SEASON PRESENTING SPONSOR
IN HONOUR OF H. THOMAS BECK
S E A S O N PAT R O N
Mozart
@261
Festival
CO-CURATED BY BERNARD LABADIE & PETER OUNDJIAN
IN PARTNERSHIP WITH
JANUARY 11 & 12, 2017
TELUS CENTRE FOR PERFORMANCE AND LEARNING, KOERNER HALL
TORONTO SYMPHONY ORCHESTRA
Peter Oundjian, Music Director
Catherine Beck, Chair | Gary Hanson, Interim Chief Executive Officer
BOARD OF DIRECTORS
Catherine Beck, Chair
Rags Davloor, Vice-Chair & Treasurer
Eileen Jurczak, MBA, CFA, Secretary
Pat Baker
Joanne Colbourne, TSVC Co-President
Robert W. Corcoran
Sharon Groom
Councillor Norm Kelly
Vahan Kololian
Noelle Richardson
Luke Seabrook
Brian Shaw
Tom Smee
Debra Walker, TSVC Co-President
TORONTO SYMPHONY FOUNDATION TRUSTEES
Lawrence A. Ward, FCPA, FCA, Chair
Richard Balfour
Thomas Bogart
Ira Gluskin
Noelle Grace
Thomas C. MacMillan
Sheila Murray
John Nagel
John Sherrington
MAESTRO’S CLUB AMBASSADORS
David G. Hallman, Chair
Judy Dunn, Vice-Chair
Olga Fershaloff
Michael Gnat
Donna Goldman
Bryan Graham
Maymar Naman
YOUNG LEADERSHIP COUNCIL
Dustin Cohen, Co-Chair
Danielle Ryterband, Co-Chair
James Bertrand, Communications Chair
Tricia Black
Natalie D’Aoust
Nicole D’Aoust
Scott Darling
Theodora Ferrant
Jesse Goldman
Adrian Ishak, Nominations Chair
Robert Karrass, Philanthropy Chair
Lawrence Kim, Impresarios Club Chair
Andrew Kwong
Pippa Leslie
Jelena Rakovac
Rachel Spiar
Brocke Weir, Secretary
HONORARY MUSICIANS
These extraordinary individuals have been selected by the Orchestra
for their extraordinary commitment and service to the TSO.
Tom Beck
Renette Berman
Robert Corcoran
Sheryl L. Kerr
Judith (Billie) R. Wilder
ORCHESTRA MEMBERS
Peter Oundjian
MUSIC DIRECTOR
Sir Andrew Davis
CONDUCTOR LAUREATE
Steven Reineke
PRINCIPAL POPS
CONDUCTOR
Earl Lee
RBC RESIDENT CONDUCTOR
& TSYO CONDUCTOR
Gary Kulesha
COMPOSER ADVISOR
Jordan Pal
RBC AFFILIATE COMPOSER
Violins
Jonathan Crow
CONCERTMASTER
TOM BECK
CONCERTMASTER CHAIR
Mark Skazinetsky
ASSOCIATE CONCERTMASTER
Marc-André Savoie
ASSISTANT CONCERTMASTER
Etsuko Kimura
ASSISTANT CONCERTMASTER
Paul Meyer
PRINCIPAL,
SECOND VIOLIN
Wendy Rose*
ASSOCIATE PRINCIPAL,
SECOND VIOLIN
Eri Kosaka
ASSISTANT PRINCIPAL,
SECOND VIOLIN
Atis Bankas*
Sydney Chun
Carol Lynn Fujino
Amanda Goodburn
Terry Holowach
Bridget Hunt
Amalia Joanou-Canzoneri
Mi Hyon Kim
Shane Kim
Leslie Dawn Knowles
Sergei Nikonov
Hyung-Sun Paik
Young Dae Park
Semyon Pertsovsky
Peter Seminovs
Jennifer Thompson
Angelique Toews
James Wallenberg
Virginia Chen Wells
Arkady Yanivker
Violas
Piccolo
Teng Li
Camille Watts
PRINCIPAL
PRINCIPAL VIOLA
FUNDED BY DAVID AND
RENETTE BERMAN
Eric Nowlin+
ASSOCIATE PRINCIPAL
Theresa Rudolph
Oboes
Sarah Jeffrey
PRINCIPAL
PRINCIPAL OBOE
FUNDED BY PAM AND
CHRIS HODGSON
Steven Woomert
ASSOCIATE PRINCIPAL
James Gardiner
James Spragg
Trombones
Gordon Wolfe
PRINCIPAL
Vanessa Fralick
ASSISTANT PRINCIPAL
Keith Atkinson
ASSOCIATE PRINCIPAL
Daniel Blackman
Ivan Ivanovich
Gary Labovitz
Diane Leung
Charmain Louis
Mary Carol Nugent
Christopher Redfield
Kent Teeple
ASSOCIATE PRINCIPAL
Bass Trombone
Cellos
PRINCIPAL
SHERYL L. AND
DAVID W. KERR PRINCIPAL
CLARINET CHAIR
Joseph Johnson
PRINCIPAL
PRINCIPAL CELLO CHAIR
FUNDED BY
DR. ARMAND HAMMER
Cary Ebli
Sarah Lewis
English Horn
Cary Ebli
Clarinets
Joaquin Valdepeñas
Yao Guang Zhai+
ASSOCIATE PRINCIPAL
Emmanuelle Beaulieu
Bergeron
Joseph Orlowski
Amy Zoloto+
ASSOCIATE PRINCIPAL
E-flat Clarinet
Winona Zelenka
ASSISTANT PRINCIPAL
Yao Guang Zhai+
Igor Gefter
Marie Gelinas
Roberta Janzen
Britton Riley
Kirk Worthington
Bass Clarinet
Double Basses
PRINCIPAL
Jeffrey Beecher
PRINCIPAL
PRINCIPAL DOUBLE BASS
CHAIR ANNUALLY FUNDED BY
THE SAUNDERSON FAMILY
Amy Zoloto+
Bassoons
Michael Sweeney
Samuel Banks
Fraser Jackson
Contrabassoon
Fraser Jackson
Theodore Chan
Timothy Dawson
Chas Elliott
David Longenecker
Paul Rogers
Horns
Flutes
Christopher Gongos
Nora Shulman
PRINCIPAL
TORONTO SYMPHONY
VOLUNTEER COMMITTEE
PRINCIPAL FLUTE CHAIR
Julie Ranti
ASSOCIATE PRINCIPAL
Leonie Wall
Camille Watts
Neil Deland
PRINCIPAL
DR. MICHAEL BRAUDO
PRINCIPAL HORN CHAIR
ASSOCIATE PRINCIPAL
Audrey Good
Nicholas Hartman
Gabriel Radford
Trumpets
Jeffrey Hall
Tuba
Mark Tetreault
PRINCIPAL
Timpani
David Kent
PRINCIPAL
Percussion
John Rudolph
PRINCIPAL
Patricia Krueger
Harp
Heidi Van Hoesen Gorton
PRINCIPAL
PRINCIPAL HARP FUNDED
BY RICHARD ROONEY AND
LAURA DINNER
Keyboard
Patricia Krueger
PRINCIPAL
PRINCIPAL KEYBOARD
FUNDED BY HANS AND
SUSAN BRENNINKMEYER
Librarians
Gary Corrin
PRINCIPAL
PRINCIPAL LIBRARIAN FUNDED
BY BOB AND ANN CORCORAN
Kim Gilmore
Personnel
David Kent
MANAGER
*On sabbatical
+On leave
Andrew McCandless
PRINCIPAL
TORONTO SYMPHONY
VOLUNTEER COMMITTEE
PRINCIPAL TRUMPET CHAIR
1
THE TSO CHAMBER SOLOISTS
CONCERT PROGRAM
Wolfgang Amadeus Mozart
String Quintet No. 3 in C Major, K. 515
I. Allegro
II. Andante
III. Menuetto: Allegretto
IV. Allegro
Wednesday, January 11, 2017
6:45pm
Jonathan Crow
violin
Theresa Rudolph
viola
Joseph Johnson
cello
with guest artists
Kerson Leong
violin
Madlen Breckbill
viola
2
THE DETAILS
THE TSO CHAMBER SOLOISTS
In 1787, Mozart was concentrating his efforts
into what would become his next operatic
masterpiece, Don Giovanni. Midway through its
creation, he took a break to compose two string
quintets, K. 515 in C major and K. 516 in G minor.
Both are considered today to be among his most
significant chamber music works.
Founded in 2014, The Toronto Symphony
Orchestra Chamber Soloists came together
with a mission to create programming featuring
a diverse and varied range of instruments.
Acclaimed as an ensemble of distinguished
virtuosi, the Chamber Soloists’ unique
combination of winds, strings, keyboard, and
percussion gives it the flexibility to present a wide
range of unusual and infrequently performed
repertoire, along with some of the best-loved
works in the chamber music literature.
The exact purpose or occasion for which Mozart
composed these quintets is unknown; in the
view of noted scholar H.C. Robbins Landon,
Mozart probably wrote them on speculation,
“hoping to sell manuscript copies to amateurs by
subscription.” However, the technical demands
of the quintets were such that few amateurs
would have sought to play them. Meanwhile,
Mozart was no longer in the favour of Vienna’s
aristocratic patrons (though nor was he
intentionally catering to them); in 1788, he was
obliged to sell outright the scores of the quintets
to the publisher Artaria and Co. for a trifle.
At 35 minutes in duration, Mozart’s Third
String Quintet is the longest of his chamber
works for strings. The first movement is in a
sonata form of remarkable proportions, with
a substantial exposition and a recapitulation
rich in development. Particularly striking is the
way Mozart creatively exploits all the various
permutations of the instruments within the
ensemble, creating novel textures through
emphasizing the inner voices.
Comprising principal players from the Toronto
Symphony Orchestra, The TSO Chamber
Soloists have already performed around the
world, from Roy Thomson Hall to the iconic
Harpa Hall in Iceland, with such distinguished
guest artists as Emanuel Ax, James Ehnes,
Barbara Hannigan, and John Storgårds. Curated
by TSO Concertmaster Jonathan Crow, the
Chamber Soloists seek to bring audiences closer
to the musicians of the Orchestra—personally
and musically. As the chamber ensemble could
be seen as a microcosm of the symphony
orchestra, the intimate nature of chamber music
invites the audience to a close encounter with
the distinct personalities and talents of the TSO’s
individual musicians, while the works performed
offer a different perspective into a particular
composer’s craft.
The Andante is, as Robbins Landon aptly puts it,
“a civilized and highly intellectual conversation
between two friends, first violin and first viola,”
the operatic qualities of which are unmistakably
Mozartian. The Minuet, featuring a call and
response between the violins and lower strings,
frames a chromatically tinged trio of unusually
grand proportions. The elegant finale, in which
once again Mozart makes the most of the
ensemble’s rich variety of sonorities, concludes
the work on a bold and jubilant note.
Program note by Hannah Chan-Hartley
3
Portrait of W.A. Mozart, Barbara Krafft, 1819
MAGNIFICENT
MOZART
4
CONCERT PROGRAM
Wolfgang Amadeus Mozart
Rondo in C Major for Violin and Orchestra, K. 373
Piano Concerto No. 27 in B-flat Major, K. 595
I. Allegro
II. Larghetto
III. Allegro
Wednesday, January 11, 2017
8:00pm
Thursday, January 12, 2017
8:00pm
Peter Oundjian
conductor
Intermission
Symphony No. 40 in G Minor, K. 550
I. Molto allegro
II. Andante
III. Menuetto: Allegretto
IV. Allegro assai
Kerson Leong
violin
Leonid Nediak
piano
MASTERWORKS (ENCORE) SERIES
PRESENTED BY
Peter
Oundjian
Music
Director
Magnificent Mozart! Violinist Kerson Leong and pianist Leonid Nediak join us
to open another celebration of the music of this most timeless of composers.
Mozart was a singularity, the ideal talent in the ideal time and place, the final and
greatest Classicist, the last composer who worked at perfecting a style rather
than changing it. Symphony No. 40 in G minor is one of his most fascinating
and appealing works. He rarely used the minor key, and when he did, the effect
is striking—turbulence mixed with lyricism. This is an extremely dramatic and
atmospheric work. Mozart himself considered the Piano Concerto in B-flat to
be quite difficult, but this is truly a giant at the height of his powers. If you hear
him foreshadowing Beethoven in this great concerto, you are not imagining
it. In contrast, the lovely Rondo in C for violin is one of his most gracious and
polished works, a perfect example of everything we associate with his style.
5
THE DETAILS
Wolfgang Amadeus Mozart
Born: Salzburg, Austria, Jan 27, 1756
Died: Vienna, Austria, Dec 5, 1791
5
min
Rondo in C Major for Violin and Orchestra, K. 373
Composed: 1781
In 1769, Mozart became concertmaster of his
home city’s court orchestra. He remained a
member of the ensemble (although not always
as concertmaster) for a dozen years. Between
April and December of 1775, he composed
four of his five violin concertos. They bear no
dedications, probably indicating that he had
either written them to perform himself, or
wished to encourage future performances by
not tying them to particular soloists. Some of
them may also have been played by Antonio
Brunetti, who was first his assistant, then his
successor as concertmaster in Salzburg. Mozart
found him slow-witted and boorish.
This graceful Rondo was premièred in Vienna,
on April 2, 1781, six days after Mozart completed
it, and with Brunetti as soloist. One possible
A DIFFICULT EMPLOYER
In at least three letters to his father in
1781, Mozart mentioned the Archbishop’s
concerts in which this Rondo was
performed, complaining of the
Archbishop’s treatment of him. On June
13, he wrote that the “last time, after the
program was over, I played for a whole
hour variations on a theme given to me
by the Archbishop, and I earned so much
applause that...if he had the least bit of
Humanity in his heart, should have felt
great joy; but instead...[he] tells me to my
face I should clear out....”
6
reason for its creation was the temperamental
Brunetti’s request for a substitute finale for a
concerto by another composer. Six years earlier,
he had made the same demand regarding the
slow movement of Mozart’s Concerto No. 5.
The première was given under the auspices of
Prince Rudolph Joseph Colleredo, the father of
Mozart’s unappreciative and despised employer
in Salzburg, Prince-Archbishop Hieronymous
Colleredo. Mozart composed two other works
for the occasion: a Sonata for violin and piano
in G major, K. 379, and a concert aria, “A questo
seno deh vieni” (Come to my arms), K. 374. Being
a salaried member of the Prince-Archbishop’s
retinue, he received no additional payment for
any of these pieces. He and Brunetti performed
the sonata, and the renowned castrato, Francesco
Ceccarelli, sang the aria—to great acclaim.
Mozart’s happiness at the success of the event
was tempered by the fact that his lowly but
iron-clad station in the Prince-Archbishop’s
household meant that he had to bypass the
opportunity to perform at another function
that was taking place at the same time. It was
attended by the Emperor, who would likely
have awarded him a handsome fee and taken
notice of his magnificent talent. Two months
later, Mozart was dismissed from the PrinceArchbishop’s service. He relocated to Vienna and
happily took up the life of a freelance musician.
The next few years were the most successful of
his life.
Program note by Don Anderson
31
min
Piano Concerto No. 27 in B-flat Major, K. 595
Composed: 1791
Among Mozart’s many talents, Viennese
audiences loved his piano playing above all. One
way in which he responded to this preference
was to compose twelve superlative piano
concertos—Nos. 14 to 25, between February
1784 and December 1786. They offer more in
terms of emotion, breadth, and colour than
any composer’s concertos written prior to that
time. They would serve as models of their kind,
ones to which Beethoven, Brahms, and other
similarly high-minded composers would turn for
inspiration.
Two further piano concertos followed. Mozart
completed No. 26 in D major, K. 537, in February
1788. It earned the nickname “Coronation”
LONGING FOR SPRING
Mozart completed K. 595 in January
1791, and its première was his final public
appearance at the keyboard in Vienna.
(For this Concerto, he left cadenzas for
the first two movements as well as two of
three lead-ins for the finale). He later used
the folk-like tune of the Concerto’s finale
in a song entitled “Sehnsucht nach dem
Frühlinge” (Longing for spring), K. 596, for
which the text begins “Come, dear May,
and clothe the trees in green once more,
and let the little violets bloom for me by
the brook.” It would be the last spring of
Mozart’s life.
through the unconfirmed possibility that it
was premièred at an all-Mozart concert that
formed part of (or shortly followed) the festivities
marking the coronation of Leopold II, Emperor
of Austria, as Holy Roman Emperor in 1790.
Then came this final concerto. By 1791, Mozart’s
popularity with the fickle Viennese public had
largely evaporated. As a result, the première
of the new concerto did not take place at one
of his own subscription concerts, as many of
the earlier pieces had, but at an event whose
featured performer was clarinetist Joseph Bahr.
Mozart’s health was failing badly, too. These
unhappy developments show themselves
to varying degrees in much of the music he
composed during that last year of his life. In
some pieces, such as the Clarinet Concerto and
the unfinished Requiem, a sense of resignation
is clearly detectable. In others, this Concerto
included, the poignancy makes itself felt more
indirectly, but no less profoundly.
Its restraint is evident from the opening
measures. The first movement deftly balances
brilliance and humour with mellowness.
Throughout, Mozart allows us glimpses of the
heartbreak lurking behind the music’s graceful
surface. A gentle slow movement follows,
angelic in its tenderness and artless simplicity.
The solo piano launches the Finale, a rondo. In
keeping with the Concerto’s overall conception,
the celebrations are more elevated than rustic.
Program note by Don Anderson
7
THE DETAILS
For a Visual Listening Guide to Mozart Symphony
No. 40, K. 550, visit TSO.CA/Mozart40.
Wolfgang Amadeus Mozart
Born: Salzburg, Austria, Jan 27, 1756
Died: Vienna, Austria, Dec 5, 1791
35
min
Symphony No. 40 in G Minor, K. 550
Composed: 1788
Mozart could not have known that the three
symphonies he composed between June 26 and
August 10, 1788, would be his last. It is fitting that
he should conclude his career as a symphonist
with three such masterpieces. They are quite
different from each other: Symphony No. 39 is
one of his most elegant creations, its successor
among his most dramatic, full of pathos. And
appropriately, No. 41 is the grandest and most
joyous of all his symphonies.
A number of mysteries surround these works.
No commission that would have inspired
Mozart to compose them has survived. Some
writers speculate that he wrote them strictly
for his own pleasure. Others, such as noted
scholar Neal Zaslaw, feel differently: “The very
idea that Mozart would have written three
TWO VERSIONS
Mozart created two versions of K. 550—one
without and one with clarinets. According
to musicologist Neal Zaslaw, this “strongly
suggests that both versions of the work
were performed, for Mozart would hardly
have gone to the trouble to make these
rescorings if he had not had specific
performances in view.” The second version
of K. 550 may have been performed at the
Society of Musicians annual benefit concert
in April 1791; the orchestra, under Antonio
Salieri’s direction, included Mozart’s friends,
clarinetists Johann and Anton Stadler.
8
such symphonies, unprecedented in length,
complexity, and seriousness, merely to please
himself or because he was ‘inspired’, flies in
the face of his known attitudes to music and
life and the financial straits in which he then
found himself.”
Uncertainty also surrounds their performance
during Mozart’s lifetime. It has long been
assumed that none of them were played before
his death. Circumstantial evidence points to one
or more of them being performed on several
occasions, such as during the tours he made of
Germany in 1788 and 1789.
In the opening movement of Symphony No. 40,
an overriding mood of resignation undercuts
the music’s plentiful energy. The second theme
resembles nothing so much as a series of sighs.
The Symphony’s sole oasis of repose arrives
in the placid second movement. Even here,
passages of troubled feelings crop up from time
to time.
The ensuing Minuet lies as far from the ballroom
as may be imagined. Its almost menacing outer
panels make it perhaps the most disturbing
example of its kind. The central Trio section
offers the barest glimpse of happier times. The
forward drive of the first movement returns in
the finale, with a more insistent edge added.
Considerable momentum is generated, but the
atmosphere of gloomy defiance persists to the
very last bar, without winning through to any
kind of emotional victory.
Program note by Don Anderson
THE ARTISTS
Peter Oundjian
conductor
A dynamic presence in the conducting world,
Toronto-born conductor Peter Oundjian is renowned for
his probing musicality, collaborative spirit, and engaging
personality. Oundjian’s appointment as Music Director of
the Toronto Symphony Orchestra in 2004 reinvigorated
the Orchestra with numerous recordings, tours, and
acclaimed innovative programming as well as extensive audience growth, thereby
significantly strengthening the ensemble’s presence in the world. In 2014, he led the
TSO on a tour of Europe which included a sold-out performance at Amsterdam’s
Concertgebouw and the first performance of a North American orchestra at
Reykjavik’s Harpa Hall. In May 2017, Oundjian will lead the TSO in its first-ever touring
appearances in Israel, with performances in Jerusalem and Tel Aviv, before travelling
to Europe and appearing in Vienna, Prague, Regensburg, and Essen.
Oundjian was appointed Music Director of the Royal Scottish National Orchestra
(RSNO) in 2012. Under his baton, the orchestra has enjoyed several successful tours
including one to China, and has continued its relationship with Chandos Records.
Last season, Oundjian and the RSNO opened the Edinburgh Festival with the
innovative Harmonium Project to great critical and audience acclaim.
Few conductors bring such musicianship and engagement to the world’s great
podiums—from Berlin, Amsterdam, and Tel Aviv, to New York, Chicago, and Sydney.
He has also appeared at some of the great annual gatherings of music and musiclovers: from the BBC Proms and the Prague Spring Festival, to the Edinburgh Festival
and The Philadelphia Orchestra’s Mozart Festival where he was Artistic Director from
2003 to 2005.
Oundjian was Principal Guest Conductor of the Detroit Symphony Orchestra from
2006 to 2010 and Artistic Director of the Caramoor International Music Festival
in New York between 1997 and 2007. Since 1981, he has been a visiting professor
at the Yale School of Music, and was awarded the university’s Sanford Medal for
distinguished service to music in 2013.
9
THE ARTISTS
Kerson Leong
violin
Kerson Leong made his TSO début in June 2013.
Acclaimed by musicians and audiences alike for his
commanding stage presence, magnificent tone, and
musical integrity, Canadian violinist Kerson Leong is quickly
establishing himself at the forefront of his generation since
gaining international recognition by winning Junior First Prize
at the Menuhin Competition in 2010. He has performed at such venues as Wigmore Hall
and l’Auditorium du Louvre, as well as with such ensembles as the Oslo Philharmonic,
Vienna Chamber Orchestra, the Gulbenkian Orchestra, I Solisti Veneti, Toronto
Symphony Orchestra, Orchestre symphonique de Montréal, Orchestre symphonique
de Québec, Orchestre Métropolitain, and the National Arts Centre Orchestra of Canada.
Notable highlights in 2016 were his world and Australian premières and subsequent CD
recording of Visions, a new work for violin, boys choir, and string orchestra written for
him by John Rutter.
Kerson is currently an Artist-in-Residence at the Queen Elisabeth Music Chapel in Belgium,
mentored by Augustin Dumay. He gratefully acknowledges the support received
from the Sylva Gelber Music Foundation Award 2016. He performs on a c. 1728–1730
Guarneri del Gesù, courtesy of Canimex Inc., Drummondville (Québec), Canada.
Leonid Nediak
piano
These performances mark Leonid Nediak’s TSO début.
Known for his originality and captivating playing, 13-year-old
pianist Leonid Nediak has been awarded many prestigious
awards, including the Grand Prize in the Canadian National
Composition Competition (CFMTA 2016), second place
and the audience prize in the Cleveland International Piano
Competition 2015, and the Grand Prize twice at the Canadian Music Competition in
2013 and 2014. In 2015, Leonid was selected as the youngest of the “30 Hot Canadian
Classical Musicians under 30”. Leonid has performed with orchestras such as the
Orchestre symphonique de Montréal, Orchestre symphonique de Québec, and the
Canton Symphony Orchestra in the US, and he has given numerous solo recitals in Canada,
the US, and Russia.
Leonid has studied piano with Michael Berkovsky and Ilya Itin. He is currently a full
scholarship student at The Royal Conservatory’s Taylor Young Artists Academy in Toronto
under the tutelage of James Anagnoson. He has been studying composition with John
Burge since 2013. Leonid also enjoys computer science and math and he has won
numerous prizes in national math and computer science competitions.
10
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Brigitte Anderson
Ms. Pat Baker & Mr. Duff Scott
Francine & Bob Barrett*
Dr. Thomas Beechy*
Mrs. Earlaine Collins+*
Dorne & Angela Collison*
George A. Fierheller*
James & Joyce Gutmann*
The Hal Jackman Foundation
William & Nona Heaslip*
Holdbest Foundation
Ian Ihnatowycz Family Foundation
J.P. Bickell Foundation*
Mr. Allan Kimberley &
Ms. Pam Spackman*
Vahan & Susie Kololian
Peter Levitt & Mai Why+*
M. George & Leanne Lewis*
The McLean Foundation*
The Minto Foundation Inc.
Mr. & Mrs. William & Sally Morris
Peter Naylor
Marianne Oundjian*
Peter & Nadine Oundjian*
RioCan REIT
Richard Rooney & Laura Dinner*
Robert T. & Francine Ruggles*
Esther & Sam Sarick*
William & Meredith Saunderson*
Dr. Marianne Seger*
Tom & Ellen Smee
Mr. Howard Sokolowski
The Temerty Family*
Bill & Bronwen Thomas*
Luc & Pamela Vanneste*
Xerox Canada Ltd.*
Mrs. Sharon Zuckerman*
Anonymous (3)
For more information on the Music Director’s Circle, please contact Marion York, Director of Philanthropy, at 416.593.7769 X 292.
TORONTO SYMPHONY FOUNDATION
Donors to the Toronto Symphony Foundation play an important role in securing the future of the TSO. These Funds have been established by significant gifts that provide an
ongoing stream of income to the TSO ensuring that the vitality and artistic excellence of the Orchestra will continue for future generations.
Funds Supporting
General Operations
Orchestra Chair
Endowment Funds
Special Purpose
Endowment Funds
Judith (Billie) R. Wilder
Endowment Fund
Ontario Arts Endowment Fund
General Fund
Minister of Canadian Heritage
Grant Fund
Future Support Fund
General Endowment Fund
Tom Beck Concertmaster Chair
Sheryl L. & David W. Kerr
Principal Clarinet Chair
Toronto Symphony Volunteer
Committee Principal Flute Chair
Toronto Symphony Volunteer
Committee Principal Trumpet Chair
Dr. Armand Hammer Principal Cello
Gert Wharton Endowment Fund
Rae and Perry Dellio Fund
Sheryl L. & David W. Kerr
Special Initiatives Fund
Scholarship Fund
*10 years or more of support
+Includes gift to the Toronto Symphony Foundation
List reflects donations received from July 1, 2015–December 1, 2016 at the level receipted.
12
ANNUAL SUPPORT
Through their generous gifts, Maestro’s Club donors and corporate and foundation partners provide a critically important base of funding support.
MAESTRO’S CLUB
Platinum Baton
($12,000–$19,999)
Ann H. Atkinson*
Burgundy Asset Management Ltd.*
Margaret & Jim Fleck*
Sandra Forbes & Stephen Grant*
Mr. & Mrs. John G. Harrison*
Cecile & Fred Metrick*
Barrie D. Rose & Family*
Gerald & Marion Soloway*
Maureen & Wayne Squibb*
Jack Whiteside*
Mr. & Mrs. Harold Wolfe and
Mr. & Mrs. Ab Flatt*
Judy & Larry Ward+*
Gold Baton
($7,500–$11,999)
American Express Canada Inc.
Tony & Anne Arrell*
The Bennett Family Foundation*
Dr. Jane E. Brissenden &
Dr. Janet M. Roscoe*
Valerie & David Christie*
The Dalglish Family Foundation
Leslie & Anna Dan*
Buddy & Leigh Eisenberg*
Bob & Irene Gillespie*
Jim & Pat Glionna
Dr. Noelle Grace &
the Shohet Family*
Guild Electric Charitable Foundation*
The Hunt Family*
Richard Isaac & Brian Sambourne*
W. Matheson*
John & Esther McNeil*
Earl & Janice O’Born*
Oxford Properties Group Inc.*
Park Property Management Inc.
Jeannie Tanenbaum*
Ken & Joan Taylor*
Tom’s Place
Wentworth Technologies Limited
Judith (Billie) R. Wilder+*
G.E. Wilson*
Silver Baton
($3,500–$7,499)
Judith Adams & Robert Black*
Mr. & Mrs. Gregory James Aziz
Howard A. Back*
Bill & Karen Barnett*
David P. Barrett*
Mrs. Marion G. Bassett*
John M. Beck & Diane Francis
Lawrence & Frances Bloomberg
Douglas Bodley*
Bruce Burgess*
Ms. Reny Burrows*
Margaret Harriett Cameron*
John & Margaret Casey*
Crinoline Foundation
Rae Dellio+*
Mrs. Judy Dunn*
E-L Financial Corporation
Barbara C. Eastman
The Thor E. and Nicole Eaton Family
Charitable Foundation
Robert & Ellen Eisenberg*
Philip & Joyce Epstein*
Sheldon & Carol Esbin*
Fabricland*
Graham Farquharson*
Thomas & Judy Fekete*
John & Encarnita Gardner*
Ms. Susan Gerhard
Donna & Cal Goldman*
Mary & Bryan Graham*
John & Judith Grant*
Denis & Florence Hall*
David G. Hallman
Dr. Ronald M. Haynes+*
Mr. & Mrs. David & Mariella Holmes
The Hope Charitable Foundation*
The Norman & Margaret Jewison
Charitable Foundation*
Eileen Jurczak
Mrs. Lorraine Kaake*
Patrick & Barbara Keenan*
Mr. Hans Kluge
Judy Korthals & Peter Irwin*
Robert Korthals & Janet Charlton*
Allan & Nora Lever*
Myrna Lo*
Mr. Vincent Lobraico*
Eunice Lumsden & Peter Luit*
Leslie & Susan MacMillan
Patricia L. Martin*
June McLean*
Paul & Martha McLean*
Noel Mowat
Dr. Jan Narveson*
Michael & Shelley Obal*
The Olzhych Foundation
Robin B. Pitcher
Alan & Gwendoline Pyatt
Shirley H. Reid*
Lawrence & Darlene Rosen*
Lorraine & Tom Ryan*
David Service*
Mr. & Mrs. Barry & Honey Sherman
Mr. & Mrs. John L. &
Amanda Sherrington*
Sleeman Breweries Ltd.*
Steinway Piano Gallery
Steve & Sally Stavro Family Foundation
Stronach Consulting Corp.
Mr. & Mrs. William Switzer*
Neil Tait & Susan Zorzi*
Therese Thackray*
Mr. Ronald Till*
Philip & Nanci Turk*
Margaret & Don Walter*
Mrs. Ruth Watts-Gransden*
Stan & Ros Witkin*
Tuan Yeap
Wilf & Helen Ziegler*
Anonymous (4)
Conductor’s Baton
($2,000–$3,499)
Hilary J. Apfelstadt
Mr. Noel Archard
Judy Arrowood*
Ron Atkey P.C., Q.C.*
The BLG Foundation
Richard J. Balfour*
Joyce Barrass
Laurie Barrett
Helen Barron*
Dan Bereskin & Rhoda Gryfe*
Erika Biro in memory of George Biro*
Joan C. Bismillah*
Walter & Anneliese Blackwell*
Ellen & Murray Blankstein*
The Boiler Inspection & Insurance
Company of Canada*
Mr. George Brady & Dr. Teresa Brady*
Dr. & Mrs. T. D. R. Briant*
Bill & Arden Broadhurst*
Peter & Anne Brymer*
David & Lois Buckstein
Dr. Christopher Buller
Anita & Douglas Burke
Ms. M. Burkhard*
Maureen Callahan & Douglas Gray*
Ellen & Brian Carr*
Margaret J. Catto*
Mr. & Mrs. Robert & Andrea Chisholm
Mrs. Marina Cholakis
Matina Chrones & Steve Simon
Frank Ciccolini Sr.*
Classical FM 96.3*
Mr. & Mrs. Russell Cleverdon*
Judi & Mickey Cohen
Terence & Maria Collier*
Brian Collins & Amanda Demers*
Sharon L. Conway
Murray & Katherine Corlett*
Ninalee Craig
John & Mary Crocker*
Dianne & Bill Cross*
Greg Cumming
Albert de Goias*
Morris Dorosh & Merle Kriss*
Reinhard & Marlene Dotzlaw
Marc & Vreni Ducommun
Dr. Alicia Dunlop-Devaux*
Katharine Mary Elder
Wendy & Elliott Eisen*
Mr. Seymour Epstein &
Madam Justice Gloria Epstein*
Roberta & Jon Fidler*
Dr. Erica Fischer &
Mr. David Harrison*
Lloyd and Gladys Fogler*
Roy Forrester & Ed Cabell
Dr. & Mrs. Steven & Sonia Fried*
Ruth Frisch*
Mr. Adrian Fung
Dr. Mark M. Garner*
Diane & Stan Gasner in memory
of Isidor Desser*
Bronwen Gates*
Nance Gelber & Dan Bjarnason*
Dr. Abraham J. Gelbloom &
Mrs. Miriam Gelbloom*
Marika & William Glied*
Mr. Michael Gnat*
Mrs. C. Warren Goldring*
Paul Gooch & Pauline Thompson
John Goodhew & Jeffrey Axelrod
Dr. Michael Gordon &
Ms. Gilda Berger*
Mrs. Mary Gore
Mr. Bryan Grant
Sue & Harvey Griggs*
Mr. & Mrs. William Gruber*
Douglas Gubitz & Diana Soloway*
Ellen & Simon Gulden*
Pinchas Gutter
Ruth & John Hannigan
Ron Hay & Hilaire St-Pierre*
Mary & Arthur Heinmaa*
Hon. & Mrs. Paul Hellyer*
Nigel & Bridget Hodges
Frances Hogg*
John & Daisy Hort*
David E. & Beth Howard*
Roberta & Richard Innes*
Edmund J. Inniss
Jackman Foundation*
Laura Jantek
Jarvis & Associates*
Elizabeth Kady in memory
of Dr. Michael Kady*
Ms. Miriam Kagan
Evelyn Kai & Francis Li
Peter Kalen
Marcia & Paul Kavanagh*
Jessie Kazi
William & Hiroko Keith*
Ross & Ann Kennedy*
Sarah & Ross Kerr
Florence Kingston
Mr. Gordon Kirke
Scott Kowaleski
Valarie Koziol
Dr. Milos J. Krajny*
Harriette Laing
George W. Lange*
John B. Lawson*
Ms. Debra Le Bleu*
Connie Lee*
Cathie Leak & Paul Palmer*
Tin Leung
Anthony J. Lisanti*
Long & McQuade Musical
Instruments*
Karen Rice & Douglas Ludwig*
Mr. Sanjay Luthra &
Ms. Jane Ann Hendricks*
Bruce & Barbara MacGowan*
M.L. Maher & V. Hatchette
Catherine Mahoney*
Kamlan Makhan & Gary Clewley
Mr. Keith Martin
John & Dorothy McComb
Mr. John M. McCulloch*
Kenneth & Lois McFarquhar*
David & Patty McKnight*
Peter & Virginia McLaughlin*
Donald & Lindsay McLean
Caryl & Dennis McManus*
Julie Medland*
The Menkes Family*
Dr. Alan C. Middleton*
Barbara & Frank Milligan*
Judith Mills*
David Milovanovic & Cinda Dyer
Bill Mitchell & Diana Chant*
Mitrebox User Experience Design Inc.
Mrs. Elizabeth Moore
Jay & Walter Morris*
Mr. & Mrs. L.E. Muniak*
Steve Munro*
John & Sarah Nagel*
Mr. Maymar Naman
Keith Nash & Cindy Forbes
Emil & Dorothy Nenniger*
Carol & Jerry Nesker*
Mr. & Mrs. Eric & Sandra Neuville
David Nichols
Mrs. Natalie Obal*
Michael O’Bee & Lorraine Lee
Jean O’Grady*
Myrna & Martin Ossip*
Dr. & Mrs. N. Pairaudeau*
Gloria Pelchovitz*
Norbert & Elizabeth Perera*
Victor & Esther Peters*
John & Sue Pitfield
Dr. Paul & Ruth Pitt*
Brayton Polka*
Mr. David Postill
Charles Price
The Pottruff Family Foundation*
Quadrangle Architects Limited*
John & Maria Radford*
The Carol & Morton Rapp Foundation
Ms. Jean Read*
Kenneth F. Read*
Panni Relle*
Mr. Mark Rittinger
Iain & Cristina Ronald*
Mr. & Mrs. Gordon Rosenberg*
Dr. & Mrs. Mark & Jacqueline Rother
Dr. & Mrs. Robert Rottapel*
Mrs. Marjorie Rowe*
Marjorie Rowe*
Ingrid Rowoldt*
Ms. Betty Rozendaal
Wendy Sanford*
Beverly & Fred Schaeffer*
Charles & Cathy Scott*
Colleen Sexsmith*
13
Wendy Setterington &
Gerald Swinkin*
Edward & Sheila Sharp*
Mrs. Margaret Shaw*
Dorothy Cohen Shoichet*
Stanley & Shirley Shortt*
Mrs. Judy Simmonds*
Mrs. Roberta Smith
Stephen & Jane Smith*
Dr. Harley Smyth &
Mrs. Carolyn McIntire Smyth
Mr. Philip Somerville
Lois Spencer & Per Voldner*
Mr. Carl Spiess
Mrs. Gunhilde A. Stahl*
Mrs. Doreen L. Stanton*
C.A. Steele
Ronald Steinberg & Nancy Prussky*
Mr. & Mrs. Rudolf & Elisabeth Stodt
Paul Straatman & Shane Toland
Francoise Sutton*
Maria & Paul Szasz*
Peter Tam
Doug & Gail Todgham*
Mr. & Mrs. John A. Tory*
Toronto Symphony Orchestra
Players Association
Alex Tosheff
Bettie & Mark Tullis
Mr. & Mrs. Harold Wolfe
Dr. Penny Turner &
Dr. Anthony Woods
Mr. Stefan Varga & Dr. Marica Varga*
Tony & Nancy Vettese
Mr. & Mrs. Christoph von Krafft*
Angela & Michael Vuchnich
Debra & Jack Walker
Robert & Menna Weese*
Christopher & Susie Wein
Gerry & June Weinberg
The Henry White Kinnear
Foundation*
June & Gerry Weinberg
Frank Whittaker*
Joan Williams*
Stephen Williamson &
Margot Hallman+*
Nan & Jack Wiseman*
Mrs. Joan Wood*
Jane Wright*
The Marjorie and Joseph Wright
Memorial Foundation
Takahiro Yamanaka
Joyce & Fred Zemans*
Anonymous (10)
For more information on the Maestro’s Club, please contact Adam Bailey, Manager of Annual Giving, at 416.593.7769 X 257.
LEGACY CIRCLE
The TSO honours Legacy Circle donors who, through their estate plans, are ensuring a living tradition of outstanding live symphonic music.
Ellen Amigo
Callie Archer
Ann H. Atkinson
A. Phelps Bell
Ms. Ruth Bentley
Ms. Barbara Bloomer
Brenda Boyes
Marnie Bracht
Tina Breckenridge
Freda & Allan Brender
Mr. Charles R. Brown
Ms. Reny Burrows
Mrs. Ann E. Christie
Earlaine Collins
Dianne & Bill Cross
Vera Dounaevskaia
Marion Dowds
Judy Dunn
Fraser & Margot Fell
Olga Fershaloff
Ingrid Foldes
Lorraine & Gordon Forrest
Roy Forrester & Ed Cabell
Rev. Ivars & Rev. Dr. Anita Gaide
Sylvia Garratt
Dr. & Mrs. Allan C. Gold
James & Joyce Gutmann
Charlotte Davis & Richard Haigh
G. Michael Hale
David G. Hallman
C. Harany
Mrs. Joan L. Harris
Mr. & Mrs. John G. Harrison
Dr. Ronald M. Haynes
Ms. Karen Henderson
James Hewson
Lauri & Jean Hiivala
Christopher E. Horne, Esq.
Mr. Geoffrey Huck
Mr. Michael Hudson
Roger Johnson / Matt Hughes / the
late Gary F. Vellek
The Hyer Family
Mr. Charles Jacobsen
Stephen Johnson
Mr. & Mrs. Richard W. Johnston
William & Hiroko Keith
Allan Kimberley & Pam Spackman
Miss M. June Knudsen
Gurney Kranz
Peggy Lau
Peter Levitt & Mai Why
Mr. Tom C. Logan
Robert & Patricia Martin
Mr. Ron McCallum
Mrs. B. McKenney
Sylvia M. McPhee
Mrs. Stephanie Meredith
Dr. Alan C. Middleton
George & Judith Mills
Sigmund & Elaine Mintz
Joan & Hugh Paisley
Michael Lawrence Parker
“In Memoriam”
Mr. & Mrs. Jim Patterson
Thomas A. Patterson, MD
Diane W. Pettet
Robin B. Pitcher
Ms. Anna Prodanou
Kenneth F. Read
Iain & Cristina Ronald
Marie Angela Sampson
Mr. J.C. Scarfe
Shauna & Andrew R. Shaw
Dorothy Cohen Shoichet
Mr. & Mrs. Bruce & Louise Slemin
Alan & Geraldine Sperling
Gordon & Joan Stevenson
Frances Stretton
Nancy Sutherland
Ann D. Sutton
Lillian S. Tanizaki
J. Kenneth Scott
H. van der Schaaf
Joanne Waddington
Estate of Christianne Warda
Leonard Willschick
Judith H. Winston & Andrew S. Winston
Denny Young
Alicia Zavitz
Wilf & Helen Ziegler
Anonymous (42)
ESTATES
The TSO regrets the passing of several cherished supporters who have made significant contributions in their lifetime and/or through their Estate.
Estate of Mrs. Gladys Veronica Armour
Estate of Judith Harriet Peterson Duke
Estate of Jocelyn Fullerton
Estate of Thomas Michael
Hammond Hall
Estate of Donna Kathleen
Louise Lunau
Estate of Jocelyn Fullerton
Estate of Judith Harriet Peterson Duke
Estate of Zia Nemes
Estate of Jon Robert Pearce
Canada Council for the Arts
– Veda Peene
Estate of Gabriella Schmidt
Estate of Alice Mary Sidgwick
Estate of Helen Allen Stacey
Estate of James Drewry Stewart
Estate of Miss Dorothy Anne Walter
Estate of Lillian Gail Wright
Anonymous (3)
For more information on the Legacy Circle or Estates, please contact Marion York, Director of Philanthropy, at 416.593.7769 X 292.
INSTRUMENTS
• Hans and Susan Brenninkmeyer are patrons of the TSO’s New York Steinway Concert Grand Piano.
• The Lyon & Healy harp is a gift of the Toronto Symphony Volunteer Committee.
• The Amati viola dated 1703 is made available to Principal Viola, Teng Li, thanks to the generosity of Phyllis & William R. Waters.
• The Steinway grand piano in Peter Oundjian’s home is made available thanks to the generosity of Steinway Piano Gallery Toronto,
the official piano of the TSO.
• The Steinway piano in the Music Director’s Studio is a gift of the Toronto Symphony Volunteer Committee.
*10 years or more of support
+Includes gift to the Toronto Symphony Foundation
List reflects donations received from July 1, 2015–December 1, 2016.
14
BRAVO TO OUR PARTNERS
SEASON PRESENTING SPONSOR
PLATINUM PARTNERS
OFFICIAL AIRLINE
POPS SERIES
PRESENTING PARTNER
GOLD PARTNERS
SILVER PARTNERS
TORONTO SYMPHONY
VOLUNTEER COMMITTEE
CORPORATE SUPPORT
Barclays Capital Canada Inc
Bennett Jones LLP
Blake, Cassels & Graydon LLP
BMO Capital Markets
Canadian Tire
CBC Radio 2
CIBC
Deloitte Foundation Canada
Divine Furniture Rental
EY
Grano
HSBC Bank Canada
Intact Financial Corporation
IFDS (International Financial Data Services)
John Novak
Manulife
Maroline Distributing Inc
Quince Flowers
RBC Capital Markets
Scotiabank
TD Securities Inc.
The Corporation of Massey Hall
& Roy Thomson Hall
Torys LLP
MEDIA & GOVERNMENT SUPPORT
*List reflects sponsors as of July 1, 2015–December 1, 2016.
15
PATRON SERVICES & INFORMATION
CONCERT ETIQUETTE
• We want all of our patrons to enjoy our performances.
Please be courteous to others by refraining from quiet
conversations, whispers, talking, singing, coughing,
humming, tapping to the music, turning pages, leaning
forward in your seat, and unwrapping cellophanewrapped candies; this disturbs the performers as well
as other audience members.
• We share the air. Go scent free. Please be considerate
of those in the audience who may have allergies and/or
multiple chemical sensitivities and refrain from wearing
cologne and perfume or other scented products.
• Please turn off your cell phones, BlackBerrys, iPhones
or other smart phones, pagers, and watch alarms
before entering the auditorium. Please refrain from
referring to them during the concert. This is a basic
courtesy to the musicians and fellow patrons.
• Video- and audio-recording devices and cameras with
flash are strictly prohibited in the auditorium. Please
leave any such devices at the coat check.
LATECOMERS
• We suggest that you plan to arrive 45 minutes before the
scheduled start time. This will allow time to find your seat,
relax, and read the program notes.
• Check your tickets carefully for concert times and venue
information. When coming to a concert, please remember
that traffic, parking, and weather can affect your arrival
time, so leave early to make sure you’re not late.
• Out of respect for all patrons and performers and to
maintain musical continuity, latecomers and patrons
who leave the auditorium during the performance
will be readmitted only if there is a suitable break in
the performance. This “late call” is determined by the
conductor and guest artists.
CHILDREN
• Children 5 years of age and older may attend most
TSO concerts with ticket purchase. We suggest that
children be 10 years of age or older for Masterworks,
Casual, and Special Concerts. We regret we cannot
allow children under 2 years of age into any TSO
concert, with the exception of our YPC Concerts.
• Young People’s Concerts and the Family Christmas
Concert are created especially for audience members
ages 5 to 12. While children under the age of 5
are welcome to attend these concerts, 5 years is
considered an appropriate lower age limit. Children
under 5 may attend the Young People’s Concerts and
the Family Christmas Concert with ticket purchase.
Young people under the age of 12 will not be admitted
into the hall without an adult in attendance.
16
BOX OFFICE
• The TSO/Roy Thomson Hall Box Office at
60 Simcoe Street is open weekdays from 10am to
6pm, Saturdays from noon to 5pm, and two hours
before each performance. Hours may vary.
• You may access our 24-hour information lines or place
telephone orders by calling 416.593.1285. There is a
service charge on all telephone and online orders.
• Artists, prices, programs, dates, and broadcasts are
subject to change without notice.
• There will be no refunds, credits, or adjustments made
to your ticket price in the event of a concert change.
SPECIAL NEEDS SERVICES
• The Toronto Symphony Orchestra is committed
to providing accessible services to persons with
disabilities that are consistent with the core principles
of independence, dignity, integration, and equality
of opportunity, as set out in the AODA for Customer
Service. Please call 416.598.3375 for more information
on the services offered at our performance venues.
PARKING
• For information on each of our performance venues,
please visit TSO.CA/Planyourvisit.
USEFUL PHONE NUMBERS
For ticket sales, subscriptions, and patron service:
TSO Patron Services Centre 416.598.3375
For group tickets call: 416.598.5338
TSO Administration Offices: 416.593.7769
Roy Thomson Hall Offices: 416.593.4822
TSO’s Privacy Policy: TSO.CA or 416.598.3375
Great music
lives here.
BMO is proud to be the
2016/2017 Season Presenting
Sponsor of the Toronto
Symphony Orchestra.
THE TSO
MUSIC & ART
SERIES
To explore the connections between music and visual art, and
to celebrate other artists in the community, the TSO continues its
Music & Art Series this season by featuring the work of Toronto
artists on the cover of the program.
This cover features detail from ANSER’s Mozart (36" x 48", acrylic ink
on canvas).
ANSER
Anser’s Mysterious Date, created in early 2007, is an attempt
to create a more publicly inclusive form of graffiti. Through
the use of traditional graffiti mark–making methods, “the face”
was developed to engage a typically ignored public. Instead
of stylized letters which Anser had done for years prior, a face
was created in the same methods as taggers and bombers.
Anser felt traditional letter-based graffiti perpetuated an insular
community, “since graffiti was in the public realm, why not
involve the rest of the public.” The moniker “Mysterious Date”
was coined by a photographer, Michael D’Amico, who, for a
CONTACT photography exhibit, took photos of this painted face
and dubbed the series, “Mystery Date”. The adoption of this name
is a testimony to this public engagement.