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inTune Featuring Thomas Yu
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Finding Our Prairie Voice The idea behind “Finding Our Prairie Voice” started out as a note on paper and then snowballed into what has become the concept on which we are basing the future of the SSO. It is clear that exploring what it means to be from the prairies resonated with audiences—the results have been spectacular. Subscriptions and donations are up over previous years. This at a time when orchestras all over the globe are questioning whether or not music lovers will still buy subscriptions. This is great news for the prairies! With all the excitement around our breakeven success of last season, it’s a good time to be truly proud of the musicians before you this season. From celebrating worldrenowned performers, to debuting exceptional young talent and growing your orchestra, this is a thrilling year. It is time to be very proud of your orchestra —to be proud of this province’s love of orchestral music. Share your love of these concerts with friends. Share our good news stories. Volunteer. Invest in this incredible artistic endeavour.
But most of all, enjoy the show. We are so proud to bring you these magical moments; the goal is to take your breath away. And if we do, please tell all your friends. It’s time they got a taste for live music too. See you at the symphony, Mark Turner Executive Director
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Singing the praises of of Saskatchewan musicians. As Saskatchewan artists explore their horizons and follow their dreams, SaskTel proudly supports the creativity and talent that make our province unique. more about SaskTel and its products, ices and promotions at sasktel.com sasktel.com.
Ensuring the show goes on.
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Saskatoon Symphony Board and Administration HONOURARY PATRONS Honourable Brad Wall, Premier of Saskatchewan, and Mrs. Tami Wall His Worship, Mayor Donald J. Atchison and Mrs. Mardelle Atchison Dr. Gordon Barnhart, Interim President, Vice-Chancellor, University of Saskatchewan
BOARD OF DIRECTORS Sarah Alford Judy Balon Andrew Beaton Rob Dobrohoczki Lynn Ewing Annalisa Govenlock
Shawn Heinz Sharon Hildebrand Shelly Loeffler Lisette Mascarenhas Neil Reddekopp Bryn Richards
SSO MANAGEMENT AND STAFF Victor Sawa, Music Director
Lillian Jen-Payzant, Orchestra Library
Mark Turner, Executive Director
Electric Umbrella, Marketing marketing@saskatoonsymphony.org
Theresa Torgunrud, Office Manager Sarah Stack, Director of Operations Terry Heckman, Director of Personnel
SASKATOON SYMPHONY CENTRE 408 20th Street West Saskatoon, SK S7M 0X4 Telephone: 306.665.6414 Fax: 306.652.3364 office@saskatoonsymphony.org www.saskatoonsymphony.org Twitter: @SSO_stoon Facebook: Saskatoon Symphony Orchestra
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VIOLIN 1
Orchestra
David Grosse
Michael Swan Concertmaster
Saache Heinrich
Stephen Kreuger
Jeremy Janzen On Leave
Zachary Carter
William Boan Assistant Concertmaster
Heather Wilson
FLUTE Randi Nelson Principal
Mary Lou Day
Miles Buchwaldt
Lillian Jen-Payzant
Stacey Mennie
Joan Savage
CELLO
Marcel van den Hurk
Lahni Russell Principal
Brenda Moats (flute, piccolo)
Supported by Sandra Beardsall, Bill Richards, Esther Cherland, David Jobling
OBOE
John Payzant Bernadette Wilson
Kevin Junk (oboe, english horn)
Carman Rabuka
CLARINET
Christina Bakanec
Margaret Wilson Principal
Simon Fanner Maxim Pletnev
VIOLIN 2 Oxana Ossiptchouk Principal Karen Bindle Rosanne Daku Sophie McBean Arthur Boan
Scott McKnight
Evan Friesen
BASS
VIOLA
Richard Carnegie Principal
James Legge Principal Supported by the Viola Section of the Saskatoon Philharmonic
Supported by Kay and Mark Turner in memory of Wayne Turner David Humphrey
Supported by Lilian and Doug Thorpe
Erin Brophey Principal
Melissa Goodchild
BASSOON Stephanie Unverricht Principal Supported by Mary Marino, in memory of Lucia Marino
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Marie Sellar (bassoon, contrabassoon)
James LeBlanc
PERCUSSION
TROMBONE
HORN
Don Schmidt Principal
Mathieu Pouliot Principal - On Leave
Carol-Marie Cottin Principal Arlene Shiplett Dubrena Bradley Anna Millan
TRUMPET Terry Heckman Principal Daniel Funk Dean McNeill On Leave
Brian Unverricht
Bryan Allen Principal
Dawn McLean Belyk
Supported by the Ewing Family in memory of Earl and Mary Ewing
TUBA
Kevin Grady
Brent Longstaff Principal
HARP
Supported by Electric Umbrella
Cécile Denis Principal
TIMPANI
BASSOON EMERITUS
Darrell Bueckert Principal
Peter Gravlin
Personnel varies by concert. We gratefully acknowledge the support of additional musicians who perform with the orchestra when larger works are presented.
Violin: Evan Barber, Bryn Rees, Kristan Couture, Luke Hnenny – Viola: Emily Woytiuk, Michael Hrycay Flute: Jennifer McAllister – Bassoon: Peter Gravlin – Horn: Roxanne Inch – Trumpet: Frank Harrington Piano/Keyboard: Gillian Lyons – Percussions: Brad Litster
Our Named Principal Chair Program offers a unique opportunity for music lovers and donors to be recognized for their gifts and allows you to foster deeper and personally meaningful connections with the orchestra. A Named Principal Chair presents the opportunity for an individual, group, company, or foundation to name, honour, or remember someone special by attaching their name to one of the key positions in the orchestra. Being recognized as a donor to the SSO through the Named Principal Chair Program is about more than a financial commitment to your orchestra. This program will provide you with an important link to our musicians and artistic team. To name your chair, please contact Angela Kempf at 306.665.6414 or email development@saskatoonsymphony.org,
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A modern renaissance man… Dentist by day, pianist by night...but if you follow the adventures of this periodontist you’ll discover there’s a lot more to Thomas Yu than his exceptional tone at the piano. Keeping up with the travels of Yu is exciting – hiking mountains, speeding along the autobahn in a tiny sports car, and meeting the legendary musician, Alfred Brendel, all seem to be par for the course for this Saskatoon-born pianist. The SSO is lucky to have Yu return to the stage this evening. This prairie voice is performing Mozart’s beloved Piano Concerto 21 – its second movement being one of the most famous melodies ever written. This concert pairs the Mozart concerto alongside Haydn’s classic Farewell Symphony. Wolfgang Amadeus Mozart and Josef Haydn were colleagues with a special bond. The friendship was one of great
inspiration and mentorship for both composers – frequently dedicating work to one another, often becoming a muse for the other. It is no coincidence that the SSO chose Adam Johnson to conduct this concert – he and Yu have been friends for years. The mutual admiration of these two is palpable, and, yet for all their years as friends, they have never performed on stage together… until now! The concerto will showcase Yu at his finest. The work requires someone who is more than a mere pianist – it begs for a musician who can tackle its technical sensitivity while seeking out the colour and vibrancy that Mozart poured in to the work. In other words, it wants to be played by someone with great depth. Enjoy the evening as these great friends make great music together with the SSO.
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Experience the eexquisite, xquisite, XXVII VII centur century, y, handcraf handcrafted ftted Ama Amati ti instruments spectacular setting.. in a spec tacular setting
November 15, 2014, Knox United Church at 2 PM and 7:30 PM
January 10, 2015, Knox United Church at 2 PM and 7:30 PM
HAY HAYDN YDN - String String Quar Quartet tet in C major major,, Op Op.. 76, No No.. 3 Quartet MENDELSSOHN - String String Quar tet in E flat major SMETANA SME TANA - Str String ing Quar Quartet tet in E minor
HAYDN HA AYDN - Str String ing Quar Quartet tet in C major major,, Op 20, No No.. 2 MOZART String Quartet MOZ ART - Str ing Quar tet in B flat, KK.458 .458 DEBUSSY - Str String ing Quar Quartet tet in G minor minor,, Op Op.. 10
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Hallelujah! – A Sing A-Long Messiah As a kid I hated Handel’s Messiah. It was too hard to sit through. And every time it felt like it was over, it wasn’t. So skip past the part where I became a professional musician and jump to having to teach music history – I still hated Messiah, but now I had to teach it to students and inspire them to love it. I went to the concert each year so that my students would see me there soaking it all in for the glory of the music. But I still hated it. Then, two years ago, I attended a performance of Messiah given by Tafelmusik Baroque Orchestra…and there was something there. At the time I was working with a young tenor who was learning the Messiah arias for the first time. I listened to every recording I could get my hands on and researched and studied scores and editions. What I found was magical. Handel wrote Messiah in 24 days – not a staggering pace for a man who could whip off an opera in two weeks, but still an impressive feat. He mixes and matches styles here; he is at his most detailed and perfected while exploring the sounds of the human voice and heart. Take for example his use of the modest beat three – the words that are of the utmost importance to Handel always fall on the third beat of the bar. This might sound unimportant, but from an early age in music we are taught that music in common time is to be expressed as “strong-weak-medium-weak.” Here now we have a master expressing to us that the important word, the word in a phrase that makes all other words have value is placed on the medium beat.
Or better still is his ability to paint colours with words. Listen to the tenor sing “Comfort Ye” with the peaceful hue Handel gives him. Listen to the soprano’s voice literally “Rejoice!” Hear the alto’s voice burn like a refining fire. And experience the grounded centering of “Peace on Earth.” It is no mistake that Handel wanted his audience to explore these with him. I personally want to invite you to come to Messiah this year – come to the Friday night and experience the power of the exceptional story-telling, or come on the Saturday afternoon and explore the score with us. It doesn’t matter if you can sing, or if you feel like you don’t know the music – just be part of it. Sit inside a living breathing performance and experience what it must have been like to hear this music for the first time. Go to it with new ears. Feel the kinetic energy of everyone working together to make beautiful music – it’s glorious! Mark Turner
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Funders and Corporate Sponsors 2014-2015 Season FUNDING AGENCIES
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The best in live roots music Thursdays @ 8:00 - Fridays @ 9:00PM
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View from a Prairie Sky – JOHN ESTACIO, COMPOSER The first time ever I experienced the glorious spectacle of the Aurora Borealis was a few short years ago when I arrived in Edmonton. Up until that moment I had to settle for textbook explanations and a geography teacher’s descriptions. I had no idea what I was seeing when I first noticed the majestic curtains of swirling green light in the sky one crisp October evening until a friend confirmed that it was indeed the Northern Lights. I was completely captivated and awestruck by the magical sight of dancing light; how could I not be inspired to compose a piece of music?! Having recently completed two serious compositions, it was the right time to revisit a style for unabashed lyrical melodies and joyous bright orchestral colours that Borealis would require. Borealis is meant to be awe-invoking and attempts to capture the ethereal atmosphere of the lights of the northern skies; wide streams of bending, curving light that
abruptly disappear and reappear. The ephemeral nature of these celestial happenings is represented by the sudden colourful outbursts followed by movements of near silence. The movement begins with the strings playing a major chord and then gradually glissing (bending the pitch) until they all arrive at a different chord; for me, this musical gesture captures the essence of bending curtains of light and serves as a recurring motive throughout this movement. A solo flute introduces fragments of a melody; this melody is not heard in its entirety until later in the piece when it is performed by a solo bassoon and then an English horn. The strings perform the melody and the composition swells to its climax featuring the brass and the sound splashes provided by the percussion. The movement concludes with a unique auditory effect in the percussion section that again attempts to convey the enchanting and magical quality of the borealis. Hear John Estacio’s Borealis performed by the SSO on January 24.
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BRAHMS – VARIATIONS ON A THEME BY HAYDN OP 56A 20 mins Thema. Chorale St. Antoni (Andante) Variation I. Poco più animato (Andante con moto) Variation II. Più vivace (Vivace) Variation III. Con moto Variation IV. Andante con moto (Andante) Variation V. Vivace (Poco presto) Variation VI. Vivace Variation VII. Grazioso Variation VIII. Presto non troppo (Poco presto) Finale. Andante At the time Brahms completed these variations, he had already published several well-received sets of variations on themes of Schumann (1854), Handel (1861), and Paganini (1862-3). But he was critical of how he and his contemporaries handled such works, writing to violinist Joseph Joachim in 1856: “I sometimes ponder on variation form, and it seems to me it ought to be more restrained, purer. Composers in the old days used to keep strictly to the base of the theme as their real subject. Beethoven varies the melody, harmony and rhythms so beautifully. But it seems to me that a great many moderns ... cling nervously to the melody, but we don’t handle it freely, we don’t really make anything new out of it, we merely overload it.” Perhaps this was in his mind when he worked on the St. Anthony variations. Not only did it mark the turning point in his career as an orchestral composer, it is the first set of independent variations for orchestra by any composer. And in his inventiveness and range, Brahms was far from “clinging nervously” to any theme. The opening (Chorale St. Antoni) introduces the St. Anthony theme as it was presented in the “Haydn” work, with oboes and bassoons, now supported by strings and horns. Brahms’ orchestration evolves to include more of the orchestra, but not in any way that “overloads” the theme: he lets us hear it clearly in the character of its original form, so that we
might appreciate what attracted him to it in the first place. The first variation, Poco piu animato, immediately involves us in something much more: various sections of the orchestra play pulsing notes in the chords of the theme, while two contrapuntal moving parts play against them. This is but a taste of what’s to come throughout the piece, as Brahms systematically changes everything but the essential structure of the theme in each variation. The second variation, for example, Piu vivace, changes the key to minor, syncopates the rhythm, and gives us an insistent, dance-like movement. The following Con moto is indeed a study in motion, with a steady, ever-flowing version of the theme weaving back and forth between sections of the orchestra and individual instruments. Variation four, Andante con moto, transforms the theme into a haunting minor melody over broad, slow lower strings and winds. The fifth variation, Vivace, presents an energetic scherzo somewhat reminiscent of Brahms’s hero Beethoven that segues immediately into a regal, brassy second Vivace. Variation seven, Grazioso, is a gentle siciliano, a slow 6/8 or 12/8 form associated in Brahms’ day with pastoral scenes and romantic melancholy. The Presto non troppo of the last variation is a bit of sleight of hand: quickly moving parts almost manage to hide the theme in their winding melodies, with the pedal points spread out over six octaves. But it is in the long Finale that Brahms demonstrates his prowess. For this section is in the form of a Baroque passacaglia, with a five bar basso ostinato sounding the theme under an everchanging series of 17 variations that transform through a series of harmonic and rhythmic enhancements to end in a triumphant coda and restatement of the Chorali St. Antoni. Without a doubt, Brahms proved that he could handle a melody “freely” and create something altogether new. Notes by B Heninger
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MOZART – PIANO CONCERTO NO. 21 IN C MAJOR 30 mins Piano Concerto in C major, K467 (1785) Allegro maestoso Andante Allegro vivace assai This is the concerto with the most atmospheric of all Mozart slow movements. What, if anything, the music signified in Mozart’s mind when he wrote it we shall never know, for the simple reason that eighteenth-century composers did not treat their works as vehicles for the expression of personal feeling. To imagine that Mozart was any different is to look at him, in the words of one authority, through inappropriately romantic eyes. There is simply not a shred of evidence—no public statement, no quoted conversation, no private letter—to suggest that he ever linked his music to actual events in his life. Yet the slow movement of this concerto does sound profoundly evocative. But of what? The film director Bo Widerberg, in his sentimental Swedish tragedy, Elvira Madigan, employed it as the most meaningful of background music. And it’s true that, to a degree unmatched perhaps by any other Mozart slow movement, a haunting iridescence steals through this andante in a peculiarly palpitating form, whereby the softest, most fine-spun of themes receives the most muted yet most restless of accompaniments. The nocturnal hush of the string tone, the ascents and descents of the melody, the sudden little stabs of pain, the delayed entry of the piano, the aching modulations, the operatic leaps of the very vocal melodic line, the chromatic poignancy, the disturbing dissonances and the sweetness with which they are resolved all contribute to the strange, dreamlike beauty and trembling rapture of the score—and to what can only be called the mystery that is Mozart. Every tiny detail makes its point in a way that the printed notes scarcely hint at. Every deft stroke, every phrase length, every change of colour is similarly dumbfounding. The
expected interplay between piano and orchestra is largely missing. The piano, once it has made its entry, is there for keeps—or almost for keeps, because there is a brief moment where it is disquietingly absent. Yet the movement, extraordinary though it is, is in no way at odds with the rest of the work, or with Mozart’s other concertos of the period, mostly designed for himself to play at one or another of the Viennese subscription concerts whereby he raised money. The sheer splendour of the opening movement, however, surpasses most of its predecessors in the way a characteristically simple march-like rhythm is employed as a basis for majestic and spacious development. The repartee between soloist and orchestra, for all its wit, possesses a grander than usual symphonic dimension that was to become still grander in the first movement of the later C Major concerto, K503. As for the finale, it springs, after the troubled tranquility of the andante, into action like some sort of galvanized gavotte, with a main theme whose first six notes propel this classical rondo at one point through the most exhilarating whirl of modulations. Notes by C Wilson
INTERVAL – 20 mins
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HAYDN – SYMPHONY NO. 45 IN F SHARP MINOR, “FAREWELL” 35 mins Allegro assai, 3/4 Adagio, 3/8 Menuet: Allegretto, 3/4 Finale: Presto, 2/2 – Adagio, 3/8 Of the reasons for a composer to write a symphony (the most common are a fierce urge, a commission, or just part of the job), the one to solve a management-labour problem is singular. But it seems to be the explanation for the existence of Haydn’s Symphony No 45. In his position as Kapellmeister to Prince Nikolaus Esterházy, Haydn was both employee and, in a sense, employer of the fine musicians who comprised the resident house band. In 1772, in what was an especially long season at Nikolaus’ grand country castle (built in Hungary, at enormous expense, to compete with Versailles), the musicians, understandably lonely for their families and wanting to return to Vienna, sought their boss’ help. The crafty Haydn did what any redblooded Austrian composer would do: he wrote a symphony. But he waited until the last movement to press his case. There, when the music’s dynamic momentum could bring the movement to a close, there is a pause, and an unexpected Adagio begins. As this new section proceeded, player after player finished his part (no hers in that orchestra), blew out his candle and left, until only two violins (Haydn himself and Luigi Tomasini) remained, and they too followed their colleagues. ‘Tis said, mission accomplished: the good Prince gave his musicians their leave. Symphony No. 45’s appropriateness on this occasion is second only to its absolutely firstrate quality. The “Farewell” stands out, quite apart from its unique purposefulness, as a particularly original, affecting work. Long before the programmatic adieu, the Symphony makes innumerable vital points. The first movement plunges immediately into a main theme of disarming sinew, with the first violins striding down an F-sharp-minor
chord while the low strings accompany in relentless single notes and second violins maintain an aura of agitation with a repeated, syncopated figure. The main theme, strengthened with sudden accents and dissonances, pervades the entire first part of the movement, and not until the development section is there a contrasting lyric idea. It makes an appearance and is never heard from again. The second movement is one of the great Haydn Adagios, warmly coloured both harmonically (the major-minor inflections are heralds of Schubert) and in its scoring with muted violins throughout. The Adagio’s gentleness carries over into a Minuet that glides with an unaccustomed grace, considering Haydn’s usual bumptious dance movements. An old Gregorian melody sets an ecclesiastical tone in the Trio, which is dominated by horns. The finale is all whiplash energy until the raison d’être appears. As the orchestra thins out, the atmosphere grows ever more pensive until, at last, the violins’ duet speaks of farewell in poignant, rather than happily expectant, tones. In subduing his Prince, Haydn summoned a deep well of emotion. Notes by O Howard
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Thomas Yu pianist Canadian pianist, Thomas Yu, is one of the most versatile artists performing today. He has appeared as a guest soloist in such prestigious venues including Carnegie Hall (New York), BBC Hodinott Hall (Wales), Symphony Hall (Chicago), Théâtre du Châtelet, Salle Gaveau and Salle Cortot (Paris), Bösendorfer Hall (Vienna), Forte de Copacabana (Rio de Janeiro), Chopin Music Academy (Warsaw), Hakuju Hall (Tokyo), Glenn Gould Studio (Toronto), National Arts Centre (Ottawa) and the Chan Centre for Performing Arts (Vancouver). He continues to delight audiences across four continents while maintaining a full-time career as a periodontist. As an amateur pianist, Yu has won several prizes including the 2012 Chetham’s International Competition (Manchester), 2010 Bradshaw & Buono International Piano Competition (New York), the 2009 Bösendorfer International Piano Competition for Amateurs (Vienna), as well as the 2006 International Competition for Outstanding Piano Amateurs (Paris), where he took first prize along with the Press Award and Audience Award. Yu is also a winner of several national competitions, including the Canadian Music Competition and the Canadian Federation of Music Teachers’ Association Piano Competition. In addition to his musical pursuits, Dr. Yu obtained his DMD with Great Distinction from the University of Saskatchewan. He then completed a General Practitioner Residency at Mount Sinai Hospital in Toronto before obtaining his Master Degree in Periodontics at the University of Toronto. He now owns a private practice in Calgary and teaches at the Foothills Medical Hospital. Yu has been featured on CBC TV, Bravo!, TV5 and France 2 television. He has also recorded with CBC Radio, Classical 96.3FM and Radio France and Radio Classique. Yu has received accolades from the Governor General of Canada, Lietuenant Governor of Saskatchewan as well as the Mayor of Toronto. To celebrate their 100th anniversary, the University of Saskatchewan named Yu as one of the school’s top 100 most influential alumni. Photographer Tony Hauser has also included him in his book, The Power of Passion, which features prominent Canadians such as Adrienne Clarkson, Richard Bradshaw, Stephen Lewis, Pinkas Zuckerman and David Suzuki. During his dental training, Thomas concurrently took private piano lessons during the evenings and weekends. A pupil of Bonnie Nicholson for several years, Yu spent six years as a private student at the Glenn Gould School of Music in Toronto with esteemed pedagogue, Marc Durand. Yu has also worked with Leion Fleisher, Julian Martin, Robin Harrison and the late Marek Jablonski. As a laureate of the 2nd Canadian Chopin Competition, Yu also competed in the 15th International Chopin Competition in Warsaw, Poland.
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Adam Johnson guest conductor The 2013/2014 season marked Adam Johnson's highly-successful debut as Resident Conductor of the Calgary Philharmonic Orchestra, and established him as one of Canada's top young conductors. Originally from Hinton, Alberta, Mr. Johnson holds a Doctorate in Piano Performance from the Université de Montréal and a Prize in Orchestral Conducting from the Conservatoire de musique de Montréal. A recipient of grants from the Alberta Foundation for the Arts, the Alberta Arts Graduate Scholarships, the Fonds de la Fondation les Amis de l'Art and the Bourses d'excellence from the Université de Montréal, he has also studied conducting at the National Arts Centre in Ottawa and the Pierre Monteux School in Maine. He was assistant conductor of l'Orchestre philharmonique des musiciens étudiants de Montréal (OPMEM) for the 2012-2013 season. As a pianist he has participated in masterclasses at the Banff Centre for the Arts, the Orford Arts Centre, and the Morningside Music Bridge in Calgary. He has performed across Canada, as well as in France and Japan. He has joined his colleagues in the Calgary Philharmonic Orchestra playing various keyboard instruments, and was the organist for the 2013 performances of Handel's Messiah under renowned baroque specialist Ivars Taurins. Highly in demand as a pedagogue, he joined the faculty of the McGill Conservatory in 2010, and the Université de Québec à Montréal faculty in 2013. He has also taught harmony, analysis, and chamber music, and translated a major treatise on harmonic analysis from French to English.
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Saskatoon Symphony Supporters Circle Thank you donors! We are so proud to have a committed and growing group of donors who provide crucial support helping the SSO create great music and memorable experiences in our community. We couldnâ&#x20AC;&#x2122;t do it without you. Thank you!
Sustaining supporters BHP Billiton Cameco Corporation CEL Electrical Contractors Conexus Credit Union Lynn Ewing & Bill Feldbruegge Annette & Monty Keene Pishny Floyd Florence Joan Foss Estate K+S Potash Mary Marino
Floyd McNabb Estate in memory of Effie McNabb New Community Credit Union Janet & Art Postle Potash Corporation of Saskatchewan Frank & Ellen Remai Foundation SGI SIGA
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Darla Saunders & Bruce Harrison Roger & Lorraine Schmid James Stinn Bernie & Doug Taylor Adelle Tosh Kay Turner Ryan Walker Chris & Natisha Wiechnik / LifeMark Health Centre Mark Wolff / Advance-Tek Consulting Carol & Joel Yelland
Patronâ&#x20AC;&#x2122;s Club Judy & Percy Balon Brian Mallard & Associates / Brian Mallard Insurance Services Ltd. Esther Cherland Kenneth & Penelope Coutu Yvonne Cuttle Anne Doig & Bob Cowan Adele & Gene Dupuis / Prairie Meats Electric Umbrella Shelley Ewing Lynn Gee Mark Gryba
*Through the Saskatoon Community Foundation
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Saskatoon Symphony Supporters Circle Donors this season Donald & Sylvia Acton Pamela & Murray Acton Shirley Acton Sina Adl Affinity Credit Union Vanessa Amy Areva Resources Canada, Inc. Earl Ballard Mary Barrett-Lenz Herta Barron Heidi Bartsch Audrey Bayduza Carol Beaulieu Keri Beebe Anna Beeton Diane Bekolay Dawn McLean Belyk Kathleen Bender Trevor Benning BMA Group Benefits Division Ltd. William Boan Ron Boden & Gail Zink Gloria & Herman Boerma Eileen Boryski Carol Boryski John Botari Evelyn Bowman Brainsport - The Running Store Ann Brander Audrey Brandt Erin Brophey Lois Bruce Darrell Bueckert Robert & Helen Card Joan Champ
Bill & Mary Chapman Cheethamâ&#x20AC;&#x2122;s Pharmacy Maureen Cline Community Electric Ltd. Mary Conklin Anne-Marie Connor Janice Cook Carol-Marie Cottin Paul & Viola Coutu Elizabeth & Ron Cuming Roseanne Daku Mary Lou Day Pamela Delong-Hendry Department of Physics & Engineering Physics, U of S Brenda Derdall Joyce Dibski John Doane Robert Dobrohoczki Mitchell Doepker Tyler Dovell Geraldine Dowling Margaret Dragan Beverly Drew Marie Dunn Dolores & Donald Ebert Robert & Vina Edwards Lois Elder Phyllis Ellis Vanessa Emy Esther Beryl English Barbara & Jake Ens Paul Ens Elsie Epp Richard & Linda Ewen Leona Ewert Joan Feather
Jacqueline Ferraton Allan & Helen Few Joan & Peter Flood Carmen Foley Lynne Fowke Rachel Fowlie-Neufeld Meta Freitag Mary Friesen Jonathan & Ruth Friesen Joe & Cathy Fry Daniel Funk Sherril Gelmon Don Gendzwill Larry & Judy Glazier Melissa Goodchild Fran Gordon Annalisa Govenlock Delores Gradish Kevin Grady Alexander & Katharine Grier Louise Griffith Aline Guillas Doreen Haaland Ted & Marie Hammer Michael Harris Brian & Loretta Hartsook Bob & Ollie Hasselback Michael Hayden Susan Healey Terry Heckman Dorothea Heckman Shawn Heinz Evelyn Henault Mary-Jane Hendel Robert Hendry Bob & Doreen Hickie Helen & Derek R. Hill
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Saskatoon Symphony Supporters Circle Janet Hill Jack Hillson Kimiko Hirose Stuart & Mary Houston Neil R Hughes Hume Family Fund* Dennis & Rosemary Hunt Michele Hupaelo Ian Innes George James Tim James Willis & Marlys Jantz Arnold & Deborah Janzen Eunice Janzen Lillian Jen-Payzant David Jobling Bev Johnson Phyllis Johnston Roger & Marie Jolly Kevin Junk Anne & Rick Kalenchuk Gerarda Kaye Kyle Kennedy Kim Kennett John & Myrna King Anna Klaassen Fund* Howard & Elizabeth Klein Mark Kornder Kirsten Kos Jackie Kozak Dr. & Mrs. G.J. Kraay Jeffrey Kulyk Ken LaBorde & Jeanne Remenda Michelle LaBrash Land & Estates Management Inc. Jacques Lanteigne Frederick Leighton
Leland Kimpinski LLP Joyce & Karl Lenz Shelly Loeffler Mairin Loewen Brent Longstaff Brenda & Wayne MacDonald Colin Macdonald & Theresa Skwara* Heather MacDonald Effie MacLean Estate Margaret Marcoux Peggy & Tim Martin Mary Matwyuk Marjorie Mazzei Sophie McBean Judy McCrosky Vicki McDougall Allan McGuire Hugh & Sheryl McKee Donald McKercher Robert McLellan Shirley & Wallace McNeil Dean McNeill Phav Meekins Ivar Mendez B.J. Michaels Stuart & Dorothy Middleton Isabelle Mills Lawrence Mitchell Brenda Moats Margaret Monks Joanna Morrow Jacqueline Mowchenko Ans Nahirney Peter H. Neijmeijer Willette Neijmeijer Matthew Neufeld Ken & Vel Neumann
New Community Credit Union Ross Nikiforuk Earl Nostbakken Hilda Noton Pat Nowoselski Noella Nutting Wendy Obrigavitch Grattan O’Grady Catherine O’Leary Verna Olfert Constance Owen-Jones Martha Pankratz George & Ellen Parchomchuk Rosanna Parry Photography Ceri Patrick Jamesy Patrick John Patterson John Payzant Ronald & Betty-Ann Perkins Jan Phillips Joe Ponic Mathieu Pouliot Ned Powers John Prietchuk Henriette Quessy Vern Ratzlaff Neil Rawlyk Robert & Sylvia Regnier Norrie Reid Kathryn Probert Ruth Radostits Jill & Derby Reid Karen Reynaud Arlene Reynolds Betty Reynolds Kathy Rhoden Paul & Dorothy Riemer
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Saskatoon Symphony Supporters Circle Al & Sandra Ritchie Myrna Rolfes J. Frank Roy Lila Rudachyk Leslie Ruo Alan & Edda Ryan Nicole Ryan Rhonda Sader Andrea Sargent Saskatchewan Registered Music Teachers Assoc. Saskatoon Community Foundation Saskatoon Co-operative Assoc. Ltd. Saskatoon Funeral Home Saskatoon StarPhoenix Saskatoon’s Composers’ Performance Society Harvey & Grace Sauder George Schmid Judy Schmid Angela & Randy Schmidt Viola Schmidt Don Schmidt Kassidy Schneider Ralph & Marg Schneider Frances Schultz Sheila Scott Marie Sellar John Senior
Phillip Settler Arlene Shiplett Robert D. & Lura Mae Meeds Sider Fund* Audrey & Peter Siemens Bonnie & Grant Skomorowski Rosemary Slater Shanon Sofko Ruth Solheim Charlene Sorensen Harmony Souls Elenor & Gordon Sparks Darci Speidel Marie Spencer Terry Stannard Pius Steckler Frank Strange Sunrise Publishing Ian & Meredith Sutherland P. Michael & Margaret V. Swan Olive Swerhone TCUPlace The Gallery / Art Placement Karin Tate Kenneth Thomas Derek Thompson Kate Toews Edward & Dorothy Tymchatyn
Michael Tyrrell United Way University of Saskatchewan Brian Unverricht Ursulines of St. Angela’s Convent Agnes Valade Douglas Vaughan Tanya Veeman Marilyn & Jim Veikle Albert & Marjorie Veroba Anthony & Darlene Walliser Mary Sue Weinmaster Johann Wentzel Erika Wentzel Ross Wheaton Elsie White Shannon Whyley Victor & Erna Wiebe Katie Wiens Bill Wildeman Dennis Will Michael Williams Heather Wilson Marilyn Wipf Gary & Amy Wobeser William Yang Yip Memorial Fund* Catherine Zeilner Tom & June Zurowski
Our donor recognition policy is continuing to evolve, and we appreciate your continued assistance in helping us to ensure that we have your preferred names or anonymity requests for future donor acknowledgements. If you would like to change the way we display your name or your name has been accidentally omitted, please contact Angela Kempf, Director of Development, at development@saskatoonsymphony.org or 306-665-6414.
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Upcoming Events December 6 A UKRAINIAN CHRISTMAS Saturday, December 6, 2014, TCU Place, Sid Buckwold Theatre, 7:30 pm - Lastiwka Choir - Pavlychenko Folklorique Ensemble
12 MESSIAH Friday, December 12, 2014, Knox United Church, 838 Spadina Cres E. 7:30 pm - Matthew Pauls Baritone - Spencer McKnight Tenor - Chelsea Mahan Soprano - Lisa Hornung Mezzo-Soprano - Duff Warkentin Guest Conductor - Saskatoon Symphony Messiah Chorus
13 SINGALONG MESSIAH Saturday, December 13, 2014, Knox United Church, 838 Spadina Cres E. 2:00 pm Bring your friends and family to our new Singalong Messiag and raise your voices in celebration of this incredible music, with the same superb artists and conductor as our classic presentation.
January 18 QUINTET (PLAYERS CHOICE SERIES) Sunday, January 18, 2015, Delta Bessborough, 2:30 pm
24 NORTHERN LIGHTS (MASTER SERIES) Saturday, January 24, 2015, TCU Place, Sid Buckwold Theatre, 7:30 pm
28 TIME FOR TODDLERS Wednesday, January 28, 2015, SSO Rehearsal Hall, 408 20th St W, 9:30 am
www.saskatoonsymphony.org
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