≈ 1hour and 30 minutes · With intermission
Last updated: January 3, 2024
Program
JOHANN SEBASTIAN BACH
Violin Concerto in A minor, BWV 1041 (16 min)
I. (no tempo marking)
II. Andante
III. Allegro assai
James Ehnes, violin
Concerto for Two Violins in D minor, BWV 1043 (16 min)
I. Vivace
II. Largo ma non tanto
III. Allegro
James Ehnes, violin
Yosuke Kawasaki, violin
INTERMISSION
Violin Concerto in G minor, BWV 1056R (11 min)
I. (no tempo marking)
II. Largo
III. Presto
James Ehnes, violin
Concerto for Three Violins in D major, BWV 1064R (17 min)
I. Allegro
II. Adagio
III. Allegro
James Ehnes, violin
Jessica Linnebach, violin
Yosuke Kawasaki, violin
Program Notes
In Europe, the early 18th century (or late Baroque period in Western art music) saw the rise of instrumental music of which the concerto was one of its most important genres. Italian composer Antonio Vivaldi (1678–1741) was the undisputed master of the Baroque concerto, writing over 500 of them during his lifetime. Over two-thirds of these are for a single solo instrument (usually violin) and string orchestra, such as The Four Seasons, arguably his most famous set of concertos; he also composed nearly 100 double concertos and concertos for multiple solo instruments combined.
While in Weimar, Johann Sebastian Bach (1685–1750) became acquainted with the latest concerto composition coming out of Italy. Admiring those by Vivaldi in particular, he arranged around 20 of them for the clavier or organ. Through arranging, he absorbed the forms and techniques of the genre, giving him the confidence to write his own when he became composer and Kapellmeister at the court of Prince Leopold Anhalt-Cöthen in 1717. For the prince (who was himself adept at various instruments) and his excellent ensemble of musicians, Bach wrote many concertos, including the six named “Brandenburg”. After moving to Leipzig in 1723 to take on the role of Cantor at St. Thomas’s Church, Bach also became involved with the Collegium Musicum, a musical society of over 40 instrumentalists and singers comprising of professionals and university students. Throughout the year at Zimmermann’s Coffee House they gave free weekly concerts, for which Bach composed and adapted concertos for them to play.
While the lack of extant manuscripts and concert records has made it difficult to determine when exactly Bach’s various concertos were written and performed (he also frequently repurposed his own music), scholars are in general agreement about the four concertos on tonight’s program as likely dating from the Leipzig period, after Bach became the Collegium’s director in 1729. The Violin Concerto BWV 1041 and Concerto for Two Violins BWV 1043 have survived in their original form; however, the Concerto for Three Violins BWV 1064R and the Violin Concerto BWV 1056R are “reverse-engineered” versions of later concertos for, respectively, three harpsichords and solo harpsichord, which are themselves reworkings of earlier but lost originals for three violins and solo violin. What’s notable is that Bach never made the same version of his concertos for different solo instruments; rather, each arrangement develops and adapts the musical material to the idiom of the instrument, whether it be for violin or keyboard. He was himself exceptionally skilled on both and was probably the (or a) soloist in performances of the violin concertos; it’s believed that Bach and his sons may have played the three-harpsichord version of 1064 at Zimmermann’s in 1735.
For his own concertos, Bach followed the fashionable Italian model established by Vivaldi. To the outer fast movements, he applied ritornello form, in which orchestral “tutti” sections (the “ritornello”), with its own signature theme or motifs, alternate with episodes for the soloist(s). However, according to Bach specialist Peter Williams, the German composer’s concertos had in addition “a density of detail, a harmonic drive, typical turns of direction, and even sheer length” that Vivaldi’s works seldom had. For example, the solo sections are longer, expanded through greater thematic development and shifts to more keys. There’s also a blurring of the distinction between ritornello and solo episodes, such as in the first movement of 1041, in which the solo violin “interrupts” later recurrences of the orchestral ritornello, and ritornello material sometimes returning briefly in the solo part; in 1056R, Bach goes further and has the soloist echo the ends of the orchestra’s phrases during the opening ritornello. The effect is that of a freer “dialogue” between the soloist and orchestra in their interchange of thematic material, as well as giving a certain sense of cohesion; hear how in the first movement of the Double Violin Concerto 1043, the soloists’ theme—a descending scale followed by leaps—is a playful variation on elements of the orchestra’s ritornello melody.
Instrumental textures in Bach’s concertos are also richer than in Vivaldi’s. Rarely does Bach reduce the accompaniment to a single line of continuo (cello or double bass and harpsichord) in the solo episodes—even in the Concerto with Three Violins 1064R, the orchestra plays almost all the time. There’s also far more musical counterpoint between the parts—a hallmark of Bach’s music. In the Double and Triple Violin Concertos, the soloists frequently engage in canonic imitation (as if chasing one another) or take turns being the principal or descant voice. Sometimes, the orchestra will contribute one or more countermelodies to the solo lines. Countrapuntal writing enriches the orchestral part too, as in the case of the very beginning of 1043, during which the orchestra presents the theme by way of a fugue, with entries by the second violins, first violins, and continuo. A similar process opens and closes the finale of 1041, whereby the jig-like tune is introduced in turn by the first violins, second violins, continuo, and violas, in a kind of interweaving dance.
Overall, a certain robust energy characterizes the themes and progress of the fast movements of each of these concertos. The first movements display a sense of determined purpose, a trait that also appears in the finales. In contrast, the central slow movements exhibit a striking melodic beauty, with the soloists playing long cantilena lines over gentle orchestral accompaniment. The Largo ma non tanto of the Double Concerto is distinctive for its lyrical intensity, as the voices of the two violins intertwine in continuous counterpoint, like a never-ending duet. In a similar vein, the Largo of 1064R has the quality of an operatic serenade, with the solo violin’s singing line, which becomes increasingly elaborate as the movement progresses, accompanied by plucked strings. In the Andante of 1041, the soloist meditates over a repeated harmonized bass line, as if in conversation with it, which befits the dialogic spirit of this concerto.
Of all the movements, the finales are the flashiest, more obviously featuring virtuosic effects typically found in Italian violin concertos, like rapid scales, trills, leaps from the high strings to the low and vice versa, and string crossings. Such bravura writing is often used to heighten the tension and anticipation of a return of the orchestral ritornello, especially the final one: in the Allegro assai of 1041, for example, listen out for a bariolage passage, a string-crossing technique where the soloist alternates the open E-string (the violin’s topmost string) with notes played on adjacent strings, resulting in a “grinding” effect. The finale of the Triple Concerto is particularly magnificent, as each of the three violin soloists takes a turn at virtuosic display, trying to outdo each other in brilliance. Ultimately, it’s the first violin who “breaks out” with a dramatic improvisatory cadenza, after which the orchestra returns things to order at the close.
Program note by Hannah Chan-Hartley, PhD
Artists
_james_ehnes_nov_2012_(c)_b_ealovega_(1)_cropped__square.jpg)
James Ehnes has established himself as one of the most sought-after musicians on the international stage. Gifted with a rare combination of stunning virtuosity, serene lyricism and an unfaltering musicality, Ehnes is a favourite guest at the world’s most celebrated concert halls.
Recent orchestral highlights include the Royal Concertgebouw Orchestra, Tonhalle-Orchester Zürich, the London Philharmonic Orchestra, the NHK Symphony, the Boston Symphony, the Chicago Symphony Orchestra, and the Cleveland Orchestra. Throughout the 2024/2025 season, Ehnes will be an Artist in Residence with the Melbourne Symphony and will tour Asia, where he will perform the complete Beethoven sonatas at Kioi Hall, Tokyo, as well as performances with the Hong Kong Philharmonic Orchestra and the Singapore Symphony Orchestra.
Alongside his concerto work, Ehnes maintains a busy recital schedule. He performs regularly at Wigmore Hall (including the complete cycle of Beethoven Sonatas in 2019/20, and the complete violin/viola works of Brahms and Schumann in 2021/22), Carnegie Hall, Symphony Center Chicago, Amsterdam Concertgebouw, Ravinia, Montreux, Verbier Festival, Dresden Music Festival, and Festival de Pâques in Aix. A devoted chamber musician, he is the leader of the Ehnes Quartet and the Artistic Director of the Seattle Chamber Music Society.
Ehnes has an extensive discography and has won many awards for his recordings, including two GRAMMY Awards, three Gramophone Awards and 12 JUNO Awards. In 2021, Ehnes was announced as the recipient of the coveted Artist of the Year title at the 2021 Gramophone Awards, which celebrated his recent contributions to the recording industry, including the launch of a new online recital series entitled ‘Recitals from Home,’ released in June 2020 in response to the COVID-19 pandemic and subsequent closure of concert halls. Ehnes recorded the six Bach Sonatas and Partitas and six Sonatas of Ysaÿe from his home with state-of-the-art recording equipment and released six episodes over two months. These recordings have been met with great critical acclaim by audiences worldwide, and Le Devoir described Ehnes as being “at the absolute forefront of the streaming evolution.”
Ehnes began violin studies at age five, became a protégé of the noted Canadian violinist Francis Chaplin at age nine, and made his orchestra debut with L’Orchestre Symphonique de Montréal at age 13. He continued his studies with Sally Thomas at the Meadowmount School of Music and The Juilliard School, winning the Peter Mennin Prize for Outstanding Achievement and Leadership in Music upon graduating in 1997. Ehnes is a Member of the Order of Canada and the Order of Manitoba, a Fellow of the Royal Society of Canada, and an honorary fellow of the Royal Academy of Music, where he is a Visiting Professor. As of summer 2024, he is a Professor of Violin at Indiana University’s Jacobs School of Music.
Ehnes plays the Marsick Stradivarius of 1715.
Yosuke Kawasaki currently serves as Concertmaster of the NAC Orchestra and Guest Concertmaster of the NHK Symphony Orchestra in Tokyo. His versatile musicianship allows him to pursue a career in orchestra, solo, and chamber music. His orchestral career began with the Montgomery Symphony Orchestra and soon led to the Mito Chamber Orchestra, the Saito Kinen Orchestra, and the Japan Century Orchestra, all of which he led as concertmaster. His solo and chamber music career spans five continents, collaborating with artists such as Seiji Ozawa, Pinchas Zukerman, and Yo-Yo Ma and appearing in the world’s most prestigious halls such as Carnegie Hall, Suntory Hall, and the Royal Concertgebouw.
Yosuke’s current regular ensembles are Trio Ink and the Mito String Quartet. His passion for chamber music led to his appointment as Music Director of the Affinis Music Festival in Japan. He is also an artistic advisor to the chamber music festival Off the Beaten Path in Bulgaria.
As an educator, Yosuke has given masterclasses and performed alongside students in schools across Canada. Well-versed in the string quartet literature, he was entrusted by Seiji Ozawa as the youngest faculty member of the Ozawa International Chamber Music Academy at age 26. He was also an adjunct professor of violin at the University of Ottawa School of Music from 2013 to 2022 alongside the beloved pedagogue Yehonatan Berick.
Yosuke began his violin studies at age six with his father, Masao Kawasaki, and Setsu Goto. He was subsequently accepted into The Juilliard School Pre-College Division, where he furthered his education. He graduated from The Juilliard School in 1998 under the tutorship of Dorothy DeLay, Hyo Kang, Felix Galimir, and Joel Smirnoff.
Canadian violinist of German and Lebanese ancestry, Jessica Linnebach, has established herself as an accomplished artist with a thriving multi-faceted career encompassing solo, chamber, and orchestral performances.
Known for her “burnt caramel sound, utterly fearless virtuosity . . . and romantic lyricism” (ARTSFILE), Jessica has performed as a soloist with orchestras around the world. A passionate chamber musician, Jessica is a member of the Ironwood String Quartet along with her NAC Orchestra colleagues Emily Kruspe, Carissa Klopoushak, and Rachel Mercer. They are frequent performers at chamber music series and festivals, including the NAC’s WolfGANG and Music for a Sunday Afternoon series and Ottawa Chamberfest, Pontiac Enchanté, Ritornello, and Classical Unbound festivals. As part of a commitment to reaching broader audiences, Jessica is one of the artistic directors of the Classical Unbound Festival, a chamber music festival in Prince Edward County, Ontario.
Accepted to the world-renowned Curtis Institute of Music in Philadelphia at age ten, Jessica remains one of the youngest-ever Bachelor of Music graduates in the school’s history. While there, Jessica’s primary teachers were Aaron Rosand, Jaime Laredo, and Ida Kavafian. At age 18, she received her Master of Music from the Manhattan School of Music in New York City, where she studied with Pinchas Zukerman and Patinka Kopec.
Jessica resides in Ottawa, where she has been Associate Concertmaster with the NAC Orchestra since 2010. A natural leader, Jessica has performed numerous times as guest concertmaster with the Pittsburgh Symphony Orchestra, the Indianapolis Symphony Orchestra, and the Buffalo Philharmonic Orchestra.
Jessica plays a circa 1840 Jean-Baptiste Vuillaume (Guarnerius del Gésu 1737) violin. Her bows are crafted by Ron Forrester and Michael Vann.
Canada’s National Arts Centre (NAC) Orchestra is praised for the passion and clarity of its performances, its visionary learning and engagement programs, and its unwavering support of Canadian creativity. The NAC Orchestra is based in Ottawa, Canada’s national capital, and has grown into one of the country’s most acclaimed and dynamic ensembles since its founding in 1969. Under the leadership of Music Director Alexander Shelley, the NAC Orchestra reflects the fabric and values of Canada, engaging communities from coast to coast to coast through inclusive programming, compelling storytelling, and innovative partnerships.
Since taking the helm in 2015, Shelley has shaped the Orchestra’s artistic vision, building on the legacy of his predecessor, Pinchas Zukerman, who led the ensemble for 16 seasons. Shelley’s influence extends beyond the NAC. He serves as Principal Associate Conductor of the Royal Philharmonic Orchestra in the U.K. and Artistic and Music Director of Artis—Naples and the Naples Philharmonic in the U.S. Shelley’s leadership is complemented by Principal Guest Conductor John Storgårds and Principal Youth Conductor Daniel Bartholomew-Poyser. In 2024, the Orchestra marked a new chapter with the appointment of Henry Kennedy as its first-ever Resident Conductor.
The Orchestra has a rich history of partnerships with renowned artists such as James Ehnes, Angela Hewitt, Renée Fleming, Hilary Hahn, Jeremy Dutcher, Jan Lisiecki, Ray Chen and Yeol Eum Son, underscoring its reputation as a destination for world-class talent. As one of the most accessible, inclusive and collaborative orchestras in the world, the NAC Orchestra uses music as a universal language to communicate the deepest of human emotions and connect people through shared experiences.
A hallmark of the NAC Orchestra is its national and international tours. The Orchestra has performed concerts in every Canadian province and territory and earned frequent invitations to perform abroad. These tours spotlight Canadian composers and artists, bringing their voices to stages across North America, the U.K., Europe, and Asia.
Credits
NAC Orchestra
First Violins
Yosuke Kawasaki (concertmaster)
Jessica Linnebach (associate concertmaster)
Noémi Racine Gaudreault (assistant concertmaster)
Jeremy Mastrangelo
Marjolaine Lambert
Manuela Milani
Emily Westell
Second Violins
*John Marcus (guest principal)
Emily Kruspe
Frédéric Moisan
Carissa Klopoushak
Leah Roseman
Winston Webber
Mark Friedman
Edvard Skerjanc
**Karoly Sziladi
**Zhengdong Liang
Violas
Jethro Marks (principal)
David Marks (associate principal)
David Goldblatt (assistant principal)
David Thies-Thompson
Paul Casey
Tovin Allers
Cellos
Rachel Mercer (principal)
**Julia MacLaine (assistant principal)
Leah Wyber
Timothy McCoy
Marc-André Riberdy
Double Basses
Max Cardilli (assistant principal)
Vincent Gendron
Marjolaine Fournier
Flutes
Joanna G’froerer (principal)
Stephanie Morin
Oboes
Charles Hamann (principal)
Anna Petersen
English Horn
Anna Petersen
Clarinets
Kimball Sykes (principal)
Sean Rice
Bassoons
Darren Hicks (principal)
Vincent Parizeau
Horns
Julie Fauteux (associate principal)
Lawrence Vine
Lauren Anker
Louis-Pierre Bergeron
Trumpets
Karen Donnelly (principal)
Steven van Gulik
Trombones
Colin Traquair
Bass Trombone
Zachary Bond
Tuba
Chris Lee (principal)
Percussion
Jonathan Wade
Harpsichord
*Thomas Annand
Principal Librarian
Nancy Elbeck
Assistant Librarian
Corey Rempel
Personnel Manager
Meiko Lydall
Orchestra Personnel Coordinator
Laurie Shannon
*Additional musicians
**On leave
International Alliance of Theatrical Stage Employees