THE NATIONAL SYMPHONY ORCHESTRA OF UKRAINE

24 CONCERT PROGRAM

Yevhen Stankovych Monday, February 13, 2017 Suite from the ballet 8:00pm The Night Before Christmas I. Introduction II. Oksan and Koval Volodymyr Sirenko III. Kozachok conductor Dima Tkachenko Yevhen Stankovych violin Violin Concerto No. 2 I. Largo (Molto espressivo, Rubato) The National Symphony II. Allegro Orchestra of Ukraine III. Largo

Intermission

This concert is generously Pyotr Ilyich Tchaikovsky supported by the Ihnatowycz Symphony No. 6 in B Minor, Op. 74 “Pathétique” Family Foundation and the Temerty Family Foundation. I. Adagio – Allegro non troppo II. Allegro con grazia III. Allegro molto vivace

IV. Finale: Adagio lamentoso MEDIA PARTNER

I hope you enjoyed the pre-concert lobby performance of the Toronto-based Ukrainian Art Song Project, with Canadian superstars Krisztina Szabó and Russell Braun, accompanied by Albert Krywolt! On stage, we welcome our guests, The National Symphony Orchestra of Ukraine. This orchestra has a long tradition of music-making, and it is a rare privilege to hear them here in Toronto. Conductor Peter Volodymyr Sirenko is joined by soloist Dima Tkachenko. Yevhen Stankovych is Oundjian perhaps the most distinguished Ukrainian composer of his generation. His ballet Music The Night Before Christmas is a truly colourful work, joyful and celebratory, Director masterfully orchestrated. His Second Violin Concerto is very different— rhapsodic and lyrical, with a dark intensity that builds relentlessly to a passionate and dramatic final section, before closing quietly with a moving hymn. The second half of the concert features Tchaikovsky’s wonderful final symphony, the “Pathétique”. We so often speculate on whether or not the final moments of the finale are a farewell to the world that we can overlook the sheer beauty and sparkling high energy of the rest of the music.

25 THE DETAILS

Yevhen Stankovych, composer By working within his own parameters, he fell out of favour with Soviet cultural authorities and The Ukrainian composer Yevhen Stankovych is was rarely given opportunities to have his works one of the most outstanding figures in the world performed or recorded outside the USSR. His of music at the end of the 20th century. The conflicts with the system continued until the collapse of the USSR gave him the opportunity demise of the USSR. to establish contacts with the world, resulting in recordings of his music by various companies Beginning with his first compositions, and the performance of his works by performers Stankovych declared himself a composer of in other countries, bringing him wide recognition dramatic temperament, not averse to emotional as one of the most individualistic and eminent risk. His works reflect his defiance and, at the composers of our time. same time, his optimism. Stankovych uses music as a means of expressing his philosophical and The composer does not subscribe to any of the dramatic thoughts. contemporary tendencies in composition. At the beginning of the 1970s, he started developing his Stankovych’s uniqueness lies in his pronounced own manner and style which can be called “new affinity with the vernacular, in his blending of universalism” or “independent universalism”. folk motifs with orchestral colours, reproducing Without a doubt, new universalism is one of the aspects of folk song and of traditional Ukrainian most promising tendencies in the development folk polyphony. A composer, he believes, cannot of music. New universalism is the combination create music in isolation from his cultural lifeline of the most effective techniques of music in and should work to extend that lifeline to his the 20th century and the profound emotions of audience. The composer’s elaborate polyphonic music composed in previous centuries. It is the textures and meditative lyricism are reminiscent bridge connecting the past, the present, and the of the strict instrumental style of Baroque music, future of music. while the full-bodied, affected melodies with an obvious post-romantic colouring give his The regime of socialist realism, enforced with music warmth and expressiveness. His music greater fervour in the Soviet Ukraine of the 1970s is remarkable in many respects, showing his than in Russia, attempted to create barriers emotional freedom, consummate technical to external influences. Yevhen Stankovych is mastery, and flexibility of form. recognized as the leader of the group of young Ukrainian composers who, in the early 1970s, This is why Yevhen Stankovych’s music differs brought down those barriers and introduced radically from the music of his contemporaries; innovation in their techniques and themes. his music is unique in its internal fulfillment,

26 emotional intensity, originality, and logical world adequately expresses the tragedy; Requiem- view. Without repeating his musical elements, Kaddish “Babyn Yar” for tenor, bass, chorus, and he is nevertheless constant in creating his own orchestra; and A Poem of Sorrows for orchestra. musical universe. All of these factors explain his Prior to 1991, Yevhen Stankovych’s works popularity as a composer, both with the public were regularly censored or banned by Soviet and with musicians. authorities. The folk opera The Flower of Yevhen Stankovych is one of the composers the Fern was banned for its use of traditional who reinvigorated in a natural and distinct Ukrainian folk melodies and their interpretation manner the way to connect the tradition of in a contemporary genre. The score, sets, and folklore with the most contemporary techniques costumes were destroyed by Soviet authorities. of the avant-garde, thus creating a new style Excerpts from the work were first performed by of music (for example, The Flower of the Fern, the Winnipeg Symphony Orchestra in 1988. The 1976). Other composers in the former USSR ballet Ol’ha was repeatedly censored and was started to emulate Stankovych, with a number of not performed in its original form until after 1991. ballets, oratorios, and operas in this style written The ballet The Agony: Rasputin (originally titled and performed in the 1980s. Prometheus) was also severely censored; the work was first performed with its original music He was one of the first composers, not only in and libretto in 1989 in Skopje, Macedonia. Ukraine, but also in the former Soviet Union who started developing the principles of polystylistics Shortly after the explosion of the Chornobyl as well as collage (Sinfonietta in modo collage, reactor, Yevhen Stankovych wrote the first of 1970; the ballets Maiska nich [May Night] several works commemorating the present and Nich pered Rizdvom [The Night Before and historical tragedies which took place Christmas]). in Ukraine. In September 1991, following Ukraine’s declaration of independence, he Yevhen Stankovych is a pioneer in the rebirth wrote Requiem-Kaddish “Babyn Yar” on the of the neo-Romantic style in the second half 50th anniversary of the tragedy at Babyn Yar, of the 20th century (Symphony No. 4 “Sinfonia memorializing the annihilation of Jews in Lirica”, 1976). At the beginning of the 1980s, Ukraine, and the score to the film Izhoy (The he developed his own musical system, which Outcast) about the plight of a Jewish family in he calls “polyphony of layers”. One of the Ukraine fleeing the Nazis. These works were fundamental philosophic underpinnings of the the composer’s gift to the Jewish community of polyphony of layers is an acceptance of the Ukraine. He completed this cycle with Black Elegy development of music as a multidirectional (premièred by the Winnipeg Symphony Orchestra) and complex process, which may develop and Requiem for those who died of famine, the either in synchronicity or independently and at first work dealing with the Chornobyl tragedy and a distance from one another. Symphony No. the second concerning the 1932–1933 famine in 5 (A Symphony of Pastorals) was the first work Ukraine that killed over six million Ukrainians. written in this manner. Other works written in this manner include Dictum, which was By Olena Korchova, musicologist, PhD written shortly after the Chornobyl tragedy Associate Professor, Tchaikovsky National and is regarded as the only composition that Academy of Music of Ukraine

27 THE DETAILS

Yevhen Stankovych Born: Svaliava, Ukraine, Sep 19, 1942

20 Suite from the ballet 26 Violin Concerto No. 2 min The Night Before Christmas min Composed: 2006 Composed: 1992 The composer offers the following thoughts According to Ukrainian musicologist Edward on this work: Jaworski, this ballet “is based on the novel of “The form of the concerto is not conventional Nikolai Gogol from the cycle Evenings on a Farm except, perhaps, for its outline. The musical near Dikanka, which was also used for the librettos language and other means of expression of operas by Tchaikovsky (Boots), Rimsky-Korsakov were created exclusively from an internal (The Night Before Christmas), and M. Lysenko awakening and aspirations, as if everything on (Christmas Night). Created in 1992, Stankovych’s this earth comes from one maxim: that the ballet demonstrates an emotional freedom and present is the past, and the past can be the an artistic and imaginative richness that is future.” inherent in his music.” Cadenzas and violin-part editing for Violin “With extensive experience in the genre of ballet Concerto No. 2 by Ukrainian violinist Dima (other works include Princess Olga and Prometheus), Tkachenko. Yevhen Stankovych implemented a new form with clear aesthetic criteria and with his own original Notes translated from the original Ukrainian concept. Although the story ‘The Night Before by Olena Jatsyshyn Christmas’ already exists in the opera genre, neither Lysenko nor Rimsky-Korsakov fully developed its theatrical and entertainment qualities, wealth of customs, beliefs, and fantasy. Perhaps Yevhen Stankovych for the first time in Ukrainian music turned to a genre like ballet pasticcio that allowed him to freely operate in different stylistic layers.”

According to Yevhen Stankovych, “The music tapestry of my ballet [The Night Before Christmas] is based fully on Ukrainian folklore and reflects all that is inherent in Gogol’s story. It depicts vignettes of people celebrating Christmas and singing carols and New Year songs. It portrays great human love and fantastic images of evil spirits and celestial bodies. The Introduction is a large musical portrait based on the Ukrainian folk song ‘Shchedryk’. ‘Oksan and Koval’ evokes the eternal theme of love in the broadest sense. And the final movement, ‘Kozachok’ is the ecstatic dance of the Cossacks. It evokes the power of the energy and strength of the Ukrainian people.”

28 Pyotr Ilyich Tchaikovsky Symphony No. 6 in B Minor, Op. 74 “Pathétique”

Born: Kamsko-Votkinsk, Russia, May 7, 1840 45 Died: St. Petersburg, Russia, Nov 6, 1893 min Composed: 1893

Tchaikovsky believed himself to be the victim of commonly used in Russian. The nearest English a cold, implacable fate. In the last three of his six equivalent, “pathetic”, conveys only part of the symphonies, he depicted his struggle against it. original meaning, leaving its subtext of passion He won some degree of victory in the Fourth and suffering unexpressed. The composer and Fifth. But in the Sixth, his final and greatest inscribed this immediately on the score. work (which could be taken as his last will and The symphony opens with a slow, mournful testament), destiny reigns supreme. Nine days introduction. The expansive exposition section after the première, he was dead. contrasts a restless first subject with a consoling According to his brother Modest, on the day after second. The explosive start of the development the première, the composer was still searching heralds many pages of mounting hysteria. It is for an appropriate title for the piece (he did not crowned by a passage of slow, stern grandeur, wish to call it simply Sixth). Modest suggested where the trombones and tuba sound like “pathétique”, a French word of Greek origin that is nothing so much as funeral orators.

The next movement, a waltz, promises graceful Tchaikovsky dedicated his Sixth Symphony contrast at first, but with five beats to the bar to his beloved nephew Vladimir “Bob” instead of the usual three, the mood is thrown off Davidov. While composing the work, he kilter, with disturbing, bittersweet results. The third wrote frequently to Bob, and his letters offer movement begins as a dynamic, Mendelssohnian glimpses into his creative process. As he wrote scherzo. Gathering momentum, it appears to in February 1893, “There will be much formal become a blazing march of triumph, sweeping innovation in this symphony—and incidentally, all before it. Yet this is not the only possible the finale will not be a noisy allegro but, on way of looking at it. David Brown, author of the contrary, a most long drawn out adagio. an authoritative, four-volume biography of You can’t imagine what bliss I feel, being Tchaikovsky, comments, “this march is, in fact, convinced that my time a deeply ironic, bitter conception—a desperate is not yet passed and I bid for happiness so prolonged and vehement can still work.” When he that it confirms not only the desperation of the had finished in August, search, but also its futility.” The symphony’s slow, Tchaikovsky told Bob anguished finale confirms this view. Despite that he considered this repeated protests, resignation becomes complete. symphony his “best and, A quiet stroke on the tam tam announces fate’s in particular, the most victory; the music sinks back into the dark depths sincere of all my works.” of the orchestra where it began.

Program note by Don Anderson Tchaikovsky and Vladimir “Bob” Davidov, c. 1892

29 THE ARTISTS

Volodymyr Sirenko conductor

Born in 1960 in the Poltava region of Ukraine, Volodymyr Sirenko has been compared by the international press to other brilliant conductors such as Esa-Pekka Salonen and Simon Rattle. Sirenko graduated in 1989 from the Kyiv Conservatory, where he studied conducting under Allin Vlasenko. In 1990, he was named a finalist at the International Conducting Competition in Prague. A year later, he was appointed as Chief Conductor of the Ukrainian Radio Symphony Orchestra, a position he held until 1999, when he became the Artistic Director and Chief Conductor of the celebrated National Symphony Orchestra of Ukraine (formerly known as the Kyiv State Symphony Orchestra).

Sirenko has toured and appeared in numerous concert halls around the world, and has worked with many international orchestras, including the Moscow Philharmonic, St. Petersburg Philharmonic, Sinfonia Warsovia, Jerusalem Symphony Orchestra, National Philharmonic of Russia, Brooklyn Philharmonic, and Royal Philharmonic Orchestra, among others. Volodymyr Sirenko is an Honoured Artist of Ukraine (1997) and an Honoured Artist of the Russian Federation (2003). In 2001, he received the Shevchenko National Prize, Ukraine’s most prestigious award.

Dima Tkachenko violin

Ukraine-born violinist Dima Tkachenko started playing the violin and piano before the age of six. He studied at the Lysenko Music School in Kyiv, graduating to the National Music Academy of Ukraine (formerly Kyiv Conservatoire). In 1998, he was invited to London to study at the Guildhall School of Music and Drama and was made a Fellow in 2002.

Dima Tkachenko was awarded the Guildhall School Concert Recital Diploma (Premier Prix) and was a prize-winner at several international violin competitions including the Carl Nielsen Competition, Lysenko Competition, and Wronski Solo Violin Competition. He has toured extensively throughout Europe, Asia, and the Americas, and has been broadcast on Ukrainian Radio and TV, ORT and Kultura Russian TV, Danish Radio, Polish Radio and TV, and BBC Radio 3 in the UK. Apart from his busy concert career, Dima Tkachenko presently teaches at the National Music Academy of Ukraine, gives masterclasses, is a jury member for several international competitions, and is the co-founder and Artistic Director of the Benjamin Britten International Music Competitions in London.

30 The National Symphony Orchestra of Ukraine Formed by the Council of Ministers of Ukraine in November 1918, the National Symphony Orchestra of Ukraine (NSOU) is considered to be one of the finest symphony orchestras in Eastern Europe. Its first conductor was Oleksander Horilyj. Natan Rachlin was the Artistic Director of the Orchestra from 1937 until 1962. Stefan Turchak, Volodymyr Kozhuchar, Fedir Hlushchenko, Igor Blazhkov, and Theodore Kuchar consequently conducted the Orchestra as its Principal Conductors. Other conductors who have worked with the NSOU include Leopold Stokowski, Igor Markevitch, Kurt Sanderling, Evgeny Mravinsky, Kiril Kondrashin, Evgeny Svetlanov, and Gennady Rozhdestvensky. The NSOU was entrusted with the première performances of works by the composers Sergei Prokofiev, Dmitri Shostakovich, Aram Khatchaturian, Boris Lyatoshynsky, Valentyn Silvestrov, Myroslav Skoryk, and Evgen Stankovych.

The Orchestra has gained international recognition over a remarkably short period of time. After an appearance in Moscow, Dmitri Shostakovich commented: “This orchestra has as distinguished a group of performers as one would be likely to find anywhere. The ensemble of the orchestra is of the highest level. In addition, the various soloists and instrumental groups within the Orchestra play exceptionally and complement each other beautifully—as would the greatest of the world’s symphony orchestras.” Volodymyr Sirenko has been the Artistic Director and Chief Conductor of the NSOU since 1999, and they have performed in successful concert tours throughout Europe, Australia, Asia, and the Middle East.

Since 1993 the NSOU has released more than 100 sound recordings, which include both Ukrainian and international repertoires. Most of these recordings have received the highest international acclaim. In 1994, the Australian Broadcasting Company (ABC) rated the NSOU’s recording of Boris Lyatoshynsky’s Symphonies Nos. 2 and 3 as “The Best Recording of the Year.” The CD of Silvestrov’s Requiem for Larissa was nominated for a GRAMMY® Award in 2005, as was their recording of Violin Concertos by Bloch and Lees in 2009.

31 MUSICIANS OF THE NSOU

Volodymyr Sirenko Violas Clarinets ARTISTIC DIRECTOR & Oleksandr Pohoryelov Petro Zabolotnyi CHIEF CONDUCTOR PRINCIPAL PRINCIPAL Galyna Nemeczek Iurii Nabytovych Theodore Kuchar Viktor Navrodskyi Viktor Gornostai CONDUCTOR LAUREATE Oleh Trunov Oleksandr Avramenko Orest Krysa Valentyna Lisovenko Bassoons First Violins Bogdan Fesyuk Taras Osadchyi, Principal Maksym Grinchenko Volodymyr Ponomarov PRINCIPAL LEADER Vira Ampilogova Oleksiy Yemelyanov Markiyan Hudziy Maksym Bakeyev Roman Chornogor SUB-LEADER Anatilii Gavrylov Volodymyr Antoshin Olena Pushkarska Svyatoslava Semchuk Cellos Horns Bogdan Krysa Olena Ikaieva Valentyn Marukhno Gennadiy Pavlov PRINCIPAL PRINCIPAL Roman Poltavets Liliia Demberg Andriy Shkil Oksana Kot Andrii Aleksandrov Kostiantyn Sokol Olena Poltavets Tetiana Miastkovska Boris Rudniev Valery Kuzik Tamara Semeshko Iuliia Shevchenko Yevgeniya Sirenko Mykola Dorosh Anzhela Zinchenko Olga Mikhaylyuk Ihor Yarmus Evgen Churikov Tetyana Pavlova Ievgen Skrypka Viktoriia Trach Tetyana Dondakova Trumpets Svetlana Markiv Olena Dvorska Yurii Kornilov Iurii Stopin Alina Matoushek PRINCIPAL Oleksii Sechen Viktor Davydenko Double Basses Grygorii Kozdoba Second Violins Volodymyr Grechukh Dmytro Kovalchuk Galyna Gornostai PRINCIPAL PRINCIPAL Oleksandr Neshchadym Trombones Valentyna Petrychenko Oleksandra Chaikina Andriy Golovko Oleksandra Vasylieva Taras Butko PRINCIPAL Anastasiya Filippochkina Volodymyr Kaveshnikov Danylo Sydorov Olena Bardina Dmytro Golovach Mykola Artiushenko Ganna Fedchenko Ivan Lykhovyd Andrii Zymenko Liudmyla Guley Valentyna Voskresenska Flutes Tuba Andriy Mazko Oleh Sheremeta Oleksiy Li Sergiy Ursulenko PRINCIPAL Tetyana Nikonenko Myroslava Sirenko Percussion Nadiia Novikova Igor Iermak Dmytro Ulianov Vasyl Bakalov Mykola Mykytei LEADER Olena Litovchenko Larysa Plotnikova Danylo Shurygin Liudmyla Guliei Evgen Ulianov Oboes Gennadii Khlopotov Gennadii Kot Stanislav Ulianov PRINCIPAL Oleh Sokolov Yurii Litun Viktor Chernigovskyi Harp Viktor Mishchenko Nataliia Izmailova PRINCIPAL Valeriia Tikhonova Piano Lyudmyla Kovaleva

32 Friends of the TSO with Principal Librarian Gary Corrin in the Music Library at Roy Thomson Hall during an exclusive Backstage Tour for donors

It takes more than a great orchestra. It takes you.

With an exciting season of music just announced, you may already be picking your TSO concerts for 2017/18. Did you know that you can get even closer to the Orchestra and the music you love when you make a donation?

Become a Friend of the TSO today with a gift of $100 or more. Expand your concert experience with donor-exclusive Backstage Tours and Open Rehearsals, and play your part in giving new life to history’s greatest music.

Support your TSO today and enjoy a symphony of donor benefits all season long! Add a donation to your subscription order, visit the Patron Services desk at intermission, call 416.598.3375, or visit TSO.CA/Donate.

Learn more about Friends donor benefits like Open Rehearsals and Backstage Tours on our website at TSO.CA/Friends.