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Toronto Symphony Orchestra Sir Andrew Davis, Interim Artistic Director Toronto Symphony Orchestra Sir Andrew Davis, Interim Artistic Director Saturday, February 23, 2019 at 8:00pm National Arts Centre Orchestra Alexander Shelley, Music Director John Storgårds, Principal Guest Conductor Pinchas Zukerman, Conductor Emeritus Jack Everly, Principal Pops Conductor Alain Trudel, Principal Youth and Family Conductor Alexander Shelley, conductor Yosuke Kawasaki, violin Jessica Linnebach, violin David Fray, piano Jocelyn Morlock Cobalt Frédéric Chopin Piano Concerto No. 2 in F Minor, Op. 21 I. Maestoso II. Larghetto III. Allegro vivace Intermission Robert Schumann Symphony No. 1 in B-flat Major, Op. 38 “Spring” I. Andante un poco maestoso – Allegro molto vivace II. Larghetto III. Scherzo: Molto vivace IV. Allegro animato e grazioso This concert is dedicated to The Honourable Hilary M. Weston and Mr. W. Galen Weston. As a courtesy to musicians, guest artists, and fellow concertgoers, please put your phone away and on silent during the performance. FEBRUARY 23, 2019 39 ABOUT THE WORKS Jocelyn Morlock Cobalt 7 Born: St. Boniface, Manitoba, December 14, 1969 min Composed: 2009 Jocelyn Morlock received her Bachelor of city’s innovative concert series Music on Main Music degree in piano performance at Brandon (2012–2014). University, and both a master’s degree and a Most of Morlock’s compositions are for Doctorate of Musical Arts from the University small ensembles, many of them for unusual of British Columbia. Among her teachers were combinations like piano and percussion Pat Carrabré, Stephen Chatman, Keith Hamel, (Quoi?), cello and vibraphone (Shade), bassoon and the late Russian-Canadian composer and harp (Nightsong), and an ensemble Nikolai Korndorf. consisting of clarinet/bass clarinet, trumpet, “With its shimmering sheets of harmonics” violin, and double bass (Velcro Lizards). Cobalt (Georgia Straight) and an approach that is was her third work for full orchestra, an NAC “deftly idiomatic” Vancouver( Sun), Morlock’s Orchestra/CBC co-commission that received music has received numerous national and its World Première in Ottawa on April 30, international accolades, including Top 10 at 2009, with Alain Trudel conducting. In May the 2002 International Rostrum of Composers, 2016, the NAC Orchestra premièred Morlock’s Winner of the 2003 CMC Prairie Region My Name is Amanda Todd, one of four NAC- Emerging Composers competition, and a commissioned compositions that make up the nomination for Best Classical Composition Orchestra’s multimedia project Life Reflected. at the 2006 Western Canadian Music Awards. My Name is Amanda Todd won the JUNO for She received a JUNO nomination for Classical Classical Composition of the Year in 2018. Composition of the Year (Exaudi, 2011), and, Jocelyn Morlock’s first full-length CD, released more recently, the Mayor’s Arts Award for on the Centrediscs label in 2014, is titled Music in Vancouver (2016). In 2005, she was Cobalt, and includes seven of the composer’s chosen to provide the required work for all works. This disc was nominated for three contestants at the Montreal International Western Canadian Music Awards, for Classical Musical Competition. Amore, a tour de Composition and Classical Recording of the force vocal work, went on to receive more Year. The composition Cobalt won Classical than 70 performances and numerous radio Composition of the Year. Here is the composer’s broadcasts. In 2008, she served in the description of the seven-minute work: same capacity for the Eckhardt-Gramatté National Music Competition. Morlock has “Cobalt—the colour, the element, and indeed been the Vancouver Symphony Composer the goblin—has a kaleidoscopic array of in Residence since 2014, following a term as associations. The element was originally inaugural Composer in Residence for that named after a kobold, a mischievous and 40 TORONTO SYMPHONY ORCHESTRA possibly evil goblin or sprite found in German all contained within the associations behind folklore, for its troublesome nature. (Cobalt cobalt. Fear, exhilaration, tranquility, beauty, is poisonous, magnetic, and radioactive.) and a melancholic sense of the passing of time Though it is a necessary element found in are all contained therein. Musically, the piece both humans and animals, in large amounts is something of a collection of variations, but it is highly toxic, and the cobalt salts used to rather than a specific theme, what is varied create this vivid shade of blue in pottery or is the use of (primarily) tonal melodies which glass work can be fatal if touched or inhaled. focus on the minor second. The minor second The luminous cobalt blue of the night sky, just is ambiguous (like cobalt) in that it may before it becomes completely dark, is one sound ominous and fearful (think of Jaws!), or of the most beautiful colors found in nature, anticipatory, or very resolved (as in a cadence.) yet it is visible only for a very short time every Fanfare-like motifs also appear with relative evening. What sustains life can also destroy it; frequency, as they too can be both ominous beauty is transient and fleeting. and exhilarating, depending on context.” “The inspiration behind the piece was the Program note by Robert Markow myriad, contrasting emotional possibilities Frédéric Chopin Piano Concerto No. 2 in F Minor, Op. 21 Born: Zelazowa Wola, Poland, March 1, 1810 30 min Died: Paris, France, October 17, 1849 Composed: 1829–1830 In July of 1829, the 19-year-old Chopin spent The enduring appeal of a Chopin concerto lies three weeks in Vienna. The publisher Haslinger in the piano writing—sweetly lyrical melodies, encouraged him to give a recital, which was a quality of intimacy, the expressive nuances so well received that a second was quickly of colour and dynamics, and the improvisatory arranged, and proved equally successful. Upon character provided by such techniques as returning to Poland, Chopin realized that if rubato, arpeggios, and delicate ornamentation he were going to pursue a career as a concert of the melodic lines. pianist (a career move he soon abandoned), The first movement’s two main themes are he would need some major display pieces of stated in the opening orchestral exposition— his own in his repertory. To this end, he soon a strongly rhythmic idea with a quasi-military set about writing the F-minor concerto, which flavour (a rhythm also found in so many Italian he premièred in Warsaw on March 17, 1830, to operas of the period) and a more lyrical, bel great acclaim. Hence, Chopin’s Piano Concerto canto subject announced by the woodwind in F Minor, the so-called No. 2, was actually his choir, the first of several felicitous uses of first, preceding the E-minor concerto by about woodwind colour in this concerto. a year. The reversal in numbering came about because the orchestral parts of the F-minor The Larghetto is a nocturne of heavenly concerto were lost before it was published, beauty and midnight poetry. The central and by the time they were recopied, the episode of this ternary form (ABA) movement E-minor concerto had been published. momentarily disturbs the placid waters, but FEBRUARY 23, 2019 41 ABOUT THE WORKS the mood of quiet reverie is restored well in triple metre with a characteristic accent on before the movement ends. the third beat. The finale is a rondo imbued with the spirit and Program note by Robert Markow rhythm of the mazurka, a Polish country dance Robert Schumann Symphony No. 1 in B-flat Major, Op. 38 “Spring” Born: Zwickau, Germany, June 8, 1810 32 min Died: Endenich, Germany, July 29, 1856 Composed: 1832 After a decade (1829–1839) of writing almost the words of which correspond to the opening exclusively for the piano, and a year (1840) fanfare of the symphony. of concentration on the Lied, Schumann On the title page of the original pencil turned in 1841 to orchestral music for the sketches (now one of the musical treasures first time. (We can discount an early, abortive of the Library of Congress in Washington, attempt at a G-minor symphony in 1832.) D.C.), the emotional content is revealed in the He sketched the entire symphony in a subtitles Schumann gave to each movement: mere four days, from January 23 to 26, and 1) Beginning of Spring; 2) Evening; 3) Cheerful completed the orchestration a month later. Companions; 4) Spring in Full Bloom. However, The first performance took place on March when the work was printed, Schumann 31 with Mendelssohn conducting the Leipzig deleted the associative headings, presumably Gewandhaus Orchestra. because he did not wish his listeners to One cannot fail to question the appellation approach the music with strong programmatic “Spring” for a work composed entirely in the preconceptions. dead of winter. However, the vernal association In a letter to the composer Louis Spohr, in Schumann’s mind was not a calendar season Schumann wrote that the symphony had been but rather a personal, emotional springtime— written “in that springtime mood which seizes a season of romantic ardour, high spirits, and upon us, probably into old age, and returns creative exuberance. He had married Clara afresh each year. I didn’t want to describe or Wieck just four and a half months before he paint anything, but I certainly believe that the began work on the symphony. A further, more time at which the symphony was born had an tangible source of inspiration is found in a effect on its nature.” And later, in a letter to the poem he had read by Adolf Böttger. The last conductor Wilhelm Taubert, the composer line reads: “Im Tale blüht der Frühling auf!” asked, “Could you instill into the playing of your (“In the valley spring is blossoming forth!”), 42 TORONTO SYMPHONY ORCHESTRA orchestra a sense of the longing for spring? That imaginative use of tone colour can be heard was what I felt most when I wrote the work.” in the coda, where bassoons and trombones (playing for the first time in the movement) join The first movement is introduced by the in a softly glowing, chorale-like passage.
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