It was Ludwig van Beethoven who said that music is a higher revelation than all wisdom, and philosophy.
The Cowichan Symphony Society, which first got its start in 1955, kicks off their 69th season with the brilliance of Beethoven. CSS will present Beethoven's Piano Concerto No. 5 with the Victoria Symphony Orchestra and featured soloist renowned Canadian pianist Jon Kimura Parker at the Cowichan Performing Arts Centre on Oct. 5 at 7:30 p.m.
"For our 69th season, it's interesting because all of our soloists are tied to Southern Vancouver Island, and the community," said society president Peter Leckie. "We are always happy to bring these people back. From the society's point of view, whenever we can highlight individuals that have ties to Vancouver Island and our community we love to do that, especially when they have attained the international recognition and fame that Jon Kimura Parker has. It's an example of how the valley, and Vancouver Island, is breeding world class talent in so many ways, especially in music."
Parker, who is currently the creative partner of the Minnesota Orchestra and artistic advisor of the Orcas Island Chamber Music Festival, graduated from Shawnigan Lake School in 1977. He honed his skills under the tutelage of family members Edward and Keiko Parker at the Vancouver Academy of Music and UBC, as well as under Adele Marcus at Juilliard. Since, he has had cool collaborations with rock drummer Stewart Copeland and singer Bobby McFerrin to name a few.
Leckie said that CSS had the pleasure of Parker performing for them nearly 20 years ago, and hopes to see a larger demographic of young people out at this concert, especially young pianists, as the opportunity may not come again anytime soon.
"Coming to see Jon perform Beethoven's 'Concerto No. 5' would be a great experience for any young pianist especially if they want to find out what their instrument can do with hard work, and brilliant composing," said Leckie
Leckie describes 'Concerto No. 5' as one of Beethoven's longer concertos, close in length to his symphonies. It was written in 1808 and had its premiere in 1811 during a transition when Beethoven's hearing was beginning to fail him. Leckie also noted that Beethoven never titled his pieces and felt quite dismayed when the piece was also dubbed his 'Emperor' concerto which he composed while hiding in his brother's basement to avoid all the sounds and noise of the war that was going on around him.
"Beethoven insisted that it should not have anything to do with Emperor Napoleon Bonaparte," said Leckie. "Beethoven was in Vienna at the time when former French Emperor Bonaparte was trying to capture Vienna and there was literally war around him when he was composing this piece during a time when he was beginning to lose his hearing. During this time when he began to experience hearing loss, Beethoven was quoted saying that all he could hear was nothing but drums, cannons, men, and misery of all sorts."
Keeping within the theme of politics and power that reflected mostly the period of the 19th and early 20th century, concert attendees will also hear members of VSO play the pieces 'Kaiser-Walzer' (Emperor Waltz) by Johann Strauss Jr. which was based on Franz Joseph I of Austria, as well as 'Vortex Cantibilis' by Maria Eduarda Mendes Martins, and 'Dances of Galánta' by composer Zoltán Kodály. According to Leckie during this time period Beethoven and Strauss were both being paid by leaders of various countries for their compositions.
"Franz Joseph I played a role in the political conflicts that eventually led to World War I, so the music was a powerful aspect of that," said Leckie. "Members of the Victoria Symphony would tell you that most of this music feels powerful, there is strength in the notes to represent the politics that were going on a the time, a reflection if you will of various countries trying to be bigger and stronger."
"'Vortex Cantibilis', and 'Dances of Galánta' are examples from modern composers who chose some of the history and politics from centuries before them, and lent their own modern musical interpretation to the impact that it had during that time," said Leckie.
"I think the compositions of this concert will speak for themselves, and the performers will make them come alive for you," said Leckie. "As with all that we do with the Cowichan Symphony Society, we have the opportunity to enjoy something that transcends time, language, and politics which has the power to inspire us in all kinds of different ways."
"Beethoven’s “Emperor” Piano Concerto represents the pinnacle of his concerto writing," said Kimura Parker. "It’s very special to return to an area where I lived 50 years ago to perform this masterpiece. There is a nobility in the music throughout, but by far the most important part of the music is the sublime slow movement, which is unique in all of music."
