SYMPHONIC CONCERT GUIDE Saturday, April 24, 2021 // 7:00 p.m. Sunday, April 25, 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
April Classical Concert...... 13
May 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 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 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 jazz 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 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 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 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 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 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 April 24 & 25, 2021
Ken Selden, Guest Conductor Orli Shaham, Guest Artist / Piano Steve Bass, Emcee Ken Selden Skyview Concert Hall, Vancouver, Washington GUEST CONDUCTOR
Jean Sibelius (1865-1957) Ken Selden is currently conductor and music director of the Andante Festivo Portland State University Orchestra, a position he has held since 2006. Selden made his professional debut with the National Arts Center Orchestra (Canada) at the invitation of Pinchas Zuckerman, and subsequently Antonín Dvorák (1841-1904) appeared with orchestras of Denver, Baltimore, Minnesota Serenade for Strings in E major, Op. 22 and North Carolina, and at music festivals in the United States, Israel, Japan, Romania and Switzerland. Additionally, he has performed with the Moscow Chamber Orchestra at the David Oistrakh Festival and conducted orchestras — in Finland, Italy and Belgium. Since arriving in Portland, 15 MINUTE INTERMISSION Selden has appeared as guest conductor of the Oregon — Symphony, Third Angle New Music Ensemble, Portland Youth Philharmonic and the Newport Symphony. More recently, his recordings of Mahler and Debussy arrangements with the newly established Martingale Ensemble were released Ludwig van Beethoven (1770-1827) on MSR Classics. The Piano Concerto No. 2 in B-flat major, Op. 19 An advocate for new music, Selden has worked with composers Pierre Boulez, John Cage and Tan Dun, and Orli Shaham, piano has conducted recent world premieres of music by Peter Lieberson, Michael Nyman and Stephen Paulus. Prior to his appointment at PSU, Selden led a series of performances as assistant conductor of two innovative ensembles—the Brooklyn Philharmonic and the Eos Orchestra. Under his direction, the PSU Orchestra has received three awards in Adventurous Programming from ASCAP and the League of American Orchestras. In 2018, he led the Vancouver Symphony Orchestra as guest conductor for Riverview Bank’s Six To Sunset concert series.
VANCOUVER SYMPHONY ORCHESTRA 2020/21 // 13 GUEST ARTIST
Her other recordings include “Brahms Inspired” and “American Grace” (Canary Classics). Orli Shaham and her brother, the violinist Gil Shaham, have collaborated on several recordings including “Nigunim - Hebrew Melodies”, “Dvorák for Two” on Deutsche Gramophone, an all-Prokofiev disc, and “Mozart in Paris” featuring Mozart’s Six Sonatas, Op. 1. Ms. Shaham is Artistic Director for the interactive children's concert series, Orli Shaham’s Bach Yard, which she founded in 2010. The concert programs provide hands-on activities with musical instruments, concepts and concert performances that promote good listening skills, and feature chamber music performances by professional musicians with Ms. Shaham as host and pianist. During the spring and summer of 2020, Orli Shaham’s Bach Yard and Kaufman Music Center collaborated to create a 10-episode video series called “Playdates”.
Orli Shaham In 2020, she was named as Regular Guest Host and Creative PIANO for NPR’s “From the Top”, the nationally broadcast radio program featuring performances and conversations with A consummate musician recognized for her grace, subtlety, talented teenage musicians, after serving as guest host on and brilliance, Orli Shaham has established an impressive several episodes in 2018 and 2019. In addition to her activities international reputation as one of today's most gifted pianists. on stage, Ms. Shaham is on faculty at The Juilliard School, Hailed by critics on four continents, Ms. Shaham admired for and serves on the juries of the Cliburn International Piano her interpretations of both standard and modern repertoire. Competition in 2022, and the Honens International Piano The New York Times called her a "brilliant pianist," The Competition in 2021. She has previously served on the juries Chicago Tribune referred to her as “a first-rate Mozartean” of the Cliburn International Junior, New York International, in a performance with the Chicago Symphony, and London's Sydney International, Virginia Waring International and Hilton Guardian said Ms. Shaham's playing at the Proms was Head International piano competitions. “perfection."
Orli Shaham has performed with most of the major orchestras in the United States, and with many significant ensembles internationally, including the BBC Symphony Orchestra, Israel Philharmonic Orchestra, Orchestre National de France, and Sydney Symphony Orchestra. Ms. Shaham’s 2020-2021 season includes two solo recitals at Kaufman Music Center’s Merkin Hall, performances with the Grand Rapids Symphony (Marcelo Lehninger conducting) and the Detroit Symphony Orchestra (Jader Bignamini conducting), and appearances at the 2021 Bowdoin International Music Festival. She is in her 13th season as the Artistic Director for Pacific Symphony’s chamber music series in Costa Mesa, California, and is a featured performer on each of the chamber recitals throughout the series.
In October 2020, as part of her multi-year, multi-disc Mozart project on the Canary Classics label, Orli Shaham released the first of a five-volume set featuring the complete Mozart piano sonatas. Volumes 2 and 3 of this Mozart sonata cycle will be released in 2021. Ms. Shaham’s Mozart recording project began in 2019 with the release of piano concertos K.453 and K.491 with the St. Louis Symphony Orchestra, David Robertson conducting. VANCOUVER SYMPHONY ORCHESTRA 2020/21 // 14 PROGRAM NOTES
Guest conductor Maestro Ken Selden leads this program, which opens with the lush Andante Festivo by Sibelius, one of Andante Festivo is hardly “festive” in the conventional sense: the composer’s final works. Dvorák’s Serenade for Strings is his Festivo undoubtedly refers to the fact that it was for a distinctive take on a traditional Austrian form, which he fills with celebratory event (the sawmill of 1922 or the radio broadcast lively references to Bohemian folk music. We are delighted to of 1939). The tone is serious and solemn throughout. But this welcome back an audience favorite, Orli Shaham, who is making piece is an example of Sibelius’ masterful ability to write for her third appearance with the Vancouver Symphony Orchestra. strings. He had trained as a violinist and thoroughly understood Ms. Shaham previously appeared in 2014 together with Igal the string orchestra. The piece is based upon a single flowing Kesselman, performing Mozart’s Concerto for Two Pianos. She hymnlike melody that flows throughout the piece, surrounded returned in 2017 for the Brahms Piano Concerto No. 2. Here by glowing chords. she performs a brilliant early work by Beethoven, his Piano Concerto No. 2. Antonín Dvorák (1841-1904) Serenade in E Major for String Orchestra, Op.22 Jean Sibelius (1865-1957) Andante Festivo Dvorák composed this work in May of 1875. The first performance was in Prague on Sibelius composed this work as a December 10, 1876. Dvorák string quartet in 1922, and revised revised the score extensively it in 1938. He conducted the in 1879. premiere at a radio broadcast from
Helsinki on January 1, 1939. Duration 27:00. Duration 6:00.
Through much of the 1860s, Dvorák had lived the stereotypically Romantic life of a “starving artist,” supporting In late 1922, Sibelius was commissioned to write a work in himself mainly as a viola player and conductor in various celebration of the 25th anniversary of a sawmill near his country orchestras and dance bands in Prague. He had begun composing home. He responded with a short string quartet, Andante Festivo, at an early age, writing a few minor hits for the Prague stage. which may have been based on musical sketches as much as 20 In 1875, however, things began to change rapidly. During the years old. This is actually among his late works: though Sibelius previous year he had submitted fifteen of his compositions for was only 56 at the time, and would live for another 35 years, a competition sponsored by the Austrian Ministry of Culture. he had struggled for years with depression and alcoholism, and The Ministry was seeking to help a promising and financially found himself increasingly unable to compose. His Symphony strapped young composer, and Dvorák easily impressed a No.7 (1924) and the tone poem Tapiola (1926) were his last distinguished panel of judges and won the stipend. The prize major works. He retreated to his home at Järvenpää in the money was certainly welcome, but even more welcome was later 1920s and composed almost nothing after 1931. (He attention from established Viennese musicians who had been worked sporadically on an eighth symphony for over a decade, on the jury, especially Johannes Brahms and the influential critic but finally threw the manuscript into his fireplace in 1945.) In Eduard Hanslick. The next few months were among the most 1938, however, his friend Olin Downes, the influential music productive of his life, when he composed an amazing series of critic of the New York Times, prevailed on him to provide a piece songs and chamber works, but also two large orchestral pieces: as Finland’s contribution to an international radio broadcast the Symphony No.5 and the serenade heard here. The serenade celebration the upcoming opening of the New York World’s Fair. was composed in just eleven days in the spring of 1875. Sibelius reworked his 1922 string quartet into a piece for string orchestra and timpani. He conducted the radio broadcast at the In writing a serenade, Dvorák was part of a venerable musical national radio studios in Helsinki on New Year’s Day. This was tradition. From the time of Mozart onwards, serenades to be his final appearance as a conductor, and ironically, it is also (sometimes called cassations or Nachtmusik) had been among the only recording of Sibelius as a conductor. The Andante Festivo the most popular genres of music in Austria—outdoor pieces was played at funeral in 1957, and is still heard frequently in played by wind ensembles or small orchestras, often composed Finland, often to mark solemn occasions.
VANCOUVER SYMPHONY ORCHESTRA 2020/21 // 15 PROGRAM NOTES
to celebrate birthdays, weddings, or other special events. It As a young man, it was clear to Beethoven that his ticket out became a somewhat more formal concert genre in the later of his hometown of Bonn was the piano. Bonn was hardly a 19th century. Though it was viewed as a more lightweight form provincial backwater, but he had set his sights on Vienna, the than the symphony, many of the finest composers were still Imperial capital—and he settled there permanently in 1792. attracted to the serenade—Brahms himself wrote two fine He arrived in Vienna with a grant from the Elector of Bonn orchestral serenades. In his string serenade, Dvorák combines to study composition with Haydn. However, Beethoven was a this flexible Austrian form with a healthy dose of Bohemian piano virtuoso of the first rank, and made his living as a pianist. flavor. Throughout the 1790s, he played at private salons at the homes of aristocratic music-lovers, eventually gathering enough of a The brief opening movement (Moderato) is based upon a pair following to do more profitable public concerts. His repertoire of themes, the first a wistful, cantabile idea passed between the as a performer showcased his own works and his phenomenal high and low strings. The second is a more forceful, distinctly skills as an improviser. We have many accounts that describe his Bohemian melody. For the second movement (Tempo di Valse), performances, several of which were written by other pianists Dvorák provides a swirling minor-key waltz. A second waltz who were impressed—and more than a little scared—by begins lyrically, but soon takes on a more pesante feel, with his playing. For public concerts, however, the Viennese public strongly-accented chords. The trio begins cheerfully enough, but demanded concertos. Much of Mozart’s early success in Vienna a become more agitated towards the end. The movement closes decade earlier had rested on his piano concertos, most of them with a recapitulation of the opening waltzes, a quiet coda, and a written for Viennese concerts. Beethoven had actually written a surprising major chord at the end. The third movement (Vivace) piano concerto at age 14, but in late 1794, he turned to another, begins as a lively scherzo, but Dvorák soon introduces a more slightly later work from his Bonn years, a concerto in B-flat he lyrical idea. The central trio has the rhythmic energy of a Czech had sketched out in 1788 or even earlier. He would complete folk dance beneath a cantabile melody. There is a long, rather the new concerto just in time for his first formal concert in stormy transition that leads to a return of the opening music Vienna, a “Grand Musical Academy” held on March 29, 1795 for and a calm coda. The fourth movement is a quiet Larghetto. the charity concert for orphans and widows of the Society for Violins introduce a long, flowing main theme above a gently Musicians. He revised it in 1798, including a entirely new finale, pulsing background. This is expanded in contrapuntal form. A and tinkered with it bit more before offering it to a Leipzig middle section is more agitated and folklike. The main theme publisher in 1801. By this point, Beethoven clearly regarded this comes back in developed form to round off the movement. as a slightly outdated work and accepted a smaller-than-usual The finale (Allegro vivace) is based on an energetic Bohemian fee, though he wrote to the publisher that “...still, it will not dance theme that reappears several times during the movement. disgrace you in any way to publish it.” [Note: The C Major piano Dvorák manages to seamlessly weave themes from earlier concerto now known as No.1 was actually written after this movements into the texture, adapting them to the vigorous one—it was completed in December 1795—but was published style of the opening. There is an almost frantic middle section a few months earlier.] before the tempo slows suddenly for a reminiscence of the opening music of the Moderato. The movement ends with a final The influences of Mozart and Beethoven’s teacher Haydn are statement of the opening theme. clearly heard in this youthful work, which begins, conventionally, with a sonata-form movement (Allegro con brio). But even as a 24-year-old, Beethoven couldn’t resist tweaking the standard Ludwig van Beethoven (1770-1827) form. After a long and surprisingly intense orchestral exposition, the piano enters not as expected with the orchestra’s main Concerto No. 2 in B-flat Major for Piano and theme, but with a lyrical new figure, merely hinting at the Orchestra, Op. 19 orchestra theme in a transition. The second group of solo themes, also mostly new material, is equally relaxed. The Beethoven began this work in 1788, development section is lengthy and complex, and introduces a and completed the first version in few new ideas along the way. Beethoven does follow tradition to 1794-95, presenting it at a concert the extent of leaving space for a large solo cadenza at the end, on March 29, 1795, in Vienna’s which he improvised on the spot in March 1795, before a very Burgtheater. He later revised it brief orchestral coda. extensively, adding an entirely new third movement in 1798, and Beethoven’s student Carl Czerny later described the Adagio introduced this version at a concert as a kind of operatic scene, and the music does sound vocal in in Prague that year. He made further conception, a set of free-flowing variations on a theme revisions before publishing it in 1801.
Duration 28:00. VANCOUVER SYMPHONY ORCHESTRA 2020/21 // 16 PROGRAM NOTES
introduced at the beginning by the orchestra. At the end there is a hushed piano cadenza in the style of an operatic recitative before the orchestra rounds off the movement.
As usual in late-18th-century concertos, Beethoven ends with a rousing rondo (Molto allegro), a simple form in which a main theme alternates with contrasting material. This rondo, written in 1798 to replace the original third movement, has as its main theme a comical, rhythmically offbeat idea introduced by the piano. The contrasting episodes, which include a great deal of thematic development, cunningly set up returns of the main idea, until the very end, when a brief solo passage introduces a version this theme transformed momentarily into a slow, elegant melody. The tempo soon quickens, however, and the movement ends with a wry coda. ______program notes ©2021 by J. Michael Allsen
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VANCOUVER SYMPHONY ORCHESTRA 2020/21 // 18 May Concert Preview
May 22 & 23, 2021 Skyview Concert Hall, Vancouver, Washington Maestro Brotons Returns!
Joseph Haydn (1732-1809) Featuring GRAMMY award-winning cellist Cello Concerto No. 1 Zuill Bailey and the scheduled return of Zuill Bailey, cello Maestro Salvador Brotons for the first time this season, this is a concert you won’t want to miss! This final program of the 2020/21 season includes Max Bruch (1838-1920) Copland’s most beloved work and Haydn’s greatest Kol Nidrei for Cello Quartet composition for cello, among other remarkable masterpieces. This event will also feature the announcement of the exciting 2021/22 season! — 15 MINUTE INTERMISSION —
Aaron Copland (1900-1990) Appalachian Spring Suite for 13 Instruments
Ernest Bloch (1880-1959) Concerto Grosso No. 1
Zuill Bailey GUEST ARTIST / CELLO
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Aaron Dawson Jen Dawson
Matt Lee Sierra Eckman
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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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