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DEC/JAN 2012/13

ยก FLAMENCO! At the Robbins Lighter Classics

D.T. BAKER

The Coles Notes version

WE WISH YOU A McDADES CHRISTMAS

A Celtic ESO holiday show

CLASSICAL SAXOPHONE

Compositions of Colour at the Masters

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SIGNATURE Contents Volume 28, Number 4 | DECEMBER/JANUARY 2012/13 pg. 5

ARTISTIC & LEADERSHIP TEAM

pg. 6

EDMONTON SYMPHONY ORCHESTRA 2012/2013

pg. 7

(Eddins, Petrov, Waldin, Buchmann, Rival)

PUBLISHED FOR the Edmonton Symphony Orchestra at the Francis Winspear Centre for Music 9720 102 Avenue, Edmonton AB T5J 4B2 Administration: 780-428-1108 Box Office: 780-428-1414 E-mail: info@winspearcentre.com Website: www.edmontonsymphony.com ESO EDITOR

WELCOME

10

D.T. BAKER THE COLES NOTES VERSION

An ESO Associate Director helps patrons understand classical reasoning

D.T. Baker D.T. Baker, Megan “Azulita” Matheson Hamilton

THE EDMONTON SYMPHONY ORCHESTRA

PROGRAM NOTES

2012/2013 SEASON

Letters to the editor, comments and/or suggestions are welcome.

PUBLISHED BY

ROBBINS LIGHTER CLASSICS A CHRISTMAS FEAST (DECEMBER 20)

ASSOCIATE PUBLISHER EDITOR ART DIRECTOR ASSOCIATE ART DIRECTOR ASSISTANT ART DIRECTOR ADVERTISING SALES

Ruth Kelly Joyce Byrne Michelle Lindstrom Charles Burke Andrea deBoer Colin Spence Anita McGillis Dennis Clark Glenda Dennis Kathy Kelley David Frazier

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They may be from Nova Scotia, but flamenco ensemble Compañía Azul’s passionate flamenco performances are authentic, colourful, and exciting. They join William Eddins and the ESO for a fiery Latin Lighter Classics on January 17 (see page 23). Cover photo by Holly Crooks.

ON THE COVER

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pg. 16

LANDMARK CLASSIC MASTERS COMPOSITIONS OF COLOUR (JANUARY 12)

pg. 19

Pierre Simard, conductor William H. Street, saxophone

Symphony Orchestra, is published from September to June. Contents copyright 2012 by Edmonton Symphony Orchestra/ Francis Winspear Centre for Music. No part of this publication should be reproduced without written permission.

ROBBINS POPS / CHRISTMAS AT THE WINSPEAR A CELTIC CHRISTMAS WITH THE McDADES (DECEMBER 21, 22 & 23) Steven Reineke, conductor The McDades, special guests Greenwood Singers (Robert de Frece, Music Director)

Signature magazine, the official publication of the Edmonton

DECEMBER/JANUARY 2012/13

pg. 13

Steven Reineke, conductor Kira Guloien, vocalist Richard Eaton Singers (Leonard Ratzlaff, Music Director)

10259 105th Street, Edmonton AB T5J 1E3 Inquiries: 780-990-0839 Fax: 780-425-4921 Email: sales@venturepublishing.ca Website: www.venturepublishing.ca PUBLISHER

pg. 10

19

ROBBINS LIGHTER CLASSICS FLAMENCO! (JANUARY 17)

pg. 23

DEDICATED SERVICE

pg. 26

DONOR LISTINGS

pg. 28

ESO / FRANCIS WINSPEAR CENTRE FOR MUSIC BOARD OF DIRECTORS & ADMINISTRATION

pg. 33

William Eddins, conductor Compañía Azul, Flamenco ensemble

15 years at the Winspear Centre

(1 page)

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Edmonton Recital Society

Season Seven

January 6, 2013 (Sunday) 2 p.m.

Emerging Artist

Kendra James, viola Sarah Ho, piano

February 10, 2013 (Sunday) 2 p.m.

ESO AllStars

Julianne Scott, clarinet Sarah Ho, piano

Holy Trinity Anglican Church 10037 84 Avenue, Edmonton Admission by donation For more information, please visit us at www.edmontonrecital.com or contact us at 780.264.2844.

Special Thanks

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W


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VER THE LAST 10 YEARS, D.T. BAKER HAS BECOME A HIGH-PROFILE MEMBER OF

the Edmonton Symphony team. A familiar face at pre-concert lectures and post-concert gatherings, his program notes are also a mainstay of ESO concerts. He’s the musical “tour guide,” the one who enables our patrons – especially those without an extensive music background – to have their ears opened a little wider, to gain a deeper understanding and therefore a more profound concert experience. This passion to enrich the audience experience made him an ideal choice to help the newly-created department of Educational Outreach increase the reach and impact of learning and community programs, all part of the ESO’s mandate to bring music education to the community at large. You can get to know more about D.T. (for instance, that he’s known as “Dave” around here) on pages 10 and 11 of Signature. Creating the ideal circumstances in which to experience live orchestral music at its best is something that begins with your ticket purchase and ends with the treasured memories with which you leave the hall. It is not just the superb professionalism of your ESO musicians, but the hard work of everyone in the organization that makes that possible. William Eddins

Annemarie Petrov

ESO / Winspear Centre Vision: Providing outstanding music experiences for individuals, families and the community and a place where those experiences evoke the height of personal emotion, adventure and excitement.

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A H

aving recently completed his tenure as Enbridge Resident Conductor of the Edmonton Symphony Orchestra, LUCAS WALDIN returns to the ESO in the dual role of Enbridge Artist in Residence and Community Ambassador. This newly created position will see a focus on establishing strong ties with our community through

E

RIC BUCHMANN studied violin at the

Conservatoire de musique de Montréal and at the Université de Montréal, where he earned a Bachelor of Music and a DESS degree. In 2001, he moved to Los Angeles to continue his studies at the University of Southern California. Two years later, he joined the New World Symphony in Miami Beach where he played under the direction of Michael Tilson Thomas and many other music directors from all over the world. His

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Fleming and the KwaZulu-Natal Philharmonic Orchestra. On May 8, 2012, Bill made his Carnegie Hall debut conducting the ESO at a memorable concert featuring four Canadian soloists, and music by three Canadian composers alongside Martinů’s rarely-performed Symphony No. 1.

inventive outreach initiatives in addition to programming and presenting the ESO’s education and family concerts. With frequent appearances as well on a variety of subscription series, Lucas will lead the ESO in more than 20 concerts during the 2012/13 season. During his time as Enbridge Resident Conductor, Lucas collaborated with some of North America’s finest musicians including Jens Lindemann, Angela Cheng and Sergei Babayan. An experienced conductor of pops and crossover, he has worked with a range of artists such as Ben Folds, Chantal Kreviazuk and the Canadian Tenors. Strongly dedicated to Canadian composers, he has performed over 25 Canadian compositions including six world premieres, and has collaborated closely with composers such as John Estacio, Allan Gilliland, and Malcolm Forsyth. In recognition of his valuable contribution to the artistic life in Canada, Lucas was awarded the 2012 Jean-Marie Beaudet Award in Orchestra Conducting by the Canada Council for the Arts. Lucas studied conducting and flute at the

Cleveland Institute of Music, and has conducted in master classes with Helmuth Rilling, Michael Tilson-Thomas, Colin Metters and Bernard Haitink. In 2012, he was invited to conduct the National Arts Centre Orchestra (Ottawa) in a conductor workshop, and as a participant of the St. Magnus Festival, Orkney, Lucas conducted both the Scottish Chamber Orchestra and the BBC Scottish Symphony. Prior to his appointments with the Edmonton Symphony, Lucas was twice a Discovery Series Conductor at the Oregon Bach Festival and Assistant Conductor of Cleveland’s contemporary orchestra Red {an orchestra}. He has performed with a number of orchestras across Europe, including the Jugendsinfonieorchester Kassel, Bachakademie Stuttgart, and Staatstheater Cottbus. The 2012/13 season will see debuts with the Modesto Symphony Orchestra, the Kitchener-Waterloo Symphony and Orchestra London Canada.

Photo: Michael Woolley

Photo: Michael Woolley

is also quite fond of biking, tennis, reading and pinball. He recently completed building a state-ofthe-art recording studio at his home in Minneapolis, where he lives with his wife Jen (a clarinetist), and their sons Raef and Riley. While conducting has been his principal pursuit, he continues to perform as pianist, organist and harpsichordist. He has conducted the ESO from the keyboard on many occasions, and in 2007, joined then-ESO concertmaster Martin Riseley and cellist Yo-Yo Ma in Brahms’s Piano Trio No. 1 at a gala concert celebrating the 10th anniversary of the Winspear Centre. In 2008, he conducted Gershwin’s Porgy and Bess for Opéra Lyon, leading to repeat performances in Lyon, London, and at the Edinburgh International Festival in 2010. Other international highlights include a 2009 tour of South Africa, where Bill conducted three gala concerts with soprano Renée

Photo: Rachel J Photography

Photo: Michael Woolley

ow in his eighth season as Music Director of the Edmonton Symphony Orchestra, WILLIAM EDDINS has a captivating energy, a magnetic stage presence, and an adventurous musical curiosity that continues to propel the orchestra to unique, new and exciting achievements. His commitment to the entire spectrum of the ESO audience brings him to the podium for performances in every subscription series, as well as for a wide variety of galas and specials. A distinguished and versatile pianist, Bill was bitten by the conducting bug while in his sophomore year at the Eastman School of Music. In 1989, he began conducting studies at the University of Southern California with Daniel Lewis, and Assistant Conductorships with both the Minnesota Orchestra and the Chicago Symphony (the latter under the leadership of Daniel Barenboim) followed. Bill has many non-musical hobbies including cooking, eating, discussing food and planning dinner parties. He

violin teachers include Sonia Jelinkova, Vladimir Landsman, Jean-François Rivest, William Preucil and Martin Chalifour. Eric Buchmann joined the First Violin section of the Edmonton Symphony Orchestra in 2006, and was appointed Associate Concertmaster following auditions in 2009. Since then, Mr. Buchmann has acted as Interim Concertmaster with the ESO, performing as soloist on numerous occasions. He is also a member of the Alberta Baroque Ensemble under the direction of Paul Schieman.

Photo: Michael Woolley

ARTISTIC & LEADERSHIP TEAM N

www.EdmontonSymphony.com

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William Eddins,

Lucas Waldin, Enbridge Artist in Residence & Community Ambassador

Music Director

Photo: Michael Woolley

ARTISTIC & LEADERSHIP TEAM

A

NNEMARIE PETROV, Executive

Photo: Michael Woolley

Director of the Edmonton Symphony Orchestra (ESO) and Francis Winspear Centre for Music, brings more than 25 years of experience to a role that oversees one of Alberta’s flagship performing ensembles and one of the world’s premier concert halls. With a combined annual budget of over $12 million, Annemarie supervises day-to-day operations, long-term planning, government relations and com-

R

OBERT RIVAL, a native

Albertan, returns for a second season as the Edmonton Symphony Orchestra’s Composer in Residence. His music, written in a contemporary tonal style and inspired by the Canadian wilderness, literature, and classical and romantic musical forms, has been described as “well crafted”, “engaging”, “immediately appealing”, “melodic and accessible”, “sophisticated”, and

munity support of both organizations. A native of Montréal, Annemarie is a graduate of McGill University where she majored in French Horn Performance. Following several years in Europe, she returned to Canada and stepped into the role of General Manager of Symphony New Brunswick. Work at the National Arts Centre Orchestra was followed by the Winnipeg Symphony Orchestra, where she also oversaw the popular Winnipeg New Music Festival. She joined the Edmonton Symphony Orchestra and Winspear Centre in 2007. Annemarie’s profound love of the arts has been her guide in a career focused on every aspect of the concert experience – from international orchestral tours to concerts in curling rinks in Canada’s North. She is fuelled by the belief that participation in live music is essential to our well-being and is driven to make it accessible to everyone. Annemarie is a frequent guest speaker at arts industry conferences and has served on the board of Orchestras Canada. “memorable”. During his first season, he composed a dramatic symphonic poem, Achilles & Scamander, and for the orchestra’s Carnegie Hall debut, Lullaby, lauded as an “atmospheric dream world” that he dedicated to his newborn son, Raphaël. The ESO also performed his light-hearted Scherzo “Crème Brûlée,” and on its education concerts, The Great Northern Diver. Other orchestral works include Symphony No. 1 “Maligne Range,” and a children’s work, Maya the Bee. Rival oversees the ESO’s Young Composers’ Project. He has also launched two new initiatives: podcasts on contemporary music the orchestra programs and liveblogging of its open dress rehearsals. He holds a doctorate in composition from the University of Toronto, is married to Chantal-Andrée Samson, a realist oil painter, and enjoys running in Edmonton’s river valley. www.robertrival.com

Composer in Residence program generously sponsored by

DECEMBER/JANUARY 2012/13

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Robert Rival,

Composer in Residence

THE EDMONTON SYMPHONY ORCHESTRA

2012/2013 SEASON

[ VIOLIN I ] Rhonda Taft 3 Eric Buchmann, Rob Aldridge Interim Concertmaster The John & Barbara Poole [ FLUTE ] Family Concertmaster Chair Elizabeth Koch 1 Virginie Gagné, Shelley Younge 2 Interim Assistant Concertmaster [ OBOE ] Broderyck Olson Lidia Khaner 1 Richard Caldwell Paul Schieman 2 Joanna Ciapka-Sangster The Steven & Day Alissa Cheung 3 LePoole Assistant Anna Kozak Principal Oboe Aiyana Anderson-Howatt 3 Chair Neda Yamach Jim Cockell [ CLARINET ] Julianne Scott 1 [ VIOLIN II ] David Quinn 2 Dianne New 1 Susan Flook 2 [ BASSOON ] Heather Bergen William Harrison 1 3 Pauline Bronstein Edith Stacey 2 Robert Hryciw Zoë Sellers [ HORN ] Murray Vaasjo 3 Allene Hackleman 1 Tatiana Warszynski Megan Evans 2 Gerald Onciul 2 [ VIOLA ] Donald Plumb 2 1 Stefan Jungkind Charles Pilon 2 [ TRUMPET ] Rhonda Henshaw Robin Doyon 1 Mikiko Kohjitani William Dimmer 2 Andrew Bacon [ TROMBONE ] [ CELLO ] John McPherson 1 Colin Ryan (1) Kathryn Macintosh 2 The Stuart & Winona Davis Principal Cello Chair [ BASS TROMBONE ] Sheila Laughton 2 Christopher Taylor 1 Ronda Metszies Gillian Caldwell [ TUBA ] Derek Gomez Scott Whetham 1 Victor Pipkin [ TIMPANI ] [ DOUBLE BASS ] Barry Nemish 1 1 Jan Urke John Taylor 2 [ PERCUSSION ] Janice Quinn Brian Jones 1

The ESO works in proud partnership with the AF of M (American Federation of Musicians of the United States and Canada) Local 390.

[ HARP ] Nora Bumanis 1 1 PRINCIPAL 2 ASSISTANT PRINCIPAL 3 ON LEAVE

ORCHESTRA PERSONNEL Eric Filpula, Orchestra Personnel Manager Sheila Jones, Librarian The following musicians may appear at performances in this issue: Jeanette Comeau Viola Elizabeth Faulkner Flute Mary Fearon Horn Matthew Howatt Bassoon Alexander Lozowski Violin Regine Maier Violin Michael Massey Keyboards John McCormick Percussion Josh McHan Bass Brian Sand Trumpet Diana Sapozhnikov Violin Yukari Sasada Bass Martina Smazal Viola Jeremy Spurgeon Keyboards Elaine Stepa Percussion Dan Sutherland Clarinet Kate Svrcek Violin Brian Thurgood Percussion Dan Waldron Oboe Robert Walsh Guitar Joanne Yu Cello Keri Zwicker Harp

In addition to our own concerts, the ESO provides orchestral accompaniment for performances by Edmonton Opera and Alberta Ballet.

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A monthly feature from Sherbrooke Liquor Store

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Make sure to check out...

Winesdays Every Wednesday has become WINEsday at Sherbrooke Liquor from 4 – 7p.m. Our hosts, ISG Sommeliers Rosanne & Richard Repchuk choose two or three products to sample with our customers, and compose a corresponding blog that is posted on our website (Sherbrooke Sips with R & R). The blog is quite thorough with as much information as they can compile about the products, as well as food/recipes ideas. They’ve been handling this program for several years and have also helped host Winery Ambassadors during their time. If you like what you taste, you’ll receive 10% off of the choice.

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Stay current with Sherbrooke Liquor. Be the 1st to know about the new products that arrive constantly on our shelves. We like to share anything that we find interesting about most liquor products, and hope that you find it interesting as well! Keep informed of any events we’re participating in!

Happy New Year! We are all acquainted with the first few verses of Burns’ “Auld Lang Syne”, but how familiar are you with the last three stanzas?

We twa hae run about the braes, and pu’d the gowans fine; But we’ve wander’d mony a weary fit,sin auld lang syne. We twa hae paidl’d i’ the burn,frae morning sun till dine; But seas between us braid hae roar’d sin auld lang syne. And there’s a hand, my trusty fiere ! and gie’s a hand o’ thine ! And we’ll tak a right gude-willy waught, for auld lang syne.

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F FEATURE

FEATURE

Photo: Aaron Au

BY MICHELLE LINDSTROM

FAN OF THE

CLASSICS

HE MET RINGO STARR AND INTERVIEWED JON BON JOVI, BUT D.T. (DAVE) BAKER’S LOVE AND COMMITMENT TO CLASSICAL MUSIC HOLDS STRONG, AND HAS DONE SO SINCE HE WAS EIGHT YEARS OLD

D

AVE BAKER IS KNOWN AND REFERRED TO AS “D.T.” BY ESO PATRONS,

as “David” only by his mother and eldest sister and “The guy who mows the lawn” by his wife of 13 years, Virginia Clevette, Manager of Edmonton’s Stanley Milner Library. When Dave and Virginia reconnected 20 years after a six-month high school dating stint in the late-’70s, Virginia was a professional soprano and Dave was the Edmonton Journal’s Classical Music Writer (critic). To get over her nerves, focus and practise for an upcoming show during that time of their lives, Virginia had to put things into perspective: yes, the man watching football downstairs was a critic, but he was also just the guy who mowed their lawn. Over the last decade, ESO patrons have met up with Dave in the Winspear Centre’s lobby before or after performances to hear about things like why a composer sped up the last half of a violin concerto or how an important theme in one movement shows up slightly altered in a key 10 SIGNATURE

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moment of the finale. “When I see light bulbs going off in peoples’ eyes, that moment of ‘I get it’, that to me is why I do what I do,” Dave says. “I love those moments because it means when they go into that concert, they’re going to listen that much more deeply and understand it better and hopefully it means for a richer concert experience.” Patrons like Jim Beck and his wife have shared a few dozen light bulbs with Dave after purchasing their first set of Saturday Master Series tickets in the 2011/12 ESO season. The pre-concert talks with Dave are what kept Jim going back, considering it was really his wife’s suggestion to purchase the tickets in the first place. “I find I really enjoy and get far more satisfaction from the concerts because of (Dave’s) dedication to trying to help concert-goers understand what is going on with the pieces selected for the performance,” Jim wrote in an email to ESO staff. He and his wife even attended 26 ESO shows above-and-beyond the standard 12 shows offered with their Masters’ subscription. www.EdmontonSymphony.com

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THIS PAST SUMMER, DAVE WAS PROMOTED TO ASSOCIATE DIRECTOR OF

Educational Outreach at the ESO. It’s a new department to head up, but if anyone can inspire others to learn more about classical music and its composers, it’s Dave. “He’s a great speaker and he knows his stuff,” Virginia says. “He can bring it to other peoples’ level. He knows not everybody has been immersed in this most of their lives and he gets that.” It is also true that not every kid in Grade 3 wants to, or even thinks to, read about classical music. “Classical music was my first love,” Dave says. “I was eight years old and I have the personality that if I like something, I like it a lot!” He gorged himself with history about classical composers and artists and became a self-taught expert, who also happens to have an English major. His new organizational position includes making the orchestra’s music more accessible, interesting and innovative for new and existing patrons – with the help of Lucas Waldin, Enbridge Artist in Residence and Community Ambassador. “He’s a true pro and he’s really committed to what he’s doing,” Dave says regarding Waldin. Their joint thinking led to this season’s educational concerts targeting the science curriculum of local schools. Dave says he’s embracing one of his biggest and exciting professional challenges with this season as an education-based ESO Associate Director. That says a lot for someone with 34 years of music-industry experience: eight years of FM rock radio broadcasting, and then various bouts with writing program notes (Signature magazine included), musical instruction, hosting, lecturing and being a program annotator. There’s so much to be gained from people’s exposure to this type of art form that we all love so much, Dave says. “The possibilities are just so limitless.” Virginia says this is the perfect job for her husband. “He excels at it. He’s a great writer, he’s a great speaker. He’s really found his place in life, which is not always common.”

THIS IS PROBABLY NOT THE DAVE YOU KNOW DAVE …

• was born in Queens, N.Y. and grew up in Washington, D.C. • came to Edmonton because his father taught at the University of Alberta. Dave then went to high school and university here. • grew up playing baseball but switched his sport of choice to hockey when moving to Canada • had the hockey position of goalie chosen for him, which he still plays recreationally once a week. • has five children – ages 29, 25, 21, almost-19 and 12. Two still live at home. • is the goalie coach for his son’s hockey team. His son plays right wing. “It’s better that way,” Dave says. • proudly owns every piece Beethoven – and Bob Marley and Brian Eno – ever made. • will be the narrator for an ESO Sunday Showcase performance in March 2013.

DECEMBER/JANUARY 2012/13

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Photo: Playhouse Publications

2012/2013 SEASON FAN OF THE CLASSICS

TOP SHELF: Dave blends his musical talents with sports. Once a week he dons a set of goalie pads, gloves and a helmet.

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ROBBINS LIGHTER CLASSICS

2012/2013 SEASON

A Christmas Feast

Thursday, December 20 | 8 PM

Steven Reineke, conductor Kira Guloien, vocalist Richard Eaton Singers (Leonard Ratzlaff, Music Director)

VARIOUS

A Christmas Fanfare (arr. Stephenson)

TRAD. (ENGLAND)

Sussex Carol (arr. Wilberg)

TRAD. (CATALONIA)

“Fum! Fum! Fum!” (arr. Wilberg)

TRAD. (AUSTRIA)

“Still, Still, Still” (arr. Wilberg)

TRAD. (FRANCE)

Carol to the King (arr. Wilberg)

YON

Gesù Bambino (arr. Tyzik)

BERLIN

“White Christmas” (arr. Dragon)

(8’)*

(3’)*

(2’)*

(6’)*

(5’)*

(6’)*

TCHAIKOVSKY

A Klezmer Nutcracker: Three Orchestral Miniatures (arr. Cohen) (5’)* Dance of the Sugar-Plum Fairy / Arabian Dance / Trepak

ADAM/DWIGHT

“O Holy Night” (arr. Wilberg)

(7’)*

INTERMISSION (20 minutes)

TRAD.

A Christmas Overture (Variations on Deck the Halls) (arr. Tyzik)

(3’)*

POLA/WYLE

“It’s the Most Wonderful Time of the Year” (arr. Reineke)

JESSEL

Parade of the Wooden Soldiers, Op.123 (arr.Gould)

ANDERSON Sleigh Ride

(3’)* (3’)*

BERNARD/SMITH

“Winter Wonderland” (arr. Stephenson) Series Sponsor

(3’)*

Christmas at the Winspear Sponsors

(4’)*

NILES

“I Wonder as I Wander” (arr. Reineke)

TRAD. (FRANCE)

“Angels from the Realms of Glory” (arr. Wilberg)

VARIOUS

Christmas Sing Along (arr. Reineke) “O Come, All Ye Faithful” / “Hark! The Herald Angels Sing” / “Joy to the World” / “Silent Night”

(5’)* (5’)* (6’)*

Program subject to change *indicates approximate performance duration

ARTIST BIOS

ARTIST BIOS

S

TEVEN REINEKE’S boundless

enthusiasm and exceptional artistry have made him one of the nation’s most sought-after pops conductors, composers and arrangers. Mr. Reineke is the newly appointed Principal Pops Conductor of the Toronto Symphony Orchestra, Music Director of The New York Pops at Carnegie Hall, and Principal Pops Conductor of the National Symphony Orchestra at the John F. Kennedy Center for the Performing Arts. He previously held posts as Principal Pops Conductor of the Long Beach and Modesto Symphony Orchestras and Associate Conductor of the Cincinnati Pops Orchestra. Mr. Reineke is a frequent guest conductor with The Philadelphia Orchestra and in the past year, has been on the podium with the Boston Pops and The Cleveland Orchestra. He made his Chicago Symphony Orchestra debut on July 4, 2012 at Ravinia. His extensive North American conducting appearances include Los Angeles, Houston, Seattle, Vancouver, Ottawa (National Arts Centre), Detroit, Fort Worth, Jacksonville, Tampa (The Florida Orchestra), Calgary, Memphis and Oklahoma City. He has become a favourite with ESO pops audiences, with 11 appearances since 2007.

(4’)*

Artists’ bios continue on page 14.

Concert Sponsor

Media Sponsor

Media Sponsor

Media Sponsor

Bill & Mary Jo Robbins DECEMBER/JANUARY 2012/13

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2012/2013 SEASON ROBBINS LIGHTER CLASSICS A Christmas Feast As the creator of more than 100 orchestral arrangements for the Cincinnati Pops Orchestra, Mr. Reineke’s work has been performed worldwide, and can be heard on numerous Cincinnati Pops Orchestra recordings on the Telarc label. A native of Ohio, Mr. Reineke is a graduate of Miami University of Ohio, where he earned bachelor of music degrees with honours in both trumpet performance and music composition. He currently resides in New York City. Mr. Reineke is represented by Peter Throm Management, LLC. Mr. Reineke last appeared with the ESO in September 2012.

B

orn and raised in Edmonton, KIRA GULOIEN moved to Toronto in 2008 to study acting at Ryerson Theatre School, where she played roles such as Elizabeth Proctor in The Crucible, Cleopatra in All for Love, and Amy in Company. Following her graduation, she had the incredible honour of touring Greece with The Women and War project, in which she played the title role in Judith Thompson’s Elektra in Bosnia. Other professional credits include Hometown with The Blyth Festival, Queen for a Day with April 30th Entertainment (starring Alan Thicke) and How to Succeed: A Musical Tribute to

hol i d ay p a r t i e s

Des McAnuff. Ms. Guloien was a Top 12 Finalist on the first season of CBC’s Triple Sensation. Up Next: Mrs. Walker in Tommy at The Stratford Festival. Kira grew up watching her parents (ESO bassist Rhonda Taft and jazz saxophonist P.J. Perry) perform at the Winspear Center. She couldn’t be more thrilled to follow in their footsteps and join the ESO for this concert. Kira Guloien first performed with the ESO in Platypus Theatre’s A Flicker of Light on a Christmas Night in 2004 and 2005, and hosted the Family Christmas Concert in 2007.

F

ounded in 1951, by the late Richard S. Eaton, Edmonton’s symphonic choir, RICHARD EATON SINGERS (RES), has played a leading role in the cultural community of the city for six decades. RES performances have included many Edmonton premieres of choral masterpieces such as Bach’s St. Matthew Passion and St. John Passion, Mendelssohn’s Elijah, Elgar’s The Dream of Gerontius, and Vaughan Williams’s Sea Symphony. RES has also commissioned and produced world premiere performances by Canadian composers, including Mark Sirett’s In Praise of Music, Christos Hatzis’s The Sepulcher of Life, and The Houses Stand Not Far Apart by John Estacio. In March 2010, the choir premiered A Song of the Seasons by Canadian composer Ruth Watson Henderson with text by E. D. Blodgett to celebrate the 25th anniversary of Leonard Ratzlaff ’s artistic leadership of RES. The choir recently commissioned John Estacio to compose “branche” (text by Ted Blodgett) in memory of former choir-member Frieda H. Haliburton. This will be premiered at the choir’s pre-tour concert, June 22, 2013. The choir has travelled extensively across Canada, to the Netherlands and Britain and has exchanged with other choirs including the Vancouver Bach Choir. During the summer of 2013, RES will be undertaking a concert tour of Germany. RES is honoured to have been associated with the Edmonton Symphony Orchestra for 60 years. This partnership has created many memorable choral events in our city, including in September 1997 the performance of Mahler’s 8th Symphony (“Symphony of a Thousand”) with the ESO to commemorate the opening of the Francis Winspear Centre for Music. The choir last appeared at an ESO performance in May 2012. This past November, the ESO played for RES at the choir’s presentation of Mendelssohn’s Elijah.

divers e w i n e m e nu

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Life`s Good Sing Along!

ROB & AUDIE In The Morning

5:30am to 9:00am www.963capitalfm.com Signature4_p12-15.indd 15

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ROBBINS POPS

2012/2013 SEASON

Christmas at the Winspear – A Celtic Christmas with the McDades Friday & Saturday, December 22 & 23 | 8 PM

Steven Reineke, conductor The McDades, special guests Shannon McDade Solon McDade Jeremiah McDade Andy Hillhouse François Taillefer Greenwood Singers (Robert de Frece, Music Director)

HOLIDAY OVERTURE Various (arr. Stephenson)

“CAROL OF THE BELLS” Leontovych (arr. Hamilton)

“WINTER WONDERLAND” Bernard (arr. Hermann)

ST. STEPHEN’S Trad. (arr. Gilliland)

SNOW SNOW

Seeger (arr. Gilliland)

THE WHISTLEBLOWER J. McDade (arr. Gilliland)

CHRISTMAS SING ALONG Various (arr. Reineke)

Program subject to change All orchestrations for the McDades by Allan Gilliland

ARTIST BIOS

ARTIST BIOS

“I’VE GOT MY LOVE TO KEEP ME WARM” Berlin (arr. Reineke)

“JINGLE BELL ROCK” Boothe/Beal (arr. Reineke)

GUILLO, PRAN TON TAMBORIN de la Monnoye (arr. Gilliland)

“THE LITTLE DRUMMER BOY” Davis/Simeone (arr. Gilliland)

“SEE AMID THE WINTER’S SNOW” Caswall/Goss (arr. Gilliland)

L’ARLÉSIENNE SUITE NO. 2: FARANDOLE Bizet

INTERMISSION (20 minutes)

SING WITH US CHRISTMAS Various (arr. Healey)

“O HOLY NIGHT”

Adam/Cappeau/Dwight (arr. Dragon)

“GLORIA” Bass

Series Sponsor

Christmas at the Winspear Sponsors

P

unching through the walls of tradition, THE MCDADES’ celtic rooted music fuses the spontaneity of jazz improvisation with infectious global rhythms. Their cutting edge sound is the perfect complement to their fiery performances. At the heart of the group are siblings Shannon, Solon, and Jeremiah, who grew up playing Canadian folk music alongside their parents and among artists from around the world, a unique upbringing that led to a love and respect for all music. Their groundbreaking compositions and innovative arrangements are characterized by stunning virtuosity and a near-telepathic interaction on stage.

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Bill & Mary Jo Robbins 16 SIGNATURE

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The siblings are joined by Andy Hillhouse, a multi-faceted guitarist whose influences range from mariachi to funk to choral music, and Francois Taillefer, a magnetic hand-drumming nomad who has travelled the world studying ethnic rhythms on percussion. The musical diversity of this tight, five-piece celebrates the very idea of what it means to be a Canadian musician. The McDades were winners of the 2007 Juno Award for Best Group Roots/Traditional Album, the 2007 Independent Music Award for Best World Album Traditional, and 2006 winners of the 2006 Canadian Folk Music Award for Best World Group and Best Instrumental Group. This is the group’s debut with the ESO.

F

ounded in 1980 by Robert de Frece, GREENWOOD SINGERS is dedicated to the performance of all types of choral music “ from Renaissance to Broadway.� The choir’s eclectic programming has made its concerts popular with Edmonton audiences since its debut in 1981. In the beginning, Greenwood Singers specialized in the performance of a cappella music from different stylistic periods. Its programming has now expanded to include works with soloists, instrumental ensembles and chamber orchestra. A versatile ensemble, the choir has performed frequently with the Edmonton Symphony Orchestra in a wide variety of programs which have included Mahler’s Symphony No. 8, Holst’s The Planets, family Christmas concerts, the concert version of Jerome Kern’s Show Boat, Orff ’s Carmina Burana (with Alberta Ballet) and the ESO’s 1992 reunion with the British rock group, Procol Harum.

  

       

       

Greenwood Singers has also performed with the Alberta Baroque Ensemble and has been heard on regional and national broadcasts on CBC Radio-Canada. In the summer of 2000, Greenwood Singers performed at the 24th Biennial World Conference of the International Society for Music Education and in the summer of 2001, sang for the opening ceremonies of the 8th IAAF World Championships in Athletics. The choir has released four CDs, produced by Arktos Recordings: WinterGreen: Songs of Christmas (1996), Home for the Holidays (1999), Randall Thompson: Ode to the Virginian Voyage / Frostiana (2002) and Joy to the World: Music for Advent & Christmas (2009). For more information, www.greenwoodsingers.org The choir last appeared with the ESO in December 2011.

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Mr. Reineke’s bio can be found on page 13.

DECEMBER/JANUARY 2012/13

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      Landmark CLassiC masters series.

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LANDMARK CLASSIC MASTERS

2012/2013 SEASON

Compositions of Colour Saturday, January 12 | 8 PM

ARTIST BIOS

Pierre Simard, conductor William H. Street, saxophone

ARTIST BIOS

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Symphony Prelude, 7:15 pm in the Third Level (Upper Circle) Lobby with D.T. Baker

DEBUSSY

Prélude à l’aprés-midi d’un faune

DEBUSSY

Danse (orch. Ravel)

DEBUSSY

Rapsodie for Orchestra and Saxophone

IBERT

Concertino da camera for Saxophone Allegro con moto Larghetto Animato molto

(10’)* (6’)* (10’)* (11’)*

INTERMISSION (20 minutes)

FREEDMAN

Oiseaux exotiques: Suite (selections) 1. Conga 2. Butterfly 3. Joropo 6. Llanero 9. Samba 12. La Negra

(14’)*

RAUTAVAARA

Cantus Arcticus, Op.61 “Concerto for Birds and Orchestra” Suo (“The Marsh”) Melankolia (“Melancholy”) Joutsenet muuttavat (“Swans Migrating”) Program subject to change *indicates approximate performance duration

(19’)*

IERRE SIMARD is Artistic Director with the Vancouver Island

Symphony and the Orchestre symphonique de Drummondville. He is acclaimed as a prominent Canadian conductor and composer-arranger, with a worldwide career. Passionate and versatile, he shares his love for music with a contagious enthusiasm that has garnered praise from critics, colleagues and audiences alike. Formerly, Assistant Conductor with the Vancouver Symphony Orchestra and Associate Conductor with the Calgary Philharmonic Orchestra, Mr. Simard is Guest Conductor with major orchestras in Canada (National Arts Centre, Toronto, Hamilton, Victoria, Les Violons du Roy, Trois-Rivières, Montréal’s Orchestre Métropolitain); the United States (Milwaukee, Tucson, Santa Cruz, Hot Springs); and Europe (Lisbon’s Orquestra Metropolitana, Brussels, Lyon and more). He has also guest conducted with Opéra de Montréal and the Lanaudière International Festival. A passionate performer of new music and large-scale symphonic masterpieces, Pierre Simard reinvents the concert formula, combining fantasy, other art forms, and even humour to music. His vast repertoire includes major symphonies and concertos, orchestral gems, choral works, his own compositions, and arrangements and new music premieres. His creativity and dedication towards younger audience members have enabled him to create original symphony shows which have been featured all across North America. He also guest conducts shows with artists such as Colin James, Ian Tyson, Chantal Kreviazuk, Nikki Yanofsky, the Canadian Tenors and Chris Botti. Pierre Simard was awarded the Canada Council for the Arts’ Jean-Marie Beaudet Award in Orchestral Conducting. He received two Opus Prizes from Québec’s Music Council and grants from Québec’s Arts Council. A Master’s Degree in Conducting from the Peabody Institute (Johns Hopkins University) and from the Conservatoire de musique de Montréal, Pierre Simard studied with Raffi Armenian, Frederik Prausnitz, JoAnn Falletta and Marin Alsop. This is Mr. Simard’s debut with the ESO.

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DECEMBER/JANUARY 2012/13

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Artists’ bios and program notes continue on pages 20 & 21.

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2012/2013 SEASON LANDMARK CLASSIC MASTERS Compositions of Colour

S

axophonist WILLIAM H. STREET has performed and lectured in Belgium, Canada, Federation of Russia, France, Great Britain, Japan, Mexico, Spain, Taiwan, Thailand, Ukraine, and the U.S. He tours frequently with pianist Roger Admiral and the Quatuor International de Saxophones emphasizing the importance of both solo and chamber music making. Strongly influenced by his former teachers Etheridge, Hemke and Londeix, Mr. Street has sought to make heard the music of today’s composers in his concerts. He can be heard on compact disc recordings Sunthesis: Les Septs Iles with L’Ensemble International de Saxophones, At Your Service with pianist Sylvia Taylor and the Centaur recording of Evolution V for five saxophonists by Marilyn Shrude, with the Chicago Saxophone Quartet. His recording of Tre Vie, Concerto for Saxophone and Orchestra by Malcolm Forsyth with Grzegorz Nowak and the Edmonton Symphony Orchestra was nominated for a 1999 Juno award and was re-issued in 2009. Other recordings include Quatuor International de Saxophone LIVE, heliosaxo, My Very First Solo, and Westwind, Canadian Music for Saxophone with Roger Admiral. Street also participated as a jury member for international competitions in Belgium, France, Russia, Thailand, Ukraine and the United States. He served as President of the North American Saxophone Alliance from 1992-1994. His published work includes the English translation of Hello! Mr. Sax, ou les Paramètres du Saxophone (Leduc) by Jean-Marie Londeix, “Elise Boyer Hall,” and “The Life of Elise Boyer Hall” in Les États Géneraux Mondiaux du Saxophone. Anna and William Street translated into English the Méthode d’étude de Saxophone by Jean-Marie Londeix and published by Éditions Henry Lemoine in Paris. William Street also served as editorial consultant for the biography Jean-Marie Londeix, Master of the Modern Saxophone by James Umble (Roncorp, 2000).

PPROGRAM R O G NOTES RAM NOTES Music of CLAUDE DEBUSSY (b. St. Germain-en-Laye, 1862 / d. Paris, 1918)

Prélude à l’après-midi d’un faune First performed: December 22, 1894 in Paris LAST ESO PERFORMANCE: OCTOBER 2012

“H

E IS CONSIDERED THE REVOLUTIONARY WHO, WITH THE

Prélude à l’après-midi d’un faune of 1894, set twentieth-century music on its way.” Such is summation of the impact of Claude Debussy by the late critic of the New York Times Harold C. Schoenberg. While regarded an important composer during his life, the decades since then have only increased Debussy’s stature as the greatest French composer. The “faune” of the title is not a young deer but rather the fauns of Greek myth – rural gods with the horns and legs of a goat. Debussy was inspired by L’après-midi d’un faune (“The Afternoon of a Faun”), a poem by his 20 SIGNATURE

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contemporary Stéphane Mallarmé. The work begins with one of the most sensuous, languid solos in music, a magical scene-setter performed on the flute, and unfolds luxuriantly into a rich, pastel landscape of everunspooling melody. It premiered on December 22, 1894, and its first conductor, Gustave Doret, recalled, “There were cheers. The orchestra itself applauded. An encore was demanded, and I was forced to grant it. I broke the rules, thinking that it had been a long time since a masterpiece of this class had been presented.”

Danse Music orchestrated by Ravel 1922-23 THIS IS THE ESO PREMIERE OF THE PIECE

F

IVE YEARS AFTER DEBUSSY’S DEATH, THE NEW HEAD OF

Debussy’s old publishing house, Fromont, commissioned Maurice Ravel to orchestrate music of Debussy as an homage. As Fromont had been a publisher of Debussy’s early works, Ravel chose two of those, both originally written for piano solo. The lively and engaging Tarantelle styrienne dates from 1890; it is contrasted with a Sarabande, one of the movements of the suite Pour le piano of 1901, marked in the piano score as “Avec une élégance grave et lente” (“with a serious elegance, and slowly”).

Rapsodie for Orchestra and Saxophone First performed: May 11, 1919 in Paris LAST ESO PERFORMANCE: JANUARY 1993

A

PATENT FOR THE SAXOPHONE WAS REGISTERED BY

Adolphe Sax in 1846, and soon after, a number of Sax’s French countrymen began giving the instrument some token exposure in their music. As the new century dawned, wealthy American arts patron and President of the Orchestral Club of Boston, Elise Hall (1853-1924) was advised by her doctor to take up the saxophone – for health reasons. She was disappointed in the quantity and quality of works for her adopted instrument, so she set about commissioning new works for it. Among those she engaged were Vincent d’Indy, André Caplet, and, in 1893, Claude Debussy. He dragged his feet terribly over the commission for what he called “this aquatic instrument,” noting humorously in a letter to a friend, “Considering this fantasy was ordered, and paid for, and eaten more than a year ago, I realize I am behind with it.” The fantasy was rescored as a rapsodie, and it is curious to note that a copy of the score, signed by Debussy, currently resides at the Bibliotheque National de Paris and is dated 1903 – five years before the score was ever sent to “the Saxophone Lady.” The work was never performed publicly until 1919, at a commemorative concert following Debussy’s death. The Rapsodie begins mysteriously in the strings, and the soloist’s entrance picks up on that; Debussy’s ability to create a luxuriantly unfolding melody is much in evidence here. There is never a sense of hurry, the landscape has a pastoral feel, though also very nocturnal. The saxophone is called upon to play lengthy passages featuring tricky syncopations and languidly held long notes. Halfway through, the mood becomes decidedly more decisive and dramatic in the orchestra, though the saxophone seems to settle the mood once again as it dictates the emotional content of the work. The final section picks up the pace, as the saxophone begins an undulating dance, still full of mystery, with a slightly Arabian fragrance to it – and a surprisingly declamatory ending. www.EdmontonSymphony.com

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Concertino da camera for Saxophone JACQUES IBERT

(b. Paris, 1890 / d. Paris, 1962) First performed: 1st movement premiered September 1935 in Paris. Entire work premiered December 1935 in Paris

THIS IS THE ESO PREMIERE OF THE PIECE

I

N THE GENERATION WHICH FOLLOWED THE GREAT WRITERS FOR

orchestra such as Ravel and Debussy, many French composers became quite expert in writing for smaller forces. Jacques Ibert was one of those, with a particular ear for wind sonorities. He wrote his chamber concerto for saxophone in 1935, scored for the soloist plus 11 instruments. It opens with a quick feeling of tension in the ensemble, but the soloist’s entrance ushers in a cosmopolitan, suave sensibility. The spare instrumental forces provide a surprisingly warm backdrop for the saxophone’s passages, which range from nimble to long-breathed and lyrical. While the soloist dominates, the ensemble provides important counter-material, picking up on the saxophone’s varying emotional shading. The movement ends in happy collaboration. The Larghetto central section is begun with a soft whisper by the saxophone, haunting and almost forlorn. The ensemble tiptoes in as the saxophone continues its plangent song. Seamlessly, the instruments blend with the soloist in a rich and plaintive song, suddenly abated as, without a pause, the final section, Animato molto, scurries in almost mischievously. This movement is full of élan, but it still showcases the saxophone’s full arsenal of sounds, ranging through its entire compass, and blending demanding fingering and breath control with dynamic shifts and wide leaps. There is a brief cadenza before the sense of play with the ensemble returns to close the work.

E

INOJUHANI RAUTAVAARA HAS ESTABLISHED A PRESENCE

on the world stage that goes far beyond his status as one of Finland’s finest composers. At once highly individual and profoundly influential, Rautavaara has created a fascinatingly diverse body of work, one guided more by his deep musical instincts than by currency of a particular school of compositional thought. His Cantus Arcticus, featuring pre-recorded bird sounds, was commissioned in 1972 by the University of Oulu, located near the Arctic, for its doctoral degree ceremony. “The bird sounds were taped in the Arctic Circle and in the marshlands of Liminka,” Rautavaara has said. The opening movement begins with two flutes (among the most “birdlike” of orchestral instruments), and eventually, other winds are added to their sound, accompanied by birds one finds in Finnish bogs in spring. When the strings finally enter, they can be interpreted, the composer says, “as the voice and mood of a person walking in the wilds.” The second movement lives up to its melancholy name. The recording used here is that of a shore lark, though the recording is actually lowered by two octaves, creating a spectral, ghost-like feel to the bird’s song. The final movement is given the migration of a host of swans. The instrumental forces are presented in four independent groups. As the din of the swans grows, the orchestral parts blend and coalesce with increasing complexity. Then, like the birds themselves, the music gradually fades into the distance. Program notes © 2012 by D.T. Baker

Oiseaux exotiques: Suite (selections) HARRY FREEDMAN

(b. Lodz, Poland, 1922 / d. Toronto, 2005) First performed: May 1984 in Toronto

LAST ESO PERFORMANCE OF MUSIC FROM THE SUITE: FEBRUARY 2004

H

ARRY FREEDMAN LIKELY NEVER FORESAW THE VERY

specific advantage his brief tenure as an arranger for Toronto dance clubs in the 1940s would have. It exposed him to a wide array of dance styles, from American jazz to dance forms from many lands. So when choreographer Constantin Patsalas approached Freedman with a set of Venezuelan tunes he had heard while on a trip to South America, wanting the veteran composer to arrange them for a ballet, his talents in setting exotic music bore great fruit, and one of Freedman’s most popular scores was born. Oiseaux exotiques (“Exotic Birds”) was premiered by the National Ballet, and is a colourful series of dances based on Venezuelan music. Some of the movements are in fact named for actual flying creatures (in tonight’s excerpts, Butterfly and La Negra – “the blackbird”), while others are Latin American dances (Conga, Joropoand Samba). The Joropo, in fact, is considered Venezuela’s national dance. The other excerpt tonight, Llanero, is based on a Venezuelan folksong. In evoking an authentic Venezuelan sound, Freedman’s orchestration features a large percussion section. The Edmonton Symphony Orchestra’s CBC recording of the suite, coupled with Malcolm Forsyth’s Atayoskewin and released in 1986, won a Juno Award.

Cantus Arcticus, Op.61 “Concerto for Birds and Orchestra” EINOJUHANI RAUTAVAARA

(b. Helsinki, 1928) First performed: 1972 at the University of Oulu, Finland

60th Anniversary

Gala Concert with the Richard Eaton Singers Conductor •  Michael Massey

February 24th • 2 pm at the Winspear Centre $15 Adults $10 Seniors/Students Tix on the Square

780 420 1757

THIS IS THE ESO PREMIERE OF THE PIECE DECEMBER/JANUARY 2012/13

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Helping your business strike tHe rigHt cHord every time.                 

            

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ROBBINS LIGHTER CLASSICS Flamenco!

2012/2013 SEASON

Thursday, January 17 | 7:30 PM

William Eddins, conductor Compañía Azul, flamenco ensemble Sandra Tziporah, dancer Sean Harris, vocalist Ian MacMillan, percussion Megan “Azulita” Matheson Hamilton, Principal Dancer/Director Daniel MacNeil, guitar Bob Sutherby, guitar

AARTIST R T BIOS IST BIOS

TRAD./COMPAÑÍA AZUL

“Soleá” (orch. MacNeil / choreography Azulita/Gabaldón)

SERRADELL

La Golondrina (arr. Dragon)

(16’)*

(4’)*

MASSENET

Le Cid: Aragonaise

(2’)*

MACNEIL Bulerías

(7’)*

COMPAÑÍA AZUL

“Alegría” (orch. MacNeil / choreography Tziporah)

GIMENEZ

La Boda de Luis Alonso: Intermedio

(5’)* (6’)*

INTERMISSION (20 minutes)

MÁRQUEZ Danzón No. 2

(11’)*

TRAD./COMPAÑÍA AZUL

“Tarantos” (arr. de Carmen/Compañía Azul / choreography: de Carmen)

PEREZ-FREIRE

Ay, Ay, Ay (arr. Dragon)

(11’)* (4’)*

MACNEIL/HARRIS

“Martinete” / “Seguiriya” (orch. MacNeil / choreography Azulita)

(11’)*

C

OMPAÑÍA AZUL has a heart split between the coasts of Atlantic

Canada and the dry earth of Andalusia. Drawn to the beauty of the music, movement and rhythms of flamenco, Compañía Azul creates a passionate, stunning display of emotion, sound and colour. Founded by dancer Megan “Azulita” Matheson in 2010, the company strives to bring a new voice to flamenco, melding diverse backgrounds in various musical styles, while remaining grounded in the flamenco traditions and inspired by the rawness of the art form. Many of its members spend significant time immersing themselves in the cradle of flamenco, southern Spain. Having been brought up in the most unlikely of flamenco places, including Cape Breton, St. John’s, N.L., and Lunenburg, the company’s dedication to flamenco is evident in their proficiency and passion. Compañía Azul is a Company in Residence at Halifax Dance and is supported by the Nova Scotia Department of Communities, Culture and Heritage. Azulita is sponsored by Arte Fyl (Flamenco Shoe Company, Spain) and Lunares Flamenco (Brazil). Megan “Azulita” Matheson, Sean Harris, and Bob Sutherby performed with the ESO in September 2010. They are back with the ESO debut of the new company. Mr. Eddins’s bio can be found on page 6. Program notes continue on page 24.

Program subject to change *indicates approximate performance duration

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Bill & Mary Jo Robbins DECEMBER/JANUARY 2012/13

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2012/2013 SEASON ROBBINS LIGHTER CLASSICS Flamenco!

PPROGRAM R O G NOTES RAM NOTES

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OTES ON THE MUSIC FOR COMPAÑÍA AZUL:

A Soléa is one of the most basic forms or palos of flamenco music, and is usually accompanied by a single guitar, though tonight we will hear it in an orchestration by Compañía Azul member Daniel MacNeil. At the end of the Soléa will be a Bulérias section with words sung to it, written by Sean Harris. While the Bulerías, which originated in Jerez during the 19th century, is typically a fast, upbeat ending to a Soléa or Alegría (as we will hear it tonight), it can also be presented on its own. Tonight’s was written by Daniel MacNeil. One of the structurally strictest forms of flamenco, a traditional Alegría must contain a salida (entrance), paseo (walkaround), silencio (similar to an adagio in ballet), castellana (upbeat section), zapateado (literally “a tap of the foot”), and bulerías. Both the Alegría (with words by Azulita) and the concluding Bulerías (words by Sean Harris) have sung portions. The story, as told in the piece, is explained by Megan “Azulita” Matheson Hamilton: “This Alegrías tells a story of how Sean and I got out start in flamenco. It talks about a red headed boy from Newfoundland being swept up by ‘El Viento,’ and of a dark haired girl from a fishing village joining ‘El Viento’ when they passed through her town (this actually happened, they performed at the Lunenburg Folk Harbour Festival). It references the loss of my father, and how I sought my solace in flamenco. Flamenco gave me a ground to stand on and place to put my sadness. The Bulerías that Sean wrote is for Evelyne Benais, who for many of us, started it all. Evelyne’s nickname is ‘cigüeña’.” Rhythm, naturally, is an essential part of flamenco. While the metre is typically in strict forms, there are freer forms as well. The Tarantos is an example of the latter, and we will hear a traditional Tarantos tonight, performed without the orchestra as arranged by Compañía Azul. Martinete is a flamenco form which is usually sung with no accompaniment. In some dance shows for the stage, though (including tonight), it is accompanied by percussion played with the compás (metre) of a Seguiriya. The Seguiriya is a form of flamenco music belonging to the cante jondo (“deep singing”) tradition. Its style is among the most important in flamenco. Sean Harris supplied the lyrics to both the Martinete and Seguiriya, which he explains: “I wanted to explore the role of the fisherman and the struggle to survive his life on the sea to provide for his life at home – both demanding his attention.

A step further took me to the idea of his sea life as his temperamental mistress: a relationship he has grown to love and fear. His wife at home knows the dangers of his life at sea, understanding full well it is not something he can just quit. During a storm he is taken into the sea’s embrace. A final dance ... this is all translated into the choreography of the piece.”

N

OTES ON THE OTHER WORKS:

Mexican physician and composer Narciso Serradell Sevilla (1843-1910) was exiled to France early on in life, where he taught music and Spanish in Paris. On his return to Mexico in 1865, he took up his profession as a doctor, while continuing to conduct military bands. Today, he is remembered chiefly for his song La golondrina (“The Swallow”), which we will hear in the arrangement for orchestra by Carmen Dragon. “That little fellow is about to walk all over us,” mused Georges Bizet of Jules Massenet (1842-1912). Fabulously successful during his lifetime, few of his works hold the stage today. He gave the Parisian audience exactly what they wanted: spectacle. Le Cid premiered in 1885, and tells the story of a Spanish hero who repels a Moorish invasion and hopes to win back the love of the woman whose father he killed in a duel. As with many French grand operas of the day, Le Cid features a lavish ballet in Act II, complete with several Spanish dances. The Aragonaise, a jota in 6/8 from that ballet, will be presented tonight. Jerónimo Giménez (1854-1923) was an important conductor and composer, most famous for some of his works written in the zarzuela style – a well-established Spanish opera form that began to regain popularity with the emergence of Spanish nationalism. A number of excerpts from his zarzuela operas continue to hold the stage in Spain, while excerpts are popular in concert. La boda de Luis Alonso is a zarzuela that premiered in January 1897, from which we will hear an orchestral interlude. The name of Arturo Márquez (b. 1950) is not known widely outside his native Mexico, but there he is held in high regard. In fact, this evening’s work, Danzón No. 2, is regarded by some as Mexico’s second national anthem. The dance begins quietly, on a clarinet (Julianne Scott) accompanied by percussive sticks and piano. Other woodwind instruments eventually join in, and the sound expands broadly from there. A second section, one of urgency and drive, turns into a vivacious orchestral dance with strong brass accents. There is a more tender middle section recalling the opening, though featuring the strings much more prominently. After a brief pause, the passionate pace picks up once again, with a vibrant trumpet solo (Robin Doyon) ushering in a rousing finish. Osmán Pérez Freire (1878-1930) was born in Santiago, Chile to Argentine parents. When he was only eight years old, the family moved to Mendoza, in a desert region of western Argentina. Freire moved to Spain in the 1920s. As with Narciso Serradell (above), Freire’s lasting legacy today seems to rest with one song. Ay, Ay, Ay was written in 1913 in the traditional cuyana style of Argentina, and is subtitled Reminiscencias cuyanas (“Memories of Cuyo,” the region of western Argentina in which Freire grew up). Tonight’s orchestration is by Carmen Dragon. Program Notes © 2012 by D.T. Baker, with thanks to Compañía Azul

www.EdmontonSymphony.com

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THOSE WHO MADE IT SO

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ON STAGE AND OFF, LONG-STANDING MEMBERS OF THE ESO ARE RECOGNIZED

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HE FRANCIS WINSPEAR CENTRE FOR MUSIC HAS BEEN OPEN

for 15 years. Thirty-eight of the 56 musicians on the Edmonton Symphony Orchestra’s roster have been here since the building opened in 1997. Not surprisingly, the ushers, ticket takers, bar staff – that’s different. While among the finest front-of-house staff in Edmonton, there have been many new faces over the years – and only one constant; only one has maintained her post from the first day. “When I read the ad that construction would begin on a world-class hall, I said to myself I’m going to apply, I’m going to work there,� says Christine Gregg, who you’ll usually find manning the concierge desk these days. “I love music, CHRISTINE GREGG all music. I love classical, country, classic rock,

opera – my parents had music playing all the time when I was growing up.� Had things gone the way they were supposed to, ESO Principal Oboe Lidia Khaner might never have even seen inside the Winspear Centre. Hired the year before the hall opened, while still living in her homeland of Poland, Lidia was only supposed to work one year. “To tell you the truth, I didn’t really make much of the change that was going to happen,� she recalls. “And besides, I didn’t know at the time if I was going to stay, because I was only hired for the one season, and then I was supposed to go home after that.� But her contract was extended, and she’s been here ever since. Now married with two children and an established Edmontonian (with a second degree black belt in Taekwondo, by the way, along with a couple of medals representing Canada at the 2012 ITF World Championships in Estonia), Lidia feels at home in the hall. “You know, I love the Winspear, I love playing there. When you play on your own, it seems like the sound is so huge, and it’s actually quite an amazing experience.� Christine Gregg can attest to how much the hall impresses her, too. “The acoustics – there’s no better way to listen to music,� she states unequivocally. “There have been many, many nights that I’ve been ushering that I’ve had to pull myself away from the chair, the music is so moving.� Christine did a lot of things before making sure she got hired at the Winspear. The hospitality industry, West Edmonton Mall – even 11 years at a daycare. But once she got the chance to work here, she never looked back. “How long can I keep this up? Stay tuned!� Lidia has made it a familiar place, too. “Paul Schieman (her oboe colleague in the orchestra) has said I have changed my sound – a lot,� Lidia says. “I adjusted to the hall, to the orchestra, to everything. It’s quite an experience to work with the space, and find how to project the sound.� We salute all the staff and musicians who have shown the remarkable dedication and commitment represented by Christine Gregg and Lidia Khaner. In the 15 years that the Winspear Centre has provided the community with one of the world’s finest concert spaces, it is worth celebrating those who have made it so since the doors LIDIA KHANER opened.

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THERE’S ALWAYS SOMETHING TO SEE IN EDMONTON

www.edmontonjournal.com

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N 1952, A SMALL GROUP OF DEDICATED VISIONARIES FORMED the Edmonton Symphony Society with the goal of creating an ongoing, sustainable Edmonton Symphony Orchestra, and providing Edmonton with the finest in orchestral music, enriching the lives of its audiences. Since then, the ESO has grown to a full-time core of 56 musicians. Its performance home – another goal realized by committed community volunteers – is the magnificent Francis Winspear Centre for Music. Transcending the original board’s vision, the ESO now has a budget of $8.5 million annually, and it performs over 85 concerts, in addition to performances with Edmonton Opera and Alberta Ballet. None of this would be possible without the tireless work of the Board of Directors and the society which they voluntarily administer.

EDMONTON SYMPHONY & CONCERT HALL FOUNDATION Phyllis Clark, Chair John Brennan Jim Carter Ed Hahn Bob Kamp Ron New Gary Smith

EDMONTON SYMPHONY SOCIETY / FRANCIS WINSPEAR CENTRE FOR MUSIC

Jim E. Carter, P.Eng., Chair Reginald Milley, Vice Chair Steven LePoole, Past Chair Ron New, C.A., Treasurer Brian W. Summers, LL. B., Secretary/Legal Counsel Bart Becker, P.Eng. Carolyn Campbell Maria David-Evans

Megan Evans Peggy Garritty Cynthia Hansen Bill Harrison Travis Huckell Leanne Krawchuk, LL.B. Carol Ann Kushlyk, C.M.A., C.F.E. Rhonda Taft

EDMONTON SYMPHONY ORCHESTRA / FRANCIS WINSPEAR CENTRE FOR MUSIC

EXECUTIVE Annemarie Petrov, Executive Director MaryGrace Johnstone, Executive Coordinator Meghan Unterschultz, Executive & Government Communications Administrative staff listing continued next page

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ADMINISTRATION ARTISTIC OPERATIONS Rob McAlear, Artistic Administrator Jerrold Eilander, Orchestra Operations Manager Susan Ekholm, Library Assistant Christa Eriksson, Artistic Assistant / Library Resource Eric Filpula, Orchestra Personnel Manager Sheila Jones, Orchestra Librarian

Mike Patton, Assistant Head of Stage Management* Siobhan Vipond, Acting Technical Director* Cat Walsh, Box Office Assistant Supervisor

FINANCE & OPERATIONS Barbara Foley, Director of Finance & Operations Sandy Carter, Senior Accountant Shirley Chaytor, HR Payroll Coordinator COMMUNITY RELATIONS Sandy Haslam, Systems Administrator Michael Schurek, Associate Director of Community Relations Beth Hawryluk, Tessitura Systems Analyst Kris Berezanski, Media & Communications Coordinator Olena Kotova, Accountant Philip Paschke, Communications Manager Pat Molloy, Maintenance Manager Aline Mukabalisa, Finance Assistant EDUCATIONAL OUTREACH Erika Ratzlaff, Business Analyst D.T. Baker, Associate Director of Educational Outreach Alyssa Paterson, Education & PATRON DEVELOPMENT Community Relations Coordinator Elaine Warick, Director of Patron Development Eleanor Finger, Associate Director of EVENTS MANAGEMENT Patron Development Ally Mandrusiak, Director of Events Management Jeffory Magson, Patron Relations Associate & Leanne Persad, Associate Director of Events Management Volunteer Coordinator Warren Bertholet, Head Lighting Technician* Erin Mulcair, Patron Relations Manager Catherine Boissonneau, Box Office Supervisor Teresa Ryan, Patron Events Manager Diana de Sousa, Client Services Coordinator Adam Trzebski, Patron Relations Manager Rob Hadfield, Head Audio Technician* Alan Marks, Head of Stage Management* *THE ESO & WINSPEAR CENTRE WORK IN PROUD PARTNERSHIP WITH IATSE LOCAL 210 Stacy Parkins, Patron Services Assistant Manager

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This ad was generously donated by The Robbins Foundation Canada.

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THANK YOU

Community Support of the Edmonton Symphony Orchestra & Winspear Centre

The Edmonton Symphony Orchestra is a registered charitable organization, incorporated under the Societies Act of the Province of Alberta on November 22, 1952. As Canada’s fourth largest professional orchestra, the ESO is financed by ticket sales, grants from government agencies, and by contributions from corporations, foundations, and individuals. Government Agency Support:

Series Sponsors

Title Sponsor

Title Sponsor

Landmark Classic Masters

Presenting Sponsor

Title Sponsor

Title Sponsor

Sponsor

Late Night with Bill Eddins

Esso Symphony for Kids

Air Canada Presents

Sponsor

Sunday Showcase

Robbins Pops / Robbins Lighter Classics

Friday Masters

Our Program and Education Sponsors

Sponsor

Sponsor

Musicians in the Making

Sponsor

2 for 1 Introductory Series Offer

Naming Sponsor

through the Edmonton Community Foundation

Sponsor

K to Gr. 3 Education Program

Presenting Sponsor

ENMAX Hall

Sponsor

Gr. 4 to 6 Education Program

Christmas at the Winspear

Pulse8

Presenting Sponsor

Christmas at the Winspear

Our Performance Sponsors

Our Media Sponsors

CityTV

Capital FM

Global

CKUA

Edmonton Journal

Joe FM

Lite 95.7 FM

Pattison

CBC

Our Exclusive Caterers

Our Suppliers

Official Bike Supplier to the ESO Conducting Team

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Publications Sponsor

Print Sponsor

Wine Supplier

Official Airline of the ESO

Craft Beer Supplier

12/7/12 12:06:10 PM


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ESO Signature Magazine Dec 2012/Jan 2013