SSO inTune - The Magazine of the Saskatoon Symphony Volume 2, Issue 3.5 by Michael McCoy

inTune

Magazine of the Saskatoon Symphony

Volume 2 Issue 3.5 February 2013 – April 2013

Talent from Across the Ponds

Beatrice Rana, Daniel Smith, and the Russians

Our Relationship to Space, to Time

Surround Sound poses questions at “The Core”

A French Delight

Blair Lofgren at the bow — A Prairie Boy Sails to Success

Debussy’s ‘La Mer’

Music That Makes Waves

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Where the Music Begins

Sales / Rentals / Repairs / Print Music Lessons / In-Store Financing

Magazine of the Saskatoon Symphony

inTune Volume 2 Issue 3.5

Photo: ©Julien Faugère

Contents RANA AND THE RUSSIANS 14

Gyro Productions Masters Series – March 9, 2013

Daniel Smith guest conductor Beatrice Rana piano

surround sound 18

‘The Core’ Series at Paved Arts – March 22, 2013

Saskatoon Symphony Chamber Players

FRENCH DELIGHT 22

Gyro Productions Masters Series – March 9, 2013

Maestro Victor Sawa conductor Blair Lofgren cello

Buy tickets and get more information:

saskatoonsymphony.org in person TCU Place Box Office by phone 306.975.7799 toll-free 1.888.639.7770

119 3rd Ave. S. Saskatoon Ph: 244-4777

Visit Mediterranno.com inTune 3

In the next issue - available April 11 Disney in concert – Magical music of the movies

Also in this issue Orchestra musicians and 6 Chair sponsors

Family Series at TCU Place presented by K + S Potash and SaskEnergy April 13, 2013

Welcome messages 9 Pre-concert talks 11 We think you should know 12

Mathieu Pouliot, guest conductor Andrew Johnson, vocalist Whitney Claire Kaufman, vocalist Candice Nicole, vocalist Aaron Phillips, vocalist

Group Discounts 12 Board of Directors and 19 Administration Funding agencies and Corporate sponsors

transcontinental impressions

SaskTel Symphony in Schools 32

Players’ Choice Series at the Delta Bessborough April 21, 2013

SSO Book & Music Sale 33 Drop-off locations

Saskatoon Symphony Chamber Players

Supporters circle 36–38 © Saskatoon Symphony & contributors

25th annualSSO SASKATOON’S LARGEST SSO Book and Music Sale

RECORDS, CDS, DVD, VIDEO SALE

SSO

Publisher: Saskatoon Symphony Society 408 20th St W Saskatoon SK S7M 0X4 Ph: 306.665.6414 office@saskatoonsymphony.org www.saskatoonsymphony.org

RECORDS, CDS, DVD, VIDEO SALE

BOOK BOOK MUSIC MUSIC SAPRIL A L12E- 21 SAPRIL A L12E- 21 504 20th St W

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Sale Hours Thu & Fri Apr 12 & 13 Sat Apr 14 Sun Apr 15 Mon, Tue, Wed Apr 16, 17, 18 Thu & Fri Apr 19 & 20 Sat Apr 21

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EVERYTHING AT BARGAIN PRICES!

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Opening fanfare Thursday April 12 at 10 am

BOOKS, SHEET MUSIC, RECORDS, DVDS, CDS, VIDEOS, COLLECTIBLES Contributing Sponsor

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proceeds support the SSO April 25 – May 4, 2013

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BOOK AND MUSIC SALE HQ

For more information visit sale.wgpotter.com PROCEEDS SUPPORT

Comments and suggestions are welcome. Please send to marketing@saskatoonsymphony.org or contact the SSO office. BOOKS, SHEET MUSIC, RECORDS, DVDS, CDS, VIDEOS, COLLECTIBLES Sale Hours Thu & Fri Apr 12 & 13 Sat Apr 14 Sun Apr 15 Mon, Tue, Wed Apr 16, 17, 18 Thu & Fri Apr 19 & 20 Sat Apr 21

10 am - 8 pm 10 am - 6 pm Noon - 5 pm Noon - 8 pm 10 am - 8 pm 10 am - 6 pm

Opening fanfare Thursday April 12 at 10 am

NEW STOCK ADDED DAILY

EVERYTHING AT BARGAIN PRICES! Contributing Sponsor

Steve Lippia vocalist, guest artist

an american salute

Gyro Productions Masters Series at TCU Place May 18, 2013

Maestro Victor Sawa conductor Michael Kim piano Cover photo courtesy of Fanny Schwal Photographie, Amiens, France

For more information visit sale.wgpotter.com PROCEEDS SUPPORT

Program advertising: Mike Covey, mike@mcmedia21.ca Contributors: Mike McCoy, Margaret Wilson, Jill Reid, Terry Heckman, Marie-Hélène Nault Leblanc, Lynn Ewing Photos: Trudy Janssens - Photography One 2 One, Fanny Schwal Photographie, Julien Faugère, Heather Fritz Photography, Mike McCoy, others contributed. Printed in Canada.

PLEASE NOTE: Concert details subject to change without notice.

inTune 4

your complimentary copy

inTune

Magazine of the Saskatoon Symphony

Volume 2 Issue 3.5

Photo: Rosanna Parry

Winter/Spring 2013 Welcome to inTune, the Saskatoon Symphony’s magazine. As we go to press, it is definitely winter, and a great time to enjoy the wide array of local and international talent presented by the SSO. Browse these pages and get a sample of what’s on offer. We have a special concert coming up on Saturday, April 13. “Disney in Concert—Magical Music from the Movies” features music from your favourite Disney classics like The Little Mermaid, Beauty and the Beast, Aladdin, The Lion King, Mary Poppins, and more, along with movie clips, projected stills and storyboard art. Four accomplished vocalists from stage and screen bring Disney’s songs to life with the orchestra, conducted by Mathieu Pouliot. It’s an evening to be a kid again—and to bring your kids and grandkids. Get your tickets at SaskatoonSymphony.org or the TCU Place Box Office today! Much of the SSO’s work in the community happens beyond the stage, from the successful SaskTel Symphony School Tour, to performances in hospitals, nursing homes, and businesses, helping to groom rising talent, and providing opportunities for young and old to connect with music. These efforts take money and ticket sales cover only a portion of our costs. If you are able make an investment in the SSO, please do so on our website, or call the SSO office at 306.665.6414. Gifts are tax-deductible and much appreciated. Spring must be coming, because we’re getting ready to launch our 2013–14 season! Join us Wednesday, April 6, 11:00 am at the Saskatoon Farmers’ Market as we make the announcements. Then stay for the free noon-hour concert. It’s sure to be fresh and homegrown! There’s more information on our website. We hope to see you there! inTune 5

Violin 1

Violin 2

Cello

Michael Swan, Concertmaster Martha Kashap, Assistant Concertmaster (on leave) William Boan, Acting Assistant Concertmaster Mary Lou Day Lillian Jen-Payzant Joan Savage Marcel van den Hurk Simon Fanner Maxim Pletnev Nova Wong Brita Tastad

Oxana Ossiptchouk, Principal Karen Bindle Rosanne Daku Karen Ogle Sophie McBean Arthur Boan William Boan (on leave from Violin 2) Evan Friesen

Lahni Russell, Principal

Viola James Legge, Principal

Chair generously sponsored by the Viola Section of the Saskatoon Philharmonic Orchestra Saache Heinrich Jeremy Janzen Heather Wilson Miles Buchwaldt Stacey Mennie

Chair generously sponsored by Bill Richards and Sandra Beardsall John Payzant Bernadette Wilson Carman Rabuka Joel MacDonald (on leave) Christina Bakanec Scott McKnight

Bass Richard Carnegie, Principal David Humphrey David Grosse Warren Hay (on leave) Stephen Kreuger Zachary Carter

Listing current at press time.

Personnel varies by concert. The SSO gratefully acknowledges the support of additional musicians who perform with the orchestra when larger works are presented. Violin Bryn Rees Cello Terry Sturge Flute Jennifer McAllister Oboe Sara Spigott Clarinet Alyssa Thompson (bass clarinet), Paul Hyun-Bai Ji Bassoon Peter Gravlin, Danielle Robertson-Boersma Trumpet Frank Harrington Percussion Brad Litster, Mark Altman, Will Martin Piano and Keyboard Gillian Lyons inTune 6

Photo: Trudy Janssens, Photography One 2 One

Music Director Maestro Victor Sawa Flute

Bassoon

Trombone

Randi Nelson, Principal

Stephanie Unverricht, Principal

Don Schmidt, Principal Brian Unverricht Dawn McLean-Belyk

Chair generously sponsored by Lilian and Doug Thorpe Brenda Moats (flute, piccolo)

Chair generously sponsored by Dr. Mary C. Marino

Oboe

Marie Sellar (bassoon, contrabassoon)

Brent Longstaff, Principal

Erin Brophey, Principal Kevin Junk (oboe, English Horn)

Horn

Darrell Bueckert, Principal

Clarinet Margaret Wilson, Principal

Chair generously sponsored by Jack and Sylvia Vicq Melissa Goodchild (clarinet, Eb clarinet)

Carol-Marie Cottin, Principal Arlene Shiplett Dubrena Bradley Micajah Sturgess

Trumpet Terry Heckman, Principal Daniel Funk Dean McNeill

Tuba Timpani Chair generously sponsored by Ms. Betty Reynolds

Percussion Mathieu Pouliot, Principal

Chair generously sponsored by The Ewing Family, in Memory of Earl and Mary Ewing Kevin Grady

Bassoon emeritus Peter Gravlin, Retired

Harp CĂŠcile Denis, Principal

Thank you to all our musicians and to our chair sponsors who support their work. For information about the benefits of chair sponsorship, please contact Jill Reid at 306.665.4862 or email general.manager@saskatoonsymphony.org inTune 7

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Spring is in the air at the SSO. Our “Season of Champions” continues, full of diverse musical offerings performed for you by the musicians of the Saskatoon Symphony Orchestra. They are, indeed, champions in their own right, and in the upcoming concerts they will be joined by international champions like Italian pianist Beatrice Rana, Australian conductor Daniel Smith, and cellist Blair Lofgren. We continue to collaborate with local artists, too, as in “The Core” series at Paved Arts, where our ten core musicians present new music juxtaposed with original video and art inspired by the compositions. We hope that you enjoy the variety and the musical excellence. We are grateful to our many patrons, volunteers, donors, funders and sponsors, each a champion of symphonic art. A vibrant arts scene makes Saskatoon an attractive destination for visitors and new residents, but we continue to need champions to keep this scene healthy. The SSO strives to use music’s power to influence lives in positive ways. Please join us at concerts and in our fundraising as we ensure that our symphony orchestra remains strong and relevant. And, of course, enjoy the music! Lynn Ewing, President Saskatoon Symphony Society

From the Musicians Thank you for joining us for this dynamic season of champions! Like you, we come from diverse backgrounds. Many of us are full-time professional musicians. We are also music or school teachers, visual artists, carpenters, dentists, farmers, pilots, students and more! We are part of your community and what we have in common with you is our shared interest and love of music.

Photo: Trudy Janssens, Photography One 2 One

Welcome from the SSO!

From Maestro Vic You are in for a treat, Saskatoon, as we present the talented pianist Beatrice Rana. I was at her winning performance at the Montreal International Musical Competition in 2011, and knew immediately that we had to have her as a guest. We are also pleased to welcome back the charismatic Daniel Smith, who did such an inspiring stint as guest conductor last February. Since then, he has gone on to win high profile international competitions throughout Europe! I’ll be back April 6, with Blair Lofgren, principal cellist of the Quebec Symphony Orchestra, a Saskatchewan native. He’ll perform Saint-Saëns’ Cello Concerto No. 1, which may be the greatest ever written for the instrument. Add to that our performance of Debussy’s beautiful ‘La Mer’ and it should be a night of unforgettable music. BREAKING! If you want to know about next season’s exciting line-up, join me at the Saskatoon Farmers’ Market, Wednesday, April 3, 11:00 am, for our launch and a free noon-hour concert. See you there! Maestro Victor Sawa, Music Director We look forward to sharing our music with you in a fun and varied season that will appeal to all tastes. Whether you wear jeans or a tux, don a feather boa or a sparkly glove, enjoy chamber music at the Bess or are introducing classical music to your children at a kids’ show, we want you to sit back, have fun, and enjoy the music! Musicians of the Saskatoon Symphony inTune 9

Talk to one of our financial advisors today. 321 20th St. West, Saskatoon, SK • P: 653-1300 • F: 653-4711 www.newcommunitycu.com inTune 10

Free Pre-Concert Talks Prior to Masters Series Concerts

Enhance Your Experience at the Symphony ATTEND THE PRE-CONCERT TALK Not sure about the music? Come early and get the inside scoop! Prior to each Masters Series concert, the SSO presents a Pre-Concert talk with informative and engaging conversations.

An expert presenter himself, Brian also invites other musicians and guest artists to add their insights about the evening’s program through interviews, performances, and lecture/demonstrations.

This season we welcome Brian Unverricht as our host. Not only is Brian a long standing musician in our orchestra, he is widely recognized as a superb educator. The 2012 Sask. Music Education Conference honoured Brian with its ‘Director of Distinction’ award.

The talks begin at 6:55 pm and last about 25 minutes. Concertgoers are invited to drop in anytime during the conversation. Pre-concert talks are held in the TCU Place Green Room. Follow the signs or check for directions from an usher or at the SSO kiosk in the lobby.

GYRO PRODUCTIONS PROUD SPONSOR OF THE SSO, VICTOR SAWA - MUSIC DIRECTOR

“If a composer could say what he had to say in words, he would not bother trying to say it in music.” - Gustav Mahler

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Visit Gyro online at www.gyroproductions.com inTune 11

We think you should know . . .

Coming to the Symphony? A SCENT-FREE ENVIRONMENT

Photo: Heather Fritz Photography

The Saskatoon Symphony Orchestra and Saskatoon Opera had an affair last March. People are still talking about it! Guests were wined and dined par excellence at the Delta Bessborough. Saskatoon Symphony musicians were joined by internationally-acclaimed Canadian tenor, Richard Margison OC, who presented a concert of operatic arias and Italian song under the baton of Saskatoon Operaâ&#x20AC;&#x2122;s Tadeusz Biernacki. The evening was truly a celebration of art in all its forms. Flowers by Fred created a breathtaking, romantic mood in the dining room with thousands of red roses. Guests were treated to both silent and live auctions of the crystalline ceramic work of Rod and Denyse Simair, as well as paintings and pieces donated by the artists of Art Placement and Darrell Bell Gallery. Other donors included Trading Post, June Jacobs and Debra Marshall.

Please help us create a scent-free environment by avoiding using perfumes, aftershaves, colognes, and scented lotions and using unscented versions of personal care products on concert evenings. We thank you in advance for your consideration.

turn off Your cell phone Please turn your mobile devices and other electronics to silent or off before the concert begins. Relax, and enjoy the music.

Privacy policy We respect your privacy and have policies to ensure that the security of the personal information you provide us is maintained. To view our complete privacy policy please visit our website: saskatoonsymphony.org, or call the office: 306.665.6414 or email general.manager@saskatoonsymphony.org.

No Ordinary Relationship... No Ordinary Florist 89% of people receiving flowers stated their gift giver was sophisticated

Red and Black 2013 will take place Saturday, October 5th, at the Delta Bessborough. We will be announcing our artistâ&#x20AC;&#x2122;s name soon, so watch for it. Tickets will be available through the Saskatoon Symphony Orchestra or Saskatoon Opera. Get your tickets early, as this event was a sellout in 2012. See you there in Red and Black!

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inTune 12

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PIANO FRIDAYS 4:30 to 7:30 - No Cover Free admission to Saturday Bassment shows with your SSO ticket stub for that night. www.thebassment.ca 202 Fourth Avenue North

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inTune 13

Gyro Productions Masters Series March 9, 2013

Photo: ©Julien Faugère

DANIEL SMITH, SASKATOON, 2012

BEATRICE RANA

Rana and the Russians TCU Place, Sid Buckwold Theatre, 7:30 pm

The Gyro Productions Masters Series is generously sponsored by

Daniel Smith guest conductor Beatrice Rana piano

McIntyre A Medley of Insolent Noises Tchaikovsky Piano Concerto No. 1 in B-flat minor, Op. 23

(Beatrice Rana) Allegro non troppo e molto maestoso – Allegro con spirito Andantino semplice – Prestissimo Allegro con fuoco

intermission

Prokofiev

Symphony No. 5 in B-flat Major, Op. 100

Andante Allegro marcato Adagio Allegro giocoso

Pre-Concert Talk Learn about the music in tonight’s repertoire.

TCU Place Green Room, 6:55 to 7:20 pm. Free with ticket to the concert.

Would you like to meet tonight’s guest artist and guest conductor? They will both be in the lobby to sign autographs after the concert. inTune 14

Daniel Smith guest conductor Young Australian conductor, Daniel Smith, who returns to the SSO after a very well-received appearance here last season, is fast becoming one of the world’s most exhilarating musicians. Winner of the First Prize, Golden Baton, Orchestra’s Choice in the Fitelberg International Conducting Competition (November 2012), he also won Second Prize in the prestigious Sir Georg Solti International Conductors’ Competition (September 2012) in Frankfurt, First Prize at the 5th Luigi Mancinelli Opera Conductors’ International Competition in Italy (August 2012), and the Orchestra’s Choice Prize for Best Conductor in the 2011 Lutosławski International Conducting Competition in Poland. Daniel’s commitment, energy and connection with both musicians and audiences has had him hailed as “one of the greatest young conducting promises” by the Göteborgs Symfoniker at his concert debut in 2010. Sharing his time between Rome and Sydney, in recent years Daniel Smith has also conducted the Danish National Symphony Orchestra, Frankfurt hr-Sinfonieorchester, Göteborgs Symfoniker, Orchestra Sinfonica di Milano “G.Verdi”, Saskatoon Symphony Orchestra, the National Orchestra of Romania, Orchestre Philharmonique de Nice, Orquestra de Cadaqués, Salzburg Chamber Soloists and the Orchestra of Sofia. He has also conducted at festivals in Europe, the USA and Australia, including the Mozarteum Festspiele, Järvi Summer Festival, Estate Musicale Chigiana, Aspen Music Festival and the Sydney Olympic Arts Festival. Equally successful in the opera theatre, he has recently worked as assistant conductor at Teatro dell’Opera di Roma on Il barbiere di Siviglia, Così fan tutte, Der Rosenkavalier, Fanciulla del West (with Giancarlo del Monaco), La traviata and Tosca (with Franco Zeffirelli) and Wozzeck.

Daniel Smith has also conducted festival performances of Cavalleria rusticana, La traviata, Così fan tutte, Gianni Schicchi and Suor Angelica at L’Accademia and L’Estate Musicale Chigiana, Der fliegende Holländer at Opéra Monte Carlo, and La Rondine at the Sydney Opera House. Upcoming engagements will see him conducting again the Frankfurt hr-Sinfonieorchester, Saskatoon Symphony Orchestra, making his debut with the Warsaw Philharmonic, Indianapolis Symphony Orchestra, Orchestra della Toscana and at the Rossini Opera Festival in Pesaro (Rossini’s Un viaggio a Reims). Daniel Smith has been involved in music since first learning the flute at the age of 6. He studied conducting with Jorma Panula, Neeme Järvi, Paavo Järvi in Estonia, Gianluigi Gelmetti at the Sydney Symphony, Robert Spano and Hugh Wolff in Aspen and Peter Gülke at the Salzburg Mozarteum. He holds a Master of Music degree from the Sydney Conservatorium of Music (Imre Pallo and Harry Spence Lyth) and Fellowships in Music from Trinity College London and the American Academy of Conducting (Aspen).

Beatrice Rana piano In June 2011, 18 year-old Beatrice Rana won First Prize at the Montreal International Music Competition and thus became its first Italian and youngest winner ever. She was then described by Le Devoir as “not just a pianist, but most of all an artist.” Beatrice Rana also won all the other special prizes, gaining the attention of audiences and critics and imposing herself as one of the most promising talents of the new generation. Beatrice is already a guest of presitigious concert series and festivals throughout the world, such as Zurich’s Tonhalle, Wigmore Hall, La Roque d’Anthéron piano festival, Radio-France Festival in Montpellier, Lanaudière Festival in  inTune 15

Montreal, Vancouver Recital Society, Domaine Forget in Quebec, La Folle Journée Festival in Nantes, and Sala Verdi for Milan’s Società dei Concerti.

David L. McIntyre b. 1950

As a soloist, Beatrice has been invited to perform with the Orchestra Internazionale d’Italia, the Kuala Lumpur Philharmonic Orchestra, the Aarhus Symfoniorkester, the Südwestdeutsche Philharmonie Konstanz, the Edmonton Symphony Orchestra, the Winnipeg Symphony Orchestra, and Yannick Nézet-Seguin’s Orchestre Métropolitain de Montréal.

“Several years ago I came across this passage from F. Scott Fitzgerald’s Tender is the Night: “As she stood in the fuzzy green light of the vegetable garden, Dick crossed the path ahead of her going to his work house. Nicole waited silently till he had passed; then she went on through lines of prospective salads to a little menagerie where pigeons and rabbits and a parrot made a medley of insolent noises at her.”

A recipient of an impressive number of first prizes in national and international piano competitions, such as “Muzio Clementi” Competition, “International Piano Competition of the Republic of San Marino” and “Bang&Olufsen PianoRAMA Competition,” Miss Rana was selected in 2010 among 60 participants as one of the six pianists allowed to take part in the “Arturo Benedetti Michelangeli Prize” where she has attended a prestigious masterclass with Arie Vardi and performed a recital. She now studies with Arie Verdi in Hannover. Born to a family of musicians in 1993, Beatrice Rana made her debut as a soloist with orchestra at the age of nine, performing Bach Concerto in F minor. She began her musical studies at four and achieved her Piano Degree at the age of 16 with top marks, laude and honorable mention, under the guidance of Benedetto Lupo at the Nino Rota Conservatory of Music in Monopoli, where she also studied composition with Marco della Sciucca. At the age of 12, Beatrice was awarded the prestigious scholarship of the Italian Ministry of Education, University and Research for her great and very precocious musical talent. At the same time she attended masterclasses in Italy, France and United States with artists such as M. Beroff, A. Ciccolini, A. Jasinski, F. J. Thioillier, E. Virsaladze.

A MEDLEY OF INSOLENT NOISES

Finding the phrase immediately evocative, I added “a medley of insolent noises” to my little collection of titles for future compositions. I thought it especially apt for a piece in which various instruments play major roles either as soloists or in combination. My habit is more often to name a piece after its completion. But in this case the title was before me from the start and played a key role in the development of this musical journey. I hope the result isn’t just noise and really I don’t mean to be insolent. But the combination of words in the title was inspiring! “A Medley of Insolent Noises” was premiered by the Regina Symphony Orchestra in 2002.

Pyotr Ilyich Tchaikovsky 1840–1893

piano concerto no. 1 in B-flat minor Tchaikovsky was not the most innovative musician of his time, but his contributions to music are still felt today, as he wrote evocative, not-easily-forgotten melodies. From the Romeo and Juliet Overture, to the music of Swan Lake or his Sixth Symphony (Pathétique), to the well-known opening of the Piano Concerto No. 1, his music is instantly recognizable. Yet even Tchaikovsky’s melodies could fail to charm. He completed the Concerto in December 1874, and dedicated it to his teacher and friend, the great Russian pianist inTune 16

Nikolai Rubinstein. Tchaikovsky was not a pianist and wanted Rubinstein’s opinion. So, on Christmas Eve, he played it for his mentor. He described the scene in a letter to a friend: “I played the first movement. Not a word, not a remark. If you only knew how disappointing, how unbearable it is when a man offers his friend a dish of his work, and the other eats and remains silent!” Tchaikovsky played the entire piece and then, he wrote, Rubinstein told him it was “worthless, impossible to play, the themes have been used before ... there are only two or three pages that can be salvaged and the rest must be thrown away!” Rubinstein offered to play the piece if revised, but the composer replied, “I won’t change a single note,” and instead gave it to pianist and conductor Hans von Bülow, who premiered the work in Boston on October 25, 1875. Though a critic called it “extremely difficult, strange, wild, ultramodern ...”, the audience was enthusiastic, as was a second in New York a week later. Rubinstein later recanted and performed the piece as well. Years later, Tchaikovsky made some of the changes Rubinstein requested. Rubinstein’s criticisms still have merit, for the piece is in some places nearly unplayable, and the famous opening theme, for all its grandeur, is just as remarkable in its disappearance—after storming in, it continues for only 110 measures and simply drops out of the piece. At that point in the first movement, Allegro, two themes are introduced, with the athletic first theme reappearing to interrupt the more restrained second one at dramatic moments, with the piano “indulging in cadenza-like flights of startling execution,” as the Boston reviewer wrote in 1875. It ends in a burst of pyrotechnics from both orchestra and soloist. The second movement offers a respite, with the flute, oboe, and viola taking turns with the piano to develop the gentle first theme. The second is a rapid scherzo, based on a French song, “Il faut s’amuser, danser et

A 1945 copy of TIME magazine with Sergei Prokofiev on the cover

rire” (One must amuse one’s self by dancing and laughing), a song favoured by the opera singer Désirée Artôt, with whom Tchaikovsky had once been infatuated. The first theme for the final Allegro is based on a Ukrainian folk song, “Viydi, viydi Ivanku,” (Come, come Ivanku), with brilliant syncopations. A second, more lyrical theme sweeps in above the virtuosic piano line, and the piano answers in kind. The two themes build to a maestoso tutti followed by bravura fireworks all around.

Sergei Prokofiev

1891–1953

Symphony No. 5 in b-Flat major, Op. 100 Prokofiev’s compositional style was coloured by his caustic temperament, frequently given to rages. His early works were sharp, dissonant, and “objective”. He recognized four qualities that mixed, to varying degrees in his work: classical, modern, motoric, and lyrical. Prokofiev could be considered an Anti-Romantic composer; his music is clear, pointed, and slashing, rather than swooning; sarcastic rather than earnest. Here is music “glorifying the human spirit,” Prokofiev said of his Symphony No. 5, which he considered to be one of his best compositions. It was composed  inTune 17

at the height of World War II, in the House of Creative Work, a governmentsponsored refuge for composers which Prokofiev shared with such composers as Shostakovitch and Khachaturian. Completed in a single month in 1944, it nevertheless incorporated material sketched out over the previous seven years. It had been 14 years since Prokofiev’s last symphony, and this one, unlike its two predecessors, was not an amalgam of extant theatrical music. During its January 13, 1945 premiere in Moscow , conducted by Prokofiev himself, gunfire was heard, marking the Soviet army’s final push to victory. Time magazine featured Prokofiev on its cover the week after the symphony’s American premiere. The symphony’s four movements are arranged in a slow—fast—slow—fast scheme. Its development is driven theatrically: a shifting of moods and scenes seems to take the place of standard symphonic form, and there is an abundance of melody.

The opening movement contrasts two themes, the first in triple meter, the other in duple meter. The coda is a reflection on the first theme. The scherzo, marked Allegro marcato, contains material originally sketched for the Romeo and Juliet ballet (1936). The Adagio is a weighty slow movement, and the theme comes from an abandoned film score for Pushkin’s The Queen of Spades. The opening features an arpeggiated triplet accompaniment a la “moonlight” sonata, Lenin’s favorite piano piece. This oblique tribute may have paid off; the Symphony was awarded a Stalin Prize, first class. Allegro giocoso means literally, “happily humorous.” The last movement begins quietly, recalling the opening of the first movement (this time, for a divided cello section). The music that follows is, save for a solemn interlude, joyous and athletic. Energy builds, and the symphony ends with a bang. 

inTune 18

Saskatoon Symphony Society Board and Administration Board of Directors

SSO Management and Staff

Ken Coutu Rob Dobrohoczki Lynn Ewing Annalisa Govenlock Shawn Heinz Rob Hendry Sharon Hildebrand Roger Jolly Mairin Loewen Bryn Richards Kassidy Schneider

Administration Jill Reid, General Manager general.manager@saskatoonsymphony.org

Saskatoon Symphony Office 408 20th Street West Saskatoon, SK S7M 0X4 Telephone: 306.665.6414 Fax: 306.652.3364 office@saskatoonsymphony.org Website: saskatoonsymphony.org Twitter: @SSO_stoon Facebook: Saskatoon Symphony Orchestra TCU PlaceBox Office: www.tcutickets.ca or call 306.975.7799

Group discounts

Group discounts are available and there is an inexpensive student rate for Masters Series and Players’ Choice concerts. For information email groupsales@saskatoonsymphony.org or call 306.665.6414.

Program advertising

Contact Mike Covey: mike@mcmedia21.ca to receive a sales kit, including program advertising rates and to discuss how you can connect with the buying power of our audience.

Micheal Wade, Executive Assistant office@saskatoonsymphony.org Orchestra Victor Sawa, Music Director maestrovic@sasktel.net Marie-Hélène Nault Leblanc Director of Operations operations@saskatoonsymphony.org Terry Heckman, Personnel Manager personnel@saskatoonsymphony.org Lillian Jen-Payzant, Orchestra Librarian Mathieu Pouliot, Production Emilee Kowaliuk, Production Intern Finance Darci Speidel, Bookkeeper Marketing and Audience Engagement Michael McCoy, Articulate Eye Marketing Director Direct line: 306.227.3586 marketing@saskatoonsymphony.org Mary Ann Therrien, Articulate Eye Marketing Support marketingsupport@saskatoonsymphony.org Melissa Goodchild, Project Coordinator Group Sales information and bookings Call the SSO at 306.665.6414 or email: groupsales@saskatoonsymphony.org Development Mike Covey, Director of Sponsorships Direct line: 306.221.7120 mike@mcmedia21.ca

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‘The Core’ at Paved Arts March 22, 2013

“rePresent” BY DAVID LaRIVIERE AND WL ALTMAN

Surround Sound A collaboration between PAVED Arts and the SSO Paved Arts, 424 20th St W, 7:00 pm

Saskatoon Symphony Chamber Players

Generously sponsored by

Art/video works by: Terry Billings, Amber Christensen, Carrie Gates, David LaRiviere, Joanne Lyons, Karen Polowick What is our relationship to space? To time?

John Cage (US/SK) Five (woodwind quintet) Jennifer Butler (CDN) Seedlings (woodwind quintet) Gareth Cook (SK) Songs of Woods, Rock and Water (string quartet) Darren Miller (SK) Kevin Walby (violin and clarinet) Jeff Morton (SK) “The old Cause” (“The Core”; Mathieu Pouliot, conductor); WL Altman (SK) Co-Commission Piece (“The Core”) An evening of contemporary sound and video work. $15 tickets available at www.pavedarts.ca and at PAVED Arts’ office, 424 20th St West. inTune 20

Saskatoon Symphony Chamber Players

Erin Brophey Principal Oboe

Richard Carnegie Principal Double Bass

Carol Marie Cottin Principal Horn

James Legge Principal Viola

Randi Nelson Principal Flute

Oxana Ossiptchouk Principal Violin II

Lahni Russell Principal Cello

Michael Swan Principal Violin (Concertmaster)

Stephanie Unverricht Principal Bassoon

Margaret Wilson Principal Clarinet

Photos: Trudy Janssens, Photography One 2 One (except L. Russell)

Proud To Support Our Saskatoon Symphony inTune 21

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Photo: Trudy Janssens, Photography One 2 One

Gyro Productions Masters Series April 6, 2013

MAESTRO VICTOR SAWA

BLAIR LOFGREN

French Delight TCU Place, Sid Buckwold Theatre, 7:30 pm

CAMILLE SAINT-SAËNS

The Gyro Productions Masters Series is generously sponsored by

Maestro Victor Sawa conductor Blair Lofgren cello

Mercure Kaleidoscope Chabrier Joyeuse marche Saint-Saëns Cello Concerto No. 1, in A minor, Op. 33

(Blair Lofgren) I. Allegro non troppo II. Allegretto con moto III. Tempo I: Allegro non troppo

intermission

Ravel

Le Tombeau de Couperin

I. Prélude: Vif III. Menuet: Allegro moderato

Debussy

II. Forlane: Allegretto IV. Rigaudon: Assez vif

La Mer

I. From Dawn to Midday on the Sea II. Play of the Waves III. Dialogue of the Wind and the Sea

Pre-Concert Talk Learn about the music in tonight’s repertoire. TCU Place Green Room, 6:55 to 7:20 pm. Free with concert ticket. inTune 24

Maestro Victor Sawa conductor

Conservatory. After receiving the President’s Gold Medal, Blair moved to Toronto to conVictor Sawa is a triple threat of talent, experi- tinue his studies at the Glenn Gould School ence and personal dynamism. Music Director under Thomas Wiebe and John Kadz. He has also studied with such masters as Timothy of the SSO, he holds similar positions with Eddy, Laurence Lesser, Paul Katz, Aldo Parisot, orchestras in Sudbury and Regina. He was Philipe Muller, Lorand Fenyves and Walter previously Resident Conductor with the Joachim. Calgary Philharmonic Orchestra (19931997), Music Director with the North Bay Holding the post of Principal Cello of the Symphony, the Guelph Youth Orchestra Quebec Symphony Orchestra since the and the Kitchener-Waterloo Orchestra. He age of 24, Blair divides his time between also served as Principal Clarinet with the teaching at the Conservatoire de musique Kitchener-Waterloo Symphony. He has guest de Québec, playing with the orchestra conducted for orchestras across the country. and performing with the Trio Frontenac, in Victor has been the recipient of many awards and honours, including three Canada Council awards for Conducting, a Grand Prix du Disque—Best Chamber Music Recording (Canadian Chamber Ensemble), a Grammy award (with the New England Ragtime Ensemble), and the Tanglewood Festival award for Outstanding Musician.

which he collaborates with pianist Suzanne Beaubien and violinist Darren Lowe. Blair spends his summers traveling to different music festivals such as Scotia Fest and Le Domaine Forget where his style of playing and teaching attracts students from all over the world.

Blair’s most prized accomplishment is the work that he debuted and recorded, called A Montreal native, Sawa holds a Bachelor “Bright Sadness.” Composed by his friend and of Music with Distinction from McGill brother-in-law Oleksa Lozowchuk, “Bright University and an Honours Masters of Music Performance from the New England Sadness” is a work for string quintet and solo cello that marries the worlds of clasConservatory of Music. He is also a graduate of the Pierre Monteux School for sical music, Ukrainian folklore and Eastern Advanced Conductors. In 2011, Victor Sawa Orthodox sacred music. Critically acclaimed, was appointed Honorary Consul for Japan the recording was “linked by the cellist Blair Lofgren’s beautiful playing. His tone is rich in Saskatchewan. and always changing, preventing the rowdy moments in the dances from seeming overly cello pristine. Lofgren’s playing is brilliant.” As a Cellist Blair Lofgren is known as one of the soloist, he has performed with orchestras most important voices in the Canadian across Canada and can be heard regularly music scene. Equally recognized for his on CBC Radio as a recitalist and in various teaching as his performing, Blair has a chamber music ensembles. When he is not diverse career that takes him all over Canada busy with work, he can be found in either and abroad, performing in anything from Quebec or South Africa enjoying life with his classical ensembles, to bluegrass and, most beautiful wife Marianne. recently, recordings for the acclaimed “Dead Rising” video games. Described as a “tre1927–1966 mendous player”, he has collaborated with such players as Yo-Yo Ma, Joseph Kalichstein, kaleidoscope Marc-André Hamelin and Mark O’Connor. Pierre Mercure was born in Montreal.

Blair Lofgren

Pierre Mercure

Blair Lofgren began his studies at an early age in Saskatchewan with Barbara Fitzpatrick and Cameron Lowe at the Regina

Kaleidoscope, written in the late 1940s, is one of his earliest works and his first for orchestra. The CBC Orchestra in Montreal  inTune 25

first performed it in 1948. A kaleidoscope is parents within a week. It was not until 1873 a tube filled with shards of brilliantly colored that he made a true return to music. After glass that creates changing patterns of color the success of his operetta L’Etoile, in 1877, emerge as you turn the tube while looking Chabrier received recognition. In 1880 he into it. In this work, Mercure achieves the finally resigned his post in the civil service to same effect with the orchestra, featuring the devote himself entirely to music. percussion section (glockenspiel, xylophone, Chabrier considered his Joyeuse marche cymbals) to help creating changing patterns (originally entitled ‘Marche française’ then of orchestral sound, and demonstrating ‘Marche joyeuse’) “idiotically comical; the his mastery of the palette. Since its debut, musicians were in stitches.” Dedicated to Kaleidoscope has become Mercure’s most Vincent d’Indy, this “masterpiece of high frequently performed work. fantasy” is, according to Debussy, filled to overflowing with bold and colorful innovations, and with the good-natured humor 1841–1894 characteristic of Chabrier.

Emmanuel Chabrier

Joyeuse marche

Emmanuel Chabrier was born in the Auvergne, in 1841. An only child, he showed an early musical interest and ability and started studying piano at the age of six. Following family wishes, at the age of 20 he became a civil servant. Still an artist at heart, he frequented the clubs and salons of Paris. 1869 was marked by the death of both his

Camille Saint-Saëns 1835–1921 CELLO CONCERTO NO 1, IN A MINOR, OP. 33 Since he was a child prodigy, virtuoso pianist, overwhelming organist, fine teacher, creator of symphonies, operatic hits and popular

Experience exquisite, handcrafted 17th century instruments in an intimate setting.

April 27, 2013

Third Avenue United Church at 2 pm and 7:30 pm Guest artist - Randi Nelson - flute

amatiquartet.usask.ca inTune 26

favourites, critics have often assumed that music composition came easily to Camille Saint-Saëns. The opposite was the case, and he found this piece in particular extremely difficult to write, to the point that he vowed he would never write another piece for cello: a promise he broke.

heard much after their death and even the greatest names of the 18th century were lost to the 19th. Saint-Saëns was one among many who devoted time to musical archaeology; creating new editions of long lost work – in particular the riches of the 17th and 18th century keyboard and operatic composers. Their galante style is unmistakable in By the time Saint-Saëns was writing this the touching elegant dance of the middle concerto in 1870s, the work of Franz Liszt was movement here – like a door opening on a a major influence, especially in France. As a ballroom from a distant age. noted improviser, developing ideas freely over an extended period was second nature to him. Traditional forms were less important 1875–1937 than fantasy and expression. Saint-Saëns fell under Liszt’s influence, and brought a flavour Le tombeau de couperin of that composer to this piece in the way that Tombeau literally means “tomb,” but it also refers to a work written in homage to a dead themes and ideas are developed across all colleague or master. Tombeaux of this sort three movements, and they are performed are a part of French musical and literary without a break. tradition dating back to the Renaissance. The central movement reveals a second

Maurice Ravel

sense in which this piece reflects its age: its echo of the past. It is hard for us now to imagine a musical world in which the top priority was new work. Few composers were

Nearly age 40 as World War I began, Ravel agonized about enlisting and expressed anguish at the enthusiasm with which young men, including his friends, marched 

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to the front. As World War I took its toll on symphonic literature. It is a work of such Europe and French culture, the composer imagination that it stands apart from tradiwrote Le tombeau de Couperin as an hom- tions and influences, and its modernity can age to François Couperin, a major French still be felt today, more than 100 years after composer of the baroque period, but also it was first composed. as an elegy for the culture of the country The sea Debussy knew, from his childhood he loved, and a personal memorial to visits to Cannes and later travels in Italy, was friends and colleagues killed during the the Mediterranean. It’s a civilized sea, and war; he dedicated each movement to a Debussy caught its moods in all their richfallen comrade. ness. He subtitled La Mer “Three Symphonic Pianist Marguerite Long, whose husband Sketches,” and the names of the movewas one of those to whom Ravel dedicated ments provide us with verbal suggestions a movement of the tombeau, premiered to stimulate our own sense of imagery. the original piano suite in 1919, and she “From Dawn to Midday on the Sea” excame to the defence of Ravel when he plores the sometimes subtle, sometimes was criticized for the work not being sufdramatic changes of atmosphere and ficiently funereal.“The dead are unhappy lighting that accompany the progress of enough as they are,” said Long. “Is it neces- morning on the water. sary to dedicate laments to them forever?” “Play of the Waves” draws the imagination to Ravel’s composition makes use of several the spheres of light and motion. One senses dance styles, as in a Baroque suite: The the rocking of the waves, the unexpected second movement forlane is a dance from shifts of current, the iridescent glint of Italy, the third is the popular Baroque sunlight on the surface of the water and the menuet, and the final movement’s dance, mysterious depths teeming with life. a rigaudon, is from Provence. “Dialogue of the Wind and the Sea” is at once ominous and urgent: One feels close to the sea’s danger, as the orches(1862–1918) tra heaves and swells in great washes of lA mer sound. A moment of suspenseful calm Claude Debussy’s most concentrated is reached before a great, final buildup and brilliant orchestral work, La Mer, is shows the sea in stormy triumph, dazzling one of the supreme achievements in the and full of elemental force. 

Claude Debussy

‘Le fou et la mer” photo courtesy Fanny Schwal Photographie, Amiens, FR / fannyschwal.carbonmade.com

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Build The Community

Proud to support the Saskatoon Symphony Orchestra 1.800.667.7477 conexus.ca inTune 29

BOX OFFICE: 306.384.7727 | PERSEPHONETHEATRE.ORG 100 SPADINA CRESCENT EAST

Performed in the

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Funders and Corporate Sponsors 2012–2013 Season Funding Agencies

Foundations

where Series Sponsors

} or

you are, you’re going,

we will be there.

Wherever our members have come from or where they are going on their financial journeys, we’re behind them every step of the way. It’s not about how much they have. It’s about what they want to achieve. At New Community, everything we do is about our members and our community.

Presenting Sponsors

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P 653-1300 F 653-4711

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Corporate Supporters

Media Sponsors SASKATOON

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Connecting Business and the Arts

AnnuAl RepoRt 2011

Thank you to all our funders and corporate partners. For information on sponsorship opportunities or in-kind support, please email Mike Covey, Director of Sponsorships mike@mcmedia21.ca or call Jill Reid, General Manager at 306.665.4862. inTune 31

Victor has been the recipient of many Maestro SaskTel Victor SawaSymphony conductor awards and honours, including three in Schools

CanadabyCouncil awards for Conducting, a Generously sponsored Victor Sawa is a triple threat of talent, Grand Prix du Disque—Best Chamber Music experience and personal dynamism. Music Recording (Canadian Chamber Ensemble), Director of the SSO, he holds similar positions with orchestras in Sudbury and Regina. a Grammy award (with the New England Ragtime Ensemble), and the Tanglewood He was previously Resident Conductor Festival award for Outstanding Musician. with the Calgary Philharmonic Orchestra (1993-1997), Music Director with the North A Montreal native, Sawa holds a Bachelor Bay Symphony, the Guelph Youth Orchestra of Music with Distinction from McGill and the Kitchener-Waterloo Orchestra. He University and an Honours Masters of also served as Principal Clarinet with the Music Performance from the New England Kitchener-Waterloo Symphony. He has guest Conservatory of Music. He is also a conducted for orchestras across the country. graduate of the Pierre Monteux School for

Performances by Saskatoon Symphony Chamber Players: • develop understanding and appreciation of symphonic music,

• present concepts and ideas aligned with music education standards, • integrate easily with other curriculum (e.g. language arts, social studies). Invite the Saskatoon Symphony to be a part of your school community. Email Jill Reid, General Manager, general.manager@saskatoonsymphony.org, call 306.665.6414, or visit saskatoonsymphony.org for more information.

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Save the Dates! The 25th Annual

Book & Music Sale

Saskatoon Chamber Singers

My Spirit Sang All Day

APRIL 25 - MAY 4, 2013