November 8, 2019 8 pm 
Glenn Gould Studio 
250 Front Street, West

MARC DJOKIC Violinist
CHRISTINA PETROWSKA QUILICO Pianist
SINFONIA TORONTO
NURHAN ARMAN Conductor 
Irresistible gems, old and new  

Program
MOZART Serenade Eine kleine Nacht K 525
ICHMOURATOV The Letter op. 56 Toronto premiere 
KUZMENKO "Skartaris" Duo Concerto world premiere 
TCHAIKOVSKY Serenade 

Adult ticket: $42 

Senior (60+) ticket: $35

Student ticket: $15



MARK DJOKIC Violinist

Winner of the 2017-2018 Mécénat Musica Prix Goyer and a Prix Opus from the Conseil québécois de la musique, Marc Djokic is one of Canada’s busiest violinists. His European tour in summer 2018 included solo recitals, chamber music performances and masterclasses in Venice, Geneva and Bern, and His ‘Solo Seven’ CD was released by ATMA Classique in September 2018.

Marc performs with Canada’s top orchestras and in chamber music festivals across North America. He has soled with the Toronto Symphony Orchestra, National Arts Centre Orchestra, Quebec Symphony, Calgary Philharmonic, Sudbury Symphony and McGill Chamber Orchestra.

Marc has performed with other artists including Beverley Johnston, James Ehnes, Jamie Parker, Measha Brueggergosman, Charles Richard-Hamelin, Isabel Bayrakdarian, Denise Djokic, David Jalbert and Thorwald Jorgensen and his long-time collaborations include Trio Tangere, the Bev & Marc duo, Air Strings and Keys, the Djokic-Leblanc duo, and Art Crush. His concerts have been broadcast frequently by CBC Radio Canada, Espace Musique and Ici Musique. Marc has toured several times throughout Canada under the auspices of BC Touring, Jeunesses Musicales and Debut Atlantic.

Marc was a founding member of the Morpheus Ensemble (Fréderic Lambert, Chloë Dominguez, Paul Stewart) which was Quartet-in-Residence from 2010 to 2013 at la Chapelle historique du Bon-Pasteur in Montreal. He was Musician-in-Residence of the St. Cecilia Concert Series in Halifax from 2009 to 2010.

Marc enjoys giving masterclasses on violin technique and performance. He has recently taught at the University of Toronto, Concordia University and the Scotia Festival of Music, and is the CAMMAC Music Centre’s first Artist-in-Residence, appointed to teach, perform and carry out research during the centre’s 2017, 2018 and 2019 seasons.

Marc first studied with his father, violinist Philippe Djokic, an eminent soloist and a pupil of the master Ivan Galamian, then continued his studies at the Cleveland Institute of Music, New England Conservatory, and with Jaime Laredo at Indiana University. He debuted with orchestra at 14 and won the Governor General’s Millennium Award at 20.

Marc performs on a rare Guarnerius violin from 1740, a Carl Becker from 1927 and a Hannibal Fagnola from 1922, and is particular about choosing the right violin for each work and occasion.


CHRISTINA PETROWSKA QUILICO Pianist

Christina’s Juilliard training and subsequent studies in Paris and Germany with Stockhausen and Ligeti prepared her to perform even the most challenging music.  CBC Music named her one of 20 Can’t-Miss Classical Pianists of 2014, and in 2015, one of The 25 Best Canadian Classical Pianists, describing her as “a particularly extraordinary sort of musician: one who can meet the ever-mounting technical demands imposed by today’s composers, and who is willing to try things that have never been done before…. possibly the most respected one in Canada.”

The Ottawa-born pianist made her orchestral debut at age ten with Toronto’s Conservatory Orchestra and Maestro Ettore Mazzoleni.  At 14 she was co-winner of a concerto competition along with Murray Perahia and was hailed by the New York Times as a “promethean talent.” 

The 41 works in her repertoire for piano and orchestra include 20 contemporary concerti she has premiered and/or played, amongst more than 200 new works she has introduced across Canada and the US and in Taiwan, the Middle East, France, Germany, Greece and Ukraine.

She has recorded seven Mozart concertos for The Mozart Effect series, complementing her discs of eight Canadian concertos, three of which were nominated for JUNO Awards.  She has recorded with the Winnipeg Symphony, Kitchener-Waterloo Symphony, Toronto Symphony, Taipei Symphony and CBC Vancouver Orchestra. Her recording of David Mott’s Eclipse for traditional and world music instruments, written for her, made its debut on the Space Shuttle Atlantis with Canadian astronaut Steve MacLean.

Christina has recorded 50 discs of classical, romantic and new solo and chamber music.  Her CD or works by Ann Southam, Glass Houses Revisited, earned a fourth JUNO nomination, became one of Centrediscs’ all-time best sellers and was listed in CBC Music’s The 30-best-Canadian-classical-recordings-ever and other best-of lists. Her latest CDs champion the music of women, including her new CD Global Sirens which features composers from around the world.  She has received the CMC/Canadian League of Composers Friends of Canadian Music Award and the CMC Harry Freedman Recording Award for her devotion to Canadian composers.

Christina is also a writer and visual artist, authoring two titles published by Captus Press, Opera Illustrated: An Artistic Odyssey, and Mr. Rigoletto: In Conversation with Louis Quilico. She has founded The Christina and Louis Quilico Award to encourage young operatic talent, administered by the Ontario Arts Council Foundation and held under the auspices of the Canadian Opera Company.  She is a Full Professor of Piano and Musicology at York University.


PROGRAM NOTES

Wolfgang Amadeus Mozart (1756-1791 Serenade K. 525 Eine Kleine Nachtmusik
1787 was a most eventful year for Mozart. Don Giovanni was commissioned, composed and produced. In April and May of that year Mozart composed the two pinnacles of his chamber music output, the String Quintets in C major and G minor. Additionally, a young Beethoven visited him in his Blutgasse Apartment behind St. Stephen’s Cathedral in Vienna with Mozart promising to teach him. In May of 1787, his father Leopold died. Eine kleine Nachtmusik was composed during a respite from the composition of Act II of the da Ponte opera. In October, Don Giovanni was produced; in December he was appointed court composer by Emperor Joseph II; and his daughter Theresia was born. Perhaps our overextended lives aren’t anything new?

Eine kleine Nachtmusik is dated August 10, 1787 and one thing is sadly certain—there is a lost movement. All serenades contained two minuet movements. We are left with the tantalizing entry of the lost movement in Mozart’s own catalogue listing. The missing movement would follow movement one. That the orchestration is only for strings is also unique for this entertainment genre. But all this now hardly matters. Eine kleine Nacthmusik is a musical equivalent of a famous line of Shakespeare, reminding us from time to time that clichés become clichés for a very, very good reason. This is Don Giovanni without its complicated drama, just pure and simple love music, especially in the famous Romanze. This favorite G major serenade is deserving of its audience affection, a wonderful combination of integrity and accessibility. 

Peter Ilyich Tchaikovsky (1840-1893)  Serenade in C Major, op. 48
Tchaikovsky, who once dubbed Mozart “the Christ of music,” wrote the Serenade for Strings in C Major as a tribute to his favorite composer. “It is intended to be an imitation of his style,” Tchaikovsky wrote, “and I should be delighted if I thought I had in any way approached my model.”

Tchaikovsky composed his Serenade in 1880, at the same time as the 1812 Overture, but his feelings about the two works could not have differed more strongly. “You can imagine, beloved friend, that my muse has been benevolent of late when I tell you that I have written two long works very rapidly,” Tchaikovsky wrote to his patron Nadezhda von Meck, “the festival Overture [the 1812] and a Serenade in four movements for string orchestra. The Overture will be very noisy; I wrote it without much warmth or enthusiasm and therefore it has no great artistic value. The Serenade, on the contrary, I wrote from inner conviction. It is a heartfelt piece and so, I dare to think, is not without artistic qualities.” Tchaikovsky was so pleased with his Serenade that upon its completion he wrote to his publisher, “I am violently in love with this work and cannot wait for it to be played.” At its premiere on October 30, 1881, in St. Petersburg, the audience responded in a similar fashion, calling for an encore of the second movement.

The Pezzo in forma di Sonatina (Piece in the form of a Sonatina) begins with a slow introduction, in the manner of an 18th-century string serenade. This rich, hymn-like melody gives way to an energetic tune that suggests the buoyant joy of Mozart’s music. The lilting Walzer (Waltz) has delighted audiences since its first performance; here Tchaikovsky captured its essential Viennese flavor, and the music sparkles throughout. In the Élégie we hear hints of the brooding murmurous quality most suggestive of Tchaikovsky’s style, but the overall mood of this movement is meditative rather than melancholy. In the final movement, Tchaikovsky uses a Russian theme, and the slow introduction is indeed a Russian folk tune, paired with another Russian folksong full of hustle and bustle. The first movement hymn concludes the Serenade.
CHRISTINA PETROWSKA QUILICO
Few artists have performed as wide a range of piano concerti to such acclaim as Christina Petrowska Quilico.  Her live performances run the gamut from the Bach D minor to the likes of Beethoven’s Emperor, the Grieg, Chopin E minor, Prokofiev, Bartok, and works by living composers.  Spain’s Luis de Pablo was so struck with how she played his first concerto that he dedicated his second to her.

Quilico was the natural choice as soloist to perform the Claude Champagne Piano Concerto with the Toronto Symphony Orchestra and Maestro Victor Feldbrill October 21 and 22, as part of the TSO’s Canada Mosaic series.

Her Juilliard training in the grand Russian and European tradition and subsequent studies in Paris and Germany with Stockhausen and Ligeti prepared her to learn and perform even the most challenging music in a short time, making her sought after as an interpreter of a wide range of repertoire.  No wonder that CBC Music named her one of 20 Can’t-Miss Classical Pianists of 2014, and in 2015, one of The 25 Best Canadian Classical Pianists – describing her as “a particularly extraordinary sort of musician: one who can meet the ever-mounting technical demands imposed by today’s composers, and who is willing to try things that have never been done before…. possibly the most respected one in Canada.”

The Ottawa-born pianist was only 10 in her orchestral debut, playing the Haydn D major concerto with Toronto’s Conservatory Orchestra and Maestro Ettore Mazzoleni.  At 14, co-winning a concerto competition along with Murray Perahia, she played Mozart’s K.488 in New York. The Times hailed her as a “promethean talent”, and in subsequent solo recitals as “an extraordinary talent with phenomenal ability…dazzling virtuosity”, playing “to perfection”.

The 41 works in her repertoire for piano and orchestra include some 20 contemporary concerti she has premiered and/or played, amongst more than 200 new works she has introduced in performances across Canada and the U.S., in Taiwan, the Middle East, France, Germany, Greece and Ukraine. She has collaborated with many of Canada’s leading orchestras, and those of Greek Radio and Taipei, and with such esteemed conductors as John Eliot Gardiner and Bramwell Tovey.

In 2017, she recorded seven Mozart concerti for The Mozart Effect series conducted by Charles Cozens.  They complement her discs of eight Canadian works in the genre – three of them nominated for JUNO Awards: the Glenn Buhr, with the Winnipeg Symphony Orchestra, conducted by Bramwell Tovey (CBC Records), Heather Schmidt’s second piano concerto (a CBC commission for her and the Kitchener-Waterloo Symphony conducted by Daniel Warren, on the Canadian Music Centre’s Centrediscs label – “Making it sound easier than it is, Quilico’s performance is coloristic and well-paced.” – The WholeNote), and Larysa Kuzmenko’s piano concerto (also written for her, and performed with the Toronto Symphony conducted by Jukka-Pekka Saraste, on her 2010 Centrediscs release, 3 Concerti).

Also on 3 Concerti is that of Alexina Louie, with the National Arts Centre Orchestra conducted by Alex Pauk.  After the live concert, the Toronto Star’s William Littler wrote, “That able champion of the contemporary keyboard literature, Christina Petrowska Quilico, applied the proverbial hammer and tongs to a piano part full of cluster chords, glissandos and runs.”

Among her other recordings with large forces are the Healey Willan concerto, with Victor Feldbrill conducting the Taipei Symphony Orchestra; Violet Archer’s first, with the CBC Vancouver Orchestra under Sir John Eliot Gardiner; and two quite unconventional creations: George Fiala’s Concerto Cantata, with chorus; and David Mott’s Eclipse, written for her, partnered with traditional and world music instruments.  It was truly out of this world, making its debut on the Space Shuttle Atlantis with Canadian astronaut Steve MacLean.

Also acclaimed in her solo and chamber repertoire, Quilico has 50 discs of classical, romantic and new music.  Her iconic 2011 CD Glass Houses Revisited earned a fourth JUNO nomination. One of Centrediscs’ all-time best sellers, and on the CBC Music list of The 30-best-Canadian-classical-recordings-ever and other best-of lists, it is one of seven CDs that she has devoted to the piano cycles of Ann Southam (1937-2010).

Her commitment to new music compelled reviewer Pamela Margles to marvel in The WholeNote at how Quilico “creates a special kind of pianistic excitement.  Her technique is brilliant and her imagination boundless…above all you feel the fierce conviction that underlies her vision of each composer’s score.” Her latest CDs champion the music of women, including her new CD Global Sirens which features composers from around the world.

For her devotion to Canadian composers, she received both the 2007 Friends of Canadian Music Award from the Canadian Music Centre and Canadian League of Composers, and the 2010 Harry Freedman Recording Award, from the CMC’s Harry Freedman Fund.

Quilico performed and recorded as a duo with the late Jacques Israelievitch after his retirement as TSO concertmaster.  Their 2015 Centrediscs CD Fancies & Interludes includes music by the TSO’s Composer Advisor Gary Kulesha and former clarinetist Raymond Luedeke. Volume I and 2 of their complete Mozart violin and piano sonatas, on Fleur de Son, launched in 2016 to enthusiastic reviews.  The third of five is due out in 2019.

In 2017, Quilico performed the music of Michel-Georges Brégent (her first husband) in the 50th anniversary celebrations of Montreal’s Société de Musique Contemporaine du Québec; and launched her Centrediscs Canadian double album, Worlds Apart. She also performed Ann Southam’s Rivers and Glass Houses in Montreal’s La Chapelle de Bon Pasteur.

As a writer and visual artist, Quilico reveals both talents in her book Opera Illustrated: An Artistic Odyssey. She is also author of Mr. Rigoletto: In Conversation with Louis Quilico. (Both titles are issued by Captus Press).  She also toured internationally with the late, famed Metropolitan Opera baritone, her second husband; and founded The Christina and Louis Quilico Award to encourage young operatic talent.  It is administered by the Ontario Arts Council Foundation, and held under the auspices of the Canadian Opera Company.

She also inspires students as a Full Professor of Piano and Musicology

MARK DJOKIC Violinist
Marc Djokic is a Canadian violinist and winner of the 2017-2018 Prix Goyer. Among other distinctions, he is a Prix Opus laureate and former Canada Council Instrument Bank recipient. Djokic is concertmaster of l’Orchestre classique de Montreal. His debut album, Solo Seven, garnered glowing reviews upon its release in 2018. His next two collaborative albums will be released on the ATMA Classique and Analekta labels in 2019. 

Originally from the Maritimes; Halifax, Nova Scotia, Djokic first and foremost studied with his father Philippe Djokic, one of Canada’s great soloists and a pupil of the master Ivan Galamian. He continued his studies with David Russell, Donald Weilerstein and Jaime Laredo.

In summer 2019 Marc Djokic will be embarking on his second European tour with solo recitals, chamber music concerts, and masterclasses. From BC Contact to Jeunesses Musicales and Debut Atlantic, Djokic has toured several times throughout Canada as an accomplished chamber musician. As a soloist, Marc Djokic has performed with such prestigious orchestras as the Toronto Symphony Orchestra, the National Arts Centre Orchestra and Quebec Symphony Orchestra.

From 2015 to 2017, Mécénat Musica noncerto produced more than 45 music videos featuring Djokic and his collaborations, filmed in unique locations across nine provinces.

Marc Djokic has commissioned several compositions with the support of Canada Council, Ontario Arts Council and Mécénat Musica. In 2018 Djokic co-sponsored and launched the inaugural CAMMAC Composers Competition, and is currently Artist-in-Residence at CAMMAC.