Concordia Symphony Orchestra
Danielle
Lisboa, conductor &
Edmonton Chinese Philharmonica Association
Jason Wong, conductor
Masters of Ceremonies: Andrew Lummis
Pre-Concert Chat: Dr. Christopher Lupke
Please silence your cell phones, alarms and other audible electronic devices before the concert begins.
Spring Festival Overture
Program
Edmonton Chinese Philharmonica
Jason Wong, conductor
Sichuan General March: Two Yangqins Concerto
Edmonton Chinese Philharmonica
Jason Wong, conductor
Christopher Leung, Yangqin
Vincent Ng Chiu-Shing, Yangqin
West Side Story: Selections for Orchestra
Concordia Symphony Orchestra
Danielle Lisboa, conductor
Romeo and Juliet Fantasy Overture (3rd version, 1880)
Concordia Symphony Orchestra
Danielle Lisboa, conductor
INTERMISSION
Li Huanzhi
Chinese Ancient Tune (arr. Ng Chiu-Shing)
Leonard Bernstein (arr. Jack Mason)
P.I. Tchaikovsky
Dance of the Yao Tribe
Liu Tieshan and Mao Yuan
Edmonton Chinese Philharmonica Association & Concordia Symphony Orchestra
Jason Wong, conductor
Butterfly Lovers Violin Concerto
Chén Gāng and Hé Zhànháo
Concordia Symphony Orchestra & ECPA guests
Danielle Lisboa, conductor
Raymond Leung, violin
ao ibe, a u t sect o a ed ey o co t ast g e e e ts, beg g au ted yearning song and ending in high-energy dance. It has since been arranged in many versions and inspired several pop songs around the world, and was used in the soundtrack to the ’80s video game The Way of the Exploding Fist.
SICHUAN GENERAL MARCH (Yangqin & Chinese Orchestra)
Chinese Ancient Tune Arranged by: Ng Chiu Shing
Sichuan Yangqin is a kind of Sichuan opera. It is believed that this type of singing originated in Guangdong Province during the Qin Dynasty. This music, also known as "The Peng's Wings" (Peng is a legendary bird), is the overture of an opera. It was transcribed into a Yangqin solo and later into a Yangqin concerto. There are 6 movements. 1. Prelude. 2. Setting up the headquarters tent. 3. Appointing the officers. 4. Heading to the front. 5. The battlefield. 6. The triumph.
WEST SIDE STORY (Arr. Jack Mason)
Leonard Bernstein | Lyrics by: Stephen Sondheim | Book by: Arthur Laurents Composed: 1955–1957
Broadway Premiere: September 26, 1957, Winter Garden Theatre
Jack Mason’s 1958 arrangement is a "Selection" designed to capture the melodic heart of the original Broadway score. This orchestral medley guides the listener through the 1950s New York City setting of the Jets (the local American gang) and the Sharks (the Puerto Rican immigrant gang), using the specific scenes of the play to drive the musical narrative. The arrangement follows this programmatic sequence:
The Urban Atmosphere (Introduction): The suite opens with the "Whistle" motive and jagged, syncopated rhythms This establishes the territorial tension and the brewing "Rumble" (street fight) between the Jets and the Sharks.
The Innocence ("I Feel Pretty"): The music shifts to a light, lyrical waltz. In the show, Maria sings this in the bridal shop, expressing her newfound joy. It represents a moment of "dramatic irony," as her happiness is shadowed by the violence occurring elsewhere.
The Awakening ("Maria"): Voiced by solo woodwinds and strings, this represents Tony’s transformative realization of love after meeting Maria at the gym dance.
The melody is built on the Tritone interval, a recurring musical seed that links love to the tension of the streets.
The Anticipation ("Something's Coming"): The rhythm becomes driving and restless. This mirrors Tony’s premonition that his life is about to change the feeling that leads him to the dance and, ultimately, to his fate.
The Vow ("Tonight"): This soaring theme represents the "Balcony Scene," where Tony and Maria declare their love. In this symphonic setting, it serves as the emotional peak of the romance.
The Sanctuary ("One Hand, One Heart"): The mood turns solemn and prayerlike. This represents the "Mock Wedding" in the bridal shop, where the couple "marries" themselves, seeking a spiritual sanctuary away from the gangs.
The Tension ("Cool"): The orchestration becomes jazz-influenced and edgy. In the show, the Jets use this song to vent their aggression and fear after the first fatal fight, trying to keep their nerves "cool" before the final confrontation.
The Cultural Clash ("America"): The suite concludes with the vibrant, rhythmic energy of "America." Featuring Spanish-influenced percussion and sharp crossrhythms, this depicts the Sharks and their Puerto Rican community, bringing the arrangement to a high-octane, spirited finale.
ROMEO AND JULIET FANTASY-OVERTURE (1880 version)
Pyotr Ilyich Tchaikovsky Composed: 1869; Revised 1870 & 1880
Tchaikovsky’s Romeo and Juliet is not a literal, scene-by-scene retelling of Shakespeare’s tragedy, but a "Fantasy-Overture" that distills the play’s emotional core into three primary musical themes. The 1880 version performed tonight represents the composer’s definitive vision, balancing symphonic structure with vivid storytelling. The work is played in one continuous movement, organized into three programmatic sections:
The Spiritual Conflict (Introduction): The piece opens with a somber, choralelike melody played by clarinets and bassoons. This represents Friar Laurence and his attempt to broker peace through the Church. The music carries a sense of "Fatalism," suggesting that the monk’s well-meaning intervention is already shadowed by a looming sense of doom.
The Civil Conflict (The Vendetta): The music explodes into a jagged, rhythmic Allegro characterized by rushing scales and crashing cymbals. This is the Feud Theme, depicting the violent street brawls between the Capulets and Montagues. The "clashing" orchestration mimics the physical striking of swords and the chaos of Veronese civil unrest.
The Emotional Conflict (The Love Theme): Emerging from the orchestral turmoil is the famous Love Theme, first voiced by the English horn and muted violas. As the overture reaches its climax, these themes collide: the "Feud" music grows more aggressive, eventually "strangling" the love melody.
The Transfiguration (Coda): The work concludes with a threnody (a funeral dirge) in the timpani. The once-lush love theme returns in the woodwinds, but it is now fractured and ethereal signifying the lovers’ union in death. The final, stark B-major chords provide a grim resolution, echoing the "stern peace" that settles over the graves.
THE BUTTERFLY LOVERS VIOLIN CONCERTO (1959)
He Zhanhao and Chen Gang Premiere: May 27, 1959, Shanghai
Based on a 4th-century Chinese legend, this concerto is a masterpiece of the "East meets West" style. It utilizes a Western orchestra and a solo violin which mimics the vocal sliding and vibrato of the Chinese Erhu to narrate the tragic romance of Liang Shanbo and Zhu Yingtai. The work is played in one continuous movement, organized into three programmatic sections:
The Meeting and Vow (Introduction & Exposition): A pastoral flute solo opens the work, depicting a bright spring morning. The solo violin introduces the iconic Love Theme, representing Zhu Yingtai (who has disguised herself as a boy to attend school). A playful, rhythmic section follows, capturing the three years she and Liang Shanbo spend studying together in secret bliss.
The Resistance and Tragedy (Development): The mood shifts violently with heavy, menacing brass and gongs, representing Zhu’s Father and the rigid feudal system. The violin "pleads" and "protests" against the orchestral weight in a series of agitated, virtuosic passages. After Liang dies of a broken heart upon learning of Zhu's arranged marriage, the music reaches a dramatic climax as Zhu wails at his tomb, eventually throwing herself into the grave.
The Transfiguration (Recapitulation & Coda): The tension dissolves into a shimmering, ethereal texture. The original Love Theme returns, now played with a delicate, otherworldly quality. This depicts the spirits of the lovers emerging from the tomb as butterflies, finally free from social constraints and united forever in a celestial dance.
This Afternoon’s Performers
THE CONCORDIA SYMPHONY ORCHESTRA
Danielle Lisboa, Music Director and Conductor
VIOLIN I
Frank Ho, concertmaster
Raymond Leung*
Julie Li
Mehdi Hedayati
Arwen Bylsma
Nautica-Pearl Lehocky
VIOLIN II
Svitlana Remniakova
Lydia Yu
Song Gee
Harold Steinbrenner
Lucas Chiu
Arwen Thysse
VIOLA
Darrell Soetaert
Anna Schultz
Joe Depuis
Alan Dunn
CELLO
John Fedor
Ryan Hoffman
Julia Darby
Sharon Toronchuk
Katarina Kuhn**
Robi Szabo
Ela Gonzlaez Costa*
BASS
Dante Wright**
Mitchell Rees
FLUTE/ PICCOLO
Rock Larochelle
Alison Grant-Préville
OBOE/ ENGLISH
HORN
Stephanie Wong**
Courtney Borstad
CLARINET
Amber Campbell
Cindy Richardson
BASSOON
Douglas Ridgway
Jacqueline Miller
ALTO SAXOPHONE
Emma Millar*
PIANO
Elizabeth Francis*
FRENCH HORN
Martin Grasdal
Alicia Krips
Catherine Labbe
Jasper Whitby
TRUMPET
Angelo Panahon
Nancy Stepney
Michelle Naef
TROMBONE
Fenton Corey
Joanna Macdonald
Ken Burns
TUBA
Will Gervais
PERCUSSION
Nicholas Jacques
Doug Vick
Setsuko Olsen*
Court Laslop
HARP
Samantha Spurrier
* CUE student
** CUE Alumni
The Edmonton Chinese Philharmonica Association
Jason Wong, conductor
DIZI
Alan Ching
Koon Meng Chin
Ryan Zhang
Richard Zhang
Rex Zhang
SHENG
Anthony Fok
YANGQIN
Christopher Leung
Vincent Ng Chiu-Shing
GUZHEN
Charlene Wong
GAOHU
Nanyen Lau
ERHU
Huisun Lau
Leeying Lau
Tiffany Ng
Hedi Xiao
CELLO
Joshua Ching
PIPA
Vincent Ng Chiu-Shing
ZHONGRUAN
Lisa Li
Susan Yang
Anh Ly
Jacob Dong
Nicole Dong
PERCUSSION
Chloe Ching
Jenny Ma
James Pham
Danielle Lisboa, conductor
Brazilian-Canadian conductor, pianist, and scholar Danielle Lisboa is a transformative force on the podium, redefining the boundaries of the modern symphony through bold, cross-cultural programming. Lisboa’s work is a bridge between rigorous Western tradition and a global future. She currently serves as an Associate Professor of Music at Concordia University of Edmonton in the areas of conducting and music theory. As conductor of the CSO, her seasons frequently integrate diverse soundscapes, from the Middle Eastern Oud, the Chinese guzheng, the Indian sitar, to the South American cavaquinho, into the classical canon, creating a fresh, inclusive concept of music-making.
Beyond the podium, Lisboa’s current research explores immersive and multisensory technologies to deliver multidimensional audio and visual experiences. These programs represent a revolution in how we consume, appreciate, and engage with the public in live music performances. Her rapid ascent in the Canadian music scene began with Orchestra Toronto, where she rose from apprentice to Music Director in a single season, later leading the inaugural tour of Bellus Barbari, the Toronto Women’s Symphony Orchestra. Lisboa’s 2024–2025 season reflects her international reach, with recent engagements including the Moravian Philharmonic (Czech Republic), the National Philharmonic of Trinidad and Tobago, and the UNIRIO Symphony Orchestra (Brazil). Lisboa holds a doctorate in orchestral conducting from the Eastman School of Music. A committed educator and clinician, she continues to lead international workshops, recently serving as a visiting scholar at Southwest University in Chongqing, China, and the Université catholique de l'Ouest in Angers, France, while remaining a passionate advocate and speaker for pluralism in classical music.
Jason Wong, conductor
Jason Wong, Music Director and Conductor –Edmonton Chinese Philarmonica Association
Born in Hong Kong, Jason learned violin and Erhu at his youthful age and later he majored in Cello. Jason actively participated in many Hong Kong Chinese Orchestras. He became member as a Gehu (Cello) player of the “Hong Kong Youth Chinese Orchestra” in 1980 and “Hong Kong Music Lovers Chinese Orchestra” in 1981. He toured over the world in many countries with orchestras. He took part in the Laser Disks production for the “Hong Kong Music Lovers Orchestra.”
In 1990, he formed the “Hong Kong Juvenile and Youth Chinese Classical Orchestra” together with Vincent Ng Chiu Shing, Chan Yat Ping and Lai Siu Ming. He collaborated with co-founder diligently to promote Chinese Music to the youth in Hong Kong. He immigrated to Canada in 1992.
He assisted in establishing the “Edmonton Chinese Philarmonica Association” in 2001 and currently he is the Music Director and Conductor of Edmonton Chinese Philarmonica Association. He had organized and participated in many major concerts such as participation in “Hong Kong International Festival of Chinese Orchestras” with ECPA members in 2008. To bring together music lovers and music groups from across the world to share the art of Chinese music, organized the “1 st Edmonton Chinese Music Festival” in 2010 and “The Music Carries On” concert for celebrating ECPA 10 th Anniversary in 2011. Jason led ECPA members to attend the celebration of sixtieth Anniversary of “Shanghai Chinese Orchestra” in Shanghai, China in 2012. In 2014, he organized and conducted the “2 nd Edmonton Chinese Music Festival”. Organized and conducted a joint concert of “Sounds of a Thousand Maples”; “Intriguing Melodies” with orchestras from Taiwan in 2015 and 2016. In 2019, organized and conducted the “3 rd Edmonton Chinese Music Festival” with the orchestras from Hong Kong, Singapore, Malaysia and Australia Jason continues to actively organize and conduct the “4th Edmonton Chinese Music Festival” with the joint orchestras from Hong Kong, Japan, and Toronto in 2024.
Edmonton Chinese Philharmonica Association is non-profit organization in Alberta registered under the Society Acts in the year 2001. Through Public performances and continuous education of our members, our Association strives to:
1. Assist charitable and non-profit organizations in their activities and fund-raising effects.
2. Unite individuals who are interested in Traditional Chinese music.
3. Promote cultural exchanges between Canada and China and among ethnic groups in Canada.
4. Cultivate the younger generation in their interest in Traditional Chinese Music.
SOLOISTS
Raymond Leung, violin
Violinist Raymond Leung is a dynamic performer and young music educator currently pursuing his Bachelor of Arts in Music at Concordia University of Edmonton (CUE) under the tutelage of Frank Ho. An active ensemble musician, he currently performs in the first violin section of the Concordia Symphony Orchestra and in multiple chamber music groups, such as CUE's piano trio, Polaris. An advocate for community engagement, Raymond currently serves as a Teaching Artist at YONASISTEMA, where he is praised for his attentive and inspiring instructional style. His
musical journey is enriched by international experiences; he represented Hong Kong in a prestigious exchange program at the Shanghai Conservatory of Music and has participated in cultural exchanges across Beijing, Hong Kong, and Macau. Raymond's commitment to service extends beyond the concert stage in 2018, he was one of only 20 students selected from a pool of 500 by the Hong Kong YMCA to volunteer-teach in Thailand. In 2024, Raymond took part in the CSO Chamber Nucleus tour, performing with the group in Liechtenstein, Switzerland, Austria, and Italy.
Vincent Ng Chiu-Shing, Yangqin
Born in Hong Kong, Vincent is a musician who not only mastered instrumental performance, but is also a composer, conductor and educator. He has been working for music actively for over 30 years. He graduated from Music Department of Ching Wah College, Hong Kong Academy for Performing Arts and Hong Kong Education University. Vincent has been invited to give performance in USA, Japan, Australia, Singapore, England, Canada, Taiwan and cities in Mainland China. In 2010, he was presented certificate of
SOLOISTS
Honorary Mayor President by the Mayor President of the City of Baton Rouge, USA. He has nurtured numerous extraordinary students and helped founding many school orchestras over the years He was entitled as the Outstanding Teacher in the 2nd Outstanding Teachers’ Award in 1999 for all these contributions.
Vincent is the music director and conductor of the Hong Kong Juvenile & Youth Chinese Classical Orchestra, committee member of the Hong Kong Schools Music and Speech Association, examiner of Hong Kong Arts Development Council, principal adviser of the Standard Grade Examination Committee (Hong Kong) of the Beijing Central Conservatory of Music and teaches in Hong Kong Academy for Performing Arts and Hong Kong Music Institute.
Christopher Leung, Yangqin
Christopher Leung started learning the Yangqin in Hong Kong at the age of eight, under the instruction of Mr. Hui Wing Kong. In the following year, he joined the La Salle Primary School Chinese Orchestra as a Yangqin player, lead by the conductor, Mr. Ng Chiu Shing. He moved to Edmonton with his family in 2006 where he continued to study the Yangqin under the direction of Ms. Zhang Wen Jin. At the same time, he joined the Edmonton Chinese Philharmonica Association (ECPA) and became extensively involved with many local performances. In the year 2012, Christopher was certified by the Beijing Central Conservatory of Music for Level 10. Presently, Christopher is an active member of the ECPA and continues to perform as a soloist and an ensemble musician.
PRODUCTION
Artistic Director and Producer Danielle Lisboa
CSO Orchestra Librarian/ Rock Larochelle Communications
CSO Marketing Assistant Angelica Moreno Barbosa Program Booklet Graphic Design
CSO Marketing Support Stephanie Wong
Community Engagement and Project Advisor Dr. Xinxin Fang
Stage Manager (ECPA) Andrew Locke
Stage Manager (CSO) Anna Schultz
THANK YOU TO ALL OUR SUPPORTERS AND VOLUNTEERS!
