GEMMA CONDUCTS SCHUMANN & MENDELSSOHN by Hamilton Philharmonic Orchestra

Clef NOTES

CELEBRATING YEARS

AT FIRSTONTARIO CONCERT HALL

(formerly Hamilton Place)

SEPTEMBER 23, 2023

GEMMA CONDUCTS SCHUMANN & MENDELSSOHN

7:30pm

FirstOntario Concert Hall

Gemma New Conductor

Tony Siqi Yun Piano

SEASON PRESENTER

in-cite

Verb: to stir, to encourage, or urge on to action

The incite Foundation for the Arts is a non-profit organization formed to provide funding to charitable arts organizations in the Hamilton area.

Strong cultural institutions are essential for the economic development and quality of life in any community. Hamilton’s major music, art and theatre institutions as well as the dozens of smaller arts organizations need and deserve the support of our citizens.

The incite Foundation has been funded with generous seed money from private sources. It is hoped that this initiative will incite Hamiltonians to rise to support their cultural life.

“As the soil, however fertile it might be, cannot be productive without cultivation, so the mind without culture can never produce good fruit .”

— Albert Camus

VIOLIN I

Stephen Sitarski, Concertmaster

Concertmaster sponsored by Robert and Ann Glass

Lance Ouellette, Associate Concertmaster

Tamara Hrycak

Cecilia Chang

Lyssa Pelton

Émilie Paré

VIOLIN II

Bethany Bergman, Principal

Suhashini Arulanandam

Elizabeth Loewen Andrews

Philip Sarabura

VIOLA

Chau Luk, Principal

Elspeth Thomson

Brandon Chui

Carolyn Blackwell

Viola Section sponsored by John and Anne North

CELLO

Leana Rutt, Principal

Laura Jones

BASS

Robert Wolanski, Principal Principal Bass dedicated in memory of Samuel Taylor

FLUTE

Leslie Newman, Principal Principal Flute sponsored by Bob and Peggy Savage

Vivian Minden

OBOE

Aleh Remezau, Principal

Nancy Nelson

CLARINET

Michele Verheul, Acting Principal

BASSOON

Eric Hall, Principal

Melanie Eyers

HORN

Jessie Brooks, Principal

Neil Spaulding

TRUMPET

Michael Fedyshyn, Principal

Mary Jay

Brass Section sponsored by Judith and Warren Johnson

TROMBONE

David Pell, Principal

TIMPANI

Jean Norman Iadeluca, Principal

Sponsored by Avedis Zildjian Company, cymbal makers since 1623

HPO 23-24 SEASON MUSICIANS 3

Welcome to the Hamilton Philharmonic Orchestra and our 2023-24 season!

This season we are proud to welcome extraordinary Canadian and international talent to our stage performing cherished masterworks and chart-topping favourites. Known for our passion and commitment to Canadian music, we are thrilled to commission three new works by HPO Composer Fellows and support two Conductor Fellows through Tapestry Opera’s national Women in Musical Leadership Program.

Among the many highlights to come, we will be celebrating Music Director Gemma New in her final season with the HPO and honouring our home, FirstOntario Concert Hall, on its 50th birthday. In this year of celebration and discovery, we look to our future as we continue

our search for a new Music Director who will build on the artistry and commitment to music, community and education that we hold dear.

The HPO is grateful for the vital role you play as an audience member and supporter. On behalf of our musicians, staff and Board of Directors, thank you for joining us. We look forward to seeing you often in the months to come. Please sit back, relax and immerse yourself in the music.

Warmly,

Kim Varian Executive Director

TONIGHT’S MUSICIANS

VIOLIN 1

Stephen Sitarski, Concertmaster

Lyssa Pelton, Acting Associate Concertmaster

Tamara Hrycak

Cecilia Chang

Émilie Paré

Corey Gemmell

Megan Jones

Kate Unrau

VIOLIN 2

Bethany Bergman, Principal

Suhashini Arulanandam

Elizabeth Loewen Andrews

Philip Sarabura

Andrew Chung

Christine Chesebrough

Laurel Mascarenhas

Jennifer Burford

VIOLA

Chau Luk, Principal

Elspeth Thomson

Kent Teeple

Veronica Lee

Cameron Ogilvie

Tristan Macaggi

CELLO

Laura Jones, Acting Principal

Rebecca Morton

Mary Katherine Finch

Amahl Arulanandam

BASS

Robert Wolanski, Principal

Sherri Preuss

FLUTE

Leslie Newman, Principal

Vivian Minden

OBOE

Elizabeth Eccleston, Acting Principal

Nancy Nelson

CLARINET

Max Christie, Acting Principal

Michele Verheul

BASSOON

Joshua Marshall, Acting Principal

Julie Shier

HORN

David Quackenbush, Acting Principal

Neil Spaulding

Iris Krismanic

Christine Passmore

TRUMPET

Michael Fedyshyn, Principal

Mary Jay

TIMPANI

Jean-Norman Iadeluca, Principal

LIAM RITZ

Scherzo

ROBERT SCHUMANN

Piano Concerto

I. Allegro affettuoso

II. Intermezzo

III. Allegro vivace

FELIX MENDELSSOHN

Symphony No. 3, “Scottish”

I. Introduction. Andante con moto – Allegro un poco agitato

II. Scherzo. Vivace non troppo

III. Adagio cantabile

IV. Finale guerriero. Allegro vivacissimo – Allegro maestoso assai

As artists and collaborators, we recognize and respect that music has been performed on this land for generations before this time. These are the traditional lands of the Erie, Neutral, Huron-Wendat, Haudenosaunee and Mississaugas, and within the lands protected by the “Dish with One Spoon” wampum agreement. Hamilton is now home to many diverse First Nations, Inuit and Métis peoples. We honour this land and share it in a spirit of peace, friendship and respect.

TONIGHT’S PROGRAM 6

Gemma New Conductor Tony Siqi Yun Piano

MUSICIAN BIOS

New Zealand-born Gemma New is the Music Director of the Hamilton Philharmonic Orchestra and Artistic Advisor and Principal Conductor of the New Zealand Symphony Orchestra. New is the recipient of the prestigious 2021 Sir Georg Solti Conducting Award.

Summer 2023 saw New make debuts at the BBC Proms with the BBC Scottish Symphony Orchestra and Mostly Mozart Festival at Lincoln Center, and her return to the Hollywood Bowl with the Los Angeles Philharmonic. Rounding out the season, New made Festival appearances including Chicago’s Grant Park Music Festival, Festival de la Chaise-Dieu with Orchestre National de Lyon and Opera Theatre of St. Louis, leading a production of Susannah

During the 2023/24 season, New makes subscription debuts with the London Philharmonic Orchestra, Chicago Symphony Orchestra, Los Angeles Philharmonic, Vancouver Symphony, Orchestre National de France and Bamberger Symphoniker. North

American returns include Atlanta Symphony, Seattle Symphony and Orchestre symphonique de Montréal. Continually in demand in Europe, New makes her debut with the Netherlands Philharmonic Orchestra as well as conducting the Malmö Symphony Orchestra, Orquesta Sinfónica de Barcelona y Nacional de Cataluña, Orquesta Nacional de España, Orchestre de l’Opéra de Rouen-Normandie, Orchestre National Bordeaux Aquitaine and Staatsorchester Hannover.

New previously served as Principal Guest Conductor of the Dallas Symphony Orchestra, Resident Conductor of the St. Louis Symphony Orchestra and Associate Conductor of the New Jersey Symphony. A former Dudamel Conducting Fellow with the Los Angeles Philharmonic and Conducting Fellow at Tanglewood Music Center, she was awarded Solti Foundation U.S. Career Assistance Awards in 2017, 2019 and 2020, before receiving the 2021 Sir Georg Solti Conducting Award.

Gemma New, Conductor GEMMA NEW

MUSICIAN BIOS

Tony Siqi Yun, Piano

TONY SIQI YUN

Following his highly acclaimed subscription debut with the Philadelphia Orchestra performing Robert Schumann’s Piano Concerto under the baton of Yannick Nézet-Séguin in the 2022/23 season, the Canadian-born pianist Tony Siqi Yun makes his subscription debut at Carnegie Hall in 2023/24 with Yannick Nézet-Séguin and Orchestre Métropolitain performing Rachmaninov’s Second Piano Concerto. He first met Maestro Nézet-Séguin in the final round of the inaugural China International Music Competition in 2019, where he went on to win First Prize and a Gold Medal performing Tchaikovsky’s First Piano Concerto. Other recent concerto performances include the Cleveland Orchestra (Tchaikovsky), Toronto Symphony and Orchestre Métropolitain in Montreal (Clara Schumann) and the Orchestre de chambre de Paris (Beethoven).

Tony regularly performs solo recitals in both Europe and North America. Recent and future highlights include his debuts at the Hamburg Elbphilharmonie, Gewandhaus in Leipzig, Düsseldorf, Luxembourg and in North America the Vancouver Recital Society, Stanford Live and Gilmore Rising Stars Series. At the Kissinger KlavierOlymp in 2022, he was awarded two prizes.

Tony has a long-standing relationship with the China Philharmonic Orchestra, touring and appearing as a soloist in the 2019 CCT New Year’s Concert. He has also performed with the Shanghai Symphony Orchestra.

He is a recipient of the Jerome L. Greene Fellowship at the Juilliard School where he studies with Professors Yoheved Kaplinsky and Matti Raekallio.

MUSICIAN BIOS

Jennifer Tung, Assistant Conductor*

JENNIFER TUNG

*Appears courtesy of Tapestry Opera’s Women in Musical Leadership Program

A Dora-nominated conductor (Gould’s Wall), Jennifer Tung is the Artistic Director of Toronto City Opera and Assistant Conductor of the Mississauga Symphony Orchestra. She leads a uniquely versatile career as Music Director, collaborative pianist and soprano. In 2020/21, she joined Tapestry Opera as a conducting fellow in the inaugural year of the Women in Musical Leadership program.

Jennifer debuted with the Hawaii Performing Arts Festival conducting The Mikado in 2017 and has returned to conduct Sweeney Todd and Tragedy of Carmen . In 2019, she debuted with Opera York in La Traviata . She assisted Tapestry Opera and Opera on the Avalon’s joint production of the

Dora Award-winning opera Shanawdithit by Dean Burry and Yvette Nolan. Recently, she conducted the world premiere of Gould’s Wall by Brian Current and Liza Balken, a joint production with the Royal Conservatory of Music and Tapestry Opera.

For the 2022/23 season, she has debuted as guest conductor with Opera McGill’s production of Plaything (Anna Pigorna/Maria Reva – Canadian premiere), Okanagan Symphony Orchestra, Calgary Philharmonic and Kamloops Symphony. In March of 2023, Jennifer will conduct the world premieres of Continuum’s production of the opera Show Room (Rodney Sharman/Atom Egoyan) as well as Tapestry Opera/Obsidian Theatre’s co-production of Of the Sea (Ian Cusson/ Kanika Ambrose).

ABOUT THE WOMEN IN MUSICAL LEADERSHIP

Women in Musical Leadership (WML) is a three-year program designed to develop the next generation of women and non-binary conductors and music directors in Canada. Led by Tapestry Opera with lead orchestral partner Toronto Symphony Orchestra and lead partner Pacific Opera Victoria, the program addresses a historic gender inequity on the podium by providing women and non-binary conductors active mentorship with leading conductors in the field, deep and varied experience with professional companies, and a robust artistic network. The Hamilton Philharmonic Orchestra is a proud mentor orchestra of this program.

50 YEARS AT FIRSTONTARIO CONCERT HALL

Hamilton Place, now known as FirstOntario Concert Hall, opened to the public on September 22, 1973 with the first night of a month-long festival celebrating the monumental occasion. Hamilton Place was a years-in-the-making project that residents, the arts community, businesses and City Hall rallied behind to make the idea a reality. Since 1973, countless artists have performed on the stages of the Great Hall and The Studio, contributing to building a cultural hub in the heart of the city.

THE BEGINNINGS

In 1957, Mayor Lloyd D. Jackson formed a committee of City Hall representatives and private citizens to determine the community’s needs for a new arts centre, its location, and the financial and operational plans.

In the 1960s, the Theatre-Auditorium Foundation was established to raise the needed funds from residents and businesses to make the project a reality.

COMMUNITY FUNDRAISING

At the time, Hamilton was well-known for its steel industry and not much else. In fact, The Globe and Mail called Hamilton “the lunch bucket city” when the building was first announced! This blue-collar image prompted genuine surprise in media reports in the late ‘60s and early ‘70s about the community effort to make a multi-use performing arts building happen.

Employees and union leaders organized payroll deductions at several Hamilton

businesses including Stelco, Dofasco, Otis Elevator Company and the G.W. Robinson Co. department store. This marked the first time that payroll deduction fundraising was done for the arts in North America.

Through workplace fundraising and the sale of shares and bonds to community members, the citizens of Hamilton contributed $2.5 million ($16.5 million today) of the building’s $10 million price tag.

50 YEARS AT FIRSTONTARIO CONCERT HALL

BUILDING HAMILTON PLACE

Hamilton-based architect Trevor GarwoodJones was selected to design the building and the City hired world-renowned acoustician Russell Johnson to ensure the Concert Hall would provide exceptional sound. The first building sketch was released in 1969 and construction began on October 29, 1970, with local company Frid Construction.

In 1971, a debate arose over the type of bricks that would be used. Garwood-Jones

and Johnson agreed that Ohio-made bricks would be the best acoustic choice for the inside of the Great Hall, but some members of City Council felt the project should support the then-hurting Canadian industry. After tense debates and money spent on testing the qualities of each brick, the experts won, and Ohio-made bricks line the walls of the Great Hall. Canadian bricks (some 500,000 of them) were used for the exterior of the building.

OPENING FESTIVAL

The late Boris Brott conducted the HPO on the first night of the 30-day celebratory opening festival, September 22, 1973. The orchestra performed Louis Applebaum’s Place Setting, A Celebration for the Opening of Hamilton Place , which was commissioned for the occasion. “It had a sense of occasion and it brought out some of the best in both the

orchestra and hall,” reviewer John Kraglund wrote for The Globe and Mail about the piece. Hundreds of performers participated in the opening festival, including the Dofasco Male Chorus, Bach Elgar Choir, National Ballet of Canada, Toronto Dance Theatre, many of Hamilton’s cultural groups and international performers like the late Tony Bennett!

LIAM RITZ Scherzo

Born June 15, 1996, in Hamilton, Ontario

This work has its world premiere tonight with the Hamilton Philharmonic Orchestra with Conductor Gemma New. It is scored for pairs of woodwinds, horns and trumpets, with timpani and strings.

In celebration of Ludwig van Beethoven’s 250th birthday, I was commissioned by Canadian-conductor Justin Pambianchi to write a new work to be presented during a cycle of Beethoven’s five piano concertos. Taking this theme into consideration, I decided to centre my piece around one of my personal favourite elements of Beethoven’s work – the scherzos from his symphonies.

In writing my own Scherzo , my approach was to not only highlight the traditional structural elements of this form (A-B-A), but to also allude to some famously Beethovenian musical features. There are references to his musical language scattered throughout the piece, including distant horn calls, abrupt interjections, repetitious use of melodic fragments, and distinct rhythmic motifs that could easily be found within Beethoven’s own work.

Traditionally, a scherzo (from the Italian word, meaning “joke” or “jest”) is characterized as being light, playful and usually quite fast. However, within my own interpretation of this musical form, the “joke” of my scherzo is that it begins incredibly slow and lugubrious. As the piece progresses, the momentum gradually builds, and the distinct Beethovenian elements become increasingly prominent, eventually bursting to the forefront of the musical landscape.

The commissioning of this work was generously supported by the Canada Council for the Arts.

Program Notes provided by Liam Ritz

ROBERT SCHUMANN

Concerto in A Minor for Piano and Orchestra, Op. 54

Born June 8, 1810, in Zwickau, Saxony, Germany

Died July 29, 1856, in Endenich, near Bonn, Germany

This work premiered on December 4, 1845, in Dresden, with Ferdinand Hiller conducting and Clara Schumann as soloist. It is scored for pairs of woodwinds, horns and trumpets, with timpani and strings.

Composer Robert Schumann died in an insane asylum, although some would believe that he belonged there from the beginning. Since he was a teenager, he had an irrational fear of going mad, probably because his father and sister suffered mental disorders, which led to the latter’s suicide at 19. His music often dealt with such subjects, including his song cycle Dichterliebe , in which the singer’s persona skirts the boundaries of madness. As publisher and critic for the Neue Zeitschrift für Musik (New Musical Times) , he wrote under three pseudonyms – Eusebius, the proponent of good taste; Florestan, an eager student who was “in a state of flowering;” and Raro, who related his controversial opinions. Schumann was a composer afraid of insanity, who often wrote on that very subject, and who published writings from his multiple personalities.

Schumann left an unsuccessful stint as a student of law at the University of Leipzig in 1828 and began piano lessons with Friedrich Wieck. After a short break the following year, Schumann took a room in the teacher’s home and attempted to become a virtuoso pianist. Despite an almost debilitating anxiety problem, the 25-year-old man found strength in one

14 PROGRAM

NOTES

thing – his obsessive love for Wieck’s 16-yearold daughter, Clara. Naturally, Wieck objected to this unstable young man’s unnatural obsession with his underage daughter, but Schumann persevered to the point of taking Wieck to court in order to marry Clara. In what must have been an infuriating gesture, the couple wed on September 12, 1840 – one day before her 21st birthday. It was a long marriage with many trials, the most extreme of which was Schumann’s attempted suicide by jumping into the Rhine at Düsseldorf in the winter of 1854. Five days later, he committed himself to an institution where Clara was not permitted to visit. A family friend who Schumann had discovered a few years before, Johannes Brahms, moved in as a long-term houseguest to help Clara with the seven children, one of whom developed a mental disorder in later years.

Despite numerous personal problems, Schumann was one of the most original compositional voices to emerge in the 19th century. His numerous lieder and chamber works are among the most revered and his symphonic works nearly all remain in the orchestral repertoire. However, it was his many pieces for the piano that brought him the most recognition in his lifetime. Clara was his tireless champion, often promoting his music in performance. She continued to champion Robert’s works until her death in 1896.

One of the pieces she performed on a regular basis was his Piano Concerto. Begun eight months after their wedding as a Fantasy, Robert continued to labour over the piece until he decided four years later to expand it into a full-length concerto with the original Fantasy as the first movement. This piece does not just concentrate on flashy virtuosic writing – it is monstrously difficult even though that aspect is not always apparent. The work opens with a rhythmic piano flourish, giving way to a pensive oboe solo, which provides the motto from which the work sprouts. Of note is the inventive development section, which journeys to

remote keys and provides considerable unrest to the proceedings. Schumann’s climactic cadenza is written out as part of the published score, not allowing the practice of including performer-composed cadenzas, as was common practice only a few decades before this work was written.

Bearing the marking Intermezzo: Andantino grazioso , the second movement is a leisurely excursion through long and lyrical melodies with the piano providing interjections along the way. Near the end of the movement, clarinet and bassoon reprise material from the opening of the concerto. This provides a seamless transition to the finale, which begins without pause. Brilliant and waltz-like, the syncopated last movement is filled with the type of effervescent piano writing, tinged with moments of melancholy, which has endeared listeners and performers to Robert Schumann’s music for a century and a half.

FELIX MENDELSSOHN

Symphony No. 3 in A minor, Op. 56 (Scottish)

Born February 3, 1809, in Hamburg, Germany

Died November 4, 1847, in Leipzig, Germany

This work was first performed on March 3, 1842, by the Gewandhaus Orchestra of Leipzig with the composer conducting. It is scored for pairs of flutes, oboes, clarinets, bassoons, four horns,

PROGRAM NOTES

trumpets, with added timpani and the customary strings.

Much attention is given to the remarkably young age at which Mozart composed his earliest works. This has overshadowed the equally amazing talents of the young Felix Mendelssohn. Mozart was forced to tour Europe as a young child, playing for kings, popes and princes. Mendelssohn showed his talent at a similarly young age, so his banker father invested in the best music teachers available for Felix and his musically gifted sister Fanny (who also became a composer of mostly salon music even after marriage, despite the social expectations of the time). As the young Felix composed, he regularly heard his music performed by a private orchestra that played in the Mendelssohns’ Berlin home every Sunday. This invaluable advantage allowed the composer to develop musical identity and adeptness for orchestration before his age reached double digits. 13 early “string symphonies” date from this period – all written before he composed his first numbered symphony at the age of 15.

Felix’s thirst for travel was nearly as great as his love of composition. In fact, he regularly chronicled his journeys in his works. Mendelssohn’s visit to the British Isles in 1829, one of 10 such trips, resulted in the Hebrides (Fingal’s Cave) Overture and the Scottish Symphony . Where the overture reflects Mendelssohn’s impression of a specific grotto, the Scottish Symphony is based more on the composer’s recollection of the journey almost a dozen years after it happened.

The opening of the introduction, while not attempting to depict the scene, was inspired by a visit to Holyrood Castle, where Mary, Queen of Scots, was crowned. Mendelssohn wrote to his family: “In the deep twilight we went to the palace where Queen Mary lived and loved... The adjoining chapel is now

roofless; grass and ivy grow abundantly in it; and before the ruined altar, Mary was crowned Queen of Scotland. Everything around is broken and mouldering, and the bright sky shines in. I believe I found the beginning of my Scottish Symphony there today.”

The short melody he sketched at the ruins appears in the introduction. No actual folk material or Scottish songs appear in the work, but there are occasional stylized melodies that capture some of the Scottish style, and occasional bagpipe-like drones occur. The Third Symphony, the fifth in order of composition but third in publication order, was dedicated to “H.M. Queen Victoria of Great Britain and Ireland.”

After the stately introduction, the Allegro begins with the principal theme in the violins. Mendelssohn derives both themes of this movement from material in the introduction. Foregoing the customary pause between movements, the first movement flows directly into the second – a practice that connects all movements of this work. The bubbly Vivace non troppo assumes the role of a symphonic scherzo but is cast in sonata form. Mendelssohn makes extensive use of the so-called “Scotch snap” – a rhythmic figure consisting of two accented notes, the first very short followed by a longer one.

The Adagio is contemplative with much emphasis on the string ensemble. It has been suggested by several writers that this touching movement might represent the final prayer of Queen Mary. The Finale is full of turmoil with numerous themes organized in a complicated web of a development section. Near the end, the same instruments that played the opening theme of the introduction return to play a final hymn-like melody derived from the opening material, but this time transformed to the bright key of A major.

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The HPO partners with local non-profits providing valuable services that help make our city great. We are thankful for all their hard work and contributions to life, culture and the arts in Hamilton. To show our appreciation, our HPO Gives Back program provides volunteers with complimentary tickets to our concerts so they can experience the magic of live symphonic music in their city.

Supercrawl showcases our community’s cultural vibrancy and eclectic arts landscape, bringing thousands of people into downtown Hamilton. Enthusiastic volunteers are essential to making this free event happen and a vital part of the festival’s ongoing success. We thank all Supercrawl volunteers for their role in highlighting the incredible arts scene that Hamilton has to offer.

The HPO extends its deepest thanks to the individuals and companies whose generous support we rely on to bring the Hamilton region the best in professional orchestral music. Your gifts help unite our community through music. Gifts of $100 or more receive recognition in the HPO Concert Program. Sincere thanks are offered to the following donors whose support was received September 1, 2022 to September 1, 2023.

CONDUCTOR’S CIRCLE

Visionary : $15,000 +

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Estate of Lilojean Frid

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Carolyn Kinsley

LEGACY CIRCLE

Deferred or realized gifts through bequests, life insurance policies, property or charitable annuity.

Callie Archer

The Estate of Margaret Banfield

Richard Bull

Bob and Maggie Carr Fund

The Estate of Cornelia Maria Groep

Carol Kehoe

Julia Kinar

Felice Martinello

Estate of Jane Neysmith

Molly and Mary Proctor Fund

Hamilton Philharmonic Orchestra is a not-for-profit corporation and a registered charitable organization. CHARITABLE REGISTRATION NUMBER 89043 0093 RR0001

MORE INFO

For more information on estate or other gifts please contact Executive Director Kim Varian at 905-526-1677 x 227. The HPO greatly values its donors, and we apologize if we have inadvertently omitted your name. Please contact Lorna Zaremba at 905-526-1677 x226 or lzaremba@hpo.org so we can make any required corrections.

HPO ADMINISTRATION

Staff and Board of Directors, 23-24

BOARD OF DIRECTORS OFFICERS

Heather Beale, Chair

Tony Cipriani, Vice Chair

Cam Beatty, Treasurer

Alex Muggah, Secretary

DIRECTORS

Harwant Garland

Wesley Jamieson

Steve Lloyd

Trish Loomis

Dan MacKay

Dermot Nolan

Spencer Russell

Michael Salvatori

Ashok Sharma

Jennifer Tang

Laurel Trainor

EX-OFFICIO

Michael Fedyshyn, Players’ Rep

Laura Jones, Players’ Rep

Kim Varian, Executive Director

MUSIC DIRECTOR

Gemma New

EXECUTIVE DIRECTOR

Kim Varian

COMPOSER-INRESIDENCE

Abigail Richardson-Schulte

HPYO MUSIC DIRECTOR

David Willms

ARTISTIC ADMINISTRATION AND OPERATIONS

ARTISTIC OPERATIONS MANAGER

Neil Spaulding

PERSONNEL MANAGER

Elizabeth Loewen Andrews

LIBRARIAN

Elspeth Thomson

ASSISTANT LIBRARIAN

Laura Jones

ARTISTIC ADMINISTRATOR

Jennifer Stephen

DEVELOPMENT, COMMUNICATIONS AND EDUCATION

PATRON SERVICES MANAGER

Heather Hollis

DIRECTOR OF DONOR EXPERIENCE

Lorna Zaremba

COMMUNITY ENGAGEMENT MANAGER

Megan Nourse

MARKETING AND COMMUNICATIONS MANAGER

Varinder Nandhra

MARKETING AND COMMUNICATIONS COORDINATOR

Kyla Lacroix Bardsley

MUSIC EDUCATION AND HPYO MANAGER

Megan Benjafield

ADMINISTRATION AND FINANCE

OFFICE ADMINISTRATOR

Gerry Custeau

BOOKKEEPER

Sue Pollon

IT SUPPORT IT Force

FIRSTONTARIO CONCERT HALL STAGE CREW

MEMBERS OF IATSE: LOCAL 129

James Langham, Stage Manager

Greg Kott

Mike Stewart

Brad Stewart

HAMILTON MUSICIANS’ GUILD

Members of LOCAL 293

The Hamilton Philharmonic Orchestra condemns all forms of hate including racism, discrimination and violence of any kind. We recognize our responsibility to ensure our event spaces are welcoming and safe for all members of our community regardless of age, background, skin colour, religion, ability and gender identity.

NEX T ON T HE M A INS TA G E BRI T T EN, VAUGHAN W ILLI AM S & ELG AR

SATURDAY, OCTOBER 21, 2023

FirstOntario Concert Hall

James Kahane, Conductor Aleh Remezau, Oboe

Join the orchestra in an exploration of musical friendships. Britten’s Variations on a Theme of Frank Bridge honours the composer’s mentor and Elgar’s Enigma Variations shares a series of musical sketches inspired by those closest to him. HPO Principal Oboe Aleh Remezau takes centre stage as soloist in Vaughan Williams’ Oboe Concerto.

TICKETS AT HPO.ORG

23-24 TALK &TEA S

Enrich your musical experience with HPO Talk & Tea!

Join us for a hot drink and treats, a sneak peek at rehearsals and a deep dive into music history with our Composer-inResidence Abigail Richardson-Schulte the Friday before our masterworks concerts.

VISIT HPO.ORG TO PURCHASE TICKETS OR A SUBSCRIPTION PACKAGE FOR OUR 23-24 TALK & TEA EVENTS.

HP O SENIORS CONNEC T

Some older adults wish to attend an HPO concert but face barriers including social isolation, physical or financial limitations. Seniors Connect is a program that provides a friendly and supportive environment for older adults to join their peers at select HPO mainstage concerts at FirstOntario Concert Hall. Tickets can be provided to participants with financial barriers and transportation arrangements are available. Participants and volunteers meet before concerts for light refreshments and conversation before watching the performance together.

IF YOU KNOW SOMEONE WHO WOULD BENEFIT FROM THIS PROGRAM, PLEASE CONTACT OUR COMMUNITY ENGAGEMENT MANAGER AT MNOURSE@HPO.ORG.

GEMM A NE W NINE YE ARS WITH

Our 23-24 season is Gemma New’s ninth and final year as HPO’s Music Director and we are deeply honoured to have shared nearly a decade together growing the orchestra in size and stature.

Gemma’s commitment to artistic excellence and passion for the orchestra’s role in the community has been evident in her programming and performances at the HPO. During her tenure, Gemma has grown the HPO artistically, expanded the number of core musicians and developed programs to include more contemporary music, especially highlighting Canadian talent.

Under her leadership, she initiated the Intimate & Immersive new music series, supported our Conductor and Composer Fellowship programs and welcomed superb Canadian soloists to Hamilton.

Gemma has also deepened the HPO’s education and community collaborations with Hamilton-based organizations such as the Bach Elgar Choir, Hamilton Children’s Choir, Supercrawl, The Hamilton Music Collective and McMaster University.

“Gemma is one of the finest conductors that I’ve had the honour and pleasure to have collaborated with in my career,” says HPO Concertmaster Stephen Sitarski. “She has a rare combination of intellect and passion, with a true understanding of how to obtain excellent performances.”

We will cherish this last season with Gemma, and we look forward to her returning to Hamilton as a dear friend and guest conductor of the HPO for many years to come.