UNIVERSITY OF FACULTY OF MUSIC

2007-2008 SEASON

FACULTY

UNIVERSITY"~~Nt OF TORONTO

WHERE GREAT MINDS MEET GREAT MUSIC ." .•

Saturday, February 2, 2008 7:30 pm. MacMillan Theatre

University of Toronto Faculty of Music presents

UNIVERSITY OF TORONTO SYMPHONY ORCHESTRA

PROGRAM

'-1 Leonore Overture No.3 r L. Oliver Balaburski, graduate student conductor

CO'ncer Igor Stravinsky Vivace Arioso: Andantino Rondo: Allegro

Keith Reid, graduate student conductor

Violin Concerto No.2 George Tsontakis Surges (Among Stars) Giochi ("Games") Cavatina (Heart) Just Go (Fast) Erika Raum, violin Ratti Armenian, conductor

- INTERMISSION -

Symphony No.1 in C minor, Op. 68 Un poco sostenuto - Allegro Andante sostenuto 45 Un poco allegretto e grazioso Adagio - Allegro non troppo, ma con brio

Ratti Armenian, conductor

THE FACULTY OF MUSIC GRATEFULLY ACKNOWLEDGES THE GENEROUS SUPPORT OF OUR SPONSORS

mbna~ rIll Manulife Financial

A.n affillltrf(Jrsen'ice

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We kindly request that you switch off your cellular phones, pagers, watch beepers, and any other electronic devices that could emit a potential~ unwelcomed sound Program Notes

,eonore Overture No.3, Op. 72 Concerto In D for String Orchestra LUDWIG VAN BEETHOVEN (1770-1827) IGORSTRAVINSKY (1882-1971)

Beethoven's only opera Fidelio (originally Stravinsky's first commission after becoming entitled Leonore) is about a heroic woman a U.S. citizen in 1945 was, ironically, (Leonore) who, disguised as a boy (Fidelio), from Europe: a work to celebrate the rescues her husband, a political prisoner, 20th anniversary of the Basel Chamber from execution. After the failure of its Orchestra. In 1946, while maintaining a premiere in 1805, Beethoven revised the hectic conducting and recording schedule opera twice more, and in the course of that led him across the U.S. and even to these alterations composed four different Havana, Stravinsky composed his first piece overtures. The overtures appeared in as an American: the Concerto in 0 for String this order: Leonore NO.2 (for the initial Orchestra (it was premiered in Switzerland in production); Leonore No.3 for the altered January 1947, conducted by Peter Sacher). production the following year; Leonore No. A late neo-classical work, this lightweight 1, Op. 138, for an unrealized production yet vibrant piece is cast in three movements. in 1807; and, finally, the Fidelio overture The first is a rhythmically obstinate Vivace proper for the definitive version of 1814. that dwells on the repetition of an insistent This last overture, in E major, is the tersest F-sharp. Giddiness is interspersed with and lightest in tone, and thus the most siower passages that seem to lethargically effective as a prelude to the opera's opening lurch forward, as if intoxicated. The second semi-comic moments. Leonore No.3, on movement, an Arioso marked Andantino, the other hand, although today considered features a sensuous melody supported by one of the greatest-and grandest-concert rich bass. Because the tune is frequently overtures ever written, is simply too weighty in interrupted, however, its Prokofievian lyricism this theatrical context. "The gigantic tone• and sincerity is put into question-could it be poem," wrote the critic Donald Tovey, "totally a parody of a balletic waltz? The concluding eclipsed the quiet opening scenes." Although Rondo (Allegro) opens with a rapid pulse the second production of Leonore was a on a repeated note that drives the frenetic dismal failure like the first, from its wreckage finale to a galloping close. Unifying the Beethoven salvaged a powerfUl independent piece harmonically is an obsession with the grating discord of the semitone that involves I instrumental work. Inspired by the heroic a different note from the D-major triad (0, ~I\JO.1'"\ limax3 includesof the lastin itsact,developmentthe Leonore sectionOverturethe F-sharp, A) in each movement: F-sharp/F• opera's famous off-stage trumpet flourish, the natural (first movement); A/B-flat (second); call of the watchman on the tower warning the and, D/C-sharp (third). jailor Pizarro that the Minister has arrived to Although conceived as a concert investigate his cruel treatment and unlawful work, Stravinsky's Concerto in 0 became detention of prisoners. The arrival of the well-known thanks to Jeromes Robbins's Minister also means that Pizarro will have ballet The Cage produced by New York City to abandon his plans to execute Leonore's Ballet in 1951. Robbins heard in this piece husband, Florestan. In the opera, Pizarro is not fluff but something "terribly driven arrested, the prisoners are set free, Florestan and compelled". Recalling the gruesome and Leonore are reunited, and the brave behaviour (from a human point of view) of the woman who saved her husband is praised. praying mantis, Robbins's dance depicts a The overture, with its buoyant themes and female of the insect species who, after flirting driving rhythms in the heroic key of C major, with a male, abruptly castrates and kills convincingly celebrates the triumph of justice him. Two other ballets were inspired by the over tyranny. same score and produced in in the 1950s-both are bug-free. Violin Concerto No.2 work, an homage to the music and culture GEORGETSONTAKIS of . Recently he has won the world's richest prize for a composer, the Charles Ives Premiered: 19th, 20th April, 2003. Steven Living, given by the American Academy of Arts Copes, Violin, Saint Paul Chamber Orchestra, and Letters. The three-year term of the Ives conducted by Miguel Harth-Bedoya. Living, during which the winner is required to" devote himself entirely to composition, will My first concerto was scored for a large span 2007 to 2010. orchestra where, in most instances, the forces provide for sonic blocks of granite alternately supporting and challenging the Symphony No.1 in C minor, Op. 68 soloist's message and sound. In No.1, JOHANNES BRAHMS (1833-1897) the violin soloist is set apart as kind of a thoughtful anti-hero. Beethoven wrote his First Symphony at the The Violin Concerto No.2, written for the age of 30 and within 13 years had composed St. Paul Chamber Orchestra and its dynamic all but his last, the Ninth. Brahms was set to concertmaster, Steven Copes, is another match this pace when, not yet 30, he drafted story altogether. In this work, the soloist the first movement of his First Symphony. But, is a member - albeit the most important, unsatisfied, he delayed the work's completion center-stage and influential member - of an until 1876, when he was 43. The work's long intricate musical tapestry formed by joining gestation owes much to Brahms's acute colorful, distinctly soloistic and individual sense of self-criticism (he regularly burned instrumental partners. The concept of his manuscripts). But he also knew his work "orchestral" is diminished in deference to the would inevitably be compared to that of the concept of "chamber." symphony's indisputable king-Beethoven. I wanted to harness and project the "You don't know what it is like always to kaleidoscopic sparkle of this "ensemble of hear that giant marching along behind me," soloists" without compromising the violin he lamented in a letter to the conductor soloist's position of prominence. While Hermann Levi. designed to create a cohesive architectural Brahms's apprehension, however, whole, there is less emphasis on a dramatic seems exaggerated. For, by the time he narrative-curve and more on just how colorful completed his First Symphony, he had already and creatively dramatic music can be. At the accumulated a great deal of experience same time, there would be little doubt that, in handling not only symphonic form but also its own specific way, this work is truly a violin orchestral colour: the First Piano Concerto; concerto. - George Tsontakis an orchestral version of the Haydn variations; George Tsontakis has been for some two early serenades that, despite their years one of the leading figures of the stylistic lightness, are symphonic in scope; "new romanticism." He studied with Roger and several vocal works with substantial Sessions at Juilliard, then continued studies orchestral accompaniment including the in . He returned in 1981, when he was German Requiem. The critic Donald Tovey thirty, and almost immediately making observed that there was therefore "at least as his mark with a series of pieces that have much experience of orchestral writing behind attracted attention and won many awards. Brahms's first symphony as there was behind His String Quartet No.4, subtitled "Beneath Beethoven's third". Thy Tenderness of Heart," won the first prize Brahms's symphonic starting point is in the Friedheim Kennedy Center competition Beethoven. His orchestration is, however, in 1989. He has been a composer-in• considerably darker. It emphasizes the residence at the Aspen Music Festival since Rembrandtesque dark browns of the more 1976 and was named director of the Aspen sombre instruments like the viola and Contemporary Ensemble in 1991. favours the doubling of thirds of chords in low In 2005, he won the Grawemeyer Award, registers. As in Beethoven, rhythm is a driving widely recognized as the most prestigious force, particularly by means of syncopation composition prize internationally, for his and Brahms's favourite device, the hemiola, Violin Concerto No.2. Since then he has the subtle shifting from 3/4 to 6/8 metres composed a Naumburg-commissioned song that produces a fluid, rocking effect. An cycle for soprano Sari Gruber and tonight's avid student of counterpoint from the Renaissance through Bach to contemporary intermezzo. practice, Brahms's contrapuntal skill is The emotional holiday comes to an end unequalled in the 19th-century. But it is at the start of the finale. Its slow introduction, perhaps his ingenuous phrase construction initially marked Adagio, recalls the ominous which he is most admired. Arnold atmosphere of the symphony's opening. But .lQenberg, for instance, who hailed this time the gloom is short-lived: at the Pijj Brahms as a "progressive", described his andante the sky begins to clear up. Now method of extending phrases as "developing in C major (traditionally the key of heroism variation", a process whereby a theme is built and triumph), we hear the famous horn solo, up from small motivic cells, both melodic answered by a high flute; then a trombone and rhythmic, then continually modified-a chorale; and again the horn solo, now joined technique immediately apparent in the first by other jubilant exclamations from the movement of Brahms's First Symphony. orchestra. The Allegro non troppo, ma con The symphony begins with an imposing brio finally ushers in clear blue sky with a slow introduction marked Un poco sostenuto. rustic, good-natured tune in the violins. Above a thundering C-pedal in the timpani, Much has been said about the unmistakabie contrabassoon and double basses, rises a similarity between this theme and the tortured, chromatic line in the violins. This "Ode to Joy" from the finale of Beethoven's is music of controlled vigour: rich, robust, Ninth. To this, an irritated Brahms, in his serious. Tovey conjures up the image of characteristic bluntness, is reported to have a "gigantic procession of cloudy figures, said "any jackass could see that". Perhaps destined to take Shape as the themes of the it is therefore best to think of the tune as a first movement". The ensuing sonata-form friendly allusion to a famous counterpart and Allegro is a storm of relentless rhythmic nothing more. At any rate, the earthy tune energy propelled forward by Brahms's vital is only part of the story; at the movement's counterpoint. The storm only subsides in climax, the trombone chorale returns, this the coda where the distant thunder of the time belted out by the whole orchestra. introduction echoes once more. "A mighty Tovey speaks of the first movement's sigh: writes Tovey, "tells that the tragedy is "immense tragedy" that leads to the finished". "triumph" of the finale. In his view, the The two inner movements, both in tragedy is already over in the first movement. ternary form, offer a welcome reprieve. In "It is the special privilege of the classical the lyrical Andante sostenuto (in E major), a forms of instrumental music that they can memorable violin solo is joined by the oboe, thus bring within the compass of a single then reprised in counterpoint with the horn. work something more than a tragedy: he The third movement, Un poco Allegretto e explains. "A work that ends in triumph, not azioso (in A-flat major-note the pattern of because the world has been stopped in its ;ing major thirds), is gentle, relaxed, even course in order to spare our feelings, but carefree in spirit despite some turbulent because our feelings are carried through and moments. Beethoven substituted the beyond the tragedy to something higher." boisterous scherzo for the dignified Classical minuet; Brahms, in a compromise of sorts, Notes (except Tsontakis) © 2008 by Robert in all but his last symphony, replaced Rival, doctoral candidate in composition in Beethoven's scherzo with a more subdued the Faculty of Music. www.robertrival.com Biographies Known for her "engaging sensitivity and a She has returned on many occasions to gorgeously full tone: [THE STRAD]. Canadian perform in , , , violinist Erika Raum continues developing , Germany, England, Italy and France. a following here in her native country and She has appeared as guest artist with such internationally. Playing professionally since orchestras as the Radio Orchestra, the age of twelve, Ms. Raum quickly rose the Szombathely Symphony Orchestra, the through the ranks by taking first place at Austro-Hungarian Orchestra, and the Franz the 1992 International Violin Liszt Chamber Orchestra. Competition in Budapest as well as the award A distinguished musician abroad, Erika for best interpretation of a Mozart concerto. also performs frequently throughout her homeland with orchestral appearances in Maestro Raftl Armenian graduated from the cities such as Toronto, Calgary, , piano performance class of Bruno Seidlhofer Ottawa, Victoria, Halifax, and Edmonton. at the Academy of Music in Vienna, Austria. Both a recitalist and chamber musician, He further studied at Imperial College, some of her recent international highlights University of London, England, before include the Festival Pablo Casals in Prades completing his studies at the Vienna Acad France, Beethoven Festival in , the of Music with Hans Swarowsky (orchestral BargeMusic Festival in New York, Seattle conducting), Rheinhold Schmid (choral Chamber Music Festival and past invitation conducting) and Alfred Uhl (composition). He include the Budapest Spring Festival, also took private voice lessons with Ferdinand Szombathely Festival in Hungary, Carnegie Grossmann. Hall as well as the Caramoor and Prussia In 1969 Armenian immigrated to Cove festivals. Last summer saw her perform Canada, where he became Artistic Director at the Festival Pablo Casals and at the of the Kitchener-Waterloo Symphony for Chamber Festival in Perpigman, France. Her 22 years. The Raffi Armenian Theatre in performances are often heard on an array of Kitchener, which he helped to design, is radio networks like CBC across Canada and considered one of the best performance the NPR in the USA. spaces in North America, both for its As a recording artist, Erika joined acoustics and its design features. In 1974, internationally renowned pianist as Music Director of the Stratford Festival, he in releasing the world premiere recording founded the Canadian Chamber Ensemble, of 's piano and violin works. which achieved international recognition Recorded on this country's most active with tours in North and South America, and label, Musica Viva of CBC Records, this Europe. premiere recording highlights the masterfully Raffi Armenian has guest conducted all composed, powerfully expressive works by of the major orchestras in Canada, as well as the precocious composer during his teen in Belgium, Italy, the United States, and the years. Her most recent release for the Arktos Jeunesses Musicales World Youth Orchestra. label consisted of the Brahms Horn Trio and Equally at home on the operatic podium, another recording premiere: Pantheon by the he has conducted productions in Toronto, esteemed composer (and mother!) Elizabeth Montreal, Detroit, Columbus and Indiana, in a Raum. With pianist Lydia Wong, they will soon vast repertoire, including Berg's Wozzeck for record the complete violin and piano works of the Canadian Opera Company, Toronto, and Krystof Penderecki. Stravinsky's Rake's Progress. From 1982 to In 1993, Elizabeth Raum wrote her a 1985 he was Artistic Director of the Opera violin concerto entitled "Faces of Woman. n Studio of Opera de Montreal. In 1989, he The work was commissioned by the Regina conducted the final public appearance of t Symphony Orchestra and broadcast nationally great Canadian tenor Jon Vickers, in a cone by the CBC. Erika's sister, Jessica Raum, performance of Wagner's Parsifal. In March produced and directed the award winning 2006, he led the University of Toronto Opera documentary "Like Mother, Like Daughter" Division in four performances of The Marriage which recorded the event. of Figaro by Mozart. Erika is a graduate of the University Raffi Armenian's work has received of Toronto where she studied with the late countless honors including the Canadian Professor Lorand Fenyves and was awarded Grand Prix du Disque for Serenades, and the prestigious Eaton Scholarship upon an Emmy Award nomination for the TV her graduation. She is also a recipient of performance of Menotti's The Medium The Canada Council for the Arts - Career starring Maureen Forrester. Woody Allen used Development Grant. Ms. Raum is currently his CD Music from Berlin in the 1920s as on the faculties of the Glenn Gould School background music for his film Shadows and at The Royal Conservatory of Music, Toronto Fog. He is a recipient of Honorary Doctorates and the University of Toronto. She continues from the University of Waterloo and Wilfrid her presence on the summer faCUlty of The Laurier University, and the Golden Jubilee Banff Centre for the Arts and has been a Medal of Her Majesty Queen Elizabeth II. guest teacher at the Orford Arts Centre this In 1989 he was invested into the Order of summer. Canada. Raffi Armenian has long been active accepted a two-year post as Visiting Guest as a pedagogue. In 1981 he became a Professor at the Hochschule fur Musik und Professor of the Orchestral Conducting Class Darsteliende Kunst, in Graz, Austria, and in addition to conducting the Orchestra at since September 1999 Mr. Armenian has " Conservatoire de Musique in Montreal, been Director of Orchestral Studies at the ·•..•·osition he continues to hold. In 1997 he University of Toronto. Orchestra

VIOLIN I CELLO BASSOON Jane Joon Mee, concertmaster Veronica Nettles, principal Lance McMillan Michelle Lee, concertmaster, Bryan Holt, principal, Stravinsky Devin Wesley, contrabassoon Stravinsky Andrew Ascenzo Krista Wodelet Matthew Chan Samuel Bisson Calvin Cheng Claire Burrows HORN Eun AJo Brenton Chan Mikhail Alexander Madeline Kapp Steven Po-Tse Chen Carmich Babiak Joyce Kim Jason Eui-Sung Cho Marina Krickler Luri Lee Cydney Grogan Anna Millan Khai (Kevin) Nguyen Christopher Shuenwen Hwang Emily Rapson Takayo Noguchi Kimberly Miyoung Jeong Curtis Vander-Hyden Colin Repas Mi So Mok Monica Louise Westerholm Amber Walton-Amar TRUMPET Andrea Vaughan VIOLIN II DOUBLE BASS Timothy James Watson James A Kruspe, principal Samantha McLellan, principal Robert Weymouth Sarah Davidson-Gurney, principal, Callum Jennings, principal, Stravinsky Stravinsky TROMBONE Andreea-Madalina Arbon Joshua Bell Nathan Fanning Katherine Avery Michael John Charles Nelson Garces Maia Broido Deirdre Bryant Nicholas Mahon Han-Yu (Holly) Cheng Jonathan Deshman Mohamed-Aly Farag Alexander Kotyk TIMPANI lain MacKay Calvin Marks Allison Bent Markus Medri Adrian Rigopulos Amie Watson Jennifer Anne Melvin Ben Whiteley Natasha Rollings PERCUSSION FLUTE Maya Postepski Charmaine Bacon, piccolo I I-Ioi Wing (Eros) Tang C.cronicalma SabrinaVachon-Tweney Joo Yeon (Julia) Han HARP Kaili Maimets Angela Schwarzkopf VIOLA Eun Ji Park John Ng, principal Stephanie Pesant CELESTE Gene Po-Chun Chen, principal, Lily Ling Stravinsky OBOE Mohammed Abu Ramadan Helena Kyungmin Choi Mohsin Bhujwalla Victoria Hong Karen Wiseman, Performance Louisa Susan Cornacchia Collection Librarian Megan Gilsenan CLARINET Fred Peruzza, Director, MacMillan Sarah Torrance Mark Dimitroff Theatre Gabriel Estrin, bass clarinet Ian Albright, Technical Assistant Alixandra Haywood Bob Dunkin, Production Assistant David Perry John Williams 2007-2008 Friends of the Faculty of Music The Faculty of Music gratefully acknowledges the individuals, foundations, associations and corporations that support our students and programs with donations this fiscal year. These gifts enable us to secure our stature as Canada's

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