ESO Signature Magazine: Feb/Mar 2016 by Venture Publishing

FEB/MAR 2016

ESO 2016/17 SEASON

Details inside

TIME FOR THREE

a little of everything at the Pops

JENS LINDEMANN

returns in Late Night & the Masters

FIALKOWSKA PLAYS BEETHOVEN Early Classics Midweek

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SIGNATURE Contents Volume 31, Number 6 | FEB / MAR 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 eso editor

D.T. Baker Maxime Goulet, Paul Schoenfeld, Peter Meechan, Allan Gilliland & D.T. Baker

program notes

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

PUBLISHED BY

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.

The Edmonton Symphony Orchestra announced their 2016/17 season recently, and subscription renewals are happening now. Get details on the new season, plus what it’s like to put an orchestra season together, on page eight. Cover Design: Curio Studios

WELCOME

pg. 5

ARTISTIC & LEADERSHIP TEAM

pg. 6

EDMONTON SYMPHONY ORCHESTRA 2015/16

pg. 7

FEATURE: 2016/17 ESO SEASON PREVIEW

pg. 8

(Eddins, Petrov, Uchida, Waldin)

THE EDMONTON SYMPHONY ORCHESTRA

2015/2016 SEASON

MNP LATE NIGHT WITH BILL EDDINS LATE NIGHT SOUNDTRACKS (FEBRUARY 26)

pg. 10

RBC SUNDAY SHOWCASE MOZART & CHOCOLATE (FEBRUARY 28)

pg. 13

MNP LATE NIGHT WITH BILL EDDINS LATE NIGHT TRUMPET (MARCH 4)

pg. 16

SATURDAY MASTERS SERIES BERNSTEIN & ELLINGTON (MARCH 5)

pg. 19

EARLY CLASSICS MIDWEEK HANDEL, HAYDN &BEETHOVEN (MARCH 9)

pg. 23

ROBBINS POPS TIME FOR THREE (MARCH 11 & 12)

pg. 27

LONGTIME SUBSCRIBER APPRECIATION

pg. 29

ESO BOARD & SENIOR STAFF

pg. 34

OUR SUPPORTERS

pg. 35

William Eddins, conductor Darren Fung, conductor Niobe Thompson, narrator

William Eddins, conductor Emmanuel Ceysson, harp Virginie Gagné, violin Clayton Leung, viola

William Eddins, conductor Jens Lindemann, trumpet

William Eddins, conductor Janina Fialkowska, piano

William Eddins, conductor Time for Three, special guests

ON THE COVER FEBRUARY/MARCH 2016

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WE TAKE PEOPLE PLACES. BUT ITâ&#x20AC;&#x2122;S MUSIC THAT TRULY MOVES THEM. Official airline of the Edmonton Symphony Orchestra.

W W

WELCOME

HEN I REFLECT ON WHAT MAKES THE EDMONTON SYMPHONY

Orchestra so extraordinary, the first thing that comes to mind is the mindboggling variety of music. Season after season, the ESO offers not just classical, baroque, pops, film music, or world music, but all of those and more. In the 2016/2017 season you’ll find every orchestral genre on full display (see page 8); opening with Mozart, and closing with something completely different – Carmina Burana – really shows off how versatile this ensemble is. Your orchestra transforms itself with ease. You might be struck, as I was, by how much Canadian music we feature. On the Masters series alone the ESO will perform pieces by Pépin, Hétu and the ESO’s own McPherson. On top of that, we are always thrilled to feature members of our orchestra as soloists. Concertmaster Robert Uchida appears on multiple concerts, and… good Lord, will you look at Lighter Classics? There are 15 ESO soloists on one program! Only this orchestra could pull off that level of madness. It’s going to be another ridiculous season packed with stellar music – and new opportunities for you to play, too. There’s something for everyone who walks into the Winspear. See you there. Peace,

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.

William Eddins Music Director

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ow in his 11th season as Music Director of the Edmonton Symphony Orchestra, WILLIAM EDDINS demonstrates tremendous and infectious passion and enthusiasm, as well as an adventurous musical curiosity that propels the orchestra to new and exciting achievements. His commitment to the entire spectrum of the ESO audience brings him to the podium for performances in every subscription series, as well as for a wide variety of galas and specials. A distinguished and versatile pianist, Mr. Eddins caught the conducting bug while in his sophomore year at the Eastman School of Music. In 1989, he began conducting studies at the University of Southern California with Daniel Lewis, and assistant conductorships with both the Minnesota Orchestra and the Chicago Symphony (the latter under the leadership of Daniel Barenboim) followed. Mr. Eddins has many non-musical hobbies including cooking, eating, discussing food and planning dinner parties. He is also quite fond of biking, tennis, reading and pinball. Based in Minneapolis, where he lives with his wife Jen (a clarinetist) and their sons Raef and Riley, the Eddins home comes complete with a state-of-the-art recording studio, built by Mr. Eddins himself.

NNEMARIE PETROV, Executive

Director of the Edmonton Symphony Orchestra (ESO) and Francis Winspear Centre for Music, brings more than 26 years of experience to a role that oversees one of Alberta’s flagship performing ensembles and one of the world’s premier concert halls. With a combined annual budget of over $12 million, Ms. Petrov supervises day-to-day operations, long-term planning, government relations and community support of both organizations. A native of Montréal, Ms. Petrov is a graduate of McGill University

or the 2015/16 season, LUCAS WALDIN continues to wear with distinction the mantle of Enbridge Artist in Residence and Community Ambassador, as well as that of YONA-Sistema Artistic Director. In these capacities, he continues to establish strong ties with our community through inventive outreach initiatives, assist in programming and presenting the ESO’s education and family concerts, and applying his artistic leadership to the YONASistema program. During his time with the ESO (which began with his appointment as Conductor in Residence in 2009), Mr. Waldin has collaborated with some of North America’s finest musicians including Jens Lindemann, Angela Cheng and Sergei Babayan. An experienced conductor of pops and crossover, he has worked with a range of artists such as Ben Folds, Chantal Kreviazuk and the Canadian Tenors. His acclaimed work with the Barenaked Ladies led the iconic Canadian pop group to select Mr. Waldin as their conductor of choice for their performances with the Toronto Symphony at Roy Thomson Hall. Strongly dedicated to Canadian composers, Lucas Waldin has performed more than 25 Canadian compositions including six world premieres. In recognition of his valuable contribution to the artistic

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While conducting is his principal pursuit, he continues to perform as pianist, organist and harpsichordist. He has conducted the ESO from the keyboard on many occasions. An important aspect of every performance in the Masters series over the last few seasons (including 2014/15) is the inclusion in every program of a work that the orchestra has never performed. In 2008, he conducted Gershwin’s Porgy and Bess for Opéra Lyon, leading to repeat performances in Lyon, London and at the Edinburgh International Festival in 2010. Other international highlights include a 2009 tour of South Africa, where Mr. Eddins conducted three gala concerts with soprano Renée Fleming and the KwaZulu-Natal Philharmonic Orchestra. On May 8, 2012, Mr. Eddins made his Carnegie Hall debut conducting the ESO at a memorable concert featuring four Canadian soloists, and music by three Canadian composers alongside Martinu’s rarely performed Symphony No. 1.

where she majored in French horn performance. Following several years in Europe, she returned to Canada and stepped into the role of General Manager of Symphony New Brunswick. She followed her position at the National Arts Centre Orchestra with work at the Winnipeg Symphony Orchestra, where she also oversaw the popular Winnipeg New Music Festival. She joined the Edmonton Symphony Orchestra and Winspear Centre in 2007. Ms. Petrov is guided by her profound love of the arts in a career focused on every aspect of the concert experience – from international orchestral tours to concerts in curling rinks in Canada’s North. She is fuelled by the belief that participation in live music is essential to our well-being and is driven to make it accessible to everyone. She is a frequent guest speaker at arts industry conferences and has served on the board of Orchestras Canada.

life in Canada, he was awarded the 2012 Jean-Marie Beaudet Award in Orchestra Conducting by the Canada Council for the Arts. He studied conducting and flute at the Cleveland Institute of Music and has conducted in master classes with Helmuth Rilling, Michael Tilson-Thomas, Colin Metters, and Bernard Haitink. In 2012, he was invited to conduct the National Arts Centre Orchestra (Ottawa) in a conductor workshop, and as a participant of the St. Magnus Festival, Orkney, Lucas conducted both the Scottish Chamber Orchestra and the BBC Scottish Symphony. Prior to his appointment with the Edmonton Symphony, Mr. Waldin was a Discovery Series Conductor at the Oregon Bach Festival, and Assistant Conductor of Cleveland’s contemporary orchestra {RED}. He has performed with orchestras across Europe, including the Jugendsinfonieorchester Kassel, Bachakademie Stuttgart, and Staatstheater Cottbus.

www.EdmontonSymphony.com

Photo: Michael Woolley

ARTISTIC & LEADERSHIP TEAM

THE EDMONTON SYMPHONY ORCHESTRA

William Eddins

2015/2016 SEASON

Music Director

Lucas Waldin

Photo: Bo Huang

Enbridge Artist in Residence & Community Ambassador

ne of Canada’s leading violinists, ROBERT UCHIDA has been hailed for his “ravishing sound, eloquence and hypnotic intensity” (Strings Magazine). He has been heard throughout North America and Europe as a soloist, chamber musician and concertmaster to great critical acclaim. He has been a regularly featured guest soloist with many of Canada’s orchestras and chamber music festivals. Among his solo appearances with the Edmonton Symphony Orchestra, Robert recently had the honour of performing Bottessini’s Grand Duo Concertante with legendary 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, and he has worked with many of the world’s top conductors including Valery Gergiev, Kurt Masur, and Pinchas Zukerman. Robert’s CD recordings include Sonata for Unaccompanied Violin by Andrew Violette for Innova Records, Requiem 21.5: Violin Concerto by Tim Brady for CentreDiscs and “Verklarte Nacht” 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, to work with composers such as John Corigliano and Richard Danielpour and to perform with Sarah Slean and Symphony Nova Scotia in a CBC video broadcast of “Parasol” arranged by Christos Hatzis. He is deeply committed to his work as first violinist of the Torontobased XIA Quartet. Robert was Artistic Director of the Acadia Summer Strings Festival from 2010 to 2014 and has held teaching positions at Acadia University, the Manhattan School of Music, and the National Arts Centre of Canada’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 Thomastik-Infeld Vienna. He currently lives in Edmonton with his wife Laura and their two children.

FEBRUARY/MARCH 2016

[ VIOLIN I ] Robert Uchida, Concertmaster The John & Barbara Poole Family Concertmaster Chair Eric Buchmann, Associate Concertmaster Virginie Gagné, Assistant Concertmaster 5 Laura Veeze Broderyck Olson Richard Caldwell Joanna Ciapka-Sangster Susan Flook Anna Kozak Aiyana Anderson-Howatt Neda Yamach [ VIOLIN II ] Dianne New 1 Aaron Au 4 Heather Bergen Pauline Bronstein Robert Hryciw Zoë Sellers Murray Vaasjo Tatiana Warszynski [ VIOLA ] Stefan Jungkind 1 Charles Pilon 2 Clayton Leung Rhonda Henshaw Andrew Bacon 5 Jeanette Comeau [ CELLO ] Rafael Hoekman, 1 The Stuart & Winona Davis Principal Cello Chair Ronda Metszies 4 Gillian Caldwell Derek Gomez Victor Pipkin [ BASS ] Jan Urke 1 John Taylor 2 Janice Quinn Rhonda Taft Rob Aldridge

[ FLUTE ] Elizabeth Koch 1 Shelley Younge 2 [ OBOE ] Lidia Khaner 1 Paul Schieman, 2 The Steven & Day LePoole Assistant Principal Oboe Chair [ CLARINET ] Julianne Scott 1 David Quinn 2 [ BASSOON ] William Harrison 1 Matthew Howatt 3 Edith Stacey 2 [ HORN ] Allene Hackleman 1 Megan Evans 2 Gerald Onciul 2 Donald Plumb 2 [ TRUMPET ] Robin Doyon 1 Frédéric Payant 2 [ TROMBONE ] John McPherson 1 Kathryn Macintosh 2 [ BASS TROMBONE ] Christopher Taylor 1 [ TUBA ] Scott Whetham 1 [ TIMPANI ] Barry Nemish 1

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

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 Raymond Baril Saxophone Jim Cockell Violin Yue Deng Violin Jerrold Dubyk Saxophone Joel Gray Trumpet Leanne Maitland Viola Michael Massey Keyboards John McCormick Percussion PJ Perry Saxophone Jean-François Picard Saxophone Yukari Sasada Bass Martina Smazal Viola Jeremy Spurgeon Keyboards Alison Stewart Violin Robin Taylor Saxophone Brian Thurgood Percussion Christine Yu Violin

[ 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.

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

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F FEATURE

Bob Bernhardt

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Joel Plaskett

Simone Porter

Photo: Ingram Barss

William Eddins

Photo: Jeff Fasano

Charles-Richard Hamelin

The Edmonton Symphony Orchestra is putting the pieces together for an exciting upcoming season

www.EdmontonSymphony.com

2015/2016 SEASON Alexander Prior

LANNING A SYMPHONY ORCHESTRA’S CONCERT

season is actually quite a bit like putting together an enormous jigsaw puzzle. But if, like many, you start your puzzles by filling out the border before delving to the inner workings, in the case of an orchestra season, that border needs to begin about two years ahead of time. Using the ESO’s recently announced 2016/17 season as an example – almost as if we were trying to promote it – our border begins with the obvious. Who do we want as our guests this time? A return of dear friends? Well, yes, certainly we’d want that. Like conductors Alexander Prior, Jack Everly, Jean-Marie Zeitouni, Steve Reineke, and of course Bob Bernhardt; soloists such as Behzod Abduraimov (piano), Paul Jacobs (organ), André Laplante (piano), and many from our own orchestra (Robert Uchida, Rafael Hoekman, Nora Bumanis, and more). But as we start to fill it in, what about artists making their ESO debuts? Conductor Ilyich Rivas, violinist Simone Porter, pianist Charles-Richard Hamelin, guitarist Jason Vieaux, rocker Joel Plaskett, and accordionist Ksenija Sidorova all make their first appearances with us next season.

As ever, it’s important to delight and challenge expectations with works both rare and new. Music Director William Eddins, Artistic Administrator Rob McAlear, and the ESO’s programming committee have no shortage of other considerations. The music, certainly. There are pieces that audiences will want to hear again, and as ever, it’s important to delight and challenge expectations with works both rare and new. The 2016/17 brings back the subscription series that ESO patrons have relied on as guides to their choices: The Masters, Lighter Classics, Pops, Early Classics, Sunday Showcase, and Symphony for Kids series are all here, as is the newest subscription entry: the expanded Late Night with Bill Eddins set of three Friday night performances. But having a great wish list doesn’t complete the puzzle. Some

FEBRUARY/MARCH 2016

guest artists are booked well in advance, and the nice spot in our schedule where they’d fit right in doesn’t necessarily match when an artist might be available. Every once in a while, when the stars align, a missed opportunity for one guest creates the chance to bring in someone else when everything syncs up. It happens. Some conductors, some soloists – they have particular pieces they really want to perform, and if we can make it happen, and if it’s the right fit with the ESO, we’re thrilled to do so. We’re always mindful of that bedrock of classical masterpieces that define any orchestra as well. So while Beethoven’s “Emperor” Concerto, Chopin’s Piano Concerto No. 2, Fauré’s Requiem, Tchaikovsky’s “Pathétique” Symphony, Dvorˇák’s Cello Concerto, Orff’s Carmina Burana, Handel’s Royal Fireworks Music, Vivaldi’s The Four Seasons, Rodrigo’s Concierto de Aranjuez, and Rimksy-Korsakov’s Scheherazade are all scheduled (as are an all-Beethoven and an all-Mozart concert), there are plenty of fascinating and beautiful discoveries to come. Music ranging from a Spanish-speaking Masters, to works by Aaron Jay Kernis, Albéric Magnard, Rued Langgaard, Arvo Pärt, Carl Nielsen, and others add drama and excitement in each subscription series. Then, there are the other elements one shouldn’t ignore in a season plan. By the time the 2016/17 season is done, Canada will be in the midst of celebrating its 150th birthday, and the Edmonton Symphony Orchestra’s commitment to Canadian music and Canadian artists is second to none. From world premieres and/or ESO commissions from local composers such as John Estacio and ESO Principal Trombone John McPherson, we’re pleased to present works by Jacques Hétu, Clermont Pépin, former ESO Composer in Residence Robert Rival, and Victor Davies. Enbridge Artist in Residence and Community Ambassador Lucas Waldin has given the upcoming Symphony for Kids series a particular focus on Canadian music, with concerts such as Platypus Theatre’s How the Gimquat Found Her Song, and an adaptation of his very successful education program, Canadian Road Trip. All your Christmas favourites are back: Messiah, the holiday Pops and Lighter Classics shows, and our Candy Cane Family Christmas special. And naturally, all the details and subscription information is at EdmontonSymphony.com. We’ve already started the next few jigsaw puzzles as well. But there are still some end pieces we’re trying to track down for those.

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MNP LATE NIGHT WITH BILL EDDINS Late Night Soundtracks

ARTIST BIOS

Friday, February 26 | 9:30 PM

William Eddins, conductor Darren Fung, conductor The University of Alberta Madrigal Singers, (Leonard Ratzlaff, Music Director)

DAVIS

Charlie Chaplin’s How To Make Movies

FUNG

The Great Human Odyssey in Concert (orch. Pratte)

(16’)*

(40’)*

program subject to change Please note: there is NO intermission in tonight’s performance. Please join us in the main lobby following the concert.

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

ARREN FUNG is an award-winning Canadian film composer. He caught the composing bug at age 15 when he wrote a piece for the Edmonton Symphony Orchestra’s Young Composers Project. After finishing his degree at McGill and living and loving Montréal for 12 years, Darren is now based out of Los Angeles.

Amongst his credits, Darren re-created Canada’s second national anthem, the beloved Hockey Theme, for CTV and TSN. Every weekday morning his music is heard on CTV’s flagship morning news program, Canada AM. His work was the focus of Bell Canada’s Orchestra spot, run during the 2010 Vancouver Olympics, and was voted as Canada’s top commercial by readers of The Globe and Mail. His critically acclaimed work on the miniseries Lost Years garnered him a 2012 Canadian Screen Award nomination. His much-lauded score to The Great Human Odyssey, recorded with members of the Edmonton Symphony and Pro Coro Canada, was recently released on the prestigious Varèse Sarabande label. His feature and short film scores have been heard at prestigious film festivals around the world, including Toronto, Cannes, and Sundance. In addition to his full-time composing career, Darren currently serves as the Second Vice President of the Screen Composers Guild of Canada, and acts as a Program Advisor for the Canadian Film Centre’s Slaight Music Residency. He is an alum of the Action Canada Public Policy Leadership development program and sits on the Creative Ecologies Advisory Board for the Banff Centre’s Peter Lougheed Leadership Institute. Mr. Fung last appeared to conduct members of the ESO in 2015 to record the soundtrack for The Great Human Odyssey.

Series Sponsor

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Media Sponsors

www.EdmontonSymphony.com

nthropologist and double-Gemini winning filmmaker NIOBE THOMPSON has a PhD from Cambridge University’s Scott Polar Research Institute and co-founded Edmonton-based Clearwater Documentary in 2008. Variously found producing, directing, and hosting Clearwater’s films, Dr. Thompson has established an award-winning reputation for taking his audience on wild adventures to unlikely and inhospitable places – Arctic Siberia, the jungles of Papua New Guinea, Ethiopia’s Afar tribal areas – in search of insights into the human condition. His 2012 documentary, The Perfect Runner, was described as “A big beautiful, visually stunning film” (Ottawa Citizen), was CBC’s most popular documentary of the 2011/12 season and won “Best Social Science Documentary” at Jackson Hole, the Edmonton Film Prize, and three Canadian Screen Award nominations (Best Science; Best Photography; Best Screenwriting). Most recently, Thompson produced and directed the three-part 2015 CBC/PBS series The Great Human Odyssey, now airing in over 40 countries and described by The Globe and Mail as “Indescribable but brilliant!” Thompson is now directing a feature film for the National Film Board set in the world of transplant medicine, while preparing for a new Canadian-German coproduction exploring the role of horses in human history. Under Thompson’s direction, Clearwater Documentary emerged in 2012 as a Global 100 production company, recognized by Realscreen as one of the world’s 100 most influential production companies.

of music students but is open to singers from across campus through auditions each September. They have sung frequently as guests of the Edmonton Symphony, including its Messiah performances in 2011 and 2012, and the Alberta Baroque Ensemble, most recently this past December. Beyond Edmonton, the choir frequently tours Alberta and British Columbia, and in recent years has participated in University Voices, a festival of Canadian university choirs held in Toronto. They have performed at the national conference of the Association of Canadian Choral Conductors twice, and in 2005 performed at the National Convention of the American Choral Directors Association in Los Angeles. This past December the choir travelled to Athens, Greece, to participate in a choral festival led by British conductor Simon Carrington. The Madrigal Singers have been frequent finalists in the Canadian Competition for Amateur Choirs, and won first prize in the Mixed Choir category of this competition on four occasions. International competition successes have included First Prizes at several international competitions in Germany and Ireland. The Madrigal Singers have released five recordings, two of which (Balulalow [1999], and The Passing of the Year [2004]) won the National Choral Award from Choral Canada for best Canadian recording of that year. These recordings feature a wide range of choral music from Renaissance to the present, including first recordings of works by Canadian composers Allan Bevan, Leonard Enns, Malcolm Forsyth, James Rolfe, Mark Sirett, and Ruth Watson Henderson, as well as British composers Gavin Bryars and Jonathan Dove. The choir last appeared with the ESO in December 2012.

PROGRAM NOTES Notes on the music for The Great Human Odyssey

I Photo: Curtis Comeau

This is Dr. Thompson’s debut with the ESO.

he UNIVERSITY OF ALBERTA MADRIGAL SINGERS, under the direction of Leonard Ratzlaff, is an auditioned choir of around 36 singers that has distinguished itself as one of Canada’s finest university choirs. The choir’s membership is mainly comprised

FEBRUARY/MARCH 2016

N CREATING THE FILM SCORE TO ACCOMPANY NIOBE

Thompson’s documentary series The Great Human Odyssey, Darren Fung truly came home. He came home, firstly, to Edmonton, where, 20 years ago, he got a major opportunity as a budding composer, thanks to the innovative Young Composers Project, an initiative launched by then ESO Composer in Residence John Estacio, which gave a promising high school composer a chance to create a work for orchestra. Now based in Los Angeles, Fung was thrilled that he came home to record his score with Edmonton musicians. “Being able to come home – it was a brilliant homecoming, because it was great to work with a lot of the same people who were in that orchestra 20 years ago who performed my Young Composers Project – I hope my writing has improved a little since then,” he added with a laugh to Signature magazine. “But also, just to be able to just share it with people from your home community – I think that was really a lot of fun.” He came home, also, because Dr. Thompson’s documentary film company, Clearwater Documentary, is based in Edmonton, and it was the music for another film that introduced Dr. Thompson to Darren Fung’s oeuvre. “Niobe was incredibly collaborative in the sense that

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MNP LATE NIGHT WITH BILL EDDINS

Late Night Soundtracks

he would say, ‘I’m not sure that I agree with that,’ and I’ll try to argue my way through and he’d say, ‘OK, you win that one,’ ” Fung notes. “Other times, he’d just say, ‘No way, this doesn’t work for me,’ you know? So it was collaborative, but it was a very enjoyable process with Niobe. Being collaborative doesn’t mean having low standards – it means you know what you want, but you’re open to different ideas of how something works.” Dr. Thompson will introduce his film tonight, and Darren Fung will conduct, as he did for the soundtrack of the series. Musicians from the Edmonton Symphony, as well as choir Pro Coro Canada were part of that original recording. “This was my first time writing for choir in a studio setting,” Darren confesses, “and so experimenting with that, you realize, my God, that stuff that they teach you, that four-part harmony stuff is all very theoretical, but does that really work in practice? We were changing a lot of the women’s parts because I had written them quite low, and then we were literally changing them on the fly, as we go along.” Scoring the documentary was also a bit like coming home for Fung, as he is very much at home writing music for the idiom. His IMDb website entry lists 62 projects – a very impressive number for the young artist – and many of them are documentaries. “When you’re writing a film score, you have to understand that you’re a gun for hire, right?” he explains. “You don’t get to write just what you want to write. So on one hand, you could think of it as a little bit restrictive in the sense that you’re always at the service of the director. On the other hand, that’s what a film score is – you’re always serving the picture and the greater need. So it’s not a matter of writing what you think looks nice with the picture; you have to think about story arc and emotion. So we’d have a spotting session, where I sit next to Niobe and then we go through the film and check out what music belongs where, and he gives me notes and I ask him questions, like ‘Whose music is it? Is it this character’s music, is it the audience’s music, what should we be feeling here?’ So I don’t really see it as a restriction, but more as a collaborative process. It’s not the same thing as writing a concert piece where you have a blank palette.” It’s rare, Darren Fung says, that a documentary like this will be scored for full orchestra and choir, and he was thrilled that his music could match the scope of Niobe Thompson’s vision. “About a year into Niobe’s shooting,” Fung recalls, “he had just come back from Siberia, and showed me some of the re-creation. There were these shots of this Inuit man who was basically jumping over ice floes – it was this dolly shot, and the background is just magnificent. And I go, ‘Holy s**t! How the h**l did he shoot that?’ It was stunning, but more than anything, that’s sort of when I understood the enormousness of the project – I understood this really needs an orchestral and choral score, because it’s so big and so magnificent. That’s something that really only an orchestra and choir can deliver on the grandeur and the epic-ness of the project.” Program notes © 2016 by D.T. Baker, with thanks to Darren Fung

www.EdmontonSymphony.com

R Mozart & Chocolate

ARTIST BIOS

Sunday, February 28 | 2 PM

William Eddins, conductor Emmanuel Ceysson, harp Virginie Gagné, violin Clayton Leung, viola

of the world’s leading harpists. He has recently started his new job as Principal Harp at the Metropolitan Opera House in New York, after a successful career at Opéra de Paris for the past nine years. Since 2005, he has been a presence in such leading venues as Wigmore Hall, the Salle Gaveau, Carnegie Hall, the Vienna Konzerthaus, and the Berlin Philharmonie. He won the Gold Medal and a special performance prize at the USA International Harp Competition (Bloomington) in 2004, First Prize and six special prizes at the New York Young Concert Artist Auditions in 2006, and First Prize at the prestigious ARD Competition in Munich in September 2009, thus becoming the first harpist to obtain awards at three major international events. In 2010, Mr. Ceysson was nominated in the category “Solo Instrumental Discovery” at the Victoires de la Musique Classique. In November 2011 he received a Prix d’Encouragement from the Académie des Beaux-Arts de l’Institut de France (Fondation Simone Del Duca) in recognition of his distinguished early career. He has been a Naïve label artist since January 2012, when he released a solo album.

Sunday Prelude, 1:15 pm in Upper Circle (Third Level) Lobby with

Lucas Waldin

Sunday Encore, post-performance in Main Lobby with Emmanuel

Ceysson, Virginie Gagné & Clayton Leung

GOULET

Symphonic Chocolates – Orchestral sweets in four flavours Caramel Chocolate Dark Chocolate Mint Chocolate Coffee-infused Chocolate

MOZART

Sinfonia concertante in E-flat Major, K.364/320d Allegro maestoso Andante Presto

(11’)*

(32’)*

INTERMISSION (20 minutes)

ROSSINI

William Tell: Overture

(12’)*

GLIÈRE

Harp Concerto in E-flat Major, Op.74 Allegro moderato Andante – Tema con variazioni Allegro giocoso

MMANUEL CEYSSON is one

Emmanuel Ceysson was Visiting Professor at the Royal Academy of Music in London from 2005 to 2009, and has taught at the International Summer Academy in Nice since 2010. He has given recitals and educational residencies at venues including the Wolf Trap Foundation in Virginia, North Orange County Community Concerts Association in California, Macomb Center for the Performing Arts in Michigan, Mary Baldwin College in Virginia, the Washington Center for the Performing Arts (WA), and Emporia Arts Council in Kansas. His Chicago debut at Lyon & Healy Hall was sponsored by the Victor Salvi Foundation. Recent highlights include the concert at the Stefaniensaal of Graz and the Gstaad festival.

(29’)*

Program subject to change *indicates approximate performance duration

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

This is Mr. Ceysson’s debut with the ESO.

ne of Edmonton’s most prominent violinists, VIRGINIE GAGNÉ has been involved in numerous local musical events

since her arrival in 2006. Her playing style transcends musical

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FEBRUARY/MARCH 2016

Performance Partner

Media Sponsor

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Photo: Jean-Christophe Husson

RBC SUNDAY SHOWCASE

genres, from baroque to pop, to new music. She has been an active chamber violinist and a featured soloist with the Edmonton Symphony Orchestra, the Alberta Baroque Ensemble, and the Edmonton Recital Society, among others. Prior to her appointment as Assistant Concertmaster to the ESO, Virginie held a First Violin position with the Honolulu Symphony Orchestra. She has also played with the Houston Symphony, I Musici, Les Violons du Roy, and the Montréal Symphony Orchestra.

Photo: Claudine Lavoie

RBC SUNDAY SHOWCASE Mozart & Chocolate

Originally hailing from Montréal, Ms. Gagné 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, Ms. Gagné has attended 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. 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 teaches violin, reads, bakes, and is busy being a new mom. She resides in Edmonton with her husband Alexander and her son Julius. Ms. Gagné last appeared as a soloist with the ESO in November 2013.

orn and raised in the Vancouver area, CLAYTON LEUNG began violin lessons at the age of three at the Langley Community Music School. He continued his studies at the University of Victoria and finally at the Cleveland Institute of Music where he studied with Robert Vernon. Prior to joining the Edmonton Symphony Orchestra in fall 2013, Clayton was Principal Violist with the Newfoundland Symphony Orchestra, and there he made his solo debut in October 2013. He was also Principal Violist with the Ashland Symphony and the National Repertory Orchestra and has played with the Victoria, Vancouver Island, New World Symphony, and National Arts Centre Orchestras. An avid chamber musician, Mr. Leung has performed in the Music at Memorial and the Atlantic String Quartet Recital series, and has been in residence at the Perlman Music Program, and the Orford and Banff Arts Centres. Sharing his musical

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knowledge, he was a string mentor in the Victoria and St. John’s public school systems and taught in the preparatory division while studying at the Cleveland Institute of Music. A career highlight occurred in 2013, when he and four of his colleagues from the Newfoundland Symphony Orchestra toured western Newfoundland and northern Labrador, bringing classical music to youth and adults in isolated communities. He is currently on faculty at the Alberta College Conservatory. Clayton has immersed himself in the local arts scene, making appearances at the Edmonton International Jazz Festival, Miles Zero Dance Company, Early Music Alberta, and the Alberta Baroque Ensemble – where he will make his solo debut in March 2016. Aside from playing violin and viola, Clayton is fond of playing the piano and ukulele, and in his free time he may be spotted around Edmonton sipping on lattes, dabbling in the culinary arts, and lifting heavy weights in the gym. Mr. Leung last appeared as a soloist with the ESO in January 2014.

PROGRAM NOTES Symphonic Chocolates – Orchestral Sweets in Four Flavours MAXIME GOULET

(b. Montréal, 1980) First performed: August 2, 2012 in Hamilton Last ESO performance: May 2013

YMPHONIC CHOCOLATES WAS COMMISSIONED BY THE National Academy Orchestra of Canada, and their artistic director Boris Brott, as part of a composer residency, for the 25th anniversary of the Brott Music Festival. The piece is dedicated to Ardyth and Boris Brott to thank them for all the artistic support they have given to the composer. The work is a soundtrack for chocolate tasting – an orchestral suite in four short movements in which each movement evokes a different flavour of chocolate. During the concert, the audience is invited to eat four small chocolates while each movement of corresponding flavour is being played: I – Caramel Chocolate: A long lyrical melody supported by a rich and enveloping sonority. II – Dark Chocolate: An intense habanera of desire and seduction, spiced up with a dissonant bitterness. III – Mint Chocolate: A delicate freshness with icy cold sonorities. IV – Coffee-infused Chocolate: An espresso tempo with a Brazilian flavour. The piece has its own website: www.symphonicchocolates.com

Sinfonia concertante for Violin and Viola in E-flat Major, K.364/320d WOLFGANG AMADÉ MOZART

(b. Salzburg, 1756 / d. Vienna, 1791) Composed late 1779 Last ESO performance: January 2011

www.EdmontonSymphony.com

EARLY EVERYTHING ABOUT THE SINFONIA CONCERTANTE

Mozart composed in 1779 is singular – except its instrumentation. After composing five violin concertos within a short span of each other in 1775, Mozart wrote no more such works for solo violin. In 1778, he completed a concerto for solo flute, and five years later, would finally write another solo concerto work. But in between, he wrote six works (that we know of) – all for multiple solo instruments and orchestra. Four have survived to us intact, and the most assured and mature of these is the Sinfonia concertante, for one solo violin and one solo viola. The word “operatic” is apt to the construction of this work. Its opening movement begins with a long statement from the orchestra, and the soloists’ entrance is remarkable. Out of the mists of the orchestra’s decrescendo, the two instruments are suddenly and subtly there, on sustained notes in octaves. From there, the two soloists dominate the work – barely a note the orchestra has played to that point even shows up throughout the rest of the movement. Not that there aren’t important statements for the orchestra between the engaging solo work – there are, many of which are reminiscent of some of Mozart’s opera overtures. But the soloists dominate, either chasing each other in a breathtaking scurry, or harmonizing in tightly constructed, demanding passages requiring concise partnership. The serene second movement is very operatic, modeled in the same way as Mozart’s finest vocal duets. Following a suitably dramatic orchestral opening, the violin and viola each sing an independent line. They begin separately, gradually becoming more and more “in agreement,” until they are singing sweetly together. For the rest of the movement, they do not speak one without the other, the orchestra’s opening drama has now become subtle accompaniment. There is a brief cadenza for both soloists near the movement’s end. What the second movement is to romantic dialogue, the finale is to simply having fun. A rondo movement with an infectious dance as its main subject, there are now opportunities for each soloist to “show off” separately, but also to make merry together. One of Mozart’s most graceful romps, there are clever twists and turns – even some brief minor-key variations – but the overriding sense of play is everywhere.

Wiliam Tell: Overture GIOACCHINO ROSSINI

(b. Pesaro, 1792 / d. Passy, nr. Paris, 1868) Opera first performed: August 3, 1829 in Paris Last ESO performance of the overture: Sobeys Symphony Under the Sky 2009

OSSINI WAS A RICH AND CELEBRATED COMPOSER IN

the Italian bel canto tradition – secure enough in his standing that he could afford to “experiment” with his last operatic composition. For it, he turned from bel canto to the French grand opera tradition, which is why the opera we know in English as William Tell was written originally under its French name, Guillaume Tell. As this, it premiered to great acclaim in Paris in 1829. The opera itself is a large, long affair, based on the German poet Schiller’s account of the legendary Swiss hero of the 14th century, who rallies his countrymen

FEBRUARY/MARCH 2016

against the Austrian occupiers. And while the opera has long since fallen from the standard repertoire, its overture has done anything but. Our associations with the William Tell Overture may now have very little to do with the opera, but each of its four sections is rich, memorable and make for a thrilling work taken all together.

Harp Concerto in E-flat Major, Op.74 REINHOLD GLIÈRE

(b. Kyiv, 1874 / d. Moscow, 1956) Composed: 1938 This is the ESO premiere of the piece

OLLOWING THE 1917 REVOLUTION, THOSE IN POWER

in the Soviet Union mandated that art should support the ideals of the Revolution. Music, for example, should extol the virtues of the workers, and it should avoid the “decadent” excesses and aberrations of the West. There are famous examples of composers who struggled under these dictates, and who ran afoul of those in power. Because of the western world’s opposition to the ideals of Soviet Communism, we have, historically, sympathized with those who rebelled against artistic restriction. Conversely, those composers who supported the Soviet regime, and agreed that music should reinforce its ideals, have languished in relative obscurity. So the music of composers such as Reinhold Glière has faded to the back pages of history. Glière was born in Kyiv, the capital of Ukraine, and would have been in his early 40s when the Bolsheviks seized power. He was already an established and respected composer and teacher, and was by nature already a traditionalist, as opposed to the avant garde of Russian art espoused by composers such as Prokofiev, Stravinsky, or Scriabin. With the new regime, Glière became a leading figure, heading up such organizations as the People’s Commissariat for Education, and was Chairman of the Organization Committee of the Soviet Composers Association. He composed his Harp Concerto in 1938, and was so indebted to harpist Ksenia Erdeli for its composition, he wanted to give her co-composition credit. It is a substantial work, opening with an air of majesty, with rich orchestration under arpeggiated harp figures. The orchestra is first to present the movement’s main theme, a romantic affair which the harp answers with pianistic decorations, accompanying a clarinet melody immediately following. A secondary theme is only slightly more sprightly in a movement that emphasizes grace and gentle passion more than anything else. There is a long cadenza halfway through the movement, and the movement ends with a return of the romantic strains of the opening. The second movement is a theme, with six variations and a coda. The main theme is presented as an Andante on the harp, and the variations run a gamut from expressively tender, building in pace and energy to an Animato fifth variation before ebbing gently to the finish. The final movement is an Allegro giocoso, begun dramatically in the orchestra, but leading to an amiable dance for harp and orchestra. Throughout the concerto, Glière masterfully combines the two forces, ensuring that the harp’s passages are not masked by the orchestra, while never making it seem that one is sacrificed for the other. Program notes © 2016 by D.T. Baker

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MNP LATE NIGHT WITH BILL EDDINS Late Night Trumpet

ARTIST BIOS

Friday, March 4 | 9:30 PM

William Eddins, conductor Jens Lindemann, trumpet

SCHOENFELD Vaudeville Overture Bear Dance Klezmers Sketches Carmen Rivera

(22’)*

ELLINGTON

Harlem (arr. Peress)

(15’)*

GILLILAND

Dreaming of the Masters III (2010 ESO commission) 101 Damnations Prayer Lower Neighbour

(15’)*

Program subject to change *indicates approximate performance duration Please note: there is NO intermission in tonight’s performance. Please join us in the main lobby following the concert.

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

ENS LINDEMANN is hailed as one of the most

celebrated soloists in his instrument’s history and has been acclaimed “International Brass Personality of the Year” (Brass Herald). He has played in every major concert venue in the world: from the Philharmonics of New York, Los Angeles, London, and Berlin to Tokyo’s Suntory Hall and even the Great Wall of China. His career has ranged from appearing internationally as an orchestral soloist, performing at London’s “Last Night of the Proms,” recording with the Mormon Tabernacle Choir, to playing lead trumpet with the renowned Canadian Brass and a solo Command Performance for the Queen of England. He has also won major awards ranging from Grammy and Juno nominations to winning the prestigious Echo Klassik in Germany, as well as receiving an honorary doctorate. Born in Germany and raised in Edmonton, classically trained at the renowned Juilliard School in New York, Jens Lindemann has performed with Neville Marriner, Angel Romero, Doc Severinsen, Charles Dutoit, Gerard Schwarz, Bramwell Tovey, and Jukka-Pekka Saraste. Having recorded for BMG, EMI, CBC, and the BBC, Jens Lindemann performed as a soloist with orchestras and won accolades at numerous festivals since he was in his teens. A prizewinner at competitions including the prestigious ARD in Munich, he also placed first, by unanimous juries, at both the Prague and Ellsworth Smith (Florida) International Trumpet Competitions in 1992. He has performed solos with orchestras including the London Symphony, Philadelphia, Beijing, Bayersicher Rundfunk, Buenos Aires Chamber, Atlanta, Washington, Seattle, Dallas, Detroit, Houston, Montréal, Toronto, National Arts Centre, Vancouver, Warsaw, Welsh Chamber, I Musici de Montréal, St. Louis, and Mostly Mozart at Lincoln Center. As one of the world’s most exciting trumpet soloists, Los Angeles-based Jens Lindemann is internationally endorsed by the Yamaha Corporation and performs exclusively on 24K gold plated trumpets. Mr. Lindemann last appeared with the ESO in May 2012 in Carnegie Hall. For a program note on Schoenfeld’s Vaudeville and Ellington’s Harlem, please see pages 19-21.

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PROGRAM NOTES Dreaming of the Masters III (2010 ESO commission) ALLAN GILLILAND

(b. Darvel, Scotland, 1965) First performed: September 2010 Last ESO performance: Carnegie Hall, May 2012

F HIS WORK, DR. GILLILAND WRITES:

My Dreaming of the Masters series arose from a desire to combine my experience as an orchestral composer with my background as a jazz composer and performer. I wanted to write a series of concertos for soloists who were comfortable in both classical and jazz idioms. Each concerto would be inspired by the jazz greats of the instrument I was writing for and though fully notated, would allow the player the option to improvise. Dreaming of the Masters I was a clarinet concerto written for James Campbell and Dreaming of the Masters II was a piano concerto written for William Eddins. The inspirations for Dreaming of the Masters III are not as clear-cut as the other two concertos. The obvious choices would have been Louis Armstrong, Miles Davis, and Dizzy Gillespie but I think because I’m a trumpet player myself they seemed too obvious. The piece is more of a homage to the trumpet in popular music rather than any real individuals. Also, because I know Jens’ playing so well, I really wanted to write a piece that was tailor-made to his incredible virtuosic skills.

The three movements are titled 101 Damnations, Prayer, and Lower Neighbours. 101 Damnations pays homage to the trumpet in jazz starting with a slow New Orleans style blues that moves into 1940s big band swing. The title comes from when I was a young child struggling to pronounce my “L’s” properly. So I was always asking to see my favourite Disney movie 101 Damnations. The inspiration for Prayer came from wanting to showcase Jens’ beautiful flugelhorn playing. It starts and ends with short cadenzas surrounded by ethereal orchestration. The middle section has a slow groove that allows Jens a chance to improvise. Lower Neighbours pays homage to 20th century cornet virtuosos and the great Latin tradition of the trumpet. I like to think of it as Herbert L. Clarke meets Tito Puente. The title refers to both the melodic gestures played by the cornet; the opening virtuosic section contains many upper and lower neighbour notes, as well as the fact that Latin music comes from our neighbours to the south.

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SATURDAY MASTERS Bernstein & Ellington Saturday, March 5 | 8 PM

PROGRAM NOTES

William Eddins, conductor Jens Lindemann, trumpet

Remembering Gatsby: A Foxtrot for Orchestra (orch. Moody)

Symphony Prelude, 6:45 pm in Enmax Hall with D.T. Baker

JOHN HARBISON

(b. Orange, New Jersey, 1938) First performed: 1985 in Atlanta Last ESO performance: November 2003

HARBISON

Remembering Gatsby: A Foxtrot for Orchestra (orch. Moody)

SCHOENFELD Vaudeville Overture Bear Dance Klezmers Sketches Carmen Rivera

BERNSTEIN

On the Town: Three Dance Episodes The Great Lover (Allegro pesante) Lonely Town: Pas de deux (Andante sostenuto) Times Square: 1944 (Allegro)

(7’)* (22’)*

(11’)*

INTERMISSION (20 minutes)

MEECHAN

Orpheus – Concerto for Trumpet

(commissioned by Jens Lindemann)

ELLINGTON

Harlem (arr. Peress)

(14’)* (15’)*

Program subject to change *indicates approximate performance duration

Mr. Eddins’ bio can be found on page six. Mr. Lindemann’s bio can be found on page 16.

OHN HARBISON’S

place among the great American composers of our time was underlined when he was commissioned by the Metropolitan Opera to write a new work marking the 25th anniversary of James Levine as its music director. He turned to the American novel The Great Gatsby by F. Scott Fitzgerald. It was an idea that had been brewing in his mind as an operatic subject since his second reading of the novel in the early 1980s. As he has said he does with most ideas that he finds intriguing, Harbison did nothing with the concept of an operatic treatment of the famous book for a while, to see if it still intrigued him. Obviously, it did, and the opera had its world premiere at the Met in December 1999. But Harbison had Gatsby in mind as a musical idea before the opera finally emerged. In 1985, he sketched out a work based on a foxtrot, one of the popular dance forms of the 1920s, the era in which the novel is based. While it would eventually become the overture to his opera, Harbison’s Remembering Gatsby: A Foxtrot for Orchestra has been played by dozens of orchestras since the Atlanta Symphony’s 1985 premiere. The work, orchestrated by John Moody, begins with a dramatic, yearning section, underscoring the ultimately tragic figure of Gatsby, but soon the irresistible rhythms of the foxtrot, and numerous variations of its vigorous theme, take over.

Vaudeville PAUL SCHOENFELD

(b. Detroit, 1947) Composed: 1992 This is the ESO premiere of the piece

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Program note by the composer: AUDEVILLE, A CONCERTO FOR PICCOLO TRUMPET, written for Wolfgang Basch, represents a desire I had for several years to compose a work patterned after Robert Schumann’s piano masterpiece, Carnaval. Like the Schumann work of 150 years earlier, I have employed simple formal

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SATURDAY MASTERS Bernstein & Ellington

schemes throughout, preferring unaffected thematic transformation to lengthy and ornate development as a unifying procedure. Stylistically and in matters of scoring, this concerto attempts to capture the effervescent sounds and moods of vaudeville theatre, while simultaneously providing a rarely heard solo instrument (the piccolo trumpet) an opportunity to demonstrate its prowess. Vaudeville, of course, was the varied entertainment which found its way into American theaters during the early part of the 20th century. A typical show opened with an orchestral overture, which might be followed by an animal act, and then a dance troupe from abroad. In between the eight or nine acts, there was usually a Master of Ceremonies (represented here by the piano) who would introduce the various performers and perhaps tell a few jokes about oysters or mothers-in-law. In this work I adhered quite closely to the vaudeville format. For example after an Overture, the second section, “Bear Dance,” depicts a barnyard ballet, while the third section, “Klezmers,” portrays a party of vulpine village minstrels from Eastern Europe. The fourth section, “Sketches,” consists of a clown routine, a song and dance, and a masque, which leads directly to the finale, “Carmen Rivera,” a set of variations loosely based on the popular Brazilian song by Zequinha de Abreu, “Tico-Tico.”

ERE IS WHAT BILL EDDINS HAD TO SAY ABOUT ON THE

Town: “1943 saw the beginning of the career of young Leonard Bernstein. (That’s when) he made his now famous last-minute conducting debut, and he also wrote the ballet Fancy Free for Jerome Robbins. Oliver Smith, set designer for the ballet, suggested that the plot be expanded into a full-length show. In the fall of 1944, Bernstein, Robbins, and writers Betty Comden and Adolphe Green presented their very first show together – On the Town. It was an instant smash. The plot is simple – three sailors on leave in New York for 24 hours. The genius of Bernstein is immediately self-evident – the sophistication of the music is unlike anything else from that period of Broadway…The Three Dance Episodes from On the Town are miniature reflections of the star of the musical – New York City.”

Orpheus – Concerto for Trumpet (commissioned by Jens Lindemann) PETER MEECHAN

(b. Nuneaton, U.K., 1980) First performed: April 10, 2014 at Middle Tennessee State University This is the ESO premiere of the piece Program note by the composer:

RPHEUS WAS AN UNUSUAL CHARACTER IN GREEK

On the Town: Three Dance Episodes LEONARD BERNSTEIN

(b. Lawrence, Massachusetts, 1918 / d. New York, 1990) On the Town opened on Broadway December 28, 1944 Last ESO performance of the Three Dance Episodes: June 2014

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mythology. Instead of the all-conquering battling hero, or an immortal god, he was peaceful, mortal human being who used his talent as a musician to enchant his enemies with beautiful music, which led to peaceful victories in battles. Tragedy strikes when his wife, Eurydice, steps on a viper, which in turn bites her, injecting its fatal venom. Orpheus’ cries of anguish and pain at finding his dead wife, mixed with his songs of mourning and sorrow, open the work in an extended, unaccompanied cadenza for the soloist. At her funeral, the gods wept, such was the power of his music, and overcome with grief, they suggested to Orpheus that he should go to the underworld to bargain with Hades (the god of the underworld). The remainder of the first movement (Journey to the Underworld) we hear our main protagonist tackle this difficult and dangerous journey, having to overcome many creatures and monsters – all done with his enchanting musical skills. The second movement, Eurydice, is set in the underworld. There, once more, sweet songs were needed to tame the vicious beasts there, and to soften the heart of Hades – who for the only time agreed to allow someone to return to earth. However, Hades placed one condition on this; that Orpheus must walk in front of Eurydice and never look back to see her until they had returned to the upper world (Earth), or she would disappear forever. Once he was back on earth, maybe driven by love and desire to see her, or maybe by anxiety that she may not have kept up with him, Orpheus turned round to see his wife, forgetting that both of them had to be in the upper world, his actions killing her for a second time. During the second movement, sweet songs, and even songs of love, are sung, before we hear the tragic death of Eurydice; the movement ends with Orpheus, our soloist, alone, overcome once more with grief.

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Orpheus would go on to lead a solitary, miserable life, and his own death provides the backdrop to the final movement (Hypnotic Dance and Finale). Four years after he killed Eurydice, in Spring, came the festival to honour the god of wine, Dionysus (presumably a favourite god of trumpet players!). We hear the women at the festival dancing their hypnotic dances in the third movement, gradually getting more and more drunk. Whilst our hero meets his death this particular evening – the drunken, insane women behead him – the work’s conclusion instead gives Orpheus the heroic sendoff his ultimately tragic life deserved. Orpheus is dedicated to Jens Lindemann, an incredible trumpet player, musician and friend (and someone who has, so far, managed to avoid a beheading by drunken women). Jens gave the world premiere, accompanied by Middle Tennessee State University Wind Ensemble conducted by Reed Thomas – on April 10, 2014.

Harlem (arr. Peress) EDWARD KENNEDY “DUKE” ELLINGTON

(b. Washington, D.C., 1899 / d. New York, 1974) First performed: 1955 in New York This is the ESO premiere of the piece

HE POST-WAR YEARS WERE AN “ADAPT OR DIE” TIME

for many big bands, and their leaders. Harder economic times made it more cost effective for jazz clubs to hire smaller groups, and musical tastes were changing. For Duke Ellington, it meant performing as an octet for many American gigs, while he was able to continue to tour Europe with his orchestra.

FEBRUARY/MARCH 2016

It was also during this time that Ellington’s remarkable musical acumen turned to new forms of composition, including concert works. In 1943, he had premiered his first long-form concert work, Black, Brown and Beige at Carnegie Hall. While on tour in Europe, he composed Harlem, commissioned by Arturo Toscanini, although the NBC Symphony Orchestra conductor never got around to performing it. The ambitious Black, Brown and Beige had been called by Ellington as a “a tone parallel to the history of the Negro in America.” Harlem was more of a symphonic poem, one which its composer called A Tone Parallel to Harlem when he recorded it on his 1951 album Ellington Uptown. The original orchestral version was arranged by Luther Henderson. American conductor, arranger, and music scholar Maurice Peress, who had worked with Ellington in a revision of Black, Brown and Beige, created a new orchestration of Harlem for a new recording by the American Composers Orchestra. It has been performed by several orchestras since. Here is how Duke Ellington himself describes the music of Harlem: “We would like now to take you on a tour of this place called Harlem. It has always had more churches than cabarets. It is Sunday morning. We are strolling from 110th Street up Seventh Avenue, heading north through the Spanish and West Indian neighborhood toward the 125th Street business area. Everybody is nicely dressed, and on their way to or from church. Everybody is in a friendly mood. Greetings are polite and pleasant, and on the opposite side of the street, standing under a street lamp, is a real hip chick. She, too, is in a friendly mood. You may hear a parade go by, or a funeral, or you may recognize the passage of those who are making Civil Rights demands.” The work itself is in a single, long, Adagio movement. Program notes © 2016 by D.T. Baker, except as noted

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EARLY CLASSICS MIDWEEK Handel, Haydn & Beethoven

ARTIST BIOS Photo: Julien Faugère

Wednesday, March 9 | 7:30 PM

William Eddins, conductor & harpsichord Janina Fialkowska, piano

HANDEL

Concerto grosso in C Major, HWV 318 “Alexander’s Feast” Allegro Largo Allegro Andante ma non presto

(13’)*

HAYDN

Symphony No. 101 in D Major, Hob.I: 101 “The Clock” Adagio – Presto Andante Menuet: Allegretto Finale: Vivace

(29’)*

INTERMISSION (20 minutes)

BEETHOVEN

Egmont, Op.84: Overture

BEETHOVEN

Piano Concerto No. 4 in G Major, Op.58 Allegro moderato Andante con moto Rondo: Vivace

(8’)* (34’)*

Program subject to change *indicates approximate performance duration

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

Media Sponsor

ANINA FIALKOWSKA has enchanted audiences for over 30 years with her glorious lyrical sound, her sterling musicianship, and her profound sense of musical integrity. She is particularly distinguished as one of the great interpreters of the piano works of Chopin and Mozart. She has also won acclaim as a champion of the music of 20th-century Polish composers. In 1974, her career was launched by Arthur Rubinstein after her prizewinning performance at his inaugural Master Piano Competition in Israel, and since that time she has performed with the best orchestras around the world, and with such renowned conductors as Andrew Davis, Charles Dutoit, Hans Graf, Bernard Haitink, Kyril Kondrashin, Lorin Maazel, Zubin Mehta, Roger Norrington, Georg Solti, Leonard Slatkin, Stanislaw Skrowaczewski, Klaus Tennstedt, and others.

In January 2002, Ms. Fialkowska’s career was brought to a dramatic halt by the discovery of a tumour in her left arm. After successful surgery to remove the cancer (and 18 months of performing the Ravel and Prokofiev concertos “for the left hand” which she transcribed for her right hand!), she resumed her two-handed career with a tremendously successful and highly emotional recital held in Germany in January 2004. Ms. Fialkowska’s discography includes a Chopin recital disc, the Chopin Études Op 10 & 25, Second and Third Sonatas and the Impromptus, a solo album of Liszt piano works, the 12 Transcendental Études, a solo Szymanowski album and the highly praised CD, La jongleuse – Salon pieces and encores. She has also recorded the Paderewski Piano Concerto with the Polish National Radio Orchestra, the rarely heard Piano Concerto by Moritz Moszkowski, and the three Liszt piano concertos with Hans Graf. Her most recent recording is Grieg’s Lyric Pieces. In January 2011, Fialkowska was nominated for a Juno Award. Ms. Fialkowska last appeared with the ESO in October 2010.

FEBRUARY/MARCH 2016

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EARLY CLASSICS MIDWEEK Handel, Haydn & Beethoven

PROGRAM NOTES

Symphony No. 101 in D Major, Hob.I: 101 “The Clock” FRANZ JOSEF HAYDN

(b. Rohrau, Lower Austria, 1732 / d. Vienna, 1809) First Performed: March 3, 1794 in London Last ESO performance: April 2002

Concerto grosso in C Major, HWV 318 “Alexander’s Feast” GEORGE FRIDERIC HANDEL

(b. Halle, 1685 / d. London, 1759) First performed: February 19, 1736 in London This is the ESO premiere of the piece

EORGE FRIDERIC HANDEL PUBLISHED TWO SETS OF

concerti grossi during his life: his Opus 3 collection comprised six such works, while his Opus 6 contained 12. Separate from all of those, however, is the “Alexander’s Feast” Concerto, written for entirely different reasons than the others. Alexander’s Feast was an oratorio, which premiered in February 1736. The oratorio itself was not particularly long (compared to Handel’s other such works), and Handel and the concert presenters knew that more music was needed to “pad” the performance to a suitable length for the audience. So, in between the oratorio’s two acts, Handel presented this concerto grosso, designed purely as an entertainment. While it contains many of the typical elements of such a work, such as a concertino of two violins and cello matched against a larger string ensemble, Handel adds a pair of oboes for extra colour. Additionally, rather than the usual slow-fast-slow-fast succession of four brief movements, Handel reverses the order. An interesting footnote to the work’s creation is that, while intended as filler to flesh out an evening’s entertainment, the “Alexander’s Feast” Concerto obviously worked. Handel would subsequently use some of his more serious, artistically-crafted concerti grossi from his Opus 6 set in between acts of other oratorios.

24 SIGNATURE

NIQUE AMONG COMPOSERS, FRANZ JOSEF HAYDN

managed the neat trick of writing works which were not only the latest in audience-pleasing daring and novelty during his lifetime, but also in creating true masterpieces which have withstood the judgement of posterity. Works such as his Symphony No. 101, for all that it features the amusing and ear-catching regular pulse which earned it the nickname “The Clock,” are marvels of construction and cohesion. The symphony was premiered during a season of Haydn works in London in 1794 (his 99th and 100th symphonies were also first performed within weeks of this one). It begins with a serious, solemn slow introduction in the work’s tonic minor. He then makes much of relatively little when the merry D Major main subject springs forth, wasting little time in varying the harmonic guises in which is appears. The Development further delves into even more remote musical corners of the music, without ever losing its rhythmic vitality, or its veneer of high spirits. The slow movement features the measured accompaniment that gives the work its nickname. The bulk of the movement is in G Major, and while the amiable ticking precision of the movement is an intriguing and catchy device, it is no mere novelty; when the dramatic, G minor central episode begins, the regular pulsing is now a dramatic element of the music, an incessant and effective device. When the charming G Major main section is restored, moreover, the pulses are now heard above and below the music of the violins, played on a flute and a bassoon. The third movement is typical Haydn, in that it contrasts a heavyshoed stomping Minuet subject against a contrasting Trio section. But this is the longest such movement in any of Haydn’s 101 symphonies. In addition, to the naïve-sounding flute solo that dominates the Trio, Haydn wrote some deliberately “wrong” harmonic accompaniment, and a few early publishers, unaware of his intent, “corrected” what they perceived as his errors in some editions of the score. The final movement begins with a surprising subtlety, though the usual Haydn boisterousness of his symphonic finales is not contained for long. But there are plenty of surprises in this movement as well, including another darker episode in D minor, and a fugal treatment of the main theme as the coda begins.

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Egmont, Op.84: Overture LUDWIG VAN BEETHOVEN

(b. Bonn, 1770 / d. Vienna, 1827) First performed: Overture first performed on its own on May 24, 1810 in Vienna. First performed with the rest of the incidental music accompanying the play June 15, 1810 in Vienna Last ESO performance: Symphony Under the Sky 2005

EETHOVEN WAS ROUTINELY AND OFTEN INSPIRED BY

tales of those who fought for liberty, who resolutely stood against even unbeatable odds in order to defend what was right. Such was the hero of Johann Wolfgang von Goethe’s play Egmont. Leader of the Flemish resistance against Spain, Count Egmont was beheaded in a public square in Brussels in 1568. The tale of the ultimate sacrifice in the cause of national freedom was profoundly inspiring to Beethoven, who wrote incidental music for the play in 1810. When he sent Goethe a copy of his score, Beethoven remarked that his intent was to pay homage, “to that glorious Egmont whom I have reproduced in music as intense as my emotion when I read your play.” Egmont’s fate and the oppression of the Flemish people is represented in the ominous chords which open the overture, surely one of the sternest opening notes ever used to that point to set the tone for a theatrical work. Through clever harmonization, the tragic transforms into the heroic before the overture moves from its slow opening to its dramatic Allegro. Listen especially for a moment of silence with about two minutes remaining – that is the moment of Egmont’s beheading being foreshadowed in the overture.

Piano Concerto No. 4 in G Major, Op.58 BEETHOVEN (SEE ABOVE)

First performed: December 22, 1808 in Vienna Last ESO performance: May 2015

IVE AND A HALF YEARS SEPARATE THE FIRST

performances of Beethoven’s Third Piano Concerto and the Fourth, a time in which he asserted himself and his artistic vision – the Fourth Concerto premiered at the same, all-Beethoven concert which saw the premieres of, among other works, the revolutionary Fifth and Sixth Symphonies. With his hearing now in complete decline, the concert

FEBRUARY/MARCH 2016

marked the last time Beethoven performed on piano in public. The G Major Concerto is, like the symphonies presented at the same 1808 concert, quite revolutionary in its own way. It is the piano alone which begins the work, not with a grand pronouncement, but in hushed and tender chords. When the strings enter, they are so far removed in key signature from the opening, they have an extended passage of their own which finally leads back to G Major. Following this unorthodox introduction, when the Allegro moderato main section gets underway, the orchestra is still at the fore – the piano does not enter until the two main thematic ideas of the movement proper have been stated orchestrally. When it finally enters once again, the piano’s music is interwoven with that of the orchestra’s in a profoundly more integrated way than many concertos before. Listeners will also note with interest (again, tying the concerto to the Fifth Symphony) how much of the movement’s musical elements are tied to the repetition of a fournote rhythmic pattern. Much speculation has gone into the idea that the slow movement of the concerto is a portrayal of the Orpheus myth: the piano’s gentle urgings are the songs of the Greek musician pursuing his love into the underworld; the strings (the only orchestral instruments used in the Andante con moto) are the Furies which ultimately relent. Beethoven himself said nothing of this sort about the movement, but its stark contrast of piano against unison strings which dominates so much of the proceedings is certainly striking. Beethoven left specific instructions in the score that the soloist’s part be played with “the pedal lifted, permitting only one string to sound,” an aspect of the instruments of Beethoven’s day which allowed for that possibility. With the barest of pauses, the Rondo final movement creeps in quietly, but bursting out in unrestrained exuberance soon after. The Vivace good cheer of this dominant and familiar theme is intruded upon with contrasting episodes ranging from pastoral to introspective, though never lasting long, and all leading to a strident and celebratory finish. Program notes © 2016 by D.T. Baker

SIGNATURE 25

STAYIN ALIVE

ONE NIGHT OF THE BEE GEES WITH YOUR EDMONTON SYMPHONY ORCHESTRA

BILL EDDINS, CONDUCTOR

JUNE 7 â&#x20AC;¢ WINSPEAR CENTRE EDMONTONSYMPHONY.COM

ROBBINS POPS Time for Three

Friday & Saturday, March 11 & 12 | 8 PM

William Eddins, conductor Time for Three, special guests Nicolas Kendall, violin Zach De Pue, violin Ranaan Meyer, double bass

Pops Prelude, 6:45 pm Friday & Saturday, Enmax Hall with D.T. Baker Tf3 Overture

INTERMISSION (20 MINUTES)

Blackbird / Eleanor Rigby

Double Concerto / Sing, Sing, Sing

LENNON/MCCARTNEY

J.S. BACH / PRIMA

Irish Tune from County Derry

The Four Seasons: Winter II, Summer III

GRAINGER

VIVALDI

American Wake

Theme from Schindler’s List

various

WILLIAMS

With or Without You

Libertango

BONO

Flower Duet (from Lakmé) DELIBES

Hungarian Dance No. 5 BRAHMS

Rainbow Medley

PIAZZOLLA

Chaconne in Winter J.S. BACH

Orange Blossom Special ROUSE

various

Csárdás MONTI

Program subject to change

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

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ROBBINS POPS Time for Three

ARTIST BIOS

he groundbreaking, category-shattering trio TIME FOR THREE (Tf3) transcends traditional classification, with elements of classical, country western, gypsy, and jazz idioms forming a blend all its own. The members — Nicolas (Nick) Kendall, violin; Zach De Pue, violin; and Ranaan Meyer, double bass — carry a passion for improvisation, composing and arranging, all prime elements of the ensemble’s playing. To date, the group has performed hundreds of engagements as diverse as its music: from featured guest soloists on the Philadelphia Orchestra’s subscription series to Club Yoshi’s in San Francisco to residencies at the Kennedy Center to Christoph Eschenbach’s birthday concert at the Schleswig-Holstein Festival in Germany. Recent highlights included their Carnegie Hall debut, appearances with the Boston Pops, Melbourne Symphony Orchestra, a sell-out concert at the 2014 BBC Proms, and an appearance on the ABC prime time hit show Dancing with the Stars.

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Tf3’s high-energy performances are free of conventional practices, drawing instead from the members’ differing musical backgrounds. The trio also performs its own arrangements of traditional repertoire and Ranaan Meyer provides original compositions to complement the trio’s offerings. Time for Three recently released their debut Universal Music Classics album, Time for Three, which spent seven consecutive weeks in the Top 10 of Billboard’s Classical Crossover Chart. The ensemble has also embarked on a major commissioning program to expand its unique repertoire for symphony orchestras including Concerto 4-3, written by Pulitzer-Prize winning composer Jennifer Higdon, Travels in Time for Three by Chris Brubeck in 2010, co-commissioned by the Boston Pops, the Youngstown Symphony, and eight other orchestras, and find work by William Bolcom, commissioned by the Indianapolis Symphony. Their latest project is a commission by the Sun Valley Summer Symphony, a 55-minute piece composed and performed by Time for Three with orchestra, which premiered August 2015 in Sun Valley, Idaho. Time for Three last appeared with the ESO as an ensemble in May 2009.

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THANK YOU

TO OUR LONGTIME SUBSCRIBERS! During Subscriber Appreciation Month, we like to recognize and thank the longest-standing members of the ESO family for their loyalty. This year we have 1,034 patrons who have been subscribing to ESO concerts 10-29 years, and 201 patrons who have been attending for an incredible 30 years or more. Thank you so much for your dedication to live orchestra music in Edmonton! We look forward to sharing many more years with you. Please note that unfortunately our records only go back so far – if you belong to either group and do not see your name listed, we would love to hear from you! Contact Jeffory Magson at 780-401-2517 or jmagson@winspearcentre.com to update your record today.

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THANK YOU ESO AND WINSPEAR CENTRE DONORS! “We are so excited to recognize all of our longtime subscribers. You are the lifeblood of the organization and we could not succeed without you! Thank you. Please note that donor listings are not included in this issue but will be back in the next issue of Signature.”

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Elizabeth & Brian Jolly Frank & Patricia Jones Sharon Jones Mr. Garry & Mrs. Gayle Joyes-Bond Peter & Vicki Juliebo Beverly Kadatz Donna Kanewischer Don Keenan Mr. & Mrs. Douglas Kelker Brian Kelley Glen & Brenda Kemp Ms. Joanne Kenny Francois Kense Mr. H. & Mrs. Sharon Kerr Ms. Janet Kerr Claire Kibbler Vera Kichton Harry Kirkland Mr. Mike & Mrs. Adrienne Kischuk Miss Maxine G. Klak Mr. Harry Klann Loretta Klarenbach Mr. Dale & Mrs. Ilana Knisely Mrs. Olga & Mr. Jerry Kolar Stan & Olga Kolomyjec Mr. Joe Koopmans Bohdan Korbutiak Mr. Joe Kostler & Ms. Leola Hildebrandt Phil Kovler Elizabeth Kowal Mrs. Elizabeth & Mr. Irvin Krezanoski Brian & Seaneen Kropf Mrs. Donna Krucik Jamie Kryzanowski Marie Kuester Renee Kuip William Kuncio Mr. Horst & Mrs. Wendy Kunow Mrs. Gloria Kushnir Richard Lacon Maggie & James Laing Ms. Margaret Lair Dr. Wendy Lam Mr. Bob & Mrs. Carol Lamont Mr. Marcel & Mrs. Jane Landry Robert Lane Bertha Lange Mr. Roger & Mrs. Catherine Langevin Gordon & Urania Langford Mr. Peter & Mrs. Jean Langford-Jones Ms. Joan & Mr. Lorne Langman Mr. & Mrs. Harry Langner Mrs. Anne Lansdell Maureen Lanuke Mr. Lionel L. & Mrs. Shannon Larcombe Bin Lau Mike Lau David Laughton & Debra Andrews Mr. David & Mrs. Joan Laurie Steven & Kathryn G. Lavery Robert Le Quelenec

32 SIGNATURE

Leather Elite c/o Gunnar Lundgren Mr. Allan H. & Diana W. Lee Jean Lee & Ray Hannley Mr. Thomas & Mrs. Ivy Lee Dr. Maurice & Mrs. Mary Ann Legris Mrs. Lucie & Mr. Hugo Lehmann Elvira Leibovitz Rick Leicht Mr. Bill & Mrs. Marnie Leisen Mr. & Mrs. R. Leitch Mr. Malcolm & Mrs. Oryssia Lennie Mr. Steven & Mrs. Day LePoole Mr. Lou Lesperance & Mrs. Sidney Simpson L. Lester Ron & Coral Levang Kevin Lewis & Catherine Field Lillian Limberger Ed Linard Vera Lind Dr. Ross Lindskoog Elizabeth Lint Mary Lister Victor Liversidge Janet Lockau Florence & Ralph Locke Mrs. Barbara Lockert J. Loepelmann Amy Loewan Ross & Jane Logan Margaret Lomheim Mr. Carmen B. Lomow Patricia Long Mr. Doug & Mrs. Joan Longley Dr. Chris Lord Dianne Lougheed Keefe Mrs. Muriel Love Jean & Neil Lund Ingrid Lundell Mervyn & Teresita Lynch Mrs. Janet & Mr. William Lywood Dr. Raymond Ma Ward Mabbutt Shirley MacArthur Hilliard & Nancy MacBeth Georgina MacDonald Dr. Giles F. & Mrs. Mary Anne MacDonald Louise MacGregor Ms. Beth MacIntosh & Mr. Ken Stokes Joan MacKenzie Maclab Enterprises c/o Susan Parker Ian & Margaret MacLaren Miss Heather MacLean Lois MacLean Dr. Rod & Mrs. Elaine MacLeod Ed & Lu MacMillan Madeline MacPherson Agnes MacRae Cecile Mactaggart Dr. H M. Madill

Brenda Madsen Natalia Magean Ms. Gladys Marie Magega Dr. Marian Mah Mainsource Inc Dr. Paul & Elly Major Lynn & Arnold Maki Tadashi Makio Don & Elizabeth Maksim Nick Malychuk Mr. Stephen & Mrs. Lynn Mandel Ann Manson Nick Marchak Merle Marples Miss Joan H. Marshall Mr. Sam & Mrs. Anne Marshall Beverley Martin Doreen Mason Ms. Mary Masson Mr. James Matas Sharon Matthias Mrs. Elaine Maxwell Ursula Maydell Doug McConnell & Claire Desrochers Dennis & Dianne McCoy Joyce McCoy Mr. Ian & Mrs. Janice McCrum Mrs. Maureen McCubbin & Lynn Holroyd Jeanne McCusker Brian & Lorraine McDonald John R. & Irene McDougall Mrs. Ethne & Mr. Alex McEachern Dr. Ronald McElhaney McElheran’s Fine Furniture Margaret McFarlane John McIvor & Doris Kent Michelle McKay Margaret McKenzie Marge McLennan Mr. David McLeod & Margaret Ann McLeod-Wright Kathleen & Gordon McLeod Mr. Jack & Mrs. Eleanor McMahon Mrs. Jan McMillan Bob McMullen Margaret McMullen Mr. Bob & Mrs. Bev McNally Dr. Tim McNamara & Miss Michele Perret Dr. David McNeil Bev McNeill Hugh McPhail & Yolanda Van Wachem Elaine McPhee Mr. Bruce & Mrs. Cindy McPherson Judy McTavish Bert Meeker Dr. Kenneth & Mrs. Donna Meen Paul Melancon W. Michael Gray Mr. Peter & Mrs. Carole Michalyshyn Colleen Middleton

Mrs. Katherine & Mr. David Middleton Reny Miklos Judith Mill Della Miller Dr. Kenneth & Mrs. Gerda Miller Maureen Miller Ms. Shauna Miller & Mr. James Gillespie Marcella R. & Reginald Milley Christine Milligan Cecily Mills Elizabeth Mills & Mary Kykosz Heather Mills Mr. J.T. Mitchell Judith Moen Bruce & Sandy Moffatt Nafeesa Mohamed Gordon Mongraw JoAnn Montgomery-Beger Michael & Sandra Moore Gail Moores Peter & Edith Morgan Rick & Sharon Morgenroth Dr. Norbert R. & Mrs. Patricia Morgenstern Shirley Morie Mr. C & Mrs. Sharon Moroschan Loretta Morrison Mr. Gerald & Marilyn Morse Michael Moser Mr. Reinhard & Mrs. Elisabeth Muhlenfeld Allan M. & Margaret J. Muir Pamela Muirhead Mrs. Gwen Muldrew Miss Carolyn Mulek Dr. Ronald & Mrs. Betty Mullen Dr. Stephen & Mrs. Lynne Murgatroyd Louis L Mussbacher Judge William Mustard Ed & Cherryle Musteca Dr. Tim & Mrs. Nancy Muzyka Lorraine Mykitiuk Elizabeth Myles Mrs. Sonja & Mr. Orest Myroon Alfred & Teresa Nachtigall Mr. Dale & Mrs. Laurie Nagel Rebecca Nagel & Andrew M. MacMillan Mr. Lewis & Mrs. Lindsay Nakatsui Kaye & Dennis Nash Heather & Grant Naylor Bunny & Linda Nedohin Madeline Needham Marilou Neufeld M. Janice Neyrinck Mr. Nelson & Mrs. Anne Nickle Robin & Melonia Nicol Dr. Jana Nigrin Mr. David Nixon Wanda Nonay Mrs. Sherry & Mr. Jim Noyes Sylvia Oborn

Mr. Kirby O’Connor & Ms. Sandy McClellan Norma O’Connor Mr. Robert & Mrs. Jean O’Hara Carol Ohlmann Mr. Mark & Ms. Dawn C. Oiffer Louise Olshewski Mr. Allan & Mrs. Fran Olson Esther S. & Jack Ondrack Mrs. Emily & Mr. Daniel Ong Teresa O’Riordan Daniel & Donna Orobko Mrs. Marlaine Osgood Aaron & Jean Oshry Liz Ostolosky Mr. Fred & Mrs. Helen Otto Justice Vital O. & Mrs. Colleen Ouellette Arthur & Mary Packer Mr. Bill & Mrs. Linda Paddon Mr. Tim Paetkau Maria Pagnotta & Meluccia DiMarco Janice Palsat Dr. Edward Papp & Mrs. Geri Rodden-Papp Park Memorial Ltd. c/o Jerry & Midge Smolyk Dr. Edward & Mrs. Anne Parkinson Mr. S. G. & Mrs. June Pateman Krista Patriquin Mrs. Kathleen Pearson John Pedersen F. Pedrick Ray & Marlene Peets Gene Penman Lucy Person Wayne & Mrs. Cynthia Pertman Arthur Peterson Margaret & Don Peterson David & Anne Phillips Mr. Ron Pidskalny & Ms. Arden Alexander Christopher Piggott Gail Pilbeam Mr. Walter Pinto & Miss Pat Mulholland Sharon Pisesky Donna Poburan Mr. Dennis & Mrs. Virginia Pohranychny Dr. Wade & Miss Stephanie Poitras Judy Pool Terry Poon Margaret Powell William Pratt Mr. Paul & Mrs. Doreen Preville Mr. & Mrs. Charley Primmer Gerritdina Prins Dr. Peter & Mrs. Barbara Prinsen K. & Ruth Prochnau Ray & Doris Prochnau Kathy & John Prusakowski Mr. Lawrence & Mrs. Mary Anne Pshyk

www.EdmontonSymphony.com

Mr. Ernie & Mrs. Louise Puk Mr. & Mrs. D Purdy Lynn Quevillon Martha Quevillon Mrs. Adrienne & Mr. Duane Radford Mr. Ivan & Mrs. Mary Radostits Raeco Ltd c/o Mr. Robert & Mrs. Lorena Daigle Dr. R.K. & Marlene Ramsey Mrs. Jeanne & Mr. Eugene Ratsoy Dorian Rauschning Sandra Ray Lorraine Rea Cindy Reade Mr. James E. & Mrs. Vivian Redmond Ms. Shirley Redmond Mr. Bryan & Mrs. Linda Reed Mr. & Mrs. B. W. Reesor David Reid Marilyn Reid Kenneth & Marian Reinbold Margaret & Hil Reine Arnold Renschler Mrs. Helen & Ms. Janet Resta Dorothy Reynolds Lewis & Della Mae Reynolds Robert M. & Nancy Reynolds Augusto Ribeiro Karen Ridgely Mr. Bruce & Mrs. Wendy Rieck Joyce Ritter Erhard & Frieda Ritz Mr. Allan & Mrs. Karen Robertson Lynn Robertson Susan Robertson Mrs. Debra & Mr. Don Robichaud David & Marita Robinson David Robinson David Rochefort Paul Roffel Marvyn Rogers Mr. Dale & Mrs. Fran Rokosh Mr. Selwyn & Ms. Elaine Romanovsky Mr. Robert W. Rosen Shauna Rosiechuk Lynn Roth Renate Roth Dr. David & Mrs. Carin Routledge Mrs. Elaine & Mr. Lawrence Rowan James Rowlett Dr. Martine Roy Ebba Rozycki Gus Rozycki Mr. Arnold & Mrs. Grace Rumbold Alan Rusler Roger & Janet Russell Steven Ruta Colin Ryan Mr. Edmond & Mrs. Orla Ryan Ilona Ryder

FEBRUARY/MARCH 2016

Mrs. Lorraine & Mr. H. G. Sabourin Mrs. Susan & Mr. William Sadler Gerald & Betty Saelhof Barbara Saint & Mic Farrell Julie Salembier Dr. Gary & Mrs. Donna Samycia Ms. Judith L. Sangster Carolina Santos Judy Saramaga Dr. Sylvie & Dr. Michel SauvĂŠ Beverley Sawyer Roberta Scales Andrew & Janet Schalm Mrs. Martha & Mr. John Schiel Sari S. Schiff & Dr. Abraham Peliowski Dale Schinkel & Stephen Luck Joanne Schiweck-Doherty Joy Schlaut Dr. Eric & Mrs. Elexis Schloss Brenda Schmidt Wes Schmidt & Patricia Brine O. K. Schneider Barend & Hendrica Schouten Mr. Anton & Mrs. Marianne Schwabenbauer Allan & Marianne Scott David & Ingrid Scott Linda Scott Mrs. Dorothy ScottStoutjesdyk Mrs. Pat Seale Andrew Searle Dr. Perry M. & Mrs. Sandra Segal Michael Seniuk Rita Sequeira Ethel Seutter Dr. Yakov & Mrs. Larisa Shapiro Deanna Sharratt Janet Shears Frances Sheasgreen Mrs. Miriam Sheckter Roberta Shell Harvey Sheydwasser Kayla Shoctor Ellie Shuster Ms. Judith Shuttleworth Mr. Doug & Mrs. Lynne Sigler Ms. Judy Sills Ruth & George Simmt Sinclair Supply Ltd c/o Dan Sorochan Ms. Alayne Sinclair Mr. Gerry & Mrs. Barbara Sinn Sandy & Ian Skogstad Lloyd D. & Eileen Sleen Mr. Terry & Mrs. Yvonne Slemko Suzanne Slevinsky Betty Sloan Elizabeth Sloane Candy Sloboda Jeanette Slupsky Edward Smith

Jason Smith Mrs. Lise & Mr. David R. Smith Martha Smith Michael K. & Nance Smith Peter Smith Linda Smyth Mr. Allen & Mrs. Myrna Snart Dianne Soar Mr. John & Mrs. Judy Soars Carla & Gene Sobolewski Elaine Solez Brian & Jo-Anne Somerville Mr. W. D. Somerville Dr. Paul & Mrs. Linda Sorenson Lois Sorokin Philip G. & Sandra Spence Carol Sperling James & Linda Spurr Norma Stanley Stantec Inc Mrs. Yvette Starko Reg Stead Barbara Steeves Harry Stelfox Lorraine Stepchuk Bill Stephens & Janice Rennie Shirley Stewart Roberta Stirling Beverly Stokowski Dr. & Mrs. Michael Stone Dianne Storey Ms. Anne Strack Ms. Susan Strebchuk Martin Stribrny Glennie Stuart Dr. Carol Suddards Murray Sugden Mr. Julius & Mrs. Jean A. Sult Merna Summers Mr. Dale & Mrs. Judy Sware Dr. & Mrs. Guy Swinnerton Miss Olga Szafran Marvel & John Taekema Mr. Kevin Taft & Ms. Jeanette Boman Mr. Dan M. & Mrs. Elaine Taschuk Arlene Tatarchuk Mr. Bill Taylor & Ms. Marie Losier Frank M. & Marna L. Taylor S & R Teply Dr. Timothy Terry Dr. Gerard & Mrs. Pina Tertzakian Robert & Valerie Teskey Nora Theobald Mr. Glyn & Mrs. Joan Thomas Mr. Charles M. & Mrs. Myrna P. Thompson Marjorie Thomson Virginia Toane Mrs. Mary Totman Mrs. Ellinor & Mr. Ernest Townend Bernadette Townsend Mr. Andrew & Mrs. Mary Ann Trachimowich Tradex International

Larry Trekofski Elaine Trepanier Mr. William & Mrs. Ursula Tuchak Alice Turlock James Turnbull Carol & David Turner Mrs. Hazel Turner Lorene Turner Gwenne Tweddle Dr. Margaret Tweddle Joseph Twyman Teresa Ullyott Lois Unwin Mr. Ronald & Joann Van Amsterdam Dr. Peter & Mrs. Sonja Van Bostelen Ms. Henriette van Hees Lillian Van Marum William & Dixie Vanden Born Mr. Lloyd & Mrs. Sheila Vasicek Mrs. Joyce & Mr. Dennis Vass Mrs. Annette & Mr. Robert Vasseur Grant & Dianne Vawter Michele & Terry Veeman Michael Veitch Gerald & Elaine Verville Dr. Douglas Vick Catherine & . Von Hohenbalken Helma Voth Patricia Wagar L. E. Wagner Barry & Valerie Walker Gail Walker Mrs. Janet & Dr. Gordon Walker Mr. Phil & Mrs. Eileen Walker Barbara Ward Mrs. Beverly Warner Doug Warren Mr. Jack & Mrs. Doreen Warwick-Foster Mrs. Adair & Mr. Keith Wass Lyn Watamaniuk Gisela Watson Doug Watt Jack & Jo-Anne Watt Mr. Ron & Mrs. Sheila Weatherill Paddy Webb Ellen Weinheimer Dr. Sam & Mrs. Eva Weisz Russell Wells Dr. Ronald H. Wensel Bruce & Ruth West Mrs. Helen & Mr. Blair West Donald White Dr. P. J. White & Mrs. Patty Whiting Mr. Kim & Mrs. Sharon Whitehead Richard & Grace Whitehouse Jean Whiting Susan Whittington Mr. William & Mrs. Sharla Wiesener Miss Mary Wilke Ms. Carol Williamson

Marilyn Willie Dominic & Linda Willott Ann & Lawrence Wilson Olga Wilson Mr. Ron & Mrs. Diane C. Wilson Mr. Alvin & Mrs. Suzanne Winestock Kent Winterfield Mr. Larry & Marielle Witten Betty Wolanski Kam Wong Dr. Marilyn Wood Wendy Woodruff C. J. Woods FCA Lorraine Woollard Mr. Morley & Mrs. Pat J. Workun Valerie Wozniuk Don Wright Joan Wynnyk Ms. Luella & Mr. Mike Yakymyshyn Mrs. Monica & Mr. Greg Yeats Allan Yee Mr. Ernest & Mrs. Lily York Linda Youell Mr. Bill & Mrs. Betty Young Dr. Wayne & Mrs. Susan Youngward Rudi & Margaret Zacsko Margaret Zahara Artur Zajdler Iris Zapach Weiping Zhang Audrey Zmurchuk George & Ilona Zombor John & Mary Zupancic

SIGNATURE 33

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. Robert 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 34 SIGNATURE

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 Cynthia Hansen, C.A. Sam Jenkins Carol Ann Kushlyk, C.M.A., C.F.E. Jim McKillop Mark Moran Daniel Roth (student intern)

EDMONTON SYMPHONY & CONCERT HALL FOUNDATION Phyllis Clark, Chair John Brennan Aaron Brown Jim Carter Bob Kamp Carol Ann Kushlyk Ron New 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 Michael Schurek, Director of Community Relations 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 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

Supporter

Air Canada Presents

Title Sponsor

Symphony for Kids

ATB Symphony in the City

Title Sponsor

ATB Investor Services Presents

Robbins Pops / Robbins Lighter Classics

Title Sponsor

Live at the Winspear

Title Sponsor

Late Night with Bill Eddins

Sponsor

Masters Series

Sponsor

Symphony Under the Sky

Presenting Co-Sponsor Christmas at the Winspear

Sponsor

Sunday Showcase

Title Sponsor Friday Masters

Presenting Co-Sponsor Christmas at the Winspear

Our Program Sponsors

Sponsor

Introductory Series Offer

The Rozsa Innovation Award

Sponsor Pulse8

Naming Sponsor ENMAX Hall

Sponsor

Musicians in the Making

Our Performance Sponsors:

Our Media Sponsors:

CityTV Capital FM CKUA Edmonton Journal Pattison World FM Global K-97

FEBRUARY/MARCH 2016

SIGNATURE 35

2015/2016 SEASON YONA-Sistema Supporters:

Educational Outreach Sponsors:

Sponsor

Enbridge Community Ambassador

Sponsor

Lead Sponsor

Sponsor

Gr. 4 to 6 Education Program

Instrument Supplier

It all stARTS with me

Our Exclusive Caterers:

Our Suppliers:

Publications Sponsor

Print Sponsor

Radio Supplier

RV Supplier

Wine Supplier

Official Floral Supplier

Bottled Water Supplier

ARTS & Life AT youR fingeRTipS. With a reimagined print edition, refreshed website, redesigned smartphone app and rebranded tablet app, the Edmonton Journal has all the news you need at your fingertips.

eDMonTonJouRnAL.CoM

RUSTY MUSICIANS

SUMMER ACADEMY JULY 25 - 29, 2016

FRANCIS WINSPEAR CENTRE FOR MUSIC Spend one amazing week in Edmonton this summer, immersing yourself in glorious orchestral music – alongside teaching artists from the Edmonton Symphony Orchestra, leading up to a grand final presentation in one of Canada’s finest acoustic spaces – the Francis Winspear Centre for Music. Under the guidance of some of the finest orchestral players in Canada, your Academy week concludes with a Friday night presentation led by ESO Music Director, William Eddins.

Main Track Package: • • • • •

5 days of morning and afternoon sessions including sectionals, full orchestra rehearsals, and repertoire lectures lead by professional musicians Friday evening performance on the Winspear Stage led by ESO Music Director, William Eddins The opportunity to audit or participate in a masterclass lead by professional musicians Opening Night Reception Lunch Daily

Chamber Music Track Package: Includes all of the above plus… • •

Coached chamber music rehearsals in learning a movement of chamber music with your fellow camp participants. A Thursday evening chamber music concert on the Winspear Stage

Packages for out of town participants include special rates at our host accommodations.

For more information visit EDMONTONSYMPHONY.COM/EDUCATION/ADULTS

Rusty Musicians

Summer Academy

A new name. A continued focus on patient care. Eyesight is a precious gift that most people take for granted – until it’s at risk. The Eye Institute of Alberta (formerly the Regional Eye Centre) at the Royal Alexandra Hospital is a leader in eye care for the Edmonton area and northern Alberta. The Royal Alexandra Hospital Foundation is pleased the support this new chapter in eye care in Alberta through a $3 million campaign. The campaign goals are to improve the patient experience, fund research and education, and equip the new Ophthalmic Surgical Skills Centre at the Royal Alexandra Hospital, an important training ground for the next generation of ophthalmologists.

Your donation to our campaign will ensure the Eye Institute of Alberta will continue as a leader in ophthalmology – and its patients will continue to have the gift of sight. For more information, please contact Jeff Buhr at 780-735-5804.

www.royalalex.org

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This ad was generously donated by The Robbins Foundation Canada.

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