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JANUARY 2012

Meet our new Composer in Residence

RACHMANINOFF’S THIRD Returns to the Masters

LIGHTER CLASSICS ON ICE

Figure Skating’s Greatest Hits

WISH LISZT

Liszt at Late Night, the Masters & Sunday Showcase


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SIGNATURE Contents Volume 27, Number 4 | JANUARY 2012

WELCOME

pg. 5

ARTISTIC & LEADERSHIP TEAM

pg. 6

EDMONTON SYMPHONY ORCHESTRA 2011/2012

pg. 7

(Eddins, Petrov, Waldin, Buchmann, Rival) PUBLISHED FOR the Edmonton Symphony Orchestra at the Francis Winspear Centre for Music

COMPOSER IN THE HOUSE

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

8

THE EDMONTON SYMPHONY ORCHESTRA

2011/2012 SEASON

D.T. Baker PROGRAM NOTES D.T. Baker ESO EDITOR

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

PUBLISHED BY

LATE NIGHT WITH BILL EDDINS LATE NIGHT ROMANTICS (JANUARY 13)

pg. 12

LANDMARK CLASSIC MASTERS LISZT & STRAUSS (JANUARY 14)

pg. 15

William Eddins, conductor Kemal Gekic, piano

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

William Eddins, conductor Kemal Gekic, piano 19

ROBBINS LIGHTER CLASSICS GOLD MEDAL SKATES – FIGURE SKATING’S GREATEST HITS (JANUARY 19)

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RBC SUNDAY SHOWCASE HAYDN’S TRUMPET CONCERTO (JANUARY 22)

pg. 23

FRIDAY MASTERS / LANDMARK CLASSIC MASTERS RACHMANINOFF’S THIRD PIANO CONCERTO (JANUARY 27 & 28)

pg. 29

Lucas Waldin, conductor Toller Cranston, host Alissa Cheung, violin

Signature magazine, the official publication of the Edmonton

Martin MacDonald, conductor Robin Doyon, trumpet Scott MacIsaac, piano

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.

Gregory Vajda, conductor Alexander Korsantia, piano At the start of the 2011/12 season, Robert Rival became the Edmonton Symphony Orchestra’s third Composer in Residence. In this issue of Signature he talks about the works he’s written and the works he wants to write, on pages 8 and 9. Photo by Chantal-Andrée Samson.

ON THE COVER JANUARY 2012

pg. 8

Robert Rival is the ESO’s latest Composer in Residence with a lot of exciting work on the go by Michelle Lindstrom

PATRON PROFILE Helen Resta

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pg. 32

OPUS FUNDRAISER

New York-themed reception and performance in support of the ESO at Carnegie Hall

pg. 33

THE ESO IN OUR COMMUNITY

pg. 34

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

pg. 36

ESO: A PROUD LEGACY

pg. 38 SIGNATURE 3


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WELCOME

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E ENJOY FOSTERING RELATIONSHIPS WITH OUR PATRONS. It is not only an increasingly important part of what we, as an organization dependent on those relationships, must do, but it is one of the most natural ways for us to share the joy and enrichment of the art we all treasure. One of the most obvious and natural means to that end is to foster relationships on our concert stage as well as in the seats facing it – especially among the emerging artists who will keep music alive and indispensable.

The following individuals are gratefully acknowledged for their support for our Carnegie Hall quest, either through sponsoring a Musician’s Dream or by a donation to the Carnegie Fund.

Anonymous Eileen Abrams Darlene Acton Gail Andrew Audrey Andrews Angus Watt Dick & Heather-Jane Au Rhonda Baker Gabriella Bergsten Robert Bhatia 9:19 Len &AM BarbPage Bistritz1 Paddy Brine & Wes Schmidt Joyce Buchwald Robert Buck Carolyn & Stephen Campbell David & Carol Cass Ross Clemenger CN Maria David-Evans Davies Park Executive Search Elizabeth Donald Driving Force Mike & Sharon Duff Ronald & Patricia Dutchak Grant Edmondson Fab Five Business Women’s Initiative Fairley Erker Advisory Group Janet Fayjean Eleanor Finger Sandy Fitch & Gerry Day Catherine Gibson Margaret Hartwell Mark and Nancy Heule Hilton Garden Inn George Hislop Leanna Howden Elizabeth & Levi Hurley Garnet Ireland Darcy & Barbara Koshman Carol-Ann Kushlyk Zonia Lazarowich Diversity Technologies Corp in honour of Annelies LePoole Steven and Day LePoole LUBE-X - Shirley & Jim Funk Lloyd & Lynn Malin Bev Martin JANUARY 2012

Phyllis McAnally Muriel McIntosh Ruth P. McKinley MNP LLP Melcor Developments Ed and Joy-Ruth Mickelson Joyce Mienhart Karen and Wally Might Arliss Miller The Marion K. Mills Family John and Maggie Mitchell Peter & Carol Moeykens Reinhard & Elisabeth Muhlenfeld Erin Mulcair Allison Murphy Donna Naylor Jim & Sherry Noyes Jack Ondrack In honour of Maria David-Evans Joanne Pawluk PCL Constructors Ltd. Mathilde Poulsen Sheila Rich Bill and Mary Jo Robbins Maureen Saunders Marianne and Allan Scott Elizabeth Scott Vici Seibt Pat Sharp Jacqueline Smith Eira Spaner Jean A Stephen Dr. Barbara Stewart Monte H. Stout Sir Francis Price and Hon Marguerite Trussler Upper Crust Café University of Alberta Alumni Association Valerie & Barry Walker Rachel Warhaft Levern & Arlene Wasylynchuk Paddy Webb and Family In memory of Gerry Youell Ralph & Gay Young

Mentoring is a big part of what we do. In this issue of Signature, you’ll get to know Robert Rival, our new Composer in Residence. Over the last couple of years, you’ve also gotten to know our charismatic Enbridge Resident Conductor, Lucas Waldin. Both of these placements with us are possible thanks to the generosity of the Canada Council for the Arts, but they are vital parts which enable us to nurture that next generation of talent that will keep the quality of orchestral music in Canada high. We have also initiated local mentorships through our innovative Adopt a Player program, Musicians in the Making, and the Young Composers Project. Inspiring young minds is only a beginning, but it’s a vital one, and we’re proud to do our part. 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.

S

TART SPREADING THE NEWS… your Edmonton Symphony Orchestra will create Edmonton history on May 8, 2012 when they perform for the first time on the legendary stage at Carnegie Hall in New York City. As the only Canadian orchestra invited to take part in the second annual Spring for Music Festival at Carnegie Hall, this landmark event is a major part of the ESO’s celebration of its 60th anniversary season.

You’re invited to witness music history … fans of the Edmonton Symphony Orchestra are invited to travel along to New York City to celebrate this musical milestone. A number of excited music fans have started confirming their travel arrangements. For travel and ticket information, contact Paull Travel (the ESO’s official Home Town Fan Travel Agency) at 780-428-6031. Carnegie Hall Trip fundraising … sending a full orchestra plus special performing guests to New York City requires dedicated fundraising efforts. To learn about donation programs, including how you can sponsor a musician’s dream to perform at Carnegie Hall, please contact Eleanor Finger, Patron Relations Manager at 780-401-2578. ERRATUM: For our December 2011 issue in the feature “Musical Traditions”, Dr. William Rowan should have been the name of the University of Alberta biology professor Ms. Olga Wilson refers to in her tale, not Dr. Roland. Our apologies for the mistake. SIGNATURE 5


W A ARTISTIC & LEADERSHIP TEAM ILLIAM EDDINS, presently in his seventh season as Music Director of the Edmonton Symphony Orchestra, has a captivating energy and magnetic stage presence that will continue to propel the orchestra through the 2014-2015 season. 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 as well, Bill Eddins 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. While conducting has been Eddins’ principal pursuit, he continues to perform on piano. In 2008, he conducted a rare full staging of Gershwin’s Porgy and Bess for Opéra Lyon, leading to a repeat engagement in Lyon in July 2010. This past August, Bill had the privilege of conducting the opera once again at the Edinburgh International Festival, and returns to both Lyon and London in September 2010 for additional engagements. Other international highlights include an August 2009 tour of South Africa, where Bill conducted three gala concerts with soprano Renée Fleming and the kwaZulu-Natal Philharmonic Orchestra.

L

UCAS WALDIN continues his tenure with the

Photo: Douglas Dollars

ESO as Enbridge Resident Conductor, under the mentorship of Bill Eddins. Now in its third season, this appointment is funded in part by the Canada Council for the Arts as well as the Enbridge Resident Conductor Program, and supports the ESO’s vision and focus on music education at all levels. A graduate of the Cleveland Institute of Music, having earned both a Bachelor of Music Degree in Flute Performance and Masters in Conducting, Mr. Waldin has performed with L’Orchestre du Festival Beaulieu-Sur-Mer (Monaco), Staatstheater Cottbus (Brandenburg), and Bachakademie Stuttgart. He was assistant conductor of the contemporary orchestra RED (Cleveland), director of the Cleveland Bach Consort, and a Discovery Series Conductor at the Oregon Bach Festival. In 2007, he conducted the

Resident Conductor program generously supported by

E

RIC BUCHMANN studied violin at the

Conservatoire 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 violin teachers include Sonia Jelinkova, Vladimir Landsman, Jean-François Rivest,

6 SIGNATURE

Miami-based New World Symphony Orchestra in masterclasses given by Michael Tilson Thomas, and also participated in a masterclass with the Lucerne Festival Strings, led by Bernard Haitink, in 2009. A native of Toronto, Lucas Waldin has spent summers studying in Europe, including studies at the International Music Academy in Leipzig, the Bayreuth Youth Orchestra, and the Acanthes New Music Festival in France. In North America, he has studied under the renowned Bach conductor Helmut Rilling at the Oregon Bach Festival, and has attended conducting masterclasses with the Tafelmusik Baroque Orchestra in Toronto.

Rachel J Photography

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William Preucil and Martin Chalifour. Eric Buchmann joined the first violin section of the Edmonton Symphony Orchestra in 2006, and was appointed Assistant Concertmaster following auditions in 2009. Eric performs occasionally with the ESO as a soloist, and is also a member of the Alberta Baroque Ensemble under the direction of Paul Schieman. When not playing with the orchestra in Edmonton, you can find him with his family in Montréal or Switzerland. Travelling is one of his passions. www.EdmontonSymphony.com


William Eddins, Music Director

Lucas Waldin, Resident Conductor

Photo: Douglas Dollars

ARTISTIC & LEADERSHIP TEAM

A

NNEMARIE PETROV, Executive

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 community support of both organizations.

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OBERT RIVAL, born in Calgary, joins the Edmonton Symphony Orchestra as Composer in Residence in the 2011/12 season. Critics have described his work, written in a contemporary tonal style, as “well crafted”, “engaging,” “immediately appealing,” “melodic and accessible,” “memorable” – and his song cycle, Red Moon and Other Songs of War, as “an unequivocal hit.” His music for orchestra, chamber ensemble, voice and the stage has been broadcast on CBC radio and performed by the Gryphon Trio and other leading Canadian musicians, ensembles and orchestras. His orchestral works include a one-movement Symphony Maligne Range, inspired by a hike through the Rockies, and a children’s work, Maya the Bee, based on the classic tale. Committed to music education and appreciation, he has taught theory and composition to students of all ages, at several universities as well as privately, and has written liner and program JANUARY 2012

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 fueled 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. notes for major festivals, presenters and record labels. Dr. Rival holds a doctorate in composition from the University of Toronto. In his spare time you will find him playing shinny hockey at the local rink or out for a run. He lives with his wife Chantal-Andrée Samson, a realist oil painter, and their son Raphaël. www.robertrival.com

Robert Rival, Composer in Residence

THE EDMONTON SYMPHONY ORCHESTRA

2011/2012 SEASON

[ VIOLIN I ] Eric Buchmann, Interim Concertmaster The Concertmaster’s Chair is sponsored by the John & Barbara Poole family Virginie Gagné, Interim Assistant Concertmaster Broderyck Olson Richard Caldwell Joanna Ciapka-Sangster Alissa Cheung Anna Kozak Aiyana Anderson-Howatt Neda Yamach [ VIOLIN II ] Dianne New 1 Susan Flook 2 Heather Bergen Pauline Bronstein Robert Hryciw Zoë Sellers Murray Vaasjo Tatiana Warszynski [ VIOLA ] Stefan Jungkind 1 Charles Pilon 2 Rhonda Henshaw Bonnie Yeager Mikiko Kohjitani Andrew Bacon [ CELLO ] Colin Ryan (1) The Stuart & Winona Davis Principal Cello Chair Sheila Laughton (2) Ronda Metszies Gillian Caldwell Derek Gomez Victor Pipkin

Janice Quinn Rhonda Taft Rob Aldridge

[ HARP ] Nora Bumanis 1

[ FLUTE ] Elizabeth Koch 1 Shelley Younge 2 [ OBOE ] Lidia Khaner 1 Paul Schieman 2 [ CLARINET ] Julianne Scott 1 David Quinn 2 [ BASSOON ] William Harrison 1 Edith Stacey 2 [ HORN ] Allene Hackleman 1 Megan Evans 2 Gerald Onciul 2 Donald Plumb 2 [ TRUMPET ] Robin Doyon 1 William Dimmer 2 [ TROMBONE ] John McPherson 1 Kathryn Macintosh 2

1 PRINCIPAL 2 ASSISTANT PRINCIPAL

ORCHESTRA PERSONNEL Eric Filpula, Orchestra Personnel Manager Sheila Jones, Librarian The following musicians also appear at performances in this issue: Aaron Au Violin Eddy Bayens Bassoon Jim Cockell Violin Elizabeth Faulkner Flute Michael Massey Keyboard John McCormick Percussion Diane Persson Bassoon Darren Salyn Percussion Brian Sand Trumpet Yukari Sasada Bass Rosemarie Siever Saxophone Robert Spady Clarinet William Street Saxophone Brian Thurgood Percussion Russell Whitehead Trumpet

[ BASS TROMBONE ] Christopher Taylor 1 [ TUBA ] Scott Whetham 1 [ TIMPANI ] Barry Nemish 1 [ PERCUSSION ] Brian Jones 1

[ DOUBLE BASS ] Jan Urke 1 John Taylor 2

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

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

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C FEATURE

FEATURE

BY MICHELLE LINDSTROM

COMPOSER IN THE HOUSE THE ESO’S LATEST COMPOSER IN RESIDENCE, ROBERT RIVAL, BRINGS ATTENTION TO CONTEMPORARY MUSIC AND ITS CREATORS It took about two years of waiting, deciding and organizing, but Robert Rival has been selected as this season’s (and next’s) ESO Composer in Residence. He hasn’t wasted any time either since starting in July 2011. The ESO premiered his Scherzo late in September and his new arrangement of “Silent Night” was played at a recent orchestra Christmas Concert.

I

T’S HIS WORLD-PREMIERE PIECE FOR MAY’S ESO PERFORMANCE AT

Carnegie Hall that has him on his toes. “I’m probably spending more time thinking about it than I would otherwise because the stakes are quite high,” Rival says, adding he has completed the work’s full draft but it has been set aside briefly so he can complete other projects. He says the piece, a lullaby, was inspired by his baby boy, Raphaël. “I already knew the people at Carnegie Hall had asked the ESO to write a quiet piece because the others that we’re doing are a little more extrovert,” he says. “The idea of a lullaby seemed kind of natural because my attention was so focused on (Raphaël) at the time.” The unique experience and benefit of being Composer in Residence is the chance that the ESO may workshop Rival’s Carnegie Hall piece earlier than usual. “If they’re willing to do that, it would be very beneficial to me,” Rival says. “You have a pretty good idea what’s going to work, but you never can know 100 per cent.” Most orchestral pieces are not practised until mere days before a performance because professional musicians are able pick up new music quickly. 8 SIGNATURE

Rival has also taken advantage of his new-found ability to attend ESO rehearsals especially when it’s not his work being played. He says if he has a score in hand and listens to the piece play out, it’s a tremendous learning experience because live music is so different than recorded music. He explains, generally the harp is a quiet instrument in a live, orchestral setting without microphones, but in a Hollywood recorded film score its sound can be heard above all other instruments. He writes for live performances therefore, he needs to understand how live, untampered instruments sound. He hopes to take it one step further when needed, and consult with musicians about what parts they feel work well for their particular instruments. His main duty is to compose, and he does much of that in his home with the ESO’s precise expectation of his work in mind: to write one long and one short piece per year, in addition to works for the education concerts and arrangements. He has a two-year contract with the chance of it being extended. (Former Composers in Residence, John Estacio and Allan Gilliland, filled the role for at least five years each.) Rival also is encouraged to sift through www.EdmontonSymphony.com


2011/2012 SEASON COMPOSER IN THE HOUSE The way I see my role is to be somewhat of a proponent of contemporary music and of living composers.” - Robert Rival

MUSICAL MUSE : Robert Rival with his son, Raphaël

compositions sent to the orchestra by other composers. “If there’s something interesting in that pile, he gets to point it out to me and suggest I take a look at it,” Bill Eddins, ESO Music Director and Conductor, says. “It is always useful to have another artistic viewpoint when we are programming.” Other aspects of the job are quite flexible. Rival says the ESO expects each Composer in Residence to approach the role differently and build on his or her own strengths. He’s done that by creating a few podcasts of interviews with composers and posted them on the ESO website (see sidebar) in addition to speaking to other composers on stage preceding ESO performances for the audience in attendance to listen in. “The way I see my role is to be somewhat of a proponent of contemporary music and of living composers.” At the time of this article’s interview, Rival had yet to select a winner of the Young Composer’s Project or begin mentoring him or her – another set of duties incorporated into his resident role. The Project is an annual competition open to local high school students interested in composing. It was established in 1995 by the first ESO Composer in Residence (Estacio) and JANUARY 2012

RIVAL FACTS • He became a composer by first wanting to be a professional violinist. He realized his skill set was geared for something else and paid heed to his interest in musical theory courses. • He was still working on his doctorate in composition (completed in 2010 at the University of Toronto) when he applied for the ESO Composer in Residence position. • His wife, Chantal-Andrée Samson, a realist painter, was about seven months pregnant with Raphaël when she travelled with Rival, by train, from Toronto to Edmonton for the Composer in Residence position. • Rival’s ESO podcasts can be found at www.edmontonsymphony.com/blog • More information about his music and activities can be found at www.robertrival.com then carried forward by Gilliland. “I was always impressed by each year’s composer … and their good orchestration instincts. I know I wouldn’t have been able to do that when I was in high school,” says Gilliland. Expect to hear a piece by this season’s Young Composer’s Project winner at Symphony Under the Sky on Labour Day weekend in 2012. Rival says, “It’s a very special and tremendous opportunity for a high school student to get music played by a professional orchestra and get the coaching along the way.” Rival acknowledges the resident position gives him a rare structure to work in that he hopes to grow and build on in his future pieces. Gilliland says the position changed his life and hopes the same will happen for Rival. Eddins helped select Rival and likes the program because Composers in Residence are not afraid of looking forward when classical music tends to look backwards. “I think Robert was chosen because of a combination of voice and craft,” says Eddins. “Voice in that he didn’t sound like anyone else. He sounded like himself. And craft in that he had the ability to write music in a way that sounded like himself, rather than anyone else.” Rival says he studies a lot of musical repertoire that might influence him somehow. And although, he says, his music does not sound like Mozart’s, he admires the great composer’s work for its simplicity, grace and sophistication. “On one hand, I want to make music that anyone can listen to and hopefully find accessible and interesting, and then on the other hand, they find there are layers that warrant repeated listening so every time you listen to it, there’s more to discover.” SIGNATURE 9


A monthly feature from Sherbrooke Liquor Store “Let’s Fall in Love”

vegetal notes from the wine will pick up the “dustiness” of the mould from the cheese. The richness of the cheese will stand up to the acidity of the wine. Buller Victoria Tawny. (750ml/$23.99). One of our favourites. Beer and Wings: When you are going to be enjoying food that has a high fat content, you will want to drink something that has a higher-than-normal acidity. Even though most of us will reach for the macro brew that’s currently on offer from our favourite watering hole, it may be worth trying a slightly hoppier brew, or a traditional I.P.A. Phillips Hop Circle. (6x341ml/$13.99). One of the best.

Classic (and not so classic) Food and Spirit Matches. When dismal January rolls into February, and the temperature begins to dip, thoughts turn to the celebration of love. I think it would be fun to explore a few of the classic food and drink combinations and what makes them work so well together. The first thing to mention is that Champagne will pair with most anything. There is something about the minerality and acidity of Champagne that make it incredibly versatile. When in doubt, open Champagne! The general rule of thumb when trying to decide what to drink with your meal is to ensure there are similar characteristics between the beverage and the meal. For example, if you’ve rubbed some lamb with a mint and garlic crust, then choose a wine that has some mint characteristics. Brewmasters are very creative these days. Having butternut squash soup? Chill one of the popular pumpkin beers available and serve it alongside the soup. Also, you’ll need to ensure that the weight of the food doesn’t outweigh the drink (you wouldn’t drink a light bodied fruity white wine with braised beef short ribs). Grilled steak (Albertan, of course) and Cabernet Sauvignon: Tannins in red wine just LOVE the fat in red meat. Choose a wellmarbled cut of meat and decant a favourite bottle. The red wine doesn’t have to be a Cab, if you have a syrah or an Italian that’s got some “grip” (wine speak for tannins), those would work just as well. Black Box Cab Sauv. (3L/$42.50). This wine is so good, we can’t understand why it’s only available in a cask! Port and Blue Cheese: Dessert wines should be sweeter than what’s being served for dessert. Cheese is a traditional option to finish a meal from a European point of view, as well as Port. The slightly

Chianti and Tomato Sauce: Pizza and red wine are nearly as synonymous as beer and wings. Why does this work so well? Chianti typically has a slightly higher level of acidity than most red wine and ripe red fruit notes. Tomatoes are chock full of acidity and ripe sweet fruity notes. Coincidence? I think not. Rocca Chianti Vernaiolo. (750ml/$21.50). We suggest this to add even more authenticity to your Italian dinner. It comes in that lovely straw covering you see in the movies. Shellfish and Sauvignon Blanc: Take a quick look at a current wine map. A lot of sauvignon blanc comes from regions that are grown close to large bodies of water. Fresh shellfish is briny and salty, which makes sauvignon blanc sing! A typical sauvignon blanc has grassy and great minerality which balances out the briny of the shellfish. Shellfish is often prepared with rich sauces and the acidity in the wine will cut the richness of the sauce. Of course, these are just suggestions, as well as the beginning. If you prefer white wine, and only drink white wine, let’s not force red wine down your throat. Let’s work together to find a wine that has a chance of standing up to the meat. And vice versa, if you only drink red wine, or beer – let’s not forget about the beer. Soljans Marlborough Sauvignon Blanc from New Zealand. (750ml/$18.50). You’ll really like it - we do! Featured Product: Chocolate wines are all the rage right now, easily one of the fastest growing categories (if you can really call it that) in wine. In fact, the venerable magazine Wine Spectator has even recently included a featured article about the chocolate wines. Last fall, there was only one, Chocovine, which took the market by storm. This fall, Chocovine added two flavours, espresso and raspberry, and there are now four other brands that have joined Chocovine on the shelf. What better way to celebrate the day of chocolate and romance than with chocolate infused red wine? I encourage all of


the “serious” wine drinkers in the crowd to approach these with an open mind, and not over think them. In a similar fashion to Beaujolais Nouveau, enjoy the celebration and the party in your glass! The Chocolate Shop: The only wine that’s winebased, not cream-based, as well as having some of the characteristics of red wine on the palate. It’s described as “infused” red wine. It’s from the company that brings us House Wine. (750ml /$15.50). Chocovine: The first to arrive in Alberta. It’s described as a French table wine, with Dutch chocolate liqueur and cream. Serve this lightly chilled on its own, although there are people out there that compare this to Bailey’s (perhaps because of the consistency) and add it to their coffee or hot chocolate. I have also mixed in a half ounce or so of Amaretto with a chocolate wine, and discovered it was delicious. (750ml/$14.99). The other options available are Choco Noir (750ml/$16.99), Chocolato & Chocolato Orange (750ml/$17.50).

will always sit flat on the table and won’t be affected by uneven wood in primitive dining tables (a quick survey of spirit and liqueur bottles reveals that they are slightly concave). And finally, for those cynics among us, it’s probably a marketing ploy these days. A significant punt plays into the idea that the wine inside must be expensive if the winery has decided to bottle it in a vessel that is heavier and uncharacteristic from the inexpensive “vins de table.” Does a punt mean the wine is more expensive? Technically, yes it does, but only because a heavier bottle results in higher shipping costs, which of course, gets relayed down the line to consumer. Perhaps a winery simply just wants the bottle shape/style to be part of the wine’s identity and marketing plan.

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with Sherbrooke Liquor Q: What is the purpose of the deep indent in the bottle of wine bottles? A: This indent is called the “punt” and there doesn’t seem to be an origin for why a bottle dimple that ranges from just barely concave, to nearly three-inches deep has been coined “punt.” However, there are many theories as to the need to have one on your bottle. The origin stems to the early days of modern glass blowing, artisans discovered that having a deep indentation in the bottle increased its sturdiness, especially concerning sparkling wines that underwent the second fermentation in the bottle. Staying with the sparkling wine, another theory had to do with either racking and/or riddling the bottle. Another historical theory is that the dimple was needed during the actual process to hold the bottle. Another widely accepted reason, which still holds up to some degree today, is that the space between the dimple and the bottle wall will catch the sediment that collects in a bottle as it ages, and aid in not dispensing much of the sediment when pouring the wine. Another nice segue from pouring the wine, comes the theory that waiters use the punt to aid in holding the bottle without covering any of the labels at the dining table (although you must have strong enough hands and fingers to be successful). Speaking of the dining room table … if the bottle has a dimple, it

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LATE NIGHT WITH BILL EDDINS

2011/2012 SEASON

Late Night Romantics Friday, January 13 | 9:30 PM

ARTIST BIOS

William Eddins, conductor Kemal Gekic, piano

ARTIST BIOS

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NOTE: There is no intermission in tonight’s program. Please join us in the lobby following the performance.

BERLIOZ

Les Troyens (“The Trojans”): Marche Troyenne (“Trojan March”)

(5’)*

BERLIOZ

Symphonie fantastique, Op.14:

5th mvmt. - Songe d’une nuit du Sabbat (“Dream of the Witches’ Sabbath”) (arr. Liszt)

LISZT

Fantasia on Beethoven’s The Ruins of Athens

(10’)* (11’)*

RACHMANINOFF

Symphony No. 2 in E minor, Op.27: 3rd mvmt – Adagio

R. STRAUSS Don Juan, Op.20

(13’)* (17’)*

Program subject to change *indicates approximate performance duration

lamboyant, daring, provocative, exciting, seductive and sensitive are some of the words used to describe one of today’s most formidable pianists, KEMAL GEKIC, whose playing has been acclaimed worldwide by public and critics alike. His daring approach to tone and form marked him as a maverick in the musical world, a distinction he welcomes: the very strength of his artistry challenges, provokes, intrigues. Performing worldwide from a vast repertoire, Kemal Gekić presents fascinating, uncompromising and ever-changing interpretations. As a recording artist, Mr. Gekić has won accolades in Europe, America and Japan for insightful and original views of the music. His outstanding Rossini-Liszt transcriptions (Naxos) was given a “Rosette” of The Penguin Guide to Music, while his recording of Liszt’s Transcendental Etudes (JVC) is generally considered to be the best recording of the set in history. Born in Split, Croatia, Kemal Gekić got his early training from Lorenza Baturina. He graduated the class of Jokuthon Mihailovic at the Art Academy of Novi Sad and was immediately given a faculty appointment by the piano department, which he eventually directed until 1999. Since 1999, he has been an Artist in Residence at the Florida International University in Miami, Florida. He is a visiting professor at the Musashino Academy of Music in Tokyo and a guest lecturer at numerous universities and academies throughout the world. He has also served as a juror on numerous piano competitions. Programs on his life and his performances were broadcast by RAI Italy, TV Portugal, TV Yugoslavia, NHK Japan, POLTEL Poland, RTV Lower Saxony West Germany, RTV USSR, Intervision, CBC and PBS. Mr. Gekic last appeared with the ESO at Sobeys Symphony Under the Sky in 2008.

Series Sponsor

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Media Sponsor

Mr. Eddins’ bio can be found on page 6.

www.EdmontonSymphony.com


PPROGRAM R O GNOTES RAM NOTES Please note: for program notes on the Liszt Fantasia and Strauss Don Juan, please see pages 15-17.

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he early Romantics HECTOR BERLIOZ (1803-1869) and FRANZ LISZT (1811-1886) were very conscious of their revolutionary tendencies. While some composers implemented changes in the course of music history without necessarily knowing that they were doing so, Liszt and Berlioz were determined to change how music was composed and presented. In an age where an orchestra of 50 was considered reasonably large, Berlioz dreamed of composing works for an orchestra numbering in the hundreds, with a choir to match. Liszt, one of the most sensational pianists who ever lived, was one of the first to understand and market himself much like a touring pop star would today.

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ranz Liszt’s solo piano recitals elicited the kind of response from audiences of which the modern incarnation would have the word “mania” appended to the end. He not only composed original works of elaborate and penetrating virtuosity, but he also took other composers’ works and wrote fiendishly difficult piano transcriptions of them. Such was the case with Berlioz’ celebrated and revolutionary orchestral work, Symphonie fantastique. Subtitled “Episodes in the Life of an Artist,” the Berlioz work imagines the story of an artist obsessed by a woman, to the point where he consumes opium and hallucinates that he has killed her, and is hanged at a witches’ Sabbath. The fifth and final movement of that symphony FRANZ LISZT is, in fact, titled “Dream of the Witches’ Sabbath,” and incorporates the Dies irae (“Day of Wrath”) from the medieval Catholic mass for the dead. Perfect, macabre fare for Liszt to turn into a memorable piano recital experience.

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HECTOR BERLIOZ

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erlioz’ opera Les Troyens (“The Trojans”) was a mammoth, two-part, fiveact saga composed between 1856 and 1858, so ambitious and far-reaching that it was never actually produced in anything close to its entirety until the 1960s. The Marche Troyenne is the music which thrillingly accompanies the entry of the Trojan Horse into the city and has a profound dramatic part in performances of the opera when it suddenly stops. In the action of the opera, a noise is heard within the horse (one of the Greek soldiers has dropped his weapon), and everything is brought to a halt as the Trojans wonder if something is amiss. But then, the march resumes again, even more brilliantly, as the Trojans’ fate is sealed and the horse is brought within the walls of Troy.

JANUARY 2012

ERGEI RACHMANINOFF (1873-1943) wrote his First Symphony at the

age of 22. Its first performance, apathetically conducted by Alexander Glazunov, failed miserably. Combined with a number of other disappointing premieres and performances, that flop sent the emotionally hyper-charged composer into a tailspin. He continued to perform (he was a conductor as well as one of the most sensational pianists who ever lived), but could not bring himself to write a note of music for three years. A noted physician who specialized in a kind of hypnotherapy (Nikolai Dahl) helped Rachmaninoff find his creative confidence again, and the next few works he wrote included some of his finest – including the Second Piano Concerto and the Second Symphony. Tonight’s concert features the beautiful, slow third movement of the Second Symphony, which contains trademark Rachmaninoff melody and melancholy. Violins are given a passage answered by the clarinet; a third is then given out by violins and oboe. If you recognize one of the main tunes, it may because Eric Carmen “borrowed” it for his hit pop song, “Never Gonna Fall in Love Again.” SERGEI RACHMANINOFF

Program Notes © 2011 by D.T. Baker

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LANDMARK CLASSIC MASTERS Liszt & Strauss

2011/2012 SEASON

Saturday, January 14 | 8 PM William Eddins, conductor Kemal Gekic, piano

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

R. STRAUSS Don Juan, Op.20

LISZT

Piano Concerto No. 1 in E-flat Major Allegro maestoso Quasi adagio Allegretto vivace Allegro animato Allegro marziale animato

(17’)* (19’)*

INTERMISSION (20 minutes)

LISZT

Fantasia on Beethoven’s The Ruins of Athens

(11’)*

R. STRAUSS

Tod und Verklärung, Op.24

(“Death and Transfiguration”)

(25’)*

Program subject to change *indicates approximate performance duration

PROGRAM NOTES

PROGRAM NOTES Don Juan, Op.20 RICHARD STRAUSS

(b. Munich, 1864 / d. Garmisch-Partenkirchen, 1949)

First performance: November 11, 1889 in Weimar LAST ESO PERFORMANCE: FEBRUARY 2000

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ROM 1889 UNTIL AROUND 1911, RICHARD STRAUSS

was likely the most visible and most discussed composer in the western world. And one of the first major works which launched the discussion was his first symphonic poem (well, actually his second, but the first to be published), Don Juan. Its premiere was conducted by Hans von Bülow, who had taken on the young Strauss rather like a protégé.

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JANUARY 2012

Media Sponsor

Mr. Eddins’ bio can be found on page 6. Mr. Gekic’s bio can be found on page 12. Program notes continue on pages 16 & 17.

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2011/2012 SEASON LANDMARK CLASSIC MASTERS Liszt & Strauss

The story of Don Juan was created in 1630 with the play by Spanish playwright Tirso de Molina. The character has been adapted in both literary and musical forms many times since, perhaps none so famously as Mozart’s opera Don Giovanni. The main source of inspiration for Strauss’ take on the legend was the poem by Austrian poet-philosopher Nikolaus Lenau, published in the early-19th century. While we have come to see Don Juan as an unrepentant rake, Lenau described his vision by saying, “My Don Juan is no hot-blooded man eternally pursuing women. It is the longing in him to find a woman who is to him incarnate womanhood, and to enjoy in the one, all the women on earth whom he cannot possess as individuals. Because he does not find her, although he reels from one to another, at last disgust seizes him and this disgust is the Devil that fetches him.”

choice of instrument in such a work at the time. Today, we might scarcely notice it, amid the rapturous runs and arpeggios demanded of the soloist and the elfi n-like scoring for the strings. The main theme from the fi rst movement returns prominently halfway through the movement, forming the basis of an emotional climax. Th is main material is reworked in tempo and you feel throughout the fi nal movement, a breathless and exciting showcase for the piano that accelerates to a thrilling conclusion. Fans of the work may wish to note that the ESO presents Liszt’s Second Concerto at a Sunday Showcase concert on January 22 at 2 p.m.

The work begins with a musical depiction of Don Juan’s youthful brio and virility – a searching idea which alternates with various romantic liaisons (one on solo violin, another on solo oboe). These are followed by a heroic theme heard on the four horns. The searching theme is next, followed by what must politely be described as an orgy, rising to a tumultuous din, subsiding then to reviews of previous romantic exploits. Another, even more dramatic climax marks the start of the coda – followed by a shattering silence: the bitterness of his futile search overwhelms him. A dissonant chord, with the strings and woodwinds in A minor combined with F Major trumpets suggest Don Juan’s shudder of disgust. One commentator described the work’s conclusion as, “laconic, tight-lipped; there is no wild complaint, only abandonment of life.”

Piano Concerto No. 1 in E-flat Major FRANZ LISZT

(b. Raiding, Hungary, 1811 / d. Bayreuth, 1886)

First performance: February 16, 1855 LAST ESO PERFORMANCE: SOBEYS SYMPHONY UNDER THE SKY 2008

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Fantasia on Beethoven’s The Ruins of Athens FRANZ LISZT

RANZ LISZT, the pianist, was without peer during his career –

he was simply that good. He championed the works of many composers as a performer, among them the Wanderer Fantasy of Schubert and the Ninth Symphony (for which he made a piano transcription) of Beethoven. Both of these works contain themes which are repeated in diff erent guises; Liszt seized upon this notion to create the idea of thematic transformation – a characteristic of much of the music created by Liszt from early on in his compositional career. Thematic transformation is used throughout his First Piano Concerto, written originally in 1838-39 but revised extensively before it was fi nally fi rst performed in 1855, with Liszt at the piano and Hector Berlioz conducting. The work is in four, more or less, identifiable movements with the second and third played without a pause between, and only a brief stop between the third movement and fi nale. The orchestra’s brief, opening statement is overwhelmed by the grand entrance of the piano, but it does provide the main material from which the rest of the movement unfolds – though it must be said the piano dominates the musical and emotional balance of the entire concerto. In the romantic slow movement, the orchestra again has fi rst say, but the piano’s answer is the core of the movement. It is a lush idyll, with only minor unsettling intrusions a couple of times from the piano. Early performances of the third movement caused a ruckus through, of all things, Liszt’s use of a triangle – a highly unusual

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First performance: March 4, 1874 in Budapest THIS IS THE ESO PREMIERE OF THE PIECE

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REDITED WITH CREATING THE MODERN CONCEPT OF

a solo piano recital, Franz Liszt was a showman without peer. In addition to his awing technique, Liszt delighted audiences by not only composing works specifically designed to put his talents on full display, but by creating bravura showcases built around popular works by other composers. Before setting tonight’s work, Liszt had already created a Capriccio alla turca, based on the famous Turkish March from Beethoven’s only ballet, Th e Ruins of Athens. And when he decided to expand the idea to a full-fledged fantasia, Liszt did so in three versions published simultaneously: one for solo piano, one for piano duet, and one for piano and orchestra. All were dedicated to Nikolai Rubinstein. Liszt presented the work at a charity concert at which over two thousand people were present. Liszt gives the orchestra fi rst say in the latter version – in fact, for the entire introduction. When the piano enters, however, it does so spectacularly, and with music from the Dervishes’ Chorus from Beethoven’s ballet featured. The fi nal section is built around the Turkish March, which begins quietly, but becomes increasingly quicker and more ornate. For the grand fi nish, Liszt brings back other themes from the fantasia, along with the march. www.EdmontonSymphony.com


Tod und Verklärung (“Death and Transfiguration”) RICHARD STRAUSS

First performance: June 21, 1890 in Eisenach LAST ESO PERFORMANCE: MAY 1995

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HOUGH ONLY IN HIS 20s when he composed Tod und Verklärung,

Richard Strauss was already a public figure. His extraordinary Serenade for Winds (1884) had won him critical acclaim, and his first tone poem, Don Juan (see above), in 1888 made him Germany’s predominant musical personality of the day. Tod und Verklärung, his fourth tone poem, premiered to widespread admiration at a music festival in 1890. The music’s program is that of an idealist on his deathbed. In his last moments, he recalls events of his life, and following his death, his soul departs, “to find, gloriously achieved in eternity, those ideals which could ne be fulfilled here below,” as Strauss said. Strings and timpani (the latter representing the man’s failing pulse) are heard at the outset, while other instruments give us his dying sighs.

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An oboe enters – a moment from his childhood is remembered – until a shattering fortissimo brings back his pain. Following this, we get the work’s first main theme, a heroic melody that can be thought of as the “will to live” motif. After its first appearance, the music leads into a gentle subject (childhood is recalled again), then youthful vigour, followed by a love scene. Trombones and timpani bring back the painful reality of his dying pulse. Three more times, the “will to live” motif returns, each in more elaborate orchestral colours. A beat on the side drum represents the moment of death. Gradually, the soul rises, garbed in a gloriously orchestrated and powerful conclusion. Program notes © 2011 by D.T. Baker

12/1/11 1:41:34 PM


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ROBBINS LIGHTER CLASSICS

2011/2012 SEASON

Gold Medal Skates – Figure Skating’s Greatest Hits Thursday, January 19 | 8 PM Lucas Waldin, conductor Toller Cranston, host Alissa Cheung, violin

There will be one 20-minute intermission in tonight’s program. Some of tonight’s program will be announced from the stage. Music will include the following (not necessarily in performance order):

SAINT-SAËNS

Bacchanale (from Samson and Dalila)

LEONCAVALLO

Pagliacci: Vesti la giubba (arr. Dragon)

STRAVINSKY

The Firebird: Infernal Dance (from 1919 Suite)

DAVIS

Hollywood

(8’)*

(3’)*

(5’)*

(4’)*

SHOSTAKOVICH

The Gadfly, Op.93: Romance

STEINER

Casablanca: Suite

(4’)* (7’)*

KHACHATURIAN Gayane: Sabre Dance

(2’)*

GARDEL

Por una Cabeza

(5’)*

RAVEL

Boléro: excerpt (arr. Waldin) Program subject to change *indicates approximate performance duration

(8’)*

ARTIST BIOS

ARTIST BIOS

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anadian artist and figure skating icon TOLLER CRANSTON was named Doctor of Laws, honoris causa, in recognition of outstanding contributions to international sport and Canada’s cultural life by Ottawa’s Carleton University. Mr. Cranston is widely recognized for transforming figure skating in the late 1960s and ’70s with innovations like spectacular spins that were widely copied by other skaters. Heralded as one of the most exciting skaters of his time, Mr. Cranston was the 1971-1976 Canadian National Champion, the 1974 World Bronze Medallist and the 1976 Olympic Bronze Medallist. Over the course of five decades, he has also made significant contributions to the artistic enrichment of Canadian culture. His art has been exhibited in major international galleries, museums and more than 250 one-artist shows around the globe. Toller Cranston was named a Member of the Order of Canada in 1976. He was inducted into the Canadian Olympic Hall of Fame in 1976, the Canadian Figure Skating Hall of Fame in 1997, Canada’s Walk of Fame in 2003, and into the World Figure Skating Hall of Fame in 2004.

This is Mr. Cranston’s debut with the ESO. He made a guest appearance with Edmonton Opera for their production of Die Fledermaus in March 1996, for which the ESO performed in the pit. Series Sponsor

Bill & Mary Jo Robbins JANUARY 2012

Media Sponsor

Mr. Waldin’s bio can be found on page 6. Bio and program notes continue on next page.

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2011/2012 SEASON

ROBBINS LIGHTER CLASSICS Gold Medal Skates – Figure Skating’s Greatest Hits

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orn and raised in Edmonton, ALISSA CHEUNG began playing with the First Violins of the Edmonton Symphony Orchestra in Fall 2010 and began playing the violin at the age of four. She is also involved with the Enterprise String Quartet and the Alberta Baroque Ensemble. She was the winner of the 2009 Kitchener-Waterloo Chamber Orchestra (KWCO) Concerto Competition and runner-up in the 2009 Shean String Competition. In Edmonton, she studied with Marian Moody, Ranald Shean and Broderyck Olson. After attaining a BSc (Honours) in Chemistry from the University of Alberta in 2007, Ms. Cheung pursued a Bachelor of Music Degree in Violin Performance at McGill University with Thomas Williams. In 2009, she graduated from McGill and began a Master of Music degree at the Yale School of Music with Ani Kavafian.

PROGRAM NOTES

PROGRAM NOTES

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OLD MEDAL SKATES – FIGURE SKATING’S GREATEST HITS.

Not every figure skating routine is set to orchestral classical music, of course. Tonight’s selections are in no way intended as a definitive overview of the sport. But as you’ll learn this evening, the music to be presented did help bring to life a number of beautiful routines – and it’s a great excuse to play some orchestral favourites. Like most French composers, Camille Saint-Saëns (1835-1921) wrote a lot of operas. But only his 1877 biblical drama Samson et Dalila still holds the stage today. A lavish spectacle, no opportunity for grandeur is overlooked – including the Act III Bacchanale, in which the Philistine priests dance in victory as the shorn hero is led in chains to his fate. This orchestral excerpt has become a thrilling excerpt on the concert stage and has inspired more than one skating routine. Edmonton Opera recently presented the 1892 two-act opera Pagliacci, by Ruggiero Leoncavallo (1857-1919), which is the story of betrayal and revenge backstage among a commedia dell’arte troupe. At the first act’s climactic moment, the cuckolded Canio forces himself to put on his stage makeup and prepare to make the audience laugh – an emotion that could not be farther away from him. He sings the aria Vesti la giubba, reminding himself that he must play the part of the clown and laugh (“Riddi Pagliaccio”) – and his attempt to do so rings harshly false. Tonight’s version of the aria is unsung, in an orchestral arrangement by the former Music Director of the Hollywood Bowl Orchestra, Carmen Dragon. The Firebird was the first of three highly influential and important ballets Igor Stravinsky (1882-1971) wrote for the Ballets russes, the Paris-based company run by impresario Sergei Diaghilev. The 1911 ballet was a smash, and made Stravinsky a star. The ballet’s dramatic climax occurs when the evil Prince Kashchei leads an Infernal Dance, full of thrilling orchestral crescendos and unexpected changes in rhythm and key. The American-born, British-based conductor, composer, and arranger Carl Davis (b. 1936) is a versatile musician. He has arranged music for Paul McCartney, written dozens of TV film scores, the motion picture The French Lieutenant’s Woman soundtrack, and has achieved a reputation for creating new scores for classic silent films. In 1980, Davis was commissioned by two British documentary filmmakers, Kevin Brownlow and David Gill, to compose music for a Thames television series, Hollywood: A Celebration of the American Silent Film. Tonight, we’ll hear the main theme song from that series. The Gadfly is a 1955 Soviet film directed by Aleksandr Fajntsimmer based on 20 SIGNATURE

Other musical influences include coaching with Glenn Dicterow, Pamela Frank, Malcolm Lowe, Mark Fewer, Matt Haimovitz, Kyoko Hashimoto and members of the Tokyo, Juilliard, Concord (former) and Orion Quartets. Ms. Cheung has been a soloist with various groups, including the KWCO. She has held principal violin positions in the National Youth Orchestra of Canada (2001, 2002), the Tanglewood Music Center Orchestra (2008), the McGill Contemporary Music Ensemble (2008), and has also served as concertmistress for ensembles such as the Pacific Music Festival Orchestra (2010), the McGill Symphony Orchestra, and the Edmonton Youth Orchestra. An adamant interpreter of new music, Alissa has performed numerous Canadian works and was an Artist in Residence at the Bang on a Can Summer Festival in North Adams, MA. As a composer, she has written several pieces, including Doorbell Hocket for Steel Pan and Two Violins, and Close Cover before Striking, which was premiered by Tonus Vivus Festival of New Music. Her newest pieces will be premiered in February/March 2012. www.alissacheung.com

a novel of the same name. As a youth, Dmitri Shostakovich (1906-1975) held many part-time jobs playing piano to accompany silent films, so it must have given him immense pleasure later in life to be able to write full scores for the movies. His score for The Gadfly is most notable for one section – the Romance. With a lovely violin solo, it is a beautiful, miniature musical moment. It enjoyed a new life in the western world when it was used as the theme music for the 1983 BBC-TV series Reilly: Ace of Spies, starring a young Sam Neill. When you think of “music” and the 1942 film Casablanca, it’s the 1931 Herman Hupfeld song As Time Goes By (sung by Dooley Wilson) that comes to mind. But legendary film composer Max Steiner (1888-1971) wrote a scintillating score for the movie, about the seemingly forgotten exiles who wait in Vichy-controlled Morocco for a chance to escape. The movie is one of the most beloved Hollywood films, and Steiner’s music evokes the full range of the film’s emotional scope. Back to ballet for our next excerpt, this time, one written by the Georgianborn composer Aram Khachaturian (1903-1978). He wrote two immortal ballet scores: Spartacus (1958), and Gayane (1942, revised in 1952 and again in 1957). The most famous minute and a half of music he ever wrote is from the latter; a bracing and exciting dervish known as the Sabre Dance, danced by balletic soldiers over crossed swords. The song Por una Cabeza (“By the Head of a Horse”) is probably the tune that comes to mind most when one thinks of the cliché idea of the tango. It was written in 1935 by Carlos Gardel (composer) and Alfredo Le Pera (lyrics). A brief list of movies in which this tune has been used includes: Planet 51, Scent of a Woman, Delicatessen, True Lies, All the King’s Men, Bad Santa, and Schindler’s List – the latter of which features an arrangement of the song by that film’s composer, John Williams. Tonight’s conductor, Lucas Waldin, has arranged an excerpt of Maurice Ravel’s (1875-1937) most famous work for tonight’s program. While the musical form known as the boléro, like so many of tonight’s works, is a dance, Ravel’s work was not originally written for the dance. Needless to say, however, its popularity soon drew choreographers to it like moths to a flame. Based on the same repetitive drum pattern, Ravel’s Boléro was, he said, one long crescendo, “a tissue of music” he said deprecatingly, that grows and grows over the course of a quarter of an hour until it bursts out in a fabulous climax. Tonight’s arrangement will be a shorter version.

Program notes © 2011 by D.T. Baker www.EdmontonSymphony.com


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What’s Your Winspear? The Winspear Centre is Edmonton’s pride and joy and is recognized around the world as an outstanding concert hall. It is a centre for music, for arts and culture. The Winspear brings people together and gives our community soul. The Winspear Centre needs you, and everyone in our community, to help us continue to build the Winspear Centre. Not with bricks and mortar, but with support for accessibility, artist development and phenomenal entertainment, so that we all can continue to enjoy what the Winspear gives to our community. Please get involved today by joining the campaign for just $10 a month (or more) for 12 months. Let everyone know what the Winspear means to you!

Your monthly support will: • become part of a community-wide sustainable funding source for the Winspear and help maintain its standing as a worldclass facility

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• help provide more opportunities for music, dance and other community groups to make the Winspear Centre a performance or event home • make the performing arts and the joy of music more accessible to our community, now and into the future • help maintain the Symphony’s home and allow it to continue developing its artistic excellence.

What if I already support the ESO? Thank you for being an ESO donor! You provide essential funds to the symphony every year. The Winspear Centre needs its own source of support in order to maintain its standing as a world-class facility and to best serve the needs of visiting artists, community groups, and its resident company, the ESO. Please contact Erin Mulcair at 780-401-2539 or visit MyWinspear.com to donate or to find out more. Thank you to all those who have already joined the My Winspear Campaign!

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RBC SUNDAY SHOWCASE

2011/2012 SEASON

Haydn’s Trumpet Concerto Sunday, January 22 | 2 PM Martin MacDonald, conductor Robin Doyon, trumpet Scott MacIsaac, piano

Sunday Prelude, 1:15 pm, Third Level (Upper Circle) Lobby with D.T. Baker Coffee Shop, post-performance, Main Lobby with D.T. Baker, Martin MacDonald, Robin Doyon & Scott MacIsaac

REID

Echoes of Time (2011 ESO commission through the Young Composers Project)

HAYDN

Trumpet Concerto in E-flat Major, Hob.VIIe: 1 Allegro Andante Finale: Allegro

LISZT

Piano Concerto No. 2 in A Major

Adagio sostenuto assai Allegro agitato assai Allegro moderato Allegro deciso Marziale un poco meno allegro Allegro animato - Stretto

(5’)* (15’)*

(20’)*

ARTIST BIOS

ARTIST BIOS

INTERMISSION (20 minutes)

DVORÁK

Symphony No. 8 in G Major, Op.88

Allegro con brio Adagio Allegretto grazioso – Molto vivace Allegro ma non troppo

Program subject to change *indicates approximate performance duration

Series Sponsor

JANUARY 2012

Series Media Sponsor

(37’)*

M

ARTIN MACDONALD recently concluded his three-year term as

Resident Conductor of Symphony Nova Scotia, conducting over 100 performances. Several of these performances were recorded for CBC Concerts on Demand, and during his term he was awarded the 2010 Jean-Marie Beaudet Award in Orchestral Conducting. Previously, Mr. MacDonald was Associate Conductor of the National Academy Orchestra of Canada for three seasons. Highlights for the 2011-2012 season include the orchestras of Thunder Bay, Prince George, Newfoundland, the Hamilton Philharmonic, the NAOC and Nova Sinfonia. In 2010-2011, Martin made his debut on SNS’ flagship Celebrity Classics Series, and conducted the Canadian premiere of the Atlantic Ballet Theatre of Canada’s Fidelio. In 2010, he stepped in on short notice to guest conduct the Dalhousie University Symphony Orchestra, leading to a re-invitation for 2011. He has worked with the orchestras of Winnipeg, Kitchener-Waterloo and the National Arts Centre. Martin’s conducting activities have been generously supported by the Canada Council for the Arts. Additional bios and program notes appear on pages 24-27.

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2011/2012 SEASON RBC SUNDAY SHOWCASE Haydn’s Trumpet Concerto

Martin completed his Master’s degree in Orchestral Conducting at McGill University and his Bachelor’s degree in Cello at Memorial University. At McGill, he assisted both the McGill Symphony Orchestra and Opera McGill, and conducted the Contemporary Music Ensemble. In St. John’s, he conducted extensively, and was a cellist with the Newfoundland Symphony Orchestra from 1997-2004. Martin has studied conducting with Alexis Hauser, Boris Brott, Kenneth Kiesler, Jorma Panula, Gustav Meier, Donald Buell, Douglas Dunsmore and with Michael Jinbo at the Pierre Monteux School. Born on Cape Breton Island, Nova Scotia, Martin is the youngest of 12 children. His training began at the age of six with cello, violin and piano, and he is an alumnus of both the Nova Scotia and Newfoundland youth orchestras. Martin has a strong Celtic music tradition in his family and has toured and performed extensively with them in Europe and North America. See www. martinmacdonald.ca for more information about tonight’s conductor.

Mr. Doyon has been the recipient of numerous other prizes, including the 2007 prix avec Grande distinction from the Montréal Conservatory of Music. He has been a member of the Grand Ballet of Canada Orchestra, and is a regular performer with the Montréal Symphony Orchestra, the National Arts Centre Orchestra, and the Laval, Longueuil, and the Metropolitan orchestras. He also performed with the Contemporary Ensemble of Montréal and the Contemporary Music Society of Québec. Robin Doyon currently teaches at the University of Alberta, having also been a professor at the University of Sherbrooke. Mr. Doyon last appeared as soloist with the ESO in September 2010.

This is Mr. MacDonald’s debut with the ESO.

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native of East Angus, Québec, ROBIN DOYON was appointed Principal Tumpet of the Edmonton Symphony Orchestra in September 2008. Since that appointment, he has appeared as soloist with the ESO, as well as the Red Deer Symphony, and the Alberta Baroque Ensemble. He received his Bachelor and Masters Degrees in Classical Interpretation at the University of Montréal with Jean-Luc Gagnon. He has studied with many masters of the trumpet, including Allen Vizzutti, Jens Lindemann, and James Thompson. In 2002, he was Laureate of the National Music Festival, the Montréal Symphony Orchestra Competition, and the Radio-Canada Young Artists Competition. 24 SIGNATURE

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COTT MACISAAC has studied piano for many years under the tutelage

of Marilyn Engle. He currently continues his studies under Boris Berman at the Yale School of Music. Scott has won numerous top prizes in many competitions, including the Yale Prokofiev Competition, the RBC Concerto Competition, the Toronto Symphony Orchestra Piano Competition, top prize and award for the best piano concerto at the Federation of Canadian Music Festivals, the Shean Piano Competition, two consecutive Grand Prize Awards in the Canadian Music Competition, and the Kiwanis Music Festival Rose Bowl. Scott has performed in recitals and orchestral engagements throughout Canada and also in France and the Netherlands. He made his Carnegie Hall debut in December. This is Mr. MacIsaac’s debut with the ESO.

www.EdmontonSymphony.com


PPROGRAM R O GNOTES RAM NOTES Echoes of Time (2011 ESO commission through the Young Composers Project)

ANDREW REID

(b. Edmonton, 1993)

First performance: The ESO premiered the work at Symphony Under the Sky on September 5, 2011. THIS IS THE ESO’S SECOND PERFORMANCE OF THE WORK.

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NDREW REID’S journey in composition began at six years of

age with piano lessons. He quickly discovered his ability to play familiar songs solely by ear. A few years later, Andrew began composing and recording music for the fi lms he was making. Now a graduate from Edmonton Christian High School, his portfolio includes compositions ranging from piano to full orchestral pieces. “It’s my greatest aspiration in life,” says Andrew. Andrew plans to take his Music Diploma at Grant MacEwan University. Of his work Echoes of Time, Mr. Reid writes: “Since early childhood, music has been a passion of mine, and over the years, I have come to appreciate the compositional aspect of it. I began composing songs on the piano from a young age, and would often feature them in the home films I was creating. Since then, I have composed many original pieces, been involved in Edmonton Christian School’s band and choir, and had many private music lessons on various instruments. In the fall, I will be attending Grant MacEwan’s music diplo;ma program. I hope to carry on with my musical studies to continuously gain knowledge and pursue my dream of composing for films. “I chose to call my piece Echoes of Time because it reflects my years of composition leading up to this point. The experience of writing for the Edmonton Symphony Orchestra has been very enjoyable, as I have learned a lot about proper orchestration. As this piece is an echo of my past, I hope that it can resound into the future as I gain more knowledge in the area of composition.”

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SUNDAYS at www.rcco.edmonton.ab.ca

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Organ Concert Series Canadians Near and Far

Michael Unger January 8

Rochester, New York Davis Memorial Tribute Recital Winspear Centre for Music Davis Concert Organ, $25 (Senior/Student $20)*

3:00 pm (Sunday)

February 10 Craig Humber 7:00 pm (Friday)

Vienna, Austria German Romantic Organ Works First Presbyterian Church, $20 (Senior/Student $18)

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2011/2012 SEASON RBC SUNDAY SHOWCASE Haydn’s Trumpet Concerto

Piano Concerto No. 2 in A Major FRANZ LISZT

(b. Raiding, Hungary, 1811 / d. Bayreuth, 1886)

First performance: January 7, 1857 in Weimar LAST ESO PERFORMANCE: NOVEMBER 1999

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Trumpet Concerto in E-flat Major, Hob. VIIe: 1 FRANZ JOSEF HAYDN

(b. Rohrau, 1732 / d. Vienna, 1809)

First performance: March 1800 in Vienna LAST COMPLETE ESO PERFORMANCE: JANUARY 2003 THE THIRD MOVEMENT WAS PERFORMED AT SOBEYS SYMPHONY UNDER THE SKY 2009

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E’RE ACTUALLY LUCKY THAT WE EVEN HAVE THIS,

Haydn’s most popular concerto. Like many of his other compositions, this one was lost until the early 20th century when it was discovered quite by accident. First performed in 1800, its composition was actually a few years before that. Anton Weidinger, the fine trumpet player for whom Haydn wrote this concerto (which appears to be the last concerto Haydn composed), was working on a new, valved trumpet capable of the full chromatic scale at the time of the work’s creation, but it took him several years of tinkering until he had it in the kind of condition he wanted to present the work. It has since taken its place as the most often-performed trumpet concerto yet written. Haydn took full advantage of the new instrument’s possibilities, crafting a work that likely would have shocked the audience of the day. The mood of the opening movement is almost subdued, as opposed to the expected martial brightness in which such a work would likely be cast. Just before the recapitulation, the trumpet unexpectedly descends to its lowest register. The second movement is in the previously unheard of key (for a valveless trumpet) of A-flat, and is one of Haydn’s typical, and lovely, three-part A-B-A structures. The famous final movement is a rondo with an ebullient tune for the main instrument (and plenty of chances for show), but also with fascinating contrapuntal textures in the orchestra and an overall mood of quiet celebration, as opposed to brilliance. 26 SIGNATURE

ART DEEPLY COMMITTED MUSICIAN, PART CHARLATAN,

part scoundrel and part religious, Franz Liszt was a visionary whose own innate abilities fell short of that very vision. As a pianist, Liszt had no peer. His fiery showmanship on the keyboard literally had ladies swooning at his recitals throughout Europe. This astounding virtuosity naturally led him to compose fiendish piano works designed to showcase his talents. Yet as David Ewen, a prolific music historian once wrote, “Liszt was more an important composer than a great one.” He wrote three piano concertos, though the recently-discovered third has yet to find a foothold in the repertoire that the two extant works have. Each of those follow a similar pattern – though comprising several “movements,” each is an integrated whole, played with no pauses between sections. As well, each concerto relies on the (largely Liszt-created) technique of thematic transformation: one principal theme is put to elaborate developmental ideas throughout the work. The Piano Concerto No. 2 was composed in 1848, in fact a year before the First Concerto. Romantic, even sentimental in feel, the concerto is effective and theatrical, its principal theme stated right from the outset. With the piano utterly dominant throughout, the concerto treats its main theme to a series of development, enlargement, reduction and reflective subsidiary passages. Its unity and sheer dash have kept it a popular concerto from its first performance.

Symphony No. 8 in G Major, Op.88 ANTONÍN DVORÁK

(b. Nelahozeves, Bohemia, 1841 / d. Prague, 1904)

First performed: February 2, 1890 in Prague LAST ESO PERFORMANCE: NOVEMBER 2008

I

T WAS JOHANNES BRAHMS THAT HAD INTRODUCED ANTONÍN DVORÁK to Brahms’ publisher, Simrock. The young Bohe-

mian composer had made Simrock a lot of money, thanks to works such as his Slavonic Dances, and his shorter piano pieces. Understandably, Dvořák not only wanted to write works in larger forms, he hoped and expected that the publisher that had gained so much from him might pay him a fair price for a new symphony. Yet the haggling dragged on, to such a point that five years passed between the completion of Dvořák’s Seventh and Eighth Symphonies. Eventually, Dvořák gave the new symphony to a British publishing house, Novello. This led to some early on coining of Symphony No. 8 as the “English” Symphony – which is actually absurd, as the work is probably the most Bohemian-influenced and Bohemian-sounding symphony he ever wrote. Dvořák wrote much of the symphony at his country home at Vysoká, and we are in nature from the work’s opening measures. The G Major work actually begins quietly and even a little darkly in G minor, until a bird call on the flute ushers in a bold and bright main subject in the work’s home key. The opening, minor-key motive returns, serving as a transition following the exposition, and again, it is a birdsong in the flute that ushers in a host of new melodic ideas, all of which are painted in rich, pastoral shades. While the work eschews a formal sonata-allegro blueprint, the two principal themes are www.EdmontonSymphony.com


Proud Technology Partner of the ESO & Winspear Centre ever present, and unify the movement with clarity and grace. The slow second movement begins almost unsurely, phrases beginning, then pausing. Another bird call, however, intrudes repeatedly, and seems to shake the doldrums. The strings take up the bird call with bolder strokes, and we are led to a picture of a Bohemian village, gently at first, then richly and with fanfare and ceremony. The mood becomes gentle again, then darkly dramatic. The quiet merrymaking also returns, and the net effect of the movement is that of a tone poem, embracing a day of peasant life. The A-B-A-C third movement begins with a waltz-like theme, again with twittering birds accompanying it. It is contrasted by an equally amiable folksong-like theme first presented on oboe, then taken up by the strings, before the dance theme returns, clothed in slightly richer hues. An unexpectedly buoyant final section sets up the fourth movement. The final movement is a patchwork of many musical ideas, led by a bold fanfare, and a variation on it. This variation is the main theme of the movement, which takes on broader and increasingly rousing guises. At times, the joy seems almost manic, and while the central section (ingeniously also based on the main theme) is tender and bucolic, it yields to the energy and verve that dominate this rich and rowdy finale.

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Program notes Š 2011 by D.T. Baker

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Bel Musica Mark Antonelli with

Sundays, 6 - 9 pm CKUA celebrates the vocal classical tradition each Sunday evening on Bel Musica. The program features excerpts and shorter works that range from medieval and Renaissance music to modern opera, with a balance of solo and choral music. The mix is not only appealing to aficionados, but accessible to listeners who are new to the sounds of the vocal classical genre. Bel Musica also previews performances of opera, choral and vocal music scheduled for live presentation in Edmonton and Calgary; Mark Antonelli selects the finest recorded performances of these works for the program.

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8/24/11 9:08:30 AM

As the official publisher of Signature magazine, Venture Publishing is pleased to welcome audiences and advertisers to the new season of the Edmonton Symphony Orchestra.

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Support local culture and reach a business and consumer demographic among the highest household incomes in Canada. The Edmonton Symphony Orchestra audience is one of the most diverse and discerning consumer groups in Edmonton and surrounding area. To advertise in Signature, please contact Serap Ozturk, Account Executive, sozturk@venturepublishing.ca or call 780-990-0819 x223


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FRIDAY MASTERS & LANDMARK CLASSIC MASTERS

2011/2012 SEASON

Rachmaninoff’s Third Piano Concerto Friday, January 27 | 7:30 PM

Saturday, January 28 | 8 PM

Gregory Vajda, conductor Alexander Korsantia, piano

ARTIST BIOS

ARTIST BIOS

Afterthoughts, Friday post-performance, Main Lobby with Gregory Vajda & Alexander Korsantia Symphony Prelude, Saturday 7:15 pm, Third Level (Upper Circle) Lobby with D.T. Baker

MAHLER

Symphony No. 5: Adagietto

SHOSTAKOVICH

Symphony No. 1 in F minor, Op.10 Allegretto Allegro Lento Allegro molto

(9’)* (32’)*

INTERMISSION (20 minutes)

RACHMANINOFF

Piano Concerto No. 3 in D minor, Op.30 Allegro maestoso Romance: Larghetto Rondo: Vivace

(39’)*

Program subject to change *indicates approximate performance duration

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ailed as a “young titan” by the Montréal Gazette, GREGORY VAJDA has fast become one of the most sought-after conductors on the international scene. He has been recently appointed the sixth music director of the Huntsville Symphony. Concurrently, he continues to serve as Artistic and Music Director of Music in the Mountains, CA, and completes his sixth and last year as Resident Conductor of the Oregon Symphony. In addition to his duties with these three organizations, upcoming guest-conducting engagements during 2011/12 include a return to the Seattle Symphony and his debut leading the Toledo Symphony. Highlights of previous seasons include Mr. Vajda’s 2009/10 stint at the Hungarian Radio Symphony Orchestra, followed by his return to the Hungarian State Opera for the first time since emigrating to the United States. Season 2008/09 marked Mr. Vajda’s introduction to the Salzburg Festival. He conducted the final performance of Bartók’s Bluebeard’s Castle, before returning to the Atlanta Opera to lead La Cenerentola. During the 2007/08 season, he returned to Montréal Opera in addition to concerts with the Charlotte Symphony and Santa Rosa Symphony. In past seasons, Gregory Vajda appeared with St. Paul Chamber Orchestra, the Milwaukee Chamber Orchestra, the Calgary Philharmonic, the Winnipeg, Louisville and Omaha symphonies, the National Arts Centre Orchestra in Ottawa, Ensemble Intercontemporain, and led the premiere of Hungarian composer György Ránki’s opera King Pomade’s New Clothes at the Hungarian State Opera. In addition to conducting, Vajda is also a gifted clarinetist and composer. He was honoured with the Zoltán Kodály State Scholarship for composers in 2000 and the Annie Fischer State Scholarship for music performers in 1999. Born in Budapest, Gregory Vajda studied composition at the Franz Liszt Academy of Music under Professor Ervin Lukács. He was also a conducting pupil of well-known composer and conductor Péter Eötvös. Mr. Vajda last appeared with the ESO in January 2011.

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Additional bios and program notes appear on pages 30 & 31.

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2012 SEASON

FRIDAY MASTERS & LANDMARK CLASSIC MASTERS

Rachmaninoff’s Third Piano Concerto

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LEXANDER KORSANTIA has been dubbed “a major artist” by the

Miami Herald and a “quiet maverick” by the Daily Telegraph. Ever since winning the First Prize and Gold Medal of the Arthur Rubinstein Piano Master Competition and the First Prize at the Sydney International Piano Competition, Korsantia’s career has taken him to many of the world’s major concert halls collaborating with such orchestras as the Chicago Symphony, Kirov Orchestra, the Israel Symphony, Mannheim Symphony, Goteborg Symphony and Israel Philharmonic. During the 2011/12 season, Korsantia can be seen and heard in his debuts with the Louisiana Philharmonic, Duluth Superior Symphony and Orquesta Sinfonica Nacional de Mexico, while also returning to the Pacific Symphony and Mannheim Symphony. He gives again a recital at the Festival Piano Jacobins in Toulouse. Recent engagements included Rachmaninov’s 3rd Piano Concerto with Gergiev and the Mariinski Orchestra in Eliat, Israel, followed by a tour across that country with the Camerata Israel performing the 1st Concerto by Shostakovich, a work later repeated at the Batumi Festival in Georgia under Maxim Vengerov. Born in Tbilisi, Georgia, Mr. Korsantia began his musical studies at an early age. Among his mentors are his mother, Sventlana Korsantia and Tengiz Amiredjibi, Georgia’s foremost piano instructor. A veritable superstar in his country of birth, Alexander Korsantia performed at the inauguration of Georgian President Saakashvili in 2004. In 1999, he was awarded one of the most prestigious national awards, the Medal of Honor, bestowed on him by then-President, Eduard Shevardnadze. In 1992, he moved his family to the United States and joined the famed piano studio of fellow Georgian, Alexander Toradze, at Indiana University. Korsantia resides in Boston where he is a Professor of Piano on the faculty of the New England Conservatory. This is Mr. Korsantia’s debut with the ESO.

PPROGRAM R O GNOTES RAM NOTES Symphony No. 5: Adagietto GUSTAV MAHLER

(b. Kalist, Bohemia, 1860 / d. Vienna, 1911)

First performance of the entire Fifth Symphony : October 18, 1904 in Cologne LAST ESO PERFORMANCE OF THE ENTIRE FIFTH SYMPHONY : MAY 1993 LAST ESO PERFORMANCE OF THE ADAGIETTO FROM THE FIFTH SYMPHONY : SEPTEMBER 1996

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S A CONDUCTOR, GUSTAV MAHLER WAS A FAMOUS MAN

in his lifetime. As a composer, he was ever in the shadow of Richard Strauss, and his works languished in relative obscurity until as recently as the 1950s. Those who heard Mahler’s music were puzzled by it. The naked emotionalism of his works discomfited many; Mahler held out his heart and his soul for inspection. Bruno Walter, the noted conductor and friend of Mahler, felt that each successive symphony Mahler wrote was an ever-more ambitious attempt to answer the question, why? Mahler’s Fifth Symphony was composed in 1903/04: a work Mahler biographer Richard Specht called “a dirge outshouted by the imperious call of life.” The work is in three parts, with five movements spread throughout the parts. Part Three begins with an extended Adagietto and it contains one of Mahler’s most beautiful passages, which is why the movement is excerpted and presented on its own frequently. While it became internationally famous, thanks to its use in the Luchino Visconti film Death in Venice (1971), the Adagietto was a frequently performed excerpt well before that.

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www.EdmontonSymphony.com


Symphony No. 1 in F minor, Op.10

Piano Concerto No. 3 in D minor, Op.30

DIMTRI SHOSTAKOVICH

SERGEI RACHMANINOFF

(b. St. Petersburg, 1906 / d. Moscow, 1975)

(b. Oneg Novgorod, 1873 / d. Beverly Hills, 1943)

First performance: May 12, 1926 in Leningrad LAST ESO PERFORMANCE: NOVEMBER 1981

First performed: November 28, 1909 in New York LAST ESO PERFORMANCE: SEPTEMBER 2005

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HOSTAKOVICH’S First Symphony

was originally written as a required element of his composition class at the Leningrad Conservatory. “Now I’m writing a symphony,” he wrote in a letter, “which is quite bad, but I have to write it so I can have done with the Conservatory this year.” If he sounds cynical, well, what overworked 18-year-old student, in consistently poor health, who also has a grinding part-time job to make ends meet, isn’t? Yet he came around with this work, and it was warmly received (for the most part) at its premiere. It was a long process, however. After struggling with the composition, he struggled with the orchestration, while simultaneously working on other pieces and trying to secure a performance of the symphony. When it finally happened, Shostakovich was thrilled to hear that the first performance of an orchestral work by him sounded exactly as it had in his head, and that his resistance to the changes that professors and mentors urged him to make were decisions vindicated by the rapturous applause that the awkward teenager acknowledged from the stage. The symphony’s Scherzo was encored. “Few left the concert without a keen awareness of having participated in a very special event, the debut of a major new symphonic composer,” wrote Laurel E. Fay in Shostakovich: A Life. There is a sense of playful collage to the opening movement, in which one hears scraps of a good many things that Shostakovich would have been exposed to as a keen student, particularly American jazz, with which Shostakovich and his friends were fascinated. Woodwind writing is particularly effective and it all leads to an almost madcap fortissimo halfway through the movement. It is short-lived and the almost chamber-like music transparencies return for a whimsical conclusion. The second movement, the work’s Scherzo, is in a familiar A-B-A design, and begins with a low buzz of energy, which quickly rises – giving way to a mysterious contrasting subject. A highly detailed part for orchestra piano is quite prevalent in the energetic outer sections of the movement, which concludes with a loud pronouncement, followed by a succession of mysterious chords. The Lento third movement moves from a dreamy oboe solo, then expands outward – the full orchestra broadening the music out into separate melodic threads, sombre and occasionally tragic. More than one observer has compared this movement to a Mahler slow movement, so perhaps since it follows one, you can judge for yourself. The final movement begins ominously, but soon becomes a rousing shout for full orchestra. The mood ebbs and surges – a quiet, introspective moment featuring a solo violin, then horn, brings a brief calm. The boisterous music returns, suitable for a thrilling moment in a movie (Shostakovich at the time played piano in movie houses to make ends meet). A timpani solo is another highlight of the movement right before the recapitulation quietly begins, becoming unexpectedly lush and even romantic. But the high energy returns just in time to sweep the work to a thrilling conclusion.

JANUARY 2012

HE STORY OF SERGEI RACHMANINOFF’S GRADUAL RETURN

to compositional confidence and success following the failures of both his First Symphony and First Piano Concerto is well-known. The first fruits of his new-found artistic security include the remarkable Second Piano Concerto. The now-famous Third Concerto followed Second by nearly a decade. About to embark on a tour of the United States, Rachmaninoff wanted a new concerto to present on the tour, and he wrote this one at his country estate of Ivanovka, practising it on a paper keyboard during the ocean voyage. One of the most astounding pianists who ever lived, Rachmaninoff was the soloist at the work’s first performances in New York, Boston, Philadelphia, Baltimore and again in New York. Among his four concertos, the Third is considered likely his most demanding pianistically, but also his most ambitious and communicative. The work’s opening theme sounds so much like a quotation from a folk song, or perhaps a church hymn, that Rachmaninoff was at pains to stress the theme is “borrowed neither from folk songs or from church sources. It simply wrote itself.” Parts of this theme recur in the subsequent two movements, but in the opening movement, its first appearance is followed by a much gentler one, and the mood of the movement alternates between these two poles. Another interesting feature of the movement is the presence of two climaxes, the second at the summit of the brilliant cadenza. The second movement is imbued with the same exotic, far-East flavour which colours other Russian works. Rachmaninoff labelled this movement an Intermezzo, a bridge of calm which rises to a certain triumphant feel when the first movement theme returns in the form of a waltz. This serene moment in the orchestra is loudly broken by the piano as it bridges directly into the third movement without a pause. While characteristically energetic, the final movement of the Third Concerto is structured quite differently from the other three Rachmaninoff wrote. There is no hesitation between statements of the first and second main themes, rather, Rachmaninoff piles the energy upon itself. The movement’s central section borrows from the main theme of the first movement, here presented against a completely rebuilt rhythm. The wonderful collage of theme, sparkling piano virtuosity and rhythm only increases in the recapitulation, bursting out in the lavish coda – an epic and crowd-pleasing finish. Program notes © 2011 by D.T. Baker SIGNATURE 31


P O PATRON PROFILE

Helen describes her experience of the ESO as a necessary aspect of her life.

“It just nourishes my soul.”

When asked how she would express the experience to a friend, she says simply,

“It is pure delight.”

Helen Resta at home in front of her grandfather’s upright piano.

F

OR MANY OF US, MUSIC IS AN ESSENTIAL THREAD THAT WEAVES

through our life’s experiences. Music touches our lives in deep and often transformative ways. For many of our patrons, attending ESO performances is so rewarding that they subscribe, and even donate, to the symphony, which helps provide a similar experience for others in the community. We gratefully acknowledge each and every one of our donors and subscribers, and it’s our wish to put a face to some of our loyal supporters. It’s our pleasure to introduce you to Helen Resta – we hope you enjoy her story. Helen Resta’s father got a piano when he married, never knowing how much of an impact that instrument would have on his daughter. “I got the most use out of [the piano] in the family,” Helen recalls with a smile. She grew up on a farm in a rural community, but that was no impediment to learning music. “We had a piano teacher.” The intrepid teacher recognized Helen’s musical talent, training her to eventually take over as the instructor for beginner piano lessons in their small town. Thanks to her teacher’s enthusiasm, Helen experienced live music at a young age, attending small concerts and ensemble performances from as early as 12 years. It was not until she was 19, however, that Helen got to experience the sound of a full orchestra. It began a love affair that continues to this day.

“I used to go to the Calgary Philharmonic with my friend Norma. My brother’s boss had season tickets, but I guess he wasn’t much of a classical fan and my brother passed them along to us. We’d throw Norma’s wheelchair in the trunk of my car and head out for a night at the symphony,” Helen says. She reminisces about one evening when she realized after the concert that the keys were locked in the car. “A Commissionaire had to drive me home to get the spare set!” Helen says with a laugh. She and her husband, Henry, lived in the small community of Grande Cache for a number of years. Helen kept up with music by starting a school band. They were short on instructors, so Jim, one of the teachers who took on the extracurricular band, taught himself how to play flute with “teach yourself” tapes, staying just ahead of the students he was instructing. He must have been an inspiring teacher, however, since Helen’s daughter Janet began her instruction in flute under his tutelage. Inheriting her love of classical music from her mother, Janet continued her guidance under the ESO’s Shelley Younge once the family moved to Edmonton. She now plays with the Cosmopolitan Wind Ensemble and has performed twice at music festivals in Europe. Helen began attending ESO concerts as soon as she and Henry moved to Edmonton in 1975. “I had a physical ache to go to the symphony,” she says of her years in Grande Cache. However, it would be over two decades before Helen experienced the concert that would become her favourite memory of an ESO performance. After attending ESO concerts for many years at the Jubilee Auditorium, Helen and Janet were first in line to get their seats at the newly opened Winspear Centre in 1997. Helen says that when Janet picked her up for their first Saturday Masters concert in the new Enmax Hall, she was worried that all the hype about the Winspear’s acoustics would be lost on her. “Janet’s ear is much more keen than mine. I thought to myself, ‘I don’t know that I’ll notice the difference.’ Well, I did. I was just gobsmacked. It just blew me away.” Helen describes her experience of the ESO as a necessary aspect of her life. “It just nourishes my soul.” When asked how she would express the experience to a friend, she says simply, “It is pure delight.” Music may be a sustaining force in Helen’s life, but the true delight for an orchestra is to have patrons like Helen and her daughter Janet. Their sincere and simple joy in the music and dedicated support is the reason our musicians continue to fill the concert hall with music year after year.

Happy 50th Anniversary, Helen and Henry! 32 SIGNATURE

www.EdmontonSymphony.com


O OPUS FUNDRAISER

Photos: Michael Woolley

FOR CARNEGIE HALL A SUCCESS O N NOVEMBER 8, 2011, OVER 100 PATRONS joined special guests on the Winspear stage for OPUS, a New York-themed reception and performance in support of the ESO at Carnegie Hall. The evening included a surprise appearance by E-SWAT and a dazzling performance from ESO musician ensemble Obsessions Quartet. Music Director Bill Eddins sat down at the piano to perform a duet with special guest Jens Lindemann. Both gentlemen spoke to the audience about the iconic status of Carnegie Hall for musicians and its role in launching the careers of many famous musicians and composers. “Who can tell me,” asked Bill Eddins of the crowd, “the first person to walk out onto the stage of Carnegie Hall when it was first opened?” The correct answer was shouted out: “Peter Ilyich Tchaikovsky!” Nora Bumanis, ESO Principal Harp, represented the orchestra as she spoke about the impact the ESO’s performance at Carnegie Hall will have on the symphony – not just this year, but for many years to come. The evening was filled with fun, laughter and most of all, music. The ESO thanks all those who attended and we are delighted to announce that the evening raised over $35,000 in support of the ESO at Carnegie Hall. Thank you!

OVER TWO-THIRDS OF THE ORCHESTRA IS NOW SPONSORED, BUT WE STILL NEED YOUR HELP TO GET TO CARNEGIE HALL!

If you have been considering Sponsoring a Dream or making a donation to the Carnegie Fund, please give online today at www.edmontonsymphony.com or by contacting Eleanor Finger at 780-401-2578.

Day LePoole and Gail Andrew at the Carnegie Hall OPUS Fundraiser.

Lucas Waldin, and guests, enjoy a chat at the end of the Carnegie Hall OPUS Fundraiser. DON’T MISS OUT!! If you are coming to see the ESO at Carnegie Hall and

Bill Eddins keeps time as Jens Lindemann wins a bet to hold a high note for 20 seconds!

JANUARY 2012

would like to sit with other Hometown Fans, you must buy your concert tickets before January 26, 2012 through Paull Travel – contact them at 780-428-6031 or willie@paulltravel.com. (After January 26, tickets are available online at www.springformusic.com)

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T

THE ESO IN OUR COMMUNITY

A

RE YOU SITTING IN YOUR SEAT AT THE WINSPEAR CENTRE RIGHT NOW,

Photos: Giles Merriott’s 365photography.com

flipping through the program as you wait for an ESO concert to begin? You probably have some idea of what lies in store for you over the next couple of hours, and we hope that you’ll have an enjoyable and uplifting experience! What you may not know is that in between presenting these high-quality performances at the Winspear for you and your fellow patrons, the ESO is busy with music education and outreach activities in the community.

Les Halliwell prepares to welcome the Edson community to the ESO’s concert in celebration of the town’s 100th anniversary.

CELEBRATING WITH EDSON On Saturday, September 24, ESO musicians piled onto two buses (with their usual run-out tradition of a “quiet” bus and a “loud” bus) and enjoyed the beautiful fall scenery on the road to Edson. The ESO travelled there to help Edson celebrate its 100th anniversary, capping off months of local celebrations by performing its first-ever concert in the town as part of the Centennial Homecoming Weekend. It had been Mr. Les Halliwell’s years-long dream to have the ESO there to help Edson celebrate. As the Events Committee Chairman, Mr. Halliwell was instrumental in arranging for the ESO’s visit and promoted the concert with resounding success in the community. Music Director William Eddins and Enbridge Resident Conductor Lucas Waldin led the orchestra, as over 1,000 community members enjoyed the timeless music of Mozart and Beethoven and orchestral arrangements of great Canadian songs including “I Will Play a Rhapsody,” “Snowbird” and “Four Strong Winds.” Special guest pianist Alison Kilganon – an Edson local – received a standing ovation for her performance of the Third Movement from Mozart’s Piano Concerto No. 23. The ESO was not just there for the concert, however. A number of musicians travelled out to Edson a day early and conducted two-hour workshop sessions for middle and high school students. This was a unique occasion for many young Albertans: experiencing a learning opportunity with professional musicians in such an intimate setting.

Stefan Jungkind, Sheila Laughton and Colin Ryan share a laugh before the ESO’s Edson performance. 34 SIGNATURE

www.EdmontonSymphony.com


CONNECTING KIDS WITH MUSIC Almost everyone has, at some point in their life, picked up a harmonica and given it an experimental blow. But most of us haven’t been lucky enough to receive a lesson in harmonica from a professional virtuoso! Dozens of children at J.A. Fife School in Edmonton had just this opportunity, in mid-November, thanks to the ESO’s guest artist Robert Bonfiglio. The day before his performance with the symphony, Mr. Bonfiglio visited the school and spent some time teaching Grade 3 students about the workings of a harmonica and how to play simple melodies. A passionate advocate for music education, Mr. Bonfiglio gave each student their own harmonica to keep. “Once you start to physically hold and play an instrument,” Mr. Bonfiglio told us, “you start to problem solve. Playing an instrument gives a zest for life that you can’t take away from a kid.” Along with its acclaimed Education Concerts, Musicians in the Making and Adopt-A-Player programs, the ESO continues to arrange opportunities, like these, for guest artists wishing to work in the community. To see a short video on Robert Bonfiglio’s visit to J.A. Fife School, visit www.albertaprimetime.com

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Harmonica virtuoso, Robert Bonfiglio, worked with Edmonton students prior to his performance with the ESO on November 17th.

12/1/11 3:38:38 PM


THE EDMONTON SYMPHONY ORCHESTRA FRANCIS WINSPEAR CENTRE FOR MUSIC

BOARD & STAFF

N 1952, A SMALL GROUP of dedicated visionaries formed the Edmonton Symphony Society with the goal of solidifying the Edmonton Symphony Orchestra as an ongoing, sustainable organization, determined to provide Edmonton with the finest in orchestral music, enrich the lives of its audiences and enhance the quality of life for the entire community. Since then, the ESO has grown from a part-time community orchestra, rehearsing at night, to a full-time core of 56 musicians who come here from all over the world to transcend the original board’s vision. The orchestra’s performance home is the magnificent Francis Winspear Centre for Music – another goal realized by ESS Board members and other committed community volunteers. The ESO’s budget is $8.5 million annually, and it performs over 85 concerts, in addition to performances with Edmonton Opera and the Alberta Ballet. None of this would be possible without the tireless work of the Board of Directors and the society which they voluntarily administer.

LIST OF PAST BOARD CHAIRS Mrs. Marion Mills Dr. H.V. Rice Mr. John D. Dower Mr. Gerry M. Wilmot Dr. A.O. Minsos Mr. E.M. Blanchard Mr. A.G. Culver Mr. D.D. Campbell Mr. D.M. Ramsay Mr. Merrill E. Wolfe Mr. Ken R. Higham Mr. George M. Peacock, Q.C. Mr. Robert L. Horley The Honourable David C. McDonald Mrs. Madeline Williams The Honourable Tevie H. Miller Mr. Jack W. Kennedy The Honourable Roger P. Kerans Mr. Richard W. Palmer Dr. John R. Huckell Dr. John L. Schlosser Mr. J.R. Singleton Mr. D.A. Cox Mr. Ron Ritch Mrs. Margaret Clarke Mr. Brian Hetherington Mr. Charles T. Austin Mr. Neil Wilkinson 36 SIGNATURE

1952-53 1953-54 1954-56 1956-57 1957-58 1958-59 1959-60 1960-61 1961-62 1962-63 1963-65 1965-66 1966-67 1967-68 1968-69 1969-70 1970-71 1971-72 1972-73 1973-76 1976-77 1977-79 1979-80 1980-82 1982-84 1984-86 1986-88 1988-90

1990-93 1993-95 1995-97 1997-00 2000-01 2001-03 2003-04 2004-07

Mr. Robert Binnendyk Mr. Ron Pearson Ms. Audrey Luft Mr. Andrew Hladyshevsky, Q.C. Mr. Douglas Noble Mr. D. Mark Gunderson, Q.C. Mr. W.D. (Bill) Grace, F.C.A. Mrs. Phyllis Clark

EDMONTON SYMPHONY SOCIETY / EDMONTON CONCERT HALL FOUNDATION

BOARD OF DIRECTORS

Jim E. Carter, 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 Brad Ferguson Ricki Golick Bill Harrison Travis Huckell Elizabeth Hurley Carol Ann Kushlyk, C.M.A., C.F.E. Edith Stacey Rhonda Taft Richard Wong

BOARD CONTACT

Hilda Nelson, Executive Assistant

at 780.401.2544 or hnelson@winspearcentre.com

EDMONTON SYMPHONY ORCHESTRA / FRANCIS WINSPEAR CENTRE FOR MUSIC ADMINISTRATION

EXECUTIVE Annemarie Petrov, Executive Director Hilda Nelson, Executive Assistant & Board Liaison Meghan Unterschultz, Executive & Government Communications

www.EdmontonSymphony.com


ADMINISTRATION ARTISTIC OPERATIONS Rob McAlear, Artistic Administrator Jerrold Eilander, Orchestra Operations Manager Susan Ekholm, Library Assistant Eric Filpula, Orchestra Personnel Manager Sheila Jones, Orchestra Librarian COMMUNITY RELATIONS Patti Stewart, Director of Community Relations D.T. Baker, Music Resource / Publications Editor Melissa Di Natale, Education & Community Relations Coordinator Philip Paschke, Communications Manager Michael Schurek, Marketing & Sponsorship Manager EVENTS MANAGEMENT Ally Mandrusiak, Director of Events Management Warren Bertholet, Head Lighting Technician* Diana de Sousa, Client Services Coordinator Rob Hadfield, Head Audio Technician* Grant Johnson, Technical Director* Alan Marks, Head of Stage Management* Mike Patton, Assistant Head of Stage Management*

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Leanne Persad, Front of House Manager Cristina Weiheimer, Internal Control Specialist FINANCE & OPERATIONS Barbara Foley, Director of Finance & Operations Sandy Carter, Senior Accountant Shirley Chaytor, HR Payroll Coordinator Dave Clark, IT Support Beth Hawryluk, Tessitura Systems Analyst Olena Kotova, Accountant Erika Ratzlaff, Business Analyst PATRON DEVELOPMENT Elaine Warick, Director of Patron Development Catherine Boissonneau, Box Office Supervisor Eleanor Finger, Associate Director of Patron Development Erin Mulcair, Patron Relations Manager Teresa Ryan, Patron Events Manager Connie-Lee Thomlison, Box Office Manager Adam Trzebski, Patron Relations Manager Cat Walsh, Box Office Assistant Supervisor *THE ESO & WINSPEAR CENTRE WORK IN PROUD PARTNERSHIP WITH IATSE LOCAL 210

12/23/11 8:15:50 AM


T ROBERT RIVAL (read more about him on pages 8&9) is the third Composer in Residence in the history of the Edmonton Symphony Orchestra.

Funded through support provided by the Canada Council for the Arts, the ESO engaged JOHN ESTACIO as Composer in Residence from 1992 to 1999. His mentorship with the ESO was mutually beneficial, and led to a CBC CD of his orchestral works, performed by the ESO and conductor Mario Bernardi (nominated for a 2004 Juno, Best Classical Composition).

ALLAN GILLILAND was ESO Composer in Residence from 1999 to 2004. A busy and prolific composer, Mr. Gilliland is also Head of Composition at Grant MacEwan University.

TUESDAY, MAY 8, 2012 ON THE FABLED STAGE AT CARNEGIE HALL: four Canadian soloists, three Canadian composers, three Canadian compositions, one mighty and seldom-encountered symphony, sixty-four musicians, one imaginative Music Director, a demanding New York audience sitting in classical music’s greatest shrine, an evening of dazzling musicianship and unforgettable music making, and a stage full of dreams that have come true. This will be the Edmonton Symphony Orchestra’s Carnegie Hall debut, the crowning achievement of our 60th anniversary diamond jubilee season. The ESO is thrilled that all three of its Composers in Residence will have works of theirs performed when the orchestra plays Carnegie Hall. John Estacio’s Triple Concerto for Piano, Violin and Cello was premiered as part of the grand opening of the Winspear Centre in 1997. Allan Gilliland’s Dreaming of the Masters III premiered at the Robbins Pops concerts September 17 & 18, 2010. Mr. Rival’s work, Lullaby, is a brand new work. He will also unveil another world premiere at the Landmark Classic Masters concert on March 31, 2012.


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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

Sponsor

Sunday Showcase

Robbins Pops / Robbins Lighter Classics

Presenting Sponsor

Title Sponsor

Sponsor

Late Night with Bill Eddins

Esso Symphony for Kids

Friday Masters

Our Program and Education Sponsors

Sponsor

Sponsor

Musicians in the Making

2 for 1 Subscription Campaign

Sponsor

through the Edmonton Community Foundation

Resident Conductor

Sponsor

K to Gr. 3 Education Program

Sponsor

Gr. 4 to 6 Education Program

Naming Sponsor ENMAX Hall

Presenting Sponsor

Christmas at the Winspear

Sponsor

Gr. 7 to 12 Education Program

Sponsor Pulse8

Presenting Sponsor

Christmas at the Winspear

Our Performance Sponsors

Our Media Sponsors

CityTV

Capital FM

Global

CKUA

ShineFM

Edmonton’s Child Magazine

Edmonton Journal

Joe FM

Pattison

Our Exclusive Caterers

Our Suppliers

Official Bike Supplier to the ESO Conducting Team

Publications Sponsor

Official Floral Supplier

Official Home Town Fan Agency to Carnegie Hall

Official Airline to Carnegie Hall

Print Sponsor

Beer Supplier

Wine Supplier

CBC


ESO Signature Magazine January 2012  

Edmonton Symphony Orchestra Signature Magazine January 2012