NSO CLASSIC

Erhuist Snow Bai brings her expressive and dynamic performance to the NSO stage with an instrument that is rarely seen. Ho’s Earthbeat is inspired by the traditions of Canada’s First Nations community, bringing one closer to the Earth’s “heartbeat.” Jiang’s River Memory is a work inspired by the Niagara Falls, contemplating on the transformation of human identity as part of the immigration and diaspora experience. Beloved composer Lau’s Between the Earth and Forever, is a poetic evocation of the space between our home and the universe, the familiar and the unknown, the earthly and the transcendent, the preciousness of nature and the abyss of environmental disaster. Brahms’ Symphony No. 4 is the last of his symphonies and possibly his finest and most moving.

Who doesn’t love Beethoven? Two young talents bring twice the energy to two piano concertos! Piano Concerto No. 4 is a favorite of concert audiences and considered by many to be one of the pinnacles of the piano concerto repertoire. Piano Concerto No. 5 is known as the Emperor Concerto although it has no association with any emperor. It’s military aspects and symbolism characterize its heroic style. The Coriolan Overture represents Coriolanus’ resolve and war-like tendencies as he is about to invade Rome. The Egmont Overture, one of the last works of Beethoven’s “middle period,” is powerful and expressive and has become as famous a composition as the Coriolan Overture.
CHELSEA AHN is the
DR. and MRS. W.N. TYTANECK Guest Artist

Niagara native Jocelyn Fralick, Turkish-Canadian Beste Kalender, the BPC, and the LSSSC join the NSO for a rousing finale to the NSO’s Diamond Anniversary Season. Voted the fifth-greatest symphony of all time in a survey of conductors carried out by the BBC Music Magazine, Mahler’s Symphony No. 2 is known as the Resurrection Symphony. One of his most popular and successful works, it was also his first major composition that established his lifelong view of the beauty of the afterlife, and resurrection. In this large work, Mahler further developed the creative “sound of the distance,” his goal to compose a “world of its own,” aspects of which were already seen in Mahler’s First Symphony.