Professional Documents
Culture Documents
MASTERS
DEBUT Anu Tali
returns to
the ESO
EL VIENTO FLAMENCO
Robbins Lighter
Classics – Olé!
THE FOUR SEASONS
in one afternoon
RX $49,1 *
STARTIN
G AT
2010 RX
15
350
Includes
freight, PD
I and bloc
k heater*
ESO EDITOR
PROGRAM NOTES
D.T. Baker
S
PUBLISHED FOR the Edmonton Symphony Orchestra at
PUBLISHED BY
MUSIC STAFF
NOT YOUR FATHER’S SYMPHONY
symphony by Eric Blair
pg. 6
pg. 7
pg. 8
pg. 11
pg. 15
Signature magazine, the official publication of the Edmonton ROBBINS LIGHTER CLASSICS FLAMENCO AND OTHER pg. 21
Symphony Orchestra, is published from September to June. SPANISH DELIGHTS SEPTEMBER 30
William Eddins, conductor / El Viento Flamenco 17
Contents Copyright 2010 by Edmonton Symphony Orchestra/
Francis Winspear Centre for Music. No part of this publica-
tion should be reproduced without written permission. GLAD YOU ASKED… pg. 25
Your orchestral questions answered, by D.T. Baker
Brought to you by Registry Connect Limited Partnership, a wholly owned subsidiary of the Association of Alberta Registry Agents.
W WELCOME !
T HE EFFECT THAT MUSIC HAS ON US IS POWERFUL and it is made even more powerful,
more memorable, when it is a shared adventure. Music performed live has inherent in it an
excitement, a risk, and an ability to reach us that is unlike any other artistic experience. That’s
what makes what we do here at the Edmonton Symphony Orchestra and the Francis Winspear
Centre for Music so gratifying.
So welcome to another season of amazing concert events. In this issue of Signature, we intro-
duce our new look – but we do it with some familiar faces. We welcome back Anu Tali, Janina
Fialkowska, and Bruce Hangen – and favourite Edmonton son Jens Lindemann shows up twice!
We also, sadly, bid farewell to Martin Riseley, our Concertmaster since 1994 – but are equally
excited about the new path he has taken in his career and wish him every success back home in
New Zealand. We welcome Eric Buchmann as Interim Concertmaster, and begin the exciting
search to find our new Concertmaster very soon.
We have much to share with you in the coming months, and we’re delighted so many of you
share with us your thoughts on how we’re doing. Keep it up!
The ESO and Winspear Centre staff, board, and musicians have embarked on an extensive and
long-term strategic plan, designed to guide us through a sustainable and visionary future. We will
unveil details of that plan as the season unfolds.
DONATE
TODAY! Friends of the Edmonton Symphony Orchestra
There are many great reasons to donate to the ESO - but most importantly, do it for you! You deserve to experience the exquisite
joy of hearing a brilliant piece of music; the power of live performance; and best of all, the unforgettable atmosphere of an ESO
concert. As a donor, you provide critical funding that helps your ESO play its best.
In recognition of your generosity, we are pleased to offer you exclusive opportunities designed to bring you closer to the music:
To give today, or for more information on the many ways you can play an active role with your orchestra, * Subject to availability. Erin will be happy to
personally assist you in arranging these exclusive
please contact Erin Mulcair at 780.401-2539 or by e-mail at emulcair@winspearcentre.com. opportunities.
W
A V
ARTISTIC & LEADERSHIP TEAM
A NNEMARIE PETROV,
Executive Director of the
Edmonton Symphony Orchestra and
Francis Winspear Centre for Music,
brings more than 25 years of experience
to a role that oversees one of Alberta’s
vision and focus on music education at all levels. A gradu- flagship performing ensembles and one
ate of the Cleveland Institute of Music, having earned of the world’s premier concert halls.
both his Bachelor of Music Degree in Flute Performance With a combined annual budget of
and Masters in Conducting, Mr. Waldin has performed over $12 million, Annemarie supervises
with L’Orchestre du Festival Beaulieu-Sur-Mer (Monaco), day-to-day operations, long-term plan-
Staatstheater Cottbus (Brandenburg), and Bachakademie ning, government relations, and com-
Stuttgart. He was assistant conductor of the contemporary munity support of both organizations.
orchestra RED (Cleveland), director of the Cleveland Bach A native of Montréal, Annemarie
Consort, and a Discovery Series Conductor at the Oregon is a graduate of McGill University
Bach Festival. In 2007, he conducted the Miami-based where she majored in French Horn
New World Symphony Orchestra in masterclasses given conductor Helmut Rilling at the Oregon Bach Festival, and Performance. Following several years
by Michael Tilson Thomas, and also participated in a mas- has attended conducting masterclasses with the Tafelmusik performing in Europe, she returned to
terclass with the Lucerne Festival Strings, led by Bernard Baroque Orchestra in Toronto. Canada and stepped into the role of
Haitink, in 2009. not only Principal Horn for Symphony
A native of Toronto, Lucas Waldin has spent summers Resident Conductor program generously supported by New Brunswick, but also General
studying in Europe, including studies at the International Manager. Work at the National Arts
Music Academy in Leipzig, the Bayreuth Youth Orches- Centre Orchestra was followed by the
tra, and the Acanthes New Music Festival in France. In Winnipeg Symphony Orchestra, where
North America, he has studied under the renowned Bach she also oversaw the popular Winnipeg
New Music Festival.
E RIC BUCHMANN studied violin at the Conservatoire de Montréal and at the Univer-
sité de Montréal where he earned a Bachelor of Music and a DESS degree. In 2001,
he moved to Los Angeles to continue his studies at the University of Southern California.
Annemarie’s profound love of the
arts has been her guide in a career
focused on every aspect of the con-
Two years later he joined the New World Symphony in Miami Beach where he played un- cert experience – from international
der the direction of Michael Tilson Thomas and many other music directors from all over orchestral tours to concerts in curling
the world. His violin teachers include Sonia Jelinkova, Vladimir Landsman, Jean-François rinks in Canada’s north. She is fueled
Rivest, William Preucil and Martin Chalifour. by the belief that participation in live
Eric Buchmann joined the first violin section of the Edmonton Symphony Orchestra in music is essential to our well-being
2006, and was appointed Assistant Concertmaster following auditions in 2009. Eric per- and is driven to make it accessible
forms occasionally with the ESO as a soloist, and is also a member of the Alberta Baroque to everyone. Annemarie Petrov is a
Ensemble under the direction of Paul Schieman. frequent guest speaker at arts indus-
When not playing with the orchestra in Edmonton, you can find him with his family try conferences and has served on
in Montréal or Switzerland. Traveling is one of his passions. the board of Orchestras Canada.
6 SIGNATURE www.EdmontonSymphony.com
V
William Eddins, Music Director Lucas Waldin, Resident Conductor
DOUBLE BASS
In addition to our own concerts, the ESO
provides orchestral accompaniment for
performances by Edmonton Opera and
ADMINISTRATION
Jan Urke 1 Alberta Ballet. SENIOR STAFF
John Taylor 2 Annemarie Petrov, Executive Director
Janice Quinn Ronnie Hothi, Executive Assistant
Rhonda Taft Rob McAlear, Artistic Administrator
Rob Aldridge The ESO works in proud partnership Elaine Warick, Director of Patron Development
with the AF of M (American Federation Lori Pratt, Director of Events Management
of Musicians of the United States and Marc Carnes, Director of Community Relations
Canada) Local 390. Barbara Foley, Director of Finance & Operations
don’t have to know everything about everything that I’m listening to.” They
both recall another time when, right at the beginning of a performance of
Beethoven’s famous Fifth Symphony, an older woman sitting a level above
them dropped her tea cup, shattering it on the floor. The Winspear Centre’s
remarkable acoustics amplified this woman’s noisy effort to collect the
broken pieces, and Eddins, realizing that it was interfering with the perfor-
mance, halted the music and patiently looked up towards the woman’s seat.
She finished, apparently unaware of the commotion that she’d caused, and
Eddins returned to the piece’s famous four-note opening.
been going ever since, and have been subscribers to the Friday Masters for it a lot more relaxed… Just his demeanor on
the last few years.
Skywalker admits that he had his own stereotypes about what the sym-
stage makes me feel really comfortable and
phony was before Cohen converted him to the cause. But he was quickly relaxed – I don’t have to know everything about
disabused of the notion that a night at the symphony meant an evening of
patient silence. “You’re not just going to see Stravinsky and Brahms, you’re
everything that I’m listening to.”
seeing them performed by a guy who’s constructed his own cello out of Eddins’ humble charm has helped to make the symphony experience more
carbon fibre,” he says. “I think that’s what changed my mind about the accessible to young people, but the ESO has also played its part. “I think
symphony. I had it in my head that you just go and you sit and you watch dropping the ticket prices was a big step,” Skywalker says. “It used to be
the same people play the music. But it’s much more of a show than I ever very expensive to go see the symphony, but student prices are so great.” The
expected.” flexibility offered by the ESO, both in the form of its sampler pass and the
That show, Skywalker says, has a lot to do with the man in charge of it. ability to exchange existing tickets, is another draw for Skywalker and Cohen,
Both he and Cohen credit William Eddins, the ESO’s Music Director, with particularly because she is a shift worker. “That really helps, especially for
making the experience both accessible and enjoyable. Cohen remembers an shift workers,” Skywalker says. “She might get offered an overtime shift and
evening in which Eddins put one of his trademark twists on a performance of want to take it, and we can switch our tickets for a different performer or a
Vivaldi’s Four Seasons. “He said at the beginning that ‘everybody knows the different day.” For Cohen, these features are making the symphony a more
Four Seasons, so we’re going to do something a little different. Instead of just inclusive experience. “I think those kinds of things are opening it up to a new
playing it, we’re going to explain what it is you’re supposed to be hearing and new generation.”
where these things are coming from.’ That was really cool.” For Skywalker and Cohen, the symphony has also been a bridge between
Skywalker credits Eddins with taking some of the starch out of the generations. “There aren’t a lot of activities that we do with our parents that
symphony’s proverbial collar. “I think Bill Eddins has done a good job of revolve around a whole evening,” Skywalker says. “It’s not like we’d all go to
making it a lot more relaxed,” he says, citing Eddins’ habit of announcing a movie, but we will go to the symphony.” The symphony has even helped
important hockey scores during intermissions as just one example. “Just Skywalker bond with Cohen’s father, who still sings in a choir himself and is
his demeanour on stage makes me feel really comfortable and relaxed – I an ardent fan of the symphony. Skywalker and Cohen’s father will “pull back
8 SIGNATURE www.EdmontonSymphony.com
Y YOUNG PEOPLE ARE FLOCKING TO THE ESO
2010/2011 SEASON
the curtain” and discuss the more technical aspects of a performance and even FACING THE FUTURE : Brock Skywalker, a local website designer
the notes that defined it. Cohen and her mother, on the other hand, adopt a and marathon coach and Eleanor Cohen, an ER nurse, are part
more holistic approach. “I am terrible at remembering who things are by,” she of a new generation who are breaking the stereotype of typical
says. “I just remember that I liked them, or that I wasn’t crazy about it. It’s like symphony goers.
wine; I drink it, and I love it but I’m not good at remembering the names on
the labels.” the orchestral crowd, at ESO concerts, drawn to them as they are drawn
So much for stereotypes, then. But far from being exceptions to the rule or to any other important and relevant cultural experience. The symphony is
alone in the crowd, Skywalker and Cohen are instead part of an ever-expand- not the exclusive domain of the silver cane and monocle crowd, in other
ing group of younger Edmontonians who are being drawn to the Edmonton words. “Going to the symphony isn’t an exclusive club, it just means you
Symphony Orchestra. Skywalker even reports seeing flocks of young hipsters, want to go and hear some cool music,” Cohen says. “There’s nothing fancy
whose look and style would seem diametrically opposed to the stereotype of about that.”
J.S. BACH Mr. Lindemann last appeared with the ESO at Enbridge Symphony Under the Sky
Morimur (Chaconne in D minor, 2009 . He also performs in the Robbins Pops concerts on September 17 & 18
BWV 1004 with chorales) (14’)* (please see page 15).
BALDASSARE
Sonata No. 1 for Cornetto, Strings and Continuo (6’)*
VIVALDI
Concerto for Two Trumpets in D Major, RV 537 (7’)*
J.S. BACH
Cantata, BWV 34: “O ewiges Feuer,
o Ursprung der Liebe” (7’)*
Enbridge Resident
Conductor Sponsor Season Media Sponsor Series Media Sponsor
O
R
L ocal soprano MEGAN CHAR-
TRAND has recently graduated
from the University of Alberta with
O f the eight works on tonight’s program, seven are from the Baroque
era – and three of those are by the great JOHANN SEBASTIAN BACH
(1685-1750). One is a vocal work, one is purely instrumental. And the other
is a unique and modern combination of the two. In the music of Bach, we
have the culmination of Baroque music; its complexity often hides a deeper
level of complexity, based on Bach’s fascination with musical numerology,
and his profound Lutheran faith.
Bach held several appointments as Kapellmeister in several German
churches – the most famous was his position with the St. Thomas Church
in Leipzig. He wrote hundreds of cantatas for all the days in the church year,
with scriptural texts that accompanied that service’s Biblical readings. His
hundreds of cantatas were written for a wide variety of instrumental and
vocal ensembles – he had to adapt to the musical forces he had at hand.
Cantata 34 is thought to be one of the last Bach wrote, though it was
adapted from another work Bach wrote in 1726. Its present version dates
from the mid-1740s, written for Whitsuntide. It is scored for an unusually
large orchestra (by Bach cantata standards), including three trumpets. The
title of the opening chorus translates as “O eternal flame, O fount of love,”
and indeed we hear the flickering of the flame in the first violins, and the
music for the voices is especially vivid and dramatic.
Bach’s six Brandenburg Concertos can be whimsically thought of as
the most magnificent job application in history. The absolute pinnacle of
the “concerto grosso” form (a musical form in which a larger ensemble, the
“ripieno,” is set against a smaller but very important group, the “concertino”),
The program notes do not follow concert order.
were expected to provide works for occasions – such as the birthday of the
queen. Handel’s Ode for the Birthday of Queen Anne was written for the
1713 anniversary of her February 6 birthdate, and its text pays homage to
her role as a peacemaker. The ode’s opening chorus, “Eternal source of light
divine,” presents Anne as a beacon, the date of her birth a great day
for peace.
Handel’s place as the pre-eminent composer in England came about in
part because of the premature death of one of the greatest English-born
composers, HENRY PURCELL (1659-1695). Highly respected even dur-
ing his lifetime, Purcell wrote many works for both the English court
and the church. Among his instrumental compositions, one which has
gained a newfound popularity among audiences these days is a chaconne,
which he gave the varied spelling as “CHACONY.” A chaconne is a musi-
cal form in which a repeated figure in the lower voices forms a foundation
over which a series of variations of that figure is presented in the upper
voices. ESO Resident Conductor Lucas Waldin has arranged Purcell’s
music for tonight’s performance, using three violas and a bass continuo.
What Bach was to the German Lutheran church, and Handel was to the
English court, so ANTONIO VIVALDI (1678-1741) was to the musical life
of Venice. For many years, Vivaldi was the master of music for a number of
churches, but also for the Ospedale della Pietà, a home for foundling girls,
who became famous throughout Europe for their prowess as musicians. For
them, Vivaldi had occasion to write hundreds of concertos to realize the skills
his students possessed on all manner of instruments – and combinations
Bach dedicated these works to the Margrave of Brandenburg and sent him thereof. It’s interesting to note that there seems to be no concerto by Vivaldi
the autograph scores around 1721, with the hope of securing a position in for single trumpet, but there is a C Major Concerto for Two Trumpets.
the court there. It didn’t happen, and there is no evidence the Margrave even Its bright opening movement features music for the soloists derived from
looked at the scores – but his oversight has nothing to do with the merit the material given the strings. The slow movement is non-existent – a mere
of these amazing works. The second concerto of the set pits strings and six bars serving as a transition to the finale, in which the two trumpets chase
harpsichord (the ripieno) against a concertino made up of a solo violin, solo each other throughout a series of arpreggios, until they come together in
recorder, solo flute, and solo trumpet. The Baroque trumpet plays in a higher warm harmony at the end.
tessitura than the modern trumpet, and its brilliance stands out among its With apologies to PIETRO BALDASSARE, not much information is
fellows, particularly in the radiant final movement. known about his life or work. We know that he was Master of Music in the
Bach wrote three sonatas and three partitas for solo violin as a set. Within Italian city of Brescia, and it is though that he was born around 1690, and
that set, the key sequence, the progression of notes in certain key passages – died after 1768. Nearly all of his music is lost, but among that which survives
even the quotations from other Bach compositions – has fascinated many is the attractive Sonata No. 1 in F for Cornetto – the high-pitched Ba-
scholars as to hidden meanings; “coded messages,” in the music. One such roque member of the trumpet family. It opens in an air of elegant celebration
scholar is Helga Thoene, who in 1985, released an exhaustive study of hidden in the first movement, while the call-and-response slow movement is stately
meanings in the Sonatas and Partitas for Solo Violin. Her research led her to and dignified. The brief final movement is a light and courtly dotted-rhythm
the conclusion that the famous chaconne (see the paragraph on Purcell below dance. Jens Lindemann, by the way, has recorded this work, available on his
for a definition of chaconne) which concludes the Second Partita is in fact 2007 Marquis Classics recording, The Classic Trumpet.
an elaborately coded “epitaph in music” for Bach’s first wife, Maria Barbara. The presence of all these Baroque composers means that WOLFGANG
Certainly, there are quotes in the work from a number of Bach’s sacred works AMADÉ MOZART (1756-1791), who died 219 years ago, is the most
concerning death and resurrection. Based on that research, violinist Chris- modern composer on tonight’s program. His opera Idomeneo premiered in
topher Poppen and the singers of the Hilliard Ensemble crafted a version 1781, and tells the tale of love, sacrifice, and honour on the island of Crete
of the work for a 2001 recording in which the choral references within the at around the time of the Trojan war. One of the few works which did not
chaconne are sung, with a violin still as the lone instrumental accompanim- seem to flow almost organically from Mozart’s astounding mind, his many
net. The work, titled Morimur (taken from the three-part Latin expression cuts and changes to the manuscript do not provide conclusive ideas for where
of faith which translates as, “We are born from God, we die in Christ, we exactly he intended the ballet music he wrote for the opera to appear. There
are reborn through the Holy Spirit”) receives its Edmonton premiere this is some evidence to suggest that the various dances which make up the ballet
evening. segment were to be sprinkled throughout the action of the work. The Köchel
Like Bach, GEORGE FRIDERIC HANDEL (1685-1759) shared the same catalog of Mozart’s music (the “K” in the numbering of his pieces refers
birth year, and was also German. But while Bach spent his life in Germany, to Ludwig von Köchel, who assembled the first attempt at chronologically
largely as a church composer, Handel spent most of his career in England, as cataloguing Mozart’s music) gives the Idomeneo Ballet Music its own “K”
the most celebrated composer in that country. A favourite of the royal court, number of 367, right after the opera itself as K.366.
Handel was commissioned to write many works for special national occa-
sions. By the time of his 1712 arrival, composers who enjoyed court favour Program Notes © 2010 by D.T. Baker
To give today, or for more information on the many ways you can play an active role with your orchestra, please contact
Marc Carnes, Director of Communty Relations at 780.401.2518 or by email: marc.carnes@winspearcentre.com
R
000Sig.MacEwan_1-2H_nBL.indd 1 8/31/10 11:26:42 AM
R
ROBBINS POPS
Jens Lindemann at the Pops
O CANADA
(Lavallée / arr. Gilliland)
ESTRELLITA
(Ponce / arr. Dragon)
SHENANDOAH FANTASY
(Chattaway)
HIGHLIGHTS FROM MAN OF LA MANCHA Mr. Hangen last conducted the ESO in October 2009.
(Leigh / arr. Hayman)
MALAGUEÑA
(Lecuona / arr. Freeh)
Program subject to change Mr. Lindemann’s bio can be found on page 11.
landmarkclassic.ca
landmarkclassic.c
A Division Of
C
LANDMARK CLASSIC MASTERS
Mozart’s “Turkish” Concerto
Saturday, September 25 | 8 PM
2010/2011 SEASON
William Eddins, conductor
Corey Cerovsek, violin
ARTIST BIOS
ARTIST BIOS
Symphony Prelude, Saturday at 7:15 PM in Upper Circle
C
(Third Level) Lobby with Randolph Peters & D.T. Baker
OREY CEROVSEK has performed to constant acclaim with the or-
chestras of Boston, Philadelphia, San Francisco, Detroit, Cincinnati,
St. Louis, Atlanta, Baltimore, Montréal, Vancouver, and Toronto, among
many others; and internationally with such groups as the Israel Philhar-
PETERS monic, Prague Symphony, National Symphony (Ireland), Hong Kong
Butterfly Wings and Tropical Storms (10’)* Philharmonic, Berlin Symphony, Vienna Chamber Orchestra, and the
Orchestre de Poitou-Charentes. He has toured in Australia, Canada,
MOZART Denmark, Japan, China, Austria, the Netherlands, Brazil and Spain. In
Violin Concerto No. 5 in A Major, K.219 “Turkish” (31’)* 2006, the Claves label released Mr. Cerovsek’s recording of the Sonatas for
Allegro aperto Violin and Piano of Beethoven with pianist Paavali Jumppanen. It received
Adagio numerous awards, including Gramophone Recommends, 5 Diapasons,
Rondeau: Tempo di minuetto 4 stars from Le Monde de la Musique, Supersonic Pizzicato, and Fono
Forum Stern des Monats and the
INTERMISSION (20 minutes) Miderm Award for best chamber
music recording for 2008. His
SIBELIUS Corigliano Violin Sonata, with
Symphony No. 5 in E-flat Major, Op.82 (35’)* Andrew Russo on the Black Box
Tempo molto moderato - Allegro moderato - Presto label, was nominated for a 2006
Andante mosso, quasi allegretto Grammy Award. Other recordings
Allegro molto – Un pochettino largamente – Largamente assai have been released on the Delos,
Black Box, Aguavá New Music
Studio, and Cala Records labels.
Program subject to change *indicates approximate performance duration
Born in 1972 in Vancouver, Cana-
da, and now residing in Paris, Corey
Cerovsek began playing the violin at
the age of five. He graduated at age
12 from the University of Toronto’s
Royal Conservatory of Music with
a gold medal for the highest marks
in strings. That same year, he was
accepted by Josef Gingold as a student and enrolled at Indiana University,
where he received bachelor’s degrees in mathematics and music at age 15,
masters in both at 16, and completed his doctoral course work in math-
ematics and music at age 18. Concurrently he studied piano with Enrica
Cavallo, until 1997 frequently appearing in concert performing on both
instruments. Mr. Cerovsek performs on the “Milanollo” Stradivarius of
1728, an instrument played, among others, by Christian Ferras, Giovanni
Battista Viotti, and Nicolò Paganini.
Mr. Eddins’ bio appears on page 6. Program notes appear on pages 18 & 19.
T
Program note by the composer
Violin Concerto No. 5 in A Major, K.219 “Turkish” First version premiered on December 8, 1915, in Helsinki
WOLFGANG AMADÉ MOZART First revision premiered on December 8, 1916, in Turku, Finland
(b. Salzburg, 1756 / d. Vienna, 1791) Final version premiered on November 24, 1919 in Helsinki
L AST ESO PERFORMANCE : JANUARY 2003
Completed December 20, 1775 in Salzburg
L AST ESO PERFORMANCE : MARCH 2004
important violin solos – including the final four violin concertos, all com- birthday concert in December 1915. Part of the celebratory event was the
M
posed between April and December of 1775. premiere of the first version of his Fifth Symphony. The party was a success; Y
It was as if working on all four gave him a chance to work through all the symphony, less so – to Sibelius. Dissatisfied with a work in which he CM
the kinds of experimentation he wanted to with the genre. And with the knew contained a greatness he hadn’t quite wrested from it, Sibelius re-
Fifth Violin Concerto, what Mozart plays up the most is contrast. The violin’s vised it extensively in time for a concert marking his 51st birthday. But it MY
entrance in the opening movement, for example, does not pick up from the still wasn’t what he wanted. CY
lively orchestral material which precedes it. Instead, everything comes to These were the years of the First World War, and the Bolshevik Revolu- CMY
a halt, and the violin’s first notes are slow, measured, in a much different tion, which threatened to spill over, even if only politically, into neigh-
tempo and feel. The orchestra picks up on that, and it is only after that brief, bouring Finland. It is therefore not surprising that when the symphony K
separate introduction, that violin and orchestra begin the lively dialog that finally achieved the form Sibelius wanted, near the end of 1919 and fol-
will make up the rest of the movement. lowing the war, the spirit of the work has a sense of moving from darkness
The slow movement, in contrast to the preceding violin concertos Mozart to light.
had produced, is almost operatic in its layout and its passion. The orchestra Gone is the symphony’s original four-movement design. Instead the long
presents an introduction to the violin’s emotional aria. Once it begins its first movement, a melding of the original design’s first two movements,
song, the violin dominates the movement, though the orchestral accompa- begins with a lone horn above a sense of expectancy. The music broadens
niment is rather more lavish and detailed than one might expect. out almost immediately; woodwind calls, rustling timpani – but this is no
It is the final movement that gave the work its nickname. It is a rondo, mere introduction. Elements contained in this opening passage will return
with a main subject in a gentle minuet tempo. It is interrupted with a strik- throughout the work. A sense almost of foreboding rises to a trumpet-
18 SIGNATURE www.EdmontonSymphony.com
O
“
tinged climax, which quietens almost immediately, then begins to build in my life. Oh God, what beauty! They circled over me for a long time.
again. Contrasts of light and shadow, of wind figures against undulating Disappeared into the hazy sun like a glittering, silver ribbon. Their cries
strings press the music on to another radiant brass passage, which propels were of the same woodwind timbre as those of cranes, but without any
the music, now in triple time, into the second part of the movement (what tremolo… Nature’s mystery and life’s melancholy! The Fifth Symphony’s
would have been the original score’s second movement). It is an inge- finale theme.” The movement begins with bristling, nervous energy in
nious bridge, so organically the strings, over which the
achieved it appears seamless. winds begin to stir. Rising
The brisk, buoyant Presto
section seems like a dance in The Fifth Symphony confounded SIBELIUS and falling, the horns’ call is
somehow tinged with both
broad sunlight after clouds
have broken – and the sudden
for years. Time and again, in his diar y, he triumph and pathos. Listen
also for the horn theme in
ending is very unexpected.
The second movement is a
referred to the long slow process of the tremolo strings, beneath the
woodwinds – then how the
set of variations on a theme work’s gestation as a “struggle with God.” roles are reversed. As we near
presented in the woodwinds. the conclusion, the theme
It is calm and bucolic, with a becomes clothed in more
gentle lilt. A brisker, more playful central section emerges gradually, but dramatic colours, then bursts out heroically once again. The bigger-than-
ebbs away as the main tempo is reestablished. life coda, capped off by six grand, emphatically stated chords, has tricked
The famous finale, with its “swinging” theme for horns in thirds, was many a concert-goer’s applause before the work is actually done.
inspired, Sibelius wrote, by something he saw while on a walk. “Just
before ten to eleven I saw sixteen swans. One of the greatest experiences Program notes © 2010 by D.T. Baker, except as noted
Classic Examples
with MarkAntonelli
Monday to Thursday
7 - 9 pm
Edmonton 94.9 fm
For a province-wide list of frequencies please visit: www.ckua.com
CAMPO
La Chiapanecas (arr. Dragon) (4’)*
ALBÉNIZ
Suite Española: Castilla (arr. Frühbeck de Burgos) (3’)*
España, Op.65: Tango in D Major (arr. Arnold) (3’)*
Suite Española: Sevilla (arr. Frühbeck de Burgos) (5’)*
TRADITIONAL
Alegria (arr. Palmer) (7’)*
La Farruca (arr. Palmer) (7’)*
GIMÉNEZ
La Boda de Luis Alonso: Intermedio (6’)*
CHAPI
La revoltosa: Preludio
GRANADOS
(5’)*
E L VIENTO FLAMENCO IS IN LOVE with the tradition of flamenco, but
also brings its own voice to the genre. Its musical influences include
everything from gospel and blues to Turkish and Armenian folk music.
Goyescas: Intermezzo (5’)* In addition to singing in Spanish, the musicians of the group are now
writing and singing their own lyrics in their own languages, which, in
FALLA this group, happen to be English, French, Turkish, and Armenian! El
El amor brujo: Ritual Fire Dance (5’)* Viento Flamenco brings its own, very distinct voice to the art form. With
a singer and guitarist who hail from rock and roll, a percussionist who is
FAJARDO involved in everything from Newfoundland folk to African drumming
Rumba Flamenca (arr. Palmer) (5’)* and punk rock, and dancers who have lived all over the world, the group
stands subtly but resolutely outside of flamenco tradition.
NARRO Continued next page.
España Cañi (arr. Dragon) (5’)*
Program subject to change. Other works will be announced from the stage.
*indicates approximate performance duration
Sean Harris’ “voz clara” is perhaps the most defining element of El Viento
Flamenco’s sound. With years of performing gospel, blues, and rock, he
has developed a unique style and clear timbre which sets El Viento Fla-
menco apart from other flamenco troupes around the world. El Viento
Flamenco also benefits from singer Maral Perk’s background in Armenian
folk and Turkish pop tunes. Together, the singers provide the inspiration
for the elegant simplicity of the dancing, while both the singers and danc-
er are sustained by the crisp, aggressive sound of Bob Sutherby’s guitar.
PROGRAM NOTES
PROGRAM NOTES
the next hundred years, cante hondo evolved, ultimately to begin to take
on less authentic trappings as it became commercialized and, for want of
“
a better way of putting it, mass marketed and exported.
As the 20th century neared, two important things happened to the
music of Spain. First, a more modern form of the “gypsified” Andalusian
style of music took shape, and was called cante flamenco (the first known
use of the word dates from 1871). Secondly, Spanish composers, who
often had to go abroad to learn the compositional techniques of formal
European music, were beginning to be heard outside of Spain – a con-
cept known as “nationalism.” Tonight’s concert has a little bit of both,
and music in between as well.
CONRADO DEL CAMPO (1878-1953) did receive some training
at the Madrid Conservatory, but was largely self-taught as a composer. the suite for orchestra, and tonight’s performance features the movements
A major influence on him was Richard Wagner, and he used Wagnerian named for Seville and Castille. España is another suite written for solo
models of long, unfolding piano originally, and noted
melody and leitmotif, and British composer Malcolm Ar-
applied them to his Spanish
music. He became one of the
The Spanish dancer performs this nold arranged the Tango from
the suite for orchestra.
most important Spanish com-
posers – and teachers – of his
m o v e m e n t i n a s m o o t h , f l o w i n g m a n n e r, Once the cante flamenco
style became popularized, a
time. Tonight’s version of his keeping the body low and horizontal,” number of songs came to so
work La Chiapanecas was represent it in popular cul-
arranged by Carmen Dragon writes Gilbert Chase in The Music of ture. They have become the
for his Hollywood Bowl Or-
chestra.
Spain. “It forms a striking contrast with image many of us have when
we think of “Spanish music.”
One of the most famous of the vigorous, swirling action of the man.” Both the Alegria and the
Spanish composers, ISAAC Farruca were songs/dances
ALBÉNIZ (1860-1909) began for women to dance to. Of the
writing his Suite Española for piano in 1886, one of the first pieces he Farruca, “The Spanish dancer performs this movement in a smooth, flow-
composed after studies with Liszt, then with Felipe Pedrell, who urged ing manner, keeping the body low and horizontal,” writes Gilbert Chase
him to bring out the music of Spain in his works. Each movement of in The Music of Spain. “It forms a striking contrast with the vigorous,
the eight-movement suite bears the name, and influence, of the music of swirling action of the man.” To dance the Alegria, the woman wears a
places in Spain. Spanish conductor Rafael Frühbeck de Burgos arranged striking gown, with frills and a train, while the dancer herself adds to the
22 SIGNATURE www.EdmontonSymphony.com
energy of the work with clapping and snapping of her fingers. Christopher Ravel, and Dukas.
Palmer arranged the versions of these traditional dances we will hear. The ballet is the story
JERÓNIMO GIMÉNEZ (1854-1923) was an important conductor and of a man whose love
composer, most famous for some of his works written in the zarzuela style – has died, but her rest-
a well-established Spanish opera form that began to regain popularity less spirit does not
with the emergence of Spanish nationalism. A number of excerpts from want to let him go
his zarzuela operas continue to hold the stage in Spain, while excerpts are and move on to a new
popular in concert. La boda de Luis Alonso is a zarzuela that premiered love. The swirling,
in January 1897, from which we will hear an orchestral interlude. exciting dance rep-
Admirers of the music of RUPERTO CHAPI (1851-1909) referred to him resents an attempt to
as “the Spanish Massenet.” His one-act zarzuela from 1897, La Revolto- exorcise the spirit.
sa (“The Troublemaker”), is his most famous work. The title character is a A “rumba” is a
sweet young thing who besots nearly every man who sees her – including dance of Cuban ori-
three married men who should know better – while she, fully aware of her gins, its name derived
charms, uses them provocatively. Tonight, we present the work’s overture, from the notion of a
or Preludio. “party,” or having a
ENRIQUE GRANADOS (1867-1916) is one of the most important good time. This lively
Spanish nationalists. The work which first gained him international ac- Rumba Flamenca puts the five-beat rhythm inherent in the form into fla-
claim was a piano suite inspired by the paintings of his fellow country- menco clothing, and was done so by the late gypsy singer Rafael Fajardo.
man, Francisco Goya. An excerpt from the suite, Goyescas, was orches- España Cañi is one of those tunes that is much more recognizable
trated, named Intermezzo, and became a concert favourite for Carmen than its name. Composed by PASCUAL MARQUINA NARRO (1873-
Dragon’s Hollywood Bowl Orchestra. 1948), the piece is a paso doble, or a dance for two. Its title translates as
Perhaps the most famous work on tonight’s program is the Ritual Fire “Spanish Gypsy,” though many will doubtless recognize its main section
Dance, an excerpt from the ballet El amor brujo (“Love, the Magician”) as a crowd-rouser at everything from bullfights to baseball games.
by MANUEL DE FALLA. Born in Cadíz, Falla got formal training at the We present it tonight in yet another Carmen Dragon arrangement.
Paris Conservatoire, where he befriended composers such as Debussy, Program Notes © 2010 by D.T. Baker
Our services are best suited to individuals and families with more than $1 million in investable assets.
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BEDROOM GARAGE ENTRYWAY KIDS MEDIA CENTER OFFICE CRAFT
T HIS QUESTION GETS ASKED A LOT – and I wish the answer was nearly
as interesting as the question makes it seem like it should be. But the
fact is – you can call your orchestra Groovy Marvin and the Sunshine Band
if you wanted to, and still play Mahler and Brahms (your marketing depart-
ment might want to kill you, but you could. I’m just sayin’).
Etymologically, “philharmonic” comes from two Greek words – “love”
and “music.” So, a Philharmonic orchestra could be said to have been created
(and named) for the love of music. “Symphony” also has Greek roots, and
came to mean a coming together of sound – very much what an orchestra
was made to do. Once upon a time, those distinctions must have been im-
portant. But these days?
Look at it this way – six of the major American orchestras are located in
New York, Boston, Philadelphia, Cleveland, Chicago, and Los Angeles. Two
of them call themselves Philharmonic orchestras, two of them call them-
selves Symphony orchestras. And the other two – they’re just orchestras: the
Cleveland Orchestra and the Philadelphia Orchestra, plain and simple. It IF THE WINSPEAR CENTRE HAS SUCH GREAT ACOUSTICS
,
has nothing to do with size, or the kind of music they play – it’s simply what HOW COME WE SEE SPEAKERS AND MICROPHONES ON
they have chosen to call themselves. Is that a boring answer, or what? STAGE SOMETIMES?
E
Showcase Prelude, Sunday at 1:15 PM in Upper Circle
WALD CHEUNG began his studies at the age of four at the Suzuki
(Third Level) Lobby with D.T. Baker
School in Edmonton, and later studied with James Keene, former
Concertmaster of the Edmonton Symphony. Ewald is currently studying
Coffee Shop, post-performance, Main Lobby with Lucas
with renowned violinist Jonathan Crow at McGill University, Schulich
Waldin, William Eddins, Ewald Cheung, and Julianne Scott
School of Music.
Mr. Cheung has had success in many competitions. In 2005, he won the
DANZI Northern Alberta Concerto Competition, which led to a performance with
Fantasie on Mozart’s “Là ci darem la mano” (9’)* the Edmonton Youth Orchestra. In 2006, he won the senior category of
the Alberta Music Festival. Mr. Cheung is also a five time laureate of the
HAYDN Canadian Music Competition, winning in 2001 and 2003, which led to
Symphony No. 103 in E-flat Major, Hob.I: 103 “Drumroll” (29’)* performances with the Orchestre symphonique de Quebec, and the Cal-
Adagio – Allegro con spirito gary Philharmonic Orchestra. In 2007, he was a laureate of the Standard
Andante più tosto allegretto Life Orchestre symphonique de Montréal Competition. This past May, he
Menuetto – Trio won the Shean Strings Competition in Edmonton. Ewald Cheung is also a
Finale: Allegro con spirito recipient of the prestigious Lloyd-Carr Harris String Scholarship from Mc-
Gill University, the Anne Burrows Scholarship, the Winspear Fund, and
INTERMISSION (20 minutes) the Victoria Foundation.
VIVALDI Mr. Cheung last appeared with the ESO in March 2006.
Le quattro stagioni (“The Four Seasons”)
Violin Concerto in E Major,
Op.8 No. 1 “La primavera” (“Spring”) (10’)*
Allegro
Largo
Allegro (Danza pastorale)
Violin Concerto in G minor,
Op.8 No. 2 “L’estate” (“Summer”) (10’)*
Allegro non molto – Allegro
Adagio – Presto – Adagio
Presto (Tempo impetuoso d’estate)
Violin Concerto in F Major,
Op.8 No. 3 “L’autunno” (“Autumn”) (11’)*
Allegro (Ballo, e canto de’ villanelle)
Adagio molto (Ubriachi dormienti)
Allegro (La caccia)
Violin Concerto in F minor,
Op.8 No. 4 “L’inverno” (“Winter”) (9’)*
Allegro non molto
Largo
Allegro
Guest Artist Sponsor Season Media Sponsor Series Media Sponsor Series Media Sponsor Mr. Eddins’ bio can be found on page 6.
Ms. Scott’s bio appears on page 30.
Darcy & Barbara Program notes appear on pages 30 & 31.
Koshman
FALL 2010 SIGNATURE 29
M
2010/2011 SEASON
ARTIST BIOS
SUNDAY SHOWCASE The Four Seasons
A
ARTIST BIOS
Ms. Scott last appeared as a soloist with the ESO in October 2009.
PROGRAM NOTES
PROGRAM NOTES
I T’S TOO BAD more great composers couldn’t finish out their storied
careers the way “Papa” Haydn did. The man who had made the court
of Esterházy the cultural envy of European nobility retired from his
post as Kapellmeister to more or less emeritus status, free to travel as
30 SIGNATURE www.EdmontonSymphony.com
Le quattro stagioni (“The Four Seasons”) Spring begins with
ANTONIO VIVALDI breezes, birds, and bab-
(b. Venice, 1678 / d. Vienna, 1741) bling brooks. A storm
intrudes in the second
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BERLIOZ
Béatrice et Bénédict: Overture (8’)*
CHOPIN
Piano Concerto No. 1 in E minor, Op.11 (44’)*
Allegro maestoso
Romanza: Larghetto
Rondo: Vivace
PÄRT
Symphony No. 4 “Los Angeles”
Con sublimtà
(36’)* ARTIST BIOS
ARTIST BIOS
Affannoso
Deciso
Program subject to change *indicates approximate performance duration O ne of the most intriguing young conductors on the scene today, ANU TALI
was born in Estonia, where she began her musical training as a pianist,
graduating from the Tallinn Conservatory in 1991, and continuing her studies
at the Estonian Academy of Music as a conductor. From 1998 to 2000, Ms.
Tali studied at the St. Petersburg Conservatory. Since 1995, she has regularly
attended Jorma Panula’s masterclasses at the Sibelius Academy in Helsinki
and Moscow.
Together with her twin sister Kadri, Anu Tali founded the Nordic Symphony
Orchestra in 1997 in order to develop cultural contacts between Estonia and
Finland, and unite musicians from around the world. In 2007, the orchestra
had its first European tour. Ms. Tali appears regularly with orchestras in
Estonia and worldwide. She has worked with many of the major orchestras
in Germany, and in 2006, made her debut at the Salzburg Festival, and at
the Savonlinna Opera Festival. Anu Tali and the Nordic Symphony made
their debut recording in 2002 with Swan Flight, earning her the 2003 Echo
Classics Young Artist of the Year.
Friday Masters Series Landmark Classic Season Media Sponsor Series Media Sponsor Ms. Fialkowska’s bio can be found on page 34.
Sponsor Masters Series Sponsor Program notes appear on pages 34 & 35.
Janina Fialkowska has performed with the foremost North American and
European orchestras, as with all of the principal Canadian orchestras. In Oc-
tober 2002 Ms. Fialkowska was appointed Officer of the Order of Canada. In
January, 2002 at the onset of a major European tour, Ms. Fialkowska’s career
was brought to a dramatic halt by the discovery of a tumour in her left arm.
ARTIST BIOS
classique label.
After successful surgery to re-
move the cancer, she underwent
further surgery in January 2003;
a rare muscle-transfer procedure.
After 18 months of performing
the Ravel and Prokofiev “concer-
tos for the left hand” which she
transcribed for her right hand,
she has resumed her two-handed
career. Ms. Fialkowska’s recent
recordings include performances
of piano concertos by Chopin
and Mozart in authentic ver-
sions. Both were released to
highest critical acclaim. Just released for the 2010 Chopin bicentennial: a
Chopin recital, her third collaboration with the successful Canadian ATMA
PROGRAM NOTES
PROGRAM NOTES
34 SIGNATURE www.EdmontonSymphony.com
then establishes itself with a plaintive song in C, although there is some
lovely string writing and an effective part for bassoon (William Harrison).
The final section of the movement brings it back to the home key; listen for
some daring left-hand piano passages here.
The slow movement begins with strings and horns, but a very Chopin-
esque piano nocturne soon takes over. Chopin himself said the movement
is, “sustained in a romantic vein, tranquil and somewhat melancholy.” A
unique shift in the strings to C-sharp minor leads directly into the final
movement, a rondo for which the main tune is a lively E Major theme set
to a traditional Polish dance called the krakowiak. The whole finale is lively
and full of virtuoso piano work, and a touch of humour as well. As the coda
begins, it does so seemingly in the wrong key – E-flat; then it “restarts” back
in the proper key and dashes to its conclusion.
U NTIL THE MID 1970S, Arvo Pärt composed largely in conventional con-
temporary modes. But when he discovered “tintinnabulation,” it changed
his music significantly. Last season, the Edmonton Symphony performed
Fratres, a short work in tintinnabulation style. Tonight, we present the pre-
miere Edmonton performance of his latest work in that style.
“When a single note is beautifully played…this one note, or a silent
beat…comforts me. I work with very few elements,” Pärt has said. The com-
mission he received for a new symphony for the Los Angeles Philharmonic
came at a serendipitous moment. At the time he got the commission, he
happened to be working with an ancient canon, a prayer to a guardian an-
gel, so to write a work for the orchestra in “the City of Angels” seemed most
apt. The three movement work opens with sustained chords in the strings
in a long, slow descent from a high E – a gossamer beginning that leads to
an aggressive middle section introduced by timpani thumps, in which the
strings pass through a series of minor chords, with strong percussion ac-
cents. After a pause, the movement ends in quiet reflection.
The second movement begins with blocks of pizzicato chords, ushering in
a lyrical, sorrowful passage in the lower strings, punctured by marimba and
more pizzicato. These two core ideas alternate, moody and restless, ever so
gradually rousing to a climax full of dark energy which ebbs away to anoth-
er somber song which carries the movement to its quiet, almost unsure, end.
The final movement begins almost as the opening one does, on a G-sharp
minor chord, but now moves quickly to A minor. Tonal ambiguity is played
up strongly here; following a brief, piercing violin solo, the undulating mu-
sic seems at times to point to A minor, sometimes to A Major. Percussion
punctuation leads to an odd march section, as gradually the lower-voiced
instruments fall by the wayside, leaving the marimba and timpani to have
the last, delicate word.
Program Notes © 2010 by D.T. Baker
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I
SYMPHONY ORCHESTRA
WINSPEAR CENTRE FOR MUSIC
N 1952, A SMALL GROUP of dedicated visionaries formed
the Edmonton Symphony Society, with the goal of solidifying
the Edmonton Symphony Orchestra as an ongoing, sustained
organization, determined to providing community of Edmon-
ton with the finest in orchestral music, enriching the lives of its
audiences, and enhancing the quality of life for the entire com-
munity.
Since then, the ESO has grown from a part-time community
orchestra, rehearsing at night, to a fulltime core of 56 musicians
BOARD OF DIRECTORS
Steven LePoole, Chair
BOARD CONTACT
Ronnie Hothi, Executive Assistant
at 780.401.2544 or rhothi@winspearcentre.com
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wishes to express its gratitude to
the following individuals who play
an invaluable role in bringing live
orchestral music to our community
through their annual gifts.
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Frances T. Olson Joan S. Clark Gordon E. Langford Herb & Doris Skaret Alec & Marianne Benning Ken & Mary Demedash
Teresa O’Riordan & Ruth Laseur Douglas Clement Brian Lau Dr. Smallhorn Gabriella Bergsten David & Grace Denholm
Fred & Helen Otto Charles H Colpitts Gill & Anita Lavallee Michael & Nance Smith Shirley G. Bernard Marguerite Denman
Marlene & Ray Peets J. R. Connell Marcel & Louise Lavallee Jayne & William Smitten Keith & Joyce Berriman Jean & Ann Deschenes
Dr. & Mrs. Fordyce C Pier Walter & Judith Cook Mr. & Mrs. H. G. Lawrence Carla Sobolewski Miriam M Bertsch-Mann Eva Dezse
Paul & Doreen Preville Dr. David R. Cornish Marilyn Lemay John & Brenda Sowiak Fran Bittman Gordon & Verle Dickau
Robert & Anita Pritchard Harold & Glenys Cuts E & M Lindberg Curtis Strobeck Mr. Rene Blais Dr. Tammarie Heit
Deborah Reinhart Owen & Linda De Bathe Mary Lister Ron & Marion Stroud Anne Blatz Betty-Lou Docherty
Helen Resta Bob & Cathy de Frece David Lloyd Peter & Linda Taschuk Ray & Marg Bobowski Nicole & Danny Dodds
Cindy Richardson Ingrid de Kock Nancy Lord Merle & Neil Taylor Harvey & Elly Bodner Nancy Donnelly
G. Ridge John & Ann Dea Bob Losie Charles Thompson Alex Boehm Bill & Sharon Donnelly
Bruce & Wendy Rieck Frank DeAngelis Janet & Bill Lywood Kathleen & Michael Tomyn Karen Bohaychuk Burke & Karon Dorcas
Allan & Karen Robertson Lisa Denesiuk Ian MacDonald Sandro & Cathy Torrieri Mike & Annette Boorman Marc & Allison Downey-
Dr. Martine Roy Colleen Dibden Evangeline MacDonald Jamison & Liam McCarthy Y. Bortnick Damato
Soly Sawada Nora J. Dickenson Dr. & Mrs. G. F. MacDonald Ron & Gail Unrau Cheryl & Gary Bosgoed Sharon Downs
Wayne & Tabea Schiewe Franklin & Herta Doherty Doug MacLean Wain & Zoria Verhegge Sarah Bouthillier Gary Duits
Dr. Eric & Elexis Schloss Greg & Gail Drechsler JoAnne Mahood Gerald & Elaine Verville David Boyle Kim Duke
Arnold & Lorraine Schmitz Richard & Marjie Drewry Lynn & Arnold Maki Mr. & Mrs. A. C. Visman E. Ross Bradley Ursula Duke
Malcolm Scott George Elaschuk The Malkin Family Allan & Bette Wachowich Barbara Bratland Alice Dumaine
Maureen Sharpe Jake & Marilyn Ens Stephen & Lynn Mandel Bruce & Lori Walker Thomas & Ailsa Bray Don & Mona Duncan
Kayla Shoctor Mr. & Mrs. A. Epler Rosemary Marks Doug Warren Barry & Angela Breadner Bruce & Benita Duncan
Kay & Walter Slemko Eric & Melinda Falkenberg Bev Martin Jack & Doreen Warwick- Bev & John Brennan Judy & Dick Dunlop
Dr. Peter J. Smith Poetz Sharon Matthias Foster Scott & Alma Bricker Francis & Muriel Dunnigan
Dale & Jane Somerville Jim & Joan Fargey Mrs. Patricia Mattson Ron & Sheila Weatherill David & Betty Jean Buchanan T. & S. Dyck
Mrs. Mary Anne Stanway Betty & Bill Faulder Norm & Kathy McClellan Kevin Wells The Burke Family Gary Dyck
Lexon Projects Inc. Shirley Forbes C. Bruce McGavin Kim Wheaton Aubrey & Evelyne Burrowes Carmen Dykes
Carol Suddards L. M. Ford Al & Pat McGeachy Donald White Adolf & Kathleen Buse Tim Eckert
Rein & Laurel Tammets Bruce & Margaret Foy Morag McLean Nancy & Walder White Hugh & Sheila Campbell Edmonton Tea & Coffee
Robert Teskey Ann Fraser Keith & Susan McNaughton Sheila White Anne & Peter Campbell Company
David & Carol Turner Kathy & William Friend Mrs. Jean McNeil Bruce & Nora Wisselink Pat Campbell David Edwards
CTC Golf Course Development Vincent & Ruth Friesen David McNeil Ron & Donna Worthington Mrs. K. K. Campbell Marion Elder
Stanley & Connie Varnhagen Don & Barbara Gardner Medhurst Family Mr. & Ms Forrest Wright Oksana & Michael Campese Jim Ellis
Joyce & Dennis Vass Mr. & Mrs. D. Gaylard David Melney Don Wright Mr. & Mrs. James Carlson Ruthanna Elson
Dr. R. C. & Patricia von Borstel Don & Diane Gibson Cody Meyer Luella & Mike Yakymyshyn Marilyn & John Carr Joe & Bonnie English
Greg Walker & Debi Harris Dr. Rod & Mrs. Giebelhaus Pamela Miles Ronald & Shirley Young Evelyn Carson Dr. Norman & Mrs. Enns
Dave’s Field Service Ltd. Shirley Gifford Marla Miller Mary Young Peter & Barbara Carstensen Trish & Marti Enokson
Arlene & Leverne Wasylynchuk Richard & Sandra Goatcher Shauna Miller & James Andrew & Marie-Therese Patricia Farley
Dr. Douglas & Jane Wilson Dennis Goddard Gillespie “PRINCIPAL ($100 TO $249)” Cave Marilyn Fedun
Calvin Wong & Eva Dedoming Gerda Goetz Rachel Milner Anonymous (97) Gerlinde Cegielny Mr. & Mrs. Robert Feeney
Geoffrey & Veronica Worsley Walter Goetz Laverne & Arron Nathan Dr. & Mrs. S.L. Aaron W. Cenek Werner Fenske
Slava Yopyk L. Neil Gower Q.C. Ruth A. New Juan & Eujnia Acevedo C. Chappell Lorne & Shirley Fincham
Ernest & Lily York Dr. Helen Sachs & Chris David Nixon & Lois Darcie Acton Patricia Chase Esther Fluevog
Graham LeVesconte Dr. Shirley Adams Lily Chen Jim Foord
“VIRTUOSO ($250 TO $499)” Betty Gravett Aaron & Jean Oshry Gail Adamson Monica Chesney Christine Ford
Anonymous (11) Lilian & Leslie Green Donna & Daniel Orobko Dr. Bernie & Miriam Adler John & Clara Chilton Shirley Forrest
Ross Abdurahman Marion Green Dr. & Mrs. Edward Papp Douglas & Todzia Aird Walter & Barbara Chornowol Joan Fouts-Mitchell
40 SIGNATURE www.EdmontonSymphony.com
Dorothy French William Harrison Roger & Catherine Langevin Donna Morrow Charles Schweger Mr Terry Veeman
Graeme Fricke Peter & Deborah Harrop Joan Langman Allan & Margaret Muir Ron & Dorothy Scott Trudy Velichka
Yvonne Gagnon Marilyn Hassard Harry & Judy Langner Pamela S. Muirhead Edna Scott Evan Verchomin
Elva Gallagher Paul Hastings Mike Lau Erin Mulcair Jason Scott Coby Verschuren
Phyllis & Vincent Gallant Lorne & Faye Hatch Bin Lau Ronald & Betty Mullen Robert & Dorothy Stoutjesdyk Dr. D. Vick
Calvin Gardner Bill & Sandy Haun Irene Lau Mr. & Mrs. Don Murchie Andrew Searle Glenn & Lynn Vickers
Mr & Mrs Ronald J. Gardner Christine Hayashi Zonia Lazarowich Marney Mustard Dr. Perry & Sandra Segal Liv Vors
Catherine Garvey Mr. & Mrs. Hayman Robert Le Quelenec Mary Myers Emila Seifried Olive Wadson
Gail Gates Joy Hayward Shirley Leaker Elizabeth Myles Joseph & Denise Selann L. E. Wagner
Peter Gerbeth & Anna Gablenz George Hennig Mary Pik-Chun Lee Dale & Laurie Nagel Jacalyn Sernecky Eileen & Phillip Walker
Carmella & Gordon Gerlach Harry & Marlene Henshaw Sigmund Lee A. Nagyl Yakov & Larisa Shapiro William Wandio
Reg & Magali Gibbins Elvira Hil Dr Maurice Legris Darlene Mehring Dr. R. W. Sherbaniuk Cindy Wandio
Neil & Twyla Gibson Mrs. M. Hiller Dr. & Mrs. Ray E. Leppard Lorna Nesdole Gary Silsbe Christopher Ward
Berniece Gildner Patsy Ho Bill & June Lerner Al Neufeld Sidney Simpson & Lou Abigail & Glen Warren
Randy Girard John & Donna Hogg Dyann Lewis Robin & Melonia Nicol Lesperance Lyn Watamaniuk
Kevin & Alice Gleeson Kathy Hogman James Lewis Jana Nigrin John & Cathy Sinclair Doug Watt
Drs. Judy & Hakan Gnarpe David Holbrow Susan Lieberman David Norman Alayne Sinclair R&y Webber
Ms Gaie Goin Simon Hollinghurst Leslie Philip Lin Elizabeth Nunez Gerry & Barbara Sinn Brenda Wegmann
J. Guy & Susan Gokiert Shannon Hollman-Merz Ross Lindskoog Ellen Nygaard Terry & Yvonne Slemko Beth Weintrop
Derek & Marnie Gomez Agnes Hoveland Elizabeth Lint John Oberg E. J. Sloane Dr. Sam & Eva Weisz
Darrell & Barbara Gotaas Beth Howson Sylvia Lo David Oberholtzer Jason Smith Dr. Muriel Whitaker
Pam Gowing-Ellenberger Martha Howson M C Lock Norman & Margaret Olson Edward & Eluned Smith Edward Wiebe
Marilyn Graham Miroslav Hruska Doug & Joan Longley Emily & Daniel Ong Ed & Paula Snyder Mary Wilke
Charles & Ann Grant Joan Hube Andreas Loutas Mr. & Mrs. James Orieux Elaine Solez Dale Wilkie
Ian Graves Peter & Erika Huellstrung Susan Lynch Joan O’Shea The Sonnenberg Family Billie Wilkins
Sheila Greenberg Dr. Sheila Hughes Ward Mabbutt Cathy Ann Pachnowski Dr. Brian & Marnie Sproule Jean Wilson
Margaret Greenhill Peggy Humbert John A. & Marilyn C. Bill & Linda Paddon Jmaes & Linda Spurr Wayne & Beverly Winkelman
Jim & Dianna Greer Lynne Hunt MacDonald Tim Paetkau Robert & Betty Squair Susan Wirtanen
Willa Grierson George & Barbara Iwaniuk Brenda MacDonald John Pater & Michelle Hugh & Anne-Marie Stacey Barbara Wood
Myrna Grimm Ed & Kathy Jackson Campbell & Amy Mackenzie Vandermolen Mr. Robert Stainthorp Dennis & Jean Woodrow
Bob & Judy Grose Stuart & Kathy Jackson Eva M. Macklam Mary Paul David & Yvette Starko Morley & Pat Workun
E. Guilfoyle Lorna Jamison Jack & Cora MacMillan Paulson Family Phyllis Sterling Lynn Yakoweshen
Sheila Gynane Mr. J. W. & Mrs. Jansen Ed & Lu MacMillan Chris & Suzy Peacocke Margaret Stevenson John & Yvonne Yamamoto
M. E. Haggerty Dr. Andrew J. Jarema Marc Macolor John E. Pedersen Michelle Stevenson Jack & Irma Young
Lea Halinen Karl Jensen William MacRitchie Leslie Penny David & Ruth Stewart George & Gloria Zaharia
Carlota Hammond Garry Karst & Maureen Sandy & Cecile Mactaggart Milton Perla Shirley A. Stewart Barry Zalmanowitz & June
Carol & Neil Handelsman Jensen-Karst Ari Mansell Marion Perrin Karen Stix Ross
Anita Hanrahan Gilbert & Silvia Jespersen Antoinette Marchand Don & Margaret Peterson Frank Stockall
Elaine & Bohdan Harasymiw Elizabeth Johnson Estelle I. Marshall Lillian Pheasey Mrs. Dianne Storey IN MEMORIAM
Anne Harder Don H. Johnson Maurine Maslen Christopher Piggott Elizabeth Storochuk Barney Baker
Lois Harder & Curtis Clarke Mrs. T. N. Johnston Katherine Matheson Gerry Piro A. Strack Alan Belcher
Beatrice Harke Dr. Larry Judge Karen Mazurek Dennis & Virginia Pohranychny Lucille Strobl Dr. Grace Chan
Ruth Harle Vincent & Janet Kath Gwen Mazurek Stephanie & Wade Poitras Colleen Sullivan Dr. David Cook
Norma Harper John & Sue Keating Carol & Mike McArthur Dr. Peter & Barbara Prinsen Julius & Jean Sult James Daniels
Larry Harris Margaret Keene Cherrill & Patrick McCall Marlene & Robert Pruss Merna Summers Edward Dobko
David & Wendy Harrison Mike & Sheilagh Kelly Mr. & Mrs. R.E. McCallum Cindy Pudrycki Dr. & Mrs. Guy Swinnerton Ms Doderai
William Harrison Joyce Kembry Alma McConnell Jeanne & Eugene Ratsoy Jerry & Violet Sykes Ken Gillett
Peter & Deborah Harrop Marina Kennedy Ronald N. McElhaney Erika Ratzlaff Chris & Alina Szaszkiewicz Jack Harstone
Marilyn Hassard Joanne Kenny Ken & Phyllis McFadden Joan Reiffenstein Elizabeth Szynkowski Marguerite Elizabeth Higham
Pam Gowing-Ellenberger Vera Kichton Jan McFarlane Ann Marie E Reinson John & Marvel Taekema Doreen Hill
Marilyn Graham Irene King Mrs Patricia McGoey Alla Rekhson David & Donna Tam James C. Hunter
Charles & Ann Grant Harry Kirkand A. McIntosh Jeff & Nicole Reynolds R & S. Teply Vern Hunter
Ian Graves Borden & Vivien Kisilevich Ruth McKinley Stacey Richelhoff Dr. & Mrs. Timothy Terry Ilse Koerner
Sheila Greenberg Barbara & Elmer Kittlitz Gordon & Kathleen McLeod Mrs. Natalie Rickenberg Jeff Tetz Almeda Lysne
Margaret Greenhill Maxine Klak Betty McLuhan Sheila Ringrose Irmgard Teubert Dr. Sherburne McCurdy
Jim & Dianna Greer Alice Klassen Les & Caroline McManus Joyce Ritter Mr. & Mrs. H. Thiessen Flo McGavin
Willa Grierson Ella Kolm Jan McMillan Debra & Don Robichaud Adele Thurston Blair McPherson
Myrna Grimm Christine Kong Tim McNamara & Michele Jeff Robinson Michael & Heime Thwaites Donald A. Middleton
Bob & Judy Grose Joe Koopmans Perret G. W. Rocholl Nancy Tong Roderick & Blanche Moses x”1
E. Guilfoyle Joe Kostler Averie & Carman McNary Samuel R. Rogers Todd Tougas Matthew William Miles
Sheila Gynane Sylvia Kother Isabel McRae Maxwell Rogers Ernie & Ellinor Townend Charles Pei
M. E. Haggerty Ruth & Harvey Krahn Mr. & Mrs. Bert Meeker Alex & Mary Lou Rose Andrew & Mary Ann Alberta Rose Pelland
Lea Halinen Irvin Krezanoski Kenneth & Donna Meen June Ross Trachimowich Helen Petersen Bentley
Carlota Hammond Mickey & Sylvia Krikun Ms Marilyn Melnyk Dr. & Mrs. Richard E. Rossall Larry Trekofski Catherine C. Rogers
Carol & Neil Handelsman Gerhard & Wilma Krisch Joe Meyers James Sabo Louis Trempe Daphne Rogers
Anita Hanrahan Brian & Seaneen Kropf Brigida Meza Ms Nicole Salamon Lloyd W. Trevoy Dr. Anna Rudovics
Elaine & Bohdan Harasymiw Jerome Kuefler J. Garnett Millard Judith L. Sangster William & Ursula Tuchak Dr. David Schiff
Anne Harder Peter & Ashley Kwan Jack Miller & Miriam Sheckter Ms Susan Savage Sarah Tungland Vern Schwab
Lois Harder & Curtis Clarke C. Labrentz Brian & Valerie Miller Frances Savage Lorene Turner V W M Smith
Beatrice Harke Kay Lachman Cecily Mills B & T Sawyer Mrs. J. S. Tyler Lydia Takats
Ruth Harle Maggie Laing Catherine Milson Frank & Gertrude Schoblocher Felix & Violet Urban Alta Wood
Norma Harper Carol & Bob Lamont David J Mah Ming Pamela Scholotiuk Henriette van Hees Bernard Wood
Larry Harris Madeleine Landry Gordon & Helen Mongraw Magda Schouten Dennis & Jean Vance Metro “Mac” Zelisko
David & Wendy Harrison Dennis & Roberta Lane Rod & June Morgan Dr. Werner B. Schulze Lloyd & Sheila Vasicek
FALL 2010 SIGNATURE 41
October 23, 26,
28, 2010 • 7:30pm
The Northern Alberta
Jubilee Auditorium
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SUPPORTCommunity Support of the ESO
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.
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Robbins Lighter Classics Master series / Sunday Showcase / ESO Esso Symphony for Kids / Symphony Under the SKy/
Presents / Late Night with Bill Eddins Handel’s Messiah / A Family Christmas Concert
Sep 15 at 7:30 pm
Midweek Classics
Jens Lindemann plays
Bach and Vivaldi
Sep 17 & 18 at 8 pm
Robbins Pops
Jens Lindemann at the
Pops
Sep 25 at 8 pm
Landmark Classic
Masters
Mozart’s “Turkish”
Concerto
Sep 30 at 8 pm
Robbins Lighter
Classics
Flamenco and Other
Spanish Delights
NOVEMBER
Nov 1 at 7:30 pm
Symphony Specials
Chantal Kreviazuk
Nov 6 at 2 pm
ESSO Symphony for
Kids
Emily Saves the
Orchestra
Nov 9 at 7:30 pm
Symphony Specials
An Evening with Procol
Harum & the Edmonton
Symphony
Nov 12 at 7:30 pm
Friday Masters
Mendelssohn’s Violin
Concerto
Nov 13 at 8 pm
Landmark Classic
Masters
Mendelssohn’s Violin
Concerto
Nov 18 at 8 pm
Dec 16 at 8 pm
Robbins Lighter
Classics
Glad Tidings – A Lightly
Classical Christmas
Dec 17 & 18 at 8 pm
Robbins Pops
Christmas Pops
JANUARY
Jan 8 at 8 pm
Landmark Classic
Masters
Saint-Saëns’ Second
Piano Concerto
Jan 13 at 8 pm
Robbins Lighter
Classics
Tales from Ukraine
Chopin
Symphony
MARCH
CALENDAR
Feb 22 at 7:30 pm
ESO Presents
Rafał Blechacz plays
Feb 25 at 7:30 pm
Friday Masters
Beethoven’s “Eroica”
Symphony
Feb 26 at 8 pm
Landmark Classic
Masters
Beethoven’s “Eroica”
Mar 3 at 8 pm
Robbins Lighter
Classics
Charlie Chaplin’s
The Gold Rush
Mar 5 at 2 pm
ESSO Symphony
for Kids
Charlie Chaplin’s
The Gold Rush
MAY
May 7 at 2 pm
ESSO Symphony
for Kids
Al Simmons’ Symphony
Party
May 14 at 8 pm
Landmark Classic
Masters
Tchaikovsky’s “Polish”
Symphony
May 19 at 8 pm
Robbins Lighter
Classics
Tom Allen’s Classical
Goodtime Variety Show
May 25 at 7:30 pm
Midweek Classics
Angela Cheng plays
Mozart
May 29 at 2 pm
Jan 15 at 2 pm
OCTOBER Robbins Lighter ESSO Symphony for Mar 15 at 7:30 pm Sunday Showcase
Classics Kids Symphony Specials Beethoven’s Third
Oct 3 at 2 pm ESO Showcase Roald Dahl’s Little Red Don’t Eat the Yellow Piano Concerto
Sunday Showcase Riding Hood Snow – The ESO
The Four Seasons Nov 21 at 2 pm plays Zappa
Sunday Showcase Jan 21 at 9:30 pm JUNE
Oct 5 at 7:30 pm Saint-Saëns’ First Cello Late Night with Bill Mar 18 & 19 at 8 pm
Fundraising Gala with Concerto Eddins Robbins Pops Jun 1 at 7:30 pm
Cirque de la Symphonie Late Night Percussion Ben Vereen ESO Presents
Nov 24 at 7:30 pm Pieter Wispelwey, cello
Oct 15 at 7:30 pm Midweek Classics Jan 22 at 8 pm Mar 25 at 7:30 pm
Friday Masters Haydn’s “Surprise” Landmark Classic Friday Masters Jun 3 at 9:30 pm
Fialkowska plays Symphony Masters Duruflé’s Requiem Late Night with Bill
Chopin Concerto for Percussion Eddins
Nov 27 at 8 pm Mar 26 at 8 pm Late Night 1900s
Oct 16 at 8 pm Landmark Classic Jan 26 at 7:30 pm Landmark Classic
Landmark Classic Masters Midweek Classics Masters Jun 4 at 8 pm
Masters Rolston and Fewer play Violin & Viola Duruflé’s Requiem Landmark Classic
Fialkowska plays Brahms Masters
Chopin Jan 28 at 7 pm Prokofiev’s Fifth
Oct 20 at 7:30 pm
Nov 30 at 7:30 pm
Symphony Specials
Flavours of BC’s APRIL Symphony
Naramata Bench
Drams & Draughts Michael Kaeshammer’s Apr 15 & 16 at 8 pm Jun 10 & 11 at 8 pm
A Festival of Fine The Days of Christmas Robbins Pops Robbins Pops
Whisky and Beer FEBRUARY Pops Goes Vegas! Hollywood’s Red Carpet
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