eso signature magazine: february 2014

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Benjamin GrosvenorAcclaimed young star’s Masters return

Tomorrow’s CrowD ToDayESO programming for

young audiences

BuGs aT The symphonyFour special Family Day

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THE EdmonTon SympHony orcHESTra

Since making his ESO debut in March 2012, sensational young British pianist Benjamin Grosve-nor has rapidly amassed a num-ber of impressive international credentials. The Edmonton Symphony has made sure to secure Mr. Grosvenor’s return since then, and he presents the thrilling Piano Concerto No. 2 of Camille Saint-Saëns February 21 & 22. See pages 21-23 for more.

Photo courtesy operaomnia.co.uk

On the cOver

signature contents

Volume 29, Number 5 | February 2 0 1 4

wElcomE

arTiSTic & lEadErSHip TEam(Eddins, Petrov, Uchida, Rival, Waldin)

EdmonTon SympHony orcHESTra 2013/2014

For THE KidSFrom preschoolers to teens, the ESO has programming that brings musical literacy into the lives of 30,000 Edmonton kids each year

robbinS popS on broadway wiTH KandEr & Ebb (February 7 & 8)

Jack Everly, conductorNikki Renée Daniels, Ted Keegan, Beth Leavel, Ron Remke, Jessica Rush, vocalists

air canada prESEnTS bugS bunny aT THE SympHony ii (February 15 & 16)

George Daugherty, conductor

landmarK HomES maSTErS bEETHovEn’S paSToralE SympHony (February 21 & 22)

William Eddins, conductorBenjamin Grosvenor, piano

SToriES From THE audiEncEPatrons David and Carol Cass share a passion for life that includes enduring patronage and support of the ESO. They consider themselves investors

in mEmory oF lEn aSTon

ESo / FranciS winSpEar cEnTrE For muSic board oF dirEcTorS & adminiSTraTion

our SupporTErS

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pg. 11

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pg. 21

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2013/2014 SEASON

publiSHEd For the edmonton symphony Orchestra at the Francis Winspear centre for Music

9720 102 Avenue, Edmonton AB T5J 4B2Administration: 780-428-1108Box Office: 780-428-1414Email: [email protected]: www.edmontonsymphony.com

eso editor D.T. Bakerprogram notes Gary Kulesha & D.T. BakerLetters to the editor, comments and/or suggestions are welcome.

publiSHEd by

10259 105th Street, Edmonton AB T5J 1E3Inquiries: 780-990-0839Fax: 780-425-4921Email: [email protected]: www.venturepublishing.ca

publisher Ruth Kelly associate publisher Joyce Byrne director of custom content Mifi Purvis art director Charles Burke associate art director Andrea deBoer associate art director Colin Spence advertising sales Anita McGillis Glenda Dennis Kathy Kelley

Signature magazine, the official publication of the Edmonton Symphony Orchestra, is published from September to June.

Contents copyright 2014 by Edmonton Symphony Orchestra/ Francis Winspear Centre for Music. No part of this publication should be reproduced without written permission. ON HIGHER GROUND

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WCommunity support builds great hospitals and the Royal Alexandra Hospital Foundation receives generous donations, including bequests, from across Alberta and beyond.

Bequests and planned gifts are an inspired way to help ensure that the Royal Alexandra Hospital has the resources it needs to provide exceptional and compassionate patient care when it matters most, now and in the future.

This ad was generously donated by The Robbins Foundation Canada.

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Community support builds great hospitals and the Royal Alexandra Hospital Foundation receives generous donations, including bequests, from across Alberta and beyond.




Welcome Welcome!he edmonton Symphony haS proved itSelf to be a world-claSS orchestra time and again. Its relatively short history is littered with accolades and

achievements including award-winning recordings, successful national and international tours, and ground-breaking collaborations. Yet for all its international visibility the ESO prides itself equally on its local viability. With a true dedication to community building through innovative educational initiatives and an exceptional commitment to fostering ties with diverse cultural institutions and local arts organizations, the Edmonton Symphony is what the 16th American President might have called an orchestra of the people and for the people.

When the ESO travelled to Mr. Lincoln’s homeland for an historic performance in New York City’s Carnegie Hall, for example, we were accompanied by more than 1,000 Edmontonians – an astonishing statistic that inspires the ESO to refer to itself with great pride as not just a world-class orchestra, but a local-class orchestra.

Thank you for your incredible support and passion. It is an honour to be a part of your community.

T

lucas waldinEnbridge Artist in Residence and Community Ambassador

ESO / Winspear Centre Vision: Providing outstanding music experiences for individuals, families and the community and a place where those experiences evoke the height of personal emotion, adventure and excitement.


WCommunity support builds great hospitals and the Royal Alexandra Hospital Foundation receives generous donations, including bequests, from across Alberta and beyond.



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ow in his ninth season as Music Director of the Edmonton Symphony Orchestra, William Eddins

has a captivating energy, a magnetic stage presence, and an adventurous musical curiosity that continues to propel the orchestra to new and exciting achievements. His commitment to the entire spectrum of the ESO audience brings him to the podium for performances in every subscription series, as well as for a wide variety of galas and specials.

A distinguished and versatile pianist, Mr. Eddins was bitten by the conducting bug while in his sophomore year at the Eastman School of Music. In 1989, he began conducting studies at the University of Southern California with Daniel Lewis, and Assistant Conductorships with both the Minnesota Orchestra and the Chicago Symphony (the latter under the leadership of Daniel Barenboim) followed.

Mr. Eddins has many non-musical hobbies including cooking, eating, discussing food and planning dinner parties. He is also quite fond of biking, tennis, reading, and pinball. He recently completed building a state-of-the-art

recording studio at his home in Minneapolis, where he lives with his wife Jen (a clarinetist), and their sons Raef and Riley.

While conducting has been his principal pursuit, he continues to perform as pianist, organist and harpsichordist. He has conducted the ESO from the keyboard on many occasions, and in 2007 joined then-ESO Concertmaster Martin Riseley and cellist Yo-Yo Ma in Brahms’s Piano Trio No. 1 at a gala concert celebrating the 10th anniversary of the Winspear Centre. In 2008, he conducted Gershwin’s Porgy and Bess for Opéra Lyon, leading to repeat performances in Lyon, London, and at the Edinburgh International Festival in 2010. Other international highlights include a 2009 tour of South Africa, where he conducted three gala concerts with soprano Renée Fleming and the KwaZulu-Natal Philharmonic Orchestra.

On May 8, 2012, Mr. Eddins made his Carnegie Hall debut conducting the ESO at a memorable concert featuring four Canadian soloists, and music by three Canadian composers alongside Martinů’s rarely-performed Symphony No. 1.

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E SO Concertmaster RobERt Uchida has been hailed for his “ravishing sound, eloquence and hypnotic

intensity” (Strings magazine). He enjoys a varied career as a soloist, chamber musician, concertmaster and educator. His performances across North America and Europe have been received with great critical acclaim. Mr. Uchida previously served as Concertmaster of Symphony Nova Scotia and Associate Concertmaster of the Rotterdam Philharmonic Orchestra, and has acted as Guest Concertmaster for the Netherlands Radio Chamber Philharmonic, Royal Flemish Philharmonic, and the Vancouver Symphony Orchestra. He has worked as concertmaster with many of the world’s top conductors, including Valery Gergiev, Kurt Masur, Edo de Waart, and Pinchas Zukerman.

He has been a featured soloist with several of Canada’s orchestras including the National Arts Centre Orchestra, Orchestre de la Francophonie, Ottawa Symphony, Symphony Nova Scotia, and Symphony New Brunswick. His recital and

chamber music performances have included prestigious venues including Lincoln Center (New York), Muziekge-bouw (Amsterdam), and the Glenn Gould Studio (Toronto).

An advocate of new music, Robert Uchida has worked with many composers including John Corigliano and Richard Danielpour, and has given premieres of works by Tim Brady, John Frantzen, Augusta Read-Thomas, Scott Wollschleger, and recorded the premiere of the Sonata for Solo Violin by Andrew Violette for Innova Records. Mr. Uchida has held teaching positions at Acadia University, the Manhattan School of Music Pre-College, and the National Arts Centre’s Young Artist Program. He is Artistic Director of the Acadia Summer Strings Festival in Wolfville and is frequently invited to give masterclasses at schools across the country. Mr. Uchida performs on a Lorenzo Ventapane violin made in Naples, Italy, in 1820, bows by Peccatte and Sartory, and a baroque bow by Max Kasper. He lives in Edmonton with his wife Laura and their two children.

For the 2013/14 season, lUcas Waldin once again dons the mantle of Enbridge Community Ambassador

and Artist in Residence. In these capacites, he will continue to establish strong ties with our community through inventive outreach initiatives, and assist in programming and presenting the ESO’s education and family concerts. During his time as Enbridge Resident Conductor of the ESO, Mr. Waldin col-laborated with some of North America’s finest musicians. An experienced conductor of pops and crossover, he has worked with a range of artists such as Ben Folds, Chantal Kreviazuk, and the Canadian Tenors. His acclaimed work with the Barenaked Ladies led the iconic Canadian pop group to select Lucas as their conductor of choice for their performances with the Toronto Symphony. This season, he will make his debut with the Houston Symphony.

Strongly dedicated to Canadian composers, Lucas Waldin has performed more than 25 Canadian compositions including

six world premieres. In recognition of his valuable contribution to the artistic life in Canada, Mr. Waldin was awarded the 2012 Jean-Marie Beaudet Award in Orchestra Conducting by the Canada Council for the Arts. He studied conducting and flute at the Cleveland Institute of Music, and has conducted in master classes with Helmuth Rilling, Michael Tilson-Thomas, Colin Metters, and Bernard Haitink. In 2012, he was invited to conduct the National Arts Centre Orchestra (Ottawa) in a conductor workshop, and as a participant of the St. Magnus Festival, Orkney, Mr. Waldin conducted both the Scottish Chamber Orchestra and the BBC Scottish Symphony. Prior to his appointment with the ESO, he was a Discovery Series Conductor at the Oregon Bach Festival, and Assistant Con-ductor of Cleveland’s contemporary orchestra {RED}. He has performed with orchestras across Europe, including the Jugendsinfonieorchester Kassel, Bachakademie Stuttgart, and Staatstheater Cottbus.

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artistic & leadership team

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signature www.Edmontonsymphony.com�


1 PrinciPal2 assistant PrinciPal3 acting PrinciPal4 acting assistant PrinciPal5 On leave

Orchestra PersOnnel

eric Filpula, Orchestra Personnel Manageraaron hawn, Orchestra Librarian

The following musicians may appear at performances in this issue:aaron au ViolinJeanette comeau ViolaJerrold Dubyk Saxophone Mary Fearon HornJosh Iverson Clarinetleanne Maitland ViolaMichael Massey KeyboardsJohn Mccormick PercussionJessica McMillan Fluteraj nigam PercussionJean-François Picard SaxophoneDon ross Clarinet Brian sand TrumpetYukari sasada BassMartina smazal Violaalison stewart ViolinDan sutherland ClarinetKate svrcek Violinrobin taylor SaxophoneBrian thurgood Percussiontara Whittaker FluteDoug Zimmerman Trumpet

Janice Quinnrhonda taftrob aldridge

[ Flute ]elizabeth Koch 1, 5

elizabeth Faulkner 3

shelley Younge 2

[ OBOe ]

lidia Khaner 1 Paul schieman 2 The Steven & Day LePoole Assistant Principal Oboe Chair

[ clarInet ]charles hudelson, Principal EmeritusJulianne scott 1

David Quinn 2

[ BassOOn ]William harrison 1

edith stacey 2

[ hOrn ]allene hackleman 1

Megan evans 2

Gerald Onciul 2

Donald Plumb 2

[ truMPet ]alvin lowrey, Principal Emeritusrobin Doyon 1

William Dimmer 2

[ trOMBOne ]John McPherson 1

Kathryn Macintosh 2

[ Bass trOMBOne ]christopher taylor 1

[ tuBa ]scott Whetham 1

[ VIOlIn I ]robert uchida, ConcertmasterThe John & Barbara Poole Family Concertmaster Chaireric Buchmann, Associate ConcertmasterVirginie Gagné, Assistant ConcertmasterBroderyck Olsonrichard caldwellJoanna ciapka-sangsteralissa cheunganna Kozakaiyana anderson-howattneda Yamach

[ VIOlIn II ]Dianne new 1

susan Flook 2

heather BergenPauline Bronsteinrobert hryciwZoë sellersMurray Vaasjotatiana Warszynski

[ VIOla ]stefan Jungkind 1

charles Pilon 2

clayton leungrhonda henshawMikiko Kohjitaniandrew Bacon

[ cellO ]colin ryan 1 The Stuart & Winona Davis Principal Cello Chairsheila laughton 2, 5

ronda Metszies 4

Gillian caldwellDerek GomezVictor PipkinJulie amundsen

[ DOuBle Bass ]Jan urke 1

John taylor 2

[ tIMPanI ]Barry nemish 1

[ PercussIOn ]Brian Jones 1

[ harP ]nora Bumanis 1

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In addition to our own concerts, the ESO provides orchestral

accompaniment for performances by Edmonton Opera and Alberta Ballet.

Composer in Residence program generously sponsored by

The ESO works in proud partnership with the AF of M (American Federation of Musicians of the United States and Canada) Local 390.

THE EdmonTon SympHony orcHESTra2013/2014 seasOn

artistic & leadership team

conductor laureatecomposer in residenceMusic Directoruri Mayer, robert rival, William eddins,

Annemarie petrov, Executive Director of the Edmonton

Symphony Orchestra (ESO) and Francis Winspear Centre for Music, brings more than 25 years of experience to a role that oversees one of Alberta’s flagship performing ensembles and one of the world’s premier concert halls.

With a combined annual budget of over $12 million, Ms. Petrov supervises day-to-day operations, long-term planning, government

relations and community support of both organizations.

A native of Montréal, she is a graduate of McGill University where she majored in French Horn Performance. Following several years in Europe, she returned to Canada and stepped into the role of General Manager of Symphony New Brunswick. Work at the National Arts Centre Orchestra was followed by the Winnipeg Symphony Orchestra, where she also oversaw the popular Winnipeg New Music Festival. She joined the Edmonton Symphony Orchestra and Winspear Centre in 2007.

Ms. Petrov’s profound love of the arts has been her guide in a career focused on every aspect of the concert experi-ence – from international orchestral tours to concerts in curling rinks in Canada’s North. She is fuelled by the belief that participation in live music is essential to our well-being and is driven to make it accessible to everyone. She is a frequent guest speaker at arts industry conferences and has served on the board of Orchestras Canada.

obert rival, a native Albertan, returns for a third season as the

ESO’s Composer in Residence. His music, written in a contemporary tonal style and inspired by the Canadian wilderness, literature, and classical and romantic musical forms, has been de-scribed as “well crafted,” “immediately appealing,” “melodic and accessible,” “sophisticated,” and “memorable.” His song cycle, Red Moon and Other Songs of War, was called “an unequivocal hit.”

He has completed four contrasting ESO commissions to date: Lullaby, for the orchestra’s Carnegie Hall debut – lauded as an “atmospheric dream world” and “a work of quiet rapture and refined sensibility.” The muscular Achilles & Scamander; the dazzling Whirlwind, inspired by the flocking flight of Bohemian Waxwings; and the sweeping Symphony No. 2 “Water” whose textures and rhythms were sug-gested by the ocean and rainforest.

Mr. Rival runs the ESO’s Young Composers’ Project. He has developed two new initiatives: podcasts on the contemporary music the orchestra programs and live-blogging of its open dress rehearsals. He holds a doctorate in composition from the University of Toronto, teaches theory at the University of Alberta, lives with his wife Chantal-Andrée Samson, a realist oil painter, and their toddler son, Raphaël, and enjoys running in Edmonton’s river valley. robertrival.com

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sIGnature �FeBruarY 2014


FFEATUREFEATURE

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Cen TRe S TaGe : Adopt a Player classes perform their original work on stage at the Winspear Centre.

FoR The KidSYouth-focussed programming at the eSo hold something for children of every age and stage

Folks at the edmonton symphony orchestra know you are never too young to learn about music.

From education concerts to Symphony for Kids, Adopt a Player, Musicians in the Making, and the Young Composers Project, there really is something for every age of visitor to the Francis Winspear Centre for Music – starting with those just developing a curiosity for the symphony.

“I’m basically involved in everything and it’s great to see the range of activities that we do at the ESO and the Winspear – that’s what I find so inspiring,” says Lucas Waldin, the ESO’s Community Ambassador and Enbridge Artist in Residence. “As opposed to other orchestras that I’ve worked with, we can easily do six or eight concerts of an education series and be very confident that we will get 10,000 to 15,000 students from across the Edmonton area.”

The ESO holds several education concerts a year, such as this month’s Pictures at an Exhibition, geared at students in Grades 4 to 6 and aligned with Alberta Provincial Education Standards. With a screen over the orchestra projecting Baroque, Romantic, Impressionist, and Modernist-era paintings, students will get to match characteristics of art history to compositional techniques used in music of the same period.

Often, the classically-themed one-hour performances in the educational series are a child’s first introduction to orchestral music. And with this reality comes great responsibility, acknowledges Waldin.

“It’s incredible to consider, but every year, I influence maybe 30,000 young people from Edmonton,” Waldin says. “That’s a great testament to the culture that we’ve been able to create, but also the quality of the Edmonton Symphony Orchestra’s process of creating concerts.”

signature www.edmontonsymphony.com�


2013/2014 SEASON

Youth-focussed programming at the ESO hold something for children of every age and stage

One new initiative geared to youth for the ESO is the YONA-Sistema (the Youth Orchestra of Northern Alberta), now in its inaugural year of a three-year pilot project at Mother Teresa School. A group of seven-, eight- and nine-year-old students is learning to play the violin five days a week for three hours a day until June. Eventually they will take to the Winspear stage to perform as a group.

So far, those involved can’t say enough about how well the program has been working. “With the YONA-Sistema program we’re starting from scratch; it was a great piece of the puzzle to add, so we’re starting with Grade 2s and 3s – who have never seen an instrument before, who have never been to an orchestra concert – and we’re putting an instrument in their hands and teaching them every day,” Waldin says.

Mother Teresa School principal Dean Sullivan says there is no mistaking the value of learning about music from a young age, noting he’s seen a change in his YONA-Sistema students. “The comments from the families, the parents, siblings, indicate that in some cases it’s had a profound effect in the behaviour of some of these kids at home,” he says. Parents are telling him that the kids’ non-structured time, when they might normally be playing video games or watching TV, they now spend playing the violin.

In addition to educational concerts, Mother Teresa has also been among the handful of schools benefitting from the ESO’s Adopt a Player initia-tive, which sees students learn music theory from a professional musician. “Our ‘adopted’ player last year was a violist Charles Pilon, and he worked with our music teacher to put together

our spring concert. Also our kids presented with all the other Adopt a Player Schools at the Winspear,” explains Sullivan. “It was super exciting to see your kiddos up there on stage and sharing their stuff.”

It is difficult to outline the ESOs educational programs for kids without mention of ESSO Symphony For Kids, a popular subscriptions series that allows parents and their children to access classical music in a fun setting.

“Every year, I influence maybe 30,000 young people from Edmonton,” Lucas Waldin says. “That’s a great testament to the culture that

we’ve been able to create.”

MUSICAL MENTOR : 2013 Young Composer Taran Plamondon with ESO Composer in Residence Robert Rival.

E ARLY ADOP TERS : Busloads of children come to ESO Education Concerts each season – about 30,000 per year.

Continued on next page...

signature �FeBruarY 2014


FFEATUREFEATURE

BY ShelleY WilliamSon

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Cen TRe S TaGe : Adopt a Player classes perform their original work on stage at the Winspear Centre.

FoR The KidSYouth-focussed programming at the eSo hold something for children of every age and stage

Folks at the edmonton symphony orchestra know you are never too young to learn about music.

From education concerts to Symphony for Kids, Adopt a Player, Musicians in the Making, and the Young Composers Project, there really is something for every age of visitor to the Francis Winspear Centre for Music – starting with those just developing a curiosity for the symphony.

“I’m basically involved in everything and it’s great to see the range of activities that we do at the ESO and the Winspear – that’s what I find so inspiring,” says Lucas Waldin, the ESO’s Community Ambassador and Enbridge Artist in Residence. “As opposed to other orchestras that I’ve worked with, we can easily do six or eight concerts of an education series and be very confident that we will get 10,000 to 15,000 students from across the Edmonton area.”

The ESO holds several education concerts a year, such as this month’s Pictures at an Exhibition, geared at students in Grades 4 to 6 and aligned with Alberta Provincial Education Standards. With a screen over the orchestra projecting Baroque, Romantic, Impressionist, and Modernist-era paintings, students will get to match characteristics of art history to compositional techniques used in music of the same period.

Often, the classically-themed one-hour performances in the educational series are a child’s first introduction to orchestral music. And with this reality comes great responsibility, acknowledges Waldin.

“It’s incredible to consider, but every year, I influence maybe 30,000 young people from Edmonton,” Waldin says. “That’s a great testament to the culture that we’ve been able to create, but also the quality of the Edmonton Symphony Orchestra’s process of creating concerts.”

signature www.edmontonsymphony.com�


FEATUREFEATURE

“It’s music, it’s education, and it’s an opportunity for families to experi-ence the Winspear, sometimes for the first time,” Waldin says. “I do a lot of concerts with the ESO, maybe 20 or 25 a year, and the most important feedback I get is from parents. It’s one thing to inspire somebody, but to inspire someone’s kids – that has a huge effect.”

Musicians in the Making and the Young Composers Project are two programs which focus on older youth who might be considering music as a future career path. Both provide great opportunities for exposure, notes Waldin, who appreciates the difficulty in retaining interest of adolescents and high-school-age youth. “It’s mostly because they have so much going on. There’s a lot for them to engage in and there’s a lot of pressures on them for the future and so it’s a little harder for the orchestra to attract this age level,” Waldin says. “There are things that we’ve been starting to explore. The Young Composers Project is just a small an example of that. We give young people the chance to experience what it would be like to engage in music as a professional. That is something in which we want to continue our efforts.”

Young Composers selects one, perhaps two high school students annu-ally; each receives a $1,000 scholarship and an opportunity to engage with mentor Robert Rival, the ESO’s Composer in Residence, culminating in creating a new work that will be performed by the ESO for a live audience.

“There’s also a bigger role for the Young Composer to play,” Waldin

says. “We’ve got them in front of cameras and media as much as possible. Throughout the process of the Young Composers Project, they learn to hone their skills but also present in public and speak eloquently, and that’s something we’re really happy to be a part of.”

Meanwhile, the Musicians in the Making allows aspiring musicians to perform at the Winspear prior to select performances, garnering free admis-sion to the show in exchange for their 45-minute performance. It’s the stuff dreams are made of for a young talent. “Then, when the young people in the hall see young people their age performing,” Waldin says, “it gives them much more of a connection with what’s going on onstage.”

Above all, the Edmonton Symphony Orchestra strives to offer music for all-ages audiences, says Waldin.

And in the eyes of the ESO’s supporters and the educational community, it’s doing a great job at it.

“From my perspective as a musician and as a school principal and a teacher it’s just so wonderful to see the programming of the Winspear and that of the ESO,” Sullivan says. “It really is a wide range of choices. Powerful, rich, artistic experiences that give more kids than ever the opportunity to connect with music on a personal level. It’s just wonderful to see that.”

For more information about the educational and musical offerings for youth at the Winspear, visit edmontonsymphony.com/education.


R2013/2014 SEASONROBBINS POPSOn Broadway with Kander & EbbFriday & Saturday, February 7 & 8 | 8 P M

Jack Everly, conductorNikki Renée Daniels, vocalistTed Keegan, vocalistBeth Leavel, vocalistJanine DiVita, vocalistRon Remke, vocalistWith: Steve Hanna, drums

Pops Prelude, 7:15 pm Friday & Saturday, Upper Circle (Third Level) Lobby with D.T. Baker

All music by FRED EBB & JOHN KaNDER

Overture (arr. Everly) Cabaret / All That Jazz / Money, Money / Sing Happy /

Kiss of the Spider Woman / New York, New York

“Willkommen” (from Cabaret / arr. Stephenson)

Cabaret Movie Medley (arr. Krogstad) “Money, Money” / “Mein Herr” / “Maybe This Time”

“First You Dream” (from Steel Pier)

“Two Ladies” (from Cabaret / arr. Gibson/adapt. Runyan)

“Everybody’s Girl” (from Steel Pier)

Songs You Might Have Missed (arr. Barton) Coffee in a Cardboard Cup (from 70, Girls, 70) /

“I Don’t Remember You” (from The Happy Time) / “How Lucky Can You Get?” (from Funny Lady) / “Marry Me” (from The Rink) / “Married” (from Cabaret) / “Kiss of the Spider Woman” (from Kiss of the Spider Woman)

“Cabaret” (from Cabaret / arr. Barton)

INTERMISSION (20 minutes)

Ring Them Bells (from Liza with a Z / arr. Everly)

“City Lights” (from The Act)

“Go Back Home” (from The Scottsboro Boys / arr. Runyan)

JA R T I S T B I O SaRTIST BIOS

Media sponsor Other guest artist bios can be found on the insert for this performance.

“But the World Goes ‘Round” (from New York, New York / arr. McKibbins)

Chicago Medley (arr. Barton) “All That Jazz” / “All I Care About is Love” /

“Cell Block Tango” / “When You’re Good to Mama” / “Mister Cellophane” / “Roxie” / “Me and My Baby” / “Razzle Dazzle” / “Nowadays” / “Loop de Loop and Hot Honey Rag” / “All That Jazz”

Program subject to change

Media sponsor Media sponsor Media sponsor

SIgNaTuRE 11FEBRuaRY 2014

ack EvErly is the Principal Pops Conductor of the Baltimore and Indianapolis Symphony Orchestras, the Naples Philharmonic, and the

National Arts Centre Orchestra. He is also Music Director of the National Memorial Day Concert and A Capitol Fourth on PBS. Last season he made his Los Angeles Philharmonic debut at the Hollywood Bowl, returned to The Cleveland Orchestra and appears as guest conductor in Pittsburgh, and the New York Pops at Carnegie Hall. Originally appointed by Mikhail Baryshnikov, Mr. Everly was conductor of the American Ballet Theatre for 14 years, where he served as Music Director. In addition to his ABT tenure,


FEATUREFEATURE

“It’s music, it’s education, and it’s an opportunity for families to experi-ence the Winspear, sometimes for the first time,” Waldin says. “I do a lot of concerts with the ESO, maybe 20 or 25 a year, and the most important feedback I get is from parents. It’s one thing to inspire somebody, but to inspire someone’s kids – that has a huge effect.”

Musicians in the Making and the Young Composers Project are two programs which focus on older youth who might be considering music as a future career path. Both provide great opportunities for exposure, notes Waldin, who appreciates the difficulty in retaining interest of adolescents and high-school-age youth. “It’s mostly because they have so much going on. There’s a lot for them to engage in and there’s a lot of pressures on them for the future and so it’s a little harder for the orchestra to attract this age level,” Waldin says. “There are things that we’ve been starting to explore. The Young Composers Project is just a small an example of that. We give young people the chance to experience what it would be like to engage in music as a professional. That is something in which we want to continue our efforts.”

Young Composers selects one, perhaps two high school students annu-ally; each receives a $1,000 scholarship and an opportunity to engage with mentor Robert Rival, the ESO’s Composer in Residence, culminating in creating a new work that will be performed by the ESO for a live audience.

“There’s also a bigger role for the Young Composer to play,” Waldin

says. “We’ve got them in front of cameras and media as much as possible. Throughout the process of the Young Composers Project, they learn to hone their skills but also present in public and speak eloquently, and that’s something we’re really happy to be a part of.”

Meanwhile, the Musicians in the Making allows aspiring musicians to perform at the Winspear prior to select performances, garnering free admis-sion to the show in exchange for their 45-minute performance. It’s the stuff dreams are made of for a young talent. “Then, when the young people in the hall see young people their age performing,” Waldin says, “it gives them much more of a connection with what’s going on onstage.”

Above all, the Edmonton Symphony Orchestra strives to offer music for all-ages audiences, says Waldin.

And in the eyes of the ESO’s supporters and the educational community, it’s doing a great job at it.

“From my perspective as a musician and as a school principal and a teacher it’s just so wonderful to see the programming of the Winspear and that of the ESO,” Sullivan says. “It really is a wide range of choices. Powerful, rich, artistic experiences that give more kids than ever the opportunity to connect with music on a personal level. It’s just wonderful to see that.”

For more information about the educational and musical offerings for youth at the Winspear, visit edmontonsymphony.com/education.


2013/2014 SEASONhe has teamed with Marvin Hamlisch in Broadway shows that Mr. Ham-lisch scored including, The Goodbye Girl, They’re Playing Our Song, and A Chorus Line. He conducted Carol Channing hundreds of times in Hello, Dolly! in two separate Broadway productions. Mr. Everly has conducted the songs for Disney’s animated classic, The Hunchback of Notre Dame, and led the Czech Philharmonic on the record-ings: In the Presence, featuring tenor Daniel Rodriguez and Sandi Patty’s 2011 release Broadway Stories. He also conducted the critically praised Everything’s Coming Up Roses: The Complete Overtures of Broadway’s Jule Styne, and was music director for numerous Broadway cast recordings. In 1998, Jack Everly created the Symphonic Pops Consortium, serving as Music Director. The Consortium, based in Indianapolis, produces a new theatrical pops program each season. Over the past 15 years, more than 225 performances of SPC programs have taken place across the U.S. and Canada, including Mysterioso: Music, Magic & Mayhem. Maestro Everly holds an Honorary Doctorate of Arts from Franklin College in his home state of Indiana. When not on the podium or arranging, Maestro Everly indulges in his love for films, Häagen-Dazs, and a pooch named Max.

Mr. Everly last appeared with the ESO in September 2013.

ROBBINS POPS On Broadway with Kander & Ebb

RON REMKEY NiKKi RENÉE daNiEls

bEth lEavEl

signature www.Edmontonsymphony.com12


Janine DiVita teD keegan


2013/2014 SEASONhe has teamed with Marvin Hamlisch in Broadway shows that Mr. Ham-lisch scored including, The Goodbye Girl, They’re Playing Our Song, and A Chorus Line. He conducted Carol Channing hundreds of times in Hello, Dolly! in two separate Broadway productions. Mr. Everly has conducted the songs for Disney’s animated classic, The Hunchback of Notre Dame, and led the Czech Philharmonic on the record-ings: In the Presence, featuring tenor Daniel Rodriguez and Sandi Patty’s 2011 release Broadway Stories. He also conducted the critically praised Everything’s Coming Up Roses: The Complete Overtures of Broadway’s Jule Styne, and was music director for numerous Broadway cast recordings. In 1998, Jack Everly created the Symphonic Pops Consortium, serving as Music Director. The Consortium, based in Indianapolis, produces a new theatrical pops program each season. Over the past 15 years, more than 225 performances of SPC programs have taken place across the U.S. and Canada, including Mysterioso: Music, Magic & Mayhem. Maestro Everly holds an Honorary Doctorate of Arts from Franklin College in his home state of Indiana. When not on the podium or arranging, Maestro Everly indulges in his love for films, Häagen-Dazs, and a pooch named Max.

Mr. Everly last appeared with the ESO in September 2013.

ROBBINS POPS On Broadway with Kander & Ebb

RON REMKEY NiKKi RENÉE daNiEls

bEth lEavEl

signature www.Edmontonsymphony.com12


RSaturday, February 15 | 2 : 3 0 p m & 7 p m and Sunday, February 16 | 1 0 : 3 0 p m & 2 : 3 0 p m

StarringBUGS BUNNY

Conducted byGEORGE DAUGHERTY

Created and Produced by GEORGE DAUGHERTY & DAVID KA LIK WONG

Also StarringELMER FUDD DAFFY DUCK PORKY PIG WILE E. COYOTE ROAD RUNNER TWEETY SYLVESTER PEPE LE PEW PENELOPE PUSSYCAT GRANNY GIOVANNI JONES MICHIGAN J. FROG MARVIN THE MARTIAN SPEEDY GONZALES TASMANIAN DEVIL YOSEMITE SAM FOGHORN LEGHORN WITCH HAZEL . . . and special guest starring appearance by TOM AND JERRY

Music byCARL W. STALLING MILT FRANKLYN SCOTT BRADLEY Based on the Works of Wagner, Rossini, von Suppé, J. Strauss II, Smetana, Liszt

Animation Direction byCHUCK JONES FRIZ FRELENG ROBERT CLAMPETT TEX AVERYROBERT McKIMSON ABE LEVITOW WILLIAM HANNA JOSEPH BARBERA

Voice Characterizations byMEL BLANC ARTHUR Q. BRYAN as Elmer Fudd JUNE FORAY HANS CONRIED and NICOLAI SHUTOROV as Giovanni Jones

“I Tawt I Taw A Puddy Tat” and “Coyote Falls”Directed by MATTHEW O’CALLAGHAN, Music by CHRISTOPHER LENNERTZ

Produced in Association withIF/X PRODUCTIONS SAN FRANCISCO

Official Websitewww.BugsBunnyAtTheSymphony.net

Original Soundtrack Recording on WATERTOWER MUSICwww.watertower-music.com

Follow Bugs Bunny At The Symphony II on facebook and Twitter!

ACT I

THE DANCE OF THE COMEDIANSfrom “The Bartered Bride”by Bedrich Smetana

THE WARNER BROS. FANFARE Music by Max Steiner“MERRILY WE ROLL ALONG” (“The Merrie Melodies Theme”)Music by Charles Tobias, Murray Mencher, and Eddie Cantor,Arranged and Orchestrated by Carl W. Stalling

“BATON BUNNY”Music by Milt FranklynBased on the Overture to “Morning, Noon, and Night in Vienna” by Franz von SuppéStory by Michael Maltese

T H E p R O G R A mTHE PROGRAM

Series Sponsor

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2013/2014 SEASONWARNER BROS. PRESENTSBugs Bunny At The Symphony II

Performance Sponsor Performance Sponsor Media Sponsor Media Sponsor Media Sponsor

SIGNATURE www.EdmontonSymphony.com14

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Story by Michael MalteseAnimation Direction by CHUCK JONES“A SCENT OF THE MATTERHORN” (Scene)Music by Milt Franklyn“Tiptoe Through The Tulips” Music by Joe Burke, and Lyrics by Al DubinStory and Animation Direction by CHUCK JONES“SCENT-IMENTAL ROMEO” (Scenes)Music by Carl W. Stalling“Baby Face” Music by Harry Akst, and Lyrics by Benny DavisStory by Michael MalteseAnimation Direction by CHUCK JONES

“THE RABBIT OF SEVILLE”Music by Carl W. StallingBased on the Overture to “The Barber of Seville” by Gioachino RossiniStory by Michael MalteseAnimation Direction byCHUCK JONES

INTERMISSION

ACT II

“I TAWT I TAW A PUDDY TAT”Music and Lyrics by Alan Livingston, Billy May, and Warren FosterMusical Adaptation and Orchestration by Christopher LennertzWith original voices by Mel Blanc and June ForayExecutive Producer: Sam RegisterStory and Animation Direction byMATTHEW O’CALLAGHANand“COYOTE FALLS”Music by Christopher LennertzStory by Tom SheppardExecutive Producer: Sam RegisterStory and Animation Direction byMATTHEW O’CALLAGHAN

“ROBIN HOOD DAFFY” (Scenes)Music by Milt FranklynStory by Michael MalteseAnimation Direction byCHUCK JONESand“DUCK AMUCK”Music by Carl W. StallingStory by Michael MalteseAnimation Direction byCHUCK JONES

Continued on next page

Animation Direction byCHUCK JONES and ABE LEVITOW“SHOW BIZ BUGS”Music by Milt Franklyn“Jeepers Creepers” by Harry Warren and Johnny Mercer“Those Endearing Young Charms” Irish Folk Melody, words by Thomas MooreStory by Warren FosterAnimation Direction byFRIZ FRELENG

“RHAPSODY RABBIT”Music by Carl W. StallingBased on “Hungarian Rhapsody No. 2” by Franz LisztPiano Solo performed by Milt FranklynStory by Tedd Pierce and Michael MalteseAnimation Direction byFRIZ FRELENG

”JOHANN MOUSE” (Scenes)Music by Scott Bradley, after Johann Strauss IIPiano Solos by Jakob GimpelNarrated by Hans ConriedStory and Animation Direction byWILLIAM HANNA and JOSEPH BARBERAand“TOM AND JERRY IN THE HOLLYWOOD BOWL”Music by Johann Strauss II (Overture to “Die Fledermaus”)Music Originally Arranged by Scott BradleyStory and Animation Direction byWILLIAM HANNA and JOSEPH BARBERA

“BACK ALLEY OPROAR” (Scene)Music by Carl W. Stalling“Largo Al Factotum” by Gioachino Rossini from “The Barber of Seville”Story by Michael Maltese and Tedd PierceAnimation Direction by FRIZ FRELENG

“ZOOM AND BORED”Music by Carl W. Stalling and Milt FranklynBased on “The Dance of the Comedians”from “The Bartered Bride” by Bedrich SmetanaStory by Michael MalteseAnimation Direction byCHUCK JONES

PEPE LE PEW, LE CHANTEUR ROMANTIQUE

“FOR SCENT-IMENTAL REASONS” (Scenes)Music by Carl W. Stalling

sIgnATure 15FeBruArY 2014


RSaturday, February 15 | 2 : 3 0 p m & 7 p m and Sunday, February 16 | 1 0 : 3 0 p m & 2 : 3 0 p m

StarringBUGS BUNNY

Conducted byGEORGE DAUGHERTY

Created and Produced by GEORGE DAUGHERTY & DAVID KA LIK WONG

Also StarringELMER FUDD DAFFY DUCK PORKY PIG WILE E. COYOTE ROAD RUNNER TWEETY SYLVESTER PEPE LE PEW PENELOPE PUSSYCAT GRANNY GIOVANNI JONES MICHIGAN J. FROG MARVIN THE MARTIAN SPEEDY GONZALES TASMANIAN DEVIL YOSEMITE SAM FOGHORN LEGHORN WITCH HAZEL . . . and special guest starring appearance by TOM AND JERRY

Music byCARL W. STALLING MILT FRANKLYN SCOTT BRADLEY Based on the Works of Wagner, Rossini, von Suppé, J. Strauss II, Smetana, Liszt

Animation Direction byCHUCK JONES FRIZ FRELENG ROBERT CLAMPETT TEX AVERYROBERT McKIMSON ABE LEVITOW WILLIAM HANNA JOSEPH BARBERA

Voice Characterizations byMEL BLANC ARTHUR Q. BRYAN as Elmer Fudd JUNE FORAY HANS CONRIED and NICOLAI SHUTOROV as Giovanni Jones

“I Tawt I Taw A Puddy Tat” and “Coyote Falls”Directed by MATTHEW O’CALLAGHAN, Music by CHRISTOPHER LENNERTZ

Produced in Association withIF/X PRODUCTIONS SAN FRANCISCO

Official Websitewww.BugsBunnyAtTheSymphony.net

Original Soundtrack Recording on WATERTOWER MUSICwww.watertower-music.com

Follow Bugs Bunny At The Symphony II on facebook and Twitter!

ACT I

THE DANCE OF THE COMEDIANSfrom “The Bartered Bride”by Bedrich Smetana

THE WARNER BROS. FANFARE Music by Max Steiner“MERRILY WE ROLL ALONG” (“The Merrie Melodies Theme”)Music by Charles Tobias, Murray Mencher, and Eddie Cantor,Arranged and Orchestrated by Carl W. Stalling

“BATON BUNNY”Music by Milt FranklynBased on the Overture to “Morning, Noon, and Night in Vienna” by Franz von SuppéStory by Michael Maltese

T H E p R O G R A mTHE PROGRAM

Series Sponsor

Pho

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of W

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2013/2014 SEASONWARNER BROS. PRESENTSBugs Bunny At The Symphony II

Performance Sponsor Performance Sponsor Media Sponsor Media Sponsor Media Sponsor



“LONG-HAIRED HARE” (Scene)Music by Carl W. Stallingafter Wagner, von Suppé, Donizetti, and RossiniStory by Michael MalteseAnimation Direction byCHUCK JONES

“WHAT’S OPERA, DOC?”Music by Milt FranklynBased on music from “The Flying Dutchman,” “Die Walküre,” “Siegfried,” “Götterdämmerung,” “Rienzi,” and “Tannhäuser”by Richard WagnerStory by Michael MalteseAnimation Direction byCHUCK JONES

MERRIE MELODIES “THAT’S ALL FOLKS” Music Arranged and Orchestrated by Carl W. StallingVoice Characterization by Noel Blanc

Program subject to change without notice.

LOONEY TUNES and all related characters and elements are trademarks of and © Warner Bros. Entertainment Inc.TOM AND JERRY and all related characters and elements are trademarks of and © Turner Entertainment Co.(s13)

Special Effects and CGI/Animation EditorShawn Carlson

Sound Design, Sound Effects, and Re-MasteringRobb WennerJohn Larabee

Audio Mixer and Tour Sound SupervisorMarty Bierman

New CGI Animation ElementsLawton Design

New Animation ElementsWarner Bros. Animation

Audio CD ProducersGeorge DaughertyDavid Ka Lik WongSteve Linder

Sound Effects EditorsRobb WennerJohn Larabee

Music SupervisorDavid Ka Lik Wong

Click MastersMako SujishiRobb WennerJohn LarabeeKristopher Carter Music Transcription and RestorationRon GoldsteinCaryn RasmussenLeo MarchildonRobert SchietromaCameron PatrickRobert Guillory andSpecial thanks to USC/Warner Bros. Music Archives

Music CopyistsCaryn RasmussenRobert SchietromaMichael HernandezJohn NorineJeff TurnerValle MusicJudy Green Music

Video and Audio Production Coordinated and Executed byIF/X Productions San Francisco

Exclusive Worldwide RepresentationIMG ARTISTS

P R O D U C T I O NPRODUCTION, CREATIVE, AND TOURING STAFF

Creator / Music Director / Conductor / ProducerGeorge Daugherty

Creator / Producer / Technical Director / Tour DirectorDavid Ka Lik Wong

Conductor / Associate Music DirectorErik Ochsner

Production Touring Musicians (Rotating) Jo Pusateri, Principal Percussion Robert Schietroma, Principal PercussionStephanie Lynne Smith, Principal PianistKeisuke Nakagoshi, Principal PianistBrenda Vahur, Principal Pianist

Art Director, CGI Producer, and Graphics/Animation DesignerMelinda Lawton

EditorsGeorge DaughertyDavid Ka Lik WongScott DraperMark BeutelPeter KoffSpecial thanks to Keep Me Posted, Burbank

2013/2014 SEASONWARNER BROS. PRESENTS BUGS BUNNy AT THE SyMPHONy II



Steve Linder, General Management, and Senior Vice President, Director Touring Division

Touring Management Team:IMG Artists North & South America (New York):Dori ArmorCharlotte LeeMaureen TaylorGrant ChaputKristen McKniffJames Merrick

IMG Artists Asia Pacific (Singapore):Meera VijayendraLiza Mustapha

IF/X WISHES TO EXTEND ITS SPECIAL THANKS TO: Warner Bros.; Warner Bros. Consumer Products; Warner Bros. Animation; WaterTower Music; The Sydney Symphony, The Sydney Opera House, and The Sydney Opera House Recording Studios and Facilities; The Power Station Recording Studios, New York; U.S.C. Film School/Scoring for Motion Pictures and Television; U.S.C. Film/Music Archives; U.C.L.A. Film Archives; The Chuck Jones Center for Creativity; Chuck Jones Enterprises; Linda Jones Productions; Post Effects Chicago; Screen Magazine; and very special personal thanks to Isabelle Zakin, Bruce Triplett, Foote Kirkpatrick, Ruth L. Ratny, Mike Fayette, Rick Gehr, Melinda Lawton, and Charlene Daugherty.

George Daugherty dedicates this concert to the memory of his mother, Charlene Elizabeth Daugherty

BUGS BUNNY AT THE SYMPHONY II had its world premiere on July 5, 2013, at the Hollywood Bowl, with the Los Angeles Philharmonic

BUGS BUNNY AT THE SYMPHONY had its world premieres on May 7, 2010, at the Sydney Opera House with the Sydney Symphony; and July 16, 2010, at the Hollywood Bowl, with the Los Angeles Philharmonic.

BUGS BUNNY ON BROADWAY had its world premiere on June 16, 1990 at the San Diego Civic Theatre; its Broadway premiere at the Gershwin Theatre, New York City, on October 2, 1990; and its international premiere on May 15, 1996 at the Sydney Opera House, Sydney, Australia.

B I O G R A P H I E S BIOGRAPHIES

BUGS BUNNY

ugs Bunny is one of the most recognized cartoon characters in the world, whose signature phrase “What’s Up, Doc?” has long since entered

the English language.

Bugs’ first “reel” appearance in front of his soon-to-be-adoring public was in A Wild Hare directed by Tex Avery. Since then, Bugs’ zany antics in hundreds of cartoon favourites have made him a legend throughout the world.

This cool, collected, carrot-chomping rabbit is the unequivocal superstar of the Looney Tunes family. With never a “hare” out of place he always manages to outsmart his adversaries, whoever they may be. He’s a real American icon who has graced the TV and cinema screens the world over.

Bugs Bunny’s cartoons have twice been nominated for Academy Awards, and his Knighty Knight Bugs won a coveted Oscar. Bugs has starred in four films in addition to his hundreds of animated shorts and 21 prime time television specials.

GEORGE DAUGHERTY

onductor George Daugherty is one of the classical music world’s most diverse artists. In addition to his 25-year conducting career which has

included appearances with the world’s leading orchestras, ballet companies, opera houses, and concert artists, Daugherty is also an Emmy Award-winning and five-time Emmy nominated creator whose professional profile includes major credits as a director, writer, and producer for television, film, innovative and unique concerts, and the live theater.

Since 1993, he has conducted over 20 performances at The Hollywood Bowl with the Los Angeles Philharmonic and Hollywood Bowl Orchestra (most recently in summer 2013 with two performances), and an equal number with The National Symphony Orchestra at Wolf Trap (also, most recently, in 2013 with a pair.) His current and recent conducting schedule includes multiple performances with St. Louis Symphony (returning for the fourth time), Pittsburgh Symphony, The Cleveland Orchestra at both Severance Hall and the Blossom Festival, The Philadelphia Orchestra, San Francisco Symphony, as well as appearances with dozens of other orchestras in the U.S., Canada, and abroad. He has been a frequent guest conductor at the Sydney Opera House since 1996, and in both 2002 and 2005, he returned to guest conduct the Sydney Symphony Orchestra at the Sydney Opera House. In 2010, he returned to the Sydney Symphony at the Opera House for performances of two different programs, and recorded a new CD with the orchestra. Recently, he also made his debuts with the Baltimore Symphony, Dallas Symphony, Omaha Symphony, Calgary Philharmonic, Kitchener-Waterloo Symphony, Malaysian Philharmonic Orchestra, West Australia Symphony Orchestra, the Danish National Symphony Orchestra, and multiple engagements with the RTÉ Concert Orchestra at both the National Concert Hall, and the new Grand Canal Theatre, both in Dublin, Ireland. He is a frequent guest conduc-tor de Bellas Artes Opera House in Mexico City, where he frequently conducts the Orquesta del Teatro de Bellas Artes in ballet and opera productions.

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LLike any Symphony,

every Landmark home iS a maSterpiece.

We are proud to sponsor the Edmonton Symphony Orchestra. Please enjoy the show.

LandmarkGroup.ca

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L2013/2014 SEASON

Like any Symphony,every Landmark home iS a maSterpiece.


LandmarkGroup.ca

000Sig-LandmarkGroup-FP.indd 1 8/30/13 8:34:13 AM

Beethoven’s Pastorale SymphonyFriday, February 21 | 7 : 3 0 P M and Saturday, February 22 | 8 P M

William Eddins, conductorBenjamin Grosvenor, piano

Afterthoughts, Friday post-performance, Main Lobby with William Eddins, Benjamin Grosvenor & Gary Kulesha

Symphony Prelude, 7:15 pm Saturday, Upper Circle (Third Level) Lobby with Gary Kulesha & D.T. Baker

KULESHAThe Gates of Time (12’)*

SAINT-SAËNSPiano Concerto No. 2 in G minor, Op.22 (26’)* Andante sostenuto Allegro scherzando Presto

INTERMISSION (20 minutes)

BEETHOVENSymphony No. 6 in F Major, Op.68 “Pastorale” (39’)* Awakening of Happy Feelings on Arrival

in the Country – Allegro ma non troppo Scene at the Brook – Andante molto mosso Merry Gathering of Country People – Allegro The Storm – Allegro Shepherds’ Song, Song of Thanksgiving

after the Storm – Allegretto

Program subject to change*indicates approximate performance duration

Media SponsorLandmark Homes Masters Sponsor Mr. Eddins’s bio can be found on page 6.Program notes can be found on pages 22 & 23.

A R T I S T B I O SARTIST BIOS

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British pianist Benjamin GroSvenor is internationally recognized for his electrifying performances and penetrating interpretations. He

first came to prominence as the outstanding winner of the Keyboard Final of the 2004 BBC Young Musician Competition at the age of 11. Since then, he has become an internationally regarded pianist performing with orchestras including the London Philharmonic, RAI Torino, New York Philharmonic, Philharmonia, Tokyo Symphony, and in venues such as the Royal Festival Hall, Barbican Centre, Singapore’s Victoria Hall, The Frick Collection, and Carnegie Hall. Recent and future highlights include engagements with the New York Philharmonic and the Minnesota Orchestra, and recital debuts at the Sydney Opera House, Concertgebouw, Festival de La Roque d’Anthéron, National Concert Hall Dublin, and the South Bank Centre, London. Mr. Grosvenor recently gave a highly successful North American tour, including appearances in Vancouver, Washington, and New York.

FRIDAy MASTERS & LANDMARK HOMES MASTERS

Friday Masters Sponsor

SIGNATURE 21FEBRUARy 2014


LLike any Symphony,

every Landmark home iS a maSterpiece.


LandmarkGroup.ca

000Sig-LandmarkGroup-FP.indd 1 8/30/13 8:34:13 AMSignature5_2014_p20-23.indd 20 1/28/14 10:03:56 AM

2013/2014 SEASON

The Gates of TimeGary Kulesha(b. Toronto, 1954)

First performed: 1991 in Kitchener, OntarioThis is the ESO premiere of the piece

Program note by the composer:

he worK was commissioned by the Kitchener Waterloo Symphony Orchestra and the Canadian Broadcasting Corpo-

ration. It is intended to be a celebratory overture. The title refers to the open-ing (and closing) of the gates of time, that is, a passage through the stages of life. I wanted to suggest that passing through the gates inevitably means leaving behind something in order to move on to new things. Each stage of our lives, of the lives of organizations, even the lives of nations, involves a passage through the gates of time. There can be sadness and uncertainty, but ultimately, we become something new. I consider this to be positive.

Musically, I set out to create a concert-opening orchestral showpiece which was not “traditional”. While I have composed many larger works, including three symphonies and concertos for violin and cello, I have always taken very seriously the challenge of writing a short opening work. The requirements are simple: it is typically 10 minutes or less, and it must be uplifting, energetic, and satisfying. But in this work, I wanted to do more. I wanted to create a work that was uniquely contemporary as well as being an exciting opener. The work has many shades of light, from the fleet flashes of activity at the beginning, through the muttering horns in the middle, to the massive brass fanfares of the ending. It is a journey as well as an overture, from uncertainty to joyful celebration. It is a passage through The Gates of Time.

P R O G R A M N O T E SPROGRAM NOTES

T

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Warranty expired - now it’s your choice!

In 2011 Benjamin Grosvenor signed to Decca Classics, and in doing so be-came the youngest British musician ever to sign to the label. His most recent recording for Decca includes Saint Saëns’ Piano Concerto No. 2, Gershwin’s Rhapsody in Blue, and Ravel’s Piano Concerto in G Major. His first recording for Decca had critics marvelling at Benjamin’s musical character. During his brief, but sensational career, Benjamin has received Gramophone’s ‘Young Artist of the Year and Instrumental Award, a Classic Brits Critics’ Award, UK Critics’ Circle Award for Exceptional Young Talent and a Diapason d’Or Jeune Talent Award. The youngest of five brothers, Benjamin began playing the piano aged 6. In July 2012, he graduated from the Royal Academy of Music, where he was awarded the The Queen’s commendation for excellence. Benjamin has had lessons with Christopher Elton, Leif Ove Andsnes, Stephen Hough, and Arnaldo Cohen amongst others.

Mr. Grosvenor last appeared with the ESO in April 2013.

Piano Concerto No. 2 in G minor, Op.22camille saint-saëns(b. Paris, 1835 / d. Algiers, 1921)

First performed: December 13, 1868 in ParisLast ESO performance: January 2000

n a vocation that has no lacK of early bloomers, Camille Saint-Saëns still stands out. He was picking out piano tunes at

the age of two. At five, he played the piano part of a Beethoven violin sonata with a professional violinist. He made his recital debut at age 11, playing a long and difficult program from memory. To music (as if that were not

Friday MasTers / LaNdMark HOMes MasTers BeeTHOveN’s PasTOraLe syMPHONy

www.edmontonsymphony.com


enough), he would add to his list of accomplishments volumes of poetry, plays, an avid scientific curiosity, and a lifelong love of travel and adventure.

His Second Piano Concerto was born out of friendship, and intended as a vehicle for entertainment. When Saint-Saëns’ friend Anton Rubinstein announced his intention to visit Paris in 1868, the noted pianist and conductor told Saint-Saëns it was a perfect opportunity for them to perform together. In only 17 days, Saint-Saëns had a new concerto ready for the oc-casion, for which he performed the solo part, while Rubinstein conducted. “The form of it is new and very happy,” announced Franz Liszt upon hearing it – and it was to Liszt that the work was dedicated.

In a very unusual move, the work’s slow movement comes first. The piano opens with a swirling cadenza before the orchestra announces its arrival with two loud chords. Following that, the piano presents the main theme proper of the movement, and it is that theme which dominates, presented more or less as a set of variations, throughout the rest of the movement.

The second movement has the earmarks of a scherzo following a slow movement. It is everywhere graceful, delicate, charming – indeed, all adjectives often used (occasionally pejoratively!) to describe Saint-Saëns himself. The finale is a brisk and vigorous Tarantella – a Neapolitan dance in 6/8 time. Its name, supposedly taken from the energy required to resist the poison from a tarantula bite, suggests the lively, energetic whirl of the music. A clever second subject, a witty dialog between the piano and the strings, momentarily intrudes on the bracing main material.

Symphony No. 6 in F Major, Op.68 “Pastorale”Ludwig van Beethoven(b. Bonn, 1770 / d. Vienna, 1827)

First performed: December 22, 1808 in ViennaLast ESO performance: May 2012

t was to the countryside that Beethoven wouLd always turn to find solace, quietude, serenity and replenishment for his

spirit. His friend Therese von Brunsvik once said, “He loved to be alone with Nature, to make her his only confidante.”

The roots of the “Pastorale” Symphony go back many years before its infamous first performance, in a cold concert hall in Vienna, near Christ-mas in 1808. Sketches for music that would find its way into the second movement appear in notebooks from 1803, and even then, Beethoven had a scene by a brook in mind, sketching the words, “The larger the stream the deeper the note” next to his musical musings. But Beethoven did not intend his work to be pictorial, or so programmatic that it was little more than musical illustation. While he did append the nickname to the work, it was important that the work was, “more an expression of feelings than tone painting,” as he wrote on the work’s title page.

While each movement is given the usual Italian tempo markings, Beethoven also included descriptors for each movement, which are useful guides for the listener. The first two movements are long and luxuriant, each built from relatively simple melodic ideas. The first movement’s subtitle translates as, “Awakening of happy feelings upon arrival in the country.” Its measured, unhurried pace is nevertheless sun-dappled and sprightly. The long second movement has the subtitle “Scene at a brook.” Not a lot actually transpires in this section, but as the music historian Sir George Grove observed, “Only when the sameness of fields, woods, and streams become distasteful will the ‘Pastoral’ Symphony weary its hearers.”

The final three movements blend one into the other without a pause.

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The third movement is the jauntiest of the entire work, a rustic dance of country folk, with unexpected key changes and clever instrumental colours. The “Thunder-storm” fourth movement is a few minutes of excitement and even fear. It is only in this short movement that piccolo and timpani are used, representing a keening wind and thunder, respectively. The storm is short-lived, and as the sun once again punctures the sky, the country folk who had been dancing only minutes before have their sense of gratitude at the storm’s passing expressed in a jovial and majestic song of thanksgiving. Ironically, the work’s first performance took place in an unheated hall on a cold Vienna Decem-ber night – anything but the sunny, inviting landscape the music so vividly depicts

Program notes © 2014 by D.T. Baker, except as noted

FEBRUARY 2014


2013/2014 SEASON

The Gates of TimeGary Kulesha(b. Toronto, 1954)

First performed: 1991 in Kitchener, OntarioThis is the ESO premiere of the piece

Program note by the composer:

he worK was commissioned by the Kitchener Waterloo Symphony Orchestra and the Canadian Broadcasting Corpo-

ration. It is intended to be a celebratory overture. The title refers to the open-ing (and closing) of the gates of time, that is, a passage through the stages of life. I wanted to suggest that passing through the gates inevitably means leaving behind something in order to move on to new things. Each stage of our lives, of the lives of organizations, even the lives of nations, involves a passage through the gates of time. There can be sadness and uncertainty, but ultimately, we become something new. I consider this to be positive.

Musically, I set out to create a concert-opening orchestral showpiece which was not “traditional”. While I have composed many larger works, including three symphonies and concertos for violin and cello, I have always taken very seriously the challenge of writing a short opening work. The requirements are simple: it is typically 10 minutes or less, and it must be uplifting, energetic, and satisfying. But in this work, I wanted to do more. I wanted to create a work that was uniquely contemporary as well as being an exciting opener. The work has many shades of light, from the fleet flashes of activity at the beginning, through the muttering horns in the middle, to the massive brass fanfares of the ending. It is a journey as well as an overture, from uncertainty to joyful celebration. It is a passage through The Gates of Time.

P R O G R A M N O T E SPROGRAM NOTES

T

I

Warranty expired - now it’s your choice!

In 2011 Benjamin Grosvenor signed to Decca Classics, and in doing so be-came the youngest British musician ever to sign to the label. His most recent recording for Decca includes Saint Saëns’ Piano Concerto No. 2, Gershwin’s Rhapsody in Blue, and Ravel’s Piano Concerto in G Major. His first recording for Decca had critics marvelling at Benjamin’s musical character. During his brief, but sensational career, Benjamin has received Gramophone’s ‘Young Artist of the Year and Instrumental Award, a Classic Brits Critics’ Award, UK Critics’ Circle Award for Exceptional Young Talent and a Diapason d’Or Jeune Talent Award. The youngest of five brothers, Benjamin began playing the piano aged 6. In July 2012, he graduated from the Royal Academy of Music, where he was awarded the The Queen’s commendation for excellence. Benjamin has had lessons with Christopher Elton, Leif Ove Andsnes, Stephen Hough, and Arnaldo Cohen amongst others.

Mr. Grosvenor last appeared with the ESO in April 2013.

Piano Concerto No. 2 in G minor, Op.22camille saint-saëns(b. Paris, 1835 / d. Algiers, 1921)

First performed: December 13, 1868 in ParisLast ESO performance: January 2000

n a vocation that has no lacK of early bloomers, Camille Saint-Saëns still stands out. He was picking out piano tunes at

the age of two. At five, he played the piano part of a Beethoven violin sonata with a professional violinist. He made his recital debut at age 11, playing a long and difficult program from memory. To music (as if that were not

Friday MasTers / LaNdMark HOMes MasTers BeeTHOveN’s PasTOraLe syMPHONy

www.edmontonsymphony.com


SMAINSTAGE 2013CONCERTS 2014

University of Alberta | Department of Music

UOFA HIGH SCHOOL HONOUR BAND WITH THE SYMPHONIC WIND ENSEMBLEFeb. 9 at 3 pm | Winspear Centre

Alberta’s most talented high school band students and the University of Alberta’s Symphonic Wind Ensemble

BRASS FIREWORKSFeb. 12 at 8 pm | Convocation Hall

Robin Doyon (trumpet), Sylvain Beyries (trum-pet), Allene Hackleman (horn), Alden Lowrey (trombone) & John McPherson (tuba)

20th century Delerue, Ewazen, & Ewald works

A brilliant display of musicianship

TICKETS: $10 STUDENT | $20 ADULT | $15 SENIOR AT WWW.YEGLIVE.CA AND THE DOOR

WWW.MUSIC.UALBERTA.CA

PERCUSSIVE WINDSMar. 16 at 3 pm | Winspear Centre

Symphonic Wind Ensemble and Concert Band with guest percussion soloist Matthew Coley (Iowa State)

Canadian premiere: Glass House Concerto by Andrew Ardizzoia

Played on glass bottles and stone xylophones


SStorieS from the Audience

David: Can you see the whole shirt?Carol: It says: “Life is short, opera is long and Wagner is forever!”

When you turn on your radio, CD player, or MP3 playlist, what’s playing right now?David: Sirius radio… either Sirius Symphony Hall or Met Opera.

What is your musical “guilty pleasure”?Carol: I like country and western, I grew up in Oklahoma right near Reba McEntire’s hometown. My father was their family physician. When she first started singing she would come by and give my mother records. David: I don’t think it is a guilty pleasure, I have many musical pleasures but I don’t feel guilty about them. I think I would say jazz piano. We are such a fan of Tommy Banks and PJ Perry.

Describe yourself in three words.David: Continuing to learn.Carol: That is very good, I think that is so true.

What is your favourite ESO or Winspear Centre memory?Carol: The Carnegie Hall concert was an absolute musical highlight!David: That was such a wonderful evening for those who came from Edmonton, the ESO and the New Yorkers who were in the hall! They loved it.

Why do you donate to the ESO?Carol: The primary reason is that we care about it.David: And we believe in it. On any given night, the ESO is as good as any major symphony orchestra in the world. By making a donation, we feel a little bit that we are part of it. We are not just spectators, we have bought into it!

Name: DaviD aND Carol Cass

How long have you attended the ESO?David: When Lawrence Leonard was the conductor and James Keene was the concertmaster, I believe we started attending around 1970.

Do you play, or have you ever played, an instrument?David: Yes, I play piano.Carol: I played piano - doing lessons for 11 years. I also played trumpet and French horn in high school band, and took voice lessons.David: My piano teacher gave me a lifelong appreciation for music and more than enjoying it she taught me to understand music. My piano teacher Mrs. Marks introduced me to Vladimir Horowitz’s recording of the “Moonlight” Sonata, and now it is a lifelong obsession for me. I have collected almost all he ever recorded.

Name three things you always bring to an ESO concert.Carol: Our parking pass, the tickets…David: And of course money for a glass of wine at intermission.

If you could meet any musician, dead or alive, any genre of music – who would it be and why?David: Yo Yo Ma, and we actually did get to meet him at the Winspear Centre! He came upstairs following the Gala and a family came over to him. The next thing we knew, he was down on the floor speaking to the kids… it was a moment to bring tears to the eyes. Carol: We also got to meet Placido Domingo, but if I were to pick some one out of history I think I would choose Mozart. How about you, David?David: I think I would choose Mozart as well. He was such a brilliant mind and so creative. His music is enduring. Carol: Another would be Verdi.David: Yes, Verdi would be on there, too.Carol: As you can see I am wearing a Wagner t-shirt now, but I wouldn’t want to meet him!

Date: august 30th, 2013

If you have a story you would like to share or would like to be interviewed for “Stories From the Audience” please contact Erin Mulcair at 780-401-2539 or [email protected]

signature 25FeBruarY 2014


M000Sig-ESO_Tenors-FP.indd 1 1/27/14 11:57:55 AMSignature5_2014_p24-28.indd 26 1/28/14 10:07:39 AM

MLen Aston contributed invALuAbLy to the edmonton symphony orchestra as a volunteer of over 16 years, and we’d like to express our heartfelt gratitude for his incredible generosity.

Len was born in essex, england, and immigrated to edson in 1947. Len and his brother spent their first years in canada building log cabins in edson, before Len moved to edmonton to work as an accounting consultant. Len met his wife, Andrée, in 1986 at an edmonton eskimo’s game, and the two were mar-ried a few years later in Las vegas. upon retiring, Len knew he wanted to give back to the community as much as possible. since music had always been a huge part of his life – having sung in a choir and per-formed on the accordion from a very young age – Len decided to give the eso a call.

After he and Andrée began volunteering with the sym-phony, news travelled fast and the two were soon in hot demand. the couple began to receive calls from the edmonton opera, Alberta ballet, and the edmonton Fringe Festival. soon, he and Andrée were volunteer-ing all over the city, tackling these organizations’ vari-ous needs, as well as adding the edmonton eskimos and M.s. society to their busy schedules. Len and Andrée joyfully contributed countless hours to greeting patrons, stuffing envelopes, and working fundraising

events and concerts in edmonton. Len was such a fix-ture at these organizations, that “the edmonton opera even recognized Len as backstage security in their programs,” recalls Andrée.

in 2011, Len and Andrée won a salute to excellence Award for community service. Len was very proud and thankful for this achievement, Andrée explains: “We felt so special; it was such a beautiful surprise for us. We were so thankful to Annemarie Petrov for nominating us.”

elaine Warick, director of Patron development at the eso and Winspear centre says: “i knew Len for 20 years. We first met when he volunteered working with kids at the edmonton eskimos. he was such a good sport and he never shied away from anything. he always made the kids feel good as well as the staff around him. there wasn’t anything he wouldn’t help out with and he always thanked me for the opportu-nity to volunteer no matter how tedious the job might have been.”

When Len wasn’t volunteering with one of his many or-ganizations, he could be found playing golf or watching sports. Len is remembered as someone who always had a smile on his face, was willing to help with any-thing, and faced every day with a generous spirit.

In MeMory of Len AstonJanuary 22nd, 1920 to September 28th, 2012

000Sig-ESO_Tenors-FP.indd 1 1/27/14 11:57:55 AM

signAture 27FebruAry 2014


M000Sig-ESO_Tenors-FP.indd 1 1/27/14 11:57:55 AMSignature5_2014_p24-28.indd 26 1/28/14 10:07:39 AM

Join us for a free tour of the Winspear Centre as We Celebrate our 15th anniversary!

Dates: Friday, February 14th Wednesday, March 5th Tuesday, March 18th Wednesday, April 9th Friday, April 25th

Come hear all about the history of the ESO and Winspear Centre and our vision for the community. We will provide a complimentary lunch followed by a backstage tour of one of North America’s most exquisite concert halls! We all have busy schedules, which is why we

promise to keep this session to one hour from 12:00 pm to 1:00 pm.

ThESE EvENTS Fill up FAST SO iF yOu WOulD likE TO ATTEND plEASE R.S.v.p. TO JEFFORy MAgSON AT 780-401-2517 OR [email protected].

Overture InfOrmatIOn SeSSIOn & tOur

What is your Winspear?The Winspear Centre is Edmonton’s pride and joy and is recognized around the world as an outstanding concert hall. it is a centre for music, for arts and culture. The Winspear brings people together and gives our community soul.

please consider donating $10 per month to My Winspear. you will receive a My Winspear T-shirt with a custom slogan of your choice. let everyone know what the Winspear means to you!

your monthly support Will:• become part of a community-wide sustainable funding source for the

Winspear and help maintain its standing as a world-class facility

• help provide more opportunities for music, dance and other community groups to make the Winspear Centre a performance or event home

• make the performing arts and the joy of music more accessible to our community, now and into the future

• help maintain the Symphony’s home and allow it to continue developing its artistic excellence.

Erin Mulcair 9720 102 Avenue Edmonton, AB T5J 4B2

MAil giFTS TO:

givE ONliNE AT: www.winspearcentre.com/support


BOARD & STAFFTHE EdmonTon SympHony orcHESTra

List of past Board ChairsMrs. Marion Mills 1952-53 dr. h.V. rice 1953-54Mr. John d. dower 1954-56Mr. Gerry M. Wilmot 1956-57dr. a.o. Minsos 1957-58Mr. E.M. Blanchard 1958-59Mr. a.G. Culver 1959-60Mr. d.d. Campbell 1960-61Mr. d.M. ramsay 1961-62Mr. Merrill E. Wolfe 1962-63Mr. Ken r. higham 1963-65Mr. George M. peacock, Q.C. 1965-66Mr. robert L. horley 1966-67the honourable david C. Mcdonald 1967-68Mrs. Madeline Williams 1968-69the honourable tevie h. Miller 1969-70Mr. Jack W. Kennedy 1970-71the honourable roger p. Kerans 1971-72Mr. richard W. palmer 1972-73dr. John r. huckell 1973-76dr. John L. schlosser 1976-77Mr. J.r. singleton 1977-79Mr. d.a. Cox 1979-80Mr. ron ritch 1980-82Mrs. Margaret Clarke 1982-84Mr. Brian hetherington 1984-86Mr. Charles t. austin 1986-88Mr. Neil Wilkinson 1988-90Mr. robert Binnendyk 1990-93Mr. ron pearson 1993-95Ms. audrey Luft 1995-97Mr. andrew hladyshevsky, Q.C. 1997-00Mr. douglas Noble 2000-01Mr. d. Mark Gunderson, Q.C. 2001-03Mr. W.d. (Bill) Grace, f.C.a. 2003-04Mrs. phyllis Clark 2004-07Mr. steven Lepoole 2007-11

Edmonton Symphony SociEty/ FranciS WinSpEar cEntrE For muSic

EdMoNtoN syMphoNy & CoNCErt haLL fouNdatioNphyllis Clark, chairJohn BrennanJim CarterBob Kamp ron NewGary smith

Board of dirECtorsJim E. Carter, p.Eng., chairreginald Milley, Vice chairCarol ann Kushlyk, C.M.a., C.f.E., treasurerLeanne Krawchuk, LL.B., Secretary/Legal counselCarolyn CampbellJoanna Ciapka-sangsterMaria david-EvansMegan Evanssusan flookpeggy GarrittyCynthia hansen, C.a.travis huckellKathy KnowlesMary persson

Edmonton Symphony orchEStra / WinSpEar cEntrE

EXECutiVE & artistiC LEadErshipannemarie petrov William EddinsExecutive director music director

rob Mcalear, director of artistic operationsMichael schurek, director of community relationsalison Kenny-Gardhouse, director of Educational outreachally Mandrusiak, director of Events managementBarbara foley, director of Finance & administrationElaine Warick, director of patron developmentMaryGrace Johnstone, Executive communications/ Board Liaison

WWW.EdmontonSymphony.com

thE Eso aNd WiNspEar CENtrE WorK iN proud partNErship With iatsE LoCaL 210Warren Bertholet, head Lighting technicianJonas duffy, head audio technician rob hadfield, head audio technicianalan Marks, head of Stage managementMike patton, assistant head of Stage management

SignATuRe 29FeBRuARY 2014


Join us for a free tour of the Winspear Centre as We Celebrate our 15th anniversary!

Dates: Friday, February 14th Wednesday, March 5th Tuesday, March 18th Wednesday, April 9th Friday, April 25th

Come hear all about the history of the ESO and Winspear Centre and our vision for the community. We will provide a complimentary lunch followed by a backstage tour of one of North America’s most exquisite concert halls! We all have busy schedules, which is why we

promise to keep this session to one hour from 12:00 pm to 1:00 pm.

ThESE EvENTS Fill up FAST SO iF yOu WOulD likE TO ATTEND plEASE R.S.v.p. TO JEFFORy MAgSON AT 780-401-2517 OR [email protected].

Overture InfOrmatIOn SeSSIOn & tOur

What is your Winspear?The Winspear Centre is Edmonton’s pride and joy and is recognized around the world as an outstanding concert hall. it is a centre for music, for arts and culture. The Winspear brings people together and gives our community soul.

please consider donating $10 per month to My Winspear. you will receive a My Winspear T-shirt with a custom slogan of your choice. let everyone know what the Winspear means to you!

your monthly support Will:• become part of a community-wide sustainable funding source for the

Winspear and help maintain its standing as a world-class facility

• help provide more opportunities for music, dance and other community groups to make the Winspear Centre a performance or event home

• make the performing arts and the joy of music more accessible to our community, now and into the future

• help maintain the Symphony’s home and allow it to continue developing its artistic excellence.

Erin Mulcair 9720 102 Avenue Edmonton, AB T5J 4B2

MAil giFTS TO:

givE ONliNE AT: www.winspearcentre.com/support


TTHANK YOU Community Support of the Edmonton Symphony Orchestra & Winspear Centre

The Edmonton Symphony Orchestra is a registered charitable organization, incorporated under the Societies Act of the Province of Alberta on November 22, 1952. As Canada’s fourth-largest professional orchestra, the ESO is financed by ticket sales, grants from government agencies, and by contributions from corporations, foundations, and individuals.

Our Media Sponsors

Our Program and Education Sponsors

Series Sponsors

Our Performance Sponsors

CityTV Capital FM Global CKUA Edmonton Journal Pattison VUE Weekly World FM

Our Exclusive Caterers

Our Suppliers

Government Agency Support:

Print Sponsor Wine Supplier Official Airline of the ESO

Publications Sponsor Official Floral Supplier

Title Sponsor Landmark Classic Masters

Title SponsorRobbins Pops / Robbins Lighter Classics

Title Sponsor Symphony Under the Sky

Title SponsorAir Canada Presents

Title Sponsor Esso Symphony for Kids

Sponsor Friday Masters

Title Sponsor Late Night with Bill Eddins

Sponsor Sunday Showcase

Sponsor 2 for 1 Introductory Series Offer

Sponsor K to Gr. 3 Education Program

Sponsor Musicians in the Making

Sponsor Gr. 4 to 6 Education Program

Naming SponsorENMAX Hall

through the Edmonton Community Foundation Presenting Co-SponsorChristmas at the Winspear

Presenting Co-SponsorChristmas at the Winspear

SponsorPulse8

Sponsor Enbridge Community Ambassador

& Artist in Residence

SigNATUrE www.EdmontonSymphony.com30


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eso signature magazine: february 2014

Documents

edmonton kids

lexus of edmonton

edmonton ab t5j 1e3inquiries

young audiencesbugs

masters idyll

eso debut

alberta private client

jessica rush