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Concert program for Saskatoon Symphony Orchestra's Bach and Beyond concert in Chamber Orchestra Series. Guest artist, Guy Few, trumpet, with Maestro Victor Sawa, conducting.



    SATURDAY, JANUARY 29, 2011Third Avenue United Church

    Saskatoon, SK


    Bach BeyondBach Beyondand

    Guy Few, trumpet

    Maestro Victor Sawa, conductor

  • January 29, 2011

    Saskatoon Symphony Chamber Orchestra

    Maestro Victor Sawa conductor

    Guy Few trumpet

    7:30 p.m. Third Avenue United Church, Saskatoon


    concert programGeorge Handel Concerto Grosso No. 1 in G Major Allegro Adagio Allegro Allegro

    J. S. Bach Brandenburg Concerto, No. 2 in F Major (BWV 1047) for flute, oboe, trumpet, violin Guy Few, trumpet Allegro Andante Allegro assai


    Arcangelo Corelli Christmas Concerto, No. 8 in G minor, Op.6 Vivace Grave, Arcate, sostenuto e come st Allegro Adagio Allegro Adagio Vivace Allegro Largo Pastorale

    George Handel Music for the Royal Fireworks (HWV 351) Ouverture: Adagio, Allegro, Lentement, Allegro Bourre La Paix: Largo alla siciliana Allegro La Rjouissance: Allegro Menuets I and II

  • Guy Few is a virtuoso, in demand as a trumpeter, cornist, pianist and singer. Montreals Le Devoir calls him outrageously gifted and quite simply phenomenal.

    Equally at home in classical or contemporary genres, Guy has debuted new works by Canadian composers including Glen Buhr, Peter Hatch, Alain Trudel, Melissa Hui, Boyd McDonald, Mathieu Lussier and Jacques Htu among others. He has recorded for S.N.E., Arsis Classics, CBC Musica Viva, CBC SM5000, Naxos, MSR and the Hnssler Classics labels. Hnssler recordings include the Grammy Award winning Credo of Penderecki with the Oregon Bach Festival Orchestra, Helmuth Rilling conductor. June 2008 marked the release of Romanza (Hummel, Lachner, Weber), with Nadina Mackie Jackson and The Toronto Chamber Orchestra, Nicholas McGegan conductor for MSR Classics.

    Guy has been invited as a professor, adjudicator, soloist, principal and recitalist to hundreds of festivals including The Festival of the Sound, Scotiafest, The Orford Festival, The Kiwanis National Music Festival, The Ottawa Chamber Festival, The Elora Festival, Tanglewood, Takefu International Music Festival and The Oregon Bach Festival. Clinics and master classes have been presented for festivals worldwide including Scotiafest, Takefu International Music Festival, Orford Arts Centre and The Banff Centre for the Arts as well as post-secondary institutions such as the Montreal Conservatory, the University of Toronto, Memorial University of Newfoundland, State University of New York at Fredonia and Sonoma State University.

    Guy is a gold medal graduate of Wilfrid Laurier University, Waterloo, Ontario and holds a Fellowship Diploma from Trinity College, London, England. He performs and records on a regular basis with Nadina Mackie Jackson (bassoon), Stephanie Mara (piano) and Bellows and Brass. He has appeared on CBC-TV, CTV, BRAVO, TV5 and European television broadcasts and is heard regularly on CBC Radio and NPR.

    Guy Few and Nadina Mackie Jackson were recently appointed as co-artistic directors of the Grand River Baroque Festival. Guy is a sessional lecturer at Wilfrid Laurier University where he conducts the Wilfrid Laurier Brass Ensemble and teaches trumpet and duo piano. He is a Yamaha Artist.

    meet guy few

    Photo: Bo Huang

  • meet maestro sawa

    Victor Sawa is a triple threat of talent, experience and personal dynamism in the orchestral world. Now Music Director of the Saskatoon Symphony Orchestra, he holds similar positions with orchestras in Sudbury and Regina. He was prev-iously Resident Conductor with the Calgary Philharmonic Orchestra (1993-1997), Music Director with the North Bay Symphony, the Guelph Youth Orchestra and the Kitchener-Waterloo Orchestra. He also served as Principal Clarinet with the Kitchener-Waterloo Symphony. He has been guest conductor for orchestras across the country.

    Maestro Sawa has received many awards and honours, including three Canada Council awards for Conducting, a Grand Prix du DisqueBest Chamber Music Recording (Canadian Chamber Ensemble), a Grammy award (with the New England Ragtime Ensemble), and the Tanglewood Festival award for Outstanding Musician. A Montreal native, Mr. Sawa holds a Bachelor of Music with Distinction from McGill University and an Honours Masters of Music Performance from the New England Conservatory of Music and is also a graduate of the Pierre Monteux School for Advanced Conductors.

    Music Director / Conductor, Saskatoon Symphony Orchestra

    meet the chamber orchestraViolin 1Michael Swan (Concertmaster) Martha Kashap (Assistant Concertmaster) Mary Lou Day Lillian Jen-Payzant

    Violin 2Oxana Ossiptchouk (Principal) Karen Bindle Karen Ogle Arthur Boan

    ViolaJim Legge (Principal) Saache Heinrich

    CelloScott McKnightJohn Payzant

    BassRichard Carnegie (Principal)

    FluteRandi Nelson (Principal)

    OboeErin Brophey (Principal, temporary)Kevin Junk Brian Doell

    BassoonPeter Gravlin (Principal)Marie Sellar Danielle Robertson-Boersma

    HornCarol-Marie Cottin (Principal) Arlene Shiplett Dubrena Myroon

    TrumpetTerry Heckman (Principal) Daniel Funk Frank Harrington

    TimpaniDarrell Bueckert (Principal)

    PercussionRoy Sydiaha (Principal)

    HarpsichordRenee de Mosiac

  • program notesGeorge Frideric Handel (1685-1759): Concerto Grosso, No. 1 in G Major, Op.6

    George Frideric Handel achieved fame and success at an early age and continued to produce consistently great work through a career that lasted nearly fifty years. His work was celebrated during his lifetime and has continued to be performed ever since. No other composer from before the nineteenth century has had such an unbroken performance tradition.

    Much of Handels fame during the two centuries following his death was based on relatively few pieces; he was known primarily for his oratorios, especially Messiah, and then also for his Water Music and Music for the Royal Fireworks. In the last half century more attention has been focused on his magnificent operas, cantatas, and instrumental music including solos, trio-sonatas, and large-scale concertos. As a performer, Handel worked primarily in the theatre and many of his published concertos originated as overtures or interludes to operas and oratorios.

    The concerto grosso is Italian for big concerto, a form of baroque music in which the music is passed between a small group of soloists and the full orchestra. Handels Concerto Grosso in G Major is something of an exception to either of these formats, since it contains five movements, only one of which is slow. The first short movement of the concerto is solemn and majestic: the orchestra goes down step by step towards a more sustained section, followed by a downward shape that first comes from the full orchestra, and then echoed by the solo violins. This grandeur brings out a gentle and

    eloquent response from the concertino string trio, much like in Corellis music, with imitations and passages in thirds in the violins. The orchestra and soloists continue their dialogue ending with a chromatic passage and simply descending to the final drooping cadence.

    The second movement is a lively allegro. The material is derived from the first two bars and a half bar figure that occurs in sequences and responses. The movement is a combination of unpredictable interchanges between orchestra and soloists. The third movement is a dignified adagio. Charles Burney wrote in 1785, In the adagio, while the two trebles are singing in the style of vocal duets of the time, where these parts, though not in regular fugue, abound in imitations of the fugue kind; the base, with a boldness and character peculiar to Handel, supports with learning and ingenuity the subject of the two first bars, either direct or inverted, throughout the movement, in a clear, distinct and marked manner.

    The fugal fourth movement has a tune first heard from the soloist. Despite being a piece of classical music developing a simple tune, it does not hold on to the strict rules of counterpoint, surprising the listener with creative moments until the closing. However, at the ending where a bold restatement of the theme would be expected, Handel playfully curtails the movement with two pianissimo bars.

    The last concerto-like movement is an energetic gigue in two parts, with the soloists echoing responses to the full orchestra.

  • Johann Sebastian Bach (16851750): Brandenburg Concerto, No. 2 in F Major

    All six of Bachs concertos have something different to offer: No. 2 in F contains a high trumpet part which is considered to be one of the most difficult pieces in trumpet repertoire.

    Between 1719 and 1721, Bach assembled six concertos for Christian Ludwig, the Margrave of Brandenburg, either on commission or as a job application. The Brandenburg Concerto No. 2 may have been one of the last to be written, and it certainly seems like a special-occasion piece. It features four prominent instrumentstrumpet, recorder, oboe, and violinagainst a foundation of strings and continuo. It basically follows the Italian concerto grosso pattern, punctuating the solo groups music with tutti outbursts for the strings, although here the soloists are often more integrated into the musical fabric than in the Italian model.

    The strongly rhythmic first movement, lacking a tempo indication, positions the soloists both as members of the overall ensemble and as out-front players, in vary-ing combinations. The orchestra introduces an energetic eight-bar theme, then, two at a time and separated by restatements of the opening melody, the soloists jump in with their own two-bar motif.


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