eso signature magazine dec 2012/jan 2013

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WE WISH YOU A

McDADES CHRISTMAS

A Celtic ESO holiday show

CLASSICAL SAXOPHONE

Compositions of Colour at the Masters

D.T. BAKERThe Coles Notes

version

¡FLAMENCO!At the Robbins

Lighter Classics

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¡FLAMENCO!

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They may be from Nova Scotia, but fl amenco ensemble Compañía Azul’s passionate fl amenco performances are authentic, colourful, and exciting. They join William Eddins and the ESO for a fi ery Latin Lighter Classics on January 17 (see page 23). Cover photo by Holly Crooks.

10

WELCOME

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

EDMONTON SYMPHONY ORCHESTRA 2012/2013

D.T. BAKER THE COLES NOTES VERSIONAn ESO Associate Director helps patrons understand classical reasoning

ROBBINS LIGHTER CLASSICSA CHRISTMAS FEAST (DECEMBER 20)

Steven Reineke, conductorKira Guloien, vocalistRichard Eaton Singers (Leonard Ratzlaff, Music Director)

ROBBINS POPS / CHRISTMAS AT THE WINSPEAR A CELTIC CHRISTMAS WITH THE McDADES (DECEMBER 21, 22 & 23)

Steven Reineke, conductorThe McDades, special guestsGreenwood Singers (Robert de Frece, Music Director)

LANDMARK CLASSIC MASTERSCOMPOSITIONS OF COLOUR (JANUARY 12)

Pierre Simard, conductorWilliam H. Street, saxophone

ROBBINS LIGHTER CLASSICSFLAMENCO! (JANUARY 17)

William Eddins, conductorCompañía Azul, Flamenco ensemble

DEDICATED SERVICE15 years at the Winspear Centre (1 page)

DONOR LISTINGS

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

pg. 5

pg. 6

pg. 7

pg. 10

pg. 23

pg. 26

pg. 28

pg. 33

SIGNATURE Contents

Volume 28, Number 4 | DECEMBER/JANUARY 2 0 1 2 / 1 3

pg. 13

pg. 16

pg. 19

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

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

ESO EDITOR D.T. BakerPROGRAM NOTES D.T. Baker, Megan “Azulita” Matheson Hamilton

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 Dennis Clark 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

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SIGNATURE 3DECEMBER/JANUARY 2012/13

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THE EDMONTON SYMPHONY ORCHESTRA2012/2013 SEASON

Signature4_p02-03.indd 3 12/7/12 10:24:50 AM

WSpecial Thanks

Season SevenEdmonton Recital Society

January 6, 2013 (Sunday) 2 p.m.

Emerging ArtistKendra James, viola

Sarah Ho, piano

February 10, 2013 (Sunday) 2 p.m.

ESO AllStarsJulianne Scott, clarinet

Sarah Ho, piano

Holy Trinity Anglican Church10037 84 Avenue, Edmonton

Admission by donation

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


WWVER THE LAST 10 YEARS, D.T. BAKER HAS BECOME A HIGH-PROFILE MEMBER OF the Edmonton Symphony team. A familiar face at pre-concert lectures and post-concert

gatherings, his program notes are also a mainstay of ESO concerts. He’s the musical “tour guide,” the one who enables our patrons – especially those without an extensive music background – to have their ears opened a little wider, to gain a deeper understanding and therefore a more profound concert experience. � is passion to enrich the audience experience made him an ideal choice to help the newly-created department of Educational Outreach increase the reach and impact of learning and community programs, all part of the ESO’s mandate to bring music education to the community at large.

You can get to know more about D.T. (for instance, that he’s known as “Dave” around here) on pages 10 and 11 of Signature. Creating the ideal circumstances in which to experience live orchestral music at its best is something that begins with your ticket purchase and ends with the treasured memories with which you leave the hall. It is not just the superb professionalism of your ESO musicians, but the hard work of everyone in the organization that makes that possible.

O

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 !WSpecial Thanks

Season SevenEdmonton Recital Society

January 6, 2013 (Sunday) 2 p.m.

Emerging ArtistKendra James, viola

Sarah Ho, piano

February 10, 2013 (Sunday) 2 p.m.

ESO AllStarsJulianne Scott, clarinet

Sarah Ho, piano

Holy Trinity Anglican Church10037 84 Avenue, Edmonton

Admission by donation

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


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

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

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

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

N

RIC BUCHMANN studied violin at the Conservatoire de musique de Montréal

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

ARTISTIC & LEADERSHIP TEAM

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

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

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

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

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

Strongly dedicated to Canadian composers, he has performed over 25 Canadian compositions in-cluding six world premieres, and has collaborated closely with composers such as John Estacio, Allan Gilliland, and Malcolm Forsyth. In recognition of his valuable contribution to the artistic life in Canada, Lucas was awarded the 2012 Jean-Marie Beaudet Award in Orchestra Conducting by the Canada Council for the Arts.

Lucas studied conducting and fl ute at the

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

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

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

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

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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

Rhonda Taft 3

Rob Aldridge

[ FLUTE ]Elizabeth Koch 1

Shelley Younge 2

[ OBOE ]

Lidia Khaner 1

Paul Schieman 2

The Steven & Day LePoole Assistant Principal Oboe Chair

[ 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 John & Barbara Poole Family Concertmaster ChairVirginie 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

Janice Quinn

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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

R

ARTISTIC & LEADERSHIP TEAMARTISTIC & LEADERSHIP TEAM

Eric Filpula, Orchestra Personnel ManagerSheila Jones, Librarian

The following musicians may appear at performances in this issue:Jeanette Comeau ViolaElizabeth Faulkner FluteMary Fearon HornMatthew Howatt BassoonAlexander Lozowski ViolinRegine Maier ViolinMichael Massey KeyboardsJohn McCormick PercussionJosh McHan BassBrian Sand TrumpetDiana Sapozhnikov ViolinYukari Sasada BassMartina Smazal ViolaJeremy Spurgeon KeyboardsElaine Stepa PercussionDan Sutherland ClarinetKate Svrcek ViolinBrian Thurgood PercussionDan Waldron OboeRobert Walsh GuitarJoanne Yu CelloKeri Zwicker Harp

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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A monthly feature from Sherbrooke Liquor Store


Get the Latest from Sherbrooke Liquor

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We are all acquainted with the fi rst few verses of Burns’ “Auld Lang Syne”, but how familiar are you with the last three stanzas?

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


FD AVE BAKER IS KNOWN AND REFERRED TO AS “D.T.” BY ESO PATRONS,

as “David” only by his mother and eldest sister and “� e guy who mows the lawn” by his wife of 13 years, Virginia Clevette, Manager of Edmonton’s Stanley Milner Library.

When Dave and Virginia reconnected 20 years after a six-month high school dating stint in the late-’70s, Virginia was a professional soprano and Dave was the Edmonton Journal’s Classical Music Writer (critic). To get over her nerves, focus and practise for an upcoming show during that time of their lives, Virginia had to put things into perspective: yes, the man watching football downstairs was a critic, but he was also just the guy who mowed their lawn.

Over the last decade, ESO patrons have met up with Dave in the Winspear Centre’s lobby before or after performances to hear about things like why a composer sped up the last half of a violin concerto or how an important theme in one movement shows up slightly altered in a key

moment of the fi nale. “When I see light bulbs going off in peoples’ eyes, that moment of ‘I get it’, that to me is why I do what I do,” Dave says. “I love those moments because it means when they go into that concert, they’re going to listen that much more deeply and understand it better and hopefully it means for a richer concert experience.”

Patrons like Jim Beck and his wife have shared a few dozen light bulbs with Dave after purchasing their fi rst set of Saturday Master Series tickets in the 2011/12 ESO season. � e pre-concert talks with Dave are what kept Jim going back, considering it was really his wife’s suggestion to purchase the tickets in the fi rst place. “I fi nd I really enjoy and get far more satisfac-tion from the concerts because of (Dave’s) dedication to trying to help concert-goers understand what is going on with the pieces selected for the performance,” Jim wrote in an email to ESO staff . He and his wife even attended 26 ESO shows above-and-beyond the standard 12 shows off ered with their Masters’ subscription.

HE MET RINGO STARR AND INTERVIEWED JON BON JOVI, BUT D.T. (DAVE) BAKER’S LOVE AND COMMITMENT TO CLASSICAL MUSIC

HOLDS STRONG, AND HAS DONE SO SINCE HE WAS EIGHT YEARS OLD

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FAN OF THE

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TOP SHELF: Dave blends his musical talents with sports. Once a week he dons a set of goalie pads, gloves and a helmet.

FAN OF THE CLASSICSFAN OF THE CLASSICSFAN OF THE CLASSICSFAN OF THE CLASSICS2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON

THIS PAST SUMMER, DAVE WAS PROMOTED TO ASSOCIATE DIRECTOR OF Educational Outreach at the ESO. It’s a new department to head up, but if anyone can inspire others to learn more about classical music and its composers, it’s Dave. “He’s a great speaker and he knows his stuff ,” Virginia says. “He can bring it to other peoples’ level. He knows not everybody has been immersed in this most of their lives and he gets that.”

It is also true that not every kid in Grade 3 wants to, or even thinks to, read about classical music. “Classical music was my fi rst love,” Dave says. “I was eight years old and I have the personality that if I like something, I like it a lot!” He gorged himself with history about classical composers and artists and became a self-taught expert, who also happens to have an English major.

His new organizational position includes making the orchestra’s music more accessible, interesting and innovative for new and existing patrons – with the help of Lucas Waldin, Enbridge Artist in Residence and Community Ambassador. “He’s a true pro and he’s really committed to what he’s doing,” Dave says regarding Waldin. � eir joint thinking led to this season’s educational concerts targeting the science curriculum of local schools.

Dave says he’s embracing one of his biggest and exciting professional challenges with this season as an education-based ESO Associate Director. � at says a lot for someone with 34 years of music-industry experience: eight years of FM rock radio broadcasting, and then various bouts with writing program notes (Signature magazine included), musical instruction, hosting, lecturing and being a program annotator. � ere’s so much to be gained from people’s exposure to this type of art form that we all love so much, Dave says. “� e possibilities are just so limitless.”

Virginia says this is the perfect job for her husband. “He excels at it. He’s a great writer, he’s a great speaker. He’s really found his place in life, which is not always common.”

THIS IS PROBABLY NOT THE DAVE YOU KNOWDAVE …• was born in Queens, N.Y. and grew up in Washington, D.C.• came to Edmonton because his father taught at the

University of Alberta. Dave then went to high school and university here.

• grew up playing baseball but switched his sport of choice to hockey when moving to Canada

• had the hockey position of goalie chosen for him, which he still plays recreationally once a week.

• has fi ve children – ages 29, 25, 21, almost-19 and 12. Two still live at home.

• is the goalie coach for his son’s hockey team. His son plays right wing. “It’s better that way,” Dave says.

• proudly owns every piece Beethoven – and Bob Marley and Brian Eno – ever made.

• will be the narrator for an ESO Sunday Showcase performance in March 2013.

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DECEMBER/JANUARY 2012/13

Warranty expired - now it’s your choice!


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RRRRRRRRRArtists’ bios continue on page 14.

2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASONRR2012/2013 SEASONRR2012/2013 SEASONR2012/2013 SEASON2012/2013 SEASON2012/2013 SEASONVARIOUSA Christmas Fanfare (arr. Stephenson) (8’)*

TRAD. (ENGLAND)Sussex Carol (arr. Wilberg) (3’)*

TRAD. (CATALONIA)“Fum! Fum! Fum!” (arr. Wilberg) (2’)*

TRAD. (AUSTRIA)“Still, Still, Still” (arr. Wilberg) (6’)*

TRAD. (FRANCE)Carol to the King (arr. Wilberg) (5’)*

YONGesù Bambino (arr. Tyzik) (6’)*

TCHAIKOVSKYA Klezmer Nutcracker:Three Orchestral Miniatures (arr. Cohen) (5’)*Dance of the Sugar-Plum Fairy / Arabian Dance / Trepak

ADAM/DWIGHT“O Holy Night” (arr. Wilberg) (7’)*

INTERMISSION (20 minutes)

TRAD.A Christmas Overture (Variations on Deck the Halls) (arr. Tyzik) (3’)*

POLA/WYLE“It’s the Most Wonderful Time of the Year”(arr. Reineke) (3’)*

JESSELParade of the Wooden Soldiers, Op.123 (arr.Gould) (3’)*

ANDERSONSleigh Ride (3’)*

BERNARD/SMITH“Winter Wonderland” (arr. Stephenson) (4’)*

A Christmas FeastThursday, December 20 | 8 P M

BERLIN“White Christmas” (arr. Dragon) (4’)*

NILES“I Wonder as I Wander” (arr. Reineke) (5’)*

TRAD. (FRANCE)“Angels from the Realms of Glory” (arr. Wilberg) (5’)*

VARIOUSChristmas Sing Along (arr. Reineke) (6’)*“O Come, All Ye Faithful” / “Hark! The Herald Angels Sing” / “Joy to the World” / “Silent Night”

Program subject to change*indicates approximate performance duration

TEVEN REINEKE’S boundless enthusiasm and exceptional artistry

have made him one of the nation’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 Orchestra 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 Cincinnati 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.

Steven Reineke, conductorKira Guloien, vocalistRichard Eaton Singers (Leonard Ratzlaff, Music Director)

ROBBINS LIGHTER CLASSICS

000Sig3.Mammoet_1-2H.indd 1 11/8/11 2:31:35 PM

A R T I S T B I O SARTIST BIOS

S

Media SponsorMedia Sponsor Media SponsorSeries Sponsor

Bill & Mary Jo Robbins

Christmas at the Winspear Sponsors Concert Sponsor



RRRR2012/2013 SEASONR2012/2013 SEASON2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASON2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASONR2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASONAs the creator of more than 100 orchestral arrangements for the Cincinnati Pops Orchestra, Mr. Reineke’s work has been performed worldwide, and can be heard on numerous Cincinnati Pops Orchestra recordings on the Telarc label. 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 2012.

orn and raised in Edmonton, KIRA GULOIEN moved to Toronto in 2008 to study acting at

Ryerson � eatre School, where she played roles such as Elizabeth Proctor in � e Crucible, Cleopatra in All for Love, and Amy in Company. Following her graduation, she had the incredible honour of touring Greece with � e Women and War project, in which she played the title role in Judith � ompson’s Elektra in Bosnia. Other professional credits include Hometown with � e Blyth Festival, Queen for a Day with April 30th Entertainment (starring Alan � icke) and How to Succeed: A Musical Tribute to

Des McAnuff . Ms. Guloien was a Top 12 Finalist on the fi rst season of CBC’s Triple Sensation. Up Next: Mrs. Walker in Tommy at � e Stratford Festival. Kira grew up watching her parents (ESO bassist Rhonda Taft and jazz saxophonist P.J. Perry) perform at the Winspear Center. She couldn’t be more thrilled to follow in their footsteps and join the ESO for this concert.

Kira Guloien fi rst performed with the ESO in Platypus Theatre’s A Flicker of Light on a Christmas Night in 2004 and 2005, and hosted the Family Christmas Concert in 2007.

ounded in 1951, by the late Richard S. Eaton, Edmonton’s symphonic choir, RICHARD EATON SINGERS (RES),

has played a leading role in the cultural community of the city for six decades. RES performances have included many Edmonton premieres of choral masterpieces such as Bach’s St. Matthew Passion and St. John Passion, Mendelssohn’s Elijah, Elgar’s � e Dream of Gerontius, and Vaughan Williams’s Sea Symphony. RES has also commissioned and produced world premiere performances by Canadian composers, including Mark Sirett’s In Praise of Music, Christos Hatzis’s � e Sepulcher of Life, and � e Houses Stand Not Far Apart by John Estacio. In March 2010, the choir premiered A Song of the Seasons by Canadian composer Ruth Watson Henderson with text by E. D. Blodgett to celebrate the 25th anniversary of Leonard Ratzlaff ’s artistic leadership of RES. � e choir recently commissioned John Estacio to compose “branche” (text by Ted Blodgett) in memory of former choir-member Frieda H. Haliburton. � is will be premiered at the choir’s pre-tour concert, June 22, 2013.

� e choir has travelled extensively across Canada, to the Netherlands and Britain and has exchanged with other choirs including the Vancouver Bach Choir. During the summer of 2013, RES will be undertaking a concert tour of Germany. RES is honoured to have been associated with the Edmonton Symphony Orchestra for 60 years. � is partnership has created many memorable choral events in our city, including in September 1997 the performance of Mahler’s 8th Symphony(“Symphony of a � ousand”) with the ESO to commemorate the opening of the Francis Winspear Centre for Music.

The choir last appeared at an ESO performance in May 2012. This past November, the ESO played for RES at the choir’s presentation of Mendelssohn’s Elijah.

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HOLIDAY OVERTUREVarious (arr. Stephenson)

“CAROL OF THE BELLS”Leontovych (arr. Hamilton)

“WINTER WONDERLAND”Bernard (arr. Hermann)

“I’VE GOT MY LOVE TO KEEP ME WARM”Berlin (arr. Reineke)

“JINGLE BELL ROCK”Boothe/Beal (arr. Reineke)

GUILLO, PRAN TON TAMBORINde la Monnoye (arr. Gilliland)

“THE LITTLE DRUMMER BOY”Davis/Simeone (arr. Gilliland)

“SEE AMID THE WINTER’S SNOW”Caswall/Goss (arr. Gilliland)

L’ARLÉSIENNE SUITE NO. 2: FARANDOLEBizet


SING WITH US CHRISTMASVarious (arr. Healey)

“O HOLY NIGHT”Adam/Cappeau/Dwight (arr. Dragon)

“GLORIA”Bass

Steven Reineke, conductorThe McDades, special guests Shannon McDade Solon McDade Jeremiah McDade Andy Hillhouse François TailleferGreenwood Singers (Robert de Frece, Music Director)

Christmas at the Winspear – A Celtic Christmas with the McDadesFriday & Saturday, December 22 & 23 | 8 P M

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ST. STEPHEN’STrad. (arr. Gilliland)

SNOW SNOWSeeger (arr. Gilliland)

THE WHISTLEBLOWERJ. McDade (arr. Gilliland)

CHRISTMAS SING ALONGVarious (arr. Reineke)

Program subject to changeAll orchestrations for the McDades by Allan Gilliland

unching through the walls of tradition, THE MCDADES’ celtic rooted music fuses the spontaneity of jazz improvisation with infectious

global rhythms. � eir cutting edge sound is the perfect complement to their fi ery performances. At the heart of the group are siblings Shannon, Solon, and Jeremiah, who grew up playing Canadian folk music alongside their parents and among artists from around the world, a unique upbringing that led to a love and respect for all music. � eir groundbreaking compositions and innovative arrangements are characterized by stunning virtuosity and a near-telepathic interaction on stage.

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� e siblings are joined by Andy Hillhouse, a multi-faceted guitarist whose infl uences range from mariachi to funk to choral music, and Francois Taillefer, a magnetic hand-drumming nomad who has travelled the world studying ethnic rhythms on percussion. � e musical diversity of this tight, fi ve-piece celebrates the very idea of what it means to be a Canadian musician. � e McDades were winners of the 2007 Juno Award for Best Group Roots/Traditional Album, the 2007 Independent Music Award for Best World Album Traditional, and 2006 winners of the 2006 Canadian Folk Music Award for Best World Group and Best Instrumental Group.

This is the group’s debut with the ESO.

ounded in 1980 by Robert de Frece, GREENWOOD SINGERS is dedicated to the performance of all types of choral music “ from Renaissance to Broadway.” � e choir’s eclectic

programming has made its concerts popular with Edmonton audiences since its debut in 1981. In the beginning, Greenwood Singers specialized in the performance of a cappella music from diff erent stylistic periods. Its programming has now expanded to include works with soloists, instrumental ensembles and chamber orchestra. A versatile ensemble, the choir has performed frequently with the Edmonton Symphony Orchestra in a wide variety of programs which have included Mahler’s Symphony No. 8, Holst’s � e Planets, family Christmas concerts, the concert version of Jerome Kern’s Show Boat, Orff ’s Carmina Burana (with Alberta Ballet) and the ESO’s 1992 reunion with the British rock group, Procol Harum.

Greenwood Singers has also performed with the Alberta Baroque Ensemble and has been heard on regional and national broadcasts on CBC Radio-Canada. In the summer of 2000, Greenwood Singers performed at the 24th Biennial World Conference of the International Society for Music Education and in the summer of 2001, sang for the opening ceremonies of the 8th IAAF World Championships in Athletics. � e choir has released four CDs, produced by Arktos Recordings: WinterGreen: Songs of Christmas (1996), Home for the Holidays (1999), Randall � ompson: Ode to the Virginian Voyage / Frostiana (2002) and Joy to the World: Music for Advent & Christmas (2009). For more information, www.greenwoodsingers.org

The choir last appeared with the ESO in December 2011.

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FFFFFFFFFArtists’ bios and program notes continue on pages 20 & 21.

2012/2013 SEASONF2012/2013 SEASONF2012/2013 SEASONF2012/2013 SEASONF2012/2013 SEASONF2012/2013 SEASONF2012/2013 SEASONF2012/2013 SEASONF2012/2013 SEASONF2012/2013 SEASONF2012/2013 SEASON2012/2013 SEASON2012/2013 SEASONCompositions of ColourSaturday, January 12 | 8 PM

Pierre Simard, conductorWilliam H. Street, saxophone

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

DEBUSSYPrélude à l’aprés-midi d’un faune (10’)*

DEBUSSYDanse (orch. Ravel) (6’)*

DEBUSSYRapsodie for Orchestra and Saxophone (10’)*

IBERTConcertino da camera for Saxophone (11’)* Allegro con moto Larghetto Animato molto


FREEDMANOiseaux exotiques: Suite (selections) (14’)* 1. Conga 2. Butterfl y 3. Joropo 6. Llanero 9. Samba 12. La Negra

RAUTAVAARACantus Arcticus, Op.61 “Concerto for Birds and Orchestra” (19’)* Suo (“The Marsh”) Melankolia (“Melancholy”) Joutsenet muuttavat (“Swans Migrating”)


IERRE SIMARD is Artistic Director with the Vancouver Island Symphony and the Orchestre symphonique de Drummondville. He

is acclaimed as a prominent Canadian conductor and composer-arranger, with a worldwide career. Passionate and versatile, he shares his love for music with a contagious enthusiasm that has garnered praise from critics, colleagues and audiences alike. Formerly, Assistant Conductor with the Vancouver Symphony Orchestra and Associate Conductor with the Calgary Philharmonic Orchestra, Mr. Simard is Guest Conductor with major orchestras in Canada (National Arts Centre, Toronto, Hamilton, Victoria, Les Violons du Roy, Trois-Rivières, Montréal’s Orchestre Métro-politain); the United States (Milwaukee, Tucson, Santa Cruz, Hot Springs); and Europe (Lisbon’s Orquestra Metropolitana, Brussels, Lyon and more). He has also guest conducted with Opéra de Montréal and the Lanaudière International Festival.

A passionate performer of new music and large-scale symphonic masterpieces, Pierre Simard reinvents the concert formula, com-bining fantasy, other art forms, and even humour to music. His vast reper-toire includes major sym-phonies and concertos, orchestral gems, choral works, his own composi-tions, and arrangements and new music premieres. His creativity and dedica-tion towards younger audience members have enabled him to create original symphony shows which have been featured all across North America. He also guest conducts shows with artists such as Colin James, Ian Tyson, Chantal Kreviazuk, Nikki Yanofsky, the Canadian Tenors and Chris Botti. Pierre Simard was awarded the Canada Council for the Arts’ Jean-Marie Beaudet Award in Orchestral Conducting. He received two Opus Prizes from Québec’s Music Council and grants from Québec’s Arts Council. A Master’s Degree in Conducting from the Peabody Institute (Johns Hopkins University) and from the Conservatoire de musique de Montréal, Pierre Simard studied with Raffi Armenian, Frederik Prausnitz, JoAnn Falletta and Marin Alsop.

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

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LLLL2012/2013 SEASONL2012/2013 SEASON2012/2013 SEASONL2012/2013 SEASONL2012/2013 SEASONL2012/2013 SEASONL2012/2013 SEASONL2012/2013 SEASONL2012/2013 SEASON2012/2013 SEASONL2012/2013 SEASONL2012/2013 SEASONL2012/2013 SEASONL2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASON2012/2013 SEASONLANDMARK CLASSIC MASTERS Compositions of Colour

Saxophonist WILLIAM H. STREET has performed and

lectured in Belgium, Canada, Federation of Russia, France, Great Britain, Japan, Mexico, Spain, Taiwan, � ailand, Ukraine, and the U.S. He tours frequently with pianist Roger Admiral and the Quatuor International de Saxo-phones emphasizing the importance of both solo and chamber music making. Strongly infl uenced by his former teachers Etheridge, Hemke and Londeix, Mr. Street has sought to make heard the music of today’s composers in his concerts. He can be heard on compact disc record-ings Sunthesis: Les Septs Iles with L’Ensemble International de Saxo-phones, At Your Service with pianist

Sylvia Taylor and the Centaur recording of Evolution V for fi ve saxophonists by Marilyn Shrude, with the Chicago Saxophone Quartet. His recording of Tre Vie, Concerto for Saxophone and Orchestra by Malcolm Forsyth with Grzegorz Nowak and the Edmonton Symphony Orchestra was nominated for a 1999 Juno award and was re-issued in 2009.

Other recordings include Quatuor International de Saxophone LIVE, heliosaxo, My Very First Solo, and Westwind, Canadian Music for Saxophone with Roger Ad-miral. Street also participated as a jury member for international competitions in Belgium, France, Russia, � ailand, Ukraine and the United States. He served as President of the North American Saxophone Alliance from 1992-1994. His pub-lished work includes the English translation of Hello! Mr. Sax, ou les Paramètres du Saxophone (Leduc) by Jean-Marie Londeix, “Elise Boyer Hall,” and “� e Life of Elise Boyer Hall” in Les États Géneraux Mondiaux du Saxophone. Anna and William Street translated into English the Méthode d’étude de Saxophone by Jean-Marie Londeix and published by Éditions Henry Lemoine in Paris. William Street also served as editorial consultant for the biography Jean-Marie Londeix, Master of the Modern Saxophone by James Umble (Roncorp, 2000).

Music of CLAUDE DEBUSSY(b. St. Germain-en-Laye, 1862 / d. Paris, 1918)

Prélude à l’après-midi d’un fauneFirst performed: December 22, 1894 in ParisLAST ESO PERFORMANCE: OCTOBER 2012

E IS CONSIDERED THE REVOLUTIONARY WHO, WITH THE Prélude à l’après-midi d’un faune of 1894, set twentieth-century music on

its way.” Such is summation of the impact of Claude Debussy by the late critic of the New York Times Harold C. Schoenberg. While regarded an important com-poser during his life, the decades since then have only increased Debussy’s stature as the greatest French composer.

� e “faune” of the title is not a young deer but rather the fauns of Greek myth – rural gods with the horns and legs of a goat. Debussy was inspired by L’après-midi d’un faune (“� e Afternoon of a Faun”), a poem by his

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contemporary Stéphane Mallarmé. � e work begins with one of the most sensuous, languid solos in music, a magical scene-setter performed on the fl ute, and unfolds luxuriantly into a rich, pastel landscape of ever-unspooling melody. It premiered on December 22, 1894, and its fi rst conductor, Gustave Doret, recalled, “� ere were cheers. � e orchestra itself applauded. An encore was demanded, and I was forced to grant it. I broke the rules, thinking that it had been a long time since a masterpiece of this class had been presented.”

DanseMusic orchestrated by Ravel 1922-23THIS IS THE ESO PREMIERE OF THE PIECE

IVE YEARS AFTER DEBUSSY’S DEATH, THE NEW HEAD OF Debussy’s old publishing house, Fromont, commissioned Maurice

Ravel to orchestrate music of Debussy as an homage. As Fromont had been a publisher of Debussy’s early works, Ravel chose two of those, both originally written for piano solo. � e lively and engaging Tarantelle styrienne dates from 1890; it is contrasted with a Sarabande, one of the movements of the suite Pour le piano of 1901, marked in the piano score as “Avec une élégance grave et lente” (“with a serious elegance, and slowly”).

Rapsodie for Orchestra and SaxophoneFirst performed: May 11, 1919 in ParisLAST ESO PERFORMANCE: JANUARY 1993

PATENT FOR THE SAXOPHONE WAS REGISTERED BY Adolphe Sax in 1846, and soon after, a number of Sax’s French

countrymen began giving the instrument some token exposure in their music. As the new century dawned, wealthy American arts patron and President of the Orchestral Club of Boston, Elise Hall (1853-1924) was advised by her doctor to take up the saxophone – for health reasons. She was disappointed in the quantity and quality of works for her adopted instrument, so she set about commissioning new works for it. Among those she engaged were Vincent d’Indy, André Caplet, and, in 1893, Claude Debussy.

He dragged his feet terribly over the commission for what he called “this aquatic instrument,” noting humorously in a letter to a friend, “Consider-ing this fantasy was ordered, and paid for, and eaten more than a year ago, I realize I am behind with it.” � e fantasy was rescored as a rapsodie, and it is curious to note that a copy of the score, signed by Debussy, currently resides at the Bibliotheque National de Paris and is dated 1903 – fi ve years before the score was ever sent to “the Saxophone Lady.” � e work was never performed publicly until 1919, at a commemorative concert following Debussy’s death.

� e Rapsodie begins mysteriously in the strings, and the soloist’s entrance picks up on that; Debussy’s ability to create a luxuriantly unfolding melody is much in evidence here. � ere is never a sense of hurry, the landscape has a pastoral feel, though also very nocturnal. � e saxophone is called upon to play lengthy passages featuring tricky syncopations and languidly held long notes. Halfway through, the mood becomes decidedly more decisive and dramatic in the orchestra, though the saxophone seems to settle the mood once again as it dictates the emotional content of the work. � e fi nal section picks up the pace, as the saxophone begins an undulating dance, still full of mystery, with a slightly Arabian fragrance to it – and a surprisingly declama-tory ending.

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Concertino da camera for SaxophoneJACQUES IBERT(b. Paris, 1890 / d. Paris, 1962)First performed: 1st movement premiered September 1935 in Paris. Entire work premiered December 1935 in ParisTHIS IS THE ESO PREMIERE OF THE PIECE

N THE GENERATION WHICH FOLLOWED THE GREAT WRITERS FOR orchestra such as Ravel and Debussy, many French composers became

quite expert in writing for smaller forces. Jacques Ibert was one of those, with a particular ear for wind sonorities. He wrote his chamber concerto for saxophone in 1935, scored for the soloist plus 11 instruments. It opens with a quick feeling of tension in the ensemble, but the soloist’s entrance ushers in a cosmopolitan, suave sensibility. � e spare instrumental forces provide a surpris-ingly warm backdrop for the saxophone’s passages, which range from nimble to long-breathed and lyrical. While the soloist dominates, the ensemble provides important counter-material, picking up on the saxophone’s varying emotional shading. � e movement ends in happy collaboration.

� e Larghetto central section is begun with a soft whisper by the saxophone, haunting and almost forlorn. � e ensemble tiptoes in as the saxophone contin-ues its plangent song. Seamlessly, the instruments blend with the soloist in a rich and plaintive song, suddenly abated as, without a pause, the fi nal section, Animato molto, scurries in almost mischievously. � is movement is full of élan, but it still showcases the saxophone’s full arsenal of sounds, ranging through its entire compass, and blending demanding fi ngering and breath control with dynamic shifts and wide leaps. � ere is a brief cadenza before the sense of play with the ensemble returns to close the work.

Oiseaux exotiques: Suite (selections)HARRY FREEDMAN(b. Lodz, Poland, 1922 / d. Toronto, 2005)First performed: May 1984 in TorontoLAST ESO PERFORMANCE OF MUSIC FROM THE SUITE: FEBRUARY 2004

ARRY FREEDMAN LIKELY NEVER FORESAW THE VERY specifi c advantage his brief tenure as an arranger for Toronto dance

clubs in the 1940s would have. It exposed him to a wide array of dance styles, from American jazz to dance forms from many lands. So when choreographer Constantin Patsalas approached Freedman with a set of Venezuelan tunes he had heard while on a trip to South America, wanting the veteran composer to arrange them for a ballet, his talents in setting exotic music bore great fruit, and one of Freedman’s most popular scores was born.

Oiseaux exotiques (“Exotic Birds”) was premiered by the National Ballet, and is a colourful series of dances based on Venezuelan music. Some of the movements are in fact named for actual fl ying creatures (in tonight’s excerpts, Butterfl y and La Negra – “the blackbird”), while others are Latin American dances (Conga, Joro-poand Samba). � e Joropo, in fact, is considered Venezuela’s national dance. � e other excerpt tonight, Llanero, is based on a Venezuelan folksong. In evoking an authentic Venezuelan sound, Freedman’s orchestration features a large percussion section. � e Edmonton Symphony Orchestra’s CBC recording of the suite, coupled with Malcolm Forsyth’s Atayoskewin and released in 1986, won a Juno Award.

Cantus Arcticus, Op.61 “Concerto for Birds and Orchestra”EINOJUHANI RAUTAVAARA(b. Helsinki, 1928)First performed: 1972 at the University of Oulu, FinlandTHIS IS THE ESO PREMIERE OF THE PIECE

60th Anniversary Gala Concertwith the Richard Eaton Singers

February 24th • 2 pm at the Winspear Centre

Conductor • Michael Massey

$15 Adults$10 Seniors/ Students

Tix on the Square780 420 1757

INOJUHANI RAUTAVAARA HAS ESTABLISHED A PRESENCE on the world stage that goes far beyond his status as one of Finland’s

fi nest composers. At once highly individual and profoundly infl uential, Rautavaara has created a fascinatingly diverse body of work, one guided more by his deep musical instincts than by currency of a particular school of compositional thought.

His Cantus Arcticus, featuring pre-recorded bird sounds, was commis-sioned in 1972 by the University of Oulu, located near the Arctic, for its doctoral degree ceremony. “� e bird sounds were taped in the Arctic Circle and in the marshlands of Liminka,” Rautavaara has said. � e opening movement begins with two fl utes (among the most “birdlike” of orchestral instruments), and eventually, other winds are added to their sound, accompanied by birds one fi nds in Finnish bogs in spring. When the strings fi nally enter, they can be interpreted, the composer says, “as the voice and mood of a person walking in the wilds.”

� e second movement lives up to its melancholy name. � e recording used here is that of a shore lark, though the recording is actually lowered by two octaves, creating a spectral, ghost-like feel to the bird’s song. � e fi nal movement is given the migration of a host of swans. � e instru-mental forces are presented in four independent groups. As the din of the swans grows, the orchestral parts blend and coalesce with increasing complexity. � en, like the birds themselves, the music gradually fades into the distance.

Program notes © 2012 by D.T. Baker

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

Program notes continue on page 24.

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TRAD./COMPAÑÍA AZUL“Soleá”(orch. MacNeil / choreography Azulita/Gabaldón) (16’)*

SERRADELLLa Golondrina (arr. Dragon) (4’)*

MASSENETLe Cid: Aragonaise (2’)*

MACNEILBulerías (7’)*

COMPAÑÍA AZUL“Alegría” (orch. MacNeil / choreography Tziporah) (5’)*

GIMENEZLa Boda de Luis Alonso: Intermedio (6’)*


MÁRQUEZDanzón No. 2 (11’)*

TRAD./COMPAÑÍA AZUL“Tarantos” (arr. de Carmen/Compañía Azul / choreography: de Carmen) (11’)*

PEREZ-FREIREAy, Ay, Ay (arr. Dragon) (4’)*

MACNEIL/HARRIS“Martinete” / “Seguiriya” (orch. MacNeil / choreography Azulita) (11’)*


Flamenco!Thursday, January 17 | 7 : 3 0 P M

OMPAÑÍA AZUL has a heart split between the coasts of Atlantic Canada and the dry earth of Andalusia. Drawn to the beauty of the

music, movement and rhythms of fl amenco, Compañía Azul creates a passionate, stunning display of emotion, sound and colour. Founded by dancer Megan “Azulita” Matheson in 2010, the company strives to bring a new voice to fl amenco, melding diverse backgrounds in various musical styles, while remaining grounded in the fl amenco traditions and inspired by the rawness of the art form. Many of its members spend signifi cant time immersing themselves in the cradle of fl amenco, southern Spain. Having been brought up in the most unlikely of fl amenco places, including Cape Breton, St. John’s, N.L., and Lunenburg, the company’s dedication to fl amenco is evident in their profi ciency and passion. Compañía Azul is a Company in Residence at Halifax Dance and is supported by the Nova Scotia Department of Communities, Culture and Heritage. Azulita is sponsored by Arte Fyl (Flamenco Shoe Company, Spain) and Lunares Flamenco (Brazil).

Megan “Azulita” Matheson, Sean Harris, and Bob Sutherby performed with the ESO in September 2010. They are back with the ESO debut of the new company.

William Eddins, conductorCompañía Azul, fl amenco ensemble Sandra Tziporah, dancer Sean Harris, vocalist Ian MacMillan, percussion Megan “Azulita” Matheson Hamilton, Principal Dancer/Director Daniel MacNeil, guitar Bob Sutherby, guitar

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A step further took me to the idea of his sea life as his temperamental mistress: a relationship he has grown to love and fear. His wife at home knows the dangers of his life at sea, understanding full well it is not something he can just quit. During a storm he is taken into the sea’s embrace. A fi nal dance ... this is all translated into the choreography of the piece.”

OTES ON THE OTHER WORKS:Mexican physician and composer Narciso Serradell Sevilla

(1843-1910) was exiled to France early on in life, where he taught music and Spanish in Paris. On his return to Mexico in 1865, he took up his profession as a doctor, while continuing to conduct military bands. Today, he is remembered chiefl y for his song La golondrina(“� e Swallow”), which we will hear in the arrangement for orchestra by Carmen Dragon.

“� at little fellow is about to walk all over us,” mused Georges Bizet of Jules Massenet (1842-1912). Fabulously successful during his lifetime, few of his works hold the stage today. He gave the Parisian audience exactly what they wanted: spectacle. Le Cid premiered in 1885, and tells the story of a Spanish hero who repels a Moorish invasion and hopes to win back the love of the woman whose father he killed in a duel. As with many French grand operas of the day, Le Cidfeatures a lavish ballet in Act II, complete with several Spanish dances. � e Aragonaise, a jota in 6/8 from that ballet, will be presented tonight.

Jerónimo Giménez (1854-1923) was an important conductor and composer, most famous for some of his works written in the zarzuela style – a well-established Spanish opera form that began to regain popularity with the emergence of Spanish nationalism. A number of excerpts from his zarzuela operas continue to hold the stage in Spain, while excerpts are popular in concert. La boda de Luis Alonso is a zarzuela that premiered in January 1897, from which we will hear an orchestral interlude.

� e name of Arturo Márquez (b. 1950) is not known widely outside his native Mexico, but there he is held in high regard. In fact, this evening’s work, Danzón No. 2, is regarded by some as Mexico’s second national anthem. � e dance begins quietly, on a clarinet (Julianne Scott) accompanied by percussive sticks and piano. Other woodwind instruments eventually join in, and the sound expands broadly from there. A second section, one of urgency and drive, turns into a vivacious orchestral dance with strong brass accents. � ere is a more tender middle section recalling the opening, though featuring the strings much more prominently. After a brief pause, the passionate pace picks up once again, with a vibrant trumpet solo (Robin Doyon) ushering in a rousing fi nish.

Osmán Pérez Freire (1878-1930) was born in Santiago, Chile to Argentine parents. When he was only eight years old, the family moved to Mendoza, in a desert region of western Argentina. Freire moved to Spain in the 1920s. As with Narciso Serradell (above), Freire’s lasting legacy today seems to rest with one song. Ay, Ay, Ay was written in 1913 in the traditional cuyana style of Argentina, and is subtitled Reminiscencias cuyanas (“Memories of Cuyo,” the region of western Argentina in which Freire grew up). Tonight’s orchestration is by Carmen Dragon.

Program Notes © 2012 by D.T. Baker, with thanks to Compañía Azul

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

OTES ON THE MUSIC FOR COMPAÑÍA AZUL:A Soléa is one of the most basic forms or palos of fl amenco music, and

is usually accompanied by a single guitar, though tonight we will hear it in an orchestration by Compañía Azul member Daniel MacNeil. At the end of the Soléa will be a Bulérias section with words sung to it, written by Sean Harris.

While the Bulerías, which originated in Jerez during the 19th century, is typically a fast, upbeat ending to a Soléa or Alegría (as we will hear it tonight), it can also be presented on its own. Tonight’s was written by Daniel MacNeil.

One of the structurally strictest forms of fl amenco, a traditional Alegría must contain a salida (entrance), paseo (walkaround), silencio (similar to an adagio in ballet), castellana (upbeat section), zapateado (literally “a tap of the foot”), and bulerías. Both the Alegría (with words by Azulita) and the concluding Bulerías (words by Sean Harris) have sung portions. � e story, as told in the piece, is explained by Megan “Azulita” Matheson Hamilton:

“� is Alegrías tells a story of how Sean and I got out start in fl amenco. It talks about a red headed boy from Newfoundland being swept up by ‘El Viento,’ and of a dark haired girl from a fi shing village joining ‘El Viento’ when they passed through her town (this actually happened, they performed at the Lunenburg Folk Harbour Festival). It references the loss of my father, and how I sought my solace in fl amenco. Flamenco gave me a ground to stand on and place to put my sadness. � e Bulerías that Sean wrote is for Evelyne Benais, who for many of us, started it all. Evelyne’s nickname is ‘cigüeña’.”

Rhythm, naturally, is an essential part of fl amenco. While the metre is typically in strict forms, there are freer forms as well. � e Tarantos is an example of the latter, and we will hear a traditional Tarantos tonight, performed without the orchestra as arranged by Compañía Azul.

Martinete is a fl amenco form which is usually sung with no accompaniment. In some dance shows for the stage, though (including tonight), it is accompanied by percussion played with the compás (metre) of a Seguiriya. � e Seguiriya is a form of fl amenco music belonging to the cante jondo (“deep singing”) tradition. Its style is among the most important in fl amenco. Sean Harris supplied the lyrics to both the Martinete and Seguiriya, which he explains:

“I wanted to explore the role of the fi sherman and the struggle to survive his life on the sea to provide for his life at home – both demanding his attention.

N



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TTHE FRANCIS WINSPEAR CENTRE FOR MUSIC HAS BEEN OPENfor 15 years. � irty-eight of the 56 musicians on the Edmonton Symphony

Orchestra’s roster have been here since the building opened in 1997. Not surprisingly, the ushers, ticket takers, bar staff – that’s diff erent. While among

the fi nest front-of-house staff in Edmonton, there have been many new faces over the years – and only one constant; only one has maintained her post from the fi rst day.

“When I read the ad that construction would begin on a world-class hall, I said to myself I’m going to apply, I’m going to work there,” says Christine Gregg, who you’ll usually fi nd manning the concierge desk these days. “I love music, all music. I love classical, country, classic rock,

TTTTHOSE WHO MADE IT SOON STAGE AND OFF, LONG-STANDING MEMBERS OF THE ESO ARE RECOGNIZED

opera – my parents had music playing all the time when I was growing up.”Had things gone the way they were supposed to, ESO Principal Oboe

Lidia Khaner might never have even seen inside the Winspear Centre. Hired the year before the hall opened, while still living in her homeland of Poland, Lidia was only supposed to work one year. “To tell you the truth, I didn’t really make much of the change that was going to happen,” she recalls. “And besides, I didn’t know at the time if I was going to stay, because I was only hired for the one season, and then I was supposed to go home after that.”

But her contract was extended, and she’s been here ever since. Now married with two children and an established Edmontonian (with a second degree black belt in Taekwondo, by the way, along with a couple of medals representing Canada at the 2012 ITF World Championships in Estonia), Lidia feels at home in the hall. “You know, I love the Winspear, I love playing there. When you play on your own, it seems like the sound is so huge, and it’s actually quite an amazing experience.”

Christine Gregg can attest to how much the hall impresses her, too. “� e acoustics – there’s no better way to listen to music,” she states unequivocally. “� ere have been many, many nights that I’ve been ushering that I’ve had to pull myself away from the chair, the music is so moving.”

Christine did a lot of things before making sure she got hired at the Winspear. � e hospitality industry, West Edmonton Mall – even 11 years at a daycare. But once she got the chance to work here, she never looked back. “How long can I keep this up? Stay tuned!”

Lidia has made it a familiar place, too. “Paul Schieman (her oboe colleague in the orchestra) has said I have changed my sound – a lot,” Lidia says. “I adjusted to the hall, to the orchestra, to everything. It’s quite

an experience to work with the space, and fi nd how to project the sound.”

We salute all the staff and musicians who have shown the remarkable dedication and commitment represented by Christine Gregg and Lidia Khaner. In the 15 years that the Winspear Centre has provided the community with one of the world’s fi nest concert spaces, it is worth celebrating those who have made it so since the doors opened.

LIDIA KHANER

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Jim E. Carter, P.Eng., ChairReginald Milley, Vice ChairSteven LePoole, Past ChairRon New, C.A., TreasurerBrian W. Summers, LL. B., Secretary/Legal CounselBart Becker, P.Eng.Carolyn CampbellMaria David-Evans

Megan EvansPeggy GarrittyCynthia Hansen Bill HarrisonTravis HuckellLeanne Krawchuk, LL.B. Carol Ann Kushlyk, C.M.A., C.F.E.Rhonda Taft

EDMONTON SYMPHONY SOCIETY / FRANCIS WINSPEAR CENTRE FOR MUSIC

N 1952, A SMALL GROUP OF DEDICATED VISIONARIES FORMED the Edmonton Symphony Society with the goal of creating an ongoing, sustainable

Edmonton Symphony Orchestra, and providing Edmonton with the fi nest in orchestral music, enriching the lives of its audiences. Since then, the ESO has grown to a full-time core of 56 musicians. Its performance home – another goal realized by committed com-munity 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.

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

EDMONTON SYMPHONY & CONCERT HALL FOUNDATIONPhyllis Clark, ChairJohn BrennanJim CarterEd HahnBob Kamp Ron NewGary Smith

Administrative staff listing continued next page

EDMONTON SYMPHONY ORCHESTRA / FRANCIS WINSPEAR CENTRE FOR MUSIC

www.edmontonjournal.com

THERE’S ALWAYSSOMETHING

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EXECUTIVEAnnemarie Petrov, MaryGrace Johnstone, Meghan Unterschultz, Government Communications

The Science of Sound


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

COMMUNITY RELATIONSMichael Schurek, Associate Director of Community RelationsKris Berezanski, Media & Communications CoordinatorPhilip Paschke, Communications Manager

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

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

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

Mike Patton, Assistant Head of Stage Management*Siobhan Vipond, Acting Technical Director* Cat Walsh, Box Offi ce Assistant Supervisor

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

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

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