eso signature magazine sep 2012

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PHANTOM OF THE DAVIS CONCERT ORGANA haunting Lighter Classics

ALL IN THE FAMILYESO soloists in The Masters

GOT MOZART?An all-Wolfgang Wednesday

BÉLA FLECK & THE ESOpresent a Canadian

premiere

000Sig-AirCanada-FP.indd 1 8/24/12 3:20:41 PM Signature1_p36-01.indd 1 9/6/12 2:24:16 PM

www.lexusofedmonton.ca Conveniently located on 170 Street 780-466-8300

Introducing the all-new 2013 ES 350

ES2013 ES 350

Starting at an amazing

$39,500*

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

LEXUS OF EDMONTON IS PROUD TO SPONSOR THE EDMONTON SYMPHONY ORCHESTRA

The all-new 2013 Lexus ES delivers the exceptional, down to the smallest detail

000Sig-Lexus-FP.indd 1 8/29/12 2:33:20 PMSignature1_p02-03.indd 2 9/4/12 9:41:23 AM

Banjo virtuoso Béla Fleck makes his ESO debut when he presents his fascinating, virtuosic Banjo Concerto to the Winspear Centre in its Canadian debut. Air Canada presents Béla Fleck Tuesday, October 2. See page 24.

10

WELCOME

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

EDMONTON SYMPHONY ORCHESTRA 2012/2013

CARNEGIE TRIUMPHShare in the ESO’s historic performance

ROBBINS POPSFROM STAGE TO SCREEN (SEPTEMBER 14 & 15)

Steve Reineke, conductorAshley Brown & Aaron Lazar, vocalists

RBC SUNDAY SHOWCASEHORN & CELLO (SEPTEMBER 23)

Lucas Waldin, conductorDongkyun An, celloMegan Evans, horn

MIDWEEK CLASSICSMOZART, MOZART, MOZART (SEPTEMBER 26)

William Eddins, conductor & pianoShannon Mercer, sopranoEric Buchmann, violin

LANDMARK CLASSIC MASTERSOPENING NIGHT AT THE MASTERS (SEPTEMBER 29)

William Eddins, conductorNora Bumanis, harpLidia Khaner, oboeRobin Doyon, trumpet

AIR CANADA PRESENTSBÉLA FLECK (OCTOBER 2)

ROBBINS LIGHTER CLASSICSTHE PHANTOM OF THE OPERA (OCTOBER 4)

William Eddins, conductorDennis James, organ

THANK YOU TO OUR SUPPORTERS

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

pg. 5

pg. 6

pg. 7

pg. 10

pg. 24

pg. 27

pg. 30

pg. 34

SIGNATURE Contents

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

pg. 13

pg. 15

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 Dennis James, Robert Rival & 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

18

24

SIGNATURE 3SEPTEMBER/OCTOBER 2012

www.lexusofedmonton.ca Conveniently located on 170 Street 780-466-8300

Introducing the all-new 2013 ES 350

ES2013 ES 350

Starting at an amazing

$39,500*

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

LEXUS OF EDMONTON IS PROUD TO SPONSOR THE EDMONTON SYMPHONY ORCHESTRA

The all-new 2013 Lexus ES delivers the exceptional, down to the smallest detail

000Sig-Lexus-FP.indd 1 8/29/12 2:33:20 PM

THE EDMONTON SYMPHONY ORCHESTRA2012/2013 SEASON

Signature1_p02-03.indd 3 9/6/12 3:20:33 PM

WBachelor 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

bonton.caAmandine Croissant

The destination for fine bread and European pastries.

8720–149 Street, Edmonton

Well-bred

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.

Signature1_p04-05.indd 4 9/4/12 9:50:06 AM

WWWND WE’RE OFF! WE HAVE AN AMAZING SEASON READY TO ROLL, SO THERE’S no time to look back. Well, OK, maybe one more look back.

We’re all still so amazed and gratifi ed by the outpouring of community support, and so inspired by the magnifi cent performance our orchestra gave at Carnegie Hall last May, we couldn’t resist having one more look back at the fun and festivity – see pages 10 & 11.

But, moment over, we are thrilled to begin our 2012/13 season with Canadian and world premieres – old friends and rising stars – and yet another performance spotlighting the incredible Davis Concert Organ, with a thrilling silent movie, no less!

We have many more exciting and enriching performances coming up, so we hope you will consider this your invitation to continue to explore all that your Edmonton Symphony Orchestra does, not just in our impressive concert hall (15 years in the Winspear Centre already), but in our community as well.

A

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 !WBachelor 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

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.


AAAAAAAAAAAAAAAow 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

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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.

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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

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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

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ARTISTIC & LEADERSHIP TEAMARTISTIC & LEADERSHIP TEAM

Eric Filpula, Orchestra Personnel ManagerSheila Jones, Librarian

The following musicians may appear at performances in this issue:Aaron Au violinAlycia Au violinRaymond Baril saxophoneJeanette Comeau violaElizabeth Faulkner fl uteMary Fearon hornJoel Gray trumpetMarie Krejcar violinAlexander Lozowski violinRegine Maier violinMichael Massey keyboardsJohn McCormick percussionJosh McHan double bassLev Nesterov violin PJ Perry saxophoneDiane Persson bassoonBrian Sand trumpetDiana Sapozhnikov violinYukari Sasada bassMartina Smazal violaDan Sutherland clarinetKate Svrcek violinRobin Taylor saxophoneBrian Thurgood percussionDan Waldron oboeRobert Walsh guitarJoanne Yu cello

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,

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In support of the Kidney Foundation of Canada Northern Alberta Region, we are off any running for the 3rd annual Shabam! � e doors open on Saturday, October 6 at the Mayfi eld Trade Centre (16615 – 109 Avenue). � ere will be every kind of beer you can imagine PLUS food, games and entertainment.

Tickets are available at www.tixonthesquare.ca for $25.00 each; two for $45 (plus service charges) and $35 each at the door.

When: Every WednesdayTime: 4 – 7 p.m.Our special Wednesdays (or as we call it “Winesday”) were started over six years ago. From 4 – 7 p.m. every week you get to enjoy a couple of lovely wines and have a chat with either Richard or Rosanne, both of whom are ISG certifi ed sommeliers. Although the “Winesday” focus is wine, we also sample spirits, liqueurs and, on occasion, some beer too! Each week you can check out our weekly feature Winesday blog at www.sherbrookeliquor.com

Wednesday, September 19, 2012.Mark your calendar. � e fi rst annual was a lot of fun and the 2nd annual event is rearing to go. September 19 is always International Talk Like a Pirate Day around the world. Our 2nd annual event will take place at the Tucker Amphitheatre located at the Citadel � eatre. Sample the very best in rum and other rum-based products. Hunt for a little treasure and support worthwhile causes at the same time! Tickets are on sale through the Citadel Box Offi ce. Call 780-425-1820 or email boxoffi [email protected] for your tickets.

“Wine is inspiring and adds greatly to the joy of living.”

~ Napoleon

“The first time I played the Masters, I was so nervous

I drank a bottle of rum before I teed off. I shot the happiest

83 of my life.”~ Chi Chi Rodriguez

“Without question, the greatest invention in the

history of mankind is beer. Oh, I grant you that the wheel was also a fine invention, but the wheel does not go nearly

as well with pizza.” ~ Dave Barry

Shabam Beer Tasting Festival

Winesday

Ron Sherbrooke’s 2nd Annual Talk (and Drink) Like a Pirate Rum Festival

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!Be the fi rst to know about the new beer on our shelves! It’s not just all about new beer though. On Sundays, we

often share a link to a creative beer commercial with you. We will also tweet reminders of upcoming events, just in case you forgot!

Come See …

11819 St. Albert Trail, Edmonton780-455-4556

Over 1,000 different brands of beer!

� e world’s best beer is here! � e Westvleteren XII arrived in late July and is now available for $79.99/6x 330ml plus two specially-designed glasses.

A quick recap: � e Brother Community of Westvleteren applies a specifi c policy with regard to their brewing activities, which limits the distribution of the Westvleteren beers to a restricted sale at the gate of the Abbey only.

After some “progressive insights”, the Brothers of Westvleteren decided to consider the idea of matching the brewing with the construction activities in order to fi ll the fi nancial gap of the construction of the new monastery. � e Westvleteren community clearly defi ned the boundaries on which this exclusive off er would be elaborated and it would concern an exceptional, unique and one-time off er. � e regular sales would remain valid and

mandatorily remain valid as the only commercialization method in the future, after the one-time off er.

For more information about the project, the construction works and the Brotherhood of the Abbey of Westvleteren, search for “� e Abbey of Saint Sixtus of Westvleteren”.

Westvleteren XII

In this age of global uncertainty and strife, one brewery in Denmark and one liquor store in Canada want to solve a diplomatic confl ict that threatens the peace and security of both nations.

If you are not familiar with the story, this is all about Hans Island located between Canada’s Ellesmere Island and Greenland, which is controlled by Denmark. Both countries are laying claim to this landmass and it has caused some tensions between the two diplomatic nations. � is peacemaking story was featured in the National Post, � e Copenhagen Post and � eStar.com about a month ago. Since landing, Hans Across the Water has made quite a stir. Not just for the novel idea, but also for the great taste of the beer.

We wrote an open letter to the prime ministers of Canada and Denmark (check it out at www.sherbrookeliquor.com) to try to broker some peace between the two countries. We are keeping our fi ngers crossed and we hope these two wonderful nations can work this out.

Sherbrooke has been known for teaming up with breweries to make some special beverages for their customers, but this one is like no other. Hans Across the Water has a production of 960, 1.5L and it sells for $25.00.

Hans Across The Water

Come see our newly renovated store. We are about 90 per cent done and it looks fabulous. Our wine, spirits and liqueurs have had a face lift. New paint. New fl oors. New shelves. Same friendly staff , of course. Because of these changes, we are now going to be able to fi t a few hundred new products on the shelves. It is going to be fun adding some new favourites.


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“Jens Lindemann playing trumpet, fl ugelhorn and cornet, gave a sizzling, high-energy performance

that would have been the concert’s highlight were it not overshadowed by the sharply defi ned, rich-hued

account of Martinu’s too seldom heard Symphony No. 1, with which Mr. Eddins closed the program.”

– Allan Kozinn, New York Times

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CCC OCCC OC N MAY 8, 2012, THE EDMONTON SYMPHONY ORCHESTRA AND NEARLY 1,000 of its closest friends absolutely electrifi ed one of the most

hallowed halls in music. � e ESO’s Carnegie Hall debut was a triumph from any measure. It was a moment to remember and to share with the entire community that did so much to make it happen. Here are a few souvenirs.

CTRIUMPH

Red fl ags wave proudly and fi ercely from hundreds of supporters who made the cross-continent trek to join the ESO at Carnegie Hall.

C SOME MEMORIES OF THE ESO’S HISTORIC PERFORMANCE IN NEW YORKCCARNEGIE


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“I would like to congratulate the Edmonton Symphony Orchestra on their wonderful

debut performance at Carnegie Hall. It was a historic moment for the orchestra and I was privileged to be one of the many Albertans

who travelled to New York to be a part of it.” – The Honourable Rona Ambrose, M.P.

William Eddins conducts Martinu’s Symphony No. 1, which had not been heard in Carnegie Hall since 1953.

At the post-concert Gala (l to r): ESO violist Rhonda Henshaw, ESO violinist Tatiana Warszynski, Elisabeth Muhlenfeld, ESO cellist Victor Pipkin, Reinhard Muhlenfeld, and ESO violinist Neda Yamach.

A well-deserved curtain call for (l to r): William Eddins, Jens Lindemann, Robert Rival, John Estacio and Allan Gilliland.

“Thank you!!!! Cudos from this WQXR listener in Iowa City, Iowa ...

you were just fabulous!!!!” – Tim Taffe

Marc-andré HaMelin, pianoFriday, November 2, 8 pm

CoNvoCatioN Hall

cappella arteMisiaSaturday, November 17, 8 pm

CoNvoCatioN Hall

Ben Heppner, tenorSaturday, deCember 1, 7 pm

WeSt eNd CHriStiaN

reFormed CHurCH

constantinopleFriday, marCH 1, 8 pm

CoNvoCatioN Hall

tokyo string Quartet & Jon kiMura parker, piano

Saturday, april 13, 8 pm

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2012 - 2013 SeaSoN

www.edMontoncHaMBerMusic.org

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“What a show, ESO! We are very proud to call you ‘our’ symphony orchestra. Edmonton applauds you!”

– Mayor Stephen Mandel

CARNEGIE

SEPTEMBER/OCTOBER 2012

CARNEGIE TRIUMPHCARNEGIE TRIUMPHCARNEGIE TRIUMPHCARNEGIE TRIUMPHCARNEGIE TRIUMPHCARNEGIE TRIUMPH2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON

CARNEGIE TRIUMPH2012/2013 SEASON

CARNEGIE TRIUMPH2012/2013 SEASON2012/2013 SEASON

CARNEGIE TRIUMPH2012/2013 SEASON

CARNEGIE TRIUMPHCARNEGIE TRIUMPHCARNEGIE TRIUMPHCARNEGIE TRIUMPHCARNEGIE TRIUMPHCARNEGIE TRIUMPHCARNEGIE TRIUMPHCARNEGIE TRIUMPHCARNEGIE TRIUMPHCARNEGIE TRIUMPHCARNEGIE TRIUMPHCARNEGIE TRIUMPHCARNEGIE TRIUMPHCARNEGIE TRIUMPHCARNEGIE TRIUMPHCARNEGIE TRIUMPHCARNEGIE TRIUMPHCARNEGIE TRIUMPHCARNEGIE TRIUMPHCARNEGIE TRIUMPHCARNEGIE TRIUMPHCARNEGIE TRIUMPHCARNEGIE TRIUMPHCARNEGIE TRIUMPHCARNEGIE TRIUMPH


E000Sig1.Global_1-2H.indd 1 8/24/11 4:12:05 PM


EEEEEEEEEArtists’ bios continue

on page 14.

2012/2013 SEASONE2012/2013 SEASONE2012/2013 SEASONE2012/2013 SEASONE2012/2013 SEASONE2012/2013 SEASONE2012/2013 SEASONE2012/2013 SEASONE2012/2013 SEASONE2012/2013 SEASONE2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASONFrom Stage to ScreenFriday & Saturday, September 14 & 15 | 8 P M

“MOONLIGHT BECOMES YOU” (FROM THE ROAD TO MOROCCO)Van Heusen/Burke (arr. Riddle)

“I WILL ALWAYS LOVE YOU” (AS FEATURED IN THE BODYGUARD )Parton (arr. Berens)

MAIN THEME FROM STAR WARSWilliams

Program subject to change

Steven Reineke, conductorAshley Brown, vocalistAaron Lazar, vocalist Vocalist Ryan Silverman, who was originally announced as a featured artist, is unable to perform at these concerts.

ROBBINS POPS

Media Sponsor

SA R T I S T B I O SARTIST BIOS

Performance Sponsor

ON BROADWAY (FROM SMOKEY JOE’S CAFÉ)Leiber/Stoller (arr. Reineke)

SELECTIONS FROM WEST SIDE STORYBernstein (arr. Mason)

MEDLEY:

“ALMOST LIKE BEING IN LOVE” (FROM BRIGADOON ) Lerner/Loewe“THIS CAN’T BE LOVE” (FROM THE BOYS FROM SYRACUSE ) Rodgers/Hart

“I COULD HAVE DANCED ALL NIGHT” (FROM MY FAIR LADY ) Lerner/Loewe

“LUCK BE A LADY” (FROM GUYS AND DOLLS )Loesser (arr. Barker)

PUT ON A HAPPY FACE (FROM BYE BYE BIRDIE )Strouse (arr. Reineke)

SEND IN THE CLOWNS (FROM A LITTLE NIGHT MUSIC )Sondheim (arr. Sebesky)

“DEFYING GRAVITY” (FROM WICKED )Schwartz (arr. Fleischer)

“THE MUSIC OF THE NIGHT”(FROM THE PHANTOM OF THE OPERA) Lloyd Webber/Hart

INTERMISSION (20 minutes)

“HOORAY FOR HOLLYWOOD” (a.k.a., A HOLLYWOOD SALUTE)various (arr. Wendel)

DISNEY MEDLEYvarious (arr. Barton)

“CHARADE” (FROM CHARADE )Mancini (arr. Berens)

TEVEN REINEKE’S boundless enthusiasm and exceptional artistry have made him

one of North America’s most sought-after pops conductors, composers and arrangers. Mr. Reineke is the newly appointed Principal Pops Conductor of the Toronto Symphony Orchestra, Music Director of � e New York Pops at Carnegie Hall, and Principal Pops Conductor of the National Symphony Or-chestra at the John F. Kennedy Center for the Performing Arts. He previously held posts as Principal Pops Conductor of the Long Beach and Modesto Symphony Orchestras and Associate Conductor of the Cincin-nati Pops Orchestra. Mr. Reineke is a frequent guest conductor with � e Philadelphia Orchestra and in the past year has been on the podium with the Boston Pops and � e Cleveland Orchestra. He made his Chicago Symphony Orchestra debut on July 4, 2012 at Ravinia. His extensive North American conducting appearances include Los Angeles, Houston, Seattle, Vancouver, Ottawa (National Arts Centre), Detroit, Fort Worth, Jacksonville, Tampa (� e Florida Orchestra), Calgary, Memphis, and Oklahoma City. He has become a favourite with ESO pops audiences, with 11 appearances since 2007.

As the creator of more than one hundred orchestral arrangements for the Cin-cinnati Pops Orchestra, Mr. Reineke’s work has been performed worldwide, and can be heard on numerous Cincinnati Pops Orchestra recordings on the Telarc label. A native of Ohio, Mr. Reineke is a graduate of Miami University of Ohio, where he earned bachelor of music degrees with honours in both trumpet performance and music composition. He currently resides in New York City. Mr. Reineke is represented by Peter � rom Management, LLC.

Mr. Reineke last appeared with the ESO in September 2011.

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SHLEY BROWN originated the title role of Mary Poppins on Broadway, for which she

received Outer Critics, Drama League, and Drama Desk nominations for Best Actress. Other Broad-way credits include Belle in Beauty and the Beast. Ms. Brown starred in the national tour of Disney’s On the Record. She has performed with many orchestras in the past year, including the New York Pops (twice), Cincinnati Pops (with Erich Kunzel), the Indianapolis Symphony (with Jack Everly), and the Pensacola Symphony.

Ashley Brown starred in Disney’s national tour of Mary Poppins in March 2009, and was featured soloist at the 2009 New York Philharmonic gala with the late Marvin Hamlisch at Lincoln Center. Her debut album is a collection of American Songbook standards. Regional credits include Guys and Dolls and � e Leading Men of Broadway with the Indianapolis Symphony, Broadway By the Year: 1956 at Town Hall in New York City, and many shows at the Muny in St. Louis. Ms. Brown studied at the Cincinnati College-Conservatory of Music, where she received her Bachelor of Fine Arts degree in Musical � eatre, and was honoured with the Laurie Beechman Award.

This is Ms. Brown’s debut with the ESO.

ARON LAZAR is currently starring in Mamma Mia! on Broadway. As the amusing

and surprisingly touching Count Carl-Magnus, he starred opposite two winning pairs of leading ladies: Catherine Zeta-Jones & Angela Lansbury, as well as Bernadette Peters & Elaine Stritch, in the fi rst-ever Broadway revival of Stephen Sondheim’s A Little Night Music. � e native of Cherry Hill, New Jersey made his Broadway debut in � e Phantom of the Opera. He continued to appear on Broadway in the revival of Oklahoma and A Tale of Two Cities, as well as � e Light in the Piazza at Lincoln Center and on PBS, the world premiere of Impressionism opposite Jeremy Irons, Joan Allen, and Marsha Mason, and the revival of Les Misérables for which his powerhouse performance as Enjolras garnered him critical acclaim and a Drama Desk Award nomination.

In addition to his critically acclaimed performance in South Pacifi c at the Hollywood Bowl, and his star turn as Billy Bigelow with the Boston Pops under Keith Lockhart, Aaron Lazar has been a guest artist with the Cincinnati Pops under the late Erich Kunzel, the Philadelphia Pops under Peter Nero, the National Symphony under the late Marvin Hamlisch, and � e New York Pops at Carnegie Hall under Steven Reineke for the 80th birthday celebration of Stephen Sondheim. On TV and fi lm, Aaron has appeared in White Collar, Person of Interest, � e Gifted Man, � e Notorious Bettie Page, Ugly Betty, New Amsterdam (FOX), All My Children, and as DA David Wilentz in Clint Eastwood’s J.Edgar. Aaron’s recordings include A Little Night Music(Nonesuch Records; Grammy nomination), Kathie Lee Giff ord’s Everyone Has a Story, Sam Davis’ Love on a Summer Afternoon, Tim Prottey-Jones’ More with Every Line, and the concept album Imagine � is with the Jerusalem Symphony Orchestra. Visit www.aaronlazar.com

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

A

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

Artists’ bios and program notes continue on pages 16 & 17.

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RIVALWhirlwind (World Premiere of an ESO commission) (8’)*

ELGARCello Concerto in E minor, Op.85 (30’)*

Adagio - ModeratoLento - Allegro moltoAdagioAllegro - Moderato - Allegro, ma non troppo


DUKASVillanelle for Horn (arr. Miller) (6’)*

SCHUMANNSymphony No. 4 in D minor, Op.120 (1841 edition) (26’)*

Andante con moto - Allego di moltoRomanza: AndanteScherzo: PrestoLargo - Finale: Allegro Vivace

Program subject to change*indicates approximate performance duration

Horn & CelloSunday, September 23 | 2 P M

orean born Canadian cellist DONGKYUN AN received

his very fi rst musical education from Chun-Ja Choi in Korea at the age of 13. After moving to Edmonton, he continued receiving guidance from Tanya Prochazka, Colin Ryan, and David Tutt. Mr. An is currently pursuing his musical studies at Zürcher Hochschule der Künste in Switzerland under world renowned English cello soloist Raphael Wallfi sch, and baroque cello studies under Swiss cellist Martin Zeller. Apart from his studies in Europe, he has received much guidance from such international cellists as Pieter Wiespelwey, Gary Hoff man, Shauna Rolston, Andres Diaz, Hans Jensen, Gavriel Lipkind, Matt Haimovitz and Anner Bylsma.

Dongkyun An has appeared as soloist with the Edmonton Youth Orchestra, Karlovy Vary Symphony Orchestra, and with the Pilsen Radio Philharmonic. He has been awarded second prize at the 18th International Johannes Brahms Competition in Pörtschach, Austria. He was awarded the fi rst prize at the 2010 Montréal Symphony Orchestra Competition. � e GAIA Award at the 2011 GAIA Chamber Music Festival in � un, Switzerland gave him an invita-tion to be a guest artist at the 2012 GAIA Chamber Music Festival, perform-ing chamber music with internationally renowned musicians. Recently, he was awarded second prize at the 67th Prague Spring International Music Competi-tion. Mr. An’s studies are generously supported by the Canada Council for the Arts, Alberta Foundation for the Arts, Anne Burrows Music Foundation, � e Winspear Fund, and the Sylva Gelber Music Foundation.

Mr. An last appeared with the ESO in November 2003.

EGAN EVANS was appointed Assistant Principal Horn with the Edmonton Symphony Orchestra in September 2008. She prevoiusly

held a position with the Niagara Symphony Orchestra in Ontario. While living in Toronto, Megan performed with many organizations including the Windsor Symphony and the � under Bay Symphony. Ms. Evans is a gradu-ate of both Kwantlen College in British Columbia and McGill University in Montréal. Her primary instructors have been Wayne Jeff reys, Denys Derome, and John Zirbel. She has she also had the pleasure of taking lessons and mas-ter classes with top horn players from across North America and Europe.

KRRRRA R T I S T B I O SARTIST BIOSLucas Waldin, conductorDongkyun An, celloMegan Evans, horn

Sunday Prelude, 1:15 pm in the Third Level (Upper Circle) Lobby with D.T. Baker & Robert RivalSunday Encore, post-performance in the Main Lobby with Lucas Waldin, Dongkyun An, Megan Evans & Robert Rival

RBC SUNDAY SHOWCASE

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In the summer months, Megan Evans has attended several music festivals including Domaine Forget in Québec, the Norfolk Chamber Music Festival with the faculty from Yale University, the National Arts Centre Performing Arts Institute, the Boris Brott Orchestra in Ontario, and the Aspen Music Festival. Megan also enjoys performing as a soloist and chamber musician. She has performed a half-recital with her colleagues in Edmonton as well as several solo and chamber music performances. Megan has also performed a double horn concerto with ESO Principal Horn Allene Hackleman. As a teacher Megan has worked with many young horn players and currently she participates in the youth outreach program “Adopt-a-Player,” where she works with young students from Edmonton and Fort McMurray.

Ms. Evans last appeared as a soloist with the ESO in November 2010.

Whirlwind (World Premiere of an ESO commission)ROBERT RIVAL(b. Calgary, 1975)

URING MY FIRST WINTER IN EDMONTON I WITNESSED A remarkable natural phenomenon right outside my front door: a large

fl ock of Bohemian Waxwings – hundreds – swirling rapidly in the sky above. Henceforth, whenever I heard the distinct whirring produced by their collective chirping, I eagerly looked up to admire the cloud of birds making razor-sharp turns in near-perfect synchronicity.

� is avian aerial dance inspired my work’s opening gesture, a whirling eff ect built on a progression of chords animated by rapid scales that, like the birds’ fl ight patterns, abruptly change directions. Two contrasting themes follow: one lively, exuberant and syncopated, constructed on fragments and variations of itself; the other lyrical and expansive.

� e three themes are continually recycled, varied each time – transposed, rhythmically altered, reharmonized, reorchestrated, fragmented, or some combination – creating an impression of cycling repeatedly through familiar material. � e work’s title alludes to the work’s spiralling structure, its almost unrelentingly fast tempo, and to the tremendous sweep of the waxwings in fl ight (the fi rst theme).

As I worked out variations on my themes, there was one in particular that stood out. By “fl attening” the rhythm of the chipper tune into even quarter-notes while retaining pitch order, it suddenly came to resemble strikingly the

closing number of Stravinsky’s ballet � e Firebird. So I had a choice to make: drop it (damn, it’s been taken!) or play it up. I chose the latter by borrowing some of Stravinsky’s own orchestration. I don’t think the Rus-sian master, who said that “a good composer does not imitate, he steals,” would have minded one bit.

Cello Concerto in E minor, Op.85EDWARD ELGAR(b. Broadheath, 1857 / d. Worcester, 1934)

First performance: October 27, 1919 in LondonLAST ESO PERFORMANCE: ENBRIDGE SYMPHONY UNDER THE SKY 2003

DWARD ELGAR BEGAN COMPOSING HIS ONLY CELLO concerto in 1918, when England and indeed all of Europe was pulling

itself out of the ruins of the First World War. At the same time, Elgar’s beloved wife was gravely ill; she died in 1920, months after the concerto’s premiere. In the pages of the concerto – the last major work Elgar found himself capable of completing – the composer let the melancholy and pas-sion he was feeling fi nd its vent. Two cellists had a hand in the construction of the concerto. Felix Salmond was the virtuoso who performed the pre-miere of the piece, and helped inspire its composer. � ere was also Elgar’s friend Basil Nevinson (the “B.G.N.” of the famous “Enigma” Variations) who most likely led Elgar to his choice of solo instrument.

� e work is in four movements played without a pause between them. � e soloist takes the lead, intoning a recitative-like passage in which the orchestra joins. � is theme is constantly developed throughout the Moderato of the rest of the opening movement. A short passage bridges the fi rst and second movements, the latter of which is a quick, technically demanding Allegro molto. � e third movement is one of aching contem-plation, slow and introspective, with the soloist seemingly taking the role of Elgar’s spirit. � e fi nale is a Rondo, but not in conventional concerto style. � e recurrences of the main material are almost sturdy and solid, as if reaffi rming that life must still be lived. As the work draws to a close, the cello recalls the recitative of the opening movement, just prior to the return of the main Rondo theme.

Villanelle for Horn (arr. Miller)PAUL DUKAS(b. Paris, 1865 / d. Paris, 1935)

Composed: 1906THIS IS THE ESO PREMIERE OF THE PIECE

AUL DUKAS IS PREDOMINANTLY KNOWN FOR TWO THINGS:one is his wonderful tone poem usually titled in English as � e

Sorcerer’s Apprentice. � e other is for being so harshly self-critical, he burned many of the scores of his works to keep them from living beyond him. Precious few pieces actually survive, so the presence of little gems such as this afternoon’s work for horn and orchestra, are signifi cant.

Dukas wrote the Villanelle for Horn for a competition which required that the work be for solo instrument, with an orchestral part merely sketched out, not fully completed. So he never fl eshed out his work, leaving that to others – this afternoon’s version has an orchestral arrange-ment by Donald Miller. “Villanelle” is a French translation of an Italian word meaning “a country girl,” and the work itself has a bucolic feel to it. Certainly, the horn itself has associations as an outdoor instrument, and

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

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right from the outset, its use as a “calling” device is apparent, though its lyricism is also given full display. � e pace in the orchestra picks up about halfway through, presenting some challenges in articulation and dynamics for the soloist (Megan Evans). Listen also for some phrases played with the horn muted, as the player places her hand into the bell of the instrument. � is brief showcase for horn is full of warmth and life, fi nishing with a fl ourish.

Symphony No. 4 in D minor, Op.120 (original 1841 version)ROBERT SCHUMANN(b. Zwickau, 1810 / d. Endenich, 1856)

First performance of the original 1841 version: December 6, 1841 in LeipzigLAST ESO PERFORMANCE OF THE REVISED VERSION OF SYMPHONY NO. 4: NOVEMBER 1995THIS IS THE ESO PREMIERE OF THE ORIGINAL VERSION

AD ROBERT SCHUMANN BEEN CONTENT WITH THE original version of the symphony he unveiled in late 1841, he would

have had a charming, chamber orchestra-sized second symphony. But its lukewarm reception (not helped by the presence of both his talented wife Clara, and bravura pianist Franz Liszt on the same program) led him to a decade of second guessing, and a complete overhaul of the symphony, ultimately published as his Fourth Symphony in 1853.

It is the revised version that is most often heard today; this afternoon’s

performance, in fact, will be the Edmonton Symphony premiere of the original – a version which has more than its share of admirers. “Everyone who sees it agrees with me that the score has not gained by being revised and that it has undoubtedly lost much of its charm, lightness of touch and clarity of expression,” wrote no less than Johannes Brahms to Clara Schumann, as she had defended her husband’s decision to rewrite his symphony. Brahms owned (and treasured) the original manuscript of the earlier version.

Attentive listeners should pay particular attention to three main melodic ideas. � e fi rst is heard right at the outset: an undulating, lyrical line stated by the middle-register strings and bassoons. � e second is a more insistent, driving idea presented fi rst by the violins as the fast section of the opening movement begins (the Allegro di molto, which follows the introductory Andante con moto). A third idea, fi rst heard in the winds during the Allegro di molto, has a martial feel. All three of these elements (the fi rst two in particular) are used in various guises throughout the entire symphony – foreshadowing in a signifi cant way the idea of thematic transforma-tion that composers such as Liszt would fi nd so useful in many of their works.

Program notes © 2012 by D.T. Baker, except as noted

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MMMMMMMMMMMMr. Eddins’s & Mr. Buchmann’s bios can be found on page 6.

2012/2013 SEASONM2012/2013 SEASONM2012/2013 SEASONM2012/2013 SEASONM2012/2013 SEASONM2012/2013 SEASONM2012/2013 SEASONM2012/2013 SEASONM2012/2013 SEASONM2012/2013 SEASONM2012/2013 SEASON2012/2013 SEASON


All music by WOLFGANG AMADÉ MOZART

“Ch’io mi scordi di te… Non temer, amato bene” K.505 (7’)*

“Abendempfi ndung an Laura,” K.523 (5’)*

Piano Concerto No. 24 in C minor, K.491 (33’)*AllegroLarghetto(Allegretto)


Symphony No. 35 in D Major, K.385 “Haffner”I. Allegro con spirito (6’)*

“Oh, temerario Arbace!...Per quel paterno,” K.73d/79 (7’)*

Symphony No. 35II. Andante (5’)*

Il rè pastore, K.208: “L’amerò, sarò costante” (6’)*

Symphony No. 35III. Menuetto – Trio (3’)*

“Great” Mass in C minor, K427: III- “Laudamus te” (5’)*

Symphony No. 35IV. Finale: Presto (4’)*


William Eddins, conductor & pianoShannon Mercer, sopranoEric Buchmann, violin

Mozart, Mozart, MozartWednesday, September 26 | 7 : 3 0 P M

MIDWEEK CLASSICS

ith a soprano voice often described as luminous and dazzling, Canadian SHANNON MERCER is equally praised for her acting ability and

stage presence. During 2012/13, Ms. Mercer sings Bach’s B minor Mass with the National Symphony of Mexico and the Vancouver Chamber Choir. She off ers Messiah with the Calgary Philharmonic and Seattle Symphony. Other presenters include Ottawa Choral Society, Early Music Vancouver, and several concerts with Les Violons du Roy.

Ms. Mercer’s 2011/2012 season began with JUNO partners Ensemble Caprice in a concert performance of Salsa Baroque. She then joined the Toronto Symphony on an educational tour. She appeared in Montréal several times throughout the season. Engagements in the U.S. included a tour with Les Voix Baroques, Mercury Baroque in Houston, Pacifi c Musicworks, the Utah Symphony Orchestra, and with Tragicomedia in Boston and New York. Her award-winning discography includes Salsa Baroque with Ensemble Caprice (Analekta) and the Prix Opus nominated O Viva Rosa (Analekta). Other recordings include Wales - � e Land of Song, the 2009 JUNO-winning Gloria!: Vivaldi’s Angels, JUNO-nominated Bach and the Liturgical Year, and Marin Marais’s Sémélé (Glossa). An alumnus of San Francisco Opera’s prestigious Merola Opera Sum-mer Program, Shannon Mercer began her career as a member of the Canadian Opera Com-pany Ensemble Studio Program. A Career De-velopment Grant from the Canada Council for the Arts and the 2004 Bernard Diamant Prize allowed Shannon an extended period of study in Vienna. She also received the Virginia Parker Prize from the Canada Council for the Arts and the Women’s Musical Club of Toronto Career Development Award. A native of Ot-tawa, Shannon Mercer now resides in Toronto.

Ms. Mercer last appeared with the ESO in December 2007.

WA R T I S T B I O SARTIST BIOS




Music of Wolfgang Amadé Mozart(b. Salzburg, 1756 / d. Vienna, 1791)

N MOZART’S DAY, CONCERTS WERE MUCH DIFFERENT THAN the codifi ed rituals we have become so used to today. Concerts were as

much social events as they were music performances. Not only that, the notion that a multi-movement work, such as a concerto or a symphony, would be performed in its entirety, one movement after another with (absolutely!) no applause between movements – that was unheard of.

Tonight’s concert is an amalgamation of new and old. � e fi rst half will proceed in pretty much the way it’s typically done today, with two short vocal works followed by a complete, uninterrupted performance of the Piano Concerto No. 24 (for a complete program note of the concerto, please see pages 22 & 23). In the second half, the “Haff ner” Symphony will be presented in its entirety; but in between each of its movements will be other arias featuring tonight’s soprano soloist, Shannon Mercer. � is is very much how music would have been presented at concerts Mozart himself would have led.

� e “Scena” “Ch’io mi scordi di te … Non temer, amato bene,” which Mozart wrote as a farewell gift for his friend, soprano Nancy Storace, is a stand-alone piece set to words which were used as a “substitute” scene for a performance of Mozart’s opera Idomeneo. In a production put on by earnest amateurs, Mozart rewrote a scene from Idomeneo, with a recitative that began with the words “Non più tutto ascolta,” followed by an aria with the words, “Non temer, amato bene.” Written for tenor Baron Pulini, this inserted work, with a violin obliggato part, was catalogued as K.490. � e words stayed with Mozart, however, and for Storace’s going away present, he rewrote – and many scholars feel improved upon – the scene. � is time, Mozart began the recitative at the words, “Ch’io mi scordi di te,” and wrote an extended solo accompaniment for piano, rather than for violin. “Few works of art combine such personal expression with such mastery – the intimacy of a letter with the highest grandeur of form,” wrote Alfred Einstein of K.505 in his biography of Mozart.

“Abendempfi ndung an Laura,” is an art song for voice and piano. Its title translates as “Evening Sentiment, for Laura,” and was listed by Mozart as having been completed June 24, 1787. Based on a text by Joachim Hein-rich Campe, the poetry is very much of the kind favoured by composers of Mozart’s time – the protagonist foresees his own death, and hopes that his passing will be mourned by friends. But the music to which these words are set anticipates the lied (“art song”) writing of the impending 19th century, being through-composed, and set to piano accompaniment dominated by arpeggiated chords which stop dramatically at key moments in the text.

� e concert aria “Oh, temerario Arbace!...Per quel paterno,” is a scene from Artaserse, a drama by Metastasio. While Mozart did not write an opera to the text, over 40 composers have. It is thought that Mozart composed the brief excerpt for a private concert given at the Milan home of an Austrian statesman, Count Firmian, who had given help to Mozart in the past. In the scene for which Mozart wrote his aria, Artabano is called upon to pass judgment on his son Arbace for the murder of Serse – a murder for which Artabano is in fact guilty. Arbace will not give up his father, which consequently condemns him to death. � e orchestra acts almost as a Greek chorus, commenting dramatically on the haunting text.

Il rè pastore (“� e Shepherd King”) was an opera Mozart wrote in only six weeks at the age of 19. Set during the time of Alexander the Great, the opera’s protagonist, Aminta, is unaware of his royal bloodline, having been raised as a simple shepherd. � e part was written for a castrato (young boys with gifted singing voices would be castrated before puberty to preserve

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their pure, high register singing range), and in the aria “L’amerò, sarò costante,”Aminta sings of his devotion to Elisa. � e aria was written with a part for a solo violin, with both violin (Eric Buchmann) and voice set against muted strings.

Mozart began writing a grand, large-scale mass for his wife, Constanze, as a promise to her. But as there was little chance of having the work actually per-formed, or of making any money from it, it was left incomplete. He fi nished the Kyrie, Gloria, and most of the Credo, and drafts of the Sanctus and the Benedictus, but that is all. But what there is certainly earns the works its title as the “Great” Mass in C minor. � e “Laudamus te” is the second part of the larger Gloria.

While contemporaries and childhood friends, Mozart and the younger Sig-mund Haff ner were from two diff erent worlds. Mozart was famous as the son of prominent violinist and music teacher Leopold – it was known that the boy was fabulously gifted, but was thought of as a “performer,” a showman. � e Haff ners were among the wealthiest and most respected and infl uential of Salzburg’s citizens.

Mozart wrote the “Haff ner” Serenade in 1776, to celebrate the impending marriage of his boyhood friend’s sister to a local shipping agent. In 1782, he was once again asked to provide a serenade (“serenade,” as understood in Mozart’s place and time, was generally a light entertainment of more than one move-ment, intended for a specifi c occasion) for the Haff ner family, this time to mark Sigmund the younger’s elevation to the nobility. He complied, sending the piece off one movement at a time. In its serenade form, this work included a march (suitable for the occasion) and two minuets.

� e next year, Mozart revised the serenade into symphonic form. He dropped one of the minuets and the opening march, and in this new guise, the symphony premiered to public acclaim on March 29, 1783. True to its roots, the “Haff ner” Symphony is lighter in mood than if it had been written as a symphony from the outset. � e opening material serves as the basis for nearly everything that follows in the fi rst movement – note particularly the leaping octaves and rhythmic interplay. � e elegant Andante is decidedly diff erent in mood: it is elegant, elaborate and genteel.

More contrast follows with the middle movement, where a joyful minuet is matched against a courtly trio. Mozart himself had provided instructions that the vigorous fi nale should “go as fast as possible,” which surely would have raised the newly-ennobled eyebrows of his boyhood friend, but makes for a perfect, rousing closer to the symphony.

Program notes © 2012 by D.T. Baker


Landmark CLassiC masters series.Landmark CLassiC masters series.

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LLLLLLLLLMr. Eddins’s bio appears on page 6.

Artists’ bios and program notes continue on pages 22 & 23.

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

RIETZKonzertstück for Oboe in F minor, Op.33 (13’)*

MOZARTPiano Concerto No. 24 in C minor, K.491 (33’)*

AllegroLarghetto(Allegretto)


GINASTERAHarp Concerto, Op.25 (25’)* Allegro giusto Molto moderato Liberamente capriccioso - Vivace

WAXMANFantasie on Themes from Bizet’s Carmen (11’)*


Kathy Hogan was a violist in the Alberta Baroque Ensemble and beloved teacher at the Suzuki School. She also performed frequently with the ESO over the past two decades. She was family. Kathy’s battle with cancer ended August 22, 2012. We treasure every concert in which she shared her extraordinary gifts and her incredible spirit. The musicians of the ESO dedicate their performance this evening to her memory.

Opening Night at the MastersSaturday, September 29 | 8 P M

LANDMARK CLASSIC MASTERS

William Eddins, piano & conductorNora Bumanis, harpLidia Khaner, oboeRobin Doyon, trumpetRobert Uchida, guest concertmaster

ORA BUMANIS has been Principal Harp of the Edmonton Symphony Orchestra since 1980. She is a graduate of the University

of Toronto, where she studied with Judy Loman. In addition to her busy orchestral schedule, Ms. Bumanis is much in demand as a soloist, recital-ist and teacher. She has performed with most of the leading Canadian symphony orchestras, as well as the National Ballet and Canadian Opera

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Orchestras. Nora Bumanis has given many recitals throughout North America and Europe. She is also in great demand as a chamber musician and has frequent-ly been broadcast on CBC radio and TV.

Ms. Bumanis teaches at the University of Alberta and Alberta College Con-servatory. She was on the faculty of the International Youth Orchestra Festival in Banff . She was Managing Director of the Jasper Festi-val of Music and Wine from 2000 - 2003, and has been a frequent performer at the Festival of the Sound in Parry Sound, Ontario. Nora Bumanis and Julia Shaw began their collaboration as Canada’s fi rst profession-al harp duo in 1988. � ey have recorded fi ve CDs and performed extensively throughout Canada. She was Global TV’s Woman of Vision in February 2009 and is an active member of the Edmonton Glenora Rotary Club.

Ms. Bumanis last appeared as a soloist with the ESO at Symphony Under the Sky 2011.

IDIA KHANER has performed as Principal

Oboe of the Edmonton Sym-phony Orchestra since 1996. She studied oboe in her native Poland at the Warsaw Acad-emy of Music and graduated with Distinction in 1987. As a member of the Sinfonia Var-sovia and the Polish Cham-ber Orchestra, she toured around the world playing both orchestral parts and solo concerts. During a sabbati-cal, she studied in Germany at the Stuttgart Hochshule für Musik with Ingo Goritzki and played with the Deutsche Kammerakademie.

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LLLLL2012/2013 SEASONL2012/2013 SEASONL2012/2013 SEASONL2012/2013 SEASONL2012/2013 SEASONLL2012/2013 SEASONL2012/2013 SEASONL2012/2013 SEASONL2012/2013 SEASON2012/2013 SEASON2012/2013 SEASONL2012/2013 SEASONL2012/2013 SEASONL2012/2013 SEASONL2012/2013 SEASONL2012/2013 SEASONL2012/2013 SEASON2012/2013 SEASONKonzertstück for Oboe in F minor, Op.33JULIUS RIETZ(b. Berlin, 1812 / d. Dresden, 1877)

First performed: 1856 in DüsseldorfTHIS IS THE FIRST TIME A WORK BY RIETZ HAS BEEN PERFORMED BY THE ESO

N 1834, AT ONLY 22 YEARS OLD, JULIUS RIETZ BECAME ASSISTANT Conductor at the Düsseldorf Opera when Felix Mendelssohn was its Principal

Conductor. Rietz took over the main post upon Mendelssohn’s departure; he did the same at the Leipzig Gewandhaus upon Mendelssohn’s death. He also edited a number of Mendelssohn’s works for publication, as well as editions of Beethoven, Mozart, Handel and Bach. But he was an accomplished cellist and composer as well as conductor.

He is not known to have written any concertante works for his own instrument, but he did write a concerto for clarinet, as well as this extensive Konzertstück (“Concert Piece”) for oboe. Nearly a quarter-hour long, the work encompasses the full range of expressive possibilities for the instru-ment, beginning with a lyrical Andante sostenuto in the work’s muted, dark-hued home key. Over gentle pulses, the oboe begins its song, rife with measured arpeggios and trills. A restatement of the opening theme and a brief cadenza lead into a central Intermezzo section marked Allegro con moto, begun by the oboe as a swirling dance interspersed with comments from the orchestra. Here, the nimbleness of the oboe – and the soloist (Lidia Khaner) – is displayed. � is central section is brief, and drama returns as the Finale, in Allegretto animato, slows the pace slightly, but steps up the emotional fervour. � e orchestra has more say here, in a dialog with the soloist, again with many daring runs and arpeggios. Another brief cadenza leads straight into the bravura coda.

Piano Concerto No. 24 in C minor, K.491WOLFGANG AMADÉ MOZART(b. Salzburg, 1756 / d. Vienna, 1791)

First performance: April 3, 1786 in ViennaLAST ESO PERFORMANCE: FEBRUARY 1994

F THE 27 CONCERTOS FOR SOLO PIANO MOZART COMPOSED, only two are in minor keys. � e stark drama and passion of the C minor

work is unique in his output. � e work’s drama is apparent with the fi rst notes, heightened by a lack of harmony in the opening phrase, just octaves as a descending fi gure capped with a single, syncopated rising interval is presented. � is brief theme and its rhythmic structure dominate the entire fi rst move-ment: stepwise down then a single step up. � ere is a minor tempest in the opening orchestral statement, and the piano enters, presenting a completely diff erent idea than the orchestral opening, and in the relative major (E-fl at). It does at last take up the orchestral idea, expanding upon it and bringing in a sense of order to the unsettledness of the fi rst few minutes. A second main idea is introduced sparsely by the piano about halfway through, but it still competes with the stepwise motif of the opening for its rightful place. � at contest is matched by the piano’s tendency to always be in major keys against the darker hues of the orchestra’s minor-key material. Following the ruminative, almost brooding cadenza, the piano joins the orchestra for the coda – not typical at that time, but an idea Beethoven copied in the piano concerto he wrote in the same key.

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Ms. Khaner played Principal Oboe with the Sinfonia Helvetica from 1992 - 1997. She has recorded works for the KOS label, the Polish radio and TV network, CBC and Arktos Recordings. Lidia has performed and recorded solo concertos with the Alberta Baroque Ensemble and soloed with the Edmonton Symphony and the Edmonton Chamber Orchestras. In 2003, she released two CDs, of oboe and piano music with Janet Scott Hoyt, and Mozart chamber music for oboe and strings. Her latest release, Inspiration, on Edmonton’s Arktos Recordings label, unites her once again with Janet Scott Hoyt in music by Poulenc, Saint-Saëns, Britten and Lai. Lidia has earned second degree black belt in Taekwondo and just recently represented Canada in 10th Junior & 5th Veteran ITF World Champion-ship in Estonia.

Ms. Khaner last appeared as a soloist with the ESO in November 2010.

native of East Angus, Québec, ROBIN DOYON was appointed Principal Trumpet of the Edmonton Symphony Orchestra in Septem-

ber 2008. Since that appointment, he has appeared as soloist with the ESO, as well as the Red Deer Symphony, and the Alberta Baroque Ensemble. He received his Bachelor and Masters Degrees in Classical Interpretation at the University of Montréal with Jean-Luc Gagnon. He has studied with many masters of the trumpet, including Allen Vizzutti, Jens Lindemann and James � ompson. In 2002, he was Laureate of the National Music Festival, the Montréal Symphony Orchestra Competition, and the Radio-Canada Young Artists Competition.

Robin Doyon has also been the recipient of numerous other prizes, including the 2007 prix avec Grande distinc-tion from the Montréal Conservatory of Music. He has been a member of the Grand Ballet of Canada Orchestra, and is a regular performer with the Montréal Symphony Orchestra, the National Arts Centre Orchestra, and the Laval, Longueuil, and the Metropolitan orchestras. He also performed with the Contemporary Ensemble of Montréal and the Con-temporary Music Society of Québec. Robin Doyon currently teaches at the University of Alberta, having also been a profes-sor at the University of Sherbrooke.

Mr. Doyon last appeared as a soloist with the ESO at Symphony Under the Sky presented by ATB Financial in September 2012.

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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

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� e Larghetto second movement is in C minor’s relative major, E-fl at. It has an aria of quiet, even sad dignity to it, with a slight processional feel to its metre. � e central section has some wonderfully detailed and rich writing for the expanded wind section Mozart used for this concerto. For the fi nal movement, Mozart eschewed his usual Rondo format for a series of variations back in the concerto’s minor home key. � e main theme of the variations has a certain dramatic link to the main motif of the fi rst movement and, unlike his only other minor key piano concerto, this one stays in the minor right to the end – though a few of the variations lighten the overall gravitas of the movement. � e brief cadenza of this movement begins in a whisper, though its own momentum spurs it forward as the orchestra rejoins, ushering in the fi nal, declarative cadence.

Harp Concerto, Op.25ALBERTO GINASTERA(b. Buenos Aires, 1916 / d. Geneva, 1983)

First performed: February 18, 1965 in PhiladelphiaLAST ESO PERFORMANCE: MAY 1986

ROFOUNDLY INFLUENCED BY THE FOLK MUSIC OF HIS Argentine homeland, Alberto Ginastera’s early music often used

direct quotations and dances from that heritage. Late in his career, he embraced serialism and a much more contemporary palette. Works such as his Harp Concerto, which dates from his middle period, refl ect both of these elements, tending to use the folk idioms, yet with a more modern and even avant garde harmonic language. � e concerto was actually commis-sioned in 1956 by American harpist Edna Phillips, the fi rst woman to ever become a member of the Philadelphia Orchestra. Unfortunately, Ginastera did not fi nish the work until after Phillips had retired from the concert stage, and it was the noted Spanish harpist Nicanor Zabaleta who gave the work’s premiere in 1965.

� e outer movements of the concerto are both based on the malambo, an Argentine folk dance with origins dating back to the 17th century, a stomping, men-only dance of the gauchos (Argentine cowboys), who demonstrated their mettle in malambo competitions. As it pertains to this concerto, the malambo in the fi rst movement begins in syncopated beats in the orchestra as the harp presents the fi rst main theme. A strongly contrasting subject, introduced in chords on the harp, brings a sense of pending, almost foreboding stillness. � e vigour of the malambo returns, driven by percussion and brass, but a second time, the secondary mood returns, and the two ideas are pitted against each other, alternating. � e soloist’s part calls for precise fi nger work with staccato arpeggios and the occasional glissando. Ultimately, the movement ends in hushed, drawn-out chords.

Over a mournful melody in the strings, the harp enters the Molto moderato second movement with a richly chromatic and syncopated song. To gentle statements and support in the orchestra, the harp dominates the movement; at times sounding almost gamelan-like, other times dreamlike. � e hypnotic movement ends almost uncertainly, as the harp begins a long, Liberamente capriccioso cadenza. It begins quietly, but is soon dramatic and even chilling. With a swirl of glissandos, the harp ushers in the orchestra with a percussive thump, bringing in the malambo rhythm once again for the Vivace fi nale. Ginastera cleverly makes use of a full orchestra (including 28 separate percussion instruments) against the gentle tone of the harp by making use of call-and-response ideas, allowing each a chance to establish itself. � e bracing thrust and parry goes on without letup, leading to an abrupt and percussive fi nish.

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Fantasie on Themes from Bizet’s CarmenFRANZ WAXMAN(b. Königshütte, Silesia, 1906 / d. Los Angeles, 1967)

First performance of the concert work for violin & orchestra: September 9, 1946 on The Bell Telephone Hour radio programFirst performance of the trumpet & orchestra version: February 4, 1998 in New YorkTHIS IS THE ESO PREMIERE OF THE WORK FOR TRUMPET AND ORCHESTRA. THE VIOLIN AND ORCHESTRA VERSION WAS LAST PERFORMED IN FEBRUARY 2004.

E CAN THANK A HOLLYWOOD B-MOVIE FOR THE LAST work on tonight’s program. Franz Waxman came to America following

the Nazi takeover of Germany and, like Erich Wolfgang Korngold, became a celebrated composer of fi lm scores. � e 1947 movie Humoresque told the story of a young violinist (John Garfi eld) who becomes romantically entangled with an older woman (Joan Crawford). Isaac Stern played the soundtack’s violin solos, and Waxman wrote two “fantasies” for the score based on music from Wagner’s Tristan und Isolde and the popular melodies of Bizet’s Carmen.

Jascha Heifetz seized upon the Carmen Fantasy Waxman had pieced together, and asked him to fully fl esh it out as a stand-alone concert vehicle. Heifetz pre-miered the fantasy in its violin and orchestra form on a radio program in 1946. While Waxman had a trumpet version in mind for his friend, trumpet virtuoso Manny Klein, it would be over 50 years before a trumpet version was unveiled at Alice Tully Hall in Lincoln Center. Isaac Stern attended, Montréal Symphony Orchestra Principal Trumpet Paul Merkelo played the solo part, and Michael Tilson � omas conducted the New World Symphony Orchestra.

Program notes © 2012 by D.T. Baker



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

2012/2013 SEASONA2012/2013 SEASONA2012/2013 SEASONA2012/2013 SEASONA2012/2013 SEASONA2012/2013 SEASONA2012/2013 SEASONA2012/2013 SEASONA2012/2013 SEASONA2012/2013 SEASONA2012/2013 SEASONRIVALAchilles and Scamander (2012 ESO commission) (8’)*

FLECKBanjo Concerto (Canadian premiere) (36’)*


For the second half of tonight’s performance, Mr. Fleck will present solo works and improvisations.*indicates approximate performance duration

AAA A R T I S T B I O SARTIST BIOSASIGNATURE www.EdmontonSymphony.com24

William Eddins, conductorBéla Fleck, banjo

Béla FleckTuesday, October 2 | 7 : 3 0 P M

AIR CANADA PRESENTS

Born and raised in New York City, BÉLA FLECK began his musical career playing the guitar. In the early 1960s, while watching the

Beverly Hillbillies, the bluegrass sounds of Flatt & Scruggs hooked his interest immediately. In September 1973, the banjo became his full-time passion. He entered New York City’s High School of Music & Art. Since the banjo wasn’t an off ered elective at Music & Art, Mr. Fleck sought lessons through outside sources. Living in New York, he was exposed to a wide variety of musical experiences. A Return to Forever concert encouraged further experimenting with bebop and jazz on the banjo, signs of things to come.

Béla Fleck moved to Lexington, Kentucky to form the group Spectrum. While in Spectrum, he and bandmate Mark Schatz travelled to Califor-nia and Nashville to record his second album Natural Bridge with David Grisman, Mark O’Connor, Ricky Skaggs, Darol Anger, Mike Marshall, and other great players. In 1981, Mr. Fleck was invited to join New Grass Revival (NGR). � rough the course of fi ve albums, they charted new territory with their blend of bluegrass, rock and country music. During the nine years Béla Fleck spent with NGR, he continued to record solo al-bums for Rounder, including the ground breaking 1988 album Drive. He also collaborated with Sam Bush, Jerry Douglas, Edgar Meyer and Mark O’Connor in an acoustic super group called Strength in Numbers. Mr. Fleck put several musical sounds together with his banjo, a string quartet, his Macintosh computer, and also the more jazz-based combo. It would become Béla Fleck and the Flecktones. Still releasing albums and touring, the Tones have garnered a strong and faithful following among jazz and new acoustic fans. � ey have shared the stage with Dave Mathews Band, Sting, Bonnie Raitt, and the Grateful Dead, among many others. In 2006, the band released � e Hidden Land, which won the Grammy for Best Contemporary Jazz Album in 2007. � e band’s 2008 holiday album, Jingle All � e Way, was voted best Pop Instrumental Album at the Grammys. Already a powerfully creative force in bluegrass, jazz, pop, rock, and world beat, Béla Fleck made the classical connection with Perpetual Motion, his critically acclaimed 2001 Sony Classical recording that won two Grammys. � e recipient of multiple Grammy Awards going back to 1998, Béla Fleck has won 14 Grammys, and has received 30 nominations. He has been nominated in more diff er-ent categories than anyone in Grammy history.

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

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Achilles & Scamander (2012 ESO commission)ROBERT RIVAL(b. Calgary, 1975)

First performance: The ESO commissioned this work, and gave its world premiere on March 31, 2012THIS IS THE WORK’S SECOND PERFORMANCE

Program note by the composer:‘O Achilles, your strength is greater, your acts more violentthan all men’s; since always the very gods are guarding you.If the son of Kronos has given all Trojans to your destruction,drive them at least out of me to the plain, and there work your havoc.For the loveliness of my waters is crammed with corpses, I cannotfi nd a channel to cast my waters into the bright seasince I am congested with the dead men you kill so brutally.Let me alone, then; lord of the people, I am confounded.’–Homer’s Iliad, Book 21, lines 214-21

ITH THESE WORDS, SCAMANDER, THE RIVER GOD, implores a rampaging Achilles to take his fi ght elsewhere, but in vain.

And so ensues a dramatic battle between god and mortal, the former roiling his waters in an eff ort to drown the transgressor, the latter saved only by the intervention of another god, Hephaestus, forger of Achilles’s shield, who lays waste to Scamander by raining fi re upon him, thus allowing Achilles to carry on the slaughter.

� is episode inspired in me a short tone poem. I depict Achilles with a muscular theme in the horns that rises up across the instrument’s entire range, punctuated by the jabs of his sword and his shrill war cry. Scamander’s theme, in the bass trombone, rises up, too, as if from the depths of the river itself. A subsidiary motive represents Achilles chasing his victims through the water – and later fl eeing its surging waves. Hephaestus makes a late but extraordinary entry. � e Iliad stimulated my imagination like no other literary work has done in a long time. � e musicality of its language – the poetry’s rhythm, the extended similes, the repetition – drew me into another world. But so did the sweep of the narrative, the long descriptions and digressions, and, especially, the striking relationship between mortals and gods.

Banjo ConcertoBÉLA FLECK(b. New York, 1958)

First performance: September 22, 2011 in NashvilleTONIGHT’S PERFORMANCE IS THE CANADIAN PREMIERE OF THE PIECE

ÉLA FLECK HAS MADE IT A MISSION TO STRETCH THE boundaries of banjo repertoire, and his Banjo Concerto is only one of the

many fruits of that exploration. “My real job is to follow my inner voice till it sounds right to me,” Mr. Fleck tells Signature magazine. “Most of that job is unconscious – especially the part about why something sounds ‘right’, whatever that actually is. So I make the music and strive to get it exactly how I intend, and then allow others to analyze it.”

Fleck has collaborated with other musicians to produce concert works. With double bassist Edgar Meyer, Fleck wrote a Double Concerto for Banjo

and Double Bass which premiered in Nashville in 2003, the success of which paved the way for the Banjo Concerto. “I wasn’t sure that a real person could actually create a piece like a concerto until I saw my friend Edgar do it a couple of times,” Fleck notes. “� at helped to demystify it for me, and then I needed to do it with him – to see how it’s actually done, and also to fi nd out whether I thought I could bring anything to it that was unique to me. In the end, I used my ignorance as a weapon and a shield.”

In the concerto he fi nally produced for himself, Béla Fleck takes his instru-ment on a journey. “I was playing with a lot of things that are not easy for me to do on the banjo, or in other writings of mine,” he explains of the challenge he set himself. “Having a full orchestra presented options that I’ve never had before. And also, considering the energetic makeup of most of the music I do, it was a chance to explore diff erent emotions and get away from the ‘happy banjo syndrome.”

Embracing the notion that a banjo might seem incongruous as collabora-tor with an orchestra, the instrument begins the work in a “classical” setting, the banjo’s series of ostinatos (short melodic or rhythmic patterns which are repeated) seeming unsettled. � e orchestra begins the work with a sense of hushed anticipation, and soon after the banjo’s entrance, the melodic idea from the ostinato pattern becomes the basis for a dialog between orchestra and soloist. � ere is even a brief duet for the banjo with a violin that sounds as if straddling the same genres as the banjo. � ere is a brilliant, if brief cadenza (a virtuosic solo) near the movement’s conclusion.

� e second movement also begins moodily, but the banjo is given a sweetly lyrical song in its ostinato pattern. As if fi nding its comfort zone, the banjo plays against the orchestra’s still restless music, the overall mood of which includes an extended orchestra-only section which begins with the bells. As the movement nears the end, the banjo takes some tentative steps toward becom-ing the more extroverted instrument we think of it as being, and at last the orchestra seems to come along.

� e banjo’s natural, home key is G Major. � roughout the work, Béla Fleck enjoyed working against that. � e fact that the banjo is such a “percussive melody instrument,” as well, inspired him. � e writing for the orchestra fea-tures dissonant chords that should resolve in G – where the banjo would sound most natural – but, as he says, “building tensions and releasing them was a lot of fun. Having these big dissonant chords that hung in the air for a minute or so gave me great joy. I was like a kid in a candy store. Remember that I’m a banjo player; my notes never last for more than a second or two!”

So in the fi nal movement, Fleck brings the banjo “home” – eventually. � e movement begins with the sense that there is a party there somewhere, it just has to be found. An obvious blues-inspired passage a few minutes into the movement gradually brings the bluegrass out in both banjo and orchestra. “I thought perhaps the banjo was at a masquerade ball, dressed and acting like a prince,” Fleck says of the concerto’s opening, “but in the end [he] is found out as the street thug he really is.” Ending with a rousing bluegrass fl ourish, Fleck’s banjo – and perhaps its composer – hangs up the tux, puts on its familiar old jeans, and, now solidly in G Major, does what comes naturally. While this thread certainly seems apparent to the listener, Béla Fleck maintains that the notion of the “journey” back home running through the concerto was not a conscious decision. “I did devise this idea to try to explain it, but after I wrote the piece,” he says. As for whether it mirrors his own sense of exploration, he says, “I guess it’s all in there, but I’m hesitant to cop to it.”

Béla Fleck dedicated his Banjo Concerto to Earl Scruggs (1924-2012).

Program note for Achilles & Scamander © 2012 by Robert Rival. Program note for the Banjo Concerto © 2012 by D.T. Baker, with thanks to Béla Fleck.

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E D M O N T O N


RRRRRRRRRRHINRICHS/WINKLERTHE PHANTOM OF THE OPERA(adapted and realized by Dennis James)fi lm released September 6, 1925 by Universal/Jewel

CREDITS:Director: Rupert Julian (with uncredited parts by Lon Chaney and Edward Sedgewick); Screenplay: Elliott Clawson, from the novel by Gaston Leroux, with additional writing by James Spearing, Bernard McConville, and Robert Schrock; Cinematography: Charles Van Enger, Milton Bridenbecker, and Virgil Miller; Assistant Directors: Robert Ross and Joseph Pasternak; Art Director: Ben Carr‚ (unbilled); Colour Photography Supervision: Edward Estabrook; Set Design: E. E. Sheeley and Sidney Ullman; Set Construction: Archie Hall

CAST: Lon Chaney (Erik), Mary Philbin (Christine Daae), Norman Kerry (Raoul de Chagny), Snitz Edwards (Florine Papillon), Gibson Gowland (Simon Buquet), John Sainpolis (Phillipe de Chagny), Virginia Pearson (Carlotta), Arthur Edmund Carewe (The Persian), George B. Williams (M. Richard), Bruce Covington (M. Moncharmin), Cesare Gravina (Retiring Manager), Edith Yorke (Mama Valerius), Anton Vaverka (The Prompter), Bernard Seigel (Joseph Buquet), Olive Ann Alcorn (La Sorelli), Edward Cecil (Faust), Alexander Bevani (Mephistoclees), John Miljan (Valentine), Grace Marvin (Martha)

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

Program subject to change

RRR2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASONRR2012/2013 SEASONRR2012/2013 SEASONR2012/2013 SEASONThe Phantom of the OperaThursday, October 4 | 8 P M

A R T I S T B I O SARTIST BIOS

Mr. Eddins’s bio can be found on page 6.Program notes continue on page 28.

or nearly 45 years, DENNIS JAMES has played a pivotal role in the inter-national revival of silent fi lms with live music. He began professional fi lm

accompaniment at Indiana University while he was a music student in the late 1960s. James now tours worldwide under the auspices of his own Silent Film Concerts production company, professionally performing to silent fi lms with solo organ, piano, and chamber ensemble accompaniments, plus presentations with major symphony orchestras. A featured solo performer on the inter-national fi lm festival circuit, Mr. James appears regularly at the annual Los Angeles, San Francisco, Washington D.C. and Philadelphia events as well as the Pordenone and Rome (Italy) Festivals Cinema Muto.

Following an extensive nationwide search, Dennis James was selected to debut the El Capitan � eatre’s Mighty Wurlitzer pipe organ in Hollywood, California. Dennis James also serves a number of concurrent professional appointments. Mr. James performs his revival silent fi lm programming with live music around the world. He regularly plays to silent fi lms at the 5-manual Rieger concert organ at Vienna’s Konzerthaus, and in late 2008 performed his sixth country-wide tour in New Zealand. In a career fi lled with diverse organ performance activities he has appeared together with fi lm personalities Vincent Price, Ray Bolger, Bob Hope, Red Skelton, Myrna Loy, Jimmy Durante, Olivia DeHavilland, Ethel Smith, Ginger Rogers, and Fay Wray. He toured throughout the 1980s with silent fi lm stars Lillian Gish and Charles ‘Buddy’ Rogers providing musical accompaniment on national tour revivals of their motion pictures.

Mr. James last appeared with the ESO in November 2008.

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William Eddins, conductorDennis James, organ

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2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASONRRR2012/2013 SEASONR2012/2013 SEASON2012/2013 SEASONR2012/2013 SEASON2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASONRRR2012/2013 SEASONR2012/2013 SEASON2012/2013 SEASONR2012/2013 SEASON2012/2013 SEASONR2012/2013 SEASON2012/2013 SEASONR2012/2013 SEASON2012/2013 SEASONR2012/2013 SEASONROBBINS LIGHTER CLASSICS The Phantom of the Opera

Program Note by Dennis James

TUDYING THE PHANTOM OF THE OPERA TODAY IS CONFUSINGdue to the availability of several diff erent versions. � e fi lm was reissued

at least fi ve times by Universal following its San Francisco premiere in 1925. In early 1930, there was the fi nal offi cial studio release, at that time issued with an added soundtrack that included an eerie prologue spoken by a man holding a lantern in the catacombs. It is this fi nal release version, projected at the historically correct projection silent fi lm speed of 21 frames per sec-ond, and including a synchronized recreation of the spoken prologue plus the original 1925 release orchestral musical score by G. Hinrichs and M. Winkler performed live that we will be recreating in our screening.

� e Phantom of the Opera is undeniably Lon Chaney’s most famous role. Chaney’s fi lm performances were as cadenced as a dance and as communi-cative as classical mime. � e son of deaf-mute parents, he transformed the necessary mime of his youth into exquisite pantomime in his performances. His skill with make-up and his willingness to endure tortuous distortions of his own body in aid of his roles was unparalleled. If there were defi ned limits to his range, they had more to do with his choice of roles than his method of portraying them. Chaney had one basic portrait in him: the twisted outcast betrayed by life whose physical suff ering and isolation from

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

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society force him into evil acts of violence that contradict his innate longing for love.

When Carl Laemmle Sr., President of Universal Pictures, gave the go-ahead to begin production on � e Phantom of the Opera in 1924, he undoubtedly saw the new fi lm as a designed sequel to the studio’s runaway hit, � e Hunchback of Notre Dame, which had opened in September 1923 to critical acclaim and fi nancial success. Lon Chaney’s portrayal of the deformed bell ringer Quasimodo skyrocketed him to major stardom and Universal reasoned correctly that Chaney was the key to Hunchback’s success.

� e Phantom of the Opera was a movie that almost never got made, as it was plagued from the start by production problems. Director Rupert Julian conducted himself like a martinet. Construction began in July 1924 on a full scale replica of the Paris Opera auditorium and stage. No existing stage could handle the set, so one was built. � is Opera House was the “money set,” and the big marketing gimmick that Laemmle was counting on to put over the advertising. � e reconstruction of the auditorium (the stage that houses it is 360 feet long by 145 feet wide and still stands today at Universal City) proved impossible to photograph. Cameraman Charles Van Enger, ASC, recalled, “For the long shots we had to take the camera out of the stage and halfway up the hill.”

� e picture was previewed in Los Angeles in January 1925. Laemmle was unhappy with the preview, and ordered additional footage be shot. � e original ending had the Phantom found by the mob, lying dead at the keyboard of his organ. Edward Sedgwick, better known as a fast-paced comedy director, was assigned to direct a new climax in which the Phantom escapes the mob by commandeering a carriage with a subsequent chase on foot through the Paris streets to the bank of the Seine. Astute observers will notice that the Phantom is chased past the Notre Dame cathedral set, still standing, from � e Hunchback of Notre Dame. Additional romantic subplot footage was also shot with Ward Crane playing a rival of Norman Kerry for Mary Philbin’s aff ections. Walter Anthony was hired to write new intertitles.

In April 1925, the fi lm in its new form was again previewed, and Laem-mle was still unhappy with the reception the fi lm received. Most of the new scenes, except for the exciting climax, were junked. New scenes with comedian Chester Conklin were added as well as more new intertitles. After viewing this version, Laemmle ordered the comedy scenes scrapped and still more intertitles were rewritten to account for the many changes. � e fi lm fi nally premiered on September 6, 1925 and achieved a tremendous popular success. � e fi lm cost $632,357 by the time the fi nal print was previewed, including about $50,000 in retakes. � e expense was worth it as Phantomwould go on to earn $2,014,091 in revenues, one of the largest fi gures for any silent fi lm.

Chaney spends most of the fi rst half of the picture wearing a mask, and for a silent picture, this meant that all his emotion had to be conveyed with body language. � e unmasking scene may seem tame by today’s slasher-movie standards, but it delivered quite a jolt in 1925. Several press reports told of patrons fainting in the theatres during the famous scene.

“I’d worked with Lon for years experimenting with one make-up after another,” recalled cameraman Virgil Miller, who had photographed Chaney in several pictures prior to Phantom, and who would subsequently handle re-takes on the production. “He’d say, ‘Virg, make me look frightening and repulsive, but at the same time make the audience love me.’ He always wanted to be loved.”

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SUNDAYS at3www.rcco.edmonton.ab.ca

Organ in Concert SeriesDavis Concert Organ 10th AnniversAryFriday, October 5, 8:00 pmJeremy spurgeon, solo organrichard eaton singers directed by Leonard ratzlaff

For ticket and other information visit www.rcco.edmonton.ab.ca

Winspear Centre for Music, Edmonton

ORGANiCorgan in concert

Friday, October 19, 8:00 pmWest End Christian Reformed Church10015 -149 StreetJoseph nolan, organist

Mrs. 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 1972-73

Dr. 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

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

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

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 FergusonRicki GolickBill 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 finest 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

LIST OF PAST BOARD CHAIRS


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

EDUCATIONAL OUTREACHD.T. Baker, Associate Director of Educational Outreach

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 ManagerMike Patton, Assistant Head of Stage Management*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 DevelopmentElaine Finger, Associate Director of Patron DevelopmentKathy Brown, Patron Development AssociateJeffory Magson, Patron Development CoordinatorErin Mulcair, Patron Relations ManagerTeresa Ryan, Patron Events ManagerAdam Trzebski, Patron Relations Manager

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


TTTTTTTHANK 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 fi nanced by ticket sales, grants from government agencies, and by contributions from corporations, foundations, and individuals.TT

Our Media Sponsors

TTTTTTOur Program and Education Sponsors

TSeries Sponsors

Government Agency Support:

Title SponsorLandmark Classic Masters

Title SponsorEsso Symphony for Kids

SponsorFriday Masters

Title SponsorRobbins Pops / Robbins Lighter Classics

SponsorSunday Showcase

Presenting SponsorLate Night with Bill Eddins

Our Performance Sponsors

CityTV Capital FM Global CKUA ShineFM Edmonton Journal Joe FM Pattison CBC

Our Exclusive Caterers

Our Suppliers

Offi cial Bike Supplier to the ESO Conducting Team

Print Sponsor

Wine Supplier Craft Beer SupplierOffi cial Airline of the ESO

Publications Sponsor

Sponsor2 for 1 Introductory Series Offer

SponsorK to Gr. 3 Education Program

SponsorMusicians in the Making

SponsorGr. 4 to 6 Education Program

Naming SponsorENMAX Hall

through the Edmonton Community Foundation

Presenting SponsorChristmas at the Winspear

Presenting SponsorChristmas at the Winspear

SponsorPulse8

Title SponsorAir Canada Presents

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

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

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


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eso signature magazine sep 2012

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