PROGRAM
RICHARD EATON SINGERS EDMONTON SYMPHONY ORCHESTRA LEONARD RATZLAFF, CONDUCTOR JOLAINE KERLEY, SOPRANO RODERICK BRYCE, BARITONE
Ralph Vaughan Williams (1872-1958)
The Old Hundredth Psalm Tune (1953) Chorus and Orchestra
Vaughan Williams
Benedicite (1929) Soprano soloist Chorus and Orchestra
Vaughan Williams
Five Mystical Songs (1911) 1. Easter 2. I Got Me Flowers 3. Love Bade Me Welcome 4. The Call 5. Antiphon Baritone soloist Chorus and Orchestra INTERMISSION
Vaughan Williams
Dona Nobis Pacem (1936) 1. Agnus Dei 2. Beat! Beat! Drums! 3. Reconciliation 4. Dirge for Two Veterans 5. The Angel of Death 6. O Man, Greatly Beloved Soprano and baritone soloists Chorus and Orchestra
RICHARD EATON SINGERS - THE MUSIC OF VAUGHAN WILLIAMS
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R I C H A R D E AT O N S I N G E R S
Founded in 1951 by Richard S. Eaton, Edmonton’s symphonic choir, Richard Eaton Singers (RES), has played a leading role in the cultural community of the city for over seven decades. Celebrating their seventieth anniversary last December, RES has always been dedicated to the enjoyment, study and performance of great choral music to an international standard of excellence, and to fostering the appreciation and future of this music. RES performances have included Edmonton premieres of many choral masterpieces such as Haydn’s Creation, Mendelssohn’s Elijah, Schubert’s Mass No 5 in A-Flat, Vaughan Williams’s The Sea Symphony, as well as many shorter works for accompanied and unaccompanied choir. RES has commissioned and produced premiere performances by Canadian composers, including Allan Bevan’s No Mortal Business and Last Light Above the World, as well as works by many others including Stephanie Martin, Imant Raminsh and Mark Sirett. They have also participated in several ESO premieres of Canadian works, including Malcolm Forsyth’s A Ballad of Canada. The choir has traveled extensively across Canada, to the Netherlands, Britain, and Germany, and has participated in choir exchanges, including with the Calgary Philharmonic Choir and Vancouver Bach Choir. RES also regularly performs with other Edmonton area choirs,
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most recently with Kappella Kyrie in a concert this past June as a fundraiser for assistance to Ukrainian families who have relocated to Edmonton in recent months. Often partnering with the Edmonton Symphony Orchestra RES has created many memorable choral events in our city, including the performance of Mahler’s Symphony of a Thousand to celebrate the opening of the Francis Winspear Centre for Music. RES & ESO have a long history of close collaborations, and this concert dedicated to the music of Ralph Vaughan Williams on the occasion of his 150th birth year continues a recent decision to co-sponsor choral/orchestral concerts. In recent years RES has also joined forces with the Alberta Baroque Ensemble to perform a number of masterpieces from the Baroque and Classical periods. The balance of the RES 2022-23 season will include a full performance of Messiah with the ESO on December 9-10 directed by music director Leonard Ratzlaff, an ESO Lighter Christmas Classics concert conducted by Bob Bernhardt on December 22-23, and, marking Ratzlaff’s final concert of RES with the ESO, a much-anticipated performance of Mendelssohn’s monumental oratorio Elijah on March 31, 2023.
RICHARD EATON SINGERS - THE MUSIC OF VAUGHAN WILLIAMS
EDMONTON SYMPHONY ORCHESTRA
While there had been orchestras called the Edmonton Symphony dating back to the 1920s, the ESO was formally created as a non-profit society in 1952, and since then, has grown to become one of Canada’s major arts organizations. The Edmonton Symphony Orchestra (ESO) annually presents a full range of subscription series and special concerts to nearly 100,000 people, plus acclaimed education programs for school children in all grades reach a further 30,000 students each year.
The Edmonton Symphony is proud of its artistic partnerships, and performs regularly with Edmonton Opera, Alberta Ballet, Richard Eaton Singers, and others. The ESO is also part of the Winspear Project, an expansion project which will see the Winspear Centre achieve its goal of being the true centre for music in the lives of people throughout the Edmonton area, and beyond.
After bidding a fond farewell to Alexander Prior after the 2021/22 Season, American conductor Michael Stern was named Artistic Advisor to the ESO while the search for a new Chief Conductor continues. Cosette Justo Valdés, who joined the ESO for the 2018/19 season as the Assistant Conductor and Community Ambassador, was named Resident Conductor in the 2022/23 season. For more than 70 years, the Edmonton Symphony Orchestra has taken its place as one of Canada’s foremost orchestral ensembles. The current roster includes musicians from Canada and around the world performing a wide-ranging repertoire from great classical masterworks to Hollywood scores to new works. The orchestra is the resident artistic ensemble, the “home team,” of the Winspear Centre, among the best acoustic concert halls in North America.
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D O N A N O B I S PA C E M
This year celebrating their 70th Anniversary, Richard Eaton Singers have in past years had the opportunity to present numerous concerts with the Edmonton Symphony either on or around Remembrance Day, as musical commemorations of one of the most significant national holidays in our calendar. Tonight’s concert, which presents several works of the English composer Ralph Vaughan Williams, including his major cantata on the theme of war and peace, Dona nobis pacem, can be added to the list that includes the major Requiem settings by Brahms, Britten and Verdi. In this 150th Anniversary Year of Vaughan Williams’s birth (his actual birth date was exactly one month ago, on October 12), Richard Eaton Singers and Edmonton Symphony offer a co-production that reveals the composer’s lifelong commitment to writing impactful music for voice and orchestra. Well known for his purely orchestral output, including 9 symphonies as well as such instrumental classics as The Lark Ascending and Fantasia on a Theme of Thomas Tallis, Vaughan Williams’s formative experiences included the rich English choral traditions, from the Tudor era to contemporary sacred music practiced in the grand English cathedrals, as well as the nearly 800 English folk songs which he had a major part in collecting and collating early in his career. His vocal output spans the entire gamut – from shorter anthems, motets and part songs to operas, cantatas and oratorios. In tonight’s concert you will hear 4 representative works that span a period of nearly 50 years of compositional activity. Reflecting on the passing in September of Queen Elizabeth II, we begin with the short celebratory hymn arrangement Vaughan Williams was invited to contribute to her coronation in 1953, The Old Hundredth Psalm Tune: All People That on Earth do Dwell. This setting enriches the traditional hymn tune with vocal descants as well as great brass flourishes, ending with a glorious “Amen”. Next on the program is what many have called an unjustly underrated 15-minute work for soprano soloist, chorus and orchestra, Benedicite. Written in 1929 as a commission for the Leith Hill Choral Society, a choir which Vaughan Williams himself directed for nearly 5 decades, this work sets a text taken from the Apocrypha, the jubilant “Song of the Three Holy Children” in the fiery furnace, described in the Book of Daniel. Interestingly, this little known but delightful
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work received its Edmonton premiere by this choir in its “Fifth Annual Concert” in 1958, directed by Richard Eaton himself! The first half of the concert closes with a much earlier but equally highly regarded work, his Five Mystical Songs (1911) for baritone soloist, chorus and orchestra. Although Vaughan Williams evidently did not hold strong religious beliefs, his frequent choice of texts from sacred sources (scripture as well as religious poetry) reveals a genuine respect for the implicit lyricism as well as dramatic impact of these texts. Here his source was 5 poems by the late Renaissance English poet George Herbert. These are exquisitely crafted songs that express the entire gamut of emotions possible in the solo voice and accompanying orchestra, with occasional use of the chorus in the first three songs, as well as a magnificent choral setting of the final poem, “Antiphon – Let All the World in Every Corner Sing: My God and King!”. Vaughan Williams’s long life (1872-1958) spanned both World Wars. Although at the age of 42 he was well past the age of conscription for active duty in WWI, he did contribute as an ambulance attendant for British campaigns both in Greece and France, and the experience of witnessing the brutality of the War’s casualties affected him deeply. Active composition almost completely ceased during and shortly after the War, and it was not until the early 1920s that his writing resumed. Undoubtedly the memories of these war experiences were very much on his mind when in 1935, with the ominous signs of conflict emerging from continental Europe, he was commissioned by the Huddersfield Choral Society to write a cantata in commemoration of that choir’s 100th anniversary. Dona nobis pacem, a 40-minute cantata for soprano and baritone soloists, chorus and orchestra, was the result. The major source of texts for this work was the poetry of American Civil War poet Walt Whitman, whose poems had already inspired Vaughan Williams much earlier in his career with The Sea Symphony, written in 1911. Whitman was involved as a nurse for the Union forces in the 1861-65 conflict, and his experiences there resulted in a significant amount of war poetry, collectively published over many subsequent years in one of his anthologies, Leaves of Grass.
RICHARD EATON SINGERS - THE MUSIC OF VAUGHAN WILLIAMS
– T H E C H O R A L M U S I C O F VA U G H A N W I L L I A M S
Vaughan Williams used three of Whitman’s poems in the first half of this work: following the opening cries of “Dona nobis pacem” uttered by soprano soloist and chorus, he presses on with a quite cataclysmic setting of “Beat! Beat! Drums!”, in which the full orchestra and violent choral declamations are used to describe the destructive impact of the Civil War on the peaceful existence of both sides of the conflict. The following movement, “Reconciliation”, features baritone solo and chorus in a quiet lyrical setting of a short 6-line poem of Whitman, in which friend and enemy as well as life and death are reconciled. The central movement and true highpoint of the work, “Dirge for Two Veterans”, follows. This movement was actually originally composed by Vaughan Williams already in 1910, but it remained unpublished at the time. Set as a funeral procession, in which a father and his son, killed in the same battle, are taken to their double grave at evening sunset, with a serene moon rising in the east, this movement employs the full emotional range of orchestral and choral power in eliciting all the elements of ‘the sad procession”, including a deadmarch accompanied by drums and bugles. The baritone soloist then follows with a short passage from a speech given by English parliamentarian John Bright during the Crimean War of 1855, in which the Angel of Death as described in Exodus 12, who spares only those who have sprinkled blood on the lintels of their doorways, here destroys all who encounter it. Following another agonized cry of “Dona nobis pacem” by the chorus, Vaughan Williams proceeds to set an amalgam of various texts from the Old Testament, beginning first with a quote from Jeremiah 8, “We looked for peace, but no good came”, but moving quickly to strong evocations of peace drawn from sources as diverse as the books of Daniel, Haggai, Leviticus, Micah, Isaiah and the Psalms. This Finale movement demonstrates Vaughan Williams’s thorough knowledge of scripture, as well as his ability to fuse these disparate verses into a unified anthem of praise to and hope for the cause of peace. The final Biblical text is actually taken from Luke 2: “Glory to God in the highest, and peace to men of good will”. The cantata then closes with a triumphant and ultimately peaceful, reassuring “Dona nobis pacem”, sung without the orchestra by soprano soloist and chorus. - Leonard Ratzlaff
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ARTISTIC BIOS Conductor, Leonard Ratzlaff joined the Department of Music at University of Alberta in 1981, and at the same time was appointed the Music Director of Richard Eaton Singers, currently celebrating his 41st year in that position. Under his direction choirs have toured both nationally and to Europe. Ratzlaff took his music training in British Columbia and Manitoba, and his doctoral studies in conducting at the University of Iowa, where his dissertation on the Te Deum of Anton Bruckner was awarded the American Choral Director Association’s Julius Herford Dissertation Prize. Recently retired from U of A, he was instrumental in developing the most established graduate program in choral conducting in Canada. He directed the U of A Madrigal Singers to successes in several national and international competitions, and produced 5 CD recordings, two of which earned them the National Choral Award in the Recordings category. Leonard Ratzlaff makes frequent appearances across Canada as a guest conductor, clinician and bass soloist. He has been inducted into the Order of Canada and the Alberta Order of Excellence, and is a Fellow of the Royal Society of Canada.
Edmonton based soprano, Jolaine Kerley is active as a soloist, voice instructor, adjudicator, choral conductor, and clinician. She is currently Assistant Professor of Music at Concordia University of Edmonton as well as artistic director of Ariose Women’s Choir. Jolaine holds a BMus and an MMus from the University of Alberta, as well as an MMus from the Early Music Institute at Indiana University’s Jacobs School of Music. She has been heard frequently as soprano soloist with choruses and orchestras throughout North America including the Edmonton Symphony Orchestra, the Alberta Baroque Orchestra, Richard Eaton Singers, Luminous Voices, and Pro Coro Canada. Jolaine performs regularly with Early Music Alberta. Recent solo engagements include Music by Women Composers with the Alberta Baroque Orchestra, Arietta with Early Music Alberta, Match Girl Passion with Pro Coro Canada, Beethoven’s Mass in C Major with the Richard Eaton Singers, Alan Bevan’s Nou Goth Sonne Under Wode at Carnegie Hall in New York City, and an immersive Game of Thrones production with HBO and Giant Spoon Productions in Austin, Texas.
Hailing from Edinburgh, Scotland, Roderick Bryce was in great demand there as a baritone, teacher, vocal coach and choral director. As a singer he broadcast often on BBC Radio 4 and regularly sang with Cappella Nova, including on their third disc of music by James Macmillan (Linn Records). He has recorded Bach’s Matthäus-Passion (Linn Records), and sung across Scotland, Northern Ireland and France with the Dunedin Consort. He has appeared with Masaaki Suzuki’s Bach Collegium Japan at the Edinburgh International Festival. Roderick was director of the Scottish Chamber Choir; founder and director of Sospiro Baroque and chorus master for the Erskine Stewart’s Melville Choir. Living now in Edmonton, Alberta, Roderick is Director of Music at St Joseph’s Basilica in Edmonton. He has sung with the professional choirs Pro Coro Canada (Edmonton), Voicescapes (Calgary) and Luminous Voices (Calgary), appearing as soloist on the latter’s recording of Mendelssohn’s Te Deum. He recently was featured in Early Music Alberta’s concert celebrating the music of Heinrich Schütz.
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RICHARD EATON SINGERS - THE MUSIC OF VAUGHAN WILLIAMS
TEXTS The Old Hundredth Psalm Tune
Call whole nature to thy aid; Since ‘twas he whole nature made; Join in one eternal song, Who to one God all belong.
All people that on earth do dwell, Sing to the Lord with cheerful voice; Him serve with fear, his praise forth tell, Come ye before him, and rejoice The Lord, ye know, is God indeed, Without our aid he did us make; We are his folk, he doth us feed, And for his sheep he doth us take.
Live for ever, glorious Lord! Live by all thy works adored, One in Three, and Three in One, Thrice we bow to thee alone. - John Austin
O enter then his gates with praise, Approach with joy his courts unto; Praise, laud and bless his name always, For it is seemly so to do.
Five Mystical Songs Easter
For why? The Lord our God is good: His mercy is forever sure; His truth at all times firmly stood, And shall from age to age endure.
Rise, heart; thy Lord is risen. Sing his praise Without delays, Who takes thee by the hand, that thou likewise With him may’st rise: That, as his death calcined thee to dust, His life may make thee gold, and much more, Just.
To Father, Son, and Holy Ghost, The God whom heaven and earth adore, From men and from the angel host Be praise and glory evermore. Amen
Awake, my lute, and struggle for thy part With all thy art. The cross taught all wood to resound his name Who bore the same. His stretched sinews taught all strings, what key Is best to celebrate this most high day.
-W. Kethe, Daye’s Psalter, 1560
Benedicite O all ye Works of the Lord, bless ye the Lord: praise him and magnify him for ever. O ye Angels of the Lord…O ye Heavens…O ye Waters…O all ye Powers of the Lord… O ye Sun and Moon…O ye Stars of Heaven…O ye Showers and Dew…
I Got Me Flowers
O ye Winds of God, Fire and Heat… O ye Winter and Summer, Dews and Frosts, Ice and Snow… Nights and Days…Light and Darkness…Lightning and Clouds, bless ye the Lord. - Apocrypha, “The Songs of the Three Holy Children” Hark, my soul, how everything Strives to serve our bounteous King; Each a double tribute pays, Sings its part, and then obeys
Consort both heart and lute, and twist a song Pleasant and long: Or since all music is but three parts vied, And multiplied O let thy blessed Spirit bear a part And make up our defects with his sweet art.
I got me flowers to strew thy way; I got me boughs off many a tree: But thou wast up by break of day, And brought’st thy sweets along with thee. The Sun arising in the East, Though he give light, and the East perfume; If they should offer to contest With thy arising, they presume. Can there be any day but this, Though many suns to shine endeavour? We count three hundred, but we miss: There is but one, and that one ever.
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TEXTS Love Bade Me Welcome Love bade me welcome; yet my soul drew back, Guilty of dust and sin. But quick-eyed Love, observing me grow slack From my first entrance in, Drew nearer to me, sweetly questioning, If I lack’d anything. A guest, I answer’d, worthy to be here: Love said, You shall be he. I the unkind, ungrateful? Ah, my dear, I cannot look on thee. Love took my hand, and smiling did reply, Who made the eyes but I? Truth, Lord, but I have marr’d them: let my shame Go where it doth deserve. And know you not, says Love, who bore the blame? My dear, then I will serve. You must sit down, says Love, and taste my meat: So I did sit and eat.
The Call Come, my Way, my Truth, my Life: Such a Way, as gives us breath: Such a Truth, as ends all strife: Such a Life, as killeth death. Come, my Light, my Feast, my Strength: Such a Light, as shows a feast: Such a Feast, as mends in length: Such a Strength, as makes his guest. Come, my Joy, my Love, my Heart: Such a Joy, as none can move Such a Love, as none can part: Such a Heart, as joys in love.
The Church with Psalms must shout, No door can keep them out: But above all, the heart Must bear the longest part. - George Herbert
Dona nobis pacem Agnus Dei qui tollis peccata mundi Dona nobis pacem. Lamb of God, who takes away the sins of the world Grant us peace.
Beat! Beat! Drums! Beat! Beat! Drums!—Blow! Bugles! Blow! Through the windows—through the doors—burst like a ruthless force, Into the solemn church, and scatter the congregation, Into the school where the scholar is studying; Leave not the bridegroom quiet—no happiness must he have now with his bride, Nor the peaceful farmer any peace, ploughing his field, or gathering in his grain, So fierce you whirr and pound you drums—so shrill you bugles blow. Beat! Beat! Drums!—Blow! Bugles! Blow! Over the traffic of cities—over the rumble of wheels in the streets; Are beds prepared for the sleepers at night in the houses? No sleepers must sleep in those beds, No bargainers’ bargains by day—would they continue? Would the talkers be talking? Would the singer attempt to sing? Then rattle quicker, heavier drums—you bugles wilder blow. Beat! Beat! Drums!—Blow! Bugles! Blow!
Antiphon Let all the world in every corner sing, My God and King. The heavens are not too high, His praise may thither fly: The earth is not too low, His praises there may grow.
Make no parley—stop for no expostulation, Mind not the timid—mind not the weeper or prayer, Mind not the old man beseeching the young man, Let not the child’s voice be heard, nor the mother’s entreaties, Make even the trestles to shake the dead where they lie awaiting the hearses, So strong you thump O terrible drums—so loud you bugles blow. - Walt Whitman
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RICHARD EATON SINGERS - THE MUSIC OF VAUGHAN WILLIAMS
TEXTS Reconciliation Word over all, beautiful as the sky, Beautiful that war and all its deeds of carnage must in time be utterly lost, That the hands of the sisters Death and Night incessantly, softly, Wash again and ever again this soiled world. For my enemy is dead, a man divine as myself is dead, I look where he lies white-faced and still in he coffin—I draw near, Bend down and touch lightly with my lips the white face in the coffin. - Walt Whitman
Dirge for Two Veterans The last sunbeam Lightly falls from the finished Sabbath, On the pavement here, and there beyond it is looking Down a new-made double grave
O strong dead-march you please me! O moon immense with your silvery face you soothe me! O my soldiers twain! O my veterans passing to burial! What I have I also give you. The moon gives you light, And the bugles and the drums give you music, And my heart, O my soldiers, my veterans, My heart gives you love. - Walt Whitman The angel of Death has been abroad throughout the land; You may almost hear the beating of his wings. There is no one as of old to sprinkle with blood The lintel and the two side-posts of our doors, That he may spare and pass on. -
John Bright
Dona nobis pacem
Lo, the moon ascending, Up from the east the silvery round moon, Beautiful over the house-tops, ghastly, phantom moon, Immense and silent moon.
We looked for peace, but no good came; And for a time of health, and behold, trouble! The snorting of the horses was heard from Dan; The whole land trembled at the sound of the neighing Of his strong ones;
I see a sad procession And I hear the sound of coming full-keyed bugles,
For they are come, and have devoured the land, and those that dwell therein,
All the channels of the city streets they’re flooding As with voices and with tears.
The harvest is past, the summer is ended, and we are not saved…
I hear the great drums pounding, And the small drums steady whirring, And every blow of the great convulsive drums Strikes me through and through.
Is there no balm in Gilead? Is there no physician there? Why then is not the health of the daughter of my people recovered?
For the son is brought with the father, In the foremost ranks of the fierce assault they fell, Two veterans, son and father, dropped together, And the double grave awaits them. Now nearer blow the bugles, And the drums strike more convulsive, And the daylight o’er the pavement quite has faded, And the strong dead-march enwraps me. In the eastern sky up-buoying, The sorrowful vast phantom moves illumined, ‘Tis some mother’s large transparent face, In heaven brighter growing.
- Jeremiah 8: 15-22 O man greatly beloved, fear not, peace be unto thee, be strong! - Daniel 10:19 The glory of this latter house shall be greater than the former…. And in this place will I give peace. - Haggai 11: 9
RICHARD EATON SINGERS - THE MUSIC OF VAUGHAN WILLIAMS
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T E X T S
SUPPORT
Nation shall not lift up sword against nation, neither shall they learn war any more. And none shall make them afraid, neither shall the sword go through the land. Mercy and truth are met together; righteousness and peace have kissed each other. Truth shall spring out of the earth, and righteousness shall look down from heaven. Open to me the gates of righteousness; I will go into them. Let all the nations be gathered together, and let the people be assembled; And let them hear, and say, it is the truth. And it shall come, that I will gather all nations and tongues. And they shall come and see my glory. And I will set a sign among them, and they shall declare my glory among the nations. For as the new heavens and the new earth, which I will make, Shall remain before me, so shall your seed and your name remain for ever.
SUPPORT
Glory to God in the highest, and on earth peace, good-will toward men.
WINSPEAR CENTRE AND ESO
- Adapted from Micah 4:3; Leviticus 26: 6; Psalms 85:10 and 118: 19; Isaiah 43:9 and 46:18-22; Luke 2:14.
Non-Profit Arts Organizations are not possible without support from the community. Please click on the links below in appreciation of the many people making this event possible.
RICHARD EATON SINGERS Donors, Supporters, Artistic Team and Staff:
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Dona nobis pacem.
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RICHARD EATON SINGERS - THE MUSIC OF VAUGHAN WILLIAMS
R I C H A R D E AT O N S I N G E R S SOPRANO I
ALTO I
TENOR I
BASS
Anne Brereton Anne Campbell Bev Chappell Barbara Duncan Carolyn Eggert Louise Fairley Tammy Farkes Beverlie Gensler Kaitlynd Hiller Cathryn Landreth* Donna McGonigle Kimberly Oviatt Tina Parker Jodi Penner** Mary Phillips-Rickey Carole Rody-Wu Shirley Schepp Catherine Taylor
Joan Baker Rita Butts Monica Dear Pam Gowing-Ellenberger Janet Graham Trudy Grienauer Thalia Hartson Kathleen Harvey* Roswitha Heidorn-Knoefel Jennifer Hinnell Mona Holton** Lindsay Johnston Dorothea Korthuis Mini Kurian Guylaine Lefebvre- Maunder Carol Marshall Barbara Sadler Wells Heather Starke Mackenzie Steer Maryan Threndyle Colleen Vogel
RJ Chambers** Marlow Christensen Bob Gagnon Grant Harrison* Jeremy Keenan Manoj Mathew Myles McIntosh Naomi Rankin Steven Sayers Bernie Semenjuk John Soong Ken Sutley Joe Watt
Stan Backs Reint Boelman Jochen Eggert Nana Owusu Essel Hans Forbrich Mark Freeman Brian Haliburton Tom Love Josiah Maxfield** Arnold Voth* Mike Wayman
SOPRANO II Julia Boberg Connie Braun June Chao Sabina Fassbender Lori Giesbrecht* Leia Gillespie Kimberly Haag Andrea Hamilton Nancy Kim Patricia Korthuis Manjula Kuruvilla Christina Magnusson Lynn Penrod Kathryn Roberts Lorene Ryhard Judith Slomp Janet Smith** Heidi Stenabaugh Margaret Ward-Jack
ALTO II Patricia Beazer Marcia Bercov Lesley Dolman** Anita Gainer Elizabeth Green Barbara Halladay* Renee Hardy Josephine Huedepohl Barbara Kallay Ann Lukey Sheila Macdonald Johann Mann Sandra Newman Kathy Robinson Kathryn Steed Mary Stephens Alison Wood
*
Section Captain Section Leader
**
TENOR II Len Gierach* Leroy Hiller Charlie Mballa Michael Otto David Selleck William Strydhorst Sten Thomson Mark Vogel Daryl Weisenburger** Wayne Wright
BARITONE Barry Biglow Paul Cachia Cameron Dyck Graham Fast** Dan Hodges Walter Hsu* Troy Janzen Ian Kellog John Maxfield Jim McDonald Paul Melançon Bernie Schaloske David Sommerfeldt Julian Wigg Markus Wilhelm
RICHARD EATON SINGERS - THE MUSIC OF VAUGHAN WILLIAMS
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EDMONTON SYMPHONY ORCHESTRA VIOLIN I
FLUTE
TUBA
Eric Buchmann‡ Joanna Ciapka-Sangster Anna Kozak Ewald Cheung Anita Walsh Aiyana Anderson-Howatt Broderyck Olson Buon Park Danielle Greene
Elizabeth Koch** Elizabeth Faulkner Petar Dundjerski
Scott Whetham**
OBOE
Barry Nemish**
June Kim** Paul Schieman*†
PERCUSSION
CLARINET
Brian Jones Brian Thurgood Ryan Pliska Mark Segger
VIOLIN II
Graham Lord David Quinn*
Dianne New** Susan Flook* Heather Bergen Yue Deng Zoë Sellers Yeeun Ha Sylvia Chow Vladimir Rufino
Bianca Chambul** Edith Stacey* Matt Nickel
VIOLA
HORN
Ethan Filner* Clayton Leung Rhonda Henshaw Stefan Jungkind Jeanette Comeau
Allene Hackleman** Megan Evans* Peter Clark Donald Plumb*
HARP BASSOON
CELLO Ronda Metszies Meran Currie-Roberts Derek Gomez Victor Pipkin Amy Nicholson David Bordeleau
Robin Doyon** Frédéric Payant* Russell Whitehead TROMBONE John McPherson** Kathryn Macintosh*
BASS
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Nora Bumanis** KEYBOARD Jeremy Spurgeon
TRUMPET
Hilda Cowie** Janice Quinn* Doug Ohashi Rob Aldridge
TIMPANI
BASS TROMBONE Tyler Cairns**
RICHARD EATON SINGERS - THE MUSIC OF VAUGHAN WILLIAMS
Associate Concertmaster Principal * Assistant Principal † The Steven and Day LePoole Assistant Principal Oboe Chair Casual Musician ‡
**
202 2-2 3 SE ASON H A N D E L’ S M E S S I A H F R I D AY & S AT U R D AY D E C E M B E R 9 & 1 0 , 2 0 2 2 | 7. 3 0 P M W INSPE A R C ENTRE, EDMONTON
R I C H A R D E AT O N S I N GE R S EDMONTON SYMPHONY ORCHESTRA L E O N A R D R A T Z L A F F, C O N D U C T O R H A N N A H P A G E N K O P F, S O P R A N O S A R A H S TA P L E S , A L T O TIMOTHY SHANTZ, TENOR M I C H A E L K U R S C H AT, B A S S
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