The Best of Beethoven and Brahms

Don’t miss this inspiring opening to our 35th season! We are thrilled to welcome acclaimed pianist, Peter Longworth who will perform Brahms’ impassioned Concerto No. 1. This dazzling program includes Le Jardin Mysterieux by Quebec-born composer Denis Gougeon. Then, feel the magic of Beethoven and soar on an emotional journey with his magnificent Symphony No. 7.

Featuring:

Peter Longworth, (piano)

PROGRAMME:

Calixa Lavallée - Oh Canada

Denis Gougeon - Le Jardin Mystérieux

Johannes Brahms - Piano Concerto No 1, op. 15, D minor

I. Maestoso

II. Adagio

III. Rondo (Allegro non troppo)

—Intermission —

Ludwig Van Beethoven Symphony No 7, op. 92, A major

I. Poco sostenuto — Vivace

II. Allegretto

III. Presto— Assai meno presto

IV. Allegro con brio

PROGRAM NOTES:

Le Jardin Mystérieux by Denis Gougeon (1951- ) Quebec composer Denis Gougeon describes himself as an “intuitive” artist who wishes to touch the listener emotionally. The impressionistic Le Jardin Mystérieux (The Mysterious Garden) was written in 1984. A broadcast performance of the piece by the Vancouver Symphony can be heard on the web site of the Canadian Music Centre, of which Gougeon is an Associate Composer.

Piano Concerto No. 1 in D Minor, op. 15, by Johannes Brahms (1833-1897) I. Maestoso II. Adagio III. Rondo (Allegro non troppo) The young Brahms laboured long on this Concerto, the sketches for which were originally begun as a symphony. The Concerto finally premiered in Hanover (Germany) in 1859, with the composer at the piano. The lengthy, stormy and tragic first movement, written in sonata form, presents two themes –the first forceful and dramatic, the second mournful and yearning. Brahms prefaced the slow movement with: Benedictus qui venit in nomine Dei. Again, there are two subjects – one for muted strings at the beginning, the other for clarinets – which are developed with deep feeling. The finale, in which a virile tune recurs amidst excursions elsewhere, pulsates with demonic energy. However, a feeling of contemplative beauty follows the piano cadenza, which heralds the triumphant conclusion in the major key.

Symphony No. 7 in A Major, op. 92, by Ludwig van Beethoven (1770-1827)

I. Poco sostenuto; Vivace

II. Allegretto

III. Presto; Assai meno presto

IV. Allegro con brio

The second movement of this Symphony was encored at its premiere in Vienna on December 8, 1813, with the composer conducting. The Allegretto (i.e., “fairly lively”) subsequently became a concert hall favourite of the nineteenth century. The movement, which presents two principal themes that are later treated in contrapuntal style, has a processional character that is both stirring and memorable. By contrast, the short first movement can be heard as an overture that sets the stage for the second. The third movement is a rollicking scherzo, and the fourth displays seemingly inexhaustible dance-like energy.

About the guest artist:

An acclaimed solo performer, chamber musician and teacher, Peter Longworth is also making a return visit to this New Generation series. He has performed in Canada, the United States and Europe. He has been soloist with the Chicago Symphony, Calgary Philharmonic and other Canadian orchestras. He has appeared at the Caramoor Music Festival (New York), was artist-in-residence and featured soloist at the Icicle Creek Music Festival (Washington), and plays annually at the Ottawa International Chamber Music Festival. He is a founding member of the Duke Trio which has performed in New York, Chicago and throughout Canada. He is heard often on CBC and his recordings include a collaboration with cellist Amanda Forsyth and a forthcoming Duke Trio recording of Shostakovich and Copland. He teaches at the Glenn Gould School of the Royal Conservatory of Music, maintains a private studio, and is in demand as chamber coach and adjudicator at competitions and festivals. He began his piano studies in Brussels and completed his studies at the Royal Conservatory with Marek Jablonski, Leon Fleisher and Marc Durand. .

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