13/14 ESO Signature Magazine Issue 2

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Chantal KreviazuK & the eSOHits and holiday songs December 10

Mei-ann ChenReturns to the Masters

turKiSh DelightSAt the Robbins Lighter Classics

gOtta DanCe!The Robbins Pops gets light on its feet

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SUPPORTING ALL THOSE WHO SEE THE STAGE AS THEIR DREAM DESTINATION.

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On December 10, award-winning Canadian singer Chantal Kreviazuk returns to perform a night of her hits with the ESO, along with some treasured songs for the holidays. Tickets for this Air Canada Presents special are on sale now at EdmontonSymphony.com and the Winspear Centre box office.

WELCOME

ARTISTIC & LEADERSHIP TEAM(Eddins, Petrov, Uchida, Waldin, Rival)

EDMONTON SYMPHONY ORCHESTRA 2013/2014

BIG AS ALL OUTDOORS Symphony Under the Sky 2013 breaks records

MIDWEEK CLASSICSTHE RECORDER IN CONCERT (NOVEMBER 6)

Jean-François Rivest, conductorMaurice Steger, recorder

ROBBINS POPSSHALL WE DANCE? (NOVEMBER 8 & 9)

Michael Krajewski, conductorJoan Hess & Kirby Ward, dancer/vocalists

FRIDAY MASTERS / LANDMARK HOMES MASTERSMEYER’S BASS CONCERTO (NOVEMBER 15 & 16)

William Eddins, conductorEdgar Meyer, double bassRobert Uchida, violin

ROBBINS LIGHTER CLASSICSTURKISH DELIGHTS (NOVEMBER 21)

William Eddins, conductorScott MacIsaac, pianoVirginie Gagné, violin

LANDMARK HOMES MASTERSSCHEHERAZADE (NOVEMBER 30)

Mei-Ann Chen, conductorLidia Khaner, oboe

DONOR LISTINGS

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

OUR SUPPORTERS

10

2013/2014 SEASONTHE EDMONTON SYMPHONY ORCHESTRA

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pg. 15

pg. 19

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pg. 23

pg. 26

pg. 30

pg. 31ON THE COVER

SIGNATURE Contents

Volume 29, Number 2 | NOVEMBER 2 0 1 3

23

PUBLISHED FOR the Edmonton Symphony Orchestra at the Francis Winspear Centre for Music

9720 102 Avenue, Edmonton AB T5J 4B2Administration: 780-428-1108Box Office: 780-428-1414Email: [email protected]: www.edmontonsymphony.com

eso editor D.T. Bakerprogram notes Christos Hatzis, Laurie Shulman & D.T. BakerLetters to the editor, comments and/or suggestions are welcome.

PUBLISHED BY

10259 105th Street, Edmonton AB T5J 1E3Inquiries: 780-990-0839Fax: 780-425-4921Email: [email protected]: www.venturepublishing.ca

publisher Ruth Kelly associate publisher Joyce Byrne director of custom content Mifi Purvis art director Charles Burke associate art director Andrea deBoer assistant art director Colin Spence advertising sales Anita McGillis Glenda Dennis Kathy Kelley

Signature magazine, the official publication of the Edmonton Symphony Orchestra, is published from September to June.

Contents copyright 2013 by Edmonton Symphony Orchestra/ Francis Winspear Centre for Music. No part of this publication should be reproduced without written permission.

SIGNATURE 3NOVEMBER 2013

SUPPORTING ALL THOSE WHO SEE THE STAGE AS THEIR DREAM DESTINATION.Air Canada is proud to contribute to our thriving arts scene.

2S163401B_AirCan_Signature.indd 1 13-08-08 4:15 PM000Sig-AirCanada-FP.indd 1 8/13/13 9:21:22 AM Signature2_2013_p02-03.indd 3 2013-10-25 9:23 AM

WWith the right preparation, extraordinary happens.

Community support builds great hospitals and the Royal Alexandra Hospital Foundation receives generous donations, including bequests, from across Alberta and beyond.

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

This ad was generously donated by The Robbins Foundation Canada.


W!Welcome Welcome!

“How about a beer and a bite in town tonight? My treat.”

Edmonton’s oldest, newest downtown

restaurant now open.

9802 jasper avenue780.424-0152

[email protected] www.tavern1903.com

also visit our original downtown restaurant:

hardware grill.

hink global, act local. as an orchestra, we strive to do both in bringing living music to you in concerts like the ones in this issue of Signature, and in so

doing support the livelihood of nascent and experienced artists both at home and far away. Globally, we contribute to furthering the art form; locally we make Edmonton a better place to live. I hope you enjoy everything that we have in store for you, from your home team of outstanding musicians in the Edmonton Symphony Orchestra to soloists from around the world.

We have community partners, too, that think in this way and make invaluable contributions to the arts, like ATB Investor Services, who joined us as title presenter of Symphony Under the Sky (see pages 8 & 9), which enjoyed record-breaking attendance this past Labour Day weekend. Support for live music does not start and end with the business community, of course – it extends to every individual who contributes what they can (see pages 26-29). We remain dedicated to providing the enrichment and entertainment that you generously make possible.

Thank you for joining us to hear artists from the global stage to your local concert hall, right here at your very own Francis Winspear Centre for Music!

T

annemarie Petrov

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

With the right preparation, extraordinary happens.




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WWith the right preparation, extraordinary happens.





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ow in his ninth season as Music Director of the Edmonton Symphony Orchestra, William Eddins

has a captivating energy, a magnetic stage presence, and an adventurous musical curiosity that continues to propel the orchestra to new and exciting achievements. His commitment to the entire spectrum of the ESO audience brings him to the podium for performances in every subscription series, as well as for a wide variety of galas and specials.

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

Mr. Eddins has many non-musical hobbies including cooking, eating, discussing food and planning dinner parties. He is also quite fond of biking, tennis, reading, and pinball. He recently completed building a state-of-the-art

recording studio at his home in Minneapolis, where he lives with his wife Jen (a clarinetist), and their sons Raef and Riley.

While conducting has been his principal pursuit, he continues to perform as pianist, organist and harpsichordist. He has conducted the ESO from the keyboard on many occasions, and in 2007 joined then-ESO concertmaster Martin Riseley and cellist Yo-Yo Ma in Brahms’s Piano Trio No. 1 at a gala concert celebrating the 10th anniversary of the Winspear Centre. In 2008, he conducted Gershwin’s Porgy and Bess for Opéra Lyon, leading to repeat performances in Lyon, London, and at the Edinburgh International Festival in 2010. Other international highlights include a 2009 tour of South Africa, where he conducted three gala concerts with soprano Renée Fleming and the KwaZulu-Natal Philharmonic Orchestra.

On May 8, 2012, Bill made his Carnegie Hall debut conducting the ESO at a memorable concert featuring four Canadian soloists, and music by three Canadian composers alongside Martinů’s rarely-performed Symphony No. 1.

N

E SO Concertmaster RobERt Uchida has been hailed for his “ravishing sound, eloquence and hypnotic

intensity” (Strings magazine). He enjoys a varied career as a soloist, chamber musician, concertmaster and educator. His performances across North America and Europe have been received with great critical acclaim. Mr. Uchida previously served as Concertmaster of Symphony Nova Scotia and Associate Concertmaster of the Rotterdam Philharmonic Orchestra, and has acted as Guest Concertmaster for the Netherlands Radio Chamber Philharmonic, Royal Flemish Philharmonic, and the Vancouver Symphony Orchestra. He has worked as concertmaster with many of the world’s top conductors, including Valery Gergiev, Kurt Masur, Edo de Waart, and Pinchas Zukerman.

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

chamber music performances have included prestigious venues including Lincoln Center (New York), Muziekge-bouw (Amsterdam), and the Glenn Gould Studio (Toronto).

An advocate of new music, Robert Uchida has worked with many composers including John Corigliano and Richard Danielpour, and has given premieres of works by Tim Brady, John Frantzen, Augusta Read-Thomas, Scott Wollschleger, and recorded the premiere of the Sonata for Solo Violin by Andrew Violette for Innova Records. Mr. Uchida has held teaching positions at Acadia University, the Manhattan School of Music Pre-College, and the National Arts Centre’s Young Artist Program. He is Artistic Director of the Acadia Summer Strings Festival in Wolfville and is frequently invited to give masterclasses at schools across the country. Mr. Uchida performs on a Lorenzo Ventapane violin made in Naples, Italy, in 1820, bows by Peccatte and Sartory, and a baroque bow by Max Kasper. He lives in Edmonton with his wife Laura and their two children.

For the 2013/14 season, lUcas Waldin once again dons the mantle of Enbridge Community Ambassador

and Artist in Residence. In these capacites, he will continue to establish strong ties with our community through inventive outreach initiatives, and assist in programming and presenting the ESO’s education and family concerts. During his time as Enbridge Resident Conductor of the ESO, Mr. Waldin col-laborated with some of North America’s finest musicians. An experienced conductor of pops and crossover, he has worked with a range of artists such as Ben Folds, Chantal Kreviazuk, and the Canadian Tenors. His acclaimed work with the Barenaked Ladies led the iconic Canadian pop group to select Lucas as their conductor of choice for their performances with the Toronto Symphony. This season, he will make his debut with the Houston Symphony.

Strongly dedicated to Canadian composers, Lucas Waldin has performed over 25 Canadian compositions including six

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

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artistic & leadership team

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[ Violin i ]Robert Uchida, ConcertmasterThe John & Barbara Poole Family Concertmaster ChairEric Buchmann, Associate ConcertmasterVirginie Gagné, Assistant ConcertmasterBroderyck olsonRichard CaldwellJoanna Ciapka-SangsterAlissa CheungAnna KozakAiyana Anderson-Howattneda Yamach

[ Violin ii ]Dianne new 1

Susan Flook 2

Heather BergenPauline BronsteinRobert HryciwZoë SellersMurray VaasjoTatiana Warszynski

[ ViolA ]Stefan Jungkind 1

Charles Pilon 2

Clayton leungRhonda HenshawMikiko KohjitaniAndrew Bacon

[ CEllo ]Colin Ryan 1 The Stuart & Winona Davis Principal Cello ChairSheila laughton 2, 5

Ronda Metszies 4

Gillian CaldwellDerek GomezVictor PipkinJulie Amundsen

[ DoUBlE BASS ]Jan Urke 1

John Taylor 2

Janice QuinnRhonda TaftRob Aldridge

[ FlUTE ]Elizabeth Koch 1, 5

Elizabeth Faulkner 3

Shelley Younge 2

[ oBoE ]

lidia Khaner 1 Paul Schieman 2 The Steven & Day LePoole Assistant Principal Oboe Chair

[ ClARinET ]Charles Hudelson, Principal EmeritusJulianne Scott 1

David Quinn 2

[ BASSoon ]William Harrison 1

Edith Stacey 2

[ HoRn ]Allene Hackleman 1, 5

Megan Evans 3

Gerald onciul 2

Donald Plumb 2

[ TRUMPET ]Alvin lowrey, Principal EmeritusRobin Doyon 1

William Dimmer 2

[ TRoMBonE ]John McPherson 1

Kathryn Macintosh 2

[ BASS TRoMBonE ]Christopher Taylor 1

[ TUBA ]Scott Whetham 1

[ TiMPAni ]Barry nemish 1

[ PERCUSSion ]Brian Jones 1

[ HARP ]nora Bumanis 1

1 PrinciPal2 assistant PrinciPal3 acting PrinciPal4 acting assistant PrinciPal5 On leave

Eric Filpula, Orchestra Personnel Manager

The following musicians may appear at performances in this issue:Chenoa Anderson FluteAaron Au ViolinAlycia Au ViolinRaymond Baril SaxophoneEddy Bayens BassoonJim Cockell ViolinJeanette Comeau ViolaPetar Dundjerski FluteMary Fearon HornJoel Gray TrumpetMegan Hodge TromboneJohn McCormick PercussionRaj nigam PercussionJean-François Picard Saxophoneleanne Regehr PianoYukari Sasada BassHaley Simons PianoMartina Smazal ViolinJeremy Spurgeon KeyboardsElaine Stepa PercussionAlison Stewart ViolinDan Sutherland ClarinetBrian Thurgood PercussionJosephine Van lier CelloDan Waldron Oboeian Woodman Cello

oRCHESTRA PERSonnEl

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In addition to our own concerts, the ESO provides orchestral

accompaniment for performances by Edmonton Opera and Alberta Ballet.

Composer in Residence program generously sponsored by

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

THE EdmonTon SympHony orcHESTra2013/2014 SEASon


Conductor laureateComposer in ResidenceMusic DirectorUri Mayer, Robert Rival, William Eddins,

Annemarie petrov, Executive Director of the Edmonton

Symphony Orchestra (ESO) and Francis Winspear Centre for Music, brings more than 25 years of experience to a role that oversees one of Alberta’s flagship performing ensembles and one of the world’s premier concert halls.

With a combined annual budget of over $12 million, Ms. Petrov supervises day-to-day operations, long-term planning, government

relations and community support of both organizations.

A native of Montréal, she is a graduate of McGill University where she majored in French Horn Performance. Following several years in Europe, she returned to Canada and stepped into the role of General Manager of Symphony New Brunswick. Work at the National Arts Centre Orchestra was followed by the Winnipeg Symphony Orchestra, where she also oversaw the popular Winnipeg New Music Festival. She joined the Edmonton Symphony Orchestra and Winspear Centre in 2007.

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

obert rival, a native Alber-tan, returns for a third season as

the Edmonton Symphony Orchestra’s Composer in Residence. His music, writ-ten in a contemporary tonal style and inspired by the Canadian wilderness, literature, and classical and romantic musical forms, has been described as “well crafted,” “immediately appealing,” “melodic and accessible,” “sophisticated,” and “memorable.” His song cycle, Red Moon and Other Songs of War, was called

“an unequivocal hit.” He has completed four contrasting ESO commissions to date: Lullaby, for the orchestra’s Carnegie Hall debut – lauded as an “atmospheric dream world” and “a work of quiet rapture and refined sensibility.” The muscular Achilles & Scamander; the dazzling Whirlwind, inspired by the flocking flight of Bohemian Waxwings; and the sweeping Symphony No. 2 “Water” whose textures and rhythms were suggested by the ocean and rainforest.

Mr. Rival runs the ESO’s Young Composers’ Project. He has developed two new initiatives: podcasts on the contemporary music the orchestra programs and live-blogging of its open dress rehearsals. He holds a doctorate in composition from the University of Toronto, teaches theory at the University of Alberta, lives with his wife Chantal-Andrée Samson, a realist oil painter, and their toddler son, Raphaël, and enjoys running in Edmonton’s river valley. robertrival.com

R

SiGnATURE �noVEMBER 2013


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ow in his ninth season as Music Director of the Edmonton Symphony Orchestra, William Eddins

has a captivating energy, a magnetic stage presence, and an adventurous musical curiosity that continues to propel the orchestra to new and exciting achievements. His commitment to the entire spectrum of the ESO audience brings him to the podium for performances in every subscription series, as well as for a wide variety of galas and specials.

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

Mr. Eddins has many non-musical hobbies including cooking, eating, discussing food and planning dinner parties. He is also quite fond of biking, tennis, reading, and pinball. He recently completed building a state-of-the-art

recording studio at his home in Minneapolis, where he lives with his wife Jen (a clarinetist), and their sons Raef and Riley.

While conducting has been his principal pursuit, he continues to perform as pianist, organist and harpsichordist. He has conducted the ESO from the keyboard on many occasions, and in 2007 joined then-ESO concertmaster Martin Riseley and cellist Yo-Yo Ma in Brahms’s Piano Trio No. 1 at a gala concert celebrating the 10th anniversary of the Winspear Centre. In 2008, he conducted Gershwin’s Porgy and Bess for Opéra Lyon, leading to repeat performances in Lyon, London, and at the Edinburgh International Festival in 2010. Other international highlights include a 2009 tour of South Africa, where he conducted three gala concerts with soprano Renée Fleming and the KwaZulu-Natal Philharmonic Orchestra.

On May 8, 2012, Bill made his Carnegie Hall debut conducting the ESO at a memorable concert featuring four Canadian soloists, and music by three Canadian composers alongside Martinů’s rarely-performed Symphony No. 1.

N

E SO Concertmaster RobERt Uchida has been hailed for his “ravishing sound, eloquence and hypnotic

intensity” (Strings magazine). He enjoys a varied career as a soloist, chamber musician, concertmaster and educator. His performances across North America and Europe have been received with great critical acclaim. Mr. Uchida previously served as Concertmaster of Symphony Nova Scotia and Associate Concertmaster of the Rotterdam Philharmonic Orchestra, and has acted as Guest Concertmaster for the Netherlands Radio Chamber Philharmonic, Royal Flemish Philharmonic, and the Vancouver Symphony Orchestra. He has worked as concertmaster with many of the world’s top conductors, including Valery Gergiev, Kurt Masur, Edo de Waart, and Pinchas Zukerman.

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

chamber music performances have included prestigious venues including Lincoln Center (New York), Muziekge-bouw (Amsterdam), and the Glenn Gould Studio (Toronto).

An advocate of new music, Robert Uchida has worked with many composers including John Corigliano and Richard Danielpour, and has given premieres of works by Tim Brady, John Frantzen, Augusta Read-Thomas, Scott Wollschleger, and recorded the premiere of the Sonata for Solo Violin by Andrew Violette for Innova Records. Mr. Uchida has held teaching positions at Acadia University, the Manhattan School of Music Pre-College, and the National Arts Centre’s Young Artist Program. He is Artistic Director of the Acadia Summer Strings Festival in Wolfville and is frequently invited to give masterclasses at schools across the country. Mr. Uchida performs on a Lorenzo Ventapane violin made in Naples, Italy, in 1820, bows by Peccatte and Sartory, and a baroque bow by Max Kasper. He lives in Edmonton with his wife Laura and their two children.

For the 2013/14 season, lUcas Waldin once again dons the mantle of Enbridge Community Ambassador

and Artist in Residence. In these capacites, he will continue to establish strong ties with our community through inventive outreach initiatives, and assist in programming and presenting the ESO’s education and family concerts. During his time as Enbridge Resident Conductor of the ESO, Mr. Waldin col-laborated with some of North America’s finest musicians. An experienced conductor of pops and crossover, he has worked with a range of artists such as Ben Folds, Chantal Kreviazuk, and the Canadian Tenors. His acclaimed work with the Barenaked Ladies led the iconic Canadian pop group to select Lucas as their conductor of choice for their performances with the Toronto Symphony. This season, he will make his debut with the Houston Symphony.

Strongly dedicated to Canadian composers, Lucas Waldin has performed over 25 Canadian compositions including six

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

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FFEATUREFEATURE

“One of the highlights for me at this year’s SUTS was when our new concertmaster, Robert Uchida, performed his solo with the ESO. Not only was the piece beautiful but the quality of his tone and his expressiveness really impressed me. I am looking forward to hearing more of Robert’s playing and am excited that he is a part of our ESO.”- Tabea Schiewe

BIG AS ALL OUTDOORSymphony Under the Sky, held at the amphitheatre in Hawrelak Park from August 30 to September 2 in 2013, was its usual

great success. New this year was its title sponsor: ATB Investor Services.Supporting Symphony Under the Sky was an easy decision for manage-

ment at the financial services company. Miles Kotylak, VP of Advisory Services, says that 2013 marked ATB’s eighth year of involvement with the ESO. “We have sponsored individual events in the past,” Koylak says, “but this year we deepened our relationship with the ESO, offering to sponsor the whole weekend.”

The weekend saw ATB providing giveaways to the audience such as chocolate for Friday’s romance theme, tea to coincide with Proms in the Park, and – for the evening – glow sticks, one of which ESO conductor

Robert Bernhardt used as a baton to lead the orchestra. Kids, including Kotylak’s own three young sons, enjoyed the face painting and the music on Sunday afternoon.

The participation of ATB Investor Services brought two things to the sponsor. “First, it allowed us to be part of the Edmonton community,” Kotylak says. “It offered us the opportunity to help shape the culture of the city. We are more than just sports here.”

And second, it offered ATB Investor Services the opportunity to engage with the kind of people it wants to reach. “The ESO is great at acknowledg-ing sponsors,” he says. “They set a VIP area for our clients and offered the opportunity for us to reach out to attendees.”

“Mostly, it’s good for the city. Why not be part of it, if we can?”

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2013/2014 SEASON

“This past Labour Day weekend, my eighth as festival conductor, was among the most rewarding ever, with wonderful weather, large and enthusiastic audiences, and the ESO performing at the top of its game. Best of all, the welcome I’ve received, the teamwork from backstage and onstage, the work of our wonderful volunteers and superb orchestra, have all combined to allow me to be myself with our audience, to establish a relationship that I cherish and look forward to every year.”- Bob Bernhardt

BIG AS ALL OUTDOORS

This page ( clock wise from Top lef T ) : Students from Strathcona Theatre Company; cellist Denise Djokic with Bob Bernhardt; soprano Mela Dailey; Ellis Hall and the ESO; new ESO Concertmaster Robert Uchida and Bob Bernhardt. Photos (this page and facing): Wade Kelly and D.T. Baker

signature �november 2013


FFEATUREFEATURE

“One of the highlights for me at this year’s SUTS was when our new concertmaster, Robert Uchida, performed his solo with the ESO. Not only was the piece beautiful but the quality of his tone and his expressiveness really impressed me. I am looking forward to hearing more of Robert’s playing and am excited that he is a part of our ESO.”- Tabea Schiewe

BIG AS ALL OUTDOORSymphony Under the Sky, held at the amphitheatre in Hawrelak Park from August 30 to September 2 in 2013, was its usual

great success. New this year was its title sponsor: ATB Investor Services.Supporting Symphony Under the Sky was an easy decision for manage-

ment at the financial services company. Miles Kotylak, VP of Advisory Services, says that 2013 marked ATB’s eighth year of involvement with the ESO. “We have sponsored individual events in the past,” Koylak says, “but this year we deepened our relationship with the ESO, offering to sponsor the whole weekend.”

The weekend saw ATB providing giveaways to the audience such as chocolate for Friday’s romance theme, tea to coincide with Proms in the Park, and – for the evening – glow sticks, one of which ESO conductor

Robert Bernhardt used as a baton to lead the orchestra. Kids, including Kotylak’s own three young sons, enjoyed the face painting and the music on Sunday afternoon.

The participation of ATB Investor Services brought two things to the sponsor. “First, it allowed us to be part of the Edmonton community,” Kotylak says. “It offered us the opportunity to help shape the culture of the city. We are more than just sports here.”

And second, it offered ATB Investor Services the opportunity to engage with the kind of people it wants to reach. “The ESO is great at acknowledg-ing sponsors,” he says. “They set a VIP area for our clients and offered the opportunity for us to reach out to attendees.”

“Mostly, it’s good for the city. Why not be part of it, if we can?”

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MJean-François Rivest, conductorMaurice Steger, recorder

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MARTINIToccata per il Deo Gratias in D Major (3’)*

GABRIELISacrae symphoniae: Sonata pian’e forte (arr.Jones/Howarth) (5’)*Canzone septimi toni II à 8(arr.King) (3’)*

TELEMANNOverture in A minor for Treble Recorder, TWV 55:a2 “Les plaisirs” (30’)* Ouverture Lesplaisirs L’Airàl’Italien MenuettIandII Réjouissance PassepiedIandII Polonaise

INTERMISSION(20 minutes)

LEOConcerto No. 1 in G Major for Soprano Recorder (15’)* Allegro Siciliana:Largo Allegro

GABRIELISacrae symphoniae: Canzona duodecimi toni à 8(arr.Crees) (4’)*Canzoni et sonate: Canzon X(arr.Crees) (5’)*Canzon XXVIII “Sol sol la fa mi” (arr.Crees) (2’)*Canzon septimi octavi toni à 12(arr.Crees) (3’)*

GEMINIANIRecorder Concerto No. 10 in F Major, after Op.5 of Arcangelo Corell (14’)* Preludio:Largo Allemanda:Allegro Sarabanda:Largo Giga:Allegro Gavotta:Allegro

Program subject to change*indicates approximate performance duration

uébec conductor Jean-François rivest is renowned for his energy, precise technique and a style that is passionate, moving and

deeply involved. In the fall of 2009 he was named Artistic Director of the Orford Arts Centre, near Montréal. In this position, he presides over the destiny of the OAC’s prestigious Academy and its international festival. He has also been Artistic Director of the Orchestre symphonique de Laval and of Ottawa’s Thirteen Strings Ensemble, as well as conductor in residence of the OSM from 2006 to 2009. During his career he has collaborated with many outstanding soloists, including Jean-Philippe Collard, Marc-André Hamelin, André Laplante, Karina Gauvin, Daniel Taylor, and Emmanuel Pahud. In 2012/13, Mr. Rivest is returning to the Québec Symphony and the Orchestre métropolitain. Recently he also led Orchestra London and the Montréal Sym-phony on two separate occasions, as well as several concerts with the orchestra of the Orford Academy and Orchestre de l’Université de Montréal.

Jean-François Rivest has worked for several institutions and has been teaching orchestral conducting as well as a variety of advanced performance classes at Université de Montréal since 1992. He is the founder, Artistic Director and Principal Conductor of the Orchestre de l’Université de Mon-tréal (OUM). Mr. Rivest, who trained at the Conservatoire de Montréal and at the Juilliard School in New York, quickly established himself as one of the foremost Québec violinists of his generation. His main teachers were Sonia Jelinkova, Ivan Galamian, and Dorothy DeLay. Being the father of four children, family is at the centre of his life. He is passionate about nature and outdoor activities, such as scuba diving, kayaking, climbing, trekking, and photography. He has even participated in several expeditions of a challenging level. Jean-François Rivest believes that the many facets of nature are a vital source of artistic inspiration!

Mr. Rivest last conducted the ESO in May 2011.

A R T I S T B I O SARTIST BIOS

2013/2014 SEASONMIDWEEK CLASSICSThe Recorder in ConcertWednesday, november 6 | 7 : 3 0 P M

SIGNATuRE www.edmontonsymphony.com10


Toccata per il Deo Gratias in D MajorGiovanni Battista Martini(b. Bologna, 1706 / d. Bologna, 1784)

nown as “Padre Martini” after takinG holy orders with the Conventual Franciscans, Giovanni Battista Martini came

from a musical family. His father was a distinguished violinist, and Padre Martini was Chapel-Master at the Basilica of San Francesco in Bologna at only 19. Yet even then, his compositions were attracting attention. Today, Martini is best known through his pupils. Among those he taught, even if only briefly, were Johann Christian Bach (one of J.S. Bach’s many com-poser-children) and the young Wolfgang Amadé Mozart. Tonight’s organ and trumpet toccata is a celebratory way to begin an evening of Baroque treasures.

Music byGiovanni GaBrieli(b. Venice, c.1555 / d. Venice, 1612)

oniGht’s concert will feature several short works, in arrangements for modern instruments, by Giovanni Gabrieli,

regarded as one of the most important composers at the time when music was leaving the Renaissance and entering the Baroque. The vast majority of his works were composed for the church; either vocal or instrumental. Gabrieli is credited with being one of the most innovative composers, creating a number of techniques that proved extremely influential. Among them is the idea of spatially separated instrumental forces – which you will see in the placement of the separate instrumental “choirs” tonight. Another innovation for which Gabrieli is given credit is notating dynamic cues in the score – indicating parts to be played loud or soft, as well as crescendo (gradually louder) and decrescendo (gradually quieter).

Most of the works by Gabrieli that have survived to us have been published in four volumes. One is the first book of Sacrae symphoniae (“Sacred Symphonies,” published in 1597), and Canzoni et sonate (“Songs and Sonatas,” published in 1615, three years after his death).

Overture in A minor for Treble Recorder, TWV 55:a2 “Les plaisirs”GeorG PhiliPP teleMann(b. Magdeburg, 1681 / d. Hamburg, 1767)

oniGht’s overture (a word interchanGeaBle with “suite” in many baroque works) is a perfect sampling of the cosmo-

politan and informed style of Georg Philipp Telemann. Known today as one of the most prolific composers ever, Telemann was regarded much

aurice steGer, “the world’s leading recorder virtuoso,” (The Inde-pendent) tours extensively around the world and has made a number

of critically-acclaimed recordings. With his dynamic style and brilliant, spontaneous and personal technique, he has also contributed to the resurgence of interest in the recorder as an instrument. With a repertoire focused on Early Music, Maurice Steger is a sought-after soloist with leading Early Music period instrument ensembles including Akademie für Alte Musik Berlin, The English Concert, Musica Antiqua Köln, Europa Galante, and I Barocchisti. He also appears regularly with modern orchestras. He continues to perform with the most renowned artists such as Hilary Hahn, Rainer Kussmaul, Igor Oistrakh, Fabio Biondi, Sandrine Piau, Andrew Manze, Diego Fasolis, and Thomas Quasthoff. Mr. Steger is no stranger to contemporary music, either: he premiered two solo concertos for recorder and orchestra and has performed Rodolphe Schacher’s musical fairy tale Tino Flautino over 50 times.

After studying with Marcus Creed in Stuttgart and with Reinhard Goebel’s encouragement, Maurice Steger has been conducting for several years. He performed with the Taipei Symphony Orchestra, NDR Radio Philharmonic, the Zurich Chamber Orchestra, the English Concert, the State Orchestra of Brandenburg, the Musikkollegium Winterthur, as well as several baroque en-sembles. His many recordings include the Telemann flute quartets (Deutsche Grammophon/Archiv), sonatas by Sammartini and Telemann’s suites and concertos for recorder (harmonia mundi) as well as Vivaldi’s concertos for recorder. Several recordings, among them the album Venezia 1625 (harmo-nia mundi) have received prestigious international awards. His latest release is devoted to Corelli’s collection, Op. 5 in English adaptations. Based on handwritten sheet music only recently uncovered by Maurice Steger himself, the project brings back to life a historically authentic, but almost forgotten style of musical performance (Mr. Corelli in London – Steger & The English Concert – harmonia mundi USA 2010).

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

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P R O G R A M N O T E SPROGRAM NOTES

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SiGNATuRE 11NOvEMbER 2013


MJean-François Rivest, conductorMaurice Steger, recorder

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MARTINIToccata per il Deo Gratias in D Major (3’)*

GABRIELISacrae symphoniae: Sonata pian’e forte (arr.Jones/Howarth) (5’)*Canzone septimi toni II à 8(arr.King) (3’)*

TELEMANNOverture in A minor for Treble Recorder, TWV 55:a2 “Les plaisirs” (30’)* Ouverture Lesplaisirs L’Airàl’Italien MenuettIandII Réjouissance PassepiedIandII Polonaise


LEOConcerto No. 1 in G Major for Soprano Recorder (15’)* Allegro Siciliana:Largo Allegro

GABRIELISacrae symphoniae: Canzona duodecimi toni à 8(arr.Crees) (4’)*Canzoni et sonate: Canzon X(arr.Crees) (5’)*Canzon XXVIII “Sol sol la fa mi” (arr.Crees) (2’)*Canzon septimi octavi toni à 12(arr.Crees) (3’)*

GEMINIANIRecorder Concerto No. 10 in F Major, after Op.5 of Arcangelo Corell (14’)* Preludio:Largo Allemanda:Allegro Sarabanda:Largo Giga:Allegro Gavotta:Allegro


uébec conductor Jean-François rivest is renowned for his energy, precise technique and a style that is passionate, moving and

deeply involved. In the fall of 2009 he was named Artistic Director of the Orford Arts Centre, near Montréal. In this position, he presides over the destiny of the OAC’s prestigious Academy and its international festival. He has also been Artistic Director of the Orchestre symphonique de Laval and of Ottawa’s Thirteen Strings Ensemble, as well as conductor in residence of the OSM from 2006 to 2009. During his career he has collaborated with many outstanding soloists, including Jean-Philippe Collard, Marc-André Hamelin, André Laplante, Karina Gauvin, Daniel Taylor, and Emmanuel Pahud. In 2012/13, Mr. Rivest is returning to the Québec Symphony and the Orchestre métropolitain. Recently he also led Orchestra London and the Montréal Sym-phony on two separate occasions, as well as several concerts with the orchestra of the Orford Academy and Orchestre de l’Université de Montréal.

Jean-François Rivest has worked for several institutions and has been teaching orchestral conducting as well as a variety of advanced performance classes at Université de Montréal since 1992. He is the founder, Artistic Director and Principal Conductor of the Orchestre de l’Université de Mon-tréal (OUM). Mr. Rivest, who trained at the Conservatoire de Montréal and at the Juilliard School in New York, quickly established himself as one of the foremost Québec violinists of his generation. His main teachers were Sonia Jelinkova, Ivan Galamian, and Dorothy DeLay. Being the father of four children, family is at the centre of his life. He is passionate about nature and outdoor activities, such as scuba diving, kayaking, climbing, trekking, and photography. He has even participated in several expeditions of a challenging level. Jean-François Rivest believes that the many facets of nature are a vital source of artistic inspiration!

Mr. Rivest last conducted the ESO in May 2011.


2013/2014 SEASONMIDWEEK CLASSICSThe Recorder in ConcertWednesday, november 6 | 7 : 3 0 P M

SIGNATuRE www.edmontonsymphony.com10


So it should come as no surprise that his Concerto No. 1 for Soprano Recorder begins with a baroque sensibility, though there is some of the style galant to its rhythm and use of the harpsichord as a continuo. The recorder’s passages are restrained and elegant in the opening Allegro, but it does introduce each new section of the movement once it is introduced, leaving the string ensemble to respond. The lovely slow movement is in the form of a Siciliana, a favourite 17th century form, featuring a gently syncopated 6/8 rhythm. A very spare orchestral texture supports the languid and lyrical recorder as its melody unfolds. There is a brief cadenza as the movement draws to a close. The finale is, like the first movement, restrained – no giddy, reckless ending here. Rather, strings introduce the movement, gracefully, but have a few surprisingly disjointed chords right before the flute whirls in, a series of runs and arpeggios amidst the dotted-rhythm dance. The flute, too, gets a few surprising notes to play – Leo keeps things slightly off-kilter throughout, though not forgetting to give the soloist ample room to demonstrate virtuosity and ample breath control.

Recorder Concerto No. 10 in F Major, after Op.5 of Arcangelo CorelliFrancesco Geminiani(b. Lucca, 1687 / d. Dublin, 1762)

rancesco Geminiani had both the blessinG and curse of being the student of the great (and popular) Arcangelo

Corelli. One of the most gifted and innovative violin players of his day, Geminiani’s fame never equaled that of his teacher, and even today, he is best known for a set of works he wrote based on pieces by his master.

Geminiani’s career eventually took him to London, where the popularity of Corelli’s music bordered on mania. Seizing the opportunity, Geminiani, who knew his former teacher’s music intimately, wrote a set of concerti grossi based on the solo violin sonatas Corelli has published as his Op.5 set. It proved a great success, the more so as Geminiani revealed possibilities in Corelli’s original material for counterpoint and inner voicing that made the music sound fresh and new. Soon, beyond even the success of Geminiani’s transcriptions, the cult of Corelli led soloists of every stripe to use these as launching pads for their own, elaborate and virtuoso versions. Hence tonight’s recorder concerto version.

Soloist Maurice Steger, in the liner notes of his outstanding record-ing Mr. Corelli in London (Harmonia Mudi USA, HMU 907523) has this to say of Recorder Concerto No. 10: “You will hear the version from the California manuscript, which also exists in an edition for solo harpsichord, thus suggesting William Babell as the possible author or at least intended performer. Ornate, expansive decorations in the two slow movements, exuberant and emotionally voluptuous by modern standards, and substantial, playful embellishments in the allegros make this work an adventure for any soloist.”

Program notes © 2013 by D.T. Baker. Quote from Mr. Corelli in London used with permission.

L

more highly than even Bach during his lifetime. The overture we will hear gets its nickname from the second movement, which, rather than given a dance form title, is called “Les Plaisirs” (“The Pleasures”) – indeed a breezy, pleasurable diversion. It is preceded by an opening movement typical of the French-style orchestral suites popular in the Baroque, beginning with a stirring, grand melody in which the recorder emerges out of the orchestral texture. The central section begins in the manner of a fugue, but gives way to a true solo turn for the recorder, in a call and answer with the ensemble. The movement concludes with a restatement of the first, grand theme.

Following these two opening movements are a series of dance move-ments, drawing on Italian, French, and Polish forms. The last of these, the Polonaise, would have still been relatively new to German audiences of Telemann’s day, the unusual syncopation and minor-key setting lending a touch of the exotic for a thrilling finale.

Concerto No. 1 in G Major for Soprano Recorderleonardo leo(b. San Vito degli Schiavi, 1694 / d. Naples, 1744)

eonardo leo’s career coincided with the end oF the baroque, and had he lived past the age of 50, would have been witness

to new forms of music. As it was, he was a bit old-fashioned in his taste, preferring the more traditional forms than many of his contemporaries. Nevertheless, he was esteemed, both as a composer and teacher.

2013/2014 SEASONMidweek ClASSiCS The Recorder in Concert

F

10417 - 174 Street, Edmonton, AB T5S 1H1 P: (780) 484-0831 F: (780) 486-0698E: [email protected] www.pfcustomcountertops.com

Custom Countertops

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R2013/2014 SEASONROBBINS POPSShall We Dance?

A R T I S T B I O S

Friday & Saturday, November 8 & 9 | 8 P M

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CongaGarcia (arr. Reineke)

“Shall We Dance?” (from Shall We Dance?)G. Gershwin/I. Gershwin

Program subject to change

nown for his entertaining programs and clever humour, Michael KrajewSKi is a much sought after conductor of symphonic pops.

He is Principal Pops Conductor of the Houston Symphony, Jacksonville Symphony, Atlanta Symphony, and is the newly appointed Music Director of The Philly Pops. As a guest conductor, Mr. Krajewski has performed with many major orchestras throughout Canada and the U.S. This season he will make his debut performance with the Toronto Symphony. Other appearances include performances in Dublin and Belfast with the Ulster Orchestra, as well as the Hong Kong Philharmonic, the Iceland Symphony Orchestra, and the Malaysian Philharmonic Orchestra. On recording, he has led the Houston Symphony on two holiday albums: Glad Tidings and Christmas Festival. In 2013/14, he will be conducting his original Sounds of Simon & Garfunkel pro-gram all over North America. His other collaborative programs have included such artists as flutist James Galway, mezzo Marilyn Horne, pianist Alicia de Larrocha, guitarist Angel Romero, and pop artists Roberta Flack, Judy Collins, Art Garfunkel, Wynona Judd, Kenny Loggins, Ben Folds, Doc Severinsen, Patti Austin, Sandi Patty, Ann Hampton Callaway, the Preservation Hall Jazz Band, The Chieftains, Pink Martini, Rockapella, Cirque de la Sym-phonie, Classical Mystery Tour, Big Bad Voodoo Daddy, and The Midtown Men.

With degrees from Wayne State University in Detroit and the University of Cincinnati College- Conservatory of Music, Michael Krajewski furthered his training at the Pierre Monteux Domaine School for Conductors. He was a Dorati Fellowship Conductor with the Detroit Symphony and

Can-Can (from Orpheus in the Underworld)Offenbach

Thunder and Lightning PolkaJ. Strauss II

“I Got Rhythm” (from Girl Crazy)G. Gershwin/I. Gershwin

“I Won’t Dance” (from Three Sisters)Kern/Hammerstein/Harbach

Dance of the Hours (from La Gioconda)Ponchielli

“Cheek to Cheek” (from Top Hat)Berlin (arr. Callelo)

A String of PearlsGray (arr. Holcombe)

“Chattanooga Choo-Choo” (from Sun Valley Serenade)Warren (arr. Holcombe)

In the MoodGarland (arr. Gaber)

INTERMISSION (20 minutes)

Introduction / “All That Jazz” (from Chicago)Kander/Ebb (arr. McKibbins)

Por una cabezaGardel (arr. Williams)

“Shall We Dance?” (from The King and I)Rodgers/Hammerstein

Carousel Waltz (from Carousel)Rodgers (arr. Walker)

“Singin’ in the Rain” (from The Hollywood Music Box Revue)Brown/Freed

Michael Krajewski, conductorJoan Hess & Kirby Ward, dancer/vocalistswith: Alissa Cheung, violin

ARTIST BIOS

Media SponsorSeries Sponsor

Bill & Mary Jo Robbins

Media Sponsor Guest artists’ bios continue on page 14.

K

SIgNATuRe 13NOveMBeR 2013


So it should come as no surprise that his Concerto No. 1 for Soprano Recorder begins with a baroque sensibility, though there is some of the style galant to its rhythm and use of the harpsichord as a continuo. The recorder’s passages are restrained and elegant in the opening Allegro, but it does introduce each new section of the movement once it is introduced, leaving the string ensemble to respond. The lovely slow movement is in the form of a Siciliana, a favourite 17th century form, featuring a gently syncopated 6/8 rhythm. A very spare orchestral texture supports the languid and lyrical recorder as its melody unfolds. There is a brief cadenza as the movement draws to a close. The finale is, like the first movement, restrained – no giddy, reckless ending here. Rather, strings introduce the movement, gracefully, but have a few surprisingly disjointed chords right before the flute whirls in, a series of runs and arpeggios amidst the dotted-rhythm dance. The flute, too, gets a few surprising notes to play – Leo keeps things slightly off-kilter throughout, though not forgetting to give the soloist ample room to demonstrate virtuosity and ample breath control.

Recorder Concerto No. 10 in F Major, after Op.5 of Arcangelo CorelliFrancesco Geminiani(b. Lucca, 1687 / d. Dublin, 1762)

rancesco Geminiani had both the blessinG and curse of being the student of the great (and popular) Arcangelo

Corelli. One of the most gifted and innovative violin players of his day, Geminiani’s fame never equaled that of his teacher, and even today, he is best known for a set of works he wrote based on pieces by his master.

Geminiani’s career eventually took him to London, where the popularity of Corelli’s music bordered on mania. Seizing the opportunity, Geminiani, who knew his former teacher’s music intimately, wrote a set of concerti grossi based on the solo violin sonatas Corelli has published as his Op.5 set. It proved a great success, the more so as Geminiani revealed possibilities in Corelli’s original material for counterpoint and inner voicing that made the music sound fresh and new. Soon, beyond even the success of Geminiani’s transcriptions, the cult of Corelli led soloists of every stripe to use these as launching pads for their own, elaborate and virtuoso versions. Hence tonight’s recorder concerto version.

Soloist Maurice Steger, in the liner notes of his outstanding record-ing Mr. Corelli in London (Harmonia Mudi USA, HMU 907523) has this to say of Recorder Concerto No. 10: “You will hear the version from the California manuscript, which also exists in an edition for solo harpsichord, thus suggesting William Babell as the possible author or at least intended performer. Ornate, expansive decorations in the two slow movements, exuberant and emotionally voluptuous by modern standards, and substantial, playful embellishments in the allegros make this work an adventure for any soloist.”

Program notes © 2013 by D.T. Baker. Quote from Mr. Corelli in London used with permission.

L

more highly than even Bach during his lifetime. The overture we will hear gets its nickname from the second movement, which, rather than given a dance form title, is called “Les Plaisirs” (“The Pleasures”) – indeed a breezy, pleasurable diversion. It is preceded by an opening movement typical of the French-style orchestral suites popular in the Baroque, beginning with a stirring, grand melody in which the recorder emerges out of the orchestral texture. The central section begins in the manner of a fugue, but gives way to a true solo turn for the recorder, in a call and answer with the ensemble. The movement concludes with a restatement of the first, grand theme.

Following these two opening movements are a series of dance move-ments, drawing on Italian, French, and Polish forms. The last of these, the Polonaise, would have still been relatively new to German audiences of Telemann’s day, the unusual syncopation and minor-key setting lending a touch of the exotic for a thrilling finale.

Concerto No. 1 in G Major for Soprano Recorderleonardo leo(b. San Vito degli Schiavi, 1694 / d. Naples, 1744)

eonardo leo’s career coincided with the end oF the baroque, and had he lived past the age of 50, would have been witness

to new forms of music. As it was, he was a bit old-fashioned in his taste, preferring the more traditional forms than many of his contemporaries. Nevertheless, he was esteemed, both as a composer and teacher.

2013/2014 SEASONMidweek ClASSiCS The Recorder in Concert

F

10417 - 174 Street, Edmonton, AB T5S 1H1 P: (780) 484-0831 F: (780) 486-0698E: [email protected] www.pfcustomcountertops.com

Custom Countertops



2013/2014 SEASONRobbins pops shall We Dance?

later served as that orchestra’s assistant conductor. He was resident conduc-tor of the Florida Symphony and for 11 years served as music director of the Modesto Symphony Orchestra. Michael lives in Orlando, Florida with his wife Darcy. When not conducting he enjoys travel, photography, and solving crossword puzzles.

Mr. Krajewski last appeared with the ESO in October 2012.

oan Hess played the role of Tanya in her fifth Broadway show, Mamma Mia!. She was also seen as Jessica (the “Leggy Blonde”) in HBO’s award-

winning comedy series, Flight of the Conchords. She recently had the great honour of working with television’s iconic director Jay Sandrich (Mary Tyler Moore, Bob Newhart, Get Smart, Cosby Show) when she played Doris in Same Time, Next Year (Best Actress Nomination)and Jennie in Neil Simon’s Chapter Two. Prior

to that, she played Billie Dawn in Garson Kanin’s classic play Born Yesterday. Ms. Hess was also featured on Broadway as Patsy in Crazy for You, as Edie and Hattie in Kiss Me, Kate, as Sophia in Dirty Rotten Scoundrels, and as Bridgette in Bells are Ringing. She appeared at the Lincoln Center in the lead role in Dessa Rose, directed by 10-time Tony Award nomi-nee, Graciela Daniele. She appeared in the First National Tours of Sunset Boulevard, and Crazy for You, and she toured the country with 42nd Street and Beehive.

Regional theater audiences and critics, alike, lauded her performance in the title role in Gypsy (Best Actress Nomination) at the Repertory Theatre of St. Louis and Cincinnati Playhouse in the Park, and as Fernande Olivier in the World Premiere of La Vie en Bleu, at Philadelphia’s Walnut Street Theater. As Ann in The 1940s Radio Hour she also received a Best Actress Nomination. Ms. Hess was featured in the PBS Great Performances series in My Favorite Broadway: The Love Songs, hosted by Julie Andrews. She has performed with numerous symphonies around the world. She’s a Colorado native and is married to actor and powerhouse tenor, David Hess, with whom she toured South Africa, England, and Italy for the Travel Channel’s Fantasy Rails for Millionaires.

This is Ms. Hess’ debut with the ESO.

irby Ward has worked in the arts on five continents and in film, television,

and stage for almost 30 years. His portrayal of Bobby Child in the London production of Crazy For You netted him an Olivier award nomination. You can hear him on the London cast album for First Night Records. As an actor, he’s run the gamut of song and dance roles, playing every “Billy” or “Bobby” from My One and Only to 42nd Street, and a couple of Don’s and Tom’s thrown in to

mix things up (That would be Singin’ in the Rain and No No Nanette for those keeping score). Departing from the song and dance motif has lead him into such roles as King Herod in Jesus Christ Superstar, Arnolph in School For Wives, Vernon in They’re Playin’ Our Song, and even a stint as Che in Evita.

New York area audiences have seen Kirby Ward’s work as an actor in Hal Prince’s Show Boat, in the off-Broadway revival cast of Cocoanuts, and in Company, as well as the recent Never Gonna Dance at the Broadhurst. His direction and chore-ography in the metro area for Dames at Sea, The Jazz Singer, and Grease were all critically acclaimed. On television he’s appeared on Law and Order: Special Victims Unit, General Hospital, The Tonight Show, and numerous commer-cials. Film appearances include For the Boys, Pennies From Heaven, and S.O.B. Recently he appeared as Bob Hope with Dick Cavett at the Library of Congress’ celebration for Bob Hope’s 100th Birthday. Most recently his original short film Down in the Mouth was awarded best short film at the Kent Film Festival in Kent, CT (www.downinthemouthmovie.com). Mr. Ward lives in the woods of Connecticut with his wife and three kids, where he’s putting the finishing touches on the book of a brand new musical called Romancing the Throne.

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

J

K

www.edmontonsymphony.comwww.edmontonsymphony.comwww.edmontonrecital.com

Special Thanks

Ed

mo

nto

n R

ecital Society

Lawler and FadoulZara Lawler, flutePaul Fadoul, marimba

7:30 pmMuttart Hall, Alberta College Conservatory of Music10050 MacDonald Drive, Edmonton, AB$35 (adult) / $25 (senior) / $10 (student)

Tickets available at Tix on the Square or at the door.www.EdmontonRecital.com or contact us at 780.264.2844

NOVEMBER 27, 2013 (TUESDAY)

“Lawler was an engaging, fluent, mellifluous soloist.”

The Houston Chronicle

“Fadoul knows how to evoke mystery in the dying fall of a phrase and let tension gather in the silences between them.”

The Washington Post

Warranty expired - now it’s your choice!


F2013/2014 SEASON

Friday Masters Sponsor

Meyer’s Bass Concerto

Afterthoughts, Friday post-performance, Main Lobby with William Eddins, Edgar Meyer & Robert Uchida

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

STRAVINSKYSymphony in Three Movements (23’)* Allegro Andante – Interlude (L’istesso tempo) Con moto

MEYERConcerto for Double Bass No. 3 in E Major (22’)*


HAYDNSymphony No. 92 in G Major, Hob.I: 92 “Oxford” (24’)* Adagio – Allegro spiritoso Adagio Menuet: Allegretto Presto

BOTTESINIGrand Duo Concertante in A minor (15’)*


n demand as both a performer and a composer, Edgar MEyEr has formed a role in the music world unlike any other. Hailed by The New Yorker as “the

most remarkable virtuoso in the relatively unchronicled history of his instru-ment,” Mr. Meyer’s unparalleled technique and musicianship in combination with his gift for composition have brought him to the fore. His mastery in the field was recognized by a MacArthur Award in 2002. Mr. Meyer began studying bass at the age of five under the instruction of his father and continued further to study with Stuart Sankey. In 1994 he received the Avery Fisher Career Grant, and in 2000 became the only bassist to receive the Avery Fisher Prize. Currently, he is Visiting Professor of Double Bass at the Royal Academy of Music and at the Curtis Institute of Music in Philadelphia. His extensive discography has featured his own compositions as well as works by Bottesini, Bach, and others, in col-laborations with musicians such as Joshua Bell, Yo-Yo Ma, the Emerson Quartet, Hilary Hahn, mandolinist Chris Thile, and fiddler Stuart Duncan.

As a composer, Mr. Meyer has carved out a remarkable and unique niche in the musical world. In the 2011-12 season, he was Composer in Residence with the Alabama Symphony and premiered his Third Concerto for double bass (which we will hear tonight). His previous performing and recording projects including a duo with Béla Fleck; a quartet with Joshua Bell, Sam Bush and Mike Marshall; a trio with Béla Fleck and Mike Marshall; and a trio with Yo-Yo Ma and Mark O’Connor have been widely acclaimed. The latter trio collaborated for Appalachia Waltz, which was released in 1996, soared to the top of the charts and remained there for 16 weeks. Joining with Yo-Yo Ma and Mark O’Connor for a second time, Appalachian Journey, the follow-up to Appalachia Waltz, was released in March 2000. Appalachian Journey won the Grammy® Award that season.

Mr. Meyer last appeared with the ESO in May 2004.

William Eddins, conductorEdgar Meyer, double bassRobert Uchida, violin

Friday, November 15 | 7:30 pM & Saturday, November 16 8 pM

I


FRIDAY MASTERS & LANDMARK HOMES MASTERS

Mr. Eddins & Mr. Uchida’s bios can be found on page 6.

Guest artists’ bios and program notes continue on pages 16 & 17.

Media Sponsor

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SIgNATURE 15NOVEMBER 2013


2013/2014 SEASONRobbins pops shall We Dance?

later served as that orchestra’s assistant conductor. He was resident conduc-tor of the Florida Symphony and for 11 years served as music director of the Modesto Symphony Orchestra. Michael lives in Orlando, Florida with his wife Darcy. When not conducting he enjoys travel, photography, and solving crossword puzzles.

Mr. Krajewski last appeared with the ESO in October 2012.

oan Hess played the role of Tanya in her fifth Broadway show, Mamma Mia!. She was also seen as Jessica (the “Leggy Blonde”) in HBO’s award-

winning comedy series, Flight of the Conchords. She recently had the great honour of working with television’s iconic director Jay Sandrich (Mary Tyler Moore, Bob Newhart, Get Smart, Cosby Show) when she played Doris in Same Time, Next Year (Best Actress Nomination)and Jennie in Neil Simon’s Chapter Two. Prior

to that, she played Billie Dawn in Garson Kanin’s classic play Born Yesterday. Ms. Hess was also featured on Broadway as Patsy in Crazy for You, as Edie and Hattie in Kiss Me, Kate, as Sophia in Dirty Rotten Scoundrels, and as Bridgette in Bells are Ringing. She appeared at the Lincoln Center in the lead role in Dessa Rose, directed by 10-time Tony Award nomi-nee, Graciela Daniele. She appeared in the First National Tours of Sunset Boulevard, and Crazy for You, and she toured the country with 42nd Street and Beehive.

Regional theater audiences and critics, alike, lauded her performance in the title role in Gypsy (Best Actress Nomination) at the Repertory Theatre of St. Louis and Cincinnati Playhouse in the Park, and as Fernande Olivier in the World Premiere of La Vie en Bleu, at Philadelphia’s Walnut Street Theater. As Ann in The 1940s Radio Hour she also received a Best Actress Nomination. Ms. Hess was featured in the PBS Great Performances series in My Favorite Broadway: The Love Songs, hosted by Julie Andrews. She has performed with numerous symphonies around the world. She’s a Colorado native and is married to actor and powerhouse tenor, David Hess, with whom she toured South Africa, England, and Italy for the Travel Channel’s Fantasy Rails for Millionaires.

This is Ms. Hess’ debut with the ESO.

irby Ward has worked in the arts on five continents and in film, television,

and stage for almost 30 years. His portrayal of Bobby Child in the London production of Crazy For You netted him an Olivier award nomination. You can hear him on the London cast album for First Night Records. As an actor, he’s run the gamut of song and dance roles, playing every “Billy” or “Bobby” from My One and Only to 42nd Street, and a couple of Don’s and Tom’s thrown in to

mix things up (That would be Singin’ in the Rain and No No Nanette for those keeping score). Departing from the song and dance motif has lead him into such roles as King Herod in Jesus Christ Superstar, Arnolph in School For Wives, Vernon in They’re Playin’ Our Song, and even a stint as Che in Evita.

New York area audiences have seen Kirby Ward’s work as an actor in Hal Prince’s Show Boat, in the off-Broadway revival cast of Cocoanuts, and in Company, as well as the recent Never Gonna Dance at the Broadhurst. His direction and chore-ography in the metro area for Dames at Sea, The Jazz Singer, and Grease were all critically acclaimed. On television he’s appeared on Law and Order: Special Victims Unit, General Hospital, The Tonight Show, and numerous commer-cials. Film appearances include For the Boys, Pennies From Heaven, and S.O.B. Recently he appeared as Bob Hope with Dick Cavett at the Library of Congress’ celebration for Bob Hope’s 100th Birthday. Most recently his original short film Down in the Mouth was awarded best short film at the Kent Film Festival in Kent, CT (www.downinthemouthmovie.com). Mr. Ward lives in the woods of Connecticut with his wife and three kids, where he’s putting the finishing touches on the book of a brand new musical called Romancing the Throne.

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

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www.edmontonsymphony.comwww.edmontonsymphony.comwww.edmontonrecital.com

Special Thanks

Ed

mo

nto

n R

ecital Society

Lawler and FadoulZara Lawler, flutePaul Fadoul, marimba

7:30 pmMuttart Hall, Alberta College Conservatory of Music10050 MacDonald Drive, Edmonton, AB$35 (adult) / $25 (senior) / $10 (student)

Tickets available at Tix on the Square or at the door.www.EdmontonRecital.com or contact us at 780.264.2844

NOVEMBER 27, 2013 (TUESDAY)

“Lawler was an engaging, fluent, mellifluous soloist.”

The Houston Chronicle

“Fadoul knows how to evoke mystery in the dying fall of a phrase and let tension gather in the silences between them.”

The Washington Post

Warranty expired - now it’s your choice!


Symphony in Three MovementsIgor StravInSky(b. Oranienbaum, 1882 / d. New York, 1971)

First performed: January 24, 1946 in New YorkLast ESO performance: March 1995

ookIng back on the work In later yearS, Igor Stravinsky felt that there was much of the emotional impact of the

Second World War in his Symphony in Three Movements – but he was not aware of it at the time. Written shortly after his arrival in America, the symphony Stravinsky started shortly after the U.S. became involved in the war, and completed it a few months it came to a close. It was also a work of expedience: much of the material came from music Stravinsky had written for film scores, but which had not made it to the final versions of those films.

The arresting first movement was inspired, Stravinksy said, by a film he saw about China’s scorched earth policy. Remarkably, the six violent notes that grab one from the outset form the nucleus of almost everything in the restless, agitated opening movement. Even when the mood subsides a third of the way in, the tonic centre is still built around the same notes. While quieter, this substantial contrasting section still has the same rhythmic urgency as the louder opening. The brittle first movement (called an “Overture” by Stravin-sky) ends with a quiet growl on bass clarinet, and is followed by an Interlude in a gentle Andante. A decidedly contrasting mood is evoked here – a genteel elegance in the winds plays above a repeated ground. A new idea, begun in the strings and taken up by woodwinds, is reminiscent of music from The Rite of Spring, written 30 years before. The music of the opening returns to close the movement, in slightly more muted tones. It links directly to the final movement, which springs from it in a stark processional. It is a sarcastic parody of the goose-stepping newsreels Stravinsky and thousands of others watched regularly, punctured by mock-heroic statements. “The square march-beat, brass-band instrumentation, [and] grotesque [tuba] crescendo… are all related to those abhorrent pictures,” the composer wrote. Out of nowhere, piano and harp begin a fugue after an awkward pause, leading to a conclusion of almost ecstatic proportions.

Concerto for Double Bass No. 3 in E Majoredgar Meyer(b. Oak Ridge, Tennessee, 1960)

First performed: The Alabama Symphony and the Sioux City Symphony co-commissioned Edgar Meyer’s Double Bass Concerto No.3. Meyer played the premiere with Justin Brown and the Alabama Symphony on 17 February, 2012. It was performed with the Sioux City Symphony on 14 April, 2012. It has since been performed with the Virginia Symphony.This is the Canadian premiere of the piece

arly In edgar Meyer’S thIrd concerto, double baSS has a brief cadenza in parallel fifths, supported only by a long

sustained E in the oboe. Okay; that sounds reasonable – this is a solo

concerto for bass. What follows, however, is less predictable: a haunting solo for principal oboe. Its theme, beginning with that sustained pitch, outlines all twelve tones of the chromatic scale. Is this twelve-tone music? From a performer who is known for his mastery of bluegrass and jazz as well as classical?

Edgar Meyer is also a serious composer, who constantly seeks new avenues of musical expression. “Writing with this theme opens up new harmonic places for me,” he explains. He uses those opening pitches in the oboe to provide tonal centers and drive the harmonies of what functions as the first movement.

Meyer points out that one can hear strong tonal anchors throughout the concerto. “The second and third movements often drone on an E, then depart from that in several different ways, including a couple of “symmetrical patterns that use all twelve pitches.” But this is not twelve-tone music, in the academic sense. Meyer’s concerto draws on Americana and the vernacular as well as western classical tradition. Yet this piece has a harmonic language which is more exploratory than in some of his earlier works.

Meyer recognizes challenges inherent in the bass itself. “It has some clear limitations,” he acknowledges. “The instrument is dark and soft. It actually has a nice, six-octave range, which is useful. But dark and soft are two things that are not natural for concertos.” The problem is one of balance. A large orchestra runs the risk of overpowering a solo instrument, particularly one that does not have the advantage of high frequency, such as violin, or a different timbre, such as piano.

He pays particular attention to layers of colour and texture. The score employs several wind instruments that are not standard to the symphony orchestra. For example, in addition to piccolo and flute, he calls for alto and bass flutes, and in one passage uses all four “voices” of the flute family together. Similarly, the clarinet family in his orchestral complement comprises not only B-flat clarinet and bass clarinet, but also the piccolo E-flat clarinet and the contrabass clarinet. Woodwind solos and duets with the bass soloist provide bright flashes of instrumental colour throughout the score.

Elsewhere, Meyer writes extended passages that emphasize the kinship between the soloist and the orchestral strings, which play pizzicato while the bass weaves its rhapsodic, improvisatory solo lines. Sometimes the orchestral basses accompany the soloist, with the flute family providing a subtle rhythmic pedal point. Meyer uses full orchestra sparingly, and hardly ever when the double bass is playing.

The concerto is an extended single movement. Attentive listeners will recognize recurrent snatches of melodies and other patterns, including the drones that Meyer mentions and rapid figuration in triplets, sixteenth notes, and sextuplets. Certain combinations of instruments also recur. For example, the parallel fifths of the opening bass mini-cadenza surface later in horns and in the strings.

Another significant aspect that governs the concerto’s structure is pac-ing. Meyer is precise in his metronome instructions. The opening material functions as a slow introduction; he then specifies an accelerando that leads to a brisk first section, approximating an opening allegro. A broad decelerando ushers in a slower section that corresponds to a traditional slow movement. The concerto concludes with a virtuosic fast section that recapitulates many ideas heard earlier: pedal points, rapid note groups, ascending and descending patterns within instrumental families. A brief echo of the soloist’s opening cadenza in parallel fifths ushers in a brilliant and concise coda.

Program note © 2013 by Laurie Shulman


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SiGNATuRE www.edmontonSymphony.com16


DE PA RTM E N T OF

M U S I CUNIVERSITY OF ALBERTA Culture and Community Spirit

YEARS6195 2012

Edmonton Youth OrchestraSunday, November 24th at 2pmFrancis Winspear Centre for Music

Conductor: Michael Massey

FEATURING

Impresario Overture MozartDanse Macabre Saint-Saens

Serenade op. 35 Howard HansonSoloist: Jessica Rogers, Flute

North American Journey Jubilee Overture Malcolm Forsyth

Tender Land Suite Aaron Copland

Sensemaya Silvestre Revueltas

Symphony No. 92 in G Major, Hob.I: 92 “Oxford”Franz JoseF Haydn(b. Rohrau, Lower Austria, 1732 / d. Vienna, 1809)

First performed: March 11, 1791 in LondonLast ESO performance: September 2007

He 92nd oF Haydn’s sympHonies marked botH an end and a beginning for Papa Haydn. After decades in the service of the

Esterházys, Haydn’s title as Kapellmeister was now largely honorific; his life moved in a more contented slowness, and he was able to compose more leisurely. Still, he had his former employer’s orchestra in mind for this symphony – originally.

Haydn had been spending time being fêted in Paris; that time, too, was coming to an end. The storming of the Bastille took place in July of the same year Haydn began composing this symphony – 1789 – and he left Paris soon after. But it was off to England, where Dr. Charles Burney pressed Haydn to accept an honorary doctorate from the University of Oxford. Naturally, such an occasion would make a premiere of a new

work de rigeur. And so the symphony written with Esterháza in mind, dedicated to the orchestra

of Paris’ Comte d’Ogny, was first played by an English orchestra in London. The

occasion also gave the work its nickname.Each of the main themes of the

opening movement, which follow a slow introduction, is played first by the strings, then repeated by the flute,

and then is taken up by strings and woodwinds. The second movement

is a stately Adagio in D Major that features the use of drum and trumpets – a rare thing in Haydn slow movements.

A menuet, trio and repeat of the menuet makes up the

standard Haydn third movement. The menuet is for full orchestra, the contrasting

trio slims things down to bassoons and horns accompanied by the strings playing pizzicato. The boisterous finale has a folk-like feel which Haydn employed often.

Always a seemingly humble man, Haydn maintained that he felt abashed at the honorary doctorate. However, it’s worth noting that he spent half a guinea for an appropriate outfit for the occasion; and thereafter, signed his name as “Dr. Haydn.”

Grand Duo Concertante in A minorGiovanni bottesini(b. Crema, 1821 / d. Parma, 1889)

Published 1880 in ParisLast ESO performance: October 1999

o matter wHat instrument He ultimately turned to, chances are Giovanni Bottesini would have made the most of

it. A gifted aspiring violinist, upon learning that the Milan Conservatory

was offering scholarships for only bassoon or double bass, the young Bottesini chose the latter – and in a very short time, he excelled at it. But he also became a composer and conductor (Verdi himself chose Bottesini to lead the premiere of his Aïda), though he is known today principally for the handful of valuable contributions he made to the repertoire of his too-often neglected instrument.

Bottesini initially conceived of his Grand Duo Concertante for two double basses, but likely the opportunity to share the stage with his friend, the acclaimed violin virtuoso Henryk Wieniawski, led him to change the pairing. The work is given a suitably grand orchestral introduction, setting the stage for the entrance of the protagonists – who enter together, in harmony. They play together enough to show that the double bass is capable of fine virtuosic turns, and is much more than a rhythm keeper – in the right hands. This is a substantial work – a quarter of an hour – and each instrument is given several solo, bravado opportunities. But they also sing sweetly together often as well, and the work overall has the flavour of an extended operatic duet (soprano and bass, one supposes), and nearly every sort of method of showcasing the instruments is exploited. Solo moments, solo with orchestra, together with orchestra, and even a few times where one instrument is accompanist to the other; all are here. The orchestra has a brief transitory passage in the middle, but overall is there to allow the soloists to shine. The usual tribute paid to Bottesini is to call him “the Paganini of the double bass,” but perhaps there are at least a few happy to call Paganini “the Bottesini of the violin.”

Program notes © 2013 by D.T. Baker, except as noted

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November 2013


Symphony in Three MovementsIgor StravInSky(b. Oranienbaum, 1882 / d. New York, 1971)

First performed: January 24, 1946 in New YorkLast ESO performance: March 1995

ookIng back on the work In later yearS, Igor Stravinsky felt that there was much of the emotional impact of the

Second World War in his Symphony in Three Movements – but he was not aware of it at the time. Written shortly after his arrival in America, the symphony Stravinsky started shortly after the U.S. became involved in the war, and completed it a few months it came to a close. It was also a work of expedience: much of the material came from music Stravinsky had written for film scores, but which had not made it to the final versions of those films.

The arresting first movement was inspired, Stravinksy said, by a film he saw about China’s scorched earth policy. Remarkably, the six violent notes that grab one from the outset form the nucleus of almost everything in the restless, agitated opening movement. Even when the mood subsides a third of the way in, the tonic centre is still built around the same notes. While quieter, this substantial contrasting section still has the same rhythmic urgency as the louder opening. The brittle first movement (called an “Overture” by Stravin-sky) ends with a quiet growl on bass clarinet, and is followed by an Interlude in a gentle Andante. A decidedly contrasting mood is evoked here – a genteel elegance in the winds plays above a repeated ground. A new idea, begun in the strings and taken up by woodwinds, is reminiscent of music from The Rite of Spring, written 30 years before. The music of the opening returns to close the movement, in slightly more muted tones. It links directly to the final movement, which springs from it in a stark processional. It is a sarcastic parody of the goose-stepping newsreels Stravinsky and thousands of others watched regularly, punctured by mock-heroic statements. “The square march-beat, brass-band instrumentation, [and] grotesque [tuba] crescendo… are all related to those abhorrent pictures,” the composer wrote. Out of nowhere, piano and harp begin a fugue after an awkward pause, leading to a conclusion of almost ecstatic proportions.

Concerto for Double Bass No. 3 in E Majoredgar Meyer(b. Oak Ridge, Tennessee, 1960)

First performed: The Alabama Symphony and the Sioux City Symphony co-commissioned Edgar Meyer’s Double Bass Concerto No.3. Meyer played the premiere with Justin Brown and the Alabama Symphony on 17 February, 2012. It was performed with the Sioux City Symphony on 14 April, 2012. It has since been performed with the Virginia Symphony.This is the Canadian premiere of the piece

arly In edgar Meyer’S thIrd concerto, double baSS has a brief cadenza in parallel fifths, supported only by a long

sustained E in the oboe. Okay; that sounds reasonable – this is a solo

concerto for bass. What follows, however, is less predictable: a haunting solo for principal oboe. Its theme, beginning with that sustained pitch, outlines all twelve tones of the chromatic scale. Is this twelve-tone music? From a performer who is known for his mastery of bluegrass and jazz as well as classical?

Edgar Meyer is also a serious composer, who constantly seeks new avenues of musical expression. “Writing with this theme opens up new harmonic places for me,” he explains. He uses those opening pitches in the oboe to provide tonal centers and drive the harmonies of what functions as the first movement.

Meyer points out that one can hear strong tonal anchors throughout the concerto. “The second and third movements often drone on an E, then depart from that in several different ways, including a couple of “symmetrical patterns that use all twelve pitches.” But this is not twelve-tone music, in the academic sense. Meyer’s concerto draws on Americana and the vernacular as well as western classical tradition. Yet this piece has a harmonic language which is more exploratory than in some of his earlier works.

Meyer recognizes challenges inherent in the bass itself. “It has some clear limitations,” he acknowledges. “The instrument is dark and soft. It actually has a nice, six-octave range, which is useful. But dark and soft are two things that are not natural for concertos.” The problem is one of balance. A large orchestra runs the risk of overpowering a solo instrument, particularly one that does not have the advantage of high frequency, such as violin, or a different timbre, such as piano.

He pays particular attention to layers of colour and texture. The score employs several wind instruments that are not standard to the symphony orchestra. For example, in addition to piccolo and flute, he calls for alto and bass flutes, and in one passage uses all four “voices” of the flute family together. Similarly, the clarinet family in his orchestral complement comprises not only B-flat clarinet and bass clarinet, but also the piccolo E-flat clarinet and the contrabass clarinet. Woodwind solos and duets with the bass soloist provide bright flashes of instrumental colour throughout the score.

Elsewhere, Meyer writes extended passages that emphasize the kinship between the soloist and the orchestral strings, which play pizzicato while the bass weaves its rhapsodic, improvisatory solo lines. Sometimes the orchestral basses accompany the soloist, with the flute family providing a subtle rhythmic pedal point. Meyer uses full orchestra sparingly, and hardly ever when the double bass is playing.

The concerto is an extended single movement. Attentive listeners will recognize recurrent snatches of melodies and other patterns, including the drones that Meyer mentions and rapid figuration in triplets, sixteenth notes, and sextuplets. Certain combinations of instruments also recur. For example, the parallel fifths of the opening bass mini-cadenza surface later in horns and in the strings.

Another significant aspect that governs the concerto’s structure is pac-ing. Meyer is precise in his metronome instructions. The opening material functions as a slow introduction; he then specifies an accelerando that leads to a brisk first section, approximating an opening allegro. A broad decelerando ushers in a slower section that corresponds to a traditional slow movement. The concerto concludes with a virtuosic fast section that recapitulates many ideas heard earlier: pedal points, rapid note groups, ascending and descending patterns within instrumental families. A brief echo of the soloist’s opening cadenza in parallel fifths ushers in a brilliant and concise coda.

Program note © 2013 by Laurie Shulman


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2013/2014 SEASONFriDay MaSTErS & LaNDMark HoMES MaSTErS Meyer’s Bass Concerto

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SiGNATuRE www.edmontonSymphony.com16


RSignature2_2013_p18-21.indd 18 10/25/13 9:39:28 AM

R2013/2014 SEASONRobbins LighteR CLassiCsTurkish DelightsThursday, November 21 | 8 P M

William eddins, conductorscott Macisaac, pianoVirginie gagné, violin

MoZaRtThe Abduction from the Seraglio, K.384: Overture (6’)*

MoZaRtViolin Concerto No. 5 in A Major, K.219 “Turkish”: 3rd mvmt - Rondeau (9’)*

haYDnPiano Concerto No. 11 in D Major, Hob.XVIII: 11 (18’)* Vivace Unpocoadagio Rondaall’ungarese:Allegroassai


iPPoLitoV-iVanoVTurkish Fragments, Op.62 (13’)* TheCaravan–DuringaRest–IntheNight–AttheFestival

haYDnSymphony No. 100 in G Major, Hob.I: 100 “Military” (25’)* Adagio–Allegro Allegretto Menuet:Moderato Finale:Presto


H

Mr. Eddins’ bio can be found on page 6.Guest artist’s bios and program notes continue on page 20-21.

ailed as a pianist with “brio and imagination” (The New

York Times) and having “speed, clarity, breath and musicality” (La Presse), Canadian pianist ScoTT MacISaac has per-formed in recitals and orchestral engagements in Canada as well as internationally in the U.S., Europe, and China. He made his Carnegie Hall debut in Decem-ber 2011 and recently performed concerts in Shanghai and Xia-men, China.

Mr. MacIsaac has won numerous top prizes in many competitions, including the Prokofiev Compe-tition, the RBC Concerto Com-petition, the Toronto Symphony

Orchestra Piano Competition, the Federation of Canadian Music Festivals, The Shean Piano Competition, two consecutive Grand Prize Awards in the Canadian Music Competition, and the Kiwanis Music Festival Rose Bowl. Born in Edmonton of Chinese and European heritage, Mr. MacIsaac has studied with Marilyn Engle and Boris Berman. He is currently under the tutelage of Peter Frankl at the Yale School of Music.

Mr. MacIsaac last appeared with the ESO in January 2012.

native of Montréal, VIrgINIe gagNé started to play the violin at the age of three and entered the Montréal Conservatory at eight, where

she later received a bachelor degree with honours both in violin and chamber music. She pursued her master of music studies at Rice University in Hous-ton, Texas, with violin teacher Sergiu Luca. Ms. Gagné has been awarded several prizes in violin at the Montréal Symphony Orchestra Competition, the Canadian Music Competition, and the Canada New Music Competi-tion, among others. She also participated in numerous professional work-shops, including the Music Academy of the West in California, and the Bad Leonfelden International Summer Academy in Austria. As part of the New York String Ensemble Seminar, Virginie Gagné made her Carnegie Hall orchestra debut under Jamie Laredo. Her past experiences include a one-year position, section first violin, with the Honolulu Symphony Orchestra.

A R T I S T B I O SaRtist bios

Series Sponsor

Bill & Mary Jo Robbins

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signatuRe 19noVeMbeR 2013


RSignature2_2013_p18-21.indd 18 10/25/13 9:39:28 AM

Now established in Edmonton, Ms. Gagne is also a member of the Enterprise String Quartet and the Alberta Baroque Ensemble. She was named to the First Violins of the Edmonton Symphony Orchestra followings auditions in April, 2006, and has been Assistant Concertmaster since 2009.

Ms. Gagné last appeared as a soloist with the ESO at Sym-phony Under the Sky presented by ATB Financial 2012.

Turkish Delights – Program notes

t should be understood from the start that the “Turkish” music to be heard on tonight’s program is about as genuinely

Turkish as French Fries are from France. The notion of an exotic Turkish sound in music from the 18th and early 19th centuries came from the use of what were considered “janissary” instruments. Janissaries were Turkish infantry soldiers who acted as bodyguards for the sultan. Their music made use of particularly bright percussive effects, imitated in the traditional European orchestra with the triangle, cymbals, and drums. This faux-Turkish sound became a fad in the days of Mozart and Haydn, and tonight’s concert presents a number of splendid examples of how that unique sound worked its way into some of the most beloved works of the period.

The Abduction from the Seraglio, K.834: OvertureWolfgang amadé mozart(b. Salzburg, 1756 / d. Vienna, 1791)

hat better excuse to use the janissary sound than to have a story actually set in mysterious Turkey itself? Mozart’s German-

language opera The Abduction from the Seraglio (“seraglio” is another name for a harem) was the summation of his exploration of this kind of music. Its comic story concerns the efforts of the hero Belmonte and his servant Pedrillo to wrest their respective loves (Constanze and Blonde) from their kidnapper, the Pasha Selim. It premiered to great acclaim in 1781 – Mozart was 25 at the time.

The opera’s overture contains some of the elements that lend the Turkish style. As well, an aria is quoted – Belmonte’s Act I song “Hier soll’ ich dich den sehen,” (“Here, surely I must find her”) though the overture lends the song a certain piquancy by setting it in a minor key.

Violin Concerto No. 5 in A Major, K.219 “Turkish”: 3rd mvmt – Rondeaumozart

ozart had just turned 19 When he put the finishing touches on the last violin concerto he would ever compose. It capped

a remarkable compositional period in which he wrote nearly a dozen works with important violin solos – including the final four violin concertos, all composed between April and December of 1775. It was as if working on all four gave him a chance to work through all the kinds of experimentation he wanted to with the genre. And with the Fifth Violin Concerto, what Mozart plays up the most is contrast.

It is the final movement that gave the work its nickname. It is a rondo, with a main subject in a gentle minuet tempo. It is interrupted with a strik-ingly contrasting counter subject. It is here that Mozart interjects a janissary segment, in A minor, in the centre of the movement. Listen for the greatly exaggerated ups and downs in the lower strings, and the way the staccato strings provide the feel of the bass drum. Once this remarkable passage is over, the gentle minuet returns to conclude the work.

Piano Concerto No. 11 in D Major, Hob.XVIII: 11franz josef haydn(b. Rohrau, Lower Austria, 1732 / d. Vienna, 1809)

any more keyboard concertos Were attributed to Franz Josef Haydn than he actually wrote. Even calling tonight’s

work No. 11 might be a bit of a stretch. Never the best record-keeper of his works, Haydn also suffered the fate of many famous composers – others tried to shamelessly pass off their own works as his. But even if this work is not the 11th such concerto, we do know for sure that he wrote this one. A pair of trumpets and a pair of flutes join strings as the only orchestral accompani-ment in this enchanting work.

Two main themes dominate the opening Vivace: a strong, uplifting first theme in the home key, and a contrasting one in A Major. The right hand gets the real workout in this movement; the left hand has a repetitive accompaniment that was a trademark of Haydn. There is a lovely, Mozar-tean elegance to the Adagio second movement – Haydn (24 years Mozart’s senior) was a great admirer of Mozart’s concertos. The final movement,

2013/2014 SEASONROBBINS LIGHTER CLASSICS Turkish Delights


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a lively Rondo with that whiff of the Turkish that flavours all the works tonight, is actually based on a traditional melody from Dalmatia, a part of the Austro-Hungarian empire not far from where Haydn was born.

Turkish Fragments, Op.62Mikhail ippolitov-ivanov(b. Gatchina, 1859 / d. Moscow, 1935)

ne Major difference separating russian coMposer Mikhail Ippolitov-Ivanov from his contemporaries was his support of the Bolshe-

vik Revolution, and his contentment to work under the new Soviet regime after 1917. As a result, his career suffered no major setbacks, and after 11 years in the Caucasus (where he taught at the music school in Tiflis), he went on to spend the bulk of his career in Moscow, eventually heading up the Conservatory there. However, his time in the more rustic countryside gave him an appreciation for folk music, which often coloured many of his compositions. Turkish Fragments, composed late in his life, is an example.

The work follows a bit of a program: the caravan depicted in the opening section is on a journey, reaching a festival by its journey’s end. The first part has a processional feel, leading to a three-part second section (“During a Rest”) in which a slow introduction is followed by a brief dance, then an engagingly lyrical conclusion. Part three (“In the Night”) is a nocturne, highlighted by a Turkish-inspired solo for English horn. The finale depicts the colours, fragrances, and mercurial excitement of the festival.

Symphony No. 100 in G Major, Hob.I: 100 “Military”haydn

hen trying to keep 104 separate syMphonies straight, it’s understandable that you would use nicknames to help differentiate

them. That’s what has happened with the symphonies of Franz Josef Haydn. Often, it’s only a tiny moment that earns the entire work its nickname, and in the case of the “Military” Symphony, it’s the second movement.

In the last productive years of his long life, Haydn enjoyed the life of the celebrated elder statesman. His final 12 symphonies (of which No. 100 is a part) were written for audiences in England. Together, they are a summation of the symphonic form of the time, and each one was premiered to great enthusiasm. The work is in four movements, the first of which has a polite, slow introduction, and from this comes the melodic material that makes up the faster part of the opening movement, a rather more merrier and bracing section, full of dynamic contrasts and playful moments.

The second movement is an Allegretto, as opposed to the usual slower movement. Another unusual feature is the frequent use of unaccompanied woodwinds. But the “military” part that earns the symphony its nickname comes from the dramatic forte episodes, highlighted by the use of those janissary instruments – triangle, drums, and cymbals. Another thrill for the audience of the day would have been the solo trumpet fanfare, and the dramatic timpani roll ushering in the movement’s last moments.

The two movements that follow this orchestral thrill ride (you’d probably have to have been an audience member in 1794 to really get the thrill part) are relatively straightforward. The third movement contrasts a twirling minuet with a gentle central section, with the menuet returning. The final movement begins in delicate textures, but runs a wide, but always good-natured, range from soft to loud, urged along by a pulsing rhythm.

Program notes © 2013 by D.T. Baker

November 2013


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L2013/2014 SEASONScheherazadeLandmark Homes masters

Saturday, November 30 | 8 P M

mei-ann Chen, conductorLidia khaner, oboe

Symphony Prelude, 7:15 pm Upper Circle (Third Level) Lobby with d.t. Baker

mendeLssoHnThe Fair Melusina Overture, Op.32 (11’)*

HatZIsTelluric Dances for Oboe and Orchestra (33’)* Snake Dance (Chifetelli) Eagle Dance (Zeibekiko) Dancing in the Light


rImskY-korsakoVScheherazade, Op.35 (45’)* The Sea and Sinbad’s Ship (Largo e maestoso) The Kalendar Prince (Lento) The Young Prince and the Young Princess

(Andantino quasi allegretto) Festival at Baghdad – The Sea (Allegro molto)


A n innovative and passionate force both

on and off the conductor’s podium, Mei-ANN CheN is one of most dynamic young conductors in the United States. Music Director of the Memphis Symphony since 2010 and of the Chicago Sinfonietta since 2011, she has infused both orchestras with energy, enthusiasm, and high-level music-making. In recognition of these accom-plishments, the League of American Orchestras granted her the prestigious Helen M. Thompson Award at its 2012 national conference in Dallas. Maestra Chen’s 2013/14 season takes her across the United States, and to Canada, Sweden, and Austria. Guesting highlights include engagements with the Detroit Symphony, Vancouver Symphony, Austria’s Gross Orchester Graz, Sweden’s Göteborgs Symfoni-ker, and NorrlandsOperan (Norrland’s Opera), with whom she appears in both the fall and spring.

Ms. Chen’s recent seasons include debuts with the Chicago, San Francisco, Houston, Cincinnati, and San Diego Symphony Orchestras. Abroad, she has appeared with Brazil’s São Paulo Symphony, Finland’s Tampere Philharmon-ic, the Netherlands Philharmonic in the Concertgebouw, and the National Taiwan Symphony Orchestra. Among her many North American guesting credits are appearances with the symphony orchestras of Atlanta, Baltimore, Colorado, Fort Worth, Nashville, North Carolina, Oregon, Pacific, Phoenix, Seattle, Toronto, and the National Symphony in Washington, D.C. Overseas, she has conducted the BBC Scottish Symphony, Bournemouth Symphony, Orquestra Sinfonica Nacional de Mexico, Norwegian Radio Orchestra, and the Trondheim Symphony. In 2005 Mei-Ann Chen became the first woman to win Copenhagen’s esteemed Malko Competition. She is also the recipient of a Sunburst Award from Young Audiences for her contribution to music education. Born in Taiwan, Mei-Ann Chen has lived in the United States since 1989. She was the first student in New England Conservatory’s history to receive master’s degrees, simultaneously for violin and conducting, later obtaining her doctorate from the University of Michigan.

Ms. Chen last appeared with the ESO in November 2010.

Guest artists’ bios and program notes continue on page 24-25.

A R T I S T B I O SartIst BIos

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Like any Symphony,every Landmark home iS a maSterpiece.


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sIgnature 23noVemBer 2013

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LLike any Symphony,

every Landmark home iS a maSterpiece.


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2013/2014 SEASON

THE COMPANY OF HEAVEN - BRITTEN AT 100

November 17 at 8 pm | Winspear Centre

The Madrigal Singers with the University Symphony Orchestra and Concert Choir A celebration of British composer Benjamin Britten on the centenary of his birth

TICKETS: $10 STUDENT | $20 ADULT | $15 SENIOR AT WWW.YEGLIVE.CA AND THE DOOR

WWW.MUSIC.UALBERTA.CA

MAINSTAGE 2013CONCERTS 2014

University of Alberta | Department of Music

heritage – adapted it as the music for the Rhinemaidens in his Ring Cycle. It is the first theme heard in the overture, gently rising on the woodwinds out of rippling strings. Soon after, the violins present the urgent, proud theme of Melusina’s lover, the count who could not resist discovering the tragic truth. A third idea (a love theme, perhaps) is also introduced, and the three musical threads build to a passionate climax, and a tender, dénouement that brings us back to the springs from which Melusina, and the overture, arrived.

Telluric Dances for Oboe and OrchestraChristos hatzis(b. Volos, Greece, 1953)

First performed: May 3, 2005 in HalifaxThis is the ESO premiere of the piece

Program note by the composer:

elluriC DanCes was CommissioneD by symphony Nova Scotia with funding from the Canada Council for the Arts and the

CBC. It is dedicated to the two soloists who requested it (Joseph Salvalaggio, a young Canadian oboist living and working in the U.S., and Symphony Nova Scotia Principal Oboe Suzanne Lemieux), and to Symphony Nova Scotia and Maestro Bernhard Gueller. The work is in three dance movements. The keys of the three movements outline an augmented chord: the first movement starts in F and ends in A, the second starts in A and ends in C-sharp, while the last move-ment starts in C-sharp and ends back in F. The music makes extensive reference to tonal modes and popular dance forms from the Balkans and Greece in particular. Some of these modes and dances have their origins in Turkish and Arabic music, but my first encounter with them was in the Greek night clubs of Toronto where I made a living playing in local bands during my early years as a composer.

“Snake Dance,” the first movement, is based on one of the most common dance forms of the Eastern Mediterranean, the Chiftetelli. It starts with a slow introduction which eventually gives way to the first dance with very virtuosic oboe passages frequently accompanied by half-improvised hand drums and an orchestra that occasionally sounds more like a world music band than a conventional symphony orchestra. This slow-fast sequence is repeated in a different mode before the music takes flight and begins to explore various other references beyond the Eastern Mediterranean motifs that were prevalent in the first half of the movement. It ends with a rather long and technically very demanding cadenza for the soloist.

“Eagle Dance,” the second movement, is a passacaglia based on a nine beat rhythmic pattern that in Greece is known as Zeibekiko. It is an improvised dance originally danced by men drawing on a limited repertory of very sudden and unexpected movements. Both the rhythmic pattern and the accompanying melody by the soloist are repeated constantly and throughout this movement, building momentum through orchestration (the aural effect is very similar to that of Ravel’s Boléro). At about two thirds into the movement, there is a sudden harmonic change, a new melody, and lyrical, rich harmonies and orchestration that are reminiscent of Hollywood movie scores. Eventually the original melody and the accompanying Zeibekiko rhythm reappear and are combined in counterpoint with the new material. In the end, just like in the beginning, the oboe and the bass drum state the opening melody and rhythm in stark contrast to the preceding rich texture.

“Dancing in the Light,” the last movement, is based on a folk dance in 7/8, which is common throughout the Balkans. It takes a while for the main theme of this movement to settle into the 7/8 metre and discover its full thematic sub-

iDia Khaner has per-formed as Principal Oboe

with the Edmonton Symphony Orchestra since 1996. She studied oboe in her native Poland at the Warsaw Academy of Music and graduated With Distinction in 1987. As a member of the Sinfonia Varsovia and the Polish Chamber Orchestra, she toured around the world playing both orchestral parts and solo concerts. During a sab-batical, she studied in Germany at the Stuttgart Hochshule für Musik with Ingo Goritzki, and played with the Deutsche Kammerakad-emie. Ms. Khaner played Principal Oboe with the Sinfonia Helvetica

from 1992 to 1997. She has recorded works for the KOS label, the Polish radio and television network, CBC, and Arktos Recordings. Ms. Khaner has performed and recorded solo concerti with the Alberta Baroque Ensemble and soloed with the Edmonton Symphony and the Edmonton Chamber Orchestras. In 2003 Lidia Khaner released two CDs, of oboe and piano music with Janet Scott Hoyt, and Mozart chamber music for oboe and strings. Her latest release Inspiration, on Edmonton’s Arktos Recordings label, unites her once again with Janet Scott Hoyt in music by Poulenc, Saint-Saëns, Britten, and Lai. Ms. Khaner has earned second degree black belt in Taekwondo and represented Canada (earning a bronze medal) in 10th Junior & 5th Veteran ITF World Championship in Estonia.

Ms. Khaner last appeared as a soloist with the ESO in May 2013.

The Fair Melusina Overture, Op.32Felix menDelssohn(b. Hamburg, 1809 / d. Leipzig, 1847)

First performed: 1834This is the ESO premiere of the piece

iKe several subjeCts oF european FolKlore, melusina was a watersprite who fell in love with a mortal man (much like Dvořák’s

Rusalka). Condemned for one day a week to transform into an aquatic being, Melusina begs her love to leave her alone on that one day. Naturally, he cannot, and discovering the truth dooms her to death. Drawn to the myth’s idea, Felix Mendelssohn attended an opera based on the subject by a musical footnote of a composer, Constantin Kreutzer. Irked that the opera’s sub-standard overture was encored, Mendelssohn determined to write a better one. The result, to be heard tonight, is not one of his best-known orchestral scores, but remained a personal favourite of the composer and his circle.

Rather than follow a narrative arc, Mendelssohn’s The Fair Melusina depicts the moods and landscapes of the Melusina legend. In fact, its depiction of the bubbling stream from which the nymph emerges was colourful enough that Wagner – who famously derided Mendelssohn, no doubt due to his Jewish

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each of his wives to death following their wedding night. The second theme, an extended and beautiful solo for violin (Robert Uchida) accompanied by harp (Nora Bumanis) is that of Scheherazade herself – the latest wife of the Sultan, who would have surely have shared her predecessors’ fate, had she not staved off her execution night after night by spinning wonderful tales for her husband. After a thousand and one nights of stories, the Sultan was so in love with Scheherazade, he abandoned his deadly practice.

The first movement begins with the two thematic ideas stated above, then transitions into its tale, titled “The Sea and Sinbad’s Ship.” The voyage under-taken is sweeping and not without drama, with grand climaxes evoking waves and strong winds – but all built around a relatively simple melodic idea that takes flight from Scheherazade’s theme. The second movement brings us the Kalendar Prince, who disguises himself as a beggar in order to seek knowledge. An oboe takes the lead in introducing the Kalendar theme, which is presented in a number of orchestral guises and moods. A dark, central section illustrates a threatening episode, but following this brief tempest, we are swept along once again on the Prince’s journey for enlightenment.

The third movement, “The Young Prince and the Young Princess,” is a lush, romantic idyll. Their theme is a languorous unison melody in the strings, answered by undulating woodwinds. A central section brings back the Schehe-razade theme for solo violin. The finale is an exciting whirlwind of events that begins with the strongly stated Sultan theme, answered by Scheherazade’s theme. Next comes a glittering and vibrant festival in Baghdad, which transitions to the powerfully depicted storm at sea. Finally, Scheherazade is given the final say, with the violin reaching its most delicate pianissimo, disappearing on a whisper.

Program notes © 2013 by D.T. Baker, except as noted

stance, transforming along the way into a variety of odd-numbered rhythmic structures based on asymmetrical permutations of threes and twos. The music is episodic and exuberant, alternating between softer textures supporting the soloist and intense orchestral outbursts. Towards the end there is a section for the percussionists to shine, particularly the hand-drummer, who is treated as a secondary soloist in this work. A fast coda for oboe and unison orchestra, which culminates in a theatrical break down of communications between the soloist and the orchestra musicians, concludes this hyper-virtuosic movement.

Scheherazade, Op.35Nikolai Rimsky-koRsakov(b. Tikhvin, Novgorod, 1844 / d. St. Petersburg, 1908)

First performed: November 3, 1888 in St. PetersburgLast ESO performance: March 2008

ased oN the thousaNd aNd oNe Nights, Rimsky- Korsakov’s sweeping four-movement suite was one of many Russian works

inspired by the exotic East. The composer himself vacillated as to whether or not he wished for specific stories to be suggested by the music; at one point, he considered publishing the four movements simply as Prelude, Ballade, Adagio, and Finale. In the end, he decided on more colourful descriptors (see pg. 23), but more as suggestion than story-telling.

Two recurring themes are central to the work. The strong opening chords form the basis of the theme of the stern and draconian Sultan, who condemns

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2013/2014 SEASON








heritage – adapted it as the music for the Rhinemaidens in his Ring Cycle. It is the first theme heard in the overture, gently rising on the woodwinds out of rippling strings. Soon after, the violins present the urgent, proud theme of Melusina’s lover, the count who could not resist discovering the tragic truth. A third idea (a love theme, perhaps) is also introduced, and the three musical threads build to a passionate climax, and a tender, dénouement that brings us back to the springs from which Melusina, and the overture, arrived.

Telluric Dances for Oboe and OrchestraChristos hatzis(b. Volos, Greece, 1953)

First performed: May 3, 2005 in HalifaxThis is the ESO premiere of the piece

Program note by the composer:

elluriC DanCes was CommissioneD by symphony Nova Scotia with funding from the Canada Council for the Arts and the

CBC. It is dedicated to the two soloists who requested it (Joseph Salvalaggio, a young Canadian oboist living and working in the U.S., and Symphony Nova Scotia Principal Oboe Suzanne Lemieux), and to Symphony Nova Scotia and Maestro Bernhard Gueller. The work is in three dance movements. The keys of the three movements outline an augmented chord: the first movement starts in F and ends in A, the second starts in A and ends in C-sharp, while the last move-ment starts in C-sharp and ends back in F. The music makes extensive reference to tonal modes and popular dance forms from the Balkans and Greece in particular. Some of these modes and dances have their origins in Turkish and Arabic music, but my first encounter with them was in the Greek night clubs of Toronto where I made a living playing in local bands during my early years as a composer.

“Snake Dance,” the first movement, is based on one of the most common dance forms of the Eastern Mediterranean, the Chiftetelli. It starts with a slow introduction which eventually gives way to the first dance with very virtuosic oboe passages frequently accompanied by half-improvised hand drums and an orchestra that occasionally sounds more like a world music band than a conventional symphony orchestra. This slow-fast sequence is repeated in a different mode before the music takes flight and begins to explore various other references beyond the Eastern Mediterranean motifs that were prevalent in the first half of the movement. It ends with a rather long and technically very demanding cadenza for the soloist.

“Eagle Dance,” the second movement, is a passacaglia based on a nine beat rhythmic pattern that in Greece is known as Zeibekiko. It is an improvised dance originally danced by men drawing on a limited repertory of very sudden and unexpected movements. Both the rhythmic pattern and the accompanying melody by the soloist are repeated constantly and throughout this movement, building momentum through orchestration (the aural effect is very similar to that of Ravel’s Boléro). At about two thirds into the movement, there is a sudden harmonic change, a new melody, and lyrical, rich harmonies and orchestration that are reminiscent of Hollywood movie scores. Eventually the original melody and the accompanying Zeibekiko rhythm reappear and are combined in counterpoint with the new material. In the end, just like in the beginning, the oboe and the bass drum state the opening melody and rhythm in stark contrast to the preceding rich texture.

“Dancing in the Light,” the last movement, is based on a folk dance in 7/8, which is common throughout the Balkans. It takes a while for the main theme of this movement to settle into the 7/8 metre and discover its full thematic sub-

iDia Khaner has per-formed as Principal Oboe

with the Edmonton Symphony Orchestra since 1996. She studied oboe in her native Poland at the Warsaw Academy of Music and graduated With Distinction in 1987. As a member of the Sinfonia Varsovia and the Polish Chamber Orchestra, she toured around the world playing both orchestral parts and solo concerts. During a sab-batical, she studied in Germany at the Stuttgart Hochshule für Musik with Ingo Goritzki, and played with the Deutsche Kammerakad-emie. Ms. Khaner played Principal Oboe with the Sinfonia Helvetica

from 1992 to 1997. She has recorded works for the KOS label, the Polish radio and television network, CBC, and Arktos Recordings. Ms. Khaner has performed and recorded solo concerti with the Alberta Baroque Ensemble and soloed with the Edmonton Symphony and the Edmonton Chamber Orchestras. In 2003 Lidia Khaner released two CDs, of oboe and piano music with Janet Scott Hoyt, and Mozart chamber music for oboe and strings. Her latest release Inspiration, on Edmonton’s Arktos Recordings label, unites her once again with Janet Scott Hoyt in music by Poulenc, Saint-Saëns, Britten, and Lai. Ms. Khaner has earned second degree black belt in Taekwondo and represented Canada (earning a bronze medal) in 10th Junior & 5th Veteran ITF World Championship in Estonia.

Ms. Khaner last appeared as a soloist with the ESO in May 2013.

The Fair Melusina Overture, Op.32Felix menDelssohn(b. Hamburg, 1809 / d. Leipzig, 1847)

First performed: 1834This is the ESO premiere of the piece

iKe several subjeCts oF european FolKlore, melusina was a watersprite who fell in love with a mortal man (much like Dvořák’s

Rusalka). Condemned for one day a week to transform into an aquatic being, Melusina begs her love to leave her alone on that one day. Naturally, he cannot, and discovering the truth dooms her to death. Drawn to the myth’s idea, Felix Mendelssohn attended an opera based on the subject by a musical footnote of a composer, Constantin Kreutzer. Irked that the opera’s sub-standard overture was encored, Mendelssohn determined to write a better one. The result, to be heard tonight, is not one of his best-known orchestral scores, but remained a personal favourite of the composer and his circle.

Rather than follow a narrative arc, Mendelssohn’s The Fair Melusina depicts the moods and landscapes of the Melusina legend. In fact, its depiction of the bubbling stream from which the nymph emerges was colourful enough that Wagner – who famously derided Mendelssohn, no doubt due to his Jewish

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sSupporterS of the eSo and WinSpear Centre 2013/2014

SuStaining pledgeS: A New wAy of GiviNGDonors who have made a Sustaining Pledge to the ESO and/or Winspear Centre (My Winspear) are recognized with an * symbol. A Sustaining Pledge is a commitment to the continued success of the eSo, and the sustainability of edmonton’s performing arts culture. Last year, we had 202 of our donors pledge approximately $120,000 annually for five years – thank you! we encourage you to consider joining this passionate group and sign up for a Sustaining Pledge to support the eSo or winspear Centre by:1. Pledging an annual gift each year for at least five years, oR 2. Pledging an ongoing monthly gift

A Sustaining Pledge:Provides immeasurable support to the eSo and winspear Centre as we continue to grow our community accessibilityProvides fiscal stability to the eSo and winspear Centre, ensuring the continuity of our programs and allowing us to plan wisely for the future of the organizationensures the eSo and winspear Centre remain a beacon for the performing arts in our community for our grandchildren and their children

Help us build a long-term future for the eSo and winspear Centre! Please consider making the commitment to a Sustaining Pledge by contacting erin Mulcair at 780-401-2539 or [email protected].

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ORCHESTRA CIRCLE

Collectively, this generous group of donors provides annual support totalling nearly half a million dollars. To join the Orchestra Circle, please contact Eleanor Finger at 780.401.2578.+orchestra Circle gifts completely or partially endowed in perpetuity

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FRIENDS OF MUSIC ADVOCATE ($1,000 TO $1,499)ed AdamsDr. Andrew J. Jaremawilliam Almdal *Michael &

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The Edmonton Symphony Orchestra and Francis Winspear Centre for Music wish to express their gratitude to the following people who play an invaluable role in bringing music to life for our community through their annual gifts. Donors are recognized in these pages for their total annual combined support to the ESO and My Winspear campaign. Donor recognition pages will appear twice a year (September and February) in Signature magazine.

SIgNATURE www.EdmontonSymphony.com26



Michael BowmanElizabeth BrandtVlad & Cathryn BreckaPatricia Brine *Mr. & Mrs. J. P. BrumlikRoman & Suzanna BrytanKathryn BuchananAlan Burant &

Tracy TarapaskiLawrence Butler *Frank CalderEvelyn CarsonBryan CarterTerena & Sam ChappleChristine Chung *Joan S. Clark *Mr. & Mrs. Terry Cockrall *Suzanne ColterMatthew CorriganPeter & Victoria CuffBill & Marie DafoeAllan & Lucille DamerJohn & Christine DejongThomas & Karen deJong *Sylvia DeningEva DezseDarcy Doble *Karen DoyleGreg & Gail DrechslerUrsula Duke *Gary & Leanne Dyck *Jake & Marilyn EnsEric Fath-KolmesBetty & Bill Faulder *Reginald FergusonFerdinand Filiplic *Eleanor Finger &

G. Rauscher *Barbara & David FinlayShirley Forbes *Bruce & Margaret Foy *Barb GanskeRon GardnerCatherine Garvey *Dr. Julianna M. Nagy &

Dr. Ehor GaukDr. Marie Gervais *Dr. Helen Sachs &

Chris GrahamDr. Ian GravesBryan Gutteridge &

Ellie ShusterDr. and Mrs. Roger &

Luisita HackettEd & Mavis HahnMichael & Denise HarmonNorma Harper *Owen & Bev Heisler *Frank & Ruth HendersonGlen & Judy HeximerLois HingleyAudrey HodgsonRonald & Lavon HolgateJohn & Kathleen HolmesDorothy E. HowardR. Barry & Marcia C. Hunt *Richard IsaacCatherine JankeDarrell R. JespersenMrs. T. N. JohnstonPhilip KarplukTimothy KinniburghStan & Olga KolomyjecSabrina KwonBert Lang *Peter & Jean Langford-JonesLionel & Shannon LarcombeMarcel & Louise LavalleeSteven & Kathy LaveryBarbara LeahAube & Diana LevinePhil & Jayne Lin

Mary Lister *Alvin LowreyJean & Neil LundDoris M. LunnJean MacIntyreAnn Manson Dawn Marsh *Joan MarshallAlan Mather &


Kirby O’Connor *Barbara McIntyre &

Shane Pitts *John & Doris McIvorMrs. Jan McMillanDavid McNeilA. Blair McPhersonCatherine &

Milo MihajlovichRisha MiloWilliam MustardRebecca Nagel &

Andrew MacMillanIngrid NeitschNelson & Anne NickleFrances T. OlsonTeresa O’Riordan &

Ruth Laseur *Fred and Helen OttoVital & Colleen Ouellette *Marlene & Ray PeetsMarion Perrin *Mary PerssonMichael PhairGerry PiroMr. John L. PresseyPaul & Doreen PrevilleDon & Brenda QuarkPhil & Heather RenaudJanet RestaBruce & Wendy RieckDr. Martine Roy *Glenna RussellMark Schimanke *Malcolm Scott *Andrew Searle *Mrs. Lorraine SeguinBarbara L. SempovichAroon SequeiraPablo SetoSharon ShermanKayla ShoctorJudy Sills *Gerry & Barbara Sinn Lise SmithCarla SobolewskiDouglas SollowsDale & Jane Somerville *Monte StoutCarol SuddardsRobert TeskeyKathleen & Michael TomynMarlene TonhauserDavid & Carol TurnerRon & Gail UnrauHenriette van Hees *Stanley & Connie VarnhagenJoyce & Dennis VassGerald & Elaine VervilleDoug WarrenDr. Douglas & Jane Wilson *Karen WeisErnest & Lily YorkRonald & Shirley Young


Al & Barbara Anderson *Violet AndersonMichele AnnichDavid Arsenault &

Marie-Josée Dupuis-Arsenault *Andree AstonJoan & Monty Baker *Lucie & Armand BarilRyan J BarkwayTodd & Sian Barraclough *Vera BayrakD. E. BeckwithGabriella Bergsten *Miriam M. Bertsch-MannN. BessetteElaine BetchinskiMandi BexsonAnne BlatzTerry & Kathleen BocockBarry & Angela BreadnerJacqueline Breault Lori BristowKeith BrownNeil Burkard &

Diana de Sousa Susan & James BurnsMr. Tony BuzikLaura Cameron Pat Campbell *John & Marilyn CarrDiana CarstoiuBarry CavanaughMr. & Mrs. Gordon ClanachanJoyce M. ClarkRon & Mary ClarkVictoria ClarkeDouglas & Marietta ClementRob & Kathie ColemanWalter & Judith CookDr. David R. CornishE. DaleMartin & Louise DavisIngrid de KockBob DeFreceJean & Ann DeschenesColleen DibdenGordon & Verle DickauMarja Doornberg George & Mary DytyniakGeorge ElaschukPhoebe ElliotMr. & Mrs. A. EplerTerry Epp Lars E. Erickson Earl EvaniewJim & Joan FargeyMurray & Kathleen FarisP. A. Field *Robert T. Fleming *Christine Ford *Mr. William Forfylow *Ann FraserVincent & Ruth FriesenFred & Connie Gainer *Don & Barbara Gardner *Mr. & Mrs. D. GaylardDavid GeakePeter Gerbeth &

Anna Gablenz *Don & Diane Gibson *Shirley GiffordRichard & Sandra GoatcherWalter & Gerda GoetzBetty GravettSusan GreenMargaret GreenhillRoberta & Norman HansonRuth HarleLarry HarrisTimothy & Patricia HartnagelDavid & Germaine HarveyMarilyn V. HassardBill & Sandy HaunJoyce Hendrickson

Gerhard & Emily HenkemansConnie HighsmithDamien Hildebrandt *Leroy HillerKatherine Hougham *Raymond & Barbara HowardTrish Howatt *Margaret HusbandCarol Jackson & Larry BailerColleen & Douglas Jahns *Elizabeth & George JakewayDon H. JohnsonMaryGrace Johnstone David Phillip Jones, Q. C. *Dale & Helene KalbfleischDonna Kanewischer *Garry Karst &

Maureen Jensen-KarstHelen & Gordon KirschLoretta KlarenbachRobert & Alice KlassenKobie & Miensie Kloppers *Reg & Crispin Kontz *Brian & Seaneen KropfJerome KueflerGordon E. LangfordLorne & Joan Langman *Mr. & Mrs. H.G. LawrenceSigmund LeeMarilyn LemaySidney Simpson &

Lou Lesperance *Dyann Lewis *Tamara LinklaterNeil Longson Bob LosieAnita LundenLarry LynchJanet & Bill LywoodDr. & Mrs. G. F. MacDonaldKelly MacFarlaneBeth & Muriel MacIntosh &

Ken StokesDoug MacLeanTim & Tracey MacLeanEd & Lu MacMillanLynn & Arnold MakiLloyd & Lynn MalinBerniece Malone *Allyson Mandrusiak *Estelle I. MarshallDanny MascalukCherrill & Patrick McCallKathy McClellanC. Bruce McGavin *Al & Pat McGeachyChris & Charissa McKay *Ruth McKinley *David McLeod *Erik MichDave & Margo MillerMarla MillerDaniel J. Mol *Doris MooniePamela S. Muirhead *Gerald MurnanePeter & Sharon MurphySridhar Mutyala *Ruth A. NewDavid Nixon &

Lois LeVesconteLouise OlshewskiDennis & Linda Olson *Aaron & Jean OshryO’Neil Outar Tim PaetkauDr. & Mrs. Edward PappDr. & Mrs. E. G. ParkinsonDavid & Tikker PercyArnie PettersonDr. & Mrs. Fordyce C. PierChristopher Piggott *Rick & Marion Pilger *Mary & Bruce Ramshaw

Bryan & Linda Reed *Dr. Ian ReidMargaret & Hil ReineAllan & Karen RobertsonSean RobitailleBarbara RomanowskiIngrid & Steve Rose *Roger & Janet RussellJohn RyanTed SalterSari Salmon SchiffReid Schmidt *Miriam SchnellertMaik & Kara Schwaebe *Pat SemeniukMargaret & Glenn SharplesDr. R. W. SherbaniukEllie ShusterCathy Sinclair *Doris & Herb SkaretEdward & Eluned SmithMichael & Nance SmithMichael & Barbara SmithSharon & Rick Smith *Paul & Linda SorensonJames & Linda Spurr *A. StrackRon & Marion StroudPeter & Linda TaschukMerle & Neil Taylor *R. & S. TeplyDr. & Mrs. Timothy TerryGordon TidswellNicola C. Toxopeus Thomas Usher *Bill VandersteltJerry & Vi VasilashEvan Verchomin *Mr. & Mrs. A. C. VismanCindy WandioDr. Muriel WhitakerDonald WhiteNancy & Walder White

Sheila WhiteOrest WindjackBruce & Nora WisselinkDoris Wrench-EislerDon Wright *Eleanor Young *George & Gloria Zaharia

FRIEND ($100 TO $249)Anonymous (100)Dr. Shirley AdamsGail AdamsonDr. Bernie & Miriam AdlerZoe AfaganisKaren Albarda *Dorothy & Ted AllanEmmanuel AllardShirley AllderJames AllenBert & Olga AlmonJacquiline AnnicchiarichoMarcia Antunes Craig AumannAnnette Austin *Cassie & Khalid Aziz *Richard & Barbara BakerThea Bakker Stephen BalogRoderick E. BanksValerie BarlottDeborah BarnesRoy & Annette BarrettRay & Joan Barth *Kirsteen & David BassAnnette & Maurice BastideCarlos & Linda BasualdoGloria BauerLaurie BaydaStella & Walter BaydalaBetty BeauchampJames BeckettJann BeerAlan & Alice Bell

Allan Gordon BellJacqueline & Russ BellDenis & Lorrina BellandAllen & Ruth BenbowAlec & Marianne BenningBonita BentleyR. L. BergerKeith & Joyce BerrimanTannis Betts *Robert BhatiaCalvin BinnemaFran BittmanMichael BlackAngelo BlaisSylvia BlashkoElly BodnerMichael BognerPierre BoisvertRosemarie BollIngrid Crother &

James BoltonAmy BorkentY. BortnickBonnie BoucherMike Boucher Fred & Vi BowkerRoss BradleyBev & John BrennanRobert BrodaGarth & Mary Jane Brown *Robert & Jean Brown David & Betty Jean BuchananNancy Randall BurgerAubrey & Evelyne BurrowesAdolf & Kathleen BuseCarol Callas John CampbellMrs. K.K. CampbelPatrick CampbellKen & Verna CarlsonMr. & Mrs. James CarlsonMarc A. Carnes &

A. Christy Holtby

November 2013


sSupporterS of the eSo and WinSpear Centre 2013/2014

SuStaining pledgeS: A New wAy of GiviNGDonors who have made a Sustaining Pledge to the ESO and/or Winspear Centre (My Winspear) are recognized with an * symbol. A Sustaining Pledge is a commitment to the continued success of the eSo, and the sustainability of edmonton’s performing arts culture. Last year, we had 202 of our donors pledge approximately $120,000 annually for five years – thank you! we encourage you to consider joining this passionate group and sign up for a Sustaining Pledge to support the eSo or winspear Centre by:1. Pledging an annual gift each year for at least five years, oR 2. Pledging an ongoing monthly gift

A Sustaining Pledge:Provides immeasurable support to the eSo and winspear Centre as we continue to grow our community accessibilityProvides fiscal stability to the eSo and winspear Centre, ensuring the continuity of our programs and allowing us to plan wisely for the future of the organizationensures the eSo and winspear Centre remain a beacon for the performing arts in our community for our grandchildren and their children

Help us build a long-term future for the eSo and winspear Centre! Please consider making the commitment to a Sustaining Pledge by contacting erin Mulcair at 780-401-2539 or [email protected].

•

•

•

ORCHESTRA CIRCLE

Collectively, this generous group of donors provides annual support totalling nearly half a million dollars. To join the Orchestra Circle, please contact Eleanor Finger at 780.401.2578.+orchestra Circle gifts completely or partially endowed in perpetuity

HOnOrAry MEMbErSRaymond J. NelsonJohn & Barbara Poole +Bill & Mary Jo RobbinsHarriet Snowball winspear

DiAMOnD ($25,000+)Rae & Carol AllenJim Carter & Lorraine BrayColin & Lila eicherDianne & irving KipnesSteven & Day LePoole *elisabeth &

Reinhard Muhlenfeld

PlATinuM ($10,000 TO $24,999)

Anonymous (1)Larry & Janet AndersonRhonda BakerMark & Sandy GundersonSusan wylie & Bruce HagstromBev Martin *Judy Milton esther ondrackJo-Anne and Jack watt

GOlD ($5,000 TO $9,999)David & Carol CassMaria David-evans *Dr. Chris eagle &

Dr. oksana SuchowerskyLois A. field *Sandy fitchJan & Bill GraceMark & Nancy Heule *John & Susan HokansonKen & Janet Johnstone

Darcy & Barbara KoshmanBob & Cathy LegateBob & Bev McNally *Michael & Mary-Lynn MelleJean & Stewart MontgomeryTim & Nancy MuzykaArnold & Grace RumboldGraham Usher &

Paula GlobermanMichael veitchBarry & valerie walkerPaddy webb

SilvEr ($2,500 TO $4,999)Anonymous (2)The Honourable John A. Agrios

& Mrs. Ruth AgriosMadam Justice Darlene ActonDr. Gail Andrew *Drs. Dick & Heather-Jane Au *Harold & Linda BanisterJean Bell *David & Janet BentleyRichard & Barbara Bergstrom Karen BidniakLeone & Ken BiggsBob & Lynda BinnendykMarion & John Boyd *Ursula BullerCarolyn & Stephen Campbell Phyllis Clarkelaine M. CoachmanDavid & Gina CoscoDr. Bruce Dancik &

Brenda Laishley *Doug & wendy DaveyShannon De RooGrant Dunlop & erika NorheimBrian & Patricia GingrasGeorge & Ann HammondCynthia Hansen & Joe ConciniDavid HartGus & Alexandra HildebrandtGlen & Brenda Kemp *Sharon & Allan Kerr *Bohdan KorbutiakDrs. Gary &

Catharine LopaschukHilliard & Nancy MacbethPaul Melancon *Karen & wally Might

Arliss MillerShauna Miller &

James Gillespie *Patricia & Norbert MorgensternMary-Anne & David MorrisonAl & fran olson *Kathy & Tom PearsonAnnemarie & Paul PetrovR. J. Nelson family foundationAlan RuslerJohn & Martha Schieleric & elexis Schloss Marianne & Allan ScottRon & Dorothy Scott Harvey SheydwasserAndrew Sims & Simone ChartersAllen & Myrna Snarteira SpanerMr. & Mrs. G. TertzakianAngus wattC.J. woods, f.C.A.Linda youell in memory of

Gerry youell *

brOnzE ($1,500 TO $2,499)Anonymous (2)Diana M. BaconBarbara BatoniDrs. Jim & Barb Beck *Nora & Bob BernhardtDr. Len & Mrs. Barb Bistritz *Beverley Boren *Bob & Sheryl BowhayRita & william BreseMarion & elmer BrookerMarianne Brown *David & Marlene BurnettButler family foundationRonald CavellMarguerite &

Zbigniew ChrzanowskiAllan & Jane deCaenLouis & Marcelle DesrochersCatherine Miller & Len DolgoyDr. Douglas & Monique DuvalDennis & Doreen erkerw. Grant fairleyJoan fargeyMr. & Mrs. Heinz feldbergGeoffrey & Kathryn frisby *L. Neil Gower, Q.C.

Paul & winifred Greenwood *Alice HarrisonChristopher HeadMr. Aloys &

Mrs. Agnes Hendriks *Dr. Karen & Pam Hofmann *Stanton & Shirley Hooper *Travis HuckellKaron & Jotham HuisingDr. Donald & Christina JollyDr. Kaori Kabata *Donna KrucikC. A. KushlykRobert & Lesley Lambertivor & Mieke LammerinkDoug McConnell &

Claire DesrochersJohn R. & irene McDougallHugh McPhail &

yolanda van wachemLorna H. McPherson *Katherine & David MiddletonReg & Marcie Milley *John & Maggie MitchellJim MontgomeryStephen & Lynne MurgatroydLewis & Lindsay NakatsuiLaverne Nathanole & Marilyn NielsenSherry & Jim Noyes *ivan & Mary A. Radostits *Leonard RatzlaffJim & vivian RedmondHelen Resta *David & Rachel RossThe Rostron familyDavid & Carin RoutledgeMichel & Sylvie Sauveelizabeth M. Schwab M.D.Lisa Miller &

farrel Shadlyn Q.C.Jerry & Midge SmolykBrian & Jo-Anne SomervilleRobert SpindlerCurtis StrobeckChristine & Terry ThompsonMary Totman *Sir francis C. Price &

the Hon. Marguerite TrusslerMaryann walker in memory of

Dr. David Cook *Raymond Tsangelaine warick & Jim o’Neill *Neil & Jean wilkinson *Robert A. wilsonJohn & Carol wodakBill & Betty youngMichael & Carol Zukiwsky

FRIENDS OF MUSIC ADVOCATE ($1,000 TO $1,499)ed AdamsDr. Andrew J. Jaremawilliam Almdal *Michael &

Debbie Anderson *Catherine AndrewDouglas & frances Baines *Richard Baird *Julia BobergGerald Bouma Anne BradleyAlex & Christine BrownAlbert & Nancy CookHarold & Glenys Cuts *elly De Jongh *John & Ann DeaDr. Alison DinwoodieJim edwardsSylvia J. Galbraith *Ruth wolfe & Ken Gordon *Zenia HawryshDouglas & Dorothy HollandsMr. & Mrs. emil HryciwLillan KrawchukAtilano LacsonMargaret Lair *Malcolm & oryssia LennieC. B. LomowMervyn & Teresita Lynchward Mabbutt *Sue MarxheimerSheelagh McCourtBruce & Cindy McPhersonKathryn & Robert MerrettKen & Gerda MillerDr. Mori-TorresArmin Preiksaitis &

Marguerite Childs Lawrence &

Mary Anne PshykCindy PudryckiTulane RollingherDenise Ryan *Mr. & Mrs. H.G. Sabourinwayne & Tabea SchieweBrian & Heather Summers *Paul TerrioAllan & Bette wachowichwei yewRalph & Gay young

CONTRIBUTOR ($500 TO $999)Anonymous (19)eileen AbramsJudge Jack Allford &

Gail AllfordMrs. Karen &

Mr. Lourne Anderson *Mr. and Mrs. Milton &

elnora AndrePatricia & Leroy AnholtDavid & Grace AplinHeidi Christoph &

James ArchibaldDorothy ArmstrongJames AshDonna Babichuk *edward BaherTommy & ida BanksKaren & Craig BanksBill & Carole Bartonian & Janice BartonBart Becker Jon & Marilyn Been *Joan BenstedRon BercovJim & frances BerryBarbara BlackleyDon & Renee BlissRobert Boman


Michael Bowmanelizabeth Brandtvlad & Cathryn BreckaPatricia Brine *Mr. & Mrs. J. P. BrumlikRoman & Suzanna BrytanKathryn BuchananAlan Burant &

Tracy TarapaskiLawrence Butler *frank Calderevelyn CarsonBryan CarterTerena & Sam ChappleChristine Chung *Joan S. Clark *Mr. & Mrs. Terry Cockrall *Suzanne ColterMatthew CorriganPeter & victoria CuffBill & Marie DafoeAllan & Lucille DamerJohn & Christine DejongThomas & Karen deJong *Sylvia Deningeva DezseDarcy Doble *Karen DoyleGreg & Gail DrechslerUrsula Duke *Gary & Leanne Dyck *Jake & Marilyn enseric fath-KolmesBetty & Bill faulder *Reginald fergusonferdinand filiplic *eleanor finger &

G. Rauscher *Barbara & David finlayShirley forbes *Bruce & Margaret foy *Barb GanskeRon GardnerCatherine Garvey *Dr. Julianna M. Nagy &

Dr. ehor GaukDr. Marie Gervais *Dr. Helen Sachs &

Chris GrahamDr. ian GravesBryan Gutteridge &

ellie ShusterDr. and Mrs. Roger &

Luisita Hacketted & Mavis HahnMichael & Denise HarmonNorma Harper *owen & Bev Heisler *frank & Ruth HendersonGlen & Judy HeximerLois HingleyAudrey HodgsonRonald & Lavon HolgateJohn & Kathleen HolmesDorothy e. HowardR. Barry & Marcia C. Hunt *Richard isaacCatherine JankeDarrell R. JespersenMrs. T. N. JohnstonPhilip KarplukTimothy KinniburghStan & olga KolomyjecSabrina KwonBert Lang *Peter & Jean Langford-JonesLionel & Shannon LarcombeMarcel & Louise LavalleeSteven & Kathy LaveryBarbara LeahAube & Diana LevinePhil & Jayne Lin

Mary Lister *Alvin LowreyJean & Neil LundDoris M. LunnJean MacintyreAnn Manson Dawn Marsh *Joan MarshallAlan Mather &


Kirby o’Connor *Barbara Mcintyre &

Shane Pitts *John & Doris McivorMrs. Jan McMillanDavid McNeilA. Blair McPhersonCatherine &

Milo MihajlovichRisha Milowilliam MustardRebecca Nagel &

Andrew MacMillaningrid NeitschNelson & Anne Nicklefrances T. olsonTeresa o’Riordan &

Ruth Laseur *fred and Helen ottovital & Colleen ouellette *Marlene & Ray PeetsMarion Perrin *Mary PerssonMichael PhairGerry PiroMr. John L. PresseyPaul & Doreen PrevilleDon & Brenda QuarkPhil & Heather RenaudJanet RestaBruce & wendy RieckDr. Martine Roy *Glenna RussellMark Schimanke *Malcolm Scott *Andrew Searle *Mrs. Lorraine SeguinBarbara L. SempovichAroon SequeiraPablo SetoSharon ShermanKayla ShoctorJudy Sills *Gerry & Barbara Sinn Lise SmithCarla SobolewskiDouglas SollowsDale & Jane Somerville *Monte StoutCarol SuddardsRobert TeskeyKathleen & Michael TomynMarlene TonhauserDavid & Carol TurnerRon & Gail UnrauHenriette van Hees *Stanley & Connie varnhagenJoyce & Dennis vassGerald & elaine vervilleDoug warrenDr. Douglas & Jane wilson *Karen weisernest & Lily yorkRonald & Shirley young


The Edmonton Symphony Orchestra and Francis Winspear Centre for Music wish to express their gratitude to the following people who play an invaluable role in bringing music to life for our community through their annual gifts. Donors are recognized in these pages for their total annual combined support to the ESO and My Winspear campaign. Donor recognition pages will appear twice a year (September and February) in Signature magazine.

SIgNATURE www.EdmontonSymphony.com26


Peter & Barbara CarstensenAlma CarterDebbie CarterStephani CarterTaimi CastellGerlinde CegielnyAnita ChalmersLynda ChambulSamuel T.L. ChanSuzette ChanMatthew &

Laura Chapman *Margaret CharltonHeather ChartierMonica ChesneyNorma ChristiansenAlice & Nestor ChumerGary ClarkConnie ClarkeEarl Clements *Linda & Frank Clish *Roger & Carol CohenMegan Collins *Nancy Colpitts Arlene Connolly *Karin ConradiElizabeth Cooper *Ms Lori CosgroveEdwin & Lucille Cossins *John CottonDiane & Sandon CoxEllen Criss *Rosemarie Criss David & Sandra CrossPatrick & Luxie CroweDiana CrumpHelen Cuddihy *Robert & Jacqueline CuerrierJanet CulhamMary Cummins &

Gunther TrageserElizabeth CuylerBrenda DaleMarilyn Dale

Marilyn DarwishJean-Anne DaveyHerb Davis Owen & Linda De BatheBarbara & John DeaconMr. & Mrs. Arthur &

Betty Deane *Sheila DechantCinde DehaanKen & Mary DemedashDavid & Grace DenholmJeanette Desrosiers Mrs. TinaHerta DohertySharon DonaldBill & Sharon DonnellyTB & Les Dowhaluk *Sharon DownsMike DreanySylvia DuffusAlice DumaineBruce & Benita DuncanJoseph &

Marilyn Cote-DupuisJames & Carmen DykesTim EckertShirley EdgarDavid Edwards *Dr. Joy EdwardsL.E. Edwards *Jerrold Eilander *Marion ElderMarshall & Ardis EliasonThelma ElicksenFlorence Ellis Jim EllisRuthanna ElsonAlaa ElwiG. & L. EmanuelRob & Corinne EmersonMartin & Patricia EnoksonJanis EricksonMegan Evans Nicholas & Michelle Evans

Tammy Farkes Marilyn FedunKsenia & Ivan FedynaMr. & Mrs. Robert FeeneyWerner FenskeDavid FerroKaren FingasDon & Dixie FischerDeborah FisherSylvia FloodEsther FluevogPhyllis Foster Joan Fouts-MitchellArlene FowlisDorothy FrenchBernadette FritzDave & Elizabeth FromDiane R. Gagnon *Nancy Gall *Calvin GardnerGail GatesDouglas GaudinKatherine GibsonNeil & Twyla GibsonKevin & Alice GleesonJack & Bluma GoldbergDarrell & Barbara GotaasLaura & Keith GrahamRichard GrahamCharles & Ann GrantEvelyn GrantSheila GreenbergNorman & Marsha GrimesBob & Judy GroseJanice GrundbergE. GuilfoyleLiza GulezianMr. & Mrs. Luther HaaveKen Hadlington *Peter HallCarol & Neil HandelsmanDrs. Bohdan &

Elaine HarasymiwAnne Harder

Tom HardinWendy HarrisonPeter & Deborah HarropLorne & Faye HatchMargaret HauckElizabeth Hawryluk Christina HayashiBill HemstockGina HenklemanGeorge HennigMarion HensleyAbe & Karen HeringDr. Elena Hernandez-KuceyCathryn Heslep *Dr. Karen HesseCharles & Ferne HickmanPatsy HoMrs. Verna HochachkaDr. Ken &

Mrs. Donna HodginsDeborah Hoekstra *John Hoekstra *Brandy HoltJohn & Leni HonsakerValerie HopeJill Horbay *Lynda HoughAgnes HovelandChelsea Howard *Beth & Bill HowsonMartha HowsonMiroslav HruskaDavid Hudson &

Bonnie LovelaceJoanne HugginsDr. Sheila HughesJohn HunterDoreen HuntingtonLea HalinenRichard & Laurel InnesGeorge & Barbara IwaniukStuart & Kathy Jackson *Harold JacobsErik JacobsenNorene JamesJennifer JanzKerlene JohnerElizabeth JohnsonElizabeth JollyJustice Lionel &

Mrs. Sharon JonesJames & Alice JoosseDr. Larry JudgeBeata Kaczmarczyk *Daniel KalielBernard & Dorothy KeelerMike & Sheilagh KellyRoberta KennedyJoanne KennyLeni KeoughVera KichtonIrene King *Borden & Vivien KisilevichMaxine KlakElla KolmDavid KoskiPeter KossowanJoe KostlerMs. Iris KozmakMickey & Sylvia KrikunGerhard & Wilma KrischLarry KrushelnitzkyKurt LaitnerCarol & Bob LamontYuki LandryRoger & Catherine LangevinHarry & Judy LangnerMike LauClaire-Ann Lauder &

Georgina Hodgson *Robert LeBlancIvy & Thomas LeeLucy & Del LeeVicki & Raymond Le Frense

Dr. Maurice LegrisHugo & Lucie LehmannSusan LentDr. & Mrs. Ray E. LeppardJames LewisKevin LewisRose LickaczRay & Liz LiebermanSusan LiebermanRoss LindskoogElizabeth Lint *Mrs. M. C. LockLorraine LoewenJane & Ross LoganJoachim & R. LohDoug & Joan LongleyNadine LuchkaVictoria LukSusan LynchDeborah LyzunBrenda MacDonaldJanice MacDonald &

Randy WilliamsJohn & Marilyn MacDonaldWilliam MacDonald *Rod & Elaine MacLeodJack & Cora MacMillan *Jonathan MacneilMadeline MacPhersonAgnes MacRaeRaymond Chan & Marian MahJames & Janet MannAntoinette MarchandJohn & Peggy MarkoMaureen MaslenMary Masson *Silvana Mastronardi-Lucas &

Reg Lucas *Mrs. Patricia Mattson *Linda MaulGwen MazurekKaren MazurekCarol & Mike McArthurWilliam & Anne McAtheyMr. & Mrs. R.E. McCallumIan & Janice McCrumRonald N. McElhaneyKen & Phyllis McFaddenJan McFarlaneJoyce E. McGilvrayMuriel J. McIntoshMargaret McKagueThais McKee &

Lesley MitchellGordon & Kathleen McLeod *Caroline McManusMargaret McMullenTim McNamara &

Michele PerretKeith & Susan McNaughtonMichael McTeague Brigida Meza-Diaz *Edward & Joy-Ruth MickelsonRonald & Carole Middleton *Cecily MillsCatharine Millson *Gordon MitchellPat Molloy Gordon & Helen MongrawChantal MoreauJohn & Marion MorganWalter Moser *Elizabeth Mowat &

Ian KupchenkoMarilyn G. Mucha *Jerry & Theresa Muench Allan & Margaret MuirErin Mulcair *Ronald & Betty MullenDeborah MurdochElizabeth MylesMrs. Sonja & Mr. Orest MyroonDale & Laurie NagelDianne Nettleton

Marie & Rod NeysRobin & Mrs. Melonia NicolCurtis & Gwen NikelAmos & Mathew NilesElizabeth Nunez *David OberholtzerNorma Jean Olivier *Norman & Margaret Olson *Emily & Daniel OngJim & Bev OrieuxDonna & Daniel OrobkoMolly OrtliebBill & Linda PaddonMargo PardelyDavid Parliament *Amanda PatrickJohn E. PedersenBarbara PenneyLeanne Persad Don & Margaret PetersonLillian PheaseyThe Pick Family *Tammy & Darrel Pidner Walter Pinto &

Pat Mulholland *Dennis &

Virginia PohranychnyDr. Wade &

Mrs. Stephanie Poitras *Jeanny PontinCarolynne PoonCharles & Edith PrimmerRenu & Shannon PrithipaulDarryl Propp Kathy PrusakowskiCosette Ramsay R K RamseyJeanne & Eugene RatsoyDorian RauschningChris Rechico *Shirley RedmondJames ReebAl Reed *Nora ReidJoan ReiffensteinDiana Remmer *Pierrette Requier *Sheila RingroseGlenn Ripley James &

Margaret RobertsonSusan RobertsonDebra & Don RobichaudG. W. RochollRick RoderMaxwell RogersKen & Joyce RooneyAlex RoseMrs. Richard RossallGreg RudolphHeather Ruhl James SaboJulie Sackey *William & Susan Sadler *G. W. & Betty G. SaelhofMelanie Samaroden *Barbara SargentFrances SavagePeter & Olga SavarynB. & T. Sawyer *Julia L. SaxGarry Scheuerman Magda SchoutenChristie SchultzMichael SchurekAnton & M. SchwabenbauerBarbara SchwegerProf Charles SchwegerJason ScottJohn & Frances ScotvoldKaren ScullenDr. Perry & Sandra SegalEmila SeifriedJoseph & Denise Selann

www.EdmontonSymphony.com







Gerry SemlerJeanne SenekaJacalyn SerneckyMr. Norm &

Mrs. Marjorie ShandroYakov & Larisa ShapiroKaren ShawDale ShewardGlenda SilvermanStephanie Simm *Norman & Mary Jane Skretting *E. J. SloaneDr. SmallhornJason SmithPaula SnyderSteven Snyder & Connie SilvaJohn & Judy SoarsElaine SolezColleen SpencerJeremy SpurgeonRobert Squair *Norman & Kathie St. ArnaudJoe & Linda Staszko & FamilyPeter & Jane Staveley *Sherrell Steele Dr. Margaret StevensonKen StewartFrank StockallMrs. Dianne StoreyKen StrattonMartin StribrnySylvia StrojekJulius & Jean SultMerna SummersGunder &

Donna SveinunggaardTim SwansonCecile Swick Dr. & Mrs. Guy SwinnertonChris & Alina SzaszkiewiczElizabeth SzynkowskiJohn & Marvel TaekemaRhonda Taft Alan Burant &

Tracy Tarapaski *Bill Taylor & Marie LosierRobin TaylorLinda Telgarsky *Mr. & Mrs. H. ThiessenDavid ThomasDennis & Donna ThomasCharles ThompsonAdele ThurstonDiane & Roy TomlinsonTodd TougasElinor & Ernie TownendAndrew &

Mary Ann TrachimowichShirley TranEdward & Jean TredgetLarry & Noreen TrekofskiLouis TrempeN. G. TribeAdam &

Aleksandra Trzebski *Barbara & Ernest TurnbullMrs. J. S. TylerMeghan Unterschultz Jason UrkowRoy Van BoomBonnie Van Dalfsen *James Van GelderenDennis & Jean VanceLloyd & Sheila VasicekMichele & Terry VeemanTrudy VelichkaDr. D. VickJanis VosOlive WadsonIrene Walker Alan WallaceJack WallerCash Webster &

Robyne Walters *

William WandioDale Warick Lyn WatamaniukKathy WatsonViolet WatsonDoug WattMr. Bob WeberEva WeirDr. Sam & Eva WeiszKaren Wilke *Mary Wilke Theresia WilliamsWayne & Beverly WinkelmanD. Wladyka *Michael WongDennis & Jean WoodrowMorley & Pat WorkunMonica & Greg YeatsChristiana YeongMr. Wei YewSlava YopykDavid & Caroline YoungMs. Mellissa YunSarah Zhang *Reid ZittlauKeri Zwicker

IN MEMORIAMWe thank our supporters who have chosen to honour the memory of a loved one through a gift to the ESO. These gifts have been given in memoryof the following individuals.Sonia Allore Bill AstleDorothy AstleDerin Dogu AtaogluBarney BakerPeter BatoniAlan BelcherHelen S. Petersen BentleyHarvey BodnerBob CallingAgnes W. (Nan) CameronPatricia Anne CavellDr. Grace ChanJ. R. (Bob) ConnellDr. David CookShirley CoveyJames DanielsEdward DobkoMs DoderaiKen Gillett *Hilda & Richard GolickMary HansonJack HarstoneGordon HeskeMarguerite Elizabeth HighamDoreen HillAnnie HutchingsJames C. HunterVern HunterPeggy KingIlse KoernerGerald William KrucikCol. H. Gregory Leitek PPCLICoralie LundbergJohn David LunnAlmeda LysneJohn MarchakIn Honour of MaryDorothea MacDonnellAllison McConnellDr. Sherburne McCurdyFlo McGavinBlair McPhersonDonald A. MiddletonGeorge MiltonRoderick &

Blanche Moses x”1Matthew William MilesFrances T. OlsonCharles Pei

Alberta Rose PellandHelen Petersen BentleyRonalda ReichweinCatherine C. RogersDaphne RogersDr. Anna RudovicsDr. David SchiffVern SchwabAndre SchwabenbauerKrista Michelle SimsHarcourt D. SmithV. W. M. SmithJean SprouleMarsha StantonRobert Stoutjesdyk *Lydia TakatsLenora WilsonAlta & Bernard WoodDr. John E. YoungMetro “Mac” ZeliskoSara E. Zalik

CORPORATE SUPPORT OF THE ESOOrchestra Circle: Platinum ($10,000 +)Avison Young Real Estate

Orchestra Circle: Gold ($5,000 to $9,999)Fath Group / O’Hanlon

Paving Ltd.

Orchestra Circle: Silver ($2,500 to $4,999)Canuck Industrial Sales

(1982) Ltd. The Driving ForceEnbridge Pipelines Inc.

Orchestra Circle: Bronze ($1,500 to $2,499)Audio Ark *Wawanesa Mutual

Insurance CompanyMelcor Developments Ltd.Bistro Praha

Advocate ($1,000 to $1,499)Lehigh HansonMark V. Investments Alta Ltd. *RMC Resources Management

Contributor ($500 to $999)Cenovus EnergySinclair Supply Ltd.George Blondheim Music Ltd. The Flag ShopClark Builders

Supporter ($250 to $499)Alberta Blue Cross

Friend ($100 to $249)Association for Corporate

Growth Calgary Chimp FoundationStasha Wasilewska

Professional Corp.Accutech RentalsRaeco Ltd. *Ryland Engineering Ltd.

NOvEMbER 2013


Peter & Barbara CarstensenAlma CarterDebbie CarterStephani CarterTaimi CastellGerlinde CegielnyAnita ChalmersLynda ChambulSamuel T.L. ChanSuzette ChanMatthew &

Laura Chapman *Margaret CharltonHeather ChartierMonica ChesneyNorma ChristiansenAlice & Nestor ChumerGary ClarkConnie ClarkeEarl Clements *Linda & Frank Clish *Roger & Carol CohenMegan Collins *Nancy Colpitts Arlene Connolly *Karin ConradiElizabeth Cooper *Ms Lori CosgroveEdwin & Lucille Cossins *John CottonDiane & Sandon CoxEllen Criss *Rosemarie Criss David & Sandra CrossPatrick & Luxie CroweDiana CrumpHelen Cuddihy *Robert & Jacqueline CuerrierJanet CulhamMary Cummins &

Gunther TrageserElizabeth CuylerBrenda DaleMarilyn Dale

Marilyn DarwishJean-Anne DaveyHerb Davis Owen & Linda De BatheBarbara & John DeaconMr. & Mrs. Arthur &

Betty Deane *Sheila DechantCinde DehaanKen & Mary DemedashDavid & Grace DenholmJeanette Desrosiers Mrs. TinaHerta DohertySharon DonaldBill & Sharon DonnellyTB & Les Dowhaluk *Sharon DownsMike DreanySylvia DuffusAlice DumaineBruce & Benita DuncanJoseph &

Marilyn Cote-DupuisJames & Carmen DykesTim EckertShirley EdgarDavid Edwards *Dr. Joy EdwardsL.E. Edwards *Jerrold Eilander *Marion ElderMarshall & Ardis EliasonThelma ElicksenFlorence Ellis Jim EllisRuthanna ElsonAlaa ElwiG. & L. EmanuelRob & Corinne EmersonMartin & Patricia EnoksonJanis EricksonMegan Evans Nicholas & Michelle Evans

Tammy Farkes Marilyn FedunKsenia & Ivan FedynaMr. & Mrs. Robert FeeneyWerner FenskeDavid FerroKaren FingasDon & Dixie FischerDeborah FisherSylvia FloodEsther FluevogPhyllis Foster Joan Fouts-MitchellArlene FowlisDorothy FrenchBernadette FritzDave & Elizabeth FromDiane R. Gagnon *Nancy Gall *Calvin GardnerGail GatesDouglas GaudinKatherine GibsonNeil & Twyla GibsonKevin & Alice GleesonJack & Bluma GoldbergDarrell & Barbara GotaasLaura & Keith GrahamRichard GrahamCharles & Ann GrantEvelyn GrantSheila GreenbergNorman & Marsha GrimesBob & Judy GroseJanice GrundbergE. GuilfoyleLiza GulezianMr. & Mrs. Luther HaaveKen Hadlington *Peter HallCarol & Neil HandelsmanDrs. Bohdan &

Elaine HarasymiwAnne Harder

Tom HardinWendy HarrisonPeter & Deborah HarropLorne & Faye HatchMargaret HauckElizabeth Hawryluk Christina HayashiBill HemstockGina HenklemanGeorge HennigMarion HensleyAbe & Karen HeringDr. Elena Hernandez-KuceyCathryn Heslep *Dr. Karen HesseCharles & Ferne HickmanPatsy HoMrs. Verna HochachkaDr. Ken &

Mrs. Donna HodginsDeborah Hoekstra *John Hoekstra *Brandy HoltJohn & Leni HonsakerValerie HopeJill Horbay *Lynda HoughAgnes HovelandChelsea Howard *Beth & Bill HowsonMartha HowsonMiroslav HruskaDavid Hudson &

Bonnie LovelaceJoanne HugginsDr. Sheila HughesJohn HunterDoreen HuntingtonLea HalinenRichard & Laurel InnesGeorge & Barbara IwaniukStuart & Kathy Jackson *Harold JacobsErik JacobsenNorene JamesJennifer JanzKerlene JohnerElizabeth JohnsonElizabeth JollyJustice Lionel &

Mrs. Sharon JonesJames & Alice JoosseDr. Larry JudgeBeata Kaczmarczyk *Daniel KalielBernard & Dorothy KeelerMike & Sheilagh KellyRoberta KennedyJoanne KennyLeni KeoughVera KichtonIrene King *Borden & Vivien KisilevichMaxine KlakElla KolmDavid KoskiPeter KossowanJoe KostlerMs. Iris KozmakMickey & Sylvia KrikunGerhard & Wilma KrischLarry KrushelnitzkyKurt LaitnerCarol & Bob LamontYuki LandryRoger & Catherine LangevinHarry & Judy LangnerMike LauClaire-Ann Lauder &

Georgina Hodgson *Robert LeBlancIvy & Thomas LeeLucy & Del LeeVicki & Raymond Le Frense

Dr. Maurice LegrisHugo & Lucie LehmannSusan LentDr. & Mrs. Ray E. LeppardJames LewisKevin LewisRose LickaczRay & Liz LiebermanSusan LiebermanRoss LindskoogElizabeth Lint *Mrs. M. C. LockLorraine LoewenJane & Ross LoganJoachim & R. LohDoug & Joan LongleyNadine LuchkaVictoria LukSusan LynchDeborah LyzunBrenda MacDonaldJanice MacDonald &

Randy WilliamsJohn & Marilyn MacDonaldWilliam MacDonald *Rod & Elaine MacLeodJack & Cora MacMillan *Jonathan MacneilMadeline MacPhersonAgnes MacRaeRaymond Chan & Marian MahJames & Janet MannAntoinette MarchandJohn & Peggy MarkoMaureen MaslenMary Masson *Silvana Mastronardi-Lucas &

Reg Lucas *Mrs. Patricia Mattson *Linda MaulGwen MazurekKaren MazurekCarol & Mike McArthurWilliam & Anne McAtheyMr. & Mrs. R.E. McCallumIan & Janice McCrumRonald N. McElhaneyKen & Phyllis McFaddenJan McFarlaneJoyce E. McGilvrayMuriel J. McIntoshMargaret McKagueThais McKee &

Lesley MitchellGordon & Kathleen McLeod *Caroline McManusMargaret McMullenTim McNamara &

Michele PerretKeith & Susan McNaughtonMichael McTeague Brigida Meza-Diaz *Edward & Joy-Ruth MickelsonRonald & Carole Middleton *Cecily MillsCatharine Millson *Gordon MitchellPat Molloy Gordon & Helen MongrawChantal MoreauJohn & Marion MorganWalter Moser *Elizabeth Mowat &

Ian KupchenkoMarilyn G. Mucha *Jerry & Theresa Muench Allan & Margaret MuirErin Mulcair *Ronald & Betty MullenDeborah MurdochElizabeth MylesMrs. Sonja & Mr. Orest MyroonDale & Laurie NagelDianne Nettleton






www.EdmontonSymphony.com


BOARD & STAFFTHE EdmonTon SympHony orcHESTra

List of past Board ChairsMrs. Marion Mills 1952-53 dr. h.V. rice 1953-54Mr. John d. dower 1954-56Mr. Gerry M. Wilmot 1956-57dr. a.o. Minsos 1957-58Mr. E.M. Blanchard 1958-59Mr. a.G. Culver 1959-60Mr. d.d. Campbell 1960-61Mr. d.M. ramsay 1961-62Mr. Merrill E. Wolfe 1962-63Mr. Ken r. higham 1963-65Mr. George M. peacock, Q.C. 1965-66Mr. robert L. horley 1966-67the honourable david C. Mcdonald 1967-68Mrs. Madeline Williams 1968-69the honourable tevie h. Miller 1969-70Mr. Jack W. Kennedy 1970-71the honourable roger p. Kerans 1971-72Mr. richard W. palmer 1972-73dr. John r. huckell 1973-76dr. John L. schlosser 1976-77Mr. J.r. singleton 1977-79Mr. d.a. Cox 1979-80Mr. ron ritch 1980-82Mrs. Margaret Clarke 1982-84Mr. Brian hetherington 1984-86Mr. Charles t. austin 1986-88Mr. Neil Wilkinson 1988-90Mr. robert Binnendyk 1990-93Mr. ron pearson 1993-95Ms. audrey Luft 1995-97Mr. andrew hladyshevsky, Q.C. 1997-00Mr. douglas Noble 2000-01Mr. d. Mark Gunderson, Q.C. 2001-03Mr. W.d. (Bill) Grace, f.C.a. 2003-04Mrs. phyllis Clark 2004-07Mr. steven Lepoole 2007-11

Edmonton Symphony SociEty/ FranciS WinSpEar cEntrE For muSic

EdMoNtoN syMphoNy & CoNCErt haLL fouNdatioNphyllis Clark, chairJohn BrennanJim CarterBob Kamp ron NewGary smith

Board of dirECtorsJim E. Carter, p.Eng., chairreginald Milley, Vice chairsteven Lepoole, past chairCynthia hansen, C.a., treasurer Brian W. summers, LL. B., Secretary/Legal counselBart Becker, p.Eng.Carolyn CampbellMaria david-EvansMegan Evanspeggy GarrittyBill harrisontravis huckellLeanne Krawchuk, LL.B. Carol ann Kushlyk, C.M.a., C.f.E.ron New, C.a.rhonda taft

thE Eso aNd WiNspEar CENtrE WorK iN proud partNErship With iatsE LoCaL 210Warren Bertholet, head Lighting technicianrob hadfield, head audio technicianalan Marks, head of Stage managementMike patton, assistant head of Stage management

Edmonton Symphony orchEStra / WinSpEar cEntrE

EXECutiVE & artistiC LEadErshipannemarie petrov William EddinsExecutive director artistic director

rob Mcalear, director of artistic operationsMichael schurek, director of community relationsalison Kenny-Gardhouse, director of Educational outreachally Mandrusiak, director of Events managementBarbara foley, director of Finance & administrationElaine Warick, director of patron developmentMaryGrace Johnstone, Executive coordinator/ Board Liaison

WWW.EdmontonSymphony.com

T

SignATuRe www.EdmontonSymphony.com30


EDMONTON SYMPHONY ORCHESTRA / WINSPEAR CENTRE

TTHANK YOU Community Support of the Edmonton Symphony Orchestra & Winspear Centre

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

Our Media Sponsors

Sponsor 2 for 1 Introductory Series Offer

Sponsor K to Gr. 3 Education Program

Sponsor Musicians in the Making

Our Program and Education Sponsors

Series Sponsors

Sponsor Gr. 4 to 6 Education Program

Naming SponsorENMAX Hall

through the Edmonton Community Foundation

Our Performance Sponsors

CityTV Capital FM Global CKUA Edmonton Journal Pattison VUE Weekly World FM

Our Exclusive Caterers

Our Suppliers

Presenting Co-SponsorChristmas at the Winspear

Presenting Co-SponsorChristmas at the Winspear

SponsorPulse8

Print Sponsor Wine Supplier Official Airline of the ESO

Publications Sponsor Official Floral Supplier

Government Agency Support:

Title Sponsor Landmark Classic Masters

Title SponsorRobbins Pops / Robbins Lighter Classics

Title Sponsor Symphony Under the Sky

Title SponsorAir Canada Presents

Title Sponsor Esso Symphony for Kids

Sponsor Friday Masters

Title Sponsor Late Night with Bill Eddins

SIGNATURE 31NOVEMBER 2013

Signature2_2013_p30-31.indd 31 2013-10-25 10:05 AM

BOARD & STAFFTHE EdmonTon SympHony orcHESTra

List of past Board ChairsMrs. Marion Mills 1952-53 dr. h.V. rice 1953-54Mr. John d. dower 1954-56Mr. Gerry M. Wilmot 1956-57dr. a.o. Minsos 1957-58Mr. E.M. Blanchard 1958-59Mr. a.G. Culver 1959-60Mr. d.d. Campbell 1960-61Mr. d.M. ramsay 1961-62Mr. Merrill E. Wolfe 1962-63Mr. Ken r. higham 1963-65Mr. George M. peacock, Q.C. 1965-66Mr. robert L. horley 1966-67the honourable david C. Mcdonald 1967-68Mrs. Madeline Williams 1968-69the honourable tevie h. Miller 1969-70Mr. Jack W. Kennedy 1970-71the honourable roger p. Kerans 1971-72Mr. richard W. palmer 1972-73dr. John r. huckell 1973-76dr. John L. schlosser 1976-77Mr. J.r. singleton 1977-79Mr. d.a. Cox 1979-80Mr. ron ritch 1980-82Mrs. Margaret Clarke 1982-84Mr. Brian hetherington 1984-86Mr. Charles t. austin 1986-88Mr. Neil Wilkinson 1988-90Mr. robert Binnendyk 1990-93Mr. ron pearson 1993-95Ms. audrey Luft 1995-97Mr. andrew hladyshevsky, Q.C. 1997-00Mr. douglas Noble 2000-01Mr. d. Mark Gunderson, Q.C. 2001-03Mr. W.d. (Bill) Grace, f.C.a. 2003-04Mrs. phyllis Clark 2004-07Mr. steven Lepoole 2007-11

Edmonton Symphony SociEty/ FranciS WinSpEar cEntrE For muSic

EdMoNtoN syMphoNy & CoNCErt haLL fouNdatioNphyllis Clark, chairJohn BrennanJim CarterBob Kamp ron NewGary smith

Board of dirECtorsJim E. Carter, p.Eng., chairreginald Milley, Vice chairsteven Lepoole, past chairCynthia hansen, C.a., treasurer Brian W. summers, LL. B., Secretary/Legal counselBart Becker, p.Eng.Carolyn CampbellMaria david-EvansMegan Evanspeggy GarrittyBill harrisontravis huckellLeanne Krawchuk, LL.B. Carol ann Kushlyk, C.M.a., C.f.E.ron New, C.a.rhonda taft

thE Eso aNd WiNspEar CENtrE WorK iN proud partNErship With iatsE LoCaL 210Warren Bertholet, head Lighting technicianrob hadfield, head audio technicianalan Marks, head of Stage managementMike patton, assistant head of Stage management

Edmonton Symphony orchEStra / WinSpEar cEntrE

EXECutiVE & artistiC LEadErshipannemarie petrov William EddinsExecutive director artistic director

rob Mcalear, director of artistic operationsMichael schurek, director of community relationsalison Kenny-Gardhouse, director of Educational outreachally Mandrusiak, director of Events managementBarbara foley, director of Finance & administrationElaine Warick, director of patron developmentMaryGrace Johnstone, Executive coordinator/ Board Liaison

WWW.EdmontonSymphony.com

T

SignATuRe www.EdmontonSymphony.com30


000Sig-Lexus-FP.indd 1 10/22/13 9:12:55 AMSignature2_2013_p32-01.indd 32 10/25/13 10:03:44 AM

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13/14 ESO Signature Magazine Issue 2

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