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CALGARY PHIL

FALL 2026 / VOLUME 51 NO. 1

BOLLYWOOD MEETS ORCHESTRA Veils of Bollywood joins the Calgary Phil for the Orchestra's first foray into the sensational sounds of South Asian Cinema

ARTIST: IRMA GIGANI PHOTO: MORGAN FRANKE

The Sound of Excellence – made in Germany C. Bechstein is available at: 6033 CENTRE STREET SW • 403.246.7517 2 PRELUDE

WWW.MICHAELLIPNICKI.COM

FILM WITH LIVE ORCHESTRA 27 + 28 November 2026 Southern Alberta Jubilee Auditorium Details and tickets at calgaryphil.com

Prelude FALL 2026 / VOLUME 51 NO. 1

ZOLTAN VARADI EDITOR OMAR JEHA ART DIRECTOR JANET BWITITI EDITORIAL ADVISOR EMMA BAINBRIDGE ADVERTISING SALES + EDITORIAL ASSISTANT

Hello everyone, CONTRIBUTORS Shelley Boettcher Elizabeth Chorney-Booth Charlotte Lilley Stephania Romaniuk David Sussman PROGRAM NOTES Jun-long Lee

SEASON SPONSOR

Buckle up for a wild ride this fall! Once again, we'll take to the skies with Hiccup, Toothless, and friends in How to Train Your Dragon 2 and sail the seas of Polynesia with Disney's Moana. Along the way, we'll celebrate Bollywood and Beyoncé, touch down in Dollywood for a tribute to one of the most beloved musical artists of all time, and hit all the right notes as we move from Grieg to Bach to Handel to Mozart to Mahler and more. Please join us in welcoming new Resident Conductor Ilan Kumaranayake Mendel to town, from Halifax by way of Toronto. We welcome back both Principal Guest Conductor Karen Kamensek to lead a stirring program including Tchaikovsky's Sixth Symphony, and former Resident Conductor Juliane Gallant on several occasions. We still mourn the deep loss of Artistic Advisor Cris Derksen, cellist, composer, activist — Cris' legacy is one of positive change and hope. Words like trailblazer, visionary, and mentor barely scratch the surface of Cris' impact. We are dedicating our 19 September concert to Cris' memory. Congratulations to our friends and colleagues at Alberta University for the Arts (AUArts) on their 100th anniversary! Calgary is lucky to have this incredibly dynamic force for art in its midst. Check out their free exhibitions at their funky campus next door to SAIT and the Jubilee. It fills my heart to see how moved people are during the Orchestra's concerts. The versatile, vibrant sound of a live symphony orchestra is unique and precious. It is very gratifying to watch folks leaving a concert — floating and full of feeling.

205 8 Avenue SE, Calgary AB T2G 0K9 Box Office: 403.571.0849

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For advertising inquires, please email prelude@calgaryphil.com Prelude is published three times a year by the Calgary Philharmonic Society. Copyright 2026 by Calgary Philharmonic Society. No part of this publication may be reproduced without express written consent of the publisher. calgaryphil.com

4 PRELUDE

MARC STEVENS PRESIDENT + CEO

We acknowledge that we come together and create music on land known by the Blackfoot name Moh-kíns-tsis, which we also call Calgary. This land is on the traditional territories of the Blackfoot Confederacy (Siksika, Piikani, and Kainai First Nations), the Stoney Nakoda (Chiniki, Bearspaw, and Goodstoney First Nations), and the Tsuut'ina First Nations, as well as the Otipemisiwak Métis Government Districts 5 and 6. We honour this land and all those who share it in a spirit of peace, friendship, and respect.

Concerts 14

16 18 22 26 28 30 32 38 44 50 56 58 60 62

How To Train Your Dragon 2 in Concert Dolly Parton's Threads: My Songs in Symphony Phil in the Park Nordic Nights Beethoven Lives Upstairs The Music of John Williams Steve Hackman's Beethoven X Beyoncé Disney's Moana Live-to-Film Concert Dreams of Bollywood Baroque at Bella with Nicholas McGegan Schumann, Strings + Soundscapes Tchaikovsky's Sixth: The Final Symphony The Billy Joel Songbook with Tony DeSare Mozart + Mahler

Features 40

14 24 37 40 54 64 77

The (Wolf) gang's All Here Fusion Infusion: Steve Hackman's Beethoven X Beyoncé 21 Questions with Resident Conductor Ilan Mendel Dreams of Bollywood: Bringing Worlds Together A Magnificent Milestone for AUArts On the Record with Jesse Morrison How We Spent Summer Break

More 10 12 34 67 76

Orchestra Chorus Patron Programs Supporters Frequently Asked Questions

24 Correction: In the story Four Decades of Perfection (Prelude Vol. 50 No. 2) it was mistakenly stated that Mahler’s Eighth Symphony was performed at the gala opening of the Jack Singer Concert Hall. That piece was actually performed weeks later in a joint performance with the ESO.

FALL 2026 5

6 PRELUDE

For seven decades, the Calgary Philharmonic has been bringing communities together through the power of music. A pillar of the Calgary arts scene and one of Canada's most celebrated live music ensembles, the Calgary Phil presents more than 60 concerts a season across a wide range of programming — epic classics, thrilling collaborations, rockin' pops, family fun, and much more. The Calgary Phil also engages thousands of children each season through innovative and accessible Education and Outreach initiatives. In addition to 66 full-time orchestra musicians, the Calgary Phil has its own chorus of over 140 volunteer singers. In a typical season, the Calgary Phil welcomes over 100,000 visitors, connecting audiences to live music experiences and serving the city of Calgary by fostering creativity and belonging. Learn more about the Orchestra and Chorus at calgaryphil.com.

FALL 2026 7

Welcome back! We hope your summer was as full of fun as Phil and Monica's; they braved the heat for some delicious pancakes at the annual preStampede First Flip breakfast on Stephen Avenue back in July. Rumour has it that the dynamic duo will be back in action with the always popular T-shirt cannon at Phil in the Park on 13 September at Prince's Island Park. Phil and Monica first joined the Calgary Phil during the 1988 Winter Olympics and returned to active duty in the 2023/2024 Season following a few decades on ice (being penguins, they didn't mind). Speaking of welcomes, the Calgary Phil is thrilled to have Ilan Kumaranayake Mendel join us in the role of Resident Conductor this season. Get to know Mendel via our Q+A on page 37. More new faces: keep an eye out on the stage for new Orchestra members Gonçalo Nova, Principal Trombone; Jay Uschold, Principal Tuba; Andrew Warfield, Assistant Principal Horn; and Roberta Yee, Second Violin. It's great to have them on board! Congratulations to 2026/2027 Marley Rynd Performance Scholarship recipient violin Josephine Wen, violin. Named in memory of the late Calgary Phil bassist, the scholarship supports the career development of accomplished students. 8 PRELUDE

n exceptionally outgoing and engaged Calgarian, Jimmy-Lee Vennard is a familiar face at arts and community events throughout the city, including Calgary Philharmonic concerts of all stripes. In the 2025/2026 Season alone, he attended more than 30 performances, almost always by getting Rush Tickets, which become available one hour before non-sold-out concerts at the Jack Singer Concert Hall. "There's something fun about arriving early, joining the line with fellow music lovers, and hoping to snag one of those coveted seats," says Vennard of the ‘Rush' he gets from scoring a seat an hour before the music begins. "It almost feels like winning the lottery every single time!" Though he often attends solo, being sure to arrive with time for a martini at Teatro before the concert, Vennard also treasures those occasions when he is able to share the Calgary Phil experience. "One of my greatest joys has been introducing friends who have never experienced the Calgary Philharmonic before. Watching their faces light up as the Orchestra begins to play and seeing them fall in love with the music is pure magic. Those shared evenings — and the memories we've created together — are moments I'll treasure forever."

Favourite thing(s) about Calgary? Without hesitation... the people. Calgarians have an incredible way of making this city feel like one big community. Whether you're chatting with someone in line for coffee, volunteering at an event, or celebrating with thousands of strangers during the Calgary Stampede, there's a warmth and generosity here that is truly special. I also believe Calgary has one of the most exciting arts communities in Canada. Our theatre scene is phenomenal, with so many talented artists, musicians, performers,

and volunteers creating world-class experiences all year long. Pair that with incredible restaurants, beautiful parks, the Bow River, and the Rocky Mountains right in our backyard, I honestly can't imagine calling anywhere else home. Favourite thing(s) about Calgary's Orchestra? The Calgary Philharmonic doesn't simply perform music — it creates experiences that stay with you long after the final note. As someone who studied Musical Theatre and has been playing the piano for many years, music has always spoken directly to my heart. Every concert feels deeply personal, and I love how each performance tells a story in its own unique way. What continually amazes me is the incredible variety throughout the season. One week I'm transported by Beethoven or Mahler, the next I'm re-living the magic of Broadway, experiencing unforgettable film scores, celebrating the holidays, or discovering composers I've never heard before. There truly is something for everyone. When you're not at the Phil, where can we find you? You'll usually find me wearing one of my many bow ties! Professionally, I'm "The Butler," through my company, House of Vennard, where I have the joy of serving as a Bridal Butler, helping create extraordinary wedding experiences. It's a role that has taken me across country and, on occasion, internationally, which has been an incredible adventure. When I'm not at a wedding, you'll usually find me travelling somewhere new, discovering local restaurants, sitting at my grand piano teaching myself a new song, supporting Calgary's theatre community, volunteering at arts and community events, or simply exploring everything this amazing city has to offer.

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FALL 2026 9

Orchestra Violas

Karen Kamensek Principal Guest Conductor Ilan Kumaranayake Mendel Resident Conductor Roberto Minczuk Music Director Laureate Hans Graf Music Director Laureate Mario Bernardi Conductor Laureate Cenek Vrba Concertmaster Emeritus

Marcin Swoboda Assistant Principal Alexander Beggs Jeremy Bauman Peter Blake Michael Bursey Alisa Klebanov Jesse Morrison

Cellos Arnold Choi* Principal

First Violins Diana Cohen* Concertmaster

Josué Valdepeñas Assistant Principal

John Lowry* Associate Concertmaster

Clare Bradford Kathleen de Caen* Thomas Megee David Morrissey** Robyn Neidhold Daniel Poceta Janet Kuschak

Donovan Seidle Assistant Concertmaster Eric Auerbach Edmund Chung* Laura Reid Danielle Greene Olga Kotova* Genevieve Micheletti* Maria van der Sloot* Hojean Yoo Roberta Yee

Second Violins Lorna Tsai* Principal Erin Burkholder Jeremy Gabbert Adriana Lebedovich* Craig Hutchenreuther* Minnie Min Kyung Kwon* Theresa Dumbrique Steven J. Lubiarz Elisa Milner

Basses Jonathan Yeoh Assistant Principal Matthew Heller Trish Bereti-Reid Patrick Staples

Flutes Sara Hahn-Scinocco* Principal Gwen Klassen Assistant Principal

Piccolo

10 PRELUDE

* LEAVE OF ABSENCE

Tuba

Clarinets

Timpani

David Sussman*

Laurie Blanchet Assistant Principal

Bassoons Antoine St-Onge Principal Michael Hope Assistant Principal

Jay Uschold* Principal

Alexander Cohen Principal

Percussion Chris Sies* Principal

Harp Horns

Emily Melendes Principal

Nikolette LaBonte Principal Jennifer Frank-Umana Associate Principal Peter Clark Assistant Principal Maxwell Stein* Assistant Principal Andrew Warfield Assistant Principal

Trumpets Adam Zinatelli* Principal Miranda Cairns Assistant Principal

Trombones Gonçalo Nova Principal

Gwen Klassen*

Kristofer Leslie Assistant Principal

Oboes

Bass Trombone

David Sussman Assistant Principal

* ENDOWED CHAIR (PAGE 70)

English Horn

David Reid Principal

REPERTOIRE OFTEN REQUIRES EXTRA MUSICIANS: Christine Chen, Violin; Sara Far, Violin; Eva MuranyiSztrain, Violin; Lise Boutin, Violin; Sora Kim, Violin; Katrina Johnson, Violin; Patricia Higgins, Viola; Ronelle Schaufele, Viola; Dean O'Brien, Viola; Elizabeth Scriggins, Viola; Nigel Edmonton-Boehm, Cello; Karen Youngquist, Cello; Sheila Garrett, Bass; Daniel Nava, Bass; Sarah MacDonald, Flute; Emily Phernambucq, Flute; Lief Mosbaugh, Oboe; Katrina Kwantes-Oliveira, Oboe; Aura Pon, Oboe; Natalia Peric, Clarinet; Stan Climie, Clarinet; Krista Wodelet, Bassoon; Jace Stearn, Bassoon; Doug Umana, Horn; Heather Wootton, Horn; Laurie Matiation, Horn; Richard Scholz, Trumpet; Gareth Jones, Trumpet; Nikki McCaslin, Trombone; Greg Burns, Trombone; Brett Durocher, Tuba; Graeme Tofflemire, Timpani/ Percussion; Sean Buckley, Timpani/Percussion; Michelle Gott, Harp; Rolf Bertsch, Piano; Augustine Yates, Keyboard; Kodi Hutchinson, Electric Bass; Darren Young, Guitar; Neil McVey, Guitar; Tyler Hornby, Drums; Richard Harding, Saxophone; Gerry Hebert, Saxophone; Jeremy Brown, Saxophone; Keith O'Rourke, Saxophone

KAREN KAMENSEK PRINCIPAL GUEST CONDUCTOR

ILAN KUMARANAYAKE MENDEL RESIDENT CONDUCTOR

Grammy Award-winning conductor Karen Kamensek's expansive artistry, coupled with her deep commitment for championing composers of the 20th and 21st centuries, is reflected in her work in both the opera house and on the concert stage. Frequently in demand as a guest conductor with many of today's most prominent opera companies, Kamensek's recent opera highlights include her performances at the Royal Opera House Covent Garden in Giacomo Puccini's Tosca; the English National Opera in Philip Glass' Akhnaten and Satyagraha; Welsh National Opera in Jake Heggie's Dead Man Walking and Leonard Bernstein's Candide; the Metropolitan Opera in Glass' Akhnaten Giuseppe Verdi's Rigoletto and Heggie's Moby-Dick; and Humperdinck's Hansel and Getel with the Longborough Festival Opera. Kamensek's recent work as a symphonic conductor has brought her to the podia of such orchestras as the London Philharmonic, Los Angeles Philharmonic, National Symphony Orchestra, Seattle Symphony, Sydney Symphony, Royal Liverpool Philharmonic, Deutsches Symphonie-Orchester Berlin, Oslo Philharmonic, Royal Stockholm Philharmonic, Vancouver Symphony, Brussels Philharmonic, Colorado Symphony, l'Orchestre de l'Opéra de Paris, Norrköping Symphony, Opéra Orchestre National Montpellier, Calgary Philharmonic, Tiroler Symphonierorchester, and the Orchestra Sinfonica di Milano, among others. Kamensek served as the Music Director of the Staatsoper Hannover from 2011 to 2016. She has also served as 1st Kapellmeister at the Volksoper Wien (2000–2002), Music Director of the Theater Freiburg (2003–2006), Interim Music Director at the Slovenian National Theatre in Maribor (2007–2008), and Associate Music Director at the Staatsoper Hamburg (2008–2011). Karen Kamensek joined the Calgary Philharmonic in the role of Principal Guest Conductor in the 2025/2026 season.

In the 2026/2027 season, Ilan Kumaranayake Mendel joins the Calgary Philharmonic Orchestra in the role of Resident Conductor. Mendel has previously served as the inaugural Assistant Conductor of the Toronto Symphony Youth Orchestra, whom he has led in performances at Roy Thomson Hall and at the Blossom Music Center (Cleveland, OH). He has also held artistic leadership roles with student and emerging artist ensembles, including as the Managing Artistic Director of the Toronto Chamber Symphony and the Artistic Director of the Bloor-Annex Brass Ensemble. Mendel has also conducted the University of Toronto Contemporary Music Ensemble, the University of Toronto Trombone Choir, and has appeared as a guest conductor with the Nova Scotia Youth Wind Ensemble. In summer 2026, Mendel served as an Assistant Conductor at the National Academy Orchestra of Canada, resident ensemble of the Brott Music Festival. He has previously participated in the Young Conductors Residency at the Jack Long National Honour Band. Mendel made his conducting debut in 2019 with his own composition Emergence, which was the winner of the Helen Dahlstrom Award from the Canadian Federation of Music Teachers' Associations. Mendel holds an Artist Diploma in Trombone from The Glenn Gould School at The Royal Conservatory of Music, where he studied with Gordon Wolfe and was a recipient of the Tim and Frances Price Scholarship. He also holds a Bachelor of Music in Trombone Performance from the University of Toronto, where he studied with Vanessa Fralick and was the recipient of the Plotenyi Bekassy-Tassonyi Award for Music Undergraduate Study, the Walter Homburger Scholarship, and the President's Scholar of Excellence Award.

HAVE YOU HEARD? The Calgary Phil's Cpossibilities program offers concertgoers aged 13–35 the opportunity to access tickets to select performances for just $20! Sign up online for your free membership today.

calgaryphil.com/cposs

FALL 2026 11

Chorus Mark Bartel* Chorus Director

Evan Mounce

Assistant Chorus Director

Sopranos

Heather Allen Jae Baik Karine Baumgardner Ellen Borak Michelle Bozynski

Altos

Margaret Anderson Cathy Ascroft Jessica Baedke Susan Bell Barbara Boland Elizabeth Bowers Chorus Librarian

Rhea Buckingham Michelle Cariou Kelsey Chambers Indrani Chatterjee

Section Representative

Tricia Bray Julia Brown Carolyn Byers Christina Candra Tanya Chow Twylla Jayne Conn Laura Davis Ina Dobrinski Barb Dolter

Breanne Coady Bernie Constantin Joanne Cosentino Yvonne Courtney Ruth A. Cross Shirley Cumming Sharon Fehr Kaaren Finlay Rebecca Frederick Heather Froese Janell Gehmlich Sabine Gilch Alexandra Guebert Karen Hanlon Kay Harrison Pat Heitman Julie Heyland Helen Isaac Aigerim Kaliyeva Naghmeh Keyhani Cynthia Klaassen Heather Klassen Marlene Krickhan Catherine Lasuita Carol Latter Lorrie Lipski Shawna MacGillivary Barbara Mathies Julia Millen

Chorus Librarian

Anne Marie Espiritu Diane Fenton Sim Galloway Nairilys Garcia Sogamozo Carolyn Hatt Robyn Hauck Rachelle Henkel Dale Hensley Amy Jensen Amethyst Klintberg Shelby Lake Christina Lawford Melody Little Emma MacKay Allison Marquette Chantelle Nelson Nikki Plett Gillian Posey Colleen Potter Brier Reid Lisa Schalk Lisa Sears-Walsh Chorus Librarian

Joan Simmins Barbara Soles Becky Standing Emma Surdu Carol Topley Tamara Vardomskaya Norma Webb Chelsea Woodard Section Principal

Betsy Woolner * ENDOWED CHAIR (PAGE 70) 12 PRELUDE

Section Principal

Karen Murdoch Lucinda Neufeld Britt Odegard Mara Osis Anastasiya Petruk Anne Rodger Iryna Samoylova Helga Shield Patti Vaillant Corné van Nierop Julia Vanden Heuvel Alexandra Wang Emma Woo

Tenors

Timothy Ahrenholz Dean Allatt Neil Bazzana-Adams Tim Bell Section Representative

Stephen Burke Christopher Chiemejonam Tristram Chivers Fergus Crawford Philip Dano Lorna Gilfedder Richard Harding Katt Hryciw Chorus Administrator

James Hume Jungsoo Kim Diana M Klaassen Ryan Krause Joycelyn Kristoff Caroline Lambert Juan Manuel López Brian Mol Darrell Morden Abraham Ortega David Owen Donna Pearson Michael Pierson Jason Ragan Section Principal

Peter Rilstone Vitalii Semion Dennis Voth Joel Wabo Dennis Voth Joel Wabo

Basses

Archie Adams Aaron Bartholomew Section Principal

Pearson Berko Tanor Bonin Glenn Bontje Maxime Chambers-Dumont Section Representative

Ian Charter Mauro Cimolai Chad Conrad Lloyd Crosby David Daly Kevin Di Filippo Arthur Dick Carel du Toit Mark Dumbrique Pat Favaro Jaeha Han Allan Huber Adam Kennedy Drew Kotchan Darcy Krahn David Mark Keith Odegard Kori Patrick Dave Pattison Dana Salter Daniel Sanguinetti David Schey Albi Sole Vinu Varghese Richard Wanner Jim Weisert Peter Wong Keith Wyenberg

MARK BARTEL CHORUS DIRECTOR Mark Bartel is in demand as a versatile conductor and music educator. He is known for his musical, educational, and community collaborations and has established a reputation as a successful builder of choirs and choral programs. Bartel is a passionate advocate of the impact of music in the lives of choristers, audiences, and communities. He has conducted university choirs for over 25 years and has extensive experience leading a wide range of community choirs in both the United States and Canada. After a 16-year tenure in the U.S, he returned to Canada in 2019 to join the faculty at Calgary's Ambrose University as Associate Professor of Music and Chair of Ambrose Arts. Since arriving in Calgary, he has also served as Director of the Spiritus Chamber Choir. In addition to his interest in choralorchestral works and choral music of the Baroque era, he brings expertise as a singer and voice pedagogue to his work with choirs. His current research focuses on how choirs around the world engage in active peacebuilding through the choral experience. A native of Niagara-on-the-Lake, Ontario, Bartel is a graduate of the University of Winnipeg and Canadian Mennonite University. He holds the Master of Music and Master of Sacred Music degrees from Southern Methodist University in Dallas, Texas, and the Doctor of Musical Arts degree in conducting from the Eastman School of Music in Rochester, New York.

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FEAR NOTHING. LOSE EVERYTHING. A singer. A painter. A police chief. An impossible bargain. How far would you go to save the person you love?

FALL 2026 13

the wolfgang's all here R Finding meaning and community in Calgary Phil's Patron Programs BY STEPHANIA ROMANIUK PHOTO WILL GEIER

14 PRELUDE

evamped, revitalized, and relaunched in the 2023/2024 Season, the Calgary Philharmonic's Patron Programs have proven to be a roaring success. Of the three tiers available to join, the Wolfgang Patron Program has been particularly popular with fans wanting to make a deeper connection with the Calgary Phil for the first time (Amadeus and Mozart being the other two programs). This program includes a curated trio of Calgary Phil concerts and special access to cultural networking with the performing artists and other program members at exclusive post-concert receptions — all priced at just over the cost of the tickets themselves. Wolfgang also boasts one of Calgary's most accessible opportunities to participate in arts philanthropy, which a growing number of young professionals are discovering as an important component of arts engagement in the city. "I've been surprised by how meaningful the experience has become. I didn't realize that investing in an arts organization like this would allow me to understand on a visceral level the impact it brings," shares Foon Yap, a born-and-raised Calgarian and classically trained violinist, vocalist, and multihyphenate artist who performs under the name FOONYAP.

FEATURE

Yap pursued rigorous music conservatory studies throughout her childhood and early teens, discovering her own artistic voice in her late teens and early 20s, first with an indie rock band and then setting off on her own. Her artistic journey regularly traverses experimental music and a broad array of cross-genre musical collaborations, including solo tours to the United Kingdom and beyond, performing as part of the trio Subverdant at Calgary's Sound Atlas New Music Festival, and an upcoming tour with Calgaréal, a crosscultural collective of artists from Calgary and Montréal. When the Wolfgang program relaunched two seasons ago, she and her husband, David, were among the first individuals to join. Previously, Yap had been a member of Cpossibilities, another Calgary Phil program, which provides greater access to orchestral music for young people. "Cpossibilities offers 13 to 35-year-olds the opportunity to attend concerts for only $20 each, thanks to generous annual support from the Viewpoint Foundation," says Kristýna Rempel, Interim Associate Director, Development at the Calgary Phil. "More and more young people are discovering and engaging with orchestral music. Ensuring they have access to live orchestral performances at an affordable price is essential to fostering the next generation of music lovers." As of summer 2026, there were 5,112 Cpossibilities members, 1,049 of whom joined since 1 July 2025, meaning the program is growing quickly. Each year, about a dozen concerts are available to Cpossibilities members to attend at the discounted rate. When these audience members transition out of the Cpossibilities program, Wolfgang is an ideal next step. "I joined the Cpossibilities program as a young person because it was important to me to have a grounding in traditional repertoire," recalls Yap. "Last year, I decided to join the Wolfgang program because, honestly, it's a great deal," she says. Given her work as a creative artist, Yap collaborates with many of the Orchestra's musicians and found herself frequently invited as a guest to the Founders' Room, where Wolfgang post-concert receptions take place, so it seemed like a natural transition. "It's a great way for young people to expose themselves to this incredible artform, and just to take a sound bath," says Yap. "The Calgary Phil has done a fantastic job of reaching out to the community and having the programming be more of a conversation. They are responding to local audiences as they build their performing arts season." During the 2026/2027 Season, Wolfgang members will receive tickets to a diverse set of pre-chosen concerts: the world premiere of Dreams of Bollywood; Stayin' Alive: The Bee Gees and Beyond with Rajaton; and Songs + Soul: Celeigh Cardinal with Orchestra, featuring the JUNO Award–winning CreeMétis singer-songwriter. Another great draw for Wolfgang members is the afterparty that follows each concert.

"This is an opportunity to meet fellow music-lovers, many of whom are Cpossibilities alumni," says Rempel. "There is a strong sense of camaraderie built into the program. Participants also receive a charitable tax receipt, which serves as many members' initial experience with arts philanthropy."

"It's my first foray into this tier of arts and cultural support, but I really get it now. I feel part of a community that can help make this happen," reflects Yap. "I think there's a growing recognition that it's no longer up to our parents to support these institutions. It's up to us, the stewardship." The opportunity to connect with musicians and to learn about their work and other professional pursuits in the city brings a deeper understanding of the Orchestra's central role to the musical well-being of Calgary. "In my work with many arts organizations, I really have come to understand how the Calgary Philharmonic Orchestra is a foundational piece for the music community," shares Yap. "As long as I can continue, I will support it." For more information about Calgary Phil's Patron Programs, visit calgaryphil.com/patron-programs.

FALL 2026 15

4 + 5 September Friday: 7:30PM Saturday: 2:30PM Jubilee Auditorium

How to Train Your Dragon 2 in Concert

EVAN MITCHELL CONDUCTOR Evan Mitchell is proving to be one of the most imaginative and sought-after conductors in Canada. Mitchell has enjoyed 12 triumphant seasons as Music Director of the Kingston Symphony Orchestra (KSO), garnering praise for his programming, approach, and musical results. The KSO's Masterworks flagship series has returned to consistently sold-out status post-pandemic. Mitchell is a prolific conductor of film scores live in concert, with a repertoire of more than 35 films. Several of these performances have been North American premieres, including Gene Kelly: A Life in Music, a specially curated showcase of the artistry of Gene Kelly, created and hosted by Patricia Ward Kelly, Gene's biographer and wife. During the 2020 pandemic, Mitchell wrote, produced, directed, and edited several standout digital orchestral initiatives, including Harmon in Space and Threepenny Submarine, both web series aimed at introducing young audiences to opera and the orchestra respectively. Threepenny Submarine won the Opera America International Award for Digital Excellence. The Kingston Symphony's digital world premiere of John Estacio's Domestic Divertimento, and their custom-tailored Symphonic Education Partnership digital performances, among other initiatives, have reached over 500,000 viewers, and have been internationally acclaimed as being the benchmark for online innovation and education.

Evan Mitchell, conductor Calgary Philharmonic Orchestra Winner of the Golden Globe Award for Best Animated Feature Film, DreamWorks' How to Train Your Dragon 2 features composer John Powell's thrilling score to this spectacular sequel performed live-to-film by your Calgary Philharmonic in an awe-inspiring experience for the whole family. When Hiccup and Toothless discover a secret ice cave with wild dragons and a mysterious Dragon Rider, the two friends find themselves in an epic battle to save the future of man and dragons! John Powell

How to Train Your Dragon 2

122'

SEPTEMBER 30, 2026

EXHIBITION ON NOW UNTIL FEBRUARY 7, 2027 Honouring the late jazz great’s impact on music.

SU P P O RT E D BY:

Jeremy Dutcher In honour of National Day for Truth and Reconciliation, join the JUNO Award-winning artist for an evening of music that transcends boundaries.

SUPPORTED BY:

S T U D I O B E L L , H O M E O F T H E N AT I O N A L M U S I C C E N T R E

8 5 0 4 S T R E E T S E C A LG A RY

S T U D I O B E L L .C A

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11 September 7:30PM Jack Singer Concert Hall

about the music

Dolly Parton's Threads: My Songs in Symphony

No. 1

While it's one of country music's most emblematic songs, Jolene transcends the genre with artists as diverse as the White Stripes, Miley Cyrus, and Olivia Newton-John cutting their own takes. Beyoncé, another artist whose music is being celebrated by the Calgary Phil this fall, released a reworked version in 2024.

No. 2

Dolly Parton and Kenny Rogers' smash-hit duet, Islands In The Stream, was penned by the Brothers Gibb, aka the Bee Gees, whose songs will feature in a January concert here at the Phil with Finnish pop sensations Rajaton. Islands In The Stream hit the number one spot on the charts in 1983 and led to several more Parton-Rogers' collaborations.

No. 3

David Hamilton, conductor Calgary Philharmonic Orchestra Dolly Parton

Dolly Parton + Kent Wells

Overture (arr. David Hamilton)

Two Doors Down

My Tennessee Mountain Home

Blue Smoke

The Bridge

Little Bird

Better Get To Livin'

Jolene

If You Hadn't Been There

Backwoods Barbie

Eagle When She Flies

Light Of A Clear Blue Morning

INTERMISSION

20' Entr'acte (arr. David Hamilton)

Cynthia Weil + Barry Mann

Here You Come Again

Barry, Robin + Maurice Gibb

Islands In The Stream

Coat Of Many Colors

Travelin' Thru

Baby I'm Burning

I Will Always Love You

Light Of A Clear Blue Morning

ALL SONGS WRITTEN BY DOLLY PARTON UNLESS OTHERWISE NOTED. CO-PRODUCED BY DOLLY PARTON TOGETHER WITH SCHIRMER THEATRICAL AND SONY MUSIC PUBLISHING. THIS PERFORMANCE DOES NOT INCLUDE AN IN-PERSON APPEARANCE BY DOLLY PARTON. CONCERT INCLUDES A 20-MINUTE INTERMISSION. PROGRAM AND ARTISTS SUBJECT TO CHANGE WITHOUT NOTICE. 18 PRELUDE

Coat of Many Colors recounts the story of how Parton's mother crafted a garment for her out of an assortment of mismatched fabrics. She wrote the song while on tour in the late '60s and used the first piece of paper she could find when inspiration struck: the back of a dry-cleaning receipt.

No. 4

My Tennessee Mountain Home is another deeply autobiographical track of Dolly's. The cabin on the album cover was her family's original home, which had no electricity, no running water, and housed her parents and 12 children (including Dolly). A tworoom replica of the cabin now stands at Dollywood, where fans can further explore the landscape of Parton's childhood.

No. 5

Backwoods Barbie weaves together much of Parton's commentary on her own image. Not one to shy away from discussing her appearance, her sharp wit and humour popularized sayings such as, "It takes a lot of time and money to look this cheap," and "The higher the hair, the closer to God." Though she is famous for her Backwoods Barbie appearance, rest assured, she is quick to clear up any assumptions about her character, singing, "I might look artificial, but where it counts, I'm real."

DAVID HAMILTON CONDUCTOR

KATELYN DRYE VOCALS

HOLLIE HAMMEL VOCALS

Known and respected for his musical versatility and artistic passion, David Hamilton has earned a reputation as an engaging conductor of popular music and a premier arranger, orchestrator, pianist, and composer. He is uniquely at home leading orchestras, rhythm sections, and choirs. He collaborates with artists across multiple genres on the stage and in the recording studio and his arrangements are featured on recordings worldwide spanning gospel, pop, classical, jazz, country, and sacred music genres. His music can be heard on recordings by premier artists such as classical pianist Lang Lang performing with Metallica, Ed Sheeran, The Weeknd, Lady Gaga, John Legend, and Celine Dion. Hamilton has also written arrangements for Andrea Bocelli, Josh Groban, Kristin Chenoweth, Renée Fleming, Carrie Underwood, Heather Headley, Amy Grant, Michael W. Smith, Vince Gill, Ricky Skaggs, Sandi Patty, Natalie Grant, and many others. He has conducted pops and holiday concerts with many leading American and Canadian orchestras including the Dallas, St. Louis, Denver, Atlanta, Vancouver, Edmonton, Virginia, and Detroit Symphonies. He has led his hometown orchestra, Nashville Symphony numerous times. In his recent creative endeavors, Hamilton alternates between conductor and musical director- pianist roles with Dolly Parton's Threads: My Songs in Symphony, which he arranged and orchestrated for Schirmer Theatrical. For many years he has collaborated with Amy Grant and Michael W. Smith as conductor and touring musical director, helping them each create their own legacies of rich holiday musical traditions. Hamilton's compositions are also heard on numerous solo piano recordings such as his jazz release, Good Things, and his meditative offering, Sacred Space.

Katelyn Drye is a singer, songwriter, wife, cat mom, and lover of all things Dolly. She is exactly one-half of the country duo The Dryes alongside her husband Derek. Recognized by Country Living Magazine as "The new hot country duo to watch" after premiering on season 22 of NBC's The Voice. The Dryes have accumulated over 12 million global streams. Based in Nashville, TN since 2014, she and Derek regularly tour playing fairs and festivals across the United States, and host writer's rounds in their home state of North Carolina. After releasing music in 2018, The Dryes have caught the attention of USA Today, Rolling Stone, People, American Songwriter, and Billboard, among others, while gaining thousands of fans and followers along the way. Their sassy single Dolly Would and their alluring, soulful track House on Fire achieved #1 on CMT's 12-Pack Countdown, while their recent music video A Little Longer landed a spot in rotation on CMT's 12-Pack Countdown. The Dryes toured with Jo Dee Messina and performed at CMA Fest and the Carolina Country Music Festival. Their latest EPs, Raisin' Beers & Hallelujahs and Dear Heart show the full spectrum of who they are; their summer single, Daydrinkin' charted on iTunes on release day and has garnered over five million views across social media, while their newest single Ain't God Good reflects on the goodness found in and out of the difficult times we all face in life.

Hollie Hammel is a Los Angeles-based singer, songwriter, producer, and background vocalist. Originally from Nashville, she earned a Bachelor of Arts in Music Education from Belmont University. During her decade in Music City, Hammel toured and recorded with celebrated artists such as Joss Stone, Sara Evans, Hans Zimmer, Brandi Carlile, and more. Her talents have also been featured on projects for Disney, where she lends her voice and likeness to several beloved characters in Harmonious, as well as recordings played in Disney Parks around the world. Now splitting her time between Los Angeles and Nashville, Hammel is deeply passionate about fostering creative communities in both cities. When not collaborating with other artists, she dedicates herself to writing, recording, and producing her own original music. She is currently in the process of carefully crafting her next album, recording and shaping her sound in both cities. Hammel is deeply honored to join the Calgary Philharmonic in celebrating the legendary Dolly Parton, paying tribute to one of music's, and her own personal, cherished icons.

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BLAIR LAMB VOCALS

DEREK DRYE VOCALS/DOBRO/LAP STEEL/GUITAR

LINDSEY MILLER GUITAR

Blair Lamb is a Kentucky-grown and New York City-based musician, songwriter, and actor. She received a BFA in Musical Theatre with a minor in Piano from Northern Kentucky University and has since performed professionally worldwide. Dubbed "a Swiss Army Knife of a performer," her artistry captures everything from acoustic original music to jazzy cocktail piano entertainment. Lamb has performed on luxury cruise ships as both a dueling pianist and a solo piano bar entertainer, drawing from a repertoire of over a thousand songs. She also periodically works as a professional theatre actor across the country. Above all, Lamb is an avid songwriter and spirited storyteller. She frequently graces iconic New York City stages with her ever-growing rolodex of original songs. You can find her sophomore EP Two Left Feet on all music streaming platforms, as well as her new single Mother Goose.

Derek Drye is from Thomasville, NC, and found his voice on the guitar when he was 14 years old. He has studied Blues/ Jazz Theory, played the Ryman & Grand Ole Opry, toured the country as a sideman, and now tours as a music duo with his wife Katelyn under the name of The Dryes. Their music merges classic country tones with modern lyrical wit. Think Conway & Loretta with a little rock 'n roll. Mentioned in Rolling Stone, Country Music Television, USA Today, and even appearing on NBC's The Voice, the duo has found their stride as a touring duo and now are both performing in Dolly Parton's Threads: My Songs In Symphony, touring in between their own shows.

In Nashville, TN Lindsey Miller has been carving out an admirable niche for herself. Her fast-growing resume of artists, recording clients, and respected musical associates have been a natural result of her unusually diverse skill set. Growing up in Prairie Village, KS, Miller picked up her first guitar at age ten. Although first inspired by Led Zeppelin, Jimi Hendrix, the Beatles, and 90s alternative rock, it was her discovery of hometown guitar hero Pat Metheny that initiated her into the world of jazz. Miller's talent and ever-growing interest in jazz improvisation earned her a scholarship to attend the University of North Texas where she performed in the Two O'Clock Lab band and earned a bachelor's degree in jazz studies. Miller has toured with Brett Eldredge, Lauren Daigle, Kevin Max, and Danny Gokey. She performed with jazz, R&B, and rock 'n' roll luminaries such as Bernard Fowler, Ellis Hall, Brian Blade, Keith Carlock, Dennis Chambers, Felix Pastorius, Danny Gottlieb, and Jeff Coffin. In 2018, Miller was a featured musician in NPR's Jazz Night In America. She has appeared on the TV shows Tell Me A Story, the NBC Rockefeller Tree Lighting Special 2022, and three seasons of ABC/CMT's Nashville. When she's not touring, Miller is an active member of the Nashville studio scene. Her recording credits include music for Remember Me: The Mahalia Jackson Story, Devotion, Reagan and the Grammy nominated Indiana Jones and The Great Circle. Additionally, Miller's music can also be heard on Bravo, The History Channel, VH1, CBS, NFL, Fox Sports, Comedy Central, and NBC. In 2023, she released a three-song jazz EP/video project The Sapphire Sessions: Live From Layman Drug Company which can be viewed via her YouTube channel.

20 PRELUDE

DEAN BERNER BANJO/MANDOLIN/GUITAR

GARY LUNN BASS GUITAR

LUKE WOODLE DRUMS

Dean Berner is a musician, photographer, and educator. He lives in Nashville, TN with partner Rachel Beauregard, their two daughters, and dog Sharkey. Berner is an in-demand session player and is currently touring with MCA Recording artist Catie Offerman. Over the last few years, he's worked with Andrew Ripp, Mackenzie Porter, Maggie Rose, Lucie Silvas, Jana Kramer, Clare Dunn, Rick Brantley, Paul McDonald, and others. From 2003-2013, Berner was a member of country/bluegrass trio Edens Edge (Big Machine Records) and toured with Brad Paisley, Reba McEntire, Rascal Flatts, and Lady A. Also an avid photographer, Berner holds a Master of Fine Arts in Photography from the University of Hartford and teaches at Nashville State Community College.

Gary Lunn is a Nashville native and has had over 40 years of experience as a session bassist, programmer, writer, and touring musician. He has done session work for artists like Michael W. Smith, Peter Cetera, Toby Keith, Montgomery Gentry, Tracy Lawrence, Johnny Cash, Sandy Patty, Amy Grant, Dolly Parton, and many more. He has also toured with Amy Grant and Dolly Parton. He is still in demand as a full-time recording session bassist in Nashville.

Luke Woodle's passion for music started at an early age, fostered by a family of musicians and incredible mentors in Seattle, WA. Woodle is known for his musicality and love for music of all genres, having performed with a wide variety of musicians live and in the studio. Graduating from the University of Southern California Thornton School of Music in Los Angeles, California with both an undergraduate (2019) and master's degree (2021), Woodle is currently attending the Juilliard School in the prestigious Artist Diploma program. He has performed and taught across the U.S. and throughout the world including South Korea, the Netherlands, Italy, France, Japan, and Switzerland. Woodle has recorded and performed with countless musicians including Sullivan Fortner, Louis Cole, the New York Voices, Georgia Webster, Pat Coil, Joel Frahm, Ricky and Paul Peterson, Pat Bergeson, and the Bob Mintzer Big Band. He lives in New York City where he regularly performs and teaches.

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13 September

Phil in the Park

2PM Prince's Island Park

JULIANE GALLANT CONDUCTOR

in in the the

Concert Sponsor: Valentine Volvo + Volvo Cars Royal Oak Concert Supporter: The City of Calgary Juliane Gallant, conductor Calgary Philharmonic Orchestra Grab your blankets and picnic baskets as we once again welcome all of Calgary to join us at Prince's Island Park for a free community concert! Performing an eclectic mix of classical favourites, show tunes, and pops, the Orchestra and conductor Juliane Gallant provide the perfect soundtrack to a fun-filled afternoon in the beautiful heart of the city.

SCAN QR CODE FOR PROGRAM

THIS CONCERT IS APPROXIMATELY 2 HOURS INCLUDING A 20-MINUTE INTERMISSION. PROGRAM AND ARTISTS SUBJECT TO CHANGE WITHOUT NOTICE. 22 PRELUDE

New Brunswick-born conductor Juliane Gallant is quickly making a name for herself as a dynamic conductor in a wide variety of programming. Recent career highlights include her podium debuts with Ottawa's National Arts Centre Orchestra, the Vermont Symphony Orchestra, and the Boston Symphony Orchestra's Boston Pops. The 2026/2027 Season sees further debuts with the symphonies of Saskatoon, Kamloops, Winnipeg, and Nova Scotia, alongside returns to Victoria Symphony and the Calgary Philharmonic Orchestra. In past seasons, Gallant has taken the podium for the Newfoundland Symphony, PEI Symphony Orchestra, Symphony New Brunswick, Regina Symphony Orchestra, Okanagan Symphony Orchestra, and Kingston Symphony Orchestra. With a particular passion for pops programming, she has collaborated with a variety of artists such as The Tenors, Chantal Kreviazuk, Kiesza, Serena Ryder, and Brett Kissel, among others. For three seasons, Gallant was the Resident Conductor of the Calgary Philharmonic Orchestra, where she was also the 2025/2026 Artistic Advisor (Pops), leading Vivaldi's Ring of Mystery, The Princess Bride, Unplugged: Nirvana Reimagined, and programs in collaboration with Vivek Shraya, Tenille Townes, and Steven Page, among others. A passionate collaborator, Gallant's first career chapters were as a collaborative pianist, répétiteur, and vocal coach. She made her conducting débuts in opera in the United Kingdom, leading productions with Gothic Opera, King's Head Theatre, and Opera Upclose. In 2021, she made her Royal Opera House conducting début with MAMI WATA, in collaboration with Pegasus Opera and the Engender Festival.

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CANADIAN CONTEMPORARY CUISINE FALL 2026 23

Steve Hackman's Beethoven X Beyoncé 24 PRELUDE

Conductor FEATURE

Steve Hackman returns with another masterful merge of classical and pop sensibilities BY CHARLOTTE LILLEY PHOTO LAUREN DESBERG

On the composition side of things, what do you look for when deciding to bring a classical piece and a songwriter's work together in a fusion? Well, I think, first of all, it's worth saying that just because you can combine two things doesn't mean you should. And it's safe to say in the beginning I was in search of the musical elements, primarily — the harmony, the rhythms, the motives, the melodies. As the technique developed, and I became more adept at writing these fusions, I was seeking more those thematic or emotional connections between the pieces. The more I wrote them, the more I could find ways to combine things, even when there perhaps weren't apparent or overt musical similarities.

Was there a specific pair of composers or pieces of music that you first noticed could work together in this way?

Steve Hackman's musical interests have never been constrained by genre. A love of both classical and contemporary music, instilled from a young age, have led him to a diverse and prolific career as a composer, conductor, DJ, and songwriter, among a plethora of other roles. It's also led him to develop his own niche within the world of orchestral music, writing fusions which combine classical masterworks with hits from some of the biggest pop stars.

Since I'm a pianist, and an arranger, and a composer, I'm always listening to music with that theoretical ear. It was in the case of Brahms X Radiohead that I noticed there were not only musical similarities that could be explored, but thematic and emotional similarities, and that's why I think that piece, which is one of the first fusion attempts of mine, sort of broke open this this new potential genre.

A fan favourite who has brought such productions as Brahms X Radiohead, Beethoven X Coldplay, Tchaikovsky X Drake, and more to Calgary, Hackman joined us for a conversation discussing the inspiration behind his work, his approach to engaging new audiences, and what he's looking forward to when he brings the next of these fusions — Beethoven X Beyoncé — to the Calgary Phil on 3 October at the Jack Singer Concert Hall.

For folks who might not already be familiar with your work, what can they expect from Beethoven X Beyoncé?

To start us off, could you share a little bit about the inspiration behind the classical and pop fusions that you're known for? Well, I think, first of all, if you're a classical musician in the 21st century, advocacy and new audience engagement has to be something you take very seriously and something you're actively involved in. To me, this work is a way to meet audiences where they are, because as someone who grew up loving classical and popular music equally, I've always known that there are so many potential new audience members for classical music out there, and they are the lovers of Beyoncé, and Radiohead, and Coldplay, and Tupac, and Kendrick Lamar, and the list goes on. They just perhaps haven't been engaged with in the right way and perhaps haven't known that they were welcome, and this is a way to welcome them. As somebody who grew up very agnostically when it came to music, there was no one imposing any judgment in my upbringing, saying, 'listen to this, not that,' and 'this is better than that,' and I'm lucky and grateful for that. So, I've always been looking for ways to bridge this divide between the two, because I don't see them as being very different. I see Beethoven and Beyoncé as masters on equal footing in their respective genres.

This is what would have happened if Beethoven and Beyoncé were playing at the same music festival, and they had the chance to collaborate. It's the full Calgary Philharmonic Orchestra in all its glory, playing the Beethoven Seventh Symphony, one of the most beloved symphonies in all the repertoire, and then there are these constant interjections of moments where Beyoncé's music is introduced and then layered in and fused with Beethoven's music. There are six incredible soloists that join us, three vocalists, and then a three-piece band. So, the juxtaposition of the Orchestra with these incredible musicians is a really powerful and dynamic one. And then Beethoven's music serving as an emotional context for some of Beyoncé's most powerful songs is striking, and in my opinion, can be transcendent.

You've conducted the Calgary Phil before — what's exciting to you about returning to Calgary for this concert? I love the Orchestra and love the hall, they're fantastic players. They're open-minded to this concept, and they have been from the very beginning, which means so much to me. But they can turn the corner between playing the Beethoven like a world-class symphony orchestra, and then playing these fusion bits. And then the audience, I think, is what's really crucial here. From the beginning, the audience seemed to have this curiosity and intrigue around this concept, and they have been so supportive of these programs, no matter what the pairing is, from Brahms X Radiohead, to Tchaikovsky X Drake, to now Beethoven X Beyoncé. So, I feel a connection now to the city as well.

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18 + 19 September

Long Is the Journey, Short Is the Memory Zosha Di Castri

Nordic Nights

7:30PM Jack Singer Concert Hall

B. 1985 / CALGARY, CANADA Long Is the Journey, Short Is the Memory commemorates the anniversary of the first person landing on the Moon, on 20 July 1969. This piece interweaves three sources of text, exploring how humans have looked to the Moon across time and cultures, including segments of Giacomo Leopardi's Italian poem Alla luna (1820), ancient Greek lyric poetry, sung here in English, attributed to Sappho (though there is some debate regarding its authorship; ca. 570 BC), and new text by the Chinese-British writer Xiaolu Guo. Despite our first epic journey to the Moon and back, there has been a noticeable lag in enthusiasm for further exploration since the late 1960s (until perhaps just recently). This piece is thus an invitation to become fascinated once more with the satellite orbiting our planet, that has so consumed the human imagination, filling us with awe, longing, beauty, and illumination. © ZOSHA DI CASTRI

Piano Concerto in A Minor, Op. 16 Edvard Grieg B. 1843 / BERGEN, NORWAY D. 1907 / BERGEN, NORWAY

Guest Artist Supporter: The Naomi + John Lacey Virtuoso Program Naomi Woo, conductor Stewart Goodyear, piano Calgary Philharmonic Chorus Calgary Philharmonic Orchestra Zosha Di Castri

Long Is the Journey, Short Is the Memory

16'

Edvard Grieg

Piano Concerto in A Minor, Op. 16 I. Allegro molto moderato II. Adagio III. Allegro moderato molto e marcato

30'

INTERMISSION Jean Sibelius

20' Symphony No. 2 in D Major, Op. 43 I. Allegretto II. Tempo andante, ma rubato III. Vivacissimo IV. Finale: Allegro moderato

PROGRAM AND ARTISTS SUBJECT TO CHANGE WITHOUT NOTICE. 26 PRELUDE

43'

Edvard Grieg wrote his Piano Concerto in A Minor in the summer of 1868 while on holiday in the Danish village of Søllerød. The Norwegian composer had strong ties with Denmark; he had spent three years in Copenhagen before returning to his homeland in 1866. He settled in Christiania (now Oslo), inflamed with a mission to develop music of a truly national, Norwegian character. It was a pivotal time in his life: he took up the position of conductor at the Philharmonic Society in Oslo; he married his cousin Nina Hagerup, whom he had clandestinely proposed to in 1864; and he composed Piano Concerto in A Minor, one of his most famous works. It was also during this time that his daughter Alexandra was born; 13 months later, she died of meningitis, not long after the concerto's premiere in Copenhagen in April 1869. Grieg is recognized as being one of the champions of Norwegian music. Drawing inspiration from its folk melodies and rhythms — and employing them in his own unique way — he strengthened Norway's national identity, as Jean Sibelius would later do for Finland. The composer himself has been quoted saying, "I am sure my music has

Symphony No. 2 in D Major, Op. 43 Jean Sibelius B. 1865 / HÄMEENLINNA, FINLAND D. 1957 / JÄRVENPÄÄ, FINLAND "My second symphony is a confession of the soul," wrote Jean Sibelius, referring to the most popular of his seven symphonies. Indeed, the attentive listener might map onto its four movements the inner world of the great Finnish composer at the time of its composition: the melancholy of a father who had recently lost a child; the zeal of a patriot in a country whose national identity was being slowly strangled by a foreign empire; the freedom of an artist in new environs soaking up the beauty of an enchanting landscape. Sibelius began his Second Symphony in Rapallo, Italy in 1901. He had been prompted by Baron Axel Carpelan, an admirer turned life-long friend, who raised a considerable sum for the Sibelius family to make the trip. Though the years prior were filled with successes, including his celebrated tone poem Finlandia, the period had been darkened by the death of Sibelius' daughter Kirsti in 1900. Sibelius' legendary inclination towards drinking became more serious with her passing, and he would battle with alcoholism for many of the following years. The change of scenery in 1901 was a welcome balm. Surrounded by flowers and cypresses, enjoying long treks in the hills and along the shore, Sibelius flourished. He marvelled: "Now I am again completely a man of imagination." The completed Second Smphony premiered in March 1902 in Helsinki. It was received with rapture by the public, who quickly nicknamed it the "Symphony of Independence." At the time, Finland was an autonomous state within the Russian Empire and was battling a creeping "Russification," though Sibelius denied any direct patriotic message in Symphony No. 2. We might hear in it instead a concentrated expression of the spirit of the man who wrote it: at times plaintive, at times full of light.

a taste of codfish in it." The Piano Concerto contains elements and motifs from this tradition, subtlety employed in a Romantic tapestry. When Grieg showed the work to Franz Liszt in 1870, the Hungarian composer encouraged Grieg to "keep steadily on" and to "not let them intimidate you." Liszt's kind words made a deep impression on Grieg, who was still grieving the loss of his daughter. He later wrote, "At times, when disappointment and bitterness are in store for me, I shall recall his words, and the remembrance of that hour will have a wonderful power to uphold me in days of adversity."

NAOMI WOO CONDUCTOR

STEWART GOODYEAR PIANO

Canadian conductor Naomi Woo has earned international acclaim for her dynamic artistry, musical insight, and engaging presence on and off the podium. In summer 2026, she concluded a successful two-season tenure as Assistant Conductor of The Philadelphia Orchestra, leading subscription concerts and performances at the orchestra's summer residences in Saratoga and Philadelphia's Mann Center. Highlights of Woo's 2026/2027 season include returns to The Royal Ballet and Opera's Linbury Theatre with Philip Venables' 4.48 Psychosis, the BBC Philharmonic, Winnipeg Symphony, and The Philadelphia Orchestra, alongside debut appearances with the San Francisco Symphony, Orchestre National de France, New World Symphony, New Jersey Symphony, Malmö Symphony, Orchestre Symphonique de Québec, and Orquesta de Córdoba. She also opens the Calgary Philharmonic's Classical season. In 2025/2026, Woo made acclaimed debuts with the New York Philharmonic, BBC Philharmonic, Royal Northern Sinfonia, Edmonton Symphony, Chicago Civic Orchestra, and The Royal Ballet and Opera, Covent Garden, conducting Oliver Leith's Last Days. She also returned to Orchestre Métropolitain, Vancouver Symphony, City of London Sinfonia, and Opera Holland Park. Equally at home in opera, Woo has conducted the Canadian premiere of Du Yun's Pulitzer Prizewinning Angel's Bone, Puccini's Edgar, Rossini's La Cenerentola, and the world premiere of Ellis Ludwig-Leone's The Night Falls. A passionate educator, she served as Music Director of the National Youth Orchestra of Canada (2024– 2025) and previously led El Sistema Winnipeg. Woo holds a PhD from the University of Cambridge as a Gates Cambridge Scholar and studied at Yale and Université de Montréal. She is the 2022 recipient of the Canada Council's Virginia Parker Prize.

Stewart Goodyear is a composerpianist in the rarest tradition — an artist who writes the music, performs it at marathon scale, and plays every note as though he made it his own. Proclaimed "a phenomenon" by the Los Angeles Times and "one of the best pianists of his generation" by the Philadelphia Inquirer, he belongs to the line of Beethoven, Liszt, and Rachmaninov: musicians who composed the repertoire and performed it themselves. Born in Toronto to a Trinidadian mother and a British father, he carries two worlds into that tradition — heard most fully in Callaloo, his suite for piano and orchestra bridging the classical and calypso sides of his heritage, released by Orchid Classics alongside his piano sonata. He is best known for his Sonatathon — all 32 Beethoven sonatas in a single day, performed at Koerner Hall, McCarter Theatre, the Mondavi Center, and beyond. He has recorded the complete Beethoven sonatas and concertos, and this season performs the complete concerto cycles with Orchestra Iowa and the Louisville Orchestra. His commissions reach from the Chineke! Orchestra to the Penderecki String Quartet and the Honens International Piano Competition, and his transcription of Tchaikovsky's complete Nutcracker was named by The New York Times among the best recordings of 2015. A Steinway Artist and a soloist with the New York Philharmonic, the Chicago Symphony, the Philadelphia Orchestra, the Cleveland Orchestra, and the Los Angeles Philharmonic, Goodyear this season also appears with the Calgary Philharmonic and the Colorado, Arkansas, and South Bend symphonies, gives recitals at Houston's DACAMERA and Toronto's Koerner Hall, and joins Imani Winds for newly commissioned works. Trained at the Glenn Gould School, the Curtis Institute of Music, and the Juilliard School, he plays to reach the whole room — the mark of an artist intent on making classical music larger, not smaller.

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20 September Instrument Discovery Zoo: 2PM Concert: 3PM Jack Singer Concert Hall

Beethoven Lives Upstairs

Do you have a young music fan on your hands? Symphony Sundays for Kids concerts are the perfect way to indulge your child's curiosity and excitement.

Monica Chen, conductor Classical Kids LIVE!, ensemble Calgary Philharmonic Orchestra Life gets a little noisy, and a whole lot more interesting, for young Christoph after a crabby, eccentric old man named Beethoven moves in upstairs. Young listeners are introduced to the music and history of the great composer in this popular production blending symphonic music and drama. THIS CONCERT HAS NO INTERMISSION. PROGRAM AND ARTISTS SUBJECT TO CHANGE WITHOUT NOTICE. 28 PRELUDE

Performances are about one hour with no intermission and feature orchestral favourites every child should know. Arrive early for the Instrument Discovery Zoo in the Jack Singer lobby, where kids can visit different stations hosted by Orchestra musicians. Each station features an instrument or musical activity for children to try! The Instrument Discovery Zoo start at 2PM and the performance starts at 3PM.

MONICA CHEN CONDUCTOR

CLASSICAL KIDS LIVE! ENSEMBLE

An emerging Canadian conductor, Monica Chen is the RBC Associate Conductor of the Winnipeg Symphony Orchestra as well as Music Director of the University of Manitoba Symphony Orchestra and Sistema Winnipeg program. A frequent presence onstage, Chen regularly conducts performances with the WSO, spanning genres of masterworks, pops, movies, community, education, and ballet. She is also a regular guest conductor working with orchestras and opera companies across the country. Recent and upcoming symphonic conducting engagements include working with National Arts Centre Orchestra, Toronto Symphony, Calgary Philharmonic, Regina Symphony, Kamloops Symphony, Okanagan Symphony, Kitchener-Waterloo Symphony, Saskatoon Symphony, and National Youth Orchestra of Canada. Equally versed in opera, recent productions include conducting Britten's Albert Herring, Mozart's The Magic Flute, and Humperdinck's Hansel and Gretel. This season, she returned to the Royal Winnipeg Ballet as guest conductor, leading a third run of shows of Tchaikovsky's Nutcracker with the Victoria Symphony and Winnipeg Symphony. She currently works closely with Maestro Daniel Raiskin and previously worked closely with Yannick Nézet-Séguin as conducting fellow in the inaugural year of Orchestre Métropolitain's Conducting Academy, Stefan Asbury as participant in Tanglewood Music Centre's 2024 Conducting Seminar, and has had the honour to work with acclaimed conductors such as maestros Neil Varon, Thomas Rösner, and the late Bramwell Tovey. She is currently a Tapestry conducting fellow in their WML program.

Classical Kids LIVE! is produced by Classical Kids Music Education, a Chicago-based non-profit with a mission to provide children with an exciting and educational point of entry into the world of classical music by humanizing the lives of the great composers, creating an emotional connection to their musical masterpieces, and inspiring personal excellence that leads to greater achievement and success in life. Its Classical Kids LIVE! symphony concert series 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 honors than any other entity of its kind, Classical Kids is proud to say, "We're making a difference!"

MONICA CHEN APPEARS WITH THE CALGARY PHIL AS A MEMBER OF TAPESTRY OPERA'S WOMEN IN MUSICAL LEADERSHIP PROGRAM.

THE ACCLAIMED CLASSICAL KIDS RECORDINGS ARE AVAILABLE FOR A PAY-WHAT-YOU-CAN DONATION AT CLASSICALKIDSLIVE.COM

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FALL 2026 29

24, 25 + 26 September 7:30PM Jack Singer Concert Hall

about the music

The Music of John Williams

No. 1

John Williams is the most Oscar-nominated person alive, with over 50 nominations — and second only to Walt Disney. Star Wars: The Empire Strikes Back, Raiders of the Lost Ark, E.T, Star Wars: Return of the Jedi, Harry Potter and the Philosopher's Stone, and Memoirs of a Geisha are just some of his many nominated movies. He has won five Academy Awards.

No. 2

At the height of his Hollywood fame, a unique request came across William's desk from the organizing committee of the Los Angeles Olympics. Their inquiry to the composer was successful, resulting in John Williams not only writing a new fanfare for the games, but also performing it with the New American Orchestra at the Opening Ceremony of the Los Angeles Olympics on 28 July 1984.

No. 3

Tristan Rais-Sherman, conductor Calgary Philharmonic Orchestra John Williams

Superman March from Superman Flight to Neverland from Hook

Theme from Jurassic Park

Sayuri's Theme from Memoirs of a Geisha

Scherzo for Motorcycle and Orchestra from Indiana Jones: The Last Crusade

Marion's Theme from Raiders of the Lost Ark

The Raiders March from Raiders of the Lost Ark

INTERMISSION

20' Olympic Fanfare and Theme from 1984 Los Angeles Olympics

Hedwig's Theme from Harry Potter and the Philosopher's Stone

Harry's Wondrous World from Harry Potter and the Philosopher's Stone

Main Title from Star Wars: A New Hope

Luke and Leia from Star Wars: Return of the Jedi

Adventures on Earth from E.T. the Extra-Terrestrial

PROGRAM AND ARTISTS SUBJECT TO CHANGE WITHOUT NOTICE. 30 PRELUDE

John Williams' Superman March was crafted to rhythmically 'spell out' the word "Superman" using the notes E, D, D, leading audiences to subconsciously sing-along to the music.

No. 4

Sayuri's Theme in the score of Memoirs of a Geisha is one of John Williams' most deeply intimate and expressive compositions, relying on the cello to express the voice of the geisha through its depth, longing, and warmth. This was peformed on the soundtrack by non-other than renowned cellist Yo-Yo Ma who has previously performed with your Calgary Phil.

No. 5

Both Hedwig's Theme from Harry Potter and Main Title from Star Wars were not composed with the intention of being title tracks. In encompassing their respective universes, tones, and characters, they were selected after being written and have become the iconic and instantly recognizable ties to these major franchises.

Tristan Rais-Sherman is rapidly emerging as one of the most exciting musicians of his generation, celebrated for his collaborative spirit, creativity, and joyful music-making. A four-time recipient of The Solti Foundation U.S. Career Assistance Award, he is recognized for his emotional directness and clarity on the podium and is committed to broadening the appeal of classical music by telling human stories in ways that anyone can feel and understand. In the 2026/2027 season, Rais-Sherman returns to the Calgary Philharmonic Orchestra and the Billings Symphony, where he is a Music Director Candidate. Recent engagements include his debut with the Harbin Symphony Orchestra, multiple returns to the San Diego Symphony and The Philadelphia Orchestra, performances with the Hohhot Philharmonic and Xiamen Philharmonic Orchestra, and assisting Maestro James Gaffigan in Manon at Les Arts Valencia. From 2022 to 2024, Rais-Sherman served as Assistant Conductor of The Philadelphia Orchestra, helping launch the orchestra's award-winning Orchestra After 5 series. In 2023, he led a performance at Beijing's National Centre for the Performing Arts during the orchestra's 50th-anniversary China residency — a tour covered in The New York Times and the beginning of his ongoing work as a bridge between American and Chinese classical music. He has collaborated with the New York Philharmonic, Los Angeles Philharmonic, Baltimore Symphony, St. Louis Symphony, Bamberger Symphoniker, and Berlin Sinfonietta, among others. He holds an Artist Diploma from the New England Conservatory and degrees from the University of Michigan and Ithaca College.

Erik Olson, Shadow, 2025.

TRISTAN RAIS-SHERMAN CONDUCTOR

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FALL 2026 31

3 October 7:30PM Jack Singer Concert Hall

Steve Hackman's Beethoven X Beyoncé © LAUREN DESBERG

STEVE HACKMAN CONDUCTOR + CREATOR

Steve Hackman, conductor + creator Calgary Philharmonic Orchestra Ludwig van Beethoven Symphony No. 7 in A Major, Op. 92

Beyoncé

I. Poco sostenuto — Vivace

Run The World (Girls) Cuff It Break My Soul

19'

Interlude I

Déjà Vu

II. Allegretto

Halo Daddy Lessons

16'

INTERMISSION

20'

Interlude II

Hold Up Love on Top

III. Presto — Assai meno presto

Single Ladies Texas Hold 'Em Love Drought

12'

IV. Allegro con brio

Formation Sorry Crazy In Love

23'

PROGRAM AND ARTISTS SUBJECT TO CHANGE WITHOUT NOTICE 32 PRELUDE

Composer, conductor, producer, songwriter, and pianist Steve Hackman is a musical polymath redefining classical music in the 21st century. Whether leading the world's major orchestras, collaborating with the world's most compelling artists, or performing at marquee events like the Oscars or the Emmys, Hackman is an original voice shaping today's most important scores and concerts, dissolving the line between classical and popular music. He has collaborated with Jon Batiste, Ariana Grande, Cynthia Erivo, Lizzo, RZA, Wyclef Jean, Steve Lacy, Doja Cat, Moses Sumney, and most recently with Charlie Puth, arranging and conducting the National Anthem for Super Bowl LX. His sixteen barrier-shattering orchestral fusions, which synthesize the great works of classical music with towering figures from popular music, have led to performances around the world. 2026 has seen an ambitious music release schedule from Hackman that showcases the many sides of his artistry: original music for orchestra fused with electronics; the full ballet AT WORK; the concept art-piece THE BRINK; an album of solo piano impromptus called SACRED MATH; and reimagining's of some of the great music of today, including Frank Ocean, Jacob Collier, and Kendrick Lamar. His first film soundtrack was released in November 2025, for Michael Fimognari's holiday caper Jingle Bell Heist, which became the #1 weekly film on Netflix. Hackman studied conducting, composition, and counterpoint at the Curtis Institute of Music, then went on to a fellowship at the American Academy of Conducting at the Aspen Music Festival — all the while teaching himself the craft of popular music as a songwriter, producer, arranger, and recording artist: the two worlds he's been fusing ever since.

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DISCOVER World-Class Chamber Music 2026/27 CONCERT SEASON MASTERS SERIES

Gryphon Trio Poesis Quartet Chamber Music Society of Lincoln Center Quartetto di Cremona New Orford String Quartet Photo: Gryphon Trio, by Bo Huang

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FALL 2026 35

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36 PRELUDE

Q + A

This season, the Calgary Philharmonic is excited to welcome Ilan Kumaranayake Mendel as its new Resident Conductor. Originally from Halifax, Mendel comes to Calgary via Toronto, where he was the inaugural Assistant Conductor of the Toronto Symphony Youth Orchestra and previously served as the Assistant Conductor at the National Academy Orchestra of Canada. Mendel, who makes his Calgary Phil debut on 9 September at the free Alpine Park community concert, warmed up for his new role by answering a few get-to-know-you questions.

Resident Conductor

ILAN KUMARANAYAKE MENDEL

Pizza or pasta? Pasta (but sometimes pizza). Bowling or mini golf? You get more tries when you do mini golf. Cats or dogs? Too hard to choose!

Favourite thing about Halifax? The people, the nature, and the food.

Window seat or aisle seat? Window when visiting new places, but aisle for familiar destinations.

Best thing about Calgary (so far)? I was immediately struck by the beautiful view of the mountains from the city.

Currently reading… Ender's Game by Orson Scott Card. Currently listening to… Noah Kahan, Lorde, Taylor Swift, and whichever music I am performing next.

Favourite composer? I can't pick just one… Beethoven, Tchaikovsky, Sibelius, and Mahler are all very special to me.

Currently watching… The Office (US), and I think it's time for another Lord of the Rings marathon…

Cooking or baking? I LOVE to cook! But I'll never turn down a baked good when offered… Haunted house or pumpkin patch? Pumpkin patch, because it reminds me of autumn in Nova Scotia. Racoons or magpies? Magpies.

Night owl or early bird? I alternate between both depending on who I'm around and what my work schedule is like. Planning or spontaneity? I am a BIG planner. I like to schedule out every part of my day. Karaoke night or trivia night? I love to learn new things, so trivia. Sand or snow? There's so much you can do in the snow!

Summer or winter? Summer (but really, Autumn). Puzzle or crossword? Every year my mum and I do the Globe and Mail Giant Holiday Crossword, so I have to go with that. Playlist or podcast? Playlist. Big party or small gathering? Small gathering at someone's house with a glass of wine.

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9 + 10 October Friday: 7:30PM Saturday: 2:30PM Jack Singer Concert Hall

Disneyʼs Moana Live-to-Film Concert © KAYLA SCHMAH

SUSIE BENCHASIL SEITER CONDUCTOR

Susie Benchasil Seiter, conductor Calgary Philharmonic Orchestra Go on an unforgettable journey across the ocean with Disney's Moana in concert, featuring the Grammy®-winning soundtrack performed live-to-picture by your Calgary Phil. Grammy®-winning composer Mark Mancina scored the vibrant soundtrack for this beloved tale about a spirited and courageous young navigator who sets sail on a daring quest to save her people and her island. The film's rousing music is the collaborative work of Mancina, Lin-Manuel Miranda, and Opetaia Foaʻi, the composer and founder of the Polynesian band Te Vaka. Mark Mancina

Disney's Moana

107'

Susie Benchasil Seiter is a prolific composer, conductor, and orchestrator for film, television, video games, and live concerts. She is best known for orchestrating and conducting orchestral concert world tours Evanescence: Synthesis, Lindsey Stirling's Orchestra tours, The Legend of Zelda: Symphony of the Goddesses, and Pokémon: Symphonic Evolutions. Combined, these tours have been performed more than 400 times by some of the world's most respected orchestras. In 2017/2018, she conducted over 80 orchestras, including the Royal Philharmonic at London's Apollo Hammersmith, The Orchestra of St. Luke's at Madison Square Garden, the National Symphony Orchestra at Wolf Trap, and the Sydney Symphony at the iconic Sydney Opera House. Seiter excels in leading popular symphonic film concerts such as Frozen Live, The Muppet Christmas Carol, Pixar in Concert, and Toy Story Live. Last year she conducted the Paramount blockbuster hit Snake Eyes: A GI Joe Origin Story, Netflix's holiday favorite 8-Bit Christmas, and the Disney+ Zootopia series. She is excited to appear this fall and winter with Toy Story Live, Muppets Christmas Carol, Coco, and Nightmare Before Christmas live in various cities. Parallel to her active concert career, Seiter has worked alongside her husband, composer Chad Seiter, conducting and orchestrating his music to many AAA video game titles that include some of history's most popular, enduring franchises: Star Trek: The Video Game and LEGO Jurassic World and Microsoft Studios' major game release, ReCore. She was on the orchestration team for Disney's Encanto, Universal Pictures' film Minions, Guillermo Del Toro's Crimson Peak and The Book of Life, and Star Trek Picard. Seiter believes that orchestral music should be shared and celebrated by all generations, and she takes great pride in her contributions as a composer, conductor, and orchestrator.

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40 PRELUDE

COVER FEATURE

ndia's famed Hindi-language film industry, affectionately known as "Bollywood," is known for its grandeur and intoxicating sense of drama, with sweeping storylines, emotionally charged musical moments, and a signature brand of intensity. Melodrama and over-the-top flourishes abound, amplifying action, romance, comedy, fantasy, and whatever other elements play into the story.

Sounds an awful lot like orchestral music, doesn't it? Providing the backdrop to the narratives of ballet and opera and channelling unbridled passion, sorrow, and joy through bombastic sound, the work of a traditional philharmonic orchestra has more in common with Bollywood than many music lovers may have considered. Yet, the two genres have always felt a literal world apart.

Dreams of Bollywood introduces South Asian sounds to orchestral music BY ELIZABETH CHORNEY-BOOTH

Conductor Daniel Black and choreographer/dancer Rameez Karim, both based in Montréal, are bringing the shared drama of the Calgary Philharmonic and Bollywood together with a new show called Dreams of Bollywood, making its world premiere here in Calgary on 17 October. The show, which has been over two years in the making, features infectious Bollywood hits performed by the Orchestra alongside guest singers Vidita Kannicks and Reeshabh Purohit and tabla player Shawn Mativetsky. The musical majesty will be punctuated with live dance performances from Karim and his Veils of Bollywood Dance Company. "Daniel and I saw the potential in bringing these two worlds together, which generally don't really have any connection and don't typically interact," Karim says. "We really wanted to bring a different experience to the orchestral world."

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Karim started Veils of Bollywood in 2019 to make Indian dance accessible to more people while promoting South Asian art and culture within Canada. The company produces stage performances, runs workshops and classes, and creates opportunities for Indian-Canadians to become involved with South Asian music and dance. Karim and his team also work as ambassadors to educate Canadians from all backgrounds about the artistic beauty of Indian culture. Going well beyond the typical themes of mainstream Bollywood film, Veils of Bollywood's shows often address topics like environmental and human rights protections, mental health, and LGBTQ+ advocacy, all set to Indian music and dance.

"To me, dance is a tool of intervention that can be used to instigate societal change," Karim says. "It can be a tool of entertainment, a tool of discovery, of awareness, of bodily comfort. I really believe art can be used as a change maker." For Karim, that change goes beyond the content of his storytelling. It can also mean joining Bollywood music and dance with other art forms to create intercultural understanding, which is why he responded when Black contacted him about a possible collaboration. While Black comes from a Western classical music background, he developed a strong interest in Indian music after spending a year with a sitar-player/composer roommate with a background in Indian musical traditions. Sensing a growing space for Bollywood-style performance in the classical world, Black, who is known for his versatility and ability to hop between genres as a conductor, started to look for a potential collaborator. Once he and Karim connected, both artists became excited by the possibilities of creating together. "This project has given me the chance to immerse myself in a whole musical world I never expected would be a part of my professional life." Black says. "And in the process, I've fallen in love with it. I think the same thing will happen with our audience. We can never know the richness of the world if we don't explore it." The music and concept of Dreams of Bollywood reflect Karim and Veils of Bollywood's mission and style. The story centres around a group of humans who attend a Garba event (an energetic Indian folk-dance celebration) and after hours of intense dancing they fall asleep, only to wake up in a dream-like land of peacocks. The story is a chance to showcase several different dance styles and vibrantly coloured costumes, while also carrying a message of community building, friendship, and our relationship to the natural world. Of course, there is also plenty of drama thrown in for good measure, but Karim wanted to use the peacock (India's national bird) to symbolize the beauty and emotion of the story. He and his fellow dancers — as is typical in Indian dance — perform barefoot, allowing them to feel the vibration of the instruments coming from the stage, further connecting them to the music and surrounding environment.

42 PRELUDE

"This production, which tells its story through a series of dreams in which the humans transform into peacocks, questions both internal and external connections — between our minds and bodies and between ourselves and the greater ecosystem," says Karim. "It's trying to embody a cinematic vibe and feel and bringing it live to a stage in front of an audience." Karim says many South Asian audience members and others interested in Bollywood movies will be familiar with most of the songs incorporated in the story. That said, even the most ardent Bollywood fans likely have never heard Bollywood hits performed by an orchestra like the Calgary Phil. Black says adapting the songs to an orchestra was challenging and he had to do it primarily by ear, but once he got going, he knew that both he and the orchestra's musicians would be up for the task. "The way this music sounds — the interesting timbres, the intricate percussion, the unfamiliar (to Western ears) harmonies, and vocal techniques — is just perfect material to translate into the orchestra," Black says. "The versatility of the orchestra really shines in adapting music of this kind." Even though both Karim and Black are based out of Montréal, Calgary seemed like a natural place to launch Dreams of Bollywood. Karim is originally from Edmonton, so he's well familiar with Alberta and knows that Calgary is home to a large South Asian community heavily invested in Bollywood and Indian dance. The Calgary Phil also has a reputation for enthusiastically embracing cultural and genre diversity in its programming, making the collaboration an exciting initiative. "The Calgary Phil is always keeping an open eye and ear for programming ideas that open the orchestral palette to new sounds and audiences," says Andrea Davison, Director, Artistic + Education at Calgary Philharmonic. "It's a part of our commitment to connecting with communities across Calgary to support projects like Dreams of Bollywood. We are thrilled that their full orchestra premiere is taking place here in Calgary." Karim and Black are also hoping this meeting of dramatic art forms will help audiences see what can happen when artists remove cultural divisions and look for the commonalities within different artistic disciplines. Even as orchestras around the world are slowly adding Bollywood music to their programming, bringing in the dance and storytelling elements of Dreams of Bollywood takes the connection between orchestral music and Indian culture to an even higher level. It's an illustration of the potential of what can happen when Canadians share their respective cultural touchstones and work together. "The process of putting this show together has reaffirmed how much common ground there is between Western classical music and the music of India," Black says. "Our training is very different and our way of thinking about music is very different and yet we can collaborate and create together. It really highlights the power of music to transcend barriers and divisions." Karim agrees. "We're using the show as a portal and trying to open the door for people to discover and see something new," he says. "It's important to bring these kinds of stories and these kinds of voices into programming and weave it into this mosaic and cultural fabric of Canada." The Dreams of Bollywood concert takes place at 7:30PM on 17 October at the Jack Singer Concert Hall.

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17 October 7:30PM Jack Singer Concert Hall

Dreams of Bollywood

DANIEL BLACK CONDUCTOR + CREATOR

Daniel Black, conductor Rameez Karim, choreographer + dancer Vidita Kanniks, vocals Reeshabh Purohit, vocals Shawn Mativetsky, tabla Veils of Bollywood Dance Company Calgary Philharmonic Orchestra Inspired by the vivid storytelling of Indian cinema, Dreams of Bollywood weaves together orchestral sound, powerful vocals, and expressive movement with the electrifying energy of Bollywood music and dance. Featuring an extraordinary cast led by choreographer Rameez Karim and conductor Daniel Black, the concert blends newly commissioned works with beloved Bollywood classics, including hit songs by A.R. Rahman, Pritam, Sanjay Leela Bhansali, and more, specially arranged to unleash the full colour, power, and richness of your Calgary Phil. THIS CONCERT IS APPROXIMATELY 2 HOURS INCLUDING A 20-MINUTE INTERMISSION. PROGRAM AND ARTISTS SUBJECT TO CHANGE WITHOUT NOTICE. 44 PRELUDE

Montréal-based conductor Daniel Black has earned a reputation as a versatile musician capable of delivering "vital and engaging" performances in a variety of genres and styles, from ballet to opera, standards of the classic orchestral repertoire to Pops, educational programming, and film concerts. He completed a highly successful fouryear tenure as Resident Conductor of the Florida Orchestra in 2022, where he conducted over 150 performances including the world premiere of Pulitzer Prize-winning composer Kevin Puts' new triple concerto Contact with the acclaimed trio Time for Three. In 2026/2027, Black returns to conduct the Buffalo Philharmonic Orchestra and the Florida Orchestra, as well as debut concerts with the Charlotte Symphony, the Calgary Philharmonic, and the Santa Barbara Symphony, among others. He is also a candidate for music director of the Idaho Falls Symphony Orchestra in Idaho. Black's recent guestconducting engagements have included the Nashville Symphony, Detroit Opera, Royal Winnipeg Ballet, Boise Philharmonic, Tallahassee Symphony, West Virginia Symphony, Dnipro Opera Company, Hamilton Philharmonic, Eugene Symphony, San Antonio Symphony, Kamloops Symphony, and many others. Black previously served as Assistant and then Associate Conductor of the Fort Worth Symphony in Texas, conducting over 150 performances. Black has thrice been awarded the Solti Foundation U.S. Career Assistance Award, and was a conducting fellow at the Aspen Music Festival, the Kurt Masur Conducting Workshop, and the Cabrillo Festival of Contemporary Music. He has studied with Kurt Masur, Edo de Waart, Robert Spano, Hugh Wolff, Larry Rachleff, Marin Alsop, Victor Yampolsky, Leonid Korchmar, and Neil Varon. He has studied composition with Richard Danielpour, Ana Sokolovic, and FrançoisHugues Leclair.

RAMEEZ KARIM CHOREOGRAPHER + DANCER

VIDITA KANNIKS VOCALS

REESHABH PUROHIT VOCALS

Rameez Karim is a Montréal-based choreographer, dancer, and teacher. His movement practice is rooted in Bollywood, Indian classical, and Indian folk dance vocabularies. He draws inspiration from themes related to nature, spirituality, climate change, mental health, and Indian cinema. His work questions and explores stories of migration, intergenerational knowledge sharing, belonging, and how dance can be made more accessible. Karim has learned and worked with renowned industry professionals in Canada and internationally. He has choreographed and performed for some of Montréal's largest festivals including Festival Quartiers Danses, Orientalys, Festival Tempéo, Acces Asie, Taste of the Caribbean, and Montréal Pride. His work has been presented in Portugal, Dubai, Mexico, New York City, and across Canada. Karim founded Veils of Bollywood in 2019 to bring authentic Indian cultural dance experiences to Quebec in the form of performances, dance workshops, and events such as Diwali. He holds a BFA with Honors from Concordia University specialising in Creation and Choreography. In 2025, Karim was a finalist in the ARISTA Provincial competition for young entrepreneurs by the Young Montréal Chamber of Commerce. He was in the top three entrepreneurs in the category of Arts and Culture in Quebec. Through the same competition Karim also received the People's Choice Award for the highest engagement on Instagram reels from all finalists.

Vidita Kanniks is a multi-faceted vocalist whose work primarily traverses chamber ensemble music and historical performance. With her dual background in Indian and Western classical music, she aims to engage in unique, personal projects that challenge cultural and musical boundaries. Most recently, her work was featured on the JUNOnominated album, East is East, a critically-acclaimed collaborative recording project with Montréal-based ensemble Infusion Baroque. Kanniks has been recognized by audiences around the globe for her collaborative work with her father, Dr. Kanniks Kannikeswaran. She has studied both within the Hindustani and Carnatic musical traditions, particularly in the Dhrupad style of vocal technique and interpretation. Her unprecedented interdisciplinary work in this area paired with her sensitive musicianship and affinity for language has led her to gain attention through social media and live performances across the United States and internationally. An avid choral singer, Kanniks has performed with the VOCES8 Foundation, Grammy-nominated ensemble Seraphic Fire, Cincinnati Vocal Arts Ensemble, Cincinnati Bach Ensemble, and Collegium Cincinnati. She holds Bachelor's degrees in Vocal Performance and Music History from the University of Cincinnati-CCM (2018), a Master's degree in Early Music Performance from McGill University in Montréal (2020), and a Master's in Business Administration from the University of Cincinnati (2023). She currently resides in Cincinnati where she is active as a teaching artist and vocal instructor in both Western and Indian classical disciplines, in conjunction with her performance schedule and dual career in arts marketing and media.

Reeshabh Purohit is an Indian composer, producer, and vocalist known for blending Hindustani classical music with contemporary genres. A graduate of Berklee College of Music in Music Production & Engineering, he has collaborated with acclaimed artists including Ajay-Atul, Ricky Kej, Vijay Prakash, Maithili Thakur, Rajhesh Vaidhya, Gino Banks, and Nandini Shankar. His work spans film, independent music, and live performance, combining traditional Indian aesthetics with modern production. As a lead vocalist in Civilisation to Nation at Mumbai's NMACC and through performances with international ensembles and orchestras, Purohit has established himself as an artist who bridges cultures and musical traditions. His original music explores Indian classical, electronic, jazz, and alternative pop influences, creating a sound that is both rooted and contemporary. Alongside his independent releases, his devotional recordings have reached millions of listeners online, making him one of the emerging voices redefining Indian fusion music.

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SHAWN MATIVETSKY TABLA

VEILS OF BOLLYWOOD DANCE COMPANY

Dynamic performer Shawn Mativetsky is widely regarded as one of Canada's leading ambassadors of the tabla and a pioneer in bridging Western and Indian classical music traditions. Acclaimed as an exceptional soloist and a leading disciple of the renowned Pandit Sharda Sahai, he is highly sought-after as both performer and educator. Based in Montréal, Mativetsky teaches at McGill University and is deeply committed to promoting the tabla through lectures, workshops, and performances across Canada and internationally. Rooted in the Benares style of tabla playing, his solo tabla album, Rivers, showcases his deep connection to tradition, while his latest project, Temporal Waves, transports the tabla into electronic music territory. He is also the author of Rudimentaal, a book of snare drum compositions inspired by the tabla drumming of North India. As a practitioner of Indian classical music, Mativetsky regularly gives solo tabla performances, as well as accompanying kathak dance and instrumental artists. Mativetsky has appeared as a featured soloist with numerous orchestras across Canada and has performed at prestigious festivals and venues worldwide. As an ensemble musician, Mativetsky performs with trio Mativetsky, Amiri & Pagé, violinist Parmela Attariwala's cross-cultural Attar Project, the improv trio Of Sound, Mind and Body, with Tim Brady and Helmut Lipsky, and percussion group Ensemble Duniya.

Founded in June 2019 by Rameez Karim, Veils of Bollywood (VOB) is a Montréal-based dance company specializing in Bollywood, Indian classical, and Indian folk dances. Through performances, workshops, and cultural mediation initiatives, VOB's mission is to bring Indian dance into non-traditional spaces, and to celebrate cultural diversity while encouraging audiences to question stereotypes and conventional representations of Bollywood dance and cinema. In 2021, VOB received funding from the Conseil des Arts de Montréal through the Quand l'art prend l'air program, to present MANDALA, a series of site-specific performances in Dorval, Montréal West, and Côte-des-Neiges to make dance more accessible to the public. VOB gained national recognition as the first Indian dance group to compete on TVA's Révolution, introducing Bollywood dance to millions of viewers across Quebec. Veils of Bollywood has performed at major festivals including Tempéo (Place des Arts), Holi Festival, Festival Orientalys, Diwali Colors of Light (Eaton Center MTL), and Fierté Montréal, while also touring to cities across Canada and the United States. Veils of Bollywood launched its second branch in Calgary in 2025 to expand the scope of its work and continue dazzling audiences. By using movement as a tool for cultural exchange and community engagement, Veils of Bollywood seeks to educate, inspire, and foster meaningful dialogue, creating spaces where diverse communities connect through the universal language of dance. This year, Veils of Bollywood launched TandavX Academy of Dance to provide a hub of dance experiences for all levels with a focus on training the next generation of performing artists.

46 PRELUDE

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Help Build Calgary's Creative Future. Whether it's at the concert hall, the theatre, an art gallery, or any of the many places where creativity flourishes and is embraced in this city, the arts are a large part of what makes Calgary a great place to live. In all its forms, the arts bring us together, attract people, talent, and investment, and create vibrant communities where people are proud to live.

Across Canada, people are taking notice of Calgary's growing arts scene. That success reflects years of investment, vision, and a shared commitment to building a stronger city. Now is the time to keep that momentum going. This November, City Council will decide Calgary's next budget. Add your voice through Creative Calgary's easy online letter-writing campaign. The letter is ready to send with just your name and address, or you can personalize it if you wish. Let City Council know you support continued investment in the arts because investing in the arts is investing in a stronger Calgary.

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Suite + Selections from Naïs Jean Philippe Rameau

Baroque at Bella with Nicholas McGegan

23 October 7:30PM Bella Concert Hall

B. 1683 / DIJON, FRANCE D. 1764 / PARIS, FRANCE

Co-presented with Early Music Voices

Like Handel's Royal Fireworks Music, Jean-Philippe Rameau's opera Naïs was commissioned to celebrate the end of the War of the Austrian Succession. Fought between European powers (including France and Britain on opposite sides, naturally), the conflict had been ended with the Treaty of Aix-la-Chapelle in 1748. Accordingly, Naïs (subtitled "Opéra pour La Paix") was performed on 22 April 1749 complete with stage machinery, sumptuous sets, plenty of dance, and spectacular special effects. Rameau didn't start his operatic career until he was around 50, though by Naïs' premiere he had established himself as one of the leading French composers of opera, picking up the baton from Jean-Baptiste Lully and igniting controversy after controversy with his creations. He composed in the many operatic genres of the time, penning brilliant opéra-ballets, actes de ballets, comédies lyriques, tragédies en musique, and pastorales héroïques. Naïs is a pastorale héroïque, which is characterized by its three acts (accompanied by a prologue), its bucolic setting, and by characters and themes taken from classical Greco-Roman mythology. The plot sees the god Neptune disguising himself as a mortal to pursue his love for the nymph Naïs. A grand battle between Titans and the god Jupiter kicks off the prologue, with the triumphant Jupiter representing Louis XV, King of France. The librettist was Louis de Cahusac, a frequent Rameau collaborator (a rarity, as Rameau was known to be difficult and eccentric, and often changed librettists) who also may have had a hand in designing and constructing the stage machinery.

Nicholas McGegan, conductor Early Music Voices Calgary Philharmonic Chorus Calgary Philharmonic Orchestra Jean Philippe Rameau

Suite + Selections from Naïs

25'

Johann Sebastian Bach

Was Gott tut, das ist wohlgetan, BWV 99 I. Chorus: Was Gott tut, das ist wohlgetan II. Recit: Sein Wort der Wahrheit stehet fest III. Aria: Erschüttre dich nur nicht, verzagte Seele IV. Recit: Nun, der von Ewigkeit geschloß'ne Bund V. Aria (duet): Wenn des Kreuzes Bitterkeiten VI. Chorus: Was Gott tut, das ist wohlgetan

17'

Royal Fireworks Music, HWV 351 I. Overture II. Bourrée III. La Paix IV. La Réjouissance V. Menuets I & II

19'

George Frideric Handel

THIS CONCERT HAS NO INTERMISSION. PROGRAM AND ARTISTS SUBJECT TO CHANGE WITHOUT NOTICE. 50 PRELUDE

Was Gott tut, das ist wohlgetan, BWV 99 Johann Sebastian Bach B. 1685 / EISENACH, GERMANY D. 1750 / LEIPZIG, GERMANY In 1723, Johann Sebastian Bach moved his family from Köthen to Leipzig, leaving behind his position as director of music for Prince Leopold of Anhalt-Köthen, who had employed him since 1717. He had been elected as Thomaskantor (choir leader and director of music of the St. Thomas Choir of Leipzig), a position that he would hold until his death in 1750. Here, the German

Royal Fireworks Music, HWV 351 George Frideric Handel B. 1685 / HALLE, GERMANY D. 1759 / LONDON, UNITED KINGDOM In London, King George II was also planning a lavish event to celebrate the Treaty of Aix-la-Chapelle. This agreement had been primarily negotiated between Britain and France, with the other parties largely excluded from the talks. The celebration was set to take place in Green Park. George Frideric Handel would provide the music; there would be grand fireworks and cannons; a colossal wooden "Temple of Peace" was to be erected by French-Italian architect and theatrical designer Giovanni Niccolò Servandoni to house the fireworks. The King had declared that he didn't want any "fidles" in the "martial musick"; Handel would have to do with "martial instruments" only (wind instruments and percussion). Handel grudgingly complied, but nothing prevented him from adding strings to Royal Fireworks Music for later performances — which he promptly did. That is the version we have today. Royal Fireworks Music was performed in Green Park on 27 April 1749, a few days after the performance of Rameau's Naïs in France. The celebration drew an enormous crowd (as did its rehearsal a few days before in Vauxhall Gardens, causing a three-hour traffic jam on London Bridge). The pyrotechnics display didn't go as smoothly as planned, with stray fireworks, injuries, and an inevitable fire in one wing of the "Temple of Peace." Perhaps this was fitting: peace would soon be interrupted again in 1756 by The Seven Years' War.

composer would write many of his over 200 extant cantatas. His Leipzig church cantatas were composed over five annual cycles; his Cantata No. 99, titled Was Gott tut, das ist wohlgetan (translated as "What God does is well done"), belongs to the second cycle, which is referred to as his chorale cantata cycle (a chorale being a hymn historically originating in the Lutheran tradition). Cantata No. 99 is one of a number that Bach composed based on a hymn written in 1675 by Samuel Rodigast, who is thought to have penned it to comfort Severus Gastorius, a friend who had taken ill. Gastorius then composed the melody (for his own funeral, some say). Happily, he recovered. Was Gott tut, das ist wohlgetan was first performed on 17 September 1724, the fifteenth Sunday after Trinity Sunday; the church cantatas were written to mark occasions in the liturgical calendar.

NICHOLAS MCGEGAN CONDUCTOR

EARLY MUSIC VOICES CO-PRESENTER

An "expert in 18th-century style" (The New Yorker), Nicholas McGegan is in his sixth decade on the podium. Following a 34-year tenure as Music Director of Philharmonia Baroque Orchestra & Chorale, he is now Music Director Emeritus. He is also Principal Guest Conductor of Hungary's Capella Savaria. McGegan's approach — intelligent, infused with joy, and never dogmatic — has led to engagements with many of the world's major orchestras, including those of Cleveland, Chicago, Los Angeles, New York, Philadelphia, San Francisco, Hong Kong, Sydney, London's Royal Opera House, and the Royal Concertgebouw; regular collaborations with choreographer Mark Morris; and appearances at the BBC Proms and the Edinburgh International Festival. His extensive discography includes more than 100 releases spanning five decades, including more than 40 with Philharmonia Baroque Orchestra and Chorale, and more than 20 with Capella Savaria. McGegan's recordings have garnered two Gramophone Awards and two GRAMMY nominations. He was made an Officer of the Most Excellent Order of the British Empire (OBE) "for services to music overseas." McGegan is committed to the next generation of musicians, frequently conducting and coaching students in regular engagements at Yale, Juilliard, Harvard, the Colburn School, Aspen Music Festival, and more.

The Early Music Voices Concert Series was founded in 1999 by Julie Harris on her return to Calgary after studying music in Toronto and the Netherlands. Early Music Voices is a concert presenter, rather than a particular group of performers. Over the years, the series has developed from a presenter of various small-scale local-only shows into a well-respected venue for early music in Canada. Today EMV fields requests from agents and early music artists around the world. Over the years, the series has hosted ensembles from all over Europe, the U.K., the U.S., and across Canada, with an increasing variety of artistic offerings as "early music" continues to be defined by the artists who create it. Local productions now include larger projects with local singers and Alberta's own baroque orchestra, Rosa Barocca. As well as presenting visiting artists on its own, Early Music Voices collaborates with other presenting organizations such as Calgary Pro Musica, the UCalgary concert series', and this past summer, Honens. For this current Baroque at the Bella project, we have gathered together professional singers in the Calgary community who have years of experience interpreting Baroque music and combined them with members of the wonderful Calgary Philharmonic Chorus. EMV is grateful for this opportunity to work together with the Calgary Phil to help create this very special project.

Performing with the Orchestra: Hannah Pagenkopf, soprano Aoife Bonaventura, alto Jason Ragan, tenor Nicholas Allen, bass

FALL 2026 51

52 PRELUDE

THE NAOMI + JOHN LACEY VIRTUOSO PROGRAM

ANGELA CHENG, PIANO

STEWART GOODYEAR, PIANO

BYRON STRIPLING, TRUMPET

AISSLINN NOSKY, CONDUCTOR + VIOLIN

ANGÉLIQUE KIDJO, VOCALS

Your Calgary Phil is thrilled to welcome these guest artists to perform with the Orchestra in the 2026/2027 Season thanks to the generous support of The Naomi + John Lacey Virtuoso Program.

INON BARNATAN, PIANO

To support this program, visit calgaryphil.com/virtuoso

COMMUNITY FEATURE

A Magnificent Milestone for AUArts

Celebrating the centennial of a Calgary cultural cornerstone BY SHELLEY BOETTCHER

54 PRELUDE

his year marks 100 years of post-secondary art, craft, and design education in Calgary, as the Alberta University of the Arts (AUArts) celebrates its centennial.

An integral and thriving part of the city's arts and creative scene, the Calgary-based university has played a major role in the lives of artists and creatives across the city and beyond. More than 14,000 people have attended the school. Alumni go on to diverse and exciting careers in creative industries around the world. "AUArts is a unique institution — the only one of it's kind in Alberta and across the prairies — with a century of impact as a leader in high-quality arts education" says Jessica O'Connell, AUArts Executive Director, External Relations. "We believe in keeping creativity at the forefront of innovation and education." One of only four dedicated design, art, and craft universities in Canada, AUArts started in 1926 as the art department within the institution that is now the Southern Alberta Institute of Technology (SAIT). In 1961, it adopted the name Alberta College of Art (ACA); in 1973, it moved into its current location, with purpose-built facilities; in 1985, ACA formally separated from SAIT to become an independent public college; in 1995, it became the Alberta College of Art and Design (ACAD), receiving accreditation to offer bachelor's degrees; and in 2019, the college officially became Alberta University of the Arts. The development of new degree programs continued as the institution evolved, with the Bachelor of Design launching in 2000, followed by the Master of Fine Arts degree with a focus on disciplines such as fibre arts, glass, jewelry, and ceramics.

"AUArts is the only institution in Canada that offers a graduate-level degree program in craft media," O'Connell says of the program. Earlier this year, the school announced their third undergraduate degree, the Bachelor of Creative Industries. This new program complements the Bachelor of Fine Arts and Bachelor of Design, offering students hands-on studio learning in addition to work experience, creating transferrable and marketable skills applicable to positions such as creative director, digital strategy consultant, brand strategist, curator, and more.

and former faculty Chris Cran (who was recently appointed to the Order of Canada), as well as abstract art pioneer Katie Ohe, artist and filmmaker Geoff McFetridge, sculptor and multimedia artist Jeff de Boer, the late painter Alex Janvier, to name just a few. Alumni Elaine Cameron-Weir has been exhibiting her sculpture and installation work globally for more than a decade. Currently living in New York City, she has a solo exhibition opening this fall at the Illingworth Kerr Gallery at AUArts. AUArts is celebrating its 100th year throughout 2026 with special events and initiatives to engage alumni, students and community. The alumni visual directory, for instance, is a dedicated website for AUArts alumni to showcase career highlights and build contacts with others. "The new directory is a place for our alumni to share their accomplishments, promote their practice and to reconnect with fellow grads," O'Connell says. The school's centennial is also an opportunity to prepare for its future. Centennial Scholarships is a student award initiative, designed as a collective endowment. "Centennial Scholarships is about the future of arts education, supporting the next generation of emerging creatives ," says O'Connell. "It removes barriers and creates opportunities for student success." There are also various collaborations upcoming and underway now with other arts organizations across the city, including cSPACE Marda Loop, Alberta Craft Council, Contemporary Calgary, LEVIS Fine Art Auctions and Appraisals, as well as the Southern Alberta Jubilee Auditorium. These collaborations include students, alumni, and community.

"This new degree is designed to support entrepreneurial and innovative skill building alongside learning in studio across disciplines," says O'Connell. "It is about supporting individuals to be prepared for, to adjust and thrive in today's economy."

For instance, throughout 2026, Contemporary Calgary is offering free memberships to all current AUArts students. cSPACE Marda Loop is featuring art from the AUArts community across their gallery spaces throughout the month of September.

Throughout the years, AUArts has seen many of its students achieve major international accolades. Grammy Awardwinning singer-songwriter Joni Mitchell was a student at the school briefly in the early 1960s, and there is a lengthy list of outstanding alumni including AUArts board chair, multidisciplinary artist Adrian Stimson, board member

"And on 1 October, we will culminate our centennial year in an event on campus, bringing our community, alumni, and supporters together to celebrate where we have been and where we are going," O'Connell says. "The event, and centennial, are about celebrating the people who have a connection to AUArts and engaging for a future of creativity."

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30 October

Clara Gabriela Ortiz

Schumann, Strings + Soundscapes

7:30PM Jack Singer Concert Hall

B. 1964 / MEXICO CITY, MEXICO Premiered by the New York Philharmonic in 2022, Gabriela Ortiz's Clara delves into the legacy of married composers Clara Wieck Schumann and Robert Schumann. In the central part of the work... I seek two objectives: first, to bring Clara and Robert into my own world, one of a rhythmic strength and color characteristic of my language, of the unique vitality born out of the entrails of the land I come from; and second, to explore a quote considered to be very controversial, in which Clara wrote: "I once believed that I possessed creative talent, but I have given up this idea; a woman must not desire to compose —there has never yet been one able to do it. Should I expect to be the one?" This piece represents an acknowledgement of Clara, a tribute to her, and my definitive, resounding response to her question. It also signals my gratitude to all the women who, in their time, challenged the society they were raised in by manifesting their artistic oeuvre. © GABRIELA ORTIZ

Cello Concerto in D Minor Édouard Lalo B. 1823 / LILLE, FRANCE D. 1892 / PARIS, FRANCE

Concert Supporters: The Hayes Family Michelle Di Russo, conductor Santiago Cañon-Valencia, cello Calgary Philharmonic Orchestra Gabriela Ortiz

Clara 1. Clara 2. Robert 3. My response 4. Robert's subconcious 5. Always Clara

18'

Édouard Lalo

Cello Concerto in D Minor I. Prélude: Lento — Allegro maestoso II. Intermezzo: Andantino con moto — Allegro presto III. Introduction: Andante — Allegro vivace

26'

Robert Schumann

Symphony No. 4 in D Minor, Op. 120 I. Ziemlich langsam — Lebhaft II. Romanze: Ziemlich langsam III. Scherzo: Lebhaft IV. Langsam — Lebhaft

28'

THIS CONCERT HAS NO INTERMISSION. PROGRAM AND ARTISTS SUBJECT TO CHANGE WITHOUT NOTICE. 56 PRELUDE

Édouard Lalo's father had planned for him to become a military man. A former officer under Napoleon, he had allowed a young Édouard to study violin at the conservatory in their hometown of Lille, but any serious pursuit of music was out of the question. So, in 1839, at 16, Lalo ran away to Paris. There he studied violin and took private classes in composition, studying the works of Robert Schumann and Ludwig van Beethoven with careful attention. It wasn't an easy beginning. Without the support and resources of his parents — he had left home without any money — Lalo had to earn his own living, which he did as a violinist and as a teacher. Success with his compositions didn't come till later in his career, with the appearance of his best-known work, Symphonie espagnole, in 1875. In 1876, he composed his Cello Concerto in D Minor, which he dedicated to the cellist Adolphe Fischer. Fischer would be the soloist at the concerto's premiere in 1877 and later performed it in Vienna and Leipzig. Though sometimes overlooked in

B. 1810 / ZWICKAU, GERMANY D. 1856 / BONN, GERMANY Robert Schumann's Fourth Symphony was, in fact, the second that he had written. He composed an early version in 1841, during a productive and joyful period following his marriage to Clara Wieck, whose father had been Schumann's piano teacher. Herr Wieck had not approved of their relationship and refused to let his daughter marry. Robert was nearly a decade older than Clara, who was also a brilliant pianist and composer. Prone to drinking, he also had, as he noted in his diary, contracted and "recovered" from syphilis at 21 years of age. Her father believed that, in getting married, Clara would have to give up her budding career as a musician. But the couple were in love and, after a series of lawsuits, managed to bypass Herr Wieck's permission and tie the knot in 1840. The 1841 premiere wasn't the success that Schumann had hoped for. Comparing the reception with that of his first symphony, which had also premiered that year, Schumann was disappointed. He decided to put the symphony aside; he wouldn't return to it until 1851. The revised work appeared as Symphony No. 4 in D Minor in 1853 and was well received at its premiere. It counted amongst some of Schumann's final joys. In February 1854, as the auditory hallucinations that had been plaguing him reached their peak, he attempted suicide by jumping into the Rhine. Some listeners of Symphony No. 4 have noted the presence of the "Clara theme" (a series of notes based on his beloved wife's first name) in the opening and peppered throughout the entire work. This is a theme originally conceived by Clara herself in her early composition Romance varié. Schumann enthusiasts see Robert responding with this motif throughout his work.

Symphony No. 4 in D Minor, Op. 120 Robert Schumann

favour of the more famous cello concertos of Schumann, Antonín Dvořák, or Edward Elgar, Lalo's Cello Concerto in D Minor has its own charms: lyrical and evocative, its elegant beauty is a fine example of Romantic sensibilities with a Spanish twist. The French composer was of Spanish descent; though a German character can also be heard in his musical style — he was criticized by some of being too "Wagnerian"— some of his work bears this Spanish influence. Symphonie espagnole is an obvious example of this, but listeners will also hear it in his Cello Concerto, notably in the third movement where, after an introspective solo, lively Spanish rhythms burst forth in all their warm colour.

MICHELLE DI RUSSO CONDUCTOR

SANTIAGO CAÑON-VALENCIA CELLO

A graceful yet powerful force on the podium, Argentinian-Italian conductor Michelle Di Russo is known for her compelling interpretations, passionate musicality, and championing of contemporary music. Di Russo is thrilled to have been named Music Director of the Delaware Symphony, being the sixth music director in its 119-year history and to begin her tenure in the 2025/2026 season. Di Russo was appointed Associate Conductor of the Fort Worth Symphony by Robert Spano in 2024 and is a two-time recipient of the Solti Foundation U.S. Career Assistance Award. She has held several conducting fellowships at prestigious institutions including being a Dudamel Fellow with LA Philharmonic, a mentee of the Taki Alsop Fellowship and a conducting fellow of the Verbier Festival, the Chicago Sinfonietta, and The Dallas Opera Hart Institute. This season's highlights include guest conducting engagements with the Knoxville Symphony, Colorado Springs Philharmonic, Fort Worth Symphony, and a return to The Dallas Opera Hart Institute. She will also be the assistant conductor for Aida with Washington National Opera and will be returning to cover for Gustavo Dudamel and the LA Phil. Di Russo has guest conducted LA Phil, San Diego Symphony, Vermont Symphony, Portland Symphony, Calgary Philharmonic, and worked as cover conductor for the National Symphony, St. Louis Symphony, Minnesota Orchestra, LA Phil, and NY Phil. She has held positions as Associate Conductor with North Carolina Symphony assisting Carlos Miguel Prieto, Interim Director of Orchestras at Cornell University, and is conducting fellow alumni of the Cabrillo Festival of Contemporary Music, and a Joel Revzen fellow of the Napa Valley Festival.

Colombian cellist Santiago CañónValencia is a prolific soloist, composer, commissioner, recording artist, painter, and photographer described as "technically flawless… totally under the skin of the composers' idioms" (The Strad). He was named a BBC New Generation Artist in 2022. Born in Bogotá in 1995, Cañón-Valencia made his orchestral debut as a soloist with the Orquesta Filarmónica de Bogotá at age six, blossoming into an accomplished musician praised as "an artist from whom sound and texture flow with ease and authenticity" (The Whole Note) and a "virtuoso of outstanding versatility and technical ease" (The Violin Channel). His many accolades include Silver Medalist and Audience Favorite at the 2019 XVI International Tchaikovsky Competition; recipient of the 2018 Starker Foundation Award; Third Prize honoree at the 2017 Queen Elisabeth International Competition; and First Prize winner at the Carlos Prieto International Cello Competition and Beijing International Music Competition, among many others. His solo career has taken him around the world to perform with such orchestras as the SWR Symphonieorchester, BBC Symphony Orchestra, Brussels Philharmonic, Frankfurt Radio Orchestra, Saint Petersburg Philharmonic Orchestra, Seoul Philharmonic Orchestra, as well as all the major orchestras in his native Colombia. As a recording artist, he enjoys immersing himself in known and unknown works, particularly in commissioning new pieces. In 2024, he released his debut single on Deutsche Grammophon, a recording of Arvo Pärt's Fratres with pianist Naoko Sonoda, as part of the label's Musical Moments series. His latest complete album, Ascenso, was released in November 2022 on Sono Luminus, showcases pieces arranged and written by himself, plus works commissioned and written for him by contemporary Colombian composers.

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6 + 7 November 7:30PM Jack Singer Concert Hall

Fratres Arvo Pärt

Tchaikovsky's Sixth: The Final Symphony

B. 1935 / JÄRVA COUNTY, ESTONIA Fratres (Latin for "Brothers") was composed in 1977 and belongs to the many works (Für Alina, Cantus, Tabula Rasa etc.) that were created explosively after recognising the principles of tintinnabuli music. Structurally, Fratres consists of a set of variations separated by recurring percussion motifs (in the case of instrument settings without percussion, the drum-like sound is imitated). Throughout the composition we can hear a recurrent theme that starts each time in a different octave. We can clearly recognise three voices: two melodic lines mainly moving stepwise and the central tintinnabuli voice moving on the notes of a minor triad. Today, the catalogue of Pärt's works includes numerous versions of both Fratres for very different instrument combinations. Fratres for string orchestra and percussion was composed in 1983 and revised in 1991. © ARVO PÄRT CENTRE

Dona Nobis Pacem Ralph Vaughan Williams B. 1872 / DOWN AMPNEY, ENGLAND D. 1958 / LONDON, ENGLAND Concert Sponsor: Nicola Wealth Karen Kamensek, conductor (biography on page 11) Sydney Baedke, soprano Søren Pedersen, baritone Calgary Philharmonic Chorus Calgary Philharmonic Orchestra Arvo Pärt

Fratres

12'

Ralph Vaughan Williams

Dona Nobis Pacem I. Agnus Dei II. Beat! Beat! Drums! III. Reconciliation IV. Dirge for Two Veterans V. The Angel of Death VI. O Man Greatly Beloved

36'

INTERMISSION Pyotr Ilyich Tchaikovsky

20' Symphony No. 6 in B Minor, Op. 74 I. Adagio — Allegro non troppo II. Allegro con grazia III. Allegro molto vivace IV. Finale: Adagio lamentoso

PROGRAM AND ARTISTS SUBJECT TO CHANGE WITHOUT NOTICE. 58 PRELUDE

46'

It was 1936, and Ralph Vaughan Williams feared that war might be coming again to Europe. The signs were there: civil war had broken out in Spain; Hitler had violated international agreements by bringing his troops into the Rhineland; Mussolini had earned sanctions on Italy by invading Ethiopia. When he received a commission that year to write a piece celebrating the Huddersfield Choral Society's centenary, the English composer saw a chance to put his doubts, fears, and hopes to music. He composed Dona Nobis Pacem, a cantata in six movements that draws from a range of texts — liturgical, poetic, biblical, political — to make its cry for peace. Like many composers, writers, and artists active in the early 20th century, including Maurice Ravel, with whom he corresponded while in the field, Vaughan Williams had served in the army during World War I and witnessed the horrors of combat firsthand. Already over 40 years old when enlistment began and flatfooted (considered a disqualifying condition) he was made a "wagon orderly," also known as a stretcher bearer. He served in France and Greece, bringing back the wounded from the front lines under the cover

Symphony No. 6 in B Minor, Op. 74 Pyotr Ilyich Tchaikovsky B. 1840 / VOTKINSK, RUSSIA D. 1893 / SAINT PETERSBURG, RUSSIA In February 1893, Pyotr Ilyich Tchaikovsky wrote to his nephew Vladimir "Bob" Davydov that he was working on a symphony with "a programme that will be a riddle to everyone." He was referring to Symphony No. 6, one of the great Russian composer's final works. He died nine days after its October 1893 premiere in Saint Petersburg, behind an enigma that remains unraveled to this day. Rumours began shortly after his death that the symphony might have been a sort of requiem, written to mourn himself; some went as far as to call it a "suicide note." The mystery is compounded by the details of Tchaikovsky's death, attributed to cholera contracted from drinking unboiled water. Some have speculated that he was poisoned, or that he had intentionally contracted the deadly disease. One eyewitness account relates how, at a restaurant, Tchaikovsky, ignoring protests by dining partners, ordered a glass of water (the waiter had warned that they did not have any boiled) and rushed to down it before his brother Modest could stop him. Symphony No. 6 is dedicated to his nephew "Bob," who provides us with another puzzle developed in their correspondence. Referring to him as his "idol," Tchaikovsky frequently gave expression to his adoration and yearning for the company of the young man: "even greater than my joy at beholding you with my own eyes is my suffering when I'm without you." All "riddles" aside, Tchaikovsky left us with an innovative masterpiece charged with passion and emotion. Its unorthodox finale surprises the listener (who might wrongly guess that the jubilant last notes of the third movement bring the symphony to a close) with a slow, heartbreaking lament that builds to its climax, only to fade out and gently dissolve into silence.

of night. Later, he was an artillery officer; the constant noise of heavy gunfire contributed to the hearing loss and eventual deafness of his later years. Dona Nobis Pacem opens with the soprano, then choir, intoning in Latin a text that translates as: "Lamb of God, you take away the sins of the world, grant us peace." At the work's centre are three poems by Walt Whitman, one of which Vaughan Williams had set to music prior to the First World War ("Dirge for Two Veterans," which appears here as the fourth movement). These poems reflect on the heavy price of the American Civil War, evoking imagery that is both terrifying and elegiac.

SYDNEY BAEDKE SOPRANO

SØREN PEDERSEN BARITONE

Recognized as a "vocal powerhouse" (Schmopera), Alberta-born soprano Sydney Baedke's recent career highlights include a "well projected, vocally pure, and moving" (Opera Magazine) Contessa Almaviva in Pacific Opera Victoria's Le Nozze di Figaro, her European debut as Gertrudis in the German premiere of Reznicek's Till Eulenspiegel (Theater für Niedersachsen), and her Royal Opera House debut as the Female Chorus in Britten's The Rape of Lucretia. A 2026 Lieutenant Governor of Alberta Arts Award and International Opera Awards Foundation Bursary recipient, Baedke's year included her "luxuriously lyric" debut (La Presse) as Liù in Turandot (Orchestre Philharmonique et Choeur des Mélomanes), Countess for Opera Kelowna's Figaro, and Giulietta in Les Contes d'Hoffmann, which she adds to performances as Olympia (Aspen Music Festival) and Antonia (Santa Fe Opera) to complete all three Hoffmann heroines. Upcoming, she makes role and company debuts as Pamina in Die Zauberflöte (Edmonton Opera) and Tzeitel in Fiddler on the Roof (Detroit Opera). Baedke frequently appears on concert stages across Canada, including with the symphonies of Hamilton, Windsor, and Thunder Bay, as well as Montréal's Ensemble Caprice, the Brott Music Festival, and Orchestre Classique de Montréal. Through these engagements, Handel's Messiah and Beethoven's Symphony No. 9 have become staples of her repertoire. This season, she returns to Orchestre Philharmonique et Choeur des Mélomanes for Rachmaninoff's The Bells, and the Calgary Philharmonic for Vaughn-Williams' Dona Nobis Pacem, after her 2024 debut in Bruckner's Te Deum. Recital engagements include performances with the Rockport Chamber Music Festival, Carnegie Hall, and the Aldeburgh Festival, where she premiered a recently discovered work of Benjamin Britten.

Praised for his "outstanding vocal technique and plush, luxuriant sound" (Cincinnati Classical Concert Review), Canadian-American baritone Søren Pedersen is gaining recognition for his work on operatic and concert stages across North America. Recent engagements include Marcello in La Bohème with Opera à la Carte in San Diego and appearances with Cincinnati Opera's Opera Fusion: New Works, where he workshopped the roles of Abbot Cuno in Snider's Hildegard and Court Poet in Greg Spears' Sleepers Awake, a role he will cover with Opera Philadelphia this season. On the concert stage, Pedersen has appeared in Handel's Messiah, Schubert's Mass in G, and Bach's St. John and St. Matthew Passions. Pedersen has participated in several prestigious young artist and summer programs, including Wolf Trap Opera, where he performed in Dialogues des Carmélites and Carmen and will return to sing Sciarrone in Tosca while covering the title role in Eugene Onegin. He has also appeared at the Chautauqua Opera Conservatory, performing L'horloge and Le Chat Noir in L'enfant et les sortilèges. A prizewinner in several competitions, Pedersen won the Idaho and San Diego Districts of the Metropolitan Opera Laffont Competition (2026/2024), placed third in the Canadian Opera Company's Centre Stage Ensemble Competition (2025), and received prizes from the Musical Merit Foundation and the University of Cincinnati College-Conservatory of Music's Corbett Competition. Pedersen is currently pursuing an Artist Diploma at the University of Cincinnati CollegeConservatory of Music, where his recent roles include Tarquinius (The Rape of Lucretia), Dr. Rappaccini (La Hija de Rappaccini), Demetrius (A Midsummer Night's Dream), and Le Mari (Les Mamelles de Tirésias). He holds undergraduate degrees in music and psychology from Point Loma Nazarene University.

FALL 2026 59

13 + 14 November 7:30PM Jack Singer Concert Hall

The Billy Joel Songbook with Tony DeSare

about the music No. 1

Piano Man was inspired by Billy Joel's reallife experiences performing as a lounge musician under the name 'Bill Martin' at the Executive Room bar in Los Angeles from 1972 to 1973. All the characters, from the bartender, the waitress, businessmen, and bar regulars, were based on real people.

No. 2

The Stranger, the titular song from the certified multi-Platinum album opens with a whistle. This was performed by Joel himself who was demonstrating the accompaniment he wanted by a woodwind instrument. Ultimately, he was convinced by producer Phil Ramone that the whistle perfectly encompassed the tone of The Stranger. The song has since been sampled by artists such as Snoop Dogg, Xzibit, Daft Punk, and more.

No. 3

Once considered a deep cut off the B-side of The Stranger, Vienna has continued to resonate with new audiences in the nearly five decades since its release. This is due in part to the song's use in the 2004 rom-com 13 Going on 30 as well as on social media. With 1.09 billion Spotify streams, it's currently Joel's third most-streamed song behind Uptown Girl and Piano Man.

No. 4

Even though Scenes from an Italian Restaurant is one of Joel's most beloved and instantly recognizable songs, it was never actually released as a single. Possibly due to it being Joel's longest song at seven minutes and 30 seconds. Joel has cited the 16-minute medley on side two of the Beatles' Abbey Road as an influence for his slice-of-New-York-life mini epic. Concert Supporters: Dominique + Réal Doucet Juliane Gallant, conductor (biography on page 22) Tony DeSare, piano + vocals Calgary Philharmonic Orchestra Get in a New York State of Mind in this can't-miss celebration of the iconic songs of Billy Joel! The debonair Tony DeSare joins the Orchestra as they perform unique takes on some of the Piano Man's most beloved hits, including Uptown Girl, Don't Ask Me Why, The Stranger, She's Always a Woman, and many more. THIS CONCERT IS APPROXIMATELY 2 HOURS INCLUDING A 20-MINUTE INTERMISSION. PROGRAM AND ARTISTS SUBJECT TO CHANGE WITHOUT NOTICE. 60 PRELUDE

No. 5

1983's Uptown Girl is sung from the point-ofview of a "downtown man" hoping to woo a gal from the upper class. The music video shows Joel dressed as a mechanic with future wife Christie Brinkley in the role of the Uptown Girl. The irony behind the track is the inspiration came to Joel in a less than salt-of-the-earth setting: playing piano in St. Barts surrounded by supermodels Christie Brinkley, Elle MacPherson, whom he also dated, and superstar Whitney Houston.

Book your test drive today.

TONY DESARE PIANO + VOCALS Tony DeSare performs with infectious joy, wry playfulness, and robust musicality. Named a "Rising Star Male Vocalist" in DownBeat magazine, DeSare has garnered critical and popular acclaim for his concert performances throughout North America and abroad. From jazz clubs to Carnegie Hall to Las Vegas headlining with Don Rickles and major symphony orchestras, DeSare has brought his fresh take on oldschool class around the globe. DeSare has four top ten Billboard jazz albums and has been featured on the CBS Early Show, NPR, A Prairie Home Companion, and The Today Show. His music has been posted by social media celebrity juggernaut, George Takei, and DeSare has also collaborated with YouTube icons Postmodern Jukebox. DeSare can be seen on Hulu's Godfather of Harlem performing the Sinatra classic That's Life. He is an accomplished and award-winning composer. He not only won first place in the USA Songwriting Contest but has written the theme song for the motion picture, My Date With Drew, several broadcast commercials, and has composed the full soundtracks for the Hallmark Channel's Love Always, Santa, and Lifetime's A Welcome Home Christmas. DeSare's forthcoming appearances this season include The Cleveland Orchestra, Toronto Symphony Orchestra, Houston Symphony, Columbus Symphony, Seattle Symphony, The Phoenix Symphony, Grand Teton Music Festival, and Rockport Music. New recordings, originals, and videos of standards are released regularly on DeSare's YouTube channel, Apple Music, and Spotify. Follow Tony on Facebook, Instagram and subscribe on YouTube to stay connected. Tony DeSare is a Yamaha Artist.

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FALL 2026 61

TD Music_Calgary Philharmonic_Print Ad_En_2.25x4.3125.indd 2025-07-21 10:03:46 1 AM

20 + 21 November 7:30PM Jack Singer Concert Hall

Violin Concerto No. 5 in A Major, K. 219 (Turkish) Wolfgang Amadeus Mozart

Mozart + Mahler

B. 1756 / SALZBURG, AUSTRIA D. 1791 / VIENNA, AUSTRIA

Concert Sponsor: United Active Living Ramón Tebar, conductor Maria Ioudenitch, violin Calgary Philharmonic Orchestra Wolfgang Amadeus Mozart

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

INTERMISSION Gustav Mahler

20' Symphony No. 5 in C-sharp Minor PART 1 1. Trauermarsch 2. Stürmisch bewegt PART 2 3. Scherzo: Kräftig, nicht zu schnell PART 3 4. Adagietto 5. Rondo-Finale

PROGRAM AND ARTISTS SUBJECT TO CHANGE WITHOUT NOTICE. 62 PRELUDE

31'

68'

Wolfgang Amadeus Mozart began his relationship with the violin as a small child. He had a good teacher close at hand: his father Leopold was an accomplished violinist and composer and had even penned a famous violin textbook. In December 1775, the young Mozart, just shy of twenty, wrapped up work on the last of a series of five violin concertos. He had written all five very quickly — some say all in 1775, though others believe the first was composed in 1773; he wouldn't write another concerto for that instrument going forward, turning his attention instead to the piano concerto. This was during Mozart's time at the Salzburg court of Archbishop Hieronymus Colloredo, where his duties as Konzertmeister included playing the violin. Frustrated by his low salary and restrictions imposed by the Archbishop on travel, Mozart resigned in 1777. Accompanied by his mother, he embarked on an unsuccessful search for work that eventually landed him in Paris where, in the summer of 1778, his mother fell ill and died. Back in Salzburg, Leopold negotiated another post for his son, this time with a larger salary and, in accordance with Mozart's request to "not be kept to the violin" — he would "no longer be a fiddler" — and an assurance that he would be able to conduct from behind a keyboard. It didn't last long. In 1781 Mozart left the Archbishop's court definitively. Interestingly, after this time there are no reports of Mozart playing the violin. Violin Concerto No. 5 earned its nickname Turkish from the last movement, where the elegant dance of the minuet gives way to a sudden change in meter and tempo, shifting to A Minor — the so-called "Turkish" element.

Symphony No. 5 in C-sharp Minor Gustav Mahler B. 1860 / BOHEMIA (CZECH REPUBLIC) D. 1911 / VIENNA, AUSTRIA © ANDREJ GRILC

Symphony No. 5 marked a turning point for Gustav Mahler in both his life and his music. Begun not long after a period of convalescence and finished during the first joys of marriage, it charts an ascent, rising from a grim funeral march to the lyricism of love and the hope that follows. Mahler was no stranger to death. More than half of his many siblings died before reaching adulthood, including his beloved brother Ernst who died in his early teens. Mahler recalled that in this funereal atmosphere his sister Justine "would stick wax candles round the edge of her bed. Then she lay down, lit the candles, and all but persuaded herself that she was dead." In 1889 he lost his father, mother, and a sister, and took on financial responsibility for four of his siblings. Then, in 1901, Mahler had his own encounter with death. He had been working hard as both director of the Vienna Court Opera and subscription conductor for the Vienna Philharmonic Orchestra. On 24 February, after a performance around noon and another in the evening, he suffered a near-fatal hemorrhage. His sister Justine found him in a pool of blood. His doctor said he had barely skirted death (Mahler claimed he had lost 2.5 litres of blood) and ordered an operation and rest. It was a wake-up call for the composer. He rushed to check the score for his Fourth Symphony for errors (he found some); he even drafted his obituary: "Gustav Mahler had finally met the fate he deserved for his many misdeeds." Luckily, his recovery was quick. He installed himself in his newly built villa at Maiernigg in southern Austria, ideally placed between a forest and a lake. There, he soaked in the splendours of the region while re-reading the songs of Robert Schumann and immersing himself in Johann Sebastian Bach, marvelling at the works of the master: "I can't tell you how much Bach teaches me... my method of composing is innately 'Bachic!'" Here, he also began his Fifth Symphony. Mahler continued to work on Symphony No. 5 in Maiernigg the following summer, though this time he brought along his new wife, Alma Schindler. He had met the fellow composer and author in November 1901. When they arrived at Maiernigg, she was already pregnant with their first child. Mahler grouped his Fifth Symphony's five movements into three parts. The Adagietto in Part III, which is particularly beloved by listener, is thought to be a love song for Alma and is frequently performed on its own. It premiered 18 October 1904 in Cologne with Mahler as the conductor.

RAMÓN TEBAR CONDUCTOR

MARIA IOUDENITCH VIOLIN

Spanish conductor Ramón Tebar is currently Artistic and Music Director of Opera Naples in Florida and Artistic Director of Spain's Arantzazu Festival. He was previously Music Director of the Orquesta de Valencia, Palm Beach Symphony, and Santo Domingo Festival (Dominican Republic), Artistic Director of Florida Grand Opera, and Principal Guest Conductor of Valencia's Palau de les Arts Reina Sofía. In the 2026/2027 season he makes his Metropolitan Opera debut with La bohème, debuts at Staatsoper Stuttgart with La Cenerentola, and returns to the Ópera de Las Palmas de Gran Canaria for Lucia di Lammermoor. In concert, Tebar returns to the Cincinnati Symphony Orchestra, Calgary Philharmonic, Copenhagen Philharmonic, and Orchestra Sinfonica Siciliana. He also makes his debuts with the Orchestre national Montpellier Occitanie, Colorado Symphony, Orchestra del Teatro di San Carlo in Naples, Orchestra of the Finnish National Opera in Helsinki, and Colorado Springs Philharmonic. In summer 2026, Tebar made festival debuts at the Macerata Opera Festival with Carmina Burana and the Rossini Opera Festival conducting Stabat Mater. As a titled conductor Tebar has led productions of La traviata, Aida, Nabucco, and Don Carlo at the Palau de les Arts Reina Sofía, and Madama Butterfly, La bohème, Florencia en el Amazonas, Carmen, Un ballo in maschera, Il barbiere di Siviglia, Don Pasquale, Così fan tutte, Lucia di Lammermoor, La sonnambula, Thaïs, La rondine, and M. D. Levy's Mourning Becomes Electra at Florida Grand Opera. Tebar's work can also be heard on recordings with Joseph Calleja and the Orquestra de la Comunitat Valenciana on the DECCA label, with Gregory Kunde and the Orquesta Sinfónica de Navarra on UNIVERSAL, and on DVD in Verdi's Giovanna d'Arco for UNITEL.

Violinist Maria Ioudenitch attracted the attention of music lovers worldwide when she won first prizes at three international violin competitions in 2021 — the Ysaÿe, Tibor Varga, and Joseph Joachim Competitions — as well as numerous special prizes at these competitions, including Joachim's Chamber Music Prize, the prize for the best interpretation of a commissioned work, and the Henle Urtext Prize. In 2023, she won the Opus Klassik Chamber Music Recording of the Year for her debut album, Songbird, on Warner Classics. Highlights of the 2025/2026 season include debuts with the ORF Vienna Radio Symphony Orchestra under Marin Alsop, the Royal Danish Opera Orchestra under Marie Jacquot, the Stavanger Symphony Orchestra under Jan Willem de Vriend, and the George Enescu Philharmonic Orchestra under Dennis Russell Davies. She will tour Munich, Vienna, and Ljubljana with the Basel Symphony Orchestra and Markus Poschner. She has also accepted invitations from the Bochum Symphony Orchestra, the Nuremberg State Philharmonic, and the Vienna Chamber Orchestra, and returns to the Sofia Philharmonic Orchestra to perform Dvořák's Violin Concerto. Ioudenitch also performs extensively in the U.S. and Canada, including appearances this season with the Baltimore Symphony, Vancouver Symphony, and the North Carolina Symphony. Ioudenitch grew up in Kansas City and began playing violin at the age of three with Gregory Sandomirsky. She studied with Ben Sayevich at the International Center for Music in Kansas City, with Pamela Frank and Shmuel Ashkenasi at the Curtis Institute of Music, and with Miriam Fried at the New England Conservatory, before completing the Professional Studies Program at the Kronberg Academy with Christian Tetzlaff.

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Musician FEATURE

ON THE RECORD WITH

Jesse Morrison

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Calgary Phil violist releases solo album debut BY ZOLTAN VARADI PHOTO GREG MACKAY

xperiencing the Orchestra performing in full swing is truly a marvelous thing — seeing and hearing the many musicians attuned to the conductor and to one another, seemingly melding into a single harmonious entity. But perhaps because of how effortlessly this collective whole seems to snap into place upon the first note of a performance — actually the result of incredible discipline and countless hours of practice and rehearsal — it's easy to forget that the musicians on stage are all unique artists in their own right. Some compose; others lead or perform in smaller ensembles; many teach; and several have produced recordings. Calgary Phil violist Jesse Morrison is the latest Orchestra member to join the ranks of that lattermost category with his debut solo album, Transitions. Although available online for streaming or purchase since earlier this year, the physical release on CD is just arriving this fall — undoubtably a particularly gratifying occasion for Morrison, who describes himself as "quite a nerd" and "obsessive" when it comes to collecting and listening to albums. Given that, he says that he's long wanted to create something "momentous" himself as a solo artist. "I think there was always something that was in the back of my head of not just wanting to get better at my instrument but also wanting to present myself as someone who could really play," he explains. "Not so much that I wanted to do that for other people, but I wanted to be able to create something that felt like a representation of me and where I stand with what I do." In crafting this representation, Morrison chose to express himself through the music of György Kurtág (selections from Signs, Games, and Messages), Brett Dean (the debut recording of his Skizzen für Siegbert), and Georg Philipp Telemann (a viola transcription of the Baroque composer's Fantasia No. 1 in E Flat Major). Tying it all together is a new work, Partita for Solo Viola by composer Derek David, which Morrison commissioned specifically for the recording.

Challenges during the recording sessions extended beyond difficult musical passages. Rather than use a traditional studio, Morrison captured the music of Transitions at Inglewood's historic Lantern Church, which he first became familiar with after performing a Candlelight concert there as part of a string quartet (incidentally, the program consisted of music by Studio Ghibli composer Joe Hisaishi, who will be the focus of a Calgary Phil concert at the Jack Singer this coming January). "I was like, ‘wow, it sounds really good here for this instrument,'" Morrison recalls, adding that he did test runs at various churches, recording himself with his phone, to see which offered the richest resonance. Ultimately, he opted to return to the Lantern. "I felt really connected to the sound there." What Morrison hadn't accounted for, however, was the church's surroundings and location, i.e. beneath the flight path to the airport, with railroad tracks running behind the building, and a construction project next door for good measure. Already on a tight schedule, Morrison found himself having to record in intervals between bursts of noise. Perhaps easing the strain was the fact that creating Transitions was a family affair, as Morrison enlisted the help of his brother Glenn, an acclaimed DJ and producer with several JUNO nominations under his belt. In fact, Transitions is the first album recorded for Glenn Morrison's new classical musical label, Wolfe Records. "To be able to have my debut album released under his label means so much to me, and I've felt so supported and cared for under his wing," says Morrison. "Wolfe Records is also a label that my brother is wanting to build and have more artists such as myself release their music under, so I am very glad to be featured." Morrison adds that since the album's online release, he's also been moved by the support and feedback he's received from family and friends, though he admits to experiencing a feeling of vulnerability once the project became available in the digital ether. "It was very shocking how much I got struck with that feeling of it just being out there. It was kind of a different sensation for me as an artist... somebody who was not a recording artist before but now being one." Ultimately, though, Morrison achieved what he had set out to do in creating and sharing something all his own that demonstrates what he is capable of as a musician and artist. And what could be more "momentous" than that?

"I asked him for a work in the style of a Bach suite with contrasting dance movements, to include elements of Schumann's writing, and then, of course, Derek's own contemporary voice," says Morrison, sharing that as the piece evolved it began to take on new layers of meaning as Derek David's experiences with a friend who had been recently diagnosed with schizophrenia began to colour and shape the composition."

"I find that we as classical musicians can often tell ourselves that ‘we can't do that' or ‘I'm not ready for something that substantial,' because of fear of failure and scrutiny from our peers. While those feelings are very valid, it unfortunately means that we don't follow through on the things that might actually be something that we become very proud of down the road, much less grow exponentially from," he says. "I have learned so much more about myself and what I can do after seeing this project and all of its components."

"I think that's the hardest piece I've ever had to put under my fingers — and in my brain. So, it's quite something that I've managed to — for the first time ever — commission something that is devilishly difficult but also has so much meaning behind it."

Keep an eye out for Transitions and more releases by Calgary Phil musicians at the merch table in the lobby at all concerts in the Jack Singer Concert Hall.

FALL 2026 65

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WAYS TO GROW YOUR CALGARY PHIL

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Donors + Volunteers Leadership Giving The Calgary Philharmonic expresses its deep gratitude to the passionate and dedicated supporters whose significant lifetime giving to the Calgary Philharmonic Society and Calgary Philharmonic Foundation helps us achieve our vision. $10,000,000 and above Calgary Philharmonic Orchestra Foundation Department of Canadian Heritage Joyce + Dick Matthews $1,000,000–$9,999,999 Alberta Foundation for the Arts Calgary Arts Development Authority Canada Council for the Arts Irene + Walt DeBoni Ethelene + John Gareau Government of Canada Dr. John Lacey Morningside Music Bridge Foundation Drs. Ted + Lola Rozsa Mary Rozsa de Coquet Estate of Mario James Stella Taylor Family Foundation Honens Calgary Philharmonic Society Fund at Calgary Foundation One Anonymous Donor $500,000–$999,999 Estate of Marjory Barber Irene + William Bell Ellen + Allen Borak Marg + Paul Boëda Cenovus Energy Inc. CNOOC (formerly Nexen) Government of Alberta Carol + Frank Gray Liz + Tony Fricke Letha MacLachlan, K.C. Prairies Economic Development Canada Robbin Shandel Rozsa Foundation One Anonymous Donor $250,000–$499,999 Said Arrata Leslie + David Bissett Heather + Ian Bourne Andrea Brussa Calgary Foundation Calgary Herald Mrs. Norma Carroll Corus Entertainment Judith + Terry Dalgleish Heather Edwards Enbridge Pipelines Inc. Encana Corporation Jan + Larry Fichtner Lois + Richard Haskayne 70 PRELUDE

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Endowed Chairs

Endowed Chair in Honour of Tom McCaslin Principal Tuba: Jay Uschold

Ted + Lola Rozsa Endowed Chair Music Director

Frank + Carol Gray Endowed Chair in Recognition of Tim Rawlings' 42 years of service to Calgary Phil Principal Percussion: Chris Sies

Mary Rozsa de Coquet Endowed Chair Resident Conductor: Ilan Kumaranayake Mendel Ellen + Allen Borak Endowed Chair Chorus Director: Mark Bartel John + Ethelene Gareau Endowed Chair Concertmaster: Diana Cohen Peter + Jeanne Lougheed Endowed Chair Associate Concertmaster: John Lowry Hotchkiss Endowed Chair First Violin Section Member: Genevieve Micheletti H.D. Klebanoff Endowed Chair First Violin Section Member: Olga Kotova Gerard Rostoker in Memory of Pamela Bacchus Endowed Chair First Violin Section Member: Maria van der Sloot Esther Violet Hall (née Young) Endowed Chair Principal Second Violin: Lorna Tsai Debbie Lynne Hall (daughter of Esther Violet Hall) Endowed Chair Assistant Principal Second Violin Dennis Sharp + Hélène Côté Sharp Endowed Chair Second Violin Section Member: Craig Hutchenreuther Dalgleish Endowed Chair 66 Second Violin Section Member: Minnie Min Kyung Kwon Eckhardt-Gramatté Foundation Endowed Chair Principal Viola Naomi Lacey Endowed Chair in Honour of Philip Hansen Principal Cello: Arnold Choi John + Jean Partridge Endowed Chair Cello Section Member: David Morrissey (on leave) Deborah Yedlin + Martin Molyneaux Endowed Chair Cello Section Member: Kathleen de Caen (on leave) Margaret + Paul Boëda in Memory of Jennifer Boëda-Dahl Endowed Chair Principal Flute: Sara Hahn-Scinocco Bill + Irene Bell Endowed Chair Piccolo: Gwen Klassen Janet Poyen Family Foundation Endowed Chair English Horn: David Sussman Judith + William Kilbourne Named Chair in Recognition of the Kilbournes' long-term support Assistant Principal Horn: Maxwell Stein Frank + Carol Gray Endowed Chair in Memory of Vincent Cichowicz Principal Trumpet: Adam Zinatelli

Joyce + Dick Matthews Endowed Chair Piano

2025/2026 Donors The Calgary Philharmonic expresses its deep gratitude to the following supporters who made generous gifts to the Calgary Philharmonic Society and the Calgary Philharmonic Foundation between 1 July 2025 and 30 June 2026. For a complete listing, visit calgaryphil.com/support. * 10 years or more of lifetime giving * 20 years or more of lifetime giving * Gifts to the Calgary Philharmonic Foundation Gifts of $500,000 and above Alberta Foundation for the Arts Canada Council for the Arts * Calgary Philharmonic Foundation * Government of Canada ** Gifts of $250,000–$499,999 Calgary Arts Development Authority * Department of Canadian Heritage * Taylor Family Foundation * Gifts of $100,000–$249,999 Honens Calgary Philharmonic Society Fund * National Bank One Anonymous Donor Gifts of $50,000–$99,999 The City of Calgary Calgary Foundation * Mary Rozsa de Coquet ** Prairies Economic Development Canada Two Anonymous Donors Gifts of $25,000–$49,999 Ellen + Allen Borak ** Chayka Family Foundation Terry Dalgleish * Liz + Tony Fricke ** Carol Gray ** Jacky + Geoff Granville* Judith Kilbourne ** Mawer Investment Management Ltd. Nicola Wealth RBC * Erin Thrall + Peter Johnson ** Sue + Mac Van Wielingen One Anonymous Donor

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Tae Nosal + John Reid ** Michelle O'Reilly Foundation Jean + John Partridge ** Maureen Payne ** Sonia + Bob Reynolds * Robbin Shandel Clarice Evans Siebens Arts ** Alane Smith * Marie + Nathan Smith Claire + Marc Stevens Sheila Wappel-McLean + Brent McLean * T. Gai Ward * The Welty Family Foundation Gloria Wong + Arthur Hibbard * Dori Wood + James Doleman * Nicholas Žekulin Two Anonymous Donors Gifts of $2,500–$4,999 ARC Financial Corp. Patrick Armstrong Marian + Paul Beer ** Andrea Brussa * Meredith + Pat Cashion Judy + Mendy Chernos & La Cachette Foundation Kim + Julia Chua David Daly * Alexandra De Freitas * Debbie Delvecchio Perry Englot Lisa Evren Rhys Douglas Farrell Kate Fischer + Joel Douglas * Pamela Grigg Charitable Fund Tony Hailu Emily Halliday + Geoff Krause Marcia Harris Ivy Hoffman Linda and Gordon Hoy Allan Huber ** Whitney Hughes-Plummer Julie + Harold Jacques * Karen Neary- Langill + Robert Langill Jennifer + Oscar Larios Linda LeGeyt Lennox Family Foundation Daphne Lucas Judy MacInnes Patricia Moore ** Shelagh + Faiz Nadir * Leanne + Dean Newhouse Ellen Parker Wood Pittman Fund Mark Raffan Ruth Ramsden-Wood Candace Ross * Tony Settari ** Joan + Geoffrey Simmins * Betty + David Smith Michael Southern The Donald Terry Swystun Charitable Fund John Thompson ** Philippa White Catherine + Bruce Williams ** Christine Woolner Janet Yuchem * Shirley Zielsdorf + Ed Letkeman ** Two Anonymous Donors

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Volunteers These Volunteers contributed their precious time in the 2025/2026 Season — we celebrate them and their ongoing dedication. Maisha Afrad Mujtaba Arshad Mariah Atkinson Catalina Barboza Kathy Bauer Partow Bayzaee Andrea Becker Larry Becker Cathy Bontje Glenn Bontje Linda Bourque Elizabeth Bowers Michelle Bozynski Frances Bradley Eli Buechler Heather Campbell Jim Campbell Courtney Cathcart Maxime Chambers-Dumont Peggy Chan Karen Choy Vini Chari Carole Clement Steve Clement David Daly Carol Dann Jennifer DiMarzo Clint Docken Julie Docken Barb Dolter James Doney Graham Edwards George Francis Prasad Ganesan Joel Giebelhaus Cindy Giesbrecht Milena Gonzalez Rebecca Harper Robin Harwig Mary Hodges Stephen Hodges Nima Hojjati Katt Hryciw Vivienne Huisman Abbas Hussain Jennifer Illanes Chimdi Ilonze Helen Isaac Narmin Ismail-Teja Oliver Kausmann Victoria Kausmann Shane Kidd Diana Klaassen Thea Knowles Wendy Kunsman Taina Leal Isabel Lelievre Elizabeth Lietz Melody Littel Elizabeth Lokang Moira MacPherson

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Board of Directors Samuel Hayes Board Chair Marc Stevens Ex-officio Tracy Seaman Governance Chair Human Resources Sub-Committee Chair Monica Cheng Finance + Audit Committee Chair Michelle Bailey Kim Berjian Craig Hutchenreuther Almas Kassam Geoff Krause James Kusie Dr. John Lacey Paul Lee Kristofer Leslie Jane McCaig Elizabeth Middleton Alexandra Wang Maria Wu Calgary Philharmonic Foundation The Honourable Lois E. Mitchell Honourary Patron of the Calgary Phil Foundation Joel Douglas President Corinne Grigoriu Vice President Colin Jackson Treasurer Alex Wan Assistant Treasurer Ana Cherniak-Kennedy Secretary Byron Neiles Elaine Clark Ellen Parker Letha MacLachlan Niki Dunne Monica Cheng

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74 PRELUDE

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FAQs Where will I park? What if I clap at the wrong moment? Can I wear Crocs? Taking in a performance at the Calgary Phil is meant to be a joyful — not stressful — experience. So don't worry, we've got you covered with these handy answers to a few of our most frequently asked questions (and, yes, you can wear Crocs).

What do I wear to the Orchestra? You'll see everything from designer gowns to business casual to jeans 'n tees at Calgary Phil performances. We have no formal dress code and just want you to feel happy, comfortable, and relaxed!

What is your mobile phone policy? While we hope everyone has the chance to experience live music without distractions, we realize that there are times when you don't want to miss an important message. If you need to leave your device on, please turn the brightness down, the sound off, and be considerate of other audience members.

Where can I find parking? There are several parking lots in the area, but we suggest you leave yourself plenty of time to find a spot — they fill up fast! Underground parking is available at Werklund Centre (formerly Arts Commons) and the nearby Civic Plaza and TELUS Convention Centre parkades. If you take the CTrain, the stations are located one block from Werklund Centre. Bike racks can also be found on Stephen Avenue in front of the Jack Singer Concert Hall.

Are drinks allowed in the concert hall? Aside from the occasional concert, drinks are permitted! You're invited to arrive a little early, mingle with your fellow music fans, and enjoy a beverage in the lobby before the show begins. You can also pre-order a round for pick up from the bar at intermission.

Can I take photos in the concert hall? For most concerts, you can take a quick photo, but don't use flash — it can interfere with the musicians' performance. Don't forget to tag us in your favourite moments! You can find @calgaryphil on Instagram, Facebook, TikTok, Bluesky, and LinkedIn.

When do I clap? Did you know that the 'no clapping' rule, in which audiences are expected to hold their applause between movements, only really started to take hold in the mid-19th century? Prior to that, concerts were pretty boisterous affairs. Today, orchestras still largely follow the tradition as a way of respecting the focus of performers and the flow of the music. You'll know when the piece is finished because the conductor typically puts their arms down completely and turns to the audience. But, if you do happen to clap before the piece is finished, that's okay! The musicians will be happy to know you're enjoying the performance.

What happens if I'm late? Sometimes even the best laid plans 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.

For more useful tips, visit calgaryphil.com/FAQ 76 PRELUDE

How long is a concert? While the length varies, most evening performances are about two hours long including intermission (shorter concerts may forgo the break). Symphony Sundays for Kids concerts are usually one hour long with no intermission.

Notes from the Orchestra

How We Spent Summer Break Insights into the Orchestra's Off Season BY DAVID SUSSMAN, ASSISTANT PRINCIPAL OBOE

There are conventions for most instrument groups that occur during the summer. This summer I attended and performed at the five-day International Double Reed Society annual convention (and experienced an overload of oboe and bassoon!)

How do we spend it?

It can be a time to schedule special teaching events, e.g. intensive reed making sessions.

lthough the largest orchestras in the world work yearround, no orchestra in Canada has a 52-week season. Your Calgary Phil musicians enjoy a 40-week season of presenting concerts from September to June. So, we have 12 weeks of an off season. Well, we must keep our playing up, so practice continues. Many of us look at the programs for the season ahead and may begin practice on pieces that have extensive exposed or challenging parts for us. We have the luxury of time to prepare in the off season. During the regular season, the programs come fast and furious. Many players often indulge in alternate musical activities. In my early years with the Calgary Phil, we were offered four optional summer weeks at the Banff Centre playing for ballet, opera, musical theatre, and accompanying concerti. That was fun in a beautiful setting! For many years, several Calgary Phil players performed for the Heavy Horse Show at the Calgary Stampede. The Clydesdales, Shires, Belgians, and especially the Percherons stepped to the beat of our marches and polkas as they pulled wagons. Some participate in (or even run) chamber music festivals where they get to perform in smaller ensembles with different musicians than those they collaborate with the rest of the year. Some teach at music festivals or camps in stunning locations or oversee music examinations. The off season can be an opportunity to get repair work done on an instrument in a more leisurely fashion or even to travel to try out new instruments.

Some musicians use the time to complete recordings they are working on, some involving commissioned works or collaborations with colleagues in different locales. Some newer players who may not have achieved their Permanent Residence status may have to leave Canada to generate additional income during the summer. Some use the time off to indulge in non-musical pursuits, just like everyone else. These can include outdoor activities such as hiking, climbing, trekking, camping, sailing, canoeing, tennis, team sports, family time, visiting relatives, or heading to the cottage. It can be time for self-examination through a silent retreat or a yoga ashram. Some do volunteer work or get going on a passion project. For many musicians, it is nice to be home with family on weekend nights! (we work most Friday and Saturday nights during the regular season) The off season can be viewed as a time to replenish energy. We return in the fall refreshed and eager to start again, to renew acquaintance with all our talented colleagues and to present another season of great symphonic music to an appreciative audience.

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Trailblazer. Extraordinary Artist. Beloved Colleague and Friend. The Calgary Philharmonic honours the memory of composer, cellist, and Calgary Phil Artistic Advisor Cris Derksen. We treasure the gift of Cris' amazing musical legacy and celebrate their considerable impact as an advocate and supporter of exciting new artists, most notably emerging Indigenous composers and musicians.

PHOTO TANJA-TIZIANA

FALL EXHIBITIONS:

Brendan Fernandes Arthur Jafa Bárbara Wagner & Benjamin de Burca OPENING: FRIDAY 18 SEPTEMBER, 6-9 PM EXHIBITIONS CONTINUE UNTIL 20 DECEMBER 2026 PROJECT SPACE Johnathan Onyschuk Old Growth Until 18 October Natalie Gerber 26 October 2026–21 February 2027 IMAGE: Bárbara Wagner & Benjamin de Burca, SWINGUERRA, 2019. Video. Still. © The Artists. Courtesy the artists and Fortes D Aloia & Gabriel, São Paulo/Rio de Janeiro.

@eskerfoundation eskerfoundation.art FALL 2026 79

WITH THE CALGARY PHILHARMONIC ORCHESTRA 80 PRELUDE

DECEMBER 11 – 24 | Jubilee Auditorium Tickets at AlbertaBallet.com