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Vaughan Williams Piano Concerto • Oboe Concerto Serenade to Music • Flos Campi

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Vaughan Williams Piano Concerto • Oboe Concerto Serenade to Music • Flos Campi Vaughan Williams Piano Concerto • Oboe Concerto Serenade to Music • Flos Campi Louis Lortie piano Sarah Jeffrey oboe Toronto Symphony Orchestra Teng Li viola Peter Oundjian Drawing by Leo Hardy © Lebrecht Music & Arts Photo Library Ralph Vaughan Williams, c. 1936 – 37 Ralph Vaughan Williams (1872 – 1958) 1 Serenade to Music (1938)* 14:29 for Four Soloists, Chorus, and Orchestra Words by Shakespeare (The Merchant of Venice) Dedicated to Sir Henry J. Wood on the occasion of his Jubilee, in grateful recognition of his services to music Andante sostenuto – Poco animato – Tempo I – Poco animato – Tempo I – Andante con moto – Tempo I ma poco animato – Tempo I – Poco animato – Tempo I Concerto (1944)† 20:06 in A minor • in a-Moll • en la mineur for Oboe and Strings To Léon Goossens 2 I Rondo Pastorale. Allegro moderato – Cadenza – [Allegro moderato] – Cadenza – Tempo – Cadenza – [Tempo] – Cadenza – Tempo 7:52 3 II Minuet and Musette. Allegro moderato – Musette – [Minuet] 2:39 4 III Finale (Scherzo). Presto – [Cadenza] – Doppio più lento – [Cadenza] – Doppio più mosso – Lento – Presto 9:33 3 Flos Campi (1924 – 25)‡ 21:01 (Flower of the Field) Suite for Solo Viola, Small Chorus, and Small Orchestra To Lionel Tertis 5 1 Lento (senza misura) – (Tempo) – 2:46 6 2 Andante con moto – [senza misura] – 3:24 7 3 Lento (senza misura) – [A tempo] – Allegro moderato (senza misura) – Allegro moderato – Allargando – 3:21 8 4 Moderato alla marcia – 1:59 9 5 Andante quasi lento (Largamente) – Largamente – A tempo (poco animato) – Largamente – Moderato tranquillo – 3:20 10 6 (Moderato tranquillo) – (Lento) (Tempo del principio) (senza misura) – (A tempo) (Tranquillo) 6:08 Concerto (1926 – 31)§ 26:42 in C major • in C-Dur • en ut majeur for Piano and Orchestra To Harriet Cohen 11 I Toccata. Allegro moderato – Poco animato – Tempo I – Poco animato – Tempo I – Poco animato – Largamente – Cadenza – 6:42 12 II Romanza. Lento – Poco più mosso – Poco animato – Tranquillo – Tempo I – 9:02 4 13 III Fuga chromatica, con Finale alla tedesca. Allegro – Fuga – Cadenza – Finale alla tedesca – Cadenza – Poco stringendo – Cadenza – Lento – Largo sostenuto – Andante sostenuto 10:58 TT 82:21 Carla Huhtanen soprano* Emily D’Angelo mezzo-soprano* Lawrence Wiliford tenor* Tyler Duncan baritone* Sarah Jeffrey oboe† Teng Li viola‡ Louis Lortie piano§ Elmer Iseler Singers*‡ Lydia Adams artistic director Toronto Symphony Orchestra Jonathan Crow concertmaster Peter Oundjian 5 Elmer Iseler Singers Lydia Adams conductor and artistic director Jessie Iseler general manager soprano tenor Jodie Alcorn Ben Jisoo Kim Anne Bornath Eric MacKeracher Amy Dodington Mitchell Pady Gisele Kulak Will Reid Cathy Robinson Michael Sawarna Alison Roy bass alto Alexander Jozefacki Claudia Lemcke Nelson Lohnes Victoria Marshall Graham Robinson Laura McAlpine Michael Thomas Lynn McMurray Paul Winkelmans Victor Cheng (James T. Chestnutt Scholar, 2017 / 18) 6 Toronto Symphony Orchestra Peter Oundjian music director Sir Andrew Davis conductor laureate violin Jennifer Thompson Jonathan Crow, concertmaster Angelique Toews Tom Beck Concertmaster Chair James Wallenberg Mark Skazinetsky, associate concertmaster Virginia Chen Wells Marc-André Savoie, assistant concertmaster Arkady Yanivker Etsuko Kimura, assistant concertmaster Paul Meyer, principal second violin viola Wendy Rose, associate principal second violin Teng Li, principal Eri Kosaka, assistant principal second violin Principal Viola funded by David and Atis Bankas Renette Berman Sydney Chun Theresa Rudolph, assistant principal Carol Lynn Fujino Daniel Blackman Amanda Goodburn Ivan Ivanovich Terry Holowach Gary Labovitz Bridget Hunt Diane Leung Amalia Joanou-Canzoneri Charmain Louis Mi Hyon Kim Mary Carol Nugent Shane Kim Christopher Redfield Leslie Dawn Knowles Kent Teeple Douglas Kwon Ethan Filner* Sergei Nikonov Jesse Morrison* Hyung-Sun Paik Young Dae Park cello Semyon Pertsovsky Joseph Johnson, principal Clare Semes Principal Cello Chair funded by Peter Seminovs Dr Armand Hammer 7 Emmanuelle Beaulieu Bergeron, associate oboe principal Sarah Jeffrey, principal Winona Zelenka, assistant principal Principal Oboe funded by Pam and Alastair Eng Chris Hodgson Igor Gefter Keith Atkinson, associate principal Marie Gelinas Cary Ebli Roberta Janzen Britton Riley English horn Kirk Worthington Cary Ebli double-bass clarinet Jeffrey Beecher, principal Joaquin Valdepeñas, principal Principal Double Bass Chair annually Sheryl L. and David W. Kerr Principal funded by the Saunderson Family Clarinet Chair Michael Chiarello, associate principal Miles Jaques Theodore Chan Joseph Orlowski Timothy Dawson Chas Elliott bass clarinet David Longenecker Miles Jaques Paul Rogers bassoon flute Michael Sweeney, principal Kelly Zimba, principal Samuel Banks Toronto Symphony Volunteer Committee Fraser Jackson Principal Flute Chair Julie Ranti, associate principal contrabassoon Leonie Wall Fraser Jackson Camille Watts horn piccolo Neil Deland, principal Camille Watts Dr Michael Braudo Principal Horn Chair 8 Christopher Gongos, associate principal percussion Audrey Good Charles Settle, principal Nicholas Hartman John Rudolph Gabriel Radford Russell Hartenberger* Bryn Lutek* trumpet Andrew McCandless, principal harp Toronto Symphony Volunteer Committee Heidi Van Hoesen Gorton, principal Principal Trumpet Chair Principal Harp funded by Richard Rooney Steven Woomert, associate principal and Laura Dinner James Gardiner James Spragg keyboard Talisa Blackman* trombone Gordon Wolfe, principal librarians Vanessa Fralick, associate principal Gary Corrin, principal Principal Librarian funded by Bob and bass trombone Ann Corcoran Jeffrey Hall Kim Gilmore Andrew Harper, interim librarian tuba Mark Tetreault, principal personnel David Kent, manager timpani David Kent, principal *guest musician 9 Carla Huhtanen Tobin Grimshaw Emily D’Angelo Emily SongFest Emerging Artist Vaughan Williams: Serenade to Music / Concertos / Flos Campi Serenade to Music part. The initials of each singer at the first Ralph Vaughan Williams (1872 – 1958) performance were placed in the score to phoned Ursula Wood in the spring of 1938 mark his or her individual entries. While Wood to tell her about a request from Sir Henry and Vaughan Williams were able to agree Wood for a choral work to celebrate his fifty on the names of the sixteen singers, some years as a conductor, adding: ‘He wants leading soloists had to be omitted; perhaps something for sixteen singers.’ Vaughan the most disappointed was the bass-baritone Williams quickly chose the episode involving Keith Falkner, a close friend of both conductor Jessica and Lorenzo from Act V, Scene 1 of and composer. The Merchant of Venice as the text for the The early rehearsals of the piece proved work. This romantic scene from his beloved an emotional experience, Lady Jessie Wood Shakespeare, with lines such as ‘With writing that ‘the singers were so moved that sweetest touches pierce your mistress’ their lips seemed unable to articulate’. The ear, / And draw her home with music’, was soprano Isobel Baillie said that she had personally apposite: Vaughan Williams had the awesome task of leading the sixteen started a passionate love affair with the solo contributions; my phrase ‘of sweet twenty-seven-year-old Ursula on 31 March harmony’ was very exposed and rose to a 1938. Ursula said later that ‘I think he was top A within two bars! rather in love with me at that time; I think the The successful first performance took place Serenade was written for me’. on 5 October 1938 in the Royal Albert Hall in The work is certainly one of the most London and the composer dedicated the work ravishing of all Vaughan Williams’s to Sir Henry J. Wood on the occasion of compositions. It was Vaughan Williams who his Jubilee, in grateful recognition of his came up with the inspired idea to set the services to music. words for the sixteen voices as soloists, Vaughan Williams authorised performances the individual vocal qualities of each singer of the work in several formats; it is the version shaping the phrasing and colour of each for four soloists (S, A, T, B) with chorus and 11 orchestra that is heard on this recording. almost four years of war. Something of the The hushed orchestral opening, for harp, visionary quality of this symphony is also strings, clarinet, and a violin solo, marked heard in the Oboe Concerto, particularly in Andante sostenuto, sets a suitably rapt tone. the extraordinary Lento section of the third A second theme, led by woodwind, is a little movement. more animated before the voices enter, tutti, Léon was one of five children in the singing, ‘How sweet the moonlight sleeps musically gifted Goossens family which upon this bank!’ After a few more bars for the included his brother, the conductor Eugene, singers combined, a soprano soloist soars and the harpists Marie and Sidonie. He to that top A, on ‘sweet harmony’, and the inspired more than 100 compositions over other soloists take turns to elaborate the two his career, such as the Oboe Quintet (1922) main musical ideas. The first of two fortissimo of Sir Arnold Bax. A close friend of Vaughan passages for the full vocal ensemble occurs Williams, he gave the first performance of at ‘Such harmony is in immortal souls’, the the Oboe Concerto, on 30 September 1944, second, following a fanfare, at ‘Come, ho! and with the Liverpool Philharmonic Orchestra wake Diana with a hymn!’ The earlier melodies conducted by Sir Malcolm Sargent. Léon are repeated, including the fanfare, and the Goossens said that ‘This work
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