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Registered Music Teachers inspire musicality
Nick Arsenault is president of the Saskatchewan Registered Music Teachers’ Association. (PHOTO: SUPPLIED) BY NICK ARSENAULT
This special issue is filled to the brim with opportunities to learn and be involved in the cultural life of this
province and if you are thinking of music lessons, one of the best opportunities is being taught by a Registered Music Teacher. Saskatchewan Registered Music Teachers have been around for nearly a century teaching private music lessons of all kinds and as the president of their professional association I have the privilege of writing to you about the benefits being taught by a Registered Music Teacher (RMT). The music teachers you see in this issue with the designation RMT are each proven educators in their fields. Our members are truly lifelong learners that bring incredible amounts of dedication, experience, and passion to each of their students. That passion can be seen in the many recitals and other performance opportunities that
our members organize. Even while distancing, the Registered Music Teachers of this province found ways to continue inspiring musicality in young people. One of our members, Lynette Sawatsky, wrote a set of pieces for socially distanced piano ensemble this past fall which was then premiered and recorded by students right here in Saskatchewan. I would say every RMT has found creative ways to foster musicianship in their students this past year. Taking music lessons from an RMT will get you a teacher who has taken the hardships of the pandemic as an opportunity to learn and grow in their teaching practice. Another benefit of engaging an RMT for you or your child is that our members are continually involved
SRMTA members committed to high standard of music education
Registered Music Teachers offer students a variety of performing opportunities, workshops, recitals, and opportunities for awards and scholarship support. . (PHOTO: SUPPLIED)
The Saskatoon Registered Music Teachers’ Association (SRMTA) is an organization of professional, dedicated, energetic, and qualified teachers within your community. SRMTA members teach a variety of instruments and related theoretical subjects, from beginner to the most advanced levels. Each Registered Music Teacher (RMT) holds at least one degree or diploma from a university, conservatory, or recognized school of music. RMTs are also committed to
continuous professional development. The association’s objectives include promoting progressive ideas in music education, encouraging professionalism in the art of teaching, and stimulating a high standard of music and culture. The student of an RMT benefits from a variety of performing opportunities, workshops and recitals with visiting artists, and opportunities for awards and scholarship support. During the COVID-19 pandemic our teachers moved most of their teaching online to provide a structured learning opportunity for their students. This was a challenge for all of us. We would like to sincerely thank the families that continued with lessons to support this important part of their children’s musical education! Our 2021-2022 season features many fabulous events for Registered Music Teachers, students and the community. These include meetings, workshops, and concerts to educate and inspire our members. Special
meetings for our teachers will focus on ADHD, the music of Schubert, and intermediate concerto repertoire. There are also many other performances throughout the year featuring our students. Our branch is a strong supporter of the annual Saskatoon Music Festival, with many of our students and teachers taking part as performers and organizers. In November, there are special events planned as part of Canada Music Week. Early in 2022 we will showcase our students and exam medalists in our RMT Spring Recital. We have a network of highly qualified instructors providing expertise in a wide variety of musical performance and instruction. To find a teacher in your area, or to learn more about Registered Music Teachers, visit srmtasaskatoon.com. THIS STORY WAS PROVIDED BY THE SASKATOON REGISTERED MUSIC TEACHERS ASSOCIATION FOR PROMOTIONAL PURPOSES.
in professional development as pedagogues. Much like teachers in the classroom, RMTs are engaged in reflecting on their practice, attending events to learn to be a more effective teacher, and bringing those activities into their studio. What makes this exciting is that unlike a classroom teacher an RMT’s student gets their undivided attention, as they work one on one with their students. There are also more opportunities for students to perform if they are taught by an RMT. Our members organize regular local recitals and province wide competitions and are intimately involved in the music fes-
tivals that happen all over the province each spring. A Registered Music Teacher’s student has no shortage of ways for their music to be heard and celebrated! I hope that in my short space here I have shown you some of the benefits that looking for an RMT as you read this issue will bring you or your child. I would also encourage you to look at our association’s website (srmta. com) for even more information and a complete list of teachers. - Nick Aresnault is president of the Saskatchewan Registered Music Teachers’ Association
Saskatoon Registered Music Teachers’ Association Our teachers are experienced, professional, and dedicated! Each of us holds at least one degree or diploma from a University, Conservatory, or recognized School of Music.
Please check out our website for a teacher in your area.
srmtasaskatoon.com
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FALL MUSIC DANCE
Kristy Neumeier Sotnikow, artistic director of Kristy’s Dance Fusion, says “there is a new surge of hope” among the school’s students and parents, as a new dance season is set to begin. (PHOTO: SUPPLIED)
Studio One RP Dance is looking forward to a new season of dance instruction, one with more student interaction and fewer restrictions. (PHOTO: SUPPLIED)
Dance studios excited to expand capacity as pandemic restrictions lift BY ELIZABETH IRELAND
It is well known that dancers are resilient and adaptable. That said, Saskatoon dance studios are looking forward to the new fall season, and the ability to welcome additional students into classes and eliminate some of the more challenging pandemic protocols. Since March 2020, it has been a bit of a roller coaster for the city’s dance studios in terms of scheduling and ever-shifting COVID-19 protocols. Hopefully, the fall 2021 dance season will be the beginning of a ‘new normal’ that is here to stay for both young dancers and their parents. Kristy Neumeier Sotnikow is the founder and artistic director of Kristy’s Dance Fusion, which is now entering its 21st dance season in Saskatoon. Over the years, Neumeier Sotnikow’s students have
won awards and scholarships at dance competitions, both locally and internationally. The studio offers classes in ballet, tap, jazz, hip hop, contemporary, lyrical and musical theatre. Neumeier Sotnikow’s son Cole is a Vancouver-based professional dancer who has appeared in multiple productions, including Disney’s Descendants 3 as a dancer, stunt dancer and a dance double. Cole Neumeier has dealt with the very restrictive nature of film sets during the pandemic. Back in April and May 2020, Neumeier Sotnikow invested in televisions (on rolling carts) and laptops in order to move classes over to Zoom. In-person and virtual classes were held at the same time successfully and then provincial restrictions started to tighten again. From December 2020 through to May 2021, all in-person
dancers had to be fully masked, limited to groups of eight and spaced apart in 10-foot squares. “We really had the support of parents in terms of sanitizing and other protocols as a way to keep going with classes. We were able to put an air-restricting barrier in place in our largest studio, to split it into two spaces, for the season. We were so careful and I’m so happy that we were able to keep everyone safe,” says Neumeier Sotnikow. Tammy Tropeau is the owner and artistic director of Studio One RP Dance. At the age of nine, Tropeau began her training at the National Ballet School in Toronto. After six years of studying both the Vaganova and Cecchetti ballet methods intensively, she graduated in 1992. Injured feet led Tropeau down the teaching path and she returned to the National Ballet School for two more years of training to become a
professional instructor. Studio One is entering its 27 th dance season. Tropeau and her 13 staff offer a variety of classes for different ages and abilities, from two-years-old to young adults, and from beginners to professional-level students. Classes include classical ballet, pointe, tap, jazz, lyrical, contemporary and hip hop. Tropeau says that the COVID-19 restrictions “hit hard” in late 2020. Studio One dancers were also limited to groups of eight, wearing masks and choreographed to stay in 10-foot squares. Mirrored classes in a separate studio space helped dancers who “can’t do kicks at home.” From the start of the pandemic, technology kept the Studio One community engaged with pre-recorded virtual classes. Technology also came in handy for submitting for dance competition entries from Saskatoon. Hours
of footage had to be recorded and then edited down for submission. Both Kristy’s Dance Fusion and Studio One held their end-of-season dance recitals at ‘drive-ins’ at Prairieland Park and there was a chance for everyone to celebrate. Are dance instructors optimistic about the season ahead? “I hope that we can get back to normal as much as possible but also be mindful of what happened. There is a new surge of hope amongst our students and parents,” says Neumeier Sotnikow. “I’m excited for the fall season and for the kids to have more interaction and less restrictions. I’m looking forward to seeing facial expressions again, without masks,” says Tropeau. Find out more about Kristy’s Dance Fusion at kristysdancefusion.com and about Studio One RP Dance at studio1rpdance.com.
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LA’s ‘Gadget Man’ reflects on his Saskatoon roots BY HILARY KLASSEN
Andrew Kesler didn’t set out to find his tribe in Los Angeles. After departing his hometown of Saskatoon, he completed a Bachelor of Music degree at Humber College and was designing a future in Toronto. He was becoming a “gadget man” or as he likes to say, a “jack of all trades.” The music bug caught him early. “I knew I wanted to be a musician since I was a kid,” Kesler says. He began guitar lessons at age five with abundant support from his parents — a “straight up rock ‘n roll boomer” dad and classically trained mom. In high school, Kesler found friends and mentors who fueled his passion for music. He took guitar lessons from renowned Saskatoon locals like Ben Schenstead and Lee Kozak and piano lessons from Martin Janovsky. A proud alumnus of Marion Graham Collegiate, Kesler credits mentor Nick Fanner for giving him many opportunities. “I was playing every instrument I could. He was always finding a place for me, and he really allowed me to grow that way.” In summer, the Saskatchewan High School All-Star Jazz Intensive Program allowed students to soak up knowledge from visiting Canadian artists. Jazz and rock ‘n roll claimed top billing in Kesler’s consciousness. Friends Shamus Currie of Sheepdog fame, Kyle Krysa, Brodie Cuff, Soren Nissen, Danny Fong and Spencer Rainer formed bands and played at Lydia’s, Amigos and Louis’. Kesler says Saskatoon was a great place to
Andrew Kesler is an award-winning musician, composer, arranger, engineer and producer. Currently based in Los Angeles, Kesler was born and raised in Saskatoon. He spent the pandemic year back in Saskatoon working on a Masters in Orchestration. (PHOTO: ANDREW KESLER)
grow up, but after high school, there was a bit of an exodus. “Six of us from Saskatoon left for Humber at around the same time.” Humber has a state-of-the-art recording studio and encourages musical experimentation. “I was able to be in fusion groups, I was doing avant-garde music, chamber jazz, frog rock, Afro-Cuban and I got into singing and arranging.” Kesler stayed on at Humber for a couple of years to become the house engineer in the studio. He began to indulge his fascination with production, with who does what and why. “The veil was lifted a bit. I started marketing myself a bit more as a session player or an arrang-
er/producer. That really solidified the direction I wanted to go.” One day, the now deceased legendary producer-engineer Al Schmidt, who had 20 Grammy awards to his credit, came to Humber to do a session. Kesler was hired to be his engineer. “I was super nervous. I did my research on him. Before he showed up, I had the whole band set up the way I thought Al would want it.” Kesler thought Schmidt would make changes, but Al sat down, said, “Let’s see what you got here,” and then, “Great, let’s get rolling!” Kesler recalls. It was a sizeable compliment from an industry icon. It was Al Schmidt who encouraged Kesler to
move to Los Angeles. Schmidt also offered to write a recommendation for Kesler to get an artist visa in the U.S. which Kesler took him up on. “My first few months there were basically taking anybody I could out for coffee,” Kesler laughs. He didn’t know anyone but started out doing wedding gigs. These were high quality events. “The bands are absolutely stacked, so I’m playing with the drummer from the Jacksons or Shaka Khan or with the Eagles’ trumpet player. It’s that level of people.” It was a bit of a wake-up call to take the gigs seriously. The money was good, and the gigs kept him down there. Opportunities gradually expanded
as people learned what Kesler could do. He has accumulated an impressive list of credits since the move to L.A. “It’s been very crazy and all of those things happened very organically from who you know or someone recommending you,” he says. Kesler’s early forays into YouTube led to the formation of virtual vocal jazz ensemble, “Accent.” Representing five different countries, the group recorded its fifth album in January. When they met in person for a concert in Sweden, they became fast friends, and have since toured the world. Kesler himself has toured to 17 countries. Kesler spent the pandemic year back in Saskatoon working on a Masters in Orchestration. He also found opportunities to give back. “Because of the pandemic I’ve been able to be a guest lecturer or clinician or producer in residence for a variety of universities in North America and the UK.” Kesler expects to rejoin his L.A. tribe this fall. The next pursuit is doing orchestration for film and TV. “Especially working in studio sessions and scoring sessions with orchestras — that’s a dream for me.” Before the pandemic hit, Kesler was scheduled to perform with the Saskatoon Symphony Orchestra. Other than jamming at the Capitol Theatre a couple of times, he’s never done a big gig in Saskatoon. That SSO event will likely happen in spring of 2022. “I look forward to it! I’m very proud of my roots in Saskatoon and am always happy to come back. It’s part of who I am.”
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Commission to help Saskatoon Community Bands celebrate reopening BY PETER ENGLAND
After being forced to end last season early, the members of the Saskatoon Community Bands are excited about getting back to rehearsals come September. After many failed attempts to restart the organization over the past 15 months, a call went out to form a Summer Band which would rehearse from mid-June through to the end of August. Forty-seven souls emerged with their vaccination cards in hand ready to play. The Summer Band program, which includes a jazz band as well as a concert band, will present a free public concert at the River Landing Amphitheatre on Sunday, August 29 at 2:00 pm. The Prairie Winds Woodwind Quintet, The Prairie Winds Woodwind Quintet, comprised of members of the Community Band Wind Ensemble, presented an out- comprised of members of the Community door concert in Waskesiu on July 17. (PHOTO: SHONA IVERSON) Band Wind Ensemble, is also rehearsing over the summer. They have already per-
formed in Waskesiu on Saturday, July 17, a return appearance following their successful concert on the beach last August. The regular 2021-2022 season begins on Monday, September 13, with registration at 7:00 pm. Concerts are scheduled for November, December, March and May. One of the projects lost in the shutdown last year was the premier performance of a work commissioned from local composer Paul Suchan. Written for the Wind Ensemble, the dedication reads: “In Remembrance of members of the Saskatoon Community Bands whose love of music brought joy to the hearts of band members and audience alike.” Given the circumstances of the past 15 months, the dedication takes on a much broader interpretation. The premiere performance of this work will be presented at the November concert taking place at the Broadway Theatre. Watch for further details about this season’s upcoming concerts.
New members are especially welcome including beginners on all brass, woodwind and percussion instruments, as well as experienced members at every level. Interested persons are asked to contact Peter England, program director, at saskatooncommunitybands@gmail.com. Current members will receive detailed registration information by email. The Saskatoon Community Bands would like to thank the Saskatchewan Band Association for their continued support both financially as well being a constant liaison with Saskatchewan Health on regulations pertinent to the operation of provincial band programs throughout COVID-19. - Peter England is program director of Saskatoon Community Bands. THIS STORY WAS PROVIDED BY SASKATOON COMMUNITY BANDS FOR PROMOTIONAL PURPOSES.
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Music can help us begin to heal The pandemic has left many people feeling uncertain, isolated, anxious and depressed. Listening to and creating music can help promote healing, says Regina musician and art therapist Amanda Scandrett. (PHOTO: GETTY IMAGES) BY HILARY KLASSEN
Fr e e d o m f r o m C O V I D - 1 9 restrictions in Saskatchewan feels incredibly sweet after 17 months of life in the pandemic. But freedom from the impacts of COVID is not as simple as removing a mask or flipping a page on the calendar. It takes time to heal from those unprecedented impacts. “Being under high stress or trauma can be felt long after the pandemic is under control,” says Amanda Scandrett. A musician and art therapist, Scandrett is part of indie pop band, Library Voices Regina, and has performed around the world. As a sessional lecturer within the University of Regina Faculty of Education, she teaches arts education teachers (or teachers in general) how to teach arts education. People the world over have suffered isolation, uncertainty, fear of the unknown, depression, anxiety and trauma because of COVID.
Experts tell us that people can develop PTSD months or even years after a trauma. “At the very least we’ve all experienced high amounts of stress in some way or another, whether that’s a change to routine, loss of a job, lost loved ones or even just missing loved ones that are one province over,” Scandrett says. Music helps calm stress, anxiety and trauma responses. It can uplift a depressed state of mind. With a little intention, music can become a healer. “Restoration and self care are really important and music is a very helpful and significant way that we can support ourselves,” Scandrett says. Start by simply listening mindfully to music. Listen for the different layers in the music or the different aspects of the song. “We can do that with any kind of music. It can be ambient meditative music — but it can also be any kind of music that you like, especially if it brings you joy,” Scandrett says. Ambient music
or drone music can work well for this. Tuning in to musical phasing brings benefits. “When we connect to melody and to musical phrasing, it can promote improvement in neural regulation, social behaviour and our overall quality of life,” Scandrett says. Pairing your breath with the different phrases of the music can be a bonus. Check in with your own body for what feels best for you when you’re mindfully listening to music. High-paced or aggressive sounding music may not produce the desired result. Choosing a song with specific beats per minute (BPM) that matches your resting heart rate, can help support body regulation. “When we’re in a trauma response, when we’re in fight or flight mode, our heart rate is usually quite elevated so even just having that music on in the background and attuning our body, our nervous system will often attune to the
beat of that music,” says Scandrett. Resting heart rate can vary based on age. Online resources offer charts to help determine one’s resting heart rate. Then it’s a matter of finding music that matches that heart rate. Energy healing brings the mindbody-heart-spirit connection into play. Listening to compositions that focus on balancing the energy field is one way we can connect into healing energetically, Scandrett says. A style of music known as Solfeggio 5 often includes labels with the energetic frequencies. “There might be one for healing grief or one for bringing in vitality.” You can also try listening to sound healing meditation. Attending live music events is now an option. “This promotes social connection which is really important right now for supporting a nervous system that’s been through a lot over the past year.” Scandrett suggests that people check in with themselves to assess what size of gathering is best for them at this moment in time.
Beyond listening to music, becoming creative with music brings in another type of healing. “Getting into the music, being part of the music and actively participating in that creative process can help spark vitality and flow,” says Scandrett. “Even if you don’t consider yourself a musician, this is a great time to pick up the guitar if you haven’t touched one in 10 years.” It doesn’ t have to be about performance, it’s about self-nurture, it’s about participating in a process that can be engaging and fun. “We need more playfulness and fun right now,” she adds. This transition we’re currently in will involve some learning and relearning. It may involve a different pace than before COVID. It will require conscious alertness to a new post-COVID landscape. “As we open up, now is the time to have that compassion for each other and especially for ourselves,” says Scandrett.
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The Saskatoon Concert Band has been a vibrant part of our city’s cultural landscape since 1949. The band looks forward to performing again, after a pandemic pause. (PHOTO: SASKATOON CONCERT BAND)
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Saskatoon Concert Band eager to perform again The Saskatoon Concert Band has been enriching the musical life and culture of Saskatchewan since 1949. We have made it through this past year thanks to the generous work of our members and the support of the community. We are looking forward to rehearsing again, performing again, featuring local and international performers, and continuing to be a vibrant part of our city’s cultural landscape. John Schoen founded our band in 1949 and conducted us until 1996. We started as the 23 Wing Band of the RCAF. We then became the Kinsmen Concert Band, then the H.M.C.S Unicorn Band, and finally, the Saskatoon Concert Band. We are located at the John H. Schoen Rehearsal Hall, 238 Avenue V North, a building which we own, and which is available for rental by other music groups. Our rehearsals and performances this coming season will be affected by the re-opening process. The season outlined below is what we hope for, but it could change. Our website, Facebook, and our newsletter will be the best way to follow our groups. The 2021-2022 Concert Band concerts will be on Oct. 23, March 5 and April 30. We will give a free outdoor concert in June 2022. Auxiliary Band concerts will be held in Dec. 2021 and June 2022. We are looking at other performance
opportunities as well. The Concert Band, conducted by George Charpentier, rehearses on Wednesdays, from 7:30 p.m. to 9:30 p.m. The Auxiliary Band, conducted by Nick Todd, rehearses on Tuesdays, from 7:30 p.m. to 9:30 p.m. The Auxiliary Band is for players looking for a less intensive schedule or are returning to playing after a time away. Both groups perform a wide variety of musical styles. Rehearsals begin Tuesday, Sept. 7 for the Auxiliary Band, and Wednesday, Sept. 8 for the Concert Band. Rehearsals are at the John H. Schoen Rehearsal Hall. New members are welcome throughout the year if we have openings. Members serve on the board of directors, participate in fund-raising, and volunteer for other band related activities. There is a membership fee. The Saskatoon Concert Band is a non-profit, charitable organization. We receive funding from the Saskatchewan Lotteries through the Saskatchewan Band Association. To contact us, call (306) 242-3916, email saskatoonconcertband@ gmail.com or use the contact form on our website. You can also find us on Facebook. THIS STORY WAS PROVIDED BY GEORGE CHARPENTIER OF SASKATOON CONCERT BAND FOR PROMOTIONAL PURPOSES.
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Saskatoon sisters — Erica, Julie and Lenore Maier — are making waves with their band The Garrys. The trio is winning awards for its unique brand of “classic garage surf on morphine.” (PHOTO: SUPPLIED)
Hang ten with The Garrys
Online Registration
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The Garrys will take the stage at The Bassment on Nov. 5 in Saskatoon and are dropping their fourth album on Sept. 24. The album is called Get Thee to a Nunnery and it is a reference to a Hamlet quote that their grandmother used to say to the sisters when they were young. With eight children in their family, Lenore Maier notes that the whole family are musicians. In fact, the sisters named the band after their father
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Surf music created and performed in the Canadian prairies sounds incongruent until you hear the music of The Garrys. After all, Saskatchewan is nowhere near an ocean. The band is a trio of sisters (Erica, Julie and Lenore Maier) born and raised Saskatoon and they are making waves with their unique brand of “blood harmonies and classic garage surf on morphine.”
SASKATOON SCHOOL OF DANCE ·
BY ELIZABETH IRELAND
this point.” The Garrys won the 2020 Saskatchewan Music Award for Experimental/ Contemporary Artist of the Year. The award recognized their work in creating an original score for the 1922 silent horror movie Häxan: Witchcraft Through the Ages. The full movie, featuring The Garrys’ score, is available to watch on their YouTube channel. “It was nice to be recognized for our work on the Häxan score and it was an honour to win the award,” says Maier. After so long in pandemic-related lockdown, are the sisters looking forward to getting back in front of live audiences? “Playing live feels like a dream once lived. It seems not real. We just started rehearsing in-person again recently. We’re really excited to do it, performing live is what makes us tick and it is also an opportunity to enjoy the music of other artists,” says Maier. In July, The Garrys performed at a modified version of Saskatchewan’s popular Ness Creek Music Festival. This year the festival was called Nesscape Mini Breaks and spread over two weekends with smaller audiences. In mid-September, the band feels privileged to be playing at Future Echoes international showcase festival in Norrköping, Sweden. The Bassment show in November will also feature the alt country band Wolf Willow and its members are friends with The Garrys. Wolf Willow is self-described as “honky-tonk and western swing in the format of an old time radio show.” To find out more, visit thegarrys.bandcamp. com. To purchase tickets for The Garrys’ November show at The Bassment, go to thebassment.ca.
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Creating a unique brand of surf music on the prairies
Garry. “Erica, Julie and I draw inspiration from our own family and put those references into our music whenever we can. We write our music together, working collaboratively,” says Maier. The band’s artistic influences include the music of the Beach Boys and Creedence Clearwater Revival that their parents listened to. That vibe is combined with doo-wop and all female harmonies reminiscent of popular music of the late 1950s and early 1960s. Maier describes it as “a fun, Elvis Presley Clambake movie vibe that came naturally to us. It feels organic.” (Yes, there is actually a 1967 Elvis film called Clambake). Erica plays guitar, Julie plays bass and Lenore plays drums, with all three musicians providing vocals. One of their first live performances was at the Girls Rock Saskatoon camp benefit. Girls Rock Saskatoon is a non-profit organization dedicated to empowering female and non-binary youth through collaborative music creation and performance. The Garrys released their first album, called Warm Buds, in May 2016. “We started the band for fun and then it started snowballing from there,” says Maier. Music lessons growing up, through the Saskatoon school system, “put us in the musical waters. In elementary school our parents instituted a policy that we all take band at school and learn an instrument. The three of us all played guitar and bass at some point.” Currently, the three sisters all work full-time so Maier explains that their rehearsals take place “whenever possible. That’s part of the puzzle. We take a weekend warrior approach to our music at
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FALL MUSIC DANCE
Experienced dance moms share helpful advice BY RAY PENNER
When parents start enrolling their children in activities, they soon realize that it isn’t just the child that’s involved — it’s the whole family. “There are hockey families, soccer families, gymnastics families. As it turned out, we became a dance family,” says Michelle Nelson. She enrolled her daughter in dance when Kate, now 13, was six. Nelson’s son, Alex, who is now in Grade 12, became interested in hip-hop after attending his sister’s dance recital, and enrolled when he was 10. “We liked the fact that having our kids in dance meant our summers were free, and the commitment and schedule was clearly spelled out at the beginning of the dance season, so we could plan well in advance. We didn’t mind, either, that we always got to see our kids compete while sitting indoors in theatre seating,” says Nelson. Sharleen Weese Maley also has two teenage children in dance. Stephen is 13. Alex, who is 15, excels at baton and represented Canada at an international competition in France in 2019. As experienced dance moms, Nelson and Weese Maley were happy to provide advice to parents who are thinking of enrolling their children in a studio. First and foremost is understanding the commitment. Dance is most often a group activity, where each week the students are being prepared for the dance routine they will perform in the spring. Each child has a unique role, and there is no “second line” to fill in. Unlike some activities such as music lessons, where you can miss a lesson but still practice at home, dance generally doesn’t require practicing between classes, especially at the early stages, but does expect attendance each and every week, at all levels. That commitment grows as the child develops. “When Kate was just starting out, the class was 45 minutes a week, and that was it,” says Nelson. “I took Kate to dance Saturday morning, had coffee
with the other parents during the class, and then we got on with our day. But as Kate got older, it became jazz, ballet and tap, so it moved to three classes a week, and then four.” Weese Maley stresses the importance of being organized. “You need to maintain a family calendar,” she says. “Your child needs to learn to manage time, to get their homework finished before they go to dance, so that schoolwork is never an excuse for missing dance.” Nelson agrees: “If you’re disorganized, you’ll find it overwhelming.” An important role for a dance mom is ensuring the costumes are ready, the makeup is done as directed by the instructor, the shoes still fit, and the hair is exactly right. For some parents, the hair styles can be daunting. “Make sure you learn to do the styles well before the day of the competition,” advises Weese Maley. “Other parents are happy to help you. They’ll show you how to do it, or, if you’re really feeling overwhelmed, they’ll do it for you. My challenge was Dutch braids!” As with any activity, parental involvement is essential in encouraging a child to cheer for others, to lose gracefully, and to win gracefully. “You as a parent have to get involved in teaching what behaviour is acceptable. The objective is to improve, not to win at all costs,” emphasizes Weese Maley. Given the importance of involvement, Nelson urges parents to choose a dance studio carefully. “Some studios can be much more competitive than others, so if you don’t want to be heavily involved, you might want to choose a studio that has a much more casual program. But remember, if you want your child to excel at dance, then you will want to select a competitive school with impressive credentials, where they stress the right techniques and instill a solid foundation.” Weese Maley agrees. “When you talk to a studio, understand the expectations.” It might seem daunting at first, but she reassures future dance parents that all will be well. “It is a gradual process,” she concludes, “You get to learn.”
An important role for a dance mom is ensuring the costumes are ready, the makeup is done as directed by the instructor, the shoes still fit, and the hair is exactly right. (PHOTO: MICHELLE NELSON)
Achieving the required hair style for a dance competition can be challenging, but other dance parents are always willing to help out. (PHOTO: MICHELLE NELSON)
Band is Back!
Adult wind band for all skill levels. Beginners are welcome.
Band Registration is Monday Sept. 13th @ 7pm www.saskatooncommunitybands.org
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Tradition of music education continues at Yamaha piano studio BY KAYLA GUERRETTE
The Yamaha Music Education program can inspire children as young as two years old to make music a part of their lives. Elodie Innes and Jeannine Douville have dedicated their careers to the program. Saskatoon Ensemble Piano Studio is operated by Douville who teaches the adult piano program while Innes focuses on the children’s program. “The former owners of Yamaha Music Center had an opportunity,” says Innes. “Roger and Marie Jolly had been selected from Yamaha Canada to become a distributor for Yamaha pianos. Yamaha helped the Jolly’s expand their business beyond the distributorship to become a Yamaha teaching school as well.” Innes had already been teaching preschool group classes and found this new program was the perfect fit to begin her long-time relationship with the Yamaha Music Center and now Saskatoon Ensemble Piano Studio. Yamaha Music Education programs began in Canada in 1966 with the opening of its first location in Toronto. Today, thousands of students are taught by more than 160 teachers in 50 locations across the country. All national Yamaha programs are developed in conjunction with the Yamaha Music Foundation in Japan. Innes strongly believes in teaching a child music at a preschool age since that enables music to become a part of their lives. “I am someone who started when I was a preschooler,” says Innes. “I really encourage it and I just jumped at the chance when given the oppor-
tunity to teach the Yamaha method.” The Yamaha Music Education program offers courses at eight different levels in a group (ensemble) setting where children have fun and encourage each other. There are three at the preschool level and seven at the school-aged level with a bonus advanced course for children nine and older. The preschool programs require parental involvement bringing music to both the parent and child. Each course is 34 weeks in length with a lesson offered once a week. Douville will often have parents of preschoolers enrolling to learn, refresh, or expand their own knowledge of piano and be better able to help their child at home. Innes has specialized in teaching music at a preschool level for over 20 years and said the Yamaha music program stands out from the rest. “The difference between the Yamaha program and the traditional lessons is that they focus on ear training, using a system called solfège with a fixed doh,” says Innes. “We don’t expect a child who is three, four or even five years old to be able to read notes, however, the program does expose them to notation. They have incredibly well-developed hearing. We play recordings of music that we can listen and sing to before they learn how to play music.” The focus is on finger dexterity and the ability to play the instrument while the children learn the songs. For Innes, the advantage is that the children learn to play musically because they try to copy the song by what they hear, which leaves room for them to improvise. “The Yamaha program is particularly good
Elodie Innes (left) and Jeannine Douville (right) teach adult and children’s programs at Saskatoon Ensemble Piano Studio. (PHOTO: SUPPLIED)
at teaching the skills needed to recognize chord patterns and develop them into attractive accompaniments,” says Innes. “Several students can be playing the same song, but they will have different arrangements.” Innes also believes the program better prepares children in school since it helps develop the left side of their brains. “It develops neurotransmitters in their brains,” says Innes. “This especially helps them with subjects like mathematics and science in school.” According to Innes, the tonality and the way the sound is broken down is very mathematical. Mathematics can be found through many concepts in music. It helps children understand how strings vibrate at certain frequencies as well as the patterns found within a song they are learning. But the love of music goes beyond just children and that is where Douville comes in as she is the one to offer lessons to any adult interested in learning to play the piano. “We focus a little more on the traditional sense of learning by reading notes right from the start,” says Douville. “The way we learn as an adult is different than that of a child; adults tend to be more analytical and want to feel more secure in their
knowledge and understanding. We work on chord patterns and accompaniments to allow them to be creative in their playing. I am always so impressed by the courage of these adults as the piano can be a challenging instrument to learn. We learn in a group setting and it is inspiring to see how their skills develop and the support and encouragement they have for each other.” Douville, having been taught piano in a more “traditional sense” does not play by ear; she recognizes the importance and benefits of the Yamaha program for children. They feel comfortable to play without a musical score. Their playing is so much more musical by the time they are six years old which is often the starting age for traditional private piano lessons. Both instructors may be teaching music in different ways but both are grateful to teach something they love so much themselves. “It’s very rewarding sharing something so valuable with children and their families. It’s so important for our health and well-being,” says Innes. More information on the studio can be found at ensemblepianostudio.ca or by calling Jeannine Douville at (306) 361-3559 or Elodie Innes at (306) 612-0036.
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FALL MUSIC DANCE Celebrating 46 Years of Dance!
Kids of Note and The Notations are performance choirs for kids, youth and young adults of all abilities who love to sing. (PHOTO: GEORGE CHARPENTIER, AGC PHOTO)
Classes for ages 1.5 years to Adult! Pre-school, Recreational, and Competitive Programs! Solid reputation! Certified Instructors! Warm, welcoming, and inclusive environment!
Choirs welcome singers of all abilities Kids of Note and The Notations are two all-abilities choirs open to anyone who loves to sing. For the 2021-22 season, they’ll be offering two programs. First, this fall they’ll create two socially-distanced videos for viewing on YouTube and social media. Check out their past pandemic videos by visiting KidsofNote.com. Then, beginning in January, and provided it’s safe to do so, they’ll begin in-person rehearsals, with their regular Spring Concert on April 10, 2022, along with a few Outreach Concerts. They have some terrific music selected for their choristers to learn! Kids of Note, for ages seven to 16, is beginning its 17th year. In pre-pandemic times they presented Christmas and Spring concerts annually to full houses at Grosvenor Park United Church, which has supported Kids of Note from the beginning. Early registration is recommended as they usually have a waiting list. The Notations, for ages 16 to 30-ish, is also looking for new members before the kick-off of its 13th season. Sharing concerts and videos with Kids of Note, The Notations provides a unique performing and social experience where young adults with a range of abilities have a great time singing together – usually pop, jazz or rock music. The Notations would especially welcome a few more singers who are “typical” and who enjoy entertaining a big crowd. To join Kids of Note and The Nota-
tions there are no auditions, but practising at home is a necessity. Rehearsal CDs are provided. Fans of the choirs say that attending a Kids of Note and The Notations concert is “an unforgettable, uplifting experience.” Comments about their highly entertaining productions can be found at KidsofNote.com, where you’ll also find detailed information about how the choirs are run, and important dates. Kids of Note is directed by children’s entertainer Brenda Baker, with pianist Kim Salkeld. The Notations is directed by Jean Currie (who also leads the fabulous vocal jazz group Solstice) with pianist Sheldon Corbett. The directors hire some of Saskatchewan’s best musicians and guest artists to perform with the choirs in concert. The video-creation program will begin in September 15. To prepare for the Spring Concert, both choirs will hold rehearsals beginning in January on Wednesdays from 5:00 to 6:00 p.m. at Grosvenor Park United Church, 407 Cumberland Ave. S. For now, we are only collecting registration fees of $60 to cover the video projects. We will collect the fee for the Spring program once we know for sure it will go ahead. To register or be placed on the waiting list, please contact Brenda Baker: director@KidsofNote.com or text (306) 381-3102. THIS STORY WAS PROVIDED BY KIDS OF NOTE FOR PROMOTIONAL PURPOSES.
Come visit us at our open house and in-person registration on: August 25-26 @ 6-8PM Tap, Jazz, Ballet, Pointe, Lyrical, Hip Hop, Breakdancing, Acro, Aerial Arts, Musical Theatre, Modern, Tiny Tots, Creative Movement, Teen and Adult Classes, Flexibility and Conditioning, Birthday Parties and Session Classes!
Come join our dance family! Our classes inspire confidence and creativity. Learn, develop, and grow while making friends that last a lifetime!
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Register online:
pureenergy.ca 3310 Fairlight Drive, Unit #1
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Summer Strings Orchestra workshop ‘shakes off the rust’ The Saskatoon Strings is getting ready to charge into a new season of making music in September. Music director Bernadette Wilson has planned a Summer Strings Orchestra Workshop at the end of August to help young players ‘shake off the rust’ after a year away from playing together. The workshop, set for the weekend of Aug. 28 and 29 runs from 1:00 to 4:45 p.m. each day, and will include sectional instruction from professional musicians and ensemble work both days. It will culminate in a mini-concert to be streamed online. “This two-day workshop will be a relaxed and enjoyable opportunity for budding string players to explore and
gain confidence playing in a string orchestra,” says Wilson. “Participants will be introduced to a variety of orchestral skills (such as following a conductor, blending their sound, listening to others while playing, staying at the same tempo as everyone else) all while forging new musical friendships.” Wilson says there is a huge difference between playing individually, and the feeling of playing in an ensemble. “While learning to play a string instrument is a joy in itself, playing with others is rewarding at a completely different level. Many eyes widen with surprise when they hear their own sounds mix with everyone else’s. Parents have told me that their young musicians
were motivated after they joined a group, because they felt like they were part of a team. Participation in a group improves one’s sight reading in a way that you cannot achieve playing alone. If practicing alone in monochromatic, then playing in a group is a rainbow turned into sound!” Wilson has a philosophy that playing music should be fun for her young players. It is the way she has run her ensemble for more than a decade. “Young people enjoy being with other young people, especially if they share an interest. Rehearsing together results in growth and improvement, putting on concerts gives a real feeling of accomplishment where everyone’s effort mat-
The Saskatoon Strings is looking forward to a new season of making music and performing. (PHOTO: SUPPLIED)
ters, and making new friends is priceless!,” says Wilson. “Isn’t growth, team work, improvement, accomplishment and making friends a recipe for fun? And all of this over and above the fact that music can take you places words cannot.” The Summer Strings Orchestra Workshop is open to all players in
Suzuki Book 3 or Royal Conservatory Level 3 and up. The cost is just $50. For more information or to request a registration package, parents can email Paul at info@syo.ca. THIS STORY WAS PROVIDED BY SASKATOON STRINGS FOR PROMOTIONAL PURPOSES.
Fireside Singers return to entertain audiences The Saskatoon Fireside Singers have entertained and touched the hearts of Saskatoon audiences with their powerful singing for almost 50 years. Each year the fan base continues to grow. They attribute their consistently sold out houses to their appealing, varied programming and amazing talent showcased throughout each performance. The Fireside Singers have missed singing and making music together. They are excited to return to rehearsals and prepare for major productions at TCU Place once again. The Saskatoon Fireside Singers range in age from six to adult from the Marilyn Whitehead vocal studio. Also included are students from the studios of former accomplished Fireside members as well as many gifted
auditioned members. Auditions will be held in late August for interested singers for the 2021-2022 performing year. Contact Marilyn Whitehead at emwhitehead@shaw.ca for more information on how to join our Fireside Family. Artistic director Marilyn Whitehead leads a talented production team. Bonnie Nicholson is the pianist and orchestral director; Albert Couture is the stage director; and Kelsey Stone is the choreographer. The Fireside Singers are proud to feature a phenomenal orchestra of internationally acclaimed musicians. Returning to our stage are Brent Blazieko, William Boan, Darrell Bueckert, Kerry DuWors, Guy Few, Doug Gilmour, Allen Harrington, Martin Janovsky, and Sophie McBean.
The Fireside Singers are preparing for an exciting season. They will celebrate the spirit of Christmas with performances Dec. 19 and 20 at TCU Place. Tickets will be available at TCU Place in September. The annual Christmas Memories productions feature over 100 voices offering an evening of nostalgic, traditional, and timeless seasonal favourites from classical to contemporary, including grand orchestral and choral arrangements. Many selections are enhanced with exciting choreography. The program offers numerous popular songs with inspiring texts as well as a rare opportunity to experience stunning vocal and instrumental solos, duets and ensembles. Audiences have made these eclectic Christmas Memories perfor-
The Saskatoon Fireside Singers will return to the TCU Place stage presenting their popular Christmas Memories and Broadway musical productions. (PHOTO: STEPHEN NICHOLSON)
mances a family tradition. Our annual Broadway production will be staged in May, 2022 at TCU Place. The Fireside Singers outstanding Broadway musicals have drawn tremendous acclaim for their professional, passionate performances featuring compelling, gifted lead singers and actors, an outstanding chorus of incredible tonal beauty, blend and power,
enhanced with dynamic choreography, brilliant staging and supported by our talented Fireside Orchestra. The Fireside Singers promise to return tradition to our Saskatoon audiences and offer a season of inspiring, stellar and memorable performances! THIS STORY WAS PROVIDED BY SASKATOON FIRESIDE SINGERS FOR PROMOTIONAL PURPOSES.
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Jazz Society celebrates the return of live music
Singer-pianist and Juno nominee Elizabeth Shepherd joins guitarist Michael Occhipinti for an Oct. 29 date at The Bassment. The performance comes on the heels of Shepherd’s album, MONTreal. (PHOTO: SUPPLIED) BY NED POWERS
Artistic director Don Griffith is taking a three-step approach in getting the Saskatoon Jazz Society back to close-to-normal concert scheduling for the coming year. Leading off the season will be a renewed commitment to Saskatchewan talent, which saw their dates in the fall of 2020 cancelled during the COVID-19 pandemic. The next big
step, probably occurring in January, will be a concentration of some of the favourite Canadian touring acts. The third step will be the introduction of a new series, Women in Jazz, which will bring 10 acts to Saskatoon with the help of a Canada Council grant. “The regular shows will begin in September, focusing mostly on Fridays and Saturdays, and we are looking at a two-thirds of capacity spacing, at least in the beginning, and that
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FALL MUSIC DANCE may change as the season moves onwards,” says Griffiths. The club, located at 202-4th Ave. North, in the basement of the old Canada Post building, opens Sept. 9 with an appearance by Sean Burns, a Winnipeg-based country singer-songwriter. Then come a series of two-night bookings: Funkjoint of Saskatoon on Sept. 10-11; singer-pianist Jeffery Straker of Regina on Sept. 16-17; The Local Group, a Saskatoon bluegrass-country quartet on Sept.24-25; The Stone Frigate Big Band on Oct. 1-2; A Tribute to John Lennon, arranged by Terry Hoknes, on Oct. 8-9; and songstress Heidi Munro and The Real Groovy Band on Oct. 15-16. Singer-pianist Elizabeth Shepherd and guitarist Michael Occhipinti are a formidable combination for an Oct. 29 date. Shepherd has been a Juno nominee, has toured internationally and comes on the heels of her album, MONTreal. Also booked are Edmonton’s Brandon Baker, a Metis singer-songwriter, on Oct. 23; The Garrys, a Saskatoon trio of sisters gaining recognition for their unique “garage surf-pop doomwop” on Nov. 5; and Zachary Lucky, a singer-songwriter originally from Saskatoon but now in Orillia, Ont. on Nov. 18. Pianist Martin Janovsky and vocalist Trevor Wingerter will team up again for A Class Christmas on Dec. 3-4. Among the prize catches in the New Year, Champian Fulton, an American vocalist-pianist, has promised a February appearance but the date hasn’t been booked yet. She was born in Oklahoma, the daughter of jazz trumpeter Stephen Fulton. She grew up in New York where she is a club regular at places like Birdland and Dizzy’s Club. Among her dozen recordings is Birdsong, released this year and her personal tribute to Charlie Parker. Among the other 2022 standouts nailed down are The Fretless, Canada’s fiddle super group, on Jan. 23; The Slocan Ramblers, the kings of Canadian bluegrass, on March 15; Steve Dawson, Canada’s multi-talented roots genius, on April 5; The Lonesome Ace Stringband, another standout bluegrass group, on April 9. The Florian Hoefner Quartet will
headline on April 2. Hoefner was born in Germany, trained in New York and has been a Juno award winner since settling in Newfoundland. The Women in Jazz series is still in the planning stage but Griffith has talked to all of its participants, all of whom like the concept. They are saxophonist Christine Jensen, the duo of pianist Amanda Tosoff and bassist Jody Proznick, trumpeter Ingrid Jensen, saxophonist Alison Au, Elizabeth Shepherd, trumpeter Rachel Therrien, vocalist Barbra
Lica, vocalist-pianist Laila Biali, vocalist-trumpeter Bria Skonberg and vocalist-saxophonist Emily Steinwell. “In a day when we aren’t sure how many Canadian acts will be on tour, this is a natural fit. Some have played in Saskatoon before, with exciting results, and others will be fresh for our audiences,” says Griffith. The Piano Friday sessions will also resume Sept. 10. For a complete listing of upcoming events, visit thebassment.ca
Saskatoon’s Premiere Dance Studio
• R.A.D.Ballet • Jazz • Acro • Hip Hop • C.D.T.A.Tap • Lyrical/Contemporary Contemporary ional, Adult Preschool, Recreational, & Competitive Classes
TU-TU CLASS
for your little ballerina (ages 2 and 4)
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August 24th, 25th and September 1st 5:00-8:00 :00 Classes commence September er 7th 2021.
For Information or R Registration: i t ti
CALL 306-242-5311
191 La Ronge Road, Saskatoon www.sitterschoolofdance.com • Facebook page Sitter School of Dance • Instagram @sitterschoolof dance • Twitter @SitterDance • Email: sitter schoolof dance @shaw.ca
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The beat goes on at SaskExpress Saskatoon The 2020-2021 season was not what SaskExpress Saskatoon expected. However, in spite of the pandemic, the studio completed and filmed two student musicals, entries for three dance competitions, four mini recitals, a documentary, several preschool performances, wrote and filmed an original adult musical and staged a live show in June with an invited audience, all while working to keep students and staff safe. Director Lorna Batycki says there were challenges but it was important to provide a place for students to come together. “I heard from so many families who were relieved that we were able to stay open and provide a safe creative outlet for their children. We know that for many of our students this was the one activity they were able to contin-
ue with and the connection provided much needed positivity.” As the studio prepares for its 22nd season, Batycki says she is cautiously optimistic about moving back to live performances, and programs for the fall reflect this. In addition to competitive dance programs, the studio has expanded its recreational programs and theatre arts classes. Spark, the performing arts preschool, is continuing to grow, offering an artsbased curriculum that prepares children for entry into kindergarten. The studio has several musical performance options, including Winnie the Pooh for young performers, High School Musical for teens, a musical theatre class for adults, and a new family performance class, All Together Now, which is a glob-
SaskExpress Saskatoon continued to provide a safe creative outlet for young people during the pandemic. The studio is expanding its recreational programs and theatre arts classes this fall. (PHOTO: SUPPLIED)
al initiative to celebrate local theatre. Rainbow Connection, a theatre class that celebrates the journey of LGBTQ+ creators, is back for a second season. The studio’s recreational dance program is expanding with Can-Dance combo classes for children and teens looking for an introductory to a dance style. Theatre classes continue with Improv, Creation Station and the new ACTivate initiative which focuses on voice and movement to create characters in
mini play scenarios. Whether it’s a drama, dance or voice class, Batycki says the students get to work with a great team of instructors. “Our instructors have so much heart. They really care about our students and believe each one can succeed in their own way.” Batycki is also remounting the musical Heathers, which is a show that was only weeks away from opening when COVID closed everything down. “It’s
a darker musical, well suited to Halloween so we are planning to stage this production at the end of October in the backstage at Persephone Theatre.” Batycki admits that she can’t predict exactly how things will move forward, but she is confident, whether filmed, or live, online or in person, the beat will go on for another fun-tastic season! THIS STORY WAS PROVIDED BY SASKEXPRESS SASKATOON FOR PROMOTIONAL PURPOSES.
Saskatoon Philharmonic Orchestra plans new concert dates The Saskatoon Philharmonic Orchestra is an inclusive adult community ensemble that provides an orchestral experience for strings, woodwinds, brass, and percussion. The pandemic has kept us from rehearsing and performing but we are ready to be a dynamic part of Saskatoon’s music scene once again. We welcome those who wish to play well, improve their skills and who are committed to rehearsing regularly and performing in our concerts. We present concerts twice a year. The repertoire includes orchestral standards, light classics, as well as contemporary and popular works. We perform music by composers and arrangers
from Canada, Saskatchewan, and Saskatoon. The orchestra regularly accompanies local soloists. George Charpentier is our conductor. The 2021–2022 season will be determined by the provincial re-opening. Our plan is below but is subject to change based on whatever guidelines are in place. Rehearsals will begin Monday, Sept. 13 and will continue until we have played our second concert. We rehearse Mondays from 7:30 to 9:30 p.m. at the John H. Schoen Rehearsal Hall, 238 Avenue V North. Two concerts are scheduled for the coming year, the first on January 22, 2022, and the second
on May 14, 2022. Soloists will be announced later. New members are welcome at any time if there are openings. Our contact information is below. Interested musicians can join us for a few rehearsals before making a commitment. Because there are no formal auditions, this makes it easier to determine if we are a good match. There is a membership fee. Our members also volunteer to be responsible for some of the other organizational and administrative tasks, including sitting on the board of directors. The Saskatoon Philharmonic Orchestra is a non-profit, charitable organiza-
The Saskatoon Philharmonic Orchestra is excited to resume rehearsing and performing this fall. (PHOTO: SASKATOON PHILHARMONIC ORCHESTRA)
tion. We have received funding from the Saskatchewan Lotteries through the Saskatchewan Orchestral Association. For more information, email saskatoonphilharmonicorchestra@gmail.
com or call (306) 242-3916. THIS STORY WAS PROVIDED BY GEORGE CHARPENTIER OF THE SASKATOON PHILHARMONIC ORCHESTRA FOR PROMOTIONAL PURPOSES.
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FALL MUSIC DANCE
Lewin is one of over 10,000 Saskatchewan children and youth who have been provided with grants from Creative Kids to continue following their cultural dreams. During the pandemic, Lewin was able to follow his passion for music and take piano lessons via Zoom. (PHOTO: CREATIVE KIDS)
Creative Kids helps Saskatchewan children grow, shine and belong Arts and culture have an important role in the lives of children and youth — a role that has become even more apparent during the pandemic. While many children and youth were able to turn to organized music, art and dance and other cultural activities to help them cope with change, confusion and isolation over the past year, some kids faced financial barriers to accessing cultural activities of their choice. Creative Kids was created to help Saskatchewan children and youth access cultural activities by eliminating the financial barriers. Despite fundraising
challenges due to the pandemic, Creative Kids granted more than $467,000 in 2020 to support over 920 kids who wanted access to artistic and cultural activities. This year, the demand for support continues as more and more young people seek opportunities for growth through creative expression. LESLIE’S STORY Leslie confirms this is true in her son’s case, Lewin. Leslie has always known what music meant to her eight-year-old son, Lewin. When they decided to move permanently to Canada in 2019, she began
looking for opportunities around their new home for her son to continue to follow his passion. When she found out about Creative Kids, she was glad such a program existed. Thanks to many generous donations, Lewin is one of over 10,000 children and youth who have been provided with grants to continue following their cultural dreams. In Lewin’s case, his dream has always been music. Despite in-person gathering restrictions due to the COVID-19 pandemic, Lewin is able to take piano lessons via Zoom with the studio of Sarah Clark Gregory. “It is really a big help for me, especially during this pandemic,” Leslie says. “It was such a relief when my son got approved for funding.” Last Christmas, he played his favourite Christmas songs, recorded them and sent them to his teacher for their online recital. He also shared the recorded video with his family members in the Philippines. “It was a wonderful experience for him as we got to upload it on YouTube for his dad and grandparents to watch,” she says. “They are very happy for Lewin and they are also thankful to all the people who are helping us here in Canada, particularly here in the province of Saskatchewan.” THE NEED CONTINUES TO GROW Creative Kids was created in 2010 by SaskCulture — a community-based, non-profit cultural organization — to remove financial and social barriers to arts and cultural activities for Saskatchewan children and youth four to 19 years of age. Since 2010, Creative Kids has helped more than 10,760 kids in over 238 Saskatchewan communities. “As the world becomes a safer place, and more doors open, we anticipate that applications will continue to increase as many more kids will want to participate in creative activities such as dance, music, visual art, drama and many others,” explains Gloria Walsh, manager, Creative Kids. “Our goal is to
meet the need of every deserving child or youth by providing them with the opportunity to creatively engage their minds, as well as learn and nurture new skills.” Creative Kids encourages everyone to consider making a one-time donation, signing-up for monthly giving, and donating to its fundraising campaigns. “It’s up to all of us to help ensure that children in need are able to access these programs. Together, we can create positive change in Saskatchewan communities.”
To donate to Creative Kids, visit creativekidssask.ca or call 306-780-9452. Thanks to funding from Sask Lotteries, SaskCulture is able to cover all administrative costs for Creative Kids so that 100 per cent of all donations go directly to helping Saskatchewan children and youth to participate in cultural activities. THIS STORY WAS PROVIDED BY CREATIVE KIDS FOR PROMOTIONAL PURPOSES.
Tiny Tots, Mini-Movers Combo Program, Acrobatic Arts, Baton Twirling, RAD Ballet, Contemporary, Hip Hop, ADAPT Jazz, Musical Theatre, CDTA Tap, Adult Classes (Join us for a free trial class) Register Now!
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Pandemic provided inspiration for violinist BY PAUL SINKEWICZ
Véronique Mathieu traded reading music for parsing recipes after the COVID-19 pandemic interrupted her musical career last year. The talented violinist, with a PhD in music, has risen to the top of her field as a soloist and chamber musician who has performed throughout the world. In 2018 she was named as the first holder of the David L. Kaplan Chair of Music at the University of Saskatchewan. Thanks to the pandemic, she can now add talented baker to her resume. “In some ways, it did give me a bit of a break to not travel for the past 16 months. I was totally part of the bizarre bread-making trend at the beginning of the pandemic, running across town to hunt for yeast and flour — so I could say that my baking skills improved,” Mathieu says. “It definitely allowed me to spend more time with my family, for which I am grateful.” Mathieu also feels fortunate to have had the chance to do a bit of professional development over the past year. She brushed up on her baroque violin playing at the Tafelmusik Baroque Summer Institute and took part in a teachers’ retreat through Indiana University, her alma mater. But those positives didn’t come until after she had experienced a few heartbreaks at the beginning of the pandemic. “At first, the biggest challenge for me has been to see my concerts get cancelled one after the other. It was such a strange feeling not having any idea of what was going on. For every concert that was cancelled, I remember hoping that it would just be postponed for one more week, then the next month would be back to normal. Everything changed so quickly — it took me a while to adjust and convince myself that I would perform again.”
She also remembers how challenging it was to watch musicians close to her decide to change careers for a profession that would guarantee more stability. She says it definitely made her question her own choices and forced her to re-evaluate her priorities. She was extremely grateful to collaborate with the Saskatoon Symphony Orchestra (SSO) for their final concert of last season on May 15 when she was featured in Vaughan Williams’ The Lark Ascending. The concert was live-streamed to viewers around the world, and gave her a welcome refuge from the worries of the pandemic. “I consider myself so lucky to have had the opportunity to perform with the SSO every season since moving to Saskatoon,” Mathieu says. “It is such a wonderful feeling to share the stage with many friends and colleagues. I have found everyone to be extremely kind and welcoming. It’s hard to believe, but the pandemic makes for half of my total time living in Saskatoon.” In August of 2020, Mathieu released a CD entitled Cortège, which was been nominated for Classical Artist/Ensemble of the Year within the 2021 Western Canadian Music Awards. Of late, Mathieu has been working on a new CD project of works by women composers with pianist Stephanie Chua, who is based in Toronto. They had weekly virtual rehearsals that kept them focused during the first half of the pandemic. “This is a really exciting project that represents the culmination of years of performing and researching repertoire by women composers,” says Mathieu. “I also recently received a Social Sciences and Humanities Research Council grant that will allow me to commission 12 new pedagogical pieces by Canadian, American and Brazilian composers over the next couple of years. I will be directly working with the composers and editing these
When scheduled concert dates were cancelled during the pandemic, acclaimed violinist Véronique Mathieu focused on new creative collaborations and professional development opportunities. (PHOTO: SUPPLIED)
short pieces. There are also some upcoming projects at the university that will involve the Amati instruments.” And Mathieu — musician, teacher and just plain
ol’ baker — is also looking forward to the things we all miss: “I can’t wait to perform in front of an audience, but I am also looking forward to traveling again and to listen to live concerts!”
Auditions
FOR PREPARATORY CHOIR, AGES 7-9 2021-2022 Performing Season Phoebe Voigts, Artistic Director Naomi Piggott-Suchan, Preparatory Accompanist The Saskatoon Children’s Choir offers young singers a rich and challenging experience. All young people between the ages 7-9 who enjoy singing are welcome to audition.
Auditions are held in August 2021. For more information or to book an audition, please call 306-249-3927 or email ritamcleod@shaw.ca www.saskatoonchildrenschoir.org
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FALL MUSIC DANCE
The Saskatoon Men’s Chorus (SMC) found unique ways to keep singing and hone their skills during the pandemic. SMC now looks forward to presenting its 41st concert season. (PHOTO: MCMASTER PHOTOGRAPHY)
Saskatoon Men’s Chorus pivoted to keep singing during pandemic Saskatoon Men’s Chorus (SMC) has been bringing together singers from Saskatoon and surrounding communities since 1980. The Chorus rehearses weekly and offers two popular concerts a year, performing a wide variety of repertoire, including sacred, classical, folk and other genres, with pride of place given to the works of Canada’s diverse choral composers. The 2020-21 season was unlike any in our history. Like choirs all across Canada, SMC found it necessary to pivot in order to keep singing during the pandemic. From September to April, our Tuesday night rehearsals took place via the video-conferencing platform, Zoom. Rehearsing virtually was a very different experience which required the singers to develop musical independence and hone new technological skills. In many respects, however, it was
“business as usual” for the Chorus: We worked on vocal technique, learned repertoire, collaborated with other singers and choral experts, and used our voices to support worthwhile community organizations. As ever, we were supported by our excellent long-time accompanist, Karen Reynaud. From the comfort of our homes we explored new pieces and re-visited familiar favourites, including music by Beethoven, Paul Simon, Stan Rogers and others. In November, SMC embarked on the first of several short “virtual choir” recording projects. Singers prepared their parts with the help of practice tracks and received on-line coaching, then recorded themselves while listening to a guide track on headphones. The final ensemble was created by the directors using music editing software. Our first video was of Mark Sirett’s
“After the War,” which Silverwood School incorporated in its virtual Remembrance Day ceremony. SMC’s collaboration with Silverwood is a meaningful tradition for us and we were thankful to be able to maintain it despite COVID-19. SMC next released a video of “Advent” by Scott Henderson, engineered by videographer Tim Yaworski of timkip Imaging. An audio recording of Stephanie Martin’s “Ave Maria” followed later in December. The release of these pre-Christmas performances kicked off SMC’s fund-raising drive to benefit the Saskatoon Food Bank. Our fourth virtual project was launched in June: “The Word Was God,” by African-American composer Rosephanye Powell. In connection with that release our supporters were encouraged to donate to the Saskatchewan Intercultural Association, which “provides programs and services that empower and relieve barriers for Newcomers and Indigenous people”. “Advent,” “Ave Maria” and “The Word Was God” can be found on our Facebook page and website, and donations to the Food Bank, SIA, or the SMC (a registered non-profit organization) are welcome at any time. SMC singers had several unique opportunities to connect virtually with experts and educators from other parts of the country in real time. We learned strategies for lifetime voice care from Dr. Victoria Meredith of Ontario in a workshop offered by the Saskatchewan Choral Federation in September. In February, Artistic Director Dr. Julia Davids of the Canadian Chamber Choir (CCC) and several CCC singers gave us a memorable workshop on vocal technique and contemporary style, and then helped us apply our new learnings to our current repertoire. We also welcomed two noted Canadian composers into our living rooms in “Meet the Composer” chat nights. SMC singers, already familiar with the work of Mark
Sirett and Stephanie Martin, enjoyed the chance to converse with our dynamic guests about what inspires and influences them as composers. Zoom rehearsals also offered a time to socialize and stay connected with friends, something which proved essential through the long months of uncertainty and isolation. SMC Talent Nights — dubbed “The Covid-Schmovid” Show — celebrated our members’ surprising array of skills. We enter our 41st season eager to
sing together again and to welcome We our enter our 41st season eager to back faithful audiences. Please sing together againdetails! and to Ifwelcome stay tuned for more you are back our faithful audiences.forPlease interested in auditioning SMC, stay tuned fortouch morewith details! If youDebare please get in director interested in auditioning for SMC, orah Buck or assistant director Lynn please getvia in touch with director DebsaskatoonDriedger our website, orah Buck or assistant director Lynn menschorus.ca, or find us on FaceDriedger via our website, saskatoonbook. menschorus.ca, or find us on FaceTHIS STORY WAS PROVIDED BY book. SASKATOON MEN’S CHORUS FOR THIS STORY WAS PROVIDED BY PROMOTIONAL PURPOSES. SASKATOON MEN’S CHORUS FOR PROMOTIONAL PURPOSES.
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Wilton Academy back in full swing for fall Wilton Academy of Music is excited that Fall of 2021 will see the return to regular programming and classes. “We made it through COVID and 2020 in better shape than I thought we would,” says owner Nicole Wilton. “We only had to suspend classes for a very short time, and we were able to return with smaller class sizes, social distancing and other protocols in place. Our one-on-one instrumental lessons (piano, violin and guitar) went on with a hybrid approach. Some people chose virtual for a bit longer than others, and we were able to meet those demands and keep everyone going all year.” Wilton Academy offers early childhood music education classes, individual instrumental lessons, a daycare and preschool outreach and engagement initiative. “For the Fall of 2021, not only are we looking forward to being back in full swing with our classes, but we are happy to get back into the daycare venues and bring music to the children. COVID prevented us from fulfilling
those contracts this year. We go into daycares and preschools and provide the opportunity for children in Saskatoon and the community to participate in music education.” Wilton attributes their continued success to the extremely loyal clientele and to her excellent teachers and staff. “As a small local business, we are thrilled that our clientele have not only supported Wilton Academy through this difficult year, but have also invited friends and family to enjoy music education with us and help us to continue offering music to the Saskatoon community. “Our teachers have been diligent in following safety protocols and have been very flexible to accommodate the changing needs of our students and families during this difficult year.” Wilton adds that as a small business, they are grateful to the provincial government who put in some supports during COVID. On a personal note, Wilton is also excited to welcome a third generation
of instructors to the academy. Nicole’s mother, Rae Wilton, began teaching the early childhood music classes when the program began in 1986, housed at that time at the University of Saskatchewan. Nicole took over in 1998, and managed it until 2015 when Wilton Academy was established independent of the university. “As I approach my 30th year of teaching, I am winding down a little bit.” Wilton says. Wilton’s daughter, Brette Kristoff, has taken over the reins for the majority of the early childhood teaching and is growing the program. “Brette has an innate knack for teaching and music, since it’s been a part of her environment since she was in the womb! This year we added more classes in our spring session than we ever have. We also have some families that came to our music classes in the ‘80s and ‘90s with their children, and now those same families are attending again with their grandchildren.” Wilton and daughter Brette are also
Tomorrow’s Voices sing out in Saskatoon
TCU Place will be the new home of Tomorrow’s Voices in Saskatoon, a barrier-free, audition-free, non-profit choir for children who love to sing for the sheer joy of it. Beginning in September 2021, children ages seven to 18 will have the opportunity to expand their musical knowledge, sing their hearts out and perform on one of the most revered stages in Saskatoon: the Sid Buckwold Theatre at TCU Place. There is no cost and no previous singing experience or audition are required. Healthy snacks will also be
provided during rehearsals. Working in conjunction with Big Brothers Big Sisters Saskatoon, Tomorrow’s Voices is looking for 15 to 30 kids to get started. This will be the fourth location of Tomorrow’s Voices and the first expansion outside of Ontario, with other locations currently operating in Hamilton, Niagara and Toronto. In the Ontario locations, the children have performed for over 35,000 audience members, with artists such as Serena Ryder, Royal Wood, Neko
Nicole Wilton (right) is happy to welcome daughter Brette Kristoff (left) as an early childhood music educator at Wilton Academy. (PHOTO: SUPPLIED)
co-directing a new childrens’ choir that begins in Saskatoon this fall. “It is the fourth choir in Canada (the other three in Ontario) called “Tomorrow’s Voices”. It is a barrier free choir, and we at Wilton Academy are very excited to be a part of this inaugural
venture.” For more information on Fall 2021 programming, go to: wiltonmusic. com or email info@wiltonmusic.com. THIS STORY WAS PROVIDED BY WILTON ACADEMY FOR PROMOTIONAL PURPOSES.
Case and Dan Mangan. We hope to do the same at TCU Place. The children not only embrace music and the arts, but learn respect, compassion, teamwork and responsibility while building relationships that last a lifetime. Under the direction of Wilton Academy of Music, the children will explore a variety of contemporary music and will be looking for places to perform in the community, even outside of TCU Place. Rehearsals will be held on Tuesday evenings at TCU Place, beginning the third week of September.
Within the choir chapters, Tomorrow’s Voices works with kids living with autism, Tourette’s, OCD, ADHD, PTSD, anxiety, depression and victims of abuse. Our focus is on providing a sense of belonging and community for these children. If you are interested in joining Tomorrow’s Voices, contact Tammy Sweeney at TCU Place at tsweeney@tcuplace.com or Kathy Hauser at Big Brothers Big Sisters at Kathy.hauser@bigbrothersbigsisters. ca. For more information, go to tomorrowsvoices.ca.
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Making a difference: choristers spread their wings BY NED POWERS
Friendships formed in the Saskatoon Children’s Choir are bonds which often last many years and carry success stories into other Canadian cities. Jennifer Berntson, a member of the Saskatoon Children’s choir in its founding year, has now leaned on the musical knowledge of Phoebe Voigts to become the conductor of the Ottawa Children’s Choir’s most senior ensemble, the Chamber Choir, beginning this season. Berntson fell in love with choral music while in her aunt’s choir in 1996. “In the beginning, there were just two elements to the Saskatoon choir — an apprentice choir and a senor concert choir. I started in one, moved up to the other halfway through the season and much of what I learned in my Saskatoon years is what I still put into practice on a daily basis,” says Berntson. She earned a Bachelor of Music in voice from Mount Allison University and a Master of Arts in music and culture from Carleton University Berntson joined the artistic staff of the Ottawa Children’s Choir four years ago as the conductor of Prima, a training choir for children ages six to seven. “My time in Saskatoon was a great learn-
ing experience, huge as a chorister but always strong because we faced professional expectations. Chilldren, at a young age, found out that they face and accept serious commitments. “Basically, every step I have taken is in the vein that Phoebe brings to the table. Music is more than just the rehearsals and concerts. She taught us that a choir was part of the community. She taught us respect for whatever we wanted to try.” One of the exciting prospects for Berntson this fall will be leading her choir in performance at the Nov. 11 Remembrance Day ceremonies in Ottawa. Darshana Lanke, a most recent graduate of the choir, had a rather dramatic summer day in Saskatoon. She graduated from Walter Murray Collegiate in the afternoon and was honoured as the Junior Citizen of the Year just hours later in a virtual ceremony from Regina. The Junior Citizen of the Year awards are open to those eight to 18 years of age, conducted through the office of the Lieutenant-Governor of Saskatchewan, with support from SaskPower and the Saskatchewan Weekly Newspapers Association. She leaves behind three years of musical experience with the children’s choir, including the
“My time in Saskatoon was a great learning experience, huge as a chorister but always strong because we faced professional expectations.” - JENNIFER BERNTSON
memorable trip to the Indian River Festival in Prince Edward Island two years ago. Now she is entering the University of Alberta in the College of Engineering and says: “I hope I will find some music along the way.” Lanke recalls with pride “the opportunity to sing with passionate, hard-working and kind young women. It was an inspiration to learn from Phoebe and the all-women leadership which always demonstrated that they believed in us.” Voigts hears all the stories of accomplishments and notes: “We believe our choristers can make a difference in their communities and in the world. When we go to festivals, we all learn from each other. Some stay in music, some teach, some are on their way to be doctors and engineers and we’re proud we are building a future of hope.” Voigts, the management team of Rita McLeod, Gaileen Willick and Gabrielle Cousyn, and the accompanists Michelle Alders, Naomi Piggott-Suchan and Terry-Lynn Mitchell are now ready to tackle a new season. There is a preparatory choir for singers seven
Jennifer Berntson, a member of the Saskatoon Children’s choir in its founding year, is set to become the conductor of the Ottawa Children’s Choir’s most senior ensemble, the Chamber Choir. (PHOTO: SUPPLIED)
to nine, an apprentice choir for those eight to 13, the concert choir for those 11 to 16 and relatively new is alumni choir. There are major concerts at Christmas and in the spring. Pursuit of international travel will resume soon.
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“Nearly 130,000 people viewed our concerts this past year, from around the world with viewers on five continents.” - MARK TURNER, SSO EXECUTIVE DIRECTOR
Saskatoon Symphony Orchestra executive director Mark Turner anticipates that the opening concert of Season 91 will be a very emotional event for both orchestra members and the audience. (PHOTO: SSO)
Symphony excited to welcome back live audiences for Season 91 BY PAUL SINKEWICZ
Mark Turner and the staff at the Saskatoon Symphony Orchestra (SSO) have had enough of the diminuendo. They are now ready for the crescendo. The team worked hard during the past year to make sure the music of the SSO wouldn’t be silenced. Despite a pandemic that shuttered some businesses, shunted workers online and shut down live entertainment, the SSO found a way to play on. Turner, executive director of the orchestra, led the effort to find new ways of remaining connected with patrons. Performances evolved to include smaller, physically distanced ensembles in smaller venues. They also required a leap into using new technology to stream concerts live online. What resulted was a stunning success. “Streaming not only allowed us to keep everyone working, but it connected us to audiences around the globe,” says Turner. “Nearly 130,000 people viewed our concerts this past year, from around the world with viewers on five continents. We can’t wait to keep that number growing. It’s connecting us with new patrons, people who wouldn’t be able
to come to our live concerts, and building value added to our long-time supporters.” As the world, and Saskatchewan, emerges from the restrictions imposed by the COVID-19 pandemic, the SSO is turning its attention to mounting its 91st season this fall. But how do you plan for a season of live concerts when so much of the sand beneath your feet can still shift as conditions change? Turner and music director Eric Paetkau had to plan even harder, looking at many possibilities. “The planning for the upcoming season involved a lot of hedging our bets — we began the process by exploring a scenario of programs for each concert date, and then as fall became more clear, we began the process of returning to preparing for concerts that look much more like they did in the past,” says Turner. He said the orchestra will keep a number of protocols in place to make sure they are doing the return to live performances as safely as possible. “We’re all excited to have the audience in the room again. That will be among the most thrilling experiences any of us have had in 17 months. After
all this time, I expect it will be a very emotional opening night — exciting, overwhelming, anxious, and weirdly new. It will take time to readjust, but nothing is more celebratory than an orchestra in full flight.” As for repertoire, Turner and Paetkau have some musical treats audiences can look forward to in the coming 91st season. “We’ve tried to plan a full season of hits: some Beethoven and Haydn, Swan Lake, the music from Carmen, even Mahler 4,” says Turner. “We’re also excited to showcase music that is brand new to the audience, including music of Barbara Assiginak, Ian Cusson, and Nia Imani Franklin.” “We’re excited to get back into the swing of things with Pops concerts again too with Disney’s Frozen, vocal group Accent (who was our first canceled pandemic concert), and Thorgy Thor and the Thorchestra. We’ve got a few surprises in store as well: the Persian baroque ensemble Constantinople, a very romantic Valentine’s weekend event, and more.” The season is a first as it will be a hybrid of live
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and streamed, with three-quarters of the season streamed online through the platform: concertstream.tv. Turner said the SSO apps for the platform on Apple, Android and Roku launch this August and the orchestra plans to celebrate with its first-ever free Digital Summer Festival. Turner still wonders what lies ahead for the orchestra after facing down so many new challenges. “The year ahead poses a big challenge when it comes to the SSO’s financial health,” he says. “We aren’t sure yet how quickly audiences will return to the hall to pre-pandemic levels, and putting a full orchestra on stage comes with significant financial obligations, and typically we need a full hall to make each concert viable.” He said the best way for orchestral music lovers to help the SSO is to come to concerts, subscribe to concertstream.tv, and support the orchestra in its new fundraising campaign this fall. “We’re starting the year in a healthy position, so hopefully we can maneuver the challenges and come out the other side.”
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From Gustin stage to the Juno spotlight A piano quartet that opened the Lyell Gustin Recital Series of 2019 received a Juno award just weeks ago for the brilliant program they played on our stage and in every province and territory in the nation. The group, Ensemble Made in Canada, had commissioned 14 Canadian composers of the new generation to create aural pictures of the country; one of the musical works was by a Saskatoon-born composer, and another piece elaborated on a tale from the Bessborough Hotel. Audiences everywhere were invited to respond to the music through personal artistic creations that eventually were posted online as a tribute to Canada. Gustin House, having booked the recital years in advance, is thrilled to have been among early supporters of the Ensemble and its boldly innovative Project Mosaique. The Lyell Gustin Recital Series, our principal concert presentation each year, presents world-class artists from across the continent and beyond. Some recitalists are natives of our city or province, and their “hometown star” concerts foster pride in prairie success even as they ignite motivation for aspiring student musicians. We are pleased to have set the stage for exquisite piano performances by solo artists, for a program of sparkling sonic colours from a trumpet-bassoon duo, for fine singers in nuanced artistic partnership with collaborative pianists. Music from the vast classical repertoire stirs the imagination, invigorates, inspires, and — as the past months have shown us — heals and uplifts. Through visiting artists we experience fresh
sounds and styles, and connect with a broad artistic community across borders of time and place. Among his leadership contributions to his city during a decades-long career, Dr. Lyell Gustin arranged concert performances such as those we present, and he encouraged his students and associates to become familiar with the rich soundscapes of music new and old. Today, our major recitals continue to take place in venues such as our city’s beautiful churches. The setting of Gustin House itself — the physical heritage building at 512 Tenth Street — is our usual location for smaller-scale inter-arts programs. At these gatherings, artistic elements not usually found in combination are brought together: perhaps a performance of violin music takes place in the illuminating presence of sculptures on their plinths; songs alternate with a professional’s reflections on architecture; oboe music weaves through a display of paintings; piano solos are interspersed with readings from a literary work. We give the title “events” to these
Gustin House, former residence and studio of distinguished musician Dr. Lyell Gustin (1895-1988), is now a Provincial Heritage Property dedicated to the Gustin legacy and venue for musical-cultural events. (PHOTO: GUSTIN HOUSE)
interdisciplinary programs at Gustin House, for the presentation may encompass a watercolour, a cello suite, poetry, fused glass, or a vocal composition in presence of its creator. The juxtaposition and interplay of genres brings together varied members of the community — local and regional musicians, speaker/presenters, the general public — in a common artistic realm, a place for exchange of ideas and ideals. These programs are patterned on the activi-
saskatoonphilharmonicorchestra.com saskatoonphilharmonicorchestra@gmail.com (306)242-3916 facebook.com/groups/ saskatoonphilharmonicorchestra
ences. Artists and programs are in readiness both for our House events and the Recital Series, with dates still to be determined. Gustin House looks forward to the joy of live music as we continue to serve the musical life of Saskatoon! We invite you to watch for announcements in media and at gustinhouse.ca. THIS STORY WAS PROVIDED BY JOAN HALMO OF GUSTIN HOUSE FOR PROMOTIONAL PURPOSES.
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ties of Lyell Gustin, on the Musical Art Club he established, and on practises of his piano studio, where literature, visual arts and music were explored and celebrated side by side. Gustin House events are announced some weeks in advance and require registration due to space limits. Re-opening Gustin House programming will happen by gradual steps that include consideration of public health, safe national/international travel for artists, and the comfort level of audi-
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Chamber Singers excited to present a full concert season BY JAMES HAWN
I am optimistically writing this, after not having had a live concert for over a year-and-a-half. That means there were five planned concerts that we didn’t get to perform. Hopefully with restrictions being lifted, we will be able to begin rehearsing again in September and present a full concert season for your listening enjoyment. That being the case, we will ensure that all COVID protocols are in place should there still be restrictions or should people still not feel comfortable returning to “the old normal.” 2021 marks the beginning of Saskatoon Chamber Singers’ 44th year of concerts. As usual, our first concert will be on Remembrance Day, Thursday, November 11. As 2020 was the 75th anniversary of the liberation of Auschwitz, it seemed appropriate for us to revive The Holocaust Cantata— Songs from the Camps by American composer Donald McCullough. Because of COVID, we were unable to perform it, but it still seems a fitting thing to do in 2021. Written for SATB choir, piano and cello (Scott McKnight), it is in 13 sections comprising music and readings. Dean McNeill, trumpet, will also join us. This concert is still in the planning stages, but one other piece on the
programme will be a new arrangement by our pianist Rod Epp. Rod has created a beautiful arrangement of the American folk song Wayfaring Stranger. At the top of the score the dedication reads: “Composed for the Saskatoon Chamber Singers’ return to singing following the 2020 pandemic.” This will be our first opportunity to do that. Our November 11 concert programs have for many years included the call to “let us remember those who fought and died in war, and those others who have gone before us.” As we plan this year’s concert, we are thinking especially about the horrendous discoveries of so many unmarked graves at the sites of former residential schools. Our second concert will be on Sunday, December 19. Following the success of A Dylan Thomas Christmas two years ago, I have decided to repeat it. Carols arranged by Jon Washburn are interspersed with the text of Dylan Thomas’ iconic story. Dwayne Brenna has kindly agreed to once again be the narrator. It is still too early to have fully filled out this concert, but it will probably consist of a series of six pieces by Stephen Chatman called Carols of the Nativity. Also included will be several shorter works including Percy Grainger’s rhythmic
The Saskatoon Chamber Singers will launch its 44th season with its traditional Remembrance Day concert on November 11. (PHOTO: AMY VIOLET PHOTOGRAPH)
and fugal There Was a Pig Went Out to Dig. The Sunday, March 13 concert is essentially a re-working of the concert that was planned for that time last year. The two major works will be Kodaly’s Missa Brevis for chorus and organ (Janet Wilson) and Ivor Davies’ Prayers from the Ark (a series of six prayers by Noah, the little bird, the cat, the mouse, the raven, and the dove). Shorter pieces will include I Cannot Dance by Larry Nickel and two versions of How Can I Keep from Singing? (Sarah Quartel and Z. Randall Stroope). The season’s last concert, on Sunday, May 15, will feature three works, all of a lighter vein. The concert will open with the first set of Brahms’ Liebeslieder Waltzes for choir and piano, four hands (Opus 52). In 1981, PDQ Bach was inspired to write Liebeslieder Polkas. As the description inside each of the pieces says, the Liebeslieder Polkas were the first pieces
by PDQ Bach “in which he inflicted his music on the work of well-known poets, or even known poets, for that matter. The fact that all the poets represented are English leads one to surmise that PDQ’s drinking companion, Jonathan “Boozey” Hawkes, had something to do with instigating the pieces.” These polkas are scored for piano, five hands. By adding a third person at the piano, PDQ not only expanded the range of the accompaniment, but also made sure that there was always one hand free for page turning! Choric Song by Alfred Reed (originally scored for full wind ensemble) will act as a buffer between these two pieces. It is called a romantic idyl and is filled with lush harmonies. Its romantic nature so aptly depicts in musical terms Tennyson’s poetry from The Lotus Eaters. Visit saskatoonchambersingers.ca for up-to-date concert information as well as any necessary COVID re-
lated details. There are also links to the pieces we released in place of the concerts we could not do last year. Be reminded that donations can still be made to the Jacquie Ackerman Memorial Commission Fund either through the choir or by contacting the Saskatoon Community Foundation. Anyone interested in singing in the choir should contact James Hawn (jhawn@shaw.ca or 306.249.3398). Adequate sight-reading skills are essential in order to learn the volume of music we perform over the course of a season. We are also happy to announce the appointment of our new general manager, Shannon Josdal. I and the singers look forward to seeing you in the fall. The voices of singers have been silent for too long! - James Hawn is director of the Saskatoon Chamber Singers THIS STORY WAS PROVIDED BY SASKATOON CHAMBER SINGERS FOR PROMOTIONAL PURPOSES.
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FALL MUSIC DANCE
Music festivals have returned after pandemic pause BY NED POWERS
Outstanding performances by 20-year-old Saskatoon pianist Alice Li, the launching of a major scholarship rich with Saskatchewan tradition and the early promises of a new Canada West Performing Arts Festival turned 2021 into a joyous year for the Saskatchewan Music Festival Association officials. Li was awarded the inaugural $1,500 Garth Beckett/Gustin House senior piano scholarship during the provincial finals, staged virtually but anchored in Regina during early June. Beckett is a Saskatchewan product whose early training under the legendary Lyell Gustin in Saskatoon propelled him to careers as a pianist and a teacher. The other part of the happy story was that the scholarship financing came from the late Margo Fournier and her husband, L.J., who were longtime supporters of the arts in Prince Albert. The scholarship will be awarded annually and will be open to all senior piano entrants up to the age of 20, with recognition of the pianist with the most promise to be made by a festival adjudicator. Li has been a piano student of Saskatoon’s Bonnie Nicholson since 2016 and is also a thirdyear University of Saskatchewan student in the psychology department in pursuit of a Bachelor of Science degree. After her performances in the provincial classes, adjudicator Darryl Friesen of Winnipeg praised Li for her consistency in “moving her listeners.” She previously has won the Gordon C. Wallis competition in Saskatchewan and was third with a Chopin interpretation at a Canadian festival. Beyond the province, she has studied with the Orford Academy in Quebec and the Tuckamore Chamber Music Festival in Newfoundland. At the June provincials, Li was among three Saskatoon pianists who achieved multiple scholarships. Li won the $400 scholarships in the senior Haydn and Mozart class as well as the Chopin class and was a runner-up in two other classes. Jerry Hu won the $400 scholarships in the senior Beethoven, French and concerto classes and was runner-up in two others. Esther Zhu won the $300 scholarships in Chopin, Haydn and Mozart, and concerto classes and was runner-up in two
others. Ryan Yunen Gu captured another Saskatoon victory in elementary piano. Saskatoon produced six scholarship wins in voice. Jayden Burrows took the senior operatic and Grade A vocal awards, Kennedy Siba took the honors in senior French Art and Canadian, Lauren Hope won Grade B concert class and Ella Semko won in junior vocal. Other Saskatoon winners of main scholarships were Talant Kosmosbekov in senior strings and senior violin; Annelise Balzer in intermediate cello/viola/double bass; and Jose Manlapaz in senior woodwinds concert. On the second day, performers in the Excellence Classes took another step forward. Saskatoon winners were Burrows in vocals, 24 and under; and Hu, in piano, 24 and under. Runner-up positions went to Julia Herman, vocals, 12 and under; Zhu, piano, 17 and under; Yunen Gu, piano, 12 and under; and Emily Malmgren, musical theatre, 17 and under. About $35,000 was available in scholarships. Many were in the $400 range; the winners in Excellence Classes were $500; and the festival itself guaranteed runner-up money. “We were very happy to bring music back to the festival level after being silenced in 2020. Now it’s on to greater things,” says Carol Donhauser, executive director of the provincial association. After withdrawing from the Canadian association, three provinces — Saskatchewan, Alberta and British Columbia —are joining together to launch a Canada West Performing Arts Festival in 2022. Saskatchewan will be the first host, Alberta the second in 2023 and B.C. the third in 2024. There will be competition in three age categories: 12 and under; 17 and under; and 24 and under. There will be solo disciplines in brass, classical vocal, classical guitar, musical theatre, piano, speech, strings and woodwinds as well as group disciples of chamber music and both community and school choral divisions. Just like many other communities this spring, Saskatoon staged its own festival, all under the virtual influence, and the number of solo entries was close to normal. Again, Saskatoon Kinsmen continued their
Alice Li was awarded the first-ever $1,500 Garth Beckett/Gustin House senior piano scholarship at the Saskatchewan Music Festival, which was staged virtually in early June. (PHOTO: SUPPLIED)
long-term support as sponsors and honoured the following: Li in piano, with Leah MacFarlane and Hu as runners-ups; Kosmosbekov in strings, with Drusella Waltz and Thayara Siquiera as the next
two; Elise Parsonage in voice, with Kate Nachilobe and Burrows next; Burrows in musical theatre, with Philippa Williams and Alicia Monson as next in line.
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What style of dance is right for your child? BY RAY PENNER
Regardless of the sport or vocation you hope your son or daughter will pursue, you should consider including dance in your child’s activities, beginning as young as three years old. “Every little child hears music and they start to move — boys, girls, whoever — they’re dancing,” says Brenda Bennett, who has owned and led Brenda’s School of Baton & Dance for 38 years in Saskatoon. In her program, “At three, they’re doing more ballet-based creative dance, with big movements, gross motor skills, plus a little tumbling, so they find out how much fun it is, along with a bunch of other kids their age. For some, it’s the first time they’re doing things without mom or dad holding onto their hand.” For older children just starting out, there are introductory programs that also incorporate various dance genres to teach fundamentals, develop core body strength, and build confidence. As the child progresses, they and their parents can then decide what genre or genres to pursue. The choices are many, including ballet, jazz and lyrical, tap, acrobatic arts, musical theatre and hip-hop. There is also baton, which combines the artistry of dance with the highly athletic demands of baton as a sport. Most children end up taking two, three or more one-hour classes a week, such as ballet, jazz and tap, and then
continue to specialize further as they enter their teens and become involved in more competitions and accredited examinations. Other students, however, might choose to reduce their dance commitment as they get older and involved in other activities, and be happy to take just one class a week, such as hip-hop. “Very few students will make it as a professional dancer, but they can always still dance,” emphasizes Bennett. “For example, our collegiate programs for teens is quite popular, because those who enrol would rather dance to work out than be on a treadmill.” Regardless of the classes a parent chooses, the cost per class is virtually the same. For pre-schoolers and those in the early grades, one introductory class a week, such as a “combo” class is sufficient. The financial commitment increases as the child progresses and decides to pursue more than one genre, or takes more than one class per week in a genre. There are also costs involved with costumes, travel and other expenses related to competitions. Fortunately, the large dance competitions cover many categories, so a student who is pursuing several dance styles can compete in all at the same event. If a parent had to choose one basic genre over the others, Bennett strongly recommends ballet. “Having a ballet
base is like learning your ABCs before you learn to form words, then write sentences, then become a novelist. Even if your goal is to become a hip-hopper, ballet gives you the basics. It’s a very good start.” Although the mention of ballet often evokes an image of a slim ballerina, “There should not be any preconceived notion that a child is too heavy, or not flexible enough, or too tall or too short,” according to Bennett. “Every body should be allowed to dance, and to celebrate our differences.” That applies to boys as well, even for parents who hope their child becomes a star in the NHL. The principles of ballet develop an exceptional physical and mental foundation not only for all forms of dance, but also all sports. At a very young age, both boys and girls, “get to look in the mirror, stand tall and be proud of who they are. Dance is amazing for building confidence
Children experience many benefits from a weekly dance class. For kids just starting out, there are introductory programs that incorporate various dance genres to teach fundamentals, develop core body strength, and build confidence. (PHOTO: BRENDA’S SCHOOL OF BATON & DANCE)
and teaching teamwork,” says Bennett. More and more parents are realizing the life skills that dance can teach their child, and so the number of boys who enroll in dance programs each year is increasing at record rates. Currently, Bennett’s school has four levels of allmale dance crews, starting from age six, and a large majority of the other dance classes now have at least one male. Before enrolling your child in any school or program, though, Bennett
recommends having a conversation with the studio’s director, rather than simply enrolling online. It’s important to discuss a studio’s philosophy, programs and expectations in terms of both time and financial commitment. Regardless of their choice, parents can be sure that dance as a weekly activity is going to be good for their child, as will the applause they hear when it all comes together on stage at the end of the year.