ESO Signature May/June 2015

MAY/JUNE 2015

LATE NIGHT GERSHWIN Concerto, songs and rhapsody

BROADWAY DIVAS Ladies’ night at the Pops

BEST OF BOTH, OUTDOORS Symphony Under the Sky and in the City THE MUSIC OF LED ZEPPELIN

The ESO plugs in and rocks out

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SIGNATURE Contents Volume 30, Number 8 | MAY/JUNE 2015 pg. 5

ARTISTIC & LEADERSHIP TEAM

pg. 6

EDMONTON SYMPHONY ORCHESTRA 2014/2015

pg. 7

(Eddins, Petrov, Uchida, Waldin)

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

WELCOME

8

THE PEOPLE’S PARTIES

pg. 8

The ESO found a populist solution to its outdoor festival dilemma

D.T. Baker Allan Gilliland, Oskar Morawetz, D.T. Baker

THE EDMONTON SYMPHONY ORCHESTRA

program notes

2014/2015 SEASON

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

PUBLISHED BY

RBC SUNDAY SHOWCASE TCHAIKOVSKY’S VIOLIN CONCERTO (MAY 24) 10259 105th Street, Edmonton AB T5J 1E3 Inquiries: 780-990-0839 Fax: 780-425-4921 Email: sales@ venturepublishing.ca Website: www.venturepublishing.ca publisher director of custom content assistant editor art director vice president of sales director of sales senior account executive

11

Ruth Kelly Mifi Purvis Robbie Jeffrey Andrea deBoer Anita McGillis Allyson Kurian Kathy Kelley

Contents copyright 2015 by Edmonton Symphony Orchestra/ Francis Winspear Centre for Music. No part of this publication should be reproduced without written permission.

Photo by Ed Ellis

ON THE COVER

pg. 14

SPECIAL WINDBORNE’S MUSIC OF LED ZEPPELIN (JUNE 1 & 2)

pg. 18

ROBBINS POPS BROADWAY DIVAS (JUNE 5 & 6)

pg. 20

Martin Herman, conductor Randy Jackson, vocalist

Symphony Orchestra, is published from September to June.

Last year’s international triathlon event meant the ESO’s beloved Symphony Under the Sky was shelved for a year. But its replacement, ATB Financial Symphony in the City, was such an overwhelming success that this year, we’re doing both! Find out the details on page 8.

LEXUS FRIDAY MASTERS/LANDMARK HOMES MASTERS BEETHOVEN’S FOURTH PIANO CONCERTO (MAY 29 & 30) Jean-Marie Zeitouni, conductor Stephen Hough, piano Jeremy Spurgeon, organ

Signature magazine, the official publication of the Edmonton

MAY/JUNE 2015

pg. 11

Andrew Grams, conductor Luri Lee, violin Sheila Laughton, cello

Jack Everly, conductor Christina Bianco, Kristen Plumley, N’Kenge & Mandy Gonzalez, vocalists

MNP LATE NIGHT WITH BILL EDDINS LATE NIGHT GERSHWIN (JUNE 12)

pg. 23

LANDMARK HOMES MASTERS EDDINS PLAYS GERSHWIN (JUNE 13)

pg. 26

DONOR LISTINGS

pg. 28

ESO / FRANCIS WINSPEAR CENTRE FOR MUSIC BOARD OF DIRECTORS & ADMINISTRATION

pg. 34

OUR SUPPORTERS

pg. 36

William Eddins, conductor & piano Lucas Waldin, conductor Chandelle Rimmer, vocalist

William Eddins, conductor & piano Lucas Waldin, conductor

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W WELCOME

!

WELCOME

E

!

VEN THOSE OF US WHO HAVE BEEN PART OF THIS COMMUNITY FOR A LONG

time (and the Edmonton Symphony certainly qualifies!) continue to be amazed at the enthusiasm and enterprise of its residents. An outdoor orchestra festival? Sure, we’ll support it – going on for 20 years now. Another major international athletic event? The volunteers, the energy, and the audience to pull it off made last year’s triathlon a major feather in our cap.

But I don’t know that any of us could have expected the overwhelming response we got from last fall’s Symphony in the City – three free outdoor concerts that drew 40,000 people to hear your magnificent orchestra. This year, as another triathlon comes to Hawrelak Park, proving just how well Edmonton stages events like that, we couldn’t decide between Symphony Under the Sky and Symphony in the City. So we’re doing both.

We couldn’t possibly conceive of such an ambitious undertaking without relying on help from all sides. ATB Financial is a huge part of that – so many thanks to them. But our amazing Edmonton Symphony Orchestra musicians and staff, and most of all, you, our audience, will make it not only possible, but also a highlight of our year. See you down at Hawrelak Park – AND in Churchill Square!

Annemarie Petrov

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.

E D MON T ON I NT E R N A T ION A L

JAZZ FESTIVAL

FROM THE OSCAR-WINNING 2013 DOCUMENTARY 20 FEET FROM STARDOM

MS. LISA FISCHER & GRAND BATON JUNE 22 AT WINSPEAR CENTRE THE BAD PLUS JOSHUA REDMAN AT WINSPEAR CENTRE JUNE 26 AT

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28 2015

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ARTISTIC & LEADERSHIP TEAM N

Photo: Michael Woolley

A

NNEMARIE PETROV, Executive Director of the

Edmonton Symphony Orchestra (ESO) and Francis Winspear Centre for Music, brings more than 26 years of experience to a role that oversees one of Alberta’s flagship performing ensembles and one of the world’s premier concert halls.

With a combined annual budget of over $12 million, Ms. Petrov supervises day-to-day operations, long-term planning, government relations and community support of both organizations.

A native of Montréal, Ms. Petrov is a graduate of McGill University where she majored in French horn performance. Following several years in Europe, she returned to Canada and stepped into the role of General

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ow in his second season as ESO Concertmaster, ROBERT UCHIDA is hailed for his “ravishing sound, eloquence and hypnotic intensity” (Strings Magazine). He enjoys a varied career as a soloist, chamber musician, concertmaster and educator. His performances across North America and Europe receive great critical acclaim. Mr. Uchida previously served as Concertmaster of Symphony Nova Scotia and Associate Concertmaster of the Rotterdam Philharmonic Orchestra, and has acted as Guest Concertmaster for the Netherlands Radio Chamber Philharmonic, Royal Flemish Philharmonic, and the Vancouver Symphony Orchestra. He works as concertmaster with many of the world’s top conductors, including Valery Gergiev, Kurt Masur, Edo de Waart and Pinchas Zukerman.

In recent years he has been a featured soloist with several of Canada’s orchestras including the National Arts Centre Orchestra, Orchestre de la Francophonie, Ottawa Symphony, Symphony Nova Scotia and Symphony New Brunswick.

His recital and chamber music performances have included prestigious venues including Lincoln Center (New York), 6 SIGNATURE

Photo: Michael Woolley

Jen (a clarinetist) and their sons Raef and Riley, the Eddins home comes complete with a state-of-the-art recording studio, built by Mr. Eddins himself.

While conducting is his principal pursuit, he continues to perform as pianist, organist and harpsichordist. He has conducted the ESO from the keyboard on many occasions.

An important aspect of every performance in the Masters series over the last few seasons (including 2014/15) is the inclusion in every program of a work that the orchestra has never performed. In 2008, he conducted Gershwin’s Porgy and Bess for Opéra Lyon, leading to repeat performances in Lyon, London and at the Edinburgh International Festival in 2010. Other international highlights include a 2009 tour of South Africa, where Mr. Eddins conducted three gala concerts with soprano Renée Fleming and the KwaZuluNatal Philharmonic Orchestra. On May 8, 2012, Mr. Eddins made his Carnegie Hall debut conducting the ESO at a memorable concert featuring four Canadian soloists, and music by three Canadian composers alongside Martinů’s rarely performed Symphony No. 1.

Manager of Symphony New Brunswick. She followed her position at the National Arts Centre Orchestra with work at the Winnipeg Symphony Orchestra, where she also oversaw the popular Winnipeg New Music Festival. She joined the Edmonton Symphony Orchestra and Winspear Centre in 2007.

Ms. Petrov is guided by her profound love of the arts in a career focused on every aspect of the concert experience – from international orchestral tours to concerts in curling rinks in Canada’s North. She is fuelled by the belief that participation in live music is essential to our well-being and is driven to make it accessible to everyone. She is a frequent guest speaker at arts industry conferences and has served on the board of Orchestras Canada.

Muziekgebouw (Amsterdam) and the Glenn Gould Studio (Toronto). He has been a guest violinist at a number of Canadian festivals and chamber music series.

An advocate of new music, Uchida has worked with many composers including John Corigliano and Richard Danielpour, and has given premieres of works by Tim Brady, John Frantzen, Augusta Read-Thomas, Scott Wollschleger, and recorded the premiere of the Sonata for Solo Violin by Andrew Violette for Innova Records. He has held teaching positions at Acadia University, the Manhattan School of Music Pre-College, and the National Arts Centre’s Young Artist Program. He is Artistic Director of the Acadia Summer Strings Festival in Wolfville and is frequently invited to give master classes at schools across the country.

Mr. Uchida performs on a Lorenzo Ventapane violin made in Naples, Italy in 1820, bows by Peccatte and Sartory, and a baroque bow by Max Kasper. He plays Vision Solo Titanium violin strings by Thomastik-Infeld Vienna. He currently lives in Edmonton with his wife Laura and their two children.

Photo: Michael Woolley

ow in his 10th season as Music Director of the Edmonton Symphony Orchestra, WILLIAM EDDINS demonstrates tremendous and infectious passion and enthusiasm, as well as an adventurous musical curiosity that propels the orchestra to new and exciting achievements.

His commitment to the entire spectrum of the ESO audience brings him to the podium for performances in every subscription series, as well as for a wide variety of galas and specials.

A distinguished and versatile pianist, Mr. Eddins caught the conducting bug while in his sophomore year at the Eastman School of Music. In 1989, he began conducting studies at the University of Southern California with Daniel Lewis, and assistant conductorships with both the Minnesota Orchestra and the Chicago Symphony (the latter under the leadership of Daniel Barenboim) followed.

Mr. Eddins has many non-musical hobbies including cooking, eating, discussing food and planning dinner parties.

He is also quite fond of biking, tennis, reading and pinball. Based in Minneapolis, where he lives with his wife

www.EdmontonSymphony.com

THE EDMONTON SYMPHONY ORCHESTRA

William Eddins,

2014/2015 SEASON

Music Director

Uri Mayer,

Conductor Laureate

Lucas Waldin

Photo: Michael Woolley

Enbridge Artist in Residence & Community Ambassador

F

or the 2014/15 season, LUCAS WALDIN

continues to wear with distinction the mantle of Enbridge Artist in Residence and Community Ambassador, as well as that of YONA-Sistema Artistic Director. In these capacities, he continues to establish strong ties with our community through inventive outreach initiatives, assist in programming and presenting the ESO’s education and family concerts, and applying his artistic leadership to the YONASistema program. During his time with the ESO (which began with his appointment as Conductor in Residence in 2009), Mr. Waldin has collaborated with some of North America’s finest musicians including Jens Lindemann, Angela Cheng and Sergei Babayan. An experienced conductor of pops and crossover, he has worked with a range of artists such as Ben Folds, Chantal Kreviazuk and the Canadian Tenors. His acclaimed work with the Barenaked Ladies led the iconic Canadian pop group to select Mr. Waldin as their conductor of choice for their performances with the Toronto Symphony at Roy Thomson Hall.

Strongly dedicated to Canadian composers, Lucas Waldin has performed more than 25 Canadian compositions including six world premieres. In recognition of his valuable contribution to the artistic life in Canada, he was awarded the 2012 Jean-Marie Beaudet Award in Orchestra Conducting by the Canada Council for the Arts. He studied conducting and flute at the Cleveland Institute of Music and has conducted in master classes with Helmuth Rilling, Michael Tilson-Thomas, Colin Metters, and Bernard Haitink. In 2012, he was invited to conduct the National Arts Centre Orchestra (Ottawa) in a conductor workshop, and as a participant of the St. Magnus Festival, Orkney, Lucas conducted both the Scottish Chamber Orchestra and the BBC Scottish Symphony. Prior to his appointment with the Edmonton Symphony, Mr. Waldin was a Discovery Series Conductor at the Oregon Bach Festival, and Assistant Conductor of Cleveland’s contemporary orchestra {RED}. He has performed with orchestras across Europe, including the Jugendsinfonieorchester Kassel, Bachakademie Stuttgart, and Staatstheater Cottbus.

MAY/JUNE 2015

[ FLUTE ] [ VIOLIN I ] Elizabeth Koch 1 Robert Uchida, Shelley Younge 2 Concertmaster The John & Barbara Poole Family Concertmaster Chair [ OBOE ] Lidia Khaner 1 Eric Buchmann, 5 Paul Schieman 2 Associate Concertmaster The Steven & Virginie Gagné, Day LePoole Assistant Concertmaster Assistant Principal Laura Veeze Oboe Chair Broderyck Olson Richard Caldwell [ CLARINET ] Joanna Ciapka-Sangster Charles Hudelson, Alison Stewart Principal Emeritus Anna Kozak Julianne Scott 1 Aiyana Anderson-Howatt David Quinn 2 Neda Yamach [ VIOLIN II ] Dianne New 1 Susan Flook 2 Heather Bergen Pauline Bronstein Robert Hryciw Zoë Sellers Murray Vaasjo Tatiana Warszynski [ VIOLA ] Stefan Jungkind 1 Charles Pilon 2 Clayton Leung Rhonda Henshaw Mikiko Kohjitani Andrew Bacon [ CELLO ] Colin Ryan 1, 5 The Stuart & Winona Davis Principal Cello Chair Sheila Laughton 3 Derek Gomez 4 Ronda Metszies Gillian Caldwell Victor Pipkin [ BASS ] Jan Urke 1 John Taylor 2 Janice Quinn Rhonda Taft Rob Aldridge

[ BASSOON ] William Harrison 1 Matthew Howatt 3 Edith Stacey 2 [ HORN ] Allene Hackleman 1 Megan Evans 2 Gerald Onciul 2 Donald Plumb 2 [ TRUMPET ] Alvin Lowrey, Principal Emeritus Robin Doyon 1 Frédéric Payant 2 [ TROMBONE ] John McPherson 1 Kathryn Macintosh 2 [ BASS TROMBONE ] Christopher Taylor 1

1 PRINCIPAL 2 ASSISTANT PRINCIPAL 3 ACTING PRINCIPAL 4 ACTING ASSISTANT PRINCIPAL 5 ON LEAVE

ORCHESTRA PERSONNEL Eric Filpula, Orchestra Personnel Manager Aaron Christopher Hawn, Orchestra Librarian The following musicians may appear at performances in this issue: Julie Amundsen Cello Aaron Au Violin Raymond Baril Saxophone Eddy Bayens Bassoon Jim Cockell Violin Jeanette Comeau Viola Jerrold Dubyk Saxophone Elizabeth Faulkner Flute Joel Gray Trumpet Michael Massey Keyboards John McCormick Percussion Alyssa Miller Oboe PJ Perry Saxophone Diane Persson Bassoon Jean-Francois Picard Saxophone Brian Sand Trumpet Yukari Sasada Bass Rob Spady Clarinet Jeremy Spurgeon Keyboards Kate Svrcek Violin Robin Taylor Saxophone Brian Thurgood Percussion Dan Waldron Oboe Robert Walsh Guitar Ian Woodman Cello

[ 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.

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

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FEATURE

Photo: Ed Ellis

FEATURE

BY ROBBIE JEFFREY

TAKE TO THE STREE TS : ESO enthusiasts and newcomers alike fill Churchill Square at last year’s ATB Financial Symphony in the City.

THE PEOPLE’S PARTIES

In trying to appease fans of both Symphony Under the Sky and ATB Financial Symphony in the City, the ESO found a solution: give the people what they want

T

HE EDMONTON SYMPHONY ORCHESTRA’S ANNUAL

Symphony Under the Sky is a weekend-long performance held in Hawrelak Park’s Heritage Amphitheatre, beneath a panoramic prairie sky when dusk paints the river valley in a kaleidoscopic wash of colours. Of course, if you’ve spent a summer in Edmonton any time since the Oilers’ second Stanley Cup, or if you’re a fan of the ESO in the slightest, that description was unnecessary, since merely mentioning the name of such a beloved Edmonton institution brings that scene to mind better than an ornate sentence ever could. This year, Symphony Under the Sky celebrates its 20th anniversary. But like a 20-year-old whose birthday falls on a Friday, and who can’t help but go out on Saturday too, the ESO is celebrating twice this summer: last year’s ATB Financial Symphony in the City was such a success that the ESO is bringing it back.

In 2014, Edmonton hosted the International Triathlon Union’s World Triathlon, which meant the ESO had to accommodate the event by moving Symphony Under the Sky to Churchill Square, where the defining features 8 SIGNATURE

are towers and streetscapes. Thus, ATB Financial Symphony in the City was born. It was never intended to replace Symphony Under the Sky, nor was it meant to become a lasting fixture of Edmonton’s festival season. (The word “inaugural” appears nowhere in last year’s program.) The event was free of charge, and conductor Robert Bernhardt noted that there were likely to be “two very different kinds of patrons” – the ESO diehards making up for their lost Symphony Under the sky, and those seeing the ESO for the first time. He hoped the newcomers would go on to “get to know your amazing orchestra a little better.”

Apparently they did – ATB Financial Symphony in the City is back in 2015 due to last year’s overwhelming response. On Friday, September 4 and Saturday, September 5, Churchill Square will come alive with the sounds of Disney’s Fantasia – Live in Concert, mixing music and film clips from Disney’s Fantasia (1940) and its followup, Disney’s Fantasia 2000. Bob Bernhardt will once again be at the helm, and he has another reason to be excited – this year’s Symphony Under the Sky marks his 10th consecutive www.EdmontonSymphony.com

2014/2015 SEASON appearance as conductor of the ESO’s outdoor festivals.

When Rob McAlear, artistic administrator with the ESO, first asked Bernhardt to conduct Symphony Under the Sky in 2006, Bernhardt was intimidated – it meant conducting five different programs in four days, all different genres. But by the same measure, it was an opportunity to sate his “omnivorous” musical appetite. “The idea of doing it was both a musical and intellectual challenge that I savoured,” he says. “It’s become a part of me, and I look forward to it greatly every year.”

Bernhardt, who for 15 years conducted ROARchestra in a field at the Louisville Zoo in Kentucky, is used to outdoor performances, citing his

“We get this short little summer and it seems that we like to pack a whole year’s worth of festivals into those few months,” said Dave Mowat, CEO of ATB Financial. “The ESO’s annual outdoor festival is one we’re particularly excited about.”

Photo: D.T. Baker

appreciation for the unpredictability and intimacy offered by encroaching wildlife, the weather and the audience, especially at a venue as renowned as Hawrelak Park. And while he was initially disappointed that last year’s Symphony Under the Sky didn’t happen, he has nothing but praise for ATB Financial Symphony in the City, saying “the ESO wisely selected an accessible family program, and to have that extraordinary public response was extremely gratifying. How does one not do that again?” His enthusiasm, it seems, matches the audience’s.

Arnold and Grace Rumbold, longtime Symphony Under the Sky subscribers, said of last year’s event, “It was wonderful to look over the huge audience and see all the families enjoying the concert, with little girls in fairy costumes to suit the repertoire.” Not only did their appreciation

confirm that regular Symphony Under the Sky patrons would make the trip downtown, it means they witnessed Bernhardt’s goal of attracting a new audience materialize in front of them. “We chanced to meet an acquaintance who was over the moon about her experience,” the Rumbolds said.

“She has lived in Edmonton her whole life, but it was the first time she had ever heard the ESO!” Another longtime subscriber, Madeline Needham, also predicted the event’s success last year, saying, “The combination of Disney’s Frozen, the ESO and Bob Bernhardt’s humour will surely develop many more young symphony enthusiasts.”

But for every person over the moon about the return of ATB Financial Symphony in the City, there’s at least one who appreciates that Symphony Under the Sky is getting back to its roots. (Who says you can’t please everyone?) Held from August 27 to 30 this year, it’ll feature four distinct orchestral programs, starring beloved classical masterpieces such as Rachmaninoff’s Piano Concerto No. 3, with soloist Natasha Paremski, and Tchaikovsky’s 1812 Overture, as well as beloved Hollywood scores from Disney’s Frozen and the Star Wars saga. Featured guests will include Cantilon Chamber Choir, Edmonton favourite Nathan Berg (bass-baritone), the Knock School of Irish Dance and of course, your Edmonton Symphony Orchestra.

Dave Mowat, CEO of ATB Financial, sponsor of both outdoor events this year, said last year that “arts and culture are some of the first things that come to mind when Edmontonians think about what makes their city unique,” and praised the energy and vibrancy these events instill in a city. “We get this short little summer and it seems that we like to pack a whole year’s worth of festivals into those few months,” he said. “The ESO’s annual outdoor festival is one we’re particularly excited about.” True to form, Edmonton is squeezing another world-class event into its brief summer, and giving Mr. Mowat – and the rest of the city – one more reason to get excited.

Bernhardt, meanwhile, will celebrate his milestone in kind. “I’m going to be conducting great music with my friends and colleagues in the ESO,” he says. “The ideal celebration is for us to be together again, putting on great concerts for our audience.”

MAY/JUNE 2015

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R Like any Symphony, every Landmark home iS a maSterpiece.

We are proud to sponsor the Edmonton Symphony Orchestra.

Please enjoy the show.

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R

RBC SUNDAY SHOWCASE

2014/2015 SEASON

Tchaikovsky’s Violin Concerto

Sunday, May 24 | 2 PM

ARTIST BIOS

Andrew Grams, conductor Luri Lee, violin (2013 Shean Competition Laureate) Sheila Laughton, cello

ARTIST BIOS

Sunday Encore, post-performance in the Main Lobby with Andrew Grams, Luri Lee & Sheila Laughton

GILLILAND

Always Be True – A Fanfare and Chorale for Brass, Percussion, Organ & Strings (2002 ESO commission)

R. STRAUSS

Romance for Cello in F Major

BRAHMS

Variations on a Theme by Haydn, Op.56a Thema – “Chorale St. Antoni”: Andante Variation 1: Poco più animato Variation 2: Più vivace Variation 3: Con moto Variation 4: Andante con moto Variation 5: Vivace Variation 6: Vivace Variation 7: Grazioso Variation 8: Presto non troppo Finale: Andante

(6’)*

(10’)* (19’)*

INTERMISSION (20 minutes)

TCHAIKOVSKY

Violin Concerto in D Major, Op.35 Allegro moderato Canzonetta: Andante Finale: Allegro vivacissimo Program subject to change *indicates approximate performance duration

Series Sponsor

MAY/JUNE 2015

Media Sponsor

(35’)*

merican conductor ANDREW GRAMS has steadily built a reputation for being one of classical music’s most promising artists. Mr. Grams has led orchestras throughout the United States, including the Philadelphia Orchestra, Chicago Symphony, Detroit Symphony, National Symphony, St. Louis Symphony, Cincinnati Symphony, Baltimore Symphony, Dallas Symphony, and the Houston Symphony. He served as Assistant Conductor of the Cleveland Orchestra from 2004-2007 where he worked under the guidance of Franz Welser-Möst, and has since returned for several engagements. Mr. Grams has worked extensively outside the U.S., including major Canadian orchestras, Orchestre National de France, Orchestre National de Lyon, Orchester der Beethovenhalle Bonn, BBC Symphony (London), BBC Scottish Symphony, Royal Scottish National Orchestra, City of Birmingham Symphony, BBC National Orchestra of Wales, Sydney Symphony, Melbourne and Adelaide Symphony Orchestras, New Zealand Symphony, Orchestra dell’Accademia Nazionale di Santa Cecillia, Netherlands Radio Philharmonic, Residentie Orchestra, Hamburg Symphony, Oslo Philharmonic, Bergen Philharmonic, and the Malmö Symphony. 2014/15 marks Mr. Grams’ second season as Music Director of the Elgin Symphony Orchestra. He makes several return engagements, and makes debuts with the Western Australia Symphony Orchestra, Columbus Symphony, Victoria Symphony, Nordwestdeutsche Philharmonie, and the Iceland Symphony Orchestra.

Born in Severn, Maryland, Mr. Grams began studying the violin when he was eight years old and began conducting at the age of 17 when he directed the World Youth Symphony Orchestra at Interlochen Arts Camp in Michigan.

In 1999 he received a bachelor of music in Violin Performance from the Juilliard School, and in 2003 he received a conducting degree from the Curtis Bios and program notes continue on pages 12 & 13.

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Photo: Masataka Suemitsu

A

Sunday Prelude, 1:15 pm in Upper Circle (Third Level) Lobby with Lucas Waldin

2014/2015 SEASON RBC SUNDAY SHOWCASE Tchaikovsky’s Violin Concerto Institute of Music where he studied with Otto-Werner Mueller. As an accomplished violinist, Mr. Grams was a member of the New York City Ballet Orchestra from 1998-2004. Additionally, he has performed with ensembles including the Orpheus Chamber Orchestra, Orchestra of St. Luke’s, Brooklyn Philharmonic, and the New Jersey Symphony.

Mr. Grams last appeared with the ESO in February 2009.

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orean-born violinist LURI LEE has performed throughout North America, Europe and Asia as a soloist and chamber musician. Ms. Lee made her Carnegie Hall debut in 2011 collaborating with cellist Michael Kannen and subsequently toured in Singapore, Switzerland, and the United States. In 2014, Ms. Lee performed Tchaikovsky’s Violin Concerto in Koerner Hall with the Royal Conservatory Orchestra under the baton of Julian Kuerti.

Ms. Lee is a founding member of the Rolston String Quartet which is currently in residence at Rice University’s Shepherd School of Music. As the first violinist of the Quartet, she has performed in venues such as the Rolston Recital Hall, Koerner Hall, Duncan Recital Hall, Mazzoleni Hall, Knuth Hall, and the Kennedy Centre. Ms. Lee’s diverse chamber music career has led to collaborations with many world renowned artists such as Gil Kalish, Andres Diaz, Barry Shiffman, Jamie Parker, and Jon Kimura Parker.

She recently finished the prestigious Rebanks Family Fellowship and International Performance Residency at the Royal Conservatory of Music in Toronto, followed by the completion of her Artist Diploma at the Glenn Gould School studying with Paul Kantor and Barry Shiffman. In 2014, Ms. Lee was invited to perform with pianist Stewart Goodyear in a Beethoven Violin Sonata cycle alongside world famous violinists Isabelle Faust and Leonidas Kavakos. She was also recently featured on CBC Radio 2 In Concert as a 2014 Next! Artist, collaborating with pianist Jeanie Chung, as well as the Toronto Symphony Orchestra. Ms. Lee was also invited to perform in chamber music concerts at the Music in the Morning concert series and the 21C Music Festival. Ms. Lee plays on a 1737 Guidantus violin kindly on loan from the Banff Centre.

This is Ms. Lee’s debut with the ESO.

Symphony Orchestra, and has played two summer seasons with the Rome Opera Orchestra. She is currently Acting Principal Cello, and plans to retire at the end of this season after 40 years with the ESO. Sheila is very involved with teaching cello, a role which she enjoys. Her other interests include jewellery making, reading and travel (55 countries so far!). She and and her husband Wei Yew have four daughters.

Ms. Laughton last appeared as a soloist with the ESO in June 2006.

PPROGRAM R O G NOTES RAM NOTES Always Be True – A Fanfare and Chorale for Brass, Percussion, Organ & Strings (2002 ESO Commission) ALLAN GILLILAND

(b. Darvel, Scotland, 1965) First performed: October 18, 2002 in Edmonton Last ESO performance: June 2013 Program note by the composer:

T

HE PIECE IS A FIVE-MINUTE OVERTURE FOR BRASS,

percussion and organ. It has two contrasting moods. The first is celebratory, to reflect our excitement over this incredible new instrument; and the other is peaceful, in recognition of the great love Stuart Davis had for his wife. When we decided that I would compose a new work for the organ, I knew immediately that I wanted the title to include some kind of recognition of Stuart Davis’ incredible donation. When I heard the following story, I knew I had my title.

Stuart Davis endowed seat B16 in the Terrace Left section in honour of his late wife Winona. The plaque has her name and the phrase, “Always Be True.” After she died, Stuart was going through her papers and found her travel diary. In the front, she had written her name, address, etc., but where it said “policy” (presumably for an insurance policy number), she had written, “Always be true.” Stuart says she always was.

Romance for Cello in F Major RICHARD STRAUSS

(b. Munich, 1864 / d.Garmisch-Partenkirchen, 1949)

S

HEILA LAUGHTON grew up in a large musical family in Ontario.

After earning degrees in English literature at Oberlin College and music performance at the University of Toronto, Sheila assumed the position of Principal Cellist with the Atlantic Symphony Orchestra in Halifax. Since 1975, she has held the chair of Assistant Principal Cello with the Edmonton 12 SIGNATURE

Composed in the summer of 1883 This is the ESO premiere of the piece

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ICHARD STRAUSS WAS ONLY 19 WHEN HE WROTE THIS

single-movement work for his uncle, who was Chief Public www.EdmontonSymphony.com

Prosecutor in Munich, as well as an amateur musician of some skill.

Another cellist who performed the work in public more than once was Hanuš Wihan, a Czech performer considered one of the finest cellists of his age. (His countryman Antonín Dvořak dedicated a number of works, including his famous Cello Concerto, to him.)

The work is cast in an A-B-A format, with a tender, softly presented melody as its main theme. Set against pairs of woodwinds and horns, along with strings, the solo instrument has the dominant lyrical role, until a dramatic pause leads to a highly contrasting section of emotional intensity and drive. Here, too, the cello sets the tone, the orchestra adding accented support, until the music slowly eases back into the more lyrical nature of the opening section, and closes with the tenderness with which it began.

Variations on a Theme by Haydn, Op.56a JOHANNES BRAHMS

(b. Hamburg, 1833 / d. Vienna, 1897) First performed: November 2, 1873 in Vienna Last ESO performance: September 2008

E

VERYONE WAITED EXPECTANTLY FOR THE ARRIVAL OF

Brahms’ First Symphony – including Brahms. Inheriting the mantle left vacant in public opinion by the death of Beethoven, the European musical world regarded Brahms as the next great keeper of the symphonic tradition. “You have no idea how the likes of us feel when we hear the tramp of a giant like him behind us,” Brahms is famously quoted as saying. Brahms dithered, stalled, and questioned every attempt he made to write a symphony. One attempt wound up as a piano concerto. He wrote two serenades. And while wrestling with the idea, he decided to give himself an exercise, of sorts, in orchestration. It became one of his greatest successes, and is still one of his most beloved works. More than that, its public and artistic success gave him the confidence to return to his plans for his First Symphony, which premiered almost exactly three years after the Haydn Variations.

Brahms had jotted down the tune of the Chorale St. Antoni, a wellknown tune not only now, but also in Brahms’ day – and thought in that time to have been penned by Haydn – after it was shown to him by his friend C.F. Pohl. And during a particularly pleasant summer in the Alpine resort of Tutzing in 1873, Brahms decided to see what could be made of this tune. A set of variations for two pianos was the first result, and by the time he had completed those, Brahms had already decided to write an orchestral version.

The theme is presented quite plainly, given an old-fashioned sounding scoring, an homage to Haydn and his time. There follow eight variations, with nods to Schubert, to Beethoven – the whole work is not only a demonstration of an emerging master of orchestral colour, but a salute to the very tradition the musical world had charged Brahms to uphold.

The finale evokes the forms of Bach, taking elements of the main theme’s melody and harmony and creating from them a “ground bass” line, leading to a rich restatement of the chorale theme.

Violin Concerto in D Major, Op.35 PIOTR ILYICH TCHAIKOVSKY

(b. Kamsko-Votinsk, 1840 / d. St. Petersburg, 1893) First performed: December 4, 1881 in Vienna

MAY/JUNE 2015

Last ESO performance: September 2013

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CHAIKOVSKY BEGAN WORKING ON HIS ONLY VIOLIN

concerto as a way of getting over one of the darkest chapters of his life: his marriage. In a place and time where homosexuality was a crime, Tchaikovsky deluded himself into thinking he could somehow make his marriage work. But he eventually fled the relationship in October, 1877, and went on an extended trip to Switzerland, Italy and Austria.

It was during this trip that much of the concerto was written. The work was intended to be premiered by and dedicated to the celebrated soloist Leopold Auer, but he refused, deeming the work Tchaikovsky produced “unplayable.”

Instead, Adolf Brodsky performed the work for the first time. Initial reaction ranged from cool to downright hostile. There is a (in)famous critique by Eduard Hanslick, who wrote, “The violin is no longer played.

It is yanked about. It is torn asunder. It is beaten black and blue,” which seemed to bode ill for the work. But soon, even Auer had taken up the piece, and it is now regarded as one of the pinnacles of the violin repertoire.

An orchestral crescendo and a brief passage for the solo instrument precede the first theme of the opening movement, presented by the violinist. After this material is developed, the soloist also introduces the second theme. By contrast, this theme is a long, extremely difficult passage for solo violin alone. The orchestra joins in for a coda full of verve and flash. Don’t be fooled by the dramatic, drawn-out ending of this movement, which lasts close to 20 minutes. The work is not done, so don’t leave just yet.

The second movement is a Canzonetta, and was in fact the second slow movement Tchaikovsky wrote for this concerto (he scrapped the original). The woodwinds begin it, but again the soloist states the principal first theme – a dreamy, melancholy air. A second subject is introduced, and the first theme returns at the movement’s conclusion.

With virtually no pause, the final movement suddenly bursts upon us. Its two principal themes are reminiscent of Russian gypsy melodies and passion. This section is full of excitement, Leilaof Gumpinger with Owneran invigorating layer of tension bubbling just beneath the surface.

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LEXUS FRIDAY MASTERS/ LANDMARK HOMES MASTERS

2014/2015 SEASON

Beethoven’s Fourth Piano Concerto

Friday, May 29 | 7:30 PM and Saturday, May 30 | 8 PM

ARTIST BIOS

Jean-Marie Zeitouni, conductor Stephen Hough, piano Jeremy Spurgeon, organ

ARTIST BIOS

Afterthoughts, Friday post-performance, Main Lobby with Jean-Marie Zeitouni, Stephen Hough & Jeremy Spurgeon Symphony Prelude, Saturday 7:15 pm, Upper Circle (Third Level) Lobby with D.T. Baker

J.S. BACH

Chorale Prelude: Herzlich tut mich verlangen, BWV 727 (3’)*

MORAWETZ

Passacaglia on a Bach Chorale

(6’)*

BEETHOVEN

Piano Concerto No. 4 in G Major, Op.58 Allegro moderato Andante con moto Rondo: Vivace

(34’)*

INTERMISSION (20 minutes)

SIBELIUS

Andante festivo

(6’)*

NIELSEN

Symphony No. 5, Op.50 (33’)* Tempo guisto: Adagio non troppo Allegro – Presto – Andante un poco tranquillo – Allegro Program subject to change *indicates approximate performance duration

J

EAN-MARIE ZEITOUNI

has emerged as one of Canada’s brightest young conductors. His eloquent yet fiery style lends itself to a range of repertoires from baroque to contemporary music, and it has also earned him regular and recurring engagements across North America. He studied under Maestro Raffi Armenian and graduated from the Conservatoire de musique de Montréal in conducting, percussion, and theory. In addition to his duties as Artistic Director and Conductor of the chamber orchestra I Musici de Montréal, Mr. Zeitouni is Music Director of the Colorado Music Festival. His résumé also includes stints as Music Director of the Columbus Symphony (Ohio), and of Banff Centre’s “Opera as Theatre” program, as well as Associate Conductor and Chorus Master of the Opéra de Montréal. Mr. Zeitouni regularly receives conducting engagements from such opera companies as the Opéra de Montréal, the Opéra de Québec, the Glimmerglass Opera, as well as companies in Banff, Calgary, Edmonton, Cincinnati, and St. Louis.

Here in Canada, Jean-Marie Zeitouni has conducted orchestras in Montréal, Québec, Toronto, Calgary, Vancouver, Winnipeg, Halifax, Kitchener-Waterloo and London. He has also served as guest conductor with the National Arts Centre, the Arion Baroque Orchestra and the Club musical de Québec. On the international stage, Mr. Zeitouni has worked with symphony orchestras in Oregon, Monterey, San Antonio, Houston, Omaha, Honolulu, Huntsville, and Cincinnati, as well as the Handel and Haydn Society in Boston, the Seattle Symphony, the Phoenix Symphony, the Philharmonique de Marseille, the Xalapa Symphony, the National Symphony of Mexico, the Hong Kong Philharmonic, and the Detroit Symphony. He has made regular appearances at the Festival international de Lanaudière, the Festival international du Domaine Forget, Round Top (Texas), and at festivals in Grant Park (Illinois), Elora, Parry Sound, as well as the Mostly Mozart festivals.

Mr. Zeitouni last appeared with the ESO in March 2014.

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Performance Sponsor

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S

TEPHEN HOUGH has distinguished himself as a true polymath, not only securing a reputation as a uniquely insightful concert pianist, but also as a writer and composer. Mr. Hough won the Royal Philharmonic Society Instrumentalist Award in 2010, and in January 2014 was made a Commander of the Order of the British Empire by Queen Elizabeth. Many of Mr. Hough’s catalogue of more than 50 albums have garnered international prizes, including the Deutsche Schallplattenpreis, Diapason d’Or, Monde de la Musique, several Grammy nominations, eight Gramophone Magazine Awards including Record of the Year in 1996 and 2003, and the Gramophone Gold Disc Award in 2008, which named his complete Saint-Saëns Piano Concertos as the best recording of the past 30 years.

Mr. Hough’s most recent releases, all for Hyperion, include Stephen Hough’s French Album; the two Brahms Piano Concertos; and In the Night, featuring, among other works, his second piano sonata notturno luminoso.

Mr. Hough is the featured artist in an iPad app about the Liszt Piano Sonata, released by the cutting-edge, award-winning company Touch Press. Published

by Josef Weinberger, Mr. Hough has composed works for orchestra, choir, chamber ensemble, and solo piano. A noted writer, Mr. Hough regularly contributes articles for The Guardian, The Times, The Tablet, Gramophone, and BBC Music Magazine, and was invited by The Telegraph in London in 2008 to start a blog that has become one of the most popular and influential forums for cultural discussion. His book, The Bible as Prayer, was published by Continuum and Paulist Press in 2007. Mr. Hough resides in London where he is a visiting professor at the Royal Academy of Music and holds the International Chair of Piano Studies at his alma mater, the Royal Northern College in Manchester. As of September 2014, he is also a member of the faculty at the Juilliard School. To find out more about Mr. Hough, please visit his website stephenhough.com or Facebook fan page.

This is Mr. Hough’s debut with the ESO.

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PPROGRAM R O G NOTES RAM NOTES Chorale Prelude: Herzlich tut mich verlangen, BWV 727 JOHANN SEBASTIAN BACH

(b. Eisenach, Saxony, 1685 / d. Leipzig, 1750)

S

IMPLY PUT, A CHORALE PRELUDE IS A SHORT ORGAN

composition, based on a chorale theme. Bach wrote dozens of chorale preludes, most based on themes from larger sacred music he wrote throughout his career. The Chorale Prelude Herzlich thut mich verlangen (“My heart is filled with longing”) is based on a much older tune, and one which not only Bach favoured, but many other composers as well. Bach used the tune in his St. Matthew Passion, but also in his Christmas Oratorio and several cantatas. As O Sacred Head Now Wounded (or the “Passion Chorale”), it has become a favourite hymn in churches the world over.

Passacaglia on a Bach Chorale OSKAR MORAWETZ

(b. Svetlá, Czechoslovakia, 1917 / d. Toronto, 2007) First performed: 1964 in Toronto Last ESO performance: September 2011

O

F THIS WORK, LEGENDARY CANADIAN COMPOSER OSKAR

Morawetz wrote: “Shortly after the tragic death of President John Fitgerald Kennedy I thought of composing a work in his memory. It took me several months before deciding on the form and style of this composition. Eventually, I wrote a work which is a complete departure from my usual style: I took as the theme of the passacaglia the first four bars of one of the most moving traditional chorales, ‘Be near me Lord when dying, O Part not Thou from me’. These words are sung in Bach’s St. Matthew Passion after the Crucifixion. In order to retain the religious feeling of Bach’s music, I decided to write my own composition in the style of that period but using the colours of a full symphonic orchestra.”

The chorale-tune upon which the work is based is Herzlich thut mich verlangen. This fragment of the chorale undergoes 15 variations joined so smoothly that the listener feels only two main sections: variations 1 to 8, where the extended melodic lines over the bass are mostly based on the theme itself, and, starting with variation 9, where the chorale is combined with Bach’s Three Part Invention in C minor. From there a crescendo achieves dramatic proportions through many other contrapuntal devices, and grows in tension and content until the last bar. This work has a special place among Morawetz’s compositions. He intentionally kept the harmonies of the Baroque period, but combines the emotional intensity of the Romantic period.

ritish-born JEREMY SPURGEON won scholarships to study both piano accompaniment and organ at the Royal Northern College of Music, Manchester and later studied organ with Lionel Rogg at the Geneva Conservatoire where he gained the Premier Prix de la Classe de Virtuosité. In 1980, he came to Edmonton as director of music at All Saints’ Cathedral and has since appeared in concert with many Canadian and international ensembles, singers and instrumentalists, including the Edmonton Symphony Orchestra, Richard Eaton Singers, Pro Coro Canada, and Edmonton Opera.

Mr. Spurgeon has performed as piano accompanist and organist across Canada and Europe.

Piano Concerto No. 4 in G Major, Op.58

Mr. Spurgeon last appeared as a soloist with the ESO in February 2014.

(b. Bonn, 1770 / d. Vienna, 1827)

MAY/JUNE 2015

LUDWIG VAN BEETHOVEN

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2014/2015 SEASON

LEXUS FRIDAY MASTERS/LANDMARK HOMES MASTERS Beethoven’s Fourth Piano Concerto First performed: December 22, 1808 in Vienna Last ESO performance: June 2006

F

IVE AND A HALF YEARS SEPARATE THE FIRST PERFORMANCES

of Beethoven’s Third Piano Concerto and the Fourth, a time in which he asserted himself and his artistic vision – the Fourth Concerto premiered at the same, all-Beethoven concert which saw the premieres of, among other works, the revolutionary Fifth and Sixth Symphonies. With his hearing now in complete decline, the concert also marked the last time Beethoven performed on piano in public.

The G Major Concerto is, like the symphonies presented at the same 1808 concert, also quite revolutionary in its own way. It is the piano alone which begins the work, not with a grand pronouncement but in hushed and tender chords. When the strings enter, they are so far removed in key signature from the opening they have an extended passage of their own which finally leads back to G Major. Following this unorthodox introduction, when the Allegro moderato main section gets underway, the orchestra is still at the fore – the piano does not enter until the two main thematic ideas of the movement proper have been stated orchestrally. When it finally enters once again, the piano’s music is interwoven with that of the orchestra’s in a profoundly more integrated way than many concertos before. Listeners will also note with interest (again, tying the concerto to the Fifth Symphony) how much of the movement’s musical elements are tied to the repetition of a four-note rhythmic pattern.

Much speculation has gone into the idea that the slow movement of the concerto is a portrayal of the Orpheus myth: the piano’s gentle urgings are the songs of the Greek musician pursuing his love into the underworld; the strings (the only orchestral instruments used in the Andante con moto) are the Furies which ultimately relent. Beethoven himself said nothing of this sort about the movement, but its stark contrast of piano against unison strings which dominates so much of the proceedings is certainly striking. Beethoven left specific instructions in the score that the soloist’s part be played with “the pedal lifted, permitting only one string to sound,” an aspect of the instruments of Beethoven’s day which allowed for that possibility.

With the barest of pauses, the Rondo final movement creeps in quietly, but bursting out in unrestrained exuberance soon after. The Vivace good cheer of this dominant and familiar theme is intruded upon with contrasting episodes ranging from pastoral to introspective, though never lasting long, and all leading to a strident and celebratory finish.

Andante festivo JEAN SIBELIUS

(b. Tavastehus, 1865 / d. Järvenpää, 1957) First performed: January 1, 1939 for a Helsinki-based radio broadcast This is the ESO premiere of the piece

J

EAN SIBELIUS WROTE THE ANDANTE FESTIVO ORIGINALLY for string quartet in 1922, and later rescored it for string orchestra and timpani for a 1939 shortwave radio transmission that he conducted – his last public appearance as a conductor. There is certainly a hymn-like fervour to the brief work; its measured phrases each seem to end without a clear resolution, so the music seems constantly to be searching for a place at which to finally come to rest. It is only as the work concludes,

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and the timpani joins in the swelling sound, that, with a final and prominent major-key cadence, the work resolves with an almost unexpected finality.

Symphony No. 5, Op.50 CARL NIELSEN

(b. Nørre-Lyndelse, 1865 / d. Copenhagen, 1931) First performed: January 24, 1922 in Copenhagen This is the ESO premiere of the piece

C

ARL NIELSEN WAS NOT TRAINED FORMALLY AS A

composer – a musician, yes, but not as a composer – and it is perhaps this lack of formal instruction that lends so individual an air to many of his works. In his homeland of Denmark, he is regarded as an icon to rival such nationalist heroes as Sibelius (Finland), Grieg (Norway), or Dvořák (Bohemia). Outside Denmark, his reputation rests principally on his three concertos and his six symphonies. The Fifth was the first such work written following the devastation of the First World War, and the effects of that conflict’s destruction are reflected in the struggles depicted in the music.

Cast in two long movements, each movement is sub-divided into clearly delineated sections.

The first movement is split into two sections and opens with a Tempo giusto which begins with ostinato violas underscoring passages for various winds – tonality and impetus seem ambiguous through this opening section. Violins present a new idea, more purposefully, but it is the introduction, then the almost omnipresence, of a side drum which imposes an almost military oppressiveness to the music. Once it establishes itself (it caused a near riot at a Stockholm performance in 1924), the drum seems to usher in all manner of ideas from ominous to violent. “There is something very primitive I wanted to express: the division between dark and light, the fight between good and evil,” Nielsen wrote about the work.

The second half of the movement is marked Adagio non troppo, the music for which the woodwinds once again take the lead, ushering in a softer, more lyrical but still sad song for the orchestra, much more consonant and even hopeful. The mood, however, is swallowed up in a crescendo which re-introduces the side drum’s incisive presence, the music again devolving to near oppression – opposed by the heroic elements heard earlier. A clarinet concludes the movement quietly, the side drum fading away in a series of rolls.

The second movement is split into four sections, inserting a Scherzo and a slow section in between the beginning and ending panels. It all begins with a bright, pulsing orchestral statement which almost dispels the clouds of the first movement, though containing the seeds of both the conflicts to come in the central episodes, and the brilliant conclusion of the coda. The second part opens with a hushed fugal passage on strings, pounced upon by timpani and winds and whipped up into a brief, rhythmic maelstrom.

Next is an Andante un poco tranquillo also begun on hushed strings, and also with fugal elements. Brass intrudes on the gossamer texture, then woodwinds bring back the air of delicacy – but this slow section is a showcase for the heart-wrenching strings, which dominate. Full orchestra ushers in the final section, a return to the Allegro of the movement’s opening. Uncertainty as to both key and mood abounds at first, until at last, at the work’s conclusion, the music rises above its stormy ambiguity to a resolution of majesty and radiance.

Program notes © 2015 by D.T. Baker, except as noted

www.EdmontonSymphony.com

WE TAKE PEOPLE PLACES. BUT IT’S MUSIC THAT TRULY MOVES THEM.

OFFICIAL AIRLINE OF THE EDMONTON SYMPHONY ORCHESTRA.

S SPECIAL

2014/2015 SEASON

Windborne’s Music of Led Zeppelin Monday & Tuesday, June 1 & 2 | 8 PM

The Edmonton Symphony Orchestra performs Windborne’s Music of Led Zeppelin

conducting premieres of new operas in the U.S. and the Czech Republic.

In the fall of 2009, he was Conductor and Music Director at LaMaMa Theatre in New York City where he led performances of his one-act opera, The Doctor, based on Chekhov short stories. He has served as Assistant Conductor with the San Francisco Contemporary Music Players and conductor of the Berkeley Young Musicians Program Orchestra and U.C. Berkeley Summer Orchestra. Additionally Mr. Herman has conducted several orchestra crossover projects in Amsterdam and Berlin.

featuring

Martin Herman Guest Conductor and

Randy Jackson Vocalist

with:

Dan Clemens, bass Powell Randolph, drums George Cintron, guitar Allegra, electric violin

Mr. Herman studied conducting and composition at Duke University, University of Pennsylvania, and University of California, Berkeley and spent two years in Paris, France on a Fulbright Grant and U.C. Berkeley Ladd Prix de Paris where he worked as conductor and composer with the New American Music in Europe and American Music Week festivals. He has received recognition for his work in the promotion of international cultural exchange from the Trust for Mutual Understanding, New York City.

Orchestral arrangements by Brent Havens

Music for this evening’s performance will be announced from the stage.

Mr. Herman last appeared with the ESO in June 2012.

There will be one 20-minute intermission in tonight’s performance

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A R T BIOS IST BIOS ARTIST

M

ARTIN HERMAN has appeared as guest conductor with symphony orchestras in North America, Europe, and Australia. His most recent engagements include the Buffalo Philharmonic and the Ft. Worth Symphony Orchestra with Windborne’s “Music of the Rolling Stones” and “Music of the Eagles.” He recently guest-conducted Das Sinfonie Orchester Berlin at the Berlin Philharmonie Kammermusiksaal and continues as Music Director and arranger for the Classical Mystery Tour in recent performances with the Sydney Symphony Orchestra in the Sydney Opera House, Seattle Symphony, Detroit Symphony, North Carolina Symphony, Long Beach Symphony, Vancouver Symphony, San Diego Symphony, and Florida Orchestra. Martin also served as Music Director and Conductor with Downtown Opera in Long Beach, California,

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ANDY JACKSON is the

lead singer/guitarist for the rock band Zebra. His first foray into recording success began with the self-titled Zebra debut album, released on Atlantic Records in 1983. Critically acclaimed for its lush rock sounds, due in large part to Jackson’s searing lead vocals and soaring guitar leads, the album sold 75,000 copies the first week. “Who’s Behind The Door” and “Tell Me What You Want,” written by Jackson, received serious notice in the press, and helped to form legions of Zebra fans almost instantly. The latest Zebra release, “Zebra IV,” was also produced and engineered by Jackson.

Jackson toured as keyboardist, guitarist, and backing vocalist in 1989 with the original, reunited Jefferson Airplane, their last tour together. He has also worked extensively in the area of musical software and hardware development. Visit randyjackson.com This is Mr. Jackson’s debut with the ESO.

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Spectrum Recital Series Muttart Hall 10050 MacDonald Dr.

Thursdays, July 9 and 16, noon Fridays, July 10 and 17, noon Saturdays, July 11 and 18, 2 pm Sundays, July 12 and 19, 2 pm Admission by donation

Featuring

Aaron Au, violin Jessica Linnebach, violin Jessica Q. Ma, piano Julian Savaryn, cello Kaden Forsberg, voice Maria Protodyakonova, piano Marie Krejcar, violin Michelle Powell, piano Peter Krejcar, piano Sarah Ho, piano Zane Liang, violin

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Donate your used or new children’s books!

We are building our YONA library and need books of all levels (early reader to young adult).

Your books will support YONA-Sistema students’ academic success!

Bring your books to the welcome table at all concerts or drop them off at the backstage door of the Winspear Centre off of 97th Street from 8 am to 7 pm, 7 days a week.

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ROBBINS POPS

2014/2015 SEASON

Broadway Divas!

Friday & Saturday, June 4 & 5 | 8 PM

Jack Everly, conductor Christina Bianco, Kristen Plumley, N’Kenge & Mandy Gonzalez, vocalists with: Steve Hanna, drums

“If He Walked Into My Life” (from Mame) Herman (arr. Barker) “Let It Go” (from Disney’s Frozen) Lopez/Anderson-Lopez (arr. Ricketts)

Pops Prelude, Friday & Saturday 7:15 pm, Upper Circle (Third Level) Lobby with D.T. Baker

Program subject to change

ARTIST BIOS

Broadway Divas Prelude various (arr. Everly)

ARTIST BIOS

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“I Could Have Danced All Night” (from My Fair Lady) Lerner/Loewe (arr. Lang) “I Dreamed a Dream” (from Les Misérables) Schönberg/Boublil/ Kretzmer (arr. Krogstad)

“Summertime” (from Porgy and Bess) G. Gershwin/I. Gershwin (arr. Bennett)

Suite from Chicago Kander/Ebb (arr. Gibson)

“Never Never Land (from Peter Pan ) / Defying Gravity” (from Wicked) Styne/Comden/Green / Schwartz (arr. Barton) “Can’t Help Lovin’ Dat Man” (from Show Boat) Kern/Hammerstein (arr. Krogstad) INTERMISSION (20 minutes)

Gypsy Overture Styne “And I am Telling You I’m Not Going” (from Dreamgirls) Kreiger (arr. Barker) “Love is Where You Find It” (from The Kissing Bandit) Brown (arr. Runyan) “A Boy Like That/I Have a Love” (from West Side Story) Bernstein/Sondheim (arr. Everly)

Come to the Cabaret Kander/Ebb (arr. Krogstad/Barton) Series Sponsor

Bill & Mary Jo Robbins 20 SIGNATURE

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ACK EVERLY is Principal Pops Conductor of the Indianapolis and Baltimore Symphony Orchestras, Naples Philharmonic Orchestra, and the National Arts Centre Orchestra (Ottawa). He has conducted the Los Angeles Philharmonic at the Hollywood Bowl, The New York Pops at Carnegie Hall, and appears regularly with the Cleveland Orchestra at Blossom Music Center. Maestro Everly will conduct more than 90 performances in more than 20 North American cities this season.

As Music Director of the National Memorial Day Concert and A Capitol Fourth on PBS, Maestro Everly proudly leads the National Symphony Orchestra in these patriotic celebrations on the National Mall. Mr. Everly is the also Music Director of Duke Energy Yuletide Celebration, now a 28-year tradition. Some of his recordings include In The Presence featuring the Czech Philharmonic and Daniel Rodriguez, Sandi Patty’s Broadway Stories, the soundtrack to Disney’s The Hunchback of Notre Dame, and Everything’s Coming Up Roses: The Complete Overtures Of Jule Styne.

Originally appointed by Mikhail Baryshnikov, Jack Everly was Conductor of the American Ballet Theatre for 14 years, where he served as Music Director.

He also teamed with Marvin Hamlisch on Broadway shows that Mr. Hamlisch scored. He conducted Carol Channing hundreds of times in Hello, Dolly! in two separate Broadway productions. In 1998, Mr. Everly created the Symphonic Pops Consortium, serving as Music Director. The Consortium produces new theatrical pops programs, including the most recent On Broadway with Kander & Ebb. In the past 12 years, more than 265 performances of SPC programs have taken place across the U.S. and Canada. Maestro Everly, a graduate of the Jacobs School of Music at Indiana University, holds an honorary doctorate of arts from Franklin College in his home state of Indiana. A proud resident of the Indianapolis community for more than 12 years, when not on the podium you can find Maestro Everly at home with his family which includes Max the wonder dog.

Mr. Everly last conducted the ESO in September 2014.

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Please see the insert in tonight’s program for other guest artist bios.

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CHRISTINA BIANCO

N’KENGE

KRISTEN PLUMLEY

MANDY GONZALEZ

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M L MNP LATE NIGHT WITH BILL EDDINS

2014/2015 SEASON

Late Night Gershwin Friday, June 12 | 9:30 PM

Photo: Rachel J Photography

William Eddins, conductor & piano Lucas Waldin, conductor Chandelle Rimmer, vocalist All music by George Gershwin

Rhapsody in Blue (original jazz band version)

(17’)*

Songs (to be announced)

Concerto in F Allegro Adagio Allegro agitato

(31’)*

Program subject to change *indicates approximate performance duration

There is NO intermission in tonight’s performance.

Please join us in the lobby following the concert.

ARTIST BIO

ARTIST BIO

T

he first note – a sultry tone, reminiscent of jazz vocalists gone by, with a modern flare. CHANDELLE RIMMER is strong in her abilities and subtle in her beautiful vocal intricacies. In her most recent CD release Perspect-ism, she weaves traditional and modern contemporary jazz into a sophisticated tale of times past and the grace of things to come.

For most artists, improvisation is an art form that takes years to develop.

Rimmer has a natural aptitude for gliding through her vocal ideas and expressing herself in a way that is captivating and inspiring all in a single breath.

Rimmer completed a bachelor of music in vocal performance at the prestigious Berklee College of Music in Boston (1993) and received a masters of music degree in music education from Boston University (2011).

In addition to a busy performance career, Rimmer is an internationally recognized music educator in jazz and contemporary popular music styles and currently serves as head of voice at MacEwan University in Edmonton.

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

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MAY/JUNE 2015

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Mr. Eddins’ & Mr. Waldin’s bio can be found on page 6.

Program notes continue on page 24.

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2014/2015 SE MNP LATE NIGHT WITH BILL EDDINS

Late Night Gershwin

THE ART OF GREEN

PPROGRAM R O G NOTES RAM NOTES Music of GEORGE GERSHWIN (b. Brooklyn, 1898 / d. Hollywood, 1937) For a program note about the Concerto in F, please see page 27.

Rhapsody in Blue (original jazz band version)

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DO YOU OWN RENTAL PROPERTY? ARE YOU TIRED OF LATE OR NO RENTAL PAYMENTS? TENANTS ARE YANKING YOUR CHAIN? LOOKING TO EVICT THOSE TENANTS? NOT SURE HOW OR DON’T HAVE THE TIME?

N JANUARY 4, 1924, GEORGE GERSHWIN WAS FINISHING A

musical called Sweet Little Devil when his brother - and oft-times lyricist - Ira read him an article in the New York Tribune. In it, famous and influential bandleader (and friend of the Gershwins) Paul Whiteman announced details of an upcoming concert he planned to conduct, to be called “What is American Music?” and which would include a new piano concerto by George Gershwin. George vaguely recalled a non-specific conversation with Whiteman about the idea - but now, the concert was only five weeks away! A frantic call from George to Whiteman got everything put on the front burner.

With time so short, it was decided that Gershwin would supply a piano score, which would be orchestrated by Whiteman’s arranger, Ferde Grofé. A train ride to Boston gave Gershwin his inspiration. “I suddenly heard (in the train’s noises) - even saw on paper - the complete construction of the Rhapsody from beginning to end,” Gershwin later wrote. “I worked on thematic material already in my mind…I heard it as a sort of musical kaleidoscope of America - of our vast melting pot, of our incomparable national pep, our blues, our metropolitan madenss.”

Gershwin played the solo part at the work’s premiere, improvising many of the piano solos on the spot, and the work was a smashing success from the outset. Sales of sheet music alone made Gershwin a millionaire. Ira came up with the title Rhapsody in Blue, and this sweeping, invigorating, charmingly naïve, and thoroughly American work continues to work its magic on audiences to this day. It is most often performed in a subsequent arrangement for full orchestra – also done by Ferde Grofé. But tonight, it will be heard as it was first heard at Paul Whiteman’s 1924 concert, arranged for a much smaller force, including oboe, clarinet, saxophones, pairs of horns, trumpets, and trombones, tuba, banjo, drum kit and other percussion, keyboards (besides the soloist, that is), and only four violins, four violas, and a double bass.

Program notes (c) 2015 by D.T. Baker

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L

LANDMARK HOMES MASTERS

2014/2015 SEASON

Eddins Plays Gershwin Saturday, June 13 | 8 PM

William Eddins, conductor & piano Lucas Waldin, conductor

PPROGRAM R O G NOTES RAM NOTES

Symphony Prelude, 7:15 pm in the Upper Circle (Third Level) Lobby with D.T. Baker

Lady in the Dark - Symphonic Nocturne (arr. Bennett)

WEILL

The play with Kurt Weill’s music debuted January 31, 1941 in New York This is the ESO premiere of the piece

Lady in the Dark: Symphonic Nocturne (arr. Bennett) My Ship (Andante misterioso) Girl of the Moment Bolero: This is New Allegro alla Marcia Dance of the Tumblers The Saga of Jenny

MARTINU

Symphony No. 2 Allegro moderato Andante moderato Poco allegro Allegro

(18’)*

Concerto in F Allegro Adagio Allegro agitato

(24’)*

(31’)*

Program subject to change *indicates approximate performance duration

(b. Dessau, 1900 / d. New York, 1950)

K

INTERMISSION (20 minutes)

GERSHWIN

KURT WEILL

URT WEILL WAS A SUCCESSFUL, OCCASIONALLY

controversial composer in his German homeland at a time when not being controversial was looked down upon. While he had composed a number of well-received concert works, his strength was his vocal music, particularly his music for the theatre. A Threepenny Opera, written with librettist Bertolt Brecht, was his most famous work to that point. But the rise of the Nazis curtailed Weill’s career, and being Jewish put his life at risk. So when works such as the brilliant Rise and Fall of the City of Mahagonny were banned, Weill left Germany, first to Paris, and finally to New York in 1935.

To his credit, rather than trying to make his European style fit an American template, Weill undertook a real study of musical theatre in his new home, and worked with a number of its finest artists, including Maxwell Anderson and Langston Hughes. Weill worked with lyricist Ira Gershwin on three projects (two Broadway musicals and a Hollywood film). Ira’s younger brother George had died of a brain tumour in 1937, and following a three-year period during which Ira could not bring himself to write, he started over, collaborating with, among others, Jerome Kern, Harold Arlen, and Weill. Lady in the Dark was the first project with Weill, playing on Broadway for 162 performances in its initial run.

The story, with a book by the legendary Moss Hart, is a strange marriage of music, drama, and comedy, telling the story of a woman (played originally by Gertrude Lawrence) suffering panic attacks for which she seeks psychoanalytic help. The music of the play, with the exception of the final number, is reserved for three “dream sequences,” which unfold almost as mini-musicals within the play. The great Broadway arranger and orchestrator Robert Russell Bennett fashioned music from the play into a suite for the concert hall, in six continuous movements and finishing with perhaps the show’s most enduring number, “The Saga of Jenny.”

Symphony No. 2 BOHUSLAV MARTINU

(b. Policka, 1890 / d. Liestal, Switzerland, 1959) First performed: October 28, 1943 in Cleveland This is the ESO premiere of the piece

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26 SIGNATURE

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Mr. Eddins’ & Mr. Waldin’s bio can be found on page 6.

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T

HE COMPARISONS BETWEEN THE SYMPHONIES OF

Johannes Brahms and Bohsulav Martinů are too close not to bear mentioning. After years of avoiding and second-guessing in order to produce a first symphony, once that was done, both composers found their symphonic voice and produced more such works in short order. The Czech-born composer now exiled to the United States, Martinů did not produce his First Symphony until he was 52 years old, though its reception was warm and even glowing. Reassured, his Second Symphony flowed easily and quickly after, with the composer noting that he was already working out ideas for his Second Symphony while preparing the First.

Also like Brahms, the Second Symphony of Martinů is a more serene, gentler work than its predecessor, shorter as well, though scored for a similar orchestral force. Ever homesick for his native land, at the time under the occupation of the Nazis, Martinů dedicated the work to his exiled countrymen in Cleveland (where the work had been commissioned), who toiled in American factories to turn the tide in the war. The first movement follows sonata form rather closely, its main theme a delicate one given a pulsing accompaniment. The music swells to a climax, yielding to a syncopated secondary idea, also quietly stated. The music takes on a decidedly more mysterious character through the Development, building to an even more powerful climax capped off by a fortissimo cadence, yet yielding the ground to the gentle music of the opening as the Recapitulation begins. Here, the music becomes even a little playful before swelling to another grand statement and a tender conclusion.

Martinů used Moravian folk idioms for the main idea of the second movement – a folk-like tune in thirds and sixths over a drone accompaniment, interrupted here and there by unusual or seemingly unrelated contrasts in rhythm, mood, key, or combinations thereof. The most notable of these is a tense moment as the end draws near punctuated by single, solidly stroked piano notes. Given the work’s patriotic sympathies in the face of war, the march that makes up the bulk of the third movement has rather a mischievous rather than military sense about it. Several episodes are spun from the march theme, leading to a thrilling finish. That energy transfers to the final movement, a brisk, effervescent Allegro which flits from one orchestra section to another, creating an constantly varied musical texture. For the only instance in the six symphonies he would eventually write, Martinů concludes the work in the key in which it began, a grand and happy conclusion at that.

Up The Band, and the concert work An American In Paris would all flow from his pen over the next four years. Frankly, the world was his oyster.

The classical music world was paying attention as well. Those in attendance for the premiere of Rhapsody in Blue included Rachmaninoff, Sousa, Kreisler, Stokowski, Heifetz, and Zimbalist. Walter Damrosch, Music Director of the New York Philharmonic, was so taken by the experience that in 1925 he commissioned a piano concerto from Gershwin. The Concerto in F was premiered in 1925 to enthusiastic acclaim.

The Tin-Pan Alley influence on this piece is immediately evident. A dramatic flare from the timpani and percussion followed by the rest of the orchestra leads into a piano cadenza that is at once more developed and confident than the writing found in Rhapsody in Blue. Yet it is this movement that is the most “rhapsodic,” flitting between styles as if Gershwin had too many ideas to keep track of. It is the beautifully lyrical second movement that Damrosch called his favourite – it reminded him of “lazy summer nights.”

The third movement is based on a fragment of a piano prelude, a form with which Gershwin continued to dabble throughout the ‘20s. All in all, the Concerto in F is probably Gershwin’s most successful concert work.

Program notes © 2015 by D.T. Baker

Make your rooms

Concerto in F GEORGE GERSHWIN

(b. Brooklyn, 1898 / d. Hollywood, 1937) First performed: December 3, 1925 in New York Last ESO performance: Sobeys Symphony Under the Sky 2009

B

Y 1919, GEORGE GERSHWIN HAD THE FIRST MILLION-SELLING

song – Swanee. In 1924, Rhapsody in Blue had made him the talk of the music world. He also had several hits on Broadway and in London, including Lady, Be Good and Sweet Little Devil. Oh Kay!, Funny Face, Strike MAY/JUNE 2015

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SUSTAINING PLEDGES: A NEW WAY OF GIVING Donors who have made a Sustaining Pledge to the ESO and/or Winspear Centre (My Winspear) are recognized with an * symbol. A Sustaining Pledge is a commitment to the continued success of the ESO, and the sustainability of Edmonton’s performing arts culture. Last year, we had 202 of our donors pledge approximately $120,000 annually for five years – thank you! We encourage you to consider joining this passionate group and sign up for a Sustaining Pledge to support the ESO or Winspear Centre by: 1. Pledging an annual gift each year for at least five years, OR 2. Pledging an ongoing monthly gift A Sustaining Pledge: Provides immeasurable support to the ESO and Winspear Centre as we continue to grow our community accessibility • Provides fiscal stability to the ESO and Winspear Centre, ensuring the continuity of our programs and allowing us to plan wisely for the future of the organization • Ensures the ESO and Winspear Centre remain beacons for the performing arts in our community for our grandchildren and their children •

Help us build a long-term future for the ESO and Winspear Centre! Please consider making the commitment to a Sustaining Pledge by contacting Erin Mulcair at 780-401-2539 or emulcair@winspearcentre.com.

28 SIGNATURE

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Erik & Mila De Regt Mr. & Mrs. Arthur & Betty Deane * Sheila Dechant Peter & Judy Deines Thomas & Karen deJong Mary Demedash Lisa Denesiuk David & Grace Denholm * Randy Diamond & D. Thomson Gordon & Verle Dickau Darcy Doble Herta Doherty Bill & Sharon Donnelly TB & Les Dowhaluk * Sharon Downs Robin Doyon Mike Dreany Francis & Muriel Dunnigan Paul Dusseault James & Carmen Dykes Lowell & Irma Eckert Tim Eckert Shirley Edgar David Edwards * L.E. Edwards * Marshall & Ardis Eliason Jim Ellis Ruthanna Elson Rob & Corinne Emerson Megan Evans Chelsea Evans-Rymes Jane & Laurier Fagnan Dawn Fargey * Marilyn Fedun Ivan & Ksenia Fedyna Werner Fenske Doug & Fran Ferrier Karen Fingas Eleanor Finger & G. Rauscher * Sarah Finner Connie & Calvin Firth Dixie Fischer Ian & Pat Fisher Esther Fluevog Lois Fowler Kim Frey Diane R. Gagnon * Calvin Gardner * Gail Gates Douglas Gaudin David Geake Katherine Gibson Neil & Twyla Gibson Kevin & Alice Gleeson Gerda Goetz J. Guy & Susan Gokiert Laura & Keith Graham Richard Graham Charles & Ann Grant Alison Grant-Preville * Lilian Green Marion Green Susan Green Sheila Greenberg June & Ken Grimes Myrna Grimm Bob & Judy Grose Jacqueline Gross Renie Gross E. Guilfoyle Mr & Mrs. Luther Haave Lea Halinen Peter Hall Drs. Bohdan & Elaine Harasymiw Anne Harder Lois Harder & Curtis Clarke Tom Hardin

Peter & Deborah Harrop Faye Hatch Margaret Hauck Elizabeth Hawryluk Louise Hayes Owen & Bev Heisler Gina Henkleman George Hennig Marion Hensley Cathryn Heslep * Charles & Ferne Hickman D. Hodgins Deborah Hoekstra * John Hoekstra * Brandy Holt Jill Horbay * Agnes Hoveland Beth Howson Martha Howson Miroslav Hruska Joan Hube Gerald & Sandra Huculak Dr. Sheila Hughes Beatrice Hunter John Hunter Linda Hut Bonnie Hutchinson Richard & Laurel Innes Janis Irwin George & Barbara Iwaniuk Stuart & Kathy Jackson * Erik Jacobsen Louise Jensen Dr. S. B. Joe Cathy Johnson Don H. Johnson Evelyn Johnson Sandra Johnson Justice Lionel & Mrs. Sharon Jones James & Alice Joosse Beata Kaczmarczyk * Bob Kamp Lyndi Karbonik * Dorothy Keeler Joanne Kenny June & Bob Kerrison Vera Kichton Irene King * Borden & Vivien Kisilevich Maxine Klak Sallie Klein Dorothy Knowler Ella Kolm Jill Konkin David Koski Peter Kossowan Joe Kostler Ms Iris Kozmak Irvin Krezanoski Mickey & Sylvia Krikun Wilma Krisch Brian & Seaneen Kropf Terrence Kulasa Wendy Lam & Lonnie Haine Carol & Bob Lamont Doug Langevin Roger & Catherine Langevin Lorne & Joan Langman * Bin Lau * Mike Lau Claire-Ann Lauder & Georgina Hodgson * Douglas Lawlor Steven Leard Allan & Diana Lee Angela Lee Ivy & Thomas Lee

Hugo & Lucie Lehmann Susan Lent James Lewis Murray & Susan Lieberman Joanne Linden Elizabeth Lint * Lorraine Loewen Jane & Ross Logan Doug & Joan Longley K. Louie Victoria Luk Susan Lynch Katie Mabbutt Dan Dean & Patricia Macdonald Ian & Susan MacDonald * Janice MacDonald & Randy Williams John & Marilyn MacDonald William MacDonald * Baunita MacKay Rod & Elaine MacLeod Madeline MacPherson Agnes MacRae Rosemary Marks * Dawn Marsh Maureen Maslen Mary Masson * Brian Match Sharon Matthias Mrs. Patricia Mattson * Linda Maul Gwen Mazurek Karen Mazurek William & Anne McAthey Alec McClay Kathy McClellan Ian & Janice McCrum Michelle Sawatzky Lloyd McDonald Ronald N. McElhaney Ken & Phyllis McFadden Jim & Laurel McKillop Catherine & Norman McLeod Gordon & Kathleen McLeod * Nancy McLeod Eleanor & Jack McMahon Caroline McManus Jan & Jim McMillan Margaret McMullen Dr. Tim McNamara Pauline McNeil Sue McNicoll Brigida Meza-Diaz * Ronald & Carole Middleton John & Judy Miller Cecily Mills Chantal Moreau Dr. R.E. Moskalyk Elizabeth Mowat & Ian Kupchenko Allan & Margaret Muir Erin Mulcair * Ronald & Betty Mullen Lawrence Muwazi * Elizabeth Myles Christine Nelson Ron New Jim Newman Dawn Newton Leona Nicoll Laurel Nikolai Connie Nissen Jennifer Oakes G. Douglas Oakley David Oberholtzer Colin & Sarah Oddoye Bill & Joan Ohe Andy & Connie Ohlmann Norma Jean Olivier *

www.EdmontonSymphony.com

Emily & Daniel Ong Molly Ortlieb Margo Pardely Sheila & Allan Parr Gary & Tara Paterok Joan Paton * Amanda Patrick Frederic Payant John E. Pedersen Leslie Penny Leanne Persad * Don & Margaret Peterson Lillian Pheasey Larry & Shirley Phillips The Pick Family * Walter Pinto & Pat Mulholland * Dennis & Virginia Pohranychny Dr. Wade & Mrs. Stephanie Poitras * Mr. Michael Prendergast Charles & Edith Primmer Dr. Peter & Mrs. Barbara Prinsen R K Ramsey Jeanne & Eugene Ratsoy

Brenda Schmidt Frank & Gertrude Schoblocher Magda Schouten Gail Schuller Barbara Schweger David & Ingrid Scott Dr. Perry & Sandra Segal Joseph & Denise Selann Gerry Semler Yakov & Larisa Shapiro Dale Sheward Doug & Lynne Sigler John Simpkin Norman & Mary Jane Skretting * E. J. Sloane Jason Smith Melanie Smith-Doderai * Paula Snyder Steven Snyder & Connie Silva John & Judy Soars Karen Sochatsky Marilyn Sochatsky Elaine Solez Brian & Marnie Sproule

Bob Calling Agnes W. (Nan) Cameron Kathleen Carter Patricia Anne Cavell Dr. Grace Chan Mary Clark Avis Coburn J. R. (Bob) Connell Dr. David Cook Shirley Covey Richard Lee Cowles James Daniels Martin Davis Charles Dobias Edward Dobko Ms Doderai Joan Dostaler Dr. John P. Ferri * Mary Gardner Ken Gillett * Ewa Godlewski Hilda & Richard Golick Mary Hanson Jack Harstone Gordon Heske Dorothy “Dode” Heule Marguerite Elizabeth Higham Doreen Hill Lavon Holgate * William R. Howson Annie Hutchings James C. Hunter Vern Hunter Mrs. Kun-Shih Huang Bob & Muriel Kenny Peggy King Ilse Koerner Willy Kohn Gerhard (Garry) Krisch Gerald William Krucik Col. H. Gregory Leitek PPCLI Coralie Lundberg John David Lunn Almeda Lysne John Marchak In Honour of Mary Dorothea MacDonnell Laurel and Jim McKillop Sue Marxheimer Dorian Rauschning Robert Squair * Allison McConnell Al Reed * Norman & Kathie St. Arnaud Dr. Sherburne McCurdy Nora Reid Joe & Linda Staszko & Family Flo McGavin Diana Remmer * Dr. Margaret Stevenson Blair McPherson Pierrette Requier * Dorothy Stoutjesdyk * Rudy Melnychuk Pat Richardson * A. Strack Donald A. Middleton Sheila Ringrose Ken Stratton Bruce Miller IN MEMORIAM Michael & Lucille Rintoul Martin Stribrny George Milton Glenn & Sarah Ripley Julius & Jean Sult We thank our supporters who have chosen Dilys Mitchell James & Margaret Robertson Merna Summers Roderick & Blanche Moses x”1 to honour the memory of a Linda Robertson Dr. & Mrs. Guy Swinnerton loved one through a gift to the ESO. These Matthew William Miles Lynn Robertson Elizabeth Szynkowski Donna Naylor gifts have been given in memory Susan Robertson John & Marvel Taekema Frances T. Olson of the following individuals.

Debra & Don Robichaud Rhonda Taft * Tom Pearson Dr. P.B.R. Allen G. W. Rocholl Dr. Amy Tan & Family Charles Pei Jack Allford Doug Rongve Bill Taylor & Marie Losier Alberta Rose Pelland Sonia Allore Mary-Lou Rose Merle & Neil Taylor * Jim Pietrzykowski Leroy Anholt Mrs. Joan Rossall Robin Taylor Lou Punko Bill Astle Kenneth Roy Linda Telgarsky * Ronalda Reichwein Dorothy Astle Iris Rudnisky Dave Terriff Catherine C. Rogers Len Aston Anthony S. Russell Paul Thibodeau Daphne Rogers Derin Dogu Ataoglu James Sabo Mr. & Mrs. H. Thiessen Georgette Roy Barney Baker Jeannine Sabourin Charles & Myrna Thompson Dr. Anna Rudovics Margo Balog Maryann Sabourin Adele Thurston Dr. David Schiff Peter Batoni Gerald & Betty Saelhof Mrs. Tina Vern Schwab Alan Belcher Melanie Samaroden * Todd Tougas Andre Schwabenbauer Jean Bell Gary & Donna Samycia Elinor & Ernie Townend Krista Michelle Sims Helen S. Petersen Bentley Barbara & Gregory Sargent Andrew & Mary Ann Trachimowich Einer Boberg * John Sinclair * Virginia Sauve Shirley Tran Kay Slemko Harvey Bodner Julia L. Sax Edward & Jean Tredget Harcourt D. Smith Alma Boehm-Kabush

MAY/JUNE 2015

Larry & Noreen Trekofski Louis Trempe Adam & Aleksandra Trzebski * Barbara & Ernest Turnbull Kathy Turnbull David & Carol Turner Elizabeth C. Tweddle * Gail Tweddle Victoria Vaitkunas Lydia Van Aller * Mrs. Peter Van Bostelen Bonnie Van Dalfsen * Dennis & Jean Vance Lloyd & Sheila Vasicek Michele & Terry Veeman Trudy Velichka Irene Walker William Wandio Shona Wards Dale Warick * Jack & Doreen Warwick-Foster Lyn Watamaniuk Scott Watson Violet Watson Cash Webster & Robyne Walters * Eva & Mahlon Weir Ronald A. Weir Dr. Sam & Eva Weisz William Wells Helen & Blair West Rich & Grace Whitehouse Kim & Matthew Wiens William & Sharla Wiesener Karen Wilke * Max & Mary Wilke * Cary & Alana Williams Ed & Marliene Willson Chris Wilson * Lisa Wilson Ron & Diane Wilson Alvin & Sue Winestock David Winfield Diane Wishart Sandra B. Woitas-Menczel Morley & Pat Workun Doris Wrench-Eisler Ev Wright Emma Wynters * Hilary Wynters Christiana Yeong Caroline Young Fred Ziegler K. Zielinski

V W M Smith Jean Sproule Mary Spurvey Marsha Stanton Monte Stout Robert Stoutjesdyk * Lydia Takats Grete Timmins * Riet van Esch * Josephine Welch Lenora Wilson Alta & Bernard Wood Iva J. Wood * Dr. John E Young Sara E. Zalik Metro “Mac” Zelisko

Jon Sharek Alayne Sinclair Teresa Somerville Hugh & Anne-Marie Stacey The Stacey Family Galina Stern Mary Stevenson Barrie Stinson The Swanson Family Lorene Turner Toscha Turner Lucas & Sophie Waldin’s Marriage John & Leslie Wilson Krysta Wosnack

IN HONOUR OF

CORPORATE SUPPORT OF THE ESO

The following individuals have been honoured by their friends and families in recognition of birthdays, life milestones or significant anniversaries Carol Allen Gordon Andreiuk My Son Andrew Tory Bachmann Tommy Banks Happy 75th Birthday Lina Becerra Mike & Annette Boorman Marg Bowen & Russell Wells Peachez Bozakski Desmond Chow Barbara Cohoe Mr. & Mrs. Commanda of Golden Lake, Ontario Fiorella da Silva Maria David-Evans * Lillian Dickau Jorim Disengomoka In honor of Don Gary Duits Bette Anne & Jim Edwards’ Marriage Paola Esquivel Elsie Louise Evans Laura Graham Lilian Green’s 90th Birthday Jeanette Harcus Phyllis and Walter Harris Evelyn & Eugene Henderson Ibon Antiques & Collectibles Inc. Linda Jamieson on a special birthday Bill & Marlene Kehoe Bill Kelly Lanna Kelly Steve Kohlman Bonnie Kyle Steven LePoole Daniel LeVesconte Logan Liboiron Nathaniel Mandel Marie Marleau Laing Betty McDowell Daphne McKay Brielle Melle David Merino Ronda Metszies Ivy Miville Michel Nuc Mary Ohle Norman & Margaret Olson’s 50th wedding anniversary Mary Rainbow Carla C. Salvado Dr. Tami Shandro

Orchestra Circle: Diamond ($25,000 and up) ATB Financial Orchestra Circle: Platinum ($10,000 to $24,999) Rotary Club of Edmonton Strathcona Orchestra Circle: Silver ($2,500 to $4,999) Driving Force Inc Fath Group / O’Hanlon Paving Fidelity Investments Melcor Developments Ltd. Orchestra Circle: Bronze ($1,500 to $2,499) Audio Ark * Canuck Industrial Sales (1982) Ltd. Rotary District 5370 Wawanesa Mutual Insurance Company Advocate ($1,000 to $1,499) Airco Aircraft Charters Ltd. Cenovus Energy Mark V Investments Alta Ltd. * Oddball Productions Sardan Holdings - Bistro Praha Contributor ($500 to $999) The Dinner Optimist Club of Edmonton Enbridge ID Productions Inc Northern Bluegrass Circle Music Society Rotary Club of Edmonton West Sinclair Supply Supporter ($250 to $499) Alberta Registered Music Teachers’ Association Telus Corporation Friend ($100 to $249) Anonymous Ryland Engineering Ltd. University of Alberta Graduate Music Student Association

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HELPING OUR ARTS COMMUNITIES

Take Centre Stage

At MNP, we know that a thriving arts and cultural community can spur economic growth, inspire innovation and accelerate the creative vitality of the region. We like to believe we have earned a five-star reputation in strengthening our cultural communities and industries through our support for artists and arts organizations since 1945.

To find out how MNP can help your organization shine, contact Darren Turchansky at 780.453.5378 or darren.turchansky@mnp.ca

A bequest in support of healthcare is a gift to the entire community.

Bequests and planned gifts are an inspired way to help ensure that the Royal Alexandra Hospital has the resources it needs to provide exceptional and compassionate patient care when it matters most, now and in the future.

“When “When we we became became aware aware of of what what others others have have done done for for our our hospital hospital and and for for our our community community with with their their estate estate plans, plans, we we were were both both deeply deeply moved, moved, and and we we followed followed their their example.” example.”

FOR MORE INFORMATION PLEASE CONTACT: Terry Tobin Bequests and Planned Gifts Office Royal Alexandra Hospital Foundation Telephone: 780-735-5061 | Email: ttobin@royalalex.org

— — Melanie Melanie and and Dr. Dr.Thomas Thomas Nakatsui Nakatsui www.royalalex.org | Twitter: @RAHFoundation This ad was generously donated by The Robbins Foundation Canada.

THE EDMONTON

SYMPHONY ORCHESTRA

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. Robert 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

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

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

34 SIGNATURE

EDMONTON SYMPHONY SOCIETY/ FRANCIS WINSPEAR CENTRE FOR MUSIC

BOARD OF DIRECTORS Reginald Milley, Chair Peggy Garrity, Vice Chair Jim E. Carter, P.Eng., Past Chair Carol Ann Kushlyk, C.M.A., C.F.E., Treasurer Leanne Krawchuk, Secretary/Legal Counsel Sheryl Bowhay Joanna Ciapka-Sangster Maria David-Evans Megan Evans Susan Flook Cynthia Hansen, C.A. Travis Huckell Sam Jenkins Kathy Knowles Mary Persson

EDMONTON SYMPHONY & CONCERT HALL FOUNDATION Phyllis Clark, Chair John Brennan Jim Carter Bob Kamp Ron New Gary Smith

EDMONTON SYMPHONY ORCHESTRA / WINSPEAR CENTRE

EXECUTIVE & ARTISTIC LEADERSHIP Annemarie Petrov Executive Director

William Eddins Music Director

Rob McAlear, Director of Artistic Operations Michael Schurek, Director of Community Relations Alison Kenny-Gardhouse, Director of Musical Creativity Ally Mandrusiak, Director of Events Management Brian Alguire, Director of Finance & Operations Elaine Warick, Director of Patron Development Molly Staley, Executive Coordinator/Board Liaison Complete staff listing can be found at WWW.EDMONTONSYMPHONY.COM

www.EdmontonSymphony.com

T

THANK YOU

Community Support of the Edmonton Symphony Orchestra & Winspear Centre The Edmonton Symphony Orchestra is a registered charitable organization, incorporated under the Societies Act of the Province of Alberta on November 22, 1952. As Canada’s fourth-largest professional orchestra, the ESO is financed by ticket sales, grants from government agencies, and by contributions from corporations, foundations, and individuals.

Government Agency Support:

Series Sponsors:

Title Sponsor

Title Sponsor

Landmark Classic Homes Masters

Title Sponsor

Title Sponsor

Title Sponsor

Title Sponsor

Late Night with Bill Eddins

Symphony for Kids

Presenting Co-Sponsor Christmas at the Winspear

Christmas at the Winspear

Masters Series

Live at the Winspear

Friday Masters

Presenting Co-Sponsor

Sponsor

Sponsor

Symphony in the City

Sunday Showcase

Title Sponsor

Sponsor

Air Canada Presents

Sponsor

Sounds of the ‘60s

Robbins Pops / Robbins Lighter Classics

Our Program Sponsors

Sponsor

Introductory Series Offer

Sponsor

The Rozsa Innovation Award

Pulse8

Naming Sponsor ENMAX Hall

Our Performance Sponsors:

Our Media Sponsors:

CityTV

36 SIGNATURE

Capital FM

CKUA

Edmonton Journal

Pattison

World FM

Shine FM

CBC

Global

K-97

www.EdmontonSymphony.com

YONA-Sistema Sponsors:

La Bruyère Fund Educational Outreach Sponsors:

Sponsor

Enbridge Community Ambassador

Sponsor

Lead Sponsor

Sponsor

Gr. K to 3 Education Program

It all stARTS with me

Gr. 4 to 6 Education Program

Lead Sponsor

It all stARTS with me

Our Exclusive Caterers:

Our Suppliers:

Publications Sponsor

Print Sponsor

Wine Supplier

RV Supplier

Official Floral Supplier

Bottled Water Supplier

Family Day Weekend

Wildlife Tours One day charter from Calgary or Edmonton for a safari experience on the tundra. October & November departures.

One day fly & cruise from Calgary or Edmonton to Khutzeymateen Valley near Prince Rupert to view bears, eagles, whales & more. June & July departures.

Explore the beauty of Canada’s North. This two day tour has history, wildlife & northern culture.

August departure from Calgary.

Ph: 1-866-460-1415 www.classiccanadiantours.com

10th Anniversary

DROP ZONE

EDMONTON

RAPPEL DOWN 29 STORIES August 27, 2015 @ The Sutton Place Hotel Registration Now Open

Challenge yourself and change lives.

In support of Albertans with disabilities and special needs.

Know Your Winspear

The ESO performs at Edmonton Centre (now Edmonton City Centre).

The cello section poses at the Muttart Conservatory for the ESO’s 2011-2012 season brochure.

Sheila Laughton finds a place to practice while on tour with the orchestra through Northern Alberta and British Columbia in 1976.

Our two departing cellists at a dress rehearsal on the Winspear Centre stage.

The ESO Says Goodbye:

Colin: I think the biggest change the orchestra has undergone was moving into the Winspear Centre. It seemed like a new orchestra when we got here. The sound was just fabulous and the opportunity to rehearse onstage all the time makes a huge difference to our orchestral sound.

been playing in the cello section because we are a tightly knit group, having known each other for years.

We’re a small section, so we can connect pretty well.

The fine playing of my colleagues and the camaraderie we enjoy have been important features of ESO life for me.

Who were some of the most memorable guest artists you performed with?

Colin: It’s mostly the simple things – sometimes just smiling at a colleague onstage as we share the simple joy and vitality of music as we’re playing. And feeling the audience listening and responding, seeing the special looks on their faces, when you know we’ve all been drawn together in a special musical experience. It could be a big band tune in a Pops concert or a great composer in a Masters concert, but it all comes down to the unique experience of feeling the living sound around you. I would close my eyes sometimes and it’s as if a veil would part; you’d feel like you were becoming part of something from another world. You honestly think you’re in heaven.

Just to have been part of that sound is something I’ll carry with me forever.

An interview with Colin Ryan & Sheila Laughton

by Julia Dolman & Graeme Haunholter

At the end of this season, the ESO will say goodbye to Principal Cellist Colin Ryan, and Assistant Principal Cellist Sheila Laughton, who started with the ESO in 1976 and 1975, respectively. Last month, we sat down with these two extraordinary musicians to reminisce about their careers with the ESO. What are some of the biggest changes you’ve noticed in the orchestra?

Sheila: I remember that we used to play in many other venues. In Edmonton we performed at churches, shopping centres, theatres and Convocation Hall. We were also something of a regional orchestra, touring towns all over northern Alberta. Audiences were hugely appreciative and you really had a sense that you were serving a larger community. Now we’re pretty well limited to Winspear Centre. Of course, it’s a wonderful facility, so it’s hard to complain!

Sheila: We got to see the cello greats. We’ve had Pierre Fournier, János Starker, Lynn Harrell, Leonard Rose, Yo-Yo Ma, and, possibly most memorably, Rostropovich. He was a larger than life person. I remember that he brought his little dog with him and the dog came right onstage at the Jubilee for the rehearsals.

Colin: I remember, after one rehearsal with Yo-Yo Ma, he turned around and handed me his cello and said, “Here, want to try it?” He was very friendly and always visited with our cello section when he was here. You absorb so much from making music with such great artists.

What is one thing that you will miss about playing with the ESO? Sheila: One of the memorable things for me has

Follow the Winspear Centre story at KnowYourWinspear.com

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