DMITRI SHOSTAKOVICH (1906-1975)
Festive Overture (1954)
This vibrant, energetic overture is aptly named—perhaps reflecting the circumstances of its composition. Shostakovich’s friend, Lev Lebedinsky, recounts that the conductor of the Bolshoi Theater Orchestra visited the composer’s apartment with an urgent request for a piece to celebrate the 37th anniversary of the October Revolution. Not missing a beat, Shostakovich started writing and handing off the pages as they were completed. Said Lebedinsky: “The speed with which he wrote was truly astounding. Moreover, when he wrote light music he was able to talk, make jokes and compose simultaneously…He laughed and chuckled, and in the meanwhile work was under way and the music was being written down.”

FELIX MENDELSSOHN (1809-1847)
Symphony No. 4, “Italian” (1833)
For artists, poets, and composers, it was virtually de rigeur to make a grand tour at the conclusion of their studies, and for those from the colder climes of Northern Europe in particular, to search out the beauty of Italy’s sun-drenched landscapes and to experience the joie de vivre of its people. Mendelssohn was no exception. He undertook his coming-of-age travels as a 21-year old and fell in love with Italy—an inevitability. The result is this spirited symphony, one of the most beloved in the repertoire. “It will be the jolliest piece I have ever done, especially the last movement,” he wrote to his sisters. He gave it the nickname “Italian,” but also referred to it once as “blue sky in A major,” something that is obvious from the ebullience of the very first measures. Commentators have provided their interpretations of the various sections, yet these are scarcely important, given the appealing nature of the symphony—Italian or not. By the time you get to the last movement, it will be hard to sit still, and you’ll feel like joining in the saltarello, which he indicated should be played “presto.” The saltarello was a rapid 16th century Neapolitan dance that incorporated lively skips and jumps (from the Italian “saltare”—to jump or hop) in its choreography. An interesting sidelight is that musical impressions were not the only thing the young Mendelssohn brought back from Italy: he also created a number of watercolors and sketches on his sojourn. Fun fact: music from the fast-paced fourth movement made it onto the soundtrack of the 1979 film “Breaking Away.”

Bramwell Tovey is acknowledged around the world for his artistic depth, and warm, charismatic personality on the podium. He has been the popular host and conductor of the New York Philharmonic’s Summertime Classics series at Avery Fisher Hall since its founding in 2004. Mr. Tovey’s tenures as music director of the Vancouver Symphony, Luxembourg Philharmonic, and Winnipeg Symphony orchestras have been characterized by his work in the opera, choral, and British repertoire. He is also a composer and pianist, and has received three Juno Awards — two for Classical Album of the Year, and one for Classical Composition of the Year (Requiem for a Charred Skull) — in addition to a 2007 Grammy Award. He is the first artist to win a Juno in both conducting and composing.

Last year Bramwell Tovey was named principal guest conductor of the Los Angeles Philharmonic at the Hollywood Bowl. He also works frequently with the Toronto Symphony, Montreal Symphony, Royal Philharmonic, and Bournemouth Symphony orchestras, among many others. A champion of contemporary music, Mr. Tovey developed the highly regarded New Music Festival in Winnipeg during his tenure as music director. In the summer of 2008 he conducted the world premiere of his latest piece, Urban Runway, a co-commission of the New York and Los Angeles Philharmonics. He is currently writing a full-length opera, The Inventor, for the Calgary Opera, to be premiered in January 2011.

Bramwell Tovey has been awarded numerous honorary degrees, including a fellowship from the Royal Academy of Music in London; honorary doctorates of law from the universities of Winnipeg and Manitoba, and Kwantlen University College; and a music fellowship from the Royal Conservatory of Music in Toronto. In 1999 he received the M. Joan Chalmers National Award for Artistic Direction, a Canadian prize awarded to artists for outstanding contributions in the performing arts. Mr. Tovey last conducted the New York Philharmonic in July 2008 at the Bravo! Vail Valley Music Festival, following his conducting/hosting duties at the Orchestra’s Summertime Classics series.