25th Anniversary Celebrations are continuing at the Vancouver Island Symphony (VIS) on March 13 at the Tidemark Theatre and on March 14 at the Port Theatre and a composer known for his rowdy, loud and boundary-pushing behavior will be crashing the party. What better way to also mark the 250th birthday of Ludwig van Beethoven, than with “Iconic Beethoven”, a concert celebrating his ground-breaking
music?
“Beethoven takes music by the throat and tells it: ‘you’re done with classicism. You are now immediately coming into romantism.’ With the “Eroica” Symphony, he does that singlehandedly,” says Pierre Simard, Artistic Director and Conductor of VIS.
The “Eroica” Symphony was originally dedicated to Napoleon, but when Napoleon declared himself the emperor, Beethoven flew into a rage, and erased Napoleon’s name. Perhaps in a calmer mood, Beethoven also composed the much more relaxed “Triple Concerto,” the only concerto he ever completed for more than one solo instrument.
“This will be my first time playing the ‘Triple Concerto,’” says cellist Cameron Crozman, who VIS is thrilled to be welcoming back for this performance. “The cello part is quite unique, a lot of times the part is in an unusually high register which can be a challenge, but in return the cello gets to be the first to play all the beautiful themes!
VIS Concertmaster Calvin Dyck’s impression of the exciting composer’s music was formed early in Dyck’s career, partially through the lessons of Germany’s Otto-Werner Mueller, whom he had the opportunity to train with many years ago.
“We all showed up expecting to rehearse a Beethoven symphony and he told us we’re not going to need our instruments. He proceeded to lecture us on how to play Beethoven for an hour, including pointing out Beethoven’s dynamic language that was quite unique. He said there are only four dynamics: fortissimo and forte (loud), piano and pianissimo (soft).
Rounding out the trio evening is pianist Philip Chiu, who notes the enormous contrasts in Beethoven’s music.
“There’s so much drama, conflict and crisis,” says Chiu. “’The Triple Concerto’ is considerably ‘lighter fare’, full of gallantry and nobility, the kind of stuff that was in style at the time among the aristocrats. It can, and should, be enjoyed at face value (put your dancing shoes on!)… save your emotional reserves for the ‘Eroica.’
“I hope to bring this music to life both in the high-drama and the light entertainment with some musical storytelling that speaks to audiences today. I am so looking forward to doing this alongside Calvin, Cameron, Pierre and the VIS!”
