Magazine of the Saskatoon Symphony
inTune Volume 3 Issue 3
your complimentary copy CLICK HERE TO DOWNLOAD ®
February – March 2014
Romantic by Nature Cellist Denise Djokic and Maestro Gilles Auger
Music is GREAT Britain A Sea Symphony
At the Movies
An Oscars® Wrap Party
The Changing of Seasons Players Choice Series
olden at G is e c n e Sil heatre the Roxy T 22 February
inTune Magazine of the Saskatoon Symphony
CANADIAN CELLIST DENISE DJOKIC
Volume 3 Issue 3
Contents
ROMANTIC BY NATURE 14
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
Gyro Masters Series, TCU Place – February 8, 2014
Maestro Gilles Auger guest conductor Denise Djokic cello
the lost world (1925) 20
New Community Credit Union presents Silence is Golden silent movie, Roxy Theatre – February 22, 2014
Bill Rowson conductor
Passion Live
NOSFERATU
with
Inspired live music performed with passion to transform your event into an experience of a lifetime.
the changing of seasons 24
Players Choice Series, Delta Bessborough – March 2, 2014. Presented by Delta Bessborough
Saskatoon Symphony Chamber Players
MUSIC IS GREAT BRITAIN 28
Gyro Masters Series, TCU Place – March 8, 2014
Presented by SaskPower Maestro Victor Sawa conductor Saskatoon Chamber Singers James Hawn, director Saskatoon Greystone Singers & University Chorus Dr. Gerald Langner, director Monica Huisman soprano Peter McGillivray baritone
at the movies – an oscars® wrap party 38
www.saskatoonstringensemble.com
Ph: 306-292-6811
Conexus Pops Series, TCU Place – March 15, 2014 Presented by The StarPhoenix
Maestro Victor Sawa conductor Trevor Wingerter vocals
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®
In the next issue - March, 2014 an orchestral toy story
SaskEnergy Family Series March 22, 2014 Richard Carnegie
conductor Kevin Chen & Brandon Johnson violin Persephone School of Theatre students, SYO members
THE CORE AT PAVED ARTS
PAVED Arts April 4 & 5, 2014
Saskatoon Symphony Chamber Players
FIRE AND FURY Gyro Masters Series
Also in this issue Orchestra musicians and 6 Chair sponsors Welcome message 11 Group Discounts 34
TCU Place April 12, 2014
Honorary Patrons, Board of Directors and Administration 34
create – Time for toddlers
Funding agencies and Corporate sponsors
Samuel Deason piano
SSO Community Centre, 408 20th St W April 16, 2014
Jennifer McAllister animateur
quartango! Conexus Pops
Series - TCU Place Presented by PotashCorp April 26, 2014
Richard Carnegie conductor Quartango! tango quartet Roxana Callegari & Fabian Belmonte masters of the Argentine tango
PICTURES AT AN EXHIBITION
Gyro Masters Series - TCU Place May 3, 2014 Maestro Victor Sawa
conductor Samuel Milner violin
schubert’s incomparable octet Players Choice Series
Presented at/by Delta Bessborough May 11, 2014
Saskatoon Symphony Chamber Players
VIVALDI’S THE FOUR SEASONS
Knox United Church May 24, 2014
Alexei Kornienko harpsichord/ conductor Elena Denisova violin
THE COMIC ORCHESTRA
SaskEnergy Family Series May 31, 2014
35
SSO Book & Music Sale 41 Drop-off locations Supporters circle 43–45 © Saskatoon Symphony & contributors Publisher: Saskatoon Symphony Society 408 20th St W Saskatoon SK S7M 0X4 Ph: 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: Mike Covey, mike@mcmedia21.ca Contributors: Mike McCoy, Margaret Wilson, Joan Savage, Mark Turner, Terry Heckman, Matthew David Becker, Mike Covey Photos: Trudy Janssens - Photography One 2 One, Rosanna Parry Photography, Mike McCoy, others contributed. Printed in Canada.
Christopher Hall comedian/musician PLEASE NOTE: Concert details subject to change without notice.
inTune 4
Magazine of the Saskatoon Symphony
your complimentary copy
inTune
®
Volume 3 Issue 3
Photo: Rosanna Parry
February, 2014 Welcome to inTune, the Saskatoon Symphony Orchestra’s program magazine! Be sure to visit SaskatoonSymphony.org to find out more about our programming. Last month we welcomed Mark Turner as the SSO’s Interim General Manager (1). Mark is a passionate spokesperson for the arts in our city and we are already inspired by his ideas and energy. Turn to p. 11 to read Mark’s message.
1
On February 12, the second Time for Toddlers, parent-child musical experience takes place at the SSO Community Centre (408 20th St W). The previous session (2) had a larger-than-expected attendance and excellent feedback from parents, so to be part of the fun, call the SSO at 306.665.6414 to register in advance for this second of three toddler events. Did you know that with the support of SaskTel, sponsor of the Saskatoon Symphony School Tour (3), the SSO visits over 30 schools in our area each season? To find out how you can help us come to your school, visit our website or call the office at 306.665.6414. Last month we hosted a full house for the Black and White piano/chamber players concert in the Players Choice series in the SSO Community Centre at 40820th St. W. It was a cold day, but warm inside our venue, perfect for relaxing with beautiful live music. Watch for the next concert in our home space—you might see some comfortable changes.
2
3
The launch of our 2014–2015 season takes place April 9. Be sure to follow our Facebook page and our Twitter feed (@SSO_Stoon) for information on the location and how you can be a part of the excitement. You’ll also get updates on our concerts, guest artists, and on other SSO activities in the community. Now, let’s enjoy some great music together!
Your team at the Saskatoon Symphony Orchestra
4 inTune 5
Violin 1
Viola
Bass
Michael Swan, Concertmaster William Boan, Assistant Concertmaster Mary Lou Day Lillian Jen-Payzant Joan Savage Marcel van den Hurk Simon Fanner Maxim Pletnev Nova Wong (on leave)
James Legge, Principal
Richard Carnegie, Principal David Humphrey David Grosse Stephen Kreuger Zachary Carter
Violin 2 Oxana Ossiptchouk, Principal Karen Bindle Rosanne Daku Sophie McBean Arthur Boan Evan Friesen
Listing current at press time.
Chair generously sponsored by the Viola Section of the Saskatoon Philharmonic Orchestra Saache Heinrich Jeremy Janzen (on leave) Heather Wilson Miles Buchwaldt Stacey Mennie
Cello Lahni Russell, Principal
Chair generously sponsored by Bill Richards, Sandra Beardsall, David Jobling, Esther Cherland John Payzant Bernadette Wilson Carman Rabuka Christina Bakanec (on leave) Scott McKnight
Flute Randi Nelson, Principal
Chair generously sponsored by Lilian and Doug Thorpe Brenda Moats (flute, piccolo)
Oboe Erin Brophey, Principal Kevin Junk (oboe, English Horn)
Clarinet Margaret Wilson, Principal
Chair generously sponsored by Jack and Sylvia Vicq Melissa Goodchild (clarinet, Eb clarinet)
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Photo: Trudy Janssens, Photography One 2 One
Music Director Maestro Victor Sawa Bassoon
Trumpet
Timpani
Stephanie Unverricht, Principal
Terry Heckman, Principal Daniel Funk Dean McNeill
Darrell Bueckert, Principal
Chair generously sponsored by Dr. Mary C. Marino Marie Sellar (bassoon, contrabassoon)
Horn Carol-Marie Cottin, Principal Arlene Shiplett Dubrena Bradley Anna Millan
Trombone Don Schmidt, Principal Brian Unverricht (on leave) Dawn McLean-Belyk
Tuba Brent Longstaff, Principal
Bassoon emeritus
Peter Gravlin, Retired
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
Harp CĂŠcile Denis, Principal
Personnel varies by concert. We gratefully acknowledge the support of additional musicians who perform with the orchestra when larger works are presented. Violin Bryn Rees, Kristan Couture Viola Emily Woytiuk, Michael Hrycay Flute Jennifer McAllister Clarinet Alyssa Thompson Bassoon Peter Gravlin Trombone Erika Rybinski, Kevin Marsh Percussion Will Martin, Mark Altman, Brad Litster Keyboard Gillian Lyons
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 the General Manager at 306.665.4862 or email general.manager@saskatoonsymphony.org inTune 7
Ensuring the show goes on.
SGI — proud to support the arts and cultural events. www.sgi.sk.ca
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. inTune 8
Experience exquisite, handcrafted 17th century instruments in a spectacular setting.
February 15, 2014 Haydn - String Quartet in B minor, Op. 33, No. 1 Mozart -String Quartet No. 21 in D major, KV 575 Dvorak - String Quartet No. 5 in F minor, Op. 9
Performances take place at Third Avenue United Church at 2 pm and 7:30 pm
March 22, 2014 The Beethoven Cycle – Concert No. 2 Beethoven - String Quartet in E-flat Major, Op. 74, ‘The Harp’ Beethoven - String Quartet in G major, Op. 18, No. 2 Beethoven - String Quartet in C-sharp minor, Op. 131
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www.yamahapianocentre.ca inTune 10
Board President, Lynn Ewing; Music Director, Victor Sawa; Mark Turner, Interim General Manager Sawa photo: Trudy Janssens, Photography One 2 One
Welcome to the Saskatoon Symphony Orchestra! Dear Symphony Friends, It is an exciting time to come to the symphony. As I start my role with the SSO, I am hoping to bring my love and enthusiasm for music to the leadership of the organization. I grew up a music junky—by an early age I was addicted to a wild mix of classical, jazz, rap, and opera. It doesn’t matter what kind of music it is, if it’s good I love it. My love of music keeps me seeking out great performances. I recently traveled to see a production of Benjamin Britten’s opera Peter Grimes. I went because I wanted to see Ben Heppner in his greatest role, but what I found was a good reminder about the importance of live music. The characters I saw on stage, the gripping storyline playing out, and the exceptional orchestral music changed my life. I will never forget how it made me feel. Not just how it made me feel emotionally, but how it made me feel physically. There will never be a substitute for live music. Buy all the CDs you want. Watch all the PBS specials you can get your hands on. Live stream the Berlin Philharmonic (you really should, they do great stuff). They are nothing more than a stand-in for the real thing.
You know exactly what I’m talking about. You have felt it before. In fact, maybe you’ll feel it tonight. So let’s start a movement. Let’s talk about how live music makes us feel. Let’s tell our friends, invite them to the next concert. Remind them that XM Radio and Netflix are convenient, not earth shattering. Nothing beats the whole body sensation of being brought to the edge of your seat by live music. Over the next few months, the music lovers in Saskatoon are in for some very special treats. As you look through inTune, make sure that you check out all the ways that the SSO makes music in our community. Whether in school gymnasiums or on stage at TCU Place, the musicians of our orchestra are creating an extraordinarily vibrant cultural scene. I’d like to invite you to join us in person or on twitter on April 9th for the launch of our 83rd season. As the fifth oldest orchestra in Canada, I’m truly excited that next season proves that not only is the Saskatoon Symphony showing how relevant it can be, but it still has a few surprises up its sleeve! See you at the symphony!
Mark Turner, Interim General Manager
Programs the SSO supports include: • One-to-one mentoring • El Sistema programs for at-risk youth • Performance opportunities for all skill levels— youth orchestra, university, high school, elementary students and pre-school • Visits to hospitals, seniors residences and nursing homes
• SaskTel School Tour • Innovative uses of the SSO Community Centre on 20th Street West to promote inner-city renewal • Classical music appreciation programs • Concerts and visits by renowned guest artists • Family concerts & kids tickets for Masters Series • Parent-child programs (for ages 2–4)
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PotashCorp is proud to feed the future of the Saskatoon Symphony Orchestra and the performing arts in our community. PotashCorp.com
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Gyro Masters Series February 8, 2014
GILLES AUGER
DENISE DJOKIC
Romantic by Nature TCU Place, Sid Buckwold Theatre, 7:30 pm
The Gyro Masters Series is generously sponsored by
Gilles Auger guest conductor Saskatoon Symphony Orchestra Denise Djokic cello
Barber Adagio for Strings Tchaikovsky Variations on a Rococo Theme, op. 33
1. 2. 3. 4. 5. 6. 7. 8.
(Denise Djokic)
Moderato assai quasi Andante - Thema: Moderato semplice Var. I: Tempo della Thema Var. II: Tempo della Thema Var. III: Andante sostenuto Var. IV: Andante grazioso Var. V: Allegro moderato Var. VI: Andante Var. VII e Coda: Allegro vivo
intermission
Beethoven
Symphony No. 6, op. 68, F Major (Pastoral) 1. 2. 3. 4. 5.
Allegro ma non troppo Andante molto mosso Allegro Allegro Allegretto
Pre-Concert Talk about tonight’s music. 6:55 – 7:20 pm, Green Room. Molto Cellissimo performs in the lobby before tonight’s concert. inTune 14
Gilles Auger guest conductor
Denise Djokic cello
Born in Quebec City, Gilles Auger graduated in clarinet and conducting at Quebec’s Conservatory of Music (under James DePreist) and earned a Master of Music degree from the renowned Juilliard School of Music, New York, where he worked with such great conductors as Jorge Mester, Sixten Erhling, and Leonard Bernstein. In 1986, he won a unanimous first prize at the Besançon’s International Conducting Competition, in France.
Instantly recognized by her “arrestingly beautiful tone colour” (Strad), cellist Denise Djokic captivates audiences with her natural musical instinct and remarkable combination of strength and sensitivity. Denise burst onto the international music scene following her performance at the 2002 Grammy Awards. Since then, she has accrued numerous distinctions and accolades, including being named one of the top “25 Canadians Who Are Changing Our World” (Maclean’s), one of “Canada’s Most Powerful Women” (Elle). Highlights of this season include Tchaikovsky’s famed Variations on a Rococo Theme with the Winnipeg Symphony, Gulda’s Cello Concerto with the Halifax Symphony, and Elgar’s Cello Concerto with the Indian Hill Symphony.
Back in Québec, Maestro Auger has been music director of many ensembles, such as: l’Orchestre des jeunes du Québec (1984-86), la Sinfonietta de Radio-Canada (1984-90), the Laval University Music Faculty’s orchestra (1984-96), l’Orchestre symphonique des jeunes de Lévis (1985-91), the Quebec Conservatory Orchestra (since 1986), l’Orchestre de chambre Gilles-Auger (1989-93), l’Orchestre symphonique de Sherbrooke and l’Orchestre de chambre de l’Estrie (1996-98), the Levis Symphony Orchestra (since 2000), l’Orchestre du Festival International d’Été de Québec (2000-01), La Société d’Art Lyrique du Royaume (04-06) and of Le Grand Orchestre des Jeunes de Québec from 2007 until 2011. A Canada Council Grant Holder, Maestro Auger has also been awarded with the Virginia P. Moore Award (Ottawa), the Clifford Evens Memorial Conducting Award (London, Ontario), and the Bruno Walter Scholarship (New York). M. Auger has been guest conductor for many orchestras, including: Orchestre National de France (Paris), Orchestre National de Lyon, Orchestre de la Suisse Romande (Geneva), Besançon Chamber Orchestra, Quebec Symphony Orchestra, Montreal Symphony Orchestra, Toronto Symphony Orchestra, Orchestre Métropolitain du Grand Montréal, les Grands Ballets Canadiens, National Arts Centre Orchestra, the Manitoba Chamber Orchestra, the St-Louis Ballet Orchestra (Missouri), the Victoria
A highlight of her recent seasons, Denise joined the Edmonton Symphony and Bill Eddins at Carnegie Hall for their performance of John Estacio’s Triple Concerto. She has also appeared at Lincoln Center with the Philharmonic Orchestra of the Americas, and in concerts with l’Orchestre Métropolitain and Yannick Nézet-Séguin, Toronto Symphony, North Carolina Symphony, National Arts Centre Orchestra, the Aachen Symphony Orchestra, the San Diego Chamber Orchestra, among others. A passionate recitalist and chamber musician, Denise performs frequently with acclaimed pianist David Jalbert and collaborates often with chamber ensembles such as the Jupiter and Supernova quartets. Denise’s award-winning discography includes the complete Britten Solo Suites for Cello (ATMA), Denise Djokic featuring works by Barber, Martinu and Britten (Sony), and Folklore (Allegro/Endeavor) containing works inspired by folk music and stories. Fall 2013 sees the release of a new recording on the ATMA label of Chopin and Rachmaninoff sonatas with pianist David Jalbert. Having grown up in a large musical family in Halifax, Denise first began to learn the inTune 15
Samuel Barber (1910–1981) ADAGIO FOR STRINGS Samuel Barber began composing at age 7. At 10 he wrote to his mother: “I have written this to tell you my worrying secret. Now don’t cry when you read it because it is neither yours nor my fault. … I was meant to be a composer, and will be I’m sure. … Don’t ask me to try to forget this unpleasant thing and go play football.—Please.” At age 14 he began his studies at the Curtis Institute in Philadelphia and went on to receive two Pulitzer prizes and become one of the best-known and most-performed American composers of the 20th century. In 1936, Barber composed his String Quartet No. 1, Op. 11. When the famous conductor Arturo Toscanini asked him for music to be performed at the Salzburg Festival in 1937, Barber arranged the Adagio from his String Quartet for string orchestra. Toscanini
Gilles Auger - bio
(cont’d from p. 15) Summer Festival Orchestra and Les Violons du Roy (Quebec City). Now a renowned conductor, Maestro Auger teaches conducting, orchestral literature and orchestration at the Quebec Conservatory and also conducts its orchestra and choir. He has also returned to an early passion: composition. Since 2008, M. Auger has written four song cycles for soprano, mezzo and baritone, two symphonies (the second being a symphonie concertante for solo timpani, written for SSO Principal Percussionist, Mathieu Pouliot), and he is currently working on an opera based on Le Roi se meurt by Eugene Ionesco.
Denise Djokic - bio
(cont’d from p. 15)
cello with her uncle and aunt, cellists Pierre Djokic and Michelle Djokic. Her parents, Lynn and Philippe, and brother Marc, are all musicians with whom she often collaborates. Denise currently lives in Champaign, Illinois with her husband, Nelson.
premiered the work in 1938 with the NBC Orchestra in a live radio broadcast. The Adagio for Strings is Barber’s most enduring and popular work—some say the most frequently performed work of the 20th century. Its popularity continually astounded Barber. Written when America was struggling to come out of the Depression and facing the threat of another world war, its somber atmosphere seems to describe the time in which it was written. But Barber considered the piece to be more an illustration of the redemptive powers of inward reflection than a lament. Either way, it has been called “one of the most moving pieces of music written in the Twentieth century” and has found its way into popular culture, including many movie soundtracks including Platoon, The Elephant Man, and Amélie. It was performed at the announcements of Franklin D. Roosevelt and John F. Kennedy’s deaths, at the funeral services of Albert Einstein and Prince Rainier of Monaco, and in memorial services for the victims of the Oklahoma Federal Building bombing and of September 11, 2001.
Pyotr Ilyich Tchaikovsky (1840–1893)
VARIATIONS ON A ROCOCO THEME, OP. 33 In 1879, Tchaikovsky wrote one of the most challenging pieces in the literature for the solo cello. This joyous, light-hearted work showcases the cellist in technically demanding passages that explore the heights and depths of the cello’s range, in singing lyrical passages, and in sweeping cadenzas, yet the technical acrobatics never obscure Tchaikovsky’s beautiful melodies. Variations on a Rococo Theme was written at a difficult time in Tchaikovsky’s life. His precarious financial situation and his shaken confidence in his own talent sank him into one of his many bouts of depression. After completing his orchestral fantasy Francesca da Rimini (1876), Tchaikovsky turned from inTune 16
Ludwig van Beethoven (1770–1827) SYMPHONY NO. 6, OP. 68, F MAJOR, (PASTORAL)
“Almighty in the forest! I am happy, blissful in the forest: every tree speaks through you...” Beethoven
the horrors and chaos of Dante’s Inferno to the style of his musical idol, Mozart, and the precise order of the Classical period. From this emerged the Variations, a piece of clarity inspired by what Tchaikovsky saw as the 18th century “ideal world” of artistic purity, poise, and elegance for which he felt such nostalgia. Edward Garden wrote of Variations: “a world of happy make-believe where the frustrations and terrors of present existence could be forgotten for a time in the contemplation of the past.” Variations’ grace and simplicity have made it an audience favorite. As the piece progresses, Tchaikovsky’s Romanticism becomes more and more evident and the work becomes more dramatic and brilliant until it races in a virtuosic tumble towards its triumphant end. Tchaikovsky wrote the Variations for his friend and colleague at the Moscow Conservatory, German cellist Wilhelm Fitzenhagen. Tchaikovsky consulted with Fitzenhagen about the technical aspects of writing for the cello, and Fitzenhagen helped Tchaikovsky make the cello part more virtuosic and idiomatic. Fitzenhagen’s championing the work made Tchaikovsky’s international reputation flourish yet Fitzenhagen rearranged the order of the variations and cut one of the variations. When the work was published in 1889, Tchaikovsky’s publisher made Fitzenhagen’s changes without Tchaikovsky’s permission. Tchaikovsky’s original version was not published until 1940.
Beethoven’s Pastoral Symphony was composed in the fall of 1807 and early 1808, concurrent with composing his Fifth Symphony, though sketches for the Sixth are found from as early as 1803. Like the Fifth, the Sixth was dedicated to Beethoven’s then principal patrons, Prince Lobkowitz and Count Razumovsky. The symphonies premiered together on the evening of December 22, 1808, in Vienna with Beethoven conducting. Though the evening was less than stellar—the Theater an der Wien was cold, the concert was four hours long, and the under-rehearsed orchestra struggled though the music—yet Beethoven wrote to his publisher, “In spite of the fact that various mistakes were made, which I could not prevent, the public nevertheless applauded the whole performance with enthusiasm.” At the premiere, Beethoven titled the Sixth “Pastoral Symphony or Recollection of the Life in the Countryside”. It is one of only two symphonies that Beethoven intentionally named, and the only one he wrote as “program” or “characteristic” music (instrumental music inspired by nature, voyages, hunts, etc., as opposed to “absolute” music that has no extra-musical inspiration). Audiences expected “characteristic” music to realistically represent physical events. But unlike pieces in this genre such as Vivaldi’s Four Seasons and Haydn’s The Seasons, Beethoven wanted to compose the feelings nature evoked in him rather than realistic depictions. He wrote, “The whole will be understood even without a description, as it is more feeling than tone-painting.” It is “a matter more of feeling than of painting in sounds.” Nature was one of Beethoven’s passions. “No one,” he wrote to Therese Malfati, “can love the country as much as I do. For surely woods, trees, and rocks produce the echo which man desires to hear…. How happy I am to be able to walk among the shrubs, inTune 17
WAKE UP TO SOMETHING NEW.
SASKATOON
MORNING Host Leisha Grebinski @leishaCBC
Online Host Matt Kruchak @mattkruchakCBC
WEEKDAYS FROM 6 - 8:30AM cbc.ca/saskatoon
facebook.com/CBCSaskatoon
@cbcsaskatoon inTune 18
Concert notes
(cont’d)
the trees, the woods, the grass and the rocks! For the woods, the trees and the rocks give man the resonance he needs.” Beethoven walked every day and scribbled ideas on sheets of folded music paper he always carried in his pocket on which to jot down themes inspired by bird calls, trickling creeks, or rustling leaves. In one notebook he wrote, “The greater the river, the more grave the tone.” He frequently left Vienna to work in rural locations, and spent every summer in the country. In his diary he wrote: “Almighty in the forest! I am happy, blissful in the forest: every tree speaks through you … Does it not seem as though every tree said to me ‘Holy, holy! … In such a wooded scene in the heights there is calm, calm in which to serve Him.” The beauty and power of Beethoven’s Sixth works on both descriptive and expressive levels, whether or not one enjoys the work as absolute music or hears in it the images and feelings of nature of a country landscape and a storm that Beethoven indicated in the movements’ titles. The first movement is “Awakening of cheerful feelings upon arriving in the country.” The second, “Scene by the brook,” features a babbling brook and bird calls: nightingale (flute), quail (oboe) and cuckoo (two clarinets). The final three movements are performed without any break. In “Merry gathering of peasants”, peasants dance to a rousing folk tune. Then “Tempest, storm” depicts the fury of a thunderstorm. Berlioz wrote, “It is no longer merely a wind and rainstorm, it is a frightful cataclysm, the universal deluge, the end of the world.” The final movement, “Shepherds’ hymn—Happy and thankful feelings after the storm,” features a shepherd’s “yodel” (clarinet) and a chorale of praise for the ending of the storm, where Beethoven wrote in the score, “Herr, wir danken dir” (Lord, we thank thee).
Redefining
“DREAM HOME”
Marketed by:
northridge.sk.ca 306.242.2434
Program notes prepared by Joan Savage, member, Violin section, Saskatoon Symphony. © 2014 inTune 19
where
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you are,
or
Silence is Golden Series February 22, 2014
you’re going
we will be there
Wherever our members have come from or w they are going on their financial journeys, we’ behind them every step of the way. It’s not about how much they have. It’s about they want to achieve. At New Community, ev we do is about our members and our commu
Silence is Golden presented by The Lost World (1925) The Roxy Theatre, 320 - 20th St. W., 1 pm & 7:30 pm 321 20th St. West, Saskatoon, William Rowson conductor SK P 653-1300 Saskatoon Symphony Orchestra Robert Israel composer
F 653-4711
www.newcommunitycu.c
Riversdale Business Improvement District
Just a few doors down is the Saskatoon Symphony headquarters and across the street is our major sponsor. The RBID is In 1990 a determined group of business proud to be the home of the last atmoowners and the City of Saskatoon formed spheric theatre of its kind west of Ontario, the Riversdale Business Improvement and to be offering the second of two clasDistrict (RBID) to bring business back to the sic silent movies, the 1925 area and begin the highly desired revitaliza- dinosaur advent in this, the tion. Riversdale is now attracting a creative fifth annual series of silent mix of young entrepreneurs while maintain- movie greats coupled with LIVE ing second and third generation businesses. orchestral music from the SSO. Today, 23 years later, instead of a parking We hope your experience in lot, you are sitting in one of our crown Riversdale is out of the jewels of the District: The Roxy Theatre. ordinary!
Visit the Roxy Theatre concession for all your movie treats. We are pleased to offer a cash bar for the evening performance.
inTune 20
INTERIOR OF ROXY THEATRE Photo: Rosanna Parry Photography
WILLIAM ROWSON
William Rowson conductor Possessing an intimate knowledge of the standard repertoire, and gaining a reputation across orchestras in North America for his facile handling of the challenges of new repertoire, Saskatchewan-born conductor William Rowson is rapidly establishing a reputation as one of Canada’s most versatile emerging talents. A graduate of the prestigious Curtis Institute, he conducted the Curtis Symphony Orchestra while studying composition with the great American composer Ned Rorem. Since returning to Canada, William has been a frequent guest of many of Canada’s leading ensembles, including Toronto’s Talisker Players, the Glenn Gould Professional School, National Academy Orchestra of Canada, and the Sneak Peak Orchestra. He has also conducted the McGill Chamber Orchestra, Scarborough Philharmonic and two short original operas written for Toronto’s Tapestry New Opera Works. This fall William was picked by Philip Glass Ensemble conductor Michael Riesman to be his assistant conductor for the world premiere of the Godfrey Reggio film, Visitors, with the score by Philip Glass played live by members of the Toronto Symphony Orchestra. He is currently the Associate Conductor of the Hart House Orchestra and the conductor of
the Mooredale Junior and Senior Youth Orchestras. An accomplished composer in his own right, since 2001, William has conducted the world premieres of over 60 new works. Having completed his doctorate in composition at the University of Toronto (2012), his own music has already been featured at the Ottawa International Chamber Music Festival, UBS Verbier Festival, the Banff Centre’s Summer Music Series, Niagara on the Lake International Chamber Music Festival, and the Brott Music Festival. Also interested in the opera repertoire, William has worked with prominent artists such as Rufus Muller, Lawrence Wiliford and Kristina Szabo, and conducted the Canadian premieres of Handel’s Amadigi de Guala and Hasse’s Antonio e Cleopatra on period instruments with London Early Opera and the University of Western Ontario’s Early Music Studio. “Britten wrote, “Les Illuminations, as I see it, are the visions of heaven that were allowed the poet, and I hope the composer.” I think guest conductor William Rowson, ... and the gratified, glowing audience must have felt very much the same about them in Tuesday’s performance – a single achievement in the group’s civilized, questing endeavour.” – Ken Winters, The Globe and Mail, 5/13/2010 inTune 21
THE LOST WORLD (1925) This silent film adaptation of Arthur Conan Doyle’s 1912 novel of the same name was directed by Harry O. Hoyt and featureS pioneering stop motion special effects by Willis O’Brien (an invaluable warm up for his work on the original King Kong directed by Merian C. Cooper and Ernest B. Schoedsack). In 1922, Conan Doyle showed O’Brien’s test reel to a meeting of the Society of American Magicians, which included Harry Houdini. The astounded audience watched footage of a Triceratops family, an attack by an Allosaurus and some Stegosaurus footage. Doyle refused to discuss the film’s origins. On the next day, the New York Times ran a front page article about it, saying “(Conan Doyle’s) monsters of the ancient world, or of the new world which he has discovered in the ether, were extraordinarily lifelike. If fakes, they were masterpieces”. The Lost World is a film of many firsts: first film to be shown to airline passengers, in April 1925 on a London-Paris flight by the company Imperial Airways; first feature length film made in the United States, possibly the world, to feature model animation as the primary special effect,
or stop motion animation in general; first dinosaur-oriented film hit, which led to other dinosaur movies, from King Kong to the Jurassic Park trilogy. The Lost World was cut for rerelease in the 1930s and the original negative was subsequently lost. David Shepard meticulously “rebuilt” the film using material from eight different surviving prints from all over the world, cleaning and restoring along the way. The result, which is 50 percent longer than previous prints, is still not complete but closer than any version since its 1925 debut. The released film on disc features a classic orchestral score compiled and conducted by Robert Israel, who has personally arranged the score in the Czech Republic for the Saskatoon Symphony Orchestra. His score is compiled from authentic photoplay music used by theatre orchestras in the 1920s, the same practice that was followed by the orchestra conductors in large cinemas during the silent era, when they had to compile a new score every week using music from the theatre’s library (that would minimize the number of pieces that the players never saw before). inTune 22
321 20th St. West, Saskatoon, SK Phone: 306-653-1300 • Fax: 306-653-4711
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Courtesy Sara Scott Turner
Players Choice Series March 2, 2014
SAMUEL BARBER
MATHIEU LUSSIER
The Changing of Seasons Delta Bessborough Hotel, 2:30 pm
ROBERT TURNER
Generously sponsored by
Saskatoon Symphony Chamber Players
Lussier
Spring Lullaby
Barber
Summer Music, op. 31
Hoffmeister
Solo Quartet No. 2 in D Major
Allegro moderato Menuetto Andante Rondo
intermission
Haydn
String Quartet No. 61 in D minor (Quinten), op. 76, No. 2
Allegro Andante o piu tosto allegretto Menuetto – Allegro ma non troppo Vivace assai
Turner
Variations and Toccato (1959)
Enjoy coffee & tea service during intermission. inTune 24
Mathieu Lussier (b. 1973) SPRING LULLABY Mathieu Lussier graduated from the Montreal Conservatory and currently enjoys a diverse career as a composer, performer, conductor and teacher. He is a passionate promoter of the modern bassoon as well as the baroque bassoon, and maintains a very busy schedule performing with such ensembles as Arion (Montreal), Les Violons du Roy (Quebec City), the Tafelmusik Baroque Orchestra (Toronto), the Boston Early Music Festival Orchestra and the Cleveland Baroque Orchestra Apollo’s Fire. He teaches modern bassoon at the University of Quebec and baroque bassoon at McGill University.
2005 and is a simple song which uses the melodic and expressive character of the bassoon to capture the beauty and warmth of a changing season.
Samuel Barber (1910–1981) summer music, op. 31 A precocious child, Samuel Barber began piano lessons at age 6, and wrote his first composition one year later. At age 9 he told his mother “I was meant to be a composer, and will be I’m sure...Don’t ask me to try to forget this unpleasant thing and go play football. Please.” Luckily he was not asked to forgo his interest in music and began studies at the Curtis Institute while still a teenager. He received his degree in 1924 and went on to become one of the most distinguished American composers of the 20th century.
As a composer Lussier’s catalogue numbers over 30 works. He has received many commissions from various artists and ensembles including Guy Few, George Zuckerman, and As with so many pieces, Summer Music for woodwind quintet came about as a commisthe Tafelmusik Baroque Orchestra to name a few. The Spring Lullaby was composed in sion. The Chamber Music Society of Detroit
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commissioned Barber to write a piece in 1954 and the work was originally meant to be a septet for 3 woodwinds, 3 strings and piano. However, during the summer of 1954 Barber heard a performance by the well-known New York Woodwind Quintet, and became quite good friends with members of the group, particularly the horn player John Barrows. Upon consultation with members of the ensemble he was able to discover the possibilities and difficulties of such a combination and gradually his commissioned piece transformed into a woodwind quintet. Barrows actually drew up a chart of all the particularly difficult chords for intonation and sonority, and Barber made sure he included every one of them! Although the NewYork Woodwind Quintet wanted to premiere this work, Barber fulfilled his obligation in Detroit, and the premiere was given in 1956 by the principal players of the Detroit Symphony.
A very prolific composer, Hoffmeister’s music is characterized by pleasant, flowing melodies and represents the essence of the Viennese classical style. In his Solo Quartets, also known as Double Bass Quartets, he did the very innovative thing of putting the double bass in the position usually occupied by the first violin. Hoffmeister was able to handle this challenge with elegance and ingenuity. In this novel configuration the double bass player has a real opportunity to show the melodic and technical capabilities of the instrument.
Franz Joseph Haydn (1732–1809) STRING QUARTET NO. 61 IN D MINOR (QUINTEN), OP. 76, NO. 2
A very prolific composer of the Classical Era, Haydn is often referred to as the father of the string quartet. His body of work in this genre covers the entire span of his career, during which time he was able create Summer Music has become a foundation of some gems. The set of six quartets, Op. 76, the woodwind quintet repertoire. It is not were written towards the end of Haydn’s programmatic but rather is meant to suglife and represent his mature work. Written gest warm, lazy summer days with its lush, in 1796 or 1797 for a commission by Count rich sonorities. In Barber’s words: “It’s supJoseph Erdody, they are often referred posed to be evocative of summer—summer to as the “Erdody Quartets”. They reflect meaning languid, not killing mosquitoes.” a fine balance between tradition and Haydn’s drive for yet further innovation.
Franz Anton Hoffmeister (1754–1812)
solo quartet no. 2 in d major Franz Anton Hoffmeister was born in Rothenburg am Neckar and at the age of 14 went to study law in Vienna. However the rich musical life of Vienna proved to be so attractive that after graduation he chose rather to devote himself to a career in music in both composition and publishing. As a composer he was well respected by his contemporaries and very popular with the public, although today he is more widely remembered as a very successful music publisher. Clementi, Pleyel, Vanhal, Haydn, Mozart and Beethoven are among the composers represented in his catalogue.
The Quartet, Op. 76, No. 2 is dubbed the “Quinten” (Fifths) because of the falling interval of a perfect fifth introduced at the very beginning of the first movement and then woven throughout the entire work. The second movement has the first violin playing a tune based on the opening falling fifth motif, while the others play an accompaniment below. The third movement minuet is often called the “witches’ minuet” and is said by musicologist Sir Donald Tovey to sound like “clowns dancing with flat feet”. The form is a strict canon between the violins in octaves, followed by the viola and cello also in octaves one bar later. The fourth movement brings the piece to a furious close, with Hungarian style gypsy fiddling, drones, syncopations and dynamic accents. inTune 26
Robert Turner (1920–2012) VARIATIONS AND TOCCATA (1959)
No Ordinary Relationship... No Ordinary Florist
Robert Turner is a well-known Canadian composer, radio producer and teacher. His studies include degrees from McGill University and the Peabody Conservatory, as well as private studies with Herbert Howells and Gordon Jacob at the Royal College of Music and Olivier Messiaen at Tanglewood. Turner worked for CBC Vancouver as a music producer from 1952-68, and he taught at the University of British Columbia (1955-57), Acadia University (1968-69) and the University of Manitoba (1969-85). A prolific composer, most of Turner’s compositions were written on commission, as is the case with the Variations and Toccata. This work was commissioned by the University of Saskatchewan for its Golden Jubilee Music Festival and was first performed by the Festival Chamber Group in July 1959, conducted by Murray Adaskin. In the words of Robert Turner: “The two movements are played without a break. The variations are built on two 12-tone rows—the first constructed of four 3-note segments and the second derived from the first by taking every second note. This basic material is treated in a free manner and within a tonal framework. The tonal centre of the work is A and the twelve variations follow closely, as in a chaconne (the middle one having a cadenza for solo violin) each in a tonality a semitone higher (A,Bb,C, etc.) leading directly into the Toccata with the return of A. Fast and rhythmic, the Toccata winds up the work in a lighter mood, in contrast to the variations which are rather intense and dramatic.”
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Program notes prepared by Margaret Wilson, Principal Clarinet, Saskatoon Symphony Orchestra. © 2013 330A - 2600 8th Street East Saskatoon (beside Saboroso Restaurant)
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Photo: Trudy Janssens, Photography One 2 One
Gyro Masters Series March 8, 2014
MAESTRO VICTOR SAWA
MONICA HUISMAN
Music is GREAT Britain TCU Place, Sid Buckwold Theatre, 7:30 pm
Maestro Victor Sawa conductor Saskatoon Symphony Orchestra Saskatoon Chamber Singers James Hawn, director Saskatoon Greystone Singers and University Chorus Dr. Gerald Langner, director Monica Huisman soprano Peter McGillivary baritone
PETER MCGILLIVRAY The Gyro Masters Series is generously sponsored by
Presented by
Becker Overture (commissioned work) Britten Peter Grimes: Four Sea Interludes, op. 33a
1. 2. 3. 4.
Dawn Sunday Morning Moonlight Storm
intermission
Vaughn Williams
1. 2. 3. 4.
A Sea Symphony
A Song for All Seas, All Ships (Peter McGillivary, Monica Huisman, chorus On the Beach at Night, Alone (Peter McGillivary, chorus) Scherzo: The Waves (chorus) The Explorers (Peter McGillivary, Monica Huisman, chorus)
Pre-Concert Talk about tonight’s music. 6:55 – 7:20 pm, Green Room. inTune 28
Maestro Victor Sawa conductor Peter McGillivray baritone For Victor Sawa’s bio see p. 39.
The award-winning Saskatchewan baritone Peter McGillivray has been gaining accolades on both the concert and operatic soprano stage. He won the Deuxième Grand Prix and prize for Best Canadian Performance Ms. Huisman has been hailed as posat the Montreal International Musical sessing a soprano voice that ‘embodies Competition, a success followed by another both flawless technique and dramatic top prize at the Queen Sonja Competition impact’. In 1999, she made her debut at the famous Concertgebouw in Amsterdam in Oslo, Norway. He previously gained national recognition at the CBC Radio-Canada in a live broadcast of Riccardo Zandonai’s Young Performers Competition in Calgary Francesca da Rimini. Since then Ms. when he took home the First Prize as well Huisman has delighted audiences from as the Audience Award. Amsterdam to Guatemala City with the reputation of her ‘silken’ voice ‘consisMr. McGillivray has a busy season in 2013-2014, tently crafting each note into a work of art’ packed with performances across Canada (Winnipeg Free Press). from Québec to Vancouver. He began the
Monica Huisman
She has soared on the stages of Vancouver Opera, Calgary Opera, Edmonton Opera, Pacific Opera Victoria, The Netherlands Opera, Manitoba Opera, Opera Ontario and Saskatoon Opera in signature roles such as Musetta in La Boheme ‘whose silken voice and fine stage sense belong in the show-stealing category ‘(Vancouver Sun), Micaela in Carmen, Pamina in Magic Flute, Donna Anna in Don Giovanni, and the Fox in Cunning Little Vixen. Concert repertoire has seen her thrill audiences with the National Arts Centre Orchestra, Toronto Symphony, Guatemala Symphony, Hamilton Philharmonic, Winnipeg Symphony, Regina Symphony, Saskatoon Symphony Orchestra, Concertgebouw Symphony Orkest, Radio-Symphony Orkest and Orchestra London in such works as Strauss’ Four Last Songs, Brahm’s Requiem, Mahler’s 2nd and Beethoven’s 9th. Recent engagements include a return to the Concertgebouw in Amsterdam featuring Smetana’s The Bartered Bride, as well as ‘singing it like it was her native tongue’ and absolutely ‘mesmerizing’ the audience in Villa Lobos Bachianas Brasileiras in RICE International Festival in Rio de Janeiro. Upcoming engagements include Schubert’s Lobegesang with the Vancouver Symphony.
season with Opéra de Québec and the role of Sharpless in Madama Butterfly, followed immediately by the Vicar in Albert Herring for Vancouver Opera. He will be Dr. Falke in Die Fledermaus for Edmonton Opera, and Schaunard in La Bohème for Manitoba Opera.
His schedule for last season included Schaunard in La Bohème for Opera Lyra Ottawa, the world premiere of Shelter for Edmonton Opera and the Vicar in Albert Herring for Pacific Opera Victoria. On the concert stage, he sang Haydn’s Die Schöpfung for the Georgian Bay Concert Choir, Bach’s Mass in B Minor for Kitchener’s Grand Philharmonic Choir and the Peterborough Singers and also appeared with the Talisker Players of Toronto. His 2013 summer festival season included Acis and Galatea for both the Festival of the Sound and the Elora Festival and he was also heard for the latter in Carmina Burana. Mr. McGillivray’s 2011-2012 season was dominated by stage works including Pagliacci (Silvio), Gianni Schicchi (Betto) and Moby Dick (Stubb) for Calgary Opera, and Gianni Schicchi (Marco) for the Canadian Opera Company. As a concert artist, he was heard with the Elmer Iseler Singers and the Grand Philharmonic Choir in Messiah and in a special programme at the Festival of the Sound (Parry Sound, 2012). inTune 29
Photo: Shaun Bzdel
SASKATOON CHAMBER SINGERS He was featured as a recitalist at FestiVoix, Canadian music has always been an imTrois Rivieres (broadcast by CBC/Radio portant component of its programming. Canada), the Elora Festival, and Toronto Best known for its annual Remembrance Summer Music. For the Luminato Festival, he Day concert, the Chamber Singers’ first appeared in Staniland’s Dark Star produced CD, Remember, was released last year. by Tapestry, Beethoven’s Mass in C for Elora Their remaining concert this season is and Bach’s Mass in B Minor for the Festival “EvenSong” on May 4th. of the Sound. Later in 2010-2011, he was in New York at the Metropolitan Opera as cover For choir members names and choir artist for Schaunard in La Bohème and Olivier director James Hawn’s bio please see the in Capriccio, closing out his season with program insert. Beethoven’s Symphony No. 9 in Windsor. Website: www.saskatoonchambersingers.ca Visit SaskatoonSymphony.org for Mr. McGillivray’s complete bio.
University of Saskatchewan Saskatoon Chamber Singers Greystone Singers
James Hawn, Director
Dr. Gerald Langner, conductor
The Greystone Singers is a mixed-voice The Saskatoon Chamber Singers was choir open by audition to all University of founded in 1977 by a group of former Saskatchewan students who love singing Greystone Singers who wanted to and enjoy learning a challenging and continue singing in a quality choral varied repertoire—from traditional and ensemble. The choir has been a finalist classical to sacred and secular, including in both the CBC choral competition for folk songs and spirituals in a variety of lanamateur choirs and the International guages and styles. Since 1958, when they Choral Kathaumixw in Powell River, were first organized, nearly two thousand British Columbia, and participated in the non-competitive Festival 500 in St. John’s, young men and women have sung with Newfoundland. It has also been the guest this award-winning ensemble. This year’s choir consists of forty-seven students choir at Saskatchewan Sings, and sang from the Colleges of Arts and Science, at the installation of Lynda Haverstock (a former member) as Lieutenant-Governor Education, Engineering, Agriculture, Kinesiology, Edwards School of Business, of Saskatchewan. In 2010, the choir perGraduate Studies, and majors in Drama as formed at Podium, the biennial conferwell as in the Department of Music. ence of the Association of Canadian Last spring the choir won first prize Choral Communities, held in Saskatoon. in the Mixed-Voice University Choirs The choir’s repertoire has been rich category of the biennial ACCC-CBC in variety since its establishment, and inTune 30
UNIVERSITY OF SASKATCHEWAN GREYSTONE SINGERS
UNIVERSITY CHORUS National Competition for Amateur Choirs; over the past fourteen years they have been national semifinalists also winning second prize in 2006 and 2010. Besides performing at many local events, festivals, and with the Saskatoon Symphony Orchestra, the “Greystones” annually tour throughout Saskatchewan. They make frequent appearances elsewhere in Canada, and occasionally visit the United States, Europe, and other countries, including Cuba. In February 2007 the choir performed in Vienna, Salzburg, Prague, and at Mazaryk University in Brno. In May 2010 they toured China performing in Shanghai, Xi’an Jiaotong University, Beijing Institute of Technology, and the Beijing Central Conservatory of Music, followed by an invited performance in Saskatoon at Podium—the national biennial convention of the Association of Canadian Choral Communities. In July 2013 they toured in Europe along with the Wind Orchestra, performing in Interlaken, Switzerland and Kerkrade, Netherlands.
University Chorus Dr. Gerald Langner, conductor The University Chorus, with an annual membership of approximately one hundred singers, is an excellent example of the community outreach program of the University of Saskatchewan Department of Music. The Chorus draws approximately half its membership from the University student body, faculty and staff, with the remainder consisting of community members from Saskatoon and surrounding area. Besides presenting concerts to Saskatoon audiences and collaborating with the Regina Philharmonic Chorus, the University Chorus regularly performs choral-orchestral masterworks with the Saskatoon Symphony Orchestra such as the Requiems of Verdi, Mozart, Fauré, Duruflé, and Brahms; Haydn’s Creation, Mendelssohn’s Elijah, Orff’s Carmina Burana, and Vaughan William’s A Sea Symphony. For choir members’ names and for Dr. Gerald Langner’s bio please see program insert
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Matthew David Becker (b. 1984) OVERTURE (Commissioned by the SSO)
years before. It was also a turning point in Britten’s career.
The Four Sea Interludes, instrumental interludes which Britten extracted from the opera to be performed as a stand“Overture” is a gathering of melodic alone work, evoke the coast and seascapes fragments which appear in correlation of Suffolk. In the opera, the sea plays a with others, thus creating a narrative. It key role. These small tone poems serve to opens with a clunky, almost oafish tuba introduce the sea and its moods. The first solo, but it sets the stage for similar interlude, “Dawn,” portrays a sea at peace generating motifs, which then branch out to produce a larger narrative. This narrative but with undercurrents of danger. “Sunday Morning” is boisterous with church bells then progresses into extended melodic and evokes sun on the water. “Moonlight” passages among a few instruments at a is the peaceful counterpart to “Dawn.” In time. Eventually, a combination of the final movement, “Storm,” the tempestextended melodic components and tossed sea lashes the coast. fragmented motifs that we heard earlier come together to create one big dialogue.
Benjamin Britten (1913–1976) four sea interludes from Peter grimes, OP. 33A George Crabbe’s poem The Borough (1810), about life in the fishing villages of England’s east coast, inspired Britten, who grew up in that area, to compose the opera Peter Grimes. Composed in 1944-1945, the opera tells the story of Grimes, who is accused by the townsfolk of murdering his apprentices. Britten portrays Grimes not as a sadistic man but rather as an outsider, a “tortured idealist” distrusted for his individuality and ruthlessness: a man at odds with the world. Britten wrote it was a subject “very close to my heart—the struggle of the individual against the masses” that had “ironic overtones for our own situation,” referring not only to Britten’s relationship with his lifelong lover Peter but also to the scorn they faced during WWII as pacifists and conscientious objectors. Ironically, composing music about the formidably beautiful English coast he had known as a child ignited Britten’s desire to end his self-imposed exile and return to his roots. The opera’s unexpected triumph at the premiere in June 1945 launched a revival in English opera, which had not seen such success since Henry Purcell 250
Ralph Vaughan Williams
(1872–1958)
A sea symphony British composer Vaughn Williams’s A Sea Symphony (1910), his first large-scale work and the first symphony of the nine he would eventually compose, was his first major success. During the six years in which he developed it, its content and title changed several times. At last Vaughan Williams completed this expansive, exhilarating work for soloists, chorus, and orchestra. A Sea Symphony was enthusiastically received at its premiere in 1910 at the Leeds Festival, with Vaughan Williams conducting on his 38th birthday. It helped solidify his reputation begun with the recent success of Fantasia on a Theme by Thomas Tallis. These triumphs established a career that would span nearly fifty years and lead Vaughan Williams to be honoured, in his later life, as inTune 32
the unofficial composer laureate of England. A Sea Symphony’s success also garnered new support for 20th century English music. Vaughan Williams travelled throughout England collecting and transcribing folk songs and many of these songs and sea shanties found their way into A Sea Symphony, though Vaughan Williams’s interest in folk music influences this composition perhaps less than some of his later compositions. Even his works that do not directly quote folk music seem to retain its influence and have a “national” feel about them. This symphony was one of the first in which the chorus is integral to the entire work. Though the symphony is conventional in form, its use of chorus makes it almost a choral fantasy. Vaughan Williams treated the text as music. He wrote: “The plan of the work is symphonic rather than narrative or dramatic, and this may be held to justify the frequent repetition of important words and phrases which occur in the poem. The words as well as the music are thus treated symphonically.” In his program note he wrote, “It is also noticeable that the orchestra has an equal share with the chorus and soloists in carrying out the musical ideas.” Music critic Samuel Langford wrote, “It is the nearest approach we have to a real choral symphony, one in which the voices are used throughout just as freely as the orchestra.” This fluidity between music and text is especially evident in the third movement.
of instinct over environment. The tone is optimistic, Whitman’s emphasis on the unity of being and the brotherhood of man comes through strongly, and the vitality of the best things in it has proved enduring… there is no mistaking the physical exhilaration or the visionary rapture.” The first movement “A Song for All Seas, All Ships” (baritone, soprano, and chorus) speaks, “Of ships sailing the seas, each with its special flag or ship-signal, Of unnamed heroes in the ships – of waves spreading and spreading far as the eye can reach, Of dashing spray, and the winds piping and blowing, And out of these a chant for the sailors of all nations, Fitful, like a surge…” It then becomes sorrowful as those lost at sea are mourned. The second movement, “On the Beach at Night, Alone” (baritone and chorus), sings, “On the beach at night alone, As the old mother sways her to and fro singing her husky song, As I watch the bright stars shining, I think a thought of the clef of the universes and of the future. A vast similitude interlocks all....” The third movement, “Scherzo: The Waves” (chorus), says, “After the sea-ship, after the whistling winds… a myriad, myriad waves hastening… Waves, undulating waves, liquid, uneven, emulous waves… Toward that whirling current, laughing and buoyant… flashing and frolicsome under the sun... with many a fleck of foam and many fragments… in the wake following.” The fourth movement, “The Explorers” (baritone, soprano, semi-chorus, and chorus), is a journey: “O we can wait no longer, We too take ship O soul, Joyous we too launch out on trackless seas, Fearless for unknown shores on waves of ecstasy to sail, Amid the wafting winds… Wandering, yearning, curious, with restless explorations… for the deep waters only. For we are bound where mariner has not yet dared to go….” The movement ends quietly, “O daring joy, but safe! are they not all the seas of God? O farther, farther, farther sail!”
Vaughan Williams admired the poetry of Walt Whitman, especially the poems that transcended both metaphysical and humanist perspectives. For A Sea Symphony he used as his text some of Whitman’s lesser-known poems from Leaves of Grass: “Song of the Exposition” and “Song for all Seas, all Ships” (first movement), “On the Beach at Night Alone” (second movement), “After the Sea-ship” (third movement), and “Passage to India” (fourth movement). The poems contain references to sailors and the sea as metaphors for life’s journey. Ottaway Program notes prepared by Matthew David Becker and Frogley called the melding of Whitman (Overture) and Joan Savage, member, Violin secand Vaughan Williams’s works: “…a triumph tion, Saskatoon Symphony. © 2014 inTune 33
Saskatoon Symphony Society Board and Administration Honorary Patrons
SSO Management and Staff
Honourable Brad Wall, Premier of Saskatchewan, and Mrs. Tami Wall
Administration Mark Turner, Interim General Manager general.manager@saskatoonsymphony.org
His Worship, Mayor Donald J. Atchison, and Mrs. Mardelle Atchison
Board of Directors Judy Balon Andrew Beaton Rob Dobrohoczki Lynn Ewing Annalisa Govenlock Shawn Heinz Sharon Hildebrand Shelly Loeffler Lisette Mascarenhas Bryn Richards Kassidy Schneider
Saskatoon Symphony Centre 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.
Melissa Goodchild, Office Assistant office@saskatoonsymphony.org Orchestra Victor Sawa, Music Director maestrovic@sasktel.net Sarah Stack, Director of Artistic Operations operations@saskatoonsymphony.org Terry Heckman, Personnel Manager personnel@saskatoonsymphony.org Lindsay Johnston, Core Coordinator chamberplayers@saskatoonsymphony.org Lillian Jen-Payzant, Orchestra Librarian Kevin Grady, Production Manager Finance Darci Speidel, Bookkeeper Marketing and Audience Engagement Michael McCoy, Articulate Eye Marketing Director marketing@saskatoonsymphony.org Melissa Goodchild, Community Outreach comeandplay@saskatoonsymphony.org Mary Ann Therrien, Articulate Eye marketingsupport@saskatoonsymphony.org Group Sales information and bookings Call the SSO at 306.665.6414 or email: groupsales@saskatoonsymphony.org Development Jacques Lanteigne, VP of Development Phone: 306.514.2226 development@saskatoonsymphony.org Mike Covey, Director of Sponsorships Direct line: 306.221.7120 mike@mcmedia21.ca inTune 34
Funders and Corporate Sponsors 2013–2014 Season Funding Agencies
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Thank you to all our funders and corporate partners! inTune 35
GYRO PRODUCTIONS PROUD SPONSOR OF THE SSO, VICTOR SAWA - MUSIC DIRECTOR
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Jennifer Campeau, MLA Saskatoon Fairview 306-974-4125
Ken Cheveldayoff, MLA Saskatoon Silver Springs 306-651-7100
Paul Merriman, MLA Saskatoon Sutherland 306-244-5623
Rob Norris, MLA Saskatoon Greystone 306-933-7852
Don Morgan, MLA Saskatoon Southeast 306-955-4755
Roger Parent, MLA Saskatoon Meewasin 306-652-4607
Corey Tochor, MLA Saskatoon Eastview 306-384-2011
Gordon Wyant, MLA Saskatoon Northwest 306-934-2847
Enjoy the Show! Your Saskatoon
Saskatchewan Party MLAs
March 15, 2014
MAESTRO VICTOR SAWA, TREVOR WINGERTER AND THE SSO, 2013
At the Movies – An Oscars® Wrap Party
The Conexus Pops Series is generously sponsored by
TCU Place, Sid Buckwold Theatre, 7:30 pm
Maestro Victor Sawa conductor Trevor Wingerter vocalist
Presented by
Calvin Custer (arr.) Star Trek: Through the Years Rodgers and Hammerstein The King and I (arr. Russell Bennett) Nina Rota The Godfather Erich Korngold The Adventures of Robin Hood intermission
Danny Elfman Batman (arr. Steve Bartek) Andrew Lloyd Webber Selections from The Phantom of the Opera
(arr. Calvin Custer) including ‘The Music of the Night’ (lyrics by Charles Hart, orchestration by David Cullen (Trevor Wingerter, vocalist)
Mychael Danna John Williams
Life of Pi - Pi’s Lullaby (Bombay Jayashri, arr. Ted. Ricketts) Star Wars
Thanks to the Roxy Theatre & Rainbow Cinemas, Trudy Janssens - Photography One 2 One, Masala Model & Talent, for production assistance.
Have your photo taken on the red carpet tonight! inTune 38
star trek Films from the Star Trek franchise have received a total of 15 Oscar® nominations, including 2 for Original Score. Star Trek (2010) was the first movie in the franchise to win an Oscar.®
Victor Sawa conductor Victor Sawa is a triple threat of talent, experience and personal dynamism. Music Director of the SSO, he holds similar positions with orchestras in Sudbury and Regina. He was previously Resident Conductor with the Calgary Philharmonic Orchestra (1993-1997), Music Director with the North Bay Symphony, the Guelph Youth Orchestra and the Kitchener-Waterloo Orchestra. He also served as Principal Clarinet with the Kitchener-Waterloo Symphony. He has guest conducted for orchestras across the country. 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. A Montreal native, Sawa holds a Bachelor of Music with Distinction from McGill University and an Honours Masters of Music Performance from the New England Conservatory of Music. He is also a graduate of the Pierre Monteux School for Advanced Conductors. In 2011, Victor Sawa was appointed Honorary Consul for Japan in Saskatchewan. Earlier this year, Maestro Sawa announced his upcoming retirement from the Regina Symphony in 2015.
Reruns of Gene Rodenberry’s sixties TV series (which ran for just three seasons) proved so popular after the series was cancelled, that a feature film was considered, but then scrapped in favour of a new series (Star Trek: Phase II). However other science fiction movies were proving successful, so the pilot of the new series was developed into the 1979 feature film. This was followed by five more films with the original cast, then another four with the cast of Star Trek: The Next Generation, and after seven years, two new movies followed. Composers of the movie music include Jerry Goldsmith and James Horner (each nominated for an Oscar®, Leonard Rosenman, Cliff Eidelman, Dennis McCarthy, and Michael Giacchino (the two most recent movies).
the king and I (1956) Nominated for 9 Academy Awards, included Best Picture, the movie won 5, including Best Music, Scoring of a Musical Picture (Alfred Newman and Ken Darby). The movie is based on the Rodgers and Hammerstein Broadway musical of the same name, which featured Gertrude Lawrence and Yul Brynner. Lawrence died during the run of the musical, so Deborah Kerr was cast in the lead role. Her musical numbers were sung by Marni Nixon (who earned just $420 for the job).
THE GODFATHER (1972) Nominated for 9 Oscars®, its nomination in the Best Music category was rescinded. The movie won 3 Oscars®, including Best Picture. Widely considered one of the greatest films ever made, its nomination in the Best Music category spawned controversy, resulting in disqualification when it was discovered that composer Nina Rota had previously used the theme in an earlier inTune 39
film (even though it was in a different style and tempo). The sequel Godfather II won an Oscar® in the same category, although it also used the same theme that had the original movie disqualified.
Saskatoon resident Yann Martel’s wondrous novel was transformed into a 3-D movie by screen writer David Magee and director Ang Lee, with music by Canadian Mychael Danna. Martel called the movie, a critical and box office success, “delightTHE ADVENTURES OF ROBIN ful,” saying “I’m so happy it works so well HOOD (1938) Nominated for four Academy as a film.” The late Roger Ebert called it “a Awards including Best Picture, the movie miraculous achievement of storytelling won three, including Best Original Score. and a landmark of visual mastery.” With an iconic score by Erich Wolfgang Korngold, and direction by Michael Curtiz, STAR WARS (1978) The original movie was nominated for 10 Oscars®. It won 6, this movie starred the swashbuckling including for Best Original Score. Errol Flynn. It was an uncharacteristically John Williams scored the Star Wars films, big budget movie from Warner Bros. using a variety of musical styles, from that Studios, shot in Technicolor and spawned of Richard Strauss and his contemporaries, a string of similar movies in the years that to that of Hollywood composers Erich followed. Wolfgang Korngold and Max Steiner. The BATMAN (1989) Nominated for and won themes performed tonight are drawn from the Oscar® for Art Direction. the original trilogy. Star Wars is credited with beginning the revival of grand symThis Tim Burton film, starring Michael phonic movie scores in the 1970s. Without Keaton and Jack Nicholson, went through 9 rewrites before heading into full produc- a doubt, Williams’ music has had a major impact on film scoring ever since. tion. Based on familiar characters in pop culture, the movie went on to gross over $400 million and redefined the role of the superhero in modern film. The theme from the movie became iconic.
THE PHANTOM OF THE OPERA
(2004) 3 Oscar® nominations, including Best Song, but no wins.
Closely based on the Andrew Lloyd Webber musical of the same name, the movie received mixed reviews, particularly in areas of direction and screenplay. For some, its emphasis on the spectacle of the stage musical, meant it lost its emotional connection and storyline. Nonetheless, the music is classic Lloyd Webber, with The Music of the Night a standout. Tonight we are fortunate to present local singer Trevor Wingerter to perform it.
LIFE OF PI (2012) Nominated for 11 Oscars®, including Best Picture, it won 4, including Best Original Score.
The best in live roots music Thursdays @ 8:00 - Fridays @ 9:00PM
The best in live jazz music Saturdays @ 8:00PM
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 inTune 40
Make your TV Appier.
2014 Book & Music Sale APRIL 24 - MAY 3 Proceeds support the Saskatoon Symphony
DONATE YEAR-ROUND! Most books, sheet music, records, CDs, videos, DVDs and collectibles are gratefully welcomed.
Drop-off Locations Please call ahead to ensure space is available. SASKATOON maxTV ™ apps include: • Top Recorded Shows • Recommended 4U • The Weather Network iTV • and more! No other provider in Saskatchewan can offer the internet-enhanced TV experience of maxTV. With great digital TV channels, maxTV Online, TV Apps, and more, maxTV is endless entertainment!
Smarter. Better. Television.
SASKATOON SYMPHONY OFFICE 408 20th St. W. 306.665.6414 (except Apr 7-May 9, 2014) Centennial Plumbing, Heating & Electrical 710 51st St. E. 306.665.5366 Galon Insurance Brokers 909 3rd Ave. N. 306.244.7000 LaRoche McDonald Agencies 202A 22nd St. W. 306.244.7955 Mount Royal Drugs 701 Ave. P N. (at 29th St.) 306.382.7373
Humboldt HUMBOLDT Shoppers Drug Mart 627 Main St. 306.682.2541
For more information and to check for items accepted visit our website:
sale.wgpotter.com or call the SSO: 306.665.6414 inTune 41
Striking a chord BHP Billiton is proud to sponsor the Saskatoon Symphony Orchestra, and to make a positive contribution to Saskatchewan.
Supporting community programs is the way we like to do business.
www.bhpbilliton.com
Proud To Support Our Saskatoon Symphony inTune 42
Saskatoon Symphony Supporters Circle 2013–2014 Season Thank you to all the donors on whose generosity we depend. Your investment allows the Saskatoon Symphony to strive for artistic excellence, and to create meaningful community connections, in a financially sound manner.
Orchestra Circle ($10,000+)
Maestro’s Circle ($5,000-$9999)
Estate of Effie MacLean Roger and Marie Jolly
Performer’s Circle ($2,000-$4999)
Yvonne Cuttle Skip Kutz Mary Marino Betty Reynolds Doug and Lilian Thorpe
Encore
($1000-$1999) Sandra Beardsall and Bill Richards Dilys and Eric Burt Memorial Trust* Esther Cherland and Dr. David Jobling Dr. Anne Doig and Bob Cowan Penny Drum Shelley Ewing Elmer and Anne Guenther Janet Hill and David Palmer John and Myrna King Anna Klassen Fund* Joyce Lenz Colin Macdonald and Theresa Skwara* Garnet and Susan Packota Joe Ponic Robert D. and Lura Mae Meeds Sider Fund* Brian Unverricht
Concerto
($500-$999) Articulate Eye Tadeusz Biernacki
Ron Boden Ken Coutu and Penelope Stalker Lynn Ewing Jonathan Andrew Friesen Ruth Friesen Brian and Loretta Hartsook Ollie and Bob Hasselback Rob Hendry and Pamela Delong-Hendry Ian Innes Deborah and Arnold Janzen Martha Kashap Judy McCrosky Phav Meekins Ivar Mendez Willette Neijmeijer Martha Pankratz Art and Janet Postle Ian and Meredith Sutherland P. Michael and Margaret v. Swan Brian Unverricht Dr. and Mrs. Jim and Marilyn Veikle Erika Wentzel Anonymous
Sonata
($250-$499) John Botari Erin Brophey and Tom Dreyer Carol-Marie Cottin Don and Dolores Ebert D. Carmen Foley Daniel Funk Dr. Mary-Jane Hendel Leo and Trudy Janssens Michelle LaBrash Dr. Hugh and Sheryl McKee L. Mitchell Noella Nutting Ronald and Betty-Ann Perkins Mathieu Pouliot Lila Rudachyk Dennis and Marie-Jeanne Will
* Through the Saskatoon Community Foundation
Kassidy Schneider Grant Skomorowski Frances and William Schultz Ursulines St. Angela’s Convent Gail Zink
Serenade
($100-$249) Vanessa Amy Earl and Elaine Ballard Chantal Banda Mary Barrett-Lenz Herta Barron Kathleen M. Bender Evelyn Bergstrom Willian Boan Gloria and Herman Boerma Carole Boryski Evelyn Bowman Lois Bruce Darrell Bueckert Dr. and Mrs. Robert T. Card Mary Conklin Janice Cook and Ronald Philip Miller Paul and Viola Coutu Bob Crowe and Mary-Jane Hendel Rosanne Daku Mary Lou Day Verna Deason Brenda Derdall Bev and Murray Drew Robert and Vina Edwards Lois Elder Phyllis Ellis Jake and Barbara Ens Elsie Epp Joan Feather Jacqueline Ferraton Al and Helen Few Joan and Peter Flood Cathy and Joe Fry Daniel Funk Don and Norma Gendzwill Melissa Goodchild
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Saskatoon Symphony Supporters Circle 2013–2014 Season Serenade (continued)
Kevin Grady Tina Grandey Kathy Grant Katharine Grier Aline Guillas Ted and Marie Hammer Terry Heckman Dr. Bob and Doreen Hickie Sharon Hildebrand Dr. Derek and Helen Hill Jack Hilson Akira Hirose Ruth Horlick Hume Family Fund* Dennis and Rosemary Hunt Tim James Willis and Marlys Jantz Dr. Eunice Janzen Lillian Jen-Payzant Bev Johnson Kathleen L. Johnstone Kevin Junk Gerarda Kaye and John Doane Anne Klaassen Dr. Gerrit J. Kraay Dave Leland Brent Longstaff and Casey Elder-Longstaff Noel and Margaret Lowry Bernard Luttmer Peggy and Tim Martin Miss Mary Matwyuk Vicki McDougall Robert W. McLellan Sophie McBean Allan McGuire Wally and Shirley McNeil Stuart and Dorothy Middleton
Brenda Moats Margaret Monks Earl and Mary Ann Nostbakken Ron and Pat Nowoselski Ross Nykiforuk and Susan Healey Connie Owen-Jones Garnet and Susan Packota Martha Pankratz George and Ellen Parchomchuk Rosanna Parry John Patterson John Payzant Henriette Quessy Jill and Derby Reid Jeanne Remenda Bryn Richards Al and Sandra Ritchie J. Frank Roy Leslie Ruo Saskatoon Funeral Home Harvey Sauder George Schmid Judy Schmid Don Schmidt Viola R. Schmidt Ralph and Marg Schneider Elizabeth and Jym Scott Marie Sellar John Senior Arlene Shiplett Dr. Peter and Audrey Siemens Ruth Solheim Terry Stannard Bernie and Pius Steckler Agnes Valade Tanya Veeman
Albert and Marjorie Veroba Tony and Darlene Walliser Victor and Erna Wiebe Bill and Samantha Wildeman Heather Wilson Gary and Amy Wobeser William Lang Yip Memorial Fund* Anonymous x 2
Trina Joseph-Bear Kyle Kennedy Bev Kinshella Alicia Klopoushak Katherine Knox Erica Leyland Shelly Loeffler Clinton Marchuk Margaret Marcoux Betty McIver Beryl McLeod B.J. Michaels Linda Miller Ans Nahirney ($20-$99) Matthew Neufeld Helen Abrey Kenn Neumann Shirley Acton Hilda Noton Dr. Sina Adl Wendy Obrigavitch Heidi Bartsch Grattan O’Grady Carol Bazin Jamesy Patrick Carol Beaulieu Dhayanthi Pfeifer Anna Beeton John Prietchuk Dr. Dianne Bekolay Neil Rawlyk Bonnie Blakley Karen Reynaud Pat Boot Dorothy Riemer Eileen Boryski Herman and Myrna Mary and Bill Chapman Rolfes Maureen Cline Nicole Ryan Annemarie Connor Rhonda Sader Ronald and Elizabeth Dian Sawatsky Cuming Angela and Randy Mitchell Doepker Schmidt Betty Dolman Sheila D. Scott Tyler Dovell Rosemary Slater Margaret Dragan Shannon Sofko Marie Dunn Rose Solski Suzanne Dust Darci Speidel Richard and Linda Ewen Frank W. Strange Leona Ewert Karin Tate Meta Freitag Kate Toews Louise Griffith Winona Trudelle Doreen Haaland Al Veroba Harmony Souls Dr. Ross R. Wheaton Brenda Iwasuik Katie Wiens George and Phyllis Marylin Wipf James Catherine Zeilner Phyllis Johnston
Prelude
This list reflects donations received after the publication of Volume 3, Issue 2. Donations received after December 31, 2013 will be included in the next issue. Please accept our sincere apologies for errors or omissions.
inTune 44
Saskatoon Symphony Supporters Circle 2013–2014 Season In Memory of Howard a. klein
In Memory of gordon mclure
by Joyce Dibski Rajni and Ravindra Chibbar Dalice and David Abraham Kathryn and Bruce Probert Ruth Radostits Anonymous
by Evelyn Bergstrom Dr. Ted and Marie Hammer Harrey Irving, Charlene Sorenson, Audrey Zender Kenneth Zender James Irving
In Memory of eldon wiebe by Jan Norris
In Memory of AUDREY ZBITNEW
by Lesley-Ann Crone and Alan Rosenberg In Memory of Frank and Marna Cutts miriam gelmon Shirley Acton Bryan and Trudy Johnson by Sherril Gelmon Love, Owen, Sasha, Dr. Peter and Audrey Siemens Roma and Slavek Hurka Mike & Kirsten Paul and Donna Tremblay Dr. Stuart and Mary Houston Ted and Marilyn Underhill Susan Adaskin, Skip Kutz In Memory of Kathy Grant Erica Leyland, Ruth Horlick MARY SHADICK Tina Grandey Martha Carter and Brian Ulmer Darlene and David Riley by Paul and Viola Coutu M. Beryl McLeod Lorna and David Sim Neil R. Hughes Ruth Cossar Susan Carole Tedesco and In Memory of Anne and Richard Kalenchuk Mark Kornder elaine phillips Dr. Stuart and Mary Houston Lois and Norwood Kavanagh by Jan Norris Bill and Mary Chapman
In honor of JUDITH NORDNESS (A Most musical Mom)
BRINGING MUSIC TO LIFE
The Bring Music to Life fundraising campaign is now underway. Jacques C.F. Lanteigne was recently hired as new V.P. of Development, and will invest his time in making sure that all possible sources of funding are solicited. Below are the names of those individuals and companies who have already engaged themselves in this crucial undertaking. Sylvia and Donald Acton Judy Balon Richard Cheetham Barry Collins Community Electric Ltd. Ken Coutu Robert Dobrohoczki Bev and Murray Drew Lynn Ewing Shelley Ewing Margaret Fredeen Annalisa Govenlock Michael Harris Delores Gradish and Michael Hayden
Shawn Heinz Robert and Pamela Hendry Sharon Hildebrand Roger and Marie Jolly Elizabeth and Howard Klein Skip Kutz Jacques C.F. Lanteigne Mairin Loewen Mary Marino Jennifer McAllister and Dean McNeill Isabelle Mills Neil and Anne Reddekopp
Sylvia and Robert Regnier Betty Reynolds Bryn Richards Alan Ryan Saskatoon Fastprint Ltd. Andrea L. Sargent Darla Saunders Kassidy Schneider Marie Spencer Dorothy and Edward Tymchatyn Shannon G. Whyley Michael Williams June and Tom Zurowski
For information on investing in your symphony through an annual, monthly, or weekly donation, a gift of securities, or a planned gift, including recognition, please email Jacques C.F. Lanteigne, V.P. Development at development@saskatoonsymphony.org or call him at 306.514.2226. inTune 45
Igniting our spirits through music Deloitte is a proud sponsor of the Saskatoon Symphony Orchestra
Š Deloitte & Touche LLP and affiliated entities.
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Fastprint inTune ad v2.qxd
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Presto! pres-to (pres'tĹ?) 1 quickly., used to indicate the sudden appearance or occurance of something as if by magic. 2 quick. 3 a quick part in a piece of music. 1 adv., 2 adj., 3 n., pl. pres-tos.
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