Beethoven 5+5 18 + 19 March 2022 / 7:30PM Jack Singer Concert Hall calgaryphil.com | 403.571.0849
program Dorothy Chang
Skizzen
10’
Ludwig van Beethoven
Piano Concerto No. 5 in E-flat Major, Op. 73 (Emperor)
38’
I. Allegro II. Adagio un poco mosso III. Rondo: Allegro
Intermission Ludwig van Beethoven
Symphony No. 5 in C Minor, Op. 67 I. Allegro con brio II. Andante con moto III. Allegro IV. Allegro
20’ 31’
Rune Bergmann Music Director
Dorothy Chang Composer
Norwegian conductor Rune Bergmann is Music Director of the Calgary Philharmonic Orchestra, Artistic Director and Chief Conductor of the Szczecin Philharmonic in Poland, and Music Director of Switzerland’s Argovia Philharmonic. Highlights of Bergmann’s 2021/2022 Season include the opening of a new concert hall for the Argovia Philharmonic, returning to the Baltimore Symphony and Odense Symphony, and debuting with the Colorado Symphony and Utah Symphony. Bergmann also regularly conducts distinguished orchestras and opera houses, including the Oslo Philharmonic, Norwegian National Opera, Bergen Philharmonic, Wroclaw Philharmonic, Orquesta de Valencia, and the Mainfranken Theater Würzburg, as well as the Symphony Orchestras of Malmö, Helsingborg, Bergen, Kristiansand, Stavanger, Trondheim, and Karlskrona, and Lisbon’s Orquestra Sinfonica Portuguesa. In North America, he has appeared with the Alabama, Baltimore, Detroit, Edmonton, Grand Rapids, Pacific, Houston, and Toledo Symphony Orchestras, as well as the Brevard Music Festival. Bergmann has been Artistic Director of Norway’s innovative Fjord Cadenza Festival since its inception in 2010, and his former posts include Deputy-General Musik Direktor with the Augsburger Philharmoniker and Theater Augsburg in Germany.
Described as “evocative and kaleidoscopic” (Seattle Times), the music of composer Dorothy Chang often reflects an eclectic mix of influences ranging from popular and folk music to elements of traditional Chinese music. Many of her works are inspired by place, time, memory, and personal histories. Chang’s catalogue includes over 70 works for solo, chamber, and large ensembles with a particular interest in cross-cultural and interdisciplinary collaboration, including works for mixed Chinese and Western ensembles as well as for theatre, opera, and dance. Chang’s music has been featured in concerts and festivals across North America and abroad, with orchestra performances by the Albany Symphony, Calgary Philharmonic, Indianapolis Symphony, Manitoba Chamber Orchestra, Pittsburgh Symphony, Queens Symphony, Saint Paul Chamber Orchestra, Seattle Symphony, Toronto Symphony, Vancouver Symphony, and Victoria Symphony, and by chamber ensembles including eighth blackbird, the Smith Quartet, the Chicago Saxophone Quartet, Turning Point Ensemble, and Music from China, among others. From 20052008, she served as a Music Alive Composer-in-Residence with the Albany Symphony Orchestra in New York. In 2003, Chang joined the music faculty at the University of British Columbia, where she currently serves as a Professor of Music.
© Hiroki Isurugi
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Krzysztof Jabłoński Piano Krzysztof Jabłoński is Laureate of the F. Chopin International Piano Competition in Warsaw in 1985 as well as numerous top prizes at international piano competitions in Milan, Palm Beach, Monza, Dublin, New York, and Calgary as well as Gold Medal at the A. Rubinstein International Piano Master Competition in Tel Aviv. For more than 35 years, he has been performing solo and chamber music as well as with orchestras on stages in Europe, Americas, Asia, and Israel in prestigious concert halls, including appearances on the Master Concert Series at Berliner Philharmonie. He has been a frequent guest of many orchestras, performed under many prominent conductors. He was recently invited by the F. Chopin National Institute to record the complete works of Chopin both on modern and historical pianos (approx. 40-disc project). Jabłoński presents master classes, lectures, and is a jury member at international piano competitions including Chopin Piano Competitions in Warsaw, Toronto (Chair of the Jury), Miami, Tokyo, and Foshan in China. kjpianist.com
PhilKids is an afterschool music program run by the Calgary Phil in the Forest Lawn area. Musicians who teach this program see the difference it makes in these children’s lives throughout the school year as they learn and grow as young people and musicians. This is an opportunity they likely wouldn’t have if it wasn’t for PhilKids, and it’s also an important step toward making music education and access to the arts available to all children. If you’d like to support this effort, you can help by sending a simple text message to make a small donation through your phone bill. Here is how it works: 1. Using your mobile phone, text the word PHILKIDS to the number 41010. 2. You will receive a notification to choose either $10 or $20. Make your choice and press Send. 3. You will receive a request to confirm your gift — type YES, and press Send again, and your donation will appear on your next phone bill. It’s that simple! All donations made to PhilKids this month will be generously matched up to 50% by Shaw Birdies for Kids presented by AltaLink. Thank you so much for supporting the PhilKids program and helping us make music education accessible for children in our communities.
Janina Fialkowska Piano
Janina Fialkowska performs Chopin 29 + 30 April 2022 / 7:30PM Jack Singer Concert Hall Acclaimed pianist and ‘born Chopin interpreter’ Janina Fialkowska takes centre stage for an enchanting evening of music.
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about the pieces Skizzen (World Premiere) Dorothy Chang b. 1970 In composing my new work, Skizzen, I took inspiration from Beethoven’s famous sketchbooks that survive in libraries around the world. Drawing from sketches and material from his fifth symphony, I sought not to re-compose Beethoven’s music, but instead to reference his ideas in raw form, when they were merely flashes of inspiration and not yet developed into one of the most significant com-positions Beethoven was to create. As they appear in his sketchbooks, these fragments are incomplete, disconnected, and often in only rough outline form. Some pages are curiously barren; others densely covered with chaotic scribbles, scratches, head-less note-stems, and messy inkblots. Similarly, Skizzen presents a selection of Beethoven’s musical fragments, at times distinctly recognizable and else-where transformed, emerging from and returning to a haze of obscurity. Certain musical moments appear in just brief flashes; others spin off into new directions and interpretations, much as a composer explores the potentialities of a musical germ during the composition process. One might listen as one would view a faded and brittle document that captured the very initial sparks of a masterpiece, some 200 years ago. Program Note by Dorothy Chang © 2020
Piano Concerto No. 5 In E-Flat Major, Op. 73 (Emperor) Ludwig van Beethoven 1770 to 1827 Beethoven composed the Emperor Concerto from 1808 to 1809, against the backdrop of Napoleon Bonaparte’s rise to the zenith of his power. Beethoven had admired the so-called “Little Corporal” for his early devotion to the humanitarian ideals of the French Revolution. Once Bonaparte crowned himself Emperor of France in 1804, Beethoven’s attitude changed instantly to scorn. In May 1809, French troops besieged and captured Vienna. While Beethoven was composing this concerto, their regular artillery bombardments were chipping away at the last shreds of his hearing. He fled to his brother’s house and covered his ears with pillows to reduce the noise. Rather than reflecting his distress, this regal, expansive concerto is proud and defiant. Perhaps he intended it as a hopeful forecast of Bonaparte’s ultimate defeat, or a manifesto praising the virtues of the common man over those of a dictator.
Symphony No. 5 In C Minor, Op. 67 Ludwig van Beethoven Beethoven completed Symphony No. 5 during the first months of 1808. It, as well as Symphony No. 6, premiered on December 22, 1808. Like Symphony No. 3, it is filled with innovations, most impressively the tracing of an emotional arc from turbulence to triumph. That satisfying journey gives it the power to stir audiences on a fundamental level, embracing them in a common sense of victory. This generosity of spirit is the foundation stone of Beethoven’s reputation. On another innovative front, the fifth calls for an orchestra larger and richer than any that Haydn and Mozart had used. Piccolo, contrabassoon, and trombones here made their debuts in the symphonic orchestra, giving the music extra weight and brilliance. The fifth proved enormously influential, as similarly epic symphonies by Brahms, Tchaikovsky, Mahler, Nielsen, and Rachmaninoff (among many others) have demonstrated. It has perhaps the most familiar opening of any piece of classical orchestral music, which ushers in the most intense symphonic first movement that anyone had composed up to that time. The veiled closing measures of the third movement point to a tragic conclusion. In another act of innovation, Beethoven maintained the music’s forward momentum by dispensing with the typical intermovement stop and leading us straight on to the exultant Finale. Program Notes for Beethoven by Don Anderson © 2020
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Orchestra First Violins Diana Cohen Concertmaster
John Lowry
Associate Concertmaster
Donovan Seidle
Assistant Concertmaster
Edmund Chung Hangyul Kim Olga Kotova Bonnie Louie Genevieve Micheletti Maria van der Sloot Hojean Yoo TBD TBD
Second Violins
Celli
Horns
Arnold Choi Josue Valdepenas Kathleen de Caen Thomas Megee David Morrissey Daniel Poceta TBD TBD
Robert McCosh Jennifer Frank-Umana TBD Maxwell Stein Heather Wootton
Basses Sam Loeck Kyle Sanborn Mathew Heller Trish Bereti-Reid Patrick Staples Jonathan Yeoh
Lorna Tsai Stephanie Soltice-Johnson Erin Burkholder Jeremy Gabbert Hyewon Grillet-Kim Craig Hutchenreuther Minnie Min Kyung Kwon Theresa Lane Adriana Lebedovich Steven J. Lubiarz
Flutes
Violas
David Sussman
Laurent Grillet-Kim Marcin Swoboda Arthur Bachmann Jeremy Bauman Peter Blake Michael Bursey Alisa Klebanov Jesse Morrison
principal associate principal assistant principal
Sara Hahn-Scinocco Gwen Klassen
Piccolo Gwen Klassen
Oboes Alex Klein David Sussman
English Horn Clarinets Slavko Popovic Jocelyn Colquhoun
Bassoons Antoine St-Onge Michael Hope
Trumpets Adam Zinatelli Miranda Cairns
Trombones James Scott TBD
Bass Trombone David Reid
Tuba Tom McCaslin
Timpani Alexander Cohen
Percussion TBD
Harp Tisha Murvihill
Librarian Rob Grewcock
Assistant Librarian TBD
Personnel Manager Michael Thomson
About the Calgary Phil The Calgary Philharmonic celebrated 65 years as a pillar of Calgary’s vibrant arts community in 2020 and has grown to be one of Canada’s most celebrated live music ensembles. Led by Music Director Rune Bergmann, the Calgary Phil presents classical standards, pop favourites, bold collaborations, and cutting-edge new works, and attracts world-renowned guest artists and conductors. In a typical Season, the Orchestra welcomes over 100,000 visitors to the concert hall and reaches audiences around the world through its free and accessible digital programming and live-stream initiative — an immersive, online concert experience that launched in 2017.
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