eso signature magazine oct/nov 2012

OCT

/NOV

201

2

FEELIN’ GROOVYThe sounds of Simon & Garfunkel

LIGHTEN UP!Robbins Lighter Classics gets silly

DAVIS CONCERT ORGANCelebrating 10 glorious years

CAMERON CARPENTER

Back to back organ spectaculars

CAMERON CARPENTER

CAMERON CARPENTER



000Sig-AirCanada-FP.indd 1 8/24/12 3:20:41 PM Signature2_p32-01.indd 1 10/2/12 10:24:04 AM

WELL EQUIPPED FROM: $47,309* Includes Freight/PDI and block heater

Edmonton’s Leading Lexus Dealershipwww.lexusofedmonton.ca Conveniently located on 170 Street 780-466-8300

THE ALL-NEW RX

FUNCTION IN ITS MOST EXHILARATING FORM

LEXUS OF EDMONTON IS PROUD TO SPONSOR THE EDMONTON SYMPHONY ORCHESTRA

ThE NEW RX SERIES STaRTINg FROM $47, 325*INCLUDES FREIGHT, PDI AND BLOCK HEATER

SECURITY DEPOSIT WAIVED

Down Payment Monthly Lease Payment

$5,000*

$2,500*

$0*

$515*

$570*

$625*

LEASE ORFINANCE FORUP TO 48 MO.

2.8%*

* Prices and payments are subject to change without notice. Contact the Lexus of Edmonton dealership for complete details.

RX2013 RX 350

000Sig-Lexus-FP.indd 1 9/21/12 2:33:51 PMSignature2_p02-03.indd 2 10/2/12 8:44:17 AM

Cameron Carpenter is shaking up what an organ performance can be. This electrifying performer is featured in back-to-back concerts: Late Night with Bill Eddins November 9 (see page 18), and the Landmark Classic Masters November 10 (see page 21). Also, read more about him on pages 10 & 11. Cover photo by Michael Hart.

13

WELCOME

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

EDMONTON SYMPHONY ORCHESTRA 2012/2013

REVOLUTIONARY SOUNDCameron Carpenter helps ESO celebrate the Davis Concert Organ’s 10th Anniversary

FRIDAY MASTERS / LANDMARK CLASSIC MASTERSCHI PLAYS CHOPIN (OCTOBER 12 & 13)

Gregory Vajda, conductorKatherine Chi, piano

ROBBINS POPSTHE SOUNDS OF SIMON & GARFUNKEL (OCTOBER 26 & 27)

Michael Krajewski, conductorA.J. Swearingen & Jonathan Beedle, vocalists

LATE NIGHT WITH BILL EDDINSORGAN SATURATION (NOVEMBER 9)

William Eddins, conductorCameron Carpenter, organ

LANDMARK CLASSIC MASTERSTRIUMPHANT ORGAN TRIBUTE (NOVEMBER 10)


ROBBINS LIGHTER CLASSICSSTORIES & MUSIC (NOVEMBER 15)

Lucas Waldin, conductorPeter Brown, narrator

STORIES FROM THE AUDIENCE

OVERTURE INFORMATION SESSION & TOUR

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

pg. 5

pg. 6

pg. 7

pg. 10

pg. 23

pg. 26

pg. 27

pg. 29

SIGNATURE Contents

Volume 28, Number 2 | OCTOBER/NOVEMBER 2 0 1 2

pg. 13

pg. 16

pg. 18

pg. 21

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

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

ESO EDITOR D.T. BakerPROGRAM NOTES D.T. Baker

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

PUBLISHED BY

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

PUBLISHER Ruth Kelly ASSOCIATE PUBLISHER Joyce Byrne EDITOR Michelle Lindstrom ART DIRECTOR Charles Burke ASSOCIATE ART DIRECTOR Andrea deBoer ASSISTANT ART DIRECTOR Colin Spence ADVERTISING SALES Anita McGillis Glenda Dennis Kathy Kelley David Frazier

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

Contents copyright 2012 by Edmonton Symphony Orchestra/Francis Winspear Centre for Music. No part of this publication should be reproduced without written permission.

ON THE COVER

16

23

SIGNATURE 3OCTOBER/NOVEMBER 2012

WELL EQUIPPED FROM: $47,309* Includes Freight/PDI and block heater

Edmonton’s Leading Lexus Dealershipwww.lexusofedmonton.ca Conveniently located on 170 Street 780-466-8300

THE ALL-NEW RX

FUNCTION IN ITS MOST EXHILARATING FORM

LEXUS OF EDMONTON IS PROUD TO SPONSOR THE EDMONTON SYMPHONY ORCHESTRA

ThE NEW RX SERIES STaRTINg FROM $47, 325*INCLUDES FREIGHT, PDI AND BLOCK HEATER

SECURITY DEPOSIT WAIVED

Down Payment Monthly Lease Payment

$5,000*

$2,500*

$0*

$515*

$570*

$625*

LEASE ORFINANCE FORUP TO 48 MO.

2.8%*

* Prices and payments are subject to change without notice. Contact the Lexus of Edmonton dealership for complete details.

RX2013 RX 350

000Sig-Lexus-FP.indd 1 9/21/12 2:33:51 PM

THE EDMONTON SYMPHONY ORCHESTRA2012/2013 SEASON

Signature2_p02-03.indd 3 10/2/12 8:44:43 AM

WSick of particle board? Veneers?

Stapled together cardboard? Tired of flat-packed, mass-produced, self-assemble, disposable furniture?

Us too.

Custom Handcrafted Solid Hardwood Furniture

Simply Amish Edmonton2840 Calgary Trail Edmonton, Alberta

780-701-0284

bonton.caCharleston Bread

The destination for fine bread and European pastries.

8720–149 Street, Edmonton

Well-bred

Bachelor of Music in Jazz and Contemporary Popular MusicA new four-year academic degree. Launched in September 2011, Edmonton, AB.www.MacEwan.ca/MusicDegree

Music Diploma ProgramMacEwan’s acclaimed two-year program. Developing musical talent for over 30 years.www.MacEwan.ca/MusicDiploma

Creative. Community. You’ll fit right in.

Thank you for the generous contribution made by the Robbins Foundation who made this advertisement possible.

000Sig1.MacEwan_1-2H.indd 1 8/24/11 9:16:34 AM


WWHE SENSE OF PRIDE FELT THROUGHOUT THE CAPITAL REGION WAS ENORMOUS when the doors of the Francis Winspear Centre for Music were fi rst opened 15 years ago –

and justifi ably so. And yet, that big open white space above the orchestra – the space that was crying out for an organ – was something you couldn’t help but notice.

As the Winspear Centre, like the ESO itself, is a not-for-profi t organization, we relied on the generosity of the community, and in particular Dr. Stuart Davis, to make that dream a reality. In this issue of Signature, our magnifi cent Davis Concert Organ gets a major spotlight with two tremendous performances by the exciting Cameron Carpenter (see pages 18 & 21), and an in-depth profi le on pages 10 & 11.

� e realization of the dream of our own concert hall, and then being able to crown it with such a majestic instrument, are testaments to the dedication we all have, the ownership we all feel, and to the cultural vitality of our area. Our sense of community pride in this amazing concert hall remains undiminished after all these years. With the generosity you have shown, we feel as privileged to serve this community now as we all did back in 1997.

T

Annemarie PetrovWilliam Eddins

ESO / Winspear Centre Vision: Providing outstanding music experiences for individuals, families and the community and a place where those experiences evoke the height of personal emotion, adventure and excitement.

WWWWWWWELCOMEWWWELCOMEWW!WW!WW!WWELCOME!W !W !W !WSick of particle board? Veneers?

Stapled together cardboard? Tired of flat-packed, mass-produced, self-assemble, disposable furniture?

Us too.

Custom Handcrafted Solid Hardwood Furniture

Simply Amish Edmonton2840 Calgary Trail Edmonton, Alberta

780-701-0284

Bachelor of Music in Jazz and Contemporary Popular MusicA new four-year academic degree. Launched in September 2011, Edmonton, AB.www.MacEwan.ca/MusicDegree

Music Diploma ProgramMacEwan’s acclaimed two-year program. Developing musical talent for over 30 years.www.MacEwan.ca/MusicDiploma

Creative. Community. You’ll fit right in.

Thank you for the generous contribution made by the Robbins Foundation who made this advertisement possible.

000Sig1.MacEwan_1-2H.indd 1 8/24/11 9:16:34 AM


AAAAAAAAAow in his eighth season as Music Director of the Edmonton Symphony Orchestra, WILLIAM

EDDINS has a captivating energy, a magnetic stage pres-ence, and an adventurous musical curiosity that contin-ues to propel the orchestra to unique, new and exciting achievements. His commitment to the entire spectrum of the ESO audience brings him to the podium for perfor-mances in every subscription series, as well as for a wide variety of galas and specials.

A distinguished and versatile pianist, Bill was bitten by the conducting bug while in his sophomore year at the Eastman School of Music. In 1989, he began conduct-ing studies at the University of Southern California with Daniel Lewis, and Assistant Conductorships with both the Minnesota Orchestra and the Chicago Symphony (the latter under the leadership of Daniel Barenboim) followed.

Bill has many non-musical hobbies including cooking, eating, discussing food and planning dinner parties. He

N

RIC BUCHMANN studied violin at the Conservatoire de musique de Montréal

and at the Université de Montréal, where he earned a Bachelor of Music and a DESS degree. In 2001, he moved to Los Angeles to continue his studies at the University of Southern California. Two years later, he joined the New World Symphony in Miami Beach where he played under the direction of Michael Tilson � omas and many other music directors from all over the world. His

ARTISTIC & LEADERSHIP TEAM

aving recently completed his tenure as Enbridge Resident Conductor of the Edmonton Symphony

Orchestra, LUCAS WALDIN returns to the ESO in the dual role of Enbridge Artist in Residence and Community Ambassador.

� is newly created position will see a focus on establishing strong ties with our community through

inventive outreach initiatives in addition to pro-gramming and presenting the ESO’s education and family concerts. With frequent appearances as well on a variety of subscription series, Lucas will lead the ESO in more than 20 concerts during the 2012/13 season.

During his time as Enbridge Resident Conduc-tor, Lucas collaborated with some of North Amer-ica’s fi nest musicians including Jens Lindemann, Angela Cheng and Sergei Babayan. An experi-enced conductor of pops and crossover, he has worked with a range of artists such as Ben Folds, Chantal Kreviazuk and the Canadian Tenors.

Strongly dedicated to Canadian composers, he has performed over 25 Canadian compositions in-cluding 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 the 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 fl ute at the

violin teachers include Sonia Jelinkova, Vladimir Landsman, Jean-François Rivest, William Preucil and Martin Chalifour.

Eric Buchmann joined the First Violin section of the Edmonton Symphony Orchestra in 2006, and was appointed Associate Concertmaster fol-lowing auditions in 2009. Since then, Mr. Buch-mann has acted as Interim Concertmaster with the ESO, performing as soloist on numerous occa-sions. He is also a member of the Alberta Baroque Ensemble under the direction of Paul Schieman.

is also quite fond of biking, tennis, reading and pinball. He recently completed building a state-of-the-art recording studio at his home in Minneapo-lis, where he lives with his wife Jen (a clarinetist), and their sons Raef and Riley.

While conducting has been his principal pur-suit, he continues to perform as pianist, organist and harpsichordist. He has conducted the ESO from the keyboard on many occasions, and in 2007, joined then-ESO concertmaster Martin Riseley and cellist Yo-Yo Ma in Brahms’s Piano Trio No. 1 at a gala concert celebrating the 10th anniversary of the Winspear Centre. In 2008, he conducted Gershwin’s Porgy and Bess for Opéra Lyon, leading to repeat performances in Lyon, London, and at the Edinburgh International Festival in 2010. Other international highlights include a 2009 tour of South Africa, where Bill conducted three gala concerts with soprano Renée

H

EPh

oto:

Rac

hel J

Pho

togr

aphy

Phot

o: D

ougl

as D

olla

rs

Phot

o: M

icha

el W

oolle

y

Fleming and the KwaZulu-Natal Philhar-monic Orchestra. On May 8, 2012, Bill made his Carnegie Hall debut conducting the ESO at a memorable concert featuring four Canadian soloists, and music by three Canadian composers alongside Martinů’s rarely-performed Symphony No. 1.

Cleveland Institute of Music, and has conducted in master classes with Helmuth Rilling, Michael Tilson-� omas, 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 appointments with the Edmonton Symphony, Lucas was twice a Discovery Series Conductor at the Oregon Bach Festival and Assistant Conductor of Cleveland’s contemporary orchestra Red {an orchestra}. He has performed with a number of orchestras across Europe, including the Jugendsinfonieorchester Kassel, Bachakademie Stuttgart, and Staatstheater Cottbus. � e 2012/13 season will see debuts with the Modesto Sym-phony Orchestra, the Kitchener-Waterloo Symphony and Orchestra London Canada.

Phot

o: M

icha

el W

oolle

y

Phot

o: M

icha

el W

oolle

y

SIGNATURE www.EdmontonSymphony.com6


NNEMARIE PETROV, Executive Director of the Edmonton

Symphony Orchestra (ESO) and Francis Winspear Centre for Music, brings more than 25 years of experience to a role that oversees one of Alberta’s fl agship performing ensembles and one of the world’s premier concert halls.

With a combined annual budget of over $12 million, Annemarie supervises day-to-day operations, long-term plan-ning, government relations and com-

A

In addition to our own concerts, the ESO provides orchestral

accompaniment for performances by Edmonton Opera and Alberta Ballet.

Composer in Residence program generously sponsored by

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

1 PRINCIPAL2 ASSISTANT PRINCIPAL3 ON LEAVE

Janice QuinnRhonda Taft 3

Rob Aldridge

[ FLUTE ]Elizabeth Koch 1

Shelley Younge 2

[ OBOE ]Lidia Khaner 1

Paul Schieman 2

[ CLARINET ]Julianne Scott 1

David Quinn 2

[ BASSOON ]William Harrison 1

Edith Stacey 2

[ HORN ]Allene Hackleman 1

Megan Evans 2

Gerald Onciul 2

Donald Plumb 2

[ TRUMPET ]Robin Doyon 1

William Dimmer 2

[ TROMBONE ]John McPherson 1

Kathryn Macintosh 2

[ BASS TROMBONE ]Christopher Taylor 1

[ TUBA ]Scott Whetham 1

[ TIMPANI ]Barry Nemish 1

[ PERCUSSION ]Brian Jones 1

[ VIOLIN I ]Eric Buchmann, Interim ConcertmasterThe Concertmaster’s Chair is sponsored by the John & Barbara Poole familyVirginie Gagné,Interim Assistant Concertmaster Broderyck OlsonRichard CaldwellJoanna Ciapka-SangsterAlissa Cheung 3

Anna KozakAiyana Anderson-Howatt 3

Neda YamachJim Cockell

[ VIOLIN II ]Dianne New 1

Susan Flook 2

Heather BergenPauline Bronstein 3

Robert HryciwZoë SellersMurray Vaasjo 3

Tatiana Warszynski

[ VIOLA ]Stefan Jungkind 1

Charles Pilon 2

Rhonda HenshawMikiko KohjitaniAndrew Bacon

[ CELLO ]Colin Ryan (1)The Stuart & Winona Davis Principal Cello ChairSheila Laughton 2

Ronda MetsziesGillian CaldwellDerek GomezVictor Pipkin

[ DOUBLE BASS ]Jan Urke 1

John Taylor 2

Phot

o: D

ougl

as D

olla

rs

THE EDMONTON SYMPHONY ORCHESTRA2012/2013 SEASON

OBERT RIVAL, a native Albertan, returns for a second

season as the Edmonton Symphony Orchestra’s Composer in Residence. His music, written in a contemporary tonal style and inspired by the Canadi-an wilderness, literature, and classical and romantic musical forms, has been described as “well crafted”, “engaging”, “immediately appealing”, “melodic and accessible”, “sophisticated”, and

R

ARTISTIC & LEADERSHIP TEAMARTISTIC & LEADERSHIP TEAM

Eric Filpula, Orchestra Personnel ManagerSheila Jones, Librarian

The following musicians may appear at performances in this issue:Aaron Au violinEddy Bayens bassoonJeanette Comeau violaElizabeth Faulkner fl uteJoel Gray trumpetMarie Krejcar violinAlexander Lozowski violin Regine Maier violinMichael Massey pianoJohn McCormick percussionBrian Sand trumpetDiana Sapozhnikov violinYukari Sasada bassThomas Schoen violinMartina Smazal viola Rob Spady clarinetJeremy Spurgeon pianoKate Svrcek violinBrian Thurgood percussionDan Waldron oboe

ORCHESTRA PERSONNEL

munity support of both organizations.A native of Montréal, Annemarie

is a graduate of McGill University where she majored in French Horn Performance. Following several years in Europe, she returned to Canada and stepped into the role of General Manager of Symphony New Brunswick. Work at the National Arts Centre Orchestra was followed by the Winnipeg Symphony Orchestra, where she also oversaw the popular Winnipeg New Music Festival. She joined the Edmonton Symphony Orchestra and Winspear Centre in 2007.

Annemarie’s profound love of the arts has been her guide in a career focused on every aspect of the concert experience – from international orches-tral tours to concerts in curling rinks in Canada’s North. She is fuelled by the belief that participation in live music is essential to our well-being and is driven to make it accessible to everyone. Annemarie is a frequent guest speaker at arts industry conferences and has served on the board of Orchestras Canada.

“memorable”. During his fi rst season, he composed a dramatic symphonic poem, Achilles & Scamander, and for the orchestra’s Carnegie Hall debut, Lullaby, lauded as an “atmospheric dream world” that he dedicated to his newborn son, Raphaël.

� e ESO also performed his light-hearted Scherzo “Crème Brûlée,”and on its education concerts, � e Great Northern Diver. Other orchestral works include Symphony No. 1 “Maligne Range,” and a children’s work, Maya the Bee. Rival oversees the ESO’s Young Composers’ Project. He has also launched two new initiatives: podcasts on contemporary music the orchestra programs and live-blogging of its open dress rehearsals. He holds a doctorate in composition from the University of Toronto, is married to Chantal-Andrée Samson, a realist oil painter, and enjoys running in Edmonton’s river valley. www.robertrival.com

[ HARP ]Nora Bumanis 1

William Eddins,Music Director Residence & Community Ambassador

Lucas Waldin, Enbridge Artist inComposer in ResidenceRobert Rival,

Phot

o: M

icha

el W

oolle

y



� e majority of us are sad to see the shorter days and cooler nights come, knowing that a prairie winter will soon be upon us. Sweaters get taken out of the back of the closet, toques and mittens dug out, and thoughts turn to putting winter tires on our cars. For those who love to cook, though, it means that a fall of feasting is upon us. Stock up on fresh vegetables from one of the many farmers’ markets in and around Edmonton before the end of the season. It’s time for vats of homemade soup and stews. Cheap tomatoes equal lots of pasta sauce for the freezer.

On the downside, comfort food always means it’s time to leave the summer sippers behind us for another season. However, it also means that it’s time to open up some hearty red wines to enjoy with whatever red meat you’ve decided to braise. � e upside is that nearly every wine-producing country produces richer red wines. As a general guideline, here are some easy wines to reach for: • Canada – Syrahs or cabernet francs from the southern

Okanagan Valley (Oliver and Osoyoos).• United States – Expand your horizons from Napa

cabernet sauvignons. Try a Washington syrah or merlot.• Argentina – It isn’t all about malbec anymore. Try a

cabernet sauvignon, you’ll be pleasantly surprised.• Italy – Northern Italian food is all about the comfort food.

Splurge on a Barolo from Piemonte, or a super tuscan blend from Veneto.

• Spain – Tempranillo from the Toro region that’s got a bit of bottle age on it. � e beauty of Spanish wine is that you can often fi nd a bottle that’s a little older that’s not too pricey.

“Here’s to alcohol, the rose coloured glasses of life.”

– F. Scott FitzgeraldIf wine isn’t up your alley and beer is, it’s getting into the stout, saison and porter season. � ere has been a large infl ux of new beers over the summer, but many of our favourite brewers are now brewing small lots of seasonal brews. It’s fantastic because it’s often about the Brewmaster having a little fun and trying something diff erent. � ink of it like the Chef ’s Special at your favourite restaurant. Often, the seasonal options come in 650ml or 750ml bottles, rather than a six-pack. � is may seem like a lot, but consider that this time of year, the beers are often richer; fuller fl avoured and therefore, not considered a “session beer”. � ese beers can be paired up with food just as well as wine can, so don’t be afraid to try!

Sadly, although gin and tonics are refreshing on a hot day, they don’t seem to have the same eff ect in fall. But try spiced rum. It has seen many new additions, so try an old favourite or something new, pull out the mulling spices and apple cider. Mulled (and spiked) apple cider is a great warm-up from fi nishing the yardwork, simply enjoying the outdoors on foot or bike before the snow fl ies, or for something diff erent in the thermos that you take along to the football game. See, fall isn’t such a terrible time after all.

“No spring nor summer beauty hath such grace,

as I have seen in one autumnal face.”

– John Donne

RICHER REDS FOR FALL SEASONAL BREWS

A monthly feature from Sherbrooke Liquor Store


Get the Latest from Sherbrooke Liquor

Facebook. New product updatesIf you are not a friend of Sherbrooke Liquor on Facebook, you may have missed some recent announcements about

new products. If you’re interested in the most current information about new products or events at Sherbrooke, join us on Facebook for daily updates.

BeerBlast! Follow us on Twitter!Stay current with Sherbrooke Liquor. Be the 1st to know about the new products that arrive constantly on our

shelves. We like to share anything that we fi nd interesting about most liquor products, and hope that you fi nd it interesting as well! Keep informed of any events we’re participating in!

Winesdays

11819 St. Albert Trail, Edmonton780-455-4556

Over 1,000 different brands of beer!

It was just a matter of time before someone came up with an advent calendar that’s not fi lled with chocolate or candy but something more fun for adults. In this case, it’s beer! Of course it is. Otherwise, why would Sherbrooke Liquor be excited about it?

Twenty-four days of premium European beer, in one handy (large) box. In the morning, open up the corresponding day, discover your beer for that day, make sure to put it in the fridge

so it’s nice and chilled by the time you get home from work. Spend a couple minutes of company time researching that day’s beer, and get your thirst whetted for your advent beer in the evening.

Remember, although this would be a great Christmas gift, it’s best to start opening the doors on December 1.

Not Just For Kids Anymore

Q: Why is there diff erent spellings of whisk(e)y?A: I’ve always gone by a simple rule – Scottish single malts are spelled without the “e”, and everything else (bourbon, Tennessee, Canadian rye, Canadian single malt, Japanese, Welsh, etc.) should have the letter. However, I decided to perform a little more digging to see what was the Internet’s world of experts decree.

Result – an answer that’s even more unclear than when I started. It would seem that tradition holds up far more than what the current rules dictate, especially when discussing American whiskeys and bourbons. And of course, the Scots insist that because their whiskey is the “real deal”, everything else should be marked with the extra letter. Canadian, Japanese, and Welsh whisky also consistently drop the letter. Everything else whiskey, whether it’s rye, corn, barley, etc., should be spelled “whiskey”. However, as many bloggers insist, be consistent. Have the bottle in front of you to ensure that you spell it correctly. � ere aren’t any hard and fast rules anymore.

with Sherbrooke Liquor

brands of beer!

Every Wednesday has become WINEsday at Sherbrooke Liquor from 4 – 7p.m. Our hosts, ISG Sommeliers Rosanne & Richard Repchuk choose two or three products to sample with our custom-ers, and compose a corresponding blog that is posted on our website (Sherbrooke Sips with R & R). � e blog is quite thorough with as much information as they can compile about the products, as well as food/recipes ideas. � ey’ve been handling this program for several years and have also helped host Winery Ambassadors during their time. If you like what you taste, you’ll receive 10% off of the choice.


FFTHERE ARE PROFESSIONAL ORGAN PLAYERS AND THEN THERE IS

Cameron Carpenter. � is young, unconventional musician took a com-plicated and powerful instrument, the pipe organ, and made it cool enough to attract tens of thousands of views of his past performances on YouTube.

Amongst Carpenter’s fans are the Edmonton Symphony Orchestra’s own Music Director Bill Eddins and Orchestra Operations Manager Jerrold Eilander. Both have played a pipe organ here and there professionally for the occasional performance but they sit back in awe and feel much more like hobbyists when Carpenter comes to play the Davis Concert Organ at the Winspear Centre. (So far, Carpenter has performed three times on the Davis Concert Organ and he is scheduled to perform three more times this fall – once without the ESO.)

“I put Cameron on a very short list of musicians who have radically revo-lutionized their own instruments,” Eddins says. “It includes Nicolò Paganini, Ludwig van Beethoven and Jimi Hendrix.”

Eilander’s opinion is similar, citing facts about the eloquent way Carpenter speaks to an audience regarding every piece of music he plays; that he makes his own organ shoes (which are apparently quite heavy); he burns 6,000 calories a day from practising 13 hours a day; and does 50 push ups before a show just to loosen up his back and shoulders. “He pushes the envelope so much and he’s just such a tremendous musician,” Eilander says.

� e time it takes an organist to familiarize himself with a new organ’s

stops, computer system like the Davis Concert Organ has (not all do), pedals and more, is lengthy. “I remember I sat there on stage for an hour and just watched Cameron absorb the instrument.” Eddins says about the last time he witnessed Carpenter practise in the Winspear Centre soon after arriving in Edmonton for a performance later in the week. “It was like Einstein sitting down with an abacus – he was just blowing through it like it was nothing.” With so much rehearsal time, even accomplished players get frustrated that they cannot physically carry the instrument they practised on for so long with them to their next performance – as you would a fl ute or violin.

Making all pipe organs the same doesn’t seem to be the answer, though, to reduce an organist’s required rehearsal time. Eilander says you don’t really want to make the instruments all the same. � at’s the beauty of them: dif-ferent styles, concepts, designers, technology, and original craftsmanship for each defi ne their resulting sounds. If done properly, and budget allows, a con-cert hall’s organ should be built to fi t the space but so often the hall is built fi rst and funding is needed for a proper pipe organ to follow.

It was a decade ago when a generous donation of $2 million was given by ESO patron Dr. Stuart Davis, in honour of his late wife Winona, which enabled the ESO organ committee to get the Davis Concert Organ built by Québec-based Orgues Létourneau. It was transported to Edmonton in pieces on fi ve semi-trucks across Canada to be installed in the spot at the back of Winspear stage that was left vacant for fi ve years, meant precisely for such a

LOUD & REVOLUTIONARYCAMERON CARPENTER PLAYS THE DAVIS CONCERT ORGAN LIKE NO OTHER

FFFFEATUREFFFEATUREFFFEATUREFFFEATUREFFFEATUREFFFFFEATUREF BY MICHELLE LINDSTROMFFFFFFFFFFFFFFFFFFFFFFFFFFFFFFEATUREFFFEATUREFFFEATUREFFFEATUREFFFEATUREFFFEATUREFFFEATUREFFFEATUREFFFEATUREFFFEATUREFFFEATUREFFFEATUREFFFEATUREFFFEATUREFFFEATUREFFFEATUREFFFEATUREFFFEATUREFFFEATUREFFFEATUREFFFEATUREFFFEATUREFFFEATUREFFFEATUREFFFEATUREFFFEATUREFFSIGNATURE www.EdmontonSymphony.com10


THE DAVIS CONCERT ORGANis Canada’s largest concert organ and second largest pipe organ in the country. It has 6,551 pipes, 122 ranks, 96 stops, four keyboards, a computer and a pedal board. The amazing addition to the Winspear Centre 10 years ago allows the ESO to perform a signifi cantly larger amount of music than it ever could have before the organ was installed in the concert hall.

“I put Cameron in a very short list of musicians who have radically revolutionized their own

instruments. It includes Nicolò Paganini, Ludwig van Beethoven and Jimi Hendrix.”

– Bill Eddins

LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY 2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON

LOUD AND REVOLUTIONARY 2012/2013 SEASON

LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY 2012/2013 SEASON

LOUD AND REVOLUTIONARY 2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON

LOUD AND REVOLUTIONARY 2012/2013 SEASON

LOUD AND REVOLUTIONARY LOUD AND REVOLUTIONARY 2012/2013 SEASON

LOUD AND REVOLUTIONARY

grand instrument. “� ere’s something infi nitely majestic to having a concert organ at your disposal,” Eddins says. “You can’t make more noise than this!”

Eilander recalls, at one of the September 2002 opening Davis Concert Organ performances, organist Christopher Herrick saying that they fi nally got it right, with the pipe organ match-ing the hall and the hall matching the pipe organ. “It has string sounds, it has fl utes, oboes, bassoons, you name it, it acts like another orchestra,” Eilander says. It’s a prized possession for the ESO, one that organists welcome the chance to play on when the opportu-nity arises.

“I realized a couple of years ago that, ‘Hey, I’m Music Director here and I know where they keep the key,’ ” Eddins says. “I love the music and I love the concept behind the instrument and I fi rmly believe that if I had been caught earlier, this would have been my career path – to be a professional organist.” He plays Bach, and only Bach, occasionally on the Davis Concert Organ to relax – although playing the instrument is physically and mentally taxing since your feet and hands are going in all diff erent directions.

Carpenter takes over each pipe organ he plays with expert speed and

innovation (using his thumb to play a melody on a lower keyboard while the other four fi ngers of that hand play on a keyboard above). It is part of his regu-lar performance to have a camera pointed at his feet and another at his hands with screens for the audience to watch in real time, since Carpenter’s back

faces them and they can only hear the magic he creates. “I’ve seen this kid do things that just have left me with my jaw hanging wide open and there are very few musicians alive today who can do that to me,” says Eddins.

Will the ESO audience this fall appreciate Carpenter’s improvisational style, fl ashy attire and jaw-dropping musical talent? It’s likely. Understand-ing the organ is not a requirement to

be able to love the sounds it makes, but much like when a patron understands how a musician plays an instrument, Eilander says, the respect for the musi-cian, orchestra, and music on stage is greatly enhanced.

Respect will not be hard to muster when watching Carpenter play in one of his upcoming October or November shows – whether you understand the makings of a pipe organ or not. Be a part of the “incredible sonic experience,” as Eddins says.



FFFFFHelping your business strike tHe rigHt cHord every time.


FFFFFFFFFArtists’ bios and program notes continue on pages 14 & 15.

2012/2013 SEASONF2012/2013 SEASONF2012/2013 SEASONF2012/2013 SEASONF2012/2013 SEASONF2012/2013 SEASONF2012/2013 SEASONF2012/2013 SEASONF2012/2013 SEASONF2012/2013 SEASONF2012/2013 SEASON2012/2013 SEASON2012/2013 SEASONChi Plays ChopinFriday, October 12 | 7:30 PM & Saturday, October 13 | 8 PM

Gregory Vajda, conductorKatherine Chi, piano

FRIDAY MASTERS & LANDMARK CLASSIC MASTERS

HFFFF A R T I S T B I O SARTIST BIOS

Afterthoughts, Friday post-performance, Main Lobby with Gregory Vajda & Katherine Chi

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

LIGETIConcert Românesc (13’)*

CHOPINPiano Concerto No. 2 in F minor, Opus 21 (32’)*

MaestosoLarghettoAllegretto vivace

INTERMISSION (20 minutes)

MENDELSSOHNA Midsummer Night’s Dream Overture, Op.21 (12’)*A Midsummer Night’s Dream: Incidental Music, Op.61 (selections) (20’)*

IntermezzoNocturneScherzoWedding March

Program subject to change*indicates approximate performance duration

ailed as a “young titan” by the Montréal Gazette, GREGORY VAJDAhas fast become one of the most sought-after conductors on the inter-

national scene. He is the sixth Music Director of the Huntsville Symphony. Concurrently, he continues to serve as Artistic and Music Director of Music in the Mountains in California, and has recently concluded his sixth and last year as Resident Conductor of the Oregon Symphony. In addition to his duties with these organizations, guest-conducting engagements during 2011/12 included a return to the Seattle Symphony and his debut leading the Toledo Symphony. Highlights of previous seasons include Mr. Vajda’s 2009/10 stint at the Hungarian Radio Symphony Orchestra, followed by his fi rst return to the Hungarian State Opera since immigrating to the U.S. Season 2008/09 marked Mr. Vajda’s introduction to the Salzburg Festival. He conducted the fi nal performance of Bartók’s Bluebeard’s Castle, before returning to the Atlanta Opera to lead La Cenerentola. During the 2007/08 season, he returned to Montréal Opera in addition to concerts with the Charlotte Symphony and Santa Rosa Symphony.

In past seasons, Gregory Vajda appeared with St. Paul Chamber Orches-tra, the Milwaukee Chamber Orchestra, the Calgary Philharmonic, the Winnipeg, Louisville and Omaha symphonies, the National Arts Centre Orchestra in Ottawa, Ensemble Intercon-temporain, and led the premiere of Hungar-ian composer György Ránki’s opera King Pomade’s New Clothes at the Hungarian State Opera. In addition to conducting, Vajda is also a gifted clarinetist and composer. He was hon-oured with the Zoltán Kodály State Scholarship for composers for 2000, and the Annie Fischer State Scholarship for music performers in 1999. Born in Budapest, Gregory Vajda studied composition at the Franz Liszt Academy of Music under Ervin Lukács. He was also a conducting pupil of well-known composer and conductor, Péter Eötvös.

Mr. Vajda last appeared with the ESO in January 2012.

Helping your business strike tHe rigHt cHord every time.

Series SponsorSeries Sponsor Media Sponsor



FFFF2012/2013 SEASONF2012/2013 SEASON2012/2013 SEASONF2012/2013 SEASONF2012/2013 SEASONF2012/2013 SEASONF2012/2013 SEASONF2012/2013 SEASONF2012/2013 SEASON2012/2013 SEASONF2012/2013 SEASONF2012/2013 SEASONF2012/2013 SEASONF2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASONianist KATHERINE CHI, fi rmly established as one of Canada’s

fastest rising stars, has performed throughout Europe and North America to great acclaim. “Ms. Chi displayed a keen musical intelligence and a powerful arsenal of technique,” wrote � e New York Times about her New York recital. Recent and upcoming performances include her debuts with the San Antonio Symphony, Huntsville Symphony Orchestra, and Richmond Symphony. She makes concerto appearances with the Calgary Philharmonic Orchestra and with I Musici de Montréal. While hailed for her interpretations of Mozart, she is

also acclaimed for performances of major romantic and 20th century concertos. Ms. Chi has also given memorable recitals in Hamburg, Hanover, Milan, Rome, and Salzburg. She has appeared with the CBC Radio Orchestra in Vancouver, the National Arts Centre Orchestra, Manitoba Chamber Orchestra, the Neue Philharmonie Westfalen, Toronto Sinfonia, and the Alabama, Calgary, Colorado, Columbus, Grand Rapids, Kitchener-Waterloo, Montréal, Ottawa, Philadelphia, Québec, � under Bay, Toronto, Vancouver, and Victoria Symphony Orchestras.

Katherine Chi gave her debut recital at the age of nine. A year later, she was ac-cepted to the prestigious Curtis Institute of Music. She continued studies with Russell Sherman and Wha Kyung Byun at the New England Conservatory in Boston, where she received her Master’s Degree and Graduate and Artist Diplo-mas. She later studied for two years at the International Piano Foundation in Como, Italy and at the Hochschule für Musik in Cologne. Other teachers of hers include Seymour Lipkin, Galina Eguirazarova, and Wassily Lobanov. Ms. Chi was a prizewinner at the 1998 Busoni International Piano Competition and was the fi rst Canadian and the fi rst woman to win Canada’s Honens International Piano Competition. Her debut recording, on the Arktos label, features works of Beethoven and Rachmaninoff .

Ms Chi last appeared with the ESO in January 2011.

Concert RomânescGYÖRGY LIGETI(b. Dicsöszentmárton, Transylvania, 1923 / d. Vienna, 2006)

First performance: 1971THIS IS THE ESO PREMIERE OF THE PIECE

YÖRGY LIGETI GREW UP IN A HUNGARIAN-SPEAKING part of Romania, and was fascinated by the cultural traditions to

which he was exposed. Valveless horns, bagpipes, and rustic fi ddling were part of village life, as were holiday traditions featuring musicians dressed as devils and sprites. Ligeti absorbed it all, bringing it with him to the Budapest Academy of Music as a student, and using its infl uence in his compositions. He returned to the Academy a year after graduating from it, now as a teacher, and it was while doing that, in 1951, that he fused some of those folk elements from his youth into his Concert Românesc (“Roma-nian Concerto”).

Hungary, however, was now on the other side of the Iron Curtain, and music was severely restricted. So the dissonances of Hungarian folk tradi-tion (which Ligeti said was one in which musicians played “against the grain”), may sound to us now as merely colourful and piquant, were enough for the work to be outlawed after its fi rst and only reading, and as a result, it would not be performed for another 20 years. � e work is in four short movements with no pauses between them. � e fast-slow-fast-slow nature is reminiscent of the traditional lassú and friss of Hungarian music (which Bartók also employed) in which a dreamy, lyrical slow section would be an-swered by a rough, rustic dance. Folk elements to listen for include the slow third section, where Ligeti instructs the horn players to use natural tuning, without valves, and the fi nal movement: a swirling dance with a prominent role for violin (Eric Buchmann) playing very much in a fi ddling folk style.

Piano Concerto No. 2 in F minor, Opus 21FRYDERYK CHOPIN(b. Zelazowa Wola, 1810 / d. Paris, 1849)

First performed: March 3, 1830 in WarsawLAST ESO PERFORMANCE: MARCH 2005

HOPIN COMPOSED BOTH OF HIS PIANO CONCERTOS before leaving his native Poland as a young man. � ey are works of

youth, and moreover, they are works infl uenced by the bravura pianism he was exposed to as a youth. Chopin’s concert experiences were limited to the touring virtuosi of the day – composer/pianists such as Hummel, Moscheles, and Kalkbrenner – who toured all over Europe with their fl ashy showcase concertos. So it’s no wonder that Chopin’s two youthful ventures into the concerto repertoire are in a similar vein. � e concerto published as the fi rst was actually written after the work to be performed tonight; parts of the score of this concerto were misplaced, resulting in the other getting published fi rst. Chopin performed the premiere a few days after his 20th birthday.

� e performances to which Chopin was exposed were not, however, the only music he heard. He was schooled on a steady diet of past masters by his teachers, including the music of Mozart and Bach. So if his fi rst attempt at a concerto seems rather formulaic in its overall design, the melodies that can only have come from Chopin’s genius are very apparent. � e maestoso

Friday Masters & Landmark Classic Masters Chi Plays Chopin

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

G

C

Special Thanks

Season SevenEdmonton Recital Society

Zemlinsky QuartetFrantišek Soucek, Petr Strížek – ViolinsPetr Holman – Viola, Vladimir Fortin – CelloOctober 28, 2012 (Sunday) 7:30 p.m.Muttart Hall, Alberta College Conservatory of Music10050 MacDonald Drive, Edmonton AB$35 (adult)/$25 (seniors)/$10 (students)

“This is ensemble playing at its finest – a perfect blend of four voices that sing, breathe and phrase as one. The sound is warm and full, vigorous yet never forced or raucous.” The Strad

This recital is sponsored by The Czech and Slovak Society of Arts and Sciences of Alberta.

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

P

www.EdmontonSymphony.com


fi rst movement, for example, features a sturdy orchestral opening, followed by the piano presenting, then rhapsodizing, on this material. With the entrance of the piano, however, it is clear that the soloist will be to the fore. Even in the exchanges with the orchestra, it is the piano that now presents new thematic ideas fi rst, while the orchestra punctuates, or provides dramatic replies, to the piano’s grand and eloquent statements.

A piano concerto in G minor by Iganz Moscheles provided the young Cho-pin the model for the Larghetto second movement. � e melody is a beautiful, wistful nocturne, once again introduced in the orchestra before the piano takes over. � e orchestra then provides a delicate shimmer under the piano’s graceful, delicately sparkling material. � e fi nale is based on Polish dance forms, with a main subject having a mazurka feel, contrasted by a scherzando in an oberek (a livelier variant of the mazurka) and is in a rondo form. If not quite a happy movement in its F minor key, the Allegretto vivace is nonethe-less extrovert and broad – and a taxing, rewarding showcase for the soloist.

A Midsummer Night’s Dream Overture, Op.21A Midsummer Night’s Dream: Incidental Music, Op.61 (selections)FELIX MENDELSSOHN(b. Hamburg, 1809 / d. Leipzig, 1847)

First performance of the overture: February 1, 1827 in StettinFirst performance of the incidental music: October 14, 1843 in PotsdamLAST ESO PERFORMANCE OF THE OVERTURE AND SELECTIONS FROM THE INCIDENTAL MUSIC: FEBRUARY 2006

ITH THE OVERTURE WRITTEN AT age 17, Felix Mendelssohn was

simply indulging his youthful fascination with the Shakespeare comedy. As it turned out however, this work, and the Octet written the year before, announced to the world that a ma-jor new talent had arrived. Written originally for piano duet (which Felix played with his gifted sister Fanny), Mendelssohn orches-trated the work and conducted its fi rst orchestral performance. One annotator noted of the overture, “After a few evocative chords, it opens with a rippling staccato fi gure that instantly sets the scene in Fairyland … no mortal could dance to this ethereal rhythm.” It would be 17 years later before he used the same music as the basis for newer pieces written as incidental music for an actual production of the play.

King Friedrich of Prussia himself asked Mendelssohn to create the music for an 1843 staging of the play. In all, Mendelssohn wrote 13 small sections, of which we will hear four of the most famous this evening. � e swirling music of the Intermezzo represents the bewildered state with which Hermia awakens after Puck’s nocturnal ministrations have caused no end of confu-sion. � e Nocturne, featuring a lovely melody for horns, accompanies the sleep of Hermia and Lysander. � e Scherzo recaptures the “elfi n” feel of the overture, and is used as the Prelude to Act II. � e famous wedding march was originally written for the nuptials of � eseus and Hippolyta – although it has accompanied many a new bride’s walk down the aisle since.

Program notes © 2012 by D.T. Baker

W

OCTOBER/NOVEMBER 2012


RRRRRRRRRRR2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASON2012/2013 SEASON


Media SponsorPerformance SponsorSeries Sponsor

Bill & Mary Jo Robbins

Media Sponsor Media Sponsor

All songs by PAUL SIMON, unless otherwise indicated

THE SOUNDS OF SIMON AND GARFUNKEL(medley) (arr. Prechel)“Bridge Over Troubled Water” / “The Sounds of Silence” / “Mrs. Robinson”

DREAM, DREAM, DREAM (Everly Brothers medley) (Bryant & Bryant / arr. Berens)“Bye Bye Love” / “Wake Up Little Suzie” / “All I Have to Do is Dream”

“HOMEWARD BOUND” (arr. Wills)

“59TH STREET BRIDGE SONG” (“FEELIN’ GROOVY”) (arr. Wills)

“I AM A ROCK” (arr. Yackley)

“THE SOUNDS OF SILENCE”

“CECILIA” (arr. Wills)

NA NA MEDLEY (various / arr. Prechel)“Land of a Thousand Dances” / “Kiss Him Goodbye” / “Hey Jude”


PAUL SIMON’S IN CONCERT (medley) (arr. Prechel)“Kodachrome” / “Loves Me Like a Rock” / “Slip Sliding Away” / “Still Crazy” / “Fifty Ways to Leave Your Lover” / “Me and Julio Down By the Schoolyard” / “Mother and Child Reunion” / “You Can Call Me Al”

ALL I KNOW (medley) (Webb / arr. Prechel)“It’s Too Late” / “I Feel the Earth Move” / “You’ve Got a Friend”

“HAZY SHADE OF WINTER” (arr. Wills)

“THE DANGLING CONVERSATION” (arr. Wills)

Michael Krajewski, conductorA.J. Swearingen & Jonathan Beedle, vocalists with: Steve Moretti, drums

The Sounds of Simon & GarfunkelFriday & Saturday, October 26 & 27 | 8 P M

ROBBINS POPS

“AMERICA” (arr. Wills)

“SCARBOROUGH FAIR/CANTICLE” (Simon/trad.)

“OLD FRIENDS” (arr. Wills)

“BRIDGE OVER TROUBLED WATER” (arr. Wills)

“MRS. ROBINSON” (arr. Berens)

Program subject to change

Media Sponsor



KA R T I S T B I O SARTIST BIOS

nown for his entertaining programs and clever humour, MICHAEL KRAJEWSKI is a much sought after conductor of symphonic

pops. He is the Principal Pops Conductor of the Houston Symphony, the Jacksonville Symphony, and the Atlanta Symphony. As a Guest Conductor, Mr. Krajewski has performed with the Cleveland and Phila-delphia Orchestras, the Boston and Cincinnati Pops, the San Francisco, Baltimore, Detroit, Indianapolis, Seattle, Dallas, St. Louis and National Symphonies, and numerous other orchestras across the United States. In Canada, he has led Ottawa’s National Arts Centre Orchestra, the Calgary Philharmonic, and the Winnipeg and Kitchener-Waterloo Symphonies. Other international appearances include performances with the Hong Kong Philharmonic, the Iceland Symphony Orchestra and the Ulster Orchestra in concerts in Belfast and Dublin.

Michael Krajewski has led the Houston Symphony on two holiday albums: Glad Tidings and Christmas Festival. � is season, he will be conducting his original Sounds of Simon & Garfunkel program all over North America. His other collaborative programs have included such artists as fl utist James Galway, mezzo Marilyn Horne, pianist Alicia de Larrocha, guitarist Angel Romero, and pop artists Roberta Flack, Judy Collins, Art Garfunkel, Ben Folds, Doc Severinsen, Sandi Patty, the Preservation Hall Jazz Band, � e Chieftains, Pink Martini, Rockapella, Cirque de la Symphonie, Classical Mystery Tour, and Big Bad Voodoo Daddy. With degrees from Wayne State University in Detroit and the University of Cincinnati College-Conservatory of Music, Mr. Krajewski furthered his training at the Pierre

Monteux Domaine School. He was a Dorati Fellowship Conductor with the Detroit Symphony and later served as that orchestra’s Assistant Conduc-tor. He was Resident Conductor of the Florida Symphony and for 11 years served as Music Director of the Modesto Symphony Orchestra. He lives in Orlando, Florida with his wife Darcy. When not conduct-ing he enjoys travel, photography and solving crossword puzzles.

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

.J. SWEARINGEN and JONATHAN BEEDLE have been performing their remarkable tribute to the music of Simon & Garfunkel for more than a

decade and their sold out shows prove the eff ect on their audiences is undeniable. A chance meeting in 1991 in a local club in Bethlehem, Pennsylvania, brought these two talented artists together. A brief introduction and moments later they were blending their voices as if they had been performing together for a lifetime. A.J.’s warm baritone and Jonathan’s soaring tenor combine fl awlessly to capture the essence and magic of Simon & Garfunkel’s sound of the early years in Greenwich Village. With a quiet stage and an acoustic guitar, A.J. and Jonathan re-create the memories of the classic hits and obscure songs of Simon & Garfun-kel. Discover why audiences are cheering for this duo as they capture – the magic of Simon and Garfunkel.

This is the duo’s debut with the ESO.

10186 -106 Street, Edmonton AB www.albertacraft.ab.ca 780-488-5900

Marquetry box by Jean-Claude & Talar Prefontaine

ALBERTA CRAFT COUNCILGALLERY & SHOP

Shop for local, original,

GLASS - CLAY - METAL FIBRE - WOOD - STONE

Phot

o: M

icha

el T

amm

aro

A


AAAAAAAAAAA2012/2013 SEASONA2012/2013 SEASONA2012/2013 SEASONA2012/2013 SEASONA2012/2013 SEASONA2012/2013 SEASONA2012/2013 SEASONA2012/2013 SEASONA2012/2013 SEASONA2012/2013 SEASONA2012/2013 SEASONBARBERToccata festiva for Organ and Orchestra, Op.36 (14’)*

DUPRÉSymphonie No. 1 in G minor, Op.25 (28’)*

Program subject to change*indicates approximate performance duration There is no intermission in tonight’s performance. Please join us in the lobby following tonight’s concert.

AAA A R T I S T B I O SARTIST BIOS


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

www.sherbrookeliquor.com

Media Sponsor


Organ SaturationFriday, November 9 | 9 : 3 0 P M

LATE NIGHT WITH BILL EDDINS

A virtuoso composer-performer unique among keyboardists, CAMERON CARPENTER’S approach to the organ is smashing

the stereotypes of organists and organ music while generating a level of acclaim, exposure, and controversy unprecedented for an organist. His repertoire – from the complete works of J. S. Bach and César Franck, to his hundreds of transcriptions of non-organ works, his original compositions, and his collaborations with jazz and pop artists – is perhaps the largest and most diverse of any organist. He is the fi rst organist ever nominated for a Grammy Award for a solo album.

Mr. Carpenter performed Bach’s Well-Tempered Clavier at age 11 before joining the American Boychoir School in 1992 as a boy soprano. He continued composing after moving to New York City in 2000 to attend � e Juilliard School. While there, he composed art songs; the symphonic poem Child of Baghdad (2003) for orchestra, chorus and Ondes Martenot; his fi rst substantial works for solo organ; and numerous organ arrangements of piano works. He received a Master’s Degree from Juilliard in 2006. � at same year, he began his worldwide organ concert tours. His fi rst album for Telarc, the Grammy-nominated Revolutionary (2008), was followed in 2010 by the critically acclaimed DVD and CD Cameron Live! Edition Peters became his publisher in 2010, and his fi rst major work for organ and orchestra, � e Scandal, Op. 3, was commissioned by the Cologne Philharmonie. Mr. Carpenter is one of the only performing artists to make a practice of meeting his audience in person before his performances. With combined millions of hits on YouTube and numerous television, radio and press features including CBS Sunday Morning, BBC Radio 3, ARD, ZDF, NDR Kultur, � e New York Times, � e New Yorker, � e Wall Street Journal and many others, he is the world’s most visible organist.

Mr. Carpenter last appeared with the ESO in May 2011.



Saturday

Nov. 3, 2012, 8 pm

Winspear Centre

Richard Eaton SingersEdmonton Symphony Orchestra

Monica Whicher, sopranoLauren Segal, mezzo-sopranoJohn Tessier, tenor

Elijah

conductor

TicketsWinspearCentre.com780.428.1414 1.800.563.5081

[email protected]

Toccata festiva for Organ and Orchestra, Op.36SAMUEL BARBER(b. West Chester, Pennsylvania, 1910 / d. New York, 1981)

First performed: September 30, 1960 in PhiladelphiaLAST ESO PERFORMANCE: MAY 2004

Y THE TIME SAMUEL BARBER WAS ASKED TO WRITE A WORK to introduce the new organ at the Philadelphia Academy of Music, he was

already a famous and venerable fi gure in American music. It was Mary Zim-balist who donated the instrument, and did so in memory of her father, Cyrus H.K. Curtis (of the Curtis Institute). Barber’s own link to the Curtis Institute – he had been its fi rst-ever student – led him to refuse a fee for the commission.

� e Toccata festiva bears Barber’s hallmarks: expressiveness and lyricism, but the piece also clearly shows its baroque roots as well – Bach, after all, had been one of the most famous and prolifi c composers for organ. Most of the melodic material in the work, which has a toccata feel throughout much of its length, is based on a two-measure motif in a 5/8 metre. � e piece also features a diffi cult cadenza, played entirely on the organ pedals. Paul Cal-laway was the soloist for the premiere, with Eugene Ormandy conducting.

Symphonie No. 1 in G minor, Op.25MARCEL DUPRÉ(b. Rouen, 1886 / d. Meudon, 1971)

First performed: January 3, 1928 in GlasgowTHIS IS THE FIRST TIME A WORK BY DUPRÉ HAS BEEN PERFORMED BY THE ESO

E WAS, IN FACT, AMONG THE FIRST ‘SUPERSTAR’ organists, the fi rst to pack concert halls the world over. People

listened to (him), whether or not they had ever listened to the organ before. His playing was phenomenal …with an extraordinary sense of tone colour.”

� ose who have been fortunate enough to have seen Cameron Carpen-ter perform on the Davis Concert Organ in the past may well be forgiven for thinking the description above was written about him. � e words are certainly apt. But they were written by John Judson McGrody about Marcel Dupré, whose driving ambition was to place the organ at the forefront of solo instruments, alongside the piano and violin. His compositions for the organ were as daring as his performances, full of traditional techniques and modern colours, rich in dynamic and emotional contrast, with many unexpected moments. When he wrote for organ and orchestra, he truly felt he was writing for two equal and complementary forces. � e Symphonie No. 1 in G minor premiered in Glasgow, but gained much attention after its performance at London’s famed Proms concerts in 1930, with Dupré as soloist and Henry Woods (the work’s dedicatee) conducting.

In four balanced movements, the work opens austerely in the lower strings of the orchestra, while the organ holds a chord. A rhythmic fi gure in the orchestra sets the work alight, with the organ accompanying. � e music is determined, purposeful, and the orchestra dominates the much of the opening movement, which builds in passion and drive until a thrilling organ chord heralds the exciting climax. � e movement’s coda ushers in a

sense of calm, and to all that has gone before, this hushed conclusion is a marked contrast. � e second movement is the work’s Scherzo – a twirl-ing and scampering aff air in which the orchestra and organ give and take; a rhythmic dialog of equal, if diff erent, personalities. Like the fi rst, the second movement also ends on a whisper.

� e third movement is the work’s slow movement. � is time, the organ begins, yielding to a sensitive melody fi rst presented by a solo viola. � e orchestra enters, but cedes to the viola and organ again. For the fi rst time in the work, the organ is given a substantial solo, and while its music is chro-matic and measured, a lush and dramatic passage for orchestra follows. � e two forces unite in a passionate central section, which dies away, and reedy organ notes now duet with an oboe. Again, the movement ends quietly. � e fi nal movement is a tour de force of composition: a double rondo which un-folds in a fugue-like pattern – nods to both the classical and baroque eras. Yet the harmonies and continuously pulsing rhythms are very much of the 20th century. One of this work’s most remarkable features is the absolutely assured collaboration between the two titans of western art music – organ and orchestra. And, since you might be curious, this movement ends with suitably glorious ceremony and power.


“H

B

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


Landmark CLassiC masters series.Landmark CLassiC masters series.

000Sig-Landmark-FP.indd 1 9/4/12 12:09:29 PMSignature2_p20-22.indd 20 10/2/12 9:48:00 AM

Performance Sponsor Media Sponsor

LLLLLLLLLMr. Eddins’s bio can be found on page 6.

Mr. Carpenter’s bio can be found on page 18.Program notes continue on page 22.

2012/2013 SEASON2012/2013 SEASON2012/2013 SEASONL2012/2013 SEASONL2012/2013 SEASONL2012/2013 SEASONL2012/2013 SEASONL2012/2013 SEASONL2012/2013 SEASONL2012/2013 SEASONL2012/2013 SEASONL2012/2013 SEASONL2012/2013 SEASON2012/2013 SEASON2012/2013 SEASONSymphony Prelude, 7:15 pm Third Level (Upper Circle) Lobby with Jerrold Eilander & D.T. Baker

SCHUBERTSymphony No. 7 in B minor, D 759 “Unfi nished” (24’)*

Allegro moderatoAndante con moto

BARBERToccata festiva for Organ and Orchestra, Op.36 (14’)*


BOULANGERD’un soir triste (12’)*D’un matin de printemps (5’)*

DUPRÉSymphonie No. 1 in G minor, Op.25 (29’)*

Modérément lent - AllegroVivaceLentFinal: Animé


Triumphant Organ TributeSaturday, November 10 | 8 P M

LANDMARK CLASSIC MASTERS


Series Sponsor

For program notes on the Barber Toccata festivaand Dupré Symphonie, please see pages 18 & 19.

Symphony No. 7 in B minor, D 759 “Unfi nished”FRANZ SCHUBERT(b. Vienna, 1797 / d. Vienna, 1828)

First performed: December 17, 1865 in ViennaLAST ESO PERFORMANCE: JANUARY 2010

T IS HARDLY SURPRISING that a composer, who died far

too young at only 31 years old, left a good deal of music incom-plete at the time of his death. But the case of the work famously known as the “Unfi nished” Symphony is distinctive. Schubert wrote these two movements in 1822, but whatever plans he had for subsequent movements proved inadequate, and he set the work aside. � at same year, he was elected an honorary member of the Linz and Graz musical club. � is selection required him to submit one of his composi-tions to them, and for whatever reason, he gave them the two completed movements of this incomplete symphony. And so the work was left, un-played and unknown, with the club’s Artistic Director for some 43 years. It was fi nally rescued from obscurity and presented to the public in 1865, 37 years after Schubert had died.

� e work’s opening movement begins with a fi ve-measure theme in the lower strings, answered by the clarinets and oboes. It is devel-oped over a rhythm set by violas and winds until the cellos announce the beautiful, lyrical second subject, which is the very quintessence of Schubert’s gift for melody. Yet all this is done within the strictures of proper sonata-allegro form.

Of the second movement, music scholar Alfred Einstein wrote, “In its mystery and unfathomable beauty, it is like one of those plants whose fl owers open only on a night of the full moon.” A little rhapsodic for music scholarship, perhaps, but certainly the breathy, ethereal quality of the movement’s opening strings, followed by the lovely song given to the clarinet to sing as a second subject, have a touch of Einstein’s fantastic simile.

I


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

Phot

o: M

icha

el H

art

CAMERON CARPENTER

Landmark CLassiC masters series.Landmark CLassiC masters series.

000Sig-Landmark-FP.indd 1 9/4/12 12:09:29 PM Signature2_p20-22.indd 21 10/2/12 9:48:17 AM

T


D’un soir tristeD’un matin de printempsLILI BOULANGER(b. Paris, 1893 / d. Mézy, 1918)

Both works composed 1917-18THIS IS THE ESO PREMIERE OF BOTH WORKS

HROUGHOUT MUCH of her far too brief life,

Lili Boulanger was bedridden and sickly. � e younger sister of the famous pedagogue Nadia Boulanger, Lili studied at the Paris Conservatoire, and was the fi rst woman ever to win that institution’s Prix de Rome. Despite her frail health and inability to see much of the world, Boulanger still produced a good deal of music, and its emotional breadth and richness is surprising.

� e diptych (a work made up of two matching or complemen-tary parts) we will hear tonight

was composed the year before Boulanger died. Both are based on a simi-lar motif, heard at the start of each work; both are in 3/4 time, and both are built around the tonality of the key of E.

D’un soir triste (“On a Sad Evening”) was begun after D’un matin de printemps (“On a Spring Morning”), but the latter work is thought to have been orchestrated later (both were originally composed for piano trio, then orchestrated). � ey were the last works Boulanger was strong enough to compose in her own hand – her last eff orts were dictated to her sister. Not surprisingly, D’un soir triste is in a slow tempo, begun moodily with winds over pulsing strings. � e mood and tension heighten quickly, and dissonances add to the sense of foreboding. � e music ebbs and fl ows, reaching a cathartic climax midway through, when a sense of impending tragedy is almost palpable. Gong and bass drum herald a new section, full of tension. A whole range of dark emotions is presented, before the work concludes with an anguished shout and a fi nal, sighing chord.

At half the duration and at least twice the tempo, D’un matin de printemps is everything the previous work is not. It begins with a sense of expectation and excitement in woodwinds and strings, very much in an impressionist style. � e music bubbles and eddies, slowing down at times but never for long – just long enough to admire a spring vista, one imagines. � ere is a brief moment of seriousness, but it is as ephemeral as the shimmering orchestral colours in which Boulanger clothes this mischievous romp.


LANDMARK CLASSIC MASTERS Triumphant Organ Tribute

www.963capitalfm.com

5:30am to 9:00amIn The MorningROB & AUDIE

Sing Along!Life`s Good


RRRRRRRRRMr. Waldin’s bio can be found on page 6.

Artist’s bio and program notes continue on page 24.

2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASONRR2012/2013 SEASONRR2012/2013 SEASONR2012/2013 SEASON2012/2013 SEASON2012/2013 SEASONNICOLAIThe Merry Wives of Windsor: Overture (9’)*

SEMLERLonging for Restoration (2012 ESO commission through the Young Composers Project) (5’)*

BELLANDVoyage (2012 ESO commission through the Young Composers Project) (5’)*

DAVIDSON / KEILLORThe Young Lutheran’s Guide to the Orchestra (24’)*


E. STRAUSSCarmen-Quadrille, Op.139 (6’)*

SAINT-SAËNSThe Carnival of the Animals (29’)*

IntroductionHens and CockerelsWild AssesTortoisesThe ElephantKangaroosAquariumPeople with Long EarsThe Cuckoo in the Depths of the WoodsAviaryPianistsFossilsThe SwanFinale


Stories & MusicThursday, November 15 | 8 P M

ETER BROWN is the host of CBC Edmonton’s afternoon radio show, Radio Active. He’s also been heard on the national airwaves, hosting � at

Saturday Show and � e Circuit: Your Summer Festival Pass, and as a correspon-dent for Q, Sounds Like Canada, � e Roundup, and Morningside. Peter may be the only person in Canada to appear on both � e Debaters and Ideas. Peter has also been a producer for the sketch comedy program � e Irrelevant Show, which is recorded in Edmonton and airs nationally on CBC Radio One. � e show won a Canadian Comedy Award and a medal at the prestigious New York Festivals. You can hear the new season Saturday mornings starting in January.

Educated at the University of Saskatchewan and the University of Cambridge, Peter began working with CBC Saskatchewan as a reporter, host and resident comedy writer. He then worked as a producer on the national arts magazine � e Arts Tonight before moving to Edmonton in the mid-nineties. Peter has a background in comedy writing and performance. He’s performed at the Ed-monton and Edinburgh Fringes (and was featured on BBC radio’s Best-of-the-Fringe showcase), and is a regular performer with Edmonton’s improvised soap opera Die Nasty. Peter is honoured and bewildered to be making his debut with the Edmonton Symphony Orchestra. His musical qualifi cations include one year of guitar lessons and the ability to hum “Spanish Flea” and “Tijuana Taxi” back to back. Try it during intermission – it’s quite hard! He also likes how “debut” makes it sound like there’s a hope in hell they’ll have him back.

RRRRA R T I S T B I O SARTIST BIOSLucas Waldin, conductorPeter Brown, narrator

ROBBINS LIGHTER CLASSICS

P

Series Sponsor

Bill & Mary Jo Robbins



RRRR2012/2013 SEASONR2012/2013 SEASON2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASON2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASONTTO NICOLAI’S (1810-1849) opera based on Shakespeare’s � e Merry Wives of Windsor is revived now and then around the world, aside from

its regular place in German theatres. But it is known more today for its felicitous overture, which emerges romantically out of atmospheric strings. It is only after this romantic nature is established that we get a sense of the merry, teasing and capricious nature of the opera itself. � e whole orchestra soon joins in the fun. Another aspect of the piece – the scheming and deviousness of some of the char-acters – works its way in as well. � ese ideas are all happily exchanged during the course of the rest of the overture.

� e Young Composers Project is an ESO initiative begun by its fi rst Com-poser in Residence, John Estacio. � is mentorship program selects a high school composer from each year’s applicants to prepare an original, orchestrated piece, and have the ESO present it at Symphony Under the Sky, as well as at other times in the season. � is year, two applicants were selected, and tonight we encore each of their works after their enthusiastically-received premieres.

Of her work Longing for Restoration, SAMANTHA SEMLER writes: “Longing for Restoration is a piece inspired by Psalm 13, in which the author David cries out to God, asking how long his suff ering and turmoil will last. � e listener experiences David’s struggles throughout the middle section of the piece with mixed metre, dissonant intervals and minor harmonies. However, by the end of the Psalm, David’s demeanour turns from despair to hope, which is paralleled in the section of relief and restoration at the end of the piece.”

Of his work Voyage, DANIEL BELLAND writes: “� e title Voyage represents the idea of optimistically setting out, overcoming trials, and growing stronger in the process. Whether a physical journey or a personal one, we are familiar with the idea of a voyage, and this piece refl ects that process. � e primary theme takes the form of a classical-sounding piece, but with a slightly modern edge. � is theme is introduced in a jaunty fashion, and dominates the work. It is passed about the orchestra, unfolded, developed, and pushed forward by a strong sense of motion. Occasionally, the movement is interrupted, but the theme pushes through to a triumphant ending.”

GARRISON KEILLOR (b. 1942) is best-known for his long-running Minnesota Public Radio program, A Prairie Home Companion. He is also an author and humorist, with a gentle, self-deprecating style which pokes fun at middle America. In that vein is his Young Lutheran’s Guide to the Orchestra, his spoof on Britten’s famous Young Person’s Guide to the Orches-tra. But while the latter was intended as an introduction to the instruments of the orchestra, Keillor’s work begins with the premise: should a good and faithful Lutheran decide to become an orchestral musician, what would be the best instrument to play?

RANDALL DAVIDSON, a frequent collaborator with Keillor, concocted a score based on variations of the hymn Jesus Loves Me as, one by one, the instruments of the orchestra are humorously examined from a Lutheran’s point of view. � e work made its debut in Seattle in November 1988, and was recorded live in concert for Keillor’s 1994 CD Lake Wobegon Loyalty Days.

EDUARD STRAUSS (1835-1916) was the younger brother of the Waltz King, Johann Strauss II, and along with his siblings, was part of the Strauss family dynasty which dominated the Viennese musical scene in the second half of the 19th century. Known more as a conductor than a composer, Eduard nonetheless wrote his share of music for the many balls that Strauss orchestras gave every night in Vienna. A quadrille is a relatively complex dance for multiple couples, and tonight we will hear one, the Carmen-Quadrille, composed by Eduard Strauss and based on themes from the incredibly popular opera by Georges Bizet. Many of Carmen’s famous tunes fi gure into the dance.

CAMILLE SAINT-SAËNS (1835-1921) 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 instru-mental force of two piano soloists, a fl ute, a clarinet, two percussionists and strings. It was only after Saint-Saëns’s death that the public fi rst heard the work – and it has eclipsed many of the composer’s 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. � e lion is given appropriate swagger, clucking hens contrast with cockerels mocking on the clarinet. � e pianos play the Wild Asses scattering about, while the Tortoises lumber along to a parody of Off enbach’s Can-Can slowed to a crawl. Similarly, � e 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, People with Long Ears stroll past, the violins depicting their brays. � ey 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 fl ute, their wings fl uttering on strings and piano. � e next “animals” are in fact piano students, endlessly and slavishly practising their scales with middling accuracy. � e bones of Fossils clatter their dance on the xylophone, with parodies of nursery rhymes and even the composer’s own Danse macabre thrown in. � e most famous movement of the work is � e Swan, portrayed in a beautiful solo for cello. Many of the animals’ themes are recalled in the rousing fi nale.

Over the years, the quirky clever score has attracted writers, who have crafted verses to accompany Saint-Saëns’s music. Likely the most famous is Ogden Nash’s set of poems, but more recently Peter Schickele, the creator of P.D.Q. Bach, wrote a more contemporary set. Tonight, Peter Brown will read the whimsical words Ogden Nash wrote in 1949.


ROBBINS LIGHTER CLASSICS Stories & Music

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

10624 - 170 Street, Edmonton, AB • Ph: 780-484-3170 • www.pianocentre.ca

The famous Horowitz Steinway is coming to Piano Centre Edmonton!

You’re invited to see and play the Horowitz Steinway at Piano Centre Edmonton, Oct 30 - Nov 10. Don’t Miss this once in a lifetime opportunity to play the most celebrated piano of the 20th Century. This is the Nine Foot Concert Grand piano

#CD 503 played by Horowitz during his triumphant return to the Soviet Union in 1986 and the piano which he toured for many years.

By appointment only, this historic Steinway piano will be available for students, teachers and all piano lovers to see, or play for a limited time, and is your chance to touch the keys and be inspired by this legendary Steinway Artist.

Call to schedule an appointment to play the piano, have your photo taken with it, and receive an exclusive certifi cate.

Warranty expired - now it’s your choice!Warranty expired - now it’s your choice!

000Sig_Eurasia_1-6H_nBL.indd 1 10/7/10 8:54:15 AM



10624 - 170 Street, Edmonton, AB • Ph: 780-484-3170 • www.pianocentre.ca

The famous Horowitz Steinway is coming to Piano Centre Edmonton!

You’re invited to see and play the Horowitz Steinway at Piano Centre Edmonton, Oct 30 - Nov 10. Don’t Miss this once in a lifetime opportunity to play the most celebrated piano of the 20th Century. This is the Nine Foot Concert Grand piano

#CD 503 played by Horowitz during his triumphant return to the Soviet Union in 1986 and the piano which he toured for many years.

By appointment only, this historic Steinway piano will be available for students, teachers and all piano lovers to see, or play for a limited time, and is your chance to touch the keys and be inspired by this legendary Steinway Artist.

Call to schedule an appointment to play the piano, have your photo taken with it, and receive an exclusive certifi cate.



SSSSSHow long have you attended the ESO?I moved to Edmonton in 1950 – been coming ever since!

I see that you have a ginger ale there, is that your favourite pre-concert drink? No, gin and tonic (said while raising a brow at her glass).

If you could ask any question to the ESO musician of your choice, what would you ask and of whom?I’m not sure which musician to choose but I would like to know how long have you played, what is your training, and where are you from? Here are Joanna Ciapka-Sangster’s answers:1. I have been playing violin since I was seven years old!2. I went to music school in primary school and continued in the secondary level.

I obtained my Masters from the Academy of Music in Poznan (Poland). My total training took 17 years. I came to Canada in 1992 and started training in the Suzuki method of teaching music.

3. I was born in Gdansk, Poland, raised and educated there.

What do you do?Book club, bridge, mountain hiking and I taught fl ower arranging for nine years. I’m involved in my church. I still sing in my church choir. I was with the Richard Eaton Singers for 30 years and I performed at opening night for the Jubilee and the Winspear. (Marion is our new hero. At 93, she is more active than many of us decades younger!)

I travelled extensively with my husband up the coast of Norway, to Australia, and to Africa when he was alive. I then continued travelling after his death. At 80, I went on a cruise to India, then Dubai, Cairo, Jerusalem, then Greece. � en later that same year in the fall, I travelled through China. I haven’t been to Russia yet …

Describe yourself in one word.Fortunate.

Life is …Challenging.

Music is …Beautiful to listen to.

Happiness is …Friends and family.

What is your favourite ESO or Winspear Centre memory?Performing with Richard Eaton Singers for the opening of the Winspear Centre in 1997. � is is the best concert hall I’ve ever been in.

Note (fun fact on the side):Marion’s daughter Manon is an accomplished artist whose paintings hang in Founders’ Room. Manon recently had a six-month exhibit titled � e Other Emily alongside the work of Emily Carr at the Royal B.C. Museum in Victoria.

SSSSTORIES FROM THE AUDIENCENAME: MARION ELDER

What’s Your Winspear?This year the Winspear Centre turns 15! The Winspear Centre is Edmonton’s pride and joy and is recognized around the world as an outstanding concert hall. It is a centre for music, for arts and culture. The Winspear brings people together and gives our community soul.

The Winspear Centre needs you, and everyone in our community, to help us continue to build the Winspear Centre. Not with bricks and mortar, but with support for accessibility, artist development and phenomenal entertainment, so that we all can continue to enjoy what the Winspear gives to our community.

Please get involved by joining My Winspear for just $10 or more a month. Let everyone know what the Winspear means to you!

Your monthly support will:• become part of a community-wide

sustainable funding source for the Winspear and help maintain its standing as a world-class facility

• help provide more opportunities for music, dance and other community groups to make the Winspear Centre a performance or event home

• make the performing arts and the joy of musicmore accessible to our community, now and into the future

• help maintain the Symphony’s home and allow it to continue developing its artistic excellence.

What if I already support the ESO?Thank you for being an ESO donor! You provide essential funds to the symphony every year. The Winspear Centre needs its own source of support in order to maintain its standing as a world-class facility and to best serve the needs of visiting artists, community groups, and its resident company, the ESO.

Erin Mulcair9720 102 AvenueEdmonton, AB T5J 4B2

Mail Gifts to

Give online at www.winspearcentre.com/support

S How long have you attended the ESO?We fi rst bought a subscription in the early ’90s. On and off for many years, but steady for the last fi ve years. (Son, Rob Aldridge plays double bass in the ESO.)

If you could learn to play an instrument, which would it be and why?Michael: Drums, although Debbie thinks it should be Spanish Guitar since I talk about it all the time …

Name four things you always bring to an ESO concert.Debbie: Money for wine. Lipstick. Kleenex.Michael: And appreciation for music!

If you could meet any musician, dead or alive, any genre of music – who would it be?Michael: John LennonDebbie: Paul McCartney

When you turn on your radio, CD player, or MP3 playlist, what’s playing right now?Frankie Valli and the Four Seasons, we just saw Jersey Boys.

What is your musical “guilty pleasure”?Michael: We listen to anything …Debbie: What about your Eminem?Michael: Oh yeah, I do listen to Eminem (nods).

Do you sing in the shower? If yes, what do you sing?Michael: Oh, you know, a little Freddy Mercury. (sings) “I am the Champion …”

What’s your theme song?Michael: Maybe “She Still Brings Me Flowers”. Or maybe “Maggie May” by Rod Stewart?Debbie: I would say “Forever Young” by Rod Stewart, since it came out when we got together.Michael: Yeah, that’s it!

Life is …Wonderful! A blessing.

Music is …Soul satisfying, nurturing.

Happiness is …Debbie: Being with him. Michael: Being with her.(said in unison)Debbie: And having a loving family.

What is your favourite ESO or Winspear Centre memory?New York. Carnegie Hall was absolutely amazing.

NAME: DEBBIE AND MICHAEL ANDERSON

If you have a story you would like to share or would like to be interviewed for “Stories From the Audience” please contact Erin Mulcair at 780-401-2539 or [email protected] .


What’s Your Winspear?� is year the Winspear Centre turns 15! � e Winspear Centre is Edmonton’s pride and joy and is recognized around the world as an outstanding concert hall. It is a centre for music, for arts and culture. � e Winspear brings people together and gives our community soul.

� e Winspear Centre needs you, and everyone in our community, to help us continue to build the Winspear Centre. Not with bricks and mortar, but with support for accessibility, artist development and phenomenal entertainment, so that we all can continue to enjoy what the Winspear gives to our community.

Please get involved by joining My Winspear for just $10 or more a month. Let everyone know what the Winspear means to you!

Your monthly support will:• become part of a community-wide sustainable funding source for the Winspear and help maintain its standing as a world- class facility

• help provide more opportunities for music, dance and other community groups to make the Winspear Centre a performance or event home• make the performing arts and the joy of music more accessible to our community, now and into the future • help maintain the Symphony’s home and allow it to continue developing its artistic excellence.

What if I already support the ESO?� ank you for being an ESO donor! You provide essential funds to the symphony every year. � e Winspear Centre needs its own source of support in order to maintain its standing as a world-class facility and to best serve the needs of visiting artists, community groups, and its resident company, the ESO.

Erin Mulcair9720 102 AvenueEdmonton, AB T5J 4B2

Mail Gifts to

Give online at www.winspearcentre.com/support

JOIN US FOR A FREE TOUR OF THE WINSPEAR CENTRE AS WE CELEBRATE OUR 15th ANNIVERSARY!

Dates: October 22,November 1, 13 & 29 andDecember 11 & 18

Come hear all about the history of the ESO and Winspear Centre and our vision for the community. We will provide a complimentary lunch followed by a backstage tour of one of North America’s most exquisite concert halls!

We all have busy schedules, which is why we promise to keep this session to one hour from 12:00 pm to 1:00 pm.

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

OVERTURE INFORMATION SESSION & TOUR


www.edmontonjournal.com

THERE’S ALWAYSSOMETHING

TO SEE INEDMONTON

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

The Regional Eye Centre at the Royal Alexandra Hospital cares for more than 40,000 patients each year. This self contained centre within the Royal Alexandra Hospital is an innovative treatment centre and the leading provider for eye care across Northern Alberta, Saskatchewan, B.C and the North West Territories.

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

www.royalalex.orgThis ad was generously donated by The Robbins Foundation Canada.

Your Vision.Our Focus.


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

EXECUTIVEAnnemarie Petrov, Executive DirectorMaryGrace Johnstone, Executive CoordinatorMeghan Unterschultz, Executive & Government Communications

EDMONTON SYMPHONY & CONCERT HALL FOUNDATIONPhyllis Clark, ChairJohn BrennanJim CarterLeo de BeverEd HahnRon New

Administrative staff listing continued next page


www.edmontonjournal.com

THERE’S ALWAYSSOMETHING

TO SEE INEDMONTON

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

The Regional Eye Centre at the Royal Alexandra Hospital cares for more than 40,000 patients each year. This self contained centre within the Royal Alexandra Hospital is an innovative treatment centre and the leading provider for eye care across Northern Alberta, Saskatchewan, B.C and the North West Territories.

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

www.royalalex.orgThis ad was generously donated by The Robbins Foundation Canada.

Your Vision.Our Focus.

FRANCIS WINSPEAR CENTRE FOR MUSICFRANCIS WINSPEAR CENTRE FOR MUSICFRANCIS WINSPEAR CENTRE FOR MUSICFRANCIS WINSPEAR CENTRE FOR MUSICFRANCIS WINSPEAR CENTRE FOR MUSICFRANCIS WINSPEAR CENTRE FOR MUSICFRANCIS WINSPEAR CENTRE FOR MUSICFRANCIS WINSPEAR CENTRE FOR MUSICTHE EDMONTON SYMPHONY ORCHESTRAFRANCIS WINSPEAR CENTRE FOR MUSICTHE EDMONTON SYMPHONY ORCHESTRAFRANCIS WINSPEAR CENTRE FOR MUSICTHE EDMONTON SYMPHONY ORCHESTRAFRANCIS WINSPEAR CENTRE FOR MUSICTHE EDMONTON SYMPHONY ORCHESTRAFRANCIS WINSPEAR CENTRE FOR MUSICBOARD & STAFFBOARD OF DIRECTORSJim E. Carter, ChairReginald Milley, Vice ChairSteven LePoole, Past ChairRon New, C.A., TreasurerBrian W. Summers, LL. B., Secretary/Legal CounselBart Becker, P.Eng.Carolyn CampbellMaria David-EvansBrad FergusonBill HarrisonTravis HuckellCarol Ann Kushlyk, C.M.A., C.F.E.Edith StaceyRhonda TaftRichard Wong

EDMONTON SYMPHONY SOCIETY / FRANCIS WINSPEAR CENTRE FOR MUSIC

N 1952, A SMALL GROUP OF DEDICATED VISIONARIES formed the Edmonton Symphony Society with the goal of

creating an ongoing, sustainable Edmonton Symphony Orchestra, and providing Edmonton with the fi nest in orchestral music, enriching the lives of its audiences. Since then, the ESO has grown to a full-time core of 56 musicians. Its performance home – another goal realized by committed community volunteers – is the magnifi cent Francis Winspear Centre for Music.

Transcending the original board’s vision, the ESO now has a budget of $8.5 million annually, and it performs over 85 concerts, in addition to performances with Edmonton Opera and Alberta Ballet. None of this would be possible without the tireless work of the Board of Directors and the society which they voluntarily administer.

EDMONTON SYMPHONY ORCHESTRA / FRANCIS WINSPEAR CENTRE FOR MUSIC


ARTISTIC OPERATIONSRob McAlear, Artistic AdministratorJerrold Eilander, Orchestra Operations ManagerSusan Ekholm, Library AssistantChrista Eriksson, Artistic Assistant / Library ResourceEric Filpula, Orchestra Personnel ManagerSheila Jones, Orchestra Librarian

COMMUNITY RELATIONSBrenda Penner, Director of Community RelationsKris Berezanski, Media & Communications CoordinatorPhilip Paschke, Communications ManagerMichael Schurek, Marketing & Sponsorship Manager

EDUCATIONAL OUTREACHD.T. Baker, Associate Director of Educational OutreachAlyssa Paterson, Education & Community Relations Coordinator

EVENTS MANAGEMENTAlly Mandrusiak, Director of Events ManagementLeanne Persad, Associate Director of Events ManagementWarren Bertholet, Head Lighting Technician*Catherine Boissonneau, Box Offi ce SupervisorDiana de Sousa, Client Services CoordinatorRob Hadfi eld, Head Audio Technician*Alan Marks, Head of Stage Management*Stacy Parkins, Patron Services Assistant Manager

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

Mike Patton, Assistant Head of Stage Management*Siobhan Vipond, Acting Technical Director Cat Walsh, Box Offi ce Assistant SupervisorCristina Weiheimer, Internal Control Specialist

FINANCE & OPERATIONSBarbara Foley, Director of Finance & OperationsSandy Carter, Senior AccountantShirley Chaytor, HR Payroll CoordinatorSandy Haslam, Systems AdministratorBeth Hawryluk, Tessitura Systems AnalystOlena Kotova, AccountantPat Molloy, Maintenance ManagerAline Mukabalisa, Finance AssistantErika Ratzlaff, Business Analyst

PATRON DEVELOPMENTElaine Warick, Director of Patron DevelopmentEleanor Finger, Associate Director of Patron DevelopmentJeffory Magson, Patron Relations Associate & Volunteer CoordinatorErin Mulcair, Patron Relations ManagerTeresa Ryan, Patron Events ManagerAdam Trzebski, Patron Relations Manager

Proud supporter of the Edmonton Symphony Orchestra

000Sig-Pattison-1_2H.indd 1 8/31/12 10:35:55 AM

TTTTTT

CityTV Capital FM Global CKUA Edmonton Journal Joe FM Lite 95.7 FM Pattison CBC

ADMINISTRATION


Title SponsorAir Canada Presents

Proud supporter of the Edmonton Symphony Orchestra

000Sig-Pattison-1_2H.indd 1 8/31/12 10:35:55 AM

TTTTTTTTTTTHANK YOUCommunity Support of the Edmonton Symphony Orchestra & Winspear Centre

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

Our Media Sponsors

Sponsor2 for 1 Introductory Series Offer

Title SponsorLandmark Classic Masters

SponsorK to Gr. 3 Education Program

SponsorMusicians in the Making

Title SponsorEsso Symphony for Kids

SponsorFriday Masters

Title SponsorRobbins Pops / Robbins Lighter Classics

TTTTTTOur Program and Education Sponsors

Series Sponsors

Offi cial Bike Supplier to the ESO Conducting Team

Government Agency Support:

SponsorSunday Showcase

Presenting SponsorLate Night with Bill Eddins

SponsorGr. 4 to 6 Education Program

Naming SponsorENMAX Hall

through the Edmonton Community Foundation

Our Performance Sponsors

CityTV Capital FM Global CKUA Edmonton Journal Joe FM Lite 95.7 FM Pattison CBC

Our Exclusive Caterers

Our Suppliers

Print Sponsor Wine Supplier Craft Beer SupplierOffi cial Airline of the ESO

Presenting SponsorChristmas at the Winspear

Presenting SponsorChristmas at the Winspear

Publications Sponsor

SponsorPulse8


000Sig-AirCanada-FP.indd 1 8/24/12 3:20:41 PMSignature2_p32-01.indd 32 10/2/12 10:23:55 AM

eso signature magazine oct/nov 2012

Documents