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MASTERS APPLAUSE BEETHOVEN'S FIRST PIANO CONCERTO Jayce Ogren, conductor Joyce Yang, piano ∙ Whitney Leigh Sloan, soprano


ROBBINS LIGHTER CLASSICS CANADA'S MEMORY LANE Lucas Waldin, conductor Dr. Jose Francisco Salgado, narrator Mallory Chipman, vocalist

18 Editor: D.T. Baker Art Direction: Cheryl McCartney Sales: Narissa Kanji

SEASON 2018/2019



Mélanie Léonard, conductor Cassidy Catanzaro, vocalist ∙ Katrina Rose, vocalist Shayna Steele, vocalist



Lee Holdridge, conductor/arranger/composer Rick Worrall, composer/vocalist/producer Cara McLeod, soprano ∙ Robert Clark, tenor

ON THE COVER The start of each new ESO season is a cause to celebrate, and anticipate. Alex Prior’s second season as Chief Conductor allows him to further refine and build on the momentum he began last year. Get his insights into the 18/19 season on page eight.

Photo: Leroy Schulz


Thank you to our friends at Huong Long Casual Fare for providing the location for our cover.

PLEASE NOTE FOR ALL CONCERTS IN THIS ISSUE: • Programming is subject to change • [*] Indicates approximate performance duration



QUIKCARD TRADITIONAL CLASSICS VIENNESE FAVOURITES Alexander Prior, conductor Catherine Daniel, mezzo-soprano Robert Uchida, violin


MASTERS APPLAUSE BACH'S CHRISTMAS ORATORIO Alexander Prior, conductor Catherine Daniel, mezzo-soprano Geoffrey Sirett, bass ∙ Elizabeth Koch, flute





9/10 NOV

16/17 NOV










ESO Concerts JANUARY 2019


WINSPEAR EVENTS The Royal Canadian Legion Presents

LEST WE FORGET: A MUSICAL TRIBUTE Featuring the Cosmopolitan Music Society

Saturday, November 4 7:00 PM Presented by the Richard Eaton Singers

LAST LIGHT ABOVE THE WORLD Sunday, November 11 3:30 PM

Presented by James H. Brown Injury Lawyers


Saturday, December 8 7:30 PM


Sunday, December 30 2:30 PM

RAVEL, SHOSTAKOVICH & STRAVINSKY Friday, January 11 • 7:30 PM Saturday, January 12 • 8:00 PM

Tuesday, January 15 • 7:30 PM

LAST NIGHT OF THE PROMS Friday, January 18 • 8:00 PM Saturday, January 19 • 8:00 PM Sunday, January 20 • 2:30 PM

BEETHOVEN, MOZART & SCHUBERT Thursday, January 24 • 7:30 PM

ELGAR’S VIOLIN CONCERTO Saturday, January 26 • 8:00 PM


BACH’S CHRISTMAS ORATORIO Saturday, December 1 • 8:00 PM


Highlights of Bach’s Christmas classic. Enjoy Alexander Prior’s selections from this holiday masterpiece.

HOME FOR THE HOLIDAYS WITH JOHNNY REID Monday, December 3 • 7:30 PM Tuesday, December 4 • 7:30 PM


Over an illustrious career, multi-award-winning singer-songwriter Johnny Reid has captured the hearts of fans and audiences around the world.

Winspear Centre Gift Certificates are valid towards the purchase of tickets for any performance available through the Winspear Box Office or online at


Friday, December 14 • 7:30 PM Saturday, December 15 • 7:30 PM

Winspear Centre Gift Certificates are valid towards the purchase of tickets for any performance available through the Winspear Box Office or online at


Annemarie Petrov President and CEO






Handel’s treasured sacred work—which has been a long standing holiday staple—returns in its traditional baroque form. Jean-Marie Zeitouni, celebrated soloists, and outstanding local choirs join the ESO for this annual performance.



Sunday, December 16 • 2:00 PM

Our Sunday afternoon version of Messiah is shorter, but still filled with many of the favourite arias and choruses that have moved us for centuries.

A LIGHTLY CLASSICAL CHRISTMAS Thursday, December 20 • 8:00 PM

Some of the greatest classical music was written for Christmas. And some Christmas music has become so treasured, it qualifies as classic. We’ve got both.


Friday, December 21 • 8:00 PM Saturday, December 22 • 8:00 PM Sunday, December 23 • 2:30 PM

Our annual cornucopia of yuletide memories and surprises.



orchestral performances. Prior’s unique artistry continues the Edmonton tradition of meaningful musical experiences and world class musicmaking.

ALEXANDER PRIOR Chief Conductor Now in his second season as Chief Conductor of the Edmonton Symphony Orchestra, Alexander Prior has demonstrated his passion and artistic insight to ESO patrons across a wide spectrum of

Mr. Prior made his ESO debut in January 2014 and quickly established a rapport with ESO musicians and audiences. During his first season, the Chief Conductor led everything from rousing Masters performances to delightful educational concerts. Every time he takes the stage, Prior aims to serve the music first and carefully considers the composer’s honest and meaningful message for each piece. A graduate of Russia’s St. Petersburg Conservatory, Alex Prior received training at the Boston Symphony’s Tanglewood Music Center and was awarded a Conducting Fellowship at the Aspen

Photo: Dale MacMillan

belief that participation in live music is essential to our well-being, Annemarie has built a highperforming organization, integrating the operations of both concert hall and symphony orchestra, and steadfastly growing their endowment funds. The cornerstone of her vision for the Winspear Centre’s long-term plan is focused on four key strategies: being a true center for music, delivering exceptional experiences, inspiring musical creativity, and ensuring resiliency and sustainability. ANNEMARIE PETROV President & CEO As president & CEO of the Edmonton Symphony Orchestra (ESO) and Francis Winspear Centre for Music (FWCM), Annemarie Petrov, believes in the transformative power of music. Guided by her profound love of the arts; fueled by the

The plan has resulted in several milestones, including the launch of the Tommy Banks Centre for Musical Creativity, which delivers educational and community-based musical arts programs for all ages. Under this umbrella, and with the help of Rotary, YONA-Sistema, a free inner-city afterschool program was launched over five years ago. The ESO | FWCM is now entering a new stage of growth commencing in 2019, with

Photo: Erik Visser

Elizabeth Wallfisch, Tianwa Yang, and Pinchas Zukerman.

ROBERT UCHIDA Concert Master, Violin Canadian violinist Robert Uchida has been hailed for his “ravishing sound, eloquence, and hypnotic intensity” (Strings magazine). A regularly featured guest artist with many of Canada’s orchestras and chamber music festivals, Robert has performed with Edgar Meyer, Ksenija Sidorova, Sarah Slean,



Concertmaster of the Edmonton Symphony Orchestra, Robert held the same position with Symphony Nova Scotia and previously performed as Associate Concertmaster of the Rotterdam Philharmonic Orchestra. He has served as Concertmaster for such conductors as Valery Gergiev and Kurt Masur. Engagements as a guest leader have included projects with the Netherlands Radio Chamber Philharmonic and the Vancouver Symphony Orchestra. Robert’s CD recordings include Requiem 21.5: Violin Concerto by Tim Brady for CentreDiscs, which won Classical Recording of the Year at the ECMAs, Sonata for Unaccompanied Violin by Andrew Violette for Innova Records, and the Alpine Symphony under Edo de Waart as guest Concertmaster of the Royal Flemish Philharmonic.


EDMONTON SYMPHONY ORCHESTRA Music Festival. In the 2009/2010 season, he served as Assistant Conductor at the Seattle Symphony Orchestra. A composer as well as conductor, Mr. Prior will present in June the World Premiere of his Violin Concerto, written for his friend and colleague Simone Porter. At home on the concert podium and in the opera pit, Alexander Prior recently conducted Elektra for the Edmonton Opera, which featured the ESO, adding to opera performances he has led in Copenhagen, Leipzig, Sofia (Bulgaria). Possessing an acute and intensely curious mind, Alexander Prior’s passions range from preserving cultural diversity to children’s education, but always return to creating and delivering the sheer thrill and moving power of music.

the construction of The Winspear Project, which honours the original vision and commitment of Alberta pioneers and builders like Francis Winspear. This project is driven to make music accessible to everyone, through the creation of additional spaces which will host a variety of programming reflective of the communities we serve. The new spaces will be enjoyed in 2022, the 25th Birthday of the Winspear Centre. Serving music organizations for over thirty years, holding positions with Symphony New Brunswick, the National Arts Centre Orchestra and Winnipeg Symphony Orchestra, Ms. Petrov joined the ESO | FWCM in 2007. Annemarie is a frequent guest speaker at arts industry conferences, has served on the board of Orchestras Canada, and has been recognized nationally with numerous awards for her visionary leadership.




Robert Uchida

Elizabeth Koch (1)

Concertmaster The John & Barbara Poole Family Concertmaster Chair

Eric Buchmann

Associate Concertmaster

Virginie Gagné

Assistant Concertmaster

Broderyck Olson Richard Caldwell (5) Joanna CiapkaSangster (5) Susan Flook Laura Veeze Anna Kozak Aiyana AndersonHowatt Neda Yamach Ewald Cheung

VIOLIN II Dianne New (1) Sarah Kim (2) Heather Bergen Pauline Bronstein (5) Zoë Sellers Robert Hryciw Tatiana Warszynski Murray Vaasjo


OBOE Lidia Khaner (1) Paul Schieman (2)

The Steven & Day LePoole Assistant Principal Oboe Chair




Eric Filpula, Orchestra Personnel Manager Aaron Christopher Hawn, Librarian

William Harrison (1) (5) Matthew Howatt (3) Edith Stacey (2)

HORN Allene Hackleman (1) Megan Evans (2) Gerald Onciul (2) Donald Plumb (2)

TRUMPET Robin Doyon (1) Frédéric Payant (2)

TROMBONE John McPherson (1) Kathryn Macintosh (2)



Scott Whetham (1)

Rafael Hoekman (1)


The Stuart & Winona Davis Principal Cello Chair

JunKyu Park (2) Ronda Metszies Gillian Caldwell (5) Meran Currie-Roberts Derek Gomez Victor Pipkin

Robert loves volunteering whenever possible and is honoured to have been inducted into the Ronald McDonald House’s Character Club in Edmonton. He performs on an outstanding Lorenzo Ventapane violin made in Naples, Italy in 1820 and uses Vision Solo Titanium violin strings by Thomastik-Infeld Vienna.

Jan Urke (1) Max Cardilli (2) Janice Quinn Andrew Lawrence Rob Aldridge


Christopher Taylor (1)


Barry Nemish (1)


The following musicians may appear at performances in this issue: Chris Andrew Piano Gillian Caldwell Cello Sylvia Chow Violin Jim Cockell Violin Jeanette Comeau Viola Dan Davis Saxophone Yue Deng Violin Mary Fearon Horn Alden Lowrey Trombone Brad Luna Trumpet Michael Massey Keyboards Echo Mazur Clarinet Josh McHan Bass Matt Nickel Bassoon Clint Pelletier Guitar Jean-François Picard Saxophone Ryan Pliska Percussion Brian Sand Trumpet Jeremy Spurgeon Keyboards Robin Taylor Saxophone Brian Thurgood Percussion Dan Waldron Oboe Robert Walsh Guitar Erin James Wong Violin Alison Zdunich Violin

Brian Jones (1)

HARP Nora Bumanis (1) 1 2 3 4 5


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


William Eddins, Music Director Emeritus Uri Mayer, Conductor Laureate Charles Hudelson, Principal Clarinet Emeritus Alvin Lowrey, Principal Trumpet Emeritus

Julianne Scott (1) David Quinn (2)

Stefan Jungkind (3) Clayton Leung (4) Rhonda Henshaw Kerry Kavalo

A passionate teacher, Robert serves on the faculty at the University of Alberta and has held teaching positions at Acadia University, the Manhattan School of Music, and the National Arts Centre of Canada’s Young Artists Program. He has given masterclasses across Canada and has thoroughly enjoyed working with the students of the ESO’s YONA-Sistema program. His teachers include Patinka Kopec, Heratch Manoukian, David Stewart, and Pinchas Zukerman.



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



but completed it in music theory, since it was a good background for becoming a conductor. “As I was thinking back on what made me the happiest, I remembered always feeling alive while performing on stage with others. I am also very creative, full of ideas and entrepreneurship and I enjoy being in a leadership role that works with a big team. I loved my experience playing in a youth orchestra and conducting seemed to reunite everything that excites me. I started to take private lessons with Maestro Paolo Bellomia at Université de Montréal during my bachelor degree. Then, I completed a masters and a doctorate in orchestral conducting. It was my true calling and every time I am on stage, surrounded by my friends and talented colleagues and in front of a full audience of music lovers, I feel fulfilled and grateful for living my dream.”


Museums, poetry, and science fiction movies give her a break from conducting – as do video games and kayaking. Like most conductors, Mélanie honed her craft studying the canon of orchestral repertoire – but she’s happy to be making her ESO debut conducting pops. “I do enjoy and listen to all sorts of music ranging from classical (of course!), to hip-hop, to jazz, to electronic music and everything in between. My career as a conductor has reflected my diverse taste in music. In the same season, I have conducted a Philip Glass harpsichord concerto, pop music from the 80's, Rimsky-Korsakov's Scheherazade, Star Wars, and Handel's Messiah. I would not have it any other way.”

Melanie Leonard looks forward to the day it’s no longer newsworthy to be both female and a conductor. But she’s aware that day is not yet here. “I understand being asked the question, but I am looking forward to the day that I won't be... because it will mean that women will be equally represented on the podium,” she tells Signature magazine, a few weeks prior to her return to the Edmonton Symphony Orchestra podium at the Robbins Pops concert, Women Rock (see page 18).

Thus far, Ms. Léonard feels her career has gone the way it should, and she says that her new position in Sudbury is a perfect fit right now.

In the meantime, Mélanie speaks with candour and optimism about her career path – one which has taken her from music studies in her native Québec to a four-year stint with the Calgary Philharmonic. Currently Music Director of the Sudbury Symphony, Ms. Léonard speaks happily about how positive her path has been. “I was always supported and encouraged by my family, friends, teachers, the audience, and my colleagues. I am grateful for that,” she notes.

“The essence of what makes me feel happy and accomplished lies knowing that by sharing what I hold dear in my heart, music, I can make a positive difference in someone else's life.” “Being able to contribute to the community through the development of artistic projects that will have lasting effects on the cultural landscape of the city is also very important to me. I can accomplish all that in Sudbury. As a guest conductor, I am privileged to work alongside several professional orchestras across the country. The variety of human and artistic experiences I have been exposed to have nurtured my growth as both a person and a musician.”

Like many a contemporary conductor, Mélanie Léonard is an artistic omnivore. “I always felt nourished by all the different types of art. I did ballet as a child and later in life, I competed in amateur ballroom dancing. I passed all my violin exams at the McGill Conservatory in Montréal, but when it came time to choose a discipline in CEGEP (pre-university education), I decided to study Arts and Literature and graduated with a major in visual arts and a minor in theatre. Following that, I missed being immersed in music and started my bachelor’s in musicology,



If role models are an example of career goals, Mélanie is reaching for the stars – as you’d



expect. “There are a lot of musicians whom I admire and who inspired me. Leonard Bernstein is one of them. I admire his work, his music, his passion and genuineness. Amongst the living conductors, I greatly admire Yannick Nézet-Séguin. I feel inspired by his mindful and efficient rehearsals, his heartfelt interpretations and his human, and again, genuine approach to leadership and conducting.” Then, Ms. Léonard steps off the podium for another inspiration. “Outside of the musical sphere, the person who provoked the deepest reflection and thought evolution in regards to my own work and philosophy as a musician, conductor and artistic leader is Marina Abramović,” she states, referring the groundbreaking, and controversial, Serbian performance artist. “I was deeply touched by her work ‘The artist is present,’ and loved her other works as well. Her art is provocative and always comes from a place of authenticity. She was never afraid of her own ideas or convictions and pursued her path despite the resistance she was met with. Today, she is highly respected for her work. Her views on the importance of mindfulness, honesty, and authenticity with oneself, in front of audiences, greatly inspires me.”

Admiration for trailblazers such as Abramović may tell all of us that there is still a way to go in gender parity in the arts. But maybe it also says something that Ms. Léonard feels that imbalance has not negatively impacted a career choice which is still seeking more female representation. As she gets ready to become one of the very few women conductors to lead an ESO pops concert, she takes it all in stride, and with good grace. “There are more women now that study conducting, which means, there will also be more professional women conductors that meet the requirements for these positions,” she predicts. “Women are still not represented in equal numbers. It will be interesting to see what happens to that balance when there are 100 applications for a position, 50 of them from women. I understand that seeing a woman on the podium is still somewhat rare, but I always considered myself to be a musician and conductor first.”





HATZIS The Isle is Full of Noises


BEETHOVEN Piano Concerto No. 1 in C Major, Op.15


Allegro con brio Largo Rondo: Allegro INTERMISSION 20 MINUTES

VAUGHAN WILLIAMS A Pastoral Symphony (Symphony No. 3)


Molto moderato Lento moderato Moderato pesante Lento – Moderato maestoso program subject to change *indicates approximate performance duration

SYMPHONY PRELUDE, Saturday 7 pm, Upper With D.T. Baker Circle (Third Level) Lobby with D.T. Baker





Saturday, 7:00 PM Upper Circle Lobby (Third Level)

Photo: Rebecca Fay


JAYCE OGREN is building a reputation in both orchestra and opera as one of the finest young conductors in the United States. During the summer of 2018 he makes his San Francisco Symphony debut and leads West Side Story at the Brevard Music Festival. Highlights of 2018/2019 include appearances with the orchestras of Dallas, Santa Rosa, Portland, Omaha, Oklahoma City, and Spokane. He leads the score to Terrance Malick's The Voyage of Time with the Wordless Orchestra at the Brooklyn Academy of Music and Charlie Chaplin's Modern Times with the Casa da Musica in Porto, Portugal. In 2017/18, he returned to the National Arts Centre Orchestra (Ottawa), and to the Indianapolis, Dallas, Colorado, Nashville, and Edmonton Symphonies. He debuted with the orchestras in Columbus, Louisville, and Asheville, NC. Mr. Ogren has creatively crossed boundaries to fulfill his interests in new and alternate kinds of productions, leading Basil Twist’s Rite of Spring at Lincoln Center's White Light Festival and collaborated with the International Contemporary Ensemble at Lincoln Center's Mostly Mozart Festival and at the Wien Modern Festival, and has led concerts with l’Ensemble Intercontemporain in Paris – where he also led Robert Carson’s production of My Fair Lady at the Chatelet. He led the world premieres of Rufus Wainwright’s Prima Donna in New York and Paris, and Jack Perla’s Shalimar the Clown for the Opera Theatre of St. Louis. Jayce Ogren has conducted the Boston, Utah, and Pittsburgh Symphonies, the New York, Copenhagen, and Los Angeles Philharmonics, the Cleveland Orchestra, and the Deutsches SymphonieOrchester in Berlin. Mr. Ogren last appeared with the ESO in October 2018. Pianist JOYCE YANG came to international attention in 2005 when she won the silver medal at the 12th Van Cliburn International Piano Competition. At 19 years old she took home the awards for Best Performance of Chamber Music and of a New Work. A Steinway artist, in 2010 she received an Avery Fisher Career Grant. Ms. Yang has performed with New York Philharmonic, Philadelphia Orchestra, Chicago Symphony, San Francisco Symphony, Los Angeles Philharmonic, and BBC Philharmonic.The 2018-19 season finds Joyce Yang appearing with many North American


orchestras including those of San Diego, Knoxville, Colorado, Alabama, Wichita, and Tucson, among others. She will give several recitals, including those at the Mondavi Center in Davis, CA, and in Akron, Ohio. In the 2017-18 season she returned to the Baltimore Symphony, and had her first collaboration with the Aspen Santa Fe Ballet on a new work for dancers and solo piano choreographed by Jorma Elo. Ms. Yang also appeared with many other North American orchestras including those of Santa Rosa, Rochester, Milwaukee, Oklahoma City, and Vancouver. Born in Seoul, Korea, in 1986, Ms. Yang received her first piano lesson from her aunt at age four. In 1997 she moved to the United States to study in the pre-college division of The Juilliard School. After winning The Philadelphia Orchestra’s Greenfield Student Competition, she performed Prokofiev’s Third Piano Concerto with that orchestra at just 12 years old. She appears in the film In the Heart of Music, a documentary about the 2005 Cliburn Competition. This is Ms. Yang’s debut with the ESO. Soprano WHITNEY LEIGH SLOAN has been praised for her clear, lyrical voice and ability to take full advantage of both the light and shade in a score (Opera Canada). Whitney was engaged as the cover for the role of Liù in Edmonton Opera’s (EO) production of Turandot. She performed the role of Second Maid in EO’s production of Elektra and was featured in performances of Mahler’s Second Symphony with conductor Edmund Agopian in February and May of 2017. Ms. Sloan is an active performer and recitalist. She has performed the title role in Dvořák’s Rusalka (Opera NUOVA); Hanna Glawari in Die lustige Witwe, Mimí in La Bohème, La Contessa Almaviva in Le nozze di Figaro, and Tatiana in Eugene Onegin at the University of British Columbia; Arsamene in Xerxes and Tatiana in Eugene Onegin at the Meteske Divadlo, Czech Republic (UBC). Whitney was recently featured in concert with the Edmonton Recital Society, in the leading role of Poulenc’s La voix humaine with L'UniTheatre and in recital with the WindRose Trio, members of which perform with the ESO. Whitney obtained both Master’s and Bachelor of Music degrees from the University of British Columbia. She has received additional training from the Franz Schubert Institute, Opera NUOVA and Calgary Opera. Whitney has been generously supported by the Winspear Foundation for Advanced Classical Musicians, the Alberta Foundation for the Arts, the Vancouver Women’s Musical Society and most recently the Edmonton Arts Council. Ms. Sloan last appeared with the ESO in December 2017.

a proper timeline, we would start with modernism and gradually evolve forward towards classicism. Bizarre as this may sound, it is nevertheless the stylistic timeline that I ended up following in The Isle is Full of Noises.

PROGRAM NOTES THE ISLE IS FULL OF NOISES Christos Hatzis Program note by the composer (b. Volos, Greece, 1953) First performed: October 15, 2013 in Montréal This is the ESO premiere of the piece

THE ISLE IS FULL OF NOISES WAS COMMISSIONED BY l' Orchestre symphonique de Montréal for a program consisting of compositions inspired by William Shakespeare. I chose to base mine on The Tempest, particularly on two memorable excerpts, one by Prospero: "We are such stuff as dreams are made on, and our little life is rounded with a sleep." (Act 4, Scene 1) and the following one by Caliban: "Be not afeard, the isle is full of noises, Sounds, and sweet airs, that vie delight and hurt not. Sometimes a thousand twangling instruments Will hum about mine ears, and sometimes voices, That if I then had waked after long sleep, Will make me sleep again, and then in dreaming The clouds methought would open, and show riches Ready to drop upon me, that when I waked I cried to dream again." (Act 3, Scene 2) Both Prospero and Caliban view reality as dream-like in this play. Their island is a magical place. Its "reality" is shaped and determined by human will, Prospero's, rather than natural law. Caliban, a rebellious and conceited creature, is promoting this reality to the unsuspecting newcomers hoping to usurp through them Prospero's magic and power. It is not surprising that, in Christian Europe of Shakespeare's time, Caliban's character became associated with the serpentine deceiver of the Biblical Eden allegory who sought to corrupt the first humans by enticing them to the power of the forbidden fruit, in spite of God's explicit instructions to the contrary (Prospero's character has many common features with the Elizabethan concept of God.) It is this Biblical connection with the "isle, full of noises" which got me inspired to compose this work. The "Eden" allegory has been a subject that I keep on exploring musically and psychologically in a number of recent works. At variance with current scientific orthodoxy, I sense a different psychological pre-history for our species and use the tools of collective memory, the same tools that enable me to compose music, to trace this prehistory to its deep roots. The task is frustratingly difficult, constantly bouncing against the "hard facts" of science, but my view of reality has gradually evolved to be more similar to the one that Prospero and Caliban weave for the other characters in The Tempest than to the creeds of scientists. During this meditative process that composing music has become for me, it occurred to me that it may be possible to view western European music history from the classical masters to the mid-20th century as a continuous process of psychological regression, reaching ever deeper into our imaginal past. If this is true, then the music of this musical tradition that we all cherish is the creative by-product of this regression: it is the sonic fruit of our search for our psychic roots. Consequently, the time arrow of western music during this period of time would be a mirror reflection (an inversion) of the time arrow of this imaginal history. Restored, it would start with relatively independent parts and end up with complex wholes, so, if we were to reconstruct



The work begins with primal breathing and an elemental soundscape. Musical sounds gradually emerge from the depths of the orchestral spectrum in a tonally vague language which quickly transforms into impressionistic smears reminiscent of the music of Claude Debussy. Timbre gradually morphs into melody and harmony, but both are elusive and at first retain their identity only briefly. Finally, the main D Major theme, representing the emergence of consciousness in the metaphorical structure, is first introduced by the string orchestra in an introverted but eventually more self-conscious manner, persistently pulled outwardly by the exuberance of the triumphant ending— the latter representing the emergence of the perfected human in this earthly sphere of consciousness. All of these musical metaphors were recognized as archetypes in the music only after the completion of the compositional process. In retrospect, however, I realize that these archetypes acted as catalysts for the music all along and caused it to become what it is. One conscious influence was the music of Felix Mendelssohn, whose overture to A Midsummer Night's Dream I knew would precede The Isle is Full of Noises in the concert of the premiere performance. Any stylistic similarity between the latter part of my work and Mendelssohn's is therefore not coincidental. Then again, I subscribe to the view that nothing ever is.

Piano Concerto No. 1 in C Major, Op.15 Ludwig van Beethoven (b. Bonn, 1770 / d. Vienna, 1827) First performed: December 18, 1795 in Vienna Last ESO performance: February 2009

BEETHOVEN’S FIRST PIANO CONCERTO ISN’T – THE FIRST, that is. Because of a delay in publishing his first two concertos, there was a mix-up, and his second, more mature effort, was published as No. 1. By the time of their publication, Beethoven had lived with both works for a long time, and his feelings about them had become ambivalent. It is believed that, unlike the period of time during which the B-flat Concerto (published as No. 2) was written, Beethoven had been exposed to the piano concertos of Mozart when he began writing the C Major Concerto. The scope of the C Major work is quite different than the other. The outer movements are both far longer, and the middle movement is in the remote key of A-flat. The influence of Mozart is apparent in the opening, where the piano is given its own theme upon its entrance, separate from the material given the orchestra. Thereafter, it is the orchestra which continues to introduce the important thematic material, but the piano builds upon and embellishes the music, driving it forward, and performing, not one or two, but three separate cadenzas. The slow movement is a very slow Largo. Again, the piano’s role is to ornament the orchestral material, and the broad artistic expressiveness shows Beethoven’s embrace of the emerging Romantic mood of the day. Listen also for a dialog near the end of the movement between the piano and clarinet. The final movement is a rondo, and the playfulness with which it should be presented is suggested by the tempo marking of Allegro scherzando. Much of the good-natured fun is found in the contrast between the movement’s main theme and the contrasting secondary subjects, both


rhythmically, and in contrasting keys. Throughout his performing career, Beethoven wrested every dramatic and dynamic sound he could from the pianos of the day. As each newlydesigned piano would expand the sonorous capabilities from the ones that had preceded it, Beethoven’s music accordingly grew in size and scope. In his revisions of his early concertos, Beethoven rewrote the cadenzas, and in the case of tonight’s work, it is worth noting that there is no way the pianos of the late 18th century could have performed the cadenzas you will hear tonight. He wrote them later, for pianos that were larger and sturdier than those of 1795.

A Pastoral Symphony (Symphony No. 3) Ralph Vaughan Williams (b. Down Ampney, Gloucestershire, 1872 / d. London, 1958) First performed: January 26, 1922 in London This is the ESO premiere of the piece

THE MOST FAMOUS “PASTORAL SYMPHONY” IS BEETHOVEN’S – an idyllic portrait of the woods and meadows to which Beethoven loved to retreat. It is a far cry from the countryside that inspired Vaughan Williams’ third venture in the symphonic form. It was the ravaged and bloodied fields of France in the First World War, a psychic scar still fresh years later, that prompted the work. Vaughan Williams was an ambulance driver during the war, and began sketching ideas for the symphony as early as 1916, when he would drive his horse-drawn vehicle to the top of a steep hill near Ecoivres. Fleshed out in the years following the war, the work became multifaceted: a bleak depiction at a blasted, formerly beautiful land; an elegy for the dead; and a meditation on a hoped-for lasting peace. Its structure is equally multi-faceted. While in a traditional four-movement layout, the symphony’s flow does not follow convention. Each movement contains the word “moderato” in its description, and while there is less variation in tempo or pace in the work as compared to a more traditionally-composed symphony, the piece seems to always be in constant motion – swaying and undulating, rather than markedly changing its rhythm. The work opens as if a gauzy curtain is drawn aside, revealing its country scene. Like much of the symphony, modal and pentatonic melodies dominate, and much of the “tension” of the music arises not from dissonance, but from the counterpoint of separate melodic threads pitted against each other. There is turbulence in this Molto moderato movement, but it, like the strands of music themselves, tends to ebb and flow – a sense of wandering and uncertainty. The Lento moderato second movement begins with a solo horn, and is later dominated by a beautiful solo trumpet passage – a reference to the bugle sounds from the war. The horn returns in counterpoint to a clarinet as the tender movement concludes. The third movement, Moderato pesante, is more rousing than the others, more warmly and richly scored, and dominated by a brassy, noble theme. The finale is a long elegy, and features a wordless vocal line for soprano – a voice of humanity amid the moods of peace and tension in the orchestra. This is one of Vaughan Williams’ most debated scores – it eludes easy description, although the sage English musicologist Donald Tovey rightly observed, “the listener cannot miss the power behind all this massive quietness.” Program Notes © 2018 by D.T. Baker, except as noted



HALES (arr. Ruhland) The Beachcombers CAMPBELL (arr. Farnon) Symphonic Suite from Anne of Green Gables FARNON À la claire fontaine

KOFFMAN (arr. Wilkins) Swingin’ Shepherd Blues ESTACIO Borealis (1997 ESO commission) Borealis Wondrous Light

(3’)* (8’)* (6’)* (3’)* (16’)*


MACLELLAN (arr. Kymlicka) Snowbird VIGNEAULT (arr. Lapalme) Fantasie on Mon pays RATHBURN (ad. Waldin) The Railrodder HEMSWORTH (arr. Pellett) Log Driver’s Waltz program subject to change *indicates approximate performance duration



ARTIST BIOS LUCAS WALDIN is a dynamic and versatile conductor whose flair for audience engagement and passion for performance have delighted audiences across North America. Mr. Waldin joined the Edmonton Symphony Orchestra as Resident Conductor in 2009 and was subsequently appointed Artist in Residence and Community Ambassador (2012-2016), the first position of its kind in North America. He appeared with the orchestra over 150 times, collaborating with artists such as Angela Cheng, Jens Lindemann, Tommy Banks, Sergei Babayan, and Bill Eddins. He also conducted in Carnegie Hall during the ESO's participation in the 2012 Spring for Music festival. In recognition of his accomplishments, Lucas Waldin was awarded the Jean-Marie Beaudet Award in Orchestra Conducting by the Canada Council for the Arts and received a Citation Award from the City of Edmonton for outstanding achievements in arts and culture. With an ability to slide easily between styles and genres, Mr. Waldin has worked with a range of pop and crossover artists including Carly Rae Jepsen, Ben Folds, Chantal Kreviazuk, the Barenaked Ladies, and Buffy Sainte-Marie, in addition to conducting presentations such as Disney in Concert, Blue Planet Live, and Cirque de la Symphony. He has been a guest conductor for numerous orchestras in Canada and the U.S., including the Houston Symphony, the Grant Park Festival Orchestra, the Modesto Symphony, the Louisiana Philharmonic, the Vancouver Symphony, the National Arts Centre Orchestra, and the Toronto Symphony. A native of Toronto, Lucas received degrees in flute and conducting from the Cleveland Institute of Music. Mr. Waldin last appeared with the ESO in June 2018.

(4’)* (24’)* (3’)*

His "Science & Symphony" films have been presented in more than 350 concerts and lectures reaching a combined audience of more than 400,000 people in 18 countries. Orchestras that have presented these works include the Chicago Symphony Orchestra, Boston Pops, the San Francisco Symphony, New World Symphony, and the Orchestra Teatro Regio Torino. His first two films were named by the International Astronomical Union and UNESCO as Special Projects for the International Year of Astronomy (IYA2009). In 2012 his film Gustav Holst's The Planets was chosen for Ravinia Festival's One Score, One Chicago initiative. In 2014, his collaboration with composer Christopher Theofanidis, The Legend of the Northern Lights was premiered with Grant Park Orchestra to critical acclaim in front of 32,000 people. In 2016, his short film "Carol of the Lights" was commissioned by Keith Lockhart and Boston Pops and presented 33 times to almost 75,000 people. As an experimental photographer, Dr. Salgado has visited more than 30 scientific sites in places including the Atacama desert, the French Pyrenées, and the South African Karoo, and has contributed visuals to documentaries produced for the History, Discovery, BBC, and National Geographic channels. As a public speaker, he has given lectures in all seven continents, including a presentation at the Amundsen-Scott South Pole Station. This is Dr. Salgado’s debut with the ESO.

Described as an “old school jazz chanteuse with new school attitude,” MALLORY CHIPMAN is the rising star of Alberta jazz. Mallory blends traditional jazz and scat singing with poetic lyricism and storytelling to create a sound uniquely her own. While the catalogue of jazz standards is near and dear to her heart, Mallory also writes her own music and is an admired arranger. Her composition “Angular Symphony” won Jazz Recording of the Year at the Edmonton Music Awards, and both of her albums, Nocturnalize, and Rags and Feathers: A Tribute to Leonard Cohen have been celebrated with sold out shows and tours across Canada and throughout Europe. She is currently working on a new EP called Aquarian set for release in 2019. Mallory’s performance career is balanced by her faculty position at MacEwan University where she teaches voice. Ms. Chipman last appeared with the ESO in January 2018.

JOSÉ FRANCISCO SALGADO is an Emmy-nominated astronomer (BS in Physics, Univ. of Puerto Rico; PhD in Astronomy, Univ. of Michigan), experimental photographer, visual artist, and public speaker who creates multimedia works that communicate science in engaging ways. As the Executive Director and co-founder of KV 265, a non-profit science and arts education organization, Dr. Salgado collaborates with orchestras, composers, and musicians to present films that provoke curiosity and a sense of wonder about the Earth and the Universe.


PROGRAM NOTES Canada's Memory Lane CANADA’S CONTRIBUTIONS TO POPULAR CULTURE HAVE occasionally exploded on the international stage, but most of the time, it’s been quiet, homegrown, and more likely to have fringes or toques than sequins. Tonight’s program is proof of that, and it goes from coast to coast – more than once! Take our concert starter. The Beachcombers debuted on CBC television in 1972 and still stands as the third-longest-running English language Canadian TV series. It took place along the Pacific coast of British Columbia, and was a lighthearted look at the lovable scoundrels who made their living salvaging logs. Robert Hales wrote the theme music for the show – recognizable to at least two or three generations of Canadians who can still picture Nick, Relic, and the rest of the crew hanging out at Molly’s Reach. Jumping to the opposite coast, there is a movement afoot to determine if Canada’s Anne of Green Gables qualifies as the longest-running musical in history. What began as a made-for-TV musical production in 1956 has become an annual tradition, headlining the Charlottetown Festival every year since 1965. The music is by Norman Campbell (1924-2004), with a book by Don Harron (b. 1924), and lyrics by Harron, Campbell, Mavor Moore, and Elaine Campbell. We’ll hear a suite of music from the show, arranged by the esteemed Canadian-English composer Robert Farnon. Speaking of Robert Farnon (1917-2005), there are some in Farnon’s adopted nation of England who regard the Canadian-born composer as a creator of so-called “light music” of a quality to match Eric Coates, Haydn Wood, and Albert Ketèlbey. Having cut his musical teeth in the orchestra of fellow Canadian Percy Faith, Farnon’s stint in the Canadian Army during World War Two brought him to the U.K. It was there that Farnon gained experience as director of the Canadian Army Show. It was also there that Farnon discovered his talent for creating light music, and the British appetite for it led him to settle in England following the war. But Canadian sources of inspiration were ever in Farnon’s mind, and many of his works have their origins in his native land. À la claire fontaine is a fantasia built around the melody of the famous French folksong, regarded as almost the national song of New France when Québec was being settled. In the song, a young man who has been spurned by his love turns to a forest to find comfort. There, near a natural fountain, a nightingale sympathetic to his plight takes his message of love and apology, encased in a rose, to his beloved. The forest gently rouses to life as the work begins, and the familiar melody is given a sweetly lush string setting. The nightingale is never long out of sight – chirping in solo flute moments throughout. Farnon’s orchestration is sweeping and grand, building to a stirring climax about two-thirds of the way into this seven-minute work, and ebbing gently away as gently as it began. “It wasn’t meant to be a hit parade song and nobody expected it to be…. Jazz people would like it and jazz stations might play it. But that was all.” That’s how Moe Koffman (1928-2001) described his surprise when his jazz number, originally called Blues à la Canadiana and thrown together on his 1957 debut album, became an unexpected pop hit. Re-titled Swingin’ Shepherd Blues by the album’s producer, Morty Palitz, the song peaked at 23 on the Billboard Pop chart in 1958. Tonight’s orchestration was arranged by Rick Wilkins.



John Estacio (b. 1966) was the first-ever Composer in Residence for the Edmonton Symphony Orchestra, arriving to assume that post in September 1992. Of his work Borealis (a 1997 ESO commission), he writes: “The first time ever I experienced the glorious spectacle of the Aurora Borealis was a few short years ago when I arrived in Edmonton. I was completely captivated and awestruck by the magical sight; how could I not be inspired to compose a piece of music?! Having recently completed two serious compositions, it was the right time to revisit a style for unabashed lyrical melodies and joyous bright orchestral colours that Borealis would require.

many years, his never-changing expression – that of a man reluctantly accepting the unfairness of situations beyond his control – earned him the nickname, The Great Stone Face. By 1965, of course, the era of the silent film was long past. But the National Film Board of Canada brought Keaton back, for his final film role, in the silent-film short comedy, The Railrodder. Part showcase for Keaton’s affable hard-luck case character and part travelogue of Canada, the film features Keaton in a coast-to-coast journey by rail, with plenty of Canadian vistas on display. The film was co-written and directed by Gerald Potterton and Keaton himself – although his name never appears in the credits.

“The first movement is meant to be awe-invoking; the ephemeral nature of these celestial happenings is represented by the sudden colourful outbursts followed by movements of near silence. The movement begins with the strings playing a major chord and then gradually glissing (bending the pitch) until they all arrive at a different chord; for me, this musical gesture captures the essence of bending curtains of light and serves as a recurring motive throughout this movement. A solo flute introduces fragments of a melody; this melody is not heard in its entirety until later in the piece when it is performed by a solo bassoon and then an English horn. The strings perform the melody and the composition swells to its climax featuring the brass and the sound splashes provided by the percussion. The movement concludes with a unique auditory effect in the percussion section that again attempts to convey the enchanting and magical quality of the borealis.

Eminent Canadian composer Eldon Rathburn (1916-2008), who composed music for dozens of NFB films, wrote the lighthearted and apt music to accompany Keaton’s journey. Tonight’s conductor, former ESO Resident Conductor and Community Ambassador Lucas Waldin, has adapted the score for live orchestral performance as the film is shown on screen.

“For the second movement, I wanted something that would be a formidable contrast to the subtle nature of the first movement, a celebrated dance of celestial light. The music for Scherzo (meaning ‘playful’) has more of a fervent and animated energy to it being inspired by the notion of dancing celestial lights (title changed to Wondrous Light, 2004). A nimble melody introduced by the oboe is developed intervallically and rhythmically throughout the composition. Sudden swells in volume accompanied by quick glissandos were inspired by the swirling curtains of green light which twist and turn and vanish suddenly in the night sky. Towards the conclusion of this movement the nimble theme is transformed into a noble melody performed as a traditional chorale by the trombones, and then repeated by the full orchestra.” Legendary Canadian singer Anne Murray and songwriter Gene MacLellan (1938-1995) knew each other before Murray made MacLellan’s song Snowbird world-famous. They were both part of a CBC variety program called Singalong Jubilee. MacLellan joined the show in 1970, the same year Murray’s 1969 recording of the song became a huge hit. The song was inspired by MacLellan’s recollection of snow buntings on a beach in his native Prince Edward Island. Subsequent to Murray’s version, Snowbird was covered by many others, including Lynn Anderson, Bing Crosby, and Elvis Presley. Tonight’s instrumental arrangement is by Milan Kymlicka. Gilles Vigneault (b. 1928), an unapologetic Québec nationalist, is on record as saying that his now-legendary song Mon Pays (“My country”) is not political in nature. Yet since its first appearance – in the soundtrack of a 1966 National Film Board movie La neige a fondu sur la Manicouagan – has been adopted by sovereigntists as an anthem. In 2008, the ESO commissioned Claude Lapalme to arrange Mon Pays for a concert honouring the Francophonie in Alberta. His arrangement is a lush orchestral setting of the familiar tune, concluding with the song in a waltz tempo. Listen also for another Vigneault tune – the even more nationalist Le gens de mon pays (“The people of my country”) – rising above the original theme.

WELCOME TO THE WINSPEAR HOST FAMILY, FRIENDS, COLLEAGUES OR CLIENTS From guest lists of 9 to 1,900 Edmonton`s Winspear Centre is ready to create your next memorable event.

If there is one National Film Board short film which has earned classic status, it may well be the delightfully animated short, Log Driver’s Waltz. Here is how the NFB website describes the 1979 film: “Easily one of the most often-requested films in the NFB collection, this lighthearted animated short is based on the song The Log Driver’s Waltz by Wade Hemsworth (1916-2002). Kate and Anna McGarrigle (and the Mountain City Four) sing along to the tale of a young girl who loves to dance and chooses to marry a log driver over his more well-to-do competitors.” Once again, the popular film will be shown as the music is performed live.


Program Notes © 2018 by D.T. Baker, except as noted




VIENNA - CITY OF DREAMS Thursday, May 16 8:00 PM

Proud to Sponsor the Edmonton Symphony

Buster Keaton was one of the greatest silent film comedy stars. For






8:00 FRIDAY NOVEMBER 9 8:00 SATURDAY NOVEMBER 10 MÉLANIE LÉONARD, CONDUCTOR CASSIDY CATANZARO, VOCALIST KATRINA ROSE, VOCALIST SHAYNA STEELE, VOCALIST a Schirmer Theatrical/Greenberg Artists co-production Arrangements by Jeff Tyzik Casting by Laura Stanczyk, CSA

Pick Up the Pieces AVERAGE WHITE BAND I Love Rock ‘n’ Roll RICHARDS/SACHS




These Dreams PAGE/TAUPIN Best (Simply the Best) KNIGHT/CHAPMAN


I Feel the Earth Move KING

Dancing in the Street GAYE/HUNTER/STEVENSON

You’ve Got a Friend KING

So Far Away KING

Hit Me With Your Best Shot SCHWARTZ


What’s Love Got To Do With It BRITTEN/LYLE


Proud Mary FOGERTY

Freeway of Love COHEN/WALDEN Up on the Roof KING/GOFFIN Love is a Battlefield KNIGHT/CHAPMAN You Make Me Feel Like a Natural Woman KING/GOFFIN/WEXLER INTERMISSION 20 MINUTES

*program subject to change


MÉLANIE LÉONARD, born in Montréal and raised in Salaberry-de-Valleyfield, is the Music Director of the Sudbury Symphony Orchestra. Prior to her appointment in Sudbury, she held the positions of resident conductor (20092012) and associate conductor (20122013) with the Calgary Philharmonic Orchestra. She guest conducted at the Montréal International Jazz Festival and with several Canadian Orchestras, including the Toronto Symphony, Orchestre Métropolitain du Grand Montréal, I Musici, Symphony Nova Scotia, Regina Symphony, and Thunder Bay Symphony. She led the orchestra and choir in the studio recording of the music for Aura, a multidisciplinary show produced by Moment Factory. She has worked with renowned artists such as Herbie Hancock, Charles RichardHamelin, Isabel Bayrakdarian, Shauna Rolston, and actors John Rhys Davies (Lord of the Rings) and Garrett Wang (Star Trek). In 2018-2019, Mélanie has return engagements with the Toronto Symphony Orchestra, Symphony Nova Scotia, Calgary Philharmonic Orchestra, Regina Symphony Orchestra, Thunder Bay Symphony Orchestra, and Stratford Symphony Orchestra. She will be making her debut with Orchestre symphonique de Longueuil, Symphony New Brunswick, Niagara Symphony Orchestra, and Winnipeg Symphony Orchestra. Ms. Léonard completed her Doctorate in orchestral conducting at Université de Montréal under Maestri Paolo Bellomia and Jean-François Rivest. She holds a bachelor degree in Music Theory from the same university. She received her Masters of Music in Orchestra Conducting from the Hartt School of Music (Hartford, Connecticut), where she studied with Christopher Zimmerman. In 2012, she received the Jean-Marie Beaudet prize in orchestral conducting, awarded by the Canada Council for the Arts. Ms. Léonard last appeared with the ESO in October 2011.

A portion of the proceeds from productions of Women Rock will be donated to the Willie Mae Rock Camp for Girls (WMRC), a non-profit music and mentoring organization that empowers girls and women through music education, volunteerism, and activities that foster safer spaces, self-respect, leadership skills, creativity and collaboration. WMRC offers year-round and summer programs serving girls and gender non-binary youth ages 5-18. The Girls Rock! camp summer sessions (for ages 8-18), and Jumpstart summer rock camp (for ages 5-7), bring together intentionally diverse groups to explore identity and self-expression, ask questions of the world, build community, and act as leaders in their own process of musical creation. The non-profit also offers a three day Ladies Rock Camp intensive (for adults ages 19 and up), based upon their youth model. Year-round programming includes after school Rhythm & Voice workshops and Rock Out Today mini-camps in NYC public schools, as well as an Arts & Activism Fellowship which provides opportunities for teen women from low and moderate-income households to create their own podcasts, and explore the powerful combination of art and social justice.


CASSIDY CATANZARO, a Grammynominated songwriter, has sold nearly two million albums as an Atlantic Recordings artist. She has toured with the Rolling Stones and Aerosmith. Other appearances have included The Tonight Show, and a feature in The Gap’s collaboration with Archbishop Desmond TuTu’s Wisdom Project. She most recently starred in Los Angeles as "Tabitha" in Parallel Worlds. An accomplished songwriter as well, Demi Lovato, Rob Thomas, and her solo project, Cassidy and The Music have performed her songs. Cassidy is a proud champion of environmental and social causes. She’s thrilled to join Women of Rock. This is Ms. Catanzaro’s debut with the ESO.


KATRINA ROSE was a contestant in season 13 of The Voice on NBC. Broadway and Off-Broadwway credits include: Hairspray (Tracy Turnblad); A Night with Janis Joplin (u/s Janis, Joplinaire swing); RENT (female ensemble); Jerry Springer: The Opera (Shawntel,Eve); BloodSong of Love (Whore in Boots, etc.); Things To Ruin- The Songs of Joe Iconis (lead player). Her Regional/Tour shows have included A Night With Janis Joplin (Janis Alt./ Alley Theatre); RENT (Mimi Marquez/Surflight); GREASE! (Rizzo/Surflight); Legally Blonde (Enid Hoops/Ogunquit). New York Workshops/Concerts: FOUND! (Denise); Rock & Roll Refugee (Genya Ravan); Sleeping Beauty Wakes (Cheryl). She can be heard on recordings such as T2R: The Songs of Joe Iconis (Sh-K-Boom & Ghostlight Records); Rock & Roll Jamboree (Sh-K-Boom & Ghostlight Records); Kerrigan & Lowdermilk LIVE (Yellow Sound Label). Check out her new Kozmic Blues (The Voice Performance), available on iTunes. Other recordings available on iTunes and Amazon. "Thanks to my manager, Rashad V. Chambers at Esquire Entertainment. For J, FLY." Twitter/IG: @KatrinaRoseRock. AEA. This is Ms. Rose’s debut with the ESO.

On stage and in the studio, New York City-based vocalist and songwriter SHAYNA STEELE proves she is a vocal force to be reckoned with. After appearing on Broadway in Rent, Jesus Christ Superstar, and the original cast of Hairspray, she started writing music with partner David Cook in 2002, collaborating on Steele's eponymous debut EP in 2004. The album's breakout single "High Yella" achieved the attention she needed to raise her solo profile. She and/or her band have since shared the stage with luminaries Ledisi, opening for George Clinton and the Sugar Hill Gang, a featured singer with Bjorkestra and Grammy winning conducter/composer/ trumpeter Dave Douglas, and was featured at numerous festivals with two-time Grammy winner Snarky Puppy. Shayna is a vocalist with the Grammy- nominated Broadway Inspirational Voices, and has worked as a sideman with Lizz Wright, Bette Midler, Natasha Bedingfield, John Legend, Matthew Morrison, Yeah Yeah Yeahs, Queen Latifah, Dolly Parton, Rihanna, and Kelly Clarkson. Her voice remains in high demand with vocals on Hairspray (movie soundtrack), The Bourne Legacy, Sex and the City 2, NBC's Smash, 2008 Summer Olympic highlights on BBC, The Shanghai Restoration Project, and HBO's The Sopranos. In December, Shayna reprised her role with the “Dynamites” in NBC’s Hairspray Live. Shayna’s sophomore album, RISE (Ropeadope Records) has received rave reviews from both critics and fans alike and reached #4 on the U.S. iTunes jazz charts and #2 on the Italian iTunes Jazz Charts. Shayna is currently in the studio finishing up her third solo album with producer David Cook set to release in early 2018. Please visit for more information. This is Ms. Steele’s debut with the ESO.





J. STRAUSS II An der schönen blauen Donau, Op.314 “On the Beautiful Blue Danube” BRAHMS Violin Concerto in D Major, Op.77




SCHUMANN Symphony No. 3 in E-flat Major, Op.97 “Rhenish”


program subject to change *indicates approximate performance duration

Photo: Mattieu Gauchet


The Venezuelan-born, Spanish conductor JOSÉ LUIS GOMEZ catapulted to international attention when he won First Prize at the International Sir Georg Solti Conductor’s Competition in Frankfurt in September 2010, securing a sensational and rare unanimous decision from the jury. Gomez’ electrifying energy, talent and creativity earned him immediate acclaim from the Frankfurt Radio Symphony Orchestra where he was appointed to the position of Assistant Conductor, a post created especially for him by Paavo Jarvi and the orchestra. Mr. Gomez started his musical career as a violinist, and by the age of 11 he was Concertmaster of the Youth Orchestra of Zulia State – part of El Sistema de Orquestas Juveniles de Venezuela. He graduated in music and violin from the Manhattan School of Music in New York. Deciding to follow his dream to have more creative input and influence on musical direction he took conducting lessons. After just six months of studying conducting he went on to win the Georg Solti competition. The 16/17 season marked Mr. Gomez’ first as Musical Director with the Tucson Symphony Orchestra. Recent highlights include his Carnegie Hall debut with YPhil Youth International Philharmonic, his debut at the Moscow State Conservatory conducting for the widely televised New Year’s Eve concert, and the MGD CD release of the Nielson, Françaix, and Debussy clarinet concertos. Other memorable performances included debuts with Royal Liverpool and Rochester Philharmonic, Vancouver, Pasadena, New Zealand, Elgin Symphony and the National Taiwan Symphony Orchestras, Sinfonia Varsovia, Orquesta Sinfonica de Castilla y Leon, Orquestra Sinfonica Brasileira and SWR Radio Sinfonieorchester Stuttgart. Mr. Gomez last conducted the ESO in January 2018.

Praised by the Chicago Tribune as "a first-rate artist of real musical command, vitality, brilliance and intensity", violinist KAREN GOMYO continues to captivate audiences worldwide. 2018-19 season highlights include debuts with the Philharmonia Orchestra in London, the Royal Northern Sinfonia in England with Karina Canellakis, as well as returns to the San Francisco Symphony, Houston Symphony, Oregon Symphony, Minnesota Orchestra, St. Louis Symphony, Vancouver Symphony, Dallas Symphony, and to the WDR Sinfonieorchester Köln in Germany. Strongly committed to contemporary works, Ms. Gomyo performed the North American premiere of Matthias Pintscher’s Concerto No. 2 “Mar'eh” with the composer conducting, as well as Peteris Vasks' Vox Amoris with the Lapland Chamber Orchestra, and has collaborated in chamber music compositions with Jörg Widmann, Olli Mustonen, and Sofia Gubaidulina. Karen Gomyo has worked with the New York Philharmonic, Cleveland Orchestra, San Francisco Symphony, Philadelphia Orchestra, the City of Birmingham Symphony, Vienna Chamber Orchestra, Danish National Symphony, Bamberg Symphony, Stuttgart Radio Symphony, Sydney Symphony, and Tokyo Symphony, among many others, with such conductors as Sir Andrew Davis, Jaap van Zweden, Esa-Pekka Salonen, Leonard Slatkin, Neeme Järvi, David Robertson, David Zinman, Yannick Nézet-Séguin, Pinchas Zukerman, Vasily Petrenko, Jakub Hruša, Cristian Macaleru, Thomas Søndergård, and Mark Wigglesworth. She participated as violinist, host, and narrator in a documentary film produced by NHK Japan about Antonio Stradivarius called The Mysteries of the Supreme Violin, which was broadcast worldwide on NHK WORLD. Karen Gomyo plays on the “Aurora, exFoulis” Stradivarius violin of 1703 that was bought for her exclusive use by a private sponsor. Ms. Gomyo last appeared with the ESO in March 2015.

PROGRAM NOTES An der schönen blauen Donau, Op.314 “On the Beautiful Blue Danube” Johann Strauss II (b. Vienna, 1825 / d. Vienna, 1899)



With D.T. Baker Saturday, 7:00 PM Upper Circle Lobby (Third Level)


With José-Luis Gomez and Karen Gomyo Friday, Post-performance Upper Circle Lobby (Third Level)


First performed: February 13, 1867 in Vienna Last ESO performance: Sobeys Symphony Under the Sky 2007

ASIDE FROM THE REVOLUTIONARY RICHARD WAGNER, the reigning kings of music in late 19th-century Vienna were Johann Strauss II and Johannes Brahms. Strauss was The Waltz King, the great entertainer, the man whose musical empire had the entire city dancing. Brahms was the great, august guardian of German classical tradition. And yet the two were friends, and admired each other’s work. The famous story tells of the party at which Strauss’ daughter Alice asked the great Brahms for his autograph. He took her fan, and upon it sketched out the opening bars of one of her father’s works, under which


he wrote, “Unfortunately, not by yours truly, Johannes Brahms.” The work he excerpted was The Blue Danube Waltz, which was published with the German title An der schönen blauen Donau (“On the Beautiful Blue Danube”). This most celebrated of the hundreds of waltzes composed by Strauss begins with an extended slow introduction: shimmering strings over which a horn slowly presents one of the main themes to be heard in the waltz proper. Once the actual dance begins, the famous melodies flow out like the river for which it is named, in a perfectly scaled and proportioned orchestration that was ever Strauss’ strength. At the annual New Year’s Day concert held in Vienna to this day, The Blue Danube is always presented as an encore, and it is the only work in the canon at which it is expected to have its introductory notes interrupted by such applause that the work must be stopped and begun again.

Violin Concerto in D Major, Op.77 Johannes Brahms (b. Hamburg, 1833 / d. Vienna, 1897) First performed: January 1, 1879 in Leipzig Last ESO performance: March 2014

TWO VIOLINISTS PLAYED MAJOR ROLES IN THE CAREER OF Johannes Brahms. A major boost to the start of his life as a public artist came from Eduard Reményi (1828-1898), a violinist who made something of a career as a touring virtuoso, specializing in a crowdpleasing faux gypsy style. Beginning in 1853, Reményi took Brahms on tour with him as accompanist, and it was certainly during this time that Brahms got the inspiration for the famous Hungarian Dances which proved quite lucrative for the blossoming composer. And it was Reményi who introduced Brahms to another Hungarian expatriate – and the other violinist so central to Brahms’ art – Joseph Joachim. In Joachim (1831-1907), Brahms found a kindred artistic spirit, and probably his best friend (other than Clara Schumann), and it was for him that Brahms composed his only Violin Concerto. The process of the work’s composition was a taxing one for both men; Brahms constantly cajoled Joachim for advice on writing the violin part – and would then unceremoniously ignore nearly every suggestion Joachim made. Joachim demonstrated amazing patience and restraint, as he knew that his patience would be rewarded with a masterpiece. The work’s premiere in Leipzig, with Brahms conducting for his friend, met with a cool response, so Brahms declined to conduct the Viennese premiere. That was a pity, as the work was rapturously received there. It took several years for the concerto to take its place as the third great pillar in the German romantic violin concerto pantheon (alongside Beethoven’s and Mendelssohn’s), however. Even the conductor of the Viennese premiere, Josef Hellmesberger, famously described the work as, “a concerto not for, but against the violin.” As ever with his concertos, Brahms assigns the orchestra and violin equal importance in the Violin Concerto. The orchestral introduction is long, with several important musical ideas presented in an opening filled with passion and dignity. When the violin enters, while it is certainly to the fore, it is often accompanist to ideas in the orchestra as much as it is the instrument presenting the main melodic material. This is a lyrical movement (and longer than the next two combined), but its gentle melodies are often interrupted by disquieting interjections and unsettled tonalities. There are moments of grandeur amid the violin’s intense flights with and around the lyrical main ideas, with particular emphasis on the violin’s upper register (the better to be heard above


the orchestra – a factor of which Brahms was particularly conscious). Brahms relied on Joachim (who was also a composer) to fashion his own cadenza. The second movement is a set of variations on a theme first presented by – the oboe? “Does anyone imagine I’m going to stand on the stage, violin in hand, and listen to the oboe playing the only tune?” huffed no less than the great Sarasate as to why he did not take up Brahms’ concerto. The violin is key to the movement, however, presenting embellishments on the oboe’s song. In the final movement – not quite a rondo, not quite sonata form – Brahms gives a bit of a nod, perhaps, to his old friend Reményi, with a gypsy-tinged dance in which both orchestra and soloist take some rough and tumble delight. Brahms labeled the movement Allegro giocoso (“happy and jocular”), though it was Joachim who pressed him to add ma non troppo vivace (“but not too lively”), adding cursively that without that qualifier, it is “otherwise difficult.”

Symphony No. 3 in E-flat Major, Op.97 Rhenish” Robert Schumann (b. Zwickau, 1810 / d. Endenich, 1856) First performance: February 6, 1851 in Düsseldorf Last ESO performance: March 2005

EVEN IN THE DARK CLOUD THAT WAS SO MUCH A PART OF the life of Robert Schumann, there were silver linings. His sunny Third Symphony reflects that as no other orchestral work of his does. In 1850, Schumann, his wife Clara and their children moved to Düsseldorf, where he was to become conductor of the orchestra. The boat trips

down the Rhine near the town greatly inspired Schumann, particularly the view of the Gothic cathedral in Cologne. It was these happy vistas which provided Schumann the inspiration for the symphony, which premiered in February the following year. The work is cast in the unusual, but not unique, template of five movements, and is the only one of Schumann’s symphonies that does not begin with an introduction. Instead, the first main theme bursts from the orchestra as if it cannot wait to be heard, and proceeds for a full 90 measures before it steps aside to allow a second theme to enter. This entrance may be brief, but both themes are given equal weight in the development. As the movement nears its close, the Recapitulation brings back the opening theme in the four horns – a splendid moment. The second movement, the symphony’s Scherzo, has a folk-like feel in its Ländler tempo and rustic nature. The sweet song of the third movement calls to mind Schumann’s more tender work for solo piano in its simplicity and charm. The fourth movement is cast in the tonic minor, and was initially given an inscription by Schumann reading, “in the manner of an accompaniment to a solemn ceremony.” It is both a tone poem in miniature and a rich polyphonic religiously-inspired movement, one which noted scholar Donald Tovey declared, “one of the finest examples of ecclesiastical polyphony since Bach.” The movement’s inspiration was the solemn occasion of the elevation of Cardinal Archbishop Geissel in the very Cologne Cathedral Schumann so admired. This dramatic heart of the entire symphony might make the final movement seem anti-climactic, but Schumann instead takes us from the cathedral into a bright city festival, full of bustle and cheer. There are also sly references to music from the preceding movements, bringing this happy work to an appropriately cheerful conclusion. Program notes © 2018 by D.T. Baker

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RICK WORRALL is a Canadian recording Artist with five albums to his credit. He originally signed to Attic Records in 1978. In the late 80s he and his brother Steve were signed to A&M and in 1991 their self-titled album Worrall was released. In 2000 he teamed with Juno award winning producer Lance Anderson to write and record “When Love Is Right,” a blues project that featured some of the best known Bluesmen including, Domenic Troiano, Colin Linden, and Richie Hayward.



Since making Kelowna his home in 2007, Rick has explored musical theatre and was cast in a number of Kelowna Actors Studio productions, including, Les Misérables as Javert, and Fiddler on the Roof as Tevye. A love of John Denver’s music and knowing how well it would lend to symphony led him to Lee Holdridge, Mr. Denver’s original arranger/conductor, and a friendship began which led to the creation of the concert series, Rocky Mountain High - An Evening of John Denver.

Known for his “fresh-voiced” and “technically refined” singing, tenor ROBERT CLARK has been featured in Opera Canada as one of its Artists On Stage. In 2011, Robert made his main-stage debut as Normanno in Lucia di Lammermoor with Calgary Opera. Recent and upcoming engagements include The Witch in Hansel und Gretel (Edmonton Opera), Young Servant in Elektra (Edmonton Opera) Kronprinz in Silent Night (Calgary Opera), and Arturo in Lucia di Lammermoor (Edmonton Opera) He is also the official anthem singer for the Edmonton Oilers. Robert is a Sessional Voice Instructor at Concordia University, a handbell ringer for the Robertson-Wesley Ringers, a Personal Trainer and Kickboxing Instructor, and a father to four beautiful children. While Mr. Clark has sung for Edmonton Opera, with the ESO accompanying, this is his debut as a soloist with the ESO.

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

The following songs may be performed at tonight's concert (listed in alphabetical order): Back Home Again Calypso Country Roads Eagle and the Hawk Farewell Andromeda Fly Away I'd Rather Be a Cowboy Leaving on a Jet Plane Matthew Per Te Perhaps Love Pickin' the Sun Down Poems, Prayers and Promises Rhymes and Reasons Rocky Mountain High Starwood in Aspen Sunshine on My Shoulders Sweet Surrender Thank God I'm a Country Boy There will be one 20-MINUTE INTERMISSION in tonight’s concert.


ARTIST BIOS One of Hollywood’s most honored composers/arrangers/conductors, LEE HOLDRIDGE has lent his talents to countless feature films, television movies, mini-series, series and specials. Over the course of his distinguished career, Mr. Holdridge has been nominated 19 times for an Emmy Award, winning seven. He has also won an ASCAP Film and Television Music Award, received three Cable Ace Award Nominations, and has been nominated twice for a Grammy Award, winning both times for Johnathan Livingston Seagull. Among Lee Holdridge’s many credits are the features Splash, Mr. Mom, The Secret of Nimh 2, Micki & Maude, The Tuskegee Airmen; for HBO Films; and, working with Brian May and Stevie Wonder, the songs for the motion picture The Adventures of Pinocchio. His innumerable television credits include the long running series Moonlighting and the complete eight-hour remake of East of Eden. He also did the score for Into the Arms of Strangers: Stories of The Kindertransport, a documentary feature distributed by Warner Bros. In addition to his work for the screen, Mr. Holdridge has written, arranged, and conducted for many major recording artists including Plácido Domingo, Barbara Streisand, Stevie Wonder, Neil Diamond, John Denver, Dionne Warwick, Diana Ross, Natalie Cole, and many more.

CARA LIANNE MCLEOD is recognized as a vibrant and generous artist both on and off stage. Ms. McLeod made her operatic debut in Così fan tutte, and most recently performed the role of Donna Elvira in Don Giovanni with Edmonton Opera, with whom she made her company debut in the role of High Priestess in Aïda, and sang the role of Berta in Il Barbiere di Siviglia. Other credits include Nedda in I Pagliacci, Contessa in Le nozze di Figaro, and Micaëla in Carmen. In recital and concert, Ms. McLeod has appeared with Alberta Symphony Orchestra, Vancouver Island Opera, Red Deer Symphony, Calgary Concert Opera Company, and Mercury Opera. She is thrilled to be singing in this evening of John Denver, and dedicates her performance to her mom and dad.

UPCOMING ESO SPECIALS: CIRQUE DE LA SYMPHONIE Friday, February 15 7:00 PM Saturday, February 16 2:30 PM & 7:00 PM Sunday, February 17 2:30 PM

THE MUSIC OF STAR TREK Tuesday, March 12 7:30 PM Wednesday, March 13 7:30 PM

STEWART COPELAND'S BEN-HUR IN CONCERT - A TALE OF CHRIST Friday, May 24 7:30 PM Saturday, May 25 7:30 PM

While Ms. McLeod has sung for Edmonton Opera, with the ESO accompanying, this is her debut as a soloist with the ESO.

This is Mr. Holdridge’s debut with the ESO







J. STRAUSS II Tales from the Vienna Woods, Op. 325


J. STRAUSS II Die Fledermaus: “Ich lade gern mir Gäste ein” (3’)* R. STRAUSS Ariadne auf Naxos: “Seien wir wieder gut!” BRAHMS Variations on a Theme by Haydn, Op.56a INTERMISSION 20 MINUTES BACH-WEBERN Fuga (Ricercata) à 6 voci (from The Musical Offering, BWV 1079)

(4’)* (18’)*


BACH Orchestral Suite No. 2 in B minor, BWV 1067 (11’)* (excerpts)

1. Ouverture 2. Rondeau 7. Badinerie

BACH Christmas Oratorio, BWV 248

program subject to change *indicates approximate performance duration


Ms. Daniel last appeared with the ESO in December 2017.

PROGRAM NOTES Tales from the Vienna Woods, Op. 325


Johann Strauss II (b. Vienna, 1825 / d. Vienna, 1899)

Recitative: “Nun wird mein liebster Brautigam” Aria: “Bereite dich, Zion, mit zärtlichen Trieben” Sinfonia: Hirtenmusik Aria: “Schlafe, mein Liebster, geniesse der Ruh”

BACH Orchestral Suite No. 4 in D Major, BWV 1069: Réjouissance

Catherine sang the role of Carmen in La Tragédie de Carmen and Matron Pearl Fraser in the Canadian premiere of Llandovery Castle in collaboration with Stephanie Martin and the Bicycle Opera Project. Upcoming performances include the alto soloist in Messiah with the Winnipeg Symphony, singing Emelda in Opéra de Montréal’s production of Champion, and returning to Knoxville to sing Santuzza in their production of Cavalleria Rusticana.

For program notes on the works by J.S. Bach performed in the second half of tonight’s program, please see page 30.


3. 4. 10. 19.

Time of War.

From Edmonton, CATHERINE DANIEL studied voice with coloratura soprano Tracy Dahl at the University of Manitoba. She was a member of the Atelier Lyqrique de l’Opéra de Montréal, and later became a member of the Opera Studio Nederlands. Career highlights include debuting Klytemnestra in Edmonton Opera’s production of Elektra, singing Elisabetta in Knoxville Opera’s production of Donizetti’s Maria Stuarda, and debuting at Carnegie Hall as a soloist in Haydyn’s Mass in


JOHANN STRAUSS II IS THE COMPOSER WE KNOW AS THE Waltz King, yet his skill was hardly limited to dances in three-quarter time. “There is a master of the orchestra,” said no less than Johannes Brahms, “so great a master that one never fails to hear a single note of any instrument.” The woods made memorably famous by the Strauss in his waltz Tales from the Vienna Woods had already been celebrated in another famous work. These are the same woods that Beethoven had found so inspiring when he created his “Pastoral” Symphony in 1808. Strauss’ waltz dates from 60 years later. After a dreamy opening of horn calls and birdsongs in the woodwinds, the majestic waltz swirls and sways – the very image of Viennese gentility and gaiety. Like many Strauss waltzes, Tales from the Vienna Woods weaves together several contrasting and complementary melodic and rhythmic themes into a richly orchestrated pastiche.


Die Fledermaus: “Ich lade gern mir Gäste ein” J. Strauss II (see above) WHILE NOT AS PROLIFIC A COMPOSER FOR THE STAGE AS FOR the dance floor, Johann Strauss II found success with his romantic comic operetta Die Fledermaus (“The Bat”) right from its 1874 premiere. Its charming story is a variation on the supposedly lower-class servants getting the upper hand on their betters, complete with disguises, mistaken identities, and flirtation – all of which are resolved by the end. “Ich lade gern mir Gäste ein” (“I love to invite my friends”) is sung by the Prince – a “trouser role,” in which a female singer sings the part of a male character – at the start of the grand ball at which the many comic machinations will be revealed.

Ariadne auf Naxos: “Seien wir wieder gut!” Richard Strauss (b. Munich, 1864 / d. Garmisch-Partenkirchen, 1949) RICHARD STRAUSS WAS NOT RELATED TO THE FAMOUS Strauss family of Vienna, but was an important and influential composer in his own way. He bridged the late Romantic era of the latter 19th century, and helped usher in the “new music” of the 20th. His earlier stage works were the very latest thing in daring modernism (his operas Salome and Elektra, for example), while his orchestral works concentrated mainly in expanding the possibilities of the relatively new genre of the tone poem. Ariadne auf Naxos (1912, revised 1916) started life as a companion piece to a play. Hugo von Hofmannsthal, who wrote the libretti for several Strauss operas, had adapted Molière’s play Le bourgeois gentilhomme, for which Strauss wrote incidental music. The idea was that the play would be followed by the opera. But that idea was far too expensive, and made for too long an evening for it to be practical. After a few attempts in this guise, performances of the opera were given a prologue rather than a full play beforehand. The opera itself is a comic meditation on the merits of high art versus low art – and indeed slapstick humour is accompanied by some of Strauss’ most beautiful music. The aria “Seien wir wieder gut!” (“Let’s make up and be friends”) is sung by The Composer (another trouser role), who is trying to reconcile what he believes is “holy music” with the nonsense on stage.

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 follows 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. Program notes © 2018 by D.T. Baker


BEETHOVEN & TCHAIKOVSKY Thursday, March 21 7:30 PM

Variations on a Theme by Haydn, Op.56a Johannes Brahms (b. Hamburg, 1833 / d. Vienna, 1897) EVERYONE 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




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BACH-WEBERN Fuga (Ricercata) à 6 voci


BACH Cantata No. 110: “Wachet auf, ihr Adern und ihr Glieder”

GESUALDO Moro, lasso, al mio duolo (arr. Prior)


BACH Christmas Oratorio, BWV 248 (excerpts)

(from The Musical Offering, BWV 1079)

TALLIS If ye love me (arr. Prior)

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BACH The Well-Tempered Clavier, Book I, BWV 846: Prelude in C Major (arr. Prior)

(3')* (3')*

BACH Orchestral Suite No. 2 in B minor, BWV 1067 (19')* Ouverture Rondeau Sarabande Bourrée I and II Polonaise Menuet Badinerie

3. 4. 8. 10. 18. 19. 29.


(33')* Recitative: “Nun wird mein liebster Brautigam” Aria: “Bereite dich, Zion, mit zärtlichen Trieben” Aria: “Großer Herr, o starker König” Sinfonia: Hirtenmusik Recitative: “So geht den hin, ihr Hirten, geht” Aria: “Schlafe, mein Liebster, geniesse der Ruh” Duet: “Herr, dein Mitleid, dein Erbarmen”

BACH Orchestral Suite No. 4 in D Major, BWV 1069: Réjouissance


INTERMISSION 20 MINUTES program subject to change *indicates approximate performance duration

SYMPHONY PRELUDE, Saturday 7 pm, Upper D.T. Baker Circle (Third Level) Lobby With with D.T. Baker



Saturday, 7:00 PM Upper Circle Lobby (Third Level)


1992-1998. She is on faculty at King's University College and maintains a private studio. She is married to ESO violinist Murray Vaasjo. They have one son - and a number of cats.

ARTIST BIOS The Hailed by the Globe and Mail as “a brilliant performer,” “with the kind of magnetism that comes from combining realism with exhaustive extremes,” baritone GEOFFREY SIRETT won the 2018 Dora Award in Outstanding Opera Performance by a male actor for his leading role of Akakiy in The Overcoat (Canadian Stage co-production with Tapestry Opera and Vanocuver Opera). The 2017-18 season included the role of Captain Corcoran in Edmonton Opera’s H.M.S. Pinafore, and his debut with the Canadian Opera Company in Arabella as Welko. In the summer, he was with Music & Beyond for Dido & Aeneas, and with Kelowna Opera in Carmen as Escamillo. In 2016-2017, he appeared as Oreste in Elektra and Ping in Turandot for Edmonton Opera. Mr. Sirett is a graduate of the University of Toronto where he completed a Master’s in Music (Opera). He is the winner of awards and prizes from the Canadian Conservatory Vocal Competition, Ottawa Choral Society Competition, Czech and Slovak International Voice Competition, Metropolitan Opera National Council Auditions, and he received second place and the “Best Performance of a Canadian Work” Award in the Orchestre symphonique de Montréal Competition. He is a five-time grant recipient of the Jacqueline Desmarais Foundation, and winner of the Vancouver Opera Guild Career Development Grant. Winner of the Norcop Song Prize, his first solo album Vagabond is a disc devoted to the works of Vaughan Williams, Butterworth, and Britten as well as premiere recordings of Canadian composers Ivan Barbotin and Jocelyn Morlock. Additional recordings include Airline Icarus (Naxos: opera by Brian Current), The Heart’s Refuge (Analekta: Theatre of Early Music) and The Vale of Tears (Analekta: Theatre of Early Music). Mr. Sirett last appeared with the ESO in February 2017.

Originally from the Philadelphia area, ELIZABETH KOCH has been Principal Flute with the ESO since 1987. She studied at the New School of Music in Philadelphia, the Cleveland Institute of Music and the Blossom Festival School (summer home of the Cleveland Orchestra). Her teachers include David Cramer (Assistant Principal Flute, Philadelphia Orchestra), Jeffrey Khaner (Principal Flute, Philadelphia Orchestra) and Adeline Tomasone (Principal Flute, Philadelphia Opera). In the summer of 1987, Elizabeth was the only American flutist to play in the Schleswig-Holstein Musik Festival Orkester under Leonard Bernstein. Since arriving in Edmonton, Elizabeth Koch has been in demand as a soloist with the ESO, the Alberta Baroque Ensemble, ECHO and the Arden Ensemble. Elizabeth was a founding member of the woodwind trio Take 3 which was heard regularly on CBC Radio from


Ms. Koch's last appearance as a soloist with the ESO was in May 2017.


high point, musically, is a Ricercar – a six-voice fugue. Webern orchestrated the work (November 1934 through January 1935) in such a way that the music seems to be passed round the small orchestra. A line or phrase begun by one instrument or group is completed by another, giving the work an undulating, constantly shifting sense of motion. “I offer proof that I have understood your former method of arranging Bach compositions,” Webern wrote Schoenberg.

Das wohltemperierte Klavier

Program notes do not follow exact performance order. Renaissance works for voice transcribed for orchestra by Alexander Prior Carlo Gesualdo (c.1560-1613) was an Italian prince, who took his study of music very seriously in spite of his noble rank, and was a master of both the lute, and the madrigal (a composition for several voice parts in which polyphony is a prominent feature). Thomas Tallis (1505-1585) was an Englishman who managed to survive the English Reformation of Henry VIII and remain a Catholic, while still composing music for the royal court and its church. The madrigal “Moro, lasso, al mio duolo” is from Gesualdo’s Sixth Book of Madrigals (he published seven during his life), and, as many of his works of this kind do, plays up the potent metaphor of love as death, and ecstasy as agony. Four years after his first marriage, Gesualdo murdered his wife and her lover, and it is felt that the guilt haunted him ever after, which is why his works are rife with this imagery. Tallis’ song “If ye love me” is in four parts for male voices (two countertenors, tenor, and bass), based on William Tyndale’s 1539 translation of the Bible; specifically from the Gospel of John, in which Jesus admonishes his followers to keep His commandments, thus earning Jesus’ intercession to the Father on their behalf. Alexander Prior has orchestrated these two brief vocal works for modern symphony orchestra.

Music of Johann Sebastian Bach (b. Eisenach, Saxony, 1685 / d. Leipzig, 1750)

Fuga (Ricercata) à 6 voci (from The Musical Offering, BWV 1079; arr. Webern) FOR ALL THEIR BARRIER-BREAKING EXPLORATIONS OF HARMONY and tonal relationships, the composers of the Second Viennese School (Schoenberg, Berg, Webern et al) often used conventional, even dated forms with which to work out their revolutionary concepts. Twelve-tone works would be written as Passacaglias or in other fairly rigidly-defined templates from the Baroque and even before; Schoenberg, the father of the twelve-tone school, regarded himself as an adherent of tradition in many respects. So it’s probably no surprise that one of his most famous students, Anton Webern, would choose to arrange an actual Baroque work for modern orchestra. Bach’s The Musical Offering was written as a tribute to the musically enlightened King Frederick II of Prussia, and is a collection of fugues, canons, and other polyphonic forms, all based on a theme composed by the King. Bach dedicated the work to Frederick, and its


(“The Well-Tempered Clavier”):

Book I, BWV 846: Prelude in C Major (arr. Prior) AS MASTER OF ALL MUSICAL MATTERS FOR ST. THOMAS’ Church in Leipzig, Johann Sebastian Bach would have been teacher to many students. In addition, his musical curiosity bordered on the scientific, and he created several works which thoroughly explored particular aspects of composition (his last work, left incomplete at his death, explored every aspect of fugal writing). He wrote two books titled The Well-Tempered Clavier, each containing a Prelude and a Fugue in each of the 12 major and 12 minor keys of what was called circular temperament, or well-tempered tuning. Written originally for keyboard (“clavier” was kind of a catch-all word for keyboard instruments), tonight we will hear the Prelude which opens the entire set, from Book I, arranged for orchestra by Alexander Prior.

Orchestral Suite No. 2 in B minor, BWV 1067 Orchestral Suite No. 4 in D Major, BWV 1069: Réjouissance “SUITES,” AS THEY WERE UNDERSTOOD BY J.S. BACH, WERE different than our modern conception. The standard format featured a long first movement – an “ouverture” (based on French models, Bach often gave his suite movements French spellings) – which itself was made up, as often as not, by a slow introduction followed by a fugue, followed by a repeat of the introductory section. These opening movements were often almost as long as all the other movements which followed it combined. And what followed it was a series of French court dances and airs. It’s likely Bach wrote more than the four orchestral suites which we know today, but these four are all that survive. Like many of his purely orchestral works, it is believed that two or three of the suites (nos. 1 & 4, and possibly 3) belong to that singular period in Bach’s career when he was freed from church music obligations while employed at the court of the Duke of Anhalt-Cöthen beginning in 1717. The second (and third?) suites are believed to have been written for the collection of amateur and semi-professional musicians who gathered regularly to make music at a Leipzig coffee house during Bach’s time as Music Director at the St. Thomas Church there. The Second Suite, which we will hear in its entirety, features a solo flute as a dominant instrument, and concludes with the famous Badinerie – a whirling, virtuosic showcase for the flute. It is the only one of the four extant suites in a minor key, though its overall mood is still light and airy. It has been speculated that the flutist for whom Bach wrote the challenging music was a musician from the court at Dresden. Tonight’s concert concludes with the final movement from Suite No. 4, the celebratory nature of which can be guessed at its title: Réjouissance.


Cantata No. 110: “Wachet auf, ihr Adern und ihr Glieder” CANTATAS, GENERALLY, ARE MULTI-MOVEMENT WORKS OF moderate length, for voice or voices with instrumental accompaniment, designed to be part of an occasion, not necessarily sacred. Bach’s cantatas were composed as part of Lutheran church services, and the hundreds he wrote were tailored to Sundays or other church days in the calendar. All this is important to know, not only to introduce the excerpt from Cantata No. 110: Unser Mund sei voll Lachens (“Then our mouth was filled with laughter”), but also in discussing the Christmas Oratorio (see below). This cantata was written for Christmas Day 1725, and in fact, Bach borrowed music from his Orchestral Suite No. 4 (see above) for some of its music. The use of trumpets and oboes in the orchestration is also similar to the suite, and adds to the joyous nature of the music for the festive season. The aria “Wachet auf, ihr Adern und ihr Glieder” (“Awaken, veins and limbs”) is a call for one’s person to join with the angels in celebration of Jesus’ birth. It is the cantata’s penultimate movement, and is scored for a baritone soloist and orchestra.

Christmas Oratorio, BWV 248: excerpts THE CHRISTMAS ORATORIO IS NOT, IN FACT, AN ORATORIO AT all, in the sense of it being a single work which dramatizes in any way a particular subject. It was based, in large part, on music Bach had already written, and was adapted for a text by an unknown librettist for the Christmas season. In its entirety, the Christmas Oratorio is in six parts, each part intended to be performed on specific feast days during the Christmas season: Part One for Christmas Day (the birth of Jesus); Part Two for December 26 (the announcement of Jesus’ birth to the shepherds); Part Three for December 27 (the shepherds’ worship of the infant); Part Four for New Year’s Day (the circumcision/naming of Jesus); Part Five for the first Sunday after New Year’s (the journey of the Magi); and Part Six (Epiphany Sunday) for, logically enough, the Epiphany. Tonight, we will hear excerpts from the first three parts. The recitative and aria, “Nun wird mein liebster Brautigam” and “Bereite dich, Zion, mit zartlichen Trieben” are for alto solo, and use the metaphor of the coming of Jesus as the arrival of a bridegroom, impatiently awaited for. The baritone aria “Grosser Herr, o starker König” is also from Part One, making reference to the humble manger where the King of Kings did first sleep. Part Two’s focus on the shepherds to whom the angels made known the birth of Christ begins with the Hirtenmusik, the “shepherds’ pastorale.” Such tender music was often a feature of Christmas music in the Baroque (the famous pastorale from Corelli’s Christmas Concerto, for example). Following that is a recitative for baritone, “So geht den hin, ihr Hirten, geht,” as an angel urges the shepherds to seek out the newborn Jesus; and an alto aria, “Schlafe, mein Liebster, geniesse der Ruh,” a tender lullaby. The lone excerpt from Part Three is a duet for alto and baritone, a prayer that Christ’s arrival might awaken the faithful to renewed reverence. Program notes © 2018 by D.T. Baker



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BOARD OF DIRECTORS Peggy Garritty, Chair Oryssia Lennie, Vice Chair Mary Persson, C.P.A., C.M.A., Treasurer Craig T. McDougall, Secretary/Legal Counsel Bill Blais Sheryl Bowhay Joanna Ciapka-Sangster Megan Evans Christine Frederick Sam Jenkins Kathryn Macintosh Jim McKillop Maureen McCaw Mark Moran Lewis Nakatsui David Yee

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