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FALL 2010

DEBUT Anu Tali
returns to
the ESO

Robbins Lighter
Classics – Olé!
in one afternoon


How one young couple
JENS LINDEMANN X 2 fell in love with
opens the Midweek the symphony
Classics and
Robbins Pops


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Administration: 780-428-1108
Box Office: 780-428-1414

D.T. Baker
PUBLISHED FOR the Edmonton Symphony Orchestra at

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William Eddins, Annemarie Petrov, Lucas Waldin & Eric Buchmann

symphony by Eric Blair


Volume 26, Number 6 | FALL 2010


How a couple fell in love with the


William Eddins, conductor /
Jens Lindemann, trumpet / Òran, choir


2010/2011 SEASON
Bruce Hangen, conductor /
Jens Lindemann, trumpet
pg. 5

pg. 6

pg. 7

pg. 8

pg. 11

pg. 15


Joyce Byrne
ART DIRECTOR Charles Burke
William Eddins, conductor /
ASSOCIATE ART DIRECTOR Rodrigo López Orozco 21 Corey Cerovsek, violin

Signature magazine, the official publication of the Edmonton ROBBINS LIGHTER CLASSICS FLAMENCO AND OTHER pg. 21
Symphony Orchestra, is published from September to June. SPANISH DELIGHTS SEPTEMBER 30
William Eddins, conductor / El Viento Flamenco 17
Contents Copyright 2010 by Edmonton Symphony Orchestra/
Francis Winspear Centre for Music. No part of this publica-
tion should be reproduced without written permission. GLAD YOU ASKED… pg. 25
Your orchestral questions answered, by D.T. Baker


William Eddins, conductor /
Anu Tali: Ewald Cheung, violin / Julianne Scott, clarinet
Estonian-born conductor
Nordic Symphony FIALKOWSKA PLAYS CHOPIN OCTOBER 15 & 16 pg. 33
Orchestra in 1997 and Anu Tali, conductor / Janina Fialkowska, piano
has since appeared with
and worldwide. Her last BOARD OF DIRECTORS pg. 37
appearance with the
ESO was in January 2009 OUR SUPPORTERS pg. 39



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T HE EFFECT THAT MUSIC HAS ON US IS POWERFUL and it is made even more powerful,
more memorable, when it is a shared adventure. Music performed live has inherent in it an
excitement, a risk, and an ability to reach us that is unlike any other artistic experience. That’s
what makes what we do here at the Edmonton Symphony Orchestra and the Francis Winspear
Centre for Music so gratifying.

So welcome to another season of amazing concert events. In this issue of Signature, we intro-
duce our new look – but we do it with some familiar faces. We welcome back Anu Tali, Janina
Fialkowska, and Bruce Hangen – and favourite Edmonton son Jens Lindemann shows up twice!
We also, sadly, bid farewell to Martin Riseley, our Concertmaster since 1994 – but are equally
excited about the new path he has taken in his career and wish him every success back home in
New Zealand. We welcome Eric Buchmann as Interim Concertmaster, and begin the exciting
search to find our new Concertmaster very soon.

We have much to share with you in the coming months, and we’re delighted so many of you
share with us your thoughts on how we’re doing. Keep it up!

William Eddins Annemarie Petrov

The ESO and Winspear Centre staff, board, and musicians have embarked on an extensive and
long-term strategic plan, designed to guide us through a sustainable and visionary future. We will
unveil details of that plan as the season unfolds.

TODAY! Friends of the Edmonton Symphony Orchestra
There are many great reasons to donate to the ESO - but most importantly, do it for you! You deserve to experience the exquisite
joy of hearing a brilliant piece of music; the power of live performance; and best of all, the unforgettable atmosphere of an ESO
concert. As a donor, you provide critical funding that helps your ESO play its best.
In recognition of your generosity, we are pleased to offer you exclusive opportunities designed to bring you closer to the music:


Principal ($100 to $249) Bronze ($1,500 to $2,499)
Receive an official tax receipt for the full amount of your Make use of the Landmark Group Founders’ Room private donor
donation, a vote at the AGM, and optional recognition in lounge for you and your guests, and complimentary, reserved,
Signature magazine for twelve months. underground parking at every ESO performance. Plus all Friends
of the ESO opportunities.
Virtuoso ($250 to $499)
Bring the whole family to an ESSO Symphony for Kids’ post- Silver ($2,500 to $4,999)
performance party, or discover fascinating facts about the Winspear Join guest conductors, ESO musicians and guest artists at private
Centre at a private behind the scenes tour led by ESO musicians. receptions. Plus all Bronze opportunities.
Plus all Principal opportunities.
Gold ($5,000 to $9,999)
Impresario ($500 to $999) Sponsor your favourite Guest Artist’s appearance with the ESO and
Let us host you and your guests in the Landmark Group have a chance to meet them after the show. Donors are also invited
Founders’ Room private donor lounge at one ESO performance to attend a private, intimate dinner with Bill Eddins. Plus all Silver
of your choice*, and be invited to attend an ESO dress rehearsal opportunities.
during the year. Plus all Virtuoso opportunities.
Platinum ($10,000 to $24,999) and Diamond ($25,000 and up)
Conductor ($1,000 to $1,499) So many ways we can thank you! For instance, we will help coordinate
Join us at a reception with ESO musicians, and attend an evening an appearance by ESO musicians to perform at your next private event
dress rehearsal. You’ll also be able to bring two friends to a concert (and we can even help you host it at the Winspear Centre, too)*.
you plan on attending, on us!*. Plus all Impresario opportunities. Plus all Gold opportunities.

To give today, or for more information on the many ways you can play an active role with your orchestra, * Subject to availability. Erin will be happy to
personally assist you in arranging these exclusive
please contact Erin Mulcair at 780.401-2539 or by e-mail at opportunities.

P resently in his sixth season as Music Director of the

Edmonton Symphony Orchestra, WILLIAM EDDINS
has a captivating energy and magnetic stage presence
that will continue to propel the orchestra through the
2014-2015 season. His commitment to the entire spec-
trum of the ESO audience brings him to the podium for
performances in every subscription series, as well as for a
wide variety of galas and specials.
A distinguished and versatile pianist as well, Bill
Eddins was bitten by the conducting bug while in his
sophomore year at the Eastman School of Music. In
1989, he began conducting studies at the University of
Southern California with Daniel Lewis, and Assistant
Conductorships with both the Minnesota Orchestra and

L UCAS WALDIN continues his tenure with the ESO as

Enbridge Resident Guest Conductor, under the men-
torship of Bill Eddins. This two-year appointment, which
began last season, is funded in part by the Canada Council
for the Arts as well as the Enbridge
Resident Conductor Program, and supports the ESO’s
the Chicago Symphony (the latter under the leadership
of Daniel Barenboim) followed.
While conducting has been his principal pursuit, he
continues to perform on piano. In 2008, he conducted,
a rare full staging of Gershwin’s Porgy and Bess for
Opéra Lyon, leading to a repeat engagement in Lyon in
July 2010. This past August, Bill had the privilege of
conducting the opera once again at the Edinburgh Inter-
national Festival, and returns to both Lyon and London
in September 2010 for additional engagements. Other
international highlights include an August 2009 tour of
South Africa, where Bill conducted three gala concerts
with soprano Renée Fleming and the kwaZulu-Natal
Philharmonic Orchestra.

Executive Director of the
Edmonton Symphony Orchestra and
Francis Winspear Centre for Music,
brings more than 25 years of experience
to a role that oversees one of Alberta’s
vision and focus on music education at all levels. A gradu- flagship performing ensembles and one
ate of the Cleveland Institute of Music, having earned of the world’s premier concert halls.
both his Bachelor of Music Degree in Flute Performance With a combined annual budget of
and Masters in Conducting, Mr. Waldin has performed over $12 million, Annemarie supervises
with L’Orchestre du Festival Beaulieu-Sur-Mer (Monaco), day-to-day operations, long-term plan-
Staatstheater Cottbus (Brandenburg), and Bachakademie ning, government relations, and com-
Stuttgart. He was assistant conductor of the contemporary munity support of both organizations.
orchestra RED (Cleveland), director of the Cleveland Bach A native of Montréal, Annemarie
Consort, and a Discovery Series Conductor at the Oregon is a graduate of McGill University
Bach Festival. In 2007, he conducted the Miami-based where she majored in French Horn
New World Symphony Orchestra in masterclasses given conductor Helmut Rilling at the Oregon Bach Festival, and Performance. Following several years
by Michael Tilson Thomas, and also participated in a mas- has attended conducting masterclasses with the Tafelmusik performing in Europe, she returned to
terclass with the Lucerne Festival Strings, led by Bernard Baroque Orchestra in Toronto. Canada and stepped into the role of
Haitink, in 2009. not only Principal Horn for Symphony
A native of Toronto, Lucas Waldin has spent summers Resident Conductor program generously supported by New Brunswick, but also General
studying in Europe, including studies at the International Manager. Work at the National Arts
Music Academy in Leipzig, the Bayreuth Youth Orches- Centre Orchestra was followed by the
tra, and the Acanthes New Music Festival in France. In Winnipeg Symphony Orchestra, where
North America, he has studied under the renowned Bach she also oversaw the popular Winnipeg
New Music Festival.

E RIC BUCHMANN studied violin at the Conservatoire de Montréal and at the Univer-
sité de Montréal where he earned a Bachelor of Music and a DESS degree. In 2001,
he moved to Los Angeles to continue his studies at the University of Southern California.
Annemarie’s profound love of the
arts has been her guide in a career
focused on every aspect of the con-
Two years later he joined the New World Symphony in Miami Beach where he played un- cert experience – from international
der the direction of Michael Tilson Thomas and many other music directors from all over orchestral tours to concerts in curling
the world. His violin teachers include Sonia Jelinkova, Vladimir Landsman, Jean-François rinks in Canada’s north. She is fueled
Rivest, William Preucil and Martin Chalifour. by the belief that participation in live
Eric Buchmann joined the first violin section of the Edmonton Symphony Orchestra in music is essential to our well-being
2006, and was appointed Assistant Concertmaster following auditions in 2009. Eric per- and is driven to make it accessible
forms occasionally with the ESO as a soloist, and is also a member of the Alberta Baroque to everyone. Annemarie Petrov is a
Ensemble under the direction of Paul Schieman. frequent guest speaker at arts indus-
When not playing with the orchestra in Edmonton, you can find him with his family try conferences and has served on
in Montréal or Switzerland. Traveling is one of his passions. the board of Orchestras Canada.

William Eddins, Music Director Lucas Waldin, Resident Conductor


2010/2011 SEASON
Eric Buchmann, Elizabeth Koch 1 Scott Whetham 1
Interim Concertmaster Shelley Younge 2
The Concertmaster’s Chair is TIMPANI
sponsored by the John & Barbara Barry Nemish 1
Poole family OBOE
Virginie Gagné Lidia Khaner 1 PERCUSSION
Broderyck Olson Paul Schieman 2 Brian Jones 1
Richard Caldwell
Joanna Ciapka-Sangster HARP
Alissa Cheung CLARINET Nora Bumanis 1
Anna Kozak Julianne Scott 1
Allyson Lyne David Quinn 2
Aiyana Anderson-Howatt
Lauren de Roller
Dianne New 1 Edith Stacey 2
Susan Flook 2
Pauline Bronstein Allene Hackleman 1 Eric Filpula, Manager
Robert Hryciw Megan Evans 2 Sheila Jones, Librarian
Zoë Sellers Gerald Onciul 2
Murray Vaasjo Donald Plumb 2
Tatiana Warszynski The following musicians may appear at
TRUMPET performances in this issue:
VIOLA Robin Doyon 1
Stefan Jungkind 1 William Dimmer 2 Eddy Bayens, Bassoon
Charles Pilon 2 Elizabeth Faulkner, Flute
Rhonda Henshaw TROMBONE Matthew Howatt, Bassoon
Bonnie Yeager John McPherson 1 Court Laslop, Percussion
Kathy Hogan Katherine Macintosh 2 Beth Levia, Oboe
Andrew Bacon Alden Lowrey, Trombone
BASS TROMBONE Michael Massey, Piano
CELLO Christopher Taylor 1 John McCormick, Percussion
Colin Ryan 1 Darren Salyn, Percussion
The Stewart & Winona Davis Brian Sand, Trumpet
Principal Cello Chair Dan Sutherland, Clarinet
Sheila Laughton 2 Brian Thurgood, Percussion
Ronda Metszies Russell Whitehead, Trumpet
Gillian Caldwell
Derek Gomez
Victor Pipkin

In addition to our own concerts, the ESO
provides orchestral accompaniment for
performances by Edmonton Opera and
Jan Urke 1 Alberta Ballet. SENIOR STAFF
John Taylor 2 Annemarie Petrov, Executive Director
Janice Quinn Ronnie Hothi, Executive Assistant
Rhonda Taft Rob McAlear, Artistic Administrator
Rob Aldridge The ESO works in proud partnership Elaine Warick, Director of Patron Development
with the AF of M (American Federation Lori Pratt, Director of Events Management
of Musicians of the United States and Marc Carnes, Director of Community Relations
Canada) Local 390. Barbara Foley, Director of Finance & Operations




ROCK SKYWALKER AND ELEANOR COHEN are not your stereotypical
symphony-going couple. Skywalker, a 39-year-old marathon coach and
website designer, is in most respects a typical hockey-playing, beer-drinking
Albertan male, while Cohen, a 37-year-old emergency nurse at the Univer-
sity of Alberta Hospital, would just as soon show up at the Winspear Centre
in a pair of jeans and a shirt as in a dress and pearls. More importantly, per-
haps, they both appear to be fatally allergic to pretension.
Skywalker has Cohen, a lifelong fan of the symphony, to thank for intro-
ducing him to its charms. Six years ago, in the early days of their relation-
ship, Cohen’s parents treated them to a pair of Edmonton Symphony Or-
chestra tickets. For Skywalker, it was love at first sound. “When we started
going to the symphony,” he says, “I totally took to it right away.” They’ve
BY ERIC BLAIR | photo by Buffy Goodman

don’t have to know everything about everything that I’m listening to.” They
both recall another time when, right at the beginning of a performance of
Beethoven’s famous Fifth Symphony, an older woman sitting a level above
them dropped her tea cup, shattering it on the floor. The Winspear Centre’s
remarkable acoustics amplified this woman’s noisy effort to collect the
broken pieces, and Eddins, realizing that it was interfering with the perfor-
mance, halted the music and patiently looked up towards the woman’s seat.
She finished, apparently unaware of the commotion that she’d caused, and
Eddins returned to the piece’s famous four-note opening.

“I think Bill Eddins has done a good job of making


been going ever since, and have been subscribers to the Friday Masters for it a lot more relaxed… Just his demeanor on
the last few years.
Skywalker admits that he had his own stereotypes about what the sym-
stage makes me feel really comfortable and
phony was before Cohen converted him to the cause. But he was quickly relaxed – I don’t have to know everything about
disabused of the notion that a night at the symphony meant an evening of
patient silence. “You’re not just going to see Stravinsky and Brahms, you’re
everything that I’m listening to.”
seeing them performed by a guy who’s constructed his own cello out of Eddins’ humble charm has helped to make the symphony experience more
carbon fibre,” he says. “I think that’s what changed my mind about the accessible to young people, but the ESO has also played its part. “I think
symphony. I had it in my head that you just go and you sit and you watch dropping the ticket prices was a big step,” Skywalker says. “It used to be
the same people play the music. But it’s much more of a show than I ever very expensive to go see the symphony, but student prices are so great.” The
expected.” flexibility offered by the ESO, both in the form of its sampler pass and the
That show, Skywalker says, has a lot to do with the man in charge of it. ability to exchange existing tickets, is another draw for Skywalker and Cohen,
Both he and Cohen credit William Eddins, the ESO’s Music Director, with particularly because she is a shift worker. “That really helps, especially for
making the experience both accessible and enjoyable. Cohen remembers an shift workers,” Skywalker says. “She might get offered an overtime shift and
evening in which Eddins put one of his trademark twists on a performance of want to take it, and we can switch our tickets for a different performer or a
Vivaldi’s Four Seasons. “He said at the beginning that ‘everybody knows the different day.” For Cohen, these features are making the symphony a more
Four Seasons, so we’re going to do something a little different. Instead of just inclusive experience. “I think those kinds of things are opening it up to a new
playing it, we’re going to explain what it is you’re supposed to be hearing and new generation.”
where these things are coming from.’ That was really cool.” For Skywalker and Cohen, the symphony has also been a bridge between
Skywalker credits Eddins with taking some of the starch out of the generations. “There aren’t a lot of activities that we do with our parents that
symphony’s proverbial collar. “I think Bill Eddins has done a good job of revolve around a whole evening,” Skywalker says. “It’s not like we’d all go to
making it a lot more relaxed,” he says, citing Eddins’ habit of announcing a movie, but we will go to the symphony.” The symphony has even helped
important hockey scores during intermissions as just one example. “Just Skywalker bond with Cohen’s father, who still sings in a choir himself and is
his demeanour on stage makes me feel really comfortable and relaxed – I an ardent fan of the symphony. Skywalker and Cohen’s father will “pull back

2010/2011 SEASON

the curtain” and discuss the more technical aspects of a performance and even FACING THE FUTURE : Brock Skywalker, a local website designer
the notes that defined it. Cohen and her mother, on the other hand, adopt a and marathon coach and Eleanor Cohen, an ER nurse, are part
more holistic approach. “I am terrible at remembering who things are by,” she of a new generation who are breaking the stereotype of typical
says. “I just remember that I liked them, or that I wasn’t crazy about it. It’s like symphony goers.
wine; I drink it, and I love it but I’m not good at remembering the names on
the labels.” the orchestral crowd, at ESO concerts, drawn to them as they are drawn
So much for stereotypes, then. But far from being exceptions to the rule or to any other important and relevant cultural experience. The symphony is
alone in the crowd, Skywalker and Cohen are instead part of an ever-expand- not the exclusive domain of the silver cane and monocle crowd, in other
ing group of younger Edmontonians who are being drawn to the Edmonton words. “Going to the symphony isn’t an exclusive club, it just means you
Symphony Orchestra. Skywalker even reports seeing flocks of young hipsters, want to go and hear some cool music,” Cohen says. “There’s nothing fancy
whose look and style would seem diametrically opposed to the stereotype of about that.”


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2010/2011 SEASON
Jens Lindemann plays Bach & Vivaldi
Wednesday, September 15 | 7:30 PM

Lucas Waldin, conductor

Jens Lindemann, trumpet
Terri Hron, recorder
Megan Chartrand, soprano
members of Òran (Kathleen Skinner, Music Director)

W ITH: J ENS LINDEMANN is hailed as one of the most celebrated soloists in

his instrument’s history and was recently named “International Brass
Personality of the Year” (Brass Herald). He has played in every major con-
Robin Doyon, trumpet cert venue in the world: from the Philharmonics of New York, Los Angeles,
William Dimmer, trumpet London, and Berlin to Tokyo’s Suntory Hall and even the Great wall of
Eric Buchmann, violin China. His career has ranged from appearing internationally as an orches-
Lidia Khaner, oboe tral soloist, performing at London’s ‘Last Night of the Proms’, recording
with the Mormon Tabernacle Choir to playing lead trumpet with the re-
nowned Canadian Brass and a solo Command Performance for the Queen
of England. Mr. Lindemann has also won major awards ranging from
MOZART Grammy and Juno nominations to winning the prestigious Echo Klassik
Idomeneo, K.367: Ballet Music (15’)* in Germany as well as receiving an honorary doctorate.
Born in Germany and raised in Edmonton, classically trained at the
PURCELL Juilliard School in New York, Jens Lindemann has performed as a soloist
Chacony in G minor (arr. Waldin) (7’)* with orchestras and won accolades at numerous festivals while still in his
teens. A prizewinner at numerous competitions including the prestigious
HANDEL ARD in Munich, Jens also placed first, by unanimous juries, at both the
Ode for the Birthday of Queen Anne, Prague and Ellsworth Smith (Florida) International Trumpet Competi-
HWV 74: “Eternal source of light divine” (4’)* tions in 1992. Since then, he has performed solos with orchestras includ-
ing, the London Symphony, Philadelphia, Beijing, Bayersicher Rundfunk,
J.S. BACH Buenos Aires Chamber, Atlanta, Washington, Seattle, Dallas, Detroit,
Brandenburg Concerto No. 2 in F Major, Houston, Montréal, Toronto, and the National Arts Centre. As one of the
BWV 1047 (13’)* world’s most exciting trumpet soloists, Los Angeles based Lindemann is
internationally endorsed by the Yamaha Corporation and performs exclu-
INTERMISSION (20 minutes) sively on 24K gold plated trumpets.

J.S. BACH Mr. Lindemann last appeared with the ESO at Enbridge Symphony Under the Sky
Morimur (Chaconne in D minor, 2009 . He also performs in the Robbins Pops concerts on September 17 & 18
BWV 1004 with chorales) (14’)* (please see page 15).

Sonata No. 1 for Cornetto, Strings and Continuo (6’)*

Concerto for Two Trumpets in D Major, RV 537 (7’)*

Cantata, BWV 34: “O ewiges Feuer,
o Ursprung der Liebe” (7’)*

Program subject to change *indicates approximate performance duration

Enbridge Resident
Conductor Sponsor Season Media Sponsor Series Media Sponsor

Mr. Waldin’s bio appears on page 6,

other guest artists bios appear on page 12.
Program notes appear on page 13.


2010/2011 SEASON
MIDWEEK CLASSICS Jens Lindemann plays Bach &Vivaldi ARTIST BIOS

L ocal soprano MEGAN CHAR-
TRAND has recently graduated
from the University of Alberta with

Terri Hron’s photo by Magda Bukowska

a Bachelor of Music in vocal per-
formance under Jolaine Kerley. As
a soloist, Ms. Chartrand has sung
with the Alberta Baroque Ensemble,
VoiceScapes, the Madrigal Singers,
and Ariose Women’s Choir in works
such as Handel’s Messiah and Crudel
Tiranno Amor, Berlioz’ Veni Creator
Spiritus, Hasse’s Miserere in D and Vic
Nees’ Singet dem Herrn. Most recent-
ly, she has sung with the Edmonton
Symphony Orchestra in their Esso
Symphony for Kids production Mo-

R ecorder player and composer TERRI HRON comfortably migrates from

performance to composition, exploring acoustic and electronic sounds
in both written and improvised situations. As a performer, her particular
zart, Boy Genius. This past summer,
Megan Chartrand participated in
the Early Music Vancouver Baroque
way of playing her instruments and working with technology inspires oth- Vocal Programme with Ellen Hargis
ers to write for her: Bird on a Wire is her ongoing project to commission, and competed in the National Music
perform and record new pieces for recorder and live electronics. The first Festival in Montreal, placing third.
album was released in 2009 and she is currently collaborating with nine
composers on the second instalment – this time in multi-channel. Her Ms. Chartrand last appeared with the
performance groups include the multi-disciplinary SpaceMelt with Sam ESO in March 2010.
Davidson and Michael Markowsky, the “early & new” consort Forbidden
Fruit and duos with Robbert van Hulzen (Rara Avis) and Jorrit Dijkstra.
Ms. Hron’s interest in working with live electronics in multi-channel situa-
tions has led her to a research collaboration with NOTAM, the Norwegian
Center for Technology and Music in Art. Terri Hron is the recipient of
numerous awards, prizes and residencies. She is a graduate of the Amster-
dam Conservatory of Music (2004) and is currently a doctoral student in
Composition at the Université de Montréal.

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

F ounded in 2002 as part

of the Kokopelli Choir
Warranty expired - now it’s your choice! Association, ÒRAN began as an
alumni offshoot of the Kokopelli
Youth Choir, but it has since de-
veloped into a group made up of
young adults from all over Ed-
monton. Each brings a different viewpoint to the group, but all are united
in their passion for singing. The choir stresses the same philosophical goals
as its younger counterpart, striving to achieve musical excellence and artis-
tic integrity, as well as combining new interpretive techniques with more
traditional choral expertise. Above all, the group is dedicated to sharing
joy in song with each other, with other choirs, and with audiences around
Edmonton and across Canada. Òran was featured at the 2005 Festival 500
in St. John’s Newfoundland, and more recently, participated in the Laval
International Choral Festival in Quebec in July 2009. The choir is now in
its ninth season.

Òran last appeared with the ESO in April 2009.

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O f the eight works on tonight’s program, seven are from the Baroque
era – and three of those are by the great JOHANN SEBASTIAN BACH
(1685-1750). One is a vocal work, one is purely instrumental. And the other
is a unique and modern combination of the two. In the music of Bach, we
have the culmination of Baroque music; its complexity often hides a deeper
level of complexity, based on Bach’s fascination with musical numerology,
and his profound Lutheran faith.
Bach held several appointments as Kapellmeister in several German
churches – the most famous was his position with the St. Thomas Church
in Leipzig. He wrote hundreds of cantatas for all the days in the church year,
with scriptural texts that accompanied that service’s Biblical readings. His
hundreds of cantatas were written for a wide variety of instrumental and
vocal ensembles – he had to adapt to the musical forces he had at hand.
Cantata 34 is thought to be one of the last Bach wrote, though it was
adapted from another work Bach wrote in 1726. Its present version dates
from the mid-1740s, written for Whitsuntide. It is scored for an unusually
large orchestra (by Bach cantata standards), including three trumpets. The
title of the opening chorus translates as “O eternal flame, O fount of love,”
and indeed we hear the flickering of the flame in the first violins, and the
music for the voices is especially vivid and dramatic.
Bach’s six Brandenburg Concertos can be whimsically thought of as
the most magnificent job application in history. The absolute pinnacle of
the “concerto grosso” form (a musical form in which a larger ensemble, the
“ripieno,” is set against a smaller but very important group, the “concertino”),
The program notes do not follow concert order.

were expected to provide works for occasions – such as the birthday of the
queen. Handel’s Ode for the Birthday of Queen Anne was written for the
1713 anniversary of her February 6 birthdate, and its text pays homage to
her role as a peacemaker. The ode’s opening chorus, “Eternal source of light
divine,” presents Anne as a beacon, the date of her birth a great day
for peace.
Handel’s place as the pre-eminent composer in England came about in
part because of the premature death of one of the greatest English-born
composers, HENRY PURCELL (1659-1695). Highly respected even dur-
ing his lifetime, Purcell wrote many works for both the English court
and the church. Among his instrumental compositions, one which has
gained a newfound popularity among audiences these days is a chaconne,
which he gave the varied spelling as “CHACONY.” A chaconne is a musi-
cal form in which a repeated figure in the lower voices forms a foundation
over which a series of variations of that figure is presented in the upper
voices. ESO Resident Conductor Lucas Waldin has arranged Purcell’s
music for tonight’s performance, using three violas and a bass continuo.
What Bach was to the German Lutheran church, and Handel was to the
English court, so ANTONIO VIVALDI (1678-1741) was to the musical life
of Venice. For many years, Vivaldi was the master of music for a number of
churches, but also for the Ospedale della Pietà, a home for foundling girls,
who became famous throughout Europe for their prowess as musicians. For
them, Vivaldi had occasion to write hundreds of concertos to realize the skills
his students possessed on all manner of instruments – and combinations
Bach dedicated these works to the Margrave of Brandenburg and sent him thereof. It’s interesting to note that there seems to be no concerto by Vivaldi
the autograph scores around 1721, with the hope of securing a position in for single trumpet, but there is a C Major Concerto for Two Trumpets.
the court there. It didn’t happen, and there is no evidence the Margrave even Its bright opening movement features music for the soloists derived from
looked at the scores – but his oversight has nothing to do with the merit the material given the strings. The slow movement is non-existent – a mere
of these amazing works. The second concerto of the set pits strings and six bars serving as a transition to the finale, in which the two trumpets chase
harpsichord (the ripieno) against a concertino made up of a solo violin, solo each other throughout a series of arpreggios, until they come together in
recorder, solo flute, and solo trumpet. The Baroque trumpet plays in a higher warm harmony at the end.
tessitura than the modern trumpet, and its brilliance stands out among its With apologies to PIETRO BALDASSARE, not much information is
fellows, particularly in the radiant final movement. known about his life or work. We know that he was Master of Music in the
Bach wrote three sonatas and three partitas for solo violin as a set. Within Italian city of Brescia, and it is though that he was born around 1690, and
that set, the key sequence, the progression of notes in certain key passages – died after 1768. Nearly all of his music is lost, but among that which survives
even the quotations from other Bach compositions – has fascinated many is the attractive Sonata No. 1 in F for Cornetto – the high-pitched Ba-
scholars as to hidden meanings; “coded messages,” in the music. One such roque member of the trumpet family. It opens in an air of elegant celebration
scholar is Helga Thoene, who in 1985, released an exhaustive study of hidden in the first movement, while the call-and-response slow movement is stately
meanings in the Sonatas and Partitas for Solo Violin. Her research led her to and dignified. The brief final movement is a light and courtly dotted-rhythm
the conclusion that the famous chaconne (see the paragraph on Purcell below dance. Jens Lindemann, by the way, has recorded this work, available on his
for a definition of chaconne) which concludes the Second Partita is in fact 2007 Marquis Classics recording, The Classic Trumpet.
an elaborately coded “epitaph in music” for Bach’s first wife, Maria Barbara. The presence of all these Baroque composers means that WOLFGANG
Certainly, there are quotes in the work from a number of Bach’s sacred works AMADÉ MOZART (1756-1791), who died 219 years ago, is the most
concerning death and resurrection. Based on that research, violinist Chris- modern composer on tonight’s program. His opera Idomeneo premiered in
topher Poppen and the singers of the Hilliard Ensemble crafted a version 1781, and tells the tale of love, sacrifice, and honour on the island of Crete
of the work for a 2001 recording in which the choral references within the at around the time of the Trojan war. One of the few works which did not
chaconne are sung, with a violin still as the lone instrumental accompanim- seem to flow almost organically from Mozart’s astounding mind, his many
net. The work, titled Morimur (taken from the three-part Latin expression cuts and changes to the manuscript do not provide conclusive ideas for where
of faith which translates as, “We are born from God, we die in Christ, we exactly he intended the ballet music he wrote for the opera to appear. There
are reborn through the Holy Spirit”) receives its Edmonton premiere this is some evidence to suggest that the various dances which make up the ballet
evening. segment were to be sprinkled throughout the action of the work. The Köchel
Like Bach, GEORGE FRIDERIC HANDEL (1685-1759) shared the same catalog of Mozart’s music (the “K” in the numbering of his pieces refers
birth year, and was also German. But while Bach spent his life in Germany, to Ludwig von Köchel, who assembled the first attempt at chronologically
largely as a church composer, Handel spent most of his career in England, as cataloguing Mozart’s music) gives the Idomeneo Ballet Music its own “K”
the most celebrated composer in that country. A favourite of the royal court, number of 367, right after the opera itself as K.366.
Handel was commissioned to write many works for special national occa-
sions. By the time of his 1712 arrival, composers who enjoyed court favour Program Notes © 2010 by D.T. Baker


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000Sig.MacEwan_1-2H_nBL.indd 1 8/31/10 11:26:42 AM
Jens Lindemann at the Pops

Bruce Hangen, conductor

Jens Lindemann, trumpet

(Lavallée / arr. Gilliland)

JUPITER (from The Planets)



(Williams / arr. Lavender)

(Ponce / arr. Dragon)


INTERMISSION (20 minutes)

2010/2011 SEASON
Friday, September 17 | Saturday, September 18 | 8 PM

CLAIR DE LUNE (from Suite Bergamasque )

(Debussy / arr. Dragon)

CHARLESTON (from Runnin’ Wild )

(Johnson / arr. Stephenson)

B RUCE HANGEN is Director of

Orchestral Activities at the Bos-
ton Conservatory. In this position he
serves as the Conservatory’s principal
orchestral conductor as well as director
of both the orchestra and conducting
programs. The 2009/2010 season
marked Mr. Hangen’s 12th season
as the Music Director of the Indian
Hill Symphony in Littleton, Mass.
Recently, he completed his tenure as
the Principal Pops Guest Conductor of
the Boston Pops Orchestra, a position
created especially for him, reflecting
the strong musical relationship built
between him and the Boston Pops over
two decades of regular guest conduct-
ing. For 12 years (1984-1996), Mr. Hangen was Music Director of the
Omaha Symphony. For two seasons (1998-2000), he was Acting Resident
Conductor of both the Utah and Kansas City Symphony Orchestras.

A graduate of the Eastman School of Music with a major in conducting,

SAINTS!! Bruce Hangen was also a conducting fellow at the Berkshire Music Center
(various / arr. Healey) at Tanglewood for two summers, 1972 and 1973, where his conducting
teachers included Gunther Schuller, Seiji Ozawa, Leonard Bernstein,
DREAMING OF THE MASTERS III * Michael Tilson Thomas, Stanislaw Skrowaczewski, Bruno Maderna and
(Gilliland) Joseph Silverstein. Mr. Hangen maintains an active schedule of guest
(World premiere of an ESO commission) conducting. Recent appearances have included concerts with orchestras in
I. 101 Damnations Detroit, Florida, Boston, St. Louis, Baltimore, Pittsburgh, San Francisco,
II. Prayer Atlanta, Jacksonville, Naples (FL), and Houston. Bruce Hangen is the
III. Lower Neighbour recipient of an Honorary Doctor of Fine Arts degree from the University
of New England, and in Omaha he received the ICAN Foundation’s 1990
ESPAÑA CAÑI Browning Award for Career Excellence and Vision. Bruce Hangen was
(Narro / arr. Dragon) born in Pottstown, Pennsylvania and was raised in Great Falls, Montana.

HIGHLIGHTS FROM MAN OF LA MANCHA Mr. Hangen last conducted the ESO in October 2009.
(Leigh / arr. Hayman)

DANZA FINAL “JOTA” (from The Three-Cornered Hat)


(Lecuona / arr. Freeh)
Program subject to change Mr. Lindemann’s bio can be found on page 11.

Series Sponsor Season Media Sponsor *ESO commission with

generosity from the AFA


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A Division Of
Mozart’s “Turkish” Concerto
Saturday, September 25 | 8 PM
2010/2011 SEASON
William Eddins, conductor
Corey Cerovsek, violin
Symphony Prelude, Saturday at 7:15 PM in Upper Circle

(Third Level) Lobby with Randolph Peters & D.T. Baker
OREY CEROVSEK has performed to constant acclaim with the or-
chestras of Boston, Philadelphia, San Francisco, Detroit, Cincinnati,
St. Louis, Atlanta, Baltimore, Montréal, Vancouver, and Toronto, among
many others; and internationally with such groups as the Israel Philhar-
PETERS monic, Prague Symphony, National Symphony (Ireland), Hong Kong
Butterfly Wings and Tropical Storms (10’)* Philharmonic, Berlin Symphony, Vienna Chamber Orchestra, and the
Orchestre de Poitou-Charentes. He has toured in Australia, Canada,
MOZART Denmark, Japan, China, Austria, the Netherlands, Brazil and Spain. In
Violin Concerto No. 5 in A Major, K.219 “Turkish” (31’)* 2006, the Claves label released Mr. Cerovsek’s recording of the Sonatas for
Allegro aperto Violin and Piano of Beethoven with pianist Paavali Jumppanen. It received
Adagio numerous awards, including Gramophone Recommends, 5 Diapasons,
Rondeau: Tempo di minuetto 4 stars from Le Monde de la Musique, Supersonic Pizzicato, and Fono
Forum Stern des Monats and the
INTERMISSION (20 minutes) Miderm Award for best chamber
music recording for 2008. His
SIBELIUS Corigliano Violin Sonata, with
Symphony No. 5 in E-flat Major, Op.82 (35’)* Andrew Russo on the Black Box
Tempo molto moderato - Allegro moderato - Presto label, was nominated for a 2006
Andante mosso, quasi allegretto Grammy Award. Other recordings
Allegro molto – Un pochettino largamente – Largamente assai have been released on the Delos,
Black Box, Aguavá New Music
Studio, and Cala Records labels.
Program subject to change *indicates approximate performance duration
Born in 1972 in Vancouver, Cana-
da, and now residing in Paris, Corey
Cerovsek began playing the violin at
the age of five. He graduated at age
12 from the University of Toronto’s
Royal Conservatory of Music with
a gold medal for the highest marks
in strings. That same year, he was
accepted by Josef Gingold as a student and enrolled at Indiana University,
where he received bachelor’s degrees in mathematics and music at age 15,
masters in both at 16, and completed his doctoral course work in math-
ematics and music at age 18. Concurrently he studied piano with Enrica
Cavallo, until 1997 frequently appearing in concert performing on both
instruments. Mr. Cerovsek performs on the “Milanollo” Stradivarius of
1728, an instrument played, among others, by Christian Ferras, Giovanni
Battista Viotti, and Nicolò Paganini.

Mr. Cerovsek last appeared with the ESO in November 2006.

Series Sponsor Series Media Sponsor Series Media Sponsor

Mr. Eddins’ bio appears on page 6. Program notes appear on pages 18 & 19.


2010/2011 SEASON
LANDMARK CLASSIC MASTERS Mozart’s “Turkish” Concerto

Butterfly Wings and Tropical Storms

(b. Winnipeg, 1959)

First per formance : October 9, 2002 in Québec City


Program note by the composer

HE IDEA that the infinitesimal disturbances caused by the flight of a

butterfly could be multiplied over months and years and eventually
result in a tropical storm was the basis for a whole new area of science.
Chaos science grew out of this breakthrough discovery first observed by
mathematician and meteorologist Edward Lorenz. He called it the “But-
terfly Effect.”
Music, like the weather, has patterns and it also has unpredictability.
Both often contain a fine inner ordering that masquerade on the surface as
randomness. We should be thankful that not every butterfly causes a natu-
ral disaster(!), but the notion that small changes magnified over time could
lead to cataclysm is inspiring to artists.
Butterfly Wings and Tropical Storms was written to explore and revel in the
dramatic possibilities of such extremes. It was commissioned by Orchestre
symphonique de Québec to help celebrate 100 years of music making, with
financial assistance by the Manitoba Arts Council.

ingly contrasting counter subject. The exotic

“janissary” sound, thought to be Turkish to
the Viennese, was quite the fad in music
at the time. The Turkish military music,
accompanied by triangle, cymbals, and
bass drum, were often a feature added to
provide a mysterious eastern flavour to
contemporary works. Mozart, who had
explored the style a little, and would
do so more fully in his singspiel The
Abduction from the Seraglio, interjects
a janissary segment, in A minor, in
the centre of the movement. Listen for
the greatly exaggerated ups and downs
in the lower strings, and the way the stac-
cato strings provide the feel of the bass
drum. Once this remarkable passage
is over, the gentle minuet returns to
conclude the work.

Symphony No. 5 in E-flat Major, Op.82

(b. Tavestehus, Finland, 1865 / d. Järvenpää, 1957)

Violin Concerto No. 5 in A Major, K.219 “Turkish” First version premiered on December 8, 1915, in Helsinki
WOLFGANG AMADÉ MOZART First revision premiered on December 8, 1916, in Turku, Finland
(b. Salzburg, 1756 / d. Vienna, 1791) Final version premiered on November 24, 1919 in Helsinki
Completed December 20, 1775 in Salzburg


Symphony confounded Sibelius for years. Time and again, in his diary,

M OZART HAD JUST TURNED 19 when he put the finishing touches on

the last violin concerto he would ever compose. It capped a remark-
able compositional period in which he wrote nearly a dozen works with
he referred to the long slow process of the work’s gestation as a “struggle
with God.”
Already a national hero, Jean Sibelius was to be feted at a fiftieth

important violin solos – including the final four violin concertos, all com- birthday concert in December 1915. Part of the celebratory event was the

posed between April and December of 1775. premiere of the first version of his Fifth Symphony. The party was a success; Y

It was as if working on all four gave him a chance to work through all the symphony, less so – to Sibelius. Dissatisfied with a work in which he CM

the kinds of experimentation he wanted to with the genre. And with the knew contained a greatness he hadn’t quite wrested from it, Sibelius re-
Fifth Violin Concerto, what Mozart plays up the most is contrast. The violin’s vised it extensively in time for a concert marking his 51st birthday. But it MY

entrance in the opening movement, for example, does not pick up from the still wasn’t what he wanted. CY

lively orchestral material which precedes it. Instead, everything comes to These were the years of the First World War, and the Bolshevik Revolu- CMY
a halt, and the violin’s first notes are slow, measured, in a much different tion, which threatened to spill over, even if only politically, into neigh-
tempo and feel. The orchestra picks up on that, and it is only after that brief, bouring Finland. It is therefore not surprising that when the symphony K

separate introduction, that violin and orchestra begin the lively dialog that finally achieved the form Sibelius wanted, near the end of 1919 and fol-
will make up the rest of the movement. lowing the war, the spirit of the work has a sense of moving from darkness
The slow movement, in contrast to the preceding violin concertos Mozart to light.
had produced, is almost operatic in its layout and its passion. The orchestra Gone is the symphony’s original four-movement design. Instead the long
presents an introduction to the violin’s emotional aria. Once it begins its first movement, a melding of the original design’s first two movements,
song, the violin dominates the movement, though the orchestral accompa- begins with a lone horn above a sense of expectancy. The music broadens
niment is rather more lavish and detailed than one might expect. out almost immediately; woodwind calls, rustling timpani – but this is no
It is the final movement that gave the work its nickname. It is a rondo, mere introduction. Elements contained in this opening passage will return
with a main subject in a gentle minuet tempo. It is interrupted with a strik- throughout the work. A sense almost of foreboding rises to a trumpet-


tinged climax, which quietens almost immediately, then begins to build in my life. Oh God, what beauty! They circled over me for a long time.
again. Contrasts of light and shadow, of wind figures against undulating Disappeared into the hazy sun like a glittering, silver ribbon. Their cries
strings press the music on to another radiant brass passage, which propels were of the same woodwind timbre as those of cranes, but without any
the music, now in triple time, into the second part of the movement (what tremolo… Nature’s mystery and life’s melancholy! The Fifth Symphony’s
would have been the original score’s second movement). It is an inge- finale theme.” The movement begins with bristling, nervous energy in
nious bridge, so organically the strings, over which the
achieved it appears seamless. winds begin to stir. Rising
The brisk, buoyant Presto
section seems like a dance in The Fifth Symphony confounded SIBELIUS and falling, the horns’ call is
somehow tinged with both
broad sunlight after clouds
have broken – and the sudden
for years. Time and again, in his diar y, he triumph and pathos. Listen
also for the horn theme in
ending is very unexpected.
The second movement is a
referred to the long slow process of the tremolo strings, beneath the
woodwinds – then how the
set of variations on a theme work’s gestation as a “struggle with God.” roles are reversed. As we near
presented in the woodwinds. the conclusion, the theme
It is calm and bucolic, with a becomes clothed in more
gentle lilt. A brisker, more playful central section emerges gradually, but dramatic colours, then bursts out heroically once again. The bigger-than-
ebbs away as the main tempo is reestablished. life coda, capped off by six grand, emphatically stated chords, has tricked
The famous finale, with its “swinging” theme for horns in thirds, was many a concert-goer’s applause before the work is actually done.
inspired, Sibelius wrote, by something he saw while on a walk. “Just
before ten to eleven I saw sixteen swans. One of the greatest experiences Program notes © 2010 by D.T. Baker, except as noted

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000Sig.VP_1-2H.indd 1 9/3/10 1:11:25 PM

2010/2011 SEASON
Flamenco and other Spanish delights
Thursday, September 30 | 8 PM

William Eddins, conductor

El Viento Flamenco
Bob Sutherby, guitar
Sean Harris, vocalist
Tony Tucker, percussion
Megan Matheson, dancer
Maral Perk, vocalist & dancer

La Chiapanecas (arr. Dragon) (4’)*

Suite Española: Castilla (arr. Frühbeck de Burgos) (3’)*
España, Op.65: Tango in D Major (arr. Arnold) (3’)*
Suite Española: Sevilla (arr. Frühbeck de Burgos) (5’)*

Alegria (arr. Palmer) (7’)*
La Farruca (arr. Palmer) (7’)*

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

INTERMISSION (20 minutes)

La revoltosa: Preludio

E L VIENTO FLAMENCO IS IN LOVE with the tradition of flamenco, but
also brings its own voice to the genre. Its musical influences include
everything from gospel and blues to Turkish and Armenian folk music.
Goyescas: Intermezzo (5’)* In addition to singing in Spanish, the musicians of the group are now
writing and singing their own lyrics in their own languages, which, in
FALLA this group, happen to be English, French, Turkish, and Armenian! El
El amor brujo: Ritual Fire Dance (5’)* Viento Flamenco brings its own, very distinct voice to the art form. With
a singer and guitarist who hail from rock and roll, a percussionist who is
FAJARDO involved in everything from Newfoundland folk to African drumming
Rumba Flamenca (arr. Palmer) (5’)* and punk rock, and dancers who have lived all over the world, the group
stands subtly but resolutely outside of flamenco tradition.
NARRO Continued next page.
España Cañi (arr. Dragon) (5’)*

Program subject to change. Other works will be announced from the stage.
*indicates approximate performance duration

Mr. Eddins’ bio can be found on page 6.

Series Sponsor Series Media Sponsor Series Media Sponsor Program notes appear on pages 22 & 23.


2010/2011 SEASON
ROBBINS LIGHTER CLASSICS Flamenco and other Spanish delights

Sean Harris’ “voz clara” is perhaps the most defining element of El Viento
Flamenco’s sound. With years of performing gospel, blues, and rock, he
has developed a unique style and clear timbre which sets El Viento Fla-
menco apart from other flamenco troupes around the world. El Viento
Flamenco also benefits from singer Maral Perk’s background in Armenian
folk and Turkish pop tunes. Together, the singers provide the inspiration
for the elegant simplicity of the dancing, while both the singers and danc-
er are sustained by the crisp, aggressive sound of Bob Sutherby’s guitar.


T OWARD THE END OF THE 15TH CENTURY, gypsies began arriv-

ing in the southern Spanish region of Andalusia. They continued to
migrate there until nearly the dawn of the 19th century, and naturally,
they combined their own musical influences into that which was native
to the region. Over the course of that three-century period, the initial
phase of what is called cante hondo began to emerge. Over the course of

Tony Tucker, with his influences of Celtic, Middle-Eastern, African and

Rock drumming, adds the final touch to El Viento Flamenco’s singular
sound. The genuine expression of each artist’s individuality is of prime
importance: thus, in its own way, El Viento Flamenco is fiercely authentic.
They were 2007 East Coast Music Awards winners for Roots/Traditional
Group Recording of the Year.

This is El Viento Flamenco’s debut with the ESO.

the next hundred years, cante hondo evolved, ultimately to begin to take
on less authentic trappings as it became commercialized and, for want of

a better way of putting it, mass marketed and exported.
As the 20th century neared, two important things happened to the
music of Spain. First, a more modern form of the “gypsified” Andalusian
style of music took shape, and was called cante flamenco (the first known
use of the word dates from 1871). Secondly, Spanish composers, who
often had to go abroad to learn the compositional techniques of formal
European music, were beginning to be heard outside of Spain – a con-
cept known as “nationalism.” Tonight’s concert has a little bit of both,
and music in between as well.
CONRADO DEL CAMPO (1878-1953) did receive some training
at the Madrid Conservatory, but was largely self-taught as a composer. the suite for orchestra, and tonight’s performance features the movements
A major influence on him was Richard Wagner, and he used Wagnerian named for Seville and Castille. España is another suite written for solo
models of long, unfolding piano originally, and noted
melody and leitmotif, and British composer Malcolm Ar-
applied them to his Spanish
music. He became one of the
The Spanish dancer performs this nold arranged the Tango from
the suite for orchestra.
most important Spanish com-
posers – and teachers – of his
m o v e m e n t i n a s m o o t h , f l o w i n g m a n n e r, Once the cante flamenco
style became popularized, a
time. Tonight’s version of his keeping the body low and horizontal,” number of songs came to so
work La Chiapanecas was represent it in popular cul-
arranged by Carmen Dragon writes Gilbert Chase in The Music of ture. They have become the
for his Hollywood Bowl Or-
Spain. “It forms a striking contrast with image many of us have when
we think of “Spanish music.”
One of the most famous of the vigorous, swirling action of the man.” Both the Alegria and the
Spanish composers, ISAAC Farruca were songs/dances
ALBÉNIZ (1860-1909) began for women to dance to. Of the
writing his Suite Española for piano in 1886, one of the first pieces he Farruca, “The Spanish dancer performs this movement in a smooth, flow-
composed after studies with Liszt, then with Felipe Pedrell, who urged ing manner, keeping the body low and horizontal,” writes Gilbert Chase
him to bring out the music of Spain in his works. Each movement of in The Music of Spain. “It forms a striking contrast with the vigorous,
the eight-movement suite bears the name, and influence, of the music of swirling action of the man.” To dance the Alegria, the woman wears a
places in Spain. Spanish conductor Rafael Frühbeck de Burgos arranged striking gown, with frills and a train, while the dancer herself adds to the

energy of the work with clapping and snapping of her fingers. Christopher Ravel, and Dukas.
Palmer arranged the versions of these traditional dances we will hear. The ballet is the story
JERÓNIMO GIMÉNEZ (1854-1923) was an important conductor and of a man whose love
composer, most famous for some of his works written in the zarzuela style – has died, but her rest-
a well-established Spanish opera form that began to regain popularity less spirit does not
with the emergence of Spanish nationalism. A number of excerpts from want to let him go
his zarzuela operas continue to hold the stage in Spain, while excerpts are and move on to a new
popular in concert. La boda de Luis Alonso is a zarzuela that premiered love. The swirling,
in January 1897, from which we will hear an orchestral interlude. exciting dance rep-
Admirers of the music of RUPERTO CHAPI (1851-1909) referred to him resents an attempt to
as “the Spanish Massenet.” His one-act zarzuela from 1897, La Revolto- exorcise the spirit.
sa (“The Troublemaker”), is his most famous work. The title character is a A “rumba” is a
sweet young thing who besots nearly every man who sees her – including dance of Cuban ori-
three married men who should know better – while she, fully aware of her gins, its name derived
charms, uses them provocatively. Tonight, we present the work’s overture, from the notion of a
or Preludio. “party,” or having a
ENRIQUE GRANADOS (1867-1916) is one of the most important good time. This lively
Spanish nationalists. The work which first gained him international ac- Rumba Flamenca puts the five-beat rhythm inherent in the form into fla-
claim was a piano suite inspired by the paintings of his fellow country- menco clothing, and was done so by the late gypsy singer Rafael Fajardo.
man, Francisco Goya. An excerpt from the suite, Goyescas, was orches- España Cañi is one of those tunes that is much more recognizable
trated, named Intermezzo, and became a concert favourite for Carmen than its name. Composed by PASCUAL MARQUINA NARRO (1873-
Dragon’s Hollywood Bowl Orchestra. 1948), the piece is a paso doble, or a dance for two. Its title translates as
Perhaps the most famous work on tonight’s program is the Ritual Fire “Spanish Gypsy,” though many will doubtless recognize its main section
Dance, an excerpt from the ballet El amor brujo (“Love, the Magician”) as a crowd-rouser at everything from bullfights to baseball games.
by MANUEL DE FALLA. Born in Cadíz, Falla got formal training at the We present it tonight in yet another Carmen Dragon arrangement.
Paris Conservatoire, where he befriended composers such as Debussy, Program Notes © 2010 by D.T. Baker

Drama Belongs In The Theatre

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D.T. Baker | Photo by Buffy Goodman



W ELL, THINK ABOUT IT. The Concertmaster is the last musician to

come on stage before the conductor and yet, time after time, he or
she manages to walk to their place in front without nailing any of their fel-
low musicians in the head with their violin.
OK, maybe not. But the Concertmaster is the leader of the orchestra,
the “team captain,” so to speak. He or she represents the orchestra, and
so applause for the Concertmaster is, really, applause for the orchestra – a
little moment of their own before the conductor comes out and the concert
begins. By the way, when a conductor or guest soloist shakes hands with the
Concertmaster after a performance – same deal. It’s their way of thanking
the orchestra.



T HIS QUESTION GETS ASKED A LOT – and I wish the answer was nearly
as interesting as the question makes it seem like it should be. But the
fact is – you can call your orchestra Groovy Marvin and the Sunshine Band
if you wanted to, and still play Mahler and Brahms (your marketing depart-
ment might want to kill you, but you could. I’m just sayin’).
Etymologically, “philharmonic” comes from two Greek words – “love”
and “music.” So, a Philharmonic orchestra could be said to have been created
(and named) for the love of music. “Symphony” also has Greek roots, and
came to mean a coming together of sound – very much what an orchestra
was made to do. Once upon a time, those distinctions must have been im-
portant. But these days?
Look at it this way – six of the major American orchestras are located in
New York, Boston, Philadelphia, Cleveland, Chicago, and Los Angeles. Two
of them call themselves Philharmonic orchestras, two of them call them-
selves Symphony orchestras. And the other two – they’re just orchestras: the
Cleveland Orchestra and the Philadelphia Orchestra, plain and simple. It IF THE WINSPEAR CENTRE HAS SUCH GREAT ACOUSTICS
has nothing to do with size, or the kind of music they play – it’s simply what HOW COME WE SEE SPEAKERS AND MICROPHONES ON
they have chosen to call themselves. Is that a boring answer, or what? STAGE SOMETIMES?

C OULD BE ANY NUMBER OF REASONS. You may have noticed that

sometimes, Bill Eddins speaks from the podium before the orchestra
plays. So he has the mike to do that, then it gets turned off, and everything
you hear after that is pure, unplugged, glorious music.
Sometimes, a singer with a pop or music theatre background is just
more comfortable having a microphone to sing into. Sometimes, a delicate
instrument – like a classical guitar – could benefit from just a wee bit of
Sometimes, groups that come here are on tour. They might play a great
hall like the Winspear Centre one night, then a hockey rink the next, or a high
school gymnasium after that. When you’re on the road, it can be a grind, so
rather than re-think the sound design in every new place you play, it’s a lot
GOT A QUESTION? easier just to have one sound set-up that works, and plug it into whatever space
you’re playing.
Drop a line to But any time we can, we make sure that the incredible acoustics of the mag-
and we’ll try to answer in upcoming issues nificent Winspear Centre are all we need to make our music sound sublime.


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The Four Seasons
Sunday, October 3 | 2 PM
2010/2011 SEASON
William Eddins, conductor
Ewald Cheung, violin
Julianne Scott, clarinet ARTIST BIOS

Showcase Prelude, Sunday at 1:15 PM in Upper Circle
WALD CHEUNG began his studies at the age of four at the Suzuki
(Third Level) Lobby with D.T. Baker
School in Edmonton, and later studied with James Keene, former
Concertmaster of the Edmonton Symphony. Ewald is currently studying
Coffee Shop, post-performance, Main Lobby with Lucas
with renowned violinist Jonathan Crow at McGill University, Schulich
Waldin, William Eddins, Ewald Cheung, and Julianne Scott
School of Music.

Mr. Cheung has had success in many competitions. In 2005, he won the
DANZI Northern Alberta Concerto Competition, which led to a performance with
Fantasie on Mozart’s “Là ci darem la mano” (9’)* the Edmonton Youth Orchestra. In 2006, he won the senior category of
the Alberta Music Festival. Mr. Cheung is also a five time laureate of the
HAYDN Canadian Music Competition, winning in 2001 and 2003, which led to
Symphony No. 103 in E-flat Major, Hob.I: 103 “Drumroll” (29’)* performances with the Orchestre symphonique de Quebec, and the Cal-
Adagio – Allegro con spirito gary Philharmonic Orchestra. In 2007, he was a laureate of the Standard
Andante più tosto allegretto Life Orchestre symphonique de Montréal Competition. This past May, he
Menuetto – Trio won the Shean Strings Competition in Edmonton. Ewald Cheung is also a
Finale: Allegro con spirito recipient of the prestigious Lloyd-Carr Harris String Scholarship from Mc-
Gill University, the Anne Burrows Scholarship, the Winspear Fund, and
INTERMISSION (20 minutes) the Victoria Foundation.

VIVALDI Mr. Cheung last appeared with the ESO in March 2006.
Le quattro stagioni (“The Four Seasons”)
Violin Concerto in E Major,
Op.8 No. 1 “La primavera” (“Spring”) (10’)*
Allegro (Danza pastorale)
Violin Concerto in G minor,
Op.8 No. 2 “L’estate” (“Summer”) (10’)*
Allegro non molto – Allegro
Adagio – Presto – Adagio
Presto (Tempo impetuoso d’estate)
Violin Concerto in F Major,
Op.8 No. 3 “L’autunno” (“Autumn”) (11’)*
Allegro (Ballo, e canto de’ villanelle)
Adagio molto (Ubriachi dormienti)
Allegro (La caccia)
Violin Concerto in F minor,
Op.8 No. 4 “L’inverno” (“Winter”) (9’)*
Allegro non molto

Program subject to change *indicates approximate performance duration

Guest Artist Sponsor Season Media Sponsor Series Media Sponsor Series Media Sponsor Mr. Eddins’ bio can be found on page 6.
Ms. Scott’s bio appears on page 30.
Darcy & Barbara Program notes appear on pages 30 & 31.
2010/2011 SEASON


native of Calgary, JULIANNE SCOTT became Principal Clarinet of the

Edmonton Symphony at the start of the 2009/10 season. This follows
her tenure (2007-2009) as Principal Clarinet with the Colorado Springs
Philharmonic. Ms. Scott graduated from the University of Southern Cali-
fornia with her Masters, where she studied with Yehuda Gilad. She attained
her Bachelor’s degree from the University of Toronto in 2006 under Joaquin
Valdenpenas. Julianne Scott as spent summers participating in festivals in-
cluding the Sunflower Music Festival, the Aspen Festival, the Spoleto Festi-
val, touring with the Canadian Youth Orchestra, and the Music Academy of
the West. She has appeared as a soloist with Colorado Springs Philharmonic.

Ms. Scott last appeared as a soloist with the ESO in October 2009.


he wished, and compose what he wised. He was especially celebrated in

England, where he was brought twice by the impresario Peter Salomon,
Fantasie on Mozart’s “Là ci darem la mano” and where the symphonies he wrote for the English with such facility and
FRANZ DANZI invention were the toast of the land.
(b. Schwetzingen, 1763 / d. Karlsruhe, 1826) Because of this special connection, the last dozen symphonies Haydn
wrote (he wrote 104 in total) are known as the “London Symphonies,” and

A S A COMPOSER, FRANZ DANZI was more highly regarded during

his lifetime than he seems to be these days – his modern reputation
seems to rest on the friendship and guidance he provided to young Carl
the second to last, thanks to its dramatic percussion opening, is known as
the “Drumroll” Symphony.
Following that unexpected beginning, the first movement is notable for
Maria von Weber, and a handful of shorter works. its dramatic heft. Following the slow opening, the Allegro is full of loud
An opera composer himself, Danzi was quite used to the fashion of his and soft contrasts, often propelled along on the timpani. Unexpectedly,
day of taking popular songs from other people’s operas, and writing virtu- there is a pause, and following another drumroll,
oso display vehicles out of variations of those tunes. So it was with the bra- another slow section leads into a buoyant
vura set of variations based on “Là ci darem la mano,” a popular duet form finish. The second movement adapts two
Mozart’s opera Don Giovanni. Danzi had a special affinity for Mozart; he old tunes from the Oedenburg region,
admired Mozart’s music, and used it as source material more than once, in the Hungarian region of Austria-
but also because his father, a cellist, had met the Salzburg genius during Hungary.
Mozart’s visit to Mannheim when Danzi himself was a boy of 14. The Minuet and trio pits a
rumbustious minuet – which
itself has contrasting sections
– against a trio of elegance
and even delicacy. Horns
usher in the finale, which
Symphony No. 103 in E-flat Major, Hob.I: 103 “Drumroll” begins quietly, but is soon a
FRANZ JOSEF HAYDN merry romp, based on another
(b. Rohrau, Lower Austria, 1732 / d. Vienna, 1809) folk tune.

I T’S TOO BAD more great composers couldn’t finish out their storied
careers the way “Papa” Haydn did. The man who had made the court
of Esterházy the cultural envy of European nobility retired from his
post as Kapellmeister to more or less emeritus status, free to travel as

Le quattro stagioni (“The Four Seasons”) Spring begins with
ANTONIO VIVALDI breezes, birds, and bab-
(b. Venice, 1678 / d. Vienna, 1741) bling brooks. A storm
intrudes in the second

S O UTTERLY UBIQUITOUS have The Four Seasons become to modern

culture, it’s hard to believe that these four treasured concertos really only
regained a popular foothold in the early 20th century. Prior to that, Vivaldi’s
movement, but the finale
gives us a goatherd and his
dog, and a bagpipe-accom-
music was almost forgotten – and even during his life, the Venetian master panied dance of shepherds.
was known more for his sacred works and his operas than for the nearly 450 Summer begins in the hot
concertos we know that he wrote. sun – listen for the violin to
Most of the concertos were written for the students for whom Vivaldi was give us the sound of a cuckoo,
Master of Music – the foundling girls of the Ospedale della Pièta in Venice. a turtle dove, and a goldfinch.
They became renowned throughout Europe for the prowess on their instru- Another storm brews in the second
ments, and their skill was doubtless honed by the many works Vivaldi wrote movement – but also listen for the very
as vehicles for them. A violinist himself, Vivaldi wrote nearly 250 of his effective imitation of summer insects buzz-
concertos with a violin solo part, and often published anywhere from six to ing. The storm arrives in the final movement, and
a dozen concertos in a single edition. His Opus 8 collection, for example, is the tired shepherd seeks shelter.
a set of 12 he called Il Cimento dell’Armonia e dell’Inventione (“The contest In Autumn, the harvest is a happy time – all is drinking and dancing.
between harmony and invention”). For the first four of the 12, Vivaldi pro- That is followed by sweet sleep in the middle movement, while the finale
vided descriptive sonnets about each concerto’s connection to one of each of gives us a hunt, complete with horns (portrayed by strings in this all-strings
the seasons of the year – and the music depicts many of the small scenes he work), horses, and dogs. Winter is a picture of icy wind and chattering teeth
paints. And since the advent of widely-available recorded music first brought in the opening movement. The central movement is one of warmth at the fire,
these works to worldwide attention, The Four Seasons has become one of the while in the final movement, we slip and fall on the ice, but we also take joy
most famous sets in music. in the season.
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Fialkowska plays Chopin
2010/2011 SEASON
Friday, October 15 – 7:30 PM | Saturday, October 16 – 8 PM

Anu Tali, conductor

Janina Fialkowska, piano

Afterthoughts, Friday post-performance, Main Lobby with Anu Tali

and Janina Fialkowska

Symphony Prelude, Saturday at 7:15 pm, Upper Circle (Third Level)

Lobby with Lucas Waldin

Béatrice et Bénédict: Overture (8’)*

Piano Concerto No. 1 in E minor, Op.11 (44’)*
Allegro maestoso
Romanza: Larghetto
Rondo: Vivace

INTERMISSION (20 minutes)

Symphony No. 4 “Los Angeles”
Con sublimtà

Program subject to change *indicates approximate performance duration O ne of the most intriguing young conductors on the scene today, ANU TALI
was born in Estonia, where she began her musical training as a pianist,
graduating from the Tallinn Conservatory in 1991, and continuing her studies
at the Estonian Academy of Music as a conductor. From 1998 to 2000, Ms.
Tali studied at the St. Petersburg Conservatory. Since 1995, she has regularly
attended Jorma Panula’s masterclasses at the Sibelius Academy in Helsinki
and Moscow.

Together with her twin sister Kadri, Anu Tali founded the Nordic Symphony
Orchestra in 1997 in order to develop cultural contacts between Estonia and
Finland, and unite musicians from around the world. In 2007, the orchestra
had its first European tour. Ms. Tali appears regularly with orchestras in
Estonia and worldwide. She has worked with many of the major orchestras
in Germany, and in 2006, made her debut at the Salzburg Festival, and at
the Savonlinna Opera Festival. Anu Tali and the Nordic Symphony made
their debut recording in 2002 with Swan Flight, earning her the 2003 Echo
Classics Young Artist of the Year.

Ms. Tali last appeared with the ESO in January 2009.

Friday Masters Series Landmark Classic Season Media Sponsor Series Media Sponsor Ms. Fialkowska’s bio can be found on page 34.
Sponsor Masters Series Sponsor Program notes appear on pages 34 & 35.


2010/2011 SEASON
FRIDAY MASTERS Fialkowska plays Chopin

ANINA FIALKOWSKA has enchanted audiences for over 30 years

with her glorious lyrical sound, her sterling musicianship, and her
profound sense of musical integrity. Born to a Canadian mother and a
Polish father in Montréal, Janina Fialkowska started to study the piano
with her mother at the age of five. Eventually she entered the École de Mu-
sique Vincent d’Indy, studying under the tutelage of Mlle. Yvonne Hubert.
The University of Montréal awarded her both advanced degrees of “Bacca-
laureat” and “Maitrise” by the time she was only 17. In 1969, she won first
prize in the Radio Canada National Talent Festival, and traveled to Paris
to study with Yvonne Lefebure. One year later, she entered the Juilliard
School of Music in New York. In 1974 her career was launched by Arthur
Rubinstein after her prize-winning performance at his inaugural Master
Piano Competition in Israel.

Janina Fialkowska has performed with the foremost North American and
European orchestras, as with all of the principal Canadian orchestras. In Oc-
tober 2002 Ms. Fialkowska was appointed Officer of the Order of Canada. In
January, 2002 at the onset of a major European tour, Ms. Fialkowska’s career
was brought to a dramatic halt by the discovery of a tumour in her left arm.

classique label.
After successful surgery to re-
move the cancer, she underwent
further surgery in January 2003;
a rare muscle-transfer procedure.
After 18 months of performing
the Ravel and Prokofiev “concer-
tos for the left hand” which she
transcribed for her right hand,
she has resumed her two-handed
career. Ms. Fialkowska’s recent
recordings include performances
of piano concertos by Chopin
and Mozart in authentic ver-
sions. Both were released to
highest critical acclaim. Just released for the 2010 Chopin bicentennial: a
Chopin recital, her third collaboration with the successful Canadian ATMA

Ms. Fialkowska last appeared with the ESO in March 2006.


Piano Concerto No. 1 in E minor, Op.11

Béatrice et Bénédict: Overture (b. Ðelazola Wola, Poland, 1810 / d. Paris, 1849)
(b. Côte-Saint-André, Isère, 1803 / d. Paris, 1869) First per formance : October 11, 1830 in Warsaw
First per formance of the opera : August 9, 1862 in Baden-Baden
C HOPIN COMPOSED both of his piano concertos before leaving his
native Poland as a young man. They are works of youth, and more-


About Nothing will instantly understand the premise of Hector
Berlioz’ two-act opera Béatrice et Bénédict. Berlioz was a lifelong admirer
over, they are works influenced by the bravura pianism he was exposed to
as a youth. While fed a steady diet of Bach by his teacher, Chopin’s con-
cert experiences were limited to the touring virtuosi of the day – compos-
of the works of Shakespeare, and Berlioz himself wrote the libretto for his er/pianists such as Hummel and Kalkbrenner
operatic take on the story. who toured all over Europe with their flashy
A unique feature of Berlioz’ ver- showcase concertos.
sion is the presence of the character So it’s no wonder that Chopin’s two
Somarone the Kapellmeister, a youthful ventures into the concerto
person not in Shakespeare’s repertoire are in a similar vein. The
original. This character’s concerto published as the first was ac-
signature motif – a dull, tually written after the other; misplac-
repeated fugue – is the ing of parts of the score of the F minor
composer’s acerbic spoof of Concerto resulted in this evening’s
musical stoicism in gen- concerto getting published first. Chopin
eral, and the music of performed the premiere at his last public ap-
Cherubini (for whom pearance before leaving Poland for Paris.
Beriloz had little In a work dominated by the piano,
regard) in particular. the orchestra at least gets the first say,
This does not figure introducing much of the material
into the engaging on which the opening movement
overture to the opera, is based. The piano enters with
however. its own treatment of the music,

then establishes itself with a plaintive song in C, although there is some
lovely string writing and an effective part for bassoon (William Harrison).
The final section of the movement brings it back to the home key; listen for
some daring left-hand piano passages here.
The slow movement begins with strings and horns, but a very Chopin-
esque piano nocturne soon takes over. Chopin himself said the movement
is, “sustained in a romantic vein, tranquil and somewhat melancholy.” A
unique shift in the strings to C-sharp minor leads directly into the final
movement, a rondo for which the main tune is a lively E Major theme set
to a traditional Polish dance called the krakowiak. The whole finale is lively
and full of virtuoso piano work, and a touch of humour as well. As the coda
begins, it does so seemingly in the wrong key – E-flat; then it “restarts” back
in the proper key and dashes to its conclusion.

Symphony No. 4 “Los Angeles”

(b. Paide, Estonia, 1935)

First per formance : January 9, 2009 in Los Angeles


U NTIL THE MID 1970S, Arvo Pärt composed largely in conventional con-
temporary modes. But when he discovered “tintinnabulation,” it changed
his music significantly. Last season, the Edmonton Symphony performed
Fratres, a short work in tintinnabulation style. Tonight, we present the pre-
miere Edmonton performance of his latest work in that style.
“When a single note is beautifully played…this one note, or a silent
beat…comforts me. I work with very few elements,” Pärt has said. The com-
mission he received for a new symphony for the Los Angeles Philharmonic
came at a serendipitous moment. At the time he got the commission, he
happened to be working with an ancient canon, a prayer to a guardian an-
gel, so to write a work for the orchestra in “the City of Angels” seemed most
apt. The three movement work opens with sustained chords in the strings
in a long, slow descent from a high E – a gossamer beginning that leads to
an aggressive middle section introduced by timpani thumps, in which the
strings pass through a series of minor chords, with strong percussion ac-
cents. After a pause, the movement ends in quiet reflection.
The second movement begins with blocks of pizzicato chords, ushering in
a lyrical, sorrowful passage in the lower strings, punctured by marimba and
more pizzicato. These two core ideas alternate, moody and restless, ever so
gradually rousing to a climax full of dark energy which ebbs away to anoth-
er somber song which carries the movement to its quiet, almost unsure, end.
The final movement begins almost as the opening one does, on a G-sharp
minor chord, but now moves quickly to A minor. Tonal ambiguity is played
up strongly here; following a brief, piercing violin solo, the undulating mu-
sic seems at times to point to A minor, sometimes to A Major. Percussion
punctuation leads to an odd march section, as gradually the lower-voiced
instruments fall by the wayside, leaving the marimba and timpani to have
the last, delicate word.
Program Notes © 2010 by D.T. Baker
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Art for your SATURDAY, JANUARY 29

business or home THE SHANGHAI QUARTET

From landscape to abstraction, choose from EDMONTON SATURDAY, MARCH 5
over 1,300 artworks in all media and sizes. CHAMBER MUSIC THE TALLIS SCHOLARS
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N 1952, A SMALL GROUP of dedicated visionaries formed
the Edmonton Symphony Society, with the goal of solidifying
the Edmonton Symphony Orchestra as an ongoing, sustained
organization, determined to providing community of Edmon-
ton with the finest in orchestral music, enriching the lives of its
audiences, and enhancing the quality of life for the entire com-
Since then, the ESO has grown from a part-time community
orchestra, rehearsing at night, to a fulltime core of 56 musicians


Mrs. Marion Mills
Dr. H.V. Rice
Mr. John D. Dower
Mr. Gerry M. Wilmot
Dr. A.O. Minsos
Mr. E.M. Blanchard
Mr. A.G. Culver
Mr. D.D. Campbell
Mr. D.M. Ramsay
Mr. Merrill E. Wolfe
Mr. Ken R. Higham
Mr. George M. Peacock, Q.C.
who come here from all over the world to transcend the original
board’s vision. The orchestra’s performance home is the magnifi-
cent Francis Winspear Centre for Music – another goal realized
by ESS Board members and other committed community vol-
unteers – the ESO budget is $8.5 annually, and it performs over
85 concerts, in addition to performances with Edmonton Opera
and the Alberta Ballet. None of this would be possible without
the tireless work of the Board of Directors, and the society which
they voluntarily administer.



Steven LePoole, Chair

Jim E. Carter, Vice Chair

Phyllis Clark, Past Chair

Ron New, C.A., Treasurer

Brian W. Summers, LL.B., Secretary / Legal Counsel

Mr. Robert L. Horley 1966-67
The Honourable David C. McDonald 1967-68 Maria David-Evans
Mr. J.E. Williams 1968-69
The Honourable Tevie H. Miller 1969-70 Colin Eicher
Mr. Jack W. Kennedy 1970-71
The Honourable Roger P. Kerans 1971-72 Brad Ferguson
Mr. Richard W. Palmer 1972-73
Dr. John R. Huckell 1973-76 William Harrison
Dr. John L. Schlosser 1976-77
Mr. J.R. Singleton 1977-79 Travis Huckell
Mr. D.A Cox 1979-80
Mr. Ron Ritch 1980-82 Elizabeth Hurley
Mrs. Margaret Clarke 1982-84
Mr. Brian Hetherington 1984-86 Carol Ann Kushlyk, C.M.A., C.F.E.
Mr. Charles T. Austin 1986-88
Mr. Neil Wilkinson 1988-90 Dr. Dennis L. Modry
Mr. Robert Binnendyk 1990-93
Mr. Ron Pearson 1993-95 Reginald Milley
Ms. Audrey Luft 1995-97
Mr. Andrew Hladyshevsky, Q.C. 1997-00 Ralph Peterson, C.A.
Mr. Douglas Noble 2000-01
Mr. D. Mark Gunderson, Q.C. 2001-03 Edith Stacey
Mr. W.D. (Bill) Grace, F.C.A. 2003-04
Mrs. Phyllis Clark 2004-07 Rhonda Taft

Ronnie Hothi, Executive Assistant
at 780.401.2544 or


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annual support and special gifts
totalling nearly half a million
dollars. To join this group of
ESO supporters, please contact
Eleanor Finger at 780.401.2578.

*Orchestra Circle gifts

completely or partially
endowed in perpetuity

Raymond J. Nelson
*John & Barbara Poole
Bill & Mary Jo Robbins
Harriet Snowball
CIRCLE 2010/2011

SILVER ($2500 TO $4999)

Anonymous (1)
The Honourable John
A. Agrios & Mrs. Ruth
Drs. Dick & Heather-
Jane Au
Jean Bell
Bradley & Nancy
Bob & Lynda Binnendyk
Jonathan Choy &
Isabelle Vonder Muhll
Ken & Karen Powell
Arnold & Grace
John & Martha Schiel
Harvey Sheydwasser
Andrew Sims & Simone
Allen & Myrna Snart
Brian & Heather
Dr. & Mrs. G. Tertzakian
Graham Usher & Paula
Michael Veitch
Owen & Bev Heisler
Aloys & Agnes Hendriks
Gus & Alexandra
Andrew Hladyshevsky &
Daria Luciw
Dr. Karen & Pam
Stanton & Shirley
Elizabeth & Levi Hurley
Dr. & Mrs. Donald T. Jolly
Bohdan Korbutiak
Donna Krucik

Ed Adams
Community Support of the ESO
The Edmonton Symphony Orchestra
wishes to express its gratitude to
the following individuals who play
an invaluable role in bringing live
orchestral music to our community
through their annual gifts.

“CONDUCTOR ($1000 TO $1499)”

Catherine Andrew
Keri Bishop
Dr. Len & Mrs. Barb Bistritz
Julia Boberg
Marion & John Boyd
Joyce Buchwald
Butler Family Foundation
Frank Calder
Marguerite & Zbigniew
Donna Bonk
Elizabeth Brandt
Cathryn & Vlad Brecka
Patricia Brine
Tom & Cathy Brown
Robert & Helen Buck
Alan Burant & Tracy Tarapaski
Stephen & Carolyn Campbell
Dr. Michael & Sharon
Mr. & Mrs. Gordon Clanachan
Rob & Kathie Coleman
Suzanne & Donald Colter
Matthew Corrigan
Nancy & Don Cranston
Peter & Victoria Cuff
Elizabeth Cuyler
Elaine M. Coachman Bill & Marie Dafoe
Winspear Barry & Valerie Walker Katherine Mah Chrzanowski
John & Christine Dejong
David & Gina Cosco Paddy Webb Doug McConnell & Jane De Caen
Dr. E.A. Donald
Dr. Bruce Dancik & Claire Desrochers Eliza de Jongh
DIAMOND ($25,000+) C. J. Woods, F.C.A. Bunny Edwards
Brenda Laishley Eleanor Finger & G. Rauscher
Hugh McPhail & Yolanda Kerry Enger
*Anonymous Geoffrey & Kathryn Frisby
Doug & Wendy Davey BRONZE ($1500 TO $2499) van Wachem Michael Gaian
Barbara & David Finlay
*Steven & Day LePoole Robert T. Fleming
Louis & Marcelle Anonymous (3) Ken & Gerda Miller Zenia Hawrysh
Marion Francis
Desrochers Arliss Miller Mr. & Mrs. Emil Hryciw
PLATINUM ($10,000 TO Dr. Gail H. Andrew Sylvia J. Galbraith
Grant Dunlop & Erika Karon & Jotham Huising
Dorothy & Bill Astle Reg & Marcie Milley Jack & Alice Geissler
$24,999) Norheim D.J. Laurie & Therezinha
Marnie Giesbrecht & Joachim
Diana M. Bacon John & Maggie Mitchell Kennedy
Anonymous (1) Jim & Sheila Edwards Segger
Dr. Glenn & Janet Baron Ron New Brian & Mary Knight
Rae & Carol Allen Lois A. Field Dr. George Kubac
Isidor & Grace Gliener
Barbara Batoni Ole & Marilyn Nielsen Ron & Myrtle Gray
Jim Carter & Lorraine Jan & Bill Grace Dr. Zaheer & Mrs. Salma
Bray David & Janet Bentley Ralph & Judi Peterson Lakhani
Dr. & Mrs. Roger & Luisita
Paul & Winifred Ivan & Mary A. Radostits Malcolm & Oryssia Lennie
David & Carol Cass Greenwood Richard & Barbara Michael & Denise Harmon
Leonard Ratzlaff Sheelagh McCourt
Paul James Hookham Bergstrom Frank & Ruth Henderson
Susan Wylie | Bruce John R. & Irene McDougall
Dianne & Irving Kipnes Beverley Boren Jim & Vivian Redmond Abe & Karen Hering
Hagstrom Lorna H McPherson
Cathryn Heslep
Stanley A. Milner Bob & Sheryl Bowhay Paul Roffel Paul Melancon
George & Ann Gretchen Hess
Esther Ondrack Hammond Rita & William Brese David & Rachel Ross Dr. Mori-Torres
Dr. Karen Hesse
Alan Rusler Cal & Edna Nichols
Travis Huckell Ursula Buller Glen & Judy Heximer
Sherry & Jim Noyes
GOLD ($5000 TO $9,999) Linda-Louise Hueston David & Marlene Burnett Fred & Karen Russell Michael Phair
Chrystia Chomiak & John-
Paul Himka
Madam Justice Darlene Glen & Brenda Kemp Marc A. Carnes & A. Vern & Betty Schwab Mr. & Mrs. H.G. Sabourin Lois Hingley
Acton & Mr. Donald M. H. Allan & Sharon Kerr Christy Holtby Sam & Claudia Shaw Warren & Elaine Schmitz Ronald & Lavon Holgate
Ronald & Patricia Cavell Jerry & Midge Smolyk Eira Spaner
Scott Ken Lam & Michelle Douglas & Dorothy Hollands
Gary & Marlene Tonhauser John & Leni Honsaker
Rhonda Baker in Rico John & Judy Cosco Brian and Jo-Anne Ross Undershute Lou & Mary Hyndman
memory of Barnaby J. Bob & Cathy Legate Shannon & Richard Somerville Bill & Betty Lou Weir Carol Jackson / Larry Bailer
Baker DeRoo Mary Totman Ruth Wolfe & Ken Gordon
Drs. Gary & Catharine John & Tracy Jansen
Phyllis Clark Lopaschuk Catherine Miller & Len Grant Townsend Darrell R. Jesperson
Dolgoy “IMPRESARIO ($500 TO $999)”
Maria David-Evans Hilliard & Nancy Sir Francis C. Price & Dr. S. B. Joe
Anonymous (12) Ray Johnston
Patrick & Joan Dea Macbeth Dennis & Doreen Erker the Hon. Marguerite Dr. & Mrs. T.H. Aaron David Phillip Jones, Q. C.
Sandy Fitch Art & Mary Meyer W. Grant Fairley Trussler Judge Jack Allford & Gail Joseph Kim
Dr. and Mrs. Mark & Karen & Wally Might Mr. and Mrs. Heinz Maryann Walker In Allford
Loretta Klarenbach
Feldberg Memory of Dr. David James Archibald & Heidi
Nancy Heule Karen & Wally Might Christoph
Bernie Kollman
John & Susan Hokanson Brian & Patricia Gingras Cook Margaret Lair
Jean & Stewart Shirley Armour
Darcy & Barbara Dr. Frederic & Mrs. Alma Elaine Warick & Jim Sam & Sonia Azer
Robert & Lesley Lambert
Montgomery Ivor & Mieke Lammerink
Koshman Gojmerac O’Neill Karen & Craig Banks
Patricia & Norbert Cathryn Landreth
Bob & Bev McNally Mark & Sandy Neil & Jean Wilkinson Harold Barnes
Morgenstern Bill & Carole Barton
Peter & Jean Langford-Jones
Peter & Carol Moeykens Gunderson Carol & John Wodak Lionel & Shannon Larcombe
Al & Fran Olson Jon & Marilyn Been
Elisabeth & Reinhard Dr. Gabor Gyenes & Linda & Gerry Youell Steven & Kathy Lavery
Kathy & Tom Pearson Donna Bezanson
Barbara Leah
Muhlenfeld Erika Mullner Bill & Betty Young Barbara Blackley
Annemarie & Paul Aube & Diana Levine
Tim & Nancy Muzyka Petrov Alice Harrison Ralph & Gay Young Don & Renee Bliss
C. B. Lomow
Shirley J. Head Dr. Robert B. & Mr. Brad Boman
Jo-Anne & Jack Watt Jean & Neil Lund
Kevin & Terry Lundell Derrick Alderton Ed & Mavis Hahn Dr. & Mrs. E. G. Parkinson Dorothy & Ted Allan Norma Christiansen
Mervyn & Teresita Lynch Norma Allin Roberta & Norman Hanson Kim Peacock Scott Allison Alice & Nestor Chumer
Beth & Muriel MacIntosh & Connie & Bill Alton Sharon Harry Dawn Pentelechuk & Mark Al & Barbara Anderson Joyce M. Clark
Ken Stokes Margaret Andrekson Timothy & Patricia Hartnagel Asbell Mr & Mrs. Milton & Elnora Roger & Carol Cohen
Lloyd & Lynn Malin Patricia & Leroy Anholt David & Germaine Harvey David & Florence Percy Andre John S. Colter
Allyson Mandrusiak Dorothy Armstrong Mr. & Mrs. Gerhard Henkemans Florence Plishka Dr. Kelly Arbeau Mr Robert Condon
Mrs. Oline Markine James Ash Connie Highsmith Donald & Judith Plumb Nancy Arcus Gerhard & Karin Conradi
J. & P. Marko Tricia Ayles Leigh & Maureen Hill Don & Brenda Quark Len & Andree Aston Ralph & Isabelle Corbett
Joan Marshall Lucie & Armand Baril Alan & Audrey Hodgson Hil & Margaret Reine Craig Aumann Dorothy Corser
Donna Martyn Ian & Janice Barton John & Kathleen Holmes Janet Resta David Austen Joseph & Marilyn Cote-
Sue Marxheimer Carlos & Linda Basualdo Raymond & Barbara Howard Nancy Reynolds L. Ayala Dupuis
Arthur & Frances Maskell Stella & Walter Baydala Henry & Kimberley Howard Bryan & Margaret Robinson Khalid Aziz & Carolyn Aziz- Diane & Sandon Cox
Sandy McClellan & Kirby Vera Bayrak R. Barry & Marcia Hunt Dr. Barbara Romanowski Few David & Sandra Cross
O’Connor Drs. Barb & Jim Beck Lucille Hunter Ingrid & Steve Rose Ken & Wendy Bagnall Patrick & Luxie Crowe
Ross & Betty-Ann McCrady Barbara Belch Margaret Husband Roger & Janet Russell Joan & Monty Baker Ingrid Crother & James
John & Doris McIvor Glenis Belyea Colleen & Douglas Jahns Denise Ryan Richard & Barbara Baker Bolton
Charissa & Chris McKay Joan Bensted Elizabeth & George Jakeway Joan Sametz Roderick E. Banks Diana Crump
Kathryn & Robert Merrett Mandi Bexson Cathy & Fred Janke Sari Salmon Schiff Deborah Barnes Susan Cumming
Lisa Miller & Farrel Shadlyn Q.C. Terry & Kathleen Bocock Donna Kanewischer Miriam Schnellert Bill Barnes Gail Cupid
M.K. Moleski Robert Broda Bernard & Dorothy Keeler Allan & Marianne Scott Mr. & Mrs. Ian Barnes Robert & Lorena Daigle
Stan & Aileen Munro Keith Brown Kirk Keller Orest & Eileen Semchishen Roy & Annette Barrett E. Dale
Stephen & Lynne Murgatroyd Wade Brown Paul & Janice Kennett Pat Semeniuk Ray & Joan Barth Marilyn Dale
William & Joyce Mustard Dr. Robert H. Brown Timothy Kinniburgh Eric & Melanie Semlacher Annette & Maurice Bastide Marilyn Darwish
Rebecca Nagel & Andrew Mr. & Ms J. P. Brumlik Helen & Gordon Kirsch Jeanne Seneka John & Eleanor Baxandall Martin & Louise Davis
MacMillan Doug & Maria Buchanan Stan & Olga Kolomyjec Margaret & Glenn Sharples Laurie Bayda Lloyd & Norma Davis
Lewis & Lindsay Nakatsui Bob & Darlene Caldwell Marge Krowchynski Jim & Marcia Shaw Alice & Alan Bell Fund Mr. & Mrs. Arthur & Betty
Ingrid Neitsch Mary W. Campbell Sabrina Kwon Bryan Gutteridge & Ellie Michael & Luba Bell Deane
Nelson & Anne Nickle Ron & Mary Clark Dianne LaFleur Shuster Allen & Ruth Benbow Sheila Dechant
Frances T. Olson Joan S. Clark Gordon E. Langford Herb & Doris Skaret Alec & Marianne Benning Ken & Mary Demedash
Teresa O’Riordan & Ruth Laseur Douglas Clement Brian Lau Dr. Smallhorn Gabriella Bergsten David & Grace Denholm
Fred & Helen Otto Charles H Colpitts Gill & Anita Lavallee Michael & Nance Smith Shirley G. Bernard Marguerite Denman
Marlene & Ray Peets J. R. Connell Marcel & Louise Lavallee Jayne & William Smitten Keith & Joyce Berriman Jean & Ann Deschenes
Dr. & Mrs. Fordyce C Pier Walter & Judith Cook Mr. & Mrs. H. G. Lawrence Carla Sobolewski Miriam M Bertsch-Mann Eva Dezse
Paul & Doreen Preville Dr. David R. Cornish Marilyn Lemay John & Brenda Sowiak Fran Bittman Gordon & Verle Dickau
Robert & Anita Pritchard Harold & Glenys Cuts E & M Lindberg Curtis Strobeck Mr. Rene Blais Dr. Tammarie Heit
Deborah Reinhart Owen & Linda De Bathe Mary Lister Ron & Marion Stroud Anne Blatz Betty-Lou Docherty
Helen Resta Bob & Cathy de Frece David Lloyd Peter & Linda Taschuk Ray & Marg Bobowski Nicole & Danny Dodds
Cindy Richardson Ingrid de Kock Nancy Lord Merle & Neil Taylor Harvey & Elly Bodner Nancy Donnelly
G. Ridge John & Ann Dea Bob Losie Charles Thompson Alex Boehm Bill & Sharon Donnelly
Bruce & Wendy Rieck Frank DeAngelis Janet & Bill Lywood Kathleen & Michael Tomyn Karen Bohaychuk Burke & Karon Dorcas
Allan & Karen Robertson Lisa Denesiuk Ian MacDonald Sandro & Cathy Torrieri Mike & Annette Boorman Marc & Allison Downey-
Dr. Martine Roy Colleen Dibden Evangeline MacDonald Jamison & Liam McCarthy Y. Bortnick Damato
Soly Sawada Nora J. Dickenson Dr. & Mrs. G. F. MacDonald Ron & Gail Unrau Cheryl & Gary Bosgoed Sharon Downs
Wayne & Tabea Schiewe Franklin & Herta Doherty Doug MacLean Wain & Zoria Verhegge Sarah Bouthillier Gary Duits
Dr. Eric & Elexis Schloss Greg & Gail Drechsler JoAnne Mahood Gerald & Elaine Verville David Boyle Kim Duke
Arnold & Lorraine Schmitz Richard & Marjie Drewry Lynn & Arnold Maki Mr. & Mrs. A. C. Visman E. Ross Bradley Ursula Duke
Malcolm Scott George Elaschuk The Malkin Family Allan & Bette Wachowich Barbara Bratland Alice Dumaine
Maureen Sharpe Jake & Marilyn Ens Stephen & Lynn Mandel Bruce & Lori Walker Thomas & Ailsa Bray Don & Mona Duncan
Kayla Shoctor Mr. & Mrs. A. Epler Rosemary Marks Doug Warren Barry & Angela Breadner Bruce & Benita Duncan
Kay & Walter Slemko Eric & Melinda Falkenberg Bev Martin Jack & Doreen Warwick- Bev & John Brennan Judy & Dick Dunlop
Dr. Peter J. Smith Poetz Sharon Matthias Foster Scott & Alma Bricker Francis & Muriel Dunnigan
Dale & Jane Somerville Jim & Joan Fargey Mrs. Patricia Mattson Ron & Sheila Weatherill David & Betty Jean Buchanan T. & S. Dyck
Mrs. Mary Anne Stanway Betty & Bill Faulder Norm & Kathy McClellan Kevin Wells The Burke Family Gary Dyck
Lexon Projects Inc. Shirley Forbes C. Bruce McGavin Kim Wheaton Aubrey & Evelyne Burrowes Carmen Dykes
Carol Suddards L. M. Ford Al & Pat McGeachy Donald White Adolf & Kathleen Buse Tim Eckert
Rein & Laurel Tammets Bruce & Margaret Foy Morag McLean Nancy & Walder White Hugh & Sheila Campbell Edmonton Tea & Coffee
Robert Teskey Ann Fraser Keith & Susan McNaughton Sheila White Anne & Peter Campbell Company
David & Carol Turner Kathy & William Friend Mrs. Jean McNeil Bruce & Nora Wisselink Pat Campbell David Edwards
CTC Golf Course Development Vincent & Ruth Friesen David McNeil Ron & Donna Worthington Mrs. K. K. Campbell Marion Elder
Stanley & Connie Varnhagen Don & Barbara Gardner Medhurst Family Mr. & Ms Forrest Wright Oksana & Michael Campese Jim Ellis
Joyce & Dennis Vass Mr. & Mrs. D. Gaylard David Melney Don Wright Mr. & Mrs. James Carlson Ruthanna Elson
Dr. R. C. & Patricia von Borstel Don & Diane Gibson Cody Meyer Luella & Mike Yakymyshyn Marilyn & John Carr Joe & Bonnie English
Greg Walker & Debi Harris Dr. Rod & Mrs. Giebelhaus Pamela Miles Ronald & Shirley Young Evelyn Carson Dr. Norman & Mrs. Enns
Dave’s Field Service Ltd. Shirley Gifford Marla Miller Mary Young Peter & Barbara Carstensen Trish & Marti Enokson
Arlene & Leverne Wasylynchuk Richard & Sandra Goatcher Shauna Miller & James Andrew & Marie-Therese Patricia Farley
Dr. Douglas & Jane Wilson Dennis Goddard Gillespie “PRINCIPAL ($100 TO $249)” Cave Marilyn Fedun
Calvin Wong & Eva Dedoming Gerda Goetz Rachel Milner Anonymous (97) Gerlinde Cegielny Mr. & Mrs. Robert Feeney
Geoffrey & Veronica Worsley Walter Goetz Laverne & Arron Nathan Dr. & Mrs. S.L. Aaron W. Cenek Werner Fenske
Slava Yopyk L. Neil Gower Q.C. Ruth A. New Juan & Eujnia Acevedo C. Chappell Lorne & Shirley Fincham
Ernest & Lily York Dr. Helen Sachs & Chris David Nixon & Lois Darcie Acton Patricia Chase Esther Fluevog
Graham LeVesconte Dr. Shirley Adams Lily Chen Jim Foord
“VIRTUOSO ($250 TO $499)” Betty Gravett Aaron & Jean Oshry Gail Adamson Monica Chesney Christine Ford
Anonymous (11) Lilian & Leslie Green Donna & Daniel Orobko Dr. Bernie & Miriam Adler John & Clara Chilton Shirley Forrest
Ross Abdurahman Marion Green Dr. & Mrs. Edward Papp Douglas & Todzia Aird Walter & Barbara Chornowol Joan Fouts-Mitchell

Dorothy French William Harrison Roger & Catherine Langevin Donna Morrow Charles Schweger Mr Terry Veeman
Graeme Fricke Peter & Deborah Harrop Joan Langman Allan & Margaret Muir Ron & Dorothy Scott Trudy Velichka
Yvonne Gagnon Marilyn Hassard Harry & Judy Langner Pamela S. Muirhead Edna Scott Evan Verchomin
Elva Gallagher Paul Hastings Mike Lau Erin Mulcair Jason Scott Coby Verschuren
Phyllis & Vincent Gallant Lorne & Faye Hatch Bin Lau Ronald & Betty Mullen Robert & Dorothy Stoutjesdyk Dr. D. Vick
Calvin Gardner Bill & Sandy Haun Irene Lau Mr. & Mrs. Don Murchie Andrew Searle Glenn & Lynn Vickers
Mr & Mrs Ronald J. Gardner Christine Hayashi Zonia Lazarowich Marney Mustard Dr. Perry & Sandra Segal Liv Vors
Catherine Garvey Mr. & Mrs. Hayman Robert Le Quelenec Mary Myers Emila Seifried Olive Wadson
Gail Gates Joy Hayward Shirley Leaker Elizabeth Myles Joseph & Denise Selann L. E. Wagner
Peter Gerbeth & Anna Gablenz George Hennig Mary Pik-Chun Lee Dale & Laurie Nagel Jacalyn Sernecky Eileen & Phillip Walker
Carmella & Gordon Gerlach Harry & Marlene Henshaw Sigmund Lee A. Nagyl Yakov & Larisa Shapiro William Wandio
Reg & Magali Gibbins Elvira Hil Dr Maurice Legris Darlene Mehring Dr. R. W. Sherbaniuk Cindy Wandio
Neil & Twyla Gibson Mrs. M. Hiller Dr. & Mrs. Ray E. Leppard Lorna Nesdole Gary Silsbe Christopher Ward
Berniece Gildner Patsy Ho Bill & June Lerner Al Neufeld Sidney Simpson & Lou Abigail & Glen Warren
Randy Girard John & Donna Hogg Dyann Lewis Robin & Melonia Nicol Lesperance Lyn Watamaniuk
Kevin & Alice Gleeson Kathy Hogman James Lewis Jana Nigrin John & Cathy Sinclair Doug Watt
Drs. Judy & Hakan Gnarpe David Holbrow Susan Lieberman David Norman Alayne Sinclair R&y Webber
Ms Gaie Goin Simon Hollinghurst Leslie Philip Lin Elizabeth Nunez Gerry & Barbara Sinn Brenda Wegmann
J. Guy & Susan Gokiert Shannon Hollman-Merz Ross Lindskoog Ellen Nygaard Terry & Yvonne Slemko Beth Weintrop
Derek & Marnie Gomez Agnes Hoveland Elizabeth Lint John Oberg E. J. Sloane Dr. Sam & Eva Weisz
Darrell & Barbara Gotaas Beth Howson Sylvia Lo David Oberholtzer Jason Smith Dr. Muriel Whitaker
Pam Gowing-Ellenberger Martha Howson M C Lock Norman & Margaret Olson Edward & Eluned Smith Edward Wiebe
Marilyn Graham Miroslav Hruska Doug & Joan Longley Emily & Daniel Ong Ed & Paula Snyder Mary Wilke
Charles & Ann Grant Joan Hube Andreas Loutas Mr. & Mrs. James Orieux Elaine Solez Dale Wilkie
Ian Graves Peter & Erika Huellstrung Susan Lynch Joan O’Shea The Sonnenberg Family Billie Wilkins
Sheila Greenberg Dr. Sheila Hughes Ward Mabbutt Cathy Ann Pachnowski Dr. Brian & Marnie Sproule Jean Wilson
Margaret Greenhill Peggy Humbert John A. & Marilyn C. Bill & Linda Paddon Jmaes & Linda Spurr Wayne & Beverly Winkelman
Jim & Dianna Greer Lynne Hunt MacDonald Tim Paetkau Robert & Betty Squair Susan Wirtanen
Willa Grierson George & Barbara Iwaniuk Brenda MacDonald John Pater & Michelle Hugh & Anne-Marie Stacey Barbara Wood
Myrna Grimm Ed & Kathy Jackson Campbell & Amy Mackenzie Vandermolen Mr. Robert Stainthorp Dennis & Jean Woodrow
Bob & Judy Grose Stuart & Kathy Jackson Eva M. Macklam Mary Paul David & Yvette Starko Morley & Pat Workun
E. Guilfoyle Lorna Jamison Jack & Cora MacMillan Paulson Family Phyllis Sterling Lynn Yakoweshen
Sheila Gynane Mr. J. W. & Mrs. Jansen Ed & Lu MacMillan Chris & Suzy Peacocke Margaret Stevenson John & Yvonne Yamamoto
M. E. Haggerty Dr. Andrew J. Jarema Marc Macolor John E. Pedersen Michelle Stevenson Jack & Irma Young
Lea Halinen Karl Jensen William MacRitchie Leslie Penny David & Ruth Stewart George & Gloria Zaharia
Carlota Hammond Garry Karst & Maureen Sandy & Cecile Mactaggart Milton Perla Shirley A. Stewart Barry Zalmanowitz & June
Carol & Neil Handelsman Jensen-Karst Ari Mansell Marion Perrin Karen Stix Ross
Anita Hanrahan Gilbert & Silvia Jespersen Antoinette Marchand Don & Margaret Peterson Frank Stockall
Elaine & Bohdan Harasymiw Elizabeth Johnson Estelle I. Marshall Lillian Pheasey Mrs. Dianne Storey IN MEMORIAM
Anne Harder Don H. Johnson Maurine Maslen Christopher Piggott Elizabeth Storochuk Barney Baker
Lois Harder & Curtis Clarke Mrs. T. N. Johnston Katherine Matheson Gerry Piro A. Strack Alan Belcher
Beatrice Harke Dr. Larry Judge Karen Mazurek Dennis & Virginia Pohranychny Lucille Strobl Dr. Grace Chan
Ruth Harle Vincent & Janet Kath Gwen Mazurek Stephanie & Wade Poitras Colleen Sullivan Dr. David Cook
Norma Harper John & Sue Keating Carol & Mike McArthur Dr. Peter & Barbara Prinsen Julius & Jean Sult James Daniels
Larry Harris Margaret Keene Cherrill & Patrick McCall Marlene & Robert Pruss Merna Summers Edward Dobko
David & Wendy Harrison Mike & Sheilagh Kelly Mr. & Mrs. R.E. McCallum Cindy Pudrycki Dr. & Mrs. Guy Swinnerton Ms Doderai
William Harrison Joyce Kembry Alma McConnell Jeanne & Eugene Ratsoy Jerry & Violet Sykes Ken Gillett
Peter & Deborah Harrop Marina Kennedy Ronald N. McElhaney Erika Ratzlaff Chris & Alina Szaszkiewicz Jack Harstone
Marilyn Hassard Joanne Kenny Ken & Phyllis McFadden Joan Reiffenstein Elizabeth Szynkowski Marguerite Elizabeth Higham
Pam Gowing-Ellenberger Vera Kichton Jan McFarlane Ann Marie E Reinson John & Marvel Taekema Doreen Hill
Marilyn Graham Irene King Mrs Patricia McGoey Alla Rekhson David & Donna Tam James C. Hunter
Charles & Ann Grant Harry Kirkand A. McIntosh Jeff & Nicole Reynolds R & S. Teply Vern Hunter
Ian Graves Borden & Vivien Kisilevich Ruth McKinley Stacey Richelhoff Dr. & Mrs. Timothy Terry Ilse Koerner
Sheila Greenberg Barbara & Elmer Kittlitz Gordon & Kathleen McLeod Mrs. Natalie Rickenberg Jeff Tetz Almeda Lysne
Margaret Greenhill Maxine Klak Betty McLuhan Sheila Ringrose Irmgard Teubert Dr. Sherburne McCurdy
Jim & Dianna Greer Alice Klassen Les & Caroline McManus Joyce Ritter Mr. & Mrs. H. Thiessen Flo McGavin
Willa Grierson Ella Kolm Jan McMillan Debra & Don Robichaud Adele Thurston Blair McPherson
Myrna Grimm Christine Kong Tim McNamara & Michele Jeff Robinson Michael & Heime Thwaites Donald A. Middleton
Bob & Judy Grose Joe Koopmans Perret G. W. Rocholl Nancy Tong Roderick & Blanche Moses x”1
E. Guilfoyle Joe Kostler Averie & Carman McNary Samuel R. Rogers Todd Tougas Matthew William Miles
Sheila Gynane Sylvia Kother Isabel McRae Maxwell Rogers Ernie & Ellinor Townend Charles Pei
M. E. Haggerty Ruth & Harvey Krahn Mr. & Mrs. Bert Meeker Alex & Mary Lou Rose Andrew & Mary Ann Alberta Rose Pelland
Lea Halinen Irvin Krezanoski Kenneth & Donna Meen June Ross Trachimowich Helen Petersen Bentley
Carlota Hammond Mickey & Sylvia Krikun Ms Marilyn Melnyk Dr. & Mrs. Richard E. Rossall Larry Trekofski Catherine C. Rogers
Carol & Neil Handelsman Gerhard & Wilma Krisch Joe Meyers James Sabo Louis Trempe Daphne Rogers
Anita Hanrahan Brian & Seaneen Kropf Brigida Meza Ms Nicole Salamon Lloyd W. Trevoy Dr. Anna Rudovics
Elaine & Bohdan Harasymiw Jerome Kuefler J. Garnett Millard Judith L. Sangster William & Ursula Tuchak Dr. David Schiff
Anne Harder Peter & Ashley Kwan Jack Miller & Miriam Sheckter Ms Susan Savage Sarah Tungland Vern Schwab
Lois Harder & Curtis Clarke C. Labrentz Brian & Valerie Miller Frances Savage Lorene Turner V W M Smith
Beatrice Harke Kay Lachman Cecily Mills B & T Sawyer Mrs. J. S. Tyler Lydia Takats
Ruth Harle Maggie Laing Catherine Milson Frank & Gertrude Schoblocher Felix & Violet Urban Alta Wood
Norma Harper Carol & Bob Lamont David J Mah Ming Pamela Scholotiuk Henriette van Hees Bernard Wood
Larry Harris Madeleine Landry Gordon & Helen Mongraw Magda Schouten Dennis & Jean Vance Metro “Mac” Zelisko
David & Wendy Harrison Dennis & Roberta Lane Rod & June Morgan Dr. Werner B. Schulze Lloyd & Sheila Vasicek
October 23, 26,
28, 2010 • 7:30pm
The Northern Alberta
Jubilee Auditorium
Annual Corporate Campaign

Guest Artist Sponsors

Chopin 2010 Celebration
Darcy and Barbara Koshman
Maria David-Evans

Special Event Sponsors

Symphony Under the Sky
Bullfrog Power
Realtors Association of
General Recycling Industries
Shanked Computer Recycling
St. John Ambulance
Trailblazer RV
Westcan Wireless
Drams & Draughts
Henry Singer
Primal Tribe
Other Supporters
Vivid Print
Accolades ($2,500+)
Bucyrus Canada Ltd.
City Lumber & Millwork
The Driving Force
PU C C I NI Fath Group/O’Hanlon Paving

La Bohème
Ignition Media
Landmark Group of Builders
Melcor Developments Ltd.
TD Canada Trust

Bravo ($1,500 to $2,499)
Audio Ark
Canuck Industrial Sales (1982)
000SIG.EdmOpera_1-3S_nBL.indd 1 8/25/10 4:46:03 PM Ltd.
Kor-Alta Construction Ltd.
Pentagon Structures Ltd.
Speedy Bumpers Inc.
Wawanesa Mutual Insurance

Ovation ($500 to $1,499)

Al-Terra Engineering
Bistro Praha
Costar Computer Systems
Christmas in November CTC Golf Course Development
Dave’s Field Service Ltd.
at The Fairmont Jasper Park Lodge Electric Motor Service
Lexon Projects Inc.
Sisters of St. Joseph of the
Diocese of London
Sinclair Supply Ltd.

Mid Week Three-Night Package Applause ($100 to $499)

Alberco Construction
November 8 - 11, 2010 from $849 per person Alberta Registered Music
Package includes: Teachers Association -
Weekend Two-Night Package - Accommodation Edmonton Branch
November 5 - 7 and November 12 - 14, 2010 - All meals Alberta Ukrainian
Commemorative Society
- Presentations
from $ 749 per person - Interactive seminars
Armin A. Preiksaitis and
- Entertainment Bavaria BMW
Register Now! 1800 465 7547 ...and much more! Blackline Financial Inc.
Duncan and Craig LLP
Elevate Consulting
Proudly sponsored by Investors Group Matching Gift
Myhre’s Music
Park Hearing Centres Inc.
Seniuk & Company Chartered
Trincan Steel Band Music Society
000SIG.JPL_1-3S_nBL.indd 1 8/25/10 3:35:58 PM
SUPPORTCommunity Support of the ESO
The Edmonton Symphony Orchestra is a registered charitable organization, incorporated under the Societies Act of the Province of Alberta on November 22, 1952. As Canada’s
fourth largest professional orchestra, the ESO is financed by ticket sales, grants from government agencies, and by contributions from corporations, foundations, and individuals.

The ESO gratefully acknowledges the continued financial support provided by

the following government agencies and corporate sponsors:

Major Sponsors

Supporter Title Sponsor Title Sponsor Title Sponsor

Musicians in the Making CIBC Adopt-a-Player Program Landmark Classic Masters ESO & ATCO Gas K-3 Education Concert Series

2 for 1 Subscription Title Sponsor Series Sponsor through the

Campaign Sponsor Esso Symphony for Kids Friday Masters / Late Night with Bill Eddins Winspear Fund

Multi-Performance Sponsor Multi-Performance Sponsor Title Sponsor Gala Sponsor

Robbins Pops / Robbins Lighter Classics

Official Suppliers

Preferred Print Sponsor Official Equipment Supplier Publications Sponsor Official Hotel

Concert Sponsors

Media Sponsors

Series Media Sponsor Season Media Sponsor Media Sponsor Media Sponsor
Robbins Lighter Classics Master series / Sunday Showcase / ESO Esso Symphony for Kids / Symphony Under the SKy/
Presents / Late Night with Bill Eddins Handel’s Messiah / A Family Christmas Concert

Series Media Sponsor Media Sponsor

Midweek Classics Sunday Showcase


Sep 3-6
2010/2011 SEASON
Symphony Under
the Sky
Hawrelak Park

Sep 15 at 7:30 pm
Midweek Classics
Jens Lindemann plays
Bach and Vivaldi

Sep 17 & 18 at 8 pm
Robbins Pops
Jens Lindemann at the

Sep 25 at 8 pm
Landmark Classic
Mozart’s “Turkish”

Sep 30 at 8 pm
Robbins Lighter
Flamenco and Other
Spanish Delights
Nov 1 at 7:30 pm
Symphony Specials
Chantal Kreviazuk

Nov 6 at 2 pm
ESSO Symphony for
Emily Saves the

Nov 9 at 7:30 pm
Symphony Specials
An Evening with Procol
Harum & the Edmonton

Nov 12 at 7:30 pm
Friday Masters
Mendelssohn’s Violin

Nov 13 at 8 pm
Landmark Classic
Mendelssohn’s Violin

Nov 18 at 8 pm
Dec 16 at 8 pm
Robbins Lighter
Glad Tidings – A Lightly
Classical Christmas

Dec 17 & 18 at 8 pm
Robbins Pops
Christmas Pops

Dec 19 at 1:30 &

3:30 pm
Symphony Specials
A Family Christmas

Jan 8 at 8 pm
Landmark Classic
Saint-Saëns’ Second
Piano Concerto

Jan 13 at 8 pm
Robbins Lighter
Tales from Ukraine


Feb 22 at 7:30 pm
ESO Presents
Rafał Blechacz plays

Feb 25 at 7:30 pm
Friday Masters
Beethoven’s “Eroica”

Feb 26 at 8 pm
Landmark Classic
Beethoven’s “Eroica”

Mar 3 at 8 pm
Robbins Lighter
Charlie Chaplin’s
The Gold Rush

Mar 5 at 2 pm
ESSO Symphony
for Kids
Charlie Chaplin’s
The Gold Rush
May 7 at 2 pm
ESSO Symphony
for Kids
Al Simmons’ Symphony

May 9 & 10 at 7:30 pm

ESO Specials
The Peking Acrobats

May 14 at 8 pm
Landmark Classic
Tchaikovsky’s “Polish”

May 19 at 8 pm
Robbins Lighter
Tom Allen’s Classical
Goodtime Variety Show

May 25 at 7:30 pm
Midweek Classics
Angela Cheng plays

May 29 at 2 pm
Jan 15 at 2 pm
OCTOBER Robbins Lighter ESSO Symphony for Mar 15 at 7:30 pm Sunday Showcase
Classics Kids Symphony Specials Beethoven’s Third
Oct 3 at 2 pm ESO Showcase Roald Dahl’s Little Red Don’t Eat the Yellow Piano Concerto
Sunday Showcase Riding Hood Snow – The ESO
The Four Seasons Nov 21 at 2 pm plays Zappa
Sunday Showcase Jan 21 at 9:30 pm JUNE
Oct 5 at 7:30 pm Saint-Saëns’ First Cello Late Night with Bill Mar 18 & 19 at 8 pm
Fundraising Gala with Concerto Eddins Robbins Pops Jun 1 at 7:30 pm
Cirque de la Symphonie Late Night Percussion Ben Vereen ESO Presents
Nov 24 at 7:30 pm Pieter Wispelwey, cello
Oct 15 at 7:30 pm Midweek Classics Jan 22 at 8 pm Mar 25 at 7:30 pm
Friday Masters Haydn’s “Surprise” Landmark Classic Friday Masters Jun 3 at 9:30 pm
Fialkowska plays Symphony Masters Duruflé’s Requiem Late Night with Bill
Chopin Concerto for Percussion Eddins
Nov 27 at 8 pm Mar 26 at 8 pm Late Night 1900s
Oct 16 at 8 pm Landmark Classic Jan 26 at 7:30 pm Landmark Classic
Landmark Classic Masters Midweek Classics Masters Jun 4 at 8 pm
Masters Rolston and Fewer play Violin & Viola Duruflé’s Requiem Landmark Classic
Fialkowska plays Brahms Masters
Chopin Jan 28 at 7 pm Prokofiev’s Fifth

Oct 20 at 7:30 pm
Nov 30 at 7:30 pm
Symphony Specials
Flavours of BC’s APRIL Symphony
Naramata Bench
Drams & Draughts Michael Kaeshammer’s Apr 15 & 16 at 8 pm Jun 10 & 11 at 8 pm
A Festival of Fine The Days of Christmas Robbins Pops Robbins Pops
Whisky and Beer FEBRUARY Pops Goes Vegas! Hollywood’s Red Carpet

Oct 29 & 30 at 8 pm DECEMBER Feb 11 & 12 at 8 pm Apr 29 at 7:30 pm Jun 17 at 7:30 pm

Robbins Pops Robbins Pops Friday Masters Friday Masters
Mysterioso: Music, Dec 3 & 4 at 7:30 pm Love Will Keep Us Rachmaninoff’s Second Ravel’s Daphnis et Chloé
Magic, Mayhem, and Handel’s Messiah Together Piano Concerto
Mirth Jun 18 at 8 pm
Dec 6 & 7 at 7:30 pm Feb 19 at 2 pm Apr 30 at 8 pm Landmark Classic
Symphony Specials & 7:30 pm Landmark Classic Masters
The Canadian Tenors’ Feb 20 at 2 pm Masters Ravel’s Daphnis et Chloé
Perfect Gift Symphony Specials Rachmaninoff’s Second
Bugs Bunny at the Piano Concerto
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save the date!
the ukrainian art song project - alberta committee is pleased to present

Sunday November 14, 2010 3:00 PM

Yakiv Stepovyi

World Premiere and CD Launch

Hosted by Brian Deedrick
Artistic Director, Edmonton Opera
Monica Whicher – Soprano
Krisztina Szabó – Mezzo-soprano
Elizabeth Turnbull – Contralto
Pavlo Hunka – Bass-baritone
Dr. Joachim Segger – Piano
Dr. Melanie Turgeon – Producer

Please join us in celebrating the launch of a 2-CD set of

Stepovyi’s art songs, along with the posting of the musical scores
for free distribution on the worldwide web.

Winspear Centre
4 Sir Winston Churchill Square Edmonton, AB

Tickets $30–$50 ($20 students/seniors, Orchestra only)

Available from Winspear Box Office 780-428-1414 or 1-800-563-5081 or

For more information, please visit the Ukrainian Art Song

Project website or write to
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