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SIGNATURE Contents Volume 27, Number 1 | SEPT/OCT 2011
ARTISTIC & LEADERSHIP TEAM
(Eddins, Petrov, Waldin, Buchmann) 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: firstname.lastname@example.org Website: www.edmontonsymphony.com
EDMONTON SYMPHONY ORCHESTRA 2011/2012
ESO VIRTUALLY DISCOVERED
ROBBINS POPS WICKED DIVAS (SEPTEMBER 16 & 17)
A new website with the ESO’s youngest audience in mind by Michelle Lindstrom
D.T. Baker PROGRAM NOTES OskarMorawetz.com, Robert Rival, Rob Teehan, Canadian Guitar Quartet, & D.T. Baker ESO EDITOR
Steven Reineke, conductor Julia Murney, vocalist Stephanie J. Block, vocalist
Letters to the editor, comments and/or suggestions are welcome.
THE EDMONTON SYMPHONY ORCHESTRA
10259 105th Street, Edmonton AB T5J 1E3 Inquiries: 780-990-0839 Fax: 780-425-4921 Email: email@example.com Website: www.venturepublishing.ca PUBLISHER ASSOCIATE PUBLISHER ART DIRECTOR ASSISTANT ART DIRECTOR DESIGN INTERN ADVERTISING SALES
MIDWEEK CLASSICS MOZART & BEETHOVEN TREASURES (SEPTEMBER 21)
FRIDAY MASTERS / 29 LANDMARK CLASSIC MASTERS MOZART & BEETHOVEN (SEPTEMBER 30 & OCTOBER 1)
William Eddins, conductor, organ & piano / Lucas Waldin, conductor
Ruth Kelly Joyce Byrne Charles Burke Colin Spence Brnesh Berhe Anita McGillis Serap Ozturk
William Eddins, conductor Karen Gomyo, violin
Signature magazine, the official publication of the Edmonton Symphony Orchestra, is published from September to June. Contents copyright 2011 by Edmonton Symphony Orchestra/ Francis Winspear Centre for Music. No part of this publication should be reproduced without written permission.
ESO LEGACY – EDUCATION CONCERTS
ROBBINS LIGHTER CLASSICS FOUR GUITARS, ONE ORCHESTRA (OCTOBER 6)
LANDMARK CLASSIC MASTERS MENDELSSOHN’S FIRST PIANO CONCERTO (OCTOBER 15)
ROBBINS POPS VIVA ITALIA! (OCTOBER 28 & 29)
ESO / FRANCIS WINSPEAR CENTRE FOR MUSIC BOARD OF DIRECTORS & ADMINISTRATION
Robert Bernhardt, conductor Canadian Guitar Quartet ON THE COVER: ESO Music Director William Eddins and Enbridge Resident Conductor Lucas Waldin lead the charge into the exciting 60th anniversary season. Photo by Douglas Dollars
ON THE COVER SEPTEMBER/OCTOBER 2011
Mei-Anne Chen, conductor Ilya Yakushev, piano
Michael Krajewski, conductor Poperazzi, special guests
with Mark Antonelli
Monday to Thursday, 7 - 9 pm
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o b i n D oy o n
8/24/11 9:08:30 AM
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Dec 4, 2011, 7:30 pm New Orford String Quartet Muttart Hall, Alberta College Conservatory of Music Jan 8, 2012, 3 pm Dongkyun An, cello & Sarah Ho, piano Holy Trinity Anglican Church
Edmonton Recital Society 2011-2012
Oct 30, 2011, 7:30 pm Ivan Zenaty, violin Muttart Hall, Alberta College Conservatory of Music
Classic Examples is an early-evening journey across the broad landscape of Western concert music. Authoritatively and entertainingly presented by CKUA veteran Mark Antonelli, the program covers medieval, Renaissance and baroque music, giants of the classical period such as Haydn and Mozart, the Romantic era of Beethoven and Brahms, and the exciting innovations of 20th-century composers.
Jan 22, 2012, 7:30 pm Amanda Forsyth, cello & Angela Cheng, piano Art Gallery of Alberta Mar 18, 2012, 3 pm Robin Doyon, trumpet & Sarah Ho, piano Holy Trinity Anglican Church Apr 29, 2012, 7:30 pm Katherine Chi, piano Muttart Hall, Alberta College Conservatory of Music Tickets from Tix on the Square at 780.420.1757 or at the door. www.edmontonrecital.com
Edmonton 94.9 fm For a province-wide list of frequencies please visit:
HERE TO BEGIN?
Welcome seems the most obvious – and welcome to a season of celebration and recollection. There’s a little of all of that in the pages of Signature, with a particular focus on the Edmonton Symphony’s many initiatives in the field of education. Reaching young audiences is a primary mission of the ESO, exposing them to the richness of orchestral music, and hopefully kindling a lifelong love of the arts in all its forms. This issue provides a glimpse into the many different ways that we strive to do just that. But there’s so much more as well. On this page, we draw attention to the mammoth process underway to help bring your ESO to Carnegie Hall in May! And of course, there’s the music – Karen Gomyo, Bob Bernhardt, Steve Reineke, all back to help us get our 60th anniversary season-long party underway. Thanks for joining us. 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.
The following individuals are gratefully acknowledged for their support for Carnegie Hall, either through sponsoring a musician’s dream or by a donation to the Carnegie Fund. Eileen Abrams Audrey Andrews Paddy Brine & Wes Schmidt Joyce Buchwald Ross Clemenger Elizabeth Donald Grant Edmondson Janet Fayjean Catherine Gibson Margaret Hartwell George Hislop Leanna Howden Garnet Ireland Zonia Lazarowich Steven & Day LePoole SEPTEMBER/OCTOBER 2011/12
Phyllis McAnally Muriel McIntosh Ruth P. McKinley Ed and Joy-Ruth Mickelson Joyce Mienhart Donna Naylor Mathilde Poulsen William and Mary Jo Robbins Maureen Saunders Vici Seibt Pat Sharp Jacqueline Smith Jean A Stephen Monte Stout Rachel Warhaft
TART SPREADING THE NEWS… your Edmonton Symphony Orchestra will create Edmonton history on May 8, 2012 when they perform for the first time on the legendary stage at Carnegie Hall in New York City. As the only Canadian orchestra invited to take part in the second annual Spring for Music Festival at Carnegie Hall, this landmark event is a major part of the ESO’s celebration of its 60th anniversary season.
You’re invited to witness music history … fans of the Edmonton Symphony Orchestra are invited to travel along to New York City to celebrate this musical milestone. A number of excited music fans have started confirming their travel arrangements. For travel and ticket information, contact Paull Travel (the ESO’s official Home Town Fan Travel Agency) at 780-428-6031. Carnegie Hall Trip fundraising … sending a full orchestra plus special performing guests to New York City requires dedicated fundraising efforts. To learn about donation programs, including how you can sponsor a musician’s dream to perform at Carnegie Hall, please contact Eleanor Finger, Patron Relations Manager at 780-401-2578. 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. Traveling is one of his passions. www.EdmontonSymphony.com
William Eddins, Music Director
Lucas Waldin, Resident Conductor
THE EDMONTON SYMPHONY ORCHESTRA
Photo: Douglas Dollars
[ VIOLIN I ]
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 dayto-day operations, long-term planning, government relations, and community support of both organizations. A native of Montréal, Annemarie is a graduate of McGill University where she majored in French Horn Performance. Following several years in Europe, she returned to Canada and stepped into the role of General Manager of Symphony New Brunswick. Work at the National Arts Centre Orchestra was followed by the Winnipeg Symphony Orchestra, where she also oversaw the popular Winnipeg New Music Festival. She joined the Edmonton Symphony Orchestra and Winspear Centre in 2007. Annemarie’s profound love of the arts has been her guide in a career focused on every aspect of the concert experience - from international orchestral tours to concerts in curling rinks in Canada’s north. She is 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. SEPTEMBER/OCTOBER 2011
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 Sheila Laughton 2 Ronda Metszies Gillian Caldwell Derek Gomez Victor Pipkin
[ DOUBLE BASS ] Jan Urke 1 John Taylor 2 Janice Quinn Rhonda Taft Rob Aldridge
[ TIMPANI ]
Barry Nemish 1
[ PERCUSSION ] Brian Jones 1
[ HARP ]
[ 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 ]
Nora Bumanis 1
1 PRINCIPAL 2 ASSISTANT PRINCIPAL
ORCHESTRA PERSONNEL Eric Filpula, Orchestra Personnel Manager Sheila Jones, Librarian The following musicians also appear at performances in this issue: Elizabeth Faulkner Flute Joel Gray Trumpet Alicia Hui Guest Concertmaster Court Laslop Percussion Michael Massey Piano John McCormick Percussion Jean-Sebastien Roy Guest Concertmaster Darren Salyn Percussion Brian Sand Trumpet Rob Spady Clarinet Brian Thurgood Percussion Dan Waldron Oboe Robert Walsh Guitar Russell Whitehead Trumpet
Christopher Taylor 1
[ TUBA ]
Scott Whetham 1
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.
A monthly feature from Sherbrooke Liquor Store. Highlights from OUR upcoming season
DRAMS & DRAUGHTS
A Festival of Fine Whisky & Beer Thursday, October 13, 2011, 7:30 pm Winspear Centre (Lobby) Tickets available only through the Winspear Box Office: $75 (includes tastings), $150 VIP Tasting All products being sampled this evening will be available for purchase (At Preferred Pricing!) at our on-site store. We’ll be set up on the third floor, along with our own little art gallery a selection of our labels re-created as prints to be auctioned off in the Silent Auction.
LATE NIGHT WITH BILL EDDINS We’re proud to sponsor this series, AND the selection of beer available at the Winspear this season! Want to learn more about the music and the beer? Please join us, along with the brewers from Alley Kat & Amber’s in the lobby following each performance.
Beer, Art & Music Festival In support of the Kidney Foundation Saturday, September 24, 2011, 5pm - 10pm Mayfield Trade Centre 16615 - 109 Avenue Tickets are available online: www.kidney.ab.ca Advance Tickets : $20 or 2/$35 Tickets available at the Door: $25 Best Deal! 50 tickets for $750 (Bring your whole Company!) Sampling tickets can be purchased at the event. Join us for the 2nd annual craft beer, art and music festival that features the regions finest handcrafted beers paired with foods and surrounded by art and musicians. Shabam is a unique beer tasting festival that attracts serious beer lovers and introduces early enthusiasts, by way of tastings and discussions, to carefully crafted, flavourful beers. Over 60 specialities to sample
“Here’s to the corkscrew - a useful key to unlock the storehouse of wit, the treasury of laughter, the front door of fellowship, and the gate of pleasant folly.” – W.E.P. French
with Sherbrooke Liquor Q: What exactly is Grappa?? A: Grappa is enjoyed in a similar fashion to French brandy, cognac, and sherry, in small amounts, preferably after a meal as a digestif. Giannola Nonino is the woman behind the spirit; she began producing grappa in 1973 and serving it herself to anyone she could convince to try it. The flavours of the grappa derive from the pomace (seeds, skins, and pulp) or must (pomace plus young, fresh grape juice) that was a result of fermenting grapes, and re-fermenting it slowly until the alcohol level reaches 40-50 percent. Grappa is best served slightly chilled in small amounts in a small glass. Today, many winemakers all over the world make small batches of artisanal grappa from many different grape varieties as side projects.
Beer and Wine Clubs As a gift for yourself or someone you love, we offer memberships in our two Monthly Clubs that you can join - one for beer and one for wine. The Beer Club will take you on an exploration of the many different styles of beer, with 3-4 different brands of a particular style each month, along with tasting notes and other information about the breweries and their beers. The Wine Club will introduce you to hidden gems on our shelves. With somewhere in the neighbourhood of 14,000 different varieties of wine available in Alberta, sometimes it’s hard to see the forest for the trees (Or is that “grapes for the vines”? No matter.) We choose interesting and unique bottles that you might not think to pick up on your own. And we include extensive tasting notes, so that you can dazzle your next dinner party with your expertise! For pricing and other information, please visit our website. Still not sure what to get them? You can never go wrong with a gift card, available in any denomination. One size fits all!
Looking for the Perfect Gift? Sherbrooke Liquor has something for everyone. With over 900 different brands of beer, we have the largest selection of beer in Canada- but did you realize that we have an extensive and unique selection of wines and spirits as well? If you’re searching for an exceptional product, chances are good that we carry it, or can help you find it. We’ve recently added a number of uniquely crafted bottles of Armenian Brandy to our shelves. The Sword & Scabbard (left) is $99.99/750ml, and we have a Pistolet as well as an AK-47 to round out your armory. For the less warlike among you, there’s a Walking Stick. All 3 products are $59.99/375ml.
11819 St. Albert Trail, Edmonton 780-455-4556
Over 900 Different Brands of Beer
BY MICHELLE LINDSTROM
ESO VIRTUALLY DISCOVERED THE ESO IS SET TO RELEASE PHASE ONE OF AN EDUCATIONAL AND INTERACTIVE WEBSITE DESIGNED SPECIFICALLY WITH THE INTERESTS OF YOUNG MUSIC LOVERS IN MIND.
HILDREN CAN BE A CHALLENGE, ASK ANY PARENT OR TEACHER,
but creating a website for them can present a whole other gamut of challenges for the development team. Following the launch of the new ESO and Winspear websites, the ESO’s focus recently shifted towards a new venture: www.discoverESO.com, a new website containing sophisticated, interactive technology to educate young music lovers in a user-friendly manner. Philip Paschke, Edmonton Symphony Orchestra and Winspear Centre Communications Manager, assisted in the website’s creation. He says, “In conjunction with our educational concerts, discoverESO.com will allow us to expand our music resources offered to students in Alberta and by doing so,
train the next wave of musicians and symphony patrons.” Bob Hesketh, CEO of Chinook Multimedia Inc., the web development company hired to bring the ESO’s vision for all three of its websites to life, explains, “The key thing with any educational resource aimed at that age range (grades four to six) is that it has to engage them. They have to find it interesting and worthwhile to keep on playing the game or whatever it may be.” The interactive, multimedia features of the discoverESO.com, Paschke says, will include a “Who Wants to Be a Millionaire”-style music quiz to challenge children to answer music trivia questions. A music mystery will also be accessible for kids to solve by gathering clues and evidence.
MUSICAL INTERFACE : DiscoverESO.com will challenge young, tech-savvy users with games, videos and interactive music-based learning.
ESO VIRTUALLY DISCOVERED
For video content, Paschke recorded orchestra members to demonstrate how each of their instruments work, what sounds they create and what parts and pieces make up the actual instruments. “They [the orchestra members] are happy to see that we’re looking to expand our educational offerings; that’s important to them,” says Paschke. He also notes teachers across Alberta request as many resources as possible to engage and inform students before and after their classes attend an educational ESO performance. DiscoverESO.com will offer teacher support with listings of future performances but also by running occasional live-stream events – performances or teacher information sessions that are broadcast with the province’s rural schools in mind who might be unable to visit Edmonton regularly. Sound bytes will also be found playing specific instrument’s high and low notes to help teachers’ and students’ comprehension of music. – Annemarie Petrov “We’ll impart some information about pitch and rhythm and some composers that we often play (in performances),” Paschke says. “It’s really about trying to cover the basics and give the users a kind of familiarity about orchestra music before they come or as a follow-up to when they do come.” There’s a little something for everyone, says Edmonton Symphony Orchestra executive director Annemarie Petrov. “The discoverESO.com site will impact all areas of our organization, especially community relations, patron development and artistic operations by increasing the public’s understanding of music and what the ESO offers, as well as further reducing communication barriers between our musicians, staff and patrons.” The ESO wants to serve all regions of Alberta and the new website
extends their geographical reach to patrons. The ESO “is certainly not just for the music students,” says Paschke. “It’s not just focused on those who are interested in music but those who could have an appreciation for music.” Petrov believes people will better understand how music is made, composed and performed because of the new site’s learning resources. “By understanding the stories behind the music, people will be able to have richer, more meaningful concert experiences.” She encourages users to ask questions, provide feedback and get to know the people of the ESO via discoverESO.com. They plan to launch the website late in September to coincide with the start of the next academic year. A mini-performance by five-to-six orchestra members will take place Sept. 24 at an elementary school in Edson to help commemorate discoverESO.com’s launch. A full concert performance will follow that evening, celebrating the town’s Centennial Homecoming Weekend at the Edson and District Recreation Centre. “The emphasis is always on interactive learning and connecting with people in fun, personal ways,” says Petrov. “We want to share our joy of music and open up conversations with people to make music more accessible and enjoyable for everyone.” The ESO and Winspear websites still offer patrons plenty of information but they’re geared towards the symphony’s adult audience. Find out more about ESO members, employee contact information, orchestra recordings, concerts and more at www.edmontonsymphony.com. The Winspear Centre’s website www.winspear.com gives all the information required to visit, rent or support the facility. All three sites will link to one another, enabling musiclovers everywhere – who have access to a computer – to flood themselves with orchestra knowledge.
By understanding the stories behind the music, people will be able to have richer, more meaningful concert experiences.”
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Organ Concert Series Canadians Near and Far November 20 Wendy Markosky 3:00 pm (Sunday)
Lacombe, AB Organ and Harpsichord First Presbyterian Church, $20 (Senior/Student $18)
Michael Unger January 8
Rochester, New York Davis Memorial Tribute Recital Winspear Centre for Music Davis Concert Organ, $25 (Senior/Student $20)*
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February 10 Craig Humber 7:00 pm (Friday)
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Vienna, Austria German Romantic Organ Works First Presbyterian Church, $20 (Senior/Student $18)
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Heart disease affects the lives of more men and women than all cancers combined. The CK Hui Heart Centre, officially opened in May 2011 in the Robbins Pavilion at the Royal Alexandra Hospital, will continue the legacy of innovative care that has made the Royal Alex a leader in the treatment of heart disease and a teacher to heart specialists from around the world. Please consider making a charitable bequest to the Royal Alexandra Hospital Foundation in support of the CK Hui Heart Centre. It’s a gift with heart. For more information, please contact Stephen Boyd, LL.B, at 780-735-5061.
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ROBBINS POPS Wicked Divas
Friday & Saturday, September 16 & 17 | 8 PM
Steven Reineke, conductor & piano Julia Murney, vocalist Stephanie J. Block, vocalist Jean-Sébastien Roy, guest concertmaster
OVERTURE TO GYPSY (Styne / arr. Bennett)
SELECTIONS FROM CARMEN (Bizet)
INTRODUCTION AND “ALL THAT JAZZ” (from Chicago ) (Kander / Ebb / orch. McKibbins)
“DON’T LET IT RAIN ON MY PARADE” (from Funny Girl ) (Styne / arr. Moore)
“BACK TO BEFORE” (from Ragtime )
“RAGTIME” (from Ragtime ) (Flaherty / Ahrens / arr. Reineke) “THINK OF ME” (from Phantom of the Opera ) (Lloyd Webber / arr. Cullen)
“RING THEM BELLS”
(Kander / Ebb / arr. McKibbins)
(Garcia / arr. Reineke) INTERMISSION (20 minutes)
I HEAR A SYMPHONY: SYMPHONIC SOUNDS OF DIANA ROSS (various / arr. Reineke)
“NO MORE TEARS (ENOUGH IS ENOUGH)” (Jabara / Roberts / arr. Barton)
“MY HEART WILL GO ON” (from Titanic )
(Horner / Jennings / arr. Reineke)
DIVA’S LAMENT (from Spamalot ) (Du Prez / Idle / arr. Firth)
boundless enthusiasm and exceptional artistry have made him one of the most sought-after pops conductors, composers and arrangers. In recognition of his successful leadership, The New York Pops have extended his contract as Music Director through the 2015-2016 Season. New York’s only permanent and professional symphonic pops orchestra, The New York Pops is the largest independent pops orchestra in the United States. This season, Mr. Reineke begins his tenure as the Principal Pops Conductor of the National Symphony Orchestra in Washington, D.C. He also serves as Principal Pops Conductor of the Long Beach and Modesto Symphony Orchestras, and Associate Conductor of the Cincinnati Pops Orchestra, where for 15 years he served as a composer, arranger and conducting protégé of the late celebrated pops conductor Erich Kunzel. Steven Reineke’s recent guest conducting appearances include the orchestras of National (Washington, D.C.), Houston, Toronto, Detroit, Indianapolis, and Baltimore. He returns to the Boston Pops and The Philadelphia Orchestra in 2011 and debuts with The Cleveland Orchestra at Blossom Music Center. He made his Hollywood Bowl debut in 2007 and returned to the Hollywood Bowl in 2008 to conduct the Los Angeles Philharmonic. As the creator of more than 100 orchestral arrangements for the Cincinnati Pops Orchestra, Mr. Reineke’s work has been performed worldwide, and can be heard on numerous Cincinnati Pops Orchestra recordings on the Telarc label. Mr. Reineke is also an established symphonic composer. His works Celebration Fanfare, Legend of Sleepy Hollow, and Casey at the Bat are performed frequently in North America. A native of Ohio, Mr. Reineke is a graduate of Miami University (Ohio), where he earned Bachelor of Music degrees with honours in both trumpet performance and music composition. He currently resides in New York City. Mr. Reineke is represented by Peter Throm Management, LLC. Mr. Reineke last appeared with the ESO in February 2011.
“OVER THE RAINBOW” (from The Wizard of Oz )
(Arlen / Harburg / arr. Henderson / Lieb)
Artist bios continued next page
“POPULAR” / “DEFYING GRAVITY” / “FOR GOOD”
(from Wicked ) (Schwartz / arr. Brohn / Fleischer / Zito) SEPTEMBER/OCTOBER 2011
Program subject to change SIGNATURE
2011/2012 SEASON ROBBINS POPS Wicked Divas
ULIA MURNEY last appeared on Broadway as Elphaba in Wicked after
playing the role on the national tour for which she received an Acclaim Award. Other New York credits include Lennon, Andrew Lippa’s The Wild Party (Drama Desk nomination), The Vagina Monologues, A Class Act, Saved, Crimes of the Heart, First Lady Suite, and Time and Again (Lucille Lortel nomination). She has also been seen regionally all over the U.S. at venues including Signature, Williamstown, Reprise!LA, Sacramento Music Circus, NCT, Lyric, Rubicon, and Goodspeed, to name a few. In concert, she has performed at Joe’s Pub, Feinstein’s, The Kennedy Center, Caramoor, Town Hall, and Birdland as well as with Peter Nero and the Philly Pops, and Steven Reineke and the Cincinnati Pops. Among her TV credits are 30 Rock, Sex and the City, Ed, NYPD Blue, all three Law and Order series, and about a gazillion voiceovers.
TEPHANIE J. BLOCK’S most recent Broadway smash was 9 to 5 working alongside Dolly Parton and Allison Janney. Before that, she was starring as Elphaba in the Broadway Company of Wicked. Audiences may also recognize her for her portrayal as Grace O’Malley in The Pirate Queen, and with Liza Minnelli opposite Hugh Jackman in The Boy From Oz. Stephanie also starred in the First National Touring Company of Wicked as Elphaba for which she won the 2006 Helen Hayes Award for Outstanding Actress.
A Syracuse University graduate, Julia Murney’s recordings include the original cast albums of The Wild Party and A Class Act, the Grammy nominated Actor’s Fund Benefit of Hair, and her first solo album I’m Not Waiting, which is available on Sh-K-Boom records, iTunes, and at JuliaMurney.com.
Ms. Block has sung with the Utah Symphony, Columbus Symphony, Charlotte Symphony, Cleveland Pops, and many others. She was a soloist with the Boston Pops this past June. Some of her regional credits include They’re Playing Our Song (opposite Jason Alexander), Funny Girl, Crazy For You (L.A. Ovation Award Nominee), Oliver (Critics Award, Best Actress), South Pacific, Will Rogers Follies, and the world premiere of Wicked. Her voice can be heard on a number of cast recordings, commercial jingles, as well as her solo album, This Place I Know.
This is Ms. Murney’s debut with the ESO.
This is Ms. Block’s debut with the ESO.
8/24/11 4:12:05 PM
Mozart & Beethoven Treasures
Wednesday, September 21 | 7:30 pm
William Eddins, conductor, organ & piano Lucas Waldin, conductor
O Canada (arr. Gilliland)
Herzlich thut mich verlangen, BWV 727
(b. Eisenach, Saxony, 1685 / d. Leipzig, 1750)
Herzlich thut mich verlangen, BWV 727
Passacaglia on a Bach Chorale
Piano Concerto No. 21 in C Major, K.467 Allegro Andante Allegro vivace assai
INTERMISSION (20 minutes)
Symphony No. 7 in A Major, Op.92 (35’)* Poco sostenuto – Vivace Allegretto Presto – Assai meno presto Allegro con brio
Program subject to change *indicates approximate performance duration
JOHANN SEBASTIAN BACH
imply put, a chorale prelude is a short organ composition, based on a choral theme. BACH wrote dozens of chorale preludes, most based on themes from larger sacred music he wrote throughout his career. The Chorale Prelude Herzlich thut mich verlangen (“My heart is filled with longing”) is based on a much older tune, and one which not only Bach favoured, but many other composers as well. Bach used the tune in his St. Matthew Passion (see below), but also in his Christmas Oratorio and several cantatas. As O Sacred Head Now Wounded (or the “Passion Chorale”), it has become a favourite hymn in churches the world over.
Passacaglia on a Bach Chorale OSKAR MORAWETZ
(b. Svetlá, Czechoslovakia, 1917 / d. Toronto, 2007)
First performed: 1964 in Toronto LAST ESO PERFORMANCE: FEBRUARY 1995
f his work, legendary Canadian composer OSKAR MORAWETZ wrote: “Shortly after the tragic death of President John Fitgerald Kennedy I thought of composing a work in his memory. It took me several months before deciding on the form and style of this composition. Eventually, I wrote a work which is a complete departure from my usual style: I took as the theme of the passacaglia the first four bars of one of the most moving traditional chorales, ‘Be near me Lord when dying, O Part not Thou from me’. These words are sung in Bach’s St. Matthew Passion after the Crucifixion. In order to retain the religious feeling of Bach’s music, I decided to write my own composition in the style of that period but using the colours of a full symphonic orchestra.” The chorale-tune upon which the work is based is Herzlich thut mich verlangen. This fragment of the chorale undergoes 15 variations which are joined so smoothly that the listener feels only two main sections: variations 1 to 8, where the extended melodic lines over the bass are mostly based on the theme itself, and, starting with variation 9, where the chorale is combined with Bach’s Three Part Invention in C minor. From there a crescendo achieves dramatic proportions through many other contrapuntal devices, and grows in tension and content until the last bar. This work has a special place among Morawetz’s compositions. He intentionally kept the harmonies of the Baroque period, but combines the emotional intensity of the Romantic period. Mr. Eddins’ and Mr. Waldin’s bios can be found on page 6.
2011/2012 SEASON PROGRAM NOTES MIDWEEK CLASSICS Mozart & Beethoven Treasures
Piano Concerto No. 21 in C Major, K.467 WOLFGANG AMADÉ MOZART
(b. Salzburg, 1756 / d. Vienna, 1791)
First performed: March 10, 1785 LAST ESO PERFORMANCE OF THE COMPLETE CONCERTO WAS JANUARY 2002. THE SECOND MOVEMENT HAS BEEN PERFORMED ON ITS OWN SEVERAL TIMES SINCE THEN.
HERE’S OFTEN A DUALITY – A “YIN AND YANG” – to Mozart’s
compositions. Two works in a similar format would be composed within a relatively short span (for Mozart, that typically would mean within weeks), and while one would be bright, one would be dark; one hopeful, one filled with tension. Sometimes the happier work would come first, sometimes after. So it was with his 20th and 21st concertos for solo piano. The latter was written only a month after the former. In this case, the D minor 20th Concerto is the storm-tossed work counter-balanced by the sunshine of the C Major Concerto. Mozart finished the concerto on March 9, 1785. It begins typically enough, with a march-like theme in the orchestra. A second subject is hinted at, only to have the march take over once again. When the piano enters, it seems a bit tentative, but then dominates with its own theme. The development section brings us briefly into a minor key episode, but the radiant feel is restored before the recapitulation. The second movement is a beautiful, dream-like Andante, the main theme of which is first presented by the violins. Upon the piano’s entrance, however, it soon dominates, taking over the theme and rhapsodizing extensively upon it, while the muted lower strings in pizzicato (plucked, rather than bowed) maintain the processional rhythm. The work’s finale is a vivacious rondo – with a trippingly infectious recurring main theme countered by a number of light-hearted secondary themes, maintaining an almost constant air of grace and playfulness.
Symphony No. 7 in A Major, Op.92 LUDWIG VAN BEETHOVEN
(b. Bonn, 1770 / d. Vienna, 1827)
First performed: December 8, 1813 in Vienna LAST ESO PERFORMANCE: JANUARY 2008
EETHOVEN’S SKETCHBOOKS TELL US that he actually began formulating ideas for what would become his Seventh Symphony even before the fifth and sixth, but he did not gather them into their final form until 1813. After the titanic architecture of the fifth and the personal salute to nature in the sixth, the A Major Symphony might be thought as almost impersonal – but that does it very little justice. The two paramount features of this symphony are rhythm, and the relationship between the keys of A Major, F Major and C Major. The long, slow introduction establishes this tonal relationship, touching on all these keys. And when the A Major Vivace finally emerges, the underpinning rhythmic drive is irresistible. As with all the other movements, there is a steady, rhythmic ostinato prominently beating under this movement, interrupted only with the introduction of a beautiful, pastoral theme first presented by a solo flute. But as it is taken up by the orchestra, its pace quickens, and it also becomes part of the dance. These two melodic ideas dominate the rest of the movement. The famous second movement, in the tonic minor, is so stately, ceremonial, and beautiful, it often accompanies such occasions as funerals. But it is marked Allegretto, so it is often slowed to a pace to which Beethoven might have viewed as overly slow. After a solemn chord, this movement’s obligato is introduced, a long-short-short-long-long pulse that is presented several times, soon complemented by a beautiful and deceptively straightforward theme in the violas and cellos. The passion builds, though the rhythm remains constant, until the opening obligato pulse is loudly proclaimed by the entire orchestra. The mood softens again, and the movement concludes quietly. The third movement is a Scherzo and Trio in the key of F Major – recalling the key relationship from the symphony’s introduction. The Scherzo theme (again, listen for the rhythmic pattern over which the theme is played) is first heard in the oboe, for all the world sounding like it is laughing. The Trio, cast in D Major, is in a slower tempo, a syncopated three-note figure over held notes in the upper strings. The Trio repeats twice, and sounds as if it will return again, only to be interrupted rudely (and with rough good humour) by the Scherzo, which hastens the movement to its end. The finale should, by all the “rules,” be in A Major – and it will be. But it doesn’t start there – we’re actually in C Major (completing the reference back to the introduction) and it is in high spirits and a lot of musical busyness that, with great propulsive energy, we eventually arrive at a thunderous theme in A Major, played first on the horns with strings underneath, then immediately after by the strings with the horns providing the pulse. This theme becomes the main one, though other ideas are presented briefly. So important is rhythm to this work that Wagner famously dubbed this symphony “the apotheosis of the dance.”
Notes on the Morawetz from OskarMorawetz.com, used with permission. All other program notes © 2011 by D.T. Baker
FRIDAY MASTERS & LANDMARK CLASSIC MASTERS
Mozart & Beethoven
Friday, September 30 | 7:30 PM Saturday, October 1 | 8 PM William Eddins, conductor Karen Gomyo, violin
Afterthoughts, Friday post-performance, Main Lobby with William Eddins & Karen Gomyo
Symphony Prelude, Saturday 7:15 pm, Third Level (Upper Circle) Lobby with Robert Rival & D.T. Baker
Symphony No. 41 in C Major, K.551 “Jupiter” Allegro vivace Andante cantabile Menuetto: Allegretto Molto allegro
INTERMISSION (20 minutes)
Violin Concerto in D Major, Op.61
Allegro ma non troppo Larghetto Rondo
Program subject to change *indicates approximate performance duration
Friday Series Sponsor
ecipient of the prestigious Avery Fisher Career Grant in 2008, violinist KAREN GOMYO first caught public attention after winning the 1997 Young Concert Artists International Auditions at age 15. She has ever since been active as soloist, recitalist, and chamber musician across North and South America, Europe, and Asia. Ms. Gomyo’s engagements as soloist have included appearances with the New York Philharmonic, Los Angeles Philharmonic, Philadelphia Orchestra, Minnesota Orchestra, San Francisco, Saint Louis, Cincinnati, Houston, Montréal and Vancouver Symphonies, and the National Symphony of Washington D.C., to name a few. In Europe, she has performed with the City of Birmingham Symphony Orchestra, the Royal Scottish National Orchestra, Orchestre National de Lille, Scottish Chamber Orchestra, the Royal Liverpool Philharmonic, Bergen Philharmonic, and Den Haag Residentie Orkest, among others. She has worked with such conductors as Leonard Slatkin, Neeme Järvi, Andrew Litton, David Robertson, David Zinman, Yannick Nézet-Séguin, Andrey Boreyko, Hans Graf, Louis Langrée, James Gaffigan, and Robin Ticciati.
Landmark Classic Masters Series Sponsor
Mr. Eddins’ bio can be found on page 6. Bio and program notes continue next page.
2011/2012 SEASON FRIDAY MASTERS Mozart & Beethoven
In recital and chamber music, Karen Gomyo has performed at the Aspen, Ravinia, and Caramoor Festivals, Mostly Mozart at Lincoln Center, Schloss Elmau, the Louvre in Paris, Festival Internacional Santander in Spain, Chanel Ginza, and Suntory Hall in Tokyo. In 2008, Ms. Gomyo performed at the First Symposium for the Victims of Terrorism held at the headquarters of United Nations in New York. Born in Tokyo, Ms. Gomyo was raised in Montréal and began the violin at age five. At age 11, she started her studies with Dorothy DeLay at The Juilliard School in New York, continuing further with Mauricio Fuks at Indiana University, and with Donald Weilerstein at the New England Conservatory in Boston. Karen Gomyo plays on a Stradivarus violin that was bought for her exclusive use by a private sponsor. Ms. Gomyo last appeared with the ESO at Symphony Under the Sky 2010.
PROGRAM NOTES Scherzo
(b. Calgary, 1975)
heard a reading of this version remarked that the piece made him think of a dessert—tiramisu, to be exact. I like the analogy. But I think it sounds more like crême brûlée: hard and crunchy on the outside, soft and creamy on the inside.
First performance: July 27, 2011 in Hamilton THIS IS THE ESO PREMIERE OF THE PIECE
Symphony No. 41 in C Major, K.551 “Jupiter”
WOLFGANG AMADÉ MOZART
Program note by the composer
aydn was famous for his musical wit. Mozart revelled in a silly tune. Even Beethoven found time for a good musical joke. None of this undermined their reputations. But somewhere on the journey into the 20th century, composers lost the inclination to have fun, perhaps because striking a non-serious pose meant getting marginalized. Look at the fate of poor Poulenc, one of the century’s most delightful musical comedians. What I offer you with this Scherzo (Italian for “joke”) is my idea of fun. The piece begins and ends with the same frenetic music. Its spiky theme, introduced by the flute, consists of a handful of notes set against a swirling accompaniment. Other little “bits” flash by like nearby trees viewed from inside a speeding train. Eventually the music collapses from utter exhaustion and a waltz takes over. The tune is familiar because … well, it’s just the Scherzo’s aggressive theme now tamed (a device I borrowed from Brahms’s Intermezzo, Op. 119, No. 2 ). In its new garb the melody is extended and embellished until the waltz, too, implodes. Suddenly we are transported to a street corner in a faraway place in a time long ago where a lone musician awkwardly plays a fragment of—the theme. I originally scored Scherzo for nonet (nine instruments). A listener who
(b. Salzburg, 1756 / d. Vienna, 1791)
Composition completed August 10, 1788. It is not known if the work was ever performed during Mozart’s lifetime. LAST ESO PERFORMANCE: FEBRUARY 2005
OZART wrote his last symphony more than three years before he died,
and it is highly likely he felt that he would write more. But the fact remains that other projects occupied him until his death seven weeks shy of his 36th birthday, and while it was not Mozart who chose the epithet “Jupiter” for his last symphony, this Olympian work is a worthy final effort. Mozart both looks back to the past, and anticipates the future in his 41st Symphony. His use of counterpoint in the opening and final movements is certainly a tribute to composers such as Bach, while his ability to create towering musical structures from minimal musical building blocks is something Beethoven and others picked up on years later. There are no less than three separate musical ideas in the very opening of the work – quite uncharacteristic of “proper” sonata-allegro form. Similarly, there are three thematic ideas in the Andante cantabile second movement –
two serene ones separated by a tense, dramatic emotional one. A slightly more conventional third movement balanaces a lyrical Minuet with two starkly contrasting trio subjects. The final movement, rather than a jovial trot to the finish line, is instead a towering musical structure, “…where contrasting themes are lined up, harnessed, and sent galloping down the final stretch in one of the most glorious, tingling, and overwhelming passages in music,” wrote longtime New York Times critic Harold C. Schoenberg.
Violin Concerto in D Major, Op.61 LUDWIG VAN BEETHOVEN
(b. Bonn, 1770 / d. Vienna, 1827)
First performance: December 23, 1806 in Vienna LAST ESO PERFORMANCE: JUNE 2005
here is little doubt that BEETHOVEN would write a violin concerto at some point in his career. A concerto was begun while he still lived in Bonn (WoO 5), and most scholars agree the two Romances for Violin, Opp.40 and 50, were workings-out of potential slow movements for a future concerto. But in the end, the D Major Concerto he finally produced came in great haste, scrabbled together in the latter months of 1806 in time for a concert that December 23. Rushing to put finishing touches to it, Beethoven barely had a legible score for the concerto’s soloist, the fine Viennese violinist Franz Clement (only 26 but already leader of the orchestra at the Theater an der Wien), in time for the premiere. Clement had to more or less read the score on sight, and it took a while for the concerto to take hold. In fact, it
HE EDMONTON SYMPHONY ORCHESTRA’S acclaimed
education concerts for school audiences began shortly after the orchestra made the switch, in 1971, from a part-time, nightrehearsed orchestra to a fulltime ensemble. At a complement of 34 fulltime players, the orchestra spent several seasons visiting Edmonton-area schools, in two chamber orchestras of 17 musicians each. By 1975, the orchestra was bringing school groups to them – holding a couple of concerts a year at the Jubilee Auditorium. It was Mario Duschenes, hired to oversee the orchestra’s educational efforts, who really created the more formalized model which the ESO used for its concerts for schools. Former ESO Resident Conductor David Hoyt, and current Assistant Principal Trumpet William Dimmer, oversaw the increasingly popular series for nearly two decades after that. These days, Enbridge Resident Conductor Lucas Waldin works with Edmonton school board representatives, and members of the orchestra and ESO staff to craft curriculum-related performances, tailored to grades K-3, 4-6, and junior and senior high school audiences, introducing approximately 27,000 students from all over Edmonton and northern Alberta each year to the richness of orchestral music.
was not until Joseph Joachim championed the work beginning in 1844 that Beethoven’s only concerto for violin was revealed as the masterpiece it is. The colossal first movement (25 minutes of the concerto’s 45-minute duration) contains a surprising economy of thematic ideas, but a wealth of ways in presenting them. For example, the dramatic, and stark, timpani notes which begin the work show up throughout the movement as a linking idea, but also as an accompaniment to the second main theme. That’s only one example of the many unusual features of this movement. Listen also for how Beethoven uses trills in the solo violin. At the time, trills were almost always used to end long phrases; here, Beethoven uses them as integral parts of the piece – stretching one out and modulating it to an unexpected F Major. The three main musical ideas are presented many times throughout the movement, but in most cases they are presented quite differently upon each new repetition. This movement is a long, rhythmic, exquisitely crafted first movement, and it had no precedent for its scope prior to it. It is often said of the beautiful second movement that not a lot actually happens in it (the ever quotable scholar Donald Tovey described it as “sublime inaction”). In reality, it is a beautiful theme with four long variations (with a second theme and its own variation as well). Here, the violin engages in dialog with spare musical forces and muted strings. Without a pause, we are pulled unexpectedly from this movement’s F Major into the concerto’s home key, and the Rondo finale enters without a pause. This movement is very much in the traditional Beethoven format for concerto finales, and also features perhaps the most virtuosic work for the soloist. It is cast in a favourite metre of Mozart’s for final movements: the gentle gallop of 6/8, and brings the work to a lively, happy and triumphant conclusion. Program notes © 2011 by D.T. Baker, except as noted
ROBBINS LIGHTER CLASSICS
Four Guitars, One Orchestra Thursday, October 6 | 8 PM Robert Bernhardt, conductor Lucas Waldin, conductor
Canadian Guitar Quartet
Philip Candelaria Denis Donegani Patrick Roux Louis Trépanier
Capriccio italien, Op.45
Tiempo de bolero Adagio Allegretto
INTERMISSION (20 minutes)
Dreams of Flying
Aux rhythms des quartiers latins
RIMSKY-KORSAKOV Capriccio espagnole, Op.34
Program subject to change *indicates approximate performance duration
(9’)* (14’)* (15’)*
OBERT BERNHARDT served as Music Director and Conductor of the Chattanooga Symphony and Opera for 19 seasons. He was the second Music Director in the combined company’s history, and is now the first with the title Emeritus. A lover of all genres of music, he is equally at home in symphonic, operatic, pops, and educational performances. He also nears another milestone in his career with the Louisville Orchestra, with this year representing his 30th consecutive season with the LO, and his 15th as Principal Pops Conductor. 2010-2011 saw Mr. Bernhardt make his conducting debuts with the Houston Symphony and Cincinnati Pops, and returning twice to the Boston Pops. His vast symphonic repertoire covers most of the standard canon and his commitment to the music of our time is significant. He has been a frequent guest conductor with the Pittsburgh Symphony, the Detroit Symphony, the St. Louis Symphony, and the Boston Pops. He has also been a guest with the Seattle Symphony, the Phoenix Symphony, the Nashville Symphony, the Colorado Symphony, the Iceland Symphony, the Pacific Symphony, and others. He has recorded for Vanguard, First Edition, Carlton Classics, and RPO record labels. He has also conducted the Louisville Ballet, the North Carolina Ballet, the Jacksonville Ballet, and the Lonestar Ballet.
Born in Rochester, NY, Robert Bernhardt holds a Master’s Degree with Honours from the University of Southern California School of Music where he studied with Daniel Lewis. He was a Phi Beta Kappa, summa cum laude graduate of Union (NY) College, where he was an Academic All-American baseball player. His son, Alex, lives and works in Seattle with his wife and new daughter, and his daughter, Charlotte, is a resident of New York City. He and his wife, Nora, live on Signal Mountain. Robert Bernhardt holds a special place in the hearts of Edmonton Symphony Orchestra musicians and audiences. This year’s Symphony Under the Sky marked his sixth consecutive time as the festival’s conductor, and he frequently leads the ESO in subscription series performances at the Winspear Centre. He last conducted the ESO at this past September’s Symphony Under the Sky, and returns to lead A Merry Pops Christmas on December 2 & 3.
n December 8, 2007, the CANADIAN GUITAR QUARTET made one of the greatest New York City debuts of any artistic ensemble in decades at the 92nd Street Y. “Fantastic, spirited playing and sheer inventiveness,” said Julia Crowe in her New York column for England’s Classical Guitar Magazine. The CGQ has toured extensively in Europe, North and South America, Mr. Waldin’s bio can be found on page 6. Program notes can be found on page 21.
2011/2012 SEASON ROBBINS LIGHTER CLASSICS Four Guitars, One Orchestra
establishing a reputation as one of the finest guitar ensembles in the world. Portrait I, the CGQ’s debut CD, is “quite impressive. Their tight ensemble and group virtuosity make them competitive with the best quartets.” (American Record Guide) In 2005, the ensemble’s second CD, Les Scènes de Quartiers, was named instrumental album of the year by the Association des Professionels de la Chanson et de la Musique and awarded le Prix Trille Or . The quartet’s third CD, Orchestral Works for Guitar Quartet, was released in 2010. The CGQ has often been featured on English and French national CBC networks, internationally on Radio-Canada, and on national broadcasts in Chile, Austria, and on web casts by Classical Guitar Alive and Northwestern University from the United States. In Canada, they have appeared at venues such as the National Art Gallery, the Palais Montcalme series, the CBC Glenn Gould Studio in Toronto, the Ottawa Chamber Music Festival, Parry Sound’s Festival of the Sound, Festival Vancouver, and the Hornby Island Music Festival. Internationally, the CGQ has performed in Argentina, Austria, Brazil, Chile, Germany, and has headlined Yale University’s Guitar Extravaganza, Chile’s Entre Cuerdas and Liliana Perez Corey festivals, Yale´s Norfolk Chamber Music Festival, and the Guitar Foundation of America Festival. The quartet is in residence at the University of Ottawa. They have also been featured on a national Bravo! TV special. Les Productions d’Oz publishes the special CGQ Collection, distributing world-wide CGQ original music and transcriptions. This is the ensemble’s debut with the ESO.
N THE WINTER OF 1879-80, PIOTR ILYICH TCHAIKOVSKY
(1840-1893) found himself in Rome, from which the germ that became this bright, tuneful caprice first took seed. It was based on several melodies he heard while he was there – the opening fanfare, for example, was the bugle call he heard outside his window each morning. “I think (the Capriccio italien) has a bright future,” Tchaikovsky wrote to a friend, “it will be effective because of the wonderful themes I happened to pick up.” It is not only those themes, but Tchaikovsky’s particular genius for orchestration, which lends this work its utter charm, which the public has been quick to grasp since its first performance on December 18, 1880. A number of melodies and Italian dance forms whirl by following the arresting fanfare, concluding with a brisk Tarantella.
IKE MANY PROMISING YOUNG SPANISH COMPOSERS, JOAQUÍN RODRIGO (1901-1999) made his way to Paris, where his
burgeoning talent blossomed with his studies under Paul Dukas. Blind from the age of three, Rodrigo nevertheless attained a steady stream of scholarships, enabling him to broaden his musical horizons with visits to Austria, Switzerland, Germany, and again to France. By the time he returned to his native Spain, he was regarded as an important figure in his country’s musical lineage. The Concierto Andaluz was commissioned by Celedonio Romero, for himself and his talented sons (Celin, Pepe, and Angel). It premiered in San Antonio, Texas in 1967. While the melodies are not authentic Spanish folk melodies, the traditional flavour of the music of Andalusia is very much in evidence. The work is in three movements, each in distinctive dance rhythms. At certain times, the four guitars engage in elaborate “conversations” with each other, at other times all four are pitted against the orchestra. It is a colourful, lively, and at times even powerful work. SEPTEMBER/OCTOBER 2011
OB TEEHAN (b. 1982) is a tuba and sousaphone player, choral singer, and composer based in Toronto. Since 2009, Rob has been Composer in Residence at the Church of the Redeemer in Toronto, a position he also held with the Colours of Music Festival (2010) and the National Youth Orchestra of Canada (2009). He will be Composer in Residence with Sinfonia Toronto in their 2011-2012 season. Dreams of Flying was written for the National Youth Orchestra of Canada in 2009, and was nominated as Best Canadian Classical Composition at the 2010 Juno Awards. Of his work, Mr. Teehan has written: “Dreams of Flying, a nine-minute orchestral tone poem, tells a literal story: A dreamer is startled to find himself high above the ground and gifted with the power of flight. Ecstatic, he swoops through clouds and flocks of birds, soaring over mountains, lakes, fields, cities, forests and oceans from a great height, gathering speed and energy. Then, as the music melts into a relaxed groove, he settles in at a lower altitude where landmarks are more familiar, the air is warmer, and he is joined by birds – or maybe other dreamers – who fly alongside. Then the sky turns red, and the dreamer realizes he is flying directly into a brilliant sunrise. As the sun comes up, he awakens; the dream begins to fade from memory, portrayed by fragments of the music trailing away into silence.”
ATRICK ROUX (b. 1962) is one of the guitarists of the Canadian Guitar Quartet. But the French-born musician is also a composer, having studied at the Conservatoire de musique du Québec à Hull, and with David Russell in London. He became enamoured with the tango nuevo music of Astor Piazzolla, and beginning in the early 1990s, he began composing a series which he called Les scènes de quartiers, in which he depicts scenes of daily life in various surroundings. Aux rhythms des quartiers latins is the seventh work in the ongoing series, composed as a concerto for four guitars and small orchestra. “Day dawns as the piece awakens and grows slowly, transporting us deep into the heart of the city,” the quartet has written. “Successive themes alternate from the nostalgic to the energetic to the frantic, presenting a musical kaleidoscope of colourful images, all inspired by the rhythms of life in the latin quarters.” In the slower sections, the guitars are given much of the thematic musical material, while in the energetic dance sections, it is often the strings or solo instruments in the orchestra which state the main thematic ideas, with the guitars playing decorative figures around them.
HE OPINION FORMED BY BOTH CRITICS AND THE PUBLIC THAT THE CAPRICCIO ESPAGNOLE is a brilliant ‘magnificently
orchestrated piece’ is wrong. The Capriccio is a brilliant ‘composition for orchestra’.” So said NIKOLAI RIMSKY-KORSAKOV (1844-1908), who penned the work in 1887, and he further explained what he meant by his statement. “The change of timbres, the felicitous choice of melodic designs and figuration patterns, exactly suiting each kind of instrument, brief virtuoso cadenzas for instruments solo, the rhythm of the percussion instruments, constitute here the very essence of the composition, and not its garb. The Spanish themes, of dance character, furnished me with rich material for putting orchestral effects in use.” The exciting orchestral showcase is in five uninterrupted sections, beginning with an Alborada (“Morning Song”) in a lively manner. Next is a set of variations, in which a horn fanfare theme is given various treatments. Next, the Alborada returns in different orchestral clothes, followed by a Gypsy song featuring a series of cadenzas for the violins. The final section is a Fandango, introduced by the trombones. The Alborada returns in the spectacular climax.
Program notes © 2011 by D.T. Baker, except as noted SIGNATURE 21
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LANDMARK CLASSIC MASTERS
Mendelssohn’s First Piano Concerto Saturday, October 15 | 8 PM
Mei-Ann Chen, conductor Ilya Yakushev, piano
Symphony Prelude, 7:15 pm, Third Level (Upper Circle) Lobby with D.T. Baker
O Canada (arr. Gilliland)
Piano Concerto No. 1 in G minor, Op.25 Molto allegro con fuoco Andante Presto
INTERMISSION (20 minutes)
Symphony in D minor
Lento – Allegro ma non troppo Allegretto Finale: Allegro non troppo
ne of the most dynamic young conductors in America, MEI-ANN CHEN has recently completed her first season as Music Director of the Memphis Symphony Orchestra. This past June, she assumed the music directorship of the Chicago Sinfonietta, only the second person to hold this position. Ms. Chen has appeared with the symphonies of Alabama, Atlanta, Baltimore, Chicago, Colorado, Columbus, Florida, Fort Worth, Honolulu, National (Washington, DC), Oregon, Pacific, Phoenix, Princeton, Seattle, Toronto, and the Grand Teton Festival Orchestra. Worldwide engagements include the BBC Scottish Symphony, Bournemouth Symphony, Graz Symphony, Norwegian Radio Orchestra, and the Trondheim Symphony. During the 2011-12 season, she will debut with the symphonies of Jacksonville, Naples, Nashville, Pasadena, Sarasota, as well as the National Symphony of Mexico and the Netherlands Philharmonic at the Amsterdam Concertgebouw. The first woman to win the Malko Competition (2005), Ms. Chen has served as Assistant Conductor of the Oregon Symphony, and has recently completed highly successful tenures as Assistant Conductor of the Atlanta Symphony and Baltimore Symphony; these two positions were sponsored by the League of American Orchestras. In 2002, Ms. Chen was unanimously selected as Music Director of the Portland Youth Philharmonic in Oregon, the model for many youth orchestras in the United States. During her fiveyear tenure with the orchestra, she led its sold-out debut in Carnegie Hall, received an ASCAP award for innovative programming, and developed new and unique musicianship programs for the orchestra’s members. Born in Taiwan, Mei-Ann Chen has lived in the United States since 1989. She holds a Doctor of Musical Arts degree in conducting from the University of Michigan, where she was a student of Kenneth Kiesler. Prior to that, she was the first student in New England Conservatory’s history to receive master’s degrees, simultaneously, in both violin and conducting.
Program subject to change *indicates approximate performance duration
Ms. Chen last appeared with the ESO in November 2010.
Landmark Classic Masters Series Sponsor
Artist bio and program notes can be found on pages 24 and 25.
LANDMARK CLASSIC MASTERS Mendelssohn’s First Piano concerto
ussian pianist ILYA YAKUSHEV made his San Francisco Symphony debut in 2007 with Music Director Michael Tilson Thomas. His performances were included in the top ten classical music events of the year by the San Francisco Chronicle, and prompted a return to the orchestra in September 2009. The 2009-10 season also included performances with the Syracuse Symphony, the Fairbanks Symphony, and in recital at Chicago’s Ravinia Festival, Cincinnati’s Matinée Musicale, and Fresno’s prestigious Phillip Lorenz Keyboard series. Mr. Yakushev attracted international attention in December 2006, presenting solo recitals at such venues as the Bechstein Center in Berlin and Vienna’s Musikverein. He also toured Southeast Asia. In past seasons, he has performed in Glinka Philharmonic Hall (St. Petersburg), Victoria Hall (Singapore), Weill Recital Hall at Carnegie Hall (New York), Davies Symphony Hall (San Francisco), and Sejong Performing Arts Center (Seoul, Korea). Winner of the 2005 World Piano Competition in Cincinnati, Ilya Yakushev received his first award at age 12 as a prizewinner of the Young Artists Concerto Competition in his native St. Petersburg. In 1997, he received the Mayor of St. Petersburg’s Young Talents award, and in both 1997 and 1998, he won First Prize at the Donostia Hiria International Piano Competition in San Sebastian, Spain. In 1998, he received the Award for Excellence in Performance, presented to him by the Minister of Culture of the Russian Federation in Moscow. Most recently, he was also a recipient of the prestigious Gawon International Music Society’s Award in Seoul, Korea. Mr. Yakushev attended the Rimsky-Korsakov College of Music in his native St. Petersburg, and subsequently came to New York City to attend Mannes College of Music where he studied with Vladimir Feltsman. Mr. Yakushev is presently serving as Executive Director of the International Keyboard Institute and Festival at Mannes, a position he has held since 2002. This is Mr. Yakushev’s debut with the ESO.
PPROGRAM R O GNOTES RAM NOTES Serenity ALLAN GORDON BELL
(b. Calgary, 1953)
First performed: January 11, 2005 in Winnipeg THIS IS THE ESO PREMIERE OF THE PIECE
f his work Serenity, ALLAN GORDON BELL has said: “This piece has a tie to events in my life. In the early months of 2004, when I was beginning the sketches of this piece, as it turns out, I was dying. I had a long disease, and it was in its terminal stages. But through the gift of a family I don’t know – a generosity in an unthinkable kind of time, and the skill of doctors and nurses, I received an organ transplant. And so I had a second life. “While I was in the hospital, and after that, I lived mostly at that time in my consciousness, and I reached those stages of what we call serenity – those times when the mind is very quiet and you pay very close attention to all the things that surround you. It’s the kind of experience that William Blake talks about when he says you can see the universe in a grain of sand. Tonight’s piece, in a sense, begins with a single sound, and out of that comes a whole piece. Very quickly after that first sound, the music begins to emerge from it, and go. It’s not about putting you in a state of serenity, but it’s about what happens when you are in a state of serenity. It’s a very gentle piece, a very quiet piece. It takes you on a little journey.”
Piano Concerto No. 1 in G minor, Op.25 FELIX MENDELSSOHN
(b. Hamburg, 1809 / d. Leipzig, 1847)
First performed: October 17, 1831 in Munich LAST ESO PERFORMANCE: MARCH 2001
here was no aspect of music in which MENDELSSOHN did not excel. Perhaps even more than Mozart, he showed a remarkably mature capacity as a composer from a very early age. He was one of the first conductors in the modern sense of the word, leading with a baton from a podium. He is credited with reviving interest in music of the past, particularly that of Bach. And he was an extraordinary keyboard player. “I consider Mendelssohn to be the first musician of our time, and take my hat off to him as a master,” wrote Robert Schumann. So it’s not surprising that the piano concertos Mendelssohn wrote as vehicles for his skill are demanding, intricately textured works. www.EdmontonSymphony.com
Mendelssohn also helped bring about the modern concert convention of not clapping between movements. He hated the distraction, and in most of his concertos, he does not put pauses between movements; instead, he grafts bridges between them. In his First Piano Concerto, composed when he was 21, the piano enters after a scant seven bars of orchestral introduction. The solo instrument immediately establishes the leading role in the movement, which is dominated by two main musical ideas, the second of which is a deceptively simple two-bar theme, with the piano providing sparkling accompaniment the orchestra’s verve. A brass fanfare bridges the first movement to the second, a lovely Andante with a main theme introduced by the cellos. The piano provides a delicate latticework for this theme, which remains in the lower strings until the end of the movement. Yet another fanfare ushers in the Presto finale, begun in a shower of flourishes for both piano and orchestra, and followed by an Allegro e vivace in a loose rondo form.
Symphony in D minor CÉSAR FRANCK
(b. Liège, Belgium / d. Paris, 1890)
First performed: February 17, 1889 in Paris LAST ESO PERFORMANCE: FEBRUARY 1998
ÉSAR FRANCK was 65 years old when he composed his Symphony in D minor, and had only 20 months to live following its premiere. So unfortunately, he didn’t live long enough to see his revolutionary work gain widespread acceptance. “…majestic, plastic, and beautiful symphony,” wrote Franck devotee Vincent d’Indy – one of the lone voices of support following the work’s fi rst performances. Franck, widely regarded as a conservative among French composers of his day, crafted a work which adopted several progressive ideas that raised many reactionary eyebrows. Franck wrote his symphony in the unusual three-movement mold. “Lenten” is certainly an apt word for the achingly slow introduction, but it does contain the fundamental motivic unit of the first movement: a three-note dotted figure reminiscent of the opening phrase from Liszt’s Les Préludes, that moves down by semitone and then moves back up again by a minor third. The Allegro non troppo main section of the movement takes off with a strident, loud presentation of that same basic three-note idea and its answer. There is also an angry descending figure, and a more searching, melodic idea also feature in the movement, but Franck, almost defying traditional symphonic form, cuts off the Allegro and brings back the introduction, this time in F minor. The Allegro non troppo returns, this time to the end of the movement. The B flat minor Allegretto contains within it both the slow movement and scherzo of a conventional four-movement layout. The main theme is a gentle dance tune given to the English horn (an instrument whose inclusion in a symphonic work was strongly objected to by the Parisian critics of the day), has something of the medieval about it. The harp and pizzicato string accompaniment leads to a more contemporary presentation, chromatic in its colouring. The middle section of the movement is the Scherzo, offering a delightful, contrasting dotted melody in E flat Major.
In contrast to the gentility of the preceding movement, the finale is a tempestuous, exuberant movement, begun by the winds against the strings in octaves. The main theme is presented very quietly at first, a gently rocking theme in cellos and bassoons. Again, Franck subjects this theme to a chromatic series of transitions, and ingeniously brings back main themes from both the first two movements which, while not in strict cyclic form, does unify the work. Listen particularly for how Franck gives a whole new colour to the Allegretto theme which, upon its second iteration in the finale, is given a surprisingly strong and dramatic presentation. The main theme returns to bring the work to its affirmative, happy ending. Program notes © 2011 by D.T. Baker, except as noted
BISTRO PRAHA Gourmet Café
780 • 424 • 4218
10117 - 101 Street, Edmonton, Alberta T5J 0T4 • Established 1977 OPEN: Monday - Friday, 11 am-1 am • Saturday, noon-1 am • Sunday, 4 pm-11 pm
P B ROBBINS POPS Viva Italia!
Friday & Saturday, October 28 & 29 | 8 PM Michael Krajewski, conductor
“SOMETIMES I DREAM” (E lucevan le stelle) Puccini / Frangoulis (arr. Matthys)
MUSIC FROM THE GODFATHER
Janien Valentine, soprano George DeMott, tenor Cody Shawn Gay
BALLI IL TARANTELLA NAPOLETANA trad. (arr. Wendel)
BRINDISI: “LIBIAMO NE’LIETI CALICI”
(from La traviata ) Verdi / Piave
various (arr. Berens)
SINGING ITALIAN SONGS various (arr. Matthys)
SELECTIONS FROM JERSEY BOYS various (arr. Reineke)
“O MIO BABBINO CARO” (from Gianni Schicchi ) Puccini / Forzano
“JUMP, JIVE AND WAIL” Prima (arr. Wasson)
Bixio (arr. Matthys)
Program subject to change
LARGO AL FACOTUM (from The Barber of Seville ) Rossini / Sterbini (arr. Nelson) various (arr. Nelson)
THE PRAYER (from Quest for Camelot ) Foster / Sager (arr. Ross) “NESSUN DORMA” (from Turandot )
Puccini / Adami / Simoni
FUNICULI FUNICULA Denza (arr. Chiaramello) INTERMISSION (20 minutes)
THAT’S VOLARE various (arr. Barton)
“BE ITALIAN” (from Nine )
nown for his entertaining programs and clever humour, MICHAEL KRAJEWSKI is a much sought-after conductor of symphonic
pops. He is the principal pops conductor of the Houston Symphony, the Jacksonville Symphony Orchestra, and the Atlanta Symphony Orchestra. As a guest conductor, Mr. Krajewski has performed with the Boston Pops, the Cincinnati Pops, and the Hollywood Bowl Orchestra. Other guest conducting appearances include the San Francisco, Dallas, Baltimore, Detroit, Indianapolis, Seattle, Phoenix and National symphonies, as well as many other orchestras across the United States. In Canada, he has led the National Arts Centre Orchestra, the Calgary Philharmonic, and the Kitchener-Waterloo and Winnipeg Symphonies. Other international appearances include performances with the Hong Kong Philharmonic, Iceland Symphony Orchestra and the Ulster Orchestra in concerts in Belfast and Dublin. Michael Krajewski is the conductor of the video Silver Screen Serenade with violinist Jenny Oaks Baker that aired worldwide on BYU Broadcasting. He has collaborated with such artists as flutist James Galway, mezzo Marilyn Horne, pianist Alicia de Larrocha, guitarist Angel Romero, and pop artists
SALUTE TO PAVAROTTI
Artist’s bios continue next page.
2011/2012 SEASON ROBBINS POPS Viva Italia!
OPERAZZI is a new dynamic vocal trio which recently burst onto the symphony pops scene, delighting thousands with their diverse vocal prowess and captivating stage presence. Tenors George DeMott and Cody Shawn Gay, and soprano Janien Valenting make up Poperazzi. This explosive trio’s original style is uplifting and energetic, with performances that are not only relevant to today’s Pop-Opera genre, but groundbreaking in its originality.
Classically trained tenor GEORGE DEMOTT has captured the hearts of listeners around the world. He has performed several classic tenor roles, and has also been the winner of several awards and competitions, including the 1993 Metropolitan Opera National Council Audition’s regional finals in Los Angeles. More at GeorgeDeMott.com. CODY SHAWN GAY sings opera to rock and everything in between. Having studied vocal performance, opera, and musical theatre, he went on to become a member of Actors’ Equity and star in shows such as Phantom (Yeston and Koppit), Jekyll and Hyde, Grease, and Forever Plaid. He is completing his first original album. JANIEN VALENTINE started her professional career at 16 when she landed a recording contract with Amherst Records. She has starred in three world premiere musicals: Notre Dame de Paris; Men Are from Mars, Women Are from Venus; and Carmen, starring in the title role with Cirque founder Franco Dragone as Director. Ms. Valentine has been voted Best Female Singer and Thespian by the Las Vegas Review Journal and the Las Vegas Sun. This is Poperazzi’s debut with the ESO.
Roberta Flack, Judy Collins, Art Garfunkel, Kenny Loggins, Ben Folds, Doc Severinsen, Patti Austin, Sandi Patty, Ann Hampton Callaway, the Preservation Hall Jazz Band, The Chieftains, Pink Martini, Rockapella, Cirque de la Symphonie, Classical Mystery Tour, and Big Bad Voodoo Daddy. With degrees from Wayne State University in Detroit and the University of Cincinnati College-Conservatory of Music, Mr. Krajewski furthered his training at the Pierre Monteux Domaine School for Conductors. He was a Dorati Fellowship Conductor with the Detroit Symphony and later served as that orchestra’s Assistant Conductor. He was Resident Conductor of the Florida Symphony and for 11 years served as Music Director of the Modesto Symphony Orchestra. He lives in Orlando, Florida with his wife Darcy. When not conducting, he enjoys travel, photography and crossword puzzles. Mr. Krajewski last appeared with the ESO in May 2006.
SUPPORTERS OF THE ESO AND WINSPEAR CENTRE 2011/12
The Edmonton Symphony Orchestra and Francis Winspear Centre for Music wish to express their gratitude to the following individuals who play an invaluable role in bringing music to life for our community through their annual gifts. Donors are recognized in these pages for their total annual combined support to the ESO and the Winspear Centre. Donor Recognition pages will appear twice a year in the September and February issues of Signature magazine.
Patrick & Joan Dea Dr. Chris Eagle & Dr. Oksana Suchowersky Collectively, this generous group Brad & Kathy Ferguson of donors provides annual support Sandy Fitch totalling nearly half a million dollars. To join the Orchestra Circle, Graham Usher & Paula please contact Eleanor Finger at Globerman 780.401.2578. Susan Wylie | Bruce Hagstrom *Orchestra Circle gifts completely Dr. and Mrs. Mark & Nancy or partially endowed in perpetuity Heule John & Susan Hokanson HONORARY MEMBERS Darcy & Barbara Koshman Raymond J. Nelson Bob & Bev McNally *John & Barbara Poole Peter & Carol Moeykens Bill & Mary Jo Robbins Jean & Stewart Montgomery Harriet Snowball Winspear Tim & Nancy Muzyka Arnold & Grace Rumbold DIAMOND ($25,000+) * Anonymous SILVER ($2500 TO $4999) Rae & Carol Allen Anonymous (2) Esther Ondrack The Honourable John A. Agrios Boris Grayfer & Mrs. Ruth Agrios Steven & Day LePoole Drs. Dick & Heather-Jane Au Elisabeth & Reinhard Muhlenfeld Harold and Linda Banister Jean Bell PLATINUM ($10,000 TO $24,999) David & Janet Bentley Anonymous (1) Richard & Barbara Bergstrom Jim Carter & Lorraine Bray Bradley & Nancy Biamonte Dianne & Irving Kipnes Bob & Lynda Binnendyk Stanley A. Milner Ursula Buller Jo-Anne & Jack Watt Elaine M. Coachman David & Gina Cosco GOLD ($5000 TO $9,999) John & Judy Cosco Madam Justice Darlene Acton & Mr. Donald M. Scott Dr. Bruce Dancik & Brenda Laishley Rhonda Baker in memory of Barnaby J. Baker Doug & Wendy Davey Brian Beresh & Patricia Paradis Louis & Marcelle Desrochers David & Carol Cass Grant Dunlop & Erika Norheim Phyllis Clark Lois A. Field Maria David-Evans Jan & Bill Grace
Paul & Winifred Greenwood George & Ann Hammond Dr. Karen & Pam Hofmann Stanton & Shirley Hooper Glen & Brenda Kemp Sharon & Allan Kerr Ken Lam & Michelle Rico Drs. Gary & Catharine Lopaschuk Hilliard & Nancy Macbeth Art & Mary Meyer Dr. Joy-Ruth & Ed Mickelson Karen & Wally Might Patricia & Norbert Morgenstern Al & Fran Olson Kathy & Tom Pearson Annemarie & Paul Petrov Ken & Karen Powell David & Rachel Ross John & Martha Schiel Harvey Sheydwasser Andrew Sims & Simone Charters Allen & Myrna Snart Eira Spaner Patti Stewart & Peter Marshall Brian & Heather Summers Dr. & Mrs. G. Tertzakian Joshua Van Fossen Michael Veitch Barry & Valerie Walker Paddy Webb Robert A. Wilson C. J. Woods, F.C.A. BRONZE ($1500 TO $2499) Anonymous (2) Dr. Gail H. Andrew Dorothy & Bill Astle Diana M. Bacon
MY SYMPHONY, MY WINSPEAR: A NEW WAY OF GIVING This year we are introducing to donors the option of converting an annual gift into a Sustaining Pledge. Those individuals who make a Sustaining Pledge will become honoured members of the My Symphony, My Winspear campaign. This is the next phase in (and will replace) the My Winspear campaign. A Sustaining Pledge is a commitment to make your annual or monthly gift each year for at least ﬁve years. A 5 Year Pledge will: Provide immeasurable support to the ESO and Winspear Centre as we continue to grow our community accessibility and music education programs • Provide ﬁscal stability to the ESO and Winspear Centre and allow us to plan effectively for the future of the organization • Ensure the ESO and the Winspear Centre remains a beacon for the performing arts in our community for our grandchildren, and their children. •
Donors who have made a Sustaining Pledge to the ESO and/or the Winspear Centre are recognized in these pages with a symbol. Please consider making the commitment to a Sustaining Pledge today. For more information, please contact Erin Mulcair at 780-401-2539. 28 SIGNATURE
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Marilyn & Jake Ens, ESO donors and long-time subscribers Lois Hingley Alan & Audrey Hodgson Ronald & Lavon Holgate Douglas & Dorothy Hollands John & Kathleen Holmes John & Leni Honsaker Dorothy E. Howard Lou & Mary Hyndman Richard Isaac & Rosie Dransfeld Carol Jackson / Larry Bailer John & Tracy Jansen Darrell R. Jesperson Dr. S. B. Joe Ray Johnston David Phillip Jones, Q. C. Bernard & Dorothy Keeler Joseph Kim Helen & Gordon Kirsch Loretta Klarenbach Bernie Kollman Igor Kwetny Dr. Zaheer & Mrs. Salma Lakhani Robert & Lesley Lambert Ivor & Mieke Lammerink Cathryn Landreth Peter & Jean Langford-Jones Lionel & Shannon Larcombe Steven & Kathy Lavery Barbara Leah Aube & Diana Levine Phil & Jayne Lin Alvin Lowrey Kevin & Terry Lundell D. M. Lunn Mervyn & Teresita Lynch Lloyd & Lynn Malin Allyson Mandrusiak Mrs. Oline Markine John & Peggy Marko Joan Marshall Donna Martyn Sue Marxheimer SEPTEMBER/OCTOBER 2011
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Mrs. K. K. Campbell Oksana & Michael Campese Anton Capri Mr. & Mrs. James Carlson Marilyn & John Carr Brian & Kristin Carriere Rosemary Carroll Evelyn Carson Peter & Barbara Carstensen Alma Carter Sandy Carter Barry Cavanaugh Andrew & Marie-Therese Cave Gerlinde Cegielny W. Cenek
Donna & Heinz Feldberg, ESO donors and long-time subscribers Allen & Ruth Benbow Alec & Marianne Benning Shirley G. Bernard Keith & Joyce Berriman Lucille & Douglas Berry Warren Bertholet Miriam M Bertsch-Mann Bradley Bishop Fran Bittman Mr. Rene Blais Joan Blackburn Robert Broda Ray & Marg Bobowski Gary Boddez Harvey & Elly Bodner Alex Boehm James Bolton Mike & Annette Boorman Y. Bortnick Cheryl & Gary Bosgoed Bonnie Boucher Sarah Bouthillier Betty J. Boyd David Boyle E. Ross Bradley Barbara Bratland Thomas & Ailsa Bray Natalka Breckenridge Bev & John Brennan Scott & Alma Bricker Emma Brinson Garth & Mary Jane Brown David & Betty Jean Buchanan The Burke Family Rita & Charles Burns Aubrey & Evelyne Burrowes Dr. Robert and Doris Bury Adolf & Kathleen Buse Hugh & Sheila Campbell Anne & Peter Campbell Pat Campbell
Ranvir Chana Laura & Matthew Chapman C. Chappell Patricia Chase Lily Chen Monica Chesney John & Clara Chilton Clarence Christensen Walter & Barbara Chornowol Norma Christiansen Alice & Nestor Chumer Connie Clarke Stella Clarke Roger & Carol Cohen Megan Collins John S. Colter Rob & Kathie Coleman Nancy Colpitts Mr Robert Condon Arlene Connolly Gerhard & Karin Conradi Ralph & Isabelle Corbett Edwin & Lucille Cossins Joseph & Marilyn Cote-Dupuis Pat Coursen Diane & Sandon Cox Jean Michel Crepin Ellen Criss Rosemarie Criss David & Sandra Cross Patrick & Luxie Crowe Ingrid Crother & James Bolton Diana Crump Helen Cuddihy Robert & Jacqueline Cuerrier Susan Cumming Mary Cummins and Gunther Trageser Gail Cupid Robert & Lorena Daigle E. Dale
Donald Darnell Matthew Dauma Marilyn Darwish Martin & Louise Davis Lloyd & Norma Davis Michael Dawson & Nancy Digdon Mr. & Mrs. Arthur & Betty Deane Owen & Linda De Bathe Sheila Dechant Ken & Mary Demedash David & Grace Denholm Marguerite Denman Gordon & Verle Dickau Melissa Di Natale Betty-Lou Docherty Nicole & Danny Dodds Nancy Donnelly Bill & Sharon Donnelly Burke & Karon Dorcas Anne Marie Downey & Garth Norris Marc & Allison Downey-Damato Sharon Downs Gary Duits Kim Duke Ursula Duke Alice Dumaine Don & Mona Duncan Bruce & Benita Duncan Judy & Dick Dunlop Francis & Muriel Dunnigan Paul Dusseault T. & S. Dyck Gary Dyck Robert and Susanne Dyke James & Carmen Dykes George & Mary Dytyniak Tim Eckert Shirley Edgar David Edwards Jerrold Eilander Marion Elder Marshall & Ardis Eliason Jim Ellis G & L Emanuel Rob & Corinne Emerson Jason & Nancy Enarson Dr. Norman & Mrs. Enns Trish & Marti Enokson Megan Evans Patricia Farley Pamela Farmer Marilyn Fedun Mr. & Mrs. Robert Feeney Werner Fenske Theresa Ferguson Peggy Anne Field Lorne & Shirley Fincham Esther Fluevog Jim Foord Shirley Forrest Joan Fouts-Mitchell Dorothy French Graeme Fricke Diane R. Gagnon Yvonne Gagnon Nancy Gall Elva Gallagher Phyllis & Vincent Gallant
Calvin Gardner Ron Gardner Gail Gates Carmella & Gordon Gerlach Wendy Gibb Reg & Magali Gibbins Neil & Twyla Gibson Berniece Gildner Randy Girard Kevin & Alice Gleeson Drs. Judy & Hakan Gnarpe Ms Gaie Goin J. Guy & Susan Gokiert Derek & Marnie Gomez Darrell & Barbara Gotaas Pam Gowing-Ellenberger Carol Graham Marilyn Graham Charles & Ann Grant Philippa Gray Sheila Greenberg Jim & Dianna Greer Willa Grierson Myrna Grimm Bob & Judy Grose E. Guilfoyle Sheila Gynane Rob HadďŹ eld Lea Halinen David & Adeline Hall Peter Hall Carlota Hammond Carol & Neil Handelsman Anita Hanrahan Elaine & Bohdan Harasymiw Anne Harder Lois Harder & Curtis Clarke Tom Hardin Beatrice Harke Larry Harris David & Wendy Harrison
Sharon Henry Harry & Marlene Henshaw Dr. Karen Hesse Robert Hett Charles & Ferne Hickman Elvira Hil Mrs. M. Hiller Selwyn & Cheryl Hilner Patsy Ho Mr. & Mrs. Fred Hochachka Debbie Hockett Belle Hodge Deborah Hoekstra John & Donna Hogg Kathy Hogman David Holbrow Simon Hollinghurst Shannon Hollman-Merz Agnes Hoveland Beth Howson Martha Howson Joan Hube Peter & Erika Huellstrung Dr. Sheila Hughes Peggy Humbert Lynne & Ian Hunt John Hunter George & Barbara Iwaniuk Ed & Kathy Jackson Stuart & Kathy Jackson Erik & Franziska Jacobsen Adele James Lorna Jamison Cathy & Fred Janke Mr. J. W. & Mrs. Jansen Karl Jensen Garry Karst & Maureen Jensen-Karst Gilbert & Silvia Jespersen Arlene Johnson Elizabeth Johnson Don H. Johnson
Grace and Arnold Rumbold, ESO donors and long-time subscribers William Harrison Peter & Deborah Harrop R.D & Muriel Haryett Marilyn Hassard Paul Hastings Lorne & Faye Hatch Bill & Sandy Haun John Hautmann & Lynn GrovesHautmann Beth Hawryluk Christina Hayashi Mr. & Mrs. Hayman Joy Hayward Dr. Tammarie Heit George Hennig
Grant Johnson Pamela Johnson Mrs. T. N. Johnston Elizabeth Jolly Justice Lionel and Mrs. Sharon Jones Dr. Larry Judge Daniel Kaliel Shauna Kalynuk Lidia Khaner Vincent & Janet Kath John & Sue Keating Margaret Keene Mike & Sheilagh Kelly Joyce Kembry Marina Kennedy
Joanne Kenny Vera Kichton Irene King Harry Kirkand Borden & Vivien Kisilevich Barbara & Elmer Kittlitz Maxine Klak Ella Kolm Christine Kong Scott Konkle Joe Koopmans Peter Kossowan Joe Kostler Sylvia Kother Olena Kotova Ruth & Harvey Krahn Irvin Krezanoski Mickey & Sylvia Krikun Brian & Seaneen Kropf Jerome Kueﬂer Peter Kuester Peter & Ashley Kwan C. Labrentz Kay Lachman Maggie Laing Carol & Bob Lamont Madeleine Landry Dennis & Roberta Lane Roger & Catherine Langevin Joan Langman Harry & Judy Langner Mike Lau Bin Lau Irene Lau Zonia Lazarowich Hugo & Lucie Lehmann Robert Le Quelenec Shirley Leaker Ivy & Thomas Lee Mary Pik-Chun Lee Sigmund Lee Dr Maurice Legris Sarah Leib Dr. & Mrs. Ray E. Leppard Bill & June Lerner Brian Lesyk Dyann Lewis James Lewis Susan Lieberman Ross Lindskoog Elizabeth Lint Chow Seng Liu Sylvia Lo M C Lock Doug & Joan Longley Nancy Lord Andreas Loutas Reg Lucas & Silvana Mastronardi-Lucas Susan Lynch John A. & Marilyn C.MacDonald William MacDonald Denise MacKay Campbell & Amy Mackenzie Eva M. Macklam Jack & Cora MacMillan Ed & Lu MacMillan Marc Macolor Beth & Muriel MacIntosh & Ken Stokes SEPTEMBER/OCTOBER 2011
Madeline MacPherson William MacRitchie Sandy & Cecile Mactaggart John & Judy Malcolm Ari Mansell Antoinette Marchand Reita Markovich Estelle I. Marshall Dan Mascaluk Maurine Maslen Gail Matheson & Carmien Owen Katherine Matheson Karen Mazurek Gwen Mazurek Carol & Mike McArthur Patty McCabe Cherrill & Patrick McCall Mr. & Mrs. R.E. McCallum Ian & Janice McCrum Alma McConnell Ronald N. McElhaney Ken & Phyllis McFadden Jan McFarlane Mrs Patricia McGoey A. McIntosh Ruth McKinley James McLean Gordon & Kathleen McLeod Betty McLuhan Caroline McManus Jan McMillan Margaret McMullen Tim McNamara & Michele Perret Averie & Carman McNary Keith & Susan McNaughton Isabel McRae Mr. & Mrs. Bert Meeker Kenneth & Donna Meen Ms Marilyn Melnyk Joe Meyers Brigida Meza Ronald & Carole Middleton Milo & Catherine Mihajlovich J. Garnett Millard Jack Miller & Miriam Sheckter Brian & Valerie Miller Cecily Mills Karen Mills Catharine Millson David J Mah Ming Dennis Modry Pat Molloy Gordon & Helen Mongraw Doris Moonie John and Nicole Moquin Diane Morrison Donna Morrow Ruth Morrow Richard & Vi Moskalyk Walter Moser Allan & Margaret Muir Pamela S. Muirhead Erin Mulcair Ronald & Betty Mullen Mr. & Mrs. Don Murchie Pamela Murphy Marney Mustard William & Joyce Mustard Mary Myers
Elizabeth Myles Dale & Laurie Nagel A. Nagyl Sandeep Naik Diane Nawata Hilda Nelson Lorna Nesdole Al Neufeld Robin & Melonia Nicol Jana Nigrin Curtis Nikel David Nixon & Lois LeVesconte David Norman Elizabeth Nunez Ellen Nygaard John Oberg David Oberholtzer Norman & Margaret Olson Michael & Alberta Onciul
Jeanne & Eugene Ratsoy Erika Ratzlaff Dorian Rauschning David & Judith Rayner Chris Rechico Barbara Redmond-Ellehoj Al Reed G. W. Bryan & Linda Reed Joan Reiffenstein Ann Marie E Reinson Alla Rekhson Pierrette Requier Jeff & Nicole Reynolds Stacey Richelhoff Mrs. Natalie Rickenberg Sheila Ringrose Joyce Ritter Mr. & Mrs. Erhard & Elfrieda Ritz Allan & Karen Robertson
Helen and Gordon Kirsch, ESO donors and long-time subscribers Emily & Daniel Ong Joan O’Shea Cathy Ann Pachnowski Bill & Linda Paddon Tim Paetkau Judy Pals Philip Paschke John Pater & Michelle Vandermolen Amanda Patrick Mary Paul Paulson Family Chris & Suzy Peacocke John E. Pedersen Leslie Penny Milton Perla Marion Perrin Patricia Perry Leanne Persad Don & Margaret Peterson Lillian Pheasey The Pick Family Christopher Piggott Mary Ann Platz Dennis & Virginia Pohranychny Stephanie & Wade Poitras Jeanny Pontin Richard & Lavonne Pougnet Lori Pratt Doug Prime Mrs. Helen Primrose Dr. Peter & Barbara Prinsen Renu & Shannon Prithipaul Barbara Prodor Darryl Propp Cindy Pudrycki Bruce & Mary Ramshaw
James & Margaret Robinson Debra & Don Robichaud Jeff Robinson G. W. Rocholl Samuel R. Rogers Maxwell Rogers Ken & Joyce Rooney Alex & Mary Lou Rose June Ross Dr. & Mrs. Richard E. Rossall Stuart Rosser Lois & Ernie Rozak Barry Ryziuk James Sabo Ms Nicole Salamon Judith L. Sangster Ms Susan Savage Frances Savage B & T Sawyer Frank & Gertrude Schoblocher Pamela Scholotiuk Magda Schouten Dr. Werner B. Schulze Charles Schweger Ron & Dorothy Scott Edna Scott Jason Scott John & Frances Scotvold Norman and Mary-Jane Skretting Peter & Jane Staveley Beverly Stokowski Robert & Dorothy Stoutjesdyk Andrew Searle Dr. Perry & Sandra Segal Gerry Semler Emila Seifried
Joseph & Denise Selann Zoe Sellers Gerry Semler Jacalyn Sernecky Yakov & Larisa Shapiro Dr. R. W. Sherbaniuk Gary Silsbe Glenda Silverman Alayne Sinclair Terry & Yvonne Slemko E. J. Sloane Dr. Smallhorn Jason Smith Edward & Eluned Smith Ed & Paula Snyder Steven Snyder & Connie Silva Elaine Solez The Sonnenberg Family Thomas Spalding & Christina Gagne Dan Sparrow Dr. Brian & Marnie Sproule Jmaes & Linda Spurr † Bud & Betty Squair Norman & Kathie St. Arnaud Hugh & Anne-Marie Stacey Mr. Robert Stainthorp Edward Stankiewic Dorothy Stanley David & Yvette Starko Nykie Starr Sherrell Steele Michelle Steil Jean A. Stephen Gail Stepanik-Keber Grant & Debbie Stephanson Phyllis Sterling Margaret Stevenson Michelle Stevenson David & Ruth Stewart Shirley A. Stewart Bridget Stirling Karen Stix Frank Stockall Dr. and Mrs. M. Stone Mrs. Dianne Storey Elizabeth Storochuk A. Strack Martin Stribny Lucille Strobl Colleen Sullivan Julius & Jean Sult Merna Summers Tim Swanson Dr. & Mrs. Guy Swinnerton Janne Switzer Jerry & Violet Sykes Chris & Alina Szaszkiewicz Elizabeth Szynkowski John & Marvel Taekema Rhonda Taft So Ling Tam Frank & Marna Taylor Linda Telgarsky R & S. Teply Paul Terrio Jeff Tetz Irmgard Teubert Mr. & Mrs. H. Thiessen Charles Thompson
Adele Thurston Gordon Tidswell Nancy Tong Todd Tougas Ernie & Ellinor Townend Andrew & Mary Ann Trachimowich Larry Trekofski Louis Trempe Lloyd W. Trevoy Adam & Aleksandra Trzebski William & Ursula Tuchak Sarah Tungland Angie Turcotte Lorene Turner Mrs. J. S. Tyler Felix & Violet Urban Bonnie Van Dalfsen Dennis & Jean Vance Hubert & Lola Vance Lloyd & Sheila Vasicek Mr Terry Veeman Trudy Velichka Evan Verchomin Coby Verschuren Dr. D. Vick Glenn & Lynn Vickers Liv Vors Olive Wadson L. E. Wagner Eileen & Phillip Walker Maryann Walker William Wandio Christopher Ward Jim & Linnea Ward Dale Warick Lyn Watamaniuk Doug Watt Winnifred Watt Randy Webber Cash Webster & Robyne Walters Brenda Wegmann Beth Weintrop Dr. Sam & Eva Weisz Edward Wiebe Mary Wilke Karen Wilke Dale Wilkie Billie Wilkins Karen Will Jean Wilson Wayne & Beverly Winkelman Susan Wirtanen Barbara Wood Dennis & Jean Woodrow Morley & Pat Workun Margaret Wright Lynn Yakoweshen John & Yvonne Yamamoto Jack & Irma Young George & Gloria Zaharia Barry Zalmanowitz & June Ross SIGNATURE 31
IN MEMORIAM We thank our supporters who have chosen to honour the memory of a loved one through a gift to the ESO. These gifts have been given in memory of the following individuals. Barney Baker Peter Batoni Alan Belcher Dr. Grace Chan Harvey Bodner Bob Calling Patricia Anne Cavell Dr. David Cook James Daniels Edward Dobko Ms Doderai Ken Gillett Hilda & Richard Golick Jack Harstone Marguerite Elizabeth Higham Doreen Hill James C. Hunter Vern Hunter Ilse Koerner
Almeda Lysne Coralie Lundberg John Marchak Dr. Sherburne McCurdy Flo McGavin Blair McPherson Donald A. Middleton Roderick & Blanche Moses Matthew William Miles Charles Pei Alberta Rose Pelland Helen Petersen Bentley Catherine C. Rogers Daphne Rogers Dr. Anna Rudovics Dr. David Schiff Vern Schwab Andre Schwabenbauer Krista Michelle Simms Harcourt D. Smith V W M Smith Marsha Stanton Lydia Takats Alta Wood Bernard Wood Metro “Mac” Zelisko Sara E. Zalik
IN HONOUR OF
Al-Terra Engineering Audio Ark Costar Computer Systems Kor-Alta Construction Melcor Developments Ltd. Wawanesa Mutual Insurance Company
The following individuals have been honoured by their friends and families in recognition of birthdays, life milestones or significant Advocate ($1,000 to $1,499) anniversaries. Batsch Group Barrie Stinson
ANNUAL CORPORATE CAMPAIGN Orchestra Circle: Gold ($5,000 to $9,999) Landmark Group of Builders Orchestra Circle: Silver ($2,500 to $4,999) Fath Group/O’Hanlon Paving The Driving Force Stantec Orchestra Circle: Bronze ($1,500 to $2,499)
Edmonton Tea & Coffee Company Elevate Consulting Investors Group Keystone Capital Inc. Myrhe’s Music Park Hearing Centre Inc. Ryland Engineering Ltd. Seniuk & Company Chartered Accountants
Contributor ($500 to $999) Armin A. Preiksaitis and Associates Avison Young, in recognition of Steven & Day LePoole Bistro Praha CTC Golf Course Development Sisters of St. Joseph of the Diocese of London Sinclair Supply Ltd. Supporter ($250 to $499) Alberta Registered Music Teachers Association Edmonton Branch Lexon Projects Inc. Friend ($100 to $249) Alberco Construction Alberta Ukrainian Commemorative Society Duncan & Craig LLP
THE EDMONTON SYMPHONY ORCHESTRA FRANCIS WINSPEAR CENTRE FOR MUSIC
BOARDS & 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, sustained organization, determined to providing Edmonton with the finest in orchestral music, enriching the lives of its audiences, and enhancing 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 fulltime core of 56 musicians who come here from all over the world to transcend the original board’s vision. The orchestra’s performance home is the magnificent Francis Winspear Centre for Music – another goal realized by ESS Board members and other committed community volunteers – the ESO 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
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
BOARDS & STAFF Mr. D.A. Cox Mr. Ron Ritch Mrs. Margaret Clarke Mr. Brian Hetherington Mr. Charles T. Austin Mr. Neil Wilkinson 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
1979-80 1980-82 1982-84 1984-86 1986-88 1988-90 1990-93 1993-95 1995-97 1997-00 2000-01 2001-03 2003-04 2004-07
Hilda Nelson, Interim Executive Assistant
at 780.401.2544 or firstname.lastname@example.org
EDMONTON SYMPHONY ORCHESTRA / FRANCIS WINSPEAR CENTRE FOR MUSIC ADMINISTRATION
Annemarie Petrov, Executive Director Hilda Nelson, Executive Assistant & Board Liaison Meghan Unterschultz, Grants & Research Specialist
Rob McAlear, Artistic Administrator Jerrold Eilander, Orchestra Operations Manager Susan Ekholm, Library Assistant Eric Filpula, Orchestra Personnel Manager Sheila Jones, Orchestra Librarian
Patti Stewart, Director of Community Relations D.T. Baker, Music Resource / Publications Editor Melissa Di Natale, Education & Community Relations Coordinator Philip Paschke, Communications Manager Michael Schurek, Marketing & Sponsorship Manager
Ally Mandrusiak, Interim Director of Events Management Warren Bertholet, Head Lighting Technician* Diana de Sousa, Client Services Coordinator Rob Hadﬁeld, Head Audio Technician* Grant Johnson, Technical Director* SEPTEMBER/OCTOBER 2011
EDMONTON SYMPHONY SOCIETY / EDMONTON CONCERT HALL FOUNDATION
BOARD OF DIRECTORS
Steven LePoole, Chair Jim E. Carter, Vice Chair Phyllis Clark, Past Chair Ron New, C.A., Treasurer Brian W. Summers, LL.B., Secretary / Legal Counsel Carolyn Campbell Maria David-Evans Colin Eicher Brad Ferguson Ricki Golick William Harrison Elizabeth Hurley Carol Ann Kushlyk, C.M.A., C.F.E. Reginald Milley Edith Stacey Rhonda Taft Richard Wong
Alan Marks, Head of Stage Management* Mike Patton, Assistant Head of Stage Management* Leanne Persad, Front of House Manager Cristina Weiheimer, Internal Control Specialist
FINANCE & OPERATIONS
Barbara Foley, Director of Finance & Operations Sandy Carter, Senior Accountant Shirley Chaytor, HR Payroll Coordinator Dave Clark, IT Support Olena Kotova, Accountant Steve Nixon, Operations Manager
Elaine Warick, Director of Patron Development Catherine Boissonneau, Box Ofﬁce Supervisor Eleanor Finger, Patron Relations Manager Beth Hawryluk, Box Ofﬁce Systems Administrator Erin Mulcair, Patron Relations Associate Erika Ratzlaff, Patron Relations Manager Teresa Ryan, Special Projects Manager Connie-Lee Thomlison, Box Ofﬁce Manager Adam Trzebski, Audience Development Associate Cat Walsh, Box Ofﬁce Assistant Supervisor *THE ESO & WINSPEAR CENTRE WORK IN PROUD PARTNERSHIP WITH IATSE LOCAL 210 SIGNATURE 33
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 Canadaâ€™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
K to Gr. 3 Education Program
through the Edmonton Community Foundation
Gr. 4 to 6 Education Program
Gr. 7 to 12 Education Program
Naming Sponsor ENMAX Hall
Our Performance Sponsors
Our Media Sponsors
Edmonton Child Magazine
Our Exclusive Caterers
OfďŹ cial bike supplier to the ESO conducting team
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WEDNESDAY, JANUARY 25 CONvOCATION HAll
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Ebène Quartet SATURDAY, MARCH 10 CONvOCATION HAll All CONCERTS AT 8 pM. TICkETS FROM TIX ON THE SqUARE, THE GRAMOpHONE AND AT THE DOOR.
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