Gioacchino ROSSINI (1792–1868)Overture to L'Italiana in Algeri (TheItalian Girl in Algiers)            
GioacchinoRossini was only 21 years old when he wrote L'Italiana in Algeri, anopera buffa (comic opera) that solidified his reputation as a master of musicalcomedy. The opera tells the story of Isabella, a resourceful Italian woman whotravels to Algeria to rescue her enslaved lover, Lindoro, easily outwitting hercaptors along the way.            TheOverture is one of Rossini's most famous orchestral showpieces. It begins witha slow, quiet introduction featuring a gentle, singing melody in the oboe. Thispeaceful atmosphere is suddenly shattered by a famous, startling fortissimo(very loud) chord from the full orchestra—a classic Rossini joke meant to wakeup dozing audience members. What follows is a whirlwind of rhythmic energy,featuring sparkling woodwind solos and the composer’s signature "Rossinicrescendo," where a simple, repeating musical phrase gradually builds involume and intensity until it reaches a thrilling, foot-tapping climax.

Samuel BISSON (OP Resident Composer)   
Scherzo Atomico - OP commission, World Premiere              
OurResident Composer, Samuel Bisson, is an acclaimed Canadian composer, versatile cellist, known for his fluid ability to bridge musical genres. His portfolio includes symphonic and chamber works, film scores (such as the award-winning Nuit Blanche), and pop/rock arrangements for artists like David Usher and members of the Barenaked Ladies. As the Resident Composer for Ontario Philharmonic, his last commission by the orchestra was Une marche à la gare centrale de Prague, showcases a deep affinity for vivid orchestral colors, narrative propulsion, and emotional depth.            

Historically, the word "scherzo" translates from Italian as "to joke" or "to play." In the classical symphonic tradition—cemented by Beethoven and expanded by Romantic masters like Dvořák and Mahler—the scherzo replaced the polite, aristocratic minuet with a movement driven by brisk tempos, rhythmic surprises, and sharp, dramatic contrasts. 
         
In this world premiere commission for the Ontario Philharmonic, Samuel Bisson steps directly into this legacy, reimagining the form for the modern concert stage. Rather than treating the piece as merely a lighthearted distraction or a sub-movement of a larger multi-movement symphony, Bisson elevates the Scherzo into a standalone showcase of orchestral virtuosity and kinetic energy.            

Scherzo Atomico explores the idea of musical scale. A collection of melodies is heard simultaneously a tdifferent speeds, allowing the same musical material to appear in multiple dimensions at once. What emerges in the foreground at one moment may become part of a larger landscape in the next, while details that once seemed insignificant take on new prominence when viewed from a different perspective. The title evokes the act of zooming in and out, from the broadest structures to the smallest particles. Like examining a forest and then a single leaf, or moving from the visible world to the atomic realm, the music reveals interconnected layers that are all part of the same musical fabric. Despite its intricate design, Scherzo Atomico remains true to the spiritof the scherzo: playful, energetic, and light-hearted. The result is a work that balances intellectual curiosity with sheer musical fun. 

Wolfgang Amadeus MOZART (1756–1791)
Sinfonia Concertante for Violin, Viola,and Orchestra in E♭ major, K. 364            
Written during a period of intense personal and professional transition, Mozart composed this masterpiece following a lengthy tour of European musical capitals like Mannheim and Paris. It was during this trip that his mother passed away,and he returned home to Salzburg facing a frustratingly restrictive job under the Prince-Archbishop. The Sinfonia Concertante—a genre blending the traditional solo concerto with a multi-movement symphony—represents Mozart's creative breakthrough during a difficult year.            

The work features an extraordinarily intimate, equal dialogue between the violin and the viola. Because the viola is naturally darker and quieter than the violin, Mozart originally wrote the viola part in D major but instructed the player to tune their instrument a half-step higher (a technique called scordatura). This trick gave the viola a brighter, more resonant tone to match the violin.
• First Movement (Allegro maestoso): A grand and noble opening where the two soloists seamlessly echo, intertwine, and finish each other’s musical sentences.
• Second Movement (Andante): The emotional heart of the piece. Written in a somber C minor, it feels like a deeply moving operatic duet, expressing a profound, tragic beauty.
• Third Movement (Presto): A burst of pure joy. This high-speed rondo banishes the darkness of the previous movement with playful themes, rapid-fire exchanges, and sparkling virtuosity. 

Felix MENDELSSOHN (1809–1847)
Symphony No. 4 in A major, Op. 90,"Italian"            
FelixMendelssohn was a passionate traveler. Between 1830 and 1831, the young Germancomposer embarked on a grand tour of Italy, finding immediate inspiration inthe country's sunny weather, art, and vibrant street life. Writing home to hissister, Fanny, he described the work-in-progress as "the jolliest piece Ihave ever done, especially the last movement." Though completed andpremiered in London in 1833, the self-critical Mendelssohn continued to reviseit, and it was not published until after his death.            

Thesymphony perfectly captures the warmth and energy of the Italian landscape:
• First Movement (Allegro vivace): The symphony opens with a famous burst of pulsating woodwind chords, beneath which the violins launch into a soaring, joyful melody that perfectly evokes the feeling of Mediterranean sunshine.
• Second Movement (Andante con moto): A solemn, walking-paced movement in D minor. It was inspired by a religious procession Mendelssohn witnessed on the streets of Naples, characterized by a steady, chanting bassline.
• Third Movement (Con moto moderato): A graceful, elegant minuet that recalls the courtly dances of the classical era, featuring a beautiful, horn-led trio section.
• Fourth Movement (Presto): Breaking traditional symphonic rules, Mendelssohn ends his major-key symphony in a fiery minor key. The finale is a breathtakingly fast cocktail of traditional Italian folk dances, heavily featuring the whirling rhythms of the saltarello and the frantic, spinning energy of the tarantella.