Spring Prelude — 2018/2019

OFFICIAL PROGRAMME OF THE CALGARY PHILHARMONIC ORCHESTRA MUSIC DIRECTOR RUNE BERGMANN

SPRING 2019 | VOLUME 45 NO. 3

ENDOWMENT GIFT HONOURS ORCHESTRA MUSICIANS P. 12

SEASON HIGHLIGHTS P. 42

LEARN TO PLAY AN INSTRUMENT THROUGH THE CALGARY PUBLIC LIBRARY P. 50

MEASHA BRUEGGERGOSMAN FROM ARIAS TO SHOW TUNES, MEASHA ENJOYS SINGING WHAT SHE WANTS P. 26

SPRING 2019 | 1

YOUR COPY TO TAKE HOME

2 | PRELUDE calgaryphil.com | 403.571.0849

04

Message from the President + CEO

32

Late Night: Sensory Overload (Festival)

06

Calgary Philharmonic Orchestra

34

Controversial Classics (Festival)

08

Calgary Philharmonic Chorus

38

Bach + Liszt with Konstantin Shamray

10

Exploring Musical Influences

40

Gershwin’s Magic Key

12

The Beat Goes On: Principal Percussion Endowment

42

2018/2019 Season Highlights

14

Women Rock with Mélanie Léonard

44

Prokofiev + Mahler with Yefim Bronfman

16

Mendelssohn’s Elijah

46

Summertime Send-Off with Measha Brueggergosman

22

Hawksley Workman with Orchestra

50

Music Lovers Unite at Calgary Public Library

26

Feature: Measha Brueggergosman

52

Circle of Champions

29

Under the Influence Festival

54

FAQ

30

Provocative: Percussion + Tchaikovsky (Festival)

58

Never Mind the Gap

12 26 50 58

Cover photo by Hiep Vu; programmes + artists subject to change without notice

Calgary Philharmonic Orchestra 205 8 Ave SE Calgary, AB T2G 0K9 Tel: 403.571.0270 Fax: 403.294.7424 Box Office: 403.571.0849 calgaryphil.com

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SPRING 2019 | 3

Message from Paul Dornian

President + CEO

The 2018/2019 Season at the Calgary Philharmonic Orchestra has been quite memorable so far. In September, Renée Fleming gave us an evening to treasure, and we will close the season with another of the world’s great voices — Measha Brueggergosman. Before we get to Measha’s highly anticipated performance, though, there are still many special moments to share with our great orchestra, chorus, and some of the world’s leading artists.

One of the most exciting activities at the CPO is planning future seasons with our team. We recently revealed the details for 2019/2020 and it will be a season of inspiration and awe. The theme is “Game Changers” and that is reflected in the diverse lineup of influential artists ranging from Itzhak Perlman to Thorgy Thor.

Of course Beethoven, the ultimate Game Changer, will feature prominently as we celebrate his 250th birthday in 2020.

Our inspirational Music Director, Rune Bergmann, and our world-class CPO will take you on a voyage of discovery and celebration with artists, composers, and partners that have redefined or are redefining the orchestral world. We look forward to seeing you in the Jack Singer Concert Hall this spring as we wrap up a successful 2018/2019 season, and we invite you to join us again in the fall as we embark on a new adventure.

Paul Dornian

Calgary Philharmonic Society

Calgary Philharmonic Family

Honorary Patron

Board of Directors

Mayor Naheed Nenshi

Walt DeBoni Board Chair

Friends of the CPO + Musical Heritage

Conducting Staff Maestro Rune Bergmann Music Director Karl Hirzer Associate Conductor Timothy Shantz Chorus Master Management Paul Dornian President + CEO Jim Campbell Director, Development Maria Lamas Director, Finance Jennifer MacDonald Director, Artistic Operations Lisa Mackay Interim Director, Marketing + Sales

Tim Gillespie Governance Committee Chair Janet Yuchem Finance + Audit Committee Chair Paul Dornian Ex-officio

Andrew Matthews Co-chair Agatha Starczyk

Jeremy Clark President Terry Dalgleish Q.C. Vice President

Co-chair

John Partridge Treasurer

Dr. John Lacey

David Daly Secretary

Chair Emeritus Andrea Brussa

Lara Pella Board Secretary

Tony Cioni

Keith Byblow Fern Cyr Corinne Grigoriu Eileen Gukert Samuel Hayes Don Herman Anne Howard Sam Loeck Brendan McCracken Sheila McIntosh Robert Palmer Monica Samper Donovan Seidle

Jack Crawford

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CPO Foundation

Jeremy Clark David Daly Alexandra De Freitas Samuel Hayes Don Herman Judith Kilbourne Nick Kuzyk Garry Mihaichuk Martin Molyneaux James Morton Deborah Yedlin

Letha MacLachlan Q.C. Byron Neiles Ryan Stasynec Cathy Williams Janet Yuchem Development Council Ann Calvert Martin Delaney Nick Kuzyk Sheila McIntosh Tim Onyett Ruchi Ryley Hunter Wight Cui Zukowski

OPENING SUMMER 2019

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SPRING 2019 | 5

Principal

|

Assistant Principal

|

Associate Principal

Music Director Rune Bergmann

First Violins Diana Cohen

Associate Conductor Karl Hirzer

John Lowry

Chorus Master Timothy Shantz Music Director Laureate Roberto Minczuk Music Director Laureate Hans Graf Conductor Laureate Mario Bernardi Concertmaster Emeritus Cenek Vrba

Concertmaster Associate Concertmaster

Donovan Seidle

Assistant Concertmaster

Edmund Chung Austin Hansen Erica Hudson Hangyul Kim Olga Kotova Bonnie Louie Genevieve Micheletti Alicia Venables Hojean Yoo Second Violins Lorna Tsai Stephanie Soltice-Johnson Erin Burkholder Jeremy Gabbert Hyewon Grillet-Kim Craig Hutchenreuther Minnie Min Kyung Kwon Theresa Lane Adriana Lebedovich Steven J. Lubiarz Violas Laurent Grillet-Kim Marcin Swoboda Arthur Bachmann Jeremy Bauman Peter Blake Carl Boychuk Michael Bursey TBD

Cellos Arnold Choi JosuĂŠ ValdepeĂąas Kathleen de Caen Joan Kent Thomas Megee David Morrissey Daniel Poceta Karen Youngquist Basses Sam Loeck Kyle Sanborn Matthew Heller Graeme Mudd Trish Bereti-Reid Patrick Staples

Horns Robert McCosh Jennifer Frank-Umana William Hopson Laurie Matiation Heather Wootton Trumpets Adam Zinatelli Miranda Canonico Trombones James Scott Michael Thomson Bass Trombone David Reid

Flutes Sara Hahn-Scinocco Gwen Klassen

Tuba Tom McCaslin

Piccolo Gwen Klassen

Timpani Alexander Cohen

Oboes

Percussion Josh Jones

Alex Klein David Sussman English Horn David Sussman Clarinets Slavko Popovic Jocelyn Colquhoun Bassoons Antoine St-Onge Michael Hope

Harp Tisha Murvihill Librarian Rob Grewcock Assistant Librarian Tyler Cairns Personnel Manager Michael Thomson

The Calgary Philharmonic Orchestra is proud to perform live symphonic music for the Alberta Ballet, Calgary Opera, and Honens International Piano Competition.

The members of the Calgary Philharmonic Orchestra are members of The Calgary Musicians Association, Local 547 of the American Federation of Musicians of the United States and Canada. Repertoire often requires extra musicians including: Gianetta Baril, harp; Rolf Bertsch, keyboard; Tim Borton, percussion; Lise Boutin, violin; Stan Climie, clarinet; Neil Cockburn, harpsichord and organ; John Feldberg, bassoon; Sarah (Gieck) MacDonald, flute; Jeremy Brown, saxophone; Gareth Jones, trumpet; Janet Kuschak, cello; Malcolm Lim, percussion; Andrea Neumann, violin; Aura Pon, oboe; Richard Scholz, trumpet; Eric Auerbach, violin; Eva Sztrain, violin; Aidan Dugan, oboe; Doug Umana, horn; Alicia Bots, bassoon.

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Rune Bergmann

Karl Hirzer

Vincent Ho

Norwegian conductor Rune Bergmann is Music Director of the Calgary Philharmonic Orchestra. An energetic and compelling figure on the podium, he is a dynamic, versatile conductor with an extensive classical, romantic, operatic and contemporary repertoire. Considered among today’s most talented young Scandinavian conductors, his elegant interpretations and reputation as an inspiring and profound musician continue to attract the attention of orchestras throughout the world. Bergmann has served as Artistic Director and Chief Conductor of Poland’s Szczecin Philharmonic since the 2016/2017 Season. His first recording with the Szczecin Philharmonic, featuring the Resurrection Symphony in E Minor

by Mieczyław Karłowicz, is released this Season. Also this Season, he performs as a guest conductor with the Baltimore, Edmonton, and Pacific Symphony Orchestras, and the Argovia Philharmonic and Orquesta de Valencia in Valencia. He has been Artistic Director of Norway’s innovative Fjord Cadenza Festival since its inception in 2010.

Karl Hirzer is a dynamic Canadian conductor and pianist from New Westminster, British Columbia. He holds the position of Associate Conductor in his third season with the Calgary Philharmonic Orchestra.

Hirzer is a regular guest conductor with Land’s End Ensemble, and has previously acted as Assistant Conductor for the National Academy Orchestra of Canada, and the McGill Contemporary Music Ensemble. He has worked with the Gstaad Festival Orchestra as an active member of the Menuhin Festival Gstaad Conducting Academy under Neeme Järvi and Gennady Rozhdestvensky, and was a Conducting Fellow during the 2017 Cortona Sessions for New Music.

Also a passionate educator, Hirzer was most recently a faculty member at CPO’s Morningside Music Bridge programme in Warsaw. A diverse musician and collaborator, he has performed with numerous renowned soloists including Evelyn Glennie, Chris Botti, and Jonathan Crow. Trained as a pianist, Hirzer holds bachelor’s (University of Victoria) and master’s (McGill University) degrees in performance, as well as an Associate of the Royal Conservatory of Toronto diploma, obtained at age 17. His teachers have included Guillaume Bourgogne, Alexis Hauser, Ilya Poletaev, and Bruce Vogt. He also attended the Mozarteum Sommerakademie in Salzburg, where he studied in the class of Robert Levin.

Vincent Ho is a multi award-winning composer of orchestral, chamber, vocal, and theatre music. His works have been described as “brilliant and compelling” by the New York Times and hailed for their profound expressiveness and textural beauty, leaving audiences talking about them with great enthusiasm.

His many awards have included Harvard University’s Fromm Music Commission, The Canada Council for the Arts Robert Fleming Prize, ASCAP’s Morton Gould Young Composer Award, four SOCAN Young Composers Awards, and CBC Radio’s Audience Choice Award. From 2007 to 2014, Ho served as the Winnipeg Symphony Orchestra’s composer-inresidence and presented a number of large-scale works that generated critical praise. Born in Ottawa, Ho began his musical training through Canada’s Royal Conservatory of Music where he received his Associate Diploma in Piano Performance. He gained his Bachelor of Music from the University of Calgary, his Master of Music from the University of Toronto, and his Doctor of Musical Arts from the University of Southern California.

Music Director

Associate Conductor

‘New Music’ Advisor

SPRING 2019 | 7

Chorus Master Timothy Shantz Accompanist Evan Mounce Soprano Rosanna Arcega Karin Baumgardner Lindsay Bellemore Ellen Borak Michelle Bozynski Tricia Bray Carolyn Byers Christina Candra Katherine Clarke Sheila Cook Laura Davis Ina Dobrinski Sihana Dorfsman Gail Feltham Lisa Fernandes Ymene Fouli Sue Galcher Sim Galloway Alison Gibson Carolyn Hatt Dale Hensley Jessica How Linda Janzen Allison Johnson Amy Klintberg Pat Knecht Danielle Logan Maureen McDonald Julie Miller Hannah Pagenkopf Ruthanna Penton Gillian Posey Colleen Potter Andrea Schnare Kristen Seams Lisa Sears-Walsh Joan Simmins Jenny Skidmore

Chantelle Stevenson Chandra Stromberg Melissa Symanczyk Norma Webb Dianne Williams Alto Margaret Anderson Jasmine Aslan Brittany Bishop Barbara Boland Indrani Chatterjee Tanya Chow Breanne Coady Bernie Constantin Carol Cooper Shirley Cumming Janice Dahlberg Gillian Forster Kay Harrison Patricia Heitman Amanda Holt Helen Isaac Heather Klassen Kaitlin Krell Catherine Lasuita Lorrie Lipski Barbara Mathies Sue McNaughton Susan Mendonca Julia Millen Patty Mino Mara Osis Karen Palmer Anastasiya Petruk Josee Robitaille Anne Rodger Monica Samper Marian Žekulin Tenor Timothy Ahrenholz Dean Allatt Tim Bell Keevin Berg

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Tristram Chivers Pat Favaro Andrew Fraser Barb Hogan Jungsoo Kim Jason Ragan Peter Rilstone Victor Rubio Richard Seale Ross Smith Joseph Stedman Dennis Voth Bass Archibald Adams Nicholas Allen Timothy Cooke Lloyd Crosby Kevin Di Filippo Arthur Dick Alan Dornian John Ghitan Ian Gibson Brian Grzelewski Allan Huber Dylan Jones Tyler Jones Matthew Koltes Ian Lunt Denis Magnan Keith Odegard Jackson Partridge David Pattison Dan Philips Teddy Pope Alasdair Robinson Dana Salter David Schey Tom Van Hardeveld Richard Wanner Maxwell Webber Jim Weisert Keith Wyenberg Principal

Calgary Philharmonic Chorus The Calgary Philharmonic Chorus, led

by Chorus Master Timothy Shantz, is a group of over 150 voluntary singers who perform diverse repertoire including oratorio, opera, light classics, contemporary music, and pops. The acclaimed ensemble is featured in approximately eight concerts with the Orchestra each Season. Established in 1963, the Chorus works with the Orchestra to achieve excellence in the performance of choral music and to promote the enjoyment and development of choral singing in the Calgary community. Chorus members come from all walks of life and include physicians, students, lawyers, and stay-at-home parents who collectively dedicate over 19,000 hours annually to rehearsals and performances. The Chorus is proud to perform for local charities during the holiday season and often takes part in community education and outreach activities with the Orchestra throughout the year. The Chorus has participated in choral festivals across Canada, been featured in live recordings, and performed for Queen Elizabeth II in a special presentation conducted by the late Mario Bernardi.

Calgary Bach Choir Terry Edwards, Artistic Director • 2018-2019

// 31

ST

SEASON

Crucifixus SACRED CHORAL WORKS

BY LOTTI & BACH

SUNDAY 24 MARCH 2019 3:00 PM Knox United Church, 506 – 4 Street SW

CHOIR, ORCHESTRA & SOLOISTS PROGRAM

Timothy Shantz Chorus Master

Celebrating his 10th anniversary as Calgary Philharmonic Chorus Master, Timothy Shantz continues to garner critical praise. He is the Artistic Director of Spiritus Chamber Choir, and Founder and Artistic Director of Luminous Voices. Shantz has explored the history of the vocal ensemble genre from early-music to contemporary works, and virtuoso unaccompanied choral music to large choral-orchestral masterpieces.

Under his direction, Spiritus won the Healey Willan Grand Prize from the Canada Council in 2013 and toured internationally, earning second prize at the Fleischmann International Choral Competition in Cork, Ireland, as well as second prize at the Florilège Vocal de Tours in France. Shantz has several recordings to his name, including Zachary Wadsworth’s The Far West released in May 2016, Mendelssohn’s Te Deum released in Spring 2015 by Luminous Voices, and James MacMillan’s Seven Last Words released in Spring 2014 with Spiritus.

Performance highlights as tenor include Handel’s Messiah at Carnegie Hall, soloist and ensemble singer at the Carmel Bach Festival since 2008, and twice with the Lucerne Festival Academy under Pierre Boulez. Shantz holds a Doctor of Music Degree in Choral Conducting from Indiana University Jacobs School of Music.

J.S. BACH Cantata 146 & Cantata 12 “Weinen, Klagen, Sorgen, Zagen” LOTTI Missa Sancti Christophori Program subject to change

Adults/Seniors—$20 • Students—Free Tickets cash only at the door or in advance online at brownpapertickets.com

BAROQUE & BEYOND calgarybachsociety.com CalgaryBachSociety @CalBachchoir

63 Hamptons Hts. NW Calgary, AB T3A 5W1, Ph. 403 208 8307, suehaukedesign@shaw.ca Publication deadline: January 28, 2019 Client: Calgary Bach Choir; Terry Edwards Description: Crucifixus Sacred Choral Works by Lotti & Bach Size: 1/3 page square: 4.75”x 4.75” Publication: CPO Prelude Spring 2019 (Mar – Jun) Colour: CMYK File supplied: HR pdf Program: InD/Ill/PhotShp CS6

SPIRITUS CHAMBER CHOIR TIMOTHY SHANTZ • ARTISTIC DIRECTOR

with

Chellan Hoffman, organ Chorealis from Yellowknife

Guest choir, Aurora

SATURDAY 11 MAY 2019 | 8PM KNOX UNITED CHURCH | 506 4th St. SW Calgary Visit spirituschamberchoir.ca or call 403 971 8169 for tickets.

Adults $25 Students/Seniors $20

SPRING 2019 | 9

M M u g g u s n n s i i i c i r c r a o a o l l l s l I s n I p p n e e f f c c l l u x n u n e e x EE

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Sam Loeck, Principal Bass Influence: Ralph Vaughan Williams (United Kingdom) “One of my favourite composers is Ralph Vaughan Williams from England. Active in the first half of the 20th century, many of his contemporaries ventured into the realms of atonal and serial music, but Vaughan Williams firmly rejected this movement and wrote very much in the style of the Romantic and Impressionist composers. As a result, his compositions were largely unpopular in his time. During my first year of college I performed and fell in love with two of his works, the Fantasia on a Theme by Thomas Tallis, and Flos Campi, a piece for solo viola, chamber orchestra, and choir.”

Karl Hirzer, Associate Conductor Influence: Franz Schubert (Austria) “Austrian composer Franz Schubert wrote more than 1,000 works before he died at the tragic age of 31. Of those, 600-plus were short pieces for voice and piano that set existing poetry to music.

This form was basically the early predecessor to the modern concept of the “song.” Schubert’s affinity for lush harmonies, unique key centres, and the quality of the human voice make his music forever personal. The first complete symphony I performed as a conductor was his charming fifth. And two of my most profound performance experiences have come from collaborating on his two great song cycles, Die schöne Müllerin and Winterreise (my neighbours undoubtedly think me strange when they hear enthusiastic but regrettably poor singing in German seeping through the condo walls). What I learned from Schubert is applicable to all music-making endeavours: savour the moment, relish the harmony, and always remember to sing.”

Lorna Tsai, Principal Second Violin

Diana Cohen, Concertmaster

Influence: Johann Sebastian Bach (Germany)

Influence: Sofia Gubaidulina (Russia)

“A composer who has had an influence on me is J.S. Bach. Studying Bach is an essential part of a musician’s studies from an early age and as a result, a performance of Bach can reveal a very personal interpretation. For violinists, Bach’s six Sonatas and Partitas for Solo Violin are not only technically challenging, but also musically enriching to perform. While his music is very structured, Bach’s music has also given me the flexibility to grow and find my own personal voice throughout the years I’ve been playing violin. I could spend a lifetime exploring Bach’s mesmerizing harmonies and melodies!”

“I absolutely love the music of Sofia Gubaidulina, born in 1931, who was encouraged and lauded by Shostakovich, but who at times was blacklisted by the Soviet government. Her music was considered “irresponsible” for its use of alternate tunings, and the Soviet regime held her back from becoming known for years. In the 1980s, Gubaidulina became famous, in part because of her violin concerto Offertorium that was championed by violinist Gidon Kremer. Now her music is played all over the globe by the most renowned musicians and ensembles.”

SPRING 2019 | 11

Carol Gray with Tim Rawlings (left) and Josh Jones.

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THE BEAT GOES ON Carol Gray drums up support for CPO

W

By Jill Girgulis hen Carol Gray first got in touch with Tim Rawlings, then-Principal Percussionist for the Calgary Philharmonic Orchestra, neither could have predicted how their friendship would develop.

Over 30 years ago, Carol Gray learned that Tim was a friend of a friend, Ken Wagner, then bassoonist with the Vancouver Symphony Orchestra. Some time after that, Carol emailed Tim to compliment him on a performance of Ravel’s Bolero. “I sent him off an email and said how wonderful I thought [it] was, and then I started sending more and more emails, giving concert reviews,” says Carol, who has retired from an IBM career in business planning and computer sales.

Photo

Greg MacKay

In February 2018, the CPO announced that Carol and her late husband, Frank, were donating $300,000 to the Calgary Philharmonic Orchestra Foundation to create the Frank + Carol Gray Endowed Chair, Principal Percussion, in honour of Tim Rawlings. Carol chose to endow the chair in honour of Tim’s 42 years of commitment to the Orchestra, during which he not only led the percussion section, but also served on the management team in the roles of Personnel Manager and Assistant Personnel Manager. “I have great respect for him as a musician. It’s unbelievable what a good musician he is, but I also wanted him to be honoured in the community because of all that he had done for the CPO,” says Carol, adding that by the time Tim retired in 2015, he had participated in the auditions of almost everyone in the orchestra. The Principal Percussion chair has since been filled by the talented Josh Jones, who Carol is delighted to count among her orchestra friends.

I GO TO CPO CONCERTS BECAUSE THE EXPERIENCE RESTORES MY SOUL. I MEAN, I CAN PUT ON THE SEQUINS AND THE STILETTOS AND ALL THAT KIND OF STUFF, BUT IT’S NOT MY JOY — MY JOY IS IN THE MUSIC.”

This was Carol and Frank’s second endowed chair for the CPO, following their endowment of the Principal Trumpet chair in 2006. Carol says that in addition to buying a ticket to a performance, there are a variety of options available to those who want to support the orchestra — from programmes that nurture emerging artists or encourage the development of new Canadian works, to programmes that bring in virtuoso artists and guest conductors. For her, the endowment is a way to show her appreciation for the CPO’s musicians. “Lots of different people have lots of different reasons for wanting to give to the orchestra,” she explains, “and my interest is in the musicians.”

Frank, who passed away in 2008, and Carol shared a deep respect for musicians and their devotion to their craft.

Frank grew up in Houston, Texas, where he played second trumpet in the Houston Symphony Orchestra at the age of 13. His passion for the trumpet continued through the 1940s, when he played in big bands and in the U.S. Army band, but he changed gears and pursued a career in geology. Carol also grew up surrounded by music. She was raised in a musical family and her father served on the board of the Toronto Symphony Orchestra in the late 1960s and early 1970s.

Carol says she knew she wanted to endow a second chair in honour of Tim, but she didn’t think it was financially feasible until she had lunch with Ann Lewis-Luppino, the CPO’s former President and CEO. Carol told Ann she wanted to endow the Principal Percussion chair in Tim's name, but didn't have all the money available at once. Ann told Carol she could spread out the payments over five years. With this information and some financial planning, Carol realized she could apply her Registered Retirement Income Fund (RRIF) income to the endowed chair. “Five years from now, who knows what my needs will be, but you know, for now I figure I can donate my RRIF income to the CPO!” Music has always been present in Carol’s life in one way or another, so for her this most recent endowment is a wise investment. “I go to CPO concerts because the experience restores my soul. I mean, I can put on the sequins and the stilettos and all that kind of stuff, but it’s not my joy — my joy is in the music,” says Carol. “It’s just a huge part of my life right now.”

SPRING 2019 | 13

22 + 23 MAR

POPS Friday 22 March 2019 / 7:30PM Saturday 23 March 2019 / 7:30PM

Piece of My Heart, by Jerry Ragovoy and Bert Russell (as recorded by Janis Joplin) | Dancing in the Street, by Marvin Gaye, Ivy George Hunter and William Stevenson (as recorded by Martha Reeves) | So Far Away, by Carole King (as recorded by Carole King) | Flashdance . . . What a Feeling, by Irene Cara and Giorgio Moroder (as recorded by Irene Cara) | Both Sides Now, by Joni Mitchell (as recorded by Joni Mitchell) | Freeway of Love, by Jeffrey Cohen and Narada Michael Walden (as recorded by Aretha Franklin) | Up on the Roof, by Carole King and Gerald Goffin (as recorded by Carole King) | Love is a Battlefield, by Holly Knight and Michael Chapman (as recorded by Pat Benatar) | You Make Me Feel Like a Natural Woman, by Carole King, Gerald Goffin and Gerald Wexler (as recorded by Carole King) Intermission

20'

Pick Up the Pieces, by the Average White Band (as recorded by the Average White Band) | I Love Rock N’ Roll, by Jake Hooker Richards and Allan Sachs (as recorded

by Joan Jett) | These Dreams, by Martin Page and Bernard Taupin (as recorded by Heart) | Best (Simply the Best), by Holly Knight and Michael Chapman (as recorded

by Tina Turner) | I Feel the Earth Move, by Carole King (as recorded by Carole King) | You’ve Got a Friend, by Carole King (as recorded by Carole King) | Hit Me With Your Best Shot, by Edward Schwartz (as recorded by Pat Benatar) | What’s Love Got to Do With It, by Terence Ernest Britten and Graham Hamilton Lyle (as recorded by Tina Turner) | Proud Mary, by John Cameron Fogerty (as recorded by Tina Turner) A Schirmer Theatrical/Greenberg Artists co-production Arrangements by Jeff Tyzik Casting by Laura Stanczyk, CSA Programme and artists subject to change without notice

14 | 14 PRELUDE | PRELUDE calgaryphil.com calgaryphil.com | 403.571.0849 | 403.571.0849

Indicates Canadian artist or composer

Mélanie Léonard, born in Montréal and raised in Salaberry-de-Valleyfield, Quebec, is the Music Director of the Sudbury Symphony Orchestra. She previously held the positions of resident conductor (2009 to 2012) and associate conductor (2012 to 2013) with the Calgary Philharmonic Orchestra. Léonard has guest conducted with a number of Canadian orchestras and performed at the Montreal International Jazz Festival.

She worked with acclaimed artists including Herbie Hancock, Isabel Bayrakdarian, Shauna Rolston, Charles Richard-Hamelin and actors John Rhys Davies (Lord of the Rings) and Garrett Wang (Star Trek). In 2018/2019, Léonard has return engagements with orchestras in Toronto, Nova Scotia, Calgary, Edmonton, Regina, Thunder Bay, and Stratford. She will be making her debut with the National Arts Centre Orchestra, Orchestre Symphonique de Longueuil, Symphony New Brunswick, Niagara Symphony Orchestra, and Winnipeg Symphony Orchestra. Léonard completed her Doctorate in orchestral conducting at Université de Montréal under Maestri Paolo Bellomia and Jean-François Rivest. In 2012, she received the Jean-Marie Beaudet prize in orchestral conducting, awarded by the Canada Council for the Arts.

Robert Provencher

PROGRAMME Mélanie Léonard, conductor Katrina Rose, vocals Cassidy Catanzaro, vocals Tamika Lawrence, vocals

Conductor

Sergio Veranes; bio photo

SPONSORS Guest Conductor Sponsor – Brussa Brava! Legacy Programme Host Hotel – Fairmont Palliser Media – Calgary Herald, XL 103.1

Mélanie Léonard

Concert photo

Women Rock with Mélanie Léonard

Katrina Rose

Cassidy Catanzaro

Tamika Lawrence

Katrina Rose was a contestant in Season 13 of The Voice on NBC. She has also appeared in Broadway and Off-Broadway productions of Hairspray (Tracy Turnblad); A Night with Janis Joplin (understudy Janis, Joplinaire swing); RENT (female ensemble); Jerry Springer: The Opera (Shawntel, Eve); BloodSong of Love (Whore in Boots, etc.); and Things to Ruin — The Songs of Joe Iconis (lead player). Her regional and touring credits include A Night With Janis Joplin (Janis Alt./Alley Theatre); RENT (Mimi Marquez/ Surflight); GREASE! (Rizzo/Surflight); Legally Blonde (Enid Hoops/Ogunquit), and her New York workshops and concerts include FOUND! (Denise); Rock & Roll Refugee (Genya Ravan); Sleeping Beauty Wakes (Cheryl). Rose also sings on several recordings: T2R: The Songs of Joe Iconis (Sh-K-Boom & Ghostlight Records); Rock & Roll Jamboree (Sh-k-Boom & Ghostlight Records); Kerrigan & Lowdermilk LIVE (Yellow Sound Label). Her most recent recording is Kozmic Blues (The Voice Performance).

As the lead singer and songwriter of the all-female rock band Antigone Rising, Cassidy Catanzaro toured the United States following a landmark record deal signed with both Starbucks’ Hear Music Label and Atlantic Records, and has sold close to two million albums. She has also toured with legendary acts The Rolling Stones and Aerosmith, and has sung with rock icons from Gregg Allman to Steve Perry of Journey. She has appeared on The Tonight Show and Today, and in Rolling Stone magazine. She was featured in a GAP campaign collaboration with Archbishop Desmond Tutu’s Wisdom Project celebrating individuals whose work has made an impact on the world.

A Grammy-nominated songwriter, Catanzaro's songwriting credits appear on tracks for pop star Demi Lovato with world-renowned producer Max Martin, Rob Thomas of Matchbox 20, rock sensations Mount Holly Band, and popular Swedish recording artist Tommy Burr.

Her solo project, Catanzaro and The Music, released its third album in April 2016. Catanzaro is thrilled to be a part of Women Rock. She couldn’t agree more.

Hailing from the Mount Hope neighbourhood of the Bronx in New York State, Tamika Lawrence began her musical career on Broadway almost 10 years ago. She then began to lend her alt-rock vocals to movie soundtracks and sang backgrounds for artists including Hugh Jackman and Idina Menzel. A cross between Jack White and Betty Davis, Lawrence began to write her own music in 2014 and released the album Ugly, with her band Tamika & The Slay, to critical acclaim in 2017.

In 2018, Lawrence won a Grammy for her work on the Dear Evan Hansen album and completed her debut solo EP Two Faced, scheduled for release in 2019.

Vocals

Vocals

Vocals

SPRING 2019 | 15

Elijah, Op. 70 Felix Mendelssohn (1809 to 1847)

29 + 30 MAR

MASTERWORKS Friday 29 March 2019 / 7:30PM Saturday 30 March 2019 / 7:30PM

Mendelssohn’s Elijah SPONSORS Chorus Sponsor – Borak Forte Programme Host Hotel – Fairmont Palliser Media – Calgary Herald, 770 CHQR PROGRAMME Timothy Shantz, conductor Leslie Ann Bradley, soprano Allyson McHardy, mezzo soprano Benjamin Butterfield, tenor James Westman, baritone Jennifer Pomeroy, choir soloist Hyrum Palmer, youth soloist Calgary Philharmonic Chorus Mendelssohn

Elijah, Op. 70

130'

PART 1 Intermission PART 2 Programme and artists subject to change without notice

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Indicates Canadian artist or composer

20'

Mendelssohn is second only to Mozart in the ranks of child prodigies. By the time he reached the age of 17, he already had such superbly polished works to his credit as the Octet for strings, and the Overture to Shakespeare’s romantic comedy A Midsummer Night’s Dream.

Successfully surviving the transition to adulthood, he found himself in constant demand as composer, conductor, pianist, organ soloist, and musical administrator. His emotional maturation led to a matching increase in the depth and substance of his music.

In the mid-1830s he turned to oratorio, an opera without sets and costumes. In it, the wide experience and understanding of life such as he had acquired are major assets. Other reasons for his new-found interest included his growing popularity in England, where oratorio had long been extremely popular (he also became Queen Victoria’s favourite composer), and his admiration for the sacred choral works of Palestrina, Bach and Handel.

His first oratorio, St. Paul, debuted in 1836. It was hailed as the first great work of its kind in the nearly 40 years since Haydn’s The Creation and The Seasons. Another oratorio from his pen was inevitable. He considered the life of St. Peter but settled upon the Hebrew prophet Elijah.

“With such a subject,” he explained, “as really with any Old Testament character, except possibly Moses, it seems to me that the dramatic element must predominate, the people must be introduced speaking and acting as living persons, but it must not, Heaven forbid, become a tone painting, but a perceptible world, as in every character of the Old Testament, and the idea and emotion all should come across to us through the mouths and manner of the participants.”

After his friend Karl Klingemann was able to produce only the outline of a libretto, Mendelssohn turned to clergyman Julius Schubring, author of the text for St. Paul, to work with him again on Elijah. They made slow Timothy Shantz biography on page 9

progress, leading to the project being shelved completely. Elijah lay fallow for seven years, until a commission from England’s Birmingham Festival rekindled Mendelssohn’s enthusiasm. He and Schubring resumed their labours with great intensity, due to the short period remaining before the scheduled premiere. The composer’s exertions may have hastened his premature death the following year. Schubring prepared the libretto in German. Mendelssohn then gave it to William Bartholomew, whose English translation retained a great deal of the original biblical text.

Elijah premiered on schedule in Birmingham on 26 August 1846.

Mendelssohn conducted it himself, thus being able to receive its overwhelming acclaim in person.

Eight numbers had to be encored, including the entire “rain miracle” segment that concludes Part One. Mendelssohn was hailed as the true successor to Handel (whose oratorios he had regularly conducted at this festival). To this day Elijah remains second in popularity only to Handel’s Messiah with British oratorio audiences. Mendelssohn planned to complete a trilogy of sacred oratorios with a piece based on the life of Christ, but it remained unfinished.

Elijah is a work of superb inspiration, craftsmanship, and often striking dramatic impact. Mendelssohn’s writing for chorus is particularly effective. One of the most arresting moments comes at the very beginning. Elijah proclaims the drought which God brings upon the people of Israel because of the inconstancy of their faith in Him, and their worship of the pagan god, Baal. It is Elijah’s appointed mission to bring Israel back into the fold.

Allyson McHardy photo

Bo Huang

Programme Notes by Don Anderson

2019

Leslie Ann Bradley

Allyson McHardy

Canadian soprano Leslie Ann Bradley “brings the stage to life whenever she sets foot into the spotlight.” In demand in both Canada and the United States, she appeared with the Louisiana Philharmonic (Carmina Burana), Toronto Symphony (Mozart concert arias), Victoria Symphony (Berg’s Sieben Frühe Lieder), Symphony Nova Scotia (Beethoven’s Symphony No. 9), Richard Eaton Singers (Haydn’s Die Schöpfung), Vancouver Opera (Countess in Le nozze di Figaro), and Opéra de Montréal (title role, The Merry Widow). She looks forward to Bachianas Brasileiras No. 5 with Orchestre Symphonique de Montréal and the title role of Countess Maritza with the Pacific Opera Victoria.

A winner in the New England Metropolitan Opera competition, Bradley holds a master’s degree in Voice Performance from the University of Toronto. She attended Tanglewood and the Académie International de musique Maurice Ravel in France, where she received the Prix du chant Pierre Bernac as winner of the Academy’s voice competition. She is also a winner of the Norcop Song Prize.

A unique vocal colour and commanding stage presence are the hallmarks of performances by mezzosoprano Allyson McHardy. Hailed by Joshua Kosman of the San Francisco Chronicle as “a singer of enormous imagination and versatility,” she has appeared with the Paris Opera, Festival d’Aix-en-Provence, Chicago Symphony, Toronto Symphony, Glyndebourne Festival, San Francisco Opera, Boston Symphony, Canadian Opera Company, Warsaw Philharmonic, and Théâtre du Capitole, Toulouse. McHardy has also collaborated with conductors including Adam Fischer, Seiji Ozawa, Jeremy Rohrer, Kent Nagano, Emmanuelle Haim, Bernard Labadie, Ludovic Morlot, Carlos Kalmar, and Jesus Lopez Cobos for performances of works such as L’enfant et les sortileges, La clemenza di Tito, Das Rheingold, Dream of Gerontius, and Messiah.

Soprano

Mezzo-soprano

SPRING 2019 | 17

Benjamin Butterfield

James Westman

Praised by the New York Times as “clarion-voiced and vibrant,” Benjamin Butterfield is known for his performances throughout North America, Europe, the Middle East, and Asia. He has performed with many of the world’s leading conductors including Sir Andrew Davis, James Conlon, Nicholas McGegan, Charles Dutoit, Leonard Slatkin, Bramwell Tovey, Seiji Ozawa, Bernard Labadie, Yannick Nezet-Seguin, Jeffrey Thomas, Trevor Pinnock, Bruno Weil, and Marc Minkowski. This season, Butterfield performs with the Baltimore, Nashville, and Vancouver Symphonies, as well as the Calgary Philharmonic Orchestra. Recent performances include Carnegie Hall with Orchestra of St. Luke’s and those with the Utah and Kansas City Symphonies.

He is a regular at the Bach Choir of Bethlehem’s annual two-week Bach Festival. In the fall of 2018, Butterfield was named a fellow of the Royal Society of Canada, the country’s highest academic honour.

He is Professor, head of voice, and co-head of performance for the School of Music at the University of Victoria.

Baritone James Westman’s passion and musicianship bring an extra dimension to his performances.

His current season includes Benjamin Britten’s War Requiem for the National Arts Centre Orchestra and the Colorado Symphony, Rigoletto for l’Opéra de Montréal, Germont in La traviata for Edmonton Opera, Elijah for the Calgary Philharmonic Orchestra, the title role in Nabucco for Opéra de Québec, and Beethoven’s Symphony No. 9 for the Vancouver Symphony. Career highlights include John A. MacDonald in the Canadian Opera’s Louis Riel, Messiah for the New York Philharmonic, Sharpless in Madama Buttterfly for the Lyric Opera of Chicago, and his recording of War Requiem conducted by Seiji Ozawa.

Music Education ~ Varied Repertoire Performance ~ Touring ~ Camp ~ Teamwork

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Baritone

Uvic. Photo Services

Tenor

Benjamin Butterfield photo

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Thursday, September 12th 2019 Run 8km or walk 4km along the Bow River while the Calgary Philharmonic Orchestra plays Beethoven’s biggest hits. Participants receive a custom Beat Beethoven wine glass, a wine-themed finishers’ medal, a lite dinner, and a complimentary glass of Taittinger Champagne. Celebrate your finish line success by enjoying a CPO concert under the big white tent!

Supporting PhilKids, fueling the empowerment of children through the exploration of music.

Register at www.runcalgary.com

Proud to support the PhilKids program.

SPORTCHECK MOTHER’S DAY WALK/RUN/RIDE SCOTIABANK CALGARY MARATHON • SPORTING LIFE 10K DINO DASH • BEAT BEETHOVEN • WILD RUN • DASH OF DOOM

We are working together with Calgary Philharmonic Orchestra.

We’re opening doors for a more inclusive tomorrow by sharing the love of music.

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Opening young minds to the power of creativity PROUDLY SUPPORTING CALGARY PHILHARMONIC ORCHESTRA

M O U N T R O YA L U N I V E R S I T Y

C O N S E R VAT O RY F O R E V E RY S TA G E

M R U . C A / C O N S E R VAT O RY

SPRING 2019 | 21

13 APR

Hawksley Workman

Presented in partnership with Calgary Folk Music Festival SPONSORS Associate Conductor Sponsor – Mary Rozsa de Coquet Conductor Couturier – Umberto Custom Tailors Ltd. Hotel – Fairmont Palliser Media – Calgary Herald, XL 103 PROGRAMME Karl Hirzer, conductor Hawksley Workman, vocals + guitar Programme to be announced from stage Programme and artists subject to change without notice

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Indicates Canadian artist or composer

Karl Hirzer biography on page 7

Blake Sittler; bio photo

Hawksley Workman with Orchestra

Hawksley Workman concert photo

SPECIALS Saturday 13 April 2019 / 7:30PM

Hawksley Workman is a two-time Juno Award-winning singer-songwriter and multi-instrumentalist. A staple of the Canadian music and arts scene for over 20 years, Workman boasts a catalogue of 16 releases, showcasing his now signature blend of anthemic folk and show-stopping vocals. Workman’s touring career has seen him play over a thousand concerts, headlining prestigious venues like Massey Hall in Toronto, and The Olympia in Paris. His award-winning theatre show, The God That Comes, had successful runs at Toronto’s Tarragon Theatre, Edinburgh Fringe Festival, New Zealand Festival, and Denmark’s Arhus Festival. Following a move to Montreal, Workman wrote and recorded his 16th album, titled Median Age Wasteland, revealing his hooky yet innovative melodic approach, authentic songwriting, and good old-fashioned, unedited musicianship.

Dustin Rabin

Vocals + Guitar

20

TH

ANNIVERSARY 18/19 concert season May 5, 2019 at 7:30pm Christ Church Elbow Park

Monteverdi Vespers of 1610 This will be an evening of solo, choral and instrumental music one rarely gets the opportunity to hear. VoiceScapes and members of Rosa Barocca will present music from Monteverdi's Vespers of 1610 with strings, a small choir and a varied conƟnuo secƟon -- including the rarely heard Magnificat for six voices. Come and experience how this music from 400 years ago can sƟll move us today.

Single Tickets: $50 General / $40 Student/Senior

www.earlymusicvoices.ca

SHOP WHERE THE CITY SURROUNDS YOU.

FIND US IN THE HEART OF THE CITY AT 8TH AVENUE SW BETWEEN 2ND & 4TH STREET

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2019-02-04 10:07 SPRING 2019 | AM 23

Calgary Philharmonic Orchestra

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SPRING 2019 | 25

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MEASHA SINGS WHAT SHE WANTS From opera to musicals and more, soprano embraces ultimate flexibility

D

on’t try and hem Canadian soprano Measha Brueggergosman into any one musical category — she bridges the worlds of classical, operatic, and popular music on a regular basis, and that’s just how she likes it. “It’s my voice. It’s what God ordained, so I follow. That’s a Christian way of saying, ‘I’ll do what I want,’” Brueggergosman says with a laugh.

“I have come to embrace that my life is one of a capital ‘S’ Singer. If it involves singing, I’ll do it.”

That attitude has taken her from the operatic stage to concert halls across North America, Europe, and Asia; to the recording studio where she has voiced albums spanning the classical, gospel, jazz, and pops realms; to the opening ceremonies for the 2010 Olympic Games; to being a judge on the reality television show Canada’s Got Talent.

Measha Brueggergosman

Hiep Vu

Brueggergosman says her June performances with the Calgary Philharmonic Orchestra will mark only the second time in her career that she will sing from diverse niches all on one programme — from operatic fare including Habenera from Georges Bizet’s Carmen, and Summertime from George and Ira Gershwin’s Porgy and Bess, to selections from the musicals Carousel and West Side Story, to pieces by Joni Mitchell and Leonard Cohen. “The classical technique creates ultimate flexibility,” she says. “If you can come over to the fact that singing is singing is singing, you won’t get hung up about what an orchestra or a singer should sound like, and you’ll just seek to serve the audience, which gives you the ultimate currency: their free time.”

By Kathleen Renne what it would take me to do in four… By then, I knew I was a singer, but I was so stubborn,” she says. “Learning the piano taught me what real work is. But now, as a mother, I understand that what it takes to just keep children alive is far more harrowing than mastering the piano,” she jokes, referring to her three- and six-year-old sons.

Brueggergosman received her Bachelor of Music degree at the University of Toronto and went to Germany to obtain her Master’s degree from the Robert Schumann Hochschule. She credits all the connections she’s made in her life for helping her to achieve success, and says she strives to serve a higher purpose. For example, she is involved in several charitable initiatives, including Artists Against Racism and the African Medical and Research Foundation (AMREF). “When you’re given a platform, that platform should be used for more than self-promotion,” says Brueggergosman, who is descended from African slaves who found freedom after the American Revolution when they settled in the Maritimes. “I don’t want to squander these opportunities to use my voice when so many don’t have one.”

I HAVE COME TO EMBRACE THAT MY LIFE IS ONE OF A CAPITAL ‘S’ SINGER. IF IT INVOLVES SINGING, I’LL DO IT.”

Music was a part of Brueggergosman’s life from the beginning. Her father was a deacon in a Baptist church in Fredericton, New Brunswick. She sang in the church choir and started piano and voice lessons at the age of seven, after a teacher recognized her talent. Her summers included stints at choral camps in New Brunswick and the Boston Conservatory. A self-described “intense” child, Brueggergosman did not simply accept her vocal gift.

“I was hell bent on being a pianist because singing came so easily,” she recalls.

She adds that she can’t talk about how she got where she is today without referring to her Christian faith as well as the many challenges she has faced, including her struggle with obesity, having open-heart surgery at 31 years old, losing children to miscarriage, and marital infidelity — all subjects she discusses in her 2017 memoir Something is Always on Fire: My Life So Far. “You tear a muscle and it’s made stronger,” she says.

In fact, Brueggergosman started her university career studying the piano, but soon discovered that was not the right path for her. “It was taking natural pianists one hour

“I love my job, but I’m not under any illusions that my job is the sum of my parts. It’s the byproduct of a life I’m quite proud of.”

SPRING 2019 | 27

Calgary Philharmonic Orchestra A Gala in Support of the Calgary Philharmonic Orchestra

CORK CANVAS y

The 2019 Cork and Canvas Winemaker’s Dinner on 5 April 2019 is sold out!

Special thanks to the generous artists, donors, musicians, auction supporters, event sponsors, table purchasers, ticket buyers, volunteers, winemaker and Cork and Canvas committee who help make the gala a success every year!

SAVE THE DATE FOR NEXT SEASON’S CORK AND CANVAS WINEMAKER’S DINNER 13 MAY 2020

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TCHAIKOVSKY. FRANK ZAPPA. TANYA TAGAQ. JOHN CORIGLIANO. In the CPO’s most boundary-pushing festival, we explore the powerful influences and inspirations behind these great artists. This raucous and unforgettable musical journey shines a light on the iconoclasts — genre-defying musicians and composers — whose creativity has led to profound artistic upheaval.

SPRING 2019 | 29

Revised Music for Low Budget Symphony

25

Frank Zappa (1940 to 1993)

APR

Zappa is best described in his own words, from The Real Frank Zappa Book: “One day I happened across an article about Sam Goody’s record store in Look magazine which raved about what a wonderful merchandizer he was. The writer said that Mr. Goody could sell anything — and as an example he mentioned that he had even managed to sell an album called Ionisation.

“The article went on to say something like: ‘This album is nothing but drums — it’s dissonant and terrible; the worst music in the world.’ Ahh! Yes! That’s for me!

“I turned the volume all the way up (in order to get the maximum amount of ‘fi’) and carefully placed the all-purpose osmium-tipped needle on the lead-in spiral to ‘Ionisation.’ I have a nice Catholic mother who likes to watch Roller Derby.

When she heard what came out of that little speaker at the bottom of the Decca, she looked at me like I was out of my f***ing mind.”

DISCOVERY + FESTIVAL Thursday 25 April 2019 / 7:30PM

Provocative: Percussion + Tchaikovsky

Hikoi Gareth Farr b. 1968

SPONSORS Series – United Active Living Guest Artist Sponsor – The Naomi and John Lacey Virtuoso Programme Conductor Couturier – Umberto Custom Tailors Ltd. Host Hotel – Fairmont Palliser Media – Calgary Herald, CKUA

are marks belonging Zappa, FZ, Frank Zappa and the Moustache to the Zappa Family Trust. All Rights Reserved. Used by permission.

Gareth Farr’s Hikoi is an epic journey across an ever-changing landscape of colours, timbres and emotions, led by a soloist who must command an array of percussion instruments along the way.

By turn mysterious, fearsome, dreamy and resplendent, Hikoi unfolds in waves of intensity. Rich, shimmering passages of exotic colour gradually draw in the entire orchestra to create tapestries of swirling woodwinds underpinned by thunderous percussion, which then dissipate into new stripped-back textures. Elsewhere, Farr’s love of Indonesian gamelan music can be heard, while those familiar with Farr’s music may recognize brief quotations from a selection of the composer’s other works.

Riding the waves of Hikoi is the soloist, who must navigate Farr’s

Programme and artists subject to change without notice

Rune Bergmann biography on page 7

PROGRAMME Rune Bergmann, conductor Josh Jones, percussion Zappa / Fowler

Revised Music for Low Budget Symphony

Gareth Farr

Hikoi

32'

Intermission

20'

Tchaikovsky Symphony No.6 in B Minor, Op.74, TH 30 (Pathétique) I. Adagio - Allegro non troppo II. Allegro con grazia III. Allegro molto vivace IV. Finale: Adagio lamentoso

46'

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8'

Indicates Canadian artist or composer

typically high-energy percussion writing. Frenetic tom-tom passages feature, along with a rock music-like drum solo, though peace breaks out momentarily in the form of a gentle yet nimble marimba passage. Farr adds some additional interest to the soloists journey with the inclusion of unorthodox instruments such as flower pots and car brake drums.

Sublime Music Inspired Preaching Living Tradition

Symphony No. 6 in B Minor, Op. 74 (Pathétique) Pyotr Ilyich Tchaikovsky (1840 to 1893)

Tchaikovsky believed himself the victim of a cold, implacable fate. In the last three of his six symphonies, he depicted his struggle against it.

He won some degree of victory in the fourth and fifth, but in the sixth, his final and greatest work (which could be taken as his last will and testament), fate reigned supreme.

The premiere, which he conducted in St. Petersburg on 28 October 1893, met with a puzzled reaction, especially regarding the unprecedented act of concluding a symphony with a slow movement. Nine days later he was dead, perhaps by suicide. The second performance took place at the memorial service, and made a much deeper impression than the first.

According to Tchaikovsky’s brother, Modest, on the day after the premiere the composer was still searching for an appropriate subtitle for the piece. He did not wish to call it simply “No. 6.” Modest suggested first “tragic,” which failed to please, then pathétique,” a French word of Greek origin that is commonly used in Russian. The nearest English equivalent, “pathetic,” conveys only part of the original meaning, leaving its subtext of passion and suffering unexpressed. Tchaikovsky immediately inscribed the word on the score.

Programme Notes for Tchaikovsky by Don Anderson

2019

Josh Jones Percussion

A native of Chicago, Illinois, Josh Jones began his studies in percussion with the Percussion Scholarship Program under the direction of Chicago Symphony member Patricia Dash, and Lyric Opera member Douglas Waddell. He earned his Bachelor of Music degree from DePaul School of Music, under the guidance of Lyric Opera members Eric Millstein and Michael Green, and Cleveland Orchestra member Marc Damoulakis. Before his appointment to the CPO as Principal Percussionist, Jones was the orchestra fellow of both the Detroit and Pittsburgh symphonies as well as a guest percussionist with the Chautauqua and Chicago symphonies. Jones has been featured at Carnegie Hall, on radio and television, and has had two short documentaries made about his musical development and experience. He has authored a percussion method book series, Spatial Studies for Hitting Things, and writes musical and philosophical blogs on his website (drummojo.com). Jones enjoys giving back to the community as well as mentoring young musicians and travelling.

To learn more about our musical tradition and for a complete list of choral services, visit

www.anglicancathedralcalgary.ca

The Very Rev’d Leighton Lee, Dean Dr Neil Cockburn, Director of Music

SPRING 2019 | 31

27 APR

Alexander Prior

SPONSORS Hotel – Fairmont Palliser Media – Calgary Herald PROGRAMME Alex Prior, conductor Tanya Tagaq, throat singer Christine Duncan, vocals Luminous Voices, chorus Gesualdo (arr. Alexander Prior)

Moro Lasso from Sesto libro de madrigali

3'

Gesualdo

Moro Lasso from Sesto libro de madrigali

3'

Monteverdi

Vieni Imeneo from L'Orfeo

3'

Romitelli

Dead City Radio

Tanya Tagaq, Christine Duncan + Jean Martin (orch. Christopher Mayo)

Qiksaaktuq

Barber

Symphony No. 1 in One Movement, Op. 9

Programme and artists subject to change without notice

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15' 20'

Indicates Canadian artist or composer

21'

Katrin Braga; Alexander Prior photo

Late Night: Sensory Overload

Concert photo

LATE NIGHT + FESTIVAL Saturday 27 April 2019 / 9PM

Alexander Prior, 26, is Chief Conductor of the Edmonton Symphony Orchestra (ESO). Recent engagements included the Royal Philharmonic Orchestra, Copenhagen Philharmonic, NDR Sinfonieorchester, Camerata Salzburg, Düsseldorfer Symphoniker, Norwegian Radio Orchestra, Aarhus Symphony Orchestra, Bayerische Staatskapelle, Vienna Chamber Orchestra, Deutsche Kammerphilharmonie Bremen, Orchestra of Mannheim Opera, and Spanish Radio and Television Symphony Orchestra. In the United States, Prior has appeared with the Seattle Symphony and New World Symphony.

Prior’s compositions include several high-profile commissions. His ballet Mowgli, commissioned by the Moscow State Ballet, secured international critical acclaim and has been running for almost 10 consecutive years.

The ESO recently premiered his latest composition, Putl’lt, a large symphonic work. A graduate of the St. Petersburg Conservatory, Prior was a James Levine Fellow at the Tanglewood Music Center and was awarded a Conducting Fellowship at the Aspen Music Festival. In 2009/2010, he served as Assistant Conductor at the Seattle Symphony Orchestra. His mentors include Thomas Dausgaard, Robert Spano, Michael Tilson Thomas at the New World Symphony, Andrew Manze, and Nicholas McGegen and Rafael Fruhbeck de Burgos — both at the Los Angeles Philharmonic.

Diana Unt Photography

Conductor

Tanya Tagaq

Christine Duncan

Luminous Voices

Tanya Tagaq’s music is like nothing you’ve heard before. The Arctic-born artist is an improvisational performer, avant-garde composer and experimental recording artist who won the 2014 Polaris Music Prize for an album called Animism, a work that disrupted the music world in Canada and beyond with its powerfully original vision. Tagaq contorts elements of punk, metal, and electronica into a complex and contemporary sound that begins in breath, a communal and fundamental phenomenon. While 2014’s Polaris Music Prize win signaled an awakening to Tagaq’s art and messages, she has been touring and collaborating with an elite international circle of artists for over a decade. Tagaq’s improvisational approach lends itself to collaboration across genres, and recent projects have pulled her in vastly different directions, from contributing guest vocals to a F**ked Up song (a hardcore punk band from Toronto) to premiering a composition made for Kronos Quartet’s Fifty for the Future collection, and composing a piece for the Toronto Symphony Orchestra.

Tagaq's most recent album, Retribution, was released in fall 2016.

Christine Duncan is a Canadian artist, based in Toronto, who has been performing with Tanya Tagaq since 2014. She directs an improvising choir called the Element Choir, which often performs with Tagaq in Toronto, and Duncan trains improv choirs to perform with Tagaq in other cities as well. Duncan is a veteran vocalist and a musical chameleon who has been involved in everything from jazz, R&B, gospel, improvised music, and sound poetry, to new music, opera, and musique actuelle — and is known for using her voice as an instrument. She also plays the theremin (fun fact!).

With Tagaq and longtime collaborator Jean Martin, Duncan is part of the creation team and the ongoing performances of the symphonic piece Qiksaaktuq; she conducts the orchestral brass in structured improvisation during the performances.

An active educator and clinician, Duncan teaches in the jazz programs at the University of Toronto and Humber College.

Luminous Voices, founded in 2012

by Conductor and Artistic Director Timothy Shantz, continues to thrill audiences in Calgary and beyond through performances, recordings and workshops. The choir has two recordings to its name, including the most recent, The Far West, released in May 2016. Joshua Kosman of the San Francisco Chronicle wrote that the recording is “beautifully sung, as everything here is, by the aptly named Luminous Voices under Timothy Shantz.” The Far West is the winner of the 2018 National Choral Award for Outstanding Choral Recording and the 2016 National Choral Award for Outstanding Choral Composition from Choral Canada.

Luminous Voice’s first recording, Mendelssohn’s Te Deum, released in March 2015, was the winner of the 2016 Choral Canada award for Outstanding Choral Recording. Luminous Voices illuminates exceptional choral music of the past and present while supporting contemporary composers by commissioning new works.

Vocals

Choir

Tanya Tagaq photo

Rebecca Wood

Throat Singer

SPRING 2019 | 33

Three Hallucinations

23 + 4

John Corigliano (b. 1938)

DEC MAY

Corigliano composed his first film score for Altered States (1980), maverick director Ken Russell’s dynamic science fiction/horror story about a research scientist (William Hurt) whose experiments in sensory deprivation and hallucinogenic drugs lead him on a terrifying journey into the unknown. Three Hallucinations, a concert suite based on the score, appeared in 1982.

SHOWCASE + FESTIVAL Friday 3 May 2019 / 7:30PM Saturday 4 May 2019 / 7:30PM

Violin Concerto (The Red Violin) John Corigliano

PROGRAMME Rune Bergmann, conductor Lara St. John, violin John Corigliano Three Hallucinations

13'

Violin Concerto (The Red Violin) I. Chaconne II. Pianissimo Scherzo III. Andante Flautando IV. Accelerando Finale

35'

Intermission

20'

Stravinsky The Rite of Spring (Le sacre du printemps) Part 1: Adoration of the Earth I. Introduction II. The Augurs of Spring — Dances of the Young III. Girls IV. Ritual of Abduction V. Ritual of the Rival Tribes VI. Procession of the Sage VII. The Sage VIII. Dance of the Earth Part 2: The Sacrifice I. Introduction II. Mystic Circle of the Young Girls III. Glorification of the Chosen One IV. Evocation of the Ancestors V. Ritual Action of the Ancestors VI. Sacrificial Dance

33'

Programme and artists subject to change without notice

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Indicates Canadian artist or composer

The Rite of Spring (Le sacre du printemps) Igor Stravinsky (1882 to 1971)

Stravinsky shot to fame in 1910, when Les Ballets russes premiered his dance score, The Firebird. During the final stages of composing it, Rune Bergmann biography on page 7

James Farley

SPONSORS Guest Artist Sponsor – The Naomi and John Lacey Virtuoso Programme Live-stream Sponsor – Rabinovitz Family Conductor Couturier – Umberto Custom Tailors Ltd. Host Hotel – Fairmont Palliser Media – Calgary Herald, 770 CHQR

Corigliano won an Academy Award for his third film score, the music for director François Girard’s 1997 movie The Red Violin. The movie follows a magnificent but haunted violin from owner to owner over a 400-year period. Corigliano has created three concert works based on the score, including the suite for solo violin and string orchestra that you will hear at this concert.

“The score for The Red Violin gave me an opportunity to visit my own past,” he writes, “for my father, John Corigliano (I was a “Jr.”) was a great solo violinist and the concertmaster of the New York Philharmonic for more than a quarter of a century.

It is no wonder that the concerto form, and the violin concerto in particular, has a deep place in my heart.

I have written a half-dozen concerti, but this is my first one for my first love, the violin. It is an ‘in the great tradition’ kind of concerto, because I wrote it in an attempt to write the piece my father would love to play.

Because he inspired it, it is dedicated to his memory.”

Concert photo

Controversial Classics

Lara St. John photo

Clive Barda

Stravinsky had a vision: “I saw in imagination a solemn pagan rite: wise elders, seated in a circle, watching a young girl dance herself to death. They were sacrificing her to propitiate the god of spring.”

Sergei Diaghilev, impresario of the company, sensed the choreographic possibilities in this material and asked Stravinsky to develop them.

The composer and scenic designer/archaeologist Nicolaus Roerich collaborated on the scenario of Le sacre du printemps, fleshing out Stravinsky’s original conception and placing it in an ancient Slavic community.

Diaghilev entrusted the choreography to Vaslav Nijinsky, one of his company’s most gifted soloists, but an inexperienced dance master. The rehearsals degenerated into little more than frantic exercises in counting, resulting in frayed nerves and explosions of temper. Still, the final run through went off smoothly, without a hint of possible controversy.

All that changed at the first performance, in Paris on 29 May 1913.

“Mild protests against the music could be heard from the beginning,” Stravinsky wrote. “Then, when the curtain opened on a group of knockkneed and long-braided Lolitas jumping up and down the storm broke.” The auditorium was in an uproar, the production’s supporters and detractors clamouring to make their feelings known. Overnight, The Rite of Spring transformed perceptions of Stravinsky from talented if dutiful follower of Rimsky-Korsakov and Debussy to the ranks of such “wild men” of music as Bartók and Schoenberg.

The music’s true home lies in the concert hall. There, listeners are free to make with it whatever associations they wish, or can simply react in a non-specific way to this propulsive, literally earth-shaking score. Its ability to astonish and electrify remains undiminished, 106 years after it took the world by storm.

Programme Notes by Don Anderson

2019

Lara St. John

John Corigliano

Canadian-born violinist Lara St. John has been described as “something of a phenomenon” by The Strad and a “high-powered soloist” by the New York Times. She has performed as soloist with the orchestras of Cleveland, Philadelphia, San Francisco, Seattle, Toronto, Montreal, Vancouver, and the major orchestras of Europe, Asia, South America, and Australia/ New Zealand. The Los Angeles Times wrote “Lara St. John happens to be a volcanic violinist with a huge, fabulous tone that pours out of her like molten lava. She has technique to burn and plays at a constant high heat.” St. John created her own record label, Ancalagon, in 1999, and has recorded with the Royal Philharmonic, the Simon Bolivar Youth Orchestra of Venezuela, and The Knights, with which she won a Juno Award in 2011. She began playing the violin at two years old, made her first appearance as soloist with orchestra at four, and her European debut with the Gulbenkian Orchestra in Lisbon at 10. She performs on the 1779 “Salabue” Guadagnini thanks to an anonymous donor.

John Corigliano continues to add to one of the richest, most unusual, and widely celebrated bodies of work in the last 40 years. Corigliano’s scores have won him the Pulitzer Prize, the Grawemeyer Award, five Grammy Awards, and an Academy Award, and have been performed and recorded by prominent musicians around the world. Recent scores include Rhymes for the Irreverent and no comet ever scratched the sky for baritone and piano (2017); One Sweet Morning (2011), premiered by the New York Philharmonic and Stephanie Blythe; Conjurer (2008), for percussion and string orchestra; Concerto for Violin and Orchestra: The Red Violin (2005); and Symphony No. 2 (2001 Pulitzer Prize in Music). Others include an orchestral version of Stomp (commissioned

by Houston Symphony Orchestra, 2015); String Quartet (1995: Grammy Award); and the opera The Ghosts of Versailles (Metropolitan Opera commission, 1991). Corigliano’s music is performed widely, including throughout the United States and Europe, Caracas, Australia, China, Russia, Tokyo, Krakow, Toronto, Bosnia, and beyond. His 80th birthday in 2018 was celebrated with performances far and wide.

Violin

Composer

SPRING 2019 | 35

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The Hebrides Overture (Fingal’s Cave), Op. 26

10 + 11

Felix Mendelssohn (1809 to 1847)

MAY

In 1829, Mendelssohn visited the Hebrides, the islands located off Scotland’s northwest coast. On 7 August, he wrote to his sister, Fanny, “In order to make you understand how extraordinarily the Hebrides affected me, the following came to my mind there.” “The following” was a draft opening of The Hebrides Overture. Reaching the island of Staffa the following day, he paid a visit by rowboat to its most famous attraction: the flooded grotto known as Fingal’s Cave, which was named after a hero of Gaelic mythology. Mendelssohn turned his impressions of the Hebrides into this highly atmospheric concert overture.

MASTERWORKS Friday 10 May 2019 / 7:30PM Saturday 11 May 2019 / 7:30PM

Piano Concerto No. 2 in A Major, S. 125 Franz Liszt (1811 to 1886)

Bach + Liszt with Konstantin Shamray SPONSORS Guest Conductor Sponsor – Brussa Brava! Legacy Programme Guest Artist Sponsor – The Naomi and John Lacey Virtuoso Programme Host Hotel – Fairmont Palliser Media – Calgary Herald, 770 CHQR PROGRAMME Eun Sun Kim, conductor Konstantin Shamray, piano Mendelssohn

The Hebrides Overture (Fingal's Cave), Op. 26

Liszt Piano Concerto No. 2 in A Major, S. 125 I. Adagio sostenuto assai - Allegro agitato assai II. Allegro moderato III. Allegro deciso - Marziale un poco meno allegro IV. Allegro animato

10' 21'

Intermission

20'

J.S. Bach Keyboard Concerto No. 5 in F Minor, BWV 1056 I. [No tempo indicated] II. Largo III. Presto

10'

Dvořák Symphony No. 8 in G Major, Op. 88 I. Allegro con brio II. Adagio III. Alleretto grazioso IV. Allegro ma non troppo

34'

Programme and artists subject to change without notice

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Liszt created a method of composition in which he constructed an entire work on the development of a few short, simple themes. That was how he built not only the 13 symphonic poems, but also the piano concertos. The concertos are, in effect, symphonic poems with the piano soloist as the central character. Concertos 1 and 2 evolved over lengthy periods, perhaps as much as 30 years. He completed the initial version of Concerto No. 2 in 1849. He revamped it several times before its publication in 1861. The first performance had taken place four years before that, in Weimar, Germany. Liszt conducted, and his pupil Hans von Bronsart played the solo part. He cast this dynamic and poetic concerto in one, continuous movement consisting of subsections in contrasting moods and tempos.

Keyboard Concerto No. 5 in F Minor, BWV 1056 Johann Sebastian Bach (1685 to 1750)

Bach composed his keyboard concertos during his term in Leipzig, the final 27 years of his life. He took on the supervision of the city’s Colle-

gium Musicum, a volunteer ensemble that gave public concerts on Fridays at establishments owned

by Gottfried Zimmerman. For those events, Bach created more than a dozen concertos for one or more keyboards. In his time the solo parts were played on the harpsichord, but they have long been adopted by pianists as well. Based on previously existing works, not all of them his own, they are the earliest surviving keyboard concertos. He was the first composer to bring the harpsichord forward into the solo spotlight from its long-standing role of accompanist or continuo player.

Symphony No. 8 in G Major, Op. 88 Antonín Dvořák (1841 to 1904)

Building on the Nationalist Czech school that Bedřich Smetana had established, Dvořák raised it to new heights of sophistication and international popularity. He composed the eighth of his nine symphonies during the summer and autumn of 1889, in the idyllic surroundings of his beloved, restful country estate at Vysoká, outside Prague. Its contented, pastoral nature mirrors that location. He conducted the premiere himself, in Prague on 2 February 1890. He directed further performances in Frankfurt, and as gestures of thanks to the Universities of Cambridge and Prague for the degrees they bestowed upon him.

Those latter occasions bear a tinge of irony, since the eighth is his least “academic” symphony. The innovative approach to form that is one of its major characteristics reflects his stated desire to make it “different from the other symphonies, with individual thoughts worked out in a new way.”

2019

Konstantin Shamray

Following her sensational debut with Houston Grand Opera’s 2017/2018 production of La Traviata, Eun Sun Kim was named the company’s next Principal Guest Conductor beginning in 2019 — the first conductor to hold this title in Houston in 25 years — and will further her operatic presence in North America with a new production of Rusalka at San Francisco Opera.

She also received praise for her performance of Verdi’s Messa de Requiem with the Cincinnati Symphony and May Festival Chorus in May 2018. Kim is a regular guest conductor at many European opera houses, including the Berlin State Opera, Royal Danish Opera in Copenhagen, Bavarian State Opera, and Stuttgart Opera. She can also be seen on the concert stage this season with symphony orchestras in Paris, Lille, Malmö, Milwaukee, Calgary and Santiago de Compostela. Kim studied composition and conducting in her hometown of Seoul before continuing her studies in Stuttgart.

Acclaimed as an “undisputed star”

by The Australian, Russian pianist Konstantin Shamray is established as one of the most exciting pianists of his generation, with a reputation for an elegantly virtuosic sensibility and insightful interpretation. He performs with leading orchestras including the Russian National Philharmonic, the Mariinsky Theatre Orchestra, Orchestre National de Lyon, Calgary Philharmonic Orchestra, and Sydney Symphony under the baton of conductors including Vladimir Spivakov, Dmitry Liss, Tugan Sokhiev, Nicholas Milton and Alexandr Vedernikov. As a recitalist and chamber musician he has performed at festivals including Klavier-Festival Ruhr, the Bochum Festival in Germany, the Mariinsky International Piano Festival, and the Adelaide Festival. In 2008, Shamray won the First Prize and People’s Choice prize at the Sydney International Piano Competition of Australia. Born into a musical family in Novosibirsk, Russia, Shamray studied with Professors Tatiana Zelikman and Vladimir Tropp at the Gnessin Academy, and with Professor Tibor Szasz at the Freiburg Musikhochschule. He completed a PhD at the University of Adelaide.

Conductor

Piano

Eun Sun Kim

Nikolaj Lund

Programme Notes by Don Anderson

Eun Sun Kim

SPRING 2019 | 39

26 MAY

Instrument Instrument Discovery Discovery Zoo Zoo

SYMPHONY SUNDAYS FOR KIDS Sunday 26 May 2019 / 3PM Instrument Discovery Zoo / 2PM

Gershwin’s Magic Key SPONSORS Associate Conductor Sponsor – Mary Rozsa de Coquet Conductor Couturier – Umberto Custom Tailors Ltd. Instrument Discovery Zoo – Long & McQuade, V.A. Hill Fine Strings Ltd. Host Hotel – Fairmont Palliser Media – Shine FM, Calgary Herald

Do you have a budding musician on your hands?

Do you have a budding The Instrument Discovery musician on your hands? Zoo at the Calgary Philharmonic The Instrument Discovery Zoo Orchestra givesPhilharmonic kids a chance at the Calgary to learn firsthand what it’s like Orchestra gives kids a chance blow firsthand in a trumpet run a to learn whatorit’s like bow across strings to blow in a the trumpet or of run a a violin. bow across the strings of a violin.

Families attending Symphony Sunday for Kids concerts are Families attending Symphony invited to and are visit Sunday forcome Kids early concerts one of several hosted invited to comestations early and visit by musician. onean ofOrchestra several stations hosted Each features a by anstation Orchestra musician. different instrument or amusical Each station features activity children to This differentfor instrument ortry. musical fun, hands-on experience is activity for children to try. This the perfect way to indulgeis fun, hands-on experience yourperfect child’s way curiosity and the to indulge excitement visiting your child’s about curiosity and the Orchestra. excitement about visiting the Orchestra.

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

PROGRAMME Karl Hirzer, conductor Classical Kids LIVE!, ensemble Gershwin

Music Excerpts

Overture from Catfish Row: Symphonic Suite in Five Parts: Movement I | Swanee | Fugue subject from Catfish Row: Symphonic Suite in Five Parts: Movement I | I Got Plenty O’Nuttin from Catfish Row: Symphonic Suite in Five Parts: Movement II | Strike Up The Band | Take Me Out to the Ball Game | I’ll Build a Stairway to Paradise | Nice Work If You Can Get It | Oh, You Beautiful Doll (Ayer) + Baby Face | Rialto Ripples | Second Rhapsody (New York Rhapsody) | Promenade | An American in Paris | Summertime + Bess, You Is My Woman Now from Catfish Row: Symphonic Suite in Five Parts: Movements I & II | Oh Lord, I’m On My Way from Catfish Row: Symphonic Suite in Five Parts: Movement V | Concerto in F: Movement III | Medley from Oh, Kay! | Second Prelude (Blue Lullaby) | Cuban Overture | Fascinating Rhythm | Rhapsody in Blue Programme and artists subject to change without notice

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Indicates Canadian artist or composer

Karl Hirzer biography on page 7

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Ensemble

George Gershwin, music Ira Gershwin, lyrics Paul Pement, creator + director Will Martin, Elizabeth Wheeler, Paul Pement, writers Elic Bramlett, actor Lance Newton, actor Will Martin, pianist + music supervisor THE WORLDWIDE COPYRIGHTS IN THE MUSIC OF GEORGE AND IRA GERSHWIN FOR THIS PRODUCTION ARE LICENSED BY THE GERSHWIN FAMILY. Porgy and Bess permissions granted by the Dubose and Dorothy Heyward Memorial Fund.

Projection footage and imagery courtesy of Harold Lloyd Entertainment and the Library of Congress.

Actors and Stage Manager are members of Actors’ Equity Association.

Terry Edwards, Artistic Director • 2018-2019 with special guest

Crucifixus ROSA BAROCCA

SACRED CHORAL WORKS

BY LOTTI & BACH

GOOD FRIDAY, APRIL 19 AT 7:30PM SUNDAY 24 MARCH 2019 BELLA HALL, TAYLOR CENTRE FOR 3:00CONCERT PM THE PERFORMING ARTS, MOUNT ROYAL UNIVERSITY

Knox United Church, 506 – 4 Street SW

Tickets: tickets.mru.ca and 403-440-7770 Information: www.luminousvoices.com

CHOIR, ORCHESTRA & SOLOISTS COMMUNITY SING III.

PROGRAM

April 3, 4:00-5:30PM at the new Central Library J.S. BACH Cantata 146 & Cantata 12 BACH'SKlagen, ST. JOHN “Weinen, Sorgen,PASSION Zagen” RECITATIVE MASTERCLASS LOTTI Missa Sancti Christophori April 16, 7:00-9:00PM at cSPACE King Edward Program subject to change

Adults/Seniors—$20 • Students—Free Tickets cash only at the door or TAYLOR in advance online at brownpapertickets.com CENTRE FOR THE PERFORMING ARTS

2018-19 SEASON

// 31

ST

SEASON

J.S. BACH'S

classicalkidslive.com.

Calgary Bach Choir

ST. JOHN PASSION

Classical Kids LIVE! is produced by Classical Kids Music Education, a Chicago-based not-for-profit organization that works to enrich communities through direct access to culturally significant venues, professional artists and organizations, and high-quality theatrical concert productions, while fostering new appreciation for classical music and music history. In combination with the Classical Kids Teaching Edition, Classical Kids LIVE! serves as one of the world’s best educational outreach and community engagement programs contributing to the long-term health of classical music. Having received more awards and honours than any other entity of its kind, Classical Kids is proud to say, “We’re making a difference!”

BAROQUE & BEYOND calgarybachsociety.com CalgaryBachSociety

63 Hamptons Hts. NW Calgary, AB T3A 5W1, Ph. 403 208 8307, suehaukedesign@shaw.ca Publication deadline: January 28, 2019 Client: Calgary Bach Choir; Terry Edwards Description: Crucifixus Sacred Choral Works by Lotti & Bach Size: 1/3 page square: 4.75”x 4.75”

@CalBachchoir

SPRING 2019 | 41

Renée Fleming’s Music of the Mind

Mozart’s Birthday Party

Renowned American soprano Renée Fleming, who performed a solo concert with the CPO in September, shared her Music and the Mind programme at a special event with the CPO and the U of C’s Hotchkiss Brain Institute. The programme focuses on how music affects the brain and overall health.

For the first time, the CPO was part of One Yellow Rabbit’s High Performance Rodeo in January — and the result was a party to remember in celebration of Mozart’s 263rd birthday, which also happens to be (much younger) Music Director Rune Bergmann’s birthday.

Creative Calgary The CPO and other arts organizations in Calgary joined forces under the Creative Calgary umbrella to ask for an increase in funding — Calgary had the lowest per capita arts funding in Canada — and demonstrate the economic benefits it would bring to the entire community. The campaign was a success!

2018/2019 SEASON HIGHLIGHTS 42 | PRELUDE calgaryphil.com | 403.571.0849

Live-Stream The Calgary Philharmonic Orchestra continued its successful Live-Stream initiative with Renée Fleming, Verdi Requiem and Brahms Double with Cohen + Choi so far this season, reaching thousands of people around the world. Two more Live-Streams are coming up: Controversial Classics, and Summertime Send-off with Measha Brueggergosman. Live-Streams are available for viewing in our archive: calgaryphil.com/live-stream

Beat Beethoven

Toy Drive

Golden Baton

A few snowflakes didn’t slow anyone down at the first-ever Beat Beethoven event with Run Calgary in September.

Participants raced to finish the course before the CPO finished a performance of Beethoven’s best music. For their efforts, they enjoyed a free concert and a special glass of Champagne. It was so much fun we’re doing it again in September 2019!

When the CPO put out a call for donations to the Calgary Women’s Emergency Shelter’s annual toy drive, the generosity of our audience members exceeded expectations. Children and families attending the ’Tis the Season: Kids’ Holiday Special in December filled an entire bin with new toys for donation.

Thank you!

The CPO was thrilled to honour Andrea Brussa, a long-time supporter and pillar of the local arts community, with its prestigious Golden Baton Award in November. The Brussa Brava! Legacy Programme was instrumental in bringing five leading female conductors to Calgary this season, including upcoming concerts led by Mélanie Léonard (22 + 23 March) and Eun Sun Kim (10 + 11 May).

#LoveYYC CPO Associate Conductor Karl Hirzer joined the fun for Tourism Calgary’s #LoveYYC day, helping us show our love of this city and its residents. We love you, Calgary!

SPRING 2019 | 43

Piano Concerto No. 2 in G Minor, Op. 16 Sergei Prokofiev (1891 to 1953)

31 + 1 MAY + JUN

Prokofiev composed this dynamic work during the summer of 1913.

He played the premiere himself, in Pavlovsk on 5 September, at a fancy party on the lawn at Tsar Paul’s elaborate, English-style palace.

Naturally this bold, saucy music appalled the audience, who were accustomed to hearing familiar, non-threatening background music as they dined.

Twice as long as Concerto No. 1, Concerto No. 2 was Prokofiev’s biggest, most ambitious work to date.

Just how much creative progress it represents is impossible to judge.

He left the manuscript score behind when he departed from Russia in 1918 and it has yet to reappear. In 1923, the much more experienced composer (he had already written the assured and enormously popular Concerto No. 3) created a reconstructed and revised version. This is the form in which it has been known ever since.

SHOWCASE Friday 31 May 2019 / 7:30PM Saturday 1 June 2019 / 7:30PM

Symphony No. 4 in G Major

Prokofiev + Mahler with Yefim Bronfman SPONSORS Conductor Couturier – Umberto Custom Tailors Ltd. Host Hotel – Fairmont Palliser Media – Calgary Herald, 770 CHQR PROGRAMME Rune Bergmann, conductor Yefim Bronfman, piano Anne-Marie MacIntosh, soprano Prokofiev Piano Concerto No. 2 in G Minor, Op. 16 I. Andantino II. Scherzo: Vivace III. Moderato IV. Finale: Allegro tempestoso

31'

Intermission

20'

Mahler Symphony No. 4 in G Major I. Bedächtig; nicht eilen II. In gemächlicher Bewegung; ohne Hast III. Ruhevoll IV. Sehr behaglich

54'

Programme and artists subject to change without notice

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Indicates Canadian artist or composer

During Mahler’s lifetime, he was better known, and more widely praised, as a conductor than as a composer. He lived to see at least part of this venomous tide reversed.

His later years brought growing appreciation of his music, climaxing in the triumphant 1910 premiere of the mammoth Symphony No. 8. Time ran out before he could capitalize on it personally: he died just eight months later. “My time will come,” he stated, commenting on his music’s lack of widespread acceptance during his lifetime. How right he was!

After creating colossal canvasses that addressed profound philosophical issues in the previous two symphonies, Mahler shifted direction in the fourth.

The result was a shorter, gentler composition, scored for a smaller orchestra and not calling for a chorus.

Its origins lay several years in the past. In 1892, he composed a setting for soprano and orchestra of The Rune Bergmann biography on page 7

Concert photo

Presented in partnership with Sir Jack Lyons Charitable Trust

Oded Antman

Gustav Mahler (1860 to 1911)

Heavenly Life, a poem from The Youth’s Magic Horn, a collection of German folklore. Intending to use it as the seventh and final movement of his third symphony, instead he put it aside because this would have made the piece nearly two hours long.

When he began his fourth in 1899, he settled on using the discarded movement as the finale, then composed the first three sections. He completed the symphony during the summer of 1900, although he continued to make minor revisions until shortly before the premiere, which he conducted himself, in Munich on 25 November 1901.

Few listeners cared for it initially.

Its lightness and grace confounded many who had come to appreciate his massive, soul-stirring previous creations. His numerous detractors fell upon it like wolves, condemning it as a sick joke, a circus act, or even a “Black Mass,” to quote one reviewer.

They also criticized him for concluding so serious a work as a symphony with a folk-like song. During the remaining decade of his life, as audiences came to understand what to expect of it, it won its due share of esteem.

The naïveté which may appear so pervasive an ingredient on first hearing proves entirely superficial on closer acquaintance. A sophisticated creative mind and a total mastery of the orchestra are at work in every bar.

Mahler’s previously demonstrated insight into life, and his deep faith in humanity, here strike no less moving a chord for his clothing them in such intimate, literally angelic radiance.

2019

Anne-Marie MacIntosh

In celebration of the 80th birthday of Maestro Temirkanov, Yefim Bronfman’s 2018/2019 season begins with a European tour with St. Petersburg Philharmonic. This is followed by a Scandinavian tour with The Royal Concertgebouw, orchestral concerts in Europe during the season in Paris, London, Cologne, Rome, Berlin, and a tour with the Vienna Philharmonic. In the United States he will return to orchestras in Cleveland, New York, Los Angeles, Houston, St. Louis, Cincinnati, San Francisco, and Dallas, and perform in recital in New York, Berkeley, Stanford, Aspen, Madrid, Geneva, Cologne, Leipzig, Munich, Berlin, Naples, Rome, and on tour in the spring with mezzosoprano Magdalena Kozena. He has given numerous recitals in the leading halls of North America, Europe and the Far East. In 1991 he was awarded the prestigious Avery Fisher Prize and in 2015 he received an honorary doctorate from the Manhattan School of Music. Yefim Bronfman became an American citizen in July 1989.

Soprano Anne-Marie MacIntosh is a rising star in Canada’s classical music scene, recognized recently in the Globe and Mail as one of “The Voices of a Generation.” A native of Langley, British Columbia, MacIntosh is a recent alumna of the Calgary Opera Emerging Artist Development Program. As an Emerging Artist, she performed several roles including Berta (Il barbiere di Siviglia), Despina (Così fan tutte), and Laurette (Docteur Miracle). Last fall, MacIntosh returned to Calgary Opera for her debut as Juliette in Gounod’s Roméo et Juliette. Her previous operatic credits include Pamina (The Magic Flute), Adina (L’elisir d’amore), and Cleopatra (Giulio Cesare). In concert, she most recently performed with the Festival Chorus as the soprano soloist in Haydn’s Creation. In 2017, she appeared with the Calgary Philharmonic Orchestra as part of the Canada 150 celebrations in Olympic Plaza. She has also been featured with the Winnipeg Symphony Orchestra in Carmina Burana, and with the Vancouver Oratorio Society in Poulenc’s Gloria.

Piano

Soprano

Yefim Bronfman

Dario Acosta

Programme Notes by Don Anderson

Yefim Bronfman

SPRING 2019 | 45

Suite No. 2 from Romeo and Juliet, Op. 64ter

7+8

Sergei Prokofiev (1891 to 1953)

JUN

POPS Friday 7 June 2019 / 7:30PM Saturday 8 June 2019 / 7:30PM

Summertime Send-Off with Measha Brueggergosman SPONSORS Guest Artist Sponsor – The Naomi and John Lacey Virtuoso Programme Chorus Sponsor – Borak Forte Programme Live-stream Sponsor – Rabinovitz Family Conductor Couturier – Umberto Custom Tailors Ltd. Host Hotel – Fairmont Palliser Media – Calgary Herald, XL 103 PROGRAMME Rune Bergmann, conductor Measha Brueggergosman, soprano Calgary Philharmonic Chorus Bizet

Overture from Carmen

3'

Massenet

L’Extase de la vièrge from La vièrge

8'

Bizet “Les voici, voici la quadrille” from Carmen “Habanera” from Carmen

4' 4'

Weill

“Oh, Show Us the Way...” from Rise and Fall of the City of Mahagonny

4'

Prokofiev

Suite No. 2 from Romeo and Juliet, Op. 64ter

30'

Bernstein (arr. Mason)

Mambo from West Side Story Somewhere from West Side Story

3' 4'

Gershwin

Summertime from Porgy and Bess

4'

Rodgers + Hammerstein (arr. Aaron Davis)

You’ll Never Walk Alone from Carousel

3'

Traditional (arr. Aaron Davis)

Swing Low, Sweet Chariot / Ride On King Jesus / Amazing Grace / He’s Got the Whole World

Joni Mitchell (arr. Aaron Davis)

Both Sides Now

Programme and artists subject to change without notice

46 | 46 PRELUDE | PRELUDE calgaryphil.com calgaryphil.com | 403.571.0849 | 403.571.0849

15'

4'

Indicates Canadian artist or composer

Habanera from Carmen Georges Bizet (1838 to 1875)

Returning to Paris after studies in Italy, Bizet plunged into the hectic lifestyle he followed for the remainder of his regrettably brief career. The path to Carmen, his masterpiece and the most popular of all French-language operas, involved numerous other operas, either fully composed, sketched or merely projected.

Rune Bergmann biography on page 7

Hiep Vu

20'

Concert photo

Intermission

In 1934, the Leningrad Opera and Ballet Company commissioned Prokofiev to compose a ballet based on Shakespeare’s great tragic romance, Romeo and Juliet.

He and the company’s director, Sergei Radlov, spent months working on the scenario. Meanwhile a newly installed company management decided to withdraw from the project. Undaunted, Prokofiev struck a deal to have it staged by Moscow’s Bolshoi Theatre. He then proceeded to complete his score, which he did in five months’ worth of concentrated, inspired effort ending in September 1935. Alas, history repeated itself and the Bolshoi decided to pass on it, too. In order to have the music heard, Prokofiev drew upon it for a set of 10 piano transcriptions and two orchestral concert suites (a third followed in 1947). These performances will present the complete concert Suite No. 2.

The ballet finally saw the stage in December 1938 in Brno, Czechoslovakia. That production was successful enough. More than a year passed before the appearance of the first staging to do the score justice, once the Kirov agreed to mount the first production within the Soviet Union.

It won an unqualified triumph at its debut on 11 January 1940. The music has long been recognized as Prokofiev’s masterpiece, containing an impressive variety of music, from passionate to whimsical to tragic.

Les pêcheurs de perles (The Pearl Fishers) was the first to reach the stage, debuting with moderate success at the Théâtre Lyrique in Paris in 1863. The same house saw the first production of La jolie fille de Perth (The Fair Maid of Perth) four years later. Despite drawing the most favourable reviews Bizet ever received, it failed to catch the public’s fancy.

The legend that Carmen flopped at its premiere in 1875 dies hard. In fact, it racked up 48 performances in its first year, quite a respectable total. Bizet, alas, died of a throat infection three months after its debut, without knowing that it would find global esteem. The reasons for its renown are easy to spot. It overflows with gorgeous melodies, each one clothed in the perfect orchestral colouring. Bizet sketched the Spanish atmosphere with great vividness, and peopled his opera with bold, memorable characters, none more so than Carmen herself, a tempestuous, irresistibly alluring gypsy heart-breaker. She introduces herself in this literally seductive aria from Act One. As soon as he hears it, the object of her attention — weak-willed soldier Don José — becomes her slave.

L’Extase de la vierge from La vierge Jules Massenet (1842 to 1912)

Powered by an enviable flair for lyrical melody and a richly textured style of orchestration, Massenet’s nearly 30 operas made him one of the most successful French composers of the day. Chronicling the life of Christ’s mother, Mary, the concert oratorio (or sacred legend) La vierge (The Virgin) premiered in 1880. This radiant excerpt depicts her assumption to heaven.

Programme Notes by Don Anderson

2019

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an rg d i i c o o ra Measha Brueggergosman Soprano

Motivated and hungry for new experiences, soprano Measha Brueggergosman’s career effortlessly embraces the broadest array of performance platforms and musical styles and genres.

Brueggergosman began her career predominantly committed to the art of the song recital and has presented innovative programs at Carnegie Hall, Washington’s Kennedy Center, London’s Wigmore Hall, both the Konzerthaus and Musikverein in Vienna, Madrid’s Teatro Real, as well as at the Schwarzenberg, Edinburgh, Verbier, and Bergen festivals with celebrated collaborative pianists Justus Zeyen, Roger Vignoles, Julius Drake, and Simon Lepper.

In the 2018/2019 season, highlights include her operatic debut at Finnish National Opera for performances as Giulietta in The Tales of Hoffmann, a return to the Barbican London in recital, an appearance at Carnegie Hall with the New World Symphony, performances as Elettra in Ideomeneo at Opera Atelier, Los Angeles Philharmonic with Sir Michael Tilson Thomas, and the Rundfunk Sinfonie Orchester Berlin and Vladimir Jurowski.

Brueggergosman champions the education and involvement of new audiences and holds several honorary doctorates and ambassadorial titles with international charities.

MEET OUR CONDUCTOR Dave Bohati, head chef for Murrieta’s Calgary, has spent over 20 years working in kitchens around Canada and earning achievements in prestigious culinary championships.

Join us for dinner at Murrieta’s Calgary before your next concert.

200 – 808 1st Street SW 403.269.7707 | murrietas.ca | ? @

SPRING 2019 | 47

From left to right: Katherine Chi, Thorgy Thor, Paul Brandt, Itzhak Perlman, Jeremy Dutcher, and Jeannette Sorrell

Calgary Philharmonic Orchestra

SUBSCRIPTIONS ON SALE NOW! Subscribers receive early access to tickets for a benefit concert featuring legendary violin virtuoso Itzhak Perlman.

Subscription packages start at only $100.

Subscribe by 11 April 2019 to enter our early-bird draw for a luxurious stay at Fairmont Chateau Lake Louise.

Single tickets on sale 10 June 2019.

Visit calgaryphil.com for more information

calgaryphil.com | 403.571.0849 SPRING 2019 | 49

MUSIC LOVERS UNITE AT CALGARY PUBLIC LIBRARY

C

algary Public Library’s oldest location — Memorial Park Library — is a long-standing cultural hub. When it opened in 1912, the library was the site of the city’s first art show and housed tenants like the Calgary Natural History Society. Later, Calgary became the first library system in Canada to offer a record loan service. A music room with recordings and a phonograph system opened, and concerts of recorded classical music were regularly hosted.

Today, Memorial Park Library is still the place for music lovers of all ages. People can borrow instruments, practice playing them, and join free programs or watch performances.

Calgary’s 20 other libraries and online E-Library also offer a variety of musical resources, including books, sheet music, services to download songs, and online video music lessons. The best part? It’s all available at no charge with a free Library card!

MELODIES AT MEMORIAL PARK LIBRARY Memorial Park Library is home to the Sun Life Financial Musical Instrument Lending Library, which has guitars, ukuleles, banjos, mandolins, violins, keyboards, and drums.

Put a hold on an instrument — just like you would with a book — and borrow it for three weeks.

Numerous free in-person music programs are offered at Memorial Park, including introductory lessons with music coaches for guitar, violin, or piano; group music lessons for stringed instruments; music genre appreciation nights; group jam sessions; and specialty workshops, such as songwriting or vocal training.

Aspiring musicians can use the Practice Room, a free bookable space that can accommodate two people.

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There’s an electronic drum kit inside, an upright piano, and an electric piano that was donated by k.d. lang. Plus, Memorial Park Library hosts many musical performances, workshops, and events.

To find out what’s playing at Memorial Park, head to calgarylibrary.ca/programs and choose “Memorial Park” under “Where,” search for the Library’s meetup.com group under “Music Workshops at Memorial Park Library,” or check out the Live at Memorial Park page in the Library Connect program guide.

SONGS, LESSONS, AND MORE MUSICAL RESOURCES In Calgary Public Library’s collection, find CDs, printed sheet music, and a variety of books, from Banjo for Dummies to Beginning Rock Keyboard. Search the full catalogue at calgarylibrary.ca.

The Library also offers the Sun Life Arts + Culture Pass, a program that helps low-income Calgarians explore and enjoy arts and culture events in the city. Anyone who has a City of Calgary Recreation Fee Assistance card and a Calgary Public Library card can access a variety of free events on a first-come, first-served basis — the Calgary Philharmonic Orchestra is one of the organizations that provides tickets.

For online users, the E-Library has music streaming and downloading services, a video streaming service with an extensive collection of music documentaries and musicals, step-by-step video music lessons taught by Grammy Award-winning musicians, and more. Not sure where to start? Take the free program called Download and Enjoy: Music, Magazines and Film.

Whether you’re a beginner or an experienced musician, Calgary Public Library has something for you. See you at the Library!

F O R D E T A I L S V I S I T: HAW THORNDININGROOM.CA

LISTEN… AND LEARN CONCERTS AND CLASSES In association with the Calgary Philharmonic Orchestra, UCalgary Continuing Education offers a combined classroom and concert experience that will broaden your understanding and appreciation of classical music. This popular program has been offered for over a decade and has been enjoyed by over 500 participants! Classes are held in the evenings, from 7 – 9 p.m. at the UCalgary main campus.

Evenings with the Calgary Philharmonic Course Number: HUM 405 Instructor: Jennifer MacDonald, MA, Director of Artistic Operations, CPO; plus guest speakers $335 + GST; classes and concert tickets $195 + GST for CPO season ticket holders

SPRING 2019 Classes: April 29, May 6, 21, and 27 Concerts: May 4, 11, 24, and June 1

403.220.2866 • conted.ucalgary.ca

SPRING 2019 | 51

The Naomi + John Lacey

Programme

C L A R K FA M I LY

OUR CHAMPIONS The Calgary Philharmonic Orchestra is able to achieve its goals thanks to the generous support and dedication of its Champion donors.

Every contribution, large or small, plays a vital role in the success of the Calgary Philharmonic Orchestra, and allows the Orchestra to share its love of music with others through its education and outreach programmes, live-streaming, the commissioning of new works, bringing world-class guest artists and conductors to Calgary, and supporting the next generation of artists.

Your support of these programmes is greatly appreciated. For more information on how you can support the Orchestra please visit calgaryphil.com/donate.

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MACLACHLAN

/RIDGE

EMERGING ARTIST PROGRAMME

Joyce & Dick

Matthews

Philanthropic Programme

Calgary Philharmonic Orchestra Foundation The CPO Foundation is critical to the long-term stability and growth of the Orchestra. The Foundation is the CPO’s largest annual supporter, and its Endowment Fund is now the second largest endowment held by a Canadian orchestra. Your contribution to the CPO Foundation ensures future generations have access to the power of orchestral music. Create a legacy by naming a musician’s chair through the Endowed Chair Programme. Donations made to the CPO Foundation may be eligible for matching funds from the Canada Cultural Investment Fund. calgaryphil.com/foundation

DeBoni New Works Through the DeBoni New Works, champions Irene and Walt DeBoni contribute to the development and commissioning of new Canadian works. Thanks to DeBoni New Works, this Season the CPO premieres two new works: Vincent Ho’s The Sandman’s Domain: Trombone Concerto and Abigail Richardson & Alexis Diamond’s Making Light. Your donation to DeBoni New Works supports the production of new contemporary classical music. calgaryphil.com/newworks

The Naomi And John Lacey Virtuoso Programme The Naomi and John Lacey Virtuoso Programme helps the Calgary Philharmonic Orchestra bring world-class artists to its stage.

While in Calgary, Virtuoso Artists teach masterclasses to aspiring young musicians at Mount Royal University Conservatory. Your donation to The Naomi and John Lacey Virtuoso Programme helps the CPO bring renowned artists, like award-winning soprano Renée Fleming, to Calgary. calgaryphil.com/virtuoso

Clark Family Champions Elaine and Jeremy Clark, along with their daughters Keiko and Chloe, are committed to supporting new initiatives and encouraging the next generation of philanthropy. In supporting projects such as live-streaming, Meludia, HeartStrings, pre-concert chats, and the Mozart Patron Programme, the Clark Family has helped bring more music to more people. Your donation helps the CPO continue to undertake new and innovative projects and initiatives. calgaryphil.com/newinitiatives The Borak Forte Programme The Borak Forte Programme, founded by Ellen and Allen Borak, helps sustain the art of choral music by supporting the Calgary Philharmonic Chorus. The Borak Forte Programme nurtures the development of Calgary’s finest large Chorus, led

by Chorus Master Timothy Shantz. Your donation to the Borak Forte Programme helps support the Chorus. calgaryphil.com/chorus Brussa Brava! Legacy Programme Championed by Andrea Brussa, the Brussa Brava! Legacy Programme (BB!LP) helps the Orchestra by supporting the engagement of the world’s leading conductors. This Season, BB!LP is the proud sponsor of five accomplished female conductors: Joann Falletta, Sarah Hicks, Eun Sun Kim, Mélanie Léonard, and Gemma New. Your donation to the Brussa Brava!

Legacy Programme allows the CPO to continue to bring prominent guest conductors to Calgary. calgaryphil.com/conductors

MacLachlan/Ridge Emerging Artist Programme Founded by Letha MacLachlan, Q.C., and John Ridge, the MacLachlan/Ridge Emerging Artist Programme provides outstanding young Canadian musicians the opportunity to advance their careers by performing with the Calgary Philharmonic Orchestra. Thanks to the MacLachlan/Ridge Emerging Artist Programme, pianist Jaeden Izik-Dzurko performed with the CPO this Season. Your donation to the MacLachlan/Ridge Emerging Artist Programme helps develop the next generation of Canadian artists. calgaryphil.com/emerging

Joyce And Dick Matthews Philanthropic Programme Joyce and Dick Matthews were generous and dedicated supporters of the Calgary Philharmonic Orchestra for over 50 years. The Joyce and Dick Matthews Philanthropic Programme was created in their memory and provides patrons the opportunity to recognize someone special in memoriam. Your donation to the Joyce and Dick Matthews Philanthropic Programme supports the greatest needs of the Orchestra. calgaryphil.com/inmemory PhilKids Championed by Judy Kilbourne, PhilKids is an afterschool programme that puts instruments in the hands and music in the hearts of children who otherwise would not have access to such artistic development. Students, grades 1 to 5, are provided the opportunity to work closely with musicians from the Calgary Philharmonic Orchestra in an immersive music experience. Your donation to PhilKids supports the empowerment of children through music. calgaryphil.com/philkids SPRING 2019 | 53

FREQUENTLY ASKED QUESTIONS What do I wear to the Orchestra?

At the Calgary Philharmonic Orchestra there is no formal dress code. We want you to feel comfortable and relaxed so you can enjoy the performance. Most attendees wear business-casual attire, but you will ultimately see everything from blue jeans to cocktail wear. Dress in your own style and what makes you most comfortable.

What happens if I arrive late?

When attending the Symphony, expect the Orchestra to start right on time. During pieces, the doors to the concert hall are not open. Ushers do their best to seat latecomers at appropriate breaks.

In some cases, this may not be possible until the completion of an entire work.

When do I clap?

This is one of the most common questions for new people attending an orchestra performance.

Traditionally in classical music culture, audiences wait until the end of an entire piece (there can be multiple movements in one piece) before applauding. This is a mindful practice that is intended to 54 | PRELUDE calgaryphil.com | 403.571.0849

respect the performers’ focus and how the music flows throughout the piece. The conductor typically puts his/her arms down completely and turns to the audience to signal the piece is finished. It is also helpful to follow along with the programme notes (inside this magazine on the specific concert page where you will also find guest artist biographies and repertoire).

Where can I find parking near the Jack Singer Concert Hall?

The C-Train is located one block from the Jack Singer Concert Hall and there are many parking lots in the area. Please leave plenty of time for parking as many of the lots are very popular.

Underground parking is available at Arts Commons. Other options include: Civic Plaza Parkade, Telus Convention Centre Parkade, and the outdoor parking lots nearby.

Visit calgaryparking.com for details and rates.

How long is a concert?

Concert length varies, but a typical performance is approximately two hours including a 20-minute intermission. Symphony Sundays for Kids and Rush Hour concerts are shorter and do not have an intermission.

Can I take photos?

For most performances, you can take photos in the concert hall before and after the concert and during intermission. As a courtesy to the musicians and other patrons, please put your mobile devices away for the duration of the performance. Flash photography is not permitted and if used during a performance, you may be asked to leave.

During Rush Hour concerts only, photos (without flash) are allowed throughout the performance, and we encourage you to follow along on Twitter @CPOrush (use #cporush) for a fun, educational, and interactive discussion.

Are drinks allowed in the concert hall?

Alcoholic and non-alcoholic drinks are permitted in the Jack Singer Concert Hall, with the exception of the occasional Family Special.

More questions?

Visit calgaryphil.com/ plan-your-experience

Government

Black

CMYK

Foundations

Taylor Family Foundation

Pantone

Corporate Sponsors

Venue Partner

Magic Tours & Travel

Corporate Supporters

Brookfield Media

Artistic + Community

Hospitality

SPRING 2019 | 55

The Calgary Philharmonic Orchestra extends its sincere appreciation to all donors. Thank you!

Dick + Joyce Matthews Endowed Chair Piano

Lifetime members of the Calgary Philharmonic Orchestra and Arts Commons

Frank + Carol Gray Endowed Chair Principal Percussion, Josh Jones

Martha Cohen C.M. John + Ethelene Gareau John Hopwood Naomi + Dr. John Lacey Sandra LeBlanc O.C. Matthews Family Rozsa Family Vera Swanson C.M. O.C. Endowed Orchestra Chairs Rozsa Endowed Chair Music Director, Rune Bergmann John + Ethelene Gareau Endowed Chair Concertmaster, Diana Cohen In honour of Cenek Vrba’s 36 Years of service

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 Dennis Sharp + Hélène Côté-Sharp Endowed Chair Second Violin Section Member, Craig Hutchenreuther Dalgleish Endowment of Chair 66 Second Violin Section Member, Minnie Min Kyung Kwon Eckhardt-Gramatté Foundation Endowed Chair Principal Viola, Laurent Grillet-Kim In memory of Sophie-Carmen Eckhardt-Gramatté

John + Jean Partridge Endowed Chair Cello Section Member, David Morrisey Deborah Yedlin + Martin Molyneaux Endowed Chair Cello Section Member, Joan Kent Bill + Irene Bell Endowed Chair Piccolo, Gwen Klassen Frank + Carol Gray Endowed Chair Principal Trumpet, Adam Zinatelli In memory of Vincent Cichowicz 56 | PRELUDE calgaryphil.com | 403.571.0849

In honour of Tim Rawlings’ 42 years of service

Today’s Champions Contributions of $1,000 and over from 1 October 2017 to 31 December 2018 Foundations, Funds, Government + Trusts $1,000,000+ Alberta Foundation for the Arts The Calgary Philharmonic Orchestra Foundation Canadian Heritage Morningside Music Bridge Foundation $500,000–$999,999 Calgary Arts Development Canada Council for the Arts $100,000–$499,999 Calgary Foundation Roy, Hazel and Nancy Austin Fund Norreen Baker Fund James and Patricia Burns Fund Alan D. Castle Endowment for the Arts Percy + Lois Cole Fund Pamela Grigg Charitable Fund Dick + Lois Haskayne Fund Honens Calgary Philharmonic Society Fund H.D. Klebanoff Memorial Fund Anne Marie Peterson Legacy Fund $25,000–$99,999 Edmonton Community Association Sir Jack Lyons Charitable Trust The Palmer Family Foundation Rozsa Foundation Taylor Family Foundation $10,000–$24,999 Berkhold Family Foundation Calgary Shaw Charity Classic Foundation glasswaters foundation $5,000–$9,999 The Brawn Family Foundation Cenovus Employee Foundation Polish Canadian Association

$2,500–$4,999 O’Donoghue Family Fund RBC Foundation The Welty Family Foundation $1,000–$2,499 Baher Family Fund Calgary Finlandia Cultural Association Harry & Martha Cohen Foundation H.S. Ulmer Giving Fund Wood Pittman Fund Individual Supporters $100,000+ Irene + Walt DeBoni Dr. John Lacey The Rabinovitz Family Estate of Mario James Stella $25,000–$99,000 Andrea Brussa Elaine + Jeremy Clark Annie Freeze Ethelene Gareau Carol Gray Judith Kilbourne Janice + James Morton Barbara Palmer Mary Rozsa de Coquet C.M. Marg Southern C.C. C.V. A.O.E. Dori Wood + James Doleman $10,000–$24,999 Jenny Belzberg Ellen + Allen Borak Heather + Ian Bourne Kim Bruce Gloria + Walter Chayka Judith + Terence Dalgleish Lawrence Fan Liz + Tony Fricke Estate of Merril Ann Highet Letha MacLachlan Q.C. + John Ridge Sheila McIntosh + Phil Ireland Carla + Klaus Springer Valerie + Allen Swanson Neil Tice $5,000–$9,999 Carol Adamson + Ken Adam Kathleen Ashford Irene + William Bell Marg + Paul Boëda Noralee Bradley

Lori Caltagirone Norma Carroll Madge Clarke Janet Dietrich Ute + Walter Dilger Kathy + Paul Dornian E. Ann Falk Joan + Don Greenfield Danelle Hames + Matthew Law Lois + Dick Haskayne O.C. A.O.E. Angela + Samuel Hayes Juli Hegg + Bill Hogg Maria Kryzan Amanda + Andrew Matthews Jean + John Partridge Ruchi + Chris Ryley Patricia Sawyer + Clem Dumett Clarice Siebens Muriel A. Stewart Wilma + Dr. John ’t Hart Erin Thrall & Peter Johnson $2,500–$4,999 Marian + Paul Beer Beverly + Gerry Berkhold Brad Boychuk Eleanor + Lawrence Bryan Carla + Keith Byblow Alan D. Castle Linda + Jack Crawford Fern Cyr Alexandra De Freitas Bruce Edgelow Livia + Tibor Fekete Barbara + Larry Fish Shirley + Walter Foster Eileen + Darcy Gukert Jeanette King Yrjo Koskinen David Lyons Beverly MacLeod Marlene + Blair Mason Janet + Rick Matthews Jane McCruden Alexandra McMeekin Joan + Dale Meister Andrew Moore Jackie + Fritz Painsi Marcus Perron Mary + Conrad Porth Janet Poyen Sonia + Bob Reynolds Kaitlin Sharpe Joan + Geoffrey Simmins Agatha Starczyk + Michael Miller Ryan Stasynec Faye + Kenneth Turnbull

Cara Wolf Gloria Wong + Art Hibbard Jerilyn Wright $1,000–$2,499 Rajendra + Dinesh Agrawal Peter Appleby Andrew Azmudeh Irene Bakker Diana + David Ballard Barbara Beaton Anne + Israel Belenkie Belinda + Tom Boleantu John Bonnycastle Diane Boutin Joye Brown Patricia + James Burns Marion R. Burrus Meredith + Pat Cashion Catherine + Stan Climie Gertrude Cohos Averil Cook Rae + Phillip Cram Lloyd Crosby Lori Cutler + Nick Kuzyk David Daly Dawn + Rao Darsi James Dennis Sherry + Harvey Doerr Betty Douglas Catherine Evamy Verna Jean Fairbrass Mark Ferrier Philippa FitzGerald-Finch Donna + Denis Fonteyne Beverly + David Foy Gwyneth + Lloyd Gillette Carlie-Jean + Eldon Godfrey Corinne Grigoriu Ian Hawkins Daniel Heng + Christopher Brooks Carol + David Henley Mary Hetherington Brigid Hogan + Brendan McCracken Linda Hohol Joan + Gordon Holland Anne + Steve Howard James Hughes Carrol Jaques + Bob Loov Mae Jardine Valerie + Craig Johnstone Brenda Jones Mary Anne Katzenberg Judy + John Kendall Madeleine King + Robert Taylor Barbara + Hugh Klaassen Jane Lang Susannah Law + Joshua Hosein

Diane + David Macdonald Chris K. MacKimmie Simone MacRae Patrick Marcotte Anne + David Q. Martin Elizabeth + Gene Maurice Jane McCaig + Richard Waller Roberta + David McCaslin Barb + Gord McFarlane Vickie + Russ McKinnon Rene + Mark McManus Marco Mejia Jessie + Richard Mercer Kenneth Mills Marilyn Moldowan Patricia Moore Shelagh + Faiz Nadir Pam Nagai Betty + Willis O’Leary Sheryl + David Olson Maureen + David Payne Lara Pella + Geoffrey Holub Daniel Philips Nellie Pintus May Ellen Pringle Irfhan Rawji Christine Rendell Vera A. Ross Ruth Ann Rozsa Rayner Sheila + Italo Sartorio Jerry Schwartz Hedy + Clark Seaborn Eleanor + Don Seaman Mary + Richard Shaw Alfred Sorensen Mira Starczyk + Tom Skrzypinski Betty J. Stein Debbie + David Stephens Kathy + David Stuart Minako + Yasuhiko Tanaka Carolyn + David Tavender Harry Taylor Helen + Henk ter Keurs John Thompson Ruth + Mark Trueman Naomi + John Tyberg Jane + Michael Vandale Patricia Van De Sande Susanna + Shirley Walker Sheila Wappel-McLean + Brent McLean Peggy + Bill Warren Catherine + Bruce Williams Joyce Williams Steve Wilson Robert Woodward Shirley Zielsdorf + Ed Letkeman SPRING 2019 | 57

NEVER MIND THE GAP

By David Sussman Assistant Principal, Oboes, English Horn

The Calgary Philharmonic Orchestra is made up of many musicians of various ages. I’m playing with colleagues up to four decades younger than me while others are performing with musicians older than their parents. There are many new and expecting parents among the musicians, as well as younger and older singles, couples, and empty nesters. What a joyous mix!

Surprisingly, age makes little difference when we are making music together. Performing symphonically involves great teamwork and trust in our fellow musicians. Each performance is a unique rendering and exists in a fleeting time frame. We respond to the conductor and with our colleagues in the moment. We adjust tiny amounts to match tuning, phrasing, balance, tone colour, character, and pacing as the piece unfolds. This requires great concentration and focus.

At the completion of this work, there is the satisfaction of a shared journey that we have all (including the audience!) embarked upon. This bond is reinforced piece after piece, week after week, so that we feel a very real musical connection to those we perform with.

Each orchestra has a collective knowledge of certain musical works and ways of playing them that make it easier for new players to fit in. Newer players add their own nuances

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to gradually contribute to and positively alter the collective knowledge. Whether I am playing my first Beethoven Fifth or my 60th, I have a very positive contribution to make.

As a veteran performer, I appreciate the zest and excitement of musicians approaching the performance of a piece they have never played before. I am reminded that great music is enduring and thrilling to present — not only the first time, but any time.

How do we get along when we are not performing? Surprisingly, there is a lot of social interaction between members of the orchestra in the lounge at break and before or after rehearsals.

We are not without cliques and we do have our jokingly named “curmudgeon corner,” but the shared experience of making music together makes it much easier to engage socially with each other.

Great musical skill and expression know no age, and I certainly admire and respect fine musicians, no matter their years.

I feel pride in my orchestra and my fellow players and enjoy the positive camaraderie that exists. Players do not hesitate to support and commend each other on beautifully presented passages.

Certainly for me, playing timeless music never gets old.

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