Prelude Live Winter 2019/2020

OFFICIAL PROGRAMME OF THE CALGARY PHILHARMONIC ORCHESTRA MUSIC DIRECTOR RUNE BERGMANN

WINTER 2019/2020 | VOLUME 46 NO. 2

ARTS ADVOCATE: MARY ROZSA DE COQUET CARRIES ON A FAMILY LEGACY P. 34

PAUL BRANDT

musical journeys that challenge the status quo p. 40

.

inner voices: musician Laurent Grillet-Kim on the lure of the viola p. 51

COUNTRY MUSIC STAR BRINGS LOVE OF HOLIDAYS TO HOMETOWN AUDIENCE

P. 22 YOUR COPY TO TAKE HOME

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IN THIS ISSUE

04

PAGE 30

PAGE 22

PAGE 42

PRELUDE LIVE WINTER 2019/2020

ESSAGE FROM THE M PRESIDENT + CEO

06 CALGARY PHILHARMONIC

Paul Brandt

Tanner Wendell Stewart; Eldbjørg Hemsing

Nikolaj Lund

ORCHESTRA

08 CALGARY PHILHARMONIC

feature 25 HOW BECOMING

A #NOTINMYCITY

ALLY CHANGED ME

26 LUNAR NEW YEAR CELEBRATION

46 BEETHOVEN 2: ROMANCE 48

RESPECT! HONOURING ARETHA

feature 51 Q + A WITH PRINCIPAL VIOLA LAURENT GRILLET-KIM

30

NORDIC GREATS

10 FAQ

12 HOLIDAY GIFT GUIDE

34

feature HONOURING A FAMILY LEGACY OF SUPPORTING THE ARTS

14 SOUNDS OF THE SEASON

36

THE HOCKEY SWEATER

16 HOLIDAY POPS WITH

38 COMEDY MEETS ORCHESTRA

58 PRESTO, MAMBO!

39 PATRON PROGRAMMES

60 CHAMPION DONORS

CHORUS

RUNE + JENS

18 HANDEL’S MESSIAH

22

feature PAUL BRANDT SHARES HIS LOVE OF HOLIDAY MUSIC

24 PAUL BRANDT’S

COUNTRY CHRISTMAS

feature 40 GWEN’S PICKS: MUSICAL JOURNEYS THAT CHALLENGE THE STATUS QUO

42 BEETHOVEN 1:

IMMORTAL BELOVED

52 RUSH HOUR:

OFF THE BEATEN PATH

54

BARTÓK + STRAVINSKY

56 BEETHOVEN 3: HEROIC

66

feature THE AUDITION

ON THE COVER Paul Brandt © Norman Wong

WINTER 2019/2020 | 3

MESSAGE FROM THE PRESIDENT + CEO

CALGARY PHILHARMONIC ORCHESTRA 205 8 Ave. SE | Calgary, AB T2G 0K9 CORE: Third floor, 324 8 Ave SW | Calgary, AB T2P 2Z2 Tel: 403.571.0270 | Fax: 403.294.7424 Box Office: 403.571.0849 calgaryphil.com MAUREEN MCNAMEE Managing Editor JANET BWITITI Editorial Advisor OMAR JEHA Creative Advisor DON ANDERSON JILL GIRGULIS GWEN KLASSEN KATHLEEN RENNE DAVID SUSSMAN PAULA WORTHINGTON Contributers

REDPOINT MEDIA & MARKETING SOLUTIONS #100 1900 11 Street SE Calgary, AB T2G 3G2 PETE GRAVES President + CEO ANDREW PERSAUD Vice President of Sales & Marketing PRITHA KALAR Publisher NATALIE MORRISON Client Relations Manager JILL FORAN Editorial Director MIKE MATOVICH Production Manager REBECCA MIDDLEBROOK Graphic Designer MELISSA BROWN JOCELYN ERHARDT DEISE MACDOUGALL LINDY NEUSTAEDTER Account Executives Advertising inquiries can be answered at 403.240.9055 or emailed to info@redpointmedia.ca Prelude Live is published three times a year

by RedPoint Media Group Inc. Copyright 2019

by RedPoint Media Group Inc. No part of this publication may be reproduced without the express written consent of the publisher.

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The holidays are upon us — and at the CPO, this is a very special part of the Season! Music is at the centre of all our celebrations as we gather with friends and family at festive events and rejoice in traditions that bring joy and warmth as the days grow shorter and colder.

For a new twist on an old tradition, we take Sounds of the Season on the road, spreading holiday cheer to all four quadrants of the city. We add a little swing to the concert hall at Holiday Pops where Music Director Rune Bergmann and world-renowned trumpeter Jens Lindemann team up for a fun and festive concert. A highlight of the Season is Paul Brandt’s Country Christmas featuring three unforgettable evenings of holiday classics and his original songs. The performance on 12 December will be live-streamed, sharing a message of love and hope around the world. This special concert is only possible thanks to the generosity of the Taylor Family Foundation.

The arrival of 2020 brings our Lunar New Year Celebration, a cultural gathering that unites East and West through the power of music. We also launch 2020: The Year of Beethoven, a series marking the game-changing composer’s 250th birthday that will span two Seasons. In the coming months, the CPO pairs Beethoven’s first five symphonies with his five piano concertos, and premieres five new works by five Canadian composers commissioned by the CPO. We have many enjoyable evenings ahead of us — we can’t wait to see you in the concert hall and share the music that nurtures the soul and keeps the heart warm during a Prairie winter!

PAUL DORNIAN

MAYOR NAHEED NENSHI Honorary Patron

JENNIFER FOURNIER Senior Development Officer

MAESTRO RUNE BERGMANN Music Director

BARBARA SOLES Senior Development Officer

KARL HIRZER Associate Conductor + Assistant Chorus Master

JENNIFER TAYLOR Donor + Prospect Information Manager

TIMOTHY SHANTZ Chorus Master

SCOTT CAREY Grant Writer

ADMINISTRATION

TARA KILMER Events Manager

PAUL DORNIAN President + CEO TRICIA BAILEY Executive Assistant to the President + CEO ARTISTIC OPERATIONS JENNIFER MACDONALD Director ALYSHA BULMER Education + Outreach Manager JESSE CARROLL Production Manager JASON STASIUK Artistic Operations Manager MICHAEL THOMSON Orchestra Personnel Manager

Venue Partner

PAUL CHIRKA Recording Engineer ADAM MASSON Artistic Operations Coordinator ROB GREWCOCK Music Librarian

Official Publisher

KEVIN WU Music Library Assistant DEVELOPMENT JIM CAMPBELL Director VIVIANA D’AMBROSIO Senior Development Officer

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FINANCE MARIA LAMAS Director SUSANNE FRAUCHIGER Operations Accountant KAREN HALFORD-EDWARDS Operations Accountant MARKETING + SALES JANET BWITITI Director COURTNEY ILIE Associate Director, Sales MAUREEN MCNAMEE Communications Manager FELICIA CHOW Office Administrator OMAR JEHA Graphic Designer DAGNY MACGREGOR Community Engagement Coordinator GREG MACKAY Digital Media Coordinator KATRINA NETHERCOTT Marketing + Sales Coordinator NADIA SOKOLOVA Front of House Coordinator

BOARD OF DIRECTORS WALT DEBONI Board Chair CORINNE GRIGORIU Governance Committee Chair JANET YUCHEM Finance + Audit Committee Chair PAUL DORNIAN Ex-officio LARA PELLA Board Secretary KEITH BYBLOW FERN CYR NIKI DUNNE TIM GILLESPIE SAMUEL HAYES DON HERMAN ANNE HOWARD SAM LOECK SHEILA MCINTOSH ELIZABETH MIDDLETON MONICA SAMPER DONOVAN SEIDLE CPO FOUNDATION JEREMY CLARK President LETHA MACLACHLAN Q.C. Vice President RYAN STASYNEC Treasurer DAVID DALY Secretary EILEEN MARIKAR BYRON NEILES SHAUNA WALSH CANN CATHY WILLIAMS JANET YUCHEM

2020: The Year of Beethoven For Ludwig van Beethoven, composing music was a gruelling process, each work born in the flames of tempestuous artistic struggle and fiery musical intellect. And yet, 250 years after his birth, we honour this ultimate Game Changer for the masterworks he offered us all.

Over two Seasons, we showcase Beethoven’s complete symphonies, concertos, the Missa Solemnis, and more The CPO has also commissioned five new works by five Canadian composers inspired by Beethoven’s symphonies.

Beethoven 1: Immortal Beloved 14 February 2020

Beethoven 2: Romance 15 February 2020

Beethoven 3: Heroic 6 + 7 March 2020

Beethoven: Missa Solemnis 8 + 9 May 2020

Beethoven 4: Bold 29 + 30 May 2020

Beethoven Lives Upstairs 31 May 2020

Beethoven 5: Epic 12 + 13 June 2020

calgaryphil.com | 403.571.0849

PRINCIPAL

|

CALGARY PHILHARMONIC ORCHESTRA RUNE BERGMANN Music Director KARL HIRZER Associate Conductor TIMOTHY SHANTZ Chorus Master ROBERTO MINCZUK Music Director Laureate HANS GRAF Music Director Laureate MARIO BERNARDI Conductor Laureate CENEK VRBA Concertmaster Emeritus

ASSISTANT PRINCIPAL

|

ASSOCIATE PRINCIPAL

FIRST VIOLINS DIANA COHEN Concertmaster JOHN LOWRY Associate Concertmaster DONOVAN SEIDLE Assistant Concertmaster EDMUND CHUNG AUSTIN HANSEN ERICA HUDSON HANGYUL KIM OLGA KOTOVA BONNIE LOUIE GENEVIEVE MICHELETTI MARIA VAN DER SLOOT

|

*

ON LEAVE

CELLOS ARNOLD CHOI JOSUÉ VALDEPEÑAS JOAN KENT

MAXWELL STEIN

THOMAS MEGEE

HEATHER WOOTTON

DAVID MORRISSEY DANIEL POCETA KAREN YOUNGQUIST

HYEWON GRILLET-KIM CRAIG HUTCHENREUTHER MINNIE MIN KYUNG KWON THERESA LANE ADRIANA LEBEDOVICH

KYLE SANBORN

JAMES SCOTT MICHAEL THOMSON

TRISH BERETI-REID BASS TROMBONE DAVID REID SARA HAHN-SCINOCCO GWEN KLASSEN PICCOLO GWEN KLASSEN OBOES ALEX KLEIN

TUBA TOM MCCASLIN TIMPANI ALEXANDER COHEN PERCUSSION JOSH JONES

DAVID SUSSMAN HARP TISHA MURVIHILL

DAVID SUSSMAN LIBRARIAN

LAURENT GRILLET-KIM CLARINETS

ARTHUR BACHMANN

SLAVKO POPOVIC

JEREMY BAUMAN

JOCELYN COLQUHOUN

ROB GREWCOCK MUSIC LIBRARY ASSISTANT KEVIN WU

PETER BLAKE MICHAEL BURSEY

TROMBONES

GRAEME MUDD

ENGLISH HORN

MARCIN SWOBODA

MATTHEW ROSS

MATTHEW HELLER

STEVEN J. LUBIARZ VIOLAS

ADAM ZINATELLI

SAM LOECK

FLUTES

JEREMY GABBERT

TRUMPETS MIRANDA CANONICO*

BASSES

SECOND VIOLINS STEPHANIE SOLTICE-JOHNSON

JENNIFER FRANK-UMANA WILLIAM HOPSON

PATRICK STAPLES

ERIN BURKHOLDER

ROBERT MCCOSH

KATHLEEN DE CAEN

HOJEAN YOO

LORNA TSAI

HORNS

BASSOONS

ALISA KLEBANOV

ANTOINE ST-ONGE

PERSONNEL MANAGER

JESSE MORRISON

MICHAEL HOPE

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: Dongkyun An, cello; Eric Auerbach, violin; Gianetta Baril, harp; Rolf Bertsch, keyboard; Tim Borton, percussion; Jeremy Brown, saxophone; Stan Climie, clarinet; Neil Cockburn, harpsichord and organ; John Feldberg, bassoon; Gareth Jones, trumpet; Lucie Jones, flute; Janet Kuschak, cello; Malcolm Lim, percussion; Sarah (Gieck) MacDonald, flute; Aura Pon, oboe; Heather Schienbein, flute; Richard Scholz, trumpet; Eva Sztrain, violin; Doug Umana, horn.

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RUNE BERGMANN Music Director Norwegian conductor Rune Bergmann is Music Director of the Calgary Philharmonic Orchestra, Artistic Director and Chief Conductor of the Szczecin Philharmonic in Poland, and incoming Music Director of Switzerland’s Argovia Philharmonic, starting in the 2020/2021 Season. Highlights of Bergmann’s 2019/2020 Season include launching the CPO’s 2020 Beethoven series, returning to the North Carolina Symphony, debuting with the Colorado Symphony, and leading a new production of Don Giovanni at Opera Naples. Bergmann also regularly conducts distinguished orchestras and opera houses, including the Oslo Philharmonic, Norwegian National Opera, Bergen Philharmonic, Wroclaw Philharmonic, Orquesta de Valencia, and the Mainfranken Theater Würzburg, as well as the Symphony Orchestras of Malmö, Helsingborg, Bergen, Kristiansand, Stavanger, Trondheim, Karlskrona, and Odense, and Lisbon’s Orquestra Sinfonica Portuguesa. In North America, he has appeared with the Alabama, Baltimore, Detroit, Edmonton, Grand Rapids, Pacific, Houston, and Toledo Symphony Orchestras, as well as the Brevard Music Festival. Bergmann has been Artistic Director of Norway’s innovative Fjord Cadenza Festival since its inception in 2010, and his former posts include Deputy-General Musik Direktor with the Augsburger Philharmoniker and Theater Augsburg in Germany.

KARL HIRZER Associate Conductor + Assistant Chorus Master Since September 2016, Karl Hirzer has been Resident, then Associate Conductor of the Calgary Philharmonic Orchestra. He has conducted the Nova Scotia Symphony and Regina Symphony Orchestra, and is a regular guest conductor with Land’s End Ensemble. In 2019, American composer John Corigliano, who collaborated with the ensemble on his song cycle Mr. Tambourine Man, stated: “Mr. Hirzer brought a combination of detailed accuracy and intense musical feeling to the work, resulting in an absolutely marvelous performance.” In the 2019/2020 Season, Hirzer debuts with the Szczecin Philharmonic in Poland, and takes on the additional role of Assistant Chorus Master with the CPO. He was previously Assistant Conductor for the National Academy Orchestra of Canada and the McGill Contemporary Music Ensemble, and worked with the Gstaad Festival Orchestra. He was also a Conducting Fellow at the 2017 Cortona Sessions for New Music. Hirzer has performed with diverse soloists such as Evelyn Glennie, Jonathan Crow, Chris Botti, Owen Pallett, and others.

As an educator, he was on faculty at the 22nd Morningside Music Bridge program in Warsaw, Poland. Hirzer trained as a pianist and holds bachelor’s (University of Victoria) and master’s (McGill University) degrees, as well as an ARCT obtained at age 17.

VINCENT HO New Music Advisor Vincent Ho is a multiple awardwinning and three-time Juno Awardnominated 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 composerin-residence 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.

WINTER 2019/2020 | 7

PRINCIPAL

CHORUS MASTER

NORMA WEBB

TRISTRAM CHIVERS

TIMOTHY SHANTZ

DIANNE WILLIAMS

PAT FAVARO

ASSISTANT CHORUS MASTER

ALTO

ANDREW FRASER

CALGARY PHILHARMONIC CHORUS The Calgary Philharmonic Chorus, led by Chorus Master Timothy Shantz and Assistant Chorus Master Karl Hirzer, is a group of over 100 volunteer singers and four section principals who perform a diverse repertoire including oratorio, opera, light classics, contemporary music, and pops. The acclaimed ensemble is featured in four to eight programmes 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 students, teachers, medical professionals, lawyers, stayat-home parents, and retirees who dedicate over 20,000 hours annually to rehearsals and performances. The Chorus often takes part in community education and outreach activities with the Orchestra throughout the year.

The Chorus has participated in choral festivals across Canada, has been featured in live recordings and several live-streams, and has performed for Queen Elizabeth II in a special presentation conducted by the late Mario Bernardi.

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KARL HIRZER

JULIA MILLEN

BARB HOGAN JUNGSOO KIM

MARGARET ANDERSON

ALLAN MORGAN

ACCOMPANIST

BARBARA BOLAND

DAVID OWEN

EVAN MOUNCE

INDRANI CHATTERJEE

PETER RILSTONE

TANYA CHOW

RICHARD SEALE

BREANNE COADY

ROSS SMITH

BERNIE CONSTANTIN

JOSEPH STEDMAN

KARIN BAUMGARDNER

CAROL COOPER

DENNIS VOTH

LINDSAY BELLEMORE

SHIRLEY CUMMING

ELLEN BORAK

JANICE DAHLBERG

MICHELLE BOZYNSKI

GILLIAN FORSTER

TRICIA BRAY

KAY HARRISON

ARCHIBALD ADAMS

PATRICIA BUSTILLOS

PATRICIA HEITMAN

ODENIYI AYO-AJAYI

CAROLYN BYERS

AMANDA HOLT

IAN CHARTER

CHRISTINA CANDRA

HELEN ISAAC

TIMOTHY COOKE

KATHERINE CLARKE

ALLISON JOHNSON

LLOYD CROSBY

SHEILA COOK

HEATHER KLASSEN

KEVIN DI FILIPPO

LAURA DAVIS

KAITLIN KRELL

ARTHUR DICK

INA DOBRINSKI

CATHERINE LASUITA

ALAN DORNIAN

SIHANA DORFSMAN

LORRIE LIPSKI

JOHN GHITAN

GAIL FELTHAM

BARBARA MATHIES

IAN GIBSON

LISA FERNANDES

SUE MCNAUGHTON

LUKE HIBBERT

YMENE FOULI

SUSAN MENDONCA

ALLAN HUBER

SUE GALCHER

PATTY MINO

DYLAN JONES

SIM GALLOWAY

MARA OSIS

TYLER JONES

ALISON GIBSON

KAREN PALMER

ERIC KLAASSEN

CAROLYN HATT

ANASTASIYA PETRUK

IAN LUNT

DALE HENSLEY

JOSEE ROBITAILLE

KEITH ODEGARD

JESSICA HOW

ANNE RODGER

JACKSON PARTRIDGE

LINDA JANZEN

DONNA RUPARELL

DAN PHILIPS

AMY KLINTBERG

MONICA SAMPER

TEDDY POPE

JULIE MILLER

MONICA SCHULTZ

ALASDAIR ROBINSON

GILLIAN POSEY

MARIAN ŽEKULIN

DANA SALTER

SOPRANO HANNAH PAGENKOPF

COLLEEN POTTER LISA SEARS-WALSH JOAN SIMMINS

BASS NICHOLAS ALLEN

DAVID SCHEY TENOR JASON RAGAN

TOM VAN HARDEVELD RICHARD WANNER

BECKY STANDING

TIMOTHY AHRENHOLZ

MAXWELL WEBBER

CHANTELLE STEVENSON

DEAN ALLATT

JIM WEISERT

CHANDRA STROMBERG

TIM BELL

KEITH WYENBERG

MELISSA SYMANCZYK

KEEVIN BERG

TIMOTHY SHANTZ Chorus Master Timothy Shantz brings a wealth of expertise and artistry to his roles as Chorus Master for the Calgary Philharmonic Orchestra, and Founder and Artistic Director of Luminous Voices. He was also Artistic Director of Spiritus Chamber Choir for 11 seasons. This year, Shantz joins the Department of Music at the University of Alberta as an Associate Professor. In a review of the CPO’s 2019 performance of Mendelssohn’s Elijah, Kenneth DeLong of the Calgary Herald called it “the best performance of this work I have heard outside commercial CDs and a fine tribute to Shantz, who has, seemingly single-handed, brought choral music to a new level in the city.” Shantz has several recordings to his name, including Zachary Wadsworth’s The Far West (2016), which received the 2018 National Choral Award for Outstanding Choral Recording and 2016 National Choral Award for Outstanding Choral Composition from Choral Canada. Shantz holds a doctor of music degree in Choral Conducting from Indiana University Jacobs School of Music. He is also a graduate of the University of Alberta’s Choral Conducting programme, and earned a degree in piano performance from Wilfrid Laurier University.

LAUREN FLANIGAN, DEAN PETERSON IN NORMA - CINCINNATI OPERA - PHILIP GROSHONG (2003)

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WINTER 2019/2020 | 9

FREQUENTLY ASKED QUESTIONS WHAT DO I WEAR TO THE ORCHESTRA? Whatever you want! At the Calgary Philharmonic Orchestra there is no formal dress code. We want you to feel happy and relaxed so you can enjoy the performance. Most attendees wear business-casual attire, but you will see everything from jeans to cocktail wear. Dress in your own style and what makes you most comfortable.

ARE DRINKS ALLOWED IN THE CONCERT HALL? Yes! Alcoholic and non-alcoholic drinks are permitted in the concert hall, with the exception of the occasional Family Special. Many people arrive early to enjoy a drink in the lobby or take in a pre-concert chat before the performance.

WHAT HAPPENS IF I’M LATE? We realize that even the best laid plans sometimes go sideways.

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

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WHAT IS YOUR MOBILE PHONE POLICY? One of the joys of a live concert is you can sit back and experience the music without distractions, but we also know you don’t want to miss an important message from the babysitter. So, if you leave your mobile device on, we simply ask that you turn the sound off, turn the brightness down, and be considerate of your neighbours.

CAN I TAKE PHOTOS OR VIDEOS IN THE CONCERT HALL? We are happy for you to share your experience at a CPO performance.

For most performances you can take quick photos or videos, but you can’t use a flash — as you can imagine, it interferes with the musicians’ ability to see the music.

HOW LONG IS A CONCERT? Concert length varies, but a typical performance starting at 7:30PM is about two hours long including a 20-minute intermission. Rush Hour concerts, held on select Fridays at 6:30PM, and Symphony Sundays for Kids concerts, held on select Sundays at 3PM, are usually one hour long with no intermission.

WHERE CAN I FIND PARKING? There are several parking lots in the area, but leave yourself time to find a spot as they fill up fast. Underground parking is available at Arts Commons and the nearby Civic Plaza and Telus Convention Centre parkades.

If you take the C-Train, the stations are located one block from Arts Commons. Also, bike racks can be found on Stephen Avenue in front of the Jack Singer Concert Hall.

WHEN DO I CLAP? This is our most common question.

Traditionally in classical music culture, audiences hold their applause until the end of an entire piece (there can be multiple movements, with short breaks between them, in one piece). This is intended to respect the performers’ focus and the flow of the music. You’ll know when the piece is finished because the conductor typically puts their arms down completely and turns to the audience.

But if you do happen to clap before the piece is finished, that’s okay!

The musicians will be happy to know you’re enjoying the performance.

MORE QUESTIONS? Visit calgaryphil.com/ plan-your-experience WINTER 2019/2020 | 10

SHOP WHERE THE CITY SURROUNDS YOU.

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In association with the Calgary Philharmonic Orchestra, UCalgary Continuing Education offers a combined classroom and concert LINDA WALDNER director, operations D403 781 3364 linda@WAX.ca WAX PROOF 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 Instructors: Jennifer MacDonald, MA, Director of Artistic Operations, Matthew Heller, MM, double bass $335 + GST classes and concert tickets $195 + GST for CPO season ticket holders

WINTER 2020 Classes: February 10 & 24, March 2 & 16 Concerts: February 15 & 29, March 7 & 21 SPRING 2020 Classes: March 30, April 14, May 4 & 25 Concerts: April 3 & 18, May 9 & 30

403.220.2866 • conted.ucalgary.ca

WINTER 2019/2020 | 11

#1

HOLIDAY GIFT GUIDE Looking for the perfect gift? With a variety of concerts ranging from movie music, to popular hits, to classical masterpieces, the Calgary Philharmonic Orchestra has something to suit everyone on your list. Choose an experience they’ll remember at calgaryphil.com/giftguide.

For your funny friend

Comedy Meets Orchestra 8 February 2020

For the romantic

Beethoven 1: Immortal Beloved 14 February 2020

For the sci-fi fan

Star Wars: A New Hope in Concert 15 + 16 May 2020

For your rockin’ parent

Hits of the ’70s: A Classic Rock Songbook 27 + 28 March 2020

For the adventurer

Raffle Tickets! This Season’s prize is a trip for two to Prague, Vienna, and Budapest. calgaryphil.com/raffle

For the art lover

Pictures at an Exhibition 17 + 18 April 2020

For the country fan

Jess Moskaluke in Concert 2 May 2020

For the culturally curious

U of C Continuing Education — a combined classroom and concert experience that will broaden your understanding and appreciation of classical music. calgaryphil.com/conted

For your bridge club partner Beethoven 5: Epic 12 + 13 June 2020

For your edgy friend

Rush Hour: Off the Beaten Path 28 February 2020

For the strong women in your life RESPECT! Honouring Aretha 21 + 22 February 2020

For your hardworking teacher

A voucher for a concert of their choice!

WINTER 2019/2020 | 13

27 + 28 NOV 3, 18 + 19 DEC

5 THINGS ABOUT HOLIDAY MUSIC 1. The music associated with traditional winter celebrations like Christmas, Chanukah, and Kwanzaa is incredibly diverse, but the Smithsonian Folkways label says it all has one thing in common: it reflects the intimacy of holiday gatherings.

2. Although the oldest known Christmas music is religious, carols were considered by some to be ‘inappropriate’ for such a solemn time of year — Oliver Cromwell banned them in the U.K. during his reign in the 1600s.

3. Critics were not impressed at the first performance of The Nutcracker ballet in 1892, but by the late 1960s it was firmly entrenched as a holiday tradition.

Wednesday 27 November 2019 / 7:30PM Shane Homes YMCA NW

4. Leroy Anderson started composing holiday favourite Sleigh Ride during a heat wave in July 1946. Originally the work was instrumental — the lyrics were written in 1950 by Mitchell Parish.

Thursday 28 November 2019 / 7:30PM Brookfield YMCA SE Tuesday 3 December 2019 / 7:30PM Magnolia Banquet Hall NE Wednesday 18 December 2019 / 7:30PM Thursday 19 December 2019 / 7:30PM Grace Presbyterian Church SW Specials

Sounds of the Season SPONSORS + SUPPORTERS Associate Conductor Supporter: Mary Rozsa de Coquet Conductor Couturier: Umberto Custom Tailors Ltd.

PROGRAMME Karl Hirzer, conductor

5. A ccording to the Guinness World Records, Bing Crosby’s White Christmas is the best-selling single of all time — and that’s not just among holiday music. But Mariah Carey’s All I Want for Christmas is You is the most downloaded holiday single and has dominated the charts since its release in 1994.

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

WINTER 2019/2020 | 15

29 + 30 NOV

JENS LINDEMANN Trumpet Jens Lindemann is the first classical brass player to ever receive the Order of Canada, and the foremost trumpet soloist in his country’s history.

Celebrated for his beauty of tone and virtuosity, Lindemann’s career has ranged from being a multiple Juno and Grammy nominee in numerous musical styles, to being a viral video sensation as the “snowstorm trumpeter.” Equally at home playing Carnegie Hall, Madison Square Garden, or the closing ceremonies of the Olympics, Lindemann has a unique connection to audiences in all venues and places. The recipient of major awards from Prague and Munich and three honorary degrees, Lindemann is also the only trumpeter to win the ‘Grand Prize’ in the 60-year history of the Canadian Music Competition.

Friday 29 November 2019 / 7:30PM Saturday 30 November 2019 / 7:30PM Jack Singer Concert Hall Pops

Holiday Pops With Rune + Jens SPONSORS + SUPPORTERS

PROGRAMME Rune Bergmann, conductor + trumpet Jens Lindemann, trumpet Programme to be announced from stage.

Performance includes a 20-minute intermission.

Programme and artists subject to change without notice

16 | PRELUDE calgaryphil.com | 403.571.0849

indicates Canadian artist or composer

Rune Bergmann biography on page 7

Concert photo

HarderLee Studio

Concert Supporter: Valerie + Allen Swanson Conductor Couturier: Umberto Custom Tailors Ltd.

A WORLD PREMIERE BY CHRISTOPHER ANDERSON

Together we work

201910 - 133

towards common goals

together.suncor.com

Suncor – CPO Prelude Live ad, 201910-133 1/6 Vertical, 2.25"w x 4.75"h, 4C, no bleeds – FINAL ART Prepared by EMD | October 16, 2019

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Set to Tchaikovsky’s timeless score, this passionate tale of fantasy and coming of age embodies all of the elements that have made Swan Lake the world’s best-loved classical ballet.

Tickets at albertaballet.com

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ABOUT THE WORKS

6 + 7 DEC

MESSIAH, HWV 56 George Frideric Handel (1685 to 1759)

Friday 6 December 2019 / 7:30PM Saturday 7 December 2019 / 7:30PM Jack Singer Concert Hall Specials

Handel’s Messiah SPONSORS + SUPPORTERS Chorus Sponsor: Borak Forte Programme

PROGRAMME Jeannette Sorrell, conductor Amanda Powell, soprano Amanda Crider, mezzo-soprano Ross Hauck, tenor Jesse Blumberg, baritone Calgary Philharmonic Chorus Handel

Messiah, HWV 56

120'

The Passion of Jesus Christ is such a compelling story that it has drawn many of the great composers of history to attempt doing it justice through music. If sheer number of performances is a reliable guide to success, Handel’s oratorio Messiah may be the greatest Passion setting of all.

He was 56 when he composed it, the necessary experience of life and music well in hand. He had developed into a true cosmopolitan, a widely skilled composer who wove together the various musical threads of his day into a rich and varied personal style. He began absorbing these influences early in his career.

He spent that period first in his homeland, then in Italy.

During the second decade of the 18th century, he settled in England, where he won his greatest fame and influence. One of his reasons for moving there was the current popularity of a type of music with which he had found great success: Italian‑style opera. Over the next 30 years, he devoted the major portion of his creative energies to supplying English audiences with that type of piece.

The English public grew tired of Italian opera’s absurd plots, posturing soloists, and ornate vocal style.

They were also looking to cast off continental influences in favour of entertainment with a uniquely local flavour. They found what they were looking for in oratorio. It represented not only a change from opera, but also a chance for audiences to hear and to relish presentations given in their own language.

Handel, to his great financial distress, twigged to this trend only slowly.

Once he finally did recognize the quarter to which the musical wind had shifted, he began producing a most successful series of English‑language oratorios. They helped him regain his title as his adopted country’s favourite composer.

Performance includes a 20-minute intermission.

Programme and artists subject to change without notice

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indicates Canadian artist or composer

Calgary Philharmonic Chorus biography on page 8

Jeannette Sorrell

Steve Wagner

In structural terms, opera and oratorio have a great deal in common. They both involve casts of solo singers, a chorus, and an orchestra, performing a sequence of recitatives, arias, ensembles, and instrumental interludes. But in oratorios there are no costumes, scenery, or props, and this type of piece is performed in concert halls and churches, rather than in opera houses. Another important difference lies in subject matter. Operas deal strictly with secular topics, while oratorios frequently treat sacred ones as well.

By 1741, the waning of interest in opera had reduced Handel’s financial stature dramatically. Relief came in the form of an invitation from the Lord Lieutenant of Ireland. He offered Handel the opportunity to visit Dublin, there to stage a series of concerts featuring Handel’s music.

In just over three weeks, the composer created a new oratorio, possibly with his upcoming visit to Ireland in mind. Charles Jennens prepared the libretto, drawing on sources from both the Old and New Testaments. Handel took along Messiah, as he had named the piece, to Dublin when he journeyed there in December 1741.

He staged a dozen successful concerts over the following months, then announced with great fanfare that his new oratorio would receive its premiere on 13 April 1742. He cannily arranged for a public rehearsal to take place the day before. It caused a sensation. As a result, hundreds of eager listeners had to be turned away from the official first performance.

That debut raised £400 for local hospitals, and caused one critic to write, “Words are wanting to express the exquisite delight it afforded to the admiring crowded audience.”

Programme Notes by Don Anderson

2019

JEANNETTE SORRELL Conductor

AMANDA POWELL Soprano

Grammy-winning Jeannette Sorrell is recognized internationally as one of today’s most compelling interpreters of Baroque and Classical repertoire.

She studied conducting at the Aspen and Tanglewood music festivals with Leonard Bernstein and Roger Norrington, and harpsichord with Gustav Leonhardt in Amsterdam.

She won First Prize and the Audience Choice Award in the 1991 Spivey International Harpsichord Competition, competing against over 70 harpsichordists from across the globe.

Sorrell has repeatedly conducted the Pittsburgh Symphony, Saint Paul Chamber Orchestra, Utah Symphony, and New World Symphony, as well as leading the National Symphony at the Kennedy Center, the Los Angeles Chamber Orchestra, Seattle Symphony, Opera Saint Louis with the St. Louis Symphony, Florida Orchestra, and Handel and Haydn Society (Boston), among others. She is the founder of Apollo’s Fire and has led the renowned ensemble as conductor and harpsichord soloist at London’s BBC Proms, Carnegie Hall, Madrid’s Royal Theatre, London’s Wigmore Hall, and the Tanglewood, Ravinia, and Boston Early Music festivals, among others. Sorrell and Apollo’s Fire have released 28 recordings, including eight bestsellers on the Billboard classical chart and a 2019 Grammy winner. Sorrell has an honorary doctorate from Case Western University and an award from the American Musicological Society.

Amanda Powell is praised for her “inspirational and expressive singing” (Classical Candor) and “abundant vocal technique” (Cleveland Classical).

Her performance as Messagiera in a 2018 national tour of Monteverdi’s L’Orfeo was described as “brighttoned, charismatic and theatrically arresting” (San Francisco Chronicle).

Powell appears often as a soloist and serves as Artist-in-Residence with the Grammy-winning Apollo’s Fire.

In recent seasons she has appeared as soloist in Bach’s Mass in B Minor, Mozart’s The Magic Flute, and Handel’s Messiah. Beyond her expertise in early music performance, Powell has received great acclaim for her work in early music/folk programmes. She has been the lead female vocalist in Sorrell’s crossover programmes Come to the River (national tour), Sugarloaf Mountain — An Appalachian Gathering, (U.K./Ireland tour) and Christmas on Sugarloaf Mountain — An Appalachian Christmas (Met Museum, 2018) which became a Billboard bestselling CD. Powell’s directing credits include Mediterranean Roots and Tarantella, exploring ancient music of the Mediterranean. Powell has sung concerts around the world, including at concert halls in Italy, Spain, France, Mongolia, and China.

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JESSE BLUMBERG Baritone

Praised for her “focused goldentoned voice,” Amanda Crider is gaining recognition for her musicality and dramatic presence. In 2018/2019, she was a soloist in Bernstein’s Jeremiah with the Amarillo Symphony, had the title role in L’incoronazione di Poppea with Florentine Opera, and performed Bach’s B Minor Mass with Apollo’s Fire. Recent appearances include Alma in Persona with LA Opera, Handel’s Messiah with Jacksonville Symphony, Angelina in La Cenerentola with Opera Orlando, Speranza in L’Orfeo with Apollo’s Fire, and the title role in Carmen with Pine Mountain Music Festival, among others. An impeccable interpreter of song and oratorio, Crider made her Carnegie Hall debut in 2007 singing in Messiah with the New England Symphonic Ensemble, and returned in 2008 as mezzo soloist in Haydn’s Lord Nelson Mass. In addition, she has joined the New World Symphony for Britten’s Phaedra and De Falla’s The Three-cornered Hat and Chansons madécasses, the Bach Festival Society for Mozart’s Mass in C Minor, and Eugene Symphony Orchestra and the Charlotte Symphony for Mozart’s Requiem.

Ross Hauck has sung Handel’s Messiah with the Symphonies of Seattle, Portland, San Diego, Kansas City, Baltimore, Dallas, and Grand Rapids, among others. He has also recorded the work with Apollo’s Fire.

Highlights of the 2019/2020 Season include debuts with the Nashville Symphony, the Edmonton Symphony, and the Hawaii Symphony, and singing the evangelist in Bach’s St. John Passion with the San Francisco Symphony. Hauck is a distinguished alumnus of the Cincinnati-College Conservatory of Music, with further training at music festivals in Tanglewood, Ravinia, and Aspen, and the Wolf Trap Opera Company. He is a cellist and a professor of voice at Seattle University. He is also music director at Covenant Presbyterian Church of Issaquah, Washington, where he lives with his wife and four children.

Jesse Blumberg enjoys a busy schedule performing repertoire from the Renaissance and Baroque, to the 20th and 21st centuries. Performances include the world premiere of The Grapes of Wrath at Minnesota Opera, Bernstein’s MASS at London’s Royal Festival Hall, various productions with Boston Early Music Festival, and featured roles with Atlanta Opera, Pittsburgh Opera, Opera Atelier, and Boston Lyric Opera. Blumberg has appeared with American Bach Soloists, Boston Baroque, Apollo’s Fire, Oratorio Society of New York, Montréal Baroque Festival, Arion Baroque, Early Music Vancouver, Pacific MusicWorks, and Lincoln Center’s American Songbook series. Recital highlights include appearances with the Marilyn Horne Foundation and New York Festival of Song, and performances of Die schöne Müllerin and Winterreise with pianist Martin Katz. Blumberg has been featured on a dozen recordings, including the 2015 Grammy-winning Charpentier Chamber Operas from Boston Early Music Festival. He was awarded Third Prize at the International Robert Schumann Competition in Zwickau — its first American prize-winner in over 30 years, and took First Prize in the International Hilde Zadek Singing Competition and the National Federation of Music Clubs Young Artist Competition. He is founder and artistic director of the Five Boroughs Music Festival in New York City.

20 | PRELUDE calgaryphil.com | 403.571.0849

Claire McAdams

ROSS HAUCK Tenor

Amanda Crider

AMANDA CRIDER Mezzo-soprano

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PAUL BRANDT SHARES HIS LOVE OF HOLIDAY MUSIC WITH HOMETOWN AUDIENCE

BY KATHLEEN RENNE

C

ountry-music superstar Paul Brandt loves Christmas, not least because he met the love of his life — his wife Liz — on Christmas Eve of 1995. “I picked her up at church,” laughs the born-and-raised Calgarian. At the time, Brandt was living in Nashville, promoting his burgeoning music career. Earlier that year, on a brief trip home to Calgary, he attended church with his parents and caught his first glimpse of his wife-to-be, who sang a solo during the service. “I was smitten,” he says. Fast forward to 24 December of the same year. The pastor asked both Brandt and the mystery woman to sing for the Christmas Eve service. “I don’t think I’ve ever been so nervous, performing with her watching me,” Brandt says of his rendition of Silent Night that evening. This admission comes from someone whose accolades are a proverbial mile long, from his winning the Calgary Stampede Talent Search in 1992, to his 2017 induction into the Canadian Country Music Hall of Fame. In fact, Brandt is the most awarded male country music artist in Canada’s history.

Besides the association with his wife, Brandt says the holidays bring back fond memories of large family gatherings and abundant feasts, including traditional North American turkey dinners with all the trimmings, as well as the Russian/Ukrainian version of perogies, kielbasa, and cabbage rolls, courtesy of his father’s side of the family.

Jon Taylor Sweet

Brandt’s early years would not seem conducive to a future in music. When he was six, his parents started attending a church where no instruments were permitted, and congregants were told not to listen to recorded music. “I was sheltered from many elements of music except for a capella singing. I started writing poetry when I was seven. I’m thankful for that upbringing, because it helped me focus on lyrics,” he says.

Paul Brandt

And when it comes to Christmas music, Brandt is a huge fan, pointing to the fact he has released not one, but two Christmas albums and a single. “I love traditional songs like White Christmas and I’ll be Home for Christmas, but it’s also important for me to go back to the roots of Christmas with carols like Silent Night and Mary, Did You Know?” Brandt says. Of his own holiday compositions, he says Hands is among his favourites. “It talks about details in the life of Jesus and the power of Him.”

When Brandt was 13, however, his parents switched churches, joining one in which music was permissible.

Brandt took music courses at junior high and high school,

where he also joined the vocal jazz ensemble. He also got his first guitar when he was 13 and started learning country classics such as The Streets of Laredo and Ian Tyson’s Four Strong Winds. He recalls being impressed with the musicians who came by to mentor students, an example he took to heart: he now takes “any opportunity” himself to speak with young musicians.

Now that Brandt is an established country music superstar with name recognition far beyond his hometown, he also wants to use his platform “to do bigger things than promote my music and my brand.” One of those is #NotInMyCity, a movement he heads up under the auspices of his charitable Buckspring Foundation. #NotInMyCity fights the sexual exploitation and trafficking of youth in Canada. The seeds for the movement were planted some 14 years ago when Brandt and his wife travelled to Cambodia and learned about child trafficking.

They even met one five-year-old girl who was sold out several times each night. “It was traumatic. We knew it would be a part of our lives forever,” he recalls.

I WAS SHELTERED FROM MANY ELEMENTS OF MUSIC EXCEPT FOR A CAPELLA SINGING. I STARTED WRITING POETRY WHEN I WAS SEVEN. I’M THANKFUL FOR THAT UPBRINGING, BECAUSE IT HELPED ME FOCUS ON LYRICS.” That giving spirit will extend to his holiday performances with the CPO — $10 from every ticket sold will go to support #NotInMyCity. These benefit concerts are made possible due to the generous support of the Taylor Family Foundation, which has partnered with the CPO to bring the gift of great music to Calgary. Brandt will perform a mix of Christmas classics and his own hit songs with the CPO on 10 December in the intimate Bella Concert Hall at the MRU, and at concerts on 11 December and 12 December at the Jack Singer Concert Hall.

Brandt says he is looking forward to sharing his love of the season with audiences, and to sharing the stage with the Orchestra for the very first time. “I feel more like a spectator than a performer,” he adds. “I have the best seat in the city — I can’t wait!”

WINTER 2019/2020 | 23

10, 11 + 12 DEC

Specials

Paul Brandt’s Country Christmas This concert is made possible thanks to the generous support of the Taylor Family Foundation SPONSORS + SUPPORTERS Associate Conductor Supporter: Mary Rozsa de Coquet Conductor Couturier: Umberto Custom Tailors Ltd.

PROGRAMME Karl Hirzer, conductor Paul Brandt, vocals + guitar Featuring songs from the set list below.

Performance includes a 20-minute intermission.

Overture from Die Fledermaus (J. Strauss) | Small Towns Big Dreams | My Heart Has a History | I’m Gonna Fly | All About Her | I Do | The King | Out Here On My Own | Arioso from Cantata, BWV 156 (J.S. Bach) | Sleigh Ride (Anderson) | Winter Wonderland | Let It Snow | Mary Did You Know | Go Tell It On the Mountain | Didn’t Even See the Dust | Convoy | White Christmas Programme and artists subject to change without notice

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indicates Canadian artist or composer

At these concerts, $10 from each ticket sold will be donated to #NotInMyCity.

Learn more on page 25.

Karl Hirzer biography on page 7

Norman Wong; Paul Brandt

Wednesday 11 December 2019 / 7:30PM Thursday 12 December 2019 / 7:30PM Jack Singer Concert Hall

Concert photo

Tuesday 10 December 2019 / 7:30PM Bella Concert Hall

Paul Brandt is the most awarded male Canadian country artist in history. His 11 albums have spawned hit singles, multiple awards, and Gold, Platinum, and multi-Platinum performances.

According to Nielsen BDS, six of the Top 25 Canadian Country songs were released by Brandt, and his single My Heart Has a History is the most played Canadian Country song since the chart began. Brandt’s For You (Brandt/ Rosen), selected to promote the 2002 film We Were Soldiers, was performed

by Dave Matthews and Johnny Cash.

Brandt’s recent EP Frontier was nominated for Album of the Year at the 2016 Juno Awards, and the hit single I’m An Open Road is certified Gold.

In 2017, Brandt was inducted into the Canadian Country Music Hall of Fame and Western Canadian Country Music Hall of Fame. During the Canadian Country Music Awards in September 2019, he received the Slaight Music Humanitarian of the Year Award in recognition of his #NotInMyCity (notinmycity.ca) initiative, which seeks to end human trafficking with a focus on preventing childhood sexual exploitation. Brandt lives with his wife Liz and their two children on The Buckspring Ranch in the foothills of Alberta’s Rocky Mountains.

Jon Taylor Sweet

PAUL BRANDT Vocals

HOW BECOMING A #NOTINMYCITY ALLY CHANGED ME

L

ike most people, I dread having tough conversations. I walk through them in my head, running different scenarios on how the other person will react, wondering whether I’ll sufficiently answer the hard questions they’ll throw my way.

Hard conversations are difficult because they take you to a place you can’t return from. No matter the outcome, both parties walk away changed. Not knowing how you’ll feel at the end is often what holds us back at the beginning. This is about a tough conversation that we all need to have.

I was first introduced to #NotInMyCity at its launch event in July 2017, when I had only a vague idea of what human trafficking and sexual exploitation was about. I knew it happened in other parts of the world, but could it really be happening here? I contemplated this as I walked through the Deane House’s summer garden, flowers in bloom under a blue Alberta summer sky.

That evening, I heard from #NotInMyCity founder and country music superstar Paul Brandt that the most common age girls are first trafficked in Canada is 13, and that 75 per cent of people working in the Canadian sex trade started when they were children. I took a step back when I learned that trafficking often takes place within 10 blocks of where we live. And I discovered from a courageous survivor that she had been held captive in a house not far from where I stood, after being lured into a dangerous, deadly world of suffering and slavery.

BY PAULA WORTHINGTON There’s no shortage of problems in our world today, and I realize this is just one of many, but becoming a #NotInMyCity ally has opened my eyes to the importance of compassion and the responsibility we carry to stand with those who are most vulnerable. Today, #NotInMyCity’s yellow rose has become a recognized emblem for a growing movement addressing the issue of human trafficking and the sexual exploitation of children and youth across the country. The organization’s four strategic directions have been designed to build partnerships and bring transformational change to this issue at the grassroots, organizational, policy, and legislative levels.

It’s hard to tell someone that children as young as seven are being trafficked in our province. And there’s no easy way to address the reality that currently only one per cent of trafficking victims are ever rescued. But by choosing to become an ally, you’ll discover that there is power behind knowing and sharing the truth.

Learn more at notinmycity.ca.

The Calgary Philharmonic Orchestra is donating $10 from every ticket sold for Paul Brandt’s Country Christmas performances to #NotInMyCity.

It was a tough conversation, and it changed me.

But that event was also a beacon of hope, including the reveal of the movement’s iconic yellow rose. The rose was created by renowned Calgary fashion designer Paul Hardy, who eloquently shared his vision: “Roses typically symbolize hope, new beginnings, and promise.

But there’s an interesting opposing tension with these flowers, because they possess thorns, which commonly represent loss, pain, and thoughtlessness.” He chose a rose to show both sides of the issue.

That day, I chose to become an ally for #NotInMyCity — to actively support its mission to prevent and end the sexual exploitation and trafficking of children and youth. Being an ally means being willing to stand up for those who are enslaved, suffering, and most vulnerable. It’s about doing our best to protect children and youth from the atrocities that take place every day. And it’s about having the courage to start tough conversations with those around us to help create change.

WINTER 2019/2020 | 25

ABOUT THE WORKS

17 + 18 JAN

FOLK SONGS FOR ORCHESTRA Huang Ruo (b. 1976) Huang Ruo has been lauded by the New Yorker as “one of the world’s leading young composers.” His vibrant and inventive musical voice draws inspiration from many sources, including Chinese ancient and folk music, rock, and jazz. He composed Folk Songs for Orchestra in 2012, cloaking three traditional melodies in spectacular orchestral colours.

BUTTERFLY LOVERS’ VIOLIN CONCERTO Chen Gang (b. 1935) Zhenhao He (b. 1933)

Friday 17 January 2020 / 7:30PM Saturday 18 January 2020 / 7:30PM Jack Singer Concert Hall Discovery

Lunar New Year Celebration Co-hosted with the Chinese Consulate General in Calgary SPONSORS + SUPPORTERS Guest Artist Supporter: Naomi + John Lacey Virtuoso Programme Lotus Sponsor: HSBC

PROGRAMME Junping Qian, conductor Angelo Xiang Yu, violin Huang Ruo Folk Songs for Orchestra Flower Drum Song from Feng Yang Love Song from Kang Ding The Girl from Da Ban City

10'

He Zhanhao

Butterfly Lovers’ Violin Concerto

26'

Kreisler

Tambourin Chinois, Op. 3

Intermission

4' 20'

Yu-Hsien (arr. Che-Yi Lee)

Bāng-Chhun-Hong

5'

Tan Dun

Internet Symphony: Eroica

7'

Traditional Arirang Bao Yuankai Selections from Chinese Sights and Sounds Happiness at Sunrise The Amusing Couple Flowing Stream Green Willow Bamboo-flute Tune Going to Watch Yangge Dance Programme and artists subject to change without notice

26 | PRELUDE calgaryphil.com | 403.571.0849

6' 19'

This lovely concerto tells a story that dates to the Jin Dynasty of China (265–420 A.D.) The solo violin symbolizes Zhu Yingtai, the story’s protagonist, and the solo cello portrays Liang Shanbo, her lover.

The concerto is in three movements performed without pauses. Zhu Yingtai disguises herself as a boy and sets out to study in Hangzhou. She meets Liang Shanbo, an impoverished scholar, and falls in love with him. She is shy, and he doesn’t twig to her hints that she’s a girl. Finally he realizes, and their love becomes mutual. In the second movement, Zhu’s father tries to marry her to a wealthy neighbour, and Liang falls sick and dies. In the third movement, Zhu’s bridal procession passes Liang’s grave. The grave opens, Zhu throws herself into it, and dies. After a storm, a rainbow appears. Among the flowers rise two butterflies, said to be the souls of the immortal lovers, transformed and united forever.

TAMBOURIN CHINOIS, OP. 3 Fritz Kreisler (1875 to 1962) A beloved violin soloist for more than half a century, Kreisler was also a composer. His many brief encore items own a firm place in the repertoires of violin soloists everywhere. Tambourin Chinois (Chinese Tambourin) does not

refer to the familiar percussion instrument, but a lively 18th-century French dance, with a touch of Asian flavour.

BĀNG CHHUN-HONG (LONGING FOR THE SPRING BREEZE) Teng Yu-hsien (arr. Che-Yi Lee) (1906 to 1944) This Taiwanese song composed

by Teng Yu-hsien, a Hakka Taiwanese musician, won international popularity when it was released in 1933.

INTERNET SYMPHONY: EROICA Tan Dun (b. 1957) In 2008, Google and YouTube commissioned Tan Dun to compose this piece for the YouTube Symphony Orchestra project. Musicians around the world were invited to submit videos of their interpretations of Internet Symphony to be judged by members of international orchestras. There were more than 3,000 auditions from more than 70 countries. The project culminated in a performance at Carnegie Hall in 2009. More than 22 million people from 200 countries on six continents have experienced Tan Dun’s feeling of a global music community.

ARIRANG Korean Traditional

Angelo Xiangyu

Kate Lemmon

Arirang is a Korean folk song that’s often considered the unofficial national anthem. It’s estimated to be more than 600 years old. While the lyrics vary from version to version, the common themes are sorrow, separation, reunion, and love.

Greetings from Chinese Consul General Mme. LU Xu On the occasion of 2020 Lunar New Year Celebration Hello or Da Jia Hao! I am very pleased to co-host with the Calgary Philharmonic Orchestra the Lunar New Year Celebration.

The Chinese Lunar New Year, also known as the Spring Festival, hails the arrival of spring and the official commencement of a new year for the Chinese. From generation to generation back to 4,000 years ago, the spiritual meaning of the Festival never changes, which is to share the joy of reunion with gratefulness and hope. The Festival is now widely celebrated outside of China, projecting Chinese touches onto the backdrop of world civilization.

I am fully aware that the Spring Festival has integrated into Canadian multiculturalism, enhanced by its official recognition as one of Canada’s holidays since 2017, fully embracing the compatible core values of diversity and inclusiveness of both cultures.

SELECTIONS FROM CHINESE SIGHTS AND SOUNDS Bao Yuankai (b. 1944)

In this coming season, the CPO’s invitation of Chinese artists to the festive performance of Chinese masterpieces is a brave interpretation of the idea that we need to join hands by putting differences aside in the face of a world full of challenges.

Bao Yuankai is a composer and music educator who graduated from the Central Conservatory of Music in 1967.

He has been a professor of the Tianjin Conservatory of Music since 1973. He composed the exotic 24-movement orchestral suite, Chinese Sights and Sounds, in 1991.

Let’s embrace the warm spring, leaving the fierce winter behind, with a grateful and tolerant heart.

Programme Notes by Don Anderson

I wish all of you a happy Chinese Lunar New Year.

Xin Nian Hao and Kung Hei Fat Choy!

2019 WINTER 2019/2020 | 27

Proud Partner of the Calgary PhilharmoniC orChestra.

loCal neWs at your fingertiPs. calgaryherald.com

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JUNPING QIAN Conductor

ANGELO XIANG YU Violin

Junping Qian is Assistant Conductor of the Royal Scottish National Orchestra, and Resident Artist and Strategic Consultant of the Shanghai Conservatory — Royal College of Music Joint Institute. Notable 2019/2020 engagements include a China tour with the Philharmonic Orchestra of Teatro del Giglio Lucca, his South American debut with Orchestra SODRE in Montevideo, Uruguay, his North American professional debut with the Calgary Philharmonic Orchestra, an openair summer concert in Classics for Pleasure Festival Sibiu, and re-invitations from Toronto, Macau, Kunming, Bucharest, Iasi, and Tirgus Mures. He has also been invited to study at the 2019 Muti Academy in Ravenna. Qian won First Prize at the 2017 Bucharest International Conducting Competition and has appeared in Festivals such as Verbier and Tanglewood. He is supported by Bruno Walter Memorial Foundation (2018) and the Solti Foundation (2018–2020). Qian was one of the winners of the prestigious INTERKATION-Conductors Workshop in Berlin, Germany, where he worked with Maestro Simone Young and Das Kritische Orchester. He graduated from the Curtis Institute of Music and Hochschule Hanns Eisler Berlin. He has been mentored by British conductor Daniel Harding since 2014 and was the last private student of legendary pedagogue Otto Werner Mueller.

Angelo Xiang Yu received a 2019 Avery Fisher Career Grant and a 2019 Lincoln Center Emerging Artist Award, as well as First Prize in the 2010 Yehudi Menuhin competition.

He has won critical acclaim and enthusiastic response worldwide for his technique and musical maturity.

In North America, Yu has recent or upcoming performances with San Francisco, Pittsburgh, Detroit, Toronto, Vancouver, Houston, Colorado, North Carolina, San Antonio, Puerto Rico, and Charlotte Symphonies, and Rochester and Calgary Philharmonics.

Internationally, he has appeared with the New Zealand Symphony, Shanghai Philharmonic, Auckland Philharmonia, Norwegian Radio Symphony, Munich Chamber Orchestra, and Oslo Philharmonic. In the summer of 2019, Yu returned to the Sarasota Music Festival, which he opened playing the three Brahms sonatas with Jeffrey Kahane on keyboard. Born in Inner Mongolia, China, Yu moved to Shanghai at age 11 and received early training from violinist Qing Zheng at the Shanghai Conservatory. He earned his bachelor’s and master’s degrees as well as the prestigious Artist Diploma at the New England Conservatory of Music, where he studied with Donald Weilerstein and Miriam Fried.

Yu lives in Boston and performs on a 1729 Stradivarius violin generously on loan from an anonymous donor.

A Gala in Support of the Calgary Philharmonic Orchestra

CORK CANVAS y

FRIDAY 1 MAY 2020 | 6PM | CALGARY PETROLEUM CLUB | $300 Enjoy a five-course gourmet dinner with fine wine pairings from winemaker Edmond de Rothschild.

Bid on luxury trips, incredible experiences, original artwork and extravagant wine.

The evening is topped off with live performances by members of the Calgary Philharmonic Orchestra.

For corporate tables and sponsorship opportunities, please email events@calgaryphil.com.

To secure your tickets, please book early — last year’s event sold out.

Buy tickets online at calgaryphil.com/corkandcanvas or call the Box Office at 403.571.0849.

calgaryphil.com | 403.571.0849

WINTER 2019/2020 | 29

ABOUT THE WORKS

25 JAN

From Rune Bergmann Tonight’s music is close to my heart.

I was lucky to grow up surrounded by the mountains and the fjords and all the things in Norway that inspired Grieg to write such beautiful music.

When I later went to Sweden to study conducting, I quickly got to know the music of Roman, who was extremely important to the country’s music and culture. I continued my studies at the Sibelius Academy in Finland, where the amazing Finlandia by Sibelius feels almost like a second national anthem.

The one work that is new to me on this programme is the Violin Concerto

by Hjalmar Borgström, introduced to me by our soloist, Eldbjørg Hemsing.

I’m excited to share the North American premiere of Borgström’s wonderful music with our audience.

Presented in partnership with One Yellow Rabbit’s High Performance Rodeo with support from the Hayes Family SPONSORS + SUPPORTERS Guest Artist Supporter: Naomi + John Lacey Virtuoso Programme Conductor Couturier: Umberto Custom Tailors Ltd.

PROGRAMME Rune Bergmann, conductor Eldbjørg Hemsing, violin Yukichi Hattori, dance + choreography Galien Johnston Hattori, dance Tara Williamson, dance Kalie Johnston, costume designer Students of H/W School of Ballet Sibelius

Finlandia, Op. 26

8'

Roman Allegro from Drottningholm Music

3'

Borgström Violin Concerto in G Major, Op. 25 I. Allegro moderato II. Adagio III. Allegro con spirito

36'

Intermission

20'

Grieg Selections from Peer Gynt Suites Morning Mood (Morgenstemning) Ingrid’s Lament (Bruderovet-Ingrids klage) Arabian Dance (Arabisk dans) Anitra’s Dance (Anitras dans) Aase’s Death (Åses død) Peer Gynt’s Homeward Journey (Peer Gynts hjemfart) Solveig’s Song (Solveigs sang) In the Hall of the Mountain King (I Dovregubbens hall) Programme and artists subject to change without notice

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indicates Canadian artist or composer

FINLANDIA, OP. 26 Jean Sibelius (1865 to 1957) Finlandia is a tone poem written for the Press Celebrations of 1899, a covert protest against the Russian Empire’s increasing censorship. To avoid that censorship, Finlandia was performed under alternative names — famous examples are Happy Feelings at the Awakening of Finnish Spring, and A Scandinavian Choral March.

Most of the piece is rousing and turbulent, evoking the national struggle of the Finnish people. Towards the end, a calm comes over the orchestra, and the serene and melodic Finlandia Hymn is heard. Often incorrectly cited as a traditional folk melody, the hymn section is Sibelius’ own creation.

ALLEGRO DROTTNINGHOLM MUSIC Johan Helmich Roman (1694 to 1758) Johan Helmich Roman was a Swedish Baroque composer also known as “the father of Swedish music” or “the Swedish Handel.” He was born in Stockholm and he joined the Royal

Rune Bergmann biography on page 7

Nikolaj Lund

Nordic Greats

Concert photo

Saturday 25 January 2020 / 7:30PM Jack Singer Concert Hall Specials

Chapel in 1711 as violinist and oboist, then later spent six year studying in London. On this return in 1721 he was appointed deputy master of the Royal Chapel, and eventually became Chief Master of the Swedish Royal Orchestra. One of Roman’s best-known compositions is the Drottningholm Music — 24 short pieces written for a royal wedding in August 1744. Tonight, we play the first movement, Allegro Assai.

VIOLIN CONCERTO IN G MAJOR, OP. 25 Hjalmar Borgström (1864 to 1925) Borgström left Norway in his early 20s to study in Germany, where he was clearly inspired by the music of Beethoven, Wagner, and Richard Strauss. Borgström was highly respected when he eventually returned to Norway in 1903, but the attention was short-lived. By 1914, the year his Violin Concerto premiered, the country was caught up in the 100th anniversary of Norwegian Independence and the country’s first constitution. The anniversary combined with the outbreak of war, and suddenly anything with a German association was no longer well received — Borgström found himself on the wrong side of history and musical fashion. He died in 1925 and was almost completely forgotten. Hearing his Violin Concerto 100 years after it was written brings a new perspective — although you can still hear the Germanic influence, you can also strongly sense that intrinsic Nordic sound.

Eldbjog Hemsing

Nikolaj Lund

SELECTIONS FROM PEER GYNT SUITES Edvard Grieg (1843 to 1907) Peer Gynt was written by Norwegian composer Edvard Grieg in 1875 for Henrik Ibsen’s 1867 play of the same name. It premiered along with the play on 24 February 1876 in Christiania (now Oslo). Grieg was one of the definitive leaders of Scandinavian music. He composed many short piano pieces and chamber works, but the work he did for Ibsen stood out. Grieg later extracted certain sections of that 90-minute composition for his two suites — Peer Gynt’s travels are represented by the instruments he uses.

ELDBJØRG HEMSING Violin

YUKICHI HATTORI Dance + Choreography

A champion of Norway’s rich musical tradition, Eldbjørg Hemsing has been a household name in her native country since childhood and made her solo debut with the Bergen Philharmonic at age 11. After winning various international competitions and prizes, she chose to study with Boris Kuschnir in Vienna, where she fine-tuned her performance-style and absorbed a wide range of repertoire — from Bach to Beethoven, and Bartók to Tan Dun. She has collaborated with Tan Dun on projects in both Europe and Asia, and most recently premiered and recorded the composer’s Fire Ritual — A Musical Ritual for Victims of Wars with the Oslo Philharmonic. In 2018 Hemsing released her debut recording on the Swedish label BIS, featuring violin concertos by Hjalmar Borgström and Dmitri Shostakovich, recorded with the Vienna Symphony Orchestra and Olari Elis. The rediscovery of Borgström has led to her mission to bring his violin concerto back to concert stages.

The 2019/2020 Season includes her début with the Royal Philharmonic Orchestra, Vancouver Symphony Orchestra, Calgary Philharmonic, Argovia Philharmonic, Slovene Philharmonic, and TON Orchestra, as well as return engagements in Europe and Asia. Hemsing plays a 1754 G. B. Guadagnini violin on loan from the Dextra Musica Foundation.

Yukichi Hattori received his training at the school of Hamburg Ballet John Neumeier. Upon graduating he joined the Hamburg Ballet company where he danced for seven years.

Hattori was promoted to soloist in 2004 and danced many roles within the company. He also began to choreograph while in Hamburg and was awarded the Public Prize at the Prix Dom Peringon choreographic competition. In July 2006, Hattori moved to Calgary, joining the Alberta Ballet company as a principal dancer.

Hattori created many pieces for the company, including Carmen, the Seven Deadly Sins, and Tubular Bells, as well as starred in numerous company productions. Hattori retired from Alberta Ballet in 2016 and opened the H/W School of Ballet with his partners Galien Johnston Hattori and Tara Williamson. He continues to choreograph, most recently winning the Betty Mitchell Award for outstanding choreography for his work in Theatre Calgary’s Billy Elliot.

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GALIEN JOHNSTON HATTORI Dance

TARA WILLIAMSON Dance

Galien Johnston Hattori received her training at Canada’s National Ballet School. Upon graduation, she danced for the National Ballet of Canada before joining the Hamburg Ballet in 1999. During her time in Hamburg, she danced in many established and original works as well as toured the world performing with the company.

In 2006, Johnston Hattori joined the Alberta Ballet as Principal Dancer, and retired from the company in 2011. Johnston Hattori began guest teaching at many schools around Calgary and continued to appear as a guest in performances with the Alberta Ballet. She was also invited to perform in The Soldier’s Tale at the Saito Kinen Festival in Japan.

Johnston Hattori served as Guest Ballet Mistress for the Alberta Ballet before opening her own school, the H/W School of Ballet, with partners Yukichi Hattori and Tara Williamson.

She performed with the Calgary Philharmonic Orchestra in True North in 2017.

Tara Williamson, originally from Richmond, BC, trained at the Richmond Academy of Dance. In 2006, she danced with Alberta Ballet performing roles such as Juliet in Jean Grande-Maître’s Romeo and Juliet, Carabosse in Kirk Peterson’s Sleeping Beauty, and Choleric in Balanchine’s Four Temperaments.

After eight years at Alberta Ballet, she worked with Les Ballets Jazz de Montréal, touring to various places around the world, with works by Cayetano Soto and Wen Wei Wang, to name a few. Williamson’s most recent performances were seen in Vancouver, with works such as Emily Molnar’s Rite, Medhi Waterski’s Natus, and Petite Ceremonie, and William Forsythe’s Workwithinwork.

After a wonderful and fulfilling career, she retired from Ballet BC in June 2016, and opened her own ballet and contemporary school in Calgary with principal dancers Yukichi Hattori and Galien Johnston Hattori, called the H/W School of Ballet.

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HONOURING A FAMILY LEGACY OF SUPPORTING THE ARTS

BY JILL GIRGULIS

M

ary Rozsa de Coquet has been coming to Calgary Philharmonic Orchestra concerts for as long as she can remember. Her late parents, Ted and Lola Rozsa, were longtime supporters of the Orchestra, initially as volunteers and then as philanthropic donors, so she grew up around music and musicians. “They were involved right from the beginning — in fact, even before it was the CPO,” Mary says. Ted and Lola moved to Calgary from Texas in the 1950s, right around the time the Orchestra was first finding its feet. Over the years, Ted and especially Lola became quite close with the CPO musicians.

THEY LEARNED THE ART OF FUND DEVELOPMENT BEFORE THEY BECAME THE ONES WHO ENTERTAINED THE FUND DEVELOPERS, SO I THINK THEY PROBABLY REALLY APPRECIATED THE IMPACT OF THE MONIES THEY GAVE...”

Mary Rozsa de Coquet

Greg MacKay

“They really spent a lot of time on the CPO, so they knew the organization very well, and I think because they were volunteers so early on, and because Mom loved people, they got to know the musicians,” Mary says. “That was really a priority for them. She always called the musicians her ‘kids,’ because she knew many of them when they first started — there were a number who’d been there their whole careers.”

Mary explains how, in those early days, her parents couldn’t afford to support the Orchestra financially, but they found other ways to contribute. “There was no option of giving dollars, but there certainly was the option of attendance, and of course, in turn, raising money,” she says. “They learned the art of fund development before they became the ones who entertained the fund developers, so I think they probably really appreciated the impact of the monies they gave, in a way that you couldn’t if you hadn’t been as involved.”

That commitment and generosity had a significant influence on Mary as well. She is President of the Rozsa Foundation, a philanthropic organization that both supports and advocates for the arts in Calgary, continuing the work started by her parents. And thanks to Mary, the legacy of her mother, who passed away in 2012, also lives on through the annual Dr. Lola Rozsa Children’s Concert, which is part of the Symphony Sundays for Kids series that features entertaining and educational concerts created specifically for children. “For her 85th birthday, I gave her a dedicated concert series, so it’s there in perpetuity,” says Mary. “I wanted to honour her — she was one of the women who actually started the children’s concerts, because she just felt it was so important for kids to have the opportunity to actually see an orchestra.”

This Season’s dedicated concert, The Hockey Sweater, takes place in February.

“Usually, unless the content isn’t right, I choose February, because her birthday was February 26th,” Mary says. “For the first couple of years, we had balloons in the foyer when the kids were doing the Instrument Discovery Zoo, and I think they played Happy Birthday, and I tell you, she loved it!”

The CPO’s Associate Conductor, Karl Hirzer, will be conducting the performance, which holds extra significance for Mary because she sponsors his position.

“Two years ago, Canada Council for the Arts abruptly cancelled their conductor residency programme,” she says. “This leaves a big hole in an orchestra, because really, an orchestra does not function unless it has an in-house Associate Conductor.”

The Associate Conductor plays a key role in the CPO’s education and outreach performances, and is involved in some Pops shows, the children’s concerts, and other initiatives. “If you don’t do those things, then you lose your community engagement, right?” Mary points out.

She offered to support the role until a long-term solution is in place.

“I’m not going to be around forever,” she says. “But in the meantime, it’s such a significant part of how the Orchestra works. And Karl is amazing. He’s so gifted, and he loves the community and getting involved, and he’s everything you would want in an Associate Conductor, so it’s easy to support him. It’s nice that Karl is going to be conducting Mom’s concert — that’s sort of elegant.”

WINTER 2019/2020 | 35

2 FEB

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

Families attending the concerts are also invited to come early for the Instrument Discovery Zoo in the Jack Singer Concert Hall lobby, where they can visit different stations hosted by Orchestra musicians. Each station features an instrument or musical activity for children to try, so they can learn firsthand what it’s like to blow in a trumpet or run a bow across the strings of a violin.

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

Sunday 2 February 2020 / 3PM Instrument Discovery Zoo / 2PM Jack Singer Concert Hall Symphony Sundays for Kids

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

The Hockey Sweater Dr. Lola Rozsa Children’s Concert SPONSORS + SUPPORTERS Series Sponsor: ATB Financial Associate Conductor Supporter: Mary Rozsa de Coquet Conductor Couturier: Umberto Custom Tailors Ltd. Instrument Discovery Zoo: Long & McQuade, V.A. Hill Fine Strings Ltd. Media: Shine FM

PROGRAMME

The Hockey Sweater

Copland Suite from Appalachian Spring

(1945 version)

22' 23'

The Hockey Sweater was commissioned by the Toronto Symphony Orchestra, Peter Oundjian, music director (May 2012); National Arts Centre Orchestra, Pinchas Zuckerman, music director (2013-14); and the Calgary Philharmonic Orchestra, Roberto Minczuk, music director (September 2012).

Programme and artists subject to change without notice

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indicates Canadian artist or composer

Karl Hirzer biography on page 7

Concert illustration

Abigail Richardson-Schulte

Tundra Books

Karl Hirzer, conductor Jonathan Love, narrator Alberta Ballet Company (Alberta Ballet School)

STUDIO

Custom Beauty.

Trusted Craftsmanship.

JONATHAN LOVE Narrator

Jonathan Love

Neil Zeller

Jonathan Love has played many roles.

He is a columnist for the Calgary Eyeopener on CBC Radio One, a community arts ambassador, and the new Executive Director for the Alberta Jubilee Auditoria Society. In addition to voicing and producing videos, commercials, and cartoons with his company ToonVox Media, he creates and performs regularly with the Calgary Philharmonic Orchestra, Edmonton Symphony Orchestra, and with Honens. On-screen, he has worked with visionaries like Ang Lee (Brokeback Mountain) and Kevin Costner (Open Range), and has appeared in many television productions. He is co-founder of a very successful marriage to legacy Lululemon ambassador Kate Love.

They have co-produced two amazing children who are taking music lessons in hopes of becoming CPO members.

He has also enjoyed 25 years of singing songs for people as a founding member of Calgary’s comic a cappella group, the Heebee-jeebees.

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To learn more about our musical tradition and for a complete list of choral services visit: anglicancathedralcalgary.ca

The Very Rev’d Leighton Lee, Dean & Dr. Neil Cockburn, Director of Music WINTER 2019/2020 | 37

8 FEB

Comedy Meets Orchestra PROGRAMME Rainer Hersch, conductor Music from (or almost from): Bach

Toccata and Fugue in D minor

Beethoven

Symphony No. 9 Symphony No. 5 Piano Concerto No. 5 (Emperor Concerto) Für Elise

Bizet

Overture from Carmen

Boccherini

Minuet from String Quintet in E Major, Op. 11, No. 5

Mozart

Eine Kleine Nachtmusik, K. 525

Rossini

Overture from William Tell

Strauss

Neue Pizzicato Polka, Op. 449

Tchaikovsky

Nutcracker Suite, Op. 71a

Verdi

La Traviata

Vivaldi

Four Seasons

Trad

Old MacDonald Had A Farm

... plus TV themes, film music, and much more. Much, much more!

Programme and artists subject to change without notice

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Rainer Hersch photos

Saturday 8 February 2020 / 7:30PM Jack Singer Concert Hall Specials

Rainer Hersch is a conductor, pianist, comedian, and broadcaster who has performed in over 30 countries and worked with orchestras from the St. Petersburg Philharmonic to the Tasmanian Symphony. He first studied piano, a student of Norma Fisher, then conducting, at Blackheath Conservatory with Denise Ham — including master classes with George Hurst and János Fürst at the Royal Academy of Music.

Hersch started his working life in concert agencies, managing some of the world’s great artists. At the same time, he developed a hobby — performing stand-up comedy on the London circuit. In time, he realized this was his true vocation and gave up his last straight musical job, Touring Manager of the London Festival Orchestra, to enter the world of professional comedy. Twenty-five years later, this unique training has kept him in constant demand — combining laughter with music. In addition to conducting, Hersch has built a reputation as a broadcaster and presenter in the United Kingdom for the BBC and Classic FM. He has also been consistently delighting new audiences with entertainment that is witty, interactive and fun. Born in England to a German father, he lives in London with his German wife, Connie.

Jack Liebeck

RAINER HERSCH Conductor

PATRON PROGRAMMES The Calgary Philharmonic Orchestra offers exciting, exclusive events and concerts via its three membership programmes. Enrol in Wolfgang, Amadeus, or Mozart patron programmes and join others who share a love for the symphony!

WOLFGANG

AMADEUS

The Wolfgang Patron Programme brings the city’s dynamic young professionals together for connection, concerts, and conversation. This is a great opportunity to meet other like-minded individuals and share your love for wonderful, world-class music. With your membership you will receive tickets to five curated performances and post-concert parties at trendy downtown venues.

The Amadeus Patron Programme offers a remarkable fellowship with others who love symphonic music.

Enjoy private recitals featuring world-renowned musicians and exclusive VIP experience benefits.

Memberships include Amadeus recitals with pre- and post-recital receptions, and front-of-theline invitations to special events throughout the Season.

Solo Membership: $400 Duet Membership: $700

Solo Membership: $800 Duet Membership: $1,500

MOZART The Mozart Patron Programme provides exclusive performances and connection opportunities, as well as access to the Wolfgang and Amadeus concerts, recitals and events. Expand your horizons with private performances and exclusive networking opportunities.

Solo Membership: $1,400 Duet Membership: $2,200

Please call Tara Kilmer at 403.508.7687 to learn about mid-season pricing.

All Patron Programme members receive 15% off tickets to additional Calgary Philharmonic Orchestra concerts at the Jack Singer Concert Hall and access to CPO Subscriber Rewards. For more information and a list of events please visit calgaryphil.com/patron-programmes.

WINTER 2019/2020 | 39

GWEN’S PICKS: MUSICAL JOURNEYS THAT CHALLENGE THE STATUS QUO

BY GWEN KLASSEN, ASSISTANT PRINCIPAL FLUTE AND PRINCIPAL PICCOLO

Game-changing composers not only shatter paradigms, but are also courageous enough to sit in the uncertainty of knowing and not knowing at the same time.

They sink the ship in order to experience the fear and freedom of the free-fall into chaos, all because they sense the existing structure no longer serves. When those composers choose to “differentiate in order to create beauty, meaning and synergy” (Cynthia Bourgeault), they also create new posts by which we experience and hear our humanity, knowing we are not alone. So, I’m putting on my life and music coach cloak and taking a deep dive into the hero/heroine’s archetypal journey through music, where we meet archetypal characters that challenge the hero/heroine and shake things up — as a result, life carries on in a new way, or it ends.

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VILLAIN AND THE RITUALS OF RENEWAL Lunar New Year Celebration In traditional Chinese culture, Nian is the ferocious beast that lives in the mountains or under the sea, and comes out to terrorize the village on New Year’s Day. According to legend, an unexpected hero, Yanhuang, faces his fears, turns toward the beast, learns its fears (the colour red, fire, and loud noises) and unites the village. Now that is a hero! The Villain is often our greatest ally in finding unknown courage, in ourselves and each other. All cultures have yearly rituals of renewal and rebirth, where we reflect on what was, atone, release, and honour those who came before us. We clean house, leave room for what will be, and we celebrate new beginnings, again and again. This is the theme of the Lunar New Year Celebration, a community event that honours East Asian cultures and unites people through the power of music. Most of the works on this programme are new to me, which brings its own transformation — learning new idioms and recognizing universal ones, while building connections with our diverse Calgary community.

Hear East Asia’s leading contemporary composers on 17 + 18 January 2020.

THE TRICKSTER Stravinsky’s Petrushka There are myths and stories in every culture that describe our human experience of awakening from a linear “follow the rules and you’ll be safe” direction into a more complex, contradictory, spiral existence. We meet familiar characters along the way. One of those is the Trickster — clever, mischievous, entertaining, and concerned with survival. In modern culture we have Bugs Bunny or Pippi Longstocking. In Indigenous culture it’s the Coyote or Raven. Loki in Norse mythology, Hermes in Greek.

In Russian folklore, it’s Petrushka. He is content to be the trickster puppet and dance for his supper until one day he is ‘brought to life’ by the magic flute!

This flute cadenza so clearly depicts what is happening — the sparkle of transformation is evident in the first flourish. We hear the unsteady tentative first steps without strings, and then he finds his feet. For the rest of the piece, we hear the excitement and drama of the ‘awakening.’

We hear fear, jealousy, and love.

Petrushka experiences the full range of humanity. Unfortunately, this is a tragedy and the hero succumbs to bitterness and resentment, raging against the pain involved in being fully alive, haunting the rest of us. He would have preferred to stay in the golden first half of life, thank you very much, where someone else is in charge.

FIRE Mozart’s Symphony No. 35 (Haffner Symphony) We all know about fire in Alberta.

It can warm us while camping, cook our food, and destroy entire forests, leaving room for creative new growth to slowly emerge. Mozart’s 35th symphony started as the famous ‘Haffner Serenade’ commissioned by the Haffner family for their daughter’s wedding. Later, Mozart revised the work for a member of the family’s ‘ennoblement’ ceremony. Finally, Mozart tinkered with it again and, with the addition of flutes (yay!) and oboes, the serenade evolved into this symphony. Mozart wrote to his father that the first movement should be played with fire, and the last as fast as possible! We hear the story, the wit, variety, drama, and the crackling, dancing fire in this transitional work for Mozart. This symphony is transformational for me on a personal level as well — it was the piece my daughter listened to every morning to get fired up as she got ready for school and to face the world. It is such a delight to know, as a parent and musician, the meaning music has in her life.

Hear Mozart’s Symphony No. 35 (Haffner Symphony) on 3 + 4 April 2020.

Hear Stravinsky’s Petrushka on 28 + 29 February 2020.

WINTER 2019/2020 | 41

ABOUT THE WORKS

14 FEB

This concert features the debut of a new work by Canadian composer Larysa Kumenko, commissioned by the CPO. She has provided the following programme note: FANTASY ON A THEME BY BEETHOVEN (WORLD PREMIERE) Larysa Kuzmenko (b. 1956) I was asked to write an eight-minute work, featuring the oboe, inspired by Beethoven’s Symphony No. 1. I chose to write a theme and variations loosely based on the main theme of the first movement. (Beethoven’s original theme is C G B C C, while my version is D Ab C D D.) The theme goes through different permutations, but remains recognizable, largely because of its shape and rhythm. The work opens with the theme being presented in a fugal texture by strings alone. There are variations that feature the solo oboe, and others that feature horns, trumpets, and even timpani, which, appropriately, was first featured as a solo orchestral instrument by Beethoven in his ninth symphony.

The biggest challenge when writing this piece was being restricted to Beethoven’s instrumentation — the orchestra in the classical era was much smaller than the contemporary orchestra. My other orchestral scores generally include trombones, bass clarinet, tuba and a variety of percussion instruments.

Friday 14 February 2020 / 7:30PM Jack Singer Concert Hall Showcase + 2020: The Year of Beethoven

Beethoven 1: Immortal Beloved Presented in partnership with Morningside Music Bridge SPONSORS + SUPPORTERS New Commission Supporter: DeBoni New Works Guest Artist Supporter: Naomi + John Lacey Virtuoso Programme Conductor Couturier: Umberto Custom Tailors Ltd.

PROGRAMME Rune Bergmann, conductor Larysa Kuzmenko, composer Yesong Sophie Lee, violin Clayton Stephenson, piano Larsya Kuzmenko Beethoven

Fantasy on a Theme by Beethoven

8'

Romance No. 1 in G Major for Violin and Orchestra, Op. 40

8'

Piano Concerto No. 1 in C Major, Op. 15 I. Allegro con brio II. Largo III. Rondo: Allegro

36'

Intermission

20'

Beethoven Symphony No.1 in C Major, Op. 21 I. Adagio molto - Allegro con brio II. Andante cantabile con moto III. Menuetto: Allegro molto e vivace IV. Finale: Adagio - Allegro molto e vivace

26'

Programme and artists subject to change without notice

42 | PRELUDE calgaryphil.com | 403.571.0849

indicates Canadian artist or composer

ROMANCE NO. 1 IN G MAJOR FOR VIOLIN AND ORCHESTRA, OP. 40 Ludwig van Beethoven (1770 to 1827) Little is known about the creation of Beethoven’s two romances, save that they date from the early years of the 19th century. Some writers believe that he composed them as possible continuations of an earlier concerto, of which only the first movement has survived. Others see them as ‘dry runs’ for the slow movement of the

Rune Bergmann biography on page 7

masterful, full‑scale Concerto in D Major (1806). Whatever the case, they are charming and gracious works.

PIANO CONCERTO NO. 1 IN C MAJOR, OP. 15 Ludwig van Beethoven Beethoven arrived in Vienna in 1792, intending merely to finish his musical education with Joseph Haydn before returning to Bonn. Circumstances led him to change those plans. The Austrian capital was destined to remain his centre of activities for the remainder of his life. He won his first fame there as a pianist. He also composed solo piano works for his own performance. He revised certain of his existing creations as well, including the Piano Concerto No. 2, his earliest complete work in this form. In order to retain the performing rights to it, he delayed its publication until 1801. This explains why it is numbered higher than Concerto No. 1, which he composed in 1796 and 1797. Beethoven played the solo part at the premiere of the Concerto in C, as he would with the first four of the five piano concertos.

SYMPHONY NO. 1 IN C MAJOR, OP. 21 Ludwig van Beethoven Haydn and Mozart were Beethoven’s primary predecessors in the field of the symphony, which during Beethoven’s early career had not yet achieved the status of the most vital musical form. He was destined to change that. It wasn’t until 1799, several years after Haydn and Mozart had composed their final symphonies, that he developed enough self-confidence to test those same, daunting creative waters.

Symphony No. 1 premiered in Vienna in April 1800. He did not intend it as a major or individual statement, but to demonstrate that he fully understood the current style. It fulfills that modest ambition perfectly, providing high-quality entertainment and the occasional flash of individuality (a gruff sense of humour, for example) that he would build upon in the future.

Delivering Support

LARYSA KUZMENKO Composer Larysa Kuzmenko is a Toronto-based composer, pianist, and Juno nominee. Her works have been published

by Boosey and Hawkes, and commissioned, performed, broadcast, and recorded by many outstanding musicians all over the world. Some prominent ensembles and soloists who have performed her works include the Calgary Philharmonic Orchestra directed by Rune Bergmann, the Toronto Symphony Orchestra directed by Peter Oundjian and Jukka-Pekka Saraste, the Winnipeg Symphony Orchestra directed by Bramwell Tovey, Thunder Bay Symphony Orchestra directed by Jeffrey Moule, the Gryphon Trio, the Composer’s Orchestra directed

by Gary Kulesha, the New Hampshire Philharmonic directed by Mark Latham, flutist Susan Hoeppner, pianists Anton Kuerti and Christina Petrowska-Quilico, and cellist Shauna Rolston. Kuzmenko’s works demonstrate a strong affinity towards the mainstream of classical music. She imbues her music with a strong melodic sense, and a firm rooting in traditional, albeit extended tonal processes. She is currently on staff at the University of Toronto’s Faculty of Music, where she teaches composition and piano.

We are committed to being a good neighbour.

Our community engagement Inter Pipeline is proud to support the programs, landowner Calgary Philharmonic Orchestra’s relations philanthropic Indigenous and Education Concert. activities demonstrate this commitment in the communities where we operate.

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Programme Notes for Beethoven

by Don Anderson 2019 WINTER 2019/2020 | 43

Building creative communities and bright futures Together, we can do more for Canadians, for each other and for the communities we love.

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YESONG SOPHIE LEE Violin

CLAYTON STEPHENSON Piano

Since winning the Menuhin Competition, Yesong Sophie Lee has soloed with numerous orchestras, including the London Philharmonia Orchestra, Berlin’s Konzerthaus Orchestra, Orchestre de la Suisse Romande, Milan’s Orchestre des Cameristi de la Scala, the Seattle Symphony, and the Detroit Symphony. She performed Bach’s Double Concerto with Joshua Bell and the Richmond Symphony, and also performed Duo Gemini with its composer, Henning Kraggereud at Victoria Hall in Geneva. She has performed at festivals in Gstaad, Geneva, Kronberg, Warsaw, and in major U.S. cities from Honolulu to New York City. She also gave a concert tour of the U.K., where she played for Prince Charles. In the 2019/2020 Season, concerts include the Tchaikovsky Concerto with the Orchestre des Cameristi de la Scala de Milan, Beethoven Concerto with the Bremerton Symphony, the two Beethoven Romances with the Calgary Philharmonic, and recitals at the Gstaad Menuhin Festival, the Great Lakes Center for the Arts in Bay Harbor, Michigan, and the Resonance Masters’ Series in Seattle.

Recently, she received Salon de Virtuosi’s ‘Charlotte White’ Career Grant and will be performing at the Salon’s Gala Awards Concert at The Kosciuszko Foundation.

Named the 2017 United States Presidential Scholar in the Arts, Stephenson has won top prizes in several competitions, including the 2015 Cliburn Junior International Piano Competition and the 2016 Cooper International Piano Competition. He is also a proud Young Scholar of the Lang Lang International Music Foundation. Highlights of Stephenson’s burgeoning career include recitals at the Louis Vuitton Foundation in Paris, Kissinger Sommer Festival, BeethovenFest, Stars and Rising Stars in Germany, Swiss Alps Classics at Swisst, and Weill Recital Hall at Carnegie Hall. He has been featured on NPR, and WQXR (New York City) and is a frequent guest artist for the Cliburn Foundation. Stephenson’s orchestral performances include Chicago Sinfonietta’s season-opening concert at Chicago’s Symphony Center, the Colour of Music Festival Gala Concert at Charleston’s Gaillard Center, the Midwest Young Artists Symphony at the Ravinia Festival, and Chicago’s Millennium Park Pritzker Pavilion, UN Day concert at the United Nations General Assembly Hall. He recently appeared at the Grammy Salute to Classical Music concert at Carnegie’s Stern Auditorium. Stephenson trained at Juilliard since age 10, and is currently pursuing a bachelor’s degree in economics at Harvard, and a master’s degree in piano performance at the New England Conservatory with Wha Kyung Byun.

UNITED residents embrace the arts Transforming the Experience of Aging

Teachers:

Bring your students to a CPO education concert and experience the wonder of hearing a live orchestra — no ear buds required!

Associate Conductor Karl Hirzer leads these one-hour programmes designed to educate and inspire students. We welcome all educators from public, separate, private, charter, and home schools. Visit calgaryphil.com/education for more information.

Garrison Green 403-685-7200 Fish Creek 587- 481-7907

UnitedActiveLiving.com

The Hockey Sweater and Appalachian Spring with Alberta Ballet School 30 January 2020 5 + 6 February 2020 Join us for a special musical presentation of Aaron Copland’s Appalachian Spring, with guests from Alberta Ballet School. Jonathan Love narrates Roch Carrier’s Canadian classic, The Hockey Sweater, accompanied by the Orchestra performing music by Abigail Richardson-Schulte.

SPECIAL GUEST Mark Shilansky, jazz piano

Napi and the Rock with Making Treaty 7 29 + 30 April 2020 Be the first to experience this new original commission created in partnership with Making Treaty 7 Cultural Society. Composers Cris Derksen and Sonny-Ray Dayrider are composing a brand new symphony based on the creation story of how the Big Rock came to Okotoks.

Tuesday, December 31, 2019 at 8:00pm Bella Concert Hall, Mount Royal University tickets.mru.ca / 403 440 7770

Sunday, February 23, 2020 at 3:00pm Bella Concert Hall, Mount Royal University

calgaryphil.com | 403.571.0849

tickets.mru.ca / 403 440 7770

WINTER 2019/2020 | 45

ABOUT THE WORKS

15 FEB

This concert features the debut of a new work by Canadian composer Barbara Croall, commissioned by the CPO. She has provided the following programme note: INNENOHR (INNER EAR) (WORLD PREMIERE) Barbara Croall (b. 1966)

Saturday 15 February 2020 / 7:30PM Jack Singer Concert Hall Showcase + 2020: The Year of Beethoven

Beethoven 2: Romance Presented in partnership with Morningside Music Bridge SPONSORS + SUPPORTERS New Commission Supporter: DeBoni New Works Guest Artist Supporter: Naomi + John Lacey Virtuoso Programme Conductor Couturier: Umberto Custom Tailors Ltd.

PROGRAMME Rune Bergmann, conductor Barbara Croall, composer Yesong Sophie Lee, violin Sa Chen, piano Barbara Croall Beethoven

Innenohr (Inner Ear)

8'

Romance No. 2 in F Major for Violin and Orchestra, Op. 50

9'

Piano Concerto No. 2 in B-flat Major, Op. 19 I. Allegro con brio II. Adagio III. Rondo: Molto allegro

28'

Intermission

20'

Beethoven Symphony No. 2 in D Major, Op. 36 I. Adagio Molto — Allegro con brio II. Larghetto III. Scherzo: Allegro IV. Allegro Molto

32'

Programme and artists subject to change without notice

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indicates Canadian artist or composer

When I was asked to compose a work inspired by Beethoven’s second symphony, I thought about the inner turmoil in his life during the time he was creating this work. His hearing difficulties had become impossible to ignore.

The panic and confusion must have been overwhelming. I wondered about the memory involved in musical composition, and how Beethoven’s creative impulses were so concretely formed in his imagination. I also wondered about the actual workings of the inner ear, a complex and tiny network of canals — not unlike a conch shell in some ways, and the branches of a tree in others.

What are the links between perceiving sound and conceiving of musical ideas, especially when the sense of hearing is distorted or absent? And what were the workings of Beethoven’s imagination in his own inner ear? I’ve questioned how it affected him psychologically and emotionally when his hearing started to fail, and how it informed and shaped his creative musical path. My new work considers these questions with empathy for his dilemma, and for all people experiencing loss of hearing. In other ways, it is symbolic of how hearing can be a source of trauma or re-trauma — from mundane sounds of everyday life, to cries of suffering or joy — and how we cope with this kind of response.

ROMANCE NO. 2 IN F MAJOR FOR VIOLIN AND ORCHESTRA, OP. 50 Ludwig van Beethoven (1770 to 1827) Little is known about the creation of Beethoven’s two romances, save that they date from the early years of the 19th century. Some writers believe he

Rune Bergmann biography on page 7 Yesong Sophie Lee biography on page 44

composed them as possible continuations of an earlier concerto, of which only the first movement has survived.

Others see them as ‘dry runs’ for the slow movement of the masterful, full‑scale Concerto in D Major (1806).

Whatever the case, they are charming and gracious works.

PIANO CONCERTO NO. 2 IN B-FLAT MAJOR, OP. 19 Ludwig van Beethoven Beethoven won his first fame in Vienna as a pianist. He gradually made a name for himself through his outgoing performing style and through solo piano works that he composed for his own performance. He revised certain of his existing creations as well, including the Piano Concerto No. 2, his first work of this kind. In order to retain the performing rights, he delayed its publication until 1801. This explains why it’s numbered higher than Concerto No. 1, which he composed in 1796 and 1797, but was printed just nine months earlier than No. 2.

SYMPHONY NO. 2 IN D MAJOR, OP. 36 Ludwig van Beethoven

Sa Chen

Xie Fei

Catastrophe struck while Beethoven was working on his second symphony during the summer and autumn of 1802. There had been signs of growing deafness for some time, which he had done his best to ignore and conceal, but it deteriorated to the point where he came to realize he would probably lose his hearing. He was emotionally devastated, terrified, and deeply ashamed. He wrote a highly emotional letter, intended for his brothers, in which he vented to his feelings. This ‘Heiligenstadt Testament’ (named after the district of Vienna where he was living) may have served as a kind of emotional release, since the symphony he composed bears no trace of the dark emotions at play within him. It also represented a considerable advance in many ways over its predecessor, duration and substance being the most obvious examples. The highly successful first performance took place in Vienna on 5 April 1803.

Programme Notes for Beethoven

by Don Anderson 2019

BARBARA CROALL Composer

SA CHEN Piano

Acclaimed Odawa composer/musician Barbara Croall (Mnidoo Mnissing, Giniw Dodem) has received world premieres and broadcasts of her works internationally since 1995. Performing and composing for pipigwan and voice in the Anishinaabeg way, Croall also holds degrees and diplomas from Centre Acanthes (France), the Musikhochschule in Munich, Germany, the Royal Conservatory of Music (Toronto), and the University of Toronto where she was the recipient of the Glenn Gould Award in Composition (1989). The child of a residential school survivor, Croall is also the direct descendant of hereditary chiefs who signed the major treaties in Ontario and who fought in the Indian Wars and War of 1812. Recent projects include: Saia’tokenhti: Honouring Saint Kateri, a multimedia orchestral theatre and dance project in collaboration with the Mohawk communities of Akwesasne and Kahnawake — a Canada Council 150 ‘Next Chapter’ Project; a piano quartet for Ensemble Made in Canada’s ‘Mosaique’ Project; several choral works in the Odawa language (with texts also by Croall); and a concerto for timpani and chamber orchestra for timpanist Ed Reifel.

Croall is currently Artist-in-Residence and Cultural Consultant with the Kitchener-Waterloo Symphony Orchestra.

Chinese pianist Sa Chen has established herself as one of the most charismatic pianists of her generation.

She earned critical acclaim at Leeds, Chopin, and Van Cliburn in her early teens, then began her professional performing career worldwide. Chen has performed with the London Philharmonic Orchestra, Orchestre Philharmonique de Radio France, WDR Symphony Orchestra, Orchestra dell’ Accademia Nazionale di Santa Cecilia, Royal Stockholm Symphony Orchestra, Los Angeles Philharmonic, San Francisco Symphony Orchestra, Moscow Philharmonic, Israel Philharmonic Orchestra, NHK Symphony Orchestra, and China Philharmonic Orchestra. She also appeared at historical music festivals such as the Lockenhaus Festival, Salzburg Festival, Ruhr Piano Festival, and St. PetersburgPiano Festival. In the 2019/2020 season, Chen performs in concert in France, Italy, United Kingdom, United States, and China.

Season highlights include her debut at the Marinskii Theater in St. Petersburg, Champs Elysees Theater in Paris, Pyeong-Chang Winter Olympic Games anniversary festival, and the opening performance at the Singapore International Piano Festival. Chen is on the jury of the Leeds International Piano Competition, Ferruccio Busoni International Piano Competition, Sydney International Competition, and the 18th international Chopin Piano Competition.

WINTER 2019/2020 | 47

21 + 22 FEB

5 THINGS ABOUT ARETHA FRANKLIN 1. A retha Franklin started out singing in the gospel choir at her Baptist church in Detroit, Michigan — her father was the minister and took Aretha on the road during his ‘gospel caravan’ tours.

2. In 1960 at age 18, Aretha started her career as a recording artist. In 1967, Respect became her first chart-topping single. By the end of that decade, she had earned the title ‘Queen of Soul.’

3. Aretha won 18 Grammys, had 112 singles on the Billboard charts, and sold over 75 million records worldwide. She was the first female performer inducted into the Rock and Roll Hall of Fame and was the most charted female artist in history until 2017, when she was passed by Nicki Minaj.

Friday 21 February 2020 / 7:30PM Saturday 22 February 2020 / 7:30PM Jack Singer Concert Hall Pops

RESPECT! Honouring Aretha PROGRAMME Earl Lee, conductor Capathia Jenkins, vocals Ryan Shaw, vocals Calli Graver, backup vocals Nick Trawick, backup vocals Deshana Wooden, backup vocals Programme to be announced from stage.

Performance includes a 20-minute intermission.

Programme and artists subject to change without notice

48 | PRELUDE calgaryphil.com | 403.571.0849

4. Aretha was active in the fight for civil rights and women’s rights, supporting causes, speaking up, and performing at benefits. In 2017, Aretha and other prominent musicians declined to take part in President Donald Trump’s inauguration.

5. F ollowing her death in 2018 at age 76, the Pulitzer Prize jury awarded Franklin a special citation “for her indelible contribution to American music and culture for more than five decades.”

EARL LEE Conductor

CAPATHIA JENKINS Vocals

RYAN SHAW Vocals

An Associate Conductor of the Pittsburgh Symphony Orchestra and former RBC Resident Conductor of the Toronto Symphony Orchestra, Earl Lee is a renowned KoreanCanadian performer who creates powerful experiences for audiences worldwide. Lee’s passion for music is reflected in his career as both a conductor and a cellist, appearing at major concert halls across the globe.

Highlights from 2018/2019 include leading the Pittsburgh Symphony Orchestra, return engagements with the Toronto Symphony Orchestra, and debut performances with the Louisiana Philharmonic Orchestra and Winnipeg Symphony Orchestra. Lee was the recipient of the 50th Anniversary Heinz Unger Award from the Ontario Arts Council in 2018. In 2013, he was one of two performers to receive the Felix Mendelssohn Bartholdy Scholarship, and was awarded the Ansbacher Fellowship by the American Austrian Foundation and members of the Vienna Philharmonic. Lee has degrees in cello from the Curtis Institute of Music and the Juilliard School.

He began his conducting studies in 2010 with Ignat Solzhenitsyn, and received his master’s in 2013 from the Manhattan School of Music with George Manahan. He pursued postgraduate studies in conducting at the New England Conservatory with Hugh Wolff prior to his tenure with the Toronto Symphony Orchestra.

Brooklyn-born and raised actress Capathia Jenkins recently starred as Medda in the hit Disney production of Newsies on Broadway. She has also performed on Broadway in The Civil War, The Look of Love, Caroline, Or Change, and Martin Short — Fame Becomes Me, where she sang Stop the Show and brought the house down every night. Jenkins starred Off-Broadway in the revival of Godspell and (mis) Understanding Mammy, for which she received a Drama Desk Nomination. Jenkins was also seen on the live NBC production of The Wiz. An active concert artist, Jenkins has appeared with orchestras around the world, including the Cleveland Orchestra, Houston Symphony, Pittsburgh Symphony (with Marvin Hamlisch), Philly Pops, Cincinnati Pops, National Symphony, Atlanta Symphony, Seattle Symphony, Utah Symphony, Minnesota Orchestra, Colorado Symphony, Toronto Symphony, and Hong Kong Philharmonic, as well as the Festival Cesky Krumlov in the Czech Republic. She returned to Carnegie Hall with the New York Pops in December 2019 and sang in a Marvin Hamlisch tribute at the Library of Congress. Her latest concert, a tribute to Aretha Franklin, is being performed with symphonies throughout the United States.

Jenkins can be heard on the film soundtracks for Nine, Chicago, and Legally Blonde 2.

Ryan Shaw is a three-time Grammynominated artist. He recently appeared as Judas at the Lyric Opera of Chicago in the U.S. premiere of the critically acclaimed London/Regent’s Park’s production of Jesus Christ Superstar, which won the Olivier for Best Musical Revival. He also starred as the original Stevie Wonder in Motown: The Musical on Broadway, and on London’s West End as the Soul of Michael Jackson in Thriller Live. As a recording artist, Shaw has toured the world and shared the stage with such artists as Van Halen, Bonnie Raitt, Joss Stone, John Legend, B.B. King, Bruce Hornsby, and Jill Scott, to name a few. As a concert soloist, Shaw made his Radio City Music Hall debut at the Dream Concert benefit to build the Martin Luther King Jr. National Monument in Washington, D.C. He has numerous Carnegie Hall appearances, and was honoured to be the second artist in history to be asked to perform a return engagement at the Central Park SummerStage gala (second to Stevie Wonder). Upcoming concert engagements include the Cleveland Orchestra, Philly Pops, Houston Symphony, Colorado Symphony, Arkansas Symphony, Colorado Springs Philharmonic, Tucson Symphony, Harrisburg Symphony, Springfield (Ohio) Symphony, Calgary Philharmonic, and many others.

WINTER 2019/2020 | 49

Bianca Hyslop, Transformation. Photo by Katy Whitt.

Banff Centre is art that’s breathtaking, at an altitude that doesn’t help.

Banff Centre is

Experience art in the Rockies. banffcentre.ca

.

Q + A with PRINCIPAL VIOLA

LAURENT GRILLET-KIM Q You’ve lived in France and the

U.S., and travelled around the world on cruise ships. Now that you’re in Calgary, what’s the best part of living here?

A

My favourite part is living near the mountains. I go ski touring whenever I can with some friends from the Orchestra.

Q

How old were you when you started playing an instrument?

A

Laurent Grillet-Kim

Greg MacKay

I started playing the violin at age seven. I originally wanted to play cello, but there wasn’t a cello teacher close to our house.

Q What drew you to the viola?

A When I was living in France, I

played in a string quartet for a long time, and even though I was playing first violin, I was always attracted to the inner voices. As a chamber musician I started to think that these inner voices were key to the sound of a quartet or an orchestra, and that’s

where the music really was. My ego prevented me from acting on it at the time — playing first violin was more easily rewarding! As I grew up, I guess I got a bit of control over my ego and decided to try playing the viola as well as the violin. At Indiana University I majored in both instruments, but gave up the violin almost completely when I joined the CPO in September 2014.

Q

Is there a particular piece of music or a performance that had a major impact on you?

A

It would be hard to talk about one piece in particular, but I can clearly remember the impact that both Mozart and Beethoven’s music had on me. Although it may sound cliché, they really shaped my idea of beauty.

As for a performance, I heard the Alban Berg quartet in Bordeaux when I was 15 or so — they played Bach’s The Art of Fugue and Beethoven’s Opus 130 from the Great Fugue. I remember being shocked by the first notes, the quality of the sound. I feel like I’ve never heard anyone playing with a sound that beautiful since then.

It really stuck with me.

Q What do you enjoy most about

being a musician, and what is most challenging?

A

Although it is not very poetic, what I enjoy most is the fact that I can make a living being a musician. Lots of people think being a musician is a hobby — they don’t realize the time and effort you need in order to get an even mediocre job. For me the greatest challenge is to be consistent.

Maintaining a certain level of playing is really difficult as it requires a lot of discipline in practising.

Q You’ll be performing

Bartók’s complex Viola Concerto on 28 + 29 February. Are you excited?

A

I’m excited for the challenge. I don’t often perform as a soloist, so many aspects of this performance are demanding. Technically, the piece is difficult, and being comfortable with it to make it sound genuine requires a lot of work. Preparing mentally and physically to play a solo performance is quite different than preparing for a concert with the orchestra.

WINTER 2019/2020 | 51

28 FEB

RUSH HOUR The Rush Hour series at the Calgary Philharmonic Orchestra includes three Friday night concerts that kick off with happy hour in the lobby at 5:30PM. There is lounge seating, a live DJ, and drink specials, followed by a one-hour performance of classical music favourites at 6:30PM. Skip the rush hour traffic and enjoy a night of socializing and music, and leave in time to tuck the kids in or get to that dinner reservation!

Rush Hour concerts also have a fun and informative component called Tweet Seats. Follow @CPOrush on Twitter for carefully curated facts and trivia about the pieces as they’re performed.

You’re also invited to share photos, comment, and ask questions — it’s a great way to network with other arts lovers and share your feedback on the performance.

Friday 28 February 2020 / 6:30PM Happy Hour / 5:30PM Jack Singer Concert Hall Rush Hour

Rush Hour: Off the Beaten Path

Experience the rush! @CPOrush

SPONSORS + SUPPORTERS Guest Artist Supporter: Naomi + John Lacey Virtuoso Programme Associate Conductor Supporter: Mary Rozsa de Coquet Conductor Couturier: Umberto Custom Tailors Ltd.

PROGRAMME Karl Hirzer, conductor Laurent Grillet-Kim, viola Bartók Viola Concerto, Sz. 120 I. Allegro moderato II. Lento III. Finale: Allegretto

20'

Stravinsky Petrushka (1947 version) 1. The Shrovetide Fair 2. Petrouchka’s Cell 3. The Moor’s Cell 4. The Shrovetide Fair (Towards Evening)

34'

Programme and artists subject to change without notice

52 | PRELUDE calgaryphil.com | 403.571.0849

indicates Canadian artist or composer

Karl Hirzer biography on page 7 Laurent Grillet-Kim biography on page 55

IN CONCERT 15 + 16 May 2020 Southern Alberta Jubilee Auditorium Presentation licensed by Disney Concerts in association with 20th Century Fox, Lucasfilm Ltd., and Warner/Chappell Music. © 2019 & TM LUCASFILM LTD. ALL RIGHTS RESERVED © Disney

calgaryphil.com | 403.571.0849 WINTER 2019/2020 | 53

ABOUT THE WORKS

29 FEB

UNE BARQUE SUR L’OCÉAN (A SHIP UPON THE OCEAN) Maurice Ravel (1875 to 1937) Ravel composed a five-movement piano suite, Miroirs (Mirrors, or Reflections), in 1904 and 1905.

Spanish pianist Ricardo Viñes premiered it in Paris in 1906. Ravel created an orchestral transcription of Une barque shortly after composing the piano original. Uncertain of the second version’s value, he withdrew it after a single performance. It was heard again only after his death.

VIOLA CONCERTO, SZ. 120 Béla Bartók (1881 to 1945)

Saturday 29 February 2020 / 7:30PM Jack Singer Concert Hall Discovery

Bartók + Stravinsky SPONSORS + SUPPORTERS Guest Artist Supporter: Naomi + John Lacey Virtuoso Programme Associate Conductor Supporter: Mary Rozsa de Coquet Conductor Couturier: Umberto Custom Tailors Ltd.

PROGRAMME Karl Hirzer, conductor Laurent Grillet-Kim, viola Ravel

Une barque sur l’ocean

7'

Bartók Viola Concerto, Sz. 120 I. Allegro moderato II. Lento III. Finale: Allegretto

20'

Intermission

20'

Stravinsky Petrushka (1947 version) 1. The Shrovetide Fair 2. Petrouchka’s Cell 3. The Moor’s Cell 4. The Shrovetide Fair (Towards Evening)

34'

Programme and artists subject to change without notice

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indicates Canadian artist or composer

In early 1945, the seriously ill Bartók received a commission for a viola concerto from soloist William Primrose.

He did some work on it, but concentrated most of his energy on a third piano concerto. His intention was to leave something to his wife, Ditta, a concert pianist, to use as a source of income. But in September his health took a severe turn for the worse. At his death, the third piano concerto lay nearly complete. His friend and colleague, the Hungarian/American composer Tibor Serly, completed it.

Bartók had left the Viola Concerto in a much less complete form.

Only the first movement existed in anything resembling a fully sketched state, and there were just fragments and suggestions for the remainder.

Serly took up the task of completing it, but this time his contributions were much more wide-ranging than those he had made to the piano concerto. Scholars have debated the value of his choices, including the orchestration, which is almost totally his. Yet what cannot be denied is the importance of his efforts to bring before the public not only a major Bartók score, but also a significant addition to the viola’s perpetually small concerto repertoire.

Karl Hirzer biography on page 7

PETRUSHKA (1947 VERSION) Igor Stravinsky (1882 to 1971)

Laurent Grillet-Kim

Greg MacKay

Stravinsky’s involvement in his first great success, the dance score The Firebird, came about in 1910, thanks to Sergei Diaghilev, impresario of the renowned company Les Ballets Russes (Russian Ballet). Soon afterwards, he and Diaghilev agreed on an evocation of pagan Russia (The Rite of Spring) as their next project, but the ballet Petrushka was destined to come to term first.

Stravinsky settled on Petrushka (Punch) as the leading figure, adopting the pathetic clown familiar from fairground shows in many lands.

The premiere in Paris in June 1911 won tremendous success. These performances will use the revised version of the orchestration that Stravinsky prepared in 1947.

The setting is a Shrovetide fairground in St. Petersburg, about 1830. Amidst the bustle of the carnival is a puppet show, overseen by a mysterious, aging charlatan. His flute brings to life three characters: Petrushka, a handsome African man, and a lovely ballerina. The three puppets perform a vivacious Russian dance. The action moves backstage to Petrushka’s small, bare room. He professes his love for the ballerina but she rejects him coldly. The next stop is the African man’s quarters, where he and the Ballerina are enjoying an amorous rendezvous.

Petrushka appears, only to be chased away by his rival.

Back outside, evening is falling and the fair is in full swing. Suddenly Petrushka appears running through the crowd. The African man pursues him and strikes him down with a sword. The charlatan demonstrates to the shocked crowd that the apparent murder victim was only a puppet. As he drags the body away, Petrushka’s ghost appears above the theatre, rudely mocking his former master.

Open Rehearsals Anyone can experience a full working Calgary Philharmonic Orchestra rehearsal for select concerts! Attendees observe the time and dedication it takes to prepare for a performance. Visit calgaryphil.com/education to register.

Lunar New Year Celebration 17 January 2020 / 10AM Beethoven 1: Immortal Beloved 14 February 2020 / 10AM LAURENT GRILLET-KIM Viola Laurent Grillet-Kim was born in Bordeaux, France where he started playing the violin at age eight. After graduating from the Bordeaux Conservatory he went on to study in Lyon and Boulogne-Billancourt for a short time before coming back to his native city and taking private lessons with Micheline Lefebvre (violin) and Pierre Lefebvre (viola).

Before moving to the United States to study viola with Prof. Arad and Prof. DeVeritch, and violin with Prof. Agostini, Grillet-Kim worked on cruise ships and travelled around the world for 10 months. While at Indiana University, he had the opportunity to play chamber music with the faculty members of the music school and was principal viola of the Indiana University Philharmonic Orchestra and Chamber Orchestra. He also was part of the Kuttner Quartet, the student resident quartet. Grillet-Kim was regularly invited to play with the Chicago Symphony Orchestra during his last year of studies. In September 2014, he joined the Calgary Philharmonic Orchestra as principal violist.

Rush Hour: Off the Beaten Path 28 February 2020 / 10AM Beethoven 3: Heroic 6 March 2020 / 10AM Rush Hour: Best of Mozart 3 April 2020 / 10AM Beethoven 4: Bold 29 May 2020 / 10AM

calgaryphil.com | 403.571.0849 Programme Notes by Don Anderson

2019 WINTER 2019/2020 | 55

ABOUT THE WORKS

6 + 7 MAR

This concert features the debut of a new work by Canadian composer Kelly-Marie Murphy, commissioned by the CPO. She has provided the following programme note: ON RETHINKING HEROISM IN THE 21ST CENTURY (WORLD PREMIERE) Kelly-Marie Murphy (b. 1964) Beethoven wrote his third symphony, Eroica, in 1803. It was inspired by the ideals of the French Revolution, and was initially dedicated to its hero, Napoleon Bonaparte. Beethoven thought Napoleon embodied the principles of freedom and was a man of the people. In 1804, when Napoleon crowned himself Emperor of France, Beethoven was outraged. He violently removed the dedication of the third symphony with a knife, leaving holes in the title page. The Bonaparte Symphony became simply the Eroica, and is essentially a piece about what it means to be human — facing one’s own challenges, continuing forward, and allowing a broader understanding of what it is to be a hero. In a response to Beethoven’s Eroica, I wanted to further explore this idea of humanism and heroism. For much of our history and literature a hero was someone who loudly emerged from a battle; a person who conquered; eradicated the enemy; pillaged; assimilated the vanquished.

The core values reflected the loud majority. And what of heroism today?

What if it is quiet, elegant, persistent?

What if it is standing up for something rather than standing on top of something? Musically, I repurpose some of Beethoven’s iconic ideas for this goal: powerful, direct, and persistent.

Friday 6 March 2020 / 7:30PM Saturday 7 March 2020 / 7:30PM Jack Singer Concert Hall Masterworks + 2020: The Year of Beethoven

Beethoven 3: Heroic SPONSORS + SUPPORTERS New Commission Supporter: DeBoni New Works Guest Artist Supporter: Naomi + John Lacey Virtuoso Programme Series Sponsor: United Active Living Conductor Couturier: Umberto Custom Tailors Ltd.

PROGRAMME Rune Bergmann, conductor Kelly-Marie Murphy, composer Charles Richard-Hamelin, piano Kelly-Marie Murphy

On Rethinking Heroism in the 21st Century

15'

Beethoven Piano Concerto No. 3 in C Minor, Op. 37 I. Allegro con brio II. Largo III. Rondo: Allegro

34'

Intermission

20'

Beethoven Symphony No. 3 in E-flat Major, Op. 55 (Eroica) I. Allegro con brio II. Marcia funebre: Adagio assai III. Scherzo: Allegro vivace IV. Finale: Allegro molto

47'

Programme and artists subject to change without notice

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indicates Canadian artist or composer

PIANO CONCERTO NO. 3 IN C MINOR, OP. 37 Ludwig van Beethoven (1770 to 1827) Beethoven’s first two piano concertos are skillful and entertaining works in the courtly manner of previous decades. By the time he decided to create another, he had

Rune Bergmann biography on page 7

determined to strike out on his own path, to speak with his own voice.

The earliest sketches for the third concerto date from shortly after the completion of the second. But the new work’s evolution covered a full five years — Beethoven only completed it a short time before the premiere. That took place in Vienna on 3 April 1803, with the composer as soloist. The occasion was one of the incredibly long concerts, made up exclusively of his own works, that Beethoven staged regularly throughout his career.

Kelly-Marie Murphy

Alan Dean

SYMPHONY NO. 3 IN E-FLAT MAJOR, OP. 55 (EROICA) Ludwig van Beethoven In 1802, Beethoven declared to a friend, “I am not satisfied with my works up to the present time.

From today I mean to take a new road.” On the symphonic front, he did so by composing his third. It is an astonishing watershed in the history of orchestral music; a stirring declaration of artistic and spiritual independence; and in both physical size and visionary spirit a model for countless compositions by later composers.

A dedicated humanitarian such as Beethoven heartily endorsed the French Revolution and the early career of Napoleon Bonaparte.

He composed the third symphony during the summer of 1803. His friend Ferdinand Ries relates that a draft of the title page originally bore simply the words “Bonaparte” at the top, and “Ludwig van Beethoven” at the bottom, with the balance to be filled in later.

On 20 May 1804, Bonaparte declared himself Emperor of France.

Ries recalled that Beethoven “flew into a rage and cried out: ‘Then he, too, is nothing but an ordinary mortal!

Now he, too, will trample on the rights of man and indulge only his own ambition! He will raise himself above all others and become a tyrant!’

Beethoven went to the table, took hold of the title page by the top, tore it apart and flung it on the ground.

The first page was rewritten and not until then was the symphony entitled Sinfonia eroica (Heroic Symphony).”

Programme Notes for Beethoven

by Don Anderson 2019

KELLY-MARIE MURPHY Composer

CHARLES RICHARD-HAMELIN Piano

With music described as “breathtaking” (Kitchener-Waterloo Record), “imaginative and expressive” (National Post), “a pulse-pounding barrage on the senses” (Globe and Mail), and “Bartok on steroids” (Birmingham News), Kelly-Marie Murphy’s voice is well known on the Canadian music scene. She has created memorable works for some of Canada’s leading performers and ensembles, including the Toronto, Winnipeg, Vancouver, and Calgary Symphony Orchestras, the Gryphon Trio, James Campbell, Shauna Rolston, the Cecilia and Afiara String Quartets, and Judy Loman. Murphy was born on a NATO base in Sardegna, Italy, and grew up on Canadian Armed Forces bases across Canada. She began her studies in composition at the University of Calgary with William Jordan and Allan Bell, and later received a PhD in composition from the University of Leeds, England, where she studied with Philip Wilby. After living and working for many years in the Washington D.C. area, where she was designated “an alien of extraordinary ability” by the United States Immigration and Naturalization Service, she is now based in Ottawa, quietly pursuing a career as a freelance composer.

Silver medalist and laureate of the Krystian Zimerman Prize at the 2015 International Chopin Piano Competition in Warsaw, Canadian pianist Charles Richard-Hamelin is one of the most important musicians of his generation. In 2014, he won second prize at the Montreal International Musical Competition and third prize at the Seoul International Music Competition. Richard-Hamelin has appeared at prestigious festivals including La Roque d’Anthéron in France, the Prague Spring Festival, the “Chopin and his Europe” Festival in Warsaw, and the Lanaudière Festival in Canada.

As a soloist, he has performed with more than 50 ensembles, including the major symphony orchestras of Canada, as well as the Warsaw Philharmonic, Sinfonia Varsovia, Singapore Symphony Orchestra, Korean Symphony Orchestra, OFUNAM (Mexico), les Violons du Roy, and I Musici de Montréal. Richard-Hamelin’s first solo recording, which features late works

by Chopin, was released in 2015 on the Analekta label to widespread acclaim. Upcoming projects include both Chopin Concertos with the Montreal Symphony Orchestra and Maestro Kent Nagano. Richard-Hamelin is a graduate of McGill University, the Yale School of Music, the Conservatoire de Musique de Montréal, and has studied with Paul Surdulescu, Sara Laimon, Boris Berman, André Laplante, and Jean Saulnier.

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8 MAR

Sunday 8 March 2020 / 3pm Instrument Discovery Zoo / 2pm Jack Singer Concert Hall Symphony Sundays for Kids

PLATYPUS THEATRE Ensemble

Presto, Mambo!

SPONSORS Series Sponsor: ATB Financial Associate Conductor Sponsor: Mary Rozsa de Coquet Instrument Discovery Zoo: Long & McQuade, V.A. Hill Fine Strings Ltd. Media: Shine FM

PROGRAMME Karl Hirzer, conductor Platypus Theatre, ensemble Musical excerpts from: Gutiérrez

Alma Llanera Pajarillo

3'

de Abreu

Tico-Tico non Fubá

3'

Sousa

Liberty Bell March

3'

Bélanger

Pot-pourri Lavalois

2'

Piazzolla Oblivion

2'

Alain Trudel

Drum Magic

1'

Traditional (arr. Trevor Wagler)

La Mariposa

3'

Revueltas Duelo from Homenaje a Federico Garcia Lorca

4'

Traditional (arr. Trevor Wagler)

La Bruja

3'

Robert Sheldon

Mambo feroz! from Danzas Cubanas

2'

Ennio Morricone

Gabriel’s Oboe from The Mission

6'

de Falla

Spanish Dance No. 1 from La Vida Breve

2'

Leonard Bernstein (arr. Peress)

Mambo from West Side Story

2'

Programme and artists subject to change without notice

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Indicates Canadian artist or composer

Since 1989, almost one million young audience members have been introduced to classical music through Platypus Theatre. After more than 500 performances with more than 60 orchestras worldwide, Platypus has established itself as one of North America’s premiere music education theatre companies. Original and engaging storylines are presented in an intelligent and interactive way, with music always taking the lead role. Children laugh, sing and empathize with the characters while learning musical concepts, styles, and much more. In 2006, one of Platypus’ most cherished productions, How the Gimquat Found her Song, was produced for TV and went on to win several awards including Best Children’s Program at the prestigious Banff World Television Festival. In 1991, Platypus was the subject of a nationally broadcast documentary on CTV, followed by a PBS fullperformance broadcast in 2000.

During its 25th anniversary year, Platypus premiered its eighth original production, Presto, Mambo!, in partnership with four orchestras across Canada. Other Platypus Productions include Emily Saves the Orchestra, Rhythm in your Rubbish, Bach to the Future, Charlotte and the Music-Maker, Flicker of Light on a Winter’s Night, and Peter and the Wolf.

Karl Hirzer biography on page 7

PETER DUSCHENES Writer, Director and Performer

DANIELLE DESORMEAUX Actor

WENDY ROCKBURN Stage Manager

Thousands of young classical music fans have Peter Duschenes to thank for introducing them to symphonic music. He co-founded the Platypus Theatre touring company in 1989 to make orchestral music accessible for youth, and more than half a million concert-goers have benefitted from his creativity. As an award-winning playwright, Duschenes’s writing credits include — among others — all eight Platypus productions, and the television adaptation of How the Gimquat Found Her Song, which won Best Children’s Program at the prestigious Banff World Television Festival in 2008. In addition to his roles in Platypus shows, he has also acted and directed with companies across Canada and the United States and is a recent recipient of a Chalmer’s Fellowship from the Ontario Arts Council. When Duschenes isn’t busy helping the Gimquat find her song, he and his wife Sarah are helping their children, Magda and Theo, find their socks.

Danielle Desormeaux is one of the more adaptable creatures in the Platypus Theatre touring company.

You can see her as the Gimquat in How the Gimquat Found Her Song, as Corky in Bach to the Future, as Emily in Emily Saves the Orchestra, and as a hobo in Rhythm in Your Rubbish, a production she helped create. She is a highly accomplished actor who has worked extensively in theatre, in film, and as several animated characters on TV. She is also an experienced improviser and clown, and has written and created several critically acclaimed works. Desormeaux has been a part of the Platypus touring company for 17 years but will never forget “the first time I heard a live orchestra playing onstage with me it literally took my breath away.

I couldn’t believe how powerful the sound was. Then I thought: Wow! Best job ever!”

Want to know who and what goes where and when and how?

Wendy Rockburn’s the one who has it well under control. Since 2005, Rockburn has expertly juggled all the details for Platypus Theatre productions, from monster’s heads to lighting cues. Not only does she manage the Platypus touring company’s stage, but she also works with theatres all over Eastern and Central Canada. And as often as possible, she jets off to far places to photograph the world, and has been known to skydive over the desert in Namibia or outrace a gaucho in Argentina. Her favourite part about Platypus shows is watching the kids follow every turn in the story in rapt attention. And the climax of the Gimquat still makes her cry, even after all these years. No wonder we’re wild about Wendy!

Presto, Mambo! (A Max’s Musical Misadventure) was co-commissioned by The National Arts Centre Orchestra, The Vancouver Symphony, the Edmonton Symphony and the Toronto Symphony.

Written and directed by Peter Duschenes. Musical direction by Alain Trudel. Artistic advisors: Lisa Griffiths and Hélène Ducharme. Puppets and masks by Claude Rodrigue, Sandra Turgeon, and Colin St-Cyr Duhamel. Performers: Peter Duschenes and Danielle Desormeaux. Stage Manager: Wendy Rockburn.

Platypus Theatre wants to hear from you! Leave a comment at platypustheatre.com or follow Platypus Theatre on Twitter or YouTube.

WINTER 2019/2020 | 59

THANK YOU TO OUR CHAMPIONS The Calgary Philharmonic Orchestra is able to achieve its goals in large part thanks to the 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.

The Naomi + John Lacey

Programme

The Foundation, the CPO’s largest annual supporter, is critical to its long-term stability and growth.

Contributions to the Foundation ensure future generations have access to the power of orchestral music.

This programme has been bringing world-class artists to the CPO for over 10 seasons. Many Virtuoso artists also perform at intimate recitals for Patron Programme members, or teach masterclasses to aspiring musicians.

Irene and Walt DeBoni contribute to the development and commissioning of new Canadian works. Thanks to this programme, the CPO premieres five new works this Season for 2020: The Year of Beethoven series.

Founded by Ellen and Allen Borak, this programme helps elevate the art of choral music by supporting and nurturing the development of the Calgary Philharmonic Chorus, led by Chorus Master Timothy Shantz.

Founded by arts champion Andrea Brussa, this programme supports the CPO by enabling it to bring some of the world’s leading conductors to Calgary to perform with the Orchestra.

C L A R K FA M I LY Elaine and Jeremy Clark, along with their daughters Keiko and Chloe, support initiatives such as the Mozart Patron Programme and Music to My Ears that help bring more music to more people and encourage philanthropy.

MACLACHLAN

Joyce & Dick

EMERGING ARTIST PROGRAMME

Philanthropic Programme

Letha MacLachlan, Q.C., and John Ridge give outstanding young Canadian musicians a chance to advance their careers by performing with the CPO, helping to develop Canada’s next generation of artists.

Created in memory of Joyce and Dick Matthews, dedicated and generous supporters of the CPO for more than 50 years. This programme helps people recognize someone special in memoriam.

/RIDGE

Matthews

Founded by Judith Kilbourne, this after-school programme for students age five to 11 brings music to the hands and hearts of children who otherwise would not have access to such artistic development.

For more information about how your donation can make a difference to the Orchestra and also align with your interests, please visit calgaryphil.com or call 403.571.0270.

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SPONSORS SPONSORS + + SUPPORTERS SUPPORTERS GOVERNMENT

Black

CMYK

FOUNDATIONS Pantone

TAYLOR FAMILY FOUNDATION

CORPORATE

Brookfield

Magic Tours & Travel

MEDIA

ARTISTIC + COMMUNITY

Polish Combatants Association in Canada Calgary Branch No. 18

Stowarzyszenie Polskich Kombatantów w Kanadzie Calgary Koło nr 18

HOSPITALITY

WINTER 2019/2020 | 61

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

ENDOWED AND NAMED ORCHESTRA CHAIRS Rozsa Endowed Chair Music Director, Rune Bergmann Ellen + Allen Borak Endowed Chair Chorus Master, Timothy Shantz 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 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 Morrissey Deborah Yedlin + Martin Molyneaux Endowed Chair Cello Section Member, Joan Kent Bill + Irene Bell Endowed Chair Piccolo, Gwen Klassen Judith + William Kilbourne Named Chair (in recognition of their long-term support) Assistant Principal Horn, Heather Wootton Frank + Carol Gray Endowed Chair Principal Trumpet, Adam Zinatelli (in memory of Vincent Cichowicz)

Frank + Carol Gray Endowed Chair Principal Percussion, Josh Jones (in honour of Tim Rawlings’ 42 years of service) Joyce + Dick Matthews C.M. Endowed Chair Piano

LONG-TERM GIVING 10+ YEARS Rajendra + Dinesh Agrawal Dr. Naomi Anderson + Dr. John Tyberg Irene Bakker Diana + David Ballard Marjory Barber Barbara Beaton Marian + Paul Beer Irene + William Bell Jenny Belzberg Beverly + Gerry Berkhold Marg + Paul Boëda Belinda + Tom Boleantu Ellen + Allen Borak Heather + Ian Bourne Andrea Brussa Pat + Jim Burns Marion R. Burrus Calgary Foundation Lori Caltagirone Gloria + Walter Chayka Elaine + Jeremy Clark Harry + Martha Cohen Foundation Rae + Phillip Cram Linda + Jack Crawford Lori Cutler + Nick Kuzyk Judith + Terry Dalgleish David Daly Rao + Dawn Darsi Gloria Davis Irene + Walt DeBoni Alexandra De Freitas Janet Dietrich Ute + Walter Dilger Clem Dumett Catherine Evamy Verna Jean Fairbrass E. Ann Falk Livia + Tibor Fekete Shirley + Walter Foster Beverly + David Foy Annie Freeze Liz + Tony Fricke Audrey + John Fry Ethelene + John Gareau Carlie-Jean + Eldon Godfrey Carol + Frank Gray Joan + Don Greenfield Barrie + Patricia Griffiths Theresa P. Hamilton Lois + Dick Haskayne O.C. A.O.E

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Juli Hegg + Bill Hogg James A. Hughes Mae Jardine Carrol Jaques + Bob Loov Valerie + Craig Johnstone Judy + John Kendall Judith Kilbourne Jeanette + Frank King Barbara + Hugh Klaassen Barbara Klebanoff Naomi + Dr. John Lacey John Laurence Ann Lewis-Luppino + Tony Luppino Diane + David Macdonald Letha MacLachlan Q.C. + John Ridge Beverly MacLeod Marlene + Blair Mason Kathleen McCruden Matheson + Jane McCruden Amanda Robertson-Matthews + Andrew Matthews Joyce + Dick Matthews C.M. Elizabeth + Gene Maurice Jessie + Richard Mercer Patricia + Sherrold Moore Janice + James Morton Shelagh + Faiz Nadir Naegi + Dr. Benno Nigg Betty + Willis O’Leary Sheryl + Dave Olson The Paddon Hughes Development Co. Ltd. Jackie + Fritz Painsi Barbara + James Palmer John + Jean Partridge Camille + Erasmo A. Pavan Maureen + David Payne Shirley + Daniel Philips William Phillips Nellie Pintus Mary + Conrad Porth Janet Poyen The Rabinovitz Family Vera A. Ross Rozsa Foundation Drs. Lola + Ted Rozsa Mary Rozsa de Coquet C.M Ruth Ann Rozsa Rayner Sheila + Italo Sartorio Hedy + Clark Seaborn Tony Settari Clarice Siebens Joan + Geoffrey Simmins Betty J. Stein Marg Southern C.C. C.V. A.O.E. Mira Starczyk + Tom Skrzypinski Deb + David Stephens Holly Sykes + Rob Baker Carolyn + David Tavender John Thompson Faye + Kenneth Turnbull Peggy + Bill Warren Anne + Terry Wilson

Gloria Wong + Art Hibbard Dori Wood + James Doleman Shirley Zielsdorf + Ed Letkeman Anne + Frank Zinatelli

LIFETIME GIVING $100,000+ Margaret + Paul Boëda Ellen + Allen Borak Heather + Ian Bourne Andrea Brussa Lori Caltagirone Norma Carroll Elaine + Jeremy Clark Harry + Martha Cohen Foundation Judith + Terry Dalgleish Irene + Walt DeBoni The Eckhardt-Gramatte Foundation Heather Edwards Estate of Evelyn Christine Kings Estate of John Bruce Dunlop Estate of Mario James Stella Estate of Mary McIntosh Estate of Winnifred Griffith Livia + Tibor Fekete Jan + Larry Fichtner Annie Freeze Liz + Tony Fricke Ethelene + John Gareau Carol + Frank Gray Lois + Dick Haskayne O.C. A.O.E Jane Hayward H.D. Klebanoff Memorial Fund Barbara J. Hejduk Elizabeth + Wayne Henuset John Hopwood Rebecca + Harley Hotchkiss The Kahanoff Foundation Judith + William Kilbourne Jeanette + Frank King Naomi + Dr. John Lacey Sandra LeBlanc O.C. Marcelle Leveille Ann Lewis-Luppino + Tony Luppino Letha MacLachlan Q.C. + John Ridge Joyce + Dick Matthews C.M. Allan Markin Janice + James Morton Nickle Family Foundation Dan O’Grady Barbara + James Palmer Palmer Family Foundation John + Jean Partridge The Rabinovitz Family Rozsa Foundation Drs. Lola + Ted Rozsa Mary Rozsa de Coquet C.M. Clarice Siebens Sir Jack Lyons Charitable Trust Marg Southern C.C. C.V. A.O.E.

Carla + Klaus Springer Trent + Josie Stangl Mary Ann Steen Muriel Stewart Vera Swanson C.M. O.C. Taylor Family Foundation Dori Wood + James Doleman Deborah Yedlin + Martin Molyneaux Shirley Zielsdorf + Ed Letkeman

2018/2019 FISCAL YEAR Individual $100,000+ Ellen + Allen Borak Irene + Walt DeBoni Dr. John Lacey The Rabinovitz Family $25,000 to $99,999 Elaine + Jeremy Clark Annie Freeze Letha MacLachlan Q.C. + John Ridge Janice + James Morton Mary Rozsa de Coquet C.M. $10,000 to $24,999 Jenny Belzberg Heather + Ian Bourne Kim Bruce Andrea Brussa Judith + Terence Dalgleish Ute + Walter Dilger E. Ann Falk Liz + Tony Fricke Ann + Walter Haessel Kay Harrison Angela + Samuel Hayes Judith Kilbourne Barbara Palmer Sue Riddell Rose + Mike Rose Clarice Siebens Marg Southern C.C. C.V. A.O.E. Wilma + John ‘t Hart $5,000 to $9,999 Carol Admanson + Ken Adam Irene Bakker Gloria + Walter Chayka Kathy + Paul Dornian Livia + Tibor Fekete Juli Hegg + Bill Hogg Jeanette King Marlene + Blair Mason Sheila McIntosh + Phil Ireland John + Jean Partridge Janet Poyen James M. Stanford Muriel Stewart Heather L. Treacy Q.C. + Joe Nahman $2,500 to $4,999 Rajendra + Dinesh Agrawal Dr. Naomi Anderson + Dr. John Tyberg Marian + Paul Beer Anne + Israel Belenkie Beverly + Gerry Berkhold Belinda + Tom Boleantu Eleanor + Lawrence Bryan Lori Caltagirone

Jim Campbell Lori Cutler + Nick Kuzyk Fern Cyr Alexandra De Freitas Verna Jean Fairbrass Shirley + Walter Foster Pamela Grigg Danelle Hames + Matthew Law James A. Hughes Maria Kryzan Amanda Robertson-Matthews + Andrew Matthews Janet + Rick Matthews Elizabeth + Gene Maurice Kathleen McCruden Matheson + Jane McCruden Jessie + Richard Mercer Lara Pella + Geoffrey Holub Mary + Conrad Porth Nathan Smith Agatha Starczyk + Mike Miller Deb + David Stephens Helene + Henk ter Keurs Erin Thrall + Peter Johnson John Thompson Robert Welty Catherine + Bruce Williams Gloria Wong + Art Hibbard Janet Yuchem + Roy Christie $1,000 to $2,499 John Abbott Andrew Azmudeh Michelle Bailey Diana + David Ballard Barbara Beaton Marg + Paul Boëda John Bonnycastle Kathleen + Robert Booth Diane Boutin Marion R. Burrus Carla + Keith Byblow Ann + Bob Calvert Catherine + Stan Climie Rae + Phillip Cram Linda + Jack Crawford Daniel Culcea David Daly Dawn + Rao Darsi Clem Dumett Bruce Edgelow Catherine Evamy Philippa FitzGerald-Finch Donna + Denis Fonteyne Ethelene Gareau Carlie-Jean + Eldon Godfrey Carol Gray Corinne Grigoriu Eileen + Darcy Gukert Ian Hawkins Caroline + David Henley Joan Holland Anne Howard Allan Huber William Hyndman Mae Jardine Carrol Jaques + Bob Loov Valerie + Craig Johnstone Joseph Katchen Mary Anne Katzenberg Margaret Kemp Judy + John Kendall Madeleine King Barbara + Hugh Klaassen

Barbara Klebanoff Ann Lewis-Luppino + Tony Luppino David Lyons Chris K. MacKimmie Beverly MacLeod Simone MacRae Roberta + David McCaslin Roderick McKay Rene + Mark McManus Sharon McNaughton Elizabeth + Ross Middleton Marilyn Moldowan Marilyn Mooibroek + David Lau Patricia Moore Shelagh + Faiz Nadir Naegi + Dr. Benno Nigg Tatianna O’Donnell Betty + Willis O’Leary Tim Onyett Jackie + Fritz Painsi Maureen + David Payne Robert Pearson Phyllis Peters Shirley + Daniel Philips May Ellen Pringle Christine Rendell Sonia + Bob Reynolds Vera A. Ross Ruth Ann Rozsa Rayner Ruchi + Chris Ryley Hedy + Clark Seaborn Tony Settari Mary + Richard Shaw Joan + Geoffrey Simmins Joan Snyder Alfred Sorensen Mira Starczyk + Tom Skrzypinski Betty J. Stein Minako + Yasuhiko Tanaka Neil Tice Ruth + Mark R. Trueman Jim Truesdale Faye + Kenneth Turnbull Jim Ulrich Henry + Sharon Van Der Sloot Sheila Wappel-McLean + Brent McLean Valerie Warke Peggy + Bill Warren Joyce Williams Steve Wilson Anne + Terry Wilson Dori Wood + James Doleman Robert Woodward Foundations, Funds, Trusts, Government, and Organizations $1,000,000+ Morningside Music Bridge Foundation Calgary Philharmonic Orchestra Foundation $500,000 to $999,999 Canada Council for the Arts Department of Canadian Heritage $100,000 to $499,999 Alberta Foundation for the Arts Calgary Arts Development Authority Calgary Foundation

Jewish Community Foundation of Calgary Taylor Family Foundation $25,000 to $99,999 Government of Alberta Sir Jack Lyons Charitable Trust Edmonton Community Association $10,000 to $24,999 Calgary Marathon Society Canada Life Enbridge Inc. glasswaters foundation Rozsa Foundation Shaw Birdies for Kids Presented

By AltaLink TD Canada Trust United Active Living Inc. Walter Dilger Consulting Engineers Ltd. Wood Ditton Holdings Inc. $5,000 to $9,999 Grosvenor Americas, Calgary Jarislowsky Fraser Ltd. $2,500 to $4,999 Aqueduct Foundation ATB Beniva Consulting Group Deloitte Management Services LP Imperial Oil Limited Pamela Grigg Charitable Fund Scotiabank The Welty Family Foundation $1,000 to $2,499 Baher Family Fund Berkhold Family Foundation DLA Piper (Canada) LLP Estate of Merrill Ann Highet Filterboxx Water and Environmental Corporation Halcyon Exploration Ltd. Harry + Martha Cohen Foundation H S Ulmer Giving Fund Keyera Corp.

Lorne Price Professional Corporation.

McLeod Law Osler, Hoskin & Harcourt LLP Painsi & Aguirre Investments Inc. Strategic Charitable Giving Foundation; Wood Pittman Fund Summa Consulting Triwest Capital Partners V (2015) Inc. Gifts in Kind $25,000 to $99,999 Calgary Herald Corus Entertainment Encana Corporation Meludia SAS Newcap Radio Inc. The CORE Kool 101.5 $10,000 to $24,999 Avenue Magazine CKUA Magic Tours & Travel Ltd. Michael Lipnicki Fine Pianos Shine FM WINTER 2019/2020 | 63

$5,000 to $9,999 Calgary Airport Authority Daily Hive La Chaumière Restaurant Masters Gallery Ltd. PATTISON Outdoor Advertising LP Piano Services International, Inc. Zenato Family Winery

VOLUNTEERS

$2,500 to $4,999 Fairmont Palliser Shine FM Sland Studios

Robert Adam Mariah Atkinson Partow Bayzaee Irlana Bondar Frances Bradley Peggy Chan Candice Cheah Mounira Chehade Ziniu Chen Teresa Chiu Ian Churchill Sandi Churchill Carole Clement Steve Clement Lynne Dale Carol Dann Julie Docken Graham Edwards Yaruuna Enkhbold Kajsa Erickson Aura Felipe Shirley Foster Dave + Brenda Frame Barbara Frasch Prasad Ganesan Jill Girgulis Milena Gonzalez David Grant Lolita Guboc Alan Hamaliuk Larry Hamm Gloria Hare Hamish Harrison Robin Harwig Don Herman Pamela Humphreys Aime Hutton Elly Jarvis Shane Kidd Veronika Kiryanova Dennis Kozak Lillian Kozak Wendy Kunsman Jeannie Laughlin Richie Le Jenai Lieu Elmire Limoges Lacey MacAulay Gail MacCrimmon Shawna MacGillivary Moira MacPherson Joy Mamer Kristy Martens Sheila Martin Julia Meeder Carol Mewha Haily Moon Donna Morrison Allison Nelson Maydelin Nunez Noguez Faye Olubobokun Tim Onyett Jolanta Pawlilowska Marlene Payne Elsa Penate Stephanie Quilliams

$1,000 to $2,499 Boft Fine Rugs Gallery Ltd. Calgary Jewellery Ltd. Contemporary Calgary Deane House Soft Rock 97.7

LEGACY GIVING We acknowledge all those who have made bequests in their will or through other means to provide future support to the Calgary Philharmonic Orchestra.

Your generosity is deeply appreciated and will ensure a vibrant future for excellence in music in the Calgary community.

All donations made in the fiscal year 2018/2019 are listed at calgaryphil.com.

Every effort has been made to ensure accuracy on the above list.

Please email any errors or omissions to info@calgaryphil.com.

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These volunteers contribute their time each Season — we celebrate them and their dedication.

Lauren Ridge Stephanie Ridge Bridget Robinson Dianne Rutledge Amy Sawchenko Barbara Schultz Doug Smith Ryan Stasynec Dave Stephens Barbara Stuber Judy Taylor Gloria Tse Valerie Turner Noah Urquhart Mijk van Wijk Debbie Wagner Larry Wagner Gina Waks Dawne Wharton Gayna Wong

We also thank the Boards of Directors of the Calgary Philharmonic Society and Foundation, and members of the Calgary Philharmonic Chorus listed on page 4 and page 8 respectively.

Every effort has been made to ensure accuracy on the above list.

Please email any errors or omissions to volunteer@calgaryphil.com.

Supporters leave a lasting legacy for Calgary’s Orchestra Joyce and Dick Matthews were dedicated supporters of the Calgary Philharmonic Orchestra for more than 50 years. They regarded symphonic music as one of life’s greatest pleasures, and a strong Orchestra as a hallmark of a world-class city.

Their contributions to the CPO Foundation have helped create the strong and vibrant Orchestra that you enjoy today.

You can create your own legacy dedicated to the future of great music in Calgary by donating to the CPO Foundation.

For more information please email Barbara Soles, Senior Development Officer, at bsoles@calgaryphil.com or call 403.571.0267.

One Yellow Rabbit’s

January 8 – 26, 2020

107–321 6 Avenue SW 403.269.6955

Official Couturier for

RUNE BERGMANN Music Director

KARL HIRZER Associate Conductor

Calgary Philharmonic Orchestra Foundation Registered Charity: 119218089RR001

umbertocustomtailor.com

It’s time. I follow the personnel manager into the hall. A large screen separates me from the audition committee. This is done to protect anonymity — no one should know if the person is friend or foe, man or woman, or of any race or background.

Also, if a player has a bad day, no one need know who it was.

I play. This is very different from playing in the orchestra. There is no conductor to watch, no other players to match in sound quality, loudness, character, or rhythm. There is no visible audience. There is just me.

I must sound beautiful, confident, musical, rhythmic, characterful, soloistic, virtuosic — and I’d better not miss a note.

A

huge game-changing moment for every orchestral musician is going through the stressful ordeal of an audition. What does that entail?

First we wait for a vacancy, meaning someone dies, gets fired, retires, wins another position, or resigns.

An audition notice is posted at least a month in advance, then the list of musical material is published. Usually candidates must prepare a wellknown concerto, but the bulk of the list contains tricky passages from orchestral repertoire that require the most control for that instrument — of breath, bow, loudness, extreme registers, finger co-ordination, etc.

So, the date for the audition nears.

I’ve cleared my schedule, bought a plane ticket (or two if you’re a cellist or bassist) and arrived at a hotel where I’m going to practice

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whether anyone complains or not!

After a fitful night’s sleep, I make my way to the audition. It seems like everybody in the world who plays my instrument is there. All the players are called together to draw lots for the playing order — No. 1 is the kiss of death, but No. 20 means you’ve got a couple of hours to kill. For CPO auditions, to avoid the cattle-call atmosphere (some postings have had more than 100 applicants and 40 candidates), each musician is assigned a time.

Who listens to the audition? The committee is made up of perhaps a half-dozen players from the orchestra.

For a string position, string players sit on the committee. For a wind position, it’s mostly wind players. The Music Director and Concertmaster usually vote at all auditions. In a few orchestras, the entire orchestra may be the committee.

If my number was not mentioned, I sit in disbelief. I’ve travelled miles, spent a bundle of money, prepared night and day, and now it’s over. To say I am let down is an understatement.

If I’m chosen for the next round, I immediately gear myself up with the surge of confidence at having advanced. In the second round, there is no screen and I can see the audition committee. It’s comforting to play for flesh and blood listeners. This round may be followed by a third or fourth.

If I’ve won the audition, it’s time to celebrate. If not, it’s time to regroup, nurse my bruised ego, and reacquaint myself with fellow players I haven’t seen since the last audition.

Every person you see in the CPO has undergone the audition experience and emerged a winner.

Somehow, that winning feeling gives us an extra measure of confidence and security. Now we can dispense with the competitive aspect of music and get on with the co-operative pursuit of making beautiful music as part of the Orchestra.

Greg MacKay

BY DAVID SUSSMAN, ASSISTANT PRINCIPAL OBOE

David Sussman

THE AUDITION

All too soon I hear “Thank you very much” from a mystery voice on the other side of the screen. I have played for only a few minutes. The first round is over for me. After all or a portion of candidates have played, the personnel manager calls us together to announce “Numbers three, eight, and nine, we would like to hear you play again. The rest of you, thank you very much.”

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FEB. 10 JAMES CAMPBELL, ARNOLD CHOI & GLEN MONTGOMERY WYATT SERIES MARCH 8 ELMER ISELER SINGERS MARCH 14 DERVISH MARCH 16 CELTIC CONNECTION with MOUNT ROYAL KANTOREI APRIL 5 AT T H E B E L L A TAY LO R C E N T R E . C A 68 | PRELUDE calgaryphil.com | 403.571.0849

THE FRETLESS with the CALGARY YOUTH ORCHESTRA