ESO Signature Magazine: Jan/Feb 2015

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LIVING IN THE PASTESO archive goes digital & online

FIDDLES & VIOLINSNatalie & Donnell together with the ESO

POPS ON PARADESteven Reineke puts spotlight on ESO

YOU MUST BE JOKING!

Denise Djokic in Late Night Comedy

Format du PAP : 100 % Trim : 8.75" x 10.75"Type : 8.25" x 10.25"Bleed : 9.25" x 11.25"Visible : N/ASortie laser @ 100 %

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We do.

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SIGNATURE Contents

Volume 30, Number 4 | JANUARY/FEBRUARY 2 0 1 5

Canadian cellist Denise Djokic is a favourite guest of the Edmonton Symphony – even joining us at our celebrated 2012 Carnegie Hall debut. She rejoins Bill Eddins and the ESO for the strange and wonderful concerto by Friedrich Gulda at both a MNP Late Night and Landmark Homes Masters performance. See pages 25 through 29 for more.

Photo by Anna Keenan

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 Taran Plamondon, R. Smith & Company,

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 assistant editor Robbie Jeffrey art director Andrea deBoer 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.

pg. 5

pg. 6

pg. 7

pg. 8

ON THE COVER

pg. 25

pg. 27

pg. 30

pg. 34

pg. 36

pg. 10

pg. 14

pg. 16

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WELCOME

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

EDMONTON SYMPHONY ORCHESTRA 2014/2015

WINSPEAR/ESO ONLINE ARCHIVEWith the help of a research archivist, the ESO has opened the doors to its past. Now, it’s inviting you inside

LANDMARK HOMES MASTERSBRAHMS’ SECOND SYMPHONY (JANUARY 10)

Alexander Prior, conductorSusan Hoeppner, flute

ROBBINS LIGHTER CLASSICSSULTANS OF STRING (JANUARY 15)

Lucas Waldin, conductorSultans of String, special guests

RBC SUNDAY SHOWCASEBEETHOVEN & SIBELIUS (JANUARY 18)

Tania Miller, conductorMarc Bouchkov, violinGerald Onciul, horn

AIR CANADA PRESENTSNATALIE MacMASTER & DONNELL LEAHY (JANUARY 21)

Steven Reineke, conductorNatalie MacMaster & Donnell Leahy, special guests

ROBBINS POPSORCHESTRA ON PARADE! (JANUARY 23 & 24)

Steven Reineke, conductor

MNP LATE NIGHT WITH BILL EDDINSLATE NIGHT COMEDY (FEBRUARY 6)

William Eddins, conductorDenise Djokic, cello

LANDMARK HOMES MASTERSTHE EDDINS EFFECT (FEBRUARY 7)


DONOR LISTINGS

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

OUR SUPPORTERS

16

23

THE EDMONTON SYMPHONY ORCHESTRA2014/2015 SEASON

10





We do.

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We do.

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WJoin us for the ATCO Gas International Ice Carving Competition and 10 days of outdoor winter art, music, food and fun! Visit www.iceonwhyte.ca to get your tickets to the icy-est festival in Edmonton.

JANUARY 23 TO FEBRUARY 1, 2015

WHAT’S MORE BREATHTAKING THAN THIS ICE CARVING? A FESTIVAL OF ICE CARVINGS!

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W!WELCOME WELCOME!

www.proacad.ca 780-455-8344

At Progressive Academy, educationis not restrained by time, but acceleratedby students’demonstrations of competence.By building on their own successes, our students take on increasing responsibility for their own learning.

We are a parent-run non-denominationalWe are a parent-run non-denominationalprivate school nestled in the communityof Glenora, offering programs for ages 3to Grade 12, all in classes under twentystudents.

Progressive Academy ranks in the top 5% of Albertaschools for student achievement testing, parental

involvement, student citizenship, educational quality,broad program of studies, and student respect.

These are results we’re proud of.Join us for the ATCO Gas International Ice Carving Competition and 10 days of outdoor winter art, music, food and fun! Visit www.iceonwhyte.ca to get your tickets to the icy-est festival in Edmonton.



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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.

APPY NEW YEAR! IT’S AMAZING TO THINK THAT IT’S ALREADY 2015, THAT nearly three years have passed since our historic concert at Carnegie Hall, that the

Winspear Centre will soon be approaching its 20th anniversary and that the very first Edmonton Symphony Orchestra concerts happened almost 100 years ago.

Everything we enjoy today is built on the work of the generations that came before us. I am personally grateful for the musical and administrative leaders that helped make the ESO into what it is; their service and commitment led to the well-loved orchestra that I continue to build and shape, together with all those passionate about music. It is my strong personal belief that this legacy must always be remembered and documented. Over the past year, with the help of a grant from the Cultural Human Resources Council, we undertook an archive project led by Fletcher Gailey-Snell. Today I am proud to announce the launch of our first public archive, which you can explore at www.EdmontonSymphony.com/about/.

Dr. Francis Winspear had a vision that this building would be a true centre for music. Drawing on what we have learned, we are hopeful that we can look to the future and reach that dream with the Winspear Completion Project. We plan to expand our building and our reach into the community, opening our doors from morning to midnight. The Edmonton Symphony Orchestra and Winspear Centre are artistically strong, financially viable cornerstone arts organizations, and we want you to be part of our legacy. Please visit our website to explore our archives, and to learn more about our Noteworthy Legacy program.

H

Annemarie Petrov


WJoin us for the ATCO Gas International Ice Carving Competition and 10 days of outdoor winter art, music, food and fun! Visit www.iceonwhyte.ca to get your tickets to the icy-est festival in Edmonton.



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ow in his 10th 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 Martinů’s rarely performed Symphony No. 1.

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Now 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. Robert 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. Robert 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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ARTISTIC & LEADERSHIP TEAM

ANNEMARIE PETROV, Executive Director of the Edmonton 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.

SIGNATURE www.EdmontonSymphony.com6


[ VIOLIN I ]Robert Uchida, ConcertmasterThe John & Barbara Poole Family Concertmaster ChairEric Buchmann, 5 Associate ConcertmasterVirginie Gagné, Assistant ConcertmasterLaura VeezeBroderyck OlsonRichard CaldwellJoanna Ciapka-SangsterAlison StewartAnna KozakAiyana Anderson-HowattNeda Yamach

[ VIOLIN II ]Dianne New 1

Susan Flook 2

Heather BergenPauline BronsteinRobert HryciwZoë SellersMurray VaasjoTatiana Warszynski

[ VIOLA ]Stefan Jungkind 1

Charles Pilon 2

Clayton LeungRhonda HenshawMikiko KohjitaniAndrew Bacon

[ CELLO ]Colin Ryan 1, 5 The Stuart & Winona Davis Principal Cello ChairSheila Laughton 3

Derek Gomez 4

Ronda MetsziesGillian CaldwellVictor 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 EmeritusJulianne 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 CelloAaron Au ViolinEddy Bayens BassoonJim Cockell ViolinElizabeth Faulkner FluteMary Fearon HornMarnie Giesbrecht OrganJoel Gray TrumpetMichael Massey KeyboardsEcho Mazur ClarinetJohn McCormick PercussionRaj Nigam PercussionDiane Persson BassoonShamilla Ramnawaj HornBrian Sand TrumpetYukari Sasada BassSylvia Shadick-Taylor PianoRob Spady ClarinetElaine Stepa PercussionKate Svrcek ViolinBrian Thurgood PercussionDan Waldron Oboe Robert Walsh GuitarIan Woodman Cello

F or the 2014/15 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 over 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.

THE EDMONTON SYMPHONY ORCHESTRA2014/2015 SEASON

Conductor Laureate

Music Director

Uri Mayer,

Lucas Waldin

William Eddins,

Enbridge Artist in Residence & Community Ambassador



FFEATUREFEATURE

MUSIC OF AGES : Edmonton Symphony Orchestra, on the stage of the Capital Theatre, c. 1923.

MID-CEN TURY MELODIES : Edmonton Philharmonic Orchestra at McDougall United Church, 1949.

TAKEOFF: ESO musicians board the plane for the 1976 tour of northern Alberta & B.C.

LIVING IN THE PASTWith the help of a research archivist, the ESO has opened

the doors to its past. Now, it’s inviting you inside

BY ROBBIE JEFFREY



2014/2015 SEASON

Get to know the ESO and its home – one of the finest performance spaces in North America – at WinspearCentre.com/about. Visit often as we build the online archive.

F LETCHER GAILEY-SNELL WAS A TOUR COORDINATOR AT THE National Arts Centre in Ottawa when he discovered an opportunity

to work in Edmonton. The posting he found online was calling for a research archivist with the Edmonton Symphony Orchestra, and thinking about the opportunity kindled his deep-rooted love for Canadian musical history. As an enthusiast of the ESO, he imagined untouched archives full of antiquities. Years earlier, Gailey-Snell had written his master’s thesis on the archives of the Canadian composer Eldon Rathburn. “The prospect of being able to do that sort of digging and learning these neat little facts that no one else knows about, but doing it on the scale of an entire orchestra with a 100-year history, was just too good to pass up,” he says.

The ESO and the Winspear Centre were sitting on a treasure trove of historical items – mostly photographs, but also programs, newspaper clip-pings and promotional material and the goal was to digitize the material to create an online cache for the ESO’s colourful history. Gailey-Snell got the job and began in November 2013; a room full of boxes, packed from floor to ceiling, had been waiting for him. “There wasn’t really a starting point,” he says. “I’d just pick up a box and see what I’d find, and then I started accumulating an inventory.”

He had help, however. Rhonda Taft, long-time double bassist with the ESO and the Alberta Baroque Ensemble, had already been going through binders and filling in names, dates and places. Taft admits the material wasn’t well organized, saying, “Every so often, someone would try, and get overwhelmed.” But with Taft’s “vault of knowledge” at his side, Gailey-Snell eventually saw the history of the ESO materialize. And soon, the archives will exist online as a living history.

Some of the archival material dates back to the birth of the ESO in the early 20th century. When the Edmonton Symphony Orchestra first presented a concert in the Pantages Theatre in 1920, “It was still more of a community orchestra at that time, and for the musicians, it wasn’t their full-time job,” Gailey-Snell says. He describes one of the earliest photos, featuring a young orchestra in front of a lavishly decorated backdrop and the front of the stage lined with a row of plants. “It screams 1920s,” he says. Edmonton’s history shines through in these photographs. The city was still small, with a population of around 60,000, so it wasn’t uncommon to see luminaries like James Ramsey in the audience or on the board of directors, or photographs of Dr. Winspear walking around in a hard hat while on a tour of the site that would become the Winspear Centre.

Unearthing the archival material was an emotional experience for Taft. “One thing in the archive was a photograph of me auditioning for Brian Priestman, the music director at the time, at the ripe old age of 15,” she says. “It was great fun, but it was a trip down memory lane. I’ve grown up in the orchestra and have pretty much spent my whole life there. There were some very sentimental moments of seeing photographs of friends and colleagues that have either moved on to other orchestras or professions or are no longer with us. But it also reminded me of some pretty wonderful experiences.”

She recalls the days before jet setting, when musicians would spend a week with the ESO; the brilliant soloists and musicians with whom she per-formed, such as the Russian cellist Mstislav Rostropovich, Henry Mancini, k.d lang, and the rock bands Procul Harum and Lighthouse; and how the smokers’ bus gradually faded from existence.

It is difficult to translate these intimate experiences and emotions into an archive so vast, but the ultimate goal is to be both stirring and comprehensive. “All the material that’s on the website has been taken from physical copies and digitized, whether through using a camera or a scanner, and it’s been stored on several different servers,” Gailey-Snell says. The digital archive will feature all of these old programs as PDFs and each photograph will be embedded with metadata about the characters and context of the photograph so the collection is easily searchable. You’ll be able to look at the history on an item-by-item level, sorted chronologically, or view collections, like ESO programs from certain years or photos from a specific tour. Eventually, people will be able to upload files directly to the ESO through the website.

Gailey-Snell hopes the archive will bring other memories out of the woodwork and that fans and community members will contribute their stories of the ESO to the ever-growing collection. Even before word of his work had surfaced, he received a package containing mint-condition programs from the 1920s, some of which the ESO didn’t have, from some-one in Calgary. He considers it a sign that there are more collectibles and memories, waiting to be gathered. “We want to make it as easy as possible for people to share their memories,” says Gailey-Snell. “That was the goal of the project for me – I wanted a digital reservoir that would share the history of something that’s really special to a lot of people, but I also wanted to pique their memories.”

“I’ve grown up in the orchestra and have pretty much spent my whole life there,” says Rhonda Taft. “There were some very sentimental moments

of seeing photographs of friends and colleagues that have either moved on to other orchestras or professions or are no longer with us. But it also

reminded me of some pretty wonderful experiences.”



FFEATUREFEATURE

MUSIC OF AGES : Edmonton Symphony Orchestra, on the stage of the Capital Theatre, c. 1923.

MID-CEN TURY MELODIES : Edmonton Philharmonic Orchestra at McDougall United Church, 1949.

TAKEOFF: ESO musicians board the plane for the 1976 tour of northern Alberta & B.C.

LIVING IN THE PASTWith the help of a research archivist, the ESO has opened

the doors to its past. Now, it’s inviting you inside

BY ROBBIE JEFFREY



L2014/2015 SEASONA R T I S T B I O SARTIST BIOS

A

AAlexander Prior, conductorSusan Hoeppner, flute

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

RIMSKY-KORSAKOVChristmas Eve: Suite (30’)* Christmas Eve: Adagio Ballet of the Stars Witches’ Sabbath Ride on the Devil’s Back Polonaise Vakula and the Slippers

IBERTFlute Concerto (19’)* Allegro Andante Allegro scherzando

INTERMISSION (20 minutes)

BRAHMSSymphony No. 2 in D Major, Op.73 (40’)* Allegro non troppo Adagio ma non troppo, l’istesso ma gracioso Allegretto gracioso (quasi andantino) Allegro con spirito

program subject to change*indicates approximate performance duration

few words scarcely suffice to describe London-born

ALEXANDER PRIOR, who at 18 conducted the Dallas Symphony in the premiere of his Sixth Symphony, whose ballet Mowgli has been playing in Moscow for seven years, and who at 17 was the youngest student since Sergei Prokofiev to graduate with distinction as a conductor from the Conservatoire in St. Petersburg. In March 2013 Mr. Prior conducted Carmen at the Royal Opera House in Copenhagen. This was followed in November by La Traviata at the Leipzig Opera and in spring 2014 by the premiere of Mirandolina by Bohuslav Martinů by Bavarian State Opera. The concerts he conducted at the Summer in Lesmona festival in August 2013 represented the third time he had been invited by the Bremen’s Deutsche Kammerphilharmonie. 2014 marked his first visit to Canada, to conduct the Edmonton Symphony, and to Vienna to conduct in the Konzerthaus. He is also scheduled to conduct several performances of La Traviata at the National Opera of Bucharest before the year is out.

Alexander Prior calls himself a passionate “Nordic musician”; he is fluent in written and spoken Danish and Norwegian, often conducts in Scandinavia, and has an enormous wealth of repertoire by composers from the Nordic countries at his fingertips. He feels a similar affinity with German-speaking composers like Bruckner and Wagner. His compositional career is also pro-digious: in 2009, he conducted his Symphony No. 4 “Gogol” – a commission for the department of culture in St. Petersburg – to mark the 200th birth-day of the Russian author. He led the premiere of his “Horizons” for soloists and orchestra in 2010 with the Royal Philharmonic in London, while his Triple Concerto “That which must remain unspoken” received its premiere with the Hong Kong City Chamber Orchestra in 2011. In recognition of his commitment and charitable work in making art, music, and education more accessible for young people, he was honoured in Russia with two medals – one from the state and one from the Patriarch.

Mr. Prior last appeared with the ESO in January 2014.

ppreciated for being a “born soloist” (Toronto Globe & Mail), where “one can almost hear the words in her flute song” (Washington Post),

Canadian flutist SUSAN HOEPPNER is regarded for her deeply lyrical,

Saturday, January 10 | 8 P M

Brahms’ Second SymphonyLANDMARK HOMES MASTERS

Media SponsorLandmark Homes Masters Sponsor Program notes continue on page 11.



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en colourful phrasing, dazzling virtuosity and a “no holds barred” approach in performance. She is an established in-ternational soloist and chamber musi-cian, and her appearances include pres-tigious venues spanning the continents of North America, South America, Europe, and Asia. Ms. Hoeppner has performed as a guest soloist with many orchestras, starting her professional career in Buenos Aires at the famed Teatro Colon. Over the years, she has been invited to perform at numerous Canadian Embassies throughout the

world and has inspired renowned Canadian composers Christos Hatzis to write a flute concerto called “Departures” which she premiered with the Kyoto Symphony (2011), and Gary Kulesha to write a Flute Sonata, premiered with the composer in Toronto (2014).

Susan Hoeppner was nominated for a JUNO Award in 2012 for “Best Clas-sical Album of the Year: Solo or Chamber” for American Flute Masterpieces with pianist Lydia Wong on the Marquis Classics label, on which her many recordings are available. Susan Hoeppner graduated from The Juilliard School where she studied with Julius Baker. An esteemed mentor herself, Susan is a member of faculty at The Glenn Gould School and the University of Toronto. Having recently returned from two separate tours to China, Ms. Hoeppner’s upcoming 2015 performances include recital and concerto appearances in Austria, Italy, Toronto, Mexico, Salt Lake City, New York, Belgrade and Montenegro. Susan Hoeppner has recently been appointed a Wm.S.Haynes Artist by the renowned Boston-based flute company. As their Canadian Art-ist, she will represent them throughout the world in future performances and master classes year-round. She resides in Toronto.

Ms. Hoeppner last appeared with the ESO in March

title, Christmas Eve, for his opera.The story concerns Vakula, a village blacksmith, who wins his beloved

Oksana by riding to St. Petersburg on the Devil’s back, and overcoming other obstacles in his attempt to gain for Oksana the slippers belonging to the tsarita herself. The orchestral suite that Rimsky-Korsakov fashioned from the opera evokes all the colour and tradition of the story. The introduction gives us Christmas Eve night, with stars glittering above the snow-covered landscape, and a sense of anticipation. A flute ushers in the brief Ballet of the Stars (a mazurka, a khorovod, and a csárdás in quick succession) from the opera’s third act; following that is the Witches’ Sabbath, also known as “the Devil’s Christmas,” which follows the ballet in the opera as well as the suite – a swirling, dramatic and menacing episode. Vakula’s ride on the Devil’s back is the next movement, as the smith has forced his foe to fly him to the tsarita’s palace. Once there, a polonaise in praise of the tsarita is presented. The idyll that follows gives us Vakula’s love for Oksana, and the suite concludes with a hymn of thanksgiving and praise for the holy night of the title.

Flute ConcertoJACQUES IBERT(b. Paris, 1890 / d. Paris, 1962)

First performed: February 25, 1934 in ParisLast ESO performance: November 2000

HE HIGHLY INFLUENTIAL AND REVERED FRENCH FLUTIST Paul Taffanel created a mini-revolution within the flute world. He

favoured metal instruments over what were the more common wooden ones still in use in a lot of German and Italian circles, and his playing style was light, and employed vibrato. The generation of players taught by him so dominated the music scene that the term “French Flute School” was coined

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

N

T

Christmas Eve: SuiteNIKOLAI RIMSKY-KORSAKOV(b. Tikhvin, Novgorod, 1844 / d. St. Petersburg, 1908)

First performance of the opera: December 10, 1895 in St. PetersburgThis is the ESO premiere of the piece

IKOLAI GOGOL’S RE-TELLING OF THE TRADITIONAL Russian story Vakula the Smith was a popular one. No less than

Tchaikovsky had written an 1876 opera on the subject, which was renamed Cherevichki (“The Slippers”) in 1885. Nikolai Rimsky-Korsakov was also drawn to the tale, but out of respect for Tchaikovsky, he did nothing with it until after the older composer died in 1893. Adhering much closer to the Gogol tale than Tchaikovsky had, Rimsky-Korsakov also retained Gogol’s

JANUARY/FEBRUARY 2015

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L2014/2015 SEASONA R T I S T B I O SARTIST BIOS

A

AAlexander Prior, conductorSusan Hoeppner, flute


RIMSKY-KORSAKOVChristmas Eve: Suite (30’)* Christmas Eve: Adagio Ballet of the Stars Witches’ Sabbath Ride on the Devil’s Back Polonaise Vakula and the Slippers

IBERTFlute Concerto (19’)* Allegro Andante Allegro scherzando


BRAHMSSymphony No. 2 in D Major, Op.73 (40’)* Allegro non troppo Adagio ma non troppo, l’istesso ma gracioso Allegretto gracioso (quasi andantino) Allegro con spirito


few words scarcely suffice to describe London-born

ALEXANDER PRIOR, who at 18 conducted the Dallas Symphony in the premiere of his Sixth Symphony, whose ballet Mowgli has been playing in Moscow for seven years, and who at 17 was the youngest student since Sergei Prokofiev to graduate with distinction as a conductor from the Conservatoire in St. Petersburg. In March 2013 Mr. Prior conducted Carmen at the Royal Opera House in Copenhagen. This was followed in November by La Traviata at the Leipzig Opera and in spring 2014 by the premiere of Mirandolina by Bohuslav Martinů by Bavarian State Opera. The concerts he conducted at the Summer in Lesmona festival in August 2013 represented the third time he had been invited by the Bremen’s Deutsche Kammerphilharmonie. 2014 marked his first visit to Canada, to conduct the Edmonton Symphony, and to Vienna to conduct in the Konzerthaus. He is also scheduled to conduct several performances of La Traviata at the National Opera of Bucharest before the year is out.

Alexander Prior calls himself a passionate “Nordic musician”; he is fluent in written and spoken Danish and Norwegian, often conducts in Scandinavia, and has an enormous wealth of repertoire by composers from the Nordic countries at his fingertips. He feels a similar affinity with German-speaking composers like Bruckner and Wagner. His compositional career is also pro-digious: in 2009, he conducted his Symphony No. 4 “Gogol” – a commission for the department of culture in St. Petersburg – to mark the 200th birth-day of the Russian author. He led the premiere of his “Horizons” for soloists and orchestra in 2010 with the Royal Philharmonic in London, while his Triple Concerto “That which must remain unspoken” received its premiere with the Hong Kong City Chamber Orchestra in 2011. In recognition of his commitment and charitable work in making art, music, and education more accessible for young people, he was honoured in Russia with two medals – one from the state and one from the Patriarch.

Mr. Prior last appeared with the ESO in January 2014.

ppreciated for being a “born soloist” (Toronto Globe & Mail), where “one can almost hear the words in her flute song” (Washington Post),

Canadian flutist SUSAN HOEPPNER is regarded for her deeply lyrical,

Saturday, January 10 | 8 P M

Brahms’ Second SymphonyLANDMARK HOMES MASTERS

Media SponsorLandmark Homes Masters Sponsor Program notes continue on page 11.



2014/2015 SEASONto describe Taffanel and his followers. Marcel Moyse was one of Taffanel’s students, and it was for him that Jacques Ibert composed his lone Flute Concerto. “In my concertos I have allotted the instruments the types of themes, which correspond to their particular tone qualities and respect their expressive possibilities,” Ibert famously said, with understated pragmatism.

Nevertheless, his concerto has become one of the most frequently performed, not the least because its daunting final movement became a test piece at the Paris Conservatoire.

The stage is set for the soloist within moments of the work’s opening, which becomes virtually a non-stop showcase for the flute’s versatility and range. For only brief intervals does the orchestra allow the flute some respite, nudging the music into a new direction or key. Near the end of the opening movement, the music becomes quite rousing and dramatic, before the flute’s swirling settles things down once again. A declamatory orchestral chord concludes the movement, which is succeeded by a ternary Andante that begins in a very impressionist vein, muted orchestral shades and a hushed, lyrical melody unspooling from the flute. Woodwinds bring in a secondary section, the music here more chromatic and haunting, reaching a passionate forte before the flute and a violin share a duet that restores the tenderness of the opening.

The final movement is marked Allegro scherzando, and the sense of playful-ness starts with the bravura orchestral chords. Jazz-inspired, the music is rousing and rhythmic, while the flutist is beset with challenges in tonguing, fingering, breath control, and accuracy. There is a slower section in the middle that allows the soloist to share a few dialogue parts with orchestral colleagues, but it is soon swept away once more. A cadenza comes right before the coda. That such a

virtuosic challenge can be presented with such good-natured élan is characteris-tic of the charm and grace so much of the music of Jacques Ibert possesses.

Symphony No. 2 in D Major, op.73JOHANNES BRAHMS(b. Hamburg, 1833 / d. Vienna, 1897)

First performed: December 30, 1877 in ViennaLast ESO performance: Symphony Under the Sky 2011

T HAD TAKEN JOHANNES BRAHMS THE BETTER PART OF TWO decades to finally bring a symphony before the public. Faced with the

extraordinary pressure of producing a symphony worthy of the musical successor to Beethoven – as the music world then regarded him – Brahms had laboured and second-guessed the long, tortuous road that finally yielded his First Symphony in 1876. But with that ordeal finally behind him, Brahms wrote a second symphony with surprising ease, and in only months, instead of years.

Composed during an idyllic summer in 1877 spent at the village of Pörtschach, near Lake Worth in the Austrian Alps, the Second Symphony is widely considered Brahms’ most serene, his most contented. But there is a grey undercurrent amid the serenity, one borne of a mature and seasoned composer who, that same summer, had written a motet titled, “Wherefore is the light given to them that toil?”

All four movements of the D Major Symphony are in major keys, yet as often as not, tonality is suggested more than dwelled upon. There is much harmonic and rhythmic interplay and subtlety at work throughout the symphony, which begins with an almost hymn-like theme in the trombones before the mood turns more rich and romantic. A theme that comes to dominate the movement first occurs about two and a half minutes in – listen for what almost sounds like the opening of Brahms’ famous Lullaby. Moods contrast greatly throughout this movement, often by using fragments of the two main themes subjected to cross rhythms and unsettled harmonies. There are some moments of intense passion, but the movement itself ends almost playfully, with pizzicato (plucked) strings leading to a demure ending.

The second movement is the longest slow movement in any Brahms symphony, and opens with much the same mood as the first does. The development section offers a strong contrast in both mood and tempo, and moves through many keys. An emotional climax ebbs away as quickly as it arrives, ending the movement on a hush. The third movement’s main song is a tripping Ländler (the rustic precursor to the Viennese waltz), contrasted with a skittish, scurrying theme in 2/4 – the string writing has the feel of Mendelssohn’s gossamer string sound. These two main subjects alternate, or are combined in ingenious ways by Brahms in this good-naturedly off-kilter movement.

With the opening measures of the finale, we know momentous things are imminent. But at first, the buoyant outbursts from the orchestra sound almost as if the happiness is contrived. A clarinet begins a new song, which is followed in the strings by one reminiscent of the third move-ment’s Ländler. Fragments of these melodies come and go, but there is a forward momentum to the music; the brass dominate the proceedings as the coda begins, and at last, the joy is as irrepressible as it is unbounded, leading to one of the most ebullient endings of any Brahms work.

Program notes © 2014 by D.T. Baker

I

LANDMARK HOMES MASTERS Brahms’ Second Symphony

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2014/2015 SEASONto describe Taffanel and his followers. Marcel Moyse was one of Taffanel’s students, and it was for him that Jacques Ibert composed his lone Flute Concerto. “In my concertos I have allotted the instruments the types of themes, which correspond to their particular tone qualities and respect their expressive possibilities,” Ibert famously said, with understated pragmatism.

Nevertheless, his concerto has become one of the most frequently performed, not the least because its daunting final movement became a test piece at the Paris Conservatoire.

The stage is set for the soloist within moments of the work’s opening, which becomes virtually a non-stop showcase for the flute’s versatility and range. For only brief intervals does the orchestra allow the flute some respite, nudging the music into a new direction or key. Near the end of the opening movement, the music becomes quite rousing and dramatic, before the flute’s swirling settles things down once again. A declamatory orchestral chord concludes the movement, which is succeeded by a ternary Andante that begins in a very impressionist vein, muted orchestral shades and a hushed, lyrical melody unspooling from the flute. Woodwinds bring in a secondary section, the music here more chromatic and haunting, reaching a passionate forte before the flute and a violin share a duet that restores the tenderness of the opening.

The final movement is marked Allegro scherzando, and the sense of playful-ness starts with the bravura orchestral chords. Jazz-inspired, the music is rousing and rhythmic, while the flutist is beset with challenges in tonguing, fingering, breath control, and accuracy. There is a slower section in the middle that allows the soloist to share a few dialogue parts with orchestral colleagues, but it is soon swept away once more. A cadenza comes right before the coda. That such a

virtuosic challenge can be presented with such good-natured élan is characteris-tic of the charm and grace so much of the music of Jacques Ibert possesses.

Symphony No. 2 in D Major, op.73JOHANNES BRAHMS(b. Hamburg, 1833 / d. Vienna, 1897)

First performed: December 30, 1877 in ViennaLast ESO performance: Symphony Under the Sky 2011

T HAD TAKEN JOHANNES BRAHMS THE BETTER PART OF TWO decades to finally bring a symphony before the public. Faced with the

extraordinary pressure of producing a symphony worthy of the musical successor to Beethoven – as the music world then regarded him – Brahms had laboured and second-guessed the long, tortuous road that finally yielded his First Symphony in 1876. But with that ordeal finally behind him, Brahms wrote a second symphony with surprising ease, and in only months, instead of years.

Composed during an idyllic summer in 1877 spent at the village of Pörtschach, near Lake Worth in the Austrian Alps, the Second Symphony is widely considered Brahms’ most serene, his most contented. But there is a grey undercurrent amid the serenity, one borne of a mature and seasoned composer who, that same summer, had written a motet titled, “Wherefore is the light given to them that toil?”

All four movements of the D Major Symphony are in major keys, yet as often as not, tonality is suggested more than dwelled upon. There is much harmonic and rhythmic interplay and subtlety at work throughout the symphony, which begins with an almost hymn-like theme in the trombones before the mood turns more rich and romantic. A theme that comes to dominate the movement first occurs about two and a half minutes in – listen for what almost sounds like the opening of Brahms’ famous Lullaby. Moods contrast greatly throughout this movement, often by using fragments of the two main themes subjected to cross rhythms and unsettled harmonies. There are some moments of intense passion, but the movement itself ends almost playfully, with pizzicato (plucked) strings leading to a demure ending.

The second movement is the longest slow movement in any Brahms symphony, and opens with much the same mood as the first does. The development section offers a strong contrast in both mood and tempo, and moves through many keys. An emotional climax ebbs away as quickly as it arrives, ending the movement on a hush. The third movement’s main song is a tripping Ländler (the rustic precursor to the Viennese waltz), contrasted with a skittish, scurrying theme in 2/4 – the string writing has the feel of Mendelssohn’s gossamer string sound. These two main subjects alternate, or are combined in ingenious ways by Brahms in this good-naturedly off-kilter movement.

With the opening measures of the finale, we know momentous things are imminent. But at first, the buoyant outbursts from the orchestra sound almost as if the happiness is contrived. A clarinet begins a new song, which is followed in the strings by one reminiscent of the third move-ment’s Ländler. Fragments of these melodies come and go, but there is a forward momentum to the music; the brass dominate the proceedings as the coda begins, and at last, the joy is as irrepressible as it is unbounded, leading to one of the most ebullient endings of any Brahms work.


I

LANDMARK HOMES MASTERS Brahms’ Second Symphony



LandmarkGroup.ca

000Sig-LandmarkGroup-FP.indd 1 8/30/13 8:34:13 AM



R2014/2015 SEASONSultans of StringThursday, January 15 | 8 P M

Series Sponsor

Bill & Mary Jo Robbins

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

A R T I S T B I O SARTIST BIOS

Lucas Waldin, conductorSultans of String, special guests Chris McKhool, violin/vocals Kevin Laliberté, guitar Eddie Paton, guitar Drew Birston, electric bass Rosendo “Chendy” León, percussion

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Fantaisie sur “Mon Pays”Vigneault (arr. Lapalme)

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Emerald SwingMcKhool/Laliberté

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Luna the WhaleMcKhool/Laliberté


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A Place to Call HomeLaliberté

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Will You Marry Me?McKhool

Palmas SinóniaPaton/Menezes

Auyuittuq SunriseMcKhool/Laliberté

All orchestrations by Rebecca Pellett unless otherwise indicatedprogram subject to change

nown for dizzying music jams, poly-rhythms and revved up riffs, the SULTANS OF STRING sound can’t be pinned down – they’re Sable

Island meets the Silk Road, with detours through the Gypsy-Jazz coffeehouses of Eastern Europe, next an East Coast Kitchen Party, then over to the majes-tic Arctic and bustling markets of Lebanon. Fiery violin dances with kinetic guitar while a funky bass lays down unstoppable grooves. Throughout, acous-tic mastery meets with a symphony of sound, deepened by world rhythms that inspire whole audiences to get up and dance. Since forming seven years ago, Sultans of String have been on a meteoric rise with an astonishing number of


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awards and accolades, including a JUNO nomination, two Canadian Folk Music Awards, SiriusXM Indies Award, first place in the International Song-writing Competition (out of 15,000 entries), plus invitations to play with such legendary artists as The Chieftains and David Bromberg. The Chieftains’ very own Paddy Moloney guests on the CD Symphony!

The band is led by six-string violinist Chris McKhool (Jesse Cook, Pavlo) who grew up in a Lebanese-Egyptian house bursting with music and diversity. Growing up, Chris was fed a steady diet of delicious musicality alongside Middle Eastern cuisine and violin lessons. When McKhool first heard found-ing guitarist Kevin Laliberté’s (Jesse Cook) rumba rhythm, their musical synergy created Sultans of String’s signature sound – the intimate and playful relationship between violin and guitar. From this rich foundation, the dy-namic duo has grown, featuring such amazing musical friends as bassist Drew Birston (Chantal Kreviazuk), Cuban percussionist Chendy León (Alex Cuba), and guitarist Eddie Paton. Classically-schooled McKhool thought “why stop there?” With Symphony!, Sultans of String have brought the glorious and majestic sound of a full orchestra to their feisty folk-world compositions, to create the ultimate crossover recording and show. sultansofstring.com

This is Sultans of String’s debut with the ESO.

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R2014/2015 SEASONSultans of StringThursday, January 15 | 8 P M

Series Sponsor


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


Lucas Waldin, conductorSultans of String, special guests Chris McKhool, violin/vocals Kevin Laliberté, guitar Eddie Paton, guitar Drew Birston, electric bass Rosendo “Chendy” León, percussion

ROBBINS LIGHTER CLASSICS

Fantaisie sur “Mon Pays”Vigneault (arr. Lapalme)

AlhambraMcKhool/Laliberté

Rainflower/Kitchen PartyMcKhool/Laliberté

JosieMcKhool/Laliberté

Emerald SwingMcKhool/Laliberté

Road to KfarmishkiMcKhool/Laliberté

Monti’s RevengeMcKhool/Laliberté

Luna the WhaleMcKhool/Laliberté


Danse VillageoiseChampagne (ed. Coles)

A Place to Call HomeLaliberté

Al VueloMcKhool/Laliberté

Sable IslandMcKhool/Laliberté

K

Will You Marry Me?McKhool

Palmas SinóniaPaton/Menezes

Auyuittuq SunriseMcKhool/Laliberté

All orchestrations by Rebecca Pellett unless otherwise indicatedprogram subject to change

nown for dizzying music jams, poly-rhythms and revved up riffs, the SULTANS OF STRING sound can’t be pinned down – they’re Sable

Island meets the Silk Road, with detours through the Gypsy-Jazz coffeehouses of Eastern Europe, next an East Coast Kitchen Party, then over to the majes-tic Arctic and bustling markets of Lebanon. Fiery violin dances with kinetic guitar while a funky bass lays down unstoppable grooves. Throughout, acous-tic mastery meets with a symphony of sound, deepened by world rhythms that inspire whole audiences to get up and dance. Since forming seven years ago, Sultans of String have been on a meteoric rise with an astonishing number of


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R2014/2015 SEASON

Program notes continue on page 18.


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Tania Miller, conductorMarc Bouchkov, violin (2013 Montréal International Music Competition Laureate)Gerald Onciul, horn

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

Sunday Encore, post-performance in the Main Lobby with Tania Miller, Marc Bouchkov & Gerald Onciul

R. STRAUSSHorn Concerto No. 1 in E-flat Major, Op.11 (17’)* Allegro Andante Rondo: Allegro

BEETHOVENSymphony No. 8 in F Major, Op.93 (26’)* Allegro vivace e con brio Allegretto scherzando Tempo di menuetto Allegro vivace


PLAMONDONFlight (2013 ESO commission through the Young Composers Project) (5’)*

SIBELIUSViolin Concerto in D minor, Op.47 (31’)* Allegro moderato Adagio di molto Allegro ma non tanto


he 2014/2015 season marks TANIA MILLER’S 12th as Music

Director of the Victoria Symphony Orchestra, an appointment that deemed her the first Canadian woman to be appointed to such a significant position in Canada. Her vibrancy and dynamic approach to music-making have inspired many new innovations with the Victoria Symphony and a new era of artistic growth for the orches-tra. New programming innovations including the New Currents Festival of New Music, the contemporary Odyssey series of collaborative arts and genres, the Victoria Mozart Festival, expanded and committed educational programming, and extraordinary commitment to masterworks classics have elevated the musical impact of the orchestra on the Canadian music scene. Highlights of the orchestra’s past season included the Cage 100 Festival, a collaborative effort with Victoria arts groups celebrating the 100th anniversary of John Cage’s birth.

Prior to her appointment in Victoria, Ms. Miller was Assistant and then Associate Conductor with the Vancouver Symphony Orchestra for four seasons. She was the Assistant Conductor of the Carmel Bach Festival for several years, working closely with the internationally renowned conductor Bruno Weil and many of the world’s leading baroque artists. Tania began her work in the field of contemporary music as Assistant conductor of the Banff Festival of the Arts in Banff, Canada. She has been a frequent guest conductor with the Toronto contemporary ensemble ERGO, with whom she premiered a number of compositions in Munich, Toronto, and New York. Ms. Miller is active as a guest conductor throughout North America. Her guest conducting engagements have included the Seattle Symphony, National Arts Centre Orchestra, Toronto Symphony, Oregon Symphony, Orchestre Métropolitain du Grand Montréal, Winnipeg Symphony, Hart-ford Symphony, Calgary Philharmonic, Tucson Symphony, and Vancouver Symphony. She recently returned to Europe to conduct the Berne Symphon-iker in Switzerland.

Ms. Miller last appeared with the ESO in February 2005.

ARC BOUCHKOV’S violin playing is grounded not only in a thorough knowledge of the score, the historical content, and the

authenticity of the interpretation, but also in his belief that performance

Sunday, January 18 | 2 P M

Beethoven & SibeliusRBC SUNDAY SHOWCASE

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is a way to communicate directly with his listeners. He was born in 1991 into a family of musicians. He received his first lessons at the age of five. His first public appearance was just one year later. In 2001, he joined Claire Bernard’s studio at the Lyon Conservatoire National Supérieur de Musique; he transferred to the Paris Conservatoire National Supérieur de Musique (CNSM) in 2007. There, he began studies with Boris Garlitzky, who has been his mentor ever since. The following years saw participation

in master classes and invitations to festivals in Moulin d‘Ande, Troyes, and Bordeaux (France), Viterbo (Italy), and New Hampshire (U.S.).

Marc Bouchkov won First Prize at the highly-regarded “International Violin Contest Henri Koch,” as well as the 2010 European Young Concert Artists Audition in Leipzig. That same year, he received the First Prize for Violin with Special Distinction from the jury at the CNSM Paris; the prestigious Ebel Prize followed in 2011. He was a finalist and award-winner at the 2012 Queen Elizabeth Competition in Brussels. In 2013, he won First Prize at the Montréal International Musical Competition, and was named an award-winner of the Stiftung Juventus by Georges Gara. Alongside numerous recitals in Hamburg, the Montpellier Festival, the Théâtre de la Ville de Paris, the International Musical Olympus Festival in St. Petersburg, and in Montréal, Mr. Bouchkov’s collaborations with orchestras such as the Belgian National Orchestra, the Royal Philharmonic Orchestra of Liège, the Filharmonia Lodz, the Moscow Philharmonic, and the Staatsorchester Rheinische Philharmonie are becoming ever more extensive. This season, he will make his debut with the NDR-Sinfonieorchester in Hamburg. He will also perform Brahms’ Violin Concerto with the Düsseldorfer Symphoniker. Marc Bouchkov is sponsored by Brigitte Feldtmann, who has provided him with a violin by Jean Baptiste Vuillaume, Paris, 1865.

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

native Edmontonian, GERALD ONCIUL is in his fourth decade of performing with the Edmonton Symphony Orchestra as Assistant

Principal Horn. After receiving a bachelor of music degree from the Univer-sity of Alberta in 1977, Gerald began his career with the ESO, while seeking further studies with James Decker, Erich Penzel and Eugene Rittich. Gerald’s principal teachers were John Hermanns, John Iltis, Gloria Ratcliffe and David Hoyt. He has performed as principal horn with the Mexico City Philharmonic, Regina Symphony, and the National Ballet Orchestra. He has also performed with the National Arts Centre Orchestra, Banff Opera Orchestra, and the Calgary Philharmonic. Gerald has appeared five times as soloist with the ESO, and was Acting Principal in 2001-02.

Since its inception in 1997, Mr. Onciul has been a participant in the ESO’s

Adopt-A-Player Program. He was Professor of Horn at the University of Alberta from 1992 to 2008. A highlight of his career at the univer-sity was getting a chance to play the Robert Schumann Konzertstück for Four Horns and Orchestra with his students and the University Sympho-ny Orchestra in Convocation Hall at the U of A. He is currently Professor of Horn at The King’s University College in Edmonton. Gerald has also performed internationally with the Edmonton Youth Orchestra in Lausanne, Switzerland in 1972, and with the New Edmonton Wind Sinfo-nia tours of France and Italy in 2000, 2004, and 2008. Performing on tenor horn, he was a founding member of the Mill Creek Colliery Band. Gerald continues to be active as a clinician, chamber music recitalist, and church musician. He is also an avid golfer, hiker, handyman, and gardener. He is married to Evelyn, a teacher, and they have two sons, Nathan and Byron.

Mr. Onciul last appeared as a soloist with the ESO in May 2000 in the rotunda of Edmonton’s City Hall.

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Horn Concerto No. 1 in E-flat Major, Op.11RICHARD STRAUSS(b. Munich, 1864 / d. Garmisch-Partenkirchen, 1949)

First performed: March 4, 1885 in MeiningenLast ESO performance: February 2000

ICHARD STRAUSS WROTE TWO HORN CONCERTOS OVER the course of his life, separated by a span of an astounding 60 years.

Clearly, the man who wrote the second was a much different composer than the young man who wrote the first, in 1882-83. The son of a famous horn player (Franz Strauss had played in Wagner’s orchestra), it would appear that the father may have been the influence but he was not the intended soloist for the first concerto. Gustav Leinhos, principal of the Meiningen Court Orchestra, gave the work’s premiere, which was conducted by one of Richard Strauss’ mentors, Hans von Bülow.

There are thematic linkages in all three of the concerto’s movements. The fanfare given out by the horn at the outset forms the basis for the extended orchestral introduction which follows. The horn then presents a melody of its own, answered gently by the orchestra. The development also springs from the opening material, and most of the horn’s music in this movement evokes nobility and ceremony. The second movement begins without a pause, softly in both strings and the horn (there is no brass or timpani in this movement). The horn shows a surprisingly gentle side here, delicately balancing its long cantabile with the sparsest woodwind and string accompaniment.

R



R2014/2015 SEASON



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Tania Miller, conductorMarc Bouchkov, violin (2013 Montréal International Music Competition Laureate)Gerald Onciul, horn

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

Sunday Encore, post-performance in the Main Lobby with Tania Miller, Marc Bouchkov & Gerald Onciul

R. STRAUSSHorn Concerto No. 1 in E-flat Major, Op.11 (17’)* Allegro Andante Rondo: Allegro

BEETHOVENSymphony No. 8 in F Major, Op.93 (26’)* Allegro vivace e con brio Allegretto scherzando Tempo di menuetto Allegro vivace


PLAMONDONFlight (2013 ESO commission through the Young Composers Project) (5’)*

SIBELIUSViolin Concerto in D minor, Op.47 (31’)* Allegro moderato Adagio di molto Allegro ma non tanto


he 2014/2015 season marks TANIA MILLER’S 12th as Music

Director of the Victoria Symphony Orchestra, an appointment that deemed her the first Canadian woman to be appointed to such a significant position in Canada. Her vibrancy and dynamic approach to music-making have inspired many new innovations with the Victoria Symphony and a new era of artistic growth for the orches-tra. New programming innovations including the New Currents Festival of New Music, the contemporary Odyssey series of collaborative arts and genres, the Victoria Mozart Festival, expanded and committed educational programming, and extraordinary commitment to masterworks classics have elevated the musical impact of the orchestra on the Canadian music scene. Highlights of the orchestra’s past season included the Cage 100 Festival, a collaborative effort with Victoria arts groups celebrating the 100th anniversary of John Cage’s birth.

Prior to her appointment in Victoria, Ms. Miller was Assistant and then Associate Conductor with the Vancouver Symphony Orchestra for four seasons. She was the Assistant Conductor of the Carmel Bach Festival for several years, working closely with the internationally renowned conductor Bruno Weil and many of the world’s leading baroque artists. Tania began her work in the field of contemporary music as Assistant conductor of the Banff Festival of the Arts in Banff, Canada. She has been a frequent guest conductor with the Toronto contemporary ensemble ERGO, with whom she premiered a number of compositions in Munich, Toronto, and New York. Ms. Miller is active as a guest conductor throughout North America. Her guest conducting engagements have included the Seattle Symphony, National Arts Centre Orchestra, Toronto Symphony, Oregon Symphony, Orchestre Métropolitain du Grand Montréal, Winnipeg Symphony, Hart-ford Symphony, Calgary Philharmonic, Tucson Symphony, and Vancouver Symphony. She recently returned to Europe to conduct the Berne Symphon-iker in Switzerland.

Ms. Miller last appeared with the ESO in February 2005.

ARC BOUCHKOV’S violin playing is grounded not only in a thorough knowledge of the score, the historical content, and the

authenticity of the interpretation, but also in his belief that performance

Sunday, January 18 | 2 P M

Beethoven & SibeliusRBC SUNDAY SHOWCASE

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2014/2015 SEASONAgain, without a pause, the third movement rises out of the muted

second, to become an engaging rondo, the main theme for which is based on the fanfare which opened the work. A number of solo instruments from the orchestra have brief passages to share with the main soloist, and the horn is more subtle and subdued than one might expect in a rousing finale. But the challenges are plenty, from articulation to smooth transitions and nimble leaps. With a final, rapid run, the horn concludes the concerto in a vivacious flurry.

Symphony No. 8 in F Major, Op.93LUDWIG VAN BEETHOVEN(b. Bonn, 1770 / d. Vienna, 1827)

First private performance: April, 1813 for Prince RudolphFirst public performance: February 27, 1814 in ViennaLast ESO performance: September 2007

Y THE TIME OF THE EIGHTH SYMPHONY, BEETHOVEN WAS in the midst of working out his titanic Ninth Symphony. And all that

the latter work is – vast, serious, groundbreaking, and philosophical – the Eighth is not. It is much more conventionally classical in its form, briefer than his previous few symphonies. It is also filled with humour and a cheeky élan. However, given what the Viennese had come to expect from the master, the Eighth Symphony’s unexpected nature probably had much to do with the tepid reception it received. “…the newest one, in F Major, (performed) twice. (It was performed, particularly the second time, entirely as might have been wished and yet pleased less than the other ones by this master. The second and third movements seemed to be received the best.),” went a review by Friedrich Rochlitz in the Allgemeine musikalische Zeitung, April 8, 1818.

There are few symphonies that begin with the joyous outburst that this one does. That sense of “con brio” continues throughout the movement, which is dominated by two main melodic ideas. The second movement, where one would normally expect a slow section, is in fact marked by the continual pulsing rhythm which Beethoven biographer Schindler claimed was Beethoven’s gentle parody of his friend Maelzel’s invention: the metronome.

It was Beethoven who had dispensed with the conventional Minuet and Trio third movement Haydn used to use, but he brings it back in the Eighth Symphony, though with a more “modern” sensibility to it, rather than sheer nostalgia. The finale is dominated by humour. A persistent, out-of-key C-sharp keeps knocking the music slightly off kilter, and in fact comes close to steering it right out of key before the happy conclusion. It is worth noting that, while Beethoven himself referred to this as his “Little Sympho-ny,” the final movement, at 503 bars, is the longest he had yet written.

Flight (2013 ESO commission through the Young Composers Project)TARAN PLAMONDON(b. Edmonton, 1995)

First performed: ATB Investor Services Symphony Under the Sky 2013Last ESO performance: September 2013

USIC HAS ALWAYS BEEN A PART OF TARAN PLAMONDON’S life; he started to play the horn when he was 12 and began compos-

ing without any formal training one year later. He is currently attending the University of Alberta, studying composition.

Of his work Flight, Mr. Plamondon writes: “Until the dawn of the 20th century, general societal belief was that humans would never achieve flight – they said the skies were essentially an unattainable world. But then Orville and Wilbur Wright conducted the very first powered flight in late 1903. Remarkably, in only a century since their invention of the biplane, the spirit of human innovation has led to the development of aircraft technology over the years into a safe and efficient mode of transport. Flight depicts this; not only the physical act of flying, but also the extraordinary capacity for human drive and ingenuity to continue to reach new heights. The bold fanfare introduction represents this imposing mountain of a challenge, and a brave leap out into the open air. The flight takes unexpected hairpin turns through uneven time signatures and the Lydian mode. The next section presents the first main theme, stated in the oboe. This portion represents the physical and psychological obstacles that are inevitably present in pursuit of a goal, and how through perseverance, they can be overcome. The third segment, Cantabile, illustrates a feeling of blissful satisfaction having achieved this personal goal. The soaring melody portrays a smooth flight with a breathtaking view. This is the sheer joy knowing one’s extraordinary efforts have finally paid off. Of course, the pursuit does not end there, since bigger challenges always lay ahead; the final section is a recapitulation which presents the next daunting task, and more possibilities to fly even higher. Such is the cycle of human ingenuity.”

Violin Concerto in D minor, Op.47JEAN SIBELIUS(b. Hämeenlinna, 1865 / d. Järvenpää, 1957)

First performance: February 8, 1904 in HelsinkiRevised version first performed October 19, 1905 in ViennaLast ESO performance: May 2010

EAN SIBELIUS ONLY MANAGED TO WRITE ONE CONCERTO. But it was for the instrument he knew best. At one time in his

formative years, Sibelius had thoughts about becoming a concert violinist, and in fact auditioned for the Vienna Philharmonic – unsuccessfully. Vienna’s loss was posterity’s gain, surely. But it was not Sibelius’ own aspirations that directly prompted him to write a concerto; rather, it was the encouragement of another violinist, Willy Burmester, around 1902, shortly after Sibelius had written his Second Symphony. Ironically, Burmester performed neither the concerto’s first performance, nor the premiere of the revised version.

The initial 1904 Helsinki performances proved unsatisfactory to pretty much everyone, including Sibelius. He revised the work extensively before the work as it is known today was presented for the first time in Vienna the following year, with no less than Richard Strauss conducting, and Karel Halíř as soloist. Over a mist of strings, the solo violin sings a lyrical, resigned song that increases in passion and agitation. There is a brief cadenza featuring rapid bow work, then for one of the few times in the work, the violin pauses as the orchestra brings in the first movement’s second subject. A wisp of a theme heard in the opening moments has more of a presence as the solo violin returns to rhapsodize, leading to

RBC SUNDAY SHOWCASE Beethoven & Sibelius

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an orchestral ritornello (“return”), and here the main, romantic theme has even more force. Instead of a development section, Sibelius gives the violin another long, detailed cadenza, until a bassoon quietly ushers in the coda, again dominated by the soloist. The long movement (almost half the length of the entire concerto) ends with the violin soaring above an orchestral background of rich colour and a strong romantic feel.

The second movement is in ternary (three-part) form, A-B-A. Wood-winds usher in the movement with an air of uncertainty. The violin’s entry is with a theme of nobility and sadness, with echoes of the first movement’s main motif. The central section is marked by an ominous orchestral texture, over which the violin enters, frequently employing double stops (playing two strings simultaneously) and chromatic harmo-nies. As well, there are cross-rhythms between the orchestra and soloist. The vigorous, yet still dark-hued finale is dominated by two main subjects. The first, heard in the solo violin, is an agitated, urgently propulsive theme with a slightly off-kilter metre. Sir Donald Tovey’s oft-quoted description of it being “a polonaise for polar bears” is cute, if somewhat short-chang-ing. Sibelius’ own description is more apt; he thought of it as, “a danse macabre across the Finnish wastelands.” The second subject is a dance-like theme which alternates a 6/8 rhythm with a ¾. The work concludes with brilliant solo flashes marked by octave passage leaps.

Program notes © 2014 by D.T. Baker, except as noted

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2014/2015 SEASONAgain, without a pause, the third movement rises out of the muted

second, to become an engaging rondo, the main theme for which is based on the fanfare which opened the work. A number of solo instruments from the orchestra have brief passages to share with the main soloist, and the horn is more subtle and subdued than one might expect in a rousing finale. But the challenges are plenty, from articulation to smooth transitions and nimble leaps. With a final, rapid run, the horn concludes the concerto in a vivacious flurry.

Symphony No. 8 in F Major, Op.93LUDWIG VAN BEETHOVEN(b. Bonn, 1770 / d. Vienna, 1827)

First private performance: April, 1813 for Prince RudolphFirst public performance: February 27, 1814 in ViennaLast ESO performance: September 2007

Y THE TIME OF THE EIGHTH SYMPHONY, BEETHOVEN WAS in the midst of working out his titanic Ninth Symphony. And all that

the latter work is – vast, serious, groundbreaking, and philosophical – the Eighth is not. It is much more conventionally classical in its form, briefer than his previous few symphonies. It is also filled with humour and a cheeky élan. However, given what the Viennese had come to expect from the master, the Eighth Symphony’s unexpected nature probably had much to do with the tepid reception it received. “…the newest one, in F Major, (performed) twice. (It was performed, particularly the second time, entirely as might have been wished and yet pleased less than the other ones by this master. The second and third movements seemed to be received the best.),” went a review by Friedrich Rochlitz in the Allgemeine musikalische Zeitung, April 8, 1818.

There are few symphonies that begin with the joyous outburst that this one does. That sense of “con brio” continues throughout the movement, which is dominated by two main melodic ideas. The second movement, where one would normally expect a slow section, is in fact marked by the continual pulsing rhythm which Beethoven biographer Schindler claimed was Beethoven’s gentle parody of his friend Maelzel’s invention: the metronome.

It was Beethoven who had dispensed with the conventional Minuet and Trio third movement Haydn used to use, but he brings it back in the Eighth Symphony, though with a more “modern” sensibility to it, rather than sheer nostalgia. The finale is dominated by humour. A persistent, out-of-key C-sharp keeps knocking the music slightly off kilter, and in fact comes close to steering it right out of key before the happy conclusion. It is worth noting that, while Beethoven himself referred to this as his “Little Sympho-ny,” the final movement, at 503 bars, is the longest he had yet written.

Flight (2013 ESO commission through the Young Composers Project)TARAN PLAMONDON(b. Edmonton, 1995)

First performed: ATB Investor Services Symphony Under the Sky 2013Last ESO performance: September 2013

USIC HAS ALWAYS BEEN A PART OF TARAN PLAMONDON’S life; he started to play the horn when he was 12 and began compos-

ing without any formal training one year later. He is currently attending the University of Alberta, studying composition.

Of his work Flight, Mr. Plamondon writes: “Until the dawn of the 20th century, general societal belief was that humans would never achieve flight – they said the skies were essentially an unattainable world. But then Orville and Wilbur Wright conducted the very first powered flight in late 1903. Remarkably, in only a century since their invention of the biplane, the spirit of human innovation has led to the development of aircraft technology over the years into a safe and efficient mode of transport. Flight depicts this; not only the physical act of flying, but also the extraordinary capacity for human drive and ingenuity to continue to reach new heights. The bold fanfare introduction represents this imposing mountain of a challenge, and a brave leap out into the open air. The flight takes unexpected hairpin turns through uneven time signatures and the Lydian mode. The next section presents the first main theme, stated in the oboe. This portion represents the physical and psychological obstacles that are inevitably present in pursuit of a goal, and how through perseverance, they can be overcome. The third segment, Cantabile, illustrates a feeling of blissful satisfaction having achieved this personal goal. The soaring melody portrays a smooth flight with a breathtaking view. This is the sheer joy knowing one’s extraordinary efforts have finally paid off. Of course, the pursuit does not end there, since bigger challenges always lay ahead; the final section is a recapitulation which presents the next daunting task, and more possibilities to fly even higher. Such is the cycle of human ingenuity.”

Violin Concerto in D minor, Op.47JEAN SIBELIUS(b. Hämeenlinna, 1865 / d. Järvenpää, 1957)

First performance: February 8, 1904 in HelsinkiRevised version first performed October 19, 1905 in ViennaLast ESO performance: May 2010

EAN SIBELIUS ONLY MANAGED TO WRITE ONE CONCERTO. But it was for the instrument he knew best. At one time in his

formative years, Sibelius had thoughts about becoming a concert violinist, and in fact auditioned for the Vienna Philharmonic – unsuccessfully. Vienna’s loss was posterity’s gain, surely. But it was not Sibelius’ own aspirations that directly prompted him to write a concerto; rather, it was the encouragement of another violinist, Willy Burmester, around 1902, shortly after Sibelius had written his Second Symphony. Ironically, Burmester performed neither the concerto’s first performance, nor the premiere of the revised version.

The initial 1904 Helsinki performances proved unsatisfactory to pretty much everyone, including Sibelius. He revised the work extensively before the work as it is known today was presented for the first time in Vienna the following year, with no less than Richard Strauss conducting, and Karel Halíř as soloist. Over a mist of strings, the solo violin sings a lyrical, resigned song that increases in passion and agitation. There is a brief cadenza featuring rapid bow work, then for one of the few times in the work, the violin pauses as the orchestra brings in the first movement’s second subject. A wisp of a theme heard in the opening moments has more of a presence as the solo violin returns to rhapsodize, leading to

RBC SUNDAY SHOWCASE Beethoven & Sibelius

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L2014/2015 SEASON

Media Sponsor

Steven Reineke, conductorNatalie MacMaster & Donnell Leahy, special guests

Mr. Reineke’s bio can be found on page 24.

Honing his remarkable talent since the age of three, Donnell has literally spent his entire life with a fiddle in his hand. His initial skills were learned at home from his parents – a fiddle-playing father from Ontario and a step-dancing mother from Cape Breton. With a well-trained ear it is no surprise that, as the musical leader and frontman of Leahy for more than 15 years, his own style emerged.

Now, after more than 10 years of marriage and six children, Donnell and Natalie have turned their eyes to combining their musical and home lives. Fiddling, step-dancing, and piano lessons find their place alongside hockey sticks, school books, and family events. A Natalie and Donnell perfor-mance is not soon forgotten.

Ms. MacMaster last appeared with the ESO in June 2013.Mr. Leahy last appeared with the ESO in May 2006.

SA R T I S T B I O SARTIST BIOS

The music for tonight’s performance will be announced from the stage.

There will be one, 20-minute intermission.

Wednesday, January 21 | 7 : 3 0 P M

Natalie MacMaster & Donnell LeahyAIR CANADA PRESENTS

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ince marrying in 2002, two of Canada’s brightest stars have been captivating audiences all over North America with their exceptional

musical skills and obvious joy of playing together. NATALIE MACMASTER and DONNELL LEAHY have received both industry acclaim and a loyal following by combining their incredible individual talents.

Both born into musical families, Natalie and Donnell entered into their musical careers naturally. Hailing from Cape Breton Island, Natalie received her first fiddle at the age of nine. Her first recording was released when she was only 16, launching a career that has lasted for over 30 years. With amazing dedication to her craft, Natalie has received numerous awards in the U.S. and Canada, recognizing both her musical talent and importance to Cape Breton’s fiddling tradition and international profile. It’s the elegance with the bow, the intricate technique with the fiddle, and the embrace of the Cape Breton tradition that floors her admirers at count-less shows every year.



Lwww.lexusofedmonton.ca Conveniently located on 170 St 780-466-8300




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170 St N

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000Sig-Lexus-FP.indd 1 2014-12-04 8:47 AMSignature4_2015_p20-21.indd 20 2014-12-18 1:53 PM

RUniversity of Alberta | Department of Music

ualber ta.ca/ar tshows

Joining Forces: New Music from the Single Reed StudiosAllison Balcetis (saxophone) and Don Ross (clarinet) unite for an assortment of contemporary works from around the world.Friday, January 30 at 8 p.m.Convocation Hall

Beethoven Sonatas for Violin and Piano, Part Three Jacques Després (piano) and Andrew Wan (violin), have united to play all Beethoven’s sonatas for violin and piano. This is the third and final concert in the annual series.Friday, February 6 at 8 p.m.Convocation Hall

Symphonic Wind Ensemble & the University of Alberta High School Honour BandAlberta’s most talented high school band students perform on the same marquee as the University of Alberta’s elite Symphonic Wind Ensemble.Sunday, February 8 at 3 p.m.Winspear Centre


R2014/2015 SEASONROBBINS POPS

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Friday & Saturday, January 23 & 24 | 8 P M

Mr. Reineke’s bio can be found on page 24.

Pops Prelude, Friday & Saturday, 7:15 pm in the Upper Circle (Third Level) Lobby with D.T. Baker

Celebration Fanfarevarious (arr. Reineke)

Swan Lake: SceneTchaikovsky

Unter Donner und Blitz (“Under Thunder and Lightning”)J. Strauss II

Clair de lune (from Suite bergamasque)Debussy (arr. Caillet)

Capriccio espagnol: Fandango asturianoRimsky-Korsakov

Tsiganochka (“Two Guitars”)trad. Russia (arr. Dragon)

Ar Hyd y Nos (“All Through the Night”)trad. Wales (arr. Dragon)

“Organ” Symphony: MaestosoSaint-Saëns

CzárdásMonti (arr. Dragon)


Turkey in the Strawtrad. (arr. Dragon)

Four Strong WindsTyson (arr. Lapalme)

Seventy-Six Trombones (from The Music Man)Willson (arr. Anderson)

March of the Siamese Children (from The King and I)Rodgers (arr. Bennett)

Steven Reineke, conductor

Orchestra on Parade!

Mambo (from Symphonic Dances from West Side Story)Bernstein

Star TrekGiacchino

Colors of the Wind (from Pocahontas)Menken (arr. Reineke)

E.T.: Adventures on EarthWilliams

Program subject to change


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RUniversity of Alberta | Department of Music

ualber ta.ca/ar tshows

Joining Forces: New Music from the Single Reed StudiosAllison Balcetis (saxophone) and Don Ross (clarinet) unite for an assortment of contemporary works from around the world.Friday, January 30 at 8 p.m.Convocation Hall

Beethoven Sonatas for Violin and Piano, Part Three Jacques Després (piano) and Andrew Wan (violin), have united to play all Beethoven’s sonatas for violin and piano. This is the third and final concert in the annual series.Friday, February 6 at 8 p.m.Convocation Hall

Symphonic Wind Ensemble & the University of Alberta High School Honour BandAlberta’s most talented high school band students perform on the same marquee as the University of Alberta’s elite Symphonic Wind Ensemble.Sunday, February 8 at 3 p.m.Winspear Centre



STEVEN REINEKE’S boundless enthusiasm and exceptional artistry have made him one of North America’s most sought-after pops

conductors, composers, and arrangers. Mr. Reineke is the Music Director of The New York Pops at Carnegie Hall, Principal Pops Conductor of the National Symphony Orchestra at the John F. Kennedy Center for the Performing Arts, and Principal Pops Conductor of the Toronto Symphony Orchestra. Mr. Reineke is a frequent guest conductor with The Philadelphia Orchestra, and has been on the podium with the Boston Pops, The Cleveland Orchestra, and the Chicago Symphony Orchestra at Ravinia. His extensive North American conducting appearances include Houston, San Francisco, Seattle, Pittsburgh, Vancouver, Ottawa (National Arts Centre), Detroit, Milwaukee, and Calgary.

As the creator of more than 100 orchestral arrangements for the Cincinnati Pops Orchestra, Mr. Reineke’s work has been performed worldwide, and can be heard on numerous Cincinnati Pops Orchestra recordings on the Telarc label. His symphonic works Celebration Fanfare, Legend of Sleepy Hollow, and Casey at the Bat are performed frequently in North America. His Sun Valley Festival Fanfare was used to commemorate the Sun Valley Summer Symphony’s pavilion, and his Festival Te Deum and Swan’s Island Sojourn were debuted by the Cincinnati Symphony and Cincinnati Pops

2014/2015 SEASONOrchestras. This season he will write a new composition titled The True Sto-ry of The Three Little Pigs based on the popular children’s book of the same name by Jon Sciezska and Lane Smith. His numerous wind ensemble com-positions are published by the C.L. Barnhouse Company and are performed by concert bands worldwide. A native of Ohio, Mr. Reineke is a graduate of Miami University of Ohio, where he earned bachelor of music degrees with honours in both trumpet performance and music composition. He currently resides in New York City with his husband Eric Gabbard.

Mr. Reineke last appeared with the ESO in April 2014.

ROBBINS POPS Orchestra on Parade!


M2014/2015 SEASON

Series Sponsor

Photo: Anna Keenan

Mr. Eddins’s bio can be found on page 6.Ms. Djokic’s bio can be found on page 27.


CURTINJonny Quest March (arr. Wendel) (2’)*

SCOTTPowerhouse (arr. Wendel) (4’)*

HARTCartoon (9)*

ELFMANTheme from The Simpsons (arr. Bankey) (2’)*

CURTINThe Flintstones Meet the Jetsons (arr. Wendel) (4’)*

GULDACello Concerto (32’)* Overture Idylle Cadenza Menuet Finale alla Marcia

Program subject to change*indicates approximate performance durationThere is no intermission tonight. Please join us in the lobby following the performance.

MUSIC OF HOYT CURTIN(b. Downey, California, 1922 / d. Los Angeles, 2000)

HINK OF PRETTY MUCH ANY HANNA-BARBERA CARTOON and the music of Hoyt Curtin should come to mind. Music Director

for the animation team for most of its existence, Curtin wrote not only theme songs, but incidental music for pretty much every franchise the studio produced, from The Ruff & Ready Show to The Smurfs. Tonight’s concert features two sets of Curtin themes. The first is the march from the 1960s adventure cartoon, Jonny Quest. Originally written for a brass-heavy jazz band (four trumpets, six trombones, five woodwind doublers, and a five-man rhythm section), it was later orchestrated by Robert Wendel. As its title suggests, a mash-up done by Wendel of two more Curtin theme songs unites the two most famous Hanna-Barbera series, The Flintstones and The Jetsons.

Powerhouse (arr. R. Wendel)RAYMOND SCOTT(b. Brooklyn, 1908 / d. Los Angeles, 1994)

S THE FRANTIC FEW MINUTES OF THIS PIECE MIGHT suggest, Raymond Scott appears to have been an impatient man.

Born Harry Warnow in Brooklyn, Scott was quick to become a prodigy at the piano, quick to grow restless with popular swing music in the 1930s and push its boundaries in works such as Powerhouse, and quick to begin exploring electronic music, well before Robert Moog began developing his synthesizer.

If the music of Powerhouse sounds familiar, there’s good reason. Scott recorded the piece with his quintet in the late ’30s, and about a decade later, Warner Bros. picked up on its quirky, churning and relentless energy, bought the rights to it, and worked it into innumerable Looney Tunes cartoons. Other animators saw its value too, and Powerhouse has figured into The Simpsons, Animaniacs, The Oblongs, Duckman and even Ren and Stimpy. By the time Scott’s piece had become a staple of animated shorts, however, Scott had moved on. Throughout the rest of his career, he continued to explore the cutting edge of electronic musical possibilities, and was composing on a MIDI system prior to suffering the series of strokes that eventually cost him his life. Well after Powerhouse had been adapted for manic cartoons, Robert Wendel produced this taxing orchestral version, which tests the cohesion and prowess of any orchestra.


Friday, February 6 | 9 : 3 0 P M

MNP LATE NIGHT WITH BILL EDDINSLate Night Comedy

T


A

DENISE DJOKIC



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

E: [email protected]

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2014/2015 SEASONTheme from The SimpsonsDANNY ELFMAN(b. Los Angeles, 1953)

HERE IS NOW A GENERATION THAT HAS GROWN UP NEVER knowing that there was, at one time, no TV show called The Simpsons.

Matt Groening’s long-running (and record-breaking) prime time animated series has been on since it was introduced on The Tracy Ullman TV show on Fox back in 1990. Back then, musician Danny Elfman was still part of a band called Oingo Boingo, though he had begun to branch out into the world of film music. Noted particularly for the scores he has contributed to the movies of his close friend, director Tim Burton, Elfman’s music is noteworthy for its irreverence, its eerie qualities, and its slightly bent sense of whimsy– all of which fit perfectly into the warped take on Americana that is Springfield, home of the Simpsons and their unique friends and acquaintances. The orchestration of the now ubiquitous theme was done by Christopher Bankey.

Cello ConcertoFRIEDRICH GULDA

For a program note on this work, please see page 29.


CartoonPAUL HART(b. Ilford, Essex, 1945)

Program note used by kind permission of R Smith & Company – rsmith.co.uk

T’S ALL HERE. THE BIG OPENING CREDITS, THE CAT AND mouse tease and chase, the strutting swagger and of course, the big

finale! Best of all, it can happen in the imagination of the audience, not on the film screen.

Paul Hart is acclaimed as one of Europe’s foremost contemporary musician/composer/arrangers, probably best known as a regular featured musician with Cleo Laine and John Dankworth, John Williams, and Sky.

Whilst being one of the country’s most prolific jingle writers with partner Joe Campbell, he has also scored the theme music for numerous television programs, including Tomorrow’s World and Rockliffe’s Babies. He also wrote the music for the feature film May We Borrow Your Husband, starring Dirk Bogarde. His works include a large-scale work for cathedral organ and jazz orchestra, commissioned by St. Alban’s Festival, a concerto for classical guitarist John Williams, and concert band commissions for the Royal Tournament Series, including this work, Cartoon.

IT

MNP LATE NIGHT WITH BILL EDDINS Late Night Comedy


F2014/2015 SEASON

Mr. Eddins’s bio can be found on page 6.Media SponsorLandmark Homes Masters Sponsor

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Saturday, February 7 | 8 P M



GRUBERManhattan Broadcasts (10’)* Tammany Hall Radio City

SCHOENBERGVerklärte Nacht, Op.4 (“Transfigured Night”) (30’)* Grave Molto rallentando Pesante – Grave Adagio Adagio


ANTHEILA Jazz Symphony (1955 version) (7’)*

GULDAConcerto for Cello and Wind Orchestra (32’)* Overture Idylle Cadenza Menuet Finale alla Marcia

Program subject to change*indicates approximate performance duration

cclaim for her powerful interpretations, bold command of her instru-ment, and insightful playing have earned DENISE DJOKIC world-

wide recognition and appearances in some of the most venerable halls.

The 2014/15 season sees Denise perform one of her signature pieces, Tchaikovsky’s Variations on a Rococo Theme, with both the Victoria Sym-phony (Texas) and the Thunder Bay Symphony; and return to the Kingston Symphony to play Shostakovich’s Cello Concerto No. 1. She also appears at the Prince Edward County Music Festival in a recital with pianist Stéphane Lemelin and in Vermont’s Killington Music Festival as both a Faculty member and performer.

A

The Eddins Effect



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

E: [email protected]

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2014/2015 SEASONTheme from The SimpsonsDANNY ELFMAN(b. Los Angeles, 1953)

HERE IS NOW A GENERATION THAT HAS GROWN UP NEVER knowing that there was, at one time, no TV show called The Simpsons.

Matt Groening’s long-running (and record-breaking) prime time animated series has been on since it was introduced on The Tracy Ullman TV show on Fox back in 1990. Back then, musician Danny Elfman was still part of a band called Oingo Boingo, though he had begun to branch out into the world of film music. Noted particularly for the scores he has contributed to the movies of his close friend, director Tim Burton, Elfman’s music is noteworthy for its irreverence, its eerie qualities, and its slightly bent sense of whimsy– all of which fit perfectly into the warped take on Americana that is Springfield, home of the Simpsons and their unique friends and acquaintances. The orchestration of the now ubiquitous theme was done by Christopher Bankey.

Cello ConcertoFRIEDRICH GULDA

For a program note on this work, please see page 29.


CartoonPAUL HART(b. Ilford, Essex, 1945)

Program note used by kind permission of R Smith & Company – rsmith.co.uk

T’S ALL HERE. THE BIG OPENING CREDITS, THE CAT AND mouse tease and chase, the strutting swagger and of course, the big

finale! Best of all, it can happen in the imagination of the audience, not on the film screen.

Paul Hart is acclaimed as one of Europe’s foremost contemporary musician/composer/arrangers, probably best known as a regular featured musician with Cleo Laine and John Dankworth, John Williams, and Sky.

Whilst being one of the country’s most prolific jingle writers with partner Joe Campbell, he has also scored the theme music for numerous television programs, including Tomorrow’s World and Rockliffe’s Babies. He also wrote the music for the feature film May We Borrow Your Husband, starring Dirk Bogarde. His works include a large-scale work for cathedral organ and jazz orchestra, commissioned by St. Alban’s Festival, a concerto for classical guitarist John Williams, and concert band commissions for the Royal Tournament Series, including this work, Cartoon.

IT

MNP LATE NIGHT WITH BILL EDDINS Late Night Comedy


2014/2015 SEASON


First performance of the string orchestra version: December 1924 in Newcastle upon TyneLast ESO performance: 1976

HERE ARE SEVERAL WAYS OF LOOKING AT VERKLÄRTE NACHT, composed originally for string sextet when Arnold Schoenberg was

25 years old. One could follow closely the work’s literary inspiration, the poem of the same name by Richard Dehmel. It is even possible to detect the five sections of this long one-movement work that correspond to the five stanzas of the poem itself. But the work also stands as a masterful example of late-Romanticism, without its programmatic associations at all, a moving and large canvas – a long, extended Adagio which slowly transforms from sadness to serenity.

Like the poem, the music is a journey from darkness into light, and while rooted in D minor as well as the romantic tradition of Brahms and Wagner inherited by Schoenberg through his main teacher Zemlinsky, Verklärte Nacht was considered highly controversial at its premiere not only because of its progressive harmonic structure, but also because of the poem’s subject matter. The poem concerns the confession of a young woman to her love that she carries another’s child. After considering the implications of this, the young man tells her that their love will survive this, and that they will raise the child together. As they talk, the dark foreboding night becomes “the high, bright night,” as they walk now arm in arm.

The piece was written, and even later orchestrated, before Schoenberg developed and began employing his famous 12-tone technique, and therefore the work is written in an idiom which, while still harmonically bold and even dense, is relatively straightforward. However, it’s worth noting that the Vienna Music Society refused the work, due to its use of an inverted ninth chord, which – the society claimed – was not permitted, and therefore non-existant. “And thus the piece cannot be performed,” Schoenberg famously wrote, “since one cannot perform that which does not exist.”

A Jazz Symphony (1955 version)GEORGE ANTHEIL(b. Trenton, New Jersey, 1900 / d. New York, 1959)

First performance of the original version: April 10, 1927 in New YorkFirst performance of the revised version: 1955 in New YorkLast ESO performance: March 2007

HE SUCCESS ACCORDED GEORGE GERSHWIN’S RHAPSODY in Blue following its first performance in 1924 encouraged conductor

Paul Whiteman (who had suggested the piece to Gershwin, and led the premiere) to look for other works that blended classical with jazz. Bright, young composer George Antheil was one of those Whiteman approached.

Antheil was already a bit of an enfant terrible, pushing boundaries with his music from his first, precocious compositions as a child. His works had futuristic titles: Airplane Sonata, Death of the Machines, Mechanisms and Sonata Sauvage. His Ballet mécanique of 1924 had become notorious following its riotous premiere. A Jazz Symphony was first performed under Whiteman on April 10, 1927. Throughout a turbulent career which saw Antheil endure a love-hate relationship with jazz as it applied to his own music, A Jazz Symphony remained in his mind. He revised the work in 1955, eliminating much of the repetition and adjusting the original orchestration, stripping it down to eight minutes of activity.

Manhattan BroadcastsH.K. GRUBER(b. Vienna, 1943)

Composition completed in 1964This is the ESO premiere of the piece

IKE ALL THE COMPOSERS ON TONIGHT’S PROGRAM, “Heinz Karl” Gruber (he goes by H.K. Gruber) is not only a fine

musician and composer, he is a deliberate and unapologetic rule-breaker. ESO patrons who were present at the October 2008 performance of his “Pan-demonium” for orchestra, Frankenstein!! certainly have an inkling of his strange, yet somehow always accessible sound world. He is a composer, conductor, double bassist, and singer, a member of what became known as the “Third Viennese School,” so named because of the Second Viennese School founded by Schoenberg and his followers (see below).

Manhattan Broadcasts is an early work by Gruber, composed between 1962-64. Given its title, and each movement’s reference to an iconic Manhattan location, the fact that Gruber had not, at the time of the work’s composition, visited New York is not especially germane. These are images, representations of an idealization fuelled by a young man’s imagination and are, in the words of Paul Driver, “the reflection in a Viennese mirror of American dance-band music.”

Tammany Hall was once the headquarters of the New York Democratic Party, and has become a byword for political corruption. The music of this movement begins quietly, and builds to a slinky and sinewy big-band inspired dance, getting quite raucous before ebbing away again to softness. The second movement, Radio City, is named for the huge Manhattan concert hall. It begins as a slow blues, with plucked strings and brush drums urging along a clarinet solo. Lush strings take the theme and expand on it, brass are brought in, and the sense of jazz swing takes over. Gruber’s re-creation of the old styles and evocation of an imagined New York nighttime is wonderfully picturesque.

Verklärte Nacht, Op. 4 (“Transfigured Night”)ARNOLD SCHOENBERG(b. Vienna, 1874 / d. Los Angeles, 1951)

First performance of original string sextet version: March 18, 1902 in Vienna

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LANDMARK HOMES MASTERS The Eddins Effect

A longtime friend of the Edmonton Symphony, Denise Djokic joined the orchestra for its critically acclaimed debut at Carnegie Hall in May 2012, as cellist in John Estacio’s Triple Concerto. Her discography includes the recently released disc of Chopin and Rachmaninoff sonatas with her long-time recital partner, pianist David Jalbert (ATMA), the complete Britten Solo Suites for Cello (ATMA), her highly acclaimed self-titled CD featuring works by Barber, Martinů, and Britten (SONY) which received the 2002 East Coast Music Award, and Juno-nominated Folklore (Allegro/Endeavor), which was honoured with an East Coast Music Award and hit the Billboard Chart’s top 15 Classical CDs. denisedjokic.com

Ms. Djokic last appeared with the ESO at Symphony Under the Sky 2013.


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“Light My Fire,” and he has recorded a number of jazz standards. His Concerto for Cello and Wind Orchestra is a fascinating and fun blend of many of the elements that define Gulda’s catholic tastes, incorporating, in his words, “jazz, a minuet, rock, a smidgen of polka, a march and a cadenza with two spots where a star cellist must improvise.” He calls the first movement an overture, and with its reliance on a drum kit, has a definite rock-and-roll sensibility. Twice in the movement, a section begun by the woodwinds changes the mood to an almost Mozartean one, but these are fleeting, and the opening swagger returns.

The A-B-A second movement is called Idylle, and begins with a rich brass chorale. The cellist is given a tender song in a give and take with the chorale. The mood changes with a trio section for woodwinds and cello, in triple time. The A section returns to close out the movement. The third section of the work is called, simply, Cadenza. For unaccompanied cello, it begins in the cello’s lowest register, and becomes an intense and dramatic extended solo featuring myriad technical challenges and moods.

The fourth movement is a Menuet, and is a delightfully anachronistic movement, the work’s briefest, incorporating classical, medieval and even Celtic flavours. This utterly unique concerto concludes with a Finale alla Marcia, and begins with music straight out of any smalltown bandshell, music in which the cello joins with gusto. Yet the music is no mere parody – it is challenging and virtuosic, too, with a taxing middle section for the soloist. But it is hard not to be swept up in the sheer bravado and high humour of the movement’s main section, which concludes the work bracingly.


A catchy tune recurs throughout the piece, which “is alive with syn-copated, jazz-inspired melodies,” according to Antheil biographer Linda Whitesitt. The use of a pedal or ostinato (a repeated pattern, over which a melody is presented) focuses the often frenetic music, which American composer and critic Virgil Thomson described as “terrific fun.”

Concerto for Cello and Wind OrchestraFRIEDRICH GULDA(b. Vienna, 1930 / d. Weissenbach, 2000)

First performance: October 8, 1981 in ViennaThis is the ESO premiere of the piece

RIEDRICH GULDA’S CAREER COULD VERY LIKELY HAVE GONE along in much the same, respected and even celebrated way as did those

of some of his Austrian contemporaries, such as Paul Badura-Skoda and Jörg Demus. As a pianist, he was just as prodigious and masterful, and he won much acclaim for his interpretations on the concert stage, particularly with the music of Mozart and Beethoven. But it just wasn’t who he was – at least, it was too narrow a definition. He branched out into collaborations with jazz artists such as Chick Corea, and prog-rock titans Emerson, Lake & Palmer. He acquired the reputation, and the nickname, of the “terrorist pianist,” making him a perfect fit with the other composers on tonight’s program.

Among Gulda’s compositions are a set of variations on the Doors’ classic song

F




2014/2015 SEASON


First performance of the string orchestra version: December 1924 in Newcastle upon TyneLast ESO performance: 1976

HERE ARE SEVERAL WAYS OF LOOKING AT VERKLÄRTE NACHT, composed originally for string sextet when Arnold Schoenberg was

25 years old. One could follow closely the work’s literary inspiration, the poem of the same name by Richard Dehmel. It is even possible to detect the five sections of this long one-movement work that correspond to the five stanzas of the poem itself. But the work also stands as a masterful example of late-Romanticism, without its programmatic associations at all, a moving and large canvas – a long, extended Adagio which slowly transforms from sadness to serenity.

Like the poem, the music is a journey from darkness into light, and while rooted in D minor as well as the romantic tradition of Brahms and Wagner inherited by Schoenberg through his main teacher Zemlinsky, Verklärte Nacht was considered highly controversial at its premiere not only because of its progressive harmonic structure, but also because of the poem’s subject matter. The poem concerns the confession of a young woman to her love that she carries another’s child. After considering the implications of this, the young man tells her that their love will survive this, and that they will raise the child together. As they talk, the dark foreboding night becomes “the high, bright night,” as they walk now arm in arm.

The piece was written, and even later orchestrated, before Schoenberg developed and began employing his famous 12-tone technique, and therefore the work is written in an idiom which, while still harmonically bold and even dense, is relatively straightforward. However, it’s worth noting that the Vienna Music Society refused the work, due to its use of an inverted ninth chord, which – the society claimed – was not permitted, and therefore non-existant. “And thus the piece cannot be performed,” Schoenberg famously wrote, “since one cannot perform that which does not exist.”

A Jazz Symphony (1955 version)GEORGE ANTHEIL(b. Trenton, New Jersey, 1900 / d. New York, 1959)

First performance of the original version: April 10, 1927 in New YorkFirst performance of the revised version: 1955 in New YorkLast ESO performance: March 2007

HE SUCCESS ACCORDED GEORGE GERSHWIN’S RHAPSODY in Blue following its first performance in 1924 encouraged conductor

Paul Whiteman (who had suggested the piece to Gershwin, and led the premiere) to look for other works that blended classical with jazz. Bright, young composer George Antheil was one of those Whiteman approached.

Antheil was already a bit of an enfant terrible, pushing boundaries with his music from his first, precocious compositions as a child. His works had futuristic titles: Airplane Sonata, Death of the Machines, Mechanisms and Sonata Sauvage. His Ballet mécanique of 1924 had become notorious following its riotous premiere. A Jazz Symphony was first performed under Whiteman on April 10, 1927. Throughout a turbulent career which saw Antheil endure a love-hate relationship with jazz as it applied to his own music, A Jazz Symphony remained in his mind. He revised the work in 1955, eliminating much of the repetition and adjusting the original orchestration, stripping it down to eight minutes of activity.

Manhattan BroadcastsH.K. GRUBER(b. Vienna, 1943)

Composition completed in 1964This is the ESO premiere of the piece

IKE ALL THE COMPOSERS ON TONIGHT’S PROGRAM, “Heinz Karl” Gruber (he goes by H.K. Gruber) is not only a fine

musician and composer, he is a deliberate and unapologetic rule-breaker. ESO patrons who were present at the October 2008 performance of his “Pan-demonium” for orchestra, Frankenstein!! certainly have an inkling of his strange, yet somehow always accessible sound world. He is a composer, conductor, double bassist, and singer, a member of what became known as the “Third Viennese School,” so named because of the Second Viennese School founded by Schoenberg and his followers (see below).

Manhattan Broadcasts is an early work by Gruber, composed between 1962-64. Given its title, and each movement’s reference to an iconic Manhattan location, the fact that Gruber had not, at the time of the work’s composition, visited New York is not especially germane. These are images, representations of an idealization fuelled by a young man’s imagination and are, in the words of Paul Driver, “the reflection in a Viennese mirror of American dance-band music.”

Tammany Hall was once the headquarters of the New York Democratic Party, and has become a byword for political corruption. The music of this movement begins quietly, and builds to a slinky and sinewy big-band inspired dance, getting quite raucous before ebbing away again to softness. The second movement, Radio City, is named for the huge Manhattan concert hall. It begins as a slow blues, with plucked strings and brush drums urging along a clarinet solo. Lush strings take the theme and expand on it, brass are brought in, and the sense of jazz swing takes over. Gruber’s re-creation of the old styles and evocation of an imagined New York nighttime is wonderfully picturesque.

Verklärte Nacht, Op. 4 (“Transfigured Night”)ARNOLD SCHOENBERG(b. Vienna, 1874 / d. Los Angeles, 1951)

First performance of original string sextet version: March 18, 1902 in Vienna

T

T

L

LANDMARK HOMES MASTERS The Eddins Effect

A longtime friend of the Edmonton Symphony, Denise Djokic joined the orchestra for its critically acclaimed debut at Carnegie Hall in May 2012, as cellist in John Estacio’s Triple Concerto. Her discography includes the recently released disc of Chopin and Rachmaninoff sonatas with her long-time recital partner, pianist David Jalbert (ATMA), the complete Britten Solo Suites for Cello (ATMA), her highly acclaimed self-titled CD featuring works by Barber, Martinů, and Britten (SONY) which received the 2002 East Coast Music Award, and Juno-nominated Folklore (Allegro/Endeavor), which was honoured with an East Coast Music Award and hit the Billboard Chart’s top 15 Classical CDs. denisedjokic.com

Ms. Djokic last appeared with the ESO at Symphony Under the Sky 2013.






SUSTAINING PLEDGES: A NEW WAY OF GIVINGDonors who have made a Sustaining Pledge to the ESO and/or Winspear Centre (My Winspear) are recognized with an * symbol. A Sustaining Pledge is a commitment to the continued success of the ESO, and the sustainability of Edmonton’s performing arts culture. Last year, we had 202 of our donors pledge approximately $120,000 annually for five years – thank you! We encourage you to consider joining this passionate group and sign up for a Sustaining Pledge to support the ESO or Winspear Centre by:1. Pledging an annual gift each year for at least five years, OR 2. Pledging an ongoing monthly gift

A Sustaining Pledge:• Provides immeasurable support to the ESO and Winspear Centre as we continue to grow our community accessibility• Provides fiscal stability to the ESO and Winspear Centre, ensuring the continuity of our programs and allowing us to plan

wisely for the future of the organization• Ensures the ESO and Winspear Centre remain beacons for the performing arts in our community for our grandchildren

and their children

Help us build a long-term future for the ESO and Winspear Centre! Please consider making the commitment to a Sustaining Pledge by contacting Erin Mulcair at 780-401-2539 or [email protected].

ORCHESTRA CIRCLE

Collectively, this generous group of donors provides annual support totalling nearly half a million dollars. To join the Orchestra Circle, please contact Margo Pardely at 780.401.2552.+Orchestra Circle gifts completely or partially endowed in perpetuity

HONORARY MEMBERSRaymond J. NelsonJohn & Barbara Poole +Bill & Mary Jo RobbinsHarriet Snowball Winspear

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Dr. David Cook *Elaine Warick & Jim O’Neill *Neil & Jean Wilkinson *Robert A. Wilson *Bill & Betty YoungMichael & Carol Zukiwsky

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Ben AlstadCatherine AndrewRichard Baird *Karen & Craig BanksTommy & Ida BanksJon & Marilyn Been *Dr. Douglas K. Bingham &

Sheila Janki-BinghamJulia Boberg *Donna Bonk *Alex & Christine Brown *Ron BrownRita & Charles BurnsFrank CalderIrene CameronEvelyn CarsonChristine Chung *Matthew CorriganPeter & Victoria CuffElly De JonghJohn & Ann DeaAnne Marie DecoreDieleman-Bradley FamilyRon Gardner *Lorie GarrittyCatherine Garvey *Jaima, Sheldon &

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We wish to express our gratitude to the following patrons who continuously support the ESO and Winspear Centre and allow us to bring music to life in our community. Thank you!

THANK YOU ESO AND WINSPEAR CENTRE DONORS!



Margarete Blunck and Thea Tucker

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the Hon. Marguerite TrusslerLawrence & Mary Anne PshykDon & Brenda QuarkJanet RestaBruce & Wendy RieckDr. Martine Roy *Glenna RussellDenise Ryan *Mark Schimanke *Malcolm Scott *Andrew Searle *Lorraine I. SeguinBarbara Sempovich

Sharon ShermanKayla ShoctorGerry & Barbara SinnW. SlemkoLise SmithCarla SobolewskiDale Somerville, CADoris & David StevensCarol SuddardsBrian & Heather Summers *Leonard & Ruby SwansonPaul TerrioThe Tiger Family Fund *Kathleen Tomyn

Ed & Mavis HahnRoberta & Norman HansonMichael & Denise HarmonNorma Harper *Marilyn V. HassardGlen & Judy HeximerLeroy & Barb HillerLois HingleyDouglas & Dorothy HollandsJohn & Kathleen HolmesMr. & Mrs. Emil HryciwR. Barry & Marcia C. Hunt *D. HuttonElizabeth & George JakewayCatherine JankeMr. & Mrs. T. N. JohnstonDavid Phillip Jones, Q. C. *Donna Kanewischer *Philip KarplukTimothy KinniburghStan & Olga KolomyjecLarry KrushelnitzkyBert Lang *Peter & Jean Langford-JonesLionel & Shannon LarcombeSteven & Kathy LaverySigmund LeeDr. Maurice &

Mrs. Mary Ann LegrisPhil & Jayne LinDr. David LinklaterMary Lister *Joachim & R. Loh

Jean & Neil LundD. M. LunnMervyn & Teresita LynchKelly MacFarlane &

Christopher S. MackayPeggy MarkoJoan MarshallBrian Match *Alan Mather &

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Henriette van Hees *Fiona VanceStanley & Connie VarnhagenJoyce & Dennis VassGerald & Elaine VervilleDoug WarrenDouglas & Jane Wilson *Ernest & Lily YorkRonald & Shirley Young

SUPPORTER ($250 TO $499)Anonymous (41)Joann & Paul AllardConnie & Bill AltonAl & Barbara Anderson *Susan Andrew & Michael CohenPatricia AnholtDorothy ArmstrongDavid Arsenault &

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Ralph & Isabelle CorbettDr. David R. CornishDiane CoxKathleen H. DaintithE. DaleLouise DavisBob & Cathy de FreceMark Demers & Marcia McLean *Jean & Ann DeschenesEva DezseUrsula Duke *Alice DumaineFrancis & Muriel DunniganShirley EdgarCasey T. Edmunds *George ElaschukPhoebe Elliot *Dr. Kerry & Mrs. Natalya EngerJake & Marilyn EnsTerry EppW. Grant FairleyJim & Joan FargeyMurray & Kathleen FarisBetty & Bill Faulder *Eleanor Finger & G. Rauscher *Ian & Pat Fisher *Robert T. Fleming *Christine Ford *Bruce & Margaret Foy *Vincent & Ruth FriesenFred & Connie Gainer *Mr. & Mrs. D. GaylardPeter Gerbeth & Anna Gablenz *Shirley GiffordDarrell & Barbara GotaasRae & Pat GrahamBetty GravettMargaret GreenhillNorman & Marsha GrimesKen & Bev Hadlington *M. E. Haggerty *Ray Hannley & Jean LeeRuth HarleTimothy & Patricia HartnagelDavid & Germaine HarveyBill and Sandy HaunGerhard & Emily HenkemansConnie Highsmith

Leigh & Maureen HillPatsy HoAudrey HodgsonRay & Barbara HowardTrish Howatt *Margaret HusbandBonnie HutchinsonCarol Jackson & Larry BailerColleen & Douglas Jahns *John & Linda JamiesonElizabeth & Brian JollyLaura & Tim JosephRoger & Patricia Juniper *Janice KentLisa KercherIan & Louise KiddHelen & Gordon KirschLoretta KlarenbachKobie & Miensie Kloppers *Reg & Crispin Kontz *Cathy KuchukTerrence KulasaDr. Sabrina KwonGordon E. LangfordMarcel & Louise LavalleeMarilyn LemayAube & Diana LevineDyann Lewis *Ross LindskoogBob LosieJose Lourenco &

Dini Corbett-LourencoIlda LubaneMr. & Mrs. R. Lucas *Lorri Luchka *Larry LynchJanet & Bill LywoodBrenda MacDonaldDr. & Mrs. G. F. MacDonaldIan & Susan MacDonald *Beth & Muriel MacIntosh &

Ken StokesEd and Lu MacMillanLynn & Arnold MakiPeter MalcolmBerniece Malone *Allyson Mandrusiak *Estelle I. Marshall

Lisa & Petr McAllisterMr. & Mrs. R.E. McCallum *Lloyd McDonaldRhonda McEachenChris & Charissa McKay *David McLeod *Peter & Carole MichalyshynMarla MillerLorne MillsCatharine Millson *Daniel J. Mol *Doris MoonieRod & June MorganMarilyn G. Mucha *Gerald Murnane *Peter & Sharon MurphyDr. Julianna NagyJohn Neilson & Susan CribbsRobin & Melonia NicolDavid Nixon &

Lois LeVesconte *Anne NothofLouise OlshewskiLouis OlsonDennis & Linda Olson *Chelsea O’Neill & Laynee

BeckerJim & Bev OrieuxDonna & Daniel OrobkoAaron & Jean OshryTim PaetkauDr. & Mrs. Edward PappBrian ParkerDr. Edward &

Mrs. Anne ParkinsonLois Pawl *David & Tikker PercyIris PerryFordyce & Patricia PierChristopher Piggott *Cheryl & Rick PirnakMargaret & Hil ReineAllan & Karen RobertsonLynn & Neil RobertsonBarbara RomanowskiDavid RoseIngrid & Steve Rose *Roger & Janet Russell

Maurice and Annette Bastide






Luisita Hackett

SIGNATURE 31



SUSTAINING PLEDGES: A NEW WAY OF GIVINGDonors who have made a Sustaining Pledge to the ESO and/or Winspear Centre (My Winspear) are recognized with an * symbol. A Sustaining Pledge is a commitment to the continued success of the ESO, and the sustainability of Edmonton’s performing arts culture. Last year, we had 202 of our donors pledge approximately $120,000 annually for five years – thank you! We encourage you to consider joining this passionate group and sign up for a Sustaining Pledge to support the ESO or Winspear Centre by:1. Pledging an annual gift each year for at least five years, OR 2. Pledging an ongoing monthly gift

A Sustaining Pledge:• Provides immeasurable support to the ESO and Winspear Centre as we continue to grow our community accessibility• Provides fiscal stability to the ESO and Winspear Centre, ensuring the continuity of our programs and allowing us to plan

wisely for the future of the organization• Ensures the ESO and Winspear Centre remain beacons for the performing arts in our community for our grandchildren

and their children

Help us build a long-term future for the ESO and Winspear Centre! Please consider making the commitment to a Sustaining Pledge by contacting Erin Mulcair at 780-401-2539 or [email protected].

ORCHESTRA CIRCLE

Collectively, this generous group of donors provides annual support totalling nearly half a million dollars. To join the Orchestra Circle, please contact Margo Pardely at 780.401.2552.+Orchestra Circle gifts completely or partially endowed in perpetuity

HONORARY MEMBERSRaymond J. NelsonJohn & Barbara Poole +Bill & Mary Jo RobbinsHarriet Snowball Winspear

DIAMOND ($25,000+)Rae & Carol Allen *Dr. Lorraine Bray & Jim CarterLa Bruyere FundColin & Lila EicherSteven & Day LePoole *Arliss MillerElisabeth & Reinhard MuhlenfeldJo-Anne & Jack Watt

PLATINUM ($10,000 TO $24,999)

Anonymous (1)Larry & Janet Anderson *Rhonda BakerDay LePooleBev Martin *Judy MiltonEsther OndrackEric & Elexis SchlossAngus & Heather WattSusan Wylie & Bruce Hagstrom *

GOLD ($5,000 TO $9,999)David & Carol Cass *Dr. Bruce Dancik &

Brenda Laishley *Dr. Chris Eagle &

Dr. Oksana Suchowersky

Maria David-Evans *Lois A. Field *Sandy FitchJan & Bill GraceMark & Nancy Heule *Glen & Brenda Kemp *Darcy & Barbara KoshmanDarrel & Edith MartinBob & Bev McNally *Jean & Stewart MontgomeryTim & Nancy MuzykaAl & Fran Olson *Kathleen E. Camp PearsonSheila & Tony RichArnold & Grace RumboldGeorg Schmolzer &

Megan O’Reilly *Eira SpanerMichael Veitch *Barry & Valerie Walker

SILVER ($2,500 TO $4,999)Anonymous (3)Madam Justice Darlene ActonThe Honourable John A. Agrios

& Mrs. Ruth AgriosDrs. Dick & Heather-Jane Au *Diana M. BaconHarold & Linda BanisterDrs. Barb & Jim BeckJean Bell *David & Janet BentleyRichard & Barbara BergstromBob & Lynda Binnendyk *Marion & John Boyd *Marianne Brown *Ursula BullerCarolyn & Stephen Campbell *Phyllis ClarkElaine M. CoachmanDavid & Gina CoscoDoug & Wendy DaveyGrant Dunlop & Erika NorheimCatherine Field & Kevin LewisPeggy GarrittyMargaret A HarrisAlice HarrisonGus & Alexandra Hildebrandt

John & Susan HokansonStanton & Shirley Hooper *Travis Huckell *Ken & Janet JohnstoneDr. Donald & Christina JollySharon & Allan Kerr *Bohdan KorbutiakBob & Cathy LegateDrs. Gary & Catharine LopaschukHilliard & Nancy MacbethRobert MarkowskiHugh McPhail &

Yolanda van WachemLorna H McPherson *Glen A. Mead, CIMAPaul Melancon *Karen & Wally Might *Shauna Miller &

James Gillespie *Patricia & Norbert MorgensternMary-Anne & David MorrisonMary PerssonJohn & Martha SchielRon & Dorothy ScottHarvey SheydwasserAndrew Sims & Simone ChartersAllen & Myrna SnartMr. & Mrs. G. TertzakianPaddy WebbDr. P.J. White & Patty WhitingJohn & Carol WodakC.J. Woods, F.C.A.Linda Youell *Ralph & Gay Young

BRONZE ($1,500 TO $2,499)Anonymous (4)Michael & Debbie Anderson *Dr. Gail Andrew *Barbara BatoniDonna BezansonKaren BidniakLeone & Ken BiggsDr. Len & Mrs. Barb Bistritz *Beverley Boren *Dr. Elmer & Marion BrookerDavid & Marlene BurnettButler Family Foundation

Ronald CavellMarguerite &

Zbigniew ChrzanowskiAllan & Jane deCaenMonique & Douglas DuvalDennis and Doreen ErkerJoan FargeyMr. & Mrs. Heinz FeldbergDavid & Rachel Ferro *Geoffrey & Kathryn Frisby *Paul & Winifred Greenwood *Bryan Gutteridge *George & Ann HammondCynthia Hansen & Joe ConciniChristopher HeadMr. Aloys &

Mrs. Agnes Hendriks *Cecil & Anne HoffmanDr. Karen & Pam Hofmann *John & Leni HonsakerKaron & Jotham HuisingDr. Andrew J. JaremaDr. Kaori Kabata *Debbie KleinDonna KrucikC. A. KushlykRobert & Lesley LambertWard Mabbutt *Doug McConnell &

Claire DesrochersJohn R. & Irene McDougallMuriel J. McIntoshMichael & Mary-Lynn MelleKatherine & David Middleton *Catherine Miller & Len DolgoyReg & Marcie Milley *John & Maggie MitchellStephen & Lynne MurgatroydLewis & Lindsay NakatsuiRon NewOle & Marilyn NielsenSherry & Jim Noyes *K. PatriquinIvan & Mary A. Radostits *Leonard RatzlaffJim & Vivian RedmondBryan & Linda Reed *Helen Resta *David & Rachel RossAlan RuslerMr. & Mrs. H.G. Sabourin

Michel & Sylvie SauveElizabeth M. Schwab M.D.Marianne & Allan ScottJerry & Midge SmolykBrian & Jo-Anne SomervilleCurtis StrobeckElaine & Dylan TaylorChristine & Terry ThompsonMary Totman *John VrolijkMaryann Walker in memory of

Dr. David Cook *Elaine Warick & Jim O’Neill *Neil & Jean Wilkinson *Robert A. Wilson *Bill & Betty YoungMichael & Carol Zukiwsky

FRIENDS OF MUSIC ADVOCATE ($1,000 TO $1,499)Anonymous (2)T. Ed AdamsSharon, Neil, Amanda, &

Ben AlstadCatherine AndrewRichard Baird *Karen & Craig BanksTommy & Ida BanksJon & Marilyn Been *Dr. Douglas K. Bingham &

Sheila Janki-BinghamJulia Boberg *Donna Bonk *Alex & Christine Brown *Ron BrownRita & Charles BurnsFrank CalderIrene CameronEvelyn CarsonChristine Chung *Matthew CorriganPeter & Victoria CuffElly De JonghJohn & Ann DeaAnne Marie DecoreDieleman-Bradley FamilyRon Gardner *Lorie GarrittyCatherine Garvey *Jaima, Sheldon &

Jacqueline GellerZenia HawryshMrs. Muriel HoleRonald HolgateMargaret Lair *Ivor & Mieke LammerinkMalcolm & Oryssia LennieC. B. LomowDr. Jean MacIntyreSue MarxheimerSandy McClellan &

Kirby O’Connor *Sheelagh McCourtA. Anne McLellanBruce & Cindy McPhersonCatherine MelnychukKen & Gerda MillerDr. Elisa Mori-TorresLucie Moussu *Michael PhairSean Robitaille *Tulane RollingherDavid & Carin Routledge






Luisita Hackett

We wish to express our gratitude to the following patrons who continuously support the ESO and Winspear Centre and allow us to bring music to life in our community. Thank you!

THANK YOU ESO AND WINSPEAR CENTRE DONORS!



Nancy ColpittsArlene Connolly *Edwin & Lucille Cossins *John CottonMarilyn CreeAndrea & Lyndon CrosleyDavid & Sandra CrossPatrick & Luxie CroweIngrid Crowther & James BoltonBrenda DaleJean-Anne DaveyErik & Mila De RegtMr. & Mrs. Arthur &

Betty Deane *Sheila DechantCinde DehaanThomas & Karen deJongKen & Mary DemedashLisa DenesiukDavid & Grace Denholm *Randy Diamond &

D. ThomsonGordon & Verle DickauDarcy Doble *Bill & Sharon DonnellyTB & Les Dowhaluk *Robin DoyonMike DreanyJoseph & Marilyn Cote-DupuisPaul DusseaultJames & Carmen DykesLowell & Irma EckertTim EckertDavid Edwards *L.E. Edwards *Jerrold Eilander *Marshall & Ardis EliasonJim EllisRuthanna ElsonRob & Corinne EmersonMartin & Patricia EnoksonMegan EvansChelsea Evans-RymesJane & Laurier FagnanElizabeth Fair & Lyle TryttenDawn Fargey *Marilyn FedunIvan & Ksenia FedynaWerner FenskeDoug & Fran FerrierKaren FingasSarah FinnerConnie & Calvin FirthDixie FischerEsther FluevogLois FowlerDiane R. Gagnon *Calvin GardnerGail GatesDouglas GaudinDavid GeakeKatherine GibsonNeil & Twyla GibsonKevin & Alice GleesonGerda GoetzLaura & Keith GrahamRichard GrahamCharles & Ann GrantLeslie GreenMarion GreenSusan GreenSheila GreenbergJune & Ken GrimesMyrna Grimm

Ted SalterSari Salmon SchiffMiriam Schnellert *John & Frances ScotvoldMargaret & Glenn SharplesGabe & Connie ShelleyDr. R. W. SherbaniukEllie ShusterJudy Sills *Sidney Simpson &

Lou Lesperance *D. SkaretEdward & Eluned SmithMichael & Nance SmithMichael & Barbara Smith *Sharon & Rick Smith *Trevor Snaychuk *Paul & Linda SorensonJames & Linda Spurr *Charlotte St. Germain

Hugh & Anne-Marie StaceyBen StaleyPeter & Jane Staveley *Marion StroudDavid & Donna TamPeter & Linda TaschukMerle & Neil Taylor *R. & S. TeplyDr. & Mrs. Timothy TerryCharles & Myrna ThompsonEllen E. ThomsonGordon TidswellNikki & Steffen ToxopeusRon & Gail UnrauMeghan Unterschultz *Bill VandersteltJerry & Vi VasilashEvan Verchomin *Christina & Tracy Verheire *Dr. D. VickMr. & Mrs. A. C. VismanHon. Allan & Bette WachowichBruce & Lori WalkerDoug WattKristopher WellsDonald WhiteNancy & Walder White

Orest & Gail WindjackBruce & Nora WisselinkDean & Mary WoodDon Wright *Luella & Mike YakymyshynEleanor & Gerry Young *M. Yun *George & Gloria Zaharia

FRIEND ($100 TO $249)Anonymous (97)Dr. & Mrs. Stephen AaronGail AdamsonDr. Bernie & Miriam AdlerZoe AfaganisKaren Albarda *Dorothy & Ted AllanShirley AllderBert & Olga AlmonDavid & Jean Anderson

Vi AndersonMilton & Elnora AndreAnnette Austin *Cassie & Khalid Aziz *Bill & Olli BagshawHendrik & Thea BakkerStephen BalogRoderick E. BanksValerie BarlottDeborah BarnesRoy & Annette BarrettRay & Joan Barth *David & Kirsteen BassAnnette & Maurice BastideGloria BauerDr. Cecelia BaxterLaurie BaydaStella & Walter BaydalaJudy Beattie *Allen & Ruth BenbowAlec & Marianne BenningDonna BereskaHeather BergenGabriella Bergsten *Louis & Lorna BerlinguetteCalvin BinnemaFran Bittman

Joan BlackburnLarrie & Eleanor BoddyJeanne BoerMichael BognerAmy BorkentY. BortnickE. Ross BradleyJacqueline BreaultWilma & Fred BreeuwsmaBev & John BrennanBrian BrodaMrs. Annabel BrophyGarth & Mary Jane Brown *Linda BrownDavid & Betty Jean BuchananKathryn BuchananCharles & Joan BuckleyBarb Bulat *Nora BumanisAubrey & Evelyne Burrowes

Adolf & Kathleen BuseCarl G. &

Ellen Calabrese-AmrheinBob & Darlene CaldwellJohn CampbellMrs. K.K. CampbellPat Campbell *Ken & Verna CarlsonMr. & Mrs. James CarlsonJeanne CaronJohn & Marilyn CarrPeter & Barbara Carstensen *Alma CarterGerlinde CegielnyAnita ChalmersMatthew & Laura Chapman *Ms Darlene ChapmanMonica ChesneyAlissa CheungChrystia Chomiak &

John-Paul HimkaNorma ChristiansenAlice & Nestor ChumerEarl Clements *Linda & Frank Clish *Roger & Carol CohenMegan Collins *

Bob & Judy GroseJacqueline GrossE. GuilfoyleMr & Mrs. Luther HaaveLea HalinenPeter HallDrs. Bohdan &

Elaine HarasymiwAnne HarderLois Harder & Curtis ClarkeTom HardinWendy HarrisonPeter & Deborah HarropLorne & Faye HatchMargaret HauckElizabeth HawrylukChristina Hayashi *Gina HenklemanGeorge HennigMarion HensleyCathryn HeslepCharles & Ferne HickmanDamien Hildebrandt *Cheryl & Selwyn HilnerDeborah Hoekstra *John Hoekstra *Brandy HoltJill Horbay *Agnes HovelandBeth HowsonMartha HowsonMiroslav HruskaJoan HubeDr. Sheila HughesBeatrice HunterJohn HunterLinda HutRichard & Laurel InnesJanis IrwinGeorge & Barbara IwaniukStuart & Kathy Jackson *Erik JacobsenD. JenkinsDr. Susan JoeCathy JohnsonDon H. JohnsonNorm JohnsonMaryGrace JohnstoneJustice Lionel &

Mrs. Sharon JonesBeata Kaczmarczyk *Lyndi Karbonik *Bernard & Dorothy KeelerJoanne KennyJune & Bob KerrisonRobert & Donna Kinasewich Irene King *Borden & Vivien KisilevichMaxine KlakSallie KleinDorothy KnowlerKen & Kathy KnowlesElla KolmJill KonkinDavid KoskiPeter KossowanJoe KostlerAnna KozakMs Iris KozmakIrvin KrezanoskiMickey & Sylvia KrikunWilma KrischBrian & Seaneen KropfMichael Lam

Wendy Lam & Lonnie HaineCarol & Bob LamontDoug LangevinRoger & Catherine LangevinLorne & Joan Langman *Mike LauClaire-Ann Lauder &

Georgina Hodgson *Douglas LawlorAllan & Diana LeeAngela LeeIvy & Thomas LeeHugo & Lucie LehmannSusan LentJames LewisSusan & Murray LiebermanJoanne LindenElizabeth Lint *Lorraine LoewenJane & Ross LoganDoug & Joan LongleySusan LynchDeborah Lyzun *Janice MacDonald &

Randy WilliamsJohn & Marilyn MacDonaldWilliam MacDonald *Baunita MacKayRod & Elaine MacLeodJack & Cora MacMillan *Madeline MacPhersonAgnes MacRaeJohn & Judy Malcolm *Rosemary Marks *Dawn MarshMaureen MaslenMary Masson *Sharon MatthiasMrs. Patricia Mattson *Linda MaulGwen MazurekKaren MazurekWilliam & Anne McAtheyAlec McClayKathy McClellanIan & Janice McCrumRonald N. McElhaneyKen & Phyllis McFaddenJoyce E. McGilvrayMary McLeanCatherine & Norman McLeodGordon & Kathleen McLeod *Nancy McLeodEleanor & Jack McMahonCaroline McManusJan & Jim McMillanMargaret McMullenDr. Tim McNamaraBrigida Meza-Diaz *Edward & Joy-Ruth MickelsonRonald & Carole MiddletonJohn & Judy MillerCecily MillsJ. T. MitchellBarbara & Vincent MorbanChantal MoreauElizabeth Mowat &

Ian KupchenkoAllan & Margaret MuirErin Mulcair *Ronald & Betty MullenPamela MurphyElizabeth MylesOrest & Sonja Myroon

Emiline Bradley

Dineke van Gelder and Marilyn Larson



Nancy ColpittsArlene Connolly *Edwin & Lucille Cossins *John CottonMarilyn CreeAndrea & Lyndon CrosleyDavid & Sandra CrossPatrick & Luxie CroweIngrid Crowther & James BoltonBrenda DaleJean-Anne DaveyErik & Mila De RegtMr. & Mrs. Arthur &

Betty Deane *Sheila DechantCinde DehaanThomas & Karen deJongKen & Mary DemedashLisa DenesiukDavid & Grace Denholm *Randy Diamond &

D. ThomsonGordon & Verle DickauDarcy Doble *Bill & Sharon DonnellyTB & Les Dowhaluk *Robin DoyonMike DreanyJoseph & Marilyn Cote-DupuisPaul DusseaultJames & Carmen DykesLowell & Irma EckertTim EckertDavid Edwards *L.E. Edwards *Jerrold Eilander *Marshall & Ardis EliasonJim EllisRuthanna ElsonRob & Corinne EmersonMartin & Patricia EnoksonMegan EvansChelsea Evans-RymesJane & Laurier FagnanElizabeth Fair & Lyle TryttenDawn Fargey *Marilyn FedunIvan & Ksenia FedynaWerner FenskeDoug & Fran FerrierKaren FingasSarah FinnerConnie & Calvin FirthDixie FischerEsther FluevogLois FowlerDiane R. Gagnon *Calvin GardnerGail GatesDouglas GaudinDavid GeakeKatherine GibsonNeil & Twyla GibsonKevin & Alice GleesonGerda GoetzLaura & Keith GrahamRichard GrahamCharles & Ann GrantLeslie GreenMarion GreenSusan GreenSheila GreenbergJune & Ken GrimesMyrna Grimm

Ted SalterSari Salmon SchiffMiriam Schnellert *John & Frances ScotvoldMargaret & Glenn SharplesGabe & Connie ShelleyDr. R. W. SherbaniukEllie ShusterJudy Sills *Sidney Simpson &

Lou Lesperance *D. SkaretEdward & Eluned SmithMichael & Nance SmithMichael & Barbara Smith *Sharon & Rick Smith *Trevor Snaychuk *Paul & Linda SorensonJames & Linda Spurr *Charlotte St. Germain

Hugh & Anne-Marie StaceyBen StaleyPeter & Jane Staveley *Marion StroudDavid & Donna TamPeter & Linda TaschukMerle & Neil Taylor *R. & S. TeplyDr. & Mrs. Timothy TerryCharles & Myrna ThompsonEllen E. ThomsonGordon TidswellNikki & Steffen ToxopeusRon & Gail UnrauMeghan Unterschultz *Bill VandersteltJerry & Vi VasilashEvan Verchomin *Christina & Tracy Verheire *Dr. D. VickMr. & Mrs. A. C. VismanHon. Allan & Bette WachowichBruce & Lori WalkerDoug WattKristopher WellsDonald WhiteNancy & Walder White

Orest & Gail WindjackBruce & Nora WisselinkDean & Mary WoodDon Wright *Luella & Mike YakymyshynEleanor & Gerry Young *M. Yun *George & Gloria Zaharia

FRIEND ($100 TO $249)Anonymous (97)Dr. & Mrs. Stephen AaronGail AdamsonDr. Bernie & Miriam AdlerZoe AfaganisKaren Albarda *Dorothy & Ted AllanShirley AllderBert & Olga AlmonDavid & Jean Anderson

Vi AndersonMilton & Elnora AndreAnnette Austin *Cassie & Khalid Aziz *Bill & Olli BagshawHendrik & Thea BakkerStephen BalogRoderick E. BanksValerie BarlottDeborah BarnesRoy & Annette BarrettRay & Joan Barth *David & Kirsteen BassAnnette & Maurice BastideGloria BauerDr. Cecelia BaxterLaurie BaydaStella & Walter BaydalaJudy Beattie *Allen & Ruth BenbowAlec & Marianne BenningDonna BereskaHeather BergenGabriella Bergsten *Louis & Lorna BerlinguetteCalvin BinnemaFran Bittman

Joan BlackburnLarrie & Eleanor BoddyJeanne BoerMichael BognerAmy BorkentY. BortnickE. Ross BradleyJacqueline BreaultWilma & Fred BreeuwsmaBev & John BrennanBrian BrodaMrs. Annabel BrophyGarth & Mary Jane Brown *Linda BrownDavid & Betty Jean BuchananKathryn BuchananCharles & Joan BuckleyBarb Bulat *Nora BumanisAubrey & Evelyne Burrowes

Adolf & Kathleen BuseCarl G. &

Ellen Calabrese-AmrheinBob & Darlene CaldwellJohn CampbellMrs. K.K. CampbellPat Campbell *Ken & Verna CarlsonMr. & Mrs. James CarlsonJeanne CaronJohn & Marilyn CarrPeter & Barbara Carstensen *Alma CarterGerlinde CegielnyAnita ChalmersMatthew & Laura Chapman *Ms Darlene ChapmanMonica ChesneyAlissa CheungChrystia Chomiak &

John-Paul HimkaNorma ChristiansenAlice & Nestor ChumerEarl Clements *Linda & Frank Clish *Roger & Carol CohenMegan Collins *

Bob & Judy GroseJacqueline GrossE. GuilfoyleMr & Mrs. Luther HaaveLea HalinenPeter HallDrs. Bohdan &

Elaine HarasymiwAnne HarderLois Harder & Curtis ClarkeTom HardinWendy HarrisonPeter & Deborah HarropLorne & Faye HatchMargaret HauckElizabeth HawrylukChristina Hayashi *Gina HenklemanGeorge HennigMarion HensleyCathryn HeslepCharles & Ferne HickmanDamien Hildebrandt *Cheryl & Selwyn HilnerDeborah Hoekstra *John Hoekstra *Brandy HoltJill Horbay *Agnes HovelandBeth HowsonMartha HowsonMiroslav HruskaJoan HubeDr. Sheila HughesBeatrice HunterJohn HunterLinda HutRichard & Laurel InnesJanis IrwinGeorge & Barbara IwaniukStuart & Kathy Jackson *Erik JacobsenD. JenkinsDr. Susan JoeCathy JohnsonDon H. JohnsonNorm JohnsonMaryGrace JohnstoneJustice Lionel &

Mrs. Sharon JonesBeata Kaczmarczyk *Lyndi Karbonik *Bernard & Dorothy KeelerJoanne KennyJune & Bob KerrisonRobert & Donna Kinasewich Irene King *Borden & Vivien KisilevichMaxine KlakSallie KleinDorothy KnowlerKen & Kathy KnowlesElla KolmJill KonkinDavid KoskiPeter KossowanJoe KostlerAnna KozakMs Iris KozmakIrvin KrezanoskiMickey & Sylvia KrikunWilma KrischBrian & Seaneen KropfMichael Lam





Emiline Bradley








Dale & Laurie NagelThe Naik FamilyJim NewmanDawn NewtonLaurel NikolaiConnie NissenG. Douglas OakleyDavid OberholtzerColin & Sarah OddoyeBill & Joan OheNorma Jean Olivier *Norman & Margaret Olson *Emily & Daniel OngMolly OrtliebBill & Linda PaddonMargo PardelyDr. Lorne E. ParkerSheila & Allan ParrGary & Tara PaterokJoan Paton *Amanda PatrickFrederic PayantJohn E. PedersenLeanne Persad *Don & Margaret PetersonLillian PheaseyLarry & Shirley PhillipsThe Pick Family *Walter Pinto &

Pat Mulholland *Victor PipkinDennis & Virginia PohranychnyDr. Wade &

Mrs. Stephanie Poitras *

Mr. Michael PrendergastCharles & Edith PrimmerR K RamseyJeanne & Eugene RatsoyDorian RauschningAl Reed *Nora ReidDiana Remmer *Pierrette Requier *Sheila RingroseMichael & Lucille RintoulGlenn Ripley

James & Margaret RobertsonLinda RobertsonLynn RobertsonSusan RobertsonDebra & Don RobichaudG. W. RochollMary-Lou RoseMrs. Joan RossallKenneth RoyAnthony S. RussellJames SaboJeannine SabourinMaryann SabourinGerald & Betty SaelhofMelanie Samaroden *Barbara & Gregory SargentVirginia SauveFrances SavageB & T Sawyer *Julia L. SaxFrank &

Gertrude SchoblocherMagda SchoutenGail SchullerBarbara SchwegerDr. Perry & Sandra SegalJoseph & Denise SelannGerry SemlerYakov & Larisa ShapiroDale ShewardDoug & Lynne SiglerJohn SimpkinNorman &

Mary Jane Skretting *

E. J. SloaneJason SmithPaula SnyderSteven Snyder & Connie SilvaJohn & Judy SoarsElaine SolezBrian & Marnie SprouleJeremy SpurgeonRobert Squair *Norman & Kathie St. ArnaudJoe & Linda Staszko

& Family

Sheila Steinhauer-MozejkoErin StephenDr. Margaret StevensonDorothy Stoutjesdyk *A. StrackKen StrattonMartin StribrnyJulius & Jean SultMerna SummersDr. & Mrs. Guy SwinnertonElizabeth SzynkowskiJohn & Marvel TaekemaRhonda Taft *Bill Taylor & Marie LosierRobin TaylorLinda Telgarsky *Dave TerriffMr. & Mrs. H. ThiessenAdele ThurstonMrs. TinaTodd TougasElinor & Ernie TownendAndrew &

Mary Ann TrachimowichEdward & Jean TredgetLarry & Noreen TrekofskiLouis TrempeAdam & Aleksandra Trzebski *Barbara & Ernest TurnbullKathy TurnbullDavid & Carol TurnerLorene TurnerElizabeth C. Tweddle *Lydia Van Aller *

Bonnie Van Dalfsen *Dennis & Jean VanceLloyd & Sheila VasicekMichele & Terry VeemanTrudy VelichkaAubrey VillettElaine VrolijkIrene WalkerCash Webster &

Robyne Walters *Cindy WandioWilliam Wandio

Dale Warick *Lyn WatamaniukScott WatsonViolet WatsonEva & Mahlon WeirRonald A. WeirDr. Sam & Eva WeiszWilliam WellsRich & Grace WhitehouseKim & Matthew WiensKaren Wilke *Max & Mary Wilke *Ed & Marliene WillsonRon & Diane WilsonAlvin & Sue WinestockDavid WinfieldD.Wladyka *Morley & Pat WorkunDoris Wrench-EislerJoan WynnykLiyuan XingCaroline YoungFred ZieglerK. Zielinski

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 memoryof the following individuals.Dr. P.B.R. AllenJack AllfordSonia Allore Leroy AnholtBill AstleDorothy AstleLen AstonDerin Dogu AtaogluBarney BakerMargo BalogPeter BatoniAlan BelcherHelen S. Petersen BentleyEiner Boberg *Harvey BodnerAlma Boehm-KabushBob 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 *Ken Gillett *Hilda & Richard GolickMary HansonJack HarstoneGordon HeskeDorothy “Dode” HeuleMarguerite Elizabeth HighamDoreen Hill

Annie HutchingsJames C. HunterVern HunterMrs. Kun-Shih HuangBob & Muriel KennyPeggy KingIlse KoernerGerhard (Garry) KrischGerald William KrucikCol. H. Gregory Leitek PPCLICoralie LundbergJohn David LunnAlmeda LysneJohn MarchakIn Honour of MaryDorothea MacDonnellAllison McConnellDr. Sherburne McCurdyFlo McGavinBlair McPhersonRudy MelnychukDonald A. MiddletonBruce MillerGeorge MiltonDilys MitchellRoderick & Blanche Moses x”1Matthew William MilesFrances T. OlsonTom PearsonCharles PeiAlberta Rose PellandJim PietrzykowskiLou PunkoRonalda ReichweinCatherine C. RogersDaphne RogersGeorgette RoyDr. Anna RudovicsDr. David SchiffVern SchwabAndre SchwabenbauerKrista Michelle SimsJohn Sinclair *Kay SlemkoHarcourt D. SmithV W M SmithJean SprouleMarsha StantonMonte StoutRobert Stoutjesdyk *Lydia TakatsRiet van Esch *Josephine WelchLenora WilsonAlta & Bernard WoodDr. 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 anniversariesCarol AllenTommy Banks -

Happy 75th BirthdayMike and Annette BoormanDesmond ChowBette Anne &

Jim Edwards’ MarriageMaria David-Evans *Phyllis & Walter Harris

Ibon Antiques & Collectibles Inc.

Bill KellyLanna KellySteven LePooleLogan LiboironBrielle MelleMary OhleNorman & Margaret Olson’s

50th wedding anniversaryJon SharekTeresa SomervilleBarrie StinsonLorene TurnerToscha TurnerLucas &

Sophie Waldin’s MarriageJohn & Leslie Wilson

CORPORATE SUPPORT OF THE ESO

Orchestra Circle: Platinum ($10,000 to $24,999)ATB Financial

Orchestra Circle: Gold ($5,000 to $9,999)Rotary Club

of Edmonton Strathcona

Orchestra Circle: Silver ($2,500 to $4,999)Driving Force IncEdmonton Opera AssociationTelus Corporation

Orchestra Circle: Bronze ($1,500 to $2,499)Audio Ark *Canuck Industrial Sales

(1982) Ltd.Melcor Developments Ltd. Rotary District 5370Wawanesa Mutual

Insurance Company

Advocate ($1,000 to $1,499)Airco Aircraft Charters Ltd. Cenovus EnergyMark V Investments Alta Ltd. *Oddball ProductionsSardan Holdings - Bistro PrahaSinclair Supply

Contributor ($500 to $999)The Dinner Optimist Club

of EdmontonID Productions Inc.Northern Bluegrass Circle

Music SocietyRotary Club of

Edmonton West

Supporter ($250 to $499)Alberta Registered Music

Teachers’ Association

Friend ($100 to $249)Anonymous (3)Ryland Engineering Ltd.University of Alberta Graduate

Music Student Association


SIGNATURE 33


EDMONTON SYMPHONY ORCHESTRA / WINSPEAR CENTRE

EDMONTON SYMPHONY SOCIETY/ FRANCIS WINSPEAR CENTRE FOR MUSIC

BOARD OF DIRECTORSReginald Milley, ChairCarolyn Campbell, 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 FlookPeggy GarrityCynthia Hansen, C.A.Travis HuckellSam JenkinsKathy KnowlesMary Persson

BOARD & STAFFTHE EDMONTON SYMPHONY ORCHESTRA

THE EDMONTONSYMPHONY ORCHESTRA

EXECUTIVE & ARTISTIC LEADERSHIPAnnemarie Petrov William EddinsExecutive Director Music Director

Rob McAlear, Director of Artistic OperationsMichael Schurek, Director of Community RelationsAlison Kenny-Gardhouse, Director of Educational OutreachAlly Mandrusiak, Director of Events ManagementBrian Alguire, Director of Finance & OperationsElaine Warick, Director of Patron DevelopmentMolly Staley, Executive Communications/ Board Liaison

WWW.EDMONTONSYMPHONY.COM

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

2014-12-16 Winspear HPV.pdf 1 2014-12-17 8:25 AM








EDMONTON SYMPHONY SOCIETY/ FRANCIS WINSPEAR CENTRE FOR MUSIC

BOARD OF DIRECTORSReginald Milley, ChairCarolyn Campbell, 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 FlookPeggy GarrityCynthia Hansen, C.A.Travis HuckellSam JenkinsKathy KnowlesMary Persson



EXECUTIVE & ARTISTIC LEADERSHIPAnnemarie Petrov William EddinsExecutive Director Music Director

Rob McAlear, Director of Artistic OperationsMichael Schurek, Director of Community RelationsAlison Kenny-Gardhouse, Director of Educational OutreachAlly Mandrusiak, Director of Events ManagementBrian Alguire, Director of Finance & OperationsElaine Warick, Director of Patron DevelopmentMolly Staley, Executive Communications/ Board Liaison

WWW.EDMONTONSYMPHONY.COM

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

2014-12-16 Winspear HPV.pdf 1 2014-12-17 8:25 AM



THANK YOU 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.T

Sponsor Introductory Series Offer The Rozsa Innovation Award

Naming SponsorENMAX Hall

Sponsor Masters Series

Presenting Co-SponsorChristmas at the Winspear


SponsorPulse8

Our Program Sponsors

Series Sponsors:

Title Sponsor Landmark Classic Homes Masters

Title SponsorRobbins Pops / Robbins Lighter Classics

Title Sponsor Sounds of the ‘60s

Sponsor Live at the Winspear

Title SponsorAir Canada Presents

Sponsor Symphony for Kids

Title Sponsor Friday Masters

Title Sponsor 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 CBC Global

Government Agency Support:

Our Performance Sponsors:


A bequest in support of healthcare is a gift to theentire community.Community support builds great hospitals and the Royal Alexandra Hospital Foundation receives generous donations, including bequests, from across Alberta and beyond.

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 TobinBequests and Planned Gifts Office | Royal Alexandra Hospital Foundation Telephone: 780-735-5061 | Email: [email protected]

“When you support healthcare, you support the entire community and help many people, so it was a good choice for me to name the Royal Alexandra Hospital as the beneficiary in my Will.”

— Kazimierz (Kasey) Kozak, Donor

www.royalalex.org


THANK YOU 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.T

Sponsor Introductory Series Offer The Rozsa Innovation Award

Naming SponsorENMAX Hall

Sponsor Masters Series



SponsorPulse8

Our Program Sponsors

Series Sponsors:

Title Sponsor Landmark Classic Homes Masters

Title SponsorRobbins Pops / Robbins Lighter Classics

Title Sponsor Sounds of the ‘60s

Sponsor Live at the Winspear

Title SponsorAir Canada Presents

Sponsor Symphony for Kids

Title Sponsor Friday Masters

Title Sponsor 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 CBC Global

Government Agency Support:

Our Performance Sponsors:








www.royalalex.org


YONA-Sistema Sponsors:

Our Exclusive Caterers:

Our Suppliers:

Print Sponsor Wine SupplierPublications Sponsor Bottled Water SupplierOfficial Floral SupplierRV Supplier

Family Day Weekend

La Bruyère Fund

Sponsor Enbridge Community Ambassador

Sponsor Gr. 4 to 6 Education Program

Sponsor Gr. K to 3 Education Program

Educational Outreach Sponsors:

Lead SponsorIt all stARTS with me

Lead SponsorIt all stARTS with me







www.royalalex.org


000Sig-KnowYourWinspear-FP.indd 1 2014-12-18 11:30 AM 000Sig-AirCanada_Circ-FP.indd 1 2014-09-08 1:58 PM

It might not be obvious to concertgoers attending a performance with the Edmonton Symphony Orchestra, but while listening to Mozart and Schumann from the comfort of the green seats in Enmax Hall, they are actually sitting on the site of an old police station. Yes, jail cells and all!

The dream for an acoustically superior concert hall was in its infancy in the early 1980s, when Edmonton musician Tommy Banks proclaimed that the city was deserving of a world-class facility. Together, he, Francis Winspear, Phil Ponting and many other prominent Edmontonians and classical music advocates banded together to create the Edmonton Concert Hall Foundation (ECHF). Formed in 1983, this group sought out the means to create a true home for the Edmonton Symphony Orchestra, which had until then been using the slightly dated Northern Jubilee Auditorium.

While the Jube had served for many decades as an acceptable venue for ESO concerts, it lacked the acoustical refinements of a hall designed specifically for the needs of music. In the minds of most ECHF members, there was no question that the to-be-designed concert hall would need to be located in the downtown core of Edmonton, and if it were possible, in close proximity to Churchill Square.

The Foundation found exactly what it had been looking for on the site of the old police station that sat on the east side of Churchill Square. A deal was brokered with the City of Edmonton, and the land was leased to the ECHF for 90 years.

Follow the Winspear Centre story at KnowYourWinspear.com


000Sig-KnowYourWinspear-FP.indd 1 2014-12-18 11:30 AM 000Sig-AirCanada_Circ-FP.indd 1 2014-09-08 1:58 PM

It might not be obvious to concertgoers attending a performance with the Edmonton Symphony Orchestra, but while listening to Mozart and Schumann from the comfort of the green seats in Enmax Hall, they are actually sitting on the site of an old police station. Yes, jail cells and all!

The dream for an acoustically superior concert hall was in its infancy in the early 1980s, when Edmonton musician Tommy Banks proclaimed that the city was deserving of a world-class facility. Together, he, Francis Winspear, Phil Ponting and many other prominent Edmontonians and classical music advocates banded together to create the Edmonton Concert Hall Foundation (ECHF). Formed in 1983, this group sought out the means to create a true home for the Edmonton Symphony Orchestra, which had until then been using the slightly dated Northern Jubilee Auditorium.

While the Jube had served for many decades as an acceptable venue for ESO concerts, it lacked the acoustical refinements of a hall designed specifically for the needs of music. In the minds of most ECHF members, there was no question that the to-be-designed concert hall would need to be located in the downtown core of Edmonton, and if it were possible, in close proximity to Churchill Square.

The Foundation found exactly what it had been looking for on the site of the old police station that sat on the east side of Churchill Square. A deal was brokered with the City of Edmonton, and the land was leased to the ECHF for 90 years.

Follow the Winspear Centre story at KnowYourWinspear.com

Signature4_2015_p36-39.indd 38 2014-12-22 4:22 PM 000Sig-AirCanada_Circ-FP.indd 1 2014-09-08 1:58 PM000Sig-KnowYourWinspear-FP.indd 1 2014-12-18 11:30 AM Signature4_2015_p36-39.indd 39 2014-12-18 1:43 PM

Format du PAP : 100 % Trim : 8.75" x 10.75"Type : 8.25" x 10.25"Bleed : 9.25" x 11.25"Visible : N/ASortie laser @ 100 %

Client : Air Canada Nº dossier : 1099902Description : Skytrak_Asma NYC

Publication : Gala Program ESO Nº annonce : Date parution : SeptemberInfographiste : NMNom du fichier : 1099902_ESO_Skytrax_AD_4C_EN

CCOULEURS:

M Y K DIE 000 000

ÉPREUVESTUDIO # 1DATE: AUGUST 22, 2014 11:02 AM

000

VOTED THE NUMBER ONE AIRLINE IN NORTH AMERICA FIVE YEARS IN A ROW.AND AS CANADIANS, WE CAN’T SAY ‘THANK YOU’ ENOUGH.

The survey was conducted by independent research fi rm Skytrax on over 18 million global travellers, using over 40 different aspects of passenger satisfaction to rank airlines’ product and service standards. This annual survey is regarded in the air transportation industry as a primary benchmarking tool for passenger satisfaction levels of airlines throughout the world. Details at aircanada.com/awards.

1099902_ESO_Skytrax_AD_4C_EN.indd 1 8/22/14 1:43 PM000Sig-AirCanada-FP.indd 1 2014-09-03 9:46 AMSignature4_2015_p40-01.indd 40 2014-12-18 1:42 PM

ESO Signature Magazine: Jan/Feb 2015

Documents

atb securities

edmonton symphony orchestra

compass mutual fund

edmonton ab t5j 1e3inquiries

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canadian cellist denise