PIANO | FESTIVAL | COMPETITION
FESTIVAL
7 TO 10 SEPTEMBER 2017 | CALGARY CANADA
The Complete Artist.
Nexen invests in the arts so that families, friends and communities can experience performances that enrich our lives. We proudly support the 2017 Honens Festival so we can all share in the connection and inspiration music provides.
A new energy
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GREETINGS ABOUT HONENS FESTIVAL PROGRAM GUEST ARTISTS IN THE COMMUNITY ODDS & ENDS APPLAUDS
Thanks
Honens applauds the corporate, media and arts partners, foundations, public funders, and suppliers that make the 2017 Honens Festival possible.
Presenting Partners Festival
Competition, A440 & Bison Noir
Lead Partners Laureate Circle
Design
Supporting Partners Artist Development Program
Cecilia String Quartet & Luca Buratto
SIR JACK LYONS CHARITABLE TRUST
Principal Partners Official Piano Supplier
Official Piano Supplier
Program Partners Storytellers & Masterclasses
Laureate Circle, Calgary
Laureate Circle, Ottawa
Bison Noir
Partners
Media
Hotels
Foundations & Public Funders
The Righteous Muse wine company is a committed and proud sponsor of the Canadian arts community. The Honens Festival is a favourite of ours whose values we enthusiastically share.
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Thank you For enjoying the fruits of our labour
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Empowering Artists. As Honens National Laureate Circle Partner, TransAlta supports emerging artists as they bring new and inspiring performances to audiences around the world and take their careers to the next level.
Empowering the dreams of rising musicians. TA_Honens festival Ad_v4.indd 1
2017-07-18 11:52 AM
MESSAGE FROM THE PRESIDENT Dear Honens Family, It was scarcely one year ago that I stood in the back of the Cathedral Church of the Redeemer for the first concert of the 2016 Festival, anxiously awaiting my introduction from the stage as the new President of Honens. At that time, having just arrived from St. John’s, NL, I had been in Calgary for three whole days and, to be honest, was still trying to figure out which time zone I was in. What a difference a year makes—and what a year it has been. From the relocation itself (and I still maintain that of all the moves I’ve made, Calgary has definitely been one of the smoothest and most welcoming), to travelling far and near, to meeting the hundreds of wonderful people who comprise this incredible organization, the past 12 months have been a great journey of discovery—one I’m very happy to have embarked upon. Over the past 25 years, through the hard work and dedicated support of many, Honens has carved an enviable niche for itself among the top international piano competitions in the world. Often imitated, never outdone. With the support of an amazing team, I am grateful to have the opportunity to build upon Honens’ firmly and thoughtfully established foundation as, together with all of you, we usher the organization into the next phase of its evolution. Welcome to the 2017 Honens Festival! I look forward to seeing you over the next four days.
Neil Edwards President 6
Proud to support the 2017 Honens Festival. We are working with Honens to bring our communities together through a shared love of music.
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MESSAGE FROM THE ARTISTIC DIRECTOR Honens serves up four days of music with a side of maple syrup to mark the 150th anniversary of Canada’s Confederation! The 2017 Festival features classical favourites alongside fresh and inspiring contemporary Canadian music. Calgary receives a surprise gift at Pianoscapes, a free concert on Stephen Avenue featuring all five Festival pianists. The newly minted Montrose Trio makes its Calgary debut in the Festival headline concert. Great chamber music-making continues with the Cecilia String Quartet, joined by 2015 Honens Prize Laureate Luca Buratto, whose concert showcases familiar works along with music by Canadian composers Katarina Ćurčin and Stephen Chatman. At the late-night Bison Noir show, connections are revealed between Bartók and the music of JUNO award-winning composer and pianist Dinuk Wijeratne. Katherine Chi, the only Canadian and woman to be named Honens Prize Laureate in 2000, performs a recital in her home city of Calgary. Honens continues to offer free events, including a masterclass for Albertan piano students, Storytellers performances for the whole family, a special Xenia Concert presentation, and our ever-popular Open Air concert in Central Memorial Park. It has been a pleasure working for Honens as Interim Artistic Director and carrying the torch between Stephen McHolm and incoming Artistic Director, Jon Kimura Parker. Honens continues to spark appreciation for classical piano in Calgary and around the world. I hope the next four days of music-making ignites a spark in you!
Andrea Davison Interim Artistic Director 8
School of Creative and Performing Arts
Monday Night Jazz
Dueling Pianos With Toronto’s father and son duo Eddie and Quincy Bullen September 25 | 8 p.m. ECKHARDT-GRAMATTE HALL Tickets $26/$19
The Mountain View Festival of Song & Chamber Music Society Has been providing concert and educational opportunities for young professional musicians for over 22 years.
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Mountain View provides summer workshops and master classes as well as a winter concert season at Lougheed House.
For more information visit www.mountainviewfestival.com MountainViewConnection
Mountain View International Festival of Song and Chamber Music Society
JOYFUL FOOD, PASTRIES & BREAD orders@sidewalkcitizenbakery.com www.sidewalkcitizenbakery.com 618 Confluence Way SE, Calgary 403-457-2245 338, 10 Street NW, Calgary 403-460-9065
MESSAGE FROM THE LIEUTENANT GOVERNOR OF ALBERTA As Her Majesty the Queen’s representative in Alberta, it is my pleasure to welcome everyone to the 2017 Honens Festival and to congratulate Honens on their 25th anniversary. I commend you for your commitment to empowering musicians and creating opportunities for exposure and growth over the past 25 years. Honens has truly established a strong reputation as one of the world’s most prestigious institutions of its kind. As we also celebrate Canada’s 150th anniversary of its Confederation, it is a wonderful opportunity to highlight Canadian artists as you are at this Festival. We, as Albertans and Canadians, are very fortunate to benefit from such a devoted organization showcasing the extraordinary talents of world renowned pianists and musicians. Experiences like this have the power to inspire creativity and to connect us around a common interest. Congratulations on your 25 years. Thank you to all members and supporters behind the Honens Festival. I wish you all the best for an inspiring Festival this year and continued success in the future.
Her Honour, The Honourable Lois Mitchell cm aoe lld Lieutenant Governor of Alberta
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TheLawrenHarris Experience AtGlenbow Lead Sponsor:
Supported by:
Higher States: Lawren Harris and His American Contemporaries October 7, 2017 - January 7, 2018 Curated by Dr. Roald Nasgaard and Gwendolyn Owens
Funded by:
Organized by:
Consulate General of the United States of America Calgary, Canada
Glenbow_Harris_Honens_4.75x8_v6.indd 1
Lawren S. Harris, Geometric Composition (recto); Biomorphic Composition (verso), circa 1938, Courtesy of Masters Gallery Ltd., Calgary, Photo: Heffel Fine Art Auction House
2017-07-17 1:59 PM
MESSAGE FROM THE PREMIER OF ALBERTA On behalf of the Government of Alberta, welcome to the 2017 Honens Festival. This year, as we once again honour Esther Honens’ dream, we have so much to celebrate—from Canada’s 150th anniversary of its Confederation, to marking the 25th anniversary of this organization. For the past 25 years, Honens has welcomed unparalleled musicians to Calgary, and I commend each of the performers for letting your creativity and passion for music shine through each and every year. Let us cheer on these talented musicians, and be thankful as they share their inspiring gift. My thanks to the Festival organizers and volunteers for expanding the generous legacy of Esther Honens. Your hard work and dedication in support of music and culture truly shows how much Albertans, and visitors to our beautiful province, have to celebrate. Congratulations, once again, as you celebrate this milestone anniversary.
The Honourable Rachel Notley mla Premier of the Province of Alberta
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12 Days. 200 Films CALGARYFILM.COM
Presenting Partner
Major Festival Partners
September 2014
MESSAGE FROM THE MAYOR OF CALGARY
A MESSAGE FROM MAYOR NENSHI
On behalf of the citizens of Calgary and my City Council colleagues I am pleased to welc
On behalf of the citizens of Calgary and my City Council colleagues, I am Honens Festival, a unique celebration of classical music. pleased to welcome you to the 2017 Honens Festival.
Honens has a proud history in our city of supporting emerging classical pianists. This Fe
of Honens’ other endeavours, and I am excited about its addition to Calgary’ I am so pleased that Honens isextension returning this year with a four-day celebration calendar. Prominent musicians from around the world will perform works inspired by of classical music. From masterclasses for aspiring pianists to a free outdoor of the First World War. The Honens Festival will close in the fitting venue of Central M concert at Central Memorial Park, this Festival entertains classical music an Open Air concert sure to delight fans of classical music - both old and new. lovers and engages new audiences.
I commend everyone involved with organizing the Honens Festival for giving Calgarians
to celebrate classical music. CalgaryHonens enjoys a vibrant arts scene, I commend those involved with organizing the 2017 Festival for and Honens plays a sig ensuring artistic offerings our city to grow and thrive. their dedication to sharing the musicthat ofthe talented artists,inand forcontinue continuing to showcase and promote classical music. It is anyears event suchthe asHonens this that I look forward to many more of having Festival in our city. enriches our community and adds to the vibrancy of Calgary. Sincerely,
I hope you all have a wonderful time at the 2017 Honens Festival! Sincerely, Naheed K. Nenshi MAYOR
His Worship Naheed K. Nenshi Mayor of the City of Calgary
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calgaryfoundation.org
Beverley Foy
Former Board Member Calgary Foundation
CALGARY PHILHARMONIC ORCHESTRA
ROMANTIC RACHMANINOFF
WITH LUCA BURATTO 2015 HONENS PRIZE LAUREATE
16 + 17 FEBRUARY 2018 // 8PM JACK SINGER CONCERT HALL
CALGARYPHIL.COM | 403.571.0849
ABOUT HONENS
ESTHER HONENS Esther Honens loved both the piano and the city of Calgary. After working 25 years as an office manager for the Henry Birks jewelry firm and amassing a sizeable fortune through smart investments, she turned her attention to creating a legacy of musical excellence to be enjoyed by generations of Canadians. In 1991, knowing she was near the end of her life, Mrs Honens gave $5 million to endow an international piano competition in Calgary. Her competition would provide a springboard for young musicians and be a source of tremendous civic pride. A board of directors was quickly assembled and an Artistic Director appointed. Their challenge was to organize the inaugural competition while Mrs Honens, suffering from Parkinson’s disease, was still alive. Mrs Honens observed the final concerts of the inaugural Competition in November of 1992 from a specially built chamber in the Jack Singer Concert Hall. Five days later, at age 89, she passed away. Today, Esther Honens’ generosity, vision, and love of music continue to touch the lives of Calgarians, Canadians, musicians, and music-lovers around the world. The Honens International Piano Competition takes place every three years and is considered one of the world’s most prestigious events of its kind. Honens prepares its Laureates for the rigours and realities of professional careers in music and creates opportunities for growth and exposure. The annual Honens Festival is one of Canada’s premier classical music events, intended to share Mrs Honens’ love of world renowned music with Albertans every year. 2018 Honens International Piano Competition & Festival 30 August to 8 September 2018
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LEGACY PARTNERS Honens Legacy Partners support achievements in realizing Esther Honens’ vision of bringing the finest young pianists in the world to Calgary, and taking Canada to the world through the triennial Honens International Piano Competition. The Legacy Partners Endowment Fund allows Honens to provide wide reaching programming through an annual festival, and enriching community education and outreach projects. Legacy Partners follow in Esther Honens’ footsteps by contributing to the country’s cultural vibrancy through securing Honens’ future. Ian and Heather Bourne Percy+ and Lois Cole John and Sheilagh Langille F. Richard Matthews+ cm qc +
Deceased
Legacy Partners make donations of $250,000 and more. All gifts received to date have been eligible for matching contributions from the Government of Canada.
Honens endowment funds are maintained and administered by the Calgary Foundation.
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s e i r e S tt a y W
for the s u n i o J
/18! in 2017
Live at the Bella Concert Hall The Wyatt Series celebrates the best of contemporary classical artists in residence and in performance at Mount Royal University Conservatory.
Israeli Chamber Project Wed., Oct. 4, 2017 at 7:30 p.m. Antonio Pompa-Baldi Sun., Jan. 21, 2018 at 7:30 p.m. Johannes Moser and Andrei Korobeinikov Sun., Apr. 22, 2018 at 7:30 p.m.
mru.ca/concerts
PROUD PARTNER OF THE HONENS FESTIVAL
ARTS & LIFE AT YOUR FINGERTIPS. 20
calgaryherald.com
Presenting more than 300 events each year. Find yours. banffcentre.ca/events
Featuring for the Fall/Winter Season: Randy Bachman Solo – September 10 Barra MacNeils East Coast Christmas – November 25 The Debaters Christmas Show – December 9 Harry Manx – January 14 Ballet BC’s Romeo and Juliet – February 10 Josh Ritter – February 22 CBC’s This is That – March 3
Harry Manx, photo courtesy of the artist.
Honens Team
BOARD OF DIRECTORS
CONSULTANTS & PUBLICISTS
Officers
Bettina Schimmer PR Bettina Schimmer Cologne, Germany
R. Craig Hoskins Chair Partner, Norton Rose Fulbright Canada LLP Eric Friesen Past Chair Broadcaster and Writer Angelo Toselli Treasurer Mark Congram Secretary Directors Cathy Beehan Sunny Delaney-Clark Director, Marketing, Public Relations and Business Development, Kentrexs International Connie Hunt Sharie Hunter Principal and Managing Partner, Arthur / Hunter
BOULEV’ART inc. Artists’ Management Marie-Catherine Lapointe Samuel Côté Montréal, Canada KL Strategic Communications Karen Lorenowicz Toronto, Canada Kultur Konzept Vera Herkenberg Lübeck, Germany Nancy Shear Arts Services Nancy Shear Raphael Zinman New York, United States Valerie Barber PR Valerie Barber Sabina Wagstyl London, United Kingdom
Wendy Liu Vice President, ARC Financial Corporation Brenda Marshall Bryan Price
STAFF Neil Edwards President Andrea Davison Interim Artistic Director Mark Mosher Director, Finance & Administration Amanda Smith Director, Marketing & Communications Jennifer Weihmann Manager, Audience & Donor Engagement Lisa Farquharson Marketing Assistant Evan Priest Intern
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VOLUNTEERS Melanie Aikenhead Co-Chair Susan Anderson Co-Chair Honens applauds the hundreds of volunteers who generously share their time and skills. Volunteers are listed on page 90.
“The member benefits are critical to my enjoyment of Laureate Circle membership. The recitals allow Circle members to directly observe and emotionally experience the results of their monetary support.” —Laureate Circle member, Calgary
EXPERIENCE YOUR SUPPORT GIFT IN ACTION
HONENS
Please consider including Honens in your annual giving, and become a Laureate Circle member to get access to unique and exclusive events and experiences.
MEMBER LEVELS, BENEFITS, AND EXPERIENCES
LAUREATE RECORDING A recording from the Honens label (CD/USB)
EARLY TICKET PURCHASE Early seat selection and ticket purchase for the 2018 Honens International Piano Competition & Festival
LAUREATE CIRCLE GALLERY EVENT Private reception and performance by a Honens Laureate
LAUREATE CIRCLE GARDEN PARTY Private reception and performance by a Honens Laureate
LAUREATE CIRCLE DINNER Intimate dinner reception and performance by a Honens Laureate
MEET THE JURY IN SEPTEMBER 2018 Exclusive reception with the 2018 Honens Competition Jury and performance by a Honens Laureate
$5,000
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$1,500
$500
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Members at all levels receive a charitable tax receipt for the maximum allowable amount under Canada Revenue Agency guidelines. Canadian Charitable Donation # 13023 8975 RR0001 Donations under $500 are welcomed and appreciated.
BECOME A LAUREATE CIRCLE MEMBER TODAY!
To learn more about the Laureate Circle and member benefits, contact Jennifer Weihmann at 403 299 0130 or by email at jweihmann@honens.com.
UNITED residents embrace the arts. Transforming the Experience of Aging.
Creative Expression is one of the pillars of United Active Living and our partnership with Honens brings the richness of music to the daily lives of our residents. United Active Living Communities™ are integrated communities with fully independent and assisted living options, including memory care.
UnitedActiveLiving.com Garrison Green 403-685-7200 Fish Creek 587-481-7907
FESTIVAL PROGRAM
FESTIVAL THURSDAY 7 SEPTEMBER
SATURDAY 9 SEPTEMBER
SUNDAY 10 SEPTEMBER
12 PM PIANOSCAPES
HONENS DAY AT STUDIO BELL, HOME OF THE NATIONAL MUSIC CENTRE
2 PM OPEN AIR
Stephen Avenue Walk Between Centre Street S and First Street SE Rain venue: The CORE Shopping Centre page 30
7:30 PM MONTROSE TRIO Jack Singer Concert Hall at Arts Commons 205 Eighth Avenue SE page 32
FRIDAY 8 SEPTEMBER 12 PM CONCRETE SONATA KATHERINE CHI WITH SPECIAL GUESTS Woodlands Piano on the corner of Third Street and Sixth Avenue SW
7:30 PM CECILIA STRING QUARTET & LUCA BURATTO Knox United Church 506 Fourth Street SW page 38
10 PM BISON NOIR MUSIC AND INFLUENCES OF DINUK WIJERATNE Royal Canadian Legion No. 1 116 Seventh Avenue SE page 44
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9 AM MASTERCLASS King Eddy 438 Ninth Avenue SE page 50
12:30 AND 2 PM STORYTELLERS TESS Drop In Zone at Studio Bell 850 Fourth Street SE page 51
3 PM XENIA CONCERT Drop In Zone at Studio Bell 850 Fourth Street SE page 52
4 PM FILM GENIUS WITHIN: THE INNER LIFE OF GLENN GOULD Performance Hall at Studio Bell 850 Fourth Street SE page 54
7:30 PM KATHERINE CHI Performance Hall at Studio Bell 850 Fourth Street SE page 56
Central Memorial Park 1221 Second Street SW Rain venue: Studio Bell page 62
7-10 SEPTEMBER THE IDEA OF CANADA SOUND INSTALLATION Third Level Listen Stage at Studio Bell 850 Fourth Street SE
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PIANOSCAPES THURSDAY 7 SEPTEMBER 12 PM Stephen Avenue Walk Between Centre Street S and First Street SE Rain venue: The CORE Shopping Centre Pianoscapes is Honens’ gift to Calgary for the 150 th anniversary of Canada’s Confederation. The project was inspired by the desire to enrich the community through providing access to music-making, and to encourage collaboration between business, music, and visual art. Five pianos have been transformed with designs that represent local artists’ unique reflections of Canada. After all the pianos are unveiled at the Festival, the impact and legacy of Canada 150 will continue. The pianos will be placed in accessible community and public spaces across Calgary, and made available for free public programming. Artists Karen Biko Kristen Carleton Eveline Kolijn Brianna Strong Kale Vandenbroek & Angela Smyth
Piano Hosts Arts Commons cSPACE King Edward International Ave BRZ University of Calgary, Great Hall, Rozsa Centre YYC Calgary International Airport
Partners
Special thanks to Po Yeh for bringing this project to life. 30
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MONTROSE TRIO THURSDAY 7 SEPTEMBER 7:30 PM Jack Singer Concert Hall at Arts Commons 205 Eighth Avenue SE Montrose Trio Jon Kimura Parker piano Martin Beaver violin Clive Greensmith cello Joseph
Haydn
Piano Trio in E-flat major Hob. XV:29
1732–1809 Poco allegretto
Andantino ed innocentemente Finale: presto assai Dmitri
Shostakovich Piano Trio No. 2 in E minor Op. 67 1906–1975 Andante Allegro con brio Largo Allegretto INTERVAL Anton
Arensky
Piano Trio No. 1 in D minor Op. 32
1861–1906 Allegro moderato
Scherzo: allegro molto Elegia: adagio Finale: allegro non troppo The printed program will last approximately 95 minutes, including one 20-minute intermission. 32
Montrose Trio Continued
ABOUT THIS PROGRAM © Hannah Chan-Hartley, PhD
The piano trio is one of chamber music’s most dynamic combinations, so it is perhaps not surprising that the amount of repertoire written for it is second only to the string quartet. This program, performed by the critically acclaimed Montrose Trio, features three piano trios that are exemplars of the genre’s evolution over three centuries: first, an exquisite example by Haydn from 1797, followed by Shostakovich’s elegiac memorial to a dear friend (and the victims of the Second World War), and closing with Arensky’s late-Romantic conception, one of his best-known works. HAYDN: PIANO TRIO IN E-FLAT MAJOR HOB. XV:29 During the 18th century, a substantial amount of music was written for the trio ensemble of piano, violin, and cello, but such pieces were generally regarded as ‘accompanied sonatas’. In this form, the keyboard part is dominant, while the strings play a supporting role. More specifically, the violin and cello generally doubled the right and left hands, respectively, of the piano part, although the violin is often given the sustained, lyrical melodies that are commonly secondary themes, as well as those of slow movements, minuet trios, and rondo episodes. Being closer to this accompanied sonata form than today’s notion of the piano trio, the piano trios of Franz Joseph Haydn have thus tended to be underrated. However, it is worth hearing them, such as this one performed tonight, with 18th century ears. The brilliance of the keyboard writing will be immediately evident, but the myriad of ways Haydn uses the strings to integrate the texture, provide tone colour, and rhythmic definition reward careful listening. The Trio Hob XV:29 in E-flat major, from 1797, is the third of a group of three piano trios that Haydn dedicated to the eminent pianist Theresa Bartolezzi (née Jansen), whom he had befriended while living in London. The rather virtuoso keyboard writing in this trio, especially in the final movement, suggests that Bartolozzi was a musician of exceptional ability. Overall, Hob XV:29 has a certain extroverted quality, yet there are surprising changes in mood throughout—excursions to the minor mode or the judicious use of chromaticism, which provide a tinge of melancholy. A stately E-flat major chord opens the first movement. The ensuing main theme is elegant and confident, with its characteristic descending fifths and dotted rhythms. As the movement proceeds, the strings become slightly 33
Montrose Trio Continued
more independent from the piano, engaging in dialogue and imitation. In a surprising section in the minor mode, the violin assumes the solo role, while the piano fills in the texture. When the main theme returns, the violin plays its outline with new authority as the piano embellishes and elaborates. In the coda, there is another remarkable departure— a mysterious, chromatic passage played by the piano; violin, then cello join in, and together, they build to a final statement of the main theme. Cascading scales in the piano provide a grand finish. The second movement has some highly original features, and it serves a dual purpose as a contrast to the previous movement as well as to introduce the final movement. The A section, with its sweet main theme (Haydn instructed that it be played “innocently”) first presented by the piano then repeated by the violin, sounds ethereal in the unusual and remote key of B major. There is a trace of anguish as the major turns to minor in the B section. When the B theme repeats, in a remarkable sleight of hand, the key shifts back to E-flat major, which is confirmed in the return of the A theme. After a climax on a cadenza-like passage in the piano, there is one final hint of the otherworldly B major before continuing to the exuberant finale. In this rollicking movement, the piano may be the virtuoso star, but the strings are a vital force, enriching the musical texture and dialogue. It is such a satisfying blend that not surprisingly, many claim this finale ‘outdoes any earlier ones’. SHOSTAKOVICH: PIANO TRIO NO. 2 IN E MINOR OP. 67 In 1927, four years after he wrote his first piano trio (as a student at the Petrograd Conservatory in Russia) Dmitri Shostakovich met Ivan Sollertinsky, the brilliant musicologist, critic, and later, Artistic Director of the Leningrad Philharmonic, while he was working on his opera The Nose. The two hit it off immediately; Sollertinsky became the composer’s confidant, mentor, and champion, and not least, ignited Shostakovich’s passion for Mahler’s symphonies, of which Sollertinsky was one of the first Russian advocates. Sollertinsky’s sudden death of a heart attack in 1944 (he was only 41 years old) was a bitter blow to the composer. “I owe all my education to him,” he wrote to Sollertinsky’s widow. “It will be unbelievably hard for me to live without him.” Following Tchaikovsky and Rachmaninov’s examples, he decided to give expression to his deep personal sorrow and memorialize his friend in a second piano trio. Yet, like many of Shostakovich’s works, the trio also seems to comment on the intense suffering and devastation inflicted by the Second World War and thus, could be regarded as an elegy to its victims. 34
The resulting four-movement work is a masterful conception for the instrumental combination, with sonorities and textures that sometimes border on the orchestral. Shostakovich may have had Mahler in mind too—the juxtaposition of the melancholy movements with superficially cheery, dance-like sections is reminiscent of the way Mahler often set moments of deep grief alongside parodies of popular tunes. The Trio begins with a slow fugal introduction on a meditative subject: first whistled eerily in high harmonics on the cello, then assumed by muted violin, and finally the piano. The elements of the subject are then transformed into new thematic materials. The tempo and dynamics escalate to a powerful percussive climax before the movement comes to an introspective close. The brisk and spiky Allegro con brio follows; it is a true Shostakovichian scherzo—sardonic, with a feeling of forced cheerfulness. Its liveliness often borders on the frantic; the scales and harsh motives in the strings as they trade off with the piano give the effect of a jolly country dance, swerving and swirling with increasing mania. The Largo is the emotional heart of the trio—a passionate, heartfelt lament which emerges from an initial progression of eight stark chords in the piano, the ground bass theme that forms the foundation of this passacaglia. As the theme repeats, at different dynamic levels on the piano, a set of five heart-wrenching variations unfold as an elegiac duet for the strings. The rondo finale breaks the grief with lively dance tunes and rhythms, but the mood is dark, at times approaching bitterness and despair. The themes evoke Jewish music, likely a pointed tribute to the victims of the Holocaust. Motives and ostinato patterns are repeated with increasing obsession and anguish, building to a frenzied climax as the strings cry out in their highest ranges. The tension is then released through a cadenza-like passage in the piano that leads directly into a recall of the entire fugal section from the first movement, muted strings over rippling piano accompaniment. The ground bass theme from the Largo later returns in one last grief-stricken statement, and the movement concludes with haunting half-whispered reminders of the main rondo theme. ARENSKY: PIANO TRIO NO. 1 IN D MINOR OP. 32 Anton Arensky is considered one of the most eclectic Russian composers of his generation. Despite being trained in composition by the Russiannationalist composer Rimsky-Korsakov, he was more influenced by the cosmopolitan styles of Tchaikovsky and Sergei Taneyev. He wrote in all
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Montrose Trio Continued
the major genres: operas, choral works, symphonies, concertos, chamber music for various combinations, solo piano works, and songs for voice and piano—but his best-known work today remains his D minor Piano Trio. Composed in 1894, the Trio’s success has much to do with Arensky’s gift for melody and a confident compositional technique. Like the piano trio composed by Tchaikovsky in memory of his friend, the pianist Nikolai Rubinstein, Arensky’s work pays tribute to the ‘czar of cellists’, Karl Davidov. It is not surprising then, that the cello is given a prominent role throughout the work, especially in the commemorative third movement. The opening of the first movement bears a striking resemblance to that of Mendelssohn’s D minor Trio, with its reaching main theme (first played by the violin here) over agitated, rippling piano accompaniment. The cello gets its first chance to shine in the soaring second theme, then with the violin in a passionate duet. After a rich development section followed by a standard recapitulation, the nervous energy of the movement finally dissipates in the coda, with soulful, final statements of the main theme. The playful Scherzo is brimming with sparkling gestures: flying notes in the piano, ricochet motives in the violin, and pizzicato in the cello. It bookends a waltz-like trio, in which the violin and cello sing another of their romantic duets. The Elegia is a touching musical memorial to Davidov. In G minor, the main theme, first played by the cello then taken up by the violin, is sad though not funereal. A contrasting middle section in G major offers a bright respite, as if reminiscing about good times of the past. The elegy returns, but not before an ethereal moment in which the violin sings in the upper echelons of its register, over plucked ascending motives in the cello and shimmering textures in the piano. The turbulence of the first movement returns in the rondo finale. A dramatic main theme alternates with more lyrical counterparts in which violin and cello continue their impassioned exchange. It is exemplary writing for the piano trio medium. Later, two musical reminiscences appear: first, from the middle section of the Elegia, and then a heartfelt rendition of the first movement’s opening theme—providing a final pause for reflection, before ending with a dramatic flourish.
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CECILIA STRING QUARTET AND LUCA BURATTO FRIDAY 8 SEPTEMBER 7:30 PM
SIR JACK LYONS CHARITABLE TRUST
Knox United Church 506 Fourth Street SW Cecilia String Quartet Min-Jeong Koh violin Catherine Cosbey* violin Caitlin Boyle viola Rachel Desoer cello *Catherine Cosbey will replace Sarah Nematallah who is on maternity leave
Luca Buratto piano Joseph
Haydn
String Quartet No. 53 in D major Op. 64 No. 5
1732–1809 Hob. III:63 ‘The Lark’
Allegro moderato Adagio cantabile Menuet: allegretto – Trio Finale: vivace Katarina
Ćurčin
String Quartet No. 3 Calgary Premiere
Born 1971 Stephen
Chatman Lawren S. Harris Suite for Piano Quintet Born 1950 I. Isolation peak II. Frolic (Abstraction 30) III. The Spirit Settling into the Heaven World State
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Cecilia String Quartet and Luca Buratto Continued
INTERVAL Felix
Mendelssohn String Quartet No. 3 in D major Op. 44 No. 1 1809–1847 Molto allegro vivace Menuetto: un poco allegretto Andante espressivo ma con moto Presto con brio The printed program will last approximately 95 minutes, including one 20-minute intermission.
ABOUT THIS PROGRAM © Hannah Chan-Hartley, PhD
“It is impossible to hate someone with whom you have once seriously made music; and those who in some winter season have of their own will freely joined together in playing quartets are good friends for the rest of their lives,” thus stated in an 1810 article from the influential German periodical Allgemeine musikalische Zeitung. At the time, a comment about the string quartet’s increasing social worth and popularity, it still captures today the essence of why the genre—with its characteristic camaraderie and intimacy—is so appealing to composers, performers, and listeners alike. This spirit will be evident as the celebrated Canadian ensemble, Cecilia String Quartet, perform a program featuring two classic works by Haydn and Mendelssohn, and the Calgary premiere of Katarina Ćurčin’s String Quartet No.3 that was specifically composed for them. Pianist Luca Buratto joins the Quartet in Stephen Chatman’s Suite, inspired by paintings of famed Group of Seven artist, Lawren S. Harris. HAYDN: STRING QUARTET NO. 53 IN D MAJOR OP. 64 NO. 5 HOB. III:63 ‘THE LARK’ Between 1790 and 1791, Franz Joseph Haydn experienced a significant change of circumstances. In early 1790, he went on his regular winter visit to Vienna and enjoyed, among other things, organizing string quartet parties for his wealthy friend Maria Anna von Genzinger. Within a few weeks, he was required to return to Esterházy Castle, where he had been court composer for nearly 30 years. While he fully appreciated the stability and the relative freedom of this illustrious post (through which he had been generously compensated and had established his renown) he had lately felt increasingly isolated, having to spend so much time in the ‘wasteland’ of Esterháza. 39
Cecilia String Quartet and Luca Buratto Continued
Later that year, his enlightened employer Prince Nicolaus died, and Anton, his son and successor, disassembled the court’s musical establishment. Suddenly, at the age of 58, Haydn was a free man. He moved at once to Vienna, and soon received a commission from the London impresario Johann Peter Salomon for what would be his greatest achievement, the twelve ‘London’ Symphonies. At this time, Haydn was also working on his six Op. 64 string quartets, which were dedicated (as were the quartets of Opp. 54 and 55) to Johann Tost, formerly a violinist in Haydn’s court orchestra. The most celebrated of these is the Fifth in D major—known by its nickname, ‘The Lark’. It is an excellent example of the genre, and makes for superior entertainment due to its accessible themes and clear and concise structures. The quartet’s moniker derives from the singing melody of the first violin (which soars above the staccato march in the three lower instruments) that opens the Allegro moderato. Overall, the first movement is in a concise sonata form with, notably, a novel double recapitulation in which the second return of the main theme is supported by a variation of the second violin’s part. The ensuing Andante cantabile is a tender song for the first violin that returns, after a middle section of a slightly melancholy cast, with poignant elaborations. A witty, rather earthy minuet follows, framing a contrasting trio in the minor mode. The Finale is a delightful romp, the main theme of which is the source of the second nickname for this quartet: the ‘hornpipe’, meaning the British sailors’ dance. Bright and cheerful with the drive of a perpetuum mobile, Haydn here seems to be celebrating effortless virtuosity. In the middle of the movement, a fugato adds a touch of seriousness, but before long, it merges back into the merry refrain. KATARINA ĆURČIN: STRING QUARTET NO. 3 Serbian-Canadian composer Katarina Ćurčin has written works in an eclectic range of genres, including orchestral works, a children’s ballet suite, a chamber opera, and a song cycle based on Japanese haiku. Her chamber music repertoire to date includes three piano trios and three string quartets. Notes from the composer—Katarina Ćurčin
I felt very privileged, as a composer, to get to write a piece for the Cecilia String Quartet. I already had a wonderful collaborative experience with this group. They performed my first string quartet, Walking Away From …, 40
on their European tour in 2014 as well as in Canada and the United States. Writing my third string quartet for the ensemble feels like a wonderful reunion with such a fine group of musicians, where I get to continue to explore the expressive potentials of the stringed instruments, which are literally endless. Since the Cecilia String Quartet consists of ladies only, and since the ensemble’s project idea was to commission four Canadian female composers, including myself, I decided to write a piece inspired by a woman. The main theme that recurs throughout the piece derives from the Romanian traditional folk song from Serbia called My Mother Has Made Me Beautiful. The song is about a young woman whose mother kept her locked inside the house, afraid that someone would steal her because of her beauty: My mother has made me beautiful, But she keeps me locked inside the house And the window is stuck with a wooden sill. She doesn’t allow me to go get some water, Nor does she let me get firewood from the courtyard Because she is afraid someone might kidnap me. Oh, mother, you are so vicious! She’s made me so pretty And now she keeps me locked inside the house. This piece is a multi-sectional, one-movement work which describes the girl’s emotions, ranging from being very rebellious and angry to becoming very emotional and fragile. STEPHEN CHATMAN: LAWREN S. HARRIS SUITE FOR PIANO QUINTET One of Canada’s most prominent composers, Stephen Chatman is Professor and Head of Composition at the University of British Columbia. His music has been described as “shimmering”, “evocative”, “eclectic”, and “compelling”. Among his favourite devices are quotations and the mixing of unusual instrumental colours. Some of his works—such as Due North, Grouse Mountain Lullaby, Five British Columbia Folk Songs, and Vancouver Visions—have clearly been influenced by the geographical character and musical traditions of his adopted country. His Lawren S. Harris Suite for Piano Quintet, composed in 2003, takes the iconic work of Canadian painter and leader of the Group of Seven, Lawren S. Harris, as inspiration. A commission by CBC Radio for the 2003 41
Cecilia String Quartet and Luca Buratto Continued
Ottawa International Chamber Music Festival, the Suite won the 2006 Western Canadian Music Award for Outstanding Classical Composition. Notes from the composer—Stephen Chatman
Each movement is a musical interpretation of a specific Harris painting. The slowly rising perfect fourths and fifths and broad climax of Movement I depict Isolation Peak, the famous canvas of a mythological mountain in the Rockies. Like a big abstract butterfly, Frolic (Abstraction 30) or Movement II, was painted in Vancouver, where Harris resided from 1940 to 1970. Movement III, The Spirit Settling into the Heaven World State, quotes fragments of Rossini’s Stabat Mater. Softly sustained artificial string harmonics echo the profoundly spiritual and theosophical thoughts and feelings of the artists, who, on Harris’ deathbed, listened continuously to the Rossini work. MENDELSSOHN: STRING QUARTET NO. 3 IN D MAJOR OP. 44 NO. 1 1837 and 1838, the years in which Felix Mendelssohn composed the three strings quartets of Op. 44, were an idyllic time in his life in which he could enjoy his successes, both professional and personal. Two years earlier, he was appointed conductor of the Leipzig Gewandhaus Orchestra; in 1836, his St. Paul oratorio saw premieres in Germany and England, as well as in the United States in 1837, the same year of his marriage. In many ways, the D major Quartet, the last of the Op. 44 to be composed (but the first to be published) is a musical manifestation of this joyful period. Mendelssohn himself was particularly proud of the work. As he had written to the violinist Ferdinand David on July 30, 1838, “I have just finished my third Quartet, in D major, and like it much. I hope it may please you well. I rather think it will, since it is more spirited and seems to me likely to be more grateful to the players than the others.” The following year, David’s quartet gave the world premiere at the Leipzig Gewandhaus. Scholars have noted that, compared to the more experimental tendencies in the composer’s earlier chamber works, the Op. 44 quartets exhibit a new classicizing direction—a comparative restraint and poise that look back to Haydn’s quartets instead of Beethoven’s. (One argument is that Mendelssohn’s public responsibilities, particularly his duties at the Gewandhaus, left him little time for substantial creative exploration as a composer.) The first movement, with its exuberant main theme, unfolds in a sonata form. There are a few departures from convention (though nothing approaching true novelty) such as the second theme being in the minor mode and an extended development section, the drama of which 42
returns in the coda, before closing with the main theme. The second movement references the classical-era minuet; it is gracious and elegant though with a fluidity that belies its origins as dance music. The Trio, in the minor mode, has a pastoral quality, as the first violin meanders over drones in the other three instruments. The B minor Andante espressivo is salon music of the highest level. The main theme, played by the first violin, is an exquisite and wistful ‘song without words’, sung over plucked accompaniment in the lower strings and gently rolling sixteenth-note figures in the second violin. These figures, continuously exchanged between the instruments, propel the movement to its climax of an anguished solo by the first violin, after which it comes to a resigned close. The melancholy mood is immediately dispelled by the Presto finale, a whirling saltarello akin to the finale of Mendelssohn’s ‘Italian’ ymphony. The three distinct motives making up the principal subject—an opening ‘call’, rising eighth-note figures, and dotted rhythms—are deftly combined and recombined throughout, while a tender second theme offers a respite from the dance. The first of a double recapitulation veers off into unexpected harmonic territory, but ultimately finds its way back to D major the second time, and caps everything off with a jovial coda.
16 SEPTEMBER – 22 DECEMBER
MARY ANNE BARKHOUSE Le Rêve aux Loups
POSTCOMMODITY A Very Long Line
eskerfoundation.com @eskerfoundation @eskercalgary
Le Rêve aux Loups is guest curated by Jennifer Rudder and originated at the Koffler Gallery, Toronto Image: Mary Anne Barkhouse, Treats for Coyote (detail). Courtesy of the Koffler Gallery. Photograph Rafael Goldchain.
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BISON NOIR MUSIC AND INFLUENCES OF DINUK WIJERATNE FRIDAY 8 SEPTEMBER 10 PM Royal Canadian Legion No. 1 116 Seventh Avenue SE Co-presented by New Works Calgary Dinuk Wijeratne piano Luca Buratto piano Ed Hanley tabla Matt Heller double bass
Cecilia String Quartet Min-Jeong Koh violin Catherine Cosbey* violin Caitlin Boyle viola Rachel Desoer cello *Catherine Cosbey will replace Sarah Nematallah who is on maternity leave
Béla
Bartók
Out of Doors Sz. 81
1881–1945 With drums and pipes
Barcarolla Musettes The night’s music The chase Dinuk
Wijeratne 3s & 5s Born 1978 Transcribed from Bartók’s 44 Duos Sz. 98 The Poetry of Squares Colour Study in Rupaktaal This way up Two Pop Songs on Antique Poems [Out of the] Karmic Blue The printed program will last approximately 80 minutes. 44
Bison Noir Continued
ABOUT THIS PROGRAM © Hannah Chan-Hartley, PhD
Tonight’s Bison Noir concert explores the music and influences of two composers, Hungarian Béla Bartok and Sri Lankan–born, Canada-based Dinuk Wijeratne. Both are true masters of drawing inspiration from eclectic sources of music and sound—the melodies and instruments of their own cultural traditions, nature sounds, and popular music, to name a few— and assimilating them with European Classical compositional techniques to create musical styles that are uniquely their own. BARTÓK: OUT OF DOORS SZ. 81 Bartók had a long-standing interest in Baroque music, particularly of J.S. Bach, Couperin, Domenico Scarlatti, and Rameau. Between 1925 and 1926, he made several trips to Italy, through which he became captivated by the keyboard music of Italian Baroque composers such as Frescobaldi and Zipoli. He began to perform his own piano transcriptions of their works and their contemporaries, many of which he refined for publication. This renewed Baroque passion (and a fresh creative focus on craft over profundity) spurred Bartók to compose several new works for piano in 1926, including the five pieces for solo piano that make up Out of Doors. Inspired by the Baroque dance suite, this highly original work exhibits a masterful blend of the modernist and traditional aspects of Bartók’s compositional style—percussive, repetitive techniques and chromaticism merged with the concept of the 19th century character piece.
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Bison Noir Continued
Percussive sounds and incessantly recurring motives are used to great effect in the outer and middle movements, as the piano imitates the ‘outdoor’ instruments of drums and pipes (‘With Drums and Pipes’) and bagpipes with its characteristic drone, squeaks, and burps (‘Musettes’). The unrelenting drive of The chase is propelled by the continuous run of sixteenth notes in the left hand as the right hand punctuates the texture with emphatic repeated notes. The Barcarolla creates the illusion of a Venetian boat song (Bartók had admired the gondolas during a visit to Venice with his wife in 1924). The undulating chromatic figures in the left hand first accompany the right hand’s song, but they soon overtake it, as the right hand assumes the figures as well. The waves reach a climax before subsiding with the return of the song. The night's music is one of Bartók’s remarkable night pieces—this one evoking the sounds of a Hungarian summer evening. The calls of birds, cicadas, and the Hungarian Unka frog (whose ‘ribbit’ can be heard throughout) alternate with a chorale-like theme, which frame a middle section featuring a melody whistled by a peasant flute. Notes from the composer—Dinuk Wijeratne
The composer’s notes cover two of his six pieces. Other works by Mr Wijeratne will be introduced from the stage. TWO POP SONGS ON ANTIQUE POEMS Two Pop Songs on Antique Poems was composed in 2015 for the Afiara Quartet. It won the 2016 JUNO and East Coast Music Awards for Classical Composition of the Year. I found the concept of this unique project to be irresistible—‘Pop’-influenced music for a classical string quartet—almost as irresistible as the musicians involved. The ‘Afiaras’ (as I like to call them) are astonishingly equidistant from tradition and innovation. And so, I sought to create for them my own kind of ‘collision of old and new’, where the beauty and meaning of vintage poems might inspire the kind of loops, grooves, and catchy tunes heard in Pop. The melodies are, in fact, settings of the poem texts with the words stripped away. Contained in A Letter from the After-life are two quotes from Schubert’s Death and the Maiden quartet. Ironically, they struck me as being Pop-like and so I allowed them to emerge as though improvised—then to be improvised upon.
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The poems of Two Pop Songs on Antique Poems I. A letter from the After-life I sent my Soul through the Invisible, Some letter of that After-life to spell: And by and by my Soul return’d to me, And answer’d “I Myself am Heav’n and Hell” From the Rubáiyát of Omar Khayyám (1048–1131), trans. Edward Fitzgerald (1809–1883) 2. I will not let thee go I will not let thee go. Ends all our month-long love in this? Can it be summed up so, Quit in a single kiss? I will not let thee go. … I have thee by the hands, And will not let thee go. Excerpt from the poem by Robert Bridges (1844–1930) COLOUR STUDY IN RUPAKTAAL Colour Study in Rupaktaal was composed in 2007 for pianist David Jalbert. I always say, perhaps only in half-jest, that in my next life I will be a tabla player. Though I am a South-Asian with an exclusively Western classical musical training, I grew up with the sounds of Indian Classical music in my ear. The various elements of Western music, such as harmony, texture, etc., have undergone both unceasing evolutions and drastic revolutions throughout history. The classical music of the Indian subcontinent, however, focuses primarily on two of these elements: melody (set in ‘raga’) and rhythm (set in ‘tala’). From a Western perspective, it is perhaps unusual to listen to a music that concerns itself, not with the type of multi-voice counterpoint we expect from Bach or Brahms, but rather the rich, nuanced interplay of melody and rhythm. I was drawn instantly to its unique rhythmic language. Over the years, as I delved deeper, I was awed by the great rhythm virtuosi of the North Indian tradition, and developed an obsession for the music associated with the king of Indian percussion instruments: the tabla.
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Bison Noir Continued
The word ‘rupaktaal‘ is bipartite: taal, meaning ‘set in a rhythmic cycle’, and rupak meaning ‘of seven beats’. In a traditional solo tabla recital, the taal is maintained by an accompanist who plays an underlying, cyclic melody, which continues throughout the percussion soloist’s many rhythmic and virtuosic variations. Colour Study in Rupaktaal establishes such a melody at the outset, in the left hand, rather like a ground-bass. Soon afterwards, a second melodic line is established, representing the rhythmic variations of the tabla. For a few minutes, the two melodic lines are heard separately before being heard in counterpoint for the rest of the piece—the right hand weaving its tabla-inspired patterns around the ground-bass. The nature of the original tabla composition is such that the two lines are always in counterpoint. The ground-bass remains in one tempo, while each repetition of the right-hand tabla line appears at a faster tempo at each successive repetition. The effect is a sense of acceleration from slow to as-fast-as-possible, with the right hand constantly changing into ‘higher gears’. True to a traditional tabla recital, there are moments of resolution after every few cycles, when the endings of both lines coincide as precisely and climactically as the tabla soloist can make them. Although the piano is simultaneously playing both the character of ‘tabla soloist’ and ‘sympathetic accompanist’, it was never my intention to recreate a traditional Indian tabla composition for the piano. I have chosen instead to use the original rhythmic concept—one line which accelerates incrementally away from another—as a scaffolding upon which one can experiment quite liberally with colour, as the title suggests.
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Proud to support the 2017
HONENS FESTIVAL FortisAlberta delivers safe and reliable electricity to 550,000 Albertans in 200 communities. To find out more about what we’re doing in communities, visit fortisalberta.com. facebook.com/fortisab @fortisalberta youtube.com/fortisab instagram.com/fortisalberta
MASTERCLASS SATURDAY 9 SEPTEMBER 9 AM King Eddy 438 Ninth Avenue SE Co-presented by National Music Centre Katherine Chi piano / instructor Visiting pianist Katherine Chi instructs and inspires music students and teachers from across Alberta. Catherine Yang Sun Frédéric
Chopin
Nocturne in E-flat major Op. 55 No. 2
1810–1849
Georgeanne Van Helden Sergei
Prokofiev
from Ten Pieces from Romeo and Juliet Op. 75
1891–1953 No. 2 Scene (The Street Awakens)
No. 6 Montagues and Capulets No. 7 Father Lorenzo No. 8 Mercutio No. 9 Lily Dance of the Maidens
Kevin Chen Chopin
Ballade No. 1 in G minor Op. 23
The Masterclass will last approximately 150 minutes.
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STORYTELLERS TESS SATURDAY 9 SEPTEMBER 12:30 AND 2 PM Drop In Zone at Studio Bell 850 Fourth Street SE Co-presented by National Music Centre Tess loves the prairie, but her parents do not. Coming from an easier life, far, far away, they resent the bitter cold winter and the poverty that means burning cow dung for fuel. Based on a true incident, Tess combines authenticity with drama. Set during the 1930s in the Canadian West, it is a remarkable story of a family whose older members are immigrants but whose children are, in the truest sense, at home. Hazel Hutchins author / narrator Dmitry Nesterov piano Allan
Rae
Tess
Born 1942 The printed program will last approximately 30 minutes.
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XENIA CONCERT SATURDAY 9 SEPTEMBER 3 PM Drop In Zone at Studio Bell 850 Fourth Street SE Co-presented by National Music Centre Cecilia String Quartet Min-Jeong Koh violin Catherine Cosbey* violin Caitlin Boyle viola Rachel Desoer cello *Catherine Cosbey will replace Sarah Nematallah who is on maternity leave.
The Cecilia String Quartet’s Xenia Concerts are designed to appeal to, and be welcoming of, children on the autism spectrum and their families. This series embodies the Quartet’s philosophy that everyone should have equal access to quality chamber music performances. “Anyone who loves music can never be quite unhappy.” These are the words of Franz Schubert, the featured composer for this Xenia Concert. The Cecilia String Quartet will take the listener on an enthralling journey through Schubert’s epic and masterful String Quartet No. 14 in D minor, with a sprinkling of some Moments Musicaux along the way. The musical works will be introduced from the stage by members of the Quartet.
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FILM GENIUS WITHIN: THE INNER LIFE OF GLENN GOULD SATURDAY 9 SEPTEMBER 4 PM Performance Hall at Studio Bell 850 Fourth Street SE It’s hard to think of any musician who captivates and fascinates audiences more than Glenn Gould. 2017 marks 35 years since the enigmatic musician’s early passing. Genius Within: The Inner Life of Glenn Gould, casts light on a man whose ideas were as controversial, and his private life as passionate, as his music.
September 8, 2017 A co-production with Honens’ Bison Noir, highlighting the music of Dinuk Wijeratne with the Cecilia String Quartet, Luca Buratto, bassist Matt Heller and tabla player Ed Hanley
October 19-22, 2017 The 3rd Calgary New Music Festival, Make a Noise!, will be held at multiple venues. Featuring the Meitar Ensemble, the Rockeys Duo, Timepoint, Ben Reimer, Raylene Campbell, Shawn Mativetsky and Midnight Blue Jazz Society
February 11, 2018 Vocalist/composer Gabriel Dharmoo’s award-winning Anthropologies Imaginaires
March 22, 2018 Véronique Mathieu and Stephanie Chua, violin and piano
June 1, 2018 Xenia Pestova, solo piano and live electronics
NEW WORKS CALGARY 2017-18
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neworkscalgary.com
M
M
KATHERINE CHI SATURDAY 9 SEPTEMBER 7:30 PM Performance Hall at Studio Bell 850 Fourth Street SE Co-presented by National Music Centre Katherine Chi piano Alexina
Louie
Touch
Born 1949 Kelly-Marie
Murphy
Star Burning Blue
Born 1964 Ludwig van
Beethoven
Sonata No. 21 in C major Op. 53 ‘Waldstein’ Allegro con brio Introduction: adagio molto Rondo: allegretto moderato – Prestissimo INTERVAL
1770–1827
Sergei
Rachmaninov
Études-tableaux Op. 39
1873–1943 No. 1 in C minor: Allegro agitato
No. 2 in A minor: Lento assai No. 3 in F-sharp minor: Allegro molto No. 4 in B minor: Allegro assai No. 5 in E-flat minor: Appassionato No. 6 in A minor: Allegro No. 7 in C minor: Lento No. 8 in D minor: Allegro moderato No. 9 in D major: Allegro moderato
The printed program will last approximately 100 minutes, including one 20-minute intermission.
Katherine Chi Continued
ABOUT THIS PROGRAM © Hannah Chan-Hartley, PhD
Pianist Katherine Chi won first prize at the 2000 Honens International Piano Competition, and is both the only Canadian and woman to do so. Tonight’s concert shines a spotlight on her musical artistry and technical excellence as a recital soloist in a demanding program of Beethoven’s heroic ‘Waldstein’ piano sonata and the second set of Rachmaninov’s extraordinary Études Tableaux. She will also be performing two virtuosic Canadian works written specially for the Honens International Piano Competition. ALEXINA LOUIE: TOUCH One of Canada’s most sought-after composers, Alexina Louie, has written for many of the country’s leading soloists, chamber ensembles, new music ensembles, and orchestras. Winner of two JUNO Awards, she has also three times been awarded the SOCAN Jan V. Matejcek Concert Music Award for being the most frequently performed Canadian classical composer. She is the recipient of the National Arts Centre Composers Award, the Léger Prize, and the Chalmer’s National Music Award. Her works have become part of the standard repertoire, particularly her many compositions for piano, that are frequently performed by students and professionals alike. Touch was commissioned by the Honens International Piano Competition for its second Competition in 1996. Notes from the Composer—Alexina Louie
Although the title of my work, Touch, came after its completion, I intended from the outset to write a work which would be virtuosic, challenging, and, as an unusual approach for my keyboard writing, basically light and fast. ‘Touch’ refers to the different kinds of tactile sensations necessary to perform the piece well (the ‘touching of the keys’). In this respect, the piece is a toccata. The opening of Touch is deceptively contemplative. The tempo almost doubles after the slow introduction, and the piece clips along quickly. In the tranquillo section which follows, the underlying theme of the piece is revealed—five chords in the right hand. Under the ostinato of chords, a melody is stated in the left hand. The structure of the ostinato develops with a very fast linear variant of the chords, under which there is once more a very simple melodic statement in the left hand. I have marked this section ‘crystalline, light, and very fast’. 57
Katherine Chi Continued
The chordal theme continues to appear throughout the remainder of the piece, both perceptibly and imperceptibly. Touch is a challenging keyboard work. It demands a pianist with impeccable technique, as well as one sensitive to the piano’s extraordinary range of sonorities. KELLY-MARIE MURPHY: STAR BURNING BLUE With music described as “breathtaking” (Kitchener-Waterloo Record), “imaginative and expressive” (The National Post), “a pulse-pounding barrage on the senses” (The Globe and Mail), and “Bartók on steroids” (Birmingham News), Kelly-Marie Murphy’s voice is well known on the Canadian music scene. She has created many memorable works for some of Canada’s leading performers and ensembles, including the Toronto, Winnipeg, and Vancouver symphony orchestras, Gryphon Trio, clarinetist James Campbell, cellist Shauna Rolston, the Cecilia and Afiara String Quartets, and harpist Judy Loman. Notes from the composer—Kelly-Marie Murphy
Star Burning Blue was commissioned by the Honens International Piano Competition for Maxim Philippov, Prize Laureate of the 1996 Competition. It is a single-movement work lasting approximately eight minutes, and roughly depicts the life cycle of a main sequence, supergiant star. Main sequence stars, such as the sun, make up 90 percent of the stars seen from Earth. Some supergiant stars are of a high luminosity and shine with a blue light which indicates their high temperature. The strong gravity of the massive star attracts more and more matter to it, giving it greater mass. This, in turn, magnifies the star’s gravitational influence, which increases the rate at which it can gather more matter. The bigger the blue star becomes, the brighter it shines, and the faster it burns its nuclear fuel, until the inevitable stellar explosion. Then the cycle begins again in the remnants of the supernova. This piece explores a musical cycle of power and energy, where stability spins out of control and then is regained. The tempo increases; the range becomes more and more extreme. When the shattering finally occurs, time is slowed by relativistic effects as high energy fragments rush out into the vacuum. The irony is that this peaceful moment is created by violent destruction. As the particles of music drift, they are eventually caught in their mutual attraction and coalesce once again.
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BEETHOVEN: SONATA NO. 21 IN C MAJOR OP. 53 ‘WALDSTEIN’ In 1803, Ludwig van Beethoven completed his ‘Eroica’ Symphony. Bold and innovative, the work marked a new creative direction for him, later defined as his ‘middle period’. Significantly, the symphonic ideal—the concept that music could give the impression of a psychological journey—and the heroic spirit explored in his Third Symphony, shaped the non-symphonic works he composed between 1803 and 1808. Among these pieces was the Op. 53 Piano Sonata, called ‘Waldstein’ after the work’s dedicatee, which was written immediately after the ‘Eroica’ in the last months of 1803. Compared to his earlier works of the same genre, there is a notable difference in the scale, ambition, and mood of the ‘Waldstein’. The 19th century writer and Beethoven biographer Wilhelm Lenz once described it as “heroic pianistic deeds” with a “symphonic essence”. Innovations in colour, texture, register, and sonority are evident throughout. The first movement also incorporates a broader tonal spectrum, the implications of which Beethoven works out in the formal structure. For example, in the exposition, the chorale-like second theme appears in the seemingly otherworldly key of E major (the median instead of the standard dominant of G major); in the recapitulation, it is in A major, when it should be in C major. When Beethoven finally gives us the resolution—a final presentation of the chorale theme in the home key near the end of the coda—the impression is one of particular satisfaction. The composer wrote a luxurious ‘Andante favori’ as the middle movement but he later replaced it with the shorter Introduzione. He felt that the Andante was too long, but importantly, he saw that an extended introduction to the finale improved the dramatic arc of the whole work. Indeed, the mysterious character of the Introduzione, as musicologist William Kinderman has noted, “set[s] into relief the luminous C major world of the longer outer movements”. The main theme of the Rondo finale emerges quietly; it is repeated, then brought to a peak in a sublime variation, described by Kinderman as “glorified through sustained trills as the theme migrates into the stratosphere with the left hand encompassing the lower registers with rapid scales”. Such pianistic textures, he notes, were unprecedented in 1804. A series of impressive contrasting episodes follows: one in A minor, with a ‘Russian’ flavour; another in C minor, featuring emphatic eighth-note octaves; and a central development section, in which Beethoven weaves a fantasy on the ‘short-long’ rhythm at the beginning of the main theme. In the remarkable coda, the tempo doubles, and the main theme becomes a parody of itself. 59
Katherine Chi Continued
But then Beethoven recaptures the developmental fantasy, and it culminates in sustained trills, over which the main theme reassumes its original rhythm and shape, though in context, it feels like the grandest statement yet. Before long, the compressed version takes over again, bringing the symphonic sweep of the sonata to a close. RACHMANINOV: ÉTUDES-TABLEAUX OP. 39 Sergei Rachmaninov composed his two sets of Études-tableaux on opposite sides of the First World War. The first set was composed in 1911, during a productive and idyllic summer spent at Ivanovka, his family’s estate in Russia. When he wrote the second set, the war had been raging for three years and he had not composed much, giving concerts instead for the war effort. By 1917, the chaotic political situation in his country made living there untenable. Through an invitation to perform a concert in Stockholm, he seized the opportunity to bring his family out of the country. He would never return. The Op. 39 Études-tableaux or ‘study pictures’ were among the last important pieces that Rachmaninov wrote before leaving Russia. Compared to the first set, these are notably richer and more emotionally complex. Thick textures of double and often triple-notes abound, as also do fluctuating rhythms and ambiguous harmonies. Indeed, Rachmaninov seemed more concerned with colour than pure melody, and exploring fully the expressive possibilities of the instrument. In their technical and artistic demands, these studies push the pianist to the limit. The nine Études-tableaux of Op. 39 are all in the minor mode except the final one, which is definitely in the major. Although Rachmaninov did not reveal the inspiration behind all of them, the moods they evoke range from passionate and intense to melancholy and pensive, no doubt reflecting the war-time atmosphere of which he was in the midst. Nos. 1, 3, 5, and 6 are especially turbulent, aggressive and bold, and particularly virtuosic. No. 6 was inspired by images of Little Red Riding Hood and the Wolf, the composer wrote, but his version is scarier, darker, and more ambiguous than the original. It opens with a threatening chromatic octave in the bass of the keyboard, answered by rapid, chattering figures in the treble that are ultimately transformed into a march. The music gets increasingly frantic, evoking a nightmarish chase through the forest; it ends with an ascending chromatic flourish … a chomp and gulp!
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Nos. 4 and 8 are elegant musical pictures—the former is dance-like, the latter, lyrical. Both are no less demanding on the pianist than the more extroverted studies, requiring precise pedaling and agility. In No. 8, the right hand must smoothly carry double-note melodic lines while the left hand must sustain long arcs of notes that cover substantial spans of the keyboard. Nos. 2 and 7 explore the colours of the piano. The wistful No. 2 is awash with impressionistic harmonies and textures. The left hand outlines the opening motive of the Dies irae plainchant, a tribute to those lost in the war. As if in complement to No. 2, the ethereal chorale of No. 7 is, according to Rachmaninov, a funeral occupied by “fine incident and hopeless rain”. In light of the darkness that came before, No. 9 emerges as a defiant march, in the key of D major—a final statement of a will determined to survive in the face of uncertainty.
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39782A (05/2015)
OPEN AIR SUNDAY 10 SEPTEMBER 2 PM Central Memorial Park 1221 Second Street SW Rain venue: Studio Bell, home of the National Music Centre Co-presented by National Music Centre Luca Buratto piano Katherine Chi piano Jens Lindemann trumpet Dmitry Nesterov piano
Members of Kensington Sinfonia Laura Reid violin Donovan Seidle violin John Thompson viola Olena Kilchyk cello Trish Beretti Reid bass Laurie Matiation horn Olga Kotova violin (special guest)
Claude
Debussy
L’isle joyeuse
1962–1918 Marjan
Mozetich Scales of Joy & Sorrow for violin, Born 1948 cello and piano I. Slow & expressive II. Arabesque III. In motion Sergei
Rachmaninov
Suite No. 2 for two pianos Op. 17
1873–1943 Introduction: alla marcia
Valse: presto Romance: andantino Tarantelle: presto
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Johannes
Brahms
Trio for piano, violin and horn in
1833–1897 E-flat major Op. 40
Andante – Poco più animato Scherzo: allegro Adagio mesto Finale: allegro con brio
Dmitry
Shostakovich Piano Concerto No. 1 in C minor Op. 35 1906–1975 Allegretto Lento Moderato Allegro con brio
ABOUT THIS PROGRAM © Hannah Chan-Hartley, PhD
This exciting concert celebrates the piano and its multi-faceted roles within the rich array of its solo, chamber music, and concerto repertoire. Luca Buratto, Katherine Chi, and Dmitry Nesterov—three Laureates spanning the history of the Honens International Piano Competition—bring their singular talents to the eclectic program, joined by distinguished Canadian trumpet soloist Jens Lindemann and members of Calgary’s own Kensington Sinfonia. DEBUSSY: L’ISLE JOYEUSE Claude Debussy had only recently returned to composing for the piano in 1901 after a near-decade hiatus (before then, his last published work was Nocturne in 1892). It was during this intensive period of piano composition—which began with his collection Pour le piano and the first and second books of Images—that L’isle joyeuse was conceived. Since its composition, the title of the work and its inspiration has been the subject of much interest. According to the diary of Catalan pianist
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Open Air Continued
Ricardo Viñes (who gave the work’s premiere) L’isle joyeuse was inspired by an exhibition of William Turner’s paintings that Debussy saw at London’s National Gallery in 1903. However, in a letter from July 1914 written to organist Désiré Walter, who had asked the composer for information about L’isle joyeuse, Debussy responded, “… This piece is a marvel of tender feeling!— There is … a little of L’embarquement pour Cythère in it, but with less of Watteau’s melancholy: here you will find masks from the Comédie italienne, young women dancing and singing, and everything coming to an end beneath the rays of the setting sun.” Biographers and scholars have since latched on this reference to Antoine Watteau’s famous painting in the Louvre as a clue to the work’s essence. But note how Debussy said “there is little of”, ever wary of making a concrete reference; he clearly did not want this piece to be regarded as simply a musical depiction of the painting. Whether it evoked the paintings of Turner or Watteau, L’isle joyeuse lives up to its title—exhilarating, brilliant, jubilant. It demands much by way of suppleness and lightness of touch from the pianist, as well as a graceful sustaining power. In broad tenary (ABA) form, it is based on three main themes which appear in the following order: 1) a sustained trill followed by rapid flourishes; 2) a skipping theme in dotted rhythms; and 3) a soaring melody, played over rippling textures. After a brief development section, the skipping theme is recapitulated in new variations, growing ever more ecstatic, and peaking with a grand version of the rocking theme. The opening motives make a final appearance in the upper register of the piano, before ending with a descending flourish. MOZETICH: SCALES OF JOY FOR VIOLIN, CELLO AND PIANO Award-winning Canadian composer Marjan Mozetich is one of the most broadcast classical composers in Canada. His works have been premiered and performed by some of the world’s most esteemed orchestras and musicians, and he has garnered numerous awards. Mozetich has uniquely blended elements of modern and classical music to develop a fusion style that is both innovative and accessible. His aim is to write music that expresses beauty, sensuousness, and emotion—things that give him and his audiences pleasure. Scales of Joy and Sorrow was composed for the Gryphon Trio through the generous assistance of the Ottawa Chamber Music Society and Roger D. Moore. It was premiered at the Ottawa Chamber Music Festival on 25 July 2007. 64
Notes from the composer—Marjan Mozetich
Scales of Joy and Sorrow is essentially based on the simple ingredients of scales and an undulating accompaniment, plus a short melodic turn which is introduced by the violin very close to the beginning. It is an upward skip of a third, followed by a downward second, before descending, which becomes the third vital theme throughout. All these basic materials are spun through a series of five distinct sections forming a structural geometric pattern of A1, slow; B1, fast; C, moderate arabesque; B2, fast; A2, slow. These continuous sections go through a voyage of emotional changes: from the contemplative to the agitated, from reflection to action, from sweet sorrow to frantic joy. RACHMANINOV: SUITE NO. 2 FOR TWO PIANOS OP. 17 In 1897, Sergei Rachmaninov’s First Symphony premiered to disastrous reviews—the critic and composer César Cui likened the work to “a program symphony on the seven plagues of Egypt”. Devastated, the composer withdrew, unable to write anything significant for three agonizing years. He turned to the help of a psychoanalyst, and through hypnotherapy, composed his Second Piano Concerto in 1900; it was immediately successful with audiences. Its appeal lay in the characteristics that came to define Rachmaninov’s works—sumptuous harmonies, lyrical, intensely passionate melodies, and a certain sophistication in the nuance and variation of colour. This idiom rubbed off on other compositions of the period, including his Suite No. 2 for two pianos. Rachmaninov completed it in April 1901, and in November gave the premiere with his cousin Alexander Siloti, at a concert of the Moscow Philharmonic Society. It too was warmly received, thus further securing his comeback. The form of Suite for two pianos is somewhat traditional, comprising of four movements. The opening march is bold and assertive. Here, and throughout the other movements, the two piano parts are impeccably integrated as they trade thematic materials seamlessly. Fans of the Second Piano Concerto will immediately recognize the similar quasi-orchestral textures, and of course, Rachmaninov’s singular gift for melody. The waltz is a sparkling affair, framing a middle section with one of the composer’s characteristic big tunes, scored for full-bodied chords over flowing accompaniment. The Romance, by contrast, is mostly introspective, warm and tender, slightly melancholy. Nevertheless, it seems Rachmaninov could not resist one of his signature climaxes, and he provides one in the middle of the 65
Open Air Continued
movement. The tarantella—a type of fast Italian dance once believed to cure the bite of a tarantula—is a dynamic finale to the suite, demanding astonishing virtuosity from both pianists. BRAHMS: TRIO FOR PIANO, VIOLIN, AND HORN IN E-FLAT MAJOR OP. 40 Johannes Brahms was one of the greatest Romantic composers of chamber music—many feel that it is through this idiom that one finds the essence of Brahms’s creative personality. The Horn Trio is a singular composition among his corpus of 24 complete works for chamber ensemble, in which, as noted scholar Donald Tovey has observed, Brahms assimilated the influences of Beethoven and Schubert “into a style of great originality”. Brahms’ lifelong fondness for the sonorities of the horn probably began with his father, who played the instrument. Although valved horns had been in use since the 1830s, Brahms preferred the more rounded tone of the natural horn, or Waldhorn. In the Horn Trio, he eschewed the usual formal conventions so to make the most of its unique sound and expressive capabilities. The first movement, for example, is the only time he did not use sonata form for the first movement of an instrumental work, choosing instead a loose rondo structure that oscillates between two principal ideas—the first flowing and graceful, the second more agitated. The more relaxed pace allows one to better savour the unique timbres of the horn which are masterfully integrated with those of the violin and the piano. By contrast, the sparkling Scherzo brings to mind the ‘outdoor’ character of the horn—an allusion to its use in hunting. A series of themes— by turns heroic, songful, extroverted, emphatic—engage all three players in dialogue. The Trio, in the minor mode, has a mournful cast, foreshadowing the deep melancholy of the third movement. The Adagio mesto (slow and sorrowful) is regarded by many to be Brahms’s elegy for his recently deceased mother. Funereal rolled chords deep in the bass of the piano prepare the way for a sustained, lamenting theme introduced by the violin and horn. Later, a solemn fugal episode appears, with the main theme as the subject. Then, for a moment, consolation seems to be on its way but instead, there is increasing agitation. Near the end, the horn intones a hopeful hymn, which Brahms derived from the German folk song In the Meadow Stands a House. At the beginning of the fourth movement, this chorale-like melody is transformed into the main ‘hunting’ theme. Never flagging in energy, the finale speeds along to a rousing conclusion.
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SHOSTAKOVICH: PIANO CONCERTO NO. 1 IN C MINOR OP. 35 A gifted and much-admired pianist, Dmitri Shostakovich, wrote his first piano concerto in 1933 for his own purpose of performing it. On 15 October of that year, he gave the premiere with the Leningrad Philharmonic, and soon performed it all over the Soviet Union to great acclaim. Piano Concerto No. 1 is a deliberate antithesis to the plush, Romantic pianism of Tchaikovsky and Rachmaninov. The piano part is lean, requiring precise articulation and dry textures sparsely pedalled, but is nevertheless dynamic, exciting, and expressive. The scoring for string orchestra only is similarly restrained, while the trumpet, which shares the solo spotlight with the piano, assumes multiple roles—from ironic and playful to plaintive and sentimental. The concerto has four movements, played continuously without breaks. The first movement is emotionally complex; after the opening call with piano and muted trumpet, the first theme is dark and sombre. The second theme, by contrast, is a tongue-in-cheek march with galloping repeatednote figures. The resulting frenzy suddenly subsides but resumes with the return of the march. In the coda, the piano alone utters the main theme as the trumpet plays sustained low notes. The slow movement is introspective and melancholy. The main theme is played by muted strings; they wander to the heights of their registers, after which the piano enters. The new material it presents becomes increasingly dissonant and anguished, culminating in a passionate climax. Against muted strings, the muted trumpet, silent up until this point, reprises the main theme in a mournful version. An impassioned counterpoint between the cellos and the piano closes the movement. An imaginative rhapsody for the piano and strings, the third movement is more like an extended introduction to the finale, which is clearly circus music. A dizzying sequence of vivid themes unfolds; the trumpet takes centre stage for a wild Russian dance, and an episode that parodies the German bands that used to wander the streets of Leningrad (with strings accompanying col legno—on the wood of their bows). In the final pages, a mad reprise of the dance music is punctuated by insistent bugle calls in the trumpet, evoking the famous ‘Lone Ranger’ music from Rossini’s William Tell Overture.
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GUEST ARTISTS
Guest Artists
Top to bottom: Left:
Luca Buratto Cecilia String Quartet Katherine Chi Ed Hanley Matt Heller Hazel Hutchins Right:
Kensington Sinfonia Jens Lindemann Montrose Trio Dmitry Nesterov Dinuk Wijeratne
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LUCA BURATTO Following 2015 Honens Prize Laureate Luca Buratto’s Wigmore Hall debut recital in London this January, The Guardian wrote, “Graceful, analytical, meticulous, Buratto is a name to watch”. In addition to his success at the Honens International Piano Competition, Mr Buratto was awarded third prize at the International Robert Schumann Competition and the special Acerbi prize, awarded to a distinguished Finalist at Milan’s Shura Cherkassky Competition, both in 2012. Recent and upcoming orchestral engagements include Milan’s La Scala with Orchestra Sinfonica Giuseppe Verdi, London Philharmonic Orchestra, Toronto Symphony, Calgary Philharmonic, Edmonton Symphony, and Symphony Nova Scotia. In 2016, Mr Buratto performed for the Progetto Martha Argerich at the Lugano Festival. He also performed at the Ottawa International Chamber Music Festival, Busoni Festival, and was a resident artist at the Marlboro Music Festival. Mr Buratto gives his Carnegie Hall recital debut this October. He has been featured on national radio broadcasts: BBC Radio 3, CBC Radio 2, Radio Classica, Radio 3 RAI, WFMT and WQXR. In his spare time, he enjoys jigsaw puzzles and table tennis and has an interest in physics and American post-modern literature. Mr Buratto lives in Milan. CECILIA STRING QUARTET Hailed for their “powerful” (Chicago Sun-Times) and “dauntingly perfect” (Berliner Zeitung) performances, the Cecilia String Quartet (CSQ) performs for leading presenters all over the world. The CSQ has been named prize-winners at several international competitions, including Osaka (2008), Bordeaux (2010), and the 2010 Banff International String Quartet Competition, where they also won the prize for the best performance of a commissioned work. The CSQ has initiated two exciting projects that are currently ongoing: Xenia Concerts and Celebrating Canadian Women in Music. The Xenia Concerts are a series designed to appeal to, and be welcoming of, children on the autism spectrum and their families. This series has been designed to embody the CSQ’s philosophy that everyone should have equal access to quality chamber music performances. Celebrating Canadian Women in Music puts a spotlight on a ‘quartet’ of immensely talented female Canadian composers, involving four new commissions that the CSQ will premiere and record. From 2007-2009, the CSQ also began developing educational presentations on classical music and the string quartet while they were String Quartet in Residence at San Diego State University.
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Since then, the CSQ has performed hundreds of educational presentations across Canada, the United States, Italy and France. They have presented for a wide variety of organizations such as the Monarch School for Homeless Youth, Veteran’s Village for Homeless Veterans, Learning Through the Arts at the RCM and the SLAC National Accelerator Laboratory. The CSQ is based in Toronto, Canada where it is the James D. Stewart Quartet in Residence at the University of Toronto's Faculty of Music. The 2017/2018 season will be the Cecilia String Quartet's final one together. Min-Jeong Koh violin Sarah Nematallah violin* Caitlin Boyle viola Rachel Desoer cello *Catherine Cosbey will replace Sarah Nematallah who is on maternity leave.
KATHERINE CHI Calgary-native Katherine Chi became both the only woman and Canadian to be named Honens Prize Laureate in 2000, a triumph that brought her international attention. She has become one of Canada’s foremost musical interpreters, having performed throughout Europe and North America to great acclaim. “Ms Chi displayed a keen musical intelligence and a powerful arsenal of technique,” wrote The New York Times. Sought after as a concerto soloist of musical and technical distinction, Ms Chi is noted for the breadth of her repertoire. While praised for her interpretations of Mozart, she is also applauded for performances of major romantic and 20th century concerti. “The most sensational but, better, the most unfailingly cogent and compelling Prokofiev’s Third I have heard in years” wrote The Globe and Mail. And when Katherine Chi recreated Stockhausen’s landmark work, Mantra, for two pianos and electronics The Boston Globe wrote “when the superb pianists Katherine Chi and Aleksandar Madzar took on the challenge at the Isabella Stewart Gardner Museum on Sunday, it was a welcome opportunity—courtside seats at the creation. Chi and Madzar were ensconced among percussion, microphones, and MIDI controllers … the form unfolding like a venerable suite even as it pushes the modernist envelope.” A year after her debut recital at age nine, Katherine Chi was accepted to the prestigious Curtis Institute of Music. She continued studies at the New England Conservatory in Boston, where she received her Master’s degree, Graduate, Artist Diploma and Doctorate. She later studied for two years at the International Piano Foundation in Como, Italy, and at the Hochschule für Musik in Cologne. Her debut recording on the Honens label features works of Beethoven and Rachmaninov. 72
ED HANLEY Ed Hanley is a multi-dimensional artist—creator, performer, producer, photographer, cinematographer, recording engineer, video editor, writer, and tabla player. Although best known as a practitioner of tabla (the classical percussion of North India) Mr Hanley’s recent work in the visual world expresses the same joy, dynamism, love of collaboration, and attention to detail as his years of work as a touring and recording musician. He has been described as “a remarkable player, both in his musical thoughtfulness and his technical virtuosity” (Halifax Chronicle Herald). Mr Hanley has studied tabla for over 27 years with master drummers in Canada, the US, and India, including Pandit Swapan Chaudhuri, Pandit Anindo Chatterjee, and Taalyogi Suresh Talwalkar. He has also studied Carnatic drumming traditions with Sri Karaikudi Mani and Dr Trichy Sankaran. From the Stockholm Jazz Festival and the Jaipur Heritage Festival, to Massey Hall in Toronto and Joe’s Pub in New York City, Mr Hanley has been a featured performer at prominent music festivals and concert halls in Europe, India, the US, and across Canada. As Co-Artistic Director of the Canadian world music ensemble, Autorickshaw, he has earned two JUNO Award nominations, and won the Grand Prize in the World Music category of the John Lennon Songwriting Competition. His work has been recognized and supported by the Canada Council, Ontario Arts Council, Toronto Arts Council, FACTOR, DFAIT, and the Shastri Indo-Canadian Institute. MATT HELLER American-born Matt Heller is a double bassist who joined the Calgary Philharmonic Orchestra in 2007. He has appeared frequently as a recitalist and chamber musician, including performances with the Mountain View Chamber Music Festival, Land’s End Chamber Ensemble, Kensington Sinfonia, and the Instrumental Society of Calgary. Mr Heller was awarded the Instrumental Society of Calgary's inaugural Janice Waite Scholarship in recognition of his contributions to Calgary's performing arts community. He also performs as principal bass with the Colorado Music Festival Orchestra. Mr Heller was previously a member of the New World Symphony, Wisconsin Chamber Orchestra, and Civic Orchestra of Chicago. He has been an orchestral fellow at the Tanglewood Music Center and Verbier Festival, and has performed in chamber recitals with the St. Lawrence String Quartet at the Spoleto Festival. Mr Heller performs on an Italian double bass attributed to Antonio Gilbertini, dated 1841.
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HAZEL HUTCHINS Hazel Hutchins has enjoyed a long career, writing over fifty books for children, both picture books and children's novels, and has made thousands of author presentations to young audiences across Canada. Her books have won the Marilyn Baillie Picture Book Award, Shining Willow Young Readers’ Choice Award, and have been repeat winners of the Alberta Writers' Guild Ross R. Annett Award for Children’s Literature. Numerous titles have been included on the Canadian Children’s Book Centre ‘Best Book’ lists and appeared regularly on the Ontario Forest of Reading, Rocky Mountain Book and Mr Christie selection lists. Many of Ms Hutchins’ individual titles have also been translated into French, Mandarin, Korean, Italian, Arabic and German. Ms Hutchins and her husband live in Canmore, where they raised their family, and where she still enjoys living, writing, and wandering mountain trails. Her most recent titles include the children’s novel The Great Bike Rescue and the picture book Snap.
lunch | dinner | weekend brunch | patio | private events | catering 74
provisionyyc.ca
@provisionyyc
403-263-0766
KENSINGTON SINFONIA Kensington Sinfonia was founded in 1988 by John Lowry, Associate Concertmaster of the Calgary Philharmonic Orchestra, and freelance musician. Its programs cover a wide range of chamber music and string orchestra repertoire, from the Baroque to present day. Since its inception, this unique professional ensemble has frequently commissioned works by Calgary composers, as well as presenting the Calgary premieres of many Canadian compositions. The Sinfonia has been broadcast on both regional and national CBC Radio programs. Its debut recording, Views from the Americas, was recorded by CBC Radio. Donovan Seidle serves his final year as the ensemble’s Artistic Director/Leader for the 2017/2018 season, and will be succeeded by Laura Reid for 2018/2019. JENS LINDEMANN Canadian-born, Los Angeles-based trumpeter, Jens Lindemann is hailed as one of the most celebrated soloists in his instrument's history and was recently named “International Brass Personality of the Year” (Brass Herald). In 2015, Mr Lindemann was the first classical trumpet soloist to be named to the Order of Canada. He has also received accolades ranging from Grammy and JUNO nominations to winning the prestigious Echo Klassik in Germany. Classically trained at the renowned Juilliard School in New York, Mr Lindemann has also won accolades at numerous festivals and competitions including the prestigious ARD in Munich, and both Prague and Ellsworth Smith (Florida) International Trumpet Competitions. Mr Lindemann has played in every major concert venue in the world from the Philharmonics of New York, Los Angeles, London, and Berlin to Tokyo's Suntory Hall and the Great Wall of China. Significant artists with whom he has performed include Sir Neville Marriner, Sir Angel Romero, Doc Severinsen, Charles Dutoit, Gerard Schwarz, Eiji Oue, Bramwell Tovey, and Jukka Pekka Saraste. He has performed solos with various orchestras, including the London Symphony, Philadelphia, Beijing, Bayersicher Rundfunk, Buenos Aires Chamber, Atlanta, Washington, Seattle, Dallas, Detroit, Houston, Montreal, Toronto, National Arts Centre, Vancouver, Warsaw, Welsh Chamber, I Musici de Montreal, St. Louis, and Mostly Mozart at the Lincoln Center. Mr Lindemann is internationally endorsed by the Yamaha Corporation and performs exclusively on 24K gold plated trumpets.
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MONTROSE TRIO Formed in 2013, the Montrose Trio is a collaboration stemming from a long and fruitful relationship between pianist Jon Kimura Parker and the Tokyo String Quartet. Mr Parker was the quartet’s final guest pianist, and a backstage conversation with violinist Martin Beaver and cellist Clive Greensmith led to Montrose Trio’s creation. Named after Chateau Montrose, a storied Bordeaux wine long favored after concerts, with a nod to the Montrose Arts District of Houston and the street in Winnipeg where Mr Beaver was raised, the Montrose Trio has quickly established a reputation for performances of the highest distinction. In 2015, The Washington Post raved about the trio’s “absolutely top-notch musicmaking, as fine as one could ever expect to hear ... they are poised to become one of the top piano trios in the world”. The Montrose Trio gave its debut performance for the Chamber Music Society of Detroit, with subsequent performances at Wolftrap in Montreal and at the Santa Fe Chamber Music Festival. Jon Kimura Parker will become the Artistic Director of Honens in January 2018. DMITRY NESTEROV Russian-born pianist Dmitry Nesterov arrived on the Canadian music scene in 1992 when he became a Laureate of the inaugural Honens International Piano Competition. Since settling in Canada with his family in 1994, Mr Nesterov has impressed audiences, critics and colleagues alike with his performances. He has been a soloist with the Calgary Philharmonic Orchestra, the Edmonton, Kamloops, Lethbridge and Red Deer Symphony Orchestras, as well as with many orchestras in Russia. Notable conductors with whom Mr Nesterov has performed include Hans Graf, Mario Bernardi, Alex Pauk and Bernard Labadie. A gifted collaborative musician, Mr Nesterov has partnered with the Alberta Ballet, Aubade Chamber Ensemble, New Works Calgary, St. Lawrence String Quartet, flutist Patrick Gallois, pianist Jon Kimura Parker and violinist Katherine Manoukian. Mr Nesterov’s performances can be heard on CBC Radio. He is a faculty member at Mount Royal University in Calgary, and dedicates much of his time to the institute’s Music Academy and Diploma Performance Programs. He is also artistic director of Mount Royal University’s intensive summer program, the Calgary Piano Institute. Mr Nesterov and his family live in Calgary.
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DINUK WIJERATNE Sri Lankan-born Dinuk Wijeratne is a JUNO, SOCAN and ECMA-winning composer, conductor and pianist who has been described by The New York Times as “exuberantly creative” and by The Toronto Star as “an artist who reflects a positive vision of our cultural future”. His boundary-crossing work sees him equally at home in collaborations with symphony orchestras and string quartets, tabla players and DJs. Mr Wijeratne made his Carnegie Hall debut in 2004 as a composer, conductor and pianist, performing with Yo Yo Ma and Silk Road Ensemble. He has also performed at the Berlin Philharmonie, Kennedy Center, Opera Bastille, Lincoln Center, Teatro Colón, North Sea Jazz Festival, in Sri Lanka, Japan and across the Middle East. Mr Wijeratne grew up in Dubai before taking up composition studies at the Royal Northern College of Music (RNCM) in Manchester, UK. In 2001, he was invited by Oscar-winning composer John Corigliano to join his studio at The Juilliard School of Music. Mr Wijeratne has served both as Conductor-in-Residence and Composer-in-Residence of Symphony Nova Scotia. A passionate educator, he has lectured at universities across the country, and is going into his 12th season as Music Director of the Nova Scotia Youth Orchestra. He is also the recipient of the Canada Council Jean-Marie Beaudet Award for orchestral conducting, the Nova Scotia Established Artist Award, the Sema Jazz Improvisation Prize, the Soroptimist International Award for Composer-Conductor and the Sir John Manduell Prize—the RNCM’s highest student honour. Mr Wijeratne’s music and collaborative work embrace the great diversity of his international background and influences.
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SIR JACK LYONS CHARITABLE TRUST Based in the United Kingdom, the Sir Jack Lyons Charitable Trust supports music, dance and film in the U.K., Canada and Israel.
We are proud to sponsor Cecilia String Quartet and Luca Buratto in concert
at the 2017 Honens Festival.
1 7 / 1 8 S E AS O N T HE AT RE
DANCE FI LM M U S I C
B U Y TICKET S ONLINE — T HEAT REJU NCT ION.COM
IN THE COMMUNITY
FESTIVAL’17
STORYTELLERS TESS FREE CONCERT FOR THE WHOLE FAMILY
1 / Liya K.
2 / Clara H. 3 / Luca Marin T. 4 / Anara F. 5 / Magan M.
STORYTELLERS ART CONTEST Honens invited primary school students from around Calgary to create a piece of art that represented Tess. The winner Liya K., has her design featured on promotional materials for the 9 September Storytellers’ concerts at Studio Bell, home of the National Music Centre. Liya’s entire school will be treated to a special Storytellers performance. Honens chose four honourable mentions. Visit honens.com/storytellerscontest to view all entries.
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CONCRETE SONATA PIANOS FOR ALL! For the past four years, Downtown Calgary has commissioned outdoor street pianos and encouraged passersby to play and listen to music. ‘Concrete Sonata’ features performances by Honens Laureates and guest artists on these pianos. There are two pianos for the public to enjoy—Woodlands Piano on the corner of Third Street and Sixth Avenue SW, and Wee Little Piano and Book Exchange at Fifth Avenue Place. Stop by and play a tune. Follow Downtown Calgary on Facebook and Twitter @downtowncalgary, or #IAMDOWNTOWN to be notified of concerts. Pianos were designed and built by Jesse Moffat Pianos as a part of Downtown Calgary’s Crime Prevention Through Environmental Design initiative. 82
A SOUND PARTNERSHIP
WAX has been proudly supporting Honens through our advertising and design work since 2006.
WAX.CA
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Engaging the imagination PROUD TO SUPPORT
Enriching the world
The 2017 Honens Festival “I wish I hadn’t learned to play piano” - Said no one. Ever.
Alberta College of Art + Design is a proud partner of 2017 Honens Festival
acad.ca
Shape your campaign with PATTISON Outdoor Advertising
PHILIP CHONG FLOWER BAR .com Tel: 403.285.0888
A proud supporter of
100, 229 -33 Street NE Calgary, AB 403.569.4400 www.rgo.ca
ODDS & ENDS
BE SOCIAL We ask you to refrain from using your mobile phones during performances, but please share your views online using #Honens2017 and #Pianoscapes. Follow Honens on Facebook, Instagram, and Twitter @honens. CAMERAS & RECORDING The use of cameras and recording devices is strictly prohibited without express written permission of Honens. DISCLAIMER By attending any event of the 2017 Honens Festival, each person present gives consent to being photographed or recorded in sound or otherwise recorded by any means whatsoever and waives all rights with respect to any such photographs or recordings. FEEDBACK Your comments and suggestions are welcome. Please write Amanda Smith, Director, Marketing & Communications, Honens, 888 Tenth Street SW, Calgary AB Canada T2P 2X1; call 403 299 0130 or email asmith@honens.com. LATECOMERS Latecomers will be admitted into concert halls only during appropriate breaks between performances. PARKING & PUBLIC TRANSPORTATION Travelling to and from the Jack Singer Concert Hall at Arts Commons, and Royal Canadian Legion No. 1 Calgary’s Light Rail Transit (LRT), more commonly known as the C-Train, stops within easy walking distance of our event venues in the downtown core. If travelling eastbound, disembark at either Centre Street Station or City Hall Station. If travelling westbound, disembark at First Street Station or City Hall Station. Several indoor and outdoor parking facilities are available in downtown Calgary: Civic Plaza Parkade 322 Ninth Avenue SE Telus Convention Centre Parkade First Street SE between Seventh and Eighth Avenues 86
Travelling to and from Knox United Church The C-Train stops within walking distance of Knox United Church. If you are travelling eastbound, disembark at Third Street Station. If you are travelling westbound, disembark at Fourth Street Station. Travelling to and from Studio Bell, home of the National Music Centre Studio Bell is a ten-minute walk from City Hall Station. The City of Calgary Parking Authority has lots located at 363 Ninth Avenue SE, 724 Fourth Street SE, and street parking on Eighth Avenue SE and throughout East Village. Travelling to and from Central Memorial Park The C-Train stops within walking distance of Central Memorial Park. If travelling eastbound, disembark at either Fifth Street Station or Third Street Station. If travelling westbound, disembark at Fourth Street Station. VENUES Central Memorial Park 1221 Second Street SW Jack Singer Concert Hall at Arts Commons 205 Eighth Avenue SE King Eddy 438 Ninth Avenue SE Knox United Church 506 Fourth Street SW Royal Canadian Legion No. 1 116 Seventh Avenue SE Studio Bell, home of the National Music Centre 850 Fourth Street SW
WHEELCHAIR ACCESS Wheelchair seating is located in Orchestra Left and Right Row C and Orchestra Centre Row W of the Jack Singer Concert Hall. All other venues are accessible by wheelchair. Please call Honens in advance for more details.
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BECOME AN
NMC MEMBER Enjoy our exhibitions year-round, as well as discounts and special offers at Studio Bell. • NMC Membership pays for itself with three visits, plus savings on retail. • Memberships are valid for one year from the date of purchase. Visit studiobell.ca/members for more information.
HONENS APPLAUDS
Volunteers
COMMITTEES
2017 VOLUNTEERS
A440 Kathryn Davies Dana Hagg Adriana Kolijn Raphaelle Labman Catherine Leyson Justin McCormack Daniel Mills Robert Paxton Laura Telfer
Melanie Aikenhead Co-Chair Jennifer Aikenhead Susan Anderson Co-Chair Deborah Ambrose Charlotte Annable Doug Annable Vera Apletree Angela Baker Allan Bell Pat Benedict Alyssa Berry Luciane Cardassi Malu Celli Annie Cen Jordan Chan Emily Chang Osmond Chiu Stan Climie Mark Congram Jer Cox Basil Cuddihy Nora Cuddihy Karol Dabbs Janice Dahlberg Susan Ditchburn Jillian Drysdale Dave Drysdale Tim Dubber Paula Fayerman Lee Ferrier Charles Foreman Simon Gamache Andrea Gammack Sylvia Gerry Catherine Glaser-Climie Helen Graham Debbie Graham Gwenyth Gillette Meghan Goguen Jacqueline Grabowski Frances Hagedorn Frank Hagedorn Brent Hay Mila Hayes Faye Hleucka Wayne Hleucka Harry Hooi Donna Horton Taurick Hoven Helen Isaac Julie Jacques Linda Jennings Dorothea Johanson Mark Johnson Robin Kidd
Laureate Circle, Calgary Mary Shaw Chair Charlotte Annable Karol Dabbs Sherry Doerr Helen Graham Donna Horton Phyllis Peters Shirley Zielsdorf Laureate Circle, Edmonton Rosemarie Horne Chair Laureate Circle, Ottawa Keltie Mierins Chair Ricky and Allan Fenske Victor and Marilyn Lanctis Susan McNee Harvey Slack
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Pat Klein Emily Kozie Chris Krieger Wendy Kunsman Philip Lee Edward Letkeman Rita Lisella Ruth Lomenda Mary Long Larry Love Simon MacLeod Alix Marshall Maureen McLeod Josh Methot Joni Millar Tom Mirhady Elena Monakhova Geri Moon Maurissa Morgan Arlene Nash John Nash Marilyn Nasserden Ann Newman Angela Ng Beatrice Norrie Jiping Pan Jeanne Pollock Beth Olver Sabina Pang Robert Paxton Phyllis Peters Wendy Peters Jeanne Pollock Kent Qin Barbara Robertson John Robertson Ellen Rossi Kelly Schuler Marilyn Sellar Mary Shaw Donna Simpson Brigid Stewart Olena Ternova Nick Thomas Miranda Ward Angela Tu Weissenberger Frank Van Der Voet Marijke van Wijk Shri Venkatesan Peter Walker Miranda Ward So Ling Wong Ji Zhao Shirley Zielsdorf Host Homes Ann and Sandy Crawford Jeff and Siobhan Goguen
Special Thanks
Alberta College of Art and Design Alberta Printmakers Arts Commons
Photography Colin Way Photography Roth & Ramberg Unique Perspectives
Calgary Board of Education
Pianos Michael Lipnicki Fine Pianos Calgary Steinway Piano Gallery Calgary Tom Lee Music Vancouver Piano Centre Edmonton Steinway Piano Gallery Ottawa
Calgary Foundation
Renaissance Wine Merchants Ltd
Calgary Herald
Rozsa Foundation
Calgary International Film Festival
RPM Piano Movers
Calgary Philharmonic Orchestra
Studio Bell, home of the National Music Centre
Calgary Public Library
Tourism Calgary
Calgary Separate School District
University of Calgary School of Creative and Performing Arts
Avenue Magazine Banff Centre Calgary Arts Development
Canadian Broadcasting Corporation The City of Calgary The City of Calgary Parks & Recreation The CORE Shopping Centre cSpace King Edward Deluxe Design Group Downtown Calgary The Downtown Sports Clinic Inglewood Art Supplies International Avenue BRZ Masterclass Selection Panel Michael Coburn Julie Jacques Monterey Park School Mount Royal University Conservatory Pattison Outdoor
WAX YYC Calgary International Airport Community Groups Calgary Catholic Immigration Society Calgary Jewish Community Centre Calgary Immigrant Women’s Association Calgary Italian Cultural Centre Confederation Park Activity Centre International Avenue BRZ Polish Canadian Cultural Centre Immigrant Services Calgary United Active Living Honens is a member of the following associations: Alink-Agerich Foundation Canadian Arts Presenting Association / l’Association canadienne des organismes artistiques International Society of the Performing Arts International Artist Managers’ Association Tourism Calgary World Federation of International Music Competitions
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Donors
The following individuals and companies generously donated cash, products or services to Honens between September 2016 and July 2017. Honens also thanks all who made contributions after print deadlines. Corporate sponsors and foundation and government partners are listed on page 2 and 3. Individual Donors Founding Benefactor Esther Honens+ Honens Legacy Partners donate $250,000 or more to endowment. All gifts received to date have been eligible for matching contributions from the Government of Canada. Ian and Heather Bourne Percy+ and Lois Cole John and Sheilagh Langille F. Richard Matthews+ CM OC Lifetime Benefactors donate $100,000 or more over a lifetime Esther Honens+ Ian and Heather Bourne Percy+ and Lois Cole Arthur and Bonnie Dumont John and Sheilagh Langille F. Richard Matthews+ cm oc Ted+ and Margaret Newall Dr Ted Rozsa+ oc and Dr Lola Rozsa+ Clarice Evans Siebens Anonymous (1)
$10,000 to 74,999 Eleanor McCain John and Keltie Mierins Clarice Evans Siebens James M. Stanford Van Wielingen Family Viewpoint Foundation $5,000 to 9,999 Deborah Ambrose Steve and Klementina Angyalfi Hy+ and Jenny Belzberg CM AOE in honour of Stephen Mcholm
Dr Lorraine Bray and Jim Carter OC Heather Edwards Annie Freeze Tony and Liz Fricke Dick and Lois Haskayne Fund at the Calgary Foundation
Ian and Judith Griffin Craig* and Yin Hoskins Don and Kim Wheaton Glenn and Sandra Woolsey $2,500 to 4,999 Allen and Ellen Borak William Christensen Mark Congram* and Lorieanne Woloschuk Mr Peter Clark and Ms Sunny Delaney-Clark Gertrude Cohos John and Judy Cosco Sandy and Ann Crawford Walt and Irene DeBoni Phonse and Lisa Delaney Sherry and Harvey Doerr Eric* and Susan Friesen John and Marilynne Gillespie Helen Graham John and Susan Hokanson Sharie* and Patrick Hunter Judith Kilbourne Wendy Liu* Brenda Marshall* Russell and Vickie McKinnon Dale and Joan Meister Florence Minz in honour of Jon Kimura Parker
Murphy Oil Company Ltd Employee Matching Program
Thomas and Melanie Nakatsui Bryan Price* Richard and Mary Shaw Angelo* and Melissa Toselli Anonymous (1)
$1,500 to 2,499 Doug and Charlotte Annable Chuck Barlow Ron and Shirley Bond Judy N. Boyes QC Marion Burrus Robert and Ann Calvert Karol Dabbs Ann and Morris Dancyger Janet Dietrich Doug and Janet Ewens Jeff and Siobhan Goguen Donald and Janet Hatch Dan and Kathy Hays William Hogg Erik and Rosemarie Horne Greg and Donna Horton The Honorable Constance Hunt* Rick and Janet Matthews Chris Hylton and Barbara Newman Chris Krieger Janet Lester David Lyons Beverly MacLeod M. Ann McCaig Roxanne McCaig Carl and Lesley Millar Ann Miller Larry and Wanda Moffat Alan and Geri Moon Faiz and Shelagh Nadir Jack and Esther Ondrack John and Phyllis Peters Gerald+ and Isobel Pittman Ernest and Mary Rewucki John Weissenberger and Angela Tu Weissenberger Po Yeh Shirley Zielsdorf $1,000 to 1,499 Richard and Barbara Bergstrom Daryl Banke and Mark Hussey Peter Becke and Deborah Bradley Neva Bruce and David Cuthbertson Margaret Campbell Peter and Susan Conradi David Côté and Lisa Korus Stephen and Kerry deBlois Jim and Allison Dingle Pat Prestwich in honour of Brian L. Evans
Allan and Ricky Fenske Mary-Ellen Fitzgerald and Douglas Lazier Dr Jean-Yves Gosselin 92
Dr Genadi and Catherine Gunther Erik and Rosemarie Horne Antony and Donna Ham Pong Dr Iris Jackson Henry and Margaret Jaques Dr and Mrs Victor J. Lanctis Daniel Lindsay Alexander Macklin QC and Gloria Macklin Doreen McHolm John and Susan McNee Hugh McPhail and Yolanda van Wachem Dr Gordon Mowat Rob and Joanne Nelson Andrew and Anna Niedzwiecki Jack and Esther Ondrack Gordon and Wendy Peters J. Bruce and Patricia Petrie John and Judith Reid Marc and Catherine Ruel Eric and Elexis Schloss Cindy Sezlik Dr Matthew Suh and Dr Susan Smith Gerry and Sharon Yuen Anonymous (1)
Annual Campaign Babette Blindert Pat Benedict Benevity Community Impact Fund Allen and Ellen Borak Marion Burrus Nancy E. Calvin Stephen Cassin Alan D. Castle Cenovus Employee Foundation Dorothea and Morton Cutts Karol Dabbs Jane Ebbern Clarice Evans Siebens Reva Faber Judy Fairburn Gwyneth Gillette Sylvia Gerry Ruth Gibson
$500 to 999 Dale and Jane Birdsell Andrea Bosnjak Eva and Stephen Callary Bill and Diane Chomik Allen Dick
in honour of Gwyneth Gillette
in memory of Susan Dick
Jane Francis John and Mary Lou Halliwell Justin Havre Marina Jones Joe and Maureen Katchen Terry Lauder and Anne McNamara Letha J. MacLachlan QC and John Ridge Dr Cameron MacLean Dr and Mrs François and Sarie Mai Carmen Morin Catherine and Stuart Mugford John and Arlene Nash Nexen Energy ULC Employee Matching Program
Shannon and Thomas Palmer J. Bruce and Patricia Petrie Rochelle Rabinovitz Albert Rosengarten and Barb Atnikov Harvey A. Slack and Hon. Laurier L. La Pierre+ OC Holly Sykes and Rob Baker Philippa White Anonymous (2)
in honour of Pavel Kolesnikov and Samson Tsoy
Rod and Lois Green Sandy Gunderson Michael Anthony Hall William Hogg Joan, Gordon and David Holland Joan and Gordon Holland in honour of Nick and Morag Dornian
Andrea Hopps and Michael Mezei Corine Jansonius Madeline K. Joss F. E. Kitchingham Faye Koop Chris Krieger Wendy Kunsman Phyllis Lake Grant and Mary Laughren Sandra Lee Viola P. Lee Catherine Lis David Lyons Ian and Margaret MacLaren Beverly MacLeod Ian and June Martin Audrey McClellan Russell and Vickie McKinnon Catherine McLelland Bruce and Bonnie McMillan Alan and Geri Moon Laura Motchalov
Esther Ondrack Dr Claude Oppenheim in honour of Tony and Liz Fricke
John Partridge Antoinette Sossong Michèle Stanners Frank Van Der Voet Mark Walker Jill Yang Anonymous (3) * Honens Director + Deceased
Corporate Donors $1,000 to 4,999 Blackfoot Self-Storage / Hampton Development Company Special events Laureate Circle Event Hosts Calgary Masters Gallery Heather Edwards Dan and Kathy Hays Edmonton Dr Lorraine Bray and Jim Carter oc Sandra and Glenn Woolsey Ottawa Peter Becke and Deborah Bradley Rideau Club Laureate Circle Underwriter, National TransAlta Laureate Circle Underwriter, Calgary Masters Gallery Ltd Laureate Circle Underwriter, Ottawa Land Rover Jaguar
in honour of Andrea Davison
Margaux Myers John and Arlene Nash in honour of Sally Hodges
Marilyn Nasserden Veronica Nhukwete Dr Ryan O’Malley
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PIANO | FESTIVAL | COMPETITION
PIANO COMPETITION & FESTIVAL SAVE THE DATES | 30 AUGUST TO 8 SEPTEMBER 2018
The Complete Artist.
#HONENS2017