ESO Signature Magazine Nov 2011

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ELGAR’S ENIGMAat the Masters & Midweek

CLASSICAL – HARMONICA?Bonfi glio’s back!

MALCOLM FORSYTHHis fi nal ESO commission

ESO welcomes back hometown heroes

SIGNATUREFULL PAGE

9.25” X 11.25”PG. 36

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ON THE COVER:The ESO’s 60th anniversary season features many hometown heroes, like Juliette Kang, who are returning to make music with us. She and Jens Lindemann are featured in this issue, and join us for our Carnegie Hall debut in May. See pages 12,15 & 27. Cover photo by Amanda Hall Studios.

15

WELCOME

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

EDMONTON SYMPHONY ORCHESTRA2011/2012

PRACTICE MAKES PRODIGYTwo great musicians return home to play with the ESO by Michelle Lindstrom

CANADA IN THE BIG APPLEThe ESO prepares to represent Canada in New York City’s Carnegie Hall

FRIDAY MASTERS / LANDMARK CLASSIC MASTERS JENS LINDEMANN AT THE MASTERS (NOVEMBER 11 & 12)

William Eddins, conductor / Jens Lindemann, trumpetRichard Eaton Singers (Leonard Ratzlaff, Music Director)

ROBBINS LIGHTER CLASSICS HARMONICALLY YOURS (NOVEMBER 17)

William Eddins, conductorRobert Bonfi glio, harmonica

SUNDAY SHOWCASEDVORÁK’S VIOLIN CONCERTO (NOVEMBER 20)

William Eddins, conductorBenjamin Beilman, violinJeremy Spurgeon, organ

LANDMARK CLASSIC MASTERSJULIETTE KANG PLAYS BRAHMS (NOVEMBER 26)

Jean-Marie Zeitouni, conductorJuliette Kang, violin

MIDWEEK CLASSICS BERLIOZ, RESPIGHI & ELGAR (NOVEMBER 30)

Jean-Marie Zeitouni, conductorMireille Lebel, mezzo-soprano

CARNEGIE HALL DREAM COMES TRUEThanks given to long-time ESO patrons for supporting Assistant Principal Trumpet player

ESO / FRANCIS WINSPEAR CENTRE FOR MUSICBOARD OF DIRECTORS & ADMINISTRATION

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pg. 27

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SIGNATURE Contents

Volume 27, Number 2 | NOVEMBER 2 0 1 1

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pg. 19

pg. 23

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 Malcolm Forsyth, Peter Meechan, Jacques Hétu & D.T. Baker

Letters to the editor, comments and/or suggestions are welcome.

PUBLISHED BY

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

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

Contents copyright 2011 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 3NOVEMBER 2011

THE EDMONTON SYMPHONY ORCHESTRA2011/2012 SEASON

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WTART SPREADING THE NEWS… your Edmonton Symphony Orchestra will create Edmonton history on May 8, 2012 when they perform 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. You’re invited to witness music history … fans of the Edmonton Symphony Orchestra are invited to travel along to New York City to celebrate this musical milestone. A number of excited music fans have started confi rming their travel arrangements. For travel and ticket information, contact Paull Travel (the ESO’s offi cial Home Town Fan Travel Agency) at 780-428-6031. Carnegie Hall Trip fundraising … sending a full orchestra plus special performing guests to New York City requires dedicated fundraising eff orts. To learn about donation programs, including how you can sponsor a musician’s dream to perform at Carnegie Hall, please contact Eleanor Finger, Patron Relations Manager at 780-401-2578.

Anonymous (1) Eileen Abrams Audrey Andrews Paddy Brine & Wes Schmidt Joyce Buchwald Carolyn Campbell David & Carol Cass Ross Clemenger Elizabeth Donald Grant Edmondson Janet Fayjean Catherine Gibson Margaret Hartwell George Hislop Leanna Howden Elizabeth Hurley Garnet Ireland Carol-Ann Kushlyk Zonia Lazarowich Steven & Day LePoole Bev Martin Phyllis McAnally Muriel McIntosh Ruth P. McKinley

Melcor Developments Ltd Ed and Joy-Ruth Mickelson Joyce Mienhart Peter & Carol Moeykens Reinhard & Elisabeth Muhlenfeld Donna Naylor Jim & Sherry Noyes Mathilde Poulsen William & Mary Jo Robbins Maureen Saunders Allan & Marianne Scott Vici Seibt Pat Sharp Jacqueline Smith Jean A Stephen Dr. Barbara Stewart Monte Stout University of Alberta Alumni Assocation Rachel Warhaft In memory of Gerry YouellRalph and 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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WDMONTON HAS ALWAYS BEEN FERTILE GROUND from which talented musicians have grown, learned and then taken their artistry to audiences around the world. In our 60th anniversary

season, we have made it a special part of our programming to celebrate that legacy by bringing back some of those remarkable talents to make music with your orchestra once again. And – what a coincidence – both Jens Lindemann and Juliette Kang will proudly represent Edmonton at our Carnegie Hall debut next May as well.

Violinist Juliette Kang and trumpeter Jens Lindemann are both featured in performances in this issue of Signature magazine, and they are certainly worthy representatives of the wide array of artists who join us this season. We know that the artists we present at every Edmonton Symphony Orchestra performance are chosen carefully – you expect and deserve the fi nest musicians we can bring to our stage. How fortunate we are, however, that we have never needed to look far from home to provide that excellence! And as these artists continue to provide memorable performances for you, we continue to nurture that productive soil in our community, ensuring succeeding generations of great talent to come.

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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.



AWAWAAAAAAWAWAAAAAWAWAAAWAWAAAWWWWAWAWAILLIAM 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

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

R

ARTISTIC & LEADERSHIP TEAM

Eric Filpula, Orchestra Personnel ManagerSheila Jones, Librarian

The following musicians also appear at performances inthis issue:Eddy Bayens BassoonSylvain Beyries TrumpetJim Cockell ViolinElizabeth Faulkner FluteAllyson Lyne ViolinMichael Massey Piano/CelesteJohn McCormick PercussionDarren Salyn PercussionDiana Sapoznhikov ViolinYukari Sasada BassThomas Schoen ViolinRosemarie Siever SaxophoneRobert Spady ClarinetJeremy Spurgeon OrganWilliam Street SaxophoneKate Svercek ViolinBrian Thurgood PercussionDan Waldron OboeRussell 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



� e Christmas season is approach-ing quickly. Every year it seems that we have the same complaints:

all the extra work to decorate the house, not enough time to complete

the shopping, skyrocketing credit cards bills, the trek to the in-laws,

so much snow, the cold and so on. Yet every year, we do it all over again – including enduring the snow and cold. Florida and Mexico don’t start to get

really crowded until February!My favourite part of the Christmas

season is the excuse to eat rich, fattening foods and toast my friends and family,

preferably while in their company. However, the season of entertaining can be somewhat

daunting when you’re trying to decide what’s appropriate to bring to the various social engagements you’re invited to. Luckily, I have a few ideas.

For the cocktail party at the boss’ house: You don’t want to give the impres-sion that you’re paid too well, but you don’t want to look cheap, either. You also don’t want some-thing that “Timid Taylor” in the corner cubicle will drink too fast and suddenly become the life of the party.

Hendry Chardonnay 2009 ($26.99/750ml) A beautiful lightly oaked wine that can easily be served with a variety of appetizers. Note: it has classy packaging, too.

Your boss likes single malt? Glendronach 12 yr ($63.99/700ml). � is is a complex, easy sipping whiskey with dried fruit notes and subtle chocolate.

A monthly feature from Sherbrooke Liquor Store

Now for your signifi cant other’s family: A bottle of bubbly will always serve you well. You can spend a small amount; say $15 for a great Spanish Cava that is great value. Or you can gradually work your way up in price for various styles until you’re in the Champagne price range.

You won’t miss with Olivier Larochette Cremant ($24.99/750ml), French sparkling from Burgundy that’s made with Chardonnay grapes. � is is pure French el-egance but half the price, since it doesn’t actually come from Champagne.

� en onto the outdoor (insert personal activity of choice here) party: Whether you’re building snowmen, strapping on a snowboard or venturing into an old-fashioned toboggan race down a hill, you’ll often have

a thermos full of something warm to sip. But you may want to try something other than Irish cream.

� e people at St. Remy have just released St. Remy a la Crème ($31.99/750ml), which is pretty self explanatory. Or try PISA ($31.99/750ml), the newest nut liqueur with almond, hazelnut and pistachio. Who says you have to choose which nut you like best? � e bottle may remind you of a cer-tain Italian landmark.

A little something for your house: Mulled wine. Nothing says holidays like the scent of cinnamon and spices. Pull out your crock pot and start mulling a bottle or two of wine. It will make your house smell incredible and automatically get everyone into a festive mood. � is is where a bottle of inexpensive wine can be dressed up as something spectacular. I’ve always used a drier red (such as a full-bodied Chilean red, but truly, most red will work), a healthy addition of ruby port and a full sachet of spices and fruit. Visit our website for some more recipes.

For the cocktail party at the boss’ house:You don’t want to give the impres-sion that you’re paid too well, but you don’t want to look cheap, either. You also don’t want some-thing that “Timid Taylor” in the corner cubicle will drink too fast and suddenly become the life of

beautiful lightly oaked wine that can easily be served with a variety of appetizers. Note:

’Tis the (almost) Season!

A monthly feature from Sherbrooke Liquor StoreA monthly feature from Sherbrooke Liquor Store


have the highest per capita consumption of sparkling wine. � e majority of the grapes’ juice comes from France or Italy, though.

Of course, New World countries produce sparkling wine, using a variety of grapes, both indigenous and popular (Malbec and Shiraz), as well as noble varieties (Chardonnay and Pinot Noir). Many large Champagne houses, in fact, have wineries all over the world and produce wine using their knowledge and recipes, while showcasing regional grapes and distinction.

Whew! � at’s only a brief introduction, but it’s a start. Happy Holidays from Sherbrooke Liquor!

Q: What’s the diff erence between sparkling wines?A: Let me start by saying that you don’t need a special occasion to open up a bottle of bubbly. An evening spent with loved ones is the perfect excuse to celebrate.

� ere are seven major sparkling wine choices, including Champagne. Champagne, of course, can only come from the Champagne region in France, and is only produced using Chardonnay, Pinot Noir and Pinot Meunier.

Cremant refers to sparkling wines from six other regions in France. Unlike Champagne, each region also produces table wine. � ese other regions are Alsace, Burgundy, Saumur, Vouvray, Limoux and Loire. And the various grapes used are Chardonnay, Pinot Blanc, Riesling, Pinot Noir, Chenin Blanc, Cabernet Franc and Mauzac. � ese wines are often half the price.

Cava is from Spain. � e grapes used for Cava are Chardonnay & Pinot Noir, as well as indigenous varietals of Macabeo, Garnacha and Monastrell. � e wines vary from off dry to dry with medium acidity.

Asti, Prosecco and Lambrusco are three very diff erent wines all from Italy. Asti is made from Muscat, and is sweet and low in alcohol (so perfect for brunch). Prosecco, of course, is gaining in popularity as a DOCG from Valdobbiadene. Recently laws have been revamped so that DOCG contains only the indigenous vari-etal of Glera, while DOC prosecco can still be produced from other varietals.

Sekt is German sparkling wine, and the Germans get it! � ey

with Sherbrooke Liquor

� e always popular Friday night get together with friends: Make it beer! With over 900 selections available in Alberta, there is literally something for everyone and every occasion. Make it similar to a potluck. Assign everyone a style (instead of a dish) and see what appears. You can also determine, among friends, which styles are the most popular. To start off , you’ll want a lager, ale, wit bier (Belgian), India Pale Ale and a stout.

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PPPPFEATUREPPFEATUREPPFEATUREPPFEATUREPPPPFEATUREPPFEATUREPPRACTICE MAKES PRODIGY

ULIETTE KANG WAS BORN IN EDMONTON AS THE YOUNGEST OF three girls with a piano-teaching mother and urban-planning father. Her

sisters were already taking music lessons, the eldest on piano and middle sister on cello, by the time her mother got her started on violin.

Why the violin? “Because I was little, my mother picked the violin because it was the smallest instrument,” says Kang. “Also, she didn’t want us three girls to be playing the same instrument for fear of competition.”

Former ESO concertmaster James Keene remembers a seven-year-old Kang at an audition. “I automatically reached for her violin to tune it because very few kids that age can, and her mother just stopped me and said, ‘She can tune her own violin.’ ” Kang tuned her own instrument, played a diffi cult piece and impressed Keene with her talent. “She was one of the great child prodigies of the 20th century,” says Keene. “She showed that in every way: tremendous concentration, enthusiasm, instant understanding of concepts, perfect muscles and a great musical mind.”

Kang’s mother sought Keene out to train Kang because she knew he once attended Curtis Institute of Music, a prestigious school in Philadelphia for musically gifted students. He helped Kang with her musical audition repertoire and soon realized, “she could learn as fast as I could teach – and then some.”

Kang left Edmonton after grade four to split her time between Curtis and a public school in Philadelphia. Her mother moved with her and her father stayed in Edmonton to take care of her two sisters. “It was hard leaving my friends and my family,” says Kang, adding the situation must have been even harder for her parents. “For me it was exciting. I got to go to a new school and really focus on the violin.”

Kang stayed at Curtis until 1991 then studied at Juilliard in New York and hasn’t looked back. Until her mid-20s, she primarily performed concertos, travelled, and played recitals or chamber music. Around 2001, Kang joined the Metropolitan Opera Orchestra as a full-time member. � en, the Boston Symphony followed and for the past seven years she’s been with the Philadelphia Orchestra.

“I’ve always enjoyed playing in orchestras. � e repertoire is so varied and it’s so much richer and deeper than any other kind of classical music repertoire,” Kang says. “Being in an orchestra has given me a chance to settle down.”

J

BY MICHELLE LINDSTROM

TALENT, PERSPIRATION AND STRONG SUPPORT TOOK TWO YOUNG MUSICIANS TO THE PINNACLE OF THEIR CRAFT

Celebrating 60 inspiring years, like the ESO is doing this year, can stir up the memory bank and

desire to reconnect with the past. Two old friends of the orchestra have become internationally

known musicians with musical beginnings in Edmonton. Each will grace ESO patrons with

performances at the Winspear Centre in November.

LADIES FIRST


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She has two little girls with husband, � omas Kraines, a cello player she met at Curtis. (In November, she returns to the Philadelphia Orchestra from maternity leave just in time for her guest performance with the ESO.)

Kang tries to return to Edmonton every two years to see her parents, but thinks it’s been a decade since she last played with the ESO. It’ll be nice to see old friends and play in the Winspear Centre again, she says. “� e hall is still one of the best I’ve ever seen.”

She proudly says she was born in Edmonton and thanks the community for its great support of the arts. She admits focusing on a discipline at such a young age is “somewhat unusual” but “to go deeply into most fi elds, you have to focus and put the time in – just maybe not at 10 or 11, as I did, but eventually you have to do it.”

ENS LINDEMANN WAS 12 WHEN HE STARTED PLAYING THE TRUMPET,not because he wanted to, but because it was the path to junior high

percussion. His Edith Rogers’ band teacher, Al Jones, only allowed the best trumpet or clarinet players to decide if they wanted to be drummers. Lindemann was not one of the best. “[Al] wouldn’t let me switch to percussion and my mother wouldn’t let me quit trumpet because she said I had to be committed to it for at least one year,” says Lindemann.

Besides being denied drumsticks, a TV special Lindemann saw of Doc Severinson playing with the ESO was the last nudge he needed to fall in love with the trumpet. “Doc is my hero because his ability to connect with an audience is amazing,” says Lindemann. “It’s also the sheer degree of his virtuosity and ability to do anything on the trumpet.”

Lindemann then attended Music Camrose, a summer camp for young, talented Alberta musicians, and met instructor and ESO trumpet player, William Dimmer. “It was a wonderful challenge teaching him because you knew everything you said was going to be in place by the next time you saw him,” says Dimmer. Although Lindemann was grouped with two other tal-ented, trumpet-playing boys, known as the “terrible trio,” Dimmer says he’s always been a very disciplined and dedicated musician, even in his early teens.

“� e desire to keep practising and take this to the professional level was born of what I call ‘immigrant stubbornness’ – and I mean that in the best possible sense,” says Lindemann. He was born in Germany and was a year old when his parents moved him and his older brother to Edmonton. “Watch-ing my parents, who didn’t speak the language, come to a new place and culture – the only common thread was the notion of working for what you want,” he says. As he got older, the reason he worked so hard at the trumpet was to make brass in general, and the trumpet in particular, an accepted major solo instrument.

Lindemann praises the great band experiences he had at Edith Rogers and then McNally High School with band teacher, Murray Smith. Both exposed him to all music styles, making him well-prepared for studies at the University of Alberta, McGill University and then Juilliard.

He launched a solo career, spent six years with the Canadian Brass, then returned in 2001 to full-time solos in a variety of genres and countries. “My base is Los Angeles, but my travels take me all over the world,” Lindemann says, adding his 13-year marriage survives because of his wife’s understanding that he has a travelling career and a need to do it, not just a want.

J

Not long after leaving the Canadian Brass, Lindemann became the head of the Banff Centre’s brass department and instructed current ESO Principal Trumpet Robin Doyon. “With Jens, you don’t feel like he’s the master and you’re the student,” says Doyon. “He doesn’t just sit and listen and give you some advice. He’s learning at the same time you’re learning.”

Doyon says it’s easier to see now, 10 years later, what Lindemann was telling him about confi dence and using his air properly. “He’s a good mentor,” says Doyon. “� e energy he shares with everybody he’s around is really contagious.”

Lindemann is also currently a professor with high distinction at UCLA and says he teaches at the pace of the student, but sometimes has to slow a student down to practice correctly. “� e ability to focus, and be disciplined about it, is what separates musicians that will go on from ones that won’t.”

He’s looking forward to this November when he’ll play with the ESO again. “� e fact that Edmonton is my hometown, whenever I come play with the orchestra, it’s not like I’m playing with colleagues; I’m playing with a group of friends.”

FROM STRINGS TO BRASS


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PRACTICE MAKES PRODIGYPRACTICE MAKES PRODIGY2011/2012 SEASON


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PRACTICE MAKES PRODIGY2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON






BE A PART OF IT!We encourage you to support your ESO in this exciting endeavour. There are many ways to get involved.• Come with us to New York! Paull Travel is our offi cial travel

partner and can assist you with Carnegie Hall concert tickets, travel packages and group activities. Contact Paull Travel today at 780-428-6031.

• Help get our musicians there by Sponsoring a Musician’s Dream with a $3,000 donation (as an individual or through your company). Musician Sponsors will receive unique opportunities and invitations throughout the season.

• Host a Road to Carnegie fundraising party – invite your family, friends and colleagues to attend and contribute. We’ll arrange for an ESO musician to attend and provide an exclusive performance!

• Contribute to the Carnegie Fund. Every gift makes a difference.We appeal to all ESO donors to continue their essential support of our core activities and only support the ESO at Carnegie Hall as an additional consideration. For more information or to make a gift today visit www.ESOinNYC.com, call Eleanor at 780-401-2578 or drop by our table in the main lobby at ESO Concerts.

HE ESO’S PERFORMANCE ON MAY 8, 2012 IS AN OPPORTUNITY FOR YOUR orchestra to showcase its skill and artistic quality in one of the most

legendary performance chambers in the world – Carnegie Hall. As Bill Ed-dins noted at the public launch of this historic event: “If there is anything called a sacred musical place in this hemisphere, it would be that stage.”

Appearing as part of the Spring for Music festival, the ESO will present its unique artistic voice with a program that’s almost entirely by Canadian composers. Indeed, the stated mission of Spring For Music is to allow orches-tras like the ESO the creative space to “showcase their artistic philosophies through distinctive and adventurous programming in one of the world’s most competitive musical environments,” says Eddins.IT’S NOT JUST THE ESO AT CARNEGIE HALL – IT’S CANADA IN THE BIG APPLE!

Many individuals and companies agree that this is our chance to represent the Canadian spirit in New York City. � e ESO has received funding commitments from civic and provincial levels of government, support from iconic Canadian companies including Air Canada, and the enthusiastic involvement of Canadian alumni and expatriate associations based in New York. But we have many more steps to go along the road to Carnegie Hall.

TTT BE A PART OF IT!T BE A PART OF IT!We encourage you to support your ESO in this exciting endeavour. T We encourage you to support your ESO in this exciting endeavour. There are many ways to get involved.T There are many ways to get involved.• T • Come with us to New York!T Come with us to New York!

partner and can assist you with Carnegie Hall concert tickets,

Tpartner and can assist you with Carnegie Hall concert tickets,

HE ESO’S PERFORMANCE ON MAY 8, 2012 IS AN OPPORTUNITY FOR YOUR THE ESO’S PERFORMANCE ON MAY 8, 2012 IS AN OPPORTUNITY FOR YOUR orchestra to showcase its skill and artistic quality in one of the most Torchestra to showcase its skill and artistic quality in one of the most

legendary performance chambers in the world – Carnegie Hall. As Bill Ed-Tlegendary performance chambers in the world – Carnegie Hall. As Bill Ed-dins noted at the public launch of this historic event: Tdins noted at the public launch of this historic event: “If there is anything T “If there is anything called a sacred musical place in this hemisphere, it would be that stage.”

Tcalled a sacred musical place in this hemisphere, it would be that stage.”

TTTTTTTTSpr ing For Music : The audience show their “Toledo fl ags” at the Toledo Symphony’s concert at Carnegie Hall, May 7, 2011.

THE SPIRIT OF CANADA IN NEW YORK CITY



WWWUBSCRIBERS ARE THE LIFE BLOOD OF THE EDMONTON SYMPHONY ORCHESTRA – MUSIC LOVERS WHO SHARE OUR PASSION FOR

ORCHESTRAL MUSIC. IN RETURN, WE STRIVE TO PROVIDE YOU WITH THE HIGHEST QUALITY EXPERIENCE EACH AND EVERY TIME YOU ATTEND AN ESO PERFORMANCE.

DID YOU KNOW?• Th is year we have created a signature cocktail in celebration of our spec-

tacular 60th season and our history-making performance at Carnegie Hall on May 8, 2012. Th is unique drink is called the Edmonton, an elegantly spiced cocktail refl ective of the city and its history, with a delicate complex-ity that encompasses the spirit of the orchestra. Available in the Founders Room and at the martini bar for this season only!

• Avoid intermission line-ups and preorder the Edmonton cocktail or other desserts and beverages prior to the concert. You can place your order at any beverage station and your desserts and beverages will be waiting for you at intermission.

• Subscribers receive 50% off all ticket exchange fees. And exchange fees are completely waived for donors of $100 or more annually. If you cannot attend a concert in your subscription package, you can choose to exchange your tickets for another ESO concert. Seating is based on availability and a diff erence in ticket prices may result in upgrade cost. For more information call 780-428-1414 or visit www.EdmontonSymphony.com.

• Get ready to celebrate! We launch Christmas at the Winspear in late November. Enjoy festive decorations in our lobbies at all holiday concerts. Stay tuned for more information about how you can be recognized on our ESO Donor Holiday Tree.

SWWWWWWWWELCOME ESO SUBSCRIBERS!

New Subscribers are led on a backstage tour by ESO staff member Adam Trzebski

• You have a backstage invitation! All subscribers are invited to attend Overtures, a backstage tour with light lunch. For dates and to register visit www.EdmontonSymphony.com or call Erin at 780-401-2539.

WELCOME NEW SUBSCRIBERS!Th is year we are pleased to welcome more than 2,000 new subscribers to the ESO family! As part of our new subscriber “orientation” activities, we held backstage tours at the start of each concert series this season.

If you are a new subscriber, get the most out of each and every ESO concert by visiting our website at EdmontonSymphony.com – click on “Concerts & Tickets” and “Plan Your Experience” to fi nd out everything you need to know!

The Edmonton: a celebratory signature cocktail for patrons to enjoy for the remainder of this season only!

WWSIGNATURE 13NOVEMBER 2011


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

From beautifully appointed high rise condos to magnificent estate homes, each is designed and crafted in harmony with our customers’ dreams and aspirations.

Landmark Group Of Builders is a proud sponsor of the arts and all the wonder and happiness they bring to our quality of life in greater Edmonton.

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A R T I S T B I O SARTIST BIOSA R T I S T B I O SA R T I S T B I O SARTIST BIOSA R T I S T B I O SARTIST BIOSWilliam Eddins, conductorJens Lindemann, trumpetRichard Eaton Singers (Leonard Ratzlaff, Music Director)

2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASONJens Lindemann at the MastersFriday, November 11 | 7:30 PM Saturday, November 12 | 8 PM

FRIDAY MASTERS &LANDMARK CLASSIC MASTERS

FORSYTHA Ballad of Canada(co-commission with the National Arts Centre Orchestra, with the generous assistance of the Canada Council for the Arts) (23’)*

Part I: The Land1. In the Yukon

Part II: Canada in Time of Trial2.In Flanders Fields3.The Toll of the Bells4.On the Waverley Road Bridge

Part III: The Land5.Newfoundland

MEECHANApophenia (World Premiere of orchestral version) (13’)*

INTERMISSION (20 minutes)

RACHMANINOFFSymphony No. 2 in E minor, Op.27 (54’)*

Largo – Allegro moderatoAllegro moltoAdagioAllegro vivace

program subject to change*indicates approximate performance duration

orn in Germany and raised in Edmonton, JENS

LINDEMANN is hailed as one of the most celebrated soloists in his instrument’s history and has played in every major concert venue in the world. His career has ranged from appearing interna-tionally as an orchestral soloist, performing at London’s Last Night of the Proms and recording with the Mormon Tabernacle Choir to playing lead trumpet with the renowned Canadian Brass and a solo Command Performance for the Queen of England. Mr. Lindemann has also won major awards ranging from Grammy and Juno nominations to winning the prestigious Echo Klassik in Germany as well as receiving an honorary doctorate.

A prodigious talent, Jens Lindemann performed as a soloist with orchestras and won accolades at numerous festivals while still in his teens. A prizewin-ner at numerous competitions including the prestigious ARD in Munich, Mr. Lindemann also placed fi rst, by unanimous juries, at both the Prague and Ellsworth Smith (Florida) International Trumpet Competitions in 1992. Since then, he has performed solos with orchestras including the London Symphony, Philadelphia, Beijing, Bayersicher Rundfunk, Buenos Aires Chamber, Atlanta, Washington, Seattle, Dallas, Detroit, Houston, Montreal, Toronto, National Arts Centre (Ottawa), Vancouver, Warsaw, Welsh Chamber, I Musici de Montréal, St. Louis and Mostly Mozart at Lincoln Center. As one of the world’s most exciting trumpet soloists, the Los Angeles-based artist is internationally endorsed by the Yamaha Corporation and performs exclusively on 24K gold-plated trumpets.

Mr. Lindemann last appeared with the ESO in October 2011.

Afterthoughts, Friday post-performance, Main Lobby with William Eddins, Leonard Ratzlaff, Peter Meechan & Jens Lindemann

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

These concerts are dedicated to the memory of Dr. Malcolm Forsyth. See page 18.

Mr. Eddins’ bio can be found on page 6.Additional bios and program notes on pages 16-18.

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

2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASONFRIDAY MASTERS & LANDMARK CLASSIC MASTERS Jens Lindemann at the Masters

ounded in 1951 by the late Richard S. Eaton, Edmonton’s symphonic choir, RICHARD EATON SINGERS (RES), has played

a leading role in the cultural community of the city for six decades. RES performances have included many Edmonton and Western Canadian premieres of choral masterpieces such as Bach’s St. Matthew Passion and St. John Passion, Mendelssohn’s Elijah, Elgar’s � e Dream of Gerontiusand Vaughan Williams’ Sea Symphony. RES has also commissioned and produced world premiere performances by Canadian composers, including Mark Sirett’s In Praise of Music, Christos Hatzis’ � e Sepulcher of Life and � e Houses Stand Not Far Apart by John Estacio. In March 2010, the choir premiered A Song of the Seasons by Canadian composer Ruth Watson Henderson with text by E. D. Blodgett to celebrate the 25th anniversary of Leonard Ratzlaff ’s artistic leadership of RES.� e choir has travelled extensively across Canada, to the Netherlands and Britain, and has exchanged with other choirs including the Vancouver Bach Choir. A highlight for RES was its participation at Festival 500 in Newfoundland in 2003. RES is honoured to have been associated with the Edmonton Symphony Orchestra for 60 years. � is partnership has created many memorable choral events in our city, including the September 1997 performance of Mahler’s 8th Symphony “Symphony of a � ousand” with the ESO to commemorate the opening of the Winspear Centre.

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A Ballad of CanadaMALCOLM FORSYTH(b.Pietermaritzburg, South Africa, 1936 / d. Edmonton, 2011)

First performance: This work was a co-commission of the Edmonton Symphony and the National Arts Centre Orchestra, in celebration of the composer’s 75th birthday, December 11, 2011. The premiere performance took place June 9 & 10, 2011 in Ottawa. THIS IS THE WORK’S SECOND PERFORMANCE.

Of his work, the composer wrote:

HE QUIET AND THE VASTNESS OF CANADA’S FAR northwest are celebrated in the opening setting, “In the Yukon.” � e

Northern Lights arch gloriously over the scene. � e last of the fi ve move-ments, “Newfoundland,” takes us to the eastern end of the country, where the Atlantic meets the lonely and grand shores of that province. Between these two more expansive essays of the land, we turn to Canada in time of trial. Two wars: World War I (“In Flanders Fields”) and the Afghanistan War of 2002, which continues unabated. � e Waverly Road Bridge spans the “Highway of Heroes” in Ontario, where a cortège passes, bearing the coffi ns of fallen soldiers from that confl ict. � e centrepiece of this set commemorates a natural disaster all too common off the rocky crags in the frozen Atlantic. In 1898, the SS Greenland brought in the corpses of 25 seamen to St. John’s, frozen on the sea ice. In the fi nale (“Here the tides fl ow, and here they ebb …”), the wildness of Canada’s eastern shore is pictured. A fi nal crashing wave, a fl ickering of the Northern Lights, and the music vanishes.”

ApopheniaPETER MEECHAN(b. Nuneaton, U.K., 1980)

Premiere performance of the band version of the concerto: January 31, 2009 in Manchester, U.K.THIS IS THE WORLD PREMIERE OF THE FULL ORCHESTRA VERSION

Program note by the composer:

POPHENIA IS THE EXPERIENCE OF SEEING PATTERNS OR connections in random or meaningless data.

Apophenia is also a trumpet concerto in three movements. Each of the movements features a diff erent instrument, and whilst originally scored for B-fl at trumpet, fl ugel and piccolo trumpet, performers have utilised the cornet and soprano cornet in the piece too, refl ecting the work’s roots, where it was initially accompanied by a brass band.

Each of the movements of Apophenia relate to the phenomenon of viewing “Dark Side of the Rainbow” – a name used to refer to the act of listening to the 1973 Pink Floyd album � e Dark Side of the Moon whilst watching the 1939 fi lm � e Wizard of Oz, where moments of the fi lm and the album appear to correspond with each other.

� e fi rst movement is a fast and furious movement. Solo and ensemble interact at high tempo, swapping and creating new ideas, leading each other in new directions. Aside from the trumpet soloist, the kit player (Brian � urgood) also acts as a quasi soloist.

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To celebrate its 60th anniversary, RES and conductor Leonard Ratzlaff performed Beethoven’s Missa Solemnis on November 4, 2011. Other highlights of this special season are the presentation of the renowned Stuttgart Chamber Choir under the direction of their artistic director Frieder Bernius on March 14, 2012, and the perfor-mance of Handel’s Israel in Egypt with the Alberta Baroque Ensemble and soloists on April 22, 2012.

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

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2011-2012

EdmontonRecital Society

Special Thanks

New Orford String QuartetSunday, December 4, 2011, 7:30 pmMuttart Hall, Alberta College Conservatory of Music10050 MacDonald Drive, Edmonton AB$30 (adult)/$20 (students/seniors)Tickets from Tix on the Square or at the door.www.edmontonrecital.com

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� e second movement takes its musical inspiration from the Pink Floyd song “Us and � em”. It is during this segment of the fi lm that some of the most amazing moments of connec-tion happen.

� e fi nal movement is a dance – and a tour de force for the soloist who begins on the B-fl at trumpet, before switching to the piccolo trumpet for the fast and furious fi nale. Many of the coin-cidences from: “Dark Side of the Rainbow” relate to dancing, however, as long as a piece of music is the same tempo as the original, and the time signature is a regular one, this could be the case across most fi lms. So the composer chose to write a dance that wouldn’t synchronise to too many existing dance scenes. � e soloist is free to improvise his or her own cadenza.

ALCOLM FORSYTH moved to Canada from his native South Africa

in 1968. He stopped off in Toronto, but soon made his way to Edmonton – the city he would call home for the rest of his life. He lost no time becoming an integral part of the musical life of the city, joining the Edmonton Symphony fi rst as bass trombone player, then becoming Principal Trombone. He was with the ESO from 1968 to 1980.

He also taught at the University of Alberta, fi nally retiring from there in 2002. Dr. Forsyth became one of Canada’s most distinguished and honoured composers. He is the only composer to have won the Juno Award for Best Classical Composition three times (two of those were for works of his recorded by the ESO). In 1989, he was named Canadian Composer of the Year, and in 2003 he was named to the Order of Canada.

Malcolm Forsyth was a major part of the ESO. Aside from his 12 years in the brass section, the ESO commissioned many works from him. A Ballad of Canada, the last work he completed, was a co-commission from the ESO and the National Arts Centre Orchestra. He smiled at the idea that “an im-migrant,” as he referred to himself in a recent interview, was asked to compose a work that would be “iconically Canadian.” He was an icon himself, but he was also ever our friend.

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2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASONFRIDAY MASTERS Jens Lindemann at the Masters

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SUNDAYS at3Canadians Near and Far

November 203:00 pm

(Sunday)

Wendy MarkoskyLacombe, ABOrgan and HarpsichordFirst Presbyterian Church, $20 (Senior/Student $18)

Michael UngerRochester, New York

Davis Memorial Tribute RecitalWinspear Centre for Music

Davis Concert Organ, $25 (Senior/Student $20)*

January 8 3:00 pm(Sunday)

February 107:00 pm(Friday)

Craig HumberVienna, AustriaGerman Romantic Organ Works First Presbyterian Church, $20 (Senior/Student $18)

www.rcco.edmonton.ab.caOrgan Concert Series

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Symphony No. 2 in E minor, Op.27SERGEI RACHMANINOFF(b. Oneg Novgorod, 1873 / d. Beverly Hills, 1943)

First performance: February 8, 1908 in St. PetersburgLAST ESO PERFORMANCE: MAY 2005

ACHMANINOFF wrote his First Symphony at the age of 22. Its fi rst performance, apathetically conducted by Alexander Glazunov,

failed miserably. Combined with a number of other disappointing pre-mieres and performances, that fl op sent the emotionally hyper-charged composer into a tailspin. He continued to perform (he was a conductor as well as one of the most sensational pianists who ever lived), but could not bring himself to write a note of music for three years. A noted physician who specialized in a kind of hypnotherapy (Nikolai Dahl) helped Rachmaninoff fi nd his creative confi dence again, and the next few works he wrote included some of his fi nest – including the Second Piano Concerto and the Second Symphony.

After the debacle of his fi rst symphonic foray, Rachmaninoff conducted the Second Symphony’s premiere himself. � e work opens with a stately phrase given out by the basses. � is melody serves as a structure used in all four movements. After a long, slow opening section, the rest of the movement is an Allegro moderato. In a state of quiet agitation, the fi rst movement picks up, some critics have said, where Tchaikovsky’s “Pathé-tique” Symphony leaves off . � e second movement is the work’s Scherzo. With violins and oboes as accompaniment, the horns play a lively theme. � e strings answer and eventually start their own section with a new theme. � e whole movement is one of vivacity and clever manipulation of orchestral colouring.

� e beautiful, slow third movement contains trademark Rachmaninoff melody and melancholy. Violins are given a passage answered by the clarinet, a third is then given out by violins and oboe. Listen also for a reference to the fi rst movement, both musically and emotionally. � e fi nal movement begins

with a forceful and rhythmic theme, followed canonically by a subsidiary theme on all the strings save the basses. � ere is a quote from the third movement and in a brilliant coda in which the two main themes of the fi nale are heard in counterpoint and the symphony ends in high spirits.

Program notes on the Forsyth and Meechan works © by their respective composers. Notes on the Rachmaninoff © 2011 by D.T. Baker

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REZNICEKDonna Diana: Overture (6’)*

VAUGHAN WILLIAMSRomance in D-fl at Major for Harmonica (7’)*

THOMASMignon: Overture (8’)*

GNATTALICancão e Dança (Song and Dance) (12’)* Cancão (Moderato expressivo) Dança (Movido)


GERSHWINGershwin in Hollywood (arr. Bennett) (10’)*

GERSHWINSweet George – A Medley of Gershwin Song Hits (arr. Knight) (14’)*

SCOTTA Raymond Scott Fantasia (arr. Wendel) (7’)*


William Eddins, conductorRobert Bonfi glio, harmonica

Harmonically Yours – Bonfi glio plays Gershwin

Thursday, November 17 | 8 PM

2011/2012 SEASON2011/2012 SEASONR2011/2012 SEASONR2011/2012 SEASONR2011/2012 SEASONR2011/2012 SEASON2011/2012 SEASONR2011/2012 SEASONR2011/2012 SEASON2011/2012 SEASON2011/2012 SEASONHarmonically Yours – Bonfi glio plays Gershwin2011/2012 SEASONHarmonically Yours – Bonfi glio plays GershwinRHarmonically Yours – Bonfi glio plays GershwinR2011/2012 SEASONRHarmonically Yours – Bonfi glio plays GershwinRHarmonically Yours – Bonfi glio plays Gershwin2011/2012 SEASONHarmonically Yours – Bonfi glio plays GershwinRHarmonically Yours – Bonfi glio plays GershwinR2011/2012 SEASONRHarmonically Yours – Bonfi glio plays GershwinRHarmonically Yours – Bonfi glio plays Gershwin2011/2012 SEASONHarmonically Yours – Bonfi glio plays GershwinRHarmonically Yours – Bonfi glio plays GershwinR2011/2012 SEASONRHarmonically Yours – Bonfi glio plays GershwinRHarmonically Yours – Bonfi glio plays Gershwin2011/2012 SEASONHarmonically Yours – Bonfi glio plays Gershwin

Mr. Eddins’ bio can be found on page 6.Bio and program notes continue next page.

ROBBINS LIGHTER CLASSICS

alled “the Paganini of the Harmonica” by � e Los Angeles Times, ROBERT BONFIGLIO has dazzled audiences throughout the world

with his virtuosity. He has performed recent debuts with the Pittsburgh Symphony, the National Symphony at Kennedy Center and the Louisville Orchestra. � is season includes the Villa-Lobos Harmonica Concertowith the Galicia Symphony plus a tour with Musica Vitae in Sweden and the Rockford Symphony in the U.S. � is season also includes a Lincoln Center performance with the American Symphony Orchestra. He performed the world premiere of the Henry Cowell Harmonica Concerto with the Brooklyn Philharmonic under Lucas Foss, and he has also premiered works by Rodrigo, Arnold Black, Richard Einhorn, Eric Knight and Sir George Martin.

C

Series Sponsor

Bill & Mary Jo Robbins


HHSIGNATURE www.EdmontonSymphony.com20

H2011/2012 SEASONH2011/2012 SEASONH2011/2012 SEASONH2011/2012 SEASONH2011/2012 SEASONH2011/2012 SEASONHH2011/2012 SEASONH2011/2012 SEASONH2011/2012 SEASONHHHHH2011/2012 SEASONHH2011/2012 SEASONHH2011/2012 SEASONHH2011/2012 SEASONHH2011/2012 SEASONHH2011/2012 SEASONHP R O G R A M N O T E SP R O G R A M N O T E SPROGRAM NOTES

2011/2012 SEASON2011/2012 SEASON2011/2012 SEASONRobert Bonfi glio has appeared as a soloist with Skitch Henderson and

the New York Pops, John Williams and the Boston Pops and John Mauceri and the Hollywood Bowl Orchestra. He has been a concerto soloist with the Minnesota Orchestra, Orchestre de la Suisse Romande, the Orchestra of the Teatro Colón in Buenos Aires, the Luxembourg Philharmonic, the Leipzig M D R-Radio Symphony, the Hong Kong Philharmonic, Orchestre National du Capitole de Toulouse, the Madrid Radio Television Española Orchestra, Real Orquesta Sinfónica de Sevilla, the Mexico City Philhar-monic, as well as the Milwaukee Symphony, the Indianapolis Symphony, Oregon Symphony, Utah Symphony and the Los Angeles Philharmonic.

His fi rst RCA recording, featuring the Villa-Lobos Harmonica Concerto, was released to critical acclaim. Mr. Bonfi glio has recorded on the RCA, Arista, CBS, Sina Qua Non, High Harmony and QVC Labels. He performed on the Grammy winning recording, Ragitme. Robert Bonfi glio got his Masters degree in composition from Manhattan School of Music. He studied harmonica with Cham-ber Huang and was coached for 12 years by Andrew Lolya, the fi rst fl ute of the New York City Ballet. He also studied composition with Charles Wuorinen and Aaron Copland.

Mr. Bonfiglio last appeared with the ESO in September 2006.

2011/2012 SEASONH2011/2012 SEASONH2011/2012 SEASONH2011/2012 SEASONHH2011/2012 SEASONHH2011/2012 SEASONHHH2011/2012 SEASONHH2011/2012 SEASONHH2011/2012 SEASONHH2011/2012 SEASONHH2011/2012 SEASONHH2011/2012 SEASONH2011/2012 SEASON2011/2012 SEASONROBBINS LIGHTER CLASSICS Harmonically Yours – Bonfi glio plays GershwinHHHHHHHHHHHHHThe 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

000Sig1_RoyalAlex_1-2H.indd 1 8/18/11 4:21:54 PM

Note: For program notes on the Donna Diana Overture and the Mignon Overture, please see pages 24 & 25.

T TAKES A PRETTY SPECIAL MUSICIAN TO ATTRACT SOME OF THE fi nest composers of the day to want to write works for that musician,

particularly if the instrument on which the player has achieved mastery is one not normally associated with classical music. Larry Adler (1914-2001) was such a musician. Unbelievably, Adler was self-taught, yet became one of the most infl uential musicians of the early 20th century, and is credited with bringing the harmonica to the legitimate concert stage. But his career was not without controversy; blacklisted by the House Un-American Actitivities Committee, Adler eventually moved perma-nently to the U.K.

ALPH VAUGHAN WILLIAMS (1872-1958) was one of several important composers who

wrote works for Adler. � e Romance in D-fl at Major was written in 1952. “I was very pleased that Vaughan Williams did straight Vaughan Williams,” Adler said of the work. “He made no concessions to the fact that he was writing for a harmonica; he just wrote a straight musical composition.” � e work opens with an air of mystery, the harmonica expands on its opening material and leads the strings through a mysterious,

and at times, ominous landscape. � e prevailing mood is one of restlessness in the strings, and yearning from the solo instrument. � e harmonica is given no pause in the brief work, which ends in an air of quiet resignation.

I

ADAMÉS GNATTALI (1906-1988) was born in Porto Alegre, Brazil. He was a

pianist and violinist early in his career, but soon after moving from Porto Alegre to Rio de Janeiro he became a successful conductor, composer and arranger. His early works were background scores for radio serials, but by the 1930s he was compos-ing concert music in a neo-romantic style which also showed his emerging interest in jazz (during much of the 1950s), then back toward traditional Brazilian strains in the ’60s. His Canção de dança: para harmônica de boca e orquestra de cordas (“Song and Dance for Harmonica and String Orchestra”) was composed in 1959.

onight, we present two diff erent medleys of GEORGE GERSHWIN (1898-1937) favourites – though based on the output of this extraordinary

songwriter (who died before his 40th birthday), there could easily be dozens more. Following his success on Broadway, Gershwin headed for Hollywood, where many of his hit shows from back East were made into movies – giving him a chance to add the extra song here or there. Tonight’s Gershwin in Holly-wood set includes songs originally from Broadway shows as well as new ones for Hollywood, and was put together by the indefatigable Robert Russell Bennett. Included are the songs (fi lm and year of fi lm release given as well) “Back Bay Polka” (from � e Shocking Miss Pilgrim, 1947), “A Foggy Day” (from A Damsel in Distress, 1937), “Slap � at Bass” (from Shall We Dance?, 1937), “Love Walked In” (from � e Goldwyn Follies, 1938), “Nice Work If You Can Get It” (also for A Damsel in Distress), “One, Two, � ree” (also from � e Shocking Miss Pilgrim), “Love Is Here To Stay” (also for � e Goldwyn Follies) and concludes with the evergreen “� ey Can’t Take � at Away From Me” (also from Shall We Dance?). All the fi lms were released after Gershwin’s death.

R

R

T


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

000Sig1_RoyalAlex_1-2H.indd 1 8/18/11 4:21:54 PM

� e second Gershwin medley, arranged for harmonica and orchestra by Eric Knight, is called Sweet George – A Medley of Gershwin Song Hits. It certainly is that, as it includes (and this time, the original Broadway shows will be listed after): “I Got Rhythm” (originally a slow song from the 1928 musical Treasure Girl, it achieved its great success as a snappy jazz number in 1930s Girl Crazy), “Embraceable You” (originally for an abandoned show called East is West, it too wound up in Girl Crazy), “Lady Be Good” (the title song for a 1924 musical), “It Ain’t Necessarily So” (like “Summertime”, this comes from Gershwin’s opera Porgy and Bess, which premiered in 1935), “Fascinatin’ Rhythm” (also from Lady Be Good), “Summertime” (as mentioned), “ ’s Wonderful”, and “He Loves and She Loves” (both from 1927’s Funny Face).

he cartoon world would be a poorer place were it not for the music of RAYMOND SCOTT (1908-1994). � e maverick composer, instrument

inventor, band leader, engineer (and more) never set out to write music for animated shorts. But his stuff lent itself so naturally to the medium, his work can be heard in dozens of Looney Tunes titles, as well as more modern fare such as Animaniacs and Ren and Stimpey. � e titles in the medley of goofball tunes by Scott, arranged into an orchestral suite by Robert Wendel, and given the lofty title A Raymond Scott Fantasia, might not sound familiar, but the melodies themselves will likely whisk you back to childhood Saturday mornings. In rapid succession, you’ll hear moments from “Dinner Music for a Pack of Hungry Cannibals”, “Powerhouse”, “A Boy Scout in Switzerland”, “� e Toy Trumpet”, “� e Penguin”, “Huckleberry Duck” and “Twilight Turkey”. You’ve been warned.

Program notes © 2011 by D.T. Baker

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LLLLLLLLLLritish-born JEREMY SPURGEON won scholarships to study both piano accompaniment and organ at the Royal Northern College of

Music, Manchester and later studied organ with Lionel Rogg at the Geneva Conservatoire where he gained the Premier Prix de la Classe de Virtuosité.

In 1980, he came to Edmonton as director of music at All Saints’ Cathedral and has since appeared in concert with many Canadian and international ensembles, singers and instrumentalists, including the Edmonton Symphony Orchestra, Richard Eaton Singers, Pro Coro Canada and Edmonton Opera. Jeremy has performed as piano accompanist and organist across Canada and Europe.

Mr. Spurgeon last appeared with the ESO in May 2010.

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SUNDAY SHOWCASE

A R T I S T B I O S

William Eddins, conductorJeremy Spurgeon, organBenjamin Beilman, violin

Sunday Prelude, 1:15 pm, Third Level (Upper Circle) Lobby with D.T. Baker

Coffee Shop, post-performance, Main Lobby with William Eddins, Lucas Waldin, Jeremy Spurgeon & Benjamin Beilman

LAVALLÉEO Canada (arr. Gilliland)

REZNICEKDonna Diana: Overture (6’)*

RESPIGHISuite in G Major for Organ and Strings (23’)* Preludio Aria Pastorale Cantico

THOMASMignon: Overture (8’)*


DVORÁKViolin Concerto in A minor, Op.53 (32’)* Allegro ma non troppo Adagio ma non troppo Finale: Allegro giocoso, ma non troppo


BARTIST BIOS

Mr. Eddins’ bio can be found on page 6. Artist bio and program notes can be found on pages 24-26.

Dvorák’s Violin ConcertoSunday, November 20 | 2 PM

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VV P R O G R A M N O T E SVVV2011/2012 SEASONV2011/2012 SEASONVV2011/2012 SEASONV2011/2012 SEASONV2011/2012 SEASONVV2011/2012 SEASONVV2011/2012 SEASONViolinist BENJAMIN BEILMAN is rapidly gaining attention for his “impeccable” playing and “eloquence and fl air” (MusicalAmerica.com).

In 2010, he captured First Prize in the Montréal International Music Competition and the Young Concert Artists International Auditions, and received Philadelphia’s prestigious Musical Fund Society Career Advance-ment Award. A winner of Astral Artists’ 2009 National Auditions, he was also awarded the Milka/Astral Violin Prize, designated for a violinist invited to join Astral’s roster. � is season sees him at Astral’s Philadelphia Brahms Festival and at the Kimmel Center. He makes his debut with l’Orchestre metropolitain de Montréal, l’Orchestre symphonique de Québec and the Kansas City and South Dakota Symphonies.

Mr. Beilman also gives recitals this season for the Philadelphia Chamber Music Society, the Montréal Bach Festival, and the Krannert Center for the Performing Arts (University of Illinois). He also performs as part of the Young Concert Artist Series in New York, at the Kennedy Center in Washington, D.C. and in Boston. He recently released his debut album, of the complete violin sonatas of Prokofi ev on the Analekta label. He has been heard on National Public Radio’s Performance Today and From the Top, the McGraw-Hill Young Artists Showcase on WQXR New York and Chicago WFMT’s Impromptu. Benjamin Beilman works with Ida Kavafi an at the Curtis Institute of Music. He previously studied with Almita and Roland Vamos at the Music Institute of Chicago. www.BenjaminBeilman.com

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

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Donna Diana: OvertureEMIL NIKOLAUS VON REZNICEK(b. Vienna, 1860 / d. Berlin, 1945)

First performance of the opera: December 16, 1894 in PragueLAST ESO PERFORMANCE OF THE OVERTURE: OCTOBER 2005

mil Rezniček is one of the many composers who share the same fate. Distinguished and noted composers during their lifetimes, their music

has fallen into disuse, and today Rezniček – along with composers such as Fibich, Dukas, Addinsell, Ponchielli and Pachelbel – is known chiefl y by only one work.

While his operatic output encompassed a wide range of stories, Rezniček’s Donna Diana, and particularly its overture, is the work by which we best know him. � e opera premiered in Prague in 1894 and is the story of a haughty heroine with many suitors, who ultimately succumbs to the hero after rejecting him, along with all the others, for as long as she can. � e sparkling overture captures the merry tempests of the opera’s whimsical moods.

Suite in G Major for Organ and StringsOTTORINO RESPIGHI(b. Bologna, 1879 / d. Rome, 1936)First performance: 1905 in RomeTHIS IS THE ESO PREMIERE OF THE PIECE

IKE SO MANY OF RESPIGHI’S TREASURED WORKS, the Suite for Organ andStrings harkens back to early music – in this case, the

music of the Baroque. Written over the course of the years 1901 to 1905, Respighi’s suite is not designed as a virtuoso showcase for the organ; rather the organ and strings are each given substantial moments and are blended in a lush ensemble as well.

Respighi originally wrote one of the movements – the Aria –separately, later working it into the suite. � e bright, opening Preludio is very much in the style of Johann Sebastian Bach (1685-1750), though the string textures are quite contemporary. � e haunting Aria beautifully balances an older music style with string writing reminiscent of Edward Elgar (1857-1934, an infl uential contemporary of Respighi). � e Pastorale has a gentle rhythm to it, though the often modal-sounding harmonies cast it in muted colours; the music is often hushed in the call-and-response exchange between organ and strings. � e fi nal movement, Cantico, is a surprisingly serious and even sombre fi nale – marked Grave, it opens with a declamatory solo for the organ, followed by a sober processional in the strings, in which the organ joins in a stately conclusion.

EVVV2011/2012 SEASON2011/2012 SEASONV2011/2012 SEASONVV2011/2012 SEASONVV2011/2012 SEASONVV2011/2012 SEASONVSUNDAY SHOWCASE Dvorák’s Violin Concerto

PROGRAM NOTESVVVL



Mignon: OvertureAMBROISE THOMAS(b. Metz, France, 1811 / d. Paris, 1896)

First performance of the opera: November 17, 1866 in ParisWHILE AN ARIA FROM THE OPERA MIGNON WAS PREVIOUSLY PERFORMED BY THE ESO (OCTOBER 1999), THIS IS THE ESO PREMIERE OF THE OVERTURE.

MBROISE THOMAS WAS NOTHING IF NOT EXPEDIENT as a composer. In his opera based on the Shakespearean tragedy Hamlet,

he actually gave it the happy ending he knew his French audience would want – though when he brought the opera to England, he modifi ed it for that audience. With his most famous opera, Mignon (premiered in 1866), he had no problem creating multiple versions of his take on the Goethe story; the French got a happy ending, the English got a reduced version in which a key character never appears, and for the Germans used to the Goethe original, � omas kills off his heroine. None of these alterations aff ects the overture, which has proved a popular concert staple. Woodwinds dominate the pastoral opening, though the lower strings usher in harp arpeggios, all leading to a lush romantic melody fi rst presented on horn. After this slow fi rst half, a long-held horn note ushers in a strongly contrasting section, a syncopated rustic dance, gloriously restated at the overture’s climax.

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Violin Concerto in A minor, Op.53ANTONÍN DVORÁK(b. Nelahozeves, Bohemia, 1841 / d. Prague, 1904)

First performance: October 14, 1883 in PragueLAST ESO PERFORMANCE: OCTOBER 1999

OHANNES BRAHMS HAD PROVED INVALUABLE in getting Antonín Dvořák’s music better known, recommending the young

Bohemian to Brahms’ publisher Simrock. So it’s probably no surprise that Brahms’ good friend Joseph Joachim (1831-1907), one of Europe’s fi nest violinists, was the one to ask Dvořák for a concerto. � ey initially consulted in 1879, but when Dvořák sent Joachim a draft, the violinist suggested so many revisions that Dvořák re-composed the entire work, telling Simrock there would be an unavoidable delay.

� at delay lasted years, with Dvořák and Joachim going back and forth – Joachim insisting on a more distinctive violin part, and Dvořák making cuts and scaling back some of the heavier orchestral textures. It was not until 1883 that the score was published in time for the concerto’s premiere – which was not given by Joachim! In fact, the man who had been so vital to the work’s genesis never got an opportunity to play the work himself. Instead, it was Bohemian violinist František Ondřiček.

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THERE WAS NO GRAND DESIGN – just a willingness on the part of Edmonton Symphony management to say, “Why not?”

Procol Harum was a well-known, if not a superstar band, when they came up with the idea of a concert recording with a symphony orchestra. ESO Assistant General Manager Bob Hunka sought the reluctant approval from Music Director Lawrence Leonard for the project – and history has taken care of the rest.

You can fi nd the complete story on our website (go to Edmonton-Symphony.com, click on About ESO, then ESO Recordings – it’s the fi rst one on that page), but the November 18, 1971 concert (exactly 40 years ago) has not only assured the ESO of a special place in music history, but an enduring legacy that continues to this day. Two reunion concerts (1991 and 2010), and continued recording sales prove that the en-thusiasm for that special night remains strong.

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2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASONSUNDAY SHOWCASE Dvorák’s Violin Concerto

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A brief orchestral opening brings in a folk-tinged solo instrument, alter-nating with the orchestra. A number of musical ideas are presented by both orchestra and solo violin, though the violin at last dominates the landscape, playing without pause over a delicate orchestral backdrop, gradually building in intensity and leading into the surprisingly truncated recapitulation, where the orchestra once again presents music from the opening moments. Violin and orchestra join in the impassioned conclusion.

� e second movement is tied to the fi rst without a pause – woodwinds and violin take measures from part of the fi rst movement’s opening to bridge into the Adagio ma non troppo. Listen for a lovely duet with the horns and the soloist in the opening section, while the long, liquid song sung by the violin takes unexpected, but never unwelcome, twists. � e contrapuntal writing for winds is also an important feature in the movement.

� e fi nal movement begins with a gossamer presentation of what will form the rousing main theme of the rondo movement – a Czech dance known as a Furiant. Each return of this dance theme is cleverly redressed in new orchestral colours. � e soloist has many challenges here, from rapid-bowing variations on the Furiant theme to leading the rhythmic interplay with the orchestra. � e whole movement has a folk song feel, even the double-stopped slower contrasting section about midway through.



LLLLLLLLLLLLLL A R T I S T B I O SARTIST BIOSA R T I S T B I O SARTIST BIOSA R T I S T B I O SARTIST BIOSA R T I S T B I O SARTIST BIOS


Jean-Marie Zeitouni, conductorJuliette Kang, violin

Juliette Kang plays Brahms

Saturday, November 26 | 8 PM

2011/2012 SEASONL2011/2012 SEASONL2011/2012 SEASONL2011/2012 SEASONL2011/2012 SEASONL2011/2012 SEASONL2011/2012 SEASONL2011/2012 SEASONL2011/2012 SEASON2011/2012 SEASON2011/2012 SEASONLJuliette Kang plays BrahmsL2011/2012 SEASONLJuliette Kang plays BrahmsLLJuliette Kang plays BrahmsL2011/2012 SEASONLJuliette Kang plays BrahmsLLJuliette Kang plays BrahmsL2011/2012 SEASONLJuliette Kang plays BrahmsLJuliette Kang plays Brahms2011/2012 SEASONJuliette Kang plays Brahms

HÉTULégendes, Op.76 (16’)*

Alexis le Trotteur Le Diable au bal La Chasse-Galerie

ELGARVariations on an Original Theme, Op.36 “Enigma” (31’)*

C.A.E. (L’istesso tempo) H.D.S.-P. (Allegro) R.B.T. (Allegretto) W.M.B. (Allegro di molto) R.P.A. (Moderato) Ysobel (Andantino) Troyte (Presto) W.N. (Allegretto) Nimrod (Adagio) Intermezzo: Dorabella (Allegretto) G.R.S. (Allegro di molto) B.G.N. (Andante) Romanza *** (Moderato) Finale: E.D.U. (Allegro – Presto)


BRAHMSViolin Concerto in D Major, Op.77 (41’)*

Allegro non troppo Adagio Allegro giocoso, ma non troppo vivace


Juliette Kang’s bio and program notes continue on pages 28-30.

LANDMARK CLASSIC MASTERS

EAN-MARIE ZEITOUNI, music director of the Columbus Symphony and recently appointed principal conductor and artistic

director designate of I Musici de Montréal, has emerged as one of Canada’s brightest young conductors whose eloquent yet fi ery style in repertoire ranging from Baroque to contemporary music results in regular re-engagements across North America. He also enjoys a close association with Les Violons du Roy that goes back many years. Upcoming appear-ances in 2011/12 see him conduct major Canadian orchestras, including subscription concerts with the Vancouver Symphony, Toronto Symphony and Montreal Symphony. In the U.S. he leads the Seattle Symphony, Phoenix Symphony and the Handel and Haydn Society and will debut in the pit of the St. Louis Opera for Così fan tutte in June 2012.

2010/11 brought a slew of return engagements in North America. Highlights in Canada included a Werther production with the Montreal Opera, and engagements with the Calgary Philharmonic, Québec Symphony, Symphony Nova Scotia, and I Musici de Montréal in a rare guest appear-ance. In the U.S., he conducted the Oregon Symphony, San Antonio Symphony and Rigolettowith the Cincinnati Opera. From 2002-2006 Jean-Marie Zeitouni was associate conductor and chorus master at l’Opéra de Montréal and was Music Director of their Young Artist Program. He was also Music Director of the Banff Centre Opera as � eatre program (2005-06),

chorus master at l’Opéra de Québec (2003-05) and choir director of the Québec Symphony Orchestra (2001-03). He was as well director of the orchestra and opera workshop of the Faculty of Music at Laval University (1999-2002). In the summer of 2004, Zeitouni acted as assistant conduc-tor at the Mostly Mozart Festival in New York City for the Jonathan Miller production of Così fan tutte. Jean-Marie Zeitouni graduated from the Montreal Conservatory in conducting, percussion, and theory. He studied with Maestro Raffi Armenian.

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

Series Sponsor

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Landmark Classic Masters Series Sponsor

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


L2011/2012 SEASON2011/2012 SEASONL2011/2012 SEASONL2011/2012 SEASONL2011/2012 SEASONL2011/2012 SEASONL2011/2012 SEASON2011/2012 SEASON2011/2012 SEASONL2011/2012 SEASONL2011/2012 SEASONL2011/2012 SEASONLLANDMARK CLASSIC MASTERS Juliette Kang plays Brahms

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orn in Edmonton, JULIETTE KANG began her violin studies at age four. At nine she began studying with Dr. Jascha Brodsky at the

Curtis Institute of Music, from which she earned her Bachelor’s Degree in 1991. In 1993 she earned her Master’s Degree from � e Juilliard School, where her teachers included Dorothy DeLay, Hyo Kang and Robert Mann. She came to international attention as winner of First Prize in both the Yehudi Menuhin and Indianapolis International Competitions and is also a Young Concert Artists winner. An especially accomplished recitalist, Ms. Kang has performed at New York’s Carnegie Hall, Frick Collection, Rockefeller University and 92nd Street Y; Paris’ � éâtre Châtelet, Tokyo’s Suntory Hall, Boston’s Gardner Museum, Washington, D.C.’s Kennedy Center, Toronto’s “Onstage at the Glenn Gould” series, as well as in Seoul, Taipei, Cleveland, Philadelphia, Pittsburgh, and Cincinnati. In addition, she has participated in Canada’s Festival International de Lanaudière and Festival International d’Été; the Spoleto, Bravo! Colorado, Ventura, Moab, Marlboro Festivals and France’s Colmar Festival.

Ms. Kang’s recording debut – a recital on the Discover International label, including the premiere recording of Lutoslawski’s Subito, was issued to rapturous acclaim and followed by a recital CD recorded live at Carnegie Hall. On the CBC label is her orchestral recording debut, Schumann and Wieniawski concertos with Sergiu Comissiona and the Vancouver Symphony. Ms. Kang has also been a member of the Metropolitan Opera Orchestra, was assistant concertmaster of the Boston Symphony and in 2005-2006 joined the Philadelphia Orchestra as First

B Associate Concertmaster. Ms. Kang has been profi led in The Strad, � e Indianapolis Star, The New York Times, � e Globe and Mail and many other publications.

Ms. Kang last appeared with the ESO in October 1998.


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

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Légendes, Op.76JACQUES HÉTU(b. Trois-Rivières, 1938 / d. Saint-Hippolyte, Québec, 2010)

First performance: May 28, 2008 in Québec CityTHIS IS THE ESO PREMIERE OF THE PIECE

ÉGENDES was a commission from Radio-Canada for Québec City’s 400th anniversary in 2008. Mr. Hétu explained his approach as follows:

“I embraced legends from diff erent regions (Saguenay, Gaspé, Outaouais) since Québec City is the cradle of all of Québec. I hope that people will enjoy listening to Légendes as much as I enjoyed composing this work, which is playful, festive and even droll.”

I – Alexis le Trotteur“I was inspired by a real hero from the Saguenay whose amazing exploits made him into a legend. Alexis Lapointe (a.k.a. the Trotter) thought of himself as a horse. He could, in fact, run faster than horses, bikes, cars and trains and also spend all evening dancing. � e lively, frenetic music evokes a boisterous man (horn theme), his race against a train (woodwind fugato), his dancing (Shandon Bells jig) and the endless galloping of this tireless horse man.”



L2011/2012 SEASON2011/2012 SEASONL2011/2012 SEASONL2011/2012 SEASONL2011/2012 SEASONL2011/2012 SEASONL2011/2012 SEASON2011/2012 SEASONL2011/2012 SEASONL2011/2012 SEASONL2011/2012 SEASONL2011/2012 SEASONLLANDMARK CLASSIC MASTERS Juliette Kang plays Brahms

II – Le Diable au bal “� is tale had several variants (Rose Latulipe, � e Stranger, � e Handsome Dancer). � is version features a young girl who loves attending dances. One day, she is invited to a dance held in a fancy ballroom. At the time, waltzing is forbidden by the church. During the evening, a tall, handsome man arrives, starts courting the young girl and gives her a beautiful gold necklace that gradually turns into red-hot iron. � e girl falls down dead and the young man, actually the devil in disguise, steals her soul away. � e gentle rhythm at the end of the piece suggests that the girl’s soul still dances on.”

III – La Chasse-Galerie “� is legend dates back to the fur traders. Later, lumberjacks in remote logging camps told the story. � e Québec version takes place on New Year’s Eve. Lonely lumberjacks at a logging camp feel glum and wish that they could spend a few hours in the city with their sweethearts. � e more intrepid men agree to sign a pact with the devil that has three conditions: they mustn’t swear, mustn’t touch a Christian cross and must be back to camp before dawn. In return, the devil will fl y them in their bark canoe over the forest and mountains and later bring them back the same way.

A gradual crescendo conveys the impetuousness of the men who have gathered. � e canoe takes fl ight, depicted by successive orchestral rises. At a festive house that is all lit up, the celebrations get into full swing. � e night passes and the men must leave. � e canoe takes off , but it grazes a few church steeples and the drunk lumberjacks start swearing (short ‘inebriated’ orchestral episode). � e fi rst rays of sunlight suddenly stretch across the sky and wake the men, who grow frantic and start swearing again. � e canoe goes into a nosedive (the entire orchestra in free fall). A few men grab hold of branches of fi r trees; the others fall into the deep snow (jolting of the bass strings). All the lumberjacks suff er amnesia, except one man, who tells the tale of the fl ying canoe to future generations (coda).”

Variations on an Original Theme, Op.36 “Enigma”EDWARD ELGAR(b. Broadheath, Worcestershire, 1857 / d. Worcester, 1934)

Please see page 33 for a program note about this work.

Violin Concerto in D Major, Op.77JOHANNES BRAHMS(b. Hamburg, 1833 / d. Vienna, 1897)

First performed: January 1, 1879 in LeipzigLAST ESO PERFORMANCE: MAY 2007

WO VIOLINISTS PLAYED MAJOR ROLES IN THE CAREER OF JOHANNES BRAHMS. A major boost to the start of his life as a public

artist came from Eduard Reményi (1828-1898), a violinist who made something of a career as a touring virtuoso, specializing in a crowd-pleasing faux gypsy style. Beginning in 1853, Reményi took Brahms on tour with him as accompa-nist, and it was certainly during this time that Brahms got the inspiration for the famous Hungarian Dances, which proved quite lucrative for the blossoming composer. And it was Reményi who introduced Brahms to another Hungarian expatriate – and the other violinist so central to Brahms’ art – Joseph Joachim.

In Joachim (1831-1907), Brahms found a kindred artistic spirit, and probably his best friend (other than Clara Schumann), and it was for him that Brahms composed his only Violin Concerto. � e process of the work’s composition was a taxing one for both men; Brahms constantly cajoled Joachim for advice on writing the violin part – and would then unceremoniously ignore nearly every suggestion Joachim made. Joachim dem-onstrated amazing patience and restraint, as he knew that his patience would be rewarded with a masterpiece. � e work’s premiere in Leipzig, with Brahms conducting for his friend, met with a cool response, so Brahms declined to conduct the Viennese premiere. � at was a pity, as the work was rapturously received there. It took several years for the concerto to take its place as the third great pillar in the German romantic violin concerto pantheon (alongside Beethoven’s and Mendelssohn’s), however. Even the conductor of the Viennese premiere, Josef Hellmesberger, famously described the work as, “a concerto not for, but against, the violin.”

As ever with his concertos, Brahms assigns the orchestra and violin equal importance in the Violin Concerto. � e orchestral introduction is long, with several important musical ideas presented in an opening fi lled with passion and dignity. When the violin enters, while it is certainly to the fore, it is often accompanist to ideas in the orchestra as much as it is the instrument present-ing the main melodic material. � is is certainly a lyrical movement (and longer than the next two combined), but its gentle melodies are often interrupted by disquieting interjections and unsettled tonalities. � ere are moments of grandeur amid the violin’s intense fl ights with and around the lyrical main ideas, with particular emphasis on the violin’s upper register (the better to be heard above the orchestra – a factor of which Brahms was particularly conscious). Brahms relied on Joachim (who was also a composer) to fashion his own cadenza, which is the one to be performed by Ms. Kang tonight.

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

Program notes © 2011 by D.T. Baker, except as noted, with thanks to Jeanne Desaulniers-Hétu

In Joachim (1831-1907), Brahms found a kindred artistic spirit, and probably his best friend (other than Clara Schumann), and it was for him that Brahms composed his

. � e process of the work’s composition was a taxing one for both men; Brahms constantly cajoled Joachim for advice on writing the violin part – and would then unceremoniously ignore nearly every suggestion Joachim made. Joachim dem-onstrated amazing patience and restraint, as he knew that his patience would be rewarded with a masterpiece. � e

work was rapturously received

T


LLLLLLLLLLLRESPIGHITrittico Botticelliano (“Three Botticelli Pictures”) (22’)*

La Primavera (Spring)L’adorazione dei Magi (Adoration of the Magi)La nascita de Venere (The Birth of Venus)

BERLIOZLes nuits d’été, Op.7 (“Summer Nights”) (31’)*

VilanelleLe spectre de la rose (The Ghost of the Rose)Sur les lagunes – Lamento (On the Lagoons - Lamento)AbsenceAu Cimetière – Clair de lune (At the Cemetery – Moonlight)L’île inconnue – Barcarolle (The Unknown Island - Barcarolle)


ELGARVariations on an Original Theme, Op.36 “Enigma” (31’)*

C.A.E. (L’istesso tempo)H.D.S.-P. (Allegro)R.B.T. (Allegretto)W.M.B. (Allegro di molto)R.P.A. (Moderato)Ysobel (Andantino)Troyte (Presto)W.N. (Allegretto)Nimrod (Adagio)Intermezzo: Dorabella (Allegretto)G.R.S. (Allegro di molto)B.G.N. (Andante)Romanza *** (Moderato)Finale: E.D.U. (Allegro – Presto)


2011/2012 SEASONL2011/2012 SEASONL2011/2012 SEASONL2011/2012 SEASONL2011/2012 SEASONL2011/2012 SEASONL2011/2012 SEASONL2011/2012 SEASONL2011/2012 SEASONL2011/2012 SEASONL2011/2012 SEASONBerlioz, Respighi & ElgarWednesday, November 30 | 7 : 3 0 PM

MIDWEEK CLASSICS

A R T I S T B I O SARTIST BIOS

Mr. Zeitouni’s bio can be found on page 27.Program notes appear on pages 32 & 33.

ailed as “a most promising talent” (Le Devoir,) mezzo-

soprano MIREILLE LEBEL is fast becoming one of Canada’s most sought after young performers. She recently performed with the Houston, San Antonio and Trois-Rivières Symphony Orchestras, Les Violons du Roy, Edmonton Opera, and Pacifi c Opera Victoria. She has also received acclaim for opera roles including Dorabella in Così fan tutte, Concepcion in L’Heure espagnole, Cherubino in Le nozze di Figaro, Ottone in Agrippina, and the title role in L’Enfant et les sortilèges. She also added the title role in Carmen,which she performed in her début with the Malaysian Philharmonic Orchestra. Her orchestral repertoire ranges from Mahler’s Symphony No. 2 with Jacques Lacombe, Haydn’s Stabat mater with Bernard Labadie and Handel’s Messiah with Jean-Marie Zeitouni.

She can be heard on disc with the Boston Early Music Festival in Lully’s operas � ésée and Psyché, both nominated for Grammy Awards. � is year, she adds Blow’s Venus and Adonis and Charpentier’s Actéon to her performace list, again with the Boston Early Music Festival. A recipient of a Canada Council emerging artist grant, Lebel received a Bachelor of Music from the University of Toronto and a Masters of Music from the University of Montréal. � is season, Mireille Lebel will sing the title role in L’Enfant et les sortilèges, Orlovsky in Die Fledermaus and Idamante in Idomeneo with � eater Erfurt, Mahler’s Symphony No. 3 with the New Jersey Symphony Orchestra, and L’Orchestre symphonique de Trois Rivières, and Annio in La clemenza di Tito with Toronto’s Opera Atelier.

Ms. Lebel last appeared with the ESO in December 2008. She made her debut with Edmonton Opera in the role of Mercédès in Carmen in December 2007.

H

Jean-Marie Zeitouni, conductorMireille Lebel, mezzo-soprano



P R O G R A M N O T E S

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Trittico Botticelliano (“Three Botticelli Pictures”)OTTORINO RESPIGHI(b. Bologna, 1879 / d. Rome, 1936)

First performance: September 27, 1927 in ViennaLAST ESO PERFORMANCE: OCTOBER 1999

TTORINO RESPIGHI was one of music’s great pictorialists, so it was probably only natural that one of his most beguiling suites of sym-

phonic pictures should also be based on famous pictures. Commissioned by the Elizabeth Sprague Coolidge Commission in 1927, Trittico Botticellianopremiered that same year with Respighi conducting. Each movement is based on a famous painting by Alessandro di Mariano di Vanni Filipepi (c.1445-1510), better known as Sandro Botticelli.

� e fi rst movement, La Primavera (“Spring”) features evocative birdsong, rustling winds and other pastoral elements, combined with an ancient-sounding dance. Always a student of older forms of music, Respighi puts that to good use in the second movement, L’adorazione dei Magi (“Adoration of the Magi”), which creates a sense of the sacred through the use of pre-Renaissance modes and a plainsong melody. � e fi nal movement depicts the famous and sensual La nascita de Venere (“� e Birth of Venus”). Amid swirling, undulating ocean waves in the background, the goddess herself emerges from a shell with her own, romantic and passionate main theme.

O

2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASON2011/2012 SEASONMIDWEEK CLASSICS Berlioz, Respighi & Elgar

PROGRAM NOTES

Les nuits d’été, Op.7 (“Summer Nights”)HECTOR BERLIOZ(b. Côte-Saint-André, Isère, 1803 / d. Paris, 1869)

Piano and voice version published in 1841LAST ESO PERFORMANCE: MARCH, 2003

es nuits d’ été is regarded as the fi rst orchestral song cycle, and the start of a line that leads to the great cycles by Mahler and Richard Strauss.

However, the set was not originally written as such, and there is no evidence that HECTOR BERLIOZ necessarily intended the series to be an orchestral cycle at all. “� e original voice-and-piano cycle (which was published by Catelin and dedicated to Louise Bertin) has long been eclipsed by the popularity of the later chamber-orchestra version,” wrote David Cairns in his book on Berlioz. “It lives and has its being in the iridescent colours of the orchestral incarnation for which it was always waiting.”

Berlioz wrote the six songs that make up the set, one at a time, between 1840 and 1841, setting them for voice and piano. All the poems were taken from La comédie de la mort (“� e Play of Death”), a collection by � éophile Gautier. � e orchestration of each song, however, was done separately, over a 15-year period. Each orchestrated version was dedicated to a diff erent singer. As a set, therefore, they are adaptable to a wide range of voices.

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Variations on an Original Theme, Op.36 “Enigma”EDWARD ELGAR(b. Broadheath, Worcestershire, 1857 / d. Worcester, 1934)

First performed: June 19, 1899 in LondonLAST ESO PERFORMANCE: JANUARY 2007

FTER A TIRING DAY SPENT TEACHING ONE DAY, EDWARD ELGARreturned home, and daydreamingly sat at the piano, making up a tune.

� at’s nice, his wife Alice said, play it again. So, he did, only making up varia-tions on the tune as he did so, in little musical portraits of their friends. � is was the genesis of the “Enigma” Variations, the work which would eventually establish Elgar as a major new composer. He eventually wrote 14 variations, orchestrating them over the course of 1898-99. So what’s the Enigma?

Not the tune – that’s presented at the outset, prior to the set of variations. Not the identities of all the friends – we have the names behind the initials and aff ectionate nicknames. Rather, Elgar has said, there is another theme, but one which is “never played.” Whether he meant a theme as a musical idea, or an overall “meaning,” Elgar never said, and despite decades of speculation as to the indentity, Elgar took the answer with him to the grave.

Following the G minor theme, variation one is for Elgar’s wife. Variation two is named for H.D. Steuart-Powell, a pianist friend of Elgar’s. � e Allegretto third variation in G Major is for R.B. Townsend, an amateur actor whose vocal gifts for sudden changes in pitch is gently parodied. Variation four is W. Heath Baker. � e fi fth is named for R.P. Arnold, son of the famous poet, who was noted for his sense of humour. “Ysobel” was the nickname for violist Isabel Fitton, so her instrument is given prominence in variation six. Arthur Troyte Griffi ths was a more willing pianist than an able one, and his enthusiasm colours the seventh variation. Elgar said that, while the eighth variation is named for Winifred Norbury, the music itself is meant to depict an 18th-century house.

� e most famous variation, often excerpted as a stand-alone moment, is the serene “Nimrod” ninth variation, named in tribute to Elgar’s friend A.E. Jaeger. Variation ten teases Dora Penny (“Dorabella”) and her tendency to speak hesitatingly. Organist G.R. Sinclair is depicted throwing a stick into a river for his bulldog to retrieve – listen for the bark – in the eleventh variation. � e cello spotlight in number twelve is for cellist Basil Nevinson. No initials are given for variation 13, though the reference to Mendelssohn’s Calm Sea and Prosperous Voyage was a nod to Lady Mary Trefusis, who was on a sea excursion at the time. Elgar gave himself the last word with the fi nal variation – “Edu” was a nickname for himself.



TTTTSYMPHONY UNDER THE SKYPatrons who subscribed to Symphony Under the Sky for 10 years or more were invited to a private pre-concert reception on Sunday, September 4. We shared some snacks, heard many interesting stories and look forward to making this an annual event!

STRAWBERRY TEASubscribers of 30 years or more were invited to an afternoon tea and private concert with members of the Edmonton Symphony Orchestra. � e tea was held at the brand new Enjoy Centre in St. Albert. We were thrilled to be able to spend some time with some of our most loyal patrons and hope to make this an annual event every spring or early summer.

WE WANT TO HEAR YOUR STORY!Do you have special memories of the ESO through the years? What has attending concerts meant to you and your loved ones? Has the ESO been an important part of your social activities?

As part of our 60th anniversary celebrations, we would like to share the stories of our long-time subscribers in these pages. Please contact Erika Ratzlaff at 780-401-2514 or [email protected] to tell your story!

WINSPEAR PRESENTS CONCERTSubscribers of between 10 and 29 years were invited to attend a Winspear Presents concert and an intermission reception on either Sunday, Septem-ber 11 or Sunday, October 23.

We hope to off er further opportunities to host our long-time subscrib-ers throughout the season. If you have been subscribing to the ESO for 10 years or more and would like to be included in appreciation and recogni-tion activities, we urge you to please contact Erika at 780-401-2514 or eratzlaff @winspearcentre.com – we need your help to complete our records.

TLong-time subscribers enjoy music by a quartet of ESO musicians at the Strawberry Tea on July 17, 2011

Long-time subscribers Violet Watson and Emiline Bradley at the Strawberry Tea

T Long-time subscribers enjoy an outdoor reception at Symphony Under the Sky.S THE ESO CELEBRATES 60 YEARS THIS SEASON, WE RECOGNIZE THE

patrons who have been a part of the journey. Perhaps you are one of our many subscribers who have been attending since the 1960s and earlier!

� is year, we have had the privilege of sharing some special experiences with our long-time subscribers.

ATTTTTHANK YOU LONG-TIME SUBSCRIBERS TTTSIGNATURE www.EdmontonSymphony.com34


TTTTTTTHE FIRST STEP

T’S FINALLY BECOME REAL TO ME TODAY – I AM SO EXCITED!”So said ESO Assistant Principal Trumpet, Bill Dimmer, on meeting

two special ESO patrons, Peter and Carol Moeykens.It was an early Friday morning at the Winspear Centre. Usually a

quiet time in the lobby, there was quite a crowd of ESO musicians, media and their cameras, and staff proudly wearing white t-shirts with a distinc-tive red logo. E-SWAT, our resident group of tactical strike musicians, entertained everyone with a medley that included a catchy “Mambo” cry from West Side Story.

� e reason for the gathering? � e ESO had taken its fi rst offi cial step to creating Edmonton history with the public announcement of the ESO’s debut performance at Carnegie Hall on May 8, 2012.

What became clear during the press conference that morning was not only the unique opportunity this represents to showcase Edmonton to the world in New York City, but the sheer scale and impact of this huge undertaking: to transport 60 musicians, one Music Director, a resident composer and a resident conductor, four guest artists and all instruments and other equipment across the continent and back in just three days.

For Bill Dimmer, however, Carnegie Hall represents something much more personal. “As a musician, to be able to tell others, ‘I’ve played Carnegie Hall’… Well, it’s something I dreamed about as a child, when I was just starting music lessons. I think it’s really only just sunk in that I am going to have this lifetime goal achieved.”

“I

Assistant Principal Trumpet Bill Dimmer with Peter and Carol Moeykens

BILL DIMMER’S DREAM WAS MADE POSSIBLE BY LONG-TIME ESO PATRONS AND SUPPORTERS, PETER AND CAROL MOEYKENS.

Peter and Carol made the decision earlier in September to make a $3,000 donation to the Sponsor A Musician’s Dream campaign. “We chose to sponsor Bill because we respect and like him as a musician and a person, and we wanted to show our support and pride for our orchestra. We made this additional gift because we just really, really enjoy the music that the ESO provides for us.”

Bill Dimmer had a chance to meet and thank Peter and Carol that Friday morning in the Winspear Centre lobby, and jokingly off ered to fl y them to Carnegie Hall next May in a Cessna plane (Bill is an experienced pilot with Edmonton’s Civil Air Search and Rescue Association).

For more information on Sponsoring A Musician’s Dream please contact Eleanor Finger at 780-401-2578, visit www.ESOinNYC.com, or drop by our information table in the main lobby at ESO concerts.

TTTT“I am humbled by your support.” Bill told the Moeykens.“This orchestra is a great orchestra – not just musically, but the people who make up this ensemble are great for what they do in our community. I am so proud to be part of the ESO when we play at Carnegie Hall next year.”

Friday morning in the Winspear Centre lobby, and jokingly off ered to fl y them to Carnegie Hall next May in a Cessna plane (Bill is an experienced pilot with Edmonton’s Civil Air Search and Rescue Association).

“I am humbled by your support.” “I am humbled by your support.” Bill told the Moeykens.“This orchestra is a great orchestra – not just musically, but the people who make up this

Friday morning in the Winspear Centre lobby, and jokingly off ered to fl y them to Carnegie Hall next May in a Cessna plane (Bill is an experienced pilot with Edmonton’s Civil Air Search and Rescue Association).

“I am humbled by your support.” “I am humbled by your support.” Bill told the Moeykens.“This orchestra is a great orchestra – not just musically, but the people who make up this ensemble are great for what they do in our



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 1962-63 Mr. 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 1979-80 Mr. Ron Ritch 1980-82Mrs. Margaret Clarke 1982-84Mr. Brian Hetherington 1984-86Mr. Charles T. Austin 1986-88Mr. Neil Wilkinson 1988-90

EXECUTIVEAnnemarie Petrov, Executive DirectorHilda Nelson, Executive Assistant & Board LiaisonMeghan Unterschultz, Grants & Research Specialist

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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 2004-07


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 DIRECTORSSteven LePoole, ChairJim E. Carter, Vice ChairPhyllis Clark, Past ChairRon New, C.A., TreasurerBrian W. Summers, LL.B., Secretary / Legal CounselCarolyn CampbellMaria David-EvansColin EicherBrad FergusonRicki GolickWilliam HarrisonElizabeth HurleyCarol Ann Kushlyk, C.M.A., C.F.E.Reginald MilleyEdith StaceyRhonda Taft Richard Wong

BOARD CONTACT Hilda Nelson, Interim Executive Assistantat 780.401.2544 or [email protected]

EDMONTON SYMPHONY SOCIETY / EDMONTON CONCERT HALL FOUNDATION

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 ESS Board members and other 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 ADMINISTRATION


EXECUTIVEAnnemarie Petrov, Executive DirectorHilda Nelson, Executive Assistant & Board LiaisonMeghan Unterschultz, Grants & Research Specialist

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 EditorMelissa Di Natale, Education & Community Relations CoordinatorPhilip Paschke, Communications ManagerMichael Schurek, Marketing & Sponsorship Manager

EVENTS MANAGEMENTAlly Mandrusiak, Interim 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*Mike Patton, Assistant Head of Stage Management*

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

Leanne Persad, Front of House ManagerCristina Weiheimer, Internal Control Specialist

FINANCE & OPERATIONSBarbara Foley, Director of Finance & OperationsSandy Carter, Senior AccountantShirley Chaytor, HR Payroll CoordinatorDave Clark, IT SupportOlena Kotova, Accountant

PATRON DEVELOPMENTElaine Warick, Director of Patron DevelopmentCatherine Boissonneau, Box Offi ce SupervisorEleanor Finger, Patron Relations ManagerBeth Hawryluk, Box Offi ce Systems AdministratorErin Mulcair, Patron Relations AssociateErika Ratzlaff, Patron Relations ManagerTeresa Ryan, Special Projects ManagerConnie-Lee Thomlison, Box Offi ce ManagerAdam Trzebski, Audience Development AssociateCat Walsh, Box Offi ce Assistant Supervisor





A dining experience that hits all the right notes.

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

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 2004-07

EDMONTON SYMPHONY ORCHESTRA / FRANCIS WINSPEAR CENTRE FOR MUSIC ADMINISTRATION

ADMINISTRATION


www.EdmontonSymphony.com

TTTTTTTTTTTHANK YOUCommunity Support of the Edmonton Symphony Orchestra & Winspear Centre

The Edmonton Symphony Orchestra is a registered charitable organization, incorporated under the Societies Act of the Province of Alberta on November 22, 1952. As Canada’s fourth largest professional orchestra, the ESO is financed by ticket sales, grants from government agencies, and by contributions from corporations, foundations, and individuals.T Edmonton Symphony Orchestra & Winspear CentreT

Our Media Sponsors

Sponsor2 for 1 Subscription Campaign

Title SponsorLandmark Classic Masters

SponsorK to Gr. 3 Education Program

SponsorMusicians in the Making

Title SponsorEsso Symphony for Kids

SponsorFriday Masters

Title SponsorRobbins Pops / Robbins Lighter Classics

TTTTTTOur Program and Education Sponsors

Series Sponsors

Offi cial Bike Supplier to the ESO Conducting Team

Government Agency Support:

SponsorSunday Showcase

Presenting SponsorLate Night with Bill Eddins

SponsorGr. 7 to 12 Education Program

SponsorGr. 4 to 6 Education Program

Naming SponsorENMAX Hall

SponsorResident Conductor

through the Edmonton Community Foundation

Our Performance Sponsors

CityTV Global CKUA ShineFM Edmonton’s Child Magazine Edmonton Journal Joe FM Pattison

Our Exclusive Caterers

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Festival of Trees Gala Sold Out Presented by

Wednesday, November 30, 6:00 pm

Family Night Thursday, December 1, 5:00 pm to 9:00 pm

Seniors’ Day Thursday, December 1, 9:00 am to 9:00 pm

Luncheon and Fashion Show Presented by

Friday, December 2, 11:00 am to 1:30 pm

Santa’s Breakfast Presented by

Sunday, December 4, 8:30 am

2011 Festival of TreesDecember 1 - 4 | Shaw Conference Centre

To purchase tickets or for more information visit us online at www.FestivalOf Trees.ca

In support of the Head and Neck Cancer Surgery Program at the University of Alberta Hospital.

Festival of Trees Special Events

Media Sponosors

2011 Presenting Sponsor

FofT2011_SigFP2.indd 1 11-10-12 3:39 PM000Sig2.FestOfTrees_FP.indd 1 10/13/11 2:41:48 PMsignature_2_p38-39.indd 38 11/1/11 2:26:53 PM

Festival of Trees Gala Sold Out Presented by

Wednesday, November 30, 6:00 pm

Family Night Thursday, December 1, 5:00 pm to 9:00 pm

Seniors’ Day Thursday, December 1, 9:00 am to 9:00 pm

Luncheon and Fashion Show Presented by

Friday, December 2, 11:00 am to 1:30 pm

Santa’s Breakfast Presented by

Sunday, December 4, 8:30 am

2011 Festival of TreesDecember 1 - 4 | Shaw Conference Centre

To purchase tickets or for more information visit us online at www.FestivalOf Trees.ca

In support of the Head and Neck Cancer Surgery Program at the University of Alberta Hospital.

Festival of Trees Special Events

Media Sponosors

2011 Presenting Sponsor

FofT2011_SigFP2.indd 1 11-10-12 3:39 PM000Sig2.FestOfTrees_FP.indd 1 10/13/11 2:41:48 PMsignature_2_p38-39.indd 39 10/28/11 10:58:24 AM

000Sig2.Winspear_FP.indd 1 10/31/11 8:32:06 AMsignature_2_p40-01.indd 36 10/31/11 8:37:28 AM

Documents

ESO Signature Magazine Nov 2011