Symphonic Encounters
Vancouver Symphony Orchestra
Bramwell Tovey, Music Director
Thursday, January 30, 2014
10:00am - 12:30pm
SPONSORED BY
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Rossen Milanov
Rossen Milanov is the newly appointed Principal Conductor of
Orquesta Sinfonica del Principado de Asturias in Spain. He also
serves as the Music Director of the Princeton Symphony Orchestra
as well as the nationally recognized training orchestra — Symphony
in C. Respected and admired by audiences and musicians alike,
Maestro Milanov has established himself as a conductor with a
considerable international presence. An artist with distinct personal
style, his performances are characterized by sharp musical intellect,
artistic ingenuity, freedom and coherence.
Recent highlights include debuts at the Musikverein in Vienna, the
Grant Park Music Festival in Chicago, Zurich Opera and a world
premiere of Sergey Prokofiev’s Incidental music to Pushkin’s
Evgeny Onegin with the Princeton Symphony Orchestra.
Mr. Milanov has collaborated with some of the world’s most
prestigious artists, including Yo-Yo Ma, Itzhak Perlman, Joshua Bell, Midori, Christian Tetzlaff and
André Watts, as well as with some of the world’s most esteemed vocalists such as Nikolai Ghiaurov,
Vesselina Kasarova, Ghena Dimitrova and Krassimira Stoyanova.
During his eleven-year tenure with The Philadelphia Orchestra he conducted more then 200
performances with that great orchestra, both as Associate Conductor and Artistic Director of the
Orchestra’s summer home at The Mann Center for the Performing Arts.
Internationally, he has collaborated with the BBC Symphony Orchestra London, the Komische
Oper Berlin (Lady Macbeth of Mzensk), the Royal Scottish National Orchestra, Orquesta Nacional
de México, the Orquesta Simfonica del Estado de Sao Paulo (OSESP), and the New Zealand
Symphony Orchestra. On his regular tours to the Far East, he has appeared with the NHK Symphony
Orchestra Tokyo, the Tokyo Symphony Orchestra, the Seoul Philharmonic Orchestra, the Hong Kong
Philharmonic, the China Philharmonic, and the Singapore Symphony.
A committed supporter of youth and music, Mr. Milanov is Music Director of both Symphony
in C (a professional training orchestra that has graduated and placed many of this country’s top
instrumentalists) and the New Symphony Orchestra in his native city of Sofia, Bulgaria. He regularly
conducts at The Curtis Institute of Music and appears each season at Carnegie Hall for LinkUP!, a
program supported and promoted by The Weill Music Institute reaching more than 15,000 children.
Mr. Milanov’s first commercial recording with The Philadelphia Orchestra, A Grand Celebration: The
Philadelphia Orchestra Live with the Wanamaker Organ, has recently been released. His live recording
of Shostakovich’s Symphony No. 15 and Brahms’ Symphony No. 1 with The Philadelphia Orchestra is
available through Philadelphia Orchestra’s Online Music Store.
Rossen Milanov studied conducting at The Juilliard School (where he received the Bruno Walter
Memorial Scholarship), the Curtis Institute of Music, has a degree in Oboe from Duquesne University
and the Bulgarian National Academy of Music. Former Chief Conductor of the Bulgarian National
Radio Orchestra (2003-2008), Mr. Milanov is a recipient of the Bulgarian Ministry’s Award for
Extraordinary Contribution to Bulgarian Culture and an ASCAP award in 2011 for his programing with
Princeton Symphony Orchestra. In 2005, he was chosen as Bulgaria’s Musician of the Year.
He is a passionate cook and often cooks for various charities
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Symphonic Encounters 2012/13
Vancouver Symphony Orchestra
Programme notes
Johannes Brahms
b. Hamburg, Germany / May 7, 1833
d. Vienna, Austria / April 3, 1897
Academic Festival Overture Op. 80
Johannes Brahms was a master of symphonic composition in
the mid to late 19th century. He began his musical training at
the age of seven as a pianist and eventually, in his teen years,
played at dance halls and other disreputable environments
to help his family make ends meet. He toured Europe as an
accompanist, and composed works becoming a household
name due to an article written by Robert Schumann in 1853.
He masterfully combined the Classical style of Mozart and
Hadyn, and the expressiveness of Romanticism and pushed
the boundaries of both with his own unique “Brahmsian”
style. He is regarded as one of history’s greatest composers.
He is most renowned for his incredible symphonies, the
German Requiem and his hundreds of compositions for solo
piano, violin and voice, as well as chamber ensembles.
Brahms composed this lively work, which he described as “a very boisterous potpourri of student songs,”
in 1880 as a gesture of thanks for an honorary PhD the University of Breslau bestowed upon him. He had
sent a thank you note but was informed by a friend at the university that a musical expression of gratitude
was expected. His ironic sense of humour – and his low opinion of institutions of higher learning, born
of his never having attended one – led him to make the piece as jolly and informal as the university was
serious and stuffy. The bustling introduction appears to be original Brahms. The main section is founded
on four traditional German student songs. After a soft timpani roll, the brass proudly proclaim ‘We Had
Built a Stately House’. This is followed in turn by ‘Most Solemn Song to the Father of the Country’
(a heartfelt tune first heard in the strings); ‘What Comes There From on High’ (a satiric ditty on the
bassoons); and at the climax, regally clothed in the largest orchestra Brahms ever used, ‘Gaudeamus
igitur’, a solemn medieval hymn in praise of student life.
Felix Mendelssohn
b. Hamburg, Germany / February 3, 1809
d. Leipzig, Germany / November 4, 1847
Violin Concerto in E minor Op. 64
Mendelssohn was recognized early as a musical prodigy. He first
performed publically at the age of nine and achieved his first
published composition, a piano quartet, written before that age
of thirteen. He is credited with reviving interest in J.S. Bach, by
conducting his St. Matthews Passion in 1829 – it was the first
time J.S. Bach’s music was presented publically since his death
79 years prior. In 1835, Mendelssohn took up the post of Music
Vancouver Symphony Orchestra
Symphonic Encounters 2012/13
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Director of the Gewandhaus Orchestra of Leipzig. Under his patient, exacting supervision, only a few years
passed before its concerts came to be considered the finest given anywhere in Europe. The concertmaster,
Ferdinand David, made important contributions to that upgrading process. In gratitude, Mendelssohn
composed this concerto for him. David performed the premiere, in Leipzig on March 13, 1845.
The concerto is a beautifully polished work of art, combining sureness of construction with passion,
warmth and playfulness. In a nod to Romantic practice, Mendelssohn directed that the three sections be
played without any breaks between them. This gives the concerto greater cohesiveness and momentum.
The majority of dramatic content plays out in the urgent first movement. The following section is an
interlude of gentle melodic beauty. A brief bridge passage then ushers in the impish finale. Its solo
fireworks are backed by the kind of feathery light orchestration which was a Mendelssohn trademark.
Nikolai Korndorf
b. Moscow, Russia / January 23, 1947
d. Vancouver, British Columbia, Canada / May 30, 2001
The Smile of Maud Lewis
Nicolai Korndorf was an incredibly gifted musician who could play any
piece of standard classical repertoire at the piano from memory and could
instantly transpose enormously difficult orchestral scores, at tempo, during
composition lessons. He graduated from the Moscow Conservatory in
1973 with a Ph.D. in composition. He joined the Conservatory’s staff
in 1972 and taught a variety of subjects for 20 years. In 1976, he won a
major conducting competition. This led to guest conducting engagements
throughout the USSR and in Boston. Leaving Soviet Union during its
dissolution, he and his family moved to Vancouver in 1991, settling in
Burnaby, BC. He continued to compose until his untimely death at the
age of 54. Much of his music has not been commercially released or
even performed but interest in his life and compositions is
increasing.
He wrote The Smile of Maud Lewis, one of his final works, in
1998. With its bright, airy textures and innocent, joyous mood,
it reflects the artistry of the celebrated Nova Scotia painter
Maud Lewis (1903-1970), whom Korndorf admired deeply. At
the time of the premiere, he stated, “First of all, I have to say
that discovering the art of Maud Lewis was one of the most
important cultural experiences since my moving to Canada.
I was most impressed by three things. First, I was fascinated
by her art: simple, ingenuous, but very cordial, open-hearted,
moving, gentle and full of light. Second, I was struck by the
circumstances of her very hard and unhappy life. It seemed that
everything was against her. But in spite of that, her art was full
of belief in love and it inhales optimism and light. And the third
thing, I was enchanted by her smile. In spite of her specific
facial features – she did not have the lower jaw – her smile was
full of gentleness and affability. There is a saying that a smile is
the mirror of the soul. If indeed it is true, Maud Lewis’s smile,
and her art alike, showed that she possessed a lofty, beautiful
and rich soul, and therefore I called my piece this name.” The
work had its premiere performance in Vancouver June 15, 2000.
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Symphonic Encounters 2013/14
Vancouver Symphony Orchestra
Dmitri Shostakovich
b. St. Petersburg, Russia / September 25, 1906
d. Moscow, Russia / August 9, 1975
Symphony No. 9 in E-flat Major, Op. 70
Dmitri Shostakovich began piano lessons at the age of nine and was discovered to have such a talent for
piano and composition he began attending the Petrograd conservatory just four years later. He wrote his
first symphony as his graduation project at the age of 17 - just four years after that. This first symphony
impressed: it premiered in Berlin just one year later in 1927; and had its American premiere and first
recording in 1928. He spent the rest of his career primarily as a composer and conductor. He composed
chamber works, operas, ballet and film music as well as 15 symphonies. He is one of the greatest
composers of the twentieth century.
Shostakovich, throughout his career, had a tumultuous relationship with the Soviet politics of his time
regularly running afoul of Soviet cultural authorities. Throughout his career he was alternately praised as
a great Soviet artist and given the highest honours the USSR bestowed, and denounced and banned and
returned to favour once again. The main reason for this pattern was his desire for his music to express the
many, contrasting facets of life, positive and negative, rather than just the simple, uplifting sentiments that
the bureaucrats expected composers to express.
At the beginning of 1945, he began writing a grand, heroic symphony celebrating the impending victory
over the Axis powers. He became dissatisfied with it and put it aside. He began an entirely new symphony
in July and completed it in August. Instead of a long, serious work that the bureaucrats hoped would
somehow be related in spirit to the Ninth Symphony of Beethoven, Shostakovich provided a compact,
sarcastic, neo-classical piece scored for an orchestra not much bigger than the one Beethoven had used.
Audiences showed their approval, but the “official” response was savagely negative as it was not the hymn
of victory Stalin had expected.
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Symphonic Encounters 2013/14
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More SYMPHONIC
Friday, February 14, 11am – 2pm
Friday, June 6, 10am – 12:30pm
Selections from Carmen, Romeo & Juliet, Samson
& Delilah, West Side Story, Carousel, the beautiful
Intermezzo from Cavalleria Rusticana and more!
Tovey
Nielsen
Holst
Gordon Gerrard, Conductor
Kathleen Brett, soprano
Colin Ainsworth, tenor
Bramwell Tovey, conductor
Christie Reside, flute*
Elektra Women’s Choir*
Three Jacobean Songs
Flute Concerto
The Planets+
Thursday, May 1, 10am – 12:30pm
Kazuyoshi Akiyama, conductor
Tracy Dahl, soprano*
Roger Honeywell, tenor*
James Westman, baritone*
Vancouver Bach Choir*
Rimsky-Korsakov
Borodin
Orff
Russian Easter Overture
Polovtsian Dances
Carmina Burana
DISCOUNT STUDENT & YOUTH TICKETS!
Page 6
Symphonic Encounters 2013/14
Vancouver Symphony Orchestra
REHEARSAL ETIQUETTE
The Vancouver Symphony musicians really enjoy performing for student audiences and encourage
their interest in classical music! However, we must remember that this is a working rehearsal for the
Orchestra and therefore different from a student performance. You are being treated to a behind-thescenes look at an orchestra at work and your silent observation is greatly appreciated.
Our rehearsal is in the magnificent Orpheum Theatre and it has wonderful acoustics. This means
that the musicians on stage can hear the slightest noise from the audience, just as the audience can
hear the quietest notes played from the stage. For this reason, and in consideration of the rehearsal
process, there are a few rules of etiquette we ask you to observe.
• Please be on time. The rehearsal begins promptly at 10:00am and latecomers will be asked to wait
in the lobby until there is a convenient break in the rehearsal to be let in quietly. The theatre is open
at 9:30am, and we do suggest that you arrive no later than 9:45am to give yourselves adequate time
to be directed to your seats and settled before the rehearsal begins.
• Please do not applaud during the rehearsal. This is a working rehearsal for the musicians and
not a performance; therefore applause is not required. You may however show your appreciation
at the very end of the rehearsal to thank both the conductor and the musicians for giving you this
opportunity to go behind-the-scenes.
• Cameras and other recording devices are NOT permitted in the Orpheum Theatre.
• Food and drinks are NOT permitted in the Orpheum Theatre.
• Cellular phones and pagers must be turned off.
• Talking and even whispering is distracting to others, so please save your comments until the break
or end of rehearsal.
We hope you enjoy your behind-the-scenes sneak peek at the Symphony!
Booked Special Features for Your Visit?
**Meet the Musician will happen at the Rehearsal Break, in the West Coast Energy Hall
** For the Orpheum Tour, meet in the main Smithe Street Lobby at the end of the Rehearsal Break
Vancouver Symphony Orchestra
Symphonic Encounters 2013/14
Page 7
THE VANCOUVER SYMPHONY ORCHESTRA
Founded in 1919, the Vancouver Symphony, with 74 musicians, is the third largest orchestra
in Canada, performing over 150 concerts annually. The majority of the concerts are set in
the historic Orpheum Theatre but the Orchestra regularly performs at 13 other venues across
Greater Vancouver. With an annual attendance of over 200,000 patrons, the main season runs
from September to June. The Vancouver Symphony’s educational programs reach over 50,000
students annually.
THE MUSICIANS
The musicians in the Vancouver Symphony are exceptional in their ability to play and interpret
music. Each member has passed a rigorous audition process to win their job, competing
against many of the world’s best musicians. They have practiced and studied for years to gain
the high level required to be a professional orchestral musician. They have studied in Canada,
the United States, Asia and Europe with some of the world’s finest teachers.
Being a musician in the Vancouver Symphony is a full-time job. The orchestra works together
for an average of twenty hours a week in rehearsals and concerts. Each musician then spends
many hours practicing at home to prepare for the performance. The Symphony often plays
three different programs in one week, so a lot of practice if often necessary.
In addition to this busy schedule, many of the Symphony’s musicians hold teaching positions
at Vancouver’s post-secondary schools. They also teach private lessons and play in chamber
music groups and other ensembles.
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Symphonic Encounters 2013/14
Vancouver Symphony Orchestra
Musicians of the Vancouver Symphony Orchestra
Bramwell Tovey, Music Director
Kazuyoshi Akiyama, Conductor Laureate Jeff Tyzik, Principal Pops Conductor
Gordon Gerrard, Assistant Conductor Edward Top, Composer-In-Residence
first violins
Dale Barltrop, Concertmaster
Joan Blackman, Associate Concertmaster
Nicholas Wright, Assistant Concertmaster
Jennie Press, Second Assistant Concertmaster
Robin Braun
Mary Sokol Brown
Jenny Essers
Akira Nagai, Associate Concertmaster Emeritus
Xue Feng Wei
Rebecca Whitling
Yi Zhou
Kimi Hamaguchi ◊
Ruth Schipizky ◊
second violins
Jason Ho, Principal
Karen Gerbrecht, Associate Principal
Jeanette Bernal-Singh, Assistant Principal
Adrian Shu-On Chui
Daniel Norton
Ann Okagaito
Ashley Plaut
DeAnne Eisch ◊
Erin Wong ◊
violas
Neil Miskey, Principal
Andrew Brown, Associate Principal
Stephen Wilkes, Assistant Principal
Lawrence Blackman
Matthew Davies
Emilie Grimes
Angela Schneider
Ian Wenham
cellos
Ariel Barnes, Principal
Janet Steinberg, Associate Principal
Zoltan Rozsnyai, Assistant Principal
Olivia Blander
Natasha Boyko
Joseph Elworthy
Charles Inkman
Cristian Markos
basses
Dylan Palmer, Principal
Brandon McLean, Associate Principal
Brendan Kane, Assistant Principal
David Brown
J. Warren Long
Frederick Schipizky
flutes
Christie Reside, Principal
Nadia Kyne, Assistant Principal
Rosanne Wieringa §
piccolo
Nadia Kyne
oboes
Roger Cole, Principal
Beth Orson, Assistant Principal
Karin Walsh
english horn
Beth Orson
contrabassoon
Sophie Dansereau
french horns
Oliver de Clercq, Principal
Benjamin Kinsman
David Haskins, Associate Principal
Andrew Mee
Richard Mingus, Assistant Principal
trumpets
Larry Knopp, Principal
Marcus Goddard, Associate Principal
Vincent Vohradsky
trombones
Vacant, Principal
Gregory A. Cox
bass trombone
Douglas Sparkes
tuba
Peder MacLellan, Principal
timpani
Aaron McDonald, Principal
percussion
Vern Griffiths, Principal
Tony Phillipps
clarinets
Jeanette Jonquil, Principal
Cris Inguanti, Assistant Principal
Todd Cope
harp
Elizabeth Volpé, Principal
e-flat clarinet
Todd Cope
◊ Extra Musician
§ Leave of Absence
∆ One-year Position
bass clarinet
Cris Inguanti
Vancouver Symphony Orchestra
bassoons
Julia Lockhart, Principal
Sophie Dansereau, Assistant Principal
Gwen Seaton
piano, celeste
Linda Lee Thomas, Principal
Symphonic Encounters 2013/14
Page 9
The Vancouver Symphony Orchestra is committed to introducing young
audiences to the exciting world of orchestral music.
If you have questions, suggestions, or comments about the
Vancouver Symphony Open Rehearsal Program please contact:
Education Department
Vancouver Symphony Orchestra
500 – 843 Seymour Street
604.876.3434
[email protected]