OFFICIAL PROGRAMME OF THE CALGARY PHILHARMONIC ORCHESTRA MUSIC DIRECTOR RUNE BERGMANN
AUTUMN 2018 | VOLUME 45 NO. 1
VERA SWANSON: A LIFETIME OF DEDICATION TO THE ARTS P. 12 SHOWCASING THE TALENTS OF YOUNG CANADIAN ARTISTS P. 20
RENÉE FLEMING
BUILDING A PROSPEROUS CITY THROUGH THE ARTS P. 27
EXPLORING THE RELATIONSHIP BETWEEN MUSIC AND THE MIND P. 46
AUTUMN 2018 | 1
YOUR COPY TO TAKE HOME
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Message from the President + CEO
28
Keyboards: Marc-André Hamelin + Neil Cockburn
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Explore the Classics
30
Peter and the Wolf
08
Calgary Philharmonic Orchestra
34
Rush Hour: Hits
10
Calgary Philharmonic Chorus
36
Greatest Classical Hits
12
Vera Swanson: A Lifetime of Dedication to the Arts
38
JoAnn Falletta conducts Spanish Guitar
16
Classical Mystery Tour: A Symphonic Evening of The Beatles
40
Verdi Requiem
18
Symphonics 101: Guide to the Orchestra
44
The Hits of The Who with Jeans 'n Classics
46
Renée Fleming: A Mind for Music
50
Join Our Champions
54
Frequently Asked Questions
58
Emergent-cy Alert
20
Showcasing the Talents of Young Canadian Artists
22
An Evening with Renée Fleming
24
Worlds Collide: Haydn, Ho + Kuzmenko
27
A Prosperous City through the Arts
12 20 46 58
Programmes + artists subject to change without notice
Calgary Philharmonic Orchestra 205 8 Ave SE Calgary, AB T2G 0K9 Tel: 403.571.0270 Fax: 403.294.7424 Box Office: 403.571.0849 calgaryphil.com
Venue Partner
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Official Publisher
AUTUMN 2018 | 3
Message from Paul Dornian President + CEO Welcome to the 2018/2019 Season at the Calgary Philharmonic! Once again we are offering you a highlightfilled Season of musical wonder and surprise. The Season begins and ends with two of our age’s finest singers, we present five outstanding women conductors, we have a most intriguing Spring Festival, and who wouldn’t want to join us in celebrating the shared birthday of Wolfgang Amadeus Mozart and our inspirational Music Director Rune Bergmann!
I look forward to seeing old friends and making new acquaintances as we traverse the Calgary Philharmonic’s 63rd Season.
The Season features some brand new works, some works never before heard in Calgary, and many of the all-time greatest
Paul Dornian
Calgary Philharmonic Society Honorary Patron
Board of Directors
Mayor Naheed Nenshi
Walt DeBoni Board Chair
Conducting Staff Maestro Rune Bergmann Music Director Karl Hirzer Associate Conductor Timothy Shantz Chorus Master Management Paul Dornian President + CEO Janet Bwititi Director, Marketing + Sales Maria Lamas Director, Finance Jennifer MacDonald Director, Artistic Operations Allison Moore Director, Development
Joan Simmins Governance Committee Chair Janet Yuchem Finance + Audit Committee Chair Paul Dornian Ex-officio Keith Byblow Fern Cyr Tim Gillespie Corinne Grigoriu Eileen Gukert Samuel Hayes Michael Hope Sam Loeck Brendan McCracken Sheila McIntosh James Morton Robert Palmer Lara Pella
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orchestral compositions. Whether you are bringing your children or grandchildren to Symphony Sunday for Kids, enjoying a long weekend movie experience with the family, or meeting friends for an evening at the Jack Singer — the Calgary Philharmonic is where the community comes together.
Calgary Philharmonic Family Friends Of the CPO + Musical Heritage Andrew Matthews Co-chair Agatha Starczyk Co-chair Dr. John Lacey Chair Emeritus Andrea Brussa Tony Cioni Jeremy Clark Jack Crawford David Daly Alexandra De Freitas Samuel Hayes Don Herman Judith Kilbourne Nick Kuzyk Garry Mihaichuk Martin Molyneaux James Morton Deborah Yedlin
CPO Foundation John Partridge President Russell McKinnon Q.C. Vice-President Jeremy Clark Treasurer David Daly Secretary Terry Dalgleish Q.C. Letha MacLachlan Q.C. Cathy Williams Janet Yuchem Development Council Ann Calvert Jim Campbell Martin Delaney Nick Kuzyk Sheila McIntosh Tim Onyett Ruchi Ryley Hunter Wight Cui Zukowski
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Discover Something New These concerts are for the exploratory concert-goer who wants nothing short of adventurous. They will fascinate you with anything from new compositions to experimental sounds, and everything in between! Worlds Collide: Haydn, Ho + Kuzmenko 28 + 29 September 2018 Brahms v. Radiohead 9 March 2019 Provocative: Percussion + Tchaikovsky 25 April 2019 Late Night: Sensory Overload 27 April 2019
Beginning Your Journey? These concerts are the ultimate palateteasers to help you get acquainted with classical music. They will enrich your understanding and familiarity of the CPO and classical repertoire.
Controversial Classics 3 + 4 May 2019
Symphonics 101: Guide to the Orchestra 21 September 2018 Rush Hour: Hits 25 October 2018 Rush Hour: Romance 14 February 2019 Rush Hour: Brahms 7 March 2019
Comfortable with Classics These are the well-known classics that you will recognize. These concerts will keep you coming back for more! Greatest Classical Hits 27 October 2018 Rune’s Classical Christmas 13 December 2018 Mozart’s Birthday Party 25 + 26 January 2019 Pièces de résistance 16 February 2019 6 | PRELUDE calgaryphil.com | 403.571.0849
Immerse Yourself Once you have dipped your toes into classical music and realize you now have an appetite for it, these are concerts that will broaden your horizons. Keyboards: Marc-André Hamelin + Neil Cockburn 12 + 13 October 2018 Verdi Requiem 9 + 10 November 2018
Looking for a Family Outing? Explore the arts as a family and delve into these fun and interactive Symphony Sundays for Kids concerts that are tailored for all ages. Peter and the Wolf 21 October 2018 ‘Tis the Season: Kids’ Holiday Special 2 December 2018
Brahms Double with Cohen + Choi 15 + 16 March 2019 Bach @ Knox 24 + 25 May 2019 Prokofiev + Mahler with Yefim Bronfman 31 May + 1 June 2019
Symphonic Fairytales 17 February 2019 Gershwin’s Magic Key 26 May 2019
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Principal
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Assistant Principal
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Associate Principal
Music Director Rune Bergmann
First Violins Diana Cohen
Associate Conductor Karl Hirzer
John Lowry
Chorus Master Timothy Shantz Music Director Laureate Roberto Minczuk Music Director Laureate Hans Graf Conductor Laureate Mario Bernardi Concertmaster Emeritus Cenek Vrba
Concertmaster Associate Concertmaster
Donovan Seidle
Assistant Concertmaster
Edmund Chung Austin Hansen Erica Hudson Hangyul Kim Olga Kotova Bonnie Louie Genevieve Micheletti Alicia Venables Hojean Yoo Second Violins Lorna Tsai Stephanie Soltice-Johnson Erin Burkholder Jeremy Gabbert Hyewon Grillet-Kim Craig Hutchenreuther Minnie Min Kyung Kwon Theresa Lane Adriana Lebedovich Steven J. Lubiarz Violas Laurent Grillet-Kim Marcin Swoboda Arthur Bachmann Jeremy Bauman Peter Blake Carl Boychuk Michael Bursey TBD
Cellos Arnold Choi JosuĂŠ ValdepeĂąas Kathleen De Caen Joan Kent Thomas Megee David Morrissey Daniel Poceta Karen Youngquist Basses Sam Loeck Kyle Sanborn Mathew Heller Graeme Mudd Patricia Reid Patrick Staples
Horns Robert McCosh Jennifer Frank-Umana William Hopson Laurie Matiation Heather Wootton Trumpets Adam Zinatelli Miranda Canonico Trombones James Scott Michael Thomson Bass Trombone David Reid
Flutes Sara Hahn Gwen Klassen
Tuba Tom McCaslin
Piccolo Gwen Klassen
Timpani Alex Cohen
Oboes
Percussion Joshua Jones
TBD David Sussman English Horn David Sussman Clarinets Slavko Popovic Jocelyn Colquhoun Bassoons TBD Michael Hope
Harp Tisha Murvihill Librarian Rob Grewcock Assistant Librarian Tyler Cairns Personnel Manager Michael Thomson
The Calgary Philharmonic Orchestra is proud to perform live symphonic music for the Alberta Ballet, Calgary Opera, and Honens International Piano Competition. The members of the Calgary Philharmonic Orchestra are members of The Calgary Musicians Association, Local 547 of the American Federation of Musicians of the United States and Canada. Repertoire often requires extra musicians including: Gianetta Baril, harp; Rolf Bertsch, keyboard; Tim Borton, percussion; Lise Boutin, violin; Stan Climie, clarinet; Neil Cockburn, harpsichord and organ; John Feldberg, bassoon; Sarah Gieck, flute; Jeremy Brown, saxophone; Gareth Jones, trumpet; Janet Kuschak, cello; Malcolm Lim, percussion; Andrea Neumann, violin; Aura Pon, oboe; Richard Scholz, trumpet; Eric Auerbach, violin; Eva Sztrain, violin; Aidan Dugan, oboe; Doug Umana, horn; Alicia Bots, bassoon.
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Rune Bergmann
Karl Hirzer
Vincent Ho
Norwegian conductor Rune Bergmann is Music Director of the Calgary Philharmonic Orchestra. An energetic and compelling figure on the podium, he is a dynamic, versatile conductor with an extensive classical, romantic, operatic and contemporary repertoire. Considered among today’s most talented young Scandinavian conductors, his elegant interpretations and reputation as an inspiring and profound musician continue to attract the attention of orchestras throughout the world. Bergmann has served as Artistic Director and Chief Conductor of Poland’s Szczecin Philharmonic since the 2016/17 Season. His first recording with the Szczecin Philharmonic, featuring the Resurrection Symphony in E minor by Mieczyław Karłowicz, will be released later this year. Also this Season, he performs as a guest conductor with the Baltimore, Edmonton, and Pacific Symphony Orchestras, and the Argovia Philharmonic and Orquesta de Valencia in Valencia. He has been Artistic Director of Norway’s innovative Fjord Cadenza Festival since its inception in 2010.
Karl Hirzer is a dynamic Canadian conductor and pianist from New Westminster, British Columbia. He holds the position of Associate Conductor in his third season with the Calgary Philharmonic Orchestra. Hirzer is a regular guest conductor with Land’s End Ensemble, and has previously acted as Assistant Conductor for the National Academy Orchestra of Canada, and the McGill Contemporary Music Ensemble. He has worked with the Gstaad Festival Orchestra as an active member of the Menuhin Festival Gstaad Conducting Academy under Neeme Järvi and Gennady Rozhdestvensky, and was a Conducting Fellow during the 2017 Cortona Sessions for New Music. Also a passionate educator, Hirzer was most recently a faculty member at CPO's Morningside Music Bridge programme in Warsaw. A diverse musician and collaborator, he has performed with numerous renowned soloists including Evelyn Glennie, Chris Botti, and Jonathan Crow. Trained as a pianist, Hirzer holds bachelor’s (University of Victoria) and master’s (McGill University) degrees in performance, as well an Associate of the Royal Conservatory of Toronto diploma, obtained at age 17. His teachers have included Guillaume Bourgogne, Alexis Hauser, Ilya Poletaev, and Bruce Vogt. He also attended the Mozarteum Sommerakademie in Salzburg, where he studied in the class of Robert Levin.
Vincent Ho is a multi-award winning composer of orchestral, chamber, vocal, and theatre music. His works have been described as “brilliant and compelling” by The New York Times and hailed for their profound expressiveness and textural beauty, leaving audiences talking about them with great enthusiasm. His many awards have included Harvard University’s Fromm Music Commission, The Canada Council for the Arts Robert Fleming Prize, ASCAP’s Morton Gould Young Composer Award, four SOCAN Young Composers Awards, and CBC Radio’s Audience Choice Award. From 2007 to 2014, Ho served as the Winnipeg Symphony Orchestra’s composer-in-residence and presented a number of largescale works that generated critical praise. Born in Ottawa, Ho began his musical training through Canada’s Royal Conservatory of Music where he received his Associate Diploma in Piano Performance. He gained his Bachelor of Music from the University of Calgary, his Master of Music from the University of Toronto, and his Doctor of Musical Arts from the University of Southern California.
Music Director
Associate Conductor
‘New Music’ Advisor
AUTUMN 2018 | 9
Chorus Master Timothy Shantz Accompanist Evan Mounce Soprano Karin Baumgardner Lindsay Bellemore Ellen Borak Michelle Bozynski Leslie Bradshaw Tricia Bray Carolyn Byers Christina Candra Katherine Clarke Sheila Cook Laura Davis Ina Dobrinski Sihana Dorfsman Gail Feltham Lisa Fernandes Ymene Fouli Sue Galcher Sim Galloway Alison Gibson Dale Hensley Jessica How Linda Janzen Allison Johnson Amy Klintberg Pat Knecht Danielle Logan Maureen McDonald Julie Miller Hannah Pagenkopf Ruthanna Penton Gillian Posey Colleen Potter Kristen Seams Lisa Sears-Walsh Joan Simmins Becky Standing Chantelle Stevenson Chandra Stromberg
Melissa Symanczyk Norma Webb Grace Webber Dianne Williams Alto Margaret Anderson Jasmine Aslan Brittany Bishop Barbara Boland Indrani Chatterjee Tanya Chow Breanne Coady Bernie Constantin Carol Cooper Shirley Cumming Janice Dahlberg Gillian Forster Hilary Gordon Kay Harrison Patricia Heitman Amanda Holt Helen Isaac Heather Klassen Kaitlin Krell Catherine Lasuita Lorrie Lipski Barbara Mathies Sue McNaughton Susan Mendonca Julia Millen Patty Mino Mara Osis Karen Palmer Anastasiya Petruk Josee Robitaille Anne Rodger Monica Samper Marian Žekulin Tenor Timothy Ahrenholz Dean Allatt Tim Bell Keevin Berg
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Tristram Chivers Pat Favaro Barb Hogan Jungsoo Kim Peter Rilstone Victor Rubio Richard Seale Joseph Stedman Dennis Voth Bass Archibald Adams Nicholas Allen Eric Bird Timothy Cooke Lloyd Crosby Douglas Curley Mitchell Curley Kevin Di Filippo Arthur Dick Alan Dornian John Ghitan Ian Gibson Allan Huber Dylan Jones Tyler Jones Matthew Koltes Ian Lunt Denis Magnan Keith Odegard Jackson Partridge David Pattison Dan Philips Teddy Pope Jerry Proppe Alasdair Robinson Dana Salter David Schey Tom Van Hardeveld Richard Wanner Maxwell Webber Jim Weisert Keith Wyenberg Principal
Calgary Philharmonic Chorus The Calgary Philharmonic Chorus, led by Chorus Master Timothy Shantz, is a group of over 150 voluntary singers who perform diverse repertoire including oratorio, opera, light classics, contemporary music, and pops. The acclaimed ensemble is featured in approximately eight concerts with the Orchestra each Season. Established in 1963, the Chorus works with the Orchestra to achieve excellence in the performance of choral music and to promote the enjoyment and development of choral singing in the Calgary community. Chorus members come from all walks of life and include physicians, students, lawyers, and stay-at-home parents who collectively dedicate over 19,000 hours annually to rehearsals and performances. The Chorus is proud to perform for local charities during the holiday season and often takes part in community education and outreach activities with the Orchestra throughout the year. The Chorus has participated in choral festivals across Canada, been featured in live recordings, and performed for Queen Elizabeth II in a special presentation conducted by the late Mario Bernardi.
Calgary Bach Choir Terry Edwards, Artistic Director • 2018-2019
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BACH & SONS:
The Milan Bach SUNDAY 18 NOVEMBER 2018 3:00 PM Knox United Church, 506 – 4 Street SW
CHOIR, ORCHESTRA & SOLOISTS
PROGRAM
Timothy Shantz Chorus Master
Timothy Shantz continues to garner critical praise for his work as conductor. He is the Calgary Philharmonic Chorus Master, Spiritus Chamber Choir Artistic Director, and Luminous Voices Founder and Artistic Director. Shantz has explored the vast history of the vocal ensemble genre from early-music to contemporary works, as well as virtuoso unaccompanied choral music to large choral-orchestral masterpieces. Under his direction, Spiritus Chamber Choir earned the Healey Willan Grand Prize from the Canada Council in 2013 and toured internationally earning second prize at the Fleischmann International Choral Competition in Cork, Ireland, as well as second prize at the Florilège Vocal de Tours in France. Shantz has several recordings to his name, including Zachary Wadsworth’s The Far West released in May 2016, Mendelssohn’s Te Deum, released in Spring 2015 by Luminous Voices, and James MacMillan’s Seven Last Words (Spring 2014) with Spiritus Chamber Choir. Performance highlights as tenor include Handel’s Messiah at Carnegie Hall, soloist and ensemble singer at the Carmel Bach Festival since 2008 and twice with the Lucerne Festival Academy under Pierre Boulez. Shantz holds a Doctor of Music Degree in Choral Conducting from Indiana University Jacobs School of Music.
DURANTE Missa in C Minor J.S. BACH Sanctus in D Major, BWV 238 J.C. BACH Gloria in excelsis Deo Program subject to change
Adults/Seniors—$20 • Students—Free Tickets cash only at the door or in advance online at brownpapertickets.com
BAROQUE & BEYOND calgarybachsociety.com CalgaryBachSociety @CalBachchoir
AUTUMN 2018 | 11
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A LIFETIME OF DEDICATION TO THE ARTS Vera Swanson 1916 to 2018 By Stephen Hunt
I
n 2015, shortly after becoming the President and CEO of the Calgary Philharmonic Orchestra, Paul Dornian’s phone rang. It was long-time CPO patron Vera Swanson. Vera wasn’t just any patron, however. Not only had she made the donation that paid for the carpet in the CPO Founders Room, but she also was one of three very special Calgary women — along with Martha Cohen and Sandra LeBlanc — who raised the money, in the early 1980s, to build the performing arts centre that the Calgary Philharmonic still calls home. Vera helped build Arts Commons, paid for the carpet, and raised the money to buy the iconic Carthy Organ that is housed inside the Jack Singer Concert Hall. She helped launch the Calgary International Organ Festival. She was a long-time patron and supporter of all Calgary arts, but first and foremost came a true passion for the Calgary Philharmonic. “Vera sort of summons you,” Dornian says. “You would go out to her big home in Springbank. She would make some sort of lunch — and then tell you what you should be doing.” Vera was direct, too. “She was ferocious,” says Dornian. But the best part about her straight shooting was that her target was always to help the CPO become the best orchestra it could possibly be. Her son David, a Calgary architect, confirms it. “Her view of the world was that great cities have great performing arts,” he says. “Not just facilities, but they have great companies. And great companies bring great talent and great talent produces great shows — and that’s what she was all about.”
SHE ENJOYED THE SPECTACLE OF BRINGING PEOPLE TOGETHER, A HALL FULL OF PEOPLE, ENJOYING MUSIC.”
She grew up in England, fell in love with Frank, a Canadian war correspondent, moved to Ottawa following the Second World War and eventually settled in Calgary, where Frank became the publisher of the Calgary Herald. Her arrival in Calgary, Dornian says, coincided with a shift in the way Calgary presented itself to the world. “It was in the heyday of the newspaper,” Dornian says, “and, with her work supporting the city’s arts scene, she really was overseeing a vital part of the transformation of Calgary from — I’m going to say — more of a regional centre to a really vital happening community with a great arts centre.” “She was a tiny, tiny woman,” Dornian says. “But she made the ground shake.” In a digital, stay-home-andwatch-Netflix age, Vera believed in the life-affirming, community-growing power of performed art, experienced live, in a room full of people. “She enjoyed the spectacle of bringing people together, a hall full of people, enjoying music,” David says. “It was the awesome visual spectacle of having the choir up in the rafters singing, behind the orchestra. It was meeting people before the show, at intermission and after — that’s what got her going. That was the event.” As demanding as she could be — and as prominent a role as she played in the growth of Calgary’s arts community — Vera didn’t want people to make a fuss about her. “It was never about Vera,” Dornian says. ”As strong as she was, as absolutely committed as she was, she wanted no recognition whatsoever.” “She was always in the background,” David adds. “Communities need people in the background. They need a strong body of support. She was always selling tickets. She was always trying to support and promote the Philharmonic as an entity. She would believe that cities like Calgary need orchestras because they’re part of the community, part of the arts fabric — and an essential part of what make cities like Calgary truly international cities.” AUTUMN 2018 | 13
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LISTEN … AND LEARN concerts and classes
Did you know that in association with the Calgary Philharmonic Orchestra, UCalgary Continuing Education offers a combined classroom and concert experience that will broaden your understanding and appreciation of classical music? This popular program has been offered for over a decade and has been enjoyed by 500 participants so far! Classes are held in the evenings, from 7 – 9 p.m. at the UCalgary main campus. Evenings with the Calgary Philharmonic Instructor: Jennifer MacDonald, MA, Director of Artistic Operations, CPO; plus guest speakers $325 + GST; classes and concert tickets | $185 + GST for CPO season ticket holders
HUM 405-026 (Fall 2018) Classes: Sep 24, Oct 9, Oct 22, Nov 5 Concerts: Sep 29, Oct 13, Oct 27, Nov 10
403.220.2866 • conted.ucalgary.ca
Managing your family wealth with care. Many affluent families have trusted us to provide growth of capital through high-quality investing and rigorous in-house research since 1955. Speak with one of our professionals today: Blaine Lennox, Regional Director & Portfolio Manager James Morton, Director & Portfolio Manager Call: 403.233.9117 or visit: www.jflglobal.com Proud Sponsor of the Calgary Philharmonic Orchestra
Montreal
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Toronto
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Vancouver
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Calgary
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New York
AUTUMN 2018 | 15
14 + 15 SEP
Martin Herman Conductor
POPS Friday 14 September 2018 / 7:30PM Saturday 15 September 2018 / 7:30PM
Classical Mystery Tour: A Symphonic Evening of the Beatles SPONSORS Host Hotel – Fairmont Palliser Media – Calgary Herald, XL 103, Q107, Soft Rock 97.7
PROGRAMME Martin Herman, conductor Classical Mystery Tour, band Performing songs from the list below. A 20 minute intermission will take place. A Day In the Life | A Hard Day's Night | All You Need is Love | Come Together | Eleanor Rigby | Golden Slumbers | Good Night | Got to Get You Into My Life | Here Comes the Sun | I Am the Walrus | Imagine | I Saw Her Standing There | Live and Let Die | Lucy in the Sky with Diamonds | Magical Mystery Tour | Ob-la-di, ob-la-da | Penny Lane | Sgt. Pepper's Lonely Hearts Club Band | The Long and Winding Road | While My Guitar Gently Weeps | With a Little Help From My Friends | Yellow Submarine | Yesterday Programme and artists subject to change without notice
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A resident of Los Angeles, Martin Herman was educated at Duke University, University of Pennsylvania, University of California at Berkeley, and Stanford University. He also spent two years in Paris on a Fulbright Grant where he worked as a composer and conductor with the New American Music in Europe and American Music Week festivals. Aside from his conducting interests, Herman is an active composer and arranger. He has received fellowships and grants from the American Music Center, the Camargo Foundation, Meet the Composer, Trust for Mutual Understanding, and the National Endowment for the Arts. He has written chamber and orchestral works as well as three operas. He is recorded on the Albany Record label. As a longtime Beatles fan, Herman was commissioned to provide the orchestral transcriptions heard on the Classical Mystery Tour show. Recent guest conducting engagements include the Detroit Symphony, Pittsburgh Symphony, Dallas Symphony, San Diego Symphony, New Jersey Symphony, Fort Worth Symphony, Louisville Symphony, the Virginia Symphony, Delaware Symphony, Alabama Symphony, the Omaha Symphony, the Buffalo Philharmonic, and the Philharmonia Chamber Orchestra in Prague, Czech Republic.
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Sublime Music Inspired Preaching Living Tradition
Classical Mystery Tour Band
Since its initial performance at the Orange County Performing Arts Center (renamed Segerstrom Center for the Arts) in 1996, Classical Mystery Tour has become the number one Symphony Pops attraction over the last decade. The group has performed consistently for more than 20 years with over 100 orchestras in the United States, Canada, Europe, Asia, and Australia. The group has played to packed houses at the Sydney Opera House, and has performed with America’s most prestigious orchestras: The Cleveland Orchestra, Boston Pops, Philadelphia Orchestra, San Francisco Symphony, among many others. Jim Owen, rhythm guitar, piano, vocals Neil Candelora, bass guitar, piano, vocals Tom Teeley, lead guitar, vocals Chris Camilleri, drums, vocals
COMING SOON IN THE CALGARY HERALD FRIDAY, SEPT. 14
To learn more about our musical tradition and for a complete list of choral services, visit
www.anglicancathedralcalgary.ca
classicalmysterytour.com
The Very Rev’d Leighton Lee, Dean Dr Neil Cockburn, Director of Music
AUTUMN 2018 | 17
21 SEP
Symphonics 101 The extensive orchestral repertoire is a vast collection of masterpieces of art created by humans throughout hundreds of years from places all over the world. But how should we listen to these wonderful works? Is there a method that ensures the listener gets the most bang for their buck, so to speak? The answer is no. There is no singular correct way to listen to music or to appreciate art in general. But there are details and ways of thinking about or observing music that can perhaps give you, the listener, a more profound and engaged enjoyment of a performance.
SPECIALS Friday 21 September 2018 / 7:30PM
Symphonics 101: Guide To the Orchestra SPONSORS Associate Conductor Sponsor – Mary Rozsa de Coquet Conductor Couturier – Umberto Custom Tailors Ltd. Media – Calgary Herald, News Talk 770
PROGRAMME Karl Hirzer, conductor Haydn
Spiritoso from Symphony No. 104 in D Major (London)
5'
Verdi
Overture from La forza del destino
8'
Debussy
Prélude à l’après-midi d’un faune (Prelude to the Afternoon of a Faun)
10'
Beethoven
Adagio - Allegro vivace from Symphony No. 4 in B-flat Major, Op. 60
10'
Intermission
20'
Copland
Fanfare for the Common Man
Dvorák
Moderato quasi marcia from 4' Serenade in D Minor, Op. 44, B. 77
Mahler
Adagietto from Symphony No. 5
Brahms
Allegro non troppo from Symphony No. 2 in D Major, Op. 73
Ligeti
Molto vivace from Concert Românesc (Romanian Concerto)
Programme and artists subject to change without notice
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Indicates Canadian artist or composer
3'
9' 14'
5'
Symphonics 101 presents a programme of classical hits by a diverse selection of the great composers. Special attention is given to exploring the various instruments of the orchestra, the structure or form that a piece of music can take, and also the ways that composers take themes, or melodies, and turn them into complete narratives, forming the pieces of music we love.
Calgary Philharmonic Orchestra
Wolfgang Patron Programme The Wolfgang Patron Programme brings together the city’s most dynamic young professionals for cocktails, concerts, and conversation. Membership includes tickets to select concerts, post-concert receptions, and invitations to other CPO special events. For more information on membership pricing and events visit calgaryphil.com/wolfgang.
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SHOWCASING THE TALENTS OF YOUNG CANADIAN ARTISTS
C
ountless musicians study their instrument with the diligence and precision needed to be successful — so why don’t more of them actually achieve this success? According to Letha MacLachlan, Q.C. and John Ridge, the fragile transition from student to stand-out performer is at the crux of why so many young artists often fall through the cracks. This awareness, stemming from their years of involvement with music in Alberta, prompted the couple to begin the MacLachlan/Ridge Emerging Artist Programme during the Calgary Philharmonic Orchestra’s 2012/2013 Season. Now entering its seventh year, the Programme provides promising young Canadian musicians with the valuable support and connections needed to bridge their academic and professional careers by creating opportunities for them to rehearse and play alongside experienced professional musicians in a performance setting. “It’s not just about winning a scholarship, it’s also the personal connection and the support and encouragement for these young people ... because they are often on the road, or they’re in isolation in a practice room,” says Letha.
WE ARE PROUD TO SUPPORT THEM AT THE START OF THEIR CAREERS, AND WATCH AS THEIR CAREERS CONTINUE TO BLOSSOM OVER TIME.”
By Jill Girgulis engage your audience in understanding your music.” She hopes that in a few more years, at the Programme’s ten year mark, they can bring together all of their emerging artists in some way. This Season’s emerging artist, 18-year-old pianist Jaeden Izik-Dzurko from Salmon Arm, BC, performs alongside the Orchestra in the Greatest Classical Hits concerts on 25 and 27 October. The Programme also offers artists the opportunity to perform at a private recital during their time in Calgary. “This Programme complements the CPO. It’s win-win all around — the creative side of the orchestra leadership likes to stay alert to young artists who have the potential for an international career” says Letha. “It’s an incredible opportunity for young artists to perform with a world-class orchestra like the CPO. We are proud to support them at the start of their careers, and watch as their careers continue to blossom over time.” Letha, despite studying piano during her school years, went half a century without practicing the instrument, until a visit from a 2015 Honens Piano Competition juror inspired her to resume her lessons. Conversely, John’s introduction to music was as a chorister, having abandoned piano early on in childhood — which is a decision he has since come to regret. “I wish I had learned to play the piano or some instrument because I’d then be able to read music, which I can’t,” says John. “I’d obviously get even more enjoyment out of all the things we do.”
John echoes these sentiments. “They are genuinely appreciative of the input they have through our Programme, and that’s very gratifying.” The MacLachlan/ Ridge Programme shines a light on new musicians who might not otherwise reach the world stage.
Letha MacLachlan and John Ridge are music-lovers above all else, and in their eyes, the most rewarding element of their Programme is meeting and developing relationships with the musicians, and following the advancement of the careers of those who have participated in the Programme.
In addition to what they originally set out to achieve, there have been some unexpected benefits of the Programme. “One of the unintended consequences is that these young people then share their experience with each other,” says Letha. “They learn from each other. One example is the business of being an artist — who do you use as an agent, how do you set up your website, how do you reach out to
“We get to hear them, we get to know them, and we have the opportunity to watch their careers develop” says John. The MacLachlan/Ridge Emerging Artists Programme supports the CPO’s commitment to nurturing and developing the next generation of artists by presenting young Canadian musicians with the Calgary Philharmonic Orchestra. AUTUMN 2018 | 21
Der Rosenkavalier: Suite Richard Strauss (1864 to 1949)
26 SEP
The emotionally bruising operatic dramas Salome (1905) and Elektra (1909) purged a taste for such ghoulish material from Strauss’s system. For his next stage project, he produced the delicious, supremely tuneful “comedy for music” Der Rosenkavalier (The Knight of the Rose). Audiences gave it a swift and eager embrace as soon as it premièred in January 1911, and it remains his most popular opera. It combines Classical period charm à la Mozart, with nineteenth-century dance rhythms, all of it clothed in Strauss’s ripe, late-Romantic orchestration. The plot unfolds in Vienna during the eighteenth-century reign of Empress Maria Theresa. The Marschallin, a worldly woman in her thirties, is having an affair with a young nobleman, Octavian. When Octavian falls in love with Sophie, a more suitable match for him, the Marschallin graciously steps aside and allows true, young love to take its course. This concert suite appeared in 1945, without crediting an arranger. It presents an enchanting medley of the opera’s most glorious passages.
SPECIALS Wednesday 26 September 2018 / 7:30PM
An Evening with Renée Fleming SPONSORS Guest Artist Sponsor – The Naomi and John Lacey Virtuoso Programme Host Hotel – Fairmont Palliser Media – Calgary Herald
PROGRAMME Rune Bergmann, conductor Renée Fleming, soprano
Vier letzte Lieder (Four Last Songs) Richard Strauss
Der Rosenkavalier: Suite
Vier letzte lieder (Four Last Songs) Frühling September Beim Schlafengehen Im Abendrot Intermission
20'
3' 5' 6' 8' 20'
Refice
Ombra di Nube (featured in the film Bel Canto)
4'
Flotow
‘Tis the last rose of Summer from Martha (featured in the film 3 Billboards Outside Ebbing, Missouri)
5'
Desplat (arr. Warren)
You’ll Never Know (featured in the film The Shape of Water)
5'
Mascagni
Intermezzo from Cavalleria Rusticana
4'
Wilson
‘Til there was you from The Music Man
3'
Kander/Ebb
Love and Love Alone/Winter from The Visit
3'
Sting
August Winds from The Last Ship
3'
Sondheim
The Glamorous Life from A Little Night Music
4'
Programme and artists subject to change without notice
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In 1946, four years after he had composed the most recent of his 200 songs, Strauss came across Im Abendrot (In the Evening’s Glow), a poem by Joseph von Eichendorff (1788 to1857). Its mood suited his world-weary, post-war frame of mind perfectly. The characters, an elderly couple gazing into the sunset, reflected his and his wife Pauline’s situation like a glove. He completed his setting on 6 May 1948. An admirer had recently sent him a volume of poems by Hermann Hesse (1877 to 1962). From it he chose four pieces, possibly intending to join them together with Im Abendrot to form a song-cycle. He completed three of them: Frühling (Spring), Beim Schlafengehen (Falling Asleep), and September. He died without hearing them in concert. He left no indication that he intended them to be performed together, and therefore no sequence of
Renée Fleming photos © Andrew Eccles-Decca
Strauss
presentation. Ernst Roth, an editor at his publishing company, Boosey and Hawkes, decided that they formed a cycle. The performing order upon which he settled — Beim Schlafengehen, September, Frühling, and Im Abendrot — was followed at the première. That took place in London on 22 May 1950, eight months after Strauss’s death, with Norwegian soprano Kirsten Flagstad as the soloist. Roth, with the benefit of having heard the songs performed, revised the order into the one by which they have been known ever since. These mellow, achingly beautiful works represent — consciously so — Strauss’s musical last will and testament. In them, he put aside the realistic horrors of mid-twentieth century life and returned to the ripely Romantic style of his own early music, deepened by vast intervening experience. After the soprano has sung the final words, “ist dies etwa der Tod?” (can this, perhaps, be death?), Strauss quoted the “transfiguration” theme from Death and Transfiguration, a tone poem he had composed 60 years previously. Pauline died less than a year later, nine days after the first performance of the Four Last Songs. Intermezzo from Cavalleria Rusticana Pietro Mascagni (1863 to 1945)
Verismo (truthfulness) was a downto-earth style of Italian opera that emerged late in the nineteenth century. Cavalleria rusticana (Rustic Chivalry, 1890), Mascagni’s first opera, was also verismo’s first big hit. It is a powerful story of love and betrayal, set in a Sicilian village on Easter Sunday. The Intermezzo, heard between the two scenes of this one-act opera, presents an outpouring of heartfelt emotion. Programme Notes by Don Anderson © 2018
Renée Fleming Soprano
Internationally-acclaimed soprano Renée Fleming performs in the world’s greatest opera houses and concert halls. Winner of the United States National Medal of Arts and four GRAMMY® Awards, she has sung for the Nobel Peace Prize ceremony and the Diamond Jubilee Concert for HM Queen Elizabeth II at Buckingham Palace. The first classical artist ever to sing The Star-Spangled Banner at the Super Bowl, she is heard on the soundtracks of the 2018 Best Picture ACADEMY® Award-winner The Shape of Water and the upcoming Bel Canto. She was nominated for a 2018 Tony Award® for her performance in the Broadway production of Rodger's and Hammerstein's Carousel. As Artistic Advisor to the John F. Kennedy Center for the Performing Arts, she spearheads a collaboration with the National Institutes of Health focused on music and neuroscience. Among her awards are France’s Légion d’Honneur, the Fulbright Lifetime Achievement Medal, and Germany’s Cross of the Order of Merit. reneefleming.com Renée Fleming appears by arrangement with IMG Artists, imgartists.com. Ms. Fleming is an exclusive recording artist for Decca and Mercury Records (UK). Ms. Fleming’s gowns are by Vera Wang. Ms. Fleming’s jewelry is by Ann Ziff for Tamsen Z.
AUTUMN 2018 | 23
Behold the Night
28 + 29
Larysa Kuzmenko (b. 1956)
SEP
MASTERWORKS Friday 28 September 2018 / 7:30PM Saturday 29 September 2018 / 7:30PM
Worlds Collide: Haydn, Ho + Kuzmenko SPONSORS Concert Sponsor – DeBoni New Works Guest Artist Sponsor – The Naomi and John Lacey Virtuoso Programme Conductor Couturier – Umberto Custom Tailors Ltd. Host Hotel – Fairmont Palliser Media – Calgary Herald, News Talk 770
PROGRAMME Rune Bergmann, conductor Cantaré Children's Choir James Scott, trombone Kuzmenko Ho
Behold the Night
12'
The Sandman’s Domain: Trombone Concerto
18'
Part 1: I. Spells and Hallucinations II. Imps, Goblins, and Gremlins III. Morpheus IV. The Gathering
Part 2: V. The Garden of Dreams VI. Fairies, Pixies, and Sprites Interlude: VII. The Descent
The Sandman’s Domain: Trombone Concerto (World Première)
Part 3: VIII. Ifrits, Djinn, and Demons IX. Dies Irae X. The Awakening
Vincent Ho (b. 1975)
Performed without pause between movements
Intermission
20'
Haydn Symphony No. 104 in D Major (London) I. Adagio - Allegro II. Andante III. Menuet: Allegro IV. Spiritoso
29'
Programme and artists subject to change without notice
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Indicates Canadian artist or composer
Kuzmenko is a Toronto-based composer, pianist and Juno nominee. Her music has been commissioned, performed, broadcast and recorded by many outstanding musicians all over the world. She teaches piano, harmony and composition at the University of Toronto’s Faculty of Music. She has provided the following note: When conductor Peter Oundjian and the Toronto Symphony Orchestra asked me for this new work, I immediately thought of A Midsummer Night’s Dream by Shakespeare, both because it is one of my favourite Shakespeare plays, and because of the magical atmosphere of the play. It seemed like a natural choice for children, because it has a fairy-like quality that children can relate to. As a child, I always hoped that fairies were real. Their magic takes us to another place, far from the world we live in. The work opens with a short orchestral introduction, which leads to the first section, Over hill, over dale, a bubbly and innocent song. An orchestral interlude changes the atmosphere to a more serious mood. The second song, Now the hungry lion roars, starts with a solo flute accompanied by horn and strings, suggesting the spirit of nature haunting the night. The song gradually builds from mystery to exaltation as the night’s secrets yield to morning. Behold the Night premièred at the opening gala of the Toronto Symphony Orchestra’s ninetieth season, on 22 September, 2011, conducted by Peter Oundjian.
Ho is a multi-award winning composer of orchestral, chamber, vocal, and theatre music. His works have been described as “brilliant and compelling” by The New York Times, and hailed for their profound expressiveness and textural beauty, leaving audiences talking about them with great enthusiasm. He has provided the following note: The Sandman’s Domain was inspired by Neil Gaiman’s
award-winning comic book series The Sandman. His ability to create highly imaginative worlds full of colourful characters is legendary and his narratives unfolded like hallucinatory dreams. When the Calgary Philharmonic Orchestra proposed I write a new concerto for their principal trombonist, James Scott, I felt this was the ideal theme to explore. The trombone is a bold instrument capable of capturing a wide range of emotions, from tender lyricism to dramatic heroism. I thought it would be an exciting concept to have the soloist assigned the role of the mystical Sandman and take the audience on a wondrous journey into his domain. While rereading my entire collection of the series, I was inspired to create my own Gaiman-esque narrative for the concerto, one that would be experienced as an unbroken dream-like journey in musical form. Rather than provide any in-depth description of this narrative, I leave you (the audience) with only the inner-movement titles so you may conjure your own imaginative interpretations as the music unfolds. Symphony No. 104 in D Major (London) Joseph Haydn (1732 to 1809)
After his employer, Prince Nicolaus Esterházy, died in 1791, Haydn remained officially on the payroll but actually became a free agent in all but name. He found himself in the happy position of having several excellent job offers from which to choose. The one he picked came from a forthright individual who turned up on his doorstep in Vienna. Johann Peter Salomon was a German‑born impresario and violinist based in England. “I am Salomon of London and have come to fetch you,” he said. “Tomorrow we will arrange an accord.” It was that simple. Haydn made two trips to England, in 1791-92 and 1794-95. For them, he composed 12 symphonies, Nos. 93 through 104, his final and greatest works in this form. The first performance of No. 104 probably took place on 13 April, 1795. Programme Notes by Don Anderson © 2018
James Scott Trombone
James Scott joined the Calgary Philharmonic Orchestra as Principal Trombone in 1981, and at the same time was invited to join the faculty of the University of Calgary as their Trombone Instructor. His studies were at the Manhattan School of Music and at The Juilliard School, from which he received both Bachelors and Masters degrees. Orchestral credits include performances with the New York Philharmonic, Orchestre symphonique de Montreal, New Jersey Symphony, and the National Ballet Orchestra. Scott has also performed in the commercial music field, including with the Primetime Big Band and Calgary Jazz Orchestra. He has participated in recording work in multiple genres, most notably for the 1988 Calgary Olympics. Solo appearances include previous concerts with the CPO, Kensington Sinfonia, and at the Universities of Calgary, Lethbridge, and Georgia. He is excited to premiere this new work by Vincent Ho with the CPO. James Scott is an Edwards Trombone Artist.
Cantaré Children’s Choir Cantaré Children’s Choir, formed in 1997 by Founder / Artistic Director Catherine Glaser-Climie, is dedicated to providing an extraordinary choral music experience through excellence in performance, outstanding music education, serving the community through song, and touring. Cantaré has established an enviable reputation for the musical sophistication its exuberant members express and for its gorgeous tone and impeccable technique. In addition to presenting its own acclaimed concert series, this award-winning choir is honored to have performed for many prestigious events including for Her Majesty Queen Elizabeth II in Ottawa, and in collaboration with the Calgary Philharmonic Orchestra, Calgary Opera, and the Calgary Civic Symphony. Boys and girls ages six to 18 come together in one of four ensembles to share in the very finest sacred and secular works representing all styles from the Baroque to challenging contemporary pieces. Commissioning new works is an important part of its program with over fourteen projects to date. Cantaré has won awards at the local, provincial and national level including First Prize at Canada’s National Music Festival. Concert tours across Canada, the United States and Europe enhance the experience with once-in-a-lifetime opportunities for the children.
AUTUMN 2018 | 25
Join us for two World Premieres! Sep
4
29
2018
Oct
16 Nov
10
Theatre Calgary presents the World Premiere of
Honour Beat By Tara Beagan Directed by Michelle Thrush Set and Projections: Andy Moro, Costumes: Jeff Chief, Lighting: Patrick Beagan, Composer and Vocals: Pura FĂŠ, Sound: Deanna Choi, Dramaturg: Jenna Turk
Theatre Calgary presents the World Premiere of
Mary and Max A New Musical
Music and Lyrics 2018 by Bobby Cronin
Book by Crystal Skillman
Based on a film by Adam Elliot Choreography by Jenn Rapp Directed by Stafford Arima Orchestrations and Music Supervisor: Anna Ebbesen, Additional Orchestrations by Joshua Zecher-Ross Musical Director: Don Horsburgh, Set and Costumes: Bretta Gerecke, Lighting: Kimberly Purtell, Projections: Sean Nieuwenhuis, Sound: Peter McBoyle Theatre Calgary gratefully acknowledges the generous support of Broadway Dreams.
Tickets start at $35 theatrecalgary.com 403-294-7447
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Illustrations: Andrea Ucini
Calgarians for aa day day of of action actionat atCity CityHall. Hall Calgarians joined together for
A PROSPEROUS CITY A PROSPEROUS CITY THROUGH THE ARTS THROUGH THE ARTS By Vicki Stroich
Creative Calgary photos © Monique de St Croix
C
algary has such a vibrant and mature arts scene algary has such vibrant that many of us amay takeand for mature grantedarts the scene artists that of us may take for granted the artists and many organizations that have made Calgary a and organizations that have made Calgary a dynamic and interesting place to live. But with dynamic interesting place to live. But with the strainand of the recent economic downturn on the strain of organizations, the recent economic downturn Calgary’s not-for-profit including arts and on culCalgary’s not-for-profit organizations, including arts isand ture organizations of every size and mandate, there one culture organizations of every size and mandate, there is group of citizens that are determined to ensure that we do one group ofvital citizens thatarts are have determined to ensure not take the role the in connecting our that comwe do notand take the vital role the thriving arts have in for connecting munities building a healthy, city granted.our communities and building a healthy, thriving city for granted. Creative Calgary is a non-partisan group of citizens including Creative Calgary is a non-partisan citizens including community volunteers, artists as group well asofarts organization community volunteers, artists as well as arts by organization Board Members and staff brought together a shared Board Members staffthe brought together by a shared sense of urgencyand around challenge of stabilizing the arts sense of urgency around the challenge of stabilizing the arts sector after the economic downturn and ensuring a thriving sector economic downturn and ensuring a thriving sector after in thethe future. sector in the future. A flourishing arts sector will contribute to a prosperous A flourishing sector will contribute to a prosperous economy andarts community. Calgary Economic Development economy and growth community. Calgaryindustries Economic has identified of creative asDevelopment a focus area has identified growth of creative industries as a focus
By Vicki Stroich
in making Calgary a magnet for business fostering patharea Calgary a magnet for business, fostering waysintomaking purposeful economic diversification. With almost pathways to purposeful economic diversification. 400,000 children and youth participating annuallyWith in arts almost 400,000 children and youth participating annually education activities throughout the city, future citizens are in arts shaped education activities thewell. city, future being through arts throughout and culture as citizens are being shaped through arts and culture as well. The City of Calgary has always been supportive of the arts The City of Calgary’s Calgary has supportive ofgrants the arts sector but peralways capita been investment in arts is sector but Calgary’s per capita cities investment in arts grants the lowest among comparable in Canada behind Edis the lowest amongMontreal, comparable citiesand in Canada, behind monton, Winnipeg, Toronto Vancouver. With Edmonton, Winnipeg, Toronto and Vancouver. the corporate supportMontreal, landscape fundamentally altered With the corporate support landscape fundamentally altered following the economic downturn, an increased investment following downturn, an increased investment from the the Cityeconomic of Calgary is necessary to ensure a thriving from the City of Calgary is necessary to ensure a increase thriving arts sector. Creative Calgary is advocating for that arts Calgary for that increase and sector. you canCreative lend your voice is toadvocating support the request. and you can lend your voice to support the request. To find out more about Creative Calgary and the case for To find outsupport more about Calgary and the case for increased go to Creative creativecalgary.org/about. Contact increased support, go to creativecalgary.org/about. Contact your City Councillor to let them know that you support the your City the Councillor to let them know that you support vital role arts have in building a prosperous city andthe vital have support in building prosperous city and wantrole the the city arts to better thea arts. want the city to better support the arts. AUTUMN 2018 | 45 AUTUMN 2018 | 27
Mother Goose Suite Maurice Ravel (1875 to 1937)
12 + 13 OCT
Ravel’s music mirrors the face he showed to the world: cool, dapper, sophisticated. Yet beneath this façade beat a heart that yearned for the innocence and simplicity of youth. This nostalgia took concrete form in Mother Goose, a suite of five miniatures for piano duet inspired by fairy tales. He composed it in 1908 and 1910, and prepared the arrangement for small orchestra that you will hear at this concert in 1911. Piano Concerto in G Major Maurice Ravel
Keyboards: Marc-André Hamelin + Neil Cockburn SPONSORS Guest Artist Sponsor – The Naomi and John Lacey Virtuoso Programme Conductor Couturier – Umberto Custom Tailors Ltd. Host Hotel – Fairmont Palliser Media – Calgary Herald, News Talk 770
PROGRAMME Rune Bergmann, conductor Marc-André Hamelin, piano Neil Cockburn, organ Ravel Mother Goose Suite I. Pavane de la Belle au bois dormant (Pavane of the Sleeping Beauty) II. Petit Poucet (Tom Thumb) III. Laideronnette, Impératrice des pagodes (Laideronnette, Empress of the Pagodas) IV. Les Entretiens de la Belle et de la Bête (Conversations of Beauty and the Beast) V. Le Jardin féerique (The Enchanted Garden)
16'
Piano Concerto in G Major I. Allegramente II. Adagio assai III. Presto
23'
Intermission
20'
Saint-Saëns Symphony No. 3 in C Minor, Op. 78 (Organ Symphony) I. Adagio - Allegro moderato - Poco adagio II. Allegro moderato - Presto - Maestoso - Allegro
36'
Programme and artists subject to change without notice
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Ravel’s two piano concertos are his final major works. Even though he composed them during the same period, 1929 to 1931, they are quite different from each other. The Concerto in G Major for two hands is bright and breezy; the Concerto for the Left Hand in D major is a more sombre affair. One thing they share is the influence of jazz, which Ravel heard for the first time during a concert tour of North America in 1928. This is how he described the G major: “It is a concerto in the truest sense of the word, written very much in the same spirit as those of Mozart and Saint‑Saëns. The music of a concerto, in my opinion, should be light-hearted and brilliant, and not aim at profundity or at dramatic effects. Too many classical concertos were composed not so much ‘for’ as ‘against’ the piano. I had thought of entitling mine divertissement but the title ‘concerto’ is specific enough.” The first performance took place in Paris on January 14, 1932, with Ravel conducting the Lamoureux Orchestra and Marguerite Long as soloist. Symphony No. 3 in C Minor, Op. 78 (Organ Symphony) Camille Saint-Saëns (1835 to 1921)
Indicates Canadian artist or composer
During a period in French music when composers’ reputations rested first of all with their degree of success in the emotional world of opera, SaintSaëns proved himself a maverick by preferring the more abstract realm of
Marc-André Hamelin photos © Sim Canetty-Clarke
SHOWCASE Friday 12 October 2018 / 7:30PM Saturday 13 October 2018 / 7:30PM — Vera Swanson Dedication Concert
instrumental music. He composed the first four of his five symphonies from 1850 to 1859. Since he felt that only two of them were worthy of publication, his final symphony (the work you will hear on this program) has come to be known as No. 3. The lightness and grace of the early symphonies reflected his love of Mozart, Mendelssohn and Schumann. By the time he came to compose No. 3, in the early months of 1886, he had absorbed another, different influence: the drama and brilliance found in the music of Hungarian composer Franz Liszt. In this symphony, Saint‑Saëns adopted a compositional practice that Liszt had originated. He based a large-scale composition on the continuous transformation of a handful of short themes. The symphony was commissioned by the London Philharmonic Society. Saint‑Saëns traveled to England to conduct the première himself. It took place in St. James’s Hall on May 19. It won a tremendous success, setting the seal on his popularity in England. The symphony’s Parisian début one year later drew equally strong praise, from audiences if not the press. Together with the Symphonie fantastique of Hector Berlioz (1830) and César Franck’s Symphony in D Minor (1889), it is one of the cornerstones of nineteenth-century French orchestral music. It has four movements, but the only full stop comes after the second. The inclusion of an organ in the scoring lends the music a wide range of appeal, from the warm delicacy of the second section to the overwhelming majesty of the last. The composer saw this piece as something of a climax in his career, stating, “I have given all that I have to give. Whatever I have done I shall never do again.” It is his longest purely instrumental work. He continued to compose for the rest of his long life, but he never again attempted anything so grand. Programme Notes by Don Anderson © 2018
Marc-André Hamelin
Neil Cockburn
Marc-André Hamelin is ranked among the elite of world pianists for his unrivaled blend of musicianship and virtuosity in the great works of the established repertoire, as well as for his intrepid exploration of the rarities of the nineteenth and twentieth centuries. He is frequently heard in the world’s prestigious concert halls including Carnegie Hall, Wigmore Hall, the Concertgebouw, and the Berlin Philharmonie, returning to all of them for recitals this season. Having set to disc more than seventy titles, Hamelin records exclusively for Hyperion Records. He is an Officer of the Order of Canada, a Chevalier of the Order of Quebec, and a member of the Royal Society of Canada. Born in Montreal and a resident of Boston, Hamelin is the recipient of a lifetime achievement award from the German Record Critic’s Association.
International prize-winning organist Neil Cockburn is Director of Music at the Cathedral Church of the Redeemer in Calgary. Celebrated for his diverse repertoire interests and expertise, he performs an all-encompassing spectrum of solo organ recitals on a wide range of instrument types, from all-Bach recitals on historically inspired organs, to symphonic programmes on romantic instruments, and concerts of entirely new works. Born in Scotland, his musical education was at Oxford University (BA Hons, Music), the Royal Northern College of Music in Manchester, UK (MusM, Organ Performance, and the Professional Performance Diploma, PPRNCM), the Conservatoire National de Région Rueil-Malmaison, France (Premier prix de perfectionnement), and the University of Calgary (PhD, Musicology). He won First Prize at the 1996 Dublin International Organ Competition, and has received numerous other prestigious awards, including the W. T. Best Memorial Organ scholarship (UK), and a scholarship from the Countess of Munster Musical Trust (UK).
Pianist
Organ
AUTUMN 2018 | 29
21 OCT
Stephen Hair Narrator SYMPHONY SUNDAYS FOR KIDS Sunday 21 October 2018 / 3PM — Dr. Lola Rozsa Children's Concert
Peter and the Wolf SPONSORS Associate Conductor Sponsor – Mary Rozsa de Coquet Conductor Couturier – Umberto Custom Tailors Ltd. Instrument Discovery Zoo – Long & McQuade, V.A. Hill Fine Strings Ltd. Host Hotel – Fairmont Palliser Media – Calgary Herald, Shine FM
PROGRAMME Karl Hirzer, conductor Stephen Hair, narrator Saint-Saëns Le carnaval des animaux (Carnival of the Animals) 21' I. Introduction et Marche royale du lion (Introduction and Royal March of the Lion) II. Poules et coqs (Hens and Roosters) III. Hémiones—Animaux véloces (Wild Donkeys—Fleet Animals) IV. Tortues (Tortoises) V. L’éléphant (Elephants) VI. Kangourous (Kangaroos) VII. Aquarium VIII. Personnages à longues oreilles (People with Long Ears) IX. Le coucou au fond des bois (Cuckoo in the Depths of the Woods) X. Volière (Aviary) XI. Pianistes (Pianists) XII. Fossiles (Fossils) XIII. Le cygne (The Swan) XIV. Final (Finale) Prokofiev
Peter and the Wolf, Op. 67 (Petya i volk)
Programme and artists subject to change without notice
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Indicates Canadian artist or composer
25'
Stephen Hair has been a member of Calgary’s professional theatre community since 1973. He has been involved in nearly 300 productions as an actor or director in major theatres across Canada, including 24 years starring as Ebenezer Scrooge in Theatre Calgary’s annual presentation of A Christmas Carol. He has innumerable film and television credits and from 1990 to 1995 he was the Artistic Director of Vertigo Theatre. In 2008, he received the Martha and Harry Cohen Award for his Significant and Sustained Contribution to Theatre in Calgary and in 2006 he was honoured with the Betty Mitchell Award for Outstanding Contribution to Theatre. In 2007, Theatre Calgary established the Stephen Hair Emerging Actor Award, a $2,500 prize given each year to an emerging young Calgary theatre artist.
Calgary Philharmonic Orchestra
JOIN US FOR THE
HOLIDAYS A NAT KING COLE CHRISTMAS 30 November + 1 December 2018
‘TIS THE SEASON: KIDS’ HOLIDAY SPECIAL 2 December 2018
A TRADITIONAL CHRISTMAS 5, 6, 7 + 8 December 2018
HOME FOR THE HOLIDAYS WITH JOHNNY REID 11 December 2018
RUNE’S CLASSICAL CHRISTMAS 13 December 2018
SALUTE TO VIENNA NEW YEAR’S CONCERT 1 January 2019
Rune Bergmann Music Director
calgaryphil.com | 403.571.0849 AUTUMN 2018 | 31
Win a luxury trip for two to
Argentina Buenos Aires | Mendoza | Iguazu Falls
Raffle Tickets $20 | Prize valued at over $20,000 Raffle tickets sold at concerts, online, and at the Box Office. Trip details, raffle rules and regulations available online.
Magic Tours & Travel
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Calgary Philharmonic Orchestra
20
TH
ANNIVERSARY
Meludia is a world leading online educational platform for mastering the fundamentals of music. Benefit from the fun and interactive online exercises.
18/19 concert season
Enjoy free access until December 2018, courtesy of the Calgary Philharmonic Orchestra.
Highlights of our upcoming season...
meludia.com
December 22, 2018 at 7:30pm Christ Church Elbow Park
Handel's Messiah
C L A R K FA M I LY
calgaryphil.com | 403.571.0849
A full performance of Handel's beloved Messiah with guest soloists, choir and orchestra on period instruments.
December 23, 2018 at 3pm Knox United Church
UNITED residents embrace the arts. Transforming the Experience of Aging.
VoiceScapes Sing Along Messiah The Calgary tradiƟon lives on, now under the EMV banner.
March 8, 2019 at 7:30pm Christ Church Elbow Park
Scholl & Karamazov: Airs and Fancies The world-renowned countertenor, Andreas Scholl is coming to Calgary, joined by lutenist, Edin Karamazov (the one who recorded with SƟng!)
Garrison Green 403-685-7200 Fish Creek 587- 481-7907
UnitedActiveLiving.com
And more...visit our website for a complete list of concerts and to purchase Ɵckets.
www.earlymusicvoices.ca
AUTUMN 2018 | 33
25 OCT
Tweet Seats The Rush Hour Series at the Calgary Philharmonic Orchestra has a fun, educational component added to its format. Tweet Seats offers a real-time interactive discussion that audience members can engage in, with live tweets carefully curated to facilitate information about the pieces. Tweet Seats are also a great way to network with other arts lovers and share your feedback on the performance. Rush Hour programmes are one hour in length and give you the option to skip ‘rush hour’ in the city and take in a live performance instead.
RUSH HOUR Thursday 25 October 2018 / 6:30PM
Rush Hour: Hits
Join the discussion! @CPOrush
SPONSORS Series – Enbridge Guest Conductor Sponsor – Brussa Brava! Legacy Programme Guest Artist Sponsor – MacLachlan/Ridge Emerging Artist Programme Host Hotel – Fairmont Palliser Media – Calgary Herald
PROGRAMME Gemma New, conductor Jaeden Izik-Dzurko, piano Mozart Serenade No. 13 in G Major, K. 525 (Eine kleine Nachtmusik) I. Allegro II. Romance: Andante III. Menuetto: Allegretto IV. Rondo: Allegro
16'
Grieg Piano Concerto in A Minor, Op. 16 I. Allegro molto moderato II. Adagio III. Allegro moderato molto e marcato
30'
Programme and artists subject to change without notice
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Indicates Canadian artist or composer
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AUTUMN 2018 | 35
Serenade No. 13 in G Major, K. 525 (Eine kleine Nachtmusik)
27
Wolfgang Amadeus Mozart (1756 to 1791)
OCT
Mozart completed this enchanting serenade for strings on 10 August, 1787, while working on his masterful serio-comic opera, Don Giovanni. It is not known if it was performed during his lifetime, and the piece as it is known today exists in an incomplete form. Early in its existence, someone tore out of the manuscript score the minuet that originally came between what are now the first two movements. Some doubt exists as to whether Mozart intended the piece to be played as a chamber work, or as has been most common, by a string orchestra. What no one questions is its beguiling freshness and charm. Piano Concerto in A Minor, Op. 16 Edvard Grieg (1843 to 1907)
Greatest Classical Hits SPONSORS Series – United Active Living Guest Conductor Sponsor – Brussa Brava! Legacy Programme Guest Artist Sponsor – MacLachlan/Ridge Emerging Artist Programme Host Hotel – Fairmont Palliser Media – Calgary Herald
PROGRAMME Gemma New, conductor Jaeden Izik-Dzurko, piano Mozart Serenade No. 13 in G Major, K. 525 (Eine kleine Nachtmusik) I. Allegro II. Romance: Andante III. Menuetto: Allegretto IV. Rondo: Allegro
16'
Grieg Piano Concerto in A Minor, Op. 16 I. Allegro molto moderato II. Adagio III. Allegro moderato molto e marcato
30'
Intermission
20'
Mendelssohn Symphony No.4 in A Major, Op. 90 (Italian) I. Allegro vivace II. Andante con moto III. Con moto moderato IV. Saltarello: Presto
27'
Programme and artists subject to change without notice
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Indicates Canadian artist or composer
Grieg was the first Norwegian composer to earn an international reputation. The newly-married composer spent the summer of 1868 in Denmark, living and working in the village of Søllerød. He shared a house with pianist Edmund Neupert, who gave him regular advice on the concerto’s solo part, and to whom, in gratitude, he dedicated it. The première took place the following year in Copenhagen, with Neupert as soloist. It was hugely successful. This led to numerous further performances, and the foundation of Grieg’s international fame. In 1882 and 1883, he worked on a second concerto, only to abandon it in favour of revising this one. It reached its final form, the one in which it is known, shortly before his death. The melodies may sound like folk songs, but they are all original Grieg creations. Symphony No. 4 in A Major, Op. 90 (Italian) Felix Mendelssohn (1809 to 1847)
Mendelssohn had long wanted to visit Italy, the cradle of so much European culture. After his way was finally cleared in late 1830, he spent the following 18 months there. Visiting Rome,
Greatest Classical Hits photo © Fred Stucker
DISCOVERY Saturday 27 October 2018 / 7:30PM
Milan, Florence, Venice, and Naples, he enjoyed the scenery and art treasures every bit as much as he had hoped. On the downside, he occasionally found the people distant and the music second-rate, but that didn’t stop him from having a grand time. As the journey progressed, ideas for a symphony reflecting his impressions and experiences came rushing to him. He worked on it as he went, neglecting the sketches for another symphony, eventually known as the “Scottish,” which he had begun on a trip to that country in 1829, and was carrying with him. “The loveliest time of the year in Italy is the period from April 15 to May 15,” he wrote home from Rome in 1831. “Who then can blame me for not being able to return to the mists of Scotland?” Referring to his newest symphony, he wrote to his sisters that “It will be the jolliest piece I have ever done, especially the last movement.” He finished the “Italian” Symphony (he came up with the nickname himself) in March 1833, after his return to Berlin. His immediate inspiration for doing so was a commission from the Philharmonic Society of London. Mendelssohn conducted the première himself, in London on 13 May, with the orchestra maintained by that organization. Although the first performance was a success, he withdrew the symphony for revision less than a year later. Never fully satisfied with it, he refused to allow either its performance in Germany or its publication. It saw print, complete with his most recent revisions, in 1851, four years after his death. Only an overdeveloped sense of self‑criticism can be blamed for his attitude toward the “Italian” Symphony, since it is as polished and appealing a gem as ever he created. The finale is an invigorating symphonic version of the saltarello, a folk dance.
Jaeden Izik-Dzurko
Sought after for her insightful interpretations and dynamic presence, New Zealand-born conductor Gemma New is Music Director of the Hamilton Philharmonic Orchestra in Ontario and Resident Conductor of the St. Louis Symphony Orchestra. In the 2018/2019 Season, New enjoys guest engagements with Los Angeles Chamber Orchestra, CMI Chamber Orchestra of San Antonio, and Santa Fe Pro Musica, as well as the Philharmonic Orchestras of Louisiana and Rochester, the Symphony Orchestras of Charlotte, Drummondville, North Carolina, Jacksonville, San Diego, Toronto, Tucson, and Winnipeg, the Florida Orchestra and the Brandenburgisches Staatsorchester in Germany. New is a Conducting Fellow at Tanglewood Music Center in the summer of 2018. Previously, she has been a Dudamel Conducting Fellow at the Los Angeles Philharmonic, a Conducting Fellow at the Aspen Music Festival, an Ansbacher Fellow at the Salzburger Festspiele, and a Felix Mendelssohn-Bartholdy Fellow with the Leipziger Symphonieorchester.
Jaeden Izik-Dzurko is a resident of Salmon Arm, BC, who is in his sophomore year at the Juilliard School in New York. Izik-Dzurko has distinguished himself in provincial, national and international competition. His Canadian competition achievements reached their pinnacle in 2016, when he was chosen as Top Pianist and Grand Prize winner at both the BC Provincial and Canadian National competitions. International success followed in 2017, as he earned the Peter Takács Classical Sonata award and Third Prize at the Hilton Head International Piano Competition. He is also a longtime participant in the Morningside Music Bridge (MMB) programme and a two time finalist in the MMB International Concerto Competition. Izik-Dzurko has performed as a soloist with the Kamloops Symphony, the Okanagan Symphony Orchestra, the Lions Gate Sinfonia, and the Hilton Head Symphony Orchestra. He regularly organizes and presents solo benefit recitals.
Conductor
Piano
Gemma New photo © Roy Cox
Programme Notes by Don Anderson © 2018
Gemma New
AUTUMN 2018 | 37
2+3 NOV
Variaciones concertantes, Op. 23 Alberto Ginastera (1916 to 1983)
Ginastera was the finest composer that Argentina has produced. His early works showed a strong influence of Argentinean folk music. Later creations display a dynamic and exceptionally colourful cosmopolitan style that won him a strong global reputation. He composed Variaciones concertantes (Concertante Variations) in 1953. Commissioned by the Asociación Amigos de la Música, it was premièred in Buenos Aires by that organization’s orchestra on 2 June. This attractive and expertly crafted score marked the transition between Ginastera’s nationalist and more outward-looking periods. “The work has a subjective Argentinean character,” he wrote. “Instead of employing folklore material, an Argentinean atmosphere is obtained by the use of original melodies and rhythms.” The variations range in length from mere seconds to several minutes. Each one spotlights one or more solo instruments, displaying in insightful, often virtuoso style their personalities and capabilities. The result is an appealing, witty “concerto for orchestra.”
MASTERWORKS Friday 2 November 2018 / 7:30PM Saturday 3 November 2018 / 7:30PM
JoAnn Falletta Conducts Spanish Guitar SPONSORS Guest Conductor Sponsor – Brussa Brava! Legacy Programme Guest Artist Sponsor – The Naomi and John Lacey Virtuoso Programme Host Hotel – Fairmont Palliser Media – Calgary Herald, News Talk 770
PROGRAMME JoAnn Falletta, conductor Petrit Ceku, guitar Variaciones concertantes, Op. 23
Rodrigo Concierto de Aranjuez I. Allegro con spirito II. Adagio III. Allegro gentile
Joaquín Rodrigo (1901 to 1999) 21' 21'
Intermission
20'
Debussy Ibéria from Images I. Par les rues et par les chemins (In the Streets and Byways) II. Les parfums de la nuit (The Fragrances of the Night) III. Le matin d’un jour de fête (The Morning of a Festival Day)
20'
Rimsky-Korsakov Capriccio espagnol, Op. 34 I. Alborada II. Variazioni III. Alborada IV. Scena e canto gitano V. Fandango asturiano Programme and artists subject to change without notice
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15'
The Concierto de Aranjuez is Rodrigo’s most popular work, and quite possibly the most frequently performed concerto composed during the 20th century. He wrote it in Paris during 1939, and named it after the beautiful palace in the Spanish city of Aranjuez, where the 18th-century Bourbon kings spent their summers. Although naturally the guitar soloist is the center of attention, Rodrigo’s superb use of the orchestra — always transparent, yet rich with colour — makes it a virtually equal partner. His masterstroke in this direction was assigning the first appearance of the second movement’s gorgeous main theme to the haunting voice of the English horn. This movement was inspired by the saeta, a centuries-old, improvised lament sung by Spanish Romani women during Holy Week processions.
Joanne Falletta photo © David Adam Beloff
Ginastera
Concierto de Aranjuez
Ibéria from Images Claude Debussy (1862 to 1918)
The set of three Images was Debussy’s final significant orchestral work. He composed them separately, over the years 1905 to 1912. Each piece was inspired by a particular location: Gigues (Jigs) by England, Ibéria by Spain, and Rondes de printemps (Round Dances of Spring) by France. At times, Gigues and Rondes, the single-movement first and third Images, are ironic in tone, while the second piece, the three-movement Ibéria, is one of his most purely joyous scores. Debussy paid a single visit to Spain, even then only to spend part of one day in Saint Sebastian attending a bullfight. That encounter, plus books, paintings, travel tales told by friends and his vivid imagination — the last as always his preferred and most potent inspiration — sparked him to create several Spanish-flavoured works. True to his nature, they address Spain’s spirit and atmosphere, rather than mirroring the realities of a country about which he essentially knew nothing. In contrast to the other Images, all of Ibéria’s themes are original. The opening movement, In the Streets and Byways, blazes with bright, sharply-chiseled colours, and pulses with vivacious rhythms. The second movement, Fragrances of the Night, is a still, shimmering nocturne. As the warmth of the night gradually dissolves with the approach of daybreak, this panel overlaps ingeniously with the exuberant, free-wheeling finale, The Morning of a Festival Day. Capriccio espagnol, Op. 34
Joanne Falletta photo © Mark Dellas
Nikolai Rimsky-Korsakov (1844 to 1908)
Rimsky-Korsakov’s interest in folk music extended beyond the borders of his homeland. In 1886, using a collection of Spanish folk melodies, he made sketches for a virtuoso work for violin and orchestra. Later, he decided to turn them into a showcase for the entire orchestra instead. He conducted the première of Capriccio espagnol himself, in October 1887, with the orchestra of the Russian Opera House, St. Petersburg. It is one of the most dazzling of all orchestral showpieces.
JoAnn Falletta
Petrit Çeku
JoAnn Falletta is Music Director of the Buffalo Philharmonic Orchestra and the Virginia Symphony Orchestra. She has guest conducted over 100 orchestras in North America, and many of the most prominent orchestras in Europe, Asia, South America, and Africa. In 2018/2019 she guest conducts orchestras in the Netherlands, Poland, Sweden, and across the North America. A member of the American Academy of Arts and Sciences and recipient of many of the most prestigious conducting awards, she has introduced well over 100 world premieres and served on the National Council on the Arts. A leading recording artist for Naxos, her discs have won two GRAMMY® Awards and ten nominations. Upon her appointment as Music Director of the Buffalo Philharmonic, she became the first woman to lead a major American ensemble. Falletta is a graduate of the Mannes School of Music and The Juilliard School.
Petrit Çeku’s exquisite sensibility and expressiveness have attracted and engaged audiences worldwide. He has performed many recitals throughout the world and was a soloist with major symphonic orchestras such as Baltimore Symphony, Czech Chamber Philharmonic, State Hermitage Orchestra of St. Petersburg and Zagreb Philharmonic. He also appears regularly with the string ensemble Zagreb Soloists and is a founding member of Guitar Trio Elogio. Hailed by guitar critic Colin Cooper as “a soloist of the highest ability,” Çeku is the first-prize winner of many international competitions, including Parkening and Schadt in the United States and Italy’s Biasini and Pittaluga. Çeku studied with great guitar masters, in Zagreb with Darko Petrinjak, and later with Manuel Barrueco at the Peabody Conservatory. His first recording was released in 2008 by Naxos. In May 2015, the Spanish label Eudora issued his recording of all six Bach Cello Suites, arranged by Valter Dešpalj. Petrit Çeku plays on a Ross Gutmeier guitar.
Conductor
Guitar
Programme Notes by Don Anderson © 2018 AUTUMN 2018 | 39
Messa da Requiem (Requiem Mass) Giuseppe Verdi (1813 to 1901)
9 + 10 NOV
SHOWCASE Friday 9 November 2018 / 7:30PM — Naomi Lacey Dedication Concert Saturday 10 November 2018 / 7:30PM
Verdi Requiem SPONSORS Guest Artist Sponsor – The Naomi and John Lacey Virtuoso Programme Chorus Sponsor – Borak Forte Programme Conductor Couturier – Umberto Custom Tailors Ltd. Host Hotel – Fairmont Palliser Media – Calgary Herald, News Talk 770
PROGRAMME Rune Bergmann, conductor Katie Van Kooten, soprano Jill Grove, mezzo-soprano Jung Soo Yun, tenor Petri Lindroos, bass Calgary Philharmonic Chorus Verdi
Messa de requiem I. Introit – Kyrie II. Sequence III. Offertory IV. Sanctus V. Agnus Dei VI. Communion VII. Libera me
Programme and artists subject to change without notice
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84'
Indicates Canadian artist or composer
Verdi’s Requiem dates from a fallow period in his operatic career. He composed no operas for 16 years following the première of Aïda in 1871. For the remainder of his life, only projects whose call his heart would not permit him to refuse stirred his creative muse into action. The Requiem was inspired by his high esteem for two fellow Italian artists. The first was Gioachino Rossini, his predecessor as the most successful composer of Italian-language opera. On 17 November, 1868, just four days after Rossini’s death, Verdi put forward the suggestion that a group of Italian composers pool their talents and write a joint requiem mass in Rossini’s honour. He contributed the final section, Libera me. For practical reasons, the projected performance never took place. The second vital figure in the history of the Verdi Requiem was author Alessandro Manzoni. His book I promessi sposi (The Betrothed) remained Verdi’s favourite novel throughout his life. Alberto Mazzucato, a member of the committee that had decided which composer would write which portion of the joint Requiem for Rossini, examined Verdi’s Libera me and gave it the highest praise. He also expressed the desire that Verdi use it as the basis for a complete requiem. The composer appreciated the encouragement but begged off. By early 1873, he changed his mind. Inspiration may have flowed from his publisher’s returning the manuscript of the unused Libera me. Another cause may have been a realization that Manzoni, then 89 years old, might not have long left to live, and that his passing would merit the creation of a suitably grand musical testimonial. His timing turned out to be prophetic: Manzoni died on 22 May. The news struck Verdi so forcibly that he was unable to attend the state funeral. He then made a proposal to the mayor of Milan: he would finish his Requiem and dedicate it to Manzoni’s memory. He stipulated that it would be performed in Milan on the first anniversary of Manzoni’s death. The mayor agreed.
That summer, Verdi sequestered himself in a suite at the Hôtel de Bade in Paris. He set to work intensively, and continued his labours after returning to Italy in mid-September. He put the finishing touches to the Requiem in April 1874, well in time for the scheduled première. Wishing the première to represent something more than a simple “performance,” he insisted that it be given in a church rather than a theatre. He chose the cathedral of San Marco in Milan for the début, because of its size and its excellent acoustics. For three weeks, he carefully and intensively rehearsed the vast performing forces (four solo singers, plus a chorus of 120 and an orchestra of 100), ensuring an expert première performance on 22 May. The Requiem achieved instant acclaim as a masterpiece. Johannes Brahms stated, “Only a genius could have written such a work.” A few listeners criticized it as too operatic for its sacred subject. But what else could anyone have expected from Verdi, a man whose heart, soul and instincts were firmly rooted in the theatre, and whose responsibility was to set to music the emotional contents of the text at hand, be it sacred or secular? Perhaps in recognition of its theatricality, throughout the European tour that followed the première, it was performed in theatres rather than churches, a practice which has proven to be the norm ever since. Verdi’s biographer Joseph Wechsberg has this to say of the Requiem: “A requiem is a prayer of the living for the dead. Verdi’s Requiem ends with a prayer for eternal peace and perpetual light — but not for the dead. Verdi felt that the dead have no need of our prayers. We, the living must pray for ourselves: that is Verdi’s message.”
Katie Von Kooten photo © Courtney Bowlden
Programme Notes by Don Anderson © 2018
Katie Van Kooten
Jill Grove
Katie Van Kooten made her house debuts at the Metropolitan Opera in the acclaimed Nicolas Joël production of La Rondine as Magda and at Houston Grand Opera as Helena in Britten’s A Midsummer Night’s Dream. She made her debut at the Royal Opera House, Covent Garden as Magda in La Rondine and return performances there have included Antonia in Les Contes d’Hoffmann opposite Rolando Villazón and led by Antonio Pappano, Pamina in Die Zauberflöte, Mimi in La bohème,and Marguerite in Faust. She made her Japanese debut as Micaëla in Carmen under the direction of Seiji Ozawa, and her United States debut performing Marguerite in Gounod’s Faust with the Metropolitan Opera on the Great Lawn of Central Park. A graduate of the Guildhall School of Music and Drama in London, Van Kooten studies voice with Rudolf Piernay. She received her Bachelor’s degree in vocal performance from Biola University where she studied with Dr. Jeanne Robison and is a graduate and perpetual member of the Torrey Honors Institute.
This Season, American mezzo-soprano Jill Grove returns to San Francisco Opera for their productions of Arabella and Cavalleria Rusticana, the Metropolitan Opera for Götterdämmerung and Dialogues des Carmélites, and Canadian Opera Company for Elektra. She also sings Verdi’s Requiem with the Calgary Philharmonic and a recital for the Metropolis Performing Arts Center. She has joined the Lyric Opera of Chicago for Faust, Rusalka, Elektra, Hansel und Gretel, Die Frau ohne Schatten, Aida, Götterdämmerung, and Lulu; Metropolitan Opera for Götterdämmerung, Das Rheingold, Die Meistersinger von Nürnberg, Andrea Chénier, Mefistofele, Otello, Die fliegende Holländer, Peter Grimes, Die ägyptische Helena, and Giulio Cesare; and further leading roles with Canadian Opera Company, San Francisco Opera, Santa Fe Opera, Los Angeles Opera, Théâtre du Châtelet, Bayerische Staatsoper, and Welsh National Opera. A sought-after concert soloist, she has performed with the Los Angeles Philharmonic, New York Philharmonic, National Symphony, Atlanta Symphony, Utah Symphony, Houston Symphony, Toronto Symphony, Royal Concertgebouw Orchestra, National Symphony Orchestra, and San Francisco Symphony.
Soprano
Mezzo-Soprano
AUTUMN 2018 | 41
REFRACTED TONES AND TANGOS Stefan Hussong and Yumiko Meguri PENNY SANBORN TRIO Tango, French and Italian music
Sep. 22
Petri Lindroos
South-Korean tenor Jung Soo Yun was first prize-winner of the Richard Tauber Prize, the Stuart Burrows International Voice Award, Les Azuriales Opera competition in France and the Montserrat Caballé International Singing Competition. “Opera Now” magazine hailed him as a rising star. Jung Soo has sung numerous leading roles in opera houses throughout UK and Europe and recent engagements have included Rodolfo in Puccini’s La bohème and Alfredo in Verdi in La Traviata, both at the Danish National Opera, Rinuccio in Puccini’s Gianni Schicchi at Göteborg Opera and Macduff in Verdi’s Macbeth, Nemorino in Donizetti’s L’elisir D’amore and the Italian Tenor in Strauss’ Der Rosenkavalier at Opera North. Other recent highlights include the title role in Gounod’s Faust and Duca di Mantova in Verdi’s Rigoletto at Cork Opera House, Lenski in Eugene Onegin at Grange Park Festival and Zamoro in Verdi’s Alzira at the Buxton international festival. In 2013 he made his Wigmore Hall solo recital debut with pianist Joseph Middleton and performed on BBC Radio 2’s Friday Night is Music Night and BBC Radio 3’s In Tune. He already did perform as a soloist in the Verdi Requiem at the Royal Albert Hall in London, Usher Hall in Edinburgh and Glasgow City Halls.
Finnish bass Petri Lindroos has already performed at many opera houses in cities including Helsinki, Stockholm, Copenhagen, Oslo, Brussels, Paris, London, Munich, Milan and Rome. His opera repertoire includes roles such as Filippo II in Verdi’s Don Carlo, Fiesco in Verdi’s Simon Boccanegra, Zaccharia in Verdi’s Nabucco, Sarastro in Mozart’s Die Zauberflöte and Gremin in Tsjaikovsky’s Eugene Onegin. Most recently he sang the role of Méphistophélès in Gounod’s Faust at the Savonlinna Opera Festival, Hunding in Wagner’s Die Walküre at Staatsoper Hamburg, Banco in Verdi’s Macbeth at Teatro Lirico in Cagliari and König Marke in Wagner’s Tristan und Isolde at the Danish National Opera. On the concert platform he recently sang Beethoven’s Symphony No. 9 with the Orchestre symphonique de Montréal and Verdi’s Requiem at Teatro san Carlo in Napoli. Petri had the pleasure of working with conductors such as Riccardo Mutti, Daniele Gatti, Kent Nagano and Zubin Metha.
Tenor
MONDAY NIGHT JAZZ Gordon Towell
Oct. 20
Oct. 29 IN MEMORIAM CONCERT: EUGENE CRAMER & QUENTEN DOOLITTLE EU UCalgary String Quartet
Jung Soo Yun
Nov. 8
Tickets and info: scpa.ucalgary.ca/events
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Bass
WHISKY IN THE WAREHOUSE TUESDAY, OCTOBER 30th | 7-9PM TICKETS $100 // VIP entry at 5:30 $150 As the kick-off festival for the 25th Charity Wine Auction week, the highly anticipated whisky event of the year brings together our favourite distillers from Scotland, valued importers, and friendly focused whisky lovers. With over 100 whiskies in the room, there is a chance to taste old favourites and discover new arrivals. Our kitchen team, with the help of some of our esteemed food purveyors will make sure your belly is as full as your glass. Pipers and highland dancers round out the evening and guarantee you’ll feel transported to Scotland. 100% of the proceeds raised during our Charity Wine Auction week are donated to this year’s focused charities. DON’T WAIT!
BOOK
Auction Week Tickets on Sale at:
www.willowparkwines.com
EARLY!
Calgary Philharmonic Orchestra
Host your next event at the Orchestra! Christmas Parties | Client Hosting Team-building Events | Office Celebrations
Take your experience to the next level Cocktail Receptions | Pre-Concert Dinners Backstage Tours | Prosecco Toast Subject to availability
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AUTUMN 2018 | 43
24 NOV
Jeans 'n Classics Band
Peter Brennan’s Jeans ‘n Classics is a winner! Since its inception, it has been a star performer in the arts and entertainment scene. Its concept of combining rock musicians and headlining stars with world-class symphony orchestras has drawn record-setting capacity crowds. Jeans ‘n Classics appeals to an age group from 25 to 65, with a heavy concentration in the Classic Rock audience. The patrons are symphony-goers, enthusiastic sponsors and business professionals who wish to entertain clients, investors and reward employees. Jeans ‘n Classics is a group of musicians who understand orchestra culture and are committed to helping in the building of younger, loyal audiences for symphony orchestras across Canada and the United States.
SPECIALS Saturday 24 November 2018 / 7:30PM
The Hits of The Who with Jeans 'n Classics SPONSORS Associate Conductor Sponsor – Mary Rozsa de Coquet Conductor Couturier – Umberto Custom Tailors Ltd. Host Hotel – Fairmont Palliser Media – Calgary Herald, XL 103.1
jeansnclassics.com
PROGRAMME Karl Hirzer, conductor Jeans 'n Classics, band Overture From Tommy | My Generation | Substitute I Can See For Miles | I Can't Explain | 5 15 | Baba O'Reilly | Behind Blue Eyes | Won't Get Fooled Again Intermission
20'
Underture | Pictures Of Lily | Love Reign O'er Me | Pinball Wizard | Amazing Journey | I'm Free | Sensation | See Me Feel Me / Listening To You | Who Are You Programme and artists subject to change without notice
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Indicates Canadian artist or composer
Calgary Philharmonic Orchestra
Building Community in Support of the CPO. Amadeus Patron Programme The Amadeus Patron Programme offers fellowship with others who love symphonic music. Members enjoy private recitals featuring world-class artists and exclusive VIP benefits including front-of-the-line invitations to special events throughout the Season.
Mozart Patron Programme The Mozart Patron Programme provides exclusive performance and networking opportunities. Members enjoy access to all Patron Programme concerts and events, as well as private events throughout the Season. For more information on membership pricing and events visit calgaryphil.com/patronprogrammes.
C L A R K FA M I LY
calgaryphil.com | 403.571.0849 AUTUMN 2018 | 45
RENÉE FLEMING: A MIND FOR MUSIC The renowned American soprano has developed a passion for exploring the relationship between music and the human brain.
R
enée Fleming knows that her voice has a profound effect on people — as one of the world’s great sopranos, the American opera singer has seen audiences both weep in sorrow and beam with pure joy during her performances. Recently, Fleming has become passionate about learning about the more tangible ways in which music can affect the human wellbeing, beyond the scope of mere emotion. Over the past few years, in addition to her performances, Fleming has worked with scientists and health care professionals to explore how music can affect the actual circuitry of the brain in ways that can be utilized practically in music therapy and cognitive neuroscience. Through her role as a creative consultant at the Kennedy Center in New York City, Fleming has developed a programme called Music and the Mind, which she has been presenting to audiences throughout North America, usually in conjunction with local academic institutes and arts organizations.
Renee Fleming photo © Andrew Eccles
“I’d gotten really interested in this subject because it impacts education and health and wellness and the success of hospitals,” Fleming says. “I’m trying to act as an advocate for all the branches within this field.” Much of Fleming’s work focuses on matters of music therapy: how music can be used in early childhood education as well as how it can be used to stimulate the brains of patients with disorders like Parkinson’s and Alzheimer’s diseases. The University of Calgary’s Hotchkiss Brain Institute is doing leading work on music therapy and Parkinson’s disease, largely via the research of Dr. Bin Hu, who has had success in stimulating the brains of patients with mobility issues, giving them the power to walk after listening to pieces of music.
By Elizabeth Chorney-Booth “There’s considerable evidence that music stimulates brain circuits in unique and significant ways that go far beyond just relaxation,” says Dr. Keith Sharkey, Interim Director of the Hotchkiss Brain Institute. “It is breathtaking to see. A patient who is struggling to walk can turn into a person who can walk quite normally because of music therapy.” Representatives from the Hotchkiss Brain Institute will join Fleming and the Calgary Philharmonic Orchestra at a private Music and the Mind event this September. While that programme won’t be open to the general public, Fleming hopes that audiences in general will learn about her work and take the time to consider how music really affects their mental and overall health, whether they’re listening to one of her vocal performances, a jazz trumpet solo, or a pop hit on the radio. Part of the inspiration behind her programming is to advocate music’s importance as more than a pastime or frivolity.
THERE’S CONSIDERABLE EVIDENCE THAT MUSIC STIMULATES BRAIN CIRCUITS IN UNIQUE AND SIGNIFICANT WAYS THAT GO FAR BEYOND JUST RELAXATION.” “The scientists have been chipping away at it for a long time but it’s just now going into the greater consciousness,” she says. “The scientific presentations are all completely understandable, they just don’t have the audience. So if we as musicians can collaborate with them we bring the audience to the table and people will start to learn.” Renée Fleming performs a solo concert with the CPO on 26 September. For more information about her work on Music and the Mind, visit reneefleming.com. AUTUMN 2018 | 47
ONE WEEK OF EXHILARATING CONCERTS AND EVENTS. The world’s finest young string quartets descend upon the Canadian Rockies as part of the 13th Banff International String Quartet Competition.
Packages and Passports: Pre-purchase: December 12, 2018 General on sale: January 16, 2019 bisqc.ca
Through performances, lectures, and special events, share in a dramatic and rich artistic journey that will set in motion a major performing career.
Supported by:
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Calgary Luxury Meetings Begin With Fairmont Now is the time to re-discover Calgary for your next meeting and experience premier accommodations and surroundings at the Fairmont Palliser. We are the luxury Calgary hotel of choice for corporate business travelers, executive meetings and landmark events. And with fully renovated guestrooms, there is yet another reason to bring your business to Fairmont Palliser. Come see for yourself why we are the White Hat standard for Calgary hospitality. For reservations or more information, please call 1-866-540-4477 or visit us online at fairmont.com/palliser.
AUTUMN 2018 | 49
The Naomi + John Lacey
Programme
C L A R K FA M I LY
OUR CHAMPIONS The Calgary Philharmonic Orchestra is able to achieve its goals thanks to the generous support and dedication of its Champion donors. Every contribution, large or small, plays a vital role in the success of the Calgary Philharmonic Orchestra, and allows the Orchestra to share its love of music with others through its education and outreach programmes, livestreaming, the commissioning of new works, bringing world-class guest artists and conductors to Calgary, and supporting the next generation of artists. Your support of these programmes is greatly appreciated. For more information on how you can support the Orchestra please visit calgaryphil.com/donate. 50 | PRELUDE calgaryphil.com | 403.571.0849
MACLACHLAN
/RIDGE
EMERGING ARTIST PROGRAMME
Joyce & Dick
Matthews
Philanthropic Programme
Calgary Philharmonic Orchestra Foundation The CPO Foundation is critical to the long-term stability and growth of the Orchestra. The Foundation is the CPO’s largest annual supporter, and its Endowment Fund is now the second largest endowment held by a Canadian orchestra. Your contribution to the CPO Foundation ensures future generations have access to the power of orchestral music. Create a legacy by naming a musician’s chair through the Endowed Chair Programme. Donations made to the CPO Foundation may be eligible for matching funds from the Canada Cultural Investment Fund. calgaryphil.com/foundation
DeBoni New Works Through the DeBoni New Works, champions Irene and Walt DeBoni contribute to the development and commissioning of new Canadian works. Thanks to DeBoni New Works, this Season the CPO premieres two new works: Vincent Ho’s The Sandman’s Domain: Trombone Concerto and Abigail Richardson & Alexis Diamond’s Making Light. Your donation to DeBoni New Works supports the production of new contemporary classical music. calgaryphil.com/newworks
The Naomi And John Lacey Virtuoso Programme The Naomi and John Lacey Virtuoso Programme helps the Calgary Philharmonic Orchestra bring world-class artists to its stage. While in Calgary, Virtuoso Artists teach masterclasses to aspiring young musicians at Mount Royal University Conservatory. Your donation to The Naomi and John Lacey Virtuoso helps the CPO bring renowned artists, like Award-winning soprano Renée Fleming, to Calgary. calgaryphil.com/virtuoso
Clark Family Champions Elaine and Jeremy Clark are committed to supporting new initiatives and encouraging the next generation of philanthropy. In supporting projects such as live-streaming, Meludia, Heartsrings, pre-concert chats, and the Mozart Patron Programme, the Clark Family has helped bring more music to more people. Your donation helps the CPO continue to undertake new and innovative projects and initiatives. calgaryphil.com/newinitiatives The Borak Forte Programme The Borak Forte Programme, founded by Ellen and Allen Borak, helps sustain the art of Choral music by supporting the Calgary Philharmonic Chorus. The Borak Forte Programme nurtures the development of Calgary’s finest large Chorus, led by Chorus Master Timothy Shantz. Your donation to the Borak Forte Programme helps support Chorus. calgaryphil.com/chorus Brussa Brava! Legacy Programme Championed by Andrea Brussa, the Brussa Brava! Legacy Programme (BB!LP) helps the Orchestra by supporting the engagement of the world’s leading conductors. This Season, BB!LP is the proud sponsor of five accomplished female conductors: Joann Falletta, Sarah Hicks, Eun Sun Kim, Mélanie Léonard, and Gemma New. Your donation to the Brussa Brava! Legacy Programme allows the CPO to continue to bring prominent guest conductors to Calgary. calgaryphil.com/conductors
Maclachlan/Ridge Emerging Artist Programme Founded by Letha MacLachlan, Q.C., and John Ridge, the MacLachlan/Ridge Emerging Artist Programme provides outstanding young Canadian musicians the opportunity to advance their careers by performing with the Calgary Philharmonic Orchestra. Thanks to the MacLachlan/Ridge Emerging Artist Programme, pianist Jaeden Izik-Dzurko performs with the CPO this Autumn. Your donation to the MacLachlan/Ridge Emerging Artist Programme helps develop the next generation of Canadian artists. calgaryphil.com/emerging
Joyce And Dick Matthews Philanthropic Programme Joyce and Dick Matthews were generous and dedicated supporters of the Calgary Philharmonic Orchestra for over 50 years. The Joyce and Dick Matthews Philanthropic Programme was created in their memory and provides patrons the opportunity to recognize someone special in memoriam. Your donation to the Joyce and Dick Matthews Philanthropic Programme supports the greatest needs of the Orchestra. calgaryphil.com/inmemory PhilKids Championed by Judy Kilbourne, PhilKids is an afterschool programme that puts instruments in the hands and music in the hearts of children who otherwise would not have access to such artistic development. Students, grades one to five, are provided the opportunity to work closely with musicians from the Calgary Philharmonic Orchestra in an immersive music experience. Your donation to PhilKids supports the empowerment of children through music. calgaryphil.com/philkids AUTUMN 2018 | 51
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Legacy Giving Seminar 13 November 2018 / 2PM Calgary Golf & Country Club Join us for a highly informative session as leading estate, legal and tax experts explain how directing an appropriate portion of your estate to your favourite charities can reduce the tax implications for your estate. To RSVP please email events@calgaryphil.com or call 403.508.7687.
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FREQUENTLY ASKED QUESTIONS What do I wear to the Orchestra? At the Calgary Philharmonic Orchestra there is no formal dress-code. We want you to feel comfortable and relaxed so you can enjoy the performance. Most attendees wear business-casual attire but you will ultimately see everything from blue jeans to cocktail wear. Dress in your own style and what makes you most comfortable. What happens if I arrive late? When attending the Symphony, expect the Orchestra to start right on time. During pieces, the doors to the concert hall are not open. Ushers do their best to seat latecomers at appropriate breaks. In some cases, this may not be possible until the completion of an entire work. When do I clap? This is one of the most common questions for new people attending an orchestra performance. Traditionally in classical music culture, audiences wait until the end of an entire piece (there can be multiple movements in one piece) before applauding. This is a mindful practice that is intended to 54 | PRELUDE calgaryphil.com | 403.571.0849
respect the performers’ focus and how the music flows throughout the piece. The conductor typically puts his/her arms down completely and turns to the audience to signal the piece is finished. It is also helpful to follow along with the programme notes (inside this magazine on the specific concert page where you will also find guest artist biographies and repertoire). Where do I park around the Jack Singer Concert Hall? The C-Train is located one block from the Jack Singer Concert Hall and there are many parking lots in the area. Please leave plenty of time for parking as many of the lots are very popular. Underground parking is available at Arts Commons. Other nearby options include: Civic Plaza Parkade, Telus Convention Centre Parkade, and the open air parking lots in the 200, 300, and 400 blocks on the south side of 9 Avenue SE. Visit calgaryparking.com for details and rates.
How long is a concert? Concert length varies, but a typical performance is approximately two hours with a 20-minute intermission. Symphony Sundays for Kids and Rush Hour concerts are shorter and do not have an intermission. Can I take photos? For most performances, take photos in the concert hall before and after the concert and during intermission. As a courtesy to the musicians and other patrons, please put your mobile devices away for the duration of the performance. Flash photography is not permitted and if used during a performance, you may be asked to leave. During Rush Hour concerts only, photos (without flash) are allowed throughout the performance, and we encourage you to follow along on Twitter (@CPOrush) for a fun, educational, and interactive discussion.
Are drinks allowed in the concert hall? Alcoholic and non-alcoholic drinks are permitted in the Jack Singer Concert Hall, with the exception of the occasional Family Special.
More questions? Visit calgaryphil.com/ plan-your-experience
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The Calgary Philharmonic Orchestra extends its sincere appreciation to all donors. Thank you! Lifetime Members of the Calgary Philharmonic Orchestra and Arts Commons
Dick + Joyce Matthews Endowed Chair Piano Frank + Carol Gray Endowed Chair Principal Percussion, Joshua Jones In honour of Tim Rawlings’ 42 years of service. In memory of Frank Gray
Martha Cohen John + Ethelene Gareau John Hopwood Naomi + Dr. John Lacey Sandra LeBlanc O.C. Matthews Family Rozsa Family Vera Swanson C.M. O.C.
H.D. Klebanoff Endowed Chair First Violin Section Member
Endowed Orchestra Chairs
$1,000,000+ Alberta Foundation for the Arts
Rozsa Endowed Chair Music Director, Rune Bergmann John + Ethelene Gareau Endowed Chair Concertmaster, Diana Cohen In honour of Cenek Vrba’s 36 years of service
Peter + Jeanne Lougheed Endowed Chair Associate Concertmaster, John Lowry Hotchkiss Endowed Chair First Violin Section Member Dennis Sharp + Hélène Côté-Sharp Endowed Chair Second Violin Section Member, Craig Hutchenreuther Dalgleish Endowment of Chair 66 Second Violin Section Member, Leonora Leggatt Eckhardt-Gramatté Foundation Endowed Chair Principal Viola, Laurent Grillet-Kim In memory of Sophie-Carmen Eckhardt-Gramatté
John + Jean Partridge Endowed Chair Cello Section Member, David Morrisey Deborah Yedlin + Martin Molyneaux Endowed Chair Cello Section Member, Joan Kent Bill + Irene Bell Endowed Chair Piccolo, Gwen Klassen Frank + Carol Gray Endowed Chair Principal Trumpet, Adam Zinatelli In memory of Vincent Cichowicz 56 | PRELUDE calgaryphil.com | 403.571.0849
Today’s Champions Contributions of $1,000 and over from 1 July 2017 to 30 June 2018 Foundations, Funds, Government + Trusts
The Calgary Philharmonic Orchestra Foundation Morningside Music Bridge Foundation $500,000–$999,999 Calgary Arts Development Canada Council for the Arts $100,000–$499,999 Calgary Foundation Alan D. Castle Endowment for the Arts Anne Marie Peterson Legacy Fund Dick + Lois Haskayne Fund H.D. Klebanoff Memorial Fund Honens Calgary Philharmonic Society Fund Pamela Grigg Charitable Fund Canadian Heritage $25,000–$99,999 The Palmer Family Foundation Taylor Family Foundation $10,000–$24,999 Berkhold Family Foundation Calgary Shaw Charity Classic Foundation Estate of Merril Ann Highet glasswaters foundation Rozsa Foundation Sir Jack Lyons Charitable Trust $5,000–$9,999 The Brawn Family Foundation Cenovus Employee Foundation Polish Canadian Association Polish Combatants Association in Canada Calgary Branch No. 1
$2,500–$4,999 O’Donoghue Family Fund RBC Foundation The Welty Family Foundation $1,000–$2,499 The Calgary Centre for Performing Arts Guild Association Calgary Finlandia Cultural Association Wood Pittman Fund Individual Supporters $100,000+ Irene + Walt DeBoni Dr. John Lacey Estate of Mario James Stella Rabinovitz Family $25,000–$99,000 Andrea Brussa Elaine + Jeremy Clark Annie Freeze Carol Gray Judith Kilbourne Janice + James Morton Barbara Palmer Mary Rozsa de Coquet C.M. Marg Southern C.C. C.V. A.O.E. $10,000–$24,999 Ellen + Allen Borak Heather + Ian Bourne Kim Bruce Lawrence Fan Liz + Tony Fricke Joan + Don Greenfield Angela + Samuel Hayes Letha MacLachlan Q.C. + John Ridge Carla + Klaus Springer Valerie + Allen Swanson $5,000–$9,999 Carol Adamson + Ken Adam Kathleen Ashford Irene + William Bell Jenny Belzberg Marg + Paul Boëda Norma Carroll Gloria + Walter Chayka Madge Clarke Janet Dietrich Ute + Walter Dilger Dori Wood + James Doleman Kathy + Paul Dornian Ryan Green
Lois + Dick Haskayne O.C. A.O.E. Sheila + Phil McIntosh Jean + John M. Partridge Ruchi + Chris Ryley Patricia Sawyer + Clem Dumett Muriel A. Stewart Wilma + Dr. John ’t Hart James Ulrich $2,500–$4,999 Marian + Paul Beer Beverly + Gerry Berkhold Brad Boychuk Eleanor + Lawrence Bryan Lori Caltagirone Alan D. Castle Diana Cohen David Daly Judith + Terence Dalgleish Livia + Tibor Fekete Barbara + Larry Fish Shirley + Walter Foster Eileen + Darcy Gukert Danelle Hames + Matthew Law Juli Hegg + Bill Hogg Brigid Hogan + Brendan McCracken Peter Johnson David Lyons Marlene + Blair Mason Jane McCruden Amanda + Andrew Matthews Janet + Rick Matthews Roderick McKay Joan + Dale Meister Jackie + Fritz Painsi Mary + Conrad Porth Kaitlin Sharpe Clarice Siebens Joan + Geoffrey Simmins $1,000–$2,499 Lois K. Agnew Rajendra + Dinesh Agrawal Peter Appleby Joan Barrett Barbara Beaton Kay + Mark Bieber Belinda + Tom Boleantu John Bonnycastle Joye Brown Patricia + James Burns Marion R. Burrus Eileen Butler
Carla + Keith Byblow Meredith + Pat Cashion Catherine + Stan Climie Stacy Cockwill + Deon Ball Gertrude Cohos Averil Cook Rae + Phillip Cram Linda + Jack Crawford Lori Cutler + Nick Kuzyk Fern Cyr Dawn + Rao Darsi Alexandra De Freitas James Dennis Betty Douglas Bruce Edgelow Catherine Evamy Verna Jean Fairbrass E. Ann Falk Mark Ferrier Pippa FitzGerald-Finch Donna + Denis Fonteyne Beverly + David Foy Ethelene Gareau Gwyneth Gillette Carlie-Jean + Eldon Godfrey Corinne Grigoriu Ian Hawkins Daniel Heng + Christopher Brooks Carol + David Henley Mary Hetherington Linda Hohol Joan + Gordon Holland Susannah Law + Joshua Hosein James Hughes Carrol Jaques + Bob Loov Mae Jardine Valerie + Craig Johnstone Brenda Jones Mary Anne Katzenberg Madeleine King + Robert Taylor Barbara + Hugh Klaassen Yrjo Koskinen Jane Lang Heather Lawton Ann Lewis-Luppino + Tony Luppino Diane + David Macdonald Chris K. MacKimmie Beverly MacLeod Simone MacRae Patrick Marcotte Anne + David Q. Martin Jane McCaig + Richard Waller McCaig Barb + Gord McFarlane
Vickie + Russ McKinnon Rene + Mark McManus Jessie + Richard Mercer Kenneth Mills Marilyn Moldowan Mike Morrow Shelagh + Faiz Nadir Pam Nagai Betty + Willis O’Leary Maureen + David Payne Lara Pella Marcus Perron Daniel Philips Nellie Pintus Janet Poyen Irfhan Rawji Christine Rendell Sonia + Robert Reynolds Ruth Ann Rozsa Rayner Sheila + Italo Sartorio Catherine + Chris Scheers Jerry Schwartz Hedy + Clark Seaborn Eleanor + Don Seaman Mary + Richard Shaw Alfred Sorensen Agatha Starczyk + Michael Miller Mira Starczyk + Tom Skrzypinski Betty J. Stein Debbie + David Stephens Shannon Stevenson Carolyn + David Tavender Harry Taylor Helen + Henk ter Keurs Heather L. Treacy, Q.C. + Joe Nahman Naomi + John Tyberg Michael Vandale Margaret + Russell Varnam Susanna + Shirley Walker Peggy + Bill Warren Catherine + Bruce Williams Joyce Williams Jerilyn Wright Shirley Zielsdorf + Ed Letkeman
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EMERGENT-CY ALERT By David Sussman Assistant Principal, Oboes, English Horn
It is very exciting to see new talent emerge! With established artists, we expect and are rewarded with a superior performance. With an emerging artist that we have never heard before, it is thrilling to be treated to a captivating musical experience. As orchestral musicians, we enjoy playing with a huge variety of guest artists. We can recognize wonderful musicianship in a player, no matter what age or experience. Young players on the cusp of a career are particularly fun to work with. There may be a freshness and energy as is they are performing the piece for the first time (which in some cases may be true!). Many young artists try to differentiate themselves in various ways. Some go the competition route and use a victory as an entrée to a career. This gives them a ‘credential’ and shows that they can perform under extreme pressure. Interestingly, competitions can be good for some players that don’t win, but go on to be audience favourites or impress those that hire. There can be drawbacks. Someone who wins a Tchaikovsky competition for example, must be prepared to play a lot of Tchaikovsky at the onset. Some differentiate themselves by dress (or lack of) and demeanour. Some try to give a very different take on a standard concerto. These may get a young artist noticed, but it will be their musicianship and ultimately placing the music and composer above their own egos that provide lasting power. 58 | PRELUDE calgaryphil.com | 403.571.0849
Charisma is a mysterious quality that great artists possess. We are drawn toward them the moment they walk on stage and hang on every note. These people are most alive when performing and enjoy the energy of an audience and the ring of a concert hall. Every audience member has experienced this with some performer. When we feel it with a young talent, it can be electrifying. Some emerging artists come from ‘legacy’ families of musicians. Having been in the orchestra a while, I have had a few occasions to greet a young soloist with “I always enjoyed it when your Mom performed with us!”. Emerging artists must be able to deal with life on the road, away from supportive loved ones, living out of suitcases in strange cities and with a disrupted practice routine (especially for pianists who do not travel with their own instrument). It is hard to keep a healthy diet and changing time zones can be exhausting. And the pressure is on! Every performance is key to building a career. Our own CPO has been undergoing a demographic transition as many long-time players retire and younger players take their place. These new orchestra members are also emerging as artists and you, as the audience, get the thrill of hearing them come into their own week after week as they regale you with their incredible abilities.
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