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Magazine of the Saskatoon Symphony

Volume 2 Issue 1 September – November 2012

Fernando Varela

Gala Opening Concert From the Classics to Classic Rock

A Mighty Spooky Sound

Classics for Skeptics checks into the Bates Motel

Maureen Thomas and Mendelssohn In love with Shakespeare

Players’ Choice Sundays Music with meaning

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Magazine of the Saskatoon Symphony


Volume 2 Issue 1

September, 2012

Where did the summer go? We hope it was marvellous for you. At the SSO, much of it was spent planning so the symphony season will be as wonderful as those sunny, calm days at the lake. In the photos on the right, you’ll see some of the young people who brought their talent to the SSO in June for the first annual Playathon, raising muchneeded funds for the orchestra. Winners of the pledge drive were (top to bottom) Emmett Graham (1st place), Peter and Paul Yuen (2nd), and Madelaine and Courtney Pequin (3rd). They each received gift certificates for Darren’s Music Place. Congratulations! The SSO depends on support from the community— beyond ticket sales— to be able to not only present high quality concerts, but to take music beyond the concert hall, to use its power to inspire and motivate. If you have recently made a financial gift to your symphony, thank you! If not, please consider doing it now. In our ‘Season of Champions,’ you could be a champion by investing in the future of musical arts in Saskatoon and area. We do need your help. Thank you to our returning season sponsors, Conexus Credit Union and Gyro Productions, and to returning presenting sponsors, PotashCorp and BHP Billiton. Your partnerships are key to our sustainability and success and we invite others to join you in discovering the benefits of sponsorship. Now, it’s time to tune the instruments and raise the curtain on our 2012-2013 ‘Season of Champions.’ There are so many highlights! Browse these pages to see the great line-up through Nov. 3. Look at the concerts ahead on page 4—there’s the Music of Queen, a Celtic Holiday Spectacular, Messiah, Haldan Martinson from the Boston Symphony, and more. We’re bringing musical champs to the stage not only with guest artists, but with our SSO musicians, also. Get your tickets now so you can be there to cheer them on! inTune 3

In the next issue - available November 5 one vision: the music of queen Conexus Pops Series

November 17, 2012

Mathieu Pouliot, guest conductor Jeans ‘n Classics Rock Ensemble Tommy Douglas Collegiate Senior Choir Lisa Aune - Director Holy Cross High School Senior Choir Leanne Hamm - Director St. Joseph High School Choir Shaun Bzdel - Director Centennial Collegiate Choir Stacey Mortenson - Director

Symphony holiday spectaculaR - CELTIC STYLE

presented by PotashCorp December 8, 2012

Maestro Victor Sawa conductor Circling Over Shannon Kim de Laforest fiddle/violin River City School of Irish Dance

messiah at Third Avenue Centre at Third Avenue United Church December 15, 2012

Maestro Victor Sawa conductor Saskatoon Chamber Singers directed by James Hawn Meara Conway soprano Cassandra Warner mezzo-soprano Michael Harris tenor Chris Kelly baritone


Gyro Productions Masters Series January 19, 2013

Haldan Martinson violin Kirk Smith guest conductor

Also in this issue Orchestra musicians and 6 Chair sponsors Welcome messages 9 We think you should know 10 and Group Discounts Board of Directors and 11 Administration Pre-concert talks 26 SaskTel Symphony in Schools 27 SSO Book & Music Sale 33 Drop-off locations Supporters circle 40–41 Funding agencies and Corporate sponsors


© Saskatoon Symphony & contributors Publisher: Saskatoon Symphony Society 408 20th St W Saskatoon SK S7M 0X4 Ph: 306.665.6414 Comments and suggestions are welcome. Please send to or contact the SSO office. Program advertising: Mike Covey, Contributors: Mike McCoy, Joan Savage, Margaret Wilson, Karen Adams, Jill Reid, Terry Heckman, Marie-Hélène Nault Leblanc, Lynn Ewing, Mike Covey

Players’ Choice Series January 13, 2013

Saskatoon Symphony Chamber Players

Photos: Trudy Janssens - Photography One 2 One, Marcia Provenzano Photography, Rosanna Parry Photography, Heather Fritz Photography, Mike McCoy, others contributed.

PLEASE NOTE: Concert details subject to change without notice.

Printed in Canada.

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inTune 4

inTune Magazine of the Saskatoon Symphony

Volume 2 Issue 1


Conexus Pops Series – September 22, 2012 presented by Potash Corp

Maestro Victor Sawa conductor Fernando Varela tenor Jack Semple guitar Ron Paley piano

The emperor 18

Players’ Choice Series – September 30, 2012

Saskatoon Symphony Chamber Players

See me, hear me 22

SSO Family Series – October 13, 2012

Richard Carnegie guest conductor Persephone School of Theatre Students Katriana Philipenko viola Studio One Dancers

classics for skeptics A halloween spooktacular 28

Gyro Productions Masters Series October 20, 2012 - presented by BHP Billiton

Maestro Victor Sawa conductor with the Saskatoon Youth Orchestra

inspired by the bard 34

Gyro Productions Masters Series – Nov. 3, 2012

Buy tickets and get more information: in person TCU Place Box Office by phone 975.7799 toll-free 1.888.639.7770

Maestro Victor Sawa, conductor Maureen Thomas actor Saskatoon Children’s Choir, Véronique Eberhart soprano Cassandra Warner mezzo-soprano


Players’ Choice Series – October 28, 2012

Saskatoon Symphony Chamber Players inTune 5


Violin 1

Violin 2


Michael Swan, Concertmaster Martha Kashap, Assistant Concertmaster (on leave) William Boan, Assistant Concertmaster Mary Lou Day Lillian Jen-Payzant Joan Savage Marcel van den Hurk Simon Fanner Maxim Pletnev Nova Wong Brita Tastad

Oxana Ossiptchouk, Principal Karen Bindle Rosanne Daku Karen Ogle Sophie McBean Arthur Boan William Boan (on leave from Violin 2) Evan Friesen

Lahni Russell, Principal

Viola James Legge, Principal

Chair generously sponsored by Ken Coutu and Penelope Stalker Saache Heinrich Jeremy Janzen Heather Wilson Miles Buchwaldt Stacey Mennie

Chair generously sponsored by Bill Richards and Sandra Beardsall John Payzant Bernadette Wilson Carman Rabuka Joel MacDonald (on leave) Christina Bakanec Scott McKnight

Bass Richard Carnegie, Principal David Humphrey David Grosse Warren Hay (on leave) Stephen Kreuger Zachary Carter

Listing current at press time.

Personnel varies by concert. The SSO gratefully acknowledges the support of additional musicians who perform with the orchestra when larger works are presented. Flute Jennifer McAllister Oboe Sara Spigott Bassoon Peter Gravlin, Danielle Robertson-Boersma Horn Erin McVittie Trumpet Frank Harrington Drum Set Mark Altman Bass Doug Gilmour Keyboard Gillian Lyons inTune 6

Photo: Trudy Janssens, Photography One 2 One

Music Director Maestro Victor Sawa Flute



Randi Nelson, Principal

Stephanie Unverricht, Principal

Don Schmidt, Principal Brian Unverricht Dawn McLean-Belyk

Chair generously sponsored by Mrs. Lilian and Mr. Doug Thorpe

Chair generously sponsored by Dr. Mary C. Marino

Brenda Moats (flute, piccolo)

Oboe Erin Brophey, Principal Kevin Junk (oboe, English Horn)

Clarinet Margaret Wilson, Principal

Chair generously sponsored by Jack and Sylvia Vicq Melissa Goodchild


Marie Sellar (bassoon, contrabassoon)

Brent Longstaff, Principal


Darrell Bueckert, Principal

Carol-Marie Cottin, Principal Arlene Shiplett Dubrena Myroon Micajah Sturgess

Trumpet Terry Heckman, Principal Daniel Funk Dean McNeill

Timpani Chair generously sponsored by Ms. Betty Reynolds

Percussion Mathieu Pouliot, Principal

Chair generously sponsored by The Ewing Family, in Memory of Earl and Mary Ewing

Harp Bassoon emeritus

CĂŠcile Denis, Principal

Peter Gravlin, Retired

Thank you to all our musicians and to our chair sponsors who support their work. For information about the benefits of chair sponsorship, please contact Jill Reid at 306.665.4862 or email inTune 7

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Welcome to our “Season of Champions,” full of diverse musical offerings performed for you by the musicians of the Saskatoon Symphony Orchestra. Champions in their own right, our musicians will be joined by exceptional guest artists such as Italy’s Beatrice Rana, Grand Prize Winner of the 2011 Montreal International Music Competition, Fernando Varela, who is returning to Saskatoon at a time when his career is gaining rapid momentum, and the award-winning Saskatoon Children’s Choir which joins the SSO in a performance of Mendelssohn’s Midsummer Night’s Dream. We hope that you will enjoy the variety as well as the musical excellence this season. We are grateful to our many patrons, volunteers, donors, funders and sponsors, each a champion of symphonic art. A vibrant arts scene makes Saskatoon an attractive destination for visitors and new residents, but we continue to need champions if we are to keep this scene strong and healthy. The SSO constantly strives to use music’s immense power to influence the lives of all of our city’s residents in positive ways. Please join us at concerts and in our fundraising as we orchestrate for the future to ensure that our symphony orchestra can play a role in all of our residents’ lives. And, of course, enjoy the music! Lynn Ewing, Acting President Saskatoon Symphony Society

From the Musicians Thank you for joining us for this dynamic season of champions! Like you, we come from diverse backgrounds. Many of us are full-time professional musicians. We are also music or school teachers, visual artists, carpenters, dentists, farmers, pilots, students and more! We are part of your community and what we have in common with you is our shared interest and love of music.

Photo: Trudy Janssens, Photography One 2 One

Welcome from the SSO!

From Maestro Vic As I write, the Riders have won two in a row and the SSO season is beginning—life is good. It’s our ‘Season of Champions’ and the Riders and our orchestra musicians are my champs, regardless of the score. We’re starting the season with a champ— Fernando Varela in our Conexus Pops Series. I’m excited to work with him, knowing how he brought down the house here in 2010. Our Sunday concerts at the Delta Bessborough have a new name, Player’s Choice, to reflect that these concerts present music chosen by our musicians. You’ll still love the series. Come on Sept. 30 and see! There are many other happenings at the SSO, too; an innovative Family concert, our Classics for Skeptics ‘Spooktacular,’ and a one-woman performance of A Midsummer Night’s Dream by actor Maureen Thomas, with the Saskatoon Children’s Choir and soloists, in Inspired by the Bard. That’s just the start. It’s going to be quite a season. See you at the concerts. Cheers! Maestro Victor Sawa, Music Director We look forward to sharing our music with you in a fun and varied season that will appeal to all tastes. Whether you wear jeans or a tux, don a feather boa or a sparkly glove, enjoy chamber music at the Bess or are introducing classical music to your children at a kids’ show, we want you to sit back, have fun, and enjoy the music! Musicians of the Saskatoon Symphony inTune 9

We think you should know . . .

Coming to the Symphony? A SCENT-FREE ENVIRONMENT We ask that you assist us in creating a scent-free environment by avoiding using perfumes, aftershaves, colognes, and scented lotions and opting for “fragrancefree”, “scent-free”, or “unscented” versions of personal care products on concert evenings. We thank you in advance for being considerate in this regard.

turn off Your cell phone Maestro Sawa says he has problems conducting cell phone ringtones and beeps from digital watches and pagers. “They so seldom are in the right tempo,” he says. Our musicians agree. So please be polite and turn your mobile devices and other electronics to silent or completely off. Relax, and enjoy the concert.

No Ordinary Relationship... No Ordinary Florist 89% of people receiving flowers stated their gift giver was sophisticated



Corner of Avenue H & 22nd

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Group discounts Group discounts on Symphony tickets are available. The Saskatoon Symphony also offers an inexpensive student rate for our Gyro Productions Masters Series and Players’ Choice concerts. We can help make your group’s symphony experience extraordinary. For information or to discuss your group’s needs email or call the SSO office at (306) 665-6414.

Program advertising Contact Mike Covey: to receive an inTune sales kit, including program advertising rates and to discuss how inTune – The Magazine of the Saskatoon Symphony can connect you with the buying power of our audience.

Privacy policy We respect your privacy and have policies to ensure that the security of the personal information you provide us is maintained. Your information is used to deliver services including booking, exchanging, confirming, and mailing tickets, subscription renewal reminders, tax receipts, and for financial record keeping, in addition to keeping you up to date on the activities of the orchestra, including upcoming events, programs, special offers and services, funding needs and other information of interest. We do not rent, sell or trade our mailing lists or any patron information. Only authorized SSO employees have access and our information systems are secure. If at any time you wish to be removed from any of these contacts, please call us at 665-6414 or email general.manager@ and we will gladly accommodate your request. inTune 10

Saskatoon Symphony Society Board and Administration Saskatoon Symphony Society Board of Directors Ken Coutu Rob Dobrohoczki Lynn Ewing Annalisa Govenlock Shawn Heinz Rob Hendry Sharon Hildebrand Meagan Hinther Roger Jolly Mairin Loewen Bryn Richards Kassidy Schneider

SSO Management and Staff Administration Jill Reid, General Manager Micheal Wade, Executive Assistant Orchestra Victor Sawa, Music Director Marie-HÊlène Nault Leblanc Director of Operations Terry Heckman, Personnel Manager Lillian Jen-Payzant, Orchestra Librarian Finance Darci Speidel*, Bookkeeper Cara Roney, Bookkeeper

Saskatoon Symphony Office 408 20th Street West Saskatoon, SK S7M 0X4 Telephone: 306-665-6414 Fax: 306-652-3364 Website: Twitter: @SSO_stoon Facebook: Saskatoon Symphony Orchestra TCU PlaceBox Office: or call 975-7799

Marketing and Audience Engagement Michael McCoy, Articulate Eye Marketing Director Direct line: 306-227-3586 Mary Ann Therrien, Articulate Eye Marketing Support Group Sales information and bookings Call the SSO at 306-665-6414 or email: Development Mike Covey, Director of Sponsorships Direct line: 306-221-7120 *On leave

inTune 11

SEPTEMBER 19 - O C TO B E R 7 Performed in the

In association with Western Canada Theatre, Kamloops Season Title Sponsor

B O X O F F I C E 384-7727 Directed by Johnna Wright Adapted by Errol Durbach

Remai Arts Centre 100 Spadina Crescent E, S7K 0L3

COMING SOON: THE LIGHT IN THE PIAZZA OCTOBER 24 - NOVEMBER 11 Old world romance, comedy, and family secrets are set to a sumptuous score in this Tony Award winning musical. inTune 12

PotashCorp is proud to feed the future of the Saskatoon Symphony Orchestra and the performing arts in our community.

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September 22, 2012



Fernando Varela – Classical to Classic Rock

RON PALEY Presented by

TCU Place, Sid Buckwold Theatre, 7:30 pm

Fernando Varela with the Saskatoon Symphony Orchestra Maestro Victor Sawa conductor Jack Semple guitar Ron Paley piano Heather Friedman vocals

The Conexus Pops Series is generously sponsored by

Repertoire Alla Luce del Sole Nessun Dorma Roy Orbison Medley Lifetime The Prayer February Song Coldplay Medley INTERMISSION

Because We Believe Annie’s Song Bodyguard Medley Someone Like You Hallelujah Bohemian Rhapsody Journey Medley Time to Say Goodbye

Meet the guest artists and musicians in the lobby after the concert. Fernando Varela will be autographing CDs. inTune 14

Photo: Trudy Janssens, Photography One 2 One


Victor Sawa conductor Victor Sawa is a triple threat of talent, experience and personal dynamism. Music Director of the SSO, he holds similar positions with orchestras in Sudbury and Regina. He was previously Resident Conductor with the Calgary Philharmonic Orchestra (1993-1997), Music Director with the North Bay Symphony, the Guelph Youth Orchestra and the Kitchener-Waterloo Orchestra. He also served as Principal Clarinet with the Kitchener-Waterloo Symphony. He has guest conducted for orchestras across the country. Victor has been the recipient of many awards and honours, including three Canada Council awards for Conducting, a Grand Prix du Disque—Best Chamber Music Recording (Canadian Chamber Ensemble), a Grammy award (with the New England Ragtime Ensemble), and the Tanglewood Festival award for Outstanding Musician. A Montreal native, Sawa holds a Bachelor of Music with Distinction from McGill University and an Honours Masters of Music Performance from the New England Conservatory of Music. He is also a graduate of the Pierre Monteux School for Advanced Conductors. In 2011, Victor Sawa was appointed Honorary Consul for Japan.

Fernando Varela At age eight, Fernando relocated with his parents to Central Florida, and while he loved music, he neither trained as a singer nor thought of becoming one until he was well into his teenage years. During his senior year, Fernando was inspired to sing and was accepted into the Central Florida Lyric Opera. During the next five years, he was transformed from an amateur singer into an exciting and dynamic, professional performer. While with CFLO, Fernando performed throughout the country in over 16 fully staged operas and hundreds of concerts. From those roles, his favourite remains Madame Butterfly’s Lt. Pinkerton in a production directed by Metropolitan Opera legend Licia Albanese. Fernando went on to study privately with Madame Albanese in Orlando and New York. Impressing her with his enormous potential, she invited Fernando to compete in the prestigious Licia Albanese/Puccini Foundation International Vocal Competition where, despite the fact that he was one of the youngest competitors, he received study grants from the Foundation both in 2001 and 2002. Madame Albanese has said of Fernando, “At 20 years old, he is better than Pavarotti (at that age).” In the fall of 2004, Fernando joined the Resident Artist Program with the Palm Beach Opera and covered the role of Rodolfo in La Boheme. It was in Palm Beach that Fernando met two people who drastically changed his career. The first was world-renowned voice instructor Cesar Ulloa, with whom he was able to fine-tune his technique. The second was one of the greatest tenors of all time, Maestro Placido Domingo. Fernando was able to work for his operatic idol at Palm Beach Opera’s Gala in February, 2005. Also in 2005, Fernando was engaged as a  feature performer for the Puerto inTune 15

Orlando Philharmonic, the Sarasota Orchestra, and more recently, as David Foster’s guest with The National Symphony at the John F Kennedy Center for the Performing Arts in Washington, DC. Each concert has been met with rave reviews from both his presenters and the media. All of these accomplishments are just the beginning! Fernando is a great talent. His heart surrounds each song that he performs. His charisma warmly embraces his audiences. His music uplifts the soul - and an evening spent listening to him becomes a very memorable experience.

Top: Fernando Varela works on ‘Bohemian Rhapsody’ with David Foster and production staff. Above: Fernando performs with Lionel Richie. “Magic. You stopped the room!” was Richie’s comment.

Rican Day Parade in New York City, produced by Walt Disney World Entertainment and televised internationally on Telemundo. Later that summer, he was invited to study with the Metropolitan Opera’s assistant director, Joan Dornemann and her prestigious staff of coaches in San Juan, Puerto Rico. Fernando’s global performances span more than 26 countries in which he has won critical acclaim. In 2006, he was invited to coach with Maestro Giancarlo Chiaramello, conductor for the late Luciano Pavarotti in Monte Carlo, Monaco. The Maestro said of Fernando, “I have heard very few voices like yours.” In August 2008, Fernando recorded his first CD—Dare to Live—and went on to sing for some 50,000 guests of Spiritual Master Shri Satpal Ji Maharaj in Haridwar, India. In May, 2010, Fernando traveled to Canada to debut his orchestral pops concert with The Saskatoon Symphony. He has since performed with Florida’s

Fernando Varela . . . his future is in the stars!

Jack Semple guitar Jack Semple has played from Vancouver to Montreux, has worked for CBC radio and TV, won a Juno award, and shared the stage with a wide range of top artists, from Martha Reeves to k.d. lang. He was the 1992 national winner of the Much Music “Guitar Wars”. He is a Gemini nominee and is currently working on his tenth studio album.

Ron Paley piano Pianist, electric bassist, and composer, Ron Paley formed the Ron Paley Big Band in 1976 after playing with the big bands of Buddy Rich and Woody Herman, with whom he recorded two CDs. The big band has performed in concert with the Winnipeg Symphony Orchestra, and toured with the Royal Winnipeg Ballet playing jazz arrangements of songs by Rogers and Hart for the ballet “A Cinderella Story.” The band has recorded three CDs, including one for a big band musical called “Bring ‘Em Back!”  inTune 16

inTune 17

Photo: Allen Schaefer

Players’ Choice September 30, 2012


The Emperor

FRANZ JOSEPH HAYDN Generously sponsored by

Delta Bessborough, Battleford Room, 2:30 pm

Saskatoon Symphony Chamber Players


Trio Sonata in A minor, TWV 42:a6

Largo Allegro Cantabile Allegro


Quartet No. 62 in C Major, Op. 76, No. 3

Allegro Poco adagio, cantabile Menuetto: Allegro Finale: Presto



Trio for Flute, Viola and Bassoon, Op. 6


Nonet for Winds and Strings

Allegro ma non troppo – Presto Andante con moto Allegro commodo – Andante – Tempo Primo Moderately fast Lento Presto

Enjoy coffee & tea service during intermission. inTune 18

Georg Philipp Telemann

Franz Joseph Haydn 1732–1809


QUARTET NO. 62 in c major, op. 76, No. 3


Georg Telemann was born in Magdeburg to a family long connected with the Lutheran Church. As a child he showed exceptional musical talent and is said to have mastered the violin, flute, zither and keyboard by the age of ten. He composed his first opera, Sigismundus, by age twelve. Telemann attended the University of Leipzig earning a law degree in 1701, but maintained his interest in music throughout his time at university. Within his first year he founded the student Collegium Musicum with which he gave public performances, and which J.S. Bach was later to direct. Telemann established himself in Hamburg in 1721 as the Cantor of the Johanneum and musical director of the city’s five principal churches. He was to remain there till his death in 1767. Telemann’s compositional output is perhaps the largest of any classical composer in history. Many works have been lost, but most still exist and the sheer volume has been somewhat overwhelming for both scholars and performers alike. In the area of chamber music there are many compositions for solo instruments, including a set of a dozen Fantasias for unaccompanied violin, and works for various groups of instruments, duos, trios, quartets and quintets. The cataloguing system in use for Telemann’s work (TWV) refers to “Telemann Werk Verzeichnis.” Compositions in the TWV42 group are for two instruments and basso continuo. Telemann encouraged flexibility in the instrumentation of his chamber music to accommodate one’s own performing group. The Sonata TWV 42:a6 was originally written for treble recorder (flute), oboe (violin) and basso continuo. Today we will hear it performed by flute, oboe and bassoon.

Franz Joseph Haydn was born in Rohrau, a small Austrian village near the border with Hungary. His extraordinary musical talent was recognized early, and at age eight he went to Vienna to serve as a choirboy in the Cathedral at St. Stephen. After being dismissed from St. Stephen’s when his voice changed he struggled to earn a living through his teenage years as a freelance musician. However, his talents gradually began to be recognized among aristocratic patrons, and in 1761 he entered the service of the very rich and powerful Esterhazy family of Hungary. He remained in their employ for nearly 30 years, with most of his music composed for performances in the palaces of the family—in particular Esterhaza which contained an opera house, a theater, two concert halls and 126 guest rooms. Haydn is the most prolific and influential composer of the Classical Period. This is in part due to the demands of his employment, and also in part to his long life. He is known as the “Father of the Symphony” and the “Father of the String Quartet”. He also developed the “sonata form”, and was a teacher to Ludwig van Beethoven. His influence is seen in composers such as Mozart, Schubert, Mendelssohn and Brahms. Haydn wrote 68 string quartets altogether. His String Quartet No. 62 is nicknamed “The Emperor” because in the second movement he quotes the melody from “Gott erhalte Franz den Kaiser”, an anthem he wrote for Emperor Francis II on his birthday. Listeners today will recognize it as the modern national anthem of Germany (Deutschlandlied). The first movement is in “sonata form.” The second movement uses the “Emperor” theme as a basis for a set of variations. The Minuet with its A minor Trio provides some relaxation before the drama of the Finale, which begins in C minor but ultimately returns to a triumphant C major.  inTune 19

performed at one of the earliest concerts by the “Society for the Promotion of New Music”, established by the composer Francis Chagrin with the guidance of Vaughn Williams and Arthur Bliss, to promote new emerging talent. Arnold delighted in unusual sound combinations and his trademark “wrong-note harmonies” and rhythmic eccentricity are very evident in this piece.

Robert Baksa b. 1938 NONET FOR WINDS AND STRINGS One of America’s most prolific composers, Robert Baksa was born in New York City but grew up in Tucson, Arizona. Trio for flute, viola and He attended the University of Arizona Bassoon, op. 6 where he obtained a BA in Composition. Born in Northampton, Malcolm Arnold In the early 1960s he returned to New began his professional life as second York City where he lived for nearly 40 trumpet with the London Philharmonic years. Currently he lives in Kinderhook, Orchestra. Considered to be one of the New York where he serves as Resident finest trumpet players of the day, he even- Composer and Coordinator of New Music tually became the orchestra’s principal for the Pleshakov Music Center in Hudson, trumpet from 1941 to 1948. Composition New York. began to take ever more time, and from 1948 to the early 1960s Arnold was at the As his career developed it became inpeak of his productivity. He has many creasingly clear to Baksa that most of the major works to his credit, including nine innovations of the 20th century were at symphonies, seven ballets, two operas, odds with his own esthetics and ideals. “As one musical, over twenty concertos as important as these methods were to other well as music for brass band and wind composers,” Baksa explains, “I found that I band. Arnold also wrote 132 film scores could not express my particular personalwith the most famous being Bridge on the ity through their use. The clean lines, transRiver Kwai for which, in 1958, he was one parent textures and sheer clarity of the of the first British composers to win an classical era had the greatest appeal for Oscar®. me, and in spite of what most musicologists say about changing styles, I feel that The Trio, Op. 6, was written in 1943 when the best compositions of any era will share, Arnold was just 22 years old and trying to to some extent, these qualities.” establish himself as a composer. He wrote many small pieces for greater and more The Nonet for Winds and Strings was frequent exposure—a balance to the less written in 1974 for a commission by the frequent commissions for larger symphoChamber Music Conference of the East at nies, operas, etc. The Op. 6 followed just Bennington, Vermont. It was presented weeks after his “Three Shanties for Wind that summer during Baksa’s tenure as Quintet”—still a favourite among wind Composer-in-Residence. It has been requintets 60 years later. The Trio was first corded by the Bronx Arts Ensemble.  inTune 20

Sir Malcolm Arnold 1921–2006

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inTune 21

SSO Family October 13, 2012




See Me! Hear Me! Elim Church, 419 Slimmon Road, 2:30 pm

Richard Carnegie conductor Guest artists:

Persephone School of Theatre Students

Ben Thomas (narrator), Olivia Bell, Georgia Finley, Christian McQueen

Katriana Philipenko viola Studio One Dancers directed by Tammy Tropeau

Johann Sebastian Bach

Fugue in G minor “Little Fugue”, BWV 578 (arr. Lucien Cailliet)


Concerto for Viola in G Major, Mvt. 2 (Katriana Philipenko)


Pyotr Ilych Tchaikovsky Suite from Sleeping Beauty, Op. 66a (arr. T. Biernacki) (Studio One Dancers) Introduction: The Lilac Fairy Adagio: Pas d’action Pas de caractère: Puss ‘n Boots Panorama Valse

During intermission visit the lobby for fun activities for kids. inTune 22

Photo: Trudy Janssens, Photography One 2 One


Richard Carnegie guest conductor Katriana Philipenko viola Richard Carnegie is Director of the youth orchestra program. Richard has been principal double bass of the Saskatoon Symphony since 2006 and was appointed director of the Saskatoon Youth Orchestra in July 2009. His creative activities blur the line of a traditional classical musician and include a professional acting debut with Persephone Theatre, frequent performances with the Mark deJong Trio, collaborations with singer-songwriters and rock bands and his one-man show “Conversations with My Double Bass”. Richard has served as instructor of the youth orchestra’s Double Bass Program, continues to work as a sessional lecturer in the University of Saskatchewan Department of Music and teaches in his private teaching studio as well as a clinician in Saskatoon-area schools. He received a Bachelor of Music from the Manhattan School of Music and studied at Royal Conservatory of Music’s Glenn Gould School and the National Arts Centre Summer Music Institute. He credits his teachers, youth orchestra experiences and parental support for the good fortune to have a professional life filled with music. Richard (double bass) was selected as one of three Canadians to play in the YouTube Live Orchestra in Sydney, Australia in March, 2011.

Katriana (“Kat”) is 13 years of age and attends St. Luke Elementary School. Kat was born in Saskatoon and has three older sisters. She began playing the viola at the age of four and continues to take lessons from Mr. James Legge. Katriana has participated in the Saskatoon Music Festival, and The Saskatoon Strings. In her spare time Katriana is also involved in JCVC volleyball, Raiders fastball, SMBA basketball, Slam basketball, and played on Team Saskatoon for the 2012 Saskatchewan Summer games. She is also a dancer with the Vesnianka academy of Ukrainian dance. Katriana enjoys sharing her love of music with her friends and family

Studio One Dancers directed by Tammy Tropeau Tammy Tropeau, owner and director of Studio One, began her professional dance training at the age of nine at The National Ballet School in Toronto. After six years of study in both the Vagonova and Cecchetti methods with such teachers as Ms. Oliphant, Mr. Luc Amyot, and Karen Kain, Tammy  inTune 23

graduated in 1992. After a short professional training program in Philadelphia, Tammy underwent reconstructive surgery on her feet as a result of injury. She then returned to The National Ballet School for two years to attend the Professional Teacher Training Program. Tammy graduated in 1994 and holds her Elementary, Intermediate and Advanced Cecchetti certificates as well as her Associate Imperial Society Teachers of Dancing certificate allowing her to place students into examinations. At the age of 19 Tammy then returned to Saskatoon to open her own competitive dance school. Studio One has been invited to perform at numerous events, festivals, and showcases. Most recently, Tammy collaborated with the SSO to create a holiday performance of The Nutcracker. The Moscow Ballet has also called on Tammy to be a Rehearsal Mistress for their touring performance of Swan Lake. Students from Studio One were privileged to dance on stage with Moscow Ballet’s professionals.

Maintaining and developing her craft has been a main priority for Tammy. She has been invited to Spain to study flamenco dance, and has traveled to New York, Las Vegas, and Minneapolis to study new dance techniques from other professionals. And from maintaining close ties with The National Ballet School, Tammy returns regularly to attend Cecchetti seminars —ensuring her knowledge and teaching methods remain current. As well, during The National’s audition tour Studio One is the dedicated school for Saskatoon, which includes a master class for the teaching staff of the studio. Recently, Studio One has expanded into a second location, which is dedicated specifically to the training of advanced students. And while her studio has grown, so has her family. Tammy has four children whom each attend Studio One and keep her busy when she’s not teaching. 

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Free Pre-Concert Talks Prior to Masters Series Concerts

Enhance Your Experience at the Symphony ATTEND THE PRE-CONCERT TALK Relax, you don’t need to have a knowledge of music to enjoy Saskatoon Symphony Orchestra concerts! However, if you would like to find out more about the music being performed, join us for free talks before SSO Masters Series events.

attending a classical music concert for the first time, or are in the audience regularly, you will find the sessions relaxed and informative. They begin at 6:55 pm and conclude by 7:20 pm, in time for you to take your seat in the theatre.

Hosted by friends of the orchestra, the talks focus on the evening’s repertoire and the composers. Whether you are

Pre-concert talks are held in the TCU Place Green Room. Follow the signs or check for directions from an usher or at the SSO kiosk in the lobby.

Exceptional Service Through Extraordinary Relationships We enhance a senior’s quality of life and support family caregivers. To inquire about services or to join our team Call 306.931.4663 or visit Each Home Instead Senior Care ® franchise office is independently owned and operated. ©2012 Home Instead, Inc.

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“If a composer could say what he had to say in words, he would not bother trying to say it in music.” - Gustav Mahler




T E L E V I S I O N CO M M E R C I A L S • CO R P O R AT E V I D E O S • M O B I L E P R O D U C T I O N

Visit Gyro online at

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SaskTel Symphony in Schools Generously sponsored by

Performances by Saskatoon Symphony Chamber Players: • develop understanding and appreciation of symphonic music,

• present concepts and ideas aligned with music education standards, • integrate easily with other curriculum (e.g. language arts, social studies). Invite the Saskatoon Symphony to be a part of your school community. Email Jill Reid, General Manager,, call 665-6414, or visit for more information.

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Gyro Productions Masters Series October 20, 2012


Classics for Skeptics A Halloween Spooktacular

Generously sponsored by

TCU Place, Sid Buckwold Theatre, 7:30 pm

Maestro Victor Sawa conductor with special guests:

Saskatoon Youth Orchestra Richard Carnegie, Director

Mozart, W.A. Overture from ‘Don Giovanni’ Saint-Saëns Danse Macabre (with Saskatoon Youth Orchestra) Mussorgsky Night on Bald Mountain (arr. Rimsky-Korsakov)

(visuals: You Are Not Alone project- Western Development Museum)


The Sorcerer’s Apprentice


Herrmann Suite from ‘Psycho’ Liszt Les Préludes Pre-Concert Talk Learn about the music in tonight’s repertoire. TCU Place Green Room, 6:55 to 7:20 pm. Free with ticket to the concert.

Visit the WDM kiosk in the lobby to find out more about You Are Not Alone: Investigating the Paranormal at the WDM inTune 28

Photo: Trudy Janssens, Photography One 2 One

Calgary Philharmonic Orchestra. In 2009, the Saskatoon Strings and Youth Orchestra performed at Rawlinson Centre in Prince Albert with the Prince Albert Strings and Prince Albert combined mass youth choir. In the fall of 2009, Richard Carnegie was appointed Musical Director upon Wayne Toews’ retirement after 25 years of directing the SYO. Repertoire consists of professional calibre music in a broad range of styles. In the spring of 2010, they had a retreat with Conductor Victor Sawa at the University of Manitoba. Fall of 2011, the Orchestra attended the Banff Youth Orchestra Symposium. The Orchestra had a very popular 2011 spring concert this past season conductor featuring the music from Star Wars –three sold out concerts. Chamber Orchestra per(see bio page 15) formances and solo concerto performances with the Orchestra have become part of the performances given by SYO. The SYO The Saskatoon Youth Orchestra is celebratProgram serves elementary, high school, ing its 54th year serving young musicians in and university students from a broad Saskatoon and area. More than a thousand area including Clavet, Vanscoy, Waldheim, young people have been part of the program, Battleford, North Battleford and Saskatoon. which has helped many on the road to a The orchestra always welcomes inquiries music career and many others to a lifelong from interested young instrumentalists. love of orchestral music. The SYO Program includes the Youth Orchestra itself for musicians aged 13 to 25, a Double Bass Beginner Director, Saskatoon Youth Orchestra Program, and the Saskatoon Strings, a group (see bio page 23) for string players aged 10 to 17. Members study privately and audition for membership.

Maestro Victor Sawa

Saskatoon Youth Orchestra

Richard Carnegie

The youth orchestra has won the Christopher Gledhill Award by the Canadian Music Educators’ Association six successive times since 1993. The SYO has represented Saskatchewan at festivals and in performances from British Columbia to Quebec. In 2005, the orchestra toured and performed in several communities in Manitoba including Winnipeg, Brandon, and Gretna. In 2006, they joined the Surrey Youth Orchestra for an orchestral workshop at the Banff Centre for the Arts. In April 2007, the orchestra participated in a workshop in Edmonton with performances in Lloydminster and Edmonton. In 2008, the orchestra participated in a workshop in Calgary with the

Wolfgang Amadeus Mozart 1756–1791

OVERTURE FROM ‘DON GIOVANNI’ Mozart’s Overture from his opera Don Giovanni, which librettist Lorenzo Da Ponte based on the story of the infamous lover Don Juan, was written on the night of October 27, 1787 and completed in the early morning of October 28, the day of the dress rehearsal for the opera’s premier at the Prague Theatre. In the opening of the Overture, dark D minor chords create a sense of impending doom. Mozart uses the same effect at the end of the opera when the apparition of  inTune 29

the Commendatore, whom Don Giovanni killed while seducing the Commendatore’s daughter, appears at dinner and demands that Don Giovanni repent of his misspent life. When the Don refuses to repent, his house is engulfed in flames and he is dragged to hell. After its dark opening, however, the Overture turns to a brighter mood and portrays Don Giovanni’s energy and virility, only at moments reprising the ominous music that foreshadows his fate.

Liszt’s works and in his turn began the tradition of the French tone poem, a tradition followed upon by composers like Dukas.

Premiered in 1874, Danse Macabre is based on a poem by Henri Cazalis, which reads in part: “Zig, zig, zig, Death in a cadence, Striking with his heel a tomb, Death at midnight plays a dance-tune, Zig, zig, zig, on his violin. The winter wind blows and the night is dark; Moans are heard in the linden trees. Through the gloom, white skeletons pass, Running and leaping in their shrouds. Zig, zig, zig, each one is frisking, The bones 1835–1921 of the dancers are heard to crack—But hist! DANSE MACABRE of a sudden they quit the round, They push Tone poems—orchestral pieces based forward, they fly; the cock has crowed.” The on literature, a painting, nature, or some piece opens with the harp tolling the bells other non-musical element—use musical of midnight. Death, portrayed by a solo elements to inspire the listener to imagine violin, plays a crazy waltz and the skeletons certain scenes, images, or moods. Liszt was dance until the oboe announces the dawn the first to compose these, and he coined the and the reluctant skeletons scurry back to term. Saint-Saëns, the first French composer their graves. to write tone poems, knew and admired

Camille Saint-Saëns

They were their stories before they were ours... The Western Development Museum presents


ALONE Stories you haven’t heard yet

3 years of paranormal investigations

Mysterious stories being told for the first time LISTEN

t alon “you are no



“search and fi nd


“they’re looking at you”

BOOK LAUNCH and public forum Oct. 18th 8:00 p.m. 2610 Lorne Avenue, Saskatoon

1-800-363-6345 The Saskatoon Symphony and the WDM are pleased to partner in shedding light on mysteries that are in our midst, waiting for us to listen. inTune 30

Modest Mussorgsky 1839–1881

composition. A programmatic piece of musical storytelling, the music describes the events in Goethe’s poem about a boy Night on bald mountain (arr. by rimsky-korsakov) learning sorcery, Der Zauberlehrling. The piece begins with music that depicts the Mussorgsky’s Night on Bald Mountain, one sorcerer then rises in tumult as he leaves and of the first tone poems written by a Russian his apprentice, unhappy with his household composer, has a tortuous history. When he was 19, Mussorgsky wanted to write an opera chores, casts a spell. Rising from the ensuing silence, the bassoons begin the melody of based on a short story by Gogol, which told the broom be-spelled to carry water. But the Russian legend of a Witches’ Sabbath that took place on a bare mountaintop every the apprentice has forgotten how to stop the broom and water floods the house. The year on St. John’s Eve (which falls around boy chops the broom in two; the melody the summer solstice and, in eastern Europe, was celebrated with trick-or-treat traditions, escalates as two brooms carry more water at a faster pace. The desperate boy cries out religious observances, and bonfires). for his master who returns, and in a reprise of the opening music, brings order then scolds Mussorgsky wrote: “While at work on St. his apprentice with a few short, sharp chords. John’s Night I didn’t sleep at night and The piece is perhaps most famous for the actually finished the work on the eve of St. heavily edited version in Disney’s Fantasia. John’s Day, it seethed within me so….” His mentor and friends, however, were highly critical of the piece, so Mussorgsky put it 1911–1975 away. He tried several times to incorporate the work into other compositions but was Suite from ‘PSYCHO’ never satisfied, and it was never performed during his lifetime. After his death his friend Rimsky-Korsakov, wanting to preserve Mussorgsky’s musical legacy, re-orchestrated the piece and it is this version that is best known today. The piece begins with “subterranean sounds of unearthly voices”. The music depicting the spirits of darkness is “hot-blooded and disorderly” until, at the height of the orgy, the church bells announce the dawn and the spirits flee. A version of this work is heard in Walt Disney’s classic movie, Fantasia.

Bernard Herrmann

Paul Dukas 1865–1935 THE SORCERER’S APPRENTICE Dukas continued the tradition of the French tone poem begun by Saint-Saens. A highly self-critical composer, he allowed only a few of his compositions to be published and burned the remainder shortly before his death. Written in 1897 and subtitled “Scherzo after a ballad by Goethe,” The Sorcerer’s Apprentice is Dukas’ most famous

Herrmann was an Academy Award-winning composer of film scores. Born in New York City, he attended Julliard and was a conductor at CBS. He collaborated with Orson Welles and also wrote the scores for such movies and TV shows as Citizen Kane, Cape Fear, Taxi Driver, and The Twilight Zone. Between 1955 and 1964 he wrote the scores for all of Alfred Hitchcock’s films, including North by Northwest and Vertigo. Herrmann  inTune 31

would only agree to compose when he was given complete artistic direction of the score and it was eventually this point of contention that led to his falling out with Hitchcock, but not before he had composed the score for Psycho. In fact, without Herrmann, Psycho would not have become a movie; Hitchcock wanted to make the script a one-hour TV show until he heard Herrmann’s score. The score is unusual for thrillers of its day in that it only uses the string section of the orchestra, though the strings are used to full effect, perhaps most famously in the screeching tones of the unforgettable shower scene.

Franz Liszt 1811–1886 Les Préludes Les Préludes, the third of Liszt’s thirteen tone poems, is the earliest example of a tone poem. In 1844 Liszt conceived a piece based on a poem by Autran, and later developed the material into an overture based on four of Autran’s poems (depicting stars, flood,

earth, and wind). He did not publish the work, however, until 1856. While revising the piece, he came across an Ode by the French romantic poet and politician Lamartine. The poem so expressed what Liszt was trying to capture that he renamed the piece Les Préludes (d’après Lamartine). The poem speaks of life being a series of preludes to death—an idea reflected in the composition’s many episodes. The preface to the published score reads in part: “What else is our life but a series of preludes to that unknown Hymn, the first and solemn note of which is intoned by Death?—Love is the glowing dawn of all existence; but what is the fate where the first delights of happiness are not interrupted by some storm….” Liszt uses only two main themes throughout the work but alters their instrumentation, tempo, and key so that the melodies transform to portray the work’s many moods.  Program notes prepared by Joan Savage, member, Violin 1 section, Saskatoon Symphony. © 2012

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t s e f e n i W

r Tou c i o n o m r ra n e a n as tr e G A e di t M e h of t

Food and wine pairings from France, Italy, Greece and Spain

Book & Music Sale Proceeds from the sale support the Saskatoon Symphony

DONATE YEAR-ROUND! Most books, sheet music, records, CDs, videos, DVDs and collectibles are gratefully welcomed.

Drop-off Locations



R is t o ranRistorante te Mediterranno M e rc ado

(formerly The Real Greek Restaurant) Caf é 119 3rd Avenue South

Wednesday, October 24 7 - 10 pm Music by SSO musicians Silent auction Tickets $75.00 per person (partial charitable tax receipt available)

Buy online: or call the SSO: 665-6414


M Rist orante Mercado Café

119 3rd Avenue South

Please call ahead to ensure space is available. EAST SIDE Just Scrap It! The Scrapbook Shop 108 103rd St. E. 955-4850 Willey’s Jewellers 714 Broadway Ave. 653-0833

WEST SIDE SASKATOON SYMPHONY OFFICE 408 20th St. W. 665-6414 Centennial Plumbing, Heating & Electrical 710 51st St. E. 665-5366 Galon Insurance Brokers 909 3rd Ave. N. 244-7000 LaRoche McDonald Agencies 202A 22nd St. W. 244-7955 Mount Royal Drugs 701 Ave. P N. (at 29th St.) 382-7373

Humboldt HUMBOLDT Shoppers Drug Mart 627 Main St. (306) 682-2541

For more information and to check for items accepted for donation visit our website:

or call the Saskatoon Symphony: 306-665-6414 inTune 33

Photo: Trudy Janssens, Photography One 2 One

Gyro Productions Masters Series November 3, 2012



Inspired by the Bard TCU Place, Sid Buckwold Theatre, 7:30 pm

Maestro Victor Sawa conductor Maureen Thomas actor Saskatoon Children’s Choir Phoebe Voigts, Artistic Director, Michelle Aalders, accompanist

Véronique Eberhart soprano Cassandra Warner mezzo-soprano

Beethoven Coriolan Overture Berlioz King Lear Overture, Op. 4 intermission


A Midsummer Night’s Dream, Op. 21 & 61:

Overture, 1. Scherzo, 2. L’istesso tempo, 3. Song with Chorus, Allegro ma non troppo, 4. Andante, 5. Allegro appassionato, 6. Allegro, 7. Con moto tranquillo, 8. Andante, 9. Wedding march, Allegro vivace, 10. Allegro comodo, 11. Allegro di molto, 12. Allegro vivace, Finale

Pre-Concert Talk Learn about the music in tonight’s repertoire. TCU Place Green Room, 6:55 to 7:20 pm. Free with ticket to the concert.

Stop at the Symphony lobby kiosk to purchase SSO swag! inTune 34

of Mendelssohn’s Incidental Music, is unique in its use of a single actor to portray all of the characters within sufficient scenes to permit the orchestra’s performance of every note of a score meant to accompany a full production of the play. The original production of this piece was commissioned by Maestro Hans Graf of the Calgary Philharmonic. Maestro Graf, celebrated playwright John Murrell, and Maureen collaborated on the careful selection of lines and scenes from the play which would both tell the story and showcase the complete Mendelssohn score—an unprecedented undertaking.


Maureen says, “we didn’t just lift scenes from the text, ... in many cases it was choosing a line here and a line there, ... without changing any textual sequence or conductor a single word of Shakespeare’s text ... Also, the decisions about where the text went: (see bio page 15) where it rode on top of the music, where it slipped in between phrases and where it actor stood alone were not easy or obvious ...” Maureen Thomas, a professional actress from Calgary now living on the west “We only occasionally followed the scene coast, has extensive experience in both structures that Mendelssohn had written classical and contemporary works. She has for; the text that had been used for exappeared in nearly a hundred theatriample, in the original Berlin Philharmonic cal productions, including leading roles performance that was then released on CD in Sitting on Paradise (Alberta Theatre with the voice of Kenneth Brannagh, was Projects); Cabaret (Theatre Calgary); Driving completely different, and ... made almost Miss Daisy (Chemainus Theatre); The Cherry no sense as a coherent—let alone familOrchard (Theatre Junction) and On Golden iar—story. Some years after the inital workPond (The Globe Theatre). Recent televiing of the text, Hans Graf and I worked sion work includes a supporting role in the together on adding an additional long and series Supernatural, a supporting role in difficult scene adding two new characters the Simon Beaufoy (Slumdog Millionaire) as well as blending music and text which scripted BBC miniseries Burn Up, starring accomplished the goal of presenting all of Bradley Whitford and Neve Campbell; a the incidental music Mendelssohn wrote guest—starring role in the comedy series (which was not the case in Berlin) ...” Psych; a supporting role in the Christmas TV special Deck the Halls; and a recurring Maureen has gone on to perform this critirole in Stephen Spielberg’s Dreamworks cally acclaimed version of A Midsummer miniseries Into the West. Night’s Dream with symphony orchestras in Canada, across the United States (includThis performance of scenes from Shakes– ing the National Symphony Orchestra in peare’s beloved A Midsummer Night’s Washington DC), and in France. Dream, presented within the brilliant score

Maestro Victor Sawa Maureen Thomas

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Saskatoon Children’s Choir Phoebe Voigts, artistic director, Michelle Aalders, accompanist

The Saskatoon Children’s Choir was founded in 1996 by present artistic director Phoebe Voigts. The choir has developed a reputation for its musical sound, creative spirit and commitment to artistic excellence. It performs a wide variety of compositions with an emphasis on classic literature, international folk music and Canadian works. The choir is sponsored and nurtured by the Saskatchewan Music Educators Association. The Saskatoon Children’s Choir holds the conviction that music crosses all cultures and borders, that all children can be a voice for peace and that they have an obligation to contribute to building a future of hope for the world. From 2000-2002 the choir supported the International Campaign to Ban Landmines. This project, endorsed by Nobel Laureate Jody Williams, included a performance tour of France and Spain, the release of the CBC CD ‘Fields Interrupted,’ and a guest performance at the Canadian/American International Peace Gardens. In 2005 and 2006 the choir performed the children’s opera Brundibár in Saskatoon, Regina and Winnipeg. This opera was first performed in 1942 by the children of the Theresienstadt Concentration Camp. In 2005, the choir was invited as one of four youth choirs to Hong Kong and China, to participate in the International Songbridge Project, sponsored by UNESCO and the International Federation for Choral Music. In December 2006 the choir launched the “Still We Rise” project, in support of the global fight against HIV and AIDS, commissioned Yo Te Nombro Libertad from Peter Tiefenbach premiering it at Festival 500 in St. John’s Newfoundland, 2007. In 2008, the choir premiered Flying Colours, by Canadian composer Stephen Hatfield. Flying Colours draws the audience into

powerful emotions, and at its conclusion offers the possibility of integrity, dignity and hope. In 2010, the choir premiered a miniopera, Strangers in the House, commissioned from Peter Tiefenbach. The choir also performed this opera on their OSAC-sponsored Saskatchewan mini-tour in May 2012. In 2011, the concert choir visited South Africa on a performance tour, combined with a humanitarian project focused on children affected by HIV/AIDS. The choir performed two benefit concerts for agencies working with orphaned children, and two concerts with the Drakensberg Boys Choir, Keystone State Boychoir (Pennsylvania) and the Fezeka Choir from Cape Town. Crews from CBC and Radio Canada accompanied the choir and the documentary broadcasts aired nationally. The TV documentary was awarded the CBC/Radio Canada President’s Prize. In May 2012, the choir performed as part of the “Stars for Saskatchewan” annual concert series organized by the Saskatchewan Organization of Arts Councils. The choir regularly appears as guest artists of the SSO and has performed with the Calgary Girls Choir, Prairie Virtuosi, the U of S Greystone Singers, the Barenaked Ladies and folk singers Valdy and Connie Kaldor. In 2005 the choir participated in the Lieutenant Governor’s Centennial Gala. In March 2007, the Concert choir performed at the Juno Awards. Recordings include five CDs, a DVD, feature performances on CBC radio and CFQC television, and the CBC Christmas CD ‘A Gift of Song,’ with baritone Henri Loiselle. The choir has twice been awarded Kathaumixw’s Elmer Iseler Award for best performance of a Canadian work. Other recognition includes First Place (folk) from the International Choral Kathaumixw (2000); First Place (children’s choir) at the Festival Internacional de Musica de Cantonigros (Spain: 2002); Second Place (children’s choir) and Second Place (folk) from Kathaumixw 2004; and the Leslie inTune 36

Bell National Award for Choir (2003). Both Apprentice and Concert Choirs have been awarded the Isabelle Mills Award for outstanding choral achievement. In 2009, the SCC travelled on a performance tour of Austria and the Czech Republic. In Vienna, they participated in the prestigious Summa Cum Laude Festival, where they were awarded First Place “with outstanding success” in the category of treble choirs, and the Summa Cum Laude Award of the City of Vienna for best choir of the festival. Further information about our organization, please feel welcome to contact the choir office at 306 249 3927, or email Rita McLeod at

in France, Italy, Spain, Switzerland, Germany and the US. In Saskatoon, Véronique is a regular guest of the “Concert Series at Christ Church” and several other venues where she’s been heard in a repertoire ranging from early music, melodies, Lieders, Church and Chamber Music to operetta and opera. She is also performing a program of opera/cabaret/chansons favorites at events like the Folkfest, jazz festival, fundraising events. Véronique is also a voice teacher and choir conductor.

Cassandra Warner mezzo-soprano Hailed by critics as a “powerful mezzo” and “sensory epiphany”, Cassandra Warner is a soprano winner of the recent Metropolitan Opera Competition in Western Canada. Quickly Véronique has studied voice as well as launching into an international career, Miss stage techniques with several prominent masters and professors such as Mr. Gerard Warner took 3rd prize at the 2010 Chants de Marmande of France and performed Serkoyan and Mr. Jean Giraudeau, both the lead role of Rose Maurrant in Weill’s from the late Opera de Paris Company (France), Prof. Robert Gartside from Boston Street Scene with Opera Toulon. Cassandra performs this season in concert with Milton University (USA), Mr. Richard Crittenden, Concert Presentations of Ontario as well as stage director in New York and Boston with Vancouver Opera Company as Edith in (USA), and Prof. Dunia Vejsovich from Pirates of Penzance. She is performing the the Stuttgart Conservatory of Music role of 2nd lady in Opera Atelier’s produc(Germany). tion of The Magic Flute, and she will perform Ms. Eberhart has performed as a soloist with as alto soloist in the SSO’s Messiah presenta several orchestras, choirs and accompanists tion in December.

Véronique Eberhart

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Miss Warner is a recent alumnus of the Calgary Opera Company Ensemble. With the Calgary Opera Company she created the role of the Saloon Singer in the world premier of The Inventor written and conducted by Bramwell Tovey and also performed the roles of Dorabella in Cosi fan tutte, Frau Viehman, the Witch, and the Wolf in The Brother’s Grimm by Dean Burry. Other recent roles include the title role of Cendrillon in Massenet’s Cendrillon, the premier opera at Toronto’s Koerner Hall, First Priestess in Iphigénie en Tauride with Opera Atelier, Prince Orlovsky in Die Fledermaus with Richard Margison’s Highlands Opera Studio, Dorabella in Così fan tutte with the Royal Conservatory Orchestra, Hänsel in Hänsel und Gretel with Opera Nuova, Cherubino in Le nozze di Figaro also with the Royal Conservatory Orchestra and the Lyric Opera Studio of Weimar, Germany. An accomplished concert artist, Cassandra has performed the role of Joas in Handel’s oratorio Athalia with the Orpheus Choir of Toronto and performed in concert with Elixir, Saskatoon.

who, because of his successful battles against the Volscians, was offered the consulship of Rome. Being of the Roman aristocracy, however, he would not agree with the democratic plebeians. His enemies, enraged at his pride, banished him from Rome. Coriolanus went to the Volscians, led their army against Rome, and ignored all entreaties to spare his own people until, at the gates of Rome, his mother, wife, and son came to plead with him. He relented and spared both his family and the city. In Shakespeare’s version of the story, the Volscians murdered Coriolanus.

Beethoven did not write the Coriolan Overture for Shakespeare’s play, however, but for a version of the story written by Beethoven’s friend, the Viennese playwright Heinrich Joseph von Collin. Though Collin’s play, premiered in 1802, enjoyed huge success at its opening, by the premiere of Beethoven’s Overture in 1807 the play had fallen out of favour. Consequently, the Overture has mainly been a concert piece throughout its history. It is written in C minor—the key in While attending the Glenn Gould School which Beethoven wrote some of his most of the Royal Conservatory of Music, Miss dramatic and powerful works. It does Warner received the highest award for not tell the whole story of Coriolanus but voice, the 2010 Lily Kertes Rolin International depicts the crucial moment outside the Prize in Vocal Studies and was finalist in the gates of Rome where Coriolanus makes 2010 Royal Conservatory of Music Concerto his fateful decision. The strong C minor Competition. She has attended Vancouver theme is Coriolanus’, while the sweeter E Opera’s Young Artist Coaching Intensive with flat major theme is the pleading of his wife Carol Isaac, Richard Margison’s Highlands and mother. The repeated Cs near the end Opera Studio, and Joan Dornemann’s foreshadow Coriolanus’ fate before the International Vocal Arts Institute. Miss music fades into the silence of death, endWarner is also a laureate of Jeunes ing with three nearly inaudible Cs. Ambassadeurs Lyriques and is an honorary Though Beethoven wrote the Coriolan member of the Vancouver Opera Guild. Overture for Collin’s play, there is no doubt of Shakespeare’s influence on the work. Musicologist Sir Donald Francis 1770–1827 Tovey perhaps sums it up best when he writes that both Collin and Beethoven CORIOLAN OVERTURE had read Shakespeare, and that According to Plutarch’s Lives, Gaius Shakespeare “breaks through like Nature Marcius Coriolanus was a Roman general in Beethoven’s music.”

Ludwig van Beethoven

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Hector Berlioz 1803–1869

Felix Mendelssohn


A midsummer night’s Dream, Op. 21 & 61

After seeing his first Shakespeare play, Hamlet, Berlioz wrote: “This sudden revelation of Shakespeare overwhelmed me. The lightning flash of his genius revealed the whole heaven of art to me, illuminating its remotest depths in a single flash.” Berlioz went on to write many works inspired by Shakespeare, including Roméo et Juliette, Béatrice et Bénédict, King Lear Overture, Fantasy on The Tempest, and La Mort d’Ophélie. It was at that first Hamlet performance that Berlioz fell in love with the Irish Shakespearean actress Harriet Smithson, who many years later became his wife.


The Overture to A Midsummer Night’s Dream was completed in 1826, when Mendelssohn was 17 years old. He and his sister Fanny read Shakespeare together as children. Fanny wrote: “[W]e were entwined in A Midsummer Night’s Dream and Felix particularly made it his own. He identified with all of the characters. He recreated them, so to speak, every one of them whom Shakespeare produced in the immensity of his genius.” Originally, Mendelssohn wrote the piece for two pianos so he could perform it with his sister, though shortly after its composition he transcribed it for orchestra. It was immediately popular with audiences, and has remained so. A lighthearted and charming piece, the opening establishes the atmosphere of the enchanted forest then moves back and forth between the human world and the fairy world by moving between major and minor keys. Its themes depict the play’s characters, from Titania and Oberon to the lowly Bottom. Mendelssohn even provides the almost realistic sound of a donkey braying.

After winning the composition prize Prix de Rome, Berlioz moved from Paris to Rome in 1830. While waiting for a letter from his fiancé, he read King Lear. In April 1831, he learned that his fiancée had broken their engagement and married another man. Berlioz bought a dress to wear as a disguise and stole a pistol with the intention of going back to Paris to murder his ex-fiancée, her mother, and her husband. On the journey, however, he realized he had left his dress in the side pocket of the previ- The Overture was dedicated to the Crown Prince of Prussia, (later King Friedrich ous carriage so he stopped in Nice instead Wilhelm IV). In 1843, after Mendelsohn and wrote the King Lear Overture. had written successful incidental music Berlioz knew it was the ancient tradition of to accompany several plays including the French court to announce the entrance Sophocles’ Oedipus, King Wilhelm II asked of a king with five beats of a huge drum. He Mendelssohn to write incidental music for uses this figure to announce Lear’s entrance A Midsummer Night’s Dream. Mendelssohn to his council chamber and then again dur- did so, leaving his original Overture intact ing the storm scene, in the lower strings, to and drawing on its themes to compose the portray the king’s madness. After hearing songs, dances, entr’actes, and melodramas the piece in 1854 the King of Hannover (music composed to accompany the spoken wrote: “Magnificent, M. Berlioz, magnifiword) that comprise the entire work. Even cent! Your orchestra speaks, and you do not though the incidental music was comneed any words. I followed all the scenes: posed seventeen years after the Overture, the king’s entry to the council chamber, Mendelssohn masterfully retained throughthe storm on the heath, the terrible prison out the entire work the style and youthful scene, and the lament of Cordelia! Oh this character of his original conception.  Cordelia! How you have portrayed her—her humility and tenderness! It is heartrending, Program notes prepared by Joan Savage, member, Violin 1 section, Saskatoon Symphony. © 2012 and so beautiful!” inTune 39

Saskatoon Symphony Supporters Circle 2012–2013 Season Thank you to all the donors on whose generosity we depend. Your investment allows the Saskatoon Symphony to strive for artistic excellence, and to create meaningful community connections, in a financially sound manner.

Orchestra Circle



David Alexander John Botari Terry Fenton Terry Heckman Koenig and Associates Bonnie McGillivray MacPherson Leslie & Tyerman Ken Pontikes and Darlene Bessey Ian Rawlinson Lila Rudachyk Darla Saunders and Bruce Harrison Don Schmidt Viola R. Schmidt Ian and Meredith Sutherland The Trading Post Jim and Marilyn Veikle Johann and Erika Wentzel Yamaha Piano Centre


Maestro’s Circle ($5,000-$9999)

Performer’s Circle ($2,000-$4999)

Sandra Beardsall and Bill Richards Lynn Ewing and Bill Feldbruegge Mary Marino Betty Reynolds* Rod and Denyse Simair Ken Coutu and Penelope Stalker Doug and Lilian Thorpe


($1000-$1999) Shelley Ewing Joe Fafard Elmer and Anne Guenther John and Myrna King Robert D. & Lura Mae Meeds Sider Fund*


($500-$999) Articulate Eye Darrell Bell Bremner Family Robert Christie Garry Gable Gregory Hardy Brian & Loretta Hartsook Ian Innes David Parkinson Art and Janet Postle Dr. Donald Stefiuk Brian Unverricht



($100-$249) Donald Acton Karen Altrogge Anonymous Herta Barron Evelyn Bergstrom Karen Bindle Gloria Boerma Evelyn D. Bowman Erin Brophey and Thomas Dreyer Darrell Bueckert Mary Lou Day Dr. Anne Doig David Dupuis Lorenzo Dupuis Phyllis Ellis Esther Beryl English Allan and Helen Few Joan and Peter Flood

Annette Floyd and Monte Pishny-Floyd Jonathan F. Forrest Joe and Cathy Fry Daniel Funk Kelly Goerzen Frank Harrington Mary-Jane Hendel and Bob Crowe Dr. Bob and Mrs. Doreen Hickie Sharon Hildebrand Akira Hirose David Humphrey Dennis and Rosemary Hunt Dr. Eunice Janzen Jeremy Janzen Lillian Jen-Payzant Kevin Junk Dr. David L. Kaplan Gordon and Darlene Knapp Gerry Kraay Skip Kutz David and Kristal Leland Mairin Loewen Brent Longstaff Noel and Margaret Lowry Debra Marshall Peggy and Tim Martin Miss Mary Matwyuk Marjorie Mazzei Allan McGuire Gordon McLure Wally and Shirley McNeil Brenda Moats Ans Nahirney Maria and Peter Neijmeijer Ron and Pat Nowoselski Karen Ogle John Payzant Paul and Dorothy Riemer Lori Sander Saskatoon Funeral Home Harvey Sauder Joan Savage Susan Scharf

inTune 40

Saskatoon Symphony Supporters Circle 2012–2013 Season Serenade (continued)

George Schmid Judith Schmid Frances and William Schultz Marie Sellar John Senior Arlene Shiplett Audrey Siemens Bob and Lynn Tait Alyssa Thompson Agnes Valade Albert Veroba Blair West Bill and Samantha Wildeman Gail Zink

Prelude ($20-$99)

Krista Baerg Heidi Bartsch Jessica Beaulac Anna M. Beeton Steve Boechler Phavana Bougnavath

Paul Coutu Dr. Yvonne Cuttle Dave Denny Genevieve Dessommes Dr. Jo-Anne Dillon Rob Dobrohoczki Lois Elder James Halmarson Tamara Heinz Wilfried Henseleit Dannon Herr Suzanne Huber Kyle Kennedy Karen King Cody Lang James D. Leach Elaine Lee Allen Loewen Kir Loewen Colin Macdonald and Teri Skwara Margaret Marcoux Linda Mcmillan Wendy McSheffrey

Sylvia Mills Mercedes Montgomery James Morrison Willette Neijmeijer Bonnie Nicholson Merle Nostbakken Hilda Noton Janice Paterson Edith Penley Marjorie Perry Dr. Louis F. Qualtiere Henriette Quessy Linda Remmer Saskatoon Youth Music Theatre Linda Shaw Natalie Shiff Roona Sinka Amanda Slogotski Terry Stannard Kathleen Turner Mark Turner Florence Vibert Dr. Ross R. Wheaton Peter Wollenberg

Women of Note A membership of women who believe in the Saskatoon Symphony and its vital role within the city of Saskatoon. Formed March 1, 2012

Shannon Whyley Darien Moore Lorraine Salt

Darla Saunders Betsy Bury Connie Gutwin

Jane Wollenberg Mary Marino

Judy Anderson Lynn Ewing

Women of Note wish to ensure that the orchestra remains healthy, fully engaged with its community, and able to continue to offer excellent symphonic music. Their generous financial donation makes them members of Women of Note and ambassadors for our symphony.

If you are passionate about the the Symphony and wish to join Women of Note, please contact Jill Reid at * Through the Saskatoon Community Foundation This list reflects donations received after the publication of Volume 1, Issue 4 of inTune as well as those donations received in the new fiscal year beginning June 1, 2012. Donations received after August 31, 2012 will be included in the next issue.

For information on investing in your symphony through an annual, monthly, or weekly donation, a gift of securities, or a planned gift, including how your generosity can be recognized, please email Jill Reid, or call her at 306.665.4862. inTune 41

Photo: Ron Checora

Players’ Choice October 28, 2012


Friends and Neighbours Delta Bessborough, 2:30 pm

Generously sponsored by

Saskatoon Symphony Chamber Players


Woodwind Quintet in F Major, Op. 81

Allegro non troppo

Scherzo Larghetto Allegro spiritoso


Concerto for Eight


Mozart, W. A. String Quartet No. 20 in D Major, K. 499, “Hoffmeister”

Allegretto Menuetto: Allegretto Adagio Allegro

Enjoy coffee & tea service during intermission. inTune 42

George Onslow 1784–1853 woodwind quintet in F Major, op. 81 George Onslow, dubbed the “French Beethoven” by Hector Berlioz, was born in Clermont-Ferrand in central France. His father was from an aristocratic British family, and his mother was French. Onslow spent most of his life in France, with brief stays in London and Vienna for musical study. His principal teacher of composition was Anton Reicha with whom he studied in Paris. He enjoyed a brilliant career in the first half of the nineteenth century. Onslow’s music was played by the greatest musicians of the time and his name was placed next to Mozart, Haydn and Beethoven. His chamber music was particularly admired in Germany, Austria and England. Included in his list of chamber music works are 36 string quartets, 34 string quintets, as well as the Woodwind Quintet, Op. 81, and two sextets for wind quintet and piano. The Woodwind Quintet, Op. 81 is a mature work, written in 1851. Onslow’s style is heavily influenced by the traditional classicism of his teacher, Anton Reicha. The first movement gives a very formal introduction to the piece, followed by a light and playful Scherzo. The oboe solo in the Larghetto strikes a sombre note, with the final Allegro spiritoso giving a lively finish to the piece.

Malcolm Forsyth 1938–2011 CONCERTO FOR EIGHT Malcolm Forsyth is internationally recognized as one of Canada’s leading composers. Born in Pietermaritzburg, South Africa, he majored in trombone, conducting and composition at the University of Cape Town, and played trombone for eight years with the Cape Town Symphony Orchestra. Forsyth emigrated to Canada in 1968 and settled in Edmonton where he joined the Edmonton Symphony Orchestra, first as

bass trombone, and then principal trombone for the next eight years. He joined the faculty at the University of Alberta, teaching theory, composition and conducting. Also serving as the University’s composer-in-residence, he retired in 2002. In 2002 one of Canada’s premiere chamber ensembles, Octagon, commissioned Forsyth to compose a piece for them using the same instrumentation as the famous Schubert Octet. The first public performance was given at the Glenn Gould Theatre in Toronto on March 18, 2003, with a special preview performance given at Rideau Hall on March 13, 2003 for Her Excellency the Right Honourable Adrienne Clarkson. The piece is in the form of a theme and variations with the entire work built around a four-note cell presented at the beginning by the bassoon. Each instrument is given a solo role, accompanied by the others, with the exception of the two violins which appear as a duo. Of his music, Forsyth says, “I always have had a deep sense of responsibility to the audience, coming from a deep sense of belief. I am myself a dedicated audience member, dedicated to the idea of concert music that does sweep people away. I’m never more happy than when I can be transported by a performer or performance. Everything I’ve done is with that experience in mind.”

Wolfgang Amadeus Mozart (1756–1791)

STRING QUARTET NO. 20 IN D MAJOR, K. 499, “HOFFMEISTER” Wolfgang Amadeus Mozart was born in Salzburg, Austria, the son of a court musician and the youngest of seven children. Only two children were to survive to adulthood. Mozart and his sister “Nannerl” were both musically educated by their father, Leopold Mozart, and began touring Europe with their father at a very young age. Mozart’s precocious abilities to  inTune 43

astonish audiences as both a performer and a composer are well known. In his short life he was to become one the most influential composers of the Classical Period. Mozart wrote 23 string quartets in all. The String Quartet No. 20, was written in 1786 in Vienna, just two months after the premiere of his opera, The Marriage of Figaro. It follows his set of 6 “Haydn” quartets, and is subsequently followed by his last three quartets known as the “Prussian Quartets”. It is dedicated to his friend and publisher, Franz Anton Hoffmeister—hence the nickname “Hoffmeister.” Although this

quartet is generally recognized as being less complex than the six “Haydn” quartets it is still a work of great beauty. The Minuet is described by Mozart’s biographer H. C. Robbins Landon as “one of the most original in eighteenth century music” and by Alfred Einstein as “unique”. The Adagio is wonderfully profound, and the final Molto Allegro treads the fine line between tragedy and comedy which is so often characteristic of Mozart.  Program notes prepared by Margaret Wilson, Principal Clarinet, Saskatoon Symphony Orchestra. © 2012

Saskatoon Symphony Chamber Players

Erin Brophey Principal Oboe

Richard Carnegie Principal Double Bass

Carol Marie Cottin Principal Horn

James Legge Principal Viola

Randi Nelson Principal Flute

Oxana Ossiptchouk Principal Violin II

Lahni Russell Principal Cello

Michael Swan Principal Violin (Concertmaster)

Stephanie Unverricht Principal Bassoon

Margaret Wilson Principal Clarinet

Photos: Trudy Janssens, Photography One 2 One (except top left)

LiMeissogood. 1.888.827.8393

inTune 44

Funders and Corporate Sponsors 2012–2013 Season Funding Agencies


where Series Sponsors

} or

you are, you’re going,

we will be there.

Presenting Sponsors

321 20th St. West, Saskatoon, SK

Wherever our members have come from or where they are going on their financial journeys, we’re behind them every step of the way. It’s not about how much they have. It’s about what they want to achieve. At New Community, everything we do is about our members and our community.

P 653-1300 F 653-4711

Corporate Supporters

Media Sponsors SASKATOON



Connecting Business and the Arts

AnnuAl RepoRt 2011

Thank you to all our funders and corporate partners. For information on sponsorship opportunities or in-kind support, please email Mike Covey, Director of Sponsorships or call Jill Reid, General Manager at 306.665.4862. inTune 45

inTune 46









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inTune - The Magazine of the Saskatoon Symphony, Vol. 2, Iss. 1  

The Sept. to early Nov. edition of inTune - The Magazine of the Saskatoon Symphony, containing concert listings and program notes, guest art...

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