ESO Signature Magazine: Sep/Oct 2016 by Venture Publishing

SEPT/OCT 2016

WILLIAM EDDINS Back for 2016/17

REBEL, REBEL

Windborne’s Music of David Bowie

CHOPIN & NIELSEN Alex Prior leads The Masters

A TRANSFORMATIVE GIFT Marc de La Bruyère

loves local music ATB is thrilled to present world class musical experiences in the heart of our beautiful city. When it comes to the arts in Alberta, weâ&#x20AC;&#x2122;re fans first.

SIGNATURE Contents Volume 32, Number 1 | SEPTEMBER / OCTOBER 2016

PUBLISHED FOR the Edmonton Symphony Orchestra at the Francis Winspear Centre for Music 9720 102 Avenue, Edmonton AB T5J 4B2 Administration: 780-428-1108 Box Office: 780-428-1414 Email: info@ winspearcentre.com Website: www.edmontonsymphony.com

D.T. Baker program notes D.T. Baker eso editor

Letters to the editor, comments and/or suggestions are welcome.

WELCOME

pg. 5

ARTISTIC & LEADERSHIP TEAM

pg. 6

EDMONTON SYMPHONY ORCHESTRA 2016/17

pg. 7

FEATURE: A TRANSFORMATIVE GIFT

pg. 8

(Eddins, Petrov, McPherson, Uchida)

THE EDMONTON SYMPHONY ORCHESTRA

2016/2017 SEASON

ROBBINS POPS SINGERS & SONGWRITERS: MICHAEL CAVANAUGH

PUBLISHED BY

(SEPTEMBER 23 & 24)

William Eddins, conductor Michael Cavanaugh, special guest 10259 105th Street, Edmonton AB T5J 1E3 Inquiries: 780-990-0839 Fax: 780-425-4921 Email: sales@venturepublishing.ca Website: www.venturepublishing.ca publisher managing editor art director graphic designer vice president of sales director of sales senior account executive

Ruth Kelly Kim Tannas Charles Burke Andrew Wedman Anita McGillis Sue Timanson Kathy Kelley

Signature magazine, the official publication of the Edmonton Symphony Orchestra, is published from September to June. Contents copyright 2016 by Edmonton Symphony Orchestra/ Francis Winspear Centre for Music. No part of this publication should be reproduced without written permission.

LEXUS FRIDAY MASTERS / SATURDAY MASTERS MAGNIFICENT MOZART (SEPTEMBER 30 & OCTOBER 1) William Eddins, conductor & piano Jacqueline Woodley, soprano Virginie Gagné, violin

WINDBORNE’S MUSIC OF DAVID BOWIE (OCTOBER 3 & 4)

Brent Havens, conductor Tony Vincent, vocalist

Photo: Christy Dean

pg. 11

pg. 14

ROBBINS LIGHTER CLASSICS MUSIC OF THE NIGHT (OCTOBER 6)

pg. 15

EARLY CLASSICS MIDWEEK THE FOUR SEASONS (OCTOBER 12)

pg. 19

AIR CANADA SATURDAY MASTERS CHOPIN PIANO CONCERTO NO. 2 (OCTOBER 29)

pg. 21

DONOR LISTINGS

pg. 23

ESO BOARD & SENIOR STAFF

pg. 28

OUR SUPPORTERS

pg. 29

Robert Bernhardt, conductor Nora Bumanis & Gianetta Baril, harps Robert Uchida, violin

William Eddins, conductor & harpsichord Robert Uchida, violin William Eddins begins his 12th and final season as the Edmonton Symphony Orchestra’s Music Director in 2016/17 by conducting and performing in Magnificent Mozart (see page 11). He also leads the Early Classics Midweek concert of Mozart & Chopin (see page 19).

pg. 10

Alexander Prior, conductor Charles Richard-Hamelin, piano

ON THE COVER SEPTEMBER/OCTOBER 2016

SIGNATURE 3

MAKE YOUR HOME A

masterpiece

PROUD SPONSOR OF THE EDMONTON ARTS

it’s what’s inside

W W

WELCOME

ELCOME TO THE 2016-17 SEASON OF YOUR EDMONTON SYMPHONY

Orchestra. This also happens to be my 12th season as Music Director, and I hope you enjoy the music that we have on dock for you this year. We’re starting the year with an all-Mozart program because … well, why not? It turns out the guy was pretty good at what he did, as I think you will agree after hearing our concerts. Other highlights include a symphonic tribute to one of my favorite artists and one of the great pioneers of music in the 20th Century – Mr. David Bowie. Also, don’t forget to get your tickets for what promises to be a fabulous rendition of Vivaldi’s Four Seasons featuring our Concertmaster, Mr. Robert Uchida. I hope you enjoy this season as much as I plan on doing, and I will see you on the back end. Peace,

William Eddins Music Director

ESO / Winspear Centre Vision: Providing outstanding music experiences for individuals, families and the community and a place where those experiences evoke the height of personal emotion, adventure, and excitement.

University of Alberta | Department of Music

2016/17

Música Contemporânea Brasil A vivid snapshot of contemporary Brazilian art music rarely performed in Canada.

Friday, Sept 23 @ 8 pm

WHAT’S ON at UALBERTA? Alumni Weekend Free Concert Elite music students in the Symphonic Wind Ensemble & University Symphony Orchestra perform Eine kleine Nachtmusik.

A Musical Feast A musical celebration of food to nourish the body & soul. Performed by John Tessier, Elizabeth Turnbull, Sherry Tessier, David Wilson and Shannon Hiebert.

Saturday, Oct 15 @ 8 pm Convocation Hall

ualberta.ca/artshows

Convocation Hall

Sunday, Sept 25 @ 1 pm Convocation Hall

Prism A fast-paced, “flash of light” style presentation showcasing the Department of Music’s students and faculty.

Sunday, Oct 16 @ 3 pm Winspear Centre

he 2016/17 season marks the 12th and final season for WILLIAM EDDINS as Music Director of the Edmonton Symphony Orchestra. Under his guidance, the orchestra has reflected his tremendous passion and enthusiasm, as well as his diverse musical curiosity – while establishing a major profile in the Edmonton cultural community. His ESO tenure has sparkled with memorable performances, from Mozart concertos he has led from the piano to daring performances of Stravinsky (Petrushka, The Rite of Spring), Bartók (The Miraculous Mandarin), and Messiaen (L’Oiseaux exotiques). He conducted the ESO at its triumphant debut at Carnegie Hall in 2012, mentored Lucas Waldin as Conductor in Residence, and oversaw tremendous artistic growth in the orchestra itself. His time here has seen him conduct concerts in every subscription series in addition to galas and special performances. He continues

s Executive Director of the Francis Winspear Centre for Music and Edmonton Symphony Orchestra, ANNEMARIE PETROV believes in the transformative power of music. She is privileged to oversee the administration of a flagship Canadian performing ensemble and an internationally renowned concert hall; one built 20 years ago by a community that embodied today’s Make Something Edmonton movement. Over the past eight years, Annemarie has built a high-performing organization, integrating the operations of both the concert hall and symphony orchestra, and steadfastly growing their endowment funds. For Annemarie, people are an organization’s most valuable asset, especially when they understand

OHN MCPHERSON has been a multi-faceted professional

musician for over 40 years who is now increasingly making his mark as a notable Canadian composer. Commissions and grants have been received from the Edmonton Symphony Orchestra, Toronto Symphony Orchestra, Edmonton Recital Society, Alberta Foundation for the Arts, Grande Prairie Regional College, and the Debut, Wild Rose, and Beau String Quartets. His works have been performed by the ESO, Festival City Pops Orchestra, Mark Fewer, Bill Eddins, Robert Uchida, Hammerhead Consort, Take 3, Windrose Trio, NOWage Orchestra, Beau Quartet, XIA string quartet, and others. Many of these performances have been recorded and broadcast on programs such as Arts National, Two New Hours, and Alberta in Concert. A native of Edmonton, John was a student of composer and trombonist Malcolm Forsyth. He has been Principal Trombone of the Edmonton Symphony Orchestra since 1980,

that tradition in 2016/17. Bill Eddins lives in Minneapolis with his wife Jen, a clarinetist, and their two sons Raef and Riley. He continues to be a passionate chamber musician as well as a guest conductor. Their home now boasts a state-ofthe-art recording studio, built by Mr. Eddins himself. Bill caught the conducting bug while a piano student at the Eastman School of Music. In 1989, he began conducting studies at the University of Southern California with Daniel Lewis, followed by assistant conductorships at both the Minnesota Orchestra, and the Chicago Symphony (the latter under Daniel Barenboim). For more, visit WilliamEddins.com

their part in a compelling strategic vision. The cornerstone of her vision for the Winspear Centre’s long-term plan is focused on four key strategies: being a true centre for music in our community, delivering exceptional experiences, inspiring musical creativity, and ensuring resiliency and sustainability. The plan has resulted in milestones such as the orchestra’s return to Fort McMurray after two decades, the Winspear Centre’s Completion Project which will see the addition of smaller performance and program spaces, and the launch of the Tommy Banks Institute for Musical Creativity, delivering educational and community-based musical arts programs for all ages. This includes YONA-Sistema, the city-centre afterschool program that the ESO launched three years ago with the help of Rotary. Annemarie has been recognized nationally with numerous awards for her visionary leadership.

having previously played with the Toronto Symphony, Hamilton Philharmonic, Kitchener-Waterloo Symphony, National Ballet of Canada, and Canadian Chamber Ensemble. In other areas, he has been a member of the Edmonton Jazz Orchestra, Bad for Business Big Band, Plumbers Union, and Albertasaurus. Active as an educator, John recently co-created an educational outreach project for students in Fort McMurray and is the low brass instructor at the University of Alberta’s Department of Music. John is taking a leave in 2016/17 from his positions at both the ESO and the University of Alberta in order to devote his time to composing new works.

Composer in Residence program generously supported by 6 SIGNATURE

www.EdmontonSymphony.com

Photo: Aaron Au

Photo: Michael Woolley

ARTISTIC & LEADERSHIP TEAM

THE EDMONTON SYMPHONY ORCHESTRA

William Eddins

2016/2017 SEASON

Photo: Bo Huang

Music Director

anadian violinist

ROBERT UCHIDA has been hailed for his “ravishing sound, eloquence and hypnotic intensity” (Strings Magazine). A regularly featured guest soloist with many of Canada’s orchestras and chamber music festivals, Robert recently had the honour of performing Bottessini’s Grand Duo Concertante with bassist Edgar Meyer under the direction of William Eddins. Concertmaster of the Edmonton Symphony Orchestra, Robert previously held the same position with Symphony Nova Scotia and during the 05/06 season Robert performed as Associate Concertmaster of the Rotterdam Philharmonic Orchestra. Engagements as a guest leader have included projects with the Netherlands Radio Chamber Philharmonic and the Vancouver Symphony Orchestra. He is a founding member of the Toronto-based XIA Quartet. Robert’s CD recordings include Requiem 21.5: Violin Concerto by Tim Brady for CentreDiscs, which won Classical Recording of the Year at the ECMAs, Sonata for Unaccompanied Violin by Andrew Violette for Innova Records, and the “Alpine Symphony” under Edo de Waart as guest concertmaster of the Royal Flemish Philharmonic. Robert’s versatility has brought him to perform with baroque specialists such as Frans Brüggen, Jeanne Lamon, and Elizabeth Wallfisch and to work with composers such as John Corigliano and Richard Danielpour. Robert serves on the faculty at the University of Alberta and has held teaching positions at Acadia University, the Manhattan School of Music, and the National Arts Centre’s Young Artist Program. Robert performs on an outstanding Lorenzo Ventapane violin made in Naples, Italy in 1820 and uses Vision Solo Titanium violin strings by ThomastikInfeld Vienna.

[ FLUTE ] [ VIOLIN I ] Elizabeth Koch 1 Robert Uchida, Shelley Younge 2 Concertmaster The John & Barbara Poole Family Concertmaster Chair [ OBOE ] Lidia Khaner 1 5 Eric Buchmann, Suzanne Lemieux 3 Associate Concertmaster Paul Schieman, 2 Virginie Gagné, 5 The Steven & Day Assistant Concertmaster LePoole Assistant Broderyck Olson Principal Oboe Chair Richard Caldwell Joanna Ciapka-Sangster [ CLARINET ] Laura Veeze Julianne Scott 1 Anna Kozak David Quinn 2 Aiyana Anderson-Howatt Neda Yamach [ BASSOON ] William Harrison 1 5 [ VIOLIN II ] 1 Matthew Howatt 3 Dianne New 2 Edith Stacey 2 Susan Flook Heather Bergen [ HORN ] Pauline Bronstein 5 Allene Hackleman 1 Zoë Sellers Megan Evans 2 Robert Hryciw Gerald Onciul 2 Tatiana Warszynski Donald Plumb 2 Murray Vaasjo [ VIOLA ] Stefan Jungkind 1 Charles Pilon 2 5 Clayton Leung 4 Rhonda Henshaw Andrew Bacon [ CELLO ] Rafael Hoekman, 1 The Stuart & Winona Davis Principal Cello Chair Brian Yoon 4 Ronda Metszies Gillian Caldwell Derek Gomez Victor Pipkin [ BASS ] Jan Urke 1 John Taylor 2 Janice Quinn Rob Aldridge

[ TRUMPET ] Robin Doyon 1 Frédéric Payant 2 [ TROMBONE ] John McPherson 1 5 Erik Hongisto 3 Kathryn Macintosh 2 [ BASS TROMBONE ] Christopher Taylor 1 [ TUBA ] Scott Whetham 1

LAUREATE & EMERITUS ARTISTS Uri Mayer, Conductor Laureate Charles Hudelson, Principal Clarinet Emeritus Alvin Lowrey, Principal Trumpet Emeritus

ORCHESTRA PERSONNEL Eric Filpula, Orchestra Personnel Manager Aaron Christopher Hawn, Orchestra Librarian The following musicians may appear at performances in this issue: Aaron Au Violin Kathleen de Caen Cello Jim Cockell Violin Jeanette Comeau Viola Meran Currie-Roberts Cello Yue Deng Violin Joel Gray Trumpet Michael Massey Keyboards Raj Nigam Percussion Brian Sand Trumpet Yukari Sasada Bass Martina Smazal Viola Jeremy Spurgeon Keyboards Alison Stewart Violin Brian Thurgood Percussion Dan Waldron Oboe

[ TIMPANI ] Barry Nemish 1 [ PERCUSSION ] Brian Jones 1 [ HARP ] Nora Bumanis 1

The ESO works in proud partnership with the AF of M (American Federation of Musicians of the United States and Canada) Local 390.

SEPTEMBER/OCTOBER 2016

1 PRINCIPAL 2 ASSISTANT PRINCIPAL 3 ACTING PRINCIPAL 4 ACTING ASSISTANT PRINCIPAL 5 ON LEAVE

In addition to our own concerts, the ESO provides orchestral accompaniment for performances by Edmonton Opera and Alberta Ballet.

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FEATURE

BY KIM TANNAS

A generous donation from the La Bruyère family will allow the YONA-Sistema program to expand its reach, making a difference for more youth in our community

ITH A RECENT $1-MILLION DONATION FROM THE La Bruyère family, the future of the ESO’s Youth Orchestra of Northern Alberta Sistema (YONA-Sistema) program looks bright. The donation comes just as the after-school program, which provides musical instruction to underserved youth in the inner city, completes its three-year pilot project, and moves into its fourth year. “The donation is a tremendous vote of confidence in a program that is accomplishing great things,” says Alyssa Paterson, YONA manager. “It makes it possible for us to sustain the program for the children who have started and are thriving in YONA and also allows us to think ahead to expanding to reach other areas of the city where there is need.” Marc de La Bruyère learned about the Sistema philosophy several years ago and was inspired by the power of musical instruction and its ability to transform young lives for the better. “The transformative power of the YONA program was already on Marc’s radar from knowing about the profound effects experienced by children and communities through similar Sistema-inspired programs in other parts of the world,” says ESO Executive Director Annemarie Petrov. “That he and his family wanted to be a founder of this program through the La Bruyère Foundation speaks to

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their deep commitment to the Edmonton community.” YONA-Sistema is modelled on the El Sistema program, which was developed more than 40 years ago in some of the poorest regions of Venezuela. The program’s goal is not to train students for musical excellence but rather to promote positive social change by involving them in an activity that builds self-confidence and responsibility – learning to play an instrument in an ensemble setting. The program’s goals are to build stronger communities and to create better futures for the children who participate. “Thinking about Edmonton and all the remarkably great things we have here ... we still have some really significant social problems, and opportunity is not available to everybody to the same extent,” says La Bruyère. He has been supporting the YONA program since its first year and has enjoyed visiting the students and watching their growth and progress over the years. “My real hope is that kids who might otherwise not have the opportunities to fulfill their own potential will have the tools to do that. I can see graduates of this program going off and doing great things in any number of fields,” says La Bruyère. The family’s decision to make a substantial donation came about

www.EdmontonSymphony.com

2016/2017 SEASON as part of a desire to contribute towards something that would make a “significant, impactful difference” and serve as a platform for achievement rather than acting as a Band-Aid solution to social problems. The YONA-Sistema program was the one they believed – “by orders of magnitude” – would have the most impact.

“My real hope is that kids who might otherwise not have the opportunities to fulfill their own potential will have the tools to do that.” – Marc de La Bruyère

Half of the $1-million gift will go to program operations over the next five years and the other half will go into a newly established endowment fund for YONA-Sistema held by the ESO’s foundation. To recognize the commitment the La Bruyère family is making to the program, the YONA orchestra will be named the La Bruyère Orchestra of YONA-Sistema. The costs needed to run a program like YONA are significant, says Paterson. “The first three years of the pilot cost approximately $800,000 in total and we are expanding each year.” The ESO is growing the program from its current number of 54 students to 83 students next season from the schools of Mother

Teresa Elementary, Delton Elementary, and St. Alphonsus Elementary and Junior High. “The gift from the La Bruyère family allows us to continue offering YONA students 15 hours a week of learning and play as they develop essential life skills like teamwork, responsibility, and leadership,” adds Petrov. “Our goal is that the children who joined YONA in Grade 2 will still be a part when they graduate high school.” “The generous gift from the La Bruyère family is not only significant for its size; it will help sustain the program for the long term through its endowment and the hope that it inspires others to do the same,” she says. Continued support is needed to keep the program operating, and La Bruyère hopes his family’s gift will inspire others to become supporters of the YONA program. “One of my goals is to get the community on board with this and for us to support it as a tremendous poverty elimination measure and life-enhancing opportunity,” he says. The donation is his family’s way of showing appreciation for all the opportunities they’ve had living here. “This city has been extraordinarily generous to us and it’s given us tremendous opportunities and we were thinking of another way to say thank you,” he explains. His long-term vision for the program is to see it expand not only across the city but also across Alberta, giving every child in the province the opportunity to participate. “Every kid would benefit from this,” he says.

ORGAN C organ in concert edmonton

Presents

DUO MAJOYA Friday, Nov. 4, 7:30 pm Premiering:

JOHN BURGE Cathedral Architecture for Organ and Piano

DENIS BÉDARD

West End Christian Reformed Church

To learn more about the program or 10015 to donate, visit www.yona-sistema.com - 149 St, Edmonton

Grande Suite for Organ and Piano

Tickets: $25/$20 at the door

www.rccoedmonton.ca

R L ROBBINS POPS

Singers & Songwriters: Michael Cavanaugh

Friday & Saturday, September 23 & 24 | 8 PM

William Eddins, conductor Michael Cavanaugh, vocals & piano

with: Johnny Fedevich, drums Jamie Hosmer, keyboards Giovanni Mastro, guitar Billy V., bass John Scarpulla, saxophone

All selections will be announced from the stage. There will be one, 20-minute intermission. Program subject to change

ARTIST BIOS

Mr. Eddins’ bio can be found on page six.

ICHAEL CAVANAUGH is a charismatic performer, musician and actor, made famous for his piano/lead vocals in the Broadway musical Movin’ Out. Handpicked by Billy Joel to star in the title role, Michael evokes a style rivaling the Piano

Series Sponsor

Man. Michael appeared in the show for three years and over 1,200 performances, culminating in 2003 with both Grammy and Tony award nominations. Michael began playing at age seven, and formed his first band at age 10, playing local functions. His first full-time gig as a musician was in an Orlando, Florida piano bar. In January 1999, Michael received an opportunity to play Las Vegas. It was there that Billy Joel spotted Michael and joined him on stage one fateful night. It only took two songs before Billy was convinced that he had found his new Piano Man. Michael moved to New York City to work alongside Billy Joel and Twyla Tharp, to shape the Broadway musical that would be called Movin’ Out.

With the close of Movin’ Out at the end of 2005, Michael began touring in his own right. He accepted his first orchestral booking, “Michael Cavanaugh – The Songs of Billy Joel and more,” which debuted in April of 2008. In October 2008, he signed with Warner/ADA to distribute his first CD titled In Color. In June 2010, Michael debuted his second symphony show in the “Generations of Rock” series entitled “Michael Cavanaugh: The Songs of Elton John and more” and then debuted his third symphony show “Singers and Songwriters: the music of Paul Simon, Neil Diamond and James Taylor” in 2012. He continues to tour all three symphony productions. Mr. Cavanaugh last appeared with the ESO in March 2009.

LEXUS FRIDAY MASTERS/SATURDAY MASTERS Magnificent Mozart

Friday Masters Series Sponsor

Friday, September 30 | 7:30 PM Saturday, October 1 | 8 PM

de Mont-Tremblant; and Handel’s Messiah for groups such as the National Arts Centre Orchestra, Aradia Ensemble, and in a staged version for Against the Grain Theatre.

Afterthoughts, Friday post-performance in the Main Lobby with William Eddins, Jacqueline Woodley & Virginie Gagné Symphony Prelude, 6:45 pm Enmax Hall with D.T. Baker all music by Wolfgang Amadé MOZART

Die Entführung aus dem Serail (“The Abduction from the Seraglio”), K.384: Overture (6’)* “Alcandro, lo confesso,” K.294

(9’)*

Piano Concerto No. 21 in C Major, K.467

(29’)*

Allegro Andante Allegro vivace assai

Rondo in B-flat Major, K.269/261a

(7’)*

“Exsultate, jubilate,” K.165/158a

(17’)*

Symphony No. 35 in D Major, K.385 “Haffner”

(20’)*

Program subject to change *indicates approximate performance duration.

ARTIST BIOS

Mr. Eddins’ bio can be found on page six.

anadian soprano JACQUELINE WOODLEY has been praised for her fear-

less versatility, changing styles fluidly from early music to contemporary, from opera to art song. Recent performances include her Montréal Symphony Orchestra debut under Kent Nagano; the Forest Bird (Siegfried) and Cherubino (Marriage of Figaro) for the Canadian Opera Company, Milice (Svadba) for San Francisco Opera, the roles of Adele (Die Fledermaus) and Papagena (Die Zauberflöte) with Edmonton Opera; appearances at the Vancouver Early Music Festival and the Ottawa International Chamber Music Festival with Les Voix Baroques; a soprano and trumpet programme for Clavecin en Concert and La Fête de la Musique

SEPTEMBER/OCTOBER 2016

This is Ms. Woodley’s debut as a soloist with the ESO. She last appeared with the ESO performing in Edmonton Opera’s production of Die Zauberflöte in January 2015.

INTERMISSION (20 minutes)

Allegro con spirito Andante Menuetto Finale: Presto

Sought after for her “exceptional talent” in performing modern works, Jacqueline created the role of Milice-Bride in the premiere of Ana Sokolovic’s opera Svaba-Wedding with Queen of Puddings Music Theatre, as well as subsequent Canadian and European tours and the American premiere of the work with Philadelphia Opera. An alumna of the Canadian Opera Company Studio, she performed and covered several main stage roles. She has recently sung Bach’s Saint John Passion, Orff’s Carmina Burana, Fauré and Mozart’s Requiems, Mahler’s Symphony No. 8, Mercure’s Cantate pour une joie, Haydn’s Creation, Pärt’s Stabat Mater, Villa-Lobos’ Bachianas Brasileiras No. 5, I-II, and Vaughan Williams’ Dona Nobis Pacem. Jacqueline holds a Master’s in opera from McGill University.

ne of Edmonton’s most soughtafter violinists, VIRGINIE GAGNÉ has been involved in numerous local musical events since her arrival in Edmonton, in 2006. Her playing style transcends musical genres, from baroque to pop to new music. She has been a featured soloist with the Edmonton Symphony Orchestra, in addition to being an active chamber violinist with the Alberta Baroque Ensemble and the Edmonton Recital Society. Prior to her appointment as Assistant Concertmaster to the ESO, Virginie was a member of the first violins in the Honolulu Symphony Orchestra. She has also played with the Houston Symphony, iMusici, Les Violons du Roy, and the Montréal Symphony Orchestra.

Originally hailing from Montréal, Virginie started to learn the violin at three years old with Jacqueline David, then followed her studies at the Conservatoire de Musique de Montréal with Johanne Arel and Helmut Lipsky. She graduated with honours in violin performance, as well as chamber music and 18th Century counterpoint. Virginie pursued her Master of Music studies at Rice University, in Houston, Texas, with Professor Sergiu Luca. Additionally, Virginie has participated in numerous music festivals in Canada, California, and Austria. Virginie competed and received prizes at Orchestre Symphonique de Montréal, Orchestre Symphonique de Mont-Royal, and the Canadian Music Competition, among others. At 13 years old, she was chosen to play the role of a young violinist prodigy in a Québec television series called “Ces Enfants d’Ailleurs.” In her spare time, Virginie reads, bakes, and enjoys a game of poker. She resides in Edmonton, Alberta, with her partner Alexander and her son Julius. Ms. Gagné last appeared as a soloist with the ESO in February 2016.

Read full bios at EdmontonSymphony.com

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Photo: Claudine Lavoie

William Eddins, conductor & piano Jacqueline Woodley, soprano Virginie Gagné, violin

LEXUS FRIDAY MASTERS/SATURDAY MASTERS Magnificent Mozart

PROGRAM NOTES Music of WOLFGANG AMADÉ MOZART (b. Salzburg, 1756 / d. Vienna, 1791)

Die Entführung aus dem Serail

(“The Abduction from the Seraglio”), K.384: Overture The opera premiered on July 16, 1782 in Vienna Last ESO performance of the overture: November 2013

HE SO-CALLED “JANISSARY SOUND” WAS ALL THE RAGE

in cosmopolitan Europe for a time – music based on the janissaries, the Turkish guards of the Sultan whose music emphasized the percussive effects of the drum, triangle, and cymbal. And what better way to showcase this particular exoticism than to have a story actually set in mysterious Turkey itself? Mozart’s German-language opera The Abduction from the Seraglio (“seraglio” is another name for a harem) was the summation of his exploration of this kind of music. Its comic story concerns the efforts of the hero Belmonte and his servant Pedrillo to wrest their respective loves (Constanze and Blonde) from their kidnapper, the Pasha Selim. It premiered to great acclaim in 1781 – Mozart was 25 at the time. The opera’s overture contains some of the elements that lend the Turkish style. As well, an aria is quoted – Belmonte’s Act I song “Hier soll’ ich dich den sehen,” (“Here, surely I must find her”) though the overture lends the song a certain piquancy by setting it in a minor key.

“Alcandro, lo confesso,” K.294

EFORE SUCH CONSIDERATIONS AS ROMANCE OR

ardour, Mozart admired musicianship. Aloysia Weber was a gifted soprano who was attracting attention by the age of 15 for the excellence and purity of her voice. “She had a greater range of high notes than any other singer I have heard,” wrote Michael Kelly in his 1826 Remembrances, and so taken was he by her talent, that Mozart wrote his father of his desire to tour Europe with her – a proposal his father summarily forbade. Nevertheless, Mozart wrote eight concert arias for Ms. Weber, and while it is clear that he had romantic (and unrequited) feelings for her, Mozart wound up marrying – her older sister, Constanze. Among the eight arias is “Alcandro, lo confesso…Non sò d’onde viene,” which Mozart says she learned exactly as he would have instructed her to sing it, and for which they both won considerable praise. It is the only known vocal work by Mozart for which his own ornamentations are included on the score. The text for the aria is by Pietro Metastasio (1698-1782), the great opera librettist to whom Mozart would turn for one of his final operas, La clemenza di Tito.

Piano Concerto No. 21 in C Major, K.467 First performed: March 10, 1785 Last ESO performance: September 2011

HERE’S WAS OFTEN A DUALITY – A “YIN AND YANG” – TO

Mozart’s compositions. Two works in a similar format would be composed within a relatively short span (for Mozart, that typically

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would mean within weeks), and while one would be bright, one would be dark; one hopeful, one filled with tension. Sometimes the happier work would come first, sometimes after. So it was with his 20th and 21st concertos for solo piano. The latter was written only a month after the former. In this case, the D minor 20th Concerto is the storm-tossed work counterbalanced by the sunshine of the C Major Concerto. Mozart finished the concerto on March 9, 1785. It begins typically enough, with a march-like theme in the orchestra. A second subject is hinted at, only to have the march take over once again. When the piano enters, it seems a bit tentative, but then dominates with its own theme. The development section brings us briefly into a minor key episode, but the radiant feel is restored before the recapitulation. The second movement is a beautiful, dream-like Andante, the main theme of which is first presented by the violins. Upon the piano’s entrance, however, it soon dominates, taking over the theme and rhapsodizing extensively upon it, while the muted lower strings in pizzicato (plucked, rather than bowed) maintain the processional rhythm. The work’s finale is a vivacious rondo – with a trippingly infectious recurring main theme countered by a number of lighthearted secondary themes, maintaining an almost constant air of grace and playfulness.

Rondo in B-flat Major for Violin, K.269/261a

Composed between 1775 and 1777 Last ESO performance: Enbridge Symphony Under the Sky 2004

OZART WAS A SUPERB VIOLINIST AS WELL AS

keyboardist; most of the five violin concertos he wrote were for himself to perform. They were all written (along with a number of other works that have important solo violin parts) between April 1773 and July 1776. Soon after that, a new champion of the violin concertos emerged in the person of Antonio Brunetti, principal violinist of the Salzburg Court orchestra. In response to the success that performances by Brunetti had given of Mozart’s third and fourth violin concertos, Mozart wrote a new final movement – the Rondo in B-flat – for his Violin Concerto No. 1 (K.207) for Brunetti to play. It has a similar style to the finales of concertos three and four – each has a “hunt” feel to it, and likely made for a more stylish and popular closing movement.

Exsultate, jubilate, K.165/158a

First performed: January 17, 1773 in Milan Last ESO performance: January 2010

TALIAN OPERAS WERE ONE SURE PATH TO SUCCESS FOR AN

emerging composer, and early triumphs with his operas Ascanio (1771) and Lucio Silla (1772) brought the young Mozart to Italy, where his father had hopes of landing him a position in an Italian court. It was on this trip that the motet Exsultate, jubilate, written in an Italian operatic style, was composed. Written for the castrato Venanzio Razzini (the lead male voice in Lucio Silla’s premiere, and a singer Mozart greatly admired), it is certainly the most often-performed of his early vocal works.

www.EdmontonSymphony.com

As a form, the motet evolved out of its early origins to the point, in Mozart’s time, when it had become a sacred work for voice (or multiple voices), using text not included as part of the mass. It also generally concluded with an “Alleluia,” an extended aria based on only that one word. Such is the case with Exsultate, jubilate (“Rejoice and be glad”).

Symphony No. 35 in D Major, K.385 “Haffner”

First performed: March 29, 1783 in Vienna Last ESO performance: Symphony Under the Sky 2015

WO OF MOZART’S BEST-KNOWN PIECES BEAR THE NAME

of Haffner. While contemporaries and childhood friends, Mozart and the younger Sigmund Haffner were from two different worlds. Mozart was famous as the son of prominent violinist and music teacher Leopold – it was known that the boy was fabulously gifted, but was thought of as a “performer,” a showman. The Haffners were among the wealthiest and most respected and influential of Salzburg’s citizens; the patriarch of the family was a rich businessman and the former mayor of the town. Mozart wrote the “Haffner” Serenade in 1776, to celebrate the impending marriage of his boyhood friend’s sister to a local shipping agent. In 1782, he was once again asked to provide a serenade (“serenade,” as understood in Mozart’s place and time, was generally

a light entertainment of more than one movement, intended for a specific occasion) for the Haffner family, this time to mark Sigmund the younger’s elevation to the nobility. He complied, sending the piece off one movement at a time. In its serenade form, this work included a march (suitable for the occasion) and two minuets. The next year, in preparation for a concert he was giving of his own music, Mozart revised the serenade into symphonic form. He dropped one of the minuets and the opening march, and added pairs of flutes and clarinets to the orchestra. In this new guise, the symphony premiered to public acclaim (the Emperor himself attended the entire concert, Mozart wrote his father) on March 29, 1783. True to its roots, the symphony is lighter in mood than if it had been written as a symphony from the outset. The opening material serves as the basis for nearly everything that follows in the first movement – note particularly the leaping octaves and rhythmic interplay. The elegant Andante is decidedly different in mood: it is elegant, elaborate and genteel. More contrast follows with the middle movement, where a joyful minuet is matched against a courtly trio. Mozart himself had provided instructions that the vigorous finale should “go as fast as possible,” which surely would have raised the newly-ennobled eyebrows of his boyhood friend, but makes for a perfect, rousing closer to the symphony. Program notes © 2016 by D.T. Baker

ERS Paul Schieman - Founder and Artistic Director

BACH

C.P.E. Bach Sinfonia in B Flat Major J.S. Bach Concerto for Oboe and Violin in C Minor W.F. Bach Sinfonia in F Major J.S. Bach Concerto for Two Violins in D Minor

Main Series 2

Martin Karlíček , piano

Sunday, October 23, 2016 at 7:30 pm Muttart Hall, Alberta College Conservatory of Music 10050 MacDonald Drive, Edmonton AB $35 (adult)/$25 (senior)/$10 (student)

Robert Uchida and Laura Veeze - violins Suzanne Lemieux - oboe The Alberta Baroque Music Society receives support from:

Sunday, October 23, 2016, 3p.m. Robertson-Wesley United Church 10209-123 Street, Edmonton Tickets $30 Adult, $25 Student/Senior (65+) $15Youth (17 and under) Tickets available at the Gramophone, Tix on the Square, at the door or CHARGE BY PHONE 780-467-6531. www.albertabaroque.com

Season Sponsor

Steven and Day LePoole Concert Sponsor

2016 -2017

Chartered Accountants

Media Sponsor

For more information, please visit www.edmontonrecital.com Special Thanks

S SPECIAL

Windborne’s Music of David Bowie Monday & Tuesday, October 3 & 4 | 8 PM

The Edmonton Symphony Orchestra performs Windborne’s Music of David Bowie featuring: Guest Conductor Brent Havens and Vocalist Tony Vincent with: Dan Clemens, bass & vocals Powell Randolph, drums George Cintron, guitars & vocals Justin Avery, keyboards and vocals

Orchestral arrangements by Brent Havens Music for this evening’s performance will be announced from the stage. There will be one, 20-minute intermission in tonight’s performance

Mr. Havens last appeared with the ESO in April 2016.

ARTIST BIOS

erklee-trained arranger/conductor BRENT HAVENS has written music for orchestras, feature films and virtually every kind of television. His TV work includes movies for networks such as ABC, CBS and ABC Family Channel Network, commercials, sports music for networks such as ESPN and even cartoons. Havens has also worked with the Doobie Brothers and the Milwaukee Symphony, arranging and conducting the combined group for Harley Davidson’s 100th Anniversary Birthday Party Finale attended by over 150,000 fans. He has worked with some of the world’s greatest orchestras including the Royal Philharmonic in London, the Cincinnati Symphony Orchestra, the Minnesota Orchestra, the Pittsburgh Symphony, the Indianapolis Symphony Orchestra, the Houston Symphony, the Atlanta Symphony, the Baltimore Symphony, the Dallas Symphony, the Fort Worth Symphony, the Nashville Symphony, the Buffalo Philharmonic, and countless others. In 2013 Havens conducted the Malaysian Philharmonic for the Music of Michael Jackson show there and returned to Kuala Lumpur in 2014 with the Music of Led Zeppelin and 2015 with the Music of Queen.

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Havens recently completed the score for the film Quo Vadis, a Premier Pictures remake of the 1956 gladiator film. In 2013 he worked with the Baltimore Symphony and the NFL’s Baltimore Ravens to arrange and produce the music for the Thanksgiving Day halftime show between the Ravens and Pittsburgh Steelers, adapting both classical music and rock songs into a single four-minute show. Havens is Arranger/ Guest Conductor for 12 symphonic rock programs – the Music of Led Zeppelin, the Music of the Doors, the Music of Pink Floyd, the Music of the Eagles, the Music of Queen, the Music of Michael Jackson, the Music of The Who, The Music of Whitney Houston, the Music of The Rolling Stones, the Music of U2, and most recently the Music of Journey! Havens also premiered a full orchestral show for Lou Gramm, The Voice of Foreigner with Lou singing out front.

rowing up in Albuquerque, New Mexico, TONY VINCENT was exposed to music from a young age, and was writing songs in his early teens. While a university student in Nashville, an early EP of his songs led to two albums with EMI (Tony Vincent, and One Deed). Moving to New York in 1997 introduced him to musical theatre, where he appeared in Rent (both the touring company and on Broadway) and Jesus Christ Superstar. In 2002, he originated the role of Galileo Figaro in the Queen musical We Will Rock You in London’s West End. He has also fronted for the band itself, performing “Bohemian Rhapsody” at Queen Elizabeth’s Golden Jubilee concert for a live audience of over a million, and a TV audience of some 200 million. A dedicated songwriter, Vincent has continued to compose, and in 2008 released A Better Way. 2009 marked a return to Broadway, originating the role of St. Jimmy in Green Day’s American Idiot. He was also a contestant on the second season of NBC-TV’s The Voice. His latest recording, In My Head, was released in 2012 and is available on iTunes and cdbaby. He continues to write and record under his own name, and under the band name Mercer. This is Mr. Vincent’s debut with the ESO.

www.EdmontonSymphony.com

ROBBINS LIGHTER CLASSICS Music of the Night

Series Sponsor

Thursday, October 6 | 8 PM

Robert Bernhardt, conductor Nora Bumanis, harp Gianetta Baril, harp Robert Uchida, violin

SUPPÉ

Morning, Noon and Night in Vienna: Overture

WAGNER

Tannhäuser: Ode to the Evening Star (arr. Dragon)

ESTACIO

Wondrous Light (1997 ESO commission)

(8’)* (4’)* (6’)*

MOZETICH

The Passion of Angels – A concertant for two harps and orchestra (1996 CBC commission for the Edmonton

Symphony Orchestra)

(21’)*

Mr. Bernhardt last conducted the ESO at ATB Symphony in the City in September.

INTERMISSION (20 minutes)

VERDI

La forza del destino: Overture

PÄRT

Fratres

(8’)* (10’)*

BIGGS

Pastiche: An Overture, Op.87

DVORˇ ÁK

Carnival Overture, Op.92

(6’)* (10’)*

Program subject to change *indicates approximate performance duration.

ARTIST BIOS

Mr. Uchida’s bio can be found on page six.

OB BERNHARDT begins his second decade with the Edmonton Symphony this season, continuing to bring his unique perspective, ability, and infectious enthusiasm to all genres he conducts. It’s also a milestone with the Louisville Orchestra as he celebrates his 35th consecutive year and his 20th as Principal Pops Conductor there. Concurrently, he is Principal Pops Conductor of the Grand Rapids Symphony, and is Principal Pops Conductor with the Chattanooga Symphony and

MAY/JUNE 2016

Opera (where he was Music Director for 19 seasons). This season is his 24th as a frequent guest conductor of the Boston Pops which he first conducted at John Williams’ invitation in 1992. He conducted two programs at Symphony Hall in Boston in June, and another in August on tour. He has also been a frequent guest conductor of many American orchestras. A lover of opera, he conducted productions with Kentucky Opera for 18 consecutive seasons, and for 19 seasons with his own company in Chattanooga, as well as many guest conducting engagements with the Nashville Opera. He received his Masters degree with Honors from the University of Southern California’s School of Music, studying primarily with Daniel Lewis. He received his Bachelors-Fine Arts degree from Union College in Schenectady, NY, where he graduated Phi Beta Kappa, Summa cum laude, and an Academic All-American Baseball Player. He and his wife, Nora, both dog lovers, live in Signal Mountain, Tennessee, with their rescued cat, Shoogie.

ORA BUMANIS has been Principal Harpist of the Edmonton Symphony Orchestra since 1980. She is a graduate of the University of Toronto, where she studied with Judy Loman. In addition to her busy orchestral schedule, Ms. Bumanis is much in demand as a soloist, recitalist and teacher. She has performed with most of the leading Canadian symphony orchestras. Nora has given recitals in Edmonton, Vancouver, Toronto, Ottawa, Seattle, Prague, and Mexico City. She is also in great demand as a chamber musician and has frequently been broadcast on CBC radio and television.

Ms. Bumanis teaches at the University of Alberta and Alberta College Conservatory. She was Managing Director of the Jasper Festival of Music and Wine from 2000 – 2003, and frequently performs at the Festival of the Sound in Parry Sound, Ontario. Nora Bumanis and Julia Shaw began their collaboration as Canada’s first professional harp duo in 1988. They have recorded five CDs and performed extensively throughout Canada. She was Global TV’s Woman of Vision in February 2009 and is a member of the Edmonton Glenora Rotary Club. She has been President of the Edmonton Recital Society since 2009. Ms. Bumanis last appeared as a soloist with the ESO in January 2014.

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ward-winning harpist GIANETTA BARIL has had a notable and wide-ranging career since beginning her musical life in Edmonton. Studies originally took her to Toronto and then to France to work with the Master Pierre Jamet. In 1985, Gianetta moved to Germany where she lived for 16 years, concertizing throughout Europe. During this time, Gianetta recorded two harp concertos with the Edmonton Symphony. The recording won the 1989 Juno Award for the Best recording of a Canadian work for the concerto by Oskar Morawetz and earned praise from the French magazine Repertoire des disques Compactes. Her performance of that same work in Prague stands out as a highlight in a career filled with memorable moments. In April 2016, she was honoured to present the opening recital of the First São Paulo HarpFest in Brazil, introducing the audience to the full sound palette of the harp in traditional and contemporary Canadian harp repertoire.

Photo: Trudie Lee, Lee Harder Photography

ROBBINS LIGHTER CLASSICS Music of the Night

second movement of what was originally a two-movement work. Retitled Wondrous Light in 2004, the piece is often performed on its own. Of the work, Mr. Estacio writes: “Wondrous Light is designed to be a celebration of the Aurora Borealis, also known as the northern lights. Being inspired by the notion of dancing celestial lights, the music is fervent and animated. Wondrous Light is perhaps less of a literal musical representation of the borealis and is, instead, inspired by their energy and the speed at which the lights seem to zip through the evening skies. A nimble melody introduced by the oboe is developed intervallically and rhythmically throughout the composition. Sudden swells in volume accompanied by quick glissandos were inspired by the swirling curtains of green light which twist and turn and vanish suddenly in the night sky. Towards the conclusion of this movement the nimble theme is transformed into a noble melody performed as a traditional chorale by the trombones, and then repeated by the full orchestra. The conclusion of this piece attempts to capture the majesty of the borealis — they have graced our northern skies since time began and will continue to dance ever more.

CONCERTO FOR TWO HARPS AND ORCHESTRA, THE

PROGRAM NOTES

Passion of Angels is a rare work indeed. The Edmonton Symphony Orchestra commissioned the work from Canadian composer Marjan Mozetich (b. 1948) after being introduced to his music from a work danced by Alberta Ballet. ESO Principal Harp Nora Bumanis (one of the soloists both tonight and at the work’s premiere) described the piece back in 1996 by saying that it is “emotional rather than intellectual,” but is still a very taxing work, technically. Its composer says, “The work is in one continuous movement that delves into the realm of desire, into the emotion of longing, into the pangs of yearning. It is a kind of ‘hurtin’ song’ of art music, like Tchaikovsky’s Sixth Symphony. In fact, a quote from the first movement (of that work) is highlighted in this work … The Passion of Angels is delicately scored, given the nature of the solo instruments, with brief episodes that also highlight the solo horn, woodwinds, xylophone, violin, and double bass. The overall effect is that of a series of beautifully lit aural curves as tension is created and released.”

IUSEPPE VERDI (1813-1901) REVISED HIS OPERA LA FORZA

Gianetta Baril also has a passion for mentorship, carrying on the legacy of her studies with the great Judy Loman. She has active teaching studios at MRU Conservatory and the University of Calgary and is co-founder of the Canadian International Summer Harp Institute. In 2015, Gianetta gave masterclasses in Brazil and established two harp programs for social projects in the slums of Rio de Janeiro. She now returns to Brazil each spring to maintain her volunteer commitments and create life-changing opportunities for underprivileged children through music. For more information on her ongoing fundraiser “Harping for Harps,” please visit her website: www.forloveofharp.com. Ms. Baril last appeared with the ESO in May 1986.

ICHARD WAGNER’S (1813-1883) TANNHÄUSER, (FIRST

staged in 1845 and later revised several times), is based on two separate tales which, in Wagner’s telling, unite in an allegory of modern society made the worse for the faith and tenets it proclaims to hold dear, particularly when those same tenets devalue artistic ideals. When we first meet the character of Wolfram, he is the title character’s rival for the love of the pure Elisabeth. In Act III, Elisabeth has vowed to sacrifice herself to redeem Tannhäuser’s soul. Distraught, Wolfram sings “O du mein holder Abendstern” (“O my fair evening star”), in which he begs the evening star to welcome Elisabeth in her martyrdom. Tonight, we hear an orchestral arrangement of this lovely melody by Carmen Dragon.

OHN ESTACIO’S (B. 1966) WONDROUS LIGHT WAS A

1997 ESO commission, and was originally titled Scherzo – the

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del destino (“The Force of Destiny”) several times following its premiere in St. Petersburg in 1862, and while doing so, he created a new overture for it. In fact, in its original guise, the curtain-raiser to this complex and, in all honesty, contrived and melodramatic story of love and betrayal, was called a “prelude.” The overture we have now is an altogether more broadly conceived work, one which has taken its place in the concert hall. The overture is a pastiche of themes to be heard later in the opera, linked by a harsh and foreboding orchestral motive, suggesting the dark hand fate will play in the story. The other dominant musical element here is the beautiful theme of the character of Leonora, from her duet with the Father Superior. Having changed the ending of the opera in the revised version, Verdi used this musical hint of that new ending in the overture, to foreshadow the poignancy the new ending gives the work.

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RVO PÄRT (B. 1935) IS CERTAINLY THE MOST INTERNATIONALLY

recognized musical figure from Estonia. His prolific output is dominated by sacred works, but he has written many abstract, purely instrumental compositions. And many of those are works that, in his words, employ “tintinnabulation” (from the Latin word for bell). “I build with primitive materials, with the triad, with one specific tonality,” he has written. “The three notes of a triad are like bells. And that is why I call it tintinnabulation.” Fratres is such a work – or a series of works, actually. Originally composed in 1977 for a chamber ensemble of modern or ancient instruments, Pärt has made the work into a family of pieces over the years, for a wide variety of instrumental combinations, from violin and piano to orchestral versions. Many of these different versions of Fratres are very similar to one another, but some have been significantly re-composed. Tonight’s version, for strings and percussion, dates from 1991. It is dominated by a single, tender and resigned melody repeated with slight variations nine times throughout the work’s duration. These are performed above a drone (the notes “A” and “E”) in the cellos and basses. Between each phrase, there is a brief interval in the percussion (claves and bass drum).

medieval and contemporary music. His Pastiche: An Overture dates from 1993, and was first performed by his hometown orchestra in Ventura, California. It is an inventive and fun amalgam of some 27 quotes from the works of 19 composers, all mashed into an orchestral whirl lasting about six minutes.

N 1891, THE YEAR BEFORE HE LEFT HIS BELOVED BOHEMIAN

homeland for several years in America, Antonín Dvorˇák (18411904) had in mind a cycle of three orchestral overtures to be called Nature, Life, and Love. He eventually did compose them, but separately, and ended up renaming each one as well. The middle one of the three became the Carnival Overture. Of the work, Dvorˇ ák wrote the following for the work’s premiere: “The lovely, thoughtful wanderer reaches the city at dusk, where a carnival of pleasure reigns supreme. On every side is heard the clangour of instruments, mingled with shouts of joy and the unrestrained hilarity of people giving vent to their feelings in their songs and dance tunes.”

OHN BIGGS (B. 1932) IS AN AMERICAN COMPOSER WHO

studied with luminaries including Lukas Foss, Roy Harris, and others. He founded the John Biggs Consort, which specializes in

OVERTURE

INFORMATION SESSION & TOUR

JOIN US FOR A FREE TOUR OF THE WINSPEAR CENTRE! Dates: Wednesday, September 14th Wednesday, October 12th Tuesday, October 18th Wednesday, November 9th

Thursday, November 17th Friday, November 25th Friday, December 9th Tuesday, December 20th

Come hear all about the history of the Edmonton Symphony Orchestra and Winspear Centre and our vision for the community. We will provide a complimentary lunch followed by a backstage tour of one of North America’s most exquisite concert halls! We all have busy schedules, which is why we promise to keep this session to one hour from 12:00pm to 1:00pm. THESE EVENTS FILL UP FAST SO IF YOU WOULD LIKE TO ATTEND PLEASE R.S.V.P. TO JEFFORY MAGSON AT 780-401-2517 OR JMAGSON@WINSPEARCENTRE.COM.

My eyesight means the world to me. I have to see the orchestra to lead them. So without good eyesight, I can’t help create the beautiful music you hear at the Winspear Centre. The Eye Institute of Alberta treats 45,000 patients every year. That’s like treating almost double the capacity seating of the Winspear every week.

The Royal Alexandra Hospital Foundation’s $4 million campaign for the Eye Institute of Alberta aims to improve the patient experience, fund ground-breaking research, and train the next generation of ophthalmologists.

Your support of this campaign will ensure top-quality patient care continues at the Eye Institute of Alberta. For more information, please contact Jeff Buhr at 780-735-5804.

William Eddins Music Director Edmonton Symphony Orchestra

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This ad was generously donated by The Robbins Foundation Canada.

EARLY CLASSICS MIDWEEK The Four Seasons

Wednesday, October 12 | 7:30 PM

William Eddins, conductor & harpsichord Robert Uchida, violin

PROGRAM NOTES

MOZART

Serenade No. 10 in B-flat Major, K.361/370a “Gran partita”

Serenade No. 10 in B-flat Major, K.361/370a “Gran partita” Largo – Allegro molto Menuetto Adagio Menuetto: Allegretto Romanze: Adagio Tema con variazioni Finale: Molto allegro

(48’)*

VIVALDI

Concerto in E Major, Op.8 No. 1 “La primavera” (“Spring”) Allegro Largo Allegro (Danza pastorale) Concerto in G minor, Op.8 No. 2 “L’estate” (“Summer”) Allegro non molto – Allegro Adagio – Presto – Adagio Presto (Tempo impetuoso d’estate) Concerto in F Major, Op.8 No. 3 “L’autunno” (“Autumn”) Allegro (Ballo, e canto de’ villanelle) Adagio molto (Ubriachi dormienti) Allegro (La caccia) Concerto in F minor, Op.8 No. 4 “L’inverno” (“Winter”) Allegro non molto Largo Allegro

(b. Salzburg, 1756 / d. Vienna, 1791) First performance: March 23, 1784 in Vienna Last ESO performance: excerpts of the work were performed in June 2006. The last complete performance was October 1996

INTERMISSION (20 minutes)

Le quattro stagioni (“The Four Seasons”)

WOLFGANG AMADÉ MOZART

(10’)*

(11’)*

(9’)*

Program subject to change *indicates approximate performance duration.

Mr. Eddins’ and Mr. Uchida’s bios can be found on page six.

OZART’S CAREER IN PROVINCIAL SALZBURG

would only ever take him so far, and when he finally left his hometown for cosmopolitan Vienna, he seemed to deliberately leave behind many of the reminders of Salzburg’s musical confinement. The light evenings’ entertainments that formed so much of his Salzburg career – the serenades and divertimentos that he wrote for patrician families and courts – were all but abandoned after 1781. In fact, we know of only two such works from his Vienna days, but they are two of his finest. One is Eine kleine Nachtmusik, for strings. The other is Serenade No. 10 in B-flat Major, nicknamed (not by Mozart, and incorrectly spelled) as the “Gran partita,” scored for a dozen wind instruments and one double bass. The work is in seven movements, more than the typical fourto six-movement serenade form in which he wrote other such works. In addition to the usual sonata-allegro opening movement, two menuet and trio movements, a slow movement and a vivacious finale, Mozart adds a Romanze and a Theme and Variations movement as well. The scoring is also unusual: four horns, and pairs each of oboes, clarinets, bassoons, and basset horns (an alto instrument of the clarinet family with a lower register than the standard clarinet) – all in addition to the lone double bass. As a footnote to the piece, it was at the first performance of this work that Mozart made the acquaintance of the outstanding clarinetist Anton Stadler – a friendship which would result in two of Mozart’s finest late works: the Clarinet Quintet and the sublime Clarinet Concerto.

Le quattro stagioni (“The Four Seasons”) ANTONIO VIVALDI

(b. Venice, 1678 / d. Vienna, 1741) Published: December 15, 1725 Last ESO performance: October 2010

O UTTERLY UBIQUITOUS HAVE THE FOUR SEASONS

become to modern culture, it’s hard to believe that these four treasured concertos really only regained a popular foothold in the early 20th century. Prior to that, Vivaldi’s music was almost forgotten – and even during his life, the Venetian master was known more for his sacred works and his operas than for the nearly 450 concertos we know that he wrote.

SEPTEMBER/OCTOBER 2016

EARLY CLASSICS MIDWEEK The Four Seasons Most of the concertos were written for the students for whom Vivaldi was Master of Music – the foundling girls of the Ospedale della Pièta in Venice. They became renowned throughout Europe for the prowess on their instruments, and their skill was doubtless honed by the many works Vivaldi wrote as vehicles for them. A violinist himself, Vivaldi wrote nearly 250 of his concertos with a violin solo part, and often published anywhere from six to a dozen concertos in a single edition. His Opus 8 collection, for example, is a set of 12 he called Il Cimento dell’Armonia e dell’Inventione (“The contest between harmony and invention”). For the first four of the 12, Vivaldi provided descriptive sonnets about each concerto’s connection to one of each of the seasons of the year – and the music depicts many of the small scenes he paints. And since the advent of widely-available recorded music first brought these works to worldwide attention, The Four Seasons has become one of the most famous sets in music. Spring begins with breezes, birds, and babbling brooks. A storm intrudes in the second movement, but the finale gives us a goatherd and his dog, and a bagpipe-accompanied dance of shepherds. Summer begins in the hot sun – listen for the violin to give us the sound of a cuckoo, a turtle dove, and a goldfinch. Another storm brews in the second movement – but also listen for the very effective imitation of summer insects buzzing. The storm arrives in the final movement, and the tired shepherd seeks shelter. In Autumn, the harvest is a happy time – all is drinking and dancing. That is followed by sweet sleep in the middle movement, while the finale gives us a hunt, complete with horns (portrayed by strings in this all-strings work), horses, and dogs. Winter is a picture of icy wind and chattering teeth in the opening movement. The central movement is one of warmth at the fire, while in the final movement, we slip and fall on the ice, but we also take joy in the season.

AIR CANADA SATURDAY MASTERS Chopin Piano Concerto No. 2

Series Sponsor

Saturday, October 29 | 8 PM

Alexander Prior, conductor Charles Richard-Hamelin, piano

of the opera Mirandolina by Bohuslav Martinu° in a Bavarian State Opera production at Munich’s Cuvillé Theatre.

Symphony Prelude, 7 pm Enmax Hall with D.T. Baker

Alexander Prior calls himself a passionate “Nordic musician”; he speaks and writes Danish and Norwegian, often conducts in Scandinavia, and has an enormous wealth of repertoire by composers from the Nordic countries at his fingertips. Not surprisingly, he feels a similar close affinity with German-speaking composers such as Bruckner and Wagner. His career as a composer is also prodigious: in 2009, he conducted his Symphony No. 4 “Gogol” for vocal soloists, choir and orchestra – a commission for the department of culture in St. Petersburg – to mark the 200th birthday of the Russian author. “Horizons” for soloists and orchestra was premiered under his baton in 2010 with the Royal Philharmonic Orchestra in London, while his Triple Concerto “That which must remain unspoken” received its premiere with the Hong Kong City Chamber Orchestra in 2011.

Variations symphoniques

Theme: Allegro non troppo Variation I: Pesante Variation II: Presto Variation III: Andantino Variation IV: Moderato Variation V: Scherzo Variation VI: Andante Variation: VII: Energico Variation VIII

CHOPIN

Piano Concerto No. 2 in F minor, Op.21 Maestoso Larghetto Allegretto vivace

(14’)*

(32’)*

INTERMISSION (20 minutes)

NIELSEN

Symphony No. 2, Op.16 “The Four Temperaments” Allegro collerico Allegro comodo e flemmatico Andante melancolico Allegro sanguineo

(33’)*

Program subject to change *indicates approximate performance duration.

ARTIST BIOS

few words scarcely suffice to describe London-born ALEXANDER PRIOR, who at 18 conducted the Dallas Symphony in the premiere of his Sixth Symphony, whose ballet Mowgli has been playing in Moscow for seven years, and who at 17 was the youngest student since Sergei Prokofiev to graduate with distinction as a conductor from the Conservatoire in St. Petersburg. In March 2013 Mr. Prior conducted five performances of the opera Carmen at the Royal Opera House in Copenhagen. This was followed on November 2 by the premiere of La Traviata at the Leipzig Opera and in spring 2014 the premiere

SEPTEMBER/OCTOBER 2016

Mr. Prior last appeared with the ESO in May 2016. He returns May 2017.

ilver medalist and laureate of the Krystian Zimerman award of the best sonata at the International Chopin Piano Competition in 2015 and winner of the 2011 Prix d’Europe, CHARLES RICHARD-HAMELIN is one of the most important pianists of his generation. He also won the second prize at the Montréal International Musical Competition and the third prize and special award for the best performance of a Beethoven sonata at the Seoul International Music Competition in South Korea. In April 2015, Charles was awarded the prestigious Career Development Award offered by the Women’s Musical Club of Toronto. As a soloist, Charles has performed with various ensembles including the Warsaw Philharmonic Orchestra, Montréal Symphony Orchestra, Toronto Symphony Orchestra, Orchestre Métropolitain de Montréal, Korean Symphony Orchestra, and I Musici de Montréal. Originally from Lanaudière in Québec, Charles Richard-Hamelin studied with Paul Surdulescu, Sara Laimon, and Boris Berman. He obtained a bachelor’s degree in performance from McGill University in 2011 and a master’s degree from the Yale School of Music in 2013 and received full scholarships in both institutions. He is now a student of André Laplante at the Conservatoire de Musique de Montréal and also works on a regular basis with Jean Saulnier. His first solo CD, which features late works by Chopin, was released on the Analekta label in September 2015. This is Mr. Richard-Hamelin’s debut with the ESO.

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Photo: Elizabeth Delage

PÉPIN

AIR CANADA SATURDAY MASTERS Chopin Piano Concerto No. 2

PROGRAM NOTES Variations symphoniques CLERMONT PÉPIN

(b. St-Georges-de-Beauce, Québec, 1926 / d. Montréal, 2006) First performance: 1948 in Montréal This is the ESO premiere of the piece

LERMONT PÉPIN WROTE HIS VARIATIONS SYMPHONIQUES

in 1947 at the age of 21; it won the centennial competition at Collège Ste-Marie, Montréal the following year. At the time, three awards from CAPAC had enabled him to study at the Royal Conservatory, where his composition teacher was Arnold Walter. This, after previous instruction from, among others, Claude Champagne at the Conservatoire de Montréal, and Rosario Scalero (on scholarship at the Curtis Institute in Philadelphia). Variations symphoniques was only the second orchestral work by Pépin. His first was also a set of variations, but for string orchestra. Tonight’s work shows a remarkable facility with orchestral colours, and over the course of its roughly quarter of an hour’s length, subjects the theme heard at the outset to eight distinct variations. Pépin’s compositional style went through a substantial change following his youthful works, and following studies with, among others, Arthur Honegger.

is a beautiful, wistful nocturne, once again introduced in the orchestra before the piano takes over. The orchestra then provides a delicate shimmer under the piano’s graceful, delicately sparkling material. The finale is based on Polish dance forms, with a main subject having a mazurka feel, contrasted by a scherzando in a oberek (a livelier variant of the mazurka); the whole of the movement in a standard rondo design. If not quite a happy movement in its F minor home key, the Allegretto vivace is nonetheless extrovert and broad – and a taxing, rewarding showcase for the soloist.

Symphony No. 2, Op.16 “The Four Temperaments” CARL NIELSEN

Piano Concerto No. 2 in F minor, Op.21 FRYDERYK CHOPIN

(b. Zelazowa Wola, 1810 / d. Paris, 1849) First performance: March 3, 1830 in Warsaw Last ESO performance: October 2012

HOPIN COMPOSED BOTH OF HIS PIANO CONCERTOS

before leaving his native Poland as a young man. They ar works of youth, and moreover, they are works influenced by the bravura pianism to which he was exposed as a youth. Chopin’s concert experiences were limited to the touring virtuosos of the day – composer/ pianists such as Hummel, Moscheles, and Kalkbrenner – who toured all over Europe with their flashy, showcase concertos. So it’s no wonder that Chopin’s two youthful ventures into the concerto repertoire are in a similar vein. The concert published as the first was actually written after the work to be presented tonight; parts of the score of this concerto were misplaced, resulting in the other getting published first. Chopin performed the premiere a few days after his 20th birthday. Certainly, the tour de force performances Chopin witnessed were not, however, the only music he heard. He was schooled on a steady diet of past masters by his teachers, including the music of Mozart and Bach. So if his first attempt at a concerto seems rather formulaic in its overall design, the melodies that can only have come from Chopin’s genius are very apparent. The Maestoso first movement, for example, features a sturdy orchestral opening, followed by the piano presenting, then rhapsodizing, on this material. With the entrance of the piano, it is clear that the soloist will be to the fore. Even in its exchanges with the orchestra, it is the piano that now presents new thematic ideas first, while the orchestra punctuates, or provides dramatic replies, to the piano’s grand and eloquent statements. A concerto in G minor by Ignaz Moscheles provided the young Chopin the model for the Larghetto second movement. The melody

22 SIGNATURE

(b. Nørre-Lyndelse, 1865 / d. Copenhagen, 1931) First performance: December 1, 1902 Last ESO performance: May 1991

OR CARL NIELSEN, EMPATHY WAS IMPORTANT. “THE

ability to identify with another personality as though from within is constantly apparent…It was a quality he identified in the operas of Mozart and which he endeavoured to emulate in his own first opera, Saul and David,” wrote David Fanning. Needing a break from the composition of that opera, Nielsen, his wife, and some friends stopped at an inn on the island of Sjaeland. While there, Nielsen noticed a comical painting on the wall which showed depictions of the four “temperaments,” the ancient Greek concept of the four overriding personality types which were believed to be derived from the four bodily fluids Hippocrates outlined: “choleric” (irritable), “phlegmatic” (relaxed), “melancholic” (analytical, quiet), and “sanguine” (optimistic). They were comic depictions which Nielsen found extremely humorous, yet in the midst of the laughter he captured the seed of a symphony. And while there is certainly a strong strain of cheerfulness to much of the music that resulted, the four movements are no mere “caricatures in sound,” but a solidly-constructed, logically laid out work of considerable breadth and sophistication. Symphony No. 2 “The Four Temperaments” premiered three days after the premiere of Saul and David, with Nielsen conducting. Listeners will certainly hear vividly the various personality traits in each of the movements; moreover, the music follows a pattern, with the first three movements cast in keys which take the music down by thirds (B minor in the “choleric” first movement, G Major in the “phlegmatic” second, and E-flat minor in the “melancholic” third). The final movement ends in a rousing A Major march.

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Robert Le Quelenec Ivy & Thomas Lee Hugo & Lucie Lehmann Terry & Irene Leigh Susan Lent* Patricia Lett James Lewis Sandy Lewis Dr. Murray & Susan Lieberman Margaret Ann Lightbody Elizabeth Lint* Chris Lirette Barbara Locke Lorraine Loewen Jane & Ross Logan Monica Lomeland Susan Lynch Alan Lyons Ian MacDonald John & Marilyn MacDonald William MacDonald* Baunita MacKay MacLean Family Rod & Elaine MacLeod Madeline MacPherson Agnes MacRae Stephen Madsen Henry Maisonneuve R. Markovich Genevieve Marshall* Dorianne Martyniuk Danny Mascaluk Maureen Maslen Mary Masson* Sharon Matthias Mrs. Patricia Mattson* Gwen Mazurek Joan & Peter McArthur-Barlow William & Anne McAthey Alec McClay Alma McConnell Ian & Janice McCrum Alex & Ethne McEachern Ronald N. McElhaney Ken & Phyllis McFadden Chris & Charissa McKay* Mary McLean Gordon & Kathleen McLeod* Caroline McManus Jan McMillan Margaret McMullen Margaret Melton Tim Melton Philippa Mercer Brigida Meza-Diaz* Ronald & Carole Middleton James & Elizabeth Miller Don Milne Largesse Gail Moores Mark Moran Mr. Clifford M Morrisey & Mrs. Noma G Morrissey Richard & Vi Moskalyk Elizabeth Mowat & Ian Kupchenko David & Jenifer Muddle* Allan & Margaret Muir Erin Mulcair* Alexandra Munn Dr. Alan & Ms. Christine Murdock Daryl Murray Ed Musteca Elizabeth Myles N. Elaine Nagy & Ralph Atkin Christine Naidu Claire Neilson Henry Neri Leona Nicoll 26 SIGNATURE

Laurel Nikolai Jennifer Oakes David Oberholtzer Robert & Jean O’Hara Elaine Olesen Sandi Ollenberger Louis Ray Olson Norman & Margaret Olson Treena Oosterhuis Jim & Bev Orieux Clifford Otto Vital & Colleen Ouellette* Jas & Ruby Panesar June Panteluk Grace Parrotta-King Gary & Tara Paterok Donna & Glen Paterson Amanda Patrick Douglas & Paulette Penner Leslie Penny Angelika Petersen Don & Margaret Peterson Larry & Shirley Phillips Shannon May & Dennis Picco The Pick Family* Christopher Piggott* Walter Pinto & Pat Mulholland* Edward Arthur Plewes F Plishka Dennis & Virginia Pohranychny Dr. Wade & Mrs. Stephanie Poitras* Elaine Pollard Charles & Edith Primmer Kathy Prusakowski Natalie Prytuluk David Quinn R K Ramsey Evangeline Rand* Jeanne & Eugene Ratsoy Peter Rausch Dorian Rauschning Gary Redmond Al Reed* Bryan & Theresa Reichert Nora Reid Marilyn Repka Pierrette Requier* Pat Richardson* Glenn & Sarah Ripley Lynn Robertson Susan Robertson Lindsay Robinson G. W. Rocholl Gemma A. Romero-Yu Doug Rongve Mary-Lou Rose Kenneth Roy Jim & Pam Rutledge Marg & Adrian Rys James Sabo Madeleine Sabourin William & Susan Sadler Gerald & Betty Saelhof B. Saint & P.M. Farrell Melanie Samaroden* Gary & Donna Samycia Al Sanderson B & T Sawyer* Julia L. Sax Don & Georgie Scafe Janet & Andrew Schalm Rebecca Schalm Sari Salmon Schiff Barend & Hendrica Schouten Magda Schouten Michael Schurek Anton & M. Schwabenbauer David & Ingrid Scott

Julianne Scott Betty Screpnek Joseph & Denise Selann Gerry Semler Odarka Semotiuk Devlin Lydia R. Shalagan Albin Shanley Yakov & Larisa Shapiro Dale Sheward Alva Shewchuk Ellie Shuster* Doug & Lynne Sigler Joyce & Carl Simonson Kortney Skaley-Fahrer Sandy & Ian Skogstad* Norman & Mary Jane Skretting* E. J. Sloane Caroline Smith Paula Snyder Steven Snyder & Connie Silva John & Judy Soars Elaine Solez Javed Sommers Paul & Linda Sorenson Chris Spady Mitch Spratt Brian & Marnie Sproule Robert Squair* Norman & Kathie St. Arnaud Hugh & Anne-Marie Stacey David & Yvette Starko Linda & Joe Staszko & Family Sophia Stauffer Jane Staveley* Dr. Margaret Stevenson Randy Stinson Marina Stolyar A. Strack Ken Stratton Martin Stribrny Ann Sullivan Julius & Jean Sult Dr. & Mrs. Guy Swinnerton Chris & Alina Szaszkiewicz Rhonda Taft* Dr. Amy Tan & Family Terry Tarrabain Arlene Tatarchuk Elizabeth Taylor Merle & Neil Taylor* Robin Taylor S. Shadick Taylor Linda Telgarsky* Dave & Gail Terriff Paul Thibodeau Mr. & Mrs. H. Thiessen Glyn & Joan Thomas Charles & Myrna Thompson Don Throndson Virginia Toane Andrew & Mary Ann Trachimowich Larry & Noreen Trekofski Louis-Charles Trempe D. Trithardt Adam & Aleksandra Trzebski* Barbara & Ernest Turnbull Danny Turner Lorene Turner Cory & Barry Tymchuk Graham Usher & Paula Globerman Lioudmila Valkova & Igor Palepa Lydia Van Aller* Mrs. Peter Van Bostelen Bonnie Van Dalfsen* Michele & Terry Veeman Trudy Velichka Helma Voth

Irene Walker Elizabeth Wallace* Cash Webster & Robyne Walters* William Wandio M Wanifaratne Chandra Wanigaratne Elizabeth Wardrope Shona Wards, U.E. Dale Warick* Lyn Watamaniuk Violet Watson Earle Waugh Mrs. Irene A. Wegner Eva & Mahlon Weir William & Debora Wells Joshua Wentworth Helen & Blair West Dr. Robert Westbury Emily Westwood Rena White Rich & Grace Whitehouse Raleigh & Kathleen Whitinger Louise Whyte William & Sharla Wiesener Karen Wilke* Max & Mary Wilke* Cheryl Wilkes & John Carter Dale Wilkie Chris Wilson* Ron & Diane Wilson Carol Wincenc Alvin & Sue Winestock David Winfield Maxine Wong Bruce & Ava Wood Wendy & Dennis Woolsey Catherine Workun Ev Wright Frank & Donna Wright Joan Wynnyk Allan Yee Margaret Young M. Yun* Elli Zapf Lois Zapf Brian Zrobek

IN MEMORIAM We thank our supporters who have chosen to honour the memory of a loved one through a gift to the ESO. These gifts have been given in memory of the following individuals. Dr. P.B.R. Allen Jack Allford Sonia Allore Leroy Anholt Bill Astle Dorothy Astle & Duncan Fishwick Len Aston Derin Dogu Ataoglu Barney Baker Margo Balog Peter Batoni Alan Belcher Jean Bell Helen S. Petersen Bentley Einer Boberg* Harvey Bodner Alma Boehm-Kabush Dr. A. M. Brown Bob Calling Agnes W. (Nan) Cameron Kathleen Carter Patricia Anne Cavell Dr. Grace Chan

Mary Clark Avis Coburn J. R. (Bob) Connell Dr. David Cook Shirley Covey Richard Lee Cowles James Daniels Martin Davis Gerry Day Louis & Marcelle Desrochers Charles Dobias Edward Dobko Ms Doderai Joan Dostaler Bunny Fergusson Dr. John P. Ferri Jr.* Katie Fincaryk Joseph “Joe” Finley Duncan Fishwick Jim Forster Mary Gardner Ken Gillett* Ewa Godlewski Hilda & Richard Golick Gerda Graf Mary Hanson Jack Harstone Gordon Heske Dorothy “Dode” Heule Marguerite Elizabeth Higham Lillian Helten Doreen Hill Lavon Holgate * William R. Howson Annie Hutchings James C. Hunter Vern Hunter Mrs. Kun-Shih Huang Mr. Tom Johnston Bob & Muriel Kenny Peggy King Ilse Koerner Willy Kohn Gerhard (Garry) Krisch Gerald William Krucik Brianna Lafreniere Col. H. Gregory Leitek PPCLI Coralie Lundberg John David Lunn Almeda Lysne John Marchak In memory of Mary Dorothea MacDonnell George & Helen MacLean Sue Marxheimer Allison McConnell Dr. Sherburne McCurdy Flo McGavin Caroline McManus Blair McPherson Rudy Melnychuk Gerhard Meyer Donald A. Middleton Bruce Miller George Milton Dilys Mitchell Roderick & Blanche Moses x”1 Matthew William Miles Dan Mitchler Donna Naylor Frances T. Olson Eldon Olstad Artur Palczak Tom Pearson Charles Pei Alberta Rose Pelland Lillian Pheasey Jim Pietrzykowski Donald W. Pimm www.EdmontonSymphony.com

Dr. Clement Price Tanya Prochazka Frank Pugh Lou Punko Ronalda Reichwein Kathleen E. Roberts Guillermo Rocha Catherine C. Rogers Daphne Rogers Georgette Roy Dr. Anna Rudovics Dr. David Schiff Vern Schwab Andre Schwabenbauer Balbinder Sekhon Krista Michelle Sims John Sinclair* Kay Slemko Harcourt D. Smith V W M Smith Jean Sproule Mary Spurvey Marsha Stanton Bob Stauffer Monte Stout Robert Stoutjesdyk* Claude Stubley Lydia Takats Grete Timmins* Elizabeth (Liz) Tweddle Diane Ure Knut Vik Riet van Esch* Ron Weatherill Josephine Welch Lenora Wilson Alta & Bernard Wood Iva J. Wood* Lucy Wright Dr. John E Young Sara E. Zalik Metro “Mac” Zelisko

IN HONOUR OF The following individuals have been honoured by their friends & families in recognition of birthdays, life milestones or significant anniversaries Karen Aellem Carol Allen Gordon Andreiuk In honour of Andrew In honour of Annaliese Tory Bachmann Tommy Banks - Happy 75th Birthday Lina Becerra Mike & Annette Boorman Marg Bowen & Russell Wells Peachez Bozakski Mrs. Brenda Bracke Sheryl Brown Barb Bulat Tyler Castell-Watson Desmond Chow Yvonne Clarke Barbara Cohoe Mr/Mrs Commanda of Golden Lake, Ontario In Honor of CPSA PC Team Fiorella da Silva James Daniels Maria David-Evans Lillian Dickau Jorim Disengomoka In honor of Don Marjie Drewry SEPTEMBER/OCTOBER 2016

Gary Duits Bette Anne & Jim Edwards’ Marriage Garrett Elsey ESO & the Circus Artists! Paola Esquivel Elsie Louise Evans Judi Feduk Joshua & Jillian Fetter Stephen Fong Jack Forestier in honour of “my father Fred” Laura Graham Lilian Green’s 90th Birthday Karen Hansen Jeanette Harcus Phyllis & Walter Harris Evelyn & Eugene Henderson Joyce Hendrickson Stevens Hewitt Ibon Antiques & Collectibles Inc. Linda Jamieson Bill & Marlene Kehoe Bill Kelly Lanna Kelly Alison Kenny-Gardhouse’s birthday Steve Kohlman Shelagh Kubish Sonya Kunkel Bonnie Kyle Marie Marleau Laing Bertha Lange Paige Lawson Steven LePoole Clayton Leung Daniel LeVesconte Logan Liboiron Nathaniel Mandel Marie Marleau Laing Melanie McCallum Betty McDowell Daphne McKay Carrie McPherson Brielle Melle David Merino Ronda Metszies Gerhard Meyer Ivy Miville Wendy Nieuwenhuis Brenda & Dennis Noel Michel Nuc Mary Ohle Norman & Margaret Olson’s 50th wedding anniversary Helen Olszewski Sam Popham Mary Rainbow Earl Reaburn & Catherine MacLean Gemma A. Romero-Yu John & Helga Ronnpage Carla C. Salvado Jose R. Salvado Lorne & Min Shandro Dr. Tami Shandro Jon Sharek Alayne Sinclair Teresa & Sheri Somerville Hugh & Anne-Marie Stacey The Stacey Family Galina Stern Mary Stevenson Barrie Stinson Anne Strack The Swanson Family M Swanson, S KwongSee & Ben Nahla Throndson Linda Tkachuk & Barry Dalgliesh

Vera L. Tong Lorene Turner Toscha Turner J Walker Brendan Walsh Lucas & Sophie Waldin’s Marriage R Wells & M Bowen John & Leslie Wilson Carol Wnuk Krysta Wosnack Jac Zylstra

CORPORATE SUPPORT OF THE ESO ORCHESTRA CIRCLE: PLATINUM ($10,000-$24,999) ATB Financial Rotary Club of Edmonton Glenora GOLD ($5,000-$9,999) Al Shamal Edmonton Shrine Rotary Club Of Edmonton Gateway SILVER ($2,500-$4,999) Fath Group / O’Hanlon Paving Melcor Developments Ltd. BRONZE ($1,500-$2,499) Audio Ark* Butler Family Foundation City Lumber Corporation Rotary Club of Edmonton Riverview Rotary District 5370 Wawanesa Assurance Wawanesa Mutual Insurance Company

10117 101 St. Downtown Edmonton Reservations 780.424.4218 Open 7 days a week bistropraha.com

ADVOCATE ($1,000-$1,499) Alberta Regional Council of Carpenters & Allied Workers Avison Young Real Estate Bistro Praha Cenovus Energy Imperial Oil Foundation Rotary Club of Edmonton Strathcona The Dinner Optimist Club of Edmonton CONTRIBUTOR ($500-$999) Action Flooring Applied Colour Ltd. JDZ Engineering Miller Thomson Rotary Club of Edmonton West SUPPORTER ($250-$499) Alberta Registered Music Teachers’ Association Wika Instruments Ltd. Piano Studio of Rhonda McEachen REACH Telus Community Affairs FRIEND ($100-$249) E Mirth Professional Corporation Faculty Women’s Club OK Tire Red Deer Public School District Foundation The Toronto-Dominion Bank

10417 - 174 ST NW, Edmonton, AB T5S 1H1 P: (780) 484-0831 F: (780) 486-0698 E: ask_us@pfcustomcountertops.com www.pfcustomcountertops.com

THE EDMONTON SYMPHONY ORCHESTRA

BOARD & STAFF

LIST OF PAST BOARD CHAIRS

Mrs. Marion Mills Dr. H.V. Rice Mr. John D. Dower Mr. Gerry M. Wilmot Dr. A.O. Minsos Mr. E.M. Blanchard Mr. A.G. Culver Mr. D.D. Campbell Mr. D.M. Ramsay Mr. Merrill E. Wolfe Mr. Ken R. Higham Mr. George M. Peacock, Q.C. Mr. Ralph L. Horley The Honourable David C. McDonald Mrs. Madeline Williams The Honourable Tevie H. Miller Mr. Jack W. Kennedy The Honourable Roger P. Kerans Mr. Richard W. Palmer Dr. John R. Huckell Dr. John L. Schlosser Mr. J.R. Singleton Mr. D.A. Cox Mr. Ron Ritch Mrs. Margaret Clarke Mr. Brian Hetherington Mr. Charles T. Austin Mr. Neil Wilkinson Mr. Robert Binnendyk Mr. Ron Pearson Ms. Audrey Luft Mr. Andrew Hladyshevsky, Q.C. Mr. Douglas Noble Mr. D. Mark Gunderson, Q.C. Mr. W.D. (Bill) Grace, F.C.A. Mrs. Phyllis Clark Mr. Steven LePoole

1952-53 1953-54 1954-56 1956-57 1957-58 1958-59 1959-60 1960-61 1961-62 1962-63 1963-65 1965-66 1966-67 1967-68 1968-69 1969-70 1970-71 1971-72 1972-73 1973-76 1976-77 1977-79 1979-80 1980-82 1982-84 1984-86 1986-88 1988-90 1990-93 1993-95 1995-97 1997-00 2000-01 2001-03 2003-04 2004-07 2007-11

THE ESO AND WINSPEAR CENTRE WORK IN PROUD PARTNERSHIP WITH IATSE LOCAL 210 Warren Bertholet, Head Lighting Technician Jonas Duffy, Head Audio Technician Alan Marks, Head of Stage Management Mike Patton, Assistant Head of Stage Management

EDMONTON SYMPHONY SOCIETY/ FRANCIS WINSPEAR CENTRE FOR MUSIC

BOARD OF DIRECTORS Reg Milley, Chair Peggy Garritty, Vice Chair Jim E. Carter, P.Eng., Past Chair Mary Persson, C.P.A., C.M.A., Treasurer Craig T. McDougall, Secretary/Legal Counsel Sheryl Bowhay Joanna Ciapka-Sangster Megan Evans Susan Flook Christine Frederick Sam Jenkins Jim McKillop Mark Moran

EDMONTON SYMPHONY & CONCERT HALL FOUNDATION Phyllis Clark, Chair John Brennan Jim Carter Bob Kamp Carol Ann Kushlyk, C.M.A., C.F.E.

EDMONTON SYMPHONY ORCHESTRA / WINSPEAR CENTRE / TOMMY BANKS INSTITUTE FOR MUSICAL CREATIVITY

EXECUTIVE & ARTISTIC LEADERSHIP Annemarie Petrov Executive Director

William Eddins Music Director

Rob McAlear, Director of Artistic Operations Janice Moore, Director of Community Investment Ally Mandrusiak, Director of Events Management Brian Alguire, Director of Finance & Operations Alison Kenny-Gardhouse, Director of Musical Creativity Elaine Warick, Director of Patron Development Barb Wilkes, Executive Coordinator/Board Liaison Complete staff listing can be found at WWW.EDMONTONSYMPHONY.COM

THANK YOU Community Support of the Edmonton Symphony Orchestra & Winspear Centre The Edmonton Symphony Orchestra is a registered charitable organization, incorporated under the Societies Act of the Province of Alberta on November 22, 1952. As Canadaâ&#x20AC;&#x2122;s fourth-largest professional orchestra, the ESO is financed by ticket sales, grants from government agencies, and by contributions from corporations, foundations, and individuals. Government Agency Support:

Series Sponsors:

Title Sponsor

Landmark Homes Symphony for Kids

Title Sponsor Friday Masters

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Robbins Pops / Robbins Lighter Classics

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ATB Symphony in the City ATB Financial Symphony Under the Sky

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ATB Investor Services Presents

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Live at the Winspear

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Air Canada Masters Applause Series

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Masters Series

Supporter

Symphony for Kids

Presenting Sponsor

Christmas at the Winspear

Our Program Sponsors

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Introductory Series Offer

The Rozsa Innovation Award

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Pulse8 Rusty Musicians

Naming Sponsor ENMAX Hall

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Musicians in the Making

Our Performance Sponsors:

Our Media Sponsors:

CityTV Capital FM CKUA CTV Fresh FM World FM Shine FM 630 CHED

SEPTEMBER/OCTOBER 2016

SIGNATURE 29

2016/2017 SEASON YONA-Sistema Supporters:

Educational Outreach Sponsors:

Sponsor

Enbridge Community Ambassador

Lead Sponsor

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Gr. 4 to 6 Education Program

It all stARTS with me

Instrument Supplier

Our Exclusive Caterers:

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Publications Sponsor

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RV Supplier

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Official Floral Supplier

JANUARY 12, 2017 - 7 PM

RETURNS WILLIAM EDDINS, CONDUCTOR BE WATCHING FOR REGISTRATION INFORMATION AT EDMONTONSYMPHONY.COM/EDUCATION

Bottled Water Supplier

Social Media Sponsor

ALL TICKETS $24!

The HUNCHBACK of NOTRE DAME

Monday, October 31 at 9:30pm Dennis James, organ

The chilling 1923 classic silent film starring Lon Chaney will top off your night of Halloween reverly, with accompaniment from Denis James on the thunderous Davis Concert Organ Tickets available at WinspearCentre.com and 780-428-1414. *Single tickets subject to applicable services charges.

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