Bill Eddins spans the generations
Saint-SĂ¤ensâ€™ First Cello Concerto
An Evening with
& the Edmonton symphony
debuts with the ESO
Mendelssohn at the Masters
his beloved Violin Concerto
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Volume 26, Number 7 | OCT/NOV 2010
The Artistic and Leadership Team
William Eddins, Annemarie Petrov, Lucas Waldin & Eric 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
Ruth Kelly Joyce Byrne Charles Burke Rodrigo López Orozco Anita McGillis Amanda Helmle
Robbins Pops Mysterioso: Music, Magic, Mayhem & Mirth October 29 & 30
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 associate art director advertising sales
creating better art together
Jack Everly, conductor /
Letters to the editor, comments and/or suggestions are welcome.
A joint project offers support in different ways by Ruth Kelly
D.T. Baker program notes John Estacio, Malcolm Forsyth, Brother John Russo & D.T. Baker eso editor
ESO / Francis Winspear Centre for Music Staff
Chantal Kreviazuk & the ESO November 1
An Evening with Procol Harum & the Edmonton Symphony Orchestra November 9 & 10
Lucas Waldin, conductor / Chantal Kreviazuk, special guest
William Eddins, conductor / Procol Harum, special guests
Signature magazine, the official publication of the Edmonton
Friday Masters / Landmark Classic Mendelssohn’s Violin Concerto November 12 & 13
Symphony Orchestra, is published from September to June.
William Eddins, conductor / Elmar Oliveira, violin / Lidia Khaner, oboe
Contents copyright 2010 by Edmonton Symphony Orchestra/ Francis Winspear Centre for Music. No part of this publication should be reproduced without written permission.
Robbins Lighter Classics ESO Showcase November 12 & 13
Sunday Showcase Saint-SÄens’ First Cello Concerto November 21
glad you asked…
ESO / Francis Winspear Centre for Music Board of directors
William Eddins, conductor / Guest soloists from the ESO
On the cover october/november 2010
ESO Music Director William Eddins covers a wide spectrum of music this issue. He leads the orchestra’s 40th anniversary reunion with British rock group Procol Harum, showcases rising young talent in the Sunday Showcase, conducts Elmar Oliveira’s ESO debut in the Masters – and more. Cover photo by Douglas Dollars.
William Eddins, conductor / David Eggert, cello / Christopher Taylor, bass trombone Your orchestral questions answered, by D.T. Baker
2010 Festival of Trees December 2 – 5 | Shaw Conference Centre In support of the world-renowned brain sciences program at the University of Alberta Hospital.
Festival of Trees Special Events Festival of Trees Gala presented by
Paddy Webb & Family
Wednesday, December 1, 6:00 pm Sold Out
Luncheon and Fashion Show presented by Friday, December 3, 11:00 am to 1:30 pm
Family Night Thursday, December 2, 5:00 pm to 9:00 pm
Santa’s Breakfast Sunday, December 5, 8:30 am
Seniors’ Day Thursday, December 2, 9:00 am to 9:00 pm
To purchase tickets or for more information visit us online at www.FestivalOfTrees.ca
hen you attend an Edmonton Symphony Orchestra concert and look on stage what you see is more than just an orchestra with a proud sixty year history of outstanding music making. You also see a community of musicians, one whose presence reaches far beyond the walls of the fabulous Winspear Centre and goes deep into the greater metropolitan community. As the ESO, these musicians form the core of our partnership with the Edmonton Opera and the Alberta Ballet. But as that community of musicians they also from the backbone of such artistic gems as the Alberta Baroque Ensemble. Some of these musicians are also valued members of the faculties of the University of Alberta’s Department of Music and the Grant MacEwan Alberta College Conservatory, and many of them are involved in private teaching.
We are extremely proud to be a part of the greater community that is Edmonton, with all its interconnected performing and teaching institutions, and it is vital to the long term health of the ESO and the City of Edmonton that we continue to explore new meaningful ways of engaging the community at large. This is the goal of any great performance institution, and we embrace that goal as the foundation of our mission to you, our audience.
The ESO and Winspear Centre staff, board, and musicians have embarked on an extensive and long-term strategic plan, designed to guide us through a sustainable and visionary future. We will unveil details of that plan as the season unfolds.
Friends of the Edmonton Symphony Orchestra There are many great reasons to donate to the ESO - but most importantly, do it for you! You deserve to experience the exquisite joy of hearing a brilliant piece of music; the power of live performance; and best of all, the unforgettable atmosphere of an ESO concert. As a donor, you provide critical funding that helps your ESO play its best. In recognition of your generosity, we are pleased to offer you exclusive opportunities designed to bring you closer to the music:
FRIENDS OF THE ESO
Principal ($100 to $249) Receive an official tax receipt for the full amount of your donation, a vote at the AGM, and optional recognition in Signature magazine for twelve months.
Bronze ($1,500 to $2,499) Make use of the Landmark Group Founders’ Room private donor lounge for you and your guests, and complimentary, reserved, underground parking at every ESO performance. Plus all Friends of the ESO opportunities.
Virtuoso ($250 to $499) Bring the whole family to an ESSO Symphony for Kids’ postperformance party, or discover fascinating facts about the Winspear Centre at a private behind the scenes tour led by ESO musicians. Plus all Principal opportunities. Impresario ($500 to $999) Let us host you and your guests in the Landmark Group Founders’ Room private donor lounge at one ESO performance of your choice*, and be invited to attend an ESO dress rehearsal during the year. Plus all Virtuoso opportunities. Conductor ($1,000 to $1,499) Join us at a reception with ESO musicians, and attend an evening dress rehearsal. You’ll also be able to bring two friends to a concert you plan on attending, on us!*. Plus all Impresario opportunities.
Silver ($2,500 to $4,999) Join guest conductors, ESO musicians and guest artists at private receptions. Plus all Bronze opportunities. Gold ($5,000 to $9,999) Sponsor your favourite Guest Artist’s appearance with the ESO and have a chance to meet them after the show. Donors are also invited to attend a private, intimate dinner with Bill Eddins. Plus all Silver opportunities. Platinum ($10,000 to $24,999) and Diamond ($25,000 and up) So many ways we can thank you! For instance, we will help coordinate an appearance by ESO musicians to perform at your next private event (and we can even help you host it at the Winspear Centre, too)*. Plus all Gold opportunities.
To give today, or for more information on the many ways you can play an active role with your orchestra, please contact Erin Mulcair at 780.401-2539 or by e-mail at firstname.lastname@example.org.
* Subject to availability. Erin will be happy to personally assist you in arranging these exclusive opportunities.
W A artistic & leadership team W
illiam Eddins, presently in his sixth 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 lead-
ership of Daniel Barenboim) followed. While conducting has been his 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
ESO as Enbridge Resident Conductor, under the mentorship of Bill Eddins. This two-year appointment, which began last season, 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 his 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 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.
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, William
Rachel J Photography
Resident Conductor program generously supported by
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 ]
Executive Director of the Edmonton Symphony Orchestra and Francis Winspear Centre for Music, brings more than 25 years of experience to a role that oversees one of Alberta’s flagship performing ensembles and one of the world’s premier concert halls. With a combined annual budget of over $12 million, Annemarie supervises day-to-day operations, long-term planning, government relations, and community support of both organizations. A native of Montréal, Annemarie is a graduate of McGill University where she majored in French Horn Performance. Following several years performing in Europe, she returned to Canada and stepped into the role of not only Principal Horn for Symphony New Brunswick, but also General Manager. Work at the National Arts Centre Orchestra was followed by the Winnipeg Symphony Orchestra, where she also oversaw the popular Winnipeg New Music Festival. 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 Petrov is a frequent guest speaker at arts industry conferences and has served on the board of Orchestras Canada. october/november 2010
Eric Buchmann, Interim Concertmaster The Concertmaster’s Chair is sponsored by the John & Barbara Poole family Virginie Gagné Broderyck Olson Richard Caldwell Joanna Ciapka-Sangster Alissa Cheung Anna Kozak Aiyana Anderson-Howatt Lauren de Roller
[ Violin ii ]
Dianne New 1 Susan Flook 2 Heather Bergen Pauline Bronstein Robert Hryciw Zoë Sellers Murray Vaasjo Tatiana Warszynski
[ Viola ]
Stefan Jungkind 1 Charles Pilon 2 Rhonda Henshaw Bonnie Yeager Mikiko Kohjitani Andrew Bacon
[ Cello ]
Colin Ryan 1 The Stewart & Winona Davis Principal Cello Chair 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
[ Tuba ]
Scott Whetham 1
[ Timpani ]
Barry Nemish 1
[ Percussion ]
[ Flute ]
Elizabeth Koch 1 Shelley Younge 2
[ oboe ]
Lidia Khaner 1 Paul Schieman 2
Brian Jones 1
[ Harp ]
Nora Bumanis 1
1 Principal 2 Assistant Principal
[ 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 Katherine Macintosh 2
[ bass trombone ] Christopher Taylor 1
The ESO works in proud partnership with the AF of M (American Federation of Musicians of the United States and Canada) Local 390.
Orchestra Personnel Eric Filpula, Orchestra Personnel Manager Sheila Jones, Librarian The following musicians also appear at performances in this issue: Julie Amundsen Cello Raymond Baril Saxophone Jim Cockell Violin Elizabeth Faulkner Flute Mary Fearon Horn Joel Gray Trumpet Beth Levia Oboe Alden Lowrey Trombone Michael Massey Keyboards John McCormick Percussion Jeremy Spurgeon Keyboards Dan Sutherland Clarinet Brian Thurgood Percussion Russell Whitehead Trumpet Neda Yamach Violin
In addition to our own concerts, the ESO provides orchestral accompaniment for performances by Edmonton Opera and Alberta Ballet.
BY RUTH KELLY | photo by Charles Hope
creating better art together The Edmonton Symphony Orchestra, Alberta Ballet and Edmonton Opera support each other in many different ways
here are moments of art that transcend the simply beautiful to reach a state of pure glory. Such a moment, in fact many, many such moments, could be found during the performance of Songs of a Wayfarer and the Seven Deadly Sins last March and April in Calgary and Edmonton respectively. A joint production of the Edmonton Opera, Alberta Ballet and the Edmonton Symphony Orchestra, Songs of a Wayfarer and the Seven Deadly Sins offered a visual and aural feast for its audiences. As one reviewer cited: “(Seven Deadly Sins) has been given new life, brilliantly employing modern techniques to present a timeless tale to a contemporary audience. It is hilarious, fast-paced and even sexy, three traits you wouldn’t expect to hear from a ballet or opera.” This is the kind of response that the three arts organizations are aspiring to when they work together. “We try to structure collaboration so that everyone wins - but the audience wins the most,” explains Edmonton Opera General Manager Mary Phillips-Rickey. “We collaborate without a lot of flamboyance because that is not our aim. Our aim is to have an absolutely stellar on-thestage experience for our audiences.” The Edmonton Symphony Orchestra provides its services to both the Alberta Ballet and the Edmonton Opera throughout their seasons. Live music enhances the experience of both art forms, so much so that neither company could envision working without the ESO. “Together, we’re stronger,” says Alberta Ballet’s Director of Edmonton Operations Jennifer Faulkner. “No one art form exists on its own. To quote George Balanchine: ‘You should see the music and hear the dancers.’” Phillips-Rickey agrees. “The reality is that we can’t do grand opera without a full orchestra. We have worked with the ESO from our inception because it is important to have a professional orchestra with a cohesive sound and quality and understanding. An ensemble that practices together and plays together has a team mentality that is required for the scope and scale of our performances.” Many North American ballet companies are switching to recorded music to reduce costs. Faulkner says that while it has been discussed at the Alberta Ballet, it has never been seriously considered. The art form requires the fluidity and flexibility that live music offers, she says. “Live music is so important to our dancers. They feed from it; the energy transfers from the pit to the dance floor, making the performance a dynamic and living event. And it is so much richer an experience for the audience as they’ve told us again and again.
“So it is quite a commitment but it goes to our artistic product. We value it enough to say it’s very important to keep making that investment.” ESO’s Music Director Bill Eddins understands that rationale. “Canned music doesn’t change; it’s always the same. Art is not meant to be created in a situation where it is always the same. There are little variations in life; art is no different. When you’re dealing with music that isn’t live, there is no breathing room. If a dancer is more languid in a performance, or more energetic than the day before; a live orchestra can adjust to those changes. The musicians can also inspire the performers; when you do this day in and day out, it’s important to find new inspiration.”
Live music is so important to our dancers. They feed from it; the energy transfers from the pit to the dance floor, making the performance a dynamic and living event. Eddins goes on to acknowledge that the inspiration flows both ways. “It’s a different world; living in the opera world or the ballet world is quite different from our orchestra world. There’s the physical aspect – you’re in the pit. You are doing more than just making music, you’re part of a larger theatrical experience with staging, lighting, sets, actors, dancers, singers. Music is just a part of the experience. “And then if you look at the music in great operas and great ballets like Puccini’s La Boheme or Prokofiev’s Romeo and Juliet, we simply can’t create that music on the stage of the Winspear. It is incredible music and our musicians get the opportunity to perform and become conversant in this related idiom.” The opportunity to provide musical services to the ballet and the opera is essential to the ongoing sustainability of the ESO. The revenue generated by these collaborations helps provide the musicians a wage that attracts and maintains the high calibre of musician that we enjoy. In tight-knit cultural communities the size of Edmonton, it’s a way of providing an income that larger cities, where ballet and opera orchestras are separately contracted, do not need to provide. Performing with each other, while extremely important, is just one of the www.EdmontonSymphony.com
CREATING BETTER ART TOGETHER
many activities that the arts organizations collaborate on. Cross promotion and joint marketing initiatives have helped all the groups expose their offerings to a wider public and subsequently build their audiences. “We combine audiences, they remember experiences and they come back to us for those experiences,” says Faulkner. “There is still a thirst for engagement and live performances.” The arts groups also have a strong professional network in which they share information, learn from each other and engage in professional development opportunities. “There’s a lot of collaboration in the arts that no one knows about,” says Phillip-Rickey. “We share costumes, props, intelligence about artists – small working together everyday things that make our respective lives easier. For instance, when the ESO had a soprano fall ill, they came to us and we changed our rehearsal schedule so one of our sopranos could step in. “And of course, we’ve lived in the same building as the ESO since the Winspear opened. That allows great flexibility for our rehearsals. For instance, during this week, we have music rehearsals for our next production. The sheer insanity factor of hauling everything and everyone over to the Jubilee for evoctober/november 2010
SEVEN DE ADLY SINS : Patricia O’Callahan and Alberta Ballet Dancer Tara Williamson in The Seven Deadly Sins. Choreography by Yukichi Hattori. In collaboration with Edmonton Opera, accompanied live by the Edmonton Symphony Orchestra. ery rehearsal would be ridiculous so we hold early music rehearsals over here.” “The atmosphere of collaboration that exists in Edmonton helps feed and nurture us,” Faulkner explains. “We’re all a family and that’s how it feels when we work together – it’s one of the things I love about working in this city.” Bill Eddins has the last word. “The health of our sister arts organizations is as critical to us as our own. When the artistic life in Edmonton has many vibrant aspects, the ESO thrives. To collaborate with these two great art forms, these important cultural institutions, creates that situation. Together, we are creating a community of art and artists and offering the fruits of that community to our constituents.” The next collaborations take place at Alberta Ballet performances of great Tchaikovsky scores on November 5 & 6 (The Sleeping Beauty) and December 10-12 (The Nutcracker). signature 9
Alberta Ballet Company Artists: Kelley McKinlay and Mariko Kondo Photography: Kate Kunz
A Canadian Premiere
November 5 - 6, 2010 Northern Alberta Jubilee Auditorium Choreography and Staging:
Kirk Peterson after Marius Petipa Additional Choreography:
Accompanied Live by
The Edmonton Symphony Orchestra Music:
Pyotr Ilyich Tchaikovsky Presenting Sponsor
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Group rates, wheelchair accessibility available 000Sig.ABBallet_1-2H_nBL.indd 1
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Your Business is OUR Business Become a Partner of the ESO! • Invest in MUSIC • Invest in EDUCATION • Invest in OUR COMMUNITY • Company ticket packages
• Marketing and sponsorship programs
• Group sales and discount rates • Music education partnerships • VIP hospitality nights
• Host your function at the Winspear Centre
Please contact Marc Carnes, Director of Community Relations. Direct: 780.401.2518. Email: email@example.com Web: EdmontonSymphony.com/support
presented by the ukrainian art rt song rt song projectt - alberta albert rttaa committee rt committee
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Yakiv Y akiv Stepovyi W World Premiere and CD Launch Hosted by Brian Deedrick
Artistic Director, Edmonton Opera Featuring Monica Whicher – Soprano Krisztina Szabó – Mezzo-soprano Elizabeth Turnbull – Contralto Pavlo Hunka – Bass-baritone Dr. Joachim Segger – Piano Dr. Melanie Turgeon – Producer
Please join us in celebrating the launch of a 2-CD set of Stepovyi’s art songs, along with the posting of the musical scores for free distribution on the worldwide web.
4 Sir Winston Churchill Square Edmonton, AB Tickets $30–$50 ($20 students/seniors, Orchestra only) Available from Winspear Box Oﬃce 780-428-1414 or 1-800-563-5081 or www.winspearcentre.com For more information, please visit the Ukrainian Art Song Project website www.uasp.ca or write to firstname.lastname@example.org
Peter Walker LLP is proud to celebrate 30 years in practice by sponsoring tonightâ€™s performance
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r Robbins pops
Mysterioso: Music, Magic, Mayhem, and Mirth
Friday & Saturday | October 29 & 30 | 8 pm Jack Everly, conductor
Starring: Joseph Gabriel, Musician/Illusionist Les Arnold & Dazzle, Comedy Magic David & Dania, Magical Transformations Christina Bianco, Vocalist
Mysterioso Overture (various / arr. Barton)
(various / arr. Stephenson)
Spellbound Concerto (Rozsa)
Forgotten Dreams (Anderson)
Les Arnold and Dazzle! (orch. Barker)
INTERMISSION (20 minutes)
Mysterioso Entr’acte (various / arr. Everly)
It’s Magic / Bewitched, Bothered, and Bewildered (Styne & Cahn/Rodgers & Hart / arr. Barton)
Waltz from Masquerade Suite (Khachaturian)
Neverland / Defying Gravity
(Styne, Comden & Green/Schwartz / arr. Barton)
William “Tear” Overture (Rossini / arr. Runyan)
ack Everly is the Principal Pops Conductor of the Baltimore and
Indianapolis Symphony Orchestras, Naples Philharmonic Orchestra and National Arts Centre Orchestra (Ottawa), and the newly named Music Director of the National Memorial Day Concert and A Capitol Fourth on PBS. Mr. Everly is the Music Director of Yuletide Celebration, now celebrating its 25th anniversary. These theatrical symphonic holiday concerts are presented annually in December in Indianapolis and are seen by more than 40,000 concert-goers. Originally appointed by Mikhail Baryshnikov, Mr. Everly was conductor of the American Ballet Theatre for 14 years, where he served as Music Director. In addition to his ABT tenure, he has teamed with Marvin Hamlisch in Broadway shows that Mr. Hamlisch scored, and conducted Carol Channing hundreds of times in Hello, Dolly! in two separate Broadway productions.
Jack Everly has appeared on In Performance at the White House and conducted the songs for Disney’s animated classic, The Hunchback of Notre Dame. He has been music director on numerous Broadway cast recordings. In 1998, Mr. Everly created the Symphonic Pops Consortium serving as Music Director. The Consortium, based in Indianapolis, produces a new theatrical pops program each season. In the past twelve years, more than 225 performances of SPC programs have taken place across the U.S. and Canada, including this season’s Mysterioso: Music, Magic & Mayhem. Maestro Everly holds an Honorary Doctorate of Arts from Franklin College in his home state of Indiana. When not on the podium or arranging, Maestro Everly indulges in his love for films, Häagen-Dazs, and a pooch named Max. Mr. Everly last appeared with the ESO in April 2010.
David and Dania: Magical Transformations (orch. Runyan)
Program subject to change
Performer’s photos can be found on next page
ROBBINS POPS Mysterioso: Music, Magic, Mayhem, and Mirth
Christina Bianco, Vocalist David & Dania, Magical Transformations
Les Arnold & Dazzle, Comedy Magic Joseph Gabriel, Musician/Illusionist
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AN EVENING WITH
Monday, November 1 | 7:30 pm Lucas Waldin, conductor Chantal Kreviazuk, special guest with:
Randy Coo, drums and vocals Kevin Fox, cello, acoustic guitar and vocals
Tonight’s program will include the following selections:
Feels Like Home (Leaving on a) Jet Plane All I Can Do Time Other works will be announced from the stage. Program subject to change. There will be one 20-minute intermission in tonight’s performance.
t’s been anything but a traditional ride through the music business for Chantal Kreviazuk. Her first album was shot out of the Canadian Music cannon, snagging a Juno nomination for Best New Artist. Her three following albums would cement Ms. Kreviazuk as one of the premiere female artists in Canada. It was a cover of John Denver’s (Leaving on a) Jet Plane (from the Armageddon soundtrack) that gave Kreviazuk a break in The USA. She wisely realized that this method of reaching an audience was as important as the radio, which at the time was seen as the primary force behind album promotion. Chantal kept busting out songs for the big and small screens. Dozens of placements followed; Dawson’s Creek, Everwood, Uptown Girls, Joan of Arcadia, Serendipity, Sisterhood of the Traveling Pants, How to Lose a Guy in Ten Days, Seven Pounds, Confessions of a Shopaholic, Men in Trees, The Hills, Army Wives…the list is as long as your arm. Music supervisors and label executives took note of Chantal’s extracurricular writing, asking for songs that could be worked into a film, or into the album of a developing artist. Co-writes with Kelly Clarkson and Avril Lavigne locked in her reputation as a prolific songwriter, as have further songs with/for David Cook, Gwen Stefani, Hilary Duff, Mandy Moore and Carrie Underwood, among others. It’s rare for Chantal Kreviazuk to get through a sentence about her music without mentioning her husband and longtime musical collaborator, Raine Maida. Their ten-year working partnership runs the gamut; producing tracks for young bands, writing songs for superstars, and recording their own albums. Working with War Child Canada and other causes close to her heart including The Canadian Mental Health Association and Polar Bears International also help to keep Chantal grounded. She’s traveled to Iraq for War Child and has been named as an Honorary Founder of the charity. Her work with CMHA is a great outlet to help stamp out the stigma that surrounds mental health. She says, “I want people to realize that we’re all born with unique challenges. When we isolate people because of their differences, the fabric of our society is compromised.” This is Ms. Kreviazuk’s debut with the ESO.
Enbridge Resident Conductor Sponsor
Mr. Waldin’s bio can be found on page 6.
AN EVENING WITH
Procol Harum and the Edmonton Symphony Orchestra Tuesday, November 9 | Wednesday, November 10 | 7:30 pm William Eddins, conductor Procol Harum Gary Brooker, piano and vocals Josh Phillips, Hammond organ Geoff Whitehorn, guitar and vocals Matt Pegg, bass and vocals Geoff Dunn, drums Da Camera Singers (John Brough, Artistic Director)
(Brooker/Reid / arr. Brooker)
Something Magic (Brooker/Reid / arr. Lewis)
(Brooker/Reid / arr. Brooker)
(Brooker/Reid / arr. Brooker/Dodd)
The VIP Room
(Brooker/Reid / arr. Brooker)
Fires (Which Burn Brightly) Brooker/Reid / arr. Brooker)
Nothing But the Truth (Brooker/Reid/Noble / arr. Brooker)
Into the Flood
(Brooker/Reid / arr. Brooker)
(Brooker/Reid / arr. Brooker)
A Salty Dog
(Brooker/Reid / arr. Brooker)
An Old English Dream (Brooker/Reid / arr. Brooker)
Sympathy for the Hard of Hearing (Brooker / arr. Brooker)
Whiter Shade of Pale
rocol Harum has been busy these 40-plus years: lately they have released ten
re-mastered CD albums, plus the two CD anthology Secrets of the Hive; their DVDs In Concert with the Danish National Concert Orchestra and Live at Union Chapel have been widely acclaimed. The quality of writing and performance has remained Procol Harum’s gold standard through the gradually-mutating line-ups: each participating musician has kept the ideas flowing and prevented Procol Harum from resting on their laurels. Singer/pianist/composer Gary Brooker is most famous as the founding member of Procol Harum, along with lyricist Keith Reid; yet music fans have also appreciated his excellent work with such artists as George Harrison, Ringo Starr, Eric Clapton, Bill Wyman, Kate Bush, Wings, Mickey Jupp, and even Lonnie Donegan. Bassist Matt Pegg joined Procol in 1993. Following the footsteps of his father (Fairport’s Dave Pegg) Matt toured with Jethro Tull, and currently plays with folk-rock supergroup The Gathering, as well as collaborating with Francis Dunnery, Chris Difford of Squeeze, and The Stone Roses’ Ian Brown. Geoff Dunn (the new boy) is on drums – having been the driving force with such luminaries as Jimmy Page, Dave Stewart, Van Morrison, and Manfred Mann. Josh Phillips started deputising on the Hammond for Procol in 1993 but has been in full charge since 2004. For live work he is busy dividing his time between Procol Harum, Midge Ure, and The Crazy World of Arthur Brown. Last, but never least, we have eighteen-year veteran Geoff Whitehorn who has supplied lead guitar by appointment to the British rock aristocracy in the form of Roger Chapman, Elkie Brooks, Paul Rodgers, and Roger Daltrey, to name but a few.
(Brooker/Reid/Fisher / arr. Brooker/Way)
Procol Harum rocks on, in all their splendour, a galleon in full sail and soul. www.ProcolHarum.com.
NOTE: Program subject to change. There will be one 20-minute intermission in tonight’s performance.
Procol Harum last appeared with the ESO in 1992.
Mr. Eddin’s bio appears on page 6, Da Camera Singers’ bio appears on page 35
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Friday Masters & Landmark classic masters
Mendelssohn’s Violin Concerto
Friday, November 15 – 7:30 pm | Saturday, October 13 – 8 pm William Eddins, conductor Elmar Oliveira, violin Lidia Khaner, oboe
Afterthoughts, Friday post-performance, Main Lobby with William Eddins & Elmar Oliveira Symphony Prelude, Saturday at 7:15 pm, Upper Circle (Third Level) Lobby with John Estacio, Malcolm Forsyth & D.T. Baker
Music for the Royal Fireworks, HWV 351 (19’)* Ouverture Bourrée La paix Minuet I – Menuet II La réjouissance
Requiem for the victims in a wartorn world (2002 ESO commission)
Artist Bios (10’)*
Borealis (1997 ESO commission) (16’)*
Larghetto, misterioso Scherzo (Wondrous Light) (1997 ESO commission) INTERMISSION (20 minutes)
Concerto for Oboe and Violin in C minor, BWV 1060 (14’)* Allegro Adiago Allegro
Violin Concerto in E minor, Op.64 (14’)* Allegro molto appassionato Andante Allegro non troppo – Allegro molto vivace Program subject to change
Friday Masters Series Sponsor
*indicates approximate performance duration
Landmark Classic Masters Series Sponsor
lmar Oliveira is one of the most distinguished violinists in the world
today. He has become a familiar and much-admired figure at the world’s foremost concert venues. His itinerary includes appearances with many of the world’s great orchestras, and has also made extensive recital tours of North and South America, Australia, New Zealand and the Far East. Mr. Oliveira’s discography covers a wide range of works. His best-selling recording of the Rautavaara Violin Concerto with the Helsinki Philharmonic (Ondine) won a Cannes Classical Award, and he was also a Grammy nominee for his CD of the Barber Concerto with Leonard Slatkin. He has premiered works by Morton Gould, Krysztof Penderecki, Joan Tower, and Charles Wuorinen. Elmar Oliveira remains the only American violinist to win the Gold Medal at Moscow’s prestigious Tchaikovsky International Competition. He was also the first violinist to receive the coveted Avery Fisher Prize. The son of Portuguese immigrants, Mr. Oliveira was nine when he began studying the violin with his brother John. He later continued his studies with Ariana Bronne and Raphael Bronstein at the Hartt College of Music and the Manhattan School of Music, where Mr. Oliveira also received an honorary doctorate. Other honours include an honorary doctorate from Binghamton University and the Order of Santiago, Portugal’s highest civilian honour. Elmar Oliveira is a Distinguished Artist in Residence at the Lynn University Conservatory of Music in Boca Raton, Florida. He performs on a 1729/30 Guarneri del Gesu called the “Stretton,” and on several outstanding contemporary violins.
This is Mr. Oliveira’s debut with the ESO. Series Media Sponsor
Mr. Eddin’s bio can be found on page 6. Ms. Khaner’s bio can be found on page 22.
artist bios 2010/2011 SEASON Friday Masters Mendelssohn’s Violin Concerto
idia Khaner has performed as Principal Oboe with the Edmonton Symphony Orchestra since 1996. She studied oboe in her native Poland at the Warsaw Academy of Music and graduated With Distinction in 1987. As a member of the Sinfonia Varsovia and the Polish Chamber Orchestra, she toured around the world playing both orchestral parts and solo concerts. During a sabbatical, she studied in Germany at the Stuttgart Hochshule für Musik with Ingo Goritzki and played with the Deutsche Kammerakademie.
Ladia Khaner’s phot by Stephen Joe
Ms. Khaner played Principal Oboe with the Sinfonia Helvetica from 1992 to 1997. She has recorded works for the KOS label, the Polish radio and television network, CBC, and Arktos Recordings. Lidia has performed and recorded solo concertos with the Alberta Baroque Ensemble and soloed with the Edmonton Symphony and the Edmonton Chamber Orchestras. In 2003 she released two CDs, of oboe and piano music with Janet Scott Hoyt, and Mozart chamber music for oboe and strings. Her latest release Inspiration, on Edmonton’s Arktos Recordings label, unites her once again with Janet Scott Hoyt in music by Poulenc, Saint-Saëns, Britten, and Lai. Ms. Khaner has obtained her First Dan black belt in Taekwando.
Ms. Khaner last appeared as a soloist with the ESO in March 2010.
p r o g r am n o t e s
Music for the Royal Fireworks, HWV 351 George Frideric Handel
andel was the favoured composer of the British royal court. He was charged with writing the Music for the Royal Fireworks for a celebration marking the 1748 signing of the treaty of Aix-la-Chapelle. The actual event – particularly the success of the fireworks themselves – fell short of the hoped-for spectacle, but Handel’s music was a rollicking triumph. The overture which begins the suite is in rich formal dress: a ceremonial, slow beginning, followed by an energetic and appropriately rousing second half. Following the overture are four shorter movements, two based on French danceforms (bourrée and minuet), the others also given French names suited to the occasion of the work La paix: (“the peace”), and La réjouissance (“the rejoicing”).
Requiem For The Victims In A Wartorn World (2002 Eso Commission) Malcolm Forsyth
(b. Pietermaritzburg, South Africa, 1936) First per formance :March 22, 2002 in Edmonton This is the ESO’s second performance of the work
Program note by the composer
he Canada Council commissioned
this piece for the Edmonton Symphony Orchestra. It was written between December 2001 and February 2002 and commemorates in a small way the appalling events in New York on September 11, 2001 and many other equally devastating attacks on human life in the world at the millennium. The piece is unique in its instrumentation of four trombones, strings, piano, celeste, and bass drum. The imagery is clearly of the opposites: foreboding, discord on the one hand – peace and hope on the other.
Borealis (1997 ESO commission)
Concerto for Oboe and Violin in C minor, BWV 1060
Johann Sebastian Bach
(b. Newmarket, Ontario, 1966)
(b. Eisenach, Saxony, 1685 / d. Leipzig, 1750)
First performance of Borealis (single movement): January 25, 1997 in Edmonton First performance of Scherzo (single movement): April, 1997 in Edmonton Scherzo ( renamed Wondrous Light) performed at Enbridge Symphony Under the Sky 1999
Composed c. 1736 L ast ESO performance : November 1998
This is the premiere performance of both movements toge ther
Program note by the composer
he first time I ever experienced the glorious spectacle
of the Aurora Borealis was a few short years ago when I arrived in Edmonton. Up until that moment I had to settle for textbook explanations and a geography teacher’s descriptions. I had no idea what I was seeing when I first noticed the majestic curtains of swirling green light in the sky one crisp October evening until a friend confirmed that it was indeed the Northern Lights. I was completely captivated and awestruck by the magical sight; how could I not be inspired to compose a piece of music?! Having recently completed two serious compositions, it was the right time to revisit a style for unabashed lyrical melodies and joyous bright orchestral colours that Borealis would require. The first movement is meant to be awe-invoking; the ephemeral nature of these celestial happenings is represented by the sudden colourful outbursts followed by movements of near silence. The movement begins with the strings playing a major chord and then gradually glissing (bending the pitch) until they all arrive at a different chord; for me, this musical gesture captures the essence of bending curtains of light and serves as a recurring motive throughout this movement. A solo flute introduces fragments of a melody; this melody is not heard in its entirety until later in the piece when it is performed by a solo bassoon and then an English horn. The strings perform the melody and the composition swells to its climax featuring the brass and the sound splashes provided by the percussion. The movement concludes with a unique auditory effect in the percussion section that again attempts to convey the enchanting and magical quality of the borealis. For the second movement, I wanted something that would be a formidable contrast to the subtle nature of the first movement, a celebrated dance of celestial light. The music for Scherzo (meaning “playful”) has more of a fervent and animated energy to it being inspired by the notion of dancing celestial lights (title changed to Wondrous Light, 2004). A nimble melody introduced by the oboe is developed intervallically and rhythmically throughout the composition. Sudden swells in volume accompanied by quick glissandos were inspired by the swirling curtains of green light which twist and turn and vanish suddenly in the night sky. Towards the conclusion of this movement the nimble theme is transformed into a noble melody performed as a traditional chorale by the trombones, and then repeated by the full orchestra.
he majority of Bach’s concertos were written during his time as Kapellmeister to Prince Leopold of Anhalt-Cöthen. Bach was expected to quickly provide concertos for any number of concerts, ready-made for whatever instrumentalists were on hand. These were “occasional” pieces, written for a specific event, likely never to be heard again. Under such circumstances, Bach did what many composers did – he reused and borrowed material, both from his own works and the works of others. The Concerto for Oboe and Violin is thought to have existed prior to his Concerto for Two Harpsichords, BWV 1060, and, in fact, the existence of the latter provided the basis for reconstructing the former. None of this cut and paste approach to constructing the concerto has any bearing on the effusive, enjoyable, and amiable nature of the work, which belies its minor-key scoring with music that, while mellowed darkly by its home key, is never a sad or brooding work. Its outer movements are full of gentle interplay between its solo instruments, while its central Adagio is a tender dialog.
Violin Concerto in E minor, Op.64 Felix Mendelssohn
(b. Hamburg, 1809 / d. Leipzig, 1847) First per formed : March 13, 1845 in Leipzig L ast ESO performance : October 2006
elix Mendelssohn arrived in the world at a house in Ham-
burg where, only a year later, in that very same house, a boy named Ferdinand David was born. Mendelssohn became one of the greatest composers and conductors of his day, while David became one of its most gifted violinists. The two also developed a close friendship although they did not meet until Mendelssohn was 16 and David 15. In 1835, the 26-year-old Mendelssohn, as the new conductor of the Leipzig Gewandhaus Orchestra, appointed David to the position of concertmaster. In 1838, Mendelssohn wrote to his friend, “I should like to write a violin concerto for you next winter.” Work on the concerto was slow, however, and it was not completed until 1844. David, naturally enough, assisted greatly with the violin passages, and in all likelihood shaped the lion’s share of the cadenzas. The work finally premiered on March 13, 1845, but while David was indeed the soloist, illness kept Mendelssohn from conducting. All three movements are played without a pause. After only a single bar from the orchestra, the violin makes its entrance, stating the elegant and passionate first subject. Violin and orchestra develop this, as well as a countersubject. The second principal theme of the movement is first presented on flutes and clarinets, over the violin’s sustained low G. The development of this material is lavish, including some transcendent passages for the soloist. The second movement also begins with only the briefest of orchestral introductions, ushering in a solo violin passage that ranks as one of Mendelssohn’s most poignant melodies. The second subject contrasts with an agitated feel, but the violin restores the serenity of the movement by the end. A brief Allegretto non troppo leads to the vivacious and spirited Rondo finale, with a principal theme that is quintessential Mendelssohn: sprightly and effervescent, a vibrant conclusion to a work that stands as a cornerstone of the violin repertoire.
Program Notes © 2010 by D.T. Baker, except as noted signature 23
A monthly feature from Sherbrooke Liquor Store, inspired by ESO selections
Drams & Draughts If you missed attending this ESO fundraiser on October 20th, here’s one of the whiskies that was tasted: Glenfiddich Solera Reserve 15 Year Old is matured to perfection in three different types of oak casks. These are sherry casks, first used to age sherry, traditional bourbon casks from America and new oak casks, coopered from American timber. The Glenfiddich Malt Master carefully selects the finest casks for maturation to ensure the smoothness and depth of flavour which characterise Glenfiddich Solera Reserve Tasting notes: Glenfiddich Solera Reserve 15 Year Old has a full and fruity nose, with delicate honey and vanilla notes. It is wonderfully smooth, with a great depth of flavour, combining fruit, gentle spice and a touch of oakiness. The finish is long and satisfying. Glenfiddich Solera Reserve 15 Year Old. 750ml/$62.99
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The Sherbrooke Show: Nov 27
with Sherbrooke Liquor Q: To decant or not to decant… that is the question. A: You hear arguments on both sides of the coin. Many
years ago wines were not fined and filtered in the way that they are today. People decanted their wines so that the sediment (sometimes chunks) would not make it into their glass. We believe that wines can benefit from decanting. Here is a test for you. Pour all but a few ounces of wine into a decanter. Put the cork back in the bottle and let the wine sit for at least one hour. Try the wine from the decanter first and then from the bottle. You be the judge. Enjoy! Got a question about beer, wine or spirits? Email firstname.lastname@example.org and we’ll let you know. The most interesting questions and answers will be reprinted in this feature.
If it’s Wednesday, it must be Winesday Join us each and every Wednesday in store, for a free and informal wine tasting from 4-7pm each week. We sample a red and a white, chosen from our selection of nearly 2000 different wines. Always something different, always something interesting. Nov. 3 - B.C. Nov. 10 - South Africa Nov. 17 - Ontario Nov. 24 - Spain We update our website each Thursday with information on the next Wednesday’s samplings.
Looking for the Perfect Gift? A membership in either of our Beer or Wine of the Month Clubs fits everytime! For information on this item and more, visit our website.
Can’t get to Sherbrooke? Maybe Sherbrooke can come to you. Starting this November, we’re bringing a sampling extravaganza to a community league near you! Our first event will be held Grey Cup Weekend, Saturday, November 27th, 2010 at the Capilano Community League Hall, 10810 – 54 St. The show runs from 5pm-9pm. There is no cover charge, and sampling tickets will be available to purchase at the door. Tempt yourself with 30-40 different wines, spirits, liquers and beers from the four corners of the globe. (Maybe even get a head start on your Christmas list.)
A Whiter Shade of Pale Petit Le Vieux Pin decided to fuse
several unlikely suspects to create a unique, crisp, and beautifully aromatic white – Chardonnay, Pinot Blanc, Viognier, Sauvignon Blanc and Rousanne. Tropical notes are everywhere with delightful characteristics of mango, peach, passion fruit and melon on the nose. The palate is lively, refreshing, and balanced with a nice weight showing apple pie, white peach, and lemon.
Petit Le Vieux Pin – Blanc 2009 750ml/$23.99
Over 801 Different Brands of Beer
11819 St. Albert Trail, Edmonton 780-455-4556 www.sherbrookeliquor.com
8/27/10 12:07:50 PM
8/31/10 11:26:42 AM
Robbins lighter classics
Thursday, November 18 | 8 pm
William Eddins, conductor Virginie Gagné, violin Ronda Metszies, cello Julianne Scott, clarinet Allene Hackleman & Megan Evans, horn
Danse macabre, Op.40 (7’)*
Kol Nidrei, Op.47 (Adagio on Hebrew Melodies) (10’)*
Pavane, Op.50 (8’)*
Introduction and Rondo capriccioso, Op.28 (10’)* INTERMISSION (20 minutes)
Le roi malgré lui: Fête polonaise (10’)*
Concerto for Two Horns in E-flat Major (ed. Leloir): excerpts II. Romance: Adagio III. Rondeau: Allegretto
Fantasie on Mozart’s “Là ci darem la mano” (9’)
Le roi malgré lui: Danse slav (5’)* Program subject to change *indicates approximate performance duration
Rachel J Photography
Her orchestral experience includes concerts with Les Violons du Roy, I Musici de Montréal, the Houston Symphony Orchestra, and a one-year position, section first violin, with the Honolulu Symphony Orchestra. She was named to the First Violins of the Edmonton Symphony Orchestra following auditions in April, 2006.
onda Metszies was born and raised in Edmonton, where she studied cello with Sheila Laughton. After receiving her Bachelor of Music Degree from the University of Victoria, she continued her studies in Edmonton with Tanya Prochazka and then in Germany and Austria, where she worked with Julius Berger, Friedrich Sellheim and Heinrich Schiff.
Photo: Douglas Dollars
orn in Montréal, Virginie Gagné started to play the violin at age three and entered the Montréal Conservatory of Music at eight, where she later received a Bachelor’s degree with honours both in violin and chamber music. She pursued her Master of Music studies at Rice University in Houston, Texas with violin teacher Sergiu Luca. Ms. Gagné has received several prizes in violin at the Montréal Symphony Orchestra Competition, the Canadian Music Competition and the Canada New Music Competition, among others. Beside violin, she won the first Prize in Canada at the Desjardins International Development Competition, in the writing category.
Ms. Metszies has released two CDs of music for cello and piano on the Arktos label, both of which are frequently played on CKUA and CBC radio, as well as a music video for Bravo! Television. Before moving back to Edmonton, Ronda lived in Los Angeles, where she performed regularly at the University of Southern California and in several local chamber music recital series. Continued next page.
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Series Media Sponsor
Mr. Eddins’ bio can be found on page 6. Bios for Ms. Scott, Ms. Hackleman & Ms. Evans on page 28. Program notes appear on pages 29 & 30.
Artist Bios 2010/2011 SEASON Artist Bios
In addition to playing with the ESO, Ronda has a special interest in early music, and is a member of the Alberta Baroque Ensemble. She is also a member of Kent Sangster’s Obsessions Octet, whose debut jazz CD was nominated for a Juno Award in 2007.
native of Calgary, Julianne Scott became Principal Clarinet of the Edmonton Symphony at the start of the 2009/10 season. This follows her tenure (2007-2009) as Principal Clarinet with the Colorado Springs Philharmonic. Ms. Scott graduated from the University of Southern California with her Masters, where she studied with Yehuda Gilad. She attained her Bachelor’s degree from the University of Toronto in 2006 under Joaquin Valdenpenas. Julianne Scott as spent summers participating in festivals including the Sunflower Music Festival, the Aspen Festival, the Spoleto Festival, touring with the Canadian Youth Orchestra, and the Music Academy of the West. She has appeared as a soloist with Colorado Springs Philharmonic.
llene Hackleman has been Principal Horn of the Edmonton
Symphony Orchestra since 2004. A native of Vancouver, Allene began studying the horn under the tutelage of her father, Martin Hackleman. She earned a Bachelor of Music degree from the University of Cincinnati. Ms. Hackleman served as an apprentice in the National Academy Orchestra of Canada, and has performed with the National Symphony Orchestra (Washington, D.C.), and the Montréal Symphony. Allene Hackleman has performed concertos with the Edmonton Symphony, Alberta Baroque Ensemble, and the Victoria Symphony. She is currently a member of the Summit Brass ensemble and as such is on faculty at the Rafael Mendez Brass Institute in Denver and has performed with Summit Brass on their most recent CD release. Ms. Hackleman pursues a keen interest in chamber music, and since 2008 has been a performer at the Festival of the Sound in Parry Sound, Ontario. She also teaches at the University of Alberta, and was a guest artist at the 2010 International Women’s Brass Conference.
egan Evans is currently
Assistant Principal Horn with the Edmonton Symphony Orchestra, a position she began in September 2008. Ms. Evans is a graduate of Kwantlen College in Langley, British Columbia, where she studied with Dr. Wayne Jeffreys. She then went on to complete both Bachelor’s and Master’s of Music degrees at McGill University in Montréal. Her primary instructors were Denys Derome and John Zirbel of the Montréal Symphony Orchestra, and she also had the pleasure of taking lessons and masterclasses with many fantastic horn players from across North America.
Robbins lighter Classics ESO Showcase
In 2007, Ms. Evans was appointed Fourth Horn with the Niagara Symphony in Ontario. In addition to making music in an orchestra, Megan Evans also enjoys performing as a soloist and chamber musician. She has spent her last four summers at the Aspen Music Festival and hopes to return every summer for the rest of her life!
P RO G R A M N OT E S
Danse macabre, Op.40 Introduction and Rondo capriccioso, Op.28 Camille Saint-Saëns
(b. Paris, 1835 / d. Algiers, 1921)
uppose Death decided to have a bit of a party. Where better than a graveyard to host the event? That’s the scenario proposed by Camille Saint-Saëns for one of his most popular works. As the Danse macabre begins, Death takes up his violin, yanks it into tune (the violin is tuned a semitone lower than normal, adding an eerie “offness” to the sound), and proceeds to present a surprisingly sprightly tune for the graveyard’s denizens to dance to. The dance becomes ever more energetic – the clatter of the xylophone stands in for the rattling bones of the skeletal dancers. At length, however, dawn nears – the church bell chimes, an oboe imitates the cock-crow, and Death relinquishes control to the coming day. SaintSaëns based his brief tone poem on a story by Henri Cazalis, writing the work originally for violin and piano, orchestrating it in 1875.
Saint-Saëns’ popular Introduction and Rondo capriccioso was written for one of the finest violinists who ever lived, Pablo de Sarasate. The greatest composers of the day wrote works for him, and he also wrote many for himself. Many of them, both his creations and those written by others, follow a pattern; they begin with a slow section designed to illustrate his supreme mastery of lyricism and expression, followed by a whirlwind cavalcade of breathtaking and breakneck virtuoso music in which a full bag of violin tricks is used. Such is the case here. Camille Saint-Saëns had originally intended to write his first violin concerto for Sarasate, and began sketching one as far back as 1859, when Sarasate would have only been 15. But the French composer, unsatisfied with what he had created, abandoned the plan. Four years later, he composed the Introduction and Rondo capriccioso. It has established itself as a favourite vehicle for prodigious violinists since its 1863 premiere.
Kol Nidrei, Op.47 (Adagio on Hebrew Themes) Max Bruch
(b. Cologne, 1838 / d. Berlin, 1920)
n the same way that Bruch’s famous “Scottish” Fantasy was not a work
of Scottish patriotism, so his beautiful Kol Nidrei is not a work of Jewish spirituality. Bruch found two melodies he liked, and they just happened to be from ancient Hebrew songs. “The first is an age-old Hebrew song of atonement,” Bruch wrote, “the second is the middle section of a moving and truly magnificent song ‘O Weep for Those That Wept on Babel’s Stream,’ equally very old. I got to know both melodies in Berlin, where I had much to do with the children of Israel in the Choral Society.” Bruch composed the work during a very happy time in his life, while he was conductor of the Liverpool Philharmonic. It was written for cellist Robert Hausmann in 1881. Kol Nidrei translates as “All Vows,” and in its original guise is sung during the high holy day of Yom Kippur – the day of atonement. The music he wrote for the cello soloist spans the instrument’s entire compass, and is expressive and lyrical. The orchestral support is often a drone-like accompaniment, with richly resonant chords, and shimmers of sound. The winds are given a brief, chorale-like moment halfway through, introducing the second section of the work, which is more romantic in feel than the first, the cello often reaching into its upper register – its final notes, in fact, are quite violinistic.
Pavane, Op.50 Gabriel Fauré
(b. Pamiers, Ariège, 1845 / d. Paris, 1924)
fter writing the orchestral version of Pavane, Gabriel Fauré was obliged to write later versions for orchestra and choir, woodwinds with solo flute, and for piano alone. Its popularity is understandable; Fauré takes an old, graceful dance form (a pavane is a processional dance in duple time, with steps taken forward, then back in the same manner), and adds to it his ethereal textures and harmonic colours. The original orchestral version dates from 1887, and was dedicated to the Vicomtesse Elisabeth Greffuhle. A solo flute dominates the opening minutes of the dance, accompanied by pizzicato strings. More winds join in, with lower strings presenting a quiet counter-melody. The music broadens out, with strings intoning the main theme, leading to a dramatic pause. A section of surprising passion and moment interrupts the measured dance, though the pavane proper gently creeps back in, taking over once more, though its stately procession is mixed with more reflective moments now and then. It ends gently with woodwinds once again over pizzicato strings.
Le roi malgré lui: Fête polonaise & Danse slav Habañera Emmanuel Chabrier
(b. Ambert, Puy-de-Dôme, 1841 / d. Paris, 1894)
opera Le roi malgré lui (“The Reluctant King”) premiered on May 18, 1887 and, virtually from that first performance, has struggled under the weight of a plot that the Viking Opera Guide said, “must be among the most complicated ever undertaken by an opera composer.” Chabrier himself was one of three librettists who tried to get the story by François Ancelot to the stage. The tale concerns the king of Poland, who doesn’t particularly want to be the king, and the extremely convoluted machinations he and others go through, wrestling with power and responsibility. The Polish connection gave the imaginative Chabrier ample opportunity to provide colourful music and rich orchestration – aspects that are readily demonstrated in the two orchestral excerpts to be heard tonight. The Danse slav (“Slavic dance”) is a charming and cheerful rouser, while the the Fête polonaise cleverly combines a Polish dance (the mazurka) with a waltz, and takes place at a glittering ball that opens the opera’s second act – an opening the Guide goes on signature 29
to say which, “in its full form, with voices, is the ballroom scene to end all ballroom scenes.” Chabrier wrote one of the most famous Spanish-influenced works in music – his celebrated España of 1883. Yet it was not his only such work. He also wrote a Habañera – a dance form in 2/4 time which, while very much identified with Spain, came to that country from its roots in Africa. The most famous Habañera is the one in Bizet’s Carmen, in which the title character sings her famous song about love as a rebellious bird. Chabrier’s Habañera began as a work for solo piano in 1885, though he thought enough of it to orchestrate it later that same year.
Rosetti to use the great Haydn name in order to sell what may have been his finest piece of music,” she wrote.
Concerto for Two Horns in E-flat Major (ed. Leloir) Franz Josef Haydn (attr.)
(b. Rohrau, Lower Austria, 1732 / d. Vienna, 1809)
t’s unlikely that Haydn actually wrote the Concerto for Two Horns
originally attributed to him (we use the abbreviation “attr.” when we think that a composer has been given credit without definitive proof ). The concerto’s manuscript, which is housed in the Library of Harburg, Germany, bears the name of the great Haydn’s brother Michael (1737-1806), but is written in a different hand than Michael Haydn’s. Horn player Kerry Turner, who has recorded the work, suspects that Antonio Rosetti (1750-1792) – who wrote another concerto for two horns – might have been behind it. “Indeed, it would not at all have been unusual for
Tonight, we will hear the last two movements of the work, in an edition prepared for performance by Edmond Leloir. The Romance is an Adagio, with the paired horns working in close harmony against a gentle backdrop in the orchestra, which occasionally gets brief moments of its own. The Rondo is jaunty canter in 6/8 time, harkening back to the horn’s roots as an outdoor instrument, and of its use in the hunt. The harmonies here are more playful between the horns, and the sections between statements of the rondo theme alternate between major and minor tonalities.
Fantasie on Mozart’s “Là ci darem la mano” Franz Danzi
(b. Schwetzingen, 1763 / d. Karlsruhe, 1826)
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s a composer, Franz Danzi was more highly regarded during his lifetime than he seems to be these days – his modern reputation rests on the friendship and guidance he provided to young Carl Maria von Weber, and a handful of shorter works.
An opera composer himself, Danzi was quite used to the fashion of his day of taking popular songs from other people’s operas, and writing virtuoso display vehicles out of variations of those tunes. So it was with the bravura set of variations based on Là ci darem la mano, a popular duet form Mozart’s opera Don Giovanni. Danzi had a special affinity for Mozart; he admired Mozart’s music, and used it as source material more than once, but also because his father, a cellist, had met the Salzburg genius during Mozart’s visit to Mannheim when Danzi himself was a boy of 14. Audi • BMW • Mercedes Benz • MINI • Porsche • smart • Volkswagen
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Program notes © 2010 by D.T. Baker
10/7/10 8:54:15 AM
Saint-Saëns’ First Cello Concerto Sunday, November 21 | 2 pm William Eddins, conductor David Eggert, cello Christopher Taylor, bass trombone
Showcase Prelude, Sunday at 1:15 pm in the Founders Room with D.T. Baker Coffee Shop, post-performance, Main Lobby with Lucas Waldin, William Eddins, David Eggert, and Christopher Taylor
Le roi malgré lui: Fête polonaise (10’)*
Pavane, Op.50 (8’)*
Le roi malgré lui: Danse slav
INTERMISSION (20 minutes)
Cello Concerto No. 1 in A minor, Op.33 (19’)* Allegro non troppo – Allegretto con moto – Tempo primo
Borealis (1997 ESO commission) (16’)*
Larghetto, misterioso Scherzo (Wondrous Light)
Program subject to change
Emerging Artists Partner
native Edmontonian and a graduate of the University of Alberta, Christopher Taylor has performed with the Edmonton Symphony Orchestra since 1975. He studied with former ESO trombonist Dr. Malcolm Forsyth and furthered his education in Los Angeles and Chicago. Before entering university, he was a member of the Edmonton Youth Orchestra, the Cosmopolitan Band, the Banff Festival Orchestra, and the Canadian Chamber Orchestra. Mr. Taylor was a founding member of the Malcolm Forsyth Trombone Ensemble and the Festivo Brass Quintet. Since 1981, he has held the position of Instructor of Bass Trombone and Brass Ensemble at the University of Alberta. Mr. Taylor has appeared in the ITV Concert series with international artists such as Henry Mancini and Anne Murray, and in showbands with Bob Hope and Red Skelton. He is active as a freelance musician and has appeared as a soloist and chamber player in North America and Europe. Christopher’s free time interests include hiking, sailing, painting, sculpture, photography, and travel.
*indicates approximate performance duration
Series Media Sponsor
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Mr. Eddins’ bio can be found on page 6. Mr. Eggert’s bio appears on page 32. Program notes appear on pages 32 & 33.
Artist Bios 2010/2011 SEASON sunday showcase Saint-Saëns’ First Cello Concerto
nown for a dominating stage presence and imaginative interpretation, David Eggert has an inventive approach to the traditional repertoire while fostering a strong commitment to musical creation of our time. Solo appearances in Europe and North America herald the 25-year-old as an upcoming talent. This season, he will play recitals in Israel, Turkey, Slovenia, and Austria, as well as concerts closer to home in Montréal and Cleveland. Born in Edmonton in 1985, Mr. Eggert was taught by Tanya Prochazka, with whom he studied for 13 years. At the age of 16, he won first prize at both the Canadian Music Competition and the National Music Festival playing string quartet, and toured Canada as principal cellist of the National Youth Orchestra of Canada. After high school, he studied for two years in Boston with Lawrence Lesser. He then moved to Montréal, for studies with Matt Haimovitz. Focusing on 20th- century repertoire, David Eggert won first prize at the 2006 Eckhardt-Grammaté Competition, and completed a successful tour of 18 Canadian cities as part of the grand prize. He also won first prizes at the ARAM Concours de Musique de Repentigny, Québec, and the TD Canada Trust Festival Competition in Elora, Ontario. Mr. Eggert currently
lives in Salzburg, Austria, where he is completing his Master’s degree at the Mozarteum as a student of Clemens Hagen of the Hagen String Quartet. He plays a 1871 Niccolo Bianchi cello, generously loaned to him by the German Music Foundation. David Eggert is the recipient of the 2009 Sylva Gelber Music Foundation Award administered by the Canada Council for the Arts. Awards are presented annually to the most talented young applicants. This is Mr. Eggert’s debut with the ESO.
p r o g r am n o t e s
Le roi malgré lui: Fête polonaise & Danse slav
(b. Ambert, Puy-de-Dôme, 1841 / d. Paris, 1894)
(b. Pamiers, Ariège, 1845 / d. Paris, 1924)
mmanuel Chabrier’s opera Le roi malgré lui (“The Reluctant King”) premiered on May 18, 1887 and, virtually from that first performance, has struggled under the weight of a plot that the Viking Opera Guide said, “must be among the most complicated ever undertaken by an opera composer.” Chabrier himself was one of three librettists who tried to get the story by François Ancelot to the stage.
The tale concerns the king of Poland, who doesn’t particularly want to be the king, and the extremely convoluted machinations he and others go through, wrestling with power and responsibility. The Polish connection gave the imaginative Chabrier ample opportunity to provide colourful music and rich orchestration – aspects that are readily demonstrated in the two orchestral excerpts to be heard tonight. The Danse slav (“Slavic dance”) is a charming and cheerful rouser, while the the Fête polonaise cleverly combines a Polish dance (the mazurka) with a waltz, and takes place at a glittering ball that opens the opera’s second act – an opening the Guide goes on to say which, “in its full form, with voices, is the ballroom scene to end all ballroom scenes.”
fter writing the orchestral version of Pavane, Gabriel Fauré was
obliged to write later versions for orchestra and choir, woodwinds with solo flute, and for piano alone. Its popularity is understandable; Fauré takes an old, graceful dance form (a pavane is a processional dance in duple time, with steps taken forward, then back in the same manner), and adds to it his ethereal textures and harmonic colours. The original orchestral version dates from 1887, and was dedicated to the Vicomtesse Elisabeth Greffuhle. A solo flute dominates the opening minutes of the dance, accompanied by pizzicato strings. More winds join in, with lower strings presenting a quiet countermelody. The music broadens out, with strings intoning the main theme, leading to a dramatic pause. A section of surprising passion and moment interrupts the measured dance, though it gently creeps back in, taking over once more, though its stately procession is now mixed with more reflective moments now and then. It ends gently with woodwinds once again over pizzicato strings.
m Ballade for Bass Trombone Eric Ewazen
(b. Cleveland, Ohio, 1954)
hile composer Eric Ewazen has made writing for brass instruments a bit of a specialty, he is not limited to it. In fact, this afternoon’s work, for the second-lowest brass instrument in the orchestra, was originally intended as a work for clarinet. But Ewazen’s admiration for trombonist Charlie Vernon changed his mind, and the work in its present formed premiered at the University of Illinois in 1996.
The form known as the “ballade” has undergone a great transformation in meaning and conception. A very specific song form in the Renassiance, it was Chopin who conceived the instrumental ballade as a long, dramatic work, in which a sense of poetry is implied. Ewazen’s Ballade for Bass Trombone is scored for an orchestra of harp and strings. It is a rondo of sorts, in an A-B-AB-A form. “The Ballade showcases Charlie’s wonderful ability to float long, lyric lines and to dazzle the listener with his energetic vitality and golden tone,” Ewazen wrote. ESO Bass Trombone Principal Christopher Taylor, therefore, has a challenging task this afternoon. “The piece seems to rise out of a mist…sing, dance and play,” Ewazen goes on, “and quietly, peacefully disappear again into the mist.”
FrateVento John Paul Russo, OFM Cap.
(b. 1967) Program note by the composer:
ohn Paul Russo, OFM Cap. is a composer who is also a member of a religious order in the Roman Catholic Church called the CapuchinFranciscan Friars, as the initials after his name indicate. He is usually called “Brother John.” He presently lives at a friary in Union City, New Jersey. Brother John began piano lessons at age nine and then began composing at the age of 11, and has been producing works ever since. During his high school years he attended a community music school, and studied theory and composition. He went on to study composition at the Eastman School of Music (1985-89) and then at Indiana University (1989-90). In 1991, he decided to join the Capuchins where he spent several years in formation and ministry to the poor. In the summer of 2007, he assumed his present position as Director of Vocations for his province in New Jersey. Brother John has won several national awards for his works, including a Rockefeller Foundation prize, 2 ASCAP awards, and a Charles Ives Scholarship from the National Academy of Arts and Letters.
Brother John composed FrateVento (“Brother Wind”) in September of 2005. The work is based on the third movement of a seven-movement suite for piano (Canticle Odes) also by Brother John. St. Francis of Assisi wrote his Canticle of Brother Sun in the eleventh century in Italy. In this famous poem, he expresses the praise given to God through various elements of creation, addressing them as brother or sister depending on their gender in Italian. FrateVento is a musical impression of St. Francis’ description of Brother Wind. He says, “Praise to You my Lord through Brother Wind, and through the air, cloudy and serene, and every kind of weather through which You give sustenance to october/november 2010
Your creatures.” The evocations inspired by this quote are dominated by a persistent restlessness in the music, or a perpetuum mobile as it is called, reflecting the restless rush of the wind. There are also some wispy, rushing scales and sudden key shifts that allude to the cloudiness or vagueness St. Francis suggests. The overall contented mood of the work, and particularly the quiet rush of the section before the ending, are meant to reflect St. Francis’ idea of serenity. The final gesture of the piece sweeps upward like a draft of wind … even visually – through the final “upbow” indication – by the way the bows fly up off the strings!
Cello Concerto No. 1 in A minor, Op.33 Camille Saint-Saëns
(b. Paris, 1835 / d. Algiers, 1921)
nique among French
composers of his era, Camille SaintSaëns regularly, and often, wrote “concertante” works, pieces for a solo instrument plus orchestra. Some were single-movement showcase vehicles, but he also wrote many full-form concertos. His First Cello Concerto is, in fact, a little bit of both. Written in 1872 and premiered the following year, the concerto was dedicated to Saint-Saëns’ friend, cellist and composer Adrien-François Servais, though it was another cellist, the Belgian Auguste Tolbecque, who gave the premiere. While the concerto is in three distinct sections, it differs from many concertos proper in that it is played without pauses between the sections. It is a relatively short work, compared to the titanic concertos being produced by Saint-Saëns’ German contemporaries. The work also has a cyclical sense to it; the darting theme stated at the outset of the first movement by the cello is stated almost exactly by an oboe at the start of the third, and it is the major theme of both. The opening section itself moves like a swift-flowing stream, with both cello and orchestra sharing the dramatic drive. The middle of this opening movement slows things only briefly, with double stops and sforzando bowing in the cello as the pace picks up once again. The central section begins with a curiously anachronistic feel – a dainty minuet straight out of the style galant of Haydn’s time more than a hundred years before. The cello here shows its lyrical side, intoning a graceful melody to the gentle accompaniment. In the final section, the cellist is put through some virtuosic paces, though the cello’s singing nature is never overlooked. The pace becomes more headlong, then slows contemplatively before the dash to the finish.
Borealis (1997 ESO commission) John Estacio
(b. Newmarket, Ontario, 1966) Please see page 22 for program notes on Borealis. Program Notes ©2010 by D.T. Baker, except as noted
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 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 Mr. J.E. Williams The Honourable Tevie H. Miller Mr. Jack W. Kennedy The Honourable Roger P. Kerans Mr. Richard W. Palmer Dr. John R. Huckell Dr. John L. Schlosser Mr. J.R. Singleton Mr. D.A Cox Mr. Ron Ritch Mrs. Margaret Clarke Mr. Brian Hetherington Mr. Charles T. Austin Mr. Neil Wilkinson 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
1952-53 1953-54 1954-56 1956-57 1957-58 1958-59 1959-60 1960-61 1961-62 1962-63 1963-65 1965-66 1966-67 1967-68 1968-69 1969-70 1970-71 1971-72 1972-73 1973-76 1976-77 1977-79 1979-80 1980-82 1982-84 1984-86 1986-88 1988-90 1990-93 1993-95 1995-97 1997-00 2000-01 2001-03 2003-04 2004-07
Edmonton Symphony Society / Condert 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 Maria David-Evans Colin Eicher Brad Ferguson William Harrison Travis Huckell Elizabeth Hurley Carol Ann Kushlyk, C.M.A., C.F.E. Dr. Dennis L. Modry Reginald Milley Ralph Peterson, C.A. Edith Stacey Rhonda Taft
Ronnie Hothi, Executive Assistant
at 780.401.2544 or email@example.com
Edmonton Symphony Orchestra / Francis Winspear Centre for Music Administration
Annemarie Petrov, Executive Director Ronnie Hothi, Executive Assistant & Board Liaison Marthe Wildsmith, Administrative Coordinator
Lori Pratt, Director of Events Management Warren Bertholet, Head Lighting Technician* Julia Boing, Assistant Front of House Manager Scott Bricker, Assistant Stage Manager* Diana de Sousa, Client Services Coordinator Rob Hadfield, Head Audio Technician* Grant Johnson, Technical Director* Alan Marks, Head of Stage Management* Mike Patton, Assistant Head of Stage Management* Teresa Ryan, Volunteer/Events Coordinator www.edmontonsymphony.com
From on page 19
AN EVENING WITH Procol Harum and the ESO Tuesday, November 9 | Wednesday, November 10 | 7:30 pm
Rob McAlear, Artistic Administrator Jerrold Eilander, Company Manager Susan Ekholm, Library Assistant Eric Filpula, Orchestra Personnel Manager Sheila Jones, Orchestra Librarian
Finance & Operations
Barbara Foley, Director Finance & Operations Sandy Carter, Senior Accountant Shirley Chaytor, HR Payroll Coordinator Dave Clark, IT Support Olena Kotova, Accountant Steve Nixon, Operations Manager Linda Voelker, Finance Assistant
Elaine Warick, Director of Patron Development Catherine Boissonneau, Box Office Supervisor Eleanor Finger, Patron Relations Manager Beth Hawryluk, Assistant Box Office Supervisor Court Laslop, Assistant Box Office Supervisor & Database Administrator Erin Mulcair, Patron Development Assistant Courtney Peters, Telemarketing Manager Katherine Ronzio, Patron Development Intern Connie-Lee Thomlison, Box Office Manager Adam Trzebski, Audience Development Specialist
Marc Carnes, Director of Community Relations D.T. Baker, Music Resource / Publications Editor Melissa Di Natale, Education & Community Relations Coordinator Sarah Leib, Community & Business Development Manager Marissa Loewen, Marketing Manager Philip Paschke, New Media Specialist Pamela Pecush, Publicist
ince its inception in 1961, Da Camera Singers, now under the direction of John Brough, has established a strong presence in the Alberta choral community and holds the distinction of being Edmontonâ€™s longest-standing chamber choir. The choir performs a diverse repertoire that encompasses classical music from the Renaissance to the 20th century, oratorios, and folk song arrangements and other lighter works. As well as being active with their own annual three-concert season, Da Camera Singers has performed on many occasions with the Edmonton Symphony Orchestra and the Alberta Baroque Ensemble under the direction of such conductors as Bernard Labadie, Ivars Taurins and William Eddins. In February 2009, Da Camera Singersâ€™ concert Eulogies was recorded by CBC for broadcast on Choral Concert and Concerts on Demand. Da Camera Singers last appeared with the ESO in December 2008.
THE ESO & WINSPEAR CENTRE WORK IN PROUD PARTNERSHIP WITH IATSE LOCAL 210
THE LEGACY CIRCLE
THE LEGACY CIRCLE T
he ESO celebrates an important part of its legacy as it welcomes back Procol Harum, 39 years after their groundbreaking concert and album with us brought the orchestra to an international stage few orchestras achieve. As we prepare for our 60th anniversary season in 2011/12, we are justifiably proud of our entire legacy, one which would not be possible without the generosity of the community we serve. Formerly called The Mozart Society, The Legacy Circle recognizes and honours those who have included the Edmonton Symphony Orchestra and/or the Francis Winspear Centre for Music in their estate plans, or who have made a gift to the ESO or Winspear Centre’s Endowment Funds. We invite you to become members of this very special circle.
Leave A Legacy
A planned gift is a very personal gift tailored to your wishes and needs. By making such a gift to the ESO or the Winspear Centre, you leave a lasting, personal legacy so that future generations may experience the same joy and wonder of orchestral music as you do today.
Benefit From Your Generosity
By including the ESO and/or the Winspear Centre in your future plans and joining The Legacy Circle, you will see the benefits of your generosity right away: • Play an important role in the future of the ESO and Winspear without altering your current lifestyle • Realize attractive tax benefits for you and your loved ones • Join a special group of people who share the same passion for the ESO and the Winspear as you
Join The Legacy Circle
If you have already included the ESO or the Winspear Centre in your plans or you would like to know more about planned giving and The Legacy Circle, please contact us. Elaine Warick,
“To me, great music is timeless. The Edmonton Symphony and the Winspear Centre are a vital part of providing that great, timeless music to our community. I chose to become a member of the Legacy Circle so that my support of these community treasures can be as enduring as the art they bring to us.” ESO & Winspear Centre Board Chair and Legacy Circle member Steven LePoole
Director of Patron Development
Phone: 780-401-2564 Email: firstname.lastname@example.org
glad you asked
Glad you asked… Glad you asked… Where does the
music the ESO plays come from?
e get our music in three main ways. Firstly, we have a lot of scores in our music library – a lot of the core repertoire plus other stuff we play a lot (Christmas music, anyone?). Buying can be more expensive than renting, of course, but if it’s music we’re going to play over and over, it’s worth it. Secondly, we rent what we can’t buy. Rentals are how publishers make money, so a lot of music can only be rented. Rental costs, by the way, are one of the largest costs an orchestra deals with each season. Thirdly – and my particular favourite – we commission. We pay a creative, inspired Canadian to take a blank sheet of paper (well, lots of sheets, actually) and turn it into an amazing piece of music. We are often helped in such endeavours by the generosity of our government partners, such as the Canada Council for the Arts or the Alberta Foundation for the Arts. But when we commission a new work, not only do we have the privilege of being the first to present that work, we hope that we have added to the canon of great music that will be enjoyed well past that first performance. While the core of the repertoire – the music of Bach, Debussy, Tchaikovsky, et cetera – will always form the bedrock for what we do, it is vital that we underscore how fundamental it is that our music is ongoing; it is a living, breathing document that will keep being added to, and I’m going to say more now so my sentence doesn’t end with a preposition.
string players manage to all bows together?
How do the their
e keep a Vulcan locked in the basement, and right before the concert, he comes out and mind melds with the string players to make them work together – simple. Or, maybe it’s more direct than that, and that’s where the Principals of each string section come into it. When a work is chosen, if we own it, we pull it out. If we rent it, we wait for it to arrive (see why I answered the other question first?). Then, our Principals take their part, and mark the bowings in the score. Our ESO music librarian, Sheila Jones, then takes the Principal’s bowed parts, and copies the bowings for the rest of each string section. It’s painstaking work, but crucial to the cohesive sound each section must have.
Got a question? Send us your questions, and we’ll try to answer them in future issues. E-mail email@example.com, or submit them via our Facebook and Twitter links at EdmontonSymphony.com.
Lastly – a very specific one, and thanks to Chuck asking.
In Bugs Bunny’s 1949 cartoon Long Haired Hare, he pretends to be a conductor. When he comes out on stage, everyone in the crowd starts to whisper, “Leopold...Leopold...Leopold.” Who the heck is Leopold?
ith his ears folded behind his head like an elderly man’s haircut, Bugs was doing a pretty good impersonation of the famous Leopold Stokowski – one of the most prominent conductors of an American orchestra at the time – and a figure audiences in 1949 would have recognized in a heartbeat. Stokowski was the conductor in Walt Disney’s Fantasia (1940), and those who remember that movie well might have noticed that Stokowski conducted without a baton. That’s the reason Bugs takes the baton from the other conductor, and haughtily snaps it in two before putting Giovanni Jones (the baritone upon whom Bugs had declared war) through the wringer. And, as a plug, Long Haired Hare is one of the many classical music-oriented Looney Tunes gems to be featured when the ESO presents Bugs Bunny at the Symphony on February 19 & 20, 2011. Tickets are on sale now.
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10/19/10 8:26:36 AM
NOTICE OF MEETING Annual General Meeting of the members of the
Edmonton Symphony Society Monday, November 15, 2010 at 4:30 pm
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10/12/10 3:15:22 PM
O s orchestra
Collectively, this generous group of donors provides annual support and special gifts totalling nearly half a million dollars. To join this group of ESO supporters, please contact Eleanor Finger at 780.401.2578. *Orchestra Circle gifts completely or partially endowed in perpetuity
Honorary Members Raymond J. Nelson *John & Barbara Poole Bill & Mary Jo Robbins Harriet Snowball Winspear Diamond ($25,000+) *Anonymous *Steven & Day LePoole
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The Edmonton Symphony Orchestra wishes to express its gratitude to the following individuals who play an invaluable role in bringing live orchestral music to our community through their annual gifts. “Conductor ($1000 to $1499)” Ed Adams Catherine Andrew Keri Bishop Dr. Len & Mrs. Barb Bistritz Julia Boberg Marion & John Boyd Joyce Buchwald Butler Family Foundation Frank Calder Marguerite & Zbigniew Chrzanowski Jane De Caen Eliza de Jongh Eleanor Finger & G. Rauscher Geoffrey & Kathryn Frisby Michael Gaian Zenia Hawrysh Mr. & Mrs. Emil Hryciw Karon & Jotham Huising D.J. Laurie & Therezinha Kennedy Brian & Mary Knight Dr. George Kubac Dr. Zaheer & Mrs. Salma Lakhani Malcolm & Oryssia Lennie Sheelagh McCourt John R. & Irene McDougall Lorna H McPherson Paul Melancon Dr. Mori-Torres Cal & Edna Nichols Sherry & Jim Noyes Michael Phair Mr. & Mrs. H.G. Sabourin Warren & Elaine Schmitz Eira Spaner Gary & Marlene Tonhauser Ross Undershute Bill & Betty Lou Weir Ruth Wolfe & Ken Gordon Saul Zalik
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Principal ($100 to $249) Alberco Construction Alberta Ukranian Commemorative Society Duncan & Craig LLP Edmonton Tea & Coffee Company Elevate Consulting Investors Group Myrhe’s Music Park Hearing Centre Inc. Seniuk & Company Chartered Accountants
Community Support of the ESO The Edmonton Symphony Orchestra is a registered charitable organization, incorporated under the Societies Act of the Province of Alberta on November 22, 1952. As Canada’s fourth largest professional orchestra, the ESO is financed by ticket sales, grants from government agencies, and by contributions from corporations, foundations, and individuals.
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The ESO gratefully acknowledges the continued financial support provided by the following government agencies and corporate sponsors:
CIBC Adopt-a-Player Program
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through the Winspear Fund
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Nov 24 at 7:30 pm Midweek Classics Haydn’s “Surprise” Symphony
Jan 22 at 8 pm Landmark Classic Masters Concerto for Percussion
Oct 15 at 7:30 pm Friday Masters Fialkowska plays Chopin
Nov 27 at 8 pm Landmark Classic Masters Rolston and Fewer play Brahms
Jan 26 at 7:30 pm Midweek Classics Violin & Viola
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Nov 30 at 7:30 pm Symphony Specials Michael Kaeshammer’s The Days of Christmas
Oct 3 at 2 pm Sunday Showcase The Four Seasons
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Dec 3 & 4 at 7:30 pm Handel’s Messiah Dec 6 & 7 at 7:30 pm Symphony Specials The Canadian Tenors’ Perfect Gift Dec 16 at 8 pm Robbins Lighter Classics Glad Tidings – A Lightly Classical Christmas Dec 17 & 18 at 8 pm Robbins Pops Christmas Pops Dec 19 at 1:30 & 3:30 pm Symphony Specials A Family Christmas Concert
january Jan 8 at 8 pm Landmark Classic Masters Saint-Saëns’ Second Piano Concerto
Jan 28 at 7 pm Flavours of BC’s Naramata Bench
february Feb 11 & 12 at 8 pm Robbins Pops Love Will Keep Us Together Feb 19 at 2 pm & 7:30 pm Feb 20 at 2 pm Symphony Specials Bugs Bunny at the Symphony Feb 22 at 7:30 pm ESO Presents Rafał Blechacz plays Chopin Feb 25 at 7:30 pm Friday Masters Beethoven’s “Eroica” Symphony Feb 26 at 8 pm Landmark Classic Masters Beethoven’s “Eroica” Symphony
March Mar 3 at 8 pm Robbins Lighter Classics Charlie Chaplin’s The Gold Rush
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june Jun 1 at 7:30 pm ESO Presents Pieter Wispelwey, cello Jun 3 at 9:30 pm Late Night with Bill Eddins Late Night 1900s Jun 4 at 8 pm Landmark Classic Masters Prokofiev’s Fifth Symphony Jun 10 & 11 at 8 pm Robbins Pops Hollywood’s Red Carpet Jun 17 at 7:30 pm Friday Masters Ravel’s Daphnis et Chloé Jun 18 at 8 pm Landmark Classic Masters Ravel’s Daphnis et Chloé
may May 7 at 2 pm ESSO Symphony for Kids Al Simmons’ Symphony Party May 9 & 10 at 7:30 pm ESO Specials The Peking Acrobats May 14 at 8 pm Landmark Classic Masters Tchaikovsky’s “Polish” Symphony May 19 at 8 pm Robbins Lighter Classics Tom Allen’s Classical Goodtime Variety Show May 25 at 7:30 pm Midweek Classics Angela Cheng plays Mozart May 29 at 2 pm Sunday Showcase Beethoven’s Third Piano Concerto
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The Canadian Music Centre, Prairie Region celebrates its 30th anniversary in 2010! In the late 1970s Dr. Richard Johnston convinced the University of Calgary to commit office space and the Alberta government to set aside an endowment for the creation of the Canadian Music Centre, Prairie Region office, which opened its doors in February, 1980. Today, with more than 75 associate composers, it is part of Canada’s only organization mandated to house, actively promote and disseminate the music of Canada’s composers. The CMC Prairie Region gratefully acknowledges the efforts of its supporters. We are humbled by their commitment to the CMC and look forward to the next 30 years. www.musiccentre.ca www.facebook.com/#/CanadianMusic
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