Prelude Winter 2018/2019 by RedPoint Media

OFFICIAL PROGRAMME OF THE CALGARY PHILHARMONIC ORCHESTRA MUSIC DIRECTOR RUNE BERGMANN

WINTER 2018/2019 | VOLUME 45 NO. 2

BRINGING MUSIC TO LOCAL STUDENTS THROUGH PHILKIDS P. 10

EXPLORE THE INSTRUMENTS OF THE ORCHESTRA THROUGH A VISUAL JOURNEY WITH MUSICIANS P. 14

DRINKS AND NIBBLES AT NEARBY RESTAURANTS COMPLEMENT A NIGHT OF BEAUTIFUL MUSIC P. 49

ARNOLD CHOI PRINCIPAL CELLIST THRILLED TO BE PART OF THE ORCHESTRA HE GREW UP WITH P. 26

WINTER 2018/2019 | 1

YOUR COPY TO TAKE HOME

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Message from the President + CEO

Rush Hour: Romance

Calgary Philharmonic Orchestra

Pièces de résistance

Calgary Philharmonic Chorus

Symphonic Fairytales

Sharing the Gift of Music

Sultans of String with Orchestra

A Nat King Cole Christmas

Rush Hour: Brahms

Exploring the Instruments

Brahms v. Radiohead

’Tis the Season: Kids’ Holiday Special

Brahms Double with Cohen + Choi

Rune’s Classical Christmas

A Celtic Celebration with Heather Rankin

Music of the Movies

Where to Eat Before or After a Concert

Mozart’s Birthday Party

Circle of Champions

Feature: Arnold Choi

Frequently Asked Questions

Soulful with Gavin Hope

When Did You Start Playing?

10 26 49 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

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Contributers Don Anderson Elizabeth Chorney-Booth Jill Grigulis Gwendolyn Richards David Sussman

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Production Manager Mike Matovich Graphic Designer Rebecca Middlebrook Advertising inquiries can be answered at 403.240.9055 or emailed to info@redpointmedia.ca Account Executives Melissa Brown Jocelyn Erhardt Deise MacDougall Lindy Neustaedter

Prelude Live is published three times a year by RedPoint Media Group Inc. Copyright 2018 by RedPoint Media Group Inc. No Part of this publication may be reproduced without the express written consent of the publisher. Canadian publications mail product sales agreement #40030911. A member of the Alberta Magazine Publisher's Association, albertamagazines.com

Official Publisher

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Message from Paul Dornian

President + CEO

As we come to the end of 2018 and the beginning of 2019 it is natural to reflect on where our Orchestra has been and where we are going to. Our uniquely gifted Musical Director, Rune Bergmann, has completed his first season and shown us the direction for the future. We became an Orchestra for the World and live-streamed five of our performances last Season. Those performances were viewed live by thousands of people from 85 countries (more than we could ever fit into the concert hall) and more than 30,000 people have watched the archived performances so far. This year, with the generous sponsorship of the Rabinovitz Family, we are live-streaming another five performances, building the CPOâ&#x20AC;&#x2122;s profile and reaching music-lovers around the world.

It is also a time of growth and renewal for the Orchestra. We have seen the retirement of some wonderful musicians who devoted decades of artistry and hard work to building the CPO into an international calibre orchestra. It is sad to say farewell to these friends and colleagues â&#x20AC;&#x201D; but at the same time we are witnessing an artistic rebirth and re-energization of the CPO as we welcome new musicians to be the standard bearers for great music in Calgary. The energy and artistry grows and the future looks bright. Stay tuned and come along for the journey!

Paul Dornian

Calgary Philharmonic Society

Calgary Philharmonic Family

Honorary Patron

Board of Directors

Mayor Naheed Nenshi

Walt DeBoni Board Chair

Friends of the CPO + Musical Heritage

Conducting Staff Maestro Rune Bergmann Music Director

Tim Gillespie Governance Committee Chair

Andrew Matthews Co-chair Agatha Starczyk Co-chair

Karl Hirzer Associate Conductor

Janet Yuchem Finance + Audit Committee Chair

Timothy Shantz Chorus Master

Paul Dornian Ex-officio

Management

Lara Pella Board Secretary

Tony Cioni

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

Jack Crawford

Paul Dornian President + CEO Janet Bwititi Director, Marketing + Sales Maria Lamas Director, Finance Jennifer MacDonald Director, Artistic Operations Allison Moore Director, Development

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CPO Foundation Jeremy Clark President Terry Dalgleish Q.C. Vice President John Partridge Treasurer

Dr. John Lacey Chair Emeritus

David Daly Secretary

Andrea Brussa

Letha MacLachlan Q.C. Byron Neiles Ryan Stasynec Cathy Williams Janet Yuchem

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

Development Council Ann Calvert Jim Campbell Martin Delaney Nick Kuzyk Sheila McIntosh Tim Onyett Ruchi Ryley Hunter Wight Cui Zukowski

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Principal

Assistant Principal

Associate Principal

Music Director Rune Bergmann

First Violins Diana Cohen

Associate Conductor Karl Hirzer

John Lowry

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

Concertmaster Associate Concertmaster

Donovan Seidle

Assistant Concertmaster

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

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

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

Flutes Sara Hahn-Scinocco Gwen Klassen

Tuba Tom McCaslin

Piccolo Gwen Klassen

Timpani Alexander Cohen

Oboes

Percussion Josh Jones

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

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

The Calgary Philharmonic Orchestra is proud to perform live symphonic music for the Alberta Ballet, Calgary Opera, and Honens International Piano Competition. The members of the Calgary Philharmonic Orchestra are members of The Calgary Musicians Association, Local 547 of the American Federation of Musicians of the United States and Canada. Repertoire often requires extra musicians including: Gianetta Baril, harp; Rolf Bertsch, keyboard; Tim Borton, percussion; Lise Boutin, violin; Stan Climie, clarinet; Neil Cockburn, harpsichord and organ; John Feldberg, bassoon; Sarah Gieck, 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, is released this Season. Also this Season, he performs as a guest conductor with the Baltimore, Edmonton, and Pacific Symphony Orchestras, and the Argovia Philharmonic and Orquesta de Valencia in Valencia. He has been Artistic Director of Norway’s innovative Fjord Cadenza Festival since its inception in 2010.

Karl Hirzer is a dynamic Canadian conductor and pianist from New Westminster, British Columbia. He holds the position of Associate Conductor in his third season with the Calgary Philharmonic Orchestra. Hirzer is a regular guest conductor with Land’s End Ensemble, and has previously acted as Assistant Conductor for the National Academy Orchestra of Canada, and the McGill Contemporary Music Ensemble. He has worked with the Gstaad Festival Orchestra as an active member of the Menuhin Festival Gstaad Conducting Academy under Neeme Järvi and Gennady Rozhdestvensky, and was a Conducting Fellow during the 2017 Cortona Sessions for New Music. Also a passionate educator, Hirzer was most recently a faculty member at CPO’s Morningside Music Bridge programme in Warsaw. A diverse musician and collaborator, he has performed with numerous renowned soloists including Evelyn Glennie, Chris Botti, and Jonathan Crow. Trained as a pianist, Hirzer holds bachelor’s (University of Victoria) and master’s (McGill University) degrees in performance, as well as an Associate of the Royal Conservatory of Toronto diploma, obtained at age 17. His teachers have included Guillaume Bourgogne, Alexis Hauser, Ilya Poletaev, and Bruce Vogt. He also attended the Mozarteum Sommerakademie in Salzburg, where he studied in the class of Robert Levin.

Vincent Ho is a multi award-winning composer of orchestral, chamber, vocal, and theatre music. His works have been described as “brilliant and compelling” by The New York Times and hailed for their profound expressiveness and textural beauty, leaving audiences talking about them with great enthusiasm. His many awards have included Harvard University’s Fromm Music Commission, The Canada Council for the Arts Robert Fleming Prize, ASCAP’s Morton Gould Young Composer Award, four SOCAN Young Composers Awards, and CBC Radio’s Audience Choice Award. From 2007 to 2014, Ho served as the Winnipeg Symphony Orchestra’s composer-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

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

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

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

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

2018-19 SEASON SPECIAL GUEST:

Joby Talbot, Composer

SUNDAY, FEBRUARY 10, 2019, 3:00 PM

PATH OF MIRACLES

MONDAY, DECEMBER 31, 2018, 8:00-10:00 PM

A LUMINOUS

Gianetta Baril, Harp

NEW YEAR'S EVE

SPECIAL GUEST:

Timothy Shantz Chorus Master

As Calgary Philharmonic Chorus Master, Spiritus Chamber Choir Artistic Director, and Luminous Voices Founder and Artistic Director, Timothy Shantz continues to garner critical praise for his work as conductor. 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 won the Healey Willan Grand Prize from the Canada Council in 2013 and toured internationally, earning second prize at the Fleischmann International Choral Competition in Cork, Ireland, as well as second prize at the Florilège Vocal de Tours in France. Shantz has several recordings to his name, including Zachary Wadsworth’s The Far West released in May 2016, Mendelssohn’s Te Deum released in Spring 2015 by Luminous Voices, and James MacMillan’s Seven Last Words (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.

Open rehearsal: February 8, 2019 at 4PM at cSPACE King Edward Tickets at tickets.mru.ca and 403 440 7770 and at the door Information www.luminousvoices.ca NEXT CONCERT: J.S.BACH'S ST. JOHN PASSION, GOOD FRIDAY APRIL 19, 2019, 7:30 PM

SPIRITUS CHAMBER CHOIR TIMOTHY SHANTZ • ARTISTIC DIRECTOR

with

Chellan Hoffman, organ Chorealis from Yellowknife

Guest choir, Aurora

SATURDAY 11 MAY 2019 | 8PM KNOX UNITED CHURCH | 506 4th St. SW Calgary Visit spirituschamberchoir.ca or call 403 971 8169 for tickets. Adults $25 Students/Seniors $20

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SHARING THE GIFT OF MUSIC WITH CHILDREN By Jill Girgulis

very so often an arts organization and a supporter just seem to hit it off — and this was certainly the case with the Calgary Philharmonic Orchestra (CPO) and Judy Kilbourne. Judy, whose piano training was interrupted by a polio diagnosis in her teenage years, has been committed to the CPO ever since she moved to Calgary in 1985 with her late husband, Bill. “That’s when I really fell in love with classical music all over again,” she says.

Calgary. The programme, open to students ages six to 11, officially began in January 2016, and Judy has been providing the financial backing ever since. “My commitment, originally, was for three years, because I have this thing that if you seed-fund a programme and it has merit, it should fly on its own,” she says. “It’s something I really wish could grow in the community because I think there’s so many kids who could be exposed to music.”

Over the years, Judy’s involvement has ranged from the Board of Directors to the Development Council to the Friends of the CPO + Musical Heritage, but it’s her most recent endeavour, PhilKids, that’s truly captured her heart. “I got carried away with my love of the CPO, and my husband got very active as well,” Judy explains. “And so, after Bill died, I just wanted to celebrate him in some meaningful way.”

Despite her initial three-year plan, Judy’s enthusiasm for PhilKids hasn’t waned — this year she’s even planning to try out the programme herself. “At the opening session, I told them, ‘Ok, guess what? This is the year that I sit down with you guys, and I’m going to learn how to play every one of those instruments!’ ”

At this time, Judy approached the Orchestra’s artistic team with a radical idea — was there something that they’d always wanted to try? Whatever it was, she’d support it. “I asked them, if somebody were to come along and say, ‘I’d like to do something with the Orchestra, with the members themselves,’ would you have anything on your wish list?”

IT’S BEEN A VERY REWARDING PERIOD OF MY LIFE, GIVING BACK TO THE COMMUNITY WHERE I SENSED THE NEED AND THE OPPORTUNITY.”

The CPO’s response to her question was how Judy first became aware of El Sistema, a music education programme founded in Venezuela that began in 1975. In her eyes, PhilKids is the CPO’s interpretation of this initiative. “El Sistema was started by people who were interested in music and wanted to share that with kids who probably wouldn’t ever have a chance to learn music themselves. I just fell in love with the idea and we all made it work.”

Judy’s dedication to these kids is evident to anyone who interacts with her. “I can tell you that it brings me just as much joy to do it as it does to those kids to learn it,” she says. “It’s been a very rewarding period of my life, giving back to the community where I sensed the need and the opportunity.

PhilKids takes place after school every Tuesday and Thursday at Keeler School, an elementary in northeast

“I really feel it’s been a project that has been worth every ounce of energy and has given me a lot of pleasure.” WINTER 2018/2019 | 11

30 + 1 NOV + DEC

Adam Johnson Conductor

POPS Friday 30 November 2018 / 7:30PM Saturday 1 December 2018 / 7:30PM

A Nat King Cole Christmas SPONSORS Host Hotel – Fairmont Palliser Media – Calgary Herald

20'

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Indicates Canadian artist or composer

Award-winning Canadian conductor Adam Johnson was raised in Hinton, Alberta, and holds a Doctorate in Piano Performance from the Université de Montréal and a Prize in Orchestral Conducting from the Conservatoire de musique de Montréal. In September 2016, he took up the position of the Montreal Symphony Orchestra’s (MSO) Assistant Conductor, and was appointed Resident Conductor in June 2018. He works closely with MSO Music Director Kent Nagano and has conducted more than 60 concerts with the orchestra, as well as having been involved in performances in Carnegie Hall and the Salzburg Festival. Prior to his tenure in Montreal, Johnson served for three seasons with the Calgary Philharmonic Orchestra, initially as Resident Conductor (2013 to 2015) and subsequently as Associate Conductor (2015 to 2016). He regularly guest-conducts the Edmonton Symphony Orchestra and has appeared as guest conductor of the Québec, Trois-Rivières, Saskatoon, and Thunder Bay symphony orchestras. He makes his debut with Symphony Nova Scotia conducting their season finale concerts in April 2019.

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

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

Denzal Sinclaire Vocals

Denzal Sinclaire is one of Canada’s most popular jazz vocalists and is ranked among the finest jazz singers of his generation. He is a multiple JUNO Award nominee and the recipient of the 2004 National Jazz Award for Best Album, fourtime consecutive recipient of Jazz Report Magazine Award for Male Jazz Vocalist, and France’s 2007 Choc Jazzman Award. Sinclaire has graced the stages of numerous concert halls and festivals around the world, and appeared on several TV shows, including Canada’s Bravo!TV, Canada AM, Nashville Now, and Ireland’s The Late Late Show. As a former member of UK soul artist Jamie Lidell’s band, he has appeared on Late Night with Conan O’Brien, Jimmie Kimmel Live!, and Manu Katché’s show in France, One Shot Not. Additional television and film credits include appearances in the new Battlestar Gallactica TV series and Being Julia, starring Annette Bening and Jeremy Irons. Sinclaire has recorded three albums for Universal Music: I Found Love, Denzal Sinclaire, and My One & Only Love.

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

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piccolo

H HO

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INE

clarinet

violi

BASS DRUM

TAMB

TROMBONE

english horn

oboe

bassoon

flute

TR U M

tria ngl e

IOLA

SNARE DRUM

CELLO

ENC

BASS PET

A MB

TUBA

TIMPANI

A RP

The String Family The orchestra has large stringed instruments such as the harp and double bass that can play very low, resonant notes. Violins can play high, ringing tones! All of these instruments, together with the violas and cellos, make up the string family of the orchestra. “The violin is the soprano voice of the string family and is often known to spin the most beautiful cantilena melodies. It can shimmer and sparkle in the high register and can be full voiced and even growl in the bass end of the spectrum. It can play roles from temptress to witch (and anything and everything in between) within a quick turn of a phrase. The violin plays perhaps more notes per concert than any other instrument on stage.” Diana Cohen Concertmaster

“As the largest and lowest-sounding instrument of the string-family, the double bass provides the harmonic foundation for the entire orchestra — even if you can’t always hear the bass, you can always feel it!” Sam Loeck Principal Bass “The harp has 47 strings made up of different materials. The lowest strings are made of metal. The highest strings are made of nylon, kind of like fishing line. The rest of the strings are made out of cow or sheep gut — a very strong, natural substance that produces a warm, beautiful sound.” Tisha Mirvhill Principal Harp

The Percussion Family Percussion instruments can be played in many different ways! Some instruments are scraped or tapped, others are whacked and hit. The familiar whip sound often heard in Christmas songs is made by an instrument called the clapper and the clip-clop sound is made from wooden blocks! “The timpani, or kettle drums, are large pitched drums made from large copper kettles, which use a foot pedal to change the pitch.” Alexander Cohen Principal Timpani “My instrument is literally anything I can hit.” Josh Jones Principal Percussion

The Brass Family Sometimes the loudest in the orchestra, brass instruments are played by buzzing into the mouthpiece and moving the valves — except for the trombone. The trombone uses a slide to change notes!

The Woodwind Family The woodwinds in the orchestra can be played with single or double reeds, and instruments such as the flute and piccolo are played by blowing air in and over the lip plate. The piccolo can play the highest notes in the orchestra! “The bassoon is the bass voice of the woodwind section — often described as the clown of the orchestra.” Michael Hope Assistant Principal Bassoon

“The trumpet is the dramatic soprano of the orchestra. It’s really the one in charge, if we’re being honest.” Adam Zinatelli Principal Trumpet “Of all the instruments in the orchestra, the horn is the Charlie Browniest: you’re always on 3rd thinking of stealing home plate to win the game, so you’re either the hero or the goat.” Robert McCosh Prinicpal French Horn

“The sound of the clarinet is made up of a unique series of overtones which give it a wonderful balance of warmth, mystery, and brilliance.” Slavko Popovic Principal Clarinet WINTER 2018/2019 | 15

2 DEC

Jonathan Love Narrator

‘Tis the Season: Kids’ Holiday Special SPONSORS Concert Sponsor – DeBoni New Works Associate Conductor Sponsor – Mary Rozsa de Coquet Conductor Couturier – Umberto Custom Tailors Ltd. Instrument Discovery Zoo – Long & McQuade, V.A. Hill Fine Strings Ltd. Host Hotel – Fairmont Palliser Media – Shine FM, Calgary Herald

PROGRAMME Karl Hirzer, conductor Jonathan Love, narrator Richardson + Diamond Blake

Snowman Enterprises Limited Image

Making Light

20'

The Snowman

27'

Programme and artists subject to change without notice

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Indicates Canadian artist or composer

Snowman Enterprises Limited

thesnowman.com

Karl Hirzer biography on page 7

Jonathan Love photo

SYMPHONY SUNDAYS FOR KIDS Sunday 2 December 2018 / 3PM

Neil Zeller

Jonathan Love has played many roles. He is a columnist for the Calgary Eyeopener on CBC Radio One, a community arts ambassador and a marketing strategist for the Taylor Centre for the Performing Arts. In addition to voicing and producing videos, commercials and cartoons with his company ToonVox Media, he performs regularly with the Calgary Philharmonic Orchestra and Edmonton Symphony Orchestra. On-screen, he has worked with visionaries like Ang Lee (Brokeback Mountain) and Kevin Costner (Open Range) and has appeared in many television productions. He is co-founder of a very successful marriage to legacy lululemon ambassador Kate Love. They have co-produced two amazingly musical children whom he’s trying to fasttrack to become members of the Calgary Philharmonic Orchestra. He has also enjoyed 25 years of singing songs for people as a founding member of Calgary’s comic a cappella group, the Heebee-jeebees.

C a lg a ry l u x u ry 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.

WINTER 2018/2019 | 17

Welcome to Rune’s Classical Christmas!

13 DEC

SPECIALS Thursday 13 December 2018 / 7:30PM

Rune’s Classical Christmas SPONSORS Concert Sponsor – Valerie + Allen Swanson Chorus Sponsor – Borak Forte Programme Conductor Couturier – Umberto Custom Tailors Ltd. Media – Calgary Herald

PROGRAMME Rune Bergmann, conductor Cantaré Children’s Choir Calgary Philharmonic Chorus Tchaikovsky Allegro tranquillo from Symphony No. 1 in G Minor, Op. 13 Gjeilo Tundra Arnesen Cradle Hymn Kuzmenko Behold the Night

12' 4' 6' 14'

Intermission

20'

Larsson A Winter’s Tale, Op. 18 J.S. Bach Jauchzet Frohlocket from the Christmas Oratorio Elgar The Snow, Op. 26, No. 1 Rutter Candelight Carol Arnesen Magnificat Handel Hallelujah Chorus

10' 8' 6' 5' 6' 3'

Christmas is a special time of year for me. There are different traditions around the world but, for me, this is a time when family and specific pieces of music are very important. The programme we present tonight has many of the pieces that I listen to every year around the holidays, and some new titles that have been added in more recent years. Tchaikovsky started writing his Winter Daydreams in 1866. Even though he struggled with the form of the symphony and took a long time to finish, it still has the qualities and wonderful melodies we would expect from Tchaikovsky. Tonight we perform the first movement of this symphony, Dreams of a Winter Journey. The first time I met Cantaré Children’s Choir, I thought “when can I work with these fantastic kids again?” It is always a pleasure to work with both the choir and their amazing Artistic Director Catherine Glaser-Climie. I hope you enjoy this presentation of wonderful music from Norway and Canada that is probably new for most of our audience. Winter’s Tale by the Swedish composer Lars-Erik Larsson is Four Vignettes to Shakespeare’s The Winter’s Tale. For me, Larsson is a very interesting composer. The melodies and orchestration of this piece speak to me in a special way. The rest of the programme consists of highlights from composers like Bach, Händel, Elgar, and Rutter. We also introduce our incredible Calgary Philharmonic Chorus with Chorus Master Timothy Shantz. It is always a pleasure to work with Timothy and the Chorus, and Christmas wouldn’t be the same without them. I hope you will find joy in listening to something new and something old during this concert. This is a small part of how I celebrate the holidays musically. I wish you all a Merry Christmas! Thank you for being part of the Calgary Philharmonic Family. I can’t wait to see all of you again in 2019. Rune Bergmann Music Director Calgary Philharmonic Orchestra Rune Bergmann biography on page 7

Programme and artists subject to change without notice

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Indicates Canadian artist or composer

Calgary Philharmonic Chorus biography on page 8

Calgary Philharmonic Orchestra

Cantaré Children’s Choir Cantaré Children’s Choir, formed in 1997 by Founder and 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-wining choir is honoured 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 14 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.

Join Chorus Master Timothy Shantz and the Calgary Philharmonic Chorus for BIG SING on 16 March 2019 Explore Mendelssohn’s Elijah and sing with Calgary’s finest large Chorus in this special choral workshop experience. 16 March 2019 Grace Presbyterian Church 1009 15 Ave SW 1PM to 4PM Tickets $35

calgaryphil.com | 403.571.0849

WINTER 2018/2019 | 19

18 + 19 JAN

Sarah Hicks Conductor

POPS Friday 18 January 2019 / 7:30PM Saturday 19 January 2019 / 7:30PM

Music of the Movies SPONSORS Guest Conductor Sponsor – Brussa Brava! Legacy Programme Host Hotel – Fairmont Palliser Media – Calgary Herald, Kool 101.5, XL 103

20'

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Noted in The New York Times, Sarah Hicks’ versatile and vibrant musicianship has secured her place in “the next generation of up-andcoming American conductors.” She currently holds the positions of Principal Conductor, Pops and Presentations of the Minnesota Orchestra, and Staff Conductor of the Curtis Institute of Music in Philadelphia. Throughout her career she has collaborated with diverse artists such as Jamie Laredo, Ben Folds, Hilary Hahn, Josh Groban, Smokey Robinson, Sting, Dmitri Hvorostovsky, Sumi Jo and Jackie Evancho. Hicks has guest conducted extensively both in the States and abroad, including the Boston Pops, Cincinnati Pops, Philadelphia Orchestra, Chicago Symphony, San Francisco Symphony, Atlanta Symphony, Milwaukee Symphony, Detroit Symphony and more. She led the Los Angeles Philharmonic in July 4th concerts at the Hollywood Bowl in 2012, 2013 and 2015. Recent highlights include debuts with the Brisbane Symphony, Lisbon Symphony, Calgary Philharmonic and Dallas Symphony orchestras as well as return engagements in San Diego, San Francisco and Cincinnati.

FLOWER BAR

Laura Brandt Soprano

Hailed as a “tour-de-force” and a “powerhouse soprano,” Laura Brandt has performed across North America and Europe and now resides in Calgary. Recent credits include Lily (The Secret Garden) with Theatre Calgary and Rosalinda (The Bat) with Cowtown Opera. Laura was a member of the Emerging Artist Development Program with Calgary Opera for two seasons. Credits there include Frasquita (Carmen), Peep-Bo (The Mikado), Aurore (Le Portrait de Manon), Gretel (Hansel and Gretel), and Female Chorus (The Rape of Lucretia). Laura has performed with the Calgary Philharmonic Orchestra, The Calgary Civic Symphony, The Newfoundland Symphony Orchestra, Opera on the Avalon and Cowtown Opera. She is supported by the Nova Scotia Talent Trust and the Alberta Foundation for the Arts. Laura has a Master of Music in vocal performance from the New England Conservatory.

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WINTER 2018/2019 | 21

Music of Wolfgang Amadeus Mozart (1756 to 1791)

25 + 26 JAN

This programme offers the fascinating opportunity to compare Mozart’s first and last symphonies, and to observe and relish the astonishing creative growth that took place between them. Symphony No. 1 in E-flat Major, K. 16 Wolfgang Amadeus Mozart

In 1763, Leopold Mozart, his son Wolfgang and his daughter Maria Anna set out from their home city, Salzburg, on a performing tour. When Leopold fell ill with a cold in August 1764, while they were visiting London, they moved to a suburban town, Chelsea, where it would be easier for him to recover. As Maria Anna recalled in later life, “Our father lay dangerously ill; we were forbidden to touch the keyboard. And so, in order to occupy himself, Mozart composed his first symphony with all the instruments of the orchestra, especially trumpets and kettledrums.” This symphony is one of three that survive from that period. There were probably others. It may not be the first in order of composition, but that is how it was published. It displays considerable charm and even greater promise.

MASTERWORKS Friday 25 January 2019 / 7:30PM Saturday 26 January 2019 / 7:30PM

Mozart’s Birthday Party Presented in partnership with One Yellow Rabbit's High Performance Rodeo 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

Flute and Harp Concerto in C Major, K. 299 Wolfgang Amadeus Mozart

PROGRAMME Rune Bergmann, conductor Sara Hahn-Scinocco, flute Heidi Van Hoesen Gorton, harp Mozart Symphony No. 1 in E-flat Major, K.16 I. Molto allegro II. Andante III. Presto

13'

Flute and Harp Concerto in C Major, K.299 (297c) I. Allegro II. Andantino III. Rondo – Allegro

30'

Intermission

20'

Mozart Symphony No. 41 in C Major, K.551 (Jupiter) I. Allegro vivace II. Andante cantabile III. Allegretto IV. Molto allegro Programme and artists subject to change without notice

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Indicates Canadian artist or composer

31'

This lovely concerto dates from Mozart’s ill-fated tour of 1777 to 1778. He hoped it would secure him a better job than his under-appreciated position in Salzburg, but it was not to be. After visits to Munich, Mannheim and Augsburg, he and his mother arrived in Paris on March 23, 1778. Over the next six months, he met with the same indifference he had encountered at his earlier stops. To make matters worse, his mother died on July 3. In April, a wealthy nobleman, Adrien-Louis Bonnière de Souastre, comte de Guines, governor of Artois province and former French envoy to Germany and England, commissioned a flute and harp concerto. He played the flute quite well, and his daughter, an aspiring musician, Rune Bergmann biography on page 7

played the harp “magnifique,” to quote Mozart. Mozart also gave her lessons in composition — fruitlessly, as it turned out, as she lacked both creativity and diligence. Several problems faced Mozart in regard to de Guines’s commission. He disliked both featured instruments. Professional as always, he overcame this feeling and created a sunny and utterly charming work — but he was never paid for it. The Count had been recalled from London in 1776 due to a lawsuit resulting from irregularities in his business affairs, so this new financial villainy might have been predicted. With this concerto, Mozart reflected a Parisian vogue. The symphonie concertante, a hybrid of symphony and concerto that featured multiple soloists, was all the rage. The modest accompanying orchestra in Mozart’s concerto — pairs of oboes and horns, plus strings — ensures transparent textures that never mask the delicate soloists. This, alas, was to be the only piece he wrote for the harp. Symphony No. 41 in C Major, K. 551 (Jupiter) Wolfgang Amadeus Mozart

Mozart could not have known that the three symphonies he composed in the summer of 1788 would be his last. Each one is a masterpiece, but they are quite different from each other: No. 39 in E-flat major is one of his most elegant creations, its successor in G minor perhaps his most pathetic. And appropriately, No. 41 is the grandest and most joyous of all his symphonies. Uncertainty also exists regarding their performance during his lifetime. Circumstantial evidence points to one or more of them being played at a series of subscription concerts at the Vienna Casino later in 1788. They may also have been performed during Mozart’s tours of Germany in 1788 and 1789, or in Vienna in April 1791. The identity of the person who gave No. 41 the nickname “Jupiter” has been lost, but this subtitle, linking it with the most powerful of the gods of ancient Rome, seems altogether appropriate. Programme Notes by Don Anderson

Sara Hahn-Scinocco

Heidi Van Hoesen Gorton

Hailed by the Calgary Herald as having “beauty of tone and a wonderfully flexible phrasing,” Sara Hahn-Scinocco is currently the Principal Flutist for the Calgary Philharmonic Orchestra. Prior to accepting this post in 2006, Hahn-Scinocco performed as Assistant Principal Flute/Piccolo with the Vancouver Symphony Orchestra and completed an extensive threeweek tour of Japan and Hong Kong with the National Youth Orchestra of Canada in 2002. As a soloist, Hahn-Scinocco performed the Chaminade Concertino with the Calgary Philharmonic Orchestra to critical acclaim in 2015. In April 2016, she performed the world premiere of Arthur Bachmann’s The Daughter of Elysium with the CPO and in February 2018 she copremiered Peter Anthony-Togni’s Sea Dreams with Luminous Voices. Sara Hahn-Scinocco is the co-founder of Green Banana Flute Studios.

Recently hailed by the Pittsburgh Post Gazette as a performer who plays “with a flair that we are coming to know well,” Heidi Van Hoesen Gorton has been described as one of the most outstanding solo, chamber and orchestral musicians of her generation. She has been presented in solo recitals from New York to Los Angeles, Vancouver to Vienna. She is currently Principal Harp with the Toronto Symphony Orchestra and has performed with the Pittsburgh Symphony Orchestra and the Hartford Symphony Orchestra. She earned two degrees in harp performance from The Juilliard School of Music under the tutelage of Nancy Allen, and has studied with Gretchen Van Hoesen and Elizabeth Fontan-Binoche. She is the recipient of many awards including first place in the Young Professional Division of the American Harp Society National Competition in June 2009. Also active as a teacher, Van Hoesen Gorton is in the faculty at The Glenn Gould School at The Royal Conservatory, and regularly presents masterclasses in North America.

Flute

Harp

2018

WINTER 2018/2019 | 23

LISTEN… AND LEARN CONCERTS AND CLASSES In association with the Calgary Philharmonic Orchestra, UCalgary Continuing Education offers a combined classroom and concert experience that will broaden your understanding and appreciation of classical music. This popular program has been offered for over a decade and has been enjoyed by over 500 participants! Classes are held in the evenings, from 7 – 9 p.m. at the UCalgary main campus. Evenings with the Calgary Philharmonic Course Number: HUM 405 Instructor: Jennifer MacDonald, MA, Director of Artistic Operations, CPO; plus guest speakers $335 + GST; classes and concert tickets $195 + GST for CPO season ticket holders

WINTER 2019 Classes: January 21, February 11, March 11 and 25 Concerts: January 26, February 16, March 16 and 30 SPRING 2019 Classes: April 29, May 6, 21, and 27 Concerts: May 4, 11, 24, and June 1

403.220.2866 • conted.ucalgary.ca

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A Gala in Support of the Calgary Philharmonic Orchestra

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5 APRIL 2019 | 6PM | CALGARY PETROLEUM CLUB | $300

Enjoy a five-course gourmet dinner with fine wine pairings, and a performance by members of the Calgary Philharmonic Orchestra. Bid on luxury trips, incredible experiences, original artwork and exquisite wine.

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WINTER 2018/2019 | 25

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FULL CIRCLE The CPO’s Principal Cellist, Arnold Choi, is pleased to be back in his hometown By Elizabeth Chorney-Booth

t’s fairly uncommon for celebrated orchestral musicians to settle down in their hometowns. Prestigious orchestra jobs are rare, and most musicians land in whichever city provides them with a suitable job. That’s why the CPO’s Principal Cellist, Arnold Choi, is so thrilled to find himself living and working in his hometown of Calgary. Choi began playing the cello at his mother’s urging at the age of five and managed to secure a spot studying with the great John Kadz at the Mount Royal Conservatory. A clear talent, Choi picked up the instrument quickly and, before long, it was evident that the cello was his life’s calling. As a teen, Choi spent most of his summers in Calgary’s much-acclaimed Morningside Music Bridge program, where Kadz was then the co-artistic director. That unique training program brings together young musicians from North America and their counterparts from China and other parts of the world so that they can share musical ideas and form cultural bridges.

IT’S GREAT THAT MY LIFE AND MY LUCK BROUGHT ME BACK HERE.” During those summers, Choi played alongside musicians like now world-renowned concert pianist Yuja Wang and solo violinist Ning Feng. He not only credits the program for facilitating lifelong friendships, but also says that the experience with Morningside Music Bridge shaped the scope of his musical ambition. “It was a really integral part of my development as a musician and really opened my eyes to the level of playing on a global scale,” Choi says. “It inspired me to play better and work harder because I was seeing all of these kids who were phenomenal prodigies from all around the world. I wanted to keep up and learn as much as I could.”

Choi used what he learned from Morningside Music Bridge and his time with Kadz as he pursued music degrees at Colburn Conservatory in Los Angeles, Yale University, and, ultimately, a Doctorate of Musical Arts from Stony Brook University in New York. Along the way, he’s won numerous prizes and competitions, performed concerts around the world (his very first solo recital tour was in Mexico when he was only 14) and made a number of recordings. With so much international experience, Choi assumed that he would continue to make his life outside of Canada, but when an opportunity to audition for the CPO arose while he was still completing his doctorate, he jumped at the chance to be a part of the very orchestra he grew up with. Choi joined the CPO in January of 2017 and is honoured to have taken on the Principal Cello position. “It’s funny how life works sometimes. I was gone from Calgary from age 18 until 32,” Choi says. “It’s great that my life and my luck brought me back here. It’s such a fantastic feeling to go to work and see people in the orchestra who mentored me growing up and were my coaches and teachers, and now they are welcoming me into the CPO family.” Every year, the CPO holds a concert featuring a Morningside Music Bridge alumnus, and this year it has chosen to highlight Choi with a performance of the Brahms Double Concerto on 15 and 16 March, where he will be paired with CPO Concertmaster Diana Cohen. As this is his first featured solo performance since joining the CPO, Choi is excited to be able to play for his hometown crowd, which is bound to feature some familiar faces, including the person first responsible for putting a cello in his hands. “My mom comes to CPO concerts probably two or three times a month and always has a blast,” he says. “Both of my parents were big supporters of me going into music. My late father would also have been so proud to have seen me with the CPO.” WINTER 2018/2019 | 27

9 FEB

Daniel Bartholomew-Poyser Conductor

SPECIALS Saturday 9 February 2019 / 7:30PM

Soulful with Gavin Hope SPONSORS Host Hotel – Fairmont Palliser Media – Calgary Herald, XL 103

20'

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Indicates Canadian artist or composer

A passionate communicator, Daniel Bartholomew-Poyser brings clarity and meaning to the concert hall, fostering deep connections between audiences and performers. He is the Artist in Residence and Community Ambassador of Symphony Nova Scotia, conducting Ballet and Pops with national and international artists. He previously served as Assistant Conductor of the Kitchener-Waterloo Symphony and Associate Conductor of the Thunder Bay Symphony Orchestra. Bartholomew-Poyser has performed with the Hamilton Philharmonic, the Eastern Sierra Symphony, and has been re-invited to the San Francisco Symphony for four consecutive seasons. This season he debuts with the Kingston Symphony, Toronto Symphony Orchestra and the Calgary Philharmonic Orchestra. Bartholomew-Poyser graduated from William Aberhart High School, earned Music and Education degrees from the University of Calgary, and his Master of Philosophy from the Royal Northern College of Music in Manchester, England. He has received an RBC Royal Bank Emerging Artist Grant and the Canada Council for the Arts Jean Baudet Prize for Orchestral Conducting.

Gavin Hope

Rique Franks

Stephanie Martin

Gavin Hope is a JUNO-nominated solo recording artist who has performed all around the world, sharing the stage with musicians including Aretha Franklin, Natalie Cole, Jill Scott, James Brown, Deborah Cox, and more. His theatre highlights include lead roles in the original Canadian companies of RENT and The Lion King (Mirvish), The Tempest (CanStage), As You Like It (CanStage), and Smokey Joe’s Café (Stage West). Hope is also known for his work performing as a member of Canadian a cappella vocal group The Nylons, with whom he has toured the world and recorded six studio albums. He is happy to have found another home with the Jeans ‘n Classics band as a core vocalist and is thrilled to be performing the fantastic music of Michael Jackson, Earth Wind and Fire, Motown, Prince, Stevie Wonder, Rocky Horror and more, with wonderful orchestras across North America. He has earned rave reviews for his most recent studio album For All We Know in collaboration with pianist Bill King.

Best known for her four duets with Dan Hill (In Your Eyes, Hold Me Now, Sometimes When We Touch, and Can’t We Try), Rique Franks has sung, toured, recorded, and/ or written with many Canadian and international recording artists, including Roger Hodgson (Supertramp), Alannah Myles, Alexander O’Neal, and Martin Fry (ABC). She is a featured soloist with Jeans ‘n Classics, and is also a busy session singer and voice actor in Toronto. Franks has lent her voice to many original projects, and has sung and/or read thousands of memorable commercials for countless products. Franks started her career in her mid 20s. She still considers many of the people she first worked with in those early days (Lisa Dalbello, Neil Donell, David Blamires, Johnny Rutledge, and others) as major influences. Franks recently ended a 20-year run as the on-air speaking voice of Showcase Television/Showcase Diva, saying, among other things, “Viewer discretion is advised” ... a lot.

Stephanie Martin is a bilingual Canadian songwriter, singer, and actor who has performed all over the world in award-winning theatrical productions and concert tours. In theatre, she has played leading roles in Les Misérables, and Napoleon, among others. In studio, she sang the voice of Pocahontas in the French version of the Disney movie as well as performing on many cast albums. On the concert scene, she has performed with symphony orchestras across North America, Europe and Asia. Her creative songwriting is inspired by a lifelong spiritual inquiry and a passionate conviction that music has an unparalleled unitive power. Her first recording of original songs, shape, line and harmony, received widespread airplay and was critically acclaimed. Her second album, April Snow, was released in 2016 and reached No. 2 in the Top 100 iTunes Adult Contemporary Chart in Canada.

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Kathryn Rose

Jeans ‘n Classics

As a singer-songwriter, “Canada’s original bombshell” Kathryn Rose is known for her artful, cerebral brand of sexy/sad/funny cinematic pop, over the course of five solo albums to date. Before beginning a career in music, Rose was a successful actress in film, TV and stage. She has worked with Barenaked Ladies, Sarah McLachlan, Patti Labelle, Sir Tom Jones, and more. She received a nomination for Pop Album of the Year at the Canadian Indie Awards, and was featured as the cover story of Toronto’s famed NOW. In addition to being a longtime core artist with symphonic rock touring company Jeans ‘n Classics, Rose’s organizational skill set is put to good use as office manager/administrator and tour co-ordinator for the company. Recent notable solo appearances include Luminato Festival’s Neil Young tribute at Massey Hall, George Koller’s International Divas concert series, Jazz FM’s Music of Paul Simon and Songs of the Brill Building, and special musical guest at the ACTRA Awards. Kathryn Rose’s five solo albums are widely available at her website and iTunes.

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.

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We’re turning 25 and the last two decades have been so much fun that we want to sale-a-brate in style with weeklong celebrations. We have unbelievable savings for you on premium wines happening throughout the week along with outstanding classes, events and complimentary tastings of wines, beers, and spirts happening at our main store. Visit our website for a full list of the festivities that we have happening. Thank you for helping us make the last 25 years so special and we look forward to many, many more!

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WINTER 2018/2019 | 31

14 FEB

Tweet Tweet Seats Seats The Rush Hour Series at The Rush Hour Series at the Calgary Philharmonic the Calgaryhas Philharmonic Orchestra a fun and Orchestra a fun and educationalhas component educational called Tweetcomponent Seats. Unlike called Tweet Seats. Unlike other concerts, at this special other at thisto special event concerts, you are invited take event youphone are invited to take out your and follow out your phone and follow @CPOrush to engage in @CPOrush engage in a real-time to interactive a real-time interactive discussion. Live tweets discussion. Live tweets from the CPO are carefully from theto CPO areinformation carefully curated share curated topieces share information about the as they about the pieces as you theyare are performed, and are performed, and and you ask are invited to comment invited to comment andisask questions. Tweet Seats also questions. Tweet Seats is also a great way to network with a great way to network with other arts lovers and share other arts lovers your feedback onand share your feedback on the performance. the performance. Rush Hour programmes are Rush Hourinprogrammes are one hour length and give one houroption in length andrush give you the to skip you option skip rush hourthe in the city to and take in a hour in the city and take in a live concert instead! live concert instead! Join the discussion! Join the discussion! @CPOrush @CPOrush

RUSH HOUR Thursday 14 February 2019 / 6:30PM

Rush Hour: Romance SPONSORS Associate Conductor Sponsor – Mary Rozsa de Coquet Guest Artist Sponsor – The Naomi and John Lacey Virtuoso Programme Conductor Couturier – Umberto Custom Tailors Ltd. Series – Enbridge Host Hotel – Fairmont Palliser Media – Calgary Herald

PROGRAMME Karl Hirzer, conductor Yi-Jia Susanne Hou, violin

Berlioz

Le corsaire, Op. 21

Ravel Tzigane

10'

Debussy La mer 23' I. De l’aube à midi sur la mer (From Dawn to Noon on the Sea) II. Jeux des vagues (Play of the Waves) III. Dialogue du vent et de la mer (Dialogue of Wind and Sea) Programme and artists subject to change without notice

Indicates Canadian artist or composer

Karl Hirzer biography on page 7 Yi-Jia Susanne Hou biography on page 35

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WINTER 2018/2019 | 33

Le corsaire, Op. 21 Hector Berlioz (1803 to 1869)

16 FEB

By the summer of 1844, Berlioz was in dire need of rest. He travelled to Nice on the French Riviera, hoping that a visit there would rejuvenate his muse. The locale and its stunning vistas not only soothed and refreshed him, they sparked his desire to compose. The result was this vigorous and expressive concert overture. The first performance proved unsatisfactory, and he put the piece aside for revision. He only found the time to do so during a visit to London. The new title, The Red Corsair, may have originated as a gesture of respect to The Red Rover, a popular adventure novel by an American author whose works he enjoyed, the recently deceased James Fennimore Cooper. He decided to delete the “rouge,” perhaps fearing that its association with Cooper would be taken too literally. Poème, Op. 25 Ernest Chausson (1855 to 1899)

DISCOVERY Saturday 16 February 2019 / 7:30PM

Debussy La mer 23' I. De l’aube à midi sur la mer (From Dawn to Noon on the Sea) II. Jeux des vagues (Play of the Waves) III. Dialogue du vent et de la mer (Dialogue of Wind and Sea)

After deciding that composition was his true calling (he also displayed considerable talent as an author and sketch artist), Chausson entered the Paris Conservatoire at 25. He evolved a highly personal style. For many years, one of the main ingredients was the emotional, mystical approach shared by the hugely influential German operatic composer Richard Wagner, and by Chausson’s primary teacher, César Franck. Chausson heard several Wagner operas in Bayreuth, including the premiere production of Parsifal in 1882. Another strong influence was the impressionist style of his close friend, Claude Debussy. This combination of factors resulted in a bittersweet, refined style that was concerned above all with beauty. He developed a close relationship with the celebrated Belgian violinist Eugène Ysaÿe. When Ysaÿe offered a commission for a work with orchestral accompaniment, Chausson replied with what was for him unusual speed, composing the Poème between April and June, 1896. At first he gave

Programme and artists subject to change without notice

Karl Hirzer biography on page 7

Pièces de résistance SPONSORS Associate Conductor Sponsor – Mary Rozsa de Coquet Guest Artist Sponsor – The Naomi and John Lacey Virtuoso Programme Conductor Couturier – Umberto Custom Tailors Ltd. Series – Enbridge Host Hotel – Fairmont Palliser Media – Calgary Herald, CKUA

PROGRAMME Karl Hirzer, conductor Yi-Jia Susanne Hou, violin

Berlioz

Le corsaire, Op. 21

Chausson

Poème, Op. 25

8' 16'

Ravel Tzigane

10'

Intermission

20'

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Indicates Canadian artist or composer

it the title Poème symphonique, subtitled The Song of Triumphant Love. He drew this from a short story by one of his favourite authors, Russian Ivan Turgenev, suggesting that he may have conceived the piece in programmatic terms. He eventually shortened the name to simply Poème. It won such great success that he expressed his surprise at the huge amount of applause it earned. As the name suggests, it is a lyrical work, but it also contains its share of passion. Yet “there is no description,” Chausson explained, “no story, nothing but sensation.” Tzigane Maurice Ravel (1875 to 1937)

In 1922, Ravel heard Hungarian violinist Jelly D’Aranyi in recital. After the concert, she played gypsy melodies at his request. Intrigued, he decided to pay homage both to her and her music in this fiery composition, Tzigane (the French word for a female gypsy). She gave the premiere of the original, violin-and-piano version in London during April 1924. Ravel created the even more colourful arrangement with orchestral accompaniment over the following summer. La mer

Yi-Jia Susanne Hou photo

Lisa-Marie Mazzucco

Claude Debussy (1862 to 1918)

Given Debussy’s taste for sparkling colours and fluid rhythms, the sea seemed a virtually inevitable subject for him. La mer (The Sea, subtitled Three Symphonic Sketches) is the most expansive and luxurious of his several seascapes. Anticipating criticism for not composing it while living close to the subject, he wrote, “You will tell me that the ocean doesn’t lap against the slopes of Burgundy... and that what I am doing is like painting landscapes in a studio. But I have so many memories; in my view they are more valuable than reality, which usually weighs too heavily on one’s thoughts.” The first performance took place in Paris on 15 October 1905. Programme Notes by Don Anderson

Yi-Jia Susanne Hou Violin

Renowned violinist Yi-Jia Susanne Hou has established a global reputation as an artist of passionate intensity and exuberant lyricism, allied by a flawless technique. Following unanimous wins at three of the most prestigious international violin competitions (Long-Thibaud; Lipizer; Sarasate), Hou has toured the world with great conductors such as Mstislav Rostropovich, Pinchas Zukerman, Alan Gilbert, and Marcello Viotti, along with ensembles including Philharmonique de Radio-France, Toronto Symphony, Hong Kong Philharmonic, and Tokyo Philharmonic. Recent successes for Hou include performances with the Shanghai Philharmonic, Lansing Symphony Orchestra, and the Oregon Mozart Players, return invitations to the Royal Philharmonic Orchestra in London with Alexander Shelley, the Trondheim Symphony Orchestra with Han-Na Chang, as well as an 18-city tour of Germany with the Sinfonietta Cracovia. Highlights of the 2018/19 season include a much-anticipated return to the Calgary Philharmonic Orchestra, as well as launching an extensive educational project throughout Canada. Yi-Jia Susanne Hou is represented by Wright Music Management.

2018

WINTER 2018/2019 | 35

17 FEB

Instrument Instrument Instrument Discovery Discovery Discovery Zoo Zoo Zoo Do you have a budding Do you have a budding musician on your hands? Do you have a budding musician on your hands? The Instrument Discovery musician on your hands? Zoo The Instrument Discovery Zoo at the Calgary Philharmonic The Instrument Discovery Zoo at the Calgary Philharmonic Orchestra givesPhilharmonic kids a chance at the Calgary Orchestra gives kids a chance to learn firsthand what it’s like Orchestra gives kids a chance to learn firsthand what it’s like to blow in a trumpet or it’s run a to learn firsthand what to blow in a trumpet or runlike a bow across strings to blow in a the trumpet or of run bow across the strings of a a violin. bow across the strings of a violin. a violin. Families attending Symphony Families attending Symphony Sunday for Kids concerts are Families Symphony Sunday attending for Kids concerts are invited to come early and are visit Sunday for Kids concerts invited to come early and visit one of several hosted invited comestations early and visit one ofto several stations hosted by an Orchestra musician. one of several stations hosted by an Orchestra musician. Each features a by anstation Orchestra musician. Each station features a different instrument ora musical Each station features different instrument or musical activity for children to try. This different instrument activity for children or to musical try. This fun, hands-on experience activity for children to try. is This fun, hands-on experience is the perfect way to indulgeis fun, hands-on experience the perfect way to indulge your child’s way curiosity and the perfect to indulge your child’s curiosity and excitement about visiting your child’s curiosity and excitement about visiting the Orchestra. excitement about visiting the Orchestra. the Orchestra. The Instrument Discovery The Instrument Discovery Zoo starts at 2PM and the The Discovery ZooInstrument starts at 2PM and the performance startsand at 3PM. Zoo starts at 2PM performance starts at the 3PM. performance starts at 3PM.

SYMPHONY SUNDAYS FOR KIDS Sunday 17 February 2019 / 3PM

Symphonic Fairytales SPONSORS Associate Conductor Sponsor – Mary Rozsa de Coquet Guest Artist Sponsor – The Naomi and John Lacey Virtuoso Programme Conductor Couturier – Umberto Custom Tailors Ltd. Instrument Discovery Zoo – Long & McQuade, V.A. Hill Fine Strings Ltd. Host Hotel – Fairmont Palliser Media – Shine FM, Calgary Herald

PROGRAMME Karl Hirzer, conductor Yi-Jia Susanne Hou, violin Ravel Rigaudon from Le Tombeau de Couperin

Tzigane

10'

Suite (5 pièces enfantines) from Ma Mère l’Oye (Mother Goose) 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'

Programme and artists subject to change without notice

Indicates Canadian artist or composer

Karl Hirzer biography on page 7 Yi-Jia Susanne Hou biography on page 35

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PHILKIDS Calgary Philharmonic Orchestra’s After-school Programme Thanks to the vision and support of long-time Calgary Philharmonic Orchestra supporter Judy Kilbourne, the CPO launched PhilKids — a meaningful after-school music programme — in 2015. Musicians from the CPO visit an elementary school to teach music lessons, Bucket Band ensemble, and music fundamentals classes to children who otherwise would not have access to such artistic programmes. PhilKids is designed to fuel and support the empowerment of children through the exploration of music. It offers elementary students ages six to 11 the opportunity to learn directly from musicians of the CPO. Teachers quickly develop a rapport of trust and respect with their students through close work twice a week over the school months.

“It’s always wonderful to walk into a room where you see children are engaged and curious. I can see the long-term effects of what the teachers, staff, and musicians have created. They have created a space for these students where their imagination and curiosity for the world is supported and encouraged.”

Yo-Yo Ma visits the CPO’s PhilKids programme at Keeler Elementary School, 2017

– Yo-Yo Ma

To learn more visit calgaryphil.com/philkids.

WINTER 2018/2019 | 37

22 + 23 FEB

Martin MacDonald Conductor

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

Sultans of String with Orchestra SPONSORS Host Hotel – Fairmont Palliser Media – Calgary Herald, XL 103

20'

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Indicates Canadian artist or composer

Martin MacDonald is one of Canada’s most outstanding conductors, winner of both the Heinz Unger and Jean-Marie Beaudet awards. Formerly Associate Conductor of Symphony Nova Scotia and currently a Cover Conductor for the National Ballet of Canada, Martin has guest conducted the orchestras of Toronto, the National Arts Centre, Calgary, and more. Previously, he has worked with the Minnesota Ballet, Atlantic Ballet Theatre, CBC broadcasts, commercial recordings, Winnipeg Symphony, Orchestra I Pomeriggi Musicali Milan, Akademisches Orchester Zurich, Cadaques Orchestra (Barcelona), Resident Conductor of Symphony Nova Scotia, and Associate Conductor of the National Academy Orchestra of Canada. With a Master’s in Orchestral Conducting from McGill University, and a Bachelor’s in Cello from Memorial University, MacDonald has studied with Alexis Hauser, Bernhard Gueller, Boris Brott, Michael Jinbo, Kenneth Kiesler, Gustav Meier, Jorma Panula, and Johannes Schlaefli. Martin’s conducting activities have been generously supported by the Canada Council for the Arts. MacDonald has a diverse musical background with a strong Celtic music tradition in his heritage and has toured and performed Celtic music extensively with members of his family throughout Europe and North America. Steve Hackman biography on page 42

Sultans of String Band

Three-time Canadian Folk Music Award winners and three-time JUNO nominees Sultans of String thrill audiences with their global sonic tapestry of Flamenco, Middle Eastern folk, Celtic, Gypsy-jazz, and Cuban rhythms celebrating musical fusion and human creativity with warmth and virtuosity. Fiery violin dances with kinetic guitar, while bass and percussion lay down unstoppable grooves. Throughout, acoustic strings meet electronic wizardry to create layers and depth of sound. Since forming 10 years ago, Sultans of String have hit No. 1 on national radio charts, No. 6 on Billboard (World-Music), landed The New York Times Hits list, plus garnered invitations to perform/record with such luminaries as The Chieftains, Alex Cuba, Nikki Yanofsky and Richard Bona. Sultans of String have been criss-crossing North America and the United Kingdom for the last several years at many taste-making forums such as JUNOfest, NYC’s Lincoln Center, and London’s Trafalgar Square, and played with the Toronto, Vancouver, Edmonton, Stratford, and Niagara symphony orchestras, as well with Kingsfield POPS in Maine, and Maryland’s Annapolis Symphony.

WINTER 2018/2019 | 39

Symphony No. 1 in C Minor, Op. 68 Johannes Brahms (1833 to 1897)

7 MAR

RUSH HOUR Thursday 7 March 2019 / 6:30PM

Rush Hour: Brahms SPONSORS Series – Enbridge Host Hotel – Fairmont Palliser Media – Calgary Herald

PROGRAMME Steve Hackman, conductor Brahms Symphony No.1 in C Minor, Op. 68 I. Un poco sostenuto; Allegro II. Andante sostenuto III. Un poco allegretto e grazioso IV. Adagio; Più andante; Allegro non troppo, ma con brio Programme and artists subject to change without notice

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45'

Composers gradually expand their horizons, all the while purging their music of other composers’ influences. Such was certainly the case with Brahms, but his progression from derivative songs and piano pieces to major works with a stamp uniquely his own was an unusually lengthy one. A large part of his difficulty sprang from his occupying a place in which virtually every ambitious composer of the 19th century found themselves: beneath the towering shadow of classical music’s most potent innovator, Beethoven (1770 to 1827). That feeling plagued Brahms even though many of his supporters saw him as Beethoven’s true symphonic heir. “I shall never write a symphony,” he told his friend, conductor Hermann Levi. “You have no idea how the likes of us feel when we hear the tramp of a giant like him behind us.” Time and circumstance eventually led him to renounce his anti-symphonic vow. When Brahms was 21, his first hearing of Beethoven’s Ninth Symphony so overwhelmed him that he set out to compose a symphony of his own. His sketches refused to fit that form, and he ended up using them in Piano Concerto No. 1 and A German Requiem. Several years and several pieces later, his Variations on a Theme by Joseph Haydn (1873) finally demonstrated that Brahms had arrived at a unique and commanding orchestral style, one where warmth and body of sound took precedence over instrumental colour for its own sake. Meanwhile, he had been working on his official first symphony. He finally felt it ready to be heard, some 20 years after he had begun it. Felix Dessoff conducted the premiere in Karlsruhe, Germany on November 4, 1876. The first performances all won great success, confirming in Brahms’ mind that he really did possess the necessary skills to follow in Beethoven’s footsteps as a great composer of symphonic music. Brahms’ admirers included the eminent conductor Hans von Bülow. It was he who grouped Brahms Steve Hackman biography on page 42

together with Bach and Beethoven as the “Three Great Bs of Music.” Bülow and Brahms’ other supporters expanded upon this adulation by referring to Brahms’ First Symphony as “Beethoven’s Tenth.” Though the composer may not have appreciated the comparison, in certain senses it is inescapable. The emotional arc that Brahms’ First traces — from darkness to light — links it to Beethoven’s symphonic ideals, especially those of the Fifth (which is also set in the same key, C Minor). Brahms’ use of a chorale melody in the finale calls Beethoven’s Ninth to mind, as well. When someone pointed out that the chorale resembled Beethoven’s Ode to Joy theme, he replied sharply, “Any jackass can see that!” Because of his devotion to such traditional musical forms as the symphony and chamber music, he found himself the conservative standarbearer in the great musical conflict that raged in central Europe during his lifetime. “Found himself,” because his placement in that position had more to do with the activities of the conservative press and public than with conscious desires or efforts on his part. Due mostly to their politicking, he was widely seen as the great successor to Felix Mendelssohn in this point of view, and thus the chief opponent of the innovative Romantic radicals led by Franz Liszt and Richard Wagner. His true feelings were different. “I once told Wagner himself that I was the best Wagnerian of our time,” he said. “Do you take me to be too dull to have been as enchanted as anyone by the joyousness and sublimity of [Wagner’s opera] The Mastersingers? Or dishonest enough to conceal my view that I consider a few bars of this work as of more value than all the operas that have been written since?” Programme Notes by Don Anderson

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9 MAR

Steve Hackman Conductor

SPECIALS Saturday 9 March 2019 / 7:30PM

Brahms v. Radiohead SPONSORS Series – United Active Living Host Hotel – Fairmont Palliser Media – Calgary Herald, CKUA, Kool 101.5

PROGRAMME Steve Hackman, conductor Kéran Tayar, vocals Will Post, vocals Andrew Lipke, vocals Brahms/Radiohead (arr. Hackman)

Tragic Overture v. Street Spirit

15'

Brahms/Radiohead

Brahms Symphony No. 4, 2nd movement v. House of Cards

Radiohead (arr. A. Lipke)

Creep

Brahms

Hungarian Dance No. 5

Radiohead (arr. Hackman)

There, There

Intermission

20'

Brahms/Radiohead (arr. Hackman)

66'

Steve Hackman’s ‘Brahms v. Radiohead’ (a Stereo Hideout production)

Programme and artists subject to change without notice

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Steve Hackman has emerged as the leading innovator in the new landscape of orchestral music. A virtuoso in both classical and popular idioms, he crafts and conducts blended musical works that appeal to fans of both worlds. He has conducted his Brahms V. Radiohead, Beethoven V. Coldplay, Copland V. Bon Iver, Tchaikovsky V. Drake, Bartók V. Björk, and Mashupalooza with the symphony orchestras of Pittsburgh, Nashville, Indianapolis, Oregon, Alabama, Florida, North Carolina, Charlotte, Columbus, the Colorado Music Festival and the Boston Pops. In May 2018, Hackman created and debuted his Stereo Hideout Orchestra at Kings Theater in Brooklyn. This ensemble will make regular appearances at Kings Theater and other theatres of Ambassador Theater Group in future seasons. From 2015 to 2017, Hackman served as Creative Director and conductor of FUSE@PSO, a genre-defying series at the Pittsburgh Symphony. On the pop side, Hackman creates music as a producer, DJ and songwriter under the moniker :STEREO HIDEOUT:. His latest album The Gates Unknown was released in February 2018.

Kéren Tayar

Will Post

Andrew Lipke

Kéren Tayar’s diverse musical career began in the theatre at age seven — “a little girl with a big voice” — dazzling audiences on many of New York City’s major stages. At age 13, Tayar discovered a passion for the guitar and her self-taught skill-set quickly became her primary means for accompaniment and songwriting. Tayar’s two worlds collided during her studies at Berklee College of Music. Her show-stopping performances garnered high praise in musical theatre, and her love for folk, pop, rock and jazz opened avenues in the worlds of songwriting and composition. After partnering with a renowned team in Los Angeles, Tayar’s band Jungle Fires recorded their debut EP, Bliss Point, and several songs are pending placements in major television network shows and films. She actively creates material for many types of musical projects and collaborates with musicians and producers of every kind. She lends her talents as a vocalist and instrumentalist on tours, in studio sessions, in writing projects and in production work.

Will Post is a singer, composer, producer, and pianist from Chicago, Illinois. Post started playing piano and writing songs when he was four years old, and through the years has honed his taste and talents in nearly every way possible, from orchestras to a cappella groups, Carnegie Hall to Warped Tour, and everywhere in between. Post feels most at home when combining his classical sensibilities with the ethos of the current moment, creating work that serves the now and launches itself into the future, toward eternity. In 2014, Post released his solo record, Panthenon, an otherworldly concept album four years in the making. Vulnerable and relatable, this sonic masterpiece follows a cinematic arc through space and time. The accompanying live show, with wild projection-mapped visuals designed by Post, takes audiences through a fully immersive visual and sonic journey of the soul to worlds unknown. His next album and live show will be debuting this fall in Chicago.

South African-born Andrew Lipke moved to Philadelphia to pursue a degree in composition at The University of The Arts and has since become a critically acclaimed and sought after composer, performer, arranger, producer, and educator. Lipke is driven by a passion to find the common ground between disparate styles of music, and his career reflects this. He has performed with and composed/arranged for several prominent American orchestras and ensembles such as The Aizuri Quartet (The Curtis Institute string quartet in residence), Indianapolis Symphony, North Carolina Symphony, Colorado Music Festival Orchestra, among others. He has produced dozens of records for local and regional artists and released five solo albums. In 2010, Lipke formed the Azrael String Quartet to perform music he had written for his album The Plague, which upon release was named one of 2011’s 50 best albums by Philadelphia Weekly. Through his involvement with the Philadelphia-based non-profit LiveConnections, Lipke has collaborated with several members of the Philadelphia Orchestra and other prominent musicians to create crossgenre presentations for young people highlighting the transformative and boundary-crossing nature of music.

Andrew Lipke photo

Chris Sikich

Vocals

WINTER 2018/2019 | 43

Double Concerto in A Minor, Op. 102 Johannes Brahms (1833 to 1897)

15 + 16 MAR

SHOWCASE Friday 15 March 2019 / 7:30PM Saturday 16 March 2019 / 7:30PM

Brahms Double with Cohen + Choi Presented in partnership with Morningside Music Bridge SPONSORS Conductor Couturier – Umberto Custom Tailors Ltd. Media – Calgary Herald, News Talk 770

PROGRAMME Rune Bergmann, conductor Diana Cohen, violin Arnold Choi, cello

Symphony in E Minor, Op. 7 (Rebirth) Mieczyslaw Karlowicz (1876 to 1909)

Brahms Double Concerto in A Minor, Op. 102 I. Allegro II. Andante III. Vivace non troppo

32'

Intermission

20'

Karlowicz Symphony in E Minor, Op. 7 (Rebirth) I. Andante - Allegro II. Andante Non Troppo III. Vivace IV. Allegro Maestoso

48'

Programme and artists subject to change without notice

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This was the last of Brahms’ four concertos. It continued the practice of having multiple solo instruments in a concerto that had been established by Baroque-era composers such as Bach, Vivaldi, and Telemann, and maintained by Classical-period composers including Haydn, Mozart and Beethoven, and Brahms’ fellow 19th-century Romantics such as Mendelssohn and Bruch. It is a very demanding medium, calling for much ingenuity in making sure that the solo instruments receive equal attention. Brahms met that challenge admirably. He and Joseph Joachim, the esteemed Hungarian-born violinist, conductor and composer, enjoyed a close, productive friendship. Brahms consulted closely with Joachim during the composition of the Violin Concerto and dedicated it to him. Shortly after the premiere in 1879, Joachim’s marriage came to an end. Brahms decided to take Mrs. Joachim’s side in the split, thus alienating his friend. After several years of painful separation, Brahms sought reconciliation the only way he knew how: through music. During the summer of 1887, he composed this serious and substantial concerto for violin and cello, with Joachim specifically in mind. Joachim decided to accept this musical apology, although observers noted that he and Brahms never again achieved the same degree of camaraderie they had enjoyed prior to their split. The first performance took place in Cologne, Germany on 15 October 1887. Brahms conducted, with Joachim and cellist Robert Hausmann as soloists.

Indicates Canadian artist or composer

When Karlowicz died in an avalanche at 32, Poland lost one of its most promising musical talents. Offspring of a wealthy family of academics, Karlowicz initially trained as a violinist before switching to composition while continuing his studies in Berlin (1895 to 1901). He returned to Poland and devoted a great deal of time and Rune Bergmann biography on page 7

energy to the Warsaw Music Society, leading its orchestra as concertmaster and eventually becoming its director. His earliest compositions consisted of piano pieces and songs, setting the stage for the more mature and individual Serenade for Strings (1897, with its echoes of a work of similar makeup by one of his favourite composers, Tchaikovsky), and the incidental score for a play, The White Dove (1900). In his latter-day creations, he adopted a cosmopolitan, international style rather than the folkflavoured approach favoured by many of his Polish contemporaries. Poland’s first important composer of symphonic poems, which show the influences of Richard Strauss and Wagner, Karlowicz created six substantial examples from 1903 to 1909: Returning Waves, Eternal Songs, Lithuanian Rhapsody, Stanislaw and Anna Oswiecim, A Sorrowful Tale, and Episode at a Masquerade. Author Richard Whitehouse says that they “evince a strong attraction to the pantheistic and existential tendencies found in such philosophers as Schopenhauer and Nietzsche, along with the attributes of solitude and an emotional pivoting between fervent affirmation and stark despair, which are a natural corollary to such thinking.” This 40-minute symphony was his most ambitious work by far. He may have begun it as early as his term in Berlin. He completed it in 1902 and the first performance took place in Berlin in March 1903. For the second performance, he provided an elaborate program note to describe the emotional contents he wished it to communicate. To quote author Alexander Wightman, it “described the artist’s psychological rebirth after he has overcome early disappointments through unceasing hard work. There can be little doubt that this text reflected Karlowicz’s own sense of disillusion after professional and personal arracks in Berlin.” The symphony replicated the time-honoured, darkness-to-light emotional arc that Beethoven had pioneered in his Fifth, and which had been carried forward by Brahms, Mahler, Tchaikovsky and other symphonic masters. Programme Notes by Don Anderson

2018

Diana Cohen

Arnold Choi

Praised for her “incredible flair, maturity and insight,” violinist Diana Cohen leads a multi-faceted career as a Concertmaster, chamber musician, soloist, and arts administrator. Appointed Concertmaster of the Calgary Philharmonic Orchestra in 2012, she previously served as Concertmaster of the Richmond Symphony Orchestra and Kalamazoo Symphony Orchestra while maintaining an active freelance career in New York City. She has held the same position with Charleston Symphony (with which she performed numerous works as soloist), The National Repertory Orchestra, Iris Orchestra and Red {an orchestra}, and has been guest Concertmaster with the Rochester Philharmonic and the Phoenix Symphony. As a founding member of the piano trio Trio Terzetto, Cohen has toured and recorded in cities across the United States and Canada. Trio Terzetto has been presented on chamber music series in cities including New York, Cleveland, Ann Arbor, Memphis, Charleston, Lansing, Detroit, Augusta, Charlotte, South Bend, and Asheville. They recently made their solo debut with the Lansing Symphony, performing Beethoven’s Triple Concerto.

Arnold Choi is the Principal Cellist of the Calgary Philharmonic Orchestra. Described by The New York Times as having a “rich tone, and muscular style,” Choi has performed to great acclaim throughout North America, Europe and Asia. He is a prize winner of Korea’s Gyeongnam (Isang Yun) International Cello Competition, and Mexico’s Carlos Prieto International Cello Competition. He has also won the grand prize at numerous competitions throughout North America including the Montreal Symphony Orchestra Competition, the Kingsville International String Competition, the Canadian National Music Festival, the CMC Stepping Stone Competition, and the Shean Competition, among others. He has performed as soloist with several orchestras around the world including Montreal Symphony Orchestra, the Okanagan Symphony, Edmonton Symphony, the Quebec Symphony Orchestra, the Shanghai Opera House Orchestra, and the Schleswig-Holstein Festival Orchestra. At the age of 14, he gave his first solo recital tour in Mexico. Since then, he has given several recital tours throughout North America as a soloist and chamber musician. Arnold Choi was a long-time participant in the Morningside Music Bridge programme, which he credits with shaping the scope of his musical ambition.

Violin

Cello

WINTER 2018/2019 | 45

17 MAR

Heather Rankin Singer

SPECIALS Sunday 17 March 2019 / 3PM

A Celtic Celebration with Heather Rankin

After over 25 years of performing with her siblings, Heather Rankin comes into her own with A Fine Line, her debut solo record. This is Heather Rankin like you have never heard her before, breaking away from The Rankin Family’s signature sound, and forging her own musical legacy with her poetic, intimate original songs, and an eclectic mix of others. This is an exciting record and an exciting musical departure for Heather Rankin, who sold more than a million records as part of The Rankin Family, sang backup vocals on Carly Simon’s album The Bedroom Tapes and has been featured on the recordings of such artists as The Chieftains, Johnny Reid and Will Ackerman.

SPONSORS Associate Conductor Sponsor – Mary Rozsa de Coquet Conductor Couturier – Umberto Custom Tailors Ltd. Host Hotel – Fairmont Palliser Media – Calgary Herald, Country 105

PROGRAMME Karl Hirzer, conductor Heather Rankin, singer + fiddle Casey O’ Loughlin School of Irish Dance Calgary Fiddlers Programme to be announced from stage Programme and artists subject to change without notice

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Indicates Canadian artist or composer

Karl Hirzer biography on page 7

Sublime Music Inspired Preaching Living Tradition Casey O’Loughlin Academy of Irish Dance

Calgary Fiddlers

Founded by former Riverdance cast members Cara and Mark O’Loughlin, the Casey O’Loughlin Academy of Irish Dance has been instructing children in Calgary in the art of Irish dance for over 12 years. Their dancers have performed at the Jubilee Auditorium with the Calgary Philharmonic Orchestra and other artists several times. They have also performed onstage alongside the cast of Riverdance the Show. Not only seasoned performers, their competitive accolades include placing second at the World Championships in 2015.

Since the formation of the Calgary Fiddlers in 1981, this highly skilled group of amateur musicians ranging from 13 to 17 years of age has performed for live audiences, television and radio broadcasts. Over the years, the group has toured extensively throughout Spain, France, Scotland, Ireland, and all over the United States. This past summer, they travelled to Tennessee where they had the honour of performing in many historic venues including the Grand Ole Opry. The enthusiasm and energy of youth mixed with the precision of highly trained and musically gifted talent is what has set the Calgary Fiddlers apart from other youth groups across the globe for 37 years. Their extraordinary musicianship, choreography and interactive performances have left a lasting impact on communities around the world. These 17 amazing musicians are backed up with percussion, strong vocals, mandolin, upright bass and accordion while offering a unique fiddle fusion of traditional folk fiddle, country, bluegrass, Celtic, contemporary and big-band genres.

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

www.anglicancathedralcalgary.ca

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

WINTER 2018/2019 | 47

48 | PRELUDE calgaryphil.com | 403.571.0849

KLEIN/HARRIS

Teatro

Charcut

RESTAURANTS TO START OR FINISH A NIGHT WITH THE CPO

night out at the Calgary Philharmonic Orchestra rarely starts — or ends — with just beautiful music. A complete night out should also involve a drink or two, along with some nibbles, before or after the concert. And those looking to make a night of it are in luck — some of Calgary’s best restaurants and bars are within easy walking distance of the Jack Singer Concert Hall. Whether you’re looking for a quick appetizer and glass of wine or a late-night meal created with local ingredients, it’s easy to find downtown. BAR ANNABELLE One of the newest establishments to find a footing on Stephen Avenue Walk, this narrow slip of a wine bar has an extensive and well-curated wine list, along with scotch, Japanese whiskey, and gin. Nibbles are provided by sister restaurant Blink, a long-established and award-winning spot nearly next door. With vintage vinyl on the record player and a cozy setting, it’s great for before or after any concert.

By Gwendolyn Richards KLEIN/HARRIS Delicious food underpinned with the distinct flavour of Canadiana, this Stephen Avenue restaurant has successfully answered its own challenge to create dishes and drinks that rely solely on Canadian ingredients. A little leeway is made for their incredible cocktails created by Christina Mah, one of the masters of the craft. 110 8 Ave SW, open until midnight on Friday and Saturday

TEATRO There’s nothing closer than Teatro to the CPO, but that is the least of the reasons to check out this spot. Celebrating 25 years of serving impeccable dishes backed by an incredible wine list, there’s a reason this venerable spot has stood the test of time. Take a seat at the bar to sip a classic cocktail while nibbling on olives or arancini — crispfried balls of tender risotto. 200 8 Ave SE, open until 11PM on Friday and Saturday

109a 8 Ave SW, open until midnight on Friday and Saturday

CHARCUT This meat-centric spot is probably best known for its cutting boards topped with roasted meats and charcuterie, but you don’t have to come for a sit-down dinner — though there’s nothing wrong with that! Sidle up to the bar, order one of the cocktails from their ever-changing list and choose from a selection of snacks made in house. You can’t go wrong with any of the charcuterie, but we also love the decadent poutine. 899 Centre St S, open until 1AM on Friday and Saturday

Gwendolyn Richards is a Calgary-based food and travel writer and the author of Pucker: A Cookbook for Citrus Lovers. She is a regular contributor to the YYSCENE.

Calgary’s Go-To Guide to Getting out theyyscene.com WINTER 2018/2019 | 49

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. License number: 501576 | Registered Charity: 118823863RR0001

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WINTER 2018/2019 | 51

The Naomi + John Lacey

Programme

C L A R K FA M I LY

OUR CHAMPIONS The Calgary Philharmonic Orchestra is able to achieve its goals thanks to the generous support and dedication of its Champion donors. Every contribution, large or small, plays a vital role in the success of the Calgary Philharmonic Orchestra, and allows the Orchestra to share its love of music with others through its education and outreach programmes, live-streaming, the commissioning of new works, bringing world-class guest artists and conductors to Calgary, and supporting the next generation of artists. Your support of these programmes is greatly appreciated. For more information on how you can support the Orchestra please visit calgaryphil.com/donate. 52 | 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 Programme helps the CPO bring renowned artists, like award-winning soprano Renée Fleming, to Calgary. calgaryphil.com/virtuoso

Clark Family Champions Elaine and Jeremy Clark, along with their daughters Keiko and Chloe, are committed to supporting new initiatives and encouraging the next generation of philanthropy. In supporting projects such as live-streaming, Meludia, HeartStrings, pre-concert chats, and the Mozart Patron Programme, the Clark Family has helped bring more music to more people. Your donation helps the CPO continue to undertake new and innovative projects and initiatives. calgaryphil.com/newinitiatives The Borak Forte Programme The Borak Forte Programme, founded by Ellen and Allen Borak, helps sustain the art of Choral music by supporting the Calgary Philharmonic Chorus. The Borak Forte Programme nurtures the development of Calgary’s finest large Chorus, led by Chorus Master Timothy Shantz. Your donation to the Borak Forte Programme helps support 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 1 to 5, are provided the opportunity to work closely with musicians from the Calgary Philharmonic Orchestra in an immersive music experience. Your donation to PhilKids supports the empowerment of children through music. calgaryphil.com/philkids WINTER 2018/2019 | 53

FREQUENTLY ASKED QUESTIONS What do I wear to the Orchestra? At the Calgary Philharmonic Orchestra there is no formal dress code. We want you to feel comfortable and relaxed so you can enjoy the performance. Most attendees wear business-casual attire, but you will ultimately see everything from blue jeans to cocktail wear. Dress in your own style and what makes you most comfortable. What happens if I arrive late? When attending the Symphony, expect the Orchestra to start right on time. During pieces, the doors to the concert hall are not open. Ushers do their best to seat latecomers at appropriate breaks. In some cases, this may not be possible until the completion of an entire work. When do I clap? This is one of the most common questions for new people attending an orchestra performance. Traditionally in classical music culture, audiences wait until the end of an entire piece (there can be multiple movements in one piece) before applauding. This is a mindful practice that is intended to 54 | PRELUDE calgaryphil.com | 403.571.0849

respect the performersâ&#x20AC;&#x2122; focus and how the music flows throughout the piece. The conductor typically puts his/her arms down completely and turns to the audience to signal the piece is finished. It is also helpful to follow along with the programme notes (inside this magazine on the specific concert page where you will also find guest artist biographies and repertoire). Where can I find parking near the Jack Singer Concert Hall? The C-Train is located one block from the Jack Singer Concert Hall and there are many parking lots in the area. Please leave plenty of time for parking as many of the lots are very popular. Underground parking is available at Arts Commons. Other nearby options include: Civic Plaza Parkade, Telus Convention Centre Parkade, and the outdoor 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, you can take photos in the concert hall before and after the concert and during intermission. As a courtesy to the musicians and other patrons, please put your mobile devices away for the duration of the performance. Flash photography is not permitted and if used during a performance, you may be asked to leave. During Rush Hour concerts only, photos (without flash) are allowed throughout the performance, and we encourage you to follow along on Twitter @CPOrush 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!

Dick + Joyce Matthews Endowed Chair Piano

Lifetime members of the Calgary Philharmonic Orchestra and Arts Commons

Frank + Carol Gray Endowed Chair Principal Percussion, Joshua Jones

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

Peter + Jeanne Lougheed Endowed Chair Associate Concertmaster, John Lowry Hotchkiss Endowed Chair First Violin Section Member Dennis Sharp + Hélène Côté-Sharp Endowed Chair Second Violin Section Member, Craig Hutchenreuther Dalgleish Endowment of Chair 66 Second Violin Section Member, Minnie Min Kyung Kwon Eckhardt-Gramatté Foundation Endowed Chair Principal Viola, Laurent Grillet-Kim In memory of Sophie-Carmen Eckhardt-Gramatté

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

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In honour of Tim Rawlings’ 42 years of service

H.D. Klebanoff Endowed Chair First Violin Section Member, Olga Kotova Today’s Champions Contributions of $1,000 and over from 1 October 2017 to 30 September 2018 Foundations, Funds, Government + Trusts $1,000,000+ Alberta Foundation for the Arts 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 Norreen Baker Fund Alan D. Castle Endowment for the Arts Percy + Lois Cole Fund Pamela Grigg Charitable Fund Dick + Lois Haskayne Fund Honens Calgary Philharmonic Society Fund H.D. Klebanoff Memorial Fund Anne Marie Peterson Legacy Fund Canadian Heritage $25,000–$99,999 Edmonton Community Association Sir Jack Lyons Charitable Trust The Palmer Family Foundation Rozsa Foundation Taylor Family Foundation $10,000–$24,999 Berkhold Family Foundation Calgary Shaw Charity Classic Foundation glasswaters foundation $5,000–$9,999 The Brawn Family Foundation Cenovus Employee Foundation Polish Canadian Association

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

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

$1,000–$2,499 Rajendra + Dinesh Agrawal Peter Appleby Andrew Azmudeh Irene Bakker Diana + David Ballard Barbara Beaton John Bonnycastle Diane Boutin Joye Brown Patricia + James Burns Marion R. Burrus Meredith + Pat Cashion Catherine + Stan Climie Gertrude Cohos Averil Cook Rae + Phillip Cram Lloyd Crosby Lori Cutler + Nick Kuzyk David Daly Dawn + Rao Darsi Alexandra De Freitas James Dennis Betty Douglas Catherine Evamy Verna Jean Fairbrass Mark Ferrier Philippa FitzGerald-Finch Donna + Denis Fonteyne Beverly + David Foy Gwyneth + Lloyd Gillette Carlie-Jean + Eldon Godfrey Ian Hawkins Daniel Heng + Christopher Brooks Carol + David Henley Mary Hetherington Brigid Hogan + Brendan McCracken Linda Hohol Joan + Gordon Holland Anne + Steve Howard James Hughes Carrol Jaques + Bob Loov Mae Jardine Valerie + Craig Johnstone Brenda Jones Mary Anne Katzenberg Madeleine King + Robert Taylor Barbara + Hugh Klaassen Jane Lang Susannah Law + Joshua Hosein Diane + David Macdonald Chris K. MacKimmie Simone MacRae Patrick Marcotte Anne + David Q. Martin

Elizabeth + Gene Maurice Jane McCaig + Richard Waller Barb + Gord McFarlane Vickie + Russ McKinnon Rene + Mark McManus Marco Mejia Jessie + Richard Mercer Kenneth Mills Marilyn Moldowan Mike Morrow Shelagh + Faiz Nadir Pam Nagai Betty + Willis O’Leary Sheryl + David Olson Maureen + David Payne Lara Pella Daniel Philips Nellie Pintus Janet Poyen Irfhan Rawji Christine Rendell Sonia + Bob Reynolds Vera A. Ross Ruth Ann Rozsa Rayner Sheila + Italo Sartorio Jerry Schwartz Hedy + Clark Seaborn Eleanor + Don Seaman Mary + Richard Shaw Alfred Sorensen Mira Starczyk + Tom Skrzypinski Ryan Stasynec Betty J. Stein Debbie + David Stephens Kathy + David Stuart Carolyn + David Tavender Harry Taylor Helen + Henk ter Keurs John Thompson Ruth + Mark Trueman Naomi + John Tyberg Jane + Michael Vandale Patricia Van De Sande Margaret + Russell Varnam Susanna + Shirley Walker Sheila Wappel-McLean + Brent McLean Peggy + Bill Warren Catherine + Bruce Williams Joyce Williams Robert Woodward Shirley Zielsdorf + Ed Letkeman

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WHEN DID YOU START PLAYING? By David Sussman Assistant Principal, Oboes, English Horn

Many of us in the orchestra started playing music at an early age, without any idea that it would become a profession. I started studying the violin at age seven and took up the oboe when an instrumental music program kicked in at school in Grade 7.

For example, needing a large vehicle for transportation (piano), paying for an extra seat on an aeroplane (cello), spending hours making reeds (oboe), or carrying around 47 spare strings (harp). The positives carry us through any inconveniences we encounter.

Many young people have a very specific idea of what attracts them to a particular instrument. For some it is a certain quality of sound that they love. Some are particularly drawn to very low or high pitches. There are those that like holding a larger instrument and those that feel most comfortable with something smaller.

Pianists and string players tend to start their instruments at an earlier age. Traditionally string instruments have been readily available in child-friendly half, quarter, and even eighth sizes. Smaller versions of wind instruments exist, but are rarer, so many wind players wait until their fingers can cover all the keys or their arms can extend a trombone slide far enough.

It felt more natural to me to create phrases with the airstream rather than a bow. Some brass players get a literal buzz from vibrating their lips. Some kids just like hitting things. Personality can play a role in choosing an instrument. One will definitely be noticed tooting on the high piccolo or proclaiming a fanfare on the trumpet. Some love to play the melody while others prefer harmony or a blending inner part. For some, rhythm draws them in and for others, it is the bass line. Some want the challenge of a â&#x20AC;&#x2DC;difficultâ&#x20AC;&#x2122; instrument (although all instruments are equally hard to eventually master). As youngsters, we luckily see only the things that draw us to our instruments. We donâ&#x20AC;&#x2122;t consider the possible drawbacks!

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As we grow, we may find that perhaps we are more physically suited to a larger instrument and may switch, for example from violin to the larger viola. Many of us remember with great clarity favourite orchestral pieces we first heard as children or played during early orchestral experiences. To this day, I still experience the same visceral thrill of being in the midst of all that orchestral sound that I first felt as a young player. When I started playing, I had no idea I would end up as a professional musician. It was fun and challenging and social and fulfilling. I am happy to say it still is!

Enthusiastic supporter of our CPO Marilyn Moldowan ASSOCIATE BROKER Direct: 403.870.3432 marilyn.moldowan@remax.net

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