inTune - The Magazine of the Saskatoon Symphony Vol. 1, Iss. 4 by Michael McCoy

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inTune

Magazine of the Saskatoon Symphony

Volume 1 Issue 4 April – May, 2012

Thriller!

Have we got one for you. . . For Michael-The Music of Michael Jackson

On the Hunt For Mozart?

(Hint: Try the Delta Bessborough)

Mahler’s World

The Exhilirating, Fifth

Back to school . . .

It’s where the SSO is headed.

Ready for a New Season? Exciting is not just a word?

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inTune

Magazine of the Saskatoon Symphony

Volume 1 Issue 4

Spring, 2012

Spring is definitely here and, as summer approaches, we are realizing that the Symphony season will soon draw to a close and, even sooner on May 1, we will be launching our upcoming 2012-13 season. Remember, though, that there still four more highly anticipated concerts happening before the end of May. The final Conexus Pops Series concert, For Michael— The Music of Michael Jackson takes place on April 21, with Gavin Hope of The Nylons and an array of deadly backup singers and seriously talented rock musicians from Jeans ‘n Classics. If you have never been to the Symphony before—now is the time! Have you attended any of our Music for a Sunday Afternoon concerts? If you have, you know firsthand how interesting and rejuvenating they can be—just sit back, relax in the beautiful setting of the Delta Bessborough and let the music inspire you. No, you certainly don’t have to dress up—come as you are! We have two of these intimate concerts remaining this season, one on April 29 and May 27. At the beginning of the season Maestro Sawa promised a spectacular finale and that’s what the orchestra, along with the Saskatoon Youth Orchestra, is going to deliver. Mahler’s Fifth Symphony is legendary in its power and fury and yet it contains one of the most tender, moving pieces you will ever experience. Make Mine Mahler, May 19 at TCU Place, is like going to the midway and buying a ticket for most mind-blowing thrill ride you’ll find there. People will tremble and shake their heads as you walk through the gate, but when you walk out afterwards, you know it was an experience of a lifetime that you can’t describe adequately to anyone who hasn’t had or taken the leap. We hope you will leap (or amble) into one of these final concerts and let us know what you liked. In the meantime, enjoy the concerts and the reading. inTune 3

You are invited!

Also in this issue

Help launch the Saskatoon Symphony Orchestra’s 2012-2013 Season of Champions

Tuesday, May 1 - 10:00 am 408 - 20th St. West Please RSVP by April 27 Email office@saskatoonsymphony.org or call 665-6414

Orchestra musicians and 6 Chair sponsors Welcome messages 9 Pre-concert talks 12 SaskTel Symphony in Schools 27 Funding agencies and Corporate sponsors

SSO Book & Music Sale 10 Drop-off locations Supporters circle 41 Board of Directors and 45 Administration We think you should know 46 and Group Discounts

Published by the Saskatoon Symphony Society 408 20th Street West, Saskatoon, SK S7M 0X4 Phone: 306.665.6414, office@saskatoonsymphony.org, www.saskatoonsymphony.org Comments and suggestions are welcome. Please send to marketing@saskatoonsymphony.org or contact the SSO office Program advertising enquiries: Mike Covey, mike@mcmedia21.ca Contributors to this issue Mike McCoy, Joan Savage, Margaret Wilson, Richard Carnegie, Jill Reid, Terry Heckman, Marie-Hélène Nault Leblanc, Mike Covey Photos by Trudy Janssens CAVA Symphony ad:5 10/7/10 4:42 PM Page 1 - Photography One 2 One, Mike McCoy, Jill Reid, , others contributed. Printed in Canada. © Saskatoon Symphony and contributors. PLEASE NOTE: Concert details subject to change without notice.

The good life starts with great wine

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inTune 4

inTune

Magazine of the Saskatoon Symphony

Volume 1 Issue 4 April / May 2012

Contents how the gimquat found its song 11

Classics for Kids – April 2, 2012

Dr. Glen Gillis, conductor Platypus Theatre

FOR MICHAEL – THE MUSIC OF MICHAEL JACKSON 14

Conexus Pops Series – presented by Potash Corp – April 21, 2012

Jeans ‘n Classics with the Saskatoon Symphony Maestro Victor Sawa, conductor Gavin Hope, lead vocals Katalin Kiss, Kathryn Rose, Lis Soderberg, backing vocals Peter Brennan, guitar; Paul DeLong, drums; Kevin Muir, electric bass; Don Paulton, keyboards

on the hunt for mozart 22

Music for a Sunday Afternoon Series – April 29, 2012 Online brochure / website

saskatoonsymphony.org Buy tickets online at

tcutickets.ca in person TCU Place Box Office by phone 975.7799 toll-free 1.888.639.7770

Saskatoon Symphony Chamber Players

make mine mahler 28

Gyro Productions Masters Series – May 19, 2012

Maestro Victor Sawa, conductor with the Saskatoon Youth Orchestra

SUITE BEETHOVEN 35

Music for a Sunday Afternoon Series – May 27, 2012

Saskatoon Symphony Chamber Players inTune 5

Violin 1

Violin 2

Cello

Michael Swan, Concertmaster

Oxana Ossiptchouk, Principal

Linda Bardutz, Principal

Chair generously sponsored by Darien Moore and Don Ching

Chair generously sponsored in Anonymity

Martha Kashap, Assistant Concertmaster Mary Lou Day Lillian Jen-Payzant Joan Savage Marcel van den Hurk Simon Fanner Maxim Pletnev Nova Wong

Karen Bindle Rosanne Daku Karen Ogle Sophie McBean Arthur Boan William Boan Evan Friesen

Viola James Legge, Principal Saache Heinrich Jeremy Janzen Katie McBean Heather Wilson

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

Bass Richard Carnegie, Principal David Humphrey David Grosse Warren Hay Dave Pyra (on leave) 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 Philip Kashap, Kim deLaforest, Sarah Ohnander Viola Emily Woytiuk, Miles Buchwaldt, David Parkinson Bass Nevin Buehler, Zachary Carter Flute Jennifer McAllister, Melanie Sydiaha Oboe Sara Spigott Bass Clarinet Adrianna Dyksman Bassoon Danielle Robertson-Boersma, Peter Gravlin Trumpet Frank Harrington Percussion Mark Altman, Will Martin Piano/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 Mrs. Lilian and Mr. Doug Thorpe

Chair generously sponsored by Dr. Mary C. Marino

Tuba

Marie Sellar (bassoon, contrabassoon)

Brent Longstaff, Principal

Horn

Darrell Bueckert, Principal

Carol-Marie Cottin, Principal

Margaret Wilson, Principal

Chair generously sponsored by Marguerite Caldwell

Chair generously sponsored by Ms. Betty Reynolds

Chair generously sponsored by Jack and Sylvia Vicq

Arlene Shiplett Dubrena Myroon Micajah Sturgess

Mathieu Pouliot, Principal

Brenda Moats (flute, piccolo)

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

Clarinet

Bradley Powell (on leave) Alyssa Thompson, Acting Second Clarinet

Trumpet Terry Heckman, Principal Daniel Funk Dean McNeill

Bassoon emeritus Peter Gravlin, Retired

Timpani

Percussion Chair generously sponsored by The Ewing Family, in Memory of Earl and Mary Ewing Trent Remlinger (on leave) Brad Litster, Acting Second Percussion

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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Welcome to the final portion of the SSO’s 2011/12 season. Each concert described in these pages is unique, as you will realize as you read about and attend them. Many thanks to our wonderful corporate partners, to our musicians and staff, to our subscribers and donors, and to our audience. You have made this season great! The SSO is committed to truly being a part of—and contributing to—our diverse community. For example, our Classics for Kids concert has a new event called Family Festival of Music Round the World, where young people demonstrate how they incorporate music into their lives. It’s one way to welcome newcomers to the Canadian and SSO families and for us to learn more about them and their culture. Our new home in Riversdale presents similar opportunities. A great, growing city like Saskatoon needs an equally vibrant orchestra and the SSO will soon launch a campaign to ensure that the resources needed will be available in order to continue to foster excellence in musicianship, to take great music to the people, and to use the power of music to make a positive difference. Thank you for your past support, and please join us at our concerts and in our fundraising efforts to help orchestrate the future for the SSO and Saskatoon. Enjoy the music! Jane Wollenberg, President Saskatoon Symphony Society

From the Musicians Thank you for joining us for this dynamic season! 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.

Photos: Trudy Janssens, Photography One 2 One

Welcome from the SSO!

From Maestro Vic At the start of this season I used the slogan “Music—it’s about your life.” I’m sure that many times since circumstances have proven that statement true in your life. Music is the “soundtrack” of life and I am so pleased that my playlist includes the SSO. Our final Gyro Productions Masters Series concert of the season, Make Mine Mahler is a great example of music being a part of life. Gustav Mahler’s Fifth Symphony, takes you on a journey through a gamut of emotion and will leave you wanting more great music and unique, powerful experiences. The launch of our upcoming 2012–2013 season is on Tuesday, May 1 at the SSO’s own space at 408-20th St. W. We are excited about the plans for the new season, and I think you will be too. I’m told I can’t reveal anything until the launch, but I would love to invite you to attend that morning at 10 a.m. Call or email the SSO office so we’re expecting you. I look forward to meeting you there or, better yet, at one of our final concerts of this season. 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

Book & Music Sale Thank you volunteers, donors, drop off locations and our customers for another successful sale! Thanks also to our contributing sponsor:

Proceeds from the sale support the SSO

DONATE ITEMS YEAR-ROUND! Most books, sheet music, records, CDs, videos, DVDs and collectibles.

Drop-off Locations Please call ahead to ensure space is available.

EAST SIDE Just Scrap It! The Scrapbook Shop 108 103rd St. E. 955-4850 Willeyâ&#x20AC;&#x2122;s Jewellers 714 Broadway Ave. 653-0833

SaskEnergy is proud to support the Saskatoon Symphony Orchestra.

WEST SIDE SASKATOON SYMPHONY OFFICE 408 20th St. W. 665-6414 Centennial Plumbing, Heating & Electrical 710 51st St. E. 665-5366 Galon Insurance Brokers 909 3rd Ave. N. 244-7000 LaRoche McDonald Agencies 202A 22nd St. W. 244-7955 Mount Royal Drugs 701 Ave. P N. (at 29th St.) 382-7373 Humboldt HUMBOLDT Shoppers Drug Mart 627 Main St. (306) 682-2541

For more info and to check for items that acceptable for donation see our website:

sale.wgpotter.com or call Saskatoon Symphony - 665-6414

inTune 10

Classics for Kids April 2, 2012

GRIFFLE THE GREAT AND THE GIMQUAT

DR. GLEN GILLIS

Platypus Theatreâ&#x20AC;&#x2122;s How the Gimquat Found Her Song TCU Place, Sid Buckwold Theatre, 2:30 pm

Dr. Glen Gillis conductor

Thank you to SaskEnergy who generously sponsored and supported this event

Written by

Peter Duschenes Stage direction and puppet design

Peter Duschenes and Meredyth Babcock Originally produced by

Michael Duschenes Performers: Gimquat

Danielle Desormeaux Wizard

Peter Duschenes Stage Manager Wendy Rockburn Be sure to keep your SaskEnergy Passport from the Gimquat event! inTune 11

Free Pre-Concert Talks Prior to Masters Series Concerts

Enhance Your Experience at the Symphony ATTEND THE PRE-CONCERT TALK Relax, you don’t need to have a knowledge of music to enjoy Saskatoon Symphony Orchestra concerts! However, if you would like to find out more about the music being performed, join us for free talks before SSO Masters Series events. Hosted by David Kaplan and friends, the pre-concert talks focus on the evening’s repertoire and the composers. Whether you are attending a classical music concert

for the first time, or are in the audience on a regular basis, you will find the sessions relaxed and informative. They begin at 6:55 pm and conclude by 7:20 pm, in time for you to take your seat in the theatre. 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. Occasionally, the location may vary, but signage will keep you informed..

DAVID L. KAPLAN, CM., Ph.D, OC

Since 1960 David Kaplan has made varied and exceptional contributions to Saskatchewan’s musical life. Professor Emeritus, and former head of the University of Saskatchewan’s Department of Music, he conducted the Saskatoon Symphony from 1963–1969 and from 1970–1971, founded the Saskatchewan Music Council, and chaired the Canadian Music Centre’s Prairie Regional Council. He has arranged or composed pieces for woodwinds, including a series of 50 solos for school use in 1985. Dr. Kaplan devotes much of his time to his community. The Saskatoon Klezmer Band, Zmarim, was formed in 1985 after some informal “kibitzing” at a Bar Mitzvah. He has organized events such as the Festival of Faith for Multi-Faith Saskatoon, as well as the musical activities for the annual Holocaust Memorial and Remembrance Day services. In 2010, former international students Xiaoping “Bob” Xu and Ling Chen, of China, donated a $1 million scholarship fund to the U of S Music Department in Dr. Kaplan’s name.

inTune 12

PotashCorp is proud to feed the future of the Saskatoon Symphony and the performing arts in our community. PotashCorp.com

April 21, 2012

GAVIN HOPE

KATALIN KISS

KATHRYN ROSE

For Michael -The Music of Michael Jackson

LIS SODERBERG

Presented by

TCU Place, Sid Buckwold Theatre, 7:30 pm

Jeans ‘n Classics with the Saskatoon Symphony Orchestra Maestro Victor Sawa conductor

The Conexus Pops Series is generously sponsored by

Gavin Hope lead vocals Katalin Kiss backing vocals Kathryn Rose backing vocals Lis Soderberg backing vocals Peter Brennan guitar, Jeans ‘n Classics founder Paul DeLong drums Kevin Muir electric bass Don Paulton keyboards Thanks to Darren’s Music Place, St. John’s Music, Amanda Murray (def Sol Productions Urban Dance and Hip Hop Culture Saskatoon) for production assistance.

Express yourself with pre-concert karaoke and enjoy the hip hop and dance moves of def Sol Productions in the lobby. inTune 14

Photo: Trudy Janssens, Photography One 2 One

MAESTRO VICTOR SAWA

Repertoire Billie Jean I Want You Back ABC Never Can Say Goodbye Ben Rockin’ Robin I’ll Be There Rock With You Don’t Stop ‘Til You Get Enough INTERMISSION Workin’ Day And Night Off The Wall Wanna Be Startin’ Somethin’ Beat It The Way You Make Me Feel P.Y.T. (Pretty Young Thing) Human Nature Thriller Visit the Jeans ‘n Classics website: www.jeansnclassics.com

Victor Sawa conductor See Maestro Sawa’s bio on p. 37.

Gavin Scott lead vocals Gavin has diverse experience through song, stage, film, and TV. After being the youngest member in Calgary Opera Chorus history, he’s been a member of Alberta pop group The EarthTones, sung with Michael Bolton, and eventually he became a member of Canadian pop a cappella institution, The Nylons. Four albums, constant touring, and a Juno nomination later, Gavin ventured into theatre, where highlights include Rent, and the opportunity to play the role of Simba in the original Canadian company of The Lion King. Other selected credits include The Tempest and As You Like It with Canstage, and Smokey Joe’s Café with Calgary’s Stage West. Gavin recorded his debut album “Anything Like Mine” in 1998, gaining favorable chart positions on Canadian airwaves with nine singles, including “Can I Get Close” which garnered him another Juno nomination for best R&B recording. He has had many opportunities to travel the world and share the stage with celebrities such as Deborah Cox, Jill Scott, Shania Twain, Michelle Wright, Natalie Cole, James Brown, and Aretha Franklin. After some time gigging with multiple bands, performing jingles for radio and television, being a featured vocalist with Royal Caribbean and Celebrity Cruise Lines, Gavin is now looking forward to getting back in the studio to record another album.

Katalin Kiss backing vocals Katalin is known in the Canadian music industry for her staggering, tear-the-roofoff, goosebump-inducing vocals. In her travels she’s worked with many legends: Del Shannon, Chubby Checker, Chuck Berry, and Chaka Khan.  inTune 15

A much-respected member of the Jeans ‘n Classics family, Katalin lives in Picton, Ontario with her bassist husband and kids X 3. They have their own recording studio and have just begun renting a vacation cottage on their property in “beautiful Prince Edward County” over the summer months.

Kathryn Rose backing vocals

Lis Soderberg backing vocals Lis Soderberg is a longstanding core member of Jeans ’n Classics. An award-winning songwriter, singer and voice actor, she continues to record and perform solo in addition to her work with Canadian and international artists. She is heard frequently on TV & radio commercials, and is also the voice welcoming you aboard Air Canada.

As a singer songwriter, “Canada’s original bombshell” Kathryn Rose is known for her artful, cerebral brand of sexy/sad/funny cinematic pop. Her latest release, Something I Can Use (2010), is a compilation of favorites from her three previous solo albums, with new, live and reworked tracks, available at her website and on iTunes.

Lis lives in Toronto with her husband Brent Barkman and two daughters, Cole and Ellis.

Kathryn’s is one of the country’s top “goto” voices, having sung on well-over 60 albums of other artists. Her live and studio appearances include work with Barenaked Ladies, Oliver Schroer, Patti Labelle, Sir Tom Jones, Stephan Moccio, Ron Sexsmith, Anne Murray, Martin Fry (ABC), The Spoons, Susan Aglukark, Esthero, Sarah MacLachlan and many more. She has also sung on countless soundtracks and jingles. She provided vocals for TV shows Battle Of The Blades and the last two seasons of Canadian Idol. Her own songs have been placed in film and television, and have been covered by Melanie Doane and Slean Slean, both with the acclaimed Art Of Time Ensemble.

Jeans ‘n Classics founder

Kathryn balances her solo music career with sitting on the Board of CIRAA (Canadian Independent Recording Artists’ Association), finding time to play prestigious events in her trio side project with jazz star Emilie-Claire Barlow and Juno winner Melanie Doane, and laughing at the antics of her young daughter and son. www.kathrynrose.com

Her latest solo CD “Refuge” (2010) is available online at iTunes and at other retailers, as well as on her website, www.lissoderberg.com.

Peter Brennan arranger, guitarist, Born in England, Peter moved to Canada as a child. He studied music formally for a time, but ultimately the lure of a traveling rock band won out. During the ‘70s and ‘80s he toured extensively throughout North America, as a guitarist and Music Director with a variety of groups. He also became an in-demand producer/arranger with top ten successes in the UK, producer awards and grants in Canada, and was selected as a Juno judge. Peter has always loved the sound of a rock band with an orchestra. In the early ‘90s this dream became a reality for him with the establishment of Jeans ’n Classics. What began as seven scared people assembled for a one-off concert experiment with an equally nervous orchestra, has grown into an ensemble of twenty-nine people presenting forty-five different pop/ rock productions with over eighty orchestras worldwide, to some two hundred thousand people annually. The J&C family features some of the finest vocalists and instrumentalists in Canada and the US, and boasts a number of headliners of worldwide note, including Roger Hodgson (formerly of Supertramp) and Martin Fry of ABC.While there have been  inTune 16

inTune 17

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inTune 18

Kevin Muir electric bass

PETER BRENNAN and continue to be magnificent concert and orchestral experiences with Jeans ’n Classics, certainly the April 2009 concert with ABC at The Royal Albert Hall in London, England stands out. On the home front Peter recently received the Mayor’s Award for the Arts in London, Ontario where he resides. He was named to the University Of Western Ontario, Faculty Of Music “Wall Of Fame” in Sept. 2010.

Paul DeLong drummer Best known for his multi-platinum success with rock artist Kim Mitchell, Paul is a Juno award winner and respected session player who has forged a career encompassing funk, fusion, jazz and Latin, working with such diverse artists as Tom Scott, Domenic Troiano, David Blamires, Lawrence Gowan, Carlos Del Junco, Carol Welsman, Colm Wilkinson, Hilario Duran, David Clayton Thomas, Roger Hodgson and The Canadian Tenors, to name a few. He is one of SABIAN Cymbals’ most popular and effective clinicians. He has taught part-time at Humber College in Toronto for the past 24 years. His book “DeLong Way To Polyrhythmic Creativity On The Drumset” is now being distributed worldwide by Hudson Ltd.

Kevin began his musical career on violin before discovering the acoustic bass. He shifted to that instrument full-time in university, earning his music degree from the University of Western Ontario (Hon. Bachelor of Music, Theory & Composition, Gold Medal). He’s been performing as a bassist ever since, traveling across the continent. Kevin’s been the bass player with the Stratford Festival Orchestra since 1993, and can also be found playing orchestral, chamber, jazz, and pop music all over Southern Ontario, while doing his fair share of session work in the area. Occasionally he re-emerges as a composer, and has had his works performed in small venues here and there. Kevin currently resides with his wife and son, two dogs, two cats, and a horse in the middle of a field somewhere outside of St. Marys, Ontario.

Don Paulton keyboards As a longtime member of Canadian supergroup “Lighthouse,” Don was inducted into the Canadian Rock and Roll Hall of Fame in 1993. He has worked with five Juno award-winners and has performed with such acts as Chuck Berry, Aretha Franklin, The Byrds, Peter Noone (Herman’s Hermits), Del Shannon, Ben E. King, Leslie Gore and the Platters. Don toured extensively with the hit theatre production, “A Closer Walk With Patsy Cline,” mastering the piano styles of Floyd Kramer, and has appeared with orchestras across North America as a much valued member of the Jeans ‘n Classics band. 

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A New Mel Brooks Musical Book by Mel Brooks and Thomas Meehan Music and Lyrics by Mel Brooks Original direction and choreography by Susan Stroman By special arrangement with StudioCanal

THE PRODUCERS

Outrageous, hilarious, a teeny bit offensive, off the wall, and the winner of a record 12 Tony Awards. You will find yourself holding your sides with laughter as Max Bialystock and Leo Bloom sing and dance their way through the greatest show biz scam there ever was! Mature content. Directed by Ron Knoll | Produced by Peter England June 30 – July 8 | Frank & Ellen Remai Arts Centre www.saskatoonsummerplayers.ca THE PRODUCERS is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. 421 West 54th Street, New York, NY 10019 Phone: 212‐ 541‐4684 Fax: 212‐397‐4684 www.MTIShows.com

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Music for a Sunday Afternoon April 29, 2012

WOLFGANG AMADEUS MOZART

On the Hunt for Mozart

Generously sponsored by

Delta Bessborough, 2:30 pm

Saskatoon Symphony Chamber Ensemble

Mozart, W. A.

String Quartet No. 17 in B-flat Major, K. 458 – “The Hunt”

Allegro vivace assai

Menuetto: Moderato Adagio Allegro assai

Saeverud

Wind Quintet no. 2, Op. 56

Allegro con spirito Andante affettuoso Andante con moto - allegro molto subito Andantino Vivace

intermission

Sibelius

En Saga Septet (reconstructed and edited by Gregory M. Barrett)

Enjoy coffee & tea service during intermission. inTune 22

Wolfgang Amadeus Mozart Harald Saeverud 1897–1992 1756–1791

sTRING QUARTET NO. 17 IN B-FLAT MAJOR, K. 458, “THE HUNT” Wolfgang Amadeus Mozart was born in Salzburg, Austria, on Jan. 27, 1756. He was a famous child prodigy, studying both violin and piano with his father, Leopold Mozart, who sacrificed his own career to some degree in order to further the career of his son. Wolfgang made his first attempts at composition at the age of four, and in his short lifetime became the most influential composer of the Classical era. He wrote over 600 works in all genres—symphonic, concertante, chamber, operatic and choral music. Of the 26 string quartets written by Mozart, the first was written in 1770 at the age of 14, and the last was written in 1790, one year before his death. The six string quartets numbers 14 – 19 (written 1782 – 1785) are dedicated to Haydn and are known as the “Haydn” quartets. In dedicating this group of quartets Mozart acknowledged Haydn’s tremendous influence in the development of the string quartet.

WIND QUINTET NO. 2, OP. 56 Harald Saeverud was born in Bergen, Norway, and is considered by many to be the most important Norwegian composer after Edvard Grieg. Interestingly, both wrote works based on Ibsen’s Peer Gynt. Saeverud studied piano and harmony at the Musical Academy in Bergen (1915–1919) and later attended the Berlin Hochschule fur Musik. Upon his return to Bergen he earned his living as a pianist and teacher, and his compositions at this time (early 1920s) were in a rich romantic style influenced by Brahms and Bruckner. However, Saeverud gradually began to experiment with other musical styles and by the 1930s his works began to take on a more powerful and dissonant character. In 1933 he received a grant which enabled him to devote his full-time attention to composition. He has a substantial body of work including 9 symphonies, concertos, film scores, overtures, divertimentos, as well as string quartets and a number of other chamber music works.

Included in Saeverud’s late chamber music output are two wind quintets written for the Bergen Wind Quintet, whose playing he The String Quartet No. 17 was completed admired so much. The Wind Quintet Nov. 9, 1784, and was published the folNo. 2, Op. 56 was published in 1985, and lowing year as the fourth in the group both quintets (also the Wind Quintet No. 1, of six. The first movement begins with a Op. 21a) have been recorded by the Bergen theme in the two violins that is reminiscent Wind Quintet. of a hunting horn call—thus it has been dubbed “The Hunt”. There are a few sur1865–1957 prises in this quartet. There is an unusual treatment of the sonata form in the first EN SAGA septet movement and Mozart reversed the order (Reconstructed and edited by Gregory M. Barrett) of the second and third movements. The Jean Sibelius was a Finnish composer of second movement menuetto is very light the late Romantic period and played an and cheerful, and the third movement important role in the formation of the adagio is dominated by a long, eloquent Finnish national identity. He was brought melody in the first violin. It is eventually up in a Swedish-speaking family, but joined by the cello in a wonderful diaacquired a knowledge of the Finnish logue. The last movement returns to a very language and traditional literature at bright cheerful mood. Some passages of school. Sibelius took his training in Helsinki this quartet were used for the soundtrack and Berlin and made his career in Finland. of the 2005 movie “Because of Winn-Dixie”. Although quite prolific in the early part 

Jean Sibelius

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™ e f i L r ey yfoo Ment Mor rn ur retire uLes e The Sibelius monument in Helsinki, Finland. (photo unattributed).

of his life he composed very little after 1926. His works include seven symphonies, symphonic poems, concertos, chamber music and piano music, and many stage works. En Saga began its life in the spring of 1891 as an Octet for Flute, Clarinet and Strings, but by September of 1892 it had become a Septet. By November of 1892 it had evolved into a piece called “Ballet Scene No. 2” and one month later it became a full orchestral work called “En Saga”. Unfortunately none of the scores of the three earlier works which led to the final full orchestral version have survived. Gregory M. Barrett is an Associate Professor of clarinet and chamber music at Northern Illinois University and was inspired by the music of Jean Sibelius. He says “as the lost Septet leads to the first version (1892) of the orchestral En Saga, I have based my Septet reconstruction on this score which is housed in the library of the Helsinki Philharmonic Orchestra.... Sibelius’s 1892 orchestral En Saga is marked by huge contrasts in dynamics and instrumental forces used in the orchestration. It includes the mightiest of heart-thumping climaxes, yet the greater part of the score is spare woodwind and string passages recalling its chamber music origin.” 

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SaskTel Symphony in Schools Generously sponsored by

Performances by Saskatoon Symphony Chamber Ensemble musicians. 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). These schools participated in the SaskTel Symphony in Schools program in 2011â&#x20AC;&#x201C;12. St. George School

Caswell School

Queen Elizabeth School

Mayfair School

John Dolan School

Lawson Heights School

St. Edward School

Allegro Montessori School

Silverwood Heights School

Sutherland School

Fairhaven School

Forest Grove School

Westmount School

Bishop Pocock School

St. Mary Community School

Brunskill School

Prince Phillip

Saskatoon French School

Dr. J. G. Egnatoff School

Brilliant Star Montessori School

Lakeridge School

Ecole Lakeview School

Pope John Paul II School

Brevoort Park School

Is your school on the list? Invite the Saskatoon Symphony to be a part of your school community. Email Lenora Bells, Arts Education Consultant: lenora.bells@saskatoonsymphony.org, call the SSO office at 665-6414, or visit saskatoonsymphony.org for more information. inTune 27

Gyro Productions Masters Series May 19, 2012

MAESTRO VICTOR SAWA

SASKATOON YOUTH ORCHESTRA

Make Mine Mahler TCU Place, Sid Buckwold Theatre, 7:30 pm

The Gyro Productions Masters Series is sponsored by

Maestro Victor Sawa conductor with special guests:

Saskatoon Youth Orchestra

(Richard Carnegie, SYO Music Director)

Shostakovich Festive Overture, Op. 96 (with the Saskatoon Youth Orchestra) Respighi Ancient Airs and Dances, Suite 1 intermission

Mahler

Symphony No. 5

PART I

Trauermarsch Stürmisch bewegt

Scherzo: Kräftig, nicht zu schnell

PART II

PART III

Adagietto Rondo – Finale

Thank you for your support of the SSO this season. Please enquire in the about our exciting array of concerts in the upcoming 2012–2013 season. inTune 28

Saskatoon Youth Orchestra The Saskatoon Youth Orchestra is celebrating its 54th year serving young musicians in Saskatoon and area. More than a thousand young people have been part of the program, which has helped many on the road to a music career and many others to a lifelong love of orchestral music. The SYO Program includes the Youth Orchestra itself for musicians aged 13 to 25, a Double Bass Beginner Program, and the Saskatoon Strings, a group for string players aged 10 to 17. Members study privately and audition for membership. The youth orchestra has won the Christopher Gledhill Award by the Canadian Music conductor Educators’ Association six successive Victor Sawa is a triple threat of talent, experi- times since 1993. The SYO has represented ence and personal dynamism in the orches- Saskatchewan at festivals and in performances from British Columbia to Quebec. In tral world. Music Director of the Saskatoon Symphony Orchestra, he holds similar posi- 2005, the orchestra toured and performed in tions with orchestras in Sudbury and Regina. several communities in Manitoba including Winnipeg, Brandon, and Gretna. In 2006, Maestro Sawa was previously Resident the group joined Surrey Youth Orchestra for Conductor with the Calgary Philharmonic an orchestral workshop at the Banff Centre Orchestra (1993-1997), Music Director with the North Bay Symphony, the Guelph Youth for the Arts. In April 2007, the orchestra participated in a workshop in Edmonton with Orchestra and the Kitchener-Waterloo performances in Lloydminster and Edmonton. Orchestra. He also served as Principal In 2008, the orchestra participated in a workClarinet with the Kitchener-Waterloo shop in Calgary with the Calgary Philharmonic Symphony. He has been a guest conductor Orchestra. In 2009, the Saskatoon Strings and for orchestras across the country. Youth Orchestra performed at Rawlinson Centre in Prince Albert with the Prince Victor has been the recipient of many Albert Strings and Prince Albert combined awards and honours, including three mass youth choir. In the fall of 2009, Richard Canada Council awards for Conducting, a Grand Prix du Disque—Best Chamber Music Carnegie was appointed Musical Director Recording (Canadian Chamber Ensemble), upon Wayne Toews’ retirement after 25 years of directing the SYO. Repertoire consists of a Grammy award (with the New England professional calibre music in a broad range Ragtime Ensemble), and the Tanglewood of styles. In the Spring of 2010, they had a Festival award for Outstanding Musician. retreat with Conductor Victor Sawa at the A Montreal native, Sawa holds a Bachelor University of Manitoba. Fall of 2011, the of Music with Distinction from McGill Orchestra attended the Banff Youth Orchestra University and an Honours Masters of Symposium. The Orchestra had a very popuMusic Performance from the New England lar 2011 spring concert this past season featurConservatory of Music. He is also a ing the music from Star Wars –three sold out graduate of the Pierre Monteux School for concerts. Chamber Orchestra performances Advanced Conductors. In 2011, Victor Sawa and solo concerto performances with the was appointed Honorary Consul for Japan. Orchestra have become part of the 

Victor Sawa

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performances given by SYO. The SYO Program serves elementary, high school, and university students from a broad area including Clavet, Vanscoy, Waldheim, Battleford, North Battleford and Saskatoon. The orchestra always welcomes inquiries from interested young instrumentalists.

Richard Carnegie

Director, Saskatoon Youth Orchestra Richard Carnegie is Director of the youth orchestra program. Richard has been principal double bass of the Saskatoon Symphony since 2006 and was appointed director of the Saskatoon Youth Orchestra in July 2009. His creative activities blur the line of a traditional classical musician and include a professional acting debut with Persephone Theatre, frequent performances with the Mark deJong Trio, collaborations with singer-songwriters and rock bands and his one-man show “Conversations with My Double Bass”. Richard has served as instructor of the youth orchestra’s Double Bass Program, continues to work as a sessional lecturer in the University of Saskatchewan Department of Music and teaches in his private teaching studio as well as a clinician in Saskatoon-area schools. He received a Bachelor of Music from the Manhattan School of Music and studied at Royal Conservatory of Music’s Glenn Gould School and the National Arts Centre Summer Music Institute. He credits his teachers, youth orchestra experiences and parental support for the good fortune to have a professional life filled with music. Richard (double bass) was selected as one of three Canadians to play in the YouTube Live Orchestra in Sydney, Australia in March, 2011.

Dmitri Shostakovich 1906–1975 FESTIVE OVERTURE, OP. 96 Shostakovich wrote his Festive Overture in three days in 1954. Moscow’s Bolshoi Theatre commissioned the work when, due to political maneuverings, they were suddenly in need of a piece to celebrate

the 37th anniversary of the 1917 October Revolution. His friend Lebedinsky said, of watching Shostakovich compose: “The speed with which he wrote was truly astounding. Moreover, when he wrote light music he was able to talk, make jokes and compose simultaneously, like the legendary Mozart. He laughed and chuckled, and in the meanwhile work was under way and the music was being written down.” Shostakovich’s varied compositions reveal a man torn between his own creative impulses and his fear of the Soviet Union’s cultural police. Of this uneasy balance Shostakovich wrote: “It didn’t matter how the audience reacted to your work or if the critics liked it. All that had no meaning…. There was only one question of life or death: how did the leader like your opus?” Shostakovich’s struggle is not evident in Festive Overture, however. It is a “brilliant, effervescent work, with its vivacious energy spilling over like uncorked champagne.”

Ottorino Respighi 1879–1936 ANCIENT AIRS AND DANCES, suite I Respighi was a composer, violinist, and musicologist whose fascination with music of the Renaissance and Baroque eras greatly influenced his compositional style. This is particularly evident in his three suites based on ancient airs and dances. The first movement of Ancient Airs and Dances: Suite 1 (1917) uses music by 16th century lutenist and composer Simone Molinaro. It is a stately “Balletto” and was written to accompany a pantomime, moving, like the dance, in a formal, graceful way. The second movement, Galliarda, uses music from the father of scientist Galileo, virtuoso lutenist and 16th century composer, Vincenzo Galilei. Queen Elizabeth I loved to dance the galliard, which is athletic and vigourous, like the music. The last two movements are based on music from anonymous composers. inTune 30

The third movement, Villanella, features a beautiful oboe melody that is then treated

We can never know for sure what prompted this change. In February of 1901 he had a near-death experience – an intestinal hemorrhage left him lying in a pool of blood. During his recovery he studied the music of J.S. Bach, and it is easy to see the influence Bach’s contrapuntal style had on Mahler’s subsequent work. It is also easy to hear the theme of death that permeates Mahler’s compositions from 1901; the opening of the Fifth Symphony is a funeral march.

In March of 1901 Mahler met and fell in love with Alma Schindler. Herself a composer, she encouraged Mahler to move away from Gustav Mahler (painting by Peter G. Knight, music based on texts to a more absolute PeterGKnight.com), Alma Mahler c. 1902 music free from literary references. Perhaps Alma’s most striking influence on the Fifth by the other instruments in turn. It is based Symphony is the Adagietto, the movement on a form of Neopolitan vocal music. The Mahler wrote as a love letter to her. The fourth and final movement, Passo mezzo e final three movements, all composed after Maschereda, is the liveliest, evoking a mastheir marriage in 1902, are full of love and querade at a Venetian carnival, with the exuberance and give this Symphony the suite ending with a festive trumpet fanfare. feeling of moving from death into life – a technique prevalent in the works of earlier composers, most notably Beethoven in 1860–1911 his own Fifth Symphony. The vast range symphony no. 5 of emotions in Mahler’s Fifth live up to his The year 1901 was a year of great change declaration: “A symphony must be like the for Mahler. Until then he had written symworld. It must contain everything.” phonies highly unusual in their form, using singing and texts based on his earlier songs. After hearing the first rehearsal, Mahler But in 1901, Mahler went through upheavals wrote to Alma: “Heavens, what is the public to make of this chaos in which new worlds that changed not only his life but also the are forever being engendered, only to style and content of his compositions. crumble into ruin the next moment? What Mahler had overcome great obstacles are they to say to this primeval music, this to become conductor of the Vienna foaming, roaring, raging sea of sound, to Philharmonic. This prestigious position gave these dancing stars, to these breathtaking, him the freedom to retreat, in the summers, iridescent, and flashing breakers?”  to his villa in Maiernigg on the Lake of Wörth where he composed the majority of his works. It was here, the summer of 1901, that he wrote the first two movements of the Fifth Symphony.

Gustav Mahler

When beginning work, Mahler decided his Fifth Symphony would be “a proper symphony with four movements, each complete in itself, all connected only by their similar moods. “

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

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Igniting our spirits through music Deloitte is a proud sponsor of the Saskatoon Symphony Orchestra

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By Maynard Collins Starring Zachary Stevenson

April 18 ~ May 2, 2012 Pictured: Zachary Stevenson performed in the

Photo by Tim Matheson Season Title Sponsor

BOX OFFICE 384-7727

www.persephonetheatre.org BMO 2011/2012 Season

Remai Arts Centre 100 Spadina Crescent East, S7K 0L3

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Music for a Sunday Afternoon May 27, 2012

LUDWIG VAN BEETHOVEN

RICHARD CARNEGIE

Suite Beethoven Delta Bessborough, 2:30 pm

Generously sponsored by

Saskatoon Symphony Chamber Ensemble

Gayfer

Suite for Woodwind Quintet

Overture

Waltz Dirge Interlude March

Beethoven String Quartet No. 4 in C minor, Op. 18, No. 4

Allegro ma non tanto Sherzo: Andante scherzo quasi allegretto Minuetto: Allegretto – Trio Allegro – Prestissimo

intermission

Carnegie Francaix

Gone is All Your Fear. (premiere performance) Octet “A huit”

Moderato – Allegrissimo Sherzo Andante – Adagio Valse

Enjoy coffee & tea service during intermission. inTune 34

James MacDonald Gayfer

Ludwig van Beethoven

suite for woodwind quintet

string quartet No. 4 in C minor, Op. 18, No. 4

James MacDonald “Doc” Gayfer was born in Toronto where he began his early musical training studying piano, organ and clarinet at the Royal Conservatory of Music. He earned his bachelor’s degree in music from the University of Toronto in 1941 and continued his studies in England at the Royal Military School of Music, the Royal College of Music and the Royal Academy of Music. In 1947 he returned to the University of Toronto to complete his doctorate in music in 1950. A large part of his career (1942–1967) was spent in the armed forces where he went overseas playing the clarinet with the Royal Canadian Corps of Signals Band (1943–45).

Ludwig van Beethoven was born in December, 1770 to Johann van Beethoven and Maria Magdelena Keverich. Two generations of musicians already preceded him in his family—he was called Ludwig after his grandfather, a choirmaster. His father was also a musician and gave young Ludwig his early training. Ludwig’s prodigious talents were obvious at a very young age and he went on to become one of the most famous composers of all time. He was very influential in the transition between the Classical and Romantic eras of music.

1916–1997

At home again after the war Gayfer held many positions as a bandmaster and teacher, but also began to think seriously about composition. Although the decision was difficult he did perservere while anticipating “the ridicule of some of my friends, the laughter of my acquaintances, the hurt of those who love me, and the smiling disgust of my family, who only want their son to ‘succeed’.” In the ensuing years he wrote a considerable body of music including 23 works for military (concert band), one for British brass band, six orchestral works, 11 solo piano pieces, three chamber works, three choral pieces, seven vocal pieces with piano accompaniment, and a number of songs. The Suite for Woodwind Quintet was written in 1947 and is a charming addition to the wind quintet repertoire. Gayfer’s style is conservative and as he says, “I am a traditional composer: non-serial, non aleatoric or electronic. However, I do see great value and significance in all forms of creative expression, as long as it contains real ideas and concepts, in order to communicate, first for the composer, then for the performer and then for the listener. Give me a ‘tune’, and I’ll follow you anywhere!”.

1770–1827

Beethoven wrote 16 string quartets in all. The first group of six, Op. 18, were worked on painstakingly for two years between 1798 and 1800. They were published in 1801 and fall into his “Early Period”. This was also the time of his first and second symphonies —1800 and 1803 respectively. During this time Beethoven was already struggling with the early symptoms of hearing loss which first appeared in 1796, and he was eventually to become completely deaf. Beethoven was very aware of the rich legacy of string quartet literature left by both Haydn and Mozart. Their influence is most keenly felt in this early set of string quartets, although in the C minor quartet there is already a departure from the typical form. Instead of a slow second movement there is a moderately paced scherzo. This quartet is the only one of the set in a minor key, giving an air of drama and tragedy. Beethoven also used this same key for the famous “Pathetique” sonata, his fifth symphony and his final piano sonata, Op. 111.

 inTune 35

Richard Carnegie

Principal Double Bass, Saskatoon Symphony

GONE IS ALL YOUR FEAR.

(Premiere performance)

Whenever I perform music there is a story running through my head. This is true even if the piece is so-called “absolute music”, instrumental music composed purely as music, and not intended to represent or illustrate something else. This is a habit which I established while at music school. The idea came from my theory and ear training teacher; he encouraged students to always have an invented narrative floating through our minds as we perform. The narrative didn’t need to have anything to do with what the composer intended. In fact, it was often best not to try and do that. Your own imagination will make it more personal. The story didn’t need to be shared with the audience, but my teacher felt that it was critical that performers use this tool in their music making. He wanted us to become story tellers. Most of my time as a musician is spent performing so I am constantly coming up with new stories that run through my head. When I sit down to listen to music the habit doesn’t change. Music is, to me, a story. Perhaps this is why I’m so reluctant to write program notes for my own piece! If there is a narrative for this piece I would like it to be your own as the listener. I will share a little bit of background on what prompted the music though. The title is taken from a poem by Bengali poet Rabindranath Tagore. The text to the poem is below, but it is not the narrative of the piece. The narrative for me is always prose. What’s the story of this piece for me? I’m not telling! If you choose to weave your own narrative I hope you enjoy where your thoughts take you and thank you for listening. Don’t let go, hold on tight, and win through, my dear. All night’s darkness is in flight. Gone is all your fear.

Look above - on the East’s face, over the deepest forest-place, the morning star has risen clear. Gone is all your fear. These are marauders of the night: self-doubt, the sceptic’s sneer, dejection, sloth. At dawn’s light see them disappear. Come outside, come quickly, flylook up, look up and see - the sky is full of light and bright and sheer. Gone is all your fear.

Jean Francaix 1912–1997 OCTET “A HUIT” Jean Francaix was born in Le Mans, France, into a prominent musical family. His father was a composer, pianist, historian and director of the local conservatory, and his mother taught singing. Jean began composing at the age of six, and went on to study with the great teacher Nadia Boulanger. He also studied piano with Isidor Phillipp at the Paris Conservatory. Francaix composed in all musical genres including solo piano, chamber music, concertos, symphonies, operas, cantatas, as well as film music. He continued to compose into his eighties. In 1972 Francaix was commissioned to compose “A huit” by Willi Boskovsky, founderleader of the Vienna Octet. Until the early 1980s Boskovsky led the Vienna Philharmonic in their famous New Year’s Day Concerts and was a master at interpretation of Strauss waltzes. Although many composers of the period (notably Pierre Boulez) were interested in pushing boundaries with innovative compositional techniques, Willi Boskovsky and Jean Francaix harkened back to the charm of a more conservative time. Francaix dedicated his Octet “to the memory of Franz Schubert” and used the same instrumentation. The Schubert Octet was also played at the premiere performance of the Francaix Octet on November 7, 1972, in Vienna.  Program notes prepared by Margaret Wilson (Gayfer, Beethoven, Francaix) and Richard Carnegie, Saskatoon Symphony. © 2012 inTune 36

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inTune 40

Saskatoon Symphony Supporters Circle 2011–2012 season Thank you to all the donors on whose generosity we depend. Your investment

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inTune 41

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David Larson Jeff Lewis Theodore Makeechak Lucille Mann Jeanne Marcotte Irwin McAdam Reid McBride Michael Mcdine Michael Meekins Margaret Monks Fred & Muriel Montbriand Mercedes Montgomery Ans Nahirney Whitney Nordstrom Bruce & Hilda Noton Bonnie Nicholson Tonia and Seth Olson Janice Paterson Marjorie Perry Beth Peters Jennifer Pfeifer John Prietchuk Melinda Pryor Henriette Quessy Neil Rawlyk Jeanne Remenda Mark Reynolds Catherine Helen Rodin Myrna Rolfes Frances & William Schultz Neil Schwartz Sheila Scott Kirsten Seipp Gloria Simpkins Grant Skomorowski Nancy Sollosy Elaine Symcniuk Lisa Taylor Karen & Darren Toews Vlatka Tustonic Margaret Upham Andrew Van Kessel Deborah Walker Lynn Weber Francis Wight Yamaha Piano Centre Janay Worobetz  Audrey Zbitnew

inTune 43

Saskatoon Symphony Supporters Circle 2011â&#x20AC;&#x201C;2012 season In Memory of Carol Boden

In Memory of Ross johnson

by Saskatchewan Athletics, Patricia & Richard Santo, Erik Ketilson, Melvyn Ferster, Jack & Shirley Bergloff

In Memory of Mary Barbara Hader

by Jill & Derby Reid

In Memory of Geraldine MacKinnon

In Memory of MIKE HEPP

by Kathy Hamilton, Margaret Kirk, Ledcor Construction Ltd., Don McEown, Carol McEown, Kathleen Sutherland, Doreen Kargut, Yvonne Lubos, Molly Stayner & family, Vicki Sterling

In Memory of ROBERT HINITT

In Memory of my grandmother and the victims of the 228 incident in taiwan

by Miss Mary Matwyuk

by Aldean Glass

Leslie Ruo

by Jill Reid, Mike McCoy

Women of Note A membership of women who believe in the Saskatoon Symphony and its vital role within the city of Saskatoon. Formed March 1, 2012 Shannon Whyley, Darien Moore, Darla Saunders, Betsy Bury, Connie Gutwin, Jane Wollenberg, Mary Marino, Judy Anderson, Lynn Ewing Women of Note wish to ensure that the orchestra remains healthy, fully engaged with its community and able to continue to offer excellent symphonic music. Their generous financial donation, making them members of Women of Note and ambassadors for our symphony, is deeply appreciated. If you are passionate about the the Symphony and wish to join Women of Note for the 2012-2013 season please contact Jane Wollenberg, President of the Saskatoon Symphony Society at jcwollenberg@gmail.com For information on investing in your symphony through an annual, monthly, or weekly donation, a gift of securities, or a planned gift, including how your generosity can be recognized, please email Jill Reid, general.manager@saskatoonsymphony.org or call her at 306.665.4862. inTune 44

Saskatoon Symphony Society Board and Administration Honourary Patrons

SSO Management and Staff

Her Honour the Honourable V. S. Schofield Lieutenant Governor of Saskatchewan

Victor Sawa, Music Director maestrovic@sasktel.net

The Honourable Brad Wall Premier of Saskatchewan

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

His Worship Mayor Donald J. Atchison City of Saskatoon

Marie-HĂŠlĂ¨ne Nault Leblanc Director of Operations operations@saskatoonsymphony.org

Dr. Peter MacKinnon President, University of Saskatchewan

Keri Beebe, Executive Assistant office@saskatoonsymphony.org Lenora Bells, Arts Education Consultant lenora.bells@saskatoonsymphony.org

Board of Directors Ken Coutu Rob Dobrohoczki Lynn Ewing Meagan Hinther Roger Jolly Mairin Loewen Ken Pontikes Chris Stoicheff

Mike Covey, Director of Sponsorships Direct line: 306-221-7120 mike@mcmedia21.ca Terry Heckman, Personnel Manager personnel@saskatoonsymphony.org David Humphrey, Production Manager Lillian Jen-Payzant, Librarian Michael McCoy, Articulate Eye Marketing Director Direct line: 306-227-3586 marketing@saskatoonsymphony.org

Doug Thorpe

Darci Speidel, Accountant

Jane Wollenberg

Mary Ann Therrien, Marketing Support marketingsupport@saskatoonsymphony.org Group Sales information and bookings Call the SSO at 306-665-6414 or email: groupsales@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 975-7799 inTune 45

We think you should know . . .

Coming to the Symphony?

Group discounts

A SCENT-FREE ENVIRONMENT

Group discounts on Symphony tickets are available for groups of 20 or more. The Saskatoon Symphony also offers an inexpensive student rate for our Masters Series and Music for a Sunday Afternoon concerts. We can help make your group’s symphony experience an extraordinary one. For more information, email Seth Olson at groupsales@saskatoonsymphony.org.

We ask that you assist us in creating a scent-free environment by avoiding using perfumes, aftershaves, colognes, and scented lotions and opting for “fragrancefree”, “scent-free”, or “unscented” versions of personal care products on concert evenings. We thank you in advance for being considerate in this regard.

turn off Your cell phone Maestro Sawa says he has problems conducting cell phone ringtones and beeps from digital watches and pagers. “They so seldom are in the right tempo,” he says. So please be polite and turn them to silent or completely off. Relax, and enjoy the concert.

Program advertising Contact Mike Covey: mike@mcmedia21.ca to receive an inTune sales kit, including program advertising rates and to discuss how inTune – The Magazine of the Saskatoon Symphony can connect you with the buying power of our audience.

Privacy policy We respect your privacy and have policies to ensure that the security of the personal information you provide us is maintained. Your information is used to deliver services including booking, exchanging, confirming, and mailing tickets, subscription renewal reminders, tax receipts, and for financial record keeping, in addition to keeping you up to date on the activities of the orchestra, including upcoming events, programs, special offers and services, funding needs and other information of interest. We do not rent, sell or trade our mailing lists or any patron information. Only authorized SSO employees have access and our information systems are secure. If at any time you wish to be removed from any of these contacts, please call us at 665-6414 or email general.manager@ saskatoonsymphony.org and we will gladly accommodate your request. inTune 46

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