Wandering One<br />
I Am The Very Model Of A Modern Major General<br />
PATIENCE<br />
Am I Al<strong>one</strong> – If You’re Anxious So To Shine<br />
Sad Is That Woman’s Lot<br />
So Go To Him<br />
Intermission<br />
MIKADO<br />
If You Want To Know Who We Are<br />
A Wandering Minstrel I<br />
Behold The Lord High Executi<strong>one</strong>r<br />
As Some Day It May Happen<br />
Comes a Train Of Little Ladies<br />
Three Little Maids From School<br />
The Sun Whose Rays<br />
Mi-Ya Sa-Ma<br />
Al<strong>one</strong>, And Yet Alive<br />
Willow, Tit Willow<br />
There is Beauty In The Bellow of The Blast<br />
Finale<br />
Visit the <strong>Symphony</strong> Gift Shop for CD selections<br />
VSO POPS SERIES SPONSOR<br />
RADIO SPONSOR<br />
22 allegro
BRAMWELL TOVEY<br />
TRACY DAHL<br />
JILL PERT<br />
PHILIPPE CASTAGNER<br />
Bramwell Tovey conductor<br />
For a biography of Maestro Tovey please<br />
refer to page 9.<br />
Tracy Dahl soprano<br />
With her 2006 debut at La Scala as Zerbinetta<br />
in Ariadne auf Naxos, Canada’s premier<br />
coloratura soprano Tracy Dahl has taken<br />
another milest<strong>one</strong> in a career that has<br />
brought her together with such opera houses<br />
as the Metropolitan Opera, San Francisco<br />
Opera, Houston Grand Opera, Santa Fe Opera,<br />
Canadian Opera Company, and the Chatelet<br />
in Paris, to name a few. Her “superlative<br />
coloratura” (Globe and Mail), “deliciously<br />
accurate, stratospheric” (Opera), is regularly<br />
singled out by critics. “Her extreme high<br />
notes, and she threw in a lot of them, are<br />
easy and spectacular.” (Boston Globe). In<br />
2009 she was awarded the prestigious Opera<br />
Canada Award.<br />
24 allegro
the Philharmonic in both Avery Fisher and<br />
Carnegie Halls.<br />
RICHARD SUART<br />
UBC OPERA ENSEMBLE<br />
Richard Suart barit<strong>one</strong><br />
For a biography of Richard Suart please<br />
refer to page 19.<br />
UBC Opera Ensemble<br />
For a biography of UBC Opera Ensemble<br />
please refer to page 21. ■<br />
Her discography includes A Disney<br />
Spectacular with the Cincinnati Pops<br />
(Telarc), Glitter and Be Gay with the Calgary<br />
Philharmonic (CBC), A Gilbert and Sullivan<br />
Gala with the Winnipeg <strong>Symphony</strong> <strong>Orchestra</strong><br />
(CBC), and Love Walked In, a Gershwin<br />
collection with the Bramwell Tovey Trio (Red<br />
Ph<strong>one</strong> Box Company).<br />
Jill Pert mezzo-soprano<br />
For a biography of Jill Pert please<br />
refer to page 19.<br />
Philippe Castagner tenor<br />
Canadian-American tenor Philippe Castagner<br />
is recognized for his beautiful and natural<br />
sound, as well as a fresh and appealing<br />
presence on symphonic, operatic and recital<br />
stages. Born in Canada and raised in New<br />
Jersey, Mr. Castagner joined The Metropolitan<br />
Opera Lindemann Young Artist Development<br />
Program in 2002 and made his Metropolitan<br />
Opera debut that season as the First Pris<strong>one</strong>r<br />
in Fidelio and, later, as Beppe in I Pagliacci.<br />
Though only in his fourth professional<br />
season, Mr. Castagner has already made a<br />
number of auspicious debuts with a wide<br />
variety of operatic and symphonic repertoire.<br />
He has bowed as both Iopas and Hylas in<br />
Les Troyens, Nemorino in L’elisir d’amore,<br />
Ferrando in Così fan Tutte, and Tamino in<br />
Die Zauberflöte, to name a few. He sang<br />
Freddy in the New York Philharmonic’s<br />
production of My Fair Lady with Kelli O’Hara<br />
and Kelsey Grammar and the tenor roles<br />
in Ravel’s L’enfant et les sortileges with
BRAMWELL TOVEY WITH THE VSO<br />
CONCERT PROGRAM<br />
SPECTRA ENERGY KIDS’ KONCERTS / ORPHEUM THEATRE, 2PM<br />
sunday, october 10<br />
Bramwell Tovey conductor / piano<br />
Scott Good narrator / tromb<strong>one</strong><br />
Inspector Tovey Investigates Composing<br />
Scott Good/Dwight SChenk An Ocean Called Owen (World Premiere)<br />
Inspector Tovey returns to investigate how music gets from the page to your ears!<br />
VSO Instrument Fair The Kids’ Koncerts series continues with the popular VSO Instrument<br />
Fair, which allows music lovers of all ages (but especially kids!) to touch and play real<br />
orchestra instruments in the Orpheum lobby <strong>one</strong> hour before concert start time. And don’t miss<br />
the special Composition Table, where kids can “write” their own music—and have it played by<br />
a member of the VSO! All instruments are generously provided by Tom Lee Music.<br />
Visit the <strong>Symphony</strong> Gift Shop for CD selections<br />
KIDS’ KONCERTS SERIES Co-Sponsor<br />
PREMIER EDUCATION PARTNER<br />
26 allegro<br />
The VSO’s Kids’ Koncerts have been endowed by a<br />
generous gift from the William & Irene McEwen Fund.
SCOTT GOOD<br />
Bramwell Tovey conductor<br />
For a biography of Maestro Tovey please<br />
refer to page 9.<br />
Scott Good<br />
Dwight Schenk<br />
An Ocena Called Owen (World Premiere)<br />
Several years ago, songwriter Dwight Schenk<br />
and composer Scott Good got together to<br />
make some music. A few “jams” and a typo<br />
led to their first collaboration – a tribute<br />
concert to the novels of Kurt Vonnegut.<br />
An Ocean Called Owen is their second<br />
collaboration.<br />
Owen lives deep down in the dirt, where the<br />
roots don’t reach and the sun don’t shine.<br />
This work, made for enjoyment for all ages,<br />
tells the tale of Owen searching for that<br />
something that keeps calling, taking him out<br />
of the ground, into the wide world. Through<br />
several encounters, Owen learns the valuable<br />
lesson that “You can’t move on without a<br />
push from the lessons of the past”.<br />
Scored for full symphony orchestra, it<br />
features narrator Scott Good (with some help<br />
from his tromb<strong>one</strong>), and Bramwell Tovey<br />
playing the 88’s. ■<br />
Programme Notes © 2010 Scott Good<br />
allegro 27
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allegro 29
MARC-ANDRÉ HAMELIN<br />
CONCERT PROGRAM<br />
BACH & BEYOND / CHAN CENTRE FOR THE PERFORMING ARTS AT UBC, 8PM<br />
friday & saturday, october 15, 16<br />
SURREY NIGHTS / BELL PERFORMING CENTRE FOR THE ARTS, 8PM<br />
monday, october 18<br />
Bramwell Tovey conductor<br />
♦ Marc-André Hamelin piano<br />
Schubert <strong>Symphony</strong> No. 8 in B minor, Unfinished<br />
I. Allegro moderato<br />
II. Andante con moto<br />
♦ Mozart Piano Concerto No. 24, K. 491<br />
I. Allegro<br />
II. Larghetto<br />
III. Allegretto<br />
INTERMISSION<br />
Mozart <strong>Symphony</strong> No. 39 in E-flat Major, K. 543<br />
I. Adagio-Allegro<br />
II. Andante con moto<br />
III. Menuetto & Trio: Allegretto<br />
IV. Finale: Allegro<br />
Visit the <strong>Symphony</strong> Gift Shop for CD selections<br />
RADIO SPONSOR<br />
30 allegro<br />
The presentation of the Bach & Beyond<br />
Series is made possible, in part, through<br />
the generous assistance of the Chan Centre<br />
for the Performing Arts of the University of<br />
British Columbia.<br />
The VSO’s Surrey Nights<br />
Series has been endowed<br />
by a generous gift from<br />
Werner and Helga Höing.
Officer of the Order of Canada in 2003 and<br />
a Chevalier de l’Ordre du Québec in 2004;<br />
he is also a member of the Royal Society of<br />
Canada. He makes his home in Boston.<br />
BRAMWELL TOVEY<br />
Bramwell Tovey conductor<br />
For a biography of Maestro Tovey please<br />
refer to page 9.<br />
Marc-André Hamelin piano<br />
Marc-André Hamelin’s unique blend of<br />
musicianship and virtuosity brings forth<br />
interpretations remarkable for their freedom,<br />
originality, and prodigious mastery of the<br />
piano’s resources. Long known for his bold<br />
exploration of unfamiliar pianistic terrain,<br />
Mr. Hamelin has increasingly turned his<br />
attention to the established masterworks<br />
of the piano literature, in performances and<br />
recordings of the piano sonatas of Haydn,<br />
major works by Mozart, Schumann, Brahms,<br />
Chopin and others.<br />
Under exclusive contract with Hyperion<br />
Records, Mr. Hamelin has received 8<br />
Grammy ® nominations including a 2008<br />
nomination for Marc-André Hamelin in a<br />
state of jazz. His latest solo release Haydn:<br />
Piano Sonatas, Vol. 2, follows up the critically<br />
acclaimed first installment. In the fall,<br />
Hyperion releases a disc of Hamelin’s own<br />
compositions, Etudes and other works.<br />
Mr. Hamelin was recently presented with a<br />
lifetime achievement prize by the German<br />
Record Critic’s Award (Preis der deutschen<br />
Schallplattenkritik) and was made an<br />
Franz Schubert<br />
b. Vienna, Austria / January 31, 1797<br />
d. Vienna, Austria / November 19, 1828<br />
<strong>Symphony</strong> No. 8 in B minor, Unfinished<br />
Franz Schubert was the ultimate tragic poet<br />
of music. With his death at the very young<br />
age of thirty-<strong>one</strong> passed possibly the greatest<br />
writer of melody the world has known before<br />
or since – only surpassed by Mozart and<br />
Beethoven, if at all.<br />
By the time of his death, Schubert had written<br />
a staggering total of nearly <strong>one</strong> thousand<br />
works, including some of the most beloved<br />
works in the Classical repertoire. His was not<br />
always an appreciated genius, not even to<br />
himself: it was not until after his death that<br />
his music was rediscovered, collected and<br />
published.<br />
Mostly self-taught (<strong>one</strong> of his only teachers<br />
was the famous Antonio Salieri, and another<br />
famously stated about the ten-year old<br />
Schubert, “…I merely conversed with him<br />
and watched him with silent astonishment.”),<br />
the preternaturally-gifted Schubert produced<br />
many masterpieces for full orchestra,<br />
chamber ensembles, extraordinary vocal<br />
works, and piano.<br />
In an unfinished life, stands the “Unfinished”<br />
<strong>Symphony</strong> No. 8. It is unclear why the work<br />
remained unfinished, especially given that the<br />
two completed movements represent some<br />
of the finest writing of Schubert’s career.<br />
It is, however, most likely that composition<br />
stopped when the composer contracted<br />
syphilis in November of 1822 (the two<br />
completed movements of the work were<br />
composed in October and November of that<br />
allegro 31
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year). Indeed, perhaps the music itself is the<br />
greatest clue, as it is suffused with agitation,<br />
stark tonal contrast, and a somber underlying<br />
mood. Though a short major key interlude<br />
shines through the thunderclouds of the first<br />
movement, it is dominated by contrasting<br />
ideas and a mood of uneasiness that can’t be<br />
shaken.<br />
The second movement starts off peacefully<br />
enough, and ends this way as well – but<br />
in between, the music is agitated and<br />
the somber mood prevails. A brilliant and<br />
complex, yet unfinished work, perhaps this<br />
symphony is tragic foreboding of a brilliant,<br />
complex and unfinished life.<br />
Wolfgang<br />
Amadeus Mozart<br />
b. Salzburg, Austria / January 27, 1756<br />
d. Vienna, Austria / December 5, 1791<br />
Piano Concerto No. 24 in C minor, K. 491<br />
<strong>Symphony</strong> No. 39 in E-flat Major, K. 543<br />
It is intriguing to theorize that the<br />
compositional form of piano concerto can be<br />
used to trace the development of Mozart’s<br />
musical style – and, indeed, the Classical<br />
style itself, as the twenty-seven concerti for<br />
piano and orchestra that Mozart wrote span<br />
his entire career.<br />
The very first concerti are adaptations of<br />
Baroque sonatas, while the last handful<br />
foreshadow the passion of the Romantic<br />
movement about to appear. His Piano<br />
Concerto No. 24 in C minor is <strong>one</strong> of only<br />
two of his twenty-seven concerti written in<br />
a minor key (the other being the D minor No.<br />
20) and is <strong>one</strong> of Mozart’s most important<br />
works. Considered by some to be his greatest<br />
and most complete concerto, the work<br />
dramatically foreshadows the Romantic era<br />
about to be ushered in by Beethoven – and<br />
indeed, Beethoven himself was strongly<br />
influenced by this concerto.<br />
An aspect of Mozart’s music that is not often<br />
shown creeps into this work early and often:<br />
a passionate, brooding, almost tragic feeling<br />
permeates the concerto, an underlying<br />
presence from beginning to end. The work<br />
opens ominously, the principal theme<br />
announced stridently (this theme strongly<br />
inspired Beethoven’s C minor Concerto No.<br />
3) by the orchestra, before the piano enters<br />
singing a different tune; the soloist soon<br />
comes around to the principal theme setting<br />
the t<strong>one</strong> for the movement, a t<strong>one</strong> that<br />
marches forward without distraction.<br />
The second movement is dreamy, yet sad and<br />
nostalgic, the principal theme weaving itself<br />
throughout the fabric of the movement in <strong>one</strong><br />
form or another.<br />
A set of eight variations carried by different<br />
sections of the orchestra and the soloist,<br />
the finale is <strong>one</strong> of sparkling brilliance that,<br />
again, never loses its patina of sadness;<br />
especially as the piano introduces the last of<br />
the variations and the minor key takes us to a<br />
dramatic yet ambiguous ending.<br />
“Mozart’s symphonies<br />
shine with their own particular<br />
brilliance...”<br />
Though all of Mozart’s symphonies shine<br />
with their own particular brilliance, the final<br />
great trio of symphonies, 39 to 41, truly rise<br />
above. <strong>Symphony</strong> No. 39 in E-flat is the least<br />
known of this last trio; it is a work that is<br />
not as dramatic as the 40th, and <strong>one</strong> that<br />
doesn’t have the shining brilliance the Jupiter<br />
symphony. But it was created on an heroic<br />
scale, in a climate of nobility foreshadowing<br />
The Magic Flute. Though this symphony is<br />
the <strong>one</strong> most obviously indebted to Joseph<br />
Haydn, the end result of the combination of<br />
forms and devices is completely Mozart.<br />
The nobility is restrained, the humour<br />
refined, the orchestration and melodies<br />
crisp and efficient, yet flush with brilliance<br />
and innovation – all typical characteristics<br />
of Mozart’s music. The piece does stray<br />
somewhat from Mozart’s normal modus<br />
operandi, though, in its unusual ending:<br />
a compact, open-ended idea dominates<br />
the finale, posing a question rather than a<br />
resolution – leaving<br />
the audience anticipating more. ■<br />
Program notes ©2010 Sophia Vincent<br />
allegro 33
GÜNTHER HERBIG<br />
DALE BARLTROP<br />
CONCERT PROGRAM<br />
PRICEWATERHOUSECOOPERS MASTERWORKS SILVER / ORPHEUM THEATRE, 8PM<br />
saturday & monday, october 23, 25<br />
Günther Herbig conductor<br />
♦ Dale Barltrop violin<br />
Beethoven Coriolan Overture, Op. 62<br />
♦ Schumann Violin Concerto in D minor<br />
I. In kräftigem, nicht zu schnellen Tempo<br />
II. Langsam<br />
III. Lebhaft, doch nicht schnell<br />
INTERMISSION<br />
Shostakovich <strong>Symphony</strong> No. 10 in E minor, Op. 93<br />
I. Moderato<br />
II. Allegro<br />
III. Allegretto<br />
IV. Andante – Allegro<br />
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34 allegro
Günther Herbig conductor<br />
Günther Herbig left behind the challenging<br />
political environment of East Germany<br />
and moved to the United States in 1984,<br />
where he has since conducted all of the<br />
top-tier orchestras, including the New York<br />
Philharmonic, Los Angeles Philharmonic, the<br />
Cleveland <strong>Orchestra</strong>, Philadelphia <strong>Orchestra</strong>,<br />
and the Chicago, Boston, and San Francisco<br />
<strong>Symphony</strong> <strong>Orchestra</strong>s.<br />
Posts Herbig has held include music director<br />
of the Detroit <strong>Symphony</strong> and the Toronto<br />
<strong>Symphony</strong>, Principal Guest Conductor of<br />
both the Dallas <strong>Symphony</strong> and the BBC<br />
Philharmonic <strong>Orchestra</strong>, and general music<br />
director of both the Dresden Philharmonic<br />
<strong>Orchestra</strong> and Berlin <strong>Symphony</strong> <strong>Orchestra</strong>.<br />
Currently he is Artistic Advisor of the National<br />
<strong>Symphony</strong> <strong>Orchestra</strong> of Taiwan and Principal<br />
Guest Conductor of Las Palmas in the Grand<br />
Canaries, Spain.<br />
Key figures in his musical training include<br />
Hermann Abendroth, Hermann Scherchen,<br />
and Herbert von Karajan. He has recorded<br />
over 100 works with a variety of East German<br />
orchestras, Toronto <strong>Symphony</strong>, Orchestre de<br />
Paris, BBC Philharmonic <strong>Orchestra</strong>, Royal<br />
Philharmonic <strong>Orchestra</strong>, and others.<br />
Dale Barltrop violin<br />
Hailing from Brisbane, Australia, Dale Barltrop<br />
has performed across North America, Europe<br />
and Australia. He served as Principal Second<br />
Violin in the Saint Paul Chamber <strong>Orchestra</strong><br />
for six years prior to being appointed<br />
Concertmaster of the <strong>Vancouver</strong> <strong>Symphony</strong>.<br />
As a soloist, Barltrop has performed with the<br />
Bloomington <strong>Symphony</strong>, Maryland Chamber<br />
<strong>Orchestra</strong>, University of Maryland <strong>Symphony</strong><br />
and back home with the Queensland<br />
<strong>Orchestra</strong> and Queensland Pops <strong>Orchestra</strong>.<br />
He served as Associate Concertmaster of the<br />
Akron <strong>Symphony</strong> <strong>Orchestra</strong> and 1st violinist<br />
of the Verklärte Quartet, which won the grand<br />
prize at the 2003 Fischoff National Chamber<br />
Music Competition.<br />
Barltrop moved to the United States in<br />
1998 to attend the University of Maryland<br />
as a student of Gerald Fischbach and the<br />
Guarneri Quartet. He continued his studies<br />
at the Cleveland Institute of Music with<br />
William Preucil. Barltrop has a keen interest<br />
in teaching and has served on the faculty of<br />
the National <strong>Orchestra</strong>l Institute and worked<br />
regularly with the Greater Twin Cities Youth<br />
Symphonies.<br />
Ludwig van Beethoven<br />
b. Bonn, Germany / December 15, 1770<br />
d. Vienna, Austria / March 26, 1827<br />
Coriolan Overture, Op. 62<br />
According to Plutarch, an historian of ancient<br />
Rome, Coriolanus was a general whose<br />
troops defeated a neighbouring tribe, the<br />
Volscians. Coriolanus’ hatred of the uncouth<br />
citizens who ruled his native city led him to<br />
insult them, resulting in his exile. Driven by<br />
his need for revenge, he joined the Volscians<br />
to attack Rome. The city lay at his mercy, until<br />
his foes sent his wife, mother and young son<br />
to plead with him for clemency. Coriolanus<br />
relented, and the Volscians, feeling betrayed,<br />
slew him.<br />
William Shakespeare used Plutarch’s writings<br />
as the basis for a play, Coriolanus. Coriolan,<br />
Heinrich Joseph von Collin’s stage version<br />
of the story, opened in Vienna in 1802.<br />
Beethoven composed his stirring Coriolan<br />
Overture in 1807. By that time, Collin’s<br />
play had vanished from the stage. It was<br />
remounted the next month, however, largely<br />
in order to profit from Beethoven’s superbly<br />
dramatic musical evocation.<br />
Robert Schumann<br />
b. Zwickau, Germany / June 8, 1810<br />
d. Endenich, Germany / July 29, 1856<br />
Violin Concerto in D minor<br />
Schumann composed this concerto in<br />
September and October 1853. It took him<br />
just 13 days, a typical result of his profoundly<br />
manic-depressive condition. Four months<br />
later, he attempted suicide by jumping into<br />
the Rhine. He spent the remaining years of his<br />
life confined to an asylum.<br />
allegro 35
He had composed the concerto for the<br />
celebrated soloist, Joseph Joachim, for whom<br />
Johannes Brahms would create his concerto<br />
twenty-five years later. He sent the autograph<br />
manuscript to Joachim, who did nothing with<br />
it at first. Following a rehearsal two years<br />
after the composer’s death, Joachim, Brahms<br />
and Schumann’s widow, Clara, decided<br />
that releasing a piece which they held to be<br />
inferior would damage Robert’s reputation.<br />
Joachim deposited the manuscript in the<br />
Prussian State Library in Berlin, with the<br />
stipulation that the concerto not be performed<br />
until 100 years after Schumann’s death.<br />
During the 1930s, Joachim’s great-niece,<br />
the violinist Jelly d’Aranyi, became aware<br />
of the concerto’s existence, allegedly<br />
through contact with Schumann through<br />
the spirit world. She pressed to be granted<br />
the premiere. So did Yehudi Menuhin, who<br />
received permission to do so after the work<br />
was published in 1937. Both artists were<br />
over-ridden by Nazi officials, who claimed<br />
copyright on the concerto and insisted that a<br />
German violinist give the first performance.<br />
Georg Kulenkampf was the soloist at the<br />
premiere, in Berlin in November 1937.<br />
The concerto is more concerned with<br />
expressiveness and poetic fantasy than<br />
virtuosity and simple excitement. An<br />
orchestral introduction presents the main<br />
themes of the opening movement. The<br />
first is forceful, and the second, lyrical. The<br />
second movement is a sweet, gentle reverie<br />
in the manner of Schumann’s songs. The<br />
cheerful finale, featuring delightful writing for<br />
woodwinds, follows on without a break.<br />
Dmitry Shostakovich<br />
b. St. Petersburg, Russia / September 25, 1906<br />
d. Moscow, Russia / August 9, 1975<br />
<strong>Symphony</strong> No. 10 in E minor, Op. 93<br />
Shostakovich spent many of his most<br />
productive years under the oppressive regime<br />
of Soviet dictator Joseph Stalin. Following<br />
Stalin’s death in 1953, Shostakovich quickly<br />
set to work on a new symphony, his first in<br />
eight years. He completed <strong>Symphony</strong> No. 10<br />
on October 25. Yevgeny Mravinsky conducted<br />
the premiere in Leningrad on December<br />
17. The debate over its merits, which was<br />
eventually resolved in his favour, played a<br />
role in the reinstatement of increased artistic<br />
expression in the USSR.<br />
When he was asked if the new symphony<br />
had a program, Shostakovich replied, “No,<br />
let them listen and guess for themselves,”<br />
adding that he wanted simply “to portray<br />
human emotions and passions.” Testimony,<br />
the controversial book of memoirs published<br />
in 1979, gives quite a different account,<br />
stating “It’s about Stalin and the Stalin<br />
years. The second part, the scherzo, is a<br />
musical portrait of him, roughly speaking.<br />
Of course, there are other things in it, but<br />
that’s the basis.” Whatever its inspirations,<br />
this dramatic and forceful work, sparked<br />
by slashes of dark wit, is <strong>one</strong> of his finest<br />
achievements.<br />
The first movement is the longest of the four.<br />
Opening with sober, desolate ruminations,<br />
it rises to a prolonged climax of searing<br />
intensity. The music winds down slowly, to<br />
end as bleakly as it began. In the final pages,<br />
two piccolos warble forlornly as dusk falls<br />
over a battle-scarred landscape.<br />
Harshly scored and driven by relentless,<br />
maniacal energy, the brief second movement<br />
delivers <strong>one</strong> of the most concentrated<br />
outbursts of fury in all music.<br />
Enigmatic and unsettling, the third movement<br />
refuses to offer consolation for what has<br />
preceded it. It features a series of expressive<br />
solos for wind instruments and a bitter, ironic<br />
climax that borders on hysteria.<br />
The finale opens with a mournful introduction<br />
in slow tempo, once again featuring wind<br />
solos. But then clarinet and strings announce<br />
a merry dance tune, at last allowing a ray<br />
of sunlight to brighten the scene. There can<br />
be no possibility of unclouded optimism;<br />
shadowed moments crop up, and at times the<br />
rejoicing takes on an almost frenzied edge.<br />
This music does not so much celebrate the<br />
present as it expresses a wish for freer, less<br />
troubled days ahead. ■<br />
Programme Notes © 2010 Don Anderson<br />
allegro 37
patrons’ circle<br />
The <strong>Vancouver</strong> <strong>Symphony</strong> is grateful for the generosity shown by the following individuals and<br />
foundations, whose annual investment in the VSO has helped this orchestra reach new heights<br />
and garner national and international recognition.<br />
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and Mrs. Sheahan McGavin*<br />
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38 allegro
CHANTAL KREVIAZUK<br />
CONCERT PROGRAM<br />
SPECIALS / ORPHEUM THEATRE, 8PM<br />
wednesday, october 27<br />
Chantal Kreviazuk entertainer<br />
Pierre Simard conductor<br />
Chantal Kreviazuk with the VSO<br />
Program to be announced from the stage.<br />
“(Kreviazuk’s) performance is a virtual roller coaster<br />
of emotion, illuminating the poetry of her lyrics<br />
with an aching growl.”<br />
—Billboard<br />
Visit the <strong>Symphony</strong> Gift Shop for CD selections<br />
CO-PRESENTED BY<br />
40 allegro
Highlights from<br />
the next <strong>issue</strong> of<br />
allegro...<br />
The next <strong>issue</strong> of Allegro Magazine<br />
covers several extraordinary VSO concerts,<br />
from Verdi’s epic Requiem, to Beethoven’s<br />
Ninth <strong>Symphony</strong>.<br />
Bramwell Tovey, the Bach Choir and members of the vso<br />
NOVEMBER 13 & 15, 8pm<br />
Orpheum Theatre<br />
VERDI Requiem<br />
Bramwell Tovey conductor<br />
Joni Henson soprano<br />
Emilia Boteva mezzo-soprano<br />
Roger H<strong>one</strong>ywell tenor<br />
Alain Coulombe bass<br />
<strong>Vancouver</strong> Bach Choir<br />
Verdi’s epic Requiem is a magnificent choral<br />
masterpiece with few equals.<br />
Ellis Hall<br />
Lord of the rings <strong>Symphony</strong><br />
Dale Barltrop<br />
Beethoven<br />
NOVEMBER 19 & 20, 8pm<br />
Orpheum theatre<br />
A TRIBUTE TO<br />
THE GREAT RAY CHARLES<br />
Jeff Tyzik conductor<br />
Ellis Hall vocalist<br />
Ray Charles was a great<br />
Blues master, and <strong>one</strong> of<br />
the most popular artists<br />
of the 20 th century. Ellis<br />
Hall will make you think<br />
the man himself is on the<br />
Orpheum stage in a rousing<br />
tribute concert conducted by<br />
Jeff Tyzik.<br />
NOVEMBER 27, 8pm<br />
November 28, 2pm<br />
Orpheum theatre<br />
Lord of the<br />
rings <strong>Symphony</strong><br />
Markus Huber conductor<br />
Ann De Renais soprano<br />
<strong>Vancouver</strong> Bach Choir<br />
<strong>Vancouver</strong> Bach<br />
Children’s Chorus<br />
The extraordinary Lord of the<br />
Rings <strong>Symphony</strong> comes to<br />
the Orpheum, performed by<br />
the <strong>Vancouver</strong> <strong>Symphony</strong><br />
<strong>Orchestra</strong>!<br />
December 17 & 18, 8pm<br />
Chan Centre<br />
December 20, 8pm<br />
Bell centre, Surrey<br />
Vivaldi Four Seasons<br />
Dale Barltrop leader/violin<br />
Alessandro Juliani narrator<br />
CORELLI<br />
Concerto Grosso in D Major<br />
TELEMANN<br />
Don Quixote Suite<br />
VIVALDI Four Seasons<br />
January 8, 8pm<br />
January 9, 2pm<br />
Orpheum Theatre<br />
Beethoven’s<br />
symphony no. 9<br />
Full concert listings and tickets at: vancouversymphony.ca<br />
or Call VSO Customer Service at 604.876.3434<br />
Michele Capalbo soprano<br />
Rebecca Hass<br />
mezzo-soprano<br />
Benjamin Butterfield tenor<br />
Daniel Okulitch<br />
bass-barit<strong>one</strong><br />
<strong>Vancouver</strong> Bach Choir
CHANTAL KREVIAZUK<br />
PIERRE SIMARD<br />
Chantal Kreviazuk<br />
Chantal Kreviazuk has been awake for hours,<br />
making sure that her three boys have been<br />
fed and dressed. She is also well into her<br />
day job, which today finds her writing songs<br />
for Faith Hill’s upcoming album. Somewhere<br />
along the way she’s begun working on live<br />
arrangements for her first tour in years and is<br />
looking ahead at a full schedule of interviews<br />
to promote her own new album, Plain Jane.<br />
It’s not even 9am.<br />
This is all normal for Kreviazuk, who finds<br />
herself in the middle of being a mommy, a<br />
performer and a sought-after songwriter.<br />
She is oblivious to the fact that she’s the<br />
antithesis of her album title, a woman who<br />
has quietly built <strong>one</strong> of the most envious<br />
careers in music. She shrugs off any<br />
suggestion that she’s a Player. “It’s very hard<br />
for me to put on. I think I’m incredibly boring.”<br />
It’s been anything but a traditional ride<br />
through the music business for Chantal. Her<br />
first album was shot out of the Canadian<br />
Music Cannon, snagging a Juno ® nomination<br />
for Best New Artist. Her three following<br />
albums would cement Kreviazuk as <strong>one</strong> of the<br />
premiere artists in Canada.<br />
Pierre Simard conductor<br />
In his first season as Assistant Conductor of<br />
the <strong>Vancouver</strong> <strong>Symphony</strong> <strong>Orchestra</strong>, Pierre<br />
Simard is also Artistic Director with both the<br />
<strong>Vancouver</strong> Island <strong>Symphony</strong> (BC) and the<br />
Orchestre Symphonique de Drummondville<br />
(QC). Having served as Associate Conductor<br />
with the Calgary Philharmonic <strong>Orchestra</strong>, he<br />
also performs as guest conductor with major<br />
orchestras in Milwaukee, Toronto, Ottawa<br />
(National Arts Centre), Victoria, Hamilton,<br />
Okanagan, Hot Springs (AR), Trois-Rivières,<br />
Québec’s Les Violons du Roy and Montreal’s<br />
Orchestre Métropolitain.<br />
A passionate supporter of orchestral<br />
repertoire, Pierre devotes himself to<br />
reinventing the concert form, combining his<br />
fresh ideas, fantasy and humour with music.<br />
His outstanding creativity and engagement<br />
with youth audiences inspire him to write and<br />
perform original symphonic shows, featured<br />
all across Canada. Holder of a Master’s<br />
Degree in Conducting from the Peabody<br />
Institute and five Conservatory Prizes from<br />
the Conservatoire de musique de Montréal,<br />
Pierre studied with Raffi Armenian, Frederik<br />
Prausnitz, JoAnn Falletta and Marin Alsop. ■<br />
allegro 43
2010/2011 season<br />
Experience <strong>Vancouver</strong>’s<br />
real alternative<br />
music scene<br />
THE VSO’S SPECTACULAR<br />
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J O H A N N E S M O S E R<br />
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VSO Gift Shop<br />
VISIT US IN THE ORPHEUM LOBBY ON THE ORCHESTRA LEVEL<br />
Specially selected CDs including classics and current best-sellers.<br />
Unique giftware, books and musically themed items.<br />
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Your purchases support the VSO. Staffed by VSO Volunteers.
“Chalifour’s compelling sound was immediately<br />
gripping... (and) his impeccable technique was astonishing.”<br />
—Culture Spot L.A.<br />
CONCERT PROGRAM<br />
MUSICALLY SPEAKING / ORPHEUM THEATRE, 8PM<br />
▲<br />
saturday, october 30<br />
North Shore Classics / Centennial Theatre, 8PM<br />
monday, november 1<br />
Bramwell Tovey conductor<br />
♦ Martin Chalifour violin<br />
▲ <strong>Vancouver</strong> Youth <strong>Symphony</strong> <strong>Orchestra</strong><br />
The <strong>Vancouver</strong> Youth <strong>Symphony</strong> <strong>Orchestra</strong> joins the VSO on stage<br />
for the second half of the program on Saturday, October 30.<br />
Coates London Suite: Knightsbridge March<br />
Elgar Cockaigne Overture, Op. 40<br />
♦ VAUGHAN WILLIAMS The Lark Ascending<br />
♦ Elgar/arr. Tovey Three Miniatures for Violin and <strong>Orchestra</strong><br />
I. La capricieuse, Op. 17<br />
II. Chanson de nuit, Op. 15, No. 1<br />
III. Mazurka, Op. 10, No. 1<br />
INTERMISSION<br />
▲ Bax Tintagel<br />
▲ Grainger Londonderry Air<br />
▲ Holst The Perfect Fool, Op. 39: Ballet Music<br />
I. Dance of Spirits of Earth<br />
II. Dance of Spirits of Water<br />
III. Dance of Spirits of Fire<br />
Visit the <strong>Symphony</strong> Gift Shop for CD selections<br />
VIDEO SCREEN SPONSOR<br />
VIDEO PRESENTATION SPONSOR<br />
RADIO SPONSOR<br />
46 allegro
BRAMWELL TOVEY<br />
MARTIN CHALIFOUR<br />
Bramwell Tovey conductor<br />
For a biography of Maestro Tovey please<br />
refer to page 9.<br />
Martin Chalifour violin<br />
Martin Chalifour has held the prestigious post<br />
of Principal Concertmaster of the Los Angeles<br />
Philharmonic since 1985. In addition to his<br />
orchestral schedule, Mr. Chalifour maintains<br />
an active career as a guest soloist and<br />
chamber musician, traveling across Canada<br />
and the U.S. as well as Europe, Australia,<br />
Mexico and the Orient.<br />
Born in Montreal, Canada, Martin Chalifour<br />
began playing violin at the age of four with<br />
the Suzuki Method. At the age of eighteen,<br />
he was awarded three distinct top national<br />
awards in a single year including the<br />
International Stepping St<strong>one</strong>, subsequently<br />
graduating from the Montreal Conservatory<br />
with the highest honors. He then studied at<br />
the Curtis Institute of Music in Philadelphia.<br />
His teachers have included Jascha Brodsky,<br />
David Cer<strong>one</strong>, Taras Gabora and Ivan<br />
Galamian.<br />
Chalifour teaches at the University of<br />
Southern California’s Thornton School of<br />
Music in Los Angeles, and is a founding<br />
member of the Los Angeles Philharmonic<br />
Piano Trio. He records for Yarlung Records.<br />
His next release will feature live performances<br />
in Disney Hall – including Mozart’s Concerto<br />
No. 5 conducted by Sir Neville Marriner.<br />
<strong>Vancouver</strong> Youth<br />
<strong>Symphony</strong> <strong>Orchestra</strong><br />
The <strong>Vancouver</strong> Youth <strong>Symphony</strong> has a long,<br />
proud history in <strong>Vancouver</strong>, dating back to<br />
1930. An amateur flautist named R. Cyril<br />
Haworth was the prime mover in forming the<br />
“<strong>Vancouver</strong> Little <strong>Symphony</strong>,” first under the<br />
direction of the students themselves and later,<br />
under the baton of its first Music Director, Mr.<br />
George Coutts. Mr. Coutts was known to be<br />
“<strong>one</strong> of the very best,” “a fun kind of chap”<br />
and a Scottish-trained, all-round musician<br />
with talent and generosity as a community<br />
leader.<br />
allegro 47
The orchestra thrived and in 1938, the<br />
ensemble became an “educational<br />
project” of the <strong>Vancouver</strong> <strong>Symphony</strong><br />
<strong>Orchestra</strong> and the name was changed to<br />
“<strong>Vancouver</strong> Junior <strong>Symphony</strong> <strong>Orchestra</strong>”.<br />
In 1945 the group was reorganized as an<br />
independent and became the “<strong>Vancouver</strong><br />
Youth <strong>Symphony</strong> <strong>Orchestra</strong>.” Today, the<br />
<strong>Vancouver</strong> Youth <strong>Symphony</strong> <strong>Orchestra</strong> is a<br />
dynamic, independent organization that is<br />
recognized throughout Greater <strong>Vancouver</strong> for<br />
its very fine, multi level orchestral training<br />
programme. VYSO musicians continue to<br />
proudly represent <strong>Vancouver</strong> locally, nationally<br />
and internationally. Many former VYSO<br />
musicians have g<strong>one</strong> on to acclaimed musical<br />
careers and there is never a shortage of<br />
current young VYSO musicians following in<br />
their paths. The <strong>Vancouver</strong> Youth <strong>Symphony</strong><br />
<strong>Orchestra</strong> continues to offer the highest level<br />
of musical training, to nurture and develop<br />
young musicians for decades to come. VSO<br />
Principal Oboe Roger Cole is the current<br />
Artistic Director & Senior <strong>Orchestra</strong> Conductor<br />
of the VYSO.<br />
Eric Coates<br />
b. Hucknall, England / August 27, 1886<br />
d. Chichester, England / December 21, 1957<br />
London Suite: Knightsbridge March<br />
Unlike composers such as Elgar and Vaughan<br />
Williams, for whom “light” music represented<br />
only the occasional diversion from their<br />
“serious” pursuits, Coates was a “light” man<br />
to the fingertips – and proud of it. The London<br />
Suite (1932) marked his breakthrough to<br />
international fame. The Knightsbridge district<br />
is home to Harrod’s and other renowned<br />
retailers. The suite’s cheerful concluding<br />
march (theme music for a long-running BBC<br />
Radio programme, In Town Tonight) captures<br />
its energy and elegance.<br />
Sir Edward Elgar<br />
b. Broadheath, England / June 2, 1857<br />
d. Worcester, England / February 23, 1934<br />
Cockaigne Overture, Op. 40<br />
Elgar preferred country living to the city.<br />
He clearly kept a warm spot in his heart<br />
for London, however, as this robust concert<br />
overture clearly demonstrates. He composed<br />
it over the winter of 1900/1901, and<br />
conducted the highly successful première<br />
himself on June 20.<br />
The title originated in the medieval legend<br />
of Cockaigne, a mythical land of plenty.<br />
The name later came to be associated in a<br />
humorous way with London. Although Elgar’s<br />
overture bears no official program, he told<br />
friends that it portrays the sights and sounds<br />
of the English capital. In it may be heard the<br />
cries of street urchins, the parading by of<br />
brass bands, and music for the contrasting<br />
areas of quiet, reflection and romance which<br />
dot the face of London.<br />
Ralph Vaughan Williams<br />
b. Down Ampney, England / October 12, 1872<br />
d. London, England / August 26, 1958<br />
The Lark Ascending<br />
It would be difficult to imagine a stronger<br />
contrast than that between this peaceful<br />
idyll and the state of world affairs when it<br />
was written. It dates from 1914, as Europe<br />
teetered on the brink of the most horrific<br />
conflict humanity had yet witnessed.<br />
The solo violin sings the lark’s achingly<br />
beautiful songs. At first the orchestral strings<br />
envelope it in a soft halo of sound, as it soars<br />
gracefully above a sun-dappled summer<br />
countryside. A gentle dance-like rhythm<br />
animates the central section, where the<br />
lark trills in contented rapture. Tranquility<br />
is restored in the concluding panel, which<br />
evokes sunset, in both the physical and<br />
spiritual senses. Beauty will endure, it seems,<br />
despite the changes wrought by time and<br />
circumstance.<br />
Sir Edward Elgar<br />
Arranged by Bramwell Tovey<br />
Three Miniatures for Violin and <strong>Orchestra</strong><br />
Elgar was equally adept at composing short,<br />
charming works as he did longer, more<br />
ambitious <strong>one</strong>s. Two of these three pieces<br />
began as works for violin and piano: La<br />
capricieuse (The Capricious One, 1891), and<br />
Chanson de Nuit (Night Song, 1897).<br />
allegro 49
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The Mazurka was an orchestral work from<br />
the start. It first appeared in 1888 as part of<br />
a suite. Elgar revised it eleven years later as<br />
the first of the Three Characteristic Pieces.<br />
La capricieuse is suitably light and teasing.<br />
Chanson de Nuit shows Elgar in a warm,<br />
thoughtful mood. The Mazurka is a hearty<br />
exercise in folk-flavoured dance music, in this<br />
case with a Polish accent.<br />
Sir Arnold Bax<br />
b. London, England / November 8, 1883<br />
d. Cork, Ireland / October 3, 1953<br />
Tintagel<br />
A self-proclaimed “brazen Romantic,” Bax<br />
developed a majestic style which reached<br />
its peak in seven symphonies and a group of<br />
atmospheric symphonic poems inspired by<br />
Celtic mythology and the British landscape.<br />
Tintagel (1917) takes its name from a village<br />
in Cornwall on England’s southwest coast.<br />
Over the rugged, wind-swept landscape brood<br />
the ruins of an ancient castle associated with<br />
the legends of King Arthur and Tristan.<br />
The printed introduction states, “The<br />
composer’s intention is simply to offer a<br />
tonal impression of the castle-crowned cliff<br />
of Tintagel, and more especially of the long<br />
distances of the Atlantic as seen from the<br />
hills of Cornwall on a sunny but not windless<br />
summer day.”<br />
“(Grainger)...produced<br />
a long series of unique and<br />
treasurable arrangements...”<br />
Gustav Holst<br />
b. Cheltenham, England / September 21, 1874<br />
d. London, England / May 25, 1934<br />
The Perfect Fool, Op. 39: Ballet Music<br />
Holst is known internationally solely by his<br />
spectacular orchestral suite The Planets, but<br />
the best of him will be found in his mystical<br />
choral works and expert folk-song settings.<br />
The comic opera The Perfect Fool debuted in<br />
London in 1923. Its oddball libretto, written<br />
by Holst himself, ensured its lack of success<br />
in the theatre, but the ballet music which<br />
opens the first scene has taken on a life of its<br />
own as a concert piece. Tromb<strong>one</strong>s sound a<br />
commanding invocation; a wizard summons<br />
three sets of spirits, representing earth, water<br />
and fire; each dances to brilliantly scored,<br />
richly characterized music. ■<br />
Programme Notes © 2010 Don Anderson<br />
Percy Grainger<br />
b. Melbourne, Australia / July 8, 1882<br />
d. White Plains, New York, USA / February 20, 1961<br />
Londonderry Air<br />
Norwegian composer Edvard Grieg instilled<br />
in Grainger a love of folk music, regardless<br />
of its origin. Grainger took to the British<br />
countryside, a primitive recording machine<br />
strapped to his back. He recorded numerous<br />
folk songs on location, then produced<br />
a long series of unique and treasurable<br />
arrangements of them. He created his rich<br />
setting of Londonderry Air (a melody also<br />
known as Irish Tune from County Derry, and<br />
Danny Boy) in 1909.<br />
allegro 51
BRAMWELL TOVEY<br />
STEPHEN HOUGH<br />
CONCERT PROGRAM<br />
PRICEWATERHOUSECOOPERS MASTERWORKS SILVER / ORPHEUM THEATRE, 8PM<br />
saturday & monday, november 6, 8<br />
SYMPHONY SUNDAYS / ORPHEUM THEATRE, 2PM<br />
sunday, november 7<br />
Bramwell Tovey conductor<br />
♦ Stephen Hough piano<br />
SCOTT Good Prelude for <strong>Orchestra</strong><br />
♦ Tchaikovsky Piano Concerto No. 3 in E-flat Major, Op. 75<br />
I. Allegro brilliante<br />
INTERMISSION<br />
♦ Liszt Piano Concerto No. 1 in E-flat Major<br />
i. Allegro maestoso: Tempo giusto<br />
II. Quasi adagio<br />
III. Allegretto vivace<br />
iv. Allegro marziale animato<br />
Saint-Saëns <strong>Symphony</strong> No. 1 in E-flat Major, Op. 2<br />
i. Adagio – Allegro<br />
II. Marche-Scherzo: Allegretto scherzando<br />
III. Adagio<br />
iv. Finale: Allegro maestoso<br />
Visit the <strong>Symphony</strong> Gift Shop for CD selections<br />
Masterworks SILVER SERIES SPONSOR VIDEO SCREEN SPONSOR VIDEO PRESENTATION SPONSOR<br />
52 allegro
Bramwell Tovey conductor<br />
For a biography of Maestro Tovey please<br />
refer to page 9.<br />
Stephen Hough piano<br />
With a singular vision that transcends musical<br />
fashions and trends, Stephen Hough is widely<br />
regarded as <strong>one</strong> of the most important and<br />
distinctive pianists of his generation. In<br />
recognition of his achievements, he was<br />
awarded a prestigious MacArthur Fellowship<br />
in 2001, joining prominent scientists,<br />
writers and others who have made unique<br />
contributions to contemporary life. He<br />
received the 2008 Northwestern University<br />
School of Music’s Jean Gimbel Lane Prize in<br />
Piano Performance and was recently named<br />
winner of the 2010 Royal Philharmonic<br />
Society Instrumentalist Award.<br />
Mr. Hough has appeared with most of the<br />
major American and European orchestras<br />
and plays recitals regularly in the important<br />
halls and concert series around the world.<br />
A resident of London, Mr. Hough is a visiting<br />
professor at the Royal Academy of Music in<br />
London and holds the International Chair of<br />
Piano Studies at his alma mater, the Royal<br />
Northern College in Manchester.<br />
Scott Good<br />
b. Toronto, Ontario / April 8, 1972<br />
Prelude for <strong>Orchestra</strong><br />
In 1996, I was fortunate to receive 1 st prize in<br />
the Winnipeg <strong>Symphony</strong>’s annual composer’s<br />
competition. The prize included a commission<br />
for a new work, and the Prelude was that<br />
commission. The premiere in 1998 was<br />
conducted by n<strong>one</strong> other than Maestro Tovey!<br />
So this performance is like a reunion of sorts.<br />
The version of this work for the performances<br />
with the VSO will be of a newly revised<br />
version of the piece...and a new title. The<br />
original title, Fantasie Symphonique, has been<br />
endlessly confused with the work by Berlioz<br />
of similar sound (can you guess!). It had<br />
to go! The new title Prelude refers not only<br />
to the quality of the music, as an opening<br />
work, but also to its place in my career as a<br />
composer. Prelude was my first commission<br />
for a professional orchestra, and is symbolic<br />
of the beginning of my life as a professional<br />
musician. The mood is dark, but vibrant –<br />
youthful in energy, but serious in t<strong>one</strong>.<br />
“the mood is dark, but vibrant<br />
– youthful in energy...”<br />
It is a great privilege to have this work<br />
re-mounted! It has always had a special place<br />
in my heart, and I’m thrilled to be sharing<br />
it with you.<br />
Programme Notes © 2010 Scott Good<br />
Pyotr Il’yich Tchaikovsky<br />
b. Kamsko-Votkinsk, Russia / May 7, 1840<br />
d. St. Petersburg, Russia / November 6, 1893<br />
Piano Concerto No. 3<br />
in E-flat Major, Op. 75<br />
The immense and enduring popularity of<br />
Tchaikovsky’s Piano Concerto No. 1 has cast<br />
his other two piano concertos completely into<br />
the shade. They may not be as immediately<br />
attractive as No. 1, but they do not deserve<br />
the obscurity into which they have fallen. The<br />
foremost difficulty with No. 3 is that it has<br />
just <strong>one</strong> movement. This makes it necessary<br />
for soloists to play a second work of roughly<br />
equal length – something they are often<br />
reluctant to do. Thank goodness for generous<br />
and adventurous artists like Stephen Hough!<br />
Tchaikovsky began a symphony (it would<br />
have been the sixth) in 1892. The sketches<br />
didn’t fit the symphonic mould, so in the<br />
summer of 1893 he began transforming<br />
them into a three-movement piano concerto.<br />
He completed only the first section before<br />
he died in November. It was published as<br />
Piano Concerto No. 3. Later his pupil, Sergei<br />
Taneyev, edited and orchestrated the second<br />
and third movements and published them as<br />
the Andante and Finale, Op. 79. He appeared<br />
as soloist in the premieres of all these pieces.<br />
Concerto No. 3 is constructed on three<br />
themes. The first is bold and commanding;<br />
the second mines Tchaikovsky’s deep vein<br />
allegro 53
of lyrical yearning; the third is a cheeky tune<br />
with the flavour of a Russian folk dance. An<br />
expansive and thunderous solo cadenza lies<br />
at the core of the concerto.<br />
Franz Liszt<br />
b. Raiding, Hungary / October 22, 1811<br />
d. Bayreuth, Germany / July 31, 1886<br />
Piano Concerto No. 1 in E-flat Major<br />
Liszt was not only the foremost virtuoso<br />
pianist of his era, but also a prime mover<br />
behind many important innovations in<br />
the field of composition. One of his most<br />
influential creative achievements was the<br />
development of the symphonic poem, a<br />
free-form type of orchestral piece inspired<br />
by such extramusical concepts as literature,<br />
artwork and natural phenomena. To bind<br />
the various and continuous sections of such<br />
works together, he developed a compositional<br />
method through which he based the entire<br />
piece on the evolution and transformation<br />
of a few short, simple themes. Liszt’s piano<br />
concertos also make use of this technique.<br />
They are, in effect, symphonic poems with the<br />
piano soloist as the central character.<br />
“One of his most influential<br />
creative achievements was<br />
the development of the<br />
symphonic poem...”<br />
Concertos 1 and 2 evolved over lengthy<br />
periods, perhaps as much as 30 years. At<br />
the premiere of the final version of No. 1<br />
(Weimar, 1855), Liszt played the solo part,<br />
with his friend and musical soul-mate, Hector<br />
Berlioz, conducting. Much fuss was made<br />
over his use of a triangle in the scherzo of the<br />
concerto. Critics thought its silvery frivolity<br />
out of place in a serious composition. Actually,<br />
it sounds right at home in this brilliant music.<br />
In addition to humour, the concerto contains<br />
ample amounts of drama, tenderness, and<br />
commanding energy. The heroic demands<br />
of the solo part reflect the composer’s own<br />
sovereign gifts.<br />
Camille Saint-Saëns<br />
b. Paris, France / October 9, 1835<br />
d. Algiers, Algeria / December 16, 1921<br />
<strong>Symphony</strong> No. 1 in E-flat Major, Op. 2<br />
Although this is the second in order of<br />
composition among the five Saint-Saëns<br />
symphonies, it was published as No. 1.<br />
He composed it in 1853. He sent the<br />
manuscript anonymously to a Parisian concert<br />
organization, the Société Saint-Cécile of Paris,<br />
which had been founded by an acclaimed<br />
Belgian violinist, François Seghers. Wishing to<br />
assist Saint-Saëns in his budding career, and<br />
recognizing the artistic prejudices of the day<br />
(Frenchmen didn’t compose symphonies, and<br />
German instrumental music was superior to<br />
French), Seghers led the society’s screening<br />
committee to believe that the symphony was<br />
the work of a mature German composer.<br />
The ruse worked, and it was accepted for<br />
performance.<br />
The veteran composers Berlioz and Gounod<br />
heard it during rehearsal and praised it<br />
highly. They were astonished to find that the<br />
creator of so skillful a work was just eighteen.<br />
Gounod, who had met Saint-Saëns briefly ten<br />
years before, said to him in a letter “You are<br />
far in advance of your years.” Saint-Saëns<br />
proudly held onto that letter for the remainder<br />
of his life.<br />
<strong>Symphony</strong> No. 1 is a delightful work, filled<br />
with youthful high spirits, ample charm, and<br />
skillful use of a large orchestra. Naturally<br />
such an early piece shows the influence of<br />
Saint-Saëns’ preferred masters – Schumann,<br />
Berlioz and Mendelssohn, for example – but<br />
there is much confident individuality on<br />
display, as well. The first movement consists<br />
of a brief, solemn introduction and a vivacious<br />
Allegro. The second movement is a tuneful,<br />
almost balletic creation for which Saint-Saëns<br />
coined a new title: Marche-Scherzo.<br />
A languid, coolly romantic Adagio follows.<br />
It segues without a break into a stirring<br />
finale, in which Saint-Saëns paid homage<br />
to the baroque period by including a<br />
vigorous fugue. ■<br />
Programme Notes © 2010 Don Anderson<br />
54 allegro
The 2010 / 2011 Season<br />
new beginnings<br />
All concerts conducted by Leslie Dala in his<br />
first season as Music Director of the <strong>Vancouver</strong> Bach Choir<br />
Sunday December 5, 2010<br />
Christmas with the Bach Choir<br />
400 voices sing traditional Christmas<br />
music with organ and brass.<br />
Saturday December 11, 2010<br />
Handel’s Messiah<br />
Handel’s “greatest hit” with the VSO<br />
and fabulous soloists.<br />
Sunday December 12, 2010<br />
The Sing-Along Messiah<br />
The 30th Anniversary performance<br />
of this ever-popular concert.<br />
Saturday March 19, 2011<br />
Rachmaninoff Vespers<br />
The transcendental Rachmaninoff Vespers<br />
plus 3 contemporary pieces.<br />
Saturday April 16, 2011<br />
Damnation of Faust<br />
Berlioz’ Damnation of Faust.<br />
VSO and Metropolitan Opera soloists.<br />
All concerts at the Orpheum Theatre.<br />
Subscribe and save up to 15%<br />
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allegro<br />
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Arrival from Sweden<br />
plays the Music of ABBA!<br />
WED, JANUARY 5, 8pm<br />
ORPHEUM THEATRE<br />
Pierre Simard conductor<br />
Arrival from Sweden<br />
www.themusicofabba.com<br />
International sensation Arrival from Sweden is the world’s top ABBA tribute band and the only band<br />
with exclusive rights to the ABBA name, costumes, and original music, including hits like Mamma Mia,<br />
Chiquitita, Take a Chance on Me, Waterloo, and many more. It’s ABBA as you’ve never seen them before:<br />
live on stage with the <strong>Vancouver</strong> <strong>Symphony</strong> <strong>Orchestra</strong>!<br />
Tickets online at: vancouversymphony.ca<br />
or call 604.876.3434
ecome a<br />
Fr end of the<br />
<strong>Vancouver</strong> <strong>Symphony</strong><br />
The VSO is so fortunate to have the support of Friends of the <strong>Vancouver</strong> <strong>Symphony</strong>,<br />
a group of over 2000 donors who share a passion for bringing classical music to<br />
our community and ensuring the future of the orchestra we all love.<br />
Your investment in the VSO supports:<br />
High-Quality Performances:<br />
Annually, audiences of over<br />
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Renowned Education<br />
and Outreach Programs:<br />
The VSO reaches over 50,000<br />
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Your membership will keep great music alive.<br />
Join Friends of the <strong>Vancouver</strong> <strong>Symphony</strong> today – You will have exclusive<br />
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To become a member or for more information please contact Rebekah Bull<br />
at 604.684.9100 extension 238 or rebekah@vancouversymphony.ca<br />
You can also join at: vancouversymphony.ca/friends
friends of the vancouver symphony<br />
The VSO is extremely grateful for the support it receives from Friends of the<br />
<strong>Vancouver</strong> <strong>Symphony</strong>. And, thanks to the generous matching gift from the<br />
Pyatt Family this past season, we received a record number of new gifts and are<br />
pleased to welcome many new Friends to the symphony family.<br />
Due to space limitations, donations of $100 and more are listed, but every gift is sincerely appreciated.<br />
Thank you to all of our donors for playing your part in the VSO’s ongoing success.<br />
BRAVO<br />
$1,000 – $1,499<br />
Anako Foundation<br />
Horst and Hildegard<br />
Aschenbroich<br />
Beardsley Family Foundation<br />
Ken Birdsall<br />
M. Braun<br />
Gerald and Barbara Clow<br />
Edward Colin and<br />
Alanna Nadeau<br />
Dolores de Paiva<br />
Miryam and Rafael Filosof<br />
Mrs. Pamela George<br />
Ms. Victoria Graham<br />
Dr. Peter and Marla Gropper<br />
Buddy and Chantal Hulscher<br />
Mr. and Mrs. John Hurst*<br />
Herbert Jenkin<br />
Daphne and Bryan Johnson<br />
Linda and Harold Kalman<br />
Hank and Janice Ketcham<br />
Marilynn King<br />
Uri and Naomi Kolet<br />
Hugh and Judy Lindsay<br />
Alan and Helen Maberley<br />
Glen MacDermid<br />
Mr. and Mrs.<br />
Bruce Macdonald<br />
Christina McLeod<br />
Mrs. Audrey D. Morton<br />
Ms. Marion Pearson and<br />
Dr. James Orr*<br />
Dr. Thomas Pullano and<br />
Mr. Brad Waites<br />
Dr. Philip M. Sestak<br />
Dr. Earl and<br />
Mrs. Anne Shepherd<br />
Mr. J. E. Smith<br />
Grenville Thomas<br />
Mark P. Tindle and<br />
Leslie G. Cliff<br />
Mary I. White<br />
The Wolrige Foundation<br />
Hugh and<br />
Janet Wynne-Edwards<br />
Seung Young Yun<br />
Anonymous (4)<br />
For more information about the friends of the vancouver symphony<br />
and the benefits associated with this program please contact Rebekah Bull<br />
at 604.684.9100 extension 238 or email rebekah@vancouversymphony.ca<br />
58 allegro<br />
SYMPHONY<br />
$500 – $999<br />
Ms. Reta Alden<br />
G. Aldrich<br />
Mr. Michael Alexander and<br />
Ms. Dianna Wagg<strong>one</strong>r<br />
Virginia B. Alexandor<br />
Tony Antonias<br />
Stella and Derek Atkins<br />
Dr. Vicki Bernstein<br />
Joost Blom<br />
David and Hazel Boettcher<br />
Mr. Ian and<br />
Mrs. Darlene Brown<br />
Brenda Bullock-Paget<br />
Peter Burch and<br />
Kathryn Cholette<br />
David and Elaine Chin<br />
Dr. Philip B. Clement<br />
Karen and Nathan Daniels<br />
Julian and Dorothy Davies<br />
David Devine<br />
Jean W. Donaldson<br />
Mrs. Gloria Doubleday<br />
Mr. and Mrs.<br />
Joseph M. Elworthy<br />
Ian A. Falc<strong>one</strong>r<br />
Moh and Yulanda Faris<br />
Terry and Wendy Fidgeon<br />
Ms. Gail A. Fosbrooke<br />
Ms. Dorothy M. Grant<br />
Dr. Laurel H. Gray<br />
Mr. Hugh Griffith<br />
Vitalius V. Gudaitis<br />
Gyro Club of <strong>Vancouver</strong><br />
Charitable Foundation<br />
Dr. Donald G. Hedges<br />
Mr. Regine and<br />
Mrs. Angelika Hedley<br />
Ms. Lorna M Herberts<br />
Mary I. Hole<br />
Don and Pat Hudson<br />
David and Janet Isaac<br />
Dr. and Mrs. Michael Janusz<br />
Mrs. Sharon Jeroski<br />
Mr. Terry Kellam<br />
Lorna Klohn<br />
G. Krainer<br />
D. M. Lam<br />
Lt. Col. George E. Littlemore*<br />
Harold and Jenny Locke<br />
Dick and Jane Loomer<br />
Mrs. Nancy M. Macdonald<br />
R.W. MacKenzie<br />
Julie and Rob<br />
Dr. and Mrs. Alex Magil<br />
Mr. and Mrs.<br />
Michael G. Magnee<br />
Mr. and Mrs.<br />
Kenneth G. McDonald<br />
Mrs. M. Z. McDougall<br />
Bill McGreer and Kara McNair<br />
Mrs. Gerry McIntosh*<br />
Mr. and Mrs. John McKay<br />
David W. McMurtry<br />
Arthur R. Monahan<br />
Mr. Cleveland Mullings<br />
Marv and Esther Neufeld<br />
Mrs. Elizabeth H. Nieboer<br />
Betty and Irving Nitkin<br />
Mrs. Patricia North<br />
Don and June Ogden<br />
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Barbara Paterson<br />
Anne Pearson<br />
Theodore Powis<br />
Pratt-Johnson Foundation<br />
Mr. and Mrs. William S. Reid<br />
Dal and Muriel Richards<br />
Mr. and Mrs. Donald Risk<br />
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Marilyn Sandvik<br />
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Rosemary Schubert<br />
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Natalie and<br />
Norman Speckmaier<br />
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Jim and Beverley Stewart<br />
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Lola and Walter Styba<br />
Beverley Tamboline<br />
W.G. Thomson<br />
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Linda Vickars<br />
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John and Nora Wheeler<br />
Gerald B. Whittall<br />
Alan and Susi Wilson<br />
Mrs. Selma Wingrove<br />
Lorna and Kevin Yeates<br />
Anonymous (18)<br />
CONCERTO<br />
$300 – $499<br />
T. J. and Catherine Adair<br />
Mr. and Mrs. Frank Anfield<br />
Dr. and Mrs. L.T. Archer<br />
Alan Ballard and<br />
Tanis Brookes<br />
Jane Banfield*<br />
Ms. Deborah Bartlette<br />
Ethel Barton<br />
Norman Barr and<br />
Bernice Bell<br />
Ms. Brenda Benham<br />
Ted Bielby<br />
Mr. and Mrs. Biskupski<br />
Catherine and Jay Black<br />
Lyrica and Jack Bradshaw<br />
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S. M. Clarke<br />
David and Donna Cook<br />
Mr. and Mrs. Kenneth A. Cox<br />
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Dale Collin Essar<br />
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Madelyn and Ron Farrand<br />
Dr. and Mrs. Sherold Fishman
M. E. Fitch<br />
Jean and Bob Garnett<br />
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Paul and Claudia Goldman<br />
Anne Gray<br />
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P.M. Hansen<br />
Pat Harrold and Paul Hart<br />
Dr. Malcolm Hayes<br />
Mr. and Mrs. Terence Heenan<br />
Marie Hook<br />
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Judith Johnston<br />
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Dr. Alan and<br />
Mrs. Donna Macdonald<br />
Fiona MacKay<br />
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Joan and Gordon McConkey<br />
Mrs. Yvonne R. McGrane*<br />
Peter J. Mercer<br />
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Richard G. Orlaw<br />
Maureen and Roy Patrick<br />
Tom and Beth Perry<br />
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Ellen Volden<br />
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Ms. Cherie Williams<br />
Jonathan and<br />
Christine Wisenthal<br />
Jane and Michael Woolnough<br />
Anonymous (28)<br />
OVERTURE<br />
$100 – $299<br />
Mr. Frank Abbott<br />
Frank and Phyllis Abbott<br />
David Abramowitz<br />
Nita M. Adams<br />
Dr. Robert J. Adderley<br />
Margaret M. Adie<br />
Linda G. Adshead<br />
Mrs. Donna Aldous<br />
Mr. David J. Allen<br />
John M. Anderson<br />
Ted and Jean Andrew<br />
The Archers<br />
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Anti-Olympic Donation<br />
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Aline Banno<br />
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Florence Beytin<br />
Karen and Mark Bichin<br />
Shirley Bidewell<br />
P. Birch and F. J<strong>one</strong>s<br />
Ms. Dianne Bishop<br />
David and Georgia Black<br />
Mrs. Anna Blaszczyk<br />
Maria C. Bojadziev<br />
M. A. Boltezar<br />
Janine Bond<br />
Helen Boultbee<br />
Michael and Flora Bovis<br />
Mrs. Viola Bowdish<br />
Cathleen Boyle<br />
Dr. and Mrs. David G. Brabyn<br />
Mrs. Marion L. Bradley<br />
In Loving Memory of our Dear<br />
Aunt Mrs. Shirley Bradner<br />
C.O. and Isabella Brawner<br />
Gloria E. Breault<br />
Mr. Robert J. Brebner<br />
Mrs. Sheila Brew<br />
Mr. Rodney Briggs<br />
Mr. David G. Brown<br />
Donald Brown*<br />
Rowan Brown<br />
Mrs. Marie-Luise Brunnhofer<br />
Peter and Mary Brunold<br />
Rosemarie and Alan Bruyneel<br />
Ms. Linda Bryan<br />
Dr. and Mrs. William T. Bryson<br />
M. Bullock<br />
Dr. and Mrs.<br />
Lawrence H. Burr<br />
Lloyd Burritt<br />
Ms. Maureen Cafferata<br />
Miss Eleanor D. Caldwell<br />
Beverly J. Campbell<br />
Brooke and Janet Campbell<br />
Mrs. Doris E. Campbell<br />
Mr. and Mrs.<br />
Odis L. Campbell<br />
Mr. Richard D. Campbell<br />
Ruth E. Campbell<br />
Carol S. Canfield<br />
Ralph and Gill Carder<br />
Dr. Nancy Carlman<br />
Rudy Carlson<br />
Mr. Brian and<br />
Mrs. Katherine Casidy<br />
Lorelei Cavanaugh<br />
Ms. Diana Challenor<br />
Charlens and<br />
Dhorea Challmie<br />
Pam Chambers<br />
Jason and Nina Chan<br />
John and Penny<br />
Charlesworth<br />
Don and Reka Charlton<br />
JoAnne Chase<br />
Ms. Charity Man-Ling Chen<br />
Marie Cheong<br />
Ben and Beth Cherniavsky<br />
Gillian Chetty<br />
Mauro Chiesa<br />
Caroline Chou<br />
Charles Clapham<br />
Mr. David and<br />
Mrs. Truus Clark<br />
Ms. Catherine Clarke<br />
Anne Clemens<br />
Willard and Doreen Coates<br />
David and Judy Coblin<br />
Stephen Cochrane<br />
Peter and Hilde Colenbrander<br />
Mr. and Mrs. Robert Confrey<br />
Thalia, Sophie and Amanda<br />
Conway and their parents<br />
Mr. and Mrs. B.A. Cooper<br />
Deborah Cooper*<br />
Mrs. K. M. Copeland<br />
Hanneke and Burke Corbet<br />
Karin Cordiner<br />
C. Cornwell<br />
Mr. and Mrs. D.E. Couling<br />
In Memory of<br />
Doug and Julie Cowan<br />
K.M. Cowtan<br />
Mrs. Beverly Craig<br />
Mr. Edward G. Crommelin<br />
Ms. Helen Cunningham<br />
Dr. Dianne Cyr<br />
Hallvard Dahlie<br />
Mrs. Gunnel Dahlquist<br />
Mr. J. Kenneth Dakin<br />
Ms. Denyse Dallaire<br />
Ms. A. Danserau<br />
Ms. Anita Daude-Lagrave<br />
Judy Daughney<br />
Janet and Don Davidson<br />
Gloria Davies*<br />
Ms. Jane Davis<br />
John Dayton<br />
Eva and Ralph De Coste<br />
Katy De Geus<br />
Ms. Beatrix Degroot<br />
Mr. Giuseppe Del Vicario<br />
Samuel Dezell<br />
Isadore and Valerie Diamond<br />
Mr. and Mrs. Larry Diamond<br />
Helene and Paul Dillman<br />
Dr. and Mrs.<br />
F. George Ditchburn<br />
Peter Dodek and Hella Lee<br />
Paul T. Draper<br />
Belisha Duan<br />
Ms. Helen P. Duffy<br />
Marilyn A. Dumoret<br />
Alain and Nancy Duncan<br />
David and Cathie Duncan<br />
Ms. Susan Duncan<br />
Mrs. Pat Dunnett<br />
Tatiana Easton<br />
Dr. and Dr. Allen C. Eaves<br />
Barbara Ebelt<br />
Bryan Edwards<br />
Jim and Johan Elgood<br />
Ms. Erin Ellis<br />
Remembering Ellis<br />
Rob and Margaret Elvidge<br />
Elizabeth Esson<br />
Etches, Duncan and Nora<br />
Dr. Virginia Evans<br />
Susan and Brent Ewing<br />
Frederick L.T. Fairey<br />
Mrs. Zelma Fairley<br />
Ms. Patricia A. Fallmann<br />
In Memory of<br />
Dr. James Farmer<br />
In Memory of Dr. Jim Farmer<br />
Rochelle Farquhar<br />
Mr. and Mrs.<br />
David and Pamela Fay<br />
Douglas Fearman In Honour<br />
of George Taylor<br />
Mrs. Shirley Featherst<strong>one</strong><br />
H.D. Feller<br />
Michael and Edith Fenner<br />
Peter and Eva Ferguson<br />
Agnes Fessler<br />
Fred and Beverly Field<br />
J.D. and Nancy Forbes<br />
Ms. Marguerite Ford<br />
Miss Gwynneth Foulds<br />
Bertha Foyle<br />
Alastair and Linda Fraser<br />
Mrs. Mary H. Fraser<br />
continued...<br />
Every effort has been made to ensure the accuracy of this list. In the unfortunate event of errors or omissions<br />
please accept our apologies and contact the Development Department at 604.684.9100<br />
extension 234 so that we can make the necessary corrections to recognize your generosity. Thank you.<br />
allegro 59
friends of the vancouver symphony continued . . .<br />
Ruth Freeman<br />
Pamela and Bernd Friedrich<br />
Ms. Mei Ling Fu<br />
C. Fung<br />
Ruth Freeman<br />
Pamela and Bernd Friedrich<br />
Ms. Mei Ling Fu<br />
C. Fung<br />
Miss Anne E. Funk<br />
Ms. Susie Funk<br />
Jean and Hubert Gabrielse<br />
Ms. Annette Gardiner<br />
J.A. Gardiner<br />
Jocelyn Gardner<br />
Dr. and Mrs. Ivan Gasoi<br />
Mr. Richard L. George<br />
Dorothy G’froerer<br />
Mr. Terence Gilbraith<br />
Marion and Jack Gillingham<br />
Mr. and Mrs. Norman C. Gillis<br />
Ann and Barrie Gillmore<br />
Patricia Gillott<br />
Maryke Gilmore<br />
Allan and Sherry Gjernes<br />
Laurel and Stephen Glanfield<br />
Mr. Gerry Glazier<br />
GNK Insurance Services Inc.<br />
Cynthia and Robert Goddard<br />
Mrs. Elaine Godwin<br />
Dr. Barry Goldberg and<br />
Ms. Ann Berman-Goldberg<br />
June and Paddy Gooderham<br />
Doug and Vi Goodwin<br />
John and Julia Gosden<br />
David and Beverley Gowe<br />
Win Granger<br />
Ms. Nancy Grant<br />
Mrs. Helen Gray<br />
Robin Gray<br />
Anne Gregory<br />
Mr. and Mrs. George Gregr<br />
Ms. Nancy Greig<br />
B. E. Griffiths<br />
Mr. Denis Grohol<br />
Pam Grover and<br />
Christopher Clutchey<br />
Mr. Bernard Guichon and<br />
Mrs. Faye Bremner<br />
Ms. Joan Guistini<br />
Mr. Walter D. Gumprich<br />
Don and Patti Gunning<br />
Mrs. Gloria M. Guntner<br />
Pauline Hall<br />
Kenneth D. Halliday<br />
Mr. Robert Hamill<br />
In Loving Memory of<br />
April Hamilton<br />
In Memory of April Hamilton<br />
Mr. Ian Hampton<br />
Mr. John C.S. Hansen<br />
Mr. and Mrs. Desmond Harris<br />
Lynda and Fred Harris<br />
M. and P. Harrison<br />
Mrs. Constance M. Hatherton<br />
Henry G. Hawthorn<br />
W.M. Hay<br />
Cheryl and Brian Hebb<br />
Joyce Hendriks<br />
60 allegro<br />
Lauren, Rina and<br />
Byron Henze<br />
Marc Herrmann and<br />
Mary Lee Burns<br />
Mrs. Eileen Hertzman<br />
Audrey Hetherington<br />
Mrs. Gloria J. High Wo<br />
R. Hildred<br />
Anja-Britta Hintelmann<br />
John and Audrey Hobbs<br />
Debby and Richard Hodgson<br />
T.P. Hodgson<br />
Patricia M. Hoebig<br />
Frederick and Barbara Hoelk<br />
Mr. Carl Hofbauer<br />
Sandy Hollenberg and<br />
Art Cooke<br />
Clive and Carol Holloway<br />
John Hooge<br />
Douglas Horan<br />
Don Hoskins<br />
Jason Hou<br />
Betty Hough<br />
Arthur Hughes<br />
C. Hughes<br />
A.F. Hyndman<br />
Mrs. Audrey Ann Ilott<br />
Ms. Camille Inkman<br />
Ms. Louise Irwin<br />
Rosemary Jackson<br />
Ms. Joan A. James<br />
Wesley Jay<br />
Ms. Galina Jitlina<br />
Mr. Carlos Johansen<br />
Brenda Johnston<br />
Dr. and Mrs. David Johnston<br />
Ms. Fae E. Johnst<strong>one</strong><br />
Gwynneth C. D. J<strong>one</strong>s<br />
The Joseph Family<br />
Mrs. Barbara Kaiser<br />
Evalyn Kantor<br />
Damir Karaturovic<br />
Dr. and Mrs. Roy J. Karjala<br />
D.F. Keevil<br />
Mr. and Mrs.<br />
Robert M. Kellogg<br />
Mrs. Doreen Kemick<br />
Robert and<br />
Raymonde Kendrick<br />
Louise and Gary Kenwood<br />
Mr. and Mrs. Rudy Kerklaan<br />
Elizabeth Kerr<br />
Mrs. Lyda Kerr<br />
Mr. Malcolm and<br />
Mrs. Evelyn Kerr<br />
Alex and Erika Kertesz-Green<br />
D.M. Kika<br />
Mr. and Mrs. T. Kikuchi<br />
Harvey and Johana King<br />
Joan E. Kirkwood<br />
Mrs. Dorothea Kisby<br />
Mr. Peter Kitching<br />
Terry and Carol Kline<br />
Dr. Harry and Mary Klonoff<br />
Achim and Kim Klor<br />
John Knechtel<br />
Mrs. Girlie Koo<br />
Dr. Thais Kornder<br />
Mr. and Mrs. Stanford Korsch<br />
Jean and Mike Kovich<br />
Dr. and Mrs. Robert Krell<br />
Robert and Marie Kuhn<br />
Dr. and Mrs. Robin Kuritzky<br />
Mr. Matthew F. Kurnicki<br />
Peter Kwok<br />
Ms. Virginia Kwong<br />
Mr. and Mrs. Alwin Lacson<br />
Dan Lahey<br />
Gina Lai / MPM<br />
Math Learning<br />
Rick and Mary Lam<br />
Mrs. Betty E. Lamble<br />
Jerry and Susan Lampert<br />
Mr. Bruce H. Lang<br />
Mrs. Gillian Lang<br />
William Larsen<br />
Mr. Richard A. Larson<br />
Trevor Lautens<br />
Mrs. Kathy Lauwers<br />
Ms. Genevieve Lauzon<br />
Jayne Le Vierge<br />
Jim Leader<br />
Ms. Katherine Lecy<br />
Ms. Augusta Lee<br />
Mr. and Mrs. Jin Woo Lee<br />
Dr. Mary Lee<br />
Carol Lenard<br />
Neil and Karen Lerner<br />
Paul Leroy<br />
Mr. Wing Bill and<br />
Mrs. Georgia Leung<br />
L. A. Levang<br />
Mrs. Ann Ligertwood<br />
Harald and Erika Lincke<br />
E and M Lindstrom<br />
Ms. Caroline Linney<br />
Mrs. Beverley M. Linton<br />
H. and U. Litzcke<br />
Llewellynn’s Harp Studio<br />
Sunya Lloyd<br />
Mr. and Mrs. Gillen Lo<br />
Eva Lock<br />
Natalie E. Logan<br />
Mrs. Irene Lomax<br />
Herbert and Evelynne Loomer<br />
G. Lopez<br />
Michael and Lynda Lord<br />
Gisela Love<br />
Ms. Leslie Love<br />
Cynthia A. Loveman<br />
In Memory of Norman Lowe<br />
Ms. Rena Lyon<br />
Don and Carol Lyster<br />
Mrs. Deborah C. Lytle<br />
Mrs. Jean R. Lytwyn<br />
In Memory of<br />
Mr. Derek MacDermot<br />
Jo Macdonald<br />
Carolyn and Norbert<br />
MacDonald<br />
J. M. MacIntyre<br />
Dr. Cortlandt J.G. Mackenzie<br />
Mrs. Kathleen D. MacKinlay<br />
Mr. and Mrs.<br />
Gordon MacLachlan<br />
Mrs. Margaret MacLean<br />
Mr. Douglas MacMillan<br />
K. L. Madore<br />
Mrs. Pauline F. Main<br />
Elaine J. Makortoff<br />
Rev. Alexander Manson<br />
Ms. Diane Manuel<br />
In Memory of Mary Mar<br />
Bob Markin<br />
Larry and Linda Marshik<br />
Valentine Marten<br />
Harold R. Martin<br />
Miss Joyce Martin<br />
Paul and Pauline Martin<br />
S.R. Mason<br />
Mr. Wallace D. Mason<br />
Anne Mathisen<br />
Miss Hilda Matthies<br />
M. Maxwell<br />
Mr. Robert Maxwell<br />
M. McArthur<br />
John G. McBain*<br />
Sheila McCallum<br />
Pat and Al McCrady<br />
Marlene McDonald<br />
Mr. Ross McDonald<br />
Mrs. Inge McGarry<br />
Don McIntosh<br />
S. M. McIntyre<br />
Eilish McKendy<br />
Shirley and Steve McKinney<br />
Ray L. McNabb<br />
Beth McNairn<br />
Mr. Douglas and<br />
Mrs. Elizabeth McRae<br />
Ralph and Margaret McRae<br />
Mr. Bruce McTavish<br />
Eleanor M. McWhannel<br />
Mr. and Mrs.<br />
Denison D. Mears<br />
Joe M. Mendes<br />
Colin Miles<br />
Mrs. Irene Miller<br />
Marcia and Dave Miller<br />
Ms. Mary Elizabeth Miller<br />
Mrs. Ruth Minchington<br />
John Minichiello<br />
Mr. and Mrs. Angus Mitchell<br />
Hugh and Elonna Mitchell<br />
Ms. Doreen M’Lot<br />
Ms. Sandra Moe<br />
Mr. and Mrs. Alan and<br />
Mary-Ann Moir<br />
Mrs. M.E. Monck<br />
Mr. and Mrs. John F. Morgan<br />
Dr. Ronald J. Morgan<br />
Ms. Vera Morgan<br />
Pat and Jane Moriarty<br />
Barbara Morris<br />
Don Morrison<br />
N.F. Morrison<br />
Ms. Norah K. Morrow<br />
Charmian Moul<br />
Jean Cockburn and<br />
Jack Mounce<br />
Dr. and Mrs. G. V. Mude<br />
K.L. Murphy<br />
Keray and Cathleen Murphy<br />
Dr. M.A. Murphy<br />
Myron Kuzych Architect<br />
L. Nakashima<br />
Rayleen Nash
Mr. Roberto Neagu<br />
Mr. Philip Neame<br />
Ms. Gerry Negraeff<br />
Elizabeth Neufeld<br />
Mrs. Diane Noble<br />
V. Noble<br />
Lynne Northfield<br />
Ms. Agnes Notte<br />
Roy and Takako Nukina<br />
Mrs. Beverley Oldham<br />
Irene Olljum<br />
Mr. and Mrs. Kevin O’Malley<br />
Neil and Donna Ornstein<br />
Mrs. Thérèse Ozanic<br />
Dr. Martin Hosking and<br />
Mrs. Jacqueline Page<br />
Sunny and Nini Pal<br />
Dr. Chris Palmer<br />
Jim and Diane Palmer<br />
Ms. Wendy Parfitt<br />
Walter S. Parker<br />
Keiko Parker<br />
Dr. Hawa Patel<br />
D. H. Paterson<br />
Mr. John and<br />
Mrs. Betty Paterson<br />
Nancy and George Patrick<br />
Frank and Wendy Patton<br />
Susan P. Pedersen<br />
Mel and Anita Penner<br />
Mrs. Virginia C. Perkins<br />
B. Perowne<br />
Tremayne Perry<br />
Mr. Jaime Peschiera<br />
John and Eleanor Phillips<br />
Matt and Mary Phillips<br />
Ms. Patricia Phillips<br />
Mrs. Marjorie Picard<br />
Mr. George Pick<br />
Ms. Sybil Plommer<br />
Mr. and Mrs. Tony and<br />
Margaret Plomp<br />
Mr. and Mrs.<br />
Arthur D. Poisson<br />
Mr. and Mrs. Pokrandt<br />
Jennifer Polci<br />
Marion S. Poliakoff<br />
Marilyn and Jack Pomfret<br />
Marilyn Poole<br />
Mr. Gordon Porteous<br />
Dr. Allan Posthuma<br />
Ms. Deborah Pound<br />
Colin and Diana Price<br />
Tim and Pat Quan<br />
M. A. Quinlan<br />
Karl and Eveline Raab<br />
Mrs. Doreen Rainer<br />
Mr. Alan R. Rampton<br />
Mrs. A. Rashed<br />
Margaret Ray<br />
Dorothy Redlinger<br />
L. Diane Reelie<br />
Eleanor Reemeyer<br />
Dr. Shelley Reid<br />
Ms. Esther M. Reimer<br />
Mrs. Louise Rempel<br />
William and Oksana Richards<br />
Sharon Riches<br />
W. G. Risk<br />
Edie Rittinger<br />
W.A. Rivers<br />
Mrs. Cc Roa<br />
Tim Roark*<br />
S.M. Robertson<br />
Bill and Dorothy Robertson<br />
Mr. and Mrs.<br />
Howard M. Robinson<br />
Prof. John Roeder<br />
C. J. Rogers<br />
Patricia K. Rogers<br />
Mr. John Donald Rose<br />
Lon and Marilyn Rosen<br />
Marilyn and John Ross<br />
Steven Rudy<br />
Hans Ruger<br />
Ms. Winona Russell<br />
Lindsay Salt<br />
Helen Samuel<br />
L.S. Sawatsky<br />
Jeff Sawers and Camy Ng<br />
Ms. Brenda Sawyer<br />
Richard and Jilian Scarth<br />
Miss Agnes Schapansky<br />
Dianne and Nick Sharfe<br />
Mr. Rolf and Mrs. Ilse Schiller<br />
Mrs. Rosario P. Scholte<br />
John and Marlene Schreiner<br />
Ms. Kathie Schwaia<br />
Semi Weightlifting Club<br />
Robert and Audrey Service<br />
Miss Shirley Sexsmith<br />
Anne and David Seymour<br />
Ms. Shirley M. Sharf<br />
Mr. and Mrs. Robin Shier<br />
Ann and Robert Shinkle<br />
Mr. and Mrs.<br />
James W. Shrimpton<br />
Mr. Hoshang and<br />
Mrs. Rani Shroff<br />
Karen Shuster<br />
Ms. Rebecca Siah<br />
Barb and Roman Siedlaczek<br />
Dr. and Mrs. Cecil Sigal<br />
Donia Sims<br />
Ms. Marie Singh<br />
A. Sloat<br />
Bob and Doris Smit<br />
Ms. Carol Smith<br />
Carol Smith<br />
Douglas Gwynn Smith<br />
Erwen and Patricia Smith<br />
Margaret Smith<br />
John and Constance<br />
Southcott<br />
Pam Spouge<br />
Paul Stagg<br />
Ms. Mary Stark<br />
Ms. Julia Stashuk<br />
Peter M. Steele*<br />
Ms. Anita Steinberg<br />
T. W. Stevens<br />
Penni Stock<br />
Hermann and Erika Stölting*<br />
M. St<strong>one</strong>*<br />
Bob and Lorraine St<strong>one</strong><br />
Elizabeth Stout<br />
Mr. James W. Stout<br />
Beverley Straight<br />
Bill and Margo Strain and the<br />
Staff at Villa Electric In<br />
Memory of Shirley Bradner<br />
Ms. Rhoda Stromberg<br />
Irene and Irv Strong<br />
Mr. Stephen Stuckey<br />
Ms. Elizabeth Surowiec<br />
Wendy K. Sutton<br />
Elke Swantje<br />
Paul Swartz<br />
Mr. and Mrs. C. Roy Sworder<br />
Mrs. Xenia M. Syz<br />
S.A. Szabo<br />
Mr. Peter Sziklai<br />
Valerie Manning Taggart<br />
Mrs. Sueko Takeda<br />
Ms. Taka Tanaka<br />
Ms. Anne Taylor<br />
Robert and Ida Taylor<br />
Norman and Margaret Taylor<br />
Tom and Margaret Taylor<br />
Mr. Howard and<br />
Mrs. Barbara Teasley<br />
Paddy Tennant<br />
Mollie Thackeray<br />
Mr. and Mrs. Peter Thaler<br />
Mary I. Thomas<br />
Ms. Jean K. Thompson<br />
Ms. Judy Thomsen<br />
Anona Thorne<br />
Marilyn Thorsteinsson<br />
Dr. and Mrs. David Tobias<br />
Ms. Lorraine Toljanich<br />
Ms. Jennifer R. To<strong>one</strong> and<br />
Mr. Derek A. Applegarth<br />
Mrs. Cate Tootill<br />
Dr. and Mrs. Townsend<br />
Mr. Rémi Tremblay<br />
Trinity and Felicity<br />
Dr. and Mrs. Ian K. Y. Tsang<br />
Tseng Family<br />
Cyril and Patsy Tsou<br />
Mrs. Chizuko Tsurumaru<br />
Mr. and Mrs. Paul J. Tutsch<br />
Mr. Takaya Ueda<br />
Beverley Unsworth<br />
John and Angela Van Luven<br />
Bernard Van Snellenberg<br />
Jill and Hans Vander Slagt<br />
Mariana Ve’csey<br />
G. J. Vonder Muhll<br />
Barbara Wadman<br />
Julie E. Walchli<br />
Rev. and Mrs.<br />
Gordon W. Walker<br />
Ms. Lois I. Walker<br />
Dr. and Mrs. J.V. Wall<br />
Robert Walters<br />
Mrs. May Mei Fang Wang<br />
Ann Warrender<br />
Mr. and Mrs.<br />
Jack Wassermann<br />
Syoko Watanabe<br />
Vivien and Nigel Watkinson<br />
Helen M. Watson<br />
In Memory of<br />
Margaret Watson<br />
Trevor and Mary Alice Watts<br />
Mr. and Mrs. R. J. Webster<br />
James J. Weinkam<br />
Dr. and Mrs.<br />
Marvin Weintraub<br />
In Memory of Don C. Weir<br />
Mrs. June I. Wells<br />
Monica J. Wheatley<br />
Mrs. Morag Whitfield<br />
Mary Widdows<br />
Harvey Wiebe<br />
Mrs. Norma Wieland<br />
Gordon Wilkinson<br />
Carol and Doug Williams<br />
Dr. Marilyn D. Willman<br />
Miss Beryl Wilson<br />
Mr. Don Wilson<br />
Ms. Loma Wing<br />
Michael and Patricia Witzke<br />
Mr. John W.K. Wong<br />
Lesley Wood and Barry Hill<br />
Mr. Thomas W. Wood<br />
In Memory of<br />
Shirley Annette Woodward<br />
Olga and Leon Woolf<br />
Mrs. Margaret Wright<br />
Nancy Wu<br />
Laura Yates<br />
Bock and Kathleen Yip<br />
Ms. Anna Yoo<br />
The Yurkovich Family<br />
Mr. and Mrs. Henryk<br />
Zawadzki<br />
Karen and Allan Zeller<br />
Carol Pomeroy Zhong<br />
Mrs. Erna Zinn<br />
Mrs. Ruth Zoltok<br />
Anonymous* (2)<br />
Anonymous (250)<br />
*Generous Friends<br />
donors who have further<br />
demonstrated their support<br />
by making an additional gift<br />
to the VSO’s Support the<br />
Power of Music endowment<br />
campaign.<br />
For more information about the friends of the vancouver symphony<br />
and the exclusive benefits associated with this program please contact Rebekah Bull<br />
at 604.684.9100 extension 238 or email rebekah@vancouversymphony.ca<br />
allegro 61
CONCERT PROGRAM<br />
SPECIALS / ORPHEUM THEATRE, 8PM<br />
tuesday, november 9<br />
Anne-Sophie Mutter violin<br />
Yuri Bashmet viola<br />
Lynn Harrell cello<br />
The VSO presents in Recital<br />
The<br />
Mutter<br />
Bashmet<br />
Harrell<br />
Trio<br />
Beethoven Trio No. 3 in C minor, Op. 9<br />
I. Allegro con spirito<br />
II. Adagio con espressi<strong>one</strong><br />
III. Scherzo: Allegro molto e vivace<br />
IV. Finale: Presto<br />
Beethoven Serenade in D Major, Op. 8<br />
I. Marcia: Allegro<br />
II. Adagio<br />
III. Menuetto – Trio<br />
IV. Adagio – Scherzo: Allegro Molto<br />
V. Allegretto all polacca<br />
VI. Andante quasi allegretto con variationi – Marcia<br />
INTERMISSION<br />
Beethoven Trio in E-flat Major, Op. 3<br />
I. Allegro con brio<br />
II. Andante<br />
III. Menuetto – Trio<br />
IV. Adagio<br />
V. Menuetto – Minore<br />
VI. Finale: Allegro<br />
Visit the <strong>Symphony</strong> Gift Shop for CD selections<br />
62 allegro
ANNE-SOPHIE MUTTER YURI BASHMET LYNN HARRELL<br />
Anne-Sophie Mutter violin<br />
For three decades Anne-Sophie Mutter<br />
has been <strong>one</strong> of the most acclaimed violin<br />
virtuosos of our time. Born in Rheinfelden in<br />
the state of Baden, the violinist launched her<br />
international career at the Lucerne Festival in<br />
1976. A year later she performed as a soloist<br />
at the Salzburg Whitsun Concerts under the<br />
direction of Herbert von Karajan. Since then<br />
Anne-Sophie Mutter has performed concerts<br />
in every major music center of Europe, North<br />
and South America and Asia. In addition<br />
to performing major traditional works she<br />
continually treats her audiences to new<br />
and innovative repertoire, both in chamber<br />
music and orchestral works. She also uses<br />
her popularity and renown for the benefit of<br />
numerous charity projects and supports the<br />
development of young, exceptionally talented<br />
musicians.<br />
The honors afforded Anne-Sophie Mutter for<br />
her many recordings include the German<br />
Record Prize, the Record Academy Prize, the<br />
Grand Prix du Disque, the International Record<br />
Prize and several Grammies.<br />
In 2008 Ms. Mutter established the “Anne-<br />
Sophie Mutter Foundation,” with the objective<br />
to further increase worldwide support for<br />
promising young musicians – a task that<br />
the violinist took on when she founded the<br />
“The Anne-Sophie Mutter Circle of Friends<br />
Foundation” in 1997.<br />
Yuri Bashmet viola<br />
Through his virtuosity, strength of personality<br />
and high intelligence, Yuri Bashmet has given<br />
the viola a new prominence in musical life.<br />
The pre-eminent viola player of the modern<br />
age, he has motivated the leading composers<br />
of our time to expand the repertoire with<br />
significant new music. He is Artistic Director<br />
of the December Evenings festival in Moscow,<br />
Principal Conductor of the <strong>Symphony</strong><br />
<strong>Orchestra</strong> of New Russia, and is the founder /<br />
director of Moscow Soloists. He also appears<br />
throughout the world in the dual role of<br />
conductor / soloist.<br />
Born in 1953 in Rostov-on-Don in Russia, he<br />
spent his childhood in Lvov in Ukraine before<br />
studying at the Moscow Conservatoire with<br />
Vadim Borisovsky (of the Beethoven Quartet)<br />
and Feodor Druzhinin. His international<br />
career was launched in 1976 when he<br />
won the International Viola Competition in<br />
Munich. Since then he has appeared with<br />
all the world’s great orchestras, including<br />
the Berlin and Vienna Philharmonics, Royal<br />
Concertgebouw <strong>Orchestra</strong>, Boston, Chicago<br />
and Montreal <strong>Symphony</strong> <strong>Orchestra</strong>s, New<br />
York Philharmonic, London Philharmonic<br />
and the London <strong>Symphony</strong> <strong>Orchestra</strong>, which<br />
presented its own Yuri Bashmet Festival.<br />
allegro 63
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Lynn Harrell cello<br />
Lynn Harrell’s presence is felt throughout<br />
the musical world. A consummate soloist,<br />
chamber musician, recitalist, conductor and<br />
teacher, his work throughout the Americas,<br />
Europe and Asia has placed him in the highest<br />
echelon of today’s performing artists.<br />
Mr. Harrell is a frequent guest of many<br />
leading orchestras. In the summer of 1999<br />
Mr. Harrell was featured in a three-week<br />
“Lynn Harrell Cello Festival” with the Hong<br />
Kong Philharmonic. He regularly collaborates<br />
with such noted conductors as James Levine,<br />
Sir Neville Marriner, Kurt Masur, Zubin Mehta,<br />
André Previn, Sir Simon Rattle, Leonard<br />
Slatkin, Yuri Temirkanov, Michael Tilson<br />
Thomas and David Zinman.<br />
Lynn Harrell was born in New York to<br />
musician parents. He began his musical<br />
studies in Dallas and proceeded to the<br />
Juilliard School and the Curtis Institute<br />
of Music. He is the recipient of numerous<br />
awards, including the first Avery Fisher Award.<br />
Mr. Harrell plays a 1720 Montagnana. He<br />
makes his home in Santa Monica, CA.<br />
Ludwig van Beethoven<br />
b. Bonn, Austria / baptized December 17, 1770<br />
d. Vienna, Austria / March 26, 1827<br />
Trio in E-flat Major, Op. 3<br />
Serenade in D Major, Op. 8<br />
Trio No. 3 in C minor, Op. 9<br />
Through the progression of Ludwig van<br />
Beethoven’s five string trios, all composed<br />
early in his career, <strong>one</strong> sees a glimpse of<br />
the burgeoning genius developing. Never<br />
<strong>one</strong> to do things terribly simply, Beethoven’s<br />
first trio is the Trio in E-flat Major, Op. 3,<br />
an ambitious work based in many ways<br />
on Mozart’s only string trio, the K. 563<br />
Divertimento. It is written in the same key<br />
and with the same number of movements<br />
as Mozart’s late string trio, which he wrote<br />
in Vienna in 1788. Beethoven’s trio, written<br />
sometime between 1792 and 1794 (it is<br />
unclear exactly when) starts with a sonataform<br />
first movement, featuring a repeated<br />
exposition, its second subject entrusted to<br />
the violin. After a recapitulation, a beautiful<br />
Andante appears, with rapturous and welldeveloped<br />
melodies. The third movement<br />
Minuet - Trio is notable for the violin melody<br />
accompanied by a plucked bass from the<br />
cello. The fourth movement is an uplifting<br />
A-flat major Adagio leading to the second<br />
E-flat major Minuet, with a C minor Trio,<br />
containing an underlying dr<strong>one</strong> effect,<br />
countered and juxtaposed by the violin<br />
melody in a high register. The work ends with<br />
a lively Rondo.<br />
The Opus 8 Serenade in D Major published<br />
in Vienna in 1797 is the most famous of<br />
Beethoven’s Trios. The lyrical, cheerful<br />
episodes and wonderful, uplifting melodies<br />
throughout mix and contrast with the beautiful<br />
but mournful t<strong>one</strong>s of the D minor Adagio.<br />
Beginning with a spry March, the work<br />
ends with a fascinating theme and series of<br />
variations, that in fact brilliantly returns the<br />
piece to the March where it all started.<br />
The String Trio No. 3 in C minor, Op. 9,<br />
is perhaps the most striking of the trios<br />
performed here tonight.<br />
The sparkling first movement proclaims its<br />
subjects through the violin, echoed by the<br />
viola and then by the cello, presenting and<br />
developing each of the first two themes in<br />
the same manner.<br />
Recapitulation of the main subject brings<br />
the first movement to an end, transitioning<br />
to a C major second movement. This Adagio<br />
movement is expressive, as its title suggests,<br />
starting softly with separated chords, but<br />
soon leading to a dynamic contrast and a<br />
repetition of the theme by the viola, after<br />
it is first brought forth by the violin. The<br />
movement features more dialogue between<br />
the instruments and with a remarkably full<br />
texture for a string trio. The original key of C<br />
minor is restored in the Scherzo, framing a C<br />
major Trio. The work ends with a fast sonataform<br />
movement. The movement provides a<br />
beautifully original ending to a set of works<br />
that not only hints a little at what greatness<br />
is to come from Beethoven, but is in itself a<br />
remarkable compositional achievement. ■<br />
Program notes ©2010 Sophia Vincent<br />
allegro 65
vancouver symphony partners<br />
The <strong>Vancouver</strong> <strong>Symphony</strong> gratefully acknowledges the generosity of the following<br />
Corporations, Foundations, and Government Agencies that have made a financial contribution<br />
through sponsorship and/or a charitable donation for the 2010/2011 season.<br />
SERIES SPONSORS<br />
Concert and Special Event SPonsors<br />
IMPORTANT:<br />
For Usage below 1-1/2” wide<br />
Platinum Baton Club Sponsors of the <strong>Vancouver</strong> <strong>Symphony</strong> <strong>Orchestra</strong><br />
66 allegro
EDUCATIONAL PROGRAM SPONSORS AND PARTNERS<br />
PREMIER EDUCATION PARTNER<br />
JEMINI<br />
FOUNDATION<br />
MEDIA PARTNERS<br />
$150,000+<br />
TELUS<br />
<strong>Vancouver</strong> Sun<br />
$50,000+<br />
City of Burnaby Parks,<br />
Recreation and Cultural<br />
Services<br />
Goldcorp Inc.<br />
Jemini Foundation<br />
$30,000+<br />
BMO Harris Private Banking<br />
Borden Ladner Gervais LLP<br />
Holland America Line Inc.<br />
HSBC Bank Canada<br />
Industrial Alliance Pacific<br />
London Drugs<br />
Pacific Arbour Retirement<br />
Communities<br />
PricewaterhouseCoopers LLP<br />
$20,000+<br />
Blake, Cassels & Graydon LLP<br />
Canaccord Financial Inc.<br />
The Chan Endowment<br />
Fund of UBC<br />
Chan Foundation of Canada<br />
Concord Pacific Group Inc.<br />
Deloitte & Touche LLP<br />
The djavad mowafaghian<br />
foundation<br />
Ernst & Young LLP<br />
The Keg Steakhouse & Bar<br />
RBC Foundation<br />
Spectra Energy<br />
TD Canada Trust<br />
Wesbild Holdings Ltd.<br />
YVR - <strong>Vancouver</strong> Airport<br />
Authority<br />
$10,000+<br />
BA Blacktop Ltd.<br />
Corus Entertainment<br />
Craftsman Collision Ltd.<br />
Gateway Casinos<br />
Keir Surgical<br />
KPMG<br />
Larco Investments Ltd.<br />
Odlum Brown Limited<br />
Peter Kiewit Sons Co.<br />
Polygon Homes Ltd.<br />
Raymond James Ltd.<br />
Scotiabank<br />
Stikeman Elliott LLP<br />
Surespan General Contractors<br />
Corp.<br />
Tiffany & Co.<br />
Tom Lee Music<br />
University Canada West<br />
Vincor International Inc.<br />
$5,000+<br />
Allied Holdings Ltd.<br />
Anthem Properties Group Ltd.<br />
CIBC World Markets<br />
Commonwealth Insurance<br />
Company<br />
Fraser River Pile & Dredge<br />
(GP) Inc.<br />
Genus Capital Management<br />
The Globe and Mail<br />
Hatch Mott MacDonald<br />
Lazy Gourmet Inc.<br />
Marin Investments Limited<br />
Milan and Maureen Ilich<br />
Foundation<br />
Dr. Tom Mo<strong>one</strong>n Inc.<br />
PCL Constructors Westcoast Inc.<br />
Phillips Hager & North<br />
The Portables<br />
PresiNET Systems Corp.<br />
Prospero International Realty Inc.<br />
ScotiaMcLeod<br />
Terus Construction Ltd.<br />
The William Tell Restaurant<br />
The James and Kathleen Winton<br />
Foundation<br />
$2,500+<br />
Bing Thom Architects Foundation<br />
Concord National Inc.<br />
Kraft Canada<br />
Larkspur Foundation<br />
McCarthy Tétrault Foundation<br />
MMM Group Limited<br />
Norburn Lighting & Bath Centre<br />
SOCAN Foundation<br />
$1,000+<br />
ABC Recycling Ltd.<br />
Charton Hobbs Inc.<br />
Encore Software Inc.<br />
The Hamber Foundation<br />
Lantic Inc.<br />
Yamaha Canada<br />
For more information about vso corporate partners programs please contact:<br />
Jennifer Polci at 604.684.9100 extension 239 or email jennifer@vancouversymphony.ca<br />
allegro 67
at the concert<br />
Concert COURTESIES<br />
For your enjoyment, and the enjoyment of<br />
others, please remember concert etiquette.<br />
Talking, coughing, leaning over the balcony<br />
railings, unwrapping cellophane-wrapped<br />
candies, and the wearing of strong perfume<br />
may disturb the performers as well as other<br />
audience members.<br />
Latecomers<br />
Ushers will escort latecomers into the<br />
auditorium at a suitable break in the<br />
performance chosen by the conductor.<br />
Patrons who leave the auditorium during the<br />
performance will not be re-admitted until a<br />
suitable break in the performance.<br />
Hearing-assist systems<br />
Hearing-impaired patrons may borrow<br />
complimentary Sennheiser Infrared Hearing<br />
System headsets, available at the coat-check<br />
in the Orpheum Theatre only, after leaving<br />
a driver’s licence or credit card.<br />
Cell ph<strong>one</strong>s, pagers, digital watches<br />
Please turn off cell ph<strong>one</strong>s and ensure<br />
that digital watches do not sound during<br />
performances. Doctors and other professionals<br />
expecting calls are asked to please leave<br />
personal pagers, teleph<strong>one</strong>s and seat locations<br />
at the coat-check.<br />
Cameras, recording equipment<br />
Cameras and audio/video recording<br />
equipment of any kind are strictly prohibited<br />
in all venues and must be left at the coat-check<br />
in the main lobby. Under no circumstances<br />
may photographs, video recordings or audio<br />
recordings be taken during a performance.<br />
Smoking<br />
All venues are non-smoking.<br />
Program, Guest Artists and/or<br />
Program Order are subject to change.<br />
vancouver symphony administration 604.684.9100<br />
Jeff Alexander, President & Chief Executive Officer<br />
Finance & Administration:<br />
Mary-Ann Moir, Vice-President, Finance and<br />
Administration<br />
Debra Marcus, Office Manager & Payroll Administrator<br />
Ann Surachatchaikul, Accountant<br />
Ray Wang, Payroll Clerk & IT Assistant<br />
Marketing, Sales & Customer Service:<br />
Alan Gove, Vice-President, Marketing and Sales<br />
Shirley Bidewell, Manager of Gift Shop and Volunteers<br />
Estelle and Michael Jacobson Chair<br />
Anna Gove, Editor & Publisher, Allegro Magazine<br />
Kenneth Livingst<strong>one</strong>, Database Manager<br />
Caroline Price, Associate Director, Marketing and Sales<br />
Cameron Rowe, Audience Services Manager<br />
Laura-Anne Scherer, Marketing Assistant and<br />
Assistant to the President and CEO<br />
Customer Service Representatives:<br />
Jason Lau, Customer Service Supervisor<br />
& Patrons’ Circle Concierge<br />
Katherine Houang Jason Ho<br />
Shawn Lau<br />
Kimberly Smith<br />
Anthony Soon<br />
The Stage Crew of the Orpheum Theatre are members of Local<br />
118 of the International Alliance of Theatrical Stage Employees.<br />
Development:<br />
Leanne Davis, Vice-President, Chief Development Officer<br />
Rebekah Bull, Development Officer, Individual Giving<br />
Ann Byczko, Development Officer, Annual Giving<br />
Sandy Ewart, Development Assistant<br />
Jennifer Polci, Manager, Corporate and Donor Relations<br />
Norma Romann, Lotteries Assistant<br />
William Wong, Development Coordinator<br />
Artistic Operations:<br />
Joanne Harada, Vice-President, Artistic Operations<br />
and Education<br />
Larry Blackman, <strong>Orchestra</strong> Personnel Manager<br />
Christine Han, Intern<br />
Aaron Hawn, Digital Projects Coordinator<br />
& Library Assistant<br />
Susan Hudson, Education Manager<br />
Ken & Patricia Shields Chair<br />
David Humphrey, Operations Manager<br />
Minella F. Lacson, Librarian<br />
Ron & Ardelle Cliff Chair<br />
Fleur Sweetman, Artistic Operations Assistant<br />
& Assistant to Maestro Tovey<br />
The <strong>Vancouver</strong> <strong>Symphony</strong> <strong>Orchestra</strong> is a proud member of<br />
68 allegro
vancouver symphony society board of directors<br />
Executive Committee<br />
Arthur H. Willms, Chair<br />
President (Ret.), Westcoast Energy<br />
Hein Poulus, Q.C., Vice Chair<br />
Incorporated Partner, Stikeman Elliott<br />
Colin Erb, Treasurer<br />
Partner, Deloitte & Touche LLP<br />
George Taylor, Secretary<br />
President and Owner (Ret.), Atlas Travel<br />
Patricia Shields, Member-at-Large<br />
Educational Consultant<br />
Board Members<br />
Larry Berg<br />
President & CEO<br />
<strong>Vancouver</strong> International Airport Authority<br />
Joan Chambers<br />
Partner, Blakes<br />
Dr. Peter Chung<br />
Executive Chairman, Eminata Group<br />
Dave Cunningham<br />
VP Government Relations, TELUS<br />
Charles Filewych<br />
Co-Chief Executive Officer<br />
Corinex Communications Corp.<br />
Michael Fish<br />
President, Keir Surgical<br />
Lindsay Hall<br />
Executive Vice-President and CFO<br />
Goldcorp, Inc.<br />
Diane Hodgins<br />
Director, Century Group Lands Corporation<br />
David T. Howard<br />
Chair, Angiotech Pharmaceuticals<br />
Olga Ilich<br />
President, Suncor Development Corporation<br />
Gordon R. Johnson<br />
Partner, Borden Ladner Gervais<br />
Alan Pyatt<br />
Chairman, President and CEO (Ret.)<br />
Sandwell International Inc.<br />
Michael E. Riley, CA<br />
Partner (Ret.), Ernst & Young<br />
Robert Sunter<br />
Regional Director of Radio for BC (Ret.)<br />
CBC<br />
Denise Turner<br />
Executive Vice President<br />
TitanStar Group of Companies<br />
Fred Withers<br />
Managing Partner for Western Canada<br />
Ernst & Young<br />
Musician Representatives<br />
David Brown, Bass<br />
Vern Griffiths,<br />
Principal Percussion<br />
Martha Lou Henley Chair<br />
Honorary Life President<br />
Mrs. H.R. Malkin, C.M., O.B.C.<br />
Honorary Life Vice-Presidents<br />
Ronald Laird Cliff, C.M.<br />
Nezhat Khosrowshahi<br />
Gerald A.B. McGavin, C.M., O.B.C.<br />
Ronald N. Stern<br />
vancouver symphony foundation board of trustees<br />
Ronald Laird Cliff, C.M.<br />
Chair<br />
Marnie Carter<br />
John Icke<br />
Judi Korbin<br />
Hein Poulus, Q.C.<br />
Robert T. Stewart<br />
Arthur H. Willms<br />
Tim Wyman<br />
vso school of music society<br />
Jeff Alexander<br />
President & CEO<br />
Shaun Taylor<br />
Executive Director <strong>Vancouver</strong> <strong>Symphony</strong><br />
Centre & VSO School of Music<br />
vancouver symphony volunteer council 2010/2011<br />
Chair . . . . . . . . . . . . . . . Anne Janmohamed<br />
Vice-Chair/Treasurer . . . Sheila Foley<br />
Secretary. . . . . . . . . . . . Nancy Wu<br />
Immediate Past Chair. . . Estelle Jacobson<br />
Scheduling<br />
Concerts (Orpheum). . . . Bertha Foyle<br />
Shirley Bidewell<br />
Gift Shop . . . . . . . . . . . . Barbara Morris<br />
helen Dubas<br />
Lotteries in Malls . . . . . . Gloria Davies<br />
Reception Shifts. . . . . . . Gloria Davies<br />
Tea & Trumpets . . . . . . . Shirley Featherst<strong>one</strong><br />
Suzanne Kunzli<br />
Marlene Strain<br />
Special Events<br />
Fashion Show Convener. . . . Nancy Wu<br />
Fashion Show Co-Convener . Anne Janmohamed<br />
Holland America<br />
Luncheon 2011 . . . . . . . . . . Sheila Foley<br />
Education & Community<br />
Musical Encounters . . . . . . . Barbara Kaiser<br />
gisele Schloegl<br />
Maria Estrope<br />
Scholarship . . . . . . . . . . . . . Pat Hoebig<br />
Membership<br />
Volunteer Hours . . . . . . . . . Angelina Bao<br />
Concert Services . . . . . . . . . Bertha Foyle<br />
Manager, Gift Shop<br />
and Volunteer Resources<br />
Shirley Bidewell<br />
Tel 604.684.9100 ext 240<br />
shirley@vancouversymphony.ca<br />
Assistant<br />
Gift Shop Manager<br />
Michelle Beldi<br />
allegro 71
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