Magazine of the Saskatoon Symphony
inTune Volume 3 Issue 4
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April – May 2014
Christopher Hall
Comedian. Clarinetist. Watch for The Comic Orchestra, May 31
Fire & Fury
Pianist Samuel Deason takes the stage
Quartango!
A treat for the eyes and ears
Pictures at an Exhibition
plus Samuel Milner takes on Bruch
Schubert’s Octet Incomparable!
The Four Seasons Vivaldi – from Vienna
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Volume 3 Issue 4
Contents fire & fury 12
Gyro Masters Series, TCU Place – April 12, 2014
MaestroAVEVictor Sawa conductor E RECORDED MUSIC & VIDEO SALE Samuel Deason piano PAVED Arts 424 20th St W
quartango 19 408 20th St W SSO BOOK AND MUSIC SALE HQ
Building Conexus Pops Series, TCU Place - April 26, 2014
D RichardAVECarnegie guest conductor Quartango: Stéphane Aubin piano SSO IDYLW YLD DR AVE B Building Far mer s Rox y Mar ke t Jonathon Theat reGoldman bandoneon AVE D AVE B Midtown René Gosselin double bass, Antoine Bareil violin AVE C IDYLW YLD PlazaDR Roxana Callegari and Fabian Belmonte dancers IDYLW YLD DR AVE D PAVED Arts Rox y 424 20th St W Theat re
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SSO
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Mar ke t Gyro Masters Series, TCU Place – May 3, 2014
Maestro Victor Sawa conductor IDYLW YLD DR SamuelMidtown Milner violin Plaza
schubert’s incomparable octet 28
Players Choice Series, Delta Bessborough – May 11, 2014. NEW STOCK / NEWPresented BARGAINSby Delta Bessborough fanfare Thursday April 24 at 10 am Sun - 5 pm Thu & Fri Apr 27Apr 24 &Noon 25Opening 10 am - 8 pm sale.wgpotter.com Mon/Tue/Wed Apr 28–Apr 30 Noon - 8 pm EVERY DAY Sat • SHEET Apr 26 10 am• -DVDS&VIDEOS 6 pm• DVDS&VIDEOS BOOKS • RECORDS &CDS PROCEEDS SUPPORT T MUSIC • MUSIC RECORDS &CDS Sat
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Buy tickets get more information: BOOKS • SHEETand MUSIC • RECORDS &CDS • DVDS&VIDEOS Alexei Kornienko guest conductor / harpsichord For more information visit Denisova violin Elena saskatoonsymphony.org For more information visit sale.wgpotter.com THE COMIC ORCHESTRA* sale.wgpotter.com For single tickets for PROCEEDS SUPPORT
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SaskEnergy Family Series, TCU Place – May 31, 2014
Mathieu Pouliot guest conductor Christopher Hall comedian / clarinet
* Program information in concert day handout. inTune 3
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Make your TV Appier.
Also in this issue Orchestra musicians and 6 Chair sponsors Welcome message 9 Group Discounts 32 Honorary Patrons, Board of Directors and Administration 32 Funding agencies and Corporate sponsors
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Supporters circle 35–39 SSO Book & Music Sale 41
© Saskatoon Symphony & contributors
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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, Mike Covey, Sarah Stack Photos: Trudy Janssens - Photography One 2 One, Mike McCoy, others contributed. Printed in Canada.
PLEASE NOTE: Concert details subject to change without notice.
inTune 4
Magazine of the Saskatoon Symphony
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Volume 3 Issue 4
Photo: Rosanna Parry
April, 2014 Welcome to inTune, the Saskatoon Symphony Orchestra’s program magazine! We’re Finding Our Prairie Voice! The details of our 2014– 2015 season have been unveiled. There’s a 6-concert Masters Series that’s “True North, Strong, and Musical,” with an all-Canadian roster of guest artists and guest conductors, many of whom are Saskatoon born like pianist Thomas Yu (1) and violinist Kerry DuWors (2).
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Conexus Credit Union is back as title sponsor of the 2014-2015 Conexus Pops Series, which can be described as “A Beer, a Bridge, and a Stairway to Heaven,” with an Oktoberfest celebration, the Music of Simon and Garfunkel, and a return of Jeans ‘n Classics for The Music of Led Zeppelin (3). There’s a Ukrainian Christmas Holiday Spectacular, two performances of Messiah (one’s a “singalong”), and an exciting partnership with the Saskatoon Blades and Credit Union Centre that will bring “The Hockey Sweater” family special to you with an afternoon of fun.
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Our Players’ Choice Series of Sunday afternoon concerts is back, and so are the Time for Toddlers and The Core at Paved Arts, both complete sellouts this season. The SSO and Saskatoon Opera are bringing star of the Metropolitan Opera and Grammy Award-winning baritone Gino Quilico (4) to Saskatoon for The Red & Black Affair’s Night in Italy fundraiser in October. Bella notte!
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Find out more about these and other events by visiting SaskatoonSymphony.org. Remember to purchase your subscription by June 1 for Early-Bird Savings. If you’ve never subscribed to our Masters Series, you can even get two subscriptions for the price of one! 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 Evan Barber, Bryn Rees, Kristan Couture, Kevin Chen, Brandon Johnson Viola Emily Woytiuk Flute Jennifer McAllister, Melanie Sydiaha Oboe Sara Spigott Clarinet/Bass Clarinet Alyssa Thompson Bassoon Danielle Robertson-Boersma Saxophone Troy Linsley Trumpet Frank Harrington Trombone Kevin Marsh, Erika Rybinski Piano / Keyboard Gillian Lyons Percussion Mark Altman, Will Martin, Brad Litster
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
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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, One of the most exciting times for an orchestra is the end of a season. Its a time to celebrate the year that was, and the moment to begin the excitement about what comes next. The SSO has been hard at work to prepare our 84th season - next year is going to be something special. A season of entirely Canadian guest artists, 13 of whom are Saskatchewan born. The return of Angela Cheng and Thomas Yu is definitely something to be celebrated. As are the many debuts being made by young artists like Whitney Mather, Gerard Weber, and Danika Loren. Most exciting is opportunity to hear Nathan Berg - world renowned opera star who
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grew up in small town Saskatchewan and will be celebrated by the SSO next March. Next season is also affordable - great measures have been taken to ensure that next season will put the SSO on the path to long term financial sustainability. We’re making sure that each artistic decision comes from a place of fiscal responsibility. It will be a thrilling year with Maestro Sawa at the helm! Spring is the best time to live in Saskatchewan - so our concerts in the next two months give you a chance to really love life. Its passionate and exhilarating stuff. Plan to spend some nights with live music. It does the body good. See you at the symphony,
Mark Turner, Interim General Manager
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Gyro Masters Series April 12, 2014
MAESTRO VICTOR SAWA
Fire & Fury TCU Place, Sid Buckwold Theatre, 7:30 pm
SAMUEL DEASON The Gyro Masters Series is generously sponsored by
Maestro Victor Sawa conductor Saskatoon Symphony Orchestra Samuel Deason piano
Murphy From the Drum Comes a Thundering Beat Khachaturian Piano Concerto in D-flat Major, Op. 38 (Samuel Deason)
1. Allegro ma non troppo e maestoso 2. Andante con anima 3. Allegro brillante
intermission
Tchaikovsky
Symphony No. 4, op. 36, F minor
1. Andante sostenuto — Moderato con anima — Moderato assai, quasi Andante — Allegro vivo 2. Andantino 3. Scherzo: Pizzicato ostinato 4. Finale: Allegro con fuoco
Pre-Concert Talk about tonight’s music. 6:55 – 7:20 pm, Green Room. inTune 12
Maestro 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 (19931997), 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.
Minnesota Orchestra’s WAMSO Concerto Competition where he received the distinction of “best pianist”.
Samuel Deason’s recent engagements include performance in the world premiere of R. Murray Schafer’s Spirits of the House as part of Koerner Hall’s opening ceremony, a concert at the Rotary Centre for the Arts as part of the Pianoforte Festival in Kelowna, and the first recital of the Oakville Fazioli Concert Series. Additional performances include a program of Hétu, Berg, and Dutilleux at the Richard Bradshaw Amphitheatre in Toronto, performance with the Royal Conservatory Orchestra in Victor has been the recipient of many Stravinsky’s Firebird Suite, and recitals at awards and honours, including three the Banff Centre’s Rolston Hall, Edmonton’s Canada Council awards for Conducting, a Grand Prix du Disque—Best Chamber Music Muttart Hall, the Royal Botanical Gardens Recording (Canadian Chamber Ensemble), in Hamilton, and at the Auditori Antonio Cabezi in Valencia. Earlier this season, a Grammy award (with the New England Samuel made his debut with the Regina Ragtime Ensemble), and the Tanglewood Symphony Orchestra. Festival award for Outstanding Musician. Samuel has performed at music festivals in A Montreal native, Sawa holds a Bachelor Banff, Orford, and Toronto, having sought of Music with Distinction from McGill the wisdom of Arie Vardi, Julian Martin, University and an Honours Masters of Music Performance from the New England John Perry, John O’Conor, André Laplante, James Anagnoson, Ursula Oppens, and Conservatory of Music. He is also a graduate of the Pierre Monteux School for Anton Kuerti in masterclass. Samuel has Advanced Conductors. In 2011, Victor Sawa studied with Marc Durand and Leon Fleisher was appointed Honorary Consul for Japan at the Glenn Gould School, and Robert McDonald at the Banff Centre. Born in 1988 in Saskatchewan. in Saskatoon, he now resides in Indiana, learning under the likes of the legendary piano Menahem Pressler. Saskatoon-born Canadian pianist, Samuel Deason has distinguished himself as a (b. 1964) fearless and versatile musician having made his orchestral debut in Toronto FROM THE DRUM COMES A performing Prokofiev’s Piano Concerto THUNDERING BEAT No.2 under maestro Peter Oundjian as the first concerto performance in Koerner Hall’s “From the Drum Comes a Thundering Beat” was Kelly-Marie Murphy’s first orchestral inaugural season. Recent prizewinner in the Aram Khachaturian International Piano composition. Commissioned by the CBC for the Winnipeg Symphony, it was premiered Competition, Samuel took first prize in the at the DuMaurier Festival in Winnipeg in Lyell Gustin, Gordon Wallis, and Florence January 1996, conducted by Bramwell Tovey. Bowes competitions. He has furthermore garnished awards in the TSO National Piano It has since been performed across Canada. Competition, Shean Piano Competition, The work was inspired by a Pueblo Native Wideman Piano Competition, and the American legend from the Zuni tribe.
Samuel Deason
Kelly-Marie Murphy
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Concert notes
(cont’d)
Murphy wrote, “This legend [The Four Flutes] is about how the people wished for new music, but didn’t know how to make their wishes become reality. They consulted the elders at the Cave of the Rainbow and were shown music and dancing that began with a drum-beat so loud it shook the cave. For me, this described the creative process…. It is not gentle or easy, and it requires a formidable catalyst to move from the desire to create to the act of creation; to make the abstract thought become a solid and tangible sound.”
Aram Khachaturian (1840–1893) piano concerto in d-Flat major, op. 38 Though Aram Khachaturian did not show any interest in a musical career until he began studying composition at age 19, he quickly developed a distinctive style influenced by the folk music of his youth. His rhythms have been described as “athletic,” his music as “elemental.” He wrote, “I grew up in an atmosphere rich in folk music: popular festivities, rites, joyous and sad events in the life of the people always accompanied by music, the vivid tunes of Armenian, Azerbaijani and Georgian songs and dances performed by folk bards [ashugs] and musicians—such were the impressions that became deeply engraved on my memory…. They shaped my musical consciousness and lay at the foundations of my artistic personality….”
virtuosity… which is characteristic for [Khachaturian’s] entire creative work…. There is grandiosity, vivid sharp opposition and competition between the soloist and the orchestra.” In this concerto, Khachaturian attempted to merge the folk music of his hometown (now called Tbilisi) with the dramatic qualities of the concerto tradition established by Liszt, Rachmaninoff, and Prokofiev. Khachaturian wrote, “Probably [my] thirst for “concerto” music, for the colorfulvirtuoso style is inherent to my creative individuality. I am fond of the task of creating a composition where the cheerful principle of free competition between a virtuososoloist and a symphony orchestra prevails.” Reviewer Georgi Khubov wrote that this Piano Concerto was the “epitome of modern lyricism [full of] perfect inner harmony, vitality and folk character.” Khachaturian once said, “A concerto is music with chandeliers burning bright….” And so this concerto is.
Pyotr Ilyich Tchaikovsky
(1840–1893)
SYMPHONY NO. 4 in f minor, op. 36 BIn early 1877, Pyotr Ilyich Tchaikovsky came under the patronage of Nadezhda von Meck who, for the next thirteen years, deposited 500 rubles in his bank account every month. He also began work on his “Fourth Symphony.” So linked were these two events in Tchaikovsky’s mind that in the copious letters they exchanged (by her stipulation, they were never to meet), he often referred to this symphony as “our ” or even “your symphony.” On May 13, 1877, he wrote to von Meck, “I should like to dedicate [the Fourth Symphony] to you because I believe you would find in it an echo of your most intimate thoughts and emotions.”
Piano Concerto in D-flat (1936) is one of three concertos Khachaturian composed for the members of the famous Soviet piano trio: David Oistrakh, violin, Sviatoslav Knushevitsky, cello, and Lev Oborin, piano. Oborin premiered this concerto on July 12, 1937, with the Moscow Philharmonic conducted by Lev Steinberg. Oborin wrote, But as he worked on the symphony, “The Piano Concerto is one of Khachaturian’s Tchaikovsky did not realize he would combest compositions…. What attracts me plete it during one of the most tumultuous to this music? It must be the powerful years of his life. In May 1877 a former student, temperament, originality, and the exquisite Antonina Miliukova, wrote Tchaikovsky that inTune 14
she loved him and threatened suicide if he did not accept her. They met on June 1. Tchaikovsky proposed a few days later. On July 7 they married. The relationship was disastrous for Tchaikovsky. Two weeks after the marriage began, he fled to his sister’s home. In September he tried to live with Miliukova again. That episode lasted eleven days and ended with Tchaikovsky wading into the river to try to catch his death of cold, then fleeing to St. Petersburg where he had a nervous breakdown and lay unconscious for two weeks. He never lived with Miliukova again. Tchaikovsky’s brother Anatoly took him to Europe to give him a chance to recover. While there, Tchaikovsky sent for the manuscript of the “Fourth Symphony” and completed it in January 1878. It was premiered in a Russian Musical Society concert in Moscow on February 22, 1878, with Nikolai Rubinstein conducting.
The third movement is a “succession of capricious arabesques that pass through the mind when one has had a little wine and feels the first glow of intoxication.... The images are disconnected, like those that float through the brain as one falls asleep....” Tchaikovsky wrote of the fourth movement, “If there is no joy within you, turn to others. Go to the people. They know how to lose themselves in revelry and pleasure.... But no sooner do you abandon yourself to merriment than Fate reappears, reminding you of your suffering. The others pay no attention to your sorrow.... They still enjoy simple, primitive pleasures; join them, and life will yet be bearable.” Despite Tchaikovsky’s extensive writings on the meaning of this work, he was also adamant that the piece expressed, and was meant to express, those feelings and thoughts for which no words are possible: the emotions that can only be communicated through music.
Tchaikovsky wrote, “[M]y work is a reflection The initial reaction to the Symphony was of Beethoven’s Fifth Symphony. I have not, unfavorable. One American reviewer called of course, copied Beethoven’s musical con- it “one of the most thoroughly… semitent, only borrowed the central idea.” The barbaric composition[s] ever heard in the central idea he refers to is fate. To van Meck, city,” and a German reviewer wrote, “The he wrote, “The introduction [the brass fancomposer’s twaddle disturbed my mood. fare in the opening of the first movement] The confusion in brass and the abuse of is the seed… the central theme. This is Fate, the kettledrums drove me away!” Yet this i.e., that fateful force which prevents the symphony has become one of the most impulse towards happiness from entirely frequently performed of the late 19th cenachieving its goal, forever on jealous guard tury symphonies, and many believe it to be lest peace and well-being should ever Tchaikovsky’s best. be attained in complete and unclouded Program notes prepared by Joan Savage, member, form…. Its force is invisible, and can never Violin section, Saskatoon Symphony. © 2014 be overcome.” About the famous and beautiful oboe solo in the second movement, Tchaikovsky wrote, “You feel nostalgic for the past… yet no compulsion to start life over again. Life has wearied you; it is pleasant to pause and weigh things up….” “The second movement expresses… the melancholy of evening ... [when] memories flood the mind. How sad that so many things are gone forever.... How bitter yet sweet it is to sink into the past.” inTune 15
“ f
WAKE UP TO SOMETHING NEW.
SASKATOON
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April 26, 2014
QUARTANGO
ROXANA CALLEGARI AND FABIAN BELMONTE
Quartango
The Conexus Pops Series is generously sponsored by
TCU Place, Sid Buckwold Theatre, 7:30 pm
Richard Carnegie guest conductor Quartango: René Gosselin double bass, artistic direction Denis Plante bandoneon Stéphane Aubin piano Antoine Bareil violin Roxana Callegari and Fabian Belmonte dancers Jazz Pizzicato El choclo Oblivion Juillet Palomita Blanca Milonga Celtica Rouge Nocturna intermission
Leroy Anderson Angel Villoldo Astor Piazzolla * Antoine Bareil *** Anselmo Aieta Richard Hunt Stéphane Aubin ** Julian Plaza
Panuelos Stéphane Aubin ** La cumparsita Gerardo M. Rodriguez Adios Nonino Astor Piazzolla * Blue rondo Dave Brubeck a la Turk Milonga de mis Pedro Laurenz amores
Arrangements and orchestrations by Richard Hunt; *Adios Nonino, arrangement by Richard Hunt, orchestration by Mario Leblanc; **Panuelos and Rouge, arrangements and orchestrations by Stéphane Aubin; ***Juillet, arrangement and orchestration by Antoine Bareil.
CDs available for sale in the lobby this evening. Have yours autographed! inTune 18
Photo: Trudy Janssens - Photography One 2 One
Quartango guest artists
Richard Carnegie guest conductor Double bassist, conductor and educator, Richard Carnegie divides his creative time between playing principal bass with the Saskatoon Symphony and Chamber Players and serving as music director of the Saskatoon Youth Orchestra (SYO). Under his leadership, the SYO program has seen the addition of a chamber orchestra, conducting classes, an annual concertocompetition, expanded enrollment and a unique partnership with the University of Saskatchewan Department of Music. Seeing great value in the complimentary paths of performer and educator, Richard maintains an active performance schedule outside the Saskatoon Symphony including solo recitals and appearances with Prairie Virtuosi, Ritornello Festival and the YouTube Symphony in Sydney, Australia. A dedicated teacher, he is the instructor of double bass at the University of Saskatchewan and enjoys a busy private teaching studio. Richard made his Saskatoon Symphony conducting debut in the Family and Conexus Pops series in the 2012-2013 season and is excited to return for concerts in the 2013-2014 season. His birth certificate says he’s from Ontario, but Richard has called Saskatchewan home since 2006 after completing studies at the
Quartango is Stéphane Aubin (piano), Jonathon Goldman (bandoneon), René Gosselin (double bass), and Antoine Bareil (violin). They are highly accomplished musicians, bound by their shared passion for the tango and driven by an unceasing desire to make a close connection with their audience. Quartango’s awards include three Opus Awards from the Conseil québécois de la musique, notably 2007/2008 Artist of the Year, a Félix Award and a Juno nomination. Quartango has performed all over Canada as well as on the international stage, from Ankara and Tokyo to Taipei, Paris and New York, where they shared the stage at Carnegie Hall with the New York Pops. More recently, they performed in Guatemala and with the Buffalo Philharmonic Orchestra under the direction of Maestro JoAnn Faletta. Quartango has recorded eight CDs on the Justin Time label. Radio-Canada and the CBC have broadcast many Quartango concerts and the group also appeared on the CBC Television program Opening Night. As well, Quartango appeared in and provided original music for the soundtrack of the film “Macadam Tango,” which aired on Radio-Canada television and TV5. Renowned for its performances with many important North American symphony orchestras, including Orchestre symphonique de Montréal, Orchestre symphonique de Québec, the National Arts Centre Orchestra in Ottawa, the Edmonton Symphony Orchestra, the Regina Symphony Orchestra and Orchestre Métropolitain, Quartango also wowed the critics at the Montreal International Jazz Festival, the Ottawa Chamber Music Festival, the Orford Festival and the Festival international de Lanaudière. inTune 19
Roxana Callegari and Fabian Belmonte dancers Prize-winning dancers, Fabian & Roxana Belmonte, were both born in Buenos Aires, Argentina, the very place where the tango itself emerged decades ago. Dancing tango has always been a treasured legacy in their families; they were often surrounded by legendary celebrities of the tango world, and in that spirit they were brought up to live, breathe and love tenderly the whole tango culture. Roxana and Fabian developed their own distinctive interpretative style, characterized by complex and precise footwork and a touch of quick improvisation, showing a discreet hint of passion, elegance and daringness overall. Their star performance on the dance floor, displaying a subtle succession of slow and rapid movements, vivid but restrained emotion, and a great sense of spectacle, has lead them to achieve full recognition in the highly competitive world of the Argentine tango.
the Roy Thompson Hall Theatre in Toronto. They are past winners of the international dance contest Sabado Gigante: Stars of the Future. Roxana and Fabian are faithful collaborators of Quartango with which they have been working for several years, much to the public’s pleasure.
Richard Carnegie bio (cont’d) Manhattan School of Music in New York City and the Royal Conservatory’s Glenn Gould School in Toronto. In 2013 Richard Carnegie was named one of CBC Saskatchewan’s Future 40, a list of 40 leaders and change makers in the province.
They are the Artistic Directors, founders and hosts for Toronto Tango Summit and Tango de Oro Argentine Tango Academy in Toronto. They’ve performed with many North American symphony orchestras. The couple was chosen as one of Argentina’s tango ambassadors to the world and invited to judge the First (‘05), Second (‘06), and Fourth (‘08) World Tango Competitions in Tokyo, where they also performed in the show Tango Libertad. In 2005 the couple was hired as choreographers and dancers in The Emotional BrainLove, a television documentary hosted by David Suzuki and co-produced by CBC-TV of Canada and the Australian Broadcasting Corporation. They received the “2003 Latin American Achievement Award” for “Best Latin Folklore Presence in Canada” awarded at
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Gyro Masters Series May 3, 2014
SAMUEL MILNER
MAESTRO VICTOR SAWA
Pictures at an Exhibition TCU Place, Sid Buckwold Theatre, 7:30 pm
The Gyro Masters Series is generously sponsored by
Maestro Victor Sawa conductor Saskatoon Symphony Orchestra Samuel Milner violin
Respighi
Bruch
Trittico Botticelliano
1. La primavera (Spring) 2. L’adorazione dei Magi (The Adoration of the Magi) 3. La nascita di Venere (The Birth of Venus)
Violin Concert in G minor, No. 1, Op. 26 1. Vorspiel: Allegro moderto 2. Adagio 3. Finale: Allegro energico
intermission
Mussorgsky
1. 2. 3. 4. 5.
Pictures at an Exhibition
Gnomus The Old Castle Tuileries Bydlo Ballet of Chicks in their Shells
6. 7. 8. 9. 10.
Samuel Goldenberg and Schmuÿle Limoges Catacombae. Cum Mortuis in Lingua Mortua Baba Yaga The Great Gate of Kiev
Pre-Concert Talk about tonight’s music. 6:55 – 7:20 pm, Green Room. inTune 22
Maestro Victor Sawa conductor
In Botticelli’s “Allegory of Spring” (c. 1480), commissioned by the Medici family, figures For Victor Sawa’s bio see p. 13. from Greek mythology move about a flower-strewn lawn beneath low branches. “Adoration of the Magi” (c. 1475) depicts violin Cosimo de’ Medici and his sons as Magi come to worship at the Nativity. “The Birth Samuel Milner, 20, has completed two of Venus,” also commissioned by the years of a Bachelor of Music degree in violin performance with Jonathan Crow at Medicis, is arguably one of the most famous McGill University. A native of Saskatoon, he paintings in history. Naked Venus stands began playing violin at the age of 5, study- atop her seashell with the ocean behind her. ing eleven years with Philip Kashap and Respighi used Gregorian chant, old church two with Michael van der Sloot. During modes, and other ancient compositional his summers, Sam has studied with artists techniques to depict these paintings. In including William van der Sloot, Masuko “Adoration of the Magi,” where the Ushioda, Ning Feng, Jonathan Swartz, and bassoon, oboe, and flute represent the Mauricio Fuks, and has had master classes three Magi, a beautiful bassoon solo with Pinchas Zukerman, Joel Smirnoff, begins the ancient Latin antiphon used for Yehonatan Berick, Regis Pasquier, and Vespers the week before Christmas: “O Federico Agostini. Come, Emmanuel.”
Samuel Milner
Described as “confident and more than competent,” he was the winner of his age category in the Canadian Music Competition National Finals twice (2007, 2005) and the winner of the 2009 Saskatchewan Concerto Competition. He was runner-up in the 2010 McGill Classical Concerto Competition and the recipient of the Lloyd Carr-Harris scholarship from McGill University. Milner has performed solo with orchestras such as McGill’s Beethoven Orchestra, Saskatoon’s Prairie Virtuosi, and with the Regina Symphony Orchestra.
Ottorino Respighi (1879–1936) TRITTICO BOTTICELLIANO Ottorino Respighi began composing “Three Botticelli Pictures” in March of 1927. A student of history as well as a composer, Respighi was inspired by three paintings by Sandro Botticelli, which now hang in the Galleria degli Uffizi in Florence. Respighi dedicated “Trittico Botticelliano” to his American patron, Elizabeth Sprague Coolidge. It premiered at the Vienna Konzerthaus in September 1927 with Respighi conducting.
Respighi not only invokes Boticelli’s images but also imagines the narrative behind them. Though no birds can be seen in Botticelli’s “Spring,” Respighi’s birdcalls evoke images of the season’s return. In the opening of “The Birth of Venus,” the strings intimate ever-moving waves as Venus begins to emerge from the sea.
Max Bruch (1838–1920) VIOLIN CONCERTO IN G MINOR, NO. 1, OP. 26 Max Bruch, teacher, conductor, and composer, began composing at age 11 and completed his first symphony at 14. One of the most popular of the Romantic violin concertos, his “Violin Concerto No. 1” premiered in April 1866 with Bruch conducting. With the help of one of the leading violin virtuosos of his day, Joseph Joachim (who also assisted Johannes Brahms in the composition of his violin concerto), Bruch revised the work and Joachim premiered the revised concerto in Bremen on January 7, 1868. Joachim wrote, “The Germans have four violin concertos.... The richest, the most seductive was written by Max Bruch.” inTune 23
Concert Notes (cont’d)
arranged this piece for orchestra, from Mikhail Tushmalov to Sir Henry Wood and The prolific output of this composer, who Leopold Stokowski, Maurice Ravel’s arwas respected and successful in his day, rangement, done in 1922, is the version we includes other works for violin, symphonies, hear most often today. symphonic dances, and more. Some say his The work takes the listener on a tour of greatest works were his choral composiHartmann’s memorial exhibition. Only tions, but today he is mostly remembered about 100 of Hartmann’s sketches and for this concerto. Its success over his other drawings survive and of those, only six that works irritated him. He wrote, “Fifty years directly inspired Mussorgsky’s composition hence, Brahms will loom up as one of the have been certainly identified. supremely gifted composers of all time, while I will be remembered chiefly for hav- The opening “Promenade” leads the listener ing written my G minor violin concerto.” into the exhibit and walks them between pictures, the mood of the melody changing The first movement, “Prelude,” folds into as it recurs in order to reflect the artwork the beautiful second movement where just seen or anticipate the next picture soaring melodies span the range of the approached. violin. The exuberant “Finale,” with its gypsy fiddle elements, brings this work to an exciting close.
“Gnomus” was reportedly a sketch of a gnome-shaped nutcracker. “Old Castle,” one of the many works Hartmann painted as he travelled Europe, was a watercolour of (1839–1881) a troubadour outside an old French castle. PICTURES AT AN EXHIBITION Ravel’s orchestration gives the troubadour’s song, which was influenced by Russian folk When Modest Mussorgsky’s close friend, music, to the alto saxophone. “Tuileries” Victor Hartmann, died of an aneurysm at reportedly depicted the famous garden of age 39, their mutual friend Vladimir Stasov Tuileries near the Louvre in Paris, complete arranged an exhibition of Hartmann’s with “a swarm of children and nurses.” works. Hartmann had been an architect, stage designer, and artist. The exhibition at Hartmann visited Poland with his Polish the Academy of Fine Arts in St. Petersburg wife, and “Bydlo” (cattle) was a sketch of in early 1874 displayed about 400 of a large-wheeled cart drawn by oxen. In Hartmann’s paintings and sketches. Ravel’s orchestration, the movement begins softly then grows louder as the ox-cart Mussorgsky, wanting to pay tribute to his rumbles closer. Ravel gave this folk tune to friend and preserve his memory, comthe tuba, to be played in its highest register. posed “Pictures from an Exhibition – A
Modest Mussorgsky
Remembrance of Viktor Hartmann” for solo “Ballet of Chicks in their Shells” came from a piano in June 1874. He wrote to Stasov “My Hartmann sketch for canary chick costumes ‘Hartmann’ is boiling…. Sounds and ideas for the ballet “Trilby” produced at the fill the air, and I can barely scribble them Bolshoi Theatre in 1870. Mussorgsky owned down fast enough.” the two sketches for “Samuel Goldberg and Schmuÿle.” Each sketch portrays a Jewish “Pictures” is now perhaps Mussorgsky’s most man, one rich, one poor, that Hartmann famous piano composition, though we do sketched on a visit to the Jewish ghetto in not know for sure if it was ever performed Poland in 1868. during his lifetime. Rimsky-Korsakov edited the piece and it was first published five years after Mussorgsky’s death. Though more than twenty-four composers have
In “The Market-place at Limoges,” women gossip at a market in central France. Mussorgsky wrote in the margin of the inTune 24
score: “Great news! M. de Puissangeout has just recovered his cow . . . Mme de Remboursac has just acquired a beautiful new set of teeth, while M. de Pantaleon’s nose, which is in his way, is as much as ever the color of a peony.”
sometimes-terrifying witch of Russian fairy tales who flies about in a mortar and lives in a hut that walks on chickens’ legs.
The “Catacombs” sketch shows Hartman and his friend being shown around the Paris catacombs by lantern light. Behind them looms a pile of skulls. For the second section of this movement, “Cum Mortis in Lingua Mortua” (with the dead in a dead language), Mussorgsky transforms the “Promenade” into a mournful procession. He wrote in the manuscript, “The creative spirit of the dead Hartman leads me to the skulls and invokes them; the skulls begin to glow softly from within.” Hartmann’s sketch of a clock with chickens’ legs incorporated into its base inspired “The Hut on Fowl’s Legs.” Mussorgsky subtitled the movement “Baba Yaga” and extrapolated from Hartmann’s clock the
Hartmann won the design competition for new entrance to Kiev to commemorate Tsar Alexander II’s escape from an assassination attempt. Due to a lack of funds, the gate was never built but Hartmann’s sketch, with its chapel and cupolas, became the inspiration for “The Great Gate of Kiev.” The second theme of this movement is based not on the folk tunes that infiltrate so much of Mussorgsky’s music but on a baptismal hymn from Russian Orthodox chant. Perhaps it is fitting that the last movement of a work memorializing a friend who died before much of his envisioned work had been accomplished is remembered in the haunting melodies and majesty of a work inspired by a gate that was never built. Program notes prepared by Joan Savage, member, Violin section, Saskatoon Symphony. © 2014
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Ensuring the show goes on.
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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 26
Proud to Serve Saskatoon and Area 703 Circle Dr E, Saskatoon 8th and Preston, Saskatoon inTune 27
Courtesy Sara Scott Turner
Courtesy Sara Scott Turner
Players Choice Series May 11, 2014
JURRIAAN ANDRIESSEN
P.D.Q. BACH
FRANZ SCHUBERT
Schubert’s Incomparable Octet Delta Bessborough Hotel, 2:30 pm
Generously sponsored by
Saskatoon Symphony Chamber Players
Andriessen
Trio No. IV
Bach, P.D.Q
“Dutch” Suite in G Major (S.-16)
Allegro giocoso Lento, ma sempre rubato Allegro scherzando Mr. Minuit’s Minuet Panther Dance Dance of the Grand Dams The Lowland Fling
intermission
Schubert
Octet in F Major, D. 803
Adagio - Allegro Adagio Allegro vivace - Trio Andante con variazione Menuetto. Allegretto - Trio Andante molto - Allegro
Enjoy coffee & tea service during intermission. inTune 28
Jurriaan Andriessen (1925–1996) TRIO NO. IV Dutch composer Jurriaan Andriessen was born in Haarlem into a musical family. His father, Hendrik, brother, Louis, and uncle Willemm were also well-known composers in the Netherlands. Jurriaan studied composition with his father at the Utrecht Conservatory and after graduation he moved to Paris to study with Olivier Messiaen. In Paris his focus was primarily film music. He also drew inspiration from American film music, Aaron Copland’s ballets, as well as folk music and other cultural influences. From 1949 to 1951 he came to the United States on a fellowship from the Rockefeller Foundation and UNESCO. During this time he composed the Tanglewood Overture for Serge Koussevitsky, and, Berkshire Symphonies (the first of his 12 symphonies), which was later used as ballet music for George Balanchine. Upon his return to the Netherlands he was appointed composerin-residence at the Haagse Comedie—now the “National Theatre”. He enjoyed a very successful and prolific career, writing many orchestral works, concertos, operas, jazz combo charts, film scores and chamber music pieces. Wind instruments in general are well represented in his chamber music output and this Trio No. IV for flute, oboe and bassoon, written in 1957, is a wonderful addition to the woodwind repertoire.
P.D.Q. Bach (1807–1742) “dutch” suite in G Major (S.-16) P.D.Q. Bach is the fictitious invention of musical satarist “Professor” Peter Schickele. Peter Schickele was born in Ames, Iowa in 1935. His early music studies led him to become an accomplished bassoonist, and he later went on to study composition at the Julliard School of Music. His serious compositions cover a wide range of genres, from orchestral, instrumental and
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GYRO PRODUCTIONS PROUD SPONSOR OF THE SSO, VICTOR SAWA - MUSIC DIRECTOR
“If a composer could say what he had to say in words, he would not bother trying to say it in music.” - Gustav Mahler
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Concert Notes (cont’d) chamber music, to film scores (Silent Running), several segments on Sesame Street, one of the composer/lyricists for Oh! Calcutta!, as well as arranging for folksingers such as Joan Baez and Buffy Sainte-Marie. In 1954 his alter-ego, “Professor” Peter Schickele is said to have discovered the first of many compositions by P.D.Q. Bach while rummaging around a Bavarian castle, thus launching one of the most hilarious comedy acts in music today. P.D.Q.’s music can be divided into 3 periods: the Initial Plunge, the Soused Period, and Contrition. The “Dutch” Suite (from the last Contrition period) was originally written for bassoon and tuba, with the substitution of the double bass also being very suitable. In Peter Schickele’s comical program notes he states that “Everything about P.D.Q. Bach’s “Dutch” Suite is nether: the country mentioned in the title, the ranges of the instuments employed [the ranges of instruments in the 18th centruy were defined in relation to Middle C: both the bassoon and tuba, therefore, were thought of as being largely below C level]...... the composer did most of his writing under the piano....” Let the fun begin!
Beethoven’s enduringly popular Septet was the addition of a second violin. Troyer held a performance of the piece in his apartment in the spring of 1824, with the first violin part played by the great Ignaz Schuppanzigh, also a friend of Beethoven. Schuppanzigh arranged a second public performance in 1827, after which time it languished, as did much of Schubert’s music, in obscurity for most of the 19th century. The entire piece finally appeared in print in 1889, and since then has taken its place beside Beethoven’s Septet as one of the most loved and frequently performed pieces for large mixed chamber ensemble. As with the Septet, there are 6 movements, and the appealing, sunny charm that characterizes Beethoven’s Septet is also present in the Octet. However, Schubert is able to weave a far richer tapestry, thereby creating a work of grand scope with many subtle mood changes which look forward to the Romantic era, and leave behind a more conservative Classical style. Program notes prepared by Margaret Wilson, Principal Clarinet, Saskatoon Symphony Orchestra. © 2014
No Ordinary Relationship... No Ordinary Florist
Franz Schubert (1797–1828) OCTET IN F MAJOR, D. 803 Franz Schubert, a precocious and prolific composer, lived in Vienna at the same time as Ludwig van Beethoven. He was never able to secure reliable employment or have a professional orchestra available to him as Haydn had before him, or enjoy the support of rich patrons as Beethoven had. However, in 1824 he received a commission from Count Ferdinand Troyer, chief steward of Beethoven’s patron, the Archduke Rudolph. Troyer, an accomplished amateur clarinetist, asked for a companion piece to Beethoven’s Septet in Eb Major, Op. 20, which had been written 24 years earlier. The only change Schubert made to the instrumentation of
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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 Mike Covey, Director of Sponsorships Direct line: 306.221.7120 mike@mcmedia21.ca
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Funders and Corporate Sponsors 2013–2014 Season Funding Agencies
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Gilbert & Sullivan’s
HMS PINAFORE or
Alas, Who Loves a Sailor? Adaptation by Ian C. Nelson
Producer
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Directors
Meghan McDonald Bobby Williston
Music Director
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June 27 - July 6, 2014 Remai Arts Centre Showtime 8 p.m. (select weekend matinees available)
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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+)
In Memoriam Mrs. Elizabeth McNabb
Maestro’s Circle ($5,000-$9999)
Ken Coutu and Penelope Stalker Lynn Ewing and Bill Feldbruegge Roger and Marie Jolly Estate of Effie MacLean Mary Marino
Performer’s Circle ($2,000-$4999)
Yvonne Cuttle Skip Kutz Northridge Development Corporation Betty Reynolds Denyse and Rod Simair 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 Gregory Hardy Janet Hill and David Palmer John and Myrna King Anna Klassen Fund* Joyce Lenz * Through the Saskatoon Community Foundation
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 Lynn Ewing Terry Fenton Jonathan Andrew Friesen Ruth Friesen Brian and Loretta Hartsook Ollie and Bob Hasselback Rob Hendry and Pamela Delong-Hendry Ruth Horlick Ian Innes Deborah and Arnold Janzen Martha Kashap Mairin Loewen Judy McCrosky Phav Meekins Ivar Mendez Willette Neijmeijer Martha Pankratz Art and Janet Postle Ian and Meredith Sutherland P. Michael and Margaret v. Swan Dr. and Mrs. Jim and Marilyn Veikle Erika Wentzel Anonymous
Sonata
($250-$499) Darrell Bell John Botari Erin Brophey and Tom Dreyer Robert Christie
Carol-Marie Cottin Lorenzo Dupuis Don and Dolores Ebert D. Carmen Foley Daniel Funk Richard Gorenko Dr. Mary-Jane Hendel Leo and Trudy Janssens Anne Klaassen Michelle LaBrash Grant McConnell Dr. Hugh and Sheryl McKee L. Mitchell Noella Nutting Ronald and Betty-Ann Perkins Mathieu Pouliot Lila Rudachyk Dennis and Marie-Jeanne Will 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 Mark Courtemanche Paul and Viola Coutu
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Saskatoon Symphony Supporters Circle 2013–2014 Season Serenade
Kathleen L. Johnstone Kevin Junk (continued) Gerarda Kaye and John Bob Crowe and Mary- Doane Jane Hendel Dr. Gerrit J. Kraay Rosanne Daku Dave Leland Mary Lou Day Brent Longstaff and Verna Deason Casey Elder-Longstaff Brenda Derdall Bev and Murray Drew Noel and Margaret Lowry Robert and Vina Bernard Luttmer Edwards Peggy and Tim Martin Lois Elder Miss Mary Matwyuk Phyllis Ellis Jake and Barbara Ens Vicki McDougall Robert W. McLellan Elsie Epp Sophie McBean Joan Feather Jacqueline Ferraton Allan McGuire Al and Helen Few Wally and Shirley Joan and Peter Flood McNeil Cathy and Joe Fry Stuart and Dorothy Daniel Funk Middleton Don and Norma Brenda Moats Gendzwill Margaret Monks Melissa Goodchild Earl and Mary Ann Kevin Grady Nostbakken Tina Grandey Ron and Pat Kathy Grant Nowoselski Katharine Grier Ross Nykiforuk and Aline Guillas Susan Healey Ted and Marie Hammer Connie Owen-Jones Terry Heckman Garnet and Susan Dr. Bob and Doreen Packota Hickie Martha Pankratz Dr. Derek and Helen Hill George and Ellen Jack Hilson Parchomchuk Akira Hirose Rosanna Parry Ruth Horlick John Patterson Hume Family Fund* John Payzant Dennis and Rosemary Henriette Quessy Hunt Jill and Derby Reid Janice Istace Jeanne Remenda Brenda Iwasuik Bryn Richards Tim James Al and Sandra Ritchie Willis and Marlys Jantz J. Frank Roy Dr. Eunice Janzen Leslie Ruo Lillian Jen-Payzant Saskatoon Funeral Bev Johnson Home
Harvey Sauder Sawyer’s Landscape Management 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
Prelude ($20-$99)
Helen Abrey Shirley Acton Freeman Adane Dr. Sina Adl Heidi Bartsch Carol Bazin Andrew Beaton Carol Beaulieu Anna Beeton Dr. Dianne Bekolay
Shannon Bews Jane and Mik Bickis Bonnie Blakley Karen Sterner and Steve Boechler Pat Boot Eileen Boryski Kathleen Brannen Leah Brannen Deborah Buck Mary and Bill Chapman Maureen Cline Annemarie Connor Gerard Cressman Ronald and Elizabeth Cuming Karee Davidson Dr. Jo-Anne Dillon Mitchell Doepker Betty Dolman Tyler Dovell Margaret Dragan Marie Dunn Suzanne Dust Spencer Early Richard and Linda Ewen Leona Ewert Ahmed Ezzat Meta Freitag Joe Fry Garry and Kathleen Gable Lynn Gee Louise Griffith Doreen Haaland Loretta Hansen Elena Harmon Harmony Souls Cydney Hayes Dean Heinrich Michael Hosaluk George and Phyllis James Phyllis Johnston Trina Joseph-Bear Sylvia Jurney Kyle Kennedy
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.
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Saskatoon Symphony Supporters Circle 2013–2014 Season Prelude
Joan McLean Beryl McLeod (continued) J.B. McSheffrey Bev Kinshella B.J. Michaels Perry Kjargaard Linda Miller Alicia Klopoushak Ans Nahirney Katherine Knox Matthew Neufeld Patricia and James Kenn Neumann Leach Bonnie Nicholson Erica Leyland Merle Nostbakken Shelly Loeffler Hilda Noton Heather MacDonald Ron Nguyen Clinton Marchuk Wendy Obrigavitch Margaret Marcoux Grattan O’Grady Marquis Dental Group Jamesy Patrick Debbie Maurer Dhayanthi Pfeifer Joy McFarlane-Burton John Prietchuk Betty McIver L. Embree Prugger
In Memory of miriam gelmon by Sherril Gelmon Roma and Slavek Hurka Dr. Stuart and Mary Houston Susan Adaskin, Skip Kutz Erica Leyland, Ruth Horlick Martha Carter and Brian Ulmer M. Beryl McLeod
Carman Rabuka Neil Rawlyk Karen Reynaud Dorothy Riemer Ed and Glenda Risling Herman and Myrna Rolfes Carla Roppel Nicole Ryan Rhonda Sader Saskatoon Bus Stop Refreshments Diane Sawatsky Angela and Randy Schmidt Sheila D. Scott Rosemary Slater Shannon Sofko
In Memory of gordon mclure
by Evelyn Bergstrom Dr. Ted and Marie Hammer Harrey Irving, Charlene Sorenson, Audrey Zender Kenneth Zender James Irving
Rose Solski Darci Speidel Jayden Stephens Frank W. Strange Karin Tate Kate Toews Winona Trudelle Kathleen Turner Al Veroba Jeanne Walters Noreen Wensley Dr. Ross R. Wheaton Katie Wiens Marylin Wipf Olivia Yuel Catherine Zeilner
In Memory of eldon wiebe by Jan Norris
In Memory of AUDREY ZBITNEW
by Lesley-Ann Crone and Alan Rosenberg Frank and Marna Cutts In honor of Shirley Acton JUDITH NORDNESS In Memory of Bryan and Trudy Johnson (A Most musical Mom) Howard a. klein Dr. Peter and Audrey Siemens Love, Owen, Sasha, by Dalice and David Abraham Paul and Donna Tremblay Mike & Kirsten Rajni and Ravindra Chibbar Ted and Marilyn Underhill Barry Collins Kathy Grant In Memory of Joyce Dibski Tina Grandey elaine phillips Margaret Fredeen Darlene and David Riley by Jan Norris Marie and Ted Hammer Lorna and David Sim Stefanie Stefanson-Pexa and Ruth Cossar In Memory of Harold Pexa Anne and Richard Kalenchuk YONEKO RUO Kathryn and Bruce Probert Lois and Norwood Kavanagh by Leslie Ruo Ruth Radostits Wilson “Bob” Reid In Memory of University of Saskatchewan MARY SHADICK Board of Governors by Paul and Viola Coutu Anonymous x 2 Neil R. Hughes Susan Carole Tedesco and Mark Kornder Dr. Stuart and Mary Houston Bill and Mary Chapman
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2014 – 2015 Season / SaskatoonSymphony.org FINDING OUR
PR A IR IE
VOIC E
FOR EARLY BIRD SAVINGS Purchase your subscription by June 1!
2014 - 2015
AUGUST 13 Evening Under the Stars
(Ultimate Symphonic Rock Show)
SASKATOON SYMPHONY ORCHESTRA
Wednesday, August 13, 2014, Whitecap Sports Centre, Gates 5 pm
SEPTEMBER 21 Quartet (Players Choice Series)
Sunday, September 21, 2014, Delta Bessborough, 2:30 pm
27 The Fifth (Masters Series)
Saturday, September 27, 2014, TCU Place, Sid Buckwold Theatre, 7:30 pm
OCTOBER 29 Time for Toddlers
Wednesday, October 29, 2014, SSO Rehearsal Hall, 408 20th St W, 9:30 am
NOVEMBER 7 8
In Transformation, The Core at PAVED Arts
Friday, November 7, 2014, PAVED Arts, 424 20th St W, 7:30 pm Saturday, November 8, 2014, PAVED Arts, 424 20th St W, 7:30 pm
22 A Haydn Symphony (Masters Series)
Saturday, November 22, 2014, TCU Place, Sid Buckwold Theatre, 7:30 pm
2014 – 2015 DECEMBER Season / SaskatoonSymphony.org OCTOBER 6 Symphony Holiday Spectacular –A Ukrainian Christmas 4 The Red & Black Affair (A Night in Italy) Saturday, October 4, 2014, Delta Bessborough, 5:30 pm
Saturday, December 6, 2014, TCU Place, Sid Buckwold Theatre, 7:30 pm
18 Oktoberfest (Pops Series)
12 Messiah
25 The Phantom of the Opera - Silence is Golden Series
13 Singalong Messiah
Saturday, October 18, 2014, TCU Place, Sid Buckwold Theatre, 7:30 pm Saturday, October 25, 2014, Roxy Theatre, 320 20th St W, 1 pm Saturday, October 25, 2014, Roxy Theatre, 320 20th St W, 7:30 pm
Friday, Dec. 12, 2014, Knox United Church, 838 Spadina Cres E, 7:30 pm Saturday, Dec. 13, 2014, Knox United Church, 838 Spadina Cres E, 2:00 pm
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Saskatoon Symphony Supporters Circle 2013–2014 Season BRINGING MUSIC TO LIFE
The Bring Music to Life fundraising campaign is now underway. Listed 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 Community Electric Ltd. Ken Coutu Robert Dobrohoczki Bev and Murray Drew Lynn Ewing Shelley Ewing 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 Mark Turner, Interim General Manager, at general.manager@saskatoonsymphony.org or call him at 306.665.6414.
2014 - 2015
Symphony Season at a Glance JANUARY 18 Quintet (Players Choice Series)
Sunday, January 18, 2015, Delta Bessborough, 2:30 pm
24 Northern Lights (Masters Series)
Saturday, January 24, 2015, TCU Place, Sid Buckwold Theatre, 7:30 pm
28 Time for Toddlers
Wednesday, January 28, 2015, SSO Rehearsal Hall, 408 20th St W, 9:30 am
FEBRUARY 7 Safety Last! (Silence is Golden Silent Movie)
Saturday, February 7, 2015, Roxy Theatre, 320 20th St W, 1 pm Saturday, February 7, 2015, Roxy Theatre, 320 20th St W, 7:30 pm
21 The Music of Simon & Garfunkel (Pops Series)
Saturday, February 21, 2015, TCU Place, Sid Buckwold Theatre, 7:30 pm
28 España (Masters Series)
Saturday, February 28, 2015, TCU Place, Sid Buckwold Theatre, 7:30 pm
MARCH 4 Time for Toddlers
Wednesday, March 4, 2015, SSO Rehearsal Hall, 408 20th St W, 9:30 am
MARCH 15 The Hockey Sweater (Family Special) Sunday, March 15, 2015, Credit Union Centre
20 21
The Sinking of the Titanic, The Core at PAVED Arts Friday, March 20, 2015, PAVED Arts, 424 20th St W, 7:30 pm Saturday, March 21, 2015, PAVED Arts, 424 20th St W, 7:30 pm
28 Saskatchewan Celebration (Masters Series)
Saturday, March 28, 2015, TCU Place, Sid Buckwold Theatre, 7:30 pm
APRIL 19 Septet (Players Choice Series)
Sunday, April 19, 2015, Delta Bessborough, 2:30 pm
25 The Music of Led Zeppelin (Pops Series)
Saturday, April 25, 2015, TCU Place, Sid Buckwold Theatre, 7:30 pm
MAY 10 Sextet (Players Choice Series)
Sunday, May 10, 2015, St. Andrews Presbyterian Church, 2:30 pm
23 The People’s Choice (Masters Series)
Saturday, May 23, 2015, TCU Place, Sid Buckwold Theatre, 7:30 pm
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© Vogus
Special concert May 24, 2014
ALEXEI KORNIENKO
ELENA DENISOVA
Vivaldi’s The Four Seasons Knox United Church, 7:30 pm
Alexei Kornienko guest conductor and harpsichord Elena Denisova violin Saskatoon Symphony Orchestra
Vivaldi
Corelli
Concerto for Orchestra in G Major, RV 151, Alla rustica Presto - Adagio - Allegro
Concerto Grosso in G minor, Op. 6, No. 8 1. Vivace - Grave 2. Allegro 3. Adagio - Allegro - Adagio
Geminiani
intermission
4. Vivace 5. Allegro 6. Largo, Pastorale ad libitum
Concerto Grosso in D minor, No. 12, after Corelli, Op. 5, No. 12, La follia 1. Adagio 2. Allegro 3. Adagio 4. Vivace - Allegro
5. Andante 6. Allegro 7. Adagio
Vivaldi
La primavera, RV 269, E Major
Vivaldi
L’estate, RV 315, G minor
Vivaldi
L’autunno, RV 293, F Major
8. Allegro 9. Adagio 10. Allegro
1. Allegro 2. Largo e pianissimo sempre 3. Allegro pastorale 1. Allegro non molto 2. Adagio e piano - Presto e forte 3. Allegro pastorale
Visit the Roxy Theatre concession for all your movie treats. 1. Allegro 2. Adagio molto 3. Allegro We are pleased to offer a cash bar for the evening performance. Vivaldi L’inverno, RV 297, F minor 1. Allegro non molto 2. Largo 3. Allegro
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Alexei Kornienko
guest conductor / harpsichord Alexei Kornienko is an outstanding musician whose work is characterised both by an unconditional and joyful attention to text and also a boldness in interpretation. This seeming contradiction in fact stands the Austrian conductor Kornienko in very good stead. His work as a pianist of the Russian school, with his extraordinarily wide Classical and Romantic repertoire, is combined profoundly with his work as a conductor, which he has steadily expanded in recent years. Born in Moscow, he began music lessons at the age of five, studied at the Tchaikovsky Conservatory in Moscow (piano class Zak) and in Charkow (conducting class Jordania), and was prize-winner at the International Rachmaninov Piano Competition in Moscow. Since his move to Austria in 1990 he has made his name as a respected competition juror as well as a teacher at the Kärtner Landeskonservatorium (Carinthian State Conservatory). He is co-founder of the Gustav Mahler Ensemble and a member of the Bösendorfer Artistic Club. Kornienko divides his career between the piano and the conductor’s podium. Together with his wife, the acclaimed violinist Elena Denisova, he is also active in the rediscovery of forgotten treasures of Classical-Romantic period chamber music: Musik um 1900, their CD “Vienna 1900” (Gramola Vienna) of works by Robert Fuchs, Pavel Singer and Alexander von Zemlinsky, brought them international success. Kornienko and Denisova also recorded another world premiere: Joseph Haydn‘s violin sonatas, for Gramola Vienna (2009). Another collaboration, their recording of the rarely performed chamber music version of Vivaldi‘s Four Seasons (DEKA), featured Elena Denisova on four different historical violins from Cremona and displayed Kornienko‘s profound skill as cembalist, meeting with critical acclaim in Europe and Japan.
Kornienko stands out as an extraordinarily dynamic interpreter of the works of Beethoven and Brahms, but also of the Modern, and his ability to master highly challenging works ensures his position as a much sought-after conductor for premieres of complex scores. He has worked with countless internationally renowned orchestras, such as the Royal Philharmonic Orchestra London, the Moscow Philharmonic Symphony Orchestra, the George Ernescu Philharmonic Orchestra and as a permanent guest conductor of the Sofi a Philharmonic Orchestra, and he has garnered enthusiastic praise from critics and public alike. In 2010 he will conduct the Moscow Radio and TV Symphony Orchestra on a large US tour. Since 2012, he is the chief conductor of the International Danube Philharmony (www.donauphilharmonie.at). Kornienko has been artistic director of the Wörthersee Classics Festival since its foundation in 2000.
Elena Denisova violin Elena Denisova was born in Moscow and began music lessons at the age of four. She studied under two of David Oistrakh’s favourite students, Valery Klimov and Oleg Kagan, and in 1990 she began a remarkable career which has led to collaborations with numerous famous orchestras, such as the Moscow Philharmonic Orchestra, the Royal Philharmonic Orchestra London, the Munich Symphoniker, the Budapest Radio Orchestra, the Mozarteum Orchester Salzburg and the Trondheim Symphony Orchestra. She has performed as a soloist at countless festivals, such as the Carinthischer Sommer, the Flanders Music Festival, the Hörgänge and Klangbogen festivals in Vienna, the Ljubljana Festival, the Russian Winter festival in Moscow, the Concerti di Primavera in Parma, Beethovenfest Boon and many others. Elena Denisova has been artistic director of the Woerthersee Classics Festival since 2002. inTune 41
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Concert Notes (cont’d) Elena Denisova regards herself an ardent “ambassador of tonal magic” and this credo underlies and informs all of her interpretations of both the Classical and the Modern. Various contemporary composers have dedicated works to her and she has immortalised these in numerous recordings. The violinist collaborates with Machold “Rare Violins”, she is a jury member of numerous international violin competitions and she also teaches at the Austro American Institute in Vienna. She supports young violinists and regularly performs at benefit concerts, for example in support of pulmonary hypertension sufferers.
Antonio Vivaldi (1678–1741) Concerto for orchestra, RV151 This concerto is not a concerto as we usually use the term, meaning a soloist set against the orchestra. Instead, the string orchestra is itself featured. In Antonio Vivaldi’s day, three-movement pieces without a soloist were often called a sinfonia (an overture played before an opera) but Vivaldi seemingly used the terms interchangeably, sometimes naming the same work a concerto on one manuscript and a sinfonia on another. Over his career, he wrote more than 60 of these pieces for string orchestra. This concise, almost miniature piece is one of Vivaldi’s most performed works. The first movement has a rustic, fiddle-like feel. The slow movement is simply written as chords over which the performers would be expected to add their own melodic embellishments. A short, lively Allegro caps the work.
Arcangelo Corelli (1653–1713) CONCERTO GROSSO IN G MINOR, OP. 6, NO. 8 By late in the 17th century, Italian composers and instrument makers had set the standard for string music across Europe.
Cremona violinmakers such as Amati, Stradivari, and Guarneri had raised violin making to an art form, and Arcangelo Corelli became the most famous and influential violinist and composer of the Italian school. A violin prodigy, his reputation as a teacher equaled his reputation as a performer and composer, and his students spread both his violin technique and his compositions throughout Europe. Concerto Grosso, Op. 6, No. 8, was probably commissioned about 1690 by Corelli’s patron, Cardinal Pietro Ottoboni. The Cardinal’s “musical Mondays” concerts attracted the elite of Roman society and became famous throughout Europe. This concerto grosso was written “Fatto per la note di Natale” (for Christmas night) and contains a Pastorale (a siciliano movement that originated in a slow shepherd’s dance) that was typical of Christmas concertos of the time. Here, Corelli takes the normal sonata da chiesa (a work written to be performed in church, usually as an overture before Mass or as an instrumental Offertory), expands it from its usual four movements to six, and adds tempo changes that would have been startling to listeners in Corelli’s day. How Corelli used the concertino (two solo violins and solo cello, plus harpsichord) against the ripieno (the rest of the orchestra) in his concerti grossi paved the way for the development of the modern concerto (one soloist against orchestra). His concerti grossi were studied and imitated, then the form taken to its next level by composers like Vivaldi and J.S. Bach.
Francesco Geminiani (1687–1762) CONCERTO GROSSO IN D MINOR, NO. 12, AFTER CORELLI, OP. 5, NO. 12 “LA FOLLIA” Violinist Francesco Geminiani studied in Rome with Arcangelo Corelli and Allesandro Scarlatti. When Geminiani moved to England in 1714 at age 27, he was already a well-known virtuoso. By 1715, he inTune 43
Concert Notes (cont’d) was performing before the court of King George I, accompanied at the harpsichord by George F. Handel, and had a patron in the Earl of Essex (who later rescued Geminiani from debtors prison, where his penchant for collecting art landed him). Geminiani orchestrated for string orchestra several of Corelli’s popular compositions. Though Geminiani also composed concertos, sonatas, and other works of his own, this homage to his teacher, completed in 1726, has survived as one of his most popular works and is regarded by some as his best. The “Folia” was a fast Portuguese peasant dance in the 15th century. By the Baroque era, it came to mean a progression of set chords beneath a simple melody. Since the 17th century, more than 150 composers have used the “La Folia” theme and composed variations on it, among them C.P.E. Bach, Antonio Salieri, and Sergei Rachmaninoff. Geminiani’s treatise “The Art of Playing Upon the Violin” (1751) still shapes our understanding of Baroque performance practice and influences how we perform Baroque music today.
Antonio Vivaldi (1678–1741) the four seasons After becoming a priest in 1703 at age 25, Antonio Vivaldi took work at the Ospedale della Pietà, a home for orphan girls and foundlings (often illegitimate children of the aristocracy). The school had an outstanding musical reputation even before Vivaldi arrived; girls received musical training as a means to attract eligible suitors. In their regular Sunday concerts, because it was considered improper for women to perform in public, the girls often performed from a balcony or behind a lattice. Under Vivaldi’s direction, these Sunday concerts became the talk of Venice. For the school’s orchestra, Vivaldi composed around 500 concertos, about 250 of which
were for the violin and the others for cello, oboe, bassoon, flute, recorder, mandolin, and other instruments. He also wrote operas and cantatas for the school’s choir. Inspired by four paintings by Marco Ricci, Vivaldi composed “Four Seasons” in 1723 and published it in 1725 in a collection of twelve violin concerti dedicated to his Bohemian patron Count Václav Morzin. It is not certain who wrote the sonnets that accompany the music, but because music and text are so tightly interwoven, most suppose Vivaldi was the author. “Four Seasons” has arguably become Vivaldi’s most famous work and one of the most popular pieces in classical music. It wasn’t always so. Though Vivaldi’s music was immensely popular during his lifetime, by his death it had fallen out of fashion. It languished in relative obscurity until the middle of the 20th century. Louis Kaufman and the New York Philharmonic made the first recording of the “Four Seasons” in 1947 but it wasn’t until the Italian chamber orchestra I Musici made their debut recording of this work in 1955 that the piece became internationally popular. Now there are more than a hundred different recordings available. It is heard in popular culture from television ads, to television shows, to movies such as “The Four Seasons,” “Pretty Woman,” “Spy Games,” “A View to Kill,” “What Lies Beneath,” and many others. Nigel Kennedy’s “Four Seasons” recording, having sold more than two million copies, is one of the most successful classical recordings ever. “Four Seasons” is one of the early examples of program music, where music is used to represent extra-musical events. For example, Vivaldi uses descending scales to depict slipping on ice, trills to imitate bird calls, and in one place instructs the violas to sound like barking dogs. The paraphrased sonnets read as follows: Spring: 1) Spring has come. Birds sing happily. Fountains flow. Then thunder and lightning split the sky. After the storm birds return, singing beautifully. 2) Amid inTune 44
321 20th St. West, Saskatoon, SK Phone: 306-653-1300 • Fax: 306-653-4711
flowers and rustling leaves a goatherd sleeps beside his faithful dog. 3) Nymphs and shepherds, greeting spring, dance to a bagpipe. Summer: 1) The shepherd and his flock languish under the merciless sun. Pine trees wilt. The cuckoo sings, joined by turtledoves and goldfinch. The west wind gently blows. Then the north wind begins a battle. A storm brews overhead. The shepherd weeps, afraid of the storm and his fate. 2) The shepherd cannot sleep for fear of the storm. Flies and hornets swarm around him. 3) Thunder and lightning rip the sky. Hail batters the corn. Autumn: 1) Peasants sing and dance, celebrating the good harvest. Drunk on wine, many fall asleep. 2) The mild, pleasant air lulls all to peaceful sleep. 3) At dawn, the hunters take their guns and dogs to the hunt. Their prey flees. They track it down. Terrified by the noise of guns and dogs,
exhausted and wounded, it struggles to escape but dies. Winter: 1) Shivering in snow, buffeted by wind, we run and stomp our feet. Our teeth chatter in the cold. 2) We spend the day beside the fire, content, while outside the rain soaks everyone. 3) Walk slowly across the ice, go carefully, afraid of falling. Then rush, slide, spin, and fall down. Run across the ice until it cracks. The hurricane-force south wind and blustery north wind leave their houses and battle each other. This is winter, but it brings joy. Program notes prepared by Joan Savage, member, Violin section, Saskatoon Symphony. © 2014
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Proud To Support Our Saskatoon Symphony
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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