symphonic concert guide saturday, january 16, 2021 ......and dogs, reading, camping and hiking,...

SYMPHONIC CONCERT GUIDE

Saturday, January 16, 2021 // 7:00 p.m.

Sunday, January 17, 2021 // 3:00 p.m.

VANCOUVER SYMPHONY ORCHESTRA 2020/21 // 2

Contents

Welcome from Maestro Brotons ...........................3

Message from the Mayor ..........................................5

Introducing Da Capo ..................................................6

Musicians and Staff ......................................................8

Meet the Musicians ................................................. 10

January Classical Concert ..................................... 13

February Classical Concert Preview................. 19

Friends of the VSO .................................................. 22

Donor Acknowledgements .................................. 23

Our MissionTo 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.

2020/21 SeasonThe Vancouver Symphony extends a special thanks to the individual, corporate, and foundation partners whose generosity and commitment to the arts in our community keep the music playing throughout our season.

This list recognizes the generous Gala and season sponsors who support the Vancouver Symphony Orchestra. For information on sponsorships, contact the VSO by calling (360) 735-7278.

@vso_usa@VSO_USAThe VSOUSA

360.735.7278

WWW.VANCOUVERSYMPHONY.ORG

Support the VSO when you shop on Amazon. Find us on Amazon Smile at smile.amazon.com.


There is no doubt that this is a year unlike any other. I am so thankful that we are part of such an incredible community, and that we can continue to share our music with you after such a long time away. While the season ahead of us may be shifting and changing, I have no doubt that it will be as extraordinary as ever. It also marks a significant milestone for me as my 30th year as Music Director and Conductor for the VSO. It has been my great honor and joy to share music with you all for so many years, and to see how far this organization has come.

This year will prove to be our most innovative season yet. Working with an expert team of technology, audio and video professionals, this brand-new concert experience will allow us to continue to bring classical music of the highest caliber to our community. The Orchestra is at the top of its abilities, and I am so 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.

In difficult times we can turn to music to uplift and inspire us to keep going amid hardship. It brings comfort when the world feels like a dark place, and connects us as human beings when community feels

far away. It is our greatest honor and privilege to serve as a source of inspiration and hope by bringing music to the world however we can. In turn, the steadfast dedication of our audience uplifts and inspires me to see us through this with an orchestra that is stronger than ever.

I want to thank our remarkable musicians, Board of Directors, staff, Friends and volunteers for working harder than ever to keep the music alive and make this season spectacular. For 30 years I have felt great love and appreciation from you, and I have always tried to return it in every way I can. Conducting your orchestra means more to me than I can ever say. Thank you for standing with us for 42 wonderful years, and for many more to come. I am thrilled for you to join us in this spectacular, groundbreaking season.

Salvador BrotonsMusic Director & ConductorVancouver Symphony Orchestra

Dr. Salvador BrotonsMusic Director & Conductor

WELCOME

Thank you for joining us as we begin our 42nd season!

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MESSAGE FROM THE MAYOR

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-OgleAnne McEnerny-OgleMayor, City of Vancouver

Greetings!


Ashley Hall

Ashley Hall has been with the Vancouver Symphony Orchestra since October of 2019. Since December of 2019 she has been the host and producer of The Vancouver Symphony Orchestra Podcast, interviewing prominent VSO figures and guests as well as sharing past VSO performances in the special series VSO Encore. Ashley graduated from Western Washington University in 2013 with a degree in English Literature, and has been active in the Vancouver arts community for over 15 years. She was formerly the music director for the Young Slocum House Players in 2011, and has been on the Board of Pacific Stageworks Theater Company since August of 2019.

Outside of saying flowery things about recordings of classical music Ashley produces two other podcasts, acts and sings in community theater productions, and plays nerdy tabletop games with her husband Will Johnson (the superhero who keeps Skyview Concert Hall running). It’s also rumored that she’s the girl who answers the phone when you call the VSO office, but none can say for certain.

Greg Scholl

Greg Scholl has played trombone in the VSO since 1993 —he became principal trombone in 1995. He is also principal trombone in the Portland Columbia Symphony and the Newport Symphony. Greg also plays locally in the Portland Brass Quintet and the Portland Festival Symphony. He has performed with the Oregon Ballet Theater, the Oregon Symphony, the Portland Opera, the Salem Chamber Orchestra, the Portland Chamber Orchestra, the Portland Symphonic Choir, the Willamette Master Chorus, and the Portland Gay Men’s Chorus. He has performed with the Oregon Repertory Singers and the Portland Symphonic Choir. Greg was formerly second trombone in the Austin Lyric Opera.

Greg is the trombone and low brass instructor at Pacific University.He obtained a trombone performance degree at the University of Texas at Austin, where he studied with Donald Knaub. Prior to that he studied with Peter Kline and David Brown in San Antonio, TX. Greg 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.

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!

OUR NEW VIDEO SERIES


91.5 FM | Full Spectrum News

Where ideas come to live.

VancouverSymphony7.5x10Ad.indd 5VancouverSymphony7.5x10Ad.indd 5 12/20/19 1:30 PM12/20/19 1:30 PM

VIOLIN 1Eva Richey, ConcertmasterStephen Shepherd,

Associate ConcertmasterJeong Yoon LeeDon PowerKirsten NorvellElizabeth DotyElizabeth O'MaraCarol KirkmanBrandon BuckmasterRicki Hisaw Stacy Edgar

VIOLIN 2Tracie Andrusko, Principal Sara Pyne, Assistant Principal Diana Taylor-Williams Maria Powell Liza Hanson Joan Hamilton Denise Uhde-Friesen Carolyn Shefler Lanette Shepherd Olivia Myers

VIOLAAngelika Furtwangler,

PrincipalJeremy Waterman,

Assistant PrincipalJim GarrettElisa RegaBrenda Liu Emalie BerdahlKeely McMurryAshley Redd

CELLODieter Ratzlaf, Principal Erin Ratzlaf,

Assistant Principal Annie Harkey-Power Suzanne Rague Lauren VanderlindKristopher DukeJonah Thomas

BASSGarrett Jellesma, PrincipalEd SaleTommy ThompsonWill Gibbs

FLUTERachel Rencher, Principal Corrie Cook Darren Cook

PICCOLODarren Cook

OBOEAlan Juza, PrincipalKris Klavik

ENGLISH HORNKris Klavik

CLARINETIgor Shakhman, Principal Steve Bass Barbara Heilmair

BASS CLARINETBarbara Heilmair

BASSOONMargaret McShea, Principal Nicole Buetti

CONTRABASSOONNicole Buetti

HORNDan Partridge, PrincipalWendy PeeblesCharles CrabtreeJames Cameron

TRUMPETBruce Dunn, Principal Scott Winks

TROMBONEGreg Scholl, Principal Graham MiddletonDoug Peebles

BASS TROMBONEDoug Peebles, Principal

TUBAMark Vehrencamp, Principal

PERCUSSIONIsaac Rains

TIMPANIFlorian Conzetti, Principal

PIANO / CELESTEMichael C. Liu

HARPKimberly Taylor

ORCHESTRA MANAGER/ LIBRARIANDr. Igor Shakhman

STAGE MANAGERRon Christopher

BOARD OF DIRECTORSVictoria Tullett, ChairKathy McDonald, Past Immediate

Chair, Board PresidentDirectors

Ann BardackeDr. David BloomDr. Tammy BloomPaul ChristensenJacob GambleJustin JenksWill KitchenTim KraftAmey LaudDr. Michael LiuSteve McCarthyDr. David SmithCarol Van Natta

Scott Winks, Board LiaisonBarbara Coman,

Friends of The VSO Chair

STAFFDr. Salvador Brotons,

Music Director & Conductor Dr. Igor Shakhman,

Executive Director Rachael Evans, Development DirectorJoe Galante, Office Manager Ashley Hall, Communications and

Media ManagerASK Advertising, Graphic Design

2020/21 MUSICIANS AND STAFF


ENTOFFICE.ORG

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Call 360.326.3966 today to schedule an appointment. Mention codeword “SYMPHONY” when you

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Tracie Andrusko Principal 2nd violin

Tracie began her music training at the age of 5, on both violin and piano, developing a love of music as she watched both her parents play in their church orchestra. She studied with Portland string teachers James Eoff and Catherine Peterson and graduated from Azusa Pacific University with a music degree in violin performance and music education.

Following college graduation, Tracie married the university orchestra’s lead trumpet player and they’ve now been married for 28 years. Their three sons have each developed a love for piano, brass and percussion, as well as the U.S. military. She is now is in her 27th season with The VSO. In addition to the symphony, Tracie plays electric violin with a country rock band, The Usual Suspects and her church band. She credits Maestro Brotons with giving the orchestra vision, direction and inspiration to reach new benchmarks.

Dr. Florian Conzetti Principal timpani

Florian Conzetti is artistic director of Northwest New Music, a Portland-based contemporary chamber music ensemble. He has appeared as a chamber music collaborator at the Music@Menlo Chamber Music Festival (David Finckel and Wu Han, artistic directors), the Astoria Music Festival, Cascadia Composers Concerts, CalPerformances, and Stanford Lively

Arts, and has recorded solo and chamber music works for the Innova, Albany, and Music@Menlo LIVE labels.

Conzetti was formerly on the faculty of UC Berkeley and currently teaches percussion, musicology, ethnomusicology and music theory at Portland State University and Linfield College. He studied at the Konservatorium für Musik in Bern, Switzerland, the Eastman School of Music, and the Peabody Conservatory, where he earned a Doctor of Musical Arts degree as a student of musicologist John Spitzer and marimbist Robert van Sice.

Bruce B. Dunn Principal trumpet

Now in his 20th year as The VSO’s principal trumpet, Bruce B. Dunn is an accomplished freelance trumpeter who holds performance degrees from both Washington State University (BM, cum laude) and Portland State University (MM) and was a recipient of the prestigious Presser Foundation Scholarship. He can be heard in venues across the Northwest.

He is has performed in groups across the region including the Portland Opera, 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.

Garrett JellesmaPrincipal bass

Now in his 14th season with The VSO, Garrett grew up in Milwaukie, OR where he was a violinist in the youth symphony. His bass career began in high school where his first teacher was Dave Anderson. He’s performed with the Portland Opera, Oregon Ballet Theatre, the Linfield Chamber Orchestra and many others. He is also a freelance musician performing and

recording with musicians in many different music genres.

When not performing, he is an orchestra teacher at H.B. Lee Middle School in the Reynolds School District, where he has taught since 2000. He is proud of his groups that have won many awards over the last several years.

He received his Bachelor of Music from Portland State, where he played under Maestro Brotons, and his Master’s in Music from the University of Portland. Garrett likes to spend his spare time with his family, traveling, fishing, and watching movies.

Alan Juza Principal oboe

Alan is an active musician in the Portland area. He is a member of the Oregon Ballet Theatre Orchestra, Portland Opera Orchestra and Oregon Coast Music Festival Orchestra, and has performed with the Oregon Symphony, Eugene Symphony, Peter Britt Music Festival, and Houston Symphony, among many others. Alan currently teaches oboe at Pacific

University in Forest Grove, and works as Facilities Manager for the Montessori School of Beaverton. He is thrilled to be a member of the Vancouver Symphony!

Margaret McShea Principal bassoon

Margaret hails from Texas, where she received a bassoon performance degree from the University of Texas in Austin. She and her trombonist husband, Greg Scholl, moved to the Pacific Northwest and are never moving again!

Margaret has been The VSO’s principal bassoon since 1995, and performs with other regional symphonies, including Columbia Symphony and

Portland Festival Symphony. A well-rounded musician, Margaret also plays the piano and banjo and had “a brief dalliance with the alto sax in junior high,” but feels the bassoon is the right fit for her, which is good for us.

When not playing music and working as a law firm administrator, she’s in the great outdoors, gardening or camping and hiking with family and friends.

MEET THE MUSICIANS

Douglas PeeblesPrincipal bass trombone

Born and raised in Portland, Douglas came from a musical family, playing piano from the first grade through his senior year at David Douglas High School in SE Portland. He started playing trombone in the fourth grade and in three years was performing in a local dance band, The United Attractions, with his brother, which helped propel his development as a professional

musician and entertainer. After attending college at the University of Nevada-Reno and playing bass trombone in the Reno area, he returned to Portland.

Douglas has performed with the Oregon Symphony and the Carlton Jackson-Dave Mills Big Band, and has played with the Woody Hite Big Band for over 25 years. Other appearances have been with Woody Herman’s Thundering Herd, Peggy Fleming, the Manhattan Transfer, Johnny Mathis, Natalie Cole and Don Rickles. He was also the drummer with the Cowboy/Jazz group Los Cowtones. Currently, his day job is driving a semi-truck for ABC Transfer and Delivery.

Dieter Ratzlaf Principal cello

Portland cellist Dieter Ratzlaf grew up in a musical family. He began cello studies at the age of seven and performed with the Portland Youth Philharmonic for six years, touring Europe with the orchestra in 1989. Dieter completed his undergraduate studies in Economics and German at Willamette University on a music scholarship. He went on to receive his Master

of Arts in Cello Performance at the San Francisco Conservatory of Music, also on scholarship, where he was a student of Bonnie Hampton. He has appeared with multiple arts organizations in the Pacific Northwest including the Oregon Symphony, Eugene Symphony, Portland Opera Orchestra (18 seasons) and the Oregon Ballet Theater Orchestra (10 seasons). Dieter was appointed principal cello of the Vancouver Symphony Orchestra in 2005 and the Hood River Philharmonic in 2012, positions he currently still holds. In addition to his performance commitments, Dieter is in demand as a teacher, adjudicator, and studio artist.

Rachel RencherPrincipal flute

Rachel Rencher is a freelance flutist in the Portland area. She is the principal flutist for The VSO, for which she has played since 1993. Rachel is also a member of the Portland Opera Orchestra and Portland Chamber Orchestra. She has performed with the Oregon Symphony, Oregon Ballet Theatre and several area summer music festivals, including the Sunriver Music

Festival, Astoria Festival of Music and the McCall Summer Music Festival. She maintains two active flute studios in the Portland area.

Dr. Salvador BrotonsMusic Director & Conductor

Now in his 30th season leading The Vancouver Symphony Orchestra as Music Director and Conductor, musicians and classical music enthusiasts still delight in having Dr. Brotons lead them.

Salvador Brotons was born in Barcelona into a family of musicians. He studied flute with his father and continued his musical studies at the Barcelona Music Conservatory where he earned advanced degrees in flute, composition and conducting. In 1985 he

won a Fulbright scholarship and moved to the U.S. where he obtained a doctorate in music from Florida State University.

As a composer, he has written more than 140 pieces, mostly orchestral and chamber works, and has won major composition awards, including the “Premio Orquesta Nacional de España” (1977), for his Cuatro Piezas para Cuerdas, the prize “Jove d’Or” (1980), the “Premio Ciutat de Barcelona” (in 1983 for his first symphony, and in 1986 for his piece Absències for narrator and orchestra), “SoutheasternComposers League Award” for his Sinfonietta da Camera (1986) “The Madison University Flute Choir Composition Award” (1987) for his Flute Suite and the “Premio Reina Sofia de Composición” (1991) for his piece Virtus for orchestra. He has also received many commissions.

Many of his works have been published and recorded on several CDs in Europe and in the U.S. for labels such as Naxos, EMI, Auvidis, Naxos, Albany Records, Keys, Harmonia Mundi and RNE.

Currently he combines a busy schedule as a conductor and composer of a number of commissions of various genres. Since 2001 he has been a professor of composition and orchestra conducting at the Escola Superior de Música de Catalunya (ESMUC).

In Spain he has been the music director and conductor of the Orquestra Simfònica de les Illes Balears “Ciutat de Palma” (1997-2001, 2009-2013) and the Orquestra Simfónica del Vallés (1997-2002), and is presently the conductor of the Barcelona Symphonic Band. In 2005, he received the “Arts Council” award by the Clark County and the city of Vancouver and the Kiwanis Rose Award.

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.

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MEET THE MUSICIANS



Eva Richey Concertmaster

Eva Richey began her violin studies at age 8. She earned Bachelor and Master's degrees in violin performance from the University of Cincinnati College-Conservatory of Music. Eva began her career playing regularly with several orchestras including the Cincinnati Symphony, Columbus Symphony, West Virginia Symphony and Kentucky Symphony. She toured South America

with the New World Symphony and played briefly with the Cape Town Symphony in South Africa. She attended the Aspen and Tanglewood Music Festivals, learning from such conductors as Leonard Bernstein, Seiji Ozawa, and Eiji Oue. Eva has also enjoyed playing popular music in concert events with The Moody Blues, Yes, Harry Connick Jr. and Rod Stewart.

In 2001, Eva moved to the Northwest. She began working with the Oregon Symphony as Associate Music Librarian, as well as holding two one-year positions in the second violin section.

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 Portland Opera, Portland Chamber Orchestra and Oregon Ballet Theatre.

Greg Scholl Principal trombone

Greg Scholl has played principal trombone in The VSO since 1995. He is also principal 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 ShakhmanPrincipal 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

Kharkov Music College, his Master’s from the Moscow Conservatory and his Doctorate from the University of Colorado.

He teaches at the University of Portland and is the Oregon state chair for the International Clarinet Association. In addition to being principal clarinet, he’s also the orchestra’s Executive Director.

Mark VehrencampPrincipal tuba

Mark grew up in Southern California, but moved north to attend the University of Oregon. He received his BM in music education and became the band and orchestra director at Oregon City High School.

He began playing the piano, then violin, but found his true calling first with trombone, then tuba. Mark joined The VSO in 1999 and recently

expanded his tuba collection to seven, each with its own special musical purpose.

In addition to The VSO, Mark has played with the Oregon Symphony, Eugene 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 Peplowski and Rebecca Kilgore.

He’s the proud father of two and for the past 39 years has exercised his daytime passion as a locomotive engineer for the Southern Pacific/Union Pacific Railroad.

MEET THE MUSICIANS


January16 & 17, 2021Sarah Ioannides, Guest ConductorSteve Bass, Emcee

Skyview Concert Hall, Vancouver, Washington

Johann Sebastian Bach (1685-1750)Keyboard Concerto No.1 in D minor, BWV 1052

1. Allegro

Jacob Nenow, piano

Tomaso Vitali (1663-1745)Chaconne in G minor (ed. Leopold Auer, and arr. by Peter Petrof )

Hanami Froom, violin

Samuel Barber (1910-1981)Adagio for Strings, Op.11

— 15 MINUTE INTERMISSION —

Ralph Vaughan Williams (1872-1958)Concerto in A minor for Oboe and String Orchestra

1. Rondo Pastorale: Allegro moderato 3. Finale (Scherzo): Presto

Ben Price, oboe

Benjamin Britten (1913-1976)Simple Symphony, Op.4

Boisterous Bourrée Playful Pizzicato Sentimental Sarabande Frolicsome Finale

Now in her seventh season as Music Director of Symphony Tacoma, Sarah Ioannides has gained recognition as one of the most inspiring and creative conductors of her generation. Active as a guest conductor internationally with orchestras such as the Tonkünstler, Orchestre Nationale de Lyon, Seattle Symphony (Untitled Series), Calgary Philharmonic and Philadelphia Chamber Orchestra, she has recorded world premieres with the Royal Philharmonic and most recently with the Malmö Symphony and Nordic Chamber Orchestra with a CD of music by Marie Samuelsson released in 2019.

Previously Music Director of the El Paso Symphony, Spartanburg Philharmonic Orchestra, and Assistant Conductor of the Cincinnati Symphony Orchestra, under her leadership, both Symphony Tacoma and Spartanburg Philharmonic have received grants from the National Endowment for the Arts for creativity in collaborations, community and commissioning projects.

Sarah was named by the Los Angeles Times as “one of six female conductors breaking the glass podium”and was included as one of the top female conductors worldwide by Lebrecht’s “Woman Conductors: The Power List.”

She is the Artistic Director of Cascade Conducting, a weeklong international masterclass held in partnership with Symphony Tacoma and Pacific Lutheran University. She continues to stay on the faculty of The Curtis Institute of Music’s Summerfest. As an arts advocate, Ms. Ioannides is an active adjudicator, panelist, public speaker, and educator. And has served both as a delegate at the World Culture Summit in Abu Dhabi and as NEA Panelist for the US Government.

Admitted as an instrumental scholar on violin, Sarah was granted both her bachelor’s and master’s degrees from Oxford University. Furthering her education at The Guildhall School of Music and Drama, she received her Advanced Certificate in Conducting. As a Fulbright Scholar, Sarah pursued further training at The Curtis Institute of Music, earning a Diploma in Conducting; she was honored with the Presser Award and

Sarah IoannidesMusic Director of Symphony Tacoma

GUEST CONDUCTOR

— continued


GUEST ARTISTS

the Friends of Curtis Fellowship. She then chose to deepen her knowledge with a Master of Music degree in Orchestral Conducting from The Juilliard School.

Sarah Ioannides has performed 500+ works of orchestral repertoire with 40+ world premieres and numerous US premieres. She has most affinity with Brahms, Tchaikovsky, Prokofiev, Beethoven, and Sibelius and her full repertoire listing is available upon request. Sarah connects with communities to create programs that are poignant and relevant to this moment in society.

Hanami FroomYoung Artist Competition Winner (strings)

14 year old violinist Hanami Froom started violin when she was 2 years old and currently studies with Carol Sindell. Hanami made her solo debut with orchestra when she was 6 years old and since then has soloed with the MetroArts orchestra in 2016 and 2018, the Jewish Community Orchestra in 2016, and the Portland Youth Philharmonic Conservatory Orchestra in 2018

and 2019 as a winner of their competitions. In February 2020, Hanami appeared as a soloist with the Oregon Symphony at the Arlene Schnitzer Concert Hall. Hanami has been a member of the Portland Youth Philharmonic since she was 7 years old, and it is her 3rd year as co-concertmaster. Hanami is a freshman at Oregon Virtual Academy but takes senior classes. In her free time, Hanami enjoys cooking, singing, and journaling.

Jacob NenowYoung Artist Competition Winner (piano)

Jacob Nenow is 16 years old and a sophomore at Jesuit High School. He is a piano student of Dr. Renato Fabbro and won first prize in the 2020 Vancouver Symphony Young Artists Competition and 2020 Coeur d'Alene Symphony National Young Artist Competition. Jacob also won first prize in the 2020 Oregon Federation of Music Clubs Marjorie Trotter competition, the

2018 and 2019 Portland Steinway & Sons Piano Competitions and the 2018 Oregon MTNA Junior Piano Competition. He won second prize in the 2018 Central Oregon Symphony Young Artist Competition and performed the 3rd Beethoven Piano Concerto with the symphony in 2019. Jacob also won the Colliver Award for best piano performance in the 2019 Monday Musical Club of Portland Scholarship Competition. In addition to piano Jacob loves math and is a member of his school cross country and track team.

Ben PriceYoung Artist Competition Winner (winds)

Ben Price, a junior at Grant High School, has studied oboe for 6 years with Karen Wagner and previously, Dagny Rask Regan. Currently the principal oboist of the Portland Youth Philharmonic and a section oboist with the Vancouver Symphony Orchestra (VSO), Ben is a past winner of concerto

competitions with the VSO, Metropolitan Youth Symphony (MYS), and Oregon Sinfonietta. Ben has performed as principal oboist with the MYSfits Chamber Orchestra, Orpheus Academy and Pink Martini and has played in master classes for Max Blair, Alex Klein, François Leleux, Michael Loveland, Jeff Rathbun, Martin Schuring, and Karen Strand. A three-time participant in the Northwest Oboe Seminar, Ben was selected as principal oboe of the NAfME All-Northwest Band as a freshman and is also the current Oregon State Solo & Ensemble champion for oboe. This past year, Ben was selected to the 2020 National Youth Orchestra of the United States of America, studying with Robert Walters, Erik Behr, and Titus Underwood during the program. Ben is thrilled to return to the VSO's livestream series to start the new year.


PROGRAM NOTES

Johann Sebastian Bach (1685-1750)Keyboard Concerto No.1 in D minor, BWV 1052

1. Allegro

Bach composed this work in 1738 in Leipzig, though it was probably based upon an earlier violin concerto.

Duration 7:00

In 1729, after six intensely busy years as of writing almost exclusively Lutheran sacred music for Leipzig’s Thomaskirche, Bach turned once more to secular music, when he also became director of Leipzig’s Collegium Musicum. The Collegium was a group of some of the town’s finest singers and instrumentalists that gave a series of weekly concerts—really open rehearsals or “reading sessions”—at a local coffeehouse. Though no formal record of their concerts has survived, it is obvious that much of the music was by Bach himself. This was an opportunity to perform his earlier instrumental concertos and chamber works, many of which dated from his years as Kapellmeister to the court of Cöthen (1717-1723). It was also, obviously, a chance to compose pieces that would have been inappropriate for the Thomaskirche, such as his well-known “Coffee Cantata” (Schweigt stille, plaudert nicht, BWV 211)—one of Bach’s few essays in musical comedy. In 1738, Bach compiled a manuscript containing seven harpsichord concertos, and the beginning of an eighth. These were undoubtedly pieces written for the Collegium as well, performed by Bach, or possibly by one of his sons.

Keyboard concertos were in fact relatively rare in Bach’s time—the harpsichord was a standard part of the continuo group that improvised the harmonic base for Baroque music, but it was not considered a solo instrument for concertos. That Bach, one of the great organists and harpsichordists of his age should have wanted to take a solo role, is hardly surprising, and in 1721, he wrote what is arguably the first keyboard concerto, the Brandenburg Concerto No.5. In this work, the solo group includes violin, flute, and a fully written-out part for the harpsichord—including an astonishing four-minute solo in the opening movement. The later Leipzig concertos are mostly arrangements of earlier violin concertos from Cöthen, with the solo line transformed into an idiomatic keyboard part. The concerto heard here, No.1 in D minor, was probably based on a now-lost violin concerto. (Bach scholar Wilfried Fischer has actually reconstructed performing versions of the

lost violin concertos that presumably served as the models for this and two other harpsichord concertos.) Though Bach was tremendously creative as a composer, he also knew how to recycle good music in various contexts, and the same musical material appears in two of his church cantatas.

Though it was originally intended for harpsichord, the Concerto No.1 is often performed today on the modern piano. As is usual in Baroque concerti, the soloist plays in both orchestral and solo sections, though here the keyboard part is freed from its usual supporting continuo role. The opening Allegro has the soloist playing a non-stop virtuoso line throughout. At the center of the movement there is an extended solo passage that recalls the enormous solo in the fifth Brandenburg, and a brief solo cadenza that momentarily halts the movement’s furious forward motion.

Tomaso Vitali (1663-1745)Chaconne in G minor (ed. Leopold Auer, and arr. by Peter Petrof )

It is not known when this work was composed, but it was completed by the 1730s.

Duration 11:00

Tomaso Vitali was a member of the great school of violinists associated with the Italian city of Bologna, and a well-known soloist in his day. The son of composer Giovanni Vitali, Tomaso followed his father to nearby Modena, where at age 12 he became a member of the court orchestra of the ruling Este family. Vitali spent the rest of his life in the Este court, and also became a renowned teacher. As a composer, he is known today almost solely for his Chaconne in G minor…and some authorities suggest that even this may not be by him. The work survives only in a copy made in Dresden in the 1730s, and remained largely unknown until German violinist Ferdinand David discovered it and published the Chaconne in 1867, in a romanticized version—the first of many editions of this work, by Leopold Auer, Léopold Charlier, Ottorino Respighi and others. The performance heard here uses the edition of the solo part published in the early 20th century by the Hungarian violinist Leopold Auer, with an accompaniment arranged by Peter Petrof. What attracted David and so many violinists who followed to this work is obvious: this is a flashy piece! But it


PROGRAM NOTES

is also an unusual take on the Baroque form of the chaconne, which typically presents unvarying repeats of a harmonic pattern as the basis for variations. Here, the solemn four-note pattern played by the string orchestra modulates to different keys and changes its rhythmic pattern as the violin weaves increasingly intricate elaborations above, some 40 variations in all. All of the rhythmic features of the accompaniment, and its interplay with the solo were added by David and other editors—in the original manuscript, the modulations are there to be sure, but it is a simple unadorned figured bass part. Likewise, the original violin part is certainly virtuosic, but many of the features heard today, from the dramatic opening quadruple stop, to the closing cadenza, have been added by later editors. So it is hardly an “authentic” Baroque work as it is played today, but the Vitali Chaconne is certainly a great Romantic virtuoso showpiece!

Samuel Barber (1910-1981)Adagio for Strings, Op.11

Barber composed this work as a movement for string quartet in 1936, and rearranged it for string orchestra in 1937. The first performance was given in New York City on November 5, 1938.

Duration 7:00.

In 1937, when the venerable conductor Arturo Toscanini was organizing the group that was to become the NBC Symphony Orchestra, he expressed an interest in programming new music by American composers. His colleague Artur Rodzinsky suggested the young Samuel Barber. Toscanini contacted Barber and Barber promptly sent two new works: his First Essay for Orchestra, and an arrangement for string orchestra of the Adagio movement of his String Quartet No.1. Barber waited through the orchestra’s first season for a reply and when the scores were finally returned without comment, he began dejectedly to look for a new orchestra to play them. In the summer of 1938, Barber was in Italy with his partner Gian-Carlo Menotti. Menotti suggested a visit to the Toscaninis at their summer villa, but Barber refused to go. When Toscanini asked why Barber had not come, Menotti offered a weak excuse about Barber being ill. Toscanini replied: “Oh, he’s perfectly well; he’s just angry with me, but he has no reason to be. I’m going to do both of his pieces.” (It seems that Toscanini had already memorized the scores—he did not ask for them again until the day before the concert!) Both works were successful at their November 1938 premiere, and Toscanini recorded both soon afterwards with the NBC Orchestra.

The Adagio for Strings has come to have an association with tragedy—particularly with great public events of death and mourning—that Barber never really intended. It was played directly after the radio announcement of President Roosevelt’s death in 1945, and similarly after the Kennedy assassination in 1963. (In my case, I remember well performing in an orchestra concert a few weeks after the 9/11 attacks, when the Adagio was played at the beginning—to devastating emotional effect—as a tribute to the victims.) Because of these associations, it has also been used in film and television to underscore tragic moments—most notably in Platoon and The Elephant Man, but also in many other scores. It has also appeared in pop music, as in the introduction to rapper Sean “Diddy” Combs’s 1997 tribute to a murdered friend, I’ll Be Missing U. Shortly after Barber’s death, composer Ned Rorem said of the Adagio: “If Barber, twenty-five years old when it was completed, later reached higher, he never reached deeper into the heart.”

It is the stark simplicity of this music that makes it so effective. A simple diatonic melody builds gradually from its quiet beginning through thickening texture, canonic imitation, and increasing dissonance to an intense emotional climax as the violins reach their highest register. After this peak, there is a brief return to the opening texture and a quiet conclusion that dies away to nothingness.

Ralph Vaughan Williams (1872-1958)Concerto in A minor for Oboe and String Orchestra

1. Rondo Pastorale: Allegro moderato 3. Finale (Scherzo): Presto

Vaughan Williams composed the work in 1942-43 for oboist Léon Goossens, who was the soloist in the first performance in Liverpool, on September 30, 1944.

Duration 15:00.

Vaughan Williams composed his Oboe Concerto directly on the heels of his great wartime work, the Symphony No.5—in fact the concerto reuses music from a scherzo movement originally intended for the symphony. Its premiere, as part of London’s famed Proms series, was scheduled for July 1944, but the concert was cancelled due to German V-1 rocket attacks on the city. It appeared several weeks later on a program by the Royal Liverpool Philharmonic Orchestra. The soloist and inspiration


PROGRAM NOTES

for the concerto was Léon Goossens (1897-1988). Goossens was a member of a distinguished British musical family: his father was the great conductor Eugène Goossens, and his brother (a conductor and composer) and sisters (both harpists) were also successful musicians. Goossens, certainly one of the great oboists of the 20th century, was noted for his flexibility and gorgeous sound, and the composers who wrote works for him reads like a “Who’s Who” of British 20th-century composers. In addition to Vaughan Williams, the list includes Edward Elgar, Arnold Bax, Benjamin Britten, Arthur Bliss, his brother Eugene Aynsley Goossens, and many others.

Several writers have commented on the fact this concerto’s outwardly placid, sometimes folklike nature masks the fact this is truly a virtuoso piece. Though there is little flashiness until the third movement, the soloist has to display tremendous endurance and musicality, playing with very few breaks. The opening movement (Rondo Pastorale: Allegro moderato) uses Vaughan Williams’s trademark English folksong style in the lush main theme. There are two contrasting episodes, the first dancelike and humorous, and the other a more meditative solo for oboe. The must substantial movement is the closing scherzo (Finale (Scherzo): Presto). The oboe enters with a furious line over complicated counterpoint in the strings, eventually leading to a rhythmically intense main theme. The oboe lays out a contrasting lyrical idea above quiet string chords, which is broadly developed. Near the end, the oboe makes one brief attempt to introduce the agitated music of the opening, before ending in the more serene mood that dominates the second half of this movement.

Benjamin Britten (1913-1976)Simple Symphony, Op.4

Britten composed this work in 1933-34. He conducted its premiere, in Norwich, England on March 6, 1934, by the amateur Norwich Symphony Orchestra.

Duration 17:00.

Benjamin Britten was a phenomenally talented child prodigy, and his mother made much of the fact that he was born of the feast-day of St. Cecilia, the patron saint of music and musicians. Born in the English coastal village of Lowescroft, he had piano and viola lessons as a child, and also traveled to London for composition lessons with the Royal College of Music’s

preeminent teacher, Frank Bridge. Britten was composing prolifically by the time he was in his teens—he had written over hundred pieces by age 14. In 1930, Britten won a scholarship to the RCM, and was deeply impressed by the music he heard in London, including his first encounters with the music of Mahler, and modernist and neoclassical works by Schoenberg and Stravinsky. On his graduation from the RCM at the end of 1932, Britten received a travel grant, which he intended to use to travel to Vienna to study with the modernist twelve-tone composer Alban Berg. When his teachers and family discouraged him from working with Berg, Britten instead spent the next several months at home in Lowescroft and produced the most un-Berg-like work imaginable, the Simple Symphony for string orchestra.

While he was relaxing in his parents’ seaside home, Britten sorted through some of the copious piles of music he had written as a child. The published score of the Simple Symphony notes that is “entirely based upon material from works the composer wrote between the ages of nine and twelve. Although the development of these themes is in many places quite new, there are large stretches of the work which are taken bodily from the early pieces—save for the re-scoring for strings.” The piece as a whole is delightfully innocent—a kind of fond farewell to childhood memories—but it also shows a sophisticated young composer looking back with a certain degree of wistfulness and wit.

Two of Britten’s childlike (but never childish) melodies appear in each movement. The Boisterous Bourrée begins with a fugal Baroque-style dance that nevertheless contains several quirky rhythmic twists. The brief contrasting music includes a much more lyrical theme, but the movement ends with a reprise of the opening dance and a wry, tongue-in-cheek ending. The second movement lives up to its name, Playful Pizzicato. This music was drawn from a piano Scherzo Britten had composed at age 11, and alternates a pair of lightfooted themes. The longest movement, Sentimental Sarabande returns to the pseudo-Baroque approach of the first movement: its languid main theme is a soulful take on the most sensuous of Baroque dances. Britten contrasts this sarabande with a much more Romantic waltz. After a briefly strident episode, the sarabande returns to round off the movement. The Frolicsome Finale begins very much like finale of a Haydn or Mozart symphony, with a blustering opening, but the main theme sounds much like one of the Hungarian dances by Britten’s childhood hero Brahms. The lovely second theme was drawn from a song Britten composed in 1925. Britten works these themes out in a miniature development and recapitulation before ending the symphony with a lively coda.

program notes ©2020 by J. Michael Allsen


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Adam LevinGUEST ARTIST / CLASSICAL GUITAR

February Concert PreviewFebruary 27 & 28, 2021Skyview Concert Hall, Vancouver, Washington

Francesco Lecce-ChongEugene Symphony Music Director & Conductor

GUEST CONDUCTOR

Leonardo Balada (b. 1933)Caprichos n.1

I. Los Cuatro Muleros II. La Tarara III. Los Peregrinitos IV. Sevillana V. Lejano/Far Away VI. Nana/Lullaby VII. Zapateado

Adam Levin, guitar Joaquin Turina (1882-1949)Fantasia-Sevillana

Adam Levin, guitar

— 15 MINUTE INTERMISSION —

Jessie Montgomery (b. 1981)Strum for String Orchestra Grazyna Bacewicz (1909-1969)Concerto for String Orchestra

I. Allegro II. Andante III. Vivo

Wolfgang Amadeus Mozart (1756-1791)Divertimento No. 1 D major, K.136 for String Orchestra

I. Allegro II. Andante III. Presto

Conductor Francesco Lecce-Chong is the Music Director of the Eugene Symphony in Oregon, and the Santa Rosa Symphony, performing at the Green Music Center in Northern California. The press has described him as a “fast rising talent in the music world” with “the real gift” and recognized his dynamic performances, fresh programming, deep commitment to commissioning and performing new music as well as to community outreach.

Praised for his “visceral and imaginative performances” by the Washington Post, top prize winning classical guitarist and recording artist Adam Levin has performed on four continents across the globe. Levin has performed extensively across the United States at renowned venues such as Chicago’s Pick Staiger, Nichols, and Mayne Stage concert halls as well as some of the finest venues across Spain, and in Italy, Germany, and Switzerland.


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Jen DawsonAaron Dawson

O U R P A R T N E R C P A S

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You’ve Got to Have Friends

The Friends of the VSO are an integral part of the success of the orchestra and organization. You may not see this team of volunteers when they are sponsoring a post-concert reception and providing meals on rehearsal nights for the orchestra, or participating in the educational program, fundraisers and working side by side with the VSO Board of Directors. The joy of the Friends is the opportunity to meet with orchestra members, Maestro Brotons and guest musicians. You‘ll find that it is such a pleasure to give back to those who have given so much.

Over the years, many have worked very hard and we need to offer our deepest gratitude for all they have done. In this exciting 2020-2021 season, we would like to offer the opportunity to any of who are interested to become either active members or philanthropic members who donate their membership in order to allow us to continue doing the work we do. As a member you are always invited to attend the post-concert receptions and are guaranteed to have fun being a part of this winning team.

Come and join in on the merriment and joy of music. We extend an invitation to visit us at our lobby table to learn more about what we do.

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Friends of the Vancouver Symphony 2020/21

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