Prelude Magazine Spring 2023

SING ON

Spotlight on volunteering with the Calgary Philharmonic

Hayes Family raises community through music

CCVO building a thriving Calgary through support for non-profit sector

David Sussman shares behind-the-scenes of helping out in the Orchestra

— celebrating 60 years

Official Program of the Calgary Philharmonic | Music Director Rune Bergmann | Spring 2023 | Volume 47 No.

Chorus

Calgary Philharmonic Orchestra

205 8 Ave SE

Calgary, AB T2G 0K9 Box Office: 403.571.0849 calgaryphil.com

Simon MacLeod | Managing Editor

Janet Bwititi | Editorial Advisor

Omar Jeha | Art Director

Don Anderson

Marisa Barber

Carole + Steve Clement

Miranda Martini

Jocelyn Morlock

Stephania Romaniuk

David Sussman | Contributors

on the cover

Mark Dumbrique

Katt Hryciw

Catherine Lasuita

Crystal Tan

shot by HarderLee Studios featured in the cover story on page 28

Venue Partner

For advertising inquires, please email Simon MacLeod at smacleod@calgaryphil.com

Prelude is published three times a year by the Calgary Philharmonic Society. Copyright 2023 by Calgary Philharmonic Society. No part of this publication may be reproduced without express written consent of the publisher.

Message from the President + CEO

Orchestra Chorus

cover story

Celebrating the first 60 years of the Calgary Philharmonic Chorus

Katherine Chi performs Beethoven

Marvel Studios Presents Black Panther in Concert feature Q + A with volunteers Carole + Steve Clement

Brahms: A German Requiem

Diana Cohen in Concert

Brass Transit: The Music of Chicago

Let Voices Resound

Chamber Music at the Bella: Night 1

Chamber Music at the Bella: Night 2

Movie Magic: Morricone + Bernstein

On Stage with Branford Marsalis

Supporters

Corb Lund in Concert

Will's Jams

feature The Hayes Family: Building a Musical Community feature Volunteering and Community Prosperity feature Musical Voluntary

Elgar's Cello Concerto

We acknowledge that we come together and create music on land known by the Blackfoot name Moh'kinsstis, which we also call Calgary. This land is on the traditional territories of the Blackfoot Confederacy (Siksika, Piikani, and Kanai First Nations), the Îyâxe Nakoda (Chiniki, Bearspaw, and Wesley First Nations), and the Tsuut'ina First Nations, as well as the Métis Nation of Alberta, Region 3. We honour this land and all those who share it in a spirit of peace, friendship, and respect.

Administration

Siân Alcorn

| Sales Assistant

Alysha Armanious | Manager, Education + Outreach

Megan Beaudoin

| Digital Marketing Specialist

Janet Bwititi | Director, Marketing + Sales

Scott Carey

| Grant Writer

Sonny Carmona | Marketing + Sales Coordinator

Felicia Chow | Office Administrator

Viviana D’Ambrosio | Associate Director, Development

Manisha Dangol

| Development Officer

Andrea Davison

| Interim Director, Artistic + Education

Marian Dyck

| Box Office Support

Dennis Envoldsen

| Visual Content Specialist

Willem Fraser

| Development Officer

Laura Gillespie

| Operations Accountant

Rob Grewcock

| Music Librarian

Hello everyone,

The Calgary Phil belongs to everyone, and it is powered by people. From the Chorus to the Board, the smiling volunteers helping at events, and those toiling on the Cork and Canvas Gala Committee and the Ad Astra Campaign Committee, the Calgary Phil is incredibly fortunate to have such talented people helping it. I recently met another raft of hard-working volunteers in the wee small hours in a local casino counting room — that’s dedication!

A massive THANK YOU to everyone who gives so much time and energy to supporting our communities through the Calgary Phil.

The magnificent Calgary Philharmonic Chorus celebrates its 60th birthday this year. We are rare in Canada to have such a resource in our city, as an integral part of the Calgary Phil. They’ve come back stronger than ever following the pandemic, with a recordbreaking 119 volunteer singers at most recent count. Celebrate this special anniversary with us at Let Voices Resound in April.

If you’re reading this at a concert, please come and say hi to me and other colleagues in the lobby — and thank our wonderful volunteers, too!

Marc Stevens President + CEO

Karen Halford-Edwards

| Intermediate Accountant

Joanne Harada

| Artistic Planning Advisor

Courtney Ilie

| Associate Director, Sales

Omar Jeha

| Graphic Designer

Lisa Korolyk

| Events Coordinator

Dagny MacGregor

| Sales Manager

Simon MacLeod

| Communications Manager

Tayla Mapatac

| Front of House Coordinator

Adam Masson | Concert Operations Coordinator

Derek Muzyka

| Director, Finance + Administration

Daniel Pelton

| Operations Assistant

Ziga Poromon

| Box Office Support

Megan Robertson

| Assistant to the President + CEO

Barbara Soles

| Senior Development Officer

Crystal L Spicer

| Production Manager

Jason Stasiuk

| Manager, Artistic Operations

Marc Stevens | President + CEO

Jessica Szeto

| Information Systems + Technology Specialist

Michael Thomson

| Director, Orchestra Operations

Board of Directors

Glenn Bontje

Monica Cheng

Fern Cyr

Niki Dunne

Rebecca Finley-Schidlowsky

Corinne Grigoriu

| Governance Committee Chair

Samuel Hayes

| Finance + Audit Committee Chair

Don Herman

James Kusie

Dr. John Lacey

Christine Macnab

Elizabeth Middleton

Tracy Seaman

Donovan Seidle

Casey Smith

Marc Stevens

| Ex-officio

Lorna Tsai

Janet Yuchem

| Board Chair

Calgary Philharmonic Foundation Trustees

Courtney Burton | Secretary

David Daly | Vice President

Joel Douglas | Treasurer

Samuel Hayes

Jim Hughes

Letha MacLachlan QC

Eileen Marikar | Assistant Treasurer

Byron Neiles

Ellen Parker

Ryan Stasynec | President

For an up-to-date list on administration, board members, and trustees, visit calgaryphil.com/about.

What do I wear to the Orchestra?

Whatever you want! At the Calgary Phil, there is no formal dress code. We want you to feel happy and relaxed so you can enjoy the performance. Most attendees wear business-casual attire, but you will see everything from jeans to cocktail wear. Dress in your own style and what makes you most comfortable.

What is your mobile phone policy?

One of the joys of a live concert is you can sit back and experience the music without distractions, but we also know you don’t want to miss an important message or call. So, if you leave your mobile device on, we simply ask that you turn the sound off, turn the brightness down, and be considerate of your neighbours.

Where can I find parking?

There are several parking lots in the area but leave yourself time to find a spot as they fill up fast. Underground parking is available at Arts Commons and the nearby Civic Plaza and TELUS Convention Centre parkades. If you take the CTrain, the stations are located one block from Arts Commons. Also, bike racks can be found on Stephen Avenue in front of the Jack Singer Concert Hall.

Are drinks allowed in the concert hall?

Yes! All drinks are permitted in the concert hall, with the exception of the occasional concert. Many people arrive early to enjoy a drink in the lobby before the performance. You can also pre-order your drinks before the concert and pick them up from the bar at intermission.

Can I take photos in the concert hall?

We'd love for you to share your Calgary Phil experience and capture your favourite moments. For most concerts, you can take a quick photo, but don’t use flash — it can interfere with the musicians’ performance.

When do I clap?

This is our most common question. Traditionally, in classical music culture, audiences hold their applause until the end of an entire piece (there can be multiple movements, with short breaks between them, in one piece). This is intended to respect the performers’ focus and the flow of the music. You’ll know when the piece is finished because the conductor typically puts their arms down completely and turns to the audience. But, if you do happen to clap before the piece is finished, that’s okay! The musicians will be happy to know you’re enjoying the performance.

What happens if I’m late?

We realize even the best laid plans sometimes go sideways. Ushers do their best to seat latecomers at appropriate breaks in the performance, but in some cases, this may not be possible until the completion of an entire work. We don’t want you to miss anything, so you can listen to the music and watch the screens in the lobby.

How long is a concert?

Concert length varies, but a typical performance starting at 7:30PM is about two hours long including a 20-minute intermission. Shorter concerts may not feature an intermission. Symphony Sundays for Kids concerts are held on select Sundays at 3PM, and are usually one hour long with no intermission.

For more questions and the most up-to-date Health + Safety measures, visit calgaryphil.com/ plan-your-visit.

Whether you are new to the Calgary Phil or you've been coming to concerts for years, here are the answers to some frequently asked questions to make your experience as enjoyable as it can be.

Orchestra

Rune Bergmann | Music Director

Karl Hirzer | Associate Conductor

Cris Derksen | Artistic Advisor

Roberto Minczuk | Music Director Laureate

Hans Graf | Music Director Laureate

Mario Bernardi | Conductor Laureate

Cenek Vrba | Concertmaster Emeritus

First Violins

Diana Cohen | Concertmaster

John Lowry

| Associate Concertmaster

Donovan Seidle | Assistant Concertmaster

Eric Auerbach

Edmund Chung

Hangyul Kim

Olga Kotova

Bonnie Louie

Genevieve Micheletti

Maria van der Sloot

Hojean Yoo

Second Violins

Lorna Tsai | Principal

Stephanie Soltice-Johnson | Assistant Principal

Erin Burkholder

Jeremy Gabbert

Hyewon Grillet-Kim

Craig Hutchenreuther

Minnie Min Kyung Kwon

Theresa Lane

Adriana Lebedovich

Steven J Lubiarz

Violas

Laurent Grillet-Kim | Principal

Marcin Swoboda

| Assistant Principal

Arthur Bachmann

Jeremy Bauman

Peter Blake

Michael Bursey

Alisa Klebanov

Jesse Morrison

Cellos

Arnold Choi | Principal

Josué Valdepeñas | Assistant Principal

Dongkyun An

Kathleen de Caen

Thomas Megee

David Morrissey

Daniel Poceta

Basses

Sam Loeck

| Principal

Kyle Sanborn | Assistant Principal

Matthew Heller

Trish Bereti-Reid

Patrick Staples

Jonathan Yeoh

Flutes

Sara Hahn-Scinocco | Principal

Gwen Klassen | Assistant Principal

Piccolo

Gwen Klassen

Oboes

Alex Klein

| Principal

David Sussman

| Assistant Principal

English Horn

David Sussman

Clarinets

Slavko Popovic

| Principal

Jocelyn Colquhoun

| Assistant Principal

Bassoons

Antoine St-Onge

| Principal

Michael Hope

| Assistant Principal

Horns

Position to be filled

| Principal

Jennifer Frank-Umana

| Associate Principal

Position to be filled

| Assistant Principal

Maxwell Stein

| Assistant Principal

Heather Wootton

| Assistant Principal

Trumpets

Adam Zinatelli

| Principal

Miranda Cairns

| Assistant Principal

Trombones

James Scott

| Principal

Position to be filled

| Assistant Principal

Bass Trombone

David Reid

| Principal

Tuba

Tom McCaslin

| Principal

Timpani

Alexander Cohen | Principal

Percussion

Position to be filled

| Principal

Harp

Tisha Murvihill | Principal

Learn more about our musicians at calgaryphil.com/ musicians.

The Calgary Phil is proud to perform live symphonic music for Alberta Ballet, Calgary Opera, and the Honens International Piano Competition.

Repertoire often requires extra musicians including:

Rolf Bertsch, keyboard

Jeremy Brown, saxophone

Sean Buckley, percussion

Stan Climie, clarinet

Aidan Dugan, oboe

John Feldberg, bassoon

Gareth Jones, trumpet

Janet Kuschak, cello

Malcolm Lim, percussion

Sarah MacDonald, flute

Nikki McCaslin, trombone

Elisa Milner, violin

Emily Phernambucq, flute

Richard Scholz, trumpet

Eva Sztrain, violin

Doug Umana, horn

Georgia Vogeli, violin

The

members of the Calgary Philharmonic Orchestra are members of The Calgary Musicians Association, Local 547 of the American Federation of Musicians of the United States and Canada.

Norwegian conductor Rune Bergmann is Music Director of the Calgary Philharmonic, Artistic Director and Chief Conductor of the Szczecin Philharmonic in Poland, and Music Director of Switzerland’s Argovia Philharmonic. Guest engagements in the 2022/2023 Season bring Bergmann once again to the podiums of the Baltimore, North Carolina, and Málaga Symphony Orchestras. He will also make his debut with the recently formed ADDA Simfònica in Spain. Bergmann’s recent guest engagements include concerts with the Baltimore, Colorado Detroit, Edmonton, Houston, New Jersey, and Pacific symphony orchestras in North America, and the Bergen Philharmonic, Orchestra della Svizzera Italiana, Orquesta Sinfónica Portuguesa, Norwegian National Opera Orchestra, Orquesta de València, Staatskapelle Halle, Wrocław Philharmonic, and the Risør Festival in Europe, to name a few. Bergmann has also led performances of Il barbiere di Siviglia and La Traviata at the Norwegian National Opera and he made his US operatic debut in Yale Opera’s production of Britten’s A Midsummer Night’s Dream, as staged by Claudia Solti. Previous guest engagements have led him to such auspices as the Oslo Philharmonic, New Mexico Philharmonic, Münchner Symphoniker, Mainfranken Theater Würzburg, Philharmonie Südwestfalen, as well as the symphony orchestras of Malmö, Helsingborg, Kristiansand, Stavanger, Trondheim, Karlskrona, and Odense.

Karl Hirzer Associate Conductor

Karl Hirzer can’t remember a time when he didn’t want to be a musician. Growing up in New Westminster, BC in a household filled with music, his parents had Glenn Gould and Louis Armstrong on the stereo, and his mother sang along to Irish folk songs on the radio. He was 'composing' at the family piano by age four and formal piano lessons began at six. At 12, he started playing guitar in metal bands and dreamed of becoming a rock star while simultaneously perfecting Chopin études and Beethoven sonatas, earning his ARCT at 17. Today he is Associate Conductor of the Calgary Philharmonic and has led orchestras from Vancouver to Halifax, from the Gstaad Festival to education concerts in Warsaw. Hirzer studied to become a solo pianist at the University of Victoria before getting his Master of Music at McGill University. He got his first taste of conducting an orchestra during his undergrad and basked in the wondrous experience of sharing his musical ideas with musicians and audiences through simple gestures. He believes music plays an essential role in our lives and is especially committed to exploring music by living composers. He is also heavily invested in bringing music to young audiences. He continues to perform as an instrumentalist and also composes his own music, blending genres while mixing acoustic and electronic instruments. Heads up — Karl Hirzer’s first album of original material will be released in spring of 2023.

Cris Derksen Artistic Advisor

Juno-nominated Cris Derksen is an internationally respected Indigenous cellist and composer. In a world where almost everything — people, music, cultures — gets labelled and slotted into simple categories, Derksen represents a challenge. Originally from Northern Alberta, she comes from a line of chiefs from North Tallcree Reserve on her father’s side and a line of strong Mennonite homesteaders on her mother’s. Derksen braids the traditional and contemporary, weaving her classical background and her Indigenous ancestry together with new school electronics to create genre-defying music. As a performer, Derksen has appeared nationally and internationally as a soloist and in collaboration with some of Canada’s finest, including Tanya Tagaq, Buffy Sainte-Marie, Naomi Klein, and Leanne Simpson, to name a few. Recent concert destinations include Hong Kong, Australia, Mongolia, Sweden, and a whole lot of Canada: the place Derksen refers to as home. Derksen’s 2021 commissions included pieces for the Calgary Philharmonic Orchestra, Ottawa’s Chamberfest, the City of Toronto, Edmonton New Music, the Edmonton Symphony with support from the National Arts Centre, Vancouver’s Blueridge Chamber Festival, Vancouver Transform Cabaret, and a four-part docuseries for the Knowledge Network.

Rune Bergmann

Music Director

Your Phil. Your Style.

Show your love for the Calgary Phil with our NEW limited edition pullover hoodies! These hoodies are cozy, pill resistant, and feature our icon(ic) logo. Proceeds from all merch sales directly support your Orchestra and help us keep the music playing.

Visit calgaryphil.com/shop.

Mark Bartel Chorus Director

Dr. Mark Bartel is in demand as a versatile conductor and music educator. After a 16-year tenure in the United States, he returned to Canada in 2019 to join the faculty at Ambrose University as Associate Professor of Music. Since arriving in Calgary, he has been Chorus Director with the Calgary Philharmonic Chorus, as well as Artistic Director of the Spiritus Chamber Choir. Bartel is known for his musical, educational, and community collaborations and has established a reputation as a successful builder of choirs and choral programs. He has conducted college and university choirs for over 20 years and has extensive experience leading a wide range of community choirs in both the United States and Canada. In addition to his interest in choralorchestral works and choral music of the Baroque period, he brings his expertise as a solo singer and teacher of applied voice to his work with choirs. Bartel is a passionate advocate of the impact of the choral experience in the lives of choristers, in communities, and society at large.

Edmund Chung

First Violin

Chorus

About the Chorus

Established in 1963, the Calgary Philharmonic Chorus is one of only two choruses in Canada that is part of a major professional symphony orchestra. The Chorus performs a wide variety of repertoire, including oratorio, opera, light classics, contemporary music, pops, and commissioned new works. In a typical season, the acclaimed ensemble is featured in four to eight concerts with the Orchestra. The Chorus is made up of more than 115 dedicated volunteer singers from Calgary and surrounding communities who come from all walks of life. Celebrating its 60th anniversary in 2023, the Chorus delivers excellence in the performance of choral music and promotes the enjoyment and development of choral singing in Calgary communities.

Mark Bartel

| Chorus Director

Evan Mounce

| Assistant Chorus Director

Brendan Lord

| Interim Chorus Director

Katt Hryciw

| Chorus Administrator

Sopranos

Karine Baumgardner

Katherine Biggart

Ellen Borak

Michelle Bozynski

Tricia Bray

Carolyn Byers

Christina Candra

Twylla Jayne Conn

Sheila Cook

Laura Davis

Ina Dobrinski

Larissa Donnelly

Megan Duckett

Gail Feltham

Sue Galcher

Sim Galloway

Carolyn Hatt

Robyn Hauck

Dale Hensley

Jessica How

Amethyst Klintberg

Melody Littel

Freya Melax

Gillian Posey

Colleen Potter

Brier Reid

Becky Salmond

Lisa Sears-Walsh

Joan Simmins

Barbara Soles

Becky Standing

Chantelle Stevenson

Melissa Symanczyk

| Section Representative

Crystal Tan

Norma Webb

Chelsea Woodard

| Principal

Betsy Woolner

Altos

Margaret Anderson

Susan Bell

Barbara Boland

Michelle Cariou

Indrani Chatterjee

| Section Representative

Tanya Chow

Breanne Coady

Bernie Constantin

Yvonne Courtney

Ruth Cross

Shirley Cumming

Gillian Forster

Racheal Githumbi

Kay Harrison

Pat Heitman

Amanda Holt

Helen Isaac

Allison Johnson

Cynthia Klaassen

Heather Klassen

Marlene Krickhan

Catherine Lasuita

Megan Lundrigan

Barbara Mathies

Susan Mendonca

Julia Millen

| Principal

Patty Mino

Cindy Neufeld

Britt Odegard

Mara Osis

Karen Palmer

Anastasiya Petruk

Anne Rodger

Monica Samper

Liv Sawyer

Patti Vaillant

Julia Vanden Heuvel

Vitaliia Vash

Kaitlin Walker

Tenors

Tim Ahrenholz

Dean Allatt

Tim Bell

| Section Representative

Keevin Berg

Tristram Chivers

Philip Dano

Pat Favaro

Richard Harding

Katt Hryciw

James Hume

Juan Manuel López

Eric Ma

Jason Ragan

| Principal

Peter Rilstone

Richard Seale

Dennis Voth

Basses

Archie Adams

Odeniyi Ayo-Ajayi

Bamzy Banwo

Aaron Bartholomew

| Principal

Cam Bischoff

Glenn Bontje

Ian Charter

Chad Conrad

Tim Cooke

Kevin Di Filippo

Arthur Dick

Alan Dornian

Mark Dumbrique

| Section Representative

John Ghitan

Al Huber

Brady King

Eric Klaassen

Drew Kotchan

David Mark

Martin Mobach

Keith Odegard

Dave Pattison

Dana Salter

David Schey

Greg Wagland

Richard Wanner

Keith Wyenberg

© Sam Obadero

A SOUND FUTURE

The Hayes Family: Building a Musical Community

By Stephania Romaniuk

Although visionary arts supporters Sam and Angela Hayes have only recently started attending Orchestra concerts with their young daughters, Sophia and Ella, the family’s story with classical music, and involvement with the Calgary Philharmonic, begins much further back. Sam was born in the United Kingdom but raised in Holland, and as a young person with a recently acquired CD player, he had walked past a store with trays of CDs for sale. “I chose Chopin’s Nocturnes — and I fell in love with them.” His wife, Angela Hayes, is a proud Albertan whose early musical tastes were influenced by her grandfather, who loved listening to opera, and she studied piano in her youth. Angela took part in school and community choirs and was a Cpossibilities member while in university, the Calgary Phil program that allows young people to experience the joys of orchestral music.

The two met in 2011 when Sam moved to Calgary, and they began attending orchestra concerts together. Both shared a commitment to contributing to their communities, and while still in their twenties, Sam and Angela became members of the Calgary Phil’s patron programs. However, as Angela puts it, “You don’t know where you can have the most impact until you get involved.”

With a professional background in strategy and analytics, and already familiar with the world of volunteerism in the non-profit sector, Sam joined the Board and now represents the Society on the Calgary Philharmonic Foundation. Affectionately dubbed “the money man,” Sam has been integral to strengthening fiscal accountability, lengthening budget planning, and securing the financial sustainability of the Orchestra. As Chair of the Finance and Audit Committee, one

of his first priorities was to build a reserve fund that would help shield the Orchestra from unexpected financial challenges. “Ang and I made a multi-year commitment to build the reserve fund. This is one of the factors that determines the financial health of an organization,” shares Sam.

From there, Sam and Angela transitioned to supporting programming by establishing the Hayes Family Concerts. “We wanted to donate in a way that supported the foundational operations of the Orchestra, and potentially inspire others to do the same,” Angela explains. These concerts are already built into the season, such as Nordic Greats in January 2020 and the upcoming Elgar’s Cello Concerto concert this May, a concert that means a lot to them, considering their passion for the cello and strings. When they were not able to sponsor a concert as planned due to COVID-19, Sam and Angela donated instead to Ad Astra, the Foundation’s endowment campaign. Despite the unexpected change of plans, they were still able to give to the Orchestra where the need was greatest.

Another reason for sponsoring concerts was their own growing family. Now, Sam and Angela see including their daughters as an important part of their work. “We hope that by involving them now, when they are older, they will continue supporting the Orchestra,” says Angela, inspired by other Calgary Phil patrons who have involved their families over the long term. For the moment, favourite orchestral experiences for Sophia and Ella include the Instrument Discovery Zoo at Symphony Sundays for Kids concerts, “Maestro Karl and how he makes the sounds of the orchestra” — and the escalators at the Jack Singer Concert Hall!

Beyond growing their family’s involvement, Sam and Angela share the Calgary Phil’s belief that orchestral music is for everyone. They each enjoy bringing first-time attendees to concerts, who are often surprised to see how multi-faceted orchestral music can be. Angela is enthusiastic about introducing young audiences to the Calgary Phil’s An Orchestra Adventure — an online resource for kids, and Sam was excited to support Suncor Energy in sponsoring Jeremy Dutcher in Concert in the fall of 2019 — an incredible experience not only artistically but because of the impact it had on new and diverse audiences witnessing the visionary Tobique First Nation artist perform live. As part of his work in contributing to the accessibility of the organization, Sam also believes in making concerts as accessible as possible — not the least of which because he understands the many additional mental health benefits of listening to music, and orchestral music in particular. “I believe that the Orchestra is fundamental to the vibrancy of our city and mental health of Calgarians. We all have to manage our well-being, and if the Orchestra can positively influence mental health, then everyone deserves access to orchestral music for that benefit alone.”

As Sam and Angela’s involvement with the Orchestra has grown, so too has the impact it has had on them personally. Both speak of the strong friendships they have made, including musicians with whom they have hosted house concerts. “I see the faces on stage, and they’re not just faces anymore, but people with stories. And some of those stories intertwine with mine, and that just enriches the whole experience,” shares Sam. “The more we get involved, the more we get out of every concert we go to.”

Brahms: A German Requiem

Friday 24 March / 7:30PM

Saturday 25 March / 7:30PM

Jack Singer Concert Hall

Curated Series 2

Supported by Guest Artist Supporter: Naomi + John Lacey Virtuoso Program

Chorus Supporter: Borak Forte Program Program

Rune Bergmann, conductor Brendan Lord, interim chorus director

Meigui Zhang, soprano

Peter Barrett, baritone

Calgary Philharmonic Chorus

Johannes Brahms

A German Requiem, Op. 45 68'

I. Selig sind die da Leid tragen

II. Denn alles Fleisch es ist wie Gras

III. Herr, lehre doch mich

IV. Wie lieblich sind deine Wohnungen

V. Ihr habt nun Traurigkeit

VI. Denn wir haben hie

VII. Selig sind die Toten

This concert has no intermission Program and artists subject to change without notice

Surtitles by Michael Chadwick

A German Requiem, Op. 45

Johannes Brahms

(1833 to 1897)

Johannes Brahms’ catalogue contains a good deal of choral music, both with and without accompaniment. A German Requiem lies within the accompanied sector, as do several impressive shorter works such as Schicksalslied (Song of Destiny) and Triumphlied (Song of Triumph).

The longest of all his compositions, the Requiem is the work that established his international reputation, evolving over several years. As early as 1854, he began a large-scale work. He eventually used two of its movements in his Piano Concerto No. 1, and a third evolved into the second movement of the Requiem.

The death of his beloved mother in 1865 spurred him to complete the Requiem. He may also have intended it as a final gesture of respect to his mentor, Robert Schumann, who had died 10 years earlier and whose list of unrealized projects (unbeknownst to Brahms until many years later) included a requiem sung in German. Brahms composed the greater part of his piece in Zurich, Switzerland, completing the first version during the summer of 1866. By then, it had acquired six movements and the title, A German Requiem. In this form, it premiered at the cathedral in Bremen, Germany, on Good Friday, 1868. It was a great success, but Brahms was still not satisfied with it. The following summer, he added another movement, the fifth, and the work was finally finished.

He feared that the title would be misinterpreted as indicating a work that he designed solely for performance by German people. Such was not at all his intention. He wished to address his Requiem to all humanity, not to any particular segment of it. It is solely the language of the text that is reflected in the title. Brahms assembled the words himself, drawing upon the Lutheran Bible. He selected verses from the Old and New Testaments, drawing upon the Psalms, the writings of the prophets, the Gospels, the Epistles, and the Book of Revelation.

Language and text are only the most superficial of its unique qualities.

In many respects, it differs from most other works of its kind. A requiem is a ritual specifically associated with the Roman Catholic faith. It is performed in honour of someone who has died, and its text is sung in Latin. Traditional settings of this text are, in essence, prayers for the peaceful resting of the dead, who are threatened with the terrors of the Last Judgement. This latter concept is set forth most strongly in the Dies Irae, the Day of Wrath section of the traditional requiem text. Brahms omitted this portion completely, substituting a less fearinducing, more uplifting view of the same concept. This exemplifies the contents and manner of the work as a whole. In the German Requiem, Brahms concentrated not on seeking forgiveness for those who have left this earth but on offering consolation to those still here, mourning their departed loved ones.

The piece’s unorthodox content was recognized from the beginning. In fact, the city fathers of Bremen only gave permission for the premiere after Brahms agreed to allow, as a gesture to established beliefs, the performance of the aria, I Know That My Redeemer Liveth, from George Frideric Handel’s Messiah, after the fourth movement of the German Requiem. That practice has seldom, if ever, been repeated. Brahms’ German Requiem long ago established itself, without the need for interpolations, as precisely what its composer intended it to be: a heartfelt, universal gift of hope.

Program notes by Don Anderson © 2023 Rune Bergmann biography on page 7 Calgary Philharmonic Chorus biography on page 9

Brendan Lord Interim Chorus Director

Brendan Lord holds a Bachelor of Arts (Music) degree from Augustana University College, and Master of Music and Doctor of Musical Arts degrees in Choral Conducting from the University of Alberta. Recognized for his unique blend of artistic and administrative abilities, Dr. Lord is equally comfortable in the boardroom and on the podium. As an administrator, he is the Executive Director of Choir Alberta, Project Manager of Music Conference Alberta, and Advisor for Alberta Music Advocacy Alliance. Artistically, he has conducted choirs at all levels, including Calgary’s Spiritus Chamber Choir, Edmonton All-City Children’s Choir, Sherwood Park Festival Singers, and Sangkor Women’s Ensemble at the University of Alberta Augustana Campus. Between 2001 and 2016, Dr. Lord was a Sessional Instructor at the University of Alberta, where he taught courses in conducting, music theory, and musicianship.

Meigui Zhang’s 2022/2023 Season features an exciting role debut as Euridice opposite Jakub Józef Orliński in San Francisco Opera’s Orfeo ed Euridice, her Atlanta Opera debut as Zerlina in Don Giovanni, and a return to the Metropolitan Opera covering Ilia in Idomeneo. She is also engaged as the soprano soloist in Mozart’s Requiem with the North Carolina Symphony, Brahms’ A German Requiem with the Calgary Philharmonic, Beethoven’s Missa Solemnis with Bard College’s The Orchestra Now, and Bruckner’s Te Deum with the New Jersey Symphony. 2021/2022 sparkled with notable performances in esteemed venues. At the Metropolitan Opera, Zhang sang an “energetic, bright-voiced Thibault” in Sir David McVicar’s Don Carlos under the baton of Yannick NézetSéguin, as well as reprised her “warm, honeyed” Barbarina in Le nozze di Figaro. She also made her triumphant debut at the San Francisco Opera, starring in the lead role of Dai Yu in Bright Sheng’s The Dream of the Red Chamber.

Meigui Zhang Soprano

A recipient of the Ian Rosenblatt Bursary at the Wexford Festival in Ireland and a top prizewinner at the Montreal International Music Competition, baritone Peter Barrett is one of Canada’s most important and acclaimed artists on the opera and concert stage. The 2021/2022 Season saw him appear in Gianni Schicchi with the Canadian Opera Company, La bohème with Edmonton Opera, and the world premiere of Nicole Lizée’s R.U.R.: A Torrent of Light with Toronto’s Tapestry Opera. Barrett looks forward to 2022/2023 engagements with the Calgary Philharmonic and Calgary Opera, and returns to the Canadian Opera Company and Edmonton Opera. Other performance highlights include Valentin in Faust for Vancouver Opera, Wolseley in Louis Riel at the Canadian Opera Company, Mozart’s Requiem with the Newfoundland Symphony Orchestra, Marcello in La bohème for the Minnesota Opera, and Emile De Becque in Rodgers & Hammerstein’s South Pacific with the Calgary Opera. The Newfoundlander made his debut at the Metropolitan Opera as Malatesta in Don Pasquale opposite Anna Netrebko, and subsequently covered the role of Dr. Falke in Die Fledermaus and Lord Cecil in Maria Stuarda. Barrett is an alumnus of the Ensemble Studio of the Canadian Opera Company and Tanglewood’s Music Institute.

Peter Barrett Baritone

Diana Cohen in Concert

Friday 31 March / 7:30PM

Saturday 1 April / 7:30PM

Jack Singer Concert Hall

Curated Series 1

Supported by Guest Artist Supporter: Naomi + John Lacey Virtuoso Program Program

Yue Bao, conductor Diana Cohen, violin

Felix Mendelssohn The Hebrides (Fingal’s Cave), 10' Op. 26

Mieczysław Weinberg Violin Concerto in G Minor, Op. 67 26'

I. Allegro molto

II. Allegretto

III. Adagio

IV. Allegro risoluto

Intermission 20'

Ludwig van Beethoven Symphony No. 8 in F Major, Op. 93 26'

I. Allegro vivace e con brio

II. Allegretto scherzando

III. Tempo di menuetto

IV. Allegro vivace

The Hebrides (Fingal’s Cave), Op. 26 Felix Mendelssohn (1809 to 1847)

In 1829, Felix Mendelssohn and a friend visited Scotland. They journeyed to the Hebrides, the widely scattered group of islands off the northwest coast. On 7 August, they travelled by steamboat to the fishing port of Tobermory.

According to Mendelssohn scholar R Larry Todd, “That evening, Felix wrote to his sister, Fanny, ‘In order to make you understand how extraordinarily the Hebrides affected me, the following came to my mind there.’ ‘The following’ was a draft opening of the Hebrides Overture, complete with orchestral cues and dynamics and in nearly final form.” Reaching the island of Staffa the following day, the travellers paid a visit by rowboat to its most famous attraction: the flooded grotto known as Fingal’s Cave, named after a hero of Gaelic mythology. Mendelssohn turned his impressions of the Hebrides into this concert overture. It is one of his most Romantic and atmospheric works, one that draws close to the colourful fantasy world of such contemporaries of his as Berlioz and Liszt.

Violin Concerto in G Minor, Op. 67

Mieczysław Weinberg

(1919 to 1996)

Like his close friend, Dmitri Shostakovich, Mieczysław Weinberg suffered greatly under the repressive regime of dictator Joseph Stalin’s Soviet Union for what the authorities labelled 'progressive' tendencies. Previously, when he was living in Poland, his Jewish faith earned him and his relatives further repression. His parents and his sister died in a Nazi concentration camp. He composed a large amount of music, including 26 symphonies, 17 string quartets and seven operas. In 1948, several of his compositions were banned during the same Soviet government purge that brought Shostakovich into potentially lethal disrepute. Weinberg was saved from what might have been a dire end by Stalin’s death in 1953. Within a few years, his music began to be 'rehabilitated.' It was taken up first by prominent Soviet musicians and later by international ones as well. Recordings and live performances solidified his reputation. Musicologist Lyudmila Nikitina wrote, “Weinberg’s works sometimes have a strong

Program and artists subject to change without notice

element of commemoration, with reference to his formative years in Warsaw and to the war that ended that earlier life. His style can be described as modern yet accessible. His earlier works exhibit Neo-romantic tendencies and draw significantly on folk music, while his later works are more complex and austere. However, even in those later, more experimental works, he retains a keen sense of tradition that variously maintains itself in using classical forms or lyrical melodic lines. Always masterfully crafted, many of his instrumental works contain highly virtuosic writing and make significant technical demands on performers.” He composed the propulsive and deeply expressive Violin Concerto in 1959.

Symphony No. 8 in F Major, Op. 93

Ludwig van Beethoven (1770 to 1827)

Like Ludwig van Beethoven’s other even-numbered symphonies (except for No. 6, the ever-popular ‘Pastoral’), Symphony No. 8 has suffered relative neglect. Its subtlety and lack of spectacular elements appearing throughout the odd-numbered symphonies make it unlikely to deliver the same impact. Nevertheless, a close listen, hand-in-hand with a readjustment of expectations, reveals much worth celebrating. He composed the fifth and sixth symphonies in close succession, premiering at the same concert in 1808, and he later repeated this pattern, completing symphonies No. 7 and No. 8 in 1812. His eighth symphony is a light-hearted work but far from a light-headed one. It glances backward toward the Classical style of Wolfgang Amadeus Mozart and Franz Joseph Haydn, with touches of Beethoven’s characteristically brusque sense of humour added in. It premiered in February 1814, during one of the outrageously long concerts Beethoven regularly staged to introduce new works. This program included two other compositions that had already earned great favour: the gloriously invigorating Symphony No. 7 and the ludicrous ‘battle symphony,’ Wellington’s Victory. The eighth symphony’s positioning at that event, and the comparisons it invited, worked against its success, resulting in a lukewarm reaction.

Program notes by Don Anderson © 2023

Yue Bao Conductor

Conductor Yue Bao serves as the Ting Tsung and Wei Fong Chao Foundation Assistant Conductor of the Houston Symphony. Bao made her subscription debut with the Houston Symphony on their opening night concert of the 2020/2021 Season and led the orchestra at their Summer concert series at the Miller Theater in 2021 and 2022. She made her Chicago Symphony Orchestra debut at the 2021 Ravinia Festival and has since debuted with the San Francisco Symphony, the Detroit Symphony Orchestra, and Minnesota Orchestra. This season, Bao debuts with the Baltimore Symphony Orchestra, the Seattle Symphony, and the Calgary Philharmonic. Bao was the Bruno Walter Memorial Foundation Conducting Fellow at the Cabrillo Festival of Contemporary Music. In 2018, she served as the David Effron Conducting Fellow at the Chautauqua Music Festival, where she returned as a guest conductor in the 2022 Season. She has worked extensively in the United States and abroad. Equally at home with both symphonic and operatic repertoire, she has conducted Pyotr Ilyich Tchaikovsky’s Eugene Onegin, Georges Bizet’s Carmen, Kurt Weill’s Mahagonny: Ein Songspiel, and Gian Carlo Menotti’s The Medium Along with her Artist Diploma from The Curtis Institute of Music, where she was the Rita E Hauser Conducting Fellow and studied with Yannick Nezet-Sèguin, Bao holds Bachelor of Music degrees in orchestral conducting and opera accompanying from the Shanghai Conservatory of Music and a Master of Music degree in orchestral conducting from the Mannes School of Music.

Violin

Diana Cohen has a multifaceted career as a concertmaster, chamber musician, and soloist. She is the Concertmaster of the Calgary Philharmonic and Founder and Artistic Director of the acclaimed music festival ChamberFest Cleveland. Last July, Diana and her husband, pianist Roman Rabinovich launched ChamberFest West (chamberfestwest. com), an annual international summer chamber music festival bringing the most exciting musicians from around the globe to Calgary. Cohen has appeared as a soloist with numerous orchestras, has performed at some of the most prestigious festivals, and collaborated with renowned artists, including Garrick Ohlsson, Mitsuko Uchida, Jonathan Biss, and members of the Juilliard, Dover, Miro, and Parker string quartets. Cohen has toured and recorded with the Grammy Award-winning Orpheus Chamber Orchestra and performed with the East Coast Chamber Orchestra, Cleveland Orchestra, and New York Philharmonic. A Cleveland Institute of Music graduate, she studied with Donald Weilerstein and received the Jerome Gross Prize. In 2022, Diana received the prestigious Alumni Achievement Award from the Cleveland Institute of Music. Cohen’s father, Franklin, was longtime Principal Clarinet of the Cleveland Orchestra, and her brother Alexander is Principal Timpani for the Calgary Phil. Her late mother, Lynette Diers Cohen, was an esteemed bassoonist. Cohen lives in Calgary with her husband and her three-year-old, Noa Lynette, who sings and dances all day long.

Diana Cohen

Brass Transit: The Music of Chicago

Friday 14 April / 7:30PM

Saturday 15 April / 7:30PM

Jack Singer Concert Hall

Pops

Supported by Associate Conductor Supporter: Mary Rozsa de Coquet Program

Karl Hirzer, conductor Brass Transit, band

Performing songs from the list below: 25 or 6 to 4 / Beginnings / Call on Me / Colour My World / Doctor My Eyes / Does Anybody Really Know What Time It Is? / Feelin’ Stronger Every Day / Free / Hard Habit To Break / Hard To Say I’m Sorry (Medley) / If You Leave Me Now / I’m a Man / Just You ‘n’ Me / Last Time This Time / Make Me Smile / Questions 67 and 68 / Saturday in the Park / Searchin’ So Long / You’re the Inspiration

Concert includes a 20-minute intermission Program and artists subject to change without notice

4 things about

Chicago

What's in a name?

Originally called Chicago Transit Authority, the band released their first self-titled album in 1969. Shortly after, the real CTA threatened to take them to court over the name, and Chicago was born. Later, the band almost sued the CTA for using the song Does Anybody Really Know What Time It Is? to advertise their bus services without prior permission!

Chicago is a big time band

Over the years, the band released more than a few songs alluding to the concept of time. Their single 25 or 6 to 4 is about writing a song in the middle of the night, and the song's title is the time at which the song is set: 3:35 or 3:34AM, or ‘twenty-five or [twenty]-six to four.’ Fans have many different theories about what the lyrics mean — everything from a quantity of illicit drugs to the name of a famous person in code — but lyricist Robert Lamm rejects all theories that it means anything deeper.

Hard times for hard rock

Chicago owned the 70s, but they entered the 80s hanging by a thread. Band members struggled with substance abuse, lead guitarist Terry Kath had passed away, they were dropped by their label, and lead vocalist and bassist Peter Cetera was on his way out. Led by a new label, new producers, and new musicians, the band started exploring a new sound. With less of the classic ‘horn rock’, they became known for lush power ballads like You’re the Inspiration. A big part of the shift in their sound happened when they began working with Canadian producer David Foster, a household name for many Calgarians, since he wrote the theme for the 1988 Winter Olympics, Can’t You Feel It?

The band plays on

One of the longest-running music groups of all time with almost 30 band members over the years, Chicago defined the ‘horn rock’ genre and combined rock and roll with musical genres from classical music and jazz to R&B and pop music, and even tackled spoken word. The band still tours today, and just released its 26th studio album in 2022 — Born for This Moment

Brass Transit Band

Brass Transit was formed in 2008 and brought together eight of the most talented and accomplished awardwinning musicians. Their sole purpose was to pay tribute to one of the world’s greatest and most successful pop/rock groups of all time, Chicago. Since then, the group has toured North America, dazzling audiences with their flawless performances and spectacular attention to every detail of the Chicago songbook. Hits like: Saturday in the Park, 25 or 6 to 4, If You Leave Me Now, and You’re the Inspiration have left crowds in awe and on their feet more than once during a show, evoking comments like “Spine-Tingling,” “Brought me back to my youth,” and “Perfect in every detail.” Brass Transit goes far beyond just imitating the songs; they embody the music. They recently produced their first CD taking top hits from the 70s and recording them with horns in the Chicago style. The result is a fresh approach to some of the greatest hits of that era. They have also recently scored their show for full symphony with luscious orchestral arrangements that are truly spellbinding. Brass Transit will bring you back to the most memorable times of your life.

2023/2024 Concert Season

DISCOVER World-Class Chamber Music

MASTERS SERIES

Israeli Chamber Project

Gryphon Trio—

30th Anniversary Tour

Danish String Quartet

Accademia de’ Dissonanti & Elinor Frey, cello

Doric String Quartet

HORIZONS SERIES

A Day with Suzanne –a tribute to Leonard Cohen

Ensemble Phoenix Munich

Strings Voyage

Eunice Kim, violin & Xavier Foley, bass

Banff International String Quartet Competition Winner: Isidore String Quartet

Art. Right here on your doorstep. See what’s on:

Welcome to our 47th Season! Subscriptions available May 15, 2023 at calgarypromusica.ca

Photo: Danish String Quartet, by Caroline Bittencourt @calpromusica @calgarypromusica email info@calgarypromusica.ca web calgarypromusica.ca

Karl Hirzer biography on page 7

Let Voices Resound

Friday 21 April / 7:30PM

Jack Singer Concert Hall

Curated Series 3

Supported by Chorus Sponsor: Borak Forte Program

Please refer to the special 60th anniversary concert program, featuring the program for tonight’s concert, a look back on the Chorus’ history, and program notes about the music. This commemorative program guide will be available in the lobby at Let Voices Resound on 21 April.

Concert includes a 20-minute intermission Program and artists subject to change without notice

Let Voices Resound celebrates the 60th anniversary of the Calgary Philharmonic Chorus, featuring music for chorus and the Jack Singer Concert Hall's Carthy Organ. The Chorus will perform works by William Walton, Bob Chilcott, Jonathan Dove, Eric Whitacre, Laura Hawley, Kristopher Fulton, Mark Sirett, and Ruth Watson Henderson, and will be joined by Cantaré Children’s Choir, Neil Cockburn, and soloists for this special concert.

The Chorus is made up of more than 115 dedicated volunteer singers in Calgary from all walks of life — they are musicians, artists, scientists, engineers, teachers, medical personnel, legal experts, skilled trades people, and much more. While many have years of musical training, they all share a common interest — singing. Over the years, the Chorus has become one of Calgary’s leading musical institutions, delivering excellence in the performance of choral music and promoting the enjoyment of choral singing in Calgary communities. The large vocal ensemble is one of only two choruses in Canada that is part of a major professional symphony orchestra. Want to get involved? Learn more about auditions at calgaryphil.com/chorus.

On Friday 21 April, the Chorus will move from the Choir Loft down to centre stage at the Jack Singer Concert Hall. Appearing without the Orchestra, you have the chance to hear the Chorus perform stunning choir music in this unique concert experience, featuring songs with themes of celebration, joy, beauty, unity, mythology, and of course, light and hope.

VOLUNTEERING and COMMUNITY PROSPERITY

By Marisa Barber

Calgary’s non-profit sector is an integral part of life in the city and touches the lives of nearly every Calgarian. From arts and culture to sports and recreation, mental health, and support services, local non-profits support our communities. Many of these organizations rely on volunteers to operate day-to-day and have the most impact possible on those accessing services.

Alberta is a giving province in many ways — especially related to the gift of time. Nearly half of Alberta residents volunteer, contributing to a total of 227 million volunteer hours annually. To put that into perspective, if this volunteer labour were conservatively valued at $21/hour, it amounts to nearly $5 billion of giving. These millions of hours are vital for the prosperity of Calgary’s communities. Karen Ball, President & CEO of the Calgary Chamber of Voluntary Organizations (CCVO), states, “Going back to the 1988 Olympics and beyond, Calgary has been a city made vibrant by the contribution of our volunteers. A crucial way for Calgary to ensure all communities are prosperous now and into the future is through supporting

a culture of giving and volunteerism. Everyone plays a part in this.”

Volunteering not only ensures that Calgarians can access services, but also creates meaningful connections, building a sense of belonging and purpose between volunteers and the community.

Thriving non-profits and volunteers are cornerstones to a thriving Calgary and Alberta. To support their organizations and these volunteers, non-profits need support themselves. CCVO’s mission is to champion the non-profit sector as a connector, sense-maker, and advocate for Alberta’s non-profits and their private and public sector stakeholders.

As a connector, CCVO hosts events and engages communities to bring together non-profits in conversation about critical issues, share ideas, and further systems of support in the sector. As a sense-maker, they monitor emerging issues, provide decisionmakers with a credible source of information about sector impact, and help non-profits make sense of policy changes and sector-wide implications.

As an advocate, CCVO works to build an understanding of Alberta’s non-profit sector through research

and engagement, bringing attention to the impact of and issues facing non-profits in Calgary and across the province. CCVO keeps non-profits top of mind with governments at all levels by sharing an informed voice on critical issues affecting charities and non-profits in Alberta. Find out how you can get involved in the work they do to raise the voice of Alberta’s nonprofits at thenon-profitvote.ca.

CCVO’s recent research has provided data on the impacts of non-profits. This data is essential to successful response, recovery, and rebuilding strategies. Arts and culture organizations specifically, which make up 8% of Alberta’s non-profit and charitable sector — nearly 2,500 organizations — faced a 16% loss in revenue at the onset of the pandemic. Many organizations are working hard to recover while facing decreased resources and capacity. As CCVO believes, everyone plays a part in community prosperity, and they urge you to help support a strong return of the arts by considering donating time or treasure.

Corb Lund in Concert

Presented in partnership with the Taylor Family Foundation

Thursday 27 April / 7:30PM

Bella Concert Hall

Saturday 29 April / 7:30PM

Jack Singer Concert Hall

Specials

Supported by

Concert Supporter: Taylor Family Foundation

Associate Conductor Supporter: Mary Rozsa de Coquet

Program

Karl Hirzer, conductor

Corb Lund, vocals

Program to be announced from stage

Vocals

Corb Lund has received multiple CCMA, Juno, and international award nominations and wins. A rural Albertan hailing from the foothills of the Rocky Mountains with a long family lineage of ranchers and rodeo people, Lund is about as authentic as they come. Embracing his Western heritage and indie rock past through his music, Lund is known to filter a range of cowboy themes past and present through his unique lens — from rough-and-tumble tales of lawless frontier saloons to the sombre realities of running a modern family ranch. Most recently, Lund released Songs My Friends Wrote. Met with critical acclaim, the 10song set features Lund putting his spin on some of his favourite songs written by close friends and worldclass songwriters such as Hayes Carll, Todd Snider, Canadian Country Music Legend Ian Tyson, and more.

With Songs My Friends Wrote, Lund won his 14th career CCMA in 2022. The album is the follow-up to 2020’s critically acclaimed Agricultural Tragic, Lund’s first studio album of original material in five years, which also earned him a CCMA in 2021.

Lund also recently had his debut on stage at the historic Grand Ole Opry.

Karl Hirzer biography on page 7

Corb Lund

Concert includes a 20-minute intermission Program and artists subject to change without notice

© Noah Fallis

© Noah Fallis

By Giuseppe Verdi

By Hector Berlioz

by Rob Herriot & Gordon Gerard

Dramatically transforming Calgary’s creative future.

Arts Commons is boldly investing in the future of Calgary. We’re reimagining the arts to reflect the diverse and evolving perspectives of Calgarians and create dynamic experiences that are accessible and relevant to everyone. Through a culture of fearless creativity, we’ll drive social and economic change that reignites our city’s downtown core.

The future starts now: artscommons.ca/ACT

Southern Alberta Jubilee Auditorium

Mamdani Opera Centre

Will's Jams

Sunday 30 April / 3PM

Instrument Discovery Zoo / 2PM

Jack Singer Concert Hall Symphony Sundays for Kids

Supported by

Concert Supporter: ATB

Instrument Discovery Zoo Sponsor: Long & McQuade Musical Instruments Program

Juliane Gallant, conductor

Will Stroet, vocals and guitar

This concert will run approximately one hour and will include Will’s favourites like Big Shiny Spoons, Make Friends with an Earthworm, Let's All Dance, and orchestral wonders like The Barber of Seville, Flight of the Bumblebee, and The Four Seasons.

Instrument Discovery Zoo

Do you have a young music fan on your hands? Symphony Sundays for Kids concerts are about one hour long with no intermission and feature classical favourites every child should know.

Arrive early for the Instrument Discovery Zoo in the Jack Singer lobby, where they can visit different stations hosted by Orchestra musicians. Each station features an instrument or musical activity for children to try!

This fun, hands-on experience is the perfect way to indulge your child’s curiosity and excitement about visiting the Orchestra. The Instrument Discovery Zoo starts at 2PM and the performance starts at 3PM.

This concert has no intermission Program and artists subject to change without notice

Juliane Gallant Conductor

Conductor Juliane Gallant works in Canada and the United Kingdom, where she trained at the National Opera Studio and the Guildhall School of Music and Drama. An Opera Awards Foundation recipient, Gallant has led productions for the Highlands Opera Studio, Gothic Opera, Hampstead Garden Opera, King’s Head Theatre, Opera on Location, St Paul’s Opera, Opera Up Close, Opera Mio, and the Clapham Opera Festival. In 2021, she made her Royal Opera House conducting debut in Mami Wata as part of the Engender Festival in collaboration with Pegasus Opera. She has appeared as a guest conductor with the Kingston Symphony Orchestra, the Nova Scotia Youth Symphony, and the Hallam Sinfonia. In 2020, Gallant was named one of two conductors in the inaugural cohort of Tapestry Opera’s Women in Musical Leadership program in partnership with the Toronto Symphony Orchestra and Pacific Opera Victoria. Gallant holds degrees from the Guildhall School of Music and Drama, Université de Moncton, University of Ottawa, and Le Conservatoire de musique et d’art dramatique de Montréal.

Juliane Gallant appears with the Calgary Phil as a member of Tapestry Opera’s Women in Musical Leadership, a program designed to collectively develop the next generation of female and non-binary conductors and music directors in Canada.

Will Stroet Vocals and Guitar

Will Stroet of Will’s Jams is a Junonominated musician, nationally recognized educator and former CBC Kids TV star. His high-energy rockpop music in English and French is full of witty wordplay and sing-along choruses, inspiring kids to be active, creative, caring, and communityminded. Stroet discovered his talent for writing music for kids while completing his Bachelor of Education at the University of British Columbia. After releasing his first album in 2005 and performing shows locally, Stroet knew he had found his calling. In 2009, he left teaching to pursue music full-time and has never looked back. To date, Stroet has performed more than 2,000 shows across Canada and China. His 12 albums in English and French have garnered national acclaim, including a 2017 Juno nomination, seven nominations from the Western Canadian Music Awards, three from the Canadian Folk Music Awards, and two from the SiriusXM Indies. In 2015, UBC’s Faculty of Education honoured Stroet in their Top 100 Alumni Awards. To learn more about Stroet and his music, visit willsjams.com. Connect with him on Facebook, Instagram, and Twitter @willsjamsmusic.

Feturing a collaboration with Claude LaPalme and Rosa Barocca baroque orchestra

Hear a world premiere by Sherryl Sewepegaham!

Elgar's Cello Concerto

Friday 5 May / 7:30PM

Saturday 6 May / 7:30PM

Jack Singer Concert Hall

Curated Series 2

Supported by

Concert Supporter: Hayes Family

Guest Artist Supporter: Naomi + John Lacey Virtuoso Program Program

Ramón Tebar, conductor Stéphane Tétreault, cello

Alexander Borodin Polovtsian Dances from Prince Igor

I. Dance of the Polvtsian Maidens

II. Polovtsian Dance

Edward Elgar Cello Concerto in E Minor, Op. 85

I. Adagio

II. Lento

III. Adagio

IV. Allegro

Sergei Rachmaninoff Symphonic Dances, Op. 45

I. Non allegro – Lento – Tempo I

II. Andante con moto (Tempo di valse)

III. Lento assai – Allegro vivace

Polovtsian Dances from Prince Igor

Alexander Borodin

(1833 to 1887)

Alexander Borodin’s career as a doctor and professor of chemistry left him little time for music. His magnum opus, the opera Prince Igor, l, lay incomplete at his death, despite nearly 20 years of intermittent labour. It was finished (and, to some extent, actually composed) by his friend, Nikolai Rimsky-Korsakov and Rimsky’s pupil, Alexander Glazunov. Drawn from Russian history, the plot concerns the 12th-century conflict between the forces of Igor, a Russian prince, and Konchak, the leader of an Eastern tribe, the Polovtsians. After Konchak takes Igor prisoner, he offers to set him free if he swears never to attack the Polovtsians again. Igor refuses. Konchak cannot help but admire his adversary’s bravery. To divert him from his melancholy state, he calls upon his people to entertain the Prince. They do so in the barbaric and poetic Polovtsian Dances.

Cello Concerto in E Minor, Op. 85

Edward Elgar (1857 to 1934)

'

World War I changed Europe forever, not only on the map but also in its citizens’ hearts and minds. For Edward Elgar, the leading English composer of the pre-war era, the effects of the political upheavals and battlefield carnage were devastating. The warmth and confidence that illuminated and helped to popularize such pieces as the Enigma Variations diminished markedly, never fully returning to their previous level. Elgar gave voice to the saddening of his world, to its growing inwardness and pessimism.

Other composers, such as Igor Stravinsky, turned to the lean textures and buoyant optimism of Neo-Classicism. Meanwhile, Arnold Schoenberg and his disciples deconstructed traditional musical procedures to pursue new means of expression.

In the warm, noble voice of the cello, Elgar found the perfect medium to express his brooding, nostalgic postwar emotions. The premiere of the Cello Concerto took place in London in 1919. Elgar conducted, with Felix Salmond playing the solo part.

Program and artists subject to change without notice

It is a restrained piece compared to the more outgoing virtuoso concertos of the 19th century.

Symphonic Dances, Op. 45 Sergei Rachmaninoff (1873 to 1943)

Sergei Rachmaninoff began work on Symphonic Dances, his final composition, during the summer of 1940. It took its toll upon him, both physically and emotionally. At the final rehearsal, he turned to the orchestra and said, “Years ago, I composed for the great (basso, Feodor) Chaliapin. Now, he is dead, and so I compose for a new kind of artists, the Philadelphia Orchestra.” Eugene Ormandy conducted the first performance in January 1941. The largely negative reception crushed Rachmaninoff.

For decades, Symphonic Dances remained the stepchild of his major works for orchestra. The last 25 years have witnessed strong growth in appreciation of this moody, multi-faceted and spectacularly orchestrated work, as testified by numerous live performances and studio recordings. Rhythm plays a powerful role in it, but in terms of scale, quality of themes and ingenuity of development, it is much more a symphonic work than a balletic one.

It continued his obsession with the Dies Irae (Day of Wrath), a sombre melody drawn from the medieval plainchant Mass for the Dead. He had previously quoted it in several works, including the tone poem The Isle of the Dead and the Rhapsody on a Theme of Paganini for piano and orchestra.

Program notes by Don Anderson © 2023

Ramón Tebar Conductor

Spanish Conductor Ramón Tebar is currently Conductor in Association with the Orquesta de Valencia and Artistic Director of Opera Naples. He was previously Artistic Director of the Florida Grand Opera and Principal Guest Conductor of Valencia’s Palau de les Arts Reina Sofia. As a guest conductor, Tebar regularly conducts such auspices at the Vienna State Opera, Frankfurt Opera, Teatró Colon, San Francisco Opera, Royal Swedish Opera, Teatro Regio di Parma, Barcelona’s Gran Teatre del Liceu, as well as the Copenhagen Philharmonic, Cincinnati Symphony, Munich Radio Orchestra, Prague Philharmonia, Spanish National Orchestra, Barcelona Symphony, the RTVE Orchestra in Madrid, and London’s Philharmonia, to name a few. Throughout his career, Tebar has had the pleasure of working with some of the operatic world’s greats, including such luminaries as Montserrat Caballé and Renata Scoto, and his work can be heard on recordings with Joseph Calleja and the Orquestra de la Comunitat Valenciana on the DECCA label, and with Gregory Kunde and the Orquesta Sinfonica de Navarra on Universal.

Stéphane Tétreault Cello

In addition to numerous awards and honours, Stéphane Tétreault was the 2019 recipient of the prestigious Virginia Parker Prize from the Canada Council for the Arts. He is also the 2022 laureate of the Prix Opus for Performer of the Year, awarded by the Conseil québécois de la musique and accompanied by a Canada Council grant. In 2016, Tétreault made his debut with the Philadelphia Orchestra under the direction of Yannick Nézet-Séguin and performed at the prestigious Gstaad Menuhin Festival in Switzerland. During the 2017/2018 Season, he took part in the Orchestre Métropolitain’s first European tour with Yannick NézetSéguin and made his debut with the London Philharmonic Orchestra. His debut CD, recorded with the Quebec Symphony Orchestra and conductor Fabien Gabel was chosen as 'Editor’s Choice' in the March 2013 issue of Gramophone Magazine. His second album with pianist MarieÈve Scarfone, featuring works from Haydn, Schubert, and Brahms, was chosen as Gramophone Magazine’s 'Critic’s Choice 2016' and recognized as one of the best albums of the year. Tétreault plays the 1707 “Countess of Stainlein, Ex-Paganini” Stradivarius cello, generously loaned to him by Sophie Desmarais.

THE VIEW FROM the LOFT

Celebrating the first 60 years of the Calgary Philharmonic Chorus

By Miranda Martini

Sitting inside the Jack Singer Concert Hall, you can hear the hum of the Calgary Philharmonic Orchestra tuning and the hush of the audience as 1,500 people lean forward in their seats, listening carefully for the opening strains of music.

If you’re a frequent concertgoer, your mental picture might include the loft above the Orchestra, where around 120 people are also listening carefully, preparing to make music of their own.

Katt Hryciw, a middle school teacher who sings tenor in the Calgary Philharmonic Chorus and works as the Chorus Administrator, remembers experiencing Handel’s Messiah for the first time from the loft, looking out on the Orchestra and the audience.

“When you do the Hallelujah Chorus, the whole audience stands. It’s so beautiful, I just started weeping. I was like, ‘Oh my god, what’s wrong with me?’ It was a really moving experience.”

This sentiment is echoed by several members of the Chorus, which celebrates its 60th anniversary this year. The Calgary Phil will mark the occasion on Friday 21 April with Let Voices Resound, a special concert that will see the Chorus taking centre stage for a change, performing pieces for chorus accompanied by the Jack Singer’s Carthy organ.

Catherine Lasuita, an alto in the Chorus since 1996, auditioned precisely because she wanted to see

Messiah performed but couldn’t find anyone to go with her. “So, I thought, well, why don’t I just be in it?”

However, some of her proudest moments with the Chorus have been the opportunities to premiere new works.

One such premiere stands out in recent memory as particularly special — perhaps because it was so hardwon. I Rise, a collaboration between the Calgary Phil and Pink Flamingo, presented a concert alongside the Black Lives Matter Mural Project. The concert included the Chorus’ performance of the eponymous piece by Canadian composer Laura Hawley, which was commissioned for them and based on LR Knost’s poem of the same name.

left to right: Crystal Tan, soprano Katt Hryciw, tenor Mark Dumbrique, bass Catherine Lasuita, alto

The Chorus began work on the piece in early 2021, but was only able to perform it for an audience for the first time almost two years later.

This came after a year during which the Chorus couldn’t perform at all.

“I went through a period of denial, because I could not believe that something so fun was one of the most life-threatening activities,” Lasuita recalls. “I couldn’t wrap my head around it.”

“The thing that really captured my attention was how big it was, and seeing it from the audience, it’s amazing the amount of sound they can project.”

Tan admits she was a little intimidated when she auditioned.

“I was the last person to audition, so I was really nervous,” she says, laughing. “I tried to hit the high notes, and I remember my voice cracked.”

As the audition progressed, she relaxed and nailed the sight-reading piece the Calgary Phil had set for the audition (“I was trained in singing with solfege, so maybe that got me a bonus point,” she laughs). Now she feels completely at home among the other choristers, who are, after all, just music lovers like her.

Mark Dumbrique, a corporate insurance broker who sings bass, says the feeling of camaraderie has given him a new outlook on working as a team.

The Calgary Phil had to get creative to keep the Chorus’ momentum going throughout the COVID-19 pandemic. The Chorus was engaged in the creation of their commissioned piece, submitting poems for inclusion and meeting with Hawley to learn about her composition process.

They rehearsed online, then in their cars, then eventually masked and distanced in their Jack Singer rehearsal space. (This further complicated the already hefty logistical challenge of bringing the Orchestra and Chorus together, notes Hryciw: “If it’s hard to be louder than an orchestra normally, imagine doing that six feet apart and with a mask on.”)

When they were finally able to perform the piece for a live audience on 1 October 2022, it was an emotional experience for many.

“To perform it and realize I knew the piece so well because we had spent so much time on it…it felt really, really rewarding,” Lasuita recalls. “It’s so exciting when the composer says, ‘Wow, I’ve only heard this in my head, and now I get to actually hear a choir sing it.’”

For Crystal Tan, a graduate student from Malaysia who moved to Calgary to study music education, reconnecting with choral singing after the pandemic is what drew her to the Chorus.

Lasuita says that sometimes acquaintances are surprised to learn she’s in the Chorus. “They’ll say, ‘Oh, are you that good?’ A lot of people don’t understand that for the musicians [in the Orchestra], it’s their career. The Chorus is all volunteers.”

Some are in school, like Tan; others balance work, families, and other volunteer commitments with the demands of learning and performing the Chorus’ challenging repertoire. So what keeps them coming back season after season?

“It’s just amazing to see how there are different people in the Chorus with different backgrounds in music, and then every rehearsal, we come together and sing,” says Tan. “Honestly, I learn so much from them.”

According to Lasuita, who stepped away from the Chorus one year, she was quickly approached by her husband and two children, “who all asked me separately, ‘So when are you going back?’ I guess I’m easier to live with when I sing in the choir.”

“If you go to a symphony concert, the choristers are always there,” remarks Hryciw. “There are choristers who volunteer for almost anything that the Calgary Phil is doing. There are choristers who just want to share their love of the music with their family and with their friends. Any time I go to a concert, I’m always running into people from the Chorus, because they are so invested in the organization. It’s really a special community.”

“My previous choral experiences have largely been in smaller ensembles,” he says. “I think I’ve grown as a singer by being intentional in rehearsing, especially with the challenges of blending and shaping in a large section.” There are several choristers who have been in the Chorus for more than two or three decades. Dumbrique, who is currently in rehearsals for the Calgary Phil’s performance of Johannes Brahms’ A German Requiem, points out it’s interesting getting historical tidbits from them, but he says it’s especially meaningful to learn from the choristers who have performed the standards of choral repertoire many times.

“I find it really inspiring to see how they approach these works they’ve performed so many times with a different curiosity each time.”

Dumbrique performed with the Chorus for the first concert of Calgary Phil’s 2022/2023 Season — Beethoven’s Ode to Joy — which included the world premiere of ᓂᔭ niya (I Am), a commissioned work for the Orchestra and Chorus by Cree composer Andrew Balfour.

“One of his interesting insights was that no matter what we’re singing, it always speaks to our time,” Dumbrique remembers from working with Balfour on the piece, which was written to be performed alongside Beethoven’s Symphony No. 9

“It’s really easy to see a Beethoven Nine as this piece from only a moment of history, but there are always musical and cultural things we can learn from performing music of all kinds.”

Dumbrique reflects that the Chorus has become a beautiful, and necessary part of his life. “It’s the chance to share that with others,” he finishes. “Especially when you have these works like niya and I Rise that have very profound stories behind them, hopefully that provokes some reflection and thought, and hopefully even some action.”

“ It’s so exciting when the composer says, ‘Wow, I’ve only heard this in my head, and now I get to actually hear a choir sing it.’ ”

Katherine Chi performs Beethoven

Friday 12 May / 7:30PM

Saturday 13 May / 7:30PM

Jack Singer Concert Hall

Curated Series 1

Supported by

Guest Artist Supporter: Naomi + John Lacey Virtuoso Program

Commission Supporter: DeBoni New Works

Program

Mei-Ann Chen, conductor

Katherine Chi, piano

Jocelyn Morlock, composer

Jocelyn Morlock Interloper (World Premiere) 12'

Ludwig van Beethoven Piano Concerto No. 4 in G Major, 34' Op. 58

I. Allegro moderato

II. Andante con moto

III. Rondo: Vivace

Intermission 20'

Ludwig van Beethoven Symphony No. 4 in B-Flat Major, 34' Op. 60

I. Adagio – Allegro vivace

II. Adagio

III. Allegro vivace

IV. Allegro ma non troppo

Program and artists subject to change without notice

Interloper

Jocelyn Morlock

(b. 1959)

A 21st-century listener hearing Beethoven’s fourth symphony drinks in the mysterious slow introduction to the work, comfortably expecting the energetic first movement proper that we’ve heard dozens of times; but in 1806, beginning a work titled Symphony No. 4 in B-Flat Major in the minor mode was transgressive — then, as now, a living composer was out to surprise, to shock us, maybe make us laugh, maybe scare us a little. Beethoven was an interloper himself; he struggled to improve his social and financial status, gradually morphing from a socialist outlier to a colossus. But I’ve been wondering — must the image of Beethoven be mutated from one of quirky, humorous, disruptive artist, to deified cultural icon — and is this truly a positive transformation? I came to classical music in late adolescence — as with many composers of my generation, by way of Wolfgang Amadeus Mozart — and felt like I’d passed through a magic portal. Since then, I’ve been inviting myself into the musical worlds of great western art music composers of the past and making myself at home. Interloper’s adoptive home is those first three notes of Beethoven’s fourth symphony, the unexpected minor mode, and the commensurate sense of strangeness and unreality which might be either comforting or disturbing. Elements of comedy and tragedy battle each other, and it is anyone's guess which might win.

Program note by Jocelyn Morlock © 2023

Piano Concerto No. 4 in G Major, Op. 58

Ludwig van Beethoven (1770 to 1827)

Ludwig van Beethoven won his first fame in Vienna as a pianist. He composed solo piano works for his own performance, and by 1803, the first three of his five concertos for piano and orchestra.

He created the exceptionally beautiful Piano Concerto No. 4 in 1805 and 1806. During this highly fertile period, he also produced the Violin Concerto, which shares this Piano concerto’s warm, contented nature.

As he had done with his three previous piano concertos, he played the solo part at the first performance himself, in March 1807, before an aristocratic audience in the Vienna home of a friend. Listeners responded with polite applause. It was only when no less a soloist than Felix Mendelssohn took it up during the 1830s that it finally began to make its mark.

Symphony No. 4 in B-Flat Major, Op. 60

Ludwig van Beethoven

Beethoven did most of the work on Symphony No. 4 in 1806. One of its primary characteristics is a gruff sense of humour. That autumn, he visited his patron Prince Lichnowsky at his summer estate. There he met the Prince’s neighbour, Count Franz von Oppersdorff. The Count invited Beethoven and the Prince to his castle. He had his private orchestra perform Beethoven’s Symphony No. 2, then commissioned two new symphonies from him (No. 4 and 5) It is likely that the Count’s orchestra gave the fourth symphony its premiere. The first fully documented reading was a private one in Vienna in March 1807.

During Beethoven’s 1806 stay with the Prince, he had a stormy encounter with another guest, a French General. Beethoven refused Lichnowsky's request to play the piano to entertain the General. This was Beethoven’s way of protesting the Napoleonic Wars, which were devastating much of Europe, and continued the disgust that led him to cancel the dedication of Symphony No. 3 (Eroica) to Bonaparte.

Beethoven stormed out of the castle and trudged through the rain to spend the night in the nearest town. Before departing for Vienna the following day, he sent Lichnowsky this oft-quoted note:

Prince! What you are, you are by accident of birth. What I am, I am through myself. There have been and will be thousands of princes. There is only one Beethoven.

Program notes by Don Anderson © 2023

Mei-Ann Chen Conductor

Praised for her dynamic, passionate conducting style, Taiwanese American conductor Mei-Ann Chen has been Music Director of the MacArthur Award-winning Chicago Sinfonietta since 2011. Chen has been Chief Conductor of Austria’s Recreation Orchester at Styriarte since the fall of 2021 (following two seasons as the orchestra’s first-ever Principal Guest Conductor), making her the first female Asian conductor to hold this position with an Austrian orchestra. She also serves as the first-ever Artistic Partner of Houston’s River Oaks Chamber Orchestra since 2019, and this fall began her new role as Artistic Partner with Washington state’s Northwest Sinfonietta. Highly regarded as a compelling communicator and an innovative leader both on and off the podium, and a sought-after guest conductor, she has appeared with distinguished orchestras throughout the Americas, Europe, Taiwan, The United Kingdom, and Scandinavia, and continues to expand her relationships with orchestras worldwide (over 120 orchestras to date). Honours include being named one of the 2015 Top 30 Influencers by Musical America, the 2012 Helen M Thompson Award from the League of American Orchestras, winner of the 2007 Taki Concordia Fellowship founded by Marin Alsop, 2005 First Prize Winner of the Malko Competition, and ASCAP awards for innovative programming.

Katherine Chi Piano

Katherine Chi, firmly established as one of Canada’s most sought-after pianists, has performed throughout Europe and North America to great acclaim. As noted by The New York Times, “Ms. Chi display[s] a keen musical intelligence and a powerful arsenal of technique.” While hailed for her interpretations of Mozart, she is also acclaimed for performances of major romantic and 20th-century concertos. The Globe and Mail described Chi’s performance as “… the most sensational but, better, the most unfailingly cogent and compelling Prokofiev’s Third I have heard in years.” With her energy, character, and spunk, Chi has been described as a “shining star” (Lake Superior News) known to “bring the house down” (The Chronicle Journal), performing concerto repertoire ranging from Bach to Bartók to Liszt to Schoenberg. In 2000, Chi won first prize in the Honens International Piano Competition and was the first Canadian to win this prestigious Calgary award.

Jocelyn Morlock Composer

Jocelyn Morlock is a composer living in Vancouver, Canada, the unceded territory of the Musqueam, Squamish, and Tsleil-Waututh First Nations. She came to classical music in late adolescence by way of the film Amadeus, and felt like she’d passed through a magic portal, never to return. Her music is inspired variously by birds, insomnia, nature, fear, other people’s music and art, nocturnal wandering thoughts, lucid dreaming, death, and the liminal times and experiences before and after death. Morlock was the Vancouver Symphony Orchestra’s first female Composer-in-Residence (2014–2019), and inaugural Composer-in-Residence for Vancouver’s Music on Main (2012–2014.) She won a 2018 Juno Award for her piece My Name is Amanda Todd — written as part of the National Arts Centre Orchestra’s multi-media work Life Reflected, celebrating four remarkable Canadian women. As a listener and music educator, she has a broad-ranging interest in all kinds and styles of music and is grateful to be living in a time and place where we can hear so many diverse voices express their identity in music. She believes in the proliferation of positive energy that a large group of people can create together, through many small actions.

© Mark Mushet

Marvel Studios Presents Black Panther in Concert

Presented in partnership with the Calgary International Film Festival

Thursday 18 May / 7:30PM

Friday 19 May / 7:30PM

Southern Alberta Jubilee Auditorium Specials Program

Lawrence Loh is Music Director of Symphoria (Syracuse, NY). Loh had a decade-plus association with the Pittsburgh Symphony Orchestra and continues to lead pops and other select programs. Loh’s previous positions include Music Director of the West Virginia Symphony, Music Director of the Northeastern Pennsylvania Philharmonic, Artistic Director and Principal Conductor of Syracuse Opera, Resident Conductor of the Pittsburgh Symphony Orchestra, Associate Conductor of the Dallas Symphony Orchestra, and Associate Conductor of the Colorado Symphony Orchestra. Having a particular affinity for pops programming, Loh has been engaged for repeat performances with Chris Botti, Idina Menzel, and Ann Hampton Callaway. He is particularly adept at synchronizing live orchestral music with film and has led Star Wars, Pixar in Concert, Disney in Concert, The Wizard of Oz, and Singin’ in the Rain, among others. Loh is an active guest conductor, including engagements this season with Seattle Symphony, San Diego Symphony, and the Grant Park Festival. His festival appearances have included Bravo Vail Valley, Aspen, Mann Center in Philadelphia, and Boston University Tanglewood Institute Young Artists Orchestra. Loh received his Artist Diploma in Orchestral Conducting from Yale, his Master of Music in Choral Conducting from Indiana University, and his Bachelor of Arts and Certificate of Management Studies from the University of Rochester.

Lawrence Loh, conductor Massamba Diop, talking drums

Ludwig Göransson Black Panther in Concert

155' (Film with Orchestra)

© Marvel Presentation licensed by Disney Concerts © All rights reserved

Concert includes a 20-minute intermission Program and artists subject to change without notice

Lawrence Loh Conductor

Massamba Diop Talking Drums

2023/2024

CAROLE and STEVE

Carole and Steve Clement have volunteered thousands of hours with the Calgary Phil, lending their time and expertise in the Front of House to make sure concerts run smoothly for audiences, and also helping at marketing booths at summer festivals, supporting special events throughout the year, and even working the overnight count room shift at many casinos. We caught up with them to learn more about what they love most about volunteering with the Calgary Phil.

Q How long have you been volunteering with the Calgary Phil, and what led you to start volunteering?

A We enjoyed the Calgary Phil for some time as patrons, and then began volunteering over 20 years ago. We felt that with our love of music, and our time and energy, this would be a good fit. Who knew we’d have so much fun dressing up in homemade costumes for concerts like Harry Potter, Mary Poppins, Star Trek, and Ghostbusters!

Q What have you learned through volunteering? What have you enjoyed most?

A We’ve worked in various volunteer roles over the year, with everything from special events (Cork and Canvas, donor events, and so many more) to helping with Front of House duties for many Calgary Phil concerts, which is both a privilege and a challenge that we sincerely enjoy. We love working collaboratively with everyone to ensure concerts flow seamlessly for audiences. We enjoy being a part of this process, and we meet such wonderful people along the way!

Q Why is volunteering in your community important to you?

A There is such a need for volunteers in any community! Many organizations could not function as well as they do without volunteers. We are delighted to help out our Calgary Phil, but we also volunteer in many other ways — with Canadian Blood Services as weekly plasma donors, performing sing-alongs at several seniors homes, helping to prepare soup for a local community lunch program, and more — we live in a great community!

Q How has volunteering with the Calgary Phil helped you connect with your communities?

A Calgary Phil has excellent community programs, featuring the musicians in venues all around town. Each year, they go out to communities offering live performances at schools and other venues, bringing the Orchestra out to the people. We get a nice sense of a community when we volunteer at the various special events, and community concerts such as Sounds of the Season, and Traditional Christmas at Grace Presbyterian.

Q What are some of your favourite things to do in Calgary?

A Calgary Phil, of course! As well, we enjoy playing together in an amateur wind quartet, with Carole on clarinet and Steve on trombone. We also love hiking, kayaking, and most of all, cycling the wonderful pathway system in the city. In the winter, we hope for lots of snow so that we can strap on our snowshoes and enjoy our beautiful parks and Foothills — no mosquitoes!

The Calgary Phil celebrates the time and dedication of its volunteers and their energy and enthusiasm in ensuring our communities have opportunities to experience orchestral music. This is your opportunity to join the Calgary Phil's volunteer team, make new friends, and support our communities.

Visit calgaryphil.com/volunteer for more information.

Chamber Music at the Bella: Night 1

Fanfare

Karen Donnelly

A gifted performer and a dedicated musical educator, Karen, a native of Regina, Saskatchewan, has served as Principal Trumpet of Ottawa’s National Arts Centre Orchestra since 1999. She composed this fanfare for solo trumpet in 2020, under the influence of bird song and on behalf of the Music & Beyond concerts.

Carrot Revolution

Gabriella Smith

(b. 1991)

Gabriella Smith is hailed as an “outright sensation” (LA Times). Her music comes from a love of play, exploring new sounds on instruments, building compelling musical arcs, and connecting listeners with the natural world in an invitation to find joy in climate action. She composed Carrot Revolution in 2015 for the Aizuri Quartet.

“Looking for inspiration for this string quartet,” she writes, “I suddenly remembered a quote from painter Paul Cézanne that I’d heard years ago (though which I later learned was misattributed to him): ‘The day will come when a single, freshly observed carrot will start a revolution.’ And I knew immediately that my piece would be called Carrot Revolution. I envisioned it as a celebration of that spirit of fresh observation and of new ways of looking at old things, such as the string quartet — a 250-year-old genre — as well as some of my even older musical influences like Bach, Perotin, Gregorian chant, Georgian folk songs, and Celtic fiddle tunes.”

String Quartet No. 8 in C Minor, Op. 110

Dmitri Shostakovich

(1906 to 1975)

The powerful emotional directness of String Quartet No. 8 has made it the most frequently performed of Shostakovich’s 15 examples. He composed it in 1960, and the Beethoven Quartet premiered it in Leningrad on 2 October. He wrote it during a visit to Dresden, Germany and publicly dedicated it “To the memory of the victims of fascism and war.”

Program subject to change without notice

This provided Soviet authorities with a politically correct inspiration, but he gave it a personal spin by, at least inwardly, including himself among the victims. In a letter to a friend, Isaak Glikman, he revealed additional intentions: “I was thinking about the fact that if I die some time or other, it’s pretty unlikely that someone will write a work in my memory. So, I decided to write such a piece myself. The basic theme of the Quartet is DSCH (the German names for the notes d, e-flat, c, b), i.e., my initials.” Another friend, Lev Lebedinsky, wrote that Shostakovich was contemplating suicide at the time, due to his recently giving in to long-standing pressure to join the Communist party. Lebedinsky stated that Shostakovich considered the quartet an autobiography and his last will and testament. Lebedinsky convinced him not to take his own life. Fifteen years later, String Quartet No. 8 was performed at Shostakovich’s funeral.

Octet in F Major, D. 803

Franz Schubert (1797 to 1828)

Schubert’s Octet in F Major is one of the true glories of the chamber music repertoire. He composed this expansive work in 1824. He modelled it on the Septet that Ludwig van Beethoven had written nearly 25 years before, which had become one of Beethoven’s most popular works. Schubert increased the number of instruments by adding a second violin to Beethoven’s lineup. The complete ensemble consists of two violins and one viola, cello, double bass, clarinet, horn, and bassoon. At times he makes it sound like a small orchestra; at other times, the instruments take turns playing solos.

Program notes by Don Anderson © 2023

Chamber Music at the Bella: Night 2

Trio for Flute, Cello, and Piano, Op. 45

Louise Farrenc

(1804 to 1875)

Despite her obvious talents as a pianist, composer, and teacher, the male-dominated society of mid-19th-century Europe held Farrenc (born Jeanne-Louise Dumont) back from achieving the full lofty reputation she deserved. With the recent swell in interest in female composers, she has finally begun to receive the respect she has always deserved. Anyone who enjoys the music of Farrenc’s early-romantic contemporaries, such as Chopin and Schumann, is likely to respond to her music, too. It has plentiful melodic appeal, poetry, and drama. Her catalogue includes large quantities of piano music (she composed for the instrument exclusively during the 1820s), numerous chamber works, and a handful of compositions for orchestra.

Metamorphosen, TrV 290

Richard Strauss

(1864 to 1949)

On 2 October 1943, the opera house in Munich, Germany — Strauss's home city — was destroyed by Allied bombs. The composer was moved to write to his biographer, Willi Schuh: “this was the greatest catastrophe which has ever been brought into my life, for which there can be no consolation and in my old age, no hope.”

Immediately afterwards, he sketched a few bars of music he labelled “Mourning for Munich.” He put them aside, after they reminded him of a waltz he had composed in 1939 for a documentary film about Munich, a film that was never released. He revised the waltz by adding a sombre, minor-key section inspired by the destruction of the opera house, and christened the resulting concert work Munich: A Memorial Waltz.

In September 1944, conductor Paul Sacher commissioned a new work from Strauss. The following February, the Semper Opera House in Dresden (where eight Strauss operas had premiered, as well as three of Wagner's) suffered a similar fate to Munich's.

Presented in partnership with Mount Royal Conservatory

Then, the Vienna State Opera was heavily damaged on 12 March 1945. The next day, Strauss turned back to the 1943 'mourning' sketch and used it as the point of departure for Metamorphosen (subtitled “a study for 23 solo strings”), the work he composed in response to Sacher's commission. He completed it on 12 April, mere weeks before the end of the war.

Flute Quartet in D Major, K. 285

Wolfgang Amadeus Mozart

(1756 to 1791)

Wolfgang Amadeus Mozart and his mother set out from Salzburg in 1777 in search of a more grateful home for his brilliant talents. It was not to be. They spent three months in the German city of Mannheim, where Mozart received a commission for some flute quartets from a wealthy nobleman, Ferdinand De Jean — but he was never paid for them. They are exceptionally beautiful pieces, demonstrating his ability to write effectively for the flute — despite stating he didn’t care for the instrument.

Two Pieces for String Octet, Op. 11

Dmitri Shostakovich

(1906 to 1975)

Shostakovich was just 19 (and a recent graduate from the St. Petersburg Conservatory) when he composed this sombre and pulsating piece in 1924 and 1925. In it, he used the same instruments Felix Mendelssohn had used in his youthful work from 100 years previously: four violins, two violas, and two cellos. There’s a sharp contrast in character between the sections, the sombre Prelude and the propulsive Scherzo

Program notes by Don Anderson © 2023

Stories that...

Movie Magic: Morricone + Bernstein

Friday 2 June / 7:30PM

Saturday 3 June / 7:30PM Jack Singer Concert Hall

Allison Lynch

Vocals

Allison Lynch is a Calgary-based artist, appearing as a singer, actor, multi-instrumentalist, composer, sound-designer, and musical director. Allison has performed across Canada and internationally, from Theatre Calgary to the National Arts Centre, to guest soloist appearances with the Winnipeg Symphony, the Victoria Symphony, and the Malaysian Philharmonic Orchestra in Kuala Lumpur. Lynch also composes for film, television, radio, and podcasts, and performs regularly with her jazz quartet. She has performed her original music at the Calgary Folk Music Festival, the Medicine Hat Jazz Festival, Brazilfest and the Calgary International Jazz Festival. Lynch has received four Betty Mitchell Awards for acting and composing, a Greater Victoria Critic’s Choice Award for Outstanding Musical Score, and a YYC Music Award nomination for Jazz Album of the Year for her album Skin & Flame. Her music is available on all streaming platforms.

Rune Bergmann biography on page 7

Joel Schaefer Vocals

Joel Schaefer is so excited to be singing with the Calgary Philharmonic again! He was previously on stage with the Calgary Phil last year as JP Morgan in Ragtime: A Concert Performance. He is proud to hold a Master of Arts from the Royal Conservatoire of Scotland and is a graduate of the Randolph College for the Performing Arts in Toronto. He has performed across the country on stages such as the Four Seasons Centre and Roy Thomson Hall, and with theatre companies such as Theatre Calgary (The Louder We Get, Billy Elliot), Forte Musical Theatre (Tick, Tick… Boom!, Naughty But Nice), and Young People’s Theatre (Beauty and the Beast). He is thrilled to be singing the incredible music of Leonard Bernstein with this gorgeous orchestra. Much love to Mom, Dad, Julia, Kristi, Jamie, Garrett, and the rest of his family!

On Stage with Branford Marsalis

Friday 9 June / 7:30PM

Jack Singer Concert Hall Specials

Supported by

Concert Supporter: Heather Edwards Program

Rune Bergmann, conductor Branford Marsalis, saxophone Richard

Death and Transfiguration, Op. 24

Richard Strauss

(1864 to 1949)

Shortly after Strauss completed Don Juan, his second tone poem and the first to win success, he set to work on a third such piece, Death and Transfiguration. He conducted the premiere in Eisenach, Germany, on 21 June 1890. Five years later, he revealed his inspiration for this piece. A man dies, but the music offers the heartening possibility of a life to follow the one we know. It is a purely imaginary work, since the 25-year-old composer had not undergone any lifethreatening experiences by that point in his life. Nevertheless, it displayed remarkable maturity for one so young, in terms of creative confidence, philosophical ambition, and the skillful handling of the large, post-romantic orchestra. In it, he led listeners on a harrowing but ultimately heartening, Beethoven-like journey from darkness to light.

Escapades

John Williams (b. 1932)

John Williams is the world’s bestknown film music composer, and a highly successful conductor and recording artist. His film scores alone have received more than 50 Academy Award nominations. He also composes concert music. It adopts selected modern techniques without abandoning the fundamentals of romantic traditions. He and director Steven Spielberg have created dozens of joint projects, including many of the most popular films of the last 45 years, such as Jaws, E.T., and the Indiana Jones movies. Set during the 1960s, the 2002 movie Catch Me If You Can tells the true-life story of a clever young forger (Leonardo DiCaprio) and the veteran FBI agent (Tom Hanks) who doggedly pursues him. William’s jazz-flavoured score includes a prominent role for alto saxophone, as does this appealing concert piece that he fashioned from it.

La valse, poème chorégraphique (The Waltz, Choreographic Poem)

Maurice Ravel (1875 to 1937)

Maurice Ravel had considered composing a tribute to the Strauss family of Vienna as early as 1906.

This concert has no intermission Program and artists subject to change without notice

Had he gone ahead with it at that time, it would probably have sounded as carefree as The Blue Danube. But by the time he composed La valse in 1919–1920, both he and Europe had experienced catastrophic changes due to war. This piece reflects those changes strongly and with a mounting sense of impending catastrophe.

Boléro

Maurice Ravel

In 1928, dancer Ida Rubinstein commissioned a new ballet score from Maurice Ravel. He used the opportunity to conduct an experiment. As he put it, the score would be “uniform throughout in its melody, harmony, and rhythm, the latter being tapped out continuously on the drum. The orchestral crescendo supplies the only element of variety.” Instrumental colouring also plays a major role, an area in which Ravel had attained supreme mastery. After its premiere as a ballet, Boléro quickly won even greater success in the concert hall. Ravel found its overwhelming popularity somewhat embarrassing. Composer Arthur Honegger recalled, “Ravel said to me (possibly with tongue in cheek) 'I've written only one masterpiece, Boléro Unfortunately, there's no music in it.'” Audiences beg to differ. It may not be wise to hear it too often, but when everything falls into place, it has the power to mesmerize the senses and quicken the pulse more effectively than any other piece of music. It also gives many of the orchestra's section leaders the opportunity to perform solo passages.

Branford Marsalis

Saxophone

Branford Marsalis is an awardwinning saxophonist, band leader, featured classical soloist, and film and Broadway composer. Over a decades long career, he has won three Grammys, Emmy and Tony nominations, a citation by the National Endowment for the Arts as a Jazz Master, and more. Marsalis is increasingly sought-after as a featured soloist with such acclaimed orchestras as the New York and Los Angeles Philharmonics, and the Chicago, Detroit, North Carolina, and Düsseldorf Symphonies. Emerging from the global pandemic in January 2022, Marsalis returned to the New York Philharmonic to perform John Adam’s Saxophone Concerto and then launched a tour with the Orpheus Chamber Orchestra. He also performed John Williams’ Escapades in Tanglewood’s celebration of Williams’ 90th birthday. Even as he tours the world as a classical soloist, Marsalis continues to perform with The Branford Marsalis Quartet, formed in 1986. His work on Broadway has garnered a Drama Desk Award and Tony nominations and as a composer for film and television, his credits include original music composed for: The Immortal Life of Henrietta Lacks starring Oprah, Ma Rainey’s Black Bottom starring Viola Davis and Chadwick Boseman, and the Emmynominated Tulsa Burning.

Program notes by Don Anderson © 2023 Rune Bergmann biography on page 7

© Palma Kolansky

“Already a fixture in the jazz world with five albums by only the age of 16, Alexander is clearly charting his own path.” NPR

Support Your Phil

Every donation to your Calgary Philharmonic makes a difference for the Orchestra and in our communities. We offer a series of donor benefits to demonstrate how grateful we are for your support.

Donor events take place throughout the season and will give you a deeper understanding of your Calgary Phil and a greater appreciation of orchestral music. Depending on your level of support, you will have the opportunity to attend events with Calgary Phil musicians, exclusive donor rehearsals, donor recitals, our popular music and lecture series Music to My Ears, post-concert receptions, access to the Founders' Room, and more.

Your generosity is at the heart of the Calgary Phil as we ensure your financial support is more impactful than ever. Thanks to your dedication and enthusiasm, the Calgary Phil will continue to connect our communities and celebrate the transformative power of orchestral music.

For more information on benefit details and how you can support your Calgary Phil, visit calgaryphil.com/support.

Join our community of visionary supporters

The Calgary Philharmonic Foundation is the largest annual supporter of your Calgary Phil, exceeding all levels of government support, and ensures the permanence of the Orchestra and that future generations have access to the power of orchestral music.

This program has been bringing world-class artists to perform with your Calgary Phil since 2008, enhancing musical presentations for both audiences and musicians. Many Virtuoso artists also perform at donor recitals or teach masterclasses to aspiring young musicians in our communities.

Founded by Ellen and Allen Borak, this program helps elevate the art of choral music by supporting and nurturing the development of the Calgary Philharmonic Chorus. This program provides more than 100 volunteer singers with the opportunity to grow in their performance of choral music and promotes the enjoyment of choral singing in our communities.

Elaine and Jeremy Clark, along with their daughters Keiko and Chloe, support several projects designed to empower curiosity for the Orchestra in its fullness. Adult education projects like chamber music recitals, Music To My Ears events, and pre-concert chats are meant to encourage the next generation of enthusiastic Calgary Phil supporters.

Irene and Walt DeBoni created this program to support the commissioning of new Canadian works necessary for the continued development and vitality of orchestral music. Thanks to this program, the Orchestra premieres enticing and trailblazing new works each season.

Celebrating 10 years, the MacLachlan/Ridge Emerging Artist Program helps provide outstanding young Canadian musicians with opportunities to advance their careers by performing with the Orchestra to develop Canada’s next generation of artists.

This philanthropic program was created in memory of Joyce and Dick Matthews, who were dedicated and generous supporters of your Calgary Phil for more than 50 years, providing the opportunity to recognize someone special.

Founded by Judith Kilbourne, PhilKids is an after-school program for students aged 5 to 11, bringing music to the hands and hearts of children who otherwise would not have access to such artistic development, fueling the empowerment of children through the exploration of music.

Support one of these programs, or donate to our Greatest Needs fund at calgaryphil.com/support.

Sponsors + Supporters

Our Donors

Leadership Giving

The Calgary Philharmonic expresses its deep gratitude to the passionate and dedicated supporters whose significant lifetime giving to the Calgary Philharmonic Society and the Calgary Philharmonic Foundation helps us achieve our vision.

$10,000,000 and above

Joyce + Dick Matthews

$1,000,000 to $9,999,999

Alberta Foundation for the Arts

Calgary Arts Development Authority

Canada Council for the Arts

Walt + Irene DeBoni

John + Ethelene Gareau

Government of Canada

Dr. John Lacey

Morningside Music Bridge Foundation

Drs. Ted + Lola Rozsa

Estate of Mario James Stella

One Anonymous Donor

$500,000 to $999,999

William + Irene Bell

Marg + Paul Boëda

Cenovus Energy Inc

CNOOC (formerly Nexen)

Annie Freeze

Carol + Frank Gray

Mary Rozsa de Coquet

Robbin Shandel

Taylor Family Foundation

$250,000 to $499,999

Said Arrata

Estate of Marjory Barber

Ms. Cheryl Bishop

Leslie + David Bissett

Ellen + Allen Borak

Heather + Ian Bourne

Andrea Brussa

Norma Carroll

Heather Edwards

Flanagan Foundation

Larry + Jan Fichtner

Tony + Liz Fricke

Judith Kilbourne

KPMG LLP

Estate of Murray Lipsey

Letha MacLachlan QC

Palmer Family Foundation

Repsol Oil + Gas Canada Inc

Rozsa Foundation

Muriel A Stewart

TELUS Corporation

$100,000 to $249,999

ARC Resources Ltd

Jeff Arsenych

Jenny Belzberg

Gerald + Beverly Berkhold

BP Petroleum

Lori Caltagirone

Canada Life

Elaine + Jeremy Clark

Judith + Terence Dalgleish

James Doleman + Dori Wood

Enbridge Pipelines

Tibor Fekete

Estate of Geraldine Fish

Glasswaters Foundation

Estate of Winnifred Griffith

Richard + Lois Haskayne

Imperial Oil Ltd

Jeanette King

Estate of Evelyn Christine Kings

HD Klebanoff Memorial Fund

Macquarie Group Foundation

Allan Markin

Estate of Mary McIntosh

James + Janice Morton

Nickle Family Foundation

John + Jean Partridge

Rabinovitz Family Fund

Seagram Company Ltd

Clarice A Siebens

Margaret Southern

Carla + Klaus Springer

Trent + Josie Stangl

Mary Ann Steen

Sunesis Consulting Inc

TC Energy

TD Canada Trust

Deborah Yedlin +

Martin Molyneaux

Shirley Zielsdorf

One Anonymous Donor

Endowed Chairs

Rozsa Endowed Chair

Music Director

Rozsa Foundation Endowed Chair

Associate Conductor

Ellen + Allen Borak Endowed Chair

Chorus Master

John + Ethelene Gareau

Endowed Chair In Recognition of Cenek Vrba’s 36 years of service

Concertmaster

Peter + Jeanne Lougheed

Endowed Chair

Associate Concertmaster

Hotchkiss Endowed Chair

First Violin Section Member

HD Klebanoff Endowed Chair

First Violin Section Member

Esther Violet Hall (née Young)

Endowed Chair

Principal Second Violin

Debbie Lynne Hall (daughter of Esther Violet Hall) Endowed Chair

Assistant Principal Second Violin

Dennis Sharp + Hélène Côté Sharp

Endowed Chair

Second Violin Section Member

Dalgleish Endowed Chair 66

Eckhardt-Gramatté

Foundation Endowed Chair

In Memory of Sophie-Carmen

Eckhardt-Gramatté

Principal Viola

Naomi Lacey Endowed Chair In Honour of Philip Hansen

Principal Cello

John + Jean Partridge

Endowed Chair

Cello Section Member

Deborah Yedlin + Martin Molyneaux

Endowed Chair

Cello Section Member

Marg + Paul Boëda Endowed Chair

In Memory of Jennifer Boëda-Dahl

Principal Flute

Bill + Irene Bell Endowed Chair

Piccolo

Judith + William Kilbourne

Endowed Chair In Recognition of the Kilbourne's long-term support

Assistant Principal Horn

Frank + Carol Gray Endowed Chair

In Memory of Vincent Cichowicz

Principal Trumpet

Frank + Carol Gray Endowed Chair

In Recognition of Tim Rawlings' 42 years of service to Calgary Phil

Principal Percussion

Joyce + Dick Matthews

Endowed Chair

Piano

Named Funds

Marjory Barber Fund

Borak Forte Fund

DeBoni New Works Fund

Geraldine Fish Memorial Fund in support of the Calgary Philharmonic Orchestra

Joyce + Dick Matthews

Philanthropic Fund

Naomi + John Lacey

Virtuoso Fund

Murray Lipsey Memorial Fund in support of the Calgary Philharmonic Chorus

MacLachlan/Ridge Emerging Artist Fund

2021/2022 Donors

The Calgary Philharmonic expresses its deep gratitude to the following supporters who made generous gifts to the Calgary Philharmonic Society and the Calgary Philharmonic Foundation between 1 July 2021 and 30 June 2022. For complete listings, visit calgaryphil.com/support.

Gifts to the Calgary Philharmonic Foundation

Ad Astra Campaign

10 years or more of lifetime giving

20 years or more of lifetime giving

Gifts of $500,000 and above

Alberta Foundation for the Arts

Calgary Philharmonic Foundation Canada Council for the Arts

Government of Canada

Dr. John Lacey

Gifts of $100,000 to $499,999

Estate of Marjory Barber

Calgary Arts Development Authority

Honens Calgary Philharmonic Society Fund

Mary Rosza de Coquet

Taylor Family Foundation

One Anonymous Donor

Gifts of $50,000 to $99,999

Walt + Irene DeBoni

Heather Edwards

Government of Alberta

Letha MacLachlan QC

One Anonymous Donor

Two Anonymous Donors

Gifts of $10,000 to $49,999

Michelle Bailey + John Whelan

Ellen + Allen Borak

Ian + Heather Bourne

Calgary Shaw Charity

Classic Foundation

Canada Life

CH Financial

Alan D Castle Endowment for the Arts

Elaine + Jeremy Clark

Walter + Ute Dilger

Estate of Esther Emmett

Enbridge Pipelines

Estate of Geraldine Fish

Annie Freeze

Tony + Liz Fricke

Glasswaters Foundation

The Globe and Mail

Jacky + Geoff Granville

Ryan Green

Philip Ireland + Sheila McIntosh

Keyera

Janice + James Morton

Chris + Ruchi Ryley

Mike Shaik

Shaw Communications

Valerie + Allen Swanson

TD Canada Trust

Viewpoint Foundation

One Anonymous Donor

Two Anonymous Donors

Gifts of $5,000 to $9,999

Jenny Belzberg

Blake, Cassels, + Graydon LLP

James + Patricia Burns

Ann Calvert

Cyril + Elizabeth Challice

Walter + Gloria Chayka

Lori Cutler + Nick Kuzyk

CWB Wealth Management –

McLean + Partners

Dynasty Power

E Ann Falk

Franklin Templeton Investments

Jan + Brian Grier

Imperial Oil Ltd

InterPipeline

Jeanette King

Dr. John Lacey

Janet + Rick Matthews

Elizabeth + Ross Middleton

The Honourable Lois E Mitchell

Mobsquad

Moon Beams Foundation

Anne Marie Peterson Legacy Fund

Janet Poyen

Clarice A Siebens

Claire + Marc Stevens

United Active Living

Welty Family Foundation

One Anonymous Donors

Gifts of $1,000 to $4,999

Ian + Gwen Anderson

Karen Ashbee

Roy, Hazel, + Nancy Austin Fund

Andrew Azmudeh

Michelle Bailey + John Whelan

Barbara R Beaton

Belinda + Thomas Boleantu

Brad Boychuk

Marion R Burrus

Eileen Butler

Richard Byers

Calgary Foundation

Jim Campbell

Bob + Sylvia Carey

Cynthia Clark

Marie-Josee Claveau +

Nicolas Tremblay

Stan Climie

Harry + Martha Cohen

Foundation

Gertrude Cohos

Gary Cole

Fern Cyr

Paula Davies

Alexandra De Freitas

Deloitte

James Doleman + Dori Wood

Judy Dofoo

Lawrence Fan

Tom + Dianne Ferguson

Donna Fonteyne

Wayne Foo Foundation

Shirley Foster

Kathleen Fox

Audrey + John Fry

Glen + Nancy Charitable

Gift Fund

Donald + Joan Greenfield

Pamela Grigg

Carolyn Guichon

Dr. Danelle J Hames

Julianna Hegg + Bill Hogg

David Henley

Mary Hetherington

Arthur Hibbard + Gloria Wong

Jevon Hills

Gordon + Joan Holland

Linda + Gordon Hong

James Hughes

Carrol Jaques + Bob Loov

Glen + Arlene Johnston

Robert Kulhawy

Lennox Family Foundation

Michael Lipnicki Fine Pianos

Dr. Jonathan Liu

Loch Gallery

Luxe Du Jour

David + Diane Macdonald

Chris MacKimmie

Simone MacRae

Peter + Heather Marreck

John + Pat Martin

Davide Martino

Masters Gallery

Laurie Matiation

Elizabeth Maurice

Dale S Meister

Richard Mercer

Elizabeth + Ross Middleton

Patricia Moore

Jean Morris + Matthew Vyse

Jean Murray

Faiz Nadir

Tae Nosal

John + Jean Partridge

Peabody Family

Lara Pella + Geoff Holub

Ruth + Garry Ramsden-Wood

Eric Ruygrok

Alex + Aliza Sarian

Henry Schultz

Rod + Wendy Schultz

Joan + Geoffrey Simmins

Roger + Lorna Smith

Don Smith + Helen Young

Alfred Sorensen

Betty J Stein

John Thompson

Erin Thrall + Peter Johnson

James Ulrich

United Church of Canada

Foundation

Russel Varnam

VivianeArt

Brent Warren

Margaret Warren

Stanley Waterman

Norma + Ron Westcott

Julie Westgate

WestJet Airlines

Mark Wittrup

Reg Worsley

Wood Pittman Fund

Deborah Yedlin + Martin

Molyneaux

Frederick Young

Janet Yuchem

Seven Anonymous Donors

Two Anonymous Donors

Gifts of $500 to $999

John Abbott

Dean Allatt

Christopher Beare

Robert Binda

Heide Blakely

Marg + Paul Boëda

Marilyn Braden

Ian Burgess

Callow + Associates

Management Consultants

Ah-Ling Cheng

Adam + Christina Carpenter

Dorothy Chisholm

F Thomas Christie

Rowena Cromwell

Joseph De Angelis

Jane + Allan De Caen

Joan Dennis

Noreen Dyke

Tibor Fekete

Larry + Jan Fichtner

David + Beverley Foy

A Gordon Giesbrecht

Corinne Grigoriu

Glen Hammerlindl

Carol Hanna

Ian Hawkins

Dr. Janice Heard

Don + Denise Herman

William Hopson

Allan Huber

Bruce + June Johnston

Valerie + Craig Johnstone

Mary Ellen Kirk

Eric Loughead

Andrew + Alison Love

Alla Magid

Sharon Martens

Estate of A V McCall

Rene + Mark McManus

Anne McWhir

Brian Neufeld

Keith + Kathleen Nicholson

Richard + Beth Olver

Joaquina + Fritz Painsi

Parker PR

Dan Phillips

Steve Poceta

Ken Potma

Marlene Raasok

Rosza Foundation

Salopek + Associates

Don Seaman

Kelly + James Scott

Ruth Scott

Douglas Soeder

Sponsor Energy

Mira Starczyk

Ingrid Vicas

Dixie + Tony Webb

Terry + Anne Wilson

Ray Woods

Holly Wong

Sol + John Wright

Anne + Frank ZinatellI

Eight Anonymous Donors

Gifts made In Honour of Andrew Azmudeh

Kim Bruce

Jim Campbell

Paul Dornian

E. Hermann

Bev MacLeod

Joyce + Dick Matthews

John David Payne

David + Martha Rempel

Lauren Ridge

Ryan Stasynec

Gary Stimson

Gifts made In Memory of Dr. James H. Acheson

Sara + Louis Binda

Arlene Christie

Judith Dalgleish

Arlene McCall

John David Payne

Dorothy Pommen

Klaus Springer

Allan Sweetser

Joyce Williams

Stacey Christina Worsley

Our Volunteers

These volunteers contributed their precious time in the 2021/2022 Season — we celebrate them and their dedication.

Mariah Atkinson

Liliane Batista

Partow Bayzaee

Irlana Bondar

Marguerite Bonnet

Frances Bradley

Peggy Chan

Candice Cheah

Teresa Chiu

Ian Churchill

Sandi Churchill

Carole Clement

Steve Clement

Lynne Dale

Carol Dann

Bing Diao

Julie Docken

James Doney

Graham Edwards

Amanda Ferguson

Shirley Foster

Brenda Frame

Dave Frame

Barbara Frasch

Prasad Ganesan

Milena Gonzalez

David Grant

Alicia Groenwweg

Brandy Hachey

Larry Hamm

Gloria Hare

Tracy Harrington

Hamish Harrison

Robin Harwig

Pamela Hinman

Tina Hoang

Nathan Hong

Aime Hutton

Elly Jarvis

Shane Kidd

Veronika Kiryanova

Amy Klintberg

Dennis Kozak

Lillian Kozak

Wendy Kunsman

Simon Larter

Jeannie Laughlin

Jenai Lieu

Elmire Limoges

Gail MacCrimmon

Shawna MacGillivary

Fiona Mackintosh

Joy Mamer

Jay Anne Mandingin

Jackie Marston

Sheila Martin

Julia Meeder

Kristy Meents

Carol Mewha

Donna Morrison

Marina Milovanova

Lynne Oishi

Faye Olubobokun

Parisa Parsa

Jolanta Pawlilowska

Marlene Payne

Elsa Penate

Luz Elena Perra

Stephanie Quilliams

Erin Swanson Reinhardt

Brin Santoro

Barbara Schultz

Doug Smith

Josephine Sauve

Kristen Smith

Sonja Stangelj

Roy Stuart

Barbara Stuber

Judy Taylor

Ryan Truong

Gloria Tse

Valerie Turner

Noah Urquhart

Mijk Van Wijk

Debbie Wagner

Larry Wagner

Gina Waks

Louis Warners

Dawne Wharton

Gayna Wong

Amir Zaidi

Ad Astra Cabinet

Michelle Bailey

Ann Calvert

Jeremy Clark

Walt DeBoni

Elizabeth Evans, Co-Chair

Dr. John Lacey, Honourary Chair

Elizabeth Middleton, Co-Chair

Ellen Parker

Ryan Stasynec

Cork + Canvas Committee

Almas Kassam

Elizabeth Middleton

Agung Nugrahaeni

Maydelin Nuñez

Tim Onyett, Committee Chair

Lucy Pei

Anna Premyslova

Lauren Ridge

Michelle Yee

We also thank the Boards of Directors of the Calgary Philharmonic Society and Foundation, and members of the Calgary Philharmonic Chorus, listed on page 4 and page 9 respectively.

Every effort has been made to ensure accuracy on the above lists. Please email any errors or omissions to volunteercoordinator@calgaryphil.com.

MUSICAL VOLUNTARY

By David Sussman, Assistant Principal Oboe

All of the players in the Calgary Philharmonic are paid professional musicians. We are engaged to perform at the highest level. However, we do many things on a voluntary basis that are related to our jobs as musicians. Within the Orchestra, we have several volunteer committees that play an important role in maintaining a strong workplace where we can focus on creating memorable experiences for our communities.

We have an Orchestra Committee made up of five musicians that regularly meets with Administration to foster a healthy rehearsal and performance environment. The Anti-Racism, Equity, Diversity, and Inclusion Committee advises on initiatives that help the Calgary Phil create a sense of safety, meaning, and belonging for everyone, including employees, musicians, contractors, volunteers as well as our audiences. Our Community, Outreach, and Education Committee works on projects to help us better engage with our communities, and we even have a Coffee Committee to ensure our musicians can enjoy a hot beverage at break!

The Orchestra also has a Health and Wellness Committee to support our musician's well-being, and our Artistic Review Committee helps ensure musical material like videos put on the Calgary Phil website or on social media meet the highest

artistic standards. Our Programming Committee works with the Artistic team to give input on programming and guest artists and conductors, creating performances that musicians and audiences alike are excited about. Our Marketing Committee liaises with and gives input to the Marketing and Sales team to produce fun and educational content for social media and our blog, giving a behind-thescenes look at our musicians and what it takes to prepare for a concert. That’s a lot of committees!

But wait, there’s more!

There are two players that serve on the Calgary Philharmonic Society’s Board of Directors, helping to further the organization’s goal of creating orchestral music for everyone, and some members of the Orchestra serve on a Negotiating Team when it is time to renew our Collective Bargaining Agreement. Some musicians also work for the good of all musicians in Calgary by serving on the executive of the Calgary Musicians Association, a non-profit organization that provides services and support to help members succeed in the music business, and others help nationally by serving as a delegate or executive member of the Organization of Canadian Symphony Musicians.

Our musicians have studied their instruments for years and love to share their musical knowledge during Pre-Concert Chats. We can be found

greeting the audience from the stage at the beginning of concerts, modelling Calgary Phil merchandise (check out the photo of me wearing the fleece!), donating musician experiences at the Cork and Canvas fundraiser, posing for brochures, meeting potential donors with our Development team, and writing blog posts and articles like this one! Most of us in the Orchestra have, at some point, served on multiple committees according to our strengths and interests. I know I am grateful to all those who volunteer to ensure an excellent work environment and healthy organization.

These are just internal musical volunteer opportunities. Many musicians volunteer for other musical endeavours and, indeed, for a myriad of other causes that are dear to them including health initiatives such as Movember moustaches, animal rescue, and children with special needs, to name a few. As with most people who volunteer, we get great rewards back for our efforts as well.

Musicians are used to working collaboratively and know that some tasks are important enough for us to invest our time and energy in. We are all interested in working towards a collective goal and in some ways, volunteering mirrors the way an orchestra works together to bring a great work of music to life in real time.

HarderLee Photography