Prelude Magazine Fall 2024

KIESZA + ORCHESTRA

REALIZING THE VISION OF A DANCE SYMPHONY

205 8 Ave SE

Calgary, AB T2G 0K9

Box Office: 403.571.0849

calgaryphil.com

Zoltan Varadi

Editor

Omar Jeha

Art

Director

Janet Bwititi

Editorial

Advisor

contributors:

Elizabeth Chorney-Booth

Stephen Hunt

Nikolette LaBonte

Theresa Lane

Charlotte Lilley

Stephania Romaniuk

David Sussman

Run Calgary

on the cover:

Kiesza by Mick Marseilles featured in the cover story on page 24

For advertising inquires, please email Zoltan Varadi at zvaradi@calgaryphil.com

Prelude is published three times a year by the Calgary Philharmonic Society. Copyright 2024 by Calgary Philharmonic Society. No part of this publication may be reproduced without express written consent of the publisher.

A MESSAGE FROM THE PRESIDENT + CEO

Welcome back everyone! Ticket presales for this season broke our records — thank you for being part of the brouhaha as we make music and community together in this unbelievable city.

There's much to celebrate, kicking off with Tchaikovsky X Drake, and then a FREE concert in Prince's Island Park with our friends at Run Calgary while runners raise funds for PhilKids striving to 'Beat Beethoven' (fear not, Beethoven remains undefeated as Jonathan Biss will show us in the Emperor Concerto later in September!). And Rune Bergmann begins his last season as Music Director with the epic Carmina Burana featuring our superlative Calgary Philharmonic Chorus. This season we're celebrating Calgary and its hotbed of talent, from hometown hero Kiesza to 2018 Honens Laureate Nicolas Namoradze returning in triumph.

This expanded Prelude magazine will spread musical energy across our city, with an increased reach far beyond our concert halls. Please consider sharing copies with your friends and communities. And if you, your company, or your community would like to support the important work Calgary Phil does, please be in touch with us. Maybe your company would like to bring employees and customers to concerts, or perhaps you need an orchestra to play for your big conference or special occasion?!

We're also looking for your stories about how music and/or learning a musical instrument changed your life, like those inspiring accounts herein from Emily Follensbee School and Marlborough School. We must support our city's school music programs, champion the music teacher heroes, and celebrate the personal development, social cohesion, creativity, and wellbeing which springs from playing and listening to music.

Get in touch with us at info@calgaryphil.com.

MARC STEVENS President + CEO Calgary Philharmonic Orchestra

We acknowledge that we come together and create music on land known by the Blackfoot name Moh-kíns-tsis, which we also call Calgary. This land is on the traditional territories of the Blackfoot Confederacy (Siksika, Piikani, and Kainai First Nations), the Stoney Nakoda (Chiniki, Bearspaw, and Goodstoney First Nations), and the Tsuut'ina First Nations, as well as the Métis Nation of Alberta. We honour this land and all those who share it in a spirit of peace, friendship, and respect.

In its nearly 70-year history, the Calgary Philharmonic has grown to be one of Canada's most celebrated live music ensembles. Led by Music Director Rune Bergmann, the Orchestra presents a wide range of concerts and inspiring education programs. In a typical season, the Calgary Phil welcomes over 100,000 visitors, connecting audiences to live music experiences, and serves the city of Calgary by fostering creativity and belonging.

In addition to 66 full-time orchestra musicians, the Calgary Phil is one of two major symphony orchestras in Canada that has its own chorus of over 120 volunteer singers. Led by Chorus Director Mark Bartel, the Chorus performs a wide variety of repertoire, including oratorio, opera, classical standards, pop favourites, and commissioned new works.

Learn more about the Orchestra and Chorus at calgaryphil.com.

Where will I park? What if I clap at the wrong moment? Can I wear Crocs? Taking in a performance at the Calgary Phil is meant to be a joyful — not stressful — experience. So don't worry, we've got you covered with these handy answers to a few of our most frequently asked questions (and, yes, you can wear Crocs).

What do I wear to the Orchestra?

You'll see everything from designer gowns to business casual to jeans 'n tees at Calgary Phil performances. We have no formal dress code and just want you to feel happy, comfortable, and relaxed!

What is your mobile phone policy?

While we hope everyone has the chance to experience live music without distractions, we realize that there are times when you don't want to miss an important message. If you need to leave your device on, please turn the brightness down, the sound off, and be considerate of other concertgoers.

Where can I find parking?

There are several parking lots in the area, but we suggest you leave yourself plenty of time to find a spot — they fill up fast! Underground parking is available at Arts Commons and the nearby Civic Plaza and TELUS Convention Centre parkades. If you take the CTrain, the stations are located one block from Arts Commons. Bike racks can also be found on Stephen Avenue in front of the Jack Singer Concert Hall.

Are drinks allowed in the concert hall?

Aside from the occasional concert, drinks are permitted! You're invited to arrive a little early, mingle with your fellow music fans, and enjoy a beverage in the lobby before the show begins. You can also pre-order a round for pick up from the bar at intermission.

Can I take photos in the concert hall?

For most concerts, you can take a quick photo, but don't use flash — it can interfere with the musicians' performance. Don't forget to tag us in your favourite moments! You can find @calgaryphil on Instagram, X, Facebook, and LinkedIn.

When do I clap?

Traditionally in classical music culture audiences hold their applause until the end of an entire piece (there can be multiple movements with short breaks between them in one piece). This is intended to respect the performers' focus and the flow of the music. You'll know when the piece is finished because the conductor typically puts their arms down completely and turns to the audience. But, if you do happen to clap before the piece is finished, that's okay! The musicians will be happy to know you're enjoying the performance.

What happens if I'm late?

Sometimes even the best laid plans go sideways. Ushers do their best to seat latecomers at appropriate breaks in the performance, but in some cases this may not be possible until the completion of an entire work. We don't want you to miss anything, so you can listen to the music and watch the screens in the lobby.

How long is a concert?

While the length varies, most evening performances are about two-hours long including intermission (shorter concerts may forgo the break). Symphony Sundays for Kids concerts are usually one hour long with no intermission.

For more useful tips, visit calgaryphil.com/FAQ

Rune Bergmann* Music Director

Juliane Gallant* Resident Conductor

Cris Derksen Artistic Advisor

Roberto Minczuk Music Director Laureate

Hans Graf Music Director Laureate

Mario Bernardi

Conductor Laureate

Cenek Vrba Concertmaster Emeritus

FIRST VIOLINS

Diana Cohen* Concertmaster

John Lowry*

Associate Concertmaster

Donovan Seidle Assistant Concertmaster

Eric Auerbach

Edmund Chung

Olga Kotova*

Genevieve Micheletti

Maria van der Sloot*

Hojean Yoo

SECOND VIOLINS

Lorna Tsai* ~ Principal

Stephanie Soltice-Johnson* Assistant Principal

Erin Burkholder

Jeremy Gabbert

Hyewon Grillet-Kim ~

Craig Hutchenreuther*

Minnie Min Kyung Kwon*

Theresa Lane

Adriana Lebedovich

Steven J Lubiarz

* Endowed Chairs (page 64)

~ On-leave

CALGARY PHILHARMONIC ORCHESTRA

VIOLAS

Laurent Grillet-Kim* Principal

Marcin Swoboda Assistant Principal

Arthur Bachmann

Jeremy Bauman

Peter Blake

Michael Bursey

Alisa Klebanov

Jesse Morrison

CELLOS

Arnold Choi* Principal

Josué Valdepeñas Assistant Principal

Clare Bradford

Kathleen de Caen*

Thomas Megee

David Morrissey*

Daniel Poceta

BASSES

Sam Loeck ~ Principal

Matthew Heller

Trish Bereti-Reid

Patrick Staples

Jonathan Yeoh

FLUTES

Sara Hahn-Scinocco* Principal

Gwen Klassen Assistant Principal PICCOLO

Gwen Klassen*

OBOES

David Sussman Assistant Principal

ENGLISH HORN

David Sussman

CLARINETS

Jocelyn Colquhoun Assistant Principal

BASSOONS

Antoine St-Onge Principal

Michael Hope Assistant Principal HORNS

Nikolette LaBonte Principal

Jennifer Frank-Umana Associate Principal

Peter Clark

Assistant Principal

Maxwell Stein Assistant Principal

Heather Wootton* Assistant Principal

TRUMPETS

Adam Zinatelli* Principal

Miranda Cairns ~ Assistant Principal

TROMBONES

James Scott Principal

Kristofer Leslie Assistant Principal

BASS TROMBONE

David Reid Principal

TUBA

Tom McCaslin Principal

TIMPANI

Alexander Cohen Principal

PERCUSSION

Chris Sies* Principal

HARP

Emily Melendes Principal

Repertoire often requires extra musicians:

Rolf Bertsch, keyboard

Jeremy Brown, saxophone

Sean Buckley, percussion

Stan Climie, clarinet

John Feldberg, bassoon

Sheila Garrett, bass

Gareth Jones, trumpet

Janet Kuschak, cello

Lidia Haeju Lee, violin

Malcolm Lim, percussion

Sarah MacDonald, flute

Nikki McCaslin, trombone

Elisa Milner, violin

Emily Phernambucq, flute

Richard Scholz, trumpet

Eva Sztrain, violin

Doug Umana, horn

Roberta Yee, violin

RUNE BERGMANN

MUSIC DIRECTOR

Norwegian conductor Rune Bergmann is Music Director of the Calgary Philharmonic, Chief Conductor of Switzerland's Argovia Philharmonic, and Music Director of the Peninsula Music Festival in Wisconsin. Guest engagements in the 2024/2025 season return Rune to the podiums of the Pacific Symphony and Sarasota Orchestra. He also debuts with the Yale Philharmonia and Nashville Symphony. Rune's recent guest engagements include the Baltimore, Colorado, Detroit, Edmonton, Houston, New Jersey, Pacific, and Utah Symphony Orchestras in North America, and the Beethoven Orchester Bonn, Bergen Philharmonic, Orchestra della Svizzera Italiana, Orquesta Sinfonica Portuguesa, Orquesta de Valencia, Malaga Philharmonic, Spain's ADDA Simfonica, Staatskapelle Halle, Wrocław Philharmonic in Europe, to name a few. He has also led performances of Il barbiere di Siviglia and La traviata at the Norwegian National Opera, while previous guest engagements have led him to such auspices as the Oslo Philharmonic, Münchner Symphoniker, Mainfranken Theater Würzburg, as well as the symphony orchestras of Malmö, Helsingborg, Kristiansand, Stavanger, Trondheim, and Odense among many others. 2018 saw the release of Rune's first recording with the Szczecin Philharmonic, which featured the 'Resurrection' Symphony by Mieczyław Karłowicz, a piece which has since become a major focus of Rune's repertoire.

JULIANE GALLANT RESIDENT CONDUCTOR

New Brunswick-born conductor Juliane Gallant is the Resident Conductor of the Calgary Philharmonic. She has appeared as guest conductor with the National Arts Centre Orchestra, Victoria Symphony, PEI Symphony Orchestra, Okanagan Symphony Orchestra, Kingston Symphony Orchestra, and Symphony New Brunswick, and as assistant and cover conductor with many orchestras and opera companies across Canada. Initially a collaborative pianist, répétiteur, and vocal coach, Juliane began her conducting career in opera. She has led productions of Carmen, La bohème, Tosca, Eugene Onegin, La Traviata, Don Giovanni, and numerous others, both in Canada and in the UK. In 2021, she made her Royal Opera House debut in Mami Wata in collaboration with Pegasus Opera. Juliane is a graduate of the National Opera Studio, the Guildhall School of Music and Drama, the Conservatoire de musique et d'art dramatique de Montréal, the University of Ottawa, and the Université de Moncton. She is an alumna of Tapestry Opera's Women in Musical Leadership Fellowship. In London, Juliane was one of only 12 conductors selected for the first Women Conductors Course: Conducting for Opera, run by the Royal Opera House, the National Opera Studio and the Royal Philharmonic Society, and has received continued support by the Royal Opera House throughout her training.

CRIS DERKSEN ARTISTIC ADVISOR

Juno-nominated Cris Derksen is an internationally respected Indigenous cellist and composer. Originally from Treaty 8 in Northern Alberta, she comes from NorthTall Cree Reserve on her father's side and Mennonite homesteaders on her mother's. Cris' composition strength lies in her diversity for all artistic fields including dance, theatre, film, television, animation, fashion, podcasts, symphonic, chamber, choral, and installations. She performs as soloist-composer for symphonies and chamber orchestra's across Canada and has been commissioned by the Calgary Philharmonic, the Toronto Symphony Orchestra, Thunder Bay Symphony, and Orchestre Metropolitan. Cris was the composer for the Canadian Pavilion for the World Expo in Dubai in 2022, and her work on the podcast Stolen: Surviving St. Michael's by Connie Walker and Gimlet Media won both a Pulitzer and Peabody. Recent achievements include their Carnegie Hall Debut with Orchestra Metropolitan conducted by Yannick Nézet-Séguin, a collaboration with the Royal Winnipeg Ballet and the Winnipeg Symphony Orchestra of new ballet Tel Wild Man of the woods, and scoring a National Geographic Documentary. Cris is always up for the challenge of bringing an Indigenous perspective to all aspects of sonic storytelling.

Ina

CALGARY PHILHARMONIC CHORUS

ALTOS

TENORS

BASSES

Archibald

Aaron

Maxime

Ian

Kevin

Arthur

Mark

Section

Drew Kotchan

Darcy Krahn

David

Mark

David

Keith

Kori

David

Dana Salter

David Schey

Albi

Richard Wanner

Jim Weisert

Keith Wyenberg * Endowed Chair (page 64)

MARK BARTEL CHORUS DIRECTOR

Mark Bartel is in demand as a versatile conductor and music educator. He is known for his musical, educational, and community collaborations and has established a reputation as a successful builder of choirs and choral programs. Mark is a passionate advocate of the impact of music on the lives of choristers, audiences, and communities. He has conducted university choirs for over 25 years and has extensive experience leading a wide range of community choirs in both the United States and Canada. After a 16-year tenure in the US, he returned to Canada in 2019 to join the faculty at Calgary's Ambrose University as Associate Professor of Music. Since arriving in Calgary, he has also served as Director of the Spiritus Chamber Choir. In addition to his interest in choral-orchestral works and choral music of the baroque era, he brings expertise as a singer and vocal pedagogue to his work with choirs. His current research focuses on how choirs around the world engage in active peacebuilding through the choral experience. Originally from Niagara-on-the-Lake, Ontario, Mark is a graduate of the University of Winnipeg and Canadian Mennonite University. He holds Master of Music and Master of Sacred Music degrees from Southern Methodist University in Dallas, Texas, and a Doctor of Musical Arts degree in conducting from the Eastman School of Music in Rochester, New York.

World class facilities at your fingertips

: CALGARY PHIL PRESIDENT + CEO MARC STEVENS AND EVENT HOST

FRONT : LOUISE ROKOSH, DR. JOHN LACEY, LINDA MCNALLY, AND NORM ROKOSH BACK

ADRIAN BURNS

LEADING BY EXAMPLE

THE LEGACY OF DR. JOHN LACEY

INTERVIEW BY STEPHANIA ROMANIUK • PHOTO BY DENNIS ENVOLDSEN

This past spring, over 150 supporters and friends came together to honour champion donor Dr. John Lacey and to raise funds for the Calgary Philharmonic Society and the Calgary Philharmonic Foundation. The June 12 garden party — hosted by Adrian Burns — raised over $500,000 in support of both the Society and the Foundation, taking inspiration from Dr. Lacey and his commitment to ensuring that the Calgary Phil is here for generations to come. It should come as no surprise, then, that thinking toward the future is a key part of the signature program which bears the name of John and his late wife Naomi.

Since 2008, the Naomi + John Lacey Virtuoso Program has been sponsoring visiting guest artists of the highest international calibre to perform with the Calgary Philharmonic. While such engagements thrill audiences and raise the profile of the Orchestra, the program just as importantly offers a standard of excellence to which young, upcoming musicians can aspire. Not only does each visiting artist sponsored by the program perform with the Philharmonic, but, in partnership with the Conservatory at Mount Royal University, each is invited to teach select advanced conservatory students in masterclasses and other instructional opportunities.

As an inspirational capstone to this partnership, participating students receive complimentary tickets to a performance of the Lacey Virtuoso artist in concert with the Orchestra. For Dr. Lacey, leveraging relationships between community partners is a key to any program's success.

"I believe very strongly that one should utilize things to the maximum extent possible," he explains. "If we get a first-class musician to come, it helps our musicians who play miles better with a good soloist, and we can benefit by having our children taught by this musician as well."

The program has been successful in other ways: even though it was never intended as a fundraiser, the Naomi + John Lacey Virtuoso Program has inspired other patrons to donate and support the initiative to the tune of over $600,000 between 2008 and 2023.

Dr. Lacey's interest in the Calgary Philharmonic began through his sincere devotion to his late wife, Naomi, a passionate classical music lover and trailblazer in the arts in Calgary. As young newlyweds, they moved to the city and began attending orchestra concerts together in 1956. By the mid-1980s both their careers had progressed (Dr. Lacey's in oil and gas engineering and Naomi's in the arts and education), and they decided to begin contributing financially to the Orchestra. Soon after, the connection between the two long-time Calgary Phil patrons was at the heart of one of the greatest comebacks in the organization's history.

In the early 2000s, Naomi had recently assumed a board position with the Calgary Philharmonic. "One day she came home," Dr. Lacey recounts, "and she told me that the orchestra was going bankrupt. She said to me, 'John, you won't allow that to happen, will you?' Well, that was not only a plea, but it was seeking something from me that I didn't know if I could do or not, but I said, 'Of course I won't.'"

Dr. Lacey founded the Friends of the CPO and Musical Heritage, a volunteer fundraising group of over a dozen individuals deeply dedicated to resurrecting the orchestra and seeing it through this financial crisis. Over the following 13 years, the Friends raised $25 million for the Calgary Philharmonic Foundation, securing the financial stability of the organization.

"It was total commitment, total determination. Nothing was halfway," shares a friend of Dr. Lacey's. "It's so important that

people realize that they can contribute just by sharing their time. When you volunteer, you take pride in your community."

Dr. Lacey's contributions also include founding and sponsoring the first ten years of the Philharmonic's annual Cork and Canvas fundraiser. "The first time we ran it," he shares, "my ticket sales team came to me and told me they'd only sold 50 tickets, and the event was to take place the following week. A group of only about six people got on the telephone and phoned everybody they knew in Calgary."

The inaugural event sold out, as did each following Cork and Canvas, which remains a primary fundraising event for the Orchestra. Dr. Lacey now serves as a board member of the Calgary Philharmonic Society and made a leadership gift to the Calgary Philharmonic Orchestra Foundation in recent years which will contribute annually — indefinitely — to the organization that he loves.

But, beyond the tally of monies raised and funding secured, Dr. Lacey's impact on the Calgary Philharmonic is in many ways immeasurable, as no ledger can fully account for the imaginations that have been sparked and the lives that have been touched in thanks to his efforts. And now, that considerable legacy is poised to being taken up by the next generation of his family, with his granddaughter becoming increasingly involved in serving the Orchestra through volunteerism and philanthropy.

"It wasn't me telling her to do so," he says. "She's doing this entirely on her own, so I'm thrilled because she will, I suspect, take on all the things that I've been doing and keep them going."

To learn more about the program, and for the full season's lineup of Naomi + John Lacey Virtuoso Artists, please see page 60.

7 September

7:30PM

Jack Singer Concert Hall

Tchaikovsky X Drake

Steve Hackman, conductor + creator

Jecorey Arthur, rap artist

Malia Civetz, vocals

Brayla Cook, vocals

Mario Jose, vocals

Braylon Lacy, bass

TaRon Lockett, drums

Calgary Philharmonic Orchestra

Pyotr Ilyich Tchaikovsky

Symphony No. 5 in E Minor, Op. 64, TH 29

Drake

Started From the Bottom

I. Andante – Allegro con anima Back to Back Headlines Over My Dead Body Over Worst Behavior

God's Plan

5AM in Toronto

II. Andante cantabile con alcuna licenza

Marvin's Room Energy All Me HYFR

III. Valse: Allegro moderato In My Feelings One Dance Take Care

IV. Finale: Andante maestoso – Allegro vivace Forever The Motto Nice For What

Concert includes a 20-minute intermission Program and artists subject to change without notice

A multi-hyphenate music powerhouse and creative visionary, Steve Hackman is a daring voice intent on redefining art music in the 21st century. Trained at the elite level classically but equally adept in popular styles, his breadth of musical fluency and technique is uncanny — he is at once a composer, conductor, producer, DJ, arranger, songwriter, singer, and pianist. He uses these polymathic abilities to create original music of incisive modernism yet rooted in elevated classicism. His groundbreaking orchestral fusions, such as Brahms X Radiohead and The Resurrection Mixtape (Mahler X Notorious BIG X Tupac Shakur), are introducing the symphony orchestra to its future audience — he has conducted these pieces to sellout houses across the country with the orchestras of Philadelphia, San Francisco, Dallas, Seattle, Pittsburgh, San Diego, Colorado, Phoenix, Nashville, Oregon, Indianapolis, Grand Rapids, Columbus, Charlotte, Southwest Florida, Alabama, Colorado Music Festival, and the Boston Pops. Steve has teamed up with some of the biggest pop superstars of today to add a signature virtuosic and classical dimension to their work, including Steve Lacy, Doja Cat, and Andrew Bird. He was trained at the Curtis Institute of Music and the University of Illinois at Urbana-Champaign and holds degrees in Orchestral Conducting and Piano Performance. He recently taught his first course at the Juilliard School entitled 'Fusion, Re-imagination and Revelation.'

JECOREY ARTHUR RAP ARTIST

Jecorey '1200' Arthur is an awardwinning teacher, musician, and activist from Louisville, Kentucky. He is currently a music professor at Simmons College of Kentucky, an artist roster member of the Inner-City Muslim Action Network (IMAN), and an endorsed artist with Salyers Percussion. He has performed at the Percussive Arts Society International Convention, Big Ears Festival, Forecastle Festival, and Jungfrau Erzählfestival. Jecorey also performed as a soloist with the Stereo Hideout Brooklyn Orchestra and the Pittsburgh, Baltimore, Indianapolis, Nashville, Columbus, and Oregon Symphony Orchestras. He was the first hip hop artist to perform with the Louisville Orchestra, including world premieres of folk opera The Way Forth and rap opera The Greatest: Muhammad Ali, where he starred as his hometown hero. He has composed music for theatre, film, television, radio, podcast, and studio albums. In 2021, Jecorey was inaugurated as the youngest city councilman in the history of Louisville.

MALIA CIVETZ

VOCALS

Malia Civetz has performed as a vocal soloist on countless occasions across the United States and around Europe in Steve Hackman's symphonic fusions. She began working with Steve Hackman in January 2015 performing in Beethoven X Coldplay and continues to lend her voice to that piece and a growing list of symphonic fusions including Stravinsky's Firebird RemixResponse, Tchaikovsky X Drake, Skull and Bones, Bartok X Bjork, and From Beethoven to Beyoncé. Malia, a recording artist and songwriter, signed a publishing deal with Warner Chappell Music after graduating from the University of Southern California. Post-college, she linked up with powerhouse songwriters Ross Golan and JKash, signing to their newly created joint label. She initially made waves with her independent single Champagne Clouds debuted by Ryan Seacrest on his KIIS FM morning show. The song quickly earned 20 million-plus streams and made Taylor Swift's 'Favorite Songs' playlists on both Apple Music and Spotify. She moved on to sign a record deal with Warner Records making her major label debut in 2020 with her first EP, The Flip, featuring hit radio single Broke Boy. Malia unveiled her second EP, Heels In Hand, featuring Partied Out and fan-favorite Sugar Daddy. Her work has amassed love from numerous publications and has landed spots in major film, tv, and commercial productions. Surpassing 165 million total streams as an artist and songwriter, Malia continues to also write for a variety of artists across numerous genres.

BRAYLA COOK VOCALS

Originally hailing from Dallas, Texas, Brayla is fast making her place in the industry with her rhythmic harmonies, infusing the genres of R&B, Gospel, and Hip-Hop to create a unique sound. Brayla is a graduate of Berklee College of Music where she received her BA in Songwriting in 2021. During that time, she ventured into many activities that jump started her career as a performer. She was a member of Berklee's renowned acapella group Pitch Slapped, leading their viral performance of Beyoncé's Deja Vu in 2018. Now at the age of 24, Brayla continues making her mark in the industry as a vocalist in the up and coming artist collective known as Treway & the Now Generation, opening for artists like Kenyon Dixon and Avery Wilson. Some of her most notable accomplishments to date include her feature on Donald Lawerence's latest project, Donald Lawrence Presents Power: A tribute to Twinkie Clark in 2023, and a live performance with Jon Batiste on The Late Show with Stephen Colbert, as well as additional vocals on Batiste's Worship. The key to her sound is the orchestration of background vocals that lay within the stories her lyrics tell. "I aim to be limitless in my music. Every time I release something I want to explore the depths of my ability to create something that knows no bounds. Any melody, any lyric… I mean anything is possible," explains Brayla. She has now dropped two EPs, books a slew of live shows and continues to build her online presence through her socials @brays.anatomy.

MARIO JOSE VOCALS

Mario Jose is a seasoned singersongwriter and trombonist from the San Francisco Bay Area. A Berklee College of Music alumnus, he has now resided in Los Angeles, California for over a decade. Mario has had the privilege to share the stage and studio with music icons including Prince, Pentatonix, Justin Bieber, Meghan Trainor, John Legend, Dua Lipa, Carrie Underwood, Michael McDonald, Philip Bailey, and many more. Mario's music has been featured on MTV's Movie & TV Awards, the iHeartRadio Music Awards, and his 2016 Debut EP Heart Of Gold premiered at #33 on the iTunes Pop Chart. Mario has been working as one of LA's top Session and Background Singers where you can hear his voice and see his face on The Simpsons, American Idol, The Voice, The Tonight Show with Jimmy Fallon, The Late-Late Show with James Corden, Disney Channel Animated Series The Ghost and Molly McGee, a Global McDonald's Commercial for Sing 2 and most recently, Mario was one of the Background Singers for Disney's mega-hit film Encanto and from that, joined the original cast as Mariano for the Encanto LIVE at The Hollywood Bowl which premiered on Disney+. Aside from his musical endeavors, Mario signed with one of New York's top Modeling Agencies as one of their premiere Plus Size Male Models and has been featured in worldwide campaigns with brands such as DXL, Psycho Bunny, and Vans!

BRAYLON LACY BASS

Dallas native Braylon Lacy is an upright and electric bassist whose playing is richly influenced by his family's musical and gospel roots as well as jazz inspirations. Braylon has toured the globe with an array of artists in all genres, including Wynton Marsalis, Prince, Erykah Badu, Chaka Khan, Roy Ayers, Israel Houghton, Kirk Whalum, Oleta Adams, N'Dambi, and the late Wayman Tisdale. He began playing in church and has been performing professionally for 15 years. His formal training began with Dean Hill and continued in his years at Booker T Washington High School, Dallas' arts magnet high school. He further studied music at Weatherford College and the University of North Texas. Braylon has been featured on numerous recordings including the Grammy award-winning Hero by Kirk Franklin and Erykah Badu's Mama's Gun Featured in Bass Player magazine, Braylon has several endorsements including Aguliar Amplification, DR Strings, and Fender guitars. He maintains a busy schedule of recording, teaching, and touring nationally and internationally.

DRUMS

Dallas native TaRon Lockett is a twotime Grammy-nominated drummer and producer who has worked with Snoop Dogg, Erykah Badu, Ceelo Green, Prince, Liv Warfield, Willie Nelson, Sheila E, and DJ DNice. He currently tours with Cory Henry and the Funk Apostles.

21 QUESTIONS WITH NIKOLETTE LABONTE

One of the newest members of the Orchestra, Principal Horn Nikolette LaBonte joined the Calgary Phil in November 2023. Originally from Florida, she came to Calgary by way of New York State where she served as Associate Principal Horn with the Rochester Philharmonic Orchestra. We thought we'd welcome Nikolette with a few get-to-know-you questions.

Favourite Composer?

Ooh impossible to pick just one. Favourite composer to play is probably Brahms!  Favourite composer to listen to might be Rimsky-Korsakov! And a recent favourite is living composer Camille Pépin!

Favourite Work of Art?

I got to see Georges Seurat's A Sunday on La Grande Jatte in person at the Chicago Art Institute and that was just amazing. It's such a different painting up close and you can only see the full picture when you back away from it!

Favourite Thing About Calgary/Alberta?

There are so many great things so far!  The people are great, the food is excellent, and the city is so fun — we just went to our first Stampede, and it was a blast! I'd have to say my absolute favourite thing is the proximity to the mountains though! I've been getting out there almost every week, even in the winter!

Favourite Thing About Florida?

The ocean! When I go home to visit, I always try to go diving, eat some cracked conch, and maybe try to see a sea turtle nesting on the beach!

Currently Reading? Into Thin Air by Jon Krakauer.

Currently Watching?

The British TV show Taskmaster. I hadn't seen it until recently and it's just hysterical!

Rom-Com or Thriller?

Tough call but I think I'll say thriller.

I went to a screening of The Silence of the Lambs last year with an appearance from Jodie Foster herself!

Pizza or Sushi?

Sushi but I do love pizza.

Late-to-Bed or Early-to-Rise?

I wish I was more early-to-rise but I have to be honest and say late-to-bed.

Email or Voicemail? Email.

Hot Coffee or Iced Tea?

Hot Coffee. I have a Chemex at home and am always searching for new coffee beans to try!

Rainforest or Desert?

Desert, only because I don't think I've been to a real rainforest yet.

Road Trip or Direct Flight?

Lately it's been road trip! I just finished one from Calgary to Colorado, hitting four national parks on the way!

Live Theatre or Film?

Film. I make it my mission to watch all the Best Picture Oscar nominees every year!

Fall or Spring?

Fall! I love those changing leaves and the light sweater weather! And you can usually get one or two more hikes in before the snow!

Bird Watching or Star Gazing?

Star gazing. I grew up near the Kennedy Space Center and remember a field trip where we got to sleep under a rocket!

Pets or Plants?

Pets! I've got two cats and have grown up with and loved dogs!

Sharing Stories or Listening to Stories?

Listening to stories. Especially so early in my life and career, it's always great to just sit around and listen to stories others have acquired over the years. I especially love the occasional concert horror story that helps put everything into perspective!

Scrabble or Chess?

Chess. I actually played a grandmaster once as a part of an event in my hometown. I lost in five moves...

Hiking or Scuba Diving?

This is a truly impossible choice! I love both equally! If I absolutely had to pick one, I guess it would be scuba diving. I've been certified since I was 12 and I try to take a trip with my dad every year to go. This year we are heading to Cozumel!

Board Games or Video Games?

I love all games, but I think I'll have to go with video games. I love playing board games with friends, but I have a PlayStation at home where I've been slowly working through Assassin's Creed on my own.

14 September

7:30PM

Jack Singer Concert Hall

Carmina Burana

Music Director Endowed Chair Supporters: Ted + Lola Rozsa

Chorus Supporter: Borak Forte Program

Rune Bergmann, conductor

Holly Flack, soprano

Daniel Taylor, countertenor

Phillip Addis, baritone

Calgary Boys' Choir

Calgary Children's Choir

Calgary Philharmonic Chorus

Calgary Philharmonic Orchestra

Carmina Burana

Carl Orff (1895–1982)

Born just before the onset of the 20th Century, Carl Orff grew up in a military family, counting two generals (his grandfathers) and an officer (his father) in the familial ranks. As such, they didn't react particularly well when he announced that he wanted to study music rather than attend gymnasium (the most advanced class of secondary school in Germany). Yet, Orff's home was also always full of music — he began playing piano at the age of five and later went on to study violin and cello. With the support of his mother, who persuaded Orff's father and grandfather that a musical education was worthwhile, he enrolled in the Munich Academy of Music in 1912, where he remained until 1914.

Orff studied with composer Anton Beer-Walbrunn, whom he respected, but overall, he found the institution to be conservative and old-fashioned. Nonetheless, while there he found inspiration in the works of French composer Claude Debussy, whose influence is apparent in Orff's first stage work, a music drama called Gisei: The Sacrifice that he wrote in 1913 but didn't premiere until 2010!

In 1915, he started studying piano with Hermann Zilcher. In letters home to his father, he described the experience as the most productive musical education he had ever received. He also was introduced to theatre, seeing plays by Strindberg and Frank Wedekind. The blossoming of Orff's arts education unfortunately coincided with the outbreak of the First World War. In 1917, Orff became a soldier and was injured when a trench caved in on him, giving him amnesia, aphasia, and paralysis of his left side.

When he returned from the war, he was more radical and less willing to accept the dictates of an older generation of authority figures whose actions had led to millions of dead young men. Some of his descriptions about the trauma of the war were preserved in letters he wrote to his father: "For him who has been out here once, it is better (especially in my profession) that he remains out here. When I hear music, I get palpitations and fever and it makes me sick; I can't think at all about when I might be able to hear a concert again, let alone make music myself."

This concert has no intermission Program and artists subject to change without notice

Carl Orff

Carmina Burana

65'

Orff survived and returned to Germany damaged but enthusiastic about reimmersing himself in the arts. In 1924, he discovered Brecht, whose unique storytelling had a profound impact upon Orff. That same year he launched a school for gymnastics, music, and dance. This institution was the first to teach the Orff Approach, a music education method that is still highly influential to this day.

Carmina Burana, which Orff composed in 1935 and 1936, is a cantata inspired by 24 Medieval poems that the composer discovered in 1934. The texts dated to the 11th or 12th century or possibly the 13th — but the subject matter of the secular songs and verse still relates to themes we still ponder today: the fickleness of money, the joy of spring, and the pleasures of drinking, gambling, gluttony, and lust. Orff, who believed in the concept of 'theatrum mundi', in which music, text, and movement are intertwined, conceived the Carmina Burana as a staged work.

It premiered in 1937 at Oper Frankfurt and was well-received. Its erotic content is reputed to have made the Nazis nervous, but they eventually accepted that Carmina Burana was a crowdpleaser. (Despite speculation about his relationship with National Socialism, he never joined the Nazi Party. He did however join the Reichsmusikkammer, which was required of all active musicians during the Nazi era).

The piece is structured into five sections containing 25 movements. The unique structure is said to be based on the idea of the turning Fortuna Wheel, suggesting the random nature of life, and the sudden reversals that people encounter throughout their lives.

Carmina Burana has gone on to be featured in dozens of films and television commercials. By the 1960s, it was wellestablished as part of the classic repertoire.

Program notes by Stephen Hunt © 2024 Rune Bergmann biography on page 11

HOLLY FLACK SOPRANO

A thrilling vocal presence and commanding musicality have highlighted American coloratura soprano Holly Flack as a versatile talent with a repertoire spanning centuries and styles. Praised as an "explosive talent," she "wields an impressive range, effortlessly reaching higher than high notes" with her stratospheric vocal extension. Holly's recent engagements include her European debut as Mollie in the world premiere of Alexander Raskatov's Animal Farm at the Dutch National Opera and Wiener Staatsoper, Elisa in Il re pastore, Euridice in L'Orfeo, Madeline in The Fall of the House of Usher for Orpheus|PDX (Portland), the title-role in Semele, Morgana in Alcina, Gilda in Rigoletto for St. Petersburg Opera, Carmina Burana with the Toledo Symphony Orchestra, and the Wife in Painted Skin with the AmericanChinese Music Institute of the Bard College Conservatory of Music. Upcoming engagements include Gepopo/Venus in Le Grand Macabre at Teatro Massimo, Palermo, Pauline/ Military Cop in the world-premiere of Miroslav Srnka's Voice Killer at Theater an der Wien, and Mollie in Animal Farm at Finnish National Opera and Teatro Massimo, Palermo. Originally from Portland, Oregon she holds a Bachelor's Degree in Vocal Performance from St. Olaf College and a Master's Degree in Vocal Performance from the University of Kentucky.

DANIEL TAYLOR COUNTERTENOR

Daniel Taylor is a Sony Classical recording artist, Artistic Director, and Conductor of the Trinity Choir as well as the Choir and Orchestra of the Theatre of Early Music. Daniel is one of the most soughtafter countertenors in the world. Recognition of his work can be seen in the Grammy, Gramophone, Juno, Opus, CBC-SRC, BBC, and Adisq Awards. Daniel is Professor of Opera, Voice and Early Music and Director of the Historical Performance Area at the Faculty of Music, University of Toronto. The first recipient of the National Medal for Music, he is a Senior Fellow at Massey College awarded the Queen's Jubilee Medal, Daniel was recently named as an Officer of the Order of Canada. He appears on more than 120 recordings on the world's leading labels. In January 2024, Daniel became the first musician in history to both sing and lead the orchestra and choir in a State Funeral — the event was a tribute to the life of the Honourable Ed Broadbent and to Social Democracy.

PHILLIP ADDIS BARITONE

Canadian baritone Phillip Addis is best known as the ideal Pelléas of his generation, a role he sang with opera companies and orchestras in Modena, Piacenza, Parma, Luxemburg, Dresden, Bochum, Hamburg, Paris, and London. He is as renowned for his Count Almaviva (Le Nozze di Figaro) whom he has portrayed in over a dozen different productions world-wide. Recent season highlights include Zurga (Les pêcheurs de perles) with Vancouver Opera, and he made role debuts as Don Alfonso (Così fan tutte) with Pacific Opera Victoria and as Sharpless (Madama Butterfly) with Opéra de Québec. Additional credits include the title roles in Eugene Onegin at Calgary Opera and Don Giovanni at Edmonton Opera, where he also appeared as Figaro (Il Barbiere di Siviglia), as well as Papageno (Die Zauberflöte) and Marcello (La Bohème) with Canadian Opera Company. He was the baritone soloist in Carmina Burana with Toronto Symphony Orchestra, in Beethoven's Ninth Symphony with Canada's National Arts Centre Orchestra, in Britten's War Requiem at Cincinnati May Festival and at the Britten LA/100 Festival, as well as the world premiere of Scott Good's The Sleepers with London Sinfonia. With a passion for the art song repertoire, Phillip has given recitals with his accompanist, Emily Hamper, at l'Opéra National de Paris, the Canadian Opera Company, Brisbane Music Festival, Orford Arts Centre, Vancouver International Song Institute, and Canadian Art Song Project.

CALGARY BOYS' CHOIR ENSEMBLE

Offering dynamic choral instruction designed specifically for boys, the Calgary Boys' Choir empowers its members to become remarkable, expressive, and creative citizens. Its choristers perform a diverse repertoire of contemporary and complex choral music while gaining the social, educational, physical, and psychological benefits of music education. Founded by Douglas Parnham in 1973, the Calgary Boys' Choir has been a vibrant part of the city's cultural landscape for over 50 years, fostering creativity and choral excellence across generations.

Kathryn Berko, Artistic Director of the Calgary Boys' Choir, completed both her Bachelor of Music in Education and her Bachelor of Education at the University of Calgary. As well as being the Artistic Director of the Calgary Boys' Choir, she is also Artistic Director of the Calgary Children's Choir. She is a classroom teacher as well as Director of the Junior Choir at St. John Choir Schola. A born and raised Calgarian, she continues to be active in the city's choral scene. While growing up she was involved with the Calgary Children's Choir, the Mount Royal Youth Choir, Ad Libitum Vocal Arts Ensemble, and the University of Calgary Chamber Singers. She has completed her Kodály Level 2 certification from the University of Alberta, and has her Grade Ten Piano from The Royal Conservatory of Music.

CALGARY CHILDREN'S CHOIR ENSEMBLE

Calgary Children's Choir, founded in 1987, has established itself as a cornerstone of youth choral music in Calgary. Dedicated to nurturing young voices, the choir offers an inclusive and supportive environment where children and teenagers can develop their musical talents. The program features multiple levels of choirs, from introductory groups like the Music Makers to advanced ensembles such as the Youth Choir, ensuring that each child receives appropriate musical education and opportunities for growth. The choir's curriculum includes weekly rehearsals, where participants engage in vocal training, music theory, and performance practice. Beyond regular rehearsals, the choir hosts workshops and camps that provide intensive training and foster camaraderie among members. A highlight of the program is the opportunity for international tours, where choristers gain invaluable performance experience and cultural exposure. The Calgary Children's Choir is known for its diverse repertoire, ranging from classical to contemporary works, and frequently collaborates with other musical groups. These collaborations enhance the choir's performances and offer members a chance to experience large-scale and professional musical productions. Under the direction of experienced and passionate conductors, the choir emphasizes the importance of musical excellence, personal growth, and community involvement. The Calgary Children's Choir continues to inspire young singers, enriching their lives through the transformative power of music.

DISCOVER World-Class Chamber Music

MONTHLY CONCERTS

OCTOBER '24 — MAY '25

ECKHARDT-GRAMATTÉ HALL ROZSA CENTRE featuring...

Jupiter String Quartet

Vox Luminis

Horszowski Trio

Pavel Haas Quartet

Ehnes Quartet

Rilian Trio

Akropolis Reed Quintet

Late Night with Leonard Bernstein

email : info@calgarypromusica.ca web : calgarypromusica.ca

Photo: Pavel Haas Quartet, by Petra Hajská

Back in the Saddle

ELECTRIFYING STAR OVERCOMES ADVERSITY TO LIVE THE DREAM OF PERFORMING WITH HER HOMETOWN ORCHESTRA

INTERVIEW BY ELIZABETH CHORNEY-BOOTH • PHOTOS BY MICK MARSEILLES

Audience members shouldn't be surprised if Kiesza, the internationally celebrated dancepop artist best known for her infectious and inescapable 2014 hit song Hideaway, sheds a tear or two when she takes the stage with the Calgary Philharmonic this fall. The multi-talented singer-songwriter will be preforming songs from her new EP Dancing and Crying Vol. One — so, tears would certainly fit the material's theme. Beyond that, this special performance represents a homecoming for the former Calgarian who has long dreamed of performing from the stage of the Jack Singer Concert Hall. After a decade marked by tremendous success and

heartbreaking challenges, the triumphant performance will likely elicit at least a few tears of joy, from both the artist and her fans in the audience.

"Playing with the Calgary Philharmonic Orchestra is amazing because it's bringing me back to my hometown for a dream experience," says Kiesza, whose full name is Kiesa Rae Ellestad. "I've always wanted to play with an orchestra, but it's even more special that it's in Calgary because I'm returning to my roots. There's a lot of hometown energy."

Kiesza's return to Calgary for such a high-profile collaboration is particularly momentous because it was only a few

years ago that the artist wasn't sure if she'd be able to ever perform again, let alone with the backing of a full professional orchestra. In 2017 her career was on a meteoric upswing after the success of Hideaway, her debut album Sound of a Woman, and a pair of wins at the 2015 Juno Awards. Her future as a globally renowned artist was blindingly bright, until a ride share vehicle she was a passenger in was involved in a significant accident in Toronto. Initially the artist thought she had emerged from the accident relatively unscathed, but within the next few days it became apparent she'd suffered a traumatic brain injury.

The complex injury was devastating, both mentally and physically. Symptoms, including balance issues, the inability to focus, nausea, and intense fatigue, continued to worsen for the next six months and it took her years to recover to the point that she could resume regular activities. Kiesza was barely able to move or think, let alone record or perform in front of an audience. Dancing — a reliable comfort she'd enjoyed for most of her life — was absolutely out of the question. It was an excruciating recovery for someone who had always turned to music and movement to soothe herself, given that all the things that had always made her feel like her singular self were suddenly a source of pain and discomfort. She did manage to record an album, her sophomore record Crave, in 2020, but was not able to fully process or express the trauma of her life-changing injury through the creation of those songs.

While Kiesza is proud of the work she did on Crave and believes that album's positive vibes were well-timed with the onset of the COVID-19 pandemic, she says the new Dancing and Crying EP is her first true artistic exploration of life postbrain injury. The EP's six songs bubble over with a combination of joy and pain — there is no shortage of danceable beats, but the music also takes Kiesza back to her days as a folky singer-songwriter and recalls her initial emergence in Calgary in the mid-2000s, playing local open mic shows. Experiencing a split-second accident that nearly cost her not only her career but also her life made room for much introspection and a desire to fully open herself up artistically. As an inherently upbeat person she couldn't help but inject a sense of fun through the music and the beats, but, lyrically, the content of Dancing and Crying is deeply personal and emotionally complex.

"I missed the side of myself that allowed for more poetic lyrics and being a storyteller. After Hideaway I was really leaning into the dance scene and trying to fit into that lane," she says. "I put the two together for Dancing and Crying. There are really no rules now — I'm in my own playground and I'm just having a good time making music that is fun to make. Since I didn't think I'd be able to dance again after the car crash, I came back with an explosion of dance music."

Those dual sides of Kiesza — the singersongwriter and the dance floor queen — are bolstered by a personal history that involved studying traditional dance forms

in her youth as well as classical music training at both Selkirk College in British Columbia and the Berklee College of Music in Boston. This formal education, which included studies in orchestration, make her a prime candidate for a collaboration with the Calgary Philharmonic Orchestra. Performing with an orchestra — any orchestra — has long been a dream for Kiesza (she jokes "Believe me, the only reason I don't work with an orchestra all the time is because I literally can't afford to hire one"). Getting to perform with her hometown orchestra came through a particularly serendipitous turn of events.

"The day before I got the invitation from the Philharmonic I was really intensely thinking about a vision of creating a dance symphony," she says. "I messaged my manager to say I really wanted to work with an orchestra to make a dance symphony version of Dancing and Crying one day. The next day we got a message from the Calgary Philharmonic asking if I wanted to collaborate. I don't know if I was just having some weird psychic premonitions or if it was just the biggest coincidence ever."

Since Kiesza and the orchestra were already on the same page as far as wanting to work together, coming up with a concept for the performance was easy. The performer and Calgary Philharmonic Assistant Concertmaster Donovan Seidle set to write out scores for all six songs on Dancing and Crying Vol. 1 as well as a smattering of other key jams including Hideaway. The delicious dance quality and beats signature of Kiesza's sound will remain, with majestic amplification from the orchestra's musicians. She's also employing the help of her former Selkirk College music instructor Gilles Parenteau, who will be performing alongside her with his famed 'virtual symphony' keyboard set-up. Going in, Kiesza can only envision what the performance will sound like through the aid of synthesized instrumentation, but she's confident the result will be goosebump-inducing once the analog instruments come in.

"With an orchestra you have some of the top musicians in the world who are constantly playing and now I have this opportunity to work with dozens of them," she says. "It's an honour. I'm truly honoured to be among such incredible players and to have an opportunity to play my own music with so many of them."

The prospect of coming home and being on stage at Jack Singer Concert Hall, where she saw so many concerts

in her youth, is also not lost on Kiesza. The Singer family are friends of her own family, so that in itself is a thrill, but she's also elated to realize this particular dream in the city where her career started. She still has family in Calgary she hopes can attend and knows that the hometown crowd will be excited to see her play such a significant show in a place where she still has deep roots even after spending the bulk of her adulthood in cities such as Toronto and Los Angeles.

"I just think back to my days of dreaming and not knowing if I'd ever make it as a professional musician," she says. "To think that I'm coming home and playing in the Jack Singer Concert Hall, which I went to my whole life for so many different performances, is really special. I've never performed on that stage. For me it's a teenage bucket list moment."

Ultimately, Kiesza is constantly redefining who she is as an artist, both by necessity after her car accident and by choice as she evolves as a human being. To listeners who may only know her as the artist behind the Hideaway video, the announcement she would be performing with the Calgary Philharmonic may have come as a surprise. But as she reveals her sensitivity, musicality, and unique point of view, it's clear this collaboration is a perfect match that will delight both the existing Kiesza fanbase and loyal Calgary Philharmonic audiences. Music is music, and this dance symphony proves that strings and horns are truly for everyone. With several more volumes of Dancing and Crying in the works, Kiesza hopes this collaboration is just the beginning of her work with the orchestra.

"Any kind of artist can play with an orchestra," she says. "We like to put up these walls and put ourselves in these boxes. For so many years people have separated themselves, but there's so much mixing of genres and fusion now. Bringing modern music to the symphony is such a great way to keep the door open to new generations."

Kiesza performs with the Calgary Phil on 5 October 2024 tickets at calgaryphil.com

20 + 21 September

7:30PM

Jack Singer Concert Hall

The Music of Pink Floyd

Concert Supporters: Réal + Dominique Doucet

Kyle Dickson, conductor Jean Meilleur, lead vocals Jeans 'n Classics, band Calgary Philharmonic Orchestra

Relive the music of one of the greatest rock groups of all time as your Calgary Phil — alongside musicians and vocalists from fan favourite Jeans 'n Classics — perform songs from their best-selling rock opera, The Wall, as well as their landmark concept album The Dark Side of the Moon in its entirety!

Performing songs from the list below:

Another Brick In The Wall Part 2 / Any Colour You Like / Brain Damage + Eclipse / Comfortably Numb / Goodbye Blue Sky / Hey You / In The Flesh / Money / Mother / Nobody Home / On The Run / Run Like Hell / Speak To Me + Breathe / The Great Gig In The Sky / Time + Breathe Reprise / Us And Them / Young Lust

Concert includes a 20-minute intermission Program and artists subject to change without notice

about the music

Inspired by the Blues

Although they're known as being one of the leading bands of the progressive rock era, Pink Floyd's name was inspired by legendary Blues singers. Co-founder Syd Barrett named the group after two of his favourite Blues artists — Pink Anderson and Floyd Council.

Breaking records

The band's eighth studio album, The Dark Side of the Moon, still holds the record as the fourth best-selling album of all time, behind Michael Jackson's Thriller, AC/DC's Back in Black, and The Bodyguard soundtrack.

Re-imagining live music

Pink Floyd not only revolutionized the psychedelic sound of the 60s and 70s, but also steered a change in the way audiences listen to music. In 1967, the band performed the world's first ever surround-sound concert in London. The quadraphonic speaker system was custom made for the band and served as a benchmark for live performances globally!

Another Brick in the Wall

In 2017, Pink Floyd's iconic album

The Wall was turned into an opera titled Another Brick in the Wall: The Opera. Co-founder and band member Roger Waters served as the opera's librettist.

The Dark Side of the Moon

Known as one of the most recognizable album covers of all time, the inspiration for the cover of the band's album The Dark Side of the Moon came from a 1963 physics textbook. "There were no arguments," said Roger Waters. "We all pointed to the prism and said 'That's the one'."

KYLE DICKSON CONDUCTOR

An inspiring and compelling presence on the podium, conductor Kyle Dickson was named the Assistant Conductor for the Memphis Symphony Orchestra and Music Director of the Memphis Youth Symphony Program in 2023. The recipient of the Concert Artists Guild's Richard S. Weinert Award and the Joel Revzen Conducting Fellowship, he recently completed the Salonen Conducting Fellowship with the San Francisco Symphony and the Colburn School under the guidance of Music Director Esa-Pekka Salonen. Kyle has appeared with the Symphony Orchestras of Detroit, San Francisco, and Pasadena, as well as the Chicago Philharmonic, and recently made his debuts with the Louisville Orchestra, Portland Symphony, and Marin Symphony. As cover conductor, Kyle has been engaged by the New York Philharmonic, Minnesota Orchestra, St. Louis Symphony, and San Diego Symphony. Passionate about music education and diversity in the arts, he has worked extensively with many youth ensembles. A violinist by training, Kyle began his career as an orchestral, solo, and chamber musician. His playing can be heard on albums by artists such as John Legend and Chance the Rapper. He earned his MM in Orchestral Conducting from Northwestern University under Victor Yampolsky and received degrees in Violin Performance from DePaul University and Michigan State University.

JEAN MEILLEUR VOCALS

Jean Meilleur has been a headliner with Jeans 'n Classics for over 20 years. In that time, he has performed with scores of major North American orchestras, lending his distinctive voice to some of the greatest popular music of our time. Originally from Madison, Wisconsin, Jean was born and remains a Green Bay Packer fanatic! He moved to Detroit at a young age. Living in the Motor City helped shape his penchant for the Motown, Soul, and R&B sounds of the early 70s. Jean is a prolific songwriter who has been performing professionally for over thirty years. His singing voice can best be described as passionate and provocative, with a robust timbre that is immediately recognizable. His voice stands as a true original. Jean's voice has been heard over the years on many national radio and television jingles and advertisements. He was recently chosen as the Canadian voice of Jim Beam Kentucky Straight Bourbon Whiskey.

JEANS 'N CLASSICS BAND

Peter Brennan's Jeans 'n Classics is a winner! For 23 years, the Jeans 'n Classics approach to combining world-class rock musicians and symphonies has been a game changer for orchestras to attract new and more expansive audiences. Jeans 'n Classics is a group of musicians who understand orchestra culture and are committed to helping build younger, loyal audiences for symphony orchestras across North America. Jeans 'n Classics appeals to an age group from, but not limited to, 25 to 65. While most definitely not a tribute act, Jeans 'n Classics faithfully interprets the music of legendary rock and pop albums and artists with their own special and signature flair. Symphonies far and wide have heralded the quality of their orchestral scores for providing lush, fully realized arrangements of rock and pop classics for rock band and symphony, and top-notch, easyto-work-with performers who truly know how to deliver a great rehearsal and live show experience with professionalism, humour, and finesse. Jeans 'n Classics works with over 100 orchestras in venues throughout North America and has created almost 1,000 original rock and pop orchestrations, presented across 45 unique and exciting productions.

© Orel

Cholette

22 September

Instrument Discovery Zoo: 2PM Concert: 3PM

Jack Singer Concert Hall

Babar the Elephant

Resident Conductor Endowed Chair Supporter: Mary Rozsa de Coquet

Juliane Gallant, conductor

Geneviève Paré, narrator

Calgary Philharmonic Orchestra

Follow the adventures of Babar, the little elephant who grows up in the big city and returns to the great forest to become King, narrated to Francis Poulenc's charming score performed by the Calgary Phil! Complemented by Montréal composer

Maxime Goulet's energetic Danse aérobique symphonique and Igor Stravinsky's witty Circus Polka, this bilingual concert is sure to delight kids of all ages!

Ethyl Smyth The Boatswain's Mate Overture 6'

Francis Poulenc The Story of Babar, the Little Elephant 22' (arr. Jean Françaix)

Maxime Goulet Danse aérobique symphonique 5'

Igor Stravinsky Circus Polka: Composed for a Young Elephant 4'

This concert has no intermission Program and artists subject to change without notice

Do you have a young music fan on your hands? Symphony Sundays for Kids concerts are about one hour long with no intermission and feature orchestral favourites every child should know.

Arrive early for the Instrument Discovery Zoo in the Jack Singer lobby, where they can visit different stations hosted by Orchestra musicians. Each station features an instrument or musical activity for children to try!

This fun, hands-on experience is the perfect way to indulge your child's curiosity and excitement about visiting the Orchestra.

The Instrument Discovery Zoo starts at 2PM and the performance starts at 3PM.

GENEVIÈVE PARÉ NARRATOR

Geneviève Paré is in the practice and profession of building, shaping, and performing live theatre and digital media. From puppetry to stunt wrestling to junk percussion and videography, Geneviève will jump at any opportunity to find new ways to tell stories. Geneviève is the Artistic Lead of Mudfoot Theatre, whose most recent production, Yabber: A Musical Junk Tale, uses found and reclaimed materials to tell a playful, all ages story through clown, gibberish, music, and puppetry. Recent credits also include A Christmas Carol (Theatre Calgary), Fraggle Rock: Back to the Rock (Jim Henson Company), Iniskim (Canadian Academy of Mask and Puppetry), and GIANT (Ghost River Theatre). Geneviève is a three-time Betty Mitchell Award winner, and a recipient of Theatre Calgary's Emerging Actor Award. She is beyond excited to be presenting L'Histoire de Babar en français and in English with the Calgary Philharmonic Orchestra. This will be her first time working with the Calgary Phil and another great adventure in storytelling.

Juliane Gallant biography on page 11

Kabob Digi $19.99

Chaplee Kabob $15.99

27 + 28 September

7:30PM

Jack Singer Concert Hall

Beethoven's Emperor

Guest Artist Supporter: Naomi + John Lacey Virtuoso Program

Ramón Tebar, conductor

Jonathan Biss, piano

Calgary Philharmonic Orchestra

Kati Agócs A Hero's Welcome 3'

Ludwig van Beethoven Piano Concerto No. 5 in E-flat Major, 38' Op. 73 (Emperor)

I. Allegro

II. Adagio un poco mosso

III. Rondo: Allegro

INTERMISSION 20'

Johannes Brahms Symphony No. 4 in E Minor, Op. 98 39'

I. Allegro non troppo

II. Andante moderato

III. Allegro giocoso

IV. Allegro energico e passionato

A Hero's Welcome

Kati Agócs (b. 1975)

A Hero's Welcome was commissioned by the Toronto Symphony and the Prince Edward Island Symphony in celebration of the 150th Anniversary of Canada's Confederation. The piece celebrates the returning war hero. More broadly, it commemorates all brave men and women of all ancestries and faiths who have fought for the ideals of our country since Confederation — both those who have seen a safe homecoming, and those who have not returned. Roughly two minutes in duration, A Hero's Welcome merges the nobility of a slow, dignified military march with the rich, tuneful strains of an imagined Orthodox hymn.

Program note by Kati Agócs

Piano Concerto No. 5 in E-flat Major, Op. 73 (Emperor)

Ludwig van Beethoven (1770–1827)

When Beethoven was writing his fifth piano concerto in 1809, Vienna was under siege from Napoleon's armies. In a note to his publisher, he wrote that there was "nothing but drums, cannons, men, misery of all sorts" around him.

It was during this period that his hearing was in dramatic decline. In a desperate bid to save his ears, he fled to his brother Kaspar's cellar, where he is said to have covered his head in pillows to preserve what was left of his hearing.

The piano concerto was composed in Vienna in 1809 and is dedicated to Archduke Rudolf, Beethoven's patron, friend, and student. The concerto, known for its heroic tone, reflects the milieu of Vienna at the time. It premiered in Leipzig in 1811, but Beethoven couldn't perform due to his hearing loss. Instead, Friedrich Schneider performed as the soloist.

No one is quite sure why Piano Concerto No. 5 became known as the 'Emperor Concerto.' The piece does not directly relate to any such ruler, and, interestingly, when Napoleon declared himself Emperor in 1804, Beethoven famously rescinded his dedication of the third symphony to him.

Program and

© Luis Luque

Symphony No. 4 in E Minor, Op. 98

Johannes Brahms (1833–1897)

Different symphonies represent different stages of an artist's life. They're like 18th and 19th century equivalents of Joni Mitchell albums. Which Joni are we getting tonight? Early 70s Laurel Canyon rock star Joni (Blue)? Late 70s/ early 80s jazz composer Joni (Mingus)? Or 2020s campfire rock legend Joni (Live at Newport)? Her music and sensibility evolve with time. Same with Brahms.

Symphony No. 4, his final one, premiered in 1885 and the debut was not in Vienna, but rather in Meiningen, Germany, which Brahms conducted himself. It was late in his career, and some have used the adjective 'tragic' to describe portions of Symphony No. 4. Beethoven's influence can be heard throughout, and the fourth movement is based on a theme by Bach. This results in a composition that fuses the three B-s — also including Brahms — the musicians who made up the leading voices in classical composition when Vienna was the epicentre of the musical universe.

Perhaps the best way to describe Symphony No. 4 is a line attributed to Edward Hanslick, who was the mostfeared and powerful music critic of the day in Vienna. Hanslick first heard Symphony No. 4 at a special preview performance: "For this whole movement I had the feeling that I was being given a beating by two incredibly intelligent people." Musicologist Donald Tovey found it more accessible, describing the symphony as "one of the greatest orchestral works since Beethoven."

Program notes by Stephen Hunt © 2024

RAMÓN TEBAR CONDUCTOR

Spanish Conductor Ramón Tebar is currently Principal Conductor and Artistic Director of Opera Naples and Artistic Director of Spain's Arantzazu Festival. He was previously Music Director of the Orquesta de Valencia, Artistic Director of the Florida Grand Opera, and Principal Guest Conductor of Valencia's Palau de les Arts Reina Sofia. In the 2024/2025 Season, he returns to the San Francisco Opera and the Hamburg State Opera with La Bohème, the Ópera de Tenerife with Madama Butterfly, the Florida Grand Opera with Carmen, and to the Cincinnati Opera with Tosca. In addition to his operatic career, Ramón is sought after as a guest conductor with symphonic orchestras around the world. He has conducted concerts with the Cincinnati Symphony, the Calgary Philharmonic, the Copenhagen Philharmonic, Aarhus Symphony, Norrlandsoperans Syfoniorkester, the Würth Philharmoniker, the Szczecin Philharmonic, and the Basque National Orchestra, among others. As a titled conductor, Ramón has led productions of La Traviata, Aida, Nabucco, Don Carlo (Palau de les Arts Reina Sofia); Madama Butterfly, La Bohème, Florencia en el Amazonas, Carmen, La Rondine and M.D. Levy's Mourning Becomes Electra (Florida Grand Opera); Aida, Turandot, Die Zauberflöte, Die Fledermaus, Don Pasquale, La Traviata, La Bohème, Cosí Fan Tutte, Maria de Buenos Aires, La Tragedie de Carmen, Haydn's L'isola disabitata, and Daniel Catáns La Hija de Rappaccini (Opera Naples).

JONATHAN BISS PIANO

Praised as "a superb pianist and also an eloquent and insightful music writer" (The Boston Globe) with "impeccable taste and a formidable technique" (The New Yorker), Jonathan Biss is a world-renowned educator and critically-acclaimed author, and has appeared internationally as a soloist with the Los Angeles and New York Philharmonics, the Boston, Chicago, and San Francisco Symphonies, and the Cleveland and Philadelphia Orchestras as well as the London Philharmonic, the Royal Concertgebouw, the Philharmonia, and Gewandhausorchester Leipzig, among many other ensembles. He is also Co-Artistic Director alongside Mitsuko Uchida at the Marlboro Music Festival, where he has spent fifteen summers. Jonathan continues his collaboration with Mitsuko Uchida featuring Schubert's music for piano 4-hands at Carnegie Hall and more. He will also appear with the Brentano Quartet at Chamber Music Detroit, Club the Royal Conservatory of Toronto, and more. European engagements include performances with the London Philharmonic Orchestra and Karina Canellakis and the BBC National Orchestra and Ryan Bancroft. Jonathan reunites with the Elias String Quartet at the Liverpool Philharmonic Hall, Cockermouth Music Society, and Wigmore Hall. He concludes his European season with the Orchestre de chambre de Paris and conductor Pekka Kuusisto and Timo Andres's The Blind Banister, part of his ongoing Beethoven/5 commissioning project.

© Benjamin Ealovega

5 October

7:30PM

Jack Singer Concert Hall

Kiesza + Orchestra

Resident Conductor Endowed Chair Supporter: Mary Rozsa de Coquet

Juliane Gallant, conductor Kiesza, vocals

Calgary Philharmonic Orchestra

Get your groove on with Canadian dance-pop star Kiesza in this special appearance with your Calgary Phil! Alongside the Orchestra, she'll enthrall you with songs from her latest project Dancing and Crying Vol. 1, as well as other mesmerizing tracks including Phantom on the Dancefloor and her impassioned 2014 breakout hit Hideaway. Don't miss this chance to dance the night away!

Program to be announced from stage

Concert includes a 20-minute intermission Program and artists subject to change without notice

KIESZA VOCALS

Kiesza stormed onto the scene in 2014 with her impassioned hit Hideaway, which has since accrued over a billion streams — the accompanying one-shot video has been featured on several best-of-decade lists. Her debut studio album Sound Of A Woman saw her top charts globally and moved over a million units. Top-tier musicians soon rushed to work with her, and the rising Canadian talent soon counted herself as a feature on releases from the likes of Skrillex, Diplo, and Duran Duran, to name a few. The Canadian multi-hyphenate also has a foot in the fashion world, serving as the face of campaigns for top brands like Fendi and Maison Birks. After a life-changing car crash put her on a two-year hiatus, Kiesza returned as an independent artist, releasing music through her own label Zebra Spirit Tribe. The new decade marks a promising new beginning for one of the last decade's biggest breakouts — and this time, she's doing it her way. Her 2020 sophomore album Crave was released to much critical acclaim and her most recent collabs include deadmau5, Tommy Trash, Imanbek, Lindsey Stirling, and Lucas & Steve. 2024 marks the 10 year anniversary of Hideaway and the release of a new project entitled Dancing and Crying Vol. 1. "Dancing and Crying is an Opus. A series of contrasting musical ideas, woven together by a foundation of house beats and basslines, bridges the gap between my folk origins and the dance music that marked my place on the global map," states Kiesza.

Juliane Gallant biography on page 11

Photos © Mick Marseilles

Leonard Bernstein is making a comeback. Not that he ever really went away — his work as a composer and conductor especially have remained present in the public consciousness since his death in 1990. But since the release of 2023's biopic Maestro, interest in Bernstein's life and work is on the rise once again.

The Calgary Philharmonic will tap into this interest with the upcoming concert Bernstein's Serenade with Karen Gomyo. Alongside Bruckner's Symphony No. 8, the October concert features Bernstein's Serenade (after Plato's "Symposium"), a 1954 composition based on Plato's exploration of (and praise for) the idea of love.

Though perhaps traditionally not as visible as other pieces in the violin repertoire, Serenade, much like Bernstein himself, is also enjoying something of a resurgence. During the year of centennial celebrations in 2018 that marked the anniversary of the composer's birth, the piece was performed 276 times by 139 orchestras in five continents, and in 2019, it became the first of Bernstein's works to be performed in Antarctica.

"It's an exciting piece and one that offers a lot for audiences to look forward to," says renowned violinist Karen Gomyo, the concerto's soloist for the Calgary Phil performance this fall.

"It's essentially based on a Greek party — imagine seven intoxicated philosophers debating the nature of love!"

BERNSTEIN'S SERENADE

LILLEY

Each of the piece's five movements — named after the philosophers Aristophanes, Socrates, and Agathon, among others, and inspired by their respective speeches in Plato's Symposium — has something different to say about love. Because of this, the Serenade's musical themes are as wide-ranging as the views of the speakers they represent.

"It's at once groovy, flamboyant, dreamy, dramatic, passionate, capricious, intimate, [and] tender," Gomyo explains.

From the player's perspective, working through each of these moods and motifs is "a blast," and an opportunity for Gomyo to act as an interpreter of Bernstein's iconic work. While Bernstein himself is incredibly well-loved, and his works are recognizable to a wide range of audiences, for Gomyo this mission of interpretation remains a consistent one, no matter the work in question, the composer who wrote it, or how well-known the piece might be.

A FRESH LOOK AT

WITH KAREN GOMYO

INTERVIEW BY CHARLOTTE

• PHOTO BY GABRIELLE REVERE

"We keep giving it our all in both preparation and performance, trying to ever-deepen our understanding of the composer's intentions and to try to make new discoveries within a score no matter how many times we think we've looked at it!"

In the case of the Serenade, this work of interpretation involves a bit of reading between the lines. The piece isn't programmatic — its music doesn't tell one specific story — and as Gomyo notes, there is evidence to suggest that some of the piece's musical material actually predates Bernstein's decision to create a work inspired by the Symposium in the first place. However, there is still an underlying sense of a narrative throughout the piece, with each movement's philosopher picking up where the previous one left off, and other nods to their characters built into the music.

"There are moments, for example, at the start of the second movement, where a colleague told me, 'these are Aristophanes' hiccups'!" says Gomyo. "And you could totally imagine this to be true because he is known as a clown among these speakers, and if any of these men were to be assigned a musical 'tease' it would be him!"

Of the Serenade's speakers, Agathon (and by extension, the piece's fourth movement) is Gomyo's favourite, "simply because it's so beautiful!" The movement sees the strings' simple underlying melody joined by a theme in the solo violin, and as Gomyo describes, "you can just imagine and feel Agathon's praise of Eros, the god of love, as a creature of beauty and grace, gentle and generous in spirit, as one who inspires art because art is born out of love."

Despite these nods to the philosophers, much of the piece remains open to interpretation, providing a space where Gomyo says "both player and audience can have fun with [their] imaginations."

For Gomyo this imagination includes prioritizing the idea of love, an idea which is central not only to the Serenade, but also to Bernstein's broader collection of work, and to his career as a whole. "I take liberty in finding my own interpretation within the character of each movement," she explains, "maybe making up my own stories based on the dialogues and personalities of the speakers I imagine the music to be expressing, but with always

keeping in mind Bernstein's larger wish and message of love."

In returning to the idea of Bernstein's enduring impact on the musical landscape, Gomyo credits his personal magnetism and the timelessness of his works with some of that success. However, she also turns to his work in music education (his televised Young People's Concerts introduced countless people to the works of great composers) and his efforts towards increased diversity and inclusivity within the world of classical music — an area which Gomyo notes "seems only recently to have finally garnered global awareness and motivate[d] change" — as key facets of his continuing legacy.

time and time again in capturing an audience's attention. Gomyo describes it as "accessible, yet tasteful and sophisticated," combining elements of classical music, jazz, and musical theatre in a way that "just works."

"It's fresh in a way that still feels relevant today, and it's modern but not in a hyperintellectual or avant-garde way. Yet he takes us through the whole spectrum of emotions, and I believe this is what ultimately speaks to us."

As Gomyo prepares to perform Bernstein's Serenade in Calgary, she is excited for the audience to engage with this lesserknown piece of the composer's work, hoping that listeners — including those who might be hearing the piece for the first time — will "enjoy the many emotions and [the] imagination this piece will take them through."

"There is such a special energy in this music which I hope will be a fun experience for the audience."

" IT ' S AN EXCITING PIECE AND ONE THAT OFFERS A LOT FOR AUDIENCES TO LOOK FORWARD TO "

The performance also presents an exciting opportunity for Gomyo to build on her longstanding relationship with the Calgary Philharmonic. This season, she returns as a Naomi + John Lacey Virtuoso Program artist, and in 2022 she performed Samy Moussa's award-winning Violin Concerto alongside the orchestra and conductor Karen Kamensek. Her performance of the Serenade will mark her first time working with Music Director Rune Bergmann. As the concert approaches, Gomyo is anticipating the opportunity to work with a group of collaborators both old and new on this nuanced, engaging piece:

And, of course, his music itself remains at the centre of that legacy. For many — Gomyo included — it sparks memories or holds personal significance: "I was absolutely obsessed with his West Side Story when I first arrived in [New York]," Gomyo explains. "I was eleven and had just moved from Montréal with my mother. It was my introduction to the cultural melting pot that is New York, and the music of West Side Story was like the embodiment of the exuberance and diversity which is so unique to [the city]."

That same exuberance and diversity also exemplify Bernstein's broader musical style, which has proven successful

"I'm really excited about seeing and playing together with the orchestra musicians again, some of whom have become friends, and to experience what Maestro Bergmann will bring out from the fabulous group of musicians on this occasion!"

Karen Gomyo performs Bernstein's Serenade with the Calgary Phil on 18 + 19 October 2024 tickets at calgaryphil.com

11 + 12 October

Friday: 7:30PM

Saturday: 1PM

Jack Singer Concert Hall

Disney and Pixar's Coco in Concert

Philharmonic Orchestra

Despite his family's baffling generations-old ban on music, Miguel dreams of becoming an accomplished musician like his idol, Ernesto de la Cruz. Following a mysterious chain of events, he finds himself in the Land of the Dead, where he sets off on an extraordinary journey to unlock the real story behind his family history. Gather your family for a screening of the beloved Pixar film with Grammy® and Academy Award®–winning composer Michael Giacchino's magical score performed live by your Calgary Phil.

Canadian conductor Karl Hirzer can't remember a time when he didn't want to be a musician. He was 'composing' at the family's upright piano at age four and taking piano lessons at six. At 12 he started playing guitar in heavy metal bands. He earned his ARCT at 17. Today he can be found on podiums internationally, having led orchestras from Vancouver to Halifax, from the Gstaad Festival to educational programs in Warsaw. He is the 2022 recipient of the Heinz Unger Award, presented biennially by the Ontario Arts Council to Canada's most promising emerging conductor, and in 2023 completed a seven-year tenure as Associate Conductor with the Calgary Philharmonic. Karl studied piano performance at the University of Victoria and got his master's at McGill University in Montreal. Karl is especially committed to exploring music by living composers and believes that modern music defines what the classical idiom is today. He's also heavily invested in bringing music to young audiences, helping them discover a sound world that's completely captivating. His contributions to the arts, community and education were recognized with his inclusion in Avenue's Top 40 under 40 list for 2022. He also composes his own music — his first album of original material, Relaxer Distractor, was released in late 2023.

Karl Hirzer, conductor Calgary

Disney and Pixar's Coco in Concert

126'

KARL HIRZER CONDUCTOR

Disney/Pixar

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Save big with our Group + Corporate Sales discounts — up to 15% when you book for 10 to 34 people and 20% for groups of 35+ individuals. For some extra sizzle, ask us about booking a pre-or-post concert reception.

Call 403.571.0849 for a customized package.

18 + 19 October

7:30PM

Jack Singer Concert Hall

Bernstein's Serenade with Karen Gomyo

Music Director Endowed Chair Supporters: Ted + Lola Rozsa

Guest Artist Supporter: Naomi + John Lacey Virtuoso Program

Rune Bergmann, conductor

Karen Gomyo, violin

Calgary Philharmonic Orchestra

Leonard Bernstein Serenade (after Plato's "Symposium")

I. Phaedrus – Pausanias: Lento – Allegro

II. Aristophanes: Allegretto

III. Eryximachus: Presto

IV. Agathon: Adagio

V. Socrates – Alcibiades: Molto tenuto – Allegro molto

INTERMISSION

Symphony No. 8 in C Minor

I. Allegro moderato

II. Scherzo: Allegro moderato

III. Adagio: Feierlich langsam, doch nicht schleppend

IV. Finale: Feierlich nicht schnell

Serenade (after Plato's "Symposium")

Leonard Bernstein (1918–1990)

Composed in 1954, Serenade was intended as a violin showcase for Isaac Stern (the man who saved Carnegie Hall from the wreckers' ball just a few years later). It was inspired by Bernstein's re-reading of Plato's Symposium, a dialogue that asks about the nature and purpose of love, as well as Bernstein's internal conflict regarding his sexual orientation — he was married but carried on multiple affairs with men.

At the time he wrote it, Bernstein was an American musical superstar at the top of his game. Having scored the musical Wonderful Town in 1953, he followed up with such iconic Broadway productions as Candide (1956) and West Side Story (1957), as well as the Oscar-winning film On the Waterfront (1954). Additionally, in 1958, he became the musical director of the New York Philharmonic.

Serenade has been described as Bernstein's violin 'masterpiece,' but Isaac Stern described it as unusually challenging because Bernstein was used to composing for piano. "Lenny would send me parts of The Serenade," Stern wrote in his autobiography. "I had a slight problem with him, because at times he composed in key signatures that were completely correct musically but difficult for string players, who tend to think enharmonically in fingering quick passages."

Symphony No. 8 in C Minor

Anton

Bruckner (1824–1896)

Anton Bruckner's last completed symphony, Symphony No. 8, was a troubled child that had challenges finding a musical home. The first draft, written between 1884 and 1887, was rejected by his collaborator Hermann Levi, who conducted the premiere of Bruckner's Symphony No. 7. While he found the themes of Symphony No. 8 "magnificent," he also found it impossible to perform.

Bruckner, who constantly revised his music, rewrote it and turned to Levi's protégé Felix Weingartner to conduct but he pulled out as well, confessing that he found it too difficult. Finally, in 1892, it landed in the epicentre of European music, Vienna, where Hans Richter conducted for the Vienna Philharmonic — Program and artists subject to change without notice

Anton Bruckner

© Irène

Zandel

not a bad third choice. Bruckner had always received mixed reviews, and Eduard Hanslick, Vienna's leading critic, walked out on it. Others were kinder: Hugo Wolf wrote to a friend that the symphony was "the work of a giant" that "surpasses the other symphonies of the master in intellectual scope, awesomeness, and greatness." Even the more withering reviews, however, probably weren't as hard on Bruckner as he was on himself. He was very self-critical and constantly reworked his compositions — so much so that sometimes it caused critics to doubt him as well.

KAREN GOMYO VIOLIN

Karen Gomyo possesses a rare ability to captivate and connect intimately with audiences through her deeply emotional and heartfelt performances. With a flawless command of the instrument and an elegance of expression, she is one of today's leading violinists. Karen's most recent performance highlights include debuts with the Gewandhausorchester Leipzig, Orquesta Nacional de España, Rome's Accademia Nazionale di Santa Cecilia, Chicago Symphony Orchestra, New York Philharmonic and Pittsburgh Symphony, and returns to the Mozarteumorchester Salzburg, BBC Philharmonic Orchestra, and Tokyo Metropolitan Symphony Orchestra. Karen is committed to contemporary music. In February 2024, she returned to the Dallas Symphony Orchestra for the world premiere of Year 2020, a concerto for trumpet, violin and orchestra by Xi Wang. A champion of the music of Astor Piazzolla, in 2021 Karen released A Piazzolla Triology on BIS Records. It follows Karen's first project with BIS, a collection of duo works by Paganini and his baroque predecessors recorded with guitarist Ismo Eskelinen, released in 2019. Born in Tokyo, Karen began her musical career in Montreal and New York. She studied under the legendary Dorothy DeLay at The Juilliard School before continuing her studies at the Indiana University Jacobs School of Music and New England Conservatory.

Program notes by Stephen Hunt © 2024 Rune Bergmann biography on page 11

25 + 26 October

7:30PM

Jack Singer Concert Hall

Sci-Fi Spectacular: Interstellar, Star

Wars + Beyond

Resident Conductor Endowed Chair Supporter: Mary Rozsa de Coquet

Chorus Supporter: Borak Forte Program

Juliane Gallant, conductor

Calgary Philharmonic Chorus

Calgary Philharmonic Orchestra

Resident Conductor Juliane Gallant is your guide to musical galaxies far, far away as she conducts the Orchestra and the Calgary Philharmonic Chorus in this concert of sweeping orchestral scores from your favourite sci-fi films! Prepare to be transported by the iconic music from John Williams's space epic Star Wars, as well as gripping soundtrack moments from Interstellar, Avatar, and more!

Richard Strauss Intro to Also sprach Zarathustra

Various Star Trek Through the Years

(arr. Calvin Custer)

Nami Melumad Home is Where the Helm is

Laura Karpman Higher. Further. Faster. Together.

Max Richter On the Nature of Daylight

James Horner

Hans Zimmer

John Williams

from Avatar

Program and artists subject to change without notice

about the music

Star Wars

Between 1976 and 2019, John Williams composed the scores for all nine films in the Star Wars franchise, totalling up to 18 hours of music. His work on the franchise earned him six Grammys and an Academy Award.

Avatar

James Horner, the composer behind the first installment of the Avatar franchise, had an interesting challenge when creating the music for the film — he needed to invent his own instruments that sounded original to the world of Pandora. Horner ended up creating most of the sounds digitally, then played them through keyboards, percussion, and wind instruments.

Interstellar

Composer Hans Zimmer and film director Christopher Nolan have worked together extensively throughout their careers. When Nolan began writing Interstellar, he knew he wanted Zimmer to compose the music. He provided him with just two sentences of dialogue from the film and asked him to spend a day composing music. In one night, Zimmer wrote a four-minute piano and organ piece that can be heard at the conclusion of the film. Fun fact: a portion of the filming took place in Alberta towns including Nanton, Fort Macleod, and Okotoks!

The Marvels

Laura Karpman composed the score for The Marvels after previously creating scores for MCU series' What If...? and Ms. Marvel. She described the film's theme Higher. Further. Faster. Together. as "a chosen family theme" that combines elements from characters Danvers, Rambeau, and Kamala. At the end of the theme, you'll hear the choir chanting "higher, further, faster, together" in Latin.

Theresa Lane's parents had a rule for the ravenous young readers in her family when it came to trips to the library — she and her siblings were allowed to take out only as many books as there were years in each of their ages. So, for example, at the age of eight she had an eight-book limit.

"Otherwise, there would be too many books," laughs Lane, who joined the second violin section of the Calgary Philharmonic Orchestra in 2012. "We went to the library all the time, and we would have stacks of books that all of us would bring home."

Growing up here, the Calgary Public Library (CPL) played a sizeable role in Theresa's formative years. She recalls visiting branches in the northwest corner of the city — Crowfoot and Nose Hill in particular — and discovering such treasures as Asterix & Obelix, a Franco-Belgian comic series about a village of indomitable Gauls who routinely made life miserable for their Roman occupiers. Later, as teens, Lane and her sister volunteered for 'Reading Buddies,' a program which saw them paired with younger readers who needed a little extra help in sounding out their words.

It's no surprise, then, that Lane was among the Calgary Phil musicians who readily put themselves forward when the CPL

sought out participants to take part in their Musical Storytime initiative. Launched just as the pandemic was taking hold, the recurring event paired Orchestra members with librarians, with the former providing musical accompaniment to children's stories being read aloud by the latter. Initially sessions were held on Zoom, but once restrictions eased up, the affair began to take place beneath the sweeping archway leading to the entrance to the Central Library.

"It's really fun in person because they're right there," says Lane. "You can show them the violin, you can talk to them. My nephew came to the last one that we did, and my sister-in-law took a video. I was playing very fast music, because there is a dog in the story running down the street, and [my nephew] is getting very excited and moving to the music. It's very special to be able to do it in person. It's really lovely."

Engaging with younger listeners seems to come naturally to Lane. Prior to the Musical Storytime, she racked up experience taking part in the interactive Instrument Discovery Zoos that take place in the lobby of Jack Singer Concert Hall before Symphony Sundays for Kids concerts, and she has been involved in Calgary Phil's Education programs in Calgary schools. She's taken training in providing outreach

through the National Music Centre, and, in turn, filmed a video for the CPL to train future musical storytellers.

Bringing the Calgary Phil out of the concert hall and into the community, she says, is a more than worthwhile endeavour.

"I think it works really well, especially for this age group because, for the little kids, it's hard for them to come to concerts," she says. "We do have the Symphony Sundays for Kids series, but those do tend to be slightly older children. It's nice to have something that you can bring kids to and you don't have to worry about them making a sound or having to get up. It's a nice way to bring music to people who otherwise probably wouldn't come to the concerts."

THERESA LANE Second Violin

PATRON PROGRAMS

CALGARY PHILHARMONIC ORCHESTRA

Calgary Phil's 2024/2025 concert season marks the return of our Wolfgang, Amadeus, and Mozart Patron Programs! By joining, your membership donation provides critical support for the Calgary Phil's annual operations. Receive a tax receipt for the majority of your donation while developing a deeper connection to the Calgary Phil and its musicians through exclusive benefits and one-of-a-kind experiences.

To learn more about how you can support your Calgary Phil by becoming a member of Wolfgang, Amadeus or Mozart, please visit calgaryphil.com/patron-programs

WOLFGANG

Ticket(s) to three pre-selected concerts with post-concert receptions per year

Listing on calgaryphil.com

Listing in Prelude magazine (Duet only)

Access to the Founders' Room

Access to Subscriber Rewards

15% discount on select merchandise

Tax receipt: Solo $50 Duet $100

AMADEUS

Invitation(s) to four Music to My Ears events per year

Family invitation to Naomi Lacey Family Christmas Party

Listing on calgaryphil.com

Listing in Prelude magazine

Access to the Founders' Room

Access to Subscriber Rewards

15% discount on select merchandise

Tax receipt: Solo $1,000 Duet $2,000

$5,000

Invitation(s) to two Exclusive Guest Artist Recitals per year

Invitation(s) to four Music to My Ears events per year

Family invitation to Naomi Lacey Family Christmas Party

Listing on calgaryphil.com

Listing in Prelude magazine

Access to the Founders' Room

Access to Subscriber Rewards

15% discount on select merchandise

Tax receipt: Solo $2,000 Duet $4,000

1 November

7:30PM

Jack Singer Concert Hall

Ravel's Piano Concerto

Jeffrey Kahane, conductor + piano Calgary Philharmonic Orchestra

Maurice Ravel Piano Concerto in G Major

I. Allegramente

II. Adagio assai

III. Presto

Anna Clyne Within Her Arms

Robert Schumann Symphony No. 1 in B-flat Major, Op. 38

I. Andante un poco maestoso –Allegro molto vivace

II. Larghetto

III. Scherzo: Molto vivace

IV. Allegro animato e grazioso

Piano Concerto in G Major

Maurice Ravel (1875–1937)

As an early 20th century French composer, Maurice Ravel thought differently about music than earlier generations of composers, namely because of a then emerging technology — audio recordings. He began playing piano at the age of seven and was accepted to study at the Paris Conservatoire, but he never quite attained prodigy status. Though he didn't win any prizes for his piano skills, usually the calling card one needed to make a go of a career as a performer, Ravel preferred composition. For Concerto in G Major, he was inspired by Black jazz and blues musicians he had seen while touring in the U.S. in 1928, and by his family's Basque roots. Concerto in G Major was composed between 1929 and 1931 and had its premiere in Paris in 1932 at the Salle Pleyel. Ravel conducted the Lamoureux Orchestra with pianist Marguerite Long as the soloist. He aimed for his concerto to be entertaining. "The music of a concerto should, in my opinion, be lighthearted and brilliant, and not aim at profundity or at dramatic effects," he said. Ravel is still remembered fondly by Blake Edwards' fans as the composer of Bolero, famously employed in the 1979 comedy, 10

Within Her Arms

Anna Clyne (b. 1980)

Within Her Arms is music for my mother, Colleen Clyne, with all my love.

Earth will keep you tight within her arms dear one— So that tomorrow you will be transformed into flowers—

This flower smiling quietly in this morning field—

This morning you will weep no more dear one— For we have gone through too deep a night.

This morning, yes, this morning, I kneel down on the green grass— And I notice your presence.

Flowers, that speak to me in silence. The message of love and understanding has indeed come.

– Thich Nhat Hanh

From Message in Call Me By My True Names, 1999, with permission of Parallax Press

Symphony No. 1 in B-flat Major, Op. 38

Robert Schumann (1810–1856)

Robert Schumann was a contradictory individual. Both a composer and a music critic, he also studied law and wasn't quite sure which career to focus on. He became a signature composer of the Romantic Era despite hailing from Germany, a country not particularly associated with romance in any era.

Schumann wrote his first symphony quickly. He was known for writing for piano and voice, but his wife Clara kept urging him to try something bigger and more ambitious, writing in her diary that "it would be best if he composed for orchestra. His imagination cannot find sufficient scope on the piano... His compositions are all orchestral in feeling... My highest wish is that he should compose for orchestra — that is his field! May I succeed in bringing him to it!"

In 1841, Schumann sketched out the movements of Symphony No. 1 in four days and wrote it between 23 January and 20 February! Around six weeks later, Symphony No. 1 — or the Spring Symphony, as it was known — premiered with Felix Mendelssohn conducting the Leipzig Gewandhaus Orchestra. The symphony was well-received. Looks like Clara knew what she was talking about.

Program notes by Stephen Hunt © 2024

JEFFREY KAHANE CONDUCTOR + PIANO

Celebrated for his "imagination, devotion and supreme musicianship" (Los Angeles Times), Jeffrey Kahane is now in the fifth decade of an expansive and eclectic musical career. As a pianist, conductor, and scholar, his career highlights run the gamut from concertos with the New York Philharmonic and San Francisco Symphony, to recitals with Yo-Yo Ma and Joshua Bell, and European tours at the podium of the Los Angeles Chamber Orchestra, along with countless lectures and artistic collaborations. He is currently Music Director of both the San Antonio Philharmonic and the Sarasota Music Festival. During the 2024/2025 season, Jeffrey conducts the San Antonio Philharmonic in more than a dozen performances. He also performs as a piano soloist in programs including an engagement at Northwestern University, where he is featured in a program with his son, composer Gabriel Kahane. During his 20 seasons as Music Director of the Los Angeles Chamber Orchestra, he led the orchestra on tours of the United States and Europe. He was instrumental in the creation of several new series. In addition to the dozens of works commissioned or premiered by the orchestras where he has served as music director, he has premiered piano concertos written for him by composers Kevin Puts and Andrew Norman. He has also given multiple performances of Heirloom, a new concerto written for him by Gabriel Kahane, as a way of tracing the connections between music and three generations of family history.

Proud supporters of the Calgary Philharmonic Orchestra as they continue to enhance our communities through the arts.

© E.F. Marton Productions

RUN CALGARY

GOING THE DISTANCE IN CONNECTING COMMUNITY

Run Calgary is a local non-profit organization with a mission to enrich lives and foster community through exceptional fitness experiences, which includes the Calgary Marathon. We believe that running can be a lifelong journey and aim to be a part of this journey for everyone from first-time runners to elite athletes.

WHAT WE DO

With a storied history that got its start back in 1963 at the very first Calgary Marathon (the longest running marathon in Canada!), we've learned how to embrace original ideas, challenge ourselves, and use our passion and collective knowledge to enhance participant experience. We hope this passion transcends our annual events and serves our participants, volunteers, sponsors, charities, and stakeholders throughout the city.

The running community spans far and wide here in Calgary, but there is always room for more! We connect people, charities and local partners through year-round collaboration, and vitalize our community by promoting healthy, active living and fun social engagement. Whether it be in-person races, virtual races, ale trails, curated pop-up events or interactions with the community, we stay true to our core values. These values include: community, integrity, innovation, social responsibility, safety, and achievement.

Calgary's first marathon, 1963

COMMUNITY PILLARS

We continue to foster community on a daily basis through three communitybased pillars: youth, corporate, and charity.

Youth are an important part of Run Calgary's ecosystem and integral in achieving our vision of growing lifelong runners. With a combination of reduced youth pricing, kids race distances, and contests for youth groups/teams/schools, we are making progress towards reducing barriers to entry for youth and families.

Corporate engagement is another way for us to connect with companies throughout Alberta, while contributing to the improvement of employee health and wellness.

The Corporate Team Challenge that occurs as part of the Calgary Marathon supports company wellness initiatives, inspires employees to get active, and encourages teamwork. Corporate teams are also encouraged to fundraise for a charity that is meaningful to them, which ties into our final pillar of community, charity.

All Run Calgary races throughout the year are tied to a local charity. From local LGBTQ+ organizations, to youth programming, support for seniors, or animal welfare, we aim to support a variety of community groups throughout Calgary and beyond. The Calgary Marathon itself supports over 100 charities annually through the Charity Challenge and has raised over 10 million dollars since its inception.

While many of our programs and initiatives are large-scale projects with long-term goals, we know it is also incredibly important to work with small businesses in our community. We believe there is truly space for everyone in this industry. Whether it's local independent running stores, run crews, coaches, local publishers or artists, there are always opportunities to collaborate.

RUNNING MEETS THE ARTS

Run Calgary is passionate about supporting the arts community in Calgary. This past year we have sponsored the publishing of a running book that features local authors, worked with musicians and performers to line the marathon course, and collaborated with the Calgary Philharmonic Orchestra to reimagine Beat Beethoven, an elevated running experience.

This year, Run Calgary is excited to further enhance and deepen our connections with the arts community here in Calgary. The intersection between running and the arts reveals a captivating blend of physicality, creativity, and introspection. At its core, both running and the arts require discipline, dedication, and a deep connection to oneself and the environment. Artists and runners alike often find inspiration in movement, whether it's the rhythmic pounding of feet on pavement, the strokes of a paintbrush on canvas, or the vibrations of a string instrument.

For many runners, music becomes a vital companion, setting cadence and mood during training sessions and races alike. The beats of a favourite playlist synchronize with each stride, transforming the repetitive motion into a dance of sorts, where every step becomes a note in a personal symphony of exertion and determination.

For many artists, running serves as a form of active meditation, a way to clear the mind and ignite creativity. The solitude and repetitive motion of running can unlock new ideas, allowing thoughts to flow freely and sparking unexpected connections. This mental clarity can be invaluable to artists seeking inspiration or grappling with creative blocks.

Conversely, the arts contribute to running culture by celebrating the beauty and challenge of human movement. Photographers capture the grace and determination of runners mid-stride, while writers craft narratives that explore the physical and emotional journey of longdistance races.

As we head into our fall and spring races, participants and spectators can expect a variety of art mediums thoughtfully integrated into the race experience. From reflective paintings and dance, to poetry and music, we are eager to explore the intersection of running and the arts as a way of inspiring and uniting individuals across diverse disciplines and passions.

Learn more about Run Calgary at runyyc.ca

In each issue of Prelude, we turn the spotlight on one of Calgary Phil's community partners by inviting them to share their story with our audiences. For the past seven years, we've collaborated with our friends at Run Calgary for Beat Beethoven, an annual race with an orchestral twist that has raised over $53,000 for our PhilKids program.

Beat Beethoven, 2018

9 November

7:30PM

Jack Singer Concert Hall

Pop Bangers: Harry Styles, Billie Eilish + More!

Monica Chen, conductor Jeans 'n Classics, band Calgary Philharmonic Orchestra

Everyone loves a good pop song! Revel in the smash hits that have defined the last two decades of pop music — from early noughties favourites including Coldplay's Clocks and Outkast's Hey Ya!, to soul-baring chart-toppers by Adele, Sia, and Billie Eilish, to the funk stylings of Bruno Mars and Harry Styles' dreamy synth-mix — all performed with heart and soul by Jeans 'n Classics and your Calgary Phil!

Performing songs from the list below:

As It Was / Chandelier / Clocks / Crazy / Dance The Night / Hey Ya! / In Another Life / Locked Out of Heaven / Lost On You / Love's Train / No Time to Die / Nothing Breaks Like a Heart / Rolling in the Deep / Skyfall / Tennessee Whiskey / Thinking Out Loud / Woman in Total Control of Herself

Concert includes a 20-minute intermission Program and artists subject to change without notice

about the music

No Time to Die

Billie Eilish and her brother Finneas used to write songs they thought would work great as Bond themes just for fun. Years later, a Bond producer approached them to submit a song for the upcoming film No Time to Die. After a few days of composing (and stumbling on writer's block) they recorded a demo and sent it off. The song was chosen as the theme for the film, and the final version was recorded with a 70-musician orchestra. It went on to win the Academy Award for Best Original Song in 2021.

Thinking Out Loud

Ed Sheeran and longtime co-writer Amy Wadge wrote Thinking Out Loud on a whim at 2AM and completed it in 20 minutes. It became the first single to spend a full year in the UK top 40.

Hey Ya!

Released in 2003, Hey Ya! became the first song on iTunes to reach one million downloads, and was ranked number 10 in Rolling Stone's list of the 500 Greatest Songs of All Time.

Rolling in the Deep

Arguably one of the most popular songs released in the 21st century, Rolling in the Deep came together quicker than you might expect. The day after she broke up with her boyfriend, Adele met up with producer Paul Epworth and wrote the anthem in three hours. It became her first numberone hit on the Billboard Hot 100, and propelled her to global superstardom.

As It Was

Harry Styles' As It Was was the best-selling global single of 2022, and became the longest-running US number one by a UK act.

MONICA CHEN CONDUCTOR

An emerging Canadian conductor, Monica Chen is the RBC Assistant Conductor of the Winnipeg Symphony Orchestra as well as Music Director of the University of Manitoba Symphony Orchestra and Sistema Winnipeg program, working closely with Maestros Daniel Raiskin and Julian Pellicano. She was selected to be a conducting fellow in the inaugural year of Orchestre Métropolitain's Conducting Academy and has been working with Yannick Nézet-Séguin since 2021. She is also a conducting fellow with Tapestry Opera's Year 3 Cohort, working with orchestras and opera companies across the country. Recent and upcoming conducting engagements include working with Victoria Symphony, Calgary Philharmonic, Kamloops Symphony, Royal Winnipeg Ballet, Manitoba Opera, Opera Kelowna, and the Orchestre Métropolitain. She has had the honour to work with acclaimed conductors such as maestros Neil Varon, Thomas Rösner, and the late Bramwell Tovey. Monica completed two Masters, one in Orchestral Conducting from UBC studying with Dr. Jonathan Girard and the other in violin performance from Indiana University studying with Mimi Zweig.

Monica Chen appears with the Calgary Phil as a member of Tapestry Opera's Women in Musical Leadership, a program designed to collectively develop the next generation of female and non-binary conductors and music directors in Canada.

RIQUE FRANKS VOCALS

Best known for her four duets with Dan Hill (In Your Eyes, Hold Me Now, Sometimes When We Touch and Can't We Try), Rique Franks has sung, toured, recorded and/or written with many Canadian and international recording artists, including Roger Hodgson (Supertramp), Alannah Myles, Alexander O'Neal, Martin Fry (ABC), Alan Frew/Glass Tiger, Bruce Guthro, Glen Lewis, Eddie Schwartz (writer for Pat Benatar), Lisa Dalbello, Ronnie Greenfield (formerly Spector, The Ronettes), Lorraine Segato (Parachute Club), Alfie Zappacosta, Stephan Moccio, Marc Jordan, among others. This core artist and featured soloist with Jeans 'n Classics is also a busy session singer and voice actor in Toronto. Rique has lent her voice to many original projects, and has sung and/ or read thousands of memorable commercials for countless products. Unlike most singers, Rique started late, after being discovered in her mid twenties by Marvin Dolgay and Doug Paulson. She joined the union (ACTRA) and sang her for her first jingle the very next day. That jingle (for Thrifty's Jeans) won an award and work suddenly snowballed. Rique still considers many of the people she first worked with in those early days (Lisa Dalbello, Neil Donell, David Blamires, Johnny Rutledge, and others) as major influences. Rique recently ended a 20-year run as the on-air speaking voice of Showcase Television/Showcase Diva, saying, among other things, "Viewer discretion is advised"...a lot.

KATHRYN ROSE VOCALS

Kathryn Rose is a busy artist and music industry multitasker, known for her artful brand of cinematic pop over the course of five solo albums. She's also a top voice in demand, working in voiceover, jingles, TV and film scores. She also performs live and on the albums of many other artists: Barenaked Ladies, Sarah McLachlan (world tour), Kinnie Starr, Kevin Breit, Emilie-Claire Barlow, Melanie Doane, Patti Labelle, Sir Tom Jones, Anne Murray, Martin Fry (ABC), and Ian Thomas, and many more. In addition to being a long time core artist with symphonic rock touring company Jeans 'n Classics, Kathryn's organizational skill set is put to good use as Office Manager, Administrator and Tour Coordinator for the company. As a typically hardworking single mom, Kathryn spends a great deal of time making school lunches or thinking about making school lunches, looking and laughing at her two gorgeous growing kids, and feverishly digging to find more hours in the day to make her long-awaited sixth solo album.

JOHNNY RUTLEDGE VOCALS

Before becoming a pre-eminent studio session singer in constant demand, Johnny performed in numerous bands in clubs and venues across Canada. Once he began singing radio and television commercials, he quickly became a recognized voice in households everywhere. A recording artist in his own right, Johnny has also recorded and performed with greats such as Kenny Loggins, Celine Dion, Diana Ross, The Temptations, Peter Cetera, Gordon Lightfoot, Mavis Staples, and Anne Murray, to name a few. Johnny moved to Chicago in 1989, where his gifts and talents as a singer continued to be in high demand. There he co-partnered in establishing a music composition/production company, writing and recording music for major brands and clients. Drawing upon his Canadian roots and his love of hockey, Johnny also took on the challenge of becoming his son Jared's goaltending coach. Studying under top NHL goaltending coaches at camps in the U.S. and Canada, he coached Jared all the way to a spot on the gold medal winning U.S. National Development Team. Johnny has since become a well known and sought after goaltending coach in the Midwest. Johnny embraces his multifaceted lifestyle with passion and commitment. Juggling between his two loves keeps him happy, healthy, and ready to sing.

GAVIN HOPE VOCALS

Gavin Hope is a three-time Juno Award-nominee, as both a solo vocalist and as a longtime Baritone member of the iconic Canadian a cappella group The Nylons. He recorded six studio albums with The Nylons, as well as two successful solo albums Anything Like Mine which nationally charted in the Top 100 and Top 40, and most recently, the beautifully minimalist jazz album, For All We Know, called one of the top Canadian Jazz albums of 2013 by the Toronto Star. Gavin's love of the stage also includes musical theatre. Major hit production highlights include being an original Canadian cast member of Broadway's The Lion King, and RENT in Toronto. In addition to countless commercials and TV appearances, Gavin has also toured the globe as a solo vocalist, sharing appearances with the likes of Natalie Cole, Deborah Cox, James Brown, Aretha Franklin, and many more notable names. Gavin has been a headlining featured vocalist with Jeans 'n Classics for more than a decade. With Jeans 'n Classics, Gavin has been performing Symphony Pops concerts in the US and Canada, bringing the music of Earth, Wind and Fire, Michael Jackson, Prince, Stevie Wonder, Motown, Woodstock, Soul, Apollo, Rock and Pop, and more to the symphonic stage. Gavin is thrilled to call Jeans 'n Classics his music family and to be a core artist in many of the incredible and dynamic shows they offer.

Jeans 'n Classics biography on page 29

Looking forward to seeing the Calgary Phil tonight!

15 + 16 November

7:30PM

Jack Singer Concert Hall

Nicolas Namoradze plays Rachmaninoff

Nicholas Namoradze, piano Calgary Philharmonic Orchestra

Kelly-Marie Murphy Dark Nights, Bright Stars, Vast Universe 10'

Sergei Rachmaninoff Piano Concerto No. 2 in C Minor, Op. 18

I. Moderato

II. Adagio sostenuto III. Allegro scherzando

INTERMISSION

Nikolai Rimsky-Korsakov Scheherazade, Op. 35

I. The Sea and Sindbad's Ship (Largo e maestoso – Allegro non troppo)

II. The Tale of Prince Kalendar ( Lento - Allegro molto)

III. The Young Prince and the Princess (Andantino quasi allegretto)

IV. The Festival at Bagdad. The Sea. The Ship Goes to Pieces on a Rock (Allegro molto)

Dark Nights, Bright Stars, Vast Universe Kelly-Marie Murphy (b. 1964)

Richard Strauss wrote his tone poem Don Juan in 1888/1889, based on a play by Nikolaus Lenau about the legendary Spanish womanizer. In considering how to respond to this iconic tone poem, I decided to look at what else was happening in the world while Strauss was composing.

One significant event for me was Vincent Van Gogh painting Starry Night in 1889. Another was the discovery of the Horsehead Nebula by Williamina Fleming in 1888. Mrs. Fleming was one of the 'Harvard Computers,' a group of women who were taught to analyze stellar spectra and catalog stars for astronomers at the Harvard College Observatory. Her extraordinary life became the subject of my tone poem.

Bright Stars, Dark Nights, Vast Universe has a few main themes throughout: questioning, searching and curiosity, perseverance and determination, and the beauty of the starry sky. The piece begins with a questioning theme in the harp, answered by solo winds. As the questioning and searching intensifies, it leads to the driving themes of perseverance and determination. This is fast and relentless and at times turbulent. Doubt creeps in for a moment with trumpet and oboe solos. Gradually, confidence and strength are regained and a calm focus is revealed with a brass chorale. The main theme of perseverance returns, eventually leading to success and discovery. Throughout the piece, we are aware of the stars: shining, calling, guiding. This tone poem was composed between May and August of 2023. It was Commissioned by Canada's National Arts Centre Orchestra, Alexander Shelley, Music Director.

Program note by Kelly-Marie Murphy

Piano Concerto No. 2 in C Minor, Op. 18

Sergei Rachmaninoff (1873–1943)

Piano Concerto No. 2 was a comeback for the young Rachmaninoff, whose previous work, First Symphony, was an unexpected, devastating flop. That failure led to a psychological breakdown for a musical prodigy so gifted as a student that he was expected to excel instantly. Instead, by all accounts, Rachmaninoff overthought it and produced an underwhelming Program and artists subject to change without notice

debut work that accelerated his already prodigious drinking. In 1899, he was supposed to perform Piano Concerto No. 2 in London, but he hadn't written it yet, so they let him simply conduct instead – his first time doing so. As that went well, we can perhaps conjecture that the experience helped Rachmaninoff's win back his self-confidence. He was invited back to London to perform his first piano concerto, but he insisted he would have Piano Concerto No. 2 ready by the time of the performance. Back in Russia, he met with Tolstoy to try to cure his writer's block, but that didn't work. His relatives connected him with a neurologist, which seemed to have helped. In the summer and fall of 1900, he worked on the second and third movements after getting stuck on the first. He premiered part of the concert in December 1900, then finished the first movement in 1901. It was a hit and established his reputation as a concerto composer.

Scheherazade, Op. 35

Nikolai Rimsky-Korsakov (1844–1908)

Scheherazade came into existence in 1887 while Rimsky-Korsakov was working another piece, the uncompleted Borodin opera, Prince Igor. It was then that he got what he thought was a better idea: a symphonic suite inspired by One Thousand and One Arabian Nights. Rimsky-Korsakov was a composer with one foot in the music world of St. Petersburg, where he was part of The Five, a group of young composers — Mily Balakirev, Cesar Cui, Modest Mussorgsky, Alexander Borodin and Rimsky-Korsakov —  who believed in creating a distinctly Russian sound that wasn't necessarily a version of what was going on in Vienna or Paris, Berlin or Milan. Their musical roots were more in the provinces than in the courts of St. Petersburg, where Tchaikovsky reigned supreme. But the other foot was planted in the military, where Rimksy-Korsakov served as an officer in the navy and then as an Inspector of Naval Bands. Legend has it that he wrote his first symphony on a three-year tour of the world as a naval officer. His love of the sea is said to have influenced the style and sound of Scheherazade, where he blended Russian folk songs and exotic rhythms and melodies to create one of his most popular and enduring compositions.

Program notes by Stephen Hunt © 2024

SARAH IOANNIDES CONDUCTOR

As a music director and guest conductor who is committed to collaboration, innovation, and education, Sarah Ioannides invigorates programming and inspires audiences. Praised by The New York Times for her "unquestionable strength and authority," she is Music Director of Washington State's Symphony Tacoma. While centred in the USA, her conducting career has taken her to six continents. She previously served as music director of the El Paso Symphony Orchestra in Texas and the Spartanburg Philharmonic in South Carolina. Sarah was the first woman to hold a full-time position as a conductor with the Cincinnati Symphony Orchestra. In addition to her Symphony Tacoma seasons, her North American schedule features appearances with the Florida Orchestra, Santa Fe Pro Musica, and San Antonio Symphony. The programming ranges wide — from Mozart, Beethoven, Schubert, Berlioz, Brahms, Dvořák, Rachmaninov, Prokofiev, Bartók and Korngold to re-emerging composers like Louise Farrenc, Florence Price, Samuel Coleridge-Taylor and Joseph Boulogne, and contemporary works by Aaron J Kernis, Valerie Coleman, Bernard Roumain, Nick DiBerardino and Jesse Montgomery. She also makes significant contributions to the field of education with Cascade Conducting & Composing as founding director and as a board member of the U.S. Government's NEA (National Endowment for the Arts).

NICHOLAS

Pianist and composer Nicolas Namoradze is one of the most critically acclaimed musicians of his generation. He came to international attention in 2018 upon winning the triennial Honens International Piano Competition in Calgary — one of the largest prizes in classical music. A BBC Music Magazine Rising Star, Gramophone One to Watch, and Musical America New Artist, he was bestowed the Pianist of the Year award by the UK Critics' Circle in 2022. Recent album releases have received extraordinary accolades, including the Choc de Classica, Record of the Month in Limelight, Instrumental Disc of the Month in BBC Music Magazine, Editor's Choice in Gramophone, Editor's Choice in Presto Classical, and Critics' Choice in International Piano. After completing his undergraduate in Budapest, Vienna, and Florence, Nicolas moved to New York for his master's at The Juilliard School and his doctorate at the CUNY Graduate Center. His teachers and mentors have included Emanuel Ax, Yoheved Kaplinsky, Zoltán Kocsis, Matti Raekallio, András Schiff, Eliso Virsaladze, and John Corigliano.

Nicolas also holds a postgraduate degree in neuropsychology from King's College London, where his research interests included new perspectives on musical pedagogy and performance. He is the author of the book Ligeti's Macroharmonies, and his compositions are published by Muse Press. He currently teaches piano and chamber music on the faculty of the CUNY Graduate Center and The Juilliard School.

NAMORADZE PIANO

Photos © Nathan Elson

© Thomas Concordia

EDUCATORS TAP INTO MUSICAL MAGIC THROUGH CALGARY PHIL ' S SCHOOL VISITS PROGRAM

BY ZOLTAN VARADI

Enhanced cognitive development. Increased academic success. Improved motor skills. Greater working memory. These are just a few of the proven, tangible benefits of music education for children.

Jennifer Hart, principal of the Emily Follensbee School in southwest Calgary, has another item she'd like to add to the list — one that affects educators and young learners in equal measure.

"For me, it's the joy," says Hart. "It's joyful for staff and students to see [kids] make connections to artists and to music. Those moments are just really special."

The Emily Follensbee School serves K–9 students with complex needs. Most are non-verbal and in wheelchairs. According to Hart, many students also have multiple diagnosis in the severe range — seizure disorders, respiratory issues, and so on. From both a therapeutic and an educational perspective, music plays an invaluable role in the lives of the children at the school.

"I think music transcends," says Hart. "Our students have significant deficits, and most can't express themselves in traditional ways. So, seeing them connect to music and how they're learning through that... it just provides quality learning experiences and helps our kids make connections in other ways that they can't."

Helping foster those connections is music teacher Breton Bonner. She explains that not only do the children have access to a music therapist through JB Music Therapy, but that music education at Emily Follensbee has expanded beyond her classroom through the introduction of a new schoolwide program called Learning Through Music.

"I'm teaching music all around the school," says Bonner. "It's been so, so interesting to see how much content we can embed through music and the way students are able to engage through rhythm and melody. It's been great to see."

This past year, Hart and Bonner took their commitment to music education one step further when they signed up for Calgary Phil's School Visits. Educators for grades K–12 have a choice of several educational experiences provided by Orchestra members and offered through the Phil's education programs. In January, Emily Follensbee School hosted one such performance: The Curmudgeon + the Lark, featuring Principal Flute Sara Hahn-Scinocco and Assistant Principal Bassoon Michael Hope. Then, in May, Cellist David Morrissey paid a solo visit.

"Just watching the students through the performance was fascinating," says Bonner of Morrissey's turn in the spotlight. "He performed a couple of songs back-toback, and he prepped the kids by talking about 'this is going to be an upbeat song.' One of our kids cried from laughter from that song! Then, the next one was going to be a little bit lower, maybe a little bit sad sounding… To see how much our students understood that — they really, really enjoyed it and really got it."

Decades after American poet Henry Wadsworth Longfellow famously declared that "music is the universal language," George Bernard Shaw qualified that "it is spoken through all sorts of accents." The connections made by Calgary Phil musicians through visits to a variety of schools serving children from diverse backgrounds seems to bear this out.

The Marlborough School in northeast Calgary provides one such instance. While it doesn't serve a specific population like Emily Follensbee School, because of its geographic location it has developed a distinct profile.

"The Newcomer Centre is right across the road from us," explains Marlborough School music teacher Lindsay Tingley. "We have a lot of new Canadians, refugees, asylum seekers… If they go through the Newcomer Centre and they live in the area, then [the kids] are sent to Marlborough. So, we have a lot of new Canadians for whom English is an additional language. The families are incredible, and they're so grateful for anything you can do for their kids. The kids try so hard, and we try our best to give them experiences that they wouldn't necessarily have."

For Tingley, that included applying for — and receiving — a grant that enabled her to bring the entire school to a Calgary Phil performance at Jack Singer Concert Hall in 2023.

"A lot of the kids had never been downtown before," says Tingley. "So even just the excitement of going downtown was huge. By the end [of the concert] they're all just loving it. Some kids got a little bit weepy because it's a huge feeling, you know — the first time you see live music, it doesn't even really compute in your brain. And then you think, 'we're all experiencing this together and all these people on stage are like giving us this gift.' So, a few of them got a little bit emotional, which was beautiful."

The field trip went over so well that it prompted Tingley to investigate other avenues through which she could connect her students to musical performance. This led her to the Calgary Phil's School Visits program. First up was The Men in Black duo of bassoonists Michael Hope and Antoine St-Onge, followed by another David Morrissey solo outing.

"They were so incredible," says Tingley of The Men in Black. "One of the interesting things that I enjoyed is they took Twinkle, Twinkle Little Star — which all the kids know and they sang along — and then they played it as if it were composed by Beethoven, as if it were composed by Vivaldi, as if it were composed by Chopin, as if it was composed by whomever...."

"[When] David came out and played for us and he had tons and tons of information to share with the kids," she recalls of Morrissey's visit. "He invited the grade five students to play his cello, which blew their minds because, outside of a ukulele, these kids had never played a string instrument before. It's so cool to see them experience something that there's no way they would have experienced outside of our gym."

Jennifer Hart echoes Tingley's sentiment about providing opportunities for children they otherwise might miss, which is why Emily Follensbee School has signed up for another session with the Calgary Phil this fall.

"We just knew that we wanted to bring them back a second time this year because of the connections that the kids made," she says. "To watch our kids be just so engrossed and engaged… it's very magical."

That enchanted feeling, it should be noted, is reciprocated by the musicians who take part in the program.

"One of the coolest parts of playing at Emily Follensbee was the hush that came over the students every time we started to play," says Sara Hahn-Scinocco. "Music seemed to really grab their attention and maybe soothe them. We even had one of the student aids show us a picture after we were done performing of one of the students with a HUGE smile on his face while we were playing Twinkle, Twinkle, Little Star. Knowing that we can bring joy to students is super rewarding and reminds me of just why I wanted to make music my career in the first place."

Learn more at calgaryphil.com/education

Education Concerts

Calgary Phil's Education Concerts entertain, inspire, and spark the imaginations of more than 20,000 students and educators annually. Each season features three lighthearted one-hour concerts at Jack Singer Concert Hall during school hours. Calgary Phil Resident Conductor Juliane Gallant wields the baton for all of this season's performances: Babar the Elephant, Link Up: The Orchestra Sings, and A Paintbrush for Piccolo. She took a moment to share what she enjoys most about them.

What are you looking forward to most with this season's Education Concerts? Each Education Concert has something special to offer, but I'm especially looking forward to the first of the season, Babar the Elephant. As a French-speaker, I am so proud that these performances will be bilingual, and that we will be welcoming students from francophone and anglophone school districts. Additionally, I performed the original piano version of this work by Francis Poulenc in my final Master's recital over a decade ago, so it's been wonderful to rediscover the piece with a new set of musical colours!

What is the most challenging thing about conducting these performances?

I get to collaborate with wonderful storytellers during these performances, and I wish I could watch them do their thing, instead of having my back turned to them!

What do you find most rewarding about them?

I'll always think of the little girls in the audience when I'm conducting Education Concerts. By regularly seeing a woman on the podium, I am hoping they will grow up to believe they can aspire to leadership positions too!

YOUR CALGARY PHIL IS THRILLED TO WELCOME THESE GUEST ARTISTS TO PERFORM WITH THE ORCHESTRA IN THE 2024/2025 SEASON THANKS TO THE GENEROUS SUPPORT OF THE NAOMI + JOHN LACEY VIRTUOSO PROGRAM

To support the Naomi + John Lacey Virtuoso Program, visit calgaryphil.com/Virtuoso

JONATHAN BISS returning Virtuoso Program artist

MIRIAM KHALIL

JENEBA KANNEH-MASON

DIANA COHEN returning Virtuoso Program artist

MORGAN JAMES

KAREN GOMYO returning Virtuoso Program artist

JOIN OUR COMMUNITY OF VISIONARY SUPPORTERS

The Calgary Philharmonic Foundation is the largest annual supporter of your Calgary Phil, exceeding all levels of government support, and ensures the permanence of the Orchestra and that future generations have access to the power of orchestral music.

This program has been bringing world-class artists to perform with your Calgary Phil since 2008, enhancing musical presentations for both audiences and musicians. Many Virtuoso artists also perform at donor recitals or teach masterclasses to aspiring young musicians in our communities.

Founded by Ellen and Allen Borak, this program helps elevate the art of choral music by supporting and nurturing the development of the Calgary Philharmonic Chorus. This program provides more than 100 volunteer singers with the opportunity to grow in their performance of choral music and promotes the enjoyment of choral singing in our communities.

Irene and Walt DeBoni created this program to support the commissioning of new Canadian works necessary for the continued development and vitality of orchestral music. Thanks to this program, the Orchestra premieres enticing and trailblazing new works each season.

The MacLachlan/Ridge Emerging Artist Program helps provide outstanding young Canadian musicians with opportunities to advance their careers by performing with the Orchestra to develop Canada's next generation of artists.

This philanthropic program was created in memory of Joyce and Dick Matthews, who were dedicated and generous supporters of your Calgary Phil for more than 50 years, providing the opportunity to recognize someone special.

Founded by Judith Kilbourne, PhilKids is an after-school program for students aged 5 to 11, bringing music to the hands and hearts of children who otherwise would not have access to such artistic development, fueling the empowerment of children through the exploration of music.

Support one of these programs that make a difference, or donate to our Greatest Needs fund at calgaryphil.com/support

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The Calgary Philharmonic expresses its deep gratitude to the passionate and dedicated supporters whose significant lifetime giving to the Calgary Philharmonic Society and Calgary Philharmonic Foundation helps us achieve our vision.

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Meludia SAS

Janice + James Morton

John + Jean Partridge

Anne Marie Peterson Legacy Fund

Rogers Charity Classic

Rabinovitz Family Fund

RBC Foundation

Seagram Company Ltd.

Clarice Siebens

Margaret Southern

Carla + Klaus Springer

Josie + Trent Stangl

Mary Ann Steen

Dori Wood + James Doleman

Shirley Zielsdorf

Three Anonymous Donors

Endowed

Chairs

Ted + Lola Rozsa Endowed Chair

Music Director: Rune Bergmann

Mary Rozsa de Coquet Endowed Chair

Resident Conductor: Juliane Gallant

Ellen + Allen Borak Endowed Chair

Chorus Director: Mark Bartel

John + Ethelene Gareau Endowed Chair  Concertmaster: Diana Cohen

Peter + Jeanne Lougheed Endowed Chair  Associate Concertmaster: John Lowry

Hotchkiss Endowed Chair

First Violin Section Member

H.D. Klebanoff Endowed Chair

First Violin Section Member: Olga Kotova

Gerard Rostoker in Memory of Pamela Bacchus Endowed Chair

First Violin Section Member: Maria van der Sloot

Esther Violet Hall (née Young) Endowed Chair

Principal Second Violin: Lorna Tsai

Debbie Lynne Hall (daughter of Esther Violet Hall) Endowed Chair

Assistant Principal Second Violin: Stephanie Soltice-Johnson

Dennis Sharp + Hélène Côté-Sharp Endowed Chair

Second Violin Section Member: Craig Hutchenreuther

Dalgleish Endowed Chair 66

Second Violin Section Member: Minnie Min Kyung Kwon

Eckhardt-Gramatté

Foundation Endowed Chair

Principal Viola: Laurent Grillet-Kim

Naomi Lacey Endowed Chair in Honour of Philip Hansen

Principal Cello: Arnold Choi

John + Jean Partridge Endowed Chair

Cello Section Member: David Morrissey

Deborah Yedlin + Martin Molyneaux

Endowed Chair

Cello Section Member: Kathleen de Caen

Margaret + Paul Boëda in Memory of Jennifer Boëda-Dahl Endowed Chair

Principal Flute: Sara Hahn-Scinocco

Bill + Irene Bell Endowed Chair Piccolo: Gwen Klassen

Judith + William Kilbourne

Named Chair in Recognition of the Kilbournes' long-term support

Assistant Principal Horn: Heather Wootton

Frank + Carol Gray Endowed Chair in Memory of Vincent Cichowicz

Principal Trumpet: Adam Zinatelli

Frank + Carol Gray Endowed Chair  in Recognition of Tim Rawlings' 42 years of service to Calgary Phil  Principal Percussion: Chris Sies

Joyce + Dick Matthews Endowed Chair

Piano

2023/2024

Donors

The Calgary Philharmonic expresses its deep gratitude to the following supporters who made generous gifts to the Calgary Philharmonic Society and the Calgary Philharmonic Foundation between 1 July 2023 and 30 June 2024. For complete listing, visit calgaryphil.com/support

* Gifts to the Calgary Philharmonic Foundation

* 10 years or more of lifetime giving * 20 years or more of lifetime giving

Gifts of $500,000 and above

Alberta Foundation for the Arts Canada Council for the Arts

Calgary Philharmonic Foundation* Government of Canada*

Gifts of $250,000–$499,999

Calgary Arts Development Authority

Gerard Rostoker*

Taylor Family Foundation*

Gifts of $100,000–$249,999

Heather Edwards

Honens Calgary Philharmonic Society Fund

Gifts of $50,000–$99,999

Ellen + Allen Borak**

Ms. Letha MacLachlan, K.C.*

Palmer Family Foundation*

One Anonymous Donor

Gifts of $25,000–$49,999

Azrieli Foundation

Jenny Belzberg**

Brookfield Properties

Calgary Foundation*

Canadian Natural*

Annie Freeze**

Government of Alberta

Jacky + Geoff Granville*

RBC Foundation*

Mary Rozsa de Coquet*

Robbin Shandel*

Two Anonymous Donors

Gifts of $10,000–$24,999

Alan D. Castle Endowment for the Arts

AWS InCommunities Calgary Fund

Michelle Bailey + John Whelan

Bailie Family Foundation

Beverly Berkhold

Heather + Ian Bourne*

Estate of Dorothy Madge Clarke*

Gertrude Cohos**

Terry Dalgleish*

Walter + Irene DeBoni**

Deloitte

Réal + Dominique Doucet

Liz + Tony Fricke**

Carol Gray**

Ryan Green

Jan + Brian Grier

Ang + Sam Hayes*

Juli Hegg + Bill Hogg**

Judith Kilbourne**

Mawer Investment Management Ltd

Michael Lipnicki Fine Pianos

Nickle Family Foundation*

Nicola Wealth

Tae Nosal + John Reid*

Anne Marie Peterson Legacy Fund*

Rabinovitz Family Community Fund*

Rogers Charity Classic

Valerie + Allen Swanson*

TD Canada Trust*

United Active Living Inc.

Valentine Volvo + Volvo Cars Royal Oak

Burns Memorial Fund

One Anonymous Donor

Gifts of $5,000–$9,999

Andal Family Fund*

Irene Bakker**

Belinda + Tom Boleantu**

Calgary Party 50

Chris Cran

Jane Crow + Michael Matthews

Estate Of Jack Ferguson*

Chris Flodberg

Shirley Foster **

The Herman Family Foundation *

William Hopson*

Jim Hughes**

James and Patricia Burns Flow Through Fund

Ann Lewis + Tony Luppino**

Sharon Martens

Masters Gallery Ltd.

Janet + Rick Matthews*

Ann McCaig**

Jean + Roderick McKay

Janice + James Morton**

Sonia + Bob Reynolds

Rozsa Foundation*

Betsey (Matthews) Ryan

Sheelagh Mercer + Henry Schultz

ShineFM

Clarice Siebens*

Agatha Starczyk + Mike Miller*

Claire + Marc Stevens

Franklin Templeton*

Marvin & Catherine Waiand Foundation

Gloria Wong + Arthur Hibbard*

Bing Wu

Deborah Yedlin + Martin Molyneaux**

Janet Yuchem + Roy Christie

Zissos Family Foundation Fund

Two Anonymous Donors

Gifts of $2,500–$4,999

AfterTwelve Inc.

Marian + Paul Beer**

Brad Boychuk*

Andrea Brussa**

Eleanor + Lawrence Bryan*

Calgary Airport Authority

Ann Calvert

Monica Cheng + Ujay Kim

Harry & Martha Cohen Foundation

Fern Cyr

Walter + Ute Dilger**

Ernest Enns*

Marty Grams

Pamela Grigg Charitable Fund

Corinne Grigoriu

Sharie Hunter

Mary Anne Katzenberg

Dr. John Lacey*

Lennox Family Foundation

Ian Loch

Chris MacKimmie*

Mancal Corporation

Vickie + Russell McKinnon*

Elizabeth Middleton

Rosemary Moore

Shelagh + Faiz Nadir*

Tim Onyett

Joaquina + Fritz Painsi*

John + Jean Partridge*

Maureen Payne

Kelly Pitaoulis + Zack Laurent*

Polish Canadian Association

Polish Combatants Association in Canada

Calgary Branch No. 1

Ruth + Garry Ramsden-Wood

Ruchi + Chris Ryley

Marie + Nathan Smith

Trépanier Baer Gallery

James Ulrich*

Dori Wood + James Doleman* One Anonymous Donor

Gifts of $1,000–$2,499 Accenture

Dinesh + Rajendra Agrawal* Jim Allard*

Altalink Ltd. Partnership

Karen Ashbee + Dr. Paul Salo*

Matthew Atwood

Roy, Hazel and Nancy Austin Fund

Andrew Azmudeh

Mary Barr*

Barbara R. Beaton*

Blakes, Cassels & Graydon LLP

BMO - Nesbitt Burns

Eleanor + Richard Byers*

Cassels Brock Lawyers

Chanel Canada ULC

Jin Chun Yuan*

Georgina Clark

Marie-Josee Claveau + Nicholas Tremblay

Catherine Glaser + Stan Climie*

Michael Corner

Rae + Phillip Cram*

Ruth Cross Fund at The United Church of Canada Foundation

David Daly*

Rao Darsi**

Dr. Alice de Koning + Dr. Yrjo Koskinen

DIAMOND Integrated Marketing

Jane Ebbern*

Ecclesiastical Insurance

Lisa Evren

Tibor Fekete*

Philippa FitzGerald-Finch**

Maria Geppert

Tony Hailu

Maggie Hall

Janice Heard + Bruce McFarlane*

Herringer Kiss Gallery

Matt Hill

Katt Hryciw

Imperial Oil Limited

Inspirati Fine Linens

Dr. Helen Isaac*

Arlene + Glen Johnston Fund

Jan + Chris Kayser

KDR Consulting Ltd

Keyera

Jeanette King**

Nick Kuzyk*

John Kwisses

La Maison Simons

Jennifer + Oscar Larios

Alison + Andrew Love

Nancy + Blake Lowden*

Diane + David Macdonald*

Mackenzie Investments

Aoife MacNamara

Simone MacRae*

Heather + Peter Marreck*

John Martin

Laurie Matiation

Elizabeth + Gene Maurice*

Jane McCaig

Mcleod Law LLP

Janet McMaster + Tom Byttynen

Doug Mcneill

The Estate of Joanne Meis

Joan + Dale S. Meister*

Patricia Moore**

Dean + Leanne Newhouse

NFP Canada Corp

Panache Ventures

Patricia + Robert Peabody

Chris Petrik

Karin Richter

Marley Rynd Foundation

Wendy + Rod Schultz

Alison Scott

Tony Settari**

Stacha + Stanislava Sikora

Lorna + Roger Smith

Alfred Sorensen*

Betty Stein**

David Still

The Donald Terry Swystun Charitable Fund

John Thompson*

Ryan Townend

Nadine Tratch + Tyler Cumberford

Adam Unick

Janna A Vaisman

Margaret + Russell Varnam*

VivianeARt

Stanley Waterman

Wellness and Leadership Inc.

Rena Willson*

Terry + Anne Wilson*

Wirth Institute for Austrian and Central European Studies

Wood Pittman Fund

Lee Woytkiw

Helen Young + Don Smith*

Patricia + Frederick Young*

Mark Yousefzadeh

Anne + Frank Zinatelli*

Nine Anonymous Donors

Gifts of $500–$999

Vlad Aldea

Gwen + Ian Anderson*

Laura Atherton

Barb Atnikov + Albert Rosengarten

Foundation*

Diane M. Auld*

Heather Lynn Benson

John Burton

Eileen Butler*

Callow & Associates Management

Consultants Inc.

Meaghan Cameron

Jim Campbell*

Robin Cox

Linda + John Crawford*

Tim Crawshaw

Deborah Cullen

Joseph De Angelis

Sherry + Harvey Doerr

Daniel A. Downie

Matt Evans

Stephanie + Brian Felesky**

Dianne + Thomas Ferguson

Mary Fishman*

Greg Fletcher*

Audrey + John Fry*

Jan Geggie + Paul Paetkau*

Danelle Hames + Matthew Law*

Brian Hamm

Kay Harrison*

Ian Hawkins

Caroline + David Henley*

Glenda Hess

Mary Ann + Bill Hews

J.E. Hodgson Family Fund

Cristine + Allan Huber

Elzbieta Kaminska

Larisa Golovatskaya + Perry Jasson

Tricia Leadbeater*

Sandra + Jack Lee

Mary Jo Leslie and Joseph Dallaire

Endowment Fund

Blair Lipkind

Bernice + Jim Love

Ian Lucy

H. Matsune

Dennis McDermott

Kent Milani*

Elizaveta Mironova + William Zhou

Jill + Brian Neufeld

Ooh La La

Ellen Parker

Dan Philips*

Maxine Rystephanick

Barbara Schneider

Don Seaman*

Toshimi + William Sembo*

Betty + David Smith

Ron Spafford*

Shannon Stevenson*

Llyn L Strelau

Jody Sutherland + Marco Baldasaro

Thominski

Rihanna Vanin

Ingrid Vicas

Dixie + Tony Webb

Shelley Weiss + Gordon Graham

Philippa White

Mae Yuchem

Nine Anonymous Donors

Gifts made in honour of

Diana Cohen

Reva Faber

Dr. John Lacey

Matthews Family Celeste Donation

Joyce and Dick Matthews

Elizabeth Middleton

Peter + Jeanne

Beat Beethoven Campaign for runner

Kristyna Rempel

Gifts made in memory of

Pamela Bacchus

Glennis Buehning

Dawn Darsi

Beverly MacLeod

Deborah Martinez

Ray Rystephanick

We're grateful for the gifts received through:

Aqueduct Foundation

Benefaction

Benevity

Calgary Foundation

Canada Gives

Canada Helps

GiftFunds Canada

Jewish Community Foundation of Calgary

Raymond James Canada Foundation

Strategic Charitable Giving Foundation

United Church of Canada Foundation

United Way of Calgary & Area

WCPD Foundation

Volunteers

These Volunteers contributed their precious time in the 2023/2024

Season — we celebrate them and their ongoing dedication.

Cecilia Armada

Mariah Atkinson

Priscilla Babunga

Catalina Barboza

Partow Bayzaee

Andrea Becker

Larry Becker

Frances Bradley

Celia Burns

Peggy Chan

Carole Clement

Steve Clement

Maggie Couper

Carole Dann

Julie Docken

James Doney

Graham Edwards

Amanda Ferguson

Lorna Fulsom

Prasad Ganesan

David Grant

Larry Hamm

Gloria Hare

Robin Harwig

Cindra Kennedy

Shane Kidd

Wendy Kunsman

Yuliia Lebid

Elizabeth Lietz

Vi Llewellyn

Shawna MacGillivary

Moira MacPherson

Marina Milovanova

Minh Nguyen

Jolanta Pawlikowska

Roy Stuart

Nick Tang

Noah Urquhart

Cindy Wang

Joseph Wang

Louis Warners

Gayna Wong

Galyna Zhuravel

Board of Directors

Corinne Grigoriu

Board Chair

Janet Yuchem

Outgoing Board Chair

Samuel Hayes Governance Chair

Fern Cyr

Finance + Audit Committee Chair

Tracy Seaman

Human Resources Sub-Committee Chair

Rebecca Finley-Schidlowsky

Board Secretary

Michelle Bailey

Glenn Bontje

Erin Burkholder

Monica Cheng

Donald Herman

James Kusie

Dr. John Lacey

Christine Macnab

Melanie McBride

Elizabeth Middleton

Thuy Nguyen

Donovan Seidle

Casey Smith

Calgary Philharmonic Foundation

The Honourable Lois E. Mitchell

Honourary Patron of the Calgary Phil Foundation

David Daly

President

Joel Douglas

Vice President

Courtney Burton

Secretary

Elaine Clark

Treasurer

Eileen Marikar

Assistant Treasurer

Ryan Stasynec

Past President

Jim Hughes

Letha MacLachlan

Byron Neiles

Ellen Parker

Fern Cyr

Ad Astra Cabinet

Dr. John Lacey

Honourary Chair

Elizabeth Evans Co-Chair

Elizabeth Middleton Co-Chair

Michelle Bailey

Ann Calvert

David Daly

Ellen Parker

Cork + Canvas Committee

Tim Onyett

Chair

Kaitlan Caldwell

Elizabeth Middleton

Allison Onyett

Ellen Parker

Emma Rokosh

Agatha Starczyk

Holly Wong

Stakeholder Relations Committee

James Kusie Chair

Courtney Cathcart

Almas Kassam

Elizabeth Middleton Colleen Potter

CONCERT RITUALS

BY DAVID SUSSMAN

The musicians of your Calgary Phil will be performing over 100 times this season! When we play in a concert, we must be in a state of great concentration and alertness. We are ready to match each other and flow as one with the conductor's direction. We perform challenging passages at very specific moments. We aim to be 'in the zone' and bring the music off the page at this precise moment in time for the audience.

How do we transition into or out of performance mode?

Some musicians have elaborate pre and post concert rituals, while others seem to just flick a switch and are performance ready. It can vary widely from player to player. However, there are many aspects most musicians must consider.

Most of our concerts begin at 7:30PM so we must have peak focus and energy in the evening. This can affect when we wake up, how we structure our day, when we exercise or teach, our coffee intake, and whether a short nap is in order.

When or what to eat is a consideration. Too heavy a meal pre-concert can make one sleepy and not as focused. For wind players, we do not want a full stomach, but nor do we want to feel hungry. I tend to eat an early supper. Others eat more post-concert. Some have cast iron stomachs, while others are careful not to eat something that may bring discomfort.

Although contractually we need only show up five minutes before a performance, most musicians have a time frame of comfort for arrival to the hall.

The hall is available one hour before showtime. There are several musicians who prefer an early arrival to allow for parking and a relaxed ease into the performance. Some like the chance to play before the audience starts coming in.

Putting on our concert attire is something that helps get into the performance frame of mind. We have several different performance outfits — for me there is tails (white bow tie), tux (black bow tie), white dinner jacket, business suit and tie, stage black and pit black (like stage black, but no jacket required). Some musicians (like me) store their concert attire in a locker at the hall and change there while others prefer to come to the hall fully dressed. The acts of tying a bow tie and putting on shiny shoes are indelibly linked to playing a concert.

Some weeks, we perform several different programs in different venues with different performance attire and at various times of day. We might need a secondary instrument (e.g. bass clarinet). Luckily, we have an app for that (called OPAS). One of the pre-concert rituals for most of us is to check OPAS to ensure we are going to the proper venue at the proper time with the correct music and attire and instruments.

Before we leave home for a performance, we double check that we have our instruments (there have been occasions when the case was empty!), music, reeds, strings, rosin, mutes, valve oil, shoulder rests, endpin receptacles, cleaning equipment, reed tools, extra mallets, and music reading glasses (very important as we mature).

Most of us do some sort of warm up (regular concert goers may grow to recognize certain players' standard warmups after repeated listenings). Some warm up more at home while others prefer to hear themselves in the hall for any fine adjustments. Usually, we do last minute work on challenging passages.

Many of us like to get ourselves set up carefully. The stand position and height must allow us visual access to the music and conductor (and an amicable compromise must be made for those musicians sharing a stand). We try to create good sightlines to the conductor. We ensure we have the proper chair. When sitting for long periods of time, ergonomics are important. There are three standard chairs: 1. higher (with a red dot on the back); 2. lower (with a blue dot on the back); and 3. the cello chair (shorter seating area to accommodate a cello and more straightbacked. These are also used by musicians other than cellists). Some musicians use custom chairs or blocks or special cushions. Our wonderful stage crew have a map of who uses what chair, and magically our preferred chair is usually there for us.

If we are in a position where we are exposed to very loud sounds, we ensure that sound protection is in place (plexiglass baffles).

One pre-concert ritual may be visiting the restroom, especially if the first half of the concert is on the longer side. Being comfortable in that regard certainly helps with concentration.

Some musicians have particular things they like to do at intermission. This may include hydrating, stretching, having a snack, checking the score of the hockey game, or checking their phone for messages.

Following the concert, some musicians warm down. Brass players may play low notes to ease their lips. String players may do stretches to avoid repetitive use injuries. Instruments are cleaned and put away. If it is the final performance of a program, we make sure to leave any music for the librarian to collect.

Some musicians eat or socialize following a concert, allowing themselves an adult beverage. We analyze the performance in our minds (and aloud), appreciating what went well and acknowledging the excellent work of our colleagues. It is amazing how many things go so well, considering we are all human and make mistakes from time to time. We, as musicians, are usually most critical of ourselves, making a mental note of the passages that may need anther look before the next performance.

Some musicians rush home to get to bed and catch some sleep, especially if they have youngsters who will be up very early. Many of us used to take lots of time to unwind after a concert, but having kids makes that a luxury that will hit us the next morning when we feel even more sleep deprived than most new parents are. There may be discussion of tempi or how things varied from rehearsal or a particularly funny moment or an odd audience happening. I have heard of orchestras that have occasional primal screams (or 'oy veys') in the locker room following concerts.

Musicians find their own way to transition into and back out of performance mode. One of the most enduringly satisfying aspects of being a symphony musician is that act of working together. With a unified vision we bring a great musical work to life to be experienced in that moment by an appreciative audience. At our most concentrated, we are truly 'in the moment' and focused on performing.

DAVID SUSSMAN Assistant Principal Oboe + English Horn

WE ASKED A FEW MUSICIANS HOW THEY UNWIND AFTER A CONCERT...

My number one way to unwind after a show is to meet my fiancé in the lobby (he's usually in the audience) for a little post-concert date. We're already dressed up — it's perfect! We'll go for a cocktail, a bite, or, weather permitting, a cider on a patio, followed by a long run in the morning and a motorcycle ride.

MARIA VAN DER SLOOT First

Violin

After the last note of a rousing concert has been played and the applause has died down you can feel high. I remember after a particularly energetic performance of Dvořák's New World Symphony, I ran up to our conductor Hans Graf and said "Hans! I was on the ship in the middle of the ocean, and I saw the purple of the horizon." He replied to me in all seriousness, "I know, I was there too." Wow. Such wonderful camaraderie. I have always enjoyed a debrief with friends and colleagues over a frosty beer and potato skin nachos. More frequently these days I find I head home for a glass of wine and some Miss Vickie's chips. Hopefully my husband will still be awake so I can give him a play by play! Then I can finally go to sleep.

JOCELYN COLQUHOUN

Assistant Principal Clarinet

While I'm not a super outgoing person in general, I think there's a natural dopamine high that comes with playing a concert, especially when the music-making is terrific and the audience is enthusiastic. That high can make me uncharacteristically outgoing. So I often find myself having great conversations after concerts — at least I think they're great — whether with colleagues or random strangers. Sometimes I will also go home and talk with my cats.

MATTHEW HELLER Bass

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