Program Notes by Dr. Lorne Tepperman

Serenade for String Orchestra in G minor        Vasily Sergeyevich Kalinnikov (1866-1901)

This Serenade is a single‐movement Andantino of barely nine minutes in duration. Light on its feet, with a waltz‐like flow and delicate pizzicato passages, the piece develops a single theme full of spring‐like freshness and optimism. Though not as widely known as works by some of his Russian contemporaries, Kalinnikov's Serenade showcases his music’s rich Russian romanticism, featuring lush harmonies and a heartfelt, song-like quality.

Kalinnikov was born in Oryol, a medieval city south of Moscow. He funded his studies at the Moscow College of Music and Drama Philharmonic Society by playing bassoon, trumpet and timpani in theater orchestras, eventually gaining the admiration of Tchaikovsky.

In 1892 Tchaikovsky recommended Kalinnikov to become the main conductor of the Moscow Italian Theatre. However, after a short time his worsening tuberculosis forced  Kalinnikov to resign and move to the warmer southern climate of the Crimea. He lived in Yalta for the rest of his life, and it was there that he wrote most of his music, His career was tragically cut short by the disease; he died in Yalta just before his 35th birthday.

Kalinnikov composed two symphonies and numerous songs, all rich with folkloric elements. He is best known for his First Symphony, which gained widespread acclaim and performances across Europe. His expressive melodies and lush orchestration show the influence of Tchaikovsky and Rimsky-Korsakov. His Serenade was composed in 1891 while he was a student and performed two years later. The is a testament to his talent for creating music that captures the Russian romantic spirit, blending poignant melodies with a warmth that is distinctively his own.

Polish Songs                                                                               Frédéric Chopin  (1810-1849)

Orchestra version by Jakub Kowalewski 

Chopin wrote these songs at various times, starting as early as 1827, when he was just 17, and ending in 1847, two years before his death. Only two were published during his lifetime. In 1857 17 songs were collected for publication as Opus 74 but due to censorship only 16 of them were published at that time.

The lyrics that inspired these songs were original poems by six Polish contemporaries, many of whom Chopin knew personally. The collection includes ten pieces by Stefan Witwicki and others by notable poets such as Adam Mickiewicz and Bohdan Zaleski. They have been translated into multiple languages and recorded by various artists, demonstrating their lasting impact. Chopin’s friend Franz Liszt transcribed six of them for piano.

Hindered by fragile health and a preference for intimate performances, Chopin resisted calls to compose operas, leaving us with only 19 songs in all. Though not as well known as his piano pieces, they are gems of masterful song writing. These pieces stand alone, each expressing a unique aspect of Polish sentiment and Chopin's musical language.

One of these songs, written in 1836 by poet Wincenty Pol, resonates today with the conflict in Ukraine. It speaks of Poland’s plight after Russian forces crushed a revolt there, beginning with the lines “Leaves are falling off/ Trees that once grew freely./ A little bird sings/ On top of a grave.”

Piano Quintet in G Minor, Op. 57                            Dmitri Shostakovich (1906-1975)

Orchestra version by Nurhan Arman    

Shostakovich composed his Piano Quintet in 1940, following several film scores, his first string quartet, Symphony No. 6 and the opera Lady Macbeth of Mtensk. In 1940 most of Europe was already at war, and the Soviet Union was facing the certainty of conflict though still poised in the calm before the storm. The brutal collectivization of 1929-1930 was complete; the purge trials of 1925-36 and the mass arrests of 1937-38 were over.

Shostakovich had survived the regime’s threatening review of Lady Macbeth in Pravda (“things could end very badly for this young man”) and rehabilitated himself politically with his Symphony No. 5. But political acceptance was never assured, especially after the degree of displeasure his opera had incurred. The Piano Quintet reflects the events of its time, but with caution. It is gravely serene and open-textured, especially in the piano part, with little of the complex inter-part interaction likely to prompt criticism. Its clarity and accessibility was rewarded with immediate popularity and drew no dangerous scrutiny. Moreover, it because a beacon of cheer as the Soviet populace endured the war.

Shostakovich himself performed the piano part with the Beethoven String Quartet for the premiere in November 1940 in Moscow. An accomplished pianist, he played the work many times with the Beethoven and later with the Borodin Quartet.  The Borodin’s first violinist Rostislav Dubinsky recalls in his book Not by Music Alone, “the Quintet overshadowed even the football matches between the main teams. The Quintet was discussed in trams, people tried to sing in the streets the second defiant theme of the finale… The Quintet remained in the consciousness of the people as the last ray of light before the future sank into dark gloom.”

The Quintet is in five movements. The Prelude opens in the style of Bach, with an energetic entry by the piano, answered by the quartet. The mood changes until the opening reasserts itself and leads into a fugue that builds into a melodic storm. The brilliant Scherzo displays Shostakovich’s irrepressible sense of irony and humour. The tranquil Intermezzo floats above an undercurrent of unease, but leads to a finale in which a triumphant melody defied the coming darkness. This is theme that Dubinsky recalls. It comes before and after a resounding sequence of piano chords and becomes the emotional core of the entire work. The Quintet concludes with charm and wit, spinning away into a quiet conclusion.

BIOGRAPHIES

Anya Alexeyev, Pianist Born in Moscow into a family of musicians, Anya Alexeyev started studying at the Gnessin Music School at the age of five, and in 1989 entered Moscow Tchaikovsky Conservatory to become a student of the renowned professor Dmitri Bashkirov. The following year she was awarded a scholarship to the Royal College of Music in London, where she studied with Irina Zaritskaya. During her student years, Anya Alexeyev won numerous prizes including the John Hopkinson Gold Medal (Royal College of Music), Elizabeth, The Queen Mother’s Award for ” the most outstanding contribution to the Royal College of Music”, the First prize at the Newport International Piano Competition, Young Concert Artists Trust, and The Capital Radio/Anna Instone Memorial Prize.

Alexeyev has performed extensively in many countries across Europe (Britain, France, Austria, Belgium, Spain, Switzerland, Sweden, Russia, Finland, Ireland, Greece, Germany, and Macedonia), as well as in the USA, Canada, Mexico, Argentina, Malaysia, and South Africa.

She has performed as a soloist on numerous occasions in all of London’s major concert halls – Wigmore Hall, Royal Festival Hall, Queen Elisabeth Hall, and Barbican Hall. Throughout her career, she has also appeared in such venues as Berlin Philharmonie, Vienna Konzerthaus, Teatro Colon in Buenos Aires, Herodes Atticus Theatre at the Acropolis in Athens, Bridgewater Hall in Manchester, Great Hall in Moscow Conservatory, Philharmonia Hall in St. Petersburg, Birmingham Symphony Hall, Usher Hall in Edinburgh, Johannesburg Symphony Hall, Dewan Filarmonik in Kuala Lumpur, Palais Montcalm in Quebec City, Glenn Gould Studio in Toronto, and Bargemusic in New York.

She has performed concertos with many distinguished orchestras, including the Royal Philharmonic, BBC Philharmonic, Moscow State Symphony, Vienna Chamber, The Philharmonia, Royal Scottish National, Deutschland Radio, City of Birmingham Symphony, Bournemouth Symphony and Sinfonietta, St. Petersburg Philharmonic, London Mozart Players, BBC National Orchestra of Wales, English Chamber, Belgian National Symphony, Sinfonia Toronto and Quebec Symphony, collaborating with such conductors as Temirkanov, Simonov, Oramo, Bakels, Judd.

Alexeyev has an extensive solo repertoire, ranging from baroque to cutting-edge contemporary music. In addition to enjoying playing standard concert repertoire,she has been following her passion for discovering lesser-known music, which resulted in performances and recordings of rarely played works and premieres.  As a collaborative musician, she has participated in many chamber music festivals in Europe and North America.

Alexeyev has recorded for EMI, Dutton Epoch, Toccata Classics, and Marquis Classics labels. Her performances have been broadcast by BBC Radio 3 (UK), GMTV (UK), CBC (Canada), Deutschland Radio, and numerous other radio stations around the world. In 1995, she premiered Paul McCartney’s first solo piano piece, A Leaf, which was later released on CD for EMI Classics. 

She is a faculty member at Wilfrid Laurier University, the Glenn Gould School, and the Phil and Eli Taylor Performance Academy for Young Artists.

Dominika Zamara, Soprano  Dominika Zamara gained musical recognition early in her native Poland. In 2007, she graduated (with honors) from the prestigious Wrocław University of Music, and directly went to Italy, in pursuit of higher artistic study. Having won a scholarship rom the Verona State Conservatory, she performed in masterclasses with some of Italy’s most highly regarded operatic teachers. These include Alida Ferrarini, Bruno Pola, and Enrico De Mori — the latter being highly important for her future professional growth.

Her operatic debut took place in 2010 as Mimi, in Puccini’s “La Boheme” under the direction of Maestro De Mori. Her outstanding vocal qualities, dynamic stage presence, and versatility in multiple genres (opera, lieder and Art song, chamber, and Contemporary music), quickly led to international performances across the globe — Europe, USA, Mexico, Argentina, China, South Korea and Australia.

Notable musical highlights and venues include: Accademia del Teatro alla Scala di Milano, Mostra del Cinema and La Biennale di Venezia; the role of Dori in the opera "Un Tramonto" by G. Coronaro, (Teatro Olimpico, Vicenza); Avery Fisher Hall, Lincoln Center (NYC); Manuel Ponce Hall (Mexico City); Verdi Theater, Padua (in the Contemporary opera “La Serva di Padova”); the Pontifical Institute of Sacred Music (Rome); World Youth Day in Krakow (in the presence of the Pope); Haydn’s oratorio “The Creation” (Chicago); the National Opera Center in New York City; Mythos Opera Festival—Verdi's opera Aida at the Ancient Theater of Taormina; in Sicily, the inauguration of the “InCanto Barocco” Festival; Mercadante Theater (Altamura) - concert arias of S. Mercadante; Vivaldi's Gloria (New York); and at the Sala della Protomoteca, at the Campidoglio in Rome. In 2023, she joined the New York Composer Circle's roster as an International Performing Artist.

Among the numerous prizes and honors Ms. Zamara has received are the Cartagine Prize of Rome; the Fonane Prize of Rome and the Kobiety Charyzmatycznej Prize (Warsaw). 

In addition to a broad repertoire — ranging from Baroque to Contemporary (with a propensity for the Mozartian, bel canto and contemporary repertoire), and singing in numerous languages — Zamara has been carrying out a special project: concerts presenting the arias of Vincenzo Bellini and the songs of Fryderyk Chopin — two composers united by a deep friendship and unique collaboration.

In addition to her main role as Concert Artist, she has sought to broaden and combine aesthetically Arts, Culture, and Fashion by assuming the role of Brand Ambassador for the Mather Milani Cosmetic line (Italy), and has presented the highest achievements in fashion — featuring in concert, clothing by world renowned designers, including: Rosy Garbo, Ela Piorun, and Marta Jane Alesani. She was immortalized by Master photographer Stefano Geardi, whose photo won the silver medal in the advertising category, at the prestigious “World's Top 10 Black & White Competition.”

Sinfonia Toronto now in its 26th season, has toured twice in Europe, in the US, South America and China, receiving glowing reviews. It has released six CD’s, including a JUNO Award winner, and performs in many Ontario cities. Sinfonia Toronto's extensive repertoire includes all the major string orchestra works of the 18th through 21st centuries, and it has premiered many new works. Under the baton of Nurhan Arman the orchestra’s performances present outstanding international guest artists and prominent Canadian musicians.

Maestro Nurhan Arman has conducted throughout Europe, Asia, South America, Canada and the US, returning regularly to many orchestras in Europe. Among the orchestras Maestro Arman has conducted are the Moscow Philharmonic, Deutsches Kammerorchester Frankfurt, Filarmonica Italiana, St. Petersburg State Hermitage Orchestra, Orchestre Regional d’Ile de France, Hungarian Symphony, Arpeggione Kammerorchester, Milano Classica and Belgrade Philharmonic.

Sinfonia Toronto respectfully acknowledges that we work in the Treaty Lands and Territory 

of the Mississaugas of the Credit First Nation and the traditional territory 

of the Huron-Wendat and  Haudenosaunee peoples