ClefNOTES
OCTOBER 21, 2023
BRITTEN, VAUGHAN WILLIAMS & ELGAR
SEASON PRESENTER
7:30pm
FirstOntario Concert Hall
James Kahane
Conductor
Aleh Remezau Oboe
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
HPO 23-24 SEASON MUSICIANS
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
BASSOON
BASS
HORN
Leana Rutt, Principal Laura Jones
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
Eric Hall, Principal Melanie Eyers
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 C ompany, cymbal makers since 1623
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WELCOME TO OUR 23-24 SEASON
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.
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,
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, during its 50-year anniversary. In this year of celebration and discovery, we look to our future as we 4
Kim Varian Executive Director
TONIGHT’S MUSICIANS
VIOLIN I
Stephen Sitarski, Concertmaster Cecilia Chang, Acting Associate Concertmaster Lyssa Pelton Tamara Hrycak Corey Gemmell Megan Jones Kate Unrau Patrick Goodwin Natasha Penny
VIOLIN II
Bethany Bergman, Principal Suhashini Arulanandam Elizabeth Loewen Andrews Philip Sarabura Andrew Chung Christine Chesebrough Kathryn Sugden Laurel Mascarenhas Paul Earle
VIOLA
Chau Luk, Principal Elspeth Thomson Kent Teeple Veronica Lee Clara Nguyen-Tran Cameron Ogilvie
CELLO
HORN
Laura Jones, Acting Principal Rebecca Morton Mary-Katherine Finch Drew Comstock Amahl Arulanandam
David Quackenbush, Acting Principal Neil Spaulding Timothy Lockwood Courtney Prizrenac
BASS
Michael Fedyshyn, Principal Mary Jay Matheus Moraes
Hans Preuss, Acting Principal Sherri Preuss Natalie Kemerer
FLUTE
Les Allt, Acting Principal Vivian Minden
OBOE
Aleh Remezau, Principal Nancy Nelson
CLARINET
Max Christie, Acting Principal Margaret Gillie
TRUMPET
TROMBONE
David Pell, Principal Nathan Fanning Peter Collins
TIMPANI
Jean-Norman Iadeluca, Principal
PERCUSSION
Stefan Kitai Ernie Porthouse Lori West
BASSOON
Joshua Marshall, Acting Principal Julie Shier William Cannaway
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TONIGHT’S PROGRAM
James Kahane Conductor
BENJAMIN BRITTEN Variations on a Theme of Frank Bridge*
Introduction and Theme Variation I. Adagio Variation II. March Variation III. Romance Variation IV. Aria Italiana Variation V. Bourrée classique Variation VI. Wiener Walz Variation VII. Moto perpetuo Variation VIII. Funeral March Variation IX. Chant Variation X. Fugue and Finale
VAUGHAN WILLIAMS Oboe Concerto
I. Rondo Pastorale. Allegro moderato II. Minuet and Musette. Allegro moderato III. Finale, Scherzo. Presto – Lento – Presto
INTERMISSION * Players Choice
Aleh Remezau Oboe
KATHRYN KNOWLES (23-24 COMPOSER FELLOW) A Strange and Preposterous Affair**
EDWARD ELGAR Enigma Variations
Theme (Andante) Variation I. L’istesso tempo (C.A.E.) Variation II. Allegro (H.D.S-P.) Variation III. Allegretto (R.B.T.) Variation IV. Allegro di molto (W.M.B.) Variation V. Moderato (R.P.A.) Variation VI. Andantino (Ysobel) Variation VII. Presto (Troyte) Variation VIII. Allegretto (W.N.) Variation IX. Adagio (Nimrod) Variation X. Intermezzo: Allegretto (Dorabella) Variation XI. Allegro di molto (G.R.S.) Variation XII. Andante (B.G.N.) Variation XIII. Romanza: Moderato (* * *) Variation XIV. Finale: Allegro Presto (E.D.U.) I ** World premiere
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. 6
MUSICIAN BIOS
James Kahane, Conductor
A refined and passionate conductor, James S. Kahane has been invited to lead many first-class orchestras such as the Israel Philharmonic Orchestra, the Finnish Radio Orchestra, the Helsinki Philharmonic Orchestra, the Lucerne Festival Strings and the Gstaad Festival Orchestra. He is a founding member as well as Principal Conductor of the Helsinki Chamber Orchestra, which started in 2018. He was also appointed Principal Conductor of the Orchestre de chambre de la Drôme in 2023. At the age of 21, he was appointed as Susanna Mälkki’s Assistant Conductor at the Helsinki Philharmonic Orchestra, a position he held until fall 2018. At 19 years old, James was accepted to Sakari Oramo’s renowned conducting class at the Sibelius Academy. At the same time, James has benefited from the teaching of major conductors such as Paavo Järvi, David Zinman, Peter Eötvös, Matthias Pintscher, Sir Roger Norrington, John Storgårds, Mikko Franck, Leif Segerstam, Johannes Schlaefli, Nicolas Pasquet, Yoav Talmi, Colin Metters, Adrian McDonnell and Jorma Panula. Among the orchestras he has subsequently conducted are the Orchestre symphonique de Mulhouse, the Lahti Symphony Orchestra, the Ostrobothnia Chamber Orchestra, the Tapiola Sinfonietta, the Jyväskylä Sinfonia, the St. Michael’s String Orchestra, the Triangle Orchestra, the Orchestre de la Francophonie, the Glasperlenspiel Sinfonietta, the Pori Sinfonietta, the Joensuu City Orchestra, the Järvi Academy Symphony Orchestra, the Lithuanian State Orchestra and the Rehovot Symphony Orchestra,
JAMES KAHANE the Miroirs Etendus ensemble, the NYKY ensemble, the Hurra Baroque Orchestra, the Sibelius Academy Baroque Orchestra and the Buchmann Mehta Academy of Music Contemporary Ensemble. 7
MUSICIAN BIOS
Aleh Remezau, Oboe
Canadian oboist Aleh Remezau is renowned for his “sensuous and exuberant” performances (Millbrook Independent) and “incredibly expressive” playing (Vancouver Sun). After joining the Hamilton Philharmonic in 2020 as Principal Oboe, Remezau’s playing has been highlighted in major orchestral works. During his first season, he was a featured musician on the orchestra’s video broadcasts of Mozart’s Oboe Quartet and Tomasi’s Evocations. Having established himself as a sought-after orchestral musician, he has appeared with New York Philharmonic, Toronto Symphony Orchestra, National Arts Centre Orchestra, National Ballet Orchestra of Canada and Kitchener-Waterloo Symphony. He has also been guest Principal Oboe with City of Birmingham Symphony Orchestra, Canadian Opera Company and Winnipeg Symphony Orchestra. While in New York City, Remezau has performed numerous times with the New York Philharmonic under the baton of world class conductors including Jaap van Zweden, Manfred Honeck, Esa-Pekka Salonen and others. With Alan Gilbert, he can be heard on their 2017 Grammy nominated recording of Rouse’s Symphony No. 4. Remezau has performed extensively as an active chamber musician in festivals including the Scotia Festival, Sweetwater Music Festival and Ottawa Chamberfest. As a member of The Happenstancers, an adventurous Torontobased chamber ensemble, Remezau has brought “considerable virtuosity” (John Gilks, operaramblings) to works for English horn by Knussen and Carter. He has also performed as pit musician on Broadway’s musical Wicked, as well as the Shaw Festival. 8
ALEH REMEZAU
MUSICIAN BIOS
Kathryn Knowles, 23-24 Composer Fellow
ABOUT THE HPO COMPOSER FELLOWSHIP PROGRAM
The HPO’s Composer Fellowship Program engages Ontario-based early-career composers through artistic and professional mentorship with HPO musicians, staff and artistic leadership. The Composer Fellowship program is facilitated in collaboration with the Ontario Region of the Canadian Music Centre. This program is a tuition-free training opportunity connecting composers with professionals in the orchestral world to nurture and develop new skills and expand their knowledge of the business side of musical composition. Each Composer Fellow creates a new work, with mentorship from HPO Composer-in-Residence Abigail Richardson-Schulte, that is performed and recorded by the HPO.
KATHRYN KNOWLES Kathryn Knowles is a composer, cellist, conductor, and writer currently based in Toronto, Ontario. Her compositions have been played in workshops by the Toronto Symphony Orchestra, the New Orford String Quartet, and the Penderecki String Quartet. Her most recent piece, Dreams of Hope, was commissioned by Joseph Petric and funded by the Canada Council for the Arts. She is currently collaborating with Morgan-Paige Melbourne to write a musical titled Between Fires, also funded by the CCA.
Kathryn has performed and recorded with Juno-nominated singer-songwriter Lindsay Schoolcraft, and she recorded tracks for an upcoming album by the Juno-winning band, OKAN. Her poetry and short stories received honourable mention in the Writer’s Digest 89th Annual Writing Competition, and her debut fantasy trilogy, The Quiescence Trilogy, is available for purchase now. In addition to this, Kathryn is also a Centre Director with Sistema Toronto, the Music Director of Music4Life String Orchestra, and the Founder of Mad Endeavour. 9
PROGRAM NOTES
BENJAMIN BRITTEN
Variations on a Theme of Frank Bridge, Op. 10 Born November 22, 1913, in Lowestoft, England Died December 4, 1976, in Aldeburgh, England
This work was premiered in August of 1937 at the Salzburg Festival by the London String Orchestra conducted by Boyd Neel. It is scored for string orchestra. Henry Purcell, England’s first great composer, died in 1695. It was not until two centuries later that Britain would produce another composer of undoubted merit. Some may argue in favour of Handel, but while most of his music was written in England, he was a German writing in the Italian style. Others will be quick to mention Edward Elgar, and rightly so, but his output was largely in oratorio and symphonic music. In Benjamin Britten, England produced a composer of all musical genres, from opera to symphony, and from chamber music to a short-lived Broadway show. In 1937, Britten wrote the score for a film entitled Love from a Stranger. The conductor for that project was Boyd Neel, Music Director of the London String Orchestra. Neel admired Britten’s score and realized that he had a unique opportunity to solve a problem. His London group had been invited to perform at the 1937 Salzburg Festival that summer, but they were required to premiere a work by a British composer. Neel commissioned Britten to fill that requirement.
Britten composed quickly completing the piece in just 10 days between June 5 and June 12. It was the first of his works to gain international attention. After a brief introduction, Britten states the theme and proceeds to craft 10 variations followed by a Finale. In this work, he shows his adeptness to compose in different musical idioms, but he also reflects on different aspects of Bridge’s personality and moral compass. In the Finale, Britten quotes four additional themes by Bridge. The sections of the work are as follows, with Bridge’s corresponding aspects listed after the title:
Introduction and Theme Variation 1 – Adagio, depth Variation 2 – March, energy Variation 3 – Romance, charm Variation 4 – Aria Italiana, humour Variation 5 – Bourée Classique, tradition Variation 6 – Wiener Walz, enthusiasm Variation 7 – Moto perpetuo, vitality Variation 8 – Funeral March, sympathy Variation 9 – Chant, reverence Variation 10 – Fugue and Finale, skill and dedication ©2023 Orpheus Music Prose & Craig Doolin
Britten chose to honour his mentor, Frank Bridge. The work was entitled Variations on a Theme of Frank Bridge and uses the theme of the second movement of Bridge’s 1906 Three Idylls for String Orchestra as a starting point. 11
PROGRAM NOTES
RALPH VAUGHAN WILLIAMS
Concerto in A minor for Oboe and Strings
Born August 12, 1872, in Down Ampney, Gloucestershire, England Died August 16, 1958, in London, England This work was first performed on September 30, 1944, in Liverpool Philharmonic Hall by the Royal Liverpool Philharmonic Orchestra with Léon Goossens as soloist conducted by Malcolm Sargent. It is scored for solo oboe and strings. Ralph Vaughan Williams was one of the first major composers to earn advanced college degrees in music. Receiving a doctorate in music from Cambridge in 1901, education was important to him, but he was most satisfied learning from the uneducated. He discovered a deep truth in the songs of British commoners, setting out in 1905 to collect folk songs in the English countryside. These poignant and tuneful discoveries would form the basis for many of his compositions. An English nationalist in many ways, Vaughan Williams joined the army during WWI even though he was 42 years old. His uniquely personal musical style often draws upon the elements of folksong. Rejecting classical symphonic forms (Sonata-Allegro, Rondo, etc.), he reinvented musical structures to fit his needs, all the while sounding quite traditional. Clearly defined melodies are central to Vaughan Williams’ music, often using the pentatonic scale found in folk music the world over. His harmonies, although suffused with considerable dissonances, rarely project a grating quality. Central to his music is the 12
use of church modes, favoured by many young composers at the time. The work was scheduled to premiere in 1944 at Queen’s Hall in London, but the concert was canceled as the hall was bombed by the German Luftwaffe. Not to be kept down by acts of war, Vaughan Williams scheduled another date, this time in Royal Albert Hall at a Proms Concert. History repeated itself and bombing again canceled the premiere. The work was finally performed in Liverpool on September 30, 1944. Its Proms premiere did not occur until 1990. Vaughan Williams’ Oboe Concerto opens with a “Rondo pastorale” in which discarded portions of his Fifth Symphony appear. A rising figure opens the movement before the oboe melody enters. A series of cadenzas follow, and the oboist introduces a lively tune. The next section uses an angular staccato melody, but the movement ends quietly. The second movement is a classical Minuet, but Vaughan Williams’ approach is far from traditional. He must have been drawn to aspects of the double reed timbre because this movement expertly mimics the musette, a type of accordion. Drones in the strings complete the impression. Undoubtedly the most significant movement of the concerto is the Finale. Opening as a Scherzo, the movement transitions to a hymn-like theme. The composer becomes more adventurous in his harmonic palette as he introduces the two cadenzas of this movement. After a lilting theme, the oboe returns to the Scherzo music. A languishing melody appears before the rising theme that opened the concerto comes back to round out the work with a final poignant moment. ©2023 Orpheus Music Prose & Craig Doolin
KATHRYN KNOWLES
A Strange and Preposterous Affair
Born in 1992 in Kingston, Ontario, Canada This work commissioned by the HPO through the composer fellowship program receives its world premiere at tonight’s concert. It is scored for piccolo, flute, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion and strings. Commissioned by the Hamilton Philharmonic Orchestra, A Strange and Preposterous Affair is a tribute to the great, and sometimes difficult, changes we experience in life. It is inspired by the composer’s recent experience grappling with personal change and feeling her identity evolve into something new. She sees this piece as a moment of reflection — a commentary on the experience where she could embrace and celebrate the confusion and chaos of the process, ultimately recognizing the conflicting absurdity and triumph of life’s little evolutions. Centered in two contrasting keys, the music presents a struggle between two different themes and ideas. The trumpet opens with the first theme, loud and confident — settled in the comfort and security of familiarity. But the second theme betrays a sense of yearning — wondering what other possibilities might exist. Throughout the piece, the two themes struggle against each other in a battle for dominance to see who will triumph — which version of yourself is really you?
and expand, playing around with different keys and metres, and merge together, where they take turns serving as both melody and countermelody. This struggle continues until the triumphant revelation of both themes together at the end: change is not about becoming something new at the expense of what came before; it is about the moment where the past and the future meet and begin to blend. Change is absurd and uncomfortable. It can be unexpected and overwhelming, but it can also be exciting, fulfilling, and ultimately so worthwhile.
A Strange and Preposterous Affair It is a strange and preposterous thing, this change I’m living. At times it creeps and crawls, consuming me in increments; it re-invents and then, by leaps and bounds, it lurches, hurling, twirling, whirling me into the chaos of growth unbidden. I grasp at safe familiarity with routine fear, dazed by the shades of a future I can’t yet perceive. It is a strange and preposterous thing, to consciously supplant myself and bask in the confounding turmoil of not knowing — the chaos of unknowing. The uncanny duality of growth and loss distorts reality, threatening to end as it begins — or begin as it ends — and swirl, forever tangled, as I dare to reimagine my identity. ~ Kathryn Knowles
As the music progresses, each theme begins to take on aspects of the other; they stretch
Program notes by Kathryn Knowles 13
PROGRAM NOTES
SIR EDWARD ELGAR
Variations on an Original Theme, “Enigma”, Op. 36 Born June 2, 1857, at Broadheath, near Worcester, England Died February 23, 1934, in Worcester, England This work was first performed on June 19, 1899, in St. James Hall in London, England, with Has Richter conducting. In addition to solo violin, it is scored for piccolo, two flutes, two oboes, two clarinets, three bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion, organ (optional), and strings. Sir Edward Elgar is considered by many to have been the quintessential English composer. His music is filled with the stirring themes that make one think of all the pomp of circumstance of coronation, the beauty of the English countryside, and the reserved sophistication that represents British-ness in the minds of many. However, his own countrymen were slow to accept his music. He was nearly 50 years of age before his reputation was sealed with the premiere of one work – the Enigma Variations. As many have explained, there are actually three puzzles in this work. Elgar’s main theme, which returns in various guises throughout the work, is entitled “Enigma,” but no solution is given as to its meaning. Most scholars believe that the puzzle is simply a musical setting of the rhythm of the composer’s own name. Elgar’s other two enigmas are perhaps best explained using his own words: “It is true that I have sketched for their amusement and mine the idiosyncrasies 14
of fourteen of my friends, not necessarily musicians, but this is a personal matter and need not have been mentioned publicly. (The initials, however, appear in the printed score.) The variations should stand simply as a ‘piece’ of music. The Enigma I will not explain. Its dark saying must be left unguessed and I warn you that the apparent connection between the variations and the theme is often of the slightest texture. Further, through and over the whole set another and larger theme ‘goes,’ but is not played. So the principal Theme never appears, even as in some late dramas – e.g. Maeterlinck’s L’Intruse and Les Sept Princesses – the chief character is never on the stage.” As to the larger enigma, it remains unsolved. However, the smaller puzzle of connecting initials to Elgar’s friends was cracked by the composer himself when he revealed the solution in 1920. Presented below, each musical variation reflects certain defining characteristics of each of its subjects. Variation I (C.A.E.): Caroline Alice Elgar was the composer’s wife. The tender and sentimental quality of this variation blends seamlessly with the theme. Variation II (H.D.S-P): Elgar’s friend Hew David Steuart-Powell was a pianist who played trios with Elgar (violin) and Basil G. Nevinson (cello). The pianistic type of runs in the violins at the opening suggests the exercises of Steuart-Powell, warming up his fingers. Variation III (R.B.T.): Richard Baxter Townshend was an actor whose voice was capable of unusual changes of pitch. He was also known for his incessant ringing of a bell as he rode a tricycle around Oxford. Upper strings and woodwinds state the variation, followed by growling basses.
Variation IV (W.M.B.): R.B.T.’s brother-in-law, William Meath Baker, was a man of great energy and one fiery in argument. His eccentricities, especially his habit of slamming doors in anger, are expressed in this musical portrait, relying on brass and heavy timpani. Variation V (R.P.A.): Richard Penrose Arnold, son of Matthew Arnold, was a man of changing moods and comic witticisms. His characteristic laugh is heard in this variation. Variation VI (Ysobel): Isabel Fitton was a very tall viola student for whom Elgar wrote a set of practice exercises. Both the exercise and her stature are reflected in this violacentric variation. Variation VII (Troyte): Arthur Troyte Griffith was an architect who designed Elgar’s house at Malvern. He was a man of excitable and tempestuous temperament, who dabbled as an amateur pianist. Elgar gave noble effort to help this dear friend learn to play the instrument, but these efforts led inevitably to an exasperated slam of the keyboard lid. Variation VIII (W.N.): Elgar’s neighbour, Winifred Norbury, is honoured with a variation that pays homage to her gracious old-world courtesy. It leads without pause to the most famous of Elgar’s variations. Variation IX (Nimrod): This most eloquent of all the variations is a tribute to the composer’s close friend, A.J. Jaeger, editor of The Musical Times and adviser to the firm of Novello, which published many of Elgar’s compositions. (In German “Jaeger” means “hunter – thus the reference to “Nimrod” the mighty hunter.) Variation X (Dorabella - Intermezzo): Dorabella refers to Miss Dora Penny, the daughter of a local parson. Elgar favoured
the nickname “Dorabella” because of the reference to the bright practicality of Mozart’s character in Cosi fan tutte. Even her pronounced stammer is reflected in this variation. Variation XI (G.R.S.): Dr. George Robertson Sinclair was the organist of Hereford Cathedral, who was also known for his loveable bulldog named Dan. The chordal brass suggests the sound of the organ, while the playful and puckish string writing represents Dan. A delightful story relates how Dan rolled down the bank of the River Wye, only to swim upstream to the shore where he barked loudly. Variation XII (B.G.N.): Basil G. Nevinson was cellist who played in Elgar’s piano trio. Elgar described this variation as “a tribute to a very dear friend whose scientific and artistic attainments, and the wholehearted way they were put at the disposal of his friends, particularly endeared him to the writer.” Variation XIII (***): The original inscription of a trio of asterisks was later found to mask a reference to Lady Mary Lygon, who was at the time en route to Australia. For the intimate group of friends to even hope to understand the reference, Elgar inserted a clarinet solo with a phrase from Mendelssohn’s Calm Sea and Prosperous Voyage. The pulse of drums are said to represent the hum of the ship’s engines. Variation XIV (E.D.U.): The Finale, elaborate and heavily orchestrated, is both a self-portrait and a musical culmination. (“Edoo” was the composer’s wife’s nickname for her husband.) The work ends in a broad presentation of the theme in a stately major key. ©2023 Orpheus Music Prose & Craig Doolin
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23-24 SEASON SUPPORTING PARTNERS
GOVERNMENT FUNDERS
SEASON PRESENTER
PROGRAM SPONSORS
Turkstra Family ALAN & MARLIES CLARK F O U N D A T I O N
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COMMUNITY PARTNERS
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EDUCATION SPONSORS EDITH H. TURNER FUND
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MARTIN FOUNDATION FUND
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Darrell Leighton, Art Director L8TON Design
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COMMUNITY BUILDING HPO GIVES BACK: HAMILTON OUT OF THE COLD
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 well-being 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. Celebrating 25 years of service this year, Hamilton Out of the Cold (HOOTC) provides hot, nutritious meals for those in need in the Hamilton community. Served with dignity and compassion, HOOTC is a volunteer based, low barrier program sustained by donations of both money and food from foundations, local groups, businesses and individuals. We thank HOOTC volunteers for all the hard work they do to support and feed vulnerable community members.
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SALUTE TO OUR DONORS
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 October 1, 2022 to October 1, 2023. CONDUCTOR’S CIRCLE Visionary : $15,000 + Bob and Maggie Carr Alan and Marlies Clark Family Fund at Hamilton Community Foundation incite Foundation for the Arts Dr. and Mrs. Harvey and Mona Levenstein Turkstra Family Benefactor: $10,000 to $14,999 Clark Family Foundation at Hamilton Community Foundation John and Elizabeth Heersink Audrey and Alan Moffett Fund at Hamilton Community Foundation Dr. Waldemar A. Pieczonka Bob and Peggy Savage Foundation Edith Turner Foundation at Hamilton Community Foundation Patron: $5,000 to $9,999 Adam and Olive Clark Memorial Fund at Hamilton Community Foundation Mildred Dixon Holmes at Hamilton Community Foundation Bob and Ann Glass Brenda Kerr and Karen Trebilcock Milne McGrath Fund at Hamilton Community Foundation Schwenger Family Foundation Sam Taylor Family Applause: $2,500 to $4,999 Martin and Sheelah Dooley Judy and David Goodings Dr. Peter Macdonald Judith McCulloch and Richard Bethune Gemma New Dermot and Tam Nolan James and Louise Stokes Dr. Michael Taylor 18
Robin Taylor Doug and Debbie Welland Leader: $1,000 to $2,499 Dennis and Patricia Baker Doug and June Barber Rita and Tony Cipriani David and Dianne Conrath Jean Crowe Ellaline Davies Dawn Davis and David Harris Kevin and Karen Dore Sarah and Matt Goodman Harbinger Foundation Dr. Joan B. Heels John and Anne Hibbs Derek Hrynyshyn and Stephanie Ross Wesley and Luisa Jamieson Judith and Warren Johnson Karyn Kaufman Julia Kinar Mrs. Louise Kot Colleen and Larry Kurtz Stephen Lloyd and Anne Boyle Janice and Jim Locke Alex Muggah John Naismith Lenora Newman Abigail Richardson-Schulte and Michael Schulte Dr. and Mrs. Michael and Mary Romeo Ashok and Suman Sharma Storjohann Family Laurel Trainor and Taras Babiak Diana Weir and Dr. Mathew Mercuri Henk Wondergem FRIENDS OF THE ORCHESTRA Ambassador: $500 to $999 Alberici Constructors, Ltd. Jan and Gary Boomgaardt Dennis and Jacqueline Carson
Mike Colyer Warren and Jean Currie Mike DeVillaer Dr. Patricia Fink and Mr. Michael O’Neill Lydia Garland Erica Giese Barbara Hindrichs and David Willms Robert and Barbara Hollenberg James and Jean Keenleyside Carolyn Kinsley Miriam Kramer Ananth Kumar Janet E. Long Shirley MacDougall Janice M. Muirhead Neil Spaulding Anne Tennier Ruth Todd Paul and Kim Varian Dan Yuzwa Supporter: $250 to $499 Callie Archer Susan Barton-Tait and Robert Tait Heather Beale L Haynes Sandra Black Scott Brooks Margaret Cunningham Tom Flemming Kerr and Alison Gibson Dr. William and Lynn Hryniuk Cheryl Main Nancy Martin Don and Karen McClellan Peter and Beverley Mitchell Joyce Neal Anne and John North Anita and Yu Peng Ron Pesowsky Shirley Picken Beverly and Robert Shepard Ruth Simmons Bill and Cynthia Wilkinson Lyre Music - Danuse L. Vrba
Friend: $100 to $249 Monica Admiral Stanley Alama and Lia Bronsard Chris Allan J & S Armstrong Marilyn Bar-Or Patricia G. Barton Margaret Beale Alain Beaudin and Jennifer Bonner Elizabeth Beckett John and Donna Bellsmith Robert and Susan Bowman Donald Bradford Jennifer Brasch and Kirt Cushnie Rowena Broad Ruth Brooks Donald and Ruth Burney Joyce and Rick Butler Janet E. Cannon Anne Childs Maggie Collins Ken Cruikshank Catherine Demers Sonja DePauw and Dave Morgan Pat and Roy Dickinson Ronald Dunn Peter and Valerie Elton Lise and Harvey Feit Dave and Elsa Ferguson Pat Chow-Fraser and Noel Fraser Dr. Irwin and Mrs. Sandra Fuss Greg Gill Erica Goodman Susan Hill and Ron Barrett Michael Holmes Sebastien Hotte and Kathryn Webert Barbara Howard Mary Anita Hritzun Ann and Roger Ivol Mirdza Jaunzemis Ms. Catherine Jeanes James Johnson Dorothy Jolliffe Carol Kehoe Emma Keoghan and Anton Ryan Katharine R Kingsmill Paul Lakin 19
SALUTE TO OUR DONORS
Winston and Suzanne Lindsay Michael Macky MaryEllen Maniaci Peter Mascher and Doris Stevanovic James J McCracken Doreen McGahey Gordon and Angie McNulty Anita Millman Douglas Gordon Morton Rebecca Morton Frances Neufeld Brenda O’Connor Elizabeth and Diana Michael Patterson Deborah Peace David and Mary Ann Pearson Elizabeth Petch Kathy Pfeiffer Port Nelson United Church Choir Fridays Lori Regenstreif Robert Rivers and Nan Rivers Laura Robertson Kelly Rowe Michael and Sabine Vicki Scott The Senior Family Eric and Edna Subesa Leslie and Julianna Szoke Patricia Tarbutt Paul Jerome Taylor Angela Tiberi Bin Bing Wang Glenn Welbourn Kathleen and Don Baba Willison Lisa J. Willms
Thomas Willms Donald and Jennifer Wray Anonymous (22) IN MEMORY Veronica Barnes Diana Emery Volkmar Hindrichs Ann Howard Thomas and Mary Kinar Francis and Gordon Lovett Eric Medhurst Florence Pearson IN HONOUR Maggie Carr Jean Norman ladeluca Carolyn Kinsley LEGACY CIRCLE Deferred or realized gifts through bequests, life insurance policies, property or charitable annuity. Callie Archer The Estate of Margaret Banfeld 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. 20
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. 21
23-24
TALK &TEAS 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.
CELEBRATE
THE FESTIVE SEASON WITH THE HPO!
SATURDAY, DECEMBER 9 AT 3PM FirstOntario Concert Hall
The classic children’s story The Hockey Sweater comes to life on stage with Abigail Richardson-Schulte’s orchestral work by the same name! We are honoured to have the author Roch Carrier join us as guest narrator, and to accompany his words with original illustrations by Sheldon Cohen. The Hamilton Children’s Choir and Hamilton Philharmonic Youth Orchestra will also warm our hearts performing holiday favourites with the HPO!
TICKETS AT HPO.ORG
NINE YEARS
WITH
GEMMA NEW 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.
DISCOVER YOUR ORCHESTRA IN
VISIT HPO.ORG TO SUBSCRIBE TO OUR SEASON WITH A 3, 5, OR 7-CONCERT PACKAGE!
SIBELIUS & DVOŘÁK
NOVEMBER 11, 2023 AT 7:30PM
HOLIDAYS & THE HOCKEY SWEATER
DECEMBER 9, 2023 AT 3:00PM
THE MUSIC OF QUEEN
JANUARY 20, 2024 AT 7:30PM
MOZART, STRAUSS & EVANGELISTA
FEBRUARY 10, 2024 AT 3:00PM
BARBER, RAUM & COPLAND
MARCH 23, 2024 AT 7:30PM
RACHMANINOFF & TCHAIKOVSKY
APRIL 20, 2024 AT 7:30PM
GEMMA CONDUCTS BEETHOVEN 9
MAY 4, 2024 AT 7:30PM