ESO Signature: Mar/Apr 2017

MAR/APR 2017

alexander Prior The 2017/18 season

tributes to Queen & Prince Rock royalty with the ESO

“Heavenly lengtH”

Schubert’s Great Symphony

longtime eso subscribers Thanks for your support

TAKE YOUR SEAT FOR THE NEXT PERFORMANCE. We are delighted to feature music from the Edmonton Symphony Orchestra on our flights.

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signature Contents Volume 32, Number 6 | Mar / aPr 2017

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 Glenn Buhr & D.T. Baker

program notes

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

publiSHEd by

#300, 10339 124 Street, Edmonton, AB T5N 3W1 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

wElcomE

pg. 5

arTiSTic & lEadErSHip TEam

pg. 6

EdmonTon SympHony orcHESTra 2016/17

pg. 7

FEaTurE: 2017/2018 SEaSon prEviEw

pg. 8

(Eddins, Petrov, McPherson, Uchida)

THE EdmonTon SympHony orcHESTra

2016/2017 SEASON

robbinS popS rock iconS (March 3 & 4)

pg. 10

laTE nigHT wiTH bill EddinS laTE nigHT cEllo (March 17)

pg. 13

air canada SaTurday maSTErS braHmS & dvorˇák (March 18)

pg. 14

Michael Krajewski, conductor Shem von Schroek, Rob Evan, Micah Wilshire, special guests

William Eddins, conductor & piano Edgar Moreau, cello

William Eddins, conductor Edgar Moreau, cello

a SympHonic TribuTE To THE muSic oF princE (March 20 & 21)

Signature magazine, the official publication of the Edmonton Symphony Orchestra, is published from September to June.

Contents copyright 2017 by Edmonton Symphony Orchestra/ Francis Winspear Centre for Music. No part of this publication should be reproduced without written permission.

Raymond Baril, conductor

aTb invESTor SErvicES prESEnTS windbornE’S THE muSic oF QuEEn (March 24 & 25)

pg. 19

air canada SaTurday maSTErS ScHubErT’S “grEaT” SympHony (april 8)

pg. 20

longTimE SubScribEr rEcogniTion

pg. 23

ESo board & SEnior STaFF

pg. 28

our SupporTErS

pg. 29

Brent Havens, conductor Brody Dolyniuk, vocals

Rune Bergmann, conductor Robert Uchida, violin

Edmonton Symphony chief conductor Designate alexander prior weighs in on the orchestra’s upcoming season (see page eight).

pg. 16

Photo: Buffy Goodman

On the COver March/aPril 2017

signature 3

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Welcome

vEry yEAr, thE AnnOUnCEMEnt Of OUr UpCOMing SEASOn

ushers in a thrill of anticipation – it’s like Christmas. We get to watch you “unwrap” all the musical treasures in store for you. But this year, we’re a little more excited than usual ... Okay. A lot more excited. We are celebrating growth and change as our wonderful Winspear Centre turns 20 years old this September and Alexander Prior begins his tenure as Chief Conductor.

We’ve got a few highlights for you on page eight, so check those out. Of course, that only scratches the surface of the 80+ performances your Edmonton Symphony will give in 2017/2018. Details are online at EdmontonSymphony.com, along with the many ways you can save on concert packages of all kinds.

Let us know what you think. We mean that. Alex becomes an integral part of our artistic leadership team next season – and that team includes you. Social media has made sharing your thoughts a part of daily life, and we genuinely value your insight and opinions – Tweet, post to Facebook, or tag us on Instagram. And I hear that email and regular mail still work! So whether you’re joining us for the first time or you’ve lost count, welcome to our home, your Winspear.

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.

Meghan Unterschultz Associate Executive Director Edmonton Symphony Orchestra & Winspear Centre

A Photo: D.T. Baker

he 2016/17 season marks the 12th and final season for William Eddins as Music Director of the Edmonton Symphony Orchestra. Under his guidance, the orchestra has reflected his tremendous passion and enthusiasm, as well as his diverse musical curiosity – while establishing a major profile in the Edmonton cultural community.

His ESO tenure has sparkled with memorable performances, from Mozart concertos he has led from the piano to daring performances of Stravinsky (Petrushka, The Rite of Spring), Bartók (The Miraculous Mandarin), and Messiaen (L’Oiseaux exotiques). He conducted the ESO at its triumphant debut at Carnegie Hall in 2012, mentored Lucas Waldin as Conductor in Residence, and oversaw tremendous artistic growth in the orchestra itself. His time here has seen him conduct concerts in every subscription series in addition to galas and special performances. He continues

A

s Executive Director of the Francis Winspear Centre for Music and Edmonton Symphony Orchestra, annEmariE PEtrov believes in the transformative power of music. She is privileged to oversee the administration of a flagship Canadian performing ensemble and an internationally renowned concert hall; one built 20 years ago by a community that embodied today’s Make Something Edmonton movement.

Over the past eight years, Annemarie has built a high-performing organization, integrating the operations of both the concert hall and symphony orchestra, and steadfastly growing their endowment funds. For Annemarie, people are an organization’s most valuable asset, especially when they understand

J

ohn mcPhErson has been a multi-faceted professional

musician for over 40 years who is now increasingly making his mark as a notable Canadian composer. Commissions and grants have been received from the Edmonton Symphony Orchestra, Toronto Symphony Orchestra, Edmonton Recital Society, Alberta Foundation for the Arts, Grande Prairie Regional College, and the Debut, Wild Rose, and Beau String Quartets.

His works have been performed by the ESO, Festival City Pops Orchestra, Mark Fewer, Bill Eddins, Robert Uchida, Hammerhead Consort, Take 3, Windrose Trio, NOWage Orchestra, Beau Quartet, XIA string quartet, and others. Many of these performances have been recorded and broadcast on programs such as Arts National, Two New Hours, and Alberta in Concert.

A native of Edmonton, John was a student of composer and trombonist Malcolm Forsyth. He has been Principal Trombone of the Edmonton Symphony Orchestra since 1980,

that tradition in 2016/17.

Bill Eddins lives in Minneapolis with his wife Jen, a clarinetist, and their two sons Raef and Riley. He continues to be a passionate chamber musician as well as a guest conductor. Their home now boasts a state-ofthe-art recording studio, built

by Mr. Eddins himself. Bill caught the conducting bug while a piano student at the Eastman School of Music. In 1989, he began conducting studies at the University of Southern California with Daniel Lewis, followed by assistant conductorships at both the Minnesota Orchestra, and the Chicago Symphony (the latter under Daniel Barenboim). For more, visit WilliamEddins.com

their part in a compelling strategic vision. The cornerstone of her vision for the Winspear Centre’s long-term plan is focused on four key strategies: being a true centre for music in our community, delivering exceptional experiences, inspiring musical creativity, and ensuring resiliency and sustainability.

The plan has resulted in milestones such as the orchestra’s return to Fort McMurray after two decades, the Winspear Centre’s Completion Project which will see the addition of smaller performance and program spaces, and the launch of the Tommy Banks Institute for Musical Creativity, delivering educational and community-based musical arts programs for all ages. This includes YONA-Sistema, the city-centre afterschool program that the ESO launched three years ago with the help of Rotary.

Annemarie has been recognized nationally with numerous awards for her visionary leadership.

having previously played with the Toronto Symphony, Hamilton Philharmonic, Kitchener-Waterloo Symphony, National Ballet of Canada, and Canadian Chamber Ensemble. In other areas, he has been a member of the Edmonton Jazz Orchestra, Bad for Business Big Band, Plumbers Union, and Albertasaurus.

Active as an educator, John recently co-created an educational outreach project for students in Fort McMurray and is the low brass instructor at the University of Alberta’s Department of Music. John is taking a leave in 2016/17 from his positions at both the ESO and the University of Alberta in order to devote his time to composing new works.

Composer in Residence program generously supported by 6 signature

www.Edmontonsymphony.com

Photo: Aaron Au

T

Photo: Michael Woolley

artistic & leadership team

THE EdmonTon SympHony orcHESTra

William Eddins

2016/2017 SEASon

Photo: Bo Huang

Music Director

C

anadian violinist

RobeRt Uchida has been hailed for his “ravishing sound, eloquence and hypnotic intensity” (strings Magazine). a regularly featured guest soloist with many of canada’s orchestras and chamber music festivals, robert recently had the honour of performing Bottessini’s grand Duo concertante with bassist edgar Meyer under the direction of William eddins. concertmaster of the edmonton symphony Orchestra, robert previously held the same position with symphony nova scotia and during the 05/06 season robert performed as associate concertmaster of the rotterdam Philharmonic Orchestra. engagements as a guest leader have included projects with the netherlands radio chamber Philharmonic and the vancouver symphony Orchestra. He is a founding member of the toronto-based Xia Quartet. robert’s cD recordings include requiem 21.5: violin concerto by tim Brady for centreDiscs, which won classical recording of the Year at the ecMas, sonata for Unaccompanied violin by andrew violette for innova records, and the “alpine symphony” under edo de Waart as guest concertmaster of the royal Flemish Philharmonic. robert’s versatility has brought him to perform with baroque specialists such as Frans Brüggen, Jeanne lamon, and elizabeth Wallfisch and to work with composers such as John corigliano and richard Danielpour. robert serves on the faculty at the University of alberta and has held teaching positions at acadia University, the Manhattan school of Music, and the national arts centre’s Young artist Program. robert performs on an outstanding lorenzo ventapane violin made in naples, italy in 1820 and uses vision solo titanium violin strings by thomastikinfeld vienna.

[ FlUTE ] [ Violin i ] Elizabeth Koch 1 Robert Uchida, Shelley Younge 2 Concertmaster The John & Barbara Poole Family Concertmaster Chair [ oBoE ] lidia Khaner 1 5 Eric Buchmann, Suzanne lemieux 3 Associate Concertmaster Paul Schieman, 2 Virginie Gagné, The Steven & Day Assistant Concertmaster LePoole Assistant Broderyck olson Principal Oboe Chair Richard Caldwell Joanna Ciapka-Sangster [ ClARinET ] laura Veeze Julianne Scott 1 Anna Kozak David Quinn 2 Aiyana Anderson-Howatt neda Yamach [ BASSoon ] William Harrison 1 5 [ Violin ii ] 1 Matthew Howatt 3 Dianne new 2 Edith Stacey 2 Susan Flook Heather Bergen [ HoRn ] Pauline Bronstein 5 Allene Hackleman 1 Zoë Sellers Megan Evans 2 Robert Hryciw Gerald onciul 2 Tatiana Warszynski Donald Plumb 2 Murray Vaasjo [ ViolA ] Stefan Jungkind 1 Charles Pilon 2 5 Clayton leung 4 Rhonda Henshaw Andrew Bacon [ CEllo ] Rafael Hoekman, 1 The Stuart & Winona Davis Principal Cello Chair Brian Yoon 4 Ronda Metszies Gillian Caldwell Derek Gomez Victor Pipkin [ BASS ] Jan Urke 1 John Taylor 2 Janice Quinn Rob Aldridge

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

lAUREATE & EMERiTUS ARTiSTS Uri Mayer, Conductor Laureate Charles Hudelson, Principal Clarinet Emeritus Alvin lowrey, Principal Trumpet Emeritus

oRCHESTRA PERSonnEl Eric Filpula, Orchestra Personnel Manager Aaron Christopher Hawn, Orchestra Librarian The following musicians may appear at performances in this issue: Aaron Au Viola Ewald Cheung Violin Jeanette Comeau Viola Meran Currie-Roberts Cello Yue Deng Violin Elizabeth Faulkner Flute Mary Fearon Horn leanne Maitland Viola James Mallet Bass Michael Massey Keyboards Josh McHan Bass Matt nickel Bassoon Raj nigam Percussion Brian Sand Trumpet Alison Stewart Violin Brian Thurgood Percussion Dan Waldron Oboe Doug Zimmerman Trumpet

[ 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.

March/aPril 2017

1 PrinciPal 2 assistant PrinciPal 3 acting PrinciPal 4 acting assistant PrinciPal 5 On leave

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

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Photo: Buffy Goodman

Feature

The ESO welcomes Chief Conductor Alexander Prior in an exciting new season

F

our Hundred years of incredible music to draw

from, a host of sensationally talented musicians, and artistic leadership that draws on both experience and youth, both on the podium and among the orchestra. Sounds like programming a great season of music should be a piece of cake!

It’s a wee bit more complicated than that, but the Edmonton Symphony Orchestra’s 2017/2018 season does, in fact, have all the advantages mentioned above. Incoming Chief Conductor Alexander Prior speaks enthusiastically about what the ESO has to offer next season.

“In this season I get to share some of my favourites with you, key works that made me fall in love with music,” Alex says. “They’re big, bold, audacious, catchy, and deeply human.”

His enthusiasm is as infectious as it is boundless. Listening to him talk about the works he conducts next season, Alex’s passion is readily apparent: Beethoven’s Ninth (“…every time I perform it or even listen to it I discover new corners, new depths, new nuances”), Rachmaninoff’s First (“…an absolute masterpiece – full of the lush, rich melodies and harmonies that make Rachmaninoff so famous”), Mozart’s “Jupiter,” Brahms’ Piano Concerto No. 2 (“this concerto is like a symphony in its own right”) – even a Symphony for Kids concert.

And he embarks on his maiden ESO voyage as Chief Conductor in good company. ESO Music Director Emeritus William Eddins returns, as do Bob Bernhardt, Jayce Ogren, Jack Everly, and ESO Concertmaster Robert Uchida, all of whom lead performances next season, while soloists from among the ESO membership are featured in every series.

8 signature

ESO Chief Conductor Designate Alexander Prior

All the usual series are back, from Masters to Late Night to Symphony for Kids, with premieres and surprises in virtually every one. And right now, of course, renewals are gearing up, with returning subscribers offered the chance to pick up where they’ve left off, guaranteeing their seats for next year. Renewal packages went in the mail the first week of March – if you haven’t got yours yet, talk to your Guest Experience Advisor.

“In this season I get to share some of my favourites with you, key works that made me fall in love with music.”

– Alexander Prior

Full artist and repertoire details are available on the ESO website, as is information about all our special concerts for next season – those we know of so far, that is. Messiah is back, but in a way we’ve never presented it before, in a lush, full-orchestra version arranged in 1959 by conductor Eugene Goossens. Our Family Day weekend special features film clips from Dreamworks’ vault of animation classics: Shrek, Kung Fu Panda, Madagascar, and more. Iconic Canadian singer/ songwriters Jann Arden and Chantal Kreviazuk will each have their own specials with the ESO. And Chief Conductor Alexander Prior unites with legendary Canadian pianist Marc-André Hamelin for a two-night spectacular of all five Beethoven piano concertos.

www.EdmontonSymphony.com

Photo: Christy Dean

Paul Schieman – Founder and Artistic Director

Duo Flutes

Photo: Bo Huang

ESO Music Director William Eddins

Frederick the Great Symphony No.1 Fasch Concerto for Two Flutes in D Major Telemann Suite for Violin and Strings in G Major Quantz Concerto for Two Flutes in G Minor Elizabeth Koch and Petar Dundjerski – flutes The Alberta Baroque Music Society receives support from:

Sunday, March 26, 2017, 3p.m.

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

ESO Concertmaster Robert Uchida

If you’re not already a subscriber and are thinking about making music a bigger part of your life, try out a two-for-one subscription.

This popular offer is for those subscribing to a regular ESO series for the first time. Enjoy a full season of music with a loved one or friend, paying only the price for one subscription. Details at Edmonton Symphony.com.

Many of you have asked: Why is Alexander Prior our incoming Chief Conductor? Why not “Music Director”? Over the last few seasons, the ESO’s trajectory has been to increasingly celebrate the experience, ideas, and leadership that exists within the orchestra (your ESO musicians!) to serve the community. The groundwork for this was laid by Bill Eddins, whose leadership philosophy empowered the musicians over the past dozen years. Strong and continuing artistic partnerships are vital to this evolution. We are not alone in this; a handful of other orchestras are also exploring variations on artistic partnership models, creating closer ties between visiting artists, the orchestra musicians, and you, our audience.

The title – and more importantly, the concept – of Chief Conductor allows Alexander Prior to work in partnership with the musicians as we undertake this new approach. The musical direction of the ESO will also include musicians and additional artistic partners. We’re excited by the promise of even greater artistic vitality within this new artistic leadership approach.

“This season is about everything that makes music crucial to life: friendship and compassion, lust and tender love, the power of the will, and the extraordinary and diverse destinies of humanity,” adds Alex.

March/aPril 2017

Season Sponsor

Steven and Day LePoole Concert Sponsors

Alan Mather

R RobbinS PoPS Rock Icons

Michael Krajewski, conductor Shem von Schroeck, vocals, bass, guitar & piano Rob Evan, vocals Micah Wilshire, vocals & guitar Rock Overture

various (arr. Prechel)

“Listen to the Music”

Johnston (arr. shouP)

“House of the Rising Sun” trad. (arr. Berens)

“I Heard It Through the Grapevine” Whitfield/strong (arr. shouP)

Chicago in Concert Medley various (arr. Berens)

“Footloose”

loggins/Pitchford (arr. nelson)

Rock Tenors Medley various (arr. shouP)

Artist BiOs

K

nown for his entertaining programs and clever humour, Michael KrajewSKi is a much sought after conductor of symphonic pops. He is Music Director of The Philly Pops and Principal Pops Conductor of the Houston, Atlanta, and Jacksonville Symphonies. As a guest conductor Michael has performed with the Cleveland and Philadelphia Orchestras; the Boston and Cincinnati Pops; the San Francisco, Baltimore, Detroit, Indianapolis, Seattle, Dallas, St. Louis, Pittsburgh, and National Symphonies, and numerous other orchestras across the United States. In Canada he has led Ottawa’s National Arts Centre Orchestra, the Toronto Symphony Orchestra, Calgary Philharmonic, and the Winnipeg and Kitchener-Waterloo Symphonies. Other international appearances include performances in Dublin and Belfast with the Ulster Orchestra as well as performances with the Hong Kong Philharmonic, Malaysian Philharmonic Orchestra, the Iceland Symphony Orchestra, and Spain’s Bilbao Symphony Orchestra.

henley/frey (arr. Prechel)

Michael is the conductor of the video Silver Screen Serenade with violinist Jenny Oaks Baker that aired worldwide on BYU Broadcasting. On recording he has led the Houston Symphony on two holiday albums: Glad Tidings and Christmas Festival.

With degrees from Wayne State University in Detroit and the University of Cincinnati College-Conservatory of Music, Michael furthered his training at the Pierre Monteux Domaine School for Conductors. He was a Dorati Fellowship Conductor with the Detroit Symphony and later served as that orchestra’s assistant conductor. He was resident conductor of the Florida Symphony and for 11 years served as music director of the Modesto Symphony Orchestra. Michael lives in Orlando, Florida, with his wife Darcy. When not conducting, he enjoys travel, photography, and solving crossword puzzles.

“Viva la Vida”

mr. Krajewski last conducted the EsO in April 2015.

“We Will Rock You”/”We Are the Champions”

S

INTERMISSION (20 minutes) “Maybe I’m Amazed”

Mccartney (arr. herMan)

Lady Madonna

lennon/Mccartney (arr. Prechel)

“Every Breath You Take” sting (arr. ricketts)

Desperado

BerryMan/Buckland/chaMPtion/Martin (arr. fleischer)

May/Mercury (arr. fleischer)

Program subject to change

10 signature

heM von SchroecK has been entertaining audiences

since he was three years old. A veteran of the stage and recording studio, he has performed in all 50 states and in 42 countries as a singer, multi-instrumentalist, and music director in a diverse range of genres. He has toured with some of pop music’s most recognizable names, including Kenny Loggins, TOTO, Michael McDonald, Christopher Cross, Don Felder (The Eagles), Gary Wright, Marie Osmond, Tom Jones, Steve Perry, Richard Marx, Ambrosia, and many others.

www.EdmontonSymphony.com

Photo: Michael Tammaro

Friday & Saturday, March 3 & 4 | 8 pm

Series Sponsor

He made his professional opera debut singing with the Mittelsächsisches Theatre in Freiberg, Germany, as Spoletta in Puccini’s Tosca. His operatic repertoire includes Parsifal, Siegmund, Florestan, Peter Grimes, and Canio.

He is a regular tenor soloist with the Philly Pops, The Atlanta Symphony, The Cleveland Orchestra, and The Jacksonville Symphony.

He has also conducted several pops concerts with The Columbus Symphony, The Oklahoma Symphony, The Dallas Symphony, The Little Rock Symphony, The Hollywood Bowl Orchestra, and The Boston Pops Orchestra. He currently resides in Phoenix, Arizona, with his wife, Tamra.

This is Mr. von Schroeck’s debut with the ESO.

D

uring the span of his diverse career, Rob Evan has performed in seven leading roles on the New York stage including the original Broadway cast of Jekyll & Hyde, playing Jean Valjean in Les Misérables, Kerchak in Disney’s Tarzan, “The Dentist” in Little Shop of Horrors, and Count von Krolock in Jim Steinman’s Dance of the Vampires. As a vocalist and recording artist, Rob is a member of the multi-platinum-selling rock band, the Trans-Siberian Orchestra. He can be heard on TSO’s The Lost Christmas Eve (Certified Platinum – Lava/Atlantic) and their latest release, Nightcastle, which debuted at #5 on Billboard’s Top 100 (currently certified Gold – Atlantic Records). Rob has toured Europe and the U.S. with TSO as Beethoven in their rock opera, Beethoven’s Last Night. Rob has opened for and performed with Sir Elton John, Trisha Yearwood, Linda Eder, Phil Collins, REM, Bonnie Tyler, John Cougar Mellencamp, Joe Walsh, Usher, and Michael Crawford, among others.

In concert, Rob has been a featured soloist for many leading symphonies, including recent appearances in San Francisco, San Diego, Atlanta, Chicago, Alabama, and Calgary, as well as recent and upcoming appearances in Bravo Broadway’s Broadway Rocks with the Festival Cesky Krumlov, Hong Kong Philharmonic, and the Cleveland, Minnesota, Utah, West Virginia, National, Houston, Dayton, Maryland, Taipei, and New Jersey Symphonies. He conceived, co-created (with Maestro Randall C. Fleischer) and stars in ROCKTOPIA, a new Classical/Classic Rock fusion concert event that is currently touring worldwide.

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

March/aPril 2017

M

icah WilshiRE’s voice,

writing, and production can be heard on many pieces of music in film and TV, as well as on the radio around the world. Ranging from: #1 hits to national commercials for Nissan, Ford, The Oscars, and Claritin, his work appears in hundreds of placements on shows like Sons of Anarchy, Vampire Diaries, Private Practice, Modern Family, Quantico, TNT, Dexter, Virgin Mobile, Chicago Fire, Kohls, Battle Creek, Mob Wives, American Idol, the 2014 SOCHI Winter Olympics theme, and Win a Date with Tad Hamilton. He has contributed vocals on hits like the #1 “Whatever She’s Got” by David Nail, as well as music by Dierks Bently, Brett Eldridge, Darius Rucker, and Jake Owen. His writing or production has been featured on the Mixed Billboard #1 single “Drunk on your Love” by Brett Eldridge, and songs such as “Unbelievable” (#1 iTunes Sweden, #2 Billboard Chart Sweden)

by Lisa Ajax for Capitol Records, 2015; “Before You Drive Me Crazy” – (Top 10 Billboard Country Chart Canada) by Wes Mack for Universal, 2015; “Special” (Top 20 U.S. Billboard Chart) by Wilshire, Columbia Records. www.micahmixer.com

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

Sunday March 5, 2pm Winspear Centre Featuring the winners of the 36th Northern Alberta Concerto Competition Violin Concerto 1st Movement in d minor Soloist: Jacques Forestier Wieniawski Violin Concerto in d minor Op. 47.

Soloist: Gabrielle Després Sibelius Atayoskewin Forsyth $15 Adults $10 Seniors/Students Tix on the Square

780 420 1757

www.eyso.com eyo@shaw.ca

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Late Night with BiLL eddiNs Late Night Cello

Friday, March 17 | 9:30 PM

william eddins, conductor & piano edgar Moreau, cello

Bates

Mothership

BeethOVeN

Cello Sonata No. 4 in C Major, Op.102 No. 1 Andante – Allegro vivace Adagio – Tempo d’Andante Allegro vivace

Ligeti

Sonata for Solo Cello Dialogo Capriccio

Biggs

Pastiche: An Overture, Op.87

FaURÉ

Élégie in C minor, Op.24

dVORˇÁK

Cello Concerto in B minor, Op.104 Finale – Allegro moderato

(9’)* (15’)*

(8’)*

(6’)* (7’)* (12’)*

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

Mr. Eddins’ bio can be found on page six Mr. Moreau’s bio can be found on page 14 For a program note about Dvořák’s Cello Concerto, please see page 15.

PrograM NoTes

M

asON Bates’ (b. 1977) Mothership iMagines the

orchestra as a mothership that is “docked” by several visiting soloists, who offer brief but virtuosic riffs on the work’s thematic material over action-packed electro-acoustic orchestral figuration. The piece follows the form of a scherzo. Symphonic scherzos historically play with dance rhythms in a high-energy and appealing manner, with contrasting trio sections temporarily exploring new rhythmic areas. Mothership shares a formal connection with the symphonic scherzo but is brought to life by thrilling sounds of the 21st century — the rhythms of modern-day techno in place of waltz rhythms, for example. Recorded by the London Symphony Orchestra under Michael Tilson Thomas, Mothership received its world premiere at the Sydney Opera House and the YouTube Symphony on March 20, 2011, and it was viewed by almost two million people live on

March/aPril 2017

YouTube (courtesy www.masonbates.com).

One would be hard-pressed to find two examples of the cello sonata genre that are more different than the two Mr. Moreau will present tonight. Before Ludwig van Beethoven (1770-1827), works that combined keyboard with cello tended to use the keyboard as an accompanist – Beethoven made each instrument an equal partner. He composed works for cello and piano throughout his career. The C Major Sonata was a late work, one of a pair published as Op.102, and written for his friend Josef Linke, cellist for the house quartet of Prince Rasumovsky. The work is divided more or less into two sections, each of which is also in two sections, with faster movements preceded by slow introductions.

Hungarian composer György Ligeti (1923-2006) had to tread careful musical ground with his earlier compositions – and his Sonata for Solo Cello is such a work – as Hungary was still under the iron grip of the Soviet Union. He could not be as radical as his later works would allow (you may know some of his music from its use in the classic 1968 film 2001: A Space Odyssey); still, this work, scored for an unaccompanied cello, sounds daring and even experimental today. The whole work, in two movements, lasts about eight minutes. The “dialogue” referred to in the opening movement is created by having the soloist alternate contrasting techniques and registers on the instrument. This is followed by a Capriccio which brings to mind the music of Ligeti’s countryman and predecessor, Béla Bartók.

John Biggs (b. 1932) is an American composer who studied with luminaries including Lukas Foss, Roy Harris, and others. He founded the John Biggs Consort, which specializes in medieval and contemporary music. His Pastiche: An Overture dates from 1993, and was first performed by his hometown orchestra in Ventura, California. It is an inventive and fun amalgam of some 27 quotes from the works of 19 composers, all mashed into an orchestral whirl lasting about six minutes.

Early in his career, Gabriel Fauré (1845-1924) wrote works full of charm and delicacy. As deafness overcame him late in life, however, his music understandably became more mysterious and bleak. Because it was originally written (in 1880) for cello and piano, his Élégie is thought by many to have been the slow movement for an intended cello sonata. Twenty years after he wrote it, Fauré orchestrated it, and in this version, it was premiered in 1901 by Pablo Casals. The work contains two principal themes.

The first is heard in the tenor strings of the solo instrument after a few bars in the orchestra; the second is more passionate and driving, though based on the same melodic material. It gives way to the wistful, slow song heard at the outset.

Program notes © 2017 by D.T. Baker, except as noted

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A

Air CAnAdA SAturdAy MASterS Brahms & Dvořák saturday, March 18 | 8 PM

arTIST BIOS

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William eddins, conductor & piano edgar Moreau, cello

Symphony Prelude, Saturday 7 pm in Enmax Hall with d.t. Baker

BrAHMS

Academic Festival Overture

dVOrˇÁK

Cello Concerto in B minor, Op.104 Allegro Adagio ma non troppo Finale: Allegro moderato

(10’)* (38’)*

INTERMISSION (20 minutes)

BrAHMS

Symphony No. 2 in D Major, Op.73

Allegro non troppo Adagio ma non troppo, l’istesso ma gracioso Allegretto gracioso (quasi andantino) Allegro con spirit

(40’)*

Program subject to change *indicates approximate performance duration

Mr. Eddins’ bio can be found on page six

Saturday Masters Applause Sponsor

he rising star of the French cello,” 22-year-old cellist Edgar MorEau consistently captivates audiences with his effort-

less virtuosity and dynamic performances (Le Figaro magazine).

Mr. Moreau won First Prize in the 2014 Young Concert Artists International Auditions, was awarded six concert prizes at the YCA Auditions, and is recipient of the Florence Gould Foundation Fellowship of YCA. He has been selected as one of the European Concert Hall Organization’s 2016-2017 Rising Stars. His album of Baroque concertos was released last season on the Warner Classics label. Highlights of the 2016-2017 season include concertos with the Seattle Symphony Orchestra and the Boise Philharmonic. Last season, he made his debut with the Los Angeles Philharmonic, and made his New York recital debut in the Young Concert Artists Series. He has soloed with the Brussels Philharmonic, the Orchestre Philharmonique de Radio-France, the Simón Bolívar Orchestra in Caracas, the Zurich Chamber Orchestra, the Mariinsky Orchestra in Toulouse, the Orchestre du Capitole de Toulouse, and the Orchestre de la Suisse Romande.

In 2015, he was named “Solo Instrumentalist of the Year.” As recipient of the 2015 Arthur Waser Award, he receives a grant of 25,000 Swiss Francs, and makes his debut with the Lucerne Symphony Orchestra. Born in 1994 in Paris, Mr. Moreau began playing the cello at the age of four and the piano at six. He studied with Philippe Muller at the Conservatoire National Supérieur de Paris, and currently works with Frans Helmerson at the Kronberg Academy. His first CD, Play, a collection of short pieces, is available on Warner Classics label. He plays a David Tecchler cello, dated 1711.

Photo: Julien Mignot

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

PrOgraM NOTES Academic Festival Overture, Op.80 JohannEs BrahMs

(b. Hamburg, 1833 / d. Vienna, 1897) First performed: January 4, 1881 in Breslau Last ESO performance: Sobeys Symphony Under the Sky 2008

G

roucho Marx, whEn invitEd to Join thE Friars

Club, is famously quoted as saying, “I’d never belong to any club that would have someone like me as a member.” Johannes Brahms must have felt a bit like that when the University of Breslau chose, in 1880, to bestow upon him an Honorary Doctorate.

Brahms came from a poor background, and never attended university. He also looked askance at stuffy institutions of any kind.

So to be given the title of “first master of the rigorous musical art in Germany today,” and to know that the university would expect that Brahms would write a piece specifically for the occasion, led

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Brahms to produce one of the most infamously famous works in music.

The Academic Festival Overture certainly seems an august title. But Brahms peppered his overture – scored for the largest orchestral force for which he ever composed – with popular songs of the day. One source calls them “folklore tunes often sung by collegiate students in Germany,” while another calls them, “German student songs.” But let’s call them by what they were – drinking songs. The academicians and administrators were quite appalled by the irreverent overture Brahms presented them on January 4, 1881; the students were delighted. While we may not hear the inside jokes they did, we hear a grand, lively, and thoroughly entertaining work of joy and celebration.

Cello Concerto in B minor, Op.104 Antonín Dvorˇák

(b. Nelahozeves, 1841 / d. Prague, 1904) First performed: March 19, 1896 in London Last ESO performance: Symphony Under the Sky 2013

F

rom 1891 to 1895, the DistinguisheD BohemiAn

composer Antonín Dvorˇák received a generous sum of money to head up the newly-formed National Conservatory in New York. But he missed his homeland dearly, and during a break in his tenure in 1894, he took advantage of the time off to make a short trip back home. While there, he began sketches for what would become his Cello Concerto, instigated at the behest of Bohemian cellist Hanuš Wihan. Dvorˇák took to the task with relish, completing most of the concerto by the following February. Soon after that, however, his beloved sister-in-law Josefina Cˇermakova died. In her memory, Dvorˇák reworked the piece. His song “Leave Me Alone in My Dreams,” which had been a favourite of hers, was quoted in both the Adagio second movement and in the finale.

Wihan would eventually take up the concerto, which was dedicated to him, but the first performance took place with Dvorˇák conducting, and Leo Stern as soloist.

It might seem as if the first theme heard in the work is given relatively short shrift, particularly as the second subject (heard first on the horn) is given much more breadth – it was among the composer’s own personal favourites among the many melodies he composed. The bulk of the movement is spent with each of these musical ideas, with the first theme made much more dominant in the recapitulation.

The second movement is one of Dvorˇák's finest slow movements.

After an introduction in the woodwinds, the cello enters, quoting that favourite song of Josefina’s. The mood is not tragic, however, but beautiful, serene, and direct. Three horns present an almost organlike chorale mood, leading to a bridge which ushers in a cadenza for the cello, accompanied by the woodwinds – which in turn leads into the movement’s peaceful conclusion. The finale perks up the pace with a picturesque march tune used as the main subject of a loose rondo movement. Not only does the song from the slow movement return, but there are echoes of a theme from the first movement as well, lending a sense of completeness to the finale of this broad, rich concerto, which has taken its place among the best. Upon hearing it, Dvorˇák's friend and mentor Johannes Brahms famously said, “Why on earth didn’t I know that one could write a cello concerto like this?

Had I known, I would have written one long ago.”

March/aPril 2017

Symphony No. 2 in D Major, op.73 JohAnnes BrAhms

(b. Hamburg, 1833 / d. Vienna, 1897) First performed: December 30, 1877 in Vienna Last ESO performance: January 2015

I

t hAD tAken JohAnnes BrAhms the Better pArt of

two decades to finally bring a symphony before the public. Faced with the extraordinary pressure of producing a symphony worthy of the musical successor to Beethoven – as the music world then regarded him – Brahms had laboured and second-guessed the long, tortuous road that finally yielded his First Symphony in 1876. But with that ordeal finally behind him, Brahms wrote a second symphony with surprising ease, and in only months, instead of years.

Composed during an idyllic summer in 1877 spent at the village of Pörtschach, near Lake Worth in the Austrian Alps, the Second Symphony is widely considered Brahms’ most serene, his most contented.

But there is a grey undercurrent amid the serenity, one borne of a mature and seasoned composer who, that same summer, had written a motet titled, “Wherefore is the light given to them that toil?”.

All four movements of the D Major Symphony are in major keys, yet as often as not, tonality is suggested more than dwelled upon.

There is much harmonic and rhythmic interplay and subtlety at work throughout the symphony, which begins with an almost hymn-like theme in the trombones before the mood turns more rich and romantic. A theme which comes to dominate the movement first occurs about two and a half minutes in – listen for what almost sounds like the opening of Brahms’ famous Lullaby. Moods contrast greatly throughout this movement, often by using fragments of the two main themes subjected to cross rhythms and unsettled harmonies. There are some moments of intense passion, but the movement itself ends almost playfully, with pizzicato (plucked) strings leading to a demure ending.

The second movement is the longest slow movement in any Brahms symphony, and opens with much the same mood as the first does. The development section offers a strong contrast in both mood and tempo, and moves through many keys. An emotional climax ebbs away as quickly as it arrives, ending the movement on a hush. The third movement’s main song is a tripping Ländler (the rustic precursor to the Viennese waltz), contrasted with a skittish, scurrying theme in 2/4 – the string writing has the feel of Mendelssohn’s gossamer string sound. These two main subjects alternate, or are combined in ingenious ways by Brahms in this good-naturedly off-kilter movement.

With the opening measures of the finale, we know momentous things are imminent. But at first, the buoyant outbursts from the orchestra sound almost as if the happiness is contrived. A clarinet begins a new song, which is followed in the strings by one reminiscent of the third movement’s Ländler. Fragments of these melodies come and go, but there is a forward momentum to the music; the brass dominate the proceedings as the coda begins, and at last, the joy is as irrepressible as it is unbounded, leading to one of the most ebullient endings of any Brahms work.

Program notes © 2017 by D.T. Baker

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S Special

A Symphonic Tribute to the Music of Prince Monday & Tuesday, March 20 & 21 | 8 pm

Performance Sponsor Diamonds and Pearls

Raymond Baril, conductor

Sign O the Times

Band members will be introduced from the stage

The Most Beautiful Girl in the World

When Doves Cry Purple Rain

Little Red Corvette Rasberry Beret Let’s Go Crazy

I Would Die 4 U U Got the Look 1999

Delirious

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Cream Kiss POP Life Beautiful Ones I Could Never Take the Place of Your Man Adore Wanna Be Your Lover Take Me With U Program subject to change There will be one, 20-minute intermission.

www.EdmontonSymphony.com

Artist BiOs

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aymond Baril is Assistant Professor of Music and Section Head for Winds and Brass in the Department of Music at Grant MacEwan University, and, for the past 30 years, he has been the Director of the MacEwan University Jazz Ensemble. He is in his 18th season as Artistic Director and Principal Conductor of the Edmonton Winds and recently has taken on the role as director of the River City Big Band. Prior to his appointment at MacEwan University, Raymond was a music educator with Edmonton Public Schools, conductor of the University of Alberta Concert Band, Executive Director of the Alberta Band Association, and worked as assistant conductor for the Cosmopolitan Music Society.

Raymond was a regular member of the Tommy Banks Big Band for 25 years and is currently a member of the Edmonton Jazz Orchestra. He has appeared with the Edmonton Symphony Orchestra on numerous occasions as a section member and soloist, as well as a guest conductor. Raymond attended Northwestern University in Evanston, Illinois, where he received a Master of Music degree in conducting.

He holds undergraduate degrees in both music performance and education from the University of Alberta, and is currently working on his Doctorate in Saxophone Performance at the University of Alberta. Raymond has been the recipient of many awards for his contribution to music and music education including the Tommy Banks Award, presented by the Alberta Foundation for the Arts; and the David Peterkin Memorial Award, presented by Phi Beta Mu. Mr. Baril last appeared as a soloist with the EsO in April 2014. He last conducted the EsO in December 2007.

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A

aTB invesTor services PresenTs Windborne’s The Music of Queen

Performance Sponsor

Friday & Saturday, March 24 & 25 | 8 pm

TV, and movies. His first professional gigs were at piano bars in several U.S. cities, where he learned to charm audiences and expand his musical repertoire. With a longing to perform the music of the many rock bands that inspired him, Brody assembled Yellow Brick Road, unquestionably Las Vegas’ most successful classic rock band.

Since 1997, YBR has been reshaping the casino entertainment scene by bringing a rock concert atmosphere to showrooms previously reserved for Top-40-style lounge acts.

Brent Havens, conductor Brody Dolyniuk, vocals & guitar

with: Dan Clemens, bass & vocals Powell Randolph, drums & vocals George Cintron, guitar & vocals Justin Avery, guitar & vocals

Tonight’s program will be announced from the stage.

There will be one, 20-minute intermission.

Program subject to change

Artist BiOs

B

erklee-trained arranger/conductor Brent HavenS has written music for orchestras, feature films, and virtually every kind of television.

His TV work includes movies for networks such as ABC, CBS and ABC Family Channel Network, commercials, sports music for networks such as ESPN and even cartoons.

Havens has also worked with the Doobie Brothers and the Milwaukee Symphony – arranging and conducting the combined group for Harley Davidson’s 100th Anniversary Birthday Party Finale attended by over 150,000 fans. He has worked with some of the world’s greatest orchestras including the Royal Philharmonic in London, the Cincinnati Symphony, the Minnesota Orchestra, the Pittsburgh Symphony, the Indianapolis Symphony, the Houston Symphony, the Atlanta Symphony, the Baltimore Symphony, the Dallas Symphony, the Fort Worth Symphony, the Nashville Symphony, the Buffalo Philharmonic, and countless others.

Along the way, Brody has made numerous radio and TV appearances, and earned a spot in the finals of two national singing competitions, and even self-produced several large rock production-style shows utilizing multimedia, lasers, comedy and special effects. In 2007, Brody lent his vocal talents by singing several tracks on the mega-hit video game Guitar Hero III: Legends of Rock, and has already done several more for the new Konami game Rock Revolution. As a devout classic rock/Queen fan, Brody’s enthusiasm, vocal ability and on-stage energy were the perfect fit for the Music of Queen show. mr. Dolyniuk last appeared with the EsO in April 2016.

ERS Main Series 4 John Tessier tenor Shannon Hiebert piano

Havens recently completed the score for the film Quo Vadis, a Premier Pictures remake of the 1956 gladiator film. Havens is Arranger/Guest Conductor for 14 symphonic rock programs including the Music of Led Zeppelin, the Music of the Doors, the Music of Pink Floyd, the Music of the Eagles, the Music of Queen, the Music of Michael Jackson, the Music of The Who, the Music of Whitney Houston, the Music of The Rolling Stones, the Music of U2, the Music of Journey, the Music of Elton John, the Music of David Bowie, and the Music of Prince! Havens also premiered a full orchestral show for Lou Gramm, the voice of Foreigner – with Lou singing out front.

Sunday, March 19, 2017 at 7:30 pm Muttart Hall, Alberta College Conservatory of Music 10050 MacDonald Drive, Edmonton AB $35 (adult)/$25 (senior)/$10 (student)

mr. Havens last appeared with the EsO in October 2016.

B

rody dolyniuk remembers mimicking voices even as a child, listening to old records and tapes. He is a gifted, self-taught musician, capable of playing several instruments, with a particular knack for capturing the voices and mannerisms of classic characters from music,

2016 -2017 For more information, please visit www.edmontonrecital.com Special Thanks

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2016-08-26 9:38 PM

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Air CAnAdA SAturdAy MASterS Schubert’s “Great” Symphony

Saturday Masters Applause Sponsor

saturday, april 8 | 8 PM

rune Bergmann, conductor robert uchida, violin

Symphony Prelude, Saturday 6:45 pm in Enmax Hall with d.t. Baker

BuHr Akasha

BArtÓK

Violin Concerto No. 2 Allegro non troppo Andante tranquillo Allegro molto

(5’)* (36’)*

INTERMISSION (20 minutes)

SCHuBert

Symphony No. 7 in C Major, D 944 “The Great” Andante - Allegro ma non troppo Andante con moto Scherzo: Allegro vivace Allegro vivace

(55’)*

Program subject to change *indicates approximate performance duration.

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

ARTIST BIOS

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orwegian conductor rune BerGmann is a dynamic, versatile conductor with an extensive classical, romantic, operatic, and contemporary repertoire. His elegant interpretations and reputation as an inspiring and profound musician continue to attract the attention of orchestras throughout the world.

Recently named Music Director Designate of the Calgary Philharmonic as well as Artistic Director & Chief Conductor of Poland’s Szczecin Philharmonic, Mr. Bergmann has been Artistic Director of Norway’s innovative Fjord Cadenza Festival since its inception in 2010. Additionally, he regularly conducts a wide range of distinguished orchestras and opera houses around the world. The 15/16 season saw Mr. Bergmann make a joint North American operatic debut at Yale Opera with innovative stage director Claudia Solti. Highlights of Rune Bergmann’s 16/17 season include return engagements in Calgary, Lisbon, and New Mexico, as well as North American debuts with the Hawaii,

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Pacific, and Toledo Symphony Orchestras and the Wrocław and Argovia Philharmonics in Europe.

A multi-talented musician who also plays trumpet, piano, and violin/viola, Rune Bergmann studied choral and orchestral conducting under Anders Eby, Jin Wang and Jorma Panula at Sweden’s Royal College of Music. He graduated with high honours from the Sibelius Academy in Helsinki, Finland, where he studied conducting under Chief Conductor Emeritus of the Helsinki Philharmonic Orchestra Leif Segerstam. Honours include the 2010 Kjell Holm Foundation Culture Prize, the 2009 SMP Press culture award, and second prize in Helsingborg’s 2002 Nordic Conducting Competition. Maestro Bergmann’s former posts include Deputy General Musik Direktor with the Augsburger Philharmoniker and Theater Augsburg in Germany.

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

PROgRAM NOTES Akasha Glenn Buhr

(b. Winnipeg, 1954) First performance: May 1989 in Toronto Last ESO performance: May 2012 Program note by the composer:

A

kasha” is the sanskrit word for “space” – the

fifth element after earth, air, fire, and water – but the word “akasha” is sometimes translated more poetically as “sky.” This short work is very gentle, with a steady, quiet rhythm played by the strings and glockenspiel, and a floating chorale in the brass, which gradually rises to a pivotal climax with the woodwinds scurrying up and around in the background.

Akasha was commissioned by the CBC for a premiere performance by the Toronto Symphony under Mario Bernardi in May 1989.

Violin Concerto No. 2 Béla Bartók

(b. Nagyszentmiklós, Hungary, 1881 / d. New York, 1945) First performance: March 23, 1939 in Amsterdam Last ESO performance: June 2008

T

he piano was Bartók’s instrument, But

throughout his career, his relationships with a number of important Hungarian violinists kept that instrument at the core of his music. What we now know as his Second Violin

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Concerto (the first was an early work not published until after Bartók’s death) came about as a result of Bartók’s friendship with Zoltán Székely, violinist with the renowned Hungarian String Quartet. It was Székely who urged Bartók to compose a “proper concerto,” and not the set of variations the composer offered to write. In the end, Bartók teased his friend, they both won. Székely got a three-movement concerto written within classical strictures. But the second movement is a set of variations, while the finale is a long variation on material from the opening movement.

“Bartók has reached new heights and has managed to solve all the problems, has fused all aspects together to form a new work,” went a promising review of the work’s premiere, published in the Nieuwe Rotterdamsche Courant on March 24, 1939. “But we must hear the work often.

With so masterful an interpretation as Székely has played and Mengelberg has conducted, we hope the foundation is laid for the work to be played many times.”

The opening movement was originally marked “tempo di verbunkos,” referring to a Hungarian dance form. There is a folk-like gait, set to a 4/4 metre. The violin takes charge early on, dictating each new mood, answered or punctuated by the orchestra. These moods run from haunting to giddy and playful. The cadenza is a frenetic one, leading to a surprisingly rhapsodic coda. The second movement’s set of variations pairs the violin with lighter textures: high woodwinds, harp and celeste. The dreamlike nature of the movement is interrupted by the fourth variation, but the movement ends in quiet repose. The finale returns to the opening movement’s sense of contrasts of both mood and colour, but here it is altogether more robust and vibrant, its ending a burst of joy.

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Symphony No. 7 in C Major, D 944 “The Great” Franz Schubert

(b. Vienna, 1797 / d. Vienna, 1828) The symphony was rehearsed with the Gesellschaft der Musikfreunde in 1827, but not performed in Schubert’s lifetime. It premiered publicly on March 21, 1839 in Leipzig.

Last ESO performance: November 2008

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10432-82nd Avenue, Edmonton

umbering aSide (and eSO muSic directOr William eddinS haS StrOng,

not uncompelling reasons for calling this Symphony No. 7), the “Great” C Major Symphony of Franz Schubert is one of those musical “near misses” that we almost never heard.

No matter which number it is assigned, it is a fitting symphony to be the last complete one he wrote. Its gestation took place at a dark time in Schubert’s life. He had contracted the syphilis which would claim him (at only 31 years old), and he wrote to a friend of his desire that each night he went to bed would be his last. Yet that same letter spoke much more optimistically of new pieces he was working on, including a grand symphony. We know now that this was the work that would become the “Great” C Major.

Yet Schubert’s self-doubt continued to assail him, for even after completing the work, he held onto it, and did not publish it. The score remained with his older brother Ferdinand until Robert Schumann, who had been a friend and supporter of Franz Schubert, discovered it. Schumann brought it to Mendelssohn, who conducted the work’s premiere – although with substantial cuts.

This was more than common at the time, and the massive scope, and the sheer physical demands of the string writing, had many passing on this last, great discovery from Schubert’s oeuvre.

Without cuts, this is a long, measured, vast work – nearly an hour, and each movement save the slow one built upon a substantial sonata form. The symphony is also remarkably balanced: every movement is about the length of its fellows, with a first movement built up predominantly from a horn theme announced early on. The slow second movement (the only one not in sonata form), takes its measured, but syncopated, melody from A minor to A Major and back again with a mesmerizing deliberateness. The third movement is a scherzo, an Allegro vivace in which the main scherzo theme is itself given its own sonata form treatment, contrasted by a trio in A Major. The final movement, also Allegro vivace, is nearly 1,200 measures in length – a titanic, nearly headlong rush of energy and drive.

Program notes © 2017 by D.T. Baker, except as noted

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March/aPril 2017

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Board & Staff

LIST of PAST BoARD CHAIRS

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

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 2011-15

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 28 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 Christine frederick Sam Jenkins oryssia Lennie Kathryn Macintosh Jim McKillop Mark Moran David yee Candace Chu (u of a Student intern)

EDMoNToN SyMPHoNy & CoNCERT HALL foUNDATIoN Phyllis Clark, chair John Brennan Jim Carter Bob Kamp Carol Ann Kushlyk, C.M.A., C.f.E. Jim McKillop Edmonton Symphony orchEStra / WinSpEar cEntrE / tommy BanKS inStitutE For muSicaL crEatiVity

EXECUTIVE & ARTISTIC LEADERSHIP Annemarie Petrov Executive director

William Eddins music director

Rob McAlear, director of artistic operations Janice Moore, director of community investment Ally Mandrusiak, director of Events management Brian Alguire, director of Finance & operations Alison Kenny-Gardhouse, director of musical creativity Elaine Warick, director of patron development Barb Wilkes, Executive coordinator/Board Liaison complete staff listing can be found at WWW.EdmontonSymphony.com 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 Canada’s fourth-largest professional orchestra, the ESO is financed by ticket sales, grants from government agencies, and by contributions from corporations, foundations, and individuals.

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MNP Proudly Sponsors the Youth Orchestra of Northern Alberta (YONA) – Sistema Program Living and working in your community, MNP understands the importance of organizations like the Edmonton Symphony Orchestra and commends you for the tremendous work you do to support our youth and encourage social change through music. Through the Youth Orchestra of Northern Alberta – Sistema program, our youth not only get valuable music instruction, musicianship and academic lessons at no costs to them but learn the values of unity, harmony, and mutual compassion.

Thank you for supporting the academic and social development of our youth. By bringing people together and giving them a sense of belonging, you continue to unite an entire community – a community MNP is proud to serve.

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