TSM House Programme July 13-20






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Message from the Artistic Director and Board Chair 5


St. Lawrence String Quartet (July 13) 7

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Martin Beaver and Friends (July 14) 15

Chamber Music reGENERATION (July 15) 21

James Ehnes in Recital (July 17) 23

Soile Isokoski in Recital (July 18) 29

Bach Celebration (July 19) 39





Mark Fewer Trio featuring Heather Bambrick (July 20) 44

Board and Staff Listing 46

Sponsors and Government Support 47

List of Supporters 48

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2 3


120 th



OCTOBER 5, 2017 | 1.30 PM


Lara St. John, violin

Matt Herskowitz, piano

NOVEMBER 9, 2017 | 1.30 PM


Riko Higuma, piano

Kliment Krylovskiy, clarinet

Vanessa Mollard, violin

MARCH 8, 2018 | 1.30 PM



Sara Bitlloch, violin

Donald Grant, violin

Martin Saving, viola

Marie Bitlloch, cello

APRIL 12, 2018 | 1.30 PM


Sylvia Schwartz, soprano

Olivier Godin, piano


MAY 3, 2018 | 1.30 PM


Simon Fryer with

guest cellists:

Ariel Barnes

Roman Borys

David Hetherington

Paul Widner

Thomas Wiebe

Leanne Zacharias

Winona Zelenka


Sarah Slean, soprano

Subscribe to Five Thursday Afternoon Concerts for $190

Single tickets $45

Walter Hall, Faculty of Music, 80 Queen’s Park (Museum Subway)

(Promo Code: Music 123)

I’m honoured to present my first Festival as

Artistic Director of TSM! In this Canadian

Sesquicentennial year, we’re thrilled to be

celebrating not only the music of Canada,

but also the incredible musicians our

country has produced — both familiar

faces and stars of the future.

We are excited to welcome back many

TSM favourite artists this year —

from Jazz standards to Broadway hits

and Classical masterpieces, we have

something for everyone on our Koerner

Hall and Walter Hall stages. We also have

several new initiatives this summer,

including a renewed focus on youth with

our Shuffle Concerts at Heliconian Hall, a

new series of Kids Concerts, taking place

in Walter Hall at the University of Toronto,

and for the first time, two world-premiere

performances of new works by Canadian

composers! And of course, our Art of Song

and Chamber Music reGENERATION

programs continue with a record number

of applicants and a level of performance

that is truly world-class.

Toronto Summer Music couldn’t exist

without our generous donors, committed

sponsors, tireless volunteers, and most

importantly, our dedicated audience

members — thank you all for being a

part of our TSM family. I look forward to

sharing this year’s festival with you!

There are several exceptional things

about this year’s Festival.

The first is that our audience and

donor support is larger than ever;

a testimony to how much TSM has

become part of the Toronto – and

Canadian – cultural community.

For this, we thank our many faithful

supporters and audience members. We

wouldn’t be here today without you.

Second, we are proud to celebrate

Canada’s 150th anniversary with

this summer’s program. We salute

our great nation with an array of

Canadian talent and a wonderful

program of Canadian music, some

familiar, some less familiar – but all

of which is remarkable.

The third thing we celebrate is

Jonathan Crow’s first season as TSM’s

Artistic Director. Jonathan joined the

team in 2016 and we are bowled over

by his enthusiasm and his vision.

The exceptional program for the 2017

Festival is his creation – a terrific

début indeed!

All of this gives us many reasons

to celebrate as TSM enters its

second decade. Sit back, relax, and

experience all of these joys with us!




Jonathan Crow


Lawrence L. Herman



2017/18 SEASON







Thursday, July 13, 2017 at 7:30pm

Koerner Hall

Geoff Nuttall, violin

Owen Dalby, violin

Lesley Robertson, viola

Christopher Costanza, cello

Joseph Haydn: String Quartet No. 25 in C major, Op. 20, No 2. (Hob. III: 32)

I. Moderato

II. Capriccio: Adagio

III. Minuet: Allegretto

IV. Fuga a quattro soggetti: Allegro


Murray Schafer: String Quartet No. 3

Slowly, but with great passion

Allegro energico

Slow; calm; mystical




Directed by Elisa Citterio

Sept 21–24, 2017

Join Tafelmusik’s new Music

Director for this gala season

opening concert featuring

performances of Handel,

Vivaldi, and Rameau.




Directed by Ivars Taurins

Feb 22–25, 2018

Relive the drama in Handel’s

ode to the ultimate poetic

influence of music.



Guest directed by Bruno Weil

Elisa Citterio, soloist in

Beethoven Violin Concerto

May 3–6, 2018

Music full of spirit, just right for

spring: Beethoven in the great


Ludwig van Beethoven: String Quartet No. 14 in C-sharp minor, Op. 131

1. Adagio, ma non troppo e molto espressivo

2. Allegro molto vivace

3. Allegro moderato

4. Andante, ma non troppo e molto cantabile

5. Presto

6. Adagio quasi un poco andante

7. Allegro

Please join us for a complimentary Champagne Reception in the lobby immediately

following the performance to celebrate Opening Night!

SUBSCRIBE TODAY AND SAVE! Single Tickets on sale August 14

Order through our Box Office at (416) 964-6337 or visit tafelmusik.org

We sincerely thank the Reverend Edward J.R. Jackman for sponsoring this evening’s performance.

Thank you to our media sponsor, Toronto Life.



Joseph Haydn (1732-1809)

String Quartet in C major, Op. 20, No. 2 (Hob. III:32)

In the four years from 1769 to 1772, Haydn composed three sets of six

quartets, Opp. 9, 17 and 20; a quarter of the nearly 70 that span his

entire career. All 18 substitute a five-movement with a four-movement

design. In Op. 20—known familiarly as the “Sun” quartets because an engraving

of a radiant sun adorned an early edition—Haydn broke further stylistic ground: no

longer does the first violin dominate thematic material; henceforth, its partners in

conversation assert themselves ever more forcefully.

In Op. 20, No. 2, the cello leads not only off the top but also marks the beginnings

of both the development and recapitulation. (The viola’s lead in the development is

a false return.) The cello’s lyricism contributes to the movement’s affable qualities;

so, too, do frequent passages in thirds, the pair of violins answered by the viola and

cello. A dramatic unison establishes the slow movement’s dark mood in C minor.

Again, the cello introduces the chief theme but here seems unable to hold onto

its thought. The first violin interjects with cadenza-like passages, the full quartet

supplying brooding retorts. The movement unfolds thus, in fits and starts. Paradise

emerges in the central section, in E-flat major, the first violin singing a cantabile

melody to straight-ahead accompaniment. But the sun’s rays are fleeting; coalcoloured

clouds return. This strikingly operatic movement, incomplete by design,

segues directly into a cheerful minuet in the home key.

Three of the Op. 20 quartets end with fugues, thereby embracing not only prevailing

Austrian practice, but also serving Haydn’s goal of giving equal play to the four

parts. After all, a fugue, by definition, distributes the main thematic material to all

parts in turn. In this lighthearted finale, Haydn supplies not one but four subjects.

The chief one, with its chromatic descent, gets the most play, later inverted and

given in stretto. Haydn appears to have had so much fun that he even added a witty

annotation at the end, “Laus omnip: Deo / Sic fugit amicus amicum” (Praise be to

Almighty God / Thus friend flees from friend), that describes the fugue’s flittering

character using the verb fugere, itself related to fuga (fugue).

R. Murray Schafer (1933- )

String Quartet No. 3

Schafer’s singular artistic vision, expressed as much in his music

as in his writing, has fed an international reputation as a quintessentially

Canadian composer. A staunch environmentalist, he has

studied—and criticized—the dramatic changes wrought on natural soundscapes

by industrialization and the introduction of machinery into our everyday lives. His

music, ranging widely in style from hard-nosed experimentalism to traditional

tonality, always provokes and often projects a dry sense of humour. His signature

projects are Wagnerian in scope and ambition, frequently mining mythological

sources. The Princess of the Stars (1981), inspired by Aboriginal legends, and to

be “staged” outdoors on a lake at dawn by performers dispersed around it and in

canoes floating in the middle, is a characteristic creation, one that he calls his

“most ‘Canadian’ work”. Another, the multimedia Apocalypsis (1977), requiring a

cast of a thousand, was revived for the first time since its 1980 premiere at Toronto’s

Luminato Festival in 2015.

Schafer has not limited himself to grandiose statements. Like the great symphonist

Shostakovich who turned to the string quartet to convey his most intimate thoughts,

Schafer has composed 12 numbered quartets, the first in 1970, the latest in 2012.

Schafer added a five-minute thirteenth, entitled Alzheimer’s Masterpiece, shortly

after being diagnosed with the disease in 2015. Quebec’s Molinari Quartet has

recorded the entire cycle.

Schafer’s quartets are not, however, a refuge from his music dramas. Rather, he

brings a theatrical flair to bear on the medium in surprising ways, including by

choreographing the players’ physical movements. The Third Quartet (1981) was

commissioned by the CBC and premiered by the Orford Quartet in Boston on the

same day in 1981 that The Princess of the Stars beguiled listeners on Heart Lake near

Brampton. It opens with the cellist alone on stage (how the Second Quartet ends),

working through an extended cadenza. The violist joins in, but from offstage.

The two violinists later make their entries from the back of the hall. The spatial

arrangement emphasizes the deliberate disconnection among parts: “rhapsodic

with almost no convergence among the players”, explains Schafer. Only by the

end of the movement, in a witty reversal of Haydn’s “Farewell” Symphony, have the

musicians assembled on stage. The final gesture is not a sound, but a movement: the

second violinist taking their seat.

Most of Schafer’s quartets must be performed from the score (rather than from

individual parts). The first movement, for instance, is written not in metrical but

in proportional notation; the players taking cues from one another, a technique

pioneered by the Polish avant-garde composer Lutosławski, notably in his String

Quartet (1964).

Such rhythmic coordination is paramount in the fast and aggressive second

movement. To a panoply of modernist extended techniques, particularly double-stopped

glissandos, and against harmony of unrelenting dissonance, Schafer

adds another theatrical element: vocalization. Throughout, the players intone

various phonemes and nonsense syllables “uttered as if the gestures to which they

are attached are calling them forth—like the vocal shouts of gymnastic exercises”.

Schafer emphasizes that “they do not stand out as a separate set of sounds but

appear born of the identical physical gesture that has produced the string tone”. The

blend of metal and vocal chords expands the quartet’s timbral palette in a startling way.

In the second movement, even the musicians’ breathing is occasionally notated

rhythmically—in unison. This coordinated imperative governs the third movement,

ruled now by an otherworldly tranquility. Messiaen had written a movement entirely

in unison in his Quartet for the End of Time. But unlike “Dance of Wrath, for the

Seven Trumpets”, which is fast, loud and notated metrically, Schafer’s movement is

muted, meditative and written without metre, relying on the musicians to carefully

8 9

synchronize irregular and improvisatory rhythms. The endless melody, coloured

with quarter-tones, bends and glissandos, recalls the cello’s statements at the start

of the first movement, characterized by dissonant rubbing against an open-string

drone. These drones return literally, in the viola (G string) and cello (A string),

interrupting otherwise strict monody, and simultaneously developing the quartet’s

opening idea. The work ends in a consonant halo, faint C major chords underscoring

the first violinist who repeats a three-note ostinato while slowly exiting the stage “as

if [they] were carrying the melody to another planet”.

Ludwig van Beethoven (1770-1827)

String Quartet in C-sharp minor, Op. 131

In late 1825, immediately after fulfilling the last of three quartets

commissioned by the Russian Prince Nikolaus Galitzin, Beethoven

began sketching yet another. This one was for himself. By the

following summer he had completed Op. 131 and sent it to his publisher, Schott, with

a note that read, “patched together from stolen bits of this and that.” Schott sounded

the alarm, forcing the composer to explain. “You said in your letter that it should be

an original quartet,” he wrote. “I felt rather hurt; so as a joke I wrote beside the address

that it was a bit of a patchwork. But it is really brand new.”

The quartet received no public performance during Beethoven’s lifetime and was

published posthumously. Though its novelty bewildered many early critics, it moved

connoisseurs deeply. Beethoven’s assistant, Karl Holz, reported that in November

1828, Schubert, staring death in the eye, requested a private reading of the quartet

and subsequently “fell into such a state of excitement and enthusiasm that we were

all frightened for him.” Schumann, rarely at a loss for words, gushed that two of the

late quartets, Opp. 127 and 131, were works “for whose greatness no words can be

found.” In 1856, recognizing the relevance of Beethoven’s late music to current compositional

preoccupations, Wagner organized a performance of Op. 131 for which

he supplied analytical notes. Today many writers and listeners consider the C-sharp

minor quartet Beethoven’s greatest.

“Art demands of us that we shall not stand still,” explained Beethoven to Holz, in

reference to the late quartets. “Thank God there is less lack of fantasy than ever

before.” Statements such as these bear witness to Beethoven’s deliberate striving

for new effects. In this respect, his tongue-in-cheek patchwork analogy may

contain a grain of truth: superficially, at least, the piece does seem as if cobbled

together from fragments. Yet, at a deeper level, the music coheres because

Beethoven takes great pains to connect the bits. Still, it pushes the ear to the limit

of comprehension on account of its “whimsical fragmentation and hide-and-seek”,

as a reviewer noted in 1828.

Fifty years earlier, in his middle quartets, Haydn scaled down the design from five

to four movements. Beethoven, in his late quartets, moved in the other direction,

expanding to five (Opp. 130 and 132) and, in Op. 131, to seven (numbered explicitly

in the score). In a clear break from Classical tradition, no movement achieves

satisfactory closure, ending as if with a semi-colon or question mark. Two are so

brief (nos. 3 and 6) as to function more like transitions. There are two dance-like

movements (nos. 2 and 5). The central theme and variations (no. 4) is the longest. A

ferocious sonata-form finale ties all loose

ends together, in part by incorporating

a subtle transformation of the opening

movement’s fugue subject.

The slow fugue (no. 1), with which the

journey begins, is unusual in that its

subject is answered at the subdominant

instead of at the customary dominant,

contributing a softer, modal flavour,

well-suited to the fugue’s contemplative

mood. Fluctuations in rhythmic density

add limited contrast. The first of two

dance-like movements, the wispy no.

2, owes its bounce to a hopping figure.

But it never really takes off, suggesting

incomplete memories of a jig rather than

a jig itself.

A concise recitative-like interlude (no.

3) sets up an expansive slow movement

(no. 4), whose theme in a glowing A

major Wagner called “the incarnation of

innocence”, and Beethoven himself, in a

sketchbook, “a sweet song of rest.” Now,

for the first time, the discourse slows

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down, eschewing the hitherto flighty fragmentation. Six variations flow seamlessly

one into the next, each assuming a different tempo and character, thereby transforming

the mood more radically than is typical in variations in the Classical style.

This journey within a journey varies in style and allusion, from a Rossini-like march,

to fugato, to humorous pizzicato, to mock-tuning—all the while retaining the

theme’s genial character. Only in the fifth variation does trouble lurk, in a persistent

rumble on the cello’s low C string, and that an annoyed first violin is forced to

acknowledge. The last variation flutters with warbling trills.

An energetic Presto scherzo follows (no. 5), light staccato writing offset by a legato tune

in octaves. Witty scoring abounds, notably a melody fragmented into one pizzicato note

per instrument per bar. Frequent slowing down and outright stops contribute to the

giddy atmosphere and demand of the players the utmost precision and discipline.

The slow tempo, minor mode, and sustained tones with which no. 6 begins recall the

sombre first movement. Beethoven thwarts expectations by cutting the movement

short: this second, brief interlude leads directly into the finale (no. 7)—and a

dramatic return to the home key on a ferocious downbeat C-sharp, in unison. The

galloping rhythm that ensues brings to mind Beethoven’s slashing Grosse Fugue

and, in intensity, even Schubert’s “Death and the Maiden” quartet. Embedded in the

texture is a rising chromatic scale in whole notes. Eventually the music winds down,

exhausted, but in a final burst, races to a surprising C-sharp major close.

Copyright © 2017 Robert Rival. Robert Rival is a composer, music writer & teacher. robertrival.com

10 11


St. Lawrence String Quartet

Geoff Nuttall, violin

Owen Dalby, violin

Lesley Robertson, viola

Christopher Costanza, cello

“Modern...dramatic...superb...wickedly attentive...with

a hint of rock ‘n roll energy...” are just a few ways critics

describe the musical phenomenon that is the St. Lawrence

String Quartet. The SLSQ is renowned for the intensity of its performances, its

breadth of repertoire, and its commitment to concert experiences that are at once

intellectually exciting and emotionally alive. Highlights in 2016-2017 include

performances of John Adams’ Absolute Jest for string quartet and orchestra with

Gustavo Dudamel and the LA Philharmonic and with Marin Alsop and the Baltimore

Symphony, as well as the European premieres of Adams’ second string quartet.

Fiercely committed to collaborating with living composers, the SLSQ’s fruitful

partnership with Adams, Jonathan Berger, Osvaldo Golijov and many others has

yielded some of the finest additions to the quartet literature in recent years. The

Quartet is also especially dedicated to the music of Haydn, and are recording

his groundbreaking set of six Op. 20 quartets in high-definition video for a free,

universal release online in 2017. According to The New Yorker, “...no other North

American quartet plays the music of Haydn with more intelligence, expressivity,

and force...”

Established in Toronto in 1989, the SLSQ quickly earned acclaim at top international

chamber music competitions and was soon playing hundreds of concerts per year

worldwide. They established an ongoing residency at Spoleto Festival USA, made

prize-winning recordings for EMI of music by Schumann, Tchaikovsky, and Golijov,

earning two Grammy nominations and a host of other prizes before being appointed

ensemble-in-residence at Stanford University in 1999.

At Stanford, the SLSQ is at the forefront of intellectual life on campus. The SLSQ

directs the music department’s chamber music program, and frequently collaborates

with other departments including the Schools of Law, Medicine, Business

and Education. The Quartet performs regularly at Stanford Live, hosts an annual

chamber music seminar, and runs the Emerging String Quartet Program through

which they mentor the next generation of young quartets. In the words of Alex Ross

of The New Yorker: “The St. Lawrence are remarkable not simply for the quality of

their music making, exalted as it is, but for the joy they take in the act

of connection.”

Enhance your Concert Experience

with Music Appreciation!


• Eight Great Composers

• Haydn: The Neglected Master

• Chorus! Chorus! Chorus!

• Weimar Cabaret





st. Mary Magdalene

Anglican church

in Picton

artistic director

stéphane lemelin


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by Georges Bizet

July 29 & Aug. 6 at 2 pm | Aug. 1 & 3 at 8 pm

The Marriage of Figaro

by W. A. Mozart

July 29, Aug. 2 & 4 at 8 pm | Aug. 2 at 2 pm

Night Blooming Cereus

by John Beckwith & James Reaney



A Northern Lights Dream

by Michael Rose

July 28 & Aug. 5 at 8 pm

July 30 & Aug. 5 at 2 pm


U of T, 214 College Street at St. George

Tickets: $28, Senior/Student $22, Subscription $60

Box Office: 416-366-7723 or www.stlc.com

Info: 416-922-2912 or www.solt.ca







Friday, July 14, 2017 at 7:30pm

Walter Hall

Martin Beaver, violin

Owen Dalby, viola

Christopher Costanza, cello

Angela Park, piano

Wolfgang Amadeus Mozart: Duo No. 1 in G major

for violin and viola, K. 423

I. Allegro

II. Adagio

III. Rondo: Allegro

Ludwig van Beethoven: Sonata No. 7 in C minor

for violin and piano, Op. 30 No. 2

I. Allegro con brio

II. Adagio cantabile

III. Scherzo: Allegro

IV. Finale: Allegro

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Hector Gratton: Quatrième Danse Canadienne for violin and piano

Anton Arensky: Piano Trio No. 1 in D minor, Op. 32

I. Allegro moderato

II. Scherzo: Allegro molto

III. Elegia: Adagio

IV. Finale: Allegro non troppo

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Wolfgang Amadeus Mozart (1756-1791)

Duo No. 1 in G major for violin and viola, K. 423

In 1782, Mozart hastily married Constanze Weber, much to his

father’s consternation. In an attempt to smooth things over, in the

summer of 1783, he brought Constanze to Salzburg so she and his

father could meet. During that visit it seems that Mozart agreed, as a favour, to help

Michael Haydn, sidelined by illness, finish a commission for six duos for violin

and viola for the Archbishop Colleredo. Mozart wrote two; now identified in his

catalogue as K. 423 and K. 424. As Mozart biographer Maynard Solomon notes wryly,

“we can imagine Mozart’s amusement at the thought of the archbishop unwittingly

enjoying the music of his former concertmaster.”

Their diminutive scoring notwithstanding, Mozart’s duos are perfect specimens of

the Classical style: a fusion of polyphony, homophony, and clearly-etched phrase

structure. The two instruments, treated as equals, imitate and accompany one

another continually, as if competing for the listener’s attention, though, admittedly,

the viola anchors the texture with a solid bass line. Because traditional harmony is

governed by the triad—a chord built with two stacked thirds—simulating three parts

with just two, in a satisfying way, presents a formidable challenge. Mozart manages it

in part by relying on double-stopping, but more significantly by masterful handling

of counterpoint combined with swiftly broken chords; an approach not far removed

from that taken in his thin-textured keyboard sonatas. Nor are these duos lightweight

in sentiment: the otherwise upbeat rondo finale of the first, for instance, takes an

extended, melancholic, minor-inflected detour, replete with Mozart’s trademark

expressive chromaticism and intensified by imitative counterpoint in stretto.

Ludwig van Beethoven (1770-1827)

Sonata No. 7 in C minor for violin and piano, Op. 30 No. 2

In a letter to his friend Franz Wegeler on June 29, 1801, Beethoven

confessed that he was going deaf. It is a long letter that reveals many

facets of his character. Mixed in with the pain, however, is also pride

at his growing success. He reports that six or seven publishers compete hungrily for

his latest compositions. In fact, he is so “pleasantly situated” that he can even afford

to compose for charity: “For instance, I see a friend in need and it so happens that

the state of my purse does not allow me to help him immediately; well then, I have

only to sit down and compose and in a short time I can come to his aid.” The social

implications of his ailment drove him to work ever harder. “I live entirely in my

music,” he explained, “and hardly have I completed one composition when I have

already begun another. At my present rate of composing, I often produce three or

four works at the same time.”

Among his works of that year are the three Op. 30 sonatas for violin and piano

dedicated to Alexander I, Tsar of Russia. To Mozart, Beethoven owed a great debt. In his

violin sonatas, Mozart had perfected the craft of devising thematic material that suited

both instruments equally well, thus permitting motives to be fluidly exchanged. This,

Beethoven readily assimilated. But Mozart’s mastery of the genre forced Beethoven to

break new ground, and with the C minor sonata, Op. 30, No. 2, he did just that.

Noting the “grandeur and symphonic scope” of Op. 30, No. 2, the famous Hungarian-American

violinist Joseph Szigeti observed: “It is the power of the dramatic message

that seems to lead Beethoven to these utterly new instrumental formulae, these

torrential scales, staccato-martellato passages, the superimposition of long, plaintive

lines into subterranean rumblings in the bass.” Indeed, the Allegro con brio begins with

an incisive motive, echoed by the violin and punctuated by bass growls, that is followed

by a sprightly dotted-rhythm second theme. The movement proceeds in brilliant

imitative counterpoint and with grueling intensity. In the Adagio cantabile, this forward

drive finds expression in the increasingly agitated episodes. In the Scherzo, the violin

draws attention to itself with noisy unison double-stops involving the open E string.

Weak-beat accents in the Trio cause a curious rhythmic imbalance. The concluding

Allegro opens with a bass rumble that drives this rousing finale to a triumphant close.

The lightness of the outer movements’ secondary themes recalls Mozart; but the forceful

principal motives, and their stormy development, are pure Beethoven.

Beethoven composed two more sonatas for a total of ten. Of these, the C minor

Op. 30, No. 2, along with the two sonatas that flank the set—Op. 24 “Spring” and

Op. 47 “Kreutzer”—are performed most often. Szigeti recounts an amusing

anecdote concerning a performance of the C minor sonata. One night, on a tour of

Germany in 1853 with the young Johannes Brahms, the famous Hungarian violinist

Eduard Reményi found the piano to be tuned too flat for his violin. And so, with little

fuss, the twenty year-old Brahms, in a typically Mozartean manoeuvre, transposed

the piano part up a semi-tone—on the fly.

Anton Arensky (1861-1906)

Piano Trio No. 1 in D minor, Op. 32

In 1894, Rachmaninov’s former composition teacher, Arensky,

completed his First Piano Trio (he wrote a second in 1905). The

D minor trio, in which comingle his gift for melody, fluid piano

writing and impeccable craft, ranks among the most enduring of his large-scale

works. Its lyrical and romantic first movement is bathed in broken chords in the

piano, a sumptuous texture that recalls Mendelssohn’s trios. The German’s elfin

style even pervades the scherzo, which charms with sprightly ricochet figures, feather-light

harmonics, pizzicato, and dainty piano arabesques. The contrasting inner

section waxes lyrical against a sauntering accompaniment. The Elegy, with strings

muted, pays tribute to the memory of the work’s dedicatee, the cellist Karl Davydov.

More nostalgic than melancholic—and in the central section, more airy than

weighty—Arensky clearly wished to evoke pleasant memories of a great musician.

A sentimental melody, first heard in the cello, tempers the fire with which the

concise finale opens. A pause allows the strings to don mutes whereupon they

revisit that dreamy music from the Elegy, now in D major, rising in sequence by thirds.

Another pause. And now a memory from a still more distant past: a quotation of the

first movement’s ascending theme but slowed down into an Adagio. A brief coda

deftly rekindles the fire.

Copyright © 2017 Robert Rival. Robert Rival is a composer, music writer & teacher. robertrival.com

16 17


Martin Beaver, violin

Canadian violinist Martin Beaver was named first violin of

the world-renowned Tokyo String Quartet in 2002. As such,

he has appeared to critical and public acclaim on the major

stages of the world including New York’s Carnegie Hall,

London’s Wigmore Hall, the Berliner Philharmonie, Tokyo’s

Suntory Hall and the Sydney Opera House.

Concerto and recital appearances have spanned four continents with orchestras such

as the San Francisco Symphony, l’Orchestre Philharmonique de Liège, and the National

Arts Centre Orchestra under the batons of Pinchas Zukerman, Raymond Leppard, and

Charles Dutoit among others. Chamber music performances include collaborations

with such eminent artists as Leon Fleisher, Lynn Harrell, and Alicia de Larrocha.

Mr. Beaver is a laureate of the Queen Elisabeth, Montreal, and Indianapolis competitions.

A devoted educator, he has held masterclasses in North and South America,

Europe, Asia, and Australia. He joined the faculty of the Colburn School in Los

Angeles in August 2013.

Owen Dalby, viola

Praised as “dazzling” (The New York Times), “expert and

versatile” (The New Yorker), and “a fearless and inquisitive

violinist” (San Francisco Classical Voice), Owen Dalby

leads a rich musical life as a soloist, chamber musician,

new and early music expert, orchestral concertmaster,

and educator. As the newest member of the St. Lawrence

String Quartet, Owen lives in San Francisco and is

artist-in-residence at Stanford University. With the SLSQ, recent and upcoming

projects include tours of the major chamber series in North America and Europe, as

well as orchestral debuts with the LA Philharmonic, San Francisco Symphony, and

Baltimore Symphony Orchestra in John Adams’ Absolute Jest. The SLSQ’s recording

of Haydn’s masterful Op. 20 string quartets is being released for free on YouTube, as

well as on the EaSonus label in 2017.

Owen is a co-founder of Decoda, the affiliate ensemble of Carnegie Hall, and was

also the concertmaster of Novus NY, the contemporary music orchestra of Trinity

Wall Street in New York City. He made his Lincoln Center debut in 2010 with Lou

Harrison’s Concerto for Violin and Percussion Orchestra at Alice Tully Hall, and that

same year gave the world première of Look Around You, a one-man double concerto

by Timo Andres for solo violin and viola, with the Albany Symphony Orchestra.

Owen is regularly invited to perform chamber music at festivals from Hamburg to

Honolulu, and from Iceland to Mumbai.

Christopher Costanza, cello

For three decades, cellist Christopher Costanza has enjoyed

an exciting and varied career as soloist, chamber musician,

and teacher. A winner of the Young Concert Artists International

Auditions and the recipient of a Solo Recitalists Grant

from the National Endowment for the Arts, Mr. Costanza

has performed to enthusiastic critical acclaim throughout

the U.S., Europe, Canada, South America, Australia, New

Zealand, China, and South Korea. In 2003, Mr. Costanza joined the St. Lawrence

String Quartet, Ensemble in Residence at Stanford University. A strong proponent of

contemporary music, he has worked extensively with the world’s leading composers

such as John Adams, Osvaldo Golijov, Olivier Messiaen, and Pierre Boulez. Mr.

Costanza’s discography includes chamber music and solo recordings on the EMI/

Angel, Nonesuch, Naxos, and Albany labels, and recently he launched an innovative

new website, costanzabach.stanford.edu, featuring his recordings of the Six Suites

for Solo Cello by J.S. Bach. Mr. Costanza received a Bachelor of Music and an Artist

Diploma from the New England Conservatory of Music in Boston, where he studied

cello with Bernard Greenhouse, Laurence Lesser, and David Wells, and chamber

music with Eugene Lehner, Louis Krasner, and Leonard Shure.

Angela Park, piano

Angela Park has established herself as one of Canada’s most

sought-after pianists. Praised for her “stunningly beautiful

pianism” (Grace Welsh Prize, Chicago), “beautiful tone and

sensitivity” (American Record Guide), and for performing

“with such brilliant clarity it took your breath away” (Chapala,

Mexico), Angela’s versatility as both soloist and chamber

musician has led to performances across Canada, as well as

in the United States, Europe, Japan and Mexico. She has performed for such notable

series as Montreal’s Pro Musica, Ottawa Chamberfest, Toronto Summer Music Festival,

Parry Sound’s Festival of the Sound, Winnipeg Virtuosi, Debut Atlantic and Prairie

Debut Tours, Orchestra London Canada, Sinfonia Toronto, Stratford Symphony, and the

Northern Lights Music Festival in Mexico. She is a founding member of the award-winning

Ensemble Made In Canada, Mercer-Park Duo, Seiler Piano Trio, and the AYR Trio.

Recent and upcoming seasons include a world premiere of John Burge’s Second Piano

Concerto with Sinfonia Toronto, tours with Prairie Debut, performances with Lyrica

Baroque in New Orleans, Louisiana, collaborative recitals at the Interlochen Center

for the Arts, and Ensemble Made In Canada tours of Canada and the United States.

Angela has recorded solo albums and collaborative discs with cellist Rachel Mercer,

oboist Linda Strommen, bassoonist Kathleen McLean, and Ensemble Made In Canada

for labels including NAXOS Canadian Classics, Centrediscs, and Enharmonic Records.

In 2010 Angela earned her DMA in Performance from the Université de

Montréal, and previously received her MMus and BMus degrees from the

University of Toronto.

18 19







OCT 26 – NOV 4, 17


Saturday, July 15, 2017 at Walter Hall



APR 19 – 28, 18



"...an intimacy that's hard to find in the concert hall."

-Toronto Star

Host your own Private

Pocket Concert

in your home or office




Martin Beaver, violin*

Rebecca Shasberger, cello

Alexey Pudinov, piano

Mendelssohn: Piano Trio No. 1

in D minor, Op. 49

I. Molto allegro agitato

II. Andante con molto tranquillo

III. Scherzo: Leggiero e vivace

IV. Finale: Allegro assai appassionato

Yeajin Kim and Alice Hong, violin

Jiwon Kim, viola

Christopher Costanza, cello*

Beethoven: String Quartet No. 10

in Eb Major, Op. 74 (Harp)

I. Poco adagio—Allegro

II. Adagio ma non troppo

III. Presto

IV. Allegretto con variazoni

Reaching their Someday is music

to everyone’s ears.

The hard work, perseverance and vision of emerging artists demonstrate

the power of having – and the joy of realizing – a Someday . Together

with programs like Toronto Summer Music Festival, we support a diverse

range of Canadian talent in communities across the country through the

RBC Emerging Artists Project.

® / Trademark(s) of Royal Bank of Canada. 39782B (05/2015)

Geoff Nuttall, violin*

Ekaterina Manafova, viola

Brandon Xu, cello

Geoffrey Conquer, piano

Fauré: Piano Quartet No. 2

in G minor, Op. 45

I. Allegro molto moderato

II. Allegro molto

III. Adagio non troppo

IV. Allegro molto

*TSM Academy Artist Mentor

Owen Dalby*, Ji Soo Choi, Jisun Lee,

and Daisy Rho, violin

Emily Eng and Dmitri Yevstifeev, viola

Nicholas Denton-Protsack and

Joanne Yesol Choi, cello

Shostakovich: Two pieces for

string octet, Op. 11




Steve Sang Koh and Young Yoon, violin

Lesley Robertson, viola*

Jaesung Lim, cello

Junyeong Lee, piano

Brahms: Piano Quintet in

F minor, Op. 34

I. Allegro non troppo

II. Andante un poco adagio

III. Scherzo: Allegro

IV. Finale: Poco sostenuto- Allegro non troppo


October 19 - Quatuor Mosaïques

November 16 - Škampa Quartet

December 7 - Gryphon Trio

January 11 - Brentano Quartet with

soprano Dawn Upshaw

February 1 - St. Lawrence String Quartet

February 22



- Apollon Musagète Quartet

April 12 - Schumann Quartet









November 7 - Benjamin Grosvenor

November 28 - Philip Chiu

January 23 - Stephen Hough

February 6 - Alexei Lubimov

March 27 - Dénes Várjon


Single tickets on sale September 5th


Jane Mallett Theatre St. LAWRENCE CENTRE THE ARTS 416-366-7723


Monday, July 17, 2017 at 7:30pm

Koerner Hall

James Ehnes, violin

Johann Sebastian Bach: Partita No. 1 in B minor for violin solo, BWV 1002




Double. Presto





Eugène Ysaÿe: Sonata No. 3 for Solo Violin in D minor, Op. 27, No. 3 “ Ballade”

Lento molto sostenuto (in modo di recitativo) – Allegro in tempo giusto con bravura


Barrie Cabena: Sonatina No. 4 for violin solo, Op. 375

“In Homage to J.S. Bach” (World Première)



Johann Sebastian Bach: Partita No. 2 in D minor for violin solo, BWV 1004






This concert is being recorded for future broadcast by the CBC.

We sincerely thank Jack Whiteside for sponsoring James Ehnes’ performances at the 2017 Festival.



J.S. Bach (1685-1750)

The Sonatas and Partitas for Solo Violin

By the late Baroque, the term “partita” came to mean roughly the

same as “suite”. The suite (French for “succession”) came of age

in the Baroque, and was a versatile form with solo, chamber and

orchestral variants. Of these, the solo suite (Bach wrote nearly 40) has the most

consistent design: a succession of contrasting dance movements with a core of

four—allemande, courante, sarabande and gigue, in this order—supplemented by

one or more optional movements usually placed before the concluding gigue. The

movements are almost always in the same key.

Among Bach’s suites, most for keyboard, are three for solo violin and six for solo

cello (there is also a partita for solo flute). The three violin partitas, alongside

three four-movement sonatas, form a set of six that was fair-copied in 1720.

Lauded by early violinists for their pedagogical value, today the solo sonatas

and partitas occupy an exalted place in the violin repertoire. Yet it is a marvel

that they survived at all. For 80 years they existed in manuscript only. The first

publication of the complete cycle came only in 1802, and the first edited version

not until 1843, issued by Ferdinand David, the virtuoso for whom Mendelssohn

wrote his violin concerto. The following year, a 13-year-old Joseph Joachim, for

whom Brahms wrote his concerto, became the first violinist to perform them in

public. This broke a convention that required piano accompaniment in violin

recitals, one that may explain why Schumann and Mendelssohn wrote keyboard

accompaniments: not to fill a perceived lacuna in Bach’s music but to encourage

its public presentation.

The support of melody by a bass line and harmony (basso continuo) was so

commonplace in the Baroque that in the set’s title, Bach emphasized that the

works were to be performed “unaccompanied.” In reality, the music is not wanting

in accompaniment as the violin itself supplies it. Therein lies the core of Bach’s

achievement: he composed compelling polyphonic music for a chiefly melodic

(single-line) instrument. He did so, most obviously, by simulating multiple voices

with multiple-stops (chords with two, three or four notes). But even when only one

note sounds at a time, Bach creates the impression of multiple parts by rapidly

alternating between two or more lines segregated in different registers (high,

medium, low). Bach thus conjures the illusion of two or three—even four—violins

sounding together. The three sonatas take this to its logical conclusion: each

includes a movement in that supreme of polyphonic genres, the fugue.

Partita No. 1 in B minor for violin solo, BWV 1002

The First Partita consists of the usual dance movements, a lively bourrée substituting

for the gigue. Each is paired with a double, a melodic variation in quicker note

values and without multiple stops. The stately and solemn Allemande contains

many double- and triple-stops woven into a fabric whose melodic fragments in

high and low registers suggest a female and male partner in dance. In the Courante,

the more pronounced leaping among registers involves much string crossing via

arpeggios, thereby lightening the mood. The harmonic progressions, here more

complex and intriguing, nevertheless retain that sense of inevitability so characteristic

of Bach’s art. A pulse-quickening double, a perpetual motion in sixteenth-notes,

follows. The partita’s serenely beautiful Sarabande, written almost entirely in

multiple stops, calls for a singing and legato quality which, combined with

notoriously hard-to-tune fourths, presents an extraordinary challenge to the

performer. The Bourrée sounds a cheerful note, even if still in B minor, its

exuberant quadruple-stops balanced by monophony, and with the concluding

double, completes the partita’s emotional trajectory from melancholy to

relative sanguinity.

Partita No. 2 in D minor for violin solo, BWV 1004

The Second Partita moves, meanwhile, on several planes at once. Its first four

movements proffer a self-contained suite; the celebrated Chaconne, a single, giant

movement, equal in length to the first four, likewise stands alone—and often does

so in performance. The two parts, combined, trace a musical journey from the

quotidian to the transcendental. Both the Allemande and Courante, in contrast to

their counterparts in the First Partita, unfold free of multiple-stopping. The former,

solid and serious, flows steadily; an alternation between a triplet feel and dotted

rhythms drive forth the latter. The Sarabande recalls that of the First Partita,

in texture and tone, yet its probing harmony delves deeper. Both halves of the

Gigue begin with the dance’s characteristic triple bounce but soon jump into

a relentless current of sixteenth-notes, as if the dance and its double were

compressed into one.

The tripartite Chaconne consists of a four-bar chord progression (and implied bass

line) followed by 64 seamless variations. (Because the theme and many variations

are grouped in pairs—the reprise itself a variation on a variation—some writers

describe the theme as an eight-bar entity.) The movement’s monumental sweep

offers an immersive experience. On the one hand, the short-interval repetition

(just four bars) lulls the listener into a trance-like state. Yet Bach simultaneously

stimulates the ear by continually reimagining the bass and harmony, and by dramatically

transforming the rhythmic articulation of successive variations, moving from

simple textures to a sweeping one involving rapid string-crossing arpeggios. Having

accelerated as much as possible, Bach rounds off the first 33 variations by recalling

the opening texture.

Then, in a coup, the music shifts to D major. “This golden radiance flows through the

air, the waves of the stream run gold and mirror the picture in the sky’s dome, rising

majestically into space immeasurable,” gushed the 19th-century Bach biographer

Philipp Spitta. “The master’s spirit inspires the instrument to express the inconceivable;

at the end of the D major movement the music wells like organ-tone, at

times one hears a whole a chorus of violins.” In other words, Bach whips up a second

wave of tension, juggernaut-like, in this central section comprising 19 variations. A

further 12 statements are reserved for the concluding section that restores the minor

mode. This breathtaking quarter-hour journey ends with a final restatement of the

initial theme, a revelation that mirrors the effect of the Aria reprised at the end of

Bach’s Goldberg Variations.

24 25

The Chaconne has been the object of much adulation by composers of various

persuasions. Busoni transcribed it for piano solo whose bombast, carried by

thunderous outbursts and elaborate figuration, ironically fails to replicate the force

and grandeur of Bach’s original creation. Brahms, himself a formidable pianist,

grasped this well. He made no arrangement, preferring to play it on the piano, as

written, with the left hand alone. “The chaconne to me is one of the most wonderful,

incomprehensible works of music,” he wrote to Clara Schumann in 1877. “On one

staff, for one small instrument, this man has written a whole world of profoundest

thought and deepest feelings.”

Eugène Ysaÿe (1858-1931)

Sonata No. 3 in D minor for violin solo, Op. 27, No. 3 “Ballade”

The Belgian violinist Ysaÿe, hailed as one of the greatest virtuosos

at the turn of the last century, was admired as much for his

faultless technique as for his profound devotion to his instrument

and its traditions. He himself studied with masters: Wieniawski in Brussels and

Vieuxtemps in Paris. To him Franck dedicated his Violin Sonata, and Chausson, his

Concert and Poème. He played in the premiere of Debussy’s String Quartet. Illness

would hamper his technique but he continued to perform while cultivating parallel

careers as a conductor and a composer.

In 1923, after hearing the Hungarian violinist Joseph Szigeti interpret a partita by

Bach, Ysaÿe remarked that here was a musician who “puts technique in the service

of expression;” an experience that prompted him to write for solo violin himself.

Acknowledging the long shadow cast by Bach’s works in the genre, Ysaÿe opined

that “in spite of their difficulty, more in appearance than in reality, [they] do not

constitute an evolution in the instrumental technique”, pointing to the strengths of

pure violin writing in Viotti, de Bériot, Vieuxtemps, and Wieniawski. He thus struck

upon the idea of writing a series of solo sonatas “through and for the violin” inspired

by the playing technique of the virtuosos of the day. According to Ysaÿe’s son,

Antoine, that very night he sketched the outlines of all six Op. 27 sonatas, working

them out in subsequent weeks. The set was published in 1924.

A mysterious recitative-like, slow introduction establishes the improvisatory

character of the concise Third Sonata, dedicated to George Enescu. “I let myself

be drifted with my fantasy,” said Ysaÿe. “The remembrance of my friendship and

admiration for George Enescu and of the performances we gave together in the

music room of that delightful queen, Carmen Sylva, guided my pen!” The Allegro

breathes with fire; at times one hears echos of Bach’s Chaconne, in the same key.

The sonata, brimming with the requisite virtuosity of a caprice or cadenza, lives

up to Ysaÿe’s stated goal of fusing technical wizardry idiomatic to the violin with

Bach’s polyphony and musical vision. Ysaÿe knew Bach was a hard act to follow.

But his profound knowledge of the violin allowed him to explore, compellingly,

novel harmonic and contrapuntal effects. The music thus stakes a happy middle

ground between the sensuousness of the French impressionists and the hard

edges of Bartók.

Copyright © 2017 Robert Rival. Robert Rival is a composer, music writer & teacher. robertrival.com


James Ehnes, violin

James Ehnes has established himself as one of the

foremost violinists of his generation. Gifted with a rare

combination of stunning virtuosity, serene lyricism and

an unfaltering musicality, Ehnes is a favourite guest of

many of the world’s most respected conductors and has

performed with a long list of orchestras including Boston,

Cleveland, Pittsburgh, New York, London Symphony,

Philharmonia, BBC Philharmonic, Czech Philharmonic, DSO Berlin and the

NHK Symphony orchestras. In the 2016/17 season and beyond, Ehnes premieres

the Aaron-Jay Kernis Violin Concerto with orchestras including the Toronto

Symphony Orchestra/Oundjian. In May 2017, Ehnes was announced as

Instrumentalist of the Year at the Royal Philharmonic Society Music Awards.

Alongside his concerto work, James Ehnes maintains a busy recital schedule.

He has appeared at festivals such as City of London, Ravinia, Montreux, Chaise-

Dieu, the White Nights in St Petersburg, Festival de Pâques in Aix, and in 2009

he made a sensational debut at the Salzburg Festival performing the Paganini

Caprices. Ehnes is a regular guest at the Wigmore Hall in London and at the 2007

BBC Proms he premiered a new work for violin and piano by Aaron Jay Kernis. In

autumn 2016, Ehnes embarked on the second part of his cross-Canada recital tour

to celebrate his 40th birthday.

As a chamber musician, he has collaborated with leading artists such as Andsnes,

Lortie, Vogler and Yo-Yo Ma. In 2010, he formally established the Ehnes Quartet,

with whom he has performed in Europe at venues including the Wigmore Hall,

Auditorium du Louvre in Paris and Théâtre du Jeu de Paume in Aix, amongst

others. Ehnes is the Artistic Director of the Seattle Chamber Music Society.

Ehnes has an extensive discography and has won many awards for his recordings

including a 2008 Gramophone Award for his live recording of the Elgar Concerto

with Sir Andrew Davis and the Philharmonia Orchestra. His recording of the

Korngold, Barber and Walton violin concertos won a 2008 Grammy Award

for ‘Best Instrumental Soloist Performance’ and a 2008 JUNO award for ‘Best

Classical Album of the Year’. His 2010 recording of the Paganini Caprices earned

him universal praise, with Diapason writing of the disc, “Ehnes confirms the

predictions of Erick Friedman, eminent student of Heifetz: ‘there is only one like

him born every hundred years’.” Ehnes’s recent recording of the Bartók Concerti

was nominated for a 2012 Gramophone Award in the Concerto category. Recent

releases include concertos by Britten, Shostakovich, Prokofiev and Khachaturian

and sonatas by Beethoven, Debussy, Elgar and Respighi.

Ehnes began violin studies at the age of four, made his orchestral debut with

Orchestre Symphonique de Montréal aged 13, and graduated from The Juilliard

School in 1997. He is a Fellow of the Royal Society of Canada and in 2010, he was

appointed a Member of the Order of Canada. James Ehnes plays the “Marsick”

Stradivarius of 1715.

26 27

Because it’s more

than just music.




Tuesday, July 18, 2017 at 7:30pm

Walter Hall

Soile Isokoski, soprano

Martin Katz, piano

Proud to sponsor

Toronto Summer Music.

Music has the power to move us,

teach us, and connect us. That’s

why TD has been supporting music

since 2003; sponsoring over

100 community music programs and

80 music festivals across Canada.

Hugo Wolf: Selections from Italienisches Liederbuch

No. 1 Auch kleine Dinge No. 10 Du denkst mit einem Fädchen

No. 21 Man sagt mir, deine Mutter No. 28 Du sagst mir dass ich keine Fürstin

No. 40 O wär’ dein Haus

No. 2 Mir ward gesagt

No. 20 Mein Liebster singt am Haus No. 36 Wenn du, mein Liebster

No. 25 Mein Liebster hat zu Tische No. 46 Ich hab’ in Penna einen Liebsten

No. 15 Mein Liebster ist so klein

Robert Schumann: Gedichte der Königin Maria Stuart, Op. 135

Abschied von Frankreich

Nach der Geburt ihres Sohnes

An die Königin Elisabeth

Abschied von der Welt



Richard Strauss: 6 Lieder, Op. 67, TrV 238: Lieder der Ophelia

No. 1 Wie erkenn’ ich meine Treulieb

No. 2 Guten Morgen, ’s ist Sankt Valentinstag

No. 3 Sie trugen ihn auf der Bahre bloss

Learn more at TDMusic.com

Jean Sibelius: Selected songs

Illalle, Op. 17/6

Våren flyktar hastigt, Op. 13/4

Längtan heter min arvedel, Op. 86/2

Kaiutar, Op. 72/4

Men min fågel märks dock icke, Op. 36/2

Säv, säv susa, Op. 36/4

Flickan kom ifrån sin älsklings möte, Op. 37/5

Svarta rosor, Op. 36/1

We sincerely thank Roy and Marjorie Linden for sponsoring this evening’s performance.


The TD logo and other trade-marks are the property of The Toronto-Dominion Bank.

M05270 (0417)



Hugo Wolf (1860-1903)

Selections from Italienisches Liederbuch – anon., trans. Heyse

Wolf’s complete absorption in music, to the exclusion of all other

subjects, led one of his school teachers to rail about his “damned

music” and his father to reluctantly enrol him at the Vienna Conservatory

in 1875. There, within just a few months, Wolf had befriended Mahler and

cornered the senior Wagner with his juvenile scores. But Wolf’s rebellious spirit

led to his early dismissal in 1877 (his antisocial behaviour included issuing a death

threat to a classmate).

After cooling off in his hometown in Styria (today in northern Slovenia, near the

Austrian border), he returned to Vienna. He befriended wealthy music patrons

and taught their children music. His patrons admired his talent even as he became

exasperated with his talentless charges. But the children loved him anyway and

called him an elf (he was all of five feet tall). In 1878 he was initiated to sex by a visit

to a brothel (as was the custom at the time) where he contracted syphilis, the illness

that led to his eventual mental breakdown. He spent his last five years in an asylum

and is buried next to Schubert and Beethoven.

Wolf’s breakthrough came in 1888, a year of productivity comparable to Schumann’s

“year of song” of 1840. In fact, the vast majority of the 250 songs for which Wolf is best

known were composed in the four-year period ending in 1891, including the 22 songs

that make up the first book of the Italian Songbook. After an interval of more than four

years, Wolf completed book two’s 24 songs in an intense burst of creativity in spring

1896. The following year he was declared insane and committed to an asylum.

In 1852, Emanuel Geibel (1815-84) and Paul Heyse (1830-1914) compiled their translations

of Spanish verses (or what they claimed were Spanish verses) in Spanisches

Liederbuch (Spanish Songbook) from which Wolf selected poems for an eponymous

collection. Heyse followed up in 1860 with Italienisches Liederbuch, a translation

of anonymous popular Italian verses published in the preceding decades. Wolf

chose 40 Tuscan rispetti, five vilote (a Venetian variant), and one Venetian folk song.

Related only by subject matter, the poems do not form a cycle, freeing singers to

make selections and to reorder them according to their own whim. Wolf’s settings,

like the brief and simple love poems upon which they are based, are gems that

gleam in various hues and textures.

The self-effacing yet enigmatic No. 1, “Auf kleine Dinge…” (Even small things),

glimmers softly, like the pearls the speaker cites—diminutive, yet precious, objects of

our affections. In the riveting No. 21, “Man sagt mir…” (They tell me), Wolf captures

the speaker’s swing from resignation to rebellion, she ultimately urging her lover

to defy his mother’s wishes by visiting her “every day”. The crystalline piano figure in

No. 40, “O wär’ dein Haus” (I wish your house), gracefully depicts an imaginary glass

dwelling in which lives the speaker’s lover, object of her longing gaze. In No. 20, “Mein

Liebster singt…” (My lover is singing), the speaker finds herself trapped in a very

real house, crying tears of blood, as her lover sings from without in the moonlight.

The comical No. 25 “Mein Liebster hat zu Tische mich geladen” (My sweetheart

invited me to dinner), enumerates the remarkable failings of a disastrous dinner

invitation—no wine, stale bread, not even shelter!—yet Wolf’s light touch suggests

the lover’s ineptitude as a host might be forgiven. Funnier still is No. 15, “Mein

Liebster ist so klein” (My sweetheart is so small), in which the speaker describes,

teasingly yet affectionately, her lover’s tiny stature that compels her to “stoop so

low for a kiss!” In the dramatic No. 10, “Du denkst mit einem Fädchen mich

zu fangen” (You think to catch me with a thread), Wolf underlines the speaker’s

taunting with dotted rhythms, and, with an appropriate flourish, her closing,

petulant zinger: “I am in love—but not with you”.

No. 28, “Du sagst mir…” (You tell me), adopts a courtly air to communicate the

speaker’s rejoinder to her lover’s insult that she is no princess: his station is no

better as all he has to ride is a pony. In No. 2, “Mir ward gesagt...” (I was told), a

falling chromatic line in the piano combines with a declamatory style to convey the

speaker’s breaking heart at her lover’s departure, given “an escort of tears”. Pomp

underscores No. 36, “Wenn du, mein Liebster…” (When you, my dearest), one of

the few texts in the collection to make religious references.

The collection culminates with the exuberant No. 46, “Ich hab’ in Penna…” (I

have in Penna) in which the speaker boasts about her 21 lovers scattered across

the land, inevitably inviting comparison to the aria in Mozart’s Don Giovanni in

which Leporello lists his master’s amorous conquests. The song concludes with a

magnificent postlude, echoing the extraordinary one that punctuates Wolf’s “Er Ist’s”.

Robert Schumann (1810-1856)

Gedichte der Königin Maria Stuart

(Poems of Mary, Queen of Scots), Op. 135 – trans. Vincke

The five songs that make up Schumann’s Mary Stuart cycle,

composed in a week in December 1852, and offered as a Christmas

gift to his wife Clara, were the last he would write. The texts, attributed to Mary,

Queen of Scots (1542-1586), were translated by Gisbert von Vincke (1813-1892), but

their authenticity has since been challenged. Three are most definitely the work

of other authors; No. 3, “An die Königin Elisabeth” (To Queen Elizabeth) is likely

authentic; only No. 4, “Abschied von der Welt” (Farewell to the world) is preserved

in Mary’s own hand. Nonetheless, Schumann treated the poems as genuine and

arranged them into a cycle that traces the queen’s departure from France in 1561

to the moments before her execution—“27 years of a life traversed in a very short

musical journey”, as one critic puts it.

The flowing yet nostalgic No. 1, “Abschied von Frankreich” (Farewell to France),

establishes the cycle’s brooding quality with heaving sighs in the voice. No. 2,

“Nach der Geburt ihres Sohnes” (After the birth of her son) is a sombre prayer for

Mary’s son who became ruler of Scotland when his mother was forced to abdicate

and who went on to become King of England and Ireland as James I. Mary’s defiant

missive to Elizabeth in No. 3 receives declamatory vocal treatment accompanied

by forceful punctuation in the piano. In No. 4, Mary turns inward, her anguished

resignation captured in wide vocal leaps and a sparse accompaniment. No. 5,

“Gebet” (Prayer), continues in the same vein, but Mary’s imminent beheading

30 31

gives the song a harrowing edge. The Italian modernist Luigi Dallapiccola set the

same text in 1941, in its Latin original, in Canti di prigionia (Songs of Imprisonment).

In 1853, Schumann offered his cycle to two publishers. Both declined. A third

approached him in 1855 while he was confined to a mental asylum. With Clara’s help

he negotiated its publication, his tragic circumstances eerily mirroring those of his

cycle’s subject.

Richard Strauss (1864-1949)

Drei Lieder der Ophelia (Three Songs of Ophelia), Op. 67

Shakespeare, trans. Seeger

Famous for his symphonic poems, operas and lushly orchestrated

and sensuous orchestral songs, especially the Last Four Songs,

Strauss extended the German Romantic tradition well into the twentieth century.

But with over 200 songs for solo voice and piano to his credit, Strauss could also

think small. The preferred interpreter of his songs was his wife, Pauline, whom he

often accompanied at their recitals around the world. In 1906, his wife retired from

singing, and for the next dozen years, Strauss wrote no more lieder. But in 1918-19 he

composed four collections of songs (Opp. 66-69)—a total of 29 songs.

Most of Strauss’s song collections are not conceived as cycles (the composer

himself often presented a potpourri of his songs from different sets at his recitals.)

Yet the first three of Op. 67 (1918) translated by Ludwig Seeger (1810-64) on texts

from Shakespeare’s Hamlet—Ophelia’s mad-songs from Act 4, Scene 5— form a

mini-cycle while the three others are unrelated settings of Goethe. Ophelia, driven

to madness by the death of her father, Polonius, murdered by Hamlet, sings cryptic

songs about death and the loss of virginity.

No. 1, “Wie erkenn’ ich meine Treulieb” (How should I your true love know?)

contains unsettling syncopation, teetering harmony, and ends with a long postlude

that loses its train of thought. A disintegrating postlude likewise closes No. 2,

“Guten Morgen, ’s ist Sankt Valentinstag” (Good morning, ’tis Saint Valentine’s

Day), whose manic energy is generated by the piano’s mechanical rhythm and

metallic harmonies. Most disorienting of all is No. 3, “Sie trugen ihn auf der

Bahre bloß” (They bore him naked on the bier): changes in mood, style and tempo

produce a convincing musical portrayal of Ophelia’s inner turmoil.

As scholar Susan Youens notes, Strauss’s settings, “like all mad music, must radiate

lunacy and yet connect, however tenuously, to the laws and logic of music in its own

day.” This, Strauss achieves with abundant success, perhaps due in part to his own

intimate experience with the mental illness suffered by his beloved mother who was

admitted to a nursing home at only 47 when her son was not yet 21.

Jean Sibelius (1865-1957)

Selected songs

Of Sibelius’s nearly 100 songs for voice and piano only “Illalle”

(1898) and a handful of others were set to poems in Finnish (Swedish

was his native tongue). The poem’s title translates as “To evening”

but contains a double meaning: it was written for the poet’s fiancée, Ilta, so also

reads “To Ilta”. Sibelius’s highly original setting of a text filled with imagery of the

night and stars involves the repetition of the same declamatory phrase—over

pulsating and ecstatic chords—as many times as there are lines in the love sonnet.

In her study of Sibelius’s songs, the English contralto Astra Desmond noted that

“to anyone familiar with his orchestral music it will not be surprising that his best

songs are conceived directly or indirectly with nature and her moods. Love lyrics do

not seem to attract him unless there is a secondary nature theme.” Such is the case

in “Våren flyktar hastigt” (Spring is flying), from 1891, a charming setting of the

composer’s favourite poet, Johan Runeberg (1804-77). A girl gloomily measures her

vanishing beauty by the passing of the seasons. But the boy is pragmatic: no matter,

we’ve got memories, he says; besides, “For now, let’s just love; for now, let’s just kiss.”

In “Längtan heter min arvedel” (Longing is my inheritance), from 1916-17, Sibelius

ironically adopts a simple, childlike simplicity—in both the syllabic vocal setting

and the unadorned block chords in the piano—to colour a text that seethes in adult

rue. “Summers fade and suns set, / the hours fall heavily on me,” sighs the speaker.

“Kaiutar” (The echo nymph), from 1915, one of the few Finnish texts Sibelius set,

draws on the Finnish legend of the origin of the echo. The ballad tells of a wood

nymph in desperate search of the lover who spurned her: “She calls, she listens,

/ she cries, she shouts / until her voice shrinks to tiny volume.” Eventually she

hatches a plan to exact revenge by misguiding forest travelers through “imitation

and mockery.” Sibelius’s dramatic setting swells with supple rhythms, delights in

audacious harmonic twists, and, of course, includes echo-like mimicry between

voice and piano.

Op. 36 (1899-1900) comprises six songs by four poets. “A rose tree is growing in my

heart / Which will never leave me in peace,” laments the speaker in No. 1, “Svarta

rosor” (Black roses), given a bold, operatic treatment. The song’s central metaphor

has been variously interpreted. Are the painful thorns caused by a love lost? By

depression, of which the poet Josephson was known to suffer? Or even by national

oppression—the Russian government was then suppressing the Finnish people’s

quest for independence? In the bittersweet No. 2, “Men min fågel märks dock

icke” (But my bird is nowhere to be seen), on a text by Runeberg, a girl observes birds

returning to the bay. Her joy at spring’s return is, however, tempered by sadness at

the absence of her own bird. Water again figures in No. 4, “Säv, säv, susa” (Sigh,

rushes, sigh), here beautifully depicted in the piano’s undulating arpeggios. To a

bystander the rushes tell the tragic tale of the young Ingalill who, tormented by

those jealous of her, drowns herself.

In “Flickan kom ifrån sin älsklings mote” (The girl came from meeting her

darling), another Runeberg setting, from 1901, roses and raspberries and the

colour red provide the central imagery in a tragic song of loss in which a girl finally

succumbs to her mother’s repeated questioning by revealing the betrayal of her

lover. In a dramatic setting worthy of Schubert, Sibelius marks this turning point

with a pause, then shifts to the parallel minor and portrays the girl’s despair with

heaving gestures in the piano.

Copyright © 2017 Robert Rival. Robert Rival is a composer, music writer & teacher. robertrival.com

32 33


Soile Isokoski, soprano

The sensational Finnish soprano Soile Isokoski has sung

at all the leading opera houses in Europe, including the

Vienna State Opera, La Scala (Milan), and the Deutsche Oper

Berlin. She made her début at the Metropolitan Opera as the

Countess in The Marriage of Figaro in 2002. On that occasion,

the critic of the New York Times wrote, “Ms. Isokoski…

touched on the Countess’ sense of abandonment by the

Count without diminishing her regal bearing or the graceful humour she must

contribute to the second act.”

Soile Isokoski studied at the Sibelius Academy in Helsinki and made her stage

debut with the Finnish National Opera. She has gone on to capture audiences and

critics alike across the world, winning the coveted Pro-Finlandia medal in 2002 in

honour of her notable contribution to Finnish music. Her Festival recital showcases

her artistry in music by some of the greatest of all composers of classical songs –

including, of course, Finland’s supreme musical genius, Jean Sibelius.

Great music

lives here.

BMO is proud to support the 2017 Toronto

Summer Music Festival Celebrating

Canada’s Sesquicentennial.

Martin Katz, piano

One of the world’s busiest collaborators, Mr. Katz has been

in constant demand by the world’s most celebrated vocal

soloists for more than four decades. He has appeared and

recorded regularly with Marilyn Horne, Frederica von Stade,

Samuel Ramey, David Daniels, Piotr Beczala, Jose Carreras,

Kiri Te Kanawa, Kathleen Battle, just to name a few. Season

after season, the world’s musical capitals figure prominently

in his schedule.

A native of Los Angeles, his piano studies began at the age of five. He attended

the University of Southern California and studied accompanying with Gwendolyn

Koldofsky. Conducting now also plays a significant role in his career. He has

partnered several of his soloists on the podium, and has been pleased to conduct

several staged productions for U-M’s Opera Theatre, the Music Academy of the West,

and San Francisco Opera’s prestigious Merola program.


better beans,

better baristas,

best coffee experience

The profile of Martin Katz is completed with his commitment to teaching. Since

1984, he has led the University of Michigan’s program in collaborative piano, and

played an active part in opera productions. He has been a pivotal figure in the

training of countless young artists, both singers and pianists. Mr. Katz is the author

of a comprehensive guide to accompanying, “The Complete Collaborator,” published

by Oxford University Press.


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34 35

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Wednesday, July 19, 2017 at 7:30pm

Church of the Redeemer

James Ehnes, violin

Jonathan Crow, violin

Andrew Wan, violin

Christopher Bagan, harpsichord

TSM Festival Orchestra

Bach: Violin Concerto in A minor, BWV 1041

I. Allegro

II. Andante

III. Allegro assai

Bach: Violin Concerto in D minor, BWV 1052R

I. Allegro

II. Adagio

III. Allegro

Bach: Concerto for Two Violins in D minor, BWV 1043

I. Vivace

II. Largo ma non tanto

III. Allegro

Bach: Concerto for Three Violins in D major, BWV 1064R

I. Allegro

II. Adagio

III. Allegro

This performance will not include an intermission. Please join us for a reception with the

artists following this evening’s performance.

Canadian Single Manual Harpsichord Althea designed, built and prepared by


We sincerely thank Jim and Margaret Fleck for sponsoring this evening’s performance.

Thank you to Jack Whiteside for sponsoring James Ehnes’ performances at the 2017 Festival.

38 39


J.S. Bach (1685-1750)

Bach was an avid student of the music of his contemporaries,

including Vivaldi’s, which he admired a great deal. So much so that

he transcribed 10 concertos by the Venetian master, among them

six from the Op. 3 set, following his 1729 appointment as director of

the Collegium Musicum in Leipzig. Bach very likely composed his own solo violin

concertos, along with the Double Violin Concerto in D minor, for this ensemble,

an association of professional musicians and university students that gave regular

public concerts, completing them in 1730-31.

With accompaniment by strings and continuo, they owe much to the example

set by Vivaldi in his three-movement solo concertos in which tutti ritornellos

alternate with solo episodes. Bach’s imprint may be felt in a number of areas,

notably the elaborate tapestry of counterpoint and in the greater weight given

to the slow movements. Indeed, those in the Violin Concertos in A minor and E

major contain some of the most profoundly melancholic music Bach ever wrote.

Here, the ritornello principle is abandoned, replaced by a continuously evolving,

singing line. The outer movements, meanwhile, are vessels for crisply articulated

energy. Bach may very well have composed these concertos for his two eldest sons,

Wilhelm Friedemann and Carl Philipp Emanuel, to give them music to perform in

concert before they left home. One of the virtues of these concertos is that they are

eminently approachable by intermediate violin students who may thereby come

into contact with great music at a very young age.

Bach’s Double Violin Concerto is derived from two traditions: Vivaldi’s

three-movement solo concerto and Corelli’s multi-soloist concerto grosso that

favoured fugal and canonic elements. The result is a hybrid work of elaborate

counterpoint, rhythmic vitality, and exquisite beauty that the great violinist

Leopold Auer considered “one of the most touching and moving numbers in all

violin literature.”

In the first movement, marked Vivace, the opening orchestral ritornello (21 bars)

is a fugal exposition, the only such first movement in all of Bach’s concertos. The

subsequent tuttis (just two), however, are only four bars long. That leaves a great deal

of space for the two solo episodes. The principal solo motive consists of string-crossing

leaps of a tenth followed by running sixteenth-notes. The second solo episode

recalls material from the first one, but transposed into a new key, a technique that

provides added thematic cohesion. Auer singled out the second movement, Largo

ma non tanto, a gorgeous duet for the soloists, as containing “one of the loveliest of

those melodies which Bach’s genius created as a heritage of beauty for generations

to come.” Sustained notes in the melody soar above both the orchestra’s steady

heartbeat and the other soloist’s weaving lines. The concluding Allegro opens with

a remarkably close-spaced canon between the solo parts (one beat apart). It has

tremendous élan, urged on by pressing triplet passages and imitative echoes in

the orchestra.

In Bach’s day, it was common for

composers to repurpose existing works

by transcribing them for different

performing forces to suit various

occasions and to accommodate whatever

musicians were on hand. Bach’s music,

which frequently draws upon important

Baroque stylistic features, such as a

steady pulse, an anchoring bass line and

a regular rate of harmonic change, lends

itself particularly well to transcription.

Little surprise, then, that he not only

arranged the music of others but also

his own—notably the two solo violin

concertos, as harpsichord concertos.

Several other harpsichord concertos were

themselves transcriptions of now-lost

concertos for melody instruments

(likely involving oboe and violin). These

include BWV 1052 and BWV 1064 (both

c. 1738-9) for one and three harpsichords,

respectively, whose original versions,

for one and three violins, have been

reconstructed. The well-known D minor

concerto (BWV 1052), for which Brahms

wrote a cadenza, begins with its vigorous,


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syncopated ritornello stated entirely in unison, projecting strength that is supported,

in turn, by driving rhythms and long pedals. The slow movement begins and ends

with a haunting theme, again in unison, whose stuttering repeated notes convey

tragedy. The dance-like finale, thanks in part to closely imitated phrases, provides a

genial close to an otherwise darkly shaded concerto.

The reconstructed version of BWV 1064 transposes Bach’s extant manuscript

from C major to D major. It opens with a smiling refrain whose playful, repeated

downward leap of a fourth exudes child-like insouciance. Simplicity in expression

reigns in the Adagio, too, despite certain affinities with the Double Violin Concerto’s

slow movement. The finale maintains the work’s optimism: it favours phrases that

ascend giddily, first in winding eighth-notes, then in quivering triplets, and finally, in

trembling sixteenths.

In 1736, Bach arranged the Double Concerto for two harpsichords and strings, setting

it in C minor (BWV 1062). But he was not the only one to adapt it. Two hundred years

later, in 1940, the choreographer George Balanchine created a ballet on the music

that he called Concerto Barocco; a setting that one critic extolled as a “luminous

example of dance that adds new strands of counterpoint to those that Bach has

already composed”.

Copyright © 2017 Robert Rival. Robert Rival is a composer, music writer & teacher. robertrival.com

40 41


For a biography of James Ehnes, please turn to page 27.

Jonathan Crow, violin

The 2017-2018 season marks Canadian violinist Jonathan

Crow’s seventh season as Concertmaster of the Toronto

Symphony Orchestra. A native of Prince George (British-Columbia),

Jonathan earned his Bachelor of Music in Honours

Performance from McGill University in 1998, at which time

he joined the Montreal Symphony Orchestra as Associate

Principal Second Violin. Between 2002 and 2006, Jonathan

was the Concertmaster of the Montreal Symphony Orchestra, becoming the

youngest concertmaster of a major North American orchestra. Jonathan continues

to perform as guest concertmaster with orchestras around the world, including the

National Arts Centre Orchestra, Pittsburgh Symphony Orchestra, Mahler Chamber

Orchestra, Filarmonia de Lanaudière and Pernambuco Festival Orchestra (Brazil).

Jonathan has performed as a soloist with most major Canadian orchestras including the

Montreal, Toronto, and Vancouver Symphony Orchestras, and the National Arts Centre

and Calgary Philharmonic Orchestras, under the baton of such conductors as Charles

Dutoit, Sir Yehudi Menuhin, Sir Andrew Davis, Peter Oundjian, and Kent Nagano.

Christopher Bagan, harpsichord

Christopher Bagan is a versatile artist, performing widely on

both historical and modern keyboard instruments. He has

appeared with many of the world’s leading baroque singers,

instrumentalists and conductors and is in particular demand

as a specialist in baroque opera, working this season with

the Canadian Opera Company, Opera Atelier, University of

Toronto Opera and the Toronto Masque Theatre. He was a

featured performer in the 2017 Toronto Bach Festival, and is a regular performer

in the Early Music Vancouver Summer Festival. Christopher is the former head of

Harpsichord at the Cleveland Institute of Music and instructor of Early Keyboards

at Case Western Reserve University. He now holds a position at the University of

Toronto, coaching singers in the Schola Cantorum with Daniel Taylor as well as

students in the historical performance area. Christopher holds a Doctor of Musical

Arts in piano performance from the University of British Columbia with a specialization

in the piano music of Arnold Schönberg.

TSM Festival Orchestra

Violin: Alice Hong, Boson Mo, Daisy Rho, Ji Soo Choi, Jisun Lee, Steve Sang Koh, Yeajin Kim,

Young Yoon

Viola: Dmitri Yevstifeev, Ekaterina Manafova, Emily Eng, Jiwon Kim

Cello: Brandon Xu, Jaesung Lim, Joanne Yesol Choi, Nicholas Denton-Protsack, Rebecca Shasberger

An avid chamber musician, Jonathan has performed at many chamber music

festivals in Europe and North America. He is a founding member of the Juno

Award-winning New Orford String Quartet, a new project-based ensemble dedicated

to the promotion of standard and Canadian string quartet repertoire.Jonathan is

currently Associate Professor of Violin at the University of Toronto.

Andrew Wan, violin

Andrew Wan was named concertmaster of the Orchèstre

symphonique de Montréal (OSM) in 2008. As soloist, he has

performed worldwide under conductors such as Vengerov,

Petrenko, Labadie, Rizzi, Oundjian, Stern, and DePreist, and

has appeared in recitals with artists such as the Juilliard

Quartet, Repin, Hamelin, Trifonov, Pressler, Widmann, Ax,

Ehnes, and Shaham. His discography includes Grammy

nominated and Juno award-winning releases on the Onyx, Bridge, and Naxos labels

with the Seattle Chamber Music Society, the Metropolis Ensemble, and the New

Orford String Quartet. In the Fall of 2015, he released a live recording of all three

Saint-Saëns violin concerti with the OSM and Kent Nagano under the Analekta label

to wide critical acclaim, garnering a Prix Opus and an ADISQ nomination. Mr. Wan

graduated from The Juilliard School with three degrees and is currently Assistant

Professor of Violin at the Schulich School of Music at McGill University, Director of

the Soloists of the OSM and Artistic Partner of the Edmonton Symphony.

Andrew Wan performs on a 1744 Michel’Angelo Bergonzi violin, and gratefully

acknowledges its loan from the David Sela Collection.

42 43



Thursday, July 20, 2017 at 7:30pm

Walter Hall



Heather Bambrick, voice

Heather Bambrick is a JUNO-nominated vocalist, voice

actor, and broadcaster. Her solo recordings have earned

her international praise, and her latest – You’ll Never Know

– received a JUNO Award-nomination for 2017 Vocal Jazz

Album of the Year. She’s been a guest vocalist for numerous

recordings in various genres, from Jazz vibraphone legend

Peter Appleyard, to the Caliban Bassoon Quartet. Heather

has performed internationally with Jazz ensembles and has been featured with

the Toronto Symphony Orchestra, the Newfoundland Symphony Orchestra and

the Windsor Symphony Orchestra. She is currently a regular voice on numerous

commercials and Emmy Award-winning animation series such as Wild Kratts and

Daniel Tiger’s Neighborhood. She can also be heard weekly as a host on JAZZ.FM91. A

graduate of the University of Toronto Faculty of Music, Heather has taught at U of T

and Humber College, and works often as an adjudicator at festivals across Canada.

Special guest Heather Bambrick, voice

Mark Fewer, violin

David Braid, piano

Joseph Phillips, bass

We sincerely thank Priscilla Wright for sponsoring this evening’s performance.

Mark Fewer, violin

Known for his exceptional versatility, violinist Mark

Fewer has been described as “genre-bending” (National

Post), “intrepid” (Globe and Mail), “profound” (The

WholeNote) and “freaky good” (The Gazette). His

performance career has seen him tour worldwide in

famous halls such as Wigmore, Carnegie, and Pleyel,

to smaller venues such as Le Poisson Rouge (NY),

Bartok House (Budapest), and The Forum (Taipei). He has been soloist with the

symphony orchestras of Melbourne, San Francisco, Vancouver, Toronto, and

dozens of others. He is a member of the Smithsonian Chamber Players, which

performs and records on priceless decorated Stradivari instruments, and is

currently William Dawson Scholar at the Schulich School of Music of McGill

Universiry. Prior to this appointment he was Artist-in-Residence at Stanford

University where he performed as a member of the St. Lawrence Sting Quartet.

He is a JUNO and Prix Opus winner, and this season was a featured guest with

Stevie Wonder and his band.

David Braid, piano

Hailed in the Canadian press as “one of his country’s true

renaissance men when it comes to music” (The Ottawa

Citizen), and “a jazz genius to call our own” (Maclean’s

Magazine), composer and pianist David Braid is a seven-time

JUNO nominee, and winner of two JUNO Awards for his solo

piano recording, Verge, and ensemble recording, The David

Braid Sextet Live. Braid concertizes his original music and

improvisations in the UK, Scandinavia, Continental Europe, Russia, China, Australia,

the United States, and Canada. He is a Steinway Artist, Composer-in-Residence

for Sinfonia UK Collective, an Artist-in-Residence at the University of Toronto,

and a Research Fellow at the University of Leeds. He is a recipient of two Screen

Awards (formerly Genie Awards) for Musical Achievement, as well as the Ontario

Foundation for the Arts’ prestigious prize: ‘Paul de Hueck and Norman Walford

Career Achievement Award for Keyboard Artistry.’

Joseph Phillips, bass

Joe Phillips is one of Canada’s most versatile double bassists.

He performs with Toronto’s genre-defying Art of Time

Ensemble, reimagines folk traditions learned from field

recordings with banjoist Jayme Stone’s Folklife; struts his

stuff with Payadora Tango Ensemble; performs annually

at Sweetwater Music Weekend with some of the best

chamber musicians in the world; and plays principal bass

in the London Symphonia. Equally at home in a concert hall or at a folk festival,

Joe has appeared as guest principal bass with the National Arts Centre Orchestra,

the Canadian Opera Company Orchestra, has performed at the Celtic Connections

festival in Glasgow, the Winnipeg Folk Festival, and toured Canada with chamber

music supergroup, Octagon. He teaches double bass at Western University. When

not touring, Joe lives in London, Ontario with his partner and their two children.

44 45




an Ontario government agency

un organisme du gouvernement de l’Ontario


Lawrence L. Herman, CHAIR

Robert Beattie, VICE CHAIR

Peter Barton

Alexandra Brown

Mary Louise Dickson

Sandra Forbes

Bryan Graham

Eva Krangle

Dawn Marie Schlegel

Carlo Siccion, TREASURER

Jane W. Smith, SECRETARY

Mai Why

Diana Wiley












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46 47


Honorary Patrons

Don McLean, PhD

Dean, Faculty of Music, University of Toronto

Walter Homburger, C.M.

Alexander Neef

General Director, Canadian Opera Company


Founding Patrons

Peter Oundjian

Music Director, Toronto Symphony Orchestra

Dr. Peter Simon

President, The Royal Conservatory of Music

Jerry and Joan Lozinski, St. Joseph Communications, Philip and Maria Smith

Artistic Director’s Circle

Recognizing founding Artistic Director Agnes Grossmann and the extraordinary service of artists, faculty, staff, and volunteers.

2007 Raffi Armenian, John Swinden

2009 Donald Pounsett (1933-2015)

2010 Anton Kuerti , André Laplante, Menahem Pressler, Janos Starker (1924-2013)

2012 Roberta Albert, Barbara J. Thompson, Charles Pachter

2013 David Beach

2014 Dr. Peter Alberti

2015 Mebbie Black, Rayna Jolley, Adrienne Pollak

2016 John B. Lawson C.M., Jane W. Smith

Silver Creek Circle

PLATINUM ($100,000+)

George & Glenna Fierheller

Jim & Margaret Fleck

The Jackman Foundation,

courtesy of the Reverend

Edward J.R. Jackman

John B. Lawson, C.M.

Joy Levine

Jerry & Joan Lozinski

Metcalf Foundation

Philip & Maria Smith

Stephen & Jane Smith

The Stratton Trust

William & Phyllis Waters

GOLD ($50,000+)

Grant & Alice Burton

Nelson Arthur Hyland Foundation

James Norcop



BMO Financial Group


William and Phyllis Waters

Acknowledging donors for their outstanding cumulative support since 2003

The Estate of James Stewart

Jack Whiteside

Anonymous (1)

SILVER ($15,000+)

Peter & Elizabeth Alberti

Peter & Jocelyn Allen

John & Jenny Balmer

Peter & Leslie Barton

David Beach

Bennett Family Foundation

Lisa Balfour Bowen

The Browning Watt Foundation

Charles H. Ivey Foundation

Beatrice De Montmollin &

Lawrence L. Herman

Mary Louise Dickson

James M. Estes

Agnes Grossmann & Raffi


Jones Collombin

Power Corporation


Beverley Hamblin & Peter Brieger

Nona MacDonald Heaslip

Richard & Donna Holbrook

Denise Ireland &

Harry Underwood

J.P. Bickell Foundation

William & Eva Krangle

Roy & Marjorie Linden

Che Anne Loewen

Wilmot & Judith Matthews

McCarthy Tétrault Foundation

Rowley Mossop & Don Melady

Colleen Sexsmith

Sandra Simpson

Mary Jane Stitt

John & Helen Swinden

Riki Turofsky & Charles Petersen

W. Garfield Weston Foundation

RBC Emerging Artist Project

Remenyi House of Music

TD Financial

Thank You!

The Toronto Summer Music Foundation’s annual donors and foundations are dedicated music enthusiasts who make a

valuable contribution to fostering excellence in performance for emerging professional musicians and creating a music

festival of the highest caliber for Torontonians and their visitors.



Peter & Jocelyn Allen*

George & Glenna Fierheller*

Jim & Margaret Fleck*

The Jackman Foundation,

courtesy of the Reverend

Edward J.R. Jackman*

Nelson Arthur Hyland


John B. Lawson, C.M.

Roy & Marjorie Linden*

Jerry & Joan Lozinski

Metcalf Foundation

Stephen & Jane W. Smith*

The Stratton Trust*

W. Garfield Weston Foundation+

Jack Whiteside*

Anonymous (1)*



John & Jenny Balmer+

Peter & Leslie Barton+*

The Browning Watt Foundation,

courtesy of Roly B. Watt+

Rosemary Clark-Beattie &

Robert Beattie

John Chong+

Beatrice De Montmollin &

Lawrence L. Herman

Mary Louise Dickson+

James M. Estes+

Bryan & Mary Graham+

Hal Jackman Foundation

Beverley Hamblin &

Peter Brieger+

Nona MacDonald Heaslip+

Dianne W. Henderson+

Denise Ireland &

Harry Underwood+

William & Eva Krangle+

Joy Levine*

Anthony Lisanti+

Wilmot & Judith


Brian & Kathleen Metcalfe+

Rowley Mossop &

Don Melady+

Stuart Mutch+, in memory

of Elaine Ling

James Norcop*

Brayton Polka+

Adele Salvagno+

Sandra Simpson+

The Estate of James Stewart+

Clarence & Arija Stiver*

Women’s Musical Club of

Toronto Foundation+



Peter & Elizabeth Alberti+

Chris & Suzanne Armstrong

Darius Bagli

Lisa Balfour Bowen

Heeyun and Robert Brandon

Memorial Fund*

Alexandra Brown & Mark


Margaret Harriette Cameron+

Sara Charney*

Christine Choi*

Judith Gelber*

Nance Gelber &

Dan Bjarnason*

Michael & Sonja Koerner

Esther Lenkinski, in memory

of Jacob & Irene Lenkinski

Lenkinski Family Law

Diane Loeb

Harry & Ann Malcolmson*

Sam Marinucci

Minto Foundation

Roger D. Moore

Simon Nyilassy

Stephen A. Otto

Marcella Pastor

John & Sue Pitfield

Lola Rasminsky &

Bob Presner

Michael & Rosa Remenyi

David & Patricia Rubin

David & Mary Saunders

Philip Somerville

Edward & Jane Stephenson

Francoise Sutton+

John & Helen Swinden,

in honour of David Beach

Lisa & Bill Teskey

McCarthy Tétrault Foundation

Riki Turofsky & Charles


Monique & Christopher


Mai Why & Peter Levitt

Diana Wiley+

Anonymous (1)



Mary Balfour

Richard J. Balfour

Tom Beechy

Natasha Bood &

Stephen Carlini

John & Theresa Caldwell

Carrol Anne Curry

Greg & Susan Guichon

Ben Heppner

William Hewitt

Claudia Krawchuk &

Terence Corcoran

Bill & Janet L’Heureux

Earl & Joan Law

Joy Levine, in honour of

Douglas McNabney

Dr. Vance Logan

John & Maire Percy

Gerry & Nancy McGrath

Steve Munro

Richard Phillips

Margaret Procter

Dawn Marie Schlegel &

Darryl Matthews

Cornelia Schuh &

Michiel Horn

Susanne Tabur

Bruce A. Thomas QC

Roland & Marion Wilk

Morden Yolles

Anonymous (2)



David Barrett

Doug Bodley

Chris Carter

Sidney Clark

John & Catherine Conforzi

Graham Desson

Peter Douchanov

John & Joan Dunn

Emily Eng

Sandra Forbes & Stephen Grant

Ray & Elsie Gaouette

Maralyn Glick

Arthur J. Granatstein

Pinchas & Dorothy Gütter

Ronald Haynes

Peter A. Herrndorf

Jean Hoff

Claire LaVigna

Leanne Children’s Foundation

Sylvia Main

Joanna Manning

Lorna Marsden &

Edward Harvey

Terry & Nina Picton

Marlene Preiss

Marilyn Rinaldo

Miriam Rottapel

Michael & Janet Ryval

Hume Smith

Stephen & Jane W. Smith,

in memory of Rosabel Levitt

Joseph So

Ross Tucker

Irene Van Cauwenberghe

Lenore Walters

Lori Walters &

Roald Nasgaard

Fredrick Weinstein

Meg Wilson

Stanley Witkin

Douglas Woodger

Kalman & Catherine


Anonymous (1)

Anonymous, in memory

of Laurent Weiss


Roberta Albert

Neville Austin

Lezlie Bain

Earl & Elizabeth Barnsley

Anthony & Joan Barton

Jake Barton

Julia Bass & David Hamilton

Diana Baxter

Allan & Freda Brender

Janet Bumstead

Susan Callaghan

Audrey Caza

Brian Clarke

Amy Colson

John Cummings

Maureen Curran

Katherine Dalziel

Anne Day

Patricia Dinnie

Andrea Diplock

Donald & Margaret Donahue

Steven D. Donohoe

Marion Dorosh

Janet Douglas

Barry Edwards

Diane English & Rick Philips

Cheryl Belkin Epstein &

Dr. Seymour Epstein

Ann Evans

Colin Evans

Gino & Jane Falconi

Ilijas Farah

Cherril Ferguson

Tim & Carol Fourie

John & Jan Bailey

Bruce & Grace Galler

Gordon & Ena Garmaise

Pierre & Soheir Gharghouri

Marie Gharghoury

Isabelle Gibb

Ann Gibson

Jeanette Goldman,

in honour of Ivan Goldman

Harvey & Ryan

Heather Hayman

Terry Hemingway

Peter & Verity Hobbs

Joan Hodges & Dominick


Frances Hogg

Sally Holton

Phillip Alexander Jang

Norma H. Jansson

Don & Susan Johnston

Rayna Jolley

Jean Jones

Giuliana Katz

Pauline Konviser

William & Eva Krangle,

in honour of Peter Becher

William & Eva Krangle,

in memory of Elaine Ling

William & Eva Krangle,

in memory of Kathy Manace

Dr. S. H. Lathe

Jos L. Lennards

David TW Leung

Edward & Myrna Levy

Edward & Myrna Levy, in

memory of Marcia Wiseman

Jane Liu

48 49

George M. Logan

Janet MacInnis

Robert & Lynn MacIntosh

Lesley Maciver

Juleen Marchant

Helene Massam &

Gerard Letac

Edwin May

Wendy McDonald

Linda McFarlane

Lois McRae

Jane McWhinney

Lynda Moon

Massoumeh Mozaffari

Marilynn Murphy

Olimpia Nicolcev

Jean O’Grady

John & Winnie Osborne

David Palmer

Carol Percy

Judith Poe

Harold Povilaitis

Chris Pryde

Brian & Rochelle


Susan Rae

Special Thanks

Julia Bass

Elizabeth Black

Nicole Black

Rob Bril

Eli Clarke

Anthony D’Alessandro

Mary Ann Griffin

Yara Jakymiw

Robin Roger

Ann Rosenfield,

in honour of Eli Clarke

Ramesh Rouhani

Charlotte & Jerome Ryan

Harriet Sakuma

Annie & Ian Sale

David Sandler

Catherine Sandrasagra

Mark & Mary Satterthwaite

David & Mary Saunders,

in memory of

Robert Charles Evans

David & Mary Saunders,

in memory of John

O’Keefe Maxwell

Fred & Beverly Schaeffer

Valerie Schweitzer &

Christopher Reed

Iain & Barbara Scott

Judy Simmonds

Robert Simpson

Gary Smith

Warren Sorensen,

in memory of Gregory


Rayna Jolley

Eddie Kastrau

Stephanie Kallay

Joe Lesniak

Karen Lorenowicz

Jennifer Mak

James Norcop

Marlene Murphy

Patricia Stone

Howard & Susan


Brian Taylor

Barbara Tessman

Anna Tharyan

Nancy Thornton

Mary Tierney & Herb


Gerald L. Timmins

Brenda Touzot

Philip Underwood

Val & John

Fern Valin & Gary Cwitco

Carol Vine

Lyse Ward

Wilbert Ward

Marg Watson

Barbara Wehrmann

James & Nancy Westcott

Eleanor Wittlin

Sandra Wozniak

Susan Wyatt

Anonymous (15)

Anonymous, in memory

of Dianne Knight

Patricia McKinna

Douglas McNabney

Sanjay Parker

Bramwell Pemberton

David Perlman

Incredible Printing

Julia Rottapel

Edie Shore






Julia Beck & Family

Fay Beresford

Francis Glynne-Jones

Karen Rice &

Douglas Ludwig

David & Mary Saunders

Lucia Simons

Stephen & Jane W. Smith






Elaine Ng

Lorna Rosenstein

Frank & Anne Zinatelli

TSM Donors have directed their gifts in the following ways: * Mainstage Concert Sponsor + Academy Fellowship Sponsor

This list reflects donations received from July 21, 2016 to July 4, 2017. Despite efforts to avoid errors and omissions, mistakes can occur. Please notify us of any errors at

647-430-5699. Toronto Summer Music Foundation is a registered Charitable Organization, Revenue Canada.

Jane W. Smith

Stephen Smith

Michael Tong, Sublime


Catherine Willshire

Yonge Bloor Bay Business


The York Club
















Interprovincial Music Camp (IMC) provides young

Canadian musicians with exceptional musical

training and unforgettable summer camp

experiences that last a lifetime. Participants will

improve their musical abilities, develop friendships,

and forge a life-long love of the performing arts.

Reception Hosts

Darius Bagli

Canadian Music Centre

Beatrice De Montmollin &

Lawrence L. Herman

Mary Louise Dickson

Joy Levine

Rowley Mossop & Don Melady

Stephen & Jane W. Smith

Billet Hosts

Darius Bagli

Peter & Leslie Barton

Rosemary Clark-Beattie & Robert Beattie

Barbara Casson

Beatrice De Montmollin &

Lawrence L. Herman

Neil & Nina Kilgour

Amy Turner & Paddy Harrington

Jos Lennards

Joy Levine

Rowley Mossop & Don Melady

Ulrich Menzefricke

Brian & Kathleen Metcalfe

Ellen Richardson & Bruce Little

Jerome & Charlotte Ryan

Wilma Spence

Gerald Sperling & Maggie Siggins

Edward & Jane Stephenson


Two sessions available

August 20 - August 25

August 26 - September 3



Maral Att

Patricia Baker

Realiza Becaro

Reanna Becaro

Mebbie Black

Norah Bolton

Lillian Bruno

Lori Campbell

Victor Chelliah

Ken Chen

Bruce Chown

Priscilla Chong

Marja Cope

Yolanda Croney

Karen Dorn

Susan Evans

Corinne Farber

Viginia Gies

Judy Gombita

Leo Hekim

Alvin Ho

Vicky Huang

Daria Ilkina

Helen Ing

Norma Jacobson

Juli Jiang

Rayna Jolley

Etienne Kaplan

Camille Kean

Lindy King

Stephanie Matiz

Mya Mitchell

Chantelle Moennick

Lynda Moon

Melissa Nguyen

Trisha Nguyen

Marielly Nodora

Jean-Francois Sauger

Judith Seifer

Katy Seo

Edie Shore

Mariana Strugarova

Rosalie Sussman

Nancy Thorton

Kyoko Tiessen

Pona Tran

Maria Wu

PRIVACY POLICY: Your contact information will be used solely to provide you with your tickets and to keep you informed of other Toronto Summer Music Festival events

and fundraising opportunities. If you wish to be removed from our list, simply contact us by email at info@torontosummermusic.com or phone at 647-430-5699.

For more information


Music changes lives...

Find out how you can change a child’s life

by going to www.campimc.ca

IMC is a non-profit registered charitable foundation

from Minor

to Major,

we Celebrate.

Blakes is proud to celebrate Canada’s composers and musicians at

the Toronto Summer Music Festival 2017.

Blake, Cassels & Graydon LLP | blakes.com

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