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Thursday, August 13, 2015

WHY DOES MUSIC EDUCATION MATTER? BY JEANNIE ARMSTRONG SP SPECIAL PROJECTS EDITOR Earlier this spring, when the Prairie Spirit School Division announced the decision to cut band programs to address a $7.1 million budget shortfall, parents, students and musicians from across the province quickly united in protest. Their critical response inﬂuenced the school division to reconsider their decision and reinstate the music program. It’s vital to protect school-based music programs, says Holly Nimmons, executive director of the Coalition for Music Education in Canada. The organization, headquartered in Toronto, has a mandate to ensure music education programs are protected in our country’s schools. “We believe music education can change children’s lives. Learning music is for life. It transforms lives in many ways – for a lifetime. Learning music early means you are learning skills that are going to be there for you, for the rest of your life – critical thinking skills, creativity, innovation. These are all essential for development in your adult life,” says Nimmons. “We say ‘success in music, success in life – it’s just no coincidence!” Introducing music education at an early age enhances a young child’s brain development, says Nimmons. “It helps to develop the areas of the brain that

Delivering music education programs through schools is the most effective way to ensure the benefits of music reach the greatest number of students, says Holly Nimmons, executive director of the Coalition for Music Education in Canada. (PHOTO: FOTOLIA)

are related to language and reasoning. Learning music is actually one of the few experiences that affects both sides of the brain – the empathic and the logical.” Nimmons shares a quote from author Daniel J. Leviton, excerpted from his book This is Your Brain on Music: “Musical activity involves every region of the brain that we know about and nearly every neuro sub-system.” Cognitive and physical skills are required to play an instrument and read

music, she points out. “You learn to read musical notation, then you play that notation. Playing an instrument requires physical skill, whether it’s a ﬂute or a tuba. It develops your motor coordination.” Learning music also helps to develop vital communication skills. “That’s something we really need in our schools: listening skills, literacy skills, numeracy skills, communication skills − ﬁnding and expressing your voice, all sorts of things. Learning music also helps to

develop empathy for others. That’s a very important thing, especially when it comes to understanding other cultures as well as retaining our own culture.” Why is it important for music education to be delivered through schools? Nimmons replies that it’s the most effective way to ensure the benefits of music reach the greatest number of children. “It’s a universal delivery system, a way to reach as many young people as possible,” says Nimmons. “We can start young, in pre-kindergarten, with developing minds and build sequentially with every grade after that. Sequential learning is really very important.” In higher grades, participation in a music program improves student retention rates, adds Nimmons. “It actually keeps students in high school; it gives them a place to belong. There’s evidence that when adolescents are engaged in music programs, there is a lower drop-out rate.” Music programs have also been shown to benefit at-risk youth. “Making music is a way to pull a community together and help young, at-risk students. They become more engaged, develop self-confidence. We’ve done a lot of focus groups involving young people across the country. They have told me quite passionately that music has changed their lives – even saved

their lives,” says Nimmons. “Honestly, I get up every morning to go to work and think about that. That’s the power of learning, creating, making, appreciating music – it really can change and save lives. Why wouldn’t we have that in our schools? Why wouldn’t we have that joyful experience?” The Coalition for Music Education in Canada was established over 20 years ago. “We truly are a coalition of distinct voices, of advocates who believe in the importance of music education. The advocates are parents, music teachers, people who are involved in different aspects of the music industry – whether it’s performing or recording, people in business who have been affected by learning music,” says Nimmons. “Our mandate is pretty clear – we raise awareness and understanding about the importance of music education and the role it plays in our Canadian culture. We advocate, inform, connect and celebrate.” The organization’s members not only champion music education in schools and communities, they assist others to do so, by providing information and research, advice on advocacy strategies and offering free downloadable resources. For more information about the Coalition’s resources and awareness-building events, visit www.musicmakesus.ca.

ABOUT THIS CONTENT: This feature contains articles created by StarPhoenix Special Projects as well as articles contributed by members of the Saskatoon music and dance community to promote awareness of this topic for commercial purposes. The StarPhoenix editorial department had no involvement in the creation of this content.

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Thursday, August 13, 2015

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FALL MUSIC DANCE GUSTIN SERIES FEATURES GIFTED ARTISTS, GLORIOUS MUSIC The Lyell Gustin Recital Series concludes its 11th season on Tuesday, August 25 at 7:30 p.m., with an evening of saxophone-piano music by Ibert, Gershwin, Bach, Schumann and others, performed by the Harrington/Loewen Duo. Allen Harrington, one of Canada’s ﬁnest classical saxophonists, with pianist Laura Loewen, returns from international stages to perform for his hometown audience. The duo is hailed for artistry, virtuosity and its tightly uniﬁed musical voice: “[their performance] was like a living, breathing thing, blossoming in the hands of these exceptionally capable musicians” (Winnipeg Free Press). Dr. Loewen begins the evening with a preconcert talk at 6:45 p.m. Gustin House will launch its 2016 season on Friday, January 8, with a piano recital by Philip Chiu, Friday, January 8. Lauded for brilliance and poetic sensitiv-

ity in his playing, the artist has chosen a program of beloved piano classics for his Saskatoon program: Beethoven’s great Waldstein Sonata, Schubert Impromptus, Ravel’s famous Pavane, and a work by Ginastera. Chiu, well-known also as a collaborative pianist, concertizes with prominent artists such as violinists James Ehnes and Jonathan Crow and cellist Matt Haimovitz. Through his infectious love of music and his gift for engagement with audiences, Chiu has emerged as one of Canada’s leading musicians of the new generation. On Sunday, April 17, 2016, the MarieJosée Lord Trio promises to enchant listeners with a range of colourful songs, from classical to Broadway. The ensemble features Haitian-born soprano Marie-Josée Lord, acclaimed for operatic appearances in Quebec and France, performances with Montreal Symphony, and

Marie-Josée Lord, star Canadian soprano, leads a voice-violin-piano trio in the spring recital of the Lyell Gustin Series, April 17, 2016. (SUPPLIED PHOTO)

stage and TV appearances. Her irresistible charisma and dedication to lyric art are sure to mesmerize the audience. The

other ensemble members, violinist Antoine Bareil and pianist Hugues Cloutier, are superb Quebec instrumentalists with distinguished international careers. This unique Trio offers the program “Jambalaya, a gourmet event” that includes Verdi, Dvorák, Bizet and Bernstein! The recital is co-presented with Prairie Debut. The summer recital of 2016 takes place Tuesday, August 23, and features violinist Kerry DuWors and pianist Futaba Niekawa as duo526. Performing together since 2011 when they met at Eastman School of Music, Rochester, NY, the artists are devoted to exploring the repertoire and art of violin with piano. Their Saskatoon musical program spans two centuries, from Beethoven’s Kreutzer Sonata to works by Szymanowski and Copland. DuWors, recipient of many awards, performs widely, even as she completes doctoral studies in violin

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performance. Niekawa, originally from Japan and now based in the Boston area, is a prize-winning solo and ensemble performer on harpsichord as well as piano. Concerts in the Lyell Gustin Recital Series are held at St. Andrew's Presbyterian Church, 436 Spadina Cres. East, beginning at 7:30 p.m., with a preconcert talk at 6:45 prior to each recital. A season pass for all three recitals of 2016 is $90 regular, $75 student; individual tickets are separately priced. Tickets and passes for 2016 are available at McNally Robinson and Yamaha Piano, from Gustin/Trounce Heritage Committee, and at the door. Tickets for Harrington/Loewen Duo on August 25, 2015 are also available as noted above. Further information: Lynne, (306) 653-8889, or www.gustinhouse.ca. - This article was contributed by Joan Halmo with Gustin House.

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Thursday, August 13, 2015

THE ART OF FLAMENCO

Performing choral music in a diverse range of styles, the Cecilian Singers is a community choir led by director Graham Codling. (SUPPLIED PHOTO)

Cecilian Singers welcomes new members The Cecilian Singers is a community choir based in Saskatoon with members from surrounding communities as well. “We perform choral music in a wide variety of styles, including sacred and secular classical music, jazz, spirituals, and folk songs,” says director Graham Codling, a graduate of the Masters in Choral Conducting program at the University of Saskatchewan. The Cecilian Singers’ accompanist is Diane Bestvater. Codling says that some highlights of last season included performing “The Ground” by Ola Gjeilo with a string quartet, Ave Verum Corpus by Mozart, the African Song “Dubula” with djembe accompaniment, the guys rendition of “The Northwest Passage” by

Stan Rogers, and as always a healthy dose of J.S. Bach. The choir’s main focus is the production of two concerts a year in Saskatoon, one in December and one in April. “Last year we sang a miniconcert for Camp Kinasao and two concerts in Outlook as well,” says Codling. “New members that love singing and can read music are always welcome. Come sing with us!” says Codling. Anyone interested should visit http://ceciliansingers. ca. Rehearsals are held Wednesday evenings from September to December for the Christmas term and from January to April for the Spring term. - This article was contributed by Graham Codling of The Cecilian Singers.

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BY HILARY KLASSEN OF SP SPECIAL PROJECTS In another life (where I choose my own adventure), or a parallel one, I am an accomplished dancer. I am supremely svelte and toned, the envy of half the female population. I consume copious calories with blatant disregard for my weight because, of course, I’ll dance it all off later! Chocolate and wine are my daily companions, and men fall under my spell at the flick of a castanet. In my current life (fantasies be gone) this person is Kari Alba. Alba is the personification of flamenco dance. The spirited Spanish art form encompasses all we truly love about dance – the fire of passion, beautiful swirls of movement, soulful vocals with guitars, and rhythmic footwork, often accompanied by castanets. Alba saw her first flamenco show at age 16 and was riveted. “I’d never seen a show before in my life where I felt like my whole body was just shivers. I was completely enthralled by the entire show.” She started a lifelong pursuit that began with extensive flamenco training. An initial grant to study in Spain confirmed her aspirations. “I decided that’s what my career is going to be.” For a time, she lived and trained in Spain anywhere from eight to 10 months each year. The pursuit led Alba to develop a dance studio here in Saskatoon. “Alma Flamenca” was established in ’99 and is dedicated solely to flamenco dance. Here, Alba indulges me with a dynamic mini-performance. The music expresses the sultry influence of Indian gypsies who migrated to southern Spain. An audience of one, I am beyond impressed. Immediately, I sense her skill and finesse represent years of growing mastery. I’m up next. Alba takes me through a few flamenco moves and

Kari Alba performs flamenco dance with singer Celedonio Garrido from Spain and guitarist, Ricardo Diaz (California/Spain). (SUPPLIED PHOTO: ALMA FLAMENCA)

I’m there, though I feel slightly gauche next to this accomplished dancer, with the wall mirror telling no lies (note to self - lose a few pounds and don’t wear four inch spike heels next time!). Then again, she has performed internationally and I have not. “Alma Flamenca” means flamenco soul, which is appropriate since the dance typically expresses deep emotion. Below the surface of what Alba calls the top 40, user-friendly flamenco moves the general public does, lies a deeper, more authentic version of flamenco that remains fairly underground in Spain. “It’s almost like a secret art form. It comes from a lot of persecution because of the gypsies, it comes from a lot of maltreatment and suffering,” says Alba. “I think that’s why you’ll see in a lot of the forms, we’re not afraid to be angry, mad, sad or in pain.” It’s not like country music lyrics where your girlfriend dumped you. Sometimes it’s, “they burned my house down and my child was inside.”

She says not everyone can digest that, but I find myself totally resonating with it. “That’s why it ends up underground because it’s not happy all the time, or joyful or nice,” she adds. The flamenco community in Saskatoon has grown significantly since Alma Flamenca opened. The studio has classes for everyone – from girls and boys, up to grandmas and grandpas. While there’s definitely fun to be had, many Alma Flamenca students are looking for more than that. “They say give me history, tell me how the singer works with the dancer, they’re very intelligent people who want something that’s very stimulating, not just physical exercise,” says Alba. She has taken students to study in Spain, and will do so again in 2016. She has brought instructors and musicians over to do workshops. This year, dancer/instructor Miguel Infante and guitarist Ricardo Diaz came from Spain to perform at the Ness Creek Music Festival. Then they conducted a four-day workshop

at Alma Flamenca. Alba constantly challenges herself, looks for ways to be creative and add modern twists. “In April we brought Spaniards here, and we had a painter who was painting my dress while I was dancing, the singer was singing, the guitar was playing, and I was playing castanets. It was not a huge step outside the traditional but it was still something we’ve never done before.” She loves the fact that ﬂamenco offers both structure and freedom. “It has a lot of improvisation but a lot of choreography at the same time.” Once students have learned the rhythm and all the different forms, they need to be free to compose in the moment of performing. The singer, guitarist and dancer exchange signals to facilitate that. Alma Flamenca’s early student recitals evolved into shows at the Broadway Theatre and then many other opportunities to perform. “It’s been because that’s what my heart said I had to do,” she says. Sign me up!

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SRMTA ENCOURAGES PROFESSIONALISM IN MUSIC EDUCATION

The Saskatoon Fireside Singers entertained audiences this spring with the musical production of The Wizard of Oz. (SUPPLIED PHOTO)

Fireside Singers share Christmas Memories, Broadway musicals On December 19 and 20 at TCU Place, the Saskatoon Fireside Singers will celebrate their 43rd Christmas Memories production. Their audiences have exploded from intimate concerts at the Mendel Art Gallery to the past nine years at TCU Place. The fan base has escalated to sell-out crowds who are appreciative of the professional, powerful and touching performances of both the Christmas production and the spectacular spring Broadway musicals. The vocal and dramatic talent displayed by the lead soloists, chorus and reﬁned orchestra continues to astound audiences with the realization that these are all local accomplished artists. Members of The Fireside Singers are almost exclusively trained by vocal coach Marilyn Whitehead or by one of her former vocal students or a respected colleague. Over the years they have achieved recognition for numerous ﬁrst-place honours at the National Music Festival Competitions and produced seven successful recordings. Initially their repertoire was primarily classical but in the last ten years their focus has shifted to the Christmas productions and Broadway musicals. These TCU productions offer the ensemble the opportunity to perform on TCU’s grand

stage – and experience professional stage direction and choreography. The singers, ranging in age from seven to adult, are visible throughout the city for beneﬁts, galas, Saskatoon Opera and Saskatoon Symphony productions, local celebrations and provincial and national conferences. The Fireside Singers look forward to their ﬁfth performance at the Mayor’s Cultural Gala in September. Christmas Memories 2015 will feature its traditional 100-voice choir, renowned soloists and brilliant instrumental performances by esteemed musicians including Guy Few, Kerry DuWors and Allen Harrington. This Christmas, the featured guest artist will be internationally acclaimed concert pianist and former Fireside Singer and keyboard artist Thomas Yu. Marilyn Whitehead is the artistic director; Albert Couture is the stage director; Kelsey Stone is the choreographer and Bonnie Nicholson is the orchestral director and pianist. Toni Barry is the back stage director. The Fireside Singers look forward to another exciting year of performances. As always, they welcome back all former singers who wish to join the choir for either production! - This article was contributed by Marilyn Whitehead of The Fireside Singers.

The Saskatoon Registered Music Teachers’ Association (SRMTA) is an organization of professional, dedicated, energetic, and qualiﬁed teachers within your community. RMT members teach a variety of instruments and related theoretical subjects, from beginner to the most advanced levels. Each Registered Music Teacher holds at least one degree or diploma from a University, Conservatory or recognized school of music. RMT members 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 a Registered Music Teacher beneﬁts from a variety of performing opportunities, workshops and recitals with visiting artists, and opportunities for awards and scholarship support. RMT members are privileged to continue their association with the Saskatoon Kiwanis Club in the successful awarding of Bursaries to some deserving students. Last year the Saskatoon branch hosted a very successful Provincial Annual Convention. It was a wonderful opportunity for fellow teachers from across the province to meet and learn from internationally recognized performers and teachers. The upcoming 2015-2016 season features many fabulous events planned for RMT teachers, students, and the community. These include November’s Canada Music Week, various recitals featuring our students, and numerous workshops and educational

Students of a Registered Music Teacher benefit from a variety of performing opportunities, workshops, awards programs and scholarship support. (PHOTO: FOTOLIA)

opportunities. In May of 2016, RMT members will play a huge role in supporting many students entered in the Saskatoon Music Festival and other competitions. It is a very exciting schedule designed to provide educational and performance opportunities for both teachers and students! To ﬁnd a teacher in your area or to learn more about Registered Music Teachers, visit www.srmtasaskatoon.com. - This article was contributed by the Saskatoon Registered Music Teachers Association.

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MUSIC FOR ALL AGES

COMMUNITY MUSIC EDUCATION PROGRAM IS ON THE MOVE

The Community Music Education Program (CMEP), which for the past 29 years has been part of the University of Saskatchewan, is venturing out on its own as a private music school. CMEP’s current manager Nicole Wilton will be taking it to the new venue. For updated details on their new eastside location, visit www.wiltonmusic. com. The program itself will remain unchanged. CMEP will continue to deliver multi-faceted classes for children from birth and adults, offering lessons in disciplines such as piano, guitar, voice and violin. “The classes are dynamic and unique,” says longtime program manager Nicole Wilton. The loyal and popular CMEP staff is following Wilton to the new venue, offering parents the same high-quality teaching they have come to expect from the program.

“What sets CMEP apart is the quality of teaching,” says Wilton. “This program has a methodologically sound curriculum based on the most recent research on music education for early childhood. The foundations for language and literacy skills, math and self-conﬁdence are being developed and nurtured. The program is education-based and structured to promote learning.” Although Wilton adds that the program is “not just fun,” certainly the thousands of parents and children who have participated in and observed classes in the program over the past 30 years would beg to differ. Research shows that the ﬁrst three years of life are the most important for music learning. Babies naturally love music and their brains are receptive and primed for it, much like language. Wilton’s popular baby program has two options. Parenting

With Music (PWM) is a parent-and-child 12-week, age-speciﬁc program in which participants learn songs, rhymes, lullabies and games to continue at home to encourage bonding, language acquisition and brain development. The Suzuki Early Childhood class (SEC) is a multi-age parented class of 0-3 years that typically runs for 24 weeks. This fall there is a 12 -week option. Parents who want to start their children in Suzuki music lessons at a young age often enroll in this class as it offers a quick introduction to and overview of the philosophy of the method. Many other parents take it simply because they love the class structure. Every class Wilton offers is structured to facilitate and enhance learning. The repertoire is carefully chosen, and each session involves a capella (unaccompanied) singing, which research indicates is best for infants.

Repetition, both in the class and at home, encourages growth. Thanks to current research, we know that much is going on in their brains – synapses are forming and enhancing their overall intelligence because music is cross-hemispheric. For children ages three to six, there are Music In Early Childhood (MEC) classes. Each level/ages has its own curriculum based on strong early childhood methodologies. For students ages six and up, there are various instrumental lessons in piano, voice, violin, and guitar. Both traditional and Suzuki piano and guitar lessons are available. For more information, visit www. wiltonmusic.com or call (306) 270-6494. Registration on now! - This article was contributed by Nicole Wilton of the Community Music Education Program.

Among their wide range of multifaceted classes for children, The Community Music Education Program offers two popular music programs for babies, which encourage their natural love of music. (SUPPLIED PHOTO)

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Throughout the years, Schenstead has passed his love of music along through his other passion, education. In fact, he first began teaching music at 12 years of age, the same year he first picked up a guitar. Officially, he received his ARCT diploma in classical guitar from the Royal Conservatory and later went on to earn his Bachelor of Music. He taught and developed programs in classical guitar for the U of S Music Department for some 20 years until 2001, taught high school for five years and was an assistant professor of education at First Nations University of Canada. And while he remains active as a sessional lecturer at FNUC and the U of S, since 2006 his teaching efforts have been focussed on passing on his love, knowledge and expertise in music from his own studio on Thain Crescent. Although Schenstead’s studio offers instruction in piano, drums, bass guitar as well as RCM prep, the focus is on classical guitar. As for his students, Schenstead says they

range in age from six to seniors and come from all kinds of backgrounds. His favourite part of teaching, he says, is “when students ‘take the ball and run with it’. While I do my best to model guitar playing in lessons, it is important for students to listen to good guitarists and musicians in general, and to be curious about music, how it works, and follow up on that interest. Nowadays with YouTube and the internet, it is easy to look up great performances, whatever the instrument, and stay inspired.” For Schenstead, inspiration is a song away. “To me, the warm and personal tone of the classical guitar invites the ear and connects with me.” Music also gives him the chance to connect with his daughter, Melanie, with whom he performs at weddings and special events. And in the end, Schenstead says, “making music is still great fun.” If you would like more information on Ben Schenstead, his music or available lessons, visit www.benschenstead.com.

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FREE FLOW DANCE CELEBRATES 20 YEARS Formed in 1995, this charitable not-for-profit professional contemporary dance company has come a long way since its inception. The dance company was first established by choreographer Jackie Latendresse in Kitchener-Waterloo, Ontario. Over the years, the company relocated − first to Toronto, then Winnipeg − and now has found a formal home in Saskatoon at the Free Flow Dance Centre in Caswell Hill. Jackie Latendresse is the artistic director of the company which has hosted literally hundreds of top-notch emerging and professional dancers during the last two decades at its many events and performances. The Works in Progress New Dance Series, Back Alley Antics and International Dance Day Celebration are just a few of their

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most popular programs along with their outstanding free community dance workshop program. The company hires local professional dance artists, musicians and visual artists on contract for their productions and is looking forward to sharing selections from 20 years of choreographic work with Saskatoon audiences November 6 to 8 at the Celebration Gala Weekend at the Reﬁnery Theatre. As a part of their celebration Free Flow is working with a variety of other local dance companies on a special retrospective remount program. All of the remounted works spanning two decades will be shown at the November Gala weekend as well as new works created in 2015. For more info on the company, visit www.freeﬂowdance.com.

Free Flow Dance Theatre Company will celebrate its 20th anniversary with Saskatoon audiences during a Celebration Gala Weekend taking place November 6 to 8 at the Refinery Theatre. (SUPPLIED PHOTO)

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Thursday, August 13, 2015

FALL MUSIC DANCE

SINGING UNITES THE NOTATIONS AND KIDS OF NOTE SASKATOON MEN’S CHORUS After a decade of entertaining Saskatoon fans, Kids of Note is happy to announce a new season of music and performance for children with and without disabilities, beginning September 2. The young singers (ages 7 to 16) present a Christmas and a spring concert to full houses at Grosvenor Park United Church, which has partnered with Kids of Note to provide this terriﬁc community program. New members are now being registered to participate in their eleventh season. The Notations (ages 16 to 30) is also looking for new members, with and without disabilities, as it kicks off its seventh season. Sharing concerts with Kids of Note, The Notations provides a unique performing and social experience where a mix of young adults with a range of abilities have a great time singing together. The song arrangements challenge their singers and the repertoire is often drawn from familiar pop, jazz and rock music.

Kids of Note and The Notations performed their 10th anniversary show, “Happiness Is,” to a packed house at Grosvenor Park United Church on May 3, 2015. (PHOTO: GEORGE CHARPENTIER/ AGCPHOTO.CA)

Both choirs are non-auditioned and aimed at kids and young adults who love to sing. Practising at home is a necessity with the aid of CDs provided by the program. Audience members say that attending a Kids of Note – 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. Their FaceBook page is full of photos and further comments. To prepare for two major concerts and up to two smaller community outreach events, both groups hold rehearsals on Wednesdays from 5:00 to 6:00 p.m. at Grosvenor Park United Church, 407 Cumberland Ave. S. beginning on September 2 with the Christmas concert on November 29. Rehearsals resume in January, ending May 1. The fee is $150. Kids of Note is directed by Diane Phillips with pianist Penny Rosten. The Notations is directed by Jean Currie with pianist Sheldon Corbett. Their manager is Mary Dolan. Brenda Baker, who is taking a break as a director, will continue as administrator and publicist. To register or be placed on the waiting list, please contact Brenda at director@ kidsofnote.com or (306) 653-3245. - This story was contributed by Brenda Baker on behalf of The Notations and Kids of Note.

ALWAYS IN HARMONY The Saskatoon Men’s Chorus will be starting its 35th year of performing in and around Saskatoon. Membership is drawn from Saskatoon, and also from some of the surrounding communities. The singers come from varied backgrounds and work experiences, but all share a love of four-part male voice music. Under the leadership of Deborah Buck and Lynn Driedger, the Chorus sings a variety of sacred and secular repertoire including traditional songs, spirituals, hymns, opera and oratorio choruses, and contemporary Canadian music. We strive for material that is enjoyable as well as challenging and accessible for our audiences. Our home concert schedule consists of an Advent concert at Grace Westminster United Church on December 6 and

a spring concert in April of 2016. Plans are also being made for two out-of-town concerts, one in Advent and the other in spring. In addition, we will be participating in the Remembrance Day Service at Credit Union Centre, as well as singing at various church services and community centres. New members are always welcome, and we invite men of all ages (particularly those who are recently post high school), to join the Chorus. Check our website (saskatoonmenschorus.ca) for contact details, as well as our fall concert schedule. Call either Deborah Buck (306-6520379) or Lynn Driedger (306-220-0812), if singing in the Chorus interests you. We hope to see you at our concerts this year! - This article was contributed by Lynn Driedger of the Saskatoon Men’s Chorus.

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.

Registration: Aug. 26th & 27th 4:00 - 9:00PM Classes Begin: Monday, Aug. 31st

Artistic Director Juliette Perrey-Perez A.R.A.D.R.T.C. .R.T .R.T.C. 55 years teaching experience.

Tiny Tots Pre-School 3 to 5 Years old • RAD Ballet All Levels • Adult & Teen Classes • Jazz • Tap • Hip Hop Musical Theatre • Acro • Lyrical • Stretch & Tone • Jumps & Turns • Studio Rentals • Ballet Pointe & Allegro • Private Classes Fitness Programs For All Ages • Special Family Rates • Birthday Parties • Drop-In Classes • Dance Boutique New & Used

Please check out our website for a teacher in your area.

srmtasaskatoon.com

536 2ND AVE N. • EMAIL:JULIETTEDC@SHAW. EMAIL:JULIETTEDC@SHA CA • WWW.JDCDANCE.COM • FAX 652-2099 •

652-1015

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Thursday, August 13, 2015

S P O N S O R E D C O NT E N T

FALL MUSIC DANCE

SYMPHONY UNVEILS 85TH SEASON: “OUR PRAIRIE VOICE” BY HILARY KLASSEN OF SP SPECIAL PROJECTS Sunshine isn’t the main inducement that caused Eric Paetkau to pack up his Toronto life in early July and take up residence in Saskatoon. But it’s a decent perk; a reminder of growing up under the prairie sun just outside of Edmonton. The well-traveled new music director of the Saskatoon Symphony Orchestra (SSO) says he has lived in some relatively gloomy cities while developing his career. Coming here is the latest iteration of a dream that started in childhood. Paetkau grew up in a musical family and knew from age four or ﬁ ve he wanted to be a professional musician. “I loved music from day one,” he says. The dilemma was, he also wanted to be a professional football player. “I still haven’t made the Edmonton Eskimos, but maybe someday,” he laughs. Following university in Toronto, Paetkau studied and worked in places like Amsterdam, Munich, Nuremberg and Boston. As three-year resident conductor for Quebec’s Les Violons du Roy, he toured to cultural meccas like New York where he ﬁ rst experienced Carnegie Hall. He has free-lanced as a violist for the Toronto Symphony, the Canadian Opera Orchestra and other orchestras, and as guest conductor for many Canadian orchestras. Those experiences and connections led him to found group of 27, a Toronto orchestra comprised of high-level musicians. “I brought a lot of my really close friends, who I knew were extraordinary players, together. I wanted to form a super group, like a super-star full chamber orchestra,” says Paetkau. The group gained national attention in 2014 with two Juno nominations. Now he brings that same visionary energy to Saskatoon. It was occasional conversations in Toronto with SSO executive director Mark Turner that piqued Paetkau’s interest. “Each time I met with him I thought, whoa, something is going on in Saskatoon, something really unique, and some excellent energy that’s moving forward,” he says. “I dream big and I make those dreams happen. Mark is the same way.” Their visions for the SSO aligned, with artistic excellence as the number one objective. “I have a long-term vision for the

orchestra,” says Paetkau, his hands sculpting the air. “I want to really build and build and build artistic excellence so that people from across Canada say, ‘oh, what’s happening in Saskatoon?’ And only when someone does something really extraordinary do people ask that. I want SSO to be that.” Paetkau is both purist and innovator, and this fresh new season of the SSO reﬂ ects that. Highlights include an innovative concert with Canadian Inuit throat singer Tanya Tagaq. “We have Curtis Peeteetuce joining us and leading the way in terms of how it’s going to be presented,” says Paetkau. “We have some European classical music but more in the vein of a North American aboriginal focus with three Canadian aboriginal composers.” Also in the Master’s Series, hot young Canadian pianist, Jan Lisiecki has garnered international fame and will dazzle the audience as one of the greatest pianists alive today. A celebration of spring with the great French composer Berlioz, offers an exceptional blending of genres. The beautiful “Appalachian Spring” by Aaron Copland sets the mood. Berlioz’ Les Nuit D’éte, a very early song cycle, features contralto Bonnie Cutsforth-Huber. Canadian alternative pop artist Sarah Slean will sing Lamento, a new cabaret song-cycle commissioned by the CBC and composed for Slean by Christos Hatzis. Saskatoon-born Samuel Deason returns to the stage for New World Symphony playing Shostakovich’s 2nd Piano Concerto, while “The Red Violin” stars Nikki Chooi. Bugs Bunny and the symphony? Of course! Enjoy the world’s best loved Looney Tunes with their legendary stars projected on the big screen. The Pops Series also welcomes folk songstress Eileen Laverty with her tunes set to orchestral accompaniment by composer Allan Gilliland. Jeans & Classics is back with the music of Elton John and Billy Joel. Inspired by Paetkau’s New York experience, “The Nutcracker meets Duke Ellington” on December 5. “Both arrangements represent composing at such a high level and it works beautifully! What a great pre-Christmas delight,” he says. Knox United Church will host “The Messiah” on December 11. Other highlights include Paetkau’s fresh take on Gloria Vivaldi, the Hunchback of Notre Dame with guest conductor and pianist

Rick Friend and the Core Series with PAVED Arts. Paetkau promises more great Canadian music across all series than ever before, much of it new, and the Chamber Orchestra is back this year! When he’s not conducting, Paetkau enjoys other pursuits like camping, canoeing, backpacking, downhill skiing (Banff is a lot closer now), writing children’s books, and…. eating. You may sight him and his wife at some the city’s ﬁ ne eating establishments – the signature broad smile gives him away. For more on this exciting new SSO season, see the brochure at saskatoonsymphony.org.

The 85th season of the Saskatoon Symphony Orchestra kicks off with the Master’s Series on September 26. The line-up promises to be fresh and innovative with new music director Eric Paetkau on the rostrum. (SUPPLIED PHOTO: SSO)

‘Bronze Reﬂections’ Adult Handbell Choir is currently recruiting new ringers for September. If you read music well, are free Wednesday evenings from 6:00-7:30 call Betty Alexander at 306-374-1173 or elizabetha@sasktel.net.

STUDIO LOCATION

215 103rd Street East

Ages 4 & up Must be 4 by Sept. 1st Registration for new dancers on Thurs. Sept 3rd 6:00 - 8:00 pm at the Studio For information contact Sherry at 373-4022 www.boyandance.com boyandance@gmail.com

Bronze Reﬂections, a community bell choir, shares their sacred and secular repertoire at McClure, other churches, as well as at public and private functions. SAS00326525_1_1

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If music and dance are an important part of your

An adult mixed-voice choir welcomes new members.

family,

Call Graham at (306) 867-9452 or visit our website www.ceciliansingers.ca SAS00323969_1_1

1-855-277-9469 Queen Maeve School of Irish Dance (QMSID) is a recreational, non-competitive school of dance. We offer students of all ages a fun and supportive environment in which to learn.

Openings are now available for September 2015 Beginner Adult • Beginner Teens • Beginner Children

www.CreativeKidsSask.ca A program of SaskCulture Inc.

consider donating to

Registration for Lessons Tues. Aug. 25th and Wed. Aug. 26th 4:30-8:00 p.m. at Saskatoon School of Dance 407 Cumerbland Ave. S.

Creative Kids so all families can experience the benefits of dance

To obtain more information, please contact: Liz at 306-220-8718 qmsidsaskatoon@gmail.com

classes and music lessons. SAS00326524_1_1

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FALL MUSIC DANCE

SPONSORED CONTENT

Thursday, August 13, 2015

DANCE SASKATCHEWAN PROMOTES CULTURAL DIVERSITY BY JEANNIE ARMSTRONG SP SPECIAL PROJECTS EDITOR Dance is exploding in Saskatchewan! Saskatchewan has the highest per capita number of participants in dance of any province in Canada, says Linda Coe-Kirkham, executive director of Dance Saskatchewan Inc. (DSI), the non-profit organization committed to the advancement of dance. Founded in 1972, Dance Saskatchewan supports and enhances the development of all forms of dance in our province − whether recreational or professional. The organization works to establish an environment for dance that cultivates opportunities for performance and employment and that celebrates heritage and cultural diversity. Dance Saskatchewan receives funding through Saskatchewan Lotteries Trust Fund for Sport, Culture and Recreation, the Saskatchewan Arts Board and SaskCulture Inc. The significant growth in dance participation is directly related to the recent record population growth the province has experienced. Saskatchewan’s population boom has two major drivers: Aboriginal population growth and international migration. As a result, dance has become more culturally diverse than ever in our province, says Coe-Kirkham. Dance Saskatchewan’s membership now represents 32 different dance genres. In 2013, SaskCulture Inc. encouraged its funding recipients to join in a threeyear pilot program designed to encourage cultural diversity. Dance Saskatchewan responded by expanding its programming, resources and representation to be even more inclusive of newcomers, First Nations and Métis peoples. Dance Saskatchewan has completed its first year of the cultural diversity pilot program with a strong sense of accomplishment. A number of exciting initiatives have been launched, including a compelling “For The Love of Dance”

campaign that celebrates the diverse forms of dance in our province. Adrienne Collins Bretell, marketing and communications director with Dance Saskatchewan, says, “We asked our members to take part in a photo shoot that would not only provide us with images to use in our own marketing, but would also give them an opportunity to talk about their dance genre and why they dance. Some of their quotes are pretty amazing.” The campaign demonstrates how inclusive and accessible dance is in Saskatchewan. “People have this misconception that dance is an elitist, costly activity, but it’s not,” says Coe-Kirkham. Strategic partnerships have helped Dance Saskatchewan to broaden its focus and increase performance opportunities across the province. A partnership with the Office of the Treaty Commissioner and Sunchild Law has ensured the continued presentation of ‘Silent Survivors’, a powerful presentation of song and traditional dance created by artistic director Lorin Gardypie that shares the Indian residential school experience. The first full-length performance of `Silent Survivors’ was presented in partnership with Thunder Spirit Consulting, the Truth and Reconciliation Commission of Canada and Dance Saskatchewan in 2013. The project has now evolved into a community residency program including workshops. “We just did a four-day residency with 1,200 students in the Living Sky School Division in the Battlefords. We are touring in the fall to Meadow Lake. Flying Dust First Nation will be the host, and the City of Meadow Lake and five of the Meadow Lake Tribal Council bands will participate. We’re going north with that same production to Prince Albert, hosted by the Peter Ballantyne Cree Nation,” says Coe-Kirkham. Dance Saskatchewan has also formalized a partnership with the Global Gathering Place, a non-profit drop-in centre that

provides services for immigrants and refugees in Saskatoon. “The Global Gathering Place has been a strong partner for us,” says Coe-Kirkham. The partnership has resulted in newcomers becoming more involved in the governance of Dance Saskatchewan and having a greater say in dance programming. “We’ve had so many enquiries from people who are afﬁliated with groups of newcomers,” says Coe-Kirkham. “There has been a huge increase in the number of people interested in ballroom and Latin dance, primarily from newcomers. We’ve had African dance workshops here. Three different Ukrainian dance schools use the studio space at the DSI Centre in Saskatoon. A woman from Tanzania came in off the street and the next thing we knew she was performing at our National Dance Week celebration.” The DSI Centre in Saskatoon is the headquarters of Dance Saskatchewan, a

10,000 square foot facility with ﬁve dance studios and an extensive resource centre that includes Canada’s largest lending library of dance-related materials. “We run from 9:00 in the morning until 10:00 at night, seven days a week, from September to the end of May. We turn people away. There just isn’t enough space for all of the activity that’s going on in dance,” says Coe-Kirkham. She sees a new home in Dance Saskatchewan’s future, envisioning “a building that would encompass more than just dance, but that would serve as a hub for arts and cultural activity. We see ourselves in 10 years in a building double this size, with artists from all different disciplines working together.” For more information about Dance Saskatchewan, visit www.dancesaskcom. “Through Lion Dancing, I’ve had an opportunity to learn about my parents’ culture and through extension, my own culture. Growing up in Canada, you aren’t always exposed to that. Dance is one way for me to partake in culture.” - Colin, Lion Dancer, DSI member. (PHOTO: DANCE SASKATCHEWAN INC./KEN GREENHORN)

Saskatoon Concert Band

MUSICIANS WANTED The SASKATOON SASKA CONCERT BAND plays several concerts a year. year Our repertoire is exciting, challenging and diverse. We rehearse on Wednesdays from 8:00 p.m. to 10:00 p.m. This band is conducted by George Charpentier. Charpentier The SASKATOON SASKA CONCERT BAND AUXILIARY AUXILIAR plays two concerts a year We rehearse on Tuesdays from 7:30 p.m. to 9:30 p.m. This group is year. conducted by Nick Todd. Rehearsals are at the Saskatoon Concert Band Hall, 238 Avenue V North.

For more information, call (306) 242-3916 saskatoonconcertband.ca or Facebook

TU-TU CLASS for your little ballerina (ages 3 and 4)

REGISTRATION: SAS00326840_1_1

August 19th, 20th and 26th (5:00-8:00 p.m.) Classes Commence September 8th, 2015 Eloise Sitter - Director

Examiner C.D.T.A.Tap and Jazz Registered Teacher - R.A.D. Ballet

For Information or Registration:

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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Thursday, August 13, 2015

SPONSORED CONTENT

CLASSIC TO POP: SASKATOON PHILHARMONIC

The Saskatoon Youth Orchestra will revisit the powerful music of Star Wars in its 2015-2016 season. (SUPPLIED PHOTO)

SASKATOON YOUTH ORCHESTRA OFFERS STAR WARS SEQUEL The last time the Saskatoon Youth Orchestra put John Williams’ Star Wars on a concert program, organizers had to add two additional performances to meet the demand for tickets. This fall, the SYO will test the seams of Third Avenue United Church with a space-themed show scheduled for just one week before the highly anticipated Star Wars: The Force Awakens arrives in theatres. “I’m so excited to be doing this piece again,” says Richard Carnegie, music director of the SYO. “Star Wars is cultural phenomenon, and a major part of its impact is directly attributable, I think, to the power and emotional force of Williams’ score.” The concert is set for Sunday, Dec. 13 at 7 p.m., with tickets selling for just $20 for adults and $15 for students and seniors. “If you want to introduce a young person to classical music, this is the concert to choose,” says Carnegie. “Not only will they be moved and elated by the power of one of the best movie scores of all time, they will be watching an orchestra of more than 60 talented young people from Saskatoon and area playing it.” About one-third of the SYO players are university aged, and several perform

Thursday, August 13, 2015

regularly with the Saskatoon Symphony Orchestra, so it’s a very high level of playing. Carnegie is also thrilled to be offering an exciting piece of music titled Mothership, written by Mason Bates and ﬁrst performed in 2011 by the YouTube Symphony in Sydney, Australia. Carnegie is intimately familiar with the piece, having been a member of that one-in-a-lifetime orchestra experience. “It’s an amazing piece that will really connect with youthful audiences,” says Carnegie, hinting fans of electric guitar will want to attend. Bates describes Mothership as an energetic composition which imagines the orchestra as a mothership that is ‘docked’ by several visiting soloists, who offer brief but virtuosic riffs on the work’s thematic material. While it shares a formal connection with the symphonic scherzo, Mothership is brought to life by thrilling sounds of the 21st Century — the rhythms of modern-day techno in place of waltz rhythms, for example. Information about the upcoming season can be found at www.syo.ca. Concert tickets are available at www.picatic.com. - This article was contributed by the Saskatoon Youth Orchestra.

The Saskatoon Philharmonic Orchestra has been performing in Saskatoon since 1997. It was started to ﬁll a gap in the opportunities that were available for Saskatoon and area musicians, and it has been providing music for its members, and concerts for Saskatoon and area, ever since. The Saskatoon Philharmonic Orchestra is an adult community group that provides an experience for those who are interested in orchestral playing. It is a full orchestra, with a full complement of strings, winds and percussion. Players bring a strong desire to play well, whatever their level of playing, as well as a commitment to rehearse and perform. The music is selected so that all players can be involved. The Saskatoon Philharmonic Orchestra is a non-proﬁt organization and is operated by a Board of Directors. George Charpentier conducts the group. The Saskatoon Philharmonic Orchestra rehearses on Monday evenings, from 7:30 p.m. to 9:30 p.m., at the Saskatoon Concert Band Hall, 238 Avenue V North. Rehearsals will begin on Monday, Septem-

The Saskatoon Philharmonic Orchestra has been delighting audiences with its orchestral performances since 1997. (SUPPLIED PHOTO)

ber 14. Two concerts are scheduled for the 2015/2016 season: January 16 and May 7. It has been very successful since it started, performing two or three concerts a year. The repertoire includes orchestral standards, light classics, popular music, as well as contemporary compositions and arrangements. Canadian, Saskatchewan and Saskatoon composers and arrangers have been featured many times. The orchestra regularly accompanies local musicians as soloists, and has toured out of the city. There are openings in all string sections

River City School of Irish Dance

of the orchestra. Winds and percussion should contact the orchestra about openings. There is a membership fee. New members are welcome throughout the year. There is no formal audition. Prospective members are also welcome to join us for a rehearsal. For more information, email: saskatoonphilharmonicorchestra@gmail.com, or call (306) 242-3916. To learn more, visit www. saskatoonphilharmonic.com or on Facebook. - This article was contributed by George Charpentier of the Saskatoon Philharmonic Orchestra.

Come Join!

Be a part of this high energy style of dance which is quickly growing globally. globally

Saskatoon Lions Band Marching Band Program

Celebrating 62 Years!

Fall Registration: Tues, Sept 1, 6:30-8:30 pm Studio: B4 - 3501 8th Street East Accepting beginners 4 years and up More info, call kathy at 306-373-5980 Email: rcsidteachers@gmail.com

www.rivercityirishdance.com

Now Of Offering adult classes!!!

• • • • • • • • •

Band Program includes - Uniform, music and instruction. Minimum 1 year playing ability. For Ages 12-21 Sundays 1-3pm. Colourguard - (Flag Twirling) No experience necessary. Same days and cost. $40 month/plus 2 commitment bingos plus tour cost Includes-Local Parades, Events and Alberta trip Pre-Registration - Please email on website www.saskatoonlionsband.org or call 306-249-5013 Program and Tour can be completely fundraised. Come for fun, travel, entertainment and a great musical experience!

SASKATOON

LIONS BAND

306-249-5013 • www.saskatoonlionsband.org

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Schenstead Music Studio

• Special Beginner Learn to Play Guitar! Courses Experienced teacher, teacher • All Guitar styles, Relaxed environment Acoustic & Electric • Rock-Blues-Jazz-LatinClassical-Folk, etc. • Fun & Progressive approach • Student talent shows, RCM grades • Professional learning environment • 8-wk Trial Period • Free Consultation

To register, gister call 306-220-8424 gister, www.benschenstead.com

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Lear to Twirl, Learn ir Dance irl, and Flip with the

SASKA MYRACLES SASKATOON Registration: Thursday,, September 3rd, 6-8pm Thursday Shaw Centre, 122 Bowlt Cres. Ages 4 and up!

Recreational, Pre-Competitive and Competitive Classes

Learn to Tw Twirl irl Programs in Saskatoon, Warman, Warman, Mount Royal & Montgomery Montgomery

DIRECTOR: Cindy Cind LaBrash LaBr email: cindy. cind goldie@shaw.ca aw aw.ca www.m www .myraclesbaton.com .myr yraclesbaton.com

306-292-6054 SAS00325914_1_1

Thursday, August 13, 2015

SPONSORED CONTENT

FALL MUSIC DANCE AMATI QUARTET SHARES SPOTLIGHT WITH YOUNG MUSICIANS The University of Saskatchewan Amati Quartet performs on four rare string instruments crafted in Italy in the seventeenth century by members of the Amati family. Experience these exquisite Amati instruments in the spectacular setting of Knox United Church on October 12, January 30, March 26 and April 30. Mastering these magniﬁcent instruments are Marla Cole (violin), Rudolf Sternadel (violin), Geoff Cole (viola), and Terence Sturge (cello), now in their thirteenth season as the Amati Quartet. Season Thirteen begins October 12 with the third annual Thanksgiving Monday concert devoted to showcasing sensational young musicians in Saskatoon performing Baroque concertos. The repertoire will include Vivaldi’s Four Seasons, Telemann Trumpet Concerto, Monn - Cello Concerto, and Popper - Requiem for Three Cellos. Joining the quartet will be featured soloists Carmen Cole, Miles Cole, Solveig Deason, Amos Friesen, Silas Friesen, Simone Friesen and Zaide Masich. With concerts in January, March and April of 2016, the Amati Quartet promises to charm audiences with some of the greatest gems of the string quartet repertoire as well as featuring two guest artists: pianist Godwin Friesen and violist Heather Wilson. On January 30, the Amati Quartet will perform Haydn’s Op 20, No. 3 in G minor − one of his gems that ends with fantastic Gypsy undertones. Schubert’s ‘Rosamunde’ Quartet is subtle, delicate, and ﬁlled with the lyricism that we expect of Schubert. Upon Dvorak’s return to Czechoslovakia

CELEBRATING OUR 31ST YEAR

Special 10 Week Session for 3 Year Olds Ballet, Tap, Jazz, and Hip Hop Classes Beginner, Intermediate and Advanced Levels

TAP DIRECTOR Heather Myers C.D.T.A.Stage Division

During its 13th season, the Amati Quartet will share the stage with several exciting young musicians. (SUPPLIED PHOTO)

he composed his G major quartet, Op.106. With its Slavic sentiment throughout, it is the music of Dvorak that we know and love, and ends with great exuberance. The March 26 concert features the brilliant young pianist, Godwin Friesen, performing Bach’s Harpsichord Concerto in D minor. At just age 16 Godwin recently won the senior piano Kinsmen Competition in the 2015 Saskatoon Music Festival. Mendelssohn was responsible for the revival of Bach’s music in 1829 for which we are eternally grateful. Mendelssohn’s E minor String Quartet , Op. 44, No. 2 was written while he was on his honeymoon. Beethoven’s Op. 18, No.6 provides an early introduction to jazz and features a ﬁnale that alternates between total melancholy and the dance of life making this quartet the most unique in his group of six opus 18 quartets. Talented Saskatoon based

violist, Heather Wilson, joins the Amati Quartet on April 30 to perform Mozart’s String Quintet in G minor. Mozart loved to play the viola and his four quintets with two violas showcase the rich tonal capabilities of the instrument. The G minor quintet has three movements of intense pathos but ends with a jubilant ﬁnale. Op 64, No. 2 in B minor is yet another example of Haydn’s wit and humour. The hypnotic and atmospheric music of Philip Glass will persuade those who are in doubt that they really do like modern music! Concerts are at 2:00pm and at 7:30pm at Knox United Church. Tickets available from the Remai Arts Centre box ofﬁce: (306) 384-7727 or from www.persephonetheater.org. For more details, visit www.amatiquartet.usask.ca. (Dates, repertoire, and artists are subject to change) - This article was contributed by Marla Cole of the Amati Quartet.

JAZZ DIRECTOR Linda Erickson C.D.T.A Stage Division

BALLET DIRECTOR Hazel-Ann Stark A.R.A.D. L.R.A.D.

• There is careful emphasis on correct posture and body alignment • Exams are offered to serious students in tap and ballet to maintain high standards • We believe that every child can reach his or her potential with the proper training and guidance that we provide Registration for FALL CLASSES Wednesday August 26th 3:00-8:00 pm Thursday August 27th 3:00-8:00 pm Classes Starting September 8th

No registration fee for 10 week session! Payment will be accepted by either cash or cheque. 318-105th Street E.

(just off McKercher Drive overpass or Central Ave.)

306-382-2228

For more information, please visit our website www.la-danse.ca

F F LA DANSE O 50 %

L A D A N S E

E ION FE T A R T REGIS

August 26 & 27th only. Must register in person. SAS00324047_1_1

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Thursday, August 13, 2015

WHAT’S IT LIKE TO PLAY THE HANDBELLS? BY BLAIR BRAITENBACH FOR SP SPECIAL PROJECTS As I take hold of a glimmering bronze handbell for the first time, I quickly discover there are more to these heavenly-sounding chimes than I previously imagined. Betty Alexander, director/conductor for the Bronze Reflections handbell choir in Saskatoon, has prepared a few tables where a four-octave set of 49 bells lay before us. Providing me with an introductory lesson, I immediately learn that handbell ringing even requires proper posture and grip with specific starting and stopping techniques (something my musically-challenged hands struggle with). Holding the instrument in an upright position, one must move it forward and flick the wrist to allow the “clapper” to strike while continuing the movement in a backward circular motion – letting the ring fade out or “damping” it just below the collarbone to stop the sound. After a few tries under Alexander’s tutelage, I more or less get the hang of the basics (at least I think I do). But when my teacher for the day performs a simple alphabet

song on her own with about 10 bells, I fully realize how intricate this music style is – and the amount of skill and practice it takes to ring with conﬁdence and expertise. “If you came to one handbell rehearsal, you would put on a special pair of gloves and I know you would be surprised at all that is required in ringing a handbell – not just the movements themselves but all the techniques, tempos, dynamics and expectations of the director and ringers. It is quite something,” says Alexander. That high level of musicianship extends to understanding how to read music competently, as well as where one’s notes are played during a particular song. Typically Alexander directs 12 ringers in her adult choir. “With handbell music, each ringer has the complete score and from this they need to be able to ﬁnd their own designations, be it two, four or more bells. Every assigned note is required and necessary. Every ringer is essential and equally important to the group,” she says. When everything is pieced together, Alexander says the beautiful music that radiates from the bells – which varies from “sacred” to secular to contemporary and

Betty Alexander, director/conductor of Bronze Reflections, demonstrates the techniques required to successfully play the handbells. (PHOTO: JEFF LYONS/STARPHOENIX)

more – can stir up all kinds of feelings within both listener and player alike. “I don’t know how to explain it, it just amazes me. The wide range of emotions that bell music will evoke

is incredible and sometimes leaves you quite speechless. You almost can’t believe what you have just heard,” she describes. Each of her musicians practice together at least once a week – with the group performing at a host of venues, including churches, weddings, memorial services, private functions and public events like the Western Development Museum’s Festival of Trees. After 25 years directing handbell choirs, Alexander has cultivated an impressive ringing ability. However, the retired school teacher says it’s the pursuit of lifelong learning and passion for the instrument that pushes her to further hone her skills. As such, the conductor attends as many handbell workshops and symposiums across Canada and the U.S. as possible. “It’s the challenge, the ringing and directing, the ringers, the versatility and creative use of the instrument and the wide range of repertoires available that keep me at it,” she says. “You can work with choirs at many different levels and still come together to create and share a love of music.”

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Thursday, August 13, 2015

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FALL MUSIC DANCE SASKATOON OPERA CONTINUES TO EXPAND INITIATIVES BY KIRA OLFERT FOR SP SPECIAL PROJECTS Saskatoon Opera (SO) has wrapped up another successful year, one that saw Madama Butterfly as the mainstage production at the Remai Arts Centre and Hansel and Gretel showcased during the Saskatoon Opera in Schools Tour. Barb Montalbetti, SO’s artistic director, says, “The 2015 production of Madama Butterfly was the first time our company had presented this opera. It is one of the most popular operas world-wide with demanding singing roles and challenging production values.” SO continued to feature emerging opera singers in appropriate roles and as chorus. In leading roles, experienced artists including Prince Albert’s Peter McGillivray took the stage as Sharpless to Michele Capalbo’s Madame Butterfly and Adam Luther’s Pinkerton. Montalbetti says that the company rose to the challenge, and that Butterfly “was a virtual sell-out every night. It was a huge artistic and audience success.” The Opera in Schools program’s Hansel and Gretel,

directed by Charlie Peters, was also successful, this year adding schools throughout the south of the province to its tour. As Montalbetti explains, the mission of SOIS is to introduce opera to a new generation of fans in all areas of the province and consists of a pared-down, 45-minute performance of a famous opera, sung in English. “The production is fast moving and energized to keep the audience engaged. We also cast younger, emerging opera singers in this program, and this year, all ﬁve of the performers were from Saskatchewan. Not only does this give the singers experience and conﬁdence, but they are approachable and relatable to the young audiences. There is always a question and answer and autograph session afterwards, and the kids really get into it,” she says. Partly as a result of these efforts, Montalbetti says that the company is seeing a growing and thriving younger audience for opera. Montalbetti says, “Opera is unique because it involves all the arts: because of the quality of the singing and the orchestra, because of the sets and the background. It comes together to feed all of your

senses. And because of this Opera evokes emotions in a unique way.” Saskatoon Opera maintains vital partnerships with other arts organizations including the Saskatoon Symphony, Persephone Theatre, the University of Saskatchewan music and drama departments and Saskatoon Children’s Choir. “This means we have the best music, the best sets and the best choruses available. We all try to connect with one another and cheer each other on,” says Montalbetti. Montalbetti says that what SO is hearing from new fans, proves that hard work and attention to detail is paying off. “When we work so hard to ensure that our show connects with the audience, it is really great to hear that our audiences found the production to be friendly and entertaining.” She says that the company’s performance venue at the Remai Arts Centre also helps. “Most people don’t get to see opera so up-closeand-personal. The intimacy of the Remai theatre gives our audiences the sense of immediate and emotional connection to the characters.”

In June, Saskatoon Opera presented Madama Butterfly as its annual mainstage production, garnering rave reviews. (SUPPLIED PHOTO)

Next year, the company will present Rossini’s The Barber of Seville for the ﬁrst time since 2004. Montalbetti says this is one of the most entertaining of all operas, and adds that you’ve probably already seen parts of it yourself and not even realized it. “If you’ve ever seen the Bugs Bunny cartoon, ‘The Rabbit of Seville’, well, that is from The Barber of Seville. So if you want to see it in person, check us out next year!” For more information, visit www.saskatoonopera.ca.

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Thursday, August 13, 2015

FALL MUSIC DANCE CHILDREN’S CHOIR EXCELS AT EUROPEAN CHOIR GAMES FOR SP SPECIAL PROJECTS The Saskatoon Children’s Choir has returned from The Heart Sings Peace International Tour with memories they soon won’t forget. The 49 choristers, along with artistic director Phoebe Voigts, general manager Rita McLeod and accompanist Michelle Alders visited Cologne, Hanover, Magdeburg and Leipzig, with each stop providing a lesson in musical and cultural history. The centrepiece was the second European Choir Games in Magdeburg, a centuries-old city located in the heart of Germany. Georg Philipp Telemann was born in Magdeburg and Richard Wagner often worked there. “It was a festival, with high artistic standards, and there were 100 choirs from 23 nations participating,” said Voigts. “The choirs were so amazing and what stood out for me is the difference that each choir brought to the festival.” The Saskatoon choir performed exceedingly well and Voigts remembers “when we sang Frobisher Bay, it was magic − one of those nights that when you performed, you could hear a pin drop.”

The Saskatoon Children’s Choir has recently returned from a trip to Germany where they competed at the European Choir Games. (SUPPLIED PHOTO)

The Saskatoon choir, the Collegium Cantorum from Brazil and the Akustika Chamber Singers from South Africa were the three choirs chosen by the festival’s artistic committee to perform in a Monday night gala on July 6. Then all the choirs went to work in front of juries. The Saskatonians sang in a two-day Grand Prix of Nations event. A choir from Taiwan was named the winner; Saskatoon was among four other choirs which were awarded gold medals for their performances. In the Open Folk category, a choir from Norway took

top honours, while Saskatoon was given a gold medal for the standards the judges were seeking. The choir also sang in the Cologne Cathedral (a remarkable building which is on the UNESCO World Heritage list), at a Hanover benefit concert for children in need, and capped off the trip with a visit to Thomaskirsche in Leipzig. “Johann Sebastian Bach was the choir director at St. Thomas Church from 1723 until his death in 1750 and taught at its affiliated school. His final resting place is

there,” said Voigts. “It was one of the most remarkable halls in which we have ever sung. We sang twice from the balcony, came down and sang twice on the ﬂoor during Communion. We came back so steeped in Bach and musical history.” The choir takes a major trip every second year. Aside from appearing at Canadian festivals, they have been to the Songbridge Project in Hong Kong and China in 2005; the Summa Cum Laude Festival in Vienna, Austria, in 2009; the South Africa Sings project in 2011; and the Llangollen International Musical Eisteddfod in Wales in 2013. The choir has three divisions: a preparatory choir for those from seven to nine years of age; an apprentice choir from those from eight to 13; and a concert choir for those from 12 to 16. One more set of auditions will take place on August 20 and bookings can be arranged through Rita McLeod at (306) 249-3927. The signiﬁcance of the 2015-16 season is that it will be the 20th for the choir which Voigts founded. There will be the usual Christmas concerts as well as the anniversary celebrations in April, 2016.

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