SYMPHONIC CONCERT GUIDE Saturday, May 22, 2021 // 7:00 p.m. Sunday, May 23, 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

May Classical Concert...... 13

2021-2022 Season Announcement...... 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 . 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 after 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 trombone 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 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 FLUTE 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 PIANO / CELESTE Elizabeth O'Mara Emalie Berdahl Michael C. Liu Carol Kirkman Keely McMurry OBOE Brandon Buckmaster Ashley Redd Alan Juza, Principal HARP Ricki Hisaw Kris Klavik Kimberly Taylor Stacy Edgar 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 CLARINET 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 BASSOON 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 Will Kitchen Tim Kraft HORN Amey Laud Dan Partridge, Principal Dr. Michael Liu Wendy Peebles Steve McCarthy Charles Crabtree Dr. David Smith James Cameron Carol Van Natta Scott Winks, Board Liaison TRUMPET Barbara Coman, Bruce Dunn, Principal Friends of The VSO Chair Scott Winks STAFF TROMBONE Dr. Salvador Brotons, Greg Scholl, Principal Music Director & Conductor Graham Middleton Dr. Igor Shakhman, Doug Peebles Executive Director Rachael Evans, Development Director Ashley Hall, Communications and BASS TROMBONE Media Manager Doug Peebles, Principal Kyla Morris, Executive Office Assistant ASK Advertising, Graphic Design TUBA 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 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 Sinfonietta 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 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 May 22 & 23, 2021

Dr. Salvador Brotons, Conductor , Guest Artist / cello Steve Bass, Emcee Dr. Salvador Brotons Skyview Concert Hall, Vancouver, Washington MUSIC DIRECTOR & CONDUCTOR

Photo: Paul Quackenbush Photography

Franz Joseph Haydn (1732-1809) Maestro Salvador Brotons Concerto for Cello and Orchestra No.1 in C Major Returns! Moderato Adagio This final program of the 2020-2021 season Allegro Molto marks the welcome return of Maestro Zuill Bailey, cello Salvador Brotons to Vancouver. We also welcome the phenomenal cello soloist Max Bruch (1838-1920) Zuill Bailey, who will perform two works, Kol Nidrei, Op. 47 (Arranged for Cello Quartet by Edward Lent) beginning with Haydn’s Cello Concerto No. 1. He then combines with cellists from Zuill Bailey the Vancouver Symphony Orchestra to Dieter Ratzlaf Erin Ratzlaf perform a new arrangement of Bruch’s Jonah Thomas Kol Nidrei. After intermission, we present one of the most popular of American —­­ 20th-century works, the suite from 15 MINUTE INTERMISSION — Copland’s ballet Appalachian Spring. We close with a lively neoclassical work Aaron Copland (1900-1990) by Bloch, his Concerto Grosso No. 1. Appalachian Spring Suite

Ernest Bloch (1880-1959) Concerto Grosso No. 1 for String Orchestra with Piano Obbligato

Prelude Dirge Pastorale and Rustic Dances Fugue

VANCOUVER SYMPHONY ORCHESTRA 2020/21 // 13 GUEST ARTIST

Spanish Masters CD for Zenph Studios, where he forms a unique duo blending with recordings of composer Manuel de Falla and an all-American recital program with pianist Lara Downes on the Steinway and Sons label. In celebration of his recordings and appearances, Kalmus Music Masters has released Zuill Bailey Performance Editions, which encompasses the core repertoire of cello literature.

Network television appearances include a recurring role on the HBO series Oz, NBC’s Homicide, A&E, NHK TV in Japan, a live broadcast and DVD release of the Beethoven Triple Concerto performed in Tel Aviv with conducting the Israel Philharmonic. Mr. Bailey is also featured in the televised production of the Cuban premiere of Victor Herbert’s Cello Concerto No. 2 with the National Orchestra of Cuba. He has been heard on NPR’s Morning Edition, Performance Today, Saint Paul Sunday, BBC’s In Tune, Sirius Zuill Bailey Satellite Radio’s Virtuoso Voices, Minnesota Public Radio, and CELLO RTHK Radio Hong Kong.

Zuill Bailey is a Grammy Award winning, internationally Mr. Bailey performs on the “rosette” 1693 Matteo Gofriller renowned soloist, recitalist, artistic director and teacher. His Cello, formerly owned by Mischa Schneider of the Budapest rare combination of celebrated artistry, technical wizardry String Quartet. In addition to his extensive touring and engaging personality has secured his place as one of the engagements, he is the Artistic Director of El Paso Pro-Musica most sought after and active cellists today. A consummate (Texas), the Sitka Summer Music Festival/Series and Cello concerto soloist, Mr. Bailey has been featured with symphony Seminar, (Alaska), the Northwest Bach Festival (Washington), orchestras worldwide and has collaborated with renowned Classical Inside and Out Series-Mesa Arts Center(Arizona) conductors. and Director of the Center for Arts Entrepreneurship at the University of Texas at El Paso. Zuill Bailey has appeared at prominent concert halls throughout the U.S., Europe, Asia and the Far East. Zuill is a regular at music festivals around world and was the featured soloist performing the Elgar Cello Concerto at the Bard Festival in the world premiere of the Doug Varrone Dance Company performance of Victorious.

Zuill Bailey’s Musical Outreach is based on the principle that great music transforms lives making Classical Music accessible to all! He works diligently to make classical music accessible to all, primarily children everywhere. Zuill reaches thousands through these exceptional music education presentations from University Level Master Classes to Schools, Hospitals, Senior Centers, Libraries, Museums, Rehabilitation Programs and Prisons. Music knows no borders or boundaries!

Zuill Bailey is a popular recording artist with an extensive discography. He won a best solo performance Grammy Award (2017) for his Live Recording of by composer . His celebrated Bach Cello Suites and Britten Cello Symphony/Sonata CD, with pianist Natasha Paremski, immediately soared to the number one spot on the Classical Billboard charts. Zuill’s numerous other releases include the chart-topping -produced Diversity, with pianist/composer and his innovative VANCOUVER SYMPHONY ORCHESTRA 2020/21 //

Photo: Paul Quackenbush Photography Quackenbush Paul Photo: 14 PROGRAM NOTES

Franz Joseph Haydn (1732-1809) The concerto is laid out in three movements, all of which are constructed in sonata form. The first movement (Moderato) Concerto for Cello and Orchestra No.1 in C Major begins with an orchestral ritornello—a section laying out the main ideas. The main theme here is a rhythmically lively melody heard in the opening bars, with a shorter, more lilting second Haydn composed this work idea. The solo cello picks up and decorates both ideas, with between 1761 and 1765. further elaboration in the central development section, which spends a great deal of time in the minor. True to usual form, Duration 24:00. there is space for a long solo cadenza near the end.

The lovely Adagio seems to have that hard-to-define quality that 18th-century Germans and Austrians referred to as Empfindsamkeit(roughly “sensitivity” or “sentimentality”). The term was used to describe music with a kind of restrained, but very deep emotion. Here the cello enters on a single long-held note above a soft string background. There is a brief hint of Though Haydn is best known as a composer of symphonies, he tragedy at the middle, but in the closing section, the movement produced a vast quantity of works in other genres. Laboring for returns to the quietly luminous music of the beginning. Again decades for the Esterházy family, Haydn produced a staggering there is space for a short cadenza at the very end. The number of operas, Masses, chamber works, and concertos that lively finale (Allegro molto) begins with an orchestral ritornello were performed at Esterházy residence in Eisenstadt, near containing two main ideas: a bustling main theme and minor- , or at the magnificent palace of Esterhazá in Hungary. key melody for contrast. The energy never slackens as the cello Concertos were always a great favorite, and they were usually weaves flashy variants on these ideas, focusing in particular on designed to showcase a specific member of the Prince’s the exuberant main theme. orchestra or one of the travelling soloists who performed there. Most of Haydn’s solo concertos date from the 1760s and 1770s, when he was building the orchestra into one of the finest Max Bruch (1838-1920) ensembles in Europe, a group that included virtuoso players on Kol Nidrei, Op. 47 every instrument. (Arranged for Cello Quartet by Edward Laut)

The C Major cello concerto was lost for nearly two centuries, Bruch composed this work in though Haydn’s biographers long knew that he had written 1880, and it was first played at the work. In about 1766, Haydn included it in a complete a private concert in Liverpool catalog of all works he could remember having written. Haydn in November 1880, with had compiled this list partly in response to the jealous and Joseph Hollmann as soloist. unbelievable claim by his supervisor, Gregorius Werner, that The public premiere was eleven Haydn was “unproductive!” Fortunately for Haydn—and for the months later in Leipzig, with historical reputation of the Esterházies—Werner died shortly cellist Robert Hausmann. The thereafter, and Haydn succeeded him as the court’s music arrangement heard here was director. Haydn wrote the concerto sometime between 1761 published in 1999. and 1765, probably for the cellist Joseph Weigl, an excellent Duration 11:00. player and one of Haydn’s closest friends at the Esterházy court.

While Weigl undoubtedly performed the piece in the 1760s, no Max Bruch is known today primarily for two solo violin works, score was known...until 1961. That year, a Czech musicologist, the G minor concerto and the Scottish Fantasy, and for the Kol Oldrich Pulkert, discovered a manuscript score, apparently Nidrei heard here. However, Bruch was a thoroughly successful copied by Weigl in the 1760s, in the library of the National composer in his day, with a catalog of nearly a hundred works Museum in Prague. It had apparently been quietly gathering dust that included three operas, three symphonies, several solo in the private library of a Bohemian aristocratic family before pieces, sacred and secular choral works, art songs, and chamber being moved to the National Museum after World War II. The music. He was a well-regarded conductor and one of the most concerto finally had its 20th-century premiere on May 19, 1962, sought-after composition teachers in Europe, with Ottorino with cellist Milos Sadló and the Czechoslovak Radio Symphony Respighi and Ralph Vaughan Williams among his more famous Orchestra. It has since become one of the standard classical students. works for cello—standing alongside the D Major concerto Haydn composed in 1783.

VANCOUVER SYMPHONY ORCHESTRA 2020/21 // 15 PROGRAM NOTES

Bruch was fascinated by all kinds of folk material, and Appalachian Spring was created in response to a 1942 incorporated musical styles from several national traditions into commission from the Elizabeth Sprague Coolidge Foundation his music, most famously in the Scottish Fantasy. While he was in of the Library of Congress, for a new ballet by the Martha Berlin, in the late 1870s, Bruch conducted a Jewish community Graham dance company. Graham, who knew Copland’s earlier chorus, and became particularly friendly with Berlin’s most ballet scores Billy the Kid (1938) and Rodeo (1942), asked him important cantor, Abraham Lichtenstein. When he moved to to provide a score for this new ballet, which was also to be on Liverpool to take a conducting post in 1880, Liverpool’s Jewish an American theme. The result, which Copland titled simply Society almost immediately gave him a commission for a new Ballet for Martha, is one of the landmark works of American composition. Bruch found the Hebrew melodies he had heard in twentieth-century music. (It was Graham who applied the Berlin very attractive, and settled on one of the most profound title Appalachian Spring, taking it from a poem by Hart Crane.) of all Jewish chants as the basis for the new work. Kol Nidrei Appalachian Spring was a success—among other honors, it (“all vows”) is recited on the eve of Yom Kippur, the Day of earned Copland a Pulitzer Prize—and remains America’s most Atonement, as a repudiation of all improper vows, past and enduringly popular ballet. The music exists in four distinct future. The main melody was probably German in origin, and versions, the most familiar of which is a suite for full orchestra was at least 150 years old at the time Bruch wrote his setting. Copland produced in 1945. At this program, however, we present a suite extracted from the original ballet score, which Nol Nidrei, subtitled “Adagio on Hebrew Melodies,” is a rather was written for 13 instruments. This chamber version can be freeform work, and after a prayerful introduction, the solo a revelation to those who know only the full orchestration, cello lays out the Kol Nidrei melody in unhurried phrases. The casting Copland’s music in transparent, delicate, and sometimes strings play a rather stern pair of statements, and the cello austere textures, with prominent solo work for the clarinet, answers with a brighter, more optimistic theme. The orchestra flute, and bassoon. introduces a more ecstatic third idea which the soloist develops into a relaxed cadenza. In the end it is this more hopeful The scenario for Graham’s ballet centers around a young mood that dominates. The work is of course most familiar pioneer couple about to be married in early 19th-century with orchestral accompaniment, but it is heard here in an Pennsylvania, and their newly-built homestead. They receive arrangement for cello quartet. This is a particularly effective visits and advice from neighbors and a revivalist preacher, and scoring, which reinforces both the solemnity and passion of the are finally left alone to their new lives and home. Copland’s solo line. music is optimistic and evocative, calling up images of strength, courage, and religious faith from the American frontier. His earlier ballets had used folk songs to create an American quality, Aaron Copland (1900-1990) but nearly all of the melodic material in Appalachian Spring is Copland’s own—only at the climactic point of the ballet does he Appalachian Spring Suite introduce folk material in the guise of an old Shaker melody.

The Appalachian Spring Suite is cast in eight sections, which are Appalachian Spring was written played without pauses. Copland gave the following description in 1943-44 for Martha Graham’s of the suite: dance company, and the ballet was premiered in Washington DC on “1. Very slowly. Introduction of the characters, one by one, in a October 30, 1944. He extracted suffused light. the suite heard here, a shortened 2. Fast. Sudden burst of A Major arpeggios to start the action. version of the ballet’s music using the original scoring, shortly A sentiment both elated and religious is the keynote to this afterwards. scene. Duration 25:00. 3. Moderate. Duo for the Bride and her Intended—scene of tenderness and passion. 4. Quite fast. The Revivalist and his flock. Folksy feelings— suggestions of square dances and country fiddlers. “It is essentially the coming of a new life. It has to do with 5. Still faster. Solo dance of the Bride—presentiment of growing things. Spring is the loveliest and saddest time of the motherhood. Extremes of joy and fear. year.” — Martha Graham 6. Very slowly (as at first). Transition scene to music reminiscent of the introduction.

VANCOUVER SYMPHONY ORCHESTRA 2020/21 // 16 PROGRAM NOTES

7. Calm and flowing. Scenes of daily activity for the Bride and The Concerto Grosso No. 1 reflects his conservative tastes, her Farmer-Husband. There are five variations on a Shaker but it is also a “neoclassical” work in the same sense as theme. The theme, sung by a solo clarinet, was taken from contemporary pieces by Ravel and Stravinsky, adapting 18th- a collection of Shaker melodies compiled by Edward D. century forms in a 20th-century idiom. According to his Andrews, and published under the title The Gift to be daughter, some of Bloch’s students in Cleveland expressed Simple. The melody I borrowed and used almost literally is doubts that a composer could write a truly modern work called ‘Simple Gifts’. It has this text: using Baroque forms and harmonies. In response, he sketched ‘Tis the gift to be simple, out the Prelude in late 1924 and had the student orchestra play ‘Tis the gift to be free, it. When they responded enthusiastically, he reportedly said: ‘Tis the gift to come down “What do you think now? It has just old-fashioned notes!” He Where we ought to be. revised the Prelude and composed the remaining movements during an extended stay in Santa Fe over the next few months. 8. Moderate. Coda. The Bride takes her place among her neighbors. At the end, the couple are left quiet and Bloch’s Concerto Grosso No. 1 is scored for strings and strong in their new house. Muted strings intone a piano, approximating the most common scoring of Baroque hushed, prayer-like passage. The close is reminiscent concertos. However, while the Baroque concerto grosso of the opening music.” usually featured a strictly defined group of soloists alternating with the full ensemble, here the solo lines are freely intermixed in the texture, and the solo groups are changed frequently. Ernest Bloch (1880-1959) The piano is not a true solo part, but instead an obbligato—a Concerto Grosso No. 1 for String Orchestra decorative part that plays off of the primary melodies. The brief with Piano Obbligato Prelude begins with crisp chords, and continues in a brilliant “pseudo-Baroque” texture. The lovely Dirge, the longest and most complex movement, has a pensive main theme that alternates with contrasting material. At the center, there is Bloch composed this work between a lovely, but increasingly tense episode for piano and string December 1924 and April 1925. I sextet before the piano briefly takes a lead role and brings t was first performed at the back the main idea. The movement eventually closes with warm Cleveland Institute of Music in chords. The Pastorale and Rustic Dances alternates between June 1925. relaxed lyricism and a series of bumptious country dances— Duration 25:00. most of which were based upon fiddle tunes of Bloch’s native Switzerland. True to Bloch’s Baroque inspiration, the final movement is a lively Fugue, though its angular theme clearly comes from the 20th century, not the 18th. Solo instruments play somewhat more reserved contrasting episodes but Bloch The Swiss-born composer Ernest Bloch was trained in his brings the fugue to a close in a brilliant style. native Geneva, and in Brussels, Paris, and Germany. By 1916, ______he had emigrated to the United States, where he became a program notes ©2021 by J. Michael Allsen citizen in 1924. In 1920, Bloch became the founding director of the Cleveland Institute of Music, and later directed the San Francisco Conservatory. Though he lived in a time of modernist experimentation, his music remained essentially Romantic and conservative in style. In 1917, Bloch published a lengthy essay that argued against what he saw as the intellectual sterility of much of the music of the avant garde, stating that:

“…an intellectual barrier exists between their emotion and work—a sort of sensory perversion that twists their thoughts, inhibits their inspiration, and warps their taste. They are forever thinking of the development of their art, not as the corollary of a logical growth of thought, not as a spontaneous expression of life, but as a thing-initself,­ apart from life. And the truth is that they neither understand nor are they interested in anything so much as the elaboration of their technique.”

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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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