intune 150124
DESCRIPTION
Contains program notes for Northern Lights performance and Safety Last! from the Silence is Gold series.TRANSCRIPT
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We are in the middle of a veryexciting season.It has been so rewarding to see so manypeople enjoying music in Saskatoon – thefirst half of the season proved that theorchestra is a vital part of what makes it agreat place to live!
I’m proud to say that over the course of thelast 12 months, we’ve made majorachievements in terms of how theorganization operates. We’re on budget,growing our revenue, on target for asurplus, and making some really greatmusic.
We wouldn’t be experiencing thisremarkable a year if it weren’t for theincredible support from our audience. Aswe turn our focus to the future, I hopeyou’ll join us as we embark on the nextphase of our success.
I want to invite each of you to be a part ofour Share in the Future campaign – theconcept is simple: find 2000 donors to give$100 to the SSO before May 31. In additionto your receipt, you’ll join us this fall for agala concert with a very special surpriseguest…the only way to get in is to be oneof the 2000. We want a chance to musicallysay thank you.
Thanks to the great generosity of the Frankand Ellen Remai Foundation, the moneyraised from the Share in the Futurecampaign will be matched – all 2000 giftsmatched, completely retiring the deficitand allowing the SSO to focus on thefuture.
On March 4, we will announce our 16thmusic director; Saskatoon’s newestmusician will step on to the podium thisfall and help the SSO define a newsoundtrack for the city. It is an exhilaratingtime to make music.
I hope you will join us in preparing for thefuture. It’s clear you love music and a gift toShare in the Future will ensure thatSaskatoon’s oldest arts organization staysaround for a long time.
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
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]
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Phone: 306.975.7799
Victor Sawa, Music Director
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Sarah Stack, Director of Operations
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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
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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
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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],
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SSO Shoots and ScoresTAKING THE ORCHESTRA TO CENTRE ICE!Did you read The Hockey Sweater as a kid?Did you read it to your kids or grandkids?Remember the movie version that was onCBC? Well, now it comes to your orchestra.
In the 30th anniversary year of RochCarrier, the Saskatoon Symphony Orchestrais proud to partner with the SaskatoonBlades and SaskTel Centre in an event thatcombines sport, music, childhoodmemories and new ones about to bemade.
A few years ago, the National Arts CentreOrchestra commissioned a composer toput the famous children’s book that followsa hockey-loving boy through thedisappointment of getting the gift of thewrong jersey to music.
Imagine the SSO at centre ice – stand forthe anthem, throw the iconic images ontothe score clock, and live out Canada’sgreatest hockey tale. The story comes tolife with Mayor Don Atchison (a formerBlade himself!) as our narrator…and when
it’s all done, the kids will hit the lockerroom, play mini-sticks on the concourse,and take to the ice to skate with the Blades.
“This is one of the most unique eventswe’ve ever done,” said Steve Hogle,president of the Saskatoon Blades Hockeyteam. “When the opportunity came alongto partner sports with music in such a greatway, we just had to make this one of themost unique things you can take your kidsto.”
The SSO will be the first orchestra to performthis concert in a rink—and definitely thefirst to do it on ice.
“In a season where the SSO is finding outwhat it means to be an orchestra on theprairies, it goes without saying thatsomehow there needed to be a rinkinvolved; I think this is one of the best kids’concerts in Canada this year. Nothing elselike it,” said Mark Turner, SSO.
The game takes place on March 15 atSaskTel Centre – don’t miss the puck drop!
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Experience the exquisite, XVII century, handcrafted Amati instruments in a spectacular setting.
March 21, 2015, Knox United Churchat 2 PM and 7:30 PM
SCHUBERT Quartet in D minor, D.810SHOSTAKOVICH Piano Quintet in G minor, Op. 57
Guest artistSamuel Deason – piano
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Nathan Berg – A Hero’s HomecomingWhen the SSO set out to explore what itmeans to be an orchestra on the Canadianprairies, it was clear that it was high timethe orchestra started asking some exceptional artists to come home.
And the most exciting artist of the seasonis Nathan Berg.
Berg was born in Spalding, Saskatchewanand attended high school at Luther BibleCollege in Outlook. But the rest, as the saying goes, is history.
Nathan attended musical studies at somevery prestigious schools; the most notableis the Guildhall School of Music in London,England. While at Guildhall he gainedrecognition winning the Kathleen FerrierCompetition, the Peter Pears Competition,and Guildhall’s Gold Medal.
The English journalist Bernard Levin oncewrote of the young Nathan Berg in TheTimes: “A Canadian baritone, Nathan Berg byname, with a voice not only powerful and fullof meaning, but of such velvet beauty thatthe comparison cannot be avoided: surelythe young Fischer-Dieskau sounded like this.”
Since his debut singing Messiah in Paris inDecember 1992, Berg has become knownfor his contributions in Early to Classical
music periods in opera and concert.Highlights from his earlier career includeperformances and recordings with Frenchearly music group Les Arts Florissants withwhom he recorded often. He also recordedDvorak’s Stabat Mater with the late RobertShaw and the Atlanta Symphony whichproved to be Shaw’s final recording and aGerman Lieder disc with pianist JuliusDrake.
Berg is an established recording artist withover 30 CD and DVD recordings to hisname – he is a JUNO Award winner andGrammy nominee. And in the two decadesthat his career has spanned he’s workedwith every important opera company andorchestra, and with the likes of Abbado,Ashkenazy, Boulez, Davis, Dohnanyi,Dutoit, Eschenbach, Mackerras, Masur,Maazel, Norrington, Ozawa, Salonen, and arecent recording of Beethoven Symphony9 with the San Francisco Orchestra andMichael Tilson-Thomas.
His achievements are exceptional. He is indemand around the globe for hisperformances ranging from the Baroque toWagner. And his SSO performance inMarch marks the first time that he hasperformed with our orchestra. This is a bigmoment for music here: it’s time tocelebrate a hero!
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Celebrating 30 Years!MICHAEL SWANCelebrating 30 years!
Saskatoon audiences have been veryprivileged. For 30 seasons, Michael Swanhas sat to the left of every conductor thathas taken the podium in Saskatoon. ButMichael’s contribution to the city’s musicallife has been so much more than simplysitting to the left of the conductor.
He began violin studies at age 5 withDorothy Overholt, and also studied withNorma Lee Bisha, Mark Reedman andRobert Klose as he was growing up. In1979, he was awarded the Gold Medal forthe highest standing in Canada for RoyalConservatory of Toronto ARCT violinexaminations.
Michael studied with Yuri Mazurkevich inthe Faculty of Music at the University ofWestern Ontario, receiving the Hideo SaitoAward for academic achievement in 1981and 1982. Afterwards, he studied at theCurtis Institute of Music in Philadelphiawith Aaron Rosand, receiving a Bachelor ofMusic degree in 1984.
Since September 1984, Michael has beenconcertmaster of the Saskatoon SymphonyOrchestra and a member of the SaskatoonSymphony Chamber Players. He has been asoloist with the orchestra a number oftimes in the Master Series and with theChamber Orchestra.
He performs solo recitals regularly, and hasseveral compositions to his credit. He hasbeen featured on CBC radio as a soloviolinist and as a composer.
Michael has been heard on the SSO stageas a composer – and music lovers in thecity have reveled in his solo concerts wherehe showcases his ability to play baroque tomodern repertoire.
Michael, for you years of dedication andmusic making, your orchestra andaudience salutes you!
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PotashCorp is proud to feed the future of the Saskatoon Symphony Orchestra and the performing arts in our community.
PotashCorp.com @PotashCorpSask
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NORTHERNLIGHTS
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10 mins
the 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 astyle for unabashed lyrical melodies andjoyous bright orchestral colours that Borealiswould require.
the composition is written in twomovements. the first movement is meant tobe awe-invoking and attempts to capture theethereal atmosphere of the lights of thenorthern skies; wide streams of bending,curving light that abruptly disappear andreappear. the ephemeral nature of thesecelestial happenings is represented by thesudden colourful outbursts followed bymovements of near silence. the movementbegins with the strings playing a major chordand then gradually glissing (bending thepitch) until they all arrive at a different chord;for me, this musical gesture captures theessence of bending curtains of light andserves as a recurring motive throughout thismovement. a solo flute introduces fragmentsof a melody; this melody is not heard in itsentirety until later in the piece when it isperformed by a solo bassoon and then anEnglish horn. the strings perform the melody
and the composition swells to its climaxfeaturing the brass and the sound splashesprovided by the percussion. the movementconcludes with a unique auditory effect inthe percussion section that again attempts toconvey the enchanting and magical quality ofthe borealis.
For the second movement, i wantedsomething that would be a formidablecontrast to the subtle nature of the firstmovement, a celebrated dance of celestiallight. the music for scherzo (meaning“playful”) has more of a fervent and animatedenergy to it being inspired by the notion ofdancing celestial lights (title changed toWondrous light, 2004). this movement isperhaps less of a literal musical representationof the borealis and is, instead, inspired bytheir energy and the speed at which thelights seem to zip through the evening skies.a nimble melody introduced by the oboe isdeveloped intervallically and rhythmicallythroughout the composition. sudden swellsin volume accompanied by quick glissandoswere inspired by the swirling curtains ofgreen light which twist and turn and vanishsuddenly in the night sky. towards theconclusion of this movement the nimbletheme is transformed into a noble melodyperformed as a traditional chorale by thetrombones, and then repeated by the fullorchestra. the conclusion of this pieceattempts to capture the majesty of theborealis — they have graced our northernskies since time began and will continue todance evermore.
credit: J Estacio
John Estacio – BorEalis
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tchaikovsky composed the concerto in 1878,while visiting clarens, switzerland.Dissatisfied with the original slow movement,he replaced it with the one known today. hesent the concerto to leopold auer, thedistinguished hungarian soloist. to his horror,auer declined to perform it, citing technicaland artistic shortcomings. crushed,tchaikovsky shelved it.
some time later, German soloist adolfBrodsky expressed an interest, then spent thebetter part of two years preparing to give thepremiere. that took place at a concert by thevienna Philharmonic, hans richterconducting, on December 4, 1881. theaudience loved Brodsky’s playing, but theyhissed the piece. the press, led by the archconservative critic Eduard hanslick, heapedabuse upon it, too.
Despite this initial hostility, the concerto lostlittle time in establishing itself as a concertfavourite. Brodsky’s continuing advocacy hadmuch to do with this. in gratitude,tchaikovsky changed his original dedicationplan, switching it from auer to Brodsky. auerlater changed his view. he became one of itsmost persuasive champions and made surethat his many pupils, including Jascha heifetz,performed it as well.
it is considerably less dramatic and morelightly scored than tchaikovsky’s onlyprevious concerto, the First for piano (1875).in breadth of conception and richness ofcontents, the opening movement is virtuallya complete concerto in itself. since bothprincipal themes are lyrical, tchaikovskyachieves the necessary contrast byalternating lightly scored passages for violinand orchestra, with more forceful sectionsscored for orchestra alone.
Woodwinds introduce the wistful, elegantsecond movement. the soloist uses a mute,giving the instrument a veiled, restrainedsound most appropriate to the music. thevivacious, folk-flavoured dance rhythms ofthe finale burst in abruptly. two warmcontrasting ideas are subjected to elaboratepresentation. the solo violin then leads off anexhilarating chase which brings the concertoto a dashing close.
credit: D anderson
intErval - 20 mins
Plotr ilyich tchaikovsky – violin concErto in D MaJor, oP 38
35 mins
i. allegro moderato (D Major)
ii. canzonetta: andante (G minor)
iii. Finale: allegro vivacissimo (D Major)
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Dedicated to Baron axel carpelan
in 1900, Baron axel carpelan wrote to sibeliusand, citing italy’s positive effects ontchaikovsky and strauss, recommended thatsibelius travel there. Depressed by the deathof his youngest daughter, sibelius was helpedimmensely by his italian journey.
During his stay in rapallo from February toMay 1901, he was able to sketch what wouldbecome the second of his seven symphonies.originally conceived as a four-movementorchestral fantasy, symphony #2 wasassigned a program by sibelius’s friend,conductor robert kajanus. sibelius rejectedany specific nationalistic or patriotic programassigned to his symphony #2, although theFinnish character of the work isunquestionable.
an ardent Finnish nationalist, sibelius was avery individual composer. although he livedwell into the twentieth century, his music isnot like that of Bartok or hindemith; sibeliuswas a romanticist who composed in a latenineteenth-century style.
however, following a concert of his music inGermany, sibelius became an internationalfigure and began to respond to currents incontemporary music. the five symphoniesafter symphony #2 are marked by thinnerorchestration and increased use ofdissonance. however, despite his symphonicmasterworks, sibelius did not and could not
speak the language of musical modernism.he published no music during the last 30years of his life and none survives thatperiod.his musical aesthetic favours thesense-impressions of symbolism andintegration of thematic material, rather thantending to modernist abstraction. thesymbolist idea of tone-painting –representing the physical world in music – isapparently one that appealed to sibelius. insymphony #2, fjords, icy lakes, and cold windare images that the listener can’t helpexperiencing. kalevala, a Finnish folk-epic,had attracted sibelius from his youthonwards. his translation of the kalevala intomusic via tone-painting is, more than overtnationalism, what gives symphony #2 itssense of local flavour. it accounts for themystical and organic character of the music.
Premiered March 8, 1902, the symphony wasan instant success. By 1940, sibelius’s musicwas all the rage in america. By the time of hisdeath in 1957, his music had all butdisappeared. it was “rediscovered” in the1970s and has remained in the repertoireuntil the present day.
credit J sundram
JEan siBEliUs – syMPhony no. 2 in D MaJor, oPUs 43
45 minutes
i. allegrettoii. tempo andante, ma rubatoiii. vivacissimoiv. Finale: allegro moderato
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Marc Bouchkov violinMarc Bouchkov’s artistry is driven byexpression. his violin playing is grounded notonly in a thorough knowledge of the score,the historical content and the authenticity ofthe interpretation, but also in his belief thatperformance is a way to communicatedirectly with his listeners. the closeness of theviolin’s sound to the human voice is hisinspiration for expressing feelings andemotions in music, turning these into amusical experience for the audience.
Marc Bouchkov was born 1991 into a family ofmusicians. he received his first lessons at theage of five from his grandfather, Mattisvaitsner. his first public appearance was justone year later. in 2001, he joined claireBernard’s studio at the lyon conservatoirenational supérieur de Musique; he transferredto the Paris conservatoire national supérieurde Musique (cnsM) in 2007. there, he beganstudies with Boris Garlitzky, who has been hismentor ever since, and offers him invaluableguidance for honing his craft. the followingyears saw participation in master classes and
invitations to festivals in Moulin d‘ande, troyes, and Bordeaux (France), viterbo (italy) and newhampshire (Usa).
Marc Bouchkov’s artistic development has been marked by numerous international prizes andawards. he won First Prize at the highly-regarded “international violin contest henri koch,” aswell as at the “2010 European young concert artists audition” in leipzig. that same year, hereceived the First Prize for violin with special Distinction from the Jury at the cnsM Paris; theprestigious Ebel Prize followed in 2011. in 2012, he was a finalist and award-winner at the 2012“Queen Elizabeth competition” in Brussels. in 2013, he won First Prize at the “Montrealinternational Musical competition,” and was named an award-winner of the stiftung Juventusby Georges Gara.
as a concert artist, Marc Bouchkov has enjoyed a rapidly growing career. alongside numerousrecitals in hamburg, at the Montpellier Festival, at the théâtre de la ville de Paris, at theinternational Musical olympus Festival in st. Petersburg and in Montreal, his collaborationswith orchestras such as the Belgian national orchestra, the royal Philharmonic orchestra ofliège, the Filharmonia lodz, the Moscow Philharmonic orchestra and the staatsorchesterrheinische Philharmonie are becoming ever more extensive.
in the 2014/15 season, he will make his debut with the nDr-sinfonieorchester in hamburg. aperformance of Brahms’ violin concerto with the Düsseldorfer symphoniker as part of a balletproduction of the Deutsche oper am rhein, with choreography by Mats Ek, will be anotherhighlight of the season.
Marc Bouchkov is sponsored by Brigitte Feldtmann, who has provided him with a violin byJean Baptiste vuillaume, Paris, 1865.
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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
Janet hill
Jack hillson
kimiko hirose
stuart & Mary houston
neil r hughes
hume Family Fund*
Donors This Season
InTune_Northern.Lights.qxp_InTune 2015-01-21 2:04 PM Page 27
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 & Estates Managementinc.
Jacques lanteigne
Frederick leighton
leland kimpinski llP
Joyce & karl lenz
shelly loeffler
Mairin loewen
Brent longstaff
Brenda & Wayne MacDonald
colin Macdonald & theresaskwara*
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 & Ellen Parchomchuk
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
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
InTune_Northern.Lights.qxp_InTune 2015-01-21 2:04 PM Page 28
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 Mae Meedssider Fund*
audrey & Peter siemens
Bonnie & Grant skomorowski
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
*Gifts made through thesaskatoon communityassociation
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.
InTune_Northern.Lights.qxp_InTune 2015-01-21 2:04 PM Page 29
January28 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
March4 TIME FOR TODDLERSWednesday, March 4, 2015, sso rehearsal hall, 408 20th st. W, 9:30 pm
15 THE HOCKEY SWEATER (FAMILY SPECIAL)sunday, March 15, 2015 sasktel centre, 2:00 pm
20/21 THE SINKING OF THE TITANIC, THE CORE AT PAVED ARTSFriday, March 20, 2015, PavED arts, 424 20th st W, 7:30 pm
saturday, March 21, 2015, PavED arts, 424 20th st W, 7:30 pm
28 SASKATCHEWAN CELEBRATION (MASTERS SERIES)saturday, March 28, 2015, tcU Place, sid Buckwold theatre, 7:30 pm
www.saskatoonsymphony.org
Upcoming Events
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InTune_Northern.Lights.qxp_InTune 2015-01-21 2:04 PM Page 31
thestarphoenix.com
PROUDLY SUPPORTINGOUR SASKATOON SYMPHONY
We are proud to deliver the content you trust in print;online on your desktop, tablet and smartphone;and through social channels as part of your day.
The StarPhoenix has continued to evolve as part of this communityfor more than 110 years and we are proud to support
the Saskatoon Symphony Orchestra.
SHARE inthe
FUTUREa seat will be reserved for you at a special concert this November
dollar by the Frank and Ellen Remai Foundation and for every gift of $100ble donation will be generously matched dollar forYour tax deduct
or call Angela at 306.665.6414 saskatoonsymphony.org/share-in-the-futureFor more information visit
SASKATOON SYMPHONY ORCHESTRA
InTune_Northern.Lights.qxp_InTune 2015-01-21 2:04 PM Page 32