The $660 million transformation of the Arts Commons campus will expand and modernize Western Canada’s largest performing arts centre, building new theatre spaces, reimagining Olympic Plaza as a modern, arts-focused gathering place, and ensuring equitable access to the arts for all.
Dave Werklund & Family
Calgary Philharmonic Orchestra
205 8 Ave SE
Calgary, AB T2G 0K9
Box Office: 403.571.0849
calgaryphil.com
Zoltan Varadi
Editor
Omar Jeha
Art Director
Janet Bwititi
Editorial Advisor
contributors:
Elizabeth Chorney-Booth
Stephen Hunt
Charlotte Lilley
Stephania Romaniuk
David Sussman
Calgary Economic Development
on the cover:
Music Director Rune Bergmann by HarderLee Photography featured in the cover story on page 20
For advertising inquires, please email Zoltan Varadi at zvaradi@calgaryphil.com
Prelude is published three times a year by the Calgary Philharmonic Society. Copyright 2025 by Calgary Philharmonic Society. No part of this publication may be reproduced without express written consent of the publisher.
A MESSAGE FROM THE PRESIDENT + CEO
Hallo everyone! Thank you for your enthusiastic attendance so far this season — we've seen many sold-out performances and there's been a wonderful buzz at our concerts.
This Spring we're celebrating the contributions of Rune Bergmann as he conducts his final concerts as Music Director after eight dynamic seasons. He will lead the Orchestra through the emotional rollercoaster of Mahler's second symphony, known as the Resurrection
In his time with us, Rune led the drive towards live streamed concerts and online recordings, which served our communities so vitally, especially during the pandemic. Rune's energetic, irrepressible spirit will be missed, and we must give him this sendoff to show our deep gratitude for all he's achieved with the Calgary Phil.
And as ever we have something for EVERYONE coming up — from The Music of ABBA with Finnish superstar vocalists Rajaton to our Artistic Advisor Cris Derksen performing the Calgary premiere of her original composition, Controlled Burn. I can't wait for blockbuster movies like Star Wars: The Empire Strikes Back, and of course the long sold-out concert with cello superstar Yo-Yo Ma.
Make sure you get your tickets for next season as soon as they go on sale. You don't want to miss out on this stupendous Orchestra, more incredible guest artists, and the music that you love. Subscriptions are your cheapest option and are more flexible than you might assume — call our brilliant sales team (real people, not AI bots!) if you need some guidance.
At a time when we are told we're more divided than ever, we believe passionately that the performing arts bring us together: the Calgary Phil belongs to everyone. Our hearts synchronize together with the music. We feel a greater sense of wellbeing. Our curiosity is nurtured. We can discover that we have far more in common than we feared. Together we discover beauty and solace, we celebrate and weep, challenge and inspire. We have fun, we make memories, we connect with each other — and this is the stuff that life is made of.
MARC STEVENS President + CEO, Calgary Philharmonic Orchestra
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.
YO-YO MA, CELLO
CRIS DERKSEN, CELLO
JENEBA KANNEH-MASON, PIANO
LESSONS FOR ALL AGES AND STAGES.
Explore performing arts programs at the Mount Royal University Conservatory.
Register at mru.ca/Conservatory
Deloitte is proud to sponsor the Calgary Philharmonic Orchestra
In its nearly 70-year history, the Calgary Philharmonic has grown to be one of Canada's most celebrated live music ensembles. Led by Music Director Rune Bergmann, the Orchestra presents a wide range of concerts and inspiring education programs. In a typical season, the Calgary Phil welcomes over 100,000 visitors, connecting audiences to live music experiences, and serves the city of Calgary by fostering creativity and belonging.
In addition to 66 full-time orchestra musicians, the Calgary Phil is one of two major symphony orchestras in Canada that has its own chorus of over 120 volunteer singers. Led by Chorus Director Mark Bartel, the Chorus performs a wide variety of repertoire, including oratorio, opera, classical standards, pop favourites, and commissioned new works.
Learn more about the Orchestra and Chorus at calgaryphil.com.
Proud supporters of the Calgary Philharmonic Orchestra as they continue to enhance our communities through the arts.
frequentlyasked questions
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 concertgoers.
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 Arts Commons and the nearby Civic Plaza and TELUS Convention Centre parkades. If you take the CTrain, the stations are located one block from Arts Commons. 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, X, Facebook, and LinkedIn.
When do I clap?
Traditionally in classical music culture audiences hold their applause until the end of an entire piece (there can be multiple movements with short breaks between them in one piece). This is intended to respect the performers' focus and the flow of the music. You'll know when the piece is finished because the conductor typically puts their arms down completely and turns to the audience. But, if you do happen to clap before the piece is finished, that's okay! The musicians will be happy to know you're enjoying the performance.
What happens if I'm late?
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.
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.
For more useful tips, visit calgaryphil.com/FAQ
Rune Bergmann* Music Director
Juliane Gallant* Resident Conductor
Cris Derksen Artistic Advisor
Roberto Minczuk Music Director Laureate
Hans Graf Music Director Laureate
Mario Bernardi
Conductor Laureate
Cenek Vrba
Concertmaster Emeritus
FIRST VIOLINS
Diana Cohen* Concertmaster
John Lowry*
Associate Concertmaster
Donovan Seidle Assistant Concertmaster
Eric Auerbach
Jeongah Choi
Edmund Chung
Olga Kotova*
Genevieve Micheletti
Maria van der Sloot*
Hojean Yoo
SECOND VIOLINS
Lorna Tsai* Principal
Stephanie Soltice-Johnson* Assistant Principal
Erin Burkholder
Theresa Dumbrique
Jeremy Gabbert
Hyewon Grillet-Kim ~
Craig Hutchenreuther*
Minnie Min Kyung Kwon*
Adriana Lebedovich
Steven Lubiarz
* Endowed Chairs (page 64)
~ On-leave
CALGARY PHILHARMONIC ORCHESTRA
VIOLAS
Laurent Grillet-Kim* Principal
Marcin Swoboda Assistant Principal
Arthur Bachmann
Jeremy Bauman
Peter Blake
Michael Bursey
Alisa Klebanov
Jesse Morrison
CELLOS
Arnold Choi* Principal
Josué Valdepeñas Assistant Principal
Clare Bradford
Kathleen de Caen*
Thomas Megee
David Morrissey*
Daniel Poceta
BASSES
Matthew Heller
Trish Bereti-Reid
Patrick Staples Jonathan Yeoh
FLUTES
Sara Hahn-Scinocco* Principal
Gwen Klassen Assistant Principal
PICCOLO
Gwen Klassen*
OBOES
David Sussman Assistant Principal
ENGLISH HORN
David Sussman*
CLARINETS
Jocelyn Colquhoun Assistant Principal
BASSOONS
Antoine St-Onge Principal
Michael Hope Assistant Principal HORNS
Nikolette LaBonte Principal
Jennifer Frank-Umana Associate Principal
Peter Clark Assistant Principal
Maxwell Stein Assistant Principal
Heather Wootton* Assistant Principal
TRUMPETS
Adam Zinatelli* Principal
Miranda Cairns Assistant Principal
TROMBONES
James Scott Principal
Kristofer Leslie Assistant Principal
BASS TROMBONE
David Reid Principal
TUBA
Tom McCaslin Principal
TIMPANI
Alexander Cohen Principal
PERCUSSION
Chris Sies* Principal HARP
Emily Melendes Principal
Repertoire often requires extra musicians:
Rolf Bertsch, keyboard
Jeremy Brown, saxophone
Sean Buckley, percussion
Stan Climie, clarinet
John Feldberg, bassoon
Sheila Garrett, bass
Gareth Jones, trumpet
Janet Kuschak, cello Lidia Haeju Lee, violin
Malcolm Lim, percussion
Sarah MacDonald, flute
Nikki McCaslin, trombone
Elisa Milner, violin
Emily Phernambucq, flute
Richard Scholz, trumpet
Eva Sztrain, violin
Doug Umana, horn
Roberta Yee, violin
BASSES
Archibald
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. Mark is a passionate advocate of the impact of music on 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 US, he returned to Canada in 2019 to join the faculty at Calgary's Ambrose University as Associate Professor of Music. Since arriving in Calgary, he has also served as Director of the Spiritus Chamber Choir. In addition to his interest in choral-orchestral works and choral music of the baroque era, he brings expertise as a singer and vocal pedagogue to his work with choirs. His current research focuses on how choirs around the world engage in active peacebuilding through the choral experience. Originally from Niagara-on-the-Lake, Ontario, Mark is a graduate of the University of Winnipeg and Canadian Mennonite University. He holds Master of Music and Master of Sacred Music degrees from Southern Methodist University in Dallas, Texas, and a Doctor of Musical Arts degree in conducting from the Eastman School of Music in Rochester, New York.
Where Passion Meets Performance
DAVID SUSSMAN, ASSISTANT PRINCIPAL OBOE WITH JENNIFER AND JANET POYEN
MARIA VAN DER SLOOT, FIRST VIOLIN WITH GERARD ROSTOKER
ENDOWED CHAIR PROGRAM OFFERS A LIVING LEGACY
BY STEPHANIA ROMANIUK • PHOTOS BY DENNIS ENVOLDSEN
Having a robust orchestra requires not only attracting and nurturing exceptional musicians but securing their positions for years to come. Endowed Chairs of the Calgary Philharmonic Orchestra recognize outstanding musicianship, acknowledge musicians' professional standing, and provide the foundation necessary for the Orchestra to retain high-calibre players. The Endowed Chair program supports both the Calgary Philharmonic Society and the Calgary Philharmonic Foundation by covering day-to-day operational costs and supporting the Orchestra in perpetuity.
Of the 23 Endowed Chairs at the Calgary Philharmonic, the Janet Poyen Family Foundation is one of the most recently created. The chair endows the position of English Horn filled by Assistant Principal Oboist David Sussman, a celebrated woodwind player, educator, and pillar of Calgary's classical music scene. Indeed, one of Janet Poyen's daughters is a former student of Sussman's.
"We got to know David after my daughter Jennifer fell in love with the sound of the oboe and needed lessons for that very challenging instrument in order to participate in the school orchestra," recalls Poyen. "David was a delight as a teacher — funny, encouraging, serious about the music, and setting just the right level of challenge."
Similar to other patrons of Endowed Chairs who have a passion for a particular instrument or wish to honour the current musician holding that seat, the Poyen family's connection with David ensures that the endowment struck the right chord.
"As other longtime followers of the Calgary Phil well know, David has tirelessly devoted himself to the English horn and the oboe d'amore in addition to the oboe," says Poyen. "His musicianship is matched only by his passion and humility. I have been impressed by his engaging writing about music and the Orchestra in almost every back page of Prelude. It made sense for me to endow a chair that honoured David and all he has done for the Calgary Phil over the years."
By endowing an orchestra chair, especially one that resonates on a personal level, the Poyen family is happy to support an organization that has given them so much pleasure over the years.
"For me, music offers moments of pure joy and access to peak emotions and experiences," says Poyen. "I can't imagine life without live music. Even when the girls were young and we lived on a tight budget, I made sure they had lessons and opportunities to see performances, and thankfully they developed a similar passion. Now that we're in a position to give back, I am delighted to participate in giving other people the chance to discover that music is not an extra, not a 'nice to have.' Music is one of the highest, deepest, and most nourishing expressions of what it means to be human, and being able to support access for others to discover music and have similar experiences is a great joy and privilege."
That passion and appreciation for music, shared by so many, applies to the late Pamela Bacchus, who was a long-time Calgary Philharmonic Orchestra patron. In honour of his wife's memory, Gerard Rostoker was moved to name the chair held by Calgary Philharmonic First Violinist Maria van der Sloot.
"Pamela was very outgoing and oriented to volunteerism, whether for the Philharmonic, the Calgary Children's Festival, the Glenbow, and many other organizations," Rostoker shares. "I thought it was about time to somehow participate myself. I've never been a great volunteer like my wife was, but I thought I'd give back and celebrate her life."
Rostoker was drawn to the Endowed Chair because of the opportunity to support orchestral musicians, and to see his wife's cherished memory live on through music at every concert. By making this generous gift, Rostoker says he has become inspired to become more engaged with all that the Orchestra has to offer.
"A lot of the things she was involved in took place before I met her, including the Calgary Phil," he explains. "All that time we were together, she would recount the
people that she met — she really loved going there. It was a part of her life. Once she passed, all of a sudden I just realized all the things she had done in her life and how oriented she was to these types of things, whether it was volunteerism or politics. She was very outgoing and really participated. But I'm just catching up. There are so many things the Calgary Phil does — it's mind-boggling. It's quite the team."
Endowed Chairs are living memorials perpetuating the donor's name, one that lives from one generation to the next. Donors who generously endow orchestra chairs know that they are not only ensuring musical excellence, but that theirs is a true gift to the future. Poyen encourages other lovers of the Calgary Phil to do the same.
"Go for it! Endowing a chair provides foundational support, which is crucial for an organization to hire great musicians, to explore ambitious repertoire, to perform at the highest level, and to share the music with others, including through educating young people and offering opportunities for nontraditional audiences, which is an important part of the Calgary Phil's work," says Poyen. "As magical as music is, it doesn't just happen. It requires an incredible investment in resources — devoted musicians who spend a lifetime honing their craft, highly skilled technicians who help bring the sound to life, passionate administrators who provide direction and ballast, and of course brick and mortar — you simply have to keep the lights on. So, the need is great. The other message I have is, don't wait! There is great pleasure and deep satisfaction in giving in your lifetime and being part of the work. What is money for other than making the world a better place for all of us? It is an amazing privilege to be able to contribute to an organization that reflects and nurtures your values. You won't regret it."
For more information on our Endowed Chair program, visit calgaryphil.com/endowed-chairs
7:30PM
Jack Singer Concert Hall
Controlled Burn
Music Director Endowed Chair Supporters: Ted + Lola Rozsa
Rune Bergmann, conductor (biography on page 11)
Cris Derksen, cello (biography on page 11)
Calgary Philharmonic Orchestra
I. Andante sostenuto
II. Andante
III. Vivace
IV. Adagio
V. Adagio e maestoso
This concert has no intermission Program and artists subject to change without notice
Controlled Burn Cris Derksen (b. 1981)
Controlled fires were a cultural part of the environmental cycles and maintenance of wildlife habitats that sustained the cultures and economies of Indigenous peoples pre-contact. We used fire as medicine, getting rid of the underbrush, giving nutrients to the ground. On the west coast smoke fires would be burned over inlets to keep the water cool for fishing on a hot day. Now, every year is the hottest year on record. We have a new term now: Fire Season. That did not exist 10 years ago. Canada was founded in 1867 and seven years later The Bush Fire Act 1874 was created to ban Indigenous folks from using fire to keep the land healthy. The Bush Fire Act was created by folks who looked at trees as money, who looked at water as money, who looked at resources as money. I talked with Amy Cardinal Christianson, a Métis woman who was raised in Treaty 8 territory who is a fire research scientist with the Canadian Forest Service. We talked about the sound of wildfires today versus the sound of fires pre-contact. Pre-Contact we would have heard sounds of the community, children and aunties laughing, the sound of joy, the feeling of safety. Now when we hear the sound of fires we hear the sound of military, helicopters and the roar of the fire, the sound of fear. This piece explores the loss of land due to fires, the loss of culture, the loss of our relationship to fire.
Symphony No. 2 in C Minor, Op. 27 (Asrael) Josef
Suk (1874–1935)
There are many high achievers in the roster of history's great composers, but far more of them have won the Prix de Rome than an Olympic medal. Celebrated Czech composer and violinist Josef Suk, however, did just that, taking the silver for Czechoslovakia at the 1932 games. From 1912 to 1948, the Olympics included awards for the arts, and Suk secured a place on the podium for his composition Towards a New Life. It was a final honour for Suk, who died in 1935 after a long, successful career in one of Europe's more distinguished musical families. In 1905, Suk began composing Symphony No. 2, also known as Asrael, as a tribute to his recently deceased father-in-law, composer Antonín Dvořák, when the unthinkable happened: Suk's wife Otilie, Dvořák's daughter, also died.
The title, Asrael, refers to the Angel of Death in the Old Testament, and having it strike twice within a year-and-a-half dramatically shifted Suk's feelings around the tenor of the piece. Originally, he intended for the work to be a celebration of Dvořák's life, but the emotional devastation of losing his wife caused Suk to rethink it. Following this second loss, the symphony became more of a meditation on the healing powers of music, with the final two newly-composed movements devoted to her memory. A mournful and elegiac piece, Asrael is often referred to as Suk's Funeral Symphony.
Resident Conductor Endowed Chair Supporter: Mary Rozsa de Coquet
Juliane Gallant, conductor (biography on page 11)
Kit Benz, narrator
Calgary Philharmonic Orchestra
Join us for a family-friendly birthday celebration with music and story by Bob Singleton! Hear, see, and imagine as the Calgary Phil presents a musical world of friendly penguins, monkeys, ducks, and other animals celebrating the Unicorn's birthday.
Do you have a young music fan on your hands? Symphony Sundays for Kids concerts are about one hour long with no intermission and feature orchestral favourites every child should know.
Arrive early for the Instrument Discovery Zoo in the Jack Singer lobby, where they can visit different stations hosted by Orchestra musicians. Each station features an instrument or musical activity for children to try!
This fun, hands-on experience is the perfect way to indulge your child's curiosity and excitement about visiting the Orchestra.
The Instrument Discovery Zoo starts at 2PM and the performance starts at 3PM. This concert has no intermission Program and artists subject to change without notice
Bob Singleton
Unicorn's Birthday 45'
KIT BENZ NARRATOR
Kit Benz is a clown, puppeteer, physical theatre artist, and arts educator based in Moh'kins'tsis on Treaty 7 Territory. They are a graduate of the drama program at Bishop's University as well as the Professional Training Program at Dell'Arte International School of Physical Theatre. Kit spent several glorious summers training in Pochinko clown at the Manitoulin Conservatory for Creation and Performance. Past theatre work includes A Midsummer Night's Dream (The Shakespeare Company and Hit & Myth), The Mousetrap (Theatre Calgary), The Jungle Book and The Lion, the Witch and the Wardrobe (Alberta Theatre Projects), Yabber: A Musical Junk Tale (Mudfoot Theatre), Iniskim: Return of the Buffalo (Canadian Academy of Mask and Puppetry), and All I Want for Christmas (Lunchbox Theatre). Kit is very excited to be joining the Calgary Philharmonic Orchestra this season.
Tough Turkey in the Big City
What happens when a turkey from the sticks meets a Park Avenue pigeon?
a co - presentation
Join us for a fun family concert featuring some of Calgary's finest musicians & the puppet wizardry of Green Fools Theatre.
Sunday May 4, 2025 1:00PM or 3:30PM Rozsa Centre
University of Calgary
TICKETS: calgarypromusica.ca or purchase at the door
Puppets by Dean Bareham, Green Fools Theatre &
email : info@calgarypromusica.ca
web : calgarypromusica.ca
social : @calgarypromusica
Composed by Bruce Adolphe
Written by Louise Gikow
Narrated by Samantha Whelan Kotkas
Conducted by Claude Lapalme
During his tenure as Music Director, Bergmann also held roles as the Artistic Director and Chief Conductor at Poland's Szczecin Philharmonic and Chief Conductor at Argovia Philharmonic and guest conducted with multiple orchestras around the world. "It has been very important to travel to other places and get inspired," he says. "For me to be able to be relevant and fresh and to bring Calgary something special, I needed to be elsewhere part of the time."
Over the last nine years, Bergmann has been instrumental in building the Calgary Phil's audience, which he views as being younger and more energized than typical symphony patrons. Much of this growth has been through the material he brings to the Orchestra, embracing unexpected pop and rock pieces while also creating excitement for lesser-known composers in budding classical fans.
Beyond the music, Bergmann also helped transform the Orchestra's audience early in the game by live streaming select Calgary Phil concerts to music lovers around the world, beginning in 2017 — well before the pandemic — with a
concert with Yo-Yo Ma, one of classical music's most recognizable names. While it's no longer uncommon for traditional arts organizations to share content online, the move somewhat novel for a symphony orchestra at the time. Of course, the innovation put Bergmann well towards his goal of putting the Calgary Phil in front of international audiences and has since been adopted by other orchestras around the world.
"We have to accept that technology is here to stay," Bergmann says. "If we hadn't started the live streams, we wouldn't have been able to grow as an organization, musically or with our audience."
As successful and well-received as his time in Calgary has been, Bergmann is one to stay true to his principles and knew that staying too long would kill the spirit of inspiration and consistent growth he holds so dear. So, as his current contract comes to an end, he's preparing his swan song. Mahler has long been a favourite composer of his and rather than simply choosing a piece himself, he gave in to a flood of requests from within the organization to bring back Mahler's Symphony No. 2 (also known as Mahler's
Resurrection), which he first led the Orchestra through in 2019. Considered by many to be one of the highlights from his eight seasons in Calgary, it's also a suitable finale from an artistic perspective. Bergmann's love of Mahler is well-documented and the scope and majesty of the composition matches his boisterous demeanor and zest for life.
"It's the perfect ending for all of us," he says. "We are ending all together on stage with the Chorus and Orchestra, repeating one of the biggest successes we had during those nine years. It's just a fantastic piece."
Bergmann will undoubtedly continue to be an in-demand conductor and may even return to the Calgary Phil at some point for a guest appearance. One thing is for sure: the effect of his legacy on the Calgary Phil and Calgary arts culture in general has been immeasurable. And, it seems, we've rubbed off on him too.
"It's been an honour and a pleasure, and I will absolutely miss so many things here," he says. "I will really miss the audience. Everybody comes to the concerts with open arms and open ears and open eyes and have been a big part of the journey."
Mahler's Resurrection, 2019 Rune backstage before his first concert as Music Director, 2017
A joint performance of Mahler's Symphony No. 3 with the Edmonton Symphony Orchestra and featuring Canadian mezzo-soprano Susan Platts
Rune and the Orchestra pictured after performing Copland's Hoe-Down from Rodeo
Rune Bergmann and Denise Clarke (One Yellow Rabbit) at Mozart's Birthday Party
Rune with saxophonist and composer Branford Marsalis
Rune with Calgary Philharmonic mascots Phil and Monica at Phil in the Park
Rune visiting PhilKids students at KeeIer SchooI
Rune with Canadian composer John Estacio
At the world premiere of composer Errollyn Wallen's Violin Concerto
Earworms
21 + 22 March
7:30PM
Jack Singer Concert Hall
Jeneba Kanneh-Mason plays Mozart
Music Director Endowed Chair Supporters: Ted + Lola Rozsa
Guest Artist Supporter: Naomi + John Lacey Virtuoso Program
Rune Bergmann, conductor (biography on page 11)
Jeneba Kanneh-Mason, piano
Calgary Philharmonic Orchestra
Vivian Fung
Wolfgang Amadeus Mozart
Piano Concerto No. 23
in A Major, K. 488 I. Allegro
Adagio
Allegro assai
Edward Elgar
Program and artists subject to change without notice
on an
Theme, Op. 36
Vivian Fung (b. 1975)
Earworms provides a commentary on the world we live in today — it musically depicts our diverted attention spans, our constant barrage of music and other media, and our multitasking lives. Since becoming a parent, I have found my life to be more complicated and chaotic, but also all the richer and more meaningful. I find myself at the end of the day humming tunes that have gotten into my head and that I cannot seem to escape no matter how hard I try — hence the title Earworms. I worked fragments of these songs into the piece the way I would hear them at night — incomplete, sometimes looping just a little lick, sometimes simultaneously or consecutively, and always heavily developed to evoke the feel of my irrational obsession. The piece culminates in a chaotic mashup, with the orchestra building its force and repeating musical gestures with different, often conflicting rhythms. It ends loud and strong, as the earworms take hold of my psyche.
Piano Concerto No. 23 in A Major, K. 488
Wolfgang Amadeus Mozart (1756–1791)
Mozart was 30 when he wrote his Piano Concerto No. 23 in March 1786, two months before the premiere of his opera Le nozze di Figaro, and midway through his Vienna period, during which he experienced his greatest growth as a composer and as a pianist. He had been composing since he was five and, while still a child, his father Leopold took Wolfgang and his sister Maria Anna, who was also a prodigious musical talent, on tours to the great capitals of Europe — Paris, Prague, Amsterdam, London, and elsewhere. Someone once described the art world in New York in the 1980s as being a little like Venice during the Renaissance — there was a "genius on every corner." Well, Vienna in the late 18th century was right up there with Venice in the Renaissance and New York in the 80s, only its golden age came in the form of music. Mozart was friends with Joseph Haydn, who is said to have told Leopold in 1785 that his son was "the greatest composer known to me by person and repute." Piano Concerto No. 23 arrived in the world sandwiched between Mozart's two great operas, Le nozze di Figaro in 1786 and Don Giovanni in 1787. It was part of an outburst of piano concertos he had
RAISING UP VOICES
CALGARY PHIL YOUTH CHORISTER PROGRAM SUPPORTS NEXT GENERATION OF MUSICAL LEADERS
BY ZOLTAN VARADI
Sharp-eyed Calgary
Philharmonic Chorus fans have likely spotted a few fresh faces in the Choir Loft this season. Making their debut at season opener Carmina Burana and also performing at November's Sci-Fi Spectacular and this past January's Mozart's Birthday Party concerts were the first participants in the Calgary Phil's Youth Choristers program.
This new initiative sees a cohort of aspiring musical leaders from high schools in-and-around Calgary joining the Chorus for the concert season. The intent is to complement and give back to the high school music program and community of each participating student.
The Youth Choristers learn about leadership and collaboration as they refine skills in vocal production, singing in various languages, and in expressive communication, all while observing professional conducting technique and rehearsal strategies. Among the inaugural group of Youth Choristers is grade 11 St. Francis High School student Betty Liu. Music has been a part of Liu's life from the get-go. At five she began to learn both piano and guzheng, a Chinese plucked zither, which she continues to play along with her mother in a duo called B.beats Music. Later, Liu also studied flute and saxophone and took up choir at school last year. When she learned of the Youth Choristers program through her music teacher, Liu jumped at the opportunity. Now having passed the midway point in the season, she says the experience has afforded her invaluable knowledge and experience.
"From a technical point of view, I've learned a lot about choral music, such as the pronunciation of vowels and consonants. I also like working with music from different genres and time periods," she says.
"Dr. Bartel does an excellent job of rehearsing in a way that you can learn the most in a short amount of time, and so I've learned how to more effectively practice my piece. I've also learned the importance of time management — sometimes the performances are close together,
such as when we had Carmina Burana and Sci-Fi Spectacular [this past fall]".
Such feedback should be music to the ears of Chorus Director Mark Bartel. He says the seeds of the program were planted a few years ago when a group of high school boys auditioned for the Chorus on their own volition. Though they landed spots in the Chorus roster, after several seasons they all moved on, as young people embarking on new adventures tend to do. Bartel wanted to introduce a more formal outreach structure in which musically minded high school students are invited to audition each season following a referral from the music teacher or school.
"I would say that the Calgary Phil is basically about two things: music and education," says Bartel. "I pitched the program to the Education and Outreach team as a way for the Chorus to fully become a part of that equation. Okay, we perform. That's obvious. That's what the Chorus does. But how in an actual targeted way are we contributing to the educational goals of the orchestra or the organization? That was really the main reason for it."
And what an educational opportunity it is. The Calgary Philharmonic Chorus is one of only two choruses in Canada that are part of a professional symphony orchestra. In a typical season it is featured in four to eight concerts — five in total for the current season — and the Youth Choristers perform in all of these and attend weekly rehearsals. Bartel emphasizes that the program is reserved for "talented and ambitious" musical students who are part of their school's choral program and who have been referred by their teacher. If they meet these criteria, they are then invited to audition for the four to eight available spots.
"This provides an opportunity for that student to give back to their high school choir in what are they learning with the Chorus," says Bartel. "Not that they have to go
back and announce it, but they will automatically be carrying their learning back into the high school program."
According to another of this season's Youth Choristers, Pearson Berko, that sentiment very much aligns with his experience.
"[Mark Bartel] is a super good director and conductor, and he provides a lot of useful information for me that I can apply to my other choirs and my other singing. It's been very useful, and it has definitely given me a lot of confidence in my singing."
Like Liu, Berko is a great fit for the program. A grade 12 student at St John Choir Schola, which has a primary focus on the choral tradition, he also performs with the Calgary Children's Choir and comes from a family of choristers. Both of his parents have experience directing choirs, and his aunt, Barbara Soles, performs in the Calgary Philharmonic Chorus. Despite his alreadyconsiderable experience, though, Berko hasn't been immune to the occasional teenage concern arising when it comes to performing with a professional chorus.
"I was a bit nervous going into the first concert. I had a lot of family there. I think my biggest concern was looking out of place because all the guys around me were way taller than me. I was the shortest one in the tenor and basses, I think."
He says it all worked out in the end thanks to the support and encouragement of both Bartel and the regular choristers. On that note, he shares a piece of advice for future program hopefuls: "Don't be scared of Mark. He seems scary but he's actually a really nice guy. And, if you go for an audition and you mess up, it won't be the end of the world."
Liu also has words of encouragement for future chorister candidates: "Try to practice sight singing as well as singing back a melody, because they do test that in the audition. Also maybe attend a rehearsal so that you can experience how it might go. And stay confident and positive!"
STUART CHAFETZ CONDUCTOR
Stuart Chafetz is the Principal Pops Conductor of the Columbus Symphony and Principal Pops Conductor of the Chautauqua and Marin Symphonies. Stuart, a conductor celebrated for his dynamic and engaging podium presence, is increasingly in demand with orchestras across the continent. This season, he will be on the podium in Detroit, Naples, Buffalo, Kansas City, Vancouver, and Seattle. He enjoys a special relationship with The Phoenix Symphony where he leads multiple programs annually. Stuart's original programs are a signature of his artistic profile. His popular programs including Symphonic Genesis & Phil Collins and Totally 80's showcase the orchestra in an especially entertaining way and attract large audiences throughout North America. He previously held posts as resident conductor of the Milwaukee Symphony Orchestra and associate conductor of the Louisville Orchestra. As principal timpanist of the Honolulu Symphony for twenty years, Stuart also conducted the annual Nutcracker performances with Ballet Hawaii and principals from the American Ballet Theatre. He makes his home near San Francisco, California, with his wife, Ann Krinitsky. Stuart holds a bachelor's degree in music performance from the College-Conservatory of Music at the University of Cincinnati and a master's from the Eastman School of Music.
RAJATON ENSEMBLE
Rajaton is a Finnish music group that aims to fill you with the beauty of the human voice. The Finnish word Rajaton translates as 'boundless' — a word that so accurately describes the way this six-voice acappella ensemble approaches music. Regularly performing around a hundred concerts and workshops each year, Rajaton exposes their audiences to the kind of diversity of repertoire, singing style, and stage presentation that has made them a phenomenon on the world stage. Performing at concert halls, churches, jazz and choral festivals, this distinct group of musicians approaches all styles of music with the same level of commitment and integrity. It is difficult to imagine an audience that they could not inspire, or a type of music they could not make their own. In their native Finland, Rajaton is a bona fide pop phenomenon, successfully bridging the gap that often exists between classical and mainstream convention. Ever seeking new artistic challenges, the group has grown immeasurably through collaborations with other artists, as well as productions with film directors and choreographers. But it is perhaps their deep passion for choral art, their generosity of spirit, and their sheer enjoyment of singing that has won the hearts and acclaim of audiences and critics everywhere. Their energy — infectious; their ability to entertain and inspire — Rajaton!
7:30PM
Jack Singer Concert Hall
The Lark Ascending
Guest Artist Supporter: The MacLachlan/Ridge Emerging Artist Program
Naomi Woo, conductor
Anna Stube, violin
Calgary Philharmonic Orchestra
Franz Schubert Symphony No. 5 in B-flat Major, 27' D. 485
I. Allegro II. Andante con moto III. Menuetto. Allegro molto
Symphony No. 5 in B-flat Major, D. 485
Franz Schubert (1797–1828)
When Franz Schubert set out to compose Symphony No. 5 at the end of the summer of 1816, he wanted to create a work that spoke to his musical hero, Mozart, who died in 1791. In his journal Schubert wrote, "As from afar the magic notes of Mozart's music still gently haunt me…O Mozart! Immortal Mozart! What countless impressions of a brighter, better life hast thou stamped upon our souls!" Schubert was just 19 years old when he wrote Symphony No. 5. He had grown up in Vienna, where, at the age of seven, he was discovered by Salieri. Four years later, he received a choir scholarship to study at the Stadtkonvikt (Imperial Seminary). There he was taught the works of Mozart, Haydn, and Beethoven. He lived with his father until 1815 and taught at his dad's school, but by the time he set out to write Symphony No. 5 in September 1816, he had moved out to live with his friend Franz von Schober. He completed the symphony in a month. It was first performed — with Schubert playing viola — by an amateur orchestra in the Viennese apartment of a man named Otto Hatwig, a violinist in the Burgtheater orchestra.
The Lark Ascending
Ralph Vaughan Williams (1872–1958)
Ralph
Ruth
This concert has no intermission Program and artists subject to change without notice
Growing up, British composer Ralph Vaughan Williams had two great passions: poetry and the violin. Born into a wealthy family, he started out on the piano, receiving lessons from his aunt, Sophy Wedgwood. He wasn't keen on playing the piano, but he did compose his first work on it — a four-bar piece called The Robin's Nest. Within a year, however, he had quit taking piano lessons from Aunt Sophy and switched to violin. In 1880, at the age of eight, he took a correspondence course in music from Edinburgh University and passed. The Lark Ascending is a short, single-movement piece inspired by George Meredith's 1881 poem of the same name. It was first composed for piano and violin and finished in 1914, though it wasn't performed until after the First World War. It was then that Elgar reconfigured the piece for violin and orchestra, which is how it was performed in 1921. Vaughan Williams ultimately married a poet, Ursula, who wrote that her husband had "taken a literary idea on which to build his musical thought." In Ursula's interpretation, the violin took on the role of the bird in the title.
Ralph Vaughan Williams
BURNING BRIGHT
10 April
7:30PM
Bella Concert Hall
12 April
7:30PM
Jack Singer Concert Hall
The Tenors + the Calgary Philharmonic Orchestra
Taylor Family Foundation Concert
Resident Conductor Endowed Chair Supporter: Mary Rozsa de Coquet
Juliane Gallant, conductor (biography on page 11)
The Tenors, vocals
Calgary Philharmonic Orchestra
Experience international vocal sensations The Tenors live with the Calgary Philharmonic Orchestra! The award-winning and multi-platinum-selling vocal super group have been thrilling fans around the world for two decades with their powerful songs, outstanding harmonies, and undeniable charm.
Program to be announced from stage
Concert includes a 20-minute intermission Program and artists subject to change without notice
THE
TENORS VOCALS
The Tenors have been thrilling fans around the world for years with their powerful songs, outstanding harmonies, and undeniable charm. The award-winning and multiplatinum selling vocal super group have achieved international success, performing thousands of concerts and TV shows on five continents. Performing symphony shows and tours, their distinct sound reimagines iconic hits and blends classical music, contemporary pop, classic rock, folk, and inspired, self-penned original songs. They have performed for six US presidents, The G20 World Leaders, The Leaders of the Americas, and for the late Queen and members of the Royal Family many times. Beyond performances at the NBA, NHL, and MLB all-star games, they have been seen on hundreds of TV shows across five continents, including on Oprah with Celine Dion, The NBC Emmy Awards, and the Rockefeller Christmas Tree Lighting. They recently graced the stages of The Hollywood Bowl, Radio City Music Hall, and London's Royal Albert Hall with Lang Lang.
ONE
WEEK
OF EXHILARATING STRING QUARTET PERFORMANCES
The world’s best emerging string quartets will descend upon the Canadian Rockies to vie for over $500,000 CAD in cash, prizes and opportunities.
Through performances, lectures, and special events, share in a dramatic and rich artistic journey that will set in motion a major performing career.
John Williams Star Wars: The Empire Strikes Back 149'
STARRING Mark Hamill, Harrison Ford, Carrie Fisher, Billy Dee Williams, Anthony Daniels CO-STARRING David Prowse as Darth Vader, Kenny Baker as R2-D2, Peter Mayhew as Chewbacca, Frank Oz as Yoda DIRECTED BY Irvin Kershner PRODUCED BY Gary Kurtz SCREENPLAY BY Leigh Brackett and Lawrence Kasdan STORY BY George Lucas
EXECUTIVE PRODUCER George Lucas MUSIC BY John Williams
PRESIDENT, DISNEY MUSIC GROUP Ken Bunt SVP/GM, DISNEY CONCERTS Chip McLean VP, DISNEY CONCERTS Gina Lorscheider
MUSIC PREPARATION Mark Graham, Matthew Voogt
SUPERVISING TECHNICAL DIRECTOR Alex Levy (Epilogue Media)
FILM PREPARATION Ramiro Belgardt
OPERATIONS, DISNEY CONCERTS Brannon Fells, Royd Haston
BUSINESS AFFAIRS, DISNEY CONCERTS Darryl Franklin, Leigh Zeichick, Narine Minasian, Elena Contreras, Addison Granillo, Christy Swintek, Svetlana Tzaneva
BUSINESS AFFAIRS, LUCASFILM Rhonda Hjort, Chris Holm
BUSINESS AFFAIRS, WARNER-CHAPPELL Scott McDowell
MARKETING & PUBLICITY Lisa Linares, Lillian Matulic
JOANN KANE MUSIC SERVICE / DISNEY MUSIC LIBRARY
Presentation licensed by Disney Concerts in association with 20th Century Fox, Lucasfilm Ltd., and Warner/Chappell Music. All rights reserved.
Concert includes a 20-minute intermission Program and artists subject to change without notice
JULIAN PELLICANO CONDUCTOR
Known for his meticulous technique, dynamic interpretations and versatility across a broad spectrum of genres, AmericanCanadian conductor Julian Pellicano has been recently appointed to the conducting staff of the National Ballet of Canada and is Music Director and Principal Conductor of the Royal Winnipeg Ballet. Bringing an incisive musicality and collaborative spirit to every performance, he has built a wide-ranging international career, leading the Winnipeg Free Press to proclaim that "his versatility is truly astonishing".
As Associate Conductor of the Winnipeg Symphony Orchestra from 2013–2024, Julian conducted hundreds of performances on all of the orchestra's various series.
As a guest he has conducted orchestras and ballet companies across North America and abroad.
Highly experienced with live-tofilm performances, Julian's film project credits encompass more than 25 titles, including many legendary films scored by John Williams, recent blockbusters, and classic films of the 'Golden Age' of Hollywood. Julian studied conducting at the Yale School of Music with Shinik Hahm and he studied percussion at the Peabody Conservatory, the Royal College of Music in Stockholm, Sweden, and at the Yale School of Music. As a percussionist, he has performed in concert halls and festivals in North America, Europe, and Asia. He also holds a degree in philosophy from The Johns Hopkins University.
Equally at home at Jack Singer Concert Hall and on the indie festival circuit, Calgary Phil Principal Percussion Chris Sies has performed on stages as varied as Carnegie Hall, Kennedy Center, Vans Warped Tour and Calgary's SLED Island Music and Arts Festival (the latter with his metal-infused solo project S[K]IES). Chris also co-directs the Sound Atlas New Music Festival with his chamber sextet, Latitude 49, as the host ensemble. The multifaceted Maryland native, who joined the Orchestra this past fall, reveals a few of the things that beat his drum.
Favourite Composer?
Can't pick just one so I'll list three: György Ligeti, Kaija Saariaho, and James Tenney.
Favorite Thing About Calgary/Alberta The mountains, the people, the skies!
Favourite Thing About Manchester/Maryland? My parents!
Currently Reading?
God Emperor of Dune by Frank Herbert, The Body Keeps the Score by Bessel van der Kolk, and some of James Tenney's theoretical writings on music and perception!
Museum or Park?
Weather is good? Park! Weather is crummy? Museum!
Comedy or Horror?
I go back and forth but lately it's been horror.
Soup or Salad?
As of late, more salads!
Currently Watching? My cholesterol!
SLED Island or Vans Warped Tour? TOUGH CALL. Although Sled is fresher in my body and mind and it was kind of a rebirth of my original noise music when I played last summer, so let's say SLED!
Sand or Snow? Snow!
Earbuds or headphones? Headphones, definitely.
Day or Night?
Again, those skies in Calgary are gorgeous with a little golden hour… Day!
Salt or Pepper? They're both so good!
Playlist or Podcast? Let's lean towards podcast.
Melodic Death Metal or Technical Death Metal? Tech Metal, 100%.
Logic or Emotion? Emotion!
Ryan Gosling or Ryan Reynolds? Gosling for sure.
Dine in or Take out? Can't lose!
Car or Bike? Bike when possible!
Introvert or Extrovert?
Introvert masquerading as an extrovert.
Glass half empty or Glass half full? Trying my best to keep it half full!
in 1923. This allowed Elgar, much like Taylor Swift in the 2020s, to make new recordings of old compositions, including his major orchestral works. The October 1919 premiere of the Cello Concerto was said to be a fiasco because of a lack of rehearsal time, but it eventually caught on with cellists. In the 1960s, a recording of Cello Concerto featuring Jacqueline du Pre became a classical music bestseller.
Peer Gynt Suites, Op. 46 + 55
Edvard Grieg (1843–1907)
Henrik Ibsen — AKA the 'father of modern drama' — wrote Peer Gynt, a drama in verse about one man's journey from the Norwegian mountains to the North African desert and back. In 1874, seven years after the play's publication, Ibsen asked fellow Norwegian Edvard Grieg to write the incidental music for Peer Gynt's first staged production. Asking Grieg to write incidental music was kind of the Norwegian cultural equivalent of forming a supergroup. It turned out Grieg wasn't initially enthused about writing music for a 200-page long poem. During those first early months, he wrote to a friend: "there is no possibility of having it finished by autumn. It is a terribly unmanageable subject." But the more he dug into it, the more he discovered he was a good fit for creating the sound of Gynt, as did Ibsen, who realized that Grieg's music might help Peer Gynt find a wider audience. (It did.) Vienna music critic Eduard Hanslick, who was known to make or break the careers of composers in his day, wrote that Peer Gynt would "live only through Grieg's music, which to my taste has more poetry and artistic intelligence than the whole five-act monstrosity of Ibsen." Following its debut in Oslo (then named Christiana), Grieg expanded the music for Peer Gynt until there were more than 20 numbers in all. Grieg, from Bergen, became famous as one of the top Romantic Era composers and is known for incorporating Norwegian folk music into his work. His expanded Peer Gynt incidental music has remained popular for decades — as popular with orchestras as the play once was with theatre people. In 1993, Christopher Plummer created a concert version of Peer Gynt with the Hartford Symphony Orchestra, which he brought to Toronto in 1995. This Canadian production was broadcast on CBC Radio.
Yo-Yo Ma's multi-faceted career is testament to his belief in culture's power to generate trust and understanding. Whether performing new or familiar works for cello, bringing communities together to explore culture's role in society, or engaging unexpected musical forms, Yo-Yo strives to foster connections that stimulate the imagination and reinforce our humanity. Most recently, Yo-Yo began Our Common Nature, a cultural journey to celebrate the ways that nature can reunite us in pursuit of a shared future. Our Common Nature follows the Bach Project, a 36-community, sixcontinent tour of J.S. Bach's cello suites paired with local cultural programming. Both endeavors reflect Yo-Yo's lifelong commitment to stretching the boundaries of genre and tradition to understand how music helps us to imagine and build a stronger society. Yo-Yo Ma was born in 1955 to Chinese parents living in Paris, where he began studying the cello with his father at age four. When he was seven, he moved with his family to New York City, where he continued his cello studies before pursuing a liberal arts education. Yo-Yo has recorded more than 120 albums, is the winner of 19 Grammy Awards, and has performed for nine American presidents. He has received numerous awards, including the National Medal of the Arts, the Presidential Medal of Freedom, and the Birgit Nilsson Prize. He has been a UN Messenger of Peace since 2006 and was recognized as one of TIME magazine's 100 Most Influential People of 2020.
In 1913, Lili Boulanger, 19, became the first woman to win the Prix de Rome, France's most prestigious musical prize — but she was only the second Boulanger to win it. Her dad, Ernest Boulanger, who was 77 when Lili was born, claimed it 78 years earlier. Lili was a prodigy who would accompany her 10-year-old sister Nadia to music lessons when she was less than five, and quickly learned to play the organ, violin, piano, cello, and harp. However, her meteoric musical career stalled when she contracted pneumonia as a six-year-old and her illness lingered for a decade. Lili originally composed D'un matin de printemps in 1917 as a duet for violin and piano but was then expanded into a piano trio. In 1918, Boulanger adapted it into an orchestral version just prior to her untimely death from intestinal tuberculosis at the age of 24. The piece is known for its fresh and joyful character
La mer
Claude Debussy (1862–1918)
Some people think of Claude Debussy as the first Impressionist composer, although apparently Debussy himself didn't think much of that description. Though from a modest French family of no particular means, he was admitted to the Paris Conservatoire to study music at the age of 10 — although it wasn't until his 40s that his career really caught fire. That's partly because Debussy was a disrupter who ran afoul of the conservative tastes of the French music academy and critics. Some say his compositions were a reaction to the Wagnerian German orchestral tradition — and La mer (The Sea) has been described as Debussy's rebellion against 'obsolete' classical symphony composition
Multiple Grammy Award-winning conductor JoAnn Falletta serves as Music Director of the Buffalo Philharmonic (BPO), Music Director Laureate of the Virginia Symphony, Principal Guest Conductor of the Brevard Music Center, and Conductor Laureate of the Hawaii Symphony. She was named one of the 50 great conductors of all time by Gramophone Magazine, and ASCAP has honored her as "a leading force for music of our time." As Music Director of the Buffalo Philharmonic, JoAnn became the first woman to lead a major American orchestra. She has guest-conducted over a hundred orchestras in North America, and many of the most prominent orchestras in Europe, Asia, and South America. She is a leading recording artist for Naxos, and has won two individual Grammys for Richard Danielpour's The Passion of Yeshua with the BPO and Spiritualist by Kenneth Fuchs with the London Symphony. Her Naxos recording of John Corigliano's Mr. Tambourine Man with the BPO received two Grammys. Her Scriabin recording with the BPO was nominated for a 2024 Grammy for Best Orchestral Performance. JoAnn is a member of the American Academy of Arts and Sciences and has served by Presidential appointment as a Member of the National Council on the Arts. She has conducted over 1,600 orchestral works by more than 600 composers, including over 135 works by women composers, and over 150 premieres. After earning her bachelor's degree at Mannes, JoAnn received master's and doctoral degrees from The Juilliard School.
JEAN-WILLY KUNZ ORGAN
Jean-Willy Kunz is the organist in residence of the Orchestre symphonique de Montréal. In addition to playing both with the Orchestra and in recital, he sees to the development and showcasing of Casavant's op. 3900 installed at the Maison symphonique in Montréal. Jean-Willy has premiered numerous pieces for organ and orchestra, and for solo organ, by Tod Machover, John Rea, Samy Moussa, Maxime Goulet, and others. A highlight among his many solo performances at the Maison symphonique was a recital presented in 2017 in collaboration with NASA, during which a live audio-video duplex with an astronaut aboard the International Space Station allowed for the first ever Earth-Space organ duet. His interest and versatility in different styles of music are reflected in the various projects he has been involved with for several years, and which shed new light on the pipe organ, including jazz music in duo with Branford Marsalis, pop music with Rufus Wainwright, and stage music with the Cirque du Soleil. His discography includes 15 recordings which reflect the broad range of his musical influences — a solo organ album, Impressions with the jazz ensemble InSpirations, a 2016 JUNO-awarded album with the Montreal Symphony Orchestra, and many more. Jean-Willy studied with Louis Robilliard and with Mireille Lagacé. He is organ professor at the Conservatory of Music in Montréal and artistic director of the Canadian International Organ Competition.
At age 22, pianist Jeneba KannehMason is well-recognized as a rising star in the world of classical music. Her 2021 BBC Proms debut was met with critical acclaim, she has performed with ensembles ranging from the Detroit Symphony to the Philharmonia Orchestra in London, and she recently signed with Sony Classical for her first recital album, set for release this spring.
Kanneh-Mason's interest in the piano started early, having begun to play the instrument at just three years old. "I think I've always wanted to play the piano," she shares. "There hasn't really been a time when I didn't want to."
Aside from that consistency, it's the piano's repertoire — including its vast array of concertos — which have fueled her passion for the instrument. "There's just so much to discover on piano, and so that constant discovery and learning — and also just knowing it's been a part of my life for 19 years now — is why I love it so much."
Among that repertoire is Mozart's vibrant Piano Concerto No. 23, featured in the Calgary Phil's Jeneba Kanneh-Mason Plays Mozart concerts on 21 + 22 March. Like the piano itself, Kanneh-Mason has a longstanding connection to the music.
"When I first heard the concerto, it was the second movement I listened to first, and I used to listen to it on repeat."
As she prepares for her Calgary performances of Mozart's concerto, which is somewhat operatic in tone (material from its second movement would even eventually appear in the composer's Don Giovanni), Kanneh-Mason is paying particular attention to the expressive nuances of the piece. Keeping what she calls a "broad" musical ear allows her to interpret the concerto's operatic elements on the piano — which, compared to her other instrument, the cello, can be more challenging to make "sing." And, while the process of practicing often lends itself to detailed work on small sections of a piece, in performance Kanneh-Mason aims to take a more large-scale approach.
"Now that I've been playing the piece for a while I really want to zoom out and look at the bigger picture," she explains. Here, that bigger picture is characterized by long melodic lines which serve "the lightness and playfulness of the music" while still maintaining "the drama and the opera" of Mozart's work.
Listening to recordings of other pianists' interpretations of the concerto also makes up an important part of KannehMason's preparation process, but she doesn't feel restricted by the piece's rich performance history and the potential audience preconceptions which come along with it: "I don't feel limited by the fact that it's loved."
While Kanneh-Mason is well known for her solo performances, she prefers collaborative performances — like concertos — to solo recitals.
"I think just working with other musicians I learn so much," she says. "I feel like I get a whole other insight into how pieces are played, and then getting to know the conductor and orchestra, and finding that kind of musical common ground is really important to me."
In that same spirit of collaboration, Kanneh-Mason's most anticipated moment in the piece isn't one that features the piano: "I think what stands out to me the most is actually a passage in the second movement when the piano isn't playing, and it's when the clarinet has that beautiful solo," she shares. "I'm really looking forward to that."
This appreciation for collaboration stems, in part, from Kanneh-Mason's highly musical upbringing. One of seven children who all play instruments, she is the third of her siblings to embark on a career as a soloist (along with older brother, the cellist Sheku, and sister Isata, who is also a pianist). As such, collaboration with her family has been integral to the development of KannehMason's musicianship.
"I think it still shapes the way I play now, and we're constantly talking and playing with each other, so I'm learning a lot from them musically all the time," she says. "I'm so used to collaborating with other musicians now, and hearing different opinions, and being able to quickly change the way I'm playing a certain piece."
That immersive musical environment has also fostered what has become a lifelong love for classical music as a whole: "I think I became interested in music because the moment I was born it was just all around me — playing on CDs and in different practice rooms around the house — so I learned to love music at a very young age."
As she looks ahead to her Calgary performances, Kanneh-Mason hopes to highlight that love for classical music, and for live music in general: "I hope that if audiences are coming to the performances and going away feeling better, or inspired, or just more in love with Mozart, then I will have done my job."
21 + 22 MARCH 2025
JENEBA KANNEH-MASON PLAYS MOZART
11 May
Instrument Discovery Zoo: 2PM
Concert: 3PM
Jack Singer Concert Hall
A Paintbrush for Piccolo
Resident Conductor Endowed Chair Supporter: Mary Rozsa de Coquet
Juliane Gallant, conductor (biography on page 11)
Jonathan Love, narrator
Lee Zimmerman + Green Fool's Theatre Society, puppets
Calgary Philharmonic Orchestra
Remember when anything was possible? This uplifting musical story, written by Anne Gatha with music composed by Calgary Phil violist Arthur Bachmann, tells the tale of Piccolo, a child living in the Renaissance who sets out to become a famous artist. Along the way he finds help and inspiration from a loyal dog named Bella and the great Michelangelo himself.
JONATHAN LOVE NARRATOR
Jonathan has played many roles. He is an artist, a community arts ambassador, and the Chief Executive Officer for the Alberta Jubilee Auditoria Society. In addition to voicing, directing, and producing videos, commercials, and cartoons with his company Voxcast Media, he creates and performs regularly with the Calgary Philharmonic Orchestra, Edmonton Symphony Orchestra, and with Honens. On-screen, he has worked with visionaries like Ang Lee (Brokeback Mountain) and Kevin Costner (Open Range) and has appeared in many television productions. A professor of Public Speaking at Mount Royal University, he has coached executives and facilitated management workshops and courses as far away as Doha, Qatar. He is co-founder of a very successful marriage to CBE Wellbeing Specialist Kate Love. They have co-produced two amazing children who have already exceeded their high expectations of them. He has also enjoyed 31 years of singing songs for people as a founding member of Calgary's comic a cappella group, The Heebee-jeebees. Jonathan is immeasurably pleased to be returning to A Paintbrush for Piccolo
This concert has no intermission Program and artists subject to change without notice
Arthur Marc Bachmann A Paintbrush for Piccolo 50'
LEE ZIMMERMAN PUPPETEER
Lee Zimmerman, aka The Puppet Guy, has been performing his rock and roll marionette show all over the world for more than 40 years. Some of the greatest names in the history of music come alive in a unique and amazing display of humor and skill. Lee was a regular performer at Universal Studios and The Improv in Hollywood and has appeared on dozens of TV shows and films, including The Drew Carey Show and the cult film, Eddy Presley, with Quentin Tarantino. Lee also entertained the cast and crew at the Seinfeld final wrap party and has done command performances for many celebrities and dignitaries such as the Sultan of Brunei, Hugh Hefner, Arnold Schwarzenegger, Frank Zappa, and Guns 'N' Roses. Since 1998, Lee has been a performer/ instructor at numerous circus camps, including the Winnipeg International Children's Festival Circus and Magic Partnership (CAMP), a circus arts program designed to help kids-at-risk.
Founded in 1991, Green Fool's Theatre Society is an artist-led charity that enchants audiences of all ages through circus, theatre, and visual arts. With its five pillars — Puppet Theatre, Entertainment, Education, Social Circus, and Custom Creations — Green Fools engages in performances, creations, and teaching initiatives. This commitment allows us to reach hundreds of thousands of people while fostering vibrant communities everywhere.
PATRON PROGRAMS
Calgary Phil's 2024/2025 concert season marks the return of our Wolfgang, Amadeus, and Mozart Patron Programs! By joining, your membership donation provides critical support for the Calgary Phil's annual operations. Receive a tax receipt for the majority of your donation while developing a deeper connection to the Calgary Phil and its musicians through exclusive benefits and one-of-a-kind events.
WOLFGANG
Ticket(s) to three pre-selected concerts with post-concert receptions per year
Listing on calgaryphil.com
Listing in Prelude magazine (Duet only)
Access to the Founders' Room
Access to Subscriber Rewards
15% discount on select merchandise
Tax receipt: Solo $50 Duet $100
Invitation(s) to four Music to My Ears events per year
Family invitation to Naomi Lacey Family Christmas Party
Listing on calgaryphil.com
Listing in Prelude magazine
Access to the Founders' Room
Access to Subscriber Rewards
15% discount on select merchandise
Tax receipt: Solo $1,000 Duet $2,000
Invitation(s) to two Exclusive Guest Artist Recitals per year
Invitation(s) to four Music to My Ears events per year
Family invitation to Naomi Lacey Family Christmas Party
Listing on calgaryphil.com
Listing in Prelude magazine
Access to the Founders' Room
Access to Subscriber Rewards
15% discount on select merchandise
Tax receipt: Solo $2,000 Duet $4,000
23 + 24 May
7:30PM
Jack Singer Concert Hall
A Night on Broadway with Ashley Brown
Resident Conductor Endowed Chair Supporter: Mary Rozsa de Coquet
Juliane Gallant, conductor (biography on page 11)
Ashley Brown, vocals
Calgary Philharmonic Orchestra
Musical sensation Ashley Brown, who originated the title role of Mary Poppins on the Great White Way, brings her golden voice to Jack Singer Concert Hall! Waltz with her and the Calgary Phil through the wonderful worlds of Disney and Broadway's hit musicals.
Program to be announced from stage
Concert includes a 20-minute intermission Program and artists subject to change without notice
ASHLEY BROWN VOCALS
Ashley Brown originated the title role in Mary Poppins on Broadway, for which she received Outer Critics, Drama League, and Drama Desk nominations for Best Actress. Ashley also starred in the national tour of Mary Poppins, garnering a Garland award for Best Performance in a Musical. Ashley's other Broadway credits include a star turns as Belle in The Beauty and The Beast, Jack O'Brien's national tour of The Sound Of Music, and Disney's On The Record. At Chicago's Lyric Opera, Ashley starred in both Oklahoma and Showboat. Ashley has also performed with virtually all of the top orchestras in North America, including the Boston Pops (twice), the New York Philharmonic, The Hollywood Bowl Orchestra at Disney Hall, The Pittsburgh Symphony, the New York Pops at Carnegie Hall (five times), Fort Worth Symphony, the Cincinnati Pops, Philadelphia Orchestra (twice), and more. Ashley's PBS special called Ashley Brown: Call Me Irresponsible received a PBS Telly Award. Other television credits include NBC's The Sound of Music Ashley is the voice of Disneyland's 60th anniversary celebrations, singing the newly-penned Richard Sherman song, A Kiss Goodnight. Both Ashley's album of Broadway and American Songbook standards, Speak Low, and her newly recorded Christmas EP, The Secret of Christmas, are available on Ghostlight/Warner Brothers.
Music Director Endowed Chair Supporters: Ted + Lola Rozsa
Chorus Supporter: The Borak Forte Program
Rune Bergmann, conductor (biography on page 11)
Jacquelyn Wagner, soprano
Marianne Beate Kielland, mezzo soprano
Calgary Philharmonic Chorus
Calgary Philharmonic Orchestra
Gustav Mahler
Symphony No. 2 in C Minor
I. Allegro maestoso
II. Andante moderato
III. In ruhig fliessender Bewegung
IV. Urlicht (Primeval Light)
V. Im Tempo des Scherzo
Symphony No. 2 in C Minor (Resurrection Symphony)
Gustav Mahler (1860–1911)
In 1894, when Mahler was finishing Symphony No. 2 (Resurrection Symphony), he was the chief conductor at the Stadttheater Hamburg. At that stage of the game, composing took second place to conducting, but it turned out Symphony No. 2 would become one of Mahler's most loved and successful compositions. It was his first work that celebrated his belief in the beauty of the afterlife and resurrection.
It all began six years earlier, in 1888, as a symphonic poem he called Totenfeier (Funeral Rites) that drew inspiration from his own search for meaning in life and death. Mahler began work on it not long after completing Symphony No. 1 at the age of 28, but then nothing much happened to move Symphony No. 2 forward for three years. Then, in 1891, Mahler left the Budapest Opera for his post at Stadttheater Hamburg, where he remained until 1897. While there, Mahler attracted the attention of conductor Hans von Bülow, who was known to champion new music. However, when Mahler played him Totenfeier, von Bülow is said to have been underwhelmed. According to the Mahler Foundation website, von Bülow said, "If what I have heard is music, I understand nothing about music." Mahler's next step was to Vienna, where he assumed conducting duties at the Hofoper. He spent a decade in the musical capital of Europe, conducting 100 operas, including three world premieres. But while Vienna was the musical capital of Europe in the late 19th century, it was also such a hotbed of antisemitism that Mahler, who was Jewish, converted to Catholicism prior to tenure at the Hofoper. Mahler grew up in a small town in Bohemia, loving the sounds of a culture he felt excluded from as a Jew — German folk music, dance music and military marches. He began playing his grandparents' piano as a four-year-old. By the age of 10, he was regarded as something of a wunderkind and performed for other children. In 1875, when he was 15, his younger brother Ernst died, prompting Mahler to write his first opera, Herzog Ernst von Schwaben as a tribute (the work has been lost to time). Mahler was accepted to study at the Vienna Conservatory, where he was a fan of Anton Bruckner, whose Symphony No. 3 had received a withering local reception. This concert has no intermission Program and artists subject to change without notice
Mahler and the other music students showed their support by adapting it into a piece for piano and performing it for Bruckner.
Mahler made his living more as a conductor than composer, but Symphony No. 2 has more than endured — it was voted the fifth-greatest symphony ever written according to a survey of conductors by BBC Music Magazine And despite von Bülow's initial disdain for Totenfeier, he became a supporter of Mahler, who stepped in for von Bülow as his health declined. When his mentor died in 1894, a poem recited at his funeral — Friederich Gottlieb Klopstock's Die Auferstehung — provided Mahler with the ending for Symphony No. 2 (he adapted it into the finale). The symphony premiered at the Berlin Philharmonic in 1895, conducted by Mahler with assistance from Richard Strauss.
JACQUELYN WAGNER SOPRANO
Jacquelyn Wagner is in high demand by such prestigious opera houses and festivals as the Paris Opera, the Teatro alla Scala, the Zurich Opera House, the Gran Teatre del Liceu of Barcelona, the Deutsche Oper Berlin, and the Salzburg Festival. The American soprano is enjoying resounding success in such different repertoire as Mozart, Handel, Verdi, and Puccini, with a special focus on the German Fach and the iconic jugendlich-dramatische roles by Wagner, Strauss, and Weber. In recent seasons, she has made several house debuts: at the Puccini Festival in Torre del Lago as Magda in La Rondine, at the Stuttgart State Opera as Contessa in Le nozze di Figaro, at the Teatro Regio of Turin Donna Anna in a new production of Don Giovanni (Riccardo Muti), at the Vienna State Opera as Donna Ann, and at the Teatro Real as the acclaimed Arabella. She also returned to the MusikTheater an der Wien as Theodora, and as Agathe in a new production of Der Freischütz As Oceane, the artist celebrated a triumphant success at the Deutsche Oper Berlin. Jacquelyn was born near Detroit into a musical family and studied at the Manhattan School of Music and at Oakland University of Michigan. She is a winner of numerous international competitions, including the Francisco Vinas' International Vocal Competition, the Renata Tebaldi Vocal Competition and the Panasonic Voice Competition in New York at Alice Tully Hall.
MARIANNE BEATE KIELLAND MEZZO-SOPRANO
Mezzo-soprano Marianne Beate Kielland is famous for her strong stage presence and musical integrity. Gramophone magazine writes about her that "the mezzo-soprano is quite outstanding: strong, firm, sensitive in modulations, imaginative in her treatment of words, with a voice pure in quality, wide in range, and unfalteringly true in intonation." Marianne is educated from the Norwegian Academy of Music, where she studied with Svein Bjørkøy. She has also studied with Oren Brown and Barbara Bonney. One of Europe's foremost concert singers, she regularly appears in the concert halls of Europe, Japan, and America with conductors such as Masaaki Suzuki, Andrew Manze, Michel Corboz, Leonardo Alarcon, Herbert Blomstedt, Christopher Moulds, Jordi Savall, Rinaldo Alessandrini, Rene Jacobs, Pablo Heras-Casado, Han-Na Chang, Juanjo Mena, and Ottavio Dantone. Although Marianne has focused on the concert repertoire over the course of her 25-year career, she has also performed operas on major stages: Bolshoi Theatre in Moscow, Opera Comique in Paris, Opera Royal of Versailles, Salzburg Mozartwoche, and New National Theatre in Tokyo. In 2012 she was a Grammy nominee for Best Vocal Classical Album for Veslemøy Synsk by Olav Anton Thommessen. With this and more than 65 other recordings and a wide range of repertoire and performances, she is established as a remarkable interpreter of music from baroque to contemporary era.
THE GLOBAL SPOTLIGHT IS ON AND CALGARY IS TAKING CENTRE STAGE BY CALGARY ECONOMIC DEVELOPMENT
MEDIA
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DONORS AND 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.
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John + Ethelene Gareau Endowed Chair Concertmaster: Diana Cohen
Peter + Jeanne Lougheed Endowed Chair Associate Concertmaster: John Lowry
Hotchkiss Endowed Chair
First Violin Section Member
H.D. Klebanoff Endowed Chair
First Violin Section Member: Olga Kotova
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: Stephanie Soltice-Johnson
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: Laurent Grillet-Kim
Naomi Lacey Endowed Chair in Honour of Philip Hansen
Principal Cello: Arnold Choi
Georgina Clark
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Mathilde + Emmanuel Coisne
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Fern Cyr
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WHEN THINGS
HOW THE ORCHESTRA STAYS ON TRACK WHEN PERFORMING LIVE-TO-FILM
BY DAVID SUSSMAN
The Calgary Phil presents many different musical offerings. One of the ways we present performances is by playing the soundtrack live as patrons watch a film.
Some film composers are extremely well known, and their music is instantly recognizable. These can be thrilling scores to play and the live presentation of the music really shows how integral the music is to these films.
However, the music must line up exactly with the film action, especially if there is singing or events that require musical punctuation. To accomplish this, we use what is called a 'click track.'
A click track is an audible metronome signal or click, that is heard through headphones or an earpiece that allows us to sync with the film perfectly. It was invented in the 1930s, the Golden Age of Hollywood, by composers Max Stein and Carl Stalling (Warner Brothers' house composer for animated cartoons).
Before each musical segment, there are preparatory beats to prepare us for the tempo. Sometimes, the first beat of every bar has an emphasis or a slightly different sound, so that we know exactly where we are in each bar. If the speed or tempo changes within a segment, we get more preparatory beats at the new pace.
It takes some getting used to for the musicians. Wearing an earpiece can detract from our ability to hear our fellow players clearly for blend, balance and tuning. We can adjust the volume of the click to our own comfort level.
For most films, every musician has a click track, but for a few films we have presented, only a few key players and the conductor had them. We usually use wired earpieces (one must walk carefully on stage so as not to trip over all the wires!) but have also experienced wireless ones.
The conductor also has a monitor with the movie playing. On that monitor, 'streamers' appear leading to important coordination points between the music and the visuals.
When playing with a click track, there is no room for expansive musical interpretation. It must always be the exact tempo. Interestingly enough, because the films undergo editing, there are places where the click track is unexpectedly erratic. It suddenly goes a little faster or slower. We mark these in our parts, so that we can be with the film.
When the soundtracks were originally created, the musicians recorded the music in small chunks. However, when we present a film, we are playing the entire score straight through in real time requiring increased stamina and concentration.
There are segments of the films where there is no music, and we have a timing
(e.g. 1'34") before the next segment. The conductor usually alerts us to be ready for the preparatory beats. Sometimes we may start watching the movie in the rests and suddenly realize it is time to play. Some of us sit behind the screen, so it is challenging to try to read the backwards subtitles. Others may be very close and get a neck ache from looking up.
At most conventional screenings, the audience leaves during the end credits, but that is where there is some of the most terrific (and often challenging) music. At our screenings, the appreciative audience members stay right to the end!
It is fun for the musicians to play some of the most famous movie scores in their original form, and for the audience, the power of the music in these films really comes through.
DAVID SUSSMAN Assistant Principal Oboe + English Horn
