Sunday Afternoon, February 19, 2017, at 3:00Judy and Arthur Zankel Hall

From Creation to RhapsodyHART HOUSE ORCHESTRA, UNIVERSITY OF TORONTO

with

BENJAMIN SMITH, Piano

HENRY JANZEN, Conductor and Music Director

PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES.

Celebrating the 40th anniversary of the Hart House Orchestra and Canada’s sesquicentennial.

Soldier’s Tower, Hart House, University of Toronto. 1930. Etching. Owen Staples (1866–1949).

THE ProgramWelcoming remarks by John F. Monahan, Warden, Hart House

SAMUEL BARBER Adagio for Strings, Op. 11

SRUL IRVING GLICK Suite Hébraique No. 1 I Adagio sostenuto II Allegretto grazioso III Rithmico IV Lento sostenuto V Andante sostenuto VI Allegro

ELIZABETH RAUM Evolution: A Theme with Variations (US Premiere) Theme Larghetto Variation I Renaissance: L’istesso Tempo Variation II Baroque: Allegro ma non troppo Variation III Classical: Allegretto Variation IV Romantic: Allegro energico Variation V French Impressionistic: un peu lent Variation VI Twentieth Century: Moderato Variation VII Finale: Moderato/Andante/Allegro con fuoco

GEORGE GERSHWIN Rhapsody in Blue BENJAMIN SMITH, Piano

Intermission

JOHANNES BRAHMS Symphony No. 1 in C minor, Op. 68 I Un poco sostenuto – Allegro II Andante sostenuto III Un poco allegretto e grazioso IV Adagio – Allegro non troppo ma con brio

Notes ON THE PROGRAMby Joseph Nachman

Barber’s Adagio for Strings, arguablyhis most popular work, began life as thesecond movement of his String Quartet,Op. 11. The quartet was composed in1936, while he was spending a summerin Europe with his partner, the Italiancomposer Gian-Carlo Menotti (whomhe met when both were students at theCurtis Institute in Philadelphia). Barber,who possessed broad literary interestsand knowledge, found inspirations forthe quartet in The Georgics, a poem bythe Latin poet Virgil, which describeshow a rivulet becomes a mighty river. Inthe quartet the Adagio is the quiet inter-lude between two violently agitatedmovements. Immediately after the com-pletion of the quartet, Barber felt thatthe Adagio would stand well on itsown, and he orchestrated it for stringorchestra in the same year. The workwas premiered in 1938 by ArturoToscanini and the NBC orchestra in aradio broadcast attended by an invitedaudience; it was warmly received byboth critics and the audience. The firstpublic performance was in 1942 by thePhiladelphia Orchestra with EugeneOrmandy conducting.

While much of Barber’s music is suffusedwith melancholy, in the words of thecritic Alexander Morin the Adagio forStrings is “full of pathos and catharticpassion” and “rarely leaves a dry eye.”Its profound sadness contributed to itbecoming the unofficial Americananthem of mourning. The Adagio wasplayed at the funeral of President F.D.Roosevelt. The Boston Symphony Or -ches tra being in concert, on hearing Pres-ident Kennedy had been killed, pulledthis work from the library and performedit as a tribute to the fallen President.

The structure of the Adagio is a musicalarch that builds on a melody that firstspirals upwards and then descends instepwise fashion. Barber subtly manip-ulates the basic pulse throughout thework by constantly changing time sig-natures and the use of strategically-placed fermati. This is also apparent inthe recurring three-note motif thatspans the minim (half note) pulseunevenly. After a poignant climax and along pause, the piece presents the open-ing theme again and fades away.

SAMUEL BARBER: Adagio for Strings, Op. 11Samuel Barber was born in West Chester, Pennsylvania on March 9, 1910, anddied in New York City on January 23, 1981. Adagio for Strings was arrangedfrom the second movement of his String Quartet, in 1936, and premiered duringa radio broadcast at the Rockefeller Center in New York on November 5, 1938with the NBC Symphony Orchestra conducted by Arturo Toscanini. The work isapproximately 10 minutes long in a typical performance.

SRUL IRVING GLICK: Suite Hébraique No. 1Srul Irving Glick was born in Toronto, Canada on September 8, 1934, and diedin Toronto on April 17, 2002. Suite Hébraique No. 1 was written in 1961. It isscored for string orchestra and is 11 minutes in duration.

Srul Irving Glick was born in a musicalfamily. His father was a cantor, while abrother was a clarinetist. Glick beganhis studies in Toronto, then took him-self to Paris for further studies withDarius Milhaud, Max Deutsch, andLouis Saguar. On his return to Canadahe taught theory and composition atthe Royal Conservatory of Music inToronto. Between 1962 and 1986 Glickwas a producer of classical music pro-grams at the Canadian BroadcastingCorporation where he curated the pre-miere of many Canadian works. Hewas also cantor and director of music atthe Beth Tikvah synagogue. Glickwrote in many forms, including cham-ber music, oratorio, vocal, and choralworks, integrating Jewish religiousmusical idiom into his compositions.

Suite Hébraique No. 1 was written inParis in 1961. According to the com-poser, after being away from Torontofor two years he was starting to getnostalgic feelings for his home and hisfamily. He decided to write a workevoking those feelings, which he dedi-cated to his parents.

The Suite is in six movements, each rep-resenting a different aspect of Jewish life.The first movement is a cantorial chant.The second is a Hassidic dance. This isfollowed by a Hora, which is an Israelidance having its origins in Romania. Thefourth movement is a lullaby based on atheme sung to Glick by his mother. Thefifth is a pastoral. The last movement,entitled Circle Dance, is a whirling folkdance in the Israeli tradition.

Elizabeth Raum earned her bachelor ofmusic in oboe performance from theEastman School of Music and her mas-ter of music degree in composition fromthe University of Regina. Her perform-ing career included a long and respectedstint as principal oboist with the ReginaSymphony Orchestra. She is an associ-ate member of the Canadian MusicCentre. The composer kindly providedsome notes about her composition:

Evolution: A Theme with Variationswas written on commission by theRegina Symphony Orchestra for theirChamber Players. With the assistanceof the Saskatchewan Arts Board, Evo-lution was made into Canada’s first

Classical Video with originally writtenmusic. The theme is carried throughseven variations spanning the periodsfrom Renaissance to Contemporaryand utilizing the compositional devicesof the periods. For instance, theBaroque variation is a fugue; the Clas-sical a mini sonata allegro with violincadenza; the French Impressionisticuses the whole tone scale, and theContemporary employs minimalisttechniques with a tone row. The finalvariation metamorphoses from con-temporary, back through the ages to aRenaissance Bacchanal.

Today’s performance is the U.S. pre-miere of this work.

ELIZABETH RAUM: Evolution: A Theme With VariationsMs. Raum was born in Berlin, New Hampshire in January 1945. Her work Evo-lution: A Theme with Variations, written in 1985, is approximately 10 minutes inlength. It is scored for flute, oboe, clarinet, bassoon, horn, trumpet, and strings.

Gershwin learned from the newspaperthat he was meant to write what turnedout to be one of his most groundbreak-ing compositions. On January 3, 1924,an article appeared in the New YorkTribune announcing a concert to begiven on February 12, 1924 at the Aeo-lian Hall. The concert’s bold purposewas to display modern American musicin all its varieties. It was organized byPaul Whiteman, the self-styled “King ofJazz” who was one of the most popularbandleaders of the 1920s. His PalaisRoyal Band, however, was no jazz band;rather, it was a dance orchestra thatoccasionally employed jazz musicians.The announcement further stated:“George Gershwin is at work on a jazzconcerto; Irving Berlin is writing a syn-copated tone poem….”

It was all news to Gershwin, who ini-tially refused because he was busyworking on his new musical, Sweet Lit-tle Devil, due to open in Boston at theend of the month; he felt that he couldnot write a concerto on such shortnotice. Whiteman, however, managedto convince Gershwin to accept thecommission by telling him that he onlyneeded to produce a two-piano versionof the work. The orchestration was putin the hands of Ferde Grofé, White-man’s very talented in-house arranger,best known for his Grand CanyonSuite. Grofé produced a brilliant scorethat highlighted the strengths of theband’s musicians; for instance, thefamous opening clarinet glissando was

tailored for Russ Gorman, Whiteman’sfirst-chair clarinetist.

Gershwin sketched a framework forRhapsody on January 7 while on thetrain to Boston. He later claimed thatthe concept of the piece was inspired inpart by the rhythmic noises of the trainride. Upon his return to New York heresumed work, managing to producethe two-piano score by the end of themonth; the orchestration was com-pleted barely a week before the pre-miere. Due to the tight deadlines andhis other commitments, Gershwin didnot have time to complete the solo pas-sages by the time of the concert. Heended up performing from memory,possibly even improvising, while indi-cating to Whiteman with a nod whenthe next orchestral portion was tobegin. In 1926 and again in 1942,Grofé re-orchestrated the score, the lat-ter for full symphony orchestra, whichis the version that is usually performed.

The concert at the Aeolian Hall waslong and tedious, with Gershwin’sRhapsody in Blue scheduled towardsthe end. The audience’s attention wasstarting to flag, but when the openingclarinet glissando was heard it becameelectrified. While the critical reactionwas mixed, the audience was thrilled.The work was recognized immediatelyas something new and excitingly differ-ent and it established Gershwin’s repu-tation as a “serious composer.”

GEORGE GERSHWIN: Rhapsody in BlueGeorge Gershwin was born in Brooklyn, New York City, on September 26, 1898,and died in Los Angeles on July 11, 1937. Rhapsody in Blue was written in Jan-uary 1924. It premiered at the Aeolian Hall in New York City on February 12,1924 by Paul Whiteman and the Palais Royal Orchestra, with the composer play-ing the piano. A typical performance is approximately 20 minutes in length.Today’s performance is based on the 1926 orchestration by Ferde Grofé, withflute, oboe, two clarinets, bassoon, saxophone, two horns, two trumpets, trom-bone, timpani, percussion (suspended cymbal, snare drum, bass drum, tam-tam,triangle, Glockenspiel, cymbals), and strings.

The initial title of the piece was AmericanRhapsody. The title Rhapsody in Bluewas suggested by the composer’s brotherIra, after his visit to an exhibition ofpaintings by Whistler, which bore titlessuch as Nocturne in Black and Gold andArrangement in Gray and Black.

Rhapsody in Blue is not a “jazz con-certo” but rather a rhapsodic work forpiano and orchestra with elements of

European symphonic music and Ameri-can jazz, such as syncopated rhythmsand liberal use of the “blues scale.” Thework opens with the famous clarinetglissando, which leads directly into themain. What follows is a succession oflong piano solos, alternating withorchestral interludes. The piece con-cludes with a jazzy romp that ends inone of the most ear-splitting chords everwritten.

JOHANNES BRAHMS: Symphony No. 1 in C minor, Op. 68Johannes Brahms was born in Hamburg, Germany on May 7, 1833, and died inVienna, Austria on April 3, 1897. Symphony No. 1 was written between 1862 and1876. It premiered on November 4, 1876, in Karlsruhe, Germany under the direc-tion of Felix Otto Dessoff. The symphony is approximately 45 minutes long in atypical performance and is scored for two flutes, two oboes, two clarinets, two bas-soons, contrabassoon, four horns, two trumpets, two trombones, bass trombone(tuba), timpani, and strings.

In 1862 Brahms surprised and delightedClara Schumann, his closest friend andpossibly lover, by sending her the draftof the first movement of what was tobecome his First Symphony. However, ittook Brahms 14 years to complete thesymphony. Clara’s delight turned to dis-may when Brahms gave no indication ofthe progress on his work. Then, after sixyears, he sent her, on a birthday card,the horn call from the fourth moment.Another eight years elapsed before thesymphony was finally completed.

The long gestation of this work can beput down to two factors: the expecta-tions that Brahms’ friends and the pub-lic had of him, and–more significantly–Brahms’ own high standards. Brahmsarrived in Vienna preceded by RobertSchumann’s glowing endorsement:Schumann proclaimed Brahms a geniuswho would continue “Beethoven’sinheritance.” This endorsement was amixed blessing, as Brahms felt it his dutyto obey Schumann’s urge to produce notjust any symphony, but one of appropri-ate dignity and intellectual scope befit-

ting the spirit of Beethoven. The pres-sure was immense: when word got outthat he was finally working on a sym-phony, he had to deflect repeatedinquiries about his progress. To a friendhe complained: “You have no idea howthe likes of us feel when we’re alwayshearing a giant like that behind us!” By“giant” he meant, of course, Beethoven.

More fundamental for Brahms was hisuncertainty in writing for orchestra. TheC-minor symphony was not Brahms’ firstattempt at writing a symphony; eightyears earlier his first venture ended infrustration. He abandoned the project,but reworked the music in what becamehis Piano Concerto No. 1 (this explainswhy it has “symphony” written all overit). This failure was the beginning of along and elusive quest to find his owndistinctive orchestral sound. In the mean-time, Brahms proceeded to produceincreasingly ambitious orchestral works:the orchestration of the HungarianDances, the two serenades for orchestra,and the German Requiem. Finally, in1873, came the Variations on a Theme

by Haydn, which is the first hearing ofthe definitive Brahms orchestra: massiveand rich in color and texture, while alsocapable of great delicacy. Brahms felt thathe had, at last, found his orchestral voiceand was ready to resume work on hisfirst symphony.

In the end, the hard work paid off.When the symphony finally premieredin 1876, it was a success. It was felt thathe fulfilled his admirers’ expectations,so much so that the conductor Hans vonBülow called it “Beethoven’s Tenth.”Brahms might have received this tributewith mixed feelings, as it downplays thefact that his symphony, while deeplybeholden to Beethoven, is a very per-sonal and highly innovative work. VonBülow and other of Brahms’ admirersmight not have realized that the manysimilarities with Beethoven were fullyintentional: it was Brahms’ way ofacknowledging his debt to Beethoven.In fact, the First Symphony challengesthe view held in some quarters ofBrahms being a traditionalist—or aconservative, as the supporters of Wag-ner would have had it. Brahms used theclassical forms as tools that offered himstructure for presenting and organizingmusical ideas, and possibly as a stimu-lus to his musical imagination. How-ever, Brahms was not constrained bythe classical form. Like all great creativeminds—and much like Beethoven—hedid not hesitate to modify the tools heworked with in order to suit his musicalneeds. Brahms’ approach to classicalform was transformative, and one mayargue that he re-defined the genre forfuture generations. It is worth mention-ing that by mid-20th century manymusicians, starting with Arnold Schön-berg in his essay Brahms, the Progres-sive, considered Brahms to be the firsttruly modern composer.

The symphony opens with a majesticslow introduction characterized by two

simultaneous chromatic lines: oneascending in the strings and onedescending in the winds, both laid ontop of the relentless timpani strokes.Unlike symphonies of the classicalperiod, in which the slow introductionis thematically unrelated to the onset ofthe sonata form of the first movement,in Brahms’ First Symphony the intro-duction is fully integrated with the restof the movement. The ascending chro-matic scale in the strings provides a“basic motif” for both themes of thefirst movement. The introduction givesway to an agitated sonata form inwhich Brahms achieves a high degree ofcohesiveness by blurring the demarca-tion lines between thematic units. Thenervous drive continues throughout themovement until it ends on an unex-pected note of quiet resolve.

The prevailing mood of the secondmovement is one of calm and solace, aserene vision of peace typical ofBrahms: a simple, yet extremely lyricalmotif introduced by the solo violin. Thethird movement is not quite a scherzo,but rather a characteristic Brahms inter-mezzo: it is cheerful in a gentle,restrained way, touched by melancholy,with a short, animated trio-like section.

The fourth movement is perhaps themost innovative feature of the FirstSymphony: as long as the first move-ment, it is the emotional core of thesymphony. This shifts the whole weightof the work to the end. Structurally it issimilar to the first movement: a sonataform preceded by a thematically-inte-grated slow introduction. This intro-duction, much more extensive than theopening of the first movement, is themost dramatic part of the symphony. It opens with a poignant, repeatedpleading cry of pain, followed by astormy passage. The emotional break-through arrives when the solo hornpeals forth above the quivering strings

with a dignified theme in C major, fol-lowed by a solemn chorale featuringtrombones and bassoons (an obvioustribute to Bach). For the main section of the movement, the strings introducethe triumphant theme reminiscent ofthe choral theme in the finale ofBeethoven’s Ninth Symphony. (Whensomeone remarked on the similaritybetween the two, Brahms—whoresented the implicit insinuation of

plagiarism, testily replied that “any asscan see that”.) This obvious referenceto Beethoven directs attention awayfrom the fact that this glorious theme isactually the beginning of the slow intro-duction, transposed into the key of C major. The movement becomes moreexultant and culminates in an extendedcoda in which the brass chorale fromthe movement’s introduction returns ina blazingly assertive statement.

Since 1976 the Hart House Orchestrahas provided an opportunity for musi-cal fellowship among members of theUniversity of Toronto community withtraining and interest in performing sym-phonic works. The Orchestra is basedin Hart House, a unique cultural andrecreational centre at the heart of theUniversity of Toronto’s St. GeorgeCampus in downtown Toronto.

The Hart House Orchestra comprisesabout 90 musicians. Membership isdetermined annually by audition, opento University of Toronto students at alllevels of study, alumni, faculty, staff, andHart House senior members. Reflectingthe great diversity of the University ofToronto community, the Orchestra knitstogether talented musicians across alldisciplines and professions through the

THE ArtistsTHE HART HOUSE ORCHESTRA

joy of performing challenging sym-phonic works in an ambitious programof four distinctive concerts annually. TheOrchestra’s ethos is captured well by“Music should be a live thing that com-municates between live people, and inthat way there is absolutely nothing likeit” (Sir Simon Rattle).

In addition to the four concerts in theGreat Hall at Hart House, the Orches-

tra travels with one concert each year toanother city, in the process raisingfunds for various local charitablecauses. The Hart House Orchestra iscelebrating its 40th anniversary andCanada’s sesquicentennial with its firstconcert in New York City. The concertprogram, featuring Canadian andAmerican symphonic pieces to honorboth countries, is completed byBrahms’ Symphony No. 1.

Henry Janzen has worked with illustri-ous conductors from Europe and NorthAmerica, including Raymond Leppardand Antal Dorati, and for over threedecades has served with distinction asconductor of many orchestras andchoirs across Michigan and Ontario,with the occasional European tour. Hisperformance of Messiah in Guelph, inthe then largest venue in that city, was amuch oversubscribed sell-out.

As a violist, Mr. Janzen’s formativeinfluences include master classes withMenahem Pressler and William Prim-rose at the Banff School of Fine Artscoupled with advanced studies in NewYork City with renowned pedagoguesLillian Fuchs, Arianna Bronne, RaphaelBronstein, and Nathan Gordon. Mr.Janzen’s work in New York City andDetroit include the world premiere ofStephen Paulus’ So Hallowed is theTime. He also appeared with the NewYork String Ensemble and with theKorean Choirs of Greater New York.Other performances include playing forPope John Paul II, then-VP GeorgeBush, Luciano Pavarotti, Diana Krall,and the private funeral ceremony for

Henry Ford II. He was featured in thestring quartet for In the Nick of Timestarring Lloyd Bridges. Among variousCBC Canada productions, he hasworked with author W.O. Mitchell.

Mr. Janzen has served his professioneffectively as president of the CanadianViola Society and secretary of the Inter-national Viola Society. In addition to hisperforming and conducting activities, heteaches applied and chamber music inthe School of Fine Art and Music at theUniversity of Guelph.

HENRY JANZEN, Conductor and Music Director

Described as a “thoughtful andimmensely exciting performer” with“scintillating technique” (Barrie Exam-iner), pianist Benjamin Smith has per-formed as soloist and chamber musi-cian across both Canada and the UnitedStates. He has been a laureate of numer-ous competitions, including the DublinInternational Piano Competition, Vir-ginia Waring International Piano Com-petition, and CMC Stepping StoneCompetition. Guest appearancesinclude the Stony Brook SymphonyOrchestra, New Juilliard Ensemble,Ontario Philharmonic, Orchestra Lon-don, Symphony-on-the-Bay, WindsorSymphony, and the Hart House Orches-tra in 2012. As soloist, he has per-formed under esteemed conductorssuch as Rossen Milanov and MarcoParisotto, with concertos including rar-ities such as the Schoenberg Piano Con-certo. Festival appearances includeToronto Summer Music, Banff SummerArts, Stratford Summer Music, Coloursof Music (Barrie), and Music Niagara.American performances include recitalsfor the Texas Chopin Society andChicago’s Landowska HarpsichordSociety, as well a world premiere for the Long Leaf Opera Festival inRaleigh, NC. Recent highlights have

included a recital in Weill Recital Hallwith Canadian cellist Dongkyun An, aswell as multiple recitals with acclaimedviolinist Martin Beaver (Tokyo StringQuartet). A recording of new cello tran-scriptions with Mr. An was released thispast December, and recordings cur-rently in production include an albumof newly commissioned chamber worksfeaturing various Native flutes andToronto’s Grammy-nominated virtuosoRon Korb.

Devoting considerable time to chambermusic, Dr. Smith has been heard nation-ally in Canada on CBC Radio 2 andToronto’s Classical 96.3FM. He haspartnered in recital with renownedartists including Colin Carr, JacquesIsraelievitch, Joaquin Valdepeñas, Wolf-gang Redik (formerly of the ViennaPiano Trio), Bartosz Bryla, Mark Fewer,Bonnie Hampton, and William Ver-Meulen, as well as with ensembles suchas the Annex and Cecilia string quar-tets. For two seasons he performed asone-third of the Israelievitch-Smith-Ahnpiano trio. Involved with music of ourtime as well, he is a regular member ofthe Esprit Orchestra in Toronto, andhas worked under prominent conduc-tors Joel Sachs, Steven Schick, andWerner Herbers, as well as with com-posers John Corigliano, ReinaldoMoya, and Chandler Carter.

Dr. Smith currently resides in Toronto,working as a lecturer, coach, and col-laborator for the Glenn Gould School(GGS) and the Taylor Young ArtistAcademy at the Royal Conservatory ofMusic. Previously, he held a position onthe piano faculty at the University ofWestern Ontario, and has also served asan undergraduate piano instructor forthe department of music at Stony BrookUniversity. His principal teachersincluded Andrea Battista, James Anag-

BENJAMIN SMITH, Piano

noson, Julian Martin, and ChristinaDahl. Along with a DMA from StonyBrook University, he holds a bachelor’s

degree from the University of Toronto,an artist diploma from the GGS, and amaster’s from The Juilliard School.

Historic Hart House is the principalcenter for education outside the class-room at the University of Toronto. It isa unique and inclusive gathering placefor students, alumni, faculty, and thebroader community. Open 365 dayseach year, Hart House welcomes all students from the university’s three

campuses to delight in discovery of thearts, culture, debates, dialogue, recre-ation, wellness and community-engagedlearning. Creating their own communi-ties of interest, students gain experienceas leaders and decision-makers, becom-ing more informed and engaged localand global citizens.

HART HOUSE

VIOLIN Joanna Tang (C)Haruna Monri (AC)Timothy Leung (P)Julianne Fong (AP)Lindsay ChoNicole DesaulnierElizabeth DombStephen ErlichmanHans FischerAlec GibsonLilian GienPaula GlickRod GonzagaHelen Hayes Yilin Huang Lauren IpKenny KimTiffany KuoBenjamin LaiSophia LeeMiranda LeesEsther LenkinskiKevin LeungXiaoyang LiTian LinJacklyn LiuJudith MarshallPeter MartinTsukiko MiyataJoseph NachmanEric OrdonezAnil Partridge Chanel QuanAyala RevahCaitlin RoosGuadalupe SantosKate SohnEugene Tseng Lucy WangPerry WongCharlotte Wong LabowFei YeTina YeSeanna YoonFreda Zhang

VIOLALuca Casciato (CP)Julian Fisher (CP)Elizabeth BrubakerJack ChaoAnan GuoBennett LeongArn MacphersonElliott McMurchyJacky ParkKathleen WalshElisabeth Widner

VIOLINCELLO Lynn Wei (P)Christopher AcconciaSteven ChoLee-Chia HuangBlanche IsraelMaia JohnstoneMeital KucharDavid KwanTom LeeRichard MillsNatalie Yeung

DOUBLE BASSDavid McElroy (P)Jacky Wu

FLUTESharon Greene (P)Laura Bolt (AP)Peggy RadinRenee Willmon

OBOEJolie Chrisman (CP)Phoenix Zhang (CP)Christine Cousins

CLARINETElizabeth Day (P)Jongmin Lee (AP)Cindy Ding

BASSOONAliena McIntyre (P)Roland Wilk (AP)Tanith Jones

CONTRABASSOONRoland Wilk

SAXOPHONECindy Ding

HORNIain Watson (P)Duncan AndrewsAngela ChiKathleen Stanley

TRUMPETTim Hendrickson (P)David Forsey

TROMBONETim AllmanDavid Arnot-Johnston

TUBAVanessa Clayton

TIMPANIYuka Fukuda (P)

PERCUSSIONSarah BuismanSimon Jarvis

PIANOBenjamin Smith

C ConcertmasterAC Assistant concertmasterP PrincipalCP Co-principalAP Assistant principal

HART HOUSE ORCHESTRA