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SASKATOONSYMPHONY.ORG

UKRAINIAN CHRISTMAS SATURDAY, DECEMBER 6

MESSIAHFRIDAY DECEMBER 12

SINGALONGSATURDAY DECEMBER 13

InTune_XMAS.qxp_InTune 2014-12-03 3:43 PM

255 2nd venue South, (306)933-3336A

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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


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

Nicholas Kokkastamapoulos

Shelly Loeffler

Neil Reddekopp

Bryn Richards

www.facebook.com/SaskatoonSymphony

Twitter: @SSOyxe

Instagram: SSOyxe

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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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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That’s why, Revera – The Franklin would like to invite you and a guest for your choice of a complimentary lunch or dinner and tour. Learn more about the downtown Saskatoon retirement options available and speak with residents about what it’s like to live at The Franklin. See why they tell us they “should have done this years ago.”

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A UKRAINIAN CHRISTMAS – SSO, LASTIWKA, PAVLYCHENKO, SPIVOHRAI

Festive Christmas Leroy Anderson

Бог Предвічний - God Eternal TraditionalLastiwka Ukrainian Orthodox Choir Arr. Peter Wiebe

This carol, which celebrates the birth of Christ, is the iconic carol of the season for all Ukrainians. God Eter-nal is born! He came from Heaven to redeem and comfort all mankind, and we sing Glory to God!

Привітальний - Welcome Suite - Baba’s Trunk Serhij KushnirukPavlychenko Folklorique Ensemble and Lastiwka ChoirLarry Klopoushak, conductorSerhij Koroliuk, choreographySonia Kodak, narrator

As proud Canadians, we still remember our Ukrainian roots and heritage. “Baba’s Trunk” welcomes you,bringing to the stage our proud heritage through song, dance, colourful costumes and symbols. From theCarpathian Mountains to the Steppes, one can see the vast diversity and beauty that is Ukraine. We dedi-cate this piece to the Ukrainian pioneers who settled in Saskatchewan and in Canada, the pioneers whobuilt our new home and our country. The composition is based on the popular Western Canadian dancetune, “The Heel Toe Polka,” widely known in Western Ukraine as “The Canadian Polka.”

Нова Рада Стала - A Great Joy TraditionalLastiwka Ukrainian Orthodox Choir Arr. Ukrainian Nativity Theatre

Shepherds and kings bowed before Him as a great joy settled on the earth with the news of the virgin birthof the Christ child in a lowly manger.

Бог Народився - God is Born TraditionalLastiwka Ukrainian Orthodox Choir Arr. A. HnatyshynRoxanna Smycniuk and George Hupka, soloists

God is born, Jesus is His name and Mary is His mother. The angels rejoiced, the shepherds danced andplayed. At last, He is here!

Що то за Придиво? - What is this Wonder? TraditionalLastiwka Ukrainian Orthodox Choir Arr. Willi ZwozdeskyPatrusia Rudy, solo Joyous tidings to the world! The Virgin Mary has brought forth a son named Jesus, for whom she sings a

tender lullaby. Joseph and Mary wrap Him in swaddling clothes and Mother Mary holds Him close to herheart.

Спи Ісусе, Спи - Sleep Jesus, Sleep TraditionalSpivohrai Children’s Choir Arr. Claude LapalmePatrusia Rudy, solo

Mother Mary rocks her baby to sleep with a gentle lullaby.

Гуляночка - A Merry Dance TraditionalLastiwka Ukrainian Orthodox Choir Arr. Serhij KushnirukPavlychenko Folklorique EnsembleNadia Kodak, soloSerhij Koroliuk, choreography

A young lady from the Volyn region dances as she extols the virtues of a fine husband. She is looking for atall, dark, handsome kozak who doesn’t drink or smoke, one who dotes on her completely.


Interval – 20 mins

Excerpts from The Nutcracker Suite Pyotr Ilyich TchaikovskyOverture MiniatureMarcheChinese DanceDanse des mirlitonsDanse russe

Two New Year’s Carols TraditionalСтарий Рік Минає - The Old Year Passes Arr. O. Stadnyk

We bid the old year farewell, and look forward to the new year with its promise of improvedgood fortune. As you listen to our good wishes, ladies and gentlemen, prepare the food anddrink, and for these gifts, we wish you a good new year.

Рай Розвився - Heaven Is RevealedWandering carolers invite the host to fill the table with good food and drink, to celebrateheaven being revealed with the birth of Christ

Lastiwka Ukrainian Orthodox Choir and Orchestra

Носталґія - Nostalghia Arr. Serhij KushnirukPavlychenko Folklorique EnsembleSerhij Koroliuk, choreography

In everyone’s heart there is a “special place” to where our thoughts and yearnings navigate. This place is ex-traordinary because of its beauty, serenity, atmosphere and rhythms. Perhaps it is our “soul” speaking—thisplace we call Nostalghia…

Маланка - Medley of New Year’s Carols Traditional, arr. Willi ZwozdeskyLastiwka Ukrainian Orthodox Choir

Щедрий вечір, добрий вечір – A Bountiful Evening, A Good EveningMarko Baran and Gavril Tarasoff, solosA New Year’s Eve song of greeting and goodwill to the master of the house. We find himseated at the head of the table.

У пана, пана заслана скам’я – At the Lord Master’s, the board is ladenGavril Tarasoff, soloA salute to the master of the house, whose table is laden with fine wines. The young, greenwine is for the Lord Master, red wine for the Mistress and sweet mead for their children. The re-frain proclaims that heaven has unfolded in this very house.

А в ґаздиньки, красненько в неї – Ah, but it is beautiful at the Mistress’ houseEthan Fedorchuk and Jordan Welbourne, solosThe lady of the house guards her husband’s sleep. As she moves about her beautiful chambers,she admonishes her fine silver keys to jingle softly, for her husband is very tired and is stillasleep. He has just returned home with a gift of coral beads, which she will wear to church.

Коза – The GoatA dramatic game in which a frolicking goat is shot dead but is miraculously brought back tolife. Ukrainian folk wisdom suggests that “grain grows wherever the goat goes!”

І всяка пашниця – And all manner of grainFestive New Year medley with wishes of prosperity for the coming year.

Щедрик - Carol of the Bells TraditionalSpivohrai Children’s Choir Arr. Serhij Kushniruk

Perhaps the most well-known carol of the Ukrainian repertoire, this New Year’s carol is a rhythmic, bell-like imi-tation of a “lastiwka” (a swallow) as the harbinger of spring, expressing wishes of prosperity for the coming year.


Возвеселімся! - Rejoice! A Christmas Suite Arr. Serhij KushnirukLastiwka Ukrainian Orthodox ChoirPavlychenko Folklorique EnsembleSpivohrai Children’s ChoirSerhij Koroliuk, choreographyYulia Stetsko and Ethan Fedorchuk, recitations

Ой чи є, чи нема – Are you home, dear host?New Year’s carolers greet their hosts on a “magical” New Year’s Eve, wishing them a bountifuland prosperous new year.

Ой в Єрусалимі – In Jerusalem, morning bells are ringing!In Jerusalem, the bells peal to announce the birth of Jesus.

Щедрик – A New Year’s CarolCarolers expect to be given tasty treats in return for their good wishes for health and happi-ness in the new year.

Lastiwka Ukrainian Orthodox Choir and Orchestra - Larry Klopoushak, artistic director

Lastiwka Ukrainian Orthodox Choir and Orchestra of Saskatoon has amazed audiences with itsunique versatility and energetic performances of Ukrainian folk songs and spiritually-movingsacred and liturgical music. The choir performs a large repertoire of Ukrainian folk and sacredsongs sung a cappella or accompanied by an orchestra of traditional folk instruments.

Established in 1983 under the artistic direction of founding conductor Larry Klopoushak, Lastiwka has performed extensively in Saskatchewan and throughout Western Canada.Lastiwka was invited to perform at Expo ’86 in Vancouver, both at the Saskatchewan Pavilionand the Xerox International Stage. The choir frequently performs at Saskatoon’s Vesna Festival,Folkfest and Ukraine Day in the Park, and has performed several times at the Pysanka Festivalin Vegreville and at Canada’s National Ukrainian Festival in Dauphin.

In 2003, Lastiwka, together with the Pavlychenko Folklorique Ensemble, performed six majorconcerts in the cities of Western Ukraine, moving the audiences to tears and cheers, and spontaneous standing ovations. In 2008, Lastiwka celebrated its 25th anniversary with a galabanquet and concert that featured two commissioned works by the award-winning Canadiancomposer Oleksa Lozowchuk.

Lastiwka returned to Ukraine in 2013 for its 30th anniversary tour along with Pavlychenko, visiting five major cities and participating in workshops with three of Ukraine’s finest


ensembles. “Lastiwka is noted for singing the bilyi spiv (white singing) folk style, endemic tochoirs from Ukraine itself. This style is noted for the very broad and energetic tone of thesinging. As well, the choir members show remarkable enthusiasm on stage, enhancing themelodies with their exuberant expressions.” (The Ukrainian News)

Lastiwka has released four recordings entitled Lastiwka (1987), Songs for the Christmas Season(1993), Across the Steppes (2002) and their newest album titled Love and Sorrow (2012).

Musical director, Larry Klopoushak, received his Bachelor of Music in vocal performance fromthe University of Saskatchewan. He has performed as a soloist with the Saskatoon and ReginaSymphonies, Saskatoon Opera Association, Saskatoon Summer Players and Shakespeare onthe Saskatchewan. He has sung under master Canadian choral directors Dr. Elmer Eisler, JamesFankhauser, Wayne Riddel, John Washburn, and under world renowned choral conductorsJohn Aldis from London, England and Maestro Anatolij Avdievsky of the Veryovka Choir andDance Ensemble from Kyiv, Ukraine.

Pavlychenko Folklorique Ensemble - Serhij Koroliuk, artistic director

The Pavlychenko Folklorique Ensemble is a dynamic Ukrainian dance company based inSaskatoon. This exciting troupe of young, dedicated dancers who can stimulate nostalgia, create a comedic scene, dazzle you with intricate high velocity footwork, amaze you with theirlyrical quality; and most of all, give your hands and feet a tremendous workout!

Linda Balon-SmithMarko BaranNissa BaranTanya BaranOlesia DashynychMarissa EvansEthan FedorchukCheryl FedusiakAlanna HawryshMarnie HowlettGeorge HupkaNeil JonesTaras KachkowskiIrene Kindrachuk

Ivanna KindrachukZenovie KindrachukAlicia KlopoushakLarry KlopoushakMarina KodakNadia KodakSonia KodakStepan KodakMariia KostetskaNancy LitwinJoanne MakowskyConnor MoenMike MorienPatrusia Rudy

Robert RudyChristina RybalkaRon SkwarchukAudrey SmycniukRoxanna SmycniukHolly StasiukTatiana StoroschukGavril TarasoffCorinne WachniakNicholas WachniakJordan WelbourneAubree Worobetz


Here is a troupe that has performed from the Pacific to Atlantic coasts, in the U.S.A., Brazil,Ukraine, and extensively throughout Saskatchewan. They have also worked on several jointprojects with Lastiwka Ukrainian Orthodox Choir and Orchestra, Spivohrai Ukrainian Choir,and a diverse group of other artists from around the world. The Pavlychenko Folklorique Ensemble is a favourite at conventions, national and international.

Established in 1967 by the late Miss Lusia Pavlychenko, and under the artistic direction of Serhij Koroliuk, the ensemble has its own unique style and presence that continues to bring anexciting new edge to the genre. PFE, as the group is affectionately known, has an expansiveand entertaining repertoire with choreography from many different regions and time periods.

The cast is a young energetic and spirited group of performers who strive to develop their performance skills and to embrace the Ukrainian culture and heritage.

Spivohrai Ukrainian Children’s Choir - Andreya Karnaukh, artistic director

Spivohrai Ukrainian Children’s Choir, founded by Andreya Karnaukh in 2010, provides boysand girls, ages six to 15, with an opportunity to maintain, develop and share their Ukrainiancultural identity through the medium of song. Its mission is to promote modern Ukrainianchoral music, to develop harmonic and individual singing styles and to share this element ofUkrainian culture with the broader community.

Shaunda ArsenieEvan BillayLaura BillayMaria BoykoAdam BrecknerPaul BrecknerMitch BristowTawni CherepuschakCarma DouglasKelsee DouglasBrenna GallagherMegan Gallagher

Ashlyn HartshornAlanna HawryshMarnie HowlettNatalya JaddockKaitlin KliewerMarina KodakNadia KodakJulian MakowskyTatiana MakowskyCrystal MalloughNicole MatsallaBethany McQuaid

Brendan NykolukMike PidperyhoraKatherine PrytulaGabrielle SawitskyMichael SengerTatiana StoroschukCourtney TkachukRebecca VereschaginAubree WorobetzMegan WorobetzMichelle Zabiaka

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Angelina ArtiukhViktoriya CheremshynskaYuliya DruzhyninaVitalii DzhuraYaroslav GarmasarTaras GarmasarDanylo Karnaukh

Denys KarnaukhAlina KovalchukSolomiya KrushelnytskaMariya MatyushenkoVladyslav MyrutenkoOleksandr PavlovskyiOlena Pavlovska

Anatoliy PrystupaAnastasiya ShmatovaYulia StetskoStella VasylehaArina Zavodnova

Spivohrai is a unique, artistic ensemble, with an original sound. Its music blends elements ofUkrainian folk music, combining them with contemporary arrangements into a new style ofsong. Conductor Andreya Karnauch provides strong, knowledgeable and professional leader-ship, constantly working to improve skills and expand the choir’s repertoire. The choir’s per-formances are filled with a high level of energy and enthusiasm. The name Spivohrai is amelodious blend of two Ukrainian words meaning “to sing” and “to play.”

Spivohrai performs regularly at community functions and cultural events throughout the year.Performances have included: Canada’s National Ukrainian Festival in Dauphin, Manitoba;Pysanka Festival in Vegreville, Alberta; the Annual Shevchenko Foundation, Saskatoon ChapterConcert; Vesna Festival; Ukrainian Day in the Park; Folkfest; and Shevchenko Day. The grouphas also performed at local museums and churches, their repertoire including traditional caroling and the traditional Vertep (Nativity Play). Spivohrai successfully released its first CD,First Steps - Перші Кроки” in 2012, and a second CD The Music Resounds in 2014. In 2015,Spivohrai Choir will present a new Christmas CD, Christmas Angels.

Ukrainian Christmas Traditions

Our pioneers that came from Ukraine brought many traditions of celebration with them, andnone are more colourful and filled with symbolism than those of the Christmas season. Theseason begins with St. Nicholas’ Day, celebrated on December 19 by the Julian calendar. Onthis holiday, young children receive gifts from St. Nicholas, the patron saint of children. The advent season concludes with a special Christmas Eve meal, Sviata Vecheria (the Holy Supper),on January 6. This Lenten meal of twelve meatless dishes, commemorating Christ’s twelveapostles, begins with the sighting of the first star (the Star of Bethlehem). The evening continueswith caroling, until the Christmas Midnight Liturgy to celebrate Christ’s birth.

While many of the Ukrainian Christmas Eve customs are of a solemn nature, the custom of caroling is joyful and merry. Ukrainian Christmas carols have their origins in antiquity, as domany other traditions practiced at Christmas time. There are two main groups of Christmassongs - koliadky (Christmas carols), sung on Christmas Eve through to Malanka (New Year’sEve) on January 13, and shchedrivky (New Year’s carols), sung from New Year’s until the Feast ofthe Jordan (Epiphany) on January 19. Caroling from home to home is not a simple singing ofChristmas songs; it is more of a folk opera. The carolers first ask for permission to sing. If theanswer is yes, they enter the house and sing carols for each member of the family, even for thesmallest child. They are rewarded with something to eat and drink. At New Year’s, carolerspresent a short humorous skit involving a goat. The custom of the goat accompanying the carolers has its origin in ancient times. The skit, showing the goat dying and being broughtback to life, symbolizes the death of winter and the birth of spring. Caroling always ends withshort poems, appropriately selected for each home, wishing good health, prosperity andGod’s blessings on all in the home.


MESSIAHFriday, December 12, 2014

Part I1. Sinfonia2. Comfort ye my people (tenor)3. Ev’ry valley shall be exalted (tenor)4. And the glory of the Lord (chorus)5. Thus saith the Lord of hosts (bass)6. But who may abide the day of His coming (alto)7. And he shall purify the sons of Levi (chorus)8. Behold, a virgin shall conceive (alto)9. O thou that tellest good tidings to Zion (alto and chorus)10. For behold, darkness shall cover the earth (bass)11. The people that walked in darkness have seen a great light (bass)12. For unto us a child is born (chorus)13. Pifa14a. There were shepherds abiding in the fields (soprano)14b. And lo, the angel of the Lord (soprano)15. And the angel said unto them (soprano)16. And suddenly there was with the angel (soprano)17. Glory to God in the highest (chorus)18. Rejoice greatly, O daughter of Zion (soprano)19. Then shall the eyes of the blind be opened (soprano)20. He shall feed his flock like a shepherd (alto and soprano)21. His yoke is easy (chorus)

Intermission

Part II22. Behold the Lamb of God (chorus)23. He was despised and rejected of men (alto)24. Surely he has borne our griefs and carried our sorrows (chorus)25. And with his stripes we are healed (chorus)26. All we like sheep have gone astray (chorus)27. All they that see him laugh him to scorn (tenor)28. He trusted in God that he would deliver him (chorus)29. Thy rebuke hath broken his heart (tenor )30. Behold and see if there be any sorrow (tenor )31. He was cut off (tenor)32. But thou didst not leave his soul in hell (tenor)33. Lift up your heads, O ye gates (chorus)34. Unto which of the angels (tenor)35. Let all the angels of God worship Him (chorus)40. Why do the nations so furiously rage together (bass)41. Let us break their bonds asunder (chorus)42. He that dwelleth in heaven (tenor)43. Thou shalt break them with a rod of iron (tenor)44. Hallelujah (chorus)


Part III45. I know that my Redeemer liveth (soprano)46. Since by man came death (chorus)47. Behold, I tell you a mystery (bass)48. The trumpet shall sound (bass)53. Worthy is the Lamb (chorus)Amen (chorus)

SING-ALONG MESSIAHSaturday, December 13, 2014

Sinfonia 1Tenor Recitative: Comfort ye my people 4Tenor Air: Ev’ry valley shall be exalted 6Chorus: And the glory of the Lord 11Alto Recitative: Behold, a virgin shall conceive 41Alto Air and Chorus: O thou that tellest good tidings to Zion 41Bass Recitative: For, behold, darkness shall cover the earth 50Bass Air: The people that walked in darkness 51Chorus: For unto us a child is born 55Pifa 65Soprano Recitative: There were shepherds abiding in the field 66Soprano Recitative: And, lo, the angel of the Lord came upon themSoprano Recitative: And the angel said unto them 67Soprano Recitative: And suddenly there was with the angelChorus: Glory to God 68Soprano Air: Rejoice greatly, O daughter of Zion 73Alto Recitative: Then shall the eyes of the blind 79Alto and Soprano Duet: He shall feed his flock/Come unto him 81Chorus: His yoke is easy 86

INTERMISSION

Chorus: Behold the Lamb of God 91Alto Air: He was despised 94Chorus: Surely he hath borne our griefs 98Chorus: And with his stripes we are healed 102Chorus: All we like sheep have gone astray 106Tenor Recitative: All they that see him laugh him to scorn 114Chorus: He trusted in God 115Bass Air: Why do the nations so furiously rage together? 155Chorus: Let us break their bonds asunder 161Tenor Recitative: He that dwelleth in heaven 167Tenor Air: Thou shalt break them 167Chorus: Hallelujah 171Soprano Air: I know that my redeemer liveth 181Chorus: Since by man came death 186Bass Recitative: Behold, I tell you a mystery 189Bass Air: The trumpet shall sound 189Chorus:Worthy is the Lamb that was slain/Amen 217


Duff Warkentin guest conductorCulture builds community! A strong believer in this truism, Duff Warkentin has had a significant andvaried career as a choral singer, conductor, clinician, and adjudicator. His first intensive experienceas a choral singer came when he was a student at Rosthern Junior College. Here he also had the opportunity to conduct the choir in the absence of their regular conductor. His post-secondarystudies include degrees from Canadian Mennonite Bible College in Winnipeg, University of Waterlooand the University of Regina. He has served as Music Director at Rosthern Junior College, taughtand conducted choirs for several years at the University of Saskatchewan, served as Choral Artist inResidence in the Battlefords and Rosthern, was the conductor of the Saskatoon Chamber Singers,conducted a number of church choirs and is the founding conductor of the Station Singers of Rosthern. He is grateful for the opportunity to conduct Handel’s magnificent oratorio.

Chelsea Mahan sopranoCanadian-American soprano Chelsea Mahan is one to watch for in the independent music scenewith her performance versatility in unconventional spaces. These intimate performances include theroles of Monica in The Medium and Laurette in Bizet’s comedy Le Docteur Miracle with Stu and JessProductions in Montreal. Having recently completed her Masters of Music at McGill University studying with renowned Canadian soprano Joanne Kolomyjec, Ms. Mahan is currently balancing engagements in and around Montreal and her home province of Saskatchewan.

As a prize-winning competitor, her achievements include first prize in the 65th Young Artist SeriesWestern Concert tour in conjunction with the Canadian Federation of Music Teachers’ Association.Through the CFMTA, Ms. Mahan collaborated with pianist Kathleen Lohrenz Gable, in recital, to tourthe cities of Manitoba and Saskatchewan. Ms. Mahan also won first prize in the prestigious GordonWallis Opera Competition (2012), which included professional engagements with both the Saskatoonand Regina Symphony Orchestras. On the operatic stage, Ms. Mahan has traveled throughoutCanada performing various roles such as Ida (Die Fledermaus) and Soeur Constance (Dialogues desCarmelites) with Opera NUOVA, and Helena in Halifax Summer Opera Workshop’s production of Britten’s A Midsummer Night’s Dream. In Montreal, she was seen as Casilda in Gilbert and Sullivan’sThe Gondoliers with the McGill Savoy Society and Erste Dame (Die Zauberflöte) with Opera McGill.Comfortable on stage, as well as in a studio setting, Ms. Mahan has just finished recording excerptsfrom Lucia di Lammermoore for an upcoming Canadian short film by David Uloth.

Singing the soprano soloist of Messiah with the Saskatoon and Regina Symphony Orchestras andcovering it for the McGill Chamber Orchestra marked Ms. Mahan’s professional debut in 2013. She isbeyond excited to return to her hometown of Saskatoon this December for another Messiah withthe SSO.

Most recently she was seen as Tytania in Opera McGill’s production of A Midsummer Night’sDream, and in 2015 she will take the stage as Diane in Charpentier’s Actéon with the CompagnieBaroque Mont-Royal. Ms. Mahan has just been appointed a Laureate of Jeunes AmbassadeursLyriques (2014) and over the next year will be traveling to Europe for various competitions with theirgenerous support.


Lisa Hornung mezzo-sopranoHonoured as one of the University of Saskatchewan’s Arts and Science Alumni of Influence,Saskatchewan born mezzo-soprano, Lisa Hornung has been acclaimed for performances in repertoireranging from Baroque to contemporary composers. Her voice has been called “rich and powerful”and her stage presence has “inspired audiences and musicians alike “ Most often heard in Handel’sMessiah, Ms. Hornung’s orchestral performances also include Beethoven’s Mass in C Major, Mozart’sRequiem, Coronation Mass and Vesperae solennes de Confessore, Pergolesi’s Stabat Mater, the DurufleRequiem, Ruth Watson-Henderson’s From Darkness to Light, Verdi’s Requiem, Bach’s Magnificat andChristmas Oratorio, Vivaldi’s Gloria, Mahler’s Symphony No. 2 and Lieder eines fahrenden Gesellen,Mendelssohn’s Elijah, Vaughn William’s Magnificat, The May Queen by Bennett and the Alto Rhapsodyby Brahms.

In addition to her oratorio and orchestral work Ms. Hornung enjoys an active recital career with recent performances including works by Brahms, Schumann, Marx, Debussy and Handel as well asChristmas, spiritual and folk repertoire. She has toured the United States and Europe as a soloist andensemble member with the American Spiritual Ensemble, a group of professional singers dedicatedto the preservation and performance of Negro spirituals. Very excited about the talents of composerPaul Suchan, Lisa was delighted to record his full nuptial mass entitled May and to have premieredthe role of May Bartram in his opera The Beast in the Jungle.

After completing a Bachelor of Music in Voice Performance at the University of Saskatchewan underthe tutelage of Professor Dorothy Howard, Ms. Hornung went on to further her studies at the Institute of Vocal Arts in Chiari, Italy. This was followed by an intensive study time at the University ofIllinois with Richard Best. More recently she completed a year of study with the support of theSaskatchewan Arts Board, enabling her to spend time travelling to work with Mr. Nico Castel, Dr.Everett McCorvey, Dr. Cliff Jackson, Dr. Bill Cooper, Professor Micheal McMahon, Professor TedrinLindsey and Mr. Richard Best.

In accordance with her belief that every child deserves the opportunity to sing, Lisa runs a non-audition community youth choir and often collaborates with elementary and high school musicalendeavours. She also enjoys lending a hand when the local drama club, Battlefords CommunityPlayers, is in need of musical direction. Ms. Hornung has gained a deeper appreciation and love ofchoral arts through her continued work as vocal coach for the Cantilon and Belle Canto choral programs, directed by Heather Johnson. Well known as a teacher, adjudicator, clinician and choralcoach, Lisa lives in North Battleford, Saskatchewan with her husband John and their twins, Jamesand Larissa.


Spencer McKnight tenorSpencer McKnight was born and raised in LeRoy, Saskatchewan. He started singing in school at age17. In the summer of 2009 he began serious vocal studies with mezzo soprano Lisa Hornung.

He’s noted for his brassy tenor voice and praised for his artistry. In 2013 Spencer received first placein Saskatoon’s Kinsmen Competition and won top vocal awards at the Saskatchewan Provincial Fi-nals. That summer he represented Saskatchewan at the National Music Festival finals where he wonthe Jan Simmons Award for Art Song for a performance of a song cycle by the Catalan composerFrederic Mompou.

Spencer has performed as a soloist extensively across Saskatchewan in the last two seasons, as wellas performances in Ontario including the National Arts Centre and a recent award win at the Na-tional Association of Teachers of Singing competition. In the last two years Spencer has been privi-leged to work with Tracy Dahl, Judith Forst, Mary Lou Fallis, Laurence Ewashko, Robert MacLaren,Laura Loewen, Elizabeth MacDonald, Bonnie Cutsforth-Huber, Elizabeth Turnbull, and MonicaWhitcher. Spencer is now currently studying with Mark Daboll in voice studies at the University ofToronto.

Matthew Pauls baritoneBaritone Matthew Pauls, praised for his poise and magnificent singing (Opera Canada), is in hisfourth year of a Doctor of Musical Arts degree in Vocal Performance at the University of Western On-tario. He made his operatic debut with Saskatoon Opera as Marullo in Verdi’s Rigoletto. Other stagecredits include Figaro in Le Nozze di Figaro, the Speaker and 2nd Armoured Man in Die Zauberflöte,Dr. Falke in Die Fledermaus, Don Inigo Gomez in L’Heure Espagnole, the Mysterious Man in Sond-heim’s Into the Woods, Frank Maurant in Street Scene, and Masetto in Don Giovanni, which he per-formed with UWOpera and La Musica Lirica in Italy.

On the concert stage, Matthew has performed numerous works such as Mendelssohn’s Elijah, Han-del’s Alexander’s Feast and Messiah, Haydn’s Creation, Mozart’s Requiem and Vesperae solennes de con-fessore, Fauré’s Requiem, Grieg’s Four Psalms, J.S. Bach’s cantata Gottes Zeit is die allerbesteZeit (BWV 106), and Vaughan Williams’ Dona Nobis Pacem and Five Mystical Songs.

Matthew has been delighted to perform with ensembles such as the Orquesta Sinfónica Nacionaldel Paraguay, Windsor Symphony, Canadian Chamber Choir, Pro Coro Canada, Winnipeg Singers,Guelph Chamber Choir, Windsor Classic Chorale, and the Windsor Symphony Chorus.

In addition to performing, Matthew also maintains a small voice studio in London, Ontario.


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

February7 SAFETY LAST (SILENCE IS GOLDEN SILENT MOVIE)Saturday February 7, 2015, Roxy Theatre, 320 20th Street West, 1:00 pmSaturday February 7, 2015, Roxy Theatre, 320 20th Street West, 7:30 pm

21 THE MUSIC OF SIMON AND GARFUNKLE (CONEXUS POPS SERIES)Saturday February 21, 2015, TCU Place, Sid Buckwold Theatre, 7:30 pm

28 ESPANA (MASTERS SERIES)Saturday February 28, 2015, TCU Place, Sid Buckwold Theatre, 7:30 pm

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