Program Notes by Dr. Lorne Tepperman
Piano Concerto No. 12 in A Major, K. 414 Wolfgang Amadeus Mozart (1756-1791)
Chamber version by Ignaz Lachner
Mozart’s Piano Concerto No. 12 in A Major K. 414 was written in the autumn of 1782 in Vienna, one of three Mozart wrote at that time. For Mozart, the key of A major meant lyricism and serenity; this concerto is an elegant, flowing work. In a letter to his father in December Mozart wrote, “These concertos are a happy medium between too heavy and too light. They are very brilliant, pleasing to the ear, and natural, without being insipid. There are parts here and there from which connoisseurs alone can derive satisfaction, but these passages are written in such a way that the less learned cannot fail to be pleased, albeit without knowing why.”
The concerto has three movements: Allegro, Andante, and Allegretto. Because others were to perform it, Mozart wrote out cadenzas for players who could not improvise them: one for each outer movement and two in the slow movement. Despite the modest size and scoring of this concerto, some view it as a forerunner of Mozart’s most mature works. The second movement quotes a theme from an opera overture by Johann Christian Bach, Mozart's former mentor in London, who had just died that January.
The concerto shows the defining features of the classical style: attention to control, elegance and grace. Characteristics of the style include short, well-balanced melodies with clear-cut question-and-answer phrases, simple diatonic (non-chromatic, non-dissonant) harmonies, homophonic textures (that is, melody plus accompaniment, without much counterpoint), and the use of contrasting moods such as changes from major to minor keys.
It is easy to understand Mozart’s popularity during his own lifetime as well as today. In some respects his concert music was like the dance music of his time, combining a strong pulse with a clear tonal centre. At the same time it appeals to listeners’ intellects with ever-evolving patterns of melodic development. During the late 18th century while Mozart and Haydn were active, instrumental music forms underwent a great development, including the classical sonata with its familiar three-part form, and the symphony and concerto forms so popular today.
Piano Concerto No. 20 in D minor, K. 466 Wolfgang Amadeus Mozart (1756-1791)
Chamber version by Ignaz Lachner
The Piano Concerto No. 20 is one of only two concertos Mozart wrote in a minor key, in this instance D minor. The tinge of tragedy in D minor harmonies has made this concerto one of his most popular.
Mozart composed this concerto in 1785 while he was still very active as a soloist, introducing a few new concertos himself each year from 1782 to 1785. His concerts were well attended and very profitable, leading Mozart to start the over-indulgent lifestyle that would eventually lead to his financial difficulties. Seeking the security of commissions, after 1785 he focused on writing operas and composed fewer concertos.
The Piano Concerto No. 20 is in traditional three-movement form, but is unusual in its emotional weight, which may have influenced Beethoven’s piano works. It reveals the dramatic Mozart of operas and the Requiem.
The concerto opens with a restless theme in the orchestra, whose moodiness is emphasized by the contrast of a short section in major mode. The soloist’s first entrance is sweetly melancholy, but unrest soon recurs. The dialogue between the lighter second theme and dark main theme prevails until the surprising reprieve of the movement’s quiet finish.
The second movement is labeled Romanze, and is a rondo, with three returns of the same theme after intervening episodes of different material. Although it is mainly in the more sanguine major mode, there are still wisps of the first movement’s storm clouds here and there.
The last movement is also a rondo, continuing the intrinsic interest of the form’s alternation of contrasting sections and a returning theme, with well-defined repartee between the soloist and orchestra. After the piano cadenza, the orchestra plays an optimistic conclusion in D major, instead the D minor one would expect.
Violin Concerto No. 2 in E Major Johann Sebastian Bach (1685-1750)
The Violin Concerto No. 2 in E Major illustrates Bach’s finesse in the Baroque concerto grosso form. It blends appealing melodies with the elaborate counterpoint for which Bach is celebrated.
The first movement Allegro opens with a lively rhythmic theme that is bright and assertive. The solo violin engages in a spirited dialogue with the orchestra, featuring virtuosic passages and elaborate ornamentation.
The Adagio sets a more introspective tone, giving the violin a lyrical and expressive melody, in contrast with the vivacity of the first movement, moving at a slower, more reflective pace. The deeply lyrical movement showcases the warm, singing tone of the violin in a tender, expressive melody. The final Allegro assai returns the concerto to a faster tempo, ending the piece with an energetic and joyful dance-like rhythm. Both playful and exuberant, it features a brisk and buoyant theme that passes back and forth between the soloist and the ensemble.
This concerto follows the traditional Venetian model, with each movement distinct in its rhythm and tonality. The first is in E major with a ritornello form; the second, a contemplative Adagio in C-sharp minor; and the third, a rondo in E major. Taken as a group, Bach's violin concertos are part of a larger body of work that includes the Brandenburg Concertos and several harpsichord concertos. This concerto stands out, however, for its innovative blending of Italian influence with Bach's unique style. The vigorous start with three striking E major chords in the first movement, the profound, chaconne-like Adagio and the exuberant finale with its dynamic interplay between soloist and orchestra, all bear the unmistakable mark of Bach's genius.
The E-major concerto is known from a copy dated after Bach's death and from his own adaptation of a concerto for harpsichord, placing the violin concerto’s creation during Bach’s tenure with Prince Leopold of Anhalt-Cöthen. Much of Bach's instrumental music was first performed during this period in Cöthen, when Bach had to satisfy the prince's taste for secular music. This marked a distinct departure from Bach's earlier focus on composing church music.
This concerto and others from the same period reflect Bach's deep engagement with and adaptation of Vivaldi’s solo concerto style, incorporating traditional ritornello and rondo forms along with unique structural features. This integration of elements is evident in the manuscript sources - fully writing out the repeat of the first movement, for example, an unusual practice at the time. The bass-driven melody of the slow movement also distinguishes this concerto within the genre.
Masquerade Suite Aram Ilyitch Khachaturian (1903-1978)
String orchestra version by Nurhan Arman
Khachaturian was born to an Armenian family in Tbilisi, Georgia. He showed great early talent and was admitted to the Gnessin Institute in Moscow to study cello and composition. In 1929 he transferred to the Moscow Conservatory where he studied under Nikolai Myaskovsky. Khachaturian became an iconic figure for generations of Armenian composers. His works opened doors to new styles and adventurous exploration of heritage material in symphonic settings.
Khachaturian’s music is loved for its sensuous melodies, its rhythmic vitality and the splendidly colourful orchestration admired by Shostakovich and many others. Best known for the ballets Spartacus and Gayaneh, Khachaturian also wrote brilliant concertos, several symphonies, many film scores and theatre suites, band music, chamber music and popular songs.
Khachaturian excerpted the Masquerade Suite from incidental music he composed for a play by Mikhail Lermontov. The play is a tale of aristocratic infidelity, intrigue and death taking place during a ball and in noble residence; Khachaturian’s score captures the drama brilliantly, alternating between joyous élan and wistful reflection, moving often between major and minor harmonies. The play was staged in Moscow on June 21, 1941, the day before Russia was invaded by Germany and entered World War II. After the theatre company and musicians were evacuated to Siberia the production was resumed. The music’s exuberant rhythms and melodies led to several sections becoming something close to patriotic anthems during the war. This string version was arranged by Maestro Arman in 2003 to celebrate the 100th anniversary of Khachaturian’s birth.
BIOGRAPHIES
Conrad Chow, Violinist Whether he is performing at The Mozarteum in Salzburg, Disney Hall in Los Angeles, Carnegie Hall in New York, or Qingdao Hall in Shandong, China, Canadian violinist Conrad Chow is at ease performing music of many different centuries, continents, and styles. A communicator, he delights in forging strong connections with his audiences: Critics have described him as a “world-class talent” [Escarpment Views] who performs with “intense passion … leaving the audience deeply intoxicated and spellbound” [Changshu Radio].
The release of his debut CD, PREMIERES (Cambria CD-1204) in June 2012 attracted immediate attention from the media, garnering superlative reviews and public praise. The album, featuring premiere recordings of music by Bruce Broughton - the renowned OSCAR® Nominee, Emmy® Award-winning L.A. film composer - and works by Canadian composers Ronald Royer and Kevin Lau, reached the top of the Canadian Classical Music Charts (Nielsen SoundScan), just two weeks after it was released.
“Chow shows off a nice balance between technique and musicality in a program that alternates between fireworks and sweet expressiveness.” – The Toronto Star
“Conrad Chow is a voice of distinction, impeccable in technique and a most vivid painter of tone. He has a glorious sound and handles each of these works as if he was born to them.” – Gapplegate Music Review
Conrad Chow is in demand as a performer as well as an educator. An active chamber musician, he has perfected his craft with the Grammy® Award-winning Emerson String Quartet. Recent seasons have included a recital at Toronto’s Koerner Hall, and regular appearances with the prestigious iPalpiti Chamber Orchestra in Los Angeles, in addition to performances and teaching engagements at the Summit Summer Music Festival in New York; Shandong College of Arts in Jinan, China; Seattle University; and Eilat Chamber Music Festival in Israel. During a recent six-concert tour of China, he performed the beloved Butterfly Lovers Concerto with the Ontario Festival Symphony Orchestra.
Conrad Chow earned bachelor’s and master’s degrees at the Indiana University School of Music, studying with Miriam Fried; his DMA is from the State University of New York, Stony Brook, where he studied under noted violinists Pamela Frank, Ani Kavafian, and Philip Setzer. He pursued post-doctoral work with Eduard Schmieder at Temple University in Philadelphia. He was Visiting Assistant Professor of Violin at Dalhousie University in Halifax, Nova Scotia and currently teaches on the faculty of the Phil and Eli Taylor Performance Academy for Young Artists, at the Canadian Royal Conservatory of Music and is also Visiting Professor of Violin at the University of Jinan, College of Music in Shandong, China. He has appeared on the juries of various national and international competitions, including most recently at the 16th Remember Enescu International Violin Competition, in Romania. Conrad Chow performs on a 1933 Gaetano Pollastri violin.
Anissa She has been studying piano with Langning Liu since age five. She is the winner of awards in many competitions, including the OMFA Provincials, the Steinway Competition, second prize at the CMC National Piano Competition and many others. In February 2024 she made her debut in Carnegie Hall in New York. She is currently studying at the Taylor Academy of the Royal Conservatory of Music.
Junchen (Jonathan) Wang was born in Beijing. He began studying piano when he was four and has been performing on stage since the age of five. In 2019 he won the Chopin Memorial Prize at the Hong Kong International Piano Competition. In the same year, he was invitedto play with the Beijing Accent Symphony Orchestra and the Vienna Symphony Orchestra in the Schönbrun Palace. Jonathan moved to Canada in 2022 to continue his studies with Langning Liu at the Taylor Academy of the Royal Conservatory of Music. During the academic year 2022-2023, Jonathan won many prizes in local and national competitions. He loves the stage and his dream is to become a professional pianist.
Victoria Zeng is a dedicated pianist studying under the tutelage of Lang-Ning Liu at the Taylor Academy of the Royal Conservatory of Music. She has had the opportunity to work with renowned piano pedagogues including Pavlina Dokovska, Katarzina Popowa-Zydroń, Dina Yoffe, Stanislav Ioudenitch, John O’Conor and Stewart Goodyear, among others. She has participated in festivals and programs including the Frost Chopin Festival, Vivace Music Festival, Oberlin Piano Festival and Claudette Sorel Fellows Program. Victoria has acquired accolades from many international competitions, most notably the Hartford Chopin Competition, Music International Grand Prix, Classical Stars International Music Competition, DVO-HAALSA Young Musician Competition and CMC National Competition. Victoria is the pianist of the Oakville Symphony Youth Orchestra, Westmount Jazz Ensemble and Concert Choir. Outside of her musical pursuits, she enjoys skiing, photography and is an avid mindfulness enthusiast.
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. Its 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
