BIG APPLE, BIG DREAMS
ESO: Headed for New York
LAST NIGHT OF THE PROMS
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SIGNATURE Contents Volume 27, Number 6 | MARCH 2012
ARTISTIC & LEADERSHIP TEAM
EDMONTON SYMPHONY ORCHESTRA 2011/2012
(Eddins, Petrov, Waldin, Buchmann, Rival) PUBLISHED FOR the Edmonton Symphony Orchestra at the Francis Winspear Centre for Music
9720 102 Avenue, Edmonton AB T5J 4B2 Administration: 780-428-1108 Box Office: 780-428-1414 E-mail: email@example.com Website: www.edmontonsymphony.com ESO EDITOR
THE ESO preps for its spring performance at Carnegie Hall by Michelle Lindstrom
D.T. Baker D.T. Baker, Robert Rival and Allan Gilliland
EDITOR ART DIRECTOR ASSOCIATE ART DIRECTOR ASSISTANT ART DIRECTOR ADVERTISING SALES
ESO PRESENTS BENJAMIN GROSVENOR (MARCH 6)
FRIDAY MASTERS / LANDMARK CLASSIC MASTERS COPLAND’S CLARINET CONCERTO (MARCH 9 & 10)
William Eddins, conductor Benjamin Grosvenor, piano
Letters to the editor, comments and/or suggestions are welcome.
William Eddins, conductor James Campbell, clarinet 21
Ruth Kelly Joyce Byrne Michelle Lindstrom Charles Burke Andrea deBoer Colin Spence Anita McGillis Serap Ozturk Glenda Dennis
ROBBINS POPS THE 1950s – THE GOLDEN AGE OF BLACK & WHITE (MARCH 16 & 17)
ESO SPECIAL BEN FOLDS WITH THE ESO (MARCH 29)
Jack Everly, conductor Chapter 6, vocal group Karen Murphy & Farah Alvin, guest vocalists Ben Folds, special guest Lucas Waldin, conductor
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.
MIDWEEK CLASSICS FRENCH INSPIRATIONS (MARCH 14) Jean-Philippe Tremblay, conductor Susan Hoeppner, flute
Signature magazine, the official publication of the Edmonton
LANDMARK CLASSIC MASTERS ROLSTON PLAYS DVORÁK (MARCH 31)
Julian Kuerti, conductor Shauna Rolston, cello
THE EDMONTON SYMPHONY ORCHESTRA
10259 105th Street, Edmonton AB T5J 1E3 Inquiries: 780-990-0839 Fax: 780-425-4921 Email: firstname.lastname@example.org Website: www.venturepublishing.ca
BIG APPLE, BIG DREAMS
Radiant Canadian soprano Measha Brueggergosman makes her ESO debut in a special Gala concert on October 29, 2012. Tickets go on sale to the general public May 8 – visit EdmontonSymphony.com for more information. Photo by Mat Dunlap.
ON THE COVER
Appreciation of our long-time subscribers
IN MEMORY OF Leslie Green
ESO / FRANCIS WINSPEAR CENTRE FOR MUSIC BOARD OF DIRECTORS & ADMINISTRATION
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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(3) Eileen Abrams Darlene Acton Rae & Carol Allen Gail Andrew Audrey Andrews Marcia Antunes Fab Five Women’s Business Initiative ATB Financial Dick & Heather-Jane Au Rhonda Baker Gabriella Bergsten Robert Bhatia Len & Barb Bistritz John & Marion Boyd Jim Carter & Lorraine Bray Joyce Buchwald Robert Buck Bill & Keatha Buckham Stephen & Carolyn Campbell David & Carol Cass Carey Castillo Ross Clemenger CN Megan Collins Maria David-Evans Davies Park Executive Search DiCorp Diversity Technologies in honour of Annalies LePoole Michelle Docking Elizabeth Donald Driving Force Mike & Sharon Duff Ronald & Patricia Dutchak Grant Edmondson Marcia Ellinger Dennis & Doreen Erker Fairley Erker Advisory Group Janet Fayjean Eleanor Finger Sandy Fitch & Gerry Day Diane Gagnon Catherine Gibson Margaret Hartwell Mark & Nancy Heule Hilton Garden Inn George Hislop In memory of Harcourt D. Smith Elizabeth & Levi Hurley Garnet Ireland Darcy & Barbara Koshman Carol Ann Kushlyk Grace Lau Zonia Lazarowich Steven & Day LePoole Drs. Gary & Catherine Lopaschuk LUBE-X - Shirley & Jim Funk Ward Mabbutt Lloyd & Lynn Malin Stephen & Lynn Mandel MARCH 2012
Bev Martin Phyllis McAnally Muriel McIntosh MNP LLP Melcor Developments Ltd. Ed & Joy-Ruth Mickelson Joyce Mienhart Karen & Wally Might Arliss Miller John & Maggie Mitchell Peter & Carol Moeykens Inland Concrete Reinhard & Elisabeth Muhlenfeld Erin Mulcair Donna Naylor Ingrid Neitsch Jim & Sherry Noyes Jack & Esther Ondrack Marcia Olson In honour of Maria David-Evans Joanne Pawluk PCL Constructors Ltd. Michael Pearson Barbara Penney Mathilde Poulsen Tony & Sheila Rich Bill & Mary Jo Robbins Maureen Saunders Alfred Savage Paddy Brine & Wes Schmidt Elizabeth Scott Allan & Marianne Scott Ron & Dorothy Scott Vici Seibt Pat Sharp Jacqueline Smith Eira Spaner Jean A Stephen Dr. Barbara Stewart Carolyn Stout Monte Stout Brian & Heather Summers The Marion K Mills Family Sir Francis Price & Hon Marguerite Trussler University of Alberta Alumni Association Upper Crust Catering Allan & Bette Wachowich Barry & Valerie Walker Rachel Warhaft Levern & Arlene Wasylynchuk Angus Watt Advisory Group Paddy Webb Brent Windwick & Brenda Kaminski Cory Wosnack Avison Young Principal Michael Yan Linda M. Youell - In memory of Gerry Youell Ralph & Gay Young
ELCOME TO THAT STRANGE TIME OF YEAR WHEN WE SEEM TO EXIST IN BOTH THE
present and the future! We’ve just announced our exciting new 2012/13 season – one which marks the 15th anniversary year of the Francis Winspear Centre for Music, and the 10th anniversary of the wonderful Davis Concert Organ. This is always an exciting time full of anticipation, but we’ve added to that by announcing our Gala concert on October 29, with the wonderful Canadian soprano (and Signature cover) Measha Brueggergosman. But we still have so much of this season to go, as you’ll see from all the great concerts in this issue of Signature. And we have to start packing for Carnegie any day now (there’s more on that on pages 10-11). It’s a lot to get to, and it’s a tribute to the musicians and staff of the Edmonton Symphony Orchestra that it all (usually) goes smoothly. So whether you’re joining us for all we have to offer, or just taking a welcome break from your routine to enrich your life with great music, we thank you for being here. William Eddins
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.
TART SPREADING THE NEWS … your Edmonton Symphony Orchestra will create
Edmonton history on May 8, 2012 when it performs 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. More than 800 fans will be seated in the “Hometown Fan” section for the ESO performance at Carnegie Hall! It isn’t too late to join in and experience Edmonton history. Contact Paull Travel (the ESO’s official Hometown Fan Travel Agency) at 780.428.6031. We thank you all for your support and we look forward to seeing hundreds of our fans in New York City in just a few short weeks! 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.
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
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,
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
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
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.
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 MARCH 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
[ 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 [ BASS TROMBONE ] Christopher Taylor 1
1 PRINCIPAL 2 ASSISTANT PRINCIPAL
ORCHESTRA PERSONNEL Eric Filpula, Orchestra Personnel Manager Sheila Jones, Librarian The following musicians may appear at performances in this issue: Ray Baril Saxophone Jim Cockell Violin Jeanette Comeau Viola Elizabeth Faulkner Flute Joel Gray Trumpet Marie Krejcar Violin Regine Maier Violin Michael Massey Piano John McCormick Percussion P.J. Perry Saxophone Diana Sapozhnikov Violin Jeremy Spurgeon Piano/ Harpsichord/Organ Dan Sutherland Clarinet Robin Taylor Saxophone Brian Thuϖrgood Percussion Robert Walsh Guitar Russell Whitehead Trumpet
[ 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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Cellar Builder Recommendations Brewdog’s “Sink the Bismarck” $112.50/375ml Yes, beer can be cellared and in this case, it’s encouraged. The Scottish lads never stopped with Tactical Nuclear Penguin. After success with the freeze distillation process in Penguin, the “brew” (term used lightly) has been frozen four times, to get rid of any pesky water that may still be lurking in the liquid, and has also been quadruple-hopped for good measure. “Bismarck” clocks in at a mere 41 per cent ABV. This is not your Friday night session beer.
There’s always a lot of talk about French Bordeaux Futures, and a lot of money invested in these wines. Those are great wines, and definitely on my bucket list to try should Lotto Max ever work out in my favour. But Italy is just as great for building your cellar. Start out with:
EnzoBogliettiLanghe IGT “Buio” 2007 (Piedmont, Italy) $55.99/750ml It’s incredible to think that the winery has only been in production since 1991, and yet their wines are already showing incredible depth. This is 80 per cent nebbiolo with 20 per cent barbera, and is a sleeper hit. Incredibly full-bodied now, but the tannins are a little aggressive still. We suggest you buy now, put in the back of your cellar for at least five years (eight is better) and enjoy the chocolate, flowers and baking spice that are just aching to come out. And it’s Barolo, so you have time to practice your braising skills with veal, lamb or beef when you’re ready to open it.
Dr. H. ThanischBernkastelerBadstube Riesling Kabinett (Mosel, Germany) 2010 $21.99 This is a Riesling for wine geeks. It’s slightly off-dry with an intense acidity that is extremely well-balanced by the fruit and so the acidity level isn’t actually as aggressive as you originally think after the first sip. The tropical fruit is bright with a hint of honey and beeswax. Not everyone thinks of ageing their Riesling, but this is priced just right to drink now or experiment with in the cellar. If you’ve never had an older German Riesling, trust me when I say you’re missing out on a cool experience. I’ve had Riesling from the 1990s in the last two to three years that blew my mind. I’m tucking away a few bottles of this to enjoy for the future.
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Q: All my friends talk about cellaring wines and wines that are “too tight.” I want to know what they are talking about and how you can figure out if a wine needs more time. A: In a nutshell, if you sample a wine, and the tannins are pretty aggressive, and completely turn your mouth to Velcro, or the acidity is so bright and fresh that you have a hard time discerning the fruit flavours underneath, then the wine could stand to age for a few years. As the wine ages, the savoury flavours will start to emerge, and the colour starts to turn from purple or ruby to garnet and tawny. The earthy, vegetal flavours will start to balance out the tannin and/or acidity. If there is no fruit, acidity or tannins, unfortunately the wine has probably passed its prime, and you’ve missed the window of opportunity. Practice and experience help you figure out how long you should put that bottle away. And sometimes, you just take a gamble based on a gut instinct. Sometimes you win the cellaring gamble, sometimes you lose. But that’s the fun part of wine, when you win, you can win big!
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BIG APPLE, BIG DREAMS THE ESO HAVE THE CHANCE OF A LIFETIME – A PERFORMANCE AT CARNEGIE HALL. NOW IT’S A MATTER OF GETTING THEM THERE
ARNEGIE HALL IS THE HISTORIC VENUE FOR A NEW AND INVENTIVE
orchestral event called the Spring for Music Festival, mounted for the first time in May 2011. On the heels of their success, organizers are looking forward to future Festivals. And the ESO, one of only six orchestras invited to perform in 2012, and the only Canadian orchestra, are looking forward to performing for their fans on New York’s – and one of the world’s – most storied stages. As many great ideas do, the Spring for Music Festival evolved from a casual conversation among three symphony-loving friends. The three friends – David Foster, president of Opus 3 Artists, Thomas W. Morris, former Cleveland Orchestra CEO and now Spring for Music Artistic Director, and Mary Lou Falcone, owner of ML Falcone Public Relations – took their idea for a three-day concentrated concert “laboratory” and put some shape to it by raising awareness and, more importantly at the time, money. Falcone says the approximate annual budget for the Festival is US$1.5 million and their original goal was to secure three years (through 2013).
“Happily we have now determined we can go to 2014,” she says. Gifts ranging from $750,000 to $1.5 million from the Andrew W. Mellon Foundation, Gerry and Marguerite Lenfest and Jan and Daniel Lewis were some of the game-changing donations, giving the Festival the support it needed for what Falcone calls a “wonderfully amazing,” inaugural year. Jerrold Eilander, ESO Orchestra Operations Manager, says he’s been working on Carnegie plans for the ESO since April of last year, soon after the orchestra found out it was selected to play in the 2012 festival. For some investigative work, he and four other ESO employees went to Carnegie for 2011’s festival, with hopes the experience would better prepare him, and in turn the orchestra members, for what would be in store when their turn came around. The Carnegie Hall premiere of the ESO will take place Tuesday, May 8 at 7:30 p.m. “This is the first out-of-country performance they’ve ever had,” Eilander says. Going to Ottawa in 2005 to celebrate Alberta’s 100th anniversary was logistically the ESO’s most complicated performance to date. “When you’re going out of your own home, it’s a lot of work,” he says. “It’s fun work, but you’re moving your entire house.” Reality set in, along with the excitement, for Eilander in September of last year when he had to start purchasing plane tickets, conversing with the U.S. government for work visas and arranging courier services in New York City. It’s a big deal, the performance venue and the city. Eilander says the
“It’s about rallying the folks at home to have a real civic pride in their orchestra – just like you would a sports team.” - Mary Lou Falcone
SWITCHING SCENES : The orchestra will look very much like this on May 8, but the backdrop will be quite different.
2011/2012 SEASON BIG APPLE, BIG DREAMS musicians have begun asking questions ranging from what they should wear on stage to rental information for the timpani. Every detail counts. The details for the festival were just as important to the founders too, says Falcone. They wanted to offer the public something different, less formal and rigid than traditional symphony events. The festival offers attendees the incredible imagination, creativeness and inventiveness of North American orchestras all for the price of US$25 per ticket. “If you get there first, you could sit in a box seat at Carnegie Hall for US$25,” she says. Unbelievable. “What’s wonderful about this festival is what it does at home,” Falcone says. “It’s about rallying the folks at home to have a real civic pride in their orchestra – just like you would a sports team.” During a memorable performance at last year’s festival, 1,400 audience members shouted and waved their supplied orange hankies when the host gave a shout out to Toledo during their hometown orchestra’s performance. (Each orchestra picks a home colour and ticket holders from the hometown are given a 14 by 14 inch cloth square made in that colour as a keepsake from the festival organizers.) “It was like being at a hockey or football game,” Falcone says. “It was really something we have never seen before in Carnegie Hall.” She hopes to see a sea of red from more than 700 Edmonton fans estimated to travel east this spring in support oftheir ESO. Assuming the timpani will be rented, no outrageous spring storms will delay travel and no guest performers will get sick, the ESO will proudly perform on one of the world’s most sought-after stages for an orchestra. “It’s a different kind of acoustic,” Eilander says, “but it’s great acoustics.” He says going on the road changes musicians, something proven back in ’05 after their Ottawa trip. ESO patrons who can’t make it to Carnegie Hall for the festival will not miss out completely. The experience of New York will carry through with the musicians and ESO staff afterwards and will inspire their playing and programming for years to come. FESTIVAL RULES AND TIDBITS • The ESO was chosen out of approximately 65 eligible groups to play in the 2012 Spring for Music Festival because of their excellence, quality of playing and adventurous programming. • Thomas Morris is the Spring for Music Festival’s Artistic Director and he selects who gets to be in the festival. • Selection was based on superior talent along with orchestras that focus on creative programming at home. To apply, the orchestras had to submit what they would play at the festival, but also two to three years of their programming at home. • The ESO is the only Canadian orchestra performing at this year’s event. Montréal’s orchestra was the only Canadian group at last year’s.
CARNEGIE HALL : An illustrious chapter in the ESO legacy • The same orchestra cannot play in the festival two years in a row, but can apply for the year after. • Six orchestras from across North America will be playing in the 2012 festival each with one day scheduled just for them to play on Carnegie Hall’s stage. • The order of performances is: MONDAY, MAY 7 – Houston Symphony TUESDAY, MAY 8 – Edmonton Symphony Orchestra WEDNESDAY, MAY 9 – New Jersey Symphony Orchestra THURSDAY, MAY 10 – Alabama Symphony Orchestra FRIDAY, MAY 11 – Milwaukee Symphony Orchestra SATURDAY, MAY 12 – Nashville Symphony • Tickets are US$25 and are still available. See www.springformusic.com
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10/18/11 3:19:40 PM
Connections Concert Series Liszt, Bach, Ravel, Prokofiev, Brahms, Schumann ...
... performed by emerging student musicians and esteemed faculty of the Alberta College Conservatory of Music. These exceptional artists will impress you with inspired performances. Concerts held Sundays at 2 pm on March 11, May 13 and July 8 in Muttart Hall, 10050 MacDonald Drive. www.MacEwan.ca/Conservatory 780.633.3725
Adults $20, Students/Seniors $10 Tickets available at Tix on the Square All proceeds will support student scholarships Concerts to be broadcast on CKUA, 94.9 FM Student & Alumni Performers
Andy Wong, piano, Brittney Jette, mezzo-soprano, Candace Chu, piano, Emily Filice, piano, Eric Meier, guitar, Erin Passmore, soprano, Holly Christiani, violin, Jocelyn Anselmo, soprano, Katia Paskevich, soprano, Mairi Irene McCormack, mezzo-soprano, Michelle Schamehorn, piano, Nansee Hughes, soprano, Peter Krejcar, piano, Rachel Jeong, piano, Rachel Johns, mezzo-soprano, Rebecca McIntosh, soprano
Alissa Cheung, violin, Bianca Baciù, piano, Cameron Watson, piano, Don Ross, clarinet, Frank Ho, violin, Ian Woodman, ‘cello, Joanne Yu, ‘cello, Leanne DammannMaitland, viola, Marie Forestier, violin, Sarah Ho, piano, Sarah Woodman, viola, Shannon Hiebert, piano
2/9/12 3:03:47 PM
E ESO PRESENTS
Benjamin Grosvenor Tuesday, March 6 | 7:30 PM
William Eddins, conductor Benjamin Grosvenor, piano (Canadian debut)
Fancy Free: excerpts
Piano Concerto in G Major Allegramente Adagio assai Presto
INTERMISSION (20 minutes)
Piano Sonata No. 2 in G-sharp minor, Op.19 “Sonata-Fantasy” Andante Presto
Étude-tableau in E-ﬂat minor, Op.39 No. 5 Lilacs, Op.21 No. 5
(arranged for solo piano by Rachmaninoff)
Polka de W.R.
Gaspard de la nuit Ondine Le gibet Scarbo
n exquisite technique and ingenious flair for tonal colour are the hallmarks which make BENJAMIN GROSVENOR one of the most sought-after young pianists in the world. He first came to prominence as winner of the Keyboard Final of the 2004 BBC Young Musician Competition at the age of 11. Since then, Mr. Grosvenor has Program subject to change Seasonal menus are developed using fresh Alberta ingredients become an internationally regarded pianist, performing concertos with *indicates approximate performance duration and local artisan foods products. Intimate dinners, group orchestras celebrations, casual lunches or the simple enjoyment of a including the London Philharmonic, Tokyo Symphony, and Brazilian Symphony in venues such as the Royal Festival Hall, Barbican, glass of wine become inspired at Zinc. Muza Kawasaki and Carnegie Hall (at the age of 13). In 2011, having just Come see what the applause is all about. turned 19, Benjamin performed with the BBC Symphony Orchestra on the First Night of the BBC Proms to a sold-out Royal Albert Hall. An accomplished recitalist, Mr. Grosvenor performs to acclaim across the world. A regular at the Wigmore Hall in London, he has performed at the Victoria Hall in Singapore and the Philia Hall in Tokyo. In the U.S.,
Mr. Eddins’ bio can be found on page 6. Artist’s bio and program notes continue on pages 14 & 15.
2011/2012 SEASON ESO Presents Benjamin Grosvenor
he has appeared at the Gilmore Festival and is a favourite in Saint Paul at the Chopin Society in Minnesota. He enjoys working with other members of the BBC New Generation Artists scheme, of which he is presently a member. This season, he is an Associate Artist with Orchestra of the Swan. In 2011 Mr. Grosvenor signed with Decca Classics, and in doing so has become the youngest British musician ever to sign to the label. His first recording for Decca includes Chopin’s four Scherzos and Ravel’s Gaspard de la Nuit. Benjamin’s previous recordings include Chopin rarities for the 200th anniversary edition of Chopin’s complete works (EMI, 2010) and a debut solo recording This and That (Bowers & Wilkins Society of Sound/EMI, 2008). The youngest of five brothers, Benjamin began playing the piano at age six. He currently studies with Christopher Elton at the Royal Academy of Music on an affiliated scholarship and has also studied with Leif Ove Andsnes, Stephen Hough, and Arnaldo Cohen. www.benjamingrosvenor.co.uk Tonight’s performance marks Mr. Grosvenor’s Canadian debut.
PPROGRAM R O G NOTES RAM NOTES For a program note on Bernstein’s Fancy Free, please see page 19. Piano Concerto in G Major
Piano Sonata No. 2 in G-sharp minor, Op.19 “Sonata-Fantasy” ALEXANDER SCRIABIN
(b. Moscow, 1871 / d. April 1915)
F EVER A COMPOSER’S LIFE COULD BE COMPARED TO A
meteor, it is surely Alexander Scriabin’s. While the fire of his inspiration burned, it burned white-hot, increasing in intensity until it extinguished – he died at age 44. “(He) started as a composer of charming little piano pieces and ended up a mystic who wrote near-incomprehensible music that was going to pull together all the arts and religions,” summed up longtime New York Times music writer Harold C. Schoenberg of Scriabin. During their formative conservatory years, Scriabin and Rachmaninoff (see page 15) were students together, though their lives took completely different paths. Scriabin began writing his Second Piano Sonata in 1892, but did not finish it for another five years. Several important events had a hand in the work’s inspiration (and its long gestation), including Scriabin’s first encounters with the sea (a trip to Latvia in 1892, then Genoa in 1895), but also his marriage in 1897, the year the sonata was completed. Of his work, Scriabin wrote: “The first part evokes the calm of night-time on the seashore in the south; in the development, we hear the dark, sombre agitation of the depths. The E Major section represents the soft moonlight which comes after the first dark of the night. The second movement, Presto, depicts the stormy agitation of the vast expanse of the ocean.”
(b. Ciboure, Basses-Pyrénées, 1875 / d. Paris, 1937)
OST OF RAVEL’S GREAT ORCHESTRAL WORKS BEGAN LIFE
as solo piano works. He also wrote many piano works that were not orchestrated. Given this, it is perhaps a little surprising that he got around to writing concertos combining piano and orchestra only twice – and both came within a short span of time. The first was the Concerto for the Left Hand, written for Paul Wittgenstein (brother of the famous philosopher), who lost his right arm in the First World War. Not surprisingly, it is a serious, probing and intense work (which the ESO will present next season). The Concerto in G Major, by contrast, is full of life, rhythm, and the strong influence of that French craze of the 1920s – American jazz. There is a swaggering feel right from the outset, with pulsing rhythms quietened only by the piano’s entry. Comparisons to the feel and essence of one of the first “jazz concertos” – Gershwin’s Rhapsody in Blue – are easy to make. The piano continues to carry the weight of the thematic presentation throughout the first movement. The famous, six-note rising and falling figure is heard from different instruments at different times, as Ravel strings together several hurdles for the soloist, one following the other with clever seamlessness. The Adagio assai second movement is perhaps one of Ravel’s most beautiful creations. The piano enters thoughtfully, romantically, and is in constant play through the course of the movement. A solo flute, and later, a solo oboe have their own, detailed lines of unbroken melody to present, but it is the piano which remains at the centre. A long-held tremolo in the piano herald’s the movement’s quiet end. All of this stands in stark contrast to the vigour and pounce of the opening bars of the finale. Quick flashes, slides from some of the winds, and the rapid-fire piano take us in a whirlwind from one flitting idea to the next. The notion of a chase has been attached to the movement more than once. Rather than chords, the piano glitters with single notes, though at a dizzying pace and quantity. Toward the end of the movement there are, finally, chords – jazz-based in their harmonies. Instruments throughout the orchestra get little shouts of their own, and in fact, it is the bass drum which gets the last note to play, bringing the work to a good-natured finish. 14 SIGNATURE
Gaspard de la nuit MAURICE RAVEL
N 1836, THE POET ALOYSIUS BERTRAND (1807-1841) PUBLISHED
a set of macabre poems under the pen name and title, Gaspard de la nuit, with a subtitle that translates as “Fantasies in the manner of Rembrandt et de Callot” (a 17th century engraver). The book was a favourite of the great Spanish pianist Ricardo Viñes, who loaned it to his friend Maurice Ravel. It took 11 years, but Ravel eventually composed one of the towering achievements of 20th century piano composition based on three poems in that book. A strange mix of harsh, stark reality and bizarre legends, the poems Ravel “set” in his cycle were written deliberately, according to their composer, to be of “transcendental difficulty.” The opening movement, Ondine, is based on the alluring call of a water siren, whose song, rising out of the watery depths, is both seductive and menacing. A body hangs from a gibbet in the second movement; in Bertrand’s words, “the corpse of a man swinging from the gallows is red under the setting sun,” as a bell tolls from the nearby town. The final movement is a depiction of the grim and ugly dwarf Scarbo, again quoting from Bertrand, who “at midnight, when the moon shines … tumbles down from the ceiling, whirls around like a witch’s spindle, grows to the size of a Gothic cathedral (and) subsides like a burnt-out candle.”
Étude-tableau in E-ﬂat minor, Op.39 No. 5 Lilacs, Op.21 No. 5 (arranged for solo piano by Rachmaninoff) Polka de W.R.
Program notes © 2012 by D.T. Baker
Piano works by SERGEI RACHMANINOFF (b. Oneg, Novgorod, 1873 / d. Beverly Hills, 1943)
LWAYS OF A SENSITIVE AND SELF-DOUBTING NATURE,
Sergei Rachmaninoff overcame some early failures as a composer to establish himself as one of the 20th century’s most often-performed composers. Unlike his former classmate Scriabin, whose tortured imagination eventually took him over the abyss to insanity, Rachmaninoff found a pattern which suited his creativity, and became one of the great, celebrated performers and composers of his age. Rachmaninoff was a little coy about choosing “étude-tableaux” for the name of two sets of piano pieces. “I do not believe in the artist disclosing too much of his images,” he said. “Let them paint for themselves what it most suggests.” Pianistically, they are among the most challenging works Rachmaninoff wrote. Op.39 No. 5 presents a sweepingly romantic melody out of rumbling bass notes – a passion bordering on hunger. A more delicate middle section does not last long, swallowed up again by the fierce intensity with which the piece began, though it ends tenderly. Lilacs started out as a song for soprano and piano, a setting of a text by a Russian poet named Beketova, likening the simple pleasure of a fragrant flower to finding all the joy one needs. While not noted, particularly, as an art-song composer, Rachmaninoff wrote dozens of them, and he also transcribed this song himself for piano alone. In 1911, a set of piano pieces was published entitled New Music Collection, containing works by a number of prominent Russian composers, including Scriabin, Medtner, and Taneyev. Rachmaninoff ’s contribution to the set was a polka in A-flat Major, based on a tune his father particularly liked. His father’s name was Wassily, hence the work’s title as Polka de W.R. The Russian name Wassily is sometimes spelled in English as Vasily, so the work is also known as Polka de V.R. MARCH 2012
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Copland’s Clarinet Concerto Friday, March 9 | 7:30 PM
Saturday, March 10 | 8 PM
William Eddins, conductor James Campbell, clarinet
Afterthoughts, Friday post-performance, Main Lobby with William Eddins, Allan Gilliland & James Campbell Symphony Prelude, Saturday 7:15 pm, Third Level (Upper Circle) Lobby with Allan Gilliland & D.T. Baker
Music for the Theatre Prologue Dance Interlude Burlesque Epilogue
INTERMISSION (20 minutes)
Dreaming of the Masters I (2003 ESO commission) Benny’s Bounce Stranger on the Prairie Rhythm Buddy
BERNSTEIN Fancy Free
Enter the Sailors Scene at the Bar Enter two girls Pas de deux Competition Scene Three Dance Variations Variation I: Gallop Variation II: Waltz Variation III: Danzon Finale
Saturday Series Sponsor
AMES CAMPBELL has followed his muse to five television specials, more than 40 recordings, over 30 works commissioned, a Roy Thomson Hall Award, Canada’s Artist of the Year, the Queen’s Golden Jubilee Medal and Canada’s highest honour, the Order of Canada. Called by the Toronto Star “Canada’s pre-eminent clarinetist and wind soloist”, Mr. Campbell has performed solo and chamber music concerts in 30 countries in many of the world’s great concert halls. He has been a soloist with over 60 orchestras, including the Boston Pops, London Symphony, London Philharmonic, Russian Philharmonic, and the Montréal Symphony. He has also performed Copland’s Clarinet Concerto four times with Aaron Copland conducting. Mr. Campbell’s recording of the Brahms Clarinet Quintet with the Allegri Quartet was voted “Top Choice” by BBC Radio 3 and the London Times. Stolen Gems, a recording of lighter classics, won a Juno Award. Sony Classical has recently re-released his recording of the Debussy Premier Rhapsody with Glenn Gould.
Program subject to change *indicates approximate performance duration
Friday Series Sponsor
Photo: Bruno Schrecker
Mr. Eddins’ bio can be found on page 6. Artist’s bio and program notes continue on pages 18 & 19.
FRIDAY MASTERS & LANDMARK CLASSIC MASTERS Copland’s Clarinet Concerto Since 1985, James Campbell has been Artistic Director of the Festival of the Sound, the annual summer Canadian chamber music festival, and has programmed over 1,300 concerts for the festival. Under his direction, the Festival has travelled to England, Japan and the Netherlands, and it has been the subject of documentaries by BBC Television, CBC Television and TV Ontario. Mr. Campbell continues to explore and expand musically, his most recent collaboration being Spirit ’20, created at Festival of the Sound in 2010. The six-member ensemble explores the music of the roaring ’20s in new and innovative ways. Mr. Campbell has been Professor of Music at the prestigious Jacobs School of Music, Indiana University since 1988. Mr. Campbell last appeared with the ESO in January 2009.
PPROGRAM R O G NOTES RAM NOTES
Copland eventually settled on a multi-movement work he intended to call Incidental Music for an Imaginary Drama, changing it to Music for the Th eatre, subtitled Suite in Five Parts. It is scored for an orchestra of as few as 18 musicians, perhaps recalling the pit orchestras common in American music halls. Each descriptive title to the parts provides important musical direction; moreover, the work as a whole forms an arch. There are jazz and blues elements to the Prologue, while the Dance is no polite ballroom aff air – this is a seedy nightclub romp – in which some instruments are directed to play deliberately “a little sharp,” or, “a little fl at.” The Interlude slows and hushes things down with deft touches for English horn, trumpet and violin. The raunchy side of American entertainment returns in the Burlesque, an A-B-A structure with an A section inspired by vaudeville comedian banter, and an inner section a suggestive dance with a trumpet part marked “grotesco”. Music from the Prologue returns in the fi nal Epilogue, but made more yearning. Music from the Interlude is also interpolated, as are small solos for clarinet, viola, bassoon and violin.
Clarinet Concerto AARON COPLAND
First performance: November 6, 1950 on an NBC Radio broadcast LAST ESO PERFORMANCE: FEBRUARY 1990
Music for the Theatre AARON COPLAND
(b. Brooklyn, 1900 / d. Westchester, NY, 1990)
First performance: November 20, 1925 in Boston THIS IS THE ESO PREMIERE OF THE WORK
T ONLY 25 YEARS OLD, AARON COPLAND WAS ALREADY
becoming an important voice in American music, a fact borne out by the numerous commissions he received for works to be conducted by Russian-born Serge Koussevitsky (1874-1951). In 1924, Koussevitsky became Music Director of the Boston Symphony, and began a steady stream of commissions of new American music. In 1925, the newly formed League of Composers selected Copland for its first-ever commission, a work for chamber orchestra to be conducted by Koussevitsky. 18 SIGNATURE
MERICAN BANDLEADER PAUL WHITEMAN PROVED THAT
classical music and the American-born genre of jazz could successfully unite on the concert stage, so not long after his fi rst pioneering efforts, other musicians jumped on the new crossover bandwagon. As one of America’s leading composers, Aaron Copland was much sought-after for these projects. After fielding offers from both Woody Herman and Benny Goodman, Copland accepted the more lucrative commission from the latter for a jazz concerto. He completed the fi rst version in 1948, but revised it soon after, following concerns expressed by Goodman about some of the high notes and other technically difficult aspects. The revised version premiered on a nationwide radio broadcast in 1950 with Fritz Reiner conducting. Scored for an orchestra of strings, harp, and piano, the Clarinet Concerto is split into two sections, slow followed by fast, separated by a cadenza. “I think it will make everyone weep,” Copland himself opined about the lush, romantic fi rst movement, which is in an A-B-A format. The “A” section’s dreamy dance quality, delicately set to the measured rhythm of the harp, derives from its origins in sketches Copland had worked on for a pas de deux. The central “B” section, for just the clarinet and strings, is sweetly romantic and touching. Clarinetist Richard Stoltzman says that the cadenza’s bridge into the fi nale takes us “from classic chalumeau to licorice stick,” or in other words, from the world of classical music to the realm of jazz as the fi nal movement heats things up. In what Copland called a “free rondo form,” the second movement’s spiky rhythms, set up by the strings prior to the soloist’s entrance, are in stark, brittle contrast to the opening movement. The clarinet enters and begins a quirky dance. While there are plenty of staccato notes, there is also a surprising amount of lyrical lines amid the constantly shifting rhythmic landscape. The piano adds just the right amount of dance-club feel. Perhaps in a fi nal nod to those groundbreaking Paul Whiteman shows (in which Gershwin’s celebrated Rhapsody in Blue premiered), there is a grand glissando for the clarinet (which is how Gershwin’s Rhapsody begins) as the cheeky fi nal movement concludes. www.EdmontonSymphony.com
Dreaming of the Masters I (2003 ESO commission)
(b. Darvel, Scotland, 1965)
(b. Lawrence, Massachusetts, 1918 / d. New York, 1990)
First performance: September 26, 2003 at the Winspear Centre LAST ESO PERFORMANCE: SYMPHONY UNDER THE SKY 2005
First performance of the ballet: April 18, 1944 in New York First performance of the suite: January 14, 1945 in Pittsburgh THIS IS THE ESO PREMIERE OF THE WORK
Program note by the composer:
HIS WORK WAS COMPOSED IN 2003 DURING MY TENURE
as Composer in Residence with the Edmonton Symphony Orchestra. Clarinetist James Campbell was scheduled to open our 2003/04 Pops series, and it was suggested that I compose a work for clarinet and orchestra. For a few years I had been thinking about how to combine my experience as an orchestral composer with my background as a jazz player. This led to the concept of a series of Jazz Concertos for soloists who were comfortable in both the classical and jazz idioms. Each concerto would be inspired by the great jazz soloists of that particular instrument, hence the title Dreaming of the Masters, but it would also allow the player the opportunity to improvise. The complete title of the work is Dreaming of the Masters I, a Jazz Concerto for Clarinet and Orchestra and, as mentioned above, an important jazz clarinetist inspires each movement. Movement I, titled Benny’s Bounce, is inspired by Benny Goodman. The sound of this movement is very much in the style of Louis Prima’s classic song “Sing Sing Sing”, one of Benny’s biggest hits. This movement also begins with one of the most famous moments in the clarinet repertoire, which I won’t give away here. Movement II is the slow movement, and is inspired by some of the great clarinetists of the ’20s and ’30s – artists like Pee Wee Russell and Barney Bigard. The title, Stranger on the Prairie, is an inside joke. One of the biggest hits for the clarinet is Acker Bilk’s Stranger on the Shore. Since Jim Campbell is from the Canadian prairies, I titled my movement Stranger on the Prairie. The final movement is called Rhythm Buddy, and its inspiration is Buddy DeFranco, one of the few clarinetists from the Bebop era. It is written on the chord changes to “I Got Rhythm” and quotes other famous “rhythmchanging” tunes. But it also has room for the solo instrument to show what it can do in the hands of a skilled player.
HREE SAILORS EXPLODE ON
stage. They are out on shore leave, looking for excitement, women, drink, and any kind of fun they can stir up. Right now they are fresh, full of animal exuberance.” So began the sketchy outline an ambitious young dancer with New York’s Ballet Theater dreamt up for a dance he wanted to create. But before Jerome Robbins could bring it to life, he needed a composer. Vincent Persichetti turned it down, but suggested Robbins try a young firebrand named Leonard Bernstein. It was an auspicious time for Bernstein. In 1943, he had conducted the New York Philharmonic in an acclaimed concert broadcast throughout the United States. Just weeks before the ballet premiered, his “Jeremiah” Symphony had also won accolades. With the success Bernstein would enjoy with Jerome Robbins with the ballet Fancy Free, Lenny was now one of America’s hottest musical figures. The scenario for Fancy Free doesn’t get a lot more complicated or involved than the Robbins sketchy description outlined above. The world was at war, men in uniform were ubiquitous on American city streets, and the lighthearted and energetic escapades Robbins put these three sailors through, were tonic for ballet audiences. “The seven scenes of Fancy Free are actually symphonic pieces, but ballet audiences to not react to them as such, so well integrated is the music with the inventiveness of the choreography,” writes scholar Jack Gottlieb. The story of Robbins’ ballet is apparent in the movement descriptors for Bernstein’s score, which is imbued (not surprisingly) with jazz elements, and even an improvised nature. Bernstein quotes from an already existing tune, “Big Stuff,” a hit for Billie Holiday, at the outset and forms the basis for the Pas de deux as well. With this score, Bernstein showed that he was ready to take on the musical theatre world, and only nine months after Fancy Free premiered, a more fully fleshed-out show had been made of it. With book and lyrics by Betty Comden and Adolph Green, an all-new score by Bernstein, and choreography once again by Robbins, On the Town ran for 462 performances, and later became a hit movie. Program notes © 2012 by D.T. Baker, except as noted SIGNATURE 19
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Wednesday, March 14 | 7:30 PM Jean-Philippe Tremblay, conductor Susan Hoeppner, ﬂute
Divertimento, Op.86 (after Couperin)
(27’)* La Visionnaire La Musète de Choisi – La Fine Madelon – La Douce Janneton – Le Sezile – Musète de Taverni Le Tic-toc-choc (ou les Maillotins) – La Lutine Les Fauvètes plaintives Le Trophée – L’Anguille – Les Jeune-Seigneurs – Cy-devant les Petits Maitres – La Linote éfarouchée Le tours de Passe-passe Les ombres errantes Les Brinborions – La Badine
Suite de Trois Morceaux in B-ﬂat Major, Op.116 Allegretto Idylle Valse
INTERMISSION (20 minutes)
Flute Concerto No. 7 in E minor
Allegro Adagio Rondo
Symphony No. 85 in B-ﬂat Major, Hob.I: 85 “La Reine”
Adagio – Vivace Romance: Allegretto Menuetto: Allegretto Finale: Presto
Program subject to change *indicates approximate performance duration
t age 33, Canadian Conductor JEAN-PHILIPPE TREMBLAY has an impressive track record. In 2001, Pinchas Zukerman, Artistic Director of the National Arts Centre Orchestra, named him Assistant Conductor, a position he held for two years. Artistic Director and Founder of the Orchestre de la Francophonie (OF) in 2001, he has given more than 200 concerts across Canada. In December 2006, Mr. Tremblay and the OF embarked on their fi rst international tour to China, giving 17 concerts. A return to China is scheduled in May. In recent seasons, he has conducted in London, Paris, Dresden, Rotterdam, Vienna, and Prague. Closer to home, he has been a guest conductor with the Montréal Symphony Orchestra, in Winnipeg, London, and Calgary, the National Ballet of Canada, the Manhattan School of Music Orchestra, and the Philharmonic Orchestra of the Americas. Artists’ bios and program notes continue on pages 22 & 23.
Davis Concert Organ Fund
2011/2012 SEASON MIDWEEK CLASSICS French Inspirations In the fall of 2009, Jean-Philippe Tremblay conducted the inaugural concert of the Royal Conservatory of Music’s Koerner Hall in Toronto and the Simón Bolivar Symphony Orchestra (Venezuela), the National Orchestra of Spain, the National Arts Center Orchestra, the Orchestre symphonique de Québec, the London Chamber, and the Chinese Philharmonic Orchestra for the inauguration concert of the 2010 World’s Fair in Shanghai. Mr. Tremblay and the OF record exclusively for Analekta: the 2010 recording Beethoven Live (Beethoven’s nine symphonies), a fi rst by a Canadian orchestra, received enthusiastic reviews at home and abroad. The next recording will be Berlioz’ Symphonie fantastique. Mr. Tremblay studied viola, composition, and conducting at the Conservatoire de musique du Québec à Chicoutimi, followed by advanced studies in conducting at the Université de Montréal, the Royal Academy of Music in London, the Pierre Monteux School, and a fellowship at the prestigious Tanglewood Music Center. He has studied under such renowned conducting pedagogues as Robert Spano, Seiji Ozawa, André Previn, Jorma Panula, and Michael Jinbo.
Susan Hoeppner was invited by music publisher Frederick Harris Music Company to serve as their Canadian representative to launch a new flute teaching series called “Overtones: A Comprehensive Flute Series” at the National Flute Association in California in August 2010. She performed in presentation recitals of “Overtones” across North America. A graduate of The Juilliard School in New York, where she studied with Julius Baker, Ms. Hoeppner is now a member of the University of Toronto’s Faculty of Music where, along with regular recital appearances, she teaches a class on performance. An active teacher of gifted and advanced students, Ms. Hoeppner was appointed to the faculty of the Royal Conservatory’s Glenn Gould School in the fall of 2010. Ms. Hoeppner, “Sue” to her friends, enjoys swimming, power-walking, shoe-shopping, cooking, designing candles, and is a devoted animal lover. She enjoys learning foreign languages, such as Japanese, French and Spanish.
This is Mr. Tremblay’s debut with the ESO.
PPROGRAM R O G NOTES RAM NOTES
This is Ms. Hoeppner’s debut with the ESO.
Divertimento, Op.86 (after Couperin) RICHARD STRAUSS
(b. Munich, 1864 / d. Garmisch-Partenkirchen, 1949)
USAN HOEPPNER is a musician of international renown. She
has performed as a guest soloist with orchestras around the world, including the New York Chamber Orchestra, Takefu International Festival Orchestra in Japan, Lisbon Radio Orchestra, Orquesta de Camera in Buenos Aires, Northern Lights Music Festival Orchestra in Mexico, and the Sacramento Symphony. In Canada, she has performed with the Toronto Symphony, Calgary Philharmonic, Orchestre métropolitain de Montréal, Kitchener-Waterloo Symphony, Canadian Chamber Ensemble, Regina Symphony, and the Manitoba Chamber Orchestra. A true musical ambassador, Ms. Hoeppner enjoys performing repertoire by Canadian composers such as Srul Irving Glick, Christos Hatzis, Michael Conway Baker, Marjan Mozetich, and many others. Ms. Hoeppner is in demand as a recording artist as well. Her numerous discs appear on Marquis Classics, EMI Classics, Grammophon AB BIS, JVC Victor, and King Record labels. Marquis Classics released Susan and Lydia Wong’s recording of American Masterpieces in the summer of 2011, available on iTunes. 22 SIGNATURE
ECAUSE HE WAS A CONDUCTOR AS WELL AS A COMPOSER,
Richard Strauss had a special regard for the music of the past. His own works show this not only through inspiration (such as the stamp of Mozart that pervades his opera Der Rosenkavalier), but also by direct quotation and adaptation. In January 2009, the ESO presented Le bourgeois gentilhomme, an orchestration by Strauss of music by Jean-Baptiste Lully (1632-1687). In 1923, Strauss took harpsichord pieces by François Couperin (1668-1733) and fashioned them into a Dance Suite. Strauss’ friend and fellow conductor Clemens Kraus, encouraged his colleague to do more with Couperin’s music, resulting in two more works – the second of which is tonight’s Divertimento (after Couperin), the premiere of which was presented by the Vienna Philharmonic with Kraus conducting, on January 31, 1943. Sixteen of the over 200 solo harpsichord pieces by Couperin find their way into this remarkably cohesive work by Strauss. There is no attempt to create a period sound; in fact, Strauss deliberately treats the music anachronistically, with the wide range of both sonorities and dynamics available to him in an orchestral idiom. Nevertheless, there is an enchanting antique feel in the melodies, making the Divertimento a fascinating mix of new and old. www.EdmontonSymphony.com
Suite de Trois Morceaux in B-ﬂat Major, Op.116 BENJAMIN GODARD
(b. Paris, 1849 / d. Cannes, 1895)
N HIS SHORT LIFE, FRENCH COMPOSER BENJAMIN GODARD’S
star rose and fell quickly. A gifted violin pupil of the famed Henri Vieuxtemps, Godard studied composition as well. Early success came with his opera Le Tasse, based on the life of poet Torquato Tasso. He was soon at the forefront of Parisian composers, a reputation which did not outlast his lifespan. Likely his most famous work today is the brief instrumental Berceuse from another of his operas, Jocelyn (1888). His Suite de Trois Morceaux for flute was composed in 1890. “Its three movements glitter like musical vignettes of chic Parisian life during the belle époque,” wrote Edward Blakeman. The brief Allegretto fi rst movement has a gentle lilt in pizzicato strings, over which the flute takes arpeggiating fl ight. The Idylle second movement begins with a brief string introduction, then a languid and lyrical flute passage dominates. Brief exchanges with the oboe are the only moments in which the flute is given a chance to pause. The brief suite concludes with a Valse (Waltz), a high-spirited and light aff air, with many skipping and soaring phrases for the flute as the orchestra keeps time. The notes pile on as the waltz sweeps to its genial conclusion.
Flute Concerto No. 7 in E minor FRANÇOIS DEVIENNE
(b. Joinville, Haute-Marne, 1759 / d. Paris, 1803)
IFE WAS NOT EASY FOR FRANÇOIS DEVIENNE, AND TODAY,
he holds a small but important place in the history of French music. He was first a bassoonist who then took up the flute; he became a noted teacher (publishing an important book on the performance of the single-key flute), and was best known as a composer for his operas, but also for many concertos he wrote for himself to perform. Throughout his life, however, he struggled to find consistent employment. It is thought possible that among the orchestras for which he played bassoon, the Loge Olympique was one of them – the same group that engaged Haydn for what became known as the “Paris symphonies” (more below). The last job Devienne is known to have held was as a bassoonist in a less than reputable Paris theatre. He spent the last four months of his life in the insane asylum at Charenton; French music taste had already moved beyond him. Yet many of his concertos remain popular in the repertiore, among flutists. The E minor Concerto was composed around 1787, and begins tempestuously as the orchestra sets the stage. The flute’s first statements are much more refined, joining the orchestra for a contrasting theme in E Major. The stormier music returns, giving the flute a dramatic platform upon which to play its true first solo passages, presenting yet another main theme to exchange with the orchestra. As the movement progresses, the flute’s passages become ever more ornate. The Adagio middle movement is a leisurely unspooling melody in the flute, set to gentle accompaniment. The long lines in the solo instrument require much stamina from the player to maintain dynamic control. There is also a cadenza near the end of the movement. The final movement is a Rondo, begun in a measured pace. But as the orchestra’s accompaniment keeps time, listen for how the flute’s notes become increasingly quick and rapid-fire. After the breathing demands of the Adagio, the tonguing and fingering challenges of this movement are just as formidable.
Symphony No. 85 in B-ﬂat Major, Hob.I: 85 “La Reine” FRANZ JOSEF HAYDN
(b. Rohrau, Lower Austria, 1732 / d. Vienna, 1809)
ROUND 1784, CLAUDE-FRANÇOIS-MARIE RIGOLEY, COMTE
d’Ogny – a backer of the prominent Paris arts presenter Le concert de la Loge Olympique – asked the concertmaster of the orchestra to offer the celebrated Franz Josef Haydn a commission for six new symphonies. The price was astronomically high, and Haydn responded with three symphonies in 1785, and three more the following year. These six “Paris symphonies” are among Haydn’s greatest. No manuscript survives for Symphony No. 85, but it is believed to be among the 1785 set. It was apparently a favourite of Marie Antoinette, queen of France at the time (though that time was rapidly running out in 1785), which is how the nickname “La Reine de France” (“the Queen of France”) was appended to the work. It is noteworthy that a work bearing such a regal nickname should have, except for the brief Adagio introduction, relatively quick tempos throughout, from Allegretto to Vivace to Presto. There is a sense of imminence and ceremony to the slow (Adagio) introduction. When the Vivace main section begins, seamlessly out of the opening material, at times it seems to bristle, at other times seems a gently syncopated affair – it would not sound at all out of place as the overture to an opera of the day. These two “light and shadow” ideas alternate, allowing the other to develop before returning back to the previous idea – an unusual twist on normal sonata form. The second movement is labelled a “romance,” a rarely used word in a Haydn symphonic movement. In a gently rocking Allegretto tempo, the delicate string texture is surprisingly resonant, contrasted by brief dramatic flashes intruding on the calm. Haydn plays with this texture – increasing the dynamic of the first part of the main subject, and greatly diminishing the second in the middle of the movement. As befits a symphony written for the French, Haydn himself titled the main subject of the third movement with the French spelling “menuet,” and indeed, this dance is imbued with the dignity and lilt of a fine ballroom. The contrasting trio does not alter the mood as dramatically as many a Haydn trio does in such movements; while the orchestral colours and the rhythm are certainly different, the trio still has a polite air. The final movement, the shortest in the entire symphony, is set at a brisk Presto pace, and is an energetic and engaging rondo, requiring a strong verve but also very clean and detailed string playing.
Program notes © 2012 by D.T. Baker SIGNATURE 23
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12/8/11 10:48:08 AM
12/1/11 1:41:34 PM
R ROBBINS POPS
The 1950s – The Golden Age of Black & White Friday & Saturday, March 16 & 17 | 8 PM Jack Everly, conductor Chapter Six, vocal group Karen Murphy, vocalist Farah Alvin, vocalist
SONG FROM MOULIN ROUGE / THEME FROM A SUMMER PLACE
THE 1950s OVERTURE
(various / arr. Barker)
(various / arr. Faith)
THE UNFORGETTABLE MEDLEY
(various / arr. Everly)
FOUR BY SIX: HITS OF THE DECADE (various / arr. Grizzard/Everly)
(various / arr. Barker) Program subject to change
AT HOME WITH MRS. MURPHY (arr. Barker)
HOW DID HE LOOK / CRY ME A RIVER (various / arr. Barton)
I LOVE LUCY
(Daniel / arr. Everly)
UNCHAINED MELODY (North / arr. Barker)
GIRL SINGER MEDLEY (various / arr. Barker)
MAMBO ITALIANO (various / arr. Barker)
INTERMISSION (20 minutes)
ROCK AROUND THE POPS (various / arr. Barker)
JUMP JIVE AND WAIL (Prima / arr. Engelhardt)
GAME SHOW! (arr. Barker)
THE GOLDEN AGE OF BLACK & WHITE
Photo: Michael Tammaro
(various / arr. Everly)
Bill & Mary Jo Robbins MARCH 2012
Artist’s bio and guest performers’ photos continue on page 26. Guest artists’ bios can be found on the insert for tonight’s performance.
Saturday Breakfast with
Orest Soltykevych Saturdays, 6 - 9 am Weekend mornings ... a chance to sleep in, to take your time over breakfast, to come up for air. That wonderful weekend feeling is captured on CKUA’s Saturday Breakfast program, with host Orest Soltykevych. The program features shorter, more up-beat selections from the magnificent centuries-old tradition of classical music. The repertoire includes music from a variety of genres, including solo, chamber, vocal, choral and orchestral.
ACK EVERLY is the Principal Pops Conductor of the Baltimore and Indianapolis Symphony Orchestras, the Naples Philharmonic, and the National Arts Centre Orchestra. He’s also the Music Director of the National Memorial Day Concert and A Capitol Fourth on PBS. This season, he made his Los Angeles Philharmonic debut at the Hollywood Bowl, returned to The Cleveland Orchestra, and appears as guest conductor in Pittsburgh, and the New York Pops at Carnegie Hall. Originally appointed by Mikhail Baryshnikov, Mr. Everly was conductor of the American Ballet Theatre for 14 years, where he served as Music Director. In addition to his ABT tenure, he has teamed with Marvin Hamlisch in Broadway shows that Mr. Hamlisch scored, including The Goodbye Girl, They’re Playing Our Song, and A Chorus Line. He conducted Carol Channing hundreds of times in Hello, Dolly! in two separate Broadway productions.
Mr. Everly has conducted the songs for Disney’s animated classic, The Hunchback of Notre Dame, and led the Czech Philharmonic on the recordings: In the Presence, featuring tenor Daniel Rodriguez, and Sandi Patty’s 2011 release Broadway Stories. He also conducted the critically praised Everything’s Coming Up Roses: The Complete Overtures of Broadway’s Jule Styne, and was music director for numerous Broadway cast recordings. In 1998, Jack Everly created the Symphonic Pops Consortium, serving as Music Director. The Consortium, based in Indianapolis, produces a new theatrical pops program each season. In the past 12 years, more than 225 performances of SPC programs have taken place across the U.S. and Canada, including last season’s Mysterioso: Music, Magic & Mayhem. Maestro Everly holds an Honorary Doctorate of Arts from Franklin College in his home state of Indiana. When not on the podium or arranging, Maestro Everly indulges in his love for films, Häagen-Dazs, and a pooch named Max. Mr. Everly last appeared with the ESO in April 2011. FEATURED GUEST VOCALISTS IN TONIGHT’S PERFORMANCE
Photo: Suzanne Plunkett
Saturday Breakfast - a relaxing and informative way to start your weekend!
The 1950s – The Golden Age of Black & White
Edmonton 94.9 fm For a province-wide list of frequencies please visit:
FARAH ALVIN www.EdmontonSymphony.com
Ben Folds with the ESO Thursday, March 29 | 8 PM Ben Folds, special guest Lucas Waldin, conductor
Tonight’s program will be announced from the stage. There will be NO intermission in tonight’s performance.
Due to artistic differences, Ben Folds Five broke up in 2000, and the first Ben Folds solo album, Rockin’ the Suburbs, was released in 2001, with Ben playing most of the instruments himself. A year later he released a live album and in 2005, his critically acclaimed solo album Songs for Silverman was released, which featured the Adult Top 40 hit “Landed.” In 2006, Ben released supersunnyspeedgraphic, the LP – a compilation of tracks from his Internet-only EPs, B-sides, one song from Over the Hedge, and his inspired cover of a Dr. Dre song – a bona fide hit that climbed to No. 71 on the Billboard Hot 100 chart. 2008 saw the release of Ben’s next solo studio album Way to Normal. In early 2009, he remixed and remastered the tracks, and together with a disc of stems to the songs so fans could do their own remixes, he put out the double disc Stems and Seeds. He followed that up later that spring with a collection of his songs sung a cappella, Ben Folds Presents: University A Cappella!
Consistently touring, Ben has earned a reputation for his wit, musicality and charismatic, energetic live shows and for his involvement in developing technologies and trends. Ben was one of the earliest supporters of iTunes and received much attention for being one of the first artists to support and participate in Second Life, an Internet-based virtual world. He has been an early supporter of Myspace as well, being tapped in 2006 as their first artist to perform a live performance webcast on the portal. Nonesuch Records released Lonely Avenue, Ben Folds’ much-anticipated collaboration with author Nick Hornby, in September 2010. As a solo artist and leader of Ben Folds Five, Ben Folds has sold more than three million records over the course of his 17-year recording career. This is Mr. Folds’ debut with the ESO.
Photo: Michael Wilson
idely known for his prowess as a pianist, BEN FOLDS began his career in music as a drummer, and he is also adept at guitar and bass. Ben Folds’ music evokes the essence of classic pop while adding an idiosyncratic infusion of energy and wit. Ben Folds Five was signed to an independent record label, resulting in their self-titled debut one year later. Quite a buzz was stirring for the band by the time their second album was issued through Epic. Released in 1997, Whatever and Ever Amen was pure pop perfection, and introduced the ballad “Brick” that broke the band commercially selling over two million copies worldwide. Ben Folds Five regrouped with 1999’s The Unauthorized Biography of Reinhold Messner.
Mr. Waldin’s bio can be found on page 6.
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LANDMARK CLASSIC MASTERS
Rolston Plays Dvorák Saturday, March 31 | 8 PM Julian Kuerti, conductor Shauna Rolston, cello
Symphony Prelude, 7:15 pm, Third Level (Upper Circle) Lobby with D.T. Baker
Achilles & Scamander
(World premiere of an ESO commission)
Cello Concerto in B minor, Op.104 Allegro Adagio ma non troppo Finale: Allegro moderato
INTERMISSION (20 minutes)
Adagio – Allegro non troppo Allegro con grazia Allegro molto vivace Finale: Adagio lamentoso – Andante
Photo: Dario Acosta
Symphony No. 6 in B minor, Op.74 “Pathétique”
Program subject to change *indicates approximate performance duration
anadian conductor JULIAN KUERTI has quickly made a name for himself with his confident style, artistic integrity and passion for musical collaboration. He has led numerous orchestras across North America including the Boston, Houston, Montréal, Toronto, Colorado, and Utah symphonies, Los Angeles Philharmonic, and the National Arts Centre Orchestra. In the 2010/11 season, Mr. Kuerti made debuts with the Atlanta, Seattle, New Jersey, Vancouver, Rochester, Toledo, and Québec symphonies. He also made debuts in Europe with the Orchestre Philharmonique du Luxembourg, Deutsches Symphonie-Orchester Berlin, and Bochumer Symphoniker. He recently completed his post as Assistant Conductor to James Levine at the Boston Symphony, having made his BSO subscription debut in 2008. Mr. Kuerti returned to the BSO podium on two last-minute occasions that year.
Artists’ bios and program notes continue on pages 30 & 31.
2011/2012 SEASON LANDMARK CLASSICS Rolston plays Dvorák
This is Mr. Kuerti’s debut with the ESO.
the Oskar Morawetz Award for Excellence in Music Performance. Ms. Rolston is also a devoted educator, much in demand as a guest master class artist. She is Professor of Cello and Head of Strings at the University of Toronto and a Visiting Artist for the Music and Sound Programs at The Banff Centre. Shauna earned a Bachelor of Arts degree in Art History from Yale University and a Master of Music degree from the Yale School of Music where she studied with the distinguished cellist and pedagogue, Aldo Parisot. (Shauna Rolston www. shaunarolston.com is represented worldwide by Michael Dufresne – President, Michael Gerard Management Group www.mgmg.ca.) Ms. Rolston last appeared with the ESO in November 2010.
PPROGRAM R O G NOTES RAM NOTES Achilles & Scamander (World premiere of an ESO commission) ROBERT RIVAL
(b. Calgary, 1975) Program note by the composer: ‘O Achilles, your strength is greater, your acts more violent than all men’s; since always the very gods are guarding you. If the son of Kronos has given all Trojans to your destruction, drive them at least out of me to the plain, and there work your havoc. For the loveliness of my waters is crammed with corpses, I cannot find a channel to cast my waters into the bright sea since I am congested with the dead men you kill so brutally. Let me alone, then; lord of the people, I am confounded.’ –Homer’s Iliad, Book 21, lines 214-21
Photo: Rolland Proulx
ward-winning Canadian cellist SHAUNA ROLSTON is one of the most compelling and unique musical voices on the stage today. Since receiving a mini cello for her second birthday, she has appeared in the world’s major concert halls including Wigmore Hall, Concertgebouw, Lincoln Center, and Carnegie Hall, and was also the featured artist at the 1988 Olympics. Praised for her blazing technique and her ability to touch the heart of each audience member, Ms. Rolston continues to astonish and delight with her concerts, recordings, and world premieres. Her passion for the music of our time has led to the commission and creation for her of more than 50 works for cello, including concertos by Canada’s leading composers. Upcoming projects include recordings, performances, and commissions including four cello concertos, a whistling concerto, and three groundbreaking double concertos: one for improvising cello and contemporary jazz piano by jazz sensation David Braid, one for cello and piano by Heather Schmidt, and another for cello and flute by Karen Tanaka, as well as Wildfire, a film for BRAVO! television with music by Heather Schmidt. The diversity of Shauna Rolston’s artistry is reflected in the many honours received, including her appointment as Canadian Music Centre Ambassador for her commitment to the performance of Canadian music, and most recently, 30 SIGNATURE
ITH THESE WORDS, SCAMANDER, THE RIVER GOD,
implores a rampaging Achilles to take his fight elsewhere. But in vain. And so ensues a dramatic battle between god and mortal, the former roiling his waters in an effort to drown the transgressor, the latter saved only by the intervention of another god, Hephaestus, forger of Achilles’ shield, who lays waste to Scamander by raining fire upon him, thus allowing Achilles to carry on the slaughter. This episode inspired in me a short tone poem. I depict Achilles with a muscular theme in the horns that rises up across the instrument’s entire range, punctuated by the jabs of his sword and his shrill war cry. Scamander’s theme, in the bass trombone, rises up too, as if from the depths of the river itself. A subsidiary motive represents Achilles chasing his victims through the water – and later fleeing its surging waves. Hephaestus makes a late but extraordinary entry. The Iliad stimulated my imagination like no other literary work has done in a long time. The musicality of its language – the poetry’s rhythm, the extended similes, the repetition – drew me into another world. But so did the sweep of the narrative, the long descriptions and digressions and, especially, the striking relationship between mortals and gods. www.EdmontonSymphony.com
Photo: Chantal-Andrée Samson
Julian Kuerti was born in Toronto into one of Canada’s most distinguished musical families (his father is famed pianist Anton Kuerti). He began his instrumental training on the violin. While completing an honours degree in engineering and physics at the University of Toronto, he kept up the violin. He began his conducting studies in 2000 at the University of Toronto. He studied with David Zinman at the American Academy of Conducting at Aspen in 2004, and with Finnish maestro Jorma Panula at the NAC Conductors Programme in Ottawa. In 2005, he was one of two conducting fellows at Tanglewood, where he had the opportunity to take master classes with James Levine, Kurt Masur, Stefan Asbury, and Rafael Frühbeck de Burgos. Mr. Kuerti served as assistant conductor to Ivan Fischer and the Budapest Festival Orchestra during the 2006/07 season. From 2005 to 2008, he was founding Artistic Director and Principal Conductor of Berlin’s Solistenensemble Kaleidoskop. Mr. Kuerti conducted the Boston Symphony Chamber Players in music by Golijov and Foss on Plain Song, Fantastic Dances, released in January 2011 on the BSO’s own label.
Symphony No. 6 in B minor, Op.74 “Pathétique” PIOTR ILYICH TCHAIKOVSKY
(b. Kamsko-Votinsk, 1840 / d. St. Petersburg, 1893)
First performed: October 28, 1893 in St. Petersburg LAST ESO PERFORMANCE: OCTOBER 2005
RETTY MUCH FROM ITS FIRST PERFORMANCES, TCHAIKOVSKY’S
Cello Concerto in B minor, Op.104 ANTONÍN DVORÁK
(b. Nelahozeves, 1841 / d. Prague, 1904)
First performed: March 19, 1896 in London LAST ESO PERFORMANCE: FEBRUARY 2005
N 1894, ON A BREAK DURING HIS TENURE (1891-1895) HEADING
the newly formed National Conservatory in New York, Antonín Dvořák went home to Bohemia briefly. While there, he began sketches for what would become his Cello Concerto, at the behest of Bohemian cellist Hanuš Wihan. Dvořák took to the task with relish, completing it the following February. Soon after, his sister-in-law died, so Dvořák reworked the concerto. His song “Leave Me Alone in My Dreams,” a favourite of hers, was quoted in both the Adagio movement and the finale. Wihan would eventually take up the concerto, which was dedicated to him, but the first performance took place with Dvořák conducting, and Leo Stern as soloist. It might seem at first as if the first theme heard in the work is given relatively short shrift, particularly as the second subject (heard first on the horn) is given much more breadth – it was one of the composer’s own personal favourites among his melodies. The bulk of the movement is spent with each of these musical ideas, and that first theme is made much more dominant in the recapitulation. The second movement is one of Dvořák’s finest slow movements. After an introduction in the woodwinds, the cello enters, quoting that favourite song mentioned above. The mood is not tragic, but beautiful, serene, and direct. Three horns present an almost organ-like chorale mood to a bridge, used to usher in a cadenza for the cello, accompanied by the woodwinds, and leading to a gentle conclusion. The finale perks up the pace with a picturesque march tune used as the main subject of a loose rondo movement. Not only does the song from the slow movement return, there are echoes of a theme from the first movement as well, lending a sense of completeness to the finale of this broad, rich concerto, which has taken its place as among the best. Upon hearing it, Dvořák’s friend and mentor Johannes Brahms famously said, “Why on earth didn’t I know that one could write a cello concerto like this? Had I known, I would have written one long ago.”
final symphony has produced a barrage of conflicting rhetoric. People tend to hear what they want in a work, so for those who must insist that this great, tragic work is Tchaikovsky’s suicide note, they cite mounds of evidence. Just as there is equally compelling evidence to those who believe that the symphony was simply the next work in what he hoped would be many more. Tchaikovsky himself is not much help, either. Always a bit of an emotional weather vane, the composer’s own writings could be seen to support either point of view. So what do we know? Well, we know that Tchaikovsky let the idea germinate of what he termed a “Program Symphony” for more than two years, after sketching out a rough outline in which he wrote, “The ultimate essence of the plan of the symphony is LIFE. First part – all impulsive, confidence, thirst for activity. Must be short. Finale DEATH (result of collapse). Second part, love; third, disappointments; fourth ends dying away (also short).” We also know that the first performance of the work (presented at its premiere without a sobriquet) was met with reasonable success. And we also know that within a week of that first performance, Tchaikovsky was dead. Nine days after that first performance, the work, now called the “Pathétique” Symphony, was given again, and to great acclaim. Tchaikovsky’s brother Modest claims to have suggested to Piotr the name for the work. And we know that Tchaikovsky dedicated the symphony to his nephew, known as “Bob” or “Bobyk” in his many letters, and for whom Tchaikovsky doubtlessly had deep feelings, though he knew nothing could come from them. Enter more contradiction. The official cause of his death was cholera, from drinking unboiled water. There are many who just as adamantly maintain he took poison by his own hand. The latter hear in the work what must obviously be the torments of the composer. Again, letters from Tchaikovsky would seem to indicate that he was indeed unhappy; but then why did he write to his publisher, saying, “I have never felt such self-satisfaction, such pride, such happiness, as in the consciousness that I am really the creator of this beautiful work.”? Ultimately, we are left with the music, regarded by many as the finest Russian symphony ever written. The bassoon solo, which rises from the murky strings at the outset presents an idea which will be prevalent throughout much of the work – a rising, then falling idea that eventually brings us to the Allegro of the movement, and from E minor to the symphony’s home key. It is here that another melody is presented, and it is this secondary subject that dominates the rest of the movement. The development section is capped with a powerful orchestral tutti, but the movement ends quietly. The second movement is set up, and presented, as a waltz. Yet its time signature throughout nearly its entire duration is 5/4, which one perceptive early critic (Paul Henry Lang) noted it “shows the best side of Tchaikovsky’s innate musicianship … maintaining the somewhat unusual 5/4 measure throughout, seldom accomplished without the appearance of a tour de force.” The third movement is dominated by a G Major march of fierce energy and intensity, which nevertheless enters on tiptoes. It is clear, right from the beginning, that Tchaikovsky had in mind the unusual idea of an Adagio final movement. While it begins in B minor, the tragic song which lingers so powerfully in the imagination is actually in D Major. The overall mood is one of grieving, of regret; there is no respite, no happy ending – only a long dying away. “This is not a work you can be indifferent to,” wrote one music historian. “And even those fastidious persons disturbed by its sensational aspects should not allow themselves to be blinded thereby to the work’s equally real musical strengths.”
Program notes © 2012 by D.T. Baker, except as noted SIGNATURE 31
PATRON PROFILE T
OM LIM IS ENJOYING HIS VERY FIRST YEAR AS AN ESO SUBSCRIBER –
and his path to becoming a regular symphony attendee is perhaps a little different from most people. Tom owns Lan’s Asian Grill, a popular restaurant not far from the Winspear Centre. Kathy Brown, the ESO’s Patron Development Associate and a passionate ESO subscriber, regularly eats at Lan’s before attending concerts at the Winspear. When she overheard classical music playing on the satellite radio she struck up a conversation. She told Tom that the ESO had a concert series on Sundays – his one day off from the restaurant business – as well as a 2-for-1 offer for fi rst-timers; he jumped at the chance to attend. With Tom’s creative background, it’s no surprise that it only took a nudge for him to subscribe to the RBC Sunday Showcase series. He played piano as a child, but over the years strayed away from music and headed more towards athletics, creative design and visual arts. After university, he spent six years in fashion design before opening Lan’s. He found a way to apply his love of visual arts by designing a series of wall decorations that complement the restaurant’s menu. Tom appreciates the talent and time that goes into the Sunday Showcase concerts, which focus on promoting the talents of young emerging musicians. “There is a huge difference between a person who plays the piano, and a pianist,” he says, referring with some chagrin to his own foray into piano. “The last pianist I saw was Scott MacIsaac. He put his whole body into it, put everything into it.” Tom particularly enjoys the peaceful atmosphere at every show. The audience may be packed into the concert hall, but everyone is completely focussed on the live music being performed. He calls it “peaceful, comfortable and inspired. All three trigger creativity for me.” As both an athlete and restaurateur, healthy living is important to him and was a significant part of his upbringing. “My parents taught me to put into my body what I want to get out of it.” According to Tom, good health contributes to quality of life in a deep way by helping develop an independent character. His decision to sign up for the RBC Sunday Showcase series was part of his healthy living choices: he felt that musical inspiration was something for which it was worthwhile to make some time. Tom tries to bring someone new every time he attends an ESO concert. Partly, he wants to encourage people to attend live performances while bringing more exposure to the musicians. Another reason is more practical. “My time is so limited, so if people want to see me, they have to come to the symphony. I just say, ‘What are you doing on Sunday?’ After that fi rst concert, the ESO tends to win them over.” Many of Tom’s friends continue to attend. The symphony offers Tom more than a chance for some downtime from his demanding career. “Music creates mental flow for me. I can get into a peaceful state, be more creative. It’s a great environment to be in.” As part of Subscriber Appreciation Month, the ESO and Winspear Centre would like to welcome and thank all our new subscribers who have joined us for the fi rst time this year. We hope you will enjoy ESO concerts for many years to come!
The symphony offers Tom more than a chance for some downtime from his demanding career. “Music creates mental flow for me. I can get into a peaceful state, be more creative. It’s a great environment to be in.”
Tom Lim, ESO Subscriber, stands beside one of his print designs at Lan’s Asian Grill.
THANK YOU TO OUR LONG TIME SUBSCRIBERS The Edmonton Symphony Orchestra and Winspear Centre wishes to thank our longest-standing audience members - individuals who have been subscribing to ESO concerts for 10 years or more, or 30 years or more. As we celebrate our 60th anniversary year, we acknowledge that you have been an integral part of the ESO’s history! Thank you and we look forward to many more years of celebrating music with you.
30 + YEAR SUBSCRIBERS H. J. Barlow Cathryn & Vlad Brecka Mr. & Mrs. D Purdy Mr. & Mrs. W. J. Rutledge Mr. & Mrs. Ron Yeske B. W. Reesor Dr. & Mrs. Edward Papp Dr. T. H. & Mrs. Gloria Aaron Dr. Bernie & Miriam Adler Drs. Carlos & Linda Basualdo Mr. Wes Schmidt & Ms. Patricia Brine Mr. John & Mrs. Margaret Campbell Drs. Carol & David Cass Dr. Ronald Cavell Jake & Marilyn Ens Mr. & Mrs. Heinz Feldberg Shauna Miller & James Gillespie Rae & Pat Graham Sheila Greenberg
Dr. Roger & Mrs. Luisita Hackett Carol & Neil Handelsman Dr. Lorne & Faye Hatch Drs. Frank & Ruth Henderson Lucy E. Gilchrist Brian & Jeanne Hetherington Robert Hett Dr. Mark & Mrs. Nancy Heule Mr. Fred & Mrs. Verna Hochachka R. Barry & Marcia Hunt J.W. & Janet Jansen Helen & Gordon Kirsch Mr. & Mrs. H. G. Lawrence Bob & Cathy Legate Dan & Bonnie Magnan Peggy Marko Al & Pat McGeachy Ronald & Carole Middleton Patricia & Norbert Morgenstern Michael & Alberta Onciul Fred & Mary Paranchych
The Honourable John A. Agrios & Mrs. Ruth Agrios Derrick & Ruth Alderton Mrs. Gerda Alexander Dorothy & Ted Allan Dr. Peter & Mrs. Barbara Allen Marion Allen Mr. Laurence & Mrs. Marian Allen Rae & Carol Allen Robert & Linda Allen Norma Allin Dr. Madiha Allison Scott Allison Sonia Allore Mr. & Mrs. Jack Almond Harold & Deanna Anderson Dr. Gail H. Andrew Dr. Andrew J. Jarema Mr. & Mrs. Leszek Antoniewicz David & Grace Aplin Shirley Armour Donna Armstrong Vera Askarsada Dorothy & Bill Astle Margaret Atkey-D’Amico Audio Ark Bill & Olli Bagshaw Mr. Douglas & Mrs. Frances Baines Richard & Barbara Baker Stella Ballash Karen & Craig Banks Peter & Pat Banks Lucie & Armand Baril Harold Barnes Dr. Glenn & Janet Baron Mrs. Irene Barr Roy & Annette Barrett Ray & Joan Barth Ian & Janice Barton Mr. John Baser Annette & Maurice Bastide Roger & Anne Bates Gloria Bauer Mr. & Mrs. Ed Bauer Stella & Walter Baydala Vera Bayrak Vi Becker Mr. & Ms. J. & Anita Beckett Joe Bedford Alan & Alice Bell Neil & Diane Bell Allen & Ruth Benbow Mrs. Ruth Benner Bennett Jones Alec & Marianne Benning
Joan Bensted Bonita Bentley David & Janet Bentley Ron & Marcia Bercov Mrs. Janet Berezowsky Richard & Barbara Bergstrom Cheryl Berke Keith & Joyce Berriman Mrs. Patricia Berry Mrs. Rhonda Berry-Hauf Mr. Robert E. Best William & Kathleen Betteridge Donna Bezanson Mr. Calvin Binnema Bob & Lynda Binnendyk John & Ann Birkby Dr. Len & Mrs. Barb Bistritz Barbara Blackley Mr. William Blahun Dr. Janis Blakey Janet Bland Don & Renee Bliss Julia Boberg Ray & Marg Bobowski Larrie & Eleanor Boddy Mr. David Boesch Dianne Boggs Karen Bohaychuk Donna Bonk Beverley Boren Yvette Bortnick Allen Bostrom Aimee Bourgoin David Boyle Iva Braham Barbara Bratland Barry & Angela Breadner Jacqueline Breault Ed & Leona Bridges Mr. Michael Brooke Marion & Elmer Brooker Allan & Viola Brooks Mr. & Mrs. Desmond Brown Mr. William Brown Mrs. Freda Brown Mrs. Joan Brown Mr. & Ms. J. P. Brumlik Dr. David Buchanan David & Betty Jean Buchanan Joyce Buchwald William & Keatha Buckham Mrs. Heather Buckie Charles & Joan Buckley Janet Buckmaster Mr. & Mrs. J. Buma Alan Burant & Tracy Tarapaski
David & Florence Percy Helen & Janet Resta John & Martha Schiel Jim & Marcia Shaw Mr. Doug & Mrs. Lynne Sigler Ed & Paula Snyder John & Judy Soars Philip & Patricia Sturges Neil & Jean Wilkinson Luella & Mike Yakymyshyn Ralph & Gay Young Dr. Shirley Adams Pamela Babcock Diana M. Bacon Peggy Baker Mrs. E. Jean Bell Mrs. Joan S. Clark Mrs. Elly De Jongh Nora J. Dickenson Mr. Phil Dickson Betty-Lou Docherty
Marion Elder June Emery Beth Fenske Dorothy French Mr. W. E. Harris David Phillip Jones, Q. C. Donna Martyn Sue Marxheimer Frances Olynyk Verna Quon Judy Sills Mrs. Melitta Starke Margaret Stevenson Frank Stockall Anne Strack Valerie Swann L. E. Wagner Mrs. Violet Watson Elizabeth Rondo Wood Miriam M. Bertsch-Mann Marge Bowen
Mrs. Janet Culham George Elaschuk Mr. John Elliott Catherine Garvey Ms Ione Hooper Joan Marshall Arliss Miller Anna Moderwell Etta Scott Dr. L. N. Takats Michael Warmington Madeline Needham Joan Hube Mrs. Frances Cuyler Rita Burton Muriel Fankhanel Marilynn Fogwill C. Bruce McGavin Karen Hillerud
Evelyn Coolican David & Liz Cooper Paul Cornell Dr. David R. Cornish Matthew Corrigan Dorothy Corser David & Gina Cosco John & Judy Cosco John Cotton Mr. Robert Couch Mr. & Mrs. Lyle Coulter Mr. & Mrs. Alan Covey Wanda Cree Patrick & Luxie Crowe Ms. Jean Crozier Robert & Jacqueline Cuerrier Evelyn Culver Mary Cummins & Gunther Trageser Mrs. Nellie Cummins Laurel & Mike Cunnington Mr. & Mrs. Keith Currie Elizabeth Cuyler Mr. & Mrs. G. Dahl Brenda Dalen Ivo & Mary Dalla Lana Allan & Lucille Damer Dr. Bruce Dancik & Brenda Laishley Mr. Reg Daniels Marilyn Darwish Doug & Wendy Davey Mr. John David & Mrs. Leone Jobson Maria David-Evans & Chelsea Evans-Rymes Davidow & Nelson LLP Mrs. Shirley Davidson Marion Davies Mr. Richard & Mrs. Karen Davies Mr. & Mrs. M. Bruce Davis Martin & Louise Davis Patrick & Joan Dea Nola Deane Allan & Jane deCaen James & Gail DeFelice Dr. Leslie Delima Dr. Robert DeMarco Ken & Mary Demedash Lori Demeriez Madeleine Denholm Louis & Marcelle Desrochers Brett & Melanie Desroches Miriam Devins Eva Dezse Gordon & Verle Dickau
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Proud Technology Partner of the ESO & Winspear Centre
Managed IT service provider Proactive IT management Network design and security PC Hardware/software sales Secure backup management Hosted email and web services Securing Business Networks with
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Mr. Ron Vernerey Gerald & Elaine Verville Dr. Douglas Vick Mrs. June Villett Mr. & Mrs. A. C. Visman Betty Voelker Mr. Brian Voice Dr. R. C. & Patricia von Borstel Olive Wadson Patricia Ronon Wagar Bruce & Lori Walker Eileen & Phillip Walker Janet Walker Barry & Valerie Walker Mrs. Gail Walker Barbara Ward Beverly Warner Doug Warren Jack & Doreen Warwick-Foster Keith & Adair Wass Levern & Arlene Wasylynchuk Lyn Watamaniuk Doug Watt Ron & Sheila Weatherill Mrs. Paddy Webb Dr. Sam & Eva Weisz Russell E. Wells Ronald Wensel Bruce & Ruth West Mrs. Helen West Anne & Jim Westervelt Mr. Herman Wetenkamp Dr. Muriel Whitaker Dr. & Mrs. Alex White Nancy & Walder White Patrick & Dawn White Mr. Kim Whitehead Rich & Grace Whitehouse Mrs. Jean Whiting
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Should your name be on this list, or would you like to change how you have been recognized in next year’s program? Please contact Adam Trzebski, Patron Relations Manager, at 780-401-2501 or email@example.com.
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Angela Cheng �
2/17/12 1:51:34 PM
IN MEMORY OF... LESLIE GREEN, A PAST MEMBER OF THE ESO BOARD, PASSED AWAY ON NOVEMBER 26, 2011 ON HIS WAY TO ATTEND AN ESO PERFORMANCE. His extraordinary life was full of achievements and accolades. British-born and educated in the ﬁeld of law, Dr. Green became an internationally noted champion of human rights. He wrote what is regarded as the textbook on the law of human conﬂ ict, and was a tireless campaigner for the rights of prisoners of war. He was a member of the Order of Canada, and a Fellow of the Royal Society of Canada.
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Robin Doy on
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Edmonton Recital Society 2011-2012
Robin Doyon, trumpet Sarah Ho, piano
We are proud that he chose to champion the cause of the ESO, and we extend our condolences to his wife of 66 years, Lilian, and their daughter Anne. Leslie Green was 91.
Sunday, March 18, 2012, 3 pm Holy Trinity Anglican Church 10037 84 Avenue, Edmonton,AB Admission by Donation www.edmontonrecital.com Special Thanks
00Sig6.ERS_1-6V.indd ignature 1-6 page.indd 11
www.EdmontonSymphony.com 2/10/12 19/10/11 11:11:26 8:08 AM 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 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 MARCH 2012
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
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 Mr. Stephen LePoole
1990-93 1993-95 1995-97 1997-00 2000-01 2001-03 2003-04 2004-07 2007-11
EDMONTON SYMPHONY SOCIETY / FRANCIS WINSPEAR CENTRE FOR MUSIC
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
EDMONTON SYMPHONY ORCHESTRA / FRANCIS WINSPEAR CENTRE FOR MUSIC
EXECUTIVE Annemarie Petrov, Executive Director MaryGrace Johnstone, Executive Coordinator Meghan Unterschultz, Executive & Government Communications
Administrative staff listing continued next page
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 Kris Berezanski, Social Media & Communications Coordinator Philip Paschke, Communications Manager Anne Pasek, Community Relations Coordinator 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* Stacy Parkins, Patron Services Assistant Manager Mike Patton, Assistant Head of Stage Management* Leanne Persad, Client Relations 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 Kathy Brown, Patron Development Associate Eleanor Finger, Associate Director of Patron Development Jeffory Magson, Patron Development Coordinator (Intern) Erin Mulcair, Patron Relations Manager Susanne Roman, Telephone Fundraising Campaign Ofﬁcer 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
A LEGACY IS SOMETHING HANDED DOWN FROM THE PAST – something of value, something worth handing down. In this 60th anniversary season of the Edmonton Symphony Orchestra, it’s important to realize that part of its legacy is the long, and ongoing, list of performances that it has presented to the community each year since November 30, 1952. So when the time comes to unveil the next season’s list of performances, there is always that sense that the new season will, by the time it’s done, have added to the orchestra’s rich history. THE 2012/13 SEASON OF THE ESO HAS BEEN ANNOUNCED. All the details can be found in brochures available in the lobby, or at EdmontonSymphony.com. We are also already renewing subscriptions. Two important milestones form a key part of next season: We mark the 15th anniversary season of the incredible Francis Winspear Centre for Music, and the 10th anniversary season of the Davis Concert Organ. Bill Eddins returns for his eighth season as Music Director, and there are performances for nearly every musical taste – and hopefully a surprise or two.
For more information visit: EdmontonSymphony.com
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:
Landmark Classic Masters
Robbins Pops / Robbins Lighter Classics
Late Night with Bill Eddins
Esso Symphony for Kids
Our Program and Education Sponsors
Musicians in the Making
2 for 1 Subscription Campaign
through the Edmonton Community Foundation
K to Gr. 3 Education Program
Gr. 4 to 6 Education Program
Naming Sponsor ENMAX Hall
Gr. 7 to 12 Education Program
Christmas at the Winspear
Christmas at the Winspear
Our Performance Sponsors
Our Media Sponsors
Our Exclusive Caterers
Ofﬁcial Bike Supplier to the ESO Conducting Team
Ofﬁcial Floral Supplier
Ofﬁcial Home Town Fan Agency to Carnegie Hall
Ofﬁcial Airline to Carnegie Hall
LEXUS OF EDMONTON IS PROUD TO SPONSOR THE EDMONTON SYMPHONY ORCHESTRA
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