MAGAZINE OF THE VANCOUVER SYMPHONY MAY 2 – …€¦ · MAGAZINE OF THE VANCOUVER SYMPHONY MAY 2...

Yevgeny Sudbin plays Mozart

Jeffrey Kahaneconducts and performs at the Chan Centre

Bramwell Toveypremieres the concert versionof his opera, The Inventor

allegroMAGAZINE OF THE VANCOUVER SYMPHONY

MAY 2 – JUNE 11, 2012 – VOLUME 17 – ISSUE 5

Last Night of the Proms!Maestro Tovey, Sarah Fryer, the VSO and

the Vancouver Bach Choir

Jan LisieckiOne of Canada’s top young pianists

makes his VSO debut

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first violinsDale Barltrop, ConcertmasterJoan Blackman, Associate ConcertmasterJennie Press, Second Assistant ConcertmasterRobin BraunMary Sokol BrownMrs. Cheng Koon Lee Chair

Jenny EssersJason Ho Akira Nagai, Associate Concertmaster EmeritusXue Feng WeiRebecca WhitlingYi Zhou Angela Cavadas ◊Nancy DiNovo ◊Ruth Schipizky ◊

second violinsBrent Akins, Principal §Nicholas Wright, Principal ∆ Karen Gerbrecht, Associate Principal Jim and Edith le Nobel Chair

Jeanette Bernal-Singh, Assistant PrincipalAdrian Shu-On ChuiDaniel NortonAnn OkagaitoAshley PlautDeAnne Eisch ◊Erin James ◊Pamela Marks ◊

violasNeil Miskey, Principal Andrew Brown, Associate PrincipalStephen Wilkes, Assistant PrincipalLawrence BlackmanEstelle & Michael Jacobson Chair

Angela SchneiderProfessors Mr. and Mrs. Ngou Kang Chair

Ian WenhamChi Ng ◊Reginald Quiring ◊Marcus Takizawa ◊

cellosPrincipal CelloNezhat and Hassan Khosrowshahi Chair

Janet Steinberg, Associate PrincipalZoltan Rozsnyai, Assistant PrincipalOlivia Blander Natasha BoykoMary & Gordon Christopher Chair

Joseph ElworthyCharles InkmanCristian Markos

bassesDylan Palmer, Principal Chang-Min Lee, Associate PrincipalDavid BrownJ. Warren LongFrederick SchipizkyChristopher Light ◊

flutesChristie Reside, Principal Nadia Kyne, Assistant Principal Rosanne WieringaMichael & Estelle Jacobson Chair

piccoloNadia KyneHermann & Erika Stölting Chair

oboesRoger Cole, PrincipalWayne and Leslie Ann Ingram Chair

Beth Orson, Assistant PrincipalKarin WalshPaul Moritz Chair

english hornBeth OrsonChair in Memory of John S. Hodge

clarinetsJeanette Jonquil, Principal Cris Inguanti, Assistant Principal Todd Cope

e-flat clarinetTodd Cope

bass clarinetCris Inguanti

bassoonsJulia Lockhart, PrincipalSophie Dansereau, Assistant Principal Gwen Seaton

contrabassoonSophie Dansereau

french hornsOliver de Clercq, PrincipalBenjamin Kinsman Werner & Helga Höing Chair

David Haskins, Associate PrincipalFourth HornWinslow & Betsy Bennett Chair

Richard Mingus, Assistant Principal

trumpetsLarry Knopp, Principal Marcus Goddard, Associate PrincipalVincent Vohradsky W. Neil Harcourt in memory of Frank N. Harcourt Chair

trombonesEloy Panizo Padron, Acting PrincipalGregory A. Cox

bass tromboneDouglas Sparkes §Arthur H. Willms Family Chair

Andrew Poirier ∆

tubaEllis Wean, Principal §Peder MacLellan, Principal ∆

timpaniAaron McDonald, Principal

percussionVern Griffiths, PrincipalMartha Lou Henley Chair

Tony Phillipps

harpElizabeth Volpé, PrincipalHeidi Krutzen ◊

piano, celesteLinda Lee Thomas, PrincipalCarter (Family) Deux Mille Foundation Chair

orchestra personnel managerDeAnne Eisch

music librarianMinella F. LacsonRon & Ardelle Cliff Chair

master carpenter Pierre Boyard

master electricianLeonard Lummis

piano technicianThomas Clarke

*Supported by The Canada Council for the Arts

§ Leave of Absence ∆ One-year Position◊ Extra Musician

vancouver symphony orchestra

BRAMWELL TOVEY MUSIC DIRECTORKAZUYOSHI AKIYAMA CONDUCTOR LAUREATE

JEFF TYZIK PRINCIPAL POPS CONDUCTOR

PIERRE SIMARd ASSISTANT CONDUCTORMarsha & George Taylor Chair

EdWARd TOP COMPOSER-IN-RESIDENCE

*

*

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C O N C E R T S

9 MAY 2 Specials Chris Botti with the VSO Pierre Simard conductor Chris Botti trumpet

13 MAY 5, 7 Goldcorp Masterworks Gold Christoph Koenig conductor Jan Vogler cello

17 MAY 10 Pacific Arbour Tea & Trumpets Bach and Handel: Baroque Masters Pierre Simard conductor Christopher Gaze host Christie Reside flute Rosanne Wieringa flute

21 MAY 11, 12 London Drugs VSO Pops Essential Brass with Allen Vizzutti Jeff Tyzik conductor Allen Vizzutti trumpet

24 MAY 13 Spectra Energy Kids’ Koncerts Platypus Theatre: Emily Saves the Orchestra Pierre Simard conductor Platypus Theatre entertainers

28 MAY 18, 19 Bach & Beyond Jeffrey Kahane conductor/piano

35 MAY 19 Vancouver Sun Symphony at the Annex Sentimental Geometry Pierre Simard conductor

39 MAY 26, 27, 28 Masterworks Diamond Rogers Group Financial Symphony Sundays Kazuyoshi Akiyama conductor Yevgeny Sudbin piano

45 MAY 30 Specials Last Night of the Proms Bramwell Tovey conductor Vancouver Bach Choir Sarah Fryer mezzo-soprano

50 JUNE 2, 4 Goldcorp Masterworks Gold Bramwell Tovey conductor Jan Lisiecki piano

55 JUNE 9, 11 Masterworks Silver The Inventor Bramwell Tovey conductor Erin Wall soprano Laura Whalen soprano Judith Forst mezzo-soprano Roger Honeywell tenor James Westman baritone Phillip Ens bass UBC Opera Ensemble

allegroMAGAZINE OF THE VANCOUVER SYMPHONY

MAY 2 – JUNE 11, 2012 – VOLUME 17 – ISSUE 5

A SER IES FOR EVERY TASTECLASS ICS MA ST E RWO R KS G O L D / MA ST E RWO R KS D I AM O N D / MA ST E RWO R KS S I LV E R ON A L IGHTER NOTE M U S I CA L LY S P EA K I N G / BAC H & B EYO N D VSO POPS MATINEES TEA & TRUMPETS / SYMPHONY SU N DAYS ROAd TR IPS SYM P H O NY AT T H E A N N EX / N O RT H S H O R E C L A S S I C S / S U R R EY N I G H TS K I d S RULE! TI NY TOTS / KI DS’ KONC ERTS SPEC IALS

9 CHRIS BOTTI

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We welcome your comments on this magazine. Please forward them to: Vancouver Symphony, 500 – 833 Seymour Street, Vancouver, BC V6B 0G4 Allegro contact and advertising enquiries: [email protected] / customer service: 604.876.3434 / VSO office: 604.684.9100 / website: www.vancouversymphony.ca Allegro staff: published by The Vancouver Symphony Society / editor / publisher: Anna Gove / contributors: Don Anderson, Sophia Vincent / art direction, design & production: basic elements design Pass it on: It’s the right thing to do! Please feel free to bring your Allegro Magazine home at the end of the concert. If you do not wish to keep it, please return it to an usher. Printed in Canada by Web

Impressions. All rights reserved. Reproduction in whole or in part without written consent is prohibited. Contents copyrighted by the Vancouver Symphony, with the exception of material written by contributors. Allegro Magazine has been endowed by a generous gift from Adera Development Corporation.

I N T H I S I S S U E 2 vso lottery 3 the orchestra 5 allegro staff list 6 government support 7 message from the Chairman and the President & CEO 11 vso friends campaign 32 vso lovers’ ball 36 vso online ordering 43 vancouver symphony foundation 49 patrons’ circle 53 advertise in allegro 59 vso school of music 60 corporate partners 62 at the concert / vso staff list 63 board of directors / volunteer council

21 ALLEN VIZZUTTI

13 JAN VOgLER

24 PLATYPUS THEATRE

45 VANCOUVER BACH CHOIR

39 YEVgENY SUDBIN

Thank you!

The Vancouver Symphony Society is grateful to the Government of Canada and the Canada Council for the Arts,Province of British Columbia and the BC Arts Council,and the City of Vancouver for their ongoing support.

The combined investment in the VSO by the three levels of government annually funds over 29% of the cost of the orchestra’s extensive programs and activities.

This vital investment enables the Vancouver Symphony Orchestra to present over 140 life-enriching concerts in 12 diverse venues throughout the Lower Mainland, attract some of the world’s best musicians to live and work in our community, produce Grammy® and Juno® award-winning recordings, participate in numerous CBC Radio broadcasts – bringing the sounds of the VSO to listeners across the country – and, through our renowned educational programs, touch the lives of over 50,000 children annually.

The Vancouver Symphony Society is grateful to the Government of Canada and the Canada Council for the Arts,Province of British Columbia and the BC Arts Council,and the City of Vancouver for their ongoing support.

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M E S S A G E F R O M

vso chairman and vso president & CEO

ARTHUR H. WILLMS

JEFF ALEXANDER

Dear Friends,

In the concluding weeks of the 2011/2012 season we will be treated to many wonderful performances, and welcome several renowned artists to VSO concerts performed in the Orpheum Theatre, Chan Centre for the Performing Arts at UBC and Orpheum Annex.

This has been, and continues to be a very successful season for the Vancouver Symphony Orchestra, thanks to the support of our loyal subscribers, single-ticket buyers, donors, sponsors and government funders. On behalf of Maestro Tovey, the musicians, Board of directors, volunteers and administrative staff, we express our sincere appreciation to you.

We also thank those who have made a commitment to the VSO this year by organizing, donating to or attending the 22nd annual Symphony Lovers’ Ball. The Ball took place on February 23rd and was a triumph, raising close to $800,000 in support of the orchestra’s activities. We invite you to read pages 32 & 33 of this issue of Allegro and join us in thanking our extraordinary Symphony Lovers’ Ball Committee, donors and sponsors.

The Vancouver Symphony Orchestra is a cultural institution of which we can all be proud. For over ninety years it has been the cornerstone of the performing arts scene in our city and region. We are pleased to be a part of the very rich cultural fabric that makes up our community, and to annually offer over one hundred and

forty exciting concerts to a wide and diverse audience, and are proud of our extensive educational programs that touch the lives of over 50,000 children.

If you have not yet subscribed to the 2012/2013 season we invite you to do so. Subscribers receive significant discounts and numerous other benefits throughout the year, and you do not have to worry about missing a note, because your subscription tickets are easily exchanged if you have a schedule conflict.

Copies of the new season brochure are available in the lobby. Once you have selected your concerts, or if you have any questions, feel free to call our customer service representatives at 604.876.3434 to select your seats, or visit us online at vancouversymphony.ca.

Thank you once again for your support, and please enjoy today’s concert!

Sincerely yours,

Arthur H. Willms Chair, Board of Directors

Jeff Alexander President & Chief Executive Officer

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CHRIS BOTTI

JON KIMURA PARKERwednesday, may 2

SpEC ialS / OR pH EUM TH EaTR E, 8pM

VISIT THE SYMPHONY GIFT SHOP FOR CD SELECTIONS

CONCERT PROGRAM

Chris Botti trumpet Billy Childs pianoPierre Simard conductor Robert Hurst bassBilly Kilson drums Lisa Fischer vocals Mark Whitfield guitar Caroline Campbell violin

Chris Botti with the VSOSELECTIONS INCLUDE:

BOTTI / PARKS VeniceHEYMAN / YOUNG When I Fall in Love CHOPIN Prelude in C minorBACHARACH The Look of LoveKELLY You Are Not Alone

COLOMBIER Emmanuel

INTERM ISS ION

ROdRIGO Concierto de Aranjuez NOBLE The Very Thought of You BOTTI / FOSTER Italia MORRICONE Cinema Paradiso GOLdENBERG Indian SummerPUCCINI Nessun dormaHART My Funny Valentine

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Pierre Simard conductor

This is Pierre Simard’s second season as Assistant Conductor of the Vancouver Symphony Orchestra. He is also Artistic Director of both the Vancouver Island Symphony (BC) and the Orchestre Symphonique de Drummondville (QC). Having served as Associate Conductor with the Calgary Philharmonic Orchestra, he also performs as guest conductor with major orchestras in Milwaukee, Toronto, Ottawa (National Arts Centre), Victoria, Hamilton, Okanagan, Hot Springs (AR), Trois-Rivières, Québec’s Les Violons du Roy and Montreal’s Orchestre Métropolitain. Pierre Simard was awarded the Canada Council’s Jean-Marie Beaudet Award in Conducting, recognizing his work on a national scale. He is also grantee of the Québec Music Council, the Québec Arts Council and the Montreal Mayor’s Foundation.

A passionate defender of orchestral repertoire, Pierre Simard devotes himself

to reinventing the concert form, combining his fresh ideas, fantasy and humour with music. Holder of a Master’s Degree in Conducting from the Peabody Institute and five Conservatory Prizes from the Conservatoire de musique de Montréal, Pierre Simard studied with Raffi Armenian, Frederik Prausnitz, JoAnn Falletta and Marin Alsop.

The VSO’s Assistant Conductor position is made possible with the support of the Canada Council for the Arts.

Chris Botti trumpet

Since the release of his 2004 critically acclaimed CD When I Fall In Love, Chris Botti (pronounced boat-tee) has become the largest selling American instrumental artist. His success has crossed over to audiences usually reserved for pop music and his ongoing association with PBS has led to four Number One Jazz Albums, as well as multiple Gold, Platinum & Grammy Awards.

Over the past three decades, he has recorded and performed with the best in music; including Frank Sinatra, Sting, Josh Groban, Michael Bublé, Paul Simon, Joni Mitchell, John Mayer, Andrea Bocelli, Joshua Bell and Aerosmith’s own Steven Tyler.

Hitting the road for 250 plus days per year, Chris and his incredible band have performed with many of the finest symphonies, at some of the world’s most prestigious venues, including performances at the World Series and Nobel Peace Prize Ceremony. ■

PIERRE SIMARd

Specially selected CDs including classics and current best-sellers. Unique giftware, books and musically themed items.

Open 1 hour prior to concert, during intermission & post concert.

Your purchases support the Vso. Staffed by VSO Volunteers.

VSO Gift ShopVISIT US IN THE ORPHEUM LOBBY ON THE ORCHESTRA LEVEL

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saturday & monday, may 5, 7GOlDCOR p MaSTERWOR KS GOlD / OR pH EUM TH EaTR E, 8pM

◆

Christoph Koenig conductorJan Vogler cello

WEBER Der Freischütz: Overture

dVORáK Cello Concerto in B minor, Op. 104 I. Allegro II. Adagio, ma non troppo III. Finale: Allegro moderato

IN TERM ISS ION

BRAHMS Symphony No. 2 in D Major, Op. 73 I. Allegro non troppo II. Adagio non troppo III. Allegretto grazioso (Quasi Andantino) IV. Allegro con spirito

PRE-CONCERT TALKS free to ticketholders at 7:05pm.


◆

MASTERWORKS GOLD SERIES SPONSOR

RADIO SPONSOR

CONCERT PROGRAM

JAN VOGLER

CHRISTOPH KOENIG

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Christoph Koenig conductorChristoph Koenig is a conductor of deep intelligence and musicality. His conducting is marked by an energetic and serious approach to musical collaboration and a commitment to thoughtful and stimulating programming. He currently holds positions as Principal Conductor of the Orquestra Sinfónica do Porto Casa da Música (2009–14) and Music Director of the Solistes Européens Luxembourg. In Porto he conducted a Mahler cycle, which included a performance of Symphony No. 1 at the Vienna Konzerthaus last season. Following Vienna, his tours with the orchestra included Brazil (July 2011) and northern Europe (October 2011).

Koenig was born in Dresden, where he sang in the celebrated Dresdner Kreuzchor. He studied conducting, piano and singing at the Dresdner Musikhochschule. His early work as a conductor took him to masterclasses given by, amongst others, Sergiu Celibidache, and Sir Colin Davis by whom he was invited to work as assistant conductor for both concerts and opera productions with the Sächsische Staatskapelle Dresden. He began his professional career as Erster Kapellmeister in Wuppertal/Gelsenkirchen.

Jan Vogler cello

A cello prodigy at age six, Jan first studied with his father Peter Vogler and subsequently with Josef Schwab in Berlin, Heinrich Schiff and Siegfried Palm. At the age of twenty, he won the principal cello position of the Staatskapelle Dresden and became the youngest concertmaster in the history of this orchestra. However, his dream of a solo career gradually became reality and he left his position in Dresden in 1997. That same year, certain that the roots of old European music-making were to be found in America, he moved to New York, where he has remained. He has won the Echo-Award twice (German equivalent of the Grammies) and the 2006 European Cultural Award.

The modern representative of the German cello tradition which goes back to Emanuel Feuermann and Julius Klengel, Jan shares

his time between Dresden, Germany and New York City, combining the roots of his traditional musical education with a contemporary style of interpretation.

Jan Vogler is the General Director of the Dresden Musikfestspiele and founder and Artistic Director of the Moritzburg Chamber Music Festival.

Jan Vogler plays the Domenico Montagnana cello ‘Ex-Hekking’ made in Venice in 1721.

Carl Maria von Weber b. Eutin, Germany / November 18, 1786 d. London, England / June 5, 1826

der Freischütz: OvertureOne of the most important early figures of the Romantic era, Weber filled his music with more colour, atmosphere, brilliance and fantasy than virtually anyone before him. In 1817, he moved to Dresden to take up the post of Royal Saxon Kapellmeister. Despite a busy conducting schedule, he still found time for composition, including the opera Der Freischütz (The Free Shot, 1821).

His superb score, plus Friedrich Kind’s outstanding libretto, would have been enough to ensure a warm reception. The fact that both were grounded in specifically German sources (folk song and folk legend) gave it an added dimension of patriotic appeal. The marvellous overture is based on themes from the opera and summarizes the fairy tale plot. In it may be heard echoes of the setting in the German forest; the sinister workings of evil spirits; the warmth of young love; and the triumph of light over darkness.

Antonín Dvorák b. Nelahozeves, Bohemia / September 8, 1841 d. Prague, Bohemia / May 1, 1904

Cello Concerto in B minor, Op. 104This greatest of all cello concertos was the final piece that Dvorák composed during his three-year term as Director of the National Conservatory of Music in New York. The premiere took place in London on March 16, 1896, with the composer conducting and Leo Stern as soloist.

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Three decades before, Dvorák had been in love with Josephina Cermáková, an aspiring sixteen-year-old actress to whom he gave piano lessons. Even though she rejected his romantic advances, he retained a powerful affection for her. He married her younger sister, Anna, perhaps because he considered her the closest substitute he could find.

While he was composing the second movement of this concerto, a letter from Josephina revealed that she was gravely ill. In her honour, he wove into the second movement a quotation from one of his songs, Leave Me Alone in My Fond Dream, which was a particular favourite of hers. She died in May 1895, one month after he resettled in Europe. A few weeks later, he revised the final pages of the concerto’s finale to include a second quotation from the song, this time as a memorial tribute.

The first theme of the opening movement – sombre, almost funereal – soon bursts forth into forceful expressiveness. Solo horn introduces the second theme. Dvorák said that it had cost him a great deal of effort, but that it moved him profoundly every time he heard it. Passing through much drama, the movement concludes with ringing fanfares. The slow second movement opens with a warm, tranquil theme introduced by the woodwinds. Dvorák gives the middle section a powerful launch, then takes up a soaring melody from Josephina’s favourite song. A quasi-cadenza for the soloist, with light accompaniment, precedes a return to the opening subject and a peaceful, contented coda. Strong contrasts characterize the finale, from the stern opening theme in march rhythm, through a wistful subject strongly inflected with the spirit of Czech folk music, to an expansive, elegiac reverie where themes from the previous movements reappear briefly. The concerto concludes on an exultant note.

Johannes Brahms b. Hamburg, Germany / May 7, 1833 d. Vienna, Austria / April 3, 1897

Symphony No. 2 in d Major, Op. 73 Brahms sat on a panel that awarded

monetary grants to promising but impoverished young musicians. That’s how he got to know Dvorák, whose cause he promoted vigorously, and whose mutually inspiring friendship he enjoyed for the remainder of his life.

In 1876, the successful premiere of his first symphony dispelled the enormous anxiety he had felt over his ability to follow in Beethoven’s footsteps as a great composer in that medium. He heaved a huge sigh of relief and wasted little time in composing a second symphony. Comfortably settled in the lakeside Alpine resort of Pörtschach, he wrote Symphony No. 2 during the summer of 1877. Its genial personality reflects not only his contented, optimistic state of mind, but the green, sunny, spectacularly beautiful location where he composed it. The first performance took place in Vienna under Hans Richter on December 30, 1877.

After a brief, quiet introduction featuring the horns, the violins introduce the first movement’s pastoral opening subject. Soon afterwards, violas and cellos give out the gently dancing second theme, first cousin to his familiar Lullaby. Brahms proceeds to concentrate on the opening idea, with touches of drama and stress making themselves felt from time to time. But the return of the second subject returns warmth and tranquility to the music.

The slow second movement opens with a melancholy, hymnlike theme on the cellos. A central episode brings agitation, but it passes, ushering in a peaceful conclusion. The following section sparkles with delightful Viennese charm. It has its shared of unforced ingenuity, too: the two rapid central episodes are transformations of the opening theme. The finale begins quietly, but soon bursts forth into joyful animation. A solemn, almost hymn-like theme appears in the violins and violas. Brahms brings it back, transfigured into a majestic peal of triumph, to close the symphony. ■

Program Notes © 2012 Don Anderson

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CHRISTIE RESIdE

CHRISTOPHER GAZE

ROSANNE WIERINGA


thursday, may 10paC i FiC aR BOU R TEa & TRUMpETS / OR pH EUM TH EaTR E, 2pM

TEA & TRUMPETS SERIES SPONSOR

CONCERT PROGRAM

Pierre Simard conductorChristopher gaze hostChristie Reside fluteRosanne Wieringa flute

Bach and Handel: Baroque MastersHANdEL Solomon: Entrance of the Queen of Sheba

VIVALdI Concerto for Two Flutes in C Major, R. 533

JS BACH Suite No. 1 in C Major, BWV 1066

PURCELL/SIMARd Dido and Aeneas: Overture and Dido’s Lament

HANdELWater Music: Suite

TEA & COOKIES Don’t miss tea and cookies served in the lobby one hour before each concert, compliments of Tetley Tea and LU Biscuits.

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For a biography of Pierre Simard, please refer to page 10.

Christopher Gaze host

Best known as Artistic Director of Vancouver’s Bard on the Beach Shakespeare Festival, Christopher Gaze has performed in England, the USA and across Canada. Born in England, he trained at the Bristol Old Vic Theatre School before coming to Canada in 1975 where he spent three seasons at the Shaw Festival. He moved to Vancouver in 1983 and in 1990 founded Bard on the Beach which he has since nurtured to one of the most successful not-for-profit arts organizations in North America, with attendance exceeding 91,000. In addition to performing and directing for Bard, Christopher’s voice is heard regularly in cartoon series, commercials and on the radio. Aside from Tea & Trumpets, he also hosts Vancouver Symphony’s popular Christmas concerts.

As an Olympic ambassador, Christopher was honoured to run with the Olympic flame for the 2010 Games. A gifted public speaker, Christopher frequently shares his insights on Shakespeare and theatre with students, service organizations and businesses.

Christie Reside flute

Christie Reside began studying flute with both of her parents at the age of six. Since then, she has been an active participant in numerous competitions, winning the National Music Festival of Canada, and placing second at the Tunbridge Wells International Young

Concert Artists Competition. She has been invited to participate in numerous festivals around the world, including the Spoleto Music Festival, and the Mountain View International Festival of Song and Chamber Music. An enthusiastic chamber musician, Ms. Reside has collaborated with artists such as Rudolf Jansen, Olivier Thouin, Yegor Dyachkov, and Lise Daoust. She has also appeared as a soloist with the Montreal Symphony Orchestra, l’Orchestre Symphonique de Quebec, the Calgary Philharmonic Orchestra, and the Vancouver Symphony Orchestra, among others. Ms. Reside is currently the Principal Flute of the Vancouver Symphony Orchestra and is grateful to the Canada Council of the Arts for their generous support of her career.

Rosanne Wieringa flute

Flutist Rosanne Wieringa joined the Vancouver Symphony Orchestra in 2004 and is currently enjoying her fourth season as Second Flute with the orchestra. Before moving to Vancouver, Rosanne lived in Saskatchewan where she was the Principal Flute with the Regina Symphony Orchestra and taught at the Conservatory of Performing Arts and the University of Regina.

Born in Markdale, Ontario, Rosanne received her formal training at the University of Toronto, the Glenn Gould Professional School, and the New England Conservatory of Music in Boston. Her teachers have included Nora Shulman of the Toronto Symphony, Jeanne Baxtresser of the New York Philharmonic, and Kathleen Rudolph, former Associate Principal Flute and Piccolo with the VSO.

An active solo and chamber musician, Rosanne has appeared as a soloist with the the Regina Symphony, the Georgian Bay Symphony and most recently, with the Vancouver Symphony. This past year she joined the Vancouver-based Admare Wind Quintet, and has participated in the Gros Morne Summer Music Festival and the Sweetwater Music Festival in Owen Sound, Ontario. Rosanne enjoys teaching students of all ages. She maintains a private studio and is involved with the Vancouver Symphony Education program, VSO Connects. ■

CHRISTOPHER GAZEPIERRE SIMARD

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ALLEN VIZZUTTIJEFF TYZIK

Jeff Tyzik conductorAllen Vizzutti trumpet

Essential Brass with Allen Vizzutti

COPLANd Fanfare for the Common Man

ARNAUd Bugler’s Dream

WILLIAMS Olympic Spirit

VIZZUTTI Aventura Española

PIAZZOLLA/ARR. dELANEY Milonga Del Angel

VIZZUTTI Luciernaga

PIAZZOLLA/ARR. VIZZUTTI Oblivion

MENdEZ/ARR. VIZZUTTI La Virgin de la Macarena

friday & saturday, may 11, 12lON DON DRUGS VSO pOpS / OR pH EUM TH EaTR E, 8pM

VSO POPS RADIO SPONSOR


VSO POPS SERIES SPONSOR

CONCERT PROGRAM

INTERMISS ION

HANdY/ARR. TYZIK St. Louis Blues

VIZZUTTI Glide

VIZZUTTI Touch

VIZZUTTI Azure Cool

TRAd./ARR. TYZIK Basin Street Blues/Way Down Yonder In New Orleans

STAIGERS/ARR. VIZZUTTI The Carnival of Venice

Jeff Tyzik conductor

Grammy® Award winner Jeff Tyzik is recognized as one of America’s most innovative pops conductors. Tyzik is known for his brilliant arrangements, original programming, and engaging rapport with audiences of all ages. Now in his 17th season as Principal Pops Conductor of the Rochester Philharmonic Orchestra, Tyzik also currently serves as Principal Pops Conductor of the Oregon Symphony and the Vancouver Symphony Orchestra.

A native of Hyde Park, New York, Tyzik began his life in music at nine years of age, when he first picked up a cornet. He studied both classical and jazz throughout high school, and went on to earn both his bachelor’s and master’s degrees from the Eastman School of Music, where he studied composition/arranging with Radio City Music Hall’s Ray Wright and jazz studies with the great band leader Chuck Mangione, both of whom profoundly impacted him as a musician.

Tyzik currently serves on the Board of Managers of the Eastman School of Music, and as a board member of the Hochstein School of Music and Dance. He lives in Rochester, New York, with his wife Jill.

Allen Vizzutti trumpet

Equally at home in a multitude of musical idioms, Allen Vizzutti has visited forty countries and every state in the union to perform with a rainbow of artists and ensembles.

Performing as a classical and a jazz artist, often in the same evening, he has appeared as guest soloist with symphony orchestras in Tokyo, Germany, St. Louis, Seattle, Rochester N.Y., Buffalo, Phoenix, Croatia, and Winnipeg to name a few. Allen’s status as an artist has led to solo performances at the Hollywood Bowl, Carnegie Hall, Newport Jazz Festival, Banff Center for the Performing Arts, Montreaux Jazz Festival, the Teton, Vail, Aspen and Brechenridge Music Festivals, the Charles Ives Center and Lincoln Center in New York City.

From his home in Seattle, Washington, Allen’s current career activities embody an impressive schedule of recitals, concerts, recording and composing. His continued commitment to music education and the value of music in everyday life results in an extensive schedule of guest appearances at universities throughout North America, Europe, Japan and Australia. ■


CONCERT PROGRAM

sunday, may 13SpECTRa EN ERGY Ki DS KONC ERTS / OR pH EUM TH EaTR E, 2pM

Pierre Simard conductorPlatypus Theatre entertainers

Platypus Theatre: Emily Saves the Orchestra

TCHAIKOVSKY Nutcracker (Danse Russe Trepak)

BEETHOVEN (ARR. dUSCHENES) Symphony No. 9 (“Ode to Joy”)

M. dUSCHENES Organized Chaos

KABALEVSKY Comedians Galop

P. dUSCHENES Timpani Roll, Tutti Cacophony

KHATCHATURIAN/dUSCHENES Sabre Dance

BEETHOVEN Symphony No. 9 (“Ode to Joy”)

GRIEG Peer Gynt Suite (Morning)

M. dUSCHENES The Four Woodwinds


M. dUSCHENES Game of Harmony

dUKAS/dUSCHENES Brass/Fanfare from La Péri

ROSSINI William Tell Overture

PACHELBEL Canon

ARR. dUSCHENES Happy – Sad (Jingle Bells)

dVORáK Slavonic Dance No. 1, op. 46


BEETHOVEN Symphony No. 6 (Storm & Shepherd)


KIDS’ KONCERTS SERIES CO-SPONSOR

PREMIER EDUCATION PARTNER

The VSO’s Kids’ Koncerts have been endowed by a generous gift from the William & Irene McEwen Fund.

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PLATYPUS THEATRE

VSO Instrument Fair The Kids’ Koncerts series continues with the popular VSO Instrument Fair, which allows music lovers of all ages (but especially kids!) to touch and play real orchestra instruments in the Orpheum lobby one hour before concert start time. All instruments are generously provided by Tom Lee Music.

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For a biography of Pierre Simard please refer to page 10.

Platypus Theatre entertainers Since 1989 Canada’s Platypus Theatre has been a trailblazer in creating programs for children that bring classical music to life in

an intelligent, entertaining and interactive way. Critics, educators, musicians, parents and children have lauded the company’s performances for their creativity, originality and high standards of execution. Platypus’ seven original programs have been seen by over half a million spectators in Canada, the United States and on six tours to Southeast Asia. After nearly 400 concerts with more than 50 orchestras worldwide Platypus Theatre has gained an unparalleled reputation for excellence in music education.

In 2006, in collaboration with TV Ontario, Trace Pictures and the Toronto Symphony Orchestra, Platypus Theatre created a television adaptation of their ever-popular, How the Gimquat Found Her Song. The film was broadcast five times on TVO and won an Award of Excellence at the 2008 Accolade Television Awards and Best Children’s Program at the prestigious Banff World Television Festival.

In addition to Gimquat the company’sprograms include: Emily Saves the Orchestra, Rhythm in Your Rubbish, Bach to the Future, Song of the Forest, Charlotte and the Music- Maker and A Flicker of Light on a Christmas Night. ■

PIERRE SIMARD

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CONCERT PROGRAM

Jeffrey Kahane conductor/piano

CPE BACH Sinfonia in E-flat Major, Wq 183/2, H664 I. Allegro di molto II. Larghetto III. Allegretto

JS BACH Keyboard Concerto in D minor, BWV 1052 I. Allegro maestoso (Cadenza by Jeffrey Kahane) II. Adagio III. Allegro

RESPIGHI Gli Uccelli (The Birds)

I. Preludio: Allegro moderato II. La colomba (The dove): Andante espressivo – Allegro III. La gallina (The hen): Allegro vivace IV. La usignuolo (The nightingale): Andante mosso V. Il cucù (The cuckoo): Allegro

INTERM ISS ION

MOZART Piano Concerto No. 25 in C Major, K. 503 I. Allegro maestoso II. Andante III. Allegretto

friday & saturday, may 18, 19BaC H & BEYON D / C HaN C ENTR E FOR TH E pER FORMi NG aRTS aT U BC, 8pM


CONCERT PROGRAM

THE PRESENTATION OF THE BACH & BEYOND SERIES IS MADE POSSIBLE, IN PART, THROUGH THE GENEROUS ASSISTANCE OF THE CHAN CENTRE FOR THE PERFORMING ARTS OF THE UNIVERSITY OF BRITISH COLUMBIA.

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JEFFREY KAHANE

Jeffrey Kahane conductor/pianoEqually at home at the keyboard or on the podium, Jeffrey Kahane has established an international reputation as a truly versatile artist, recognized by audiences around the world for his mastery of a diverse repertoire ranging from Bach, Mozart and Beethoven to Gershwin, Golijov and John Adams. Since making his Carnegie Hall debut in 1983, Mr. Kahane has given recitals in many of the nation’s major music centers and is also a popular figure at summer festivals.

A native of Los Angeles and a graduate of the San Francisco Conservatory of Music, Mr. Kahane’s early piano studies were with Howard Weisel and Jakob Gimpel. First Prize winner at the 1983 Rubinstein Competition and a finalist at the 1981 Van Cliburn Competition, he was also the recipient of a 1983 Avery Fisher Career Grant and the first Andrew Wolf Chamber Music Award in 1987. Jeffrey Kahane resides in Santa Rosa with his wife, Martha, a clinical psychologist in private practice. They have two children – Gabriel, a composer, pianist and singer/songwriter and Annie, a dancer and poet.

Carl Philipp Emanuel Bachb. Weimar, Germany / March 8, 1714 d. Hamburg, Germany / December 14, 1788

Sinfonia in E-flat Major, Wq 183/2, H664Johann Sebastian Bach’s second son, Carl Philipp Emanuel, enjoyed the kind of success and career opportunity that his father, ironically, could never have dreamed of. A prolific composer and highly regarded keyboardist, C.P.E. Bach became an extremely important figure in music’s transition from the Baroque to the Classical era, and was much admired by composers such as Mozart and Beethoven. When Bach’s godfather, Georg Phillip Telemann, died in 1767, Bach succeeded him as Cantor and Music Director in Hamburg. This opened the door to even more opportunity, and gave the composer much leeway for a wider scope of activities during his twenty years in this position. Bach wrote a set of symphonies in Hamburg, some of the relatively few that he wrote, of which the E-flat Major Sinfonia figures prominently. This work, though short, is an important example of the burgeoning new compositional style of the time. The piece

begins with an underlying tension lending a sense of excitement to the work right off the bat. Woodwinds are featured prominently at times in some wonderfully written passages, an uncommon technique for the time. The short second movement is centred around a beautiful melody from the flute, filled with longing and depth. The final movement returns to the first movement’s excitement and liveliness, with an almost concerto grosso, older Baroque feel to it, in contrast to the very Classical sound of what came in the first two movements.

Johann Sebastian Bachb. Eisenach, Germany / March 21, 1685 d. Leipzig, Germany / July 28, 1750

Keyboard Concerto in d minor, BWV 1052Bach was the greatest Baroque composer, taking the genre to its most perfect form. While not truly recognized in his own time, the supreme master of the Baroque was also one of the very greatest composers of any kind. Though Bach was a prolific composer of instrumental music, much of his work has been lost, including the violin concerto on

which this D minor Keyboard Concerto was probably based. The source music from this transcription had been used before by Bach, in a pair of cantatas dating from the late 1720s – but it found its greatest expression in this concerto. Of Bach’s keyboard concertos, the BWV 1052 concerto carries the most depth and richness, and it has become a popular part of the repertoire. The music begins with a feeling of richness and ornamentation, moves to a thoughtful, pensive second movement, then to a bright and energetic conclusion. Prior to preparing this transcription for keyboard, Bach had used music from it in a pair of cantatas dating from the late 1720s. It is the richest and most substantial of the keyboard concertos, resulting in its being the most frequently played. The slow second movement is particularly lovely and thoughtful, while the finale is pleasingly bright and animated, showing off the harpsichord to maximum effect.

Ottorino Respighib. Bologna, Italy / July 9, 1879 d. Rome, Italy / April 18, 1936

Gli Uccelli (The Birds)The Italian composer Ottorini Respighi’s music frequently harked back to the 17th and 18th centuries. A master orchestrator and melodist, he created works that were both based on and influenced by older compositions from the Baroque and early Classical eras. A prominent example of Respighi’s fondness for the music of the past is Gli Uccelli (The Birds), a set of five arrangements for small orchestra of works by 17th and 18th century composers. The Preludio is based on an aria by Bernardo Pasquini; The dove is from music by Jacques de Gallot; The hen is arranged from a harpsichord work of the same name by Jean-Philippe Rameau; The nightingale is based on 17th century folksongs by an anonymous source; and The cuckoo is an arrangement of a harpsichord toccata, again by Pasquini – with a passing reference to the aria which started the work. In The Birds, Respighi transcribes birdsong into musical portrait; how literally successful he was is probably dependent on the ears of the listener, though there is no doubt of the irresistible charm and beauty of the work.

Wolfgang Amadeus Mozartb. Salzburg, Austria / January 27, 1756 d. Vienna, Austria / December 5, 1791

Piano Concerto No. 25 in C Major, K. 503Although arguably the greatest compositional genius to ever put pen to paper, Mozart was most loved in his day for his piano playing. He performed most of his own concerti in subscription concerts created to help him make money; so it is no wonder that, given his penchant for the piano and his prowess on the keyboard, he wrote twenty-seven concerti for that instrument. Though the composition of his concerti spanned the majority of his career (and therefore life), a nearly three year period between February of 1784 and December of 1786 marked the creation of his twelve greatest piano concerti, from 14 through 25. And fittingly, the C Major Piano Concerto No. 25 was the last and greatest of this group of remarkable works.

In depth, richness, scope, colour and feeling, the C Major concerto ranks at the top of the list of all of Mozart’s works for piano, finished

literally days before the completion of his ‘Prague’ Symphony No. 38. The opening movement of this work is grand, filled with colour and expression, marshalling larger orchestral forces than Mozart had ever before used in a concerto; it is nearly symphonic in scope, and has drawn comparisons to his great ‘Jupiter’ symphony.

The beautiful Andante, uncharacteristically written in sonata form, is all sweetness and dreams (a feeling enhanced by extensive use of winds), with not a dark cloud to be heard. When the reverie breaks, we are transported to a world of brightness and the rustic beauty of the rondo finale. The main theme of the final movement is adapted from the gavotte from the ballet in Mozart’s opera, Idomeneo, King of Crete to great effect. Contrasts of minor and major keys throughout the movement lend a certain seriousness and passion to the finale, though one cannot help but feel joy at the sheer genius on display in the conception and execution of this extraordinary concerto, right to the rousing conclusion. ■Program Notes © 2012 Sophia Vincent

Thanks to the generosity of the sponsors, donors, auction contributors and attendees of the 22nd Annual Symphony Lovers’ Ball, $800,000 was raised in support of the

Vancouver Symphony Orchestra this season. The VSO and the Symphony Lovers’ Ball Committee extend their gratitude and thanks to the following for their generosity

and in-kind contributions.

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PIERRE SIMARd MEMBERS OF THE VSO

ORPHEUM ANNEX

CONCERT PROGRAM


Sentimental GeometryANA SOKOLOVIC Géométrie sentimentale

dENYS BOULIANE Du fouet et du plaisir

I N TERM ISS ION

ANA SOKOLOVIC Ciaccona

TRISTAN MURAIL Le Lac

saturday, may 19VaNCOUVER SU N SYMpHONY aT TH E aN N EX / OR pH EUM aN N EX, 8pM


CONCERT PROGRAM

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For a biography of Pierre Simard please refer to page 10.

Tonight the VSO delves into the work of Francophone composers. The two works from Montreal-based Ana Sokolovic draw inspiration from geometric forms and the folklore of the Balkans. In addition, furious riffs with hard edges of former Ligeti pupil Denys Bouliane will be presented in contrast with the psychological impact of abstract musical objects of his French counterpart Tristan Murail.

Program Notes © 2012 Edward Top

Ana Sokolovic b. Belgrade, Yugoslavia (now Serbia) / September 7, 1968

Géométrie sentimentale As in a novel by William Faulkner, a single tale is recounted by three witnesses. The same material as seen from three different angles : ‘music of variable geometry’.

The character, personality and sensibility of each of three protagonists are suggested by geometric forms: the ruggedness of the triangle, the grace of the circle, the obstinacy of the square.Program Notes © 2012 Ana Sokolovic

Denys Bouliane b. Grand-Mère, Quebec / May 8, 1955

du fouet et du plaisir A pleasure that almost hurts ... A disease that is almost fun ...

Music has long been the sound space for my quest for identity and the scenario of its many paradoxes. Many of my works are stylistic mazes, willingly provocative, where the diction is short-circuited, constantly wondering about its immediate fate: musical reinvention, short gestures, choppy contours, inter-shock. But behind all of this game of ‘go-go,’ a kind of mechanical transformation is in action. I now have the strange feeling that the tools I shaped over the last twenty years to recreate a sound reality from distortions of our collective memory are claiming their due. Perhaps these distortions require a more organic approach with more substantial time expansions, calling for their own emotional charge ...

Du fouet et du plaisir (Of the Whip and of Pleasure) thus presents contrasting characters. The work opens with a kind of furious ’riff’ with hard edges, from the tradition of bebop. This is immediately followed by an intense and long monotonous section that swells in waves taking on the appearance of exaggerated complaints. A little ritornello soon settles and leads into a cantabile episode of slightly troubled nostalgia. The form once again becomes more choppy marked by glissandos. These elements intertwine thereafter, questioning each other, and breaking and fading away gradually.Program Notes © 2012 Denys Bouliane

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Ana Sokolovic Ciaccona In this piece, I used an eight-chord pattern repeated several times, each time in a different manner, reminiscent of the form of a chaconne. In the middle of the piece, we find a clarinet and violin cadenza. The material used in this piece was inspired by the folklore of the Balkans. Ciaccona is dedicated to my parents.Program Notes © 2012 Ana Sokolovic

Tristan Murail b. Le Havre, France / March 11, 1947

Le Lac To the north of New York City is a vast region of parks and natural reserves, studded with lakes, hills and forests. I live in a house there, largely open to the outside world, composed of trees, a lake and with life everywhere. Every day, every hour, the lake has a different light, a new mood. It is ever present but ever changing, reflecting and

magnifying the incessant movement of the seasons and climates. It is a geometric place for thoughts and looks, a modest symbol of the universe. Like the lake, this piece is built on a few constantly shifting elements: the acoustic analysis of the sound of rain hitting the lake, a stylized rumble of thunder, the call of an unidentified bird, the electronic texture of frogs in spring, and a melody of chords. These elements are treated as abstract musical objects. They are modified, filtered, distorted, harmonised or made into chords piled on top of one another. They are used for their pure sound and musical value – namely, their psychological impact. This is not an attempt to describe the lake, it is not programme music. What is mainly retained from the natural model before me is the play on permanence and impermanence, movement and mood swings, the logic of the unexpected, and the order and simplicity that nestle within the breast of the chaotic and complex. ■Program Notes © 2012 Tristan Murail

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This year the Vancouver Symphony Orchestra celebrates the 40th anniversary of the beginning of our joyful relationship with Maestro Kazuyoshi Akiyama.

It was October of 1972 that Maestro Akiyama conducted his first concerts as Music Director of the VSO, a position he held for 12 years. Since 1984 Maestro Akiyama has regularly graced the Orpheum Stage and other venues in performances as our Conductor Laureate.

In Vancouver and the Lower Mainland, as well as on tours to Japan, the U.S. West Coast, across Canada and throughout British Columbia, Maestro Akiyama has conducted over 400 concerts with the VSO and can be heard on 5 critically acclaimed recordings.

40thAnniversaryMaestro Akiyama and the VSO grace the stage together

40Thank you, and congratulations, Maestro! Happy Anniversary, and we look forward to many more years of wonderful music-making together.

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YEVGENY SUdBINKAZUYOSHI

AKIYAMA


CONCERT PROGRAM

saturday & monday, may 26, 28MaSTERWOR KS DiaMON D / OR pH EUM TH EaTR E, 8pM

Kazuyoshi Akiyama conductorYevgeny Sudbin piano

MOZART The Magic Flute: Overture

MOZART Piano Concerto No. 24 in C minor, K. 491 I. Allegro II. Larghetto III. Allegretto

INTERM ISS ION

dEBUSSY L’isle joyeuse

dEBUSSY La Mer


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MAY 28 CONCERT SPONSOR

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Kazuyoshi Akiyama conductorKazuyoshi Akiyama was recently named Conductor Laureate of the Tokyo Symphony Orchestra after serving as Music Director for nearly forty years. He is also music Director of the Hiroshima Symphony Orchestra, and Principal Conductor and Music Advisor of the Kyushu Symphony Orchestra.

Mr. Akiyama began studying piano at age three under the tutelage of his mother, a highly regarded instructor in Tokyo. He entered the piano department of Toho Gakuen School of Music, and was so strongly influenced by the conducting activities of fellow student Seiji Ozawa that he transferred to the conducting department and studied with Hideo Saito. In 1974, a year after graduating, Mr. Akiyama made his debut with The Tokyo Symphony. He was named Music Director and Permanent Conductor of that orchestra two months later.

Mr. Akiyama has served as Assistant Conductor of the Toronto Symphony Orchestra (1968–1969), Music Director of the American Symphony Orchestra, following Leopold Stokowski, in New York, (1973–1978), and Music Director of the Vancouver Symphony Orchestra (1972–1985). He was granted the title of Conductor Laureate of the Vancouver Symphony upon leaving his post there in 1985.

Yevgeny Sudbin piano

Yevgeny Sudbin has been hailed by the Daily Telegraph (UK) as “potentially one of the greatest pianists of the 21st century.” In the midst of a seven-year and fourteen-album collaboration with BIS Records, his recordings have met with overwhelming critical acclaim. His release of works by Scriabin was chosen CD of the Year by London’s Daily Telegraph, CD of the Month by BBC Music Magazine, and was awarded the MIDEM Classical Award for best solo instrument CD at Cannes.

Born in St. Petersburg in 1980, Yevgeny Sudbin displayed exceptional musical talent from an early age, and in 1987, entered the Specialist Music School of the St. Petersburg Conservatory. In 1990 he continued his studies in Berlin and then moved to London

where he has lived since 1997, and where he studied with Christopher Elton at the Royal Academy of Music. Additionally, he attended the International Piano Foundation at Lake Como, Italy. He has taken lessons with Murray Perahia, Claude Frank, Leon Fleisher, Stephen Hough, Alexander Satz, and others. The Pulvermacher Foundation, Alexis Gregory Foundation, and Wall Trust have also played important roles in Yevgeny’s career.

Wolfgang Amadeus Mozartb. Salzburg, Austria / January 27, 1756 d. Vienna, Austria / December 5, 1791

The Magic Flute: OverturePiano Concerto No. 24 in C minor, K. 491In the world of opera composition, Mozart had few peers – and one of his greatest works in that genre was also one of his very last works of any kind. The Magic Flute is, fittingly, a magical story about Pamina, daughter of the “Queen of the Night,” and her lover Tamino, an Egyptian prince. After various adventures in and around the Temple of Isis, the evil spirits are of course overcome, and Tamino and Pamina are united. The Overture to the Magic Flute contains only one theme, developed brilliantly in fugal form. The famous and stately opening chords, often interpreted as a Masonic signal employed by Mozart, are heard before the scintillating energy of the priest’s march and prayer.

It is intriguing to theorize that the compositional form of piano concerto can be used to trace the development of Mozart’s musical style – and, indeed, the Classical style itself, as the twenty-seven concerti for piano and orchestra that Mozart wrote span his entire career. The very first concerti are adaptations of Baroque sonatas, while the last handful foreshadow the passion of the Romantic movement about to appear. His Piano Concerto No. 24 in C minor is one of only two of his twenty-seven concerti written in a minor key (the other being the D minor No. 20) and is one of Mozart’s most important works. Considered by some to be his greatest and most complete concerto, the work dramatically foreshadows the Romantic era about to be ushered in by Beethoven –

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and indeed, Beethoven himself was strongly influenced by this concerto. An aspect of Mozart’s music that is not often shown creeps into this work early and often: a passionate, brooding, almost tragic feeling permeates the concerto, an underlying presence from beginning to end. The work opens ominously, the principal theme announced stridently (this theme strongly inspired Beethoven’s C minor Concerto No. 3) by the orchestra, before the piano enters singing a different tune; the soloist soon comes around to the principal theme setting the tone for the movement, a tone that marches forward without distraction. The second movement is dreamy, yet sad, nostalgic and touching, the principal theme weaving itself throughout the fabric of the movement in one form or another. A set of eight variations carried by different sections of the orchestra and the soloist, the finale is one of sparkling brilliance that, again, never loses its patina of sadness and agitation; especially as the piano introduces the last of the variations and the minor key takes us to a dramatic yet ambiguous ending.

Claude Debussy b. St. Germaine-en-Laye, France / August 22, 1862 d. Paris, France / March 25, 1918

L’isle joyeuse La MerClaude Debussy was at heart a Romantic composer in the truest sense, but his particular sense of Romanticism was filtered through the lens of his own beliefs and passions; in many ways, he was thoroughly modern, and his deeply characteristic music helped to provide the transition from the late-Romantic era to modernist composition. Debussy’s love of the arcane and mysterious, his occult leanings, and his deep appreciation of visual art all washed through distinctly French sensibilities to forge a body of work that spoke of impressionism and mystery, flavoured with an elusiveness uniquely his own. Debussy was particularly fond of Impressionist art, especially of the works of Claude Monet, yet his idea of Impressionism was coloured by the desire to create mystery like the paintings of Poussin, Teniers and Watteau, his most admired artists. His take on

Impressionism was a compositional style that created moods and feelings through rich and varied harmonies and instrumental timbres. Unlike most programmatic music, Debussy’s strove to create atmosphere and an emotional soundscape, as opposed to telling a distinct and detailed story.

L’isle joyeuse, originally an extended work for solo piano, was inspired by French Baroque painter Jean-Antoine Watteau’s “The Embarkation for Cythera,” a painting in the “fête galante” style that celebrates a pilgrimage of lovers to the Greek island of Cythera (Kythera), the mythical birthplace of the Venus, the goddess of love. Debussy’s work captures the amorous, coy, sometimes dramatic but always graceful feel of the lovers on their journey to that joyous isle, evoking an enchanted landscape with his distinct impressionist style.

“...an Impressionistic sonic mosaic, rich in colour...”La Mer is like an Impressionistic sonic mosaic, rich in colour, motifs and evocation of feelings as opposed to direct description; very different from other notable musical sea-stories from Mendelssohn, Wagner or Vaughan Williams. The first movement, or sketch, From Dawn to Noon at Sea presents three distinct themes, beautiful but undeveloped. One’s imagination is left to evoke the abstract representation of light gradually overtaking darkness, as the sea is stirred by the new day’s first wind. The Waves at Play is presented in Scherzo form, more traditional in structure, but again evoking the spirit of the waves, describing their rolling and slashing power rather than their literal action. The final movement, Dialogue of the Wind and Sea, is Debussy at his best, musically painting the elemental force of the sea, building to an extraordinary, brass-dominated climax that seems to describe a feeling that the sea is a powerful, elemental, but benevolent force of nature. ■

Program Notes © 2012 Sophia Vincent

$1,000,000 or moreMartha Lou HenleyGovernment of Canada through the Department of Canadian Heritage Endowment Incentives ProgramProvince of BC through the BC Arts Renaissance Fund under the stewardship of the Vancouver Foundation

$500,000 or moreWayne and Leslie Ann IngramThe Estate of Jim and Edith le Nobel

$250,000 or moreEstate of Ruth Ellen BaldwinCarter (Family) Deux Mille FoundationChan Foundation of CanadaRon and Ardelle CliffEstate of Steve FlorisWerner (Vern) and Helga HöingMr. Hassan and Mrs. Nezhat KhosrowshahiThe Tong and Geraldine Louie Family FoundationHermann and Erika StöltingArthur H. Willms Family

$100,000 or moreEstate of Winslow W. BennettMary and Gordon ChristopherJaney Gudewill & Peter Cherniavsky in memory of their Father Jan Cherniavsky and Grandmother Mrs. B.T. RogersIn memory of John S. HodgeMichael and Estelle JacobsonS.K. Lee in memory of Mrs. Cheng Koon LeeKatherine Lu in memory of Professors Mr. and Mrs. Ngou KangWilliam and Irene McEwen Fund

Sheahan and Gerald McGavin, C.M., O.B.C.McGrane-Pearson Endowment FundEstate of John RandNancy and Peter Paul SaundersKen and Patricia ShieldsGeorge and Marsha TaylorWhittall Family Fund

$50,000 or moreAdera Development CorporationBrazfin Investments Ltd.Mary Ann ClarkEstate of Rachel Tancred RoutEstate of Mary Flavelle StewartLeon and Joan TueyIn memory of John Wertschek, Cello Section Player

$25,000 or moreJeff and Keiko AlexanderEstate of Dorothy Freda BaileyMrs. May Brown, C.M., O.B.C.Mrs. Margaret M. DuncanW. Neil Harcourt in memory of Frank N. HarcourtDaniella and John IckeMollie Massie and Hein PoulusEstate of Margot Lynn McKenziePaul MoritzMrs. Gordon T. Southam, C.M.Maestro Bramwell Tovey and Mrs. Lana Penner-ToveyAnonymous (1)

$10,000 or moreMrs. Marti BarregarKathy and Stephen BellringerMrs. Geraldine BielyK. Taryn BrodieRobert G. Brodie and K. Suzanne Brodie

Douglas and Marie-Elle CarrothersMr. Justice Edward Chiasson and Mrs. Dorothy ChiassonDr. Marla KiessChantel O’Neil and Colin ErbDan and Trudy PekarskyBob and Paulette ReidNancy and Robert StewartBeverley and Eric WattAnonymous (1)

$5,000 or moreEstate of Clarice Marjory BankesCharles and Barbara FilewychEstate of Muriel F. GilchristEdwina and Paul HellerKaatza FoundationEstate of Alfred P. Knowles Prof. Kin LoRex and Joanne McLennanMarion L. Pearson and James M. OrrMelvyn and June Tanemura

$2,500 or moreIn memory of Lynd ForgusonStephen F. GrafJohn and Marietta HurstMr. Gerald A. NordheimerHarvey and Connie PermackRobert and Darlene SpevakowWinfred Mary (Mollie) SteeleEstate of Jan Wolf WynandAnonymous (1)

Due to space limitations, donations of $2,500 or more are listed, but every gift is sincerely appreciated and gratefully received. THANK YOU.

Tax creditable gifts of cash, securities and planned gifts are all gratefully received by the Vancouver Symphony Foundation, and your gift is enhanced by the availability of matching funds from the Federal Government.

Please call Leanne davis at 604.684.9100 extension 236or email [email protected] to make a gift or learn more about the naming opportunities that are available to honour a family member, celebrate the memory of a loved one or simply recognize your generosity.

Support the Power of Music We extend our sincere thanks to these donors, whose gifts will ensure the Vancouver Symphony Orchestra remains a strong and vital force in our community long into the future:

Ensure the VSO’s future with a special gift to the Vancouver Symphony Foundation, established to secure the long term success of the Vancouver Symphony Orchestra.

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vancouver symphony foundation

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BRAMWELL TOVEY SARAH FRYER VANCOUVER BACH CHOIR

JON KIMURA PARKERwednesday, may 30

SpEC ialS / OR pH EUM TH EaTR E, 8pM

Bramwell Tovey conductorSarah Fryer mezzo-sopranoVancouver Bach Choir

Last Night of the PromsWALTON Crown Imperial (Coronation March)

PARRY ARR. JACOB I Was Glad

ELGAR Sea Pictures, Op. 37 I. Sea Slumber Song (Roden Noel) II. In Haven (Capri) (C. Alice Elgar) III. Sabbath Morning at Sea (Elizabeth Barrett Browning) IV. Where Corals Lie (Dr. Richard Garnett) V. The Swimmer (Adam Lindsay Gordon)

COATES Dam Busters March

INTERM ISS ION

ELGAR Pomp and Circumstance No. 1 (Land of Hope and Glory)

HANdEL Zadok the Priest

WALTON Henry V: Touch Her Soft Lips and Part

ENGLISH FOLK SONG Blow the Wind Southerly

ARR. WOOd Fantasia on British Sea Songs

ARR. SARGENT Rule, Britannia

PARRY/ELGAR Jerusalem


CONCERT PROGRAM

MAY 30CONCERT SPONSOR

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Bramwell Tovey conductor

Grammy® Award winning conductor Bramwell Tovey is acknowledged around the world for his artistic vision and depth, and his warm, charismatic personality. Tovey’s career as a conductor is uniquely enhanced by his extensive work as a composer and pianist, lending him a remarkable musical perspective. His tenures as music director with the Vancouver Symphony, Luxembourg Philharmonic and Winnipeg Symphony Orchestras and as Principal Guest Conductor of the Los Angeles Philharmonic at the Hollywood Bowl have been characterized by his expertise in operatic, choral, British and contemporary repertoire.

Maestro Tovey, who is entering his twelfth season as Music Director of the Vancouver Symphony, celebrated his 100th concert this past July as a guest conductor of the New Philharmonic. He is founding host and conductor of the New York Philharmonic’s Summertime Classics series at Avery Fisher Hall, Lincoln Center. In 2008, the New York and Los Angeles Philharmonics co-commissioned him to write a new work, Urban Runway, which has been played across Canada, the US and in Australia. He was awarded the Best Canadian Classical Composition Juno® Award in 2003 for his Requiem for a Charred Skull.

An esteemed guest conductor, Maestro Tovey has worked with orchestras in the United States and Europe including the City of Birmingham, London Philharmonic, London Symphony and Frankfurt Radio orchestras. In North America, Maestro Tovey has made guest appearances with the orchestras of Baltimore, Philadelphia, St. Louis, Pittsburgh, Detroit, Seattle and Montreal as well as ongoing performances with Toronto, where his trumpet concerto, Songs of the Paradise Saloon commissioned by the TSO, received its premiere in December of 2009 as a preview of his first full-length opera The Inventor which was commissioned and premiered by Calgary Opera in January 2011. During the summer of 2011 he debuted with the Cleveland Orchestra at the Blossom Festival and the Boston Symphony at Tanglewood and made a return visit to the Philadelphia

Orchestra, this time in their summer series in Saratoga, NY. This season he will guest conduct the Melbourne, Western Australia (Perth) and Sydney Symphony orchestras in Australia.

Tovey has been awarded honourary degrees, including a Fellowship from the Royal Academy of Music in London, honourary Doctorates of Law from the universities of Winnipeg and Manitoba, and Kwantlen University College, as well as a Royal Conservatory of Music Fellowship in Toronto. He is a member of the Order of Manitoba. In 1999, he received the M. Joan Chalmers National Award for Artistic Direction, a Canadian prize awarded to artists for outstanding contributions in the performing arts.

Sarah Fryer mezzo-soprano

British-Canadian mezzo-soprano Sarah Fryer began her musical training at Wells Cathedral School aged ten. She made her vocal debut when she was sixteen, as alto soloist in the Mozart Requiem.

After reading Theology at Exeter University, Sarah continued her vocal training at The Royal Northern College of Music (where she was awarded The Onckin Prize for Performance), in master classes at the Britten-Pears School and privately in Florence, with the distinguished Belgian soprano Suzanne Danco. Sarah Fryer has sung extensively in Europe and in North America. She has been a guest of many festivals including Dartington, Aldeburgh, Taormina, Southern Cathedrals and The Three Choirs and has appeared with many notable orchestras and choirs.

In Canada, Sarah is a regular soloist with top orchestras and choirs including the Calgary Philharmonic Orchestra, the Victoria Symphony Orchestra, the Vancouver Bach Choir and the Vancouver Symphony Orchestra. She was a soloist for the Vancouver Symphony Orchestra’s performances of Mahler’s Eighth Symphony as part of the celebrations surrounding the 2010 Winter Olympics and she made her debut with the Toronto Symphony Orchestra in May 2010.

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Vancouver Bach ChoirThe Vancouver Bach Choir gave its first concert at the Orpheum in December 1930. During its long history, the choir has sung with such world-renowned conductors as Bruno Walter, Sir Ernest MacMillan, Zubin Mehta, Sir Arthur Bliss, Meredith Davies, Kazuyoshi Akiyama, Simon Streatfeild, Andrew Davis and Simon Preston. Leslie Dala was appointed Music Director in July 2010 following Bruce Pullan who had been music Director for 27 years.

Since 1930, the Vancouver Bach Choir’s Canadian reputation has grown through numerous broadcasts by the Canadian Broadcasting Corporation, an Eastern Canadian tour in 1974 and the cross-Canada viewing of a television film of the Easter music from Handel’s Messiah.

In Vancouver, the Vancouver Bach Choir presents a series of concerts each season, and has been responsible for the British Columbia premiere of a number of major works including Rossini’s Stabat Mater, Fanshawe’s African Sanctus, Lloyd Webber’s Requiem, Paul McCartney’s Liverpool Oratorio, Berlioz’ Messe Solennelle and Penderecki’s Polish Requiem. The choir has also commissioned and premiered extended works by Canadian composers John Estacio and Christos Hatzis, as well as many shorter pieces by other Canadian composers.

Sir William Waltonb. Oldham, England / March 29, 1902 d. Ischia, Italy / March 8, 1983

Crown Imperial (Coronation March)Walton’s coronation marches, Crown Imperial (1937), and Orb and Sceptre (1953), place him squarely within the centuries-old British tradition of musical pomp and circumstance. He spiced the style with his trademark sophistication and wit. Crown Imperial was commissioned for the coronation of King George VI and Queen Elizabeth (later the Queen Mother), and was premiered during the coronation service in London’s Westminster Abbey.

Sir Hubert Parryb. Bournemouth, England / February 27, 1848 d. Rustington, England / October 7, 1918

I was gladParry exercised tremendous influence over the musical life of Great Britain, as composer, teacher and administrator. On the creative front, he was known above all for his choral music. His lofty reputation secured him a commission to compose a suitably solemn, uplifting anthem for the coronation of King Edward VII in 1902. I was glad has been sung at every British coronation since that time. The text comes from Psalm 122.

Sir Edward Elgarb. Broadheath, England / June 2, 1857 d. Worcester, England / February 23, 1934

Sea Pictures, Op. 37This is Elgar’s only example of a song cycle with orchestra. He composed it in 1899, just after the premiere of the Enigma Variations had won him his first great success. The five songs, each with text by a different poet, evoke the varying moods of the sea, and the corresponding qualities of human nature.

“...a vigorous, uplifting ode to man’s struggle for happiness...”Sea Slumber song is a gentle lullaby; In Haven (Capri) a quiet affirmation of the constancy of love (setting words by his wife, Alice); Sabbath Morning at Sea, a hymn-like ode to faith; the tuneful Where Corals Lie, which expresses a yearning for far-away places; and The Swimmer, a vigorous, uplifting ode to man’s struggle for happiness in the face of life’s many obstacles.

Eric Coatesb. Hucknall, England / August 27, 1886 d. Chichester, England / December 21, 1957

dam Busters MarchCoates won enormous success as a composer of tuneful, colourfully-orchestrated light music. The 1954 film The Dam Busters told the exciting story of how a British inventor figured out how to destroy strategically crucial power dams in Germany’s


heartland during the Second World War. The solution was to have an airplane launch a special bomb that bounced along the river’s surface until it struck its target. Coates’s contribution to the score of the film was this jaunty march.

Sir Edward ElgarPomp and Circumstance March No. 1 (Land of Hope and Glory)The first two of the five Pomp and Circumstance Marches were premiered in Liverpool on October 19, 1901 and won instant, enormous success. Sir Henry Wood led the first London performances three days later. After hearing No. 1, the London audience, Wood recalled, “simply rose and yelled. I had to play it again – with the same result; in fact, they refused to let me go on with the program.” The primary cause for these reactions was the central trio section of No. 1. It is a broad, instantly memorable theme, the kind that, in Elgar’s words, “comes once in a lifetime,” and which he accurately predicted would “knock `em flat.” At the suggestion of the future King Edward II, Elgar had words added to it. The result was Land of Hope and Glory, which was first heard in the ode that Elgar composed for Edward’s coronation in 1902.

George Frideric Handelb. Halle, Germany / February 23, 1685 d. London, England / April 14, 1759

Zadok the PriestThis is the most popular of the four anthems that Handel composed for King George II’s coronation. It has been sung at every coronation of a British monarch since its premiere in 1727. The text originated in the book of Kings in the Old Testament.

Sir William WaltonHenry V: Touch her soft lips and partThe sterling entertainment that is actor/director Sir Laurence Olivier’s film of Shakespeare’s Henry V (1944) gave wartime Britain a much-needed boost in morale. Amidst the bracing, fully-scored fanfares and flourishes of Walton’s Oscar-nominated score nestle the muted strains of Touch her soft lips

and part. It accompanies the ruffian Pistol as he tenderly bids farewell to his ladylove, Mistress Quickly, before setting off to battle in France.

Sir Henry Woodb. London, England / March 3, 1869 d. Hitchin, England / August 19, 1944

Fantasia on British Sea SongsWood became one of England’s most acclaimed and beloved conductors. Engaged in 1895 for a series of Promenade Concerts (Proms for short) at the newly-opened Queen’s Hall in London, he conducted them virtually without interruption until the year of his death. He produced numerous arrangements and orchestrations. His most celebrated piece based on folk material is the rollicking Fantasia on British Sea Songs, introduced at a Promenade Concert in 1905. By the 1950s, when the last night of the Proms had changed from the type of sober affair that characterized the main season, to a festive, audience-participation romp, it had become an imperishable part of the fun.

Thomas Augustine Arneb. London, England / March 12, 1710 d. London, England / March 5, 1778

Rule, BritanniaArne was one of eighteenth-century London’s great musical figures. He composed this stirring song in 1740 for a masque or musical entertainment called Alfred, which told the story of the ninth-century British monarch, Alfred the Great. Rule, Britannia soon took on a life of its own.

Sir Hubert ParryJerusalemPublished in 1916, a time of heavy British casualties in the First World War, this uplifting song clearly had a patriotic purpose. The text comes from the poem Milton, by William Blake (1757-1827). Upset that a draft program for his jubilee concert did not include Jerusalem, King George V exclaimed, “I shall get up and the platform and whistle it myself!” ■


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patrons’ circle

For more information about the patrons’ circle and the exclusive benefits associatedwith this program, please contact Leanne Davis at 604.684.9100 extension 236 or email [email protected]

PLATINUM BATON $50,000 and aboveDr. Peter and Mrs. Stephanie ChungJemini FoundationGrenville Thomas

GOLd BATON $25,000—$49,999Michael Audain, O.C., O.B.C. and Yoshiko KarasawaMary and Gordon Christopher Foundation*Heathcliff Foundation*Mr. Gerald McGavin, C.M., O.B.C. and Mrs. Sheahan McGavin*Jane McLennanMichael O’Brian Family FoundationMr. Alan and Mrs. Gwendoline PyattMr. Ronald N. and Mrs. Janet SternArthur H. Willms Family*

MAESTRO’S CIRCLE $10,000—$24,999Larry and Sherrill Berg Mrs. Joyce E. ClarkeThe Christopher Foundation (Education Fund)Mrs. Margaret M. Duncan Martha Lou Henley*Werner (Vern) and Helga Höing*Lagniappe FoundationMeriem FoundationMr. Brian W. and Mrs. Joan MitchellMollie Massie and Hein Poulus*Maestro Bramwell Tovey and Mrs. Lana Penner-Tovey*Gordon YoungAnonymous* (1)Anonymous (1)

CONCERTMASTER’S CIRCLE $5,000—$9,999Dr. and Mrs. J. AbelJeff and Keiko Alexander*Ann Claire Angus FundDave CunninghamHillary HagganIn Memory of John Hodge*Diane HodginsKaatza Foundation*Dr. Marla Kiess*Robert H. Lee, C.M., O.B.C. and Lily LeeThe Lutsky FamiliesKenneth W. and Ellen L. Mahon*Mrs. Irene McEwen*Dr. Katharine MirhadyJohn Hardie Mitchell family foundationJoan and Michael RileyMs. Nina RumenMr. Ken and Mrs. Patricia Shields* Thomas and Lorraine SkidmoreRick and Denise Turner

Mr. Fred Withers & Ms. Kathy JonesBruce Munro WrightAnonymous (2)

PRINCIPAL PLAYER $2,500—$4,999Mr. and Mrs. Francesco AlongiKathy and Stephen Bellringer*Gerhard & Ariane BruendlDr. and Mrs. CameronMarnie Carter*Joan and Darryl ChambersJanis and Bill ClarkeEdward Colin and Alanna NadeauMr. and Mrs. G. A. CooperIan and Frances DowdeswellCharles and Barbara Filewych*Drs. B. Forster and K. MaysonYuri FulmerJon and Lisa GreyellAlasdair and Alison HamiltonHeather HolmesJohn and Daniella Icke*Olga IlichGordon and Kelly JohnsonProf. Kin Lo*Mr. and Mrs. Herbert Menten*Andrè and Julie MolnarHugh and Joan MorrisMrs. Dorothy NairneChristine NicolasChantel O’Neil and Colin Erb*Mrs. Lorraine Redmond, in loving memory of Mrs. M. QuastMr. and Mrs. Maurice A. RodenBernard Rowe and Annette StarkDorothy ShieldsWallace and Gloria ShoemayDr. Peter and Mrs. Sandra Stevenson-MooreMel and June Tanemura*George and Marsha Taylor*Mr. and Mrs. David H. TrischukLeon and Joan Tuey*Beverley and Eric Watt*Michael and Irene WebbDr. and Mrs. Edward YeungAnonymous* (1)Anonymous (1)

PATRON $1,500—$2,499Gordon and Minke ArmstrongThe Honourable Jack Austin and Ms. Natalie FreemanMr. R. Paul and Mrs. Elizabeth BeckmannRoberta Lando Beiser*Betsy Bennett*Dr. and Mrs. J. Deen BrosnanMrs. May Brown, C.M., O.B.C.*Mr. Peter Cherniavsky*

Mr. Justice Edward Chiasson and Mrs. Dorothy Chiasson*Gerry and Barbara ClowDoug and Anne CourtemancheLeanne Davis and Vern GriffithsBarbara J. DempseyErik and Debbie Dierks*Count and Countess Enrico and Aline DobrzenskySharon F. DouglasDarren Downs and Jacqueline HarrisMiryam and Rafael FilosofMs. Judy GarnerMrs. San GivenMr. Brian GuskoDr. Donald G. HedgesIn Memory of Betty HowardJohn and Marietta Hurst*Michael and Estelle Jacobson*D.L. Janzen in memory of Jeannie KuyperHerbert JenkinC.V. KentHank and Janice KetchamMr. Hassan and Mrs. Nezhat Khosrowshahi*Drs. Colleen Kirkham & Stephen KurdyakSherry and Alex KlopferUri and Naomi KoletJudi and David KorbinDon and Lou LaishleyRobert M. LedinghamBill and Risa LevineMrs. Maria LoganHugh and Judy LindsayNancy and Frank Margitan Mrs. Pamela Metal M. Lois MilsomNancy MorrisonDal and Muriel RichardsDr. Bill and Ruthie RossDr. Robert S. Rothwell*Mrs. Joan ScobellDavid and Cathy ScottDr. Earl & Mrs. Anne ShepherdMrs. Mary Anne SigalRandall Takasaki L. ThomGarth and Lynette ThurberDr. Johann Van EedenNico & Linda Verbeek* Michael WilliamsDr. Brian WilloughbyEric and Shirley WilsonMilton and Fei WongDr. I.D. WoodhouseAnonymous (9)

* Members of the Patrons’ Circle who have made an additional gift to the VSO’s endowment campaign, for which we are most thankful.

The Vancouver Symphony is grateful for the generosity shown by the following individuals and foundations, whose annual investment in the VSO has helped this orchestra reach new heights and garner national and international recognition.


saturday & monday, june 2, 4 GOlDCOR p MaSTERWOR KS GOlD / OR pH EUM TH EaTR E, 8pM

◆

Bramwell Tovey conductorJan Lisiecki piano

MASCALL Manitoulin

SCHUMANN Piano Concerto in A minor, Op. 54 I. Allegro affettuoso II. Intermezzo: Andantino grazioso III. Allegro vivace

INTERM ISS ION

STRAUSS Ein Heldenleben (A Hero’s Life), Op. 40 I. The Hero II. The Hero’s Adversaries III. The Hero’s Beloved IV. The Hero’s Battlefield V. The Hero’s Works of Peace VI. The Hero’s Withdrawal from the World VII. Renunciation



◆

MASTERWORKS GOLD SERIES SPONSOR

JUNE 2 CONCERT CO-SPONSOR

RADIO SPONSOR

CONCERT PROGRAM

JAN LISIECKIBRAMWELL TOVEY

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Bramwell Tovey conductorFor a biography of Maestro Tovey, please refer to page 46.

Jan Lisiecki pianoBorn in Calgary to Polish parents, seventeen-year-old Jan Lisiecki is already recognized around the world for his poetic and mature playing. Jan has signed an exclusive recording agreement for Deutsche Grammophon at the age of fifteen. His debut recording on the yellow label features Mozart’s Piano Concertos No. 20, K. 466 and No. 21, K. 467 under Christian Zacharias and Bavarian Radio Symphony.

Performance highlights for his 11/12 season include the season opening concert of Orchestre de Paris under Paavo Järvi at Salle Pleyel, and debuts with the BBC Symphony at the Barbican in London, the Leipzig Radio Symphony at Leipzig Gewandhaus and recital debuts in Berlin, Hamburg, Zurich, Brussels and Munich. In summer 2011 he appeared at various festivals including Verbier, Radio

France and Montpellier, la Roque D’Anthéron and Chopin and His Europe, and in the fall, he returned to Japan with recitals in Tokyo, Nagoya, and Osaka. In the fall 2012 he will make his debut with Accademia de Santa Cecilia under Antonio Pappano, and his subscription debut with New York Philharmonic under Daniel Harding.

For more information, please visit www.janlisiecki.com

Richard Mascallb. Rochford, Essex, England / June 24, 1972 (emigrated to Canada in 1978)

ManitoulinRichard Mascall moved to Canada at an early age and grew up in the Toronto area. His musical training was carried out at the Royal Conservatory of Music and the Faculty of Music, University of Toronto. He lives in southern Ontario, where he works as a composer/arranger, conductor, violinist, and music educator. From 2006 to 2010, he held the position of Composer-in-Residence for the Georgian Bay Symphony.

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His music is been widely performed across Canada and in the United States, and is regularly heard on national CBC radio broadcasts. It has been performed by leading orchestras across Canada. His music has been featured at the Ottawa International Chamber Music Festival, and the Festival of the Sound in Parry Sound, among others. He has also written for film, and is a highly experienced orchestral arranger.

The composer has provided the following note.. .“Located right in the heart of the Great Lakes, Manitoulin Island is the largest freshwater island in the world, and is a sacred territory for the Ojibway speaking peoples. In Ojibway ‘manitou’ translates as ‘spirit’ and ‘lin’ as ‘island’, so ‘Manitoulin’ literally means ‘Spirit Island’ or ‘Island of the Gods.’ Archaeological remains have been found near the Ten Mile Lookout dating back over 10,000 years, therefore Manitoulin is one of the earliest settled places in North America after the last ice age.

“Manitoulin, a concert overture, is the latest in my series of aboriginal-themed works written for my residency with the Georgian Bay Symphony. It is a work about transformation. In the native mythology, there is a recurring leitmotif of ‘shape-shifting,’ where humans can transform into animals and birds at will. I have been influenced by the work of the great Ojibway ‘woodland school’ painter, Norval Morrisseau, for whom the ‘shaman transforming into thunderbird’ is a common theme. In my piece, two contrasting sets of pentatonic material are introduced, the first a lively bass line decorated with florid trills and ornithological gestures, and the second a depiction of the ancient forest, teeming with

life and unchanged over the millennia. Each time these sections return they are reinvented and combined, until a critical point is reached when they ‘give birth’ to a new section, the Thunderbird Transformation Dance. This new section, characterized by its hypnotic iso-rhythm, slowly develops, gradually morphing into new perspectives of the material, with a few surprises along the way. Eventually a tremendous climax is reached and the music ‘transforms’ into the legendary thunderbird, quickly flies away, and is gone.”

Robert Schumannb. Zwickau, Germany / June 8, 1810 d. Endenich, Germany / July 29, 1856

Piano Concerto in A minor, Op. 54In 1841, Schumann composed a single-movement Phantasie for piano and orchestra. No publisher would touch it. Four years later, he made it more ‘market-friendly’ by adding two further sections to form a full-scale concerto. It is a delicate, poetic and innovative creation, in which soloist and orchestra enjoy a close and intimate embrace. The first movement opens not with an expansive, well-mannered orchestral introduction, but with almost startling abruptness. This mercurial movement wears a rather sad face, filled as it is with wistful romantic yearning. The brief, more straightforward second movement, Intermezzo, serves as much as an introduction to the spacious finale as it does a traditional slow movement. The finale follows on without a break. It overflows with imaginative ideas and joyous energy, its bounding forward progress floating dizzily upon numerous intricacies of rhythm.

Richard Straussb. Munich, Germany / June 11, 1864 d. Garmisch-Partenkirchen, Germany / September 8, 1949

Ein Heldenleben (A Hero’s Life), Op. 40 In the sequence of Strauss’ tone poems, A Hero’s Life follows Don Quixote, and precedes Symphonia Domestica. Across its continuous, 40-minute span, it takes stock of Strauss’s considerable achievements, especially the magnificent command of the orchestra which the 34-year-old composer/conductor already possessed. He led the premiere himself, in Frankfurt, Germany, on March 3, 1899.

Reflecting the morally clouded era in which he composed it, this hero knows self-doubt. Through the medley of quotations from Strauss’s earlier compositions that appears after the central battle scene, the composer suggested that to some degree that he himself is the protagonist. In a broader sense, he presented himself as the embodiment of the innovative, individualistic

artist, persecuted for daring to meddle with the established order. He knew this role intimately, having endured his share of critical roasting. In the second section of A Hero’s Life, he portrays his critics as squealing nincompoops. They sound especially ignoble in the wake of the opening, a swaggering, supremely confident portrait of the hero. After a lengthy rendezvous with his paramour (exquisitely embodied by solo violin), the hero takes to the field to trounce his adversaries and their backward-looking ideas.

But once the hero’s foes are vanquished, he is beset by misgivings. Being also a thinker and a man of peace, he does not seek further battles. Instead he withdraws from the world, in marked contrast to the generally aggressive political spirit of Strauss’s times. This hero’s life concludes not with a final showdown, weapon in hand, but with vast, rolling washes of soothing, contented beauty. ■


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BRAMWELL TOVEY WITH THE VSO

saturday & monday, june 9, 11MaSTERWOR KS Si lVER / OR pH EUM TH EaTR E, 8pM

Bramwell Tovey conductorErin Wall soprano: CeceliaLaura Whalen soprano: MaryJudith Forst mezzo-soprano: LouiseRoger Honeywell tenor: SmootJames Westman baritone: Sandy KeithPhillip Ens bass: Alexander Keith the Elder, Julius Hammer, The man who scratches and smells, J.J. Fuchs, Bremerhaven policemanVancouver Bach Choir

TOVEY/MURRELL The Inventor Act 1

INTERM ISS ION

Act 2

Maestro Bramwell Tovey’s opera The Inventor premiered at the Calgary Opera in January of 2011 to critical acclaim. John Murrell’s libretto tells the tragic story of Alexander (“Sandy”) Keith Jr., son of the famous brewmaster, set to Tovey’s spectacular, dramatic score. The VSO proudly presents the concert version of this new opera, featuring the original cast with Maestro Tovey conducting.


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Bramwell Tovey conductorFor a biography of Maestro Tovey, please refer to page 46.

Erin Wall sopranoSoprano Erin Wall is one of today’s most versatile sopranos with an extensive opera and concert repertoire that spans three centuries from Mozart and Beethoven to Britten and Strauss. Past seasons included a three-season engagement as a member of the Lyric Opera of Chicago’s Center for American Artists. At Lyric Opera, Ms. Wall has sung Marguerite in Faust and First Lady in Die Zauberflöte, among other roles. Ms. Wall made her European concert debut in Britten’s War Requiem with the London Symphony Orchestra, and has also appeared in concert with the Vancouver Symphony, Chicago Symphony, and the Grant Park and Ravinia Festivals.

Born to American parents in Calgary, Alberta, Ms. Wall studied piano at the Vancouver Academy of Music throughout her childhood. She holds music degrees from Western Washington University and Rice University. She also attended the Aspen Music Festival and the Music Academy of the West.

Laura Whalen sopranoSoprano Laura Whalen is often noted for her command, precision, and elegance in operatic, orchestral and recital appearances throughout North America.

Ms. Whalen’s vast symphony appearances include Carmina Burana (Washington Choral Society, Toronto Symphony Orchestra, Florida Orchestra, and Vancouver Symphony Orchestra), Messiah (with the symphonies

of Nashville, Toronto, Winnipeg, and Thunder Bay); Elijah (Quebec Symphony) Beethoven’s Symphony No. 9 (National Arts Centre Orchestra, Florida Orchestra, Toronto Mendelssohn Choir), Die Schöpfung (Gautemala City, Calgary Philharmonic, and the Elora Festival in Ontario), Mozart Requiem (Rochester Philharmonic, Florida Orchestra, Vail Valley Festival, Colorado), Fauré Requiem (Toronto Mendelssohn Choir) and the world premiere of Bramwell Tovey’s Magnificat with the Hannaford Street Silver Band, conducted by Richard Bradshaw.

Laura Whalen holds a Bachelor’s Degree in Music from the University of Victoria and an Opera Diploma from the University of Toronto. She studied at the Britten-Pears School in England and has received important awards from the Vancouver Opera Guild, Canadian National Music Festival and the National Association of Teachers of Singing.

Judith Forst mezzo-sopranoCanadian born mezzo-soprano Judith Forst has been highly acclaimed for her operatic and concert performances throughout North America and in Europe in many of the world’s most prestigious theaters which have included the Metropolitan Opera, San Francisco Opera, Bavarian State Opera, Munich, Netherlands Opera, Dallas Opera, Washington Opera, Vancouver Opera, at the Santa Fe Opera among many others. In 2006, she made her debut at the Teatro alla Scala in Milan as the Kabinicha in Janacek’s Katya Kabanova. Recognized as one of Canada’s most distinguished artists, she has been honoured with the Order of Canada.

Judith Forst began her career at the Metropolitan Opera when, after her participation in the Metropolitan Opera

LAURA WHALENERIN WALL ROGER HONEYWELLJUDITH FORST

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National Council Auditions, General Manager Sir Rudolf Bing immediately offered her a contract with the company. Her first roles at the Metropolitan included Preziosilla in La Forza del Destino, Stephano in Romeo et Juliette and Siebel in Faust and she has returned to the Metropolitan regularly all through her career.

Roger Honeywell tenorCanadian tenor Roger Honeywell has been acclaimed as a performer “with the right kind of heroic mettle to his voice” (Opera Now). He is a graduate of the Ryerson Theatre school in Toronto and has received numerous awards, among which are a Dora Mavor Moore award for his role of Arnaud de Tilh in The House of Martin Guerre, a Maureen Forrester Award and a Tyrone Guthrie Award from the Stratford Festival.

Recent career highlights include the role of James Nolan in Doctor Atomic with the Lyric Opera of Chicago, his role debut of Cavaradosi in Tosca with the Florida Grand Opera, Troilus in Troilus and Cressida with the Opera Theatre of St. Louis, the American premier of Tan Dun’s Tea: A Mirror of Soul with Santa Fe Opera, and the world premiere of Ricky Ian Gordon’s The Grapes of Wrath at the Minnesota Opera and Utah Symphony and Opera.

James Westman baritoneOriginally from Stratford, Ontario, James Westman has fast established himself as one of today’s leading young Verdi baritones, making Germont in La Traviata his signaturerole throughout North America and Europe. A noted concert artist, Mr. Westman also likes to spend as much time as possible

performing in concert as in recital.

Mr. Westman excels at and enjoys the recital repertoire and he has performed recitals for the Aldeburgh Connection, the Schwabacher recital series and the Marilyn Horne Foundation in New York. International competitions include the 1997 George London Competition, the Jeunes Ambassadeurs Lyriques, as well as the Licia Albanese-Puccini Foundation.

James Westman has studied with such renowned artists as Dame Joan Sutherland, Richard Bonynge, Renato Capecchi, Paul Esswood, Régine Crespin, Warren Jones, Martin Katz, Virginia Zeani, Marlena Malas, and Diane Forlano. Mr. Westman was also a member of the C.O.C. Ensemble Studio and currently studies with Miss Patricia Kern.

Phillip Ens bassCanadian bass Phillip Ens made his operatic debut in 1985 with the Manitoba Opera, followed by appearances with the opera companies of Vancouver, Edmonton, Calgary, National Arts Center in Ottawa, and Montreal in such roles as Sarastro in Die Zauberflöte, Sparafucile in Rigoletto, Don Basilio in Il Barbiere di Siviglia, and Frere Laurence in Romeo et Juliette.

Mr. Ens has sung with major orchestras and festivals throughout the world, including appearances with the BBC Orchestra, the Proms series in London, the Edinburgh and Salzburg Festivals, and the Accademia di Santa Cecilia in Rome.

Recent engagements include role debuts as Arkel in Pelleas et Melisande with Theater an der Wien and Fiesco in Simone Boccanegra with the Canadian Opera Company. This season, Mr. Ens returned to Munich as Il Commendatore in a new production of Don Giovanni and also to the Met as Jorg in Stiffelio. He will next be heard as Claggart in Glyndebourne’s first ever production of Billy Budd.

UBC Opera EnsembleThe University of British Columbia Opera Ensemble was founded by Canadian lyric coloratura, Nancy Hermiston, in 1995.

PHILLIP ENSJAMES WESTMAN

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Beginning with a core of seven performers, Ms. Hermiston has built the program to a 90-member company, performing three main productions at UBC every season, seven Opera Tea Concerts, and several engagements with local community partners. The Ensemble’s mission is to educate young, gifted opera singers, preparing them for international careers.

Past main-stage productions have included Le Nozze di Figaro, Die Zauberflöte, Die Gärtnerin aus Liebe, The Merry Wives of Windsor, Suor Angelica, La Bohème, Dido and Aeneas, The Merry Widow, The Bartered Bride, Manon, Eugene Onegin, Florence Lady with the Lamp, Dreamhealer, Falstaff, Don Giovanni, Cendrillon, Albert Herring, and the Western Canadian Premiere of Harry Somer’s Louis Riel. In the 2011–2012 season, the Ensemble presents Robert Ward’s The Crucible and Lehár’s Die Lustige Witwe (The Merry Widow) in the renewed Old Auditorium, and Dvorák’s Rusalka in the Chan Centre.

Bramwell Toveyb. Ilford Essex, England / July 11, 1953

The InventorPROLUGUEJourneying through space and time, Sandy Keith, black sheep of the famous Halifax brewing family, revisits a painful memory – Christmas 1839. The Keith clan, led by patriarch Alexander, have gathered with friends and family, to celebrate. Only young Sandy, twelve years old, is unhappy; he has received no presents. Watched by his older self, young Sandy wreaks his revenge.

ACT IThe Halifax Hotel, June 1864. Sandy Keith, now in his thirties, profits from various shady dealings with a group of conspirators from the Southern side during the American Civil War. They are interrupted by Mary Clifton, a hotel servant with whom Sandy is intimate. When the Southerners leave, Sandy promises that he will soon make an honest woman of Mary. Then he meets with Luther Smoot, another Southerner, who proposes a risky but profitable scheme. Sandy accepts, already planning to trick Smoot out of his money.

New York City, the Paradise Saloon, December 1864. Sandy reinvents himself as “A. K. Thompson,” the first of many aliases. But Smoot has tracked Sandy down to his favourite Manhattan haunt. After Smoot leaves, Sandy shows up in the saloon with Mary, who tells him she is carrying their child. Sandy promises to reform, but, when Smoot reappears, Sandy runs away.

April 1865. Sandy reinvents himself as “Thomas William King,” and settles down in the German immigrant community of Highland, Illinois, where he takes German lessons from Julius Hammer. At the local beer garden, he encounters Cecelia Paris and her mother Louise. Sandy succeeds in charming Cecelia, despite Louise’s protests.

A street in Halifax, May 1865. Mary Clifton, unmarried and pregnant, tells of her harsh treatment by Sandy’s family – as an unseen choir chants a prayer to the Virgin Mother.

May 1865. In Highland, Cecelia’s marriage to “Thomas William King” is celebrated – by everybody except her mother, Louise. As Sandy (Thomas) prepares to ignite a nuptial fireworks display, Luther Smoot reappears, seeking vengeance. Sandy turns the fireworks into a conflagration, and escapes with his new wife.

ACT IIAugust 1875. Mary Clifton has found work again in Halifax, but she is now accompanied by her son Alexander and daughter Christian. They sing a song composed by their father, whom they believe to be dead. They are interrupted by the persistent Luther

UBC OPERA ENSEMBLE

Smoot. Having sent the children away, Mary ultimately reveals to Smoot the little information she has.

Dresden, Germany; October 1875. Sandy is now “William King Thompson,” living lavishly in Europe with his wife Cecelia, and their three young children, Blanche, William, and Klina. The children entertain at a party, singing a trilingual version of Sandy’s song. After the others depart, Cecelia demands more money from Sandy. He reveals to her that they are penniless, due to her extravagance. Cecelia tells him she has written to her mother, Louise, for assistance. Terrified of losing his wife and children, Sandy hatches a new scheme.

That same evening; the shop of Dresden clockmaker J. J. Fuchs. Sandy, disguised as “Teadro Pavlovich Wisskoff,” a silk manufacturer from Russia, engages the services of the eccentric Herr Fuchs in the creation of a powerful and precise clock.

Early December 1875. In the wee hours, Sandy rehearses his scheme – to connect Fuchs’s clock to a large amount of dynamite, which he will conceal in a steamer trunk, the contents of which he will insure for a vast sum. He will board a transatlantic steamer, but then disembark in England. The trunk will remain on the ship, and, halfway across the Atlantic, will explode, taking all evidence of his crime to the bottom of the ocean. Horrified by his own plan, Sandy resolves to abandon it. But then, Luther Smoot appears and causes such commotion that Cecelia and Louise, who has rejoined her daughter, are awakened. They drive Smoot away, but he swears to return and see Sandy punished. Left alone, Sandy returns to his explosive scheme.

The pier at Bremerhaven, Germany; December 13, 1875. Sandy arrives with the steamer trunk and its deadly cargo. The trunk is secured in a hoist and lifted slowly skyward. Sandy boards the ship, unaware that he is being followed by a German policeman.

In his stateroom, below decks, Sandy is questioned by the policeman, but shows him

papers, proving that he is “A. K. Thomas,” a British merchant. The policeman is about to leave – when the steamer trunk slips from the hoist, above decks, dropping the trunk onto the pier, detonating a horrendous explosion. Sandy and the policeman rush out, and Sandy witnesses from the deck the ghastly destruction he has caused. He returns to the stateroom – where he quickly takes his only possible exit.

EPILOGUENew York City, the Gramercy Park Hotel; March 1876. Cecelia and her three children, watched over peevishly by Louise, encounter Mary Clifton and her twins. Sandy’s five children take to each other immediately. The three women share differing views of “the inventor” who changed their lives forever. ■


The Vancouver Symphony gratefully acknowledges the generosity of the following Corporations, Foundations, and Government Agencies that have made a financial contribution through sponsorship and/or a charitable donation for the 2011/2012 season.

vancouver symphony partners

SERIES SPONSORS

CONCERT AND SPECIAL EVENT SPONSORS

IMPORTANT:For Usage below 1-1/2” wide

KINGSWOOD CAPITAL CORPORATION

KINGSWOOD CAPITAL CORPORATION

VANCOUVERSYMPHONYVOLUNTEERS

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$150,000+TELUS

Vancouver Sun

$50,000+City of Burnaby Parks, Recreation and Cultural Services

Goldcorp Inc.

Jemini Foundation

$40,000+BMO Harris Private Banking

CIBC

Industrial Alliance Pacific

PwC

RBC Foundation

$30,000+Borden Ladner Gervais LLP

Eminata Group

HSBC Bank Canada

London Drugs

Pacific Arbour Retirement Communities

YVR–Vancouver Airport Authority

$20,000+Air Canada

Best Buy

Blake, Cassels & Graydon LLP

The Chan Endowment Fund of UBC

Chan Foundation of Canada

Concord Pacific Group Inc.

David T.K. Ho Enterprises

Ernst & Young LLP

Holland America Line Inc.

Polygon Homes Ltd.

Rogers Group Financial

Spectra Energy

TD Bank Group

Tiffany & Co.

Tom Lee Music

Vancouver Symphony Volunteers

Wall Financial

Wesbild Holdings Ltd.

$10,000+BA Blacktop Ltd.

Canadian Western Bank

Canron Western Constructors Ltd.

Corus Entertainment

Craftsman Collision Ltd.

Heritage Office Furnishings

Keir Surgical

Kingswood Capital Corporation

KPMG

Park Royal Shopping Centre

Peter Kiewit Infrastructure Co.

Teck Resources Limited

Tom Lee/Yamaha

Upright Decor Rentals and Event Design

$5,000+Allied Holdings Group

Anthem Properties Group Ltd.

Commonwealth Insurance Company

Deloitte & Touche LLP

Farris, Vaughan, Wills & Murphy LLP

Genus Capital Management

Graphic Angel Design

Grosvenor

Harris Rebar

Hatch Mott MacDonald

Haywood Securities Inc.

Lazy Gourmet Inc.

LMS Reinforcing Steel Group

Macdonald Development Corporation

Marin Investments Limited

McElhanney Consulting Services Ltd.

MMM Group Limited

Dr. Tom Moonen Inc.

Michael O’Brian Family Foundation

PCL Constructors Westcoast Inc.

ScotiaMcLeod

SOCAN Foundation

Stantec

Stikeman Elliott LLP

Terus Construction Ltd.

The Titanstar Group of Companies

Xibita

$2,500+Armtec

B&B Contracting Ltd.

Central 1 Credit Union

Concord National Inc.

Epic Production Technologies

Ethical Bean Coffee

Kian Show Services Ltd.

LU Biscuits

McCarthy Tétrault

Norburn Lighting & Bath Centre

Anonymous (1)

$1,000+ABC Recycling Ltd.

Bing Thom Architects Foundation

Domaine Chandon

Encore Software Inc.

The Hamber Foundation

HUB International Insurance Brokers

Lantic Inc.

The Simons Foundation

Tala Florists

West Coast Reduction Ltd.

EDUCATIONAL PROGRAM SPONSORS AND PARTNERS

PREMIER EDUCATION PARTNER

MEDIA PARTNERS

JEMINIFOUNDATION

For more information about vso corporate partners programs please contact:

Jennifer Polci at 604.684.9100 extension 239 or email [email protected]


at the concert

CONCERT COURTESIESFor your enjoyment, and the enjoyment of others, please remember concert etiquette. Talking, coughing, leaning over the balcony railings, unwrapping cellophane-wrapped candies, and the wearing of strong perfume may disturb the performers as well as other audience members.

LATECOMERSUshers will escort latecomers into the auditorium at a suitable break in the performance chosen by the conductor. Patrons who leave the auditorium during the performance will not be re-admitted until a suitable break in the performance.

HEARINg-ASSIST SYSTEMSHearing-impaired patrons may borrow complimentary Sennheiser Infrared Hearing System headsets, available at the coat-check in the Orpheum Theatre only, after leaving a driver’s licence or credit card.

CELL PHONES, PAgERS, DIgITAL WATCHESPlease turn off cell phones and ensure that digital watches do not sound during performances. Doctors and other professionals expecting calls are asked to please leave personal pagers, telephones and seat locations at the coat-check.

CAMERAS, RECORDINg EqUIPMENTCameras and audio/video recording equipment of any kind are strictly prohibited in all venues and must be left at the coat-check in the main lobby. Under no circumstances may photographs, video recordings or audio recordings be taken during a performance.

SMOKINgAll venues are non-smoking.

PROgRAM, gUEST ARTISTS AND/OR PROgRAM ORDER ARE SUBJECT TO CHANgE.

vancouver symphony administration 604.684.9100Jeff Alexander, President & Chief Executive Officer

Finance & Administration: Mary-Ann Moir, Vice-President, Finance & AdministrationDebra Marcus, Director of Information Technology & Human ResourcesAnn Surachatchaikul, AccountantRay Wang, Payroll Clerk & IT Assistant

Marketing, Sales & Customer Service: Alan Gove, Vice-President, Marketing & SalesShirley Bidewell, Manager of Gift Shop & Volunteers Estelle and Michael Jacobson Chair

Stephanie Fung, Marketing Projects Manager Anna Gove, Editor & Publisher, Allegro MagazineKatherine Houang, Group Sales & Special Ticket ServicesKenneth Livingstone, Database ManagerJaime Moore Hirsbrunner, Marketing Assistant & Assistant to the President and CEOCameron Rowe, Director of Audience & Ticket Services

Customer Service Representatives: Christine Fraser, Customer Service Supervisor Jeff Cancade Jenny Jung Anthony SoonOdessa Cadieux-Rey Shawn Lau Karl VenturaAcacia Cresswell Thalia McWatt Lauren WatsonJason Ho

development: Leanne Davis, Vice-President, Chief Development OfficerHoori Barkh, Lotteries Assistant William Brennan, Development Coordinator Ryan Butt, Development Officer, Corporate & Donor Relations Ann Byczko, Development Officer, Annual GivingCurtis Pendleton, Senior Development Officer, Individual GivingJennifer Polci, Director, Corporate & Major GiftsDaniel Zomparelli, Development Assistant

Artistic Operations & Education: Joanne Harada, Vice-President, Artistic Operations & EducationDeAnne Eisch, Orchestra Personnel ManagerAaron Hawn, Digital Projects Coordinator & Library AssistantVacant, Education Manager Ken & Patricia Shields Chair

David Humphrey, Operations Manager Karen Jeffery, Artistic Operations Assistant & Assistant to Maestro ToveyMinella F. Lacson, Librarian Ron & Ardelle Cliff Chair

Pearl Schachter, Artistic Operations & Education Assistant

The Stage Crew of the Orpheum Theatre are members of Local 118 of the International Alliance of Theatrical Stage Employees.

The Vancouver Symphony Orchestra is a proud member of

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vancouver symphony society board of directors

vso school of music society

Ronald Laird Cliff, C.M., ChairMarnie CarterCharles Filewych

Board of directors Gordon R. Johnson, ChairThomas BeswickHein Poulus, Q.C.Gerry SayersPatricia Shields

Executive Committee Arthur H. Willms, Chair President (Ret.), Westcoast Energy

Larry Berg, Vice Chair President & CEO Vancouver International Airport Authority

Colin Erb, Treasurer Partner, Deloitte & Touche LLP

Dave Cunningham, Secretary VP Government Relations, TELUS

Alan Pyatt, Member-at-Large Chairman, President and CEO (Ret.) Sandwell International Inc.

Joan Chambers Partner, Blakes

Dr. Peter Chung Executive Chairman, Eminata Group

Michael L. Fish President, Keir Surgical

vancouver symphony volunteer council 2011/2012Chair . . . . . . . . . . . . . . . Anne JanmohamedVice-Chair/Treasurer . . . Sheila FoleySecretary. . . . . . . . . . . . Nancy WuImmediate Past Chair. . . Estelle Jacobson

Scheduling Concerts (all venues) . . . Shirley BidewellGift Shop . . . . . . . . . . . . Barbara Morris Helen DubasLotteries in Malls . . . . . . Gloria DaviesReception Shifts. . . . . . . Gloria DaviesTea & Trumpets . . . . . . . Shirley Featherstone Marlene Strain

Special Events Symphony of Style 2011 . . . Nancy Wu Anne Janmohamed Holland America Luncheon 2011 . . . . . . . . . . Sheila Foley

Education & Community Musical Encounters . . . . . . . Isabella MorrowHospitality . . . . . . . . . . . . . . Maria EstropeScholarship . . . . . . . . . . . . . Pat Hoebig

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

Lindsay Hall Executive Vice-President and CFO Goldcorp Inc.

Diane Hodgins Director, Century Group Lands Corporation

John Icke President and CEO Resinco Capital Partners

Olga Ilich President, Suncor Development Corporation

Julie Molnar Director, The Molnar Group

Gordon R. Johnson Partner, Borden Ladner Gervais

Hein Poulus, Q.C. Partner, Stikeman Elliot

Michael E. Riley, CA Corporate Director Partner (Ret.), Ernst & Young

Patricia Shields Education Consultant

Denise Turner Executive Vice-President TitanStar Group of Companies

Michael Webb SVP, Human Resources HSBC Bank Canada

Fred Withers Chief Development Officer Ernst & Young

Bruce Wright Managing Partner Goodmans Vancouver Office

Musician Representatives Christie Reside, Principal Flute

Aaron McDonald, Principal Timpani

Honorary Life Vice-Presidents Ronald Laird Cliff, C.M. Nezhat Khosrowshahi Gerald A.B. McGavin, C.M., O.B.C.Ronald N. Stern

John IckeJudi KorbinHein Poulus, Q.C.

Arthur H. WillmsTim Wyman

Manager, Gift Shop and Volunteer Resources Shirley Bidewell Tel 604.684.9100 ext 240 [email protected]

Assistant Gift Shop ManagerMichelle Beldi

George TaylorMarsha Walden

AdministrationJeff Alexander President & CEO

Curtis Pendleton Interim Executive Director

Edwin Kwong Business Manager & Office Administrator

vancouver symphony foundation board of trustees

Louise Ironside Registrar & Communications Coordinator

Lindy Gray Lead Front Desk Administrator

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ORPHEUM ANNEX

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ORPHEUM ANNEX

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MAGAZINE OF THE VANCOUVER SYMPHONY MAY 2 – …€¦ · MAGAZINE OF THE VANCOUVER SYMPHONY MAY 2...

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