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FeaturingThomas Yu

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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


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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

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VIOLIN 1Michael SwanConcertmaster

William BoanAssistant Concertmaster

Mary Lou Day

Lillian Jen-Payzant

Joan Savage

Marcel van den Hurk

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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

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CELLOLahni Russell Principal

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

John Payzant

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Carman Rabuka

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BASSRichard Carnegie Principal

Supported by Kay and Mark Turnerin memory of Wayne Turner

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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

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Supported by Mary Marino, inmemory of Lucia Marino


Marie Sellar (bassoon, contrabassoon)

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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],


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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 for thisSaskatoon-born pianist.

The SSO is lucky to have Yu return to thestage this evening. This prairie voice is performing Mozart’s beloved Piano Concerto21 – its second movement being one ofthe most famous melodies ever written.

This concert pairs the Mozart concertoalongside Haydn’s classic Farewell Symphony. Wolfgang Amadeus Mozart andJosef Haydn were colleagues with a specialbond. The friendship was one of great

inspiration and mentorship for both composers – frequently dedicating work toone another, often becoming a muse forthe other.

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, theyhave never performed on stage together…until now!

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.

Enjoy the evening as these great friendsmake great music together with the SSO.


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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


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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 arecurring motive 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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InTune_Haydn.qxp_InTune 2014-11-17 9:31 AM Page 23

20 mins

Thema. Chorale St. Antoni (Andante)

Variation I. Poco più animato (Andante con moto)

Variation II. Più vivace (Vivace)

Variation III. Con moto

Variation IV. Andante con moto (Andante)

Variation V. Vivace (Poco presto)

Variation VI. Vivace

Variation VII. Grazioso

Variation VIII. Presto non troppo (Poco presto)

Finale. Andante

At the time Brahms completed thesevariations, he had already published severalwell-received sets of variations on themes ofSchumann (1854), Handel (1861), andPaganini (1862-3). But he was critical of howhe and his contemporaries handled suchworks, writing to violinist Joseph Joachim in1856:

“I sometimes ponder on variation form, and itseems to me it ought to be more restrained,purer. Composers in the old days used tokeep strictly to the base of the theme as theirreal subject. Beethoven varies the melody,harmony and rhythms so beautifully. But itseems to me that a great many moderns ...cling nervously to the melody, but we don’thandle it freely, we don’t really makeanything new out of it, we merely overload it.”

Perhaps this was in his mind when he workedon the St. Anthony variations. Not only did itmark the turning point in his career as anorchestral composer, it is the first set ofindependent variations for orchestra by anycomposer. And in his inventiveness andrange, Brahms was far from “clingingnervously” to any theme.

The opening (Chorale St. Antoni) introducesthe St. Anthony theme as it was presented inthe “Haydn” work, with oboes and bassoons,now supported by strings and horns. Brahms’orchestration evolves to include more of theorchestra, but not in any way that “overloads”the theme: he lets us hear it clearly in thecharacter of its original form, so that we

might appreciate what attracted him to it inthe first place. The first variation, Poco piuanimato, immediately involves us insomething much more: various sections ofthe orchestra play pulsing notes in the chordsof the theme, while two contrapuntal movingparts play against them. This is but a taste ofwhat’s to come throughout the piece, asBrahms systematically changes everythingbut the essential structure of the theme ineach variation. The second variation, forexample, Piu vivace, changes the key tominor, syncopates the rhythm, and gives usan insistent, dance-like movement. Thefollowing Con moto is indeed a study inmotion, with a steady, ever-flowing version ofthe theme weaving back and forth betweensections of the orchestra and individualinstruments.

Variation four, Andante con moto, transformsthe theme into a haunting minor melody overbroad, slow lower strings and winds. The fifthvariation, Vivace, presents an energeticscherzo somewhat reminiscent of Brahms’shero Beethoven that segues immediately intoa regal, brassy second Vivace. Variation seven,Grazioso, is a gentle siciliano, a slow 6/8 or12/8 form associated in Brahms’ day withpastoral scenes and romantic melancholy.The Presto non troppo of the last variation is abit of sleight of hand: quickly moving partsalmost manage to hide the theme in theirwinding melodies, with the pedal pointsspread out over six octaves. But it is in thelong Finale that Brahms demonstrates hisprowess. For this section is in the form of aBaroque passacaglia, with a five bar bassoostinato sounding the theme under an ever-changing series of 17 variations thattransform through a series of harmonic andrhythmic enhancements to end in atriumphant coda and restatement of theChorali St. Antoni. Without a doubt, Brahmsproved that he could handle a melody “freely”and create something altogether new.

Notes by B Heninger

BRAHMS – VARIATIONS ON A THEME BY HAYDN OP 56A


30 mins

Piano Concerto in C major, K467 (1785)

Allegro maestosoAndanteAllegro vivace assai

This is the concerto with the mostatmospheric of all Mozart slow movements.What, if anything, the music signified inMozart’s mind when he wrote it we shallnever know, for the simple reason thateighteenth-century composers did not treattheir works as vehicles for the expression ofpersonal feeling. To imagine that Mozart wasany different is to look at him, in the words ofone authority, through inappropriatelyromantic eyes. There is simply not a shred ofevidence—no public statement, no quotedconversation, no private letter—to suggestthat he ever linked his music to actual eventsin his life.

Yet the slow movement of this concerto doessound profoundly evocative. But of what? Thefilm director Bo Widerberg, in his sentimentalSwedish tragedy, Elvira Madigan, employed itas the most meaningful of background music.And it’s true that, to a degree unmatchedperhaps by any other Mozart slowmovement, a haunting iridescence stealsthrough this andante in a peculiarlypalpitating form, whereby the softest, mostfine-spun of themes receives the most mutedyet most restless of accompaniments.

The nocturnal hush of the string tone, theascents and descents of the melody, thesudden little stabs of pain, the delayed entryof the piano, the aching modulations, theoperatic leaps of the very vocal melodic line,the chromatic poignancy, the disturbingdissonances and the sweetness with whichthey are resolved all contribute to thestrange, dreamlike beauty and tremblingrapture of the score—and to what can onlybe called the mystery that is Mozart.

Every tiny detail makes its point in a way thatthe printed notes scarcely hint at. Every deftstroke, every phrase length, every change ofcolour is similarly dumbfounding. The

expected interplay between piano andorchestra is largely missing. The piano, once ithas made its entry, is there for keeps—oralmost for keeps, because there is a briefmoment where it is disquietingly absent. Yetthe movement, extraordinary though it is, isin no way at odds with the rest of the work, orwith Mozart’s other concertos of the period,mostly designed for himself to play at one oranother of the Viennese subscriptionconcerts whereby he raised money.

The sheer splendour of the openingmovement, however, surpasses most of itspredecessors in the way a characteristicallysimple march-like rhythm is employed as abasis for majestic and spacious development.The repartee between soloist and orchestra,for all its wit, possesses a grander than usualsymphonic dimension that was to becomestill grander in the first movement of the laterC Major concerto, K503. As for the finale, itsprings, after the troubled tranquility of theandante, into action like some sort ofgalvanized gavotte, with a main themewhose first six notes propel this classicalrondo at one point through the mostexhilarating whirl of modulations.

Notes by C Wilson

INTERVAL – 20 mins

MOZART – PIANO CONCERTO NO. 21 IN C MAJOR


35 mins

Allegro assai, 3/4

Adagio, 3/8

Menuet: Allegretto, 3/4

Finale: Presto, 2/2 – Adagio, 3/8

Of the reasons for a composer to write asymphony (the most common are a fierceurge, a commission, or just part of the job),the one to solve a management-labourproblem is singular. But it seems to be theexplanation for the existence of Haydn’sSymphony No 45. In his position asKapellmeister to Prince Nikolaus Esterházy,Haydn was both employee and, in a sense,employer of the fine musicians whocomprised the resident house band. In 1772,in what was an especially long season atNikolaus’ grand country castle (built inHungary, at enormous expense, to competewith Versailles), the musicians,understandably lonely for their families andwanting to return to Vienna, sought theirboss’ help. The crafty Haydn did what any red-blooded Austrian composer would do: hewrote a symphony. But he waited until thelast movement to press his case. There, whenthe music’s dynamic momentum could bringthe movement to a close, there is a pause,and an unexpected Adagio begins. As thisnew section proceeded, player after playerfinished his part (no hers in that orchestra),blew out his candle and left, until only twoviolins (Haydn himself and Luigi Tomasini)remained, and they too followed theircolleagues. ‘Tis said, mission accomplished:the good Prince gave his musicians theirleave.

Symphony No. 45’s appropriateness on thisoccasion is second only to its absolutely first-rate quality. The “Farewell” stands out, quiteapart from its unique purposefulness, as aparticularly original, affecting work. Longbefore the programmatic adieu, theSymphony makes innumerable vital points.The first movement plunges immediately intoa main theme of disarming sinew, with thefirst violins striding down an F-sharp-minor

chord while the low strings accompany inrelentless single notes and second violinsmaintain an aura of agitation with a repeated,syncopated figure. The main theme,strengthened with sudden accents anddissonances, pervades the entire first part ofthe movement, and not until thedevelopment section is there a contrastinglyric idea. It makes an appearance and isnever heard from again.

The second movement is one of the greatHaydn Adagios, warmly coloured bothharmonically (the major-minor inflections areheralds of Schubert) and in its scoring withmuted violins throughout. The Adagio’sgentleness carries over into a Minuet thatglides with an unaccustomed grace,considering Haydn’s usual bumptious dancemovements. An old Gregorian melody sets anecclesiastical tone in the Trio, which isdominated by horns.

The finale is all whiplash energy until theraison d’être appears. As the orchestra thinsout, the atmosphere grows ever morepensive until, at last, the violins’ duet speaksof farewell in poignant, rather than happilyexpectant, tones. In subduing his Prince,Haydn summoned a deep well of emotion.

Notes by O Howard

HAYDN – SYMPHONY NO. 45 IN F SHARP MINOR, “FAREWELL”


Thomas Yu pianistCanadian pianist, Thomas Yu, is one of themost versatile artists performing today. Hehas appeared as a guest soloist in suchprestigious venues including Carnegie Hall(New York), BBC Hodinott Hall (Wales),Symphony Hall (Chicago), Théâtre duChâtelet, Salle Gaveau and Salle Cortot (Paris),Bösendorfer Hall (Vienna), Forte deCopacabana (Rio de Janeiro), Chopin MusicAcademy (Warsaw), Hakuju Hall (Tokyo),Glenn Gould Studio (Toronto), National ArtsCentre (Ottawa) and the Chan Centre forPerforming Arts (Vancouver). He continues to

delight audiences across four continents while maintaining a full-time career as a periodontist.

As an amateur pianist, Yu has won several prizes including the 2012 Chetham’s InternationalCompetition (Manchester), 2010 Bradshaw & Buono International Piano Competition (NewYork), the 2009 Bösendorfer International Piano Competition for Amateurs (Vienna), as well asthe 2006 International Competition for Outstanding Piano Amateurs (Paris), where he tookfirst prize along with the Press Award and Audience Award. Yu is also a winner of severalnational competitions, including the Canadian Music Competition and the CanadianFederation of Music Teachers’ Association Piano Competition. In addition to his musicalpursuits, Dr. Yu obtained his DMD with Great Distinction from the University of Saskatchewan.He then completed a General Practitioner Residency at Mount Sinai Hospital in Toronto beforeobtaining his Master Degree in Periodontics at the University of Toronto. He now owns aprivate practice in Calgary and teaches at the Foothills Medical Hospital.

Yu has been featured on CBC TV, Bravo!, TV5 and France 2 television. He has also recorded withCBC Radio, Classical 96.3FM and Radio France and Radio Classique. Yu has received accoladesfrom the Governor General of Canada, Lietuenant Governor of Saskatchewan as well as theMayor of Toronto. To celebrate their 100th anniversary, the University of Saskatchewan namedYu as one of the school’s top 100 most influential alumni. Photographer Tony Hauser has alsoincluded him in his book, The Power of Passion, which features prominent Canadians such asAdrienne Clarkson, Richard Bradshaw, Stephen Lewis, Pinkas Zuckerman and David Suzuki.

During his dental training, Thomas concurrently took private piano lessons during theevenings and weekends. A pupil of Bonnie Nicholson for several years, Yu spent six years as aprivate student at the Glenn Gould School of Music in Toronto with esteemed pedagogue,Marc Durand. Yu has also worked with Leion Fleisher, Julian Martin, Robin Harrison and thelate Marek Jablonski. As a laureate of the 2nd Canadian Chopin Competition, Yu alsocompeted in the 15th International Chopin Competition in Warsaw, Poland.


Adam Johnson guest conductorThe 2013/2014 season marked AdamJohnson's highly-successful debut asResident Conductor of the CalgaryPhilharmonic Orchestra, and establishedhim as one of Canada's top youngconductors. Originally from Hinton,Alberta, Mr. Johnson holds a Doctorate inPiano Performance from the Université deMontréal and a Prize in OrchestralConducting from the Conservatoire demusique de Montréal. A recipient of grantsfrom the Alberta Foundation for the Arts,the Alberta Arts Graduate Scholarships, theFonds de la Fondation les Amis de l'Art and

the Bourses d'excellence from the Université de Montréal, he has also studiedconducting at the National Arts Centre in Ottawa and the Pierre Monteux School inMaine. He was assistant conductor of l'Orchestre philharmonique des musiciensétudiants de Montréal (OPMEM) for the 2012-2013 season.

As a pianist he has participated in masterclasses at the Banff Centre for the Arts, theOrford Arts Centre, and the Morningside Music Bridge in Calgary. He has performedacross Canada, as well as in France and Japan. He has joined his colleagues in the CalgaryPhilharmonic Orchestra playing various keyboard instruments, and was the organist forthe 2013 performances of Handel's Messiah under renowned baroque specialist IvarsTaurins. Highly in demand as a pedagogue, he joined the faculty of the McGillConservatory in 2010, and the Université de Québec à Montréal faculty in 2013. He hasalso taught harmony, analysis, and chamber music, and translated a major treatise onharmonic analysis from French to English.


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Lynn Ewing & BillFeldbruegge

Annette & Monty KeenePishny Floyd

Florence Joan Foss Estate

K+S Potash

Mary Marino

Floyd McNabb Estate inmemory of Effie McNabb

New Community CreditUnion

Janet & Art Postle

Potash Corporation ofSaskatchewan

Frank & Ellen RemaiFoundation

SGI

SIGA

Saskatoon Fastprint

Saskatoon Symphony Book& Music Sale

SaskEnergy

SaskPower

SaskTel

Elsie Schneiderman

Penelope Stalker

Doug & Lilian Thorpe

Patron’s Club

Sustaining supporters

*Through the Saskatoon Community Foundation



Donald & Sylvia Acton

Pamela & Murray Acton

Shirley Acton

Sina Adl

Affinity Credit Union

Vanessa Amy

Areva Resources Canada,Inc.

Earl Ballard

Mary Barrett-Lenz

Herta Barron

Heidi Bartsch

Audrey Bayduza

Carol Beaulieu

Keri Beebe

Anna Beeton

Diane Bekolay

Dawn McLean Belyk

Kathleen Bender

Trevor Benning

BMA Group BenefitsDivision Ltd.

William Boan

Ron Boden & Gail Zink

Gloria & Herman Boerma

Eileen Boryski

Carol Boryski

John Botari

Evelyn Bowman

Brainsport - The RunningStore

Ann Brander

Audrey Brandt

Erin Brophey

Lois Bruce

Darrell Bueckert

Robert & Helen Card

Joan Champ

Bill & Mary Chapman

Cheetham’s Pharmacy

Maureen Cline

Community Electric Ltd.

Mary Conklin

Anne-Marie Connor

Janice Cook

Carol-Marie Cottin

Paul & Viola Coutu

Elizabeth & Ron Cuming

Roseanne Daku

Mary Lou Day

Pamela Delong-Hendry

Department of Physics &Engineering Physics, U of S

Brenda Derdall

Joyce Dibski

John Doane

Robert Dobrohoczki

Mitchell Doepker

Tyler Dovell

Geraldine Dowling

Margaret Dragan

Beverly Drew

Marie Dunn

Dolores & Donald Ebert

Robert & Vina Edwards

Lois Elder

Phyllis Ellis

Vanessa Emy

Esther Beryl English

Barbara & Jake Ens

Paul Ens

Elsie Epp

Richard & Linda Ewen

Leona Ewert

Joan Feather

Jacqueline Ferraton

Allan & Helen Few

Joan & Peter Flood

Carmen Foley

Lynne Fowke

Rachel Fowlie-Neufeld

Meta Freitag

Mary Friesen

Jonathan & Ruth Friesen

Joe & Cathy Fry

Daniel Funk

Sherril Gelmon

Don Gendzwill

Larry & Judy Glazier

Melissa Goodchild

Fran Gordon

Annalisa Govenlock

Delores Gradish

Kevin Grady

Alexander & Katharine Grier

Louise Griffith

Aline Guillas

Doreen Haaland

Ted & Marie Hammer

Michael Harris

Brian & Loretta Hartsook

Bob & Ollie Hasselback

Michael Hayden

Susan Healey

Terry Heckman

Dorothea Heckman

Shawn Heinz

Evelyn Henault

Mary-Jane Hendel

Robert Hendry

Bob & Doreen Hickie

Helen & Derek R. Hill

Donors this season



Janet Hill

Jack Hillson

Kimiko Hirose

Stuart & Mary Houston

Neil R Hughes

Hume Family Fund*

Dennis & Rosemary Hunt

Michele Hupaelo

Ian Innes

George James

Tim James

Willis & Marlys Jantz

Arnold & Deborah Janzen

Eunice Janzen

Lillian Jen-Payzant

David Jobling

Bev Johnson

Phyllis Johnston

Roger & Marie Jolly

Kevin Junk

Anne & Rick Kalenchuk

Gerarda Kaye

Kyle Kennedy

Kim Kennett

John & Myrna King

Anna Klaassen Fund*

Howard & Elizabeth Klein

Mark Kornder

Kirsten Kos

Jackie Kozak

Dr. & Mrs. G.J. Kraay

Jeffrey Kulyk

Ken LaBorde & JeanneRemenda

Michelle LaBrash

Land & EstatesManagement Inc.

Jacques Lanteigne

Frederick Leighton

Leland Kimpinski LLP

Joyce & Karl Lenz

Shelly Loeffler

Mairin Loewen

Brent Longstaff

Brenda & WayneMacDonald

Colin Macdonald & Theresa Skwara*

Heather MacDonald

Effie MacLean Estate

Margaret Marcoux

Peggy & Tim Martin

Mary Matwyuk

Marjorie Mazzei

Sophie McBean

Judy McCrosky

Vicki McDougall

Allan McGuire

Hugh & Sheryl McKee

Donald McKercher

Robert McLellan

Shirley & Wallace McNeil

Dean McNeill

Phav Meekins

Ivar Mendez

B.J. Michaels

Stuart & Dorothy Middleton

Isabelle Mills

Lawrence Mitchell

Brenda Moats

Margaret Monks

Joanna Morrow

Jacqueline Mowchenko

Ans Nahirney

Peter H. Neijmeijer

Willette Neijmeijer

Matthew Neufeld

Ken & Vel Neumann

New Community CreditUnion

Ross Nikiforuk

Earl Nostbakken

Hilda Noton

Pat Nowoselski

Noella Nutting

Wendy Obrigavitch

Grattan O’Grady

Catherine O’Leary

Verna Olfert

Constance Owen-Jones

Martha Pankratz

George & EllenParchomchuk

Rosanna Parry Photography

Ceri Patrick

Jamesy Patrick

John Patterson

John Payzant

Ronald & Betty-Ann Perkins

Jan Phillips

Joe Ponic

Mathieu Pouliot

Ned Powers

John Prietchuk

Henriette Quessy

Vern Ratzlaff

Neil Rawlyk

Robert & Sylvia Regnier

Norrie Reid

Kathryn Probert

Ruth Radostits

Jill & Derby Reid

Karen Reynaud

Arlene Reynolds

Betty Reynolds

Kathy Rhoden

Paul & Dorothy Riemer


Al & Sandra Ritchie

Myrna Rolfes

J. Frank Roy

Lila Rudachyk

Leslie Ruo

Alan & Edda Ryan

Nicole Ryan

Rhonda Sader

Andrea Sargent

Saskatchewan RegisteredMusic Teachers Assoc.

Saskatoon CommunityFoundation

Saskatoon Co-operativeAssoc. Ltd.

Saskatoon Funeral Home

Saskatoon StarPhoenix

Saskatoon’s Composers’Performance Society

Harvey & Grace Sauder

George Schmid

Judy Schmid

Angela & Randy Schmidt

Viola Schmidt

Don Schmidt

Kassidy Schneider

Ralph & Marg Schneider

Frances Schultz

Sheila Scott

Marie Sellar

John Senior

Phillip Settler

Arlene Shiplett

Robert D. & Lura MaeMeeds Sider Fund*

Audrey & Peter Siemens

Bonnie & GrantSkomorowski

Rosemary Slater

Shanon Sofko

Ruth Solheim

Charlene Sorensen

Harmony Souls

Elenor & Gordon Sparks

Darci Speidel

Marie Spencer

Terry Stannard

Pius Steckler

Frank Strange

Sunrise Publishing

Ian & Meredith Sutherland

P. Michael & Margaret V.Swan

Olive Swerhone

TCUPlace

The Gallery / Art Placement

Karin Tate

Kenneth Thomas

Derek Thompson

Kate Toews

Edward & DorothyTymchatyn

Michael Tyrrell

United Way

University of Saskatchewan

Brian Unverricht

Ursulines of St. Angela’sConvent

Agnes Valade

Douglas Vaughan

Tanya Veeman

Marilyn & Jim Veikle

Albert & Marjorie Veroba

Anthony & Darlene Walliser

Mary Sue Weinmaster

Johann Wentzel

Erika Wentzel

Ross Wheaton

Elsie White

Shannon Whyley

Victor & Erna Wiebe

Katie Wiens

Bill Wildeman

Dennis Will

Michael Williams

Heather Wilson

Marilyn Wipf

Gary & Amy Wobeser

William Yang Yip MemorialFund*

Catherine Zeilner

Tom & June Zurowski

Our donor recognition policy is continuing to evolve, and we appreciate your continuedassistance in helping us to ensure that we have your preferred names or anonymity requestsfor future donor acknowledgements. If you would like to change the way we display yourname or your name has been accidentally omitted, please contact Angela Kempf, Director ofDevelopment, at [email protected] or 306-665-6414.



December6 A UKRAINIAN CHRISTMAS Saturday, December 6, 2014, TCU Place, Sid Buckwold Theatre, 7:30 pm- Lastiwka Choir- Pavlychenko Folklorique Ensemble

12 MESSIAH Friday, December 12, 2014, Knox United Church, 838 Spadina Cres E. 7:30 pm- Matthew Pauls Baritone - Spencer McKnight Tenor- Chelsea Mahan Soprano - Lisa Hornung Mezzo-Soprano- Duff Warkentin Guest Conductor - Saskatoon Symphony Messiah Chorus

13 SINGALONG MESSIAH Saturday, December 13, 2014, Knox United Church, 838 Spadina Cres E. 2:00 pmBring your friends and family to our new Singalong Messiag and raise your voicesin celebration of this incredible music, with the same superb artists and conductoras our classic presentation.

January18 QUINTET (PLAYERS CHOICE SERIES)Sunday, January 18, 2015, Delta Bessborough, 2:30 pm

24 NORTHERN LIGHTS (MASTER SERIES)Saturday, January 24, 2015, TCU Place, Sid Buckwold Theatre, 7:30 pm

28 TIME FOR TODDLERSWednesday, January 28, 2015, SSO Rehearsal Hall, 408 20th St W, 9:30 am

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