intune 140927

Angela Cheng

inTuneInTune_TheFifth.V1.qxp_InTune 2014-09-24 11:01 AM

InTune_TheFifth.V1.qxp_InTune 2014-09-24 11:01 AM

Finding Our Prairie VoiceThe idea behind “Finding Our Prairie Voice”started out as a note on paper and thensnowballed into what has become the concept on which we are basing the futureof the SSO. It is clear that exploring what itmeans to be from the prairies resonatedwith audiences—the results have beenspectacular.

Subscriptions and donations are up overprevious years. This at a time when orchestras all over the globe are questioningwhether or not music lovers will still buysubscriptions. This is great news for theprairies!

With all the excitement around our break-even success of last season, it’s a good timeto be truly proud of the musicians beforeyou this season. From celebrating world-renowned performers, to debuting exceptional young talent and growingyour orchestra, this is a thrilling year.

It is time to be very proud of your orchestra—to be proud of this province’s love of orchestral music. Share your love of theseconcerts with friends. Share our good newsstories. Volunteer. Invest in this incredibleartistic endeavour.

But most of all, enjoy the show. We are soproud to bring you these magical moments;the goal is to take your breath away. And ifwe do, please tell all your friends. It’s timethey got a taste for live music too.

See you at the symphony,

Mark TurnerExecutive Director


Ensuring the show goes on.

www.sgi.sk.ca

SGI — proud to support the arts and cultural events.

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HONOURARY PATRONSHonourable Brad Wall, Premier of Saskatchewan, and Mrs. Tami Wall

His Worship, Mayor Donald J. Atchison and Mrs. Mardelle Atchison

Dr. Gordon Barnhart, Interim President, Vice-Chancellor, University of Saskatchewan

BOARD OF DIRECTORS

SSO MANAGEMENT AND STAFF

SASKATOON SYMPHONY CENTRE408 20th Street WestSaskatoon, SK S7M 0X4

Telephone: 306.665.6414Fax: [email protected]

www.saskatoonsymphony.org

Twitter: @SSO_stoon

Facebook: Saskatoon Symphony Orchestra

GROUP SALESTelephone: 306.665.6414 [email protected]

TCU PLACE BOX OFFICEwww.tcutickets.ca

Phone: 306.975.7799

Victor Sawa, Music Director

Mark Turner, Executive Director

Theresa Torgunrud, Office Manager

Sarah Stack, Director of Operations

Terry Heckman, Director of Personnel

Lillian Jen-Payzant, Orchestra Library

Electric Umbrella, [email protected]

Angela Kempf, Director of Development

Mike Covey, Director of Sponsorship

Saskatoon Symphony Board and Administration

Sarah Alford

Judy Balon

Andrew Beaton

Rob Dobrohoczki

Lynn Ewing

Annalisa Govenlock

Shawn Heinz

Sharon Hildebrand

Shelly Loeffler

Lisette Mascarenhas

Neil Reddekopp

Bryn Richards

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CONNECT WITH THE SSO


VIOLIN 1Michael SwanConcertmaster

William BoanAssistant Concertmaster

Mary Lou Day

Lillian Jen-Payzant

Joan Savage

Marcel van den Hurk

Simon Fanner

Maxim Pletnev

VIOLIN 2Oxana Ossiptchouk Principal

Karen Bindle

Rosanne Daku

Sophie McBean

Arthur Boan

Evan Friesen

VIOLAJames Legge Principal

Supported by the Viola Section of the Saskatoon Philharmonic Orchestra

Saache Heinrich

Jeremy Janzen On Leave

Heather Wilson

Miles Buchwaldt

Stacey Mennie

CELLOLahni Russell Principal

Supported by Sandra Beardsall, Bill Richards, Esther Cherland,David Jobling

John Payzant

Bernadette Wilson

Carman Rabuka

Christina Bakanec

Scott McKnight

BASSRichard Carnegie Principal

Supported by Kay and Mark Turnerin memory of Wayne Turner

David Humphrey

David Grosse

Stephen Kreuger

Zachary Carter

FLUTERandi Nelson Principal

Supported by Lilian and Doug Thorpe

Brenda Moats (flute, piccolo)

OBOEErin Brophey Principal

Kevin Junk (oboe, english horn)

CLARINETMargaret Wilson Principal

Melissa Goodchild

BASSOONStephanie Unverricht Principal

Supported by Mary Marino, inmemory of Lucia Marino


Marie Sellar (bassoon, contrabassoon)

HORNCarol-Marie Cottin Principal

Arlene Shiplett

Dubrena Bradley

Anna Millan

TRUMPETTerry Heckman Principal

Daniel Funk

Dean McNeill On Leave

James LeBlanc

TROMBONEDon Schmidt Principal

Brian Unverricht

Dawn McLean Belyk

TUBABrent Longstaff Principal

Supported by Electric Umbrella

TIMPANIDarrell Bueckert Principal

PERCUSSIONMathieu Pouliot Principal - On Leave

Bryan Allen Principal

Supported by the Ewing Family inmemory of Earl and Mary Ewing

Kevin Grady

HARPCécile Denis Principal

BASSOON EMERITUSPeter Gravlin

Personnel varies by concert. We gratefully acknowledge the support of additional musicians who perform with the orchestra when larger works are presented.

Violin: Evan Barber, Bryn Rees, Kristan Couture, Luke Hnenny –Viola: Emily Woytiuk, Michael Hrycay Flute: Jennifer McAllister –Bassoon: Peter Gravlin –Horn: Roxanne Inch – Trumpet: Frank Harrington

Piano/Keyboard:Gillian Lyons –Percussions:Brad Litster

Our Named Principal Chair Program offers a unique opportunity for music lovers and donors to be recognized for their gifts and allowsyou to foster deeper and personally meaningful connections with the orchestra. A Named Principal Chair presents the opportunity for anindividual, group, company, or foundation to name, honour, or remember someone special by attaching their name to one of the key positions in the orchestra.

Being recognized as a donor to the SSO through the Named Principal Chair Program is about more than a financial commitment to yourorchestra. This program will provide you with an important link to our musicians and artistic team. To name your chair, please contactAngela Kempf at 306.665.6414 or email [email protected],


306.665.0213

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A modern renaissance man…Dentist by day, pianist by night…but if youfollow the adventures of this periodontistyou’ll discover there’s a lot more to ThomasYu than his exceptional tone at the piano.

Keeping up with the travels of Yu is exciting– hiking mountains, speeding along theautobahn in a tiny sports car, and meetingthe legendary musician, Alfred Brendel, allseem to be par for the course with thisSaskatoon-born pianist.

The SSO is lucky to have Yu return to thestage this November. Audiences will get avery special treat. This prairie voice will beperforming Mozart’s beloved Piano Concerto 21 with its second movementbeing one of the most famous melodiesever written.

The concert pairs the Mozart concertoalongside Haydn’s classic Farewell Symphony. Wolfgang Amadeus Mozart andJosef Haydn were colleagues with a special

bond. The friendship was one of great inspiration and mentorship for both composers – frequently dedicating work toone another, often finding a muse from theother.

It is no coincidence that the SSO choseAdam Johnson to conduct this concert –he and Yu have been friends for years. Themutual admiration of these two is palpable;and yet for all their years as friends, they’venever performed on stage together….untilnow!

The concerto will showcase Yu at his finest.The work requires someone who is morethan a mere pianist – it begs for a musicianwho can tackle its technical sensitivitywhile seeking out the colour and vibrancythat Mozart poured in to the work. In otherwords, it wants to be played by someonewith great depth.

Hear these great friends make great musictogether with the SSO in November.

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BEETHOVEN’S 5TH SYMPHONYMaestro Victor Sawa conductor

Angela Cheng piano

Overture to Fidelio, Op. 72

7 minutes

Piano Concerto No. 5, Op. 73, “Emperor”

38 minutes

I. Allegro

II. Adagio un poco mosso

III. Rondo. Allegro

Intermission

Symphony No. 5, Op.67

35 minutes

I. Allegro con brio

II. Andante con moto

III. Scherzo: Allegro

IV. Allegro

InTune_TheFifth.V1.qxp_InTune 2014-09-24 11:01 AM Page 23

Maestro Victor Sawa conductorVictor Sawa is a triple threat of talent,experience and personal dynamism. AMontreal native, Sawa holds a Bachelor ofMusic with Distinction from McGill Universityand an Honours Masters of MusicPerformance from the New EnglandConservatory of Music. He is also a graduateof the Pierre Monteux School for AdvancedConductors.

He was previously Resident Conductor withthe Calgary Philharmonic Orchestra (1993-1997), Music Director with the North BaySymphony, the Guelph Youth Orchestra andthe Kitchener-Waterloo Orchestra. He alsoserved as Principal Clarinet with the

Kitchener-Waterloo Symphony. He has guest conducted for orchestras across the country.

Victor Sawa has been the recipient of many awards and honours, including three CanadaCouncil awards for Conducting, a Grand Prix du Disque—Best Chamber Music Recording(Canadian Chamber Ensemble), a Grammy award (with the New England RagtimeEnsemble), and the Tanglewood Festival award for Outstanding Musician.

In 2011, Victor Sawa was appointed Honorary Consul for Japan in Saskatchewan.

At the end of the 2014-15 season, Maestro Victor Sawa will become the first ConductorEmeritus of the Saskatoon Symphony Orchestra. Maestro Sawa has been instrumental in aperiod of stabilization of the orchestra; audiences have loved his sense of humour andinsights in to the music they hear. As Conductor Emeritus, Maestro Sawa will remain a friendand presence on stage with the SSO.


Angela Cheng pianoConsistently praised for her brillianttechnique, tonal beauty and superbmusicianship, Canadian pianist AngelaCheng is one of her country’s nationaltreasures. In addition to regular guestappearances with virtually every orchestra inCanada, she has also performed with theAlabama Symphony, Buffalo Philharmonic,Colorado Symphony, Houston Symphony,Indianapolis Symphony, JacksonvilleSymphony, Louisiana Philharmonic, SaintLouis Symphony, San Diego Symphony,Syracuse Symphony, Utah Symphony andthe Israel Philharmonic. In the spring of2012, Ms. Cheng made her highly acclaimed

Carnegie Hall debut with the Edmonton Symphony. She also made her debut at theprestigious Salzburg Festival in a recital with Pinchas Zukerman during the summer of 2012.Highlights this coming season include the National Arts Centre Orchestra in Ottawa, SinfoniaToronto, Vancouver Symphony and the Winnipeg Symphony.

In 2009, at the invitation of Pinchas Zukerman, Ms. Cheng toured both Europe and China asa member of the Zukerman Chamber Players. She joined them again in the spring of 2010for a U.S. tour, which included concerts at Kennedy Center in Washington, D.C. and the 92ndStreet Y in New York. Subsequent seasons have seen multiple tours of Europe, Asia andSouth America, including performances at the Musikverein in Vienna, the Concertgebouw inAmsterdam, and at the Schleswig-Holstein, Salzburg and Ravinia festivals.

An avid recitalist, Angela Cheng appears regularly on recital series throughout the UnitedStates and Canada and has collaborated with numerous chamber ensembles including theTakács, Colorado and Vogler quartets. Her festival appearances include Chautauqua, Banff,Colorado, Houston, Vancouver, the Festival International de Lanaudière in Quebec and theCartegena International Music Festival in Colombia.

Ms. Cheng’s debut recording of two Mozart concerti with Mario Bernardi and the CBCVancouver Orchestra received glowing reviews. Other CDs include Clara Schumann’sConcerto in A Minor with JoAnn Falletta and the Women’s Philharmonic for KochInternational; for CBC Records, four Spanish concerti with Hans Graf and the CalgaryPhilharmonic, both Shostakovich concerti with Mario Bernardi and the CBC Radio Orchestra,and a solo disc of selected works of Clara and Robert Schumann; and, most recently, an all-Chopin recital CD released by Universal Music Canada.

Angela Cheng has been Gold Medalist of the Arthur Rubinstein International Piano MastersCompetition, as well as the first Canadian to win the prestigious Montreal InternationalPiano Competition. Other awards include the Canada Council’s coveted CareerDevelopment Grant and the Medal of Excellence for outstanding interpretations of Mozartfrom the Mozarteum in Salzburg.


Ludwig van BeethovenFIDELIO OVERTURELike many of his contemporaries, Ludwig van Beethoven (1770-1827) was fascinated by thecall for justice and equality associated with the French Revolution and later reinterpreted inthe context of Napoleon’s invasions, which the composer condemned. Premiered inNovember 1805, but revised on several occasions over the following decade, Fidelio isBeethoven’s only opera. The libretto in this German-language opera is explicitly about theideal of freedom that animated Beethoven at the time, as it tells the story of a courageouswoman (Leonore) who conceals her identity and portrays a prison guard (Fidelio) in an effortto save the life of her imprisoned husband (Florestan). The overture Fidelio was onlypremiered in 1814, as part of the third version of the opera. In reality, Beethoven hadpreviously composed three other overtures. These overtures are known as Leonore 1, 2, and3. Compared to these pieces, the Overture Fidelio is much shorter—a typical performancelasting about seven minutes—half the duration of the overture Leonore 3.Compact anddynamic, the Overture Fidelio is in sonata form and it features simple, contrasted themesdesigned to anticipate the drama soon to unfold.

Ludwig van BeethovenPIANO CONCERTO NO. 5 IN E-FLAT MAJOR, OP. 73Beethoven is considered as a revolutionary composer, not only because the 1789 FrenchRevolution and its aftermath fascinated him, but because he literally transformedestablished classical music genres such as the string quartet, the symphony, and theconcerto. From his last string quartets to his Ninth Symphony, Beethoven stretched thelimits of existing forms to express powerful emotions and feelings consistent with hishumanistic and romantic ideals. Among his seven concertos (one for violin, one for pianotrio and five for piano), his last piano concerto best illustrates the composer`s rescaling of agenre that had reached an early peak in the 27 piano concertos of Wolfgang AmadeusMozart (1756-1791). What was particularly stunning for the contemporaries of Beethovenwas the sheer length and flamboyant nature of his Fifth Concerto in E-flat Major, whichpremiered in Leipzig in November 1811. Lasting about 40 minutes and known as theEmperor Concerto (a nickname the composer did not pick), this masterpiece features anextensive first movement, which is as long as the two other movements combined. Anallegro in E-flat Major, this first movement is in sonata form featuring three themes and anextended development section. As for the beautiful and reflexive second movement in BMajor, it is marked Adagio un poco mosso (slowly yet moving forward). A rondo full ofbrilliance and energy, the finale ends the concerto on a most exhilarating note. More thantwo centuries after it premiered, the Emperor Concerto deservingly remains one of theuncontested pillars of the piano concerto repertoire.

Program notes prepared by Daniel Béland, host of Classical Discoveries, CFCR 90.5 FM (Mondays from 7:00 to 8:30 pm).

Concert Notes


BeethovenSYMPHONY NO 5 Symphony 5 is something like a Greek tragedy that proceeds at a tempo that you justcannot stop.

Opening with the most famous sequence of notes in all of music, those four notes arewhat the audience finds in place of a melody. And what Beethoven proceeds to do withthose “straight no chaser” notes is unlike anything we’d ever heard before.

It is confrontational and unrefined. The four notes are relentless and transformedendlessly as they become the make-up of each and every movement of the piece. Fromtheir thumping at the door of fate in the opening of the symphony, to the haunting fournotes in the last movement, we are in the middle of an accumulated energy of subliminalmessaging.

The first movement asks the listener to tune their ears to Beethoven’s use of this four-note motive as both hero and antagonist. While listening carefully to the performance,take note of the return of the main theme – the audience is given an incredible oboesolo. Brief but powerful, there is nothing else like it in the work. It is deeply profound andallows each listener to come to terms with what is happening about them. The oboemelody is oddly reminiscent of the 18th century – it’s a small moment of looking back,when in fact, the history of music was moving ahead.

The second movement is a romantic tune for viola and cello. Stately and always a hint ofthe four-note motive, the second movement is a theme and variations that sings alongwith florid string passages flowing inside and around the melody. You’ll hear thereturning codetta after each variation; in the final minute of the movement, Beethovenexposes a chord that reaches right across the scale, a momentary glimpse into the ideasof future composers like Brahms and even Debussy.

The third movement, scherzo, dark and brooding, is interrupted by the four-noterhythmic motive that forces the listener to deal with its emotional leftovers from the firstmovement. The fughetto acts as a burst of ambiguous energy; it’s passed around theorchestra in a fun frolic between the basses and cellos. Its playfulness hides shades of thefour-note rhythmic motive.

The clarinet signals the coming of the timpani who drives our four-note calling card intothe triumphant fourth movement.

The blaze of C Major is one of the most phenomenal moments in music history – it’s awindow opening; it’s Beethoven writing on the wall of history, “I am here.” Note thepiccolo and trombones, instruments that had all but vanished from the concert stageonly to be brought back by this master. The rhythmic motive becomes welcoming andfoundational, all traces of anxiety tossed aside.

This epic journey concludes itself in Beethoven’s confident closing chords, a techniquethat became trademark to his style, ending the crafted work of a man on the brink ofcomplete deafness.

Symphony 5 is unique, a first of its kind. It is the music of a creator addressing thelistener directly – the human condition changed with this work of darkness into light.

Concert Notes


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Thank you donors!We are so proud to have a committed and growing group of supporters helping the SSOcreate great music and memorable experiences in our community in a fiscally responsiblemanner.

As the SSO continues to improve our operations, one area we are working to develop isour donor recognition policy. We highly respect our donor’s wishes and would like yourhelp in ensuring we have your preferred names or anonymity requests for future donoracknowledgements.

In upcoming programs, we will be changing the way we display donor information. Thefollowing list reflects an alphabetical list of our donors from January 2013 to the present.If you would like to change the way we display your name or your name has been accidentally omitted, please contact Angela Kempf, Director of Development, at [email protected] or 306-665-6414.



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la C

October4 THE RED & BLACK AFFAIR (A NIGHT IN ITALY)Saturday, October 4, 2014, Delta Bessborough, 5:30 pm

18 OKTOBERFEST (POPS SERIES)Saturday, October 18, 2014, TCU Place, Sid Buckwold Theatre, 7:30 pm- Whitney Mather soprano- Michael Harris tenor- William Rowson guest conductor

25 THE PHANTOM OF THE OPERA – SILENCE IS GOLDEN SERIESSaturday, October 25, 2014, Roxy Theatre, 320 20th St W, 1:00 pmSaturday, October 25, 2014, Roxy Theatre, 320 20th St W, 7:30 pm- Rick Friend piano- Brian Unverricht guest conductor

29 TIME FOR TODDLERSWednesday, October 29, 2014, SSO Rehearsal Hall, 408 20th St W, 9:30 amJennifer McAllister animateur

November7 / 8 IN TRANSFORMATION, THE CORE AT PAVED ARTSFriday, November 7, 2014, PAVED Arts, 424 20th St W, 7:30 pmSaturday, November 8, 2014, PAVED Arts, 424 20th St W, 7:30 pm

22 A HAYDN SYMPHONY (MASTERS SERIES)Saturday, November 22, 2014, TCU Place, Sid Buckwold Theatre, 7:30 pm- Thomas Yu piano- Adam Johnson guest conductor

www.saskatoonsymphony.org

Upcoming Events


Donor Profile

Rick Cheetham andCheetham’s PharmacyAs he celebrates 20 years of business, RickCheetham also proudly notes that he hasbeen attending the Saskatoon SymphonyOrchestra for just as long. He has becomean SSO subscriber in the last five years, andis an annual donor to the SaskatoonSymphony Society.

“I support the SSO through annualdonations because I want to see thesymphony continue in Saskatoon.” A life-long music lover, Rick confesses that heloves rock-‘n’-roll as much as classicalmusic, but that he especially appreciatesbeing able to attend live classicalperformances because “the complexity andsynchronicity of it all is so moving.”

Originally from North Battleford, Rickmoved to Saskatoon to take his pharmacydegree at the University of Saskatchewan.He stayed, opening Cheetham’s Pharmacyand raising a family. He encouraged thelove of music for two of his two sons whostudied trumpet with Terry Heckman, theSSO’s Principal Trumpet.

With “personalized small-town service inthe big city,” free delivery and otherbenefits, Rick and his staff create anexperience for their clients. For hisappreciation of the experiences he has hadattending SSO concerts, Rick gives back in

many ways to the SSO and the artscommunity.

The SSO strives to enlighten and inspire,delight and enliven, and Rick believes that“there is a link to wellness and the effect ofmusic.” With support from donors like Rick,the SSO can continue to play its part inbuilding a healthy artistic life for ourcommunity.

Thank you, Rick, and our other supporters!Watch for more donor profiles over theseason.

To make a donation to the SSO, pleasecontact Director of Development, AngelaKempf at 306-665-6414 [email protected].


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Hallelujah! – A Sing A-LongMessiahAs a kid I hated Handel’s Messiah. It wastoo hard to sit through. And every time itfelt like it was over, it wasn’t.

So skip past the part where I became a professional musician and jump to havingto teach music history – I still hated Messiah, but now I had to teach it to students and inspire them to love it. I wentto the concert each year so that my studentswould see me there soaking it all in for theglory of the music. But I still hated it.

Then, two years ago, I attended a performance of Messiah given byTafelmusik Baroque Orchestra…and therewas something there. At the time I wasworking with a young tenor who waslearning the Messiah arias for the first time.I listened to every recording I could get myhands on and researched and studiedscores and editions. What I found wasmagical.

Handel wrote Messiah in 24 days – not astaggering pace for a man who could whipoff an opera in two weeks, but still an impressive feat. He mixes and matchesstyles here; he is at his most detailed andperfected while exploring the sounds ofthe human voice and heart.

Take for example his use of the modestbeat three – the words that are of the utmost importance to Handel always fallon the third beat of the bar. This mightsound unimportant, but from an early agein music we are taught that music in common time is to be expressed as“strong-weak-medium-weak.” Here now wehave a master expressing to us that the important word, the word in a phrase thatmakes all other words have value is placedon the medium beat.

Or better still is his ability to paint colourswith words. Listen to the tenor sing “Comfort Ye” with the peaceful hue Handelgives him. Listen to the soprano’s voice literally “Rejoice!” Hear the alto’s voice burnlike a refining fire. And experience thegrounded centering of “Peace on Earth.” Itis no mistake that Handel wanted his audience to explore these with him.

I personally want to invite you to come toMessiah this year – come to the Fridaynight and experience the power of the exceptional story-telling, or come on theSaturday afternoon and explore the scorewith us. It doesn’t matter if you can sing, orif you feel like you don’t know the music –just be part of it. Sit inside a living breathingperformance and experience what it musthave been like to hear this music for thefirst time. Go to it with new ears. Feel thekinetic energy of everyone workingtogether to make beautiful music – it’s glorious!

Mark Turner


<#> inTune


View from a Prairie Sky – JOHN ESTACIO, COMPOSERThe first time ever I experienced the gloriousspectacle of the Aurora Borealis was a fewshort years ago when I arrived in Edmonton.Up until that moment I had to settle fortextbook explanations and a geographyteacher’s descriptions.

I had no idea what I was seeing when I firstnoticed the majestic curtains of swirlinggreen light in the sky one crisp Octoberevening until a friend confirmed that it wasindeed the Northern Lights. I was completelycaptivated and awestruck by the magicalsight of dancing light; how could I not beinspired to compose a piece of music?!Having recently completed two seriouscompositions, it was the right time to revisit a style for unabashed lyricalmelodies and joyous bright orchestralcolours that Borealis would require.

Borealis is meant to be awe-invoking andattempts to capture the ethereal atmosphereof the lights of the northern skies; widestreams of bending, curving light that

abruptly disappear and reappear. Theephemeral nature of these celestial happenings is represented by the suddencolourful outbursts followed by movementsof near silence. The movement begins withthe strings playing a major chord and thengradually glissing (bending the pitch) untilthey all arrive at a different chord; for me,this musical gesture captures the essenceof bending curtains of light and serves as arecurringmotive throughout this movement.A solo flute introduces fragments of amelody; this melody is not heard in its entirety until later in the piece when it isperformed by a solo bassoon and then anEnglish horn. The strings perform themelody and the composition swells to itsclimax featuring the brass and the soundsplashes provided by the percussion. Themovement concludes with a unique auditory effect in the percussion sectionthat again attempts to convey the enchanting and magical quality of the borealis.

Hear John Estacio’s Borealis performed bythe SSO on January 24.


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