Symphonic Encounters Vancouver Symphony Orchestra

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1 Symphonic Encounters Vancouver Symphony Orchestra Bramwell Tovey, Music Director Thursday, January 30, :00am - 12:30pm SPONSORED BY

2 meet the maestro! Rossen Milanov Rossen Milanov is the newly appointed Principal Conductor of Orquesta Sinfonica del Principado de Asturias in Spain. He also serves as the Music Director of the Princeton Symphony Orchestra as well as the nationally recognized training orchestra Symphony in C. Respected and admired by audiences and musicians alike, Maestro Milanov has established himself as a conductor with a considerable international presence. An artist with distinct personal style, his performances are characterized by sharp musical intellect, artistic ingenuity, freedom and coherence. Recent highlights include debuts at the Musikverein in Vienna, the Grant Park Music Festival in Chicago, Zurich Opera and a world premiere of Sergey Prokofiev s Incidental music to Pushkin s Evgeny Onegin with the Princeton Symphony Orchestra. Mr. Milanov has collaborated with some of the world s most prestigious artists, including Yo-Yo Ma, Itzhak Perlman, Joshua Bell, Midori, Christian Tetzlaff and André Watts, as well as with some of the world s most esteemed vocalists such as Nikolai Ghiaurov, Vesselina Kasarova, Ghena Dimitrova and Krassimira Stoyanova. During his eleven-year tenure with The Philadelphia Orchestra he conducted more then 200 performances with that great orchestra, both as Associate Conductor and Artistic Director of the Orchestra s summer home at The Mann Center for the Performing Arts. Internationally, he has collaborated with the BBC Symphony Orchestra London, the Komische Oper Berlin (Lady Macbeth of Mzensk), the Royal Scottish National Orchestra, Orquesta Nacional de México, the Orquesta Simfonica del Estado de Sao Paulo (OSESP), and the New Zealand Symphony Orchestra. On his regular tours to the Far East, he has appeared with the NHK Symphony Orchestra Tokyo, the Tokyo Symphony Orchestra, the Seoul Philharmonic Orchestra, the Hong Kong Philharmonic, the China Philharmonic, and the Singapore Symphony. A committed supporter of youth and music, Mr. Milanov is Music Director of both Symphony in C (a professional training orchestra that has graduated and placed many of this country s top instrumentalists) and the New Symphony Orchestra in his native city of Sofia, Bulgaria. He regularly conducts at The Curtis Institute of Music and appears each season at Carnegie Hall for LinkUP!, a program supported and promoted by The Weill Music Institute reaching more than 15,000 children. Mr. Milanov s first commercial recording with The Philadelphia Orchestra, A Grand Celebration: The Philadelphia Orchestra Live with the Wanamaker Organ, has recently been released. His live recording of Shostakovich s Symphony No. 15 and Brahms Symphony No. 1 with The Philadelphia Orchestra is available through Philadelphia Orchestra s Online Music Store. Rossen Milanov studied conducting at The Juilliard School (where he received the Bruno Walter Memorial Scholarship), the Curtis Institute of Music, has a degree in Oboe from Duquesne University and the Bulgarian National Academy of Music. Former Chief Conductor of the Bulgarian National Radio Orchestra ( ), Mr. Milanov is a recipient of the Bulgarian Ministry s Award for Extraordinary Contribution to Bulgarian Culture and an ASCAP award in 2011 for his programing with Princeton Symphony Orchestra. In 2005, he was chosen as Bulgaria s Musician of the Year. He is a passionate cook and often cooks for various charities Page 2 Symphonic Encounters 2012/13 Vancouver Symphony Orchestra

3 Programme notes Johannes Brahms b. Hamburg, Germany / May 7, 1833 d. Vienna, Austria / April 3, 1897 Academic Festival Overture Op. 80 Johannes Brahms was a master of symphonic composition in the mid to late 19th century. He began his musical training at the age of seven as a pianist and eventually, in his teen years, played at dance halls and other disreputable environments to help his family make ends meet. He toured Europe as an accompanist, and composed works becoming a household name due to an article written by Robert Schumann in He masterfully combined the Classical style of Mozart and Hadyn, and the expressiveness of Romanticism and pushed the boundaries of both with his own unique Brahmsian style. He is regarded as one of history s greatest composers. He is most renowned for his incredible symphonies, the German Requiem and his hundreds of compositions for solo piano, violin and voice, as well as chamber ensembles. Brahms composed this lively work, which he described as a very boisterous potpourri of student songs, in 1880 as a gesture of thanks for an honorary PhD the University of Breslau bestowed upon him. He had sent a thank you note but was informed by a friend at the university that a musical expression of gratitude was expected. His ironic sense of humour and his low opinion of institutions of higher learning, born of his never having attended one led him to make the piece as jolly and informal as the university was serious and stuffy. The bustling introduction appears to be original Brahms. The main section is founded on four traditional German student songs. After a soft timpani roll, the brass proudly proclaim We Had Built a Stately House. This is followed in turn by Most Solemn Song to the Father of the Country (a heartfelt tune first heard in the strings); What Comes There From on High (a satiric ditty on the bassoons); and at the climax, regally clothed in the largest orchestra Brahms ever used, Gaudeamus igitur, a solemn medieval hymn in praise of student life. Felix Mendelssohn b. Hamburg, Germany / February 3, 1809 d. Leipzig, Germany / November 4, 1847 Violin Concerto in E minor Op. 64 Mendelssohn was recognized early as a musical prodigy. He first performed publically at the age of nine and achieved his first published composition, a piano quartet, written before that age of thirteen. He is credited with reviving interest in J.S. Bach, by conducting his St. Matthews Passion in 1829 it was the first time J.S. Bach s music was presented publically since his death 79 years prior. In 1835, Mendelssohn took up the post of Music Vancouver Symphony Orchestra Symphonic Encounters 2012/13 Page 3

4 Director of the Gewandhaus Orchestra of Leipzig. Under his patient, exacting supervision, only a few years passed before its concerts came to be considered the finest given anywhere in Europe. The concertmaster, Ferdinand David, made important contributions to that upgrading process. In gratitude, Mendelssohn composed this concerto for him. David performed the premiere, in Leipzig on March 13, The concerto is a beautifully polished work of art, combining sureness of construction with passion, warmth and playfulness. In a nod to Romantic practice, Mendelssohn directed that the three sections be played without any breaks between them. This gives the concerto greater cohesiveness and momentum. The majority of dramatic content plays out in the urgent first movement. The following section is an interlude of gentle melodic beauty. A brief bridge passage then ushers in the impish finale. Its solo fireworks are backed by the kind of feathery light orchestration which was a Mendelssohn trademark. Nikolai Korndorf b. Moscow, Russia / January 23, 1947 d. Vancouver, British Columbia, Canada / May 30, 2001 The Smile of Maud Lewis Nicolai Korndorf was an incredibly gifted musician who could play any piece of standard classical repertoire at the piano from memory and could instantly transpose enormously difficult orchestral scores, at tempo, during composition lessons. He graduated from the Moscow Conservatory in 1973 with a Ph.D. in composition. He joined the Conservatory s staff in 1972 and taught a variety of subjects for 20 years. In 1976, he won a major conducting competition. This led to guest conducting engagements throughout the USSR and in Boston. Leaving Soviet Union during its dissolution, he and his family moved to Vancouver in 1991, settling in Burnaby, BC. He continued to compose until his untimely death at the age of 54. Much of his music has not been commercially released or even performed but interest in his life and compositions is increasing. He wrote The Smile of Maud Lewis, one of his final works, in With its bright, airy textures and innocent, joyous mood, it reflects the artistry of the celebrated Nova Scotia painter Maud Lewis ( ), whom Korndorf admired deeply. At the time of the premiere, he stated, First of all, I have to say that discovering the art of Maud Lewis was one of the most important cultural experiences since my moving to Canada. I was most impressed by three things. First, I was fascinated by her art: simple, ingenuous, but very cordial, open-hearted, moving, gentle and full of light. Second, I was struck by the circumstances of her very hard and unhappy life. It seemed that everything was against her. But in spite of that, her art was full of belief in love and it inhales optimism and light. And the third thing, I was enchanted by her smile. In spite of her specific facial features she did not have the lower jaw her smile was full of gentleness and affability. There is a saying that a smile is the mirror of the soul. If indeed it is true, Maud Lewis s smile, and her art alike, showed that she possessed a lofty, beautiful and rich soul, and therefore I called my piece this name. The work had its premiere performance in Vancouver June 15, Page 4 Symphonic Encounters 2013/14 Vancouver Symphony Orchestra

5 Dmitri Shostakovich b. St. Petersburg, Russia / September 25, 1906 d. Moscow, Russia / August 9, 1975 Symphony No. 9 in E-flat Major, Op. 70 Dmitri Shostakovich began piano lessons at the age of nine and was discovered to have such a talent for piano and composition he began attending the Petrograd conservatory just four years later. He wrote his first symphony as his graduation project at the age of 17 - just four years after that. This first symphony impressed: it premiered in Berlin just one year later in 1927; and had its American premiere and first recording in He spent the rest of his career primarily as a composer and conductor. He composed chamber works, operas, ballet and film music as well as 15 symphonies. He is one of the greatest composers of the twentieth century. Shostakovich, throughout his career, had a tumultuous relationship with the Soviet politics of his time regularly running afoul of Soviet cultural authorities. Throughout his career he was alternately praised as a great Soviet artist and given the highest honours the USSR bestowed, and denounced and banned and returned to favour once again. The main reason for this pattern was his desire for his music to express the many, contrasting facets of life, positive and negative, rather than just the simple, uplifting sentiments that the bureaucrats expected composers to express. At the beginning of 1945, he began writing a grand, heroic symphony celebrating the impending victory over the Axis powers. He became dissatisfied with it and put it aside. He began an entirely new symphony in July and completed it in August. Instead of a long, serious work that the bureaucrats hoped would somehow be related in spirit to the Ninth Symphony of Beethoven, Shostakovich provided a compact, sarcastic, neo-classical piece scored for an orchestra not much bigger than the one Beethoven had used. Audiences showed their approval, but the official response was savagely negative as it was not the hymn of victory Stalin had expected. Vancouver Symphony Orchestra Symphonic Encounters 2013/14 Page 5

6 son: ea s is th S R E T N U O C N E More SYMPHONIC Friday, February 14, 11am 2pm Friday, June 6, 10am 12:30pm Selections from Carmen, Romeo & Juliet, Samson & Delilah, West Side Story, Carousel, the beautiful Intermezzo from Cavalleria Rusticana and more! Tovey Nielsen Holst Gordon Gerrard, Conductor Kathleen Brett, soprano Colin Ainsworth, tenor Bramwell Tovey, conductor Christie Reside, flute* Elektra Women s Choir* Three Jacobean Songs Flute Concerto The Planets+ Thursday, May 1, 10am 12:30pm Kazuyoshi Akiyama, conductor Tracy Dahl, soprano* Roger Honeywell, tenor* James Westman, baritone* Vancouver Bach Choir* Rimsky-Korsakov Borodin Orff Russian Easter Overture Polovtsian Dances Carmina Burana DISCOUNT STUDENT & YOUTH TICKETS! Page 6 Symphonic Encounters 2013/14 Vancouver Symphony Orchestra

7 REHEARSAL ETIQUETTE The Vancouver Symphony musicians really enjoy performing for student audiences and encourage their interest in classical music! However, we must remember that this is a working rehearsal for the Orchestra and therefore different from a student performance. You are being treated to a behind-thescenes look at an orchestra at work and your silent observation is greatly appreciated. Our rehearsal is in the magnificent Orpheum Theatre and it has wonderful acoustics. This means that the musicians on stage can hear the slightest noise from the audience, just as the audience can hear the quietest notes played from the stage. For this reason, and in consideration of the rehearsal process, there are a few rules of etiquette we ask you to observe. Please be on time. The rehearsal begins promptly at 10:00am and latecomers will be asked to wait in the lobby until there is a convenient break in the rehearsal to be let in quietly. The theatre is open at 9:30am, and we do suggest that you arrive no later than 9:45am to give yourselves adequate time to be directed to your seats and settled before the rehearsal begins. Please do not applaud during the rehearsal. This is a working rehearsal for the musicians and not a performance; therefore applause is not required. You may however show your appreciation at the very end of the rehearsal to thank both the conductor and the musicians for giving you this opportunity to go behind-the-scenes. Cameras and other recording devices are NOT permitted in the Orpheum Theatre. Food and drinks are NOT permitted in the Orpheum Theatre. Cellular phones and pagers must be turned off. Talking and even whispering is distracting to others, so please save your comments until the break or end of rehearsal. We hope you enjoy your behind-the-scenes sneak peek at the Symphony! Booked Special Features for Your Visit? **Meet the Musician will happen at the Rehearsal Break, in the West Coast Energy Hall ** For the Orpheum Tour, meet in the main Smithe Street Lobby at the end of the Rehearsal Break Vancouver Symphony Orchestra Symphonic Encounters 2013/14 Page 7

8 THE VANCOUVER SYMPHONY ORCHESTRA Founded in 1919, the Vancouver Symphony, with 74 musicians, is the third largest orchestra in Canada, performing over 150 concerts annually. The majority of the concerts are set in the historic Orpheum Theatre but the Orchestra regularly performs at 13 other venues across Greater Vancouver. With an annual attendance of over 200,000 patrons, the main season runs from September to June. The Vancouver Symphony s educational programs reach over 50,000 students annually. THE MUSICIANS The musicians in the Vancouver Symphony are exceptional in their ability to play and interpret music. Each member has passed a rigorous audition process to win their job, competing against many of the world s best musicians. They have practiced and studied for years to gain the high level required to be a professional orchestral musician. They have studied in Canada, the United States, Asia and Europe with some of the world s finest teachers. Being a musician in the Vancouver Symphony is a full-time job. The orchestra works together for an average of twenty hours a week in rehearsals and concerts. Each musician then spends many hours practicing at home to prepare for the performance. The Symphony often plays three different programs in one week, so a lot of practice if often necessary. In addition to this busy schedule, many of the Symphony s musicians hold teaching positions at Vancouver s post-secondary schools. They also teach private lessons and play in chamber music groups and other ensembles. Page 8 Symphonic Encounters 2013/14 Vancouver Symphony Orchestra

9 Musicians of the Vancouver Symphony Orchestra Bramwell Tovey, Music Director Kazuyoshi Akiyama, Conductor Laureate Jeff Tyzik, Principal Pops Conductor Gordon Gerrard, Assistant Conductor Edward Top, Composer-In-Residence first violins Dale Barltrop, Concertmaster Joan Blackman, Associate Concertmaster Nicholas Wright, Assistant Concertmaster Jennie Press, Second Assistant Concertmaster Robin Braun Mary Sokol Brown Jenny Essers Akira Nagai, Associate Concertmaster Emeritus Xue Feng Wei Rebecca Whitling Yi Zhou Kimi Hamaguchi Ruth Schipizky second violins Jason Ho, Principal Karen Gerbrecht, Associate Principal Jeanette Bernal-Singh, Assistant Principal Adrian Shu-On Chui Daniel Norton Ann Okagaito Ashley Plaut DeAnne Eisch Erin Wong violas Neil Miskey, Principal Andrew Brown, Associate Principal Stephen Wilkes, Assistant Principal Lawrence Blackman Matthew Davies Emilie Grimes Angela Schneider Ian Wenham cellos Ariel Barnes, Principal Janet Steinberg, Associate Principal Zoltan Rozsnyai, Assistant Principal Olivia Blander Natasha Boyko Joseph Elworthy Charles Inkman Cristian Markos basses Dylan Palmer, Principal Brandon McLean, Associate Principal Brendan Kane, Assistant Principal David Brown J. Warren Long Frederick Schipizky flutes Christie Reside, Principal Nadia Kyne, Assistant Principal Rosanne Wieringa piccolo Nadia Kyne oboes Roger Cole, Principal Beth Orson, Assistant Principal Karin Walsh english horn Beth Orson clarinets Jeanette Jonquil, Principal Cris Inguanti, Assistant Principal Todd Cope e-flat clarinet Todd Cope bass clarinet Cris Inguanti bassoons Julia Lockhart, Principal Sophie Dansereau, Assistant Principal Gwen Seaton contrabassoon Sophie Dansereau french horns Oliver de Clercq, Principal Benjamin Kinsman David Haskins, Associate Principal Andrew Mee Richard Mingus, Assistant Principal trumpets Larry Knopp, Principal Marcus Goddard, Associate Principal Vincent Vohradsky trombones Vacant, Principal Gregory A. Cox bass trombone Douglas Sparkes tuba Peder MacLellan, Principal timpani Aaron McDonald, Principal percussion Vern Griffiths, Principal Tony Phillipps harp Elizabeth Volpé, Principal piano, celeste Linda Lee Thomas, Principal Extra Musician Leave of Absence One-year Position Vancouver Symphony Orchestra Symphonic Encounters 2013/14 Page 9

10 The Vancouver Symphony Orchestra is committed to introducing young audiences to the exciting world of orchestral music. If you have questions, suggestions, or comments about the Vancouver Symphony Open Rehearsal Program please contact: Education Department Vancouver Symphony Orchestra Seymour Street