SSO Orchestrating for the Future (draft) by Michael McCoy

Orchestrating for the Future

Deloitte Endorsement Deloitte was engaged by the General Manager, and the Fundraising Committee, of the Saskatoon Symphony Orchestra to assist with the development of a comprehensive business plan that would effectually support the fundraising campaign. The group wanted to ensure that the Case for Support was built on sound principles of business planning, and consciously demonstrated that contributing to the Saskatoon Symphony creates value for our city. In this capacity Deloitte assisted with the compilation of the Case for Support. This Case for Support is a great example of what happens when a group of hard working, passionate people collaborate effectively. The story of the Saskatoon Symphony—both its history, and its future—is an incredibly intriguing and compelling one. This document communicates the vibrant future that management and the Board of Directors have envisaged for the Saskatoon Symphony, demonstrating what a contribution to its fundraising campaign can enable it to do for the City of Saskatoon and region. .

Table of Contents Executive Summary 7 Commitments to the Community 8 Vision 20 History 22 Operations and Services 21 Marketing and Sales 37 Organization Structure and Governance 43 Financial Information 47 Appendices Audited Financial Statements 53 Musicians – Weaving a Rich Pattern 55 How to Give, Contact Information 57 2

Saskatoon is a growing, dynamic city with a local economy that is the envy of much of the world. Great cities are known for their great orchestras. Help orchestrate for the future of the Saskatoon Symphony Orchestra as we make and meet our commitments to the community.

â&#x20AC;&#x153;The Saskatoon Symphony Orchestra has been a cultural icon in Saskatchewan for many years. . .

. . . Members of the Orchestra live here as a result of the opportunity to engage in their chosen profession, provided by the SSO. These special people with special education, skills and talents are then available to the community at large. Their skills have provided countless young people with opportunities to study music with specialists who would otherwise not be available in Saskatchewan. Their influence and outreach goes well beyond Saskatoon, as members serve as role models and mentors for many and their work as instructors at the University of Saskatchewan has benefited many hundreds of young people through their teaching and work with future educators, as well as with future performers and professional musicians. The excellent concerts provided by the SSO as well as the chamber music they provide have added a major dimension to the lives of Saskatoon and area audiences for years. . .

Our commitments to the community Creativity through social responsibility Finding new ways to bring the inspiration and power of live music to diverse groups to create public good and unleash the potential of our youth and their families.

. . . when organizations choose to locate in a community, they consider the opportunities for cultural exposure and involvement Artistic excellence through focused musicianship that are present in that location.that Saskatchewan is artistic getting a great Creating compelling performances and programming excites and enriches the experience of residents and visitors to our city. deal from the SSO and the community/provincial investment should commensurate the contribution.â&#x20AC;? Longevitybe through integrity andwith sustainability Following sound business practices, building the orchestraâ&#x20AC;&#x2122;s cash reserves, and building its endowment fund, to ensure the organization can continue to be a key part of the community.

Marvin Eckroth, Professor Emeritus, University of Saskatchewan

OUR COMMITMENTS TO THE COMMUNITY

Creativity through social responsibility Artistic excellence through focused musicianship Longevity through integrity and sustainability

Executive Summary Saskatoon is a growing city with a changing face, a vibrant economy and excellent prospects for the future. The city is taking its place as a bright light in the province, Canada, and the world. As Saskatoon steps into the spotlight, it is prudent to acknowledge that one measure of a great city is the health and vibrancy of its cultural institutions. Since 1931, the Saskatoon Symphony Orchestra has been a major contributor to the city’s cultural development and a home to many of its artists. It has been at the forefront of skills training and arts appreciation for youth; it has helped foster a wide range of other artistic endeavour through collaboration and support; and it has provided a base of activity for the talented musicians who continue to the cultural sector vital to the city. The SSO has had triumphs and challenges, as would be expected of an organization with an eighty-year-plus history, but it has endured with the help and heart of the community. Recently, it had occasion to reflect deeply on its development and to resolve issues that would otherwise impact on performing its important role in our community. It gratefully acknowledges those who have made the Symphony shine and grow in times both dim and bright. Today, the SSO stands proud, eager for the future, ready to do its part to make Saskatoon an even greater city. It is committing its efforts to social responsibility through creativity, artistic excellence through musicianship, and, central to all, longevity through integrity and sustainability. The SSO will work with young people, particularly those who are disadvantaged or disengaged, using the transformational power of music to inspire, heal, and nurture. It will create compelling performances—throughout the city—reflecting the changing face of Saskatoon and provide music for all, regardless of financial or social constraints. It will achieve new levels of excellence for its musicians, respecting and celebrating the artists in its midst, and bringing talent from across the globe to provide new perspectives. It will emphasize sound business practices, ensuring that it continues to be a key player in the life of our city. To deliver on these commitments, the Saskatoon Symphony has embarked on a three-year campaign to raise $3 million dollars—creating a fund that will allow the SSO to operate efficiently its new streetfront facility in the heart of Saskatoon’s Riversdale neighbourhood, and that will provide the investment for programming, artistic excellence, and creative approaches to addressing issues of disengagement and disparity in our city. Now is the time, at this point in the city’s development, for the Saskatoon Symphony to become the orchestra of the future. Please consider making a commitment to the life of Saskatoon by making a significant investment in the Saskatoon Symphony’s Orchestrating for the Future campaign.

Our commitment

Creativity through social responsibility

Finding new ways to bring the inspiration and power of live music to diverse groups to create public good and unleash the potential of our youth and their families

To meet our commitment we will: • Present new, unique event and concert experiences in diverse settings in and around our community • Enrich and improve the quality of life and overall wellness of our community by enhancing our music programming within schools, health facilities, and businesses • Foster and develop life skills for at-risk youth through the discipline of creating and appreciating music • Provide music for all, regardless of financial and social constraints

Why is it important that we make this commitment? • Classical music is rich in sound and emotion and touches those who hear it in remarkable ways. We have a responsibility to use our music to inspire and engage. • Thinking outside the box drives innovation and creativity. • Music programs help at-risk youth acquire self-confidence, listening and concentration skills, patience, perseverance and self-expression. • The health benefits of classical music are far-reaching. Studies show it can reduce pain, improve memory and focus attention as well as a myriad of other health benefits. Up to $1,000,000 will be dedicated to developing creative ways of fulfilling our social responsibility, enabling us to develop and adapt programs, utilizing expert support personnel and creating new partnerships to address a spectrum of needs in our city.

Investment from campaign $1 million 9

Our commitment

Artistic excellence through focused musicianship

Creating compelling performances and programming that excites and enriches the artistic experience of residents and visitors to our city

To meet this commitment we will: • Explore and create programs that reflect the distinctive artistic values of our diverse and changing community • Allow greater artistic freedom to widen our spectrum of musical experiences by easing financial constraints

Why is it important that we make this commitment? • In order to contribute to building our city’s increasing visibility and recognition throughout the world, we must become a flagship arts organization, known not just locally but nationally for its high level of performance and innovation. • Every vital organization aspires to constant improvement and to offering the best product possible. • Audiences are becoming increasingly sophisticated due to ease of travel and accessibility to recorded and live-streamed performances. To build and sustain larger, appreciative audiences for the symphony and classical music, we must offer experiences of the highest quality. • To retain our pool of talented musicians we need to challenge, inspire and motivate them through opportunties to further develop their performance and technical skills Up to $900,000 will be invested in seeking a new level of artistic achievement, including the commissioning of new works that reflect our diverse community, bringing more international artists to the city to work with our musicians and perform for our audiences, performing large scale works that are currently not feasible, creating opportunities for the education of aspiring and experienced musicians, and representing our city at national and international events.

Investment from campaign $0.9 million 11

Our commitment

Longevity through integrity and sustainability

Following sound business practices, building the orchestraâ&#x20AC;&#x2122;s cash reserves, and building its endowment fund, to ensure the organization can continue to be a key part of the community

To meet this commitment we will: • Underpin the lease for the new SSO home in Riversdale • Eliminate outstanding debt • Improve the SSO’s financial stability in order to allow for increased focus on creative pursuits • Demonstrate the health and vibrancy of the organization through improved partnerships with arts organizations and the community

Why is it important that we make this commitment? • To build a stronger sense of community among patrons, sponsors, and neighbours • To create the financial stability that will allow for renewed energy and resources to pursue greater creative excellence, innovation and social programming. Up to $1.1 million will be used to to secure our home for the next ten years and eliminate our outstanding debt and. This stability will provide the orchestra with the freedom to pursue greater creative excellence in our performances and social programming.

Investment from campaign $1.1 million

Delivering on our commitments That is our goal.

Our fundraising target

$3 million over 3 years

The success of our campaign will not be measured in amounts raised alone. Raising these funds is just the beginning. The big story will be told when we deliver on our commitments to the community. Help us orchestrate for the future.

Music matters

Music matters . . .

So do the orchestras that perform it.

16 16

Time changes everything, including symphony orchestras. Once considered to be elitist, and closely associated with wealth, symphony orchestras across the globe are making enormous advancements in how they serve their communities. The Saskatoon Symphony Orchestra is working to become more far-reaching in scope, participating in the arts education of the young and the support of the elderly, recognizing the diversity of the community and its needs, and defining the entire community as those it wishes to serve. Some people only know the SSO for its season of professional music. While part of its business plan involves targeting new audience members for these concerts, a large part of the operation is focused on connecting with audiences in new ways. The League of American Orchestras dedicate more than 60% of their 32,000 concerts given annually to education or community engagement, for a wide range of audiences. At the Saskatoon Symphony Orchestra, 52% of all performances are designed to engage young people and the process involves more than performing. The New Brunswick Youth Orchestra was instrumental in establishing a Canadian beachhead for the transformational Venezuelan music program El Sistema, using instrumental instruction to address issues of economic disparity, social justice, and self-esteem. Other orchestras are following, partnering with other community-based organizations, as the outcomes of El Sistema prove to be very positive. The Regina Symphony Orchestra has established a mentorship program with the Piapot First Nation. The South Dakota Symphony recently completed a tour of three Lakota reservations, performing an orchestral work commissioned from a Lakota composer. The Saskatoon Symphony Orchestra initiated its new home with “Drumbeat”—a Culture Days event that brought together the SSO’s professional percussionists and a First Nations youth drumming circle from St. Mary’s Community School. One aspect of symphony orchestras’ involvement in communities has not changed over the years— orchestras sustain the immeasurable contribution that its musicians make in the artistic life of a city. Our musicians weave a rich pattern into the tapestry of our city’s social and cultural landscape, through paid and volunteer efforts, nurturing culture through creativity, adding vibrance and diversity, contributing to health and wellness, and infusing Saskatoon with the energy that lures investment and the people that follow. 17

BACKGROUND

We believe in the power of music to foster a creative community and change lives for the better.

The Saskatoon Symphony Orchestra is a professional regional orchestra with a mission to enhance and reflect the artistic and cultural life of Saskatoon through exceptional orchestral music. The SSO serves Saskatoon and district, as well as the Province of Saskatchewan.

Our vision for the future • promoting classical and other symphonic music through diverse performances • striving for the highest possible artistic standard • reflecting the character of the community • employing professional musicians who inspire, perform, and educate • operating a fiscally responsible, healthy organization

Timeline of Saskatoon Symphony Orchestra Development

1931–1947

Arthur Collingwood – Music Director

1931

Venue - Convocation Hall at U of S

1939

Venue - Adam Ballroom, (Delta) Bessborough Hotel

1947–1950

J.R. Macrae – Music Director

1949

Venue - Capital Theatre

1950–1956

Victor Kviesis – Music Director

1955

Venue - Gymnasium at the U of S

1956–1957

Jim Bolle – Music Director

1957–1960

Murray Adaskin – Music Director

1959

Junior Symphony and Intercollegiate Orchestra

1960–1963

Alexander Reisman – Music Director

1968

Venue - Centennial Auditorium (now TCU Place)

1969–1970

Franz Zeidler – Music Director

1970–1971

David Kaplan – Music Director

SSO is a community orchestra

Funding from the Saskatchewan Arts Board and the Canada Council for the Arts begins

Funding begins for SSO Artists-in-Residence (start of the “core” orchestra)

Women of the Symphony running concerts

1971–1976

Dwaine Nelson – Music Director

Played same concert twice to capacity crowds

Youth development program

1976–1982

Ruben Gurevich – Music Director

1982–1984

David Gray – Music Director

1982

Monte Keene Pishny-Floyd composition for City of Saskatoon centennial

1984–1993

Daniel Swift – Music Director

1989

First SSO Book and Music Sale

1993–1997

Dennis Simons – Music Director

1997–2002

Earl Stafford – Music Director

Symphony Under the Sky outdoor concerts

New Music Festival

2002–2008

Douglas Sanford – Music Director

2008–2010

Earl Stafford – Music Director

2010

Sustain the Music Campaign with support of the Frank and Ellen Remai Foundation

SSO Book and Music Sale cumulative total crosses $1 million mark on first day of sale

2010–Present

Victor Sawa – Music Director

2011

New home at 408 20th Street West (street frontage)

SSO Book and Music Sale single event total exceeds $119,585 (a record)

2012–2014

Orchestrating the Future Capital Campaign

HISTORY OF THE ORCHESTRA The Saskatoon Symphony has undergone a series of transformations over the course of its first eighty years, responding to the challenges and opportunities of the times, enduring and adapting to the Great Depression, World War II, financial crises, and changing musical and cultural fashions.

Beginnings The Saskatoon Symphony Orchestra, was founded in 1931. Organizing a civic symphony orchestra did not come about by chance. Saskatoon has always been the home of citizens who strongly desired orchestral music. In the 1920’s the city was blessed with competent string teachers—from England, Europe and the U.S. Their teaching made the string sections of various community orchestras possible and filtered through to to our present orchestra. In February of 1931, through a grant from the Carnegie Institute, a Chair of Music was founded at the University of Saskatchewan. Through the work of Arthur Collingwood, the newly engaged Chair who from England, using lectures, music demonstrations and performances, the Saskatoon Symphony Orchestra became a permanent musical organization. Under Collingwood’s leadership, the orchestra developed over a 17-year period into a very capable ensemble of approximately forty amateur players.

Mid-century development In the 1950s the Board of Directors took on a greater leadership role. In 1958, Murray Adaskin, then head of the U of S Music Department and conductor of the SSO, established a Junior Symphony. Also during this period, a Women’s Committee was formed to support the orchestra. In the 1960s, pops and jazz programming were added, and the orchestra began to perform in its new main stage home at Saskatoon’s TCU Place. The SSO began touring to smaller centres in northern Saskatchewan, introducing their citizens to live classical music. Over the next forty years the orchestra increased its size and the scope of its repertoire, explored alternative venues and outdoor performances, instituted a New Music series, and expanded youth programming. Transition to the professional organization it is today first began under the conductorship of Dwaine Nelson in the early 1970’s. The organization entered into a collective agreement with players during this time, and a core group of six players was also established. The core grew to a group of ten musicians who provide a stable foundation for the orchestra.

Book and Music Sale The Women’s Committee (later “Symphony Volunteers”) organized in the 1950s. Through the next decades, this large, well-organized group raised funds through various projects including a Gourmet Guide, the Boutique, various large-item raffles, and an annual gala dinner and dance. Their efforts made possible the increasing professionalism of the orchestra, as well as the many musical “outreach” projects that were undertaken at this time. They were also important in raising funds that became the foundation of scholarships for young students who lacked the means to participate in the Saskatoon Youth Orchestra. Today’s fundraising committee of the SSO reaches out to new audience members through its annual events. The most spectacular success, though, is achieved through the efforts of the dedicated Book and Music Sale Committee. The outstanding SSO Book & Music Sale, known across the country as one of the best organized and most successful events of its kind. In 2011, this annual spring event raised over $119,585, bringing the cumulative total raised since the sale’s inception to $1,209,700.11 (see page 24).

SSO BOOK AND MUSIC SALE SALES GROWTH AND KEY STATISTICS (source: SSO Book and Music Sale website sale.wgpotter.com)

First Symphony Book and Music Sale held in: 1989 Number of years sale has operated (incuding 2012): 24 Total volunteer hours invested in preparing for and operating 2011 sale: 6,339 Total annual proceeds invested in SSO, 2011: $119,585.08 Total proceeds invested by sale in SSO since inception: $1,209,700.11 Dates of 2012 sale: April 12â&#x20AC;&#x201C;21, 2012 Processing of materials and sale event now at SSO building (408 20th St W)

Focusing on youth In 1958, Murray Adaskin, head of the music department and conductor of the SSO from 1957 to 1960, established a “Junior Symphony.” Renamed “Saskatoon Youth Orchestra” and reorganized in 1983 by Wayne Toews and George Charpentier, this award-winning organization has trained thousands of young orchestral musicians. Its alumni enrich the cultural life of this city in diverse ways. Under the recent directorship of SSO Principal Double Bassist Richard Carnegie, most of the tutors are SSO musicians and current practice has the SSO inviting the Youth Orchestra to perform with them in one main concert each season. Beginning as a Talent Education programme under Professor Robert Klose during the 1970’s, the principles of Suzuki string playing for some

of Saskatoon’s youngest musicians flourish in the Saskatoon String Progam under the tutelage of many of our musicians. Many of the city’s private music studios were founded by SSO players, and many elementary and high school music teaching positions are filled by them also. The Orchestra is critical to future of musical education in our city. The SSO program Great Music for Kids introduced Saskatoon children to orchestral music as early as 1984 and Classics for Kids concerts continue the important work of entertaining and educating youngsters. During the 1989-90 season our core players began doing regular school concerts. Their first season consisted of 37 school concerts! The Sasktel Symphony in Schools continues the SSO’s commitment to musical education with the support of a community-minded sponsor.

“Growing up in North Battleford, the community band offered the highest level of instrumental ensemble music for me to aspire to. When I joined the Saskatoon Youth Orchestra . . . the two times I got to perform with the SSO as a member of SYO were phenomenal experiences that stretched me as a musician but also opened my eyes to the possibilities of pursuing an orchestral career. I am now in a 4 year Bachelor of Music for trumpet performance at Brandon University. Without the Saskatoon Symphony Orchestra and the work it has done with other ensembles in the community, I would not be pursuing the career path I am. It truly inspired me as a musician with its performances and community outreach.” — Taryn Jackson

Playing our song For many years the SSO has supported local composers. Its first music commission in 1957 resulted in a series of commissioned works over the next two decades. These included the 1971 performance of Murray Adaskin’s Divertimento No. 4 for Solo Trumpet and Orchestra, and the 1982 CBC broadcast of Variations on Themes by Stravinsky composed by Monte Keene PishnyFloyd (commissioned by the CBC and the first CBC broadcast of the SSO). Other important SSO commissions included The Robot from Orion by Elizabeth Raum, David Kaplan’s Conversations with Mersenne and Praetorius and Pishny-Floyd’s Sonorities for Sixty Seasons. A CD including commissioned work by Neil Currie, Passionscape, was released in 2005 and was nominated for Outstanding Classical Composition at the Western Canadian Music Awards in 2006.

Performance venues At its founding, the orchestra was housed in Convocation Hall on the University of Saskatchewan campus. Since that time, the Orchestra has since called a number of performance venues “home”— including the (Delta) Bessborough Hotel, the now-demolished Capital Theatre, and the old gymnasium of the University of Saskatchewan. The orchestra now offers diverse music experiences at the large, municipally-owned TCU Place (formerly the Centennial Auditorium), in historic landmarks like Third Avenue United Church, the Delta Bessborough Hotel, and the Roxy Theatre, as well as in classrooms, school gymnasiums, hospitals, and seniors’ residences across the city. Today, however, the SSO finally has its own “home”—the as-yetunnamed administrative, rehearsal, service and small performance centre at 408 20th Street West, in the Riversdale district of Saskatoon.

Creating collaborations With the formation of a University music department in 1952, the Orchestra’s relationship with the U of S intensified. Many of our conductors including Murray Adaskin, David Kaplan and Dwaine Nelson served as music department faculty, and it was natural for department personnel to perform as soloists, and section players in the orchestra. The SSO has collaborated, as well, with performing groups from the university: including the University Chorus and Greystone Singers, making it possible, for instance, for students to experience performing large scale choral works such as Handel’s Messiah, Beethoven’s Choral Symphony, Verdi’s Requiem and Brahms’ Requiem. Saskatoon Opera Association (SOA) had its inception in an SSO concert in 1978. It has grown into an independent non-profit organization presenting professional opera to Saskatoon audiences. SSO musicians continue to play in the SOA orchestra. Like many local musical organizations, the SOA can exist in Saskatoon because there is a professional orchestra here. The SSO also collaborates with the Saskatoon Children’s Choir, Saskatoon Chamber Singers, Fireside Singers, the Amati Quartet, the University of Saskatchewan Wind Ensemble and the Zodiac Tapestry Handbell Choir. Professional ballet companies such as the Royal Winnipeg Ballet and the National Ballet Company work with our orchestra, as has local dance school, Studio One.

Finding a home to make a difference The success experienced by the Saskatoon Symphony is the result of strong artistic leadership, solid business operations and the active involvement of the Board of Directors. Until recently, success has been achieved despite an operational model involving separate venues for staff, musical rehearsals, Board meetings and committee work from several different volunteer committees. The most recent decision, to enter into a long term lease with a 6500 sq.ft. property located in the heart of the Riversdale District, was three years in the making. The committee operating the SSOâ&#x20AC;&#x2122;s major fundraiser, the SSO Book and Music Sale, was operating out of empty retail space in a local mall with no assurances from mall management that this monthly arrangement would ever be anything less than tenuous. Given the advancing age of the volunteer group and the need to ensure the continued success of the event, the Board of the SSO made a bold move to secure enough space for the 10-day sale and the year-long preparation for it. In addition, the space is intended to accommodate musical rehearsals, administration, management and meetings of Board and other volunteer committees.

For the first time in the 80-year history of the SSO, the entire organization operates under the same roof. 29

OPERATIONS AND SERVICES Today, the Saskatoon Symphony Orchestra maintains a careful balance of main stage classical, chamber, and youth programming, augmented by touring, pops, and special community concerts. The Symphony has the following areas of activity:

Masters Series Concerts Considered to be the “heart” of the Symphony, the Masters Series currently offers six concerts of classical music involving large orchestras of 45-60 musicians and often internationally or nationally renowned guest artists, as well as emerging artists who have often been the recipients of competition prizes. Care is taken to balance popular repertoire with more esoteric offerings, taking into account audience experience, marketability, and budget. Canadian composers and artists are programmed when possible. Performed at TCU Place, the average attendance is currently 1,506. Special initiatives related to the Masters Series include the Especially for Seniors program which provides door to door transportation for a limited number of aging concertgoers who would otherwise be unable to attend (see page 40), free pre-concert talks about the evening’s program, currently hosted by Dr. David Kaplan, and often pre-concert performances by musicians or other artists from the community. The Masters Series has a naming option available as a sponsorship opportunity. The naming sponsor for the 2011–12 season is Gyro Productions Inc.

POPS Series Concerts A recently restored programming initiative intended to attract new audiences and create awareness of the role that orchestral music plays in the lives of everyone, regardless of musical taste, the POPS Series currently consists of four concerts of “lighter” music, often featuring guest artists and/or tributes to well-known musicians like The Beatles and ABBA, or popular genres such as Broadway or film music like the popular “Oscars” concerts. POPS Series concerts include audience engagement activities often include themed costume contests, memorabilia offerings, red carpet photos, karaoke, and, occasionally, themed after-parties. Held at TCU Place, POPS Series concerts average attendance is currently 1648. As with the Masters Series, a naming option is available as a sponsorship opportunity for the POPS Series. Currently, the naming sponsor is Conexus Credit Union.

Music for a Sunday Afternoon The Music for a Sunday Afternoon series has been a long-standing feature of the SSO season. It features the members of the SSO’s 10-musician “core,” often playing as wind or string quintets. Offerings vary from chamber music to works of modern composers. The current venue for this five concert series is the Delta Bessborough. The more intimate setting creates a different experience from events at TCU Place. The series is currently being considered for re-branding and additional initiatives.

Specials Over the season, there are a number of stand-alone events targeted to specific markets. In the current season, there was the popular Handel’s Messiah at Third Avenue United Church, the Symphony Holiday Spectacular at TCU Place (a community engagement initiative with a near-sellout audience), the RCAF Command Brass at the Roxy Theatre, the Silence is Golden Silent Movie at the Roxy Theatre, and the SSO College Challenge (presented by SGI), a morning concert for students at TCU Place.

Classics for Kids The Classics for Kids concerts were increased to two in the 2011-12 season from the recent practice of offering only one children’s concert per season. Having more than one concert in the season allows for the programming to be targeted to specific age groups from toddlers to young elementary students and middle school age groups. Care is taken in programming to ensure that children can engage with the repertoire as well as appreciate the live music experience. Audience participation is generally encouraged. Venues for the concerts vary depending on the program being offered. In the 2011-12 season, one concert was offered in the lower level of TCU Place and the other in the main theatre of the facility. Special initiatives related to Classics for Kids concerts generally include pre-concert hands-on activities such as musical instrument “petting zoos,” face-painting, and artistic expression. There are naming and other sponsorship opportunities offered for these concerts also. In the 2011-12 season, SaskEnergy is the presenting sponsor for the main theatre offering.

The “symphony for kids” provided a quality, economical and entertaining opportunity to build a family memory. It allowed us to introduce and expose our little one to the wonderful world of symphonies, classical music and new instruments! Our [little one] loved how each instrument had a different sound and mimicked the . . . animals! We look forward to making this into a — Pella LeDrew family tradition!

School Concerts The goal of the SSO school tour outreach program is to educate, inspire, and encourage people of all ages in the enjoyment of music. Students are given the opportunity to experience live classical music in a most familiar venue—their school.

Elementary Schools The SSO’s elementary school concerts allow students to experience great live music while observing talented professional musicians. The concerts feature the Symphony’s core musicians performing programs designed specifically for elementary students. Concerts are shaped with themes that provide action, narration, and orchestral interplay, followed by a question and answer session. A pre-concert education package consisting of teacher lesson plans and student activities is made available in advance. Included in the package are suggestions connecting the performance to the Saskatchewan Arts Curriculum (music, art, dance, drama) and with elementary classroom instruction.

High Schools Through the SSO’s in-school concert program for high schools, secondary students can experience the performance of the orchestra’s chamber ensemble of core musicians, a master class on a specific instrument, and detailed information on literature and composers. The school concert tour is currently sponsored by SaskTel and is branded the SaskTel Symphony in Schools Tour program. Due to SaskTel’s support, the cost of a school visit is very low and cost barriers to access are always considered when requests are received.

COMPARISON OF STAFFING LEVELS OF CANADIAN ORCHESTRAS AND ADMINISTRATOR TO ARTIST RATIOS

5,838.8 3,908.7 1,258.9 2

Québec

127.1

NAC (Ottawa)

762.8

Montréal

218.7

Nova Scotia

272

Toronto

Calgary

Edmonton 2

Thunder Bay

Winnipeg

2,419.7 1,196.30 1,265.1

Régina

Conductors

360.9

Saskatoon

Population (Metro) (in thousands)

Vancouver

Victoria

(source: Orchestras Canada and websites)

408.2

761.7

Composers

Musicians

Total artists in orchestra

Administrators

Administrators per Artist

0.3

0.5

0.7

0.4

0.2

0.1

0.5

0.2

0.7

0.6

0.2

0.3

0.4

Artists per Administrator (see graphic below)

3.6

2.0

1.5

2.8

6.1

6.8

2.2

4.9

1.5

1.7

4.7

3.1

2.8

Artistic and Administrative Staff The Saskatoon Symphony employs 10 full-time “core” musicians, 44 part-time “per-service” musicians, a Music Director, and a small administrative staff of two. The Saskatoon Symphony is the largest employer of professional artists within the city of Saskatoon.

Core Services The Saskatoon Symphony Orchestra employs 56 musicians throughout the September to May season. All 56 musicians were hired through a blind audition process, having to play pre-determined excerpts from the most difficult pieces of music for their specific instruments as well as sight read from sheet music provided to them only moments before they performed. Of the 56, ten musicians hold Principal positions for the following instruments: Violin 1 Clarinet Violin 2 Flute Viola Oboe Cello Bassoon

Double Bass

French Horn

These top ten musicians are called the “Core” and throughout the season work on a full time basis performing 200 services. The services are quite varied and have included the following: • 35-minute school shows at schools both in the Saskatoon Public and Catholic School systems. These concerts include teaching materials for the educators to use and are aligned with Saskatchewan’s Arts Education curriculum (see School Concerts). • nostalgic music events created especially for seniors. Annually the core performs at nursing homes and seniors centres with these 45-minute programs. Although not open to the public, family and friends of the residents are welcomed. • grand openings at stores and businesses to create a very memorable event for clients and customers. • reaching out to Saskatoon libraries. Audience members have the opportunity to learn about the composers, the instruments and the musicians during a question and answer period. Admission is free and all ages are welcome.

SSO Music Library Our collection of music is housed within TCU Place. We own 2,068 musical folders which contain scores and parts for large and small scale performance pieces. The Orchestra’s librarian is responsible for the purchase, rental and preparation of scores and parts for all performances. Once the music has been selected for a concert, the librarian will make arrangements to have each part ready for the required number of musicians. If the parts involve string instruments then the librarian must add markings known as ‘bowings’ to each of the string parts. The bowings are determined by the principal string players. Our librarian also maintains our library of music holdings, records repertoire performance data, and assesses long-range acquisition needs.

Speaking as a new Canadian, the number of new immigrants to Saskatoon is rapidly increasing, and I think it is possible for the SSO to be a cultural bridge for them to learn about Canada through music. At the same time, the orchestra can explore and present music related to different cultural backgrounds to â&#x20AC;&#x201D; Nova Wong acknowledge our cultural diversity.

MARKETING AND SALES Ticket Sales The Symphony has created steady, incremental growth in its subscriber base and ticket sales. Within the 2010–2011 season of 15 concerts at least three have been sellouts in the venue at TCU Place which seats 2,000. In addition the annual Messiah concert continues its sellout status within the Third Avenue United Church venue holding just over 800. Total audience at ticketed performances for previous three seasons: 2008–09 15,954 2009–10 19,516 2010–11 19,717

Competition for discretional leisure spending dollars The Saskatoon Symphony has few direct competitors for its live musical programming due to the quality and nature of its productions and its September-to-May season. If there is a conflict with another like-event, our subscribers have the ability to exchange their tickets for a different concert or to donate them for a charitable receipt. These donated tickets are used to bring first-time attendees to the performance. Other related competition for discretional leisure spending dollars includes:

TCU Place- touring entertainment Credit Union Centre – touring entertainment Persephone Theatre – professional theatre with two series over approximately same season Saskatoon Summer Players – amateur live theatre Amati Quartet – classical chamber music Saskatoon Opera – professional opera with occasional performances Galaxy Theatre – Metropolitan Opera Series Saskatoon Children’s Choir Fireside Singers

Saskatoon Symphony’s Market Position The Saskatoon Symphony is the only professional classical orchestra in central and northern Saskatchewan. It has 19,399 patrons per year attending its performances. Subscribers reside in the following geographic area: As far west as Alsask, SK

As far east as Buchanan, SK

As far north as Albertville, SK

As far south as Regina, SK

Single ticket holders: North - La Ronge, SK

South - Coronach, SK

East - Yorkton, SK

West - Lloydminster, SK

Single ticket orders in the current season have come from as far away as Vancouver BC, High Level AB and Sydney NS.

A COMPARISON OF EXPENDITURES ON LIVE PERFORMING ARTS SASKATCHEWAN AND CANADA (source: Hill Strategies Research Inc.)

“THE PROOF IS IN THE NUMBERS” (source: Saskatchewan Arts Alliance, October 2011)

Current Pricing Strategies The Saskatoon Symphony has designed its ticket packages to ensure accessibility to the full range of its live music experiences at various price points and levels of commitment, from a six-concert full series to a single-ticket purchase. Overall the pricing strategy is designed so there is an entry point for anyone in the community. • Subscription pricing with an Early-Bird Savings discount of 20% is available for all our series from the season launch date (early April) to mid-June. Subscribers can purchase the entire series of concerts or only a portion of them. • 10% savings are available for the purchase of multiple concerts (number varies by series) throughout the season. • Group promotions are offered at competitive rates and may be tailored to the size and needs of the customer. • Student discounts are available for many events. The program is under review to determine if greater student accessibility can be provided in a financially-sustainable manner.

Current Advertising Methods As the Saskatoon Symphony appeals to a diverse audience demographoic its advertising and promotional methods are varied and include: • Television

• Social Social Media (FaceBook, Twitter, Flickr) Media (FaceBook, Twitter, Flickr)

• Email marketing • Radio Email marketing • Print advertising

• Video Video production, YouTube production, YouTube

Website and blog • Print collateral (posters, • Website and blog (spring 2012) handbills, postcards) • Internet coupon sites; online events listings • Direct mail

sites; online events listings • Internet Group coupon sales contacts • Outdoor advertising Group sales contacts

Marketing Results Increase in subscription sales. Single tickets also have increased.

Future trends Spending on live performing arts in Saskatchewan, which once lagged behind the national average, is now trending significantly higher (see figure opposite). The Symphony has grown with Saskatoon and continues to shape its programming to serve its diverse community. Areas of programming development in the next three years will focus on: • Youth, especially at-risk • Aboriginal • High-tech industries • Retiring baby boomers

Sponsorship Testimonial “The Mini-Coach and Walkers Approach” Connoisseur Limousine Service Inc. Connoisseur Limousine Service has sponsored, and provided, shuttle service for the Masters Series for several years running. While limousines would be a likely pairing with the traditional black-tie and gown adorned patrons of the symphony, we have opted for a minicoach and walkers approach. The seniors who utilize the shuttle would otherwise find it difficult or cost-prohibitive to attend the symphony on a regular basis. Our service allows them to maintain their cultural interests. Lee and Lynne Farrell, Connoisseur’s owners, have been involved in the Saskatoon music scene since their involvement many years ago in the Lions Band, where they met. They and their children have been involved with many musical groups over the years. Music is important to them, and that is why they have chosen to support the Saskatoon Symphony Orchestra community in this way.

Ken Neufeld, Marketing Manager Connoisseur Limousine Service Inc., Connoisseur Tours

“I think it is a fantastic service. Before it was offered, I would park on the street and have to walk in sometimes minus 20 degree weather. It is so much easier for people like me! I really appreciate the bus service the Symphony provides.” Mary Ballantyne, McClure Tower

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Grants and sponsorships are another important part of the annual revenue and certainly all of the aforementioned organizations plus valued amateur organizations, health foundations and sporting clubs are also competing for the sponsorship dollar. Many businesses have selected specific criteria such as health, youth, seniors for their focus of worthy support and the competition is fierce to secure the limited dollars. Grants are available from the City of Saskatoon, Province of Saskatchewan and from the federal agency Canada Council of the Arts. Funds are limited and reflect the current trend of government to hold and even reduce current levels of funding.S All applications R TE are subjected to jury review and there is increasing competition for this source of AS support. R BE RA AM EST CH RCH O

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Sponsorship Testimonial “What’s good for Saskatchewan and Saskatoon is good for us” Conexus Credit Union Conexus Credit Union is the largest credit union in the province, with approximately 118,000 members, and over 900 staff and sales people in 58 locations. What is good for Saskatchewan and Saskatoon is good for us. At Conexus, we help to BUILD YOUR DREAMS. We believe in working with organizations that do the same. We believe the arts are integral to our lives and our community. We know that music inspires, brings joy, sparks discussion, and fosters creativity. What could be better for our business or yours! The Saskatoon Symphony Orchestra brings music and its benefits to the people—not only to us in the hall tonight, but to others who can then discover its power: children and young people, new Canadians and long-time residents alike. The Maestro, the musicians, the SSO Board and staff are building dreams in our community every day. That is why Conexus Credit Union is proud to be a corporate partner of the Saskatoon Symphony Orchestra and so happy to be the series sponsor for the Conexus Pops Series.

Jill Huls, Divisional Manager, Wealth Services Conexus Credit Union

March 2, 2012 March 2, 2012 March 2, 2012 As one of the youngest Registered Music Teachers in Saskatoon, my mission statement for my studio is to be youthful energetic, while providing quality education andmy meaningful experiences. has given As one of theand youngest Registered Music Teachers in Saskatoon, mission statement forThis my studio is to way organizing fieldwhile trips”providing throughout the year in order formeaningful my students to interactThis withhas onegiven be youthful and“music energetic, quality education and experiences. As one of the youngest Registered Music Teachers in Saskatoon, my mission statement for my studio is to another, and also to seefield professional musicians in year action. The response to this intothe past has been way organizing “music trips” throughout the in order for my students interact with one be youthful and energetic, while providing quality education and meaningful experiences. This has given fantastic as my students have seen feature performers Angela Cheng (piano), Nikki Yanovsky (vocal), another, and also to see professional musicians in action. The response to this in the past has been way organizing “music field trips” throughout the year in order for my students to interact with one Guy Few as (trumpet), as well as seen the standard symphony players. Favourite concerts young students fantastic my students have feature performers Angela Cheng (piano), Nikkifor Yanovsky (vocal), another, and also to see professional musicians in action. The response to this in the past has been have been(trumpet), the VideoasGames as well as the Symphony Pops series. Guy Few well aslive theseries, standard symphony players. Favourite concerts for young students fantastic as my students have seen feature performers Angela Cheng (piano), Nikki Yanovsky (vocal), have been the Video Games live series, as well as the Symphony Pops series. as well standard players. Favourite concerts young IGuy feelFew that(trumpet), it is important foras mythe students to symphony get out of the studio and interact withfor both theirstudents peers and Video Games livestudents series, astowell the Pops series. professionals. By attending of various genres, they are not exposed different styles and of Ihave feel been that itthe is important forconcerts my getas out ofSymphony the studio andonly interact withtoboth their peers music which directly helps their playing, but also helps them to see as a legitimate profession, as professionals. By attending concerts of various genres, they are not music only exposed to different styles of I feel that it is important for my students to get out of the studio and interact with both their peers and well hear the results of the musicians’ dedication. It them is especially my young, male as musicaswhich directly helps their playing, but also helps to see important music as a for legitimate profession, professionals. By attending concerts of various genres, they are not only exposed to different styles of students to see because we as teachers often struggle to keep boys motivated well as hear theother resultsmales of theplaying musicians’ dedication. It is especially important for my young, male in a music which directly helps their playing, but also helps them to see music as a legitimate profession, as female-dominated activity. students to see other males playing because we as teachers often struggle to keep boys motivated in a well as hear the results of the musicians’ dedication. It is especially important for my young, male female-dominated activity. students see other males playing we as–teachers often struggle to supposed keep boysto motivated in a As I have to explained it to them – and because their parents in the past, “how are you play beautiful female-dominated activity. music if you have never played?” In order–toinplay withyou expression, As I have explained it to heard them –it and their parents the sensitively, past, “how are supposedortowith playbold beautiful sound,ifityou needs tonever be heard. It it is played?” importantIntoorder hearto the difference between a Mozart forte andbold music have heard play sensitively, with expression, or with As I have explained it to them – and their parents – in the past, “how are you supposed to play beautiful Beethoven forte,toorbea heard. crescendo from pianissimo piano. These are thingsathat as a forte teacher sound, it needs It is important to heartothe difference between Mozart andI can try to music if you have never heard it played?” In order to play sensitively, with expression, or with bold describe butforte, students will never understand until to they experience it. Additionally, howtry to Beethoven or a crescendo from pianissimo piano. These are things that asI appreciate a teacher I can sound, it needs to be heard. It is important to hear the difference between a Mozart forte and affordable it is for students to attend symphony describe but students will never understand untilconcerts. they experience it. Additionally, I appreciate how Beethoven forte, or a crescendo from pianissimo to piano. These are things that as a teacher I can try to affordable it is for students to attend symphony concerts. describe butI have students will never understand untilbooks, they experience it. Additionally, I appreciate how Personally, stocked my studio with music CD’s, metronomes, and pedagogical literature affordable it is for students to attend symphony concerts. from the SSO Music and Book Sale. I am to see CD’s, this additional community involvement which Personally, I have stocked my studio withpleased music books, metronomes, and pedagogical literature gives support to Saskatoon as the capitalto ofsee ourthis province. from the SSO Music and Book Sale.cultural I am pleased additional community involvement which Personally, I have stocked my studio with music books, CD’s, metronomes, and pedagogical literature gives support to Saskatoon as the cultural capital of our province. from the SSO Music and Book Sale. I am pleased to see this additional community involvement which gives support to Saskatoon as the cultural capital of our province. Karen King ARCT, Karen ATCL, King BA, RMT ARCT, ATCL, BA, RMT Karen King Ave, Saskatoon SK 1412 Cairns ARCT, ATCL, BA, RMT 306.717.3454 1412 Cairns Ave, Saskatoon SK www.kingmusicstudios.ca 306.717.3454 1412 Cairns Ave, Saskatoon SK www.kingmusicstudios.ca 306.717.3454 www.kingmusicstudios.ca

ORGANIZATIONAL STRUCTURE As a community-based organization, the Saskatoon Symphony is managed professionally and governed in a progressive, fiscally responsible manner.

Governance One of the keys to the success of the Symphony over the past 80 years has been its close connection to the community. The Board of Directors, as trustees of the community, are elected annually by the members of the Saskatoon Symphony Society. The Board provides policy governance to the Symphony and meets on a monthly basis. They are responsible for all policy decisions and, in consultation with the Music Director and General Manager, share responsibility for long-range planning, financial control and fundraising. The current Board has representation from many professions, the business community and the community at large. As part of their responsibilities, Board members serve on various committees which are reflective of key operating areas of the Symphony, including: • Executive • Finance and Audit • Fundraising • Human Resources • Nominations • Strategic Planning

2011-2012 Board of Directors of the Saskatoon Symphony Society Ken Coutu A registered Professional Engineer with permission to consult in Mechanical Engineering, Ken Coutu has an undergraduate degree in Engineering Physics and two graduate degrees in Mechanical Engineering all from the University of Saskatchewan. He runs his own consulting firm, Know Energy Ecobuildings Consulting Inc, specializing in sustainability in commercial buildings. He is also an Engineer-in-Residence at the U of S, managing a major research project for Venmar CES. His passions include music, photography, art and the outdoors. He is a violist with the Saskatoon Philharmonic Orchestra. He and his wife Penelope have four children and three grandchildren.

Robert Dobrohoczki Rob Dobrohoczki is a Saskatoon based lawyer, consultant and businessman. Born and farm-raised in the Saskatoon area, he received a B.A. honours in political studies and philosophy and a four year diploma in economics, before receiving a Masters degree in Arts, and a Law degree. He is continuing with his graduate studies, and has taught co-operative law in the College of Law, business and public policy in the Edwards School of Business, International Trade Law and International Commercial Transactions at the Johnson Shoyama School of Public Policy, and has lectured and published internationally on co-operative law and policy. He has been involved with a number of research projects with the Community University Institute for Social Research, and has past board experience with the Saskatoon Independent Living Co-operative and Good Food Junction Co-operative. Rob enjoys traveling when he can, reading, and listening to live classical music, a passion first acquired listening to the OSM and NAC orchestras.

Lynn Ewing Lynn Ewing has taught piano, music theory, and, more recently, singing, for many years in Saskatoon, notably with special needs students, including the visually handicapped and those with autism spectrum disorder. She enjoys performing as singer and a pianist. She also works as a music adjudicator in western Canada and has examined for Conservatory Canada. Lynn holds diplomas in piano (ATCL, LTCL ARCT) and singing (ARCT LTCL FTCL) from the Royal Conservatory of Music Toronto and Trinity College of London, UK. She also has a B.A. and M.A. from the University of Saskatchewan and a B.Ed. (Secondary) from UBC. A past president of both the Saskatoon Registered Music Teachers’ Association and Musical Art Club, Lynn represented, until recently, the Saskatchewan Registered Music Teachers’ Association at

the U of S Senate. She worked as Treasurer for the Gustin Trounce Heritage Committee during the restoration of Gustin House and serves as an executive member of both her local and provincial music teachers’ associations. Vice-President of the Saskatoon Symphony Society Board of Directors and Chair of Fundraising, Lynn is a passionate advocate for the arts. Married to Bill Feldbruegge, she loves attending concerts, performing music and walking on our beautiful riverbank with her German shepherd.

Meagan Hinther Meagan Hinther is the Communications Specialist for the University of Saskatchewan’s School of Environment and Sustainability and the Global Institute for Water Security, where she plans events, conducts media relations, and is in charge of implementing comprehensive communications and marketing plans for both units. Meagan holds a Bachelor of Science from McGill University and a Graduate Certificate in Public Relations from Humber College, Toronto. She lived in various cities in Ontario and Quebec before returning to her hometown of Saskatoon in 2009. Other volunteer activities include marketing and communications for the Canadian Cancer Society and the Solid Waste Association of North America. Meagan’s interest in the arts stem from years taking band, piano and dance lessons as a child and young adult. She was a member of McGill University’s contemporary dance company *Mosaica*, and Humber College’s varsity dance team *Humber Hype*. She holds a Grade VIII certificate from the Royal Conservatory of Music and an Intermediate ballet certificate from the Royal Academy of Dance.

Roger Jolly Mr. Jolly has worked in the piano industry for the last 40 years as a salesman, piano technician, rebuilder, designer, manufacturer’s technical consultant, and clinician. He is currently working for the Samick Music Corp. as VicePresident of Research and Development, overseeing the design and manufacture of the Knabe, Seiler, Samick, and JP Pramberger Grand Pianos. As an International Clinician, he has been a featured guest speaker at major conventions in Canada, United States, New Zealand and Australia, throughout Europe and in Korea. Mr. Jolly is a member of the Master Piano Technicians of America, the Piano Technicians Guild, and the Canadian Association of Piano Technicians. He is widely published, and active as a Master class clinician. He is the recipient of the Piano Technicians Guild’s prestigious Jack Greenfield award for research and writing (2001), and the Outstanding Achievement award of the Canadian Association of Piano Technicians (2000). Mr.

Jolly and his wife Marie own the Yamaha Piano Centres in both Regina and Saskatoon. These stores have continually grown since opening in 1980.

Mairin Loewen Mairin Loewen was born and raised in Saskatoon. She graduated from Carleton University in 2005 with a B.A. in Political Science, and has since worked for the provincial government and the Saskatchewan Medical Association. She is presently completing an M.A. in Political Studies at the University of Saskatchewan. Mairin was elected as the City Councillor for Ward 7 on February 9th, 2011, and presently serves on a number of civic committees and boards. In addition to her Council duties, Mairin volunteers with the Open Door Society, plays sports, and is active in the local music community.

Ken Pontikes Ken Pontikes is a former senior manager in finance and in planning and development with the City of Saskatoon and former deputy minister in municipal affairs, culture, and housing with the Government of Saskatchewan. He is currently the director of the Saskatchewan Legislative Internship Program and a sessional lecturer at the University of Saskatchewan. He has post-secondary degrees in commerce, economics, and public administration from the U of S, Queen’s University (Kingston), and Carleton University (Ottawa). He is also a Certified Management Accountant. Ken has served on the boards of numerous community organizations, including the Nutana 100 Celebration Committee, the Saskatoon Suzuki Strings, Saskatchewan Families with Children from Asia, the Regina United Way, the Society of Management Accountants of Saskatchewan, the Saskatchewan Multicultural Advisory Council, and Saskatoon Folkfest. He previously served as treasurer of the Saskatoon Symphony Society and currently is a member of the Society’s strategic planning and finance committees. Despite employment relocations to Regina, Ken and his wife, Darlene Bessey, are happy to have returned to Saskatoon where they enjoy their role as parents to their teenaged daughter, Zoë.

Chris Stoicheff A classical music enthusiast, Chris Stoicheff is the former President of the University of Saskatchewan Students’ Union and former long-time member of the U of S Greystone Singers. He is in the final year of a political studies degree and is very involved in the community. Chris is the Chair of the Strategic Planning Committee, and a member of the Finance Committee.

Doug Thorpe Doug Thorpe is a Saskatoon native who has also lived in Toronto, Vancouver, and Halifax. An alumnus of the University of Saskatchewan, he completed his PhD at the University of Toronto, and after a brief stint teaching in Ontario and Nova Scotia, returned to the U of S as a faculty member in 1987. He is an active researcher and teacher in the fields of Victorian Studies and Literary Theory. Having chaired numerous College and University committees, he has also just completed a fiveyear term as Head of the Department of English. He has been involved in the Saskatoon music community for decades, studying piano with Garth Becket in the 1960s, attending Symphony concerts since the 1970s, and extensively involved in board governance more recently. He was on the Board of the Saskatoon Suzuki String Program for four years (including two years as President), on the Board of the Saskatchewan Orchestral Association for seven years (including three years as President), and joined the Board of the Saskatoon Symphony Society in the Spring of 2008. He has been a dedicated volunteer for these organizations, as well as for the Saskatoon Youth Orchestra, the provincial Honour Orchestra, and the SSO Book and Music Sale. He and his wife Lilian have raised three daughters in Saskatoon, all of whom studied music with Saskatoon Symphony musicians and been active in a variety of musical ensembles.

Jane Wollenberg Jane and her family moved to Saskatoon in 1993. She and her husband Peter live in Saskatoon. Her oldest son, Andrew and his family live in Perth, Australia and her youngest son Jan is studying at McGill University in Montreal. Jane studied history at Brock University and received her Bachelor of Education (post academic) at the University of Saskatchewan. Having lived abroad and moved quite often, Jane understands that the best way to learn about a new community is to volunteer. She balances her busy career as the Lead Directress at Maria Montessori School with a very demanding volunteer schedule. In addition to her work with the Saskatoon Symphony Orchestra, she is a member of the Advisory Board for the Breaking the Silence Conference at the U of S and a member of the Board of Directors of the Saskatoon Fiddle Orchestra where she also plays the cello.

Management The senior management team consists of the Music Director and the General Manager.

Music Director Victor Sawa is a triple threat of talent, experience and personal dynamism in the orchestral world. In addition to being Music Director of the SSO, he holds similar positions in Sudbury and Regina. Maestro Sawa 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 been a guest conductor for orchestras across the country. Victor Sawa has been 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, Maestro 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. The Music Director is responsible for: • Maintaining and promoting the mandate of the Symphony • In consultation with Board and General Manger, develop, implement, monitor and evaluate annual and long range plans • Create and/or approve all programming for the Saskatoon Sympony season In order to ensure the successful operation of the Symphony, the Music Director:

General Manager Jill Reid is in her fourth season as General Manager of the the Saskatoon Symphony. She has over twenty-five years experience in arts administration with an outstanding career in the field of live performing arts (dance). Jill was the Executive Director of Dance Saskatchewan Inc. for over 20 years. During that time she was Program Chair for daCi 2000 (dance and the Child international), which involved more than 700 dance delegates from 23 countries. She has been the National Representative for daCi Canada, a North American Representative for the World Dance Alliance, and served as a volunteer with the SaskCulture Human Resources Council, the Community Arts Program and Advisory Committee for the University of Saskatchewan, and Saskatchewan Arts Alliance. In 2002, Jill joined the National Council of the Canadian Dance Assembly as representative for the Services and Support Standing Council and in 2007 was elected as Vice President. Ms. Reid was also appointed by the Minister of Education to serve on Saskatchewan’s first Arts Education Curriculum Committee. Jill holds a Bachelor of Arts degree from the U of S and a diploma in Sports Adminstration from Seneca College. The General Manager is responsible for: • Ensuring the successful operation of the Symphony (negotiating and signing, hiring and supervising administrative personnel, purchasing goods and services within the approved budget

• works directly with all musicians in order to interpret the repertoire

• Investigating, developing and implementing strategies to secure sources of revenues

• is the driving force behind the Symphony

• Communicating with funding agencies, the media and the public

FINANCIAL INFORMATION Historical Highlights • The SSO began receiving funding from the Canada Council for the Arts in 1970-71. • In 1976, a core of 10 musicians were hired as full time employees to perform a full season with the SSO • In 1978, the musicians formed a local union as part of the American Federation of Musicians. Local 594 • In 2010, the Saskatchewan Arts Board reduced by 50% the grant to the Saskatoon Symphony stating that the symphony must reinvent itself to become more sustainable and relevant to the citizens of Saskatoon.

SASKATOON SYMPHONY SOCIETY HISTORICAL STATEMENT OF OPERATIONS 2011

2010

2009

2008

2007

(Restated)

Revenue Earned Ticket Sales

$433,640

$402,855

$300,628

$281,222

$281,153

44,472

33,589

45,069

80,311

63,330

134,000

155,370

140,636

135,000

City of Saskatoon

51,205

55,405

49,247

46,579

52,098

Other

11,955

25,332

6,032

3,500

Saskatchewan Arts Board

75,000

149,000

274,875

149,000

16,295

6,860

5,125

25,957

5,861

4,857

650

16,489

Other Government Canada Council

Private Sector Corporate Foundations

377,882

135,660

48,881

407,413

73,804

Other Fundraising

Individual

28,425

26,216

10,477

40,212

12,072

Planned Giving/Bequests

73,481

7,930

14,368

Special Projects

119,914

107,888

115,105

112,673

105,235

Sponsorships

128,193

54,900

85,050

57,162

82,520

1,401

700

1,150

Seat Sale Sustain the Music Campaign

8,000

31,118

1,502,462

1,170,753

1,102,117

1,346,015

992,080

Administration

228,894

181,039

253,272

206,525

193,867

Artistic

719,405

601,167

674,053

661,203

619,353

Production

169,247

132,592

112,043

128,096

112,897

Marketing and Fundraising

189,881

143,772

156,233

193,152

181,129

100

385

2,416

Sustain the Music Campaign

8,000

31,118

Writedown of Music Library

45,872

1,361,299

1,089,688

1,195,701

1,189,361

1,109,662

$141,163

$81,065

$(93,584)

$156,654

$(117,582)

Expenses

Seat Sale

SASKATOON SYMPHONY SOCIETY HISTORICAL BALANCE SHEET 2011

2010

(Restated)

2009

2008

2007

Current Assets Cash Investments - Short Term Accounts Receivable

$167,012

$1,505

$60,247

$86,647

31,807

31,680

27,282

107,549

149,360

38,038

45,068

14,768

Inventory

1,483

866

1,252

4,543

2,792

Prepaid Expenses

4,500

2,000

11,412

312,351

185,411

101,537

138,258

56,254

117,055

164,369

166,363

170,515

166,296

429,406

349,780

267,900

308,773

222,550

40,115

119,608

41,535

60,163

64,578

31,007

2,538

Capital Assets

Current Liabilities Bank Indebtedness Accounts Payable and Accrued Charges Current Portion of Deferred Tenant Inducement Due to Saskatoon Symphony Fund

31,118

Current Portion of Long-Term Debt

37,850

106,850

33,850

45,100

Deferred Revenue

76,564

117,513

126,188

131,196

166,545

234,022

297,016

220,201

243,412

285,305

5,078

7,616

56,457

55,000

131,000

50,000

76,000

290,479

352,016

351,201

298,490

368,921

21,872

(166,605)

(249,664)

(160,232)

(339,949)

27,282

117,055

164,369

166,363

170,515

166,296

138,927

(2,236)

(83,301)

10,283

(146,371)

429,406

349,780

267,900

308,773

222,550

Deferred Tenant Inducement Long-Term Debt

Membersâ&#x20AC;&#x2122; Equity (Deficit) Unrestricted Restricted Investment in Capital Assets

our fundraising target

$3,000,000 over 3 years This is not our goal. Our goal is more significant and meaningful than numbers can express. The success of our campaign will not be measured in amounts raised alone. Raising these funds is just the beginning. The big story will be told when we deliver on our commitments to the community.

Delivering on our commitments. That is our goal.

FUNDRAISING CAMPAIGN AND FUNDING REQUIREMENTS The primary objectives of the campaign are to: • Raise a minimum of $3 million in cash and pledges between March 2012 and February 2015 • Raise these funds in such a manner to position the Saskatoon Symphony for continued financial support from newly acquired and previous donors • Ensure that the Saskatoon Symphony’s mission is honored and fulfilled.

In pursuit of these objectives, the Campaign will: • Utilize effective, proven fundraising methods in order to maximize financial support • Create a greater understanding of the role played by the Saskatoon Symphony within the Saskatoon area • Focus attention on the Saskatoon Symphony, its work and programs • Have a positive effect on the public image of the Saskatoon Symphony • Unite and strengthen the morale of the staff and the volunteers

The Campaign will be structured to take place over 36 months, from March 2012 to February 2015

Appendix i - Audited Financial Statements Financial statements for the Saskatoon Symphony Society are appended or are available on request or can be viewed on our website www.saskatoonsymphony.org/financial

APPENDIX ii Musicians of the Saskatoon Symphony – Weaving a rich pattern in the tapestry of our social and cultural landscape. Here are just some of the activities by Saskatoon Symphony musicians which help to bring diversity, creativity and innovation to the broader creative community, help to build a stronger and more connected social and cultural community and contribute to the health and social well-being of our city’s residents and beyond. Nurturing culture through creativity and artistry Performance • Playing regularly for productions of Saskatoon Opera, Persephone Theatre, Saskatoon Summer Players, Saskatoon Children’s Choir, Elim Tabernacle, Saskatoon Composers Society, Elixir Ensemble, Saskatoon Philharmonic • Playing for touring productions that visit the city (Canadian Opera Company, Royal Winnipeg Ballet, Junos, etc.) • Organizing and/or performing in smaller, independent ensemble, including BeMUSed, Starry Night Musicians, Ritornello chamber music series, Metro Jazz Ensemble, Saskatchewan Brass, Regina’s Big Sky Brass Ensemble, brass quintets, string quartets, trios, duets, clarinet choir, and keyboard collaborations • Playing at various events at Saskatchewan Jazz Festival and at others, such as The Global Village for David Kaplan at the Synagogue • Appearing in recital (at venues such as Gustin House, Third Avenue United Church, North Battleford’s recital series, etc.) • Performing as soloist in Saskatoon, throughout the province and Canada, representing Saskatoon • Performing one-man theatre show “Conversations with my Double Bass” • Playing in the German Concordia Club band • Participating in University student recitals • Composing music for orchestra, brass quintet, wind ensemble, jazz combo and jazz big band • Performing as extras for Regina Symphony Orchestra and Calgary Philharmonic Orchestra when required Music Leadership • Acting as Music Director, Saskatoon Youth Orchestra • Performing as Bandmaster of the Saskatoon Brass Band • Co-founding and directing of Prairie Virtuosi chamber orchestra • Co-directing the Summer String Experience • Directing of Saskatchewan’s finest Double Reed Band Sqwuak! (only oboes and bassoons) • Conducting cello choir (12 members) • Founding a string orchestra in the Saskatoon Christian School • Directing musicals • Speaking about music at schools • Working on local, provincial, and national committees (Saskatoon Community Foundation, Canadian Music Centre, International Association of Jazz Educators, JUNOs (judge), Western Canadian Music Awards (judge)) • Leading church choirs • Coaching for string quartets, cello quartet, other ensembles

Other activities • Writing fiction with published short stories in magazines in Canada and internationally Improving Health and Well-being through performance, increased self-esteem and skills development • Providing music for church services, care homes, seniors’ lunches, civic group luncheons, weddings, funerals, background music at dinners and at the hospital at Christmas • Playing for services at the Regional Psychiatric Centre Teaching • Sessional Instructors at the University of Saskatchewan, University of Regina, Regina Conservatory of Performing Arts • Individual instructions for Flute, Oboe, Clarinet, Bassoon, Trumpet, Horn, Trombone, Euphonium, Tuba, Percussion, Violin, Double Bass students at U of S • Sectionals for the Saskatoon Youth Orchestra • Saskatoon Suzuki String program • Suzuki Group Violin, Piano and Theory • Junior orchestra of the Saskatoon Suzuki String program • Teacher assistant for the Saskatoon Suzuki Program, beginner orchestra is made of all string players ages 6-12 • Founded Saskatoon Conservatory of Music; now with 8 teachers and approximately 75 young students. • University Of Saskatchewan Community Music Education Program • Long and McQuade • Organize and instruct summer band camps at the U of S, interprovincial and international music camps in Canada and the U.S. • St. Joseph High School, where over 1/3 of the school is in band • Music educator since the 1970s, teaching a few hundred students every week, conducting concert band, jazz band, choir, jazz choir, teaching guitar, arts education (and various other subjects), then working with after-school groups, band and choir tours, and directing musicals ( the typical life of a high school music teacher) • Beginner chamber music to adults • Jazz band • Various Clinics and Workshops, many for school music programs in Saskatoon and around the province • Adjudicate Saskatchewan Music Festival Association, and throughout Canada • Private teaching studios, some for many years, with students ages 5 - adult, and beginner to advanced (many of whom are now, or have in the past, played with the Saskatoon Symphony) • Students from all areas of the province, often preparing for music festivals and Toronto Conservatory exams, important for the development of students playing in public situations and setting goals Many are as generous with their time as they are with their talent: • Volunteering at Ten Thousand Villages, Native Ministries lunch program and schools • Involvement with unrelated community organizations, including support for local and global charities

HOW TO invest in orchestrating for the future Your tax-deductible donation is an investment in the future of the Saskatoon Symphony Orchestra can be a part of your legacy to the community. Donations may be made by cash, cheque, Visa or Mastercard. A representative of the Orchestrating for the Future committee would be pleased to assist in making arrangements for major gifts, including significant recognition appropriate to the level of investment in the campaign.

WHO TO CONTACT Lynn Ewing and Darla Saunders, Co-Chairs of the Saskatoon Symphony Orchestra's Orchestrating for the Future campaign are available to answer questions or for further consultation at your convenience. Also available is Jill Reid, General Manager of the Saskatoon Symphony. Lynn Ewing, Co-Chair, Orchestrating for the Future: phone 652-2240 (h/b), lewing@sasktel.net Darla Saunders, Co-Chair, Orchestrating for the Future: phone 649-2118 (h) or 491-8112 (c), darlasaunders@yahoo.ca Jill Reid, General Manager, Saskatoon Symphony Orchestra: phone 665-4862 (b), general.manager@saskatoonsymphony.org

OUR COMMITMENTS TO THE COMMUNITY Creativity through social responsibility Artistic excellence through focused musicianship Longevity through integrity and sustainability SASKATOON SYMPHONY ORCHESTRA orchestrating for the future c/o Lynn Ewing & Darla Saunders, Co-Chairs Phone 665-6414, office@saskatoonsymphony.org 408 20th Street West, Saskatoon SK S7M 0X4