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We are in the middle of a very exciting season. It has been so rewarding to see so many people enjoying music in Saskatoon – the first half of the season proved that the orchestra is a vital part of what makes it a great place to live! I’m proud to say that over the course of the last 12 months, we’ve made major achievements in terms of how the organization operates. We’re on budget, growing our revenue, on target for a surplus, and making some really great music. We wouldn’t be experiencing this remarkable a year if it weren’t for the incredible support from our audience. As we turn our focus to the future, I hope you’ll join us as we embark on the next phase of our success. I want to invite each of you to be a part of our Share in the Future campaign – the concept is simple: find 2000 donors to give $100 to the SSO before May 31. In addition to your receipt, you’ll join us this fall for a gala concert with a very special surprise guest…the only way to get in is to be one of the 2000. We want a chance to musically say thank you. Thanks to the great generosity of the Frank and Ellen Remai Foundation, the money raised from the Share in the Future campaign will be matched – all 2000 gifts matched, completely retiring the deficit and allowing the SSO to focus on the future.
On March 4, we will announce our 16th music director; Saskatoon’s newest musician will step on to the podium this fall and help the SSO define a new soundtrack for the city. It is an exhilarating time to make music. I hope you will join us in preparing for the future. It’s clear you love music and a gift to Share in the Future will ensure that Saskatoon’s oldest arts organization stays around for a long time. See you at the symphony, Mark Turner Executive Director
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Saskatoon Symphony Board and Administration HONOURARY PATRONS Honourable Brad Wall, Premier of Saskatchewan, and Mrs. Tami Wall His Worship, Mayor Donald J. Atchison and Mrs. Mardelle Atchison Dr. Gordon Barnhart, Interim President, Vice-Chancellor, University of Saskatchewan
BOARD OF DIRECTORS Sarah Alford Judy Balon Andrew Beaton Rob Dobrohoczki Lynn Ewing Annalisa Govenlock
Shawn Heinz Sharon Hildebrand Nicholas Kokkastamapoulos Shelly Loeffler Neil Reddekopp Bryn Richards
SSO MANAGEMENT AND STAFF Victor Sawa, Music Director
Lillian Jen-Payzant, Orchestra Library
Mark Turner, Executive Director
Electric Umbrella, Marketing marketing@saskatoonsymphony.org
Theresa Torgunrud, Office Manager Sarah Stack, Director of Operations Terry Heckman, Director of Personnel
SASKATOON SYMPHONY CENTRE 408 20th Street West Saskatoon, SK S7M 0X4 Telephone: 306.665.6414 Fax: 306.652.3364 office@saskatoonsymphony.org www.saskatoonsymphony.org Twitter: @SSO_stoon Facebook: Saskatoon Symphony Orchestra
GROUP SALES Telephone: 306.665.6414 office@saskatoonsymphony.org
TCU PLACE BOX OFFICE www.tcutickets.ca Phone: 306.975.7799
Angela Kempf, Director of Development Mike Covey, Director of Sponsorship
CONNECT WITH THE SSO www.facebook.com/SaskatoonSymphony Twitter: @SSOyxe Instagram: SSOyxe
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VIOLIN 1
Orchestra
David Grosse
Michael Swan Concertmaster
Saache Heinrich
Stephen Kreuger
Jeremy Janzen On Leave
Zachary Carter
William Boan Assistant Concertmaster
Heather Wilson
FLUTE Randi Nelson Principal
Mary Lou Day
Miles Buchwaldt
Lillian Jen-Payzant
Stacey Mennie
Joan Savage
CELLO
Marcel van den Hurk
Lahni Russell Principal
Brenda Moats (flute, piccolo)
Supported by Sandra Beardsall, Bill Richards, Esther Cherland, David Jobling
OBOE
John Payzant Bernadette Wilson
Kevin Junk (oboe, english horn)
Carman Rabuka
CLARINET
Christina Bakanec
Margaret Wilson Principal
Simon Fanner Maxim Pletnev
VIOLIN 2 Oxana Ossiptchouk Principal Karen Bindle Rosanne Daku Sophie McBean Arthur Boan
Scott McKnight
Evan Friesen
BASS
VIOLA
Richard Carnegie Principal
James Legge Principal Supported by the Viola Section of the Saskatoon Philharmonic
Supported by Kay and Mark Turner in memory of Wayne Turner David Humphrey
Supported by Lilian and Doug Thorpe
Erin Brophey Principal
Melissa Goodchild
BASSOON Stephanie Unverricht Principal Supported by Mary Marino, in memory of Lucia Marino
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Marie Sellar (bassoon, contrabassoon)
James LeBlanc
PERCUSSION
TROMBONE
HORN
Don Schmidt Principal
Mathieu Pouliot Principal - On Leave
Carol-Marie Cottin Principal Arlene Shiplett Dubrena Bradley Anna Millan
TRUMPET Terry Heckman Principal Daniel Funk Dean McNeill On Leave
Brian Unverricht
Bryan Allen Principal
Dawn McLean Belyk
Supported by the Ewing Family in memory of Earl and Mary Ewing
TUBA
Kevin Grady
Brent Longstaff Principal
HARP
Supported by Electric Umbrella
Cécile Denis Principal
TIMPANI
BASSOON EMERITUS
Darrell Bueckert Principal
Peter Gravlin
Personnel varies by concert. We gratefully acknowledge the support of additional musicians who perform with the orchestra when larger works are presented.
Violin: Evan Barber, Bryn Rees, Kristan Couture, Luke Hnenny – Viola: Emily Woytiuk, Michael Hrycay Flute: Jennifer McAllister – Bassoon: Peter Gravlin – Horn: Roxanne Inch – Trumpet: Frank Harrington Piano/Keyboard: Gillian Lyons – Percussions: Brad Litster
Our Named Principal Chair Program offers a unique opportunity for music lovers and donors to be recognized for their gifts and allows you to foster deeper and personally meaningful connections with the orchestra. A Named Principal Chair presents the opportunity for an individual, group, company, or foundation to name, honour, or remember someone special by attaching their name to one of the key positions in the orchestra. Being recognized as a donor to the SSO through the Named Principal Chair Program is about more than a financial commitment to your orchestra. This program will provide you with an important link to our musicians and artistic team. To name your chair, please contact Angela Kempf at 306.665.6414 or email development@saskatoonsymphony.org,
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SSO Shoots and Scores TAKING THE ORCHESTRA TO CENTRE ICE! Did you read The Hockey Sweater as a kid? Did you read it to your kids or grandkids? Remember the movie version that was on CBC? Well, now it comes to your orchestra. In the 30th anniversary year of Roch Carrier, the Saskatoon Symphony Orchestra is proud to partner with the Saskatoon Blades and SaskTel Centre in an event that combines sport, music, childhood memories and new ones about to be made. A few years ago, the National Arts Centre Orchestra commissioned a composer to put the famous children’s book that follows a hockey-loving boy through the disappointment of getting the gift of the wrong jersey to music. Imagine the SSO at centre ice – stand for the anthem, throw the iconic images onto the score clock, and live out Canada’s greatest hockey tale. The story comes to life with Mayor Don Atchison (a former Blade himself!) as our narrator…and when
it’s all done, the kids will hit the locker room, play mini-sticks on the concourse, and take to the ice to skate with the Blades. “This is one of the most unique events we’ve ever done,” said Steve Hogle, president of the Saskatoon Blades Hockey team. “When the opportunity came along to partner sports with music in such a great way, we just had to make this one of the most unique things you can take your kids to.” The SSO will be the first orchestra to perform this concert in a rink—and definitely the first to do it on ice. “In a season where the SSO is finding out what it means to be an orchestra on the prairies, it goes without saying that somehow there needed to be a rink involved; I think this is one of the best kids’ concerts in Canada this year. Nothing else like it,” said Mark Turner, SSO. The game takes place on March 15 at SaskTel Centre – don’t miss the puck drop!
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Saturday, March 14, 2015 Prairieland Park Hall A Cocktails 5 p.m., Dinner 6 p.m. $80 adults, $60 students (partial tax receipt issued)
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Experience the exquisite, XVII century, handcrafted Amati instruments in a spectacular setting. March 21, 2015, Knox United Church at 2 PM and 7:30 PM Guest artist Samuel Deason – piano SCHUBERT Quartet in D minor, D.810 SHOSTAKOVICH Piano Quintet in G minor, Op. 57
amaatiqua am tiquarrtet.usas .usaskk.ca
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Nathan Berg – A Hero’s Homecoming When the SSO set out to explore what it means to be an orchestra on the Canadian prairies, it was clear that it was high time the orchestra started asking some exceptional artists to come home. And the most exciting artist of the season is Nathan Berg. Berg was born in Spalding, Saskatchewan and attended high school at Luther Bible College in Outlook. But the rest, as the saying goes, is history. Nathan attended musical studies at some very prestigious schools; the most notable is the Guildhall School of Music in London, England. While at Guildhall he gained recognition winning the Kathleen Ferrier Competition, the Peter Pears Competition, and Guildhall’s Gold Medal. The English journalist Bernard Levin once wrote of the young Nathan Berg in The Times: “A Canadian baritone, Nathan Berg by name, with a voice not only powerful and full of meaning, but of such velvet beauty that the comparison cannot be avoided: surely the young Fischer-Dieskau sounded like this.” Since his debut singing Messiah in Paris in December 1992, Berg has become known for his contributions in Early to Classical
music periods in opera and concert. Highlights from his earlier career include performances and recordings with French early music group Les Arts Florissants with whom he recorded often. He also recorded Dvorak’s Stabat Mater with the late Robert Shaw and the Atlanta Symphony which proved to be Shaw’s final recording and a German Lieder disc with pianist Julius Drake. Berg is an established recording artist with over 30 CD and DVD recordings to his name – he is a JUNO Award winner and Grammy nominee. And in the two decades that his career has spanned he’s worked with every important opera company and orchestra, and with the likes of Abbado, Ashkenazy, Boulez, Davis, Dohnanyi, Dutoit, Eschenbach, Mackerras, Masur, Maazel, Norrington, Ozawa, Salonen, and a recent recording of Beethoven Symphony 9 with the San Francisco Orchestra and Michael Tilson-Thomas. His achievements are exceptional. He is in demand around the globe for his performances ranging from the Baroque to Wagner. And his SSO performance in March marks the first time that he has performed with our orchestra. This is a big moment for music here: it’s time to celebrate a hero!
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Funders and Corporate Sponsors 2014-2015 Season FUNDING AGENCIES
FOUNDATIONS
SERIES SPONSORS
PRESENTING SPONSORS
CORPORATE SPONSORS
MEDIA SPONSORS
EXPRESS SASKATOON
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The best in live roots music Thursdays @ 8:00 - Fridays @ 9:00PM
The best in live jazz music Saturdays @ :00PM PIANO FRIDAYS 4:30 to 7:30 - No Cover Free admission to Saturday Bassment shows with your SSO ticket stub for that night. www.thebassment.ca 202 Fourth Avenue North
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Celebrating 30 Years! MICHAEL SWAN Celebrating 30 years! Saskatoon audiences have been very privileged. For 30 seasons, Michael Swan has sat to the left of every conductor that has taken the podium in Saskatoon. But Michael’s contribution to the city’s musical life has been so much more than simply sitting to the left of the conductor. He began violin studies at age 5 with Dorothy Overholt, and also studied with Norma Lee Bisha, Mark Reedman and Robert Klose as he was growing up. In 1979, he was awarded the Gold Medal for the highest standing in Canada for Royal Conservatory of Toronto ARCT violin examinations. Michael studied with Yuri Mazurkevich in the Faculty of Music at the University of Western Ontario, receiving the Hideo Saito Award for academic achievement in 1981 and 1982. Afterwards, he studied at the Curtis Institute of Music in Philadelphia with Aaron Rosand, receiving a Bachelor of Music degree in 1984.
Since September 1984, Michael has been concertmaster of the Saskatoon Symphony Orchestra and a member of the Saskatoon Symphony Chamber Players. He has been a soloist with the orchestra a number of times in the Master Series and with the Chamber Orchestra. He performs solo recitals regularly, and has several compositions to his credit. He has been featured on CBC radio as a solo violinist and as a composer. Michael has been heard on the SSO stage as a composer – and music lovers in the city have reveled in his solo concerts where he showcases his ability to play baroque to modern repertoire. Michael, for you years of dedication and music making, your orchestra and audience salutes you!
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PotashCorp is proud to feed the future of the Saskatoon Symphony Orchestra and the performing arts in our community. PotashCorp.com
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thinkfast www.fastprint.ca @YXEFastPrint Limited Par tnership
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NORTHERN LIGHTS
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John Estacio – BorEalis 10 mins the first time ever i experienced the glorious spectacle of the aurora Borealis was a few short years ago when i arrived in Edmonton. Up until that moment i had to settle for textbook explanations and a geography teacher’s descriptions. i had no idea what i was seeing when i first noticed the majestic curtains of swirling green light in the sky one crisp october evening until a friend confirmed that it was indeed the northern lights. i was completely captivated and awestruck by the magical sight of dancing light; how could i not be inspired to compose a piece of music?! having recently completed two serious compositions, it was the right time to revisit a style for unabashed lyrical melodies and joyous bright orchestral colours that Borealis would require. the composition is written in two movements. the first movement is meant to be awe-invoking and attempts to capture the ethereal atmosphere of the lights of the northern skies; wide streams of bending, curving light that abruptly disappear and reappear. the ephemeral nature of these celestial happenings is represented by the sudden colourful outbursts followed by movements of near silence. the movement begins with the strings playing a major chord and then gradually glissing (bending the pitch) until they all arrive at a different chord; for me, this musical gesture captures the essence of bending curtains of light and serves as a recurring motive throughout this movement. a solo flute introduces fragments of a melody; this melody is not heard in its entirety until later in the piece when it is performed by a solo bassoon and then an English horn. the strings perform the melody
and the composition swells to its climax featuring the brass and the sound splashes provided by the percussion. the movement concludes with a unique auditory effect in the percussion section that again attempts to convey the enchanting and magical quality of the borealis. For the second movement, i wanted something that would be a formidable contrast to the subtle nature of the first movement, a celebrated dance of celestial light. the music for scherzo (meaning “playful”) has more of a fervent and animated energy to it being inspired by the notion of dancing celestial lights (title changed to Wondrous light, 2004). this movement is perhaps less of a literal musical representation of the borealis and is, instead, inspired by their energy and the speed at which the lights seem to zip through the evening skies. a nimble melody introduced by the oboe is developed intervallically and rhythmically throughout the composition. sudden swells in volume accompanied by quick glissandos were inspired by the swirling curtains of green light which twist and turn and vanish suddenly in the night sky. towards the conclusion of this movement the nimble theme is transformed into a noble melody performed as a traditional chorale by the trombones, and then repeated by the full orchestra. the conclusion of this piece attempts to capture the majesty of the borealis — they have graced our northern skies since time began and will continue to dance evermore. credit: J Estacio
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Plotr ilyich tchaikovsky – violin concErto in D MaJor, oP 38 35 mins i.
allegro moderato (D Major)
ii.
canzonetta: andante (G minor)
iii.
Finale: allegro vivacissimo (D Major)
tchaikovsky composed the concerto in 1878, while visiting clarens, switzerland. Dissatisfied with the original slow movement, he replaced it with the one known today. he sent the concerto to leopold auer, the distinguished hungarian soloist. to his horror, auer declined to perform it, citing technical and artistic shortcomings. crushed, tchaikovsky shelved it. some time later, German soloist adolf Brodsky expressed an interest, then spent the better part of two years preparing to give the premiere. that took place at a concert by the vienna Philharmonic, hans richter conducting, on December 4, 1881. the audience loved Brodsky’s playing, but they hissed the piece. the press, led by the arch conservative critic Eduard hanslick, heaped abuse upon it, too. Despite this initial hostility, the concerto lost little time in establishing itself as a concert favourite. Brodsky’s continuing advocacy had much to do with this. in gratitude, tchaikovsky changed his original dedication plan, switching it from auer to Brodsky. auer later changed his view. he became one of its most persuasive champions and made sure that his many pupils, including Jascha heifetz, performed it as well.
it is considerably less dramatic and more lightly scored than tchaikovsky’s only previous concerto, the First for piano (1875). in breadth of conception and richness of contents, the opening movement is virtually a complete concerto in itself. since both principal themes are lyrical, tchaikovsky achieves the necessary contrast by alternating lightly scored passages for violin and orchestra, with more forceful sections scored for orchestra alone. Woodwinds introduce the wistful, elegant second movement. the soloist uses a mute, giving the instrument a veiled, restrained sound most appropriate to the music. the vivacious, folk-flavoured dance rhythms of the finale burst in abruptly. two warm contrasting ideas are subjected to elaborate presentation. the solo violin then leads off an exhilarating chase which brings the concerto to a dashing close. credit: D anderson
intErval - 20 mins
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JEan siBEliUs – syMPhony no. 2 in D MaJor, oPUs 43 45 minutes i. ii. iii. iv.
allegretto tempo andante, ma rubato vivacissimo Finale: allegro moderato
Dedicated to Baron axel carpelan in 1900, Baron axel carpelan wrote to sibelius and, citing italy’s positive effects on tchaikovsky and strauss, recommended that sibelius travel there. Depressed by the death of his youngest daughter, sibelius was helped immensely by his italian journey. During his stay in rapallo from February to May 1901, he was able to sketch what would become the second of his seven symphonies. originally conceived as a four-movement orchestral fantasy, symphony #2 was assigned a program by sibelius’s friend, conductor robert kajanus. sibelius rejected any specific nationalistic or patriotic program assigned to his symphony #2, although the Finnish character of the work is unquestionable. an ardent Finnish nationalist, sibelius was a very individual composer. although he lived well into the twentieth century, his music is not like that of Bartok or hindemith; sibelius was a romanticist who composed in a late nineteenth-century style. however, following a concert of his music in Germany, sibelius became an international figure and began to respond to currents in contemporary music. the five symphonies after symphony #2 are marked by thinner orchestration and increased use of dissonance. however, despite his symphonic masterworks, sibelius did not and could not
speak the language of musical modernism. he published no music during the last 30 years of his life and none survives that period.his musical aesthetic favours the sense-impressions of symbolism and integration of thematic material, rather than tending to modernist abstraction. the symbolist idea of tone-painting – representing the physical world in music – is apparently one that appealed to sibelius. in symphony #2, fjords, icy lakes, and cold wind are images that the listener can’t help experiencing. kalevala, a Finnish folk-epic, had attracted sibelius from his youth onwards. his translation of the kalevala into music via tone-painting is, more than overt nationalism, what gives symphony #2 its sense of local flavour. it accounts for the mystical and organic character of the music. Premiered March 8, 1902, the symphony was an instant success. By 1940, sibelius’s music was all the rage in america. By the time of his death in 1957, his music had all but disappeared. it was “rediscovered” in the 1970s and has remained in the repertoire until the present day. credit J sundram
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Marc Bouchkov violin Marc Bouchkov’s artistry is driven by expression. his violin playing is grounded not only in a thorough knowledge of the score, the historical content and the authenticity of the interpretation, but also in his belief that performance is a way to communicate directly with his listeners. the closeness of the violin’s sound to the human voice is his inspiration for expressing feelings and emotions in music, turning these into a musical experience for the audience. Marc Bouchkov was born 1991 into a family of musicians. he received his first lessons at the age of five from his grandfather, Mattis vaitsner. his first public appearance was just one year later. in 2001, he joined claire Bernard’s studio at the lyon conservatoire national supérieur de Musique; he transferred to the Paris conservatoire national supérieur de Musique (cnsM) in 2007. there, he began studies with Boris Garlitzky, who has been his mentor ever since, and offers him invaluable guidance for honing his craft. the following years saw participation in master classes and invitations to festivals in Moulin d‘ande, troyes, and Bordeaux (France), viterbo (italy) and new hampshire (Usa). Marc Bouchkov’s artistic development has been marked by numerous international prizes and awards. he won First Prize at the highly-regarded “international violin contest henri koch,” as well as at the “2010 European young concert artists audition” in leipzig. that same year, he received the First Prize for violin with special Distinction from the Jury at the cnsM Paris; the prestigious Ebel Prize followed in 2011. in 2012, he was a finalist and award-winner at the 2012 “Queen Elizabeth competition” in Brussels. in 2013, he won First Prize at the “Montreal international Musical competition,” and was named an award-winner of the stiftung Juventus by Georges Gara. as a concert artist, Marc Bouchkov has enjoyed a rapidly growing career. alongside numerous recitals in hamburg, at the Montpellier Festival, at the théâtre de la ville de Paris, at the international Musical olympus Festival in st. Petersburg and in Montreal, his collaborations with orchestras such as the Belgian national orchestra, the royal Philharmonic orchestra of liège, the Filharmonia lodz, the Moscow Philharmonic orchestra and the staatsorchester rheinische Philharmonie are becoming ever more extensive. in the 2014/15 season, he will make his debut with the nDr-sinfonieorchester in hamburg. a performance of Brahms’ violin concerto with the Düsseldorfer symphoniker as part of a ballet production of the Deutsche oper am rhein, with choreography by Mats Ek, will be another highlight of the season. Marc Bouchkov is sponsored by Brigitte Feldtmann, who has provided him with a violin by Jean Baptiste vuillaume, Paris, 1865.
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Saskatoon Symphony Supporters Circle Thank you donors! We are so proud to have a committed and growing group of donors who provide crucial support helping the sso create great music and memorable experiences in our community. We couldn’t do it without you. thank you! list information current to november 2014.
Sustaining supporters BhP Billiton
Potash corporation of saskatchewan
cameco corporation
Frank & Ellen remai Foundation
cEl Electrical contractors
sGi
conexus credit Union
siGa
lynn Ewing & Bill Feldbruegge
saskatoon Fastprint
annette & Monty keene Pishny Floyd
saskatoon symphony Book & Music sale
Florence Joan Foss Estate
saskEnergy
k+s Potash
saskPower
Mary Marino
sasktel
Floyd Mcnabb Estate in memory of Effie Mcnabb
Elsie schneiderman Penelope stalker
new community credit Union
Doug & lilian thorpe
Janet & art Postle
Patron’s Club Darla saunders & Bruce harrison
Patron’s club
Mark Gryba
Judy & Percy Balon
anne & Elmer Guenther
Brian Mallard & associates / Brian Mallard insurance services ltd.
connie Gutwin
roger & lorraine schmid
connie & chris haunsperger
James stinn & natalia Podilsky
Esther cherland
sharon hildebrand & ken thomas
Bernie & Doug taylor
kenneth & Penelope coutu
John Jamieson
adelle tosh
yvonne cuttle
theresa & Eric knogler
kay turner
anne Doig & Bob cowan
Garnet & susan Pakota
ryan Walker
adele & Gene Dupuis / Prairie Meats
anne & neil reddekopp
chris & natisha Wiechnik / lifeMark health centre
Electric Umbrella
Bryn richards & Jenna Muench
shelley Ewing
catherine & alun richards
lynn Gee
rob & nora rongve
Mark Wolff / advance-tek consulting carol & Joel yelland
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Donors This Season Donald & sylvia acton
Maureen cline
lynne Fowke
Pamela & Murray acton
community Electric ltd.
rachel Fowlie-neufeld
shirley acton
Mary conklin
Meta Freitag
sina adl
anne-Marie connor
Mary Friesen
affinity credit Union
Janice cook
Jonathan & ruth Friesen
vanessa amy
carol-Marie cottin
Joe & cathy Fry
areva resources canada, inc.
Paul & viola coutu
Daniel Funk
Earl Ballard
Elizabeth & ron cuming
sherril Gelmon
Mary Barrett-lenz
roseanne Daku
Don Gendzwill
herta Barron
Mary lou Day
larry & Judy Glazier
heidi Bartsch
Pamela Delong-hendry
Melissa Goodchild
audrey Bayduza
Fran Gordon
carol Beaulieu
Department of Physics & Engineering Physics, U of s
keri Beebe
Brenda Derdall
Delores Gradish
anna Beeton
Joyce Dibski
kevin Grady
Diane Bekolay
John Doane
alexander & katharine Grier
Dawn Mclean Belyk
robert Dobrohoczki
louise Griffith
kathleen Bender
Mitchell Doepker
aline Guillas Doreen haaland
annalisa Govenlock
trevor Benning
tyler Dovell
BMa Group Benefits Division ltd.
Geraldine Dowling
ted & Marie hammer
Margaret Dragan
Michael harris
William Boan
Beverly Drew
Brian & loretta hartsook
ron Boden & Gail Zink
Marie Dunn
Bob & ollie hasselback
Gloria & herman Boerma
Dolores & Donald Ebert
Michael hayden
Eileen Boryski
robert & vina Edwards
susan healey
carol Boryski
lois Elder
terry heckman
John Botari
Phyllis Ellis
Dorothea heckman
Evelyn Bowman
vanessa Emy
shawn heinz
Brainsport - the running store
Esther Beryl English
Evelyn henault
Barbara & Jake Ens
ann Brander
Mary-Jane hendel
Paul Ens
audrey Brandt
robert hendry
Elsie Epp
Erin Brophey
Bob & Doreen hickie
richard & linda Ewen
helen & Derek r. hill
lois Bruce
leona Ewert
Darrell Bueckert
Janet hill
Joan Feather
robert & helen card
Jack hillson
Jacqueline Ferraton
Joan champ
kimiko hirose
allan & helen Few
Bill & Mary chapman
stuart & Mary houston
Joan & Peter Flood
cheethamâ&#x20AC;&#x2122;s Pharmacy
neil r hughes
carmen Foley
hume Family Fund*
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Dennis & rosemary hunt
Effie Maclean Estate
Martha Pankratz
Michele hupaelo
Margaret Marcoux
George & Ellen Parchomchuk
ian innes
Peggy & tim Martin
rosanna Parry Photography
George James
Mary Matwyuk
ceri Patrick
tim James
Marjorie Mazzei
Jamesy Patrick
Willis & Marlys Jantz
sophie McBean
John Patterson
arnold & Deborah Janzen
Judy Mccrosky
John Payzant
Eunice Janzen
vicki McDougall
ronald & Betty-ann Perkins
lillian Jen-Payzant
allan McGuire
Jan Phillips
David Jobling
hugh & sheryl Mckee
Joe Ponic
Bev Johnson
Donald Mckercher
Mathieu Pouliot
Phyllis Johnston
robert Mclellan
ned Powers
roger & Marie Jolly
shirley & Wallace Mcneil
John Prietchuk
kevin Junk
Dean Mcneill
henriette Quessy
anne & rick kalenchuk
Phav Meekins
vern ratzlaff
Gerarda kaye
ivar Mendez
neil rawlyk
kyle kennedy
B.J. Michaels
robert & sylvia regnier
kim kennett
stuart & Dorothy Middleton
norrie reid
John & Myrna king
isabelle Mills
kathryn Probert
anna klaassen Fund*
lawrence Mitchell
ruth radostits
howard & Elizabeth klein
Brenda Moats
Jill & Derby reid
Mark kornder
Margaret Monks
karen reynaud
kirsten kos
Joanna Morrow
arlene reynolds
Jackie kozak
Jacqueline Mowchenko
Betty reynolds
Dr. & Mrs. G.J. kraay
ans nahirney
kathy rhoden
Jeffrey kulyk
Peter h. neijmeijer
Dorothy riemer
ken laBorde & Jeanne remenda
Willette neijmeijer
al & sandra ritchie
Matthew neufeld
Myrna rolfes
Michelle laBrash
ken & vel neumann
J. Frank roy
land & Estates Management inc.
new community credit Union
Jacques lanteigne
leslie ruo
ross nikiforuk
Frederick leighton
alan & Edda ryan
Earl nostbakken
leland kimpinski llP
nicole ryan
hilda noton
Joyce & karl lenz
rhonda sader
Pat nowoselski
shelly loeffler
andrea sargent
noella nutting
Mairin loewen
Wendy obrigavitch
saskatchewan registered Music teachers assoc.
Brent longstaff
Grattan oâ&#x20AC;&#x2122;Grady
Brenda & Wayne MacDonald
catherine oâ&#x20AC;&#x2122;leary
colin Macdonald & theresa skwara*
verna olfert
heather MacDonald
constance owen-Jones
lila rudachyk
saskatoon community Foundation saskatoon co-operative assoc. ltd. saskatoon Funeral home
InTune_Northern.Lights.qxp_InTune 2015-01-21 2:04 PM Page 29
saskatoon starPhoenix
Darci speidel
Marilyn & Jim veikle
saskatoon’s composers’ Performance society
Marie spencer
albert & Marjorie veroba
terry stannard
anthony & Darlene Walliser
harvey & Grace sauder
Pius steckler
Mary sue Weinmaster
George schmid
Frank strange
Johann Wentzel
Judy schmid
sunrise Publishing
Erika Wentzel
angela & randy schmidt
ian & Meredith sutherland
ross Wheaton
viola schmidt
P. Michael & Margaret v. swan
Elsie White
Don schmidt
shannon Whyley
kassidy schneider
olive swerhone
victor & Erna Wiebe katie Wiens
ralph & Marg schneider
tcUPlace
Frances schultz
the Gallery / art Placement
Bill Wildeman
sheila scott
karin tate
Dennis Will
Marie sellar
kenneth thomas
Michael Williams
John senior
Derek thompson
heather Wilson
Phillip settler
kate toews
Marilyn Wipf
arlene shiplett
Edward & Dorothy tymchatyn
Gary & amy Wobeser
robert D. & lura Mae Meeds sider Fund*
Michael tyrrell
William yang yip Memorial Fund*
audrey & Peter siemens
United Way
catherine Zeilner
Bonnie & Grant skomorowski
University of saskatchewan
tom & June Zurowski
rosemary slater
Brian Unverricht
shanon sofko ruth solheim
Ursulines of st. angela’s convent
charlene sorensen
agnes valade
harmony souls
Douglas vaughan
Elenor & Gordon sparks
tanya veeman
*Gifts made through the saskatoon community association
our donor recognition policy is continuing to evolve, and we appreciate your continued assistance in helping us to ensure that we have your preferred names or anonymity requests for future donor acknowledgements. if you would like to change the way we display your name or your name has been accidentally omitted, please contact angela kempf, Director of Development, at development@saskatoonsymphony.org or 306-665-6414.
InTune_Northern.Lights.qxp_InTune 2015-01-21 2:04 PM Page 30
Upcoming Events January 28 TIME FOR TODDLERS Wednesday, January 28, 2015, sso rehearsal hall, 408 20th st W, 9:30 am
February 7 SAFETY LAST (SILENCE IS GOLDEN SILENT MOVIE) saturday February 7, 2015, roxy theatre, 320 20th street West, 1:00 pm saturday February 7, 2015, roxy theatre, 320 20th street West, 7:30 pm
21 THE MUSIC OF SIMON AND GARFUNKLE (CONEXUS POPS SERIES) saturday February 21, 2015, tcU Place, sid Buckwold theatre, 7:30 pm
28 ESPANA (MASTERS SERIES) saturday February 28, 2015, tcU Place, sid Buckwold theatre, 7:30 pm
March 4 TIME FOR TODDLERS Wednesday, March 4, 2015, sso rehearsal hall, 408 20th st. W, 9:30 pm
15 THE HOCKEY SWEATER (FAMILY SPECIAL) sunday, March 15, 2015 sasktel centre, 2:00 pm
20/21 THE SINKING OF THE TITANIC, THE CORE AT PAVED ARTS Friday, March 20, 2015, PavED arts, 424 20th st W, 7:30 pm saturday, March 21, 2015, PavED arts, 424 20th st W, 7:30 pm
28 SASKATCHEWAN CELEBRATION (MASTERS SERIES) saturday, March 28, 2015, tcU Place, sid Buckwold theatre, 7:30 pm
www.saskatoonsymphony.org
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InTune_Northern.Lights.qxp_InTune 2015-01-21 2:04 PM Page 32
SHARE
in the
FUTURE
SASKATOON SYMPHONY ORCHESTRA Your tax deductLble donation will be generously matched dollar for dollar by the Frank and Ellen Remai Foundation and for every gift of $100 a seat will be reserved for you at a special concert this November For more information visit saskatoonsymphony.org/share-in-the-future or call Angela at 306.665.6414
PROUDLY SUPPORTING OUR SASKATOON SYMPHONY
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