ESO Signature Magazine Feb/Mar 2013

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GERSHWIN & BERLIOZThe Masters go abroad

UNFORGETTABLERobbins Pops does

Nat “King” Cole

ROBERT UCHIDA

Meet our new Concertmaster

LONGTIME SUBSCRIBERSThanks for your support

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The Edmonton Symphony Orchestra welcomes Robert Uchida as its new Concertmaster, beginning next season. Get to know Mr. Uchida and the vital role he will play for the ESO on pages 9 & 10.

Photo by Michael Woolley.

9

WELCOME

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

EDMONTON SYMPHONY ORCHESTRA 2012/2013

INTRODUCING CONCERTMASTER ROBERT UCHIDAA talented and young addition to Edmonton’s musical community offi cially joins the ESO next season as the orchestra’s new Concertmaster

MIDWEEK CLASSICSHORNS OF HAYDN (FEBRUARY 27)

William Eddins, conductorGeorge Li, piano

RBC SUNDAY SHOWCASESYMPHONIC BEAUTY (MARCH 3)

William Eddins, conductorBeatrice Rana, pianoD.T. Baker, narrator

ROBBINS LIGHTER CLASSICSTHE RUSSIAN SOUL (MARCH 7)

Case Scaglione, conductorEric Buchmann, violin

FRIDAY MASTERS & LANDMARK CLASSIC MASTERSAN AMERICAN IN PARIS (MARCH 15 & 16)

William Eddins, conductorCharles Pilon, viola

ROBBINS POPSTHE UNFORGETTABLE MUSIC OF NAT “KING” COLE (MARCH 22 & 23)

Jeff Tyzik, conductorDenzal Sinclaire, vocalist

LONGTIME SUBSCRIBER RECOGNITION

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

pg. 5

pg. 6

pg. 7

pg. 9

pg. 28

pg. 30

pg. 33

SIGNATURE Contents

Volume 28, Number 6 | FEBRUARY/MARCH 2 0 1 3

pg. 13

pg. 16

pg. 20

pg. 24

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

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

ESO EDITOR D.T. BakerPROGRAM NOTES Gary Kulesha, John Estacio, D.T. Baker

Letters 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 EDITOR Michelle Lindstrom ART DIRECTOR Charles Burke ASSOCIATE ART DIRECTOR Andrea deBoer ASSISTANT ART DIRECTOR Colin Spence ADVERTISING SALES Anita McGillis Glenda Dennis Kathy Kelley David Frazier

Signature magazine, the offi cial 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.

ON THE COVER

16

28

SIGNATURE 3FEBRUARY/MARCH 2013

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THE EDMONTON SYMPHONY ORCHESTRA2012/2013 SEASON

Signature6_p02-03.indd 3 2/14/13 4:02:03 PM

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E D M O N T O N


WWT IS HARD TO OVERSTATE THE IMPORTANCE OF THE ROLE OF THE CONCERTMASTERto an orchestra. To that person falls the task of really defi ning the string sound of the ensemble –

the largest section and foundation of the orchestral texture. � e Concertmaster is a leader, a champion of the musicians, and a public face of the orchestra. When a conductor or guest soloist comes on stage and shakes the Concertmaster’s hand, it is a way of saluting the entire orchestra.

After a two-year search, the Edmonton Symphony Orchestra is delighted to welcome Robert Uchida as its new Concertmaster, offi cially as of next season, but unoffi cially, you can meet him on pages 9 & 10 of Signature. At the same time, we would like to acknowledge the outstanding contribution of Eric Buchmann, who has acted as Interim Concertmaster throughout the detailed and exacting search the ESO undertook to fi nd the right person for this vital position within the orchestra. We are excited about this new chapter in the continuing legacy of your ESO. Welcome, Robert!

I

Annemarie PetrovWilliam Eddins

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.

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AAAAAAAAow in his eighth season as Music Director of the Edmonton Symphony Orchestra, WILLIAM

EDDINS has a captivating energy, a magnetic stage pres-ence, and an adventurous musical curiosity that contin-ues to propel the orchestra to unique, new and exciting achievements. His commitment to the entire spectrum of the ESO audience brings him to the podium for perfor-mances in every subscription series, as well as for a wide variety of galas and specials.

A distinguished and versatile pianist, Bill was bitten by the conducting bug while in his sophomore year at the Eastman School of Music. In 1989, he began conduct-ing 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.

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

N

RIC BUCHMANN studied violin at the Conservatoire de musique de Montréal

and at the Université de Montréal, where he earned a Bachelor of Music and a DESS degree. In 2001, he moved to Los Angeles to continue his studies at the University of Southern California. Two years later, he joined the New World Symphony in Miami Beach where he played under the direction of Michael Tilson � omas and many other music directors from all over the world. His

ARTISTIC & LEADERSHIP TEAM

aving recently completed his tenure as Enbridge Resident Conductor of the Edmonton Symphony

Orchestra, LUCAS WALDIN returns to the ESO in the dual role of Enbridge Artist in Residence and Community Ambassador.

� is newly created position will see a focus on establishing strong ties with our community through

inventive outreach initiatives in addition to pro-gramming and presenting the ESO’s education and family concerts. With frequent appearances as well on a variety of subscription series, Lucas will lead the ESO in more than 20 concerts during the 2012/13 season.

During his time as Enbridge Resident Conduc-tor, Lucas collaborated with some of North Amer-ica’s fi nest musicians including Jens Lindemann, Angela Cheng and Sergei Babayan. An experi-enced conductor of pops and crossover, he has worked with a range of artists such as Ben Folds, Chantal Kreviazuk and the Canadian Tenors.

Strongly dedicated to Canadian composers, he has performed over 25 Canadian compositions in-cluding six world premieres, and has collaborated closely with composers such as John Estacio, Allan Gilliland, and Malcolm Forsyth. In recognition of his valuable contribution to the artistic life in Canada, Lucas was awarded the 2012 Jean-Marie Beaudet Award in Orchestra Conducting by the Canada Council for the Arts.

Lucas studied conducting and fl ute at the

violin teachers include Sonia Jelinkova, Vladimir Landsman, Jean-François Rivest, William Preucil and Martin Chalifour.

Eric Buchmann joined the First Violin section of the Edmonton Symphony Orchestra in 2006, and was appointed Associate Concertmaster fol-lowing auditions in 2009. Since then, Mr. Buch-mann has acted as Interim Concertmaster with the ESO, performing as soloist on numerous occa-sions. He is also a member of the Alberta Baroque Ensemble under the direction of Paul Schieman.

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 Minneapo-lis, where he lives with his wife Jen (a clarinetist), and their sons Raef and Riley.

While conducting has been his principal pur-suit, 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 Bill conducted three gala concerts with soprano Renée

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Fleming and the KwaZulu-Natal Philhar-monic 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.

Cleveland Institute of Music, and has conducted in master classes with Helmuth Rilling, Michael Tilson-� omas, Colin Metters and Bernard Haitink. In 2012, he was invited to conduct the National Arts Centre Orchestra (Ottawa) in a conductor workshop, and as a participant of the St. Magnus Festival, Orkney, Lucas conducted both the Scottish Chamber Orchestra and the BBC Scottish Symphony.

Prior to his appointments with the Edmonton Symphony, Lucas was twice a Discovery Series Conductor at the Oregon Bach Festival and Assistant Conductor of Cleveland’s contemporary orchestra Red {an orchestra}. He has performed with a number of orchestras across Europe, including the Jugendsinfonieorchester Kassel, Bachakademie Stuttgart, and Staatstheater Cottbus. � e 2012/13 season will see debuts with the Modesto Sym-phony Orchestra, the Kitchener-Waterloo Symphony and Orchestra London Canada.

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SIGNATURE www.EdmontonSymphony.com6


NNEMARIE 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 fl agship performing ensembles and one of the world’s premier concert halls.

With a combined annual budget of over $12 million, Annemarie supervises day-to-day operations, long-term plan-ning, government relations and com-

A

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.

1 PRINCIPAL2 ASSISTANT PRINCIPAL3 ON LEAVE

Rhonda Taft 3

Rob Aldridge

[ FLUTE ]Elizabeth Koch 1

Shelley Younge 2

[ OBOE ]

Lidia Khaner 1

Paul Schieman 2

The Steven & Day LePoole Assistant Principal Oboe Chair

[ CLARINET ]Julianne Scott 1

David Quinn 2

[ BASSOON ]William Harrison 1

Edith Stacey 2

[ HORN ]Allene Hackleman 1

Megan Evans 2

Gerald Onciul 2

Donald Plumb 2

[ TRUMPET ]Robin 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

[ VIOLIN I ]Eric Buchmann, Interim ConcertmasterThe John & Barbara Poole Family Concertmaster ChairVirginie Gagné,Interim Assistant Concertmaster Broderyck OlsonRichard CaldwellJoanna Ciapka-SangsterAlissa Cheung 3

Anna KozakAiyana Anderson-Howatt 3

Neda YamachJim Cockell

[ VIOLIN II ]Dianne New 1

Susan Flook 2

Heather BergenPauline Bronstein 3

Robert HryciwZoë SellersMurray Vaasjo 3

Tatiana Warszynski

[ VIOLA ]Stefan Jungkind 1

Charles Pilon 2

Rhonda HenshawMikiko KohjitaniAndrew Bacon

[ CELLO ]Colin Ryan 1

The Stuart & Winona Davis Principal Cello ChairSheila Laughton 2

Ronda MetsziesGillian CaldwellDerek GomezVictor Pipkin

[ DOUBLE BASS ]Jan Urke 1

John Taylor 2

Janice Quinn

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THE EDMONTON SYMPHONY ORCHESTRA2012/2013 SEASON

OBERT RIVAL, a native Albertan, returns for a second

season as the Edmonton Symphony Orchestra’s Composer in Residence. His music, written in a contemporary tonal style and inspired by the Canadi-an wilderness, literature, and classical and romantic musical forms, has been described as “well crafted”, “engaging”, “immediately appealing”, “melodic and accessible”, “sophisticated”, and

R

ARTISTIC & LEADERSHIP TEAMARTISTIC & LEADERSHIP TEAM

Eric Filpula, Orchestra Personnel ManagerSheila Jones, Librarian

The following musicians may appear at performances in this issue:Aaron Au ViolinAlycia Au ViolinEddy Bayens BassoonSylvain Beyries TrumpetJeanette Comeau ViolaElizabeth Faulkner FluteTaddes Korris BassMarie Krejcar ViolinRegine Maier ViolinMichael Massey KeyboardsJohn McCormick PercussionPJ Perry SaxophoneDiane Persson BassoonLeanne Regehr KeyboardsBrian Sand TrumpetDiana Sapozhnikov ViolinYukari Sasada BassMartina Smazal ViolaJeremy Spurgeon KeyboardsAlison Stewart ViolinDan Sutherland ClarinetKate Svrcek ViolinRobin Taylor SaxophoneRob Thompson Piano Brian Thurgood PercussionDan Waldron OboeTara Whittaker FluteDoug Zimmerman TrumpetKeri Zwicker Harp

ORCHESTRA PERSONNEL

munity support of both organizations.A native of Montréal, Annemarie

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.

Annemarie’s profound love of the arts has been her guide in a career focused on every aspect of the concert experience – from international orches-tral 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. Annemarie is a frequent guest speaker at arts industry conferences and has served on the board of Orchestras Canada.

“memorable”. During his fi rst season, he composed a dramatic symphonic poem, Achilles & Scamander, and for the orchestra’s Carnegie Hall debut, Lullaby, lauded as an “atmospheric dream world” that he dedicated to his newborn son, Raphaël.

� e ESO also performed his light-hearted Scherzo “Crème Brûlée,”and on its education concerts, � e Great Northern Diver. Other orchestral works include Symphony No. 1 “Maligne Range,” and a children’s work, Maya the Bee. Rival oversees the ESO’s Young Composers’ Project. He has also launched two new initiatives: podcasts on contemporary music the orchestra programs and live-blogging of its open dress rehearsals. He holds a doctorate in composition from the University of Toronto, is married to Chantal-Andrée Samson, a realist oil painter, and enjoys running in Edmonton’s river valley. www.robertrival.com

[ HARP ]Nora Bumanis 1

William Eddins,Music Director Residence & Community Ambassador

Lucas Waldin, Enbridge Artist inComposer in ResidenceRobert Rival,

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FI N HIS SEVENTH SEASON WITH SYMPHONY NOVA SCOTIA AS CONCERTMASTER,

Robert Uchida says that specifi c role is the one he feels most comfortable fi lling when in an orchestra. � is is serendipity for the ESO, which has been on the hunt for a concertmaster for more than two seasons now, and enjoy-ing guest appearances by Uchida during the vacancy. Now this experienced and eager violinist will gather his family and belongings to head west this summer and become the ESO’s new Concertmaster.

Although confi dent he can do the job, Uchida admits, “Once in a while I wake up in the morning and wonder, ‘How do I know how to play this thing?’ ” It probably didn’t hurt that he started playing the violin quite young, after being inspired by a guest on Sesame Street: violinist Itzhak Perlman. After seeing the show, Uchida immediately began begging his parents to let him take violin lessons, and persisted for months afterwards.

His parents researched and deliberated – neither playing an instrument themselves – and agreed when Uchida turned four that his musical journey could begin. “� ey were very supportive,” he says of his parents. “� ey always thought it was my path.”

Uchida, 33, grew up in Richmond Hill, a suburb of Toronto, and says he followed a fairly “normal” childhood and schooling path until he went to Unionville High School, which has a performing arts-focused curricu-lum. � ere, he diverged a little from the “norm” and studied music more intensely than he had before. Holding no regrets for his choice of instru-ment or career path, Uchida says he has always loved playing the violin.

“I love music so much and I think it’s one of the greatest things that humankind has ever created,” he says. “I just feel so fortunate to be able to immerse myself in it on a daily basis.”

ESO WELCOMES ROBERT UCHIDA AS ITS NEW CONCERTMASTER FFFEATUREFFFEATUREFFFEATUREFFFEATUREF BY MICHELLE LINDSTROM

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A SOUND ADDITION

POWERFUL DUO : Bill Eddins and Robert Uchida will join forces next season to lead the ESO.



MAS TER TECHNICIAN : Robert Uchida practises scales on his violin daily.

A SOUND ADDITIONA SOUND ADDITIONA SOUND ADDITIONA SOUND ADDITION2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON

By the end of this coming August, Uchida’s musical routine most days will include working with the ESO and Bill Eddins, the ESO’s Music Direc-tor and Conductor. Eddins is one more reason to look forward to the move, Uchida says, adding that he fi rst met the conductor in 2008 in Halifax when Eddins visited Symphony Nova Scotia. Knowing Eddins prior to expressing interest in the ESO’s vacant concertmaster position did not automatically mean Uchida had the role. His lengthy audition process started last fall and included four concerts as ESO Guest Concertmaster, including two solo per-formances. “Working with Bill was extremely fun and challenging,” Uchida says. A formal and fi nal audition followed in January of this year.

� e long audition experience wasn’t daunting, though, for the violin-ist. “I’ve played as Guest Concertmaster with several orchestras and it can feel uncomfortable. But when I sat down last September, I think it was for the fi rst time with the ESO, it felt like I had been playing there for years,” Uchida says.

Moving west with a young family – his wife, three-year-old son and six-month-old daughter – is no small eff ort, but one they’re are all excited to make. When visiting last year, Uchida had a chance to explore Edmonton’s downtown, including the Art Gallery of Alberta, and got a good feeling about the city’s vibrant culture. It doesn’t hurt that the Oilers are his favourite Western Conference NHL team either. And the ESO, of course, also made a signifi cant mark in his memory as well.

“I think it’s a very fi ne orchestra, certainly one of the fi nest in the country. One of my biggest attractions to it was that it’s a bigger orchestra and they play the whole gamut of the symphonic repertoire.” he says. “� eir approach to music is lovely.”

� e welcome feeling is mutual, says Eddins, noting that Uchida will be a wonderful addition to the ESO and he looks forward to working together on a long-term basis. “He is an excellent musician, and he has had many years experience as a Concert-master,” Eddins says. “In addition, his passion for chamber music and solo literature makes him a well-rounded musician.”

Uchida has played in most major cities in Canada as well as many in the States and Europe, so he knows what it sounds and feels like to play in a good concert hall. He calls the Winspear Centre “world-class” and acoustically, can only think of one comparable hall he’s also played in: Concertgebouw in Amsterdam. “With so many halls in North America, you play against them, with the Winspear Centre, you play with it. It becomes part of your instrument,” he says. “And with that, it brings many positives, but it also means you have to learn the hall and adjust your playing to adapt to the hall.”

Playing the violin professionally for years isn’t the cure to remove all of a musician’s nerves. � e morning before a performance, sometimes that nagging question of “How do I know how to play this thing?” pops into Uchida’s head, but he knows better than to let doubt consume him. “You just have to embrace the situation and usually once you get on stage and after you’ve played a few notes, you start to ease into the performance,” he says. “If you fi ght it, that’s when you get into trouble.” As a professional back up, he practises each day with exercises and scales, too.

Keep an eye out for Robert Uchida and his family late this summer as they get to know the city and the musical community better. And when visiting the Winspear Centre, take advantage of the opportunity to see Uchida perform regularly as the ESO’s Concertmaster when the 2013/14 season begins.

MORE ABOUT ROBERT …• He has a bachelor’s degree from the University of Ottawa and a

master’s degree from Manhattan School of Music.• His wife, Laura, is a professional musician who also plays the

violin and viola. She is wrapping up her temporary role as Principal Second Violin with Symphony Nova Scotia.

• He performed as Associate Concertmaster of the Rotterdam Philharmonic in the Netherlands prior to joining Symphony Nova Scotia.

• He recently recorded and debuted a CD for Innova Records, which features the Sonata premiere for Unaccompanied Violin by New York composer Andrew Violette.

• He likes to follow a bit of routine before performances to ease nerves and get into the right mindset. His process includes eating a banana for its natural beta-blockers (to calm) and breathing exercises.

• Some of the prizes and awards he has received include the prestigious Hugo Kortschak Award from the Manhattan School of Music in New York and fi rst prize in the National Arts Centre Orchestral Bursary Competition.

Oilers are his favourite Western Conference NHL team either. And the ESO, of course, also made a signifi cant mark in his memory as well.

“I think it’s a very fi ne orchestra, certainly one of the fi nest in the country. One of my biggest attractions to it was that it’s a bigger

“I love music so much and I think it’s one of the greatest things that humankind has ever created.”

– Robert Uchida, incoming ESO Concertmaster

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ATB Investment Management Inc., ATB Securities Inc. (Member, Investment Industry Regulatory Organization of Canada; Member; Canadian Investor Protection Fund), ATB Insurance Advisors Inc. are wholly owned subsidiaries of ATB Financial and are licensed users of the trademark ATB Investor Services. ™ Trademarks of Alberta Treasury Branches.

ATB is proud to support Edmonton’s arts community and the ESO.

BRILLIANTLY ORCHESTRATED PORTFOLIOS

Creating a world-class portfolio requires a team of professionals working in perfect harmony. To �nd out more about our brilliantly orchestrated portfolios, contact us at 1-888-282-3863 or [email protected]

000Sig7.ATB-FP.indd 1 3/12/12 4:29:05 PM


Signature6_p08-11.indd 10 2/15/13 10:01:16 AM

ATB Investment Management Inc., ATB Securities Inc. (Member, Investment Industry Regulatory Organization of Canada; Member; Canadian Investor Protection Fund), ATB Insurance Advisors Inc. are wholly owned subsidiaries of ATB Financial and are licensed users of the trademark ATB Investor Services. ™ Trademarks of Alberta Treasury Branches.

ATB is proud to support Edmonton’s arts community and the ESO.

Brilliantly Orchestrated POrtfOliOs

Creating a world-class portfolio requires a team of professionals working in perfect harmony. To find out more about our brilliantly orchestrated portfolios, contact us at 1-888-282-3863 or [email protected]

000Sig7.ATB-FP.indd 1 3/12/12 4:29:05 PMSignature6_p08-11.indd 11 2/14/13 4:09:07 PM


MMMMMMMMM2012/2013 SEASONM2012/2013 SEASONMM2012/2013 SEASONMM2012/2013 SEASONMM2012/2013 SEASONMM2012/2013 SEASONM2012/2013 SEASON2012/2013 SEASON2012/2013 SEASONMENDELSSOHNThe Hebrides Overture (Fingal’s Cave), Op.26 (10’)*

WARLOCKCapriol Suite (10’)* Basse-Danse Pavane Tordion Bransles Pieds-en-l’air Mattachins

MENDELSSOHNPiano Concerto No. 1 in G minor, Op.25 (20’)* Molto allegro con fuoco Andante Presto

INTERMISSION (20 minutes)

MENDELSSOHNSinfonia No. 10 in B minor (10’)*

HAYDNSymphony No. 31 in D Major, Hob.I:31 “Horn Signal” (28’)* Allegro Adagio Menuet Finale: Moderato

Program subject to change*indicates approximate performance duration

Horns of HaydnWednesday, February 27 | 7 : 3 0 P M

n July 2010, GEORGE LI won fi rst prize in the Cooper International Piano Competition; the prize package included a full, four-year scholarship

to the Oberlin Conservatory of Music and concerto performances in Beijing and Shanghai. In November 2010, George won fi rst prize in the Young Con-cert Artists International Auditions, garnering debut recital opportunities in New York, Washington D.C., and Boston. Born in August 1995, Mr. Li gave his fi rst public performance at Boston’s Steinway Hall at the age of 10. He has appeared at New York’s Carnegie Hall in a new TV series produced by the popular NPR radio show, From the Top. In addition, he has been featured on WBZ-TV’s Liz Walker Show and ABC’s Martha Stewart Show. He has been invited to perform in the “Prodigies & Masters of Tomorrow” event of the Discovery Series organized by the Miami International Piano Festival.

An active chamber musician, George Li is the pianist of New England Conservatory’s Vivace Trio. � e Trio has performed on From the Top’s radio series, at the NEC’s annual gala, Feast of Music. Mr. Li has performed with the Cleveland Orchestra, Xiamen Philharmonic, Symphony Pro Musica, Simon Bolivar Youth Symphony Orchestra of Venezuela, Boston Phil-harmonic Orchestra, Brooklyn Philharmonic Orchestra, Miami Symphony Orchestra, Nordic Chamber Or-chestra Sweden, Albany Symphony Orchestra, Lexington Symphony Orchestra, and Orches-tra “I Solisti di Perugia” (Spoleto, Italy). He won second prizes in both the Virginia Waring In-ternational Piano Com-petition and the World Piano Competition at the age of nine. In 2008, he won second prize in the Gina Bachauer In-ternational Piano Junior Artist Competition. In November 2010, he won fi rst prize in the Young Concert Artists Interna-tional Auditions.

This is Mr. Li’s debut with the ESO.

William Eddins, conductor & harpsichordGeorge Li, piano

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MIDWEEK CLASSICSMA R T I S T B I O SARTIST BIOS

I

Mr. Eddins’s bio can be found on page 6.Program notes can be found on page 14.



MMMMMM2012/2013 SEASONM2012/2013 SEASONM2012/2013 SEASONM2012/2013 SEASONM2012/2013 SEASONM2012/2013 SEASON2012/2013 SEASONM2012/2013 SEASONMM2012/2013 SEASONMM2012/2013 SEASONMM2012/2013 SEASONMM2012/2013 SEASONMMMMMM2012/2013 SEASONM2012/2013 SEASON2012/2013 SEASON2012/2013 SEASONM2012/2013 SEASONM2012/2013 SEASONM2012/2013 SEASONMM2012/2013 SEASONMM2012/2013 SEASONMM2012/2013 SEASONMM2012/2013 SEASONMThe Hebrides Overture (Fingal’s Cave), Op.26FELIX MENDELSSOHN(b. Hamburg, 1809 / d. Leipzig, 1847)

First performed: May 14, 1832 in LondonLAST ESO PERFORMANCE: SYMPHONY UNDER THE SKY 2010

HE GREAT GERMAN COMPOSER FELIX MENDELSSOHN came from a well-to-do family which, as many such families did back

then, sent the 20-year-old – who was already being hailed as a musical genius – on a grand tour of Europe, which was to last fi ve years. His time in Scotland was certainly fruitful; two of his best-known compositions were inspired by his time there: the � ird Symphony, and tonight’s overture. � e Hebrides was based on a boat trip to Fingal’s Cave in the inner Hebrides Islands. � e undulating ocean is a recurring theme in the music, right from the work’s opening measures.

Capriol SuitePETER WARLOCK(b. London, 1894 / d. London, 1930)

ETER WARLOCK WAS THE PSEUDONYM OF PHILIP HESELTINE, a tormented, depressed soul whose career matched his life. He aspired to a

greater calling, but he seemed fated to picking up commissions and occasional work as a music scholar, critic, and editor in fi ts and starts throughout his life – a life ended due to coal gas released in his home which, while offi cially declared an open case, was thought by most who knew him to be suicide.

He wrote the Capriol Suite for string orchestra in 1926, expanding the orchestration two years later. In six miniature movements (the entire work lasts but ten minutes) based on French dances, the suite gets its name from a treatise on dance published by Jéhan Tabourot in 1589, in which a lawyer named Capriol asks Tabourot for lessons in dance.

Piano Concerto No. 1 in G minor, Op.25MENDELSSOHN

First performed: October 17, 1831 in MunichLAST ESO PERFORMANCE: OCTOBER 2011

ENDELSSOHN WAS AN WAS AN EXTRAORDINARY KEYBOARD player. “I consider Mendelssohn to be the fi rst musician of our time,

and take my hat off to him as a master,” wrote Robert Schumann. So it’s not surprising that the piano concertos Mendelssohn wrote as vehicles for his skill are demanding, intricately textured works.

Mendelssohn also helped bring about the modern concert convention of not clapping between movements. He hated the distraction, and in most of his concertos, he does not have pauses between movements; instead, he grafts bridges between them. In his First Piano Concerto, composed when he was 21, the piano enters after a scant seven bars of orchestral introduction. � e solo instrument immediately establishes the leading role in the movement, which is dominated by two main musical ideas, the second of which is a deceptively simple two-bar theme, with the piano providing sparkling accompaniment the orchestra’s verve.

A brass fanfare bridges the fi rst movement to the second, a lovely Andante with a main theme introduced by the cellos. � e piano provides a delicate

latticework for this theme, which remains in the lower strings until the end of the movement. Yet another fanfare ushers in the Presto fi nale, begun in a shower of fl ourishes for both piano and orchestra, and followed by an Allegro e vivace in a loose rondo form.

Sinfonia No. 10 in B minorMENDELSSOHN

HE PRIVILEGED UPBRINGING MENTIONED ABOVE SERVED the young Felix Mendelssohn quite well. Rather than the kind of

garish display to which the prodigious Mozart was exposed, the teenaged Mendelssohn was provided by his family with a hired orchestra with which to try out his latest works – at private performances for invited guests. � e early string symphonies or sinfonias that Mendelssohn composed for these concerts helped hone his skill as an orchestrator and as a composer. � e Sinfonia No. 10 dates from 1823 (Mendelssohn would have been 14), and is split into two parts.

� e opening is a brief Adagio which begins dramatically, becoming more genteel as it sets up an Allegro second section which maintains the darker hue of the opening in its B minor home key. � e work shows a young composer still fi nding an individual voice – one certainly hears echoes of Haydn and Mozart, and even Schubert here – but the writing for strings is apt, sure, and shows the budding Mendelssohn tendency for the busy inner-voice strings that would characterize his mature work.

Symphony No. 31 in D Major, Hob.I:31 “Horn Signal”FRANZ JOSEF HAYDN(b. Rohrau, Lower Austria, 1732 / d. Vienna, 1809)

OSEF HAYDN’S SYMPHONY NO. 31 IS CLOSELY TIED TO Esterháza, the magnifi cent palace erected by Nicholas Esterházy as a

summer residence. As Vice-Kapellmeister to the Esterházy family, Haydn and the musicians in his charge spent part of the year there, beginning in the summer of 1765 – the year this symphony was written. It is thought the celebratory key of D Major, and the use of four horns (instead of the usual two) indicates the likelihood that the symphony was used as a work of welcome at Esterháza.

Strongly associated in Haydn’s day with the hunt, the horns of Haydn’s “Horn Signal” Symphony present an authentic horn signal as the work begins, fi rst with a fanfare and then a battue (the term used for the beating of bushes to fl ush out game) – just one of many touches in this work which must have sounded positively exotic and thrilling to its fi rst audiences. � ese horn calls serve as the springboard from which the main theme of the fi rst movement takes fl ight. Another unconventional touch is the start of the Recapitulation in D minor, making the repeat of the work’s opening here even more dramatically eff ective. � e slow movement begins tenderly in the strings (there are solos for both violin and cello), but the horns are also given a special presence, set in pairs (two in G and two in D) and providing a warm contrast to the string sound.

� e third movement is the typical Haydn combination of a Menuet and contrasting Trio. � e horns keep time in the sturdy, lighthearted Menuet. In the Trio, the horns are given more of the melodic content. Rather than a happy dash to the end in the fi nal movement, this symphony concludes with a set of variations in a Moderato tempo which showcase various soloists within the orchestra, leading some to believe it was meant to show visitors to Esterháza the fi ne musicians in the Prince’s employ.

Program notes © 2013 by D.T. Baker

MIDWEEK CLASSICS Horns of Haydn

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

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WORLD MUSIC SAMPLERFriday, April 5, 2013 at 8:00 p.m.

The Indian and West African Music Ensembles with Grammy award winner V.M. Bhatt, from India.

Directed by Sharmila Mathur and Robert Kpogo.

MOZART’S GRAND MASS IN C-MINORSunday, April 7 2013 at 8:00 p.m.

Conductor, Petar DundjerskiPerformed by the University Symphony Orchestra,

Concert Choir, Augustana Choir and Madrigal Singers

Tickets: $20 Adults | $15 Seniors | $10 Studentsavailable at the door, by phone 780-492-3263

and online www.music.ualberta.ca

CLASSIC SERIES PRESENTING FACULTY TALENT AND GUEST ARTISTS.

SHOWCASING STUDENT TALENT IN A WORLD CLASS VENUE.

PIANO TRIOS FROM CENTRAL EUROPE: SUK, ZEMLINSKY, SCHUBERT

Saturday, March 2, 2013 at 8:00 p.m. Trio Voce members Patricia Tao, Jasmine Lin, and Marina Hoover.

ULTRAFriday, March 22 2013 at 8:00 p.m.

New compositions by Howard Bashaw, Mark Hannesson, Scott Smallwood

and Andriy Talpash. Performed by Roger Admiral, Guillaume Tardif and Joanne Yu.

Convocation Hall (located in the Old Arts Building)University of Alberta campus


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

Sunday Encore, post-performance in the Main Lobby with Lucas Waldin, Beatrice Rana & D.T. Baker

ESTACIOA Farmer’s Symphony (1994 ESO commission) (19’)* Seeds of Spring: Misterioso Summer Nocturne: Adagio The Harvesters: Vivace

BARBERAdagio for Strings, Op.11 (8’)*

COPLANDA Lincoln Portrait (16’)*


TCHAIKOVSKYPiano Concerto No. 1 in B-fl at minor, Op.23 (34’)* Allegro non troppo e molto maestoso –

Allegro con spirito – Tempo I Andante semplice – Prestissimo – Tempo I Allegro con fuoco – Molto meno mosso – Allegro vivo


William Eddins, conductorBeatrice Rana, pianoD.T. Baker, narrator

Symphonic BeautySunday, March 3 | 2 P M

RBC SUNDAY SHOWCASE

A R T I S T B I O SARTIST BIOS

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

T hough barely 20 years old, BEATRICE RANA has aroused the admira-tion and interest of concert presenters, conductors, critics, and audiences

in many countries. She is already a guest of prestigious concert series and festivals throughout the world, such as Zurich’s Tonhalle, London’s Wigmore Hall, Radio-France Festival in Montpellier, Lanaudière Festival in Montréal, the Vancouver Recital Society, Busoni Festival in Bolzano, and Milan’s Società dei Concerti. As a soloist, she has been invited to perform with the Orchestra Internazionale d’Italia, the Kuala Lumpur Philharmonic, the Aarhus Symfoniorkester, the Südwestdeutsche Philharmonie Konstanz, the Winnipeg Symphony, the Saskatoon Symphony, the Orchestre de Pau Pays de Bearn in France, the Québec Symphony, and Yannick Nézet-Séguin’s Orchestre métropolitain de Montréal.

In June 2011, at only 18, Beatrice Rana won First Prize at the Montréal Inter-national Music Competition and thus became one of its youngest winners ever. She also won all the other special prizes. A recipient of an impressive number of fi rst prizes in international piano competitions, Ms. Rana was selected in 2010 among 60 participants as one of the six pianists allowed to take part in the “Arturo Benedetti Michelangeli Prize,” where she has attended a masterclass with Arie Vardi and performed a recital. She now studies with Arie Verdi in Hannover. Born to a family of musicians in 1993, Ms. Rana made her debut as a soloist with orchestra at the age of nine. She began her musical studies at four and achieved her Piano Degree at the age of sixteen with top marks, laude and honourable mention under the guidance of Benedetto Lupo at the Nino Rota Conservatory of Music in Monopoli, where she also studied composition with Marco della Sciucca. At 12, she was awarded the scholarship of the Italian Ministry of Education, University and Research for her great musical talent.

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

.T. (DAVE) BAKER is Associate Director of Educational Outreach for the Edmonton Symphony Orchestra and Francis Winspear Centre for Music.

Among his duties, he annotates and edits the ESO’s program magazines, and assists in the preparation of many of the other publications of the two organiza-tions. He also presents popular pre-concert lectures and hosts post-concert discussions at many ESO performances, and has acted as host or spokesperson for both the ESO and Winspear Centre.

� e 2012/13 season marks 34 years in the music industry for Mr. Baker, who has been active in many aspects of the business, including eight years as a radio broadcaster and programmer, and 10 years as the Classical Music Writer for � e Edmonton Journal (1993-2002). He has written liner notes for dozens of classical recordings, and his program notes have appeared in performances at Carnegie Hall (New York), Symphony Hall (Boston), the Kennedy Center

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Au Summer Nocturne is slow and lyrical and was inspired by warm, quiet

summer evenings and the sound of the crops rustling in a gentle breeze. � e lower strings begin this movement by playing a theme in their dark, lower registers. � is theme, derived from the previous movement, under-goes a maturing process through the second movement. Among other instruments featured in the score, the harp has a prominent role.

� e fi nal movement, � e Harvesters, begins with the sound of a large engine winding up to life. In this movement I attempt to depict machine and man by contrasting mechanical discordant chattering against bold intrepid melodies. Unabating in energy and speed, this movement drives the composition to its conclusion, not unlike the human stamina required to bring the farming season to a close.

Adagio for Strings, Op.11SAMUEL BARBER(b. West Chester, Pennsylvania, 1910 / d. New York, 1981)

First performed: November 5, 1938 on an NBC Radio broadcastLAST ESO PERFORMANCE: MAY 2010

HE FAMOUS CONDUCTOR ARTURUO TOSCANINI WAS ONEof the fi rst to use the new medium of radio to bring classical music to

millions of American homes. A champion of young American composers, Toscanini commissioned Samuel Barber to write a work for a radio broad-cast by the NBC Symphony Orchestra, which Toscanini led. Barber, 28 at the time, took the slow movement from his String Quartet, Op.11, and arranged it for full string orchestra. In this setting, the Adagio for Stringshas become a work performed at many solemn occasions, and is one of the most recognizable works of American concert music.

A Lincoln PortraitAARON COPLAND(b. Brooklyn, 1900 / d. New York, 1990)

First performed: May 14, 1942 in CincinnatiLAST ESO PERFORMANCE: CONCERTS FOR THE WORLDS 2001

N 1942, SHORTLY AFTER U.S. INVOLVEMENT IN THE SECOND World War, conductor André Kostelanetz commissioned patriotic

works from a number of prominent American composers – pieces inspired by great Americans. Aaron Copland chose Abraham Lincoln, and the enormity of his task became apparent right away: how to sum up, in purely orchestral terms, the man considered by many as the greatest American who ever lived. It was Copland’s friend and fellow composer Virgil � om-son who suggested that Copland bring Lincoln himself “into the work” by including some of Lincoln’s own words. � e quotes used by Copland are, for the most part, from lesser-known speeches by Lincoln. It is not until the work’s climax that the famous Gettysburg Address is cited.

A Lincoln Portrait is divided into three parts, beginning with a musical depiction of the man himself, which Copland says features “the mysterious

(Washington, D.C.), and for the Calgary Philharmonic Orchestra. He has acted as host, instructor, lecturer, and/or program annotator for many Edmonton organizations, including the Edmonton Chamber Music Society, the U of A Depart-ment of Music, Edmonton Opera, the Alberta Baroque Ensemble, the Edmonton Lifelong Learners’ Association, and the Summer Solstice Chamber Music series. He was twice nominated as Music Writer of the Year for the Alberta Recording Industry Association (ARIA) Awards. He has sung with the Richard Eaton Singers, the Edmonton Opera Chorus, and at ESO performances. In his spare time, Dave Baker plays goal at his weekly hockey games, dabbles in photography, and spends as much of the riding season on his motorcycle as he possibly can. He is father of fi ve, grandfather of one, and owner of two rescued Alaskan Malamutes. He is married to Virginia Clevette, a manager for the Edmonton Public Library.

This is Mr. Baker’s solo debut with the ESO.

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A Farmer’s Symphony (1994 ESO commission)JOHN ESTACIO(b. Newmarket, Ontario, 1966)

First performed: April 16, 1994 by the Edmonton Symphony OrchestraLAST ESO PERFORMANCE: NOVEMBER 2006

Program note by the composer:

HEN I WAS YOUNG AND GROWING UP ON A VEGETABLEfarm in Newmarket, Ontario, it always amazed me how one small

box of seeds sitting in the corner of my dad’s storage shed could fi ll up the entire barn fi ve-fold in the autumn. Just as a farmer begins with a seed, I chose to start my symphony with one single pitch. Consequently the fi rst movement, � e Seeds of Spring, begins with one single reiterated pitch, an “A”. � e gentle sounds of rain and wind are created in the percussion sec-tion. After a couple of minutes, the harp begins to accelerate the tempo and the piece takes on a more defi ned shape. A perpetual motion pattern in the harp and vibraphone provides a subtle harmonic backdrop to a solo clarinet, which creates a melody from the fi rst few pitches introduced in the opening. � e brass choir builds the movement to its loudest point which encompasses the entire range of the orchestra. � e movement ends with a return to the ambience of the opening.

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sense of fatality that surrounds Lincoln’s personality, and near the end of the fi rst section, something of his gentleness and simplicity of spirit.” � e second part of the work illustrates the time in which Lincoln lived, with snippets of the folk song “Camptown Races” amid the insouciance of an idealized young America. � e fi nal section features quotes from the December 1, 1862 annual Message to Congress, as well as a quote from one of the famous senatorial debates Lincoln had with Stephen Douglas in 1858. � e work concludes with the moving fi nale of the Gettysburg Address, and a recollection of music from the opening.

Piano Concerto No. 1 in B-fl at minor, Op.23PIOTR ILYICH TCHAIKOVSKY(b. Kamsko-Votinsk, 1840 / d. St. Petersburg, 1897)

First performed: October 25, 1875 in BostonLAST ESO PERFORMANCE: SYMPHONY UNDER THE SKY PRESENTED BY ATB FINANCIAL 2012

O, YOU WRITE A CONCERTO FOR SOMEONE, HOPING HE’LL play it, and he writes of it, “� e music is vulgar … unplayable …

unworthy of its composer,” among other things. Chances are you’d remove the dedication and fi nd someone else. � at’s exactly what Tchaikovsky did with his First Piano Concerto, crossing out Nikolai Rubinstein’s name, and adding Hans von Bülow’s, as the German musician praised the music highly. Completed in late 1874, the concerto was fi nally premiered on October 25, 1875, in Boston.

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TO SEE INEDMONTON

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Please consider supporting the Regional Eye Centre. Your donation will ensure our doctors have access to the cutting edge equipment and technology – and our patients will have the gift of sight.

www.royalalex.orgThis ad was generously donated by The Robbins Foundation Canada.

Your Vision.Our Focus.

� e concerto’s remarkable and very famous opening begins with strong horn pronouncements, followed by a rich, romantic melody for strings, punctured by powerful piano chords, and that followed by the piano taking up the rich melody itself. Most surprising is that, follow-ing that sweeping opening, that lush melody never shows up in the work again. Instead, a secondary theme based on a Ukrainian folksong becomes the basis for the direction the music takes for the rest of the movement. Using a technique often employed in Russian concertos, Tchaikovsky uses repeated statements of the folksong theme to add decorative elements, growing more ornate, while the orchestra – which seldom plays along with the soloist – handles many of the movement’s dramatic fl ourishes.

� e second movement’s A-B-A format combines a slow movement with a Scherzo. � e A section is a lovely Andantino in D-fl at Major fi rst presented by the fl ute, then taken up by the piano. � at is contrasted by a Prestissimo B section in a quick waltz tempo, the theme of which Tchai-kovsky said was based on a French song, “Il faut s’amuser, danser et rire.” � e fi nale is dominated by two main thematic ideas. A strongly Russian-fl avoured dance introduced by the piano alternates with a passionately romantic secondary idea – one of those gorgeously rapturous melodies at which Tchaikovsky excelled.

As a footnote, it’s worth mentioning that, following the concerto’s enthusiastic reception at its fi rst performances, Nikolai Rubinstein had a change of heart, and became one of the work’s greatest champions, performing it several times in his career.

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


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Once a month Worth the wait

www.sherbrookeliquor.com/signatureFor details, visit

www.edmontonjournal.com

THERE’S ALWAYSSOMETHING

TO SEE INEDMONTON

Eyesight is a precious gift that most people take for granted – until it’s at risk.

The Regional Eye Centre at the Royal Alexandra Hospital cares for more than 40,000 patients each year. This self contained centre within the Royal Alexandra Hospital is an innovative treatment centre and the leading provider for eye care across Northern Alberta, Saskatchewan, B.C and the North West Territories.

Please consider supporting the Regional Eye Centre. Your donation will ensure our doctors have access to the cutting edge equipment and technology – and our patients will have the gift of sight.

www.royalalex.orgThis ad was generously donated by The Robbins Foundation Canada.

Your Vision.Our Focus.


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MUSSORGSKYSaint John’s Night on the Bare Mountain(orch. Rimsky-Korsakov) (12’)*

TCHAIKOVSKYFantasy on Themes from Swan Lake(arr. Matthews) – World Premiere (9’)*

IPPOLITOV-IVANOVCaucasian Sketches Suite No. 1, Op.10: Procession of the Sardar (5’)*

RACHMANINOFFVocalise, Op.34 No. 14 (6’)*

TCHAIKOVSKYSymphony No. 4 in F minor, Op.36: 4th mvmt. (9’)*


TCHAIKOVSKYThe Sleeping Beauty, Op.66: Waltz (5’)*

RUBINSTEINMelody in F, Op.3 No. 1 (arr. d’Indy) (4’)*

RIMSKY-KORSAKOVScheherazade, Op.35:1st mvmt. – The Sea and Sinbad’s Ship (11’)*

TCHAIKOVSKYNone But the Lonely Heart, Op.6 No. 6 (arr. Dragon) (4’)*

TCHAIKOVSKYMarche slav, Op.31 (10)*


Case Scaglione, conductorEric Buchmann, violin

The Russian SoulThursday, March 7 | 8 P M

ROBBINS LIGHTER CLASSICS

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A merican conductor CASE SCAGLIONE inspires orchestras and audiences across North America with his musical depth and

infectious joy on the podium. In September 2011, Mr. Scaglione began his tenure as Assistant Conductor of the New York Philharmonic where he will work closely with Music Director Alan Gilbert and visiting conductors. Mr. Scaglione was named the 2011 Solti Fellow by the Solti Foundation U.S. – a prestigious honour only awarded three times in the foundation’s history. Mr. Scaglione recently fi nished his tenure as Music Director of the Young Musicians Foundation Debut Orchestra of Los Angeles, where he was the driving force behind the continued artistic growth and diversifi ca-tion of the organization in addition to founding 360° Music, an educational outreach program which brought the orchestra to inner city schools. His eclectic programming spanned works from Beethoven to Wagner to the Los Angeles premiere of John Adams’s Doctor Atomic Symphony, which was supported by a grant from the National Endowment of the Arts.

Series Sponsor

Bill & Mary Jo Robbins


Mr. Buchmann’s bio can be found on page 6.



FEBRUARY/MARCH 2013

Mr. Scaglione was a student of David Zinman at the American Academy of Conducting at Aspen where he won the James Conlon Prize and the esteemed Aspen Conducting Prize, which led to his Cleveland Orchestra debut in July 2010. A frequent guest assistant and cover conductor with the St. Louis Symphony, he has also assisted at the Baltimore Symphony, Baltimore Opera, and conducted the Los Angeles Philharmonic at the Hollywood Bowl alongside Bramwell Tovey. In the summer of 2011, Mr. Scaglione was one of three conducting fellows at Tanglewood chosen by James Levine and Stefan Asbury. A native of Texas, Mr. Scaglione received his bachelor’s degree from the Cleveland Institute of Music. His postgraduate studies were spent at the Peabody Institute where he studied with Gustav Meier. Mr. Scaglione currently lives in New York City with his wife Toni.

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

Note: Program notes do not follow exact concert order

f the 10 works (or excerpts of works) on tonight’s program, half of them are by PIOTR ILYICH TCHAIKOVSKY (1840-1893). While certainly the most celebrated Russian composer (now

and while he was alive), his success drew its share of naysayers. Among those who sought for a truly authentic Russian voice in music, Tchaikovsky’s embrace of western classical practices was regarded as a sell-out. Yet his music is just as steeped in the music of his homeland as any written by the most nationalist of composers.

Tchaikovsky wrote three ballets – and all are treasured works which continue to hold the stage to this day. � e fi rst was Swan Lake (1877), next was � e Sleeping Beauty (1890), and a few months before his death came � e Nutcracker (1892). � is evening, we’ll hear excerpts from two of them, beginning with a Fantasy for violin and orchestra of music from Swan Lake, arranged by David Matthews, and given its world premiere at tonight’s concert. Composer of some of the fi nest waltzes outside the Strauss family, Tchaikovsky wrote several of his best for ballet scores, from which we will hear the famous waltz from � e Sleeping Beauty. Fans of classic Disney may know it from the 1959 animated movie to which words were added for a song called “Once Upon a Dream.”

Tchaikovsky wrote his Fourth Symphony in 1878, and it is dominated by a theme about which the composer himself said, “� is is Fate: the fatal power which jealously provides that peace and comfort do not prevail.” But in the work’s fi nal movement, Tchaikovsky allows hope to enter. � e Fate theme is heard, no less powerful but not as oppressively overwhelming as presented earlier in the full work. It is tempting to imagine a sense of man’s triumph over Fate. “If you can’t fi nd causes of joy within yourself,” Tchaikovsky wrote, “look at others. Go out among the people.” He seems to do this himself by quoting a folk song “In the Field � ere Stands a Birch Tree” – graphically illustrating the indomitability of ordinary folk? Perhaps this is so, but it is important to remember that Tchaikovsky loved quoting from Russian folk songs – he had done so in the fi nale of three of his four symphonies to that point.

Known mainly for his orchestral works and a few of his operas, Tchaikovsky wrote dozens of minia-tures, including songs. � e only one consistently in the popular repertoire is the sixth of six songs pub-lished in 1869 as his Op.6, and known to the English-speaking world as “None But the Lonely Heart.”We will hear its familiar melody in an orchestral arrangement by Carmen Dragon.

Writing works for specifi c occasions brought out some of Tchaikovsky’s most popular music (1812 Overture, anyone?) – and some of his biggest complaints. He accepted such commissions begrudgingly, as he did in 1876, though for a good cause: a benefi t concert for soldiers wounded in the war between Serbia and Turkey. � e Marche slav (“Slavic March”) quotes from a number of other pieces, including Slavic folk songs, and God Save the Tsar, the Russian national anthem at the time. By turns amiable and ceremonial, the Marche slav has become one of Tchaikovsky’s most popular concert works.

Pursued by doubts, depression, and alcohol-ism, MODEST MUSSORGSKY(1839-1881) left many of his works incomplete by his death at age 42. � e work which began with the name Saint John’s Night on Bare Mountain is a case in point. Mussorgsky actually fi nished the work in 1867, but the harsh assessment of it by his colleague Balakirev caused him to withdraw it. It was brought back in 1872, intended to be part of a collective stage work for the Imperial � eatre, combined with works by other composers. � at proj-ect fell through. Determined not to give up on it, Mussorgsky then intended to include the piece as part of an opera. For that ver-sion, he appended a tender, gentle ending – a strong contrast to the violence and power of the rest of the work. � at ending was O


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intended to illustrate the dawn, and the tolling chime of a church bell, driving away the evil spirits. Known popularly now as A Night on Bald Mountain, a translation of the name of a real mountain near Kyiv, Ukraine, the work was never performed in Mussorgsky’s lifetime. His friend Nikolai Rimsky-Korsakov took the version which included the beautiful, quiet ending, and orchestrated it, and it is this version which has become a standard part of the concert repertoire.

MIKHAIL IPPOLITOV-IVANOV (1859-1935) is known today pretty much for a single movement from a single work – and that’s what we’ll hear tonight. Far from a politically incorrect title, the Caucasian Sketches have to do with the Caucasus Mountains. For seven years, Ippolitov-Ivanov served as director of the Conservatory of Tblisi, capital of the Russian region of Georgia. While there, he immersed himself in studying the folk music of Russian minority groups, and his Caucasian Sketches is a four-movement suite based on folk themes of the Caucasus mountain people. � e suite ends with the glittering Procession of the Sardar. Sardar is a term of nobility, usually reserved for a prince or other royal, in several regions of Asia and eastern Europe.

SERGEI RACHMANINOFF (1873-1943) was one of the most popular and successful composers of the 20th century. While known more for his larger-scale works, he also wrote many short works, including several volumes of songs. His Fourteen Songs, Op.34 were published together in 1912. � e last one of the set was a “song without words,” also known as a Vocalise, which contains no lyrics, but is sung to a single syllable cho-sen by the singer. Its simple, direct beauty has made it a favourite, and it has been arranged for many diff erent varieties of instrumental combina-tions – including for full orchestra, arranged by Rachmaninoff himself.

ANTON RUBINSTEIN (1829-1894) was a friend and almost exact contemporary of Tchaikovsky. While a prolifi c composer, his legacy is based more on his formidable talents as a pianist and teacher. Like Ip-politov-Ivanov above, Rubinstein’s fame as a composer is today relegated to a single movement of a single work. In 1852, he published a pair of piano pieces which he called, logically enough, Two Melodies, Op.3. � e fi rst of these is the Melody in F. Its popularity took hold from its fi rst performances, and has never diminished. Its principal theme is instantly appealing, and what unfolds after is a set of variations on that theme. French composer Vincent d’Indy orchestrated the piano work.

One of the most popular and thrilling works in the entire Russian orchestral canon is Scheherazade, a four-movement work inspired by traditional Arabian tales, composed by NIKOLAI RIMSKY-KORSAKOV(1844-1908). � e fi rst movement of the piece introduces the “story-teller” of the tales to be depicted. Scheherazade herself is given a haunting, beautiful melody on solo violin, and following her theme, she tells the tale of � e Sea and Sinbad’s Ship, full of exotic Arabian colours and Rimsky-Korsakov’s masterful use of orchestra.

Program notes © 2013 by D.T. Baker

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Sunday, March 10, 3:00 pmFirst Presbyterian Church (10025-105 Str)Isabelle Demers, solo organ

For ticket Adults $25 Students/Seniors/Members $22 - Available at the door

Friday, May 10, 8:00 pmProvidence Cdn Ref. Church (12905-122 Str)Tammy-Jo Mortensen, solo organWendy Nieuwenhuis, solo organ with special guest Stephen Fong, trumpet

ORGANiCorgan in concert

Edmonton

Special Thanks

Season SevenEdmonton Recital Society

Stephane Lemelin, pianoApril 14, 2013 (Sunday) 7:30 p.m.Muttart Hall, Alberta College Conservatory of Music10050 MacDonald Drive, Edmonton AB$35 (adult)/$25 (seniors)/$10 (students)

“From his elegant interpretive style, his sensitivity and technical perfection there is much to learn. Lemelin is a veritable master of refinement.” Radio Tichavsky, Milenio Diario de Monterrey

For more information, please visit us at www.edmontonrecital.com or contact us at 780.264.2844.

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Afterthoughts, Friday post-performance, Main Lobby with William Eddins & Charles Pilon

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

KULESHATorque (4’)*

BERLIOZHarold en Italie, Op.16 (44’)* Harold in the mountains. Scenes of melancholy,

happiness and joy: Adagio March of the pilgrims singing the evening prayer: Allegretto Serenade of an Abruzzi mountain-man to his mistress:

Allegro assai Orgy of the brigands. Reminiscences of the preceding

scenes: Allegro frenetico


ROSSINIL’Italiana in Algeri: Overture (8’)*

RESPIGHIFontane di Roma (17’)* The Fountains of the Valle Giulia at Dawn The Triton Fountains in the Morning The Fountain of Trevi at Midday The villa Medici Fountain at Sunset

GERSHWINAn American in Paris (16’)*


William Eddins, conductorCharles Pilon, viola

An American in ParisFriday, March 15 | 7 : 3 0 P M & Saturday, March 16 | 8 P M


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Mr. Eddins’s bio appears on page 6.

V iolist CHARLES PILON studied with Sonia Jeinkova at Montréal’s Mari-anapolis College. He earned a bachelor of music from McGill University

under Mauricio Fuks before further studies at the University of Southern California’s Advanced Studies program with Robert Lipett. During his time at USC, he also studied with David Cerone at the Encore School of Strings and Roman Totenberg at Kneizel Hall. His viola mentors are former ESO Principal Viola Nick Pulos, and pedagogue � omas Riebel at the Salzburg Mozarteum.

Mr. Pilon has played for CBC Young Artists in Concert, and joined Orchestra London (Ontario) in the First Violin section (2003/04) before joining the Edmonton Symphony’s First Violins for the 2004/05 season. He successfully auditioned as Assistant Principal Viola of the ESO for the start of the 2005/06 season. Since his arrival in Edmonton, he has been active in the local music scene. He has performed as a soloist with the Alberta Baroque Ensemble, and co-founded Enterprise Quartet in 2009. � is past fall, the quartet performed all the string quartets of Beethoven at a series of concerts. Mr. Pilon has received grants from the Québec Council of the Arts, the Alberta Foundation for the Arts, and the Canada Council. In his spare time, he enjoys hot yoga, and salsa dancing.

Mr. Pilon last appeared as a soloist with the ESO in January 2011.

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TorqueGARY KULESHA(b. Toronto, 1954)

First performed: September 2009THIS IS THE ESO PREMIERE OF THE PIECE

Program note by the composer:

ORQUE WAS COMMISSIONED BY PETER OUNDJIAN AND THE Toronto Symphony Orchestra for a tour in September of 2009. Intended

as a concert opener, it is a short, energetic work cast as a perpetuum mobile. � e brisk tempo is established immediately, and never lags. Indeed, the music is always in motion, even in quieter passages. � e title refers to a general concept in physics – simply put, “torque” is a rotational or twisting force. It is most commonly used in descriptions of an automobile’s performance abilities. Although the work is not intended to be descriptive, I must admit that the im-age of rapidly rotating wheels (or tires) was in my mind throughout the writing of the work. � is may or may not have had something to do with the fact that I was shopping for a new car during the creation of this composition. And it may or may not be related to the fact that I acquired a Porsche Carrera halfway through the writing process ... .

Harold en Italie, Op.16HECTOR BERLIOZ(b. La Côte-St-André, Isère, 1803 / d. Paris, 1869)

First performed: November 23, 1834 in ParisLAST ESO PERFORMANCE: FEBRUARY 1995

ITERATURE WAS A MAJOR INFLUENCE ON THE EARLY romantic composers. While Shakespeare was an important inspira-

tion from ages past, for the most part it was the new crop of writers which inspired the new Romantics, and none more so than George Gordon, Lord Byron (1788-1824). Byron’s writing served as the inspiration for works by Schumann, Donizetti, Tchaikovsky, Mussorgsky, and others. Hector Berlioz felt a keen connection to Childe Harold, a world-weary young man from Byron’s cycle of poems Childe Harold’s Pilgrimmage, published between 1812 and 1818. � roughout the poems, Byron’s character does not participate much in the activities around him; rather he witnesses and comments on them. Like Harold, Berlioz found himself a stranger in a strange land when he travelled to Italy after winning the Prix de Rome in 1831. And in the four-movement work which resulted from this infl uence, Harold en Italie (“Harold in Italy”), the solo viola takes the role of Harold, observing and commenting on the rest of the music in a long, detailed and taxing solo part – a part, however, which does not provide a dashing, bravura solo display. � e problem is that’s what the man who commissioned the work wanted.


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Niccolò Paganini was an early supporter of Berlioz, and asked Berlioz to pro-vide him with a suitable showcase for his newly-acquired Stradivarius viola. But the work which so integrated the solo instrument into the whole, and moreover one which gave the orchestra equal weight, was not to Paganini’s liking, Berlioz wrote in his memoirs. “� at is not at all what I want,” Berlioz recalls Paganini telling him, and the composer urged the virtuoso that a true showcase for Paganini should be written by Paganini. In the end, Paganini never played the work, and Berlioz pressed on, writing the piece to his own design.

� e fi rst movement is subtitled “Harold in the mountains. Scenes of melan-choly, happiness and joy.” � e “Harold” theme rises out of the shrouded music, which builds to a large, dark fortissimo, before the fogbound mountains are lit by the sun, as the music shifts from G minor to G Major. Accompanied by the harp, the viola presents the “Harold” theme in full, and the tempo shifts to Allegro. � e second movement has the subtitle “March of the pilgrims singing the evening prayer,” and is dominated by a broad, E Major theme, repeated in various guises as we hear Harold watching the procession of pilgrims beginning from a distance, moving past him, then disappearing again.

� e third movement, “Serenade of an Abruzzi mountain-man to his mis-tress,” features a rustic tune for oboe and piccolo played over a drone accom-paniment, as the viola dances ’round them. An English horn melody slows the pace, and in clever counterpoint, its theme combines with the theme heard at the beginning of the movement, while the “Harold” theme is played by fl ute and harp. � e fi nal movement is subtitled “Orgy of the brigands. Reminis-cences of the preceding scenes.” � emes from the previous movements fl it by, with Harold the last to leave. � e orgy is dominated by percussion, a wild and furious section during which Harold is completely silent. After a sudden pause, a bit of the pilgrims’ music returns, and Harold makes an attempt to join the orgy, but is rebuff ed as the work concludes in a state of frantic energy.

L’Italiana in Algeri: OvertureGIOACCHINO ROSSINI(b. Pesaro, 1792 / d. Passy, 1868)

Opera fi rst performed: May 22, 1813 in VeniceLAST ESO PERFORMANCE OF THE OVERTURE: NOVEMBER 2005

N HIS BOOK A NIGHT AT THE OPERA, SIR DENIS FORMAN states categorically that the merry overture of Rossini’s L’Italiana in Algeri

(“� e Italian Girl in Algiers”) is, “perhaps the best of all in a genre where Rossini excelled.” High praise, given that several other Rossini overtures are so much better known. But the sheer madcap lunacy of the opera’s story does much, perhaps, to lend a convivial charm to its overture. � e plot concerns a lascivious Pasha who has designs on the shipwrecked Isabella – who for her part is bravely seeking her beloved Lindoro, and doing all she can to keep out of the Pasha’s clutches.

Anyone familiar with the many famous overtures of other Rossini operas will hear in the jovial vivacity of the curtain-raiser for L’Italiana in Algeri many of the same ideas: a slow introduction, a fast section presenting two distinctly diff erent melodic ideas (one featuring woodwind solos), and a transition leading to the kind of fi nish that made Stravinsky dub Rossini, “Il Signor Crescendo.”

I


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Fontane di RomaOTTORINO RESPIGHI(b. Bologna, 1879 / d. Rome, 1936)

First performed: March 11, 1917 in RomeLAST ESO PERFORMANCE: SEPTEMBER 2005

F THE THREE WORKS IN HIS “ROMAN TRILOGY,” RESPIGHI’S Fontane di Roma (“Fountains of Rome”) came fi rst and is, compositionally,

more forward-looking than the other two (Pines of Rome – 1924, and Roman Festivals – 1928).

Once a necessity to provide clean drinking water to ancient Rome, the many fountains for which Rome became renowned were built after the city became the seat of the Christian world. Ottorino Respighi chose four of the most famous, each depicted at a diff erent time of day, for his symphonic poem. � e work begins at dawn, with the Fountains of the Valle Giulia illuminated by woodwinds rising out of orchestral mist. � ere is an impressionist sense to the swirls and eddies of instrumental colour. Day moves on to morning at the Triton Fountain, which begins with a strident horn call amid orchestral tumult. It is obviously a splendid, sunny morning, as the merry music that ensues is full of life and excitement. � e afternoon brings us to the famous Trevi Fountain, given a majestic, broad canvas, ceremonial and majestic. � e fi nal section, the longest of the four, is introduced by shimmering celeste, and depicts the Villa Medici Fountain as day turns to night. To a gentle, yet insistent rhythm, the pastel harmonies of the opening section are recalled here. Solo touches from violin and fl ute are featured, though strings are given the fi nal word, along with a soft chiming bell heralding the end of day.

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An American in ParisGEORGE GERSHWIN(b. Brooklyn, 1898 / d. Hollywood, 1937)

First performed: November 15, 1928 in New YorkLAST ESO PERFORMANCE: SYMPHONY UNDER THE SKY 2011

EORGE GERSHWIN HAD CAPTURED THE BROADWAY stage with many smash musical hits. With 1924’s Rhapsody in

Blue, he showed that he could capture the classical stage as well. New York Philharmonic conductor Walter Damrosch commissioned a new work for the opening of the 1928 concert season and Gershwin, freshly returned from a visit to Paris, responded with the tone poem An American in Paris.

It is conceived along traditional three-part guidelines. At the outset, an American strolls through the busy Paris streets (the “ambling theme” is even accompanied at the start by specifi cally pitched car horns) while taking in a number of sights as he strolls. � ere is a central section dom-inated by the “homesickness theme,” fi rst heard in a lovely trumpet solo. � ere is also an underpinning of a Charleston-like jazz theme. � e work concludes with the homesickness giving way to the charms of Paris. It’s rather metaphorical, actually. Gershwin was indeed fascinated by French impressionist music while he visited Paris, and that infl uence is evident in many of the work’s orchestral touches and harmonic colours.

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

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DAY IN, DAY OUT(Bloom)

WALKIN’ MY BABY BACK HOME(Ahlert/Turk)

MONA LISA(Evans/Livingston)

NATURE BOY (Ahbez)

ROUTE 66(Troup)

SMILE(Chaplin/Turner/Parsons)

TO THE ENDS OF THE EARTH(Sherman/Sherman)

WHEN I FALL IN LOVE(Young/Heyman)

L-O-V-E(Kaempfert/Gabler)


CARAVAN(Ellington/Tizol)

SATIN DOLL(Ellington)

AMAZING GRACE(trad.)

I’M GETTING READY(Caesar)

FOLLOW YOU, FOLLOW ME(Banks/Collins/Rutherford)

Jeff Tyzik, conductorDenzal Sinclaire, vocalistwith Dave Mancini, drums

The Unforgettable Music of Nat “King” ColeFriday & Saturday, March 22 & 23 | 8 P M

ROBBINS POPS


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YOU AND THE NIGHT AND THE MUSIC(Schwartz/Dietz)

ALWAYS ON MY MIND(Christopher/James/Carson)

THIS IS MY LUCKY DAY(Goodman)

I’VE GOT THE WORLD ON A STRING(Arlen/Koehler)

Program subject to change

tremendously versatile artist, JEFF TYZIK is many things to many people. Onstage, audiences love him for his engaging podium style

and stellar trumpet playing. Behind the scenes, musicians love him for his brilliant arranging, intelligent programming, and straight-shooting professionalism. Mr. Tyzik creates every one of his signature programs from scratch – including his programs with guest artists – and he always includes opportunities to feature members of the orchestra. In demand across North America as a pops conductor, Jeff Tyzik is the creative force behind the Roch-ester Philharmonic Orchestra’s Pops. He is also Principal Pops Conductor of two other orchestras: the Vancouver Symphony Orchestra and the Oregon Symphony. He maintains a busy guest-conducting schedule with orchestras including the Boston Pops, the New York Pops, the Philadelphia Orchestra, the Detroit Symphony Orchestra, and the Toronto Symphony, among others.

Born in Hyde Park, New York, Jeff Tyzik fi rst fell in love with music at the age of eight when he saw a drum and bugle corps march by in a local parade. He began studying cornet and immediately excelled. His teachers and friends began pushing him to audition for the Eastman School of Music. In 1983, Mr. Tyzik and virtuoso trumpet player Allen Vizzutti were invited to create a new pops program for the Rochester Philharmonic, initiating

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the basic programmatic style that he has been perfecting ever since. During his RPO tenure, Jeff Tyzik has written over 160 pieces for orchestra, creating a rental catalogue of many of those works for G. Schirmer. When he is not working on music, he spends his time at home in Rochester with his wife, Jill. An accomplished cook, he specializes in Italian cuisine. He especially loves to hike with Jill and their dog, Puccini. He is honoured to have a daughter, Jami, an opera singer who shares her father’s love of music.

Mr. Tyzik last appeared with the ESO in May 2009.

ocalist/pianist/percus-sionist/actor DENZAL

SINCLAIRE is one of Canada’s most popular jazz vocalists and is ranked among the fi nest jazz singers of his generation. A graduate of McGill University’s Jazz Performance program, he possesses that rare ability to achieve a profound emotional interaction with his audience. He touches the listener with the purity of the message. He is a multiple Juno Award nominee, a recipient of the 2004 National Jazz Award for Best Album, four-time consecutive recipient of Jazz Report magazine Award for Male Jazz Vocalist, and 2007 Choc Jazzman Award (France). From his early days as a canny inter-preter of Nat “King” Cole’s crooning, he has grown into one of the most distinctive and individualistic singers anywhere. He has graced the stages numerous concert halls and festivals around the world and has appeared on several popular TV shows, including Canada’s Bravo!TV, Canada AM, Nashville Now, and Ireland’s � e Late Late Show.

Equally at home in the theatre, fi lm and television arenas, Denzal Sinclaire has delighted audiences with his critically-acclaimed performance in Unfor-gettable, a musical based on the life and music of Nat “King” Cole; Tapestry: � e Music of Carole King (Arts Club � eatre); and William Saroyan’s award-winning � e Time of Your Life (Soul Pepper � eatre Company). Mr. Sinclaire has performed with renowned artists such as Patrice Rushin, Dee Dee Bridgewater, Janis Siegal, Dee Daniels, Kevin Mahagony, Jimmy Heath, Barry Harris, � e Count Basie Orchestra, Dame Cleo Laine, Sir John Dankworth, Peter Appleyard, Reuben Rogers, Gregory Hutchinson, Russell Malone, Seamus Blake, Nicholas Payton, Brian Blade, Jamie Lidell, and Holly Cole. He has recorded three albums for Universal Music, I Found Love, Denzal Sinclaire, and My One and Only Love. In 2005, Denzal was inducted into the British Columbia Entertainment Hall of Fame.

Mr. Sinclaire last appeared with the ESO in November 2008.


Dr. Shirley AdamsMrs. G. AlexanderDorothy & Ted AllanPeggy AllegrettoLaurence & Marian AllenMarion AllenRae & Carol AllenScott AllisonJack & Gail AlmondSusan Andrew & Michael CohenShirley ArmourPamela A. BabcockDiana M. BaconPeggy BakerDr. & Mrs. H. J. BarlowHarold BarnesRaymond & Joan BarthIan & Janice BartonAnnette & Maurice BastideCarlos & Linda BasualdoLaurie BaydaJames & Anita BeckettDoris & Doug Bell E. Jean BellBennett JonesAlec & Marianne BenningCheryl BerkePatricia BerrySheila BertramMiriam M. Bertsch-MannWilliam & Kathleen BetteridgeDonna BezansonBarb BillingsleyBob & Lynda BinnendykJohn BirkbyWilliam BlahunJanet BlandMargarete BlunckAimee BourgoinJohn Douglas BowenMarge BowenVlad & Cathryn BreckaDavid & Betty Jean BuchananWilliam & Keatha BuckhamCharles & Joan BuckleyJanet Buckmaster

Mr. & Mrs. John BumaAlan Burant & Tracy TarapaskiJohn & Lorraine CaldwellMrs. T. CartmellDavid & Carol CassBarry CavanaughRonald CavellMarguerite &

Zbigniew ChrzanowskiTricia CisakowskiJoan S. ClarkElaine M. CoachmanDiane & Sandon CoxFrances CuylerBruce Dancik &

Brenda LaishleyMr. & Mrs. M.B. DavisElly De JonghBret & Melanie DesrochesNora J. DickensonMarlene DicksonBetty-Lou DochertyLen Dolgoy & Catherine MillerBrian & Alice DorishAlice DumaineDouglas & Monique DuvalTim EckertShirley EdgarGeorge ElaschukMarion ElderMr. & Mrs. E.L. ElfordVivian EliasJohn ElliottMarilyn ElliottJune EmeryMrs. J. EnnisW. Grant FairleyMuriel FankhanelEileen FarmerPamela FarmerMr. & Mrs. Heinz FeldbergBeth FenskeDouglas FerrierBruce & Joyce FlesherMarilynn FogwillHelen Fossey

Marion FouldsArlene FowlisBruce & Margaret FoyDorothy FrenchLora FriedGeoffrey & Kathryn FrisbyRon GardnerCatherine GarveyCathy & Pat GarvinLucy E. Gilchrist &

Patricia HengelJack & Bluma GoldbergGeorge & Judy GoldsandRae & Pat GrahamCharles & Ann GrantJoan R. GreenSheila GreenbergMary GrimesJacqueline GrossJeanne GuerinJ. Guy & Susan GokiertRoger & Luisita HackettCarol & Neil HandelsmanW.E. HarrisDarwin HarrisonTimothy & Patricia HartnagelLorne & Faye HatchBrian & Jeanne HetheringtonRobert HettMark & Nancy HeuleGus & Alexandra HildebrandtKaren HillerudMr. & Mrs. Fred HochachkaDr. & Mrs. Ernest HodgesJohn & Susan HokansonGordon HollisIone HooperMr. & Mrs. Neil HorneDorothy E. HowardDon HrubaJoan HubeR. Barry & Marcia C. HuntJohn HunterMargaret HusbandBonnie HutchinsonKelvin James

J.W. & Janet JansenDr. S.B. JoeDon H. JohnsonMrs. T.N. JohnstonMaurice JolyGarry & Gayle Joyes-BondAndrew & Maria KellerFrancois KenseHelen & Gordon KirschLoretta KlarenbachGloria KushnirMr. & Mrs. H.G. LawrenceBob & Cathy LegateAube & Diana LevineJames LewisDoris M. LunnRichard & Jean LyneR.J. & Marilyn MacEachranBeth MacIntosh & Ken StokesJean MacIntyreMadeline MacPhersonGlen MageeGladys MagegaDan & Bonnie MagnanPeggy MarkoBev MartinDonna MartynSue MarxheimerMary MassonSandy McClellan &

Kirby O’ConnorMrs. Shari McCoyBrian McDonaldC. Bruce McGavinAl & Pat McGeachyJoyce E. McGilvrayColleen MiddletonRonald & Carole MiddletonJoan MillerArliss MillerShauna Miller &

James GillespieRoberta MilnerJohn & Maggie MitchellAnna ModerwellPatricia & Norbert Morgenstern

Allan & Margaret MuirPamela S. MuirheadCarolyn MulekTim & Nancy MuzykaMadeline NeedhamIngrid NeitschJames & Sheila NewMichael & Alberta OnciulFred & Mary ParanchychElaine ParkerDavid & Florence PercyLillian PheaseyDavid Phillip Jones, Q. C.Ron Pidskalny &

Arden AlexanderChristopher PiggottWalter Pinto & Pat MulhollandPaul & Doreen PrevilleCharles & Edith PrimmerPearl QuanVerna QuonBryan & Linda ReedMr. & Mrs. B.W. ReesorAlan RennieHelen & Janet RestaBruce & Wendy RieckJames & Margaret RobertsonMarvyn RogersSelwyn & Elaine RomanovskyElaine RowanArnold & Grace RumboldWilliam Rutledge &

Joan LopatkaMr. & Mrs. Robert SadeeG.W. & Betty G. SaelhofBarbara SaintJulie SalembierGary & Donna SamyciaB. & T. SawyerJohn & Martha SchielSari Salmon Schiff &

Leslie MossDale Schinkel & Stephen LuckWes Schmidt & Patricia BrineEmerald SchoeppWerner B. Schulze

Edna ScottEtta ScottMargaret & Glenn SharplesJim & Marcia ShawGabe & Connie ShelleyDoug & Lynne SiglerBetty SloanPaula SnyderJohn & Judy SoarsRobert & Betty SquairMargaret StevensonFrank StockallAnne StrackRon & Marion StroudPhilip & Patricia SturgesMurray SugdenValerie SwannDr. & Mrs. Guy SwinnertonElizabeth SzynkowskiDr. L.N. TakatsMr. & Mrs. Dan TaschukBill Taylor & Marie LosierAdele ThurstonElizabeth TweddleVictoria VaitkunasPeter Van BostelenDineke van GelderDave & Myrna VenhuisAllan & Bette WachowichL.E. WagnerBarry & Valerie WalkerViolet WatsonBruce & Ruth WestMuriel WhitakerLyle & Dawna WiebeNeil & Jean WilkinsonDominic & Linda WillottJohn & Carol WodakRondo E. WoodValerie WozniukLuella & Mike YakymyshynMr. & Mrs. Ron YeskeDonna YoderLinda J. YouellRalph & Gay YoungDenise Zubko

John & Ruth AgriosRuth & Derrick AldertonPeter & Barbara AllenRobert & Linda AllenNorma AllinConnie & Bill AltonAl & Barbara AndersonAnne AndersonHarold & Deanna AndersonGail H. Andrew &

Richard HaagsmaAndrew J. JaremaLeszek & Krystyna AntoniewiczDavid & Grace AplinDonna & Murray ArmstrongMargaret Atkey-D’Amico &

Daryl D’AmicoKen BagnallBill & Olli BagshawDouglas & Frances BainesRichard & Barbara Baker

Sheila BallStella & Gary BallashKaren & Craig BanksPeter & Pat BanksLucie & Armand BarilGlenn & Janet BaronIrene BarrRoy & Annette BarrettMae BarrieYuval BarzelRoger & Anne BatesEd & Gloria BauerStella & Walter BaydalaVera BayrakVi BeckerStewart J. BehielsAlan & Alice BellAllen & Ruth BenbowRuth & Wayne BennerColin BennettJoan Bensted

Bonita BentleyDavid & Janet BentleyRon & Marcia BercovJanet BerezowskyRichard & Barbara BergstromKeith & Joyce BerrimanRhonda Berry-HaufRobert & E. BestCalvin BinnemaLen & Barb BistritzElmer & Cecilia BittnerBarbara BlackleyDr. Janis BlakeyDon & Renee BlissJulia BobergRay & Marg BobowskiLarrie & Eleanor BoddyDavid BoeschDianne BoggsKaren BohaychukDonna Bonk

Beverley BorenYvette BortnickAllen & Marie BostromBonnie BoucherMarion & John BoydDavid BoyleAnne BradleyIva BrahamBarbara BratlandRobert Brayne & Marla DanielsBarry & Angela BreadnerJacqueline BreaultBev & John BrennanEd & Leona BridgesMichael BrookeMarion & Elmer BrookerAllan & Viola BrooksFreda BrownJoan BrownKeith BrownWilliam Brown

Mr. & Mrs. J.P. BrumlikJoyce BuchwaldHeather BuckiePauline BurkinshawIan & Hazel BurnDavid & Marlene BurnettPeter & Marjory BurnsRita & Charles BurnsAubrey & Evelyne BurrowesBrian & Barb BurrowsMr. & Mrs. Doug BurtonAdolf & Kathleen BuseHarry CalhounNeil & Beverly CalhounArlene CallinHugh & Christine CampbellJohn & Lorelei CampbellMaureen CampbellMrs. K.K. CampbellPat CampbellAnton Capri

Donna CarleJames & Joan CarlsonJeanne CarpenterJohn & Marilyn CarrGordon & Evelyn CarsonTerry CarsonBill & Kathy CarterPamela CarterHelene CarykRhennie CasementJohn CassidyGerlinde DeqielnyKenneth F.K. ChanPeter & Yvonne ChapelskyDarlene ChapmanPatricia ChaseJudy Cheng & Nancy ChengMonica ChesneyBarb ChichakDon ChisholmClarence Christensen

30 + YEAR SUBSCRIBERS

10 - 29 YEAR SUBSCRIBERS

During Subscriber Appreciation Month we like to recognize and thank the longest-standing members of the ESO family for their loyalty. This year we have over 1293 patrons who have been subscribing to ESO concerts for more than 10 years, and 403 patrons who have been attending for an incredible 30 years or more. Thank you so much for your dedication to live orchestral music in Edmonton! We look forward to sharing many more years with you.

Please note that unfortunately our records only go back so far and if you belong to either group and do not see your name listed, we would love to hear from you! Contact Adam Trzebski at 780-401-2501 or [email protected] to update your record today.

THANK YOUTHANK YOUTHANK YOUTHANK YOUTHANK YOUTHANK YOUTHANK YOUTHANK YOUTHANK YOUTHANK YOUTHANK YOUTHANK YOUTHANK YOU TO THE ESO’S LONGTIME SUBSCRIBERS



Myrna ChristensenJoanne CicchiniAudrey ClarkGary ClarkJoyce M. ClarkMargaret ClarkPhyllis ClarkMuriel A. ClarkeFreda ClemensDouglas & Marietta ClementMary-Lou ClevelandLinda & Frank ClishBarbara CockrallRoger & Carol CohenRob & Kathie ColemanGerald ColesCharles ColpittsSue ColterThelma ComrieSherrill ConroyDorothy CookDavid & Norma CookeGraham & Joann CookeEvelyn CoolicanCharlotte & Gerry CooperLiz & David CooperPaul CornellDavid R. CornishMatthew G. CorriganDorothy CorserDavid & Gina CoscoJohn & Judy CoscoJohn CottonRobert CouchMr. & Mrs. Alan CoveyWanda CreeLuxie & Patrick CroweJean CrozierRobert & Jacqueline CuerrierCindy CuiMary CulpEvelyn CulverMary Cummins &

Gunther TrageserNellie CumminsLaurel & Mike CunningtonKeith & Leeann CurrieElizabeth CuylerMr. & Mrs. Gerald DahlBrenda DalenIvo & Mary Dalla LanaAllan & Lucille DamerMatthew DanchukReg DanielsMarilyn DarwishDoug & Wendy DaveyMaria David-EvansShirley DavidsonMarion DaviesRichard & Karen DaviesMartin & Louise DavisGeorge & Jackie de RappardPatrick & Joan DeaArthur & Betty DeaneNola DeaneAllan & Jane De CaenSheila DechantJames & Gail DeFeliceLeslie DelimaRobert DeMarcoAnthony & Blanche DembickiKen & Mary DemedashLori DemeriezMadeleine DenholmLouis & Marcelle DesrochersMiriam DevinsEva DezseGordon & Verle DickauLynne DicksonHelen DiefenthalerNorman & Shirley DiemertElizabeth DoktorMona DombroskySharon DonaldLouise DonnellyMaggie DowerGreg & Gail DrechslerDriving Force Inc.Bruce & Benita DuncanJoyce DunnFrancis & Muriel DunniganJoseph & Marilyn Cote-DupuisInge Dyck

David EdwardsJim EdwardsColin & Lila EicherTaha El-DoriedyBob KnickleFred ElgertMarshall & Ardis EliasonJim EllisRuthanna ElsonArnie & Donna EngerTed EnnsMr. & Mrs. A. EplerGloria ErichsenWanda EsseryJanis EvansJohn EvansTamara EvansDave EverittAaron & Audrey FalkenbergEric & Melinda

Falkenberg Poetz Jim & Joan FargeyTom FathBetty & Bill FaulderMarilyn FedunMr. & Mrs. Robert FeeneyJohn & Bunny FergusonKeith FergusonEric FerrieBob & Doreen FessendenLois A. FieldFerdinand FiliplicBarbara & David FinlaySarah FinnerConnie FirthBetty FisherSandy FitchMrs. Jean FitzsimmonsSean & Joyce FlanaganEsther FluevogFrances FlynnCorinna FontaineShirley ForbesTom & Barbara ForestElaine ForssMargaret FournierBlain & Marlene FowlerDanica FrazerKenneth FredrickHerbert & Donna FreedmanSusanne FriessAllan FulmerLyn & Ron FunnellG. & E. MuriHarry & Shirley GaffneyConnie GainerCalvin GardnerGeorgina M. GaucherIsabel GauthierDon & Renee GaylardDavid GeakeDon & Diane GibsonNeil & Twyla GibsonSharron GidychShirley GiffordGordon GilroyBrian & Patricia GingrasBrian GlasierKevin & Alice GleesonMary Glenfi eldIsidor & Grace GlienerJudy & Hakan GnarpeRichard & Sandra GoatcherFrank GodfreyShirley GoebelDoris GoetzWalter & Gerda GoetzOlive GoodfellowMarie GordonDarrell & Barbara GotaasMelvina GowdaPam Gowing-EllenbergerDavid GrabskiJan & Bill GraceEvelyn GrantIan GravesBetty GravettRon & Myrtle GrayLilian GreenMargaret GreenhillPaul & Winifred GreenwoodPeter & Astrid GriepGordon & Sondra Gosh

Margaret GroveBetty GrudnizkiRuth GrundbergMrs. E. GuilfoyleRuth GuseSheila GynaneMr. & Mrs. Luther HaaveEd & Mavis HahnDavid & Adeline HallLynette HamiltonGeorge & Ann HammondBohdan & Elaine HarasymiwTom HardinRuth HarleMichael & Denise HarmonNorma HarperWendy HarrisonPeter & Deborah HarropDavid & Germaine HarveyMargaret HauckBill & Sandy HaunAnn HawrylechkoConnie HawrylukZenia HawryshMr. & Mrs. A. HaymanKenneth HeavenorAlbert and Isabel HeidtRonald HenbestKathleen HendersonGerhard & Emily HenkemansMargaret HennesseyNeil & Jeanne HenrySharon & James HenryShirley HerasymiukA.D. HerbertMrs. F. HerbertGlen & Judy HeximerCharles & Ferne HickmanDavid & Cathy HigginsTrefor HigginsConnie HighsmithLeigh & Maureen HillLeroy HillerKathryn HilsentegerWilliam J. HiltonLois HingleyAlan HingstonMary Hislop-PerratonAndrew Hladyshevsky &

Daria LuciwMarilyn HnatiukPatsy HoNina HoffmanHarry & Muriel HoleJohn & Kathleen HolmesLiz HoltStanton & Shirley HooperMaria HooverSteve HoskinAgnes HovelandMargaret HoweyBeth HowsonMartha HowsonMiroslav HruskaMr. & Mrs. Emil HryciwTravis HuckellSheila L. HughesMartin & Sheila HuntDoug HunterDoreen HuntingtonBryan HusbandDonald HusseyLawrence & Elaine HustonChris & Gail IdenouyeRichard & Laurel InnesJosie IrlbacherGeorge & Barbara IwaniukErik & Franziska JacobsenMs. Jan Jackson Colleen & Douglas JahnsHarlan JamesJohn & Linda JamiesonFred & Catherine JankeAnne JarmanMike JaskiwSusan & Chris JensenMyrddin JespersenLis JohansenElizabeth JohnsonErnest & Larene JohnsonJeannette JohnsonJudith JohnsonMary Johnston

Donald & Christina JollyElizabeth JollyE. Theresa JonesPatricia JonesShirley JunkKaori Kabata &

Henry van RoesselBeverly KadatzDale & Helene Kalbfl eischDonna KanewischerMichael KardashBernard & Dorothy KeelerDon KeenanBrian KelleyMike & Sheilagh KellyJoyce KembryA. & E. KempRoberta KennedyJoanne KennyJanet KerrNancy KerrH. Allan & Sharon KerrClaire KibblerVera KichtonClaire KirklandHarry KirklandMike & Adrienne KischukBorden & Vivien KisilevichMaxine KlakMr. & Mrs. Broni KnapskiDale & Ilana KniselyJerry & Olga KolarDr. L. KollerStan & Olga KolomyjecJoe KoopmansBohdan KorbutiakPeter KossowanJoe Kostler & Leola HildebrantPhil KovlerElizabeth KowalIrvin & Elizabeth KrezanoskiMickey & Sylvia KrikunBrian & Seaneen KropfDonna KrucikMrs. J. KryzanowskiJerome Kuefl erRenee KuipWilliam KuncioHorst & Wendy KunowRichard LaconJames & Maggie LaingMadelyn LaliberteWendy LamMarcel & Jane LandryDennis & Roberta LaneBertha LangeRoger & Catherine LangevinGordon & Urania LangfordPeter & Jean Langford-JonesJoan LangmanHarry & Judy LangnerLionel & Shannon LarcombeMike LauBrunhilde LaufDavid Laughton & Debra AndrewsDavid & Joan LaurieGil & Anita Lavallee Marcel & Louise LavalléeSteven & Kathy LaveryRobert Le QuelenecAlexandra LealiLeather EliteAllan H. LeeIvy & Thomas LeeJaye LeeMaurice & Mary Ann LegrisHugo & Lucie LehmannElvira LeibovitzRick LeichtBill & Marnie LeisenMr. & Mrs. R. LeitchDianne LeonardMichael Leonard SemelukSteven & Day LePooleDr. & Mrs. Ray E. LeppardSidney Simpson &

Lou LesperanceRon & Coral LevangKevin LewisLil LimbergerElizabeth LintVictor LiversidgeMrs. M.C. Lock

Janet LockauFlorence & Ralph LockeBarbara LockertMr. & Mrs. J. LoepelmannAmy LoewanJane LoganMargaret LomheimC.B. LomowPatricia LongDoug & Joan LongleyChris LordJohn & Muriel LoveJean & Neil LundIngrid LundellMervyn & Teresita LynchJanet & William Lywood Raymond MaWard MabbuttShirley MacArthurHilliard & Nancy MacbethGeorgina MacDonaldSandra MacDonaldSusan & Ian MacDonaldLouise MacGregorJoan MacKenzieEva M. MacklamIan & Margaret MacLarenHeather MacLeanLois MacLeanJack & Cora MacMillanKatherine MacMillanAgnes MacRaeSandy & Cecile MactaggartChristina MacykH.M. MadillBrenda MadsenLewis & Mae ReynoldsRaymond Chan & Marian MahPaul MajorLynn & Arnold MakiElizabeth & Don MaksimStephen & Lynn MandelJames & Janet MannAnn MansonMr. & Mrs. Nick MarchakMerle MarplesEstelle I. MarshallJoan H. MarshallDoreen MasonDon & Barb MasseyJames MatasSharon MatthiasUrsula MaydellPhyllis McAnallyCarol & Mike McArthurNorm & Kathy McClellanMr. & Mrs. R. McClellandDoug McConnell &

Claire DesrochersDennis & Dianne McCoyJoyce McCoyIan & Janice McCrumMaureen McCubbin &

Lynn HolroydJeanne McCuskerJohn R. & Irene McDougallBenjamin McEwanMargaret McFarlaneAlberta McIntoshJohn McIvor & Doris KentMichelle McKayMargaret McKenzieMarge McLennanDavid & Ann McLeodGordon & Kathleen McLeodJack & Eleanor McMahonJan & Jim McMillanBob McMullenMargaret McMullenBob & Bev McNallyKeith & Susan McNaughtonDavid McNeilMr. & Mrs. A. McNeilBev McNeillHugh McPhail &

Yolanda van WachemElaine McPheeBruce & Cindy McPhersonRobert McRoryJudy McTavishMr. & Mrs. Bert MeekerMs. Elaine MekechukPaul Melancon

Kathryn & Robert MerrettPeter & Carole MichalyshynSandra A. MikalonisReny MiklosJames & Elizabeth MillerKen & Gerda MillerMarla MillerChristine MilliganElizabeth MillsHeather MillsDon MilneEarl MinogueBruce & Sandy MoffattTina Monaco-PiekemaGordon & Helen MongrawHugh & Eleanor MontgomeryJoAnn Montgomery-BergerDoris MoonieMichael & Sandra MooreJim & Maureen MoranRick & Sharon MorgenrothShirley MorieC. & Sharon MoroschanLoretta MorrisonGerald MorseMichael MoserElisabeth & Reinhard MuhlenfeldGwen MuldrewStephen & Lynne MurgatroydLouis MussbacherWilliam MustardEd & Cherryle MustecaLorraine MykitiukElizabeth MylesSonja & Orest Myroon Dale & Laurie NagelRebecca Nagel &

Andrew MacMillanLewis & Lindsay NakatsuiKaye & Dennis NashHeather & Grant NaylorBunny & Linda NedohinMarguerite & James NeilsonMarilou NeufeldVirginia NewellJanice NeyrinckNelson & Anne NickleCatherine NicolRobin & Melonia NicolDavid OberholtzerNorma O’ConnorRobert & Jean O’HaraMark & Dawn OifferLouise OlshewskiAl & Fran OlsonFrances T. OlsonEsther S. OndrackTeresa O’Riordan & Ruth LaseurDonna & Daniel OrobkoJenny OsbornMarlaine OsgoodJoan O’SheaAaron & Jean OshryLiz OstoloskyA. OstryFred & Helen OttoVital & Colleen OuelletteEllen OuldArthur & Mary PackerBill & Linda PaddonTim PaetkauMaria Pagnotta &

Meluccia DiMarcoElaine ParasPark Memorial Ltd.Edward & Anne ParkinsonS.G. & June PatemanKrista PatriquinBernice PattersonKathy & Tom PearsonLouise PearsonJohn E. PedersenF.L. PedrickMarlene & Ray PeetsGene PenmanDennis PersonWayne & Cynthia PertmanK. Peter & Erika HuellstrungArthur PetersonDon & Margaret PetersonDavid & Anne PhillipsRegan PinkoskiSharon R Pisesky



Sister Constance PiskaDonald & Judith PlumbDonna PoburanSheila PollockJudy PoolTerry PoonMuriel PossKen & Karen PowellThomas & Emily PowersWilliam PrattGerritdina PrinsK. & Ruth ProchnauRay & Doris ProchnauMarlene & Robert PrussLawrence & Mary Anne PshykIvan & Mary RadostitsRaeco Ltd.Gil & Ruth RamsayR.K. RamseyJeanne & Eugene RatsoyDorian RauschningSandra RayLorraine ReaJim & Vivian RedmondShirley RedmondMr. & Mrs. James D. ReebDavid ReidMarilyn ReidMargaret & Hil ReineDiana RemmerJim & Yvonne RetallackDorothy ReynoldsRobert & Nancy ReynoldsAugusto RibieroLinda RichardsMrs. Natalie RickenbergIrene RidgeKaren RidgelyJoyce RitterErhard & Elfrieda RitzA.P. RobertsonAllan & Karen RobertsonLynn RobertsonSusan Robertson

Debra & Don RobichaudDavid & Marita RobinsonDavid RochefortMrs. Pat RoddickPaul RoffelBarbara RomanowskiRobert RosenShauna RosiechukLynn RothRenate RothDavid & Carin RoutledgeJames RowlettMartine RoyEbba RozyckiGus RozyckiAlan RuslerRoger & Janet RussellColin RyanEdmond & Orla RyanH.G. & Lorraine SabourinWilliam & Susan SadlerMs. G. SalvalaggioJudith L. SangsterCarolina SantosJudy SaramagaPeter & Olga SavarynRoberta ScalesJoanne Schiweck-DohertyJoy SchlautMr. & Mrs. Gerhard SchleseBrenda SchmidtDenise & Walter SchmidtMarion SchmitkeO.K. SchneiderFrank & Gertrude SchoblocherAnton & Marianne

SchwabenbauerCharles SchwegerClare ScottDavid & Ingrid ScottG.W. ScottMarianne & Allan ScottPat SealeDavid C. Secord

Perry & Sandra SegalJoseph & Denise SelannMichael SeniukRita SequieraBrad & Patricia ShapkaAlan SharpeWilliam ShawSylvia ShearerMiriam SheckterRoberta ShellR.W. SherbaniukHarvey SheydwasserJoyce C. SikoraJudy SillsSidney & Betty SimmondsGeorge & Ruth SimmtAndrew Sims &

Simone ChartersGerry & Barbara SinnSandy & Ian SkogstadLloyd SleenTerry & Yvonne SlemkoWally & Kay SlemkoE.J. SloaneDoreen SmillieDavid & Lise SmithDiane L. SmithEdward & Eluned SmithMartha SmithMichael & Nance SmithWayne & Marlyn SmithAllen & Myrna SnartDianne SoarElaine SolezBrian & Jo-Anne SomervillePaul & Linda SorensonLois SorokinPhilip & Sandra SpenceA. & N. StanleyGerhilde StaudtBarbara SteevesMary StelckMr. & Mrs. Harry StelfoxLorraine Stepchuk

Grant & Debbie StephansonBill Stephens & Janice RennieHon W.M. StevensonLorna Stewart & Murray GordonShirley A. StewartChristine StobartBeverly A. StokowskiDr. & Mrs. M. StoneDianne StoreyElizabeth StorochukRobert Stoutjesdyk &

D. Scott-StoutjesdykCynthia StrachanGlennie StuartMerna SummersWilliam & Arlene SwansonDale & Judy SwareOlga Szafran K. Taft & J. BomanArlene TatarchukBarbara TaylorFrank & Marna TaylorJanette TaylorR. Marsh TemplemanR. & S. TeplyDr. & Mrs. Timothy TerryGerard & Pina TertzakianRobert TeskeyDavid ThomasJoan & Glyn ThomasCharles & Myrna ThompsonMarjorie ThomsonKathleen & Michael TomynMarlene TonhauserMary TotmanBernadette TownsendAndrew & Mary Ann

TrachimowichLarry TrekofskiElaine TrepanierN.G. TribeWilliam & Ursula TuchakAngie TurcotteAlice Turlock

James TurnbullDavid & Carol TurnerHazel TurnerLorene TurnerJoseph TwymanMrs. J.S. TylerLois UnwinHenriette van HeesH. Van ReedeBill & Doneida VandersteltC. VanderwellLloyd & Sheila VasicekJoyce & Dennis VassRobert & Annette VasseurGrant & Dianne VawterJoyce VenablesIsabelle VerdinGerald & Elaine VervilleDouglas VickJune VillettMr. & Mrs. A.C. VismanBetty VoelkerOlive WadsonPatricia Ronon WagarBruce & Lori WalkerGail WalkerJanet WalkerPhil & Eileen WalkerBarbara J. WardBeverly WarnerDoug WarrenJack & Doreen Warwick-FosterAdair & Keith WassLyn WatamaniukDoug WattJo-Anne & Jack WattRon & Sheila WeatherillPaddy WebbDr. Sam & Eva WeiszRussell E. WellsRonald H. WenselHelen WestJim & Anne WesterveltHerman Wetenkamp

Don & Judy WhiteGordon WhiteNancy & Walder WhitePatrick & Dawn WhiteSheila WhiteKim & Sharon WhiteheadRich & Grace WhitehouseJean WhitingSusan WhittingtonWilliam & Sharla WiesenerMary WilkeCarol WilliamsonMarilyn WillieDouglas & Jane Wilson Olga WilsonRon & Diane WilsonAlvin & Sue WinestockWayne & Beverly WinkelmanLarry & Marielle WittenBetty WolanskiWilliam WolodkoKam WongMarilyn WoodWendy WoodruffC.J. Woods, FCAMorley & Pat WorkunDon WrightJan WydarenyJoan WynnykAllan YeeErnest & Lily YorkBill & Betty YoungGerald & Eleanor YoungRonald & Shirley YoungWayne YoungwardRudi & Margaret ZacskoDawn ZaozirnyIris ZapachWeiping ZhangAudrey ZmurchukGeorge & Ilona ZomborVictoria ZukiwskyJohn & Mary ZupancicJohn & Elisabeth Zyp

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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

EXECUTIVEAnnemarie Petrov, Executive DirectorMaryGrace Johnstone, Executive CoordinatorMeghan Unterschultz, Executive & Government Communications

EDMONTON SYMPHONY & CONCERT HALL FOUNDATIONPhyllis Clark, ChairJohn BrennanJim CarterEd HahnBob Kamp Ron NewGary Smith

Administrative staff listing continued next page

FRANCIS WINSPEAR CENTRE FOR MUSICFRANCIS WINSPEAR CENTRE FOR MUSICFRANCIS WINSPEAR CENTRE FOR MUSICFRANCIS WINSPEAR CENTRE FOR MUSICFRANCIS WINSPEAR CENTRE FOR MUSICFRANCIS WINSPEAR CENTRE FOR MUSICFRANCIS WINSPEAR CENTRE FOR MUSICFRANCIS WINSPEAR CENTRE FOR MUSICTHE EDMONTON SYMPHONY ORCHESTRAFRANCIS WINSPEAR CENTRE FOR MUSICTHE EDMONTON SYMPHONY ORCHESTRAFRANCIS WINSPEAR CENTRE FOR MUSICTHE EDMONTON SYMPHONY ORCHESTRAFRANCIS WINSPEAR CENTRE FOR MUSICTHE EDMONTON SYMPHONY ORCHESTRAFRANCIS WINSPEAR CENTRE FOR MUSICBOARD & STAFFBOARD 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

EDMONTON SYMPHONY SOCIETY / FRANCIS WINSPEAR CENTRE FOR MUSIC

N 1952, A SMALL GROUP OF DEDICATED VISIONARIES formed the Edmonton Symphony Society with the goal of creating

an ongoing, sustainable Edmonton Symphony Orchestra, and provid-ing Edmonton with the fi nest in orchestral music, enriching the lives of its audiences. Since then, the ESO has grown to a full-time core of 56 musicians. Its performance home – another goal realized by com-mitted community volunteers – is the magnifi cent Francis Winspear Centre for Music.

Transcending the original board’s vision, the ESO now has a budget of $8.5 million annually, and it performs over 85 concerts, in addition to performances with Edmonton Opera and Alberta Ballet. None of this would be possible without the tireless work of the Board of Direc-tors and the society which they voluntarily administer.

EDMONTON SYMPHONY ORCHESTRA / FRANCIS WINSPEAR CENTRE FOR MUSIC


ARTISTIC OPERATIONSRob McAlear, Artistic AdministratorJerrold Eilander, Orchestra Operations ManagerSusan Ekholm, Library AssistantChrista Eriksson, Artistic Assistant / Library ResourceEric Filpula, Orchestra Personnel ManagerSheila Jones, Orchestra Librarian

COMMUNITY RELATIONSMichael Schurek, Associate Director of Community RelationsKris Berezanski, Media & Communications CoordinatorPhilip Paschke, Communications Manager

EDUCATIONAL OUTREACHD.T. Baker, Associate Director of Educational OutreachAlyssa Paterson, Education & Community Relations Coordinator

EVENTS MANAGEMENTAlly Mandrusiak, Director of Events ManagementLeanne Persad, Associate Director of Events ManagementWarren Bertholet, Head Lighting Technician*Catherine Boissonneau, Box Offi ce SupervisorDiana de Sousa, Client Services CoordinatorRob Hadfi eld, Head Audio Technician*Alan Marks, Head of Stage Management*Stacy Parkins, Patron Services Assistant Manager

*THE ESO & WINSPEAR CENTRE WORK IN PROUD PARTNERSHIP WITH IATSE LOCAL 210

Mike Patton, Assistant Head of Stage Management*Cat Walsh, Box Offi ce Assistant Supervisor

FINANCE & OPERATIONSBarbara Foley, Director of Finance & OperationsSandy Carter, Senior AccountantShirley Chaytor, HR Payroll CoordinatorSandy Haslam, Systems AdministratorBeth Hawryluk, Tessitura Systems AnalystOlena Kotova, AccountantPat Molloy, Maintenance ManagerAline Mukabalisa, Finance AssistantErika Ratzlaff, Business Analyst

PATRON DEVELOPMENTElaine Warick, Director of Patron DevelopmentEleanor Finger, Associate Director of Patron DevelopmentJeffory Magson, Patron Relations Associate & Volunteer CoordinatorErin Mulcair, Patron Relations ManagerTeresa Ryan, Patron Events ManagerAdam Trzebski, Patron Relations Manager

TTTTTT

CityTV Capital FM Global CKUA Edmonton Journal Fresh FM Lite 95.7 FM Pattison CBC

ADMINISTRATION


Title SponsorAir Canada Presents

TTTTTTTTTTTHANK YOUCommunity 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.T Edmonton Symphony Orchestra & Winspear CentreT

Our Media Sponsors

Sponsor2 for 1 Introductory Series Offer

Title SponsorLandmark Classic Masters

SponsorK to Gr. 3 Education Program

SponsorMusicians in the Making

Title SponsorEsso Symphony for Kids

SponsorFriday Masters

Title SponsorRobbins Pops / Robbins Lighter Classics

TTTTTTOur Program and Education Sponsors

Series Sponsors

Offi cial Bike Supplier to the ESO Conducting Team

Government Agency Support:

SponsorSunday Showcase

Presenting SponsorLate Night with Bill Eddins

SponsorGr. 4 to 6 Education Program

Naming SponsorENMAX Hall

through the Edmonton Community Foundation

Our Performance Sponsors

CityTV Capital FM Global CKUA Edmonton Journal Fresh FM Lite 95.7 FM Pattison CBC

Our Exclusive Caterers

Our Suppliers

Print Sponsor Wine Supplier Craft Beer SupplierOffi cial Airline of the ESO

Presenting SponsorChristmas at the Winspear

Presenting SponsorChristmas at the Winspear

Publications Sponsor

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ESO Signature Magazine Feb/Mar 2013

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