November 8, 2019 8 pm 
Glenn Gould Studio 
250 Front Street, West

SINFONIA TORONTO 
NURHAN ARMAN Conductor
MARC DJOKIC Violinist
CHRISTINA PETROWSKA QUILICO Pianist
 
The Program
MOZART Salzburg Symphony K 138
ICHMOURATOV Letter from an Unknown Woman  North American premiere
KUZMENKO "Skartaris" Duo Concerto world premiere 
TCHAIKOVSKY Serenade 

1 hour and 25 minutes plus an intermission

What's interesting about this concert
~ Tchaikovsk's own favourite composition
~ Two premieres by Canadian two composers! Imagine being at the first-ever performance of a Mozart work - he used to be a contemporary composer too:)
~ Not one but two great soloists! 

To see the seating chart please click here During checkout please indicate your seating preferences in the special requests area.

Adult ticket: $42 

Senior (60+) ticket: $35

Student ticket: $15



ABOUT THE MUSIC

Wolfgang Amadeus Mozart (1756-1791 Salzburg Symphony K 138
Mozart was a mere sixteen years old when he penned his Divertimento in F Major, K. 138 in 1772 after returning from a concert tour of Italy with his father Leopold. The young Mozart was already an accomplished virtuoso performer, and his set of three Divertimenti K. 136-138, known affectionately as the “Salzburg Symphonies,” show finesse far beyond his tender years. Cast in the customary three movements of the early Symphonies, the Divertimento in F was originally written without an independent double bass part and can therefore be performed by a string quartet or a string orchestra. The designation Divertimento refers to a piece that is light in character and intended to divert or entertain.
Peter Ilyich Tchaikovsky (1840-1893)  Serenade in C Major, op. 48
Tchaikovsky, who once dubbed Mozart “the Christ of music,” wrote the Serenade for Strings in C Major as a tribute to his favorite composer. “It is intended to be an imitation of his style,” Tchaikovsky wrote, “and I should be delighted if I thought I had in any way approached my model.”

Tchaikovsky composed his Serenade in 1880, at the same time as the 1812 Overture, but his feelings about the two works could not have differed more strongly. “You can imagine, beloved friend, that my muse has been benevolent of late when I tell you that I have written two long works very rapidly,” Tchaikovsky wrote to his patron Nadezhda von Meck, “the festival Overture [the 1812] and a Serenade in four movements for string orchestra. The Overture will be very noisy; I wrote it without much warmth or enthusiasm and therefore it has no great artistic value. The Serenade, on the contrary, I wrote from inner conviction. It is a heartfelt piece and so, I dare to think, is not without artistic qualities.” Tchaikovsky was so pleased with his Serenade that upon its completion he wrote to his publisher, “I am violently in love with this work and cannot wait for it to be played.” At its premiere on October 30, 1881, in St. Petersburg, the audience responded in a similar fashion, calling for an encore of the second movement.

The Pezzo in forma di Sonatina (Piece in the form of a Sonatina) begins with a slow introduction, in the manner of an 18th-century string serenade. This rich, hymn-like melody gives way to an energetic tune that suggests the buoyant joy of Mozart’s music. The lilting Walzer (Waltz) has delighted audiences since its first performance; here Tchaikovsky captured its essential Viennese flavor, and the music sparkles throughout. In the Élégie we hear hints of the brooding murmurous quality most suggestive of Tchaikovsky’s style, but the overall mood of this movement is meditative rather than melancholy. In the final movement, Tchaikovsky uses a Russian theme, and the slow introduction is indeed a Russian folk tune, paired with another Russian folksong full of hustle and bustle. The first movement hymn concludes the Serenade.

ABOUT THE GUEST ARTISTS

MARK DJOKIC Violinist - Winner of the 2017-2018 Mécénat Musica Prix Goyer and a Prix Opus from the Conseil québécois de la musique, Marc Djokic is one of Canada’s busiest violinists. His European tour in summer 2018 included solo recitals, chamber music performances and masterclasses in Venice, Geneva and Bern, and His ‘Solo Seven’ CD was released by ATMA Classique in September 2018.

Marc performs with Canada’s top orchestras and in chamber music festivals across North America. He has soled with the Toronto Symphony Orchestra, National Arts Centre Orchestra, Quebec Symphony, Calgary Philharmonic, Sudbury Symphony and McGill Chamber Orchestra.

Marc has performed with other artists including Beverley Johnston, James Ehnes, Jamie Parker, Measha Brueggergosman, Charles Richard-Hamelin, Isabel Bayrakdarian, Denise Djokic, David Jalbert and Thorwald Jorgensen and his long-time collaborations include Trio Tangere, the Bev & Marc duo, Air Strings and Keys, the Djokic-Leblanc duo, and Art Crush. His concerts have been broadcast frequently by CBC Radio Canada, Espace Musique and Ici Musique. Marc has toured several times throughout Canada under the auspices of BC Touring, Jeunesses Musicales and Debut Atlantic.

Marc was a founding member of the Morpheus Ensemble (Fréderic Lambert, Chloë Dominguez, Paul Stewart) which was Quartet-in-Residence from 2010 to 2013 at la Chapelle historique du Bon-Pasteur in Montreal. He was Musician-in-Residence of the St. Cecilia Concert Series in Halifax from 2009 to 2010.

Marc enjoys giving masterclasses on violin technique and performance. He has recently taught at the University of Toronto, Concordia University and the Scotia Festival of Music, and is the CAMMAC Music Centre’s first Artist-in-Residence, appointed to teach, perform and carry out research during the centre’s 2017, 2018 and 2019 seasons.

Marc first studied with his father, violinist Philippe Djokic, an eminent soloist and a pupil of the master Ivan Galamian, then continued his studies at the Cleveland Institute of Music, New England Conservatory, and with Jaime Laredo at Indiana University. He debuted with orchestra at 14 and won the Governor General’s Millennium Award at 20.

Marc performs on a rare Guarnerius violin from 1740, a Carl Becker from 1927 and a Hannibal Fagnola from 1922, and is particular about choosing the right violin for each work and occasion.


CHRISTINA PETROWSKA QUILICO Pianist - Christina’s Juilliard training and subsequent studies in Paris and Germany with Stockhausen and Ligeti prepared her to perform even the most challenging music.  CBC Music named her one of 20 Can’t-Miss Classical Pianists of 2014, and in 2015, one of The 25 Best Canadian Classical Pianists, describing her as “a particularly extraordinary sort of musician: one who can meet the ever-mounting technical demands imposed by today’s composers, and who is willing to try things that have never been done before…. possibly the most respected one in Canada.”

The Ottawa-born pianist made her orchestral debut at age ten with Toronto’s Conservatory Orchestra and Maestro Ettore Mazzoleni.  At 14 she was co-winner of a concerto competition along with Murray Perahia and was hailed by the New York Times as a “promethean talent.” 

The 41 works in her repertoire for piano and orchestra include 20 contemporary concerti she has premiered and/or played, amongst more than 200 new works she has introduced across Canada and the US and in Taiwan, the Middle East, France, Germany, Greece and Ukraine.

She has recorded seven Mozart concertos for The Mozart Effect series, complementing her discs of eight Canadian concertos, three of which were nominated for JUNO Awards.  She has recorded with the Winnipeg Symphony, Kitchener-Waterloo Symphony, Toronto Symphony, Taipei Symphony and CBC Vancouver Orchestra. Her recording of David Mott’s Eclipse for traditional and world music instruments, written for her, made its debut on the Space Shuttle Atlantis with Canadian astronaut Steve MacLean.

Christina has recorded 50 discs of classical, romantic and new solo and chamber music.  Her CD or works by Ann Southam, Glass Houses Revisited, earned a fourth JUNO nomination, became one of Centrediscs’ all-time best sellers and was listed in CBC Music’s The 30-best-Canadian-classical-recordings-ever and other best-of lists. Her latest CDs champion the music of women, including her new CD Global Sirens which features composers from around the world.  She has received the CMC/Canadian League of Composers Friends of Canadian Music Award and the CMC Harry Freedman Recording Award for her devotion to Canadian composers.

Christina is also a writer and visual artist, authoring two titles published by Captus Press, Opera Illustrated: An Artistic Odyssey, and Mr. Rigoletto: In Conversation with Louis Quilico. She has founded The Christina and Louis Quilico Award to encourage young operatic talent, administered by the Ontario Arts Council Foundation and held under the auspices of the Canadian Opera Company.  She is a Full Professor of Piano and Musicology at York University.