issue one - Vancouver Symphony Orchestra

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of lyrical yearning; the third is a cheeky tune with the flavour of a Russian folk dance. An expansive and thunderous solo cadenza lies at the core of the concerto. Franz Liszt b. Raiding, Hungary / October 22, 1811 d. Bayreuth, Germany / July 31, 1886 Piano Concerto No. 1 in E-flat Major Liszt was not only the foremost virtuoso pianist of his era, but also a prime mover behind many important innovations in the field of composition. One of his most influential creative achievements was the development of the symphonic poem, a free-form type of orchestral piece inspired by such extramusical concepts as literature, artwork and natural phenomena. To bind the various and continuous sections of such works together, he developed a compositional method through which he based the entire piece on the evolution and transformation of a few short, simple themes. Liszt’s piano concertos also make use of this technique. They are, in effect, symphonic poems with the piano soloist as the central character. “One of his most influential creative achievements was the development of the symphonic poem...” Concertos 1 and 2 evolved over lengthy periods, perhaps as much as 30 years. At the premiere of the final version of No. 1 (Weimar, 1855), Liszt played the solo part, with his friend and musical soul-mate, Hector Berlioz, conducting. Much fuss was made over his use of a triangle in the scherzo of the concerto. Critics thought its silvery frivolity out of place in a serious composition. Actually, it sounds right at home in this brilliant music. In addition to humour, the concerto contains ample amounts of drama, tenderness, and commanding energy. The heroic demands of the solo part reflect the composer’s own sovereign gifts. Camille Saint-Saëns b. Paris, France / October 9, 1835 d. Algiers, Algeria / December 16, 1921 Symphony No. 1 in E-flat Major, Op. 2 Although this is the second in order of composition among the five Saint-Saëns symphonies, it was published as No. 1. He composed it in 1853. He sent the manuscript anonymously to a Parisian concert organization, the Société Saint-Cécile of Paris, which had been founded by an acclaimed Belgian violinist, François Seghers. Wishing to assist Saint-Saëns in his budding career, and recognizing the artistic prejudices of the day (Frenchmen didn’t compose symphonies, and German instrumental music was superior to French), Seghers led the society’s screening committee to believe that the symphony was the work of a mature German composer. The ruse worked, and it was accepted for performance. The veteran composers Berlioz and Gounod heard it during rehearsal and praised it highly. They were astonished to find that the creator of so skillful a work was just eighteen. Gounod, who had met Saint-Saëns briefly ten years before, said to him in a letter “You are far in advance of your years.” Saint-Saëns proudly held onto that letter for the remainder of his life. Symphony No. 1 is a delightful work, filled with youthful high spirits, ample charm, and skillful use of a large orchestra. Naturally such an early piece shows the influence of Saint-Saëns’ preferred masters – Schumann, Berlioz and Mendelssohn, for example – but there is much confident individuality on display, as well. The first movement consists of a brief, solemn introduction and a vivacious Allegro. The second movement is a tuneful, almost balletic creation for which Saint-Saëns coined a new title: Marche-Scherzo. A languid, coolly romantic Adagio follows. It segues without a break into a stirring finale, in which Saint-Saëns paid homage to the baroque period by including a vigorous fugue. ■ Programme Notes © 2010 Don Anderson 54 allegro
The 2010 / 2011 Season new beginnings All concerts conducted by Leslie Dala in his first season as Music Director of the Vancouver Bach Choir Sunday December 5, 2010 Christmas with the Bach Choir 400 voices sing traditional Christmas music with organ and brass. Saturday December 11, 2010 Handel’s Messiah Handel’s “greatest hit” with the VSO and fabulous soloists. Sunday December 12, 2010 The Sing-Along Messiah The 30th Anniversary performance of this ever-popular concert. Saturday March 19, 2011 Rachmaninoff Vespers The transcendental Rachmaninoff Vespers plus 3 contemporary pieces. Saturday April 16, 2011 Damnation of Faust Berlioz’ Damnation of Faust. VSO and Metropolitan Opera soloists. All concerts at the Orpheum Theatre. Subscribe and save up to 15% 604-280-3311 vancouverbachchoir.com Order Your VSO Tickets Online Easy, Secure and Convenient New: Order online and print your tickets from the comfort of your own home! online With the VSO’s Select Your Own Seat online ticketing system, purchasing your tickets online has never been easier! To set up your online account to be able to easily log in and select your seats, call VSO Customer Service or email customerservice@vancouversymphony.ca Also, sign up for email updates on the VSO website—you will receive periodic emails with upcoming concerts, information, offers and promotions exclusive to email club members. vancouversymphony.ca VSO Customer Service 604.876.3434
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allegro MAGAZINE OF THE VANCOUVER S
Page 3 and 4: vancouver symphony orchestra BRAMWE
Page 5 and 6: I N T H I S I S S U E 3 the orchest
Page 7 and 8: M E S S A G E F R O M vso chairman
Page 10 and 11: Bramwell Tovey conductor A musician
Page 13 and 14: Saint-Saëns heard sung by boatmen,
Page 15: Jesús López-Cobos conductor Spani
Page 18 and 19: CONCERT PROGRAM PACIFIC ARBOUR TEA
Page 21 and 22: UBC OPERA ENSEMBLE The Yeomen of th
Page 24 and 25: BRAMWELL TOVEY TRACY DAHL JILL PERT
Page 26 and 27: BRAMWELL TOVEY WITH THE VSO CONCERT
Page 29 and 30: vancouver symphony foundation Ensur
Page 31 and 32: Officer of the Order of Canada in 2
Page 33 and 34: year). Indeed, perhaps the music it
Page 35: Günther Herbig conductor Günther
Page 38: patrons’ circle The Vancouver Sym
Page 42 and 43: Highlights from the next issue of a
Page 44 and 45: 2010/2011 season Experience Vancouv
Page 46 and 47: “Chalifour’s compelling sound w
Page 49 and 50: The orchestra thrived and in 1938,
Page 51 and 52: The Mazurka was an orchestral work
Page 53: Bramwell Tovey conductor For a biog
Page 57 and 58: ecome a Fr end of the Vancouver Sym
Page 59 and 60: M. E. Fitch Jean and Bob Garnett Dr
Page 61 and 62: Mr. Roberto Neagu Mr. Philip Neame
Page 63 and 64: ANNE-SOPHIE MUTTER YURI BASHMET LYN
Page 65 and 66: Lynn Harrell cello Lynn Harrell’s
Page 67 and 68: EDUCATIONAL PROGRAM SPONSORS AND PA
Page 71 and 72: vancouver symphony society board of
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