ESO Signature Magazine: September 2015

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AROUND THE WORLDRobbins Lighter Classics

goes globe-trotting

ANOTHER BRICK IN THE WALL

ESO & the music of Pink Floyd

Late Night series expands to 3 nights

STAY UP LATE MORE OFTEN

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SIGNATURE Contents

Volume 31, Number 1 | SEPT/OCT 2 0 1 5

THE EDMONTON SYMPHONY ORCHESTRA2015/2016 SEASON

WELCOME

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

EDMONTON SYMPHONY ORCHESTRA 2015/2016

FEATURE: LATE NIGHTS TO REMEMBERThe unique and innovative Late Night Series expands to three performances

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

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

eso editor D.T. Bakerprogram notes OskarMorawetz.com, William Eddins,

Vinok Worldance & D.T. BakerLetters to the editor, comments and/or suggestions are welcome.

PUBLISHED BY

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

publisher Ruth Kelly director of custom content Mifi Purvis managing editor Kim Tannas art director Charles Burke vice president of sales Anita McGillis director of sales Allyson Kurian senior account executive Kathy Kelley

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

Contents copyright 2015 by Edmonton Symphony Orchestra/ Francis Winspear Centre for Music. No part of this publication should be reproduced without written permission.

ON THE COVER

pg. 5

pg. 6

pg. 7

pg. 8

pg. 10

pg. 13

pg. 17

pg. 19

pg. 22

pg. 24

pg. 28

pg. 35

pg. 36

ROBBINS POPS: CLASSIC FM (SEPTEMBER 18 & 19)

Jack Everly, conductorJim Hogan, Ron Remke, Josh Turner, N’Kenge, Melissa Schott, vocalists

LANDMARK HOMES MASTERSBEETHOVEN’S FIFTH (SEPTEMBER 26)

Tito Muñoz, conductorKatherine Chi, piano

SPECIAL: WINDBORNE’S MUSIC OF PINK FLOYD (SEPTEMBER 29 & 30, OCTOBER 1)

Brent Havens, conductorRandy Jackson, vocalist

ROBBINS LIGHTER CLASSICSTHE WORLD IN HARMONY (OCTOBER 8)

Claude Lapalme, conductorVinok Worldance, dance troupe

MNP LATE NIGHT WITH BILL EDDINSLATE NIGHT CLARINET (OCTOBER 16)

William Eddins, conductor & pianoRaphaël Sévère, clarinet

LANDMARK HOMES MASTERSVAUGHAN WILLIAMS & FRANÇAIX (OCTOBER 17)


DONOR LISTINGS

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

OUR SUPPORTERS

French clarinetist Raphaël Sévère brings his artistry to the first Late Night with Bill Eddins concert for 2015/16. The innovative and bold series expands from two to three performances this season. Learn more on page 8.

Photo by Matt Dine

SIGNATURE 3SEPTEMBER/OCTOBER 2015



We do.



000Sig-ATB-FP.indd 1 2015-08-25 10:43 AM Signature_1_2015_pg02-03.indd 3 2015-09-02 8:18 AM

SIGNATURE Contents

Volume 31, Number 1 | SEPT/OCT 2 0 1 5


WELCOME

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

EDMONTON SYMPHONY ORCHESTRA 2015/2016

FEATURE: LATE NIGHTS TO REMEMBERThe unique and innovative Late Night Series expands to three performances

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

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

eso editor D.T. Bakerprogram notes OskarMorawetz.com, William Eddins,

Vinok Worldance & D.T. BakerLetters to the editor, comments and/or suggestions are welcome.

PUBLISHED BY

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

publisher Ruth Kelly director of custom content Mifi Purvis managing editor Kim Tannas art director Charles Burke vice president of sales Anita McGillis director of sales Allyson Kurian senior account executive Kathy Kelley

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

Contents copyright 2015 by Edmonton Symphony Orchestra/ Francis Winspear Centre for Music. No part of this publication should be reproduced without written permission.

ON THE COVER

pg. 5

pg. 6

pg. 7

pg. 8

pg. 10

pg. 13

pg. 17

pg. 19

pg. 22

pg. 24

pg. 28

pg. 35

pg. 36

ROBBINS POPS: CLASSIC FM (SEPTEMBER 18 & 19)

Jack Everly, conductorJim Hogan, Ron Remke, Josh Turner, N’Kenge, Melissa Schott, vocalists

LANDMARK HOMES MASTERSBEETHOVEN’S FIFTH (SEPTEMBER 26)


SPECIAL: WINDBORNE’S MUSIC OF PINK FLOYD (SEPTEMBER 29 & 30, OCTOBER 1)

Brent Havens, conductorRandy Jackson, vocalist

ROBBINS LIGHTER CLASSICSTHE WORLD IN HARMONY (OCTOBER 8)


MNP LATE NIGHT WITH BILL EDDINSLATE NIGHT CLARINET (OCTOBER 16)


LANDMARK HOMES MASTERSVAUGHAN WILLIAMS & FRANÇAIX (OCTOBER 17)


DONOR LISTINGS

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

OUR SUPPORTERS

French clarinetist Raphaël Sévère brings his artistry to the first Late Night with Bill Eddins concert for 2015/16. The innovative and bold series expands from two to three performances this season. Learn more on page 8.

Photo by Matt Dine




We do.



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University of Alberta | Department of Music

ualberta.ca/artshows

WHAT’S ON AT UALBERTA?Moving On Mozart, Grieg, Debussy and Strauss.Jacques Després (piano) and Andrew Wan (violin).

Fri, Sept 25 @ 8 pm Convocation Hall

Featuring Buzz and 15 for Piano by U of A’s Howard Bashaw.

Performed by Guillaume Tardif (violin) & Roger Admiral (piano).

Sunday, October 18 @ 3 pmConvocation Hall

George Crumb’s trio Vox Balaenae (The Voice of the Whale) for three masked players plus Ellen Lindquist’s Nakoda, portraying the alpha female of the Peter Lougheed wolf pack.

Contemporary Canadian

The Voice of the Whale and Other Creatures

Performed by Shelley Younge (flute) with guests Eileen Keown (piano) & Colin Ryan (cello).

Sunday, November 1 @ 3 pmConvocation Hall

10417 - 174 ST NW, Edmonton, AB T5S 1H1P: (780) 484-0831 F: (780) 486-0698

E: [email protected]

T H E A R T

O F G R E E N

G R E E N B Y N A T U R E

Green at MET is more than just VOC-free, FSC, Carbon Neutral, or Sustainability; that’s just who we are. It’s our nature. Our Green is more than collecting logos, it’s about making beautiful Print: the Art of Green.

For more, visit www.METprinters.com. 1.866.254.4201 | [email protected] | @METPrinters

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WW

WELCOME

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.

ELCOME BACK! I HOPE THE SUMMER WAS GREAT, AND THAT you’re all ready for what is my 11th season (I know – I double checked that,

too) as the Music Director for your orchestra. As ever, we’ve tweaked and nudged here and there, hoping to make every new season a little bit better, and I think we’re on the right track.

Like our hours of business. Our Late Night series has grown this year – to three concerts from two, and it’s now a subscription series. I’m thrilled that it’s found its own audience, who want to stay up a little late, kick up their heels a little bit after, and generally get into some seriously great music in a different way. There’s more about it on page 8, and if you’ve never been, join us October 16 for the first one (see page 22).

We also welcome the brand new occupant of the Stuart and Winona Davis Principal Cello Chair, Rafael Hoekman, an amazing musician and welcome addition to our musical family. You’ll learn more about him and everything else we’ve got going on over the next little while. So let’s get started.

Peace

William Eddins

A bequest in support of healthcare is a gift to the entire community.

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

This ad was generously donated by The Robbins Foundation Canada.

FOR MORE INFORMATION PLEASE CONTACT:

Terry Tobin

Bequests and Planned Gifts Office

Royal Alexandra Hospital Foundation

Telephone: 780-735-5061 | Email: [email protected]

“When we became aware of what others have done for our hospital and for our community with their estate plans, we were both deeply moved, and we followed their example.”

— Melanie and Dr. Thomas Nakatsui

“When we became aware of what others have done for our hospital and for our community with their estate plans, we were both deeply moved, and we followed their example.”

— Melanie and Dr. Thomas Nakatsui

www.royalalex.org | Twitter: @RAHFoundation

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ow in his 11th season as Music Director of the Edmonton Symphony Orchestra, WILLIAM EDDINS demonstrates

tremendous and infectious passion and enthusiasm, as well as an adventurous musical curiosity that propels the orchestra to new and exciting achievements. His commitment to the entire spectrum of the ESO audience brings him to the podium for performances in every subscription series, as well as for a wide variety of galas and specials.

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

Mr. Eddins has many non-musical hobbies including cooking, eating, discussing food and planning dinner parties. He is also quite fond of biking, tennis, reading and pinball. Based in Minneapolis, where he lives with his wife Jen (a clarinetist) and their sons Raef and Riley, the Eddins home comes complete with a state-of-the-art recording studio, built by Mr. Eddins himself.

While conducting is his principal pursuit, he continues to perform as pianist, organist and harpsichordist. He has conducted the ESO from the keyboard on many occasions. An important aspect of every performance in the Masters series over the last few seasons (including 2014/15) is the inclusion in every program of a work that the orchestra has never performed. In 2008, he conducted Gershwin’s Porgy and Bess for Opéra Lyon, leading to repeat performances in Lyon, London and at the Edinburgh International Festival in 2010. Other international highlights include a 2009 tour of South Africa, where Mr. Eddins conducted three gala concerts with soprano Renée Fleming and the KwaZulu-Natal Philharmonic Orchestra. On May 8, 2012, Mr. Eddins made his Carnegie Hall debut conducting the ESO at a memorable concert featuring four Canadian soloists, and music by three Canadian composers alongside Martinu’s rarely performed Symphony No. 1.

ow in his second season as ESO Concertmaster, ROBERT UCHIDA is hailed for his “ravishing sound, eloquence and hypnotic

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

In recent years he has been a featured soloist with several of Canada’s orchestras including the National Arts Centre Orchestra, Orchestre de la Francophonie, Ottawa Symphony, Symphony Nova Scotia and Symphony New Brunswick. His recital and chamber music performances have included prestigious venues including Lincoln Center (New York), Muziekgebouw (Amsterdam) and the Glenn Gould Studio (Toronto). He has been a guest violinist at a number of Canadian festivals and chamber music series.

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

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Symphony Orchestra (ESO) and Francis Winspear Centre for Music, brings more than 26 years of experience to a role that oversees one of Alberta’s flagship performing ensembles and one of the world’s premier concert halls.

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

long-term planning, government relations and community support of both organizations.

A native of Montréal, Ms. Petrov 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. She followed her position at the National Arts Centre Orchestra with work at the Winnipeg Symphony Orchestra, where she also oversaw the popular Winnipeg New Music Festival. She joined the Edmonton Symphony Orchestra and Winspear Centre in 2007.

Ms. Petrov is guided by her profound love of the arts 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 fuelled by the belief that participation in live music is essential to our well-being and is driven to make it accessible to everyone. She is a frequent guest speaker at arts industry conferences and has served on the board of Orchestras Canada.

ARTISTIC & LEADERSHIP TEAM

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SIGNATURE www.EdmontonSymphony.com6


[ VIOLIN I ]Robert Uchida, Concertmaster The John & Barbara Poole Family Concertmaster ChairEric Buchmann, Associate ConcertmasterVirginie Gagné, Assistant Concertmaster 5

Laura VeezeBroderyck OlsonRichard CaldwellJoanna Ciapka-SangsterSusan FlookAnna KozakAiyana Anderson-HowattNeda Yamach

[ VIOLIN II ]Dianne New 1

Aaron Au 4

Heather BergenPauline BronsteinRobert HryciwZoë SellersMurray VaasjoTatiana Warszynski

[ VIOLA ]Stefan Jungkind 1

Charles Pilon 2

Clayton LeungRhonda HenshawAndrew Bacon 5

Jeanette Comeau

[ CELLO ]Rafael Hoekman, 1 The Stuart & Winona Davis Principal Cello ChairRonda Metszies 4

Gillian CaldwellDerek GomezVictor Pipkin

[ BASS ]Jan Urke 1

John Taylor 2

Janice QuinnRhonda TaftRob Aldridge

[ FLUTE ]Elizabeth Koch 1

Shelley Younge 2

[ OBOE ]

Lidia Khaner 1

Paul Schieman, 2 The Steven & Day LePoole Assistant Principal Oboe Chair

[ CLARINET ]Charles Hudelson, Principal EmeritusJulia Scott 1

David Quinn 2

[ BASSOON ]William Harrison 1

Matthew Howatt 3 Edith Stacey 2

[ HORN ]Allene Hackleman 1

Megan Evans 2

Gerald Onciul 2

Donald Plumb 2

[ TRUMPET ]Alvin Lowrey, Principal EmeritusRobin Doyon 1

Frédéric Payant 2

[ TROMBONE ]John McPherson 1

Kathryn Macintosh 2

[ BASS TROMBONE ]Christopher Taylor 1

[ TUBA ]Scott Whetham 1

[ TIMPANI ]Barry Nemish 1

[ PERCUSSION ]Brian Jones 1

[ HARP ]Nora Bumanis 1

1 PRINCIPAL2 ASSISTANT PRINCIPAL3 ACTING PRINCIPAL4 ACTING ASSISTANT PRINCIPAL5 ON LEAVE

ORCHESTRA PERSONNEL

Eric Filpula, Orchestra Personnel ManagerAaron Christopher Hawn, Orchestra Librarian

The following musicians may appear at performances in this issue:Julie Amundsen CelloEmma Banfield ViolinRaymond Bari SaxophoneJim Cockell ViolinYue Deng ViolinJerrold Dubyk SaxophoneElizabeth Faulkner FluteJoel Gray TrumpetSheila Laughton CelloAlden Lowrey TromboneJames Mallet BassMichael Massey KeyboardsEcho Mazur ClarinetJohn McCormick PercussionAmy Nicholson CelloMatt Nickel BassoonPJ Perry SaxophoneJean-François Picard SaxophoneBrian Sand TrumpetYukari Sasada BassAlison Stewart ViolinDan Sutherland ClarinetRobin Taylor SaxophoneBrian Thurgood PercussionDan Waldron OboeRobert Walsh GuitarRussell Whitehead TrumpetIan Woodman Cello

or the 2015/16 season, LUCAS WALDIN

continues to wear with distinction the mantle of Enbridge Artist in Residence and Community Ambassador, as well as that of YONA-Sistema Artistic Director. In these capacities, he continues to

establish strong ties with our community through inventive outreach initiatives, assist in programming and presenting the ESO’s education and family concerts, and applying his artistic leadership to the YONA-Sistema program. During his time with the ESO (which began with his appointment as Conductor in Residence in 2009), Mr. Waldin has collaborated with some of North America’s finest musicians including Jens Lindemann, Angela Cheng and Sergei Babayan. An experienced conductor of pops and crossover, he has worked with a range of artists such as Ben Folds, Chantal Kreviazuk and the Canadian Tenors. His acclaimed work with the Barenaked Ladies led the iconic Canadian pop group to select Mr. Waldin as their conductor of choice for their performances with the Toronto Symphony at Roy Thomson Hall.

Strongly dedicated to Canadian composers, Lucas Waldin has performed more than 25 Canadian compositions including six world premieres. In recognition of his valuable contribution to the artistic life in Canada, he was awarded the 2012 Jean-Marie Beaudet Award in Orchestra Conducting by the Canada Council for the Arts. He studied conducting and flute at the Cleveland Institute of Music and has conducted in master classes with Helmuth Rilling, Michael Tilson-Thomas, Colin Metters, and Bernard Haitink. In 2012, he was invited to conduct the National Arts Centre Orchestra (Ottawa) in a conductor workshop, and as a participant of the St. Magnus Festival, Orkney, Lucas conducted both the Scottish Chamber Orchestra and the BBC Scottish Symphony. Prior to his appointment with the Edmonton Symphony, Mr. Waldin was a Discovery Series Conductor at the Oregon Bach Festival, and Assistant Conductor of Cleveland’s contemporary orchestra {RED}. He has performed with orchestras across Europe, including the Jugendsinfonieorchester Kassel, Bachakademie Stuttgart, and Staatstheater Cottbus.

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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.


Conductor Laureate

Music Director

Uri Mayer,

Lucas Waldin

William Eddins,

Enbridge Artist in Residence & Community Ambassador

F



FFEATURE BY KIM TANNAS

RACHEL FERRO WOULDN’T DESCRIBE HERSELF AS A musically inclined person. “This is going to sound strange,” she

says, “but I was a little apprehensive about going to the symphony at first because I’m not a music person,” she confesses. Her hesitation soon turned to enthusiasm, however, when she started attending some ESO performances with her husband, Dave, including the Late Night with Bill Eddins series.

“The whole feel is just really energized,” says the 45-year-old IT worker. “It’s upbeat, and I know there’s always going to be something fun.”

The Late Night series started up in 2011, with two performances a year, but it’s catching on with audiences and has since been moved to three nights a year for the 2015-2016 season. It’s also now available as a subscription series on its own for the first time. Performances are on Friday nights, starting at 9:30 p.m., lasting about 80 minutes (with no intermission) and the lobby stays open afterwards for cocktails, mingling, live music and dancing.

The atmosphere is a bit more laid back than a typical night at the symphony but that’s one of the things that appeals to Clayton Schafers, a 28-year-old accountant who first attended one of the Late

Concert-goers party into the night with a unique spin on the symphony experience

LATE NIGHTS TO REMEMBER



2015/2016 SEASON

• The first performance of the season is scheduled for October 16 (see page 22) and features French virtuoso Raphaël Sévère. Sévère took up the clarinet at the age of eight and by the time he was 12, he had won five international competitions. It’s an instrument that shines in both orchestral and jazz settings as Sévère jams with ESO music director Bill Eddins in music running the gamut from Poulenc to Porter.

• On February 26, a specially edited version of the film The Great Human Odyssey will be shown, with the ESO presenting the live film score. This film is part of the CBC’s The Nature of Things series and features a dramatic and sweeping score crafted by former Edmontonian Darren Fung and performed by the ESO. It will be joined by a Charlie Chaplin short film, making the evening both slapstick and grand.

• March 4 will feature Edmonton-raised trumpet master Jens Lindemann. He will perform Dreaming of the Masters III, written especially for him by former ESO composer in residence Allan Gilliland – this work electrified Carnegie Hall in 2012.

Night events in June 2014 and is now hooked. A regular attendee of ESO performances, he was quick to subscribe to the series for the 2105-16 season.

“It’s very relaxed; not everyone’s dressed up so formally like if you go to other symphony events,” he explains. In fact, even the orchestra members are dressed down a bit for the evening, adding to the informal atmosphere.

Schafers especially appreciates the interactive nature of the perfor-mances, with ESO music director Bill Eddins taking the time to share his personal connections to the pieces. “Bill’s really great,” he says. “He’s very casual and comes out and talks a lot about the pieces or his past experiences working with artists or conductors that have been involved.

“Just getting that extra narrative from him about all these differ-ent works, he adds a really special touch to it that you can’t get anywhere else.”

This interactive component has extended into everything from Eddins hopping off the stage and walking up and down the rows of the main floor area, asking audience members to share their reactions to the music, to one performance where Eddins handed out the original conductors’ score from an old piece of music and passed it around to people in the front row.

“He really cuts loose,” says Rachel. “He interacts with the audience, he jokes around.”

“Bill is a fantastic musician and a very talented entertainer,” adds Dave Ferro. “He makes the music very accessible to the layperson.”

Schafers also enjoys the opportunity to mingle afterwards with his friends and also with performers, who join in on the post-symphony festivities.

“They’re really approachable – they will stay afterwards and they’ll dance and they’ll have drinks at the martini bar,” explains Rachel. “[The after-party is] still going on for another hour, hour and a half after the performance ends.”

With live music playing in the lobby and cocktails being served, there’s no big rush to get home. “There’s more of, ‘We’re here, we’re going to enjoy the evening, let’s sit around with our friends, there’s still good music going on,’ ” says Schafers. “It being a shorter program and not being as expensive as buying regular tickets, I think they’ve really found a good way to promote the symphony to get younger people more interested in it and to get more people coming out in general.”

Rachel and Dave Ferro also subscribed to the full three-performance package. “I was actually quite pleased when I went through the brochure and I saw there were three nights instead of two. I’m super-excited. The first one’s in October and … I’ve got goosebumps even thinking about it,” she says.

“[The after-party is] still going on for another hour, hour and a half after the

performance ends.”– Rachel Ferro

2015/16 MNP LATE NIGHT WITH BILL EDDINS



RROBBINS POPS

Series Sponsor Media Sponsors

ACK EVERLY is Principal Pops Conductor of the Indianapolis

and Baltimore Symphony Orchestras, Naples Philharmonic Orchestra, and the National Arts Centre Orchestra (Ottawa). He has conducted the Los Angeles Philharmonic at the Hollywood Bowl, The New York Pops at Carnegie Hall, and appears regularly with The Cleveland Orchestra at Blossom Music Center. Maestro Everly will conduct over 90 performances in more than 20 North American cities this season. As Music Director of the National Memorial Day Concert and A Capitol Fourth on PBS, Maestro Everly proudly leads the National Symphony Orchestra in these patriotic celebrations on the National Mall. Mr. Everly is also the Music Director of Duke Energy Yuletide Celebration, now a 28-year tradition. Some of his recordings include In The Presence featuring the Czech Philharmonic and Daniel Rodriguez, Sandi Patty’s Broadway Stories, the soundtrack to Disney’s The Hunchback of Notre Dame, and Everything’s Coming Up Roses: The Complete Overtures of Jule Styne.

Originally appointed by Mikhail Baryshnikov, Jack Everly was conductor of the American Ballet Theatre for 14 years, where he served as Music Director. He also teamed with Marvin Hamlisch on

JARTIST BIO

Pops Prelude, 6:45 pm Friday & Saturday in Enmax Hall (main performance chamber) with D.T. Baker

Prelude to a Decadevarious (arr. Everly)

ABBA (medley)Andersson/Ulvaeus (arr. Reineke)

“Tiny Dancer”/“Don’t Let the Sun Go Down on Me”John/Taupin (arr. Barton)

“Graceland”Simon

“The Sound of Silence”Simon (arr. Barton)

“Bridge Over Troubled Water”Simon (arr. Barker)

“Let It Go” (from Disney’s Frozen)Lopez/Anderson-Lopez (orch. Metzger/Ricketts)© 2013 Wonderland Music Company, Inc. (BMI)

ImagineLennon (arr. Everly)

Valli & the Dollsvarious (arr. Barker / orch. Barton)

INTERMISSION (20 minutes)

Prelude to Another Decadevarious (arr. Everly)

“Hallelujah”Cohen (arr. Lapalme)

Jack Everly, conductorJim Hogan, vocalistRon Remke, vocalistJosh Turner, vocalistN’Kenge, vocalistMelissa Schott, vocalistWith:Steve Hanna, drums

Friday, Sept. 18 | 8 P M & Saturday, Sept. 19 | 8 P M

Classic FM“Sweet Caroline”Diamond (arr. Barton)

Chicago MedleyLamm (arr. Everly)

“Happy”Williams (arr. Runyan)

“I Will Survive”Perren/Fekaris (arr. Anthony)

“My Way”/“I Gotta Be Me”François/Bevaux/Anka/Marks (arr. Barton)

The Beatles MedleyLennon/McCartney (arr. Barker)

Program subject to change



RROBBINS POPS


ACK EVERLY is Principal Pops Conductor of the Indianapolis

and Baltimore Symphony Orchestras, Naples Philharmonic Orchestra, and the National Arts Centre Orchestra (Ottawa). He has conducted the Los Angeles Philharmonic at the Hollywood Bowl, The New York Pops at Carnegie Hall, and appears regularly with The Cleveland Orchestra at Blossom Music Center. Maestro Everly will conduct over 90 performances in more than 20 North American cities this season. As Music Director of the National Memorial Day Concert and A Capitol Fourth on PBS, Maestro Everly proudly leads the National Symphony Orchestra in these patriotic celebrations on the National Mall. Mr. Everly is also the Music Director of Duke Energy Yuletide Celebration, now a 28-year tradition. Some of his recordings include In The Presence featuring the Czech Philharmonic and Daniel Rodriguez, Sandi Patty’s Broadway Stories, the soundtrack to Disney’s The Hunchback of Notre Dame, and Everything’s Coming Up Roses: The Complete Overtures of Jule Styne.

Originally appointed by Mikhail Baryshnikov, Jack Everly was conductor of the American Ballet Theatre for 14 years, where he served as Music Director. He also teamed with Marvin Hamlisch on

JARTIST BIO

Pops Prelude, 6:45 pm Friday & Saturday in Enmax Hall (main performance chamber) with D.T. Baker

Prelude to a Decadevarious (arr. Everly)

ABBA (medley)Andersson/Ulvaeus (arr. Reineke)

“Tiny Dancer”/“Don’t Let the Sun Go Down on Me”John/Taupin (arr. Barton)

“Graceland”Simon

“The Sound of Silence”Simon (arr. Barton)

“Bridge Over Troubled Water”Simon (arr. Barker)

“Let It Go” (from Disney’s Frozen)Lopez/Anderson-Lopez (orch. Metzger/Ricketts)© 2013 Wonderland Music Company, Inc. (BMI)

ImagineLennon (arr. Everly)

Valli & the Dollsvarious (arr. Barker / orch. Barton)


Prelude to Another Decadevarious (arr. Everly)

“Hallelujah”Cohen (arr. Lapalme)

Jack Everly, conductorJim Hogan, vocalistRon Remke, vocalistJosh Turner, vocalistN’Kenge, vocalistMelissa Schott, vocalistWith:Steve Hanna, drums

Friday, Sept. 18 | 8 P M & Saturday, Sept. 19 | 8 P M

Classic FM“Sweet Caroline”Diamond (arr. Barton)

Chicago MedleyLamm (arr. Everly)

“Happy”Williams (arr. Runyan)

“I Will Survive”Perren/Fekaris (arr. Anthony)

“My Way”/“I Gotta Be Me”François/Bevaux/Anka/Marks (arr. Barton)

The Beatles MedleyLennon/McCartney (arr. Barker)

Program subject to change



2015/2016 SEASONBroadway shows that Mr. Hamlisch scored. He conducted Carol Channing hundreds of times in Hello, Dolly! in two separate Broadway productions. In 1998, Mr. Everly created the Symphonic Pops Consortium, serving as Music Director. The Consortium produces new theatrical pops programs, including the most recent On Broadway with Kander & Ebb. In the past 12 years, more than 265 performances of SPC programs have taken place

across the U.S. and Canada. Maestro Everly, a graduate of the Jacobs School of Music at Indiana University, holds an Honorary Doctorate of Arts from Franklin College in his home state of Indiana. A proud resident of the Indianapolis community for over 12 years, when not on the podium you can find Maestro Everly at home with his family which includes Max the wonder dog. Mr. Everly last conducted the ESO in June 2015.

JIM HOGAN RON REMKE JOSH TURNER N’KENGE MELISSA SCHOTT

Bios of our other guests artists are included in the insert to tonight’s program

2015-2016 SEASONOctober 25, 2015, 3p.m.A Baroque BouquetNovember 8, 2015, 3p.m.

Baroque Chamber Music TreasuresDecember 6, 2015, 3p.m.

Music for a Festive SeasonJanuary 31, 2016, 3p.m.Virtuoso StringsMarch 20, 2016, 3p.m.

The Early Viennese SchoolApril 24, 2016, 3p.m.Bach - Handel

All concerts take place at Robertson-Wesley United Church, 10209-123 Street, Edmonton

Tickets and information call 780-467-6531. www.albertabaroque.com


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Landmark Homes Masters Sponsor Media Sponsors

LANDMARK HOMES MASTERS

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usic Director of the Phoenix Symphony,

TITO MUÑOZ is recognized as one of the most gifted and versatile conductors of his generation. He previously served as Music Director of the Opéra National de Lorraine and the Orchestre symphonique et lyrique de Nancy in France. Prior appointments include Assistant Conductor positions with the Cleveland Orchestra, Cincinnati Symphony Orchestra, Cincinnati Chamber Orchestra, and the Aspen Music Festival. Mr. Muñoz’s 2014-15 season included guest appearances with the Cleveland Orchestra, Atlanta Symphony, Baltimore Symphony, Florida Orchestra, Richmond Symphony, Jacksonville Symphony, and the Manhattan School of Music. In Canada, he made appearances with the Kitchener-Waterloo Symphony, Toronto’s Royal Conservatory Orchestra, and the Calgary Philharmonic. Past engagements include the orchestras of Atlanta, Cincinnati, Dallas, Detroit, Hawaii, Houston, Indianapolis, Louisville, Milwaukee, Rochester, San Antonio, Sarasota, and Westchester, among others. Previous international engagements include the Lausanne Chamber Orchestra, Opéra de Rennes, Danish Radio Sinfonietta, Deutsche Radio Philharmonie Saarbrücken, Luxembourg Philharmonic, Auckland Philharmonia, and Sydney Symphony.

During the summers of 2004 through 2006, Mr. Muñoz attended the American Academy of Conducting at Aspen where he studied with David Zinman and Murry Sidlin. He is the winner of the Aspen Music Festival’s 2005 Robert J. Harth Conductor Prize and the 2006 Aspen Conducting Prize. He made his professional conducting debut in 2006 with the National Symphony Orchestra at the Kennedy Center. That same year, he made his Cleveland Orchestra debut at the Blossom Music Festival. An accomplished violinist, Mr. Muñoz began his musical training in the Juilliard School’s Music Advancement Program, continuing studies in violin and composition at the Manhattan School of Music Preparatory Division. He attended Fiorello H. LaGuardia High School of Music & Art and Performing Arts, and participated in the InterSchool Orchestras of New York and New York Youth Symphony. He furthered his training at Queens College (CUNY) as a violin student of Daniel Phillips. www.titomunoz.com

This is Mr. Muñoz’ debut with the ESO.

ARTIST BIOS

Symphony Prelude, 6:45 pm in Enmax Hall with Lucas Waldin

MORAWETZOverture to a Fairy Tale (11’)*

PROKOFIEVPiano Concerto No. 2 in G minor, Op.16 (31’)* Andantino Scherzo: Vivace Intermezzo: Allegro moderato Finale: Allegro tempestoso


BEEETHOVENSymphony No. 5 in C minor, Op.67 (31’)* Allegro con brio Andante con moto Allegro Allegro

Program subject to change*Indicates approximate performance duration


Saturday, September 26 | 8 P M

Bios and program notes continue on pages 14 & 15.

Beethoven’s Fifth

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LANDMARK HOMES MASTERS Beethoven’s Fifth

ianist KATHERINE CHI, firmly established as one of Canada’s fastest

rising stars, has performed throughout Europe and North America to great acclaim. “Ms Chi displayed a keen musical intelligence and a powerful arsenal of technique” notes the New York Times. Sought after as a concerto soloist of musical and technical distinction, Ms. Chi is noted for the breadth of her repertoire. While hailed for her

interpretations of Mozart, she is also acclaimed for performances of major romantic and twentieth century concertos. “… the most sensational but, better, the most unfailingly cogent and compelling Prokofiev’s Third I have heard in years,” writes the Globe and Mail. She has appeared with the Alabama, Calgary, Colorado, Columbus, Grand Rapids, Kitchener-Waterloo, Nova Scotia, Philadelphia, Québec, Thunder Bay, Toronto, Vancouver, and Victoria Symphony Orchestras, CBC Radio Orchestra, Canada’s National Arts Centre Orchestra, I Musici de Montréal, Manitoba Chamber Orchestra, the Neue Philharmonie Westfalen, and Toronto Sinfonia. Festival appearances including Aldeburgh, Banff, Canada’s Festival of the Sound, Launadière, Domaine Forget, Marlboro, Osnabrück Kammermusik, Germany’s Ruhr, Santander Summer Music, and Festival Vancouver.

Just a year after her debut recital at the age of nine, Katherine Chi was accepted to the prestigious Curtis Institute of Music. She continued studies at the New England Conservatory in Boston, where she received her Master’s degree, Graduate, Artist Diploma, and Doctorate. She later studied for two years at the International Piano Foundation in Como, Italy, and at the Hochschule für Musik in Cologne. In 2000, Ms. Chi was named Prize Laureate of the Honens International Piano Competition and was the first Canadian, and the first woman, to win this award. She was also a prizewinner at the 1998 Busoni International Piano Competition. Her debut recording, on the Honens label, features works of Beethoven and Rachmaninoff.

Ms. Chi last appeared with the ESO in May 2014.

Overture to a Fairy TaleOSKAR MORAWETZ(b. Svetlá nad Sázavou, Czechoslovakia, 1917 / d. Toronto, 2007)

First performed: February 8, 1957 in HalifaxLast ESO performance: November 2001

Program note courtesy of OskarMorawetz.com, used with permission

OMPOSED IN 1957, THIS COMPOSITION WAS PREMIERED in Halifax conducted by Thomas Mayer. In April of the same year,

Walter Susskind performed this work with the Canadian Broadcasting Corporation, and on August 7th, he opened his concert at the Stratford Music Festival with this composition. During the next 20 years this work, with nearly 90 performances, became one of the most frequently

performed Canadian compositions. In Morawetz’ native Czechoslovakia it was heard the first time in 1963 under the baton of Sir Charles Mackerras, in Brno, the capital of Moravia. The title does not apply to any particular fairy tale, but has all the characteristics of one.

During the exposition, elfin themes in the flute are accompanied by impressionistic colours in the strings. These are followed by a number of contrasting ideas, some expressive or mysterious, followed by gay and dance-like motives. These ideas are then all developed in such a manner as to be always changing their characteristics with new orchestral colours, with different rhythmic combinations, and especially by being combined with each other. At the dynamic climax of this section, the music becomes most menacing. The “evil forces” gradually disappear into a short, quiet section. Like all fairy tales, this composition also has a happy ending at the start of a very fast coda in 2/4 meter contrasting strongly with the preceding 3/4 meter. A steadily-growing crescendo concludes the composition in an exuberantly joyful mood.

Piano Concerto No. 2 in G minor, Op.16SERGEI PROKOFIEV(b. Sontsovka, 1891 /d. Moscow, 1953)

First performance of original version: September 5, 1913 in PavlovskRevised version first performed: May 8, 1924 in ParisLast ESO performance: 1977

ROKOFIEV HAS LEFT A REMARKABLY DETACHED SUMMARY of the reception accorded his Second Piano Concerto in his

memoirs. “Half the audience hissed and the other half applauded,” he recalled, even quoting from a review of the performance. “‘He sat down at the piano and appeared to be either dusting the keyboard or tapping it at random’,” he cites The St. Petersburg Gazette. “‘The young artist ended his concerto with a relentlessly discordant combination of brasses. The audience was scandalized. The majority hissed’.”

Prokofiev wrote his Second Concerto not only close to the first, but also in the shadow of the succès de scandale of Stravinsky’s Le sacre du printemps in Paris in 1913. Prokofiev writes of not particularly liking Stravinsky’s work – but he certainly liked the attention and celebrity it brought to his fellow countryman. Indeed, Prokofiev played his concerto privately for Sergei Diaghilev, the ballet impresario who had commis-sioned Stravinsky, and while nothing came from it, there are elements of the concerto’s more angular elements to be found in Prokofiev’s Ala and Lolly, a proposed ballet for Diaghilev that ultimately was never produced (but instead became the concert work known as the Scythian Suite).

The original score of Piano Concerto No. 2 was left behind and ultimately lost when Prokofiev left Russia in 1918. He rewrote it from memory, making several substantial revisions, and the new version was presented in Paris, with Serge Koussevitsky conducting, in 1924. Where the First Concerto was cast in a long single movement, the Second is in an ambitious four-movement layout. The mysterious beginning is both ethereal and measured; the piano’s steadily rocking, rising theme is played over an uncertain harmonic texture in the winds. The piano soon dominates, with a second idea more dense and dramatic setting up a striking contrast of chromatic rising and falling in the piano against a lush and romantic string accompaniment. A slightly faster idea in the piano is ushered in by the orchestra, set in A minor, an unusual and

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aurally unexpected shift from the tonic G minor. This tension carries into a long and detailed passage for piano alone – both a development section and cadenza all at once. This taxing and rich solo is finally answered by a grand statement in the brass – yet the movement ends in a whispered echo of the opening material.

The second movement is a brief Scherzo, a headlong rush that sweeps the orchestra along as well as the piano. The keyboard is not silent for a moment, playing the full 187 bars of the movement in a frantic moto perpetuo. The third movement is called Intermezzo, beginning dramat-ically – even theatrically – with stern and ominous orchestral passages. It is here that the echoes of what would come in Ala and Lolly are best heard – this is certainly music to which a dance could be set – a colourful, flowing series of moody vignettes. The final movement is appropriately labeled Allegro tempestoso, opening in a colourful orchestral swirl, though the piano takes command in a heroic solo part that now leads the orchestra through the tempests of the movement’s title, as well as through the portentous extended quiet passages. Prokofiev’s first attempt at the concerto genre deliberately made the piano and orchestra equal partners; the second puts the piano squarely in the solo spotlight, and this movement makes tremendous demands – Prokofiev himself played the premiere performances of both versions of the concerto.

Symphony No. 5 in C minor, Op.67LUDWIG VAN BEETHOVEN(b. Bonn, 1770 / d. Vienna, 1827)

First performed: December 22, 1808 in ViennaLast ESO performance: March 2009

HE WORK THAT BEGINS WITH THE MOST FAMOUS FOUR notes in all of music was hinted at by Beethoven in sketchbooks

in 1803, although the work eventually premiered at a massive all- Beethoven concert in 1808. The entire first movement, in fact, is built upon the seemingly insignificant foundation of those four very famous notes (three Gs and an E-flat, if you’ve always wondered) – and you can hear that motif echo in all four movements of the symphony.

The opening Allegro takes the motif and varies it, adds to it, and manipulates it with genius, creating variety with absolute continuity. The slow movement presents a theme which is given two major-key variations, bringing a sense of serenity following the opening move-ment’s storm-tossed drama. The Scherzo is effectively dark, again in the minor key, and wandering away from the home key to wind up, near the movement’s end, in E-flat minor. As C minor is again restored, Beetho-ven segues directly from this foreboding movement into the finale.

But the C of C minor is also the C of C Major, and Beethoven brings the symphony from shadows to brilliant sunlight as quiet timpani and strings burst forth with a triumphant brass fanfare. Piccolo, trombones and contrabassoons all make their symphonic debut in this final movement, one which shows two prominent aspects of the composer’s personality – his noble, heroic nature as well as his broad sense of humour. One can’t help but think that Beethoven had a ready laugh at us as the symphony nears its end – he seems to bring logical conclusions (or places where you could easily think you see the end coming) a half-dozen times before he actually lets the work finish.

Program notes © 2015 by D.T. Baker, except as noted

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STHE POWER OF MUSIC

YONA-Sistema (Youth Orchestra of Northern Alberta) is anafter-school orchestra program opening up new possibilitiesin the lives of Edmonton’s under-served youth.

The El Sistema model for social transformation through musicwas born almost 40 years ago in some of Venezuela’s mostpoverty-stricken areas. Today, this system provides youthall over the world with the opportunity to develop theirleadership skills, and interact with role models in a safelearning environment.

We are supporting the development of our community’sfuture leaders. To learn more about this transformativeprogram, visit YONA-Sistema.com or email us at

[email protected].

Thank you to our supporters and partners!

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STHE POWER OF MUSIC

YONA-Sistema (Youth Orchestra of Northern Alberta) is anafter-school orchestra program opening up new possibilitiesin the lives of Edmonton’s under-served youth.

The El Sistema model for social transformation through musicwas born almost 40 years ago in some of Venezuela’s mostpoverty-stricken areas. Today, this system provides youthall over the world with the opportunity to develop theirleadership skills, and interact with role models in a safelearning environment.

We are supporting the development of our community’sfuture leaders. To learn more about this transformativeprogram, visit YONA-Sistema.com or email us at

[email protected].

Thank you to our supporters and partners!

Fuel Efficient Motorhomes You’ll Love to Drive.

To find out why Roadtrek is the #1 selling Noth American Class B motorhome (camper van) visit us!

All New Sprinter Van!

# 627 – 26409 Twp Road 525 A, AchesonJust West of Highway 60 & 16 A

780-955-0300, 1-800-940-8878, www.trailblazerrv.com

We Have Moved!

Edmonton’s Better RV Experience

DO YOU OWN RENTAL PROPERTY? ARE YOU TIRED OF LATE OR NO RENTAL PAYMENTS?

TENANTS ARE YANKING YOUR CHAIN? LOOKING TO EVICT THOSE TENANTS?

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S Havens conducted the Malaysian Philharmonic for the Music of Michael Jackson show there and returned to Kuala Lumpur in 2014 with the Music of Led Zeppelin.

Havens recently completed the score for the film “Quo Vadis,” a Premier Pictures remake of the 1956 gladiator film. In 2013 he worked with the Baltimore Symphony and the NFL’s Baltimore Ravens to arrange and produce the music for the Thanksgiving Day halftime show between the Ravens and Pittsburgh Steelers, adapting both classical music and rock songs into a single four minute show. Havens is Arranger/Guest Conductor for eleven symphonic rock programs – the Music of Led Zeppelin, the Music of the Doors, the Music of Pink Floyd, the Music of the Eagles, the Music of Queen, the Music of Michael Jackson, the Music of The Who, the Music of Whitney Houston, the Music of The Rolling Stones, and most recently the Music of U2! Havens also premiered a full orchestral show for Lou Gramm, The Voice of Foreigner with Lou singing out front.

This is Mr. Havens’ debut with the ESO.

ANDY JACKSON is the lead singer/

guitarist for the rock band Zebra. Randy’s first foray into recording success began with the self-titled Zebra debut album, released on Atlantic Records in 1983. Critically acclaimed for its lush rock sounds, due in large part to Jackson’s searing lead vocals and soaring guitar leads, the album sold 75,000 copies the first week. “Who’s Behind The Door” and “Tell Me What You Want,” written by Jackson, received serious notice in the press, and helped to form legions of Zebra fans almost instantly. The latest Zebra release, “Zebra IV,” was also produced and engineered by Jackson.

Randy toured as keyboardist, guitarist, and backing vocalist in 1989 with the original, reunited Jefferson Airplane, their last tour together. He has also worked extensively in the area of musical software and hardware development. Visit www.randyjackson.com

Mr. Jackson last appeared with the ESO in June 2015.

ARTIST BIOS

Orchestral arrangements by Brent Havens

Music for this evening’s performance will be announced from the stage.

There will be one, 20-minute intermission in tonight’s performance

Guest Conductor Brent HavensandVocalist Randy Jackson

with: Dan Clemens, bassPowell Randolph, drumsGeorge Cintron, guitarJohn Hines, background vocalsEddie Williams, saxophoneKathryn Key, piano and background vocalsRobert Cross, percussion

Tuesday, Wednesday & Thursday, September 29 & 30, October 1 | 8 P M

Windborne’s Music of Pink Floyd

SPECIAL

erklee-trained arranger/conductor BRENT HAVENS

has written music for orchestras, feature films and virtually every kind of television. His TV work includes movies for networks such as ABC, CBS, and ABC Family Channel Network, commercials, sports music for networks such as ESPN, and even cartoons. Havens has also worked with the Doobie Brothers and the Milwaukee Symphony, arranging and conducting the combined group for Harley Davidson’s 100th Anniversary Birthday Party Finale attended by over 150,000

fans. He has worked with some of the world’s greatest orchestras including the Royal Philharmonic in London, the Cincinnati Symphony Orchestra, the Minnesota Orchestra, the Pittsburgh Symphony, the Indianapolis Symphony, the Houston Symphony, the Atlanta Symphony, the Baltimore Symphony, the Dallas Symphony, the Fort Worth Symphony, the San Diego Symphony, the Buffalo Philharmonic, and countless others. In 2013

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RBios and program notes continue on pages 20 & 21.

BIZETDanse bohème (from Carmen) (5’)*

trad.Bulgarian Dances (arr. Lapalme) (5’)*

FREEDMANOiseaux exotiques: excerpts (7’)* Conga Butterfly Samba

trad.Mexican Dances (arr. Lapalme) (5’)*

LECUONAAndalucia (arr. Carmen) (4’)*

HUANGSaibei Dance (4’)*

trad.Chinese Dance (arr. Lapalme) (7’)*


GRATTONQuatrième Danse canadienne (arr. Lapalme) (4’)

trad.Hassidic Dances (arr. Lapalme) (10’)*

LAPALMEVinok Interlude (3’)*

GRIEGNorwegian Dance No. 2 in A Major, Op.35 No. 2 (arr. Sitt) (3’)*

DVORVÁKSlavonic Dance in G minor, Op.46 No. 8 (3’)*

trad.Rumanian Dances (arr. Lapalme) (9‘)*


ince his appointment as Music Director of the

Red Deer Symphony in 1990, CLAUDE LAPALME has made his mark as a superb conductor, an exceptional arranger, and an outstanding Music Director. As a conductor, Paris newspaper Le Figaro has called him “remarkable and superb”; the Toronto Globe & Mail “assured and highly effective”; the Havana Granma “surprisingly dexterous, warm and sincere”; the Edmonton Journal “a breath of fresh air”; and the Calgary Herald “vigorous and attentive to detail.” A 1991 Laureate of the Besançon International Conducting Competition, he has conducted orchestras around the world, including the Moscow Radio and Television Orchestra as well as numerous ensembles in Hungary, the United States, Cuba, France, and the Netherlands. His Canadian credits include the Calgary Philharmonic, the Winnipeg Symphony, l’Orchestre symphonique de Laval, the Hamilton Philharmonic, and numerous others. His own Red Deer Symphony has been featured on several CBC broadcasts, and has collaborated – among others – with Alberta Ballet, Edmonton’s Pro Coro, Calgary’s Early Music Voices, and Calgary’s Festival Chorus. The orchestra has also toured the province of Alberta as far north as Fort McMurray.

Since 2001, Mr. Lapalme has become an eminent orchestrator and arranger, having composed orchestra charts for the likes of Ian Tyson and Marvin Hamlisch. His arrangements, noted for the precision of their composition as well as their expressive lushness, have been performed by top Canadian, American, and Australian orchestras where they have been called “gorgeous” and “spine-chilling.” His orchestral arrangement of Ian Tyson’s Four Strong Winds, an exclusive composition for the Edmonton Symphony, was premiered to a standing ovation by an audience of over five thousand people. He also

ARTIST BIOS

Thursday, October 8 | 8 P M

The World in Harmony

ROBBINS LIGHTER CLASSICS

SMETANADance of the Comedians (from The Bartered Bride) (5’)*


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wrote five exclusive arrangements of Canadian popular songs for the Edmonton Symphony’s “Great Canadian Songbook” project.

Mr. Lapalme last appeared with the ESO in May 2014.

ince its inception in 1988, VINOK WORLDANCE has intro-duced hundreds of thousands of people throughout North

America to the beauty and diversity of global culture. The company’s repertoire is comprised of dance and music from 60 separate cultures on five continents. Performances feature live accompaniment by the company’s skilled multi-instrumentalists who often compose or orchestrate the music. The choreographic repertoire is enhanced by Vinok’s extensive collection of cultural costumes, many of which have been made in their countries of origin. Founders Leanne Koziak and Doyle Marko created Vinok Worldance following four years of professional dance experience, cultural study, and research in Europe. This immersion into aspects of world culture provided the foundation for the continuing artistic mandate and philosophy of Vinok Worldance. In staging their works, Koziak and Marko conceived the choreography as a mirror wherein dance, music, song, and improvisation act as a way of celebrating life and reflecting the expression of a people.

Described as “Canada’s United Nations of Dance,” Vinok has toured numerous productions throughout North America, playing to audiences from Yellowknife to Florida, from Newfoundland to British Columbia. Vinok’s educational productions have been acclaimed all the way to California and the company has enjoyed several television broadcasts of its programming. Members of Vinok created and staged Alberta Unity Dance for the official celebrations surrounding the province’s Centennial in 2005 and have toured to festivals in Taiwan and Dubai. The word “vinok” is Ukrainian for the wreath of flowers worn on the head by young women. Koziak and Marko chose this name to symbolize the company because they felt that each flower was like a culture. Just as a floral arrangement full of different colours and types is more beautiful than a single bloom, the variety of dance and music presented by Vinok embraces and celebrates the rich diversity that makes our world so wonderful.

The World in Harmony – Program Notes

HERE’S A TENDENCY, BORN OF OUR OWN SHORT- sightedness, to want to lump things into categories. Look at record

stores and awards shows – there’s a Grammy for Best Regional Roots Album, as distinguished from Best Americana Album, for example. But when we run out of categories, we ghettoize everything else. Once you’ve dealt with the stuff you know, for example, anything else gets called “world music,” as misleading and patronizing a label as one could think of. Into that goes everything even slightly unfamiliar to our traditions, from a classical Chinese dance to the marvelously harmonized Bulgarian choral tradition to an Indian raga.

Tonight’s concert unapologetically puts all that to shame, and if there’s a corner of the world left out, well, Antarctica will have to wait until next time. Almost all the pieces on tonight’s program are being presented in arrangements, from well-known pieces to music you’ve probably never heard. Vinok Worldance is an ideal partner for the enterprise, as they have embraced dance traditions from around the world since their inception.

GEORGES BIZET (1838-1875) died months before his opera Carmen became one of the most popular ever written. Its Seville-set story features a passionate gypsy woman, so both Spanish and Romany elements are infused into the music. Our concert starts with Danse bohème, an instrumental version of one of the title character’s melodies which, in its orchestral guise as arranged for a suite for the concert hall, begins quietly, and builds in both tempo and dynamics until its thrilling, swirling finish.

The region of Shopluk, located in western Bulgaria, surrounds the nation’s capital of Sofia. Based on the dances of this area, we present two dances from Shopluk, characterized by quick footwork and a shaking movement of the body called “Natrissane.” Bulgarian music is unique, and this features two distinct dance forms – Graovsko Horo and Kopanitsa, a dance in 11/16 time signature! Choreography is by Leanne Koziak and Doyle Marko.

HARRY FREEDMAN (1922-2005) likely never foresaw the very specific advantage his brief tenure as an arranger for Toronto dance clubs in the 1940s would have. It exposed him to a wide array of dance styles, from American jazz, to dance forms from many lands. So when choreographer Constantin Patsalas approached Freedman with a set of Venezuelan tunes had had heard while on a trip to South America, wanting the veteran composer to arrange them for a ballet, his talents in setting exotic music bore great fruit, and one of Freedman’s most pop-ular scores was born. Oiseaux exotiques (“Exotic Birds”) was premiered by the National Ballet, and is a colourful series of dances based on Venezuelan music. Some of the movements are in fact named for actual flying creatures (in tonight’s excerpts, Butterfly), while others are Latin American dances (Conga, Samba). Freedman’s orchestration features a large percussion section. The Edmonton Symphony Orchestra’s CBC recording of the suite, coupled with Malcolm Forsyth’s Atayoskewin and released in 1986, won a Juno Award.

The most famous dances and Mariachi music of Mexico are from the region of Jalisco, whose capital is Guadalajara. The dances of Jalisco all centre on courtship as the men and women flirt and vie for the other’s attention. There are three dances in tonight’s suite: El Jabalí (“The

PROGRAM NOTES

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2015/2016 SEASONBoar”), La Negra (“the Dark One”) and the famous Jarabe Tapatio, more commonly known as the “Mexican Hat Dance.” Jarabe means “sweet syrup,” suggesting the sensuality and joy expressed by the dancers. Choreography is by Ferdinand Delgadillo, setting music by Silvestre Vargas, Rubén Fuentes & Felipe Alonso.

ERNESTO LECUONA (1895-1963) was already famous in Cuba (he graduated from the conservatory at 16 years old) by the time he was introduced to audiences worldwide, largely due to performances of his music by Desí Arnaz, his fellow Cuban and the husband of Lucille Ball. He left Cuba following the Communist takeover, and in fact his will states that he wishes his remains be repatriated once that regime is no more – he may get his wish soon. His song Andalucia (also known by the title “The Breeze and I”) is one of his most famous. Tonight’s arrangement is by the legendary Carmen Dragon, longtime conductor and arranger for the Hollywood Bowl Symphony Orchestra.

Prior to moving to Canada in 1980, Chinese composer AN-LUN HUANG (b. 1949) led a rather sheltered life as a composer. Before the Cultural Revolution, his exposure to “western” classical music was entirely from the Moscow Conservatory syllabus, which was all that was taught in the Central Conservatory of Music in Beijing at the time. Following the Mao-led crackdown on western influences, music students such as Huang were forced to leave the conservatory and live among the people. This proved an important influence on his work. Saibei is a region north of the Great Wall of China, and encompasses Hebei, Shanxi, and Inner-Mongolia. Huang composed two suites based on the folk music of the area in 1973 and 1975 respectively. They proved successful at their Chinese premieres. In 1985, Germany’s Bamburg Symphony commissioned Huang to orchestrate two of the pieces from the suites. “Saibei Dance,” from Suite No. 2, is composed in the typical wind-percussion style of northwest China.

The red silk ribbons are symbols of good luck in China. Therefore, according to Chinese tradition, they are the most appropriate décor for wedding feasts and New Year celebrations. The “Ribbon Dance” (choreography by Duong Binh Huy) features long, colourful silk ribbons forming diversified patterns and colours with graceful movements symbolic of a happy, lucky and beautiful future.

HECTOR GRATTON (1900-1970) was a composer, conductor, arranger, pianist, and folklorist, and faithfulness to the music’s authenticity was paramount to him. He achieved national recogni-tion for his work with the CBC during the Depression, which was also when he composed his first two Danses canadiennes. His Quatrième Danse canadienne dates from 1935, originally scored for chamber ensemble, although it has since been arranged by others for various other instrumental groups, including tonight’s orchestration by our conductor, Claude Lapalme.

Our suite of Hassidic dances was inspired by the Hassidic tradition, an Orthodox Jewish movement born at the end of the 17th century that spread throughout Eastern Europe. Although influenced by other folk cultures, the persecutions that resulted from their religious beliefs kept their dances, music, and song unique and distinct from the regions in which they settled. Vinok’s choreography (by Ilan Zaoui) demonstrates the fervency and religious enthusiasm of these people. The women wear white and bring in candles in preparation for the Sabbath and the men wear prayer shawls under their vests as a sign of their devotion.

Vinok took its very name from elements of the Ukrainian tradition. Tonight’s brief, instrumental Vinok Interlude is based on the Arkan, a very old dance from the Hutsul people, who live in the Carpathian Mountains. Traditionally, it was danced by men and often around a bonfire late at night.

Both EDVARD GRIEG (1843-1907) and ANTONÍN DVORÁK (1841-1904) were at the forefront of a trend in late 19th-century music known as nationalism, in which folk traditions from places oth-er than the main musical centres of Vienna, Italy, and Paris were made a part of European art music, creating an often surprising and exotic flair that proved quite popular. Grieg hailed from Norway, and he wrote many pieces in his homeland’s folk style for piano. Tonight we will hear a dance originally written for piano duet, orchestrated by Hans Sitt. It is a dance known as a “halling,” not unlike a reel, and was drawn from a collection called Mountain Melodies, Old and New, assembled by Ludwig Mathias Lindeman.

Dvorák lived most of his life in or near Prague, now the capital of the Czech Republic. His so-called “Slavonic” Dances were so named because he used sources not only from his native land, but from other Slavic traditions. Published in two sets of eight dances each, Dvorák’s Slavonic Dances were very popular. The Op.46 came first; its eighth dance is a “furiant,” a quick dance which alternates beats in three against beats in two.

Vinok’s final dances tonight are from Rumania. The area of Muntenia is rich with a variety of dances and rhythms – with much syncopation and unusual accents. This suite of dances begins with a musical feature called the Doina, which allows the musicians an opportunity to improvise, expressing their feelings. The choreography (by Viorel Vatamaniuc, adapted for Vinok by Leanne Koziak and Doyle Marko) includes variations of the Hora, Ca La Breaza, Brîul pe Sase, Floricica, and Brîul pe Opt.

Dvorák’s mentor and predecessor in Czech music was BEDRICH SMETANA (1824-1884), whose beloved opera The Bartered Bride helped launch nationalist music to prominence in Europe. The delightful Dance of the Comedians, with which we conclude our international festival tonight, is a well-known excerpt that not only perfectly captures the rousing spirit of the opera, but has accompanied many a Saturday morning cartoon chase sequence ever since.

Program notes © 2015 by D.T. Baker & Vinok Worldance

SEPTEMBER/OCTOBER 2015

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REMIERED ON A TELEVISION SPECIAL CALLED WHAT is Jazz? on October 16, 1955, Leonard Bernstein’s (1918-

1990) Prelude, Fugue and Riffs is the romp of a master com-poser who knew no musical boundaries. Originally written for Woody Herman’s Thundering Herd in 1949 it was premiered six years later by Benny Goodman. The title accurately reflects the work: a short prelude is followed by an extended fugue on the main subject, which gives way to the glorious closing riffs section. The compositional energy of the young Bernstein cannot be denied.

PROGRAM NOTES

P

Mr. Eddins’s bio can be found on page 6.Mr. Sévère’s bio can be found on page 24.

For program notes about Les bosquets de Cythère, and the Françaix Tema con variazioni, please see page 25.

BERNSTEINPrelude, Fugue, and Riffs (9’)* Prelude(fortheBrass):Fastandexact Fugue(fortheSaxes):exactlythesamebeat Riffs(forEveryone)

FRANÇAIXLes bosquets de Cythère: excerpts(Canadianpremiere) (6’)* Introductionàlaviejoyeuse Subtiletendresse Lesamoursontchassél’amour

POULENCClarinet Sonata (14’)* Allegrotristamente:Allegretto–Trèscalme–TempoAllegretto Romanza:Trèscalme Allegroconfuoco:Trèsanimé

FRANÇAIXTema con variazioni (8’)*

WILLIAMSCantina Band(fromStarWarsIV–ANewHope) (3’)*

SHAWConcertoforClarinet (10’)* Allegro–Slowly,Rubato–ModeratoBoogieWoogieTempo–Cadenzaadlib.–ModerateSwingTempo


There is NO intermission in tonight’s performance.

Please join us in the lobby following the concert.


Friday, October 16 | 9 : 3 0 P M

Late Night Clarinet

MNP LATE NIGHT WITH BILL EDDINS



2015/2016 SEASONGoodman and Bernstein were also much involved in Francis

Poulenc’s (1899-1963) Clarinet Sonata. Goodman was the clarinetist, Bernstein the pianist at the work’s premiere performance on April 10, 1963 – which, tragically, turned out to be a memorial concert for Poulenc, who died suddenly that January. In three brief movements, the sonata, in a way, sums up much of Poulenc’s oeuvre; the first two movements have a sense of the religious devotion and piety that marked much of his later works, while the third movement harkens back to the cheeky, jazz-tinged cabaret style Poulenc inherited from the irreverent French composers of the 1920s.

John Williams (b. 1932) is the reigning king of the movie score. And while he has written some of the most noble and heroic themes in movies over the last few decades, he’s also perfectly at home writing quirky miniatures that are perfect for their part in a film. The Cantina Band theme, a jaunty, tongue-in-cheek dance tune played in the seedy bar on Tatooine quickly became a favourite excerpt from the movie

that introduced us to the Star Wars franchise.Gunther Schuller called it “Third Stream,” his term to refer to music

that combined elements of classical tradition with the improvisatory heart of jazz. And one of its most famous proponents was Artie Shaw (1910-2004), a clarinetist and big band leader who shot to fame with his band’s rendition of Cole Porter’s “Begin the Beguine,” but whose own restless intelligence led him to explore composition. He even wrote prose – both fiction and non-fiction. Shaw’s Concerto for Clarinet was actually written for a film in which he co-starred alongside Fred As-taire. Second Chorus, released in 1940, was later described by Astaire as his “biggest mistake,” and while the film has languished in obscurity, Shaw’s concerto, scored for an orchestra that includes two alto and two baritone saxophones as well as guitar, is an episodic cycle of styles and genres – including a cadenza meant to be improvised.

Program notes © 2015 by D.T. Baker & William Eddins


LMr. Eddins’s bio can be

found on page 6.Program notes continue

on page 25.

“D estined for the most brilliant future, gifted with astonishing technical mastery and astounding

musicality” (ResMusica), French clarinetist RAPHAËL SÉVÈRE is quickly gaining attention. After making his concerto debut at age 11 with the Beijing Opera Orchestra, Mr. Sévère’s budding career took off when he won five international competitions at age 12. When he was just 15, he became the youngest artist and first clarinetist to be nominated for Best New Instrumentalist of the Year at the 2010 Victoires de la musique classique. By the time he turned 19, he had already received a degree with highest honours from the Conservatoire national supérieur de Paris.

As a soloist, Mr. Sévère has performed with many orchestras throughout France, including the Orchestre National de France. Outside of France, he has played with the Russian National Symphony under the baton of Vladimir Spivakov, as well as the Czech Philharmonic, Budapest Chamber Orchestra, and the Hong Kong Sinfonietta. During his first U.S. tour last season, he gave his New York and Washington, D.C., recital debuts on the Young Concert Artists Series as Winner of the 2013 Young Concert Artists International Auditions, in addition to performing recitals around the country. This season, Mr. Sévère appears at festivals in France including Les Musicales de Pommiers, Festival du Périgord Noir, Festival du Comminges, and Festival du Vigan, as well as Festival Amadeus in Geneva. He also performs in Paris, Lucerne, Montpellier, and Bucharest, and as soloist with French orchestras including L’Orchestra de Normandie, L’Orchestra de Basse-Normandie, and L’Orchestre Provence Côte D’Azur. Mr. Sévère’s North American tour includes recitals at the University of Florida Performing Arts, the Krannert Center for the Performing Arts, the Embassy Series, Vancouver Recital Society, and an appearance as soloist with Sinfonia Gulf Coast.

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

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ARTIST BIOS

Symphony Prelude, 6:45 pm Enmax Hall with D.T. Baker

FRANÇAIXHommage à l’ami Papageno – Fantaisie on Themes from Mozart’s The Magic Flute (10’)*

FRANÇAIXLes bosquets de Cythère (15’)* Introduction à la vie joyeuse Aminté délaisée Le consolateur facétieux Subtile tendresse Les larcins gallants La belle Damnée de Chez Maxim’s Les amours ont chassé l’amour

FRANÇAIXTema con variazioni (8’)

DEBUSSYPremière rapsodie (8’)*


VAUGHAN WILLIAMSSymphony No. 5 in D Major (39’)* Preludio: Moderato – Allegro – Tempo I Scherzo: Presto misterioso Romanza: Lento Passacaglia: Moderato



Saturday, October 17 | 8 P M

Vaughan Williams & Françaix

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2015/2016 SEASON

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MUSIC OF JEAN FRANÇAIX(b. Le Mans, 1912 / d. Paris, 1997)

Hommage à l’ami Papageno

First performed: 1984Last ESO performance: June 2005

HE SON OF NOTED MUSICIANS, IT IS PROBABLY NOT surprising that Jean Françaix’s gifts showed up early in his life.

His first composition dates from when he was six, and his compositional facility remained with him throughout his life, and inheriting the wit and whimsical expression of predecessors such as Poulenc, Françaix showed a particular affinity for wind music.

This is much in evidence in his late work written as a salute to one of the most popular characters in all of Mozart’s operas. The birdcatcher Papageno spends much more time throughout Mozart’s The Magic Flute looking to catch – not birds – but his Papagena, his soulmate. Using themes from the opera (and even some extremely subtle references to other themes), particularly Papageno’s famous song Der Vogelfänger bin ich ja, Françaix created a charming and clever work for 10 winds and solo piano. The Hommage à l’ami Papageno premiered in 1984.

Les bosquets de Cythère (Canadian premiere]

First performed: July 8, 1947 in ParisThis is the ESO premiere of the piece

LASSICAL REFERENCES ABOUND IN THE OFTEN-IRONIC French music of the early 20th century. Cytherea was the legendary

birthplace of Aphrodite, and as such, the island was thought of as being inhabited by hedonists who spent their time indulging in the pleasures of love – in all its manifestations. As an inheritor of that French musical tradition, Françaix, with tongue firmly in cheek, created this set of waltzes in 1946, surely a nod to Ravel’s Valses nobles et sentimentales (which was, itself, a nod to Schubert).

Françaix populates Les bosquets de Cythère (“The Groves of Cytherea”) not only with people from classical literature, but also with contemporary Parisians. The opening begins breezily enough given its title (“Introduction to the joyous life”), but things do get a little brittle and strident as it goes along, ending on a whisper. The second section is based on a character from Molière (“Aminté deserted”), given a tender, brief song in woodwinds and vi-olins. The third waltz (“The facetious comforter”) seems impish and flighty, its measured waltz constantly beset by interjections. The fourth part (“Subtle tenderness”) has an antiquated flavour to its gossamer texture, while the next waltz (“The gallant thieves”) is a cheeky contrast, full of mischief. The longest waltz of the work is next, based on a beautiful temptress at Paris’ famed Chez Maxim’s who is depicted in a richly-dressed dance contrasted by something more suggestive of the ribald Paris dance halls. In the final section, the lovers in the Cytherean groves turn on and pursue the god of love, and their madcap chase, makes for a lively and energetic conclusion.

Tema con variazioni

First performed: 1974 in ParisThis is the ESO premiere of the piece

IKE THE DEBUSSY RHAPSODY (SEE BELOW), JEAN Françaix’s Tema con variazioni was written as a pièce de concours for

the Paris Conservatoire. However, he never really treated it as such – when writing it, in fact, he dedicated it to his grandson, Olivier. Françaix himself re-scored the piano accompaniment for strings some years later, and in this setting it deserves to be heard more than it is.

The opening three notes are a call to “O-liv-ier,” and after this Largo opening, the six variations which follow are more lively, often jazz-influ-enced. With characteristic humour, Françaix described the work’s genesis by writing, “It was the professor at the time, Ulysse Delecluse, who had the rather sadistic idea to have me write a piece for A clarinet with arduous sequences.... and up in the high pitch range to make things worse. But I still managed to include solemn passages that evoke a Cardinal in vestments. The exam was a success, and not even one student’s mother was enraged.”

Première rapsodieCLAUDE DEBUSSY(b. Saint-Germain-en-Laye, 1862 / d. Paris, 1918)

First performed: January 16, 1911 in ParisLast ESO performance: March 1994

EST PIECES CAN SOMETIMES BE STRAITJACKETS FOR composers. They are designed to enable a student to demonstrate his

or her proficiency on a particular instrument, so technical prowess takes precedence over other considerations. Yet the musical canon is sprinkled with gems that transcend these limitations. Claude Debussy was asked to write a pièce de concours for the year-end of the Paris Conservatoire in 1910. He was enamoured enough with the result that the next year, he orchestrat-ed it for public performance.

The work is certainly at home among Debussy’s ethereal, sensuous sound worlds, beginning from mists and expanding outward, the clarinet’s phrases are haunting, the orchestration shimmers beneath it. As the pace quickens, the challenges for the soloist’s fingering and clarity of tone increase. The orchestra does not take the expected backseat; it is a full partner in a work which more than one scholar has considered the best of Debussy’s rhapsodies. Rather than relent toward the end, the piece’s energy and tempo continue to rise to the finish. Despite its title, by the way, no subsequent rhapsody for clarinet ever followed.

Symphony No. 5 in D MajorRALPH VAUGHAN WILLIAMS(b. Down Ampney, Gloucestershire, 1872 / d. London, 1958)

First performed: June 24, 1943 in LondonLast ESO performance: January 2002

IGHT SIGNIFICANT YEARS SEPARATE THE PREMIERE of the fourth and fifth symphonies of Ralph Vaughan Williams. Europe

PROGRAM NOTES

ESIGNATURE 25SEPTEMBER/OCTOBER 2015


2015/2016 SEASON

C

T

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T

MUSIC OF JEAN FRANÇAIX(b. Le Mans, 1912 / d. Paris, 1997)

Hommage à l’ami Papageno

First performed: 1984Last ESO performance: June 2005

HE SON OF NOTED MUSICIANS, IT IS PROBABLY NOT surprising that Jean Françaix’s gifts showed up early in his life.

His first composition dates from when he was six, and his compositional facility remained with him throughout his life, and inheriting the wit and whimsical expression of predecessors such as Poulenc, Françaix showed a particular affinity for wind music.

This is much in evidence in his late work written as a salute to one of the most popular characters in all of Mozart’s operas. The birdcatcher Papageno spends much more time throughout Mozart’s The Magic Flute looking to catch – not birds – but his Papagena, his soulmate. Using themes from the opera (and even some extremely subtle references to other themes), particularly Papageno’s famous song Der Vogelfänger bin ich ja, Françaix created a charming and clever work for 10 winds and solo piano. The Hommage à l’ami Papageno premiered in 1984.

Les bosquets de Cythère (Canadian premiere]

First performed: July 8, 1947 in ParisThis is the ESO premiere of the piece

LASSICAL REFERENCES ABOUND IN THE OFTEN-IRONIC French music of the early 20th century. Cytherea was the legendary

birthplace of Aphrodite, and as such, the island was thought of as being inhabited by hedonists who spent their time indulging in the pleasures of love – in all its manifestations. As an inheritor of that French musical tradition, Françaix, with tongue firmly in cheek, created this set of waltzes in 1946, surely a nod to Ravel’s Valses nobles et sentimentales (which was, itself, a nod to Schubert).

Françaix populates Les bosquets de Cythère (“The Groves of Cytherea”) not only with people from classical literature, but also with contemporary Parisians. The opening begins breezily enough given its title (“Introduction to the joyous life”), but things do get a little brittle and strident as it goes along, ending on a whisper. The second section is based on a character from Molière (“Aminté deserted”), given a tender, brief song in woodwinds and vi-olins. The third waltz (“The facetious comforter”) seems impish and flighty, its measured waltz constantly beset by interjections. The fourth part (“Subtle tenderness”) has an antiquated flavour to its gossamer texture, while the next waltz (“The gallant thieves”) is a cheeky contrast, full of mischief. The longest waltz of the work is next, based on a beautiful temptress at Paris’ famed Chez Maxim’s who is depicted in a richly-dressed dance contrasted by something more suggestive of the ribald Paris dance halls. In the final section, the lovers in the Cytherean groves turn on and pursue the god of love, and their madcap chase, makes for a lively and energetic conclusion.

Tema con variazioni

First performed: 1974 in ParisThis is the ESO premiere of the piece

IKE THE DEBUSSY RHAPSODY (SEE BELOW), JEAN Françaix’s Tema con variazioni was written as a pièce de concours for

the Paris Conservatoire. However, he never really treated it as such – when writing it, in fact, he dedicated it to his grandson, Olivier. Françaix himself re-scored the piano accompaniment for strings some years later, and in this setting it deserves to be heard more than it is.

The opening three notes are a call to “O-liv-ier,” and after this Largo opening, the six variations which follow are more lively, often jazz-influ-enced. With characteristic humour, Françaix described the work’s genesis by writing, “It was the professor at the time, Ulysse Delecluse, who had the rather sadistic idea to have me write a piece for A clarinet with arduous sequences.... and up in the high pitch range to make things worse. But I still managed to include solemn passages that evoke a Cardinal in vestments. The exam was a success, and not even one student’s mother was enraged.”

Première rapsodieCLAUDE DEBUSSY(b. Saint-Germain-en-Laye, 1862 / d. Paris, 1918)

First performed: January 16, 1911 in ParisLast ESO performance: March 1994

EST PIECES CAN SOMETIMES BE STRAITJACKETS FOR composers. They are designed to enable a student to demonstrate his

or her proficiency on a particular instrument, so technical prowess takes precedence over other considerations. Yet the musical canon is sprinkled with gems that transcend these limitations. Claude Debussy was asked to write a pièce de concours for the year-end of the Paris Conservatoire in 1910. He was enamoured enough with the result that the next year, he orchestrat-ed it for public performance.

The work is certainly at home among Debussy’s ethereal, sensuous sound worlds, beginning from mists and expanding outward, the clarinet’s phrases are haunting, the orchestration shimmers beneath it. As the pace quickens, the challenges for the soloist’s fingering and clarity of tone increase. The orchestra does not take the expected backseat; it is a full partner in a work which more than one scholar has considered the best of Debussy’s rhapsodies. Rather than relent toward the end, the piece’s energy and tempo continue to rise to the finish. Despite its title, by the way, no subsequent rhapsody for clarinet ever followed.

Symphony No. 5 in D MajorRALPH VAUGHAN WILLIAMS(b. Down Ampney, Gloucestershire, 1872 / d. London, 1958)

First performed: June 24, 1943 in LondonLast ESO performance: January 2002

IGHT SIGNIFICANT YEARS SEPARATE THE PREMIERE of the fourth and fifth symphonies of Ralph Vaughan Williams. Europe

PROGRAM NOTES

ESIGNATURE 25SEPTEMBER/OCTOBER 2015


JOIN US FOR A FREE TOUR OF THE WINSPEAR CENTRE!

Dates:

Come hear all about the history of the Edmonton Symphony Orchestra and Winspear Centre and our vision for the community. We will provide a complimentary lunch followed by a backstage tour of one of North America’s most exquisite concert halls! We all have busy schedules, which is why we promise to keep this session to one hour from 12:00pm to 1:00pm.

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

OVERTURE INFORMATION SESSION & TOUR

Thursday, September 17th Monday, October 19th

Thursday, September 24th Tuesday, November 10th

Thursday, October 8th Tuesday, November 24th

Thursday, October 13th

LANDMARK HOMES MASTERS Vaughan Williams & Françaix

watched with increasing tension and alarm in the pre-war years, when the Fourth Symphony was first presented in 1935. It is a bitter, acid-tinged work, “his most stingingly dramatic work in this genre,” wrote Max Harrison. By contrast, by the summer of 1943, there was at least hope in the effort to push back the Germans in Europe. The Fifth Symphony was the only major orchestral work Vaughan Williams wrote during the war, and its tonality and mood were everything the Fourth was not: “the symphony of the celestial city,” said Vaughan Williams scholar Michael Kennedy.

There are probably a number of reasons why Vaughan Williams termed the first movement a “Preludio,” not the least because of its departure from strict sonata form, and a tendency to uncertainty as to precise key signatures. The opening, for example, features a steady C in the strings, but a horn motif in D, over which the violins play something like a pentatonic scale. This sense of expectancy yields a beautiful passage for strings, lush and pastoral (and now, more or less, in E). The pace quickens, and the Development breaks the music down into fragments, building to a powerful climax in an almost Tchaikovskian manner. The horn call of the opening returns to usher in the Recapitulation, leading to an even more sustained fortissimo, with an almost chorale-like reverence to it. With the passion spent, the movement’s coda is quiet, receding back to the hushed, ambiguous tonality of the opening.

But if a harmonic home is difficult to discern in the opening movement, then rhythm is at constant variation in the second. An unsteadily rocking figure seems to carry the music forward, and melodic ideas are splashed out from it in a constantly shifting polyrhythm. Still, there is an overall mischievous canter to the music, something that a rich horn passage

seems to want to bring to order, to no avail. This movement, like the first, has a fiery fortissimo that ebbs to a quiet finish. “He hath given me rest by his sorrow and life by his death,” Vaughan Williams wrote as an inscription for the Romanza third movement – a quote from his “morality” opera The Pilgrim’s Progress – suiting, as music from the opera figures into the Romanza itself. The English horn solo at the beginning is one such instance, yielding to a string passage of tender-ness and understated passion. Woodwinds provide bucolic colour, all leading to a central section of a more agitated, unsettled nature, begun in the strings, answered by a horn, and building quickly to a stark climax. There is a return, of sorts, of the opening mood, but it is soon swept away in its own passionate moment, until a solo violin brings in the final, quiet moments.

The fourth movement is labeled “Passacaglia,” and indeed, it begins as one, with a repeated bass line over which a main melody is presented in variation. Again, numerous themes from The Pilgrim’s Progress figure into it, notably the music from “The Arming of the Pilgrim” in the fina-le’s glittering fanfare. Strict passacaglia form is abandoned not long into the movement. Again, a central section of contrasting, more ominous mood, interrupts the general feeling, including three timpani-led bolts of lightning. But while quiet through the balance of its pages, the final movement is one of affirmation and spirituality. As the movement ends, Vaughan Williams even quotes from his setting of the hymn “Sine nomine” (more typically known as “For all the saints”).

Program notes © 2015 by D.T. Baker

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JOIN US FOR A FREE TOUR OF THE WINSPEAR CENTRE!

Dates:

Come hear all about the history of the Edmonton Symphony Orchestra and Winspear Centre and our vision for the community. We will provide a complimentary lunch followed by a backstage tour of one of North America’s most exquisite concert halls! We all have busy schedules, which is why we promise to keep this session to one hour from 12:00pm to 1:00pm.

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

OVERTURE INFORMATION SESSION & TOUR

Thursday, September 17th Monday, October 19th

Thursday, September 24th Tuesday, November 10th

Thursday, October 8th Tuesday, November 24th

Thursday, October 13th

LANDMARK HOMES MASTERS Vaughan Williams & Françaix

watched with increasing tension and alarm in the pre-war years, when the Fourth Symphony was first presented in 1935. It is a bitter, acid-tinged work, “his most stingingly dramatic work in this genre,” wrote Max Harrison. By contrast, by the summer of 1943, there was at least hope in the effort to push back the Germans in Europe. The Fifth Symphony was the only major orchestral work Vaughan Williams wrote during the war, and its tonality and mood were everything the Fourth was not: “the symphony of the celestial city,” said Vaughan Williams scholar Michael Kennedy.

There are probably a number of reasons why Vaughan Williams termed the first movement a “Preludio,” not the least because of its departure from strict sonata form, and a tendency to uncertainty as to precise key signatures. The opening, for example, features a steady C in the strings, but a horn motif in D, over which the violins play something like a pentatonic scale. This sense of expectancy yields a beautiful passage for strings, lush and pastoral (and now, more or less, in E). The pace quickens, and the Development breaks the music down into fragments, building to a powerful climax in an almost Tchaikovskian manner. The horn call of the opening returns to usher in the Recapitulation, leading to an even more sustained fortissimo, with an almost chorale-like reverence to it. With the passion spent, the movement’s coda is quiet, receding back to the hushed, ambiguous tonality of the opening.

But if a harmonic home is difficult to discern in the opening movement, then rhythm is at constant variation in the second. An unsteadily rocking figure seems to carry the music forward, and melodic ideas are splashed out from it in a constantly shifting polyrhythm. Still, there is an overall mischievous canter to the music, something that a rich horn passage

seems to want to bring to order, to no avail. This movement, like the first, has a fiery fortissimo that ebbs to a quiet finish. “He hath given me rest by his sorrow and life by his death,” Vaughan Williams wrote as an inscription for the Romanza third movement – a quote from his “morality” opera The Pilgrim’s Progress – suiting, as music from the opera figures into the Romanza itself. The English horn solo at the beginning is one such instance, yielding to a string passage of tender-ness and understated passion. Woodwinds provide bucolic colour, all leading to a central section of a more agitated, unsettled nature, begun in the strings, answered by a horn, and building quickly to a stark climax. There is a return, of sorts, of the opening mood, but it is soon swept away in its own passionate moment, until a solo violin brings in the final, quiet moments.

The fourth movement is labeled “Passacaglia,” and indeed, it begins as one, with a repeated bass line over which a main melody is presented in variation. Again, numerous themes from The Pilgrim’s Progress figure into it, notably the music from “The Arming of the Pilgrim” in the fina-le’s glittering fanfare. Strict passacaglia form is abandoned not long into the movement. Again, a central section of contrasting, more ominous mood, interrupts the general feeling, including three timpani-led bolts of lightning. But while quiet through the balance of its pages, the final movement is one of affirmation and spirituality. As the movement ends, Vaughan Williams even quotes from his setting of the hymn “Sine nomine” (more typically known as “For all the saints”).

Program notes © 2015 by D.T. Baker






THE ALL-NEW

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THE ALL-NEW

NX 200t


THE ALL-NEW COUPE

RC 350 AWD


100 Ave NW

Yellowhead Trail

170 St N

W

Anthony H

enday Dr

Whitemud Dr NW

111 Ave NW

West Edmonton

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Anthony S. RussellJames SaboJeannine SabourinMaryann SabourinWilliam and Susan SadlerGerald & Betty SaelhofB. Saint & P.M. FarrellMelanie Samaroden*Gary and Donna SamyciaG. SandercockBarbara and Gregory SargentVirginia SauveMichelle SawatzkyJulia L. SaxJanet & Andrew SchalmJan SchellBrenda SchmidtFrank & Gertrude SchoblocherMagda SchoutenGail SchullerMichael SchurekBarbara SchwegerDavid & Ingrid ScottIla ScottDorothy Stoutjesdyk*Betty ScrepnekDr. Perry & Sandra SegalJoseph & Denise SelannGerry SemlerAlbin ShanleyYakov & Larisa ShapiroDale ShewardDoug and Lynne SiglerSandy & Ian Skogstad*Norman & Mary Jane

Skretting*E. J. SloaneJeanette SlupskyJason SmithPaula SnyderSteven Snyder & Connie SilvaJohn & Judy SoarsKaren SochatskyMarilyn SochatskyChris SpadyRobert Squair*Joe and Linda Staszko and

FamilySophia StaufferJane Staveley*Dr. Margaret StevensonRandy StinsonA. StrackKen StrattonMartin StribrnyGlennie StuartAnn SullivanMerna SummersDr. & Mrs. Guy SwinnertonChris and Alina SzaszkiewiczElizabeth SzynkowskiJohn and Marvel TaekemaRhonda Taft*Dr. Amy Tan & FamilyBill Taylor and Marie LosierMerle and Neil Taylor*Robin TaylorLinda Telgarsky*R. & S. TeplyDave & Gail TerriffPaul Thibodeau

Mr. & Mrs. H. ThiessenGlyn & Joan ThomasCharles and Myrna ThompsonRandy Diamond and D.

ThomsonAdele ThurstonTodd TougasAndrew and Mary Ann

TrachimowichShirley TranEdward and Jean TredgetLarry and Noreen TrekofskiLouis-Charles TrempeAdam and Aleksandra Trzebski*Barbara and Ernest TurnbullKathy TurnbullDanny TurnerDavid & Carol TurnerElizabeth C. TweddleGail TweddleVictoria VaitkunasLydia Van Aller*Mrs. Peter Van BostelenBonnie Van Dalfsen*Dennis and Jean VanceFiona VanceLloyd & Sheila VasicekMichele & Terry VeemanTrudy VelichkaHelma VothL. E. WagnerIrene WalkerCash Webster and Robyne

Walters*William WandioM WanifaratneChandra WanigaratneShona WardsDale Warick*Jack and Doreen Warwick-

FosterScott WatsonViolet WatsonEarle WaughEva and Mahlon WeirRonald A. WeirDr. Sam and Eva WeiszWilliam WellsHelen & Blair WestRena WhiteRich & Grace WhitehouseKim and Matthew WiensWilliam and Sharla WiesenerKaren Wilke*Max & Mary Wilke*Cary & Alana WilliamsChris Wilson*Lisa WilsonRon & Diane WilsonAlvin & Sue WinestockDavid WinfieldDiane WishartSandra B. Woitas-MenczelWendy and Dennis WoolseyMorley and Pat WorkunDoris Wrench-EislerEv WrightFrank & Donna WrightJoan WynnykEmma Wynters*Hilary Wynters



Carol AllenGordon AndreiukMy Son AndrewTory BachmannTommy Banks - Happy 75th

BirthdayLina BecerraMike and Annette BoormanMarg Bowen & Russell WellsPeachez BozakskiTyler Castell-WatsonDesmond ChowBarbara CohoeMr/Mrs Commanda of Golden

Lake, OntarioIn Honour of CPSA PC TeamFiorella da SilvaMaria David-Evans Lillian DickauJorim DisengomokaIn honour of DonGary DuitsBette Anne & Jim Edwards’

MarriagePaola EsquivelElsie Louise EvansLaura GrahamLilian Green’s 90th BirthdayJeanette HarcusPhyllis and Walter HarrisEvelyn & Eugene HendersonStevens HewittIbon Antiques & Collectibles

Inc.Linda Jamieson on a special

birthdayBill & Marlene KehoeBill KellyLanna KellySteve KohlmanBonnie KyleSteven LePooleDaniel LeVesconteLogan LiboironNathaniel MandelMarie Marleau LaingBetty McDowellDaphne McKayBrielle MelleDavid MerinoRonda Metszies Ivy MivilleMichel NucMary OhleNorman and Margaret Olson’s

50th wedding anniversaryMary RainbowCarla C. SalvadoLorne & Min ShandroDr. Tami ShandroJon SharekAlayne SinclairTeresa SomervilleHugh and Anne-Marie StaceyThe Stacey FamilyGalina SternMary StevensonBarrie StinsonThe Swanson FamilyLorene TurnerToscha Turner

Allan YeeChristiana YeongRonald & Shirley YoungM. Yun*Elli ZapfFred ZieglerK. ZielinskiBrian Zrobek

IN MEMORIAM

We thank our supporters who have chosen to honour the memory of a loved one through a gift to the ESO. These gifts have been given in memory of the following individuals.Dr. P.B.R. AllenJack AllfordSonia Allore Leroy AnholtBill AstleDorothy AstleLen AstonDerin Dogu AtaogluBarney BakerMargo BalogPeter BatoniAlan BelcherJean BellHelen S. Petersen BentleyEiner Boberg *Harvey BodnerAlma Boehm-Kabush

Bob CallingAgnes W. (Nan) CameronKathleen CarterPatricia Anne CavellDr. Grace ChanMary ClarkAvis CoburnJ. R. (Bob) ConnellDr. David CookShirley CoveyRichard Lee CowlesJames DanielsMartin DavisCharles DobiasEdward DobkoMs DoderaiJoan DostalerDr. John P. Ferri *Mary GardnerKen Gillett *Ewa GodlewskiHilda & Richard GolickMary HansonJack HarstoneGordon HeskeDorothy “Dode” HeuleMarguerite Elizabeth HighamDoreen HillLavon Holgate *William R. HowsonAnnie HutchingsJames C. HunterVern HunterMrs. Kun-Shih Huang

Bob and Muriel KennyPeggy KingIlse KoernerWilly KohnGerhard (Garry) KrischGerald William KrucikCol. H. Gregory Leitek PPCLICoralie LundbergJohn David LunnAlmeda LysneJohn MarchakIn Honour of MaryDorothea MacDonnellSue MarxheimerAllison McConnellDr. Sherburne McCurdyFlo McGavinBlair McPhersonRudy MelnychukDonald A. MiddletonBruce MillerGeorge MiltonDilys MitchellRoderick & Blanche Moses x”1Matthew William MilesDonna NaylorFrances T. OlsonTom PearsonCharles PeiAlberta Rose PellandJim PietrzykowskiTanya ProchazkaFrank PughLou PunkoRonalda ReichweinCatherine C. RogersDaphne RogersGeorgette RoyDr. Anna RudovicsDr. David SchiffVern SchwabAndre SchwabenbauerKrista Michelle SimsJohn Sinclair *Kay SlemkoHarcourt D. SmithV W M SmithJean SprouleMary SpurveyMarsha StantonMonte StoutRobert Stoutjesdyk *Lydia TakatsGrete Timmins *Diane UreRiet van Esch *Josephine WelchLenora WilsonAlta & Bernard WoodIva J. Wood *Dr. John E YoungSara E. ZalikMetro “Mac” Zelisko

IN HONOUR OF

The following individuals have been honoured by their friends and families in recognition of birthdays, life milestones or significant anniversaries

Brendan WalshLucas & Sophie Waldin’s

MarriageJohn & Leslie WilsonKrysta Wosnack

CORPORATE SUPPORT OF THE ESO

ORCHESTRA CIRCLE: DIAMOND ($25,000 +) ATB Financial

ORCHESTRA CIRCLE: PLATINUM ($10,000 TO $24,999)Rotary Club of Edmonton

Strathcona

ORCHESTRA CIRCLE: GOLD ($5,000 TO $9,999)Dentons CanadaRotary Club of Edmonton

Riverview

ORCHESTRA CIRCLE: SILVER ($2,500 TO $4,999)Driving Force IncFath Group / O’Hanlon PavingFidelity InvestmentsMelcor Developments Ltd.

ORCHESTRA CIRCLE: BRONZE ($1,500 TO $2,499)Audio Ark*Wawanesa Mutual Insurance

Company

ADVOCATE ($1,000 TO $1,499)DialogMark V Investments Alta Ltd.*Oddball ProductionsOrchestras CanadaAirco Aircraft Charters Ltd.The Dinner Optimist Club of

EdmontonCenovus Energy

CONTRIBUTOR ($500 TO $999)EnbridgeJDZ EngineeringRotary Club of Edmonton WestSinclair Supply

SUPPORTER ($250 TO $499)Alberta Registered Music

Teachers’ AssociationREACHSt David’s Welsh Society of

EdmontonTelus Corporation

FRIEND ($100 TO $249)Anonymous OK Tire

www.EdmontonSymphony.com


94.9 FM @ckuaradio ckua.com

Spend your weekend breakfasts with Orest Soltykevych as he explores classical music, both sacred and secular, with an emphasis on newly released classical recordings.

“DUN-DUN-DUN-DDDUUUUUNNNN”

Proud Sponsor of the Edmonton Symphony Orchestra

pattisonoutdoor.com

THE EDMONTONSYMPHONY ORCHESTRA


B*SERVICE CHARGES APPLY TO ALL TICKET PURCHASES

THE MILK CARTON KIDSOCTOBER 9

HAWKSLEY WORKMANOCTOBER 23

PACO PEÑAOCTOBER 26

BAHAMASNOVEMBER 18

XAVIER RUDDOCTOBER 29


B EDMONTON SYMPHONY SOCIETY/ FRANCIS WINSPEAR CENTRE FOR MUSIC

EDMONTON SYMPHONY ORCHESTRA / WINSPEAR CENTRE / TOMMY BANKS INSITITUTE FOR MUSICAL CREATIVITY

EXECUTIVE & ARTISTIC LEADERSHIPAnnemarie Petrov William EddinsExecutive Director Music Director

Rob McAlear, Director of Artistic OperationsMichael Schurek, Director of Community RelationsAlly Mandrusiak, Director of Events ManagementBrian Alguire, Director of Finance & Operations Alison Kenny-Gardhouse, Director of Musical CreativityElaine Warick, Director of Patron DevelopmentMolly Staley, Executive Coordinator/Board Liaison

Complete staff listing can be found at WWW.EDMONTONSYMPHONY.COM

LIST OF PAST BOARD CHAIRSMrs. Marion Mills 1952-53 Dr. H.V. Rice 1953-54Mr. John D. Dower 1954-56Mr. Gerry M. Wilmot 1956-57Dr. A.O. Minsos 1957-58Mr. E.M. Blanchard 1958-59Mr. A.G. Culver 1959-60Mr. D.D. Campbell 1960-61Mr. D.M. Ramsay 1961-62Mr. Merrill E. Wolfe 1962-63Mr. Ken R. Higham 1963-65Mr. George M. Peacock, Q.C. 1965-66Mr. Robert L. Horley 1966-67The Honourable David C. McDonald 1967-68Mrs. Madeline Williams 1968-69The Honourable Tevie H. Miller 1969-70Mr. Jack W. Kennedy 1970-71The Honourable Roger P. Kerans 1971-72Mr. Richard W. Palmer 1972-73Dr. John R. Huckell 1973-76Dr. John L. Schlosser 1976-77Mr. J.R. Singleton 1977-79Mr. D.A. Cox 1979-80Mr. Ron Ritch 1980-82Mrs. Margaret Clarke 1982-84Mr. Brian Hetherington 1984-86Mr. Charles T. Austin 1986-88Mr. Neil Wilkinson 1988-90Mr. Robert Binnendyk 1990-93Mr. Ron Pearson 1993-95Ms. Audrey Luft 1995-97Mr. Andrew Hladyshevsky, Q.C. 1997-00Mr. Douglas Noble 2000-01Mr. D. Mark Gunderson, Q.C. 2001-03Mr. W.D. (Bill) Grace, F.C.A. 2003-04Mrs. Phyllis Clark 2004-07Mr. Steven LePoole 2007-11

THE ESO AND WINSPEAR CENTRE WORK IN PROUD PARTNERSHIP WITH IATSE LOCAL 210Warren Bertholet, Head Lighting TechnicianJonas Duffy, Head Audio Technician Alan Marks, Head of Stage ManagementMike Patton, Assistant Head of Stage Management

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

BOARD OF DIRECTORSReginald Milley, ChairPeggy Garritty, Vice ChairJim E. Carter, P.Eng., Past ChairCarol Ann Kushlyk, C.M.A., C.F.E., TreasurerLeanne Krawchuk, Secretary/Legal CounselSheryl BowhayJoanna Ciapka-SangsterMaria David-EvansMegan EvansSusan FlookCynthia Hansen, C.A.Travis HuckellSam JenkinsKathy KnowlesMary Persson, C.P.A., C.M.A.

THE EDMONTON SYMPHONY ORCHESTRA BOARD & STAFF



Sponsor Introductory Series Offer The Rozsa Innovation Award

Naming SponsorENMAX Hall

SponsorPulse8

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

Presenting Co-SponsorChristmas at the Winspear

Presenting Co-SponsorChristmas at the Winspear

Our Program Sponsors

Series Sponsors:

Title Sponsor Landmark Classic Homes Masters

Title SponsorRobbins Pops / Robbins Lighter Classics

Title Sponsor ATB Investor Services Presents

Title Sponsor Live at the Winspear

Title SponsorAir Canada Presents

Sponsor Symphony for Kids

Sponsor Symphony Under the Sky

Title Sponsor Friday Masters

Title Sponsor ATB Symphony in the City

Title Sponsor Late Night with Bill Eddins

Sponsor Sunday Showcase

Our Media Sponsors:

CityTV Capital FM CKUA Edmonton Journal Pattison World FM Shine FM Global K-97

Government Agency Support:

Our Performance Sponsors:

Sponsor Masters Series

THANK YOU



Lead SponsorIt all stARTS with me

La Bruyère Fund

YONA-Sistema Supporters:

Our Exclusive Caterers:

Our Suppliers:

Educational Outreach Sponsors:

Sponsor Enbridge Community Ambassador

Sponsor Gr. 4 to 6 Education Program

Sponsor Gr. K to 3 Education Program

Lead SponsorIt all stARTS with me

Print Sponsor Wine SupplierPublications Sponsor Bottled Water SupplierOfficial Floral SupplierRV Supplier

2015/2016 SEASON

DECEMBER 14 • 8PMTickets from $41 at WinspearCentre.com


At MNP, we know that a thriving arts and cultural community can spur economic growth, inspire innovation and accelerate the creative vitality of the region. We like to believe we have earned a five-star reputation in strengthening our cultural communities and industries through our support for artists and arts organizations since 1945.

To find out how MNP can help your organization shine, contact Darren Turchansky at 780.453.5378 or [email protected]

HELPING OUR ARTS COMMUNITIES

Take Centre Stage

��rry�idow

THE

JUBILEE AUDITORIUM • SUNG IN ENGLISHSATURDAY, OCTOBER 24, 2015 • 8:00 pmTUESDAY, OCTOBER 27, 2015 • 7:30 pmTHURSDAY, OCTOBER 29, 2015 • 7:30 pm


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

The Regional Eye Centre at the Royal Alexandra Hospital cares for more than 43,000 patients each year. This self contained centre within the Royal Alexandra Hospital is an innovative treatment centre and the leading provider for eye care across Northern Alberta, Saskatchewan, BC, and the North West Territories.

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

For more information, please contact Jeff Buhr at 780-735-5804.

www.royalalex.org

This ad was generously donated by The Robbins Foundation Canada.

Your Vision. Our Focus.

For fans of everything from Mozartto Motown, the Edmonton Symphony Orchestra has the ESO Flex Pass!

Create your own package of concerts, dates, and artists to create your very own season of great ESO performances!

• The Music of Pink Floyd $59• An Irish Christmas with Eileen Ivers $59 • Handel’s Messiah $55...and more!

Start saving today with your four, six or eight concert package, and choose from concerts like:

Season starts September 18, 2015. For more info call our Winspear Centre Box Office at 780-428-1414.


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Documents

ESO Signature Magazine: September 2015