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2014 NEW MUSIC FESTIVAL OPENING CONCERT University of Toronto Symphony Orchestra David Briskin, Director of Orchestral Studies and Conductor UNIVERSITY OF TORONTO SYMPHONY ORCHESTRA PROGRAM Selections from Cinderella Sergei Prokofiev I Introduction (1891-1953) II Cinderella at the Ball III Three Oranges IV Cinderella Waltz V Midnight Matthew Poon, graduate student conductor Concerto for Turntables and Orchestra Gabriel Prokofiev I GrimEye (b. 1975) II Irreguluv III Malmo IV Meditnow V Snow Time DJ Madhatter, Turntables David Briskin, conductor INTERMISSION Spheres for violin and string orchestra Gabriel Prokofiev Rebecca MacLeod, violin Maziar Heidari, graduate student conductor Selections from Romeo and Juliet Sergei Prokofiev I Folk Dance Arr. David Briskin II Scene III Madrigal IV Minuet V Montagues and Capulets VI Death of Tybalt VII Romeo at Juliet’s Tomb David Briskin, conductor The photographing, sound recording, or videotaping of this performance without the written permission of the Faculty of Music is strictly prohibited. We kindly request that you switch off your cellular phones, pagers, watch beepers, and any other electronic devices that could emit a potentially unwelcomed sound. Program Notes SERGEI PROKOFIEV(1891-1953) found in this score. Sergei Prokofiev was a Russian composer The ballet opens with an Introduction, whose life spanned the waning days of the presenting the two most important Tsarist regime and the rise of the Bolsheviks. aspects of the story. The first is Cinderella’s His early days were marked by a rebellious theme, pathetic and plaintive due of her musical streak; his professors at the Saint circumstances. Cinderella’s plea is answered Petersburg Conservatory (where he was by her Fairy Godmother, whose theme is admitted at the age of thirteen) complained hopeful, played over shimmering strings and that as a composer he was “talented, but harp. Through the spirits of the four seasons completely immature.” He later gained the Fairy Godmother grants Cinderella’s recognition through his collaboration with wish of going to the royal ball. After having Diaghilev’s Ballet Russes as well as tours of received gifts of a dress, a carriage with a the United States, leaving Soviet Russia with retinue of footmen (transformed from a the blessing of the Provisional Government. pumpkin and grasshoppers respectively), Remaining in favour upon his return nearly and slippers, the excited Cinderella is two decades later, Prokofiev would live whisked away to the ball. The Fairy nearly unaffected by the disastrous five-year Godmother gives her one condition, plans and Stalinist purges that marked the however – Cinderella must return by years immediately preceding the Second midnight. World War. Unfortunately he did not stay in The ball is well underway as Cinderella favour forever; the Zhadnov Decree in 1948 arrives, but the prince has yet to dance with denounced his music as formalist. When anyone. However, when he sees Cinderella Prokofiev died in 1953 (coincidentally the he immediately asks her for a dance. He then same day as Josef Stalin), he had not yet offers her the kingdom’s highest delicacy been re-habilitated. Prokofiev’s music after – three succulent oranges, presented by his return was often according to the style exotically-dressed servants. favoured by the Party. This included sing- It soon becomes apparent that the able melodies, tonal harmonies and a spirit Prince and Cinderella have fallen in love of optimism for the Revolution. Nonetheless, with each other, as they have scarcely left musicologist Thomas Schipperges noted that each others’ arms. As the skies continue although some of his post-return music was to darken, Prokofiev presents some of the upheld as a model of social realism in music, most expressive music written for the ballet it also enjoyed uninterrupted favour with – Cinderella’s Waltz. The introspective Western audiences. These works included melodies seem to suggest that the two the educational Peter and the Wolf, the lovers have become lost in their own world. cantata Alexander Nevsky, and his music to Unfortunately, all good things must come to the ballets Cinderella and Romeo and Juliet. an end; as midnight approaches, grotesque dwarves spring out to remind Cinderella of Cinderella Suite (1943) her condition. Cinderella promptly flees as Prokofiev began writing the music to bells call out – eleven times. On the twelfth Cinderella in 1940, but the outbreak of stroke of the bell the Fairy Godmother’s the Second World War interrupted the theme is heard one final time as the magic process. Upon its premiere, Prokofiev’s begins to unravel, leaving Cinderella in her colleague Dmitri Shostakovich remarked previous rags and causing the carriage and that Cinderella was written “in the shining footmen to revert to their original state. tradition of Russian ballet”. Others agree Only the slippers remain. that some of Prokofiev’s richest melodies are Romeo and Juliet Suite (1935) when the hot-headed Capulet kills Romeo’s Despite now being one of Prokofiev’s most friend Mercutio the next day, Romeo takes popular scores, it was originally derided up his sword. The whirling swords are as “undanceable”. Its troubled beginnings depicted by some of the most virtuosic included rejection first by the Kirov Ballet string writing in the ballet, and only ends in Leningrad (now Saint Petersburg), when Romeo slays Tybalt. A funeral march even before Prokofiev had begun writing. accompanies Tybalt’s death, both for After its completion, the Bolshoi Ballet in Tybalt and also foreshadowing Romeo’s Moscow similarly rejected it. Undaunted, consequences. Prokofiev wove two suites out of the ballet The final selection depicts the Tomb score, premiering them in 1936. Even after Scene, where Romeo has discovered Juliet’s the ballet’s premiere in Leningrad in 1940, tomb. Despite the solemn situation, the Prokofiev continued to revise the score, music begins by creating a halo around saying that he had “taken special pains to Juliet’s deathbed. Unable to cope with Juliet’s achieve a simplicity which will, I hope, reach death, Romeo kills himself. As the lovers the hearts of all listeners. If people find no are united in death, a final C major chord melody and no emotion in this work, I shall sounds, bringing resolution to the feuding be very sorry—but I feel sure that sooner or families. later they will.” Combining music from both orchestral GABRIEL PROKOFIEV (b. 1975) is a suites, the program begins with the Folk London-based composer, producer, DJ and Dance, which in the ballet opens the second founder of the NONCLASSICAL record act. Four chords played by full orchestra label & club night. introduces the merry-making, characterized Composing music that both embraces by a jaunty tune. The merry-making serves and challenges western classical traditions, as an ironic prelude to tragic events, as will Gabriel has emerged at the forefront of a soon be revealed. Similarly, the scene in Act new approach to classical music in the UK 1 of the street awakening presents a jovial at the beginning of the 21st century. His morning bustle as the town prepares to face Concerto for Turntables was performed at a new day – however this too is but a prelude the BBC Proms in August 2011 to critical to conflict. acclaim, conducted by Vladimir Jurowski The Madrigal, Minuet and Montagues with world champion DJ Switch as soloist, and Capulets both occur in the second and broadcast on BBC2 television. Other scene of Act 1, and revolve around a ball recent works include a poly-stylistic held in the Capulets’ domain. The Minuet ‘orchestral remix’ of Beethoven’s Ninth accompanies the guests as they enter; each Symphony commissioned by John Axelrod iteration of the main theme features a and the Orchestre National des Pays de new entry by a prominent member of the la Loire, France, performed in sold-out Capulet family. Curiously, three uninvited concert halls in Angers and Nantes in June guests – Romeo and his friends – have also 2011; a 3rd String Quartet premiered by the come in disguise. The ominous Montagues Ruysdael Kwartet at the Wigmore Hall in and Capulets (properly known as Dance of 2010; ‘import/export/’ - a percussion suite the Knights) commences when all the guests for Global Junk, toured in the UK & USA have arrived; proud in character, it has more by Joby Burgess’ Powerplant; and a book for in common with a slow march than a dance. Solo Piano recorded by Russian virtuoso Juliet’s Madrigal features her love-struck GéNIA. dance as she first meets Romeo. Prokofiev’s own distinctive sound is Tybalt eventually discovers Romeo informed by his background as a producer of beneath his disguise and threatens to kill hip-hop, grime, and electro records, as well him. Conflict is momentarily averted, but as his earlier involvement in electroacoustic music at York and Birmingham universities, night” – a description with which Prokofiev which saw him win a Residency prize enthusiastically agreed. at the prestigious Bourges International - Program notes by Matthew Poon Electroacoustic Music Competition in 1998. Latest works include new music for Concerto for Turntables and Orchestra a ballet production of ‘A Midsummer (2007) Night’s Dream’ with choreographer Cathy When Will Dutta first approached me with Marston for Bern Ballet’s winter season the idea of composing a ‘concerto’ for DJ, my in Switzerland, and a Concerto for Bass immediate reaction was negative. Though Drum & Orchestra which was premiered by I had composed a classical piece which Princeton Symphony, February 9 2012, and incorporated a DJ for the Bath festival one had it’s UK premier with the LCO @ The year earlier (3 Dances for Bass Clarinet, Roundhouse, March 3rd 2012. String Trio & DJ, 2004), the idea of an actual Gabriel lives in Hackney, London, with DJ concerto sounded too grandiose and his partner and their two young children gimmicky to me: I was concerned it would and toddler. seem like another PR exercise in trying to make modern classical music ‘cool’ and Spheres (2012) ‘trendy’, but Mr. Dutta insisted that there Spheres had its beginnings as a movement was serious artistic potential to the project of a discarded violin concerto. Despite this, and as it was inevitable that a concerto for Prokofiev had envisioned the piece as a turntable would emerge sooner or a later, stand-alone work. He revived the movement why not let us be the team to do it right. Will when Christian Badzura approached him, explained that we would have the highly asking for a piece that was “atmospheric”. skilled Turntablist, DJ Yoda as the soloist, Spheres is the namesake for Badzura and and once I properly considered the musical Daniel Hope’s album, which focuses on the possibilities of such a project, I soon found celestial. myself sketching out different concepts for Prokofiev stressed the spatial quality each of the movements, and was keen to get of the piece, from the creation of the solo started. line (“not a typical Romantic melody, What makes the turntable different but something much more sensitive and to any other instrument is that it uses light”), to the orchestration (“[envisioned] pre-recorded sounds, but that is actually originally with clarinet and flute and some nothing new to classical music. From the percussion,… but just strings keeps it Musique Concrète of Pierre Schaeffer’s more open”). The rhythm too, lends itself studios and the Poème électronique of Varèse to a more open feeling, as the constant in the 1950s, which used reel to reel tape, displacement of the main beat creates a through to the current digital world of sense of open-endedness. electro-acoustic music; classical composers True to its name, Spheres conveys a sense were manipulating recorded sounds long of timelessness, as if the piece has neither a before Grandmaster Flash made his first beginning nor an end. Prokofiev describes scratch using a record. However, once the piece as containing a “recurring circular hip-hop culture discovered that a DJ can theme that keeps coming around. Even just do so much more than just ‘play records’ the pulsing nature of the accompaniment with a turntable, their DIY approach led has a circular feeling to it.” Keeping with the to the evolution of a very exciting new celestial theme, conductor Simon Halsey instrument. That instrument has somehow compared the character of Spheres to the stayed within the world of hip-hop and stars – they always in transit, flitting in and dance, never venturing into the classical out of existence. Halsey then added that it world, despite the incredible, expressive was like looking up at the stars on a “hot potential it has. Having previously composed and studied electro-acoustic music, I am extremely expressive and musical. DJ aware of the search for more expressive Yoda showed me a wide range of scratch ways of performing electronic music, as techniques that include Scribbling, Planing, unfortunately many concerts just consist of Hydraplaning, The Transformer, Echoes, The the playback of DAT tape or CD. So could Crab and The Baby. Once we had started it be possible that this instrument, that first rehearsing I think Yoda even came up with came to life at block parties in the Bronx, some new scratch techniques, inspired by bring that expressivity? the left-field flavour of the work. But, seeing as it was developed for hip- 4. Playing a melody with the turntable. hop music, would it work in the context of Perhaps surprisingly, melodic playing is a classical form such as a concerto? Well, possible, as the Technics 1200 turntable hip-hop music has frequently sampled that all DJs use has a slider and button for orchestral sounds and textures with great altering the playback speed (and therefore success, so why not the other way round? pitch) of a record. DJ Yoda explained that Plus, an experienced DJ can produce such a one particular DJ from San Francisco often wide range of sounds that it must be possible plays nursery rhymes using a test-tone as for them to sit within the orchestra in some a joke in his DJ-set. Yoda explained that way. Furthermore, as a composer I have a there were 6 notes that could quite easily genuine interest in contemporary urban be played on the turntable (3 positions of music styles such as hip-hop, so I knew the pitch control, in 33 or 45 rpm), and it that I can incorporate certain rhythms and turned out these pitches make up the first 6 musical ideas into the work that can bring notes of a minor scale, but some of the notes the world of the DJ and the world of the are very tricky to play after one another, so orchestra closer together. (In this concerto the turntable is not at its most flexible as a you can hear traces of hip-hop drum melody instrument. patterns, a Reggaeton beat, Grime, and The final and most defining choice for even disco-house.) The central inspiration the piece was the subject of what sounds guiding the composition of this work was of the DJ should use. Yoda explained that for course the instrument itself, the Turntable. scratching there are certain classic samples After a meeting with DJ Yoda, where he that work best, such as a gasping “ahhh” demonstrated the range of techniques on sampled from Change The Beat by Fab offer, I decided that the concerto would aim Freddy Five. He also showed me drum hits to explore all the main DJing techniques, and patterns that are good for scratching. with each movement focusing on a certain However, if we put these classic ‘DJ sounds’ technique. The concerto would explore over a live orchestra I had a feeling that 1. The most basic DJ technique of all: the concerto would sound forced and not just playing back a bit of music, and the the organic composition I was striving for. progressions from that; stopping the record, What seemed the most natural solution was interrupting it, reversing it, slowing it down, that the DJ should scratch and play with and cutting it up. sounds that were generated by the chamber 2. The earliest DJ technique; ‘mixing’. orchestra themselves so that no foreign One of the most interesting mixing sounds would ever enter the piece. For the techniques is Beat juggling. It is when a DJ necessary gasping sounds I could record the ‘juggles’ with two identical records, placing woodwind players and for the drum sounds them slightly out of time with each other, record the orchestral percussion section to create interesting new rhythms. This is playing passages from the concerto itself. usually done with two records, but in this Instead of the test-tone we would sample a case we have one record and an orchestra. flute note for the melodic. 3. Scratching is the most famous DJ Apart from composing the score, the final technique and in the right hands can be challenge was how to notate the DJ part. We found that simplicity was the key, as DJs piece to give a nod to the early days of the are not used to following scores. I prepared concerto when soloists were given a lot more skeleton guide parts for Yoda but most was freedom to improvise. So in one way, this learnt during rehearsals, and a lot of the new instrument is bringing the concerto detail & ornamentation is improvised. This back to its roots. - Note by Gabriel Prokofiev, characteristic of the instrument allowed the 2007 Biographies JORDAN “MADHATTER” LEE began the world. In demand as a guest conductor, deejaying since 1997 . As a child he played Mr. Briskin appears regularly with such drums and percussion, and began making companies as The Royal Ballet, Covent his own music before the age of ten. His Garden, San Francisco Ballet and Houston father (also a drummer) set Jordan’s musical Ballet among many others. He served as foundation deeply in soul, funk and rhythm Conductor for The Juilliard School’s Dance and blues. His teenage years were filled with Division from 1993 to 2005 and as Seasonal reggae, rock, hip hop and techno. Jordan’s Guest Conductor with New York City Ballet roots in drumming and years of voice and for three years. In addition to his work in theater training made the progression into dance, Mr. Briskin has appeared with the working as a DJ a smooth one. The art of Pittsburgh, Detroit, Baltimore, Indianapolis, Turntablism (scratching and moving records Windsor, Cincinnati Pops and Singapore to manipulate sound) became a passion early Symphony Orchestras, the Hong Kong in his DJ career, and his primary focus for Philharmonic, and the National Symphony several years of his adult life. Orchestra of Costa Rica, among others. Mr. Jordan has performed in Milwaukee, Briskin was appointed Assistant Professor Wisconsin for over a decade under the and Director of Orchestral Studies at the moniker DJ MADHATTER. His work with University of Toronto Faculty of Music in groups like the Rusty Ps, Fader Grimmlins 2008. and Kung Fusion, helped lay the ground work for a successful solo DJ career. As a MATTHEW POON is currently assistant producer and musician, Jordan dabbles in conductor of the Kindred Spirits Orchestra Jazz, Rap, Dance and Electronic music. His in Markham, and conductor of the chamber musical tastes vary from week to week and orchestra and youth choir at Scarborough month to month, which is reflected in his Chinese Baptist Church. During his time DJing style. He has performed Prokofiev’s at McMaster University he served as Concerto For Turntables in Chicago, assistant conductor of the university choir Milwaukee, Seattle, and now ...Toronto. and women’s vocal ensemble, and guest conducted the concert band. Matthew is a One of the foremost ballet conductors at master’s student in orchestral conducting at work today, DAVID BRISKIN is renowned the University of Toronto. Initial studies in for the scope of his repertoire and the depth piano from the age of 5 led to an associate’s and beauty of his interpretations. Before diploma in piano performance from the joining The National Ballet of Canada Royal Conservatory of Music followed by a in 2006 as Music Director and Principal bachelor’s degree in music from McMaster Conductor, Mr. Briskin served as conductor University. Previous conducting teachers with American Ballet Theatre in New York include Dr. Keith Kinder (McMaster) City for seven years, directing performances and Kristian Alexander (Kindred Spirits at the Metropolitan Opera House, City Orchestra). Center and numerous opera houses around Violinist REBECCA MACLEOD is MAZIAR HEIDARI began his musical enjoying a diverse career as a soloist, studies at the age of five, with Ardeshir chamber musician and orchestral performer. Rohani. He graduated with a bachelor’s Currently a student of Jonathan Crow in the degree in Industrial Engineering and Master of Music program, Ms. MacLeod completed composition lessons with Farhad has been featured many times with the Fakhreddini. In 2003, Maziar was admitted Carnegie Mellon Baroque Ensemble and to Art University of Tehran, as a top student has also been invited to perform concerti in master of music in composition. He was with The Symphony of the Kootenays. A a piano and orchestration tutor for the Art recent prizewinner of the Glenn Gould University of Tehran for 6 years and served School’s Chamber Music Competition, as composer, assistant conductor and pianist Rebecca is an active chamber musician. She for the Iran National Music Orchestra for is currently a member of Duo 51, a harp more than 10 years. In the summer of 2011, and violin duo that was recently featured in he won the Tirgan Festival trophy for his recital at St. Stephen’s in the Field Church, conducting of the Pardis Orchestra for their The Canadian Opera Company’s Richard Opening Ceremony at Harbourfront Center Bradshaw Amphitheatre, Christ Church in Toronto. He is also one of the co-founders Deer Park and toured British Columbia of the Iranian classical music group, ICOT and Washington State in August. Rebecca (Iranian-Canadian Composers of Toronto). has attended the Domaine Forget Chamber Maziar is a Master of Music candidate in Music Program, the Aspen Music Festival, Conducting at the University of Toronto. He the International Music Academy Plzen, the works as a pianist for Orchestra Toronto, as National Repertory Orchestra, the National music director and conductor for the ICOT Arts Centre’s Young Artists Programme, and Symphony Orchestra and as a freelance the Morningside Music Bridge. Rebecca is educator, pianist, composer and conductor a graduate of Carnegie Mellon University in Canada. and of the Glenn Gould School in Toronto. Her primary teachers have been Paul Kantor, Barry Shiffman, Andrés Cárdenes and Bill van der Sloot. UNIVERSITY OF TORONTO SYMPHONY ORCHESTRA VIOLIN DOUBLE BASS TROMBONE Adelaide Beach Doug Ohashi** Emma Metzger Wesley Bells Wesley Brenneis Alex Redman Andrew Chan Connor Crone** Ryan Broughton, bass Tania Cheng Matteo Ferrero-Wong Samuel Choi Matthew Girolami TUBA Alessia Disimino Alanna Gunn Teddy Toulis Danielle Girard Peter Klaassen Cassandra Leshchyshyn Chantel Leung TIMPANI David Lin Alexander Artale Rebecca MacLeod** FLUTE Jacob Mannion Charna Matsushige* Tristan Durie, Nathan Petitpas Matthew Mifflin and alto flute, piccolo Ivy Pan Katharine Hao, and piccolo PERCUSSION Vivian Peng Jessica Leung, and piccolo Alexander Artale Meghan Ruel Robin Meiksins Anna Karpazis Sebastian Sallans Andy McNeilly Jason Shiu OBOE Jacob Mannion Amy Spurr** Boris Chang Morgan O’Leary Johnson Chung Shing Tam Cherie Yuen Yu Fu Nathan Petitpas Eros Tang* ** William Tran Meagan Turner* ENGLISH HORN Georgia Vogeli Eric Chow HARP Erick Wawrzkiewicz Karen Koh Calvin Wan CLARINET Kathryn Wiebe* Omar Ho PIANO Amos Wong Anoush Hosseini-Tabatabaei Maziar Heidari Justina Wong Petra Nikolaou, and bass Ruth-Anne Yiu Katie Steadman, and bass * Concertmaster Jimmy Zhang ** Principal BASSOON/CONTRA VIOLA BASSOON Maxim Despax** Bianca Chambul COACHES Cole Canaday Eric Mohr Young Dae Park, Carolyn Farnad** Iraj Tamadon-Nejad principal string coach Gabriella Kertesz David Bourque, Emilie Gelinas-Noble** TENOR SAX principal wind coach Madeleine Spence David Zucchi Chris Wong MACMILLAN THEATRE HORN Fred Perruzza, CELLO Chris Going Director of Operations Brenton Chan** Ryan Garbett Ian Albright, Alice Cho Eric Szabo Technical Assistant Sally He Hannah Terminsky Bob Dunkin, Kevin He Natalie Worden Production Assistant Evan Lamberton Jun Kyu Park** TRUMPET LIBRARIAN, PERFORMANCE Dayoung Seo** Kathryn Clarke, and cornet COLLECTION Enya Shi Marianne Greene Karen Wiseman Rosy Zhang** Patricia Riddell NEW MUSIC FESTIVAL 2014 Gabriel Prokofiev, Roger D. Moore Distinguished Visitor in Composition Paul Chihara, Louis Applebaum Distinguished Visitor in Film Composition Norbert Palej, Festival Coordinator Saturday, January 25, 2014 Monday, January 27, 2014 Festival Opening Concert Guest Lecture by Roberto Turrin: University of Toronto Symphony “Humor in 20th century music” Orchestra 12:10 pm. Walter Hall. Free The Music of Sergei and Gabriel Prokofiev Monday, January 27, 2014 7:30 pm. MacMillan Theatre. Guest Recital: Roberto Turrin, piano Sunday, January 26, 2014 7:30 pm. Walter Hall. Free Walter Buczynski Birthday Concert Tuesday, January 28, 2014 Celebrating the 80th birthday of Conversation with Paul Chihara Canadian composer and Professor Louis Applebaum Distinguished Emeritus Walter Buczynski, the Visitor in Film Composition concert features his violin sonata, 5:00 – 7:00 pm. Walter Hall. Free Suite 1;2;3, vocal works and the premieres of his piano sonatas Tuesday, January 28, 2014 nos. 8 and 9. Performers: William Composers Forum with Gabriel Aide, piano, Walter Buczynski, Prokofiev piano, Richard Herriott, piano, Ilya 8:00 pm. Canadian Music Centre, 20 Poletaev, piano, Gregory Oh, piano, St. Joseph Street. Free Melanie Conly, soprano, Jesse Clark, baritone, Joseph Macerollo, Tuesday, January 28, 2014 accordion, Joe Phillips, double bass, NONCLASSICAL Night with Talisker Quartet, Mark Fewer, violin, Gabriel Prokofiev Peter Longworth, piano. Presented by the Canadian Music 2:30 pm. Walter Hall. Free Centre. Powered by Audio Blood. 9:00 pm. Canadian Music Centre Sunday, January 26, 2014 Performance Space, 20 St. Joseph Strange Matter Street. Free A concert presented by Esprit Orchestra in collaboration with the Wednesday, January 29, 2014 New Music Festival featuring music New Music for Bassoon and by Gabriel Prokofiev and others. Pre- Percussion concert talk at 7:15 pm. Featuring Nadina Mackie Jackson 8:00 pm. Koerner Hall. For tickets and Beverley Johnston in works call 416-408-0208 by Theodor Burkall, Alexandre For further information: Ouzounoff, David Lang and others. http://www.espritorchestra.com/ 12:10 pm. Walter Hall. Free

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