SYMPHONIC CONCERT GUIDE Saturday, January 16, 2021 // 7:00 p.m. Sunday, January 17, 2021 // 3:00 p.m. Contents 2020/21 Season

Welcome from Maestro Brotons...... 3 The Vancouver Symphony extends a special thanks to the individual, corporate, and Message from the Mayor...... 5 foundation partners whose generosity and Introducing Da Capo...... 6 commitment to the arts in our community Musicians and Staff...... 8 keep the music playing throughout our season.

Meet the Musicians...... 10

January Classical Concert...... 13

February Classical Concert Preview...... 19

Friends of the VSO...... 22

Donor Acknowledgements...... 23

Our Mission To enhance the quality of life in Southwest Washington by providing symphony music of the highest caliber in live performances and through music education in schools, concert halls and throughout the community.

The VSOUSA @VSO_USA @vso_usa

360.735.7278 WWW.VANCOUVERSYMPHONY.ORG This list recognizes the generous Gala and season sponsors who support the Vancouver Symphony Orchestra. For information on Support the VSO when you shop on Amazon. sponsorships, contact the VSO by calling (360) 735-7278. Find us on Amazon Smile at smile.amazon.com.

VANCOUVER SYMPHONY ORCHESTRA 2020/21 // 2 WELCOME Photo: Paul Quackenbush Photography Quackenbush Paul Photo:

Thank you for joining us as we begin Dr. Salvador Brotons our 42nd season! Music Director & Conductor

There is no doubt that this is a year unlike any other. far away. It is our greatest honor and privilege to I am so thankful that we are part of such an incredible serve as a source of inspiration and hope by bringing community, and that we can continue to share our music to the world however we can. In turn, the music with you such a long time away. While steadfast dedication of our audience uplifts and the season ahead of us may be shifting and changing, inspires me to see us through this with an orchestra I have no doubt that it will be as extraordinary as that is stronger than ever. ever. It also marks a significant milestone for me as my 30th year as Music Director and Conductor for I want to thank our remarkable musicians, Board of the VSO. It has been my great honor and joy to share Directors, staff, Friends and volunteers for working music with you all for so many years, and to see how harder than ever to keep the music alive and make far this organization has come. this season spectacular. For 30 years I have felt great love and appreciation from you, and I have always This year will prove to be our most innovative season tried to return it in every way I can. Conducting yet. Working with an expert team of technology, your orchestra means more to me than I can ever audio and video professionals, this brand-new concert say. Thank you for standing with us for 42 wonderful experience will allow us to continue to bring classical years, and for many more to come. I am thrilled for music of the highest caliber to our community. The you to join us in this spectacular, groundbreaking Orchestra is at the top of its abilities, and I am so season. glad that the 42nd symphonic season will face no interruptions. I have nothing but gratitude for your enthusiasm and support which has allowed us to find new ways to serve you and do what we love. Salvador Brotons In difficult times we can turn to music to uplift and Music Director & Conductor inspire us to keep going amid hardship. It brings Vancouver Symphony Orchestra comfort when the world feels like a dark place, and connects us as human beings when community feels

VANCOUVER SYMPHONY ORCHESTRA 2020/21 // 3 VANCOUVER SYMPHONY ORCHESTRA 2020/21 // 4 MESSAGE FROM THE MAYOR

Greetings!

Welcome to the 2020-2021 season of The Vancouver Symphony Orchestra. This year marks the Symphony’s 42nd season, and Maestro Salvador Brotons’ 30th consecutive season leading the VSO!

It is a privilege to have a world-class organization like the VSO call Vancouver home, and we’re grateful that we have been able to host such a pillar of culture for four decades!

The VSO has been an integral part of our community, and we look forward to the Symphony continuing to perform and inspire us for many years to come. It serves many thousands of individuals each year through its concert and chamber series, local Young Artists annual competition, educational and community engagement efforts. The VSO is changing lives through music.

Unfortunately, this season will look very different due to COVID 19 restrictions. Like many of us, VSO is adapting and making adjustments to its performance format. As such, their first few concerts will be live-streamed by a smaller orchestra without a live audience. As everything begins to open back up, VSO will be happy to welcome live audiences back to Skyview. While this season may look different than originally planned, it is sure to be just as brilliant. I can’t wait to see what is in store as our VSO adapts to the changing landscape of live performance.

It is always a treat for my husband Terry and I calm down from a busy week of work and chores and lose ourselves in the joy of music. But mostly, I enjoy watching Maestro Brotons as he dances with the orchestra. His energy pours out over the stage and we’re rewarded with a beautifully choreographed performance.

The VSO is building a legacy of leaders through music, education and community partnerships. Indeed, this promises to be an exciting experience for all of us.

Enjoy the season! Welcome back, Vancouver Symphony Orchestra! Anne McEnerny-Ogle Anne McEnerny-Ogle Mayor, City of Vancouver

VANCOUVER SYMPHONY ORCHESTRA 2020/21 // 5 OUR NEW VIDEO SERIES

Da Capo with Greg and Ashley is a special video series airing before each VSO live stream concert. Your hosts will give you the fascinating context behind the concert selections and their composers. With a splash of wit and plenty of enthusiasm, Greg and Ashley will show you the remarkable stories of your favorite music da capo—from the beginning!

Ashley Hall Greg Scholl

Ashley Hall has been with the Vancouver Symphony Orchestra since Greg Scholl has played in the VSO since 1993—he­ became October of 2019. Since December of 2019 she has been the host and principal trombone in 1995. He is also principal trombone in the producer of The Vancouver Symphony Orchestra Podcast, interviewing Portland Columbia Symphony and the Newport Symphony. Greg prominent VSO figures and guests as well as sharing past VSO also plays locally in the Portland Brass Quintet and the Portland performances in the special series VSO Encore. Ashley graduated Festival Symphony. He has performed with the Oregon Ballet Theater, from Western Washington University in 2013 with a degree in English the Oregon Symphony, the Portland Opera, the Salem Chamber Literature, and has been active in the Vancouver arts community for Orchestra, the Portland Chamber Orchestra, the Portland Symphonic over 15 years. She was formerly the music director for the Young Choir, the Willamette Master Chorus, and the Portland Gay Men’s Slocum House Players in 2011, and has been on the Board of Pacific Chorus. He has performed with the Oregon Repertory Singers and Stageworks Theater Company since August of 2019. the Portland Symphonic Choir. Greg was formerly second trombone in the Austin Lyric Opera. Outside of saying flowery things about recordings of classical music Ashley produces two other podcasts, acts and sings in community Greg is the trombone and low brass instructor at Pacific University. theater productions, and plays nerdy tabletop games with her husband He obtained a trombone performance degree at the University of Will Johnson (the superhero who keeps Skyview Concert Hall Texas at Austin, where he studied with Donald Knaub. Prior to that he running). It’s also rumored that she’s the girl who answers the phone studied with Peter Kline and David Brown in San Antonio, TX. Greg when you call the VSO office, but none can say for certain. plays in the Portland modern duo Dos Hermanos de Hale Bopp. He also plays guitar and trombone in a variety of styles with local bands and performers such as the Rhythm Dogs, Goombahttsi, and Elvis Presley Tribute Artist Justin Shandor.

After rejecting the millions of dollars people offered him to play the trombone, Greg obtained a law degree in 1995 from Lewis & Clark Northwestern School of Law. During most business days he can be found practicing law as the director of the capital case team at the Metropolitan Public Defender. He enjoys spending time with his family and dogs, reading, camping and hiking, collecting things like Conan the Barbarian comic books, LP records, and concert recordings of the Grateful Dead, and being married to incredible principal bassoonist Margaret McShea. Their son Ben is now in college—he was practically raised at VSO rehearsals back in the day.

VANCOUVER SYMPHONY ORCHESTRA 2020/21 // 6 Where ideas come to live.

91.5 FM | Full Spectrum News

VANCOUVER SYMPHONY ORCHESTRA 2020/21 // 7 VancouverSymphony7.5x10Ad.indd 5 12/20/19 1:30 PM 2020/21 MUSICIANS AND STAFF

VIOLIN 1 VIOLA PERCUSSION Eva Richey, Concertmaster Angelika Furtwangler, Rachel Rencher, Principal Isaac Rains Stephen Shepherd, Principal Corrie Cook Associate Concertmaster Jeremy Waterman, Darren Cook TIMPANI Jeong Yoon Lee Assistant Principal Florian Conzetti, Principal Don Power Jim Garrett PICCOLO Kirsten Norvell Elisa Rega Darren Cook Elizabeth Doty Brenda Liu / CELESTE Elizabeth O'Mara Emalie Berdahl Michael C. Liu Carol Kirkman Keely McMurry Brandon Buckmaster Ashley Redd Alan Juza, Principal HARP Ricki Hisaw Kris Klavik Kimberly Taylor Stacy Edgar CELLO Dieter Ratzlaf, Principal ENGLISH HORN ORCHESTRA MANAGER/ VIOLIN 2 Erin Ratzlaf, Kris Klavik LIBRARIAN Tracie Andrusko, Principal Assistant Principal Dr. Igor Shakhman Sara Pyne, Assistant Principal Annie Harkey-Power Diana Taylor-Williams Suzanne Rague Igor Shakhman, Principal STAGE MANAGER Maria Powell Lauren Vanderlind Steve Bass Ron Christopher Liza Hanson Kristopher Duke Barbara Heilmair Joan Hamilton Jonah Thomas Denise Uhde-Friesen BOARD OF DIRECTORS BASS CLARINET Carolyn Shefler Victoria Tullett, Chair BASS Barbara Heilmair Lanette Shepherd Kathy McDonald, Past Immediate Garrett Jellesma, Principal Chair, Board President Olivia Myers Ed Sale Directors Tommy Thompson Margaret McShea, Principal Ann Bardacke Will Gibbs Nicole Buetti Dr. David Bloom Dr. Tammy Bloom CONTRABASSOON Paul Christensen Nicole Buetti Jacob Gamble Justin Jenks Will Kitchen HORN Tim Kraft Dan Partridge, Principal Amey Laud Wendy Peebles Dr. Michael Liu Charles Crabtree Steve McCarthy James Cameron Dr. David Smith Carol Van Natta Scott Winks, Board Liaison Bruce Dunn, Principal Barbara Coman, Scott Winks Friends of The VSO Chair

TROMBONE STAFF Greg Scholl, Principal Dr. Salvador Brotons, Graham Middleton Music Director & Conductor Doug Peebles Dr. Igor Shakhman, Executive Director Rachael Evans, Development Director BASS TROMBONE Joe Galante, Office Manager Doug Peebles, Principal Ashley Hall, Communications and Media Manager ASK Advertising, Graphic Design Mark Vehrencamp, Principal ENTOFFICE.ORG We strive to provide high quality ear, nose and throat care for all. David Bloom M.D. Our goal is to improve our patients’ lives with the services we offer for adults and children: • Ear, Nose & Throat • Allergy & Sinus • Audiology & Hearing Aids • Sleep & Snoring • Balance & Vestibular • Pediatric Ear, Nose & Throat

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VANCOUVER SYMPHONY ORCHESTRA 2020/21 // 9 MEET THE MUSICIANS

Tracie Andrusko Garrett Jellesma Principal 2nd violin Principal bass Tracie began her music training at the age of Now in his 14th season with The VSO, Garrett 5, on both violin and piano, developing a love grew up in Milwaukie, OR where he was a of music as she watched both her parents violinist in the youth symphony. His bass career play in their church orchestra. She studied began in high school where his first teacher with Portland string teachers James Eoff and was Dave Anderson. He’s performed with the Catherine Peterson and graduated from Azusa Portland Opera, Oregon Ballet Theatre, the Pacific University with a music degree in violin Linfield Chamber Orchestra and many others. performance and music education. He is also a freelance musician performing and recording with musicians in many different music genres. Following college graduation, Tracie married the university orchestra’s lead trumpet player and they’ve now been married for 28 years. Their three sons When not performing, he is an orchestra teacher at H.B. Lee Middle School in have each developed a love for piano, brass and percussion, as well as the the Reynolds School District, where he has taught since 2000. He is proud of U.S. military. She is now is in her 27th season with The VSO. In addition to his groups that have won many awards over the last several years. the symphony, Tracie plays electric violin with a country rock band, The Usual He received his Bachelor of Music from Portland State, where he played under Suspects and her church band. She credits Maestro Brotons with giving the Maestro Brotons, and his Master’s in Music from the University of Portland. orchestra vision, direction and inspiration to reach new benchmarks. Garrett likes to spend his spare time with his family, traveling, fishing, and watching movies. Dr. Florian Conzetti Principal timpani Alan Juza Florian Conzetti is artistic director of Principal oboe Northwest New Music, a Portland-based Alan is an active musician in the Portland area. contemporary chamber music ensemble. He He is a member of the Oregon Ballet Theatre has appeared as a chamber music collaborator Orchestra, Portland Opera Orchestra and at the Music@Menlo Chamber Music Festival Oregon Coast Music Festival Orchestra, and (David Finckel and Wu Han, artistic directors), has performed with the Oregon Symphony, the Astoria Music Festival, Cascadia Composers Eugene Symphony, Peter Britt Music Festival, Concerts, CalPerformances, and Stanford Lively and Houston Symphony, among many others. Arts, and has recorded solo and chamber music works for the Innova, Albany, Alan currently teaches oboe at Pacific and Music@Menlo LIVE labels. University in Forest Grove, and works as Facilities Manager for the Montessori Conzetti was formerly on the faculty of UC Berkeley and currently teaches School of Beaverton. He is thrilled to be a member of the Vancouver percussion, musicology, ethnomusicology and music theory at Portland Symphony! State University and Linfield College. He studied at the Konservatorium für Musik in Bern, Switzerland, the Eastman School of Music, and the Peabody Margaret McShea Conservatory, where he earned a Doctor of Musical Arts degree as a student Principal bassoon of musicologist John Spitzer and marimbist Robert van Sice. Margaret hails from Texas, where she received a bassoon performance degree from the Bruce B. Dunn University of Texas in Austin. She and her Principal trumpet trombonist husband, Greg Scholl, moved to the Pacific Northwest and are never moving again! Now in his 20th year as The VSO’s principal trumpet, Bruce B. Dunn is an accomplished Margaret has been The VSO’s principal bassoon freelance trumpeter who holds performance since 1995, and performs with other regional degrees from both Washington State University symphonies, including Columbia Symphony and (BM, cum laude) and Portland State University Portland Festival Symphony. A well-rounded musician, Margaret also plays the (MM) and was a recipient of the prestigious piano and banjo and had “a brief dalliance with the alto sax in junior high,” but Presser Foundation Scholarship. He can be feels the bassoon is the right fit for her, which is good for us. heard in venues across the Northwest. When not playing music and working as a law firm administrator, she’s in the He is has performed in groups across the region including the Portland Opera, great outdoors, gardening or camping and hiking with family and friends. Columbia Symphony Orchestra, the Portland Chamber Orchestra, the Big Horn Brass, the Portland Festival Symphony, the Bach Cantata Choir and many others. He is also a founding member of the Columbia River Brass Ensemble. In addition to performing, Bruce is a National Board Certified Teacher and the Director of Bands at Covington Middle School, Sunset Elementary and Silver Star Elementary in the Evergreen School District. He has also taught at Evergreen High School, Mountain View High School and Pacific Middle School.

VANCOUVER SYMPHONY ORCHESTRA 2020/21 // 10 MEET THE MUSICIANS

Douglas Peebles Dr. Salvador Brotons Principal bass trombone Music Director & Conductor

Born and raised in Portland, Douglas came from Now in his 30th season a musical family, playing piano from the first leading The Vancouver grade through his senior year at David Douglas Symphony Orchestra High School in SE Portland. He started playing as Music Director and trombone in the fourth grade and in three Conductor, musicians and years was performing in a local dance band, classical music enthusiasts The United Attractions, with his brother, which still delight in having Dr. helped propel his development as a professional Brotons lead them. musician and entertainer. After attending college at the University of Nevada- Reno and playing bass trombone in the Reno area, he returned to Portland.

Photo Credit: Paul Quackenbush Photography Paul Quackenbush Photo Credit: Salvador Brotons was born Douglas has performed with the Oregon Symphony and the Carlton Jackson- in Barcelona into a family Dave Mills Big Band, and has played with the Woody Hite Big Band for over 25 of musicians. He studied years. Other appearances have been with Woody Herman’s Thundering Herd, flute with his father and Peggy Fleming, the Manhattan Transfer, Johnny Mathis, Natalie Cole and Don continued his musical studies Rickles. He was also the drummer with the Cowboy/Jazz group Los Cowtones. at the Barcelona Music Currently, his day job is driving a semi-truck for ABC Transfer and Delivery. Conservatory where he earned advanced degrees Dieter Ratzlaf in flute, composition and Principal cello conducting. In 1985 he won a Fulbright scholarship and moved to the U.S. where he obtained a Portland cellist Dieter Ratzlaf grew up in a doctorate in music from Florida State University. musical family. He began cello studies at the age of seven and performed with the Portland Youth As a composer, he has written more than 140 pieces, mostly orchestral Philharmonic for six years, touring Europe and chamber works, and has won major composition awards, including the with the orchestra in 1989. Dieter completed “Premio Orquesta Nacional de España” (1977), for his Cuatro Piezas para his undergraduate studies in Economics and Cuerdas, the prize “Jove d’Or” (1980), the “Premio Ciutat de Barcelona” German at Willamette University on a music (in 1983 for his first symphony, and in 1986 for his piece Absències for scholarship. He went on to receive his Master narrator and orchestra), “SoutheasternComposers League Award” for of Arts in Cello Performance at the San Francisco Conservatory of Music, also his da Camera (1986) “The Madison University Flute Choir on scholarship, where he was a student of Bonnie Hampton. He has appeared Composition Award” (1987) for his Flute Suite and the “Premio Reina Sofia with multiple arts organizations in the Pacific Northwest including the Oregon de Composición” (1991) for his piece Virtus for orchestra. He has also Symphony, Eugene Symphony, Portland Opera Orchestra (18 seasons) and the Oregon Ballet Theater Orchestra (10 seasons). Dieter was appointed received many commissions. principal cello of the Vancouver Symphony Orchestra in 2005 and the Hood Many of his works have been published and recorded on several CDs in River Philharmonic in 2012, positions he currently still holds. In addition to his Europe and in the U.S. for labels such as Naxos, EMI, Auvidis, Naxos, Albany performance commitments, Dieter is in demand as a teacher, adjudicator, and studio artist. Records, Keys, Harmonia Mundi and RNE.

Currently he combines a busy schedule as a conductor and composer Rachel Rencher of a number of commissions of various genres. Since 2001 he has been a Principal flute professor of composition and orchestra conducting at the Escola Superior Rachel Rencher is a freelance flutist in the de Música de Catalunya (ESMUC). Portland area. She is the principal flutist for The VSO, for which she has played since 1993. In Spain he has been the music director and conductor of the Orquestra Rachel is also a member of the Portland Opera Simfònica de les Illes Balears “Ciutat de Palma” (1997-2001, 2009-2013) Orchestra and Portland Chamber Orchestra. and the Orquestra Simfónica del Vallés (1997-2002), and is presently the She has performed with the Oregon Symphony, conductor of the Barcelona Symphonic Band. In 2005, he received the “Arts Oregon Ballet Theatre and several area summer Council” award by the Clark County and the city of Vancouver and the music festivals, including the Sunriver Music Kiwanis Rose Award. Festival, Astoria Festival of Music and the McCall Summer Music Festival. She maintains two active flute studios in the Portland area. He has guest-conducted orchestras internationally in countries like the US, Israel, France, Germany, China, Poland, South Korea, Mexico, Uruguay, Colombia, as well as the most prestigious Spanish orchestras.

Dr. Brotons resides in Barcelona with his wife, Dr. Melissa Brotons, renowned music therapist and Director of the inter-university Master’s in Music Therapy in Barcelona. Their daughter, Clara, is a graduate of New York University.

VANCOUVER SYMPHONY ORCHESTRA 2020/21 // 11 MEET THE MUSICIANS

Eva Richey Kharkov Music College, his Master’s from the Moscow Conservatory and his Doctorate from the University of Colorado. Concertmaster He teaches at the University of Portland and is the Oregon state chair for the Eva Richey began her violin studies at age 8. She International Clarinet Association. In addition to being principal clarinet, he’s earned Bachelor and Master's degrees in violin also the orchestra’s Executive Director. performance from the University of Cincinnati College-Conservatory of Music. Eva began her career playing regularly with several orchestras Mark Vehrencamp including the Cincinnati Symphony, Columbus Principal tuba Symphony, West Virginia Symphony and Kentucky Symphony. She toured South America Mark grew up in Southern California, but moved with the New World Symphony and played briefly with the Cape Town north to attend the University of Oregon. He Symphony in South Africa. She attended the Aspen and Tanglewood Music received his BM in music education and became Festivals, learning from such conductors as Leonard Bernstein, Seiji Ozawa, and the band and orchestra director at Oregon City Eiji Oue. Eva has also enjoyed playing popular music in concert events with The High School. Moody Blues, Yes, Harry Connick Jr. and Rod Stewart. He began playing the piano, then violin, but In 2001, Eva moved to the Northwest. She began working with the Oregon found his true calling first with trombone, then Symphony as Associate Music Librarian, as well as holding two one-year tuba. Mark joined The VSO in 1999 and recently positions in the second violin section. expanded his tuba collection to seven, each with its own special musical purpose. Currently, Eva is on the adjunct faculty at Clark College as violin instructor and concertmaster of the Clark College Orchestra. She plays regularly with the In addition to The VSO, Mark has played with the Oregon Symphony, Eugene Portland Opera, Portland Chamber Orchestra and Oregon Ballet Theatre. Symphony, Portland Columbia Symphony, Portland Festival Symphony, Portland Chamber Orchestra and Big Horn Brass. An accomplished jazz musician, Mark has played with Barney Bigard, Ed Garland and most recently Dick Hyman, Ken Greg Scholl Peplowski and Rebecca Kilgore. Principal trombone He’s the proud father of two and for the past 39 years has exercised his Greg Scholl has played principal trombone daytime passion as a locomotive engineer for the Southern Pacific/Union in The VSO since 1995. He is also principal Pacific Railroad. trombone in the Portland Columbia Symphony and the Newport Symphony. Greg plays in the Portland Brass Quintet and the Portland Festival Symphony. He has performed with the Oregon Ballet Theatre, the Oregon Symphony, Portland Opera and the Portland Chamber Orchestra. Greg is presently the trombone and low brass instructor at Pacific University. He enjoys both teaching and giving the pre-concert lectures he’s provided before each VSO concert for the past few years. He obtained a trombone performance degree at the University of Texas at Austin and also plays guitar and trombone with many local bands. During most business days, Greg can be found practicing law as the Director of the Public Defender’s office in Hillsboro. He enjoys camping, hiking, comic books, parenting the fabulous Ben Scholl and being married to The VSO’s incredible principal bassoonist, Margaret McShea.

Dr. Igor Shakhman Principal clarinet Igor has been heard in recitals, chamber music concerts and concert appearances throughout Europe and the US. As an orchestral clarinetist, he has performed with the Colorado and Oregon Symphony Orchestras, Oregon Ballet Theatre, Colorado Opera Orchestra, Russian State Symphony Orchestra and the chamber orchestras of Moscow Virtuosi and Moscow Stars. As a chamber musician and soloist, Igor has played in international music festivals in Oregon, Colorado, France, Greece, Russia and Switzerland. Igor has participated in two critically acclaimed Broadway tours: the first national tour of Oklahoma! and as principal clarinetist and on-stage soloist in the North American tour of Fiddler on the Roof. He received his B.A. in Music from

VANCOUVER SYMPHONY ORCHESTRA 2020/21 // 12 January 16 & 17, 2021

Sarah Ioannides, Guest Conductor Sarah Ioannides Steve Bass, Emcee Music Director of Symphony Tacoma Skyview Concert Hall, Vancouver, Washington GUEST CONDUCTOR

Johann Sebastian Bach (1685-1750) Now in her seventh season as Music Director of Symphony Keyboard Concerto No.1 in D minor, BWV 1052 Tacoma, Sarah Ioannides has gained recognition as one of the most inspiring and creative conductors of her generation. Active 1. Allegro as a guest conductor internationally with orchestras such as the Tonkünstler, Orchestre Nationale de Lyon, Seattle Symphony Jacob Nenow, piano (Untitled Series), Calgary Philharmonic and Philadelphia Chamber Orchestra, she has recorded world premieres with Tomaso Vitali (1663-1745) the Royal Philharmonic and most recently with the Malmö Chaconne in G minor Symphony and Nordic Chamber Orchestra with a CD of music (ed. Leopold Auer, and arr. by Peter Petrof) by Marie Samuelsson released in 2019.

Hanami Froom, violin Previously Music Director of the El Paso Symphony, Spartanburg Philharmonic Orchestra, and Assistant Conductor of the Samuel Barber (1910-1981) Cincinnati Symphony Orchestra, under her leadership, both Adagio for Strings, Op.11 Symphony Tacoma and Spartanburg Philharmonic have received grants from the National Endowment for the Arts for creativity in collaborations, community and commissioning projects. —­­ 15 MINUTE INTERMISSION Sarah was named by the Los Angeles Times as “one of six — female conductors breaking the glass podium”and was included as one of the top female conductors worldwide by Lebrecht’s “Woman Conductors: The Power List.”

Ralph Vaughan Williams (1872-1958) She is the Artistic Director of Cascade Conducting, a weeklong Concerto in A minor for Oboe and String Orchestra international masterclass held in partnership with Symphony 1. Rondo Pastorale: Allegro moderato Tacoma and Pacific Lutheran University. She continues to stay on the faculty of The Curtis Institute of Music’s Summerfest. As 3. Finale (Scherzo): Presto an arts advocate, Ms. Ioannides is an active adjudicator, panelist, Ben Price, oboe public speaker, and educator. And has served both as a delegate at the World Culture Summit in Abu Dhabi and as NEA Panelist (1913-1976) for the US Government. Simple Symphony, Op.4 Admitted as an instrumental scholar on violin, Sarah was Boisterous Bourrée granted both her bachelor’s and master’s degrees from Oxford Playful Pizzicato University. Furthering her education at The Guildhall School of Music and Drama, she received her Advanced Certificate Sentimental Sarabande in Conducting. As a Fulbright Scholar, Sarah pursued further Frolicsome Finale training at The Curtis Institute of Music, earning a Diploma in Conducting; she was honored with the Presser Award and

— continued

VANCOUVER SYMPHONY ORCHESTRA 2020/21 // 13 GUEST ARTISTS

the Friends of Curtis Fellowship. She then chose to deepen 2018 and 2019 Portland Steinway & Sons Piano Competitions her knowledge with a Master of Music degree in Orchestral and the 2018 Oregon MTNA Junior Piano Competition. He Conducting from The Juilliard School. won second prize in the 2018 Central Oregon Symphony Young Artist Competition and performed the 3rd Beethoven Sarah Ioannides has performed 500+ works of orchestral with the symphony in 2019. Jacob also won repertoire with 40+ world premieres and numerous US the Colliver Award for best piano performance in the 2019 premieres. She has most affinity with Brahms, Tchaikovsky, Monday Musical Club of Portland Scholarship Competition. Prokofiev, Beethoven, and Sibelius and her full repertoire listing In addition to piano Jacob loves math and is a member of his is available upon request. Sarah connects with communities to school cross country and track team. create programs that are poignant and relevant to this moment in society.

Ben Price Hanami Froom Young Artist Competition Winner (winds) Young Artist Competition Winner (strings)

Ben Price, a junior at Grant 14 year old violinist Hanami Froom High School, has studied started violin when she was 2 years oboe for 6 years with Karen old and currently studies with Carol Wagner and previously, Sindell. Hanami made her solo debut Dagny Rask Regan. Currently with orchestra when she was 6 the principal oboist of the years old and since then has soloed Portland Youth Philharmonic with the MetroArts orchestra and a section oboist with in 2016 and 2018, the Jewish the Vancouver Symphony Community Orchestra in 2016, and Orchestra (VSO), Ben is a the Portland Youth Philharmonic past winner of concerto Conservatory Orchestra in 2018 competitions with the VSO, Metropolitan Youth Symphony and 2019 as a winner of their competitions. In February 2020, (MYS), and Oregon Sinfonietta. Ben has performed as principal Hanami appeared as a soloist with the Oregon Symphony at oboist with the MYSfits Chamber Orchestra, Orpheus the Arlene Schnitzer Concert Hall. Hanami has been a member Academy and Pink Martini and has played in master classes of the Portland Youth Philharmonic since she was 7 years for Max Blair, Alex Klein, François Leleux, Michael Loveland, old, and it is her 3rd year as co-concertmaster. Hanami is a Jeff Rathbun, Martin Schuring, and Karen Strand. A three- freshman at Oregon Virtual Academy but takes senior classes. time participant in the Northwest Oboe Seminar, Ben was In her free time, Hanami enjoys cooking, singing, and journaling. selected as principal oboe of the NAfME All-Northwest Band as a freshman and is also the current Oregon State Solo & Ensemble champion for oboe. This past year, Ben was selected to the 2020 National Youth Orchestra of the United States of Jacob Nenow America, studying with Robert Walters, Erik Behr, and Titus Young Artist Competition Winner (piano) Underwood during the program. Ben is thrilled to return to the VSO's livestream series to start the new year.

Jacob Nenow is 16 years old and a sophomore at Jesuit High School. He is a piano student of Dr. Renato Fabbro and won first prize in the 2020 Vancouver Symphony Young Artists Competition and 2020 Coeur d'Alene Symphony National Young Artist Competition. Jacob also won first prize in the 2020 Oregon Federation of Music Clubs Marjorie Trotter competition, the

VANCOUVER SYMPHONY ORCHESTRA 2020/21 // 14 PROGRAM NOTES

Johann Sebastian Bach (1685-1750) lost violin concertos that presumably served as the models for this and two other harpsichord concertos.) Though Bach was Keyboard Concerto No.1 in D minor, BWV 1052 tremendously creative as a composer, he also knew how to 1. Allegro recycle good music in various contexts, and the same musical material appears in two of his church cantatas.

Though it was originally intended for harpsichord, the Concerto Bach composed this work in No.1 is often performed today on the modern piano. As is 1738 in Leipzig, though it was usual in Baroque concerti, the soloist plays in both orchestral probably based upon an earlier and solo sections, though here the keyboard part is freed from . its usual supporting continuo role. The opening Allegro has the soloist playing a non-stop virtuoso line throughout. At the Duration 7:00 center of the movement there is an extended solo passage that recalls the enormous solo in the fifth Brandenburg, and a brief solo cadenza that momentarily halts the movement’s furious forward motion. In 1729, after six intensely busy years as of writing almost exclusively Lutheran sacred music for Leipzig’s Thomaskirche, Bach turned once more to secular music, when he also became Tomaso Vitali (1663-1745) director of Leipzig’s Collegium Musicum. The Collegium was a group of some of the town’s finest singers and instrumentalists Chaconne in G minor that gave a series of weekly concerts—really open rehearsals or (ed. Leopold Auer, and arr. by Peter Petrof) “reading sessions”—at a local coffeehouse. Though no formal record of their concerts has survived, it is obvious that much of the music was by Bach himself. This was an opportunity It is not known when this to perform his earlier instrumental concertos and chamber work was composed, but it works, many of which dated from his years as Kapellmeister was completed by the 1730s. to the court of Cöthen (1717-1723). It was also, obviously, a chance to compose pieces that would have been inappropriate Duration 11:00 for the Thomaskirche, such as his well-known “Coffee Cantata” (Schweigt stille, plaudert nicht, BWV 211)—one of Bach’s few essays in musical comedy. In 1738, Bach compiled a manuscript containing seven harpsichord concertos, and the beginning of an eighth. These were undoubtedly pieces written for the Collegium as well, performed by Bach, or possibly by one of Tomaso Vitali was a member of the great school of violinists his sons. associated with the Italian city of Bologna, and a well-known soloist in his day. The son of composer Giovanni Vitali, Tomaso Keyboard concertos were in fact relatively rare in Bach’s followed his father to nearby Modena, where at age 12 he time—the harpsichord was a standard part of the continuo became a member of the court orchestra of the ruling Este group that improvised the harmonic base for Baroque music, family. Vitali spent the rest of his life in the Este court, and but it was not considered a solo instrument for concertos. also became a renowned teacher. As a composer, he is known That Bach, one of the great organists and harpsichordists of his today almost solely for his Chaconne in G minor…and some age should have wanted to take a solo role, is hardly surprising, authorities suggest that even this may not be by him. The work and in 1721, he wrote what is arguably the first keyboard survives only in a copy made in Dresden in the 1730s, and concerto, the Brandenburg Concerto No.5. In this work, the remained largely unknown until German violinist Ferdinand solo group includes violin, flute, and a fully written-out part David discovered it and published the Chaconne in 1867, in a for the harpsichord—including an astonishing four-minute solo romanticized version—the first of many editions of this work, in the opening movement. The later Leipzig concertos are by Leopold Auer, Léopold Charlier, Ottorino Respighi and mostly of earlier violin concertos from Cöthen, others. The performance heard here uses the edition of the with the solo line transformed into an idiomatic keyboard solo part published in the early 20th century by the Hungarian part. The concerto heard here, No.1 in D minor, was probably violinist Leopold Auer, with an accompaniment arranged by based on a now-lost violin concerto. (Bach scholar Wilfried Peter Petrof. What attracted David and so many violinists who Fischer has actually reconstructed performing versions of the followed to this work is obvious: this is a flashy piece! But it

VANCOUVER SYMPHONY ORCHESTRA 2020/21 // 15 PROGRAM NOTES

is also an unusual take on the Baroque form of the chaconne, The Adagio for Strings has come to have an association with which typically presents unvarying repeats of a harmonic pattern tragedy—particularly with great public events of death and as the basis for variations. Here, the solemn four-note pattern mourning—that Barber never really intended. It was played played by the string orchestra modulates to different keys and directly after the radio announcement of President Roosevelt’s changes its rhythmic pattern as the violin weaves increasingly death in 1945, and similarly after the Kennedy assassination in intricate elaborations above, some 40 variations in all. All of 1963. (In my case, I remember well performing in an orchestra the rhythmic features of the accompaniment, and its interplay concert a few weeks after the 9/11 attacks, when the Adagio with the solo were added by David and other editors—in the was played at the beginning—to devastating emotional effect— original manuscript, the modulations are there to be sure, but as a tribute to the victims.) Because of these associations, it it is a simple unadorned figured bass part. Likewise, the original has also been used in film and television to underscore tragic violin part is certainly virtuosic, but many of the features heard moments—most notably in Platoon and The Elephant Man, today, from the dramatic opening quadruple stop, to the closing but also in many other scores. It has also appeared in pop cadenza, have been added by later editors. So it is hardly an music, as in the introduction to rapper Sean “Diddy” Combs’s “authentic” Baroque work as it is played today, but the Vitali 1997 tribute to a murdered friend, I’ll Be Missing U. Shortly Chaconne is certainly a great Romantic virtuoso showpiece! after Barber’s death, composer Ned Rorem said of the Adagio: “If Barber, twenty-five years old when it was completed, later reached higher, he never reached deeper into the heart.” Samuel Barber (1910-1981) Adagio for Strings, Op.11 It is the stark simplicity of this music that makes it so effective. A simple diatonic melody builds gradually from its quiet beginning through thickening texture, canonic imitation, and Barber composed this work increasing dissonance to an intense emotional climax as the as a movement for violins reach their highest register. After this peak, there is a in 1936, and rearranged it for brief return to the opening texture and a quiet conclusion that string orchestra in 1937. The dies away to nothingness. first performance was given in New York City on November 5, 1938. Ralph Vaughan Williams (1872-1958) Concerto in A minor for Oboe and String Orchestra Duration 7:00. 1. Rondo Pastorale: Allegro moderato 3. Finale (Scherzo): Presto

In 1937, when the venerable conductor Arturo Toscanini was organizing the group that was to become the NBC Symphony Vaughan Williams composed Orchestra, he expressed an interest in programming new the work in 1942-43 for music by American composers. His colleague Artur Rodzinsky oboist Léon Goossens, suggested the young Samuel Barber. Toscanini contacted Barber who was the soloist in and Barber promptly sent two new works: his First Essay for the first performance in Orchestra, and an for string orchestra of the Liverpool, on September Adagio movement of his String Quartet No.1. Barber waited 30, 1944. through the orchestra’s first season for a reply and when the scores were finally returned without comment, he began Duration 15:00. dejectedly to look for a new orchestra to play them. In the summer of 1938, Barber was in Italy with his partner Gian- Carlo Menotti. Menotti suggested a visit to the Toscaninis at Vaughan Williams composed his Oboe Concerto directly on the their summer villa, but Barber refused to go. When Toscanini heels of his great wartime work, the Symphony No.5—in fact asked why Barber had not come, Menotti offered a weak excuse the concerto reuses music from a scherzo movement originally about Barber being ill. Toscanini replied: “Oh, he’s perfectly well; intended for the symphony. Its premiere, as part of London’s he’s just angry with me, but he has no reason to be. I’m going famed Proms series, was scheduled for July 1944, but the to do both of his pieces.” (It seems that Toscanini had already concert was cancelled due to German V-1 rocket attacks on the memorized the scores—he did not ask for them again until the city. It appeared several weeks later on a program by the Royal day before the concert!) Both works were successful at their Liverpool Philharmonic Orchestra. The soloist and inspiration November 1938 premiere, and Toscanini recorded both soon afterwards with the NBC Orchestra. VANCOUVER SYMPHONY ORCHESTRA 2020/21 // 16 PROGRAM NOTES

for the concerto was Léon Goossens (1897-1988). Goossens preeminent teacher, Frank Bridge. Britten was composing was a member of a distinguished British musical family: his father prolifically by the time he was in his teens—he had written over was the great conductor Eugène Goossens, and his brother hundred pieces by age 14. In 1930, Britten won a scholarship (a conductor and composer) and sisters (both harpists) were to the RCM, and was deeply impressed by the music he heard also successful musicians. Goossens, certainly one of the great in London, including his first encounters with the music of oboists of the 20th century, was noted for his flexibility and Mahler, and modernist and neoclassical works by Schoenberg gorgeous sound, and the composers who wrote works for him and Stravinsky. On his graduation from the RCM at the end of reads like a “Who’s Who” of British 20th-century composers. 1932, Britten received a travel grant, which he intended to use In addition to Vaughan Williams, the list includes , to travel to Vienna to study with the modernist twelve-tone Arnold Bax, Benjamin Britten, Arthur Bliss, his brother Eugene composer Alban Berg. When his teachers and family discouraged Aynsley Goossens, and many others. him from working with Berg, Britten instead spent the next several months at home in Lowescroft and produced the most Several writers have commented on the fact this concerto’s un-Berg-like work imaginable, the Simple Symphony for string outwardly placid, sometimes folklike nature masks the fact this orchestra. is truly a virtuoso piece. Though there is little flashiness until the third movement, the soloist has to display tremendous While he was relaxing in his parents’ seaside home, Britten endurance and musicality, playing with very few breaks. The sorted through some of the copious piles of music he had opening movement (Rondo Pastorale: Allegro moderato) uses written as a child. The published score of the Simple Symphony Vaughan Williams’s trademark English folksong style in the notes that is “entirely based upon material from works lush main theme. There are two contrasting episodes, the first the composer wrote between the ages of nine and twelve. dancelike and humorous, and the other a more meditative solo Although the development of these themes is in many places for oboe. The must substantial movement is the closing scherzo quite new, there are large stretches of the work which are (Finale (Scherzo): Presto). The oboe enters with a furious taken bodily from the early pieces—save for the re-scoring for line over complicated counterpoint in the strings, eventually strings.” The piece as a whole is delightfully innocent—a kind leading to a rhythmically intense main theme. The oboe lays of fond farewell to childhood memories—but it also shows out a contrasting lyrical idea above quiet string chords, which a sophisticated young composer looking back with a certain is broadly developed. Near the end, the oboe makes one brief degree of wistfulness and wit. attempt to introduce the agitated music of the opening, before ending in the more serene mood that dominates the second half Two of Britten’s childlike (but never childish) melodies appear of this movement. in each movement. The Boisterous Bourrée begins with a fugal Baroque-style dance that nevertheless contains several quirky rhythmic twists. The brief contrasting music includes a much Benjamin Britten (1913-1976) more lyrical theme, but the movement ends with a reprise of Simple Symphony, Op.4 the opening dance and a wry, tongue-in-cheek ending. The second movement lives up to its name, Playful Pizzicato. This music was drawn from a piano Scherzo Britten had composed Britten composed this work in at age 11, and alternates a pair of lightfooted themes. The 1933-34. He conducted its longest movement, Sentimental Sarabande returns to the premiere, in Norwich, England on pseudo-Baroque approach of the first movement: its languid March 6, 1934, by the amateur main theme is a soulful take on the most sensuous of Baroque Norwich Symphony Orchestra. dances. Britten contrasts this sarabande with a much more Romantic waltz. After a briefly strident episode, the sarabande Duration 17:00. returns to round off the movement. The Frolicsome Finale begins very much like finale of a Haydn or Mozart symphony, with a blustering opening, but the main theme sounds much like one of the Hungarian dances by Britten’s childhood hero Brahms. The lovely second theme was drawn from a song Benjamin Britten was a phenomenally talented child prodigy, Britten composed in 1925. Britten works these themes out in and his mother made much of the fact that he was born of the a miniature development and recapitulation before ending the feast-day of St. Cecilia, the patron saint of music and musicians. symphony with a lively coda. Born in the English coastal village of Lowescroft, he had piano program notes ©2020 by J. Michael Allsen and viola lessons as a child, and also traveled to London for composition lessons with the Royal College of Music’s

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VANCOUVER SYMPHONY ORCHESTRA 2020/21 // 18 February Concert Preview Francesco Lecce-Chong February 27 & 28, 2021 Eugene Symphony Music Director & Conductor Skyview Concert Hall, Vancouver, Washington GUEST CONDUCTOR

Leonardo Balada (b. 1933) Conductor Francesco Lecce-Chong is the Music Caprichos n.1 Director of the Eugene Symphony in Oregon, and the Santa Rosa Symphony, performing at the Green Music Center in I. Los Cuatro Muleros Northern California. The press has described him as a “fast II. La Tarara rising talent in the music world” with “the real gift” and III. Los Peregrinitos recognized his dynamic performances, fresh programming, IV. Sevillana deep commitment to commissioning and performing new V. Lejano/Far Away music as well as to community outreach. VI. Nana/Lullaby VII. Zapateado

Adam Levin, guitar

Joaquin Turina (1882-1949) Fantasia-Sevillana

Adam Levin, guitar

—­­ 15 MINUTE INTERMISSION —

Jessie Montgomery (b. 1981) Adam Levin Strum for String Orchestra GUEST ARTIST / CLASSICAL GUITAR

Grazyna Bacewicz (1909-1969) Concerto for String Orchestra Praised for his “visceral and imaginative performances” by I. Allegro the Washington Post, top prize winning classical guitarist II. Andante and recording artist Adam Levin has performed on four III. Vivo continents across the globe. Levin has performed extensively across the United States at renowned venues such as Wolfgang Amadeus Mozart (1756-1791) Chicago’s Pick Staiger, Nichols, and Mayne Stage concert halls as well as some of the finest venues across Spain, and in Italy, Divertimento No. 1 D major, K.136 for String Orchestra Germany, and Switzerland. I. Allegro II. Andante III. Presto

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The Friends of the VSO are an integral part of the success of Friends of the Vancouver Symphony the orchestra and organization. You may not see this team of volunteers when they are sponsoring a post-concert reception 2020/21 and providing meals on rehearsal nights for the orchestra, or participating in the educational program, fundraisers and Barbara Coman, Chair Sandy Hoyt working side by side with the VSO Board of Directors. The joy of Anthony Ho, Vice Chair Shamus Johnson the Friends is the opportunity to meet with orchestra members, Norm Krasne, Secretary Nien-Wei Hsiao & Michael Liu Maestro Brotons and guest musicians. You‘ll find that it is such a Sue Egloff, Treasurer Norm Krasne pleasure to give back to those who have given so much. Tammie & Victor Kriscuinas Valerie Alexander & Joy Lasseter Over the years, many have worked very hard and we need to Kelly Lindgreen Linda & Todd Martin offer our deepest gratitude for all they have done. In this exciting Martin Chetlen & Penny & Tim McLaren 2020-2021 season, we would like to offer the opportunity to Susan Zneimer Cheryl & Brian Partridge any of who are interested to become either active members or Barbara Coman Hildegard & Walter Pistor philanthropic members who donate their membership in order Laura & Ron Croft Pat Reiter to allow us to continue doing the work we do. As a member you Donna Egan Lyn Sherman are always invited to attend the post-concert receptions and are Sue Eloff Joan Winton guaranteed to have fun being a part of this winning team. Joe Galante Peter & Becky Wright Nancy & James Hale Nicole Wubben Come and join in on the merriment and joy of music. We extend Barbara & Sam Hendrix Jane Elder Wulff an invitation to visit us at our lobby table to learn more about Charlene Hiss & Ed Pavone Diana & Pete Yee-Stauffer what we do. Anthony Ho

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