MUSIC
OF THE
SEPTEMBER - OCTOBER 2016 I ISSUE 1
Impressionists
OPENING NIGHT:
JOSHUA BELL
THE SPY WHO LOVED ME
WITH SHEENA EASTON
ORGAN SPECTACULAR
Claude Monet, Soleil Levant
wso.ca I 204-949-3999
MESSAGE FROM THE MUSIC DIRECTOR
Welcome to another season of your Winnipeg Symphony
Orchestra!
Every year, we push ourselves to program the best concert
experiences we can, and we are starting this season with two
blockbusters – Beethoven’s 7th, and Tchaikovsky’s Violin Concerto
with non-other than Joshua Bell. To have this international star
with the WSO in a special opening night gala is thrilling and a
splendid way to open our season.
From there, we open the Air Canada Pops series with the best of
spy music from the realms of film, television, pop, and even
Broadway, with pop idol Sheena Easton, who is a true bond girl.
Then, we move into our fall festival – Music of the Impressionists. When I go to a museum, I am
always drawn to the impressionist wing. I want to see Monet, Seurat, Van Gogh; the most beautiful
and the most expensive these days. I wanted to recreate this in the musical world and create a
festival where we perform impressionist musical paintings. I’m so looking forward to rehearsing
with the orchestra in La mer to bring out all those musical colours, reflections of light and shadow
that require a very different playing technique by the musicians compared to Beethoven, and
Wagner later in the season. Then with Berlioz’s Symphonie fantastique, we’ve created this
completely contemporary version with images and video. It’s really 21st century creativity.
Throughout the festival we will have talks, food, wine, mini-concerts and many ways to get into
the music.
Here’s to another wonderful year of live music.
Auf Wiedersehen,
Alexander Mickelthwate
Music Director
September – October 2016 I OVERTURE 1
WSO SPONSORS, FUNDERS AND ACKNOWLEDGEMENTS
The WSO proudly acknowledges the ongoing support of the following sponsors, media and funders:
COMMUNITY ENGAGEMENT PARTNER
EDUCATION & COMMUNITY ENGAGEMENT PROGRAMS
IN MEMORY OF
PETER D. CURRY
POPS
SERIES
KIDS CONCERTS
SERIES
CLASSICS A
SERIES
WSO IN BRANDON
INDIVIDUAL CONCERTS
ARNOLD & MYRA
FRIEMAN
MARTY & MICHELLE
WEINBERG AND FAMILY
CARMYN ALESHKA
& GREG FETTES
POWER SMART
HOLIDAY TOUR
PIANO RAFFLE
SOUNDCHECK
PROGRAM
CAR RAFFLE
POPS PRESENTING
MEDIA PARTNER
OFFICIAL RADIO STATION
OF THE WSO CLASSICS
CORPORATE SUSTAINABILITY
Women’s Committee
of the
Winnipeg Symphony Orchestra
FUNDERS
September – October 2016 I OVERTURE 3
CONDUCTORS
Alexander Mickelthwate, Music Director
German conductor Alexander Mickelthwate is renowned for his “splendid,
richly idiomatic readings” (LA Weekly),“fearless” approach and “first-rate
technique” (Los Angeles Times). Critics have noted Alexander’s extraordinary
command over the Austro-Germanic repertoire, commenting on the “passion,
profundity, emotional intensity, subtlety and degree of perfection achieved” in
Bruckner’s Symphony No. 7 as “miraculous” (Anton Kuerti, 2011).
Following on from his tenure as Assistant Conductor with the Atlanta Symphony Orchestra, which
he completed in 2004, Alexander Mickelthwate was Associate Conductor of the Los Angeles
Philharmonic for three years, under the direction of Essa-Pekka Salonen. Now in his tenth season
as Music Director of the Winnipeg Symphony Orchestra, Alexander has significantly developed
the orchestra’s profile through active community engagement and innovative programming
initiatives like the annual Winnipeg New Music Festival and the Indigenous Music Festival.
Chosen to perform at the Carnegie Hall Spring For Music Festival in New York, May 2014, due to
“creative and innovative programming” (CBC Manitoba Scene), the orchestra was the only
Canadian ensemble in the showcase. As well as significantly contributing to the Winnipeg
New Music Festival and Indigenous Festival, Alexander led the orchestra’s first out of province
tour since 1979 to the National Arts Centre in Ottawa, launched the international conducting
masterclasses, the New Music Festival 2012 film project and played a major part in the acoustic
overhaul of the Centennial Concert Hall.
Photographer: Grajewski Fotograph Inc.
Julian Pellicano, Resident Conductor
Julian Pellicano’s boundless musical appetite makes him a formidable interpreter of
the symphonic repertoire as well as a versatile conductor in a wide range of genres.
He is currently the Resident Conductor of the Winnipeg Symphony Orchestra, Artist
in Residence at the Norfolk Chamber Music festival, and Music Director of the
University of Manitoba Symphony Orchestra. Pellicano has built his career by
following an unconventional path.The creation, with Dr. Paul Lehrman, of a new
performance edition of George Antheil's Ballet Mecanique first brought Pellicano to
the public’s attention. From 2009 to 2013 he served as Music Director of the Longy School of Music
Conservatory Orchestra where he established a rigorous and distinctive new orchestral program.
Pellicano has conducted the Orquestra Sinfonica de Porto Alegre (Brazil), Hartford Symphony Orchestra,
Eastern Connecticut Symphony, New Britain Symphony,The Kallisti Ensemble, Boston’s Dinosaur Annex
Ensemble and Milwaukee's Present Music. He has worked in masterclasses with Kurt Masur, Peter Eötvös,
Zsolt Nagy, Martyn Brabbins, and Carl St. Clair. As a young musician he played drums, percussion, organ,
and accordion in rock, blues and jazz groups. An autodidact, he was accepted to the Peabody
Conservatory as a percussionist without typical classical training. He also holds degrees from the Royal
College of Music (Stockholm), and the Yale School of Music where he was awarded the 2008 Presser
Music Award and the Philip F. Nelson Award. He premiered Martin Bresnick’s critically acclaimed opera
My Friend's Story at the International Festival of Arts and Ideas and has conducted at Carnegie Hall with
the Yale Philharmonia Orchestra.
Photographer: Nardella Photography Inc.
4
OVERTURE I September – October 2016
WINNIPEG SYMPHONY ORCHESTRA 2016-2017 SEASON
MUSIC DIRECTOR
Alexander Mickelthwate
RESIDENT CONDUCTOR
Julian Pellicano
COMPOSER-IN-RESIDENCE
Harry Stafylakis
CELLOS
Yuri Hooker, Principal
Leana Rutt, Assistant Principal
Alex Adaman
Arlene Dahl
Carolyn Nagelberg
Emma Quackenbush
Sean Taubner
FIRST VIOLINS
Gwen Hoebig, Concertmaster
BASSES
Meredith Johnson, Principal
The Sophie-Carmen EckhardtAndrew Goodlett, Assistant Principal
Gramatté Memorial Chair, endowed
Travis Harrison
by the Eckhardt-Gramatté Foundation
Paul Nagelberg
Karl Stobbe, Associate Concertmaster
Mary Lawton, Assistant Concertmaster Bruce Okrainec
Daniel Perry
Chris Anstey
Mona Coarda
Rodica Jeffrey
Hong Tian Jia
Meredith McCallum
Jane Pulford
Julie Savard
Jun Shao
SECOND VIOLINS
Jeremy Buzash, Principal
Elation Pauls, Assistant Principal
Karen Bauch
Kristina Bauch
**Teodora Dimova
*Elizabeth Dyer
Bokyung Hwang
Takayo Noguchi
Claudine St-Arnauld
Susan McCallum
VIOLAS
Daniel Scholz, Principal
Anne Elise Lavallée,
Assistant Principal
Laszlo Baroczi
Margaret Carey
Richard Bauch
Greg Hay
*Merrily Peters
Mike Scholz
FLUTES
Jan Kocman, Principal
Martha Durkin
PICCOLO
Martha Durkin
OBOES
Beverly Wang, Principal
Robin MacMillan
ENGLISH HORN
Robin MacMillan, Principal
TRUMPETS
Isaac Pulford, Acting Principal
Paul Jeffrey
Brian Sykora
The Patty Kirk Memorial Chair
TROMBONES
Steven Dyer, Principal
Keith Dyrda
BASS TROMBONE
Julia McIntyre, Principal
TUBA
Chris Lee, Principal
TIMPANI
Mike Kemp, Principal
PERCUSSION
Frederick Liessens, Principal
HARP
Richard Turner, Principal
Endowed by W.H. & S.E. Loewen
ORCHESTRA PERSONNEL
MANAGER
Chris Lee
PRINCIPAL LIBRARIAN
Raymond Chrunyk
CLARINETS
Micah Heilbrunn, Principal
Michelle Goddard
ASSISTANT LIBRARIAN
Laura MacDougall
BASSOONS
Alex Eastley, Principal
Kathryn Brooks
*On Leave
**Temporary Position
Please note: Non-titled (tutti)
string players are listed
HORNS
alphabetically and are seated
Patricia Evans, Principal
according to a rotational system.
Ken MacDonald, Associate Principal
James Robertson
Fred Redekop is the official Piano
The Hilda Schelberger Memorial Chair Tuner and Technician of the WSO.
Caroline Oberheu
Michiko Singh
September – October 2016 I OVERTURE 5
The Official Radio Station for
the WSO Masterworks Series.
Winnipeg’s only dedicated
classical & jazz music station
Opening Night:
CLASSICS
Joshua Bell
Alexander Mickelthwate, conductor
Joshua Bell, violin
Fanfare to La Péri
Paul Dukas (1865-1935)
Symphony No. 7 in A major, Op. 92
Poco sostenuto – Vivace
Allegretto
Presto
Allegro con brio
Ludwig van Beethoven (1770-1827)
- INTERMISSION -
Concerto for Violin and Orchestra in D major, Op. 35
Allegro moderato
Canzonetta: Andante
Finale: Allegro vivacissimo
Peter Ilyich Tchaikovsky (1840-1893)
Joshua Bell appears by arrangement with Park Avenue Artists (www.parkavenueartists.com)
and IMG Artists (www.imgartists.com). Mr. Bell records exclusively for Sony Classical.
Tuesday, September 20 7:00 p.m.
Official Radio Station
of the WSO Classics:
September – October 2016 I OVERTURE 7
La Péri
Mälzel further tempted Beethoven with
the prospects of some repeat concerts
for profit, which Beethoven liked in view
of his yet-to-be-performed Symphony in
A major composed the previous year.
Paul Dukas
b. Paris / October 1, 1865
d. Paris / May 17, 1935
Composed: 1911
First performance: April 22, 1912 (Paris)
Last WSO performance: 2006;
Rei Hotoda, conductor.
The evening was grandiose and
successful.The orchestra consisted of
high-profile musicians of the day: Spohr,
Meyerbeer, Hummel and Salieri, among
others, who lent their performing talents
for the occasion with Beethoven
conducting in his typically dramatic style.
PROGRAM NOTES
by James Manishen
A respected teacher,
composer and critic who
lived his entire life in
Paris, Paul Dukas was
also rigidly self-critical,
destroying all his
unpublished work and leaving a small
legacy of music comprising three
overtures, a symphony, an opera Ariane
et Barbe-Bleu, a ballet La Péri, some
chamber music and his signature work
The Sorcerer’s Apprentice, which
established his international reputation.
La Péri was commissioned and
premiered by Natacha Trouhanova at
her gala Paris performance on April 22,
1912.The story is about an aging
Persian nobleman who seeks the
Flower of Immortality held by a
sleeping “Péri,”a princess who holds in
her hand its power.The Persian plucks
the flower but is returned to the
darkness of mortality once done, the
entire story told in luxurious music
Dukas’s powers of orchestration further
illuminates.The stirring fanfare for brass
precedes the ballet and was added for
the Trouhanova premiere performance.
Symphony No. 7 in A major
Ludwig van Beethoven
b. Bonn / December 17, 1770
d.Vienna / March 26, 1827
Composed: 1811-12
First performance: 1813 (Vienna)
Last WSO performance: 2012; Alexander
Mickelthwate, conductor
flee Moscow to recuperate at
Modeste’s home in St. Petersburg.
Over a few months the composer
settled down and was able to work
on his Fourth Symphony as well as
the opera Eugene Onégin.
Modeste felt a further change of
scenery would also help his brother
to settle down, so the two set out for
Clarens on Lake Geneva in
Switzerland.There the composer
heard a performance of Lalo’s
Symphonie espagnole and became
In his own customarily grandiose style,
entranced with the possibility of
Richard Wagner perhaps best summarized writing a similarly appealing violin
what Beethoven’s magnificent Seventh
concerto, almost immediately putting
Symphony is all about – “the apotheosis of pen to paper. Joseph Kotek, a former
the dance in its highest aspect.”
Moscow Conservatory student of
Tchaikovsky’s, was visiting Clarens
Indeed, Beethoven pushed the limits of
and played the sketches as they were
his time as he expanded his symphonic
completed.Tchaikovsky finished the
realm, stretching key relationships to new
entire work in just one month.
levels of dramatic effect, heightening his
orchestral colours and above all exploring By the end of April, the composer
rhythm as the music’s driving force.
sent the manuscript to his friend
Leopold Auer who headed the violin
Though the Napoleonic wars were
department at the St. Petersburg
raging across Europe, and one can
Conservatory. Auer promptly sent it
project from this the second movement’s
back, not only claiming it unplayable
tone of grief, overall the work has
but spreading the word among his
Beethoven’s unmistakable stamp of
colleagues. It took three years before
optimism.The Seventh also provided
the damage had been repaired. In the
him with notable financial success.
interim, Adolf Brodsky, a former
Moscow Conservatory colleague of
“I am Bacchus incarnate,”Beethoven
Tchaikovsky’s, studied the Concerto
boasted,“ appointed to give humanity
and in 1881 Brodsky felt secure
wine to drown its sorrow.”
enough to perform it with the Vienna
Hearing this stirring symphonic journey, Philharmonic.Whether the result of
one would be hard pressed to argue.
the single spotty rehearsal or the
orchestra’s perceived dislike for the
piece, the audience hissed at the
Violin Concerto
premiere, as did the influential critic
Peter Ilyich Tchaikovsky
Eduard Hanslick, who proclaimed it
b.Votkinsk, Russia / May 7, 1840
d. St. Petersburg, Russia / November 6, 1893 “stinking music.”
Composed: 1878
But Brodsky persevered and played it
First performance: December 4, 1881
throughout Europe. Audiences
(Vienna), conducted by Hans Richter
gradually came onside. Even Auer
with Adolf Brodsky as soloist
took on the Concerto, teaching it to
Last WSO performance: 2011;
his students Heifetz, Elman and
Alexander Mickelthwate, conductor with others, whose recordings we can
James Ehnes as soloist
enjoy today.
The premiere of
Beethoven’s Seventh
Tchaikovsky was in a
Symphony came about
dire emotional state
on the request of
during the summer of
Beethoven’s friend
1877. A disastrous
Johann Nepomuk Mälzel,
marriage lasting less
the inventor of the metronome, who
than three weeks
suggested a concert the two might
caused a suicide attempt, so his
organize in honour of the soldiers
wounded at the recent Battle of Hanau. brother Modeste arranged for him to
Tchaikovsky’s Violin Concerto is one of
the most popular in the literature. Its
directness of expression, striking
melodies, formidable virtuosity and
airtight narrative never fail to win
audiences over as it speaks from heart
to heart. One scarcely believes its
origin could have been so troubled.
Veuillez vous adresser au service des abonnés ou consulter le site www.wso.ca pour la traduction en français.
8
OVERTURE I September – October 2016
ARTIST BIOS
CLASSICS
Opening Night: Joshua Bell
Joshua Bell, violinist
With a career spanning over
30 years as a soloist, chamber
musician, recording artist, and
conductor, Joshua Bell is one of
the most celebrated violinists of
his era. Named Music Director
of the Academy of St Martin in the Fields in
2011, Bell is the first person to hold this post
since Sir Neville Marriner formed the orchestra
in 1958. A Sony Classical artist, Bell has
recorded more than 40 CDs garnering
Grammy, Mercury, Gramophone and Echo
Klassik awards since first recording for Decca at
18. His discography includes the major violin
repertoire in addition to John Corigliano’s
Oscar-winning soundtrack, The Red Violin.
Bell’s first all-Brahms recording will be released
September 16th featuring the Academy of
St Martin in the Fields, Steven Isserlis and
Jeremy Denk.
Bell received his first violin at age four and
at 12 began studying with Josef Gingold at
Indiana University. By 14 he performed
with Riccardo Muti and the Philadelphia
Orchestra and at 17 debuted at Carnegie
Hall. Perhaps what most transformed him
from ‘musician’s musician’ to ‘household
name’ was his incognito performance in a
Washington, D.C. subway station in 2007
for a Washington Post story examining art
and context. Weingarten received the
Pulitzer Prize and the cover story sparked
an international firestorm of discussion
which continues to this day.
An advocate for classical music and keeping
music education in schools, Bell performs
on the 1713 Huberman Stradivarius.
ADDITIONAL MUSICIANS:
Momoko Matsumura, violin; Yufei Liu, violin;
Coca Bochonka, viola; Jim Ewen, bassoon
September – October 2016 I OVERTURE 9
MICAH HEILBRUNN
GWENDOLEN MARY HOEBIG
YURI ALEXEI HOOKER
BECOME THE MAESTRO
Experience an interactive pan-Canadian concert
on travelthroughmusic.com or download the app.
Proud sponsor of eight major Canadian symphony orchestras.
Maestro by
Air Canada
Available
on the
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With Sheena Easton and Scott Coulter
Sheena Easton, vocalist
Scott Coulter, vocalist
AIR CANADA
POPS
SOUNDBYTES
The Spy Who Loved Me
Julian Pellicano, conductor
Mission Impossible Theme
Get Smart Theme
Pink Panther Theme
Alfred Hitchcock Theme
A View to a Kill
Windmills of your Mind
Against All Odds
Sooner or Later (Dick Tracy)
Whistlin’Away the Dark (Darling Lili)
I Know Him So Well (Chess)
Separate Lives (White Knights)
Lalo Schifrin
Irving Szathmary
Henry Mancini
Charles Gounod
John Barry, Duran Duran
Michel Legrand, Alan & Marilyn Bergman
Phil Collins
Stephen Sondheim
Henry Mancini
Tim Rice, Benny Andersson, Björn Ulvaeus
Phil Collins, Marilyn Martin
- INTERMISSION -
Austin Powers Theme
Pop Spy Medley:
Private Eyes
Hello
Every Breath You Take (The Police)
Mack the Knife
James Bond Theme
Goldfinger
Diamonds Are Forever
Skyfall
For Your Eyes Only
Friday, September 23
8:00 p.m.
Saturday, September 24 8:00 p.m.
Sunday, September 25 2:00 p.m.
Quincy Jones
Daryl Hall, John Oates
Kurt Weill, Bertolt Brecht, Marc Blitzstein
John Barry
John Barry, Leslie Bricusse, Anthony Newley
John Barry, Don Black
Adele, Paul Epworth
Bill Conti, Mick Leeson
Pops Series Sponsor:
Presenting Media Sponsor:
September – October 2016 I OVERTURE 11
ARTIST BIOS
AIR CANADA POPS
The Spy Who Loved Me
With Sheena Easton and Scott Coulter
Sheena Easton, vocalist
Sheena Easton, whose career
has spanned four decades, was
born in Bellshill, Scotland, the
youngest of six children and is
the mother of two children,
Jake and Skylar. Her recording
career has included Gold and Platinum albums
in the United States, Europe and Asia.
She has sold over 20 million records
worldwide, received two Grammys, and was
the first - and still only - artist to have top five
records on five major Billboard charts. In
addition to her recording success, Sheena is
a top concert attraction around the world.
Sheena also has a list of notable acting
credits on screen, and on Broadway Sheena
starred as (Aldonza/Dulcinea) in Man of La
Mancha, and in the hit musical Grease as
Rizzo. Sheena has been busy with frequent
appearances in Las Vegas where she has
been a major attraction for the last two
decades, and she was recently inducted into
the Las Vegas Hall Of Fame.
She is most at home working with the band,
but has expanded her love of the concert stage
as a guest vocalist in various programs with
symphonies across the nation and has made
frequent appearances in The Spy Who Loved Me.
Scott Coulter, vocalist
Scott Coulter, star of the Emmynominated A Christmas Carol:
The Concert on PBS, is one of
New York's most honoured
vocalists having received five
MAC Awards, five Bistro Awards
and two Nightlife Awards. In addition to his solo
concert work Scott regularly performs with a
variety of legendary performers including Oscarwinner Stephen Schwartz and Tony-winner Ben
Vereen. Schwartz has said, "one of the greatest
things that can happen to a songwriter is to
have his music interpreted by Scott Coulter."
12
OVERTURE I September – October 2016
Scott has performed with symphonies all over
the world including San Francisco, Baltimore,
Seattle, Phoenix, St. Louis and Calgary. He has
created many touring concert events including
The King: The Music of Elvis,You've Got a Friend:
Carole, Neil and Brill, Blockbuster Broadway, Music
of the Knights and The ASCAP Foundation's Jerry
Herman: The Broadway Legacy Concert. Scott is
owner/founder of Spot-On Entertainment.
ADDITIONAL MUSICIAN:S
Sharon Atkinson, clarinet; Nenad Zdjelar, electric
bass; Keith Price, guitar; Quincy Davis, drums;
Will Bonness, piano; Derrick Gardner, trumpet;
Janice Finlay, alto sax; Ken Gold, tenor sax;
Tony Cyre, percussion
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V EVRETRUTRUER E1 73
Jean-Marie Zeitouni, conductor
Sarah Svendsen, organ*
Don Menzies, organ**
Academic Festival Overture, Op. 80
Johannes Brahms (1833-1897)
Symphonie Concertante for
Joseph Jongen (1873-1953)
CLASSICS
Organ Spectacular
Organ & Orchestra, Op. 81*
Allegro molto moderato (In the Dorian Mode)
Divertimento: Molto vivo
Lento misterioso
Toccata (Moto Perpetuo): Allegro moderato
- INTERMISSION -
Symphony No.3 in C minor, Op.78 (Organ)**
Camille Saint-Saëns (1835-1921)
Adagio - Allegro moderato - Poco adagio
Allegro moderato - Presto - Maestoso – Allegro
Westminster United Church
Friday, September 30
8:00 p.m.
Saturday, October 1
8:00 p.m.
Official Radio Station
of the WSO Classics:
Pre-Concert Chat at 7:15 p.m.
September – October 2016 I OVERTURE 15
PROGRAM NOTES
by James Manishen
Academic Festival Overture
Johannes Brahms
b. Hamburg / May 7, 1833
d.Vienna / April 3, 1897
Composed: 1880
First performance: January 4, 1881
(Breslau), conducted by the composer
Last WSO performance: 2008;
Alexander Mickelthwate, conductor
Symphonie Concertante
Joseph Jongen
b. Liège, Belgium / December 14, 1873
d. Sart, Belgium / July 12, 1953
Composed: 1926
First performance: 1928 (Brussels) with the
composer as soloist
First WSO performance
Joseph Jongen had a prolific
career as a composer, organist
and teacher in Belgium.
Recognition arrived after
winning the Belgian Royal
The curmudgeonly
Academy Competition in 1894
Brahms was never
with his String Quartet, Op. 3, and three years
one to accept
later, the Belgian Prix de Rome enabled Jongen
honours in a selfto study in Germany, Italy and France for the
serving way. So when next four years, where he received advice from
he was awarded an
Richard Strauss,Vincent d’Indy and Gabriel
honourary degree from the University
Fauré. From 1925 to 1939, Jongen served as
of Breslau on March 11, 1879, he
director of the Brussels Conservatory.Though
acknowledged Bernhard Scholz, the
his published compositions number over 240
conductor of the local orchestra and
works, he withdrew all but 137 of them by the
nominator of Brahms for the degree,
end of his life.
with a skimpy postcard of thanks.
Scholz snapped back that such an
Jongen’s Symphonie Concertante for Organ
award should be accepted more
and Orchestra is his best-known work of
substantially, perhaps in Brahms’s
international standing and a hallmark in the
case with “at least a solemn song.”
organ literature as one of its most exciting
Brahms relented, promising Scholz
an appropriate piece the composer entries.
would bring to Breslau the following
year that the academicians could
enjoy over “doctoral beer!”
The result was the Academic Festival
Overture, a decidedly upbeat
potpourri of student songs the exact
opposite in character of Brahms’s
Tragic Overture he was composing at
the same time, for which he stated
was being done for “emotional
balance.”Scholz could hardly believe
a medley of drinking songs was to
be presented to the stuffy academics
of Breslau.
Brahms first encountered the songs
during a visit with violinist Joseph
Joachim in 1853.The four melodies
were well known to students, the
Academic Festival’s coda Gaudeamus
Igitur being the most famous. As
always with Brahms, the construction
is meticulous, here with an
entertainment level that’s no less
potent.
16
The Paris that
Saint-Saëns grew
up in was more
concerned with
entertainment than
lofty artistic
strivings - the stage works of
Meyerbeer, Offenbach and others
at the Opéra Comique winning
out over Berlioz, dismissed as a
bombastic eccentric best left to
the Germans to perform.
Saint-Saëns, like Berlioz, set out to
raise the bar. His love of
Beethoven, Liszt and Mozart had
prompted him to reach for a
higher art in Gallic music and his
facility in producing it had become
legendary.“A French Beethoven,”
Charles Gounod called him at the
Paris premiere of the Organ
Symphony. Saint-Saëns dedicated
the piece to Franz Liszt, who died
shortly after the premiere.The
score was published after Liszt's
death with the inscription,“Á la
Memoire de Franz Liszt.”
Saint-Saëns gave the Organ
Symphony, his last of three
symphonies, much careful
consideration while building it,
The first movement is in sonata form,
unusual for someone that
beginning with a firm theme in fugal imitation
composed with such speed and
followed by a contrasting lyrical theme.The
ease. It is the most entertaining
development culminates with blazing brass
work of its genre, and one can
leading to a recapitulation that closes with
almost feel the composer trying
luminous quiet.
to push the listener upwards from
The second movement Divertimento alternates a the experience of pure listening
scherzo-like, almost diabolical motive with one pleasure to a higher expressive
more hymnal.The third movement Lento has an plane.
impressionistic tang, suggesting perhaps the sea The two parts comprise four
in the smoothly flowing strings and animated
movements and Saint-Saëns
figures from the organ in the centre of the
blocks the two parts clearly by
movement.The Toccata is a whirling showpiece using the organ in the second half
for organ and orchestra, while the Finale raises
of each part: darkly sumptuous in
the roof in splendor from all involved.
Part 1, celebratory in Part 2. As so
Organ Symphony
Camille Saint-Saëns
b. Paris, France / October 9, 1835
d. Algiers / December 16, 1921
Composed: 1886
First performance: May 19, 1886 (London),
conducted by the composer
Last WSO performance: 2010, Carlos
Miguel Prieto, conductor
OVERTURE I September – October 2016
often in Liszt and Berlioz, SaintSaëns unites the entire work in
transformations of the main
theme, heard at the beginning by
the strings.
Throughout, one finds his
hallmark traits of vision, grandeur
and lucidity in this splendid,
much-loved work.
Dinner & Symphony
with
3-COURSE DINNER
starts at 5:30 p.m.
Enjoy a journey of gourmet food and beautiful music in partnership
with Bergmann’s on Lombard all in one location at the Centennial Concert Hall,
Piano Nobile level. Each three-course meal is themed to a specific WSO concert,
offering patrons a unique opportunity to explore cuisine from around the globe.
OCT
Impressions of Paradise
French Cuisine
15
Jewish Feast
NOV
Finjan Returns!
26
FEB
Potage St. Germain, French Pea Soup with Whipped Chèvre Foam
“Coq au Vin Rouge”, Burgundy Wine Spiked Oven Baked Chicken,
Onion Pearls/Hickory Smoked Bacon/Mushrooms, Rosemary Potatoes/Haricot Vert
Grand Marnier Infused Crème Brulee
25
Matzo Ball Soup, Red Wine Braised Brisket Style Beef Short Rib
Horseradish Spun Potatoes/Root Vegetables,
Citrus Spiked Jewish Honey Cake, Olive Oil Ice Cream & Poppyseed Tullie
Gershwin & Shostakovich
New York Dinner
A Reuben “Chef’s” Salad, Russian Dressing
Strip Steak /Steak Sauce /Spiced Crispy Onions, Hash Brown Potatoes & Fresh Asparagus
Baked Alaska with New York Cheesecake Ice Cream,Twinkie Cake/Scorched Meringue
APR
South Pacific
Island Fare
08
Seared Tuna “Poke”with Greens, Coconut Lemongrass Dressing,Taro Root Chips
Mango Barbecue Lacquered Luau Style Porkloin, Crowned with Lime
& Red Chili Pineapple Salsa, Pulverized Purple Yam
Banana Cream Tart with Candied Macadamia Nuts
SINGLE
EVENTS
ALL 4 DINNER &
SYMPHONY EVENTS
FOR
ONLY
348
$
STARTING
FROM
*$65 per person per dinner for those who already have a concert ticket.
99
$
Don't have a dining partner?
Sign-up for a spot at our new
SOCIAL TABLES and meet a
group of fellow music lovers.
>
wso.ca/dinner
September – October 2016 I OVERTURE 17
ARTIST BIOS
CLASSICS
Organ Spectacular
Jean-Marie Zeitouni, conductor
Jean-Marie Zeitouni excels in
repertoire ranging from baroque to
contemporary music. Currently
Music Director of the Colorado
Music Festival & Center for Musical
Arts and Artistic Director of
Orchestre de chambre I Musici de Montréal,
Zeitouni recently completed tenures as Music
Director of the Columbus Symphony Orchestra, in
Ohio, and Principal Guest Conductor of Les Violons
du Roy.
Zeitouni has also held various other positions with
leading Canadian organizations, including Music
Director of the Banff Centre “Opera as Theatre”
program, Associate Conductor and Chorus Master
at Opéra de Montréal and Music Director of its
Young Artist Program (Atelier lyrique), chorus
master at Opéra de Québec, choir director of the
Québec Symphony Orchestra, and director of the
orchestra and opera workshop at Laval University.
Zeitouni studied with Raffi Armenian and
graduated from the Montréal Conservatory in
conducting, percussion, and theory.
Sarah Svendsen, organ
A past laureate of the Royal
Canadian College of Organist’s
(RCCO) National Organ Playing
Competition, Sarah Svendsen is a
recent Master of Music graduate of
the Yale School of Music whose
performances have been described as “sublime.”
Toronto-based Svendsen specializes in the
performance of Canadian organ works, which she
has performed throughout North America and
Europe. She was the organ soloist in Luminato’s
2015 production of Canadian composer R. Murray
Schafer’s Apocalypsis, conducted by David Fallis,
and was filmed for the Canadian Broadcasting
Corporation’s YouTube Channel.
18
OVERTURE I September – October 2016
Sarah is currently pursuing a Doctor of
Musical Arts at the University of
Toronto. At the Yale School of Music she
studied with Professor Thomas Murray.
This Masters degree was in conjunction
with the Yale Institute of Sacred Music,
where she completed the Institute’s
Church Music Diploma. Sarah is a cofounder and member of the Organized
Crime Duo.
Don Menzies, organ
Don was appointed
Organist of Westminster
Church in October 1966.
He holds several organ
degrees: Associate of the
Royal Conservatory of
Music in Toronto (ARCT), Licentiate
Trinity College London (LTCL), and
Licentiate in Music Manitoba (LMM).
Don has been recitalist on the CBC-FM
program Organists in Recital and has
performed on a number of occasions
with the Manitoba Chamber Orchestra.
He is co-founder of the Westminster
Concert Organ Series, which started in
1989 and performs frequently as part of
that series.
ADDITIONAL MUSICIANS:
Laura MacDougall, flute; Caitlin BromsJacobs, oboe; Sharon Atkinson, clarinet;
Allen Harrington, contra bassoon; Tony
Cyre, percussion; Victoria Sparks,
percussion; Donna Laube, keyboard;
Earl Stafford, keyboard
Alexander Mickelthwate, conductor
CLASSICS
Impressions of Paradise
Allen Harrington, saxophone
The Walk to the Paradise Garden
(Intermezzo from the Opera A Village Romeo and Juliet)
Frederick Delius (1862-1934)
L’Ascension, Four Symphonic Meditations
Olivier Messiaen 1908-1992)
Majesty of Christ Asking Glory from His Father
Serene Hallelujahs of a Soul Desiring Heaven
Hallelujah on the Trumpet, Hallelujah on the Cymbal
Christ’s Prayer Rising to His Father
- INTERMISSION -
Concertino da Camera for Alto Saxophone & Orchestra
Allegro con moto
Larghetto –
Animato
Jacques Ibert (1890-1962)
La mer (“The Sea,Three Symphonic Sketches”)
From Dawn to Noon on the Sea
Play of the Waves
Dialogue of Wind and Sea
Claude Debussy (1862-1918)
Friday, October 14
Saturday, October 15
8:00 p.m.
8:00 p.m.
Classics A
Series Sponsor:
Official Radio Station
of the WSO Classics:
Pre-Concert Chat on the Piano Nobile at 7:05 p.m.
Pre-Concert Performance on the Piano Nobile at 7:35 p.m.
Friday
Canadian Mennonite University
Saturday
Desautels Faculty of Music Piano Studio
DINNER & SYMPHONY
Catered by:
3-course Dinner starts at 5:30 p.m., Saturday
French Cuisine
SPECIAL CONDENSED MATINEE
Delius: The Walk to Paradise Garden
Debussy: La mer
Friday, October 14
10:30 a.m.
S eopv teemmbbeerr –– DOecct eo m
b ebre r2 0210611I I OO
V EVRETRUTRUER E2 71
N
PROGRAM NOTES
by James Manishen
The Walk to the Paradise
Garden
Frederick Delius
b. Bradford, England / January 29, 1862
d. Grez-sur-Loing, France / June 10, 1934
Composed: 1910
First performance: February 22, 1910
(London), conducted by Sir Thomas
Beecham
Last WSO performance: 1998; Bramwell
Tovey, conductor
L’Ascension
Concertino da Camera
Olivier Messiaen
b. Avignon, France / December 10,
1908
d. Paris / April 28, 1992
Composed: 1932-33
First performance: February 1935
(Paris) conducted by Robert Siohan
First WSO performance
Jacques Ibert
b. Paris / August 15, 1890
d. Paris / February 5, 1962
Composed: 1935-36
First performance: April 1936
(Barcelona), with Sigurd Rascher
as soloist
Last WSO performance: 1999;
Bramwell Tovey, conductor, with
P.J. Perry as soloist
Olivier Messiaen
occupies a place
among France’s
greatest composers.
His individuality and
compositional
Frederick Delius was born legacy rivals Debussy and Ravel and
in England to a German
his teaching produced such
father. In 1886, during an luminaries as Boulez, Stockhausen
18-month period of study and Xenakis plus many others
at the Leipzig
influenced by his classes at leading
Conservatory, he greatly impressed Edvard festivals and institutes throughout
Grieg and during Delius’s time in 1890s
the world.
Paris, his Nordic sympathies connected him
to a group of Scandinavian artists that
To Messiaen, life, work and religion
included the painter Edvard Munch and
were indivisible, about which he
the playwright August Strindberg.
wanted his music to express “the
There, Delius met Jelka Rosen, a well-to-do existence of the truths of the Catholic
painter he later married. In 1897, the couple faith.”Despite the enormous detail
and complexity in his music,
moved to the village of Grez-sur-Loing
south of Paris. At Grez, within a deliberately Messiaen’s goal was always intended
for direct statement to the listener so
reclusive lifestyle, Delius developed his
that, as he wrote, one “succumbs in
highly individual music who’s shifting
chromatic harmonies, gentle rhythms and spite of himself to the strange charm
of impossibilities which will lead him
luminous orchestrations confirmed a
gently toward that theological
uniquely impressionistic creator.
rainbow which is the ultimate goal of
music.”
Delius’s opera A Village Romeo and Juliet
came from a story by the little-known
Swiss novelist Gottfried Keller that Delius It is almost counterintuitive to view
and his wife revised into a German libretto. Messiaen’s vast resources in light of
Sir Thomas Beecham – a great Delius
the simplicity of his aim, for one finds
champion – introduced the opera to
rhythmic systems of ancient Greek
England on February 22, 1910. Beecham
and Indian music, Gregorian chant,
had asked Delius for an intermezzo to
birdsongs, Nature, serial tone rows
cover a scene change in Act III, and The
and influences of Stravinsky, Russian
Walk to the Paradise Garden was the result. music, plus much else distilled into
It has become Delius’s most popular
an expressive path of crystal clarity.
orchestral work.
L’Ascension is one of Messiaen’s
The story parallels Shakespeare’s tragedy, earliest orchestral scores. Inspired by
with two young lovers from vengeful
texts from the liturgy for the Feast of
families. At a village fair, the lovers are
the Ascension, marking Christ’s
taunted with suspicion by their
ascent from earth to heaven, each
neighbours, so they flee to an old riverside
movement has attached to it a
inn known as the “Paradise Garden”where
sacred quotation, producing an
they make a pact to die as freedom from
alternately blazing and radiant
their earthly lives.The dream-like
traversal.
intermezzo accompanies their walk.
22
OVERTURE I September – October 2016
Originally wanting to
be an actor, Jacques
Ibert’s musical
aptitudes won out
when he entered the
Paris Conservatoire to
study with Fauré in an esteemed
class that included Arthur Honegger
and Darius Milhaud. In 1919, Ibert
won the prestigious Prix de Rome
(which dated back to Berlioz’s time)
and during his residency in Rome, he
produced the Ballade of Reading
Gaol, a work based on the poem by
Oscar Wilde. Ibert received his first
recognition, later garnering fame for
his witty orchestral piece
Divertissement and evocative tone
poem Escales (“Ports of Call”).
In 1935, German saxophone virtuoso
Sigurd Rascher was actively
promoting his instrument’s capability
as a solo medium in the concert hall.
As well in France, the saxophone was
being revisited – it had been
invented in Paris by Adolphe Sax a
hundred years prior – through the
growing popularity of jazz. Rascher
approached Ibert for a concerto and
the composer willingly accepted the
commission.
The Concertino da Camera (‘camera’
meaning ‘chamber’) was named after
an early Baroque format that included
light dance rhythms and a friendly
secular nature, distinguished from its
opposite “concerto da Chiesa”which
was more serious.These two models
were integral in the development of
the 20th century neo-classical style.
Ibert’s outing explores the range of
the saxophone with characteristic wit
and sentiment, along with plenty of
acrobatics for an agile soloist.
La mer
Claude Debussy
b. St Germain-en-Laye, France /
August 22, 1862
d. Paris / March 25, 1918
Composed: 1903-1905
First performance: October 15, 1905
(Paris) conducted by Camille Chevillard
Last WSO performance: 2008; Alexander
Mickelthwate, conductor
Debussy was also much engaged
with visual renderings of the sea, the
work of J.W.Turner in particular plus
the Japanese colour drawing The
Wave by Katsushika Hokusai, whose
works were popular in Paris during
the 1890s.
Working painstakingly, La mer took
two years for Debussy to complete.
When the musicians of the Concerts
Lamoureux received the parts, they
“I don’t deal in
were found to be full of mistakes in
impressions, I deal in addition to the performing
realities,”Debussy
difficulties the players complained
once proclaimed,
about.The premiere on October 15,
never feeling much
1905, was understandably lackluster
sympathy for the
and the mild reception from the
convenient term ascribed for much Parisian musical community was
of his music. Debussy felt that music further burdened by gossip
and nature were inextricably joined. surrounding Debussy’s abandoning
In what would be the last of his
of his first wife the previous year. La
large-scale symphonic works, La mer, mer received much more success
his love for the sea and his life-long when it was played by the superior
fascination with moving water
Concerts Colonne on January 19,
produced a matchless musical
1908, going on to a London
equivalent.
performance and gathering acclaim
ARTIST BIOS
that has never looked back since.
The opening movement grows
out of a short-long rising motive
heard at the outset. Following
suggestions of the sunrise, pairs
of flutes and clarinets suggest the
glistening sunlight on the water.
A richly lyrical melody in “divisi”
cellos changes the mood.The
movement begins its conclusion
with the English horn, leading to
a luminous brass chorale at the
end.
The Jeux de vagues is a subtle and
enigmatic scherzo, evocative for
the way Debussy reveals multiple
facets of the same material.The
finale, Dialogue du vent et de la
mer reveals the awesome power
of the sea, citing motives from the
previous movements while
urging the music forward to its
magisterial climax.
CLASSICS
Impressions of Paradise
Allen Harrington, saxophone
Allen Harrington is an Associate
Professor at the University of
Manitoba Desautels Faculty of
Music where he teaches
saxophone, bassoon, and
chamber music. A native of
Saskatoon, he holds degrees from the
University of Saskatchewan (Bachelor of Music)
and Northwestern University (Master of Music).
He maintains a busy schedule outside his
University teaching career as a soloist,
orchestral and chamber musician, and
adjudicator. Allen has appeared as a concerto
soloist with more than a dozen orchestras in
Canada, Europe, and South America. He has
given countless recitals across Canada,
including recital tours for Debut Atlantic,
Prairie Debut, and Home Routes Classical.
Along with pianist Laura Loewen, he has
received rave reviews for their two CDs
recently released on the Ravello Records
label: Metropolis and The Postcard Sessions.
His third CD featuring works for
saxophone and pipe organ will be released
in early 2017. On bassoon, Allen plays as a
regular extra with the Winnipeg
Symphony Orchestra and second bassoon
with the Manitoba Chamber Orchestra.
ADDITIONAL MUSICIANS:
Yu Fei, violin; Josh Peters, violin; Momoko
Matsumura, viola; Desiree Abbey, cello; Laurel
Ridd, flute; Caitlin Broms-Jacobs, oboe; Graham
Lorde, clarinet; Gabriele Dostie-Poirier, bassoon;
Richard Scholz, trumpet; James Langridge,
trumpet; Tony Cyre, percussion; Victoria Sparks,
percussion; Janice Lindskoog, harp
September – October 2016 I OVERTURE 23
Alexander Mickelthwate, conductor
Simon Miron, actor, writer, director
Thor Aitkenhead, multimedia artist
SOUNDBYTES
SOUNDBYTES
Symphonie fantastique
Nereo Eugenio II, visual artist,
spoken word artist
Symphonie fantastique, Op. 14a
“Reveries and Passions’’:
Largo - Allegro agitato e appassionato assai
“A Ball (Valse)’’: Allegro non troppo
“Scene in the Country’’: Adagio
“March to the Scaffold’’: Allegretto non troppo
“Dream of a Witches’Sabbath’’: Larghetto – Allegro
Hector Berlioz (1803-1869)
Tuesday, October 18 7:30 p.m.
Pre-Concert Performance on the Piano Nobile at 7:05 p.m.
Graffiti Art Programming's Studio 393 Hip Hop Performers
Presents
: Symphony Fantastic After Party
September – October 2016 I OVERTURE 25
PROGRAM NOTES
by James Manishen
Symphonie fantastique
Hector Berlioz
b. Isère, France / December 11, 1803
d. Paris / March 8, 1869
Composed: 1830
First performance: December 5, 1830
(Paris), conducted by François Habeneck
Last WSO performance: 2013;
Alexander Mickelthwate, conductor
Arch Romantic that
he was, Berlioz was
so taken with
English actress
Harriet Smithson
when he saw her as Juliet and
Ophelia in 1827, he wrote her frantic
letters of love over the next three
years despite never meeting her.The
romance was entirely one-sided she, fearing a potential ‘stalker’in
Berlioz and he, wandering the
countryside in despair of such
unrequited love.
With Romantic nerve endings on fire,
in 1830, Berlioz planned a new
symphony with the subtitle “Episode
from the Life of an Artist.”In it, the
artist views his love through an
opium-enhanced state, first in his
dreams, then a ball, the countryside,
at his execution and finally joining a
witches’Sabbath. Running through it
all would be an idée fixe – a singular
musical theme signifying Harriet that
would morph from the innocent to
the grotesque in parody at the end.
Berlioz did marry Harriet in 1833, but
their happiness quickly dissolved
and they were estranged within a
decade.
Symphonie fantastique is a tour de
force in its vivid program content,
bend-without-break melodies,
dazzling orchestration and overall
trailblazing from materials essentially
derived from classical models. Its
popularity among the most
beloved symphonies in the
literature remains undiminished.
Berlioz supplied the following
program as a guide to
Symphonie fantastique:
Reveries-Passions: I take as my
subject an artist blest with
sensibility and a lively
imagination...who meets a
woman who awakens in him for
the first time his heart's desire.He
falls desperately in love with her.
Curiously,the image of his
beloved is linked inseparably with
a musical idea representing her
graceful and noble character.This
idée fixe haunts him throughout
the symphony.
beloved,is condemned to death,
and is being taken for execution.
The idée fixe floats into his mind,
only to be terminated by the fall of
the blade.
Dream of a Witches' Sabbath:
The artist at a Witches' Sabbath
hears again the idée fixe,but now
transformed into a brazen and
trivial dance.She has come to
witness his burial! Later comes a
monstrous parody of the Dies Irae
('Day of Wrath',from the Latin
Mass for the Dead).The dance of
the witches is combined with the
Dies Irae.
A Ball: The artist attends a ball,
but the gaiety and festive tumult
fails to distract him.The idée fixe
returns to torture him further.
Scene in the Country: Alone in
the country on a summer's
evening,the artist hears two
distant herdsmen calling to each
other in a ‘franz des vaches’(an
alphorn melody of the Swiss
Alps).Their pastoral duet,the
rustle of wind in the trees,and the
hope that his beloved might yet
be his,all lull him into a reverie,
but the idée fixe returns in his
dreams.His heart palpitates and
he experiences dread
premonitions.The sun sets,there
is thunder in the distance,then
solitude and silence.
March to the Scaffold: In
despair,the artist attempts to
commit suicide by taking an
overdose of opium,but the drug,
too weak to prove fatal,instead
induces fearsome dreams.He
dreams that he has killed his
Veuillez vous adresser au service des abonnés ou consulter le site www.wso.ca pour la traduction en français.
26
OVERTURE I September – October 2016
ARTIST BIOS
SOUNDBYTES
Symphonie fantastique
Simon Miron, actor, writer, director
Simon Miron holds a Master’s
Degree in performance from
the Royal Conservatoire of
Scotland. He has worked as
an actor and director across
Canada and the U.K. He is
currently serving as Artistic Director for
White Rabbit Productions. Directing credits:
American Idiot “upcoming” (WST), Songs for
a New World (White Rabbit), Young
Frankenstein (WST), 7 Stories (TBTR), The Last
Five Years (WPG Fringe), Voices in My Head
(WPG Fringe). Selected stage: Grasshopper
in James and the Giant Peach (MTYP),
Hamilton in Butcher (Cercle Molière), Mr.
Thénardier in Les Misérables (Rainbow),
Aumerle in Richard the 2nd (Zone41),
Charles in Blythe Spirit (RMTC’s Cowardfest),
Leo Bloom in The Producers, Scuttle in The
Little Mermaid (Rainbow) and George in
Sunday in the Park with George (RMTC’s
Sondheimfest). He teaches acting, singing
and audition prep from his home in
Wolesley. Simon also writes music and
performs with several bands including
Those Guys and Bro Nouveau.
Thor Aitkenhead, multimedia artist
Trained initially as a painter,
Thor Aitkenhead also works
with photography, new media
and video art, documentary
filmmaking, sculpture, collage,
installation, graphic design,
music and sound. He's done some work with
set design for video, film and theatre. His
work has been displayed from Toronto to
Tokyo and beyond. Currently, he is working
with Viewing Method Group, a Winnipegbased experimental video art collective he
co-founded 2014, making music and sound
with ‘arranged freeform’ group field and he's
completing three commissioned portraits.
Nereo Eugenio II, visual artist,
spoken word artist
Nereo II Is a Multidisciplinary
Artist (Visual Artist/ Spoken
Word Artist/ Filmmaker/ and
Youth Mentor). He is a part
time arts instructor for
Graffiti Art Programming,
and an honoured member of the Blueprint
Pathways National organization, which
specializes in Art Based Healing programs
for incarcerated youth. Nereo is also part of
the Manitoba Art Councils "Artist in the
Schools" program which focuses on the
integration of art into the regular school
system. As a freelance Multidisciplinary
artist, he also serves the public as a
motivational speaker, live performance
poet, live painter, mural artist, youth
mentor, and filmmaker. His mission is to
utilize Art as a creative way to promote a
deeper study of oneself in order to fuel
more vehicles of positive social change for
the world at large.
ADDITIONAL MUSICIANS:
Yu Fei, violin; Josh Peters, violin; Momoko
Matsumura, viola; Desiree Abbey, cello;
Mary Chalk, bassoon; Allen Harrington, bassoon;
Richard Scholz, trumpet; Andrew Johnson,
timpani; Tony Cyre, percussion; Victoria Sparks,
percussion; Brendan Thompson, percussion;
Janice Lindskoog, harp
September – October 2016 I OVERTURE 27
SPECIAL
Pascal Rogé
in Recital
Suite bergamasque
Prélude
Menuet
Clair de lune
Passepied
Claude Debussy (1862-1918)
Sonatine
Modéré
Mouvement de Menuet
Animé
Maurice Ravel (1875-1937)
Les Soirées de Nazelles
Préambule
Variation 1: Le comble de la distinction
Variation 2: Le coer sur la main
Variation 3: La désinvoltue et la discretion
Variation 4: La suite dans les idées
Variation 5: La charme enjôleur
Variation 6: Le contentement de soi
Variation 7: Le gout du Malheur
Variation 8: L’alerte vieillesse
Cadence
Final
Francis Poulenc (1899-1963)
- INTERMISSION -
Préludes: Book I
Claude Debussy
Danseuses de Delphes (Dancers of Delphi)
Voiles (Veils/Sails)
Le vent dans la plaine (The Wind in the Plain)
Les sons et les parfums tournent dans l’air du soir
("The sounds and fragrances swirl through the evening air")
Les collines d’Anacapri (The Hills of Anacapri)
Des pas sur la neige (Footsteps in the Snow)
Ce qu’a vu le vent d’Ouest (What the West Wind Has Seen)
La fille aux cheveux de lin (The Girl with the Flaxen Hair)
La sérénade interrompue (Interrupted Serenade)
La cathédrale engloutie (The Submerged Cathedral)
La danse de Puck (Puck’s Dance)
Minstrels
Thursday, October 20 7:30 p.m.
Pre-Concert Chat on the Piano Nobile at 6:45 p.m.
September – October 2016 I OVERTURE 29
PROGRAM NOTES
by James Manishen
Suite bergamasque
Claude Debussy
b. St Germain-en-Laye, France /
August 22, 1862
d. Paris / March 25, 1918
Composed: 1890-1905
As the Baroque dance
titles of two of the four
movements indicate, the
Suite bergamasque
reflects the elegance of
an earlier period of French music
Debussy wanted to recall, entitling
the work from Verlaine's poem Clair
de Lune (poem) which refers to
‘bergamasques’in its opening stanza.
First composed in 1890, Debussy came
to reject his earlier piano style when
preparing the suite for publication in
1905, adding major/minor key shifting,
mock-archaisms and his own individual
twists and turns to produce an
engaging amalgam of recollection and
evolution. Originally entitled
"Promenade sentimentale," the third
movement, Clair de lune, has achieved
classic status for its telling impressionism.
Sonatine
Maurice Ravel
b. Ciboure, France / March 7, 1875
d. Paris, France / December 28, 1937
Composed: 1903-1905
Ravel’s Sonatine was
inspired by a 1903
competition sponsored by
a fine arts and literary
magazine called Weekly
Critical Review. Ravel’s close friend, critic
M. D. Calvocoressi, was a contributor to
the publication and encouraged Ravel
to enter the competition.The
requirement was a first movement of a
piano sonatina no longer than seventyfive measures, and the prize offered was
one hundred francs.
On June 16, 1904, the movement of the
Sonatine was performed for its
dedicatees Cipa and Ida Godebski
(Ma Mère l'oye was dedicated to their
children).Over the next two years Ravel
added two more movements, thus
completing the Sonatine.When the full
work was given by Paule de Lestang on
March 10, 1906, under the patronage of
the Lyon Revue musicale, enthusiasm
was so great that Durand put it into
immediate publication.
As with much of his writing, Poulenc
made many revisions between 1930
and 1936 when the final version was
finished. Noting an affinity with
Schumann’s Carnival in the unity of the
different characters, Poulenc had
considered entitling his work Le Carnaval
de Nazelles. He was most happy with the
results.
written in sonata form and has an
exciting development section.The
second movement Mouvement de
menuet is a simple minuet without trio
in the diverting key of D flat, which
blooms in its final measures.The finale
is a toccata of brilliant piano writing
using the metres of 3/4 and 5/4 as it
recalls French claveciniste composers
like Rameau and Couperin to whom
Ravel felt so spiritually connected.
French pianist Marguerite Long had a
special connection to Debussy during her
acclaimed performances of his music and
her personal friendship with the
composer. “The content of these two
books [Debussy’s 24 Preludes] is of an
order not to be confused with any other,”
she wrote of the composer’s infinite array
of subjects covering people, places,
natural phenomena, landmarks, scenes
and happenings, each inimitably created
by a composer that gave music whole
new canvasses of sensations:
Some of the portrayed characters are:
Aunt Liénard in Variation 8,Poulenc’s
longtime friend,baritone Pierre Bernac
Classically poised and tightly unified, in Variation 6,and the composer himself
using mostly the three middle
in Final.
octaves of the piano with intervals of
fourths and fifths the main bonding Préludes: Book I
elements, Ravel’s Sonatine is a model Francis Poulenc
of elegant clarity.
Claude Debussy
The opening Modéré-doux et espressif is Composed: 1909-1910
Les Soirées de Nazelles
Francis Poulenc
b. Paris / January 7, 1899
d. Paris / January 30, 1963
Composed: 1930-1936
Danseuses de Delphes: At The Louvre,
Debussy had seen a fragment of a Greek
pillar showing three dancers.Though
archaic and slow-moving, the dancers
In 1930, Poulenc began
appear with a gentle grace over evocative
to sketch what is perhaps harmonies.
his finest piano work
Les soirées de Nazelles in memory of a Voiles: Whole tone scales depict sails as
family friend he called “Aunt Liénard.” “palpitating feminine forms,”as the
Her name was actually Virginie Liénard composer wrote, over “sailing boats
and through her Poulenc came to love anchored to a fixed pedal point.”Among
the countryside of Touraine, which is the earliest examples of minimalism.
also celebrated for its many castles, the Le vent dans la plaine: Violent gusts of
one at Ambroise in particular where
wind lead to a long suspended B-flat, as
Leonardo da Vinci is said to have died. the piece disappears into thin air.
Nazelles is near Ambroise, and the
variations at the heart of this work
came to Poulenc as he improvised
during long evenings in the country. In
As one well-versed in the “classics,”
the eight variations he would create
Ravel knew how to modify the
piano portraits of friends in the style of
traditional form for his own unique
affectionate salon pieces, offering up
style. As the only entrant to the contest, recollections of Fauré, Saint-Saëns,
he likely would have won the prize had Offenbach and others with Poulenc’s
the magazine not gone bankrupt.
special blend of charm and grace.
Les Sons et les parfums tournent dans
l’air du soir:“Poignant and sensuous,
rich with beguiling nocturnal
vibrations,”as Long wrote, echoing
Debussy’s view that “it is only the
pleasures of the moment that matter.”
Les Collines d’Anacapri: Bells, tarantellas
and dancing, with the sun bursting
forward at the close.
Veuillez vous adresser au service des abonnés ou consulter le site www.wso.ca pour la traduction en français.
30
OVERTURE I September – October 2016
Des Pas sur la neige: Footsteps in the
snow with total desolation in the soul.
Ce qu’a vu le vent d’ouest: The West Wind
gathers power and crashes on the coasts.
An admirer of Shelley, Debussy’s
inspiration may have been the poet’s
“Ode to the West Wind.”
La Fille aux cheveux de lin: The most
famous prelude of the set, a young girl
sings to herself in a field of clover.
La Sérénade interrompue: A Spanish
guitarist tries to sing his love song but
keeps getting interrupted and scorned.
ARTIST BIOS
SPECIAL
Pascal Rogé in Recital
Pascal Rogé, piano
Pascal Rogé exemplifies the finest in French pianism.
Born in Paris, he was a student of the Paris
Conservatory and was also mentored by Julius Katchen
and the great Nadia Boulanger. Winner of Georges
Enesco piano competition and 1st prize of Marguerite
Long Piano competition, he became an exclusive Decca recording
artist at the age of seventeen. His playing of Poulenc, Satie, Fauré,
Saint-Saëns and especially Ravel, is characterized by its elegance,
beauty and stylistically perfect phrasing.
La Cathédrale engloutie: A mysterious
cathedral with its ancient bells is
engulfed in water for impiety but rises
when the sun comes up. A landmark of
Impressionism, Debussy may have been
inspired by Monet’s paintings of the
Rouen Cathedral.
Mr. Rogé has performed in almost every major concert hall in the
world and with every major orchestra across the globe and has
collaborated with the most distinguished conductors in history,
including Lorin Maazel, Michael Tilson Thomas, Mariss Jansons,
Charles Dutoit, Kurt Masur, Edo de Waart, Alan Gilbert, David Zinman,
Marek Janowski, Sir Andrew Davis, Raymond Leppard and others.
La Danse de Puck: Debussy’s nod to the
miniature character in Shakespeare’s
A Midsummer Night’s Dream.
One of the world’s most distinguished recording artists; Pascal Rogé
has won many prestigious awards, including two Gramophone
Awards, a Grand Prix du Disque and an Edison Award. Recently
chairman of the Geneva Piano competition, Pascal Rogé is also
dedicated to teaching and gives regular masterclasses in France,
Japan, United States and United Kingdom.
Minstrels:Inspired by the American cakewalk,
Debussy recalls the music hall with its
broad humour and affected rhythms.
September – October 2016 I OVERTURE 31
José Luis Gomez, conductor
Pascal Rogé, piano
CLASSICS
Ravel: Daphnis et Chloé
Canadian Mennonite University Chorus,
Janet Brenneman, director*
Pavane
Gabriel Fauré (1845-1924)
Piano Concerto No. 2 in G minor, Op. 22
Andante sostenuto
Allegro scherzando
Presto
Camille Saint-Saëns (1835-1921)
- INTERMISSION -
Daphnis et Chloé, Choreographic Symphony
Maurice Ravel (1875-1937)
in Three Parts*
Part I
Introduction et Danse religieuse
Danse générale
Danse grotesque de Dorcon
Danse légère et gracieuse de Daphnis
Danse de Lycéion
Danse lente et mystérieuse des Nymphes
Part II
Introduction
Danse guerrière
Danse suppliante de Chloé
Part III
Lever du jour
Pantomime (Les amours de Pan et Syrinx)
Danse générale (Bacchanale)
Projected images from Marc Chagall’s lithographs to Daphnis and Chloe*: Chloe’s Kiss,Lamon Finds Daphnis,
Dryas Finds Chloe,The Beginning of Spring,The Abduction of Chloe,Spring,The Altar of Dionysus
*© SODRAC and ADAGP 2016, Chagall ®
English surtitles
Friday, October 21
Saturday, October 22
8:00 p.m.
8:00 p.m.
Official Radio Station
of the WSO Classics:
Pre-Concert Chat on the Piano Nobile at 7:05 p.m.
Pre-Concert Performance on the Piano Nobile at 7:35 p.m.
Friday
Écho from Centre scolaire Léo-Rémillard
Saturday
Choral Performance
September – October 2016 I OVERTURE 33
PROGRAM NOTES
by James Manishen
Pavane
Gabriel Fauré
b. Pamiers, Ariege / May 12, 1845
d. Paris / November 4, 1924
Composed: 1887
First performance: April 28, 1888 (Paris),
conducted by Charles Lamoureux
Last WSO performance: 2001; Michael
Hall, conductor
Gabriel Fauré was the
grand maître of French
music in the generation
between Saint-Saëns
and Ravel. A celebrated
organist, teacher, critic
and composer, his seminal contribution
was a new style of French song, being the
first to set the exquisite poetry of Paul
Verlaine to music.Though a clear
melodist, Fauré’s subtle dissonances,
modal scales and concentrated
expression prefaced and influenced both
Debussy and Ravel in their explorations.
The pavane was a stately court dance
that originated in 16th century Padua
(“Pava”in local dialect). In the late 19th
century, leading musicologists began to
stir interest in such old musical forms and
composers began to get on board.
Fauré composed his Pavane as an
orchestral piece for Jules Danbé,
conductor of the Opéra-Comique, but the
work had to wait until April 28, 1888, to be
premiered at Charles Lamoureux’s concert
in Paris.A staged version of Pavane was
done in 1919 as a one-act “divertissement”
for Monte Carlo entitled Masques et
Bergamasques. Sultry and sensuous, with a
stern middle section in its three-part form,
Fauré’s Pavane has long been the most
popular of his orchestral works.
Piano Concerto No. 2
Camille Saint-Saëns
b. Paris / October 9, 1835
d. Algiers / December 16, 1921
Composed: 1868.
First performance: May 13, 1868 (Paris)
conducted by Anton Rubinstein with the
composer as soloist
Last WSO performance: 2009; Alexander
Mickelthwate, conductor, with Inon
Barnatan as soloist
Saint-Saëns excelled not
only in music but as a
writer, mathematician,
archeologist,
astronomer and
everything else his
inexhaustible nature encountered. He
was a phenomenal pianist and prodigy,
often compared to Mozart in the vast
repertoire he commanded at a very
young age.
Saint-Saëns’second and most popular
piano concerto was described by pianist
Sigismund Stojowski as “beginning with
Bach and ending with Offenbach.”The
work’s exuberance is matched with the
fluency under which it was composed, in
just 17 days for a concert at the Salle
Pleyel requested by the great pianist
Anton Rubinstein who wanted to
conduct a Parisian orchestra for the first
time.
The opening movement recalls a Bach
fantasia.The second movement is a
brilliant scherzo in the style of
Mendelssohn.The finale tests all with a
rollicking tarantella to bring this
delightful work to a rousing close.
Daphnis et Chloé
Maurice Ravel
b. Ciboure, France / March 7, 1875
d. Paris, France / December 28, 1937
Composed: 1909-1912
First performance: June 8, 1912 (Paris),
conducted by Pierre Monteux
Last WSO performance: 1996; Bramwell
Tovey, conductor
Early in 1910, Diaghilev went to
Ravel with the idea of a ballet with
a scenario by Folkine based on a
pastoral romance based on the
writings of the third-century
Greek philosopher Longus. Ravel
took the commission for Daphnis
et Chloé with the aim of writing
what he called a choreographic
symphony, which he later
described as his only ‘symphony’
and personal favourite among his
orchestral works.
The story had enjoyed a certain
vogue in France under Louis XIV,
so Ravel’s intent was not to be
overly archaic to his visionary
Greece but rather to view a
Greece as imagined by French
painters of the late 18th century.
This he felt would permit him to
more easily cast the large work in
symphonic narrative using small
themes with concise
development. Ravel’s mastery of
orchestration and colour allied to
the music’s careful construction
produce a concentrated soundworld of precise story and
happening.The “Greece of my
dreams,”he wrote.
Such a refined musical view of the
story proved to be at odds with
the more primitive vision of the
production staff whose stage
designs caused friction and delays
in getting the production off the
ground. Ravel was also set in his
The brilliant impresario ways regarding the music, which
Sergei Diaghilev turned upset choreographer Michel
Fokine, whose dancers
the Parisian ballet
scene into the forefront complained about the complex
metres. Not surprisingly, the ballet
of musical and dance
got a mixed reception at the
innovation with his
Ballet Russes in 1909. Scouring the top premiere on June 8, 1912, though
talent of choreographers, composers, Ravel’s score was met with
enthusiasm, clearly
designers and dancers within the
overshadowing the staging and
artistic riches of the French capital décor.The ballet is rarely seen
Picasso, Falla, Massine, Nijinsky,
today but the score and the two
Stravinsky, Debussy, Matisse and
suites Ravel constructed from it
similar luminaries – Diaghilev left no
are very popular and regularly
stone unturned in his quest to make
performed by orchestras up to
his ballet company’s productions a
the vast demands. Of note, the
sensation, both in Paris and through
international tours.
Veuillez vous adresser au service des abonnés ou consulter le site www.wso.ca pour la traduction en français.
34
OVERTURE I September – October 2016
conductor of the premiere, Pierre
Monteux, appeared with the WSO
in 1960.
CLASSICS
ARTIST BIOS
Ravel: Daphnis et Chloé
José Luis Gomez, conductor
Part One: The ballet opens to
show a meadow with a grotto
containing an altar graced by
statues of three Nymphs.
Abandoned by shepherds on the
island of Lesbos, Daphnis and
Chloé fall in love, the sounds of
Daphnis’s pan-pipes irresistible to
the young girl. Daphnis outdances his rival Dorcon to earn
Chloé’s first kiss, keeping his virtue
intact despite the erotic advances
of Lycéion. Meanwhile, Chloé is
abducted by pirates. Daphnis
rushes to the grotto of the
Nymphs, cursing the gods for not
protecting his love. A light
appears and the Nymphs come to
life. In a slow dance, they vow to
approach the god Pan for help.
His form emerges as night falls.
The Venezuelan-born, Spanish conductor José Luis
Gomez was catapulted to international attention when
he won First Prize at the International Sir Georg Solti
Conductor’s Competition in Frankfurt in September 2010,
securing a sensational and rare unanimous decision from
the jury. Since then, Mo. Gomez has moved from strength to strength,
establishing himself as an exhilarating and engaging performer with
an ear for subtlety and a sense of drama, conducting some of the
world’s leading orchestras and opera companies.
Part Two: The pirates’ camp.They
perform a barbaric war-dance,
falling exhausted at the end.
Chloé is ordered to dance and
while doing so begs for her
release.The sky grows dark. Pan
and his warriors rescue Chloé as
the frightened pirates flee.
Canadian Mennonite University Chorus,
Janet Brenneman, director
Part Three: At dawn, Daphnis
awakens and mourns for the lost
Chloé. Shepherds appear with her.
One of them tells Daphnis that
Pan has saved Chloé in
remembrance of his love for the
Nymph Syrinx. In gratitude,
Daphnis and Chloé dance the tale
of Pan and Syrinx, in which Syrinx
is turned into a reed by her sisters
to hide her from Pan’s lustful
advances. From the reed Pan
makes a flute – the pipes of Pan –
which he plays to dispel his
longing. As the dance becomes
more animated, Chloé abandons
her role and falls into Daphnis’s
arms. A grand bacchanale closes
in celebration.
Gomez started his musical career as a violinist, and by the age of 11
he was Concertmaster of the Youth Orchestra of Zulia State - part of El
Sistema de Orquestas Juveniles de Venezuela. He graduated in music
and violin from the Manhattan School of Music in New York before
embarking on a European orchestral career. Deciding to follow his
dream to have more creative input and influence on musical direction
he took conducting lessons from Lu Jia, Muhai Tang and John Nelson.
The 2016-2017 season sees José become Music Director Designate of
Tucson Symphony Orchestra.
The Canadian Mennonite University (CMU) Chorus combine’s two of
CMU’s premiere ensembles, the CMU Women’s Chorus (Janet
Brenneman, conductor) and the CMU Men’s Chorus (Rudy
Schellenberg, conductor).These auditioned choirs are comprised of
students from a variety of academic programs at CMU and perform
regularly in worship and in concert across Manitoba. Known for their
innovative programming, energy, and enthusiasm, these choirs
perform demanding repertoire that represents their commitment to
exploring a global context in close relation to the music of their
Christian heritage and faith.Together, the CMU Women and Men’s
choirs host the annual CMU Choral Connections and can be heard
regularly on Golden West Broadcasting throughout southern
Manitoba. Past performances with the WSO include the world
premiere of T. Patrick Carrabre’s Creation Stories, Alfred Schnittke’s
Faust Cantata Seid Nuchtern und Wachet, Christos Hatzis’ Sepulcher of
Life, Glen Buhr’s Symphony No. 3, John Tavener’s Requiem, Krzysztof
Penderecki’s Seven Gates of Jerusalem, and Giya Kancheli’s Styx.
ADDITIONAL MUSICIANS:
Yu Fei, violin; Josh Peters, violin; Momoko Matsumura, viola; Laura
MacDougall, flute; Laurel Ridd, flute; Caitlin Broms-Jacobs, oboe;
Graham Lorde, clarinet; Mary Chalk, bassoon; Allen Harrington,
contra bassoon; Richard Scholz, trumpet; Tony Cyre, percussion;
Victoria Sparks, percussion; Brendan Thompson, percussion;
Andrew Johnson, percussion; Derek Klassen, percussion; Andrew
Nazar, percussion; Caroline Bucher, percussion; Janice Lindskoog,
harp; Donna Laube, keyboard
September – October 2016 I OVERTURE 35
36
OVERTURE I September – October 2016
WSO SUPPORTERS
Nita Eamer Memorial Fund
Francofonds Inc.
Marjory Alexander Graham & Family
Fund
In Memory of Peter D. Curry
Bruce and Catherine Jones Fund, the
The WSO gratefully acknowledges
Winnipeg Foundation
the following companies whose
generous support helps to ensure George Warren Keates Memorial
Fund
musical enrichment within our
Lutz Family Foundation
community.
Marjory Stewart McLaren Fund
Podium
The Winnipeg Foundation – John
Johnston Group Inc.
and Carolynne McLure Fund
Program for the Enrichment of
Resident Artist
French in Education
Qualico
Richardson Foundation
Burton A. and Geraldine L. Robinson
Principal Chair
Fund
Canon Canada Inc.
David & Leda Slater Memorial Fund,
Carlyle Printers, Service & Supplies Ltd.
Jewish Foundation of Manitoba
Terracon Development Ltd.
Aqueduct Foundation - Inga and
Wawanesa Insurance
Anna Storgaard Fund
Assistant Principal Chair
The Winnipeg Foundation - Leslie
John Taylor Fund
Brandon School Division
James Thompson Memorial Fund in
Cambrian Credit Union
Trust of WSO
Con-Pro Industries Canada Ltd.
ft3 Architecture Landscape Interior The Winnipeg Foundation - Dr. Ken
and Lorna Thorlakson Fund
Design
1 Anonymous
J.K. May Investments Ltd.
Music for Young Children
Orchestra Chair
Long & McQuade Musical Instruments
Premier Printing Ltd.
Royal Bank of Canada
Urbanink
Winmar Property Restoration
Music Stand
Coghlan's Limited
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Price Industries Limited
Galsworthy Holdings Ltd.
Number Ten Architectural Group
Red River Cooperative Ltd.
The Legacy Circle exists to
recognize the following patrons
whose foresight ensures that the
WSO plays on for all Manitobans
for generations to come. The WSO
gratefully acknowledges Legacy
Circle members for their planned
future gift to the WSO.
Siana Attwell, PhD
Greg Doyle and Carol Bellringer
Mrs. Lucienne Blouw
Lorraine and Gerry Cairns
Riser
Kevin & Els Kavanagh
A. Akman & Son Ltd.
Michel D. Lagacé
European Art Glass Ltd.
Gail E. Loewen
InterGroup Consultants Ltd.
S. E. Loewen
Mid West Packaging Limited
W. H. Loewen
Patill/St. James Insurance
Dr. Brendan MacDougall
Margaret Kellermann McCulloch
Nathan & Carolyn Mitchell
The WSO gratefully acknowledges
Lesia Peet
the following foundations:
Edward Fisher & Lyse Rémillard
Robert & Ina Abra Family Fund - the Trudy Schroeder
Winnipeg Foundation
Muriel Smith
The Noreen & Robert Allen
Edith A. Toews & Dr. Helen A.
Charitable Trust
Toews
Elizabeth B. Armytage Fund
Robin Wiens and Emilie LagacéBrandon Area Community
Wiens
Foundation
The Winnipeg Foundation - Chipman Donn K. Yuen
2 Anonymous
Family Foundation Fund
Sylvia & Robin Cowan Foundation
Foundations
MAJOR GIFTS
The WSO gratefully
acknowledges the following
patrons for their generous
support to the orchestra.
Art & Leona Defehr
Frank & Jeanne Plett
The Maestro’s Circle recognizes
patrons whose significant
philanthropy furthers the
musical artistry of the WSO.
Honourary Chair
Alexander Mickelthwate,
Music Director
Platinum Baton
Bill & Shirley Loewen*
Gold Baton
Timothy & Barbara Burt
Dr. Marcel A. Desautels
Arlene Wilson & Allan MacDonald
Dr. Brendan MacDougall
Drs. Eleanor & Grant MacDougall
Silver Baton
James Cohen & Linda McGarvaCohen
Daniel Friedman & Rob
Dalgliesh
Kevin & Els Kavanagh*
Dr. Terry Klassen & Ms. Grace
Dueck
Michael Nozick & Cheryl Ashley
Ron & Sandi Mielitz
Frank & Jeanne Plett
Barb & Gerry Price
Hartley & Heather Richardson
Dr. Lea Stogdale
Concertmaster's Bow
Gail Asper & Michael Paterson
Marjorie Blankstein C.M., O.M.
Herb & Erna Buller
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Bert & Lee Friesen Foundation
James Gibbs
Mrs. Audrey F. Hubbard
Peter Jessiman
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Elaine & Neil Margolis
Brent Mazur
Ken and Judy Murray
Wayne & Linda Paquin
Diane Payment and Roxroy
West
Lawrie & Fran Pollard
Dr. Bill Pope & Dr. Elizabeth
Tippett-Pope*
Ian R. Thomson & Leah R. Janzen
Curt & Cathy Vossen
Professor A.M.C. Waterman
Black Tie
Ms. Sandra Altner
Aubrey & Dr. Linda Asper
Shibashis Bal
Mr. Jim Barrett
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Brent Trepel
Doneta & Harry Brotchie
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Douglas C. Everett, Chairman,
Domo Gasoline Corporation Ltd.
Glen & Joan Dyrda
Philipp & Ilse Ens
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Chrysoula Kotoulas
Mr. Sotirios Kotoulas
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Kozminski
Ted & Wanda Lismer
Gail Loewen in Memory of Her
Mother Sue Lemmerick
Jackie Lowe & Greg Tallon
Dr. David Lyttle
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McCulloch
Ms. Valerie Mollison
Dr. Michael Nelson &
Dr. Selena Friesen
Ted & Mary Paetkau
Athina Panopoulos & Gordon
Sinclair
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Lesia Peet
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Mrs. Anne Reimer
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Don & Florence Whitmore
Klaus & Elsa Wolf
Klaus and Dorit Wrogemann
2 Anonymous
* Founding Members
September – October 2016 I OVERTURE 37
Friends of the WSO support
the WSO each season.
Honourary Chair
Gwen Hoebig, Concertmaster
Symphony
Margaret-Lynne & Jim Astwood
Len & Mary Bateman
David & Gillian Bird
Lorraine and Gerry Cairns
Pierce & Amy Cairns
John Corp and Mary Elizabeth
McKenzie
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Foundation
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Mrs. Margaretha van Oers
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2 Anonymous
Concerto
Judy & Jay Anderson
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Foundation
Mr. & Mrs. C.R. Betts
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Bowerman
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38
Bruno Gossen
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Goulet
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Mills
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Rubin
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6 Anonymous
Serenade
Kaeren Anderson
Linda Armbruster
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Sel & Chris Burrows
Ron Clement
Julie Collings
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Martin Reed & Joy Cooper
Gary & Fiona Crow
OVERTURE I September – October 2016
Mr. Bradley J. Curran
Mr. Tom Dercola
Mr. & Mrs. Gordon Dingman
Faye Dixon in Memory of Graham
John & Ada Ducas
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Ms. Ursula Erhardt
Margaret E. Faber
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Mrs. Margaret Funk
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Henry Katz in Memory of Dena
Heather Kirkham
Mrs. Marion Korn
Mona Koropatnick
Elaine & Patrick Lamonica
Jennifer Lidstone
Rose & Dick Lim
Fraser & Joan Linklater
Ms. Lorraine MacLeod
Mr. John Macrae
Dr. Angelos and Pauline
Macrodimitris
Ruth May
David and Francesca McBean
Ms. Nola McBurney
Glen Mead
Nathan & Carolyn Mitchell
Edgar Oddleifson
Patricia Mary Patterson
Cameron Pauls
Ms. Pat Philpott
Mr. Rick Pinchin
Irvin & Sandra Plosker
Ruth Carol & Leonard Podheiser
Don & Carol Poulin
Donna & Gordon Price
Eleanor Riach
Hans & Gabriele Schneider
Marie Schoffner
Dr. & Mrs. Alvin and Ethel
Schroeder
Dr. L. Sekla
Phil & Nancy Shead
Ms. Brenda Snider
Ms. Deborah Spracklin
Gary & Gwen Steiman
Mr. & Mrs. Lorne & Lorna Stevens
Margaret & Hartley Stinson
Paul Swart
Dr. & Mrs. David Swatek
Dr. & Mrs. S. Szirom
Dr. & Mrs. John Taylor
Mr. & Mrs. Bruce S. Thompson
June & Lorne Thompson
C. & R. Thomsen
Dr. J.M. Trainor
Neil & Carol Trembath
Ms. Edna Walpole
Jack & Bernice Watts
Harvey & Sandra Weisman
Debbie Wilson
Alfred & Lina Woelke
Karin Woods
Joan Wright
9 Anonymous
Prelude
Patricia Allen & Len Dueck
Trish Allison-Simms
Larissa Ashdown
Janice & Brian Bailey
Allan & Rochelle Baker
Barbara & Bruce Ball
Robert Barton
Audrey Belyea
Donald & Edith Besant
Ms. Joanne Biggs
Eric & Clara Bohm
Keith & Marnie Bolland
Shirley Book
Lorne & Rosada Bride
Susan Brownstone Brock &
Thomas Brock
Miss Dorothy Broomhall
Mr. Chris Brown
Mr. E. Brown
Irene Brown
Jean Brown
Ms. Carol Budnick
Jan Burdon
Mr. Gerald Callow
Ms. Donna Carruthers
Laura Chan
Mrs. Patti Cherney
Bea and Lawrie Cherniack
Mrs. Leona Christiansen
Ross M. Cleeve
Ms. Marcella Copp
Joyce Cormack
Helle Cosby
Ms. Maxine Cristall
Judy & Werner Danchura
Maureen Danzinger
Ms. Janice Dietch
Mr. & Mrs. Lawrence & Brenda
Donald
Sally R. Dowler
Herbert & Norma Driver
Mrs. M.L. Elliott
John & Martha Enns
John J. Enns
Katharine Enns
Siegfried Enns
John & Ruth Ens
Don and Martha Epstein
Greg & Linda Fearn
Helen Feniuk
Doug & Joanne Flynn
Mrs. Marguerite Fredette
George & Carol Gamby
Jim & Betty Gaynor
Dr. & Mrs. Andrew Gomori
D. Gooch
Ms. Mavis E. Gray
Marj Grevstad
Irene Groot-Koerkamp & Greg
Edmond
Katie & DeLloyd Guth
Dr. Don & Jerri Hall
Miss Marilyn Hall
Dr. Bonnie Hallman
Ms. Meghan Hansen
Linda A. Harlos
Mrs. Phyllis Hatskin
Teresa A. Hay
Millie Hemmelgarn
Marilyn & Helios Hernandez
Ms. Shirley Hicks
Ms Marilyn Hido
Sonia & Harvey Hosfield
Rozin & Cathy Iwanicki
Jacqueline Iwasienko
Wilfred & Dorothy James
Alan Janzen & Leona Sookram
Father Stan A. Jaworski
Margaret Jeffries
Ross & Betty Jo Johnston
Mrs. Shirley Kilburn
Mr. & Mrs. W. J. Kinnear
Erwin W. Kitsch
Ms. Mary Klassen
Alfonz & Susan Koncan
Mrs. Alvina Koshy
Kozub/Halldorson Family
D. Kristjanson
Miss Patricia Kuchma
Edith Landy, in Memory of David
Landy
Helen La Rue
Mrs. Ingrid Lee
Mr. R. Leroeye
Albert & Helen Litz
Barry & Patricia Lloyd
Lorron Agencies Ltd.
Roger Lowe
G. & G. Lowry
Mr. Al Mackling
Dr Amrit Malik
Matthew Gossen Advancement
Trust
C. & J. McIntyre
Violet McKenzie
Mrs. Geraldine McKinley
Jean McLennan
Mr. & Mrs. Erhard Meier
Estelle Meyers
Walter A. Mildren
Carolyn Garlich and Peter Miller
Mrs. Mona Mills
Dr. Stan & Wendy Moroz
Mrs. Joan Ann Morton
John & Margaret Mundie
D. Munro
Leesa Munroe
Charlotte Murrell
David & Hermine Olfert
Truus Oliver
Miss Jenny Olynyk
Shirley & Graham Padgett
Ms. Nettie Peters
Ingrid Peters-Fransen
Mrs. Helene Picton
Ms. Clare Pollock
Cristian Popescu
Mrs. Nell Provinciano
Juta Rathke
Waltraut Riedel-Baun
Mr. & Mrs. Robert & Vera Ripley
Kevin Rollason & Gail MacAulay
Frances E. Rowlin
Mr. & Mrs. John Sadler
Mr. Johnny Rule Salangad & Ms.
Pearly Rule Salangad
R. Schroeder
Ms. Janet Schubert
Viola J. Schultz
Charlene Scouten
Mr. & Mrs. Ed & Elaine Segstro
Marilyn & Jon Seguire
Mr. & Ms. Ed Shwedyk
Henry & Connie Shyka
Louis & Shirley Ann Simkulak
Dr. Don & Lynne Simonson
Ms. Kaye Snatenchuk
Geri & Peter Spencer
Mr. & Mrs. Starodub
Elsie Stasiuk
Bonnie Hoffer-Steiman & Lionel
Steiman
Ms. Helena Stelsovsky
Archie & Shirley Stone
Dr. & Mrs. Ian & Karen Sutton
Juris & Aija Svenne
Robert & Barb Tisdale
Edith A. Toews
Henry & Elizabeth Toews
Dr. Helen A. Toews
Mrs. C.M. Valentine
Barry and Gail Veals
Jesse Vorst
Ms. Louise Waldman
Elizabeth M. Wall
Jim & Joan Warbeck
Jack Watts
Mrs. Evelyn Wener
Dorcas & Kirk Windsor
Patrick Wright
Mr. Edwin Yee
Donn K. Yuen
20 Anonymous
Sonatina
Maryvonne & Robert Alarie,
in Memory of William Cole
Jacqueline Anderson
Dr. John Badertscher
Ms. Donna Beaton
Ms. Denise Belanger & Mr. Sidney
Shapire
Mrs. Eva Berard
Anna Bird
Frances Booth
Norma Bortoluzzi
Marilyn Boyd
Mrs. Diane Brine
Alfred Buelow
Sheila Burland
Mr. John Burrows
Canon Canada Inc.
Ms. Arline Christopherson
S.K. Clark
Mr. & Dr. Brad Cloet
Mrs. Barbara Coombs
Mr. Alfred Cornies
Stephen Crane
Ms. Judy Crawford
Mr. & Mrs. Ted Cunningham
Beth Derraugh
Marlene & Fred Dickson
Mrs. Ethel Dil
Ms. Marian Dore
Paul Dueck
Ms. Sheila M. Dumore
Ms. Georgette Durand
Vera & Peter Fast
Mr. Paul Ficek
Cal & Lois Finch
Hilda Franz
Ms. Anne Friesen
Mrs. Donna Friesen
Mr. Joe Furber
Mrs. Cathy Gervais
Mrs. Barbara Gessner
Mr. Christopher Golden
Heather Graham
Dr. & Mrs. L.C. Graham
Mrs. Inga Granovskaya
Victoria Gretchen
Mr. Anthony (Tony) Griffin
Ms. Marianne Gruber
Ms. Marion Guinn
B. & R. Hall
Gertrude Hamilton
Mrs. Helen Hayward
Kelly Hearson
Jean Highmoor
Dorothy L. Hodgson
Mrs. Mary-Ann Hudjik
Island Lakes School
Pat Jarrett
Brent & Karen Johnson
Mr. Tim Kasprick
Mr. Gordon C. Keatch
Katie Kirkpatrick
Elizabeth Lansard
Wayne & Helen LeBlanc
Mr. Gabriel Lemoine
Mr. & Mrs. David Levene
Katrina Limberatos
John & Carol MacKenzie
Joyce Manwaring
Mr. & Mrs. Jeff & Karen L. Mark
Mrs. Irene Marriott
Dr. & Mrs. Ihor Mayba
Hugh McCabe
Ms. Susan McCarthy
Mr. Derek McLean
Ardythe McMaster
Lyle McNichol & Frances Stewart
Mrs. Jocelyn Millard
M. Mohr
Maureen Morin
Mrs. Margaret Parker
Sonjia Pasiechnik
Trudy Patzer
Ken & Geri Porath
Mrs. Glennys Propp
Bryan & Diana Purdy
Mrs. Avis Raber
Ms. Pat Repa
Gisela Roger
Mrs. V. Rosolowich
John & Shirley Russell
Kay Schalme
William Scheidt
Mrs. Edna Schneider
Izzy Shore
Mrs. Elaine Silverberg
Mr. & Mrs. Robert Smith
Mrs. Joyce Smyth
Mrs. Marilyn Stothers
Lorne Sunley
Muriel Sutherland
Gladys Tarala
Ross & Bette Jayne Taylor
Ross & Bette Jayne Taylor
Ms. Anne Thiessen
Ms. Doreen Thorlacius
Nancy & Geoff Tidmarsh
Shelley Turnbull
Denis Vincent
Mrs. Laurabelle Wallace
Mr. Glen Angus Webster
Snjolaug Whiteway
Miss Christine Wojcikowski
Beverley Zimmerman
17 Anonymous
The WSO gratefully
acknowledges the following
patrons whose foresight helps
to ensure long-term financial
support for the WSO. Thank you!
Edwin & Susan Bethune
Lorrraine and Gerry Cairns
Stephen Choy & Gina Yoo
Dorothy Comer and Her
Daughters in Memory
of Fern Royds
Ray G. Davis
Helene Dyck
Marilyn & Helios Hernandez
Marilynne Keil, in Memory of
David H. Skinner
Grant & Janet Saunders
Jim & Jan Tennant
James & Claudia Weselake
Women's Committee of the
Winnipeg Symphony
Orchestra, in Memory
of Vera Gorlick
Women's Committee of the
Winnipeg Symphony
Orchestra, in Memory of
Norma Bingeman
Women's Committee of the
Winnipeg Symphony
Orchestra, in Memory
of Maria Michalak
2 Anonymous
S e p t e m b e r – O c t o b e r 2 0 1 6 I O V E R T U R E 39
Conmoto
Festival donors help to further
the musical artistry of the
WSO’s New Music Festival.
Thank you!
Alpha Masonry
Aubrey & Dr. Linda Asper
Alison Baldwin
Jackie Brignall
Kevin Burns
Timothy & Barbara Burt
David Carr
Jill Carr & Alex Snukal
Ms. Anne Cholakis
Lara Ciekiewicz
Dr. & Mrs. David Connor
Mr. Peter Czaplinski
Ravi Dookeran
Mrs. Ann England
Herbert Enns
Robert Enright
Daniel Friedman & Rob Dalgliesh
Wendy Gale
Tyler Gompf
Stepan Gordienko
Dr. Alexander Grunfeld & Silvester
Komlodi
Dr. Don & Jerri Hall
Ms. Helen Hawrysh
Dr. Wolfgang Heidenreich in
Support of Composer Henryk
Gorecki for the 2016-17 WNMF
Marilyn & Helios Hernandez
Mr. & Mrs. Elmer Hildebrand
Kim Jeremic
Koren & Leonard Kaminski
Ms. Jose Koes
Konstantinos Kotoulas & Family
Dr. Thomas G Kucera
Ron Lambert
Hideo Mabuchi
Drs. Eleanor & Grant MacDougall
Mr. & Mrs. Cam & Joy MacLean
Manitoba Liquor & Lotteries
Lori Marks
Mr. Frank Martin
Brent Mazur
The A. K. Menkis Medical
Corporation
Ron & Sandi Mielitz
Ms. Sheila Miller
Mrs. Brenda Morlock
Margaret Moroz
Matthew Narvey
Michael Narvey
Michael Nesbitt
Mikaela Oldenkamp
Mr. Chris Pearce
Lesia Peet
Kathleen Polischuk & Richard
Derksen
Dr. Bill Pope & Dr. Elizabeth
Tippett-Pope
Mrs. Victoria Ramnawaj
Bill Reid
Majid & Moti Shojania
Muriel Smith
40
Carrie Solmundson
Terrell Stephen
Ms. Marlene Stern
Jon Stewart
Sally Sweatman
Brenda Taylor
Tetrem Capital Management
Ms. Stephanie M. van Nest
Mr. Curt Vossen
Ms. Meeka Walsh
Karin Woods
Mr. & Dr. Jens J. Wrogemann
1 Anonymous
Share the Music is a unique
outreach initiative of the WSO
that allows economically
disadvantaged children and
their families to attend WSO
performances. Thank you for
helping to Share the Music!
Katherine Devine & George Andrich
Pat & Harvey Anton
Ms. Margaret Barbour
Ralph & Eileen Baxter
Bernice Blakeman
Mrs. Lucienne Blouw, in Memory
of Gijsbert Crielaard
Ms. Patricia Bozyk
Sheila & David Brodovsky
Ms. Carol Budnick
Ms. Linda Campbell
Eileen & Ted
Shelley Chochinov
Ray Cloutier, in Memory of
Gijsbert Crielaard
Joan C. Cohen
M. & G. Crielaard
In Memory of Gijsbert Crielaard,
Marlene Crielaard
Dr. & Mrs. Harold Diamond
Monica Dinney, in Memory of
Gijsbert Crielaard
Doreen Docking
Ms. Enid Durward
Ken Dyck
Shaun Dyck in Memory
of Gijsbert Crielaard
Mr. & Ms. John Edwards
Don & Martha Epstein
Kathy Feader
Mr. & Mrs. Gary & Janice Filmon
Dr. Leeann Fishback
Dorothy Flight
Mrs. Louise Friesen
Mrs. Joyce Fyke
Jocelyn and Mark Gabbert
George & Carol Gamby
Francois Gauvin
The Staff of GD5 in Memory of
Gijsbert Crielaard
Mr. Richard Gillanders
Dr. Don & Jerri Hall, In memory
of Lois Anderson
B. & R. Hall
Teresa A. Hay
OVERTURE I September – October 2016
Larry & Evelyn Hecht
Monique Henderson
Katherine Himelblau
Dorothy L. Hodgson
Mrs. Katherine Hoeppner
Huynh Van Ho
Ishbel Isaacs, in Loving Memory
of Gijsbert Crielaard
Ms. Margaret Jeffries
Mr. & Mrs. C Jenkins
Ross & Betty Jo Johnston
Marilyn Kapitany
Mrs. Karen Kaplen
Kevin & Els Kavanagh
Ursula & Sandor Kelemen
Ms. Mary Klassen
Sandra Kneller
Mr. Eugene S. Kovach
Cycelia Lazarowich, in Memory
of Gijsbert Crielaard
Frances Lemieux
Ms. Marion Lewis
Dr. Judith Littleford
Dr. Brendan MacDougall
Dr. Sabine Mai
Elaine & Neil Margolis
C & V Martens
Mr. Peter Martin
Reina & Mark McDowell, in Memory
of Gijsbert Crielaard
Jean & Mike McIlrath
Mr. Sheldon Leonard McLeod
Mrs. Jose Meers
Ms. Pat Michalski
L & D Mitchell
M. Mohr
Margaret Moroz, in Memory of
Gijsbert Crielaard
Vera Moroz
Bill & Hilda Muir
Dr. Sidney & Gwen Nelko
M. Nancy Lynn O'Brien
D Ogale
Truus Oliver
Sam O.
Mrs. Alice Oswald
Mr. & Mrs. David & Wanda Pike
Ms. Clare Pollock
Ms. Rose Popowich
Rosemary & Walter Prychodko
Ms. Marlene Reguly
Pat and Bill Reid
Ms. Lyse Remillard
Tannis Richardson
Don & Joceline Ringach, Pamela
Ringach & Chris Jordan
David & Elena Roberts
Mr. & Mrs. Norm Sagert
Olive Sayers
Your HR Support Co.
Mr.Walter Silicz
Mrs. Roslyn Silver
Ms. Brenda Sklar
Debbie Smith
Ms. Maureen Southam
Ms. Deborah Spracklin
Herbert Stewart
In honour of Kinzel Keys
Mrs. Joan Swaffer
Ms. Ruth Swan
Dr. & Mrs. S. Szirom
Dr.Teresa Sztaba
Mr. & Mrs. Robert Tapscott
James & Marlene Taylor
Ross & Bette Jayne Taylor
Etta Telford in Memory of Gijsbert
Crielaard
Jim & Jan Tennant
Anne Thiessen, in Memory
of Gijsbert Crielaard
Mrs. Bonnie E Thiessen, in Memory
of Gijsbert Crielaard
Ms. Mia Timmermans
Ms. Melita Tonogai
Fran & Estela Violago
E. Sylvia Warrington
Professor A.M.C.Waterman
Betty Wayborn in Memory of Gijsbert
Crielaard
Carmel Wayborn in Memory of
Gijsbert Crielaard
Bruno Zimmer
19 Anonymous
Sistema Winnipeg is a free daily
after-school program that
enriches the lives of children and
young people with the fewest
resources and the greatest need.
The WSO gratefully
acknowledges the following
patrons whose support makes a
difference in the everyday lives
of these children. Thank you!
Honourary Chair
Daniel Scholz, Principal Viola
Maestoso
Burns Foundation
RBC Foundation
Richardson Foundation
Vivace
Cavalia Inc.
Con Brio
Souchay Gossen Family Foundation
Michael S Gray Fund
The Winnipeg Foundation - George
and Tannis Richardson Fund
Rotary Club of Winnipeg North
Don & Lorraine Swanson
Allegro
Alpha Masonry
Mr. Ron Bell
Timothy & Barbara Burt
Ms. Brenlee Carrington Trepel
The D’Addario Foundation
The Winnipeg Foundation - Chief
Justice Richard J. Scott and
Mary Scott Fund
Jocelyn and Mark Gabbert in
Memory of Benjamin John
West Flynn
Mr. Elmer Hildebrand
Ms. Gail E. Loewen
Dr David Lyttle
Lydia MacKenzie in Honour of
John J. March and His Parents
Tom McIlwham
Ron & Sandi Mielitz
Scott MacDonald & Tracey Novak
Maurice (Moe) & Ethel Pierce Fund,
Jewish Foundation of Manitoba
Ms. Charlotte Robbins
Seven Oaks School Division #10
Jim & Jan Tennant
Faye Warren
John Wells
2 Anonymous
Ms. Barbara Graham
Bobbi-Lynn Haegeman
Alison Hall
Stephen & Barbara Hamilton
Mr. & Mrs. Ben & Nadia Hanuschak
Ms. Rhue Hayden
Ms. Donna Herold
Robin Hildebrand
Arlene Hintsa in Memory of Marilyn
Karen Hiscott
Patricia Holbrow
Cathy Horbas
Mr. & Mrs. Kelvin & Jeanette Jackson
Margaret Jeffries
Peter Jessiman
Drs. Keith & Gwyneth Jones in
Conmoto
Memory of Ben Flynn
ADESA Winnipeg
Joseph and Judith Malko Family Fund
Kathleen & Ken Alder
At the Strategic
James & Faye Alward, in Honour
Charitable Giving Foundation
of Margot J. Alward
Ms. Jayne Laverne Kapac
Ms. Hollie I. Andrew, in Memory
Marilynne Keil
of Ben Flynn
Dr.Terry Klassen & Ms. Grace Dueck
Betty & Ted Ash
Peter Krahn
Ms. Angelica Banmann
Bryon Devries & Diane Lau
Brenda Batzel
Zandra Lea in Honour of Paul and
Ralph & Eileen Baxter
Pamela Connolly
Jennifer Beirnes
Melanie & Craig Leonhardt
Aaron Benarroch
Helen Litz
Byrnes Benoit
Ms. Lorraine MacIboric
Ms. Diane Bewell
Mrs. Anita Malbranck
Ameet Bharaj
Manitoba Association of School
Cathy Bilyk
Superintendents
Gwen Birse
Mrs. Maureen McIntosh
Sally Boulding
Ross Meacham
Tammy Brock, in Honour of
Ms. Linda Meckling
Noah Weiszner's 65th Birthday Linda Meckling, in Memory
Paul & Doreen Bromley
of Alan Blanchette
Ms. Coralie Bryant
Linda Lee-Meiers & Matt Meiers
Ms. Lorelei Bunkowsky
Ron and Sandi Mielitz
Camerata Nova
Ms. Marlene Milne
Mrs. Audrey Campbell
Trish Minish
Gordon & Ann Campbell
Carolyn and Nathan Mitchell
Ms. Darlene J. Chimilar
Mr. Rick Morgan
Dave Christie
Ms. Francine Morin
Michael Cobus &
Mr. & Mrs. Brian & Denise Murphy
Christine Wigglesworth
Mr. Robert Nix
Helen Bergen, Music Director FGUC
Ms. Lucy Nykolyshyn
Joan C. Cohen
William & Linda Oakley, in Memory
Gerald Corr
of Ben Flynn
Ms. Barbara Crow
Peter Obendoerfer
Melissa Delaronde
Thomas Obendoerfer
Ms. Lucy De Sousa
Mr. Brian O'Leary
Dr. & Mrs. Jamit And Courtney Dhaliwal Mr. David Pate
Claire Dionne
Leena Patel
Bob Dueck and Joan Duerksen
Patricia M. Patterson, in Memory of
Mrs. Cynthia Dutton
Max & Pearl Kuran and Mary Kuran;
Caroline Elder
In Honour of Beatrice Kuran, Jean
Ms. Ursula Erhardt
Kuran and Una Kuran Mr. Blair
Ms. Catherine Flower
Peppler
In Memory of Ben Flynn
Mr. Jean-Francois Phaneuf
Ms. Judith Flynn
Dr. & Mrs. D. Punter
Peter Flynn
James Ray, in Memory of Henry Ray
Mr. Verland Force
Tannis Richardson
Hilda Franz
Erin Risbey
ft3 Architecture Landscape Interior
David Guspodarchuk & Joey-Heather
Design
Robertson
Gisaya Gahungu
Karen Romanoff
Helena Jane Gahungu
Joan Sabourin
Evelyn & Ricardo Galima
Ms. Corazon Saquilayan
Gardon Construction Ltd.
Mrs. Claudia Sarbit
Mr.Terry Sargeant
Heather Sarna
Nicola Schaefer
Barbara Scheuneman
Perce & Elizabeth Schirmer
Foundation
Gaylene Schroeder-Nishimura
Trudy Schroeder
Kathleen Schubert
Mrs. Mary Scott
Ms. Mary Semanowich
Olga & Myron Shatulsky
Wilma Sotas
Lynne Stefanchuk
Pat & Wally Stefanchuk
In Memory of Jean Sauder
Deborah Thorlakson, in Celebration
of Mrs.Tannis
Richardson's Birthday
Greg Tramley in Memory of Dave Hunt
Neil & Carol Trembath
Ms.Terry Trupp
Ms. Christine Van Cauwenberghe
Mr. Curt Vossen
Barbara Warrack
Dr. Noah Weiszner
Diane Weselake
Grace M. Wiebe
William Wilde
Karin Woods
Wynward Insurance Group
Libby Yager & Billy Brodovsky
8 Anonymous
George & Carol Gamby
Mrs. A. Lee Gibson
Mr. Patrick Hackett
George Handyman
Dr. Don & Jerri Hall
Ian & Gerry Hamilton
L. Harasym
Teresa A. Hay
Daniel Heindl & Eugene Boychuk
L.G. Herd
Terry Heron
Sanford Hildebrand
Ms. Susan Hildebrandt
Carole Holke
Stella Hryniuk
Vi Hultin
Mrs. Joan M. Hunter
Rudy & Gail Isaak
Rozin & Cathy Iwanicki
Crystal & Günter Jochum
Ken Kinsley
Frances R. Kolt
Mona Koropatnick
Paul Kosowan
Ms. Jacki Koven
Ms. Janet Kuchma
Elizabeth Lansard
Don Lawrence
Mr. Norman Leathers
P. M. Litwin
Roger Lowe
Grant MacDougall
Lydia MacKenzie
Ms. Lorraine MacLeod
Barbara Main
ANNUAL CAMPAIGN Mr. Allan Mapes
Aubrey Margolis
The WSO gratefully
Bob and Betty McCamis
acknowledges the following
Ms. Diane McGregor
patrons whose generosity helped
Sylvia Mitchell
to support orchestral music in
Margaret & Fred Mooibroek
our community. Thank you!
D.E. Morrison
Ms. Lillian Murphy
Ms. Sylvia L. Barr
Robert Nix
F. Bell
Ellen Peel & Neil Bruneau
Marjorie Blankstein
Mr. Irwine Permut
Helga & Gerhard Bock
Ian & Ann-Margret Plummer
Frances Booth
Mr. & Mrs. Barry Prentice
Wendy Broadfoot
Barbara M. Robertson
Greg & Sylvia Brodsky
Olga & Bill Runnalls
Dolores P. Brommell
Barbara Scheuneman
Ms. Carol Budnick
A. Schroeder
Mrs. Leona Burdeniuk
Dr. Robert Schroth
Gerald Callow
Ken Schykulski
Mrs. Audrey Campbell
Mrs. Doreen Shanks
Mr. & Mrs. Carl & Donna Chambers
Carl and Margaret Shaykewich
Karen Couch
Pam Simmons
Dennis & Ruth Crook
Ms. Debbie Spacklin
Jean Cunningham
Mr. & Mrs. A.E. Stanton
Ellen Curtis
Mr. Herbert Stewart
D. Cymbalist
Mrs. Joan Swaffer
Piotr Czaykowski & Anne Worley
Ms. Judith Thompson
Mr. & Ms. Jim & Virginia Dyck
Ms. Marilyn Thompson
Lisa Edel
Ms. Andrea Towers
Scott & Margaret Edmonds
Mrs. Susan Twaddle
Donna Ekerholm
Audrey Walker
Vera & Peter Fast
Patricia Walker
Mr. & Mrs. Gary & Janice Filmon
Mrs. Marilyn Weimer
Joan Fleming
Evelyn Wener
Miriam Fliegel
Ms. Joan Wise
Mrs. Gitta Fricke
14 Anonymous
Arnold & Myra Frieman
Listing as of March 4, 2016
Robert & Monica Friesen
September – October 2016 I OVERTURE 41
PRESIDENTS OF THE WINNIPEG SYMPHONY ORCHESTRA
1948-51
1951-53
1953-55
1955-57
1957-58
1958-61
1961-62
1962-64
1964-65
1965-67
1967-69
1969-71
1971-73
1973-74
1974-76
1976-78
1978-79
1979-80
1980-81
1981-82
1982-83
Hon. Mr. Justice J. T. Beaubien
Mr. J. M. Sinclair
Dr. Digby Wheeler
Mr. W. D. Hurst
Dr. Hugh H. Saunderson
Mr. E. W. H. Brown
Mr. David Slater
The Hon. Mr. Justice Monnin
Mr. Norman J. Alexander
Mr. R. W. Richards
Mr. W. R. Palmer
Mr. E. J. Smith
Dr. M. M. Pierce
Mr. H. S. Brock-Smith
Mr. Allan G. Moffatt
Mr. Julian D. T. Benson
Mr. John L. Buckworth
Mr. N. Roger McFallon
Mr. John F. Fraser
Mr. William W. Draper
Mr. John O. Baatz
1983-84
1984-86
1986-88
1988-90
1990-92
1992-94
1994-96
1996-97
1997-98
1998-99
Feb 1999-May 1999
Jun 1999-2000
2000-Feb 03
Mar 2003-Dec 2003
Dec 2003-Jan 2005
Jan 2005- Jul 2006
Jul 2006-Nov 2006
Dec 2006- Jun 2007
2007-2012
2012-present
Mr. Andrew D. M. Ogaranko, Q.C.
Mr. Harold Buchwald, Q.C.
Mr. Michel Lagacé
Mr. William H. Loewen
Mrs. Julia DeFehr
Mr. Gordon Fogg
Mrs. Helen Hayles
Mr. Anthony Brookes
Mrs. Helen Hayles
Mr. William Norrie
Mr. William Loewen
Mr. Bruce MacCormack
Mr. Roger King
Ms. Patti Sullivan
Mr. Wally Fox-Decent
Ms. Carol Bellringer
Mr. Harvey I Pollock, QC
(Interim President)
Mr. Brendan MacDougall
Ms. Dorothy Dobbie
Mr. Timothy E. Burt, CFA
PRESIDENT’S ADVISORY COUNCIL
Al Alexandruk
Mal Anderson
Carol Bellringer
Marilyn Billinkoff
Doneta Brotchie
John and Bonnie Buhler
James Carr
Edmund Dawe, D.M.A.
Dorothy Dobbie
Greg Doyle
Jamie Dolynchuk
Julia De Fehr
Susan Feldman
Barbara Filuk
Wally Fox-Decent
Jack Fraser
Evelyn Friesen
Elba Haid
Helen Hayles
Kaaren Hawkins
Sherrill Hershberg
Ian Kay
Roger King
Bill Knight
Michel Lagacé
Zina Lazareck
Gail Leach
Dr. Hermann Lee
Naomi Levine
Bill Loewen
Jackie Lowe
Dr. Brendan MacDougall
Don MacKenzie
Bill Marr
Ed J. Martens
Michael Nozick
Harvey I Pollock, QC
Dr. William Pope
John Rademaker
Kathleen Richardson
Tannis Richardson
Lenny Richardson
Ed Richmond
Lorne Sharfe
William Shead
Graeme Sifton
Joanne Sigurdson
Muriel Smith
Bonnie Staples-Lyon
Brenlee Carrington Trepel
Dennis Wallace
September – October 2016 I OVERTURE 43
WSO BOARD & STAFF 2016-2017 SEASON
BOARD OF DIRECTORS
Timothy E. Burt, CFA,
President
Terry Sargeant,
1st Vice President
Curt Vossen,
2nd Vice President
Rob Kowalchuk, CA,
Treasurer
Michael D. Kay,
Secretary
Sandra Altner
Lucienne Blouw
Emily Burt, MBA, CFA
James Cohen
Arlene Dahl
Marten Duhoux
Alan Freeman
Daniel Friedman
Gregory Hay
Micah Heilbrunn
Robin Hildebrand
Peter Jessiman
Margaret Kellermann
McCulloch
Maureen Kilgour
Silvester Komlodi
Sotirios Kotoulas
Dr. Eleanor MacDougall
Sherratt Moffat
Dr. Michael Nelson
Richard Turner
Ex-Officio
Trudy Schroeder, Executive
Director
Alexander Mickelthwate,
Music Director
EXECUTIVE OFFICE
Lori Marks, Confidential Executive Assistant
FINANCE & ADMINISTRATION
Lyn Stienstra, VP Finance & Administration
Sandi Mitchell, Payroll & Accounting Administrator
Oscar Pantaleon Jr., Finance & Administration Assistant
SALES & AUDIENCE SERVICES
Ryan Diduck, VP Sales & Audience Services
Desiree La Vallee, Patron Services Coordinator
Theresa Huscroft, Group Events Representative
Rachel Himelblau, Patron Services Representative
Aaron Lewis, Sales Specialist
Patron Services Representatives (p/t):
Phil Corrin
Melissa Houston
Kristie Enns
Laura Gow
Meg Dolovich Crystal Schwartz
MARKETING & DEVELOPMENT
Neil Middleton,VP Marketing & Sponsorship
Beth Proven,VP Development
Carol Cassels, Development Manager
Shenna Song, Development Coordinator
Sarah Panas, Marketing & Communications Coordinator
Matt Brooks, Designer
S.Thompson Designs Inc.
44
BOX OFFICE:
ADMIN OFFICE:
OVERTURE I September – October 2016
WOMEN'S COMMITTEE EXECUTIVE
Sherratt Moffatt, President
Winnifred Warkentin, Vice-President
Sylvia Cassie, Past President
Nancy Weedon, Treasurer
Agnes Bailey, Secretary
Florence Bell, Asssistant
TRUDY SCHROEDER, EXECUTIVE DIRECTOR
ALEXANDER MICKELTHWATE, MUSIC DIRECTOR
Bramwell Tovey, Conductor Laureate
Julian Pellicano, Resident Conductor
CONTACT US:
OUR DISTINGUISHED PATRONS
Her Honour the Honourable
Janice C. Filmon C.M., O.M.
Lieutenant Governor of Manitoba
The Honourable Brian Pallister,
Premier of Manitoba
His Worship Brian Bowman,
Mayor of the City of Winnipeg
Mr. W.H. Loewen & Mrs. S.E. Loewen,
WSO Directors Emeritus
ARTISTIC OPERATIONS & COMMUNITY ENGAGEMENT
Jean-Francois Phaneuf, VP Artistic Operations &
Community Engagement
James Manishen, Artistic Operations Associate
Evan Klassen, Production Manager
Sheena Sanderson, Stage Manager
Chris Lee, Orchestra Personnel Manager
Ray Chrunyk, Principal Librarian
Laura MacDougall, Assistant Librarian
Lawrence Rentz, Stage Supervisor
Brent Johnson, Education & Community
Engagement Manager
Amy Wolfe, Education Coordinator
Lindsay Woolgar, Education Programs Coordinator (Term)
Shannon Darby, Sistema Winnipeg Manager
204-949-3999
204-949-3950
[email protected]
[email protected]
wso.ca
European Tour to the Birthplace of Classical Music
October 2017
Mozart • Schubert • Beethoven • Strauss • Gluck • Mahler • Brahms • Haydn • Weber • Schonberg • Liszt • Bartok • Kodaly • Dvořák • Janacek • Bohuslav
PRAGUE
VIENNA
BUDAPEST
The Golden City of
One Hundred Spires
The Heart and Soul
of Classical Music
Modern and Ancient,
Split by the Danube
•
•
•
•
10 nights accommodation at deluxe hotels with daily breakfast
Visits to Prague Castle, Black Theatre, Old Synagogue and Museum,
Mozarthaus Vienna, Matthias Kirche and Halazbastya (Fisherman’s Bastion)
Performances of the Prague Symphony, Vienna Philharmonic, and
Hungarian National Philharmonic Orchestras
Private transfer from airport to hotel
INFORMATION SESSION
September 25th Approx. 4:30 pm
following WSO performance of
The Spy Who Loved Me
For more information and a complete itinerary please contact
Natalie Hebert at 204.989.9343 I 1.800.665.2626 I [email protected]
Or visit us online at www.continentaltravel.ca