Prelude Live Spring 2020

OFFICIAL PROGRAMME OF THE CALGARY PHILHARMONIC ORCHESTRA MUSIC DIRECTOR RUNE BERGMANN

SPRING 2020 | VOLUME 46 NO. 3

PAUL AND MARGARET BOËDA’S ENDOWMENT GIFT HONOURS THEIR DAUGHTER’S LOVE OF MUSIC p. 12

Three ways Beethoven revolutionized music p. 36 .

Calgary Philharmonic’s Michael Hope trades his bassoon for vocals on Best of Broadway p. 29

HONENS LAUREATE EXCITED TO COME HOME AND PERFORM BEETHOVEN’S FOURTH PIANO CONCERTO

P. 44

YOUR COPY TO TAKE HOME

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IN THIS ISSUE

Inon Barnatan

Marco Borggreve; Katherine Chi

Calgary Philharmonic; Star Wars

Disney

04

PAGE 42

PAGE 54

PAGE 44

PRELUDE LIVE SPRING 2020

ESSAGE FROM THE M PRESIDENT + CEO

06 CALGARY PHILHARMONIC ORCHESTRA

08 CALGARY PHILHARMONIC CHORUS

10 FAQ

12

feature SHARING THE MUSIC WITH FUTURE GENERATIONS

14 ROMANTIC OBSESSION 16

HITS OF THE ’70S: A CLASSIC ROCK SONGBOOK

feature FIVE NEW WORKS BY CANADIAN COMPOSERS INSPIRED BY BEETHOVEN

21

22

RUSH HOUR: BEST OF MOZART

24

BEST OF MOZART

26

PICTURES AT AN EXHIBITION

29

feature Q + A WITH MUSICIAN MICHAEL HOPE

30

BEST OF BROADWAY

32

JESS MOSKALUKE IN CONCERT

feature

54 BEETHOVEN 5: EPIC

TRADITIONAL BLACKFOOT STORY WITH ORCHESTRA

56

IGHLIGHTS FROM THE H 2019/2020 SEASON

feature 36 ERIN’S PICKS: THREE WAYS BEETHOVEN REVOLUTIONIZED MUSIC

59

PATRON PROGRAMMES

38 BEETHOVEN: MISSA SOLEMNIS

66

35 COLLABORATION COMBINES

42 STAR WARS:

A NEW HOPE IN CONCERT

feature 44 KATHERINE CHI ON COMING

HOME AND BEETHOVEN’S

PIANO CONCERTO NO. 4

46 BEETHOVEN 4: BOLD 48

BEETHOVEN LIVES UPSTAIRS

50 BEST OF BILLY JOEL + ELTON JOHN

60 CHAMPION DONORS

feature FINDING THE RIGHT INSTRUMENT

ON THE COVER Katherine Chi by Greg MacKay

SPRING 2020 | 3

MESSAGE FROM THE PRESIDENT + CEO

CALGARY PHILHARMONIC ORCHESTRA

The year 2020 marks the 250th anniversary of Ludwig van Beethoven’s birth. We’re celebrating this significant milestone with the performance of all his symphonies and concertos as well as a selection of his other works — including Missa Solemnis, which Beethoven considered his ultimate masterpiece. This feast of inspirational works is spread over the calendar year, spanning the second half of our current Season and the first half of our upcoming Season.

205 8 Ave SE | Calgary, AB T2G 0K9 CORE: Third floor, 324 8 Ave SW | Calgary, AB T2P 2Z2 Tel: 403.571.0270 | Fax: 403.294.7424 Box Office: 403.571.0849 calgaryphil.com MAUREEN MCNAMEE Managing Editor JANET BWITITI Editorial Advisor OMAR JEHA Creative Advisor DON ANDERSON ERIN BURKHOLDER JILL GIRGULIS STEPHEN HUNT KATHLEEN RENNE DAVID SUSSMAN Contributers

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Beethoven is, of course, the most beloved orchestral composer of all time. What I find most amazing about his works for orchestra is they sound as fresh and riveting today as they must have when they were first created.

They are also as valid a musical commentary on the 21st century as they are a reflection of Beethoven’s world in the early 19th century.

I hope you’ve already taken in our recent performances of the early symphonies and piano concertos, and I invite you to join us on this journey as we continue to explore the entire treasure trove throughout the remainder of 2020.

Stay tuned for the 31 March announcement of our entire 2020/2021 Season to find out what other great works and brilliant performers will be joining us at our home in the Jack Singer Concert Hall.

#100 1900 11 Street SE Calgary, AB T2G 3G2 PETE GRAVES President + CEO ANDREW PERSAUD Vice President of Sales & Marketing PRITHA KALAR Publisher JILL FORAN Editorial Director MIKE MATOVICH Production Manager REBECCA MIDDLEBROOK Graphic Designer MELISSA BROWN JOCELYN ERHARDT DEISE MACDOUGALL LINDY NEUSTAEDTER Account Executives Advertising inquiries can be answered at 403.240.9055 or emailed to info@redpointmedia.ca Prelude Live is published three times a year

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PAUL DORNIAN

MAYOR NAHEED NENSHI Honorary Patron

JENNIFER FOURNIER Senior Development Officer

MAESTRO RUNE BERGMANN Music Director

BARBARA SOLES Senior Development Officer

KARL HIRZER Associate Conductor + Assistant Chorus Master

JENNIFER TAYLOR Donor + Prospect Information Manager

TIMOTHY SHANTZ Chorus Master

SCOTT CAREY Grant Writer

ADMINISTRATION

TARA KILMER Events Manager

PAUL DORNIAN President + CEO TRICIA BAILEY Executive Assistant to the President + CEO ARTISTIC OPERATIONS JENNIFER MACDONALD Director ALYSHA BULMER Education + Outreach Manager JESSE CARROLL Production Manager JASON STASIUK Artistic Operations Manager MICHAEL THOMSON Orchestra Personnel Manager

Venue Partner

PAUL CHIRKA Recording Engineer ADAM MASSON Concert Operations Coordinator ROB GREWCOCK Music Librarian

Official Publisher

FINANCE MARIA LAMAS Director SUSANNE FRAUCHIGER Operations Accountant KAREN HALFORD-EDWARDS Operations Accountant MARKETING + SALES JANET BWITITI Director COURTNEY ILIE Associate Director, Sales MAUREEN MCNAMEE Communications Manager MEGAN BEAUDOIN Digital Marketing Specialist FELICIA CHOW Office Administrator OMAR JEHA Graphic Designer

KEVIN WU Music Library Assistant

DAGNY MACGREGOR Community Engagement Coordinator

DEVELOPMENT JIM CAMPBELL Director

KATRINA NETHERCOTT Marketing + Sales Coordinator

VIVIANA D’AMBROSIO Senior Development Officer 4 | PRELUDE calgaryphil.com | 403.571.0849

GREG MACKAY Content Creator

NADIA SOKOLOVA Front of House Coordinator

BOARD OF DIRECTORS WALT DEBONI Board Chair CORINNE GRIGORIU Governance Committee Chair JANET YUCHEM Finance + Audit Committee Chair PAUL DORNIAN Ex-officio LARA PELLA Board Secretary KEITH BYBLOW FERN CYR NIKI DUNNE TIM GILLESPIE SAMUEL HAYES DON HERMAN ANNE HOWARD SAM LOECK SHEILA MCINTOSH ELIZABETH MIDDLETON MONICA SAMPER DONOVAN SEIDLE CPO FOUNDATION JEREMY CLARK President LETHA MACLACHLAN Q.C. Vice President RYAN STASYNEC Treasurer DAVID DALY Secretary EILEEN MARIKAR BYRON NEILES SHAUNA WALSH CANN CATHY WILLIAMS JANET YUCHEM

PRINCIPAL

|

CALGARY PHILHARMONIC ORCHESTRA RUNE BERGMANN Music Director KARL HIRZER Associate Conductor TIMOTHY SHANTZ Chorus Master ROBERTO MINCZUK Music Director Laureate HANS GRAF Music Director Laureate MARIO BERNARDI Conductor Laureate CENEK VRBA Concertmaster Emeritus

ASSOCIATE PRINCIPAL

|

ASSISTANT PRINCIPAL

FIRST VIOLINS DIANA COHEN* Concertmaster JOHN LOWRY Associate Concertmaster DONOVAN SEIDLE Assistant Concertmaster EDMUND CHUNG AUSTIN HANSEN ERICA HUDSON HANGYUL KIM OLGA KOTOVA BONNIE LOUIE GENEVIEVE MICHELETTI MARIA VAN DER SLOOT

|

*

ON LEAVE

CELLOS ARNOLD CHOI JOSUÉ VALDEPEÑAS JOAN KENT

MAXWELL STEIN

THOMAS MEGEE

HEATHER WOOTTON

DAVID MORRISSEY DANIEL POCETA KAREN YOUNGQUIST

HYEWON GRILLET-KIM CRAIG HUTCHENREUTHER MINNIE MIN KYUNG KWON THERESA LANE ADRIANA LEBEDOVICH

KYLE SANBORN

JAMES SCOTT MICHAEL THOMSON

TRISH BERETI-REID BASS TROMBONE DAVID REID SARA HAHN-SCINOCCO GWEN KLASSEN PICCOLO GWEN KLASSEN OBOES ALEX KLEIN

TUBA TOM MCCASLIN TIMPANI ALEXANDER COHEN PERCUSSION JOSH JONES

DAVID SUSSMAN HARP TISHA MURVIHILL

DAVID SUSSMAN LIBRARIAN

LAURENT GRILLET-KIM CLARINETS

ARTHUR BACHMANN

SLAVKO POPOVIC

JEREMY BAUMAN

JOCELYN COLQUHOUN

ROB GREWCOCK MUSIC LIBRARY ASSISTANT KEVIN WU

PETER BLAKE MICHAEL BURSEY

TROMBONES

GRAEME MUDD

ENGLISH HORN

MARCIN SWOBODA

MATTHEW ROSS

MATTHEW HELLER

STEVEN J. LUBIARZ VIOLAS

ADAM ZINATELLI

SAM LOECK

FLUTES

JEREMY GABBERT

TRUMPETS MIRANDA CANONICO*

BASSES

SECOND VIOLINS STEPHANIE SOLTICE-JOHNSON

JENNIFER FRANK-UMANA WILLIAM HOPSON

PATRICK STAPLES

ERIN BURKHOLDER

ROBERT MCCOSH

KATHLEEN DE CAEN

HOJEAN YOO

LORNA TSAI

HORNS

BASSOONS

ALISA KLEBANOV

ANTOINE ST-ONGE

PERSONNEL MANAGER

JESSE MORRISON

MICHAEL HOPE

MICHAEL THOMSON

THE CALGARY PHILHARMONIC ORCHESTRA IS PROUD TO PERFORM LIVE SYMPHONIC MUSIC FOR THE ALBERTA BALLET, CALGARY OPERA, AND HONENS INTERNATIONAL PIANO COMPETITION. 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. Repertoire often requires extra musicians including: Dongkyun An, cello; Eric Auerbach, violin; Gianetta Baril, harp; Rolf Bertsch, keyboard; Tim Borton, percussion; Jeremy Brown, saxophone; Stan Climie, clarinet; Neil Cockburn, harpsichord and organ; John Feldberg, bassoon; Gareth Jones, trumpet; Lucie Jones, flute; Janet Kuschak, cello; Malcolm Lim, percussion; Sarah (Gieck) MacDonald, flute; Aura Pon, oboe; Heather Schienbein, flute; Richard Scholz, trumpet; Eva Sztrain, violin; Doug Umana, horn.

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RUNE BERGMANN Music Director Norwegian conductor Rune Bergmann is Music Director of the Calgary Philharmonic Orchestra, Artistic Director and Chief Conductor of the Szczecin Philharmonic in Poland, and incoming Music Director of Switzerland’s Argovia Philharmonic, starting in the 2020/2021 Season. Highlights of Bergmann’s 2019/2020 Season include launching the CPO’s 2020 Beethoven series, returning to the North Carolina Symphony, debuting with the Colorado Symphony, and leading a new production of Don Giovanni at Opera Naples. Bergmann also regularly conducts distinguished orchestras and opera houses, including the Oslo Philharmonic, Norwegian National Opera, Bergen Philharmonic, Wroclaw Philharmonic, Orquesta de Valencia, and the Mainfranken Theater Würzburg, as well as the Symphony Orchestras of Malmö, Helsingborg, Bergen, Kristiansand, Stavanger, Trondheim, Karlskrona, and Odense, and Lisbon’s Orquestra Sinfonica Portuguesa. In North America, he has appeared with the Alabama, Baltimore, Detroit, Edmonton, Grand Rapids, Pacific, Houston, and Toledo Symphony Orchestras, as well as the Brevard Music Festival. Bergmann has been Artistic Director of Norway’s innovative Fjord Cadenza Festival since its inception in 2010, and his former posts include Deputy-General Musik Direktor with the Augsburger Philharmoniker and Theater Augsburg in Germany.

KARL HIRZER Associate Conductor + Assistant Chorus Master Since September 2016, Karl Hirzer has been Resident, then Associate Conductor of the Calgary Philharmonic Orchestra. He has conducted the Nova Scotia Symphony and Regina Symphony Orchestra, and is a regular guest conductor with Land’s End Ensemble. In 2019, American composer John Corigliano, who collaborated with the ensemble on his song cycle Mr. Tambourine Man, stated: “Mr. Hirzer brought a combination of detailed accuracy and intense musical feeling to the work, resulting in an absolutely marvelous performance.” In the 2019/2020 Season, Hirzer debuts with the Szczecin Philharmonic in Poland, and takes on the additional role of Assistant Chorus Master with the CPO. He was previously Assistant Conductor for the National Academy Orchestra of Canada and the McGill Contemporary Music Ensemble, and worked with the Gstaad Festival Orchestra. He was also a Conducting Fellow at the 2017 Cortona Sessions for New Music. Hirzer has performed with diverse soloists such as Evelyn Glennie, Jonathan Crow, Chris Botti, Owen Pallett, and others.

As an educator, he was on faculty at the 22nd Morningside Music Bridge program in Warsaw, Poland. Hirzer trained as a pianist and holds bachelor’s (University of Victoria) and master’s (McGill University) degrees, as well as an ARCT obtained at age 17.

VINCENT HO New Music Advisor Vincent Ho is a multiple awardwinning and four-time Juno Awardnominated composer of orchestral, chamber, vocal, and theatre music.

His works have been described as “brilliant and compelling” by the New York Times and hailed for their profound expressiveness and textural beauty, leaving audiences talking about them with great enthusiasm.

His many awards have included Harvard University’s Fromm Music Commission, the Canada Council for the Arts Robert Fleming Prize, ASCAP’s Morton Gould Young Composer Award, four SOCAN Young Composers Awards, and CBC Radio’s Audience Choice Award. From 2007 to 2014, Ho served as the Winnipeg Symphony Orchestra’s composerin-residence and presented a number of large-scale works that generated critical praise. Born in Ottawa, Ho began his musical training through Canada’s Royal Conservatory of Music, where he received his Associate Diploma in Piano Performance. He gained his bachelor of music from the University of Calgary, his master of music from the University of Toronto, and his doctor of musical arts from the University of Southern California.

SPRING 2020 | 7

PRINCIPAL

CHORUS MASTER

NORMA WEBB

TRISTRAM CHIVERS

TIMOTHY SHANTZ

DIANNE WILLIAMS

PAT FAVARO

ASSISTANT CHORUS MASTER

ALTO

ANDREW FRASER

CALGARY PHILHARMONIC CHORUS The Calgary Philharmonic Chorus, led by Chorus Master Timothy Shantz and Assistant Chorus Master Karl Hirzer, is a group of over 100 volunteer singers and four section principals who perform a diverse repertoire including oratorio, opera, light classics, contemporary music, and pops. The acclaimed ensemble is featured in four to eight programmes with the Orchestra each season.

Established in 1963, the Chorus works with the Orchestra to achieve excellence in the performance of choral music and to promote the enjoyment and development of choral singing in the Calgary community.

Chorus members come from all walks of life and include students, teachers, medical professionals, lawyers, stayat-home parents, and retirees who dedicate over 20,000 hours annually to rehearsals and performances. The Chorus often takes part in community education and outreach activities with the Orchestra throughout the year.

The Chorus has participated in choral festivals across Canada, has been featured in live recordings and several live-streams, and has performed for Queen Elizabeth II in a special presentation conducted by the late Mario Bernardi.

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KARL HIRZER

JULIA MILLEN

BARB HOGAN JUNGSOO KIM

MARGARET ANDERSON

ALLAN MORGAN

ACCOMPANIST

BARBARA BOLAND

DAVID OWEN

EVAN MOUNCE

INDRANI CHATTERJEE

PETER RILSTONE

TANYA CHOW

RICHARD SEALE

BREANNE COADY

ROSS SMITH

BERNIE CONSTANTIN

JOSEPH STEDMAN

KARIN BAUMGARDNER

CAROL COOPER

DENNIS VOTH

LINDSAY BELLEMORE

SHIRLEY CUMMING

ELLEN BORAK

JANICE DAHLBERG

MICHELLE BOZYNSKI

GILLIAN FORSTER

TRICIA BRAY

KAY HARRISON

ARCHIBALD ADAMS

PATRICIA BUSTILLOS

PATRICIA HEITMAN

ODENIYI AYO-AJAYI

CAROLYN BYERS

AMANDA HOLT

IAN CHARTER

CHRISTINA CANDRA

HELEN ISAAC

TIMOTHY COOKE

KATHERINE CLARKE

ALLISON JOHNSON

LLOYD CROSBY

SHEILA COOK

HEATHER KLASSEN

KEVIN DI FILIPPO

LAURA DAVIS

KAITLIN KRELL

ARTHUR DICK

INA DOBRINSKI

CATHERINE LASUITA

ALAN DORNIAN

SIHANA DORFSMAN

LORRIE LIPSKI

JOHN GHITAN

GAIL FELTHAM

BARBARA MATHIES

IAN GIBSON

LISA FERNANDES

SUE MCNAUGHTON

LUKE HIBBERT

YMENE FOULI

SUSAN MENDONCA

ALLAN HUBER

SUE GALCHER

PATTY MINO

DYLAN JONES

SIM GALLOWAY

MARA OSIS

TYLER JONES

ALISON GIBSON

KAREN PALMER

ERIC KLAASSEN

CAROLYN HATT

ANASTASIYA PETRUK

IAN LUNT

DALE HENSLEY

JOSEE ROBITAILLE

KEITH ODEGARD

JESSICA HOW

ANNE RODGER

JACKSON PARTRIDGE

LINDA JANZEN

DONNA RUPARELL

DAN PHILIPS

AMY KLINTBERG

MONICA SAMPER

TEDDY POPE

JULIE MILLER

MONICA SCHULTZ

ALASDAIR ROBINSON

GILLIAN POSEY

MARIAN ŽEKULIN

DANA SALTER

SOPRANO HANNAH PAGENKOPF

COLLEEN POTTER LISA SEARS-WALSH JOAN SIMMINS

BASS NICHOLAS ALLEN

DAVID SCHEY TENOR JASON RAGAN

TOM VAN HARDEVELD RICHARD WANNER

BECKY STANDING

TIMOTHY AHRENHOLZ

MAXWELL WEBBER

CHANTELLE STEVENSON

DEAN ALLATT

JIM WEISERT

CHANDRA STROMBERG

TIM BELL

KEITH WYENBERG

MELISSA SYMANCZYK

KEEVIN BERG

STUDIO

Custom Beauty.

Trusted Craftsmanship.

TIMOTHY SHANTZ Chorus Master Timothy Shantz brings a wealth of expertise and artistry to his roles as Chorus Master for the Calgary Philharmonic Orchestra, and Founder and Artistic Director of Luminous Voices. He was also Artistic Director of Spiritus Chamber Choir for 11 seasons. This year, Shantz joins the Department of Music at the University of Alberta as an Associate Professor. In a review of the CPO’s 2019 performance of Mendelssohn’s Elijah, Kenneth DeLong of the Calgary Herald called it “the best performance of this work I have heard outside commercial CDs and a fine tribute to Shantz, who has, seemingly single-handed, brought choral music to a new level in the city.” Shantz has several recordings to his name, including Zachary Wadsworth’s The Far West (2016), which received the 2018 National Choral Award for Outstanding Choral Recording and 2016 National Choral Award for Outstanding Choral Composition from Choral Canada. Shantz holds a doctor of music degree in Choral Conducting from Indiana University Jacobs School of Music. He is also a graduate of the University of Alberta’s Choral Conducting programme, and earned a degree in piano performance from Wilfrid Laurier University.

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P E T E R J O ST. C A

SPRING 2020 | 9

FREQUENTLY ASKED QUESTIONS WHAT DO I WEAR TO THE ORCHESTRA? Whatever you want! At the Calgary Philharmonic Orchestra 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.

ARE DRINKS ALLOWED IN THE CONCERT HALL? Yes! Alcoholic and non-alcoholic drinks are permitted in the concert hall, with the exception of the occasional Family Special. Many people arrive early to enjoy a drink in the lobby or take in a pre-concert chat before the performance.

WHAT HAPPENS IF I’M LATE? We realize that 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.

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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 from the babysitter. 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.

CAN I TAKE PHOTOS OR VIDEOS IN THE CONCERT HALL? We are happy for you to share your experience at a CPO performance.

For most performances you can take quick photos or videos, but you can’t use a flash — as you can imagine, it interferes with the musicians’ ability to see the music.

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. Rush Hour concerts, held on select Fridays at 6:30PM, and Symphony Sundays for Kids concerts, held on select Sundays at 3PM, are usually one hour long with no intermission.

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 C-Train, 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.

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.

MORE QUESTIONS? Visit calgaryphil.com/ plan-your-experience

SPRING 2020 | 11

MEMORIAL GIFT HELPS SHARE LOVE OF MUSIC WITH FUTURE GENERATIONS

BY KATHLEEN RENNE

P

aul and Margaret Boëda have loved classical music ever since they were surrounded by it as children. “My dad loved music,” Margaret says.

“Not only did I go to bed most nights with him playing the piano, I regularly went to Winnipeg Symphony concerts.” Paul also has fond memories from childhood of his father singing opera. So perhaps it’s not unexpected that music has played a central role in the lives of their three daughters. Their middle daughter, Jennifer, played the flute, and her sisters, Michelle and Daphne, pursued their own musical studies in guitar and violin, plus all three played the piano.

Paul and Margaret Boëda, photo by Greg MacKay

Calgary Philharmonic

Paul and Margaret believe giving their daughters an opportunity to explore arts and music as an extra-curricular activity was critical during their formative years — it helped them learn discipline and time management, build relationships with other students and adults, and experience success as well as failure. Their daughter Jennifer attended her first Calgary Philharmonic Orchestra (CPO) concert at the tender age of six. On the way home Margaret asked her, “What instrument did you enjoy?”

Jennifer said, “I like that long, skinny, shiny instrument — and I want one.”

From that moment on, playing the flute was a passion that remained with Jennifer for the rest of her life. She spent countless hours at the Mount Royal Conservatory of Music, studying and practising not only the flute, but also piano, and performing in chamber groups, playing with the Calgary Youth Orchestra, and subsequently earning a two-year performance diploma. She enjoyed a few summers at The Banff School of Music, and then spent a year of intensive teaching with Trevor Wye in England before returning to Calgary, where she went on to study flute at the University of Calgary under the tutelage of long-time CPO principal flautist Philippa FitzGerald-Finch.

Jennifer passed on her love for the flute to the next generation by establishing her own music studio at Red Deer College. With her engaging personality, she also earned quite a reputation as a school-band clinician.

This Season, Margaret and Paul are endowing the Principal Flute Chair in memory of Jennifer Boëda-Dahl, who passed away in March 2019. This gift will be held in perpetuity by the CPO Foundation’s Endowment Fund.

This endowment is not the Boëdas’ first gift to the Calgary Philharmonic. Previously, they supported the renovation of the CPO’s music library, which is named after them, and Canadian Wealth Management (now Fiera Capital), the company Paul founded and led as CEO, sponsored the Amadeus Patron Programme for several years. The programme offers fellowship with others who share a love for symphonic music, and members enjoy concerts as well as recitals at venues such as the Calgary Golf and Country Club.

Paul and Margaret believe an orchestra is the “bedrock” of any city’s arts scene. “If a city wants to attract and retain businesses and people, it’s imperative to have a strong arts element, especially an orchestra,” Paul says.

Having been chaperones for two Calgary Youth Orchestra tours with then Director John Thompson (past Principal Violist with the CPO), the Boëdas also learned firsthand the tremendous positive influence that orchestra members can have on young musicians. They explain that it’s a domino benefit because many talented orchestra members are also active teachers.

IF A CITY WANTS TO ATTRACT AND RETAIN BUSINESSES AND PEOPLE, IT’S IMPERATIVE TO HAVE A STRONG ARTS ELEMENT, ESPECIALLY AN ORCHESTRA.” —Paul Boëda Paul and Margaret Boëda are no longer in Calgary fulltime, but their interest in music has been passed to the next generation of their family as some of their eight grandchildren are developing their own musical talents, including their eldest grandson, who recently graduated from Juilliard and is starting his musical career with the Vancouver Symphony Orchestra. They believe supporting the Calgary Philharmonic is vitally important and it will hold a very special place in their lives for years to come.

SPRING 2020 | 13

ABOUT THE WORKS

20 + 21 MAR

TRAGIC OVERTURE, OP. 81 Johannes Brahms (1833 to 1897) Brahms composed his only two concert overtures in the summer of 1880. It would be difficult to imagine two works that are more different in character from each other. “One weeps, the other laughs,” Brahms said. First came Academic Festival, a lively potpourri of traditional German student songs. As if withdrawing in shock from something so frivolous, the generally sober-sided composer moved on immediately to the second piece, the Tragic Overture. Its creation may have been related to a potential commission, one that failed to materialize, for incidental music to accompany a stage production of Johann Wolfgang von Goethe’s celebrated story, Faust.

SCHICKSALSLIED (SONG OF DESTINY), OP. 54 Johannes Brahms Brahms composed this stirring work from 1868 to 1871. The text comes from a poem, Hyperion’s Song of Destiny, by German author Friedrich Hölderlin. As soon as Brahms read it, he set immediately to work on a setting for chorus and orchestra. He created striking musical equivalents for the stark contrasts in Hölderlin’s text, between the contented serenity of the gods on Mount Olympus, and the struggles and despair of mankind.

Brahms identified strongly with the latter feeling.

Friday 20 March 2020 / 7:30PM Saturday 21 March 2020 / 7:30PM Jack Singer Concert Hall Showcase

Romantic Obsession SPONSORS + SUPPORTERS Chorus Supporter: Borak Forte Programme

NACHTLIED (NIGHT SONG), OP. 108 Robert Schumann (1810 to 1856)

PROGRAMME Ramón Tebar, conductor Calgary Philharmonic Chorus Brahms

Tragic Overture, Op. 81 Schicksalslied (Song of Destiny), Op. 54

R. Schumann

Nachtlied (Night Song), Op. 108

13' 18' 9'

Intermission

20'

Rachmaninoff Symphonic Dances, Op. 45 I. Non allegro - Lento - Tempo I II. Andante con moto (Tempo di valse) III. Lento assai - Allegro vivace

35'

Programme and artists subject to change without notice

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indicates Canadian artist or composer

Schumann composed this heartfelt work in 1849, setting a text by a German poet whose works he admired: Christian Hebbel. Schumann conducted the first performance himself, in Düsseldorf, in March 1851.

The words and music contrast the

Calgary Philharmonic Chorus biography on page 8

fear of death (first part, dramatic) with the acceptance of death (second part, consoling). Shortly before Schumann’s own death, he said, “I was always especially partial to this piece.”

Rachmaninoff began work on this piece, his final composition, in the summer of 1940. The premiere, at which Eugene Ormandy conducted the Philadelphia Orchestra, took place on 3 January 1941. The largely negative reception disappointed Rachmaninoff bitterly. For decades, the Symphonic Dances remained the stepchild of his major works for orchestra. The last 25 years have witnessed a strong growth in appreciation of this moody, many-layered and spectacularly orchestrated work, as testified by numerous recordings and live performances. 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.

In the finale, Rachmaninoff pitted themes representing good and evil against one another. Virtue triumphs after an often furious battle. On the final page of the manuscript score, he wrote “I thank, Thee, Lord.”

Programme Notes by Don Anderson

RAMÓN TEBAR Conductor Spanish Conductor Ramón Tebar is currently Music Director of the Orquesta de Valencia, Principal Conductor of Florida Grand Opera, as well as Artistic Director of Opera Naples. He was previously Artistic Director of the Palm Beach Symphony, Principal Guest Conductor of Valencia’s Palau de les Arts Reina Sofia, and Artistic Director of the Santo Domingo Music Festival in Puerto Rico. Highlights of Tebar’s 2019/2020 Season include his return to the Vienna State Opera, as well as his debuts at the Royal Swedish Opera and Deutsche Oper Berlin.

His symphonic debuts this Season include the KBS Symphony in Seoul, the Robert-Schumann-Philharmonie Chemnitz, and the Calgary Philharmonic. In recent Seasons, Tebar has conducted at orchestras such as London’s Philharmonia Orchestra, the Barcelona Symphony, Gran Teatre del Liceu, Münchner Rundfunkorchester, Het Gelders Orkest, Prague Philharmonia, Spanish National Orchestra, Teatro Regio di Parma, Cincinnati Opera, St. Petersburg Symphony, Madrid’s RTVE Orchestra, and numerous others. He has released recordings on the DECCA and Universal labels.

2020/2021 SEASON REVEALED 31 MARCH

SYMPHONIC DANCES, OP. 45 Sergei Rachmaninoff

2020 SPRING 2020 | 15

27 + 28 MAR

5 THINGS ABOUT CLASSIC ROCK 1. A lthough definitions of ‘classic rock’ vary, most agree that it evolved from a radio format known as AOR, or ‘album-oriented rock,’ that emerged in the 1970s and remains popular today.

2. N umerous bands fall under the ‘classic rock’ umbrella, including but not limited to: the Beatles, Led Zeppelin, Rolling Stones, Fleetwood Mac, Pink Floyd, Genesis, The Who, Styx, Roxy Music, Doobie Brothers, and many others.

Friday 27 March 2020 / 7:30PM Saturday 28 March 2020 / 7:30PM Jack Singer Concert Hall Pops

Hits of the ’70s: A Classic Rock Songbook PROGRAMME Michael Krajewski, conductor Shem von Schroeck, vocals Micah Wilshire, vocals Lori Zabka, vocals Performing songs from the list below.

Performance includes a 20-minute intermission.

Overture from Tommy (The Who) • Listen to the Music (The Doobie Brothers) • Black Water (The Doobie Brothers) • Landslide (Fleetwood Mac) • This Is It (Kenny Loggins) • Whenever I Call You Friend (Kenny Loggins) • Don’t Stop (Thinking About Tomorrow) (Fleetwood Mac) • Go Your Own Way (Fleetwood Mac) • Africa (Toto) • Ventura Highway (America) • You’re No Good (Linda Ronstadt) • Billy Joel Medley • Stairway to Heaven (Led Zeppelin) • Come Sail Away (Styx) • Joy to the World (Three Dog Night) Programme and artists subject to change without notice

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3. Fleetwood Mac took its name from members Mick Fleetwood and John McVie. Christine McVie joined the band in 1970, followed by Stevie Nicks and Lindsey Buckingham in 1974 — and the rest is legendary. The Grammy Award-winning band has sold more than 100 million records worldwide and was inducted into the Rock and Roll Hall of Fame in 1998.

4. T he Doobie Brothers first formed 50 years ago and were inducted into the Rock and Roll Hall of Fame this year. Their name has been linked to their fondness for smoking pot — none of the band members are related to each other.

5. At eight minutes long, Led Zeppelin’s Stairway to Heaven was the most requested song on FM radio stations in the United States during the 1970s.

Michael Tammaro Michael Krajewski

MICHAEL KRAJEWSKI Conductor

SHEM VON SCHROECK Vocals

Known for his entertaining programmes and engaging personality, Michael Krajewski is a much soughtafter pops conductor in the United States, Canada, and abroad. His 20-year relationship with the Houston Symphony included 17 years as Principal Pops Conductor. He also served as Principal Pops Conductor of the Long Beach Symphony for 11 years, Principal Pops Conductor of Atlanta Symphony for eight years, and Music Director of the Philly Pops for six years. He is currently Principal Pops Conductor of the Jacksonville Symphony, a post he has held for 24 years. Krajewski’s busy schedule as a guest conductor includes concerts with major and regional orchestras across the United States. In Canada he has appeared with the Orchestras of Toronto, Ottawa, Vancouver, Calgary, Edmonton, Winnipeg, Regina, and Kitchener-Waterloo. Overseas he has performed in Ireland, Spain, the Czech Republic, Iceland, Malaysia, and China. Born in Detroit, Krajewski studied music education at Wayne State University and conducting at the Cincinnati College-Conservatory of Music. Krajewski now lives in Florida with his wife, Darcy. In his spare time he enjoys travel, photography, and solving crossword puzzles.

Shem von Schroeck has been entertaining audiences since he was three years old. A veteran of the stage and recording studio, he has performed in all 50 United States and in 62 countries as a singer, multi-instrumentalist, music director, and composer. Currently the bassist and principal backing vocalist for the legendary band TOTO, Shem has also toured and recorded with international and Grammy-winning artists, including Kenny Loggins, Michael McDonald, David Foster, Christopher Cross, Richard Marx, Don Felder (The Eagles), Al Stewart, Stephen Bishop, Patti Austin, Stephen Stills, Tom Jones, Gary Wright, Spooky Tooth, Ambrosia, and others.

He made his professional opera debut in Germany with the DöbelnFreiberg Mittelsächsisches Theatre as Spoletta in Puccini’s Tosca. His operatic repertoire includes Parsifal, Siegmund, Florestan, Peter Grimes, and Canio. He is a regular soloist with the Atlanta, Cleveland, Houston, Philly Pops, and Jacksonville Orchestras.

He has conducted pops concerts with the Columbus, Oklahoma, Dallas and Little Rock Symphonies, Hollywood Bowl Orchestra, and Boston Pops.

Von Schroeck has scored several films, and his composition Space Force — An American March was recently dedicated to the United States Military’s newest branch.

FEMININE MUSIQUE Tammy Hensrud and Korliss Uecker sing music composed by women

3/20

CLAIRE DEVLIN QUARTET A vibrant jazz concert with Montreal-based saxophonist and composer

3/23

MORE DVOŘÁK – MORAWETZ CONNECTIONS 4/24 UCalgary String Quartet

BEETHOVEN ANNIVERSARY SOIRÉE with Edmond Agopian and Akiko Tominaga

6/12

Join us for an exciting line up of classical music and jazz concerts!

Tickets and info: scpa.ucalgary.ca/events

SPRING 2020 | 17

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MICAH WILSHIRE Vocals

LORI ZABKA Vocals

Micah Wilshire’s voice, writing, and production can be heard on TV, film, and radio around the world — from No. 1 country hits by Dierks Bentley, Brett Eldridge, Darius Rucker, David Nail, and Jake Owen, to national commercials for Nissan, Ford, the Oscars, and many more.

Raised under the mentorship of his professional musician father, Wilshire fell in love with the sounds of Stevie Wonder, The Beatles, The Police, and Chet Baker. He began singing at age three and playing drums by eight. Wilshire moved to Nashville at 19 and began his studio musician experience.

A few years later, he moved to Los Angeles, where his band signed with Columbia Records and swiftly had a Top 20 single, then toured around the country with Seal and Train. Over the years, Wilshire has played guitar and sung background vocals on many multi-platinum albums for artists like Michael Bolton, Dierks Bentley, Brett Eldridge, Amy Grant, Faith Hill, Michael W. Smith, and others. For the first time, Wilshire is stepping into the spotlight as a singer-songwriter in his own right. His debut album Manifesto is a blend of impassioned vocals, tasteful guitar solos, and infectious neo-classic jazz songs.

Lori Zabka is a professional singer, certified nutrition coach, personal fitness trainer, and all-around wellness advocate. In 2003, she was one-half of a pop duo whose radio single, Special, landed in Billboard’s Top 20.

While preparing for an upcoming tour and television performances, Zabka was inspired by the work of her fitness trainer and nutrition coach.

She decided to expand her expertise beyond the world of singing. She now proudly operates Life by Lori Z, a wellness brand aimed at helping busy women lead healthy lives. Zabka was born and raised in Houston. She studied music at Belmont University in Nashville. There, she became a backup singer, both live and in the studio, before landing her own recording contract with Columbia Records. She has performed with several top orchestras like the Houston Symphony, The Philly Pops, and the Vancouver Symphony Orchestras. She has lent her voice to television, film, and commercials for Mercedes-Benz and Claritin.

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Larysa Kuzmenko, Barbara Croall, Kelly-Marie Murphy, Jocelyn Morlock, and Dorothy Chang, whose works debut at the Beethoven 1, 2, 3, 4, and 5 concerts, respectively. Croall’s composition was co-commissioned by the Toronto Symphony Orchestra.

“Each composer was asked to write something that had some connection to the symphony and/ or concerto that their works are programmed alongside,” Ho says.

“They each have their own history with Beethoven and association with his music.”

SHOWCASING FIVE NEW WORKS

BY CANADIAN COMPOSERS INSPIRED BY BEETHOVEN

BY JILL GIRGULIS

T

his is an important year for classical music: 2020 signifies the 250th anniversary of the birth of Ludwig van Beethoven, a composer whose works have stood the test of time and influenced many who followed in his footsteps. However, for the Calgary Philharmonic Orchestra, it also marks the year of five world premieres in as many months, all part of the Orchestra’s 2020: The Year of Beethoven celebrations.

“We decided to feature the first five Beethoven symphonies, paired with his five piano concertos,” says Vincent Ho, New Music Advisor for the Calgary Philharmonic. But, he adds, they wanted to take it one step further and do something extra special. “We decided we should

commission five composers from Canada to write concert openers for these five shows.”

The project was made possible thanks to the DeBoni New Works Programme, which was started by longtime supporters Irene and Walter DeBoni to contribute to the development and commissioning of new Canadian works. Ho says the CPO deliberately sought to collaborate with a diverse group of composers. “The challenge was trying to find five composers that have distinct, unique voices.... We wanted to select composers from across the nation, of differing backgrounds, and at different stages of their career, to ensure that we had a mosaic of voices that represent diversity.”

The five composers selected are

The series of new works includes another tribute to the celebrated German composer — each composition features one of the Orchestra’s principal musicians in a solo. In concert order, they include a significant solo for oboe, flute, horn, bassoon, and cello. Ho says the idea was inspired by Beethoven’s Symphony No. 5, which famously showcased the oboe in the first movement. “We thought we’d give an acknowledgement to that by having that similar concept put in place for each of these new pieces.”

The pieces are intentionally limited to about 10 minutes in length, which Ho says should improve their chances of being programmed in other concerts by other orchestras in the future. He feels strongly that seeking out and presenting new music is an essential responsibility of orchestras. “Culture is built on the expression of our identity through the arts — every generation of artists expresses our collective identity through their creative work,” he adds.

“In the context of an orchestra, it’s important to feature the works of living composers in order for musical culture to grow, to give a voice for our generation as a musical response to relevant issues impacting our lives, and to provide future audiences with historical documentation of who we are in musical form.”

Fortunately, the Orchestra shares this sentiment, as evidenced by the DeBoni New Works Programme and this series of new commissions — and Ho feels incredibly grateful to be a part of it. “It’s just wonderful to be in a city where there is an orchestra that embraces new creations for an audience that is receptive to it.”

SPRING 2020 | 21

3 APR

RUSH HOUR The Rush Hour series at the Calgary Philharmonic Orchestra includes three Friday night concerts that kick off with happy hour in the lobby at 5:30PM. There is lounge seating, a live DJ, and drink specials, followed by a one-hour performance of classical music favourites at 6:30PM. Skip the rush hour traffic and enjoy a night of socializing and music, and leave in time to tuck the kids in or get to that dinner reservation!

Rush Hour concerts also have a fun and informative component called Tweet Seats. Follow @CPOrush on Twitter for carefully curated facts and trivia about the pieces as they’re performed.

You’re also invited to share photos, comment, and ask questions — it’s a great way to network with other arts lovers and share your feedback on the performance.

Friday 3 April 2020 / 6:30PM Happy Hour / 5:30PM Jack Singer Concert Hall Rush Hour

Experience the rush! @CPOrush

Rush Hour: Best of Mozart PROGRAMME Sarah Ioannides, conductor Diana Cohen, violin Mozart Violin Concerto No. 5 in A Major, K. 219 (Turkish) I. Allegro aperto II. Adagio III. Rondo: Tempo di menuetto

31'

Arvo Pärt

12'

Fratres (1991 version)

Mozart Symphony No. 35 in D Major, K. 385 (Haffner) I. Allegro con spirito II. Andante III. Menuetto IV. Presto Please note there is no intermission during the performance.

Programme and artists subject to change without notice.

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18'

Programme notes on page 24 Sarah Ioannides + Diana Cohen biographies on page 25

A Gala in Support of the Calgary Philharmonic Orchestra

CORK CANVAS y

FRIDAY 1 MAY 2020 | 6PM | CALGARY PETROLEUM CLUB | $300 Enjoy a five-course gourmet dinner with fine wine pairings from winemaker Edmond de Rothschild.

Bid on luxury trips, incredible experiences, original artwork and extravagant wine.

The evening is topped off with live performances by members of the Calgary Philharmonic Orchestra.

For corporate tables and sponsorship opportunities, please email events@calgaryphil.com.

To secure your tickets, please book early — last year’s event sold out.

Buy tickets online at calgaryphil.com/corkandcanvas or call the Box Office at 403.571.0849.

calgaryphil.com | 403.571.0849

SPRING 2020 | 23

ABOUT THE WORKS

4 APR

OVERTURE FROM IDOMENEO, K. 366 Wolfgang Amadeus Mozart (1756 to 1791) During the summer of 1780, Mozart received a commission from Karl Theodor, Elector Palatine of Bavaria, for a new, dramatic opera to be premiered during the upcoming carnival season. Idomeneus, King of Crete premiered successfully in Munich on 29 January 1781. Two additional performances followed, but it failed to capture audiences’ affections, and it virtually vanished from the stage for a full century.

Various revivals were undertaken in 1931 for the 150th anniversary. They laid the foundation for its latterday reputation as Mozart’s earliest operatic masterpiece.

FRATRES Arvo Pärt (b. 1935)

Saturday 4 April 2020 / 7:30PM Jack Singer Concert Hall Discovery

Best of Mozart PROGRAMME Sarah Ioannides, conductor Diana Cohen, violin Mozart Overture from Idomeneo, K. 366 Arvo Pärt

Fratres

Mozart Violin Concerto No. 5 in A Major, K. 219 (Turkish) I. Allegro aperto II. Adagio III. Rondo: Tempo di menuetto

5' 12' 31'

Intermission

20'

Mozart Ballet Music from Idomeneo, K. 367 I. Chaconne II. Pas seul III. Passe-pied IV. Gavotte V. Passacaille

23'

Symphony No. 35 in D Major, K. 385 (Haffner) I. Allegro con spirito II. Andante III. Menuetto IV. Presto

18'

Programme and artists subject to change without notice.

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Up to the mid-1970s, Pärt composed in an emotionally chilly, intellectual contemporary style. After spending eight years on an intense study of medieval music, he emerged with a radically different creative style, one that emphasizes beauty and eloquent simplicity. Fratres (Brothers) is one of his most popular works. He has prepared several versions for different groups of instruments. Although the colours are varied, the timeless essence remains the same. He has offered no explanation of the title, but a solemn plea for brotherhood or an impression of the devotional life of monks would not seem too great a stretch of the imagination.

VIOLIN CONCERTO NO. 5 IN A MAJOR, K. 219 (TURKISH) Wolfgang Amadeus Mozart Between April and December 1775, Mozart composed the last four of his five violin concertos. He completed No. 5 on 20 December. It is not only the most accomplished of the series, but also the most unusual. The soloist’s first entry, for example, is remarkable for being quite different in tempo and mood — quiet and

dreamy — from the preceding orchestral introduction. It’s as if the violinist were saying to the orchestra, “catch your breath while I introduce myself.” In the delightfully startling minor key episode mid-way through the Finale, Mozart instructs the cellos and basses to strike their strings with the wood of the bow, and asks the soloist for virtuoso pyrotechnics.

These practices recall the Turkish military music that was all the rage in Austria at the time.

BALLET MUSIC FROM IDOMENEO, K. 367 Wolfgang Amadeus Mozart Mozart was informed that with Idomeneo he was expected to continue the tradition, which originated in France, of including ballet music in an opera. The connection between the Idomeneo ballet and the opera’s scenario, if any, is unknown. This elaborate and aptly grandiose music is rarely included in modern stage productions, but it makes impressive and delightful listening on its own.

SYMPHONY NO. 35 IN D MAJOR, K. 385 (HAFFNER) Wolfgang Amadeus Mozart Music lovers owe an enormous debt of gratitude to Sigismund Haffner the younger. This respected Salzburg businessman commissioned or inspired two major orchestral works

by Mozart. The first was an eightmovement serenade, composed in 1776 to celebrate the marriage of his sister Marie Elisabeth. Six years later, Mozart’s father Leopold suggested that he create a piece to be performed at a celebration, to be held in Salzburg at the end of July, in honour of Haffner’s elevation to the nobility. It’s most likely that Mozart responded with another serenade, which he wrote quickly. In spite of his efforts, it appears that he still failed to meet the deadline for the celebration.

Planning to have the music performed again, in Vienna, he scaled it back to four-movement symphonic form. The premiere of this version, in which the music has been known ever since, took place in March 1783.

Programme Notes by Don Anderson

2020

SARAH IOANNIDES Conductor

DIANA COHEN Violin

Sarah Ioannides is one of the most inspiring and creative conductors of her generation. Now in her sixth season as Music Director of Symphony Tacoma, she has guest conducted at Tonkünstler, Orchestre Nationale de Lyon, Seattle Symphony, Santa Rosa Symphony, and Chamber Orchestras of Philadelphia and Cincinnati. A conductor with “unquestionable strength and authority” and “magic” (New York Times), Ioannides has recorded world premieres with the Royal Philharmonic, and the Malmö Symphony and Nordic Chamber Orchestra. She is Artistic Director of Cascade Conductors, a masterclass in the Pacific Northwest. With a repertoire of over 500 orchestral works, and 50 world premieres, she has a keen eye for unique presentations merging artistic platforms, and has initiated the creation of new films for live orchestral multimedia. As a Fulbright Scholar, she trained with Otto-Werner Mueller at The Curtis Institute of Music, earning a Diploma in Conducting, and earned a Master of Music degree in Orchestral Conducting at The Juilliard School after receiving bachelor’s and master’s degrees from Oxford University. Mother to three children, Ioannides advocates for the role of music in creating social and educational opportunities, promoting diversity, and enriching and uniting communities.

Diana Cohen has a multifaceted career as a concertmaster, chamber musician, and soloist. She is concertmaster of the Calgary Philharmonic and founder and Artistic Director of the acclaimed international ChamberFest Cleveland. As soloist, she has appeared with numerous orchestras, including Holland Symphony, Rochester Symphony, Lansing, and Grand Rapids, among others. As a chamber musician, she has performed at prestigious festivals including Marlboro Music Festival and Ravinia Festival, and collaborated with renowned artists including Garrick Ohlsson, Mitsuko Uchida, Jonathan Biss, and members of the Guarneri, Juilliard, Miro, Cleveland, and Parker Quartets. Cohen toured and recorded with the Grammywinning Orpheus Chamber Orchestra, and performed with the East Coast Chamber Orchestra, Sejong Soloists, The Knights, Cleveland Orchestra, and New York Philharmonic. A graduate of the Cleveland Institute of Music, she studied with Donald Weilerstein and received the Jerome Gross Prize.

Cohen’s father Franklin was principal clarinetist of the Cleveland Orchestra, her brother Alexander is timpanist for the Calgary Philharmonic, and her husband Roman Rabinovich is a concert pianist. Her late mother, Lynette Diers Cohen, was an esteemed bassoonist.

Cohen lives in Calgary with her husband and baby, Noa Lynette, who loves being danced to music.

SPRING 2020 | 25

ABOUT THE WORKS

17 + 18 APR

SYMPHONIC POEM NO. 3, S. 97 (LES PRÉLUDES) Franz Liszt (1811 to 1886) In addition to serving as the 19th century’s reigning virtuoso pianist (the title was frequently challenged but never surrendered), Liszt made major contributions to the art of composition. None has been more influential than the creation of the symphonic poem. Drawing upon centuries-old practices of descriptive or programme music (such as Vivaldi’s The Four Seasons and Beethoven’s Symphony No. 6), this free-form type of orchestral music draws inspiration from such extra-musical sources as literature, painting, geography, and philosophy. Countless composers followed Liszt’s example in this field, Richard Strauss and Jean Sibelius perhaps most successfully.

Les préludes (The Preludes) is the third and most frequently performed of Liszt’s 13 symphonic poems. Its musical origins lie in an overture that he composed in 1848, to introduce a choral setting of The Four Elements, verses by the French poet Joseph Autran. Six years later, he recast it as a symphonic poem. His quest for an appropriate programme for this second incarnation ended with a typical Romantic poem, Alphonse Lammartine’s Les préludes. Liszt’s composition closely matched its darkness-to-light emotional progress.

Friday 17 April 2020 / 7:30PM Saturday 18 April 2020 / 7:30PM Jack Singer Concert Hall Masterworks

Pictures at an Exhibition SPONSORS + SUPPORTERS Guest Artist Supporter: Naomi + John Lacey Virtuoso Programme Series Sponsor: United Active Living

PROGRAMME Kahchun Wong, conductor Maximilian Hornung, cello 16'

30'

Intermission

20'

Mussorgsky Pictures at an Exhibition (arr. Ravel) Promenade I. Gnomus (The Gnome) II. Il Vecchio castello (The Old Castle) III. Tuileries IV. Bydlo (Polish Oxcart) V. Ballet of the Chicks in Their Shells VI. Samuel Goldenberg and Schmuyle VII. Limoges (The Market Place) VIII. Catacombs IX. The Hut on Fowl’s Legs (Baba Yaga) X. The Great Gate of Kiev

35'

Programme and artists subject to change without notice

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CELLO CONCERTO NO. 1 IN E-FLAT MAJOR, OP. 107 Dmitri Shostakovich (1906 to 1975) Like so many Soviet/Russian cello works, Shostakovich’s two cello concertos were inspired by and dedicated to the eminent soloist, Mstislav Rostropovich. Shostakovich knew that Rostropovich wished dearly to receive a concerto from him, but the composer’s wife warned the soloist never to mention it; she knew it would appear only when the time was right.

That time proved to be the summer of 1959. Rostropovich recalled that “When I learned that Shostakovich

Marco Borggreve

Symphonic Poem No. 3, S. 97 (Les préludes)

Shostakovich Cello Concerto No.1 in E-flat Major, Op.107 I. Allegretto II. Moderato III. Cadenza IV. Allegro con moto

Concert photo

Liszt

had finished the Cello Concerto, I immediately went up to Leningrad. I received the score on the evening of 2 August, and I learned the work in four days exactly. I practiced for 10 hours the first day, and had the score memorized in three days.

“Then on 6 August, I went to Shostakovich’s dacha to play the concerto through to him. He said, ‘Now just hang on a minute while I find a music stand for you...’ I had been waiting for this and said, ‘Dmitri Dmitrievich, but I don’t need a stand.’

He said, ‘What do you mean, you don’t need a stand?’ ‘You know, I’ll play from memory.’ ‘Impossible, impossible...’”

The play-through proceeded and gave complete satisfaction to composer and soloist alike.

Kahchun Wong

Angie Kremer; Maximilian Hornung

Marco Borggreve

PICTURES AT AN EXHIBITION Modest Mussorgsky (1839 to 1881) Orchestrated by Maurice Ravel (1875 to 1927) Mussorgsky was the most talented, imaginative, and perceptive of the late-19th-century Russian composers who followed Mikhail Glinka’s example in taking their homeland’s folk music as a model for concert and theatre works. He befriended Victor Hartmann, a brilliant young artist and architect, in 1862.

Hartmann’s death 11 years later plunged Mussorgsky into a deep depression. The following year, a memorial exhibition in St. Petersburg displayed Hartmann’s paintings, costumes, architectural designs, and sketches. Mussorgsky’s visit to it, combined with his desire to compose a piece in his friend’s memory, inspired him to compose Pictures at an Exhibition. Although it is his finest piano work, its colourful nature cries out for the rich palette of instrumental effects that only an orchestra can provide. The transcription that Russian conductor Sergei Koussevitzky commissioned from French composer Maurice Ravel in 1922 is by far the most popular of the several that have appeared.

Programme Notes by Don Anderson

2020

KAHCHUN WONG Conductor

MAXIMILIAN HORNUNG Cello

Praised by Musical America for the “depth and sincerity of his musicality,” Singaporean conductor Kahchun Wong earned international attention after winning the fifth Gustav Mahler Conducting Competition in 2016. He has since developed a reputation as one of the most exciting conductors of his generation. After a remarkable debut with the Nürnberger Symphoniker in 2016, Wong was swiftly appointed its next Chief Conductor from the 2018/2019 Season.

He made his New York Philharmonic debut in 2019, and recently appeared in Europe and Japan at the Royal Liverpool Philharmonic, Hamburger Symphoniker, Tonkünstler Vienna, Orchestre du Capitole de Toulouse, Kyoto Symphony, and Nagoya Symphony. He has also led concerts with the Czech Philharmonic, Konzerthausorchester Berlin, Staatskapelle Weimar, Orchestre Philharmonique du Luxembourg, Teatro Lirico Giuseppe Verdi di Trieste and Orquesta de València, Tokyo Philharmonic, Tokyo Symphony, China Philharmonic, Shanghai Symphony, and Singapore Symphony. Wong’s belief in the power of music education to uplift and inspire led him to create Project Infinitude, an inclusive arts initiative embracing children with special needs, in underserved communities, and from diverse backgrounds. The non-profit was co-founded with Marina Mahler, granddaughter of Gustav Mahler.

With his striking musicality, instinctive stylistic certainty, and musical maturity, young cellist Maximilian Hornung is taking the international music scene by storm. He regularly performs as a soloist with such renowned orchestras as the London Philharmonic, Pittsburgh Symphony, Philharmonia Orchestra, Tonhalle Orchestra Zurich, Czech Philharmonic, and Vienna Symphony.

Highlights of the 2019/2020 Season include re-invitations to the Bavarian Radio Symphony Orchestra, Staatsphilharmonie Rheinland-Pfalz, and Florida Orchestra, and debuts at the Bregenz Festival, ORF Radio Symphony Orchestra Vienna, Indianapolis Symphony Orchestra, and Mainly Mozart Festival in San Diego. As Artist-in-Residence with the Brandenburgisches Staatsorchester Frankfurt he showcases his musical versatility as soloist, chamber musician, and conductor. Hornung’s discography includes Richard Strauss’ major cello works with the Bavarian Radio Symphony and Bernard Haitink, and Schubert’s Trout Quintet with Anne-Sophie Mutter and Daniil Trifonov.

Hornung was born in Augsburg and began taking cello lessons at age eight. At only 23, he became first principal cellist of the Bavarian Radio Symphony Orchestra and held this position until 2013. He has been supported by the Anne-Sophie Mutter Circle of Friends Foundation and Borletti-Buitoni Trust London.

SPRING 2020 | 27

LISTEN… AND LEARN CONCERTS AND CLASSES In association with the Calgary Philharmonic Orchestra, UCalgary Continuing Education offers a combined classroom and concert experience that will broaden your understanding and appreciation of classical music. This popular program has been offered for over a decade and has been enjoyed by over 500 participants! Classes are held in the evenings, from 7 – 9 p.m. at the UCalgary main campus.

Evenings with the Calgary Philharmonic Course Number: HUM 405 Instructors: Jennifer MacDonald, MA, Director of Artistic Operations, Matthew Heller, MM, double bass $335 + GST classes and concert tickets $195 + GST for CPO season ticket holders

SPRING 2020 Classes: March 30, April 14, May 4, May 25 Concerts: April 3, April 18, May 9, May 30

403.220.2866 • conted.ucalgary.ca

Calgary Philharmonic Orchestra

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28 | PRELUDE calgaryphil.com | 403.571.0849

Q+A ASSISTANT PRINCIPAL BASSOON

MICHAEL HOPE Q When you’re performing

Q You’re best known for playing Assistant Principal Bassoon in the Calgary Philharmonic Orchestra, but for Best of Broadway in April, you’re in the spotlight as a vocalist. How long have you been singing?

A

Since I was a teenager and had an adult male voice. I first took vocal music as an extra course credit so I could graduate from high school two years early and go to music college. It was so much fun that I just kept it up!

Q At some point, did you have to

Michael Hope

HarderLee Studio

choose between pursuing a career as a vocalist versus a bassoonist?

A

Not really. I always loved doing both, but one of my biggest goals when I was younger was to have a steady job. Playing the bassoon could provide that. A singer’s life is a little more volatile in that regard. I feel really lucky to have been able to do both and have a really enjoyable twopronged career.

with the Orchestra, how is singing different from playing bassoon?

A

When you’re playing in the Orchestra, you’re a part of a big beautiful organism that collectively melds the efforts of 66 souls to create gorgeous music. That’s quite the rush, because you’re doing that as a member of an awesome team. As a singer, you’re performing strictly as an individual, creating a much more intimate presentation which is way more exposed. It’s pretty nervewracking, but exhilarating in a different and fun way.

Q What is your favourite style of

good stuff. My favourite singer is Frank Sinatra. With the beauty of his voice and his intimate natural stylings he could make every song sound like he was singing it just to you.

Q What is the best part of being a musician, and what is most challenging?

A

The challenging part is maintaining a professional standard all the time. I think this is a crucial part of the privilege that goes with being able to make one’s living this way. The best part is just singing and playing music for the simple joy of making people happy.

music to sing, and what singer do you admire most?

Q You’ve been a member of the

A I really like Broadway show

CPO for almost 38 years and have made Calgary your home. How do you like to spend your time when you’re not working?

tunes and American Standards. All the songs are about love! I’m also crazy about how the melodies — when combined with the most silly and wonderful rhymes — can really make people think about their own emotions, hopes, dreams and all that

A

I’m always working! But when I’m not, I like fixing my own car, and constantly obsessing about NHL hockey and my Calgary Flames...

SPRING 2020 | 29

24 APR

JANNA SAILOR Conductor

Friday 24 April 2020 / 7:30PM Jack Singer Concert Hall Specials

Best of Broadway PROGRAMME Janna Sailor, conductor Michael Hope, vocals Michelle Todd, vocals Performing songs from the list below.

Performance includes a 20-minute intermission.

Overture from Phantom of the Opera (Phantom of the Opera) • Love Changes Everything (Aspects of Love) • All I Ask of You (Phantom of the Opera) • Whistle Down the Wind (Whistle Down the Wind) • Starlight Express (Starlight Express) • Tell Me on a Sunday (Song and Dance) • Evita Medley (Evita) • Don’t Cry for Me Argentina (Evita) • The Last Night of the World (Miss Saigon) • Bring Him Home (Les Misérables) • Macavity (Cats) • Piano (Cats) • I Dreamed a Dream (Les Misérables) • Too Darn Hot (Kiss Me Kate) • Maybe This Time (Cabaret) • Losing My Mind (Follies) • Pie Jesu (Requiem) • Phantom of the Opera (Reprise) • Think of Me (Phantom of the Opera) • Wishing You Were Somehow Here Again (Phantom of the Opera) • Music of the Night (Phantom of the Opera) Programme and artists subject to change without notice

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indicates Canadian artist or composer

Hailed by critics as “charismatic, crisp, precise, and elegant,” Janna Sailor is an emerging conductor and innovator on the Canadian music scene. As founder and Artistic Director of the Vancouver-based Allegra Chamber Orchestra, she leads one of the only all-female classical orchestras in the world; an ensemble dedicated to creating opportunities for women and minorities in the classical music industry, with a mandate of social action through music. The Orchestra and its unique output and mandate has been featured on CBC Radio, Radio ICI, The Walrus and The Strad magazines, The Violin Channel, The Hub, and public radio stations across Germany and France, amongst other international media. Over its two-year history, the Orchestra has commissioned and premiered numerous works by Canadian female and minority composers, and cofounded a music therapy program for women living on the street on Vancouver’s Downtown Eastside.

In addition to guest conducting the major orchestras in Canada, Sailor pursues a diverse career as a violinist, delving into contemporary, world and early music, jazz and improvisation, chamber music, and interdisciplinary projects with dancers, visual artists, and electronics.

MICHAEL HOPE Vocals

MICHELLE TODD Vocals

Michael Hope joined the bassoon section of Calgary Philharmonic Orchestra in 1982, and is one of Calgary’s most respected artists through his musicianship and his dedication to the life of our musical community. In addition to playing the bassoon, he has a remarkable second career as a highly praised vocalist. Hope first sang a symphonic pops show with the Calgary Philharmonic in 1990.

Since then, he has appeared as a popular soloist with nearly every Canadian orchestra. As a singer, he first gained recognition as the winner of the 1984 Calgary Kiwanis Music Festival Rose Bowl, and First Prize Winner in the 1988 CMC International Stepping Stones Competition. A prolific recording artist, he has made a number of critically acclaimed albums, and his latest CD of Classic inspirational songs, Hallelujah, won a Covenant Award Nomination for Inspirational Album of the Year. Born in Toronto, Hope is a graduate of the prestigious Curtis Institute of Music in Philadelphia. In addition to making music, he is obsessed with NHL hockey. He also enjoys repairing his old Toyota Camry and watching Grey’s Anatomy on Thursday nights with his Mom! Learn more about Michael by visiting michaelhope.net.

Michelle Todd is an award-winning soprano and actress of critically acclaimed versatility in art song, oratorio, opera, musicals, and plays.

Born in England, she made her prize-winning London recital debut in the Purcell Room, followed by solo performances in Queen Elizabeth Hall, and as guest soprano for BBC’s Friday Night is Music Night with the BBC Concert Orchestra. Her major roles in London theatres include The Sound of Music (with Petula Clark), H.M.S. Pinafore, Little Me, Twelfth Night, and the multi-award production of Follies with Stephen Sondheim, Julia McKenzie, and Dame Diana Rigg.

Regional leading roles include Little Shop of Horrors, Bless the Bride, Pravda, and Desiree in Sondheim’s A Little Night Music. After emigrating to Canada she joined the Shaw Festival, appearing in Good News and Cole Porter’s Nymph Errant, and toured across Canada in Masterclass, Hello Dolly, The Guardsman, Oklahoma, Cinderella, My Fair Lady, Into the Woods, and Side by Side by Sondheim. In addition to international recitals, recent performances include debuts at the Royal Albert Hall (released on CD and DVD) and Carnegie Hall. Previous Calgary appearances include The Andrew Lloyd Webber Experience and her one-woman show The Tales of Beatrix Potter. Learn more by visiting michelletoddsopranocom.

Proud Partner of the Calgary PhilharmoniC orChestra.

loCal neWs at your fingertiPs. calgaryherald.com

SPRING 2020 | 31

2 MAY

5 THINGS ABOUT JESS MOSKALUKE 1. Canadian country music artist Jess Moskaluke was born in a small town of about 1,000 people in southeast Saskatchewan.

Although she now spends plenty of time on the road, she continues to make her home in Saskatchewan.

2. Jess reached the Top 200 at the 2008 Canadian Idol competition before withdrawing due to a severe case of laryngitis.

In 2011, she won radio station Big Dog 92.7 and SaskMusic’s the ‘Next Big Thing,’ then went on to live up to that title.

3. Jess — the first Canadian woman to earn a Platinum award for a single (Cheap Wine and Cigarettes) since Shania Twain — has had six Top 10 hits and won multiple music awards. In 2016, Take Me Home was the most played song at Canadian Country Radio.

SPONSORS + SUPPORTERS Associate Conductor Supporter: Mary Rozsa de Coquet Conductor Couturier: Umberto Custom Tailors Ltd.

PROGRAMME Karl Hirzer, conductor Jess Moskaluke, vocals

5. Jess has her own line of eyewear designed in collaboration with Canadian-made brand Jimmy Mac Eyewear.

Programme to be announced from stage.

Performance includes a 20-minute intermission.

Programme and artists subject to change without notice

32 | PRELUDE calgaryphil.com | 403.571.0849

indicates Canadian artist or composer

Karl Hirzer biography on page 7

Delaney Royer

Jess Moskaluke in Concert

4. A friend of Alberta country music superstar Paul Brandt, Jess was featured on his single I’m An Open Road. The two have also performed together.

Concert photo

Saturday 2 May 2020 / 7:30PM Jack Singer Concert Hall Specials

Sublime Music Inspired Preaching Living Tradition

Jess Moskaluke

Delaney Royer

Cathedral To learn more about our musical tradition and Church for a complete list of choral services visit: of the Redeemer anglicancathedralcalgary.ca

Classical Music on the Danube The Gryphon Trio

Internationally celebrated artist Jess Moskaluke continues to break barriers in the country music world with her big voice, pop-infused hooks, and sonic versatility. She’s the first Canadian female country artist since her childhood idol Shania Twain to achieve Canadian Recording Industry Association (CRIA) Platinum single status with Cheap Wine and Cigarettes, and has since earned CRIA Gold certifications for Take Me Home and Kiss Me Quiet along with a nod for her feature on Paul Brandt’s I’m An Open Road.

She was the first Canadian female country artist since 2008 to have a song in the Top 3 with the upbeat track Drive Me Away, and has notched another five Top 10 hits.

A multiple Juno nominee and 2017 winner for Country Album of the Year, Moskaluke is also the 2018 Canadian Country Music Association (CCMA) Award winner for Album of the Year, a three-time consecutive CCMA recipient for Female Artist of the Year — the first resident of Saskatchewan to achieve this title — a 2017 SOCAN Award winner, and recipient of five 2017 Saskatchewan Country Music Awards including Fan’s Choice Entertainer of the Year.

In 2020, Moskaluke takes her latest single, Country Girls, on the road with Gord Bamford’s #Rednek Music Fest Tour.

The Very Rev’d Leighton Lee, Dean & Dr. Neil Cockburn, Director of Music

© Holger Kettner

JESS MOSKALUKE Vocals

Hungary - Slovakia - Austria - Germany

September 18 - 28, 2020

Classics on the Volga Moscow - Volga Cruise - St. Petersburg

May 21 - June 4, 2021 Join the Juno Award-winning Gryphon Trio for two unique classical music cruises. Enjoy beautiful scenery from the comfort of your ship plus classical music of the highest calibre at some of the greatest concert halls of Europe and Russia, and concerts by the Gryphon Trio while aboard.

Experience the rich culture and history of the Danube on the MS AmaViola with fabulous performances including the Vienna Boys’ Choir at Hofmusikkapelle and the Vienna State Opera.

Discover Russia’s magnificent artistic and cultural heritage aboard the MS Aleksandra, experiencing an exceptional program of performances as it cruises from Moscow to St. Petersburg.

Explore more unique tours on our website www.sticanada.com: Best of the Baltics – German Passion – Greece – India & Sri Lanka

4603 Main Street, Vancouver, BC V5V 3R6 tel 1-800-665-0998 sti @ sticanada.com

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Delivering Support

Proud to support the PhilKids program.

We are working together with Calgary Philharmonic Orchestra.

It’s just one way we are helping to open doors for a more inclusive and sustainable tomorrow.

We are committed to being a good neighbour.

Our community engagement Inter Pipeline is proud to support the programs, landowner Calgary Philharmonic Orchestra’s relations philanthropic Indigenous and Education Concert. activities demonstrate this commitment in the communities where we operate.

Building creative communities and bright futures Together, we can do more for Canadians, for each other and for the communities we love.

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but when they band together to stop the rock, it rolls right through them and flattens their tails. Eventually the rock comes to a stop near Okotoks — a Blackfoot word for ‘rock.’

One of the first steps in creating the education concert, according to the Calgary Philharmonic Associate Conductor Karl Hirzer and Education + Outreach Manager Alysha Bulmer, involved learning a few lessons themselves. The pair spent time with Many Fingers and three Elders who talked about the significance of stories and the environment. “We wanted to learn about the culture and history and perspective,” says Hirzer. “It was really interesting and enlightening. After talking to the Elders, we were captivated by the role storytelling plays in their culture, and the respect they have for nature.”

COLLABORATION WITH MAKING TREATY 7 BRINGS TRADITIONAL BLACKFOOT STORY TO STAGE AND SCHOOLS

BY MAUREEN MCNAMEE

A

traditional Blackfoot story is coming to life with music both onstage and in classrooms. Napi and the Rock, a collaboration involving the Calgary Philharmonic Orchestra and Making Treaty 7 Cultural Society, not only teaches children about local Indigenous culture, but also introduces them to the instruments of the Orchestra.

The concert will be performed for elementary age students in the Jack Singer Concert Hall and livestreamed to classrooms across the province in April.

“This collaboration gave us an opportunity to get insight on how to work together to make something that everybody wants to celebrate,” says Associate Conductor Karl Hirzer of the Calgary Philharmonic. “Making Treaty 7 taught us how to do this.”

Justin Many Fingers, Artistic Director of Making Treaty 7, says the society was approached by the Calgary Philharmonic about working together

and those conversations led to Napi and the Rock. Napi the trickster is a familiar character in Blackfoot culture whose stories have been told to children for generations, and the Rock refers to a glacial erratic near Okotoks known as the Big Rock.

Unlike the shape-shifting tricksters of other Indigenous cultures, Napi is a man who struggles with his impulses when making decisions, which can lead to unexpected results. “The Elders always refer to Napi as those good energies and bad energies in all of us,” says Many Fingers. “Ultimately, the choices we make have a larger impact than we think they do — and that’s why things are the way they are.”

The story has strong ties to nature, painting a picture of the Blackfoot territories. As the Rock makes its way through Drumheller and Calgary to Okotoks, it encounters the animals who live there and changes their lives forever. For example, the beavers in the story have thick beautiful tails that are the envy of the animal world,

They also talked about what shape the concert could take, and decided on having a narrator tell the story, while the music conveys the mood and characters. Several people helped in the early stages, then the project was turned over to Cris Derksen, a Juno-nominated cellist and composer who combines her classical background and Indigenous ancestry to create new music. Derksen combined the story with the musical score, which features an overture by Sonny-Ray Day Rider, an Indigenous composer and pianist studying music at the University of Lethbridge. In January, the Orchestra was introduced to the music at a note reading. “Hearing it played for the first time, getting that first listen, I was really happy with it,” Hirzer adds.

Justin Many Fingers says there are many lessons to be learned from the story of Napi and the Rock as well as the collaboration with the Calgary Philharmonic. “As we move forward in this world of reconciliation, it’s such a poignant story that Indigenous and non-Indigenous people can relate to,” he adds. “It’s bringing us together in a celebration of unity to help us better understand each other.”

Napi and the Rock premieres on 29 + 30 April at the Jack Singer Concert Hall, and the 2:30PM performance on 30 April will be live-streamed. For more information go to calgaryphil.com/education.

SPRING 2020 | 35

ERIN’S PICKS: THREE WAYS BEETHOVEN REVOLUTIONIZED MUSIC

BY ERIN BURKHOLDER, SECOND VIOLIN

The year 2020 marks Ludwig van Beethoven’s 250th birthday. To celebrate, orchestras all over the world are performing concerts and series honouring his life and work. The Calgary Philharmonic Orchestra brings the festivities to this city by performing, throughout the year, the full cycle of Beethoven’s nine symphonies, as well as all of his piano concertos and some of his other beloved works. Beethoven’s music defies any one descriptor. At one moment it’s monumental and dramatic, the next intimate and heartfelt. It can be cerebral and mysterious, or lighthearted and fun. But one statement can be made in certainty: Beethoven’s music is unlike anything written before or since. Even now, 200 years after his lifetime, we look back at Beethoven as an artist whose creative genius was imaginative, uncompromising, and unprecedented. Here’s why I think Beethoven is a true game-changer.

HE CHANGED THE MEANING OF THE WORD ‘SYMPHONY’

HE BRIDGED THE GAP BETWEEN THE CLASSICAL AND ROMANTIC ERAS

HE TOOK A WHOLE NEW APPROACH TO COMPOSING MUSIC

Today we think of a symphony as a monumental work, the ultimate test of a composer’s command of their craft and a supreme expression of their creativity. When we sit down to hear a symphony, whether by Brahms, Shostakovich, or Mahler, we are expecting a long, complex, sensational work. Mahler famously said, “a symphony must be like the world. It must contain everything.”

But before Beethoven, the symphony was a fairly mundane genre, often produced quickly and in large quantities (Haydn wrote 107).

Beethoven tapped the symphony’s potential in a way no one had before: his Symphony No. 3, also known as Eroica, in particular expanded our idea of what is possible in a symphony and, for that matter, in music. Not only was it longer — Eroica’s first movement alone was longer than many symphonies of the time — but it also pushed the boundaries in its form, harmonies, and emotional content. He continued to revolutionize, making the orchestra bigger (Beethoven’s fifth is the first symphony to use trombones) and eventually even including voices in his titanic ninth. His legacy in symphonic music is evident in the myth of “the curse of the ninth:” the superstition that a composer’s ninth symphony is destined to be his last (as nobody can surpass Beethoven).

Many of the composers we consider to be the ‘greats’ were great because they were experts who mastered their respective styles and built on the foundations of what came before to reach new levels of sophistication.

Bach, for instance, is considered the greatest Baroque-era composer, but he didn’t invent any of the conventions of Baroque music — he was simply extremely well trained in the Baroque tradition, a style of music that was considered oldfashioned by the end of his life.

Mozart, similarly, is ‘great’ because although he wrote in the same style as everyone else composing at the time, he did it better. Beethoven, however, is an example of a great composer who was on the cutting edge of music, who was the avantgarde of his time. Before Beethoven, there was no Romantic Era, but after him, few wanted to write in the Classical style any longer. You can trace the transition through the cycle of his nine symphonies, from the first two, which are modelled on those of Haydn and Mozart, through the innovation of his third and fifth symphonies, to the incredible scope and Romanticism of his ninth. But his music is not just famous for its newness: it is also incredibly profound, beautiful, and skillfully written. Extraordinarily, Beethoven did not just help invent a new style of music, he also perfected it.

Romanticism was primarily a literary movement and it was already established when Beethoven became the first to take its ideals and apply them to the way he wrote music. Instead of the ‘naturalness’ or perfection of the Classical era, Romantic artists sought to express their authentic selves, to capture all the tragedy and comedy of the human experience. Structure and refinement gave way to emotion, and the inner world of the artist.

Most music of the earlier Classical era relied heavily on what we call ‘form,’ or a kind of musical structure.

Audiences of the time were familiar with the way composers communicated their ideas and intentions — which keys were used where, systematic repetition of certain melodies, and the character and tempo of each movement.

Beethoven broke all these rules, and not simply for the sake of it: it was always in service of whatever he wanted to express, whether that was incredible drama or the most intimate, personal sentiments. Some of his later works, notably his late string quartets and piano sonatas, use almost no traditional form at all, and instead follow a stream of consciousness, passing from one idea to the next as quickly as they can be perceived, the way thoughts can melt away before we even fully think them. This is the heart of what was revolutionary about Beethoven’s music: it was not about God or beauty or what the public wanted to hear; it was about what it was like to be Beethoven and therefore to be human.

SPRING 2020 | 37

ABOUT THE WORKS

8 + 9 MAY

MISSA SOLEMNIS IN D MAJOR, OP. 123 Ludwig van Beethoven (1770 to 1827)

Friday 8 May 2020 / 7:30PM Saturday 9 May 2020 / 7:30PM Jack Singer Concert Hall Showcase

Beethoven: Missa Solemnis SPONSORS + SUPPORTERS Guest Artist Supporter: Naomi + John Lacey Virtuoso Programme Chorus Supporter: Borak Forte Programme Conductor Couturier: Umberto Custom Tailors Ltd.

PROGRAMME Rune Bergmann, conductor Erin Wall, soprano Susan Platts, mezzo-soprano John Tessier, tenor Robert Pomakov, bass Calgary Philharmonic Chorus Cantaré Children’s Choir Beethoven Missa solemnis in D Major, Op. 123 I. Kyrie II. Gloria III. Credo IV. Sanctus V. Agnus Dei Please note there is no intermission during the performance.

Programme and artists subject to change without notice

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indicates Canadian artist or composer

81'

In June 1819, it was announced that Beethoven’s friend and patron Archduke Rudolph of Austria would become Archbishop of the Moravian city of Olmütz (Olomouc). The installation ceremony was to take place in Cologne Cathedral in March of the following year. Although Beethoven received no official commission to compose music for the occasion, his close friendship with Rudolph inspired him to do so anyway.

He first made a thorough study of existing church music, from Gregorian Chants and the works of Palestrina, to the Passions of Bach and the Masses of Haydn. The summer of 1819 found him deeply immersed in the creation of the new Mass.

When his friend Anton Schindler visited him at his house in Mödling, he found the composer — by then completely deaf — in a disheveled and grumpy state, growling out his themes as he worked them through.

Such behaviour testified to the many kinds of turmoil that were besetting him. His finances were shaky, and his health, poor. His difficult relationship with his nephew Karl, whom he had taken as his ward, was causing him a great deal of distress.

His creative activities were a further cause of woe. Symphony No. 9 was stalled in mid creation, and he had reluctantly set it aside for the time being. The new Mass itself was taking shape but slowly. His desire to produce a “true” piece of church music, thereby, in his own words, “awakening religious feelings and making them lasting in both singers and listeners,” quickly caused it to grow, in both size and complexity, far beyond his original plans. This led him to have serious doubts about his ability to finish it in time for Rudolph’s installation as Archbishop.

That summer, he finished the two opening movements in their

Rune Bergmann biography on page 7 Calgary Philharmonic Chorus biography on page 8

essentials. But then he ground to a halt when he came to compose the Credo, the testament of faith in God that was for him the most important part of the piece. His fears regarding meeting his deadline proved accurate. The enthronement ceremony on 9 March 1820 ended up being accompanied by the music of Haydn, Hummel, and others, since Beethoven’s Mass was still far from complete. He continued working on it until the autumn, but then several other compositions (including his last three piano sonatas) drew his attention away from it. He completed the Missa solemnis (Solemn Mass, as it was known by then) early in 1823.

With that accomplishment behind him, he also put the final touches on Symphony No. 9.

He made several copies of the Mass. He sent one to the Archbishop, several others to publishers for their bids (such was the demand for a mass from his hand that he considered composing two more to satisfy the requests), and made 10 further copies for sale by subscription to royal patrons at the lofty rate of 50 ducats each. Two from this last batch found their way to Russia.

There Prince Galitzin, another of Beethoven’s regular patrons (in time he would commission several of the composer’s late string quartets), arranged for the Mass’s first performance. This took place in St. Petersburg on 26 March 1824.

Two months later, three movements only — Kyrie, Credo, and Agnus Dei — were heard in Vienna, at the same concert where the ninth symphony received its premiere. For reasons of ecclesiastical censorship, they were sung in German and labeled Three Grand Hymns. The Mass’s first complete Viennese performance didn’t occur until 1845, 18 years after Beethoven’s death.

Programme Notes by Don Anderson

2020

ERIN WALL Soprano

SUSAN PLATTS Mezzo-soprano

Acclaimed for her musicality and versatility, Erin Wall sings an opera and concert repertoire spanning three centuries, from Mozart to Strauss. She has sung leading roles in many of the world’s great opera houses, including the Metropolitan Opera, La Scala, Opéra National de Paris, and Lyric Opera of Chicago, and appears in concert with leading maestri and symphony orchestras worldwide. This Season, Wall will perform and record Thaïs with the Toronto Symphony Orchestra and Sir Andrew Davis, and Ellen Orford in Peter Grimes with the Bergen Philharmonic Orchestra and Edward Gardner. She will also make her much-anticipated debut as Elsa in Lohengrin at Barcelona’s Gran Teatre del Liceu. In concert she will perform the Four Last Songs in Sydney, Berlin, and Jackson, Mississippi, and Mahler’s Symphony No. 8 with the Atlanta Symphony and Robert Spano, the City of Birmingham Symphony Orchestra and Mirga Gražinytė-Tyla, the Bavarian State Opera and Kirill Petrenko, and the San Francisco Symphony for Michael Tilson Thomas’ final performances as Music Director.

Future projects include returns to the Metropolitan Opera, the Orchestre de Paris, and the Melbourne Symphony, as well as debuts with the Gewandhaus Leipzig and the New Zealand Symphony.

Rolex Prize-winning Susan Platts performs the complete repertoire for alto and mezzo-soprano. She has sung at London’s Covent Garden and Royal Albert Hall, Milan’s Teatro alla Scala, the Teatro di San Carlo, Carnegie Hall, and Lincoln Center, numerous orchestras in Europe and North America, Boston’s Handel and Haydn Society, the Los Angeles and St. Paul Chamber Orchestras, and many others. Platts has collaborated with Marin Alsop, Sir Andrew Davis, Ludovic Morlot, Josep Caballé-Domenech, Christoph Eschenbach, Carlos Kalmar, Keith Lockhart, Kent Nagano, Yannick Nézet-Séguin, Sir Roger Norrington, Peter Oundjian, Carlos Miguel Prieto, Bramwell Tovey, and Osmo Vänska.

She has appeared in recital with the Vocal Arts Society at the Kennedy Center, the Ladies Morning Musical Club in Montreal, and the Frick Collection and Lincoln Center Art of the Song in New York City. Recent performances include her London Philharmonic debut in Wagner’s Die Walküre, her Royal Opera House debut in Mozart’s Die Zauberflöte, Nixon in China (BBC Symphony), Albert Herring (Pacific Opera Victoria and Vancouver Opera), Peter Grimes (Vancouver Symphony), Das Rheingold (Pacific Opera Victoria), and A Quiet Place (Montreal Symphony). Recordings include Mahler’s Das Lied von der Erde and songs by Robert Schumann, Clara Schumann and Johannes Brahms.

SPRING 2020 | 39

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Canadian bass Robert Pomakov makes a number of important house debuts in the current season, including with Opéra National de Paris as the Bonze in Madama Butterfly directed by Robert Wilson, Den Norske Opera as Gremin in Christof Loy’s production of Eugene Onegin, and Cincinnati Opera as Vodník in Janacek’s Rusalka. He returns to the Metropolitan Opera to cover the roles of Fiesco in Simon Boccenegra and Timur in Turandot.

In the 2018/2019 Season, Pomakov had role debuts as Méphistophélès in Faust for his house debut with Vancouver Opera, and Nourabad in Les Pêcheurs de Perles with Santa Fe Opera. He returned to Oper Frankfurt as King René in Tchaikovsky’s Iolanta, and returned to the Metropolitan Opera to reprise the role of Monterone in Rigoletto. Concert performances included his debut with the Victoria Symphony, singing König Heinrich in Act III of Lohengrin, and the New Mexico Philharmonic, as the bass soloist in Verdi’s Requiem. Other notable appearances include the Toronto Symphony Orchestra, National Arts Centre Orchestra, Calgary Philharmonic, Amsterdam’s Concertgebouw, Ravinia Festival, Phoenix Symphony, New Jersey Symphony, North Carolina Symphony, Elora Festival, Le Festival de Lanaudière, and Orchestre Métropolitain under the direction of Yannick Nézet-Séguin.

Adrian Parks

Juno Award-winning tenor John Tessier has garnered international praise for the beauty and honesty of his voice, his refined style and artistic versatility, and his youthful presence. He has worked with such notable musicians as Plácido Domingo, Lorin Maazel, Emmanuel Haim, Valery Gergiev, Charles Dutoit, Leonard Slatkin, Bryn Terfel, Sir Thomas Allen, Thomas Hampson, Pinchas Zukerman, Itzhak Perlman, Deborah Voigt, Samuel Ramey, Bobby McFerrin, John Nelson, Franz Welser-Möst, Donald Runnicles, Robert Spano, Dame Kiri Te Kanawa, Dame Gwyneth Jones, Carlos Alvarez, and Bernard Labadie. Recent and upcoming appearances include performances at the Royal Opera House, Covent Garden, Wiener Staatsoper, Carnegie Hall, Teatro Colon, Oper Frankfurt, Grand Théâtre de Genève, English National Opera, Washington National Opera, Seattle Opera, New York Philharmonic, Wiener Musikverein, National Symphony, San Francisco, Philadelphia, Cleveland, Royal Liverpool, National de Lyon, Ensemble Orchestral de Paris, and Toronto Symphony Orchestras.

Tessier is an award-winning professor at the University of Alberta. His discography includes recordings on the Decca, Naxos, Telarc, BIS, Challenge Records, and Dorian labels.

Rozarii Lynch; Robert Pomakov

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ROBERT POMAKOV Bass

John Tessier

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15 + 16 MAY

5 THINGS ABOUT STAR WARS: A NEW HOPE IN CONCERT 1. T he world was introduced to the Galactic Empire when Star Wars: A New Hope hit the big screen in 1977.

This was the first film in the original Star Wars trilogy, but it’s known as Episode IV due to the three prequels released from 1999 to 2005.

2. W riter and director George Lucas initially cut the film using existing orchestral works by composers like Bach and Beethoven, then took the advice of his friend Steven Spielberg and hired John Williams.

Friday 15 May 2020 / 7:30PM Saturday 16 May 2020 / 2PM + 7:30PM Southern Alberta Jubilee Auditorium Specials

Star Wars: A New Hope in Concert PROGRAMME

3. The London Symphony Orchestra performed the original score for the film, which was recorded over eight sessions. The soundtrack won the Oscar and Golden Globe for best original score in 1977, and is ranked No. 1 on the American Film Institute’s list of best film scores.

4. S tar Wars films use musical themes or ‘leitmotifs’ to represent different characters and plot elements. Luke Skywalker’s music, titled Binary Theme, first plays as he watches a double sunset.

Lawrence Loh, conductor John Williams

Star Wars: A New Hope (Film with Orchestra)

Performance includes a 20-minute intermission Presentation licensed by Disney Concerts in association with 20th Century Fox, Lucasfilm Ltd., and Warner/Chappell Music.

2020 & TM LUCASFILM LTD. ALL RIGHTS RESERVED Disney Programme and artists subject to change without notice

42 | PRELUDE calgaryphil.com | 403.571.0849

5. To perform the score live while the film plays on a big screen, musicians use a ‘click track’ to keep time and help them stay in sync with the movie.

Lawrence Loh

Perry Bennett

LAWRENCE LOH Conductor Lawrence Loh is Music Director of Symphoria (Syracuse, NY) and the West Virginia Symphony. He concluded his tenure as Music Director of the Northeastern Pennsylvania Philharmonic in 2017. He’s had a decade-plus association with the Pittsburgh Symphony Orchestra, leading programmes. Loh was previously Artistic Director and Principal Conductor of Syracuse Opera, Resident Conductor of Pittsburgh Symphony Orchestra, Associate Conductor of Dallas Symphony Orchestra, and Associate Conductor of Colorado Symphony Orchestra. Loh has conducted 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 Episodes IV and V, Jaws, Pixar in Concert, Disney in Concert, Wizard of Oz, Casablanca, and Singin’ in the Rain, among others.

Loh, an active guest conductor, has engagements this Season with Seattle Symphony, San Diego Symphony, and Grant Park Festival, and recent engagements in Washington D.C., Indianapolis, Malaysia, and South Korea. Loh received his Artist Diploma in Orchestral Conducting from Yale, his Masters in Choral Conducting from Indiana University, and his bachelor of arts and Certificate of Management Studies from the University of Rochester.

“A magical Strauss experience.”

– ELSEVIER JENNIFER FRANCE IN ARIADNE AUF NAXOS - NEDERLANDSE REISOPERA - MARCO BORGGREVE (2016)

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KATHERINE CHI COMES HOME TO PERFORM BEETHOVEN’S FOURTH PIANO CONCERTO

C

oncert pianists have something in common with professional hockey players: both jobs demand excellence, emotion, and execution under pressure on a nightly basis, even those nights when you’re not quite your best self.

On the other hand, there are nights, like 29 + 30 May at the Jack Singer Concert Hall, when Katherine Chi performs Beethoven’s Piano Concerto No. 4 with the Calgary Philharmonic Orchestra, that get circled in the Google Calendar months ahead, because they are nights unlike any other — a concert pianist’s playoff dates, if you will. That’s because Chi not only grew up in Calgary, but the Jack Singer was also the site of a great professional breakthrough in 2000 when she won the prestigious Honens International Piano Competition.

Katherine Chi, photo by Greg MacKay

Calgary Philharmonic

For Chi, still the only woman to win Honens, that performance truly was a game-changer, professionally and personally. Playing Jack Singer Concert Hall? From Boston, where she lives now, you can almost hear her summon the concert hall in her imagination. “It always brings back memories. And it’s one of the best halls in Canada,” says Chi. “When I did Honens and won it, it was a terrifying time, so hopefully I won’t feel the same way.

Maybe I’ll be terrified in a different way, but it won’t be the same kind of terror!”

IT’S REALLY NICE TO SHARE THE STAGE WITH THE AUDIENCE. IT’S PART OF WANTING TO DO THIS KIND OF LIFE.” If the Jack Singer represents a career game-changer for Chi, then Beethoven was a game-changer of classical repertoire — and still is, which is why Chi loves to interpret his work. “He was always the sort of person to compose something to the maximum of his limits, and then, for the next piece, to see how else he could stretch the boundaries,” Chi says. “Every piece was going towards some future trajectory he maybe didn’t even understand,” she adds, “but it was always a force of nature to outdo himself every single time.”

BY STEPHEN HUNT That ambition extended to his piano concertos, including No. 4., which Chi will perform in a programme that also includes Beethoven’s fourth symphony, and a new work from composer Jocelyn Morlock that’s inspired by Beethoven. “A lot of pianists think this is one of the more difficult concertos to execute — not physically, but on a kind of psychic level,” Chi says. “There’s an incredibly sublime quality to it, on top of everything else that he composed. Concerto No. 4 is epic — it’s probably one of the greatest written.”

It’s also the latest stage in Chi’s ongoing relationship with the composer’s work, which started when she was a 10-year-old who moved from Calgary to Philadelphia to study at the Curtis Institute of Music. “When you’re 10, you basically are propelled by what you feel and how (well) you’re able to execute it,” she says. “There is this kind of spontaneity, a kind of freshness and innocence which is very appealing.” But, she adds, as you grow older and start looking at composers and pieces over time, you start to comprehend more layers of what the pieces mean and what the composers were going after.

Four decades into the relationship, Chi appreciates the audacity and boldness of Beethoven more than ever.

“What we’re always trying to do is to go towards a (musical) truth,” she says. “The more you know, the more you feel, the more (resonant) your experience always becomes.”

The other thing that evolves is a performer’s relationship with the audience. For a concert pianist, the audience members are their witnesses, their nightly jury, and their collaborators, in a way, in the creation of a single performance. “It’s really nice to share the stage with the audience. It’s part of wanting to do this kind of life,” Chi says. In May, with family, friends, and musical colleagues in the house, it promises to be one of those audiences she is more excited than usual to be performing for.

Game-changing composer. Game-changing concert hall.

Game-changing artist.

“For some reason, this one feels super important to me,” Chi says, “I can’t wait. Every time I come back to Canada, especially Calgary, it always feels like a reunion. It’s nice to feel like you’re coming back to your roots.”

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ABOUT THE WORKS

29 + 30 MAY

This concert features the debut of a new work by Canadian composer Jocelyn Morlock, commissioned by the Calgary Philharmonic. She has provided the following programme note: 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 socialist outlier to 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 Amadeus — 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 4, the unexpected minor mode, and the commensurate sense of strangeness and unreality that might be comforting, or perhaps rather scary.

Friday 29 May 2020 / 7:30PM Saturday 30 May 2020 / 7:30PM Jack Singer Concert Hall Masterworks

Beethoven 4: Bold Matthews Family Dedication Concert SPONSORS + SUPPORTERS New Commission Supporter: DeBoni New Works Guest Artist Supporter: Naomi + John Lacey Virtuoso Programme Series Sponsor: United Active Living Conductor Couturier: Umberto Custom Tailors Ltd.

PROGRAMME Rune Bergmann, conductor Jocelyn Morlock, composer Katherine Chi, piano Jocelyn Morlock

Interloper

12'

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

34'

Intermission

20’

Beethoven Symphony No. 4 in B-flat Major, Op. 60 I. Adagio - Allegro vivace II. Adagio III. Allegro vivace IV. Allegro ma non troppo

34'

Programme and artists subject to change without notice

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PIANO CONCERTO NO. 4 IN G MAJOR, OP. 58 Ludwig van Beethoven (1770 to 1827) Beethoven composed both works on this programme during the period 1805 to 1806, an especially fruitful

Rune Bergmann biography on page 7

time during which he also worked on the Violin Concerto and the Triple Concerto. All these works share a sweet, 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. It took place before an aristocratic audience in the Vienna home of his friend and patron Prince Lobkowitz. Listeners responded with only polite applause, and the public debut proved even less successful. It was only when no less a piano soloist than Felix Mendelssohn took it up, more than 20 years later, that this lovely, heartfelt (but also humorous) piece finally began to find a place for itself in the standard repertoire.

Jocelyn Morlock

Mark Mushet; Katherine Chi

Calgary Philharmonic

SYMPHONY NO. 4 IN B-FLAT MAJOR, OP. 60 Ludwig van Beethoven In the autumn of 1806, Beethoven visited his patron Prince Lichnowsky at his summer estate. There he met another great music lover, the Prince’s neighbour, Count Franz von Oppersdorf. An ardent admirer of Beethoven’s, the Count invited Beethoven and the Prince to his castle. He had his private orchestra perform Beethoven’s Symphony No. 2 during their stay, and commissioned a new symphony from him. Symphony No. 4 is dedicated to him; he would later commission No. 5 as well. It is probable but not proven that the Count’s orchestra gave the fourth symphony its premiere. The first fully documented reading was a private one that took place in Vienna in March 1807.

The weighty character of symphonies three and five, and the more immediate and more powerful impact they make, has led to the relatively low popularity of No. 4. This fate is utterly unrelated to its quality.

As the noted 19th-century English musicologist Sir George Grove wrote, “Widely different as the fourth is from the third, it is no less original or individual. It is lighter and less profound than the Eroica, but there is no retrogression in style. It is the mood only that is different, the character and the means of expression remain the same.”

Programme Notes for Beethoven by Don Anderson 2020

JOCELYN MORLOCK Composer

KATHERINE CHI Piano

Juno Award-winning composer Jocelyn Morlock’s music is hailed as “airy but rhythmic, tuneful but complex” and with “uncanny yet toothsome beauty” (Georgia Straight).

She served as Vancouver Symphony Orchestra’s first female Composerin-Residence from 2014 to 2019, following her term as Composer-inResidence for Vancouver’s Music on Main series. She has been composer of record for significant competitions, including the 2008 Eckhardt-Gramatté National Music Competition and the 2005 Montreal International Music Competition, for which she wrote Amore, a vocal work that has received more than 70 performances and numerous broadcasts. Called “a lyrical wonder, exquisite writing” (Vancouver Sun), Morlock’s accolades include a Juno for Classical Composition of the Year, Top 10 at the International Rostrum of Composers, the Jan V. Matejcek Award from SOCAN for overall success in New Classical Music, the Barbara Pentland Award of Excellence, the Mayor’s Arts Award for Music, several Western Canadian Music Awards, and the CMC Prairie Region Emerging Composers competition. Her work is on numerous recordings, including the National Arts Centre Orchestra’s Life Reflected, musica intima’s into light, and her own Cobalt and Halcyon. Much of her music is inspired by birds, insomnia, or a peculiar combination thereof.

Katherine Chi, 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.” With her energy, character, and spunk, Chi performs repertoire ranging from Bach to Bartók to Liszt to Schoenberg.

She recently appeared with the Vancouver Symphony, the Library of Congress, and the Gilmore International Keyboard Festival. She has also performed with the Alabama, Calgary, Colorado, Columbus, Edmonton, Grand Rapids, Kitchener-Waterloo, Nova Scotia, Philadelphia, Quebec, Thunder Bay, Toronto, Vancouver, and Victoria Orchestras; CBC Radio Orchestra; Canada’s National Arts Centre Orchestra; I Musici de Montreal; Manitoba Chamber Orchestra; the Neue Philharmonie Westfalen; and Toronto Sinfonia, in addition to numerous festivals. Chi made her recital debut at age nine, and at 10 was accepted to the prestigious Curtis Institute of Music. She continued studies at the New England Conservatory in Boston, earning master’s and graduate degrees, an artist diploma and doctorate. After becoming a prizewinner at the 1998 Busoni International Piano Competition, Chi became the first woman and first Canadian to win the Honens International Piano Competition in 2000.

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31 MAY

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.

Families attending the concerts are also invited to come early for the Instrument Discovery Zoo in the Jack Singer Concert Hall lobby, where they can visit different stations hosted by Orchestra musicians. Each station features an instrument or musical activity for children to try, so they can learn firsthand what it’s like to blow in a trumpet or run a bow across the strings of a violin.

Sunday 31 May 2020 / 3PM Instrument Discovery Zoo / 2PM Jack Singer Concert Hall Symphony Sundays for Kids

Beethoven Lives Upstairs SPONSORS Series Sponsor: ATB Financial Associate Conductor Supporter: Mary Rozsa de Coquet Conductor Couturier: Umberto Custom Tailors Ltd. Instrument Discovery Zoo: Long & McQuade, V.A. Hill Fine Strings Ltd. Media: Shine FM

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.

PROGRAMME Karl Hirzer, conductor Classical Kids LIVE!, ensemble Beethoven

Music Excerpts

Symphony No. 7, Mvmt. II • Symphony No. 5, Mvmt. I • Piano Sonata No. 27, Op. 90, Mvmt. II • Symphony No. 1, Mvmt. IV • Romance for Violin and Orch. in G Major • Piano Sonata, (Pathétique) • Symphony No. 9, Mvmt. II • Piano Sonata Op. 14, No. 2 • Symphony No. 4, Mvmt. II • Minuet in G Major (Piano + Bells) • Spring Sonata (Violin + Piano) • Symphony No 8, Mvmt. II • Leonore Overture No. 3 • Für Elise (Piano) • Polonaise für Militärmusik in D Major • Sonata, Op. 27, No. 2 (Moonlight) • Mozart Variations (Woodwind Trio) • Symphony No. 6, Mvmt. I • Symphony No. 6 (Birds) • Symphony No. 6 (Storm) • Piano Concerto No. 1. Mvmt. I • Piano Concerto No. 5, Mvmt II • Variations on ‘Nel Cor Più’ (Piano) • Bass Sting from Symph. No. 9 (Finale) • Piano Capriccio, (Rage over a Lost Penny) • Symphony No. 6 (Tremolo) • Symphony No. 9 (Ode to Joy) • Symphony No. 9 (Finale) • Piano Sonata Op. 49, No. 2, Mvmt. II Programme and artists subject to change without notice

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Karl Hirzer biography on page 7

CLASSICAL KIDS LIVE! Ensemble Classical Kids LIVE! is produced by Classical Kids Music Education, a Chicago-based not-for-profit organization that works to enrich communities through direct access to culturally significant venues, professional artists and organizations, and high-quality theatrical concert productions, while fostering new appreciation for classical music and music history. In combination with the Classical Kids Teaching Edition, Classical Kids LIVE! serves as one of the world’s best educational outreach and community engagement programs contributing to the long-term health of classical music. Having received more awards and honours than any other entity of its kind, Classical Kids is proud to say, “We’re making a difference!” www.ckme.org

Thursday, September 10th 2020 Run 8km or walk 4km along the Bow River while the Calgary Philharmonic Orchestra plays Beethoven’s biggest hits. Participants receive a custom Beat Beethoven wine glass, a wine-themed finishers’ medal, a lite dinner, and a complimentary glass of wine. Celebrate your finish line success by enjoying a CPO concert under the big white tent!

Supporting PhilKids, fueling the empowerment of children through the exploration of music.

Register at;

Paul Pement, director, producer + stage manager Susan Hammond, series creator Barbara Nichol, writer Alex Meadows, costume design Andrew Redlawsk, actor (Christoph) Thad Avery, actor (Uncle) The theatrical concert version of Beethoven Lives Upstairs is an adaptation of the best-selling and award-winning Classical Kids audio recording, Beethoven Lives Upstairs, produced by Susan Hammond and originally directed as a staged concert by Peter Moss with additional direction

by Dennis Garnhum. Classical Kids is a trademark of Classical Productions for Children Ltd., used under exclusive license to Pement Enterprises, Inc., and produced by Classical Kids Music Education, NFP. Actors and Production Stage Manager are members of Actors’ Equity Association. Classical Kids recordings marketed by The Children’s Group.

SPORTCHECK MOTHER’S DAY WALK/RUN/RIDE SCOTIABANK CALGARY MARATHON • CALGARYS FASTEST 10KM DINO DASH • BEAT BEETHOVEN • WILD RUN • DASH OF DOOM

www.runcalgary.com

SPRING 2020 | 49

5 + 6 JUN

5 THINGS ABOUT BILLY JOEL + ELTON JOHN 1. Billy Joel was born in 1949 in New York and holds the lifetime record for most performances by any artist at Madison Square Garden.

His father Howard, a Holocaust survivor, was an engineer and a pianist.

2. Elton John was born Reginald Kenneth Dwight in 1947 in Pinner, England, and officially changed his name in 1967. He won a piano scholarship to the Royal Academy of Music at age 11.

3. Billy Joel’s first hit single was Piano Man in 1973.

He has won five Grammys and one Tony, and Rolling Stone named him one of the 100 greatest songwriters of all time.

Friday 5 June 2020 / 7:30PM Saturday 6 June 2020 / 7:30PM Jack Singer Concert Hall Pops

Best of Billy Joel + Elton John SPONSORS + SUPPORTERS Associate Conductor Supporter: Mary Rozsa de Coquet Conductor Couturier: Umberto Custom Tailors Ltd.

PROGRAMME Karl Hirzer, conductor Jeans ‘n Classics, band Jean Meilleur, vocals Kathryn Rose, vocals Lis Soderberg, vocals Performing songs from the list below.

Performance includes a 20-minute intermission.

Ballad of Billy the Kid • Movin’ Out • She’s Got a Way • Big Shot • Say Goodbye to Hollywood • Always A Woman • My Life • Scenes from an Italian Restaurant • Piano Man • You May Be Right • Funeral For a Friend • Love Lies Bleeding • Philadelphia Freedom • I Guess That’s Why They Call It the Blues • Tonight: Prelude • Someone Saved My Life Tonight • Circle of Life • Don’t Let the Sun Go Down on Me Programme and artists subject to change without notice

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4. Elton John’s first hit single was Crocodile Rock in 1973. He has won five Grammys, an Oscar, and one Tony, and was knighted

by Queen Elizabeth II in 1998 for his music and work with AIDS organizations.

5. Billy Joel and Elton John joined forces in 1994 for a series of concerts titled ‘Face to Face,’ performing their own songs, each other’s songs, and duets.

They continued to tour together regularly for 16 years — their last tour was in 2010.

Karl Hirzer biography on page 7

UNITED residents embrace the arts Transforming the Experience of Aging

JEANS ‘N CLASSICS Band

JEAN MEILLEUR Vocals

For 23 years now, Peter Brennan’s approach to combining world-class rock musicians and symphonies has been a game-changer for orchestras in their quest to attract new and more expansive audiences. Jeans ‘n Classics is a group of musicians who understand orchestra culture and are committed to help in the building of younger, loyal audiences for symphony orchestras across North America. Jeans ‘n Classics appeals to an age group from, but not limited to, 25 to 65. While most definitely not a tribute act, Jeans ‘n Classics faithfully interprets the music of legendary rock and pop albums and artists, with their own special and signature flair. Symphonies far and wide have heralded the quality of its orchestral scores. The group has established a reputation for providing lush, fully realized arrangements of rock and pop classics for rock band and symphony, and top-notch performers who truly know how to deliver a great rehearsal and live show experience with professionalism, humour, and finesse. Jeans ‘n Classics works with over 100 orchestras in venues throughout North America, and has created almost 1,000 original rock and pop orchestrations that are presented across 45 unique and exciting productions.

Jean Meilleur has been a headliner with Jeans ‘n Classics for over 20 years. In that time he has performed with scores of major North American orchestras, lending his distinctive voice to some of the greatest popular music of our time. Originally from Madison, Wisconsin, Meilleur was born and remains a Green Bay Packer fanatic. He moved to Detroit, Michigan at a young age and living in the Motor City helped shape his penchant for the Motown, Soul, and R&B sounds of the early ’70s.

Meilleur is a prolific songwriter who has been performing professionally for over 30 years. His singing voice is passionate and provocative, with a robust timbre that is immediately recognizable. Meilleur has been heard on many national radio and television jingles and advertisements — he was recently chosen as the Canadian voice of Jim Beam Kentucky Straight Bourbon Whiskey. He considers it a privilege to share the stage with a symphony orchestra, Peter Brennan’s superb arrangements, and a flawless band. “To have the opportunity to sing some of the greatest popular music of our time, in my own voice, is a rush beyond compare.”

Garrison Green 403-685-7200 Fish Creek 587- 481-7907

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Sandra Lied Haga Winner of Equinor’s classical music award 2019

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KATHRYN ROSE Vocals

LIS SODERBERG Vocals

Kathryn Rose, a long-time core artist with Jeans ‘n Classics, is known for her artful, cerebral brand of sexy/ sad/funny cinematic pop. She was a successful actor before making music her focus after a lead role in the National Lampoon film franchise.

As one of Canada’s top go-to voices, she’s worked with Barenaked Ladies, Sarah McLachlan, Kevin Breit, Emilie-Claire Barlow, Melanie Doane, Patti Labelle, Sir Tom Jones, Stephan Moccio, Ron Sexsmith, Anne Murray, Martin Fry (ABC), The Spoons, Susan Aglukark, Esthero, Marc Jordan, Amy Sky, Ian Thomas, Micah Barnes, Oliver Schroer, and many others. Rose received a nomination for Pop Album of the Year at the Canadian Indie Awards; was a cover story of Toronto’s NOW Magazine (which named her Toronto’s Best Jingle Singer); and was an International Songwriting Competition semi-finalist who charted for 23 weeks on Bravo!

Television’s Top 30 chart. Her songs have been covered by artists such as Melanie Doane and Sarah Slean.

Notable solo appearances include Luminato Festival’s Neil Young tribute at Massey Hall, George Koller’s International Divas series, Jazz FM’s Music of Paul Simon and Songs of the Brill Building, and the ACTRA Awards.

Rose’s five solo albums are available on her website and iTunes.

Lis Soderberg’s career includes performances on symphony and rock stages, songwriting awards, commercial work, singer-songwriter coffee house gigs, live-to-air broadcasts, and guest appearances and features on albums, film soundtracks, television, and radio.

Songs from her 2010 solo alt/folk/ pop CD, Refuge, were recently used in four episodes of the acclaimed series Schitt’s Creek (2015). Other songwriting credits include All I Need, which received a 2008 Billboard Song Contest award in the Jazz category and was the first track on a 2009 celebrity holiday compilation alongside tracks by Huey Lewis and the News, Richard Marx, Dennis DeYoung, and William Shatner. Guest and feature performances and recordings include Stuart McLean’s Vinyl Cafe on CBC, Babar (movie), Manson (drama-doc), A Change of Place (drama), Kevin Breit (Norah Jones, k.d. lang, Roseanne Cash), Eric Schenkman (Spin Doctors), Russell DeCarle (Praire Oyster), Gwen Swick (Quartette, the Marigolds), and more. You may also hear Soderberg narrating the Air Canada in-flight safety video, and as voiceover and/or singer on many national radio and television commercials.

Support the CPO and win a luxury trip for two to

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Raffle Tickets $20 | Prize valued at over $25,000 Raffle tickets sold at concerts, online, and at the Box Office.

License number: 539922 | Registered Charity: 118823863RR0001 See raffle rules online at calgaryphil.com. Some restrictions apply. Only open to residents of Alberta, Canada — ages 18 or older.

This prize is a one-time transaction only and is guaranteed for one year from the draw date. Only 4,950 tickets printed.

Winner will be drawn on 18 June 2020 at the Calgary Philharmonic Orchestra Office, 205 8 Ave SE Calgary, Alberta T2G 0K9.

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ABOUT THE WORKS

12 + 13 JUN

This concert features the debut of a new work by Canadian composer Dorothy Chang, commissioned by the Calgary Philharmonic. She has provided the following programme note: SKIZZEN (SKETCHES) (WORLD PREMIERE) Dorothy Chang (b. 1970) In composing my new work, Skizzen (Sketches), I took inspiration from Beethoven’s famous sketchbooks that survive in libraries around the world.

Drawing from sketches and material from his fifth symphony, I sought not to re-compose Beethoven’s music, but instead to reference his ideas in raw form, when they were merely flashes of inspiration and not yet developed into one of the most significant compositions Beethoven was to create.

As they appear in his sketchbooks, these fragments are incomplete, disconnected, and often in only rough outline form. Some pages are curiously barren; others densely covered with chaotic scribbles, scratches, headless note-stems, and messy inkblots.

Similarly, Skizzen presents a selection of Beethoven’s musical fragments, at times distinctly recognizable and elsewhere transformed, emerging from and returning to a haze of obscurity.

Certain musical moments appear in just brief flashes; others spin off into new directions and interpretations, much as a composer explores the potentialities of a musical germ during the composition process. One might listen as one would view a faded and brittle document that captured the very initial sparks of a masterpiece, some 200 years ago.

Friday 12 June 2020 / 7:30PM Saturday 13 June 2020 / 7:30PM Jack Singer Concert Hall Showcase

Beethoven 5: Epic SPONSORS + SUPPORTERS New Commission Supporter: DeBoni New Works Guest Artist Supporter: Naomi + John Lacey Virtuoso Programme Concert Supporter: Rozsa Foundation Conductor Couturier: Umberto Custom Tailors Ltd.

PROGRAMME Rune Bergmann, conductor Dorothy Chang, composer Inon Barnatan, piano Dorothy Chang

Skizzen (Sketches)

10'

Beethoven Piano Concerto No. 5 in E-flat Major (Emperor) I. Allegro II. Adagio un poco mosso III. Rondo: Allegro

38'

Intermission

20'

Beethoven Symphony No. 5 in C Minor, Op. 67 I. Allegro con brio II. Andante con moto III. Allegro IV. Allegro Programme and artists subject to change without notice

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31'

PIANO CONCERTO NO. 5 IN E-FLAT MAJOR, OP. 73 (EMPEROR) Ludwig van Beethoven (1770 to 1827) Beethoven composed the Emperor Concerto from 1808 to 1809, against the backdrop of Napoleon Bonaparte’s rise to the zenith of his power. Beethoven had admired the so-called ‘Little Corporal’ for his early devotion to the Rune Bergmann biography on page 7

humanitarian ideals of the French Revolution. Once Bonaparte crowned himself Emperor of France in 1804, Beethoven’s attitude changed instantly to scorn.

In May 1809, French troops besieged and captured Vienna. While Beethoven was composing this concerto, their regular artillery bombardments were chipping away at the last shreds of his hearing. He fled to his brother’s house and covered his ears with pillows to reduce the noise.

Rather than reflecting his distress, this regal, expansive concerto is proud and defiant. Perhaps he intended it as a hopeful forecast of Bonaparte’s ultimate defeat, or a manifesto praising the virtues of the common man over those of a dictator.

Inon Barnatan

Marco Borggreve

SYMPHONY NO. 5 IN C MINOR, OP. 67 Ludwig van Beethoven Beethoven completed Symphony No. 5 during the first months of 1808. It, as well as Symphony No. 6, premiered on 22 December 1808. Like Symphony No. 3, it is filled with innovations, most impressively the tracing of an emotional arc from turbulence to triumph. That satisfying journey gives it the power to stir audiences on a fundamental level, embracing them in a common sense of victory. This generosity of spirit is the foundation stone of Beethoven’s reputation.

On another innovative front, the fifth calls for an orchestra larger and richer than any that Haydn and Mozart had used. Piccolo, contrabassoon, and trombones here made their debuts in the symphonic orchestra, giving the music extra weight and brilliance. The fifth proved enormously influential, as similarly epic symphonies by Brahms, Tchaikovsky, Mahler, Nielsen, and Rachmaninoff (among many others) have demonstrated.

It has perhaps the most familiar opening of any piece of classical orchestral music, which ushers in the most intense symphonic first movement that anyone had composed up to that time.

The veiled closing measures of the third movement point to a tragic conclusion.

In another act of innovation, Beethoven maintained the music’s forward momentum by dispensing with the typical inter-movement stop and leading us straight on to the exultant Finale.

Programme Notes for Beethoven by Don Anderson 2020

DOROTHY CHANG Composer

INON BARNATAN Piano

Described as “evocative and kaleidoscopic” (Seattle Times), the music of composer Dorothy Chang often reflects an eclectic mix of musical influences ranging from popular and folk music to elements of traditional Chinese music. Many of her works are inspired by place, time, memory, and personal histories.

Chang’s catalogue includes over 70 works for solo, chamber, and large ensembles with a particular interest in cross-cultural and interdisciplinary collaboration, including works for mixed Chinese and Western ensembles as well as for theatre, opera, and dance. Chang’s music has been featured in concerts and festivals across North America and abroad, with performances by the Albany Symphony, Calgary Philharmonic, Indianapolis Symphony, Manitoba Chamber, Pittsburgh Symphony, Queens Symphony, Saint Paul Chamber, Seattle Symphony, Toronto Symphony, Vancouver Symphony, and Victoria Orchestras, and by chamber ensembles including eighth blackbird, the Smith Quartet, the Chicago Saxophone Quartet, Turning Point Ensemble, and Music from China, among others. From 2005 to 2008, Chang served as a Music Alive Composer-in-Residence with the Albany Symphony Orchestra.

In 2003, she joined the music faculty at the University of British Columbia, as a Professor of Music.

“One of the most admired pianists of his generation” (New York Times), Inon Barnatan is celebrated for his poetic sensibility, musical intelligence, and consummate artistry. He opened his tenure as Music Director of California’s La Jolla Music Society Summerfest in 2019. He is a regular soloist with the world’s foremost orchestras and conductors, including 2019/2020 collaborations with the Los Angeles Philharmonic, Chicago Symphony, Royal Stockholm Symphony, and Cincinnati Symphony.

The recipient of an Avery Fisher Career Grant and Lincoln Center’s Martin E. Segal Award, Barnatan is also a sought-after recitalist and chamber musician. This season he makes his solo debut at Carnegie’s Zankel Hall, returns to Alice Tully Hall, and reunites with cello partner Alisa Weilerstein on tour. Passionate about contemporary music, he has commissioned and performed works by many composers.

Barnatan’s latest recording features Beethoven’s complete piano concertos, with Alan Gilbert and London’s Academy of St. Martin in the Fields. Barnatan’s acclaimed discography also includes Messiaen’s 90-minute masterpiece Des canyons aux étoiles; Rachmaninov & Chopin: Cello Sonatas; two solo Schubert albums; and Darknesse Visible, named BBC Music’s “Instrumentalist CD of the Month” and one of the New York Times’ “Best of 2012.”

SPRING 2020 | 55

An Evening with Itzhak Perlman

Nordic Greats

Violin superstar Itzhak Perlman joined Music Director Rune Bergmann and the Calgary Philharmonic for a sold-out performance in September. The special benefit concert in support of the Orchestra’s Education and Outreach programmes was made possible thanks to the extraordinary generosity of Calgary philanthropist Heather Edwards.

Music Director Rune Bergmann showcased composers from his homeland at this January concert presented as part of the High Performance Rodeo. The sold-out event featured Norwegian violinist Eldbjørg Hemsing, and new choreography by Yukichi Hattori performed with dancers from the H/W School of Ballet to selections from Grieg’s Peer Gynt Suites.

Otahpiaaki Fashion Show A performance featuring Polaris Prize and Juno Awardwinning tenor and composer Jeremy Dutcher — a leader in Canada’s Indigenous Renaisaance — opened with a stunning pre-concert fashion show presented in partnership with PARK as part of Otahpiaaki 2019 — a celebration of Indigenous art and design.

Caydence Photography

2019/2020 SEASON HIGHLIGHTS 56 | PRELUDE calgaryphil.com | 403.571.0849

Resurrection: Mahler Symphony No. 2 The Orchestra and Chorus were out in full force for two sold-out performances of Mahler’s monumental Symphony No. 2 led

by Music Director Rune Bergmann.

This work, which wrestles with the idea of death and what comes next, is credited with pushing boundaries and taking the symphony to new extremes.

Paul Brandt’s Country Christmas Country superstar Paul Brandt joined the Orchestra for three special concerts in December featuring a mix of his original hits and his holiday favourites — including a live-stream that attracted viewers from around the world. The concerts were made possible thanks to the generous support of the Taylor Family Foundation.

PhilKids Concert

To Beethoven with Love

The Orchestra traded the concert hall for a school gymnasium at this special performance with PhilKids at Keeler Elementary School in February. The Calgary Philharmonic’s PhilKids Programme is designed to fuel and support the empowerment of children through the exploration of music. The evening featured PhilKids and pianist Daniel Szefer with the Orchestra.

Leading up to the Valentine’s Day launch of 2020: The Year of Beethoven, our series of concerts celebrating the great composer’s 250th birthday, the Calgary Philharmonic invited people to visit the CORE Shopping Centre to take a photo at our BAEthoven booth and enjoy a performance of lovethemed songs by a quartet featuring our musicians.

The Hockey Sweater Calgary Flames alumnus Lanny McDonald faced off with percussionist Sean Buckley onstage as the Calgary Philharmonic presented The Hockey Sweater, Roch Carrier’s classic Canadian story brought to life with music

by Abigail Richardson-Schulte. The concert, conducted by Karl Hirzer, was part of the Symphony Sundays for Kids series.

SPRING 2020 | 57

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58 | PRELUDE calgaryphil.com | 403.571.0849

PATRON PROGRAMMES The Calgary Philharmonic Orchestra offers exciting, exclusive events and concerts via its three membership programmes. Enroll in Wolfgang, Amadeus, or Mozart patron programmes and join others who share a love for the symphony!

Thanks to all our 2019/2020 Patrons for their support.

WOLFGANG

AMADEUS

MOZART

The Wolfgang Patron Programme brings together the city’s dynamic young professionals for connection, concerts, and conversation.

This is a great opportunity to meet other like-minded individuals and share your love for wonderful, world-class music.

The Amadeus Patron Programme offers fellowship with others who share your love for symphonic music. Members enjoy recitals that feature world-class artists at the Calgary Golf and Country Club, and an enticing range of other outstanding benefits.

The Mozart Patron Programme provides exclusive performances and connection opportunities, as well as access to the Wolfgang and Amadeus concerts, recitals and events. Expand your horizons with private performances and exclusive networking opportunities.

Peter Appleby Nathan Chandler Emily Cox + Tomos Dafydd Davies Elizabeth-Anne Johnson Susannah Law + Joshua Hosein Francis Letendre + Kathleen Hosfield Maciej Kijak Eric Lau John Lawless Adrienne Lem + Michael Rodriguez Paul Moynihan Karen Neary-Langill + Rob Langill Bridget Robinson Amy Sawchenko Rebecca + Jason Schultz Nadine Tratch + Tyler Cumberford Michelle Yee Marita Zouravlioff + Matt Vanderberg

Rajendra + Dinesh Agrawal Marian + Paul Beer Jenny Belzberg Beverly + Gerry Berkhold Marg + Paul Boëda Belinda + Thomas Boleantu John Bonnycastle Ellen + Allen Borak Brad Boychuk Andrea Brussa Marion Burrus Carla + Keith Byblow Lori Caltagirone Ann Calvert Jim Campbell Gloria + Walter Chayka Janet Clarke Bell Gertrude Cohos Rae + Phillip J. Cram Linda + Jack Crawford Fern Cyr Judith + Terry Dalgleish David Daly Dawn + Rao Darsi Alexandra De Freitas Irene + Walter DeBoni Catherine Evamy Lisa Evren + David Clinckett Verna Jean Fairbrass Ann Falk Annie Freeze Liz + Toni Fricke Ethelene Gareau Carol Gray Joan + Don Greenfield Carolyn + William Hyndman Carrol Jaques + Bob Loov Mary F. Jardine Valerie A. + Craig Johnstone Mary Anne Katzenberg + Stephen Randall Judith Kilbourne Madeleine King + Bob Taylor Barbara + Hugh Klaassen Dr. John Lacey Ann Lewis-Luppino

Marilyn Mooibroek + David Lau Nicole + Michael Lipnicki Beverly MacLeod Jean + Roderick McKay Rene + Mark McManus Alexandra McMeekin Jessie + Richard Mercer Janice + James Morton Shelagh + Faiz Nadir Denise Ng Tae Nosal Jackie + Fritz Painsi Barbara Palmer Lara Pella + Geoffrey Holub Phyllis + John Peters Nellie Pintus Marion Rogers Ruth Ann Rozsa Rayner Jerry Schwartz Hedy + Clark Seaborn Tony Settari Mary + Richard Shaw Cheryle Sherwood Joan + Geoffrey Simmins Marg Southern Michele Stanners Agatha Starczyk + Mike Miller Mira Starczyk + Tom Skrzypinski Betty Stein Debbie + David Stephens Susan Swan Wilma + Dr. John ‘t Hart John Thompson Heather L. Treacy Q.C. + Joe Nahman Faye + Kenneth Turnbull Sharon + Henry van der Sloot Peggy + Bill Warren Joyce Williams Cathy + Bruce Williams Christine + Christoph Wuerscher

Naomi Anderson + John Tyberg Christine Armstrong + Irfhan Rawji Michelle Bailey + John Whelan Irene Bakker Anne + Sonny Belenkie Elaine + Jeremy Clark Ute + Walter Dilger Elizabeth Evans Tibor Fekete Angela + Sam Hayes Juli Hegg + Bill Hogg James A. Hughes Aleksandra Komorowski Andy Lee Davide Martino Mar + Blair Mason Gemira McClary Elizabeth + Ross Middleton Marilyn Moldowan Agung Nugrahaeni + Jean-Michel Gires Lauren Ridge Ruchi + Chris Ryley Marie + Nathan Smith Ryan Stasynec Helene + Dr Henk ter Keurs Erin Thrall + Peter Johnson Dori Wood + James Doleman

All Patron Programme members receive 15% off tickets to additional Calgary Philharmonic Orchestra concerts at the Jack Singer Concert Hall and access to CPO Subscriber Rewards. For more information and a list of events please visit us online at calgaryphil.com/patron-programmes.

SPRING 2020 | 59

THANK YOU TO OUR CHAMPIONS The Calgary Philharmonic Orchestra is able to achieve its goals in large part thanks to the dedication of its Champion donors.

Every contribution, large or small, plays a vital role in the success of the Calgary Philharmonic Orchestra, and allows the Orchestra to share its love of music with others through its education and outreach programmes, live-streaming, the commissioning of new works, bringing world-class guest artists and conductors to Calgary, and supporting the next generation of artists.

The Naomi + John Lacey

Programme

The Foundation, the CPO’s largest annual supporter, is critical to its long-term stability and growth.

Contributions to the Foundation ensure future generations have access to the power of orchestral music.

This programme has been bringing world-class artists to the CPO for over 10 seasons. Many Virtuoso artists also perform at intimate recitals for Patron Programme members, or teach masterclasses to aspiring musicians.

Irene and Walt DeBoni contribute to the development and commissioning of new Canadian works. Thanks to this programme, the CPO premieres five new works this Season for 2020: The Year of Beethoven series.

Founded by Ellen and Allen Borak, this programme helps elevate the art of choral music by supporting and nurturing the development of the Calgary Philharmonic Chorus, led by Chorus Master Timothy Shantz.

Founded by arts champion Andrea Brussa, this programme supports the CPO by enabling it to bring some of the world’s leading conductors to Calgary to perform with the Orchestra.

C L A R K FA M I LY Elaine and Jeremy Clark, along with their daughters Keiko and Chloe, support initiatives such as the Mozart Patron Programme and Music to My Ears that help bring more music to more people and encourage philanthropy.

MACLACHLAN

Joyce & Dick

EMERGING ARTIST PROGRAMME

Philanthropic Programme

Letha MacLachlan, Q.C., and John Ridge give outstanding young Canadian musicians a chance to advance their careers by performing with the CPO, helping to develop Canada’s next generation of artists.

Created in memory of Joyce and Dick Matthews, dedicated and generous supporters of the CPO for more than 50 years. This programme helps people recognize someone special in memoriam.

/RIDGE

Matthews

Founded by Judith Kilbourne, this after-school programme for students age five to 11 brings music to the hands and hearts of children who otherwise would not have access to such artistic development.

For more information about how your donation can make a difference to the Orchestra and also align with your interests, please visit calgaryphil.com or call 403.571.0270.

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SPONSORS + + SUPPORTERS SUPPORTERS SPONSORS GOVERNMENT

Black

CMYK

FOUNDATIONS Pantone

TAYLOR FAMILY FOUNDATION

CORPORATE

Magic Tours & Travel

MEDIA

ARTISTIC + COMMUNITY

Polish Combatants Association in Canada Calgary Branch No. 18

Stowarzyszenie Polskich Kombatantów w Kanadzie Calgary Koło nr 18

HOSPITALITY

SPRING 2020 | 61

DONORS The Calgary Philharmonic Orchestra extends its sincere appreciation to all donors. Thank you!

ENDOWED AND NAMED ORCHESTRA CHAIRS + FUNDS Rozsa Endowed Chair Music Director, Rune Bergmann Ellen + Allen Borak Endowed Chair Chorus Master, Timothy Shantz John + Ethelene Gareau Endowed Chair Concertmaster, Diana Cohen (in honour of Cenek Vrba’s 36 years of service) Peter + Jeanne Lougheed Endowed Chair Associate Concertmaster, John Lowry Hotchkiss Endowed Chair First Violin Section Member H.D. Klebanoff Endowed Chair First Violin Section Member, Olga Kotova Dennis Sharp + Hélène Côté-Sharp Endowed Chair Second Violin Section Member, Craig Hutchenreuther Dalgleish Endowment of Chair 66 Second Violin Member, Minnie Min Kyung Kwon Eckhardt-Gramatté Foundation Endowed Chair Principal Viola, Laurent Grillet-Kim (in memory of Sophie-Carmen Eckhardt-Gramatté) John + Jean Partridge Endowed Chair Cello Section Member, David Morrissey Deborah Yedlin + Martin Molyneaux Endowed Chair Cello Section Member, Joan Kent Margaret + Paul Boëda in Memory of Jennifer Boëda-Dahl Endowed Chair Principal Flute, Sara Hahn-Scinocco Bill + Irene Bell Endowed Chair Piccolo, Gwen Klassen Judith + William Kilbourne Named Chair (in recognition of their long-term support) Assistant Principal Horn, Heather Wootton

Frank + Carol Gray Endowed Chair Principal Trumpet, Adam Zinatelli (in memory of Vincent Cichowicz) Frank + Carol Gray Endowed Chair Principal Percussion, Josh Jones (in honour of Tim Rawlings’ 42 years of service) Joyce + Dick Matthews C.M. Endowed Chair Piano Murray Lipsey Memorial Fund in support of the Calgary Philharmonic Chorus Geraldine Fish Memorial Fund in support of the Calgary Philharmonic

LONG-TERM GIVING 10+ YEARS Rajendra + Dinesh Agrawal Dr. Naomi Anderson + Dr. John Tyberg Irene Bakker Diana + David Ballard Marjory Barber Barbara Beaton Marian + Paul Beer Irene + William Bell Jenny Belzberg Beverly + Gerry Berkhold Margaret + Paul Boëda Belinda + Tom Boleantu Ellen + Allen Borak Heather + Ian Bourne Andrea Brussa Pat + Jim Burns Marion R. Burrus Calgary Foundation Lori Caltagirone Gloria + Walter Chayka Elaine + Jeremy Clark Harry + Martha Cohen Foundation Rae + Phillip Cram Linda + Jack Crawford Lori Cutler + Nick Kuzyk Judith + Terry Dalgleish David Daly Rao + Dawn Darsi Gloria Davis Irene + Walt DeBoni Alexandra De Freitas Janet Dietrich Ute + Walter Dilger Clem Dumett Catherine Evamy Verna Jean Fairbrass E. Ann Falk Livia + Tibor Fekete Shirley + Walter Foster

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Beverly + David Foy Annie Freeze Liz + Tony Fricke Audrey + John Fry Ethelene + John Gareau Carlie-Jean + Eldon Godfrey Carol + Frank Gray Joan + Don Greenfield Barrie + Patricia Griffiths Theresa P. Hamilton Lois + Dick Haskayne O.C. A.O.E Juli Hegg + Bill Hogg James A. Hughes Mae Jardine Carrol Jaques + Bob Loov Valerie + Craig Johnstone Judy + John Kendall Judith Kilbourne Jeanette + Frank King Barbara + Hugh Klaassen Barbara Klebanoff Naomi + Dr. John Lacey John Laurence Ann Lewis-Luppino + Tony Luppino Diane + David Macdonald Letha MacLachlan Q.C. + John Ridge Beverly MacLeod Marlene + Blair Mason Kathleen McCruden Matheson + Jane McCruden Amanda Robertson-Matthews + Andrew Matthews Joyce + Dick Matthews C.M. Elizabeth + Gene Maurice Jessie + Richard Mercer Patricia + Sherrold Moore Janice + James Morton Shelagh + Faiz Nadir Naegi + Dr. Benno Nigg Betty + Willis O’Leary Sheryl + Dave Olson The Paddon Hughes Development Co. Ltd. Jackie + Fritz Painsi Barbara + James Palmer John + Jean Partridge Camille + Erasmo A. Pavan Maureen + David Payne Shirley + Daniel Philips William Phillips Nellie Pintus Mary + Conrad Porth Janet Poyen The Rabinovitz Family Vera A. Ross Rozsa Foundation Drs. Lola + Ted Rozsa Mary Rozsa de Coquet C.M Ruth Ann Rozsa Rayner Sheila + Italo Sartorio Hedy + Clark Seaborn Tony Settari Clarice Siebens

Joan + Geoffrey Simmins Betty J. Stein Marg Southern C.C. C.V. A.O.E. Mira Starczyk + Tom Skrzypinski Deb + David Stephens Valerie + Allen Swanson Holly Sykes + Rob Baker Carolyn + David Tavender John Thompson Faye + Kenneth Turnbull Peggy + Bill Warren Anne + Terry Wilson Gloria Wong + Art Hibbard Dori Wood + James Doleman Shirley Zielsdorf + Ed Letkeman Anne + Frank Zinatelli

LIFETIME GIVING $100,000+ Jeff Arsenych Margaret + Paul Boëda Ellen + Allen Borak Heather + Ian Bourne Andrea Brussa Lori Caltagirone Norma Carroll Elaine + Jeremy Clark Harry + Martha Cohen Foundation Judith + Terry Dalgleish Irene + Walt DeBoni The Eckhardt-Gramatte Foundation Heather Edwards Estate of Geraldine Fish Estate of Evelyn Christine Kings Estate of John Bruce Dunlop Estate of Mario James Stella Estate of Mary McIntosh Estate of Murray Lipsey Estate of Winnifred Griffith Livia + Tibor Fekete Jan + Larry Fichtner Annie Freeze Liz + Tony Fricke Ethelene + John Gareau Carol + Frank Gray Lois + Dick Haskayne O.C. A.O.E Jane Hayward H.D. Klebanoff Memorial Fund Barbara J. Hejduk Elizabeth + Wayne Henuset John Hopwood Rebecca + Harley Hotchkiss The Kahanoff Foundation Judith + William Kilbourne Jeanette + Frank King Naomi + Dr. John Lacey Sandra LeBlanc O.C. Marcelle Leveille Ann Lewis-Luppino + Tony Luppino Letha MacLachlan Q.C. + John Ridge

Joyce + Dick Matthews C.M. Allan Markin Janice + James Morton Nickle Family Foundation Dan O’Grady Barbara + James Palmer Palmer Family Foundation John + Jean Partridge The Rabinovitz Family Rozsa Foundation Drs. Lola + Ted Rozsa Mary Rozsa de Coquet C.M. Clarice Siebens Sir Jack Lyons Charitable Trust Marg Southern C.C. C.V. A.O.E. Carla + Klaus Springer Trent + Josie Stangl Mary Ann Steen Muriel Stewart Vera Swanson C.M. O.C. Taylor Family Foundation Dori Wood + James Doleman Deborah Yedlin + Martin Molyneaux Shirley Zielsdorf + Ed Letkeman

2018/2019 FISCAL YEAR Individual $100,000+ Ellen + Allen Borak Irene + Walt DeBoni Dr. John Lacey The Rabinovitz Family $25,000 to $99,999 Elaine + Jeremy Clark Annie Freeze Letha MacLachlan Q.C. + John Ridge Janice + James Morton Mary Rozsa de Coquet C.M. $10,000 to $24,999 Jenny Belzberg Heather + Ian Bourne Kim Bruce Andrea Brussa Judith + Terence Dalgleish Ute + Walter Dilger E. Ann Falk Liz + Tony Fricke Ann + Walter Haessel Kay Harrison Angela + Samuel Hayes Judith Kilbourne Barbara Palmer Sue Riddell Rose + Mike Rose Clarice Siebens Marg Southern C.C. C.V. A.O.E. Valerie + Allen Swanson Wilma + John ‘t Hart $5,000 to $9,999 Carol Adamson + Ken Adam Irene Bakker Gloria + Walter Chayka Kathy + Paul Dornian Livia + Tibor Fekete Juli Hegg + Bill Hogg Jeanette King Marlene + Blair Mason Sheila McIntosh + Phil Ireland

John + Jean Partridge Janet Poyen James M. Stanford Muriel Stewart Heather L. Treacy Q.C. + Joe Nahman Dori Wood + James Doleman $2,500 to $4,999 Rajendra + Dinesh Agrawal Dr. Naomi Anderson + Dr. John Tyberg Marian + Paul Beer Anne + Israel Belenkie Beverly + Gerry Berkhold Belinda + Tom Boleantu Eleanor + Lawrence Bryan Lori Caltagirone Jim Campbell Lori Cutler + Nick Kuzyk Fern Cyr Alexandra De Freitas Verna Jean Fairbrass Shirley + Walter Foster Pamela Grigg Danelle Hames + Matthew Law James A. Hughes Maria Kryzan Amanda Robertson-Matthews + Andrew Matthews Janet + Rick Matthews Elizabeth + Gene Maurice Kathleen McCruden Matheson + Jane McCruden Jessie + Richard Mercer Lara Pella + Geoffrey Holub Mary + Conrad Porth Marie + Nathan Smith Agatha Starczyk + Mike Miller Deb + David Stephens Helene + Henk ter Keurs Erin Thrall + Peter Johnson John Thompson Robert Welty Catherine + Bruce Williams Gloria Wong + Art Hibbard Janet Yuchem + Roy Christie $1,000 to $2,499 John Abbott Andrew Azmudeh Michelle Bailey Diana + David Ballard Barbara Beaton Margaret + Paul Boëda John Bonnycastle Kathleen + Robert Booth Diane Boutin Marion R. Burrus Carla + Keith Byblow Ann + Bob Calvert Catherine + Stan Climie Rae + Phillip Cram Linda + Jack Crawford Daniel Culcea David Daly Dawn + Rao Darsi Clem Dumett Bruce Edgelow Catherine Evamy Philippa FitzGerald-Finch Donna + Denis Fonteyne Ethelene Gareau Carlie-Jean + Eldon Godfrey Carol Gray

Corinne Grigoriu Eileen + Darcy Gukert Ian Hawkins Caroline + David Henley Joan Holland Anne Howard Allan Huber William Hyndman Mae Jardine Carrol Jaques + Bob Loov Valerie + Craig Johnstone Joseph Katchen Mary Anne Katzenberg Margaret Kemp Judy + John Kendall Madeleine King Taylor + R W Bob Taylor Barbara + Hugh Klaassen Barbara Klebanoff Ann Lewis-Luppino + Tony Luppino David Lyons Chris K. MacKimmie Beverly MacLeod Simone MacRae Roberta + David McCaslin Roderick McKay Rene + Mark McManus Sharon McNaughton Elizabeth + Ross Middleton Marilyn Moldowan Marilyn Mooibroek + David Lau Patricia Moore Shelagh + Faiz Nadir Naegi + Dr. Benno Nigg Tatianna O’Donnell Betty + Willis O’Leary Ruth + Tim Onyett Jackie + Fritz Painsi Maureen + David Payne Robert Pearson Phyllis Peters Shirley + Daniel Philips May Ellen Pringle Christine Rendell Sonia + Bob Reynolds Vera A. Ross Ruth Ann Rozsa Rayner Ruchi + Chris Ryley Hedy + Clark Seaborn Tony Settari Mary + Richard Shaw Joan + Geoffrey Simmins Joan Snyder Alfred Sorensen Mira Starczyk + Tom Skrzypinski Betty J. Stein Minako + Yasuhiko Tanaka Neil Tice Ruth + Mark R. Trueman Jim Truesdale Faye + Kenneth Turnbull Jim Ulrich Sharon + Henry Van Der Sloot Sheila Wappel-McLean + Brent McLean Valerie Warke Peggy + Bill Warren Joyce Williams Steve Wilson Anne + Terry Wilson Robert Woodward

Foundations, Funds, Trusts, Government, and Organizations $1,000,000+ Morningside Music Bridge Foundation Calgary Philharmonic Orchestra Foundation $500,000 to $999,999 Canada Council for the Arts Department of Canadian Heritage $100,000 to $499,999 Alberta Foundation for the Arts Calgary Arts Development Authority Calgary Foundation Jewish Community Foundation of Calgary Taylor Family Foundation $25,000 to $99,999 Government of Alberta Sir Jack Lyons Charitable Trust Edmonton Community Association $10,000 to $24,999 Calgary Marathon Society Canada Life Enbridge Inc. glasswaters foundation Keyera Corp.

Rozsa Foundation Shaw Birdies for Kids Presented

By AltaLink TD Canada Trust United Active Living Inc. Walter Dilger Consulting Engineers Ltd. Wood Ditton Holdings Inc. $5,000 to $9,999 Grosvenor Americas, Calgary Jarislowsky Fraser Ltd. $2,500 to $4,999 Aqueduct Foundation ATB Beniva Consulting Group Deloitte Management Services LP Imperial Oil Limited Pamela Grigg Charitable Fund Scotiabank The Welty Family Foundation $1,000 to $2,499 Baher Family Fund Berkhold Family Foundation DLA Piper (Canada) LLP Estate of Merrill Ann Highet Filterboxx Water and Environmental Corporation Halcyon Exploration Ltd. Harry + Martha Cohen Foundation H S Ulmer Giving Fund Lorne Price Professional Corporation.

McLeod Law Osler, Hoskin & Harcourt LLP Painsi & Aguirre Investments Inc. Strategic Charitable Giving Foundation; Wood Pittman Fund Summa Consulting Triwest Capital Partners V (2015) Inc.

SPRING 2020 | 63

Gifts in Kind $25,000 to $99,999 Calgary Herald Corus Entertainment Encana Corporation Meludia SAS Newcap Radio Inc. The CORE Kool 101.5 $10,000 to $24,999 Avenue Magazine CKUA Magic Tours & Travel Ltd. Michael Lipnicki Fine Pianos Shine FM $5,000 to $9,999 Calgary Airport Authority Daily Hive La Chaumière Restaurant Masters Gallery Ltd. PATTISON Outdoor Advertising LP Piano Services International, Inc. Zenato Family Winery $2,500 to $4,999 Fairmont Palliser Shine FM Sland Studios $1,000 to $2,499 Boft Fine Rugs Gallery Ltd. Calgary Jewellery Ltd. Contemporary Calgary Deane House Soft Rock 97.7

LEGACY GIVING We recognize and thank all those who have made provisions in their will or by other means for a future gift to the Calgary Philharmonic Orchestra: Ellen Borak Elaine + Jeremy Clark Kathy + Paul Dornian Sam + Angela Hayes Elizabeth McFetridge John + Jean Partridge Valerie + Allen Swanson and others who choose to remain Anonymous

All donations made in the fiscal year 2018/2019 are listed at calgaryphil.com.

Every effort has been made to ensure accuracy on the above list.

Please email any errors or omissions to info@calgaryphil.com.

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VOLUNTEERS These volunteers contribute their time each Season — we celebrate them and their dedication.

Mariah Atkinson Partow Bayzaee Irlana Bondar Frances Bradley Peggy Chan Candice Cheah Teresa Chiu Sandi + Ian Churchill Carole + Steve Clement Lynne Dale Carol Dann Elizabeth Dizon Julie Docken Graham Edwards Shirley Foster Brenda + Dave Frame Barbara Frasch Prasad Ganesan Jill Girgulis Milena Gonzalez David Grant Lolita Guboc Larry Hamm Gloria Hare Tracy Harrington Hamish Harrison Robin Harwig Don Herman Josh Hosein Pamela Humphreys Aime Hutton Elly Jarvis Shane Kidd Maciej Kijak Veronika Kiryanova Lillian + Dennis Kozak Wendy Kunsman Eric Lau Jeannie Laughlin Jenai Lieu Elmire Limoges Gail MacCrimmon Shawna MacGillivary Moira MacPherson Joy Mamer Kristy Martens Sheila Martin Julia Meeder Kristy Meents Carol Mewha Elizabeth Middleton Donna Morrison Maydelin Nunez Noguez Lynne Oishi Faye Olubobokun Tim Onyett Jolanta Pawlilowska Marlene Payne Lucy Pei Elsa Penate Stephanie Quilliams Lauren Ridge Bridget Robinson Amy Sawchenko Barbara Schultz Doug Smith

Ryan Stasynec Dave Stephens Barbara Stuber Judy Taylor Gloria Tse Valerie Turner Noah Urquhart Mijk van Wijk Debbie + Larry Wagner Gina Waks Dawne Wharton Gayna Wong 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 8 respectively.

Every effort has been made to ensure accuracy on the above list.

Please email any errors or omissions to volunteer@calgaryphil.com.

IR

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Joyce and Dick Matthews were dedicated supporters of the Calgary Philharmonic Orchestra for more than 50 years. They regarded symphonic music as one of life’s greatest pleasures, and a strong Orchestra as a hallmark of a worldclass city. Their contributions to the CPO Foundation have helped create the strong and vibrant Orchestra that you enjoy today.

You can create your own legacy dedicated to the future of great music in Calgary by donating to the CPO Foundation.

For more information please email Barbara Soles, Senior Development Officer, at bsoles@calgaryphil.com or call 403.571.0267.

Calgary Philharmonic Orchestra Foundation Registered Charity: 119218089RR001

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stature might be uncomfortable with too large an instrument. Although violins vary only slightly in size, there can be quite a variation in sizes of viola. Sometimes the visual esthetics of the instrument matter. Someone may prefer a certain shade of finish or a particular type of wood.

Cost can also play a role in the decision. Many older violins have antique value that jacks up the price, so some string players opt for modern, individually made instruments that are actually affordable. There are also ‘boutique’ instrument makers for horn and flute and other instruments — they often have a waiting list, and when a musician’s turn comes up, that is the instrument they get. Not hundreds to try.

M

usicians have a close relationship with their instruments.

As we develop more technical and musical skill, we need an instrument that produces the nuances we demand.

A real game-changing moment arrives when we find an instrument we really enjoy playing for the long haul.

My ideal instrument may not be the one a colleague would opt for.

Each of us has an inner template of the quality of sound we imagine producing and the right instrument allows us to do that easily. Each instrument is also unique. Even largescale manufactured instruments of the same model each differ slightly, so musicians often try many instruments before finding the right one.

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I selected my current instrument at a Double Reed Convention (yes, there are such things!) where many makers had wares and there were hundreds of oboes to try. I went around and noted the serial numbers of ones that I liked. Then I continued to play them and narrowed it down to the one I enjoyed playing on the best. How did I decide on a winner?

Reliable intonation and a beautiful tone with good dynamic range were essentials. The one I chose suited my style of playing and allowed me to create musical colours easily. I could do things with it that I couldn’t on other instruments. I continue to enjoy playing on it every day.

Sometimes, musicians prefer a certain type of keywork or weight or size of instrument. A person of smaller

Climate is another factor to consider.

Our dream instrument may not do well in Calgary’s cold, dry climate and high altitude, and may take ages to adjust. Wood could crack or seams open. Some instruments work best at a certain humidity.

Finding a great instrument allows us to make music effortlessly and gives us confidence that what we imagine in our heads will be the reality that the audience hears. It encourages us to work even harder because playing is so rewarding.

A game-changer indeed.

Greg MacKay

BY DAVID SUSSMAN, ASSISTANT PRINCIPAL OBOE

Some musicians are ‘artists’ for certain manufacturers. They provide feedback on what modifications they would like to see and get the latest ‘concept’ instruments to try (and preferred pricing should they purchase). They can literally have the manufacturer create the instrument they dream of. Other musicians get legacy instruments handed down from family or teachers, or loaned to them by a foundation or benefactor.

David Sussman

FINDING THE RIGHT INSTRUMENT

Some instruments may last for an entire career (one bassoon in our orchestra is turning 100 this year!) while others need replacing on a regular basis (I am on my fifth oboe).

APRIL 28

JOEL PLASKETT APR. 5 THE FRETLESS WITH THE CALGARY YOUTH ORCHESTRA APR. 15 SARAH HARMER MAY 8 CALGARY YOUTH ORCHESTRA AT THE ROZSA CENTRE JUNE 6 LAND’S END WITH LUMINOUS VOICES AND BRETT POLEGATO AT T H E B E L L A TAY LO R C E N T R E . C A SPRING 2020 | 67

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