Symphony Under the Sky

AUGUST 30 SEPTEMBER 2, 2013HAWRELAK PARK AMPHITHEATRE

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SYMPHONY UNDERTHE SKY

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2013/2014 SeasonFriday, September 6, 8:00 pm 2013 - Gerrit Jordaan, South Africa

West End Christian Reformed Church

Sunday, October 6, 3:00 pm, 2013 - Rachel Laurin, QuebecWinspear Centre for Music

Friday, May 2, 8:00 pm, 2014 - Massimo Nosetti, ItalyFirst Presbyterian Church

ORGANiCorgan in concert

EDMONTON

Adults $25 - Seniors: $22 - Students: $15Tix on the Square: (780) 420-1757, www.tixonthesquare.ca or at the door

Season Subscriptions: Adults $70 - Seniors $62. Available in advance, call: (780) 454-3882Student Season Subscriptions - please call (780) 454-3882 for ticket pricing

www.rcco.edmonton.ab.ca

M U S I CU N I V E R S I T Y O F A L B E R T A

D E P A R T M E N T O F

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000SUTS-RCCO-FP.indd 1 7/17/13 2:45:12 PMSUTS_2013_p02-03.indd 2 8/20/13 3:46:31 PM

Presenting sPonsor

2013/2014 SeasonFriday, September 6, 8:00 pm 2013 - Gerrit Jordaan, South Africa

West End Christian Reformed Church

Sunday, October 6, 3:00 pm, 2013 - Rachel Laurin, QuebecWinspear Centre for Music

Friday, May 2, 8:00 pm, 2014 - Massimo Nosetti, ItalyFirst Presbyterian Church

ORGANiCorgan in concert

EDMONTON

Adults $25 - Seniors: $22 - Students: $15Tix on the Square: (780) 420-1757, www.tixonthesquare.ca or at the door

Season Subscriptions: Adults $70 - Seniors $62. Available in advance, call: (780) 454-3882Student Season Subscriptions - please call (780) 454-3882 for ticket pricing

www.rcco.edmonton.ab.ca

M U S I CU N I V E R S I T Y O F A L B E R T A

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000SUTS-RCCO-FP.indd 1 7/17/13 2:45:12 PM

SYMPHONY UNDER THE SKY www.EdmontonSymphony.com

greetings

oUr ConDUCtor

the eDmonton symPhony orChestra

mozart, tChaikovsky & Dvork Friday, august 30, 7 pm

Proms in the Parksaturday, august 31, 2 pm

From BroaDway to hollywooDsaturday, august 31, 7 pm

menagerie oF mUsiC Family matinee* sunday, september 1, 2 pm

ellis hall CeleBrates ray Charles, motown & BeyonDsunday, september 1, 7 pm

Carnival oF the animalsmonday, september 2, 2 pm

tiCket, Box oFFiCe & Festival inFormation

*This FREE, hour-long performance does not include the ESO.

Symphony Under the Sky presented by ATB Investor Services would not be possible without the generous support of our many funders and sponsors

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ellis hall PerFormanCe sPonsor

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CoverILLUSTrATIoN:AmAndA WoodWArd

meDia sPonsor

CONTENTSaUgUst 30-sePtemBer 2, 2013

meDia sPonsor

SUTS_2013_p02-03.indd 3 8/20/13 3:48:19 PM

GGREETINGSDear FrienDs,am so happy to be back For my eighth season as conDuctor of Symphony Under the Sky presented by ATB Investor Services, to work once

again with the wonderful ESO, and to have a lineup of music and guests artists that we hope will delight and move you.

I first heard Denise Djokic play last May in New York City, as she joined the orchestra as cello soloist for the ESOs triumphant Carnegie Hall debut. Im thrilled that this marvelous cellist will perform on opening night. Saturday afternoon is a tribute to that very British musical tradition, Last Night at the Proms. The splendid soprano Mela Dailey will sing music from the heart of opera, as well as more populist fare. Bring your Union Jacks! Mela will join us again Saturday night for a concert where Broadway meets the movies. Our special guests this night are the Strathcona Theater Company, and these kids are amazing!

Nothing can prepare you for the brilliance and ability and sound that Ellis Hall gives every audience, every time. On Sunday night, its a tribute to Ray Charles, and to Motown! Our Labour Day finale is unique and dazzling this year, featuring that most happy and clever work by Saint-Sans, Carnival of the Animals. The Young Compos-ers Project and the 1812 Overture bring the day, and the Festival, to a rousing close.

Thank you once again for your support and the delight of your presence at these concerts. We hope you have a memorable and exciting weekend!

I

robert bernhardt, conductor

M006805

A proud sponsor ofSymphony Under the Sky

2013

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OOUR CONDUCTOR

obErt bErnhardt served as Music Director and Conductor of the Chattanooga

Symphony and Opera for 19 seasons. He was the second Music Director in the combined companys history, and was the first with the title Emeritus. A lover of all genres of music, he is equally at home in symphonic, operatic, pops, and educational performances. He also reaches another milestone in his career with the Louisville Orchestra, with this year representing his 31st consecutive season with the LO, and his 16th as Principal Pops Conductor. Last season, he made his conducting debuts with the Dallas and Baltimore Symphony Orchestras, returned to the Cincinnati Pops and Detroit Symphony, and conducted six Boston Pops concerts. His vast symphonic repertoire covers

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most of the standard canon and his commitment to the music of our time is significant. He has been a frequent guest conductor with the Pittsburgh Symphony, the Detroit Symphony, the St. Louis Symphony, and the Boston Pops. He has also been a guest with the Houston, Seattle, Phoenix, Nashville, Colorado, Iceland, and Pacific Symphony Orchestras, among others. He has recorded for Vanguard, First Edition, Carlton Classics, and RPO record labels. He has also conducted the Louisville Ballet, the North Carolina Ballet, the Jacksonville Ballet, and the Lonestar Ballet.

Born in Rochester, N.Y., Robert Bernhardt holds a Masters Degree with Honours from the Univer-sity of Southern California School of Music where he studied with Daniel Lewis. He was a Phi Beta Kappa, summa cum laude graduate of Union (N.Y.) College, where he was an Academic All-American baseball player. His son, Alex, lives and works in Seattle with his wife and new daughter, and his daughter, Charlotte, is a resident of New York City. He and his wife, Nora, live on Signal Mountain.

Robert Bernhardt holds a special place in the hearts of Edmonton Symphony Orchestra musicians and audiences. Symphony Under the Sky, presented by ATB Financial, is the seventh consecutive festival for him as the conductor, and he frequently leads the ESO in subscription series performances at the Winspear Centre. He last conducted the ESO in May 2012, and returns for Robbins Pops performances April 26 & 27, 2013, and for the Robbins Lighter Classics on May 16, 2013.

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OOUR CONDUCTOR

obErt bErnhardt served as Music Director and Conductor of the Chattanooga

Symphony and Opera for 19 seasons. He was the second Music Director in the combined companys history, and was the first with the title Emeritus. A lover of all genres of music, he is equally at home in symphonic, operatic, pops, and educational performances. He also reaches another milestone in his career with the Louisville Orchestra, with this year representing his 31st consecutive season with the LO, and his 16th as Principal Pops Conductor. Last season, he made his conducting debuts with the Dallas and Baltimore Symphony Orchestras, returned to the Cincinnati Pops and Detroit Symphony, and conducted six Boston Pops concerts. His vast symphonic repertoire covers

R

most of the standard canon and his commitment to the music of our time is significant. He has been a frequent guest conductor with the Pittsburgh Symphony, the Detroit Symphony, the St. Louis Symphony, and the Boston Pops. He has also been a guest with the Houston, Seattle, Phoenix, Nashville, Colorado, Iceland, and Pacific Symphony Orchestras, among others. He has recorded for Vanguard, First Edition, Carlton Classics, and RPO record labels. He has also conducted the Louisville Ballet, the North Carolina Ballet, the Jacksonville Ballet, and the Lonestar Ballet.

Born in Rochester, N.Y., Robert Bernhardt holds a Masters Degree with Honours from the Univer-sity of Southern California School of Music where he studied with Daniel Lewis. He was a Phi Beta Kappa, summa cum laude graduate of Union (N.Y.) College, where he was an Academic All-American baseball player. His son, Alex, lives and works in Seattle with his wife and new daughter, and his daughter, Charlotte, is a resident of New York City. He and his wife, Nora, live on Signal Mountain.

Robert Bernhardt holds a special place in the hearts of Edmonton Symphony Orchestra musicians and audiences. Symphony Under the Sky, presented by ATB Financial, is the seventh consecutive festival for him as the conductor, and he frequently leads the ESO in subscription series performances at the Winspear Centre. He last conducted the ESO in May 2012, and returns for Robbins Pops performances April 26 & 27, 2013, and for the Robbins Lighter Classics on May 16, 2013.

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EWilliam Eddins, Music Director

Robert Rival,Composer in Residence

Uri Mayer, Conductor Laureate


1 PrinciPal2 assistant PrinciPal3 acting PrinciPal4 acting assistant

PrinciPal5 On leave

[ FLUTE ]Elizabeth Koch 1, 5Elizabeth Faulkner 3Shelley Younge 2

[ ObOE ]

Lidia Khaner 1 Paul Schieman 2 the steven & Day lePoole assistant Principal Oboe chair

[ CLaRiNET ]Charles Hudelson, Principal Emeritus

Julianne Scott 1David Quinn 2

[ baSSOON ]William Harrison 1Edith Stacey 2

[ HORN ]allene Hackleman 1, 5Megan Evans 3Gerald Onciul 2Donald Plumb 2

[ TRUMPET ]alvin Lowrey, Principal Emeritus

Robin Doyon 1William Dimmer 2

[ TROMbONE ]John McPherson 1Katherine Macintosh 2

[ baSS TROMbONE ]Christopher Taylor 1

[ TUba ]Scott Whetham 1

[ TiMPaNi ]barry Nemish 1

[ PERCUSSiON ]brian Jones 1

[ HaRP ]Nora bumanis 1

[ ViOLiN i ]Robert Uchida, Concertmaster the John & Barbara Poole Family concertmaster chair

Eric buchmann, Associate Concertmaster

Virginie Gagn, Assistant Concertmaster

broderyck OlsonRichard CaldwellJoanna Ciapka-Sangsteralissa Cheunganna Kozakaiyana anderson-HowattNeda Yamach

[ ViOLiN ii ]Dianne New 1Susan Flook 2Heather bergenPauline bronsteinRobert HryciwZo SellersMurray VaasjoTatiana Warszynski

[ ViOLa ]Stefan Jungkind 1Charles Pilon 2Clayton LeungRhonda HenshawMikiko Kohjitaniandrew bacon

[ CELLO ]Colin Ryan 1 the stuart & Winona Davis Principal cello chair

Sheila Laughton 2Ronda MetsziesGillian CaldwellDerek GomezVictor Pipkin

[ DOUbLE baSS ]Jan Urke 1John Taylor 2Janice QuinnRhonda TaftRob aldridge

ORCHESTRa PERSONNEL

The edmonTon Symphony orcheSTra 2013/14

Eric Filpula, Orchestra Personnel Manager

The following musicians may appear at performances during Symphony Under the Sky presented by aTb investor Services:

Raymond baril SaxophoneSylvain beyries TrumpetElizabeth Faulkner FluteMary Fearon HornJoel Gray TrumpetMichael Massey KeyboardsJohn McCormick PercussionRaj Nigam PercussionPJ Perry SaxophoneJean-Franois Picard SaxophoneShamilla Ramnawaj Hornbrian Sand TrumpetYukari Sasada BassElaine Stepa PercussionDan Sutherland ClarinetRobin Taylor Saxophonebrian Thurgood PercussionDan Waldron OboeRobert Walsh Guitar

The ESO works in proud partnership with the AF of M (American Federation of Musicians of the United States and Canada) Local 390.

In addition to our own concerts, the ESO provides orchestral accompaniment for performances by Edmonton Opera and Alberta Ballet.

SUTS_2013_p06-09.indd 8 8/20/13 3:58:57 PM

Eric Filpula, Orchestra Personnel Manager

The following musicians may appear at performances during Symphony Under the Sky presented by ATB Investor Services:

Raymond Baril SaxophoneSylvain Beyries TrumpetElizabeth Faulkner FluteMary Fearon HornJoel Gray TrumpetMichael Massey KeyboardsJohn McCormick PercussionRaj Nigam PercussionPJ Perry SaxophoneJean-Franois Picard SaxophoneShamilla Ramnawaj HornBrian Sand TrumpetYukari Sasada BassElaine Stepa PercussionDan Sutherland ClarinetRobin Taylor SaxophoneBrian Thurgood PercussionDan Waldron OboeRobert Walsh Guitar

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october 8, 2013New Orford String Quartet

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november 27, 2013Zara Lawler, flutePaul Fadoul, percussion

January 5, 2014Nola Shantz, sopranoAlexandra Munn, piano

January 21, 2014Gala ConcertSara Davis Buechner, piano

February 12, 2014Benjamin Butterfield, tenorPeter Dala, piano

march 26, 2014Rachel Mercer, celloAngela Park, piano

may 18, 2014Allene Hackleman, French hornSarah Ho, piano

For more information, please visit us at www.edmontonrecital.com or contact us at 780.264.2844

Special Thanks

The ESO works in proud partnership with the AF of M (American Federation of Musicians of the United States and Canada) Local 390.

In addition to our own concerts, the ESO provides orchestral accompaniment for performances by Edmonton Opera and Alberta Ballet.

SUTS_2013_p06-09.indd 9 8/21/13 10:33:03 AM

DSYMPHONY UNDER THE SKY www.EdmontonSymphony.com10

FriDay, august 30, 7 pm

MOzaRT, TcHaiKOvSKY & DvORK

MOzaRTSerenade No. 13 in G Major, K.525 Eine kleine Nachtmusik (17)* Allegro Romance:Andante Menuetto:Allegro Rondo:Allegro

TcHaiKOvSKYRomeo and Juliet Fantasy Overture (19)*

INTERMISSION (20 minutes)

DvORKCello Concerto in B minor, Op.104 (40)* Allegro Adagiomanontroppo Finale:Allegromoderato

Program subject to change*indicates approximate performance duration

Mr. Bernhardts bio can be found on page 6.

Robert Bernhardt, conductorDenise Djokic, cello

EniSE Djokic burst onto the international music scene following her performance at

the 2002 Grammy Awards. Since then, she has accrued numerous distinctions and accolades, including being named one of the top 25 Cana-dians Who Are Changing Our World (Macleans), one of Canadas Most Powerful Women (Elle). Highlights of this season include Tchaikovskys famed Variations on a Rococo Theme with the Winnipeg Symphony, Guldas Cello Concerto with the Halifax Symphony, and Elgars Cello Concerto with the Indian Hill Symphony. Denise Djokic has also appeared at Lincoln Center with the Philharmonic Orchestra of the Americas, and in concerts with lOrchestre mtropolitain and Yannick Nzet-Sguin, Toronto Symphony, North Carolina Symphony, National Arts Centre Orchestra, the Aachen Symphony Orchestra, and the San Diego Chamber Orchestra, among others. A passionate recitalist and chamber musi-cian, Denise performs frequently with acclaimed pianist David Jalbert, and collaborates often with chamber ensembles such as the Jupiter and Super-nova quartets.

Ms. Djokics award-winning discography includes the complete Britten Solo Suites for Cello (ATMA), works by Barber, Martin and Britten (Sony), and Folklore (Allegro/ Endeavor) containing works inspired by folk music and stories. Fall 2013 sees the release of a new recording on the ATMA label of Chopin and Rachmaninoff sonatas with pianist David Jalbert. Having grown up in a large musical family in Halifax, Denise Djokic first began to learn the cello with her uncle and aunt, cellists Pierre and Michelle Djokic. Her parents, Lynn and Philippe, and brother Marc, are all musi-cians with whom she often collaborates. Denise currently lives in Champaign, Illinois with her husband, Nelson. www.denisedjokic.com

Ms. Djokic last appeared with the ESO in Carnegie Hall in May 2012.

SUTS_2013_p10-13.indd 10 8/21/13 11:21:22 AM

SYMPHONY UNDER THE SKY 11www.EdmontonSymphony.com

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PROGRAM NOTESSerenade No. 13 in G Major, K.525 Eine kleine NachtmusikWolfgang amad mozart(b. Salzburg, 1756 / d. Vienna, 1791)

First performed: Mozart signed the score as completed on August 10, 1787, but it is not known if it was performed at that time.Last compLete eso perFormance: January 2009

hErE arE fEW piEcES of muSic morE instantly familiar to us than Eine kleine Nach-

tmusik. So its quite ironic that while we have the tunes from it permanently etched in our memories, we know comparatively little about the works origins. It is a serenade, and Mozart wrote many such works. Most of his serenades date from his days in Salzburg and they were not Mozarts favourite commis-sions. Most were written for the privileged families of Salzburg, for specific celebratory occasions to be heard once by an exclusive audience and perhaps to be tossed aside thereafter. Yet we know that at least two of Mozarts best-known serenades date from his time in Vienna. A note by him dated August 10, 1787 states that he had written, Eine kleine Nachtmusik (a little night music), and that it was in five movements. The work that has come down to us has only four.

The opening movement has a rhythmic joie de vivre matched with a graceful sweetness; it is in text-book sonata form, save that the development is really only a modulation from the home key of G Major. The Romance is a gently lilting three-part song. The brief third movement matches a march with a more graceful Trio subject. The final movement is a Rondo, the main theme of which is a merry, bracing dance.

Romeo and Juliet Fantasy-Overturepiotr ilyich tchaikovSky(b. Kamsko-Votinsk, 1840 / d. St. Petersburg, 1893)

First performance: March 28, 1870 in MoscowLast eso perFormance: may 2008

hilE thE tragic Story of thE Veronese lovers Romeo and Juliet seems a

natural fit to the particular artistic temperament of Tchaikovsky, it was in fact the composers friend and fellow composer Ml Balakirev who was the main driving force behind the work. Yet Balakirev proved one of the works harshest critics, at least in its early guises. And while Tchaikovsky typically proved stubborn in the face of his colleagues criticisms, after the work was first performed to a lacklustre reception, he actually took many of Balakirevs comments to heart, and embarked on an extensive revision of the piece, presented in its final version ten years later, changed from an overture to what was now called a fantasy overture.

The work does not follow any specific program or sequence of events. Instead, Tchaikovsky, with that sense of mood and gift for melody that was so uniquely his, perfectly captures all the emotions of Shakespeares first tragedy and does so within the strictures of classical sonata form. The opening theme, suggesting Friar Laurence with its hymn-like nature, is the slow introduction. This is followed by the exposition of the two main subjects of the overture. There is the fiery conflict of the two feuding families, and the theme of the lovers themselves one of the most heart-tuggingly romantic themes in all of music. There is a short recapitulation, concluding with a brief funeral march, before the epic now world-famous theme of the lovers returns in a glorious climax.

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

First performance: March 19, 1896 in LondonLast eso perFormance: march 2012

rom 1891 to 1895, antonn dvork received a generous sum of money to head up

the newly-formed National Conservatory in New York. But he missed his Bohemian homeland dearly, and during a break in his tenure in 1894, he took

F

SUTS_2013_p10-13.indd 11 8/21/13 11:21:55 AM


W

T

PROGRAM NOTESSerenade No. 13 in G Major, K.525 Eine kleine NachtmusikWolfgang amad mozart(b. Salzburg, 1756 / d. Vienna, 1791)

First performed: Mozart signed the score as completed on August 10, 1787, but it is not known if it was performed at that time.Last compLete eso perFormance: January 2009

hErE arE fEW piEcES of muSic morE instantly familiar to us than Eine kleine Nach-

tmusik. So its quite ironic that while we have the tunes from it permanently etched in our memories, we know comparatively little about the works origins. It is a serenade, and Mozart wrote many such works. Most of his serenades date from his days in Salzburg and they were not Mozarts favourite commis-sions. Most were written for the privileged families of Salzburg, for specific celebratory occasions to be heard once by an exclusive audience and perhaps to be tossed aside thereafter. Yet we know that at least two of Mozarts best-known serenades date from his time in Vienna. A note by him dated August 10, 1787 states that he had written, Eine kleine Nachtmusik (a little night music), and that it was in five movements. The work that has come down to us has only four.

The opening movement has a rhythmic joie de vivre matched with a graceful sweetness; it is in text-book sonata form, save that the development is really only a modulation from the home key of G Major. The Romance is a gently lilting three-part song. The brief third movement matches a march with a more graceful Trio subject. The final movement is a Rondo, the main theme of which is a merry, bracing dance.

Romeo and Juliet Fantasy-Overturepiotr ilyich tchaikovSky(b. Kamsko-Votinsk, 1840 / d. St. Petersburg, 1893)

First performance: March 28, 1870 in MoscowLast eso perFormance: may 2008

hilE thE tragic Story of thE Veronese lovers Romeo and Juliet seems a

natural fit to the particular artistic temperament of Tchaikovsky, it was in fact the composers friend and fellow composer Ml Balakirev who was the main driving force behind the work. Yet Balakirev proved one of the works harshest critics, at least in its early guises. And while Tchaikovsky typically proved stubborn in the face of his colleagues criticisms, after the work was first performed to a lacklustre reception, he actually took many of Balakirevs comments to heart, and embarked on an extensive revision of the piece, presented in its final version ten years later, changed from an overture to what was now called a fantasy overture.

The work does not follow any specific program or sequence of events. Instead, Tchaikovsky, with that sense of mood and gift for melody that was so uniquely his, perfectly captures all the emotions of Shakespeares first tragedy and does so within the strictures of classical sonata form. The opening theme, suggesting Friar Laurence with its hymn-like nature, is the slow introduction. This is followed by the exposition of the two main subjects of the overture. There is the fiery conflict of the two feuding families, and the theme of the lovers themselves one of the most heart-tuggingly romantic themes in all of music. There is a short recapitulation, concluding with a brief funeral march, before the epic now world-famous theme of the lovers returns in a glorious climax.

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

First performance: March 19, 1896 in LondonLast eso perFormance: march 2012

rom 1891 to 1895, antonn dvork received a generous sum of money to head up

the newly-formed National Conservatory in New York. But he missed his Bohemian homeland dearly, and during a break in his tenure in 1894, he took

F

SUTS_2013_p10-13.indd 11 8/21/13 11:21:55 AM

advantage of the time off to make a short trip back home. While there, he began sketches for what would become his Cello Concerto, instigated at the behest of Bohemian cellist Hanu Wihan. Dvok took to the task with relish, completing most of the concerto by the following February. Soon after that, however, his beloved sister-in-law Josefina ermakova died. In her memory, Dvok reworked the piece. His song Leave Me Alone in My Dreams, which had been a favourite of hers, was quoted in both the Adagio second movement and in the finale.

It might seem as if the first theme heard in the work is given relatively short shrift, particularly as the second subject (heard first on the horn) is given much more breadth. The bulk of the movement is spent with each of these musical ideas, with the first theme made much more dominant in the recapitulation.

The second movement is one of Dvoks finest slow movements. After an introduction in the wood-

Friday, august 30, 7 pm

Mozart, tchaikovsky & Dvork

winds, the cello enters, quoting that favourite song of Josefinas. The mood is not tragic, however, but beautiful, serene, and direct. Three horns present an almost organ-like chorale mood, leading to a bridge which ushers in a cadenza for the cello, accompanied by the woodwinds which in turn leads into the movements peaceful conclusion. The finale perks up the pace with a picturesque march tune used as the main subject of a loose rondo movement. Not only does the song from the slow movement return, there are echoes of a theme from the first movement as well, lending a sense of completeness to the finale of this broad, rich concerto, which has taken its place among the best. Upon hearing it, Dvoks friend and mentor Johannes Brahms famously said, Why on earth didnt I know that one could write a cello concerto like this? Had I known, I would have written one long ago.

Program notes 2013 by D.T. Baker

SUTS_2013_p10-13.indd 12 8/20/13 4:04:32 PM

SUTS_2013_p10-13.indd 13 8/20/13 4:04:56 PM

PANSELLPlymouth Hoe! A Nautical OvertureBINGEEilzabethan Serenade

GRAINGERCountry Gardens (arr. Dragon)

VAUGHAN WILLIAMSFantasia on Greensleeves (from Sir John in Love) (arr. Greaves)

MOURETSuite de Symphonies: I. Entre

DOYLEThrown the Coins (from Sense and Sensibility)Weep you no more sad fountains (from Sense and Sensibility)

GILBERT & SULLIVANThe sun, whose rays are all ablaze (from The Mikado)

GERSHWINSummertime (from Porgy and Bess)

J. STRAUSS IIMein Herr Marquis (from Die Fledermaus)

WALTONOrb and Sceptre (arr. Douglas)


COATESThe Dambusters March

GRAINGERIrish Tune from County Derry

BOLCOMLime Jello Marshmallow Cottage Cheese Surprise

SOUSAThe Liberty Bell (arr. Winter)

WOODFantasia on British Sea Songs (arr. Zalva)

ELGARPomp and Circumstance March No. 1 in D Major, Op.39 (arr. Ryden)

Program subject to change

Mr. Bernhardts bio can be found on pages 6.

SYMPHONY UNDER THE SKY www.EdmontonSymphony.com14

Robert Bernhardt, conductorMela Dailey, soprano

Saturday, auguSt 31, 2 pm

promS in the park

SUTS_2013_p14-17.indd 14 8/20/13 4:06:42 PM


s the winner of competitions sponsored by the National Federation of Music Clubs, Metro-

politan Opera, New York University, Gerda Lissner Foundation, Downbeat magazine, and Connecticut Opera Guild, and finalist in the Metropolitan Opera Mid-South Region, American Traditions Competi-tion, International Opera Singer Competition, and Career Bridges Grant Awards with the Schuyler Foundation for Career Bridges, Inc., MEla DailEy has command of both her instrument and the stage. Ms. Dailey has received recognition in a wide variety of musical genres including opera, oratorio, art song, musical theatre, vocal jazz, gospel, country, and popu-lar music. Ms. Dailey made her professional debut at Carnegie Hall in 2003 with the Grammy-nominated Conspirare Company of Voices directed by Craig Hella Johnson. She has been a recipient of the New York University Talent Scholarship for achievement in musical theatre, a winner of the Second Annual Uni-versity of Texas Opera Gala Aria Competition, and was selected as a New Young Artist with the Victoria Bach Festival.

In the fall of 2011, Ms. Dailey performed and recorded a Samuel Barber choral program with Conspirare for Harmonia Mundi. 2012 begins with a Conspirare Mid-Western Tour, solo debut with the Spokane Symphony, a Florida chamber music tour, and solos in Debussys La damoiselle lue and Poulencs Gloria in a return to the Georgetown Festival. Previous operatic performances include the roles of Ines in Il Trovatore, Countess Ceprano (and covering Gilda) in Rigoletto, Ida (also covering Adele) in Die Fledermaus with Austin Lyric Opera, Adina in Llisir damore, Musetta in La Bohme with the Opera Company of Brooklyn, the title role of Semele at the Staunton Music Festival (VA), and Frasquita in Carmen with the Amarillo Opera. With the Austin Symphony, she sang the role of Sophie in the Act III Trio and Finale from Der Rosenkavalier. She has also appeared in concert with the Carinthian Symphony Orchestra of Klagenfurt, Austria and was Artist-in-Residence with the Amarillo Opera.

Ms. Dailey last appeared with the ESO in May 2012.

hE way thE lEgEnD iS tolD, whilE awaiting the tide to become favourable prior to

setting out to engage the Spanish Armada, Sir Francis Drake played a game of bowls on the large, open grassy space known as Plymouth Hoe. Its not true, but its among the stories that have made the spot a south-facing outcrop above the short limestone cliffs along the coast of the city of Plymouth a tourist destination. The view it commands to the south has also made it strategically valuable. Its coastal heritage was marked by British composer John Ansell (1874-1948), who assembled several nautical tunes into Plymouth Hoe!, the work by which he is best known.

Those familiar with the cascading string sound of the famous Mantovani orchestra have Ronald Binge (1910-1979) to thank for it. The British-born composer and arranger joined the famous bandleader after the Second World War, but left in the 1950s to devote himself to original composition. Likely his best-known work is the 1951 Elizabethan Serenade, which began life in the Mantovani orchestra under the title Andante cantabile, but was re-named following the coronation of the Queen in 1952. For many years, the BBC used it as the title theme of their radio series, Music Tapestry.

There is perhaps no better definition of light music, a genre which has associations with incon- sequential fluff to some, but which was a much- respected and popular music in the mid-20th cen-tury, then that of Andrew Gold, Head of the BBCs Light Music Unit from 1965 to 1969, who said, Light Music is where the tune is more important than what you do with it. While its greatest popular-ity was in the U.K., it was the sort of music in which Australian-born American composer Percy Grainger (1882-1961) excelled. Country Gardens dates from his time as part of the U.S. military band (Coast Artillery Corps 1917-1919), and is a tune that he supposedly improvised at the piano one day. Its sim-plicity won it enduring popularity. This afternoons arrangement was done by Carmen Dragon.

Shakespeare featured in the music of Ralph Vaughan Williams (1872-1958) throughout Williams career. He wrote incidental music to

A TPROGRAM NOTES

SUTS_2013_p14-17.indd 15 8/21/13 9:53:14 AM

Saturday, auguSt 31, 2 pm

promS in the park


productions of Henry IV Part 2, Henry V, Richard II, Richard III, and The Merry Wives of Windsor. The latter play was also the basis for his opera Sir John in Love, first performed in 1928. Vaughan Williams himself penned the libretto and Sir John, of course, is the lovable, bumbling and blustering John Falstaff. In 1934, Ralph Greaves arranged Vaughan Wil-liams treatment of Greensleeves (heard in the opera while Alice Ford awaits the arrival of Falstaff), and this fantasia has become likely the most frequently played piece Vaughan Williams ever wrote. The darker-toned folksong one hears in the middle of the Fantasia is another old English tune, Lovely Joan.

Though best known for the brief fanfare well hear this afternoon, Jean-Joseph Mouret (1682-1738) was, during his life, the favourite composer of the court of Louis XV. His two Suites des Sym-phonies (symphonic suites the symphony as we have come to know it did not exist in Mourets lifetime) date from 1729. This first of these is sub-titled Fanfare pour les Trompettes, Violons et Hautbois (Fanfare for Trumpets, Violins and Oboes). Its celebratory opening has become famous thanks to its use as the title music for the long-running PBS series Masterpiece Theater.

Patrick Doyle (b. 1953) has become something of a favourite composer for period films, particu-larly for director Kenneth Branagh. Ang Lee, who directed the Oscar-winning Emma Thompson adap-tation of Jane Austens Sense and Sensbility (1995), had Doyle compose a very classical-sounding score, from which we will hear two excerpts the first an instrumental titled Throw the Coins; the second a song with a text from an anonymous 16th century poet, Weep you no more sad fountains, and sung by the character of Marianne (Kate Winslet) during the opening credits.

Of the many, many successful and satiric operettas over their storied careers, Gilbert and Sullivans The Mikado stands alone. Its first run beginning in 1885 was an unbelievable 672 performances, and its first revival in 1896 made it the first work to achieve 1,000 performances at Londons Savoy Theatre. William S. Gilbert (1836-1911) and Arthur Sullivan (1842-1900) used the exotic setting of Japan for the operetta to poke fun at the absurdities of the abuses

inherent in the British class system. The character of Nanki-Poo arrives in the town of Titipu with the hope of winning the hand of Yum-Yum. He does, after a fashion, gaining the right to marry her, on condition that he lose his head in a months time. Yum-Yum sings the song The sun, whose rays are all ablaze on the day of her wedding, an innocent and nave observation of her own beauty.

Porgy and Bess premiered in 1935, the fulfillment of a dream by composer George Gershwin (1898-1937) to write a truly American folk opera. Based on a book by DuBose Heyward (who also wrote the libretto along with Georges brother Ira), the opera begins with the hauntingly beautiful aria Summer-time, which quickly became a standard. It is sung in Act I by Clara, as a lullaby to her sleeping child.

One of the few who could compete with the success of Gilbert & Sullivan in the genre of operetta was the Waltz King, Johann Strauss II (1825-1899). He wrote several that enjoyed tremendous success, and of them all, Die Fledermaus (The Bat) is the one which has continued to dominate the stage. A comical story of disguise and intrigue, the work is full of glorious Strauss melodies, many of which are (not surprisingly) set to waltz tempos. At a ball, the cham-ber maid Adele (who is playing the part of an actress) cheerfully fends off accusations from her ladys hus-band with the cheerful song Mein Herr Marquis. The aria has become known as Adeles Laughing Song, and is a nimble and challenging coloratura (a sing-ing technique with deliberately florid and elaborately decorative passages) showcase for soprano.

The Proms is a uniquely British concert series, so it is only fitting that our conclusion is dominated by some, unapologetically, patriotically, tea-and-crumpets British music. It says something of the enduring popularity and regard with which William Walton (1902-1983) was held in his native land to note that it was he that composed coronation anthems for two of Great Britains monarchs. The second of these was Orb and Sceptre, which played at the coronation of Queen Elizabeth on June 2, 1953. Orb and Sceptres harmonies are chromatic, and the middle section has a memorable main theme. In its original guise, the work has a prominent organ part, suitable for Westminster Abbey. This afternoons

SUTS_2013_p14-17.indd 16 8/21/13 11:22:33 AM


arrangement by Roy Douglas is for orchestra alone.The Dam Busters was a 1954 British film star-

ring Michael Redgrave and Richard Todd. It was based on the true story of the British scientists and military personnel who created a device that could penetrate the thick concrete walls of dams. Through a feat of creative engineering genius, a skipping mine was invented that, when dropped from an airplane, would skip across the water the way a stone does, exploding once it impacted the concrete it was designed to destroy. Eric Coates (1886-1957), one of Englands leading composers of light music, wrote the score to this patriotic war film. Excerpted from the movies music is this popular and rousing Dambusters March, which has been transcribed for many instrumental combinations since, from solo organ to brass band.

Several Irish, or even faux-Irish songs have become so familiar to us, they border on clich. But in the hands of a skilled arranger, even these familiar tunes can sound fresh. This afternoons concert features two such arrangers. Percy Grainger (see above) cheekily referred to the many arrangements he made of such songs as his fripperies, yet they made him famous. The so-called Irish Tune from County Derry is the most famous. With words added to it in 1910 by Frederick Weatherly, it has become universally known as Danny Boy.

Young, up and coming pianists in the mid-20th century inevitably found themselves perform-ing for womens clubs, at which any manner of absurd dishes would be served. Composer William Bolcom (b. 1938) decided to spoof many of those outlandish concoctions with his comical 1980 patter song Lime Jello Marshmallow Cottage Cheese Surprise. Written with his wife, soprano Joan Morris (who performed it frequently), the song is a catalog of the most bizarre recipes one could hope to never be served, sung in the character of one of these well-meaning but tuned-out club officials unaware of the very absurdity of the treats.

What Johann Strauss II was to the Viennese waltz, John Philip Sousa (1854-1932) was to the American march. He wrote 136 during his lifetime, for occasions ranging as august as military dedica-tions to as everyday as a baseball game. Certainly, his

most famous is Stars and Stripes Forever, but while not known as well by name, the tune of his march The Liberty Bell has acquired a fame all its own. If images of cut-out art, including a single Tintoretto foot, flash by as you hear this jolly melody, you are not alone, as The Liberty Bell was co-opted as the title theme music for the groundbreaking British comedy troupe, Monty Pythons Flying Circus. Well hear a version for orchestra arranged by Aubrey Winter.

When Henry Wood (1869-1944) first con-ceived of his Fantasia on British Sea Songs, it was to mark the 1905 centennial of the famous naval Battle of Trafalgar. The concept of the piece was the life of a sailor from his point of view, as the songs range from the first call to arms, to battle, to the death of a shipmate all concluding with Thomas Arnes triumphant and famous Rule, Britannia! as a reminder that England will forever rule the waves. Its patriotic nature made it a regular feature of The Last Night of the Proms, until the increasingly international exposure of the concert (which is now simulcast in various places throughout Great Britain, including Scotland, Wales, and Northern Ireland) made it seem too nationalist. For the Rule, Britan-nia! finale, the audience is invited to sing the chorus.

Our Proms salute concludes with the music of a mild-mannered Englishman named Edward Elgar (1857-1934) and a work that took on a life of its own, almost from its first performance in 1901. Right from the outset, the patriotic feel and pas-sionate melody of Elgars Pomp and Circumstance March No. 1 had many, including the King of England himself, venture the opinion that words should be added to the trio part. That was done, and in its vocal form, became known as Land of Hope and Glory. It made Elgar famous, but musically did him more harm than good, wrote legendary New York Times critic Harold C. Schoenberg. Elgar was a pacifist, and The march tarred him with a kind of Kiplingesque jingoism. Schoenberg continued, Musicians would not accept (Pomp and Circum-stance) for what it was a rattling good march. Graduation ceremonies, too, have never been the same since the works first appearance.

Program notes 2013 by D.T. Baker

SUTS_2013_p14-17.indd 17 8/20/13 4:08:12 PM

FThe Sound of MuSic (from The Sound of Music)Rodgers/Hammerstein (arr. Kostal)

over The rainbow (from The wizard of oz)Arlen/Harburg (arr. Wilcox)

big Movie SuiTegone with the wind / ben-hur / Laura / doctor Zhivago / Lawrence of arabia / rocky / The Pink Panther / The way we werevarious (arr. Tyzik)

INTERMISSION I (20 minutes)

Selections from LeS MiSrabLeSat the end of the day / i dreamed a dream / Master of the house / on My own / do You hear the People Sing?Schnberg/Boublil (arr. Lowden)

Main theme from LadieS in LavenderHess

Think of Me (from The Phantom of the opera)Lloyd Webber/Hart/Stilgoe

i couLd have danced aLL nighT (from My fair Lady)Lerner/Loewe (arr. Green)

anYThing goeS (from anything goes)Porter (arr. Gibson)

INTERMISSION II (15 minutes)

The beST of bondJames bond Theme / nobody does it better / Live and Let die / for Your eyes only / The Look of Love / 007 Theme / Thunderballvarious (arr. Tyzik)

bLow, gabrieL, bLow (from anything goes)Porter (arr. Gibson)

for good (from wicked )Schwartz (arr. Hamlisch/Zito)


Mr. Bernhardts bio can be found on page 6.Ms. Daileys bio can be found on page 15.

SYMPhonY under The SkY www.EdmontonSymphony.com18

robert bernhardt, conductorMela dailey, sopranorobert uchida, violinStrathcona Theatre company cast of anything goes (Linette Smith, Artistic Director / Stephen Delano, Music Director)featuring Sydney williams, soprano

Saturday, September 1, 7 pm

From broadway to Hollywood

SUTS_2013_p18-19.indd 18 8/20/13 4:10:34 PM


SO Concertmaster RobERt Uchida has been 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 have been received with 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 has worked as concertmaster with many of the worlds 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 Canadas 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 in-cluded prestigious venues including Lincoln Cen-ter (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, Robert 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 Centres 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 1810, bows by Peccatte and Sartory, and a baroque bow by Max Kasper. He currently lives in Edmonton with his wife Laura and their two children.

Mr. Uchida last appeared as a soloist with the ESO in November 2012.

hE StRathcona dEpaRtmEnt of thEatRE is proud to offer a pre-professional

training program for high school aged performers. Its goal is to provide students with the skills they will need to move on to competitive college programs as well as amateur theatre experiences. It offers challenging and engaging courses for actors at various levels of development. Under the Artsitic Direction of Linette Smith and Stephen Delano, classes are designed to encourage students to create imaginative and compelling characters, to regard their voices and bodies as creative instruments, to expose them to theatrical literature, and to instill in them a sense of respect and professionalism for this art form that will stay with them throughout their lives. Students have been a part of many award winning Strathcona productions and continue to be a part of theatre programs while studying at the University of Alberta, The National Theatre School, New York University, Sheridan, and Ryerson.

The company last appeared with the ESO at Symphony Under the Sky presented by ATB Financial 2012.

E

T

SUTS_2013_p18-19.indd 19 8/20/13 4:11:12 PM

MSO COmmunity AmbASSAdOr Lucas Waldin leads friends from the Edmonton

Symphony through a colourful menagerie of music. Including Saint-Sans Carnival of the Animals, this matine for younger listeners will take a voyage of discovery featuring exotic sounds and beautiful melodies from a host of favourite tunes.

This one-hour concert is performed without intermission, and is free.

or the 2013/14 season, LuCAS WALdin will once again don the mantle of Community

Ambassador. In this capacity, he will continue to establish strong ties with our community through inventive outreach initiatives, in addition to programming and presenting the ESOs education and family concerts. During his time as Enbridge Resident Conductor of the ESO, Mr. Waldin collaborated with some of North Americas 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 Lucas 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, and has collaborated closely with composers such as John Estacio, Allan Gilliland, and Malcolm Forsyth. In recognition of his valuable contribution to artistic life in Canada, Lucas was awarded the 2012 Jean-Marie Beaudet Award in Orchestra Conducting by the Canada Council for the Arts. Lucas studied conducting and 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, Lucas was a Discovery Series Conductor at the Oregon Bach Festival, and Assistant Conductor of Clevelands contemporary orchestra {RED}. He has performed with orchestras across Europe, including the Jugendsinfonieorchester Kassel, Bachakademie Stuttgart, and Staatstheater Cottbus.


Sunday, September 1, 2 pm

e

Lucas Waldin, conductor & host

Finning Canada is proud to support The Edmonton Symphony Orchestra

2013 - 2014 season

London HandeL PLayersFriday, october 4, 8 pm

convocation Hall

IsabeL bayrakdarIan, soPranoFriday, october 25, 8 pm

mcdougall united cHurcH

anonymous 4saturday, november 9, 7:30 pm

West end cHristian reFormed cHurcH

TrIo Jean PauLFriday, January 31, 8 pm

convocation Hall

Jos mIgueL moreno, baroque guITarsaturday, marcH 22, 8 pm

convocation Hall

James eHnes, vIoLInWednesday, april 2, 8 pm


TIckeTs from TIX on THe square,THe gramoPHone and aT THe door

For details, visit www.edmonToncHambermusIc.org

menagerie of muSic: family matinee

fwith: Michael Massey, piano

Jeremy Spurgeon, piano Virginie Gagn, violin Neda Yamach, violin Clayton Leung, viola Ronda Metszies, cello Jan Urke, bass Elizabeth Faulkner, flute Julianne Scott, clarinet Brian Jones, percussion John McCormick, percussion

National Stiltwalkers of Canada

Firefly Theatre Acrobalance Duet

SUTS_2013_p20-24.indd 20 8/20/13 4:12:52 PM

Finning Canada is proud to support The Edmonton Symphony Orchestra

2013 - 2014 season

London HandeL PLayersFriday, october 4, 8 pm

convocation Hall

IsabeL bayrakdarIan, soPranoFriday, october 25, 8 pm


anonymous 4saturday, november 9, 7:30 pm

West end cHristian reFormed cHurcH

TrIo Jean PauLFriday, January 31, 8 pm

convocation Hall

Jos mIgueL moreno, baroque guITarsaturday, marcH 22, 8 pm

convocation Hall

James eHnes, vIoLInWednesday, april 2, 8 pm


TIckeTs from TIX on THe square,THe gramoPHone and aT THe door

For details, visit www.edmonToncHambermusIc.org

SUTS_2013_p20-24.indd 21 8/20/13 4:13:11 PM

LHot Soul MedleyReach out (Ill Be there) / My Girl / I Heard it through the Grapevine / touch Me in the Morning / love Machinevarious (arr. Tyzik)

AInt no MountAIn HIGH enouGHAshford/Simpson

My CHeRIe AMouRWonder

CRedItCastillo/Kupka

SoMedAyS WeRe MeAnt foR RAInHall

I HeARd It tHRouGH tHe GRApevIneWhitfield/Strong


A fIftH of BeetHovenMurphy (arr. Burden)

AMAzInG GRACetrad. (arr. Tyzik)

tHe SAInt louIS BlueSHandy (arr. Wendel)

unCHAIn My HeARtSharp/Powell (arr. Catingaub)

HIt tHe RoAd, JACkMayfield (arr. Catingaub)

GeoRGIA on My MIndGorrell/Carmichael (arr. Catingaub)

GIRl, youRe not In kAnSAS AnyMoReHall (arr. Blumberg)

I CAnt Stop lovInG youGibson (arr. Catingaub)



SyMpHony undeR tHe Sky www.EdmontonSymphony.com22

Robert Bernhardt, conductorellis Hall, special guest

Sunday, September 1, 7 pm

elliS Hall CelebrateS ray CHarleS, motown & beyond

SUTS_2013_p20-24.indd 22 8/20/13 4:14:52 PM

o say that Ellis Hall is multi- talented would presume some sort

of limitations. On the contrary! Many people consider Mr. Hall to be

a prodigy on a number of instruments. But it is his voice that is one of his most incredible musical abilities. If you listen very carefully, youll find he is in remarkable command of a full five octaves, and his vocal talent is capable of boggling the mind.

Hailing from the small Georgia town of Claxton, Ellis Hall moved to Boston, where he embarked on becoming one of the worlds most innovative souls. Burdened to a degree by childhood glaucoma that eventually would lead to total sightlessness, he knew early on that he must sequester himself away with the lights off and hone his instrumental talents without concern for the inevitable. At 18 years old, he was finally rendered completely blind. But his musicianship was undeterred and he raced off into the world of R&B and Soul. He created The Ellis Hall Group in Boston, which led fans

T and critics to laud him for his own brand of hair-raising performances. During this time, he was discovered by

East Bay Soul artists Tower Of Power, and with the members of that group he spent a few years performing, writing, and producing.

After many notable achievements in the world of professional performance, Mr. Hall moved to Los Angeles, where quickly he became a First Call session player and the voice of choice for many projects. While performing in 2001, Ellis Hall was approached by Ray Charles, who was instantly taken by what he heard, and in 2002 Mr. Hall became the only musician besides Charles himself to be signed as a Featured Artist on his Record Label, Crossover Records. During the months following Mr. Hall and Mr. Charles produced an astounding work called Straight Ahead.

Following Ray Charles passing, Ellis Hall decided to create a show in his friends honour called A Tribute To Ray Charles, Motown And Beyond, and has since performed this show with orchestras all over the world.

Mr. Ellis last appeared with the ESO in June 2012.

Ellis Hall CElEbraTEs ray CHarlEs, MoTown & bEyond

,JOEFS4JOHFSTtBHFT1SJNBSZ$IPJStBHFT$IJMESFOT$IPJStBHFT$IBNCFS$IPJStBHFT

'PSJOGPSNBUJPOBCPVUBOZPGPVSDIPJSTPSUPSFHJTUFSWJTJU

DBOUJMPODIPJSTDBPSDBMM

$PNFTJOHXJUIVT

SUTS_2013_p20-24.indd 23 8/20/13 4:15:51 PM

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SUTS_2013_p20-24.indd 24 8/20/13 4:16:18 PM

CSYMPHONY UNDER THE SKY 25www.EdmontonSymphony.com

J. STRAUSS IIUnter Donner und Blitz: Polka, Op.324 (3)*

MOZARTConcerto No. 10 for Two Pianos in E-flat Major (7)* 3rdmvmtRondo:Allegro

SAINT-SANSThe Carnival of the Animals (29) Introduction HensandCockerels WildAsses Tortoises TheElephant Kangaroos Aquarium PeoplewithLongEars TheCuckoointheDepthsoftheWoods Aviary Pianists Fossils TheSwan Finale


RIVALWhirlwind(2012ESOcommission) (8)*

PLAMONDONFlight(WorldPremiereofanESOcommissionthroughtheYoungComposersProject) (5)*

BROOKERProcol Fantasy(2013ESO-commissionedarrangementbyGilliland) (7)*

Robert Bernhardt, conductorMichael Massey, pianoJeremy Spurgeon, pianoWilliam Dimmer, narrator

Monday, SepteMber 2, 2 pM

TCHAIKOVSKYOuverture solennelle, Op.49 1812 Overture (14)*

Program subject to change*indicatesapproximateperformanceduration


b

Carnival of the aniMalS

ritish-born JErEmy SpurgEon won scholarships to study both piano accompa-

niment and organ at the Royal Northern College of Music, Manchester and later studied organ with Lionel Rogg at the Geneva Conservatoire where he gained the Premier Prix de la Classe de Virtuosit.

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

Mr. Spurgeon last appeared as a soloist with the ESO in November 2011.

Bios & program notes continued on pages 26 - 29.

SUTS_2013_p25-29.indd 25 8/20/13 4:18:48 PM




ichaEl MaSSEyS association with the Edmonton Symphony Orchestra

began in 1970 when he became a member of the cello section. Since 1976, he has been the ESOs principal keyboard player, has worked as conductor and arranger for education concerts, and has frequently performed as soloist. He has been the Music Director and Conductor of the Edmonton Youth Orchestra since 1977. Numerous Canadian professional musicians, including many current ESO members, received their first orchestral experiences under his direction. Mr. Massey was born in London, England and emigrated to Canada in 1957. His early piano studies with Jean-Pierre Vetter in Edmonton were the prime influence in his development as a musician. Later studies at the University of Alberta earned him a Bachelor of Music degree and the gold medal in piano performance of the Western Board of Music. Following his graduation he spent two years studying at the Geneva Conservatory where he was unanimously awarded the Premier Prix de Virtuosit and performed as soloist with LOrchestre de la Suisse Romande.

Mr. Masseys activities as a musician are many and varied. He has performed as soloist, chamber musician, accompanist, and conductor throughout Canada, and has performed on numerous occasions on CBC radio and television. In 2002, for his

b W

M

contribution to the cultural life of the city, Mr. Massey was inducted into the Edmonton Cultural Hall of Fame as an ArtistBuilder, and he also received the Queens Golden Jubilee Medal.

Mr. Massey last appeared as a soloist with the ESO in March 2010.

illiaM DiMMEr has performed with the Edmonton Symphony Orchestra since

1971. He is a graduate of the University of Calgary and has studied in Denmark with members of the Royal Danish Orchestra and in Chicago with mem-bers of the Chicago Symphony. He has performed with the Tommy Banks Band and with several other performing organizations as player and conductor, including the Plumbers Union (a recorder group that gave a Command Performance for the Queen during the 1978 Summer Commonwealth Games). He has also been active as an adjudicator and conductor and is currently music director of Nova Musica, a community orchestra in Edmonton.

Mr. Dimmer has been Executive Director of MusiCamrose (a residential summer music workshop) and has been on faculty at The University of Alberta, Grant MacEwan College/Alberta College Conservatory, Concordia College and Augustana University. Bill Dimmer is also a pilot and instructor for Civil Air Search and Rescue Association (CASARA) Edmonton, he and teaches ground school at the Edmonton Flying Club.

Mr. Dimmer last appeared as a soloist with the ESO in September 2010.

SUTS_2013_p25-29.indd 26 8/20/13 4:19:39 PM


Unter Donner und Blitz: Polka, Op. 324Johann StrauSS II(b. Vienna, 1825 / d. Vienna, 1899)

trauSS waltzES wErE thE EpItomE of Viennese refinement and elegance. But

the many, many balls at which Strauss orchestras performed in the waning years of the 19th cen-tury were also occasions for merriment and fun. Thats where Strauss polkas come in.

The many polkas Johann Strauss II wrote provided contrast and energy. Unter Donner und Blitz (Under Thunder and Lightning), composed in 1868, earned its name from its madcap overuse of percussion. Laid out in an A-B-A format, the A section features loud timpani rolls every four bars, with cymbal crashes in between. The B section actually begins a little more quietly, but that scarcely lasts a bar before the cymbals and drums return. The first section returns in a note-for-note repeat, and the concluding chords are predictably boisterous.

Concerto No. 10 for Two Pianos in E-flat Major: 3rd mvmt Rondo: Allegrowolfgang amad mozart(b. Salzburg, 1756 / d. Vienna, 1791)

hE obStaclES of Such a cooperative concerto as Mozarts Concerto

No. 10 for Two Pianos are considerable. Though not as strong or powerful as todays pianos, two keyboards of Mozarts time would still be enough to drown out the classical-sized orchestra. As well, thought must be put to the virtuoso consider-ations of each piano part, so as to put them on equal footing with each other. The word which one reads time after time in descriptions of this concerto is seamless. The piano parts intermin-gle and weave around each other with such utter smoothness that it is nearly impossible to tell which piano is playing exactly which part.

The concertos finale is a vigorous and excitable

Rondo, with the orchestra given the first say. The music for the pianos is effervescent and marvelously balanced, while the contrasting sections in between restatements of the main theme often take surprising twists and turns, mostly stemming from the unusual chord which finishes each statement of the main theme.

The Carnival of the AnimalscamIllE SaInt-SanS(b. Paris, 1835 / d. Algiers, 1921)

amIllE SaInt-SanS nEvEr mEant for the general public to hear his Carnival of

the Animals. He wrote it for fun, dashed off in a few days and reserved for private performances; scored for a small instrumental force of two piano soloists, a flute, a clarinet, two percussionists and strings. It was only after Saint-Sans death that the public first heard the work and it has eclipsed many of the composers more serious pieces in the popular pantheon (which may have been what he was afraid of all along).

Yet, for all its frivolity, the charm of the work is truly derived from touches of genius. The lion is given appropriate swagger, clucking hens contrast with cockerels mocking on the clarinet. The pianos play the Wild Asses scattering about, while the Tortoises plod along to a parody of Offenbachs Can-Can slowed to a crawl. Similarly, The Elephant lumbers on the double bass to a dragged-out quote from Berlioz Dance of the Sylphs, while Kangaroos spring up and down from the pianos.

You can hear the shimmer of the sun, depicted on the pianos, as it shines through the water of the Aquarium, while in less than a minute, Personages with Long Ears stroll past, the violins depicting their brays. They yield to the charming cuckoo, chiming its two-note call from deep in the woods. A full-scale Aviary is next, as birds twitter on the flute, their wings fluttering on strings and piano. The next animals are in fact piano students, endlessly and slavishly practicing their scales with

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middling accuracy. The bones of Fossils clatter their dance on the xylophone, with parodies of nursery rhymes and even the composers own Danse macabre thrown in. The most famous movement of the work is The Swan, portrayed in a beautiful solo for cello (Colin Ryan). Many of the animal themes are recalled in the rousing finale.

Over the years the quirky, clever score has attracted writers, who have crafted verses to accompany Saint-Sans music. Likely the most famous is Ogden Nashs 1949 set of poems, but more recently Peter Schickele, the creator of P.D.Q. Bach, wrote a set of verses with a more contemporary sense of silliness.

Whirlwind (2012 ESO commission)RobERt Rival(b. Calgary, 1975)

Program note by the composer:

uRing my fiRSt wintER in Edmonton I witnessed a remarkable natural phenom-

enon right outside my front door: a large flock of Bohemian Waxwings hundreds! swirling rapidly in the sky above. Henceforth, whenever I heard the distinct whirring produced by their collective chirping, I eagerly looked up to admire the cloud of birds making razor-sharp turns in near-perfect synchronicity.

This avian aerial dance inspired my works opening gesture, a whirling effect built on a progression of chords animated by rapid scales that, like the birds flight patterns, abruptly change directions. Two contrasting themes follow: one lively, exuberant and syncopated, constructed on fragments and variations of itself, the other lyrical and expansive.

The three themes are continually recycled, varied each time transposed, rhythmically altered, reharmonized, reorchestrated, fragmented, or some combination creating an impression of cycling repeatedly through familiar material. It is like observing changes in the scenery while riding a merry-go-round: that man with the

straw hat stroking his goatee is now gone; in his place a toddler throws a tantrum. The works title alludes to the works spiraling structure, its almost unrelentingly fast tempo, and to the tremendous sweep of the waxwings in flight, the first theme.

As I worked out variations on my themes, there was one in particular that stood out. By flattening the rhythm of the chipper tune into even quarter-notes while retaining pitch order, it suddenly came to resemble strikingly the closing number of Stravinskys ballet The Firebird. So I had a choice to make: drop it (damn, its been taken!) or play it up. I chose the latter by borrowing some of Stravinskys own orchestration. I dont think the Russian master, who said that a good composer does not imitate, he steals, would have minded one bit.

Flight (World Premiere of an ESO commission through the Young Composers Project)taRan Plamondon(b. Edmonton, 1995)

uSic haS alwayS bEEn a PaRt of Taran Plamondons life; he started to play

the horn when he was 12 and began composing without any formal training one year later. He re-cently graduated from Archbishop MacDonald High School where he played in concert band, honour band, and jazz band. He will be attending the Uni-versity of Alberta next year to study 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 just 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

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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 which 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 breath-taking view. This is the sheer joy knowing ones 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.

Procol Fantasy (arr. Gilliland)Gary BrookEr(b. Hackney, East London, 1945)

Program note by Allan Gilliland:

hiS arranGEmEnt of Procol Harum songs was commissioned by the

ESO for Late Night performance this past May. The Edmonton Symphony Orchestra has been linked with the prog-rock group Procol Harum since their historic concert and resulting gold album, released in 1972. This was one of the first collaborations between a symphony orchestra and a rock band. In recognition of the historic concert, I was asked to compose a feature for the orchestra that explores the themes from two of their most famous pieces, Conquistador, and A Whiter Shade of Pale. The first section of the work explores the Spanish side of Conquistador, giving the whole orchestra a chance to shine. Then we slow down for A Whiter Shade of Pale. In this section I play with the relationship between this work and the music of Bach before returning to the first section for the big finish.

Ouverture solennelle, Op.49 1812 OverturePiotr ilyich tchaikovSky(b. Kamsko-Votinsk, 1840 / d. St. Petersburg, 1893)

hE PErSon who waS tyPically the least impressed by Tchaikovskys music

was Tchaikovsky himself. Constantly plagued by self-doubt, he released his music to the world almost with reluctance and, in the case of some works, tinged with regret. While his celebratory work that has come to be known as the 1812 Overture is one of his most-performed, most-loved pieces, he disliked it almost from the outset.

The Overture will be very noisy, Tchaikovsky wrote his patroness, Nadezhda von Meck. I wrote it without much enthusiasm. It has no great artistic value. This may seem overly self-critical, but to be fair many a composer has chafed under commissions which mandated a strict format. Tchaikovsky was asked to create a work marking the 60th anniversary of the Battle of Borodino in September 1812, at which the army of Napoleon, which had penetrated far into Russia, was at last beaten back. The occasion of the 1872 celebration was the outdoor consecration of the Church of Christ the Saviour in Moscow, so a large, dynamic work was called for.

The work quotes liberally from Russian hymns and folksongs. The hymn God Preserve Thy People forms the trenchant opening, depicting the peacefulness of the Russian people which is then attacked by the army of Napoleon. Le Marseillaise, the French national anthem, is quoted in snatches, representing the strikes of the French attack. While undoubtedly a pastiche work that under-used Tchaikovskys immense gifts, the overture is nonetheless a bracing and exciting orchestral tour de force. As Russian tunes gradually overwhelm the French, the victory is made clear in the pealing of bells and the use of the Tsars Theme, the Russian national anthem at the time. The triumphant march theme, heard earlier on, returns as the grand climax, complete with blazing cannons sealing the victory for the Russian people, and bringing the work to its utterly thrilling climax.

Program notes 2013 by D.T. Baker, except as noted

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TTickeT, Box office & fesTival informaTionFESTIVAL TICKET PRICINGAVoId PARKING HASSLES!Park your vehicle for only $5 at the U of As Stadium Car Park (116 Street & 89 Avenue), and ride ETS buses for FREE directly to Hawrelak Park!

Free, supervised bike racks will be available on site, courtesy of the Edmonton Bicycle Commuters Society.

CoNNECT WITH USStay tuned to festival updates by connecting with us on Facebook and Twitter:Twitter: @edmsymphony (festival hashtag is

#yegSUTS)Facebook: facebook.com/EdmontonSymphony

*Ticket prices shown do not show applicable service charges

note that weekend passes will not be available for sale after friday, august 30.

The Box office opens on site near the Heritage amphitheatre entrance two hours prior to the first performance of each day of the festival. amphitheatre gates open one hour prior to each performance. The amphitheatre is closed between matinee and evening performances. Tickets are non-exchangeable and non-refundable. The Hawrelak Park amphitheatre Box office is casH onlY. an aTm will be on site.

Weekend Pass Reserved Seating GrassAdult $149 $99Child $75 freeSingle Ticket Prices Reserved Seating GrassAdult $40 $25Child $20 freeFamily Matinee (Sunday 2 pm) All Seats General Admission All seats free

WEATHERIn case of inclement weather, venue changes will be posted at EdmontonSymphony.com, and noted at 780-428-1414 or 1-800-563-5081.

PRoGRAm CHANGESThe ESO makes every effort to present the artists and programs as advertised. On rare occasions, due to unforeseeable circumstances, changes may be made.

5Sept. 20 at 8 pm | Convocation Hall

Faculty perform french melodies by Ravel, Faur, Debussy and others

Sept. 28 at 8 pm | Convocation Hall

5SJP7PDFQFSGPSNT.P[BSU5SJPJO#BUmajor, K. 502, Ravel Trio, and Dvorak Trio No. 4 in e minor

"!Oct. 6 at 3 pm | Convocation Hall

Faculty perform new classics

Oct. 18 at 8 pm | Convocation Hall

Guillaume Tardif (violin) and Roger Admiral (piano) perform vocal pieces adapted for strings & piano

"6Nov. 17 at 8 pm | Winspear Centre

The Madrigal Singers with the University Symphony Orchestra and Concert Choir

Jan. 19 at 3 pm | Convocation Hall

Marnie Giesbrecht (organ) and Joseph F. Patrouch (narrator)Schlick, Hofhaimer, Boehm , Corelli and Vivaldi

4 Jan. 24 at 8 pm | Convocation Hall

Jacques Desprs (piano) and Andrew Wan (violin)

Beethoven No. 3, 5 and 7

" " Feb. 9 at 3 pm | Winspear Centre

Albertas most talented high school band students and the University of Albertas Symphonic Wind Ensemble

Feb. 12 at 8 pm | Convocation Hall

Faculty perform 20th century works by Delerue, Ewazen, and Ewald

Mar. 16 at 3 pm | Winspear Centre

Symphonic Wind Ensemble and Concert Band with guest percussion soloist Matthew Coley (Iowa State)

Canadian premiere: Glass House Concerto by Andrew Ardizzoia

" Mar. 23 at 8 pm | Winspear Centre

University Symphony Orchestra

Tchaikovskys Symphony No. 5, Mozarts The Magic Flute Overture

Apr. 4 at 8 pm | Winspear Centre

The Indian and West African Music Ensembles perform traditional world music with a special guest artist

University of Alberta | Department of Music

"! $60'-. 6%-,%&.00)%*&0/#1#)+#$+ࢯ&(+)1&%#

000SUTS-UofA-FP.indd 1 8/16/13 9:56:35 AM

SYMPHONY UNDER THE SKY www.edmontonsymphony.com30

SUTS_2013_p30-31.indd 30 8/20/13 4:22:33 PM

5Sept. 20 at 8 pm | Convocation Hall

Faculty perform french melodies by Ravel, Faur, Debussy and others

Sept. 28 at 8 pm | Convocation Hall

5SJP7PDFQFSGPSNT.P[BSU5SJPJO#BUmajor, K. 502, Ravel Trio, and Dvorak Trio No. 4 in e minor

"!Oct. 6 at 3 pm | Convocation Hall

Faculty perform new classics

Oct. 18 at 8 pm | Convocation Hall

Guillaume Tardif (violin) and Roger Admiral (piano) perform vocal pieces adapted for strings & piano

"6Nov. 17 at 8 pm | Winspear Centre

The Madrigal Singers with the University Symphony Orchestra and Concert Choir

Jan. 19 at 3 pm | Convocation Hall

Marnie Giesbrecht (organ) and Joseph F. Patrouch (narrator)Schlick, Hofhaimer, Boehm , Corelli and Vivaldi

4 Jan. 24 at 8 pm | Convocation Hall

Jacques Desprs (piano) and Andrew Wan (violin)

Beethoven No. 3, 5 and 7

" " Feb. 9 at 3 pm | Winspear Centre

Albertas most talented high school band students and the University of Albertas Symphonic Wind Ensemble

Feb. 12 at 8 pm | Convocation Hall

Faculty perform 20th century works by Delerue, Ewazen, and Ewald

Mar. 16 at 3 pm | Winspear Centre

Symphonic Wind Ensemble and Concert Band with guest percussion soloist Matthew Coley (Iowa State)

Canadian premiere: Glass House Concerto by Andrew Ardizzoia

" Mar. 23 at 8 pm | Winspear Centre

University Symphony Orchestra

Tchaikovskys Symphony No. 5, Mozarts The Magic Flute Overture

Apr. 4 at 8 pm | Winspear Centre

The Indian and West African Music Ensembles perform traditional world music with a special guest artist

University of Alberta | Department of Music

"! $60'-. 6%-,%&.00)%*&0/#1#)+#$+ࢯ&(+)1&%#

000SUTS-UofA-FP.indd 1 8/16/13 9:56:35 AMSUTS_2013_p30-31.indd 31 8/20/13 4:23:04 PM

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