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North of the 49th - Front.pdf 1 2016-01-18 1:43 PM
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Greetings from our Executive Director
Sometimes a concert is more than just a concert.
Tonight we are among the privileged; we get to experience something that no one else on earth tonight will experience. Tanya Tagaq is in a class truly her own. There is literally no one who does what she does, and that is really magical. To bring this kind of artistic moment to our audience is really a highlight of the SSO’s history.
Tonight is not like a regular night at the symphony. This is not passive music, and we do not want you to experience it passively. This is music that you’re going to have to listen to. It’s going to challenge your expectations of what a concert is and I hope that it begins to set a new trend.
We are very proud to feature the music of Cree composer Andrew Balfour and thrilled to have Barbara Croall and her music on stage with us tonight. I believe that tonight stands as a testament to Canada coming in to its golden age of classical music. As we approach our 150th birthday as a nation, we are beginning to genuinely develop our own national sound—and if this concert plays only a tiny role in it, then we’ve accomplished a lot.
It would be impossible to not recognize that the traditions Europeans brought with them to their new world caused much damage. In days not so long ago, racism and a need for power kept the voices of equality and respect and graciousness and peace silent. In very recent days, our society failed to act, failed to help, failed to understand.
It is our hope that through the arts, through making music boldly, through humility, and through sharing stories and making new ones that we can begin to heal as a people.
Tonight please allow yourself to feel deeply, to hear music with new ears. And enjoy music-making at its most powerful.
Mark TurnerExecutive DirectorSaskatoon Symphony Orchestra
HONOURARY PATRONSHonourable Brad Wall, Premier of Saskatchewan, and Mrs. Tami Wall
His Worship, Mayor Donald J. Atchison and Mrs. Mardelle Atchison
SASKATOON SYMPHONY CENTRE408 20th Street WestSaskatoon, SK S7M 0X4
Telephone: 306.665.6414Fax: [email protected]
www.saskatoonsymphony.org
GROUP SALESTelephone: 306.665.6414 [email protected]
TCU PLACE BOX OFFICEwww.tcutickets.ca
Phone: 306.975.7799
Eric Paetkau, Music Director
Mark Turner, Executive Director
Angela Kempf, Director of Development
Natal Laycock, Office Manager
Karen Reynaud, Director of Operations
Terry Heckman, Director of Personnel
Lillian Jen-Payzant, Orchestral Librarian
Bryan Allen , Production Assistant
Electric Umbrella, Marketing Consultants
Saskatoon Symphony Board and Administration
Jacqueline Ackerman
Sarah Alford
Judy Balon
Rob Dobrohoczki
Shawn Heinz
Robert Hendry
Cindy Kildaw
Teresa KnoglerNeil Reddekopp
Bryn Richards, Chair
Sharon Thomas
www.facebook.com/SaskatoonSymphonyTwitter: @SSOyxeInstagram: SSOyxe
CONNECT WITH THE SSO
BOARD OF DIRECTORS
SSO MANAGEMENT AND STAFF
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Peter Stoicheff, President, University of Saskatchewan
MUSIC DIRECTOREric Paetkau Podium supported by Mary Marino in memory of Lucia Marino
VIOLIN 1Michael Swan ConcertmasterChair supported by CEL Electrical ContractorsWilliam Boan Assistant ConcertmasterMary Lou DayLillian Jen-PayzantJoan SavageMarcel van den HurkSimon FannerMaxim Pletnev
VIOLIN 2Oxana Ossiptchouk PrincipalChair supported by Kathryn Warden & Peter StoicheffKaren BindleSophie McBeanArthur Boan (On Leave)Evan Friesen
VIOLAJames Legge PrincipalChair supported by the Viola Section of theSaskatoon Philharmonic OrchestraSaache HeinrichHeather WilsonMiles BuchwaldtStacey MennieJeremy Janzen
CELLOLahni Russell PrincipalChair supported by Sandra Beardsall, BillRichards, Esther Cherland, David JoblingJohn PayzantBernadette WilsonCarman RabukaChristina BakanecScott McKnight
BASSRichard Carnegie PrincipalChair in memory of Wayne TurnerDavid HumphreyDavid Grosse (On Leave)Stephen KreugerZachary Carter
FLUTERandi Nelson PrincipalChair supported by Lilian & Doug ThorpeBrenda Moats (Flute, Piccolo)
OBOEErin Brophey PrincipalChair supported by Anne & Neil ReddekoppKevin Junk (Oboe, English Horn)
CLARINETMargaret Wilson PrincipalMelissa Goodchild
BASSOONStephanie Unverricht PrincipalChair supported by Mary Marino &Chris KentMarie Sellar (Bassoon, Contrabassoon)
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Cole Morrison
HORNCarol-Marie Cottin PrincipalChair supported by William & Suzanne DustArlene ShiplettDubrena Bradley (On Leave)Anna MillanMathew James
TRUMPETTerry Heckman PrincipalDaniel FunkDean McNeill
TROMBONEDon Schmidt PrincipalBrian UnverrichtDawn McLean Belyk
TUBABrent Longstaff PrincipalChair supported by Electric Umbrella
TIMPANIDarrell Bueckert Principal
PERCUSSIONBryan Allen PrincipalChair supported by the Ewing Family inmemory of Earl & Mary EwingKevin Grady
KEYBOARDGillian Lyons Principal
BASSOON EMERITUSPeter Gravlin
Personnel varies by concert. We gratefullyacknowledge the support of additional musi-cians who perform with the orchestra whenlarger works are presented.
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Violin 1: Sam Milner, Jerry He
Violin 2: Kristan Couture, Emily Hooge, Evan Barber, Brandon Johnson
Bass: Emmett Fortosky
Flute: Jennifer McAllister
English Horn: Carl Hofmeister
Bass Clarinet: Alyssa Thompson
Bassoon: Kayla McKenzie
Trumpet: Frank Harrington
Harp: Cecile Denis
Our Named Principal Chair Program offers a
unique opportunity for music lovers and donors
to be recognized for their gifts and allows you
to foster deeper and personally meaningful
connections with the orchestra. A Named
Principal Chair presents the opportunity for an
individual, 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 your
orchestra. This program will provide you with
an important link to our musicians and artistic
team. To name your chair, please contact
Angela Kempf at 306.665.6414 or email
The Importance of Jan
Anyone can play piano. In fact, when I used to teach piano, I joked with students that an apple can play the piano...drop it on the keys and it makes noise. It takes a lot of hard work and brain power to be able to play the piano proficiently. And reckless dedication and a drive to become so accomplished that someone would hire you to play piano.
There are literally hundreds of concert pianists in the world—thousands, in fact—and of those, only a meager handful who achieves some recognition for their playing that they become “famous.”
I met Jan Lisiecki a few years ago in the lobby of a concert hall after a performance he gave of a Chopin concerto. I could hardly speak for the rest of the night. I had witnessed a 14-year-old play with such integrity and passion and refinement that I felt completely overwhelmed. A few months later, I had the privilege of producing his first recital in Saskatoon. What I witnessed was a pianist who had such an incredible amount of fun making music that it showed through to everyone in the room.
I have been fortunate to see Jan perform nearly 20 concertos with orchestras all over North America—and I never know what to expect. To be clear, he is never flashy...he never tries to impress anyone. In fact, he doesn’t care at all if he impresses you or not.
This is what sets Jan apart from the pack of pianists, and why his CDs and concerts outsell nearly every other classical artist in the world. He wants to present performances that would make the composer happy—where every note, every phrase has been given its due care to ensure that the tone, the attack, the release, everything has a purpose within the greater piece.
While watching Jan play in New York a few years ago I was aware, maybe for the first time, what it meant to be an artist. It is a quiet and humble confidence that allows the music to speak for itself. Without flash and fireworks. Just colour and sound.
Beethoven’s incredible 4th piano concerto deserves this level of integrity. I promise you the evening will be amongst the most captivating and enriching experiences of the whole year.
– Mark Turner, SSO ED
Erin Brophey is the SSO’s principal oboe – on top of her playing she is also instrumental as curator of the PAVED Arts Core Series.
When did you join the SSO?September 2010
How did you become interested in music earlier in your life?My mother always cleaned to classical music. I still associate Tchaikovsky’s 1812 Overture with vacuuming and lemon scent.
How did you pick your instrument?I really liked the name. Seriously. I didn’t know what it looked or sounded like until it arrived in the mail.
When and how did you learn to play your instrument? Do you have your own way of learning/practicing?I learned from the great oboe master, Jim Mason (former SSO principal oboe) primarily in music school. I have to make reeds for my instrument to make sound. I spend most of my time reed-making.
What piece of music do you love so much you could play again and again?Anything by Brahms.
What’s the best advice you ever received in your career?Always be prepared and make more reeds than you think you need.
If you could work with one musician/composer/conductor, living or dead, who would it be and why?Poulenc. Based on the music he wrote, I believe he must have had a terrific sense of humour. I betcha I’d enjoy dinner with him.
Do you get nervous before performances? If so, how do you calm your nerves?I get excited more than nervous. I meditate to focus.
What’s the best thing about being a musician?The music. Always the music. I love being surrounded by it.
What is your hope for the future of classical music in Saskatoon?I hope that the classical music continues to serve this community by providing a unique experience of temporal musical beauty that transcends the mundanity of everyday lives.
Erin Brophey
Tanya Tagaq
Tanya Tagaq’s music isn’t like anything you’ve heard before. Unnerving and exquisite, Tagaq’s unique vocal expression may be rooted in Inuit throat singing but her music has as much to do with electronica, industrial and metal influences as it does with traditional culture.
This Inuk punk is known for delivering fearsome, elemental performances that are visceral and physical, heaving and breathing and alive. Her shows draw incredulous response from worldwide audiences, and Tagaq’s tours tend to jump back and forth over the map of the world. From a Mexican EDM festival to Carnegie Hall, her music and performances transcend language.
Tagaq makes musical friends and collaborators with an array of like-minded talents: opera singers, avant-garde violin composers, experimental DJs, all cutting edge and challenging. Tanya’s albums make for complex listening, but her string of Juno nominations attests to her ability to make difficult music speak a universal tongue. She’s worked with artists as varied as Björk, Fucked Up, Kronos Quartet, Mike Patton and the Royal Winnipeg Ballet.
Tagaq’s newest CD, Animism, won the Polaris Music Prize in 2014 and a Juno Award in 2015. The album was produced by west coast shape-shifter Jesse Zubot (Dan Mangan, Fond of Tigers) with additional production by Juan Hernandez. The record features live programmer Michael Red (Low Indigo), percussionist Jean Martin and Belgian opera singer Anna Pardo Canedo.
North of the 49th
Thunderchild First Nations Song
Interlude Morning – Edvard Grieg
Manitou Sky – Andrew Balfour
Death of Ase – Edvard Grieg
Old and Lost Rivers – Tobias Picker
Anitra’s Dance – Edvard Grieg
Midwewe’igan (Sound of the Drum) – Barbara Croall with Barbara Croall and Rod Nettagog
INTeRvAL
Ingrid’s Lament – Edvard GriegHomecomingSolveig’s Song
Cercle du Nord III – Derek Charkewith Tanya Tagaq
Program Notes
MIDWeWe’IGAN (SOUND OF THe DRUM)
This “sound poem” for symphony orchestra and two Anishinaabeg soloists (Barbara Croall/Waasikogammisinikwe, Giniw dodem, Odawa; Rod Nettagog/Sin Aankote, Makwa dodem, Ojibwe) evokes the Anishinaabeg tradition of “call and response” drumming, singing and message calling across the lakes of Manidoo Mnissing (Manitoulin Island). Maang (Loon) announces the beginning of dusk as the setting sun touches the water and begins to sink down into the depths. As the evening sky grows darker, two singers call and sing to one another back and forth with their voices, shakers and drums across the echoing surface of a deep and calm lake, with the breaths and whisperings of winds intermingled with ancestral voices and ethereal sounds of the nibi manidoog (water spirit beings) who protect the waters. The constant presence of gete dewe’igan (ancient great drum), that seems to sound deep from within the water’s depths, also resounds—reminding us of the heartbeat of the earth and medicine that the sound of the drum brings for all of us. Finally, with the blackness of night and stars shining down at their reflections on the smooth water, Maang sings her final mournful song before she herself descends down into the deep water and disappears.
All songs sung (including Anishinaabemowin texts) and played on the pipigwan by Barbara Croall are her own original traditional songs. All songs sung and called by Rod Nettagog are his own original traditional songs.
Cercle du Nord III
Cercle du Nord III attempts to capture a sonic environment of the Canadian far north. Trips to Inuvik, Northwest Territories provided many of the natural sounds, including: birds, dogs, dog sledding, walking and running in the snow, and wind. As I was trying to capture these sounds I found sounds of modern life infiltrating the pristine environment. Snowmobiles, trucks driving on the ice roads and a pervasive hum of the Inuvik power plant. I added the sound of a synthesizer, shakers and a grunting flute sound. These were recorded in my home studio. For much of the piece the string quartet hockets material between two or more voices, similar to the Katajak games played between two singers. Fiddle music is big in the north. I choose to highlight this by using a quasi fiddle tune passed between all the instruments early on. Grinding sounds produced by circle bowing are incorporated. As the piece progresses a synthesizer is added into the texture bringing a hint of electronica into the soundscape. The soundscape of the North has changed. I wanted to reflect this change. Rather than create an ethereal sonic landscape of the idyllic north I choose to look for something more fitting of our times.
Derek Charke
Thunderchild First Nation Drummers and Singers
Males Sage CheenanowDarius BullTerron OkaneeMagic Wapass
Teachers:Mr. Everett OkaneeMr. John NoonMr. Ryan Baptiste
FemalesJeana TakakenewMadison ArmstrongLesha Small BoyDestiny Net MakerWanda Small ChildShakira Wuttunee HillNicole FrenchmanJenuwyn PaddyReece Sun Child
Teachers:Mrs. Linda HarrisMrs. Doreen CarrierMs. Suzy Lister
Saskatoon Youth Orchestra
The Saskatoon Youth Orchestra has been offering young musicians the chance to have fun, make friends and improve their playing skills since 1958.
Then known as the Saskatoon Junior Symphony, the ensemble came about thanks to funding from the Kiwanis Club and the hard work of passionate local orchestral music lovers with ties to the SSO.
Its music directors have included founder Murray Adaskin, Dr. David Kaplan, Dwain Nelson, Jack Johnson, Wayne Toews and George Charpentier.
The youth orchestra remains an important source of the city’s classical musicians. Many SYO alumni have gone on to share their talent as professional performers or educators. Many others have become leaders in the community.
The SYO serves elementary, high school, and university students from Saskatoon and surrounding communities, and consists of two programs.
The Saskatoon Youth Orchestra is a full orchestra for players aged 12 to 25 under the direction of Richard Carnegie. Repertoire consists of professional calibre music in a broad range of styles.
The Saskatoon Strings is a string ensemble for players aged 10-18 under the direction of Bernadette Wilson. Both Carnegie and Wilson are members of the Saskatoon Symphony Orchestra, as are the sectional instructors for the SYO program.
Our players study privately and audition for membership. The SYO Inc. strives to offer opportunities for our musicians to become involved in educational programs, leadership activities and community engagement.
Orchestral Open HouseThe SYO is inviting young musicians to take part in an Orchestral Open House on Sunday, Feb. 7, 2016 from 4-7 p.m.
Players will get a free lesson with our sectional instructors and then join the full SYO for part of the rehearsal. This is a great chance to see if orchestral music is a good fit. If you know of a musician who might be interested, please ask them to register at [email protected].
SYO Players 2015-2016FluteNicole ToewsBonnie YangSandi YangKyle Myrfield
Oboe Ben BlackCarl HofmeisterGlenda LindgrenDaniel Zhou
ClarinetBrady AndersonXavier CostermansMaribeth GauthierAlice Li
BassoonIan MeadowsZachary SenickGary Liu
French HornAndy EdwardsAndrew KimEmmanuella Oyenuga
TrumpetNicholas ArsenaultNathaniel ChristianErnest Li
TromboneSpencer KripsMorgan TannisAllen Yang
TubaJamie Bell
violin IWilliam BoanSimone FriesenJerry HeClaire HeinrichsBrandon JohnsonVeronica KmiechHannah Lissel-DeCorbyAva LeschyshynErica PietroniroHannah WegerSteven Zhang
violin IIWalker BarsiKatherine ColeJeanny J ungKira KoehlerEmma NeufeldJenna PolischukNikoo SoltanJessie TangFanny WangBingyi WuMelanie Pudifin-Laverty
violaAida Lissel-DeCorby Ryan McMurtrySamara St. LouisNathan ter VeldeSarah ter Velde
CelloLyreshia ChanthasiryAmos FriesenErinna McMurtryLouisa SelbyRoscoe SmithDarren ter VeldeJerome Wang
BassBen De CeccoNathan GroatBen KmiechLeo LanieceRhett Schroeder
PercussionFraser KripsAnya Pogorelova
Barbara Croall
Barbara Croall (Waasikogammisinikwe/’Shining Water Woman’) is Odawa First Nation (Giniw dodem, Manidoo Mnissing) and balances her time composing, performing and teaching music, with work in outdoor education rooted in traditional Anishinaabeg teachings, work with Aboriginal youth and singing in traditional ceremonies. A graduate
of the Hochschule für Musik in Munich, Germany (Meisterklassendiplom – Aufbaustudium) and the University of Toronto (Bachelor of Music in Composition), other music composition studies include with: Dr. Samuel Dolin (Glenn Gould School/RCM, Toronto); Sir Peter Maxwell-Davies and Robert Saxton (Scottish Chamber Orchestra, Orkney); and Helmut Lachenmann (Centre Acanthes, France). In the fall of 2014 she was the invited guest lecturer for the Lise Waxer Memorial Lecture Series at York University (Toronto), with her lecture topic “Water Keepers Through Song”—about the deep historical and continuing connections between Midewiwin beliefs, Anishinaabeg women’s singing traditions and lifeways, and Anishinaabeg methods of water ecology of the Great Lakes System and its related tributaries. As a cancer survivor, her own holistic recovery drew her attention to the interconnections between First Nations women’s health, community water quality and Anishinaabeg women’s knowledge of plant medicines.
The first instruments she learned to play at the age of five were the traditional Anishinaabe wooden flute (pipigwan) and the drum (dewe’igan)—also when she also began composing her own music in the oral tradition. This followed with studies in classical piano with Melissa Vandendool and Irina Kugucheva (Royal Conservatory of Music, Toronto), eventually receiving her ARCT in Piano Performance. In addition to performing in piano masterclasses with Boris Lysenko, she has also studied chamber music/instrumental accompaniment/vocal accompaniment with Irina Kugucheva, Mariana Rosenfeld-Milkis, Andras Webber and Leslie Kinton (Royal Conservatory of Music/Glenn Gould School), as well as piano duo performance with Walter Buczynski (Faculty of Music, University of Toronto).
Apart from her music for traditional First Nations flutes and voice in the Anishinaabe way, her music for soloists, chamber ensembles, orchestra, film, theatre, dance and interdisciplinary performance has been premiered internationally (Lithuania, Finland, Switzerland, Germany, France, Italy, Greece, UK, US, Korea, Mexico, and Bulgaria) and across Canada. In 2002 she was commissioned to compose the incidental and theme music for the Opening Ceremonies of the 2002 North American Indigenous Games in Winnipeg. From
1998 to 2000 she was Composer-in-Residence with the Toronto Symphony Orchestra, working under Finnish conductor Jukka-Pekka Saraste. She also performs as a soloist (traditional First Nations flutes/voice/other instruments) with orchestras across Canada and the US, and has frequently been a guest composer and performer at the National Museum of the American Indian in Washington D.C..
In the summer of 2015 she toured Switzerland, Italy and Germany performing recital programs of works for solo pipigwan and solo piano.
Recording credits of her music and performances include: CBC Radio One, CBC Radio Two, Bayerische Rundfunk-Bayern 3, Deutsche Radio Swiss (DRS-II), Radio France, Italian National Television, APTN (Aboriginal Peoples Television Network, Canada), Kennedy Center Live Broadcasts (Washington DC). Awards include: the Glenn Gould Award in Composition (1989), numerous scholarships at the Royal Conservatory of Music/Glenn Gould School (1992-96) and awards from the National Aboriginal Achievement Foundation (1993-98), three nominations for the K.M. Hunter Award (2003, 2007, 2012), a Visual and Expressive Arts Program Award (National Museum of the American Indian, 2009), and a Dora Mavor Awards nomination (2012).
Barbara is also the founder and director of Women of the Four Directions (WFD), promoting Indigenous women’s artistic and cultural activities. She has also served as an Advisory Board Member of the First Nations Composers’ Initiative (FNCI).
For more information about Barbara Croall, visit: www.barbaracroall.ca
Rod (Minaade Sin Aankote/”Bluestone Cloud”)
Rod (Minaade Sin Aankote/“Bluestone Cloud”) is Ojibwe from Henvey Inlet First Nation and lives in Hamilton, Ontario. He has been singing, dancing and drumming for over two decades. He is regularly invited to powwows, aboriginal cultural events and for in-school presentations with the Bluestone Cloud Drum throughout Ontario, and he has been powwow MC in the French River area.
Rod has also been a featured guest artist with the Kitchener-Waterloo Symphony Orchestra and the Guelph Symphony Orchestra, performing along with composer/musician Barbara Croall (Odawa) in her orchestral work Midwewe’igan (Sound of the Drum), as a Lead Singer/Drummer/Actor in her theatre production Gookom’s Purse, and as ‘Bear Man’ in the world première performance of her orchestral theatre work Wezoowaad Anang (Shooting Star) honouring the memory, life and contributions of Shawnee leader, Tecumseh. Rod also portrayed a ‘warrior’ in the documentary film, A Desert Between Us and Them: South Western Ontario During the War of 1812—commemorating the role of First Nations in the War of 1812.
Rod has been a cultural facilitator/outreach worker for Niwasa Headstart Program, and cultural support worker for the Nya;weh Program at Sir John A. Macdonald Secondary School, Parkview Secondary School and Cathedral High School (Hamilton, Ontario). He continues to share about the culture throughout the community, teaching traditional drumming and singing at hosted events and local schools. Rod sits on the Youth and Elders Committee at the Aboriginal Health Centre in Hamilton (De dwa dehs nye>s), and also sits on powwow organizing committees in the Hamilton area (including “Protecting Mother Earth”) and in his home community in Northern Ontario. Rod teaches drumming from the core traditional values and teachings about the traditional “Grandfather Drum” and its role for the community: what the drum held in the past for our ancestors; what it holds today for our youth, families and wellness; and what the drum carries toward the future for First Nations and Aboriginal peoples. Rod and his drum group, Bluestone Cloud, can be heard regularly on the powwow circuit throughout Ontario.
Upcoming Events
After Dark �- New Music
Jan LisieckiVivaldi Gloria!
Beethoven 9Time for ToddlersA Musical Surprise
Sunday Chamber Series
Back to Back - Elton �and Billy
Appalachian Spring
What �s the Weather����� �
After Dark �- New Music
Jan LisieckiVivaldi Gloria!
Beethoven 9Time for ToddlersA Musical Surprise
Sunday Chamber Series
Back to Back - Elton �and Billy
Appalachian Spring
What �s the Weather����� �
After Dark �- New Music
Jan LisieckiVivaldi Gloria!
Beethoven 9Time for ToddlersA Musical Surprise
Sunday Chamber Series
Back to Back - Elton �and Billy
Appalachian Spring
What �s the Weather����� � FeBRUARY 5 & 6 | 8:30pm
SSO Studio, 408 20th Street W
FeBRUARY 14 | 2:00pm
JANUARY 27 | 9:30am
MARCH 12 | 7:30pm
Knox United Church, 838 Spadina Cres. E
SSO Rehearsal Hall, 408 20th Street W
TCU Place, Sid Buckwold Theatre 35 - 22nd Street E
After Dark �- New Music
Jan LisieckiVivaldi Gloria!
Beethoven 9Time for ToddlersA Musical Surprise
Sunday Chamber Series
Back to Back - Elton �and Billy
Appalachian Spring
What �s the Weather����� �
MARCH 5 | 7:30pm
TCU Place, Sid Buckwold Theatre 35 - 22nd Street E
After Dark �- New Music
Jan LisieckiVivaldi Gloria!
Beethoven 9Time for ToddlersA Musical Surprise
Sunday Chamber Series
Back to Back - Elton �and Billy
Appalachian Spring
What �s the Weather����� � ’
After Dark �- New Music
Jan LisieckiVivaldi Gloria!
Beethoven 9Time for ToddlersA Musical Surprise
Sunday Chamber Series
Back to Back - Elton �and Billy
Appalachian Spring
What �s the Weather����� �
After Dark �- New Music
Jan LisieckiVivaldi Gloria!
Beethoven 9Time for ToddlersA Musical Surprise
Sunday Chamber Series
Back to Back - Elton �and Billy
Appalachian Spring
What �s the Weather����� �
APRIL17 | 2:00pm
MAY 14 | 7:30pm
Delta Bessborough Hotel, 601 Spadina Cres. E
TCU Place, Sid Buckwold Theatre 35 - 22nd Street E
After Dark �- New Music
Jan LisieckiVivaldi Gloria!
Beethoven 9Time for ToddlersA Musical Surprise
Sunday Chamber Series
Back to Back - Elton �and Billy
Appalachian Spring
What �s the Weather����� �
APRIL 30 | 7:30pm
TCU Place, Sid Buckwold Theatre 35 - 22nd Street E
After Dark �- New Music
Jan LisieckiVivaldi Gloria!
Beethoven 9Time for ToddlersA Musical Surprise
Sunday Chamber Series
Back to Back - Elton �and Billy
Appalachian Spring
What �s the Weather����� �
APRIL 6 | 9:30am and 11:00am
SSO Rehearsal Hall, 408 20th Street W
After Dark �- New Music
Jan LisieckiVivaldi Gloria!
Beethoven 9Time for ToddlersA Musical Surprise
Sunday Chamber Series
Back to Back - Elton �and Billy
Appalachian Spring
What �s the Weather����� �
APRIL 2 | 7:30pm
TCU Place, Sid Buckwold Theatre 35 - 22nd Street E
After Dark �- New Music
Jan LisieckiVivaldi Gloria!
Beethoven 9Time for ToddlersA Musical Surprise
Sunday Chamber Series
Back to Back - Elton �and Billy
Appalachian Spring
What �s the Weather����� �
Thank you, donors!
The SSO would like to recognize the extraordinary philanthropic commitment of the Frank & Ellen Remai Foundation.
Sustaining Supporters
Patrons’ Club Level
Cameco CorporationCEL Electrical ContractorsConexus Credit UnionKen Coutu & Penelope StalkerAdele & Gene Dupuis / Prairie MeatsLynn Ewing & Bill FeldbrueggeAnnette & Monty Keene Pishny FloydFlorence Joan Foss EstateConnie GutwinRuth Horlick EstateVic HuardRoger & Marie JollyTeresa & Eric KnoglerMary Marino & Chris Kent
Floyd McNabb Estate in memory of Effie McNabb
New Community Credit UnionJanet & Art PostlePotash Corporation of SaskatchewanAnne & Neil ReddekoppBill Richards & Sandra BeardsallDarla Saunders & Bruce HarrisonElsie SchneidermanSSO Book & Music SaleSaskatoon FastprintSaskEnergySaskTelTD Canada TrustDoug & Lilian Thorpe
Sarah Alford & Brent TiessenJudy & Percy BalonDaniel Béland & Angela KempfDavid & Christine BirdRichard Burton & Joy McFarlane-BurtonYvonne Cuttle Anne Doig & Bob CowanBev & Murray DrewWilliam & Suzanne DustElectric UmbrellaShelley Ewing & Kenneth KutzMark GrybaAnne & Elmer Guenther Connie & Chris HaunspergerSharon Hildebrand & Ken ThomasJohn Jamieson & Wendy Maguire Kaze Family FoundationJohn & Myrna KingAnna Klassen Fund*
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APRIL 6 | 9:30am and 11:00am
SSO Rehearsal Hall, 408 20th Street W
Donors in SeasonMichelle Aalders, RMTJoe & Connie AbrookShirley AccletonJacquie AckermanMurray & Pamella ActonSylvia Acton & Donald
ActonL. Joan AdairSina Adl & Susan O’HaraKerry AgnewGlen & Brenda AikenheadSharon & Wayne AlfordClara AlfordGlorya & Gerald AllbrightKathy AllenVanessa AmyNicolette AnandBrady AndersonInger AndersonCaroline AschenbrenerDonna & Don BaileyBarb BaillodLeslie BalsevichGordon Peters & Geraldine
BalzerElaine Baptie & Chloe
RunallsElizabeth BaranJudy BarrettHerta BarronHeidi BartschPeta BatesJan & Adam Baxter-JonesAndrew BeatonJessica BeaulacC. R. BeaulieuDianne BekolayAnna BekolayBernie & Cheryl BelauDarrell BellMerlis BelsherKathleen BenderErin BentleyThe Bentley SaskatoonDouglas BerntsonDiane BestvaterJeanette & Gary BewsMikelis BickisJane Bickis
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Fund*Carolyn Yong-HingDwight YoungNancy YoungDylan YoungstromJune & Thomas Zurowski
Our donor recognition policy is continuing to evolve, and we appreciate your continued assistance in helping us to ensure that we have your preferred names or anonymity requests for future donor acknowledgements. If you would like to change the way we display your name or your name has been accidentally omitted, please contact Angela Kempf, Director of Development, at [email protected] or 306-665-6414
Thank you for all gifts made anonymously.
*Gifts made through the Saskatoon Community FoundationList covers January 1 1, 2014 – December 31, 2015
The Rabbit of the Orchestra
For three generations now, young people have had their first taste of classical music through a wascally wabbit who set the bar very high. Whether you know it or not, Bugs, Sylvester, Porky, Tweety, Daffy and Elmer Fudd were teaching you what good music was. If the original creators of Bugs Bunny and Looney Tunes planned to make people fall in love with music, they may not have been as successful. Instead, they went about using the music of Wagner and Rossini and Liszt as the launch pads of comedy.
For many of us, when we read the words “magic helmet” we have a collective experience of hearing the music in our minds and it never fails to spark our imagination and hopefully, the beginnings of a smile. This is the impact one cartoon rabbit had on classical music.
And now, for his 75th birthday the SSO is celebrating Bugs Bunny and his crazy friends.
Picture it: a giant screen suspended above the stage, and as your favourite characters romp and sing on the screen, your favourite orchestra plays the live soundtrack. When Bugs sings “Welcome to my shop,” the SSO will be right there with him.
This marks the high point in Pops concerts—in fact, it might be the perfect pops concert. Amazing music meets pop culture references that we all know and love.
Whether for the kids in your life or the kid in you, you owe yourself a night at the silliest symphony.
PotashCorp is proud to feed the future of the Saskatoon Symphony Orchestra and the performing arts in our community.
PotashCorp.com @PotashCorpSask
InTune_XMAS.qxp_InTune 2014-12-03 3:44 PM Page 18
Be a champion of orchestral music and education in Saskatoon!
Ticket sales and public grants cover only a portion of our budget. Individual andcorporate support is crucial to sustain—let alone, grow—the programming of theSSO. There are many ways you can make a charitable gift to the SSO!
GIFTS FROM INDIVIDUALS: Gifts can be made at any time online, with your subscriptions, or by contacting our office.
RECURRING GIFTS: These are ongoing, specific, monthly gift amounts set by a donormade automatically by debit or credit card. These are a dependable source of support that the SSO can count on throughout the year. Make these online or contact our office.
IN HONOUR OR MEMORIAL GIFTS: Tribute gifts are a great way to honour the life of afriend or loved one.
PLANNED GIVING: Leave a legacy at the SSO through a bequest in your will, a gift ofproperty during your lifetime, a gift of a life insurance policy, or with an annuity.
STOCKS & SECURITIES: Donate shares or publicly-traded securities and be exemptfrom paying tax on the capital gain. You also get a tax receipt for the value of thedonated shares, meaning you can give today without directly affecting your pocketbook.
MATCHING GIFTS: Many companies will match their employees’ donations to charitable organizations. Ask at your place of work, and make your personal contributions multiply!
GIFTS IN KIND: Make a gift of products, time, or service that helps to lessen theSSO’s financial burden or enhances programming, events, or other activities.
CORPORATE GIVING: Gain visibility by contributing to the cultural life of your community. Your company can partner with the SSO to meet your business objectives while supporting one of Saskatoon’s great cultural assets.
InTune-Final.qxp_InTune 2015-09-24 12:10 PM Page 20
Painted ViolinsTake 13 violins that are past theirprime and hand them off to 13 artistswho are in their prime – the results arestunning.
To celebrate the 85th season ofSaskatoon’s orchestra, the SSOlaunches its Painted Violins.
During the last year, the SSO hasbeen working with Canadian artists tocreate one-of-a-kind works of art,where the medium is a handcraftedviolin.
The violins, most of which were muchtoo worse for wear, were put in thestudios of some incredibly talentedartists and we gave them free rein.
Maybe you’ve seen Monique Martin’sThe Flight of the Bumble Bee, orspotted the spectacular work by JeffBluesky Crowe – we are officiallylaunching the violins to the public atour concert on October 17. Each violinwill be on display in the lobby on theopening night of our Pops Series.
Over the course of this season, we’llhave the violins on display throughoutthe city. We’re even going to host afew special events for art and musiclovers to see them up close andpersonal.
In May we’ll be auctioning the PaintedViolins off – which one is playing yourtune?
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THESTARPHOENIX.COM
ARTS AT YOURFINGERTIPS.With a reimagined print edition, refreshed website, redesigned smartphone app and rebranded tablet app, the Saskatoon StarPhoenix has all the news you need at your fingertips.
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Visit remaimodern.org today!
We’re proud to support the Saskatoon Symphony Orchestra on its 85th Season. Bravo!
F U N D I N G P R O V I D E D
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JANLISIECKI
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“Mr. Lisiecki has won acclaim for com-bining refined technique, keen musical instincts and a poetic sensibility.”
Anthony TommasiniNew York Times, 2016
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