ESO Signature Magazine March 2012

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BIG APPLE, BIG DREAMSESO: Headed for New York

LAST NIGHT OF THE PROMSLighter Classics style

MEASHA BRUEGGERGOSMAN

The ESO Gala October 29

MEASHA BRUEGGERGOSMAN

The ESO Gala October 29The ESO Gala October 29

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Radiant Canadian soprano Measha Brueggergosman makes her ESO debut in a special Gala concert on October 29, 2012. Tickets go on sale to the general public May 8 – visit EdmontonSymphony.com for more information. Photo by Mat Dunlap.

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WELCOME

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

EDMONTON SYMPHONY ORCHESTRA 2011/2012

BIG APPLE, BIG DREAMSTHE ESO preps for its spring performance at Carnegie Hall by Michelle Lindstrom

ESO PRESENTS BENJAMIN GROSVENOR (MARCH 6)

William Eddins, conductorBenjamin Grosvenor, piano

FRIDAY MASTERS / LANDMARK CLASSIC MASTERS COPLAND’S CLARINET CONCERTO (MARCH 9 & 10)

William Eddins, conductorJames Campbell, clarinet

MIDWEEK CLASSICS FRENCH INSPIRATIONS (MARCH 14)

Jean-Philippe Tremblay, conductorSusan Hoeppner, flute

ROBBINS POPS THE 1950s – THE GOLDEN AGE OF BLACK & WHITE (MARCH 16 & 17)

Jack Everly, conductorChapter 6, vocal groupKaren Murphy & Farah Alvin, guest vocalists

ESO SPECIAL BEN FOLDS WITH THE ESO (MARCH 29)

Ben Folds, special guestLucas Waldin, conductor

LANDMARK CLASSIC MASTERS ROLSTON PLAYS DVORÁK (MARCH 31)

Julian Kuerti, conductorShauna Rolston, cello

PATRON PROFILETom Lim

THANK YOUAppreciation of our long-time subscribers

IN MEMORY OF Leslie Green

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

ESO: A PROUD LEGACY

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SIGNATURE Contents

Volume 27, Number 6 | MARCH 2 0 1 2

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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 D.T. Baker, Robert Rival and Allan Gilliland

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 Serap Ozturk Glenda Dennis

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

Contents copyright 2012 by Edmonton Symphony Orchestra/Francis Winspear Centre for Music. No part of this publication should be reproduced without written permission.

ON THE COVER

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SIGNATURE 3MARCH 2012

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WWWW ELCOME TO THAT STRANGE TIME OF YEAR WHEN WE SEEM TO EXIST IN BOTH THE present and the future! We’ve just announced our exciting new 2012/13 season – one

which marks the 15th anniversary year of the Francis Winspear Centre for Music, and the 10th anniversary of the wonderful Davis Concert Organ. � is is always an exciting time full of anticipation, but we’ve added to that by announcing our Gala concert on October 29, with the wonderful Canadian soprano (and Signature cover) Measha Brueggergosman.

But we still have so much of this season to go, as you’ll see from all the great concerts in this issue of Signature. And we have to start packing for Carnegie any day now (there’s more on that on pages 10-11). It’s a lot to get to, and it’s a tribute to the musicians and staff of the Edmonton Symphony Orchestra that it all (usually) goes smoothly. So whether you’re joining us for all we have to off er, or just taking a welcome break from your routine to enrich your life with great music, we thank you for being here.

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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.

TART SPREADING THE NEWS … your Edmonton Symphony Orchestra will create Edmonton history on May 8, 2012 when it performs for the fi rst time on the legendary

stage at Carnegie Hall in New York City. As the only Canadian orchestra invited to take part in the second annual Spring for Music Festival at Carnegie Hall, this landmark event is a major part of the ESO’s celebration of its 60th anniversary season.

More than 800 fans will be seated in the “Hometown Fan” section for the ESO performance at Carnegie Hall! It isn’t too late to join in and experience Edmonton history. Contact Paull Travel (the ESO’s offi cial Hometown Fan Travel Agency) at 780.428.6031.

We thank you all for your support and we look forward to seeing hundreds of our fans in New York City in just a few short weeks!

Anonymous(3)Eileen AbramsDarlene ActonRae & Carol AllenGail AndrewAudrey AndrewsMarcia AntunesFab Five Women’s Business InitiativeATB FinancialDick & Heather-Jane AuRhonda BakerGabriella BergstenRobert BhatiaLen & Barb BistritzJohn & Marion BoydJim Carter & Lorraine BrayJoyce BuchwaldRobert BuckBill & Keatha BuckhamStephen & Carolyn CampbellDavid & Carol CassCarey CastilloRoss ClemengerCNMegan CollinsMaria David-EvansDavies Park Executive SearchDiCorp Diversity Technologies in honour of Annalies LePooleMichelle DockingElizabeth DonaldDriving ForceMike & Sharon DuffRonald & Patricia DutchakGrant EdmondsonMarcia EllingerDennis & Doreen ErkerFairley Erker Advisory GroupJanet FayjeanEleanor FingerSandy Fitch & Gerry DayDiane GagnonCatherine GibsonMargaret HartwellMark & Nancy HeuleHilton Garden InnGeorge HislopIn memory of Harcourt D. SmithElizabeth & Levi HurleyGarnet IrelandDarcy & Barbara KoshmanCarol Ann KushlykGrace LauZonia LazarowichSteven & Day LePooleDrs. Gary & Catherine LopaschukLUBE-X - Shirley & Jim FunkWard MabbuttLloyd & Lynn MalinStephen & Lynn Mandel

Bev MartinPhyllis McAnallyMuriel McIntoshMNP LLPMelcor Developments Ltd.Ed & Joy-Ruth MickelsonJoyce MienhartKaren & Wally MightArliss MillerJohn & Maggie MitchellPeter & Carol MoeykensInland ConcreteReinhard & Elisabeth MuhlenfeldErin MulcairDonna NaylorIngrid NeitschJim & Sherry NoyesJack & Esther OndrackMarcia OlsonIn honour of Maria David-EvansJoanne PawlukPCL Constructors Ltd.Michael PearsonBarbara PenneyMathilde PoulsenTony & Sheila RichBill & Mary Jo RobbinsMaureen SaundersAlfred SavagePaddy Brine & Wes SchmidtElizabeth ScottAllan & Marianne ScottRon & Dorothy ScottVici SeibtPat SharpJacqueline SmithEira SpanerJean A StephenDr. Barbara StewartCarolyn StoutMonte StoutBrian & Heather SummersThe Marion K Mills FamilySir Francis Price & Hon Marguerite TrusslerUniversity of Alberta Alumni AssociationUpper Crust CateringAllan & Bette WachowichBarry & Valerie WalkerRachel WarhaftLevern & Arlene Wasylynchuk Angus Watt Advisory GroupPaddy WebbBrent Windwick & Brenda KaminskiCory Wosnack - Avison Young PrincipalMichael YanLinda M. Youell - In memory of Gerry YouellRalph & Gay Young

The following individuals are gratefully acknowledged for their support for our Carnegie Hall quest, either through sponsoring a Musician’s Dream or by a donation to the Carnegie Fund.

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WWWWWWWELCOMEWWWELCOMEWW!WW!WW!WWELCOME!W !W !W !WConnections Concert Series Liszt, Bach, Ravel, Prokofiev, Brahms, Schumann ...

Student & Alumni PerformersAndy Wong, piano, Brittney Jette, mezzo-soprano, Candace Chu, piano, Emily Filice, piano, Eric Meier, guitar, Erin Passmore, soprano, Holly Christiani, violin, Jocelyn Anselmo, soprano, Katia Paskevich, soprano, Mairi Irene McCormack, mezzo-soprano, Michelle Schamehorn, piano, Nansee Hughes, soprano, Peter Krejcar, piano, Rachel Jeong, piano, Rachel Johns, mezzo-soprano, Rebecca McIntosh, soprano

Faculty PerformersAlissa Cheung, violin, Bianca Baciù, piano, Cameron Watson, piano, Don Ross, clarinet, Frank Ho, violin, Ian Woodman, ‘cello, Joanne Yu, ‘cello, Leanne Dammann-Maitland, viola, Marie Forestier, violin, Sarah Ho, piano, Sarah Woodman, viola, Shannon Hiebert, piano

... performed by emerging student musicians and esteemed faculty of the Alberta College Conservatory of Music. These exceptional artists will impress you with inspired performances.

Concerts held Sundays at 2 pm on March 11, May 13 and July 8 in Muttart Hall, 10050 MacDonald Drive.

www.MacEwan.ca/Conservatory 780.633.3725

Adults $20, Students/Seniors $10Tickets available at Tix on the SquareAll proceeds will support student scholarshipsConcerts to be broadcast on CKUA, 94.9 FM

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WAWAWAAAAWAWAWAAAWAWAWAWAWAWAAWWWWWAWAWILLIAM EDDINS, presently in his seventh season as Music Director of the Edmonton Symphony

Orchestra, has a captivating energy and magnetic stage presence that will continue to propel the orchestra through the 2014-2015 season. His commitment to the entire spectrum of the ESO audience brings him to the podium for performances in every subscription series, as well as for a wide variety of galas and specials.

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

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RIC BUCHMANN studied violin at the Conservatoire 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 violin teachers include Sonia Jelinkova, Vladimir Landsman, Jean-François Rivest,

ARTISTIC & LEADERSHIP TEAM

UCAS WALDIN continues his tenure with the ESO as Enbridge Resident Conductor, under

the mentorship of Bill Eddins. Now in its third season, this appointment is funded in part by the Canada Council for the Arts as well as the Enbridge Resident Conductor Program, and supports the ESO’s vision and focus on music education at all levels. A graduate of the Cleveland Institute of Music, having earned both a Bachelor of Music Degree in Flute Performance and Masters in Conducting, Mr. Waldin has performed with L’Orchestre du Festival Beaulieu-Sur-Mer (Monaco), Staatstheater Cottbus (Brandenburg), and Bachakademie Stuttgart. He was assistant conductor of the contemporary orchestra RED (Cleveland), director of the Cleveland Bach Consort, and a Discovery Series Conductor at the Oregon Bach Festival. In 2007, he conducted the

Miami-based New World Symphony Orchestra in masterclasses given by Michael Tilson � omas, and also participated in a masterclass with the Lucerne Festival Strings, led by Bernard Haitink, in 2009.

A native of Toronto, Lucas Waldin has spent summers studying in Europe, including studies at the International Music Academy in Leipzig, the Bayreuth Youth Orchestra, and the Acanthes New Music Festival in France. In North America, he has studied under the renowned Bach conductor Helmut Rilling at the Oregon Bach Festival, and has attended conducting masterclasses with the Tafelmusik Baroque Orchestra in Toronto.

Resident Conductor program generously supported by

William Preucil and Martin Chalifour.Eric Buchmann joined the fi rst violin section of

the Edmonton Symphony Orchestra in 2006, and was appointed Assistant Concertmaster following auditions in 2009. Eric performs occasionally with the ESO as a soloist, and is also a member of the Alberta Baroque Ensemble under the direction of Paul Schieman.

When not playing with the orchestra in Edmonton, you can fi nd him with his family in Montréal or Switzerland. Travelling is one of his passions.

leadership of Daniel Barenboim) followed. While conducting has been Eddins’ principal

pursuit, he continues to perform on piano. In 2008, he conducted a rare full staging of Gershwin’s Porgy and Bess for Opéra Lyon, leading to a repeat engagement in Lyon in July 2010. � is past August, Bill had the privilege of conducting the opera once again at the Edinburgh International Festival, and returns to both Lyon and London in September 2010 for additional engagements. Other international highlights include an August 2009 tour of South Africa, where Bill conducted three gala concerts with soprano Renée Fleming and the kwaZulu-Natal Philharmonic Orchestra.

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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 commu-nity support of both organizations.

A

In addition to our own concerts, the ESO provides orchestral

accompaniment for performances by Edmonton Opera and Alberta Ballet.

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 PRINCIPAL

Janice QuinnRhonda TaftRob Aldridge

[ FLUTE ]Elizabeth Koch 1

Shelley Younge 2

[ OBOE ]Lidia Khaner 1

Paul Schieman 2

[ 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 Concertmaster’s Chair is sponsored by the John & Barbara Poole familyVirginie Gagné,Interim Assistant Concertmaster Broderyck OlsonRichard CaldwellJoanna Ciapka-SangsterAlissa CheungAnna KozakAiyana Anderson-HowattNeda Yamach

[ VIOLIN II ]Dianne New 1

Susan Flook 2

Heather BergenPauline BronsteinRobert HryciwZoë SellersMurray VaasjoTatiana Warszynski

[ VIOLA ]Stefan Jungkind 1

Charles Pilon 2

Rhonda HenshawBonnie YeagerMikiko 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

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William Eddins, Music Director Lucas Waldin, Resident Conductor Robert Rival, Composer in Residence

THE EDMONTON SYMPHONY ORCHESTRA2011/2012 SEASON

OBERT RIVAL, born in Calgary, joins the Edmonton Symphony

Orchestra as Composer in Residence in the 2011/12 season. Critics have described his work, written in a con-temporary tonal style, as “well crafted”, “engaging,” “immediately appealing,” “melodic and accessible,” “memorable” – and his song cycle, Red Moon and Other Songs of War, as “an unequivocal hit.” His music for orchestra, chamber ensemble, voice and the stage has been broadcast on CBC radio and per-formed by the Gryphon Trio and other leading Canadian musicians, ensembles and orchestras. His orchestral works include a one-movement Symphony Maligne Range, inspired by a hike through the Rockies, and a children’s work, Maya the Bee, based on the classic tale. Committed to music education and appreciation, he has taught theory and composition to students of all ages, at several universities as well as private-ly, and has written liner and program

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ARTISTIC & LEADERSHIP TEAM

Eric Filpula, Orchestra Personnel ManagerSheila Jones, Librarian

The following musicians may appear at performances in this issue:Ray Baril SaxophoneJim Cockell ViolinJeanette Comeau ViolaElizabeth Faulkner FluteJoel Gray TrumpetMarie Krejcar ViolinRegine Maier ViolinMichael Massey PianoJohn McCormick PercussionP.J. Perry SaxophoneDiana Sapozhnikov ViolinJeremy Spurgeon Piano/ Harpsichord/OrganDan Sutherland ClarinetRobin Taylor SaxophoneBrian Thuϖrgood PercussionRobert Walsh GuitarRussell Whitehead Trumpet

ORCHESTRA PERSONNEL

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 orchestral tours to concerts in curling rinks in Canada’s North. She is fueled 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.

notes for major festivals, presenters and record labels. Dr. Rival holds a doctor-ate in composition from the University of Toronto. In his spare time you will fi nd him playing shinny hockey at the local rink or out for a run. He lives with his wife Chantal-Andrée Sam-son, a realist oil painter, and their son Raphaël. www.robertrival.com

[ HARP ]Nora Bumanis 1



Join us at the Royal Glenora Club for a little “California Dreaming” while enjoying California wines and local food producers.When: Friday, April 13 from 6:30 p.m. - 9:30 p.m.Where: Royal Glenora Club

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� ere’s always a lot of talk about French Bordeaux Futures, and a lot of money invested in these wines. � ose are great wines, and defi nitely on my bucket list to try should Lotto Max ever work out in my favour. But Italy is just as great for building your cellar. Start out with:

EnzoBogliettiLanghe IGT “Buio” 2007 (Piedmont, Italy) $55.99/750mlIt’s incredible to think that the winery has only

been in production since 1991, and yet their wines are already showing incredible depth. � is is 80 per cent nebbiolo with 20 per cent barbera, and is a sleeper hit. Incredibly full-bodied now, but the tannins are a little aggressive still. We suggest you buy now, put in the back of your cellar for at least fi ve years (eight is better) and enjoy the choco-late, fl owers and baking spice that are just aching to come out.

And it’s Barolo, so you have time to practice your braising skills with veal, lamb or beef when you’re ready to open it.

Dr. H. � anischBernkastelerBadstube Riesling Kabinett (Mosel, Germany) 2010 $21.99� is is a Riesling for wine geeks. It’s slightly off -dry with an intense acidity that is ex-tremely well-balanced by the fruit and so the acidity level isn’t actually as aggressive as you originally think after the fi rst sip. � e tropical fruit is bright with a hint of honey and beeswax. Not everyone thinks of ageing their Riesling, but this is priced just right to drink now or experiment with in the cellar. If you’ve never had an older German Riesling, trust me when I say you’re missing out on a cool experience. I’ve had Riesling from the 1990s in the last two to three years that blew my mind. I’m tucking away a few bottles of this to enjoy for the future.

Brewdog’s “Sink the Bismarck” $112.50/375mlYes, beer can be cellared and in this case, it’s encouraged. � e Scottish lads never stopped with Tactical Nuclear Penguin. After success with

the freeze distillation process in Penguin, the “brew” (term used lightly) has been frozen four times, to get rid of any pesky water that may still be lurking in the liquid, and has also been quadruple-hopped for good measure. “Bismarck” clocks in at a mere 41 per cent ABV. � is is not your Friday night session beer.

Sherbrooke Around Town

Cellar Builder Recommendations

A monthly feature from Sherbrooke Liquor Store

EnzoBogliettiLanghe IGT “Buio” 2007 (Piedmont, Italy) $55.99/750mlIt’s incredible to think that the winery has only

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Q: All my friends talk about cellaring wines and wines that are “too tight.” I want to know what they are talking about and how you can fi gure out if a wine needs more time.

A: In a nutshell, if you sample a wine, and the tannins are pretty aggressive, and completely turn your mouth to Velcro, or the acidity is so bright and fresh that you have a hard time discerning the fruit fl avours underneath, then the wine could stand to age for a few years. As the wine ages, the savoury fl avours will start to emerge, and the colour starts to turn from purple or ruby to garnet and tawny. � e earthy, vegetal fl avours will start to balance out the tannin and/or acidity. If there is no fruit, acidity or tannins, unfortunately the wine has probably passed its prime, and you’ve missed the window of opportunity. Practice and experience help you fi gure out how long you should put that bottle away. And sometimes, you just take a gamble based on a gut instinct. Sometimes you win the cel-laring gamble, sometimes you lose. But that’s the fun part of wine, when you win, you can win big!

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FFFFFEATUREFFFEATUREFFFEATUREFFFEATUREFSWITCHING SCENES : The orchestra will look very much like this on May 8, but the backdrop will be quite different.

“ It’s about rallying the folks at home to have a real civic pride in their orchestra – just like you would a sports team.” - Mary Lou Falcone

“ It’s about rallying the folks at home to have a real civic pride in their orchestra – just like you would a sports team.”

FBIG APPLE, BIG DREAMSTHE ESO HAVE THE CHANCE OF A LIFETIME – A PERFORMANCE AT CARNEGIE HALL. NOW IT’S A MATTER OF GETTING THEM THERE

BY MICHELLE LINDSTROM

CARNEGIE HALL IS THE HISTORIC VENUE FOR A NEW AND INVENTIVEorchestral event called the Spring for Music Festival, mounted for the fi rst

time in May 2011. On the heels of their success, organizers are looking forward to future Festivals. And the ESO, one of only six orchestras invited to perform in 2012, and the only Canadian orchestra, are looking forward to performing for their fans on New York’s – and one of the world’s – most storied stages.

As many great ideas do, the Spring for Music Festival evolved from a casual conversation among three symphony-loving friends. � e three friends – David Foster, president of Opus 3 Artists, � omas W. Morris, former Cleveland Orchestra CEO and now Spring for Music Artistic Director, and Mary Lou Falcone, owner of ML Falcone Public Relations – took their idea for a three-day concentrated concert “laboratory” and put some shape to it by raising awareness and, more importantly at the time, money.

Falcone says the approximate annual budget for the Festival is US$1.5 million and their original goal was to secure three years (through 2013).

“Happily we have now determined we can go to 2014,” she says. Gifts ranging from $750,000 to $1.5 million from the Andrew W. Mellon Foundation, Gerry and Marguerite Lenfest and Jan and Daniel Lewis were some of the game-changing donations, giving the Festival the support it needed for what Falcone calls a “wonderfully amazing,” inaugural year.

Jerrold Eilander, ESO Orchestra Operations Manager, says he’s been working on Carnegie plans for the ESO since April of last year, soon after the orchestra found out it was selected to play in the 2012 festival. For some investigative work, he and four other ESO employees went to Carnegie for 2011’s festival, with hopes the experience would better prepare him, and in turn the orchestra members, for what would be in store when their turn came around. � e Carnegie Hall premiere of the ESO will take place Tuesday, May 8 at 7:30 p.m.

“� is is the fi rst out-of-country performance they’ve ever had,” Eilander says. Going to Ottawa in 2005 to celebrate Alberta’s 100th anniversary was logistically the ESO’s most complicated performance to date. “When you’re going out of your own home, it’s a lot of work,” he says. “It’s fun work, but you’re moving your entire house.”

Reality set in, along with the excitement, for Eilander in September of last year when he had to start purchasing plane tickets, conversing with the U.S. government for work visas and arranging courier services in New York City. It’s a big deal, the performance venue and the city. Eilander says the



• The ESO was chosen out of approximately 65 eligible groups to play in the 2012 Spring for Music Festival because of their excellence, quality of playing and adventurous programming.

• Thomas Morris is the Spring for Music Festival’s Artistic Director and he selects who gets to be in the festival.

• Selection was based on superior talent along with orches-tras that focus on creative programming at home. To apply, the orchestras had to submit what they would play at the festival, but also two to three years of their programming at home.

• The ESO is the only Canadian orchestra performing at this year’s event. Montréal’s orchestra was the only Canadian group at last year’s.

FESTIVAL RULES AND TIDBITS

BIG APPLE, BIG DREAMS

CARNEGIE HALL : An illustrious chapter in the ESO legacy

musicians have begun asking questions ranging from what they should wear on stage to rental information for the timpani. Every detail counts.

� e details for the festival were just as important to the founders too, says Falcone. � ey wanted to off er the public something diff erent, less formal and rigid than traditional symphony events. � e festival off ers attendees the incredible imagination, creativeness and inventiveness of North American orchestras all for the price of US$25 per ticket. “If you get there fi rst, you could sit in a box seat at Carnegie Hall for US$25,” she says. Unbelievable.

“What’s wonderful about this festival is what it does at home,” Falcone says. “It’s about rallying the folks at home to have a real civic pride in their orchestra – just like you would a sports team.” During a memorable perfor-mance at last year’s festival, 1,400 audience members shouted and waved their supplied orange hankies when the host gave a shout out to Toledo dur-ing their hometown orchestra’s performance. (Each orchestra picks a home colour and ticket holders from the hometown are given a 14 by 14 inch cloth square made in that colour as a keepsake from the festival organizers.) “It was like being at a hockey or football game,” Falcone says. “It was really something we have never seen before in Carnegie Hall.” She hopes to see a sea of red from more than 700 Edmonton fans estimated to travel east this spring in support oftheir ESO.

Assuming the timpani will be rented, no outrageous spring storms will delay travel and no guest performers will get sick, the ESO will proudly perform on one of the world’s most sought-after stages for an orchestra. “It’s a diff erent kind of acoustic,” Eilander says, “but it’s great acoustics.” He says going on the road changes musicians, something proven back in ’05 after their Ottawa trip. ESO patrons who can’t make it to Carnegie Hall for the festival will not miss out completely. � e experience of New York will carry through with the musicians and ESO staff afterwards and will inspire their playing and programming for years to come.

• The same orchestra cannot play in the festival two years in a row, but can apply for the year after.

• Six orchestras from across North America will be playing in the 2012 festival each with one day scheduled just for them to play on Carnegie Hall’s stage.

• The order of performances is:MONDAY, MAY 7 – Houston Symphony

TUESDAY, MAY 8 – Edmonton Symphony Orchestra WEDNESDAY, MAY 9 – New Jersey Symphony Orchestra THURSDAY, MAY 10 – Alabama Symphony Orchestra FRIDAY, MAY 11 – Milwaukee Symphony Orchestra SATURDAY, MAY 12 – Nashville Symphony

• Tickets are US$25 and are still available. See www.springformusic.com


BIG APPLE, BIG DREAMSBIG APPLE, BIG DREAMSBIG APPLE, BIG DREAMS2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON

BIG APPLE, BIG DREAMS2011/2012 SEASON

BIG APPLE, BIG DREAMSBIG APPLE, BIG DREAMS2011/2012 SEASON

BIG APPLE, BIG DREAMS2011/2012 SEASON2011/2012 SEASON


EEEEEEESeasonal menus are developed using fresh Alberta ingredients and local artisan foods products. Intimate dinners, group celebrations, casual lunches or the simple enjoyment of a glass of wine become inspired at Zinc.

Come see what the applause is all about.

Seasonal menus are developed using fresh Alberta ingredients and local artisan foods products. Intimate dinners, group celebrations, casual lunches or the simple enjoyment of a glass of wine become inspired at Zinc.


A dining experience that hits all the right notes.

000Sig2.Zinc_1-2H.indd 1 10/18/11 3:19:40 PM

Connections Concert Series Liszt, Bach, Ravel, Prokofiev, Brahms, Schumann ...

Student & Alumni PerformersAndy Wong, piano, Brittney Jette, mezzo-soprano, Candace Chu, piano, Emily Filice, piano, Eric Meier, guitar, Erin Passmore, soprano, Holly Christiani, violin, Jocelyn Anselmo, soprano, Katia Paskevich, soprano, Mairi Irene McCormack, mezzo-soprano, Michelle Schamehorn, piano, Nansee Hughes, soprano, Peter Krejcar, piano, Rachel Jeong, piano, Rachel Johns, mezzo-soprano, Rebecca McIntosh, soprano

Faculty PerformersAlissa Cheung, violin, Bianca Baciù, piano, Cameron Watson, piano, Don Ross, clarinet, Frank Ho, violin, Ian Woodman, ‘cello, Joanne Yu, ‘cello, Leanne Dammann-Maitland, viola, Marie Forestier, violin, Sarah Ho, piano, Sarah Woodman, viola, Shannon Hiebert, piano

... performed by emerging student musicians and esteemed faculty of the Alberta College Conservatory of Music. These exceptional artists will impress you with inspired performances.

Concerts held Sundays at 2 pm on March 11, May 13 and July 8 in Muttart Hall, 10050 MacDonald Drive.

www.MacEwan.ca/Conservatory 780.633.3725

Adults $20, Students/Seniors $10Tickets available at Tix on the SquareAll proceeds will support student scholarshipsConcerts to be broadcast on CKUA, 94.9 FM

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EEEEEEEEEEEMr. Eddins’ bio can be found on page 6.

Artist’s bio and program notes continue on pages 14 & 15.

2011/2012 SEASONE2011/2012 SEASONE2011/2012 SEASONE2011/2012 SEASONE2011/2012 SEASONE2011/2012 SEASONE2011/2012 SEASONE2011/2012 SEASONE2011/2012 SEASONE2011/2012 SEASONE2011/2012 SEASON2011/2012 SEASON


BERNSTEINFancy Free: excerpts (15’)*

RAVELPiano Concerto in G Major (23’)*

AllegramenteAdagio assaiPresto

INTERMISSION (20 minutes)

SCRIABINPiano Sonata No. 2 in G-sharp minor, Op.19 “Sonata-Fantasy” (12’)*

AndantePresto

RACHMANINOFFÉtude-tableau in E-fl at minor, Op.39 No. 5 (5’)*

Lilacs, Op.21 No. 5(arranged for solo piano by Rachmaninoff) (2’)*

Polka de W.R. (4’)*

RAVELGaspard de la nuit (23’)*

OndineLe gibetScarbo

Program subject to change*indicates approximate performance duration

William Eddins, conductorBenjamin Grosvenor, piano (Canadian debut)

Benjamin Grosvenor

Tuesday, March 6 | 7 : 3 0 PM

ESO PRESENTS

n exquisite technique and ingenious fl air for tonal colour are the hallmarks which make BENJAMIN GROSVENOR one of

the most sought-after young pianists in the world. He fi rst came to prominence as winner of the Keyboard Final of the 2004 BBC Young Musician Competition at the age of 11. Since then, Mr. Grosvenor has become an internationally regarded pianist, performing concertos with orchestras including the London Philharmonic, Tokyo Symphony, and Brazilian Symphony in venues such as the Royal Festival Hall, Barbican, Muza Kawasaki and Carnegie Hall (at the age of 13). In 2011, having just turned 19, Benjamin performed with the BBC Symphony Orchestra on the First Night of the BBC Proms to a sold-out Royal Albert Hall.

An accomplished recitalist, Mr. Grosvenor performs to acclaim across the world. A regular at the Wigmore Hall in London, he has performed at the Victoria Hall in Singapore and the Philia Hall in Tokyo. In the U.S.,

AA R T I S T B I O SARTIST BIOS





A dining experience that hits all the right notes.

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ESIGNATURE www.EdmontonSymphony.com14

2011/2012 SEASONE2011/2012 SEASONEE2011/2012 SEASONE2011/2012 SEASONE2011/2012 SEASONE2011/2012 SEASONE2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASONhe has appeared at the Gilmore Festival and is a favourite in Saint Paul at the Chopin Society in Minnesota. He enjoys working with other members of the BBC New Generation Artists scheme, of which he is presently a member. � is season, he is an Associate Artist with Orchestra of the Swan. In 2011 Mr. Grosvenor signed with Decca Classics, and in doing so has become the youngest British musician ever to sign to the label. His fi rst recording for Decca includes Chopin’s four Scherzos and Ravel’s Gaspard de la Nuit. Benjamin’s previous recordings include Chopin rarities for the 200th anniversary edition of Chopin’s complete works (EMI, 2010) and a debut solo recording � is and � at (Bowers & Wilkins Society of Sound/EMI, 2008). � e youngest of fi ve brothers, Benjamin began playing the piano at age six. He currently studies with Christopher Elton at the Royal Academy of Music on an affi liated scholarship and has also studied with Leif Ove Andsnes, Stephen Hough, and Arnaldo Cohen. www.benjamingrosvenor.co.uk

Tonight’s performance marks Mr. Grosvenor’s Canadian debut.

Piano Sonata No. 2 in G-sharp minor, Op.19 “Sonata-Fantasy”ALEXANDER SCRIABIN(b. Moscow, 1871 / d. April 1915)

F EVER A COMPOSER’S LIFE COULD BE COMPARED TO A meteor, it is surely Alexander Scriabin’s. While the fi re of his inspiration

burned, it burned white-hot, increasing in intensity until it extinguished – he died at age 44. “(He) started as a composer of charming little piano pieces and ended up a mystic who wrote near-incomprehensible music that was going to pull together all the arts and religions,” summed up longtime New York Times music writer Harold C. Schoenberg of Scriabin. During their formative conservatory years, Scriabin and Rachmaninoff (see page 15) were students together, though their lives took completely diff erent paths.

Scriabin began writing his Second Piano Sonata in 1892, but did not fi nish it for another fi ve years. Several important events had a hand in the work’s inspiration (and its long gestation), including Scriabin’s fi rst encoun-ters with the sea (a trip to Latvia in 1892, then Genoa in 1895), but also his marriage in 1897, the year the sonata was completed.

Of his work, Scriabin wrote: “� e fi rst part evokes the calm of night-time on the seashore in the south; in the development, we hear the dark, sombre agitation of the depths. � e E Major section represents the soft moonlight which comes after the fi rst dark of the night. � e second movement, Presto, depicts the stormy agitation of the vast expanse of the ocean.”

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

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For a program note on Bernstein’s Fancy Free, please see page 19.

Piano Concerto in G MajorMAURICE RAVEL(b. Ciboure, Basses-Pyrénées, 1875 / d. Paris, 1937)

OST OF RAVEL’S GREAT ORCHESTRAL WORKS BEGAN LIFEas solo piano works. He also wrote many piano works that were not

orchestrated. Given this, it is perhaps a little surprising that he got around to writing concertos combining piano and orchestra only twice – and both came within a short span of time. � e fi rst was the Concerto for the Left Hand, written for Paul Wittgenstein (brother of the famous philosopher), who lost his right arm in the First World War. Not surprisingly, it is a serious, probing and intense work (which the ESO will present next season). � e Concerto in G Major, by contrast, is full of life, rhythm, and the strong infl uence of that French craze of the 1920s – American jazz.

� ere is a swaggering feel right from the outset, with pulsing rhythms quietened only by the piano’s entry. Comparisons to the feel and essence of one of the fi rst “jazz concertos” – Gershwin’s Rhapsody in Blue – are easy to make. � e piano continues to carry the weight of the thematic presentation through-out the fi rst movement. � e famous, six-note rising and falling fi gure is heard from diff erent instruments at diff erent times, as Ravel strings together several hurdles for the soloist, one following the other with clever seamlessness.

� e Adagio assai second movement is perhaps one of Ravel’s most beautiful creations. � e piano enters thoughtfully, romantically, and is in constant play through the course of the movement. A solo fl ute, and later, a solo oboe have their own, detailed lines of unbroken melody to present, but it is the piano which remains at the centre. A long-held tremolo in the piano herald’s the movement’s quiet end.

All of this stands in stark contrast to the vigour and pounce of the open-ing bars of the fi nale. Quick fl ashes, slides from some of the winds, and the rapid-fi re piano take us in a whirlwind from one fl itting idea to the next. � e notion of a chase has been attached to the movement more than once. Rather than chords, the piano glitters with single notes, though at a dizzying pace and quantity. Toward the end of the movement there are, fi nally, chords – jazz-based in their harmonies. Instruments throughout the orchestra get little shouts of their own, and in fact, it is the bass drum which gets the last note to play, bringing the work to a good-natured fi nish.

E2011/2012 SEASONE2011/2012 SEASONE2011/2012 SEASONE2011/2012 SEASONE2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASONESO Presents Benjamin Grosvenor



Étude-tableau in E-fl at minor, Op.39 No. 5Lilacs, Op.21 No. 5 (arranged for solo piano by Rachmaninoff)Polka de W.R.Piano works by SERGEI RACHMANINOFF(b. Oneg, Novgorod, 1873 / d. Beverly Hills, 1943)

LWAYS OF A SENSITIVE AND SELF-DOUBTING NATURE, Sergei Rachmaninoff overcame some early failures as a composer

to establish himself as one of the 20th century’s most often-performed composers. Unlike his former classmate Scriabin, whose tortured imagination eventually took him over the abyss to insanity, Rachmaninoff found a pattern which suited his creativity, and became one of the great, celebrated performers and composers of his age.

Rachmaninoff was a little coy about choosing “étude-tableaux” for the name of two sets of piano pieces. “I do not believe in the artist disclosing too much of his images,” he said. “Let them paint for themselves what it most suggests.” Pianistically, they are among the most challenging works Rach-maninoff wrote. Op.39 No. 5 presents a sweepingly romantic melody out of rumbling bass notes – a passion bordering on hunger. A more delicate middle section does not last long, swallowed up again by the fi erce intensity with which the piece began, though it ends tenderly.

Lilacs started out as a song for soprano and piano, a setting of a text by a Russian poet named Beketova, likening the simple pleasure of a fragrant fl ower to fi nding all the joy one needs. While not noted, particularly, as an art-song composer, Rachmaninoff wrote dozens of them, and he also transcribed this song himself for piano alone.

In 1911, a set of piano pieces was published entitled New Music Collection, containing works by a number of prominent Russian composers, including Scri-abin, Medtner, and Taneyev. Rachmaninoff ’s contribution to the set was a polka in A-fl at Major, based on a tune his father particularly liked. His father’s name was Wassily, hence the work’s title as Polka de W.R. � e Russian name Wassily is sometimes spelled in English as Vasily, so the work is also known as Polka de V.R.

Gaspard de la nuitMAURICE RAVEL

N 1836, THE POET ALOYSIUS BERTRAND (1807-1841) PUBLISHED a set of macabre poems under the pen name and title, Gaspard de la nuit,

with a subtitle that translates as “Fantasies in the manner of Rembrandt et de Callot” (a 17th century engraver). � e book was a favourite of the great Spanish pianist Ricardo Viñes, who loaned it to his friend Maurice Ravel. It took 11 years, but Ravel eventually composed one of the towering achieve-ments of 20th century piano composition based on three poems in that book.

A strange mix of harsh, stark reality and bizarre legends, the poems Ravel “set” in his cycle were written deliberately, according to their composer, to be of “transcendental diffi culty.” � e opening movement, Ondine, is based on the alluring call of a water siren, whose song, rising out of the watery depths, is both seductive and menacing. A body hangs from a gibbet in the second movement; in Bertrand’s words, “the corpse of a man swinging from the gallows is red under the setting sun,” as a bell tolls from the nearby town. � e fi nal movement is a depiction of the grim and ugly dwarf Scarbo, again quoting from Bertrand, who “at midnight, when the moon shines … tumbles down from the ceiling, whirls around like a witch’s spindle, grows to the size of a Gothic cathedral (and) subsides like a burnt-out candle.”

Program notes © 2012 by D.T. Baker

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Quality of Life is at the heart of every Landmark home.

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EEEEEEMr. Eddins’ bio can be found on page 6.

Artist’s bio and program notes continue on pages 18 & 19.

2011/2012 SEASONE2011/2012 SEASONE2011/2012 SEASONE2011/2012 SEASONE2011/2012 SEASONE2011/2012 SEASONE2011/2012 SEASONE2011/2012 SEASONE2011/2012 SEASON2011/2012 SEASON2011/2012 SEASONAfterthoughts, Friday post-performance, Main Lobby with William Eddins, Allan Gilliland & James Campbell

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

COPLANDMusic for the Theatre (21’)*

PrologueDanceInterludeBurlesqueEpilogue

COPLANDClarinet Concerto (18’)*


GILLILANDDreaming of the Masters I (2003 ESO commission) (17’)*

Benny’s BounceStranger on the PrairieRhythm Buddy

BERNSTEINFancy Free (24’)*

Enter the SailorsScene at the BarEnter two girlsPas de deuxCompetition SceneThree Dance Variations Variation I: Gallop Variation II: Waltz Variation III: DanzonFinale


Copland’s Clarinet ConcertoFriday, March 9 | 7:30 PM Saturday, March 10 | 8 PM

AMES CAMPBELL has followed his muse to fi ve television specials, more than 40 recordings, over 30 works commissioned, a Roy � omson

Hall Award, Canada’s Artist of the Year, the Queen’s Golden Jubilee Medal and Canada’s highest honour, the Order of Canada. Called by the Toronto Star “Canada’s pre-eminent clarinetist and wind soloist”, Mr. Campbell has performed solo and chamber music concerts in 30 countries in many of the world’s great concert halls. He has been a soloist with over 60 orchestras, including the Boston Pops, London Symphony, London Philharmonic, Russian Philharmonic, and the Montréal Symphony. He has also performed Copland’s Clarinet Concerto four times with Aaron Copland conducting. Mr. Campbell’s recording of the Brahms Clarinet Quintet with the Allegri Quartet was voted “Top Choice” by BBC Radio 3 and the London Times. Stolen Gems, a recording of lighter classics, won a Juno Award. Sony Classical has recently re-released his recording of the Debussy Premier Rhapsody with Glenn Gould.

FRIDAY MASTERS &LANDMARK CLASSIC MASTERS

JA R T I S T B I O SARTIST BIOS

William Eddins, conductorJames Campbell, clarinet

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FFFF2011/2012 SEASONF2011/2012 SEASON2011/2012 SEASONF2011/2012 SEASONF2011/2012 SEASONF2011/2012 SEASONF2011/2012 SEASONF2011/2012 SEASONF2011/2012 SEASONF2011/2012 SEASONF2011/2012 SEASON2011/2012 SEASONF2011/2012 SEASONF2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASONSince 1985, James Campbell has been Artistic Director of the Festival of the Sound, the annual summer Canadian chamber music festival, and has programmed over 1,300 concerts for the festival. Under his direction, the Festival has travelled to England, Japan and the Netherlands, and it has been the subject of documentaries by BBC Television, CBC Television and TV Ontario. Mr. Campbell continues to explore and expand musically, his most recent collaboration being Spirit ’20, created at Festival of the Sound in 2010. � e six-member ensemble explores the music of the roaring ’20s in new and innovative ways. Mr. Campbell has been Professor of Music at the prestigious Jacobs School of Music, Indiana University since 1988.

Mr. Campbell last appeared with the ESO in January 2009.

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Music for the TheatreAARON COPLAND(b. Brooklyn, 1900 / d. Westchester, NY, 1990)

First performance: November 20, 1925 in BostonTHIS IS THE ESO PREMIERE OF THE WORK

T ONLY 25 YEARS OLD, AARON COPLAND WAS ALREADYbecoming an important voice in American music, a fact borne out

by the numerous commissions he received for works to be conducted by Russian-born Serge Koussevitsky (1874-1951). In 1924, Koussevitsky became Music Director of the Boston Symphony, and began a steady stream of commissions of new American music. In 1925, the newly formed League of Composers selected Copland for its fi rst-ever commission, a work for chamber orchestra to be conducted by Koussevitsky.

Copland eventually settled on a multi-movement work he intended to call Incidental Music for an Imaginary Drama, changing it to Music for the � eatre, subtitled Suite in Five Parts. It is scored for an orchestra of as few as 18 musicians, perhaps recalling the pit orchestras common in American music halls. Each descriptive title to the parts provides important musical direction; moreover, the work as a whole forms an arch. � ere are jazz and blues elements to the Prologue, while the Dance is no polite ballroom aff air – this is a seedy nightclub romp – in which some instruments are directed to play deliberately “a little sharp,” or, “a little fl at.” � e Interlude slows and hushes things down with deft touches for English horn, trumpet and violin. � e raunchy side of American entertainment returns in the Burlesque, an A-B-A structure with an A section inspired by vaudeville comedian banter, and an inner section a suggestive dance with a trumpet part marked “grotesco”. Music from the Prologue returns in the fi nal Epilogue, but made more yearning. Music from the Interlude is also interpolated, as are small solos for clarinet, viola, bassoon and violin.

Clarinet ConcertoAARON COPLAND

First performance: November 6, 1950 on an NBC Radio broadcastLAST ESO PERFORMANCE: FEBRUARY 1990

MERICAN BANDLEADER PAUL WHITEMAN PROVED THAT classical music and the American-born genre of jazz could suc-

cessfully unite on the concert stage, so not long after his fi rst pioneering eff orts, other musicians jumped on the new crossover bandwagon. As one of America’s leading composers, Aaron Copland was much sought-after for these projects. After fi elding off ers from both Woody Herman and Benny Goodman, Copland accepted the more lucrative commission from the latter for a jazz concerto. He completed the fi rst version in 1948, but revised it soon after, following concerns expressed by Goodman about some of the high notes and other technically diffi cult aspects. � e revised version premiered on a nationwide radio broadcast in 1950 with Fritz Reiner conducting.

Scored for an orchestra of strings, harp, and piano, the Clarinet Concerto is split into two sections, slow followed by fast, separated by a cadenza. “I think it will make everyone weep,” Copland himself opined about the lush, romantic fi rst movement, which is in an A-B-A format. � e “A” section’s dreamy dance quality, delicately set to the measured rhythm of the harp, derives from its origins in sketches Copland had worked on for a pas de deux. � e central “B” section, for just the clarinet and strings, is sweetly romantic and touching. Clarinetist Richard Stoltzman says that the cadenza’s bridge into the fi nale takes us “from classic chalumeau to licorice stick,” or in other words, from the world of classical music to the realm of jazz as the fi nal movement heats things up. In what Copland called a “free rondo form,” the second movement’s spiky rhythms, set up by the strings prior to the soloist’s entrance, are in stark, brittle contrast to the opening movement. � e clarinet enters and begins a quirky dance. While there are plenty of staccato notes, there is also a surprising amount of lyrical lines amid the constantly shifting rhythmic landscape. � e piano adds just the right amount of dance-club feel. Perhaps in a fi nal nod to those groundbreaking Paul Whiteman shows (in which Gershwin’s celebrated Rhapsody in Blue premiered), there is a grand glissando for the clarinet (which is how Gershwin’s Rhapsody begins) as the cheeky fi nal movement concludes.

FRIDAY MASTERS & LANDMARK CLASSIC MASTERS Copland’s Clarinet Concerto

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



Dreaming of the Masters I (2003 ESO commission)ALLAN GILLILAND(b. Darvel, Scotland, 1965)

First performance: September 26, 2003 at the Winspear CentreLAST ESO PERFORMANCE: SYMPHONY UNDER THE SKY 2005

Program note by the composer:

HIS WORK WAS COMPOSED IN 2003 DURING MY TENURE as Composer in Residence with the Edmonton Symphony Orchestra.

Clarinetist James Campbell was scheduled to open our 2003/04 Pops series, and it was suggested that I compose a work for clarinet and orchestra. For a few years I had been thinking about how to combine my experience as an orchestral composer with my background as a jazz player. � is led to the concept of a series of Jazz Concertos for soloists who were comfortable in both the classical and jazz idioms. Each concerto would be inspired by the great jazz soloists of that particular instrument, hence the title Dreaming of the Masters, but it would also allow the player the opportunity to improvise.

� e complete title of the work is Dreaming of the Masters I, a Jazz Concerto for Clarinet and Orchestra and, as mentioned above, an important jazz clarinetist inspires each movement. Movement I, titled Benny’s Bounce, is inspired by Benny Goodman. � e sound of this movement is very much in the style of Louis Prima’s classic song “Sing Sing Sing”, one of Benny’s biggest hits. � is movement also begins with one of the most famous moments in the clarinet repertoire, which I won’t give away here. Movement II is the slow movement, and is inspired by some of the great clarinetists of the ’20s and ’30s – artists like Pee Wee Russell and Barney Bigard. � e title, Stranger on the Prairie, is an inside joke. One of the biggest hits for the clarinet is Acker Bilk’s Stranger on the Shore. Since Jim Campbell is from the Canadian prairies, I titled my movement Stranger on the Prairie. � e fi nal movement is called Rhythm Buddy, and its inspiration is Buddy DeFranco, one of the few clarinetists from the Bebop era. It is written on the chord changes to “I Got Rhythm” and quotes other famous “rhythm-changing” tunes. But it also has room for the solo instrument to show what it can do in the hands of a skilled player.

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Fancy FreeLEONARD BERNSTEIN(b. Lawrence, Massachusetts, 1918 / d. New York, 1990)

First performance of the ballet: April 18, 1944 in New YorkFirst performance of the suite: January 14, 1945 in PittsburghTHIS IS THE ESO PREMIERE OF THE WORK

HREE SAILORS EXPLODE ON

stage. � ey are out on shore leave, looking for excitement, women, drink, and any kind of fun they can stir up. Right now they are fresh, full of animal exuberance.” So began the sketchy outline an ambitious young dancer with New York’s Ballet � eater dreamt up for a dance he wanted to create. But before Jerome Robbins could bring it to life, he needed a composer. Vincent Persichetti turned it down, but suggested Robbins try a young fi rebrand named Leonard Bernstein.

It was an auspicious time for Bernstein. In 1943, he had conducted the New York Philharmonic in an acclaimed concert broadcast throughout the United States. Just weeks before the ballet premiered, his “Jeremiah” Symphony had also won accolades. With the success Bernstein would enjoy with Jerome Robbins with the ballet Fancy Free, Lenny was now one of America’s hottest musical fi gures.

� e scenario for Fancy Free doesn’t get a lot more complicated or involved than the Robbins sketchy description outlined above. � e world was at war, men in uniform were ubiquitous on American city streets, and the lighthearted and energetic escapades Robbins put these three sailors through, were tonic for ballet audiences.

“� e seven scenes of Fancy Free are actually symphonic pieces, but ballet audiences to not react to them as such, so well integrated is the music with the inventiveness of the choreography,” writes scholar Jack Gottlieb. � e story of Robbins’ ballet is apparent in the movement de-scriptors for Bernstein’s score, which is imbued (not surprisingly) with jazz elements, and even an improvised nature. Bernstein quotes from an already existing tune, “Big Stuff ,” a hit for Billie Holiday, at the outset and forms the basis for the Pas de deux as well. With this score, Bernstein showed that he was ready to take on the musical theatre world, and only nine months after Fancy Free premiered, a more fully fl eshed-out show had been made of it. With book and lyrics by Betty Comden and Adolph Green, an all-new score by Bernstein, and choreography once again by Robbins, On the Townran for 462 performances, and later became a hit movie.

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

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FFFFFFFFFFFR. STRAUSSDivertimento, Op.86 (after Couperin) (27’)*

La VisionnaireLa Musète de Choisi – La Fine Madelon – La Douce Janneton – Le Sezile – Musète de TaverniLe Tic-toc-choc (ou les Maillotins) – La LutineLes Fauvètes plaintivesLe Trophée – L’Anguille – Les Jeune-Seigneurs – Cy-devant les Petits Maitres – La Linote éfarouchéeLe tours de Passe-passeLes ombres errantesLes Brinborions – La Badine

GODARDSuite de Trois Morceaux in B-fl at Major, Op.116 (11’)*

AllegrettoIdylleValse


DEVIENNEFlute Concerto No. 7 in E minor (19’)*

AllegroAdagioRondo

HAYDNSymphony No. 85 in B-fl at Major, Hob.I: 85 “La Reine” (20’)*

Adagio – VivaceRomance: AllegrettoMenuetto: AllegrettoFinale: Presto


2011/2012 SEASONF2011/2012 SEASONF2011/2012 SEASONF2011/2012 SEASONF2011/2012 SEASONF2011/2012 SEASONFF2011/2012 SEASONFF2011/2012 SEASONF2011/2012 SEASONFrench InspirationsWednesday, March 14 | 7:30 PM

A R T I S T B I O SARTIST BIOS

Artists’ bios and program notes continue on pages 22 & 23.

t age 33, Canadian Conductor JEAN-PHILIPPE TREMBLAY has an impressive track record. In 2001, Pinchas Zukerman, Artistic

Director of the National Arts Centre Orchestra, named him Assistant Conductor, a position he held for two years. Artistic Director and Founder of the Orchestre de la Francophonie (OF) in 2001, he has given more than 200 concerts across Canada. In December 2006, Mr. Tremblay and the OF embarked on their fi rst international tour to China, giving 17 concerts. A return to China is scheduled in May. In recent seasons, he has conducted in London, Paris, Dresden, Rotterdam, Vienna, and Prague. Closer to home, he has been a guest conductor with the Montréal Symphony Orchestra, in Winnipeg, London, and Calgary, the National Ballet of Canada, the Manhattan School of Music Orches-tra, and the Philharmonic Orchestra of the Americas.

A

Jean-Philippe Tremblay, conductorSusan Hoeppner, fl ute

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2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASONIn the fall of 2009, Jean-Philippe Tremblay conducted the inaugural concert of the Royal Conservatory of Music’s Koerner Hall in Toronto and the Simón Bolivar Symphony Orchestra (Venezuela), the National Orchestra of Spain, the National Arts Center Orchestra, the Orchestre symphonique de Québec, the London Chamber, and the Chinese Philhar-monic Orchestra for the inauguration concert of the 2010 World’s Fair in Shanghai. Mr. Tremblay and the OF record exclusively for Analekta: the 2010 recording Beethoven Live (Beethoven’s nine symphonies), a fi rst by a Canadian orchestra, received enthusiastic reviews at home and abroad. � e next recording will be Berlioz’ Symphonie fantastique. Mr. Tremblay studied viola, composition, and conducting at the Conservatoire de musique du Québec à Chicoutimi, followed by advanced studies in conducting at the Université de Montréal, the Royal Academy of Music in London, the Pierre Monteux School, and a fellowship at the prestigious Tanglewood Music Center. He has studied under such renowned conducting pedagogues as Robert Spano, Seiji Ozawa, André Previn, Jorma Panula, and Michael Jinbo.

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

S

Susan Hoeppner was invited by music publisher Frederick Harris Music Company to serve as their Canadian representative to launch a new fl ute teaching series called “Overtones: A Comprehensive Flute Series” at the National Flute Association in California in August 2010. She performed in presentation recitals of “Overtones” across North America. A graduate of � e Juilliard School in New York, where she studied with Julius Baker, Ms. Hoeppner is now a member of the University of Toronto’s Faculty of Music where, along with regular recital appearances, she teaches a class on performance. An active teacher of gifted and advanced students, Ms. Hoeppner was appointed to the faculty of the Royal Conservatory’s Glenn Gould School in the fall of 2010. Ms. Hoeppner, “Sue” to her friends, enjoys swimming, power-walking, shoe-shopping, cooking, designing candles, and is a devoted animal lover. She enjoys learning foreign languages, such as Japanese, French and Spanish.

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

2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASONMIDWEEK CLASSICS French Inspirations

USAN HOEPPNER is a musician of international renown. She has performed as a guest soloist with orchestras around the world,

including the New York Chamber Orchestra, Takefu International Festival Orchestra in Japan, Lisbon Radio Orchestra, Orquesta de Camera in Buenos Aires, Northern Lights Music Festival Orchestra in Mexico, and the Sacramento Symphony. In Canada, she has performed with the Toronto Symphony, Calgary Philharmonic, Orchestre métropolitain de Montréal, Kitchener-Waterloo Symphony, Canadian Chamber Ensemble, Regina Symphony, and the Manitoba Chamber Orchestra. A true musical ambassador, Ms. Hoeppner enjoys performing repertoire by Canadian composers such as Srul Irving Glick, Christos Hatzis, Michael Conway Baker, Marjan Mozetich, and many others. Ms. Hoeppner is in demand as a recording artist as well. Her numerous discs appear on Marquis Classics, EMI Classics, Grammophon AB BIS, JVC Victor, and King Record labels. Marquis Classics released Susan and Lydia Wong’s recording of American Masterpieces in the summer of 2011, available on iTunes.

Divertimento, Op.86 (after Couperin)RICHARD STRAUSS(b. Munich, 1864 / d. Garmisch-Partenkirchen, 1949)

ECAUSE HE WAS A CONDUCTOR AS WELL AS A COMPOSER, Richard Strauss had a special regard for the music of the past. His own

works show this not only through inspiration (such as the stamp of Mozart that pervades his opera Der Rosenkavalier), but also by direct quotation and adaptation. In January 2009, the ESO presented Le bourgeois gentilhomme, an orchestration by Strauss of music by Jean-Baptiste Lully (1632-1687). In 1923, Strauss took harpsichord pieces by François Couperin (1668-1733) and fashioned them into a Dance Suite. Strauss’ friend and fellow conductor Clemens Kraus, encouraged his colleague to do more with Couperin’s music, resulting in two more works – the second of which is tonight’s Divertimento (after Couperin), the premiere of which was presented by the Vienna Philharmonic with Kraus conducting, on January 31, 1943.

Sixteen of the over 200 solo harpsichord pieces by Couperin fi nd their way into this remarkably cohesive work by Strauss. � ere is no attempt to create a period sound; in fact, Strauss delib-erately treats the music anachronistically, with the wide range of both sonorities and dynamics available to him in an orchestral idiom. Nevertheless, there is an enchanting antique feel in the melodies, making the Divertimento a fascinating mix of new and old.

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Suite de Trois Morceaux in B-fl at Major, Op.116BENJAMIN GODARD(b. Paris, 1849 / d. Cannes, 1895)

N HIS SHORT LIFE, FRENCH COMPOSER BENJAMIN GODARD’Sstar rose and fell quickly. A gifted violin pupil of the famed Henri

Vieuxtemps, Godard studied composition as well. Early success came with his opera Le Tasse, based on the life of poet Torquato Tasso. He was soon at the forefront of Parisian composers, a reputation which did not outlast his lifespan. Likely his most famous work today is the brief instrumental Berceuse from another of his operas, Jocelyn (1888).

His Suite de Trois Morceaux for fl ute was composed in 1890. “Its three movements glitter like musical vignettes of chic Parisian life during the belle époque,” wrote Edward Blakeman. � e brief Allegretto fi rst movement has a gentle lilt in pizzicato strings, over which the fl ute takes arpeggiating fl ight. � e Idylle second movement begins with a brief string introduction, then a languid and lyrical fl ute passage dominates. Brief exchanges with the oboe are the only moments in which the fl ute is given a chance to pause. � e brief suite concludes with a Valse (Waltz), a high-spirited and light aff air, with many skipping and soaring phrases for the fl ute as the orchestra keeps time. � e notes pile on as the waltz sweeps to its genial conclusion.

Symphony No. 85 in B-fl at Major, Hob.I: 85 “La Reine”FRANZ JOSEF HAYDN(b. Rohrau, Lower Austria, 1732 / d. Vienna, 1809)

ROUND 1784, CLAUDE-FRANÇOIS-MARIE RIGOLEY, COMTE d’Ogny – a backer of the prominent Paris arts presenter Le concert de

la Loge Olympique – asked the concertmaster of the orchestra to off er the celebrated Franz Josef Haydn a commission for six new symphonies. � e price was astronomically high, and Haydn responded with three symphonies in 1785, and three more the following year. � ese six “Paris symphonies” are among Haydn’s greatest.

No manuscript survives for Symphony No. 85, but it is believed to be among the 1785 set. It was apparently a favourite of Marie Antoinette, queen of France at the time (though that time was rapidly running out in 1785), which is how the nickname “La Reine de France” (“the Queen of France”) was appended to the work. It is noteworthy that a work bearing such a regal nickname should have, except for the brief Adagio introduction, relatively quick tempos throughout, from Allegretto to Vivace to Presto.

� ere is a sense of imminence and ceremony to the slow (Adagio) introduc-tion. When the Vivace main section begins, seamlessly out of the opening material, at times it seems to bristle, at other times seems a gently syncopated aff air – it would not sound at all out of place as the overture to an opera of the day. � ese two “light and shadow” ideas alternate, allowing the other to develop before returning back to the previous idea – an unusual twist on normal sonata form. � e second movement is labelled a “romance,” a rarely used word in a Haydn symphonic movement. In a gently rocking Allegretto tempo, the delicate string texture is surprisingly resonant, contrasted by brief dramatic fl ashes intruding on the calm. Haydn plays with this texture – increasing the dynamic of the fi rst part of the main subject, and greatly diminishing the second in the middle of the movement.

As befi ts a symphony written for the French, Haydn himself titled the main subject of the third movement with the French spelling “menuet,” and indeed, this dance is imbued with the dignity and lilt of a fi ne ballroom. � e contrasting trio does not alter the mood as dramatically as many a Haydn trio does in such movements; while the orchestral colours and the rhythm are certainly diff erent, the trio still has a polite air. � e fi nal movement, the shortest in the entire symphony, is set at a brisk Presto pace, and is an energetic and engaging rondo, requiring a strong verve but also very clean and detailed string playing.

Program notes © 2012 by D.T. Baker

Flute Concerto No. 7 in E minorFRANÇOIS DEVIENNE(b. Joinville, Haute-Marne, 1759 / d. Paris, 1803)

IFE WAS NOT EASY FOR FRANÇOIS DEVIENNE, AND TODAY,he holds a small but important place in the history of French music.

He was fi rst a bassoonist who then took up the fl ute; he became a noted teacher (publishing an important book on the performance of the single-key fl ute), and was best known as a composer for his operas, but also for many concertos he wrote for himself to perform. � roughout his life, however, he struggled to fi nd consistent employment. It is thought possible that among the orchestras for which he played bassoon, the Loge Olympique was one of them – the same group that engaged Haydn for what became known as the “Paris symphonies” (more below). � e last job Devienne is known to have held was as a bassoonist in a less than reputable Paris theatre. He spent the last four months of his life in the insane asylum at Charenton; French music taste had already moved beyond him.

Yet many of his concertos remain popular in the repertiore, among fl utists. � e E minor Concerto was composed around 1787, and begins tempestuously as the orchestra sets the stage. � e fl ute’s fi rst statements are much more refi ned, joining the orchestra for a contrasting theme in E Major. � e stormier music returns, giving the fl ute a dramatic platform upon which to play its true fi rst solo passages, presenting yet another main theme to exchange with the orchestra. As the movement progresses, the fl ute’s passages become ever more ornate.

� e Adagio middle movement is a leisurely unspooling melody in the fl ute, set to gentle accompaniment. � e long lines in the solo instrument require much stamina from the player to maintain dynamic control. � ere is also a cadenza near the end of the movement. � e fi nal movement is a Rondo, begun in a measured pace. But as the orchestra’s accompaniment keeps time, listen for how the fl ute’s notes become increasingly quick and rapid-fi re. After the breathing demands of the Adagio, the tonguing and fi ngering challenges of this movement are just as formidable.

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Heart disease affects the lives of more men and women than all cancers combined.

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RRRRRRRRRRJack Everly, conductorChapter Six, vocal groupKaren Murphy, vocalistFarah Alvin, vocalist

2011/2012 SEASONR2011/2012 SEASONR2011/2012 SEASONR2011/2012 SEASONR2011/2012 SEASONR2011/2012 SEASONRR2011/2012 SEASONRR2011/2012 SEASONR2011/2012 SEASON2011/2012 SEASONThe 1950s – The Golden Age of Black & WhiteFriday & Saturday, March 16 & 17 | 8 PM

THE 1950s OVERTURE(various / arr. Everly)

FOUR BY SIX: HITS OF THE DECADE(various / arr. Grizzard/Everly)

AT HOME WITH MRS. MURPHY(arr. Barker)

HOW DID HE LOOK / CRY ME A RIVER(various / arr. Barton)

I LOVE LUCY(Daniel / arr. Everly)

UNCHAINED MELODY(North / arr. Barker)

GIRL SINGER MEDLEY(various / arr. Barker)

MAMBO ITALIANO(various / arr. Barker)


ROCK AROUND THE POPS(various / arr. Barker)

JUMP JIVE AND WAIL(Prima / arr. Engelhardt)

GAME SHOW!(arr. Barker)

THE GOLDEN AGE OF BLACK & WHITE(various / arr. Everly)

Artist’s bio and guest performers’ photos continue on page 26.

Guest artists’ bios can be found on the insert for tonight’s performance.

Series Sponsor

Bill & Mary Jo Robbins

ROBBINS POPS

SONG FROM MOULIN ROUGE / THEME FROM A SUMMER PLACE(various / arr. Faith)

THE UNFORGETTABLE MEDLEY(various / arr. Barker)

ELVIS MEDLEY(various / arr. Barker)

Program subject to change

JACK EVERLY

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The CK Hui Heart Centre, officially opened in May 2011 in the Robbins Pavilion at the Royal Alexandra Hospital, will continue the legacy of innovative care that has made the Royal Alex a leader in the treatment of heart disease and a teacher to heart specialists from around the world.

Please consider making a charitable bequest to the Royal Alexandra Hospital Foundation in support of the CK Hui Heart Centre. It’s a gift with heart.

For more information, please contact Stephen Boyd, LL.B, at 780-735-5061.

Heart disease affects the lives of more men and women than all cancers combined.

www.ckhuiheartcentre.com www.royalalex.org 780-735-4723

This ad was generously donated by The Robbins Foundation Canada.

000Sig4_RoyalAlex_1-2H.indd 1 12/8/11 10:48:08 AM

000Sig4.RadioCanada_1-2H.indd 1 12/1/11 1:41:34 PM


Performance Sponsor Media SponsorMedia Sponsor


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

the National Arts Centre Orchestra. He’s also the Music Director of the National Memorial Day Concert and A Capitol Fourth on PBS. � is 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.

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 pro-gram each season. In the past 12 years, more than 225 performances of SPC programs have taken place across the U.S. and Canada, including last season’s 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 arranging, Maestro Everly indulges in his love for fi lms, Häagen-Dazs, and a pooch named Max.

Mr. Everly last appeared with the ESO in April 2011.

A R T I S T B I O SARTIST BIOS

J

KAREN MURPHY

CHAPTER SIX

FARAH ALVIN

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2011/2012 SE2011/2012 SE2011/2012 SE2011/2012 SE2011/2012 SE2011/2012 SEROBBINS POPSThe 1950s – The Golden Age of Black & White

FEATURED GUEST VOCALISTS IN TONIGHT’S PERFORMANCE

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EEEEEE2011/2012 SEASONE2011/2012 SEASONE2011/2012 SEASONE2011/2012 SEASONE2011/2012 SEASONE2011/2012 SEASONE2011/2012 SEASONE2011/2012 SEASONE2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASONTonight’s program will be announced from the stage.There will be NO intermission in tonight’s performance.

Ben Folds with the ESOThursday, March 29 | 8 PM

ESO SPECIAL

Ben Folds, special guestLucas Waldin, conductor

idely known for his prowess as a pianist, BEN FOLDS began his career in music as a drummer, and he is also adept at guitar and

bass. Ben Folds’ music evokes the essence of classic pop while adding an idiosyncratic infusion of energy and wit. Ben Folds Five was signed to an independent record label, resulting in their self-titled debut one year later. Quite a buzz was stirring for the band by the time their second album was issued through Epic. Released in 1997, Whatever and Ever Amen was pure pop perfection, and introduced the ballad “Brick” that broke the band commercially selling over two million copies worldwide. Ben Folds Five regrouped with 1999’s � e Unauthorized Biography of Reinhold Messner.

Due to artistic diff erences, Ben Folds Five broke up in 2000, and the fi rst Ben Folds solo album, Rockin’ the Suburbs, was released in 2001, with Ben playing most of the instruments himself. A year later he released a live album and in 2005, his critically acclaimed solo album Songs for Silvermanwas released, which featured the Adult Top 40 hit “Landed.” In 2006, Ben released supersunnyspeedgraphic, the LP – a compilation of tracks from his Internet-only EPs, B-sides, one song from Over the Hedge, and his inspired cover of a Dr. Dre song – a bona fi de hit that climbed to No. 71 on the Billboard Hot 100 chart. 2008 saw the release of Ben’s next solo studio album Way to Normal. In early 2009, he remixed and remastered the tracks, and together with a disc of stems to the songs so fans could do their own re-mixes, he put out the double disc Stems and Seeds. He followed that up later that spring with a collection of his songs sung a cappella, Ben Folds Presents: University A Cappella!

Consistently touring, Ben has earned a reputation for his wit, musicality and charismatic, energetic live shows and for his involvement in developing technologies and trends. Ben was one of the earliest supporters of iTunes and received much attention for being one of the fi rst artists to support and participate in Second Life, an Internet-based virtual world. He has been an early supporter of Myspace as well, being tapped in 2006 as their fi rst artist to perform a live performance webcast on the portal. Nonesuch Records re-leased Lonely Avenue, Ben Folds’ much-anticipated collaboration with author Nick Hornby, in September 2010. As a solo artist and leader of Ben Folds Five, Ben Folds has sold more than three million records over the course of his 17-year recording career.

This is Mr. Folds’ debut with the ESO.

WEEEA R T I S T B I O SARTIST BIOS

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Media SponsorMedia Sponsor

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

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MARCH 2012

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EEEEEEArtists’ bios and program notes continue on pages 30 & 31.

2011/2012 SEASON2011/2012 SEASON2011/2012 SEASONE2011/2012 SEASONE2011/2012 SEASONE2011/2012 SEASONE2011/2012 SEASONE2011/2012 SEASONE2011/2012 SEASONE2011/2012 SEASONE2011/2012 SEASON2011/2012 SEASON2011/2012 SEASONSymphony Prelude, 7:15 pm, Third Level (Upper Circle) Lobby with D.T. Baker

RIVALAchilles & Scamander(World premiere of an ESO commission) (8’)*

DVORÁKCello Concerto in B minor, Op.104 (38’)*

AllegroAdagio ma non troppoFinale: Allegro moderato


TCHAIKOVSKYSymphony No. 6 in B minor, Op.74 “Pathétique” (46’)*

Adagio – Allegro non troppoAllegro con graziaAllegro molto vivaceFinale: Adagio lamentoso – Andante


Rolston Plays DvorákSaturday, March 31 | 8 PM

Media Sponsor

LANDMARK CLASSIC MASTERS

Julian Kuerti, conductorShauna Rolston, cello

anadian conductor JULIAN KUERTI has quickly made a name for himself with his confi dent style, artistic integrity and passion for

musical collaboration. He has led numerous orchestras across North America including the Boston, Houston, Montréal, Toronto, Colorado, and Utah symphonies, Los Angeles Philharmonic, and the National Arts Centre Orchestra. In the 2010/11 season, Mr. Kuerti made debuts with the Atlanta, Seattle, New Jersey, Vancouver, Rochester, Toledo, and Québec symphonies. He also made debuts in Europe with the Orchestre Philharmonique du Luxembourg, Deutsches Symphonie-Orchester Berlin, and Bochumer Symphoniker. He recently completed his post as Assistant Conductor to James Levine at the Boston Symphony, having made his BSO subscription debut in 2008. Mr. Kuerti returned to the BSO podium on two last-minute occasions that year.

CA R T I S T B I O SARTIST BIOS

Series Sponsor

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LLLLLL2011/2012 SEASONL2011/2012 SEASONL2011/2012 SEASONL2011/2012 SEASONL2011/2012 SEASONLL2011/2012 SEASONL2011/2012 SEASONL2011/2012 SEASONL2011/2012 SEASON2011/2012 SEASON2011/2012 SEASONL2011/2012 SEASONL2011/2012 SEASONL2011/2012 SEASONL2011/2012 SEASONL2011/2012 SEASONL2011/2012 SEASON2011/2012 SEASONJulian Kuerti was born in Toronto into one of Canada’s most distinguished musical families (his father is famed pianist Anton Kuerti). He began his instru-mental training on the violin. While completing an honours degree in engineer-ing and physics at the University of Toronto, he kept up the violin. He began his conducting studies in 2000 at the University of Toronto. He studied with David Zinman at the American Academy of Conducting at Aspen in 2004, and with Finnish maestro Jorma Panula at the NAC Conductors Programme in Ottawa. In 2005, he was one of two conducting fellows at Tanglewood, where he had the opportunity to take master classes with James Levine, Kurt Masur, Stefan Asbury, and Rafael Frühbeck de Burgos. Mr. Kuerti served as assistant conduc-tor to Ivan Fischer and the Budapest Festival Orchestra during the 2006/07 season. From 2005 to 2008, he was founding Artistic Director and Principal Conductor of Berlin’s Solistenensemble Kaleidoskop. Mr. Kuerti conducted the Boston Symphony Chamber Players in music by Golijov and Foss on Plain Song, Fantastic Dances, released in January 2011 on the BSO’s own label.

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

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Achilles & Scamander (World premiere of an ESO commission)ROBERT RIVAL(b. Calgary, 1975)

Program note by the composer:

‘O Achilles, your strength is greater, your acts more violentthan all men’s; since always the very gods are guarding you.If the son of Kronos has given all Trojans to your destruction,drive them at least out of me to the plain, and there work your havoc.For the loveliness of my waters is crammed with corpses, I cannotfi nd a channel to cast my waters into the bright seasince I am congested with the dead men you kill so brutally.Let me alone, then; lord of the people, I am confounded.’ –Homer’s Iliad, Book 21, lines 214-21

ITH THESE WORDS, SCAMANDER, THE RIVER GOD, implores a rampaging Achilles to take his fi ght elsewhere. But in vain.

And so ensues a dramatic battle between god and mortal, the former roiling his waters in an eff ort to drown the transgressor, the latter saved only by the intervention of another god, Hephaestus, forger of Achilles’ shield, who lays waste to Scamander by raining fi re upon him, thus allowing Achilles to carry on the slaughter.

� is episode inspired in me a short tone poem. I depict Achilles with a muscular theme in the horns that rises up across the instrument’s entire range, punctuated by the jabs of his sword and his shrill war cry. Scamander’s theme, in the bass trombone, rises up too, as if from the depths of the river itself. A subsidiary motive represents Achilles chasing his victims through the water – and later fl eeing its surging waves. Hephaestus makes a late but extraordinary entry.

� e Iliad stimulated my imagination like no other literary work has done in a long time. � e musicality of its language – the poetry’s rhythm, the extended similes, the repetition – drew me into another world. But so did the sweep of the narrative, the long descriptions and digressions and, especially, the striking relation-ship between mortals and gods.

LANDMARK CLASSICS Rolston plays Dvorák

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ward-winning Canadian cellist SHAUNA ROLSTON is one of the most compelling and unique musical voices on the stage today. Since receiv-

ing a mini cello for her second birthday, she has appeared in the world’s major concert halls including Wigmore Hall, Concertgebouw, Lincoln Center, and Carnegie Hall, and was also the featured artist at the 1988 Olympics. Praised for her blazing technique and her ability to touch the heart of each audience member, Ms. Rolston continues to astonish and delight with her concerts, recordings, and world premieres. Her passion for the music of our time has led to the commission and creation for her of more than 50 works for cello, including concertos by Canada’s leading composers. Upcoming projects include record-ings, performances, and commissions including four cello concertos, a whistling concerto, and three groundbreaking double concertos: one for improvising cello and contemporary jazz piano by jazz sensation David Braid, one for cello and piano by Heather Schmidt, and another for cello and fl ute by Karen Tanaka, as well as Wildfi re, a fi lm for BRAVO! television with music by Heather Schmidt. � e diversity of Shauna Rolston’s artistry is refl ected in the many honours received, including her appointment as Canadian Music Centre Ambassador for her commitment to the performance of Canadian music, and most recently,

the Oskar Morawetz Award for Excellence in Music Performance. Ms. Rolston is also a devoted educator, much in demand as a guest master class artist. She is Professor of Cello and Head of Strings at the University of Toronto and a Visiting Artist for the Music and Sound Programs at � e Banff Centre. Shauna earned a Bachelor of Arts degree in Art History from Yale University and a Master of Music degree from the Yale School of Music where she studied with the distinguished cellist and pedagogue, Aldo Parisot. (Shauna Rolston www.shaunarolston.com is represented worldwide by Michael Dufresne – President, Michael Gerard Management Group www.mgmg.ca.)

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

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Cello Concerto in B minor, Op.104ANTONÍN DVORÁK(b. Nelahozeves, 1841 / d. Prague, 1904)

First performed: March 19, 1896 in LondonLAST ESO PERFORMANCE: FEBRUARY 2005

N 1894, ON A BREAK DURING HIS TENURE (1891-1895) HEADING the newly formed National Conservatory in New York, Antonín Dvořák

went home to Bohemia briefl y. While there, he began sketches for what would become his Cello Concerto, at the behest of Bohemian cellist Hanuš Wihan. Dvořák took to the task with relish, completing it the following February. Soon after, his sister-in-law died, so Dvořák reworked the concerto. His song “Leave Me Alone in My Dreams,” a favourite of hers, was quoted in both the Adagio movement and the fi nale.

Wihan would eventually take up the concerto, which was dedicated to him, but the fi rst performance took place with Dvořák conducting, and Leo Stern as soloist. It might seem at fi rst as if the fi rst theme heard in the work is given relatively short shrift, particularly as the second subject (heard fi rst on the horn) is given much more breadth – it was one of the composer’s own personal favourites among his melodies. � e bulk of the movement is spent with each of these musical ideas, and that fi rst theme is made much more dominant in the recapitulation.

� e second movement is one of Dvořák’s fi nest slow movements. After an introduction in the woodwinds, the cello enters, quoting that favourite song mentioned above. � e mood is not tragic, but beautiful, serene, and direct. � ree horns present an almost organ-like chorale mood to a bridge, used to usher in a cadenza for the cello, accompanied by the woodwinds, and leading to a gentle conclusion. � e fi nale perks up the pace with a picturesque march tune used as the main subject of a loose rondo movement. Not only does the song from the slow movement return, there are echoes of a theme from the fi rst movement as well, lending a sense of completeness to the fi nale of this broad, rich concerto, which has taken its place as among the best. Upon hear-ing it, Dvořák’s friend and mentor Johannes Brahms famously said, “Why on earth didn’t I know that one could write a cello concerto like this? Had I known, I would have written one long ago.”

I

Symphony No. 6 in B minor, Op.74 “Pathétique”PIOTR ILYICH TCHAIKOVSKY(b. Kamsko-Votinsk, 1840 / d. St. Petersburg, 1893)

First performed: October 28, 1893 in St. PetersburgLAST ESO PERFORMANCE: OCTOBER 2005

RETTY MUCH FROM ITS FIRST PERFORMANCES, TCHAIKOVSKY’Sfi nal symphony has produced a barrage of confl icting rhetoric. People tend to

hear what they want in a work, so for those who must insist that this great, tragic work is Tchaikovsky’s suicide note, they cite mounds of evidence. Just as there is equally compelling evidence to those who believe that the symphony was simply the next work in what he hoped would be many more. Tchaikovsky himself is not much help, either. Always a bit of an emotional weather vane, the composer’s own writings could be seen to support either point of view.

So what do we know? Well, we know that Tchaikovsky let the idea germinate of what he termed a “Program Symphony” for more than two years, after sketch-ing out a rough outline in which he wrote, “� e ultimate essence of the plan of the symphony is LIFE. First part – all impulsive, confi dence, thirst for activity. Must be short. Finale DEATH (result of collapse). Second part, love; third, disappointments; fourth ends dying away (also short).” We also know that the fi rst performance of the work (presented at its premiere without a sobriquet) was met with reasonable success. And we also know that within a week of that fi rst perfor-mance, Tchaikovsky was dead. Nine days after that fi rst performance, the work, now called the “Pathétique” Symphony, was given again, and to great acclaim. Tchaikovsky’s brother Modest claims to have suggested to Piotr the name for the work. And we know that Tchaikovsky dedicated the symphony to his nephew, known as “Bob” or “Bobyk” in his many letters, and for whom Tchaikovsky doubtlessly had deep feelings, though he knew nothing could come from them.

Enter more contradiction. � e offi cial cause of his death was cholera, from drinking unboiled water. � ere are many who just as adamantly maintain he took poison by his own hand. � e latter hear in the work what must obviously be the torments of the composer. Again, letters from Tchaikovsky would seem to indicate that he was indeed unhappy; but then why did he write to his publisher, saying, “I have never felt such self-satisfaction, such pride, such happiness, as in the consciousness that I am really the creator of this beautiful work.”?

Ultimately, we are left with the music, regarded by many as the fi nest Russian symphony ever written. � e bassoon solo, which rises from the murky strings at the outset presents an idea which will be prevalent throughout much of the work – a rising, then falling idea that eventually brings us to the Allegro of the movement, and from E minor to the symphony’s home key. It is here that another melody is presented, and it is this secondary subject that dominates the rest of the movement. � e development section is capped with a powerful orchestral tutti, but the move-ment ends quietly.

� e second movement is set up, and presented, as a waltz. Yet its time signature throughout nearly its entire duration is 5/4, which one perceptive early critic (Paul Henry Lang) noted it “shows the best side of Tchaikovsky’s innate musicianship … maintaining the somewhat unusual 5/4 measure throughout, seldom accomplished without the appearance of a tour de force.” � e third movement is dominated by a G Major march of fi erce energy and intensity, which nevertheless enters on tiptoes.

It is clear, right from the beginning, that Tchaikovsky had in mind the unusual idea of an Adagio fi nal movement. While it begins in B minor, the tragic song which lingers so powerfully in the imagination is actually in D Major. � e overall mood is one of grieving, of regret; there is no respite, no happy ending – only a long dying away. “� is is not a work you can be indiff erent to,” wrote one music historian. “And even those fastidious persons disturbed by its sensational aspects should not allow themselves to be blinded thereby to the work’s equally real musical strengths.”

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

P




PPPTPPPPPPPPPPOM LIM IS ENJOYING HIS VERY FIRST YEAR AS AN ESO SUBSCRIBER –and his path to becoming a regular symphony attendee is perhaps

a little diff erent from most people.Tom owns Lan’s Asian Grill, a popular restaurant not far from

the Winspear Centre. Kathy Brown, the ESO’s Patron Development Associate and a passionate ESO subscriber, regularly eats at Lan’s before attending concerts at the Winspear. When she overheard classical music playing on the satellite radio she struck up a conversation. She told Tom that the ESO had a concert series on Sundays – his one day off from the restaurant business – as well as a 2-for-1 off er for fi rst-timers; he jumped at the chance to attend.

With Tom’s creative background, it’s no surprise that it only took a nudge for him to subscribe to the RBC Sunday Showcase series. He played piano as a child, but over the years strayed away from music and headed more towards athletics, creative design and visual arts. After university, he spent six years in fashion design before opening Lan’s. He found a way to apply his love of visual arts by designing a series of wall decorations that complement the restaurant’s menu.

Tom appreciates the talent and time that goes into the Sunday Show-case concerts, which focus on promoting the talents of young emerging musicians. “� ere is a huge diff erence between a person who plays the piano, and a pianist,” he says, referring with some chagrin to his own foray into piano. “� e last pianist I saw was Scott MacIsaac. He put his whole body into it, put everything into it.”

Tom particularly enjoys the peaceful atmosphere at every show. � e audience may be packed into the concert hall, but everyone is completely focussed on the live music being performed. He calls it “peaceful, comfortable and inspired. All three trigger creativity for me.”

As both an athlete and restaurateur, healthy living is important to him and was a signifi cant part of his upbringing. “My parents taught me to put into my body what I want to get out of it.” According to Tom, good health contributes to quality of life in a deep way by helping develop an independent character. His decision to sign up for the RBC Sunday Showcase series was part of his healthy living choices: he felt that musical inspiration was something for which it was worthwhile to make some time.

Tom tries to bring someone new every time he attends an ESO concert. Partly, he wants to encourage people to attend live performances while bringing more exposure to the musicians. Another reason is more practical. “My time is so limited, so if people want to see me, they have to come to the symphony. I just say, ‘What are you doing on Sunday?’ After that fi rst concert, the ESO tends to win them over.” Many of Tom’s friends continue to attend.

� e symphony off ers Tom more than a chance for some downtime from his demanding career. “Music creates mental fl ow for me. I can get into a peaceful state, be more creative. It’s a great environment to be in.”

As part of Subscriber Appreciation Month, the ESO and Winspear Centre would like to welcome and thank all our new subscribers who have joined us for the fi rst time this year. We hope you will enjoy ESO concerts for many years to come!

Tom Lim, ESO Subscriber, stands beside one of his print designs at Lan’s Asian Grill.

PATRON PROFILEP The symphony offers Tom more than a chance for some downtime from his demanding career. “Music creates mental fl ow for me. I can get into a peaceful state, be more creative. It’s a great environment to be in.”


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Lynne DicksonMarlene DicksonMrs. Helen DiefenthalerNorman & Shirley DiemertMs. Elizabeth DoktorCatherine Miller & Len DolgoyMona DombroskyJeannie DomineySharon DonaldLouise DonnellyBrian & Alice DorishAlexandra DoskochMr. John Douglas BowenMaggie DowerGreg & Gail DrechslerDriving Force Inc.Alice DumaineBruce & Benita DuncanJoyce DunnFrancis & Muriel DunniganJoseph & Marilyn Cote-DupuisDr. Douglas & Monique DuvalSusan DuxburyMrs. Inge DyckShirley EdgarDavid EdwardsMr. Jim EdwardsElectric Motor ServiceMr. & Mrs. ElfordMr. Fred ElgertVivian EliasArdis EliasonMarilyn ElliottJim EllisRuthanna ElsonArnie & Donna EngerMrs. J. EnnisMr. & Mrs. A. EplerMrs. Gloria ErichsenMrs. Eva ErvinWanda EsseryJohn EvansMr. Dave EverittKen & Sandy FahnerW. Grant FairleyMr. & Mrs. Aaron FalkenbergJim & Joan FargeyEileen FarmerPamela FarmerMr. Tom FathMr. & Mrs. Robert FeeneyKeith FergusonMr. & Mrs. John FergusonMr. Eric FerrieBob & Doreen Fessenden

Continued on page 34

30 + YEAR SUBSCRIBERS

10 - 29 YEAR SUBSCRIBERS

The Edmonton Symphony Orchestra and Winspear Centre wishes to thank our longest-standing audience members - individuals who have been subscribing to ESO concerts for 10 years or more, or 30 years or more. As we celebrate our 60th anniversary year, we acknowledge that you have been an integral part of the ESO’s history! Thank you and we look forward to many more years of celebrating music with you.

THANK YOUTHANK YOUTHANK YOUTHANK YOUTHANK YOUTHANK YOUTHANK YOUTHANK YOUTHANK YOUTHANK YOUTHANK YOUTHANK YOUTHANK YOU TO OUR LONG TIME SUBSCRIBERS



Peggy Anne FieldLois A. FieldBarbara & David FinlaySarah FinnerConnie FirthBetty FisherSandy FitchMr. Bruce & Mrs. Joyce FlesherEsther FluevogFrances FlynnShirley ForbesForest Construction LtdMrs. Elaine ForssMarion FouldsMrs. Margaret FournierBlain & Marlene FowlerTom & Elaine FowlerArlene FowlisBruce & Margaret FoyHerbert & Donna FreedmanLora FriedMrs. Susanne FriessMr. Allan FulmerRon FunnellG. Muri Veterinary ServicesConnie GainerCalvin GardnerMr. Ronald J. GardnerCathy & Pat GarvinIsabel GauthierMr. & Mrs. D. GaylardDavid GeakeNeil & Twyla GibsonSharron GidychShirley GiffordMr. Gordon GilroyBrian & Patricia GingrasMr. Brian GlasierKevin & Alice GleesonMr. & Mrs. F. S. Glenfi eldIsidor & Grace GlienerDrs. Judy & Hakan GnarpeRichard & Sandra GoatcherMr. Frank GodfreyMrs. Shirley GoebelDoris GoetzWalter & Gerda GoetzDr. Jack & Mrs. Bluma GoldbergDr. & Mrs. George GoldsandOlive GoodfellowMarie GordonDarrell & Barbara GotaasMelvina GowdaPam Gowing-EllenbergerMr. David GrabskiEvelyn GrantCharles & Ann GrantDr. Ian GravesBetty GravettMr. Ronald Gray

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Warranty expired - now it’s your choice!Warranty expired - now it’s your choice!

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000Sig_Eurasia_1-6H_nBL.indd 1 10/7/10 8:54:15 AM


Mr. Reny MiklosKen & Gerda MillerJoan MillerMarla MillerJames & Elizabeth MillerElizabeth MillsHeather MillsDon MilneRoberta MilnerMr. Earl MinogueLovella MittelstadtMiss Gwen MoirHugh & Eleanor MontgomeryJoAnn Montgomery-BergerDoris M. MoonieMichael MooreMr. & Mrs. Jim MoranMr. & Mrs. Rick MorgenrothShirley MorieMr. & Mrs. C. & Sharon MoroschanMrs. Loretta MorrisonMr. Gerald MorseMichael MoserElisabeth & Reinhard MuhlenfeldAllan & Margaret MuirPamela S. MuirheadMrs. Gwen MuldrewCarolyn MulekJudge William MustardEd & Cherryle MustecaTim & Nancy MuzykaMrs. Lorraine MykitiukElizabeth MylesDale & Laurie NagelRebecca Nagel & Andrew MacMillanLewis NakatsuiKaye NashMrs. Diane NawataHeather & Grant NaylorMyron & Agnes NebozukMarilou NeufeldMr. & Mrs. James NewVirginia NewellMr. Donald NewtonTeresa NicholsonNelson & Anne NickleCatherine NicolRobin & Melonia NicolJohn ObergDavid OberholtzerNorma O’ConnorMr. Mark OifferLouise OlshewskiFrances T. OlsonAl & Fran OlsonEsther OndrackDonna & Daniel OrobkoJenny OsbornMrs. Marlaine OsgoodJoan O’SheaAaron & Jean OshryMike & Lynn Ostafi chukMrs. Liz OstoloskyMrs. A. OstryFred & Helen OttoJustice & Mrs. Vital OuelletteEllen OuldArthur & Mary PackerBill & Linda PaddonTim PaetkauElaine ParasJerry & Midge SmolykElaine ParkerDr. & Mrs. E. G. ParkinsonDavid PasayMr. & Mrs. S. G. & June PatemanKrista PatriquinLouise PearsonKathy & Tom PearsonJohn E. PedersenMr. F. L. PedrickMrs. Gene PenmanMr. Dennis PersonWayne & Cynthia PertmanMr. & Mrs. Peter HuellstrungDon & Margaret PetersonMr. Arthur PetersonLillian PheaseyDavid & Anne PhillipsRon Pidskalny & Arden AlexanderChristopher Piggott

Tino PinkoskiWalter Pinto & Pat MulhollandSharon R. PiseskySister Constance PiskaDonald & Judith PlumbMike & Donna PoburanSheila PollockJudy PoolMrs. Barbara PooleMr. Terry PoonMrs. Muriel PossKen & Karen PowellThomas & Emily PowersPaul & Doreen PrevilleCharles & Edith PrimmerMrs. Gerritdina PrinsMr. & Mrs. K. & Ruth ProchnauRay & Doris ProchnauMarlene & Robert PrussHarry & Emily QuinnMr. Ivan & Mrs. Mary RadostitsGil & Ruth RamsayDr. R. K. RamseyJeanne & Eugene RatsoyDorian RauschningMrs. Sandra RayMrs. Lorraine ReaJim & Vivian RedmondShirley RedmondMr. & Mrs. James ReebBryan & Linda ReedMarilyn ReidMr. David ReidKenneth & Marian ReinboldHil & Margaret ReineDiana RemmerMr. Alan RennieMr. & Mrs. Jim RetallackMike & Nancy ReynoldsMr. Augusto RibeiroLinda RichardsMrs. Natalie RickenbergIrene RidgeMrs. Karen RidgelyJoyce RitterMr. & Mrs. Erhard & Elfrieda RitzAllan & Karen RobertsonJames & Margaret RobertsonLynn & Neil RobertsonMrs. A. P. RobertsonSusan RobertsonDebra & Don RobichaudDavid & Marita RobinsonDavid RobinsonDavid RochefortMrs. Pat RoddickPaul RoffelMarvyn RogersSelwyn & Elaine RomanovskyDr. Barbara RomanowskiCity Lumber Corporation & MillworkShauna RosiechukLynn RothRenate RothDavid & Carin RoutledgeMrs. & Mr. Elaine RowanDr. Martine RoyEbba RozyckiGus RozyckiArnold & Grace RumboldAlan RuslerRoger & Janet RussellEdmond & Orla RyanColin RyanMr. H. G. & Mrs. Lorraine SabourinSusan SadlerG. & Betty SaelhofBarbara SaintSari Salmon SchiffMs G. SalvalaggioDr. & Mrs. Gary SamyciaJudith L. SangsterCarolina SantosJudy SaramagaTom & Carolyne SaumerPeter & Olga SavarynB. & T. SawyerRoberta ScalesElly SchenkelGertrude SchienbeinDale Schinkel & Stephen Luck

Mrs. Joanne Schiweck-DohertyJoy SchlautMr. & Mrs. Gerhard SchleseMrs. Brenda SchmidtMrs. Denise SchmidtO.K. SchneiderFrank & Gertrude SchoblocherEmerald SchoeppAnton & Marianne SchwabenbauerCharles SchwegerClare ScottDavid & Ingrid ScottEdna ScottG. W. ScottMarianne & Allan ScottMr. Donald M. ScottMrs. Pat SealeDr. Perry & Sandra SegalJoseph & Denise SelannMichael SeniukBrad & Patricia ShapkaAlan SharpeMargaret & Glenn SharplesMr. William ShawSylvia ShearerMiriam SheckterGabe & Connie ShelleyDr. R. W. SherbaniukHarvey SheydwasserMrs. Sandra ShokoplesMrs. Joyce SikoraLorraine SimardMr. & Mrs. Sidney SimmondsGeorge & Ruth SimmtAndrew Sims & Simone ChartersGerry & Barbara SinnMrs. Sandy SkogstadKay & Walter SlemkoTerry & Yvonne SlemkoMrs. Betty SloanE. J. SloaneMrs. Doreen SmillieDiane L. SmithEdward & Eluned SmithMartha SmithMichael & Nance SmithMrs. Lise SmithAllen & Myrna SnartDianne SoarBrian & Jo-Anne SomervillePaul & Linda SorensonLois SorokinPhilip & Sandra SpenceRobert SquairA. & N. StanleyStantec IncRuth StarrGerhilde StaudtRobert & Maria SteinhauerMary StelckMr. & Mrs. Harry StelfoxLorraine StepchukGrant & Debbie StephansonHon W. A. StevensonLorna Stewart & Murray GordonMr. & Mrs. Bill StewartShirley A. StewartBev StokowskiDr. & Mrs. M. StoneMrs. Dianne StoreyElizabeth StorchukRobert Stoutjesdyk &

Dorothy Scott-StoutjesdykRon & Marion StroudGlennie StuartWilliam & Arlene SwansonDale & Judy SwareDr. & Mrs. Guy SwinnertonChris & Alina SzaszkiewiczElizabeth SzynkowskiK. Taft & J. BomanRita S. M. TalenMr. & Mrs. Dan TaschukBill Taylor & Marie LosierJanette TaylorR. Marsh TemplemanR. & S. TeplyDr. & Mrs. Timothy TerryDr. & Mrs. G. TertzakianMrs. Theresa Jones

Continued on page 36

MARCH 2012

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Managed IT service providerProactive IT managementNetwork design and securityPC Hardware/software salesSecure backup managementHosted email and web services

Securing Business Networks with

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000Sig4.Zenaris_1-6V.indd 1 12/6/11 4:29:00 PM


Should your name be on this list, or would you like to change how you have been recognized in next year’s program? Please contact Adam Trzebski, Patron Relations Manager, at 780-401-2501 or [email protected].

Joan ThomasMr. David ThomasZoe ThompsonMarjorie ThomsonAdele Thurston & Timothy KinniburghMichael & Kathleen TomynMarlene TonhauserMrs. Mary TotmanGrant TownsendMrs. B. TownsendAndrew & Mary Ann TrachimowichTradex InternationalLarry TrekofskiElaine TrepanierN. G. TribeWilliam & Ursula TuchakAngie TurcotteMr. Charles TurinekAlice TurlockMr. James TurnbullLorene TurnerMr. & Mrs. Al TurnerLiz TweddleMr. Joseph TwymanMrs. J. S. TylerLois UnwinMrs. Peter Van BostelenHenriette van HeesH. Van ReedeHubert & Lola VanceBill & Doneida VandersteltC. VanderwellLloyd & Sheila VasicekMr. & Mrs. Jerry VasilashJoyce & Dennis VassAnnette & Robert VasseurMrs. Joyce VenablesDave & Myrna VenhuisMrs. Isabelle Verdin

Mr. Ron VernereyGerald & Elaine VervilleDr. Douglas VickMrs. June VillettMr. & Mrs. A. C. VismanBetty VoelkerMr. Brian VoiceDr. R. C. & Patricia von BorstelOlive WadsonPatricia Ronon WagarBruce & Lori WalkerEileen & Phillip WalkerJanet WalkerBarry & Valerie WalkerMrs. Gail WalkerBarbara WardBeverly WarnerDoug WarrenJack & Doreen Warwick-FosterKeith & Adair WassLevern & Arlene WasylynchukLyn WatamaniukDoug WattRon & Sheila WeatherillMrs. Paddy WebbDr. Sam & Eva WeiszRussell E. WellsRonald WenselBruce & Ruth WestMrs. Helen WestAnne & Jim WesterveltMr. Herman WetenkampDr. Muriel WhitakerDr. & Mrs. Alex WhiteNancy & Walder WhitePatrick & Dawn WhiteMr. Kim WhiteheadRich & Grace WhitehouseMrs. Jean Whiting

Susan WhittingtonLyle & Dawna WiebeMary WilkeCarol WilliamsonMarilyn WillieDominic & Linda WillottRobert A. WilsonMrs. Olga WilsonAlvin & Sue WinestockWayne & Beverly WinkelmanCarol & John WodakBetty WolanskiMr. William WolodkoMr. Kam WongDr. Marilyn WoodWendy WoodruffMr. C. J. Woods, FCAMorley & Pat WorkunGeoffrey & Veronica WorsleyValerie WozniukDon WrightJan WydarenyAllan YeeMs. Margaret YelleDonna YoderEleanor & Gerald YoungBill & Betty YoungRonald & Shirley YoungRudi & Margaret ZacskoMrs. Iris ZapachMrs. Weiping ZhangAudrey ZmurchukMr. & Mrs. George ZomborDenise ZubkoVictoria ZukiwskyJohn ZupancicJohn & Elisabeth Zyp

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EdmontonRecital Society

Special Thanks

Robin Doyon, trumpetSarah Ho, pianoSunday, March 18, 2012, 3 pmHoly Trinity Anglican Church10037 84 Avenue, Edmonton,AB

Admission by Donationwww.edmontonrecital.com

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His extraordinary life was full of achievements and accolades. British-born and educated in the fi eld of law, Dr. Green became an internationally noted champion of human rights. He wrote what is regarded as the textbook on the law of human confl ict, and was a tireless campaigner for the rights of prisoners of war. He was a member of the Order of Canada, and a Fellow of the Royal Society of Canada. We are proud that he chose to champion the cause of the ESO, and we extend our condolences to his wife of 66 years, Lilian, and their daughter Anne. Leslie Green was 91.

IN MEMORY OF...LESLIE GREEN, A PAST MEMBER OF THE ESO BOARD, PASSED AWAY ON NOVEMBER 26, 2011 ON HIS WAY TO ATTEND AN ESO PERFORMANCE.


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 1988-90

EXECUTIVEAnnemarie Petrov, Executive DirectorMaryGrace Johnstone, Executive Coordinator Meghan Unterschultz, Executive & Government Communications

Mr. 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. Stephen LePoole 2007-11

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 & STAFF

BOARD OF DIRECTORSJim E. Carter, ChairReginald Milley, Vice ChairSteven LePoole, Past ChairRon New, C.A., TreasurerBrian W. Summers, LL.B., Secretary/Legal CounselBart Becker, P.Eng.Carolyn CampbellMaria David-EvansBrad FergusonRicki GolickBill HarrisonTravis HuckellElizabeth HurleyCarol Ann Kushlyk, C.M.A., C.F.E.Edith StaceyRhonda TaftRichard Wong

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 solidifying the Edmonton Symphony Orchestra as an ongoing, sustainable organization, determined to provide Edmonton with the fi nest in orchestral music, enrich the lives of its audiences and enhance the quality of life for the entire community.

Since then, the ESO has grown from a part-time community orchestra, rehearsing at night, to a full-time core of 56 musicians who come here from all over the world to transcend the original board’s vision. � e orchestra’s performance home is the magnifi cent Francis Winspear Centre for Music – another goal realized by committed community volunteers.

� e ESO’s budget is $8.5 million annually, and it performs over 85 concerts, in addition to performances with Edmonton Opera and the Alberta Ballet. None of this would be possible without the tireless work of the Board of Directors 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 AssistantEric Filpula, Orchestra Personnel ManagerSheila Jones, Orchestra Librarian

COMMUNITY RELATIONSPatti Stewart, Director of Community RelationsD.T. Baker, Music Resource / Publications EditorKris Berezanski, Social Media & Communications CoordinatorPhilip Paschke, Communications ManagerAnne Pasek, Community Relations Coordinator Michael Schurek, Marketing & Sponsorship Manager

EVENTS MANAGEMENTAlly Mandrusiak, Director of Events ManagementWarren Bertholet, Head Lighting Technician*Diana de Sousa, Client Services CoordinatorRob Hadfi eld, Head Audio Technician*Grant Johnson, Technical Director*Alan Marks, Head of Stage Management*Stacy Parkins, Patron Services Assistant Manager Mike Patton, Assistant Head of Stage Management*Leanne Persad, Client Relations ManagerCristina Weiheimer, Internal Control Specialist

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

FINANCE & OPERATIONSBarbara Foley, Director of Finance & OperationsSandy Carter, Senior AccountantShirley Chaytor, HR Payroll CoordinatorDave Clark, IT SupportBeth Hawryluk, Tessitura Systems AnalystOlena Kotova, AccountantErika Ratzlaff, Business Analyst

PATRON DEVELOPMENTElaine Warick, Director of Patron DevelopmentCatherine Boissonneau, Box Offi ce SupervisorKathy Brown, Patron Development Associate Eleanor Finger, Associate Director of Patron DevelopmentJeffory Magson, Patron Development Coordinator (Intern) Erin Mulcair, Patron Relations ManagerSusanne Roman, Telephone Fundraising Campaign Offi cer Teresa Ryan, Patron Events ManagerConnie-Lee Thomlison, Box Offi ce ManagerAdam Trzebski, Patron Relations ManagerCat Walsh, Box Offi ce Assistant Supervisor

A LEGACY IS SOMETHING HANDED DOWN FROM THE PAST – something of value, something worth handing down. In this 60th anniversary season of the Edmonton Symphony Orchestra, it’s important to realize that part of its legacy is the long, and ongoing, list of performances that it has presented to the community each year since November 30, 1952. So when the time comes to unveil the next season’s list of performances, there is always that sense that the new season will, by the time it’s done, have added to the orchestra’s rich history.

THE 2012/13 SEASON OF THE ESO HAS BEEN ANNOUNCED. All the details can be found in brochures available in the lobby, or at EdmontonSymphony.com. We are also already renewing subscriptions. Two important milestones form a key part of next season: We mark the 15th anniversary season of the incredible Francis Winspear Centre for Music, and the 10th anniversary season of the Davis Concert Organ. Bill Eddins returns for his eighth season as Music Director, and there are performances for nearly every musical taste – and hopefully a surprise or two.

For more information visit:EdmontonSymphony.com

TTTTTT

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ADMINISTRATION


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

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ESO Signature Magazine March 2012

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