2011-2012 Concert Guide - Vancouver Symphony Orchestra

Transcription

A
2011-2012 Concert Guide
New Beginning
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Welcome!
never confuse
From Maestro Brotons
Welcome to our 33rd season of providing
outstanding music for Southwest Washington.
Following what can best be described as an
interesting summer, the orchestra and I are proud
of some truly bold selections and guest artists
appearing on our Skyview stage this season.
What more can be written
about the remarkable career
of Salvador Brotons? In
his 21st season as music
director and conductor of
The Vancouver Symphony
Orchestra, musicians and
classical music enthusiasts
still delight in having
Dr. Brotons lead them...
From Katie Harman’s return to The VSO in
October to the glory of The Planets in May, we’ll have
trombone, violin and piano soloists and some of the
most talented young artists in the Northwest on our
stage. Add our new Vancouver Symphony Chamber
Group performing three concerts throughout
the season and the third annual Big Horn Brass
Christmas Show in December, and this year will be
something truly unique.
Thanks to all the passionate board members,
musicians, volunteers and staff for making all the
music possible. Most of all, thanks to you for being
part of our audience and a partner in what I know
will be a “Bold New Beginning” for us all this season.
(Continued on Page 21).
Inside:
Concert Dates, Mission Statement . . . . . . . . . . . . . . . . . . 3
October Classical Concert . . . . . . . . . . . . . . . . . . . . . . . . 4
Save the Date: Big Horn Brass Christmas Concert . . . . . . 12
New for the 2011-2012 Season . . . . . . . . . . . . . . . . . . . 13
November Classical Concert . . . . . . . . . . . . . . . . . . . . . . 14
Call for Entries: Young Artists Competition . . . . . . . . . . 20
Our Conductor and Music Director . . . . . . . . . . . . . . . . 21
January Classical Concert . . . . . . . . . . . . . . . . . . . . . . . . 22
April Classical Concert . . . . . . . . . . . . . . . . . . . . . . . . . . 32
May Classical Concert . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Photo Gallery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Friends of the VSO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Volunteer of the Year . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Orchestra members, Board & Staff . . . . . . . . . . . . . . . . . 48
Donor Acknowledgements . . . . . . . . . . . . . . . . . . . . . . . 49
Tributes to the VSO & Musicians . . . . . . . . . . . . . . . . . . 52
Special
Acknowledgment:
Full Color Printing
for this publication
has been graciously
donated to the VSO by
two individuals who wish
to remain anonymous.
Thank you for your
generous contribution
and support of The
Vancouver Symphony
Orchestra’s mission.
Visit us online | www.vancouversymphony.org
1
LifeStyle
October 1 & 2, 2011
Symphonic Overture Niblock
Katie Harman, soprano
Symphony No. 5
Shostakovich
November 12 & 13, 2011
La Scala di Seta Overture Rossini
Concertino for Trombone No. 4, Op. 4
Henry Henniger, trombone David
Prokofiev
Symphony No. 5
January 28 & 29, 2012
Eugen Onegin: Polonaise Tchaikovsky
Violin concerto Sibelius
Francisco Garcia-Fullana, violin
Symphony No. 3
Tchaikovsky
Local owners Gary & Christine Rood
are pleased to offer two Vancouver’s
premier Senior Living communities.
April 14 & 15, 2012
18th Annual Young Artists
Symphony No. 5 Hanson
Midsummer Night’s Dream
Mendelssohn
May 26 & 27, 2012
Audience choice TBA
Piano concerto in G Major
Ravel
Linda Barker, piano
The Planets
Holst
The Quarry at Columbia Tech Center
offers all of the amenities of a luxury
cruise ship. Glenwood Place offers all
of the amenities of a well appointed
estate. Both offer freedom of choice
and foster independence for all of Clark
County’s seniors.
Tickets for Special Events available
at www.vancouversymphony.org.
The VSO Mission Statement:
To enhance the quality of life in Southwest
Independent Liv i n g • A s s i s te d L i v i n g • En h a nced Care • Memor y Care • Parkinson’s Ca re
2
Concert Dates
September 23, 2011, 7 p.m.
Autumn Glory: The VSO Chamber Group
September 25, 2011, 3 p.m.
Autumn Glory: The VSO Chamber Group
December 17, 2011, 7 p.m.
Big Horn Brass Christmas Concert
February 3, 2012, 7 p.m.
Wintertide: The VSO Chamber Group
Wintertide: The VSO Chamber Group
18th Annual Young Artists Concerto
Competition
March 23, 2012, 7 p.m.
Signs of Spring: The VSO Chamber Group
March 25, 2012, 3 p.m.
Signs of Spring: The VSO Chamber Group
TBA
Friends of The VSO Tea
All programming subject to change
without notice.
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Classical Concerts
ONE LOCAL COMPANY, TWO GREAT OPTIONS IN VANCOUVER
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Thank you for supporting The Vancouver Symphony Orchestra
Washington by providing symphony music of
the highest caliber in live performances and
through music education in schools, concert
halls and throughout the community.
A = Skyview Concert Hall
1300 NW 139th Street, Vancouver, WA
A = Trinity Lutheran Church
309 W 39th Street, Vancouver, WA
A = Zion Lutheran Church
824 NE 4th Avenue, Camas, WA
A = Life Point Church
305 NE 192nd Ave, Vancouver, WA
A = TBA (To Be Added)
3
Saturday, Oct. 1 at 3 p.m. & Sunday, Oct. 2 at 7 p.m.
Skyview Concert Hall—Vancouver, WA
Salvador Brotons, Conductor
Guest Artist
October Classical Concert
Magna Cum Laude with a Bachelor of
Science in Music and Communications at
Portland State University.
Symphonic Overture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . James Niblock
Arias and Songs:
O mio babbino caro from Gianni Schicchi . . . . . . . . . . . . . . . . . . Giacomo Puccini
Medley: Someone to Watch Over Me and Embraceable You . . . . George Gershwin
Summertime from Porgy and Bess
Smoke Gets in Your Eyes from Roberta . . . . . . . . . . . . . . . . . . . . . . . . Jerome Kern
Song to the Moon from Rusalka . . . . . . . . . . . . . . . . . . . . . . . . . . Antonin Dvorák
Katie Harman, soprano
15 minute intermission
Please listen to the bell to return to your seats
Symphony No. 5, Op. 47 . . . . . . . . . . . . . . . . . . . . . . . . . . . Dmitri Shostakovich
Moderato
Allegretto
Largo
Allegro non troppo
We Gratefully Acknowledge Our Program Sponsors:
Special Thanks to Lois Cook
for sponsoring Katie Harman.
4
Katie Harman
Katie Harman’s personal conviction
about life and how to live it says it
best: “Serve greatly, Love deeply, Live
passionately.” This conviction combined
with her unique journey and deep-seated
faith fuels the passion that flows from her
celebrated voice and gives her the strength
to pursue excellence as a professional
vocalist, television personality, soughtafter speaker for cancer advocacy and
women’s issues, entrepreneur, devoted
wife, loving mother, and caring friend.
Crowned Miss America 2002 days after
the terrorist attacks on September 11,
2001, Katie traveled the nation to deliver
messages of comfort and hope while
meeting directly with rescue workers at
Ground Zero and the Pentagon, family
members of those lost in the attacks,
military officials, the President and First
Lady, government officials and thousands
of Americans. In addition, she’s aimed
the Miss America spotlight at supporting
breast cancer patients and championing
the need for comprehensive cancer care.
Katie’s drive to serve as a strong voice, in
both speech and song, led her to graduate
She tours nationally and internationally
as a sought-after classical vocalist, and
has sung not only with The Vancouver
Symphony and Oregon Symphony, but
also with the Boston Pops Orchestra, the
Shreveport Symphony, the US Army Band,
the USO, and many others. In 2003, she
made her professional operatic debut
with the Gold Coast Opera, and has since
appeared in both full-scale productions
and concerts with a myriad of opera and
musical theater companies, symphonies
and at private events. Recently, Katie
debuted her first solo album, Soul of Love,
with renowned Portland pianist and
composer Michael Allen Harrison.
In 2009, Katie added “entrepreneur” to
her list of accomplishments, developing
Ma Chère Finery, a line of couture
children’s clothes, women’s bags and
aprons, as well as home décor in small
boutiques throughout the US and online
worldwide at Etsy.com. The line was
inspired by her two children, her love of
French vintage, and her appreciation for
chic, simple living.
Katie and her husband, an F-15 pilot
and instructor for the Air National Guard,
reside in Southern Oregon with their two
children in a restored 1936 farmhouse.
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5
October Concert Program Notes
by Michael Allsen
Our season opens with a brilliant
Symphonic Overture by a composer with
local roots. James Niblock was born just
across the river in Scappoose, OR and
studied music initially in Portland. Our
special guest, soprano Katie Harman is
also from very close by—this former Miss
Oregon and Miss America, was born in
Gresham. She is featured in a set of arias
and popular songs by Puccini, Gershwin,
Kern, and Dvorák. We end with one of
the greatest works of Shostakovich-- his
powerful fifth symphony.
James Niblock (b.1917)
Symphonic Overture
James Niblock was born in Scappoose
OR, and received his early musical training
in violin and music theory in Portland. He
received his BA and B.Ed in Music from
Washington State University, and after
wartime service in the Air Force, earned
Niblock composed
his Symphonic
Overture in 1964,
for a commission
by the Lansing
(MI) Symphony
Orchestra.
Duration 6:00.
a Masters degree in Music from Colorado
College, studying violin with Josef Gingold,
and composition with Roy Harris and Paul
Hindemith. After earning a doctorate at the
University of Iowa, Niblock took a position
at Michigan State University, where he had
a distinguished tenure of some 37 years
until his retirement in 1985: teaching
theory and composition, performing in
the faculty string quartet, and eventually
serving as director of the School of Music.
He had an equally long tenure performing
6
with the Lansing Symphony Orchestra.
Now in his mid-90s, Niblock maintains
an active schedule of conducting and
composition. He lives in East Lansing MI,
with Helen, his wife of nearly 60 years.
Niblock has composed over 150 major
works, including several operas and large
symphonic works. His Symphonic Overture
of 1964 is one of his most frequentlyplayed pieces. It is cast in traditional
form, with a slower introduction leading
to an Allegro. The body of the overture is
based upon three main themes, the first of
which, for solo trumpet, he describes as
an “Announcement.” The second and third
themes are introduced in turn by winds
and strings. All themes are combined in a
brilliant conclusion.
Favorite arias and songs
Gianni Schicchi is the third of three short
operas that Giacomo Puccini (1858-1924)
grouped together as “Il trittico.” The operas
were premiered at New York’s Metropolitan
Opera in 1918. Gianni Schicchi is the
lightest of the three, a typically convoluted
Italian comic opera plot that concerns
the death of the wealthy Buoso Donati,
and his greedy relatives’ struggle for his
property. It also centers on the frustrated
love of Rinuccio and Lauretta, daughter
of the conniving Gianni Schicchi (a
character briefly mentioned in Dante’s
Inferno). There are all of the traditional,
wonderfully ridiculous elements of comic
opera—among the
more outrageous
moments is when
Schicchi imitates
the recentlydeceased Donati
in order to dictate
a new will to a
notary. In the most
famous aria of the opera, Lauretta drops to
her knees before her father and sings the
most famous aria from Gianni Schicchi, the
poignant O mio babbino caro.
One of the fascinating things about
George Gershwin (1898-1937) is the
fact that he had feet firmly planted in
two different musical worlds. He made
his fortune as a composer of Broadway
musicals and popular
songs, but from very
early in his career he
also wrote works in
what he considered
a more “serious”
vein. Classical music
critics of the day gave
decidedly mixed
reviews to works
like the Rhapsody and the Concerto in
F, but audiences generally loved them.
Ms. Harmon provides a cross-section of
Gershwin’s music, opening with a pair of
popular songs he wrote in collaboration
with his favorite lyricist, his brother Ira.
In 1926 they teamed for the musical Oh,
Kay!—a light farce set amongst the British
“upper-crust.” (The book was partly by
English comic writer P.G. Wodehouse.)
The show’s hit, Someone to Watch Over
Me is a hopeful love song, with a great set
of Ira Gershwin’s witty lyrics. George and
Ira joined again for the song Embraceable
You in 1928. Though the original show for
which it was written was never staged, the
song eventually found a home in the 1930
show Girl Crazy, where Ginger Rogers
made it a hit.
The beginnings of Porgy and Bess date
to 1926, when Gershwin read DuBose
Heyward’s Porgy—a novel inspired
by characters and situations Heyward
observed in the African-American
community of his home town of
Charleston, SC. Gershwin collaborated
with both Heyward and Ira, and completed
it in 1935. This represents the more
Classical Gershwin—though he himself
was a little uncomfortable in labeling this
an “opera.” Porgy and Bess is one of those
great American works (like Bernstein’s
West Side Story some two decades later)
that effectively combines the conventions
of opera and Broadway. Produced with an
all-black cast, it was also remarkable in
the sensitivity and depth of its portrayal
of its characters. With a few exceptions
(like Kern’s 1927 musical Show Boat),
African-American characters of the 1920s
and 1930s—when they appeared on stage
at all—appeared in broadly stereotyped
roles or blackface caricatures. It has
fully drawn characters who are treated
sympathetically—and who get to sing
some of Gershwin’s greatest music! Though
Gershwin relied on Ira for many of the of
the show’s lyrics, Heyward was responsible
for the lyrics of Porgy and Bess’s most
famous song, Summertime. In the show,
this blues-flavored lullaby is sung by a
young mother named Clara to her baby boy.
Like his contemporary Gershwin, Jerome
Kern (1885-1945) was a great theatrical
and song composer. He wrote over 700
songs, mostly
for Broadway
and Hollywood,
and the 1933
hit Smoke Gets in
Your Eyes is one
of his finest. That
year Kern teamed
with lyricist Otto
Harbach for the musical Roberta, starring
Tamara Drasin and a young Bob Hope. It
was a respectable hit, running nearly 300
performances on Broadway and there were
two later movie versions. Roberta is set in
the glamorous world of Parisian fashion,
and the bittersweet Smoke Gets in Your Eyes
is sung by Stephanie, an exiled Russian
countess—a reminder that love often
comes with tears.
7
(continued)
This doctrine was originally intended to
Dmitri Shostakovich (1906-1976)
Symphony No. 5, Op. 47
In these days, when the Soviet Union is
a historical memory, rather than a world
power, totalitarian control by a state
over the arts is thankfully rare around
the world. In Josef Stalin’s Soviet state,
however, it was a powerful and controlling
reality. A manifesto outlining the principles
of “Socialist Realism” appeared in 1933.
8
control the content and style of Soviet
literature, but it was quickly adapted to the
visual arts, film, and music. As explained in
an article published by the Union of Soviet
Composers: “The main attention of the
Soviet composer must be directed towards
the victorious progressive principles of
reality, towards all that is heroic, bright,
and beautiful. This distinguishes the
spiritual world of Soviet man, and must
be embodied in musical images full of
beauty and strength. Socialist Realism
demands an implacable struggle against
those folk-negating modernistic directions
typical of contemporary bourgeois art,
and against subservience and servility
towards modern bourgeoisie culture.” In
practice, Soviet music of this period served
the propaganda needs of the state, and
was aimed at proletarian consumption.
Shostakovich completed this
work in 1937, and it was
performed for the first time
in Leningrad (St. Petersburg)
on November 21, 1937, by
the Leningrad Philharmonic,
under the direction of Yevgeny
Mravinsky. Duration 44:00.
Composers abandoned “formalist”
devices—unrestricted dissonance, twelvetone technique, etc.—in favor of strictly
tonal harmonies and folk music (Soviet
composers produced dozens of works for
balalaika ensembles and concertos for other
folk instruments during this period).
Shostakovich struggled heroically within
this system. There was a continuing pattern
in his works of the 1930s and 1940s of
perilously pushing the limits of official
tolerance and then rehabilitating himself
with a work that seemed to conform
more closely to the Party line. In 1934,
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The opera Rusalka is
one of the later works
of Antonin Dvorák
(1841-1904), composed
in 1900. It was first
produced in Prague on
March 31, 1901, and
remains the most popular
of Dvorák’s several Czech
operas. The opera is based upon a Slavic
legend—similar in many ways to the
fairy tale The Little Mermaid—adapted by
poet Jaroslav Kvapil. The title character
is a water sprite who falls in love with a
prince, and strikes an unwise bargain with
the witch Jezibaba that will allow her to
assume mortal form (though she loses her
voice) and marry him. In fairy tales, love
affairs between mortals and supernatural
beings nearly always end badly, and this
is no exception: to save her
beloved prince, Rusalka loses
her mortal form to become a
kind of cursed water-demon.
But the prince seeks her out,
accepting his own death in
a vain hope to stay with her.
The best-known moment
from the opera is the wistful
Song to the Moon, drawn
from Act I, long before this
final tragedy. Rusalka, smitten with love,
sings to a full moon, asking it to relate her
feelings to the prince.
(from left) Edmund Stone, John Pitman,
Christa Wessel, Brandi Parisi,
John Burk, Andrea Murray,
Robert McBride and Ed Goldberg
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his opera Lady Macbeth of Mtsensk was a
rousing success, and continued to run for
over 100 performances. In 1936, however,
Stalin himself attended a performance,
and left the theater in a rage. Within a few
days, a review of the opera appeared in
Pravda, complaining of an “intentionally
dissonant, muddled flow of sounds,”
and angrily denouncing its anti-Socialist
“distortion.” Shostakovich was quickly
transformed from one of the young lions
of Soviet music to a suspected Formalist,
and articles published in Pravda and the
bulletin of the Composers’ Union began
to reveal “modernistic” and “decadent”
elements in many of his works that had
previously been blessed by the critics.
The composer immediately cancelled the
premiere of his fourth symphony, fearing
that the dissonant nature of this score
would push the authorities too far. He
was so certain, in fact, that Stalin’s goons
would appear at his door that he kept a
small suitcase in his apartment, packed
for his trip to the Gulag Archipelago. A
hastily-composed ballet glorifying life on
a collective farm was not enough put him
back in favor with the Composers’ Union,
but with the performance of his Symphony
No.5 in November of 1937, Shostakovich
regained a certain amount of his position
in the hierarchy of Soviet musicians.
On its surface, the Symphony No.5
seems to be a meek acquiescence—in fact
Shostakovich humbly subtitled the work
“The practical answer of a Soviet artist to
justified criticism,” and it was composed
in honor of the 20th anniversary of the
1917 revolution. In describing the fifth
9
(continued)
a positive spin on the affair and accept
symphony at its premiere, Shostakovich
wrote: “The theme of my symphony is the
making of a man. I saw humankind, with
all of its experiences at the center of this
composition, which is lyrical in mood from
start to finish. The Finale is the optimistic
solution of the tragedy and tension of
the first movement. ...I think that Soviet
tragedy has every right to exist. However,
the contents must be suffused with
positive inspiration... ” All safely Socialist
sentiments—but hearing the Symphony
No.5, we are struck not so much by the
triumph and optimism of the Finale, but
by the deeply personal anxiety and sense of
suffering that underlies the entire work.
The premiere was a phenomenal
success and Soviet officials were quick to
investigate what all the fuss was about.
The Committee on Art Affairs dispatched
two of its members to Leningrad to hear
a later performance, they explained that
tempestuous applause at the end was
because the promoters had hand-picked
the audience, excluding “ordinary, normal
people.” But a subsequent performance
for hand-picked Party officials and guests
was just as successful. Official suspicion
persisted— one musical official cited
the “unwholesome stir around this
symphony”—but in this case, Soviet
authorities seem to have decided to put
the popularity of this work at face value.
Glowing reviews followed in the official
press. The review by composer Dmitri
Kabalevsky was typical: “After hearing
Shostakovich’s Fifth Symphony, I can
boldly assert that the composer is as
truly great Soviet artist has overcome his
mistakes and taken a new path.”
The audiences at these early
performances were probably more
perceptive, however. Many members of
the audience wept at the premiere, and
the applause following the performance
lasted nearly half an hour —facts that
were reported in the official press as an
emotional response to the symphony’s
uplifting conclusion. As Shostakovich
wrote some 25 years later (well after
Stalin was safely dead and repudiated):
“Someone who was incapable of
understanding could never feel the Fifth
Symphony. Of course they understood—
they understood what was happening
around them and they understood what
the Fifth was about.” This work is indeed
a “response to criticism,” but it is a much
more tragic and anguished response than
the authorities chose to believe.
The tragic character of this symphony
is established in the very opening bars
(Moderato), in an angular, off-beat melody
introduced by the low strings. Much of
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the beginning is devoted to an imitative
exposition of this melody in the strings.
A repeated rhythm appears in the lower
strings, repeating incessantly beneath the
second main theme, a lyrical melody in
the first violins. This melody is built over
the same large leaps as the opening theme,
but here the effect is more melancholy
than tragic. After flute and clarinet solos
comment upon this theme, the horns
introduce a more menacing march-like
melody. This march increases in intensity
until the climactic return of the opening
theme. Near the close of the movement
the second theme returns, now on a more
hopeful note, in the solo flute.
For the main theme of the scherzo
(Allegretto), Shostakovich parodies a
melody from his Symphony No.4. The
irony is obvious—here was a work that
was unknown to the audience, and
that, the composer felt, would never be
performed. So the outward humor of
beautifu
VS5
Discount Code
this movement—bumptious bass lines,
woodwind trills and tongue-in-cheek
violin solos—overlays a bitterly sarcastic
comment on Socialist Realism. A militarysounding waltz alternates with this main
theme in the manner of a trio. At the end,
he uses one of Beethoven’s favorite jokes:
what seems to be yet another repeat of the
trio, played hesitantly by a solo oboe, is
brusquely tossed aside by the brass, and
the movement ends abruptly
The third movement (Largo) belongs
entirely to the strings and solo woodwinds.
Shostakovich divides the string section
into eight parts throughout this movement,
weaving complex counterpoint around
a single somber melody. Flutes and harp
introduce a second subject which is
gradually woven together with the first.
In a very beautiful central passage, solo
woodwinds expand on the main themes
above an effectively simple background
of string tremolos. The movement builds
11
gradually towards its climax,
a return of the first theme in
the full string choir, before
fading away at the end.
Though it is overshadowed
by the broad opening
movement and the powerful
finale, the Largo may have
been the movement that
had the deepest impact at
the premiere. Much of the
weeping in the audience
took place during the
Largo, leading biographer David Fanning
to suggest that the movement was “...a
channel for a mass grieving at the height of
the Great Terror, impossible otherwise to
express openly.”
The finale (Allegro non troppo) is set as
a rondo, and brings the
symphony to a properly
jubilant finish. The main
theme is an almost violent
march, which alternates
with several quieter
sections. Shostakovich
brings back reminiscences
of several moments from
preceding movements,
building towards a massive
coda in D Major. The
composer’s own program
note (and the official reviewers) described
the finale as triumphant and exultant.
Once again, Shostakovich’s intent in this
movement may well have been sarcasm,
rather than exaltation.
program notes ©2011 by J. Michael Allsen
Coming Soon: 3rd Annual Big Horn Brass Christmas Show
featuring vocalist,
Karla Harris
This is the third Big Horn
Brass Christmas Show
being performed as a
benefit for The VSO, but
in reality, this snappy
and sassy holiday show
has been entertaining
Vancouver and Portland
audiences for decades.
This concert features
fifteen shining pieces
of brass and percussion
playing holiday favorites
and crowd pleasing
standards that will thrill
your whole family.
Tickets available by
calling the VSO office
at 360-735-7278.
12
Adding to the many
Vancouver Symphony
musicians playing for the
Big Horn Brass is longtime area favorite vocalist,
Karla Harris. You can see
and hear the Big Horn
Brass playing all over
the area during the year,
but on December 17,
Christmas comes a little
early—to LifePoint Church
in Vancouver.
All proceeds from this
concert benefit The VSO.
Dec. 17, 2011, 7 p.m.
Life Point Church
305 NE 192nd Ave.
Vancouver, WA
New for the 2011-2012 Season
Chamber Music
Series
It’s the perfect marriage of fun
and music to complement
the larger and more
dynamic performances of
The Vancouver Symphony
Orchestra. By popular
demand, the orchestra is
proud to introduce a series
of three concerts by The
Vancouver Symphony
Chamber Group under the
direction of Dr. Michael C. Liu
and Dr. Igor Shakhman.
These three concerts will
run in September 2011 and
February and March 2012 and
feature musicians from The
VSO. Friday night concerts
are at Trinity Lutheran Church
in Vancouver at 7 p.m. and
Sunday concerts are at
Zion Lutheran Church in
Camas at 3 p.m.
The first in the series,
Autumn Glory will be followed
by Wintertide on February 3rd
and 5th and Signs of Spring on
March 23rd and 25th.
“While we’re proud to offer
five sensational symphony
concerts during the season,
many of our ticket holders
were asking for a variety of
music in a more intimate
setting. Thanks to the talent
and generosity of Dr. Liu and
our world class musicians,
we are able to offer these
three memorable concerts,”
said VSO Board Chair Kathy
McDonald.
Individual tickets are $20 for
adults and $10 for students.
Tickets for all three concerts
are $50 for adults and $25 for
students and are available at
vancouversymphony.org.
Music Alive!
For the first time ever,
we are excited to launch
Music Alive!, a performance
collaborative for Southwest
Washington. This new
initiative will elevate the
arts and music through
key partnerships with
organizations such as
Vancouver Children’s Opera,
the Vancouver School
of Arts and Academics,
Columbia Dance and others,
while providing an array of
opportunities for involvement
through outreach,
education, entertainment
and community. As a part of
Music Alive! The Vancouver
Symphony Orchestra launches
a Chamber Music Series with
more exciting plans in the
works. More than ever before,
The VSO is making music
heard well beyond Skyview!
The VSO means
business!
Become a partner in The
VSO’s success by becoming
a Corporate Member. By
advertising your business in
our Concert Guide and up
on our big screen at each
concert, you provide crucial
financial support to bring
music into the lives of 10,000
music lovers every season.
Most importantly, your
message will reach some of
the most influential and besteducated people in Southwest
Washington. Join dozens of
local businesses that have
discovered the advantages of
supporting the VSO.
Businesses who purchase
a full-page ad in our Concert
Guide receive exclusive
discounts and promotional
opportunities, including:
• 10% off VSO Presents
events, such The Big Horn
Brass Christmas or the VSO
Chamber Music Group Series.
• 5% off a subscription of
ten or more corporate seats.
• Recognition during the
five-concert season in audio
and video announcements
and a click-thru logo on our
website.
• An invitation to a
Corporate Night where you’ll
experience a behind-thescenes look at the making
of one of our concerts from
rehearsal to performance,
including meeting Maestro
Brotons and the orchestra.
It’s never too late to
support your symphony.
On-screen advertising is
available now! Call 360-7357278 for more information.
When it comes to music,
The VSO means business!.
13
Saturday, Nov. 12 at 3 p.m. & Sunday, Nov. 13 at 7 p.m.
Overture to La scala di seta . . . . . . . . . . . . . . . . . . . . . . . . . . Gioacchino Rossini
Concertino in E-Flat Major for
Trombone and Orchestra, Op.4 . . . . . . . . . . . . . . . . . . . . . . . . . Ferdinand David
Allegro maestoso
Andante: Marcia funebre
Allegro maestoso
Henry Henniger, trombone
Symphony No.5 in B-flat Major, Op. 100 . . . . . . . . . . . . . . Sergei Prokofiev
Andante
Allegro marcato
Adagio
Allegro giocoso
Guest Artist
November Classical Concert
Henry Henniger, a native Oregonian,
joined the University of Oregon faculty
as Assistant Professor of Trombone in
2010. Previously, he held faculty teaching
positions at Oregon State University
and Linfield College. Henry started his
musical career at Indiana University,
where he received his bachelors in
trombone performance. His Masters
degree was received from the Manhattan
School of Music were he was a member
of the prestigious Orchestral Performance
program. Upon graduation, Henry was
also awarded the John Clark Award for
excellence in brass performance.
Active nationally as a soloist and
orchestral musician, Henry has
performed with a wide variety of
ensembles, and frequently performs with
the Eugene Symphony, Sun River Music
Festival, Spokane Symphony, Astoria
Music Festival, Oregon Bach Festival,
Oregon Symphony and the Seattle
Symphony. He has also been a featured
soloist with several orchestras and
wind ensembles throughout the region
including Central Oregon Symphony,
Linfield College Wind Ensemble, Oregon
State Wind Ensemble and the University
of Portland. Currently, Henry is principal
trombone of the Portland Opera and
Oregon Ballet Theatre and is also a
member of the Oregon Brass Quintet.
Equally active as a music educator,
Henry is in demand as a guest clinician
and adjudicator throughout the state and
has been fortunate to study with some
of the most legendary brass virtuosi. He
is also proud to have been one of The
Vancouver Symphony’s Young Artist
winners in 1998.
Small Business Specialists
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November Concert Program Notes
by Michael Allsen
We begin with an early gem by Rossini,
written when he was barely 20 years
old, the overture to the comic opera La
scala di seta. Trombonist Henry Henniger
is featured in the challenging solo part
of David’s Concertino. And rounding off
the program is a challenge for the entire
orchestra, Prokofiev’s grand wartime work,
the Symphony No.5.
Gioacchino Rossini (1792-1868)
Overture to La scala di seta
Rossini’s first
commission as an
opera composer
was for a short
one-act farsa
(farce), La cambiale
di matrimonio for
Venice’s Teatro San
Moisè. According to
one later report, a German composer who
had been engaged to write the opera bailed
out, and Rossini got the job at the last
minute. Rossini’s farsa was enough of a hit
that the Teatro San Moisè commissioned
several more operas in the next few years,
mostly short, lightweight pieces. L’inganno
felice, premiered in January 1812 was just
as successful, and he followed this a few
months later with a third farsa, La scala
di seta. The plot centers on a Giulia and
Dorvil, a pair of lovers who are secretly
married. Every night, Dorvil stealthily
climbs a silk ladder to reach her bedroom.
When Giulia’s guardian engineers an
arranged marriage for her, there are a
whole series of implausible plot twists—
at one point virtually every character in
the opera is hidden somewhere in her
bedroom—but eventually the secret
marriage is revealed and it ends happily.
The opera was not particularly successful.
Rossini blamed the theater’s impresario
for sabotaging the production, but it was
16
revived with greater success several times
afterwards. Its vivacious overture—which
was probably dashed off just a day or so
before the first performance—is one of
Rossini’s finest early works.
Rossini’s opera La scala di seta (“The
silken ladder”) was premiered in Venice,
at the Teatro San Moisè on May 9, 1812.
Duration 6:00.
After a blustery opening passage, there
are a series of lovely Andantino solos by the
winds that serve as an introduction. Strings
enter suddenly with a swift main theme.
The second theme alternates between
strings and humorous replies from the
woodwinds. There is a subdued, almost
dark passage in the middle, but Rossini
ends with a brilliant recapitulation and a
bright, happy coda.
Ferdinand David (1810-1873)
Concertino in E-Flat Major for
Trombone and Orchestra, Op.4
Ferdinand David was one of Germany’s
leading violinists in the mid 19th
century, and was particularly closely
connected—both professionally and
personally—to Felix Mendelssohn. When
Mendelssohn became director of the
Leipzig Gewandhaus Orchestra in 1835,
he promptly invited his friend to be the
orchestra’s concertmaster. Mendelssohn
would later write his famous E minor violin
concerto for him. David would spend the
rest of his career in Leipzig, eventually
taking on many of the conducting duties
after Mendelssohn’s death. A skilled
composer, David wrote an opera, several
violin concertos and orchestral works,
chamber music, and published numerous
transcriptions for violin. But the Concertino
heard here remains his most often-played
work: it is among the finest Romantic
concertos for the trombone.
David composed both the Concertino
and a second now-lost solo work, the
Concertino Militaire, for the trombonist Carl
Queisser, who was the Gewandhaus’s solo
trombonist from 1820-1843. Schumann,
who heard him in the 1840s, called him
the “god of the trombone” and a review of
a performance in 1841 was typical of
praise for Queisser’s playing, calling
him a star “of the first magnitude, who
not infrequently makes the impossible
seem possible.” He toured Germany as
a soloist, but Quiesser would appear
over two dozen times as a soloist in the
Gewandhaus, playing the David works,
and pieces written for him by Leipzig
composers Carl Heinrich Meyer and C.
G. Müller, and Dresden violinist Friedrich
August Kummer. Even Mendelssohn
apparently promised Queisser a concerto,
but—unfortunately for generations of
trombonists—never wrote it.
The first of three movements (Allegro
maestoso) beings with a pastoral moment
for woodwinds, and a stormy orchestra
passage that leads to the trombone’s
grand declamatory entrance. The
woodwind chorale of the opening
David composed this
concerto in 1837, for
the trombonist Carl
Quiesser. It was first
performed at the
Leipzig Gewandhaus,
under the direction of
Felix Mendelssohn.
Duration 15:00.
serves as a contrasting theme, before an
agitated passage leads to some brilliant
solo passages and a short concluding
cadenza. David liked the second movement
(Andante: Marcia funebre) enough that
he later published a version for solo
violin and piano. The opening is a dour
funeral march, overlaid by a solemn
trombone line. There is a more lyrical and
sentimental middle section before a return
of the march music and a few passionate
statements from the soloist. The finale
(Allegro maestoso) begins with building
expectation from the orchestra and
reprise of the solo theme of the opening
movement. The first movement’s chorale
theme returns as well, but the movement
ends with a coda that introduces new
material and a powerful line for the soloist.
Sergei Prokofiev (1891-1953)
Symphony No.5 in B-flat Major,
Op. 100
In the Soviet Union, composers served
the State, and musical style was expected
to conform to the political needs of the
moment and the philosophy of artistic
authorities. Prokofiev’s Soviet colleague
Dmitri Shostakovich chafed against these
restrictions though his whole career—
the story of his Symphony No.5—heard
at our last program is the best-known
example. Even in his big, patriotic wartime
symphonies (the seventh and eighth),
Shostakovich interjects hints of sarcasm
and bitterness. For his part, Prokofiev
seems to have wholeheartedly supported
the government, and provided unabashedly
nationalistic works, such as the bombastic
Cantata for the Twentieth Anniversary of the
October Revolution (1937) and the cantata
Hail to Stalin (1939). He made every effort
to assist when the Soviet Union entered the
war in 1941, providing dozens of smaller
patriotic works. However, Prokofiev’s
most important artistic responses to the
Great Patriotic War were the two largest
scores completed in these years, the opera
War and Peace, and the Symphony No.5.
In a postwar interview, he discussed the
composition of the fifth symphony:
“When the Second World War broke
17
November Concert Program Notes
since the 1930s. Prokofiev conducted the
(continued)
out, I felt that everyone must do his
share, and began composing songs and
marches for the front. But soon events
assumed such gigantic and far-reaching
scope as to demand larger canvasses...
Finally, I wrote my Fifth Symphony, on
which I had been working for several
years, gathering themes in a special
notebook. I always work that way,
and that is probably why I write so
fast. The entire score of the Fifth was
written in one month in the summer
of 1944. It took another month to
orchestrate it, and in between, I wrote
the score for Eisenstein’s film Ivan the
Terrible ... The Fifth Symphony was a
very important composition to me, as
it marked my return to the symphonic
form after a long interval. I regard it as
the culmination of a large period in my
creative life.”
Several of Prokofiev’s colleagues and
friends from these years have commented
on his businesslike approach to
composition—he apparently maintained a
precise “9 to 5” schedule, with composition
in the morning and orchestration in the
afternoon. Even periods when his life
was in turmoil seem to have left this
schedule intact. Beginning in 1941, the
Soviet government evacuated artists
and composers out of Moscow to safer
locations in the southern republics.
Prokofiev moved almost constantly during
the next five years, his marriage broke up,
and he suffered a series of heart attacks,
but still he remained extremely productive
throughout the years of the war. One
particularly fertile period was the summer
of 1944, when Prokofiev was staying in
Ivanovo, an estate managed by the Union
of Composers. It was during this stay
that he completed the Symphony No.5, a
work that had been in the planning stage
18
premiere performance at a concert of the
Moscow Philharmonic Orchestra in early
1945, and the symphony was welcomed
ecstatically by both the audience and the
official critics. Tragically, this was to be
Prokofiev’s last performance. He suffered
a concussion soon afterwards, and during
his last eight years, he was prevented from
performing by ill health, although he
continued to compose prolifically.
Prokofiev composed
his fifth symphony
in 1944. The work
was first performed
in Moscow, on
January 13, 1945.
Duration 43:00.
The Symphony No.5 is patriotic music
on a grand scale. The opening movement
(Andante) is in sonata form, but it is also
a succession of long, arching melodies—
“slowly singing strata,” in the words of one
early critic—above a constantly shifting
rhythmic and harmonic background.
The opening theme is an asymmetrical
melody that rises an octave and a half
in the space of two measures. A bridge
section, characterized by a rising bass line
leads to the second main theme, a dolce
melody introduced by the flute and oboe.
The exposition’s closing section contains
two new ideas: a forceful melody in
dotted rhythms and a nervous sixteenthnote figure. Prokofiev’s development is
concerned largely with the first theme
and material from the closing section.
There is a conventional recapitulation,
and the movement ends with an exultant
transformation of the opening theme.
The two central movements are a study
in contrast. The second movement (Allegro
marcato) is set in three-part scherzo form.
The outer sections are loosely based
upon two ideas: an ostinato-style bass
line, and a shrill Russian-flavored dance.
Prokofiev developed and varied both ideas
extensively. The central trio presents a
more lyrical melody that is tinged with
humor. Many of the musical ideas in
this sardonic movement were apparently
leftovers from his work on the ballet score
Romeo and Juliet in the middle 1930s.
After the witty scherzo, the Adagio is
pensive and somber. The long, wandering
first theme is presented by the clarinets
and then repeated and varied. The dirgelike second theme contains references to
both the first theme of this movement,
and the main theme of the opening
movement. A development section, which
combines material from the transition and
the second theme, builds gradually into
a huge orchestral climax. The opening
triplet figure returns, and there is a brief
recapitulation of the first theme only. The
coda introduces a final melody: a consoling
answer to the first theme.
The final movement (Allegro giocoso)
is a rondo—a main theme placed in
alternations with several contrasting ideas.
The quiet introduction gives no hint of
what is to come. The violas abruptly break
in with a rollicking eighth-note figure, and
the clarinet introduces the sarcastic main
theme of this movement. The next section
contains a pointed staccato melody in
the oboe and piccolo, and a lyrical figure
played by the flute. After a return of the
main theme, Prokofiev makes a startling
change of pace. The central section is
based upon a hymn-like melody that
recalls the style of many of his patriotic
vocal works. The movement continues
with restatements of the main and second
sections in the tonic key. The symphony
closes with a massive coda, combining the
hymn with elements of the main theme.
Soviet victory was clearly in sight in 1944,
and this symphony’s triumphant ending
reflects optimism and joy after years of
horrendous struggle.
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Call for Entries
Students vie for $5,250 in scholarship money
in the18th Annual Young Artists Competition
Every season, one of the bestattended and most eagerly anticipated
events is the February VSO Young Artists
Competition and the performances of
the three winners with our orchestra at
our April concert. These are both truly
joyous events that celebrate our area’s
incredible musical talent.
Students up to the age of 18 enter
the competition in the categories of
piano, strings and brass/woodwinds.
In February, the three top candidates
in each category compete in front of
an audience for the top scholarship
prize of $1,000 and the opportunity to
perform their winning selection with
Maestro Brotons and The Vancouver
Symphony at our April 14 & 15
concerts at Skyview Concert Hall.
Complete information and an
application for your young artist
is available at vancouversymphony.
org. Deadline for all submissions is
January 2, 2012. For more information
please e-mail orchestramgr@
vancouversymphony.org.
Young Artists Competition
Sunday, February 19th, 2012 at 1 pm
Trinity Lutheran Church
309 W. 39th Street,Vancouver, WA
Young Artists Perform with The
Vancouver Symphony Orchestra
Saturday, April 14, 2012 at 3 pm
Sunday, April 15, 2012 at 7 pm
Skyview Concert Hall,Vancouver, WA
Alex Zhu, 2010-2011 Young Artists
Competition award recipient.
Our Conductor
& Music Director
Salvador Brotons
What more can be written about the
remarkable career of Salvador Brotons?
In his 21st season as music director and
conductor of The Vancouver Symphony
Orchestra, musicians and classical music
enthusiasts still delight in having Dr.
Brotons lead them.
Born into a family of musicians, Brotons
began studying flute at an early age with
his father, and continued his studies at
the Barcelona Conservatory of Music,
where he excelled in flute, composition
and orchestra conducting. From 1977
to 1985 he was principal flute in the
Orchestra of the Liceu in Barcelona, and
a member of the Orquestra Ciutat de
Barcelona. In 1985, he was awarded a
Fulbright Scholarship, and moved to the
United States to earn a Doctorate in Music
from Florida State University. In 2002,
he received the Florida State University
Alumni Award for his professional
achievements.
He has written more than 100 works,
mainly for orchestra and chamber
ensembles and has received many
commissions. Several of his pieces have
been published and recorded on CDs in
Europe and the USA under labels such
as EMI, Auvidis, Albany Records, Naxos,
Claves and RNE.
In addition to his 21 seasons at The
VSO, he was also the conductor and
music director of the Vallès Symphony
Orchestra in Barcelona and is currently
conductor and music director of the
Balearic Islands Symphony Orchestra
in Palma de Mallorca as well as the
Orquestra Simfònica de Balears
20
Ciutat de Palma. He is on the faculty
of the Escola Superior de Música de
Barcelona, where he teaches orchestra
conducting and composition. Maestro
Brotons has been a guest conductor
with many orchestras around the world,
including those in the Czech Republic,
South Africa, Israel, Russia, Venezuela,
Uruguay, Italy and Belgium.
Dr. Brotons resides in Barcelona with
his wife, Dr. Melissa Brotons, renowned
music therapist and director of the
Interuniversity Master Program in Music
Therapy in Barcelona. Their daughter,
Clara, is a college freshman in New York.
A restaurant where friends meet.
360-906-1101 - www.thegranthouse.us
21
Saturday, Jan. 28 at 3 p.m. & Sunday, Jan. 29, 2012 at 7 p.m.
Guest Artist
January Classical Concert
A 2006 honors graduate of the Royal
Superior Conservatory of Music in
Madrid, Francisco received his Bachelor
of Music degree in 2011 at The Juilliard
School under the guidance of Masao
Kawasaki.
Polonaise from Eugene Onegin . . . . . . . . . . . . . . . . Peter Ilyich Tchaikovsky
Concerto in D minor Violin and Orchestra, Op.47 . . . . . . . . . . Jean Sibelius
Allegro moderato
Adagio di molto
Allegro, ma non tanto
Symphony No.3 in D Major,
Op.29 “Polish” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Peter Ilyich Tchaikovky
Moderato assai: tempo di marcia funebre –Allegro brilliante
Alla tedesca: allegro moderato e semplice
Andante elegiaco
Allegro vivo
Francisco Garcia-Fullana made
his recital debut at age eight and his
orchestral solo debut at age nine,
performing Mozart’s Violin Concerto No.
5 with the Balearic Islands Symphony
Orchestra under Maestro Salvador
Brotons. At age fifteen he made his debut
at the National Auditory of Music in
Madrid performing on Pablo de Sarasate’s
Stradivarius. He gave his first New York
recital in May 2007 and in October 2008
played Mendelssohn’s Violin Concerto in
Münich under Sir Colin Davis. In March
2011, he made his
debut appearance
at Carnegie Hall,
as a First Prize
Winner of the
American Protégé
International
Piano and Strings
Competition.
He has been a soloist throughout Europe
under some of the greatest conductors on
the continent, including our own Maestro
Brotons. Francisco has played recitals and
concerts in Spain, Germany, Switzerland,
Venezuela, Italy, Portugal, Canada and
the U.S. He won first place prizes at
the International Music Tournament,
the Concerto Competition of the Royal
Superior Conservatory of Music in
Madrid, the Yamaha Music Foundation
String Instruments of Europe Competition
and the International Julio Cardona Violin
Competition in Portugal.
Francisco resides in New York, and
is pursuing a Master’s Degree in Violin
Performance at The Juilliard School with
Masao Kawasaki and Donald Weilerstein.
He plays a violin made by Francesco
Goffriller in 1734, from the Rare
Instruments Collection of The Juilliard
School of Music. For more information
about Francisco, please visit:
www.franciscofullana.com.
Special Thanks to Lois Cook
for sponsoring Katie Harman.
22
23
January Concert Program Notes
by Michael Allsen
This programs opens and closes with
two great Tchaikovsky works of the
1870s. The energetic opening Polonaise
accompanies the climactic scene of his
opera Eugene Onegin. The Symphony No.3
concludes this program—a work all too
rarely heard today, and one which will
be a pleasant discovery for our audience.
Violinist Francisco Garcia-Fullana is the
featured soloist in the deeply expressive
Violin Concerto of Sibelius.
Peter Ilyich Tchaikovsky (1840-1893)
Polonaise from Eugene Onegin
When the
singer Elizaveta
Lavrovskova
suggested in the
spring of 1877
that Tchaikovsky
consider Pushkin’s
Eugene Onegin
as an operatic
subject, he thought the idea was “wild.”
By the 1870s, Eugene Onegin—written
Eugene Onegin was composed between
May 1877 and February, 1878. The first
performance took place in Moscow on
May 29, 1879. Duration 9:00.
nearly fifty years earlier—was Russia’s
acknowledged Great Novel, and was
admired by nearly every literate Russian.
Its story of the young Tatyana’s ill-fated
love for the worldly Onegin, and Onegin’s
terrible downfall was well-known, and
any attempt to turn it into an operatic
work was a risky venture. Tchaikovsky
took up the challenge, though, and began
with the novel’s most powerful episode:
when Tatyana writes a passionate letter to
Onegin, only to be heartlessly rejected.
It was at this time that passionate love
24
letters and a marriage proposal from a
young admirer, Antonina Milyukova,
arrived, and for Tchaikovsky, real life
and the operatic world he was creating
suddenly collided. He confided to a
friend that he felt that he had acted in
the same way as Onegin—he had just
as heartlessly rejected Milyukova. In the
end, a combination of guilt, and a desire
to deny his own homosexuality, won out
and he accepted her proposal—one of the
most personally disastrous decisions on
his life. Most of the opera was composed
during his brief engagement (just five
weeks), between the time he agreed to
marry Antonina and the wedding itself.
In the aftermath of their honeymoon, the
opera was set aside, as Tchaikovsky’s main
concern became getting away. It was not
finished until early the next year, when
he had reached the relative security of
Clarens in Switzerland.
Tchaikovsky remained cautious about
Eugene Onegin even after it was finished.
The first production was mounted by
students of the Moscow Conservatory, for
a relatively small audience. He needn’t
have worried: when the opera was finally
given a full-scale staging a few years
later in St. Petersburg, it was extremely
successful, and was one of the first of his
works to gain universal acceptance in
Russia. The Polonaise heard here underlies
one of the most important moments in the
opera. The Polonaise is from Act III, which
it set several years later after Onegin
rejects Tatyana. He attends a ball at a
fashionable house in St. Petersburg. As
the guests dance the stately Polonaise, the
disgraced Onegin suddenly realizes that
the richly-dressed hostess is none other
than Tatyana. In the end, his attempt to
reconcile with Tatyana—who has married
well and is now at the highest level of
society—are rejected, and his destruction
is complete.
Jean Sibelius (1865-1957)
Concerto in D minor for Violin and
Orchestra, Op.47
The years after the turn of the 20th
century were
frustrating
for Sibelius—
though his
reputation in his
native Finland
was secure,
international
fame was
proving to be
elusive. His initial musical success had
come with nationalistic works based on
Finnish folk legends, like The Swan of
Tuonela. By 1900, though, he was trying
to break this mold and establish himself
as a symphonist in the tradition of Brahms
and Dvorák. This self-imposed pressure
caused turmoil in his personal life,
which was plagued by marital problems,
alcoholism, and mounting financial
difficulties. Despite all this, the period
was amazingly fertile: by 1915, he had
written his first five symphonies, his violin
concerto, six symphonic poems (including
the famous Finlandia), and several smaller
works for orchestra. By the time of World
War I, he had won the wider recognition
he desired and deserved.
Sibelius was a trained violinist, and had
started his musical training with ideas of
becoming a great virtuoso. A shoulder
injury when he was in his 20s and an
increasing interest in composition ended
his hoped-for solo career, but he never
lost his interest in the instrument. When
he was in his late 30s, he wrote: “There’s
still a part of me that desires to become
a violinist, and this expresses itself in
unusual ways.” Shortly after he made
this remark, he began work on the violin
concerto, encouraged by German violinist
Willy Burmeister, who promised to play
the concerto in Berlin. For financial
reasons, Sibelius decided to premiere it
in Helsinki, and since Burmeister was
unavailable to travel to Finland, Sibelius
engaged Victor Novacek, a violin teacher
at the Helsinki Conservatory. Novacek
apparently played the concerto poorly, and
the first performance was a flop. Sibelius
was also dissatisfied with the piece itself,
Sibelius wrote this concerto in 1902-1903
and conducted the premiere in Helsinki,
with Victor Novacek as soloist, on February
8, 1904. An extensively revised version—
the version heard at this concert—was
premiered in Berlin on October 19, 1905,
with Carl Halír as soloist, and conducted by
Richard Strauss. Duration 32:00.
and set to work revising it. A year later, he
got his desired Berlin premiere, with the
Bohemian virtuoso Carl Halír as soloist.
Though Sibelius referred to this concert
as the concerto’s “trial by fire,” it was a
tremendous success, prompting one critic
to a rather fanciful comparison to “the
Nordic winter landscape painters, who
through the distinctive interplay of white
on white secure rare, sometimes hypnotic,
sometimes powerful effects.” Sibelius
dedicated his concerto to the Hungarian
child prodigy Ferenc Vecsey, who played it
in Berlin a year later, when he was just 13
years old. (Sibelius had in fact made the
dedication when Vecsey was only 10!)
The concerto is an expansive work
that calls for dramatic, forceful playing
for the soloist. The opening movement
(Allegro moderato) begins with a passionate
melody from the soloist, supported by a
25
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27
January Concert Program Notes
harmonics, and breathtaking passage(continued)
throbbing background of muted strings.
This first section ends with a short
cadenza and a transition, before cellos
and bassoons introduce a new majorkey idea. The violin transforms this into
a more passionate minor-key theme.
Strings and woodwinds introduce a more
forceful third idea. Though the movement
has the general outlines of sonata form,
Sibelius follows a freer course, developing
these main ideas until the very end, and
introducing several new themes along
the way. At its midpoint, this movement
features a brilliant solo cadenza.
Where the first movement is stormy
and tense, the second (Adagio di molto) is
quiet and lyrical. The movement opens
with almost mysterious lines from the
woodwinds, but the violin soon enters
with a long Romantic melody, supported
by horns and woodwinds. A central
episode is more dramatic in mood, with a
new melody introduced by the orchestra.
The final section returns to the calm mood
of the opening, with the main theme now
played by the orchestra as the soloist
provides a delicate ornamental filigree.
Forceful rhythms in the timpani and
low strings introduce the main theme of
the last movement (Allegro, ma non tanto),
an energetic melody that critic Donald
Tovey called “a polonaise for polar bears.”
The second theme is a syncopated dance
melody introduced by the orchestra and
further developed by the violin. Most
of the movement is concerned with
developing these two themes, most often
played by the orchestra as the soloist
provides a kind of virtuoso commentary.
The violinist throws in every virtuoso
trick in the book in this dazzling finale:
long lines of double-stops and octaves,
28
work throughout the range of the
instrument.
Peter Ilyich Tchaikovsky
Symphony No.3 in D Major,
Op.29 “Polish”
Tchaikovsky composed this symphony in
the summer of 1875. Nicolas Rubinstein
conducted the premiere in Moscow on
November 19, 1875. Duration 44:00.
All too often, when we speak admiringly
of “Tchaikovsky’s symphonies,” what we
really mean is “Tchaikovsky’s fourth, fifth,
and sixth symphonies.” Masterpieces to be
sure, but his earlier symphonies are works
well worth our time as well. The youthful
Symphony No.1 “Winter Daydreams”
(1866, revised in 1874) has its flaws,
but also contains some of Tchaikovksy’s
typically gorgeous melodic writing. The
Symphony No.2 “Little Russian”(1874,
revised in 1880)—probably the least
neglected of these works—is a stirring,
nationalistic piece, filled with Russian and
Ukrainian folk material. The rarely-heard
Manfred Symphony (1885—falling between
the fourth and the fifth) is a complex and
powerful piece of programmatic music.
But the most ambitious of the “other”
Tchaikovsky symphonies is certainly the
Symphony No.3.
his move to Moscow a decade earlier,
played through his first piano concerto
and pronounced it “unplayable.” Though
the concerto—now one of the best-loved
works in the piano repertoire—was taken
up enthusiastically by another soloist,
and though Tchaikovsky made up with
Rubinstein, he remained depressed.
Artistic frustration was compounded by
financial problems and by the deaths of
his brother’s wife and a close friend from
the Conservatory. To escape, he spent
most of the summer at a friend’s country
house. He quickly finished off the score
of his opera Vakula the Smith, and by
mid-June, he found himself happily at
work on a new symphony, completing the
score in less than two months. Rubinstein
conducted the Symphony No.3 a few
months later, and it was a great success.
The symphony was completed just as
he was about to take on one of his largest
projects to date, his first full-length
ballet score, Swan Lake, and Tchaikovsky
clearly had dancing on his mind in
composing the symphony. There are two
movements based on dance forms, and
the entire score has an intense rhythmic
vitality. He also chose a unique form
for this symphony. The well-established
Classical norm was four parts: two large
movements surrounding a slow movement
and a faster scherzo. Here Tchaikovsky
expands this to five movements, placing
what are in effect two scherzos on either
side of a long central slow movement.
Typically for him, Tchaikovsky expressed
doubts about the value of much of the
symphony after hearing the premiere,
but he was quite proud of this formal
innovation.
It begins with a funeral march (Moderato
Tchaikovsky wrote this work in 1875,
when he was living in Moscow, teaching—
grudgingly—at the Conservatory. He
had had a serious of stunning successes
in Moscow, but also several failures and
an increasingly complicated personal
life. One of his most emotional setbacks
came in December 1874, when Nicholas
Rubinstein, the pianist and conductor
who had been largely responsible for
29
January Concert Program
Notes (continued)
assai: tempo di marcia funebre) that
contains some particularly beautiful
writing for the horns. There is a long and
extremely effective transition, gradually
ratcheting up the tension and tempo.
(There are clear echoes of this section in
his famous overture to 1812, written five
years later.) This leads to the main theme
(Allegro brilliante), a blustery march-like
melody. The most important contrasting
idea is a lovely melody introduced by the
solo oboe. The development is lengthy
and tremendously intense. The main
ideas are restated, leading to an enormous
brassy peak and a rousing coda.
The second movement is marked Alla
tedesca: allegro moderato e semplice—
“alla tedesca” meaning “in the German
manner.” This is essentially a waltz,
though Tchaikovsky’s melodies are
thoroughly Russian, with a questing
main theme, and brief lively trio. The
ending has a curious pair of solos, almost
recitatives, first for clarinet, and a much
more extended, and wry take on the waltz
theme by the bassoon.
The long middle movement (Andante
elegiaco) is based upon a pair of ideas:
a melancholy theme laid out in a series
of woodwind and horn solos, and a
richly expressive melody played by
the strings. There is a slightly more
agitated middle section with an insistent
pulsing accompaniment, but this is soon
dominated by the string theme. The
ending is nostalgic and almost pastoral,
until the bassoon plays the solemn
opening theme, echoed by the horn. This
last solo ends, surprisingly with a hushed
major chord.
The scherzo (Allegro vivo) is much
30
lighter: with quick swirling woodwind
lines. The theme that has been there
in fragments all along comes together
in a trombone solo. The trio begins
a tremendously long pedal point: an
unchanging note held by the horns as the
other instruments weave a new theme
around it. The opening material returns,
and the ending is one of Tchaikovsky’s
rare flashes of humor: the horn note
returns again, but the music around
it now seems mocking, and the when
the horn gives up, the music quickly
dissolves.
It is the last moment (Allegro fuoco:
tempo di polacca) that gives this symphony
its rather inappropriate nickname. While
the Polacca or Polonaise was a dance of
Polish origins, by this time it was as
universal a ballroom dance as the waltz—
witness the Polonaise worked into Act III
of his Eugene Onegin. But there is nothing
remotely “Polish” about Tchaikovsky’s
melodies. Like many symphonic
sobriquets this was applied much later—
in this case, in 1899, by August Manns, a
German conductor working in England,
who took his cue from this last movement.
For his part, Tchaikovsky was certainly
referring to the dance, not Poland, but the
name has stuck. The music of the finale
returns to the furious energy of the first
moment, with a strongly rhythmic passage
for the brass at the beginning. The second
theme, played by horn and woodwinds is
hymn-like, but the string accompaniment
continues the nervous energy of the
opening. A lighter third idea is very much
in the style of a scherzo. The development
is done in fugal style, building to the
triumphant reappearance of the hymn
theme, now grandly transformed by the
brass. The symphony closes with an
exciting coda, played at full volume.
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Saturday, April 14 at 3 p.m. & Sunday, April 15, 2012 at 7 p.m.
18th Annual Young Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . To be Announced
Symphony No. 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Howard Hanson
Sinfonia Sacra Symphony No. 5
18th Annual Young Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . To be Announced
Overture and Incidental Music
to A Midsummer Night’s Dream,
Op. 21 and Op.61 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Felix Mendelssohn
Overture
No.1 Scherzo (Allegro vivace)
No.2 Dialogue (L’istesso tempo) and March of the Fairies (Allegro vivace)
No.3 Song with Chorus “You spotted snakes” (Allegro ma non troppo)
No.4 Andante – Allegro molto
No.5 Intermezzo (Allegro appassionato)
No.6 Dialogue (Allegro)
No.7 Nocturne (Con moto tranquillo)
No.8 Dialogue (Andante)
No.9. Wedding March (Allegro vivace)
No.10 Dialogue (Allegro comodo) and Funeral March (Andante comodo)
No.11 A Dance of Clowns (Allegro di molto)
No.12 Allegro vivace
No.13 Finale (Allegro di molto)
Guest Artists
April Classical Concert
2010-2011 Young
Artists Competition
contestants, David
Kim, Alex Zhu and
Ken Fukumoto.
The 18th Annual Young Artists
Competition
Every season, one of the best-attended
and most eagerly anticipated events is the
February VSO Young Artists Competition
and the performances of the three winners
with our orchestra at our April concert.
These are both joyous events that celebrate our area’s incredible musical talent.
Students 18 years of age or under as of
January 1, 2012 who reside within a fiftymile radius of Vancouver, Washington
and are currently studying with a private
music instructor are eligible to compete in
the categories of piano, strings and brass/
woodwinds.
Following the initial judging of application CD’s by select area musicians,
the three top candidates in each category
competed February 19, in front of an audience at Trinity Lutheran Church in Vancouver for scholarship prizes of $1,000
for first place, $500 for second place and
$250 for third place. First place finishers
perform their winning selections tonight
with Maestro Brotons and The Vancouver
Symphony Orchestra.
With a full-sized professional orchestra
of over 70 core members, many of whom
are teachers in our school districts and
beyond, the VSO provides our region with
world-renowned classical music, promoting young musicians, and opening doors
to classical music for young audiences
through events such as the Young Artists
Competition, annual In-School concerts,
and various family-oriented special events
and performances.
32
33
April Concert Program Notes
by Michael Allsen
This program honors the winners of our
18th Annual Young Artists competition.
The orchestra has its own featured
moment in the concise fifth symphony
of Howard Hanson. Mendelssohn’s A
Midsummer Night’s Dream is, of course,
known for the famous wedding march,
but this concert includes a performance of
his complete incidental music to the great
Shakespeare comedy.
Howard Hanson (1896-1981)
Symphony No.5, Op.43:
Sinfonia Sacra
Hanson composed this
symphony in 1954.
Eugene Ormandy
conducted the
Philadelphia Orchestra
in its premiere, on
February 18, 1955.
Duration 15:00.
Born into a Swedish immigrant family
in Wahoo, Nebraska, Howard Hanson
would become one of the most influential
American musicians of the 20th century.
After studies with the great American
composition teacher Percy Goetschius at
Northwestern University, Hanson spent
the early 1920s in Rome, studying with
Ottorino Respighi. (Hanson was the first
American to win the prestigious Rome
Prize for composition.) He returned
to the United States in 1924, and was
appointed director of the Eastman School
of Music, a position he held for four
decades. Under Hanson’s leadership, the
Eastman School became one of America’s
leading conservatories, and he helped
to train a whole generation of younger
American musicians and composers.
Both as a leader in several arts groups
34
(including the Music Teachers National
Organization) and as a leading American
conductor, he championed contemporary
works by American composers. Hanson’s
own musical style has generally been
labeled “neo-Romantic” and his works,
particularly his seven symphonies, were
clearly influenced by those of Sibelius
and Grieg.
Hanson’s fifth symphony was written
at a time in the 1950s when he was
exploring spiritual themes in his works.
It was inspired by the resurrection story
as transmitted in the Gospel of John.
But according to Hanson: “The Sinfonia
Sacra does not attempt programmatically
to tell the story of the first Easter, but
does attempt to invoke some of the
atmosphere of tragedy and triumph,
mysticism and affirmation of this story
which is the essential symbol of the
Christian faith. The Sinfonia Sacra follows
three other works, all concerned with
the same general theme: my fourth or
‘Requiem’ symphony, and two choral
works, The Cherubic Hymn and How
Excellent Thy Name.”
The symphony has a compact onemovement form, though there are several
distinct sections, opening with a rather
dark introduction—all threatening low
brass and strings in the beginning, and
a declamatory theme, building to the
symphony’s first emotional peak. The
central section is built on two themes,
a solemn chant-like line worked out in
counterpoint by the strings, and a more
meditative idea introduced by English
horn. Development of this theme reaches
a point of high intensity, and the third
section begins with rather angry music
and a new theme. There seems to be a
moment of crisis and the texture suddenly
thins to reveal a solemn low brass chorale.
The mood of this final section is more
contemplative and hymn-like, reaching
one final subdued peak before the
symphony closes quietly.
Felix Mendelssohn (1809-1847)
Overture and Incidental Music to
A Midsummer Night’s Dream,
Op. 21 and Op.61
No playwright
was as beloved by
the Romantics as
Shakespeare: the
intense character
development and
free dramatic form
of Shakespeare’s
works was a source
of inspiration for dozens of composers.
The Bard’s popularity was wildest in
Germany, where his works were known
through a translation published by
August von Schlegel and Ludwig Tieck in
1801. (There is an old German witticism
to the effect that: “Shakespeare is best
read in the original German.”) The
17-year-old Mendelssohn and his sister
Fanny spent the summer of 1826 in the
garden of their family’s home in Berlin,
Mendelssohn composed the Overture
(Op.21) in 1826, and wrote the Wedding
March, together with the remainder of
the incidental music (Op.61) in 1842.
The Overture was first performed in the
Prussian city of Stettin in October 1827.
The complete incidental music premiered in
Potsdam in October 1843. Duration 62:00.
reading Shakespeare. Mendelssohn was
impressed enough by his first reading of
Ein Sommernachtstraum that he decided
almost immediately to write a piece
that captured the play’s spirit. In early
July he wrote to a friend: “I have grown
accustomed to composing in our garden.
Today or tomorrow I am going to dream
there A Midsummer’s Night’s Dream. This
is, however, an enormous audacity...”
Audacious or not, he wrote the overture
in just a few weeks—some of his most
delightful and overtly programmatic
music. He dedicated the Overture to the
Prince of Prussia, and seventeen years
later, at the request of the Prince—by then
King—Mendelssohn provided several
additional pieces of incidental music for
the play. The incidental music, though
written by a much more mature composer
perfectly matches the youthful vitality of
the Overture. The grand production of Ein
Sommernachtstraum in Potsdam, directed
by Tieck, was something of a flop, but
Mendelssohn’s brilliant incidental music
was judged to be a complete success. It
is still used today in some productions of
the play, but the numbers are most often
heard as concert pieces. In some concert
performances the music, which includes
singing parts for two fairies (sopranos)
and a women’s chorus, is paired with
narration from the text of the play,
The Overture begins with a series
of almost hesitant chords, as if fairies
are peeking around trees. The fairies
themselves appear in a light string passage
before the full orchestra enters joyfully,
in a passage that sounds distinctly like
the much later Wedding March. There are
the horns of Duke Theseus’s party, and a
flowing Romantic theme for the various
pairs of lovers, and finally a rustic dance.
The development focuses on the opening
fairy music, becoming almost melancholy
at the end before the familiar chords
bring in a varied recapitulation of the
main themes. The overture closes with
a reverent version of the wedding music
and a final statement of the mysterious
chords. One point of interest in the
35
April Concert Program Notes
(continued)
orchestration is that Mendelssohn wrote
a prominent part for a now-obsolete
bass instrument, the serpent. By the time
he resurrected the overture in 1842 he
substituted the ophicleide. The part is
played today on the tuba.
The late Donald Grout called the
Scherzo “...a brilliant example of selfrenewing perpetual motion and of a heavy
orchestra tamed to tiptoe like a chamber
ensemble.” The movement is set in fast
triple meter, and the scoring is transparent
throughout. In the opening section, there
is a high-spirited dialogue between the
woodwinds and strings, which gives way
to a somewhat more thickly scored, but
equally witty second theme. There is a
hint of thunder on the horizon in the brief
development section, but both lighthearted themes return in full during the
recapitulation. The transparent scoring of
the Scherzo allows for several short solos,
most notably a quick-footed flute passage
near the end. A brief Dialogue based upon
the Scherzo’s music follows to accompany
Puck’s narration, and there is a wispy
March of the Fairies to accompany the
entry of Titania and Oberon, with their
attendants.
Shakespeare’s comedies include many
songs that are incorporated into the
drama, originally improvised or sung to
popular tunes. In the Song and Chorus
“You spotted snakes,” Mendelssohn has a
pair of fairies and the whole supernatural
company respond to Titania’s call to “Sing
me now asleep. Then to your offices and
let me rest.” This lullaby has its more
serious moments, but is dominated by
sweet music. The brief Andante that
follows accompanies Oberon stealing in
to squeeze a potion into sleeping Titania’s
eyes that will lead to her falling in love
with the ridiculous Bottom.
into a jackass—peacefully
sleeping together. It
reprises the Nocturne’s
horn music as Oberon lifts
the enchantment on both
sleeping figures.
The Intermezzo connects Acts II and III,
and depicts Hermia’s frantic search for
Lysander. It ends with a more lighthearted
music for the entry of Peter Quince,
Bottom, and the other clowns, who arrive
in the woods to rehearse their “most
lamentable comedy” Pyramus and Thisbe.
The Dialogue that follows accompanies
their rehearsal.
The Nocturne is intended to follow
the play’s third act. The four lovers are
more than a little confused by Puck’s
magic flower juice and have, one by
one, fallen asleep. Mendelssohn’s lullaby
begins with one of the most beautiful
of all Romantic horn section passages.
A more impassioned passage by the
woodwinds follows, but before anyone
wakes up, we hear the soothing tones of
the horn melody. A brief coda (intended
to accompany the raising of the curtain
for the fourth act) quietly recalls the
horn melody. The following Dialogue
accompanies Oberon’s discovery of
Titania and Bottom—now transformed
36
The Wedding March is
so familiar as to be in
danger of being a cliché.
But no organ processional
to a church wedding can
match the majesty of
Mendelssohn’s orchestral
original, with a wonderful
opening trumpet fanfare
and the processional theme. This theme
is presented in alternation with two
contrasting sections before a final fanfare
and a grand coda. It accompanies the
triple wedding of Act IV.
The Funeral March accompanies the
(unintentionally hilarious) tragedy at the
end of Pyramus and Thisbe, performed by
the wedding couples. When given the
choice of extending the play further with
an epilogue or a “Bergomask dance,” Duke
Theseus wisely chooses the dance, the
bumptious Dance of the Clowns.
Following an Allegro vivace transition—a
reprise of music from the Wedding
March—Mendelssohn closes the incidental
music with a sung Finale. This is based
upon material from the Overture, and sets
Oberon and Titania’s benedictions on the
happy couples, before ending in quietly
magical music.
37
Saturday, May 26 at 3 p.m. & Sunday, May 27, 2012 at 7 p.m.
Audience choice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . To be Announced
Concerto for Piano and Orchestra in G Major . . . . . . . . . . . . . Maurice Ravel
Allegramente
Adagio assai
Presto
Linda Barker, piano
The Planets,
Suite for Large Orchestra, Op. 32 . . . . . . . . . . . . . . . . . . . . . . . . Gustav Holst
Mars, the Bringer of War
Venus, the Bringer of Peace
Mercury, the Winged Messenger
Jupiter, the Bringer of Jollity
Saturn, the Bringer of Old Age
Uranus, the Magician
Neptune, the Mystic
Guest Artist
May Classical Concert
received her Bachelor of Music degree
from the Oberlin Conservatory and a
master’s degree from Indiana University
where she studied with Menahem Pressler
of the world-renowned Beaux Arts Trio.
Linda Lorati Barker, piano
Linda Lorati Barker has appeared
as concerto soloist with the Oregon
Symphony on numerous occasions.
Other feature solo concerto engagements
have included the West Coast Chamber
Orchestra, Columbia Symphony, Yaquina
Chamber Orchestra and Portland Youth
Philharmonic. Ms. Barker was also the
featured soloist in a performance of the
Shostokovitch Piano Concerto #2 with the
Oregon Ballet Theater with choreography
by James Canfield.
A native of Portland, Ms. Barker made
her concerto debut at the age of 16 with
the Portland Youth Philharmonic. She
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May Concert Program Notes
by Michael Allsen
Our opening work was selected by you,
through our annual “audience choice”
poll. Pianist Miriam Picker then joins The
Vancouver Symphony Orchestra for the
jazz-inflected Piano Concerto in G Major
by Ravel. The concert—and this season—
ends with the grandest work of Holst, his
richly-varied orchestral suite The Planets.
Program notes on the “Audience Choice”
selection appear on an insert to your program.
Maurice Ravel (1875-1937)
Concerto for Piano and Orchestra in
G Major
Though Ravel had
apparently made
sketches for a G Major
piano concerto as
early as 1911, the
direct inspiration
for completing the
concerto can be traced to a highly
successful American tour in 1927-1929.
Though he eventually returned to Paris,
This concerto was composed between
1929 and 1931. The premiere was
given in Paris, on January 13, 1932,
with Ravel’s student Marguerite Long as
soloist. Duration 23:00.
Ravel was seriously considering a longterm stay in the United States as a pianist
and conductor. The G Major concerto
was probably intended to serve as a solo
vehicle for Ravel himself, but when he
completed the work he found that he
had apparently created something that
was beyond his talents as a pianist! (The
task of premiering the work fell to his
protégé Marguerite Long.) He was actually
working on two piano concertos at the
same time—from 1930-32, and was
40
also working on the D Major concerto
for left hand alone, a commission for
pianist Paul Wittgenstein (a virtuoso who
lost his right arm during the first world
war). Despite the fact that they were
produced simultaneously, the two pieces
are strikingly different in character. The
D Major concerto is a densely-textured
work of almost heavy-handed virtuosity,
while the G Major is a light and happy
piece that attempts to create an equal
balance between soloist and orchestra.
(Ravel originally considered titling the
work Divertissement—a reflection of its
light style.) Both concertos show strong
jazz influence—Ravel was fascinated by
this American idiom—but these effects are
used in a much more facile and humorous
way in the G Major concerto. Ravel’s
views on the concerto are best summed
up in a contemporary interview, where he
described it as “...a concerto in the most
exact sense of the term, one that is written
in the spirit of Mozart and Saint-Saëns. I
believe that the music of a concerto can
be cheerful and brilliant, and that it need
not pretend to depths nor aim at dramatic
effects.”
The work is laid out in the mold of a
Mozart concerto: in three movements.
The opening movement (Allegramente) is
set in sonata form. The main theme is a
quirky, offbeat melody carried first by the
piccolo and then by the trumpet, as the
piano provides a showy accompaniment
of arpeggios and glissandi. The second
theme, presented by the piano, is a sleepy
Spanish-flavored melody, accompanied
by “blue notes” from the woodwinds.
True to Classical form, he presents a
brief development and slightly reworked
recapitulation of the main themes. The
piano has a flashy cadenza just before the
close of the movement.
The second movement (Adagio assai)
has suggested lots to me, and I have
begins with an interesting effect in the
been studying astrology fairly closely.”
piano: the right hand melody is in 3/4,
As Holst suggested, the movements of
while the left-hand
The Planets are based
“There
is
nothing
in
the
planets
accompaniment is in
upon the personalities
(my planets, I mean) that can be
6/8. This figure
attributed to the seven
expressed
in
words.”
continues throughout,
astrological planets:
adding a note of
Mars being “headstrong
— Holst, to conductor
uneasiness to what is
and forceful,”
Adrian Boult
otherwise a quiet and
Neptune “subtle and
atmospheric movement.
mysterious,” and so
This tension is not relieved until the last
forth. [Note: Earth plays no direct role in
two measures, when the pianist’s left hand astrological calculations. Pluto, recently
finally gives in, and joins the melody in
demoted to “dwarf planet,” was not
3/4. In keeping with the “Mozartian”
discovered until 1930.]
character of the concerto, the last
The music of The Planets is more
movement (Presto) is a rollicking rondo in
massive
and somewhat more radical than
6/8. This is the most clearly “Jazzy” of the
anything Holst had written up until this
three movements, but it also provides a
point (or afterwards). The work uses a
showcase for the soloist, as everything
vastly expanded orchestra in which every
flashes by at blazing speed.
woodwind section has been increased
Gustav Holst (1874-1934)
by one or two players, and augmented
The Planets, Suite for Large
occasionally by such exotic timbres as
Orchestra, Op. 32
bass oboe and bass flute. Holst, who
When Holst began
composing the music of
Holst completed The Planets in
The Planets in 1914, he
1917. The first performance, on
September 29, 1918, was a private
was nearly 40 years old.
concert by the New Queen’s Hall
He had been an eclectic
Orchestra in London, directed
sampler of philosophies
by Adrian Boult. The first public
and mysticism since he
performance took place two years
was a young man, and this
later in London, on November 15,
work came out of a brief
1920. Duration 50:00.
flirtation with astrology.
His interest in the subject
began the previous year,
when he and fellow composer Clifford
spent much of his youth as a trombonist
Bax made a trip to Spain together, and
in several bands, lavished a great deal
passed the time talking about astrology.
of forceful and difficult music on a large
Holst never followed this “science” in a
brass section that includes six horns,
serious way—he seems to have used it
four trumpets, three trombones, tuba
only as source of musical inspiration. In
and that most beloved of all British band
1913, he wrote to a friend that “...I only
instruments, the euphonium. His score
study things that suggest music to me.
also calls for a large percussion battery
Recently the character of each planet
(at least seven players), two harps,
41
Memories from the 2011 VSO Gala
Join us again
to celebrate
The Vancouver
Symphony
Orchestra’s
33rd Season!
(continued)
celeste, and in the final movement, organ
and an offstage women’s chorus. Holst’s
acquaintances must have been surprised
at the formidable and occasionally
violent nature of this piece—the 5/4
rhythm and crashing dissonances of Mars
must have seemed particularly shocking
coming from this mild-mannered and
unfailingly gentle man. Despite its
massive nature, The Planets also shows
elements of his earlier style, which
blended elements of Oriental and north
African music, and Eastern mysticism,
with the foursquare and solid harmony
of English church music.
Holst completed the work in 1917,
and his friend Balfour Gardiner arranged
for a private performance in September
1918. Though this was apparently a
rather slipshod reading of the piece (the
schedule allowed for just over an hour of
rehearsal time for this 50-minute work!),
Holst was encouraged, and made a few
minor revisions to the score. Within a
couple of years after the end of World War
I, there had been several performances
in England and the United States. The
Planets was a tremendous success, and
remains Holst’s most popular work. Holst
himself was more than a bit bewildered
by the work’s popularity, and his daughter
Imogen wrote of several occasions where
the composer stood tongue-tied and
uncomfortable, surrounded by reporters
and gushing admirers.
Watch for details on www.vancouversymphony.org
42
Early audiences assumed that the first
movement, Mars, the Bringer of War, was
written in response to the just-ended war.
In fact, Holst completed this movement
before the outbreak of hostilities,
and probably had Mars’s astrological
significance in mind rather than current
events. However, this movement still
manages to convey a sense of Europe’s
inexorable slide towards a senseless
conflict. Holst sets up a savage 5/4 rhythm
in the opening bars that underlies the
whole movement. An ominously rising
theme is passed from bassoons and horns
to the trombones, and eventually to
the entire brass section. As the volume
builds, Holst introduces a sliding dottednote countermelody. The euphonium
and trumpets introduce a contrasting
idea and an accompanying fanfare. The
movement continues as a development of
these paired themes, building towards a
crashing conclusion.
Nothing could be more of a contrast
to Mars than the calmly flowing Venus,
the Bringer of Peace. Holst sets aside the
trumpets, trombones, and drums of the
opening movement to focus on the more
delicate colors of harps, woodwinds, and
strings. The solo horn plays an upwardflowing melody, which is answered by
descending woodwinds. A contrasting,
but equally placid melody is introduced
by solo violin. This is no sharply-textured
Botticelli Venus, but an Impressionist
portrait in soft, watercolor textures
on a constantly shifting rhythmic and
harmonic background.
Mercury, the Winged Messenger
opens with a feeling of perpetual
motion, passing brief bits of melody
from instrument to instrument. The
orchestration is extremely light, focusing
of the woodwinds and giving prominent
passages to the celesta. A central episode
uses an exotic melody first heard in the
solo violin, and then repeated several
times throughout the orchestra. Holst’s
daughter notes that the inspiration for this
passage came from folk musicians that he
had heard on a trip to Algeria. In its final
43
(continued)
section, Mercury returns to the nimble
character of its beginning.
For Jupiter, the Bringer of Jollity,
Holst returns to full orchestra, but
this movement contains none of the
threatening darkness of Mars—Holst
described Jupiter as “...one of those
jolly fat people who enjoy life.” The
main theme is a rollicking syncopated
melody first heard in the horns. The first
contrasting section turns to a slightly
slower triple meter melody, again
introduced by the horns. After a brief
return to the opening texture, there is a
second triple meter theme; a hymnlike
melody marked Andante maestoso. (A few
years later, Holst did, in fact, use this
melody to set a patriotic hymn.) To close
off the rondo form, Holst includes a final
statement of the main theme
Saturn, the Bringer of Old Age begins
with a feeling of timelessness: a static
ostinato played by harps and flutes
supports a slow and languid melody first
played by the basses. The central section
becomes more agitated, although never
faster, moving in a long crescendo. After
reaching maximum intensity, the mood
subsides into a transformation of the
opening music.
Uranus, the Magician begins with a
fortissimo statement by unison brass.
According to Adrian Boult, Holst was not
acquainted with Paul Dukas’ Sorcerer’s
Apprentice (l897) at the time he composed
Uranus. However, Holst’s main themes are
amazingly similar to those used by Dukas
in his portrayal of magic gone astray:
a humorous and somewhat eerie 6/4
melody that gives way to a spooky march.
Both Dukas and Holst may have been
inspired—whether consciously or not—
by the “Witches’ Sabbath” movement of
Berlioz’s Symphonie Fantastique. Holst’s
magician is good-natured to the end,
though. After a tremendous orchestral
climax, the music quiets to a final
statement of the march.
We play
a different
set of
strings...
The closing movement, Neptune,
the Mystic, returns to the 5/4 of Mars.
However Neptune is hushed and serene,
characterized by sliding chromatic
melodies played above a background of
sustained chords and glissandos in the
celesta and harps. At the end, Holst calls
for two offstage choruses of female voices.
There is no text—the women sing an
unearthly hymn that fades gradually into
space.
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What Does it Mean
to be a Friend?
One of the things members of The
Friends of The Vancouver Symphony
share is generosity. While the musicians
and staff work hard to provide an
exceptional concert experience,
the Friends are dedicated men and
women who support The VSO through
participation, fund-raising, outreach
programs and community education
throughout the year. Only through your
membership can we continue to be viable
and successful. We hope you’ll join us
for the fun and satisfaction that comes
from supporting Maestro Brotons and
our truly exceptional orchestra.
Monthly meeting are held on the
second Tuesday of the month. For
information, call The VSO office at (360)
735-7278, x.119, or visit our webpage at
vancouversymphony.org/friends.php
That’s what Friends are for.
2010-2011 Friends of The Vancouver Symphony
Officers
Sandra Hoyt, Chair
Patricia Galt, Vice Chair
Michael Fox-Lambert,
Treasurer
Linda Martin, Secretary
Friends Membership
2011-2012 Season
Valerie Alexander and
Kelvin Lindgren, MD
Joyce and Neal Arntson
Georgia Bailey
Glyn Barron and Janet
Gallimore
Ann Borowiak
Art and Diane Brandenburg
Joanne Cannilo-Lee and
Dallas Lee
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Lyndee Cunningham
Colleen Dinkel
46
Dr. Richard Dobrow MD
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Easter
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Geddes
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Dr. John F Barber
Jo and Judge Robert L.
Harris
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Johnson Jr.
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Sarah Duvall
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Martin
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Nozel
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Williamson
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Joe Varga
Florence Wager
Verdella Whareham
Joan Winton
Patricia and Jack
Wojnowski
Gene and Joanne K
Yarnell
Margaret Zuke
Volunteer of the Year
Linda Odenborg
Linda Odenborg has been a concert
subscriber to The VSO for over twenty
years. The Vancouver Symphony is
just one of many organizations that
have benefited from her many artistic
passions. Always, in the course of
raising her family, she found the time
to become an accomplished creative
writer and pursue her interests in
art, music and theater. In her early
retirement years, she used her
considerable work experience in
leadership and organization to develop
her own business as an audio book
publisher, all this while volunteering at
The VSO and giving of her time as an
education affiliate and docent for the
Portland Art Museum.
She joined the Friends of The VSO
several years ago and subsequently
served as its
Secretary and
Vice-Chair
and just
completed
two years
as Chair.
She touts
the Friends service, fundraising
activities and music education outreach
programs. In 2007 Linda became a VSO
Board member where she was involved
in several of its committees that include
marketing and the symphony’s Young
Artists Competitions.
Linda wishes to share her Volunteer
of the Year award with the many
Friends and Board members who work
so unselfishly in supporting Maestro
Brotons, the symphony musicians and
our Vancouver Symphony organization.
47
Musicians & Staff
VIOLIN 1
Eva Richey, Concertmaster
Tatiana Kolchanova,
Asst. Concertmaster
Stephen Shepherd
Don Power
Kirsten Norvell
Laurita Jauregui
Lindsay Durant
Elizabeth O’Mara
Matt Mandrones
Ricki Hisaw
Ellen Fackler
Megan Moran
Suzanne Rague
Adrienne Welch
BASSES
Garrett Jellesma, Principal
Dave Anderson
Mike Murphy
Adam Trachsel
Ed Sale
FLUTES
Rachel Anderson, Principal
Corrie Cook
Darren Cook
PICCOLO
Darren Cook
VIOLIN 2
Tracie Andrusko, Principal
Sara Pyne, Asst. Principal
Diana Taylor-Williams
Maria Powell
Lisa Hanson
Joan Hamilton
Denise Uhde
Carolyn Shefler
Lanette Shepherd
Elizabeth Doty
OBOE
Kris Klavik
VIOLAS
Angelika Furtwangler,
Principal
Jim Garrett
Brenda Liu
Kelly Christ
Annette Meng
Sandra Edwards
Emalie Berdahl
HORNS
Allan Stromquist, Principal
Wendy Peebles
Nathan Laws
James Cameron
CELLOS
Dieter Ratzlaf, Principal
Erin Winemiller,
Asst. Principal
Ashley Peck
Laura Barker
Annie Harker-Power
Jonathan Cheskin
TROMBONES
Greg Scholl, Principal
John Northe
48
CLARINET
Igor Shakhman, Principal
BASS CLARINET
Barbara Heilmair-Tanret
BASSOON
Margaret McShea, Principal
CONTRA BASSOON
Harvey Freer
TRUMPETS
Bruce Dunn, Principal
Scott Winks
Jeff Snyder
BASS TROMBONE
Douglas Peebles, Principal
TUBA
Mark Vehrencamp,
Principal
PERCUSSION
Brian Gardiner, Principal
Florian Consetti,
Tympani Principal
Ben Moll
PIANO/CELESTA
Michael C. Liu
HARP
Ellen Lindquist
Music Director/
Conductor
Dr. Salvador Brotons
Orchestra Manager/
Librarian
Igor Shakhman
Stage Manager
Ron Christopher
Volunteer
Coordinator
Londa Edwards-Rau
Orchestra Board
Liaison
Dieter Ratzlaf
Board of Directors
Kathy McDonald (Chair)
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Paul Christiansen
Bobby Forbes
Pat Galt
LeAnn Gilmore
Sharon Hinckley
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Mary Martin
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Jonathan Sauerwein
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Thank You!
2011-2012 VSO Who’s Who
In Grateful Acknowledgement
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Edwards Rau Red Ridge Farms
Jennifer and Don Rhoads Catherine Rich Don Riggs and Colleen McClain Barbara and Donald Roberts Beryl Robison Donna and Gordon Rodewald Joan Rosel Charlotte and Richard Rubin David and Midge Ruiz Robert Russel, PC Dr. and Mrs. Gary Sahlstrom Ethos Salon
Donald and Susan Sargeant Asa and Julia Sarver Barbara Saur Lisa and Al Schauer Kathleen and Frank Scopacasa Glenn Scott James and Betty Selby Ara Serjoie and Darrell
Williamson Nancy and Richard Seton Norris, Beggs and Simpson
Barbara Klabin-Smith and
Rick Smith Dorothy J Smith Carole Palmer and Larry Sneed Clyt’e Speidel and Paul Keown Donald C. Springer St Mary’s Services
Drs. Robert Stepsis Steve and Heather Stewart Patricia Stewart Elson and Jan Strahan Steve and Heather Stuart John and Lura Sundell
Diana Taylor-Williams Thomas and Beth Taylor Leigh and Marlene Taylor The Heathman Lodge
The Reflector
Dottie Thiel Sharon Thompson Bob and Mary Tomisser Charles Kent Topliff and
FASCO Christine Adkins Toscano Cathryn Treawell-Nelson D. Joanne and Duane Vahsholtz Marge van Nus Joe Varga Barbara and Ralph Veals Christofer Vinther Joanne Warner Lucretia L. Wasser H. Kenneth and Carol Westby Marilyn Whitman Den Mark Wichar Don Wilson Colleen M. Winrich Joan Winton Marjorie Wolford Susan Wolff and Judge
John Wulle Sharon Wylie Gene and Joanne Yarnell Orville and Alberta Yearout Gordan and Caroline Young George Young Nancy Zacha Richard and Ferrel Zeimer Jay & Diane Zidell Charitable
Foundation
Margaret Zuke $25-$99
360 Pizzeria
A Secret Garden
Accent On Antiques
Craig Allen Applewood Restaurant & Bar
Linell and Bruce Arbuckle Argyle Winery
Steven and Sarah Bang Beaches
Marilyn and Richard Berry Lois Bosland Albert E. Bouffard Robin and Lyle Bradford Willa Brooks Judy Brown Ute Brown Kathleen and Alan Browne Julius Buehler Hanna Bureker Susan Caddell Audrey and Steve Cameron Elaine Carlson Glen and Mary Carr Robert and Carol Carson Diana and Paul Chernofsky Clark College
Ellen Clark Jon and Joann Crabtree Ellen Spencer Credle Chris Crowley and
Martha Howe Crumbled Rock Winery
Dr. Marilyn Darr Douglas P and P.J. Davis Della Terra
George J. and Florence M.
Delvo Laura Demory Dobbs Family Estate
Lavona Dokken John and Jean Doty Judy Dresser Madeleine S. Dulemba Elva Eliason Ken and Marjorie Ellertson Shirley Erikson Lynda Ferguson John and Nancy Fite, Jr Alicia Forkner Michael Fox-Lambert Robert and Nelda Galatz Garside Florist
Louis Getsinger Jeff and LeAnn Gilmore Elizabeth Gold Rosalba Goode Greater Vancouver Chamber of
Commerce
Shelley Gregory Linda Gwinn JoAnn Haines William Hammersley and Linda
Hamersley Antonia Hansen Mark Havens Sue Heise Bobbi and Keven Heitschmidt Dean and Donna Hinkley Robert Hitchcock Steven and Karen
Hollingsworth Jorene and Brad Holton Nien-Wei Hsioas Aziz and Belgin Inan Jayne Sanders Interior Design
George and Beverly Johnson Mick and Carol Johnson Sylvia Karabay Robert and Cathy Kamer Jane Keating-Jones Erica Kelley Eric Kelly Homer and Geraldine Keltto Jan Kennedy Jean C. Kent Robert and Paula Knight Frank and Carolyn De La Rosa Zandra and Frederic Lake Dr. Robert and Nancy Laws Brian Leahy Lorilee J. Lien Bonita Linkous Edward and Kathryn Lipp Ed Lipski Louis Loosbrock Gail Ludowise Donna Mac Richard and Joyce Malin MAMA MIA TRATTORIA
Maresh Red Hills Vineyard
Chuck and Dixie Marsh Shirley and John Martin Carrie and Matthew Mason Andrew McIvor and Maura
Conlon-McIvor Mark and Kathy McLean Emily Meek Carl and Lois Melina Gayle Meltesen Joanne Metcalfe Aaron Meyer David Meyers Darleen Michaud Sheldon Mostovoy and Barbara
Holmberg-Mostovoy John and Malitta Murphy
Nicola Nadig
Wendy Nelson
Jean Nordstrom
Donald and Doris Norton
On the Fridge Hair Studio
Patrick Ortiz
Nancy Overpeck
Marcus and Cathie Padgett
David and Patty Page
Bette Piette
Beatrice Proano
Robert and Cathy Ramer
51
Gifts and Support (continued)
Sheryl L. Rastorfer
Michael and Cinda Redman
Mary and Jay Renaud
Roy and Marie Rich
Gail Richardson
Constance Ronayne
Scott Ross
Vesta Ruchek
R. Michael Sanchez
Janice Sanderson
Jim and Karen Sandberg
Lila Scheer
Barbara Scholl
Nancy Seyfrit
Shanti Yoga Center
Nora and Rex Siegfried
Irma Slocum
Dan and Christina Smith
Harold C Smith
Karen K. Smith
Simone L. Smith
Henry and Ann Smits
Shirley Sonnenberg
Donald and Judy Sproul
Sara Stamey
Gretchen Starke
Stollers
Sally Sellers and Michael
Subocz
Theresa Jan Sumoge
Michael Tausch
Roberta Taussig
Betty J Taylor
Grace Teigen
Paul and Julia Terry
Thai Orchards Restaurant
Trader Joe’s
Treat
Evelyn Turner
Ron and Jane Upton
Marilyn Van Wagner
Joseph and Lori Vance
Vancouver School of Beauty
Mary Ellen Vaughan
Martha Vilander
Village Pearl
Patricia Voigt
Aaron Wanstall
Wayne Magnoni & Co.
Kathleen Wegener
Philip and Diana Weintraub
Alan Weis
Alma Westfall
Benjamin and Linda Wiener
Lawrence and Virginia Williams
Joan Wilson
Patricia and Jack Wojnowski
Elizabeth and Algird Zalpys
Directory of Advertisments
First Independent Wealth Management .......................................ii
The Quarry/Glenwood Place..............................................................2
Hudson’s at the Heathman Lodge....................................................5
All Classical 89.9 KQAC..........................................................................9
Greater Clark County Chamber of Commerce....................10
Columbia Theatre....................................................................................11
David Kerr Violin Shop..........................................................................15
Linda’s Tax Service..................................................................................15
Pianos by Ted Mulcahey........................................................................19
Vancouver Eye Care...............................................................................20
Grant House Restaurant.....................................................................21
Portland Baroque ...................................................................................23
Paul Quackenbush...................................................................................26
Portland Columbia Symphony.........................................................26
Sherman Clay-Moe’s Pianos..............................................................27
Homewood Suites (Hilton)...............................................................27
A-1 U-Store It............................................................................................27
Kathleen Hibbs Design..........................................................................31
Quantum Residential Ad.....................................................................31
Charlie’s Bistro/La Bottega..................................................................33
Big Al’s Specialty Movers......................................................................39
RichIdeas.......................................................................................................44
Clark Public Utilities................................................................................45
Touchmark...................................................................................................53
Tributes to The Vancouver Symphony Orchestra
and our marvelous musicians
Classic Pianos of Portland applauds Vancouver’s superb orchestra.
Bravo! www.classicportland.com
I like the
way that
sounds!
PMS 7536
c = 0, m = 4, y = 22, k = 32
r = 185, g = 176, b = 152
pewter logo main color
404
Homes andPMS
services:
c = 0, m = 8, y = 22, k = 56
We’re still providing
the same symphony of services
as we have for 13 years.
Just the name is new!
Call today for your
personalized tour.
r = 136,
g = 126, b =and
111
• Single-family
homes
shadow color
apartments
• Independent Living
• Assisted Living
• Early Memory Care
• Memory Care
• Home Health and Home Care
• Rehabilitation and
Aquatic Therapy
• Health & Fitness Club with pool
The Vancouver String Quartet salutes the VSO.
Performance elegance at weddings/receptions. 360-261-2611
The Cultured Pearl Antiques, Harvey and Steves Gallery,
Steve Maker, Dale and George Champlin and Suzy Gates
send their support to Contra-Bassoon/ Harvey Freer
touchmark at fairway village
2911 SE Village Loop, Vancouver, WA 98683
360-254-2866 • Touchmark.com
116168 © 2011 Touchmark Living Centers, Inc., all rights reserved
52
53
The VSO gratefully acknowledges the generous
support of our business community
BIG AL’S
SPECIALTY MOVERS INC
MULCAHEY PIANO AND SOUND, INC.
.Theatre.
.Columbia
.
Longview
La Bottega
Café deli catering
washingTon
Charlies Bistro
Great Food Fabulous Cocktails
Live Music
Design
Kathleen Hibbs
The Vancouver Symphony Orchestra is a 501(c)(3) Nonprofit Organization | Mailing Address:
Po Box 525, Vancouver, Wa 98666-0525 | Phone (360) 735-7278 | Fax: (360) 906-0355

2011-2012 Concert Guide - Vancouver Symphony Orchestra

Transcription

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