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signature Contents Volume 32, Number 5 | JAN / FEB / MAR 2017

published for the Edmonton Symphony Orchestra at the Francis Winspear Centre for Music 9720 102 Avenue, Edmonton AB T5J 4B2 Administration: 780-428-1108 Box Office: 780-428-1414 Email: info@ winspearcentre.com Website: www.edmontonsymphony.com eso editor

D.T. Baker John McPherson, Jacques Hétu & D.T. Baker

program notes

Letters to the editor, comments and/or suggestions are welcome.

welcome

pg. 5

Artistic & Leadership Team

pg. 6

Edmonton Symphony Orchestra 2016/17

pg. 7

Feature: Paving the Way

pg. 8

(Eddins, Petrov, McPherson, Uchida)

THE Edmonton Symphony Orchestra

2016/2017 SEASON

Published by

#300, 10339 124 Street, Edmonton, AB T5N 3W1 Inquiries: 780-990-0839 Fax: 780-425-4921 Email: sales@venturepublishing.ca Website: www.venturepublishing.ca

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Ruth Kelly Kim Tannas art director Charles Burke graphic designer Andrew Wedman vice president of sales Anita McGillis director of sales Sue Timanson senior account executive Kathy Kelley managing editor

Signature magazine, the official publication of the Edmonton Symphony Orchestra, is published from September to June. Contents copyright 2017 by Edmonton Symphony Orchestra/ Francis Winspear Centre for Music. No part of this publication should be reproduced without written permission.

For the last several seasons, the Edmonton Symphony Orchestra has made the Family Day weekend special by presenting thrilling and fun programs featuring music and scenes from kidfriendly movies and cartoons. On February 18 & 19 (see page 16), we are pleased to bring you Pixar in Concert, conducted by ESO Music Director Bill Eddins.

Lexus Friday Masters / Saturday Masters “Emperor” Concerto (January 27 & 28)

pg. 10

Air Canada Saturday Masters Fauré’s Requiem (February 11)

pg. 13

ATB Investor Services Presents Pixar in Concert (February 18 & 19)

pg. 16

Lexus Friday Masters / Saturday Masters “Pathétique” Symphony (February 24 & 25)

pg. 19

Early Classics Midweek Bach, Haydn & Schubert (March 1)

pg. 22

ESO Board & Senior staff

pg. 27

OUR SUPPorters

pg. 29

Jean-Marie Zeitouni, conductor Behzod Abduraimov, piano

Jean Marie Zeitouni, conductor Andréanne Brisson Paquin, soprano Geoffrey Sirett, baritone Richard Eaton Singers

William Eddins, conductor

Ilyich Rivas, conductor Paul Jacobs, organ

Ilyich Rivas, conductor Mari Coetzee, cello Suzanne Lemieux, oboe

Cover image © Disney/Pixar

On the cover January/FEbruary/March 2017

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Welcome

his month we celebrate Women’s Empowerment Through

Music, an area of focus championed by the Coalition for Music Education in recognition of the 100th anniversary of Canadian women gaining the right to vote. The women of the Prairies were “early adopters,” succeeding in winning the vote in 1916, with other provinces following suit one year later. The Coalition’s project is marking this centenary by providing high school students across Canada with online resources that explore how women have been empowered through music and have shaped the music industry. The ESO is particularly well-suited to contribute to this project. On page eight you will read some observations by Nora Bumanis, one of the many women in our orchestra who have empowered others through their music, teaching and community leadership. You may be surprised to read of one small change in the audition process that radically altered the number of women performing in orchestras across North America. Join us in celebrating our very own pioneers and trailblazers - the women of the ESO! Warm regards

ESO / Winspear Centre Vision: Providing outstanding music experiences for individuals, families and the community and a place where those experiences evoke the height of personal emotion, adventure, and excitement.

Alison Kenny-Gardhouse Director of Musical Creativity Edmonton Symphony Orchestra & Winspear Centre

A Photo: D.T. Baker

he 2016/17 season marks the 12th and final season for William Eddins as Music Director of the Edmonton Symphony Orchestra. Under his guidance, the orchestra has reflected his tremendous passion and enthusiasm, as well as his diverse musical curiosity – while establishing a major profile in the Edmonton cultural community. His ESO tenure has sparkled with memorable performances, from Mozart concertos he has led from the piano to daring performances of Stravinsky (Petrushka, The Rite of Spring), Bartók (The Miraculous Mandarin), and Messiaen (L’Oiseaux exotiques). He conducted the ESO at its triumphant debut at Carnegie Hall in 2012, mentored Lucas Waldin as Conductor in Residence, and oversaw tremendous artistic growth in the orchestra itself. His time here has seen him conduct concerts in every subscription series in addition to galas and special performances. He continues

s Executive Director of the Francis Winspear Centre for Music and Edmonton Symphony Orchestra, Annemarie Petrov believes in the transformative power of music. She is privileged to oversee the administration of a flagship Canadian performing ensemble and an internationally renowned concert hall; one built 20 years ago by a community that embodied today’s Make Something Edmonton movement. Over the past eight years, Annemarie has built a high-performing organization, integrating the operations of both the concert hall and symphony orchestra, and steadfastly growing their endowment funds. For Annemarie, people are an organization’s most valuable asset, especially when they understand

ohn McPherson has been a multi-faceted p rofessional

musician for over 40 years who is now increasingly making his mark as a notable Canadian composer. Commissions and grants have been received from the Edmonton Symphony Orchestra, Toronto Symphony Orchestra, Edmonton Recital Society, Alberta Foundation for the Arts, Grande Prairie Regional College, and the Debut, Wild Rose, and Beau String Quartets. His works have been performed by the ESO, Festival City Pops Orchestra, Mark Fewer, Bill Eddins, Robert Uchida, Hammerhead Consort, Take 3, Windrose Trio, NOWage Orchestra, Beau Quartet, XIA string quartet, and others. Many of these performances have been recorded and broadcast on programs such as Arts National, Two New Hours, and Alberta in Concert. A native of Edmonton, John was a student of composer and trombonist Malcolm Forsyth. He has been Principal Trombone of the Edmonton Symphony Orchestra since 1980,

that tradition in 2016/17. Bill Eddins lives in Minneapolis with his wife Jen, a clarinetist, and their two sons Raef and Riley. He continues to be a passionate chamber musician as well as a guest conductor. Their home now boasts a state-ofthe-art recording studio, built by Mr. Eddins himself. Bill caught the conducting bug while a piano student at the Eastman School of Music. In 1989, he began conducting studies at the University of Southern California with Daniel Lewis, followed by assistant conductorships at both the Minnesota Orchestra, and the Chicago Symphony (the latter under Daniel Barenboim). For more, visit WilliamEddins.com

their part in a compelling strategic vision. The cornerstone of her vision for the Winspear Centre’s long-term plan is focused on four key strategies: being a true centre for music in our community, delivering exceptional experiences, inspiring musical creativity, and ensuring resiliency and sustainability. The plan has resulted in milestones such as the orchestra’s return to Fort McMurray after two decades, the Winspear Centre’s Completion Project which will see the addition of smaller performance and program spaces, and the launch of the Tommy Banks Institute for Musical Creativity, delivering educational and community-based musical arts programs for all ages. This includes YONA-Sistema, the city-centre afterschool program that the ESO launched three years ago with the help of Rotary. Annemarie has been recognized nationally with numerous awards for her visionary leadership.

having previously played with the Toronto Symphony, Hamilton Philharmonic, Kitchener-Waterloo Symphony, National Ballet of Canada, and Canadian Chamber Ensemble. In other areas, he has been a member of the Edmonton Jazz Orchestra, Bad for Business Big Band, Plumbers Union, and Albertasaurus. Active as an educator, John recently co-created an educational outreach project for students in Fort McMurray and is the low brass instructor at the University of Alberta’s Department of Music. John is taking a leave in 2016/17 from his positions at both the ESO and the University of Alberta in order to devote his time to composing new works.

Composer in Residence program generously supported by 6 signature

www.EdmontonSymphony.com

Photo: Aaron Au

Photo: Michael Woolley

artistic & leadership team

THE Edmonton Symphony Orchestra

William Eddins

2016/2017 SEASON

Photo: Bo Huang

Music Director

anadian violinist

Robert Uchida has been hailed for his “ravishing sound, eloquence and hypnotic intensity” (Strings Magazine). A regularly featured guest soloist with many of Canada’s orchestras and chamber music festivals, Robert recently had the honour of performing Bottessini’s Grand Duo Concertante with bassist Edgar Meyer under the direction of William Eddins. Concertmaster of the Edmonton Symphony Orchestra, Robert previously held the same position with Symphony Nova Scotia and during the 05/06 season Robert performed as Associate Concertmaster of the Rotterdam Philharmonic Orchestra. Engagements as a guest leader have included projects with the Netherlands Radio Chamber Philharmonic and the Vancouver Symphony Orchestra. He is a founding member of the Toronto-based XIA Quartet. Robert’s CD recordings include Requiem 21.5: Violin Concerto by Tim Brady for CentreDiscs, which won Classical Recording of the Year at the ECMAs, Sonata for Unaccompanied Violin by Andrew Violette for Innova Records, and the “Alpine Symphony” under Edo de Waart as guest concertmaster of the Royal Flemish Philharmonic. Robert’s versatility has brought him to perform with baroque specialists such as Frans Brüggen, Jeanne Lamon, and Elizabeth Wallfisch and to work with composers such as John Corigliano and Richard Danielpour. Robert serves on the faculty at the University of Alberta and has held teaching positions at Acadia University, the Manhattan School of Music, and the National Arts Centre’s Young Artist Program. Robert performs on an outstanding Lorenzo Ventapane violin made in Naples, Italy in 1820 and uses Vision Solo Titanium violin strings by Thomastik- Infeld Vienna.

[ Flute ] [ Violin i ] Elizabeth Koch 1 Robert Uchida, Shelley Younge 2 Concertmaster The John & Barbara Poole Family Concertmaster Chair [ oboe ] Lidia Khaner 1 5 Eric Buchmann, Suzanne Lemieux 3 Associate Concertmaster Paul Schieman, 2 Virginie Gagné, The Steven & Day Assistant Concertmaster LePoole Assistant Broderyck Olson Principal Oboe Chair Richard Caldwell Joanna Ciapka-Sangster [ clarinet ] Laura Veeze Julianne Scott 1 Anna Kozak David Quinn 2 Aiyana Anderson-Howatt Neda Yamach [ bassoon ] William Harrison 1 5 [ Violin ii ] 1 Matthew Howatt 3 Dianne New 2 Edith Stacey 2 Susan Flook Heather Bergen [ horn ] Pauline Bronstein 5 Allene Hackleman 1 Zoë Sellers Megan Evans 2 Robert Hryciw Gerald Onciul 2 Tatiana Warszynski Donald Plumb 2 Murray Vaasjo [ Viola ] Stefan Jungkind 1 Charles Pilon 2 5 Clayton Leung 4 Rhonda Henshaw Andrew Bacon [ Cello ] Rafael Hoekman, 1 The Stuart & Winona Davis Principal Cello Chair Brian Yoon 4 Ronda Metszies Gillian Caldwell Derek Gomez Victor Pipkin [ Bass ] Jan Urke 1 John Taylor 2 Janice Quinn Rob Aldridge

[ trUmpet ] Robin Doyon 1 Frédéric Payant 2 [ trombone ] John McPherson 1 5 Erik Hongisto 3 Kathryn Macintosh 2 [ bass trombone ] Christopher Taylor 1 [ Tuba ] Scott Whetham 1 [ Timpani ] Barry Nemish 1 [ Percussion ] Brian Jones 1 [ Harp ] Nora Bumanis 1

The ESO works in proud partnership with the AF of M (American Federation of Musicians of the United States and Canada) Local 390.

January/FEbruary/March 2017

1 Principal 2 Assistant Principal 3 Acting Principal 4 Acting Assistant Principal 5 On Leave

Laureate & Emeritus Artists Uri Mayer, Conductor Laureate Charles Hudelson, Principal Clarinet Emeritus Alvin Lowrey, Principal Trumpet Emeritus

Orchestra Personnel Eric Filpula, Orchestra Personnel Manager Aaron Christopher Hawn, Orchestra Librarian The following musicians may appear at performances in this issue: Aaron Au Viola Ray Baril Saxophone Jeanette Comeau Viola Meran Currie-Roberts Cello Kathleen de Caen Cello Yue Deng Violin Jerrold Dubyk Saxophone Elizabeth Faulkner Flute Mary Fearon Horn Joel Gray Trumpet George Koufogiannakis Guitar Alden Lowrey Trombone Leanne Maitland Viola James Mallet Bass Michael Massey Keyboards Matt Nickel Bassoon Raj Nigam Percussion Jean-François Picard Saxophone Ryan Pliska Percussion Brian Sand Trumpet Yukari Sasada Bass Jeremy Spurgeon Keyboards Alison Stewart Violin Robin Taylor Saxophone Brian Thurgood Percussion Dan Waldron Oboe Robert Walsh Guitar

In addition to our own concerts, the ESO provides orchestral accompaniment for performances by Edmonton Opera and Alberta Ballet.

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Feature

BY Kim Tannas Nora Bumanis

Blind auditions are bringing gender equality to symphony orchestras and empowering female musicians

n a photo of the Edmonton Symphony Orchestra

dated in the 1930s, women are in a small minority – with exactly three female musicians pictured among the group. Today, it’s a completely different scenario, with 25 female musicians out of a total 56 players, representing almost half of the orchestra. Nora Bumanis has been principal harpist with the ESO since 1980 and has witnessed this shift over the years. “I’ve certainly seen the orchestra evolve and I’ve seen the change take place with blind auditions,” she says. Symphonies introduced blind auditions in the 1970s and ’80s as a way to promote equality in orchestral hiring, in part as the result of a discrimination lawsuit in the 1970s. Candidates perform on a stage behind a screen so jurors can’t see them. But it goes beyond that. “You have to take your shoes off so they don’t hear your footsteps and you speak through a facilitator so they don’t hear your voice,” explains Bumanis. “So you have complete anonymity until the very end.” At the ESO’s final selection stage, candidates have the option of taking the screen down or leaving it up. “You’re picked completely on your musical merit with absolutely no reference to gender or race or religion or anything. Or even the make of the instrument. It’s all based purely on sound,” says Bumanis. The effect of blind auditions on the gender balance in symphonies across North America has been staggering. In 1970, women represented less than five per cent of all players in the top five American symphony orchestras. By 1997, that number had risen to 25 per cent; in 2014, according to the League of American Orchestras, 47.4 per

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cent of orchestra musicians were women. Canada doesn’t track these types of statistics, but it’s estimated that the numbers here are similar. In pursuing her own passion for music, Bumanis never perceived gender as much of an issue. Growing up in Toronto, she started playing the piano at the age of four and excelled at it. At the age of 10, her parents asked if she wanted to play a second instrument. She chose the harp. “I was transfixed by the harp, a little by the autonomy of it in the orchestra, that sometimes it played all by itself and sometimes it didn’t play at all,” she says. “There was something unique about it that appealed to me.” Before she even knew she wanted to play the harp, though, she knew she wanted to play in an orchestra. With only six professional harp contracts in symphonies across Canada, that might have seemed like an impossible goal. But she achieved it – and over the years, she has been inspired by the many other women who have joined the ranks of the orchestra alongside her. Those include, among many others, Kathy Macintosh, who for many years was the only female brass player in the ESO, and principal horn Allene Hackleman. “That’s such an important position,” says Bumanis. “To have a woman in that position … I think they are the ones who are breaking ground in terms of gender equality in all instruments.” With the harp often considered a feminine instrument, Bumanis is not sure how much of an obstacle gender might have been in her own career, but she has certainly broken ground in her own way in terms of her leadership role in the music community. She currently serves as president of the Edmonton Recital Society

www.EdmontonSymphony.com

2016/2017 SEASON Allene Hackleman

Kathy Macintosh

bassist when she joined the Toronto Symphony Orchestra in 1947. and has sat as an advisor on various committees, including the “She has really opened up doors for women,” says Bumanis. On the Edmonton Concert Hall Foundation when the Winspear Centre was composition side, Violet Archer, who spent many years at the University being built. She also established one of the largest harp studios in of Alberta, was another early pioneer, creating a body of work that Canada. “I now have four of my students teaching, so there are over spanned over six decades. Her music was performed around the world, 50 harp students in Edmonton right now and when I came here, there and earned honours and awards for her both in Canada and beyond. were zero,” she says. “I feel like I’ve made Edmonton my home and Today, Bumanis continues to be inspired by female composers like now I can contribute and give back to community.” Kelly-Marie Murphy and Alexina Louie. “Composition doesn’t see Bumanis’ primary teacher, Judy Loman, who played with the gender any more. Ideas are not Toronto Symphony Orchestra for gender-based, and I think that many years, was a major influence, [these female composers] are and Bumanis was inspired by her pasnot afraid to roar in their art,” sionate and dedicated teaching. “Her she says. strength was my inspiration and she It’s the kind of message she paved the way for Canadian harpists. hopes will inspire her own Just about every principal player in students in pursuing their Canada is one of her students. She is passion, regardless of gender. just a remarkable woman,” she says. “Don’t be afraid of the hard Bumanis also studied with Alice Chal– Nora Bumanis work. Making music is an ifoux, who played with the Cleveland athletic as well as an artistic Orchestra for more than 50 years, and thing, so be prepared to do the was the only woman for most of that work if you want the results. I think there’s so much instant gratification time. “She would tour and they wouldn’t supply her with a dressing now, but there’s no silver bullet to becoming a musician or an artist. It’s room … so she learned how to change in her harp trunk. She had to a lifelong journey.” It’s also a journey that offers more opportunities for really learn how to stand up for herself,” says Bumanis. women than ever before and is empowering them to make an impact – There are of course many female pioneers in Canada’s orchestra in the world of music and beyond. community. Ruth Budd became our country’s first professional female

“You’re picked completely on your musical merit with absolutely no reference to gender or race or religion or anything. Or even the make of the instrument. It’s all based purely on sound.”

January/FEbruary/March 2017

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Lexus Friday Masters Sponsor

Friday, January 27 | 7:30 PM Saturday, January 28 | 8 PM

Club musical de Québec. No stranger to the international stage, Mr. Zeitouni has conducted the symphony orchestras of Houston, Oregon, Monterey, San Antonio, Omaha, Honolulu, Huntsville, and Cincinnati, in addition to the Handel and Haydn Society of Boston, Seattle Symphony Orchestra, Phoenix Symphony Orchestra, Philharmonique de Marseille, Xalapa Symphony Orchestra, National Symphony of Mexico, Hong Kong Philharmonic, Arco Ensemble, and Detroit Symphony. During the 2016-2017 season, Jean-Marie Zeitouni will be conducting the Moscow Philharmonic Orchestra for the first time and also making his debut at the Théâtre des ChampsÉlysées in Paris. He will also be returning to the Orchestre national de Montpellier, Orchestre national de Lorraine de Metz, Pacific Symphony, and Oregon Symphony.

Afterthoughts, Friday post-performance in the Main Lobby with Jean-Marie Zeitouni, Behzod Abduraimov & John McPherson Symphony Prelude, Saturday 7 pm in Enmax Hall with D.T. Baker

McPHERSON

Triune (Grief / Peace / Liberation) (World premiere of an ESO commission)

(8’)*

BEETHOVEN

Piano Concerto No. 5 in E-flat Major, Op.73 “Emperor” (38’)* Allegro Adagio un poco mosso Rondo: Allegro

INTERMISSION (20 minutes)

MAGNARD

Symphony No. 4 in C-sharp minor, Op.21 (40’)* Modéré – Allegro Vif Sans lenteur et nuancé Animé

ARTIST BIOs

Photo: David Curleigh

Program subject to change *indicates approximate performance duration.

ean-Marie Zeitouni is recognized as one of the brightest conductors of his generation for his eloquent yet fiery style. He studied at the Conservatoire de musique de Montréal, and graduated in conducting, percussion, and composition. In addition to his duties as Artistic Director of the Orchestre de chambre I Musici de Montréal, Mr. Zeitouni is Music Director of the Colorado Music Festival. His resumé also includes stints as Music Director of the Columbus Symphony, the Opera as Theatre program at the Banff Centre, and as assistant conductor and chorus master of the Opéra de Montréal. While with the Violons du Roy, he was alternately Conductor in Residence, Assistant Conductor, and Principal Guest Conductor.

Among the many Canadian symphony orchestras Jean-Marie Zeitouni has conducted are those of Montréal, Toronto, Quebec City, Calgary, Vancouver, Winnipeg, Halifax, Victoria, Kitchener-Waterloo, and London, not to mention the National Arts Centre Orchestra, Arion Baroque Orchestra and

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Mr. Zeitouni last appeared with the ESO in May 2015.

ehzod Abduraimov’s captivating performances continue to receive international praise. Recent seasons have seen Behzod work with leading orchestras worldwide, such as the Los Angeles Philharmonic, Boston Symphony, NHK Symphony, and Leipzig Gewandhaus orchestras. Last season he made his debut with the Münchner Philharmoniker in their new 360 degree Festival and subsequently made his BBC Proms debut with them. Upcoming European highlights include the Czech Philharmonic Orchestra, Orchestre National de Lyon, City of Birmingham Symphony, NDR Elbphilharmonie Orchester as part of the Elb Philharmonie opening, Bergen Philharmonic, and the Israel Philharmonic. In recital Mr. Abduraimov is one of the featured artists for the Junge Wilde series at the Konzerthaus Dortmund; he appears at the Théâtre des Champs-Élysées and returns to the Verbier Festival and La Roque d’Anthéron.

In North America, Behzod Abduraimov will perform in recital at the Stern Auditorium following his debut success at Carnegie Hall in 2015, as well as for the Cliburn Concerts, Carolina Performing Arts, the Vancouver Recital series, and concerts with Houston, Pittsburgh, Montréal, and Minnesota orchestras, amongst others. In 2017 he performs in Japan, Beijing, and Seoul, and also embarks upon a recital tour of Australia. An award-winning recording artist – his debut recital CD won both the Choc de Classica and the Diapason Découverte – Mr. Abduraimov released his first concerto disc in 2014 on Decca Classics which features Prokofiev’s Piano Concerto No.3 and Tchaikovsky’s Concerto No.1 with the Orchestra Sinfonica Nazionale della Rai under Juraj Valcˇuha. Born in Tashkent, Uzbekistan, in 1990, Behzod began to play the piano at the age of five. He is an alumnus of Park University’s International Center for Music where he studied with Stanislav Ioudenitch, and now serves as the ICM’s artist-in-residence. Mr. Abduraimov last appeared with the ESO in March 2015.

www.EdmontonSymphony.com

Photo: Nissor Abdourazakov

Jean-Marie Zeitouni, conductor Behzod Abduraimov, piano

Program Notes Triune (Grief/Peace/Liberation) –

World premiere of an ESO commission John McPherson

(b. Edmonton, 1958)

Program note by the composer:

t is fascinating how Music appears to be inherent

in the human psyche and is able to move us in so many ways: physically, emotionally, intellectually, spiritually and more. Perhaps most intriguing is how music itself can be transformational in our selves and how we can be led by music to a deeper/fuller intimacy with life. I’m sure we’ve all had moments when music literally changed us. When we were transported from one state to another and were opened to a more intense experience of the beauty, joy and power of music. Our human ability to process the most profound tragedies and life-transitions has always been enhanced by the use of music — whether a requiem mass, dancing around a pyre, or as in that scene from Love Actually when Emma Thompson listens to Joni Mitchell. When there are no words, there is always music. These thoughts and the short narrative that follows reflect the images I held during the writing of this work: —n}: consisting of three in one triune {trı-(y)oo Grief accompanies loss, large or small. It is sticky, relentless and existentially painful. It shatters our ego and lays us bare. But if we are able to “look it in the eye,” “talk” to it, and even “dance” with it — however awkwardly — we can pass through the grief and experience a peace that is deep and pure. And through the nurturing of that peace we may find liberatio...at least for a time. Loss and grief will return of course, but by recognizing the patterns and transformative power held within it, we may become more graceful and accepting of the pain, and with each episode become a better and better dancer. I would like to gratefully acknowledge the support for this commission given by the Edmonton Arts Council, the Canada Council for the Arts, the City of Edmonton, Rob McAlear, and the Edmonton Symphony Orchestra.

Piano Concerto No. 5 in E-flat Major, Op.73 “Emperor” Ludwig van Beethoven

(b. Bonn, 1770 / d. Vienna, 1827) First performance: November 28, 1811 in Vienna Last ESO performance: September 2013

he occupation of Vienna by Napoleon’s army in

1809 took a spiritual as well as physical toll on Beethoven. He took refuge with his brother Kaspar, and on those occasions when cannon fire could be heard, he covered his head with a pillow, protecting his nearly-deaf but still highly sensitive ears. Following the Treaty of Vienna’s signing in October, when life began to return to normal, Beethoven’s pent-up artistic soul gave vent to an outpouring of music.

January/FEbruary/March 2017

He finished his Op.74 String Quartet, the “Les Adieux” Piano Sonata, and his Fifth Piano Concerto. It is no coincidence that all of these works are scored in E-flat Major, a key which, for Beethoven, had “heroic” or “triumphant” connotations (it is also the key of his “Heroic” Third Symphony). According to a report, it was a French soldier in the audience at the work’s premiere who proclaimed the concerto to be “the Emperor of concertos,” and the name has stuck. The work’s unconventional opening was likely an unexpected move for the audience to hear. After a declamatory E-flat Major chord in the orchestra, the piano make its entrance with an extended series of arpeggios. The orchestra then states the main first theme, answered boldly by piano. A second theme is also developed, and through the rest of the movement, each of these main ideas is explored thoroughly. The vast movement nears its end with a cadenza written out note-for-note by Beethoven. The second movement is divided between two themes. The first is a quiet one for the strings – as simple and as beautiful as any melody Beethoven ever wrote. The piano enters, also quietly, with its own theme. Variations of these melodies make up the movement until, with a subtle drop of a semi-tone, the principal theme of the third movement is at first tentatively presented, then banged out joyously on piano, answered with equal exuberance by the orchestra. Listen toward the end of this happy conclusion, when the piano shares a rare duet with the timpani, leading to the rousing finish.

Symphony No. 4 in C-sharp minor, Op.21 Albéric Magnard

(b. Paris, 1865 / d. Baron, Oise, 1914) First performed: May 16, 1914 in Paris This is the ESO premiere of any work by Albéric Magnard

o incident in Albéric Magnard’s life is as famous

as his last – he died defending his home outside Paris from German troops that had advanced on it – and that, combined with his own personality which tended toward introspection and withdrawal, has left him a relatively unknown figure. But he was the son of privilege; his father was the well-known, respected, and bourgeois editor of Le Figaro, and Albéric’s upbringing was something he fought against for much of his life. He tried not to profit by his position, although his father’s support (financial, if not necessarily emotional) was certainly available to him. He studied law, and only entered the conservatoire after military service, law school, and the obligatory pilgrimage to Bayreuth. He became a protégé of Vincent d’Indy, and wrote his first two symphonies while under his tutelage. His fourth, and final, symphony was written the year before he died. Aside from his comfortable upbringing, not a lot came easily to Magnard. He wrote operas and several chamber works, but perhaps his conservative musical language was a little out of step with the time and place – fin de siècle Paris was all about the new and innovative. So by the time of Symphony No. 4, he had withdrawn from the busy musi-

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Lexus Friday/Saturday Masters “Emperor” Concerto

cal world of the French capital. His wife and two daughters lived with him at a home some 20 miles outside of town – at the outbreak of the war, he sent them away to safety, so he was the only one that perished in the fire that was lit by the German soldiers at whom he had shot as they approached. The first movement’s Modéré opening is moody and restless – the Allegro main section leaps out from it in a 12/8 chase through the orchestra. A lush countersubject follows and, indeed, there is the sense of mercurial mood swings throughout. Themes recur in unexpected ways, and while the moods ebb and flow, there is never a sense of utter abandonment to emotion, and the movement ends quietly, almost unsurely. Strings initiate the Vif scherzo movement, the briefest of the four movements in the symphony. Its rhythms suggest a dance, but its middle section seems anachronistically from some ancient time, dominated by wind statements and one-note patterns. Strings and winds combine in the movement’s third and final section, with references to both preceding sections leading to yet another quiet and understated conclusion. The long third movement begins directly out of material from the movement before, an extended song with three impassioned climaxes, the first of which appears as a tempest rising suddenly from a tranquil, if gloomy, sea. With that passed, woodwinds accompanied

University of Alberta | Department of Music

2016/17

by swirling strings calm the eddying waters, though halfway through the movement the music cascades once again, this time more heroically. The music softens again, but now, it is with a sense of the pastoral – a contented countryside. The idyll is intruded upon by a final fortissimo, again noble and heroic, leading to a quiet, resolute finish. The final movement, Animé, begins in a whirlwind of activity and restlessness, out of which will eventually come a fugato made up of motifs from this potpourri. Above this activity, the brass present a sequence of declamatory statements, which will rise to the fore in the work’s concluding section, a grand and richly-scored climax, still leading (as with the preceding movements) to a quiet ending, an echo of the first movement’s last moments. Program notes © 2016 by D.T. Baker, except as noted

Varied Piano Solo Music: From Obscure Gems to Recognized Masterpieces

A very personal and out of the ordinary program of works by Kraus, Beethoven and Debussy. Performed by Jacques Després.

ualberta.ca/artshows Shadows and Light

Friday, March 3 at 8 pm Convocation Hall

U of A Symphony Orchestra: Free But Happy

The Symphonic Wind Ensemble, Concert Band and guest, Lindsay Goodman (flute), present a musical reflection on contrasting themes.

Conductor, Petar Dundjerski, leads the USO through tour de force works, including Brahms’ Symphony No. 3 and Marquez’s Danzon No. 2.

Sunday, March 26 at 3 pm

Sunday, April 2 at 3 pm

Winspear Centre

11th Annual Kilburn Memorial Concert Charles Richard-Hamelin, piano

Tuesday, April 4 @ 8 pm Convocation Hall

Winspear Centre

Canadian pianist, and one of the most brilliant musicians of his generation, performs a mesmerizing repertoire of works.

Air Canada Saturday Masters Fauré’s Requiem

Saturday, February 11 | 8 PM

Jean-Marie Zeitouni, conductor* Andréanne Brisson Paquin, soprano Geoffrey Sirett, baritone Richard Eaton Singers, (Leonard Ratzlaff, Music Director)

Symphony Prelude, Saturday 7 pm in Enmax Hall with D.T. Baker

HÉTU

Symphony No. 5, Op.81 (46’)* Prologue L’invasion L’occupation Liberté

INTERMISSION (20 minutes)

FAURÉ

Requiem, Op.48 (38’)* Introit, Requiem aeternam – Kyrie Offertorium: Domine Jesu Christe Sanctus Pie Jesu Agnus Dei Libera me In paradisum

Program subject to change *indicates approximate performance duration.

*Mr. Zeitouni’s bio can be found on page 10.

ARTIST BIOs

ailed for her generous stage presence and expressive voice, Montreal-born soprano Andréanne Brisson Paquin is equally devoted to several different musical genres, singing baroque, classical, operatic, or even contemporary repertoire with the same commitment, rigour, and excitement. In past seasons, she was invited to perform at Festival International de Lanaudière, Festival de musique baroque de Pontoise, Lufthansa baroque Festival, Festival Montréal Baroque, Montréal Bach Festival, and Berlin’s Tage für AlteMusik. Ms. Paquin has been guest soloist for I Musici, Arion, les Voix humaines, Pallade Musica, Masques, Orchestre métropolitain de Montréal, and has had the privilege to work with conductors and instrumentalists such as Yannick Nézet-Séguin, Jean-Marie Zeitouni, Jory Vinikour, Lorenzo Coppola, Jean-Claude Malgoire, Skip Sempé, Jed Wentz. Recently, she was guest soloist with Los Angeles baroque ensemble Musica Angelica in an all Bach program featuring Cantata 51 and Christmas Oratorio. A fine recitalist, Andréanne’s Brisson Paquin’s sensitivity shines in the intimacy of chamber music repertoire. She has given many recitals, and has won national and international prizes such as the Guy-Soucie Excellence Award; Second Prize at Concours International de Musique de Chambre de Lyon; Second Prize at the Eckhardt-Grammatée competition; Second Prize and Duo Prize at New York’s Joy in Singing. She was also a finalist at the prestigious Montréal International Musical Competition 2012 and performed with Montréal Symphony Orchestra. Andréanne completed her vocal studies at Université de Montréal before pursuing a Masters degree in the Netherlands at the Conservatorium van Amsterdam, where she graduated in October 2010. This is Ms. Paquin’s debut with the ESO.

native of Kingston, baritone Geoffrey Sirett has emerged as one of Canada’s leading young baritones. Mr. Sirett returned to Nova Scotia for a repeat of The Bells of Baddeck during the summer of 2016, followed by a Banff workshop of the Toronto Symphony presentation of Weill’s Seven Deadly Sins scheduled for June of 2017. Also on his schedule are Elijah for the Pax Christi Chorale, Messiah for the Newfoundland Symphony, and Beethoven’s Missa Solemnis for the Grand Phil-

January/FEbruary/March 2017

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Photo: Pierre-Étienne Bergeron

Saturday Masters Applause Sponsor

Air Canada Saturday Masters Fauré’s Requiem

harmonic Choir. Highlights of last season include Beethoven’s Ninth Symphony (Orchestre symphonique de Drummondville), Bach’s B minor Mass (Sweetwater Festival), Mussorgsky’s Songs and Dances of Death (Off Centre Music Salon), The Damnation of Faust (Calgary Philharmonic), Prince Igor (VOICEBOX: Opera in Concert), and a Candlelight Christmas Concert (13 Strings Chamber Orchestra). Geoffrey Sirett is a graduate of the University of Toronto where he completed a Master’s in Music (Opera). He is the winner of awards and prizes from a number of competitions including the Canadian Conservatory Vocal Competition, Ottawa Choral Society Competition, Czech and Slovak International Voice Competition, and the Metropolitan Opera National Council Auditions. He is a five-time grant recipient of the Jacqueline Desmarais Foundation, and winner of the Vancouver Opera Guild Career Development Grant. As the winner of the Norcop Song Prize, Geoffrey presented a recital with Martin Katz. Collaborating with pianist Stephen Ralls, Mr. Sirett’s first solo album Vagabond is a disc devoted to the works of Vaughan Williams, Butterworth, and Britten as well as premiere recordings of Canadian composers Ivan Barbotin and Jocelyn Morlock. Additional recordings include Airline Icarus (Naxos: opera by Brian Current), The Heart’s Refuge (Analekta: Theatre of Early Music) and The Vale of Tears (Analekta: Theatre of Early Music). This is Mr. Sirett’s debut as a soloist with the ESO. He sang with the ESO most recently in Edmonton Opera’s performance of Turandot in October 2016.

ounded in 1951 by the late Richard Eaton, Edmonton’s symphonic choir, Richard Eaton Singers (RES), has played a leading role in the cultural community of the city for more than six decades. RES is 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 including the Bach St. John and St. Matthew Passions, Beethoven’s Missa Solemnis, and Vaughan Williams’ A Sea Symphony. RES has commissioned and produced many other world premiere performances by Canadian composers, including Mark Sirett’s In Praise of Music, John Estacio’s The Houses Stand Not Far Apart, Ruth Watson Henderson’s A Song of the Seasons (text by Ted Blodgett) to celebrate the 25th anniversary of Dr. Ratzlaff’s artistic leadership of RES, and Estacio’s branche, in memory of former choir member Frieda Haliburton. The choir has travelled extensively across Canada, to the Netherlands,

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Britain, and Germany, and has exchanged with other choirs, including the Calgary Philharmonic Choir and Vancouver Bach Choir. RES also regularly performs with other Edmonton area choirs. As partners 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. In recent years RES has joined forces with the Alberta Baroque Ensemble to perform the oratorios of Handel, and Bach’s Mass in B minor. The choir last appeared with the ESO in April 2016.

Program Notes Symphony No. 5, Op.81 Jacques Hétu

(b. Trois-Rivières, 1938 / d. Saint-Hippolyte, Québec, 2010) First performed: February 2010 in Toronto This is the ESO premiere of the piece Program note by the composer:

– Prologue (Paris before World War II): The city

slowly awakens and gradually becomes something resembling a giant merry-go-round. Noisy children, murmuring throngs, joyous processions and the confusion of an approaching fun fair interact and blur into one. II – The Invasion (The War): Breathless, agitated, violent, dramatic music. A motif is heard in the unison winds with continuous embellishment from the strings. This culminates in dense polyphony in which different sections of the orchestra compete for prominence. The short and somewhat calmer passage of this scherzo is a lament that will be developed in the following movement. The opening section is heard again in abridged form. III – The Occupation (The German Occupation): A sort of funeral march. The music proceeds slowly, in a supplicating manner. This is halted by an anguished cry consisting of the overtone series of the note C piled up in an enormous tutti. Unison strings lead to an expressive motif that will become the subject of a series of developments while accelerating. A more tranquil episode is heard in the winds, following which comes an abridged return of the opening march material. A final

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transformation in the brass leads to the coda, where the anguished cry is amplified. IV – Liberty (The hope for liberation): Thousands of copies of Paul Eluard’s poem “Liberté” were dropped over Occupied France by RAF planes during 1942. The poem expresses the desire to write the word “liberté” in every way possible at every stage of a life. This incantatory poem, a hymn to all periods of a person’s life, still has universal reverberations today. Musically, each stanza is treated in the manner of a short dramatic scene. The orchestral colour and vocal treatment vary from stanza to stanza. The last line of each stanza, “J’écris ton nom” (I write your name), serves as a recurring motif. The first main section comprises the stanzas concerning recollections from childhood – “cahiers d’écoliers” (schoolboys’ copybooks); “images dorées” (gilded images) – and communion with nature – “chaque bouffée d’aurore” (every whiff of daybreak), “sueurs de l’orage” (labour of storms). The second, more intimate section opens with the a cappella choir evoking first the gentleness of night – “Sur la lampe qui s’allume” (On the lamp that kindles), next tenderness, sensuality – “toute chair accordée” (all accordant flesh) and hope. Then the tone becomes discouraging, with “refuges détruits” (devastated shelters) and “marches de la mort” (steps of death). In the powerful final section, “Sur la santé revenue … par le pouvoir d’un mot” (On health returned … by the power of a word), the word “liberté” surges forth like a victory march.

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Requiem, Op.48 Gabriel Fauré

(b. Pamiers, 1845 / d. Paris, 1924) The original version was first performed: May4, 1888 in Paris The expanded version for full orchestra was first performed: July 12, 1900 in Paris Last ESO performance: February 2004

10432-82nd Avenue, Edmonton

hile it is not unusual for a work – even one that has proved

as popular as Fauré’s Requiem – to exist in several versions, it is unusual that a work not much more than 100 years old should have as haphazard and speculative a history. It is known that Fauré first composed a Requiem for an 1888 performance. Its highly specific instrumentation, and moreover its delicacy, brought the composer criticism from no less than the vicar of the church where Fauré was choirmaster, and where the work had been performed. So Fauré expanded his work, adding such missing (and supposedly necessary) ingredients as an Offertorium, and a Libera me. An enlarged orchestra was brought in for an 1893 performance of the revised work, but apparently, Fauré was still not quite finished with it. In 1899, the third incarnation was unveiled, this one for full orchestra, organ, vocal soloists and choir. Even still, it is not quite established that all the orchestration was done by its composer, or if contributions were made by his pupil Jean Roger-Ducasse. Nevertheless, it is this version of the Requiem which has proved most enduring, and that we will hear tonight. At least part of the reason for this gradual, and irregular genesis is that, unlike many a composer’s requiem, this one was not composed on the occasion of someone’s death. “My Requiem was not composed for anything,” Fauré said once, “for pleasure, if I may venture to say so.” There was also the sense that, after years and years as a church organist, Fauré was deliberately looking for a different sort of message from the traditional Catholic service for dead, one in which the living may find solace, and those that have passed a hoped-for hereafter. The music itself has threads of both the new French school of the turn of the century, but also an ancient, traditional atmosphere reminiscent of Gregorian chant, and the use of modes. There is a symmetry to the works’ architecture, with the beautiful Pie Jesu at its centre (the only appearance of the solo soprano voice, originally sung by boy soprano). The baritone sings both the second and second-to-last sections, while the dark-tinged opening movement is matched against a serene and timeless final movement, In Paradisum.

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January/FEbruary/March 2017

S Special

Pixar in Concert

Saturday, February 18 | 2:30 pm & 7 pm Sunday, February 19 | 2:30 pm & 7 pm

William Eddins, conductor

Fanfare/Toy Story

Music by Randy Newman

Finding Nemo

Performance Sponsor Inside Out

Toy Story 3

Brave

Monsters University

Music by Thomas Newman

Ratatouille

Music by Michael Giacchino

A Bug’s Life

Music by Randy Newman

Wall-E

Toy Story 2

Cars

Program subject to change

PIXAR IN CONCERT Production Credits

Creative Director Pete Docter Creative Editor David Tanaka Executive Producers Jonas Rivera and John Lasseter Producers Laurel Ladevich and Brice Parker Disney Executive Producer Jonathan Heely Music Adapted by Mark Watters Orchestrations by Mark Watters, Brad Dechter, Tim

Simonec, Peter Boyer, Jonathan Sacks, Eric Schmidt, Gordon Goodwin, Ira Hearshen Music Editor Ed Kalnins Guitar Arrangements Carl Rydlund Special thanks to Jonathan Garson, Chris Montan and Tom MacDougall for their support and insight.

INTERMISSION (20 minutes) The Incredibles

Monsters Inc.

Cars 2

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www.EdmontonSymphony.com

Composer BIOs

usician Randy Newman is known to generations of fans as a songwriter, singer, pianist, and film composer. His critically acclaimed solo albums span six decades and include 12 Songs, Sail Away, Good Old Boys, Harps & Angels, and the current Randy Newman Songbook series. Newman began scoring films in the 1980s, with movies including Avalon, Ragtime, The Natural, Awakenings, Pleasantville, all three Toy Story pictures, A Bug’s Life, Cars, Monsters, Inc., James and the Giant Peach, Seabiscuit, and The Princess and the Frog. Newman has won two Academy Awards, three Emmys, five Grammy Awards, and the Governor’s Award from the Recording Academy. In 2005, he was inducted into the Songwriters Hall of Fame, and in 2007, he was recognized as a Disney Legend – a program honouring integral contributions to The Walt Disney Company.

ichael Giacchino is

a prolific and award-winning composer whose work spans the entertainment spectrum. Giacchino studied at the Julliard School and UCLA before beginning his career as a game score composer for Jurassic Park and the Medal of Honor and Call of Duty series. Since branching into television, he has composed for such shows as Alias, LOST, for which he earned an Emmy, and Fringe. In 2004, he scored his first feature film, The Incredibles, launching a collaboration with Pixar that would result in the scores for Ratatouille, UP, for which he won an Academy Award, and Cars 2.

Newman is on the Board of Councilors for the USC Thornton School of Music.

Giacchino’s other film work includes John Carter, Sky High, Super 8, Star Trek, Mission: Impossible III, and Mission: Impossible Ghost Protocol. In 2005, he collaborated with Walt Disney Imagineering to create the new soundtrack for Disneyland’s Space Mountain and in 2009, he was invited to conduct the 81st Academy Awards orchestra.

homas Newman has scored more than 50 motion pictures and television series and has earned 10 Academy Award nominations, five Grammy Awards and an Emmy Award for his theme for the HBO original series Six Feet Under.

The youngest son of legendary Hollywood music director Alfred Newman, Newman studied composition and orchestration both at USC and Yale University and was greatly influenced by his mentor, Stephen Sondheim. At the age of 27, Newman successfully composed his first feature film score, Reckless. Since then, he has contributed distinctive scores to many acclaimed films including Fried Green Tomatoes, The Player, Scent of a Woman, The Shawshank Redemption, Little Women, The Horse Whisperer, Meet Joe Black, American Beauty, The Green Mile, Erin Brockovich, Finding Nemo, Cinderella Man, Jarhead, Revolutionary Road, Angels in America and Wall•E. Newman is also an accomplished composer for the concert hall, including symphonies, concertos, and chamber works.

January/FEbruary/March 2017

atrick Doyle has com-

posed over 50 international feature film scores, including Rise of the Planet of the Apes, Harry Potter and the Goblet of Fire, Gosford Park, Sense and Sensibilty, Much Ado About Nothing, Indochine, Carlito’s Way and A Little Princess, collaborating with some of the most acclaimed directors in the world. Doyle has received two Academy Awards, Golden Globe and Cesar nominations and, in 1989, received the Ivor Novello Award for Best Film Theme for Henry V.

Classically trained, Doyle graduated from the Royal Scottish Academy of Music in 1975. After many years composing for theatre, radio and television, he joined the Renaissance Theatre Company as composer and musical director in 1987. In 1989, director Kenneth Branagh commissioned Doyle to compose the score for Henry V. They have subsequently collaborated on several pictures, including 2011’s Thor. Doyle was made a Fellow of the Royal Scottish Academy of Music in 2001.

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Lexus Friday/Saturday Masters “Pathétique” Symphony

Lexus Friday Masters Sponsor

Friday, February 24 | 8 PM Saturday, February 25 | 8 PM

Ilyich Rivas, conductor Paul Jacobs, organ

Afterthoughts, Friday post-performance in the Main Lobby with Ilyich Rivas & Paul Jacobs Symphony Prelude, Saturday 7 pm in Enmax Hall with D.T. Baker

J.S. BACH

Suite from the Orchestral Works of Johann Sebastian Bach (arr. Mahler) (19’)*

Ouverture (Grave) Rondeau – Badinerie (Più mosso) Air (Andante) Gavotte 1 – Gavotte 2

POUlENC

This is Mr. Rivas’ debut with the ESO.

Andante – Allegro giocoso – Subito andante moderato – Tempo allegro, molto agitato – Très calme: Lent – Tempo de l’allegri initial – Tempo introduction: Largo

Concerto for Organ, Timpani and Strings in G minor (24’)*

INTERMISSION (20 minutes)

TCHAIKOVSKY

Symphony No. 6 in B minor, Op.74 “Pathétique” (46’)*

Adagio – Allegro non troppo Allegro con grazia Allegro molto vivace Finale: Adagio lamentoso – Andante

ARTIST BIOs

lyich Rivas has already developed an impressive conducting career. The Venezuelan-American conductor made his professional debut at the age of 16 with the Atlanta Symphony, and has made successful debuts with a number of important orchestras, including the London Philharmonic, Swedish Radio Symphony, Royal Stockholm Philharmonic, Gothenburg Symphony, Stuttgart Radio Symphony, Frankfurt Radio Symphony, NDR Radiophilharmonie Hanover, Orchestre de la Suisse Romande, Baltimore Symphony Orchestra, Orquesta Sinfonica de Castilla y Leon, and the Orquesta Sinfonica de Galicia.In addition, he has conducted the Verbier Festival Orchestra, the orchestras of London’s Royal College of Music and the Australian National Academy of Music in Melbourne, the Youth Orchestra of the Americas, and the Youth Orchestra of Bahia, Brazil.

January/FEbruary/March 2017

Photo: Mark McNulty

Program subject to change *indicates approximate performance duration.

he only organist ever to have won a Grammy Award (in 2011 for Messiaen’s towering Livre du SaintSacrement), Paul Jacobs combines a probing intellect and extraordinary technical skills with an unusually large repertoire, both old and new. “Paul Jacobs is one of the great living virtuosos,” praised Anne Midgette in the October 2, 2014 edition of The Washington Post, and in an article in The Economist (November 1, 2013) Mr. Jacobs was termed “America’s leading organ performer.” Mr. Jacobs made musical history at the age of 23 when he played Bach’s complete organ works in an 18-hour marathon performance on the 250th anniversary of the composer’s death. A fierce advocate of new music, Jacobs has premiered works by Samuel Adler, Mason Bates, Michael Daugherty, Wayne Oquin, Stephen Paulus, and Christopher Theofanidis, among others. Paul Jacobs 2016-2017 season began with a recital at Lincoln Center’s Paul Recital Hall and includes orchestral engagements with the Cleveland Orchestra, the Los Angeles Philharmonic, the National Symphony Orchestra, the Montréal Symphony, the Kansas City Symphony, and the Philadelphia Orchestra, where he gave the world premiere of Christopher Rouse’s Organ Concerto. Mr. Jacobs studied at the Curtis Institute of Music, double-majoring with John Weaver for organ and Lionel Party for harpsichord, and at Yale University with Thomas Murray. He joined the faculty of The Juilliard School in 2003, and was named chairman of the organ department in 2004, one of the youngest faculty appointees in the school’s history. He received Juilliard’s prestigious William Schuman Scholar’s Chair in 2007. Mr. Jacobs last appeared with the ESO in September 2014.

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Photo: Fran Kaufman

Forthcoming highlights include his debuts with the Brno Philharmonic, and the Cameristi della Scala, a chamber orchestra comprising musicians from the orchestra of Milan’s prestigious Teatro alla Scala. Following a three-year mentoring program at Glyndebourne Festival Opera, he was invited to conduct Le nozze di Figaro in 2012, and following this successful debut he was immediately invited back to conduct Humperdinck’s Hänsel und Gretel the following season. In the spring of 2014, he made an impressive debut with Opera North conducting performances of La Bohème, and future highlights include his debut with the Netherlands Reisopera in La Traviata. Ilyich Rivas comes from a distinguished musical family, studying conducting from an early age with his father Alejandro Rivas, an orchestral conductor himself, who continues to be his principal guide and mentor. Ilyich has been awarded the Bruno Walter Conducting Prize and the Prix Julius Baer in Switzerland, given by the Verbier Festival to a musician of exceptional talent.

Lexus Friday/Saturday Masters “Pathétique” Symphony

Program Notes Suite from the Orchestral Works of Johann Sebastian Bach (arr. Gustav Mahler) Johann Sebastian Bach

(b. Eisenach, Saxony, 1685 / d. Leipzig, 1750) First performance of the Mahler suite: November 10, 1909 in New York This is the ESO premiere of the piece

hile known today as a composer, Gustav

Mahler actually composed only part-time, when his work as a conductor allowed. His output is therefore relatively small, even if the works that he left are often on a mammoth scale. Slavish adherence to a composer’s original intent, or even orchestration, was not a top priority for conductors of Mahler’s time, and many thought nothing of re-composing, re-orchestrating, or otherwise making changes to a score that we would find today indulgent, if not sacrilegious. One conductor famous for such re-imaginings, Leopold Stokowski, argued that Bach himself was no purist, and if he were alive now, would certainly write for the orchestra of today. And Mahler’s time was decades before the advent of “authentic period performance” research had made inroads into popular acceptance. Elgar, for example, thought the common symphony goer of his day would find Bach “boring” without beefing up his music. Mahler’s suite, culled from the music of two of Bach’s orchestral suites, is actually not as overblown as some treatments of Bach. But it still may sound unusual to us today. Flute has a dominant role throughout the fugue of the opening movement, and that instrument’s dominance continues into the brief Rondeaus which surround a Badinerie – the latter of which did feature a prominent flute in Bach’s original, from the Second Suite. The Air, the famous slow movement from Bach’s Third Suite, sounds rather lush to our ears re-attuned to Baroque practice, perhaps, but shows a restraint and respect for Bach’s music that allows its innate beauty to the fore. A pair of Gavottes conclude Mahler’s highly specialized suite, again taken from the Third Suite of Bach.

Concerto for Organ, Timpani and Strings in G minor Francis Poulenc

(b. Paris, 1899 / d. Paris, 1963) First performed: June 10, 1941 in Paris Last ESO performance: June 2010

t was critic Claude Rostand who famously dubbed

Francis Poulenc “half monk and half delinquent.” The latter label refers to the witty and clever music Poulenc and his fellow members of “Les Six” composed early in his career. The former underscores the personal events later in Poulenc’s life that led him back to his

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strong Catholic faith, which inspired many of his later works. While not necessarily one of his religious works, his Organ Concerto was intended for performance in church. Its simple scoring, with the organ accompanied only by strings and timpani, was intended to make the work easy to perform in churches large or small. The work is cast in a single movement, but broken up into seven distinct sections, and both sides of Poulenc’s nature to which Rostand referred are very much in evidence. Strong, Bach-like chords set up an opening of might and mystery, leading to an almost merry chase, as organ and strings alternate a playful theme. The longest single section is a beautiful, introspective Andante, in which the theme of the previous section is recast as an idyllic processional. The mood darkens considerably, but yields once again to a section of animated, almost nervous energy, quelled as the strings usher in the fifth section, dominated by a romantic string theme. Organ and timpani abruptly shift the mood, and the chase theme of the second section is now a duet for organ and strings, brought to a halt by toccata-like chords in the organ heralding the final section – one of introspection and reflection, capped off by a final declamatory pronouncement from the organ.

Symphony No. 6 in B minor, Op.74 “Pathétique” Piotr Ilyich Tchaikovsky

(b. Kamsko-Votinsk, 1840 / d. St. Petersburg, 1893) First performed: October 28, 1893 Last ESO performance: March 2012

retty much from its first performances,

Tchaikovsky’s final symphony has produced a barrage of conflicting rhetoric. People tend to hear what they want in a work, so for those who must insist that this great, tragic work is Tchaikovsky’s suicide note, they cite mounds of evidence. Just as there is equally compelling evidence to those who believe that the symphony was simply the next work in what he hoped would be many more. Tchaikovsky himself is not much help, either way. Always a bit of an emotional weather vane, the composer’s own writings could be seen to support either point of view. So what do we know? Well, we know that Tchaikovsky let germinate the idea of what he termed a “Program Symphony” for more than two years, after sketching out a rough outline in which he wrote, “The ultimate essence of the plan of the symphony is LIFE. First part – all impulsive, confidence, thirst for activity. Must be short. Finale DEATH (result of collapse). Second part, love; third, disappointments; fourth ends dying away (also short).” We also know that the first performance of the work (presented at its premiere without a sobriquet) was met with reasonable success. And we also know that within a week of that first performance, Tchaikovsky was dead. Nine days after that first performance, the work – now called the “Pathétique” Symphony – was given again, and to great acclaim. Tchaikovsky’s brother Modest

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claims to have suggested to Piotr the name for the work. And we know that Tchaikovsky dedicated the symphony to his nephew, known as “Bob” or “Bobyk” in his many letters, and for whom Tchaikovsky doubtlessly had deep feelings, though he also knew that nothing could come from them. More contradiction. The official cause of his death was cholera, from drinking unboiled water. There are many who just as adamantly maintain he took poison by his own hand. The latter hear in the work what must obviously be the torments of the composer. Again, letters from Tchaikovsky would seem to indicate that he was indeed unhappy; but then why did he write to his publisher, saying “I have never felt such self-satisfaction, such pride, such happiness, as in the consciousness that I am really the creator of this beautiful work”? Ultimately, we are left with the music, regarded by many as the finest Russian symphony ever written. The bassoon solo, which rises from the murky strings at the outset presents an idea which will be prevalent throughout much of the work – a rising, then falling idea that eventually brings us to the Allegro of the movement, and from E minor to the symphony’s home key. It is here that another melody is presented, and it is this secondary subject that dominates the rest of the movement. The development section is capped with a powerful orchestral tutti, but the movement ends quietly.

The second movement is set up, and presented, as a waltz. Yet its time signature throughout nearly its entire duration is 5/4, which one perceptive early critic (Paul Henry Lang) noted, “shows the best side of Tchaikovsky’s innate musicianship…maintaining the somewhat unusual 5/4 measure throughout, seldom accomplished without the appearance of a tour de force.” The third movement is dominated by a G Major march of fierce energy and intensity, which nevertheless enters on tiptoes. It is clear, right from the beginning, that Tchaikovsky had in mind the unusual idea of an Adagio final movement. While it begins in B minor, the tragic song which lingers so powerfully in the imagination is actually in D Major. The overall mood is one of grieving, of regret; there is no respite, not happy ending – only a long dying away. “This is not a work you can be indifferent to,” wrote one music historian. “And even those fastidious persons disturbed by its sensational aspects should not allow themselves to be blinded thereby to the work’s equally real musical strengths.” Program notes © 2016 by D.T. Baker

BENJAMIN GROSVENOR IN RECITAL TUESDAY, MAY 5 • 7:30 PM

ALL TICKETS $24* WINSPEARCENTRE.COM *Subject to service charges

Early Classics Midweek Bach, Haydn & Schubert Wednesday, March 1 | 7:30 PM

ARTIST BIOs

Ilyich Rivas, conductor* Mari Coetzee, cello (2015 Shean Competition Laureate) Suzanne Lemieux, oboe

STAMITZ

Sinfonia pastorale in D Major, Op.4 No. 2 (14’)* Pastorale: Presto Larghetto Minuetto – Trio Presto

HAYDN

Cello Concerto No. 2 in D Major, Hob.Viib: 2 (27’)* Allegro moderato Adagio Allegro

INTERMISSION (20 minutes)

J.S. BACH

Suite from the Orchestral Works of Johann Sebastian Bach (arr. Mahler) (19’)*

Ouverture (Grave) Rondeau – Badinerie (Più mosso) Air (Andante) Gavotte 1 – Gavotte 2

MARCELLO

Oboe Concerto in D minor (12’)* Andante e spiccato Adagio Presto

SCHUBERT

Rosamunde, D 644: Overture (10’)* Program subject to change *indicates approximate performance duration.

*Mr. Rivas’ bio can be found on page 19.

anadian cellist Mari Coetzee is an exciting, versatile performer, who is passionate about traditional and contemporary music alike. Included in CBC Music’s 2015 Edition of 30 Hot Canadian Classical Musicians under 30, Ms. Coetzee received first place in the Shean Strings Competition. She was also a grand prize winner in the 2014 Canadian Music Competition and has performed as soloist with the Orchestre symphonique de Québec, the Calgary Youth Orchestra, and the Medicine Hat Academy Orchestra. A frequent recitalist, Ms. Coetzee has been featured in the High River Gift of Music Society’s 2015/16 concert series. Currently in her second year of an undergraduate degree in Cello Performance at The Juilliard School, Mari studies with Richard Aaron. An avid chamber musician, Ms. Coetzee has received mentorship from the Takács Quartet and has also been involved in concerts performing the works of some of the world’s leading 20th and 21st century, working with composers such as Steve Reich in the AXIOM ensemble at The Juilliard School. Equally at home in larger ensembles, Ms. Coetzee has performed orchestral concerts under such conductors as Alan Gilbert, James Gaffigan, and Gianandrea Noseda. Born in South Africa in 1996, Ms. Coetzee’s cello studies began at age five after her family immigrated to Canada. The year 2014 marked a memorable return visit where Ms. Coetzee performed alongside her two sisters in a variety of concerts around the country. Her primary teachers have included John Kadz, Johanne Perron, and Christine Bootland.

This is Ms. Coetzee’s debut with the ESO.

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Program Notes Sinfonia pastorale in D Major, Op.4 No. 2 Johann Stamitz

(b. Německý Brod, 1717 / d. Mannheim, 1757) First performed: thought to have been composed for Christmas 1756 This is the ESO premiere of the piece

uzanne Lemieux is Principal Oboe of Symphony Nova Scotia

and is Acting Principal Oboe with the ESO this season while Lidia Khaner is on leave. Ms. Lemieux has performed as guest soloist with Symphony Nova Scotia on more than 20 different programs and delighted audiences with repertoire from the baroque to the contemporary. She recorded Telluric Dances, an oboe concerto by Christos Hatzis, and gave the American premiere of this piece at Lincoln Center’s Avery Fisher Hall. She also gave the premiere of Marjan Mozetich’s Oboe Concerto with Ottawa’s Thirteen Strings and has been a soloist with the Atlantic Sinfonia and the Victoria Symphony. An active chamber musician, Suzanne Lemieux has played recitals at the National Arts Centre’s Fourth Stage and Salon. She is a returning guest artist at the Scotia Festival of Music and has participated in the Indian River Festival and New Brunswick Summer Music Festival on several occasions. She is a member of Halifax’s woodwind quintet, Fifth Wind. As a guest oboist, Suzanne has performed with the Vancouver Symphony, the Montréal Symphony, and the National Arts Centre Orchestra, and she has toured with the Singapore Symphony and Les Violons du Roy. She has commissioned and premiered many pieces by Canadian composers and enjoys working with non-traditional ensembles. She holds a Bachelor of Music degree from the University of Ottawa where she studied with Rowland Floyd, and a Master of Music from the University of Michigan where her teacher was Harry Sargous. Other influential teachers include Maurice Bourgue and Richard Killmer.

This is Ms. Lemieux’s debut as a soloist with the ESO.

January/FEbruary/March 2017

ohann Stamitz was a master of music in a court

which treasured music – the Mannheim court of the mid 18th century was a glittering jewel of arts and culture in Europe, and the orchestra of the court of Elector Carl Theodor was the envy of many. Stamitz played violin predominantly, and upon his tragically early death at only 39 years of age, was mourned in Mannheim as, “so expert in his art that his equal will hardly he found.” “Pastoral” symphonies at the time of Stamitz were a very particular subset of orchestral composition. Those familiar with Handel’s Messiah would know the tender instrumental interlude in it called “Pastoral Symphony.” Likewise, “Christmas concertos” were a staple of the Baroque period, containing a slow “pastorale” movement meant to evoke the heavenly stillness of the first Christmas night. And so it was with the Sinfonia pastorale, one of six symphonies published by Stamitz as his Opus 4. It, too, is a work written originally for a performance near Christmas, and contains a number of elements that would have made it suitable to the time. One such element is the use of drone harmonies. To illustrate the countryside where shepherds watched their flocks by night near the biblical manger, rustic folk elements were used, and a steady drone under the melodic line is meant to imitate that most rustic of instruments: the bapgipes. The symphony is in four brief movements, the last of which quotes a Bohemian Christmas carol, Nesem vám noviny, which would have been well known in the Mannheim court.

Cello Concerto No. 2 in D Major, Hob.Viib: 2 Franz Josef Haydn

(b. Rohrau, Lower Austria, 1732 / d. Vienna, 1809) First performance: c. 1781 at Esterháza Last ESO performance: April 2006

aydn’s concerto output

appears almost as slipshod as the records he kept of them. He felt himself to be an indifferent keyboard player, and many of his other concertos were written with members of the Esterházy orchestra in mind. This goes some way to explain why the records of the works he wrote for solo instrument and orchestra are in the state they’re in. We’re lucky, in fact, to have the two concertos for cello we can definitely attribute to him. The composition of the C Major Concerto listed as No. 1 has been narrowed down to when Haydn was in his 30s. This evening’s Concerto No. 2 in D Major dates from at least 20 years later, during

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Early Classics Midweek Bach, Haydn & Schubert

which time Haydn’s music had undergone much transformation. Believed for many years to have been written by the great cellist Anton Kraft, it is now thought that he is the work’s dedicatee. Haydn’s phrasing here, for the orchestra and especially for the cellist, is expansive, and often melodic lines cross each other, adding a sense of tension in the otherwise sunny tempos of the outer movements. This is a taxing and virtuosic work, with a first movement half again as long as the other two combined. Two main thematic ideas dominate this Allegro moderato movement, both introduced in the long orchestra-only opening. The overall easy-going nature of the music belies the daunting technical demands placed on the soloist. The second movement continues the first’s sense of lyricism and unhurried delight in tranquility. The cello’s aria-like theme is presented three times, each one different and more decorous than before. The finale is a rondo with the kind of simple main theme that only Haydn could make so memorable and polished. One repeat of the tune is in the minor key, allowing the soloist to explore a different aspect of the cello’s expressiveness, and the overall mood is one of simple pleasure aligned to sophisticated virtuosity.

Suite from the Orchestral Works of Johann Sebastian Bach (arr. Gustav Mahler)

Johann Sebastian Bach

A program note for this work can be found on page 20.

Oboe Concerto in D minor Alessandro Marcello

(b. Venice, 1673 / d. Venice, 1747) Published in 1717 This is the ESO debut of any work by Alessandro Marcello

enice’s Marcello brothers, Alessandro and

Benedetto, were sons of privilege, who listed composing among a litany of accomplishments that were the domain of well-heeled dilettante, including poetry, painting, mathematics, and philosophy. Their musical output likely would not long have survived them, save for the fact that they composed in the new Italian style that a number of other European composers found fascinating – among them, Johann Sebastian Bach. In fact, Alessandro Marcello’s Oboe Concerto in D minor is probably best known through the transcription Bach made for it for solo keyboard, listed as BWV 974 in the Bach catalogue. For some time, authorship of the work was in fact given to Benedetto, although modern research has again reassigned authorship to older brother Alessandro. The unusual opening movement begins like a fugue in the strings, unhurried and rhythmic, with the oboe delicately intoning its measured song. Marked “spiccato” in the score, in this case, it does not refer to the modern meaning of spiccato, which implies the bow bouncing on the strings, but in the Baroque meaning from the Italian

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“spiccare” (“to separate”), referring to the clipped notes played by both soloist and orchestra. The slow and haunting middle movement is set to a lacy curtain of strings, with the oboe presenting a beautiful aria, complete with nimble decorations. At last, in the finale, the music springs out, though the D minor setting restrains the festivities somewhat. But the oboe’s nimble runs alternate with the strings in a lively triple metre.

Rosamunde, D 644: Overture Franz Schubert

(b. Vienna, 1797 / d. Vienna, 1828) First performed as incidental music for Die Zauberharfe: August 18, 1820 in Vienna First performed as part of the music for Rosamunde: December 20, 1823 in Vienna Last ESO performance: February 2004

he road that leads to the

overture we now commonly refer to as the Rosamunde overture by Schubert is a detour-filled path. It begins when Schubert was only 20, and the towering influence of the operas of Rossini was still very much a force in Vienna. Young Schubert began writing an overture “in the Italian style” and not tied to a specific program, very much inspired by the curtain-raisers of the Italian master. It is a charming work, filled with the same sort of contrasting moods and engaging and bright melodies that mark many of Rossini’s overtures. A few years later, in 1820, Schubert was asked to contribute incidental music for a melodrama called Die Zauberharfe (“The Magic Harp,” not to be confused with Mozart’s The Magic Flute in any way). He modified his earlier overture, changing the key from D to C Major, making some modifications to the Adagio opening and the rousing coda, to make it suitable for the play. The public liked the music, but hated the play it accompanied. So while the drama closed after only a handful of performances, Schubert was not one to miss an opportunity. In 1827, he published his overture along with music written to accompany another stage work, Helmina von Chézy’s Rosamunde, all under the opus number 26. The overture has been called the Rosamunde Overture since. Program notes © 2016 by D.T. Baker

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LEXUS OF EDMONTON

Driving Community Giving!

t Lexus of Edmonton, we believe

strongly in the importance of giving back to the Edmonton community. As a company, we are heavily involved in supporting many events in the city year-round, and we can proudly say that the Edmonton Symphony Orchestra (ESO) is truly one of our favourites! In our eighth year of partnership with the ESO, we are pleased to be the series sponsor of the Lexus of Edmonton Friday Masters series. With our longstanding relationship with the organization, we cannot wait to continue to give you the gift of music for many more years to come.

A bit about Lexus of Edmonton … Located in west Edmonton, our dealership has been named Edmonton’s number one luxury store. We are incredibly proud of the reputation we have established for both outstanding customer service and all that we give back to our community. Bruce Kirkland, Dealer Principal at Lexus of Edmonton, believes that our biggest asset isn’t our beautiful building or product; it’s our people. “All of Lexus’ employees strive to make sure every single person who visits our dealership has an amazing experience,” he says. “All of our guests are treated as if they are guests to my home.” Check out this issue’s Lexus of Edmonton Friday Masters performances, “Emperor” Concerto and “Pathétique” Symphony. (See pages 10 and 19)

Thank You

LEXUS OF EDMONTON FOR SUPPORTING YOUR EDMONTON SYMPHONY ORCHESTRA.

January/FEbruary/March 2017

Bruce Kirkland, Dealer Principal at Lexus of Edmonton

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ERS

THANK YOU ESO AND WINSPEAR CENTRE DONORS!

Main Series 3

The Tanya Prochazka TributeRecital

The impact of your gift can be found inside the pages of this program. Your donation gives life to the ESO, and provides a wide array of guest conductors, artists, and dynamic programming for your fellow symphony supporters. In an effort to direct as much funding as possible to our event and education programs, we will be highlighting our donors in select editions of Signature Magazine in the 16/17 season. A complete donor listing is also available in our Annual General Report.* Thank-you for ensuring that music continues to thrive in our community.

Caroline Stinson cello

Sarah Ho piano

Sunday, February 26, 2017 at 7:30 pm Muttart Hall, Alberta College Conservatory of Music 10050 MacDonald Drive, Edmonton AB $35 (adult)/$25 (senior)/$10 (student)

*online at www.edmontonsymphony.com/about/board or request a hard copy by calling Louise Bradbury at 780-401-2502 2016 -2017 For more information, please visit www.edmontonrecital.com Special Thanks

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THE Edmonton Symphony Orchestra

Board & Staff

List of past Board Chairs

Mrs. Marion Mills Dr. H.V. Rice Mr. John D. Dower Mr. Gerry M. Wilmot Dr. A.O. Minsos Mr. E.M. Blanchard Mr. A.G. Culver Mr. D.D. Campbell Mr. D.M. Ramsay Mr. Merrill E. Wolfe Mr. Ken R. Higham Mr. George M. Peacock, Q.C. Mr. Ralph L. Horley The Honourable David C. McDonald Mrs. Madeline Williams The Honourable Tevie H. Miller Mr. Jack W. Kennedy The Honourable Roger P. Kerans Mr. Richard W. Palmer Dr. John R. Huckell Dr. John L. Schlosser Mr. J.R. Singleton Mr. D.A. Cox Mr. Ron Ritch Mrs. Margaret Clarke Mr. Brian Hetherington Mr. Charles T. Austin Mr. Neil Wilkinson Mr. Robert Binnendyk Mr. Ron Pearson Ms. Audrey Luft Mr. Andrew Hladyshevsky, Q.C. Mr. Douglas Noble Mr. D. Mark Gunderson, Q.C. Mr. W.D. (Bill) Grace, F.C.A. Mrs. Phyllis Clark Mr. Steven LePoole Jim E. Carter, P.Eng.

1952-53 1953-54 1954-56 1956-57 1957-58 1958-59 1959-60 1960-61 1961-62 1962-63 1963-65 1965-66 1966-67 1967-68 1968-69 1969-70 1970-71 1971-72 1972-73 1973-76 1976-77 1977-79 1979-80 1980-82 1982-84 1984-86 1986-88 1988-90 1990-93 1993-95 1995-97 1997-00 2000-01 2001-03 2003-04 2004-07 2007-11 2011-15

The ESO and Winspear Centre work in proud partnership with IATSE Local 210 Warren Bertholet, Head Lighting Technician Jonas Duffy, Head Audio Technician Alan Marks, Head of Stage Management Mike Patton, Assistant Head of Stage Management January/FEbruary/March 2017

Edmonton Symphony Society/ Francis Winspear Centre for Music

BOARD OF directors Reg Milley, Chair Peggy Garritty, Vice Chair Jim E. Carter, P.Eng., Past Chair Mary Persson, C.P.A., C.M.A., Treasurer Craig T. McDougall, Secretary/Legal Counsel Sheryl Bowhay Joanna Ciapka-Sangster Megan Evans Christine Frederick Sam Jenkins Oryssia Lennie Kathryn Macintosh Jim McKillop Mark Moran David Yee Candace Chu (U of A Student Intern)

Edmonton Symphony & Concert Hall Foundation Phyllis Clark, Chair John Brennan Jim Carter Bob Kamp Carol Ann Kushlyk, C.M.A., C.F.E. Jim McKillop EDMONTON SYMPHONY ORCHESTRA / WINSPEAR CENTRE / TOMMY BANKS INSTITUTE FOR MUSICAL CREATIVITY

EXECUTIVE & ARTISTIC LEADERSHIP Annemarie Petrov Executive Director

William Eddins Music Director

Rob McAlear, Director of Artistic Operations Janice Moore, Director of Community Investment Ally Mandrusiak, Director of Events Management Brian Alguire, Director of Finance & Operations Alison Kenny-Gardhouse, Director of Musical Creativity Elaine Warick, Director of Patron Development Barb Wilkes, Executive Coordinator/Board Liaison Complete staff listing can be found at www.EdmontonSymphony.com signature 27

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My eyesight means the world to me. I have to see the orchestra to lead them. So without good eyesight, I can’t help create the beautiful music you hear at the Winspear Centre. The Eye Institute of Alberta treats 45,000 patients every year. That’s like treating almost double the capacity seating of the Winspear every week. The Royal Alexandra Hospital Foundation’s $4 million campaign for the Eye Institute of Alberta aims to improve the patient experience, fund ground-breaking research, and train the next generation of ophthalmologists. Your support of this campaign will ensure top-quality patient care continues at the Eye Institute of Alberta. For more information, please contact Jeff Buhr at 780-735-5804.

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