ESO Signature Magazine Jan & Feb 2013

JAN

/FEB

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IRVING BERLINA Robbins Pops salute

TWICE AS NICETwo violins at the Masters

BLUE PLANET IN CONCERTA visual & musical spectacle

WELL EQUIPPED FROM: $47,309* Includes Freight/PDI and block heater

Edmonton’s Leading Lexus Dealershipwww.lexusofedmonton.ca Conveniently located on 170 Street 780-466-8300

A WHOLE NEW LEVEL OF OUTSTANDING.

LEXUS OF EDMONTON IS PROUD TO SPONSOR THE EDMONTON SYMPHONY ORCHESTRA

THE NEW RX SERIES - WELL EQUIPPED FROM $47, 325*INCLUDES FREIGHT, PDI AND BLOCK HEATER

SECURITY DEPOSIT WAIVED

Down Payment Monthly Lease Payment

$5,000*

$2,500*

$0*

$516*

$571*

$626*

LEASE ORFINANCE FORUP TO 48 MO.

2.5%*

* Prices and payments are subject to change without notice.

Contact the Lexus of Edmonton dealership for complete details.

RX2013 RX 350

000Sig-Lexus-FP.indd 1 1/2/13 2:20:23 PM Signature5_p32-01.indd 1 1/11/13 11:19:14 AM

Signature5_p02-03.indd 2 1/11/13 10:00:30 AM

The Edmonton Symphony Orchestra once again celebrates the Family Day long weekend with a visual and musical spectacular for the whole family. See the stunning BBC fi lm The Blue Planet as the ESO performs the lush, vibrant score live February 16 & 17. See page 20 for more.

9

WELCOME

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

EDMONTON SYMPHONY ORCHESTRA 2012/2013

LANDMARK GROUP OF BUILDERS PROFILEA homebuilder’s CEO has his reasons to be an ESO title sponsor

AIR CANADA PRESENTSKAREN GOMYO (JANUARY 22)

William Eddins, conductorKaren Gomyo, violin

LANDMARK CLASSIC MASTERSARIAS OF THE MASTERS (JANUARY 26)

William Eddins, conductorYannick-Muriel Noah, soprano

ROBBINS POPS – IRVING BERLIN: FROM RAGTIME TO RITZES (FEBRUARY 8 & 9)

Jack Everly, conductorTony DeSare, vocalist & pianoJarrett Johnson, Ted Keegan, Judy McLane, NaTasha Yvette Williams, vocalists

AIR CANADA PRESENTSBLUE PLANET IN CONCERT (FEBRUARY 16 & 17)

Lucas Waldin, conductor

FRIDAY MASTERS & LANDMARK CLASSIC MASTERSTWO VIOLINS (FEBRUARY 22 & 23)

William Eddins, conductorNikki & Timothy Chooi, violins

STORIES FROM THE AUDIENCE

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

pg. 5

pg. 6

pg. 7

pg. 9

pg. 23

pg. 26

pg. 29

SIGNATURE Contents

Volume 28, Number 5 | JANUARY/FEBRUARY 2 0 1 3

pg. 12

pg. 15

pg. 18

pg. 20

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 John Estacio, Robert Rival & 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 Dennis Clark 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

12

23

SIGNATURE 3JANUARY/FEBRUARY 2013

THE EDMONTON SYMPHONY ORCHESTRA2012/2013 SEASON


WSimply Amish of Edmonton

Many Styles.One Standard.

Bachelor of Music in Jazz and Contemporary Popular MusicA new four-year academic degree. Launched in September 2011, Edmonton, AB.www.MacEwan.ca/MusicDegree

Music Diploma ProgramMacEwan’s acclaimed two-year program. Developing musical talent for over 30 years.www.MacEwan.ca/MusicDiploma

Creative. Community. You’ll fit right in.

Thank you for the generous contribution made by the Robbins Foundation who made this advertisement possible.

000Sig1.MacEwan_1-2H.indd 1 8/24/11 9:16:34 AM

Sales, Services, Rentals and Lessons10624 - 170 Street, Edmonton, AB • Ph: 780-484-3170

Visit our New Website • www.pianocentre.ca

E D M O N T O N


WWNE OF THE WAYS MANY CORPORATIONS ATTRACT HIGH-CALIBRE EMPLOYEES TO a community is to highlight the rich cultural scene in that particular community. It means

something to prospective workers to know that the arts are valued and supported. But it works the other way, too. It means the world to the cultural community to know that corporations do more than talk up the arts – that they actively support them, and encourage them.

Landmark Group of Builders has had their name on our fl agship Masters series since 2006. But they also support the Citadel � eatre and the Edmonton Food Bank. Get to know the thinking behind why they do what they do, and why they feel the arts matter on pages 9 and 10. And, of course, check out the series they support on pages 15 & 23! Both the ESO and the Francis Winspear Centre for Music are not-for-profi t organizations, and every donor, whether they have a logo in Signature or not, plays a vital role.

O

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.

WWWWWWWELCOMEWWWELCOMEWW!WW!WW!WWELCOME!W !W !W !WSimply Amish of Edmonton

Many Styles.One Standard.

Bachelor of Music in Jazz and Contemporary Popular MusicA new four-year academic degree. Launched in September 2011, Edmonton, AB.www.MacEwan.ca/MusicDegree

Music Diploma ProgramMacEwan’s acclaimed two-year program. Developing musical talent for over 30 years.www.MacEwan.ca/MusicDiploma

Creative. Community. You’ll fit right in.

Thank you for the generous contribution made by the Robbins Foundation who made this advertisement possible.

000Sig1.MacEwan_1-2H.indd 1 8/24/11 9:16:34 AM


AAAAAAAAAow 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 ViolinRaymond Baril SaxophoneEddy Bayens BassoonSylvain Beyries TrumpetJeanette Comeau ViolaSusan Ekholm ViolaElizabeth Faulkner FluteMary Fearon HornMatthew Howatt BassoonMarie Krejcar ViolinAlex Lozowski ViolinRegine Maier ViolinMichael Massy KeyboardsJohn McCormick PercussionJosh McHan BassPJ Perry SaxophoneDiane Persson BassoonBrian Sand TrumpetDiana Sapozhnikov ViolinYukari Sasada BassMartina Smazal ViolaJeremy Spurgeon KeyboardsAlison Stewart ViolinDan Sutherland ClarinetKate Svrcek ViolinRobin Taylor SaxophoneBrian Thurgood PercussionDan Waldron OboeDoug 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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FCanadians spend a staggering

$280 billion per year on life insurance, but less than 3% of that on preventive health services to improve their chances of living longer. More and more people are now realizing that they really don’t have life insurance at all—just “death” insurance. And so a whole new industry is being born.

Think about it. You spend a lot of money and effort making sure your family is taken care of when you die. Have you thought about how much you invest in your health to make sure you live the longest, healthiest life possible? Isn’t that what your family really wants?

“More and more people are seeing the light on this every day”, says Don Copeman, founder of the Copeman Healthcare Centres. “It has resulted in a rapidly growing market for premium health services that begins with prevention and gold standard family medicine.” The result is a new style of medical clinic that is focused on preventive health services, but also offers day-to-day doctor care with a long-overdue focus on quality of service, including unhurried and on time appointments.

The Copeman Healthcare organization, with facilities in Edmonton, Calgary, Vancouver and West Vancouver, is fast becoming Canada’s recognized leader in this area. It was a pioneer in expert, team-based primary healthcare and the use of advanced technologies to tackle the troubling issue of undiagnosed illness and disease for middle-aged Canadians.

“Every 7 minutes, someone in Canada dies of heart disease or stroke and 32% of all deaths in Canada are the result of cardiovascular disease,” says Copeman. “We can do a lot to reduce these numbers, but it requires new ways of thinking, both for the patient and the provider. That’s because 50% of people with heart problems do not show symptoms visible to their family doctor.”

Copeman goes on to say that great results can be achieved with cancer, which is actually the leading cause of premature death in Canada. “People need more personalized attention to help them understand their risk factors for cancer, and to help them make the changes that will reduce overall risk.”

Preventing disease altogether is the ultimate goal of this new style of clinic, but many of their patients arrive with disease already taking hold, so

screening and early detection is the next area of focus. “Whether it’s cancer, cardiovascular disease, or any other condition, we need to detect disease at the stage where treatment is most successful”, says Copeman.

Early results are already in. Copeman says that over 30% of people who come into their clinics have an undiagnosed condition. Of those patients, 70%

immediate medical attention.An interesting challenge for these clinics is that people are often afraid to

come in and have something discovered, even though they understand that it could very well save their life if something is diagnosed early.

According to Copeman, “Even though we do discover a great deal of undiagnosed disease in people, each of those people is now on a path to optimal health. This is what these reluctant people need to understand. You can’t just close your eyes and hope nothing is wrong with you. It could end up being the biggest risk you’ve ever taken.”

The approach being used at the Copeman clinics, like other such “medical boutiques,” is to combine the preventive healthcare expertise of doctors with other professionals such as registered dietitians, exercise medicine specialists and nurses. Patients are seen leaving the doors clutching their “health plans”

charts, laboratory results, health goals and personalized education. Some of these centres, like Copeman, have on-site psychologists and psychiatrists to make sure the brain is as healthy as the body.

The price tag? At a full service clinic like the Copeman Healthcare Centre, a comprehensive program including all medical services is $3,200 per year per

budgets. For more information on Edmonton’s most advanced multidisciplinary private health centre, including an on-line tour, visit us at

ADVERTORIAL

000Sig-Copeman-FP.indd 1 1/10/13 2:14:16 PMSignature5_p08-11.indd 8 1/11/13 10:36:29 AM

FL ANDMARK GROUP OF BUILDERS’ FOUNDER AND CEO, REZA NASSERI,

believes a well-rounded and supported community thrives and is one in which he wants to live. As a top executive with his award-winning homebuild-ing company, he just happens to help hundreds of other Edmontonians, Cal-garians and Red Deer residents to live in thriving communities, too.

Homes are not the only contributions Nasseri and his company off er neigh-bourhoods. Landmark developed its own Community Care program in 1997 and expanded its helpful reach to more than 45 programs, supporting local organizations in health care, education, amateur sports, the arts and more. “It’s important to support all aspects of the community,” say Tanya Rumak, Landmark Sustainability and Public Relations Manager. She says Nasseri has a phrase he uses frequently around the offi ce: “It’s just as important to feed the arts community as it is to feed hungry stomachs or hungry people.”

� e Community Care program was put in place to help charities fi nancially as much as it was meant to create mentoring and team-building opportunities within Landmark. Last September, the second annual event in partnership with the City of Edmonton‘s Tree Canopy program had Landmark employees volunteering time to plant 2,000 trees that Landmark bought for the event. Aspen, spruce and Saskatoons, ranging from two to four feet in height, were planted at a site near the Solicitor General Staff College. “It was a whole day that our employees were basically out there to help restore the green in our city,” Dagmar Reichel, Landmark Marketing Co-ordinator says. “I’m proud to work for a company that has this feel.”

When it comes down to specifi cally supporting a not-for-profi t arts orga-nization like the Edmonton Symphony Orchestra, Rumak says, “Our CEO believes the arts should be supported because a city without art is a city »

A WORLD WITHOUT THE ARTS? GOODNESS NO!

FFFEATUREFFFEATUREFFFEATUREFFFEATUREF BY MICHELLE LINDSTROM

SYMPHONY SUPPORT

LE ADING THE WAY: Landmark’s CEO, Reza Nasseri, encourages employees to support the arts.


Canadians spend a staggering $280 billion per year on life insurance, but less than 3% of that on preventive

health services to improve their chances of living longer. More and more people are now realizing that they really don’t have life insurance at all—just “death” insurance. And so a whole new industry is being born.

Think about it. You spend a lot of money and effort making sure your family is taken care of when you die. Have you thought about how much you invest in your health to make sure you live the longest, healthiest life possible? Isn’t that what your family really wants?

“More and more people are seeing the light on this every day”, says Don Copeman, founder of the Copeman Healthcare Centres. “It has resulted in a rapidly growing market for premium health services that begins with prevention and gold standard family medicine.” The result is a new style of medical clinic that is focused on preventive health services, but also offers day-to-day doctor care with a long-overdue focus on quality of service, including unhurried and on time appointments.

The Copeman Healthcare organization, with facilities in Edmonton, Calgary, Vancouver and West Vancouver, is fast becoming Canada’s recognized leader in this area. It was a pioneer in expert, team-based primary healthcare and the use of advanced technologies to tackle the troubling issue of undiagnosed illness and disease for middle-aged Canadians.

“Every 7 minutes, someone in Canada dies of heart disease or stroke and 32% of all deaths in Canada are the result of cardiovascular disease,” says Copeman. “We can do a lot to reduce these numbers, but it requires new ways of thinking, both for the patient and the provider. That’s because 50% of people with heart problems do not show symptoms visible to their family doctor.”

Copeman goes on to say that great results can be achieved with cancer, which is actually the leading cause of premature death in Canada. “People need more personalized attention to help them understand their risk factors for cancer, and to help them make the changes that will reduce overall risk.”

Preventing disease altogether is the ultimate goal of this new style of clinic, but many of their patients arrive with disease already taking hold, so

screening and early detection is the next area of focus. “Whether it’s cancer, cardiovascular disease, or any other condition, we need to detect disease at the stage where treatment is most successful”, says Copeman.

Early results are already in. Copeman says that over 30% of people who come into their clinics have an undiagnosed condition. Of those patients, 70%

immediate medical attention.An interesting challenge for these clinics is that people are often afraid to

come in and have something discovered, even though they understand that it could very well save their life if something is diagnosed early.

According to Copeman, “Even though we do discover a great deal of undiagnosed disease in people, each of those people is now on a path to optimal health. This is what these reluctant people need to understand. You can’t just close your eyes and hope nothing is wrong with you. It could end up being the biggest risk you’ve ever taken.”

The approach being used at the Copeman clinics, like other such “medical boutiques,” is to combine the preventive healthcare expertise of doctors with other professionals such as registered dietitians, exercise medicine specialists and nurses. Patients are seen leaving the doors clutching their “health plans”

charts, laboratory results, health goals and personalized education. Some of these centres, like Copeman, have on-site psychologists and psychiatrists to make sure the brain is as healthy as the body.

The price tag? At a full service clinic like the Copeman Healthcare Centre, a comprehensive program including all medical services is $3,200 per year per

budgets. For more information on Edmonton’s most advanced multidisciplinary private health centre, including an on-line tour, visit us at

ADVERTORIAL

000Sig-Copeman-FP.indd 1 1/10/13 2:14:16 PM Signature5_p08-11.indd 9 1/11/13 11:25:11 AM

HOME COMPOSIT ION : Landmark’s Brahms 36 interior and exterior design pays homage to one of the greats.

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without its soul.” Landmark made its offi cial move in 2006 to become the title sponsor of the ESO’s Masters series of concerts and has continued that support ever since.

“� e ESO – it’s a tool to bring people together,” Rumak says, adding that the symphony provides the type of creative engagement for people that builds a sense of community, which is important to Landmark and the city in general.

Aligning forces with a homebuilder and a symphony was not that far of a stretch when the partnership began seven years ago, says Reichel. Landmark used to function as a few separate companies and when the ESO sponsor-ship began for the 2006/07 season, one of the builder companies was called Classic Landmarks. At a Classic series estate homes grand opening, Reichel explains, ESO musicians were invited to play right in the new home for at-tendees to enjoy the music and ambiance. Having an opportunity to see a live performance, while wandering the rooms of Landmark’s showhome was a great experience to share with customers.

Tying into the classical theme even further, Landmark brings names of fl oorplans into the equation and has models entitled after well-known composers and musicians, such as Mendelssohn, Bach and Mozart. “It adds interest to the homebuyer to have a home that has a nice name and matches the support that Landmark is giving to the community,” Reichel says. Since

FAST FACTS

BUILDER VS. COMPOSER• Landmark has six different homes styles that it builds: condos,

side-by-side, laned, move-up, estate and net zero.• Johann Sebastian Bach has over 1,100 known compositions. • Landmark’s dedication to sustainability and nature has it striving

for NetZero homes at market price by 2015.• Ludwig van Beethoven’s love of nature and the countryside inspired

his composition Symphony No. 6, the “Pastoral” symphony. • Landmark dedicates money and volunteer efforts to local

charities – currently supporting 45 organizations in Calgary, Red Deer and Edmonton.

• Songwriter Irving Berlin was not only one of the most successful composers in history, but one of the most generous. He assigned all royalties for “God Bless America” to the Boy Scouts and Girl Scouts of America. During World War Two, he created stage works which not only entertained troops in theatres of war, but also raised millions in relief money for American soldiers.

the homebuilder’s 2010 rebranding, all its smaller companies were put under the Landmark Group of Builders umbrella, and those estate home designs with the nifty musical names are now fall within the series of Landmark Classic Homes.

For Landmark employees, their symphony enjoyment doesn’t just stop at showhome grand openings or picking a favourite composer to name a new design after. “� ere’s a draw [for tickets] every time there’s a performance we sponsor,” Rumak says. “Staff are encouraged to put their names into the draw to go to some of the performances.” But are any staff members actually symphony fans? “YES!” Reichel and Rumak blurt out simultaneously. Both attend shows as often as they can, even if the tickets aren’t from the company draw.

� e MS Society, NorQuest College and Tuscany Soccer Association are just some of the other organizations to receive Landmark’s support. “It was just about looking at some of the diff erent organizations within the community and seeing how we could support them in general,” Rumak says. “It’s not about how we’re selective with a particular genre of music or style of art, it’s just that we’re trying to be able to give equal applause to all of the diff erent organizations that are in the community.”

It’s a win-win situation for Landmark and the ESO and Winspear Centre, as the sponsorship enables fantastic music to be played by world-renowned artists, but it also brings the community together to experience the arts just as Nasseri wanted and for which he continues to advocate.




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ESTACIOBootlegger’s Tarantella (7’)*

SHOSTAKOVICHViolin Concerto No. 1 in A minor, Op.77/99 (36’)* Nocturne: Adagio Scherzo: Allegro ma non troppo Passacaglia: Andante Burlesca: Allegro con brio

INTERMISSION (20 minutes)

BRAHMSSonata for Piano and Violin No. 1 in G Major, Op.78 (25’)* Vivace ma non troppo Adagio Allegro molto moderato

PIAZZOLLALe grand tango (arr. Gubaidulina) (10’)*

Program subject to change*indicates approximate performance duration

William Eddins, conductor & pianoKaren Gomyo, violin

Karen GomyoTuesday, January 22 | 7 : 3 0 P M

AIR CANADA PRESENTS

A R T I S T B I O SARTIST BIOS

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

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

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2012/2013 highlights include concerts with the Minnesota Orchestra, the Hong Kong Philharmonic, and with the symphony orchestras of San Francisco, Montréal, Phoenix, Atlanta, Colorado, San Diego, Toronto, Detroit, Vancouver, Milan, Sao Paulo, and Sydney. Karen Gomyo is deeply interested in the Nuevo Tango music of Astor Piazzolla, and in 2012, along with several other Piazzolla specialists, she toured a unique program featuring the music of Piazzolla and the classical composers who infl uenced him. She participates with these artists again at a weeklong festival in Laguna Beach, California in early 2013. In 2008, Gomyo performed at the First Symposium for the Victims of Terrorism held at the United Nations in New York, and in 2009 was the guest soloist for the New York Philharmonic’s Memorial Day concert at the Cathedral of St. John the Divine. Ms. Gomyo plays on a Stradivarius violin that was bought for her exclusive use by a private sponsor. She lives in New York City.

Ms. Gomyo last appeared with the ESO in October 2011.

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orn in Tokyo, violinist KAREN GOMYO grew up in Montréal and New York. Recipient of the prestigious Avery Fisher Career Grant in

2008, she has been hailed by the Chicago Tribune as “A fi rst-rate artist of real musical command, vitality, brilliance and intensity”. Her engagements as soloist have included performances with the orchestras Cleveland, New York, Los Angeles, Philadelphia, San Francisco, Sydney, Saint Louis, Cincinnati, Dallas, Houston, Montreal, Toronto, Vancouver, Tokyo and Hong Kong, and the National Symphony of Washington D.C. In Europe, she has performed with City of Birmingham Symphony, Royal Scottish National Symphony, Orchestre national de Lille, Scottish Chamber, Royal Liverpool Philharmonic, Bergen Philharmonic, Norwegian Opera, Salzburg Camerata, Vienna Chamber, and Den Haag Residentie Orkest, amongst others.

For a program note on Estacio’s Bootlegger’s Tarantella, please see page 17.

Violin Concerto No. 1 in A minor, Op.77/99 DMITRI SHOSTAKOVICH (b. St. Petersburg, 1905 / d. Moscow, 1975)

HE STORY IS WELL KNOWN OF HOW SHOSTAKOVICH’S modernist opera Lady Macbeth of Mtensk District was initially well

received, but how a short time later it incurred the wrath of Stalin and the Soviet regime. Along with several other composers including Prokofi ev, Shostakovich was publicly shamed in 1948 about the composition of “for-malist” music, necessitating a letter of apology, among other humiliations.

� e problem was that Shostakovich had written a number of works since



tragedy is not one of mourning, but rather, as musicologist Karl Geiringer was to phrase it, one of “smiling through the tears.” � ere are elements which unify all three of the sonata’s movements. An important dotted-rhythm idea is heard at the outset of the fi rst and third movements, the same rhythm given diff erent melodic clothes. Likewise, each of these movements contain brief quotes from two Brahms lieder (neither are from Felix Schumann’s songs), Regenlied, Op.59 No. 3 and Nachklang, Op.59 No. 4. Both use rain as a metaphor; the latter tells of rain concealing and washing away tears.

For much of the opening movement, which the violin dominates the-matically, the rhythms of the two instruments do not seem to “line up,” making the moment when they fi nally do impactful and dramatic. � is is a particularly Brahmsian way of creating tension within a work in which the passion is held in check. � e second movement is in ternary form, the outer sections having a songlike nature to them while the middle recalls the dotted-rhythm idea from the previous movement in what sounds rather like a funeral march. � e fi nale has, aside from its relationship to the opening movement, a sense of both lyrical and rhythmic fl ow, an apt canvas on which to revisit the “rain” allusion once again.

Le grand tango (arr. Gubaidulina) ASTOR PIAZZOLLA (b. Mar del Plata, 1921 / d. Buenos Aires, 1992)

STOR PIAZZOLLA BROUGHT THE GREAT DANCE FROM the slums of his native country – the tango – to a worldwide audi-

ence by adapting it to European idioms – what became known as tango nuevo. After years as a composer and bandoneón player, Piazzolla took formal composition lessons from the famous Nadia Boulanger in Paris. She directed him to stay with the form he knew so well, and he eventu-ally found a compromise, helping to bring the tango to concert stages the world over. Inspired by the cello playing of Mstislav Rostropovich, Piaz-zolla composed Le grand tango in 1982, dedicated it to Rostropovich and mailed the score to him. � e story goes that Rostropovich had never heard of Piazzolla, and so left the score in a drawer for years. It was fi rst heard, at least in North America, when Piazzolla encountered cellist Carter Brey in 1987 and, impressed with Brey’s playing, sent him a copy of Le grand tan-go. Brey recognized the importance of the work and performed it shortly after. Rostropovich did eventually discover the piece and in 1990 travelled to Buenos Aires to be coached by Piazzolla on its playing. Rostropovich’s fi rst performance of the piece was in New Orleans that same year.

Russian composer Sofi a Gubaidulina arranged Le grand tango for violin and piano, originally for a 1996 recording by Gidon Kremer. � e dance be-gins passionately in both instruments, with decisive statements of the main melody alternating with more introspective ones. Some dissonant double stops in the violin herald a slower middle section, though the dramatic quo-tient remains high. � e piano has some cross rhythms against the violin’s song, which soars to the instrument’s upper reaches at times. � e conclud-ing section is again up-tempo, but now with a bit of a cosmopolitan swagger to it – tango is no longer limited to the backstreets of Buenos Aires – now it lights up hot dance clubs and even glitzy ballrooms around the world.

Program notes © 2012 by D.T. Baker, except as noted.

Lady Macbeth, and he didn’t dare present them publicly now. Such was the case with his Violin Concerto, Op.77, written for the great Russian virtuoso David Oistrakh, but now withdrawn by its composer until the political climate might prove more favourable. Stalin died fi ve years later and by 1955, Shostakovich was ready to bring his concerto, slightly modifi ed and re-published as Op.99, before the public. It premiered on October 29, 1955, with Oistrakh as soloist.

A constantly unfolding song of mourning pervades the fi rst movement from the violin’s fi rst notes. Twice, the music builds to what seems like a passionate climax, only to ebb away again, leaving the violin to continue its unbroken melody. Only for a brief passage in the woodwinds does the violin cease, and when it resumes, double stops and dramatic orchestra underneath again rouse the movement from a quiet cry to a heightened, tense outburst – but it, too, cannot sustain, and with an emphasis on the violin’s upper register, the music dies away as quietly as it began. � at mood is immediately eradicated with the mischievous syncopation of the second movement. � e violin engages in scurrying horseplay with instru-ments of the orchestra as a perpetuum mobile feel dominates this Scherzo. � e violin buzzes around the orchestra ceaselessly until the ensemble rises up, trying to shout it down with a quick dance of its own – to no avail. � e violin is at it again, and it is only in the movement’s last moments that the violin dances with, not around, the orchestra.

� e vast third movement is a Passacaglia, the ground bass of which is stated defi nitively, with brass and timpani punctuations. � e violin, when it fi nally enters, does so with a soaring, beautifully sad song in the instrument’s upper register. � e tender accompaniment builds, as does the violin’s emotional content, until about halfway through the movement. � en, it ebbs away, the violin now almost a whisper as the orchestra underneath is reduced to the lone beats on the timpani. � is, too, stops, and the violin commences a long, vast cadenza which increases in both passion and energy, linked without a pause to the fi nal movement – a Burlesca which leaps out of the orchestra as if released from its cage the moment before. � is is a frantic, almost breathless dance with the feel of Jewish folk music to it (Shostakovich was also writing his song cycle From Jewish Folk Poetry at the time). Near the end, references to music from the previous movements are heard, while the fi nal measures are a whirlwind tour de force for orchestra and soloist.

Sonata for Piano and Violin No. 1 in G Major, Op.78 JOHANNES BRAHMS (b. Hamburg, 1833 / d. Vienna, 1897)

HE IDEA OF COMPOSING CHAMBER WORKS FEATURING the violin was one held by Johannes Brahms even as a youth. Yet his

fi rst attempts came to nothing; dissatisfi ed with them all, he destroyed them, leaving his G Major Sonata of 1879 (the same year as his Violin Con-certo) as his offi cial “fi rst.” Like the concerto, it was written for his friend Joseph Joachim, though another violinist fi gures into its origins as well.

� e sonata was written in the months following the death of Felix Schumann, Brahms’ godson and the youngest of the seven children of Robert and Clara. Felix had hopes of becoming a violinist, but was discouraged in this pursuit by Clara and by Joachim. Brahms eventually set three of Felix’s texts as lieder. Felix died of tuberculosis in 1878 at 24 years old. Yet the work that resulted from this

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To say we’re fans might be an understatement.

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WAGNERLohengrin: Prelude to Act III (3’)*

LEONCAVALLOI Pagliacci: “Stridono lassù” (5’)*

BELLININorma: “Casta diva” (7’)*

BEETHOVENSymphony No. 1 in C Major, Op.21 (25’)* Adagio molto – Allegro con brio Andante cantabile con moto Menuetto: Allegro molto e vivace Finale: Adagio – Allegro molto e vivace


VERDIAïda: “O patria mia” (5’)*

ESTACIOBootlegger’s Tarantella (7’)*

CATALANILa Wally: “Ebben?... Ne andrò lontana” (4’)*

PUCCINIManon Lescaut: Intermezzo (5’)*

PUCCINIMadama Butterfl y: “Un bel dì” (4’)*

LEHÁRGiuditta: “Meine Lippen sie küssen so heiß” (6’)*


Arias of the MastersSaturday, January 26 | 8 P M

anadian soprano YANNICK-MURIEL

NOAH is recognized in Europe and North America for her sump-tuous lyricism and the dramatic intensity of her portrayals. She enjoyed a personal triumph as Cio-Cio San (Madama But-terfl y) with the Canadian Opera Company (COC), a role she later repeated for Staatsoper Hannover, and covered for San Francisco Opera. Further European engagements include Aïda and La Wally for Stadttheater Klagenfurt, Ariadne auf Naxos and Aïda in Heidelberg, Margherita in Mefi stofele in Valencia, and she toured Spain as Verdi’s doomed Ethio-pian princess. A former member of the Canadian Opera Company Ensemble Studio, other COC credits include Tosca, and Mona in Rolfe’s Swoon. In the U.K., she premiered Sante at the Aldeburgh Summer Music Festival. In Canada, she has been heard as Nedda in I Pagliacci with Opera Lyra Ottawa, in Verdi’s Requiem with the Victoria Symphony, in Beethoven’s Ninth Symphony with l’Orchestre symphonique de Québec, and in Messiah at the National Arts Centre.

Ms. Noah’s numerous awards include several top prizes at the following international competitions: Jaume Aragall, Concours Musical International de Montréal (2nd prize, COVC Jean A. Chalmers Award for Best Canadian Artist), Palm Beach (1st prize and Audience Favourite Award), Lotte Lenya, George London Foundation, Brian Law, William Matheus Sullivan Founda-tion, Marmande, and the prestigious Hans Gabor Belvedere (2nd Prize Opera, 3rd Prize Operetta, Audience Prize, Stadttheater Klagenfurt Prize, Morioka Prize, and Teatro alla Scala Prize). Born in Madagascar, Ms. Noah holds a bachelor of architectural studies from Carleton University.

Ms. Noah last appeared with the ESO in December 2012.

William Eddins, conductorYannick-Muriel Noah, soprano

LANDMARK CLASSIC MASTERSL A R T I S T B I O SARTIST BIOS

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Mr. Eddins’s bio can be found on page 6.Program notes continue on pages 16 & 17.

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RRRR2012/2013 SEASONR2012/2013 SEASON2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASON2012/2013 SEASON2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASONRR2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASONhe title character of RICHARD WAGNER’S (1813-1883) opera Lohengrin (1850) is the son of the Grail knight Parsifal. Having cham-

pioned the cause of the falsely-accused Elsa, Lohengrin gains enemies in the court of King Heinrich. As Act II ends, Lohengrin and Elsa are escorted to their wedding, and as Act III begins, a chorus serenades the newly-married couple. So the brief prelude before Act III is a happy aff air, with buoyant strings proclaiming the wedding, and Lohengrin’s heroic theme heard in the brass.

During his life, RUGGIERO LEONCAVALLO (1857-1919) was a fairly successful composer, even competing with Puccini for contemporary popular-ity. Posterity has relegated him to the status of a “one-hit wonder,” that hit being his 1892 one-act tragedy I Pagliacci – a story based on a case his father, a police offi cial, had worked on. � e aria “Stridono lassù” is sung by incon-stant wife Nedda, who wishes to be free of the vagabond life of the theatrical troupe her husband leads, while waiting for her lover, Silvio, to arrive. � e metaphor of birds, which have the freedom to fl y and go where they wish, is used to underscore her feeling of confi nement.

� ese days, Norma is counted as the greatest and most enduring of VINCENZO BELLINI’S (1801-1835) operas. It was not a success at its 1831 premiere, however. � e title role is considered one of the most diffi cult in all of opera. Bellini was drawn to the subject of the story as a vehicle for the soprano Giuditta Pasta, and many legendary singers have added to its pantheon of per-formers. � e famous and demanding aria “Casta diva” is sung by the ancient Roman seer Norma to a “chaste goddess,” imploring her to watch over Norma’s secret lover, Pollione.

LUDWIG VAN BEETHOVEN (1770-1827) arrived in Vienna in 1798, with the words of his sometimes patron Graf Ferdinand von Waldstein etched in his autograph book: “With the help of assiduous labour you will receive Mozart’s spirit from the hands of Haydn.” Soon enough, the blossoming revolutionary would indeed ascend to the lofty heights of his predecessors. But at the time of the April, 1800 concert at which his Symphony No. 1 in C Major premiered, he was still trying to establish himself.

Works such as this symphony certainly began to do just that. It begins, as many straightforwardly classical symphonies do, with a slow introduction. But here, the introduction is nowhere near the symphony’s actual home key of C Major – it begins, in fact, with a perfunctory chord in F Major, then wanders down to G. � e Allegro begins surely enough in C, but in no time has switched to D. To ears attuned to the classical traditions, as those in 1800 Vienna certainly were, all this was surely unexpected and brash. � ere is a confi dent gentility to the main theme of the movement, while the secondary theme is dominated by the wind instruments. � e slow movement is a gently rocking Andante, one much more in keeping with the tradition of Mozart and Haydn.

� at tradition normally featured a Minuet and Trio as a third movement. But while Beethoven may have called the movement a “Menuetto,” it really had none of the trappings of such a movement. It is raucous and rousing, full of stops and starts and dynamic contrasts. For each of the remaining eight sym-phonies, Beethoven gave up pretense and labelled these movements “Scherzo” (from the Italian word for “joke”) – a label which suits this movement perfectly. � e fi nale begins almost comically. A fi rm G chord is sounded, then a series of upwardly moving scales, as if the Allegro proper was reluctant to begin, or unsure of its welcome. It’s all set aside once the rollicking main music begins,

LANDMARK CLASSIC MASTERS Arias of the Masters

60th Anniversary Gala Concertwith the Richard Eaton Singers

February 24th • 2 pm at the Winspear Centre

Conductor • Michael Massey

$15 Adults$10 Seniors/ Students

Tix on the Square780 420 1757

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


www.963capitalfm.com

5:30am to 9:00amIn The MorningROB & AUDIE

Sing Along!Life`s Goodfull of boisterous good spirits and punctuated by timpani rolls and splashes.

Beethoven had set the stage as the great symphony innovator he would become.GIUSEPPE VERDI (1813-1901) wrote Aïda on a commission from Isma’il

Pasha, Khedive of Egypt, but not for the opening of the Suez Canal, as many believe. � e title character is the daughter of the Ethiopian king, whose people have been enslaved by the Egyptians. A love triangle between Aïda, the Egyp-tian soldier Radamès, and Amneris, daughter of the Egyptian king provides the opera’s dramatic impetus. � e impassioned aria “O patria mia” is sung by Aïda in Act III, when the vanquished Ethiopians bemoan their fate, and Aïda realizes she will likely never see her homeland again, and contemplates her mortality.

Bootlegger’s Tarantella is a precursor to JOHN ESTACIO’S (b. 1966) opera Filumena, which had its world premiere in Calgary in February 2003 – to great critical and popular success. It was presented by Edmonton Opera in 2005. � e opera is based on the true story of Filumena Losandro, a young Ital-ian woman who immigrated to Canada in the early 1900s and settled in the Crowsnest Pass. Caught up in the criminal bootlegging life of the family she married into, Filumena became the last woman executed in Canada.

Mr. Estacio has said this about Bootlegger’s Tarantella: “I wrote this short overture before I started writing the opera, and a few of the themes from this overture in fact ended up in the opera. � e fi rst of three themes in this piece is a folk-like melody, which segues into a dance tune that one might hear at a traditional Italian wedding party; and perhaps the wedding band has had one too many of the bootlegger’s brew. � e third theme suggests the passionate ele-ments of the story; betrayal, unrequited love, and the despair at the tragic turn of events. Gradually, the music returns to the theme that started off the piece.”

ALFREDO CATALANI (1854-1893) is really known today for only one work, his 1892 opera La Wally. � e title character is a young girl from the Tyrolean Alps who is hopelessly in love with the son of her father’s fi erce rival. � e opera’s most famous moment is the impassioned aria “Ebben? Ne andrò lontana,” from the opera’s fi rst act, in which the Wally sings of her determi-nation to leave her home forever.

� e story of Manon Lescaut, the would-be love of the Chevalier des Grieux and sometime mistress of the rich Géronte, is told in a novel by French author Abbé Prévost. It has proven irresistible to a number of compos-ers; half a dozen operas or ballets are based on the story, originally published in 1731. Of all the musical treatments, however, GIACOMO PUCCINI’S (1858-1924) opera, fi rst performed in 1893, is likely the most famous. � e Intermezzo provides an important dramatic element beyond linking the opera’s second and third acts. As Act II ends, Manon has been arrested at-tempting to steal jewels before fl eeing from Géronte. While the music of the Intermezzo plays, Manon is transferred to Le Havre prior to deportation to America, despite the pleas of des Grieux.

Is there a bigger cad in all of opera than the selfi sh U.S. naval offi cer Pinker-ton, from Puccini’s 1904 opera Madama Butterfl y? He marries the young courtesan Cio-Cio San with no intention of staying with her, and she bears him a son. For her part, Cio-Cio San believes he loves her, and dreams of the day he will return for her. � e aria “Un bel dì,” one of the most famous in all of opera, is the young girl’s dream that she will see the ship carrying her love return, and she will wait for him to call out for his “Butterfl y,” and that all will be well.

Giuditta was not only FRANZ LEHÁR’S (1870-1948) last stage work, it was the closest he got to composing a true opera. In fact, the work was produced for the Vienna State Opera, and premiered there in January 1934. It tells the story of the love between an army offi cer and Giuditta, a sultry Mediterranean girl – who is a singer in a North African cabaret. � e aria “Meine Lippen, sie küssen so heiß” (“My lips, they kiss so fervently”) is sung by Giuditta to a sensuous waltz.

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

JANUARY/FEBRUARY 2013


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All music by IRVING BERLIN

Irving Berlin Overture(arr. Everly)

“There’s No Business Like Show Business” (from Annie Get Your Gun)(arr. Everly)

“Play a Simple Melody” (from Watch Your Step)(arr. DeSare/Everly/Barker/Barton)

“What’ll I Do?” (from Music Box Revue)(arr. Barton)

Steppin Out Medley(arr. Barton/Anthony)

“Heat Wave” (from As Thousands Cheer )(arr. Barker)

Irving Berlin’s America(arr. Berens/Everly/Runyan)


Entr’acte – Holiday Medley(arr. Everly)

“Alexander’s Ragtime Band”(arr. Everly)

“I Love a Piano”(arr. DeSare/Firth)

Sisters Medley(arr. Barker/Barton)

Remember?(arr. Everly)

“How Deep is the Ocean?” (from The Life of Jimmy Dolan)(arr. Barton)

Jack Everly, conductor Tony DeSare, vocalist & pianoJarrett Johnson, Ted Keegan, Judy McLane, NaTasha Yvette Williams, vocalists

Irving Berlin: From Ragtime to RitzesFriday & Saturday & February 8 & 9 | 8 P M

ROBBINS POPS

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“Blue Skies” (from Betsy )(arr. Barton)

Strolling Up the Avenue(arr. Barton)

Program subject to change

ACK EVERLY is the Principal Pops Conductor of the Baltimore and Indianapolis Symphony Orchestras, the Naples Philharmonic,

and the National Arts Centre Orchestra, and the Music Director of the National Memorial Day Concert and A Capitol Fourth on PBS. Last season he made his Los Angeles Philharmonic debut at the Hollywood Bowl, returned to � e Cleveland Orchestra and appears as Guest Conductor in Pittsburgh, and the New York Pops at Carnegie Hall. Originally appointed by Mikhail Baryshnikov, Mr. Everly was Conductor of the American Ballet � eatre for 14 years, where he served as Music Director. In addition to his ABT tenure, he has teamed with Marvin Hamlisch in Broadway shows that Mr. Hamlisch scored including, � e Goodbye Girl, � ey’re Playing Our Song, and A Chorus Line. He conducted Carol Channing hundreds of times in Hello, Dolly! in two separate Broadway productions.

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Bill & Mary Jo Robbins


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Mr. Everly has conducted the songs for Disney’s animated classic, � e Hunchback of Notre Dame, and led the Czech Philharmonic on the recordings: In the Presence, featuring tenor Daniel Rodriguez and Sandi Patty’s 2011 release Broadway Stories. He also conducted the critically praised Everything’s Coming Up Roses: � e Complete Overtures of Broadway’s Jule Styne, and was Music Director for numerous Broadway cast recordings. In 1998, Jack Everly created the Symphonic Pops Consortium, serving as Music Director. � e Consortium, based in Indianapolis, produces a new theatrical pops program each season. In the past 12 years, more than 225 performances of SPC programs have taken place across the U.S. and Canada, including Mysterioso: Music, Magic & Mayhem. Maestro Everly holds an Honorary Doctorate of Arts from Franklin College in his home state of Indiana. When not on the podium or arrang-ing, Maestro Everly indulges in his love for fi lms, Häagen-Dazs, and a pooch named Max.

Mr. Everly last appeared with the ESO in March 2012.

JUDY McLANE NATASHA YVETTE WILLIAMS

TONY DeSARE JARRETT JOHNSON TED KEEGAN


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FENTONThe Blue Planet

Note: There is no intermission in this performance.

Lucas Waldin, conductorTommy Banks, narratorMembers of Òran (Kathleen Skinner, Music Director)

Blue Planet in ConcertSaturday, February 16 | 7 P M & Sunday, February 17 | 2 P M & 7 P M

AIR CANADA PRESENTS


2012/2013 SEASON2012/2013 SEASON

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

One of the most frequent – and welcome – guests of the Edmonton Symphony, TOMMY BANKS has also appeared as guest conductor

with the Budapest Symphony Orchestra of the Hungarian State Radio & Television, the Calgary Philharmonic, Chattanooga Symphony, Hamilton Philharmonic, Kitchener-Waterloo Symphony, Lethbridge Symphony, Memphis Symphony, National Arts Centre, Regina Symphony, Saskatoon Symphony, Southwest Florida Symphony, Symphony Nova-Scotia, Toledo Symphony, Toronto Symphony, Vancouver Symphony and Winnipeg Symphony orchestras.

He is the producer of fi ve internationally-syndicated TV specials featuring our orchestra; A Funny � ing Happened On � e Way To the Symphony with an allstar cast headed by Tim Conway; Tom Jones in Concert; Engelbert Humperdinck In Concert; Lighthouse with the ESO; and Procol Harum with the ESO. Tommy conducted the world premiere by the ESO of Rod McKuen’s Ballad of Distances on the Warner Bros. LP Back to Carnegie Hall (WB 2WS 2731), and served as Conductor or Music Supervisor for more than 45 Edmonton-produced TV specials syndicated in 78 countries of the world and featuring international music stars from Tony Bennett to Dionne Warwick, accompanied either by our orchestra or by his big band augmented by the strings and woodwinds of the ESO.

Mr. Banks last appeared with the ESO in April 2012.

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Founded in 2002, ÒRAN began as an alumni off shoot of the Kokopelli Youth Choir, but it has since developed into a 70-member group made

up of young adults from all over Edmonton, all united in their passion for singing. � e choir stresses the same philosophical goals as its younger counterpart, striving to achieve musical excellence and artistic integrity, as well as combining new interpretive techniques with more traditional choral expertise. Òran was featured at the 2005 Festival 500 in St. John’s Newfoundland, participated in the Laval International Choral Festival in Québec in July 2009, as well as a cultural tour to Cuba in May 2011. Members of Òran travelled to Europe for a tour in July 2012 including stops in France, Germany, Switzerland and the Czech Republic.

O₂ is a new pilot project for Òran this year, aff ording a small number of returning members the chance to sing in a chamber ensemble for one season. � is season’s 16-voice ensemble will perform at many Òran concerts as well as several engagements outside the regular Òran season. O₂ members dedicate extra time outside regular rehearsals in order to work on a polished small ensemble sound. Kathleen Skinner has been conducting Òran for 10 years as of this season, and is a proud alumna of Kokopelli. Prior to fi nish-ing her post-secondary education, Kathleen spent two years as the Assistant

Conductor of the U of A Madrigal Singers under the direction of Dr. Leonard Ratzlaff , and is now the full-time Executive Director for Kokopelli Choirs. She also serves as President for the Alberta Choral Federation.

The choir last appeared with the ESO in June 2012.


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FFFFFFFFFMr. Eddins’s bio appears on page 6.

Artists’ bios and program notes continue on pages 24 & 25.

2012/2013 SEASONF2012/2013 SEASONF2012/2013 SEASONF2012/2013 SEASONF2012/2013 SEASONF2012/2013 SEASONF2012/2013 SEASONF2012/2013 SEASONF2012/2013 SEASONF2012/2013 SEASONF2012/2013 SEASON2012/2013 SEASON2012/2013 SEASONTwo ViolinsFriday, February 22 | 7:30 PM & Saturday, February 23 | 8 PM

William Eddins, conductorNikki Chooi, violinTimothy Chooi, violin

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FRIDAY MASTERS & LANDMARK CLASSIC MASTERS

LFFFF A R T I S T B I O SARTIST BIOS

Afterthoughts, Friday post-performance, Main Lobby with Robert Rival, William Eddins, Nikki Chooi & Timothy Chooi

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

BRITTENPeter Grimes: Four Sea Interludes, Op.33a (16’)* Dawn – Lento e tranquillo Sunday Morning – Allegro spiritoso Moonlight – Andante comodo e rubato Storm – Presto con fuoco

J.S. BACHConcerto for Two Violins in D minor, BWV 1043 (16’)* Vivace Largo, ma non tanto Allegro

SAINT-SAËNSIntroduction and Rondo capriccioso, Op.28 (10)*


RIVALSymphony No. 2 “Water” (World Premiere of an ESO commission) (25’)* Moderate, expansive Very slowly, tranquil Fast, exuberant

SARASATEZigeunerweisen, Op.20 (10)*


aureate of the 2012 Queen Elizabeth Violin Competition, Canadian violinist NIKKI CHOOI is the 1st prize winner of the 2009 Irving

M.Klein International String Competition in San Francisco, and was awarded the “Special Prize” at the XIII Tchaikovsky International Violin Competi-tion. He is also a recipient of the 2012 Canada Council “Emerging Artists” Grant, 2008 Sylva Gelber Foundation Grant, 1st prizewinner of the 2004 l’Orchestre symphonique de Montréal Standard Life Competition, and Grand Award Winner of the 2004 Canadian National Music Festival. Mr. Chooi has performed as soloist with the Montréal Symphony, the Montréal Chamber Orchestra, the National Arts Centre, National Orchestra of Belgium, the Calgary Philharmonic, the Victoria Symphony, Sinfonia Toronto, the Santa Cruz Symphony, the Winnipeg Symphony, and the Highland Park Strings. In 2009, he embarked on a European tour with violist Roberto Diaz and pianist Robert MacDonald as part of Curtis on Tour. He has attended the National Arts Centre Young Artist Program, and the Juilliard School’s Starling-Delay Symposium. In summer of 2013, Mr. Chooi will attend his third consecutive residency at the Marlboro Music Festival.

Nikki Chooi gratefully acknowledges the support of the Canada Council of the Arts, CBC Radio, and the Victoria Foundation. As winner of the Canada Council Musical Instrument Bank Competition, he used the 1729 Guarneri del Gesu (2009-2012) and currently uses the 1700 “Taft” Stradivari. Mr. Chooi was born in 1989 in Victoria, B.C. He began violin studies at the age of four at the Victoria Conservatory, and at age fourteen was accepted into the Academy Program for Gifted Musicians at Mount Royal University in Cal-gary. In 2012, he obtained his Bachelor of Music from the Curtis Institute of Mu-sic and was awarded the Milka Violin Artist Prize upon graduation. Nikki is currently pursuing gradu-ate studies at the Juilliard School of Music.

Mr. N. Chooi last appeared with the ESO in September 2008.

Friday Masters Sponsor Media SponsorLandmark Classic Masters Sponsor



LLLLL2012/2013 SEASONL2012/2013 SEASON2012/2013 SEASONL2012/2013 SEASONL2012/2013 SEASONL2012/2013 SEASONL2012/2013 SEASONL2012/2013 SEASONLL2012/2013 SEASONL2012/2013 SEASON2012/2013 SEASONL2012/2013 SEASONL2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASONFRIDAY MASTERS & LANDMARK CLASSIC MASTERS Two Violins

Canadian born violinist TIMOTHY CHOOI is currently enrolled at the Curtis Institute of Music studying with Ida Kavafi an. At the age of 16,

Chooi captured the 2010 Grand Prix of the 71st l’Orchestre symphonique de Montréal Standard Life Competition. He has since played with l’Orchestre symphonique de Montréal again under Kent Nagano. In 2010, Chooi won the ‘’Special Violin Prize’’ at the 2010 Yehudi Menuhin International Violin Competition in Oslo, Norway. Chooi was the winner of the Morningside Musicbridge Competition in Calgary, Vancouver’s Musical Society Club Competition, and winner of the Canada Council for the Arts Instrument Bank 2012. In 2011, Mr. Chooi gave his debut recital at the ‘’Next’’ Series at the National Arts Centre in Ottawa, along with recitals at the Orford Arts Centre, Montréal Chamber Music Festival, Banff Centre of the Arts and the Vancouver Winter Chamber Music Festival. He was invited to perform at the 30th Anniversary Celebration concert for the Vancouver Recital Series in 2010 at the Orpheum � eatre in Vancouver. Chooi maintains a close relationship with CBC Radio-Canada and his performances have been regularly recorded and broadcasted across the country.

In 2012-2013, Timothy Chooi will debut with the National Arts Centre Orchestra, Toronto Philhar-monia, Newfoundland Symphony Orchestra, Highland Park Sym-phony in Chicago, Place des Arts Recital Series in Montréal, Northern Arts Cultural Centre in Northern Canada, Ottawa ChamberFest, and at the Music in the Morning Series in Vancouver. In the 2013/14 season, he will be performing and debuting with the Santa Barbara Symphony, Orchestra London (Canada), Orford Academy Orchestra, Victoria Sym-phony Orchestra, and the National Arts Centre Orchestra (NACO) with Pinchas Zukerman. As the winner of the Canada Council Musical Instrument Bank Competition 2012, Timothy is currently using the 1729 Guarneri del Gesu.

This is Mr. T. Chooi’s debut with the ESO.

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

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absolutely at odds with the world. It was a subject, Britten said later, “very close to my heart – the struggle of the individual against the masses. � e more vicious the society, the more vicious the individual.”

� e story centres on a fi ctional town on the east coast of England, where Grimes is a fi sherman. � e sea, therefore, plays an integral role in the unfolding drama, and is given special focus in the opera’s music. While serving principally as entr’actes, much of the purely orchestral music Britten wrote for the opera evokes the sea as a metaphor for the overwhelming tide of fate from which no one, particularly Grimes, can escape. Following the opera’s premiere, Britten extracted this music from his score and created a stand-alone suite for the concert hall, called Four Sea Interludes and, as the opera had been published as Opus 33, the suite was labelled Op.33a. � e sequence of the movements for the concert hall gives a symphonic cohesion to the suite, which begins with the shim-mering Dawn. Sunday Morning is an allegro in which a spritely and even optimistic dance is constantly intruded upon by ominous, dissonant, slightly off -rhythm accents. Moonlight is the third section, a gentle idyll in which a beautiful processional theme builds slowly in grandeur, then departs in an aura of uncertainty and resignation. � e fi nal movement is a Storm, churning and roiling menacingly, the timpani pounding out the rhythm of the waves. � e central section becomes uneasily quiet, but the fi nal moments bring back the violence and menace in their fi nal, crashing chords.

Concerto for Two Violins in D minor, BWV 1043JOHANN SEBASTIAN BACH(b. Eisenach, Saxony, 1685 / d. Leipzig, 1750)

HILE EMPLOYED AT PRINCE LEOPOLD’S COURT IN Cöthen, Johann Sebastian Bach was largely freed from the con-

stant need to create church music, and as a consequence it was during this time (1717-1723) that he wrote the bulk of his purely instrumental music. A decent violinist himself, it is believed Bach wrote this double concerto for Joseph Spiess and Martin Friedrich Marcus of the court orchestra. � e D minor key paints the brisk tempo of the opening move-ment in a darker hue, the eddying music of the main idea tossed among the soloists and accompanying string orchestra.

� e Largo is a surprise to many who do not think of direct, beautiful melodies from Bach. A plaintive Siciliano 12/8 tempo gently rocks this movement along, the violins weaving delicate textures around each other to warm chords from the orchestra. � e fi nal movement, in 3/4, brings back that sense of play and interplay from the fi rst movement, set to a higher boil, with some unexpected key changes, and a pace that never fl ags to the fi nal cadence.

Introduction and Rondo capriccioso, Op.28CAMILLE SAINT-SAËNS(b. Paris, 1835 / d. Algiers, 1921)

Zigeunerweisen, Op.20PABLO DE SARASATE(b. Pamplona, Spain, 1844 / d. Biarritz, France, 1908)

OTH OF THESE SUPREME SHOWCASES FOR VIOLIN WERE written for the same violinist. Pablo Martín Melitón Sarasate y

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2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON Two Violins2012/2013 SEASON2012/2013 SEASON Two Violins2012/2013 SEASON

Note: The program notes do not follow exact concert order.

Peter Grimes: Four Sea Interludes, Op.33aBENJAMIN BRITTEN(b. Lowestoft, 1913 / d. Aldeburgh, 1976)

ITH THE SUCCESS OF THE 1945 OPERA PETER GRIMES, Benjamin Britten revived English opera to a level it had not seen

since the death of Henry Purcell, exactly 250 years before. Based on a part of George Crabbe’s poem � e Borough, Britten and librettist Montagu Slater fl eshed out the villainous character of Crabbe’s version into a man



S

Navascuéz was born four years after Paganini died, and became his succes-sor in the violin pantheon. � e greatest composers of the day wrote works for him, and he also wrote many for himself. Many such works, both his creations and those written by others, follow a pattern; they begin with a slow section designed to illustrate his supreme mastery of lyricism and ex-pression, followed by a whirlwind cavalcade of breathtaking and breakneck virtuoso music in which a full bag of violin tricks is used.

Such is the case with the two pieces this evening. Sarasate wrote Zigeunerweisen (“Gypsy Airs”) in 1878, and premiered the work in Leipzig. � is piece is rather loosely based on that most traditional of gypsy dances, the csárdás. Saint-Saëns had originally intended to write his fi rst violin concerto for Sarasate, and began sketching one as far back as 1859 (Sarasate would have only been 15 at the time!), but the French composer, unsatisfi ed with what he had created, abandoned the plan. Four years later, he com-posed the Introduction and Rondo capriccioso for the Spanish virtuoso. It has established itself, like Zigeunerweisen, as a favourite vehicle for prodigious violinists since its 1863 premiere.

Symphony No. 2 “Water” (World Premiere of an ESO commission)ROBERT RIVAL(b. Calgary, 1975)

Program note by the composer:

OME YEARS AGO MY WIFE AND I HIKED THE MALIGNE RANGE(Skyline) trail, situated in the Canadian Rockies near Jasper, Alberta.

� e breathtaking views inspired my fi rst symphony. Visits to Pacifi c Rim National Park near Tofi no, Vancouver Island, and Wells Gray Provincial Park in the B.C. interior, famous for its countless rapids and waterfalls, suggested a water-themed symphony.

On the day we roamed Long Beach on the Pacifi c it was cold, overcast, misty and drizzling: perfectly moody, a place to warm the soul but not the skin. � e roar of relentlessly pounding waves; the spectacular spray as these crashed on nearby islands; a vast, desolate beach strewn with shells, driftwood, seaweed; and an uninterrupted view of a horizon painted with dark, ominous clouds – all this forms the basis of the opening sonata-form movement in which a mysterious, wave-like principal theme (the ocean’s raw force) is pitted against a glowing, undulating one – the joy provoked by its contemplation.

We retreated into the nearby temperate rainforest where an unusual serenity overcame me. In this sanctuary the ocean’s din is muffl ed by lush green-saturated vegetation, a protective canopy formed by towering moss-covered trees, and the patter of rain on the forest fl oor. Nature’s womb. Gentle and intimate, the second movement is scored for strings alone, the principal desks forming a solo octet enveloped like a forest’s embrace by the remaining strings.

� e band is in full force in the lively, dance-like fi nale culminating in a depiction of monumental Helmcken Falls, Canada’s fi fth highest (137 metres). Were I to return I would surely not have the courage again to lie on my belly at the canyon’s edge, peering down at the thundering falls below.

I dedicate this symphony to my wife and thank my brother, David E. Rival, a professor researching fl uid dynamics at the University of Calgary, for stimulating discussions about turbulence that found musical expression in the outer movements.

Program notes © 2012 by D.T. Baker, except as noted




SSSSSSSSSSSTORIES FROM THE AUDIENCEDate: Friday, December 8, 2012

How long have you attended the ESO?We have been subscribing to the Pops together for 11 years now, but we came regularly before that without a subscription for three or four years. Michael: I had been attending various concerts from about 1989 I’d say.

If you could learn to play an instrument, which would it be and why?Michael: I think I would want to play something really cool, like the slide trombone.Denise: I think I would probably go back to playing the piano.

What does your typical concert night look like? Do you have a tradition?After every concert we would go to the 9th Street Bistro for French fries and dessert. It got to the point eventually that they would just wave us in and bring us our fries.

If you could meet any musician of your choice, dead or alive, any genre of music – who would it be and why?Michael: Brahms, defi nitely Brahms.Denise: Diana Krall and Bing Crosby.

If you could be any instrument, what would you be and why?Michael: Timpani, it just has this amazing crescendo of power to it, don’t you think?Denise: Probably the fl ute, I would like to be something small and lyrical.

If you could ask any question to the ESO musician on your choice, what would you ask and of whom?Michael: Oh, I would like to speak with Bill Eddins. But what would I ask him? (after much deliberation) Probably, “What is your favourite piece you ever arranged?” Bill: I don’t actually arrange too many pieces of music, but I would have to say my favourite (and only arranged piece) is Gershwin’s Cuban Overture I did for a chamber ensemble.

What do you do?Michael: I am a student studying anthropologyDenise: I’m just Mrs. Moneybags! (Both laugh) But really, I’m a professional Agrologist (she explains, an agrologist is concerned with registering environmental science and agriculture professionals).

What is your favourite ESO or Winspear Cen-tre memory?Together, without hesita-tion: New York! Wav-ing our red scarves in Carnegie Hall, we were so proud to be Edmon-tonians. We even went to a little shop in New York after the concert and they commented on what an excellent show it had been! We had never been so proud to be ESO patrons.

STORIES FROM THE AUDIENCEDate: Friday, December 8, 2012

How long have you attended the ESO?I have been subscrib-ing for about eight years, and coming regularly since 2000.

Do you play, or have you ever played, an instrument?I took piano lessons up to Grade 5 RCM, we had an upright piano at home which I played until age 15.

Name three things you always bring to an ESO concert.

An openness to something new, being in the present, and usually someone to share the experience with.

If you could meet any musician of your choice, dead or alive, any genre of music – who would it be and why?Chopin, I love his piano pieces.

If you could ask any question to the ESO musician of your choice, what would you ask and of whom?Percussionist, how do you know how to change instruments? How do you keep track of where to be? Who chooses which type of instrument each percussionist will play? Brian Jones (ESO percussionist): As the principal of my section, it is my responsibility to assign the parts to my section. I choose who plays what based on what is the best musically and also to minimize exces-sive moving. � ere are many parts that include all the instruments on one score so I need to mark them to indicate which part is for whom. Knowing where to go during a piece is usually notated by the person playing and sometimes that choreography is as diffi cult as the part.

When you turn on your radio, CD player, or MP3 player, what’s playing right now?Right now is the symphony channel on SiriusXM, and if my son is in the car we might shift to Mozart, Cher or Raffi .

What do you do?I try to create a space where everyone feels at home. I aspire to make people feel welcome so that they know there is room at my table by practicing a ministry of hospitality.

What is your favourite ESO or Winspear Centre memory?� e fi rst time I took Liam, my son with special needs, to Symphony for Kids. I watched him as his whole face lit up with joy and body quivered with excitement. He was vocalizing his joy and I had to take him out of his wheelchair so others could still enjoy the show. I am so delighted that Lucas Waldin always comes down and always makes a point of saying hello to Liam!

NAME: DEBORAH HOEKSTRA NAME: MICHAEL AND DENISE HARMON

If you have a story you would like to share or would like to be interviewed for “Stories From the Audience” please contact Erin Mulcair at 780-401-2539 or [email protected]

What’s Your Winspear?� is year, the Winspear Centre turns 15! � e Winspear Centre is Edmonton’s pride and joy and is recognized around the world as an outstanding concert hall. It is a centre for music, for arts and culture. � e Winspear brings people together and gives our community soul.

Help us celebrate 15 years with a gift of $15 per month. You will receive a My Winspear T-shirt with a custom slogan of your choice. Let everyone know what the Winspear means to you!

Your monthly support will:• become part of a community-wide sustainable funding source for the Winspear and help maintain its standing as a world-class facility• help provide more opportunities for music, dance and other community groups to make the Winspear Centre

a performance or event home• make the performing arts and the joy of music more accessible to our community, now and into the future • help maintain the Symphony’s home and allow it to continue developing its artistic excellence.

What if I already support the ESO?� ank you for being an ESO donor! You provide essential funds to the symphony every year. � e Winspear Centre needs its own source of support in order to maintain its standing as a world-class facility and to best serve the needs of visiting artists, community groups, and its resident company, the ESO.

Erin Mulcair9720 102 AvenueEdmonton, AB T5J 4B2

Mail Gifts to

Give online at www.winspearcentre.com/support


What’s Your Winspear?� is year, the Winspear Centre turns 15! � e Winspear Centre is Edmonton’s pride and joy and is recognized around the world as an outstanding concert hall. It is a centre for music, for arts and culture. � e Winspear brings people together and gives our community soul.

Help us celebrate 15 years with a gift of $15 per month. You will receive a My Winspear T-shirt with a custom slogan of your choice. Let everyone know what the Winspear means to you!

Your monthly support will:• become part of a community-wide sustainable funding source for the Winspear and help maintain its standing as a world-class facility• help provide more opportunities for music, dance and other community groups to make the Winspear Centre

a performance or event home• make the performing arts and the joy of music more accessible to our community, now and into the future • help maintain the Symphony’s home and allow it to continue developing its artistic excellence.

What if I already support the ESO?� ank you for being an ESO donor! You provide essential funds to the symphony every year. � e Winspear Centre needs its own source of support in order to maintain its standing as a world-class facility and to best serve the needs of visiting artists, community groups, and its resident company, the ESO.

Erin Mulcair9720 102 AvenueEdmonton, AB T5J 4B2

Mail Gifts to

Give online at www.winspearcentre.com/support

JOIN US FOR A FREE TOUR OF THE WINSPEAR CENTRE AS WE CELEBRATE OUR 15th ANNIVERSARY!

Dates: January 25th, January 31st, February 5th,

Come hear all about the history of the ESO and Winspear Centre and our vision for the community. We will provide a complimentary lunch followed by a backstage tour of one of North America’s most exquisite concert halls!

We all have busy schedules, which is why we promise to keep this session to one hour from 12:00 pm to 1:00 pm.

THESE EVENTS FILL UP FAST SO IF YOU WOULD LIKE TO ATTEND PLEASE R.S.V.P. TO JEFFORY MAGSON AT 780-401-2517 OR [email protected].

OVERTURE INFORMATION SESSION & TOUR

February 28th, March 12th and March 19th


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.

www.edmontonjournal.com

THERE’S ALWAYSSOMETHING

TO SEE INEDMONTON



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

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.

www.edmontonjournal.com

THERE’S ALWAYSSOMETHING

TO SEE INEDMONTON


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*Siobhan Vipond, Acting Technical Director* 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 Joe 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 Joe 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

SponsorPulse8


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ESO Signature Magazine Jan & Feb 2013

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