Symphony Under The Sky

GREAT MUSIC IN THE GREAT OUTDOORS
SYMPHONY UNDER
THE SKY
PRESENTED BY ATB INVESTOR SERVICES
AUGUST 30 SEPTEMBER 2, 2013

HAWRELAK PARK AMPHITHEATRE
W W W . E D M O N T O N S Y M P H O N Y. C O M
2013/2014 Season
Friday, September 6, 8:00 pm 2013 - Gerrit Jordaan, South Africa
West End Christian Reformed Church
Sunday, October 6, 3:00 pm, 2013 - Rachel Laurin, Quebec
Winspear Centre for Music
Friday, May 2, 8:00 pm, 2014 - Massimo Nosetti, Italy
First Presbyterian Church
EDMONTON
ORGAN C
organ in concert
www.rcco.edmonton.ab.ca
DEPARTMENT OF
MUSIC
UNIVERSITY OF ALBERTA
Adults $25 - Seniors: $22 - Students: $15

Tix on the Square: (780) 420-1757, www.tixonthesquare.ca or at the door
Season Subscriptions: Adults $70 - Seniors $62. Available in advance, call: (780) 454-3882
Student Season Subscriptions - please call (780) 454-3882 for ticket pricing
Cover ILLUSTrATIoN:
AmAndA WoodWArd
CONTENTS
aUgUst 30-sePtemBer 2, 2013
10
greetings
pg. 4
oUr ConDUCtor
pg. 6
the eDmonton symPhony orChestra
pg. 8
mozart, tChaikovsky & Dvork
pg. 10
Proms in the Park
pg. 14
Friday, august 30, 7 pm
saturday, august 31, 2 pm
From BroaDway to hollywooD
pg. 18
menagerie oF mUsiC Family matinee*
pg. 20
saturday, august 31, 7 pm
sunday, september 1, 2 pm
ellis hall CeleBrates ray Charles,

motown & BeyonD
pg. 22
Carnival oF the animals
pg. 25
tiCket, Box oFFiCe & Festival inFormation
pg. 30
sunday, september 1, 7 pm
monday, september 2, 2 pm
18
*This FREE, hour-long performance does not include the ESO.
Symphony Under the Sky presented by ATB Investor Services would not be
possible without the generous support of our many funders and sponsors
Presenting sPonsor
ellis hall PerFormanCe sPonsor
meDia sPonsor
green energy ProviDer
rv sUPPlier
meDia sPonsor
www.EdmontonSymphony.com
SYMPHONY UNDER THE SKY
GREETINGS
robert bernhardt, conductor
Dear FrienDs,
am so happy to be back For my eighth season as conDuctor
of Symphony Under the Sky presented by ATB Investor Services, to work once
again with the wonderful ESO, and to have a lineup of music and guests artists that
we hope will delight and move you.
I first heard Denise Djokic play last May in New York City, as she joined the
orchestra as cello soloist for the ESOs triumphant Carnegie Hall debut. Im thrilled
that this marvelous cellist will perform on opening night. Saturday afternoon is
a tribute to that very British musical tradition, Last Night at the Proms. The
splendid soprano Mela Dailey will sing music from the heart of opera, as well as
more populist fare. Bring your Union Jacks! Mela will join us again Saturday night
for a concert where Broadway meets the movies. Our special guests this night are
the Strathcona Theater Company, and these kids are amazing!
Nothing can prepare you for the brilliance and ability and sound that Ellis Hall
gives every audience, every time. On Sunday night, its a tribute to Ray Charles, and to
Motown! Our Labour Day finale is unique and dazzling this year, featuring that most
happy and clever work by Saint-Sans, Carnival of the Animals. The Young Composers Project and the 1812 Overture bring the day, and the Festival, to a rousing close.
Thank you once again for your support and the delight of your presence at these
concerts. We hope you have a memorable and exciting weekend!
A proud sponsor of
Symphony Under the Sky
2013
pattisonoutdoor.com
M006805
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Photo: Raffaella Loro
OUR CONDUCTOR
obErt bErnhardt served as Music

Director and Conductor of the Chattanooga
Symphony and Opera for 19 seasons. He was the
second Music Director in the combined companys
history, and was the first with the title Emeritus.
A lover of all genres of music, he is equally at home
in symphonic, operatic, pops, and educational
performances. He also reaches another milestone
in his career with the Louisville Orchestra, with
this year representing his 31st consecutive season
with the LO, and his 16th as Principal Pops
Conductor. Last season, he made his conducting
debuts with the Dallas and Baltimore Symphony
Orchestras, returned to the Cincinnati Pops and
Detroit Symphony, and conducted six Boston Pops
concerts. His vast symphonic repertoire covers
most of the standard canon and his commitment

to the music of our time is significant. He has been
a frequent guest conductor with the Pittsburgh
Symphony, the Detroit Symphony, the St. Louis
Symphony, and the Boston Pops. He has also
been a guest with the Houston, Seattle, Phoenix,
Nashville, Colorado, Iceland, and Pacific Symphony
Orchestras, among others. He has recorded for
Vanguard, First Edition, Carlton Classics, and RPO
record labels. He has also conducted the Louisville
Ballet, the North Carolina Ballet, the Jacksonville
Ballet, and the Lonestar Ballet.
Born in Rochester, N.Y., Robert Bernhardt holds
a Masters Degree with Honours from the University of Southern California School of Music where
he studied with Daniel Lewis. He was a Phi Beta
Kappa, summa cum laude graduate of Union (N.Y.)
College, where he was an Academic All-American
baseball player. His son, Alex, lives and works in
Seattle with his wife and new daughter, and his
daughter, Charlotte, is a resident of New York City.
He and his wife, Nora, live on Signal Mountain.
Robert Bernhardt holds a special place in the
hearts of Edmonton Symphony Orchestra musicians
and audiences. Symphony Under the Sky, presented
by ATB Financial, is the seventh consecutive festival
for him as the conductor, and he frequently leads
the ESO in subscription series performances at
the Winspear Centre. He last conducted the ESO
in May 2012, and returns for Robbins Pops
performances April 26 & 27, 2013, and for the
Robbins Lighter Classics on May 16, 2013.

The edmonTon
Symphony orcheSTra 2013/14
William Eddins,
Music Director
[ ViOLiN i ]
Robert Uchida,
Concertmaster
the John & Barbara Poole

Family concertmaster chair
Eric buchmann,
Associate Concertmaster
Virginie Gagn,
Assistant Concertmaster
broderyck Olson
Richard Caldwell
Joanna Ciapka-Sangster
alissa Cheung
anna Kozak
aiyana anderson-Howatt
Neda Yamach
[ ViOLiN ii ]
Dianne New 1
Susan Flook 2
Heather bergen
Pauline bronstein
Robert Hryciw
Zo Sellers
Murray Vaasjo
Tatiana Warszynski
[ ViOLa ]
Stefan Jungkind 1
Charles Pilon 2
Clayton Leung
Rhonda Henshaw
Mikiko Kohjitani
andrew bacon
[ CELLO ]
Colin Ryan 1
the stuart & Winona Davis

Principal cello chair
Sheila Laughton 2
Ronda Metszies
Gillian Caldwell
Derek Gomez
Victor Pipkin
[ DOUbLE baSS ]
Jan Urke 1
John Taylor 2
Janice Quinn
Rhonda Taft
Rob aldridge
Robert Rival,
Composer in Residence
Uri Mayer,
Conductor Laureate
[ FLUTE ]
[ HaRP ]
[ ObOE ]
1 PrinciPal
2 assistant PrinciPal
3 acting PrinciPal
4 acting assistant
PrinciPal
5 On leave
Elizabeth Koch 1, 5
Elizabeth Faulkner 3
Shelley Younge 2
Lidia Khaner 1
Paul Schieman 2
the steven &

Day lePoole
assistant Principal
Oboe chair
[ CLaRiNET ]
Charles Hudelson,
Principal Emeritus
Julianne Scott 1
David Quinn 2
[ baSSOON ]
William Harrison 1
Edith Stacey 2
[ HORN ]
allene Hackleman 1, 5
Megan Evans 3
Gerald Onciul 2
Donald Plumb 2
[ TRUMPET ]
alvin Lowrey,
Principal Emeritus
Robin Doyon 1
William Dimmer 2
[ TROMbONE ]
John McPherson 1
Katherine Macintosh 2
[ baSS TROMbONE ]
Christopher Taylor 1
[ TUba ]
Nora bumanis 1
ORCHESTRa PERSONNEL
Eric Filpula, Orchestra Personnel Manager
The following musicians may appear at
performances during Symphony Under the
Sky presented by aTb investor Services:
Raymond baril Saxophone
Sylvain beyries Trumpet
Elizabeth Faulkner Flute
Mary Fearon Horn
Joel Gray Trumpet
Michael Massey Keyboards
John McCormick Percussion
Raj Nigam Percussion
PJ Perry Saxophone
Jean-Franois Picard Saxophone
Shamilla Ramnawaj Horn
brian Sand Trumpet
Yukari Sasada Bass
Elaine Stepa Percussion
Dan Sutherland Clarinet
Robin Taylor Saxophone
brian Thurgood Percussion
Dan Waldron Oboe
Robert Walsh Guitar
The ESO works in proud partnership
with the AF of M (American Federation of
Musicians of the United States and Canada)
Local 390.
Scott Whetham 1
[ TiMPaNi ]
barry Nemish 1
[ PERCUSSiON ]
brian Jones 1
In addition to our own concerts, the ESO

provides orchestral accompaniment for
performances by Edmonton Opera and
Alberta Ballet.
october 8, 2013
SeaSon
october 16, 2013
ERS Special
Sonic Escape
november 27, 2013
Zara Lawler, flute

Paul Fadoul, percussion
January 5, 2014
Nola Shantz, soprano

Alexandra Munn, piano
January 21, 2014
2013-2014
Gala Concert
Sara Davis Buechner, piano
February 12, 2014
Benjamin Butterfield, tenor

Peter Dala, piano
march 26, 2014
Rachel Mercer, cello

Angela Park, piano
may 18, 2014
Edmonton Recital Society
New Orford String Quartet
For more information, please visit us at

www.edmontonrecital.com or contact us
at 780.264.2844
Special Thanks
Allene Hackleman, French horn

Sarah Ho, piano
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MOzaRT, TcHaiKOvSKY & DvORK

FriDay, august 30, 7 pm
Robert Bernhardt, conductor

Denise Djokic, cello
MOzaRT
Serenade No. 13 in G Major, K.525

Eine kleine Nachtmusik
Allegro
Romance: Andante
Menuetto: Allegro
Rondo: Allegro
TcHaiKOvSKY
Romeo and Juliet Fantasy Overture
(17)*
(19)*
INTERMISSION (20 minutes)
DvORK
Cello Concerto in B minor, Op.104

Allegro
Adagio ma non troppo
Finale: Allegro moderato
(40)*
Program subject to change

*indicates approximate performance duration
Mr. Bernhardts bio can be found on page 6.
EniSE Djokic burst onto the international
music scene following her performance at

the 2002 Grammy Awards. Since then, she has
accrued numerous distinctions and accolades,
including being named one of the top 25 Canadians Who Are Changing Our World (Macleans),
one of Canadas Most Powerful Women (Elle).
Highlights of this season include Tchaikovskys
famed Variations on a Rococo Theme with the
Winnipeg Symphony, Guldas Cello Concerto
with the Halifax Symphony, and Elgars Cello
Concerto with the Indian Hill Symphony. Denise
Djokic has also appeared at Lincoln Center with
the Philharmonic Orchestra of the Americas,
and in concerts with lOrchestre mtropolitain
and Yannick Nzet-Sguin, Toronto Symphony,
North Carolina Symphony, National Arts Centre
Orchestra, the Aachen Symphony Orchestra,
and the San Diego Chamber Orchestra, among
others. A passionate recitalist and chamber musician, Denise performs frequently with acclaimed
pianist David Jalbert, and collaborates often with
chamber ensembles such as the Jupiter and Supernova quartets.
Ms. Djokics award-winning discography

includes the complete Britten Solo Suites for
Cello (ATMA), works by Barber, Martin
and Britten (Sony), and Folklore (Allegro/
Endeavor) containing works inspired by folk
music and stories. Fall 2013 sees the release of
a new recording on the ATMA label of Chopin
and Rachmaninoff sonatas with pianist David
Jalbert. Having grown up in a large musical
family in Halifax, Denise Djokic first began to
learn the cello with her uncle and aunt, cellists
Pierre and Michelle Djokic. Her parents, Lynn
and Philippe, and brother Marc, are all musicians with whom she often collaborates. Denise
currently lives in Champaign, Illinois with her
husband, Nelson. www.denisedjokic.com
Ms. Djokic last appeared with the ESO in Carnegie Hall
in May 2012.
10 SYMPHONY UNDER THE SKY
PROGRAM NOTES
Serenade No. 13 in G Major, K.525
Eine kleine Nachtmusik
hilE thE tragic Story of thE
Veronese lovers Romeo and Juliet seems a

natural fit to the particular artistic temperament of
Tchaikovsky, it was in fact the composers friend
and fellow composer Ml Balakirev who was the
main driving force behind the work. Yet Balakirev
First performed: Mozart signed the score as
proved one of the works harshest critics, at least in
completed on August 10, 1787, but it is not
its early guises. And while Tchaikovsky typically
known if it was performed at that time.
proved stubborn in the face of his colleagues
Last compLete eso perFormance: January 2009
criticisms, after the work was first performed to
hErE arE fEW piEcES of muSic morE a lacklustre reception, he actually took many of
Balakirevs comments to heart, and embarked on an
instantly familiar to us than Eine kleine Nachextensive revision of the piece, presented in its final
tmusik. So its quite ironic that while we have the
version ten years later, changed from an overture to
tunes from it permanently etched in our memories,
we know comparatively little about the works origins. what was now called a fantasy overture.
The work does not follow any specific program
It is a serenade, and Mozart wrote many such works.
or sequence of events. Instead, Tchaikovsky, with
Most of his serenades date from his days in Salzburg
that sense of mood and gift for melody that was so
and they were not Mozarts favourite commisuniquely his, perfectly captures all the emotions of
sions. Most were written for the privileged families
of Salzburg, for specific celebratory occasions to be Shakespeares first tragedy and does so within the
strictures of classical sonata form. The opening theme,
heard once by an exclusive audience and perhaps to
suggesting Friar Laurence with its hymn-like nature,
be tossed aside thereafter. Yet we know that at least
is the slow introduction. This is followed by the
two of Mozarts best-known serenades date from
exposition of the two main subjects of the overture.
his time in Vienna. A note by him dated August
There is the fiery conflict of the two feuding families,
10, 1787 states that he had written, Eine kleine
and the theme of the lovers themselves one of the
Nachtmusik (a little night music), and that it was
in five movements. The work that has come down to most heart-tuggingly romantic themes in all of music.
There is a short recapitulation, concluding with a brief
us has only four.
funeral march, before the epic now world-famous
The opening movement has a rhythmic joie de
theme of the lovers returns in a glorious climax.
vivre matched with a graceful sweetness; it is in textbook sonata form, save that the development is really
only a modulation from the home key of G Major.
The Romance is a gently lilting three-part song. The
Cello Concerto in B minor, Op.104
brief third movement matches a march with a more
antonn dvork
graceful Trio subject. The final movement is a Rondo, (b. Nelahozeves, 1841 / d. Prague, 1904)
the main theme of which is a merry, bracing dance.
Wolfgang amad mozart
(b. Salzburg, 1756 / d. Vienna, 1791)
First performance: March 19, 1896 in London

Last eso perFormance: march 2012
Romeo and Juliet Fantasy-Overture

piotr ilyich tchaikovSky
(b. Kamsko-Votinsk, 1840 / d. St. Petersburg, 1893)
First performance: March 28, 1870 in Moscow
Last eso perFormance: may 2008
rom 1891 to 1895, antonn dvork
received a generous sum of money to head up

the newly-formed National Conservatory in New
York. But he missed his Bohemian homeland dearly,
and during a break in his tenure in 1894, he took
SYMPHONY UNDER THE SKY 11
Mozart, tchaikovsky & Dvork

Friday, august 30, 7 pm
advantage of the time off to make a short trip back

home. While there, he began sketches for what would
become his Cello Concerto, instigated at the behest
of Bohemian cellist Hanu Wihan. Dvok took to
the task with relish, completing most of the concerto
by the following February. Soon after that, however,
his beloved sister-in-law Josefina ermakova died. In
her memory, Dvok reworked the piece. His song
Leave Me Alone in My Dreams, which had been
a favourite of hers, was quoted in both the Adagio
second movement and in the finale.
It might seem as if the first theme heard in the
work is given relatively short shrift, particularly as the
second subject (heard first on the horn) is given much
more breadth. The bulk of the movement is spent
with each of these musical ideas, with the first theme
made much more dominant in the recapitulation.
The second movement is one of Dvoks finest
slow movements. After an introduction in the wood-
winds, the cello enters, quoting that favourite song

of Josefinas. The mood is not tragic, however, but
beautiful, serene, and direct. Three horns present an
almost organ-like chorale mood, leading to a bridge
which ushers in a cadenza for the cello, accompanied
by the woodwinds which in turn leads into the
movements peaceful conclusion. The finale perks up
the pace with a picturesque march tune used as the
main subject of a loose rondo movement. Not only
does the song from the slow movement return, there
are echoes of a theme from the first movement as well,
lending a sense of completeness to the finale of this
broad, rich concerto, which has taken its place among
the best. Upon hearing it, Dvoks friend and mentor
Johannes Brahms famously said, Why on earth didnt
I know that one could write a cello concerto like this?
Had I known, I would have written one long ago.
Program notes 2013 by D.T. Baker
promS in the park

Saturday, auguSt 31, 2 pm

Mela Dailey, soprano
ANSELL
Plymouth Hoe! A Nautical Overture
BINGE
Eilzabethan Serenade
GRAINGER
Country Gardens (arr. Dragon)
VAUGHAN WILLIAMS
Fantasia on Greensleeves
(from Sir John in Love) (arr. Greaves)
MOURET
Suite de Symphonies: I. Entre
DOYLE
Thrown the Coins

(from Sense and Sensibility)
Weep you no more sad fountains
(from Sense and Sensibility)
GILBERT & SULLIVAN
The sun, whose rays are all ablaze

(from The Mikado)
GERSHWIN
BOLCOM
Summertime (from Porgy and Bess)
Lime Jello Marshmallow

Cottage Cheese Surprise
J. STRAUSS II
SOUSA
WALTON
WOOD
ELGAR
Mein Herr Marquis (from Die Fledermaus)
Orb and Sceptre (arr. Douglas)
COATES
The Dambusters March
GRAINGER
Irish Tune from County Derry
The Liberty Bell (arr. Winter)

Fantasia on British Sea Songs (arr. Zalva)
Pomp and Circumstance March
No. 1 in D Major, Op.39 (arr. Ryden)
Mr. Bernhardts bio can be found on pages 6.
s the winner of competitions sponsored by the

National Federation of Music Clubs, Metropolitan Opera, New York University, Gerda Lissner
Foundation, Downbeat magazine, and Connecticut
Opera Guild, and finalist in the Metropolitan Opera
Mid-South Region, American Traditions Competition, International Opera Singer Competition, and
Career Bridges Grant Awards with the Schuyler
Foundation for Career Bridges, Inc., MEla DailEy
has command of both her instrument and the stage.
Ms. Dailey has received recognition in a wide variety
of musical genres including opera, oratorio, art song,
musical theatre, vocal jazz, gospel, country, and popular music. Ms. Dailey made her professional debut at
Carnegie Hall in 2003 with the Grammy-nominated
Conspirare Company of Voices directed by Craig
Hella Johnson. She has been a recipient of the New
York University Talent Scholarship for achievement in
musical theatre, a winner of the Second Annual University of Texas Opera Gala Aria Competition, and
was selected as a New Young Artist with the Victoria
Bach Festival.
In the fall of 2011, Ms. Dailey performed and
recorded a Samuel Barber choral program with
Conspirare for Harmonia Mundi. 2012 begins with
a Conspirare Mid-Western Tour, solo debut with the
Spokane Symphony, a Florida chamber music tour,
and solos in Debussys La damoiselle lue and Poulencs
Gloria in a return to the Georgetown Festival. Previous
operatic performances include the roles of Ines in Il
Trovatore, Countess Ceprano (and covering Gilda) in
Rigoletto, Ida (also covering Adele) in Die Fledermaus
with Austin Lyric Opera, Adina in Llisir damore,
Musetta in La Bohme with the Opera Company
of Brooklyn, the title role of Semele at the Staunton
Music Festival (VA), and Frasquita in Carmen with
the Amarillo Opera. With the Austin Symphony, she
sang the role of Sophie in the Act III Trio and Finale
from Der Rosenkavalier. She has also appeared in
concert with the Carinthian Symphony Orchestra of
Klagenfurt, Austria and was Artist-in-Residence with
the Amarillo Opera.
Ms. Dailey last appeared with the ESO in May 2012.
PROGRAM NOTES
hE way thE lEgEnD iS tolD, whilE
awaiting the tide to become favourable prior to

setting out to engage the Spanish Armada, Sir Francis
Drake played a game of bowls on the large, open
grassy space known as Plymouth Hoe. Its not true,
but its among the stories that have made the spot a
south-facing outcrop above the short limestone cliffs
along the coast of the city of Plymouth a tourist
destination. The view it commands to the south has
also made it strategically valuable. Its coastal heritage
was marked by British composer John Ansell (18741948), who assembled several nautical tunes into
Plymouth Hoe!, the work by which he is best known.
Those familiar with the cascading string sound
of the famous Mantovani orchestra have Ronald
Binge (1910-1979) to thank for it. The British-born
composer and arranger joined the famous bandleader
after the Second World War, but left in the 1950s
to devote himself to original composition. Likely his
best-known work is the 1951 Elizabethan Serenade,
which began life in the Mantovani orchestra under the
title Andante cantabile, but was re-named following
the coronation of the Queen in 1952. For many years,
the BBC used it as the title theme of their radio series,
Music Tapestry.
There is perhaps no better definition of light
music, a genre which has associations with inconsequential fluff to some, but which was a muchrespected and popular music in the mid-20th century, then that of Andrew Gold, Head of the BBCs
Light Music Unit from 1965 to 1969, who said,
Light Music is where the tune is more important
than what you do with it. While its greatest popularity was in the U.K., it was the sort of music in which
Australian-born American composer Percy Grainger
(1882-1961) excelled. Country Gardens dates from
his time as part of the U.S. military band (Coast
Artillery Corps 1917-1919), and is a tune that he
supposedly improvised at the piano one day. Its simplicity won it enduring popularity. This afternoons
arrangement was done by Carmen Dragon.
Shakespeare featured in the music of Ralph
Vaughan Williams (1872-1958) throughout
Williams career. He wrote incidental music to
promS in the park

Saturday, auguSt 31, 2 pm
productions of Henry IV Part 2, Henry V, Richard

II, Richard III, and The Merry Wives of Windsor. The
latter play was also the basis for his opera Sir John
in Love, first performed in 1928. Vaughan Williams
himself penned the libretto and Sir John, of course,
is the lovable, bumbling and blustering John Falstaff.
In 1934, Ralph Greaves arranged Vaughan Williams treatment of Greensleeves (heard in the opera
while Alice Ford awaits the arrival of Falstaff), and
this fantasia has become likely the most frequently
played piece Vaughan Williams ever wrote. The
darker-toned folksong one hears in the middle of the
Fantasia is another old English tune, Lovely Joan.
Though best known for the brief fanfare well
hear this afternoon, Jean-Joseph Mouret (16821738) was, during his life, the favourite composer
of the court of Louis XV. His two Suites des Symphonies (symphonic suites the symphony as
we have come to know it did not exist in Mourets
lifetime) date from 1729. This first of these is subtitled Fanfare pour les Trompettes, Violons et Hautbois
(Fanfare for Trumpets, Violins and Oboes). Its
celebratory opening has become famous thanks to
its use as the title music for the long-running PBS
series Masterpiece Theater.
Patrick Doyle (b. 1953) has become something
of a favourite composer for period films, particularly for director Kenneth Branagh. Ang Lee, who
directed the Oscar-winning Emma Thompson adaptation of Jane Austens Sense and Sensbility (1995),
had Doyle compose a very classical-sounding score,
from which we will hear two excerpts the first an
instrumental titled Throw the Coins; the second a
song with a text from an anonymous 16th century
poet, Weep you no more sad fountains, and
sung by the character of Marianne (Kate Winslet)
during the opening credits.
Of the many, many successful and satiric operettas
over their storied careers, Gilbert and Sullivans
The Mikado stands alone. Its first run beginning in
1885 was an unbelievable 672 performances, and its
first revival in 1896 made it the first work to achieve
1,000 performances at Londons Savoy Theatre.
William S. Gilbert (1836-1911) and Arthur Sullivan
(1842-1900) used the exotic setting of Japan for the
operetta to poke fun at the absurdities of the abuses
inherent in the British class system. The character

of Nanki-Poo arrives in the town of Titipu with the
hope of winning the hand of Yum-Yum. He does,
after a fashion, gaining the right to marry her, on
condition that he lose his head in a months time.
Yum-Yum sings the song The sun, whose rays are
all ablaze on the day of her wedding, an innocent
and nave observation of her own beauty.
Porgy and Bess premiered in 1935, the fulfillment
of a dream by composer George Gershwin (18981937) to write a truly American folk opera. Based
on a book by DuBose Heyward (who also wrote the
libretto along with Georges brother Ira), the opera
begins with the hauntingly beautiful aria Summertime, which quickly became a standard. It is sung in
Act I by Clara, as a lullaby to her sleeping child.
One of the few who could compete with the
success of Gilbert & Sullivan in the genre of operetta
was the Waltz King, Johann Strauss II (1825-1899).
He wrote several that enjoyed tremendous success,
and of them all, Die Fledermaus (The Bat) is the
one which has continued to dominate the stage. A
comical story of disguise and intrigue, the work is full
of glorious Strauss melodies, many of which are (not
surprisingly) set to waltz tempos. At a ball, the chamber maid Adele (who is playing the part of an actress)
cheerfully fends off accusations from her ladys husband with the cheerful song Mein Herr Marquis.
The aria has become known as Adeles Laughing Song,
and is a nimble and challenging coloratura (a singing technique with deliberately florid and elaborately
decorative passages) showcase for soprano.
The Proms is a uniquely British concert series,
so it is only fitting that our conclusion is dominated
by some, unapologetically, patriotically, tea-andcrumpets British music. It says something of the
enduring popularity and regard with which William
Walton (1902-1983) was held in his native land
to note that it was he that composed coronation
anthems for two of Great Britains monarchs. The
second of these was Orb and Sceptre, which played
at the coronation of Queen Elizabeth on June 2,
1953. Orb and Sceptres harmonies are chromatic, and
the middle section has a memorable main theme. In
its original guise, the work has a prominent organ
part, suitable for Westminster Abbey. This afternoons
arrangement by Roy Douglas is for orchestra alone.

The Dam Busters was a 1954 British film starring Michael Redgrave and Richard Todd. It was
based on the true story of the British scientists and
military personnel who created a device that could
penetrate the thick concrete walls of dams. Through
a feat of creative engineering genius, a skipping
mine was invented that, when dropped from an
airplane, would skip across the water the way a
stone does, exploding once it impacted the concrete
it was designed to destroy. Eric Coates (18861957), one of Englands leading composers of light
music, wrote the score to this patriotic war film.
Excerpted from the movies music is this popular
and rousing Dambusters March, which has been
transcribed for many instrumental combinations
since, from solo organ to brass band.
Several Irish, or even faux-Irish songs have
become so familiar to us, they border on clich. But
in the hands of a skilled arranger, even these familiar
tunes can sound fresh. This afternoons concert
features two such arrangers. Percy Grainger (see
above) cheekily referred to the many arrangements
he made of such songs as his fripperies, yet they
made him famous. The so-called Irish Tune from
County Derry is the most famous. With words
added to it in 1910 by Frederick Weatherly, it has
become universally known as Danny Boy.
Young, up and coming pianists in the mid-20th
century inevitably found themselves performing for womens clubs, at which any manner of
absurd dishes would be served. Composer William
Bolcom (b. 1938) decided to spoof many of those
outlandish concoctions with his comical 1980 patter
song Lime Jello Marshmallow Cottage Cheese
Surprise. Written with his wife, soprano Joan
Morris (who performed it frequently), the song is a
catalog of the most bizarre recipes one could hope to
never be served, sung in the character of one of these
well-meaning but tuned-out club officials unaware
of the very absurdity of the treats.
What Johann Strauss II was to the Viennese
waltz, John Philip Sousa (1854-1932) was to the
American march. He wrote 136 during his lifetime,
for occasions ranging as august as military dedications to as everyday as a baseball game. Certainly, his
most famous is Stars and Stripes Forever, but while

not known as well by name, the tune of his march
The Liberty Bell has acquired a fame all its own. If
images of cut-out art, including a single Tintoretto
foot, flash by as you hear this jolly melody, you are
not alone, as The Liberty Bell was co-opted as the title
theme music for the groundbreaking British comedy
troupe, Monty Pythons Flying Circus. Well hear a
version for orchestra arranged by Aubrey Winter.
When Henry Wood (1869-1944) first conceived of his Fantasia on British Sea Songs, it was
to mark the 1905 centennial of the famous naval
Battle of Trafalgar. The concept of the piece was the
life of a sailor from his point of view, as the songs
range from the first call to arms, to battle, to the
death of a shipmate all concluding with Thomas
Arnes triumphant and famous Rule, Britannia! as a
reminder that England will forever rule the waves.
Its patriotic nature made it a regular feature of The
Last Night of the Proms, until the increasingly
international exposure of the concert (which is now
simulcast in various places throughout Great Britain,
including Scotland, Wales, and Northern Ireland)
made it seem too nationalist. For the Rule, Britannia! finale, the audience is invited to sing the chorus.
Our Proms salute concludes with the music of a
mild-mannered Englishman named Edward Elgar
(1857-1934) and a work that took on a life of its
own, almost from its first performance in 1901.
Right from the outset, the patriotic feel and passionate melody of Elgars Pomp and Circumstance
March No. 1 had many, including the King of
England himself, venture the opinion that words
should be added to the trio part. That was done, and
in its vocal form, became known as Land of Hope
and Glory. It made Elgar famous, but musically did
him more harm than good, wrote legendary New
York Times critic Harold C. Schoenberg. Elgar was
a pacifist, and The march tarred him with a kind
of Kiplingesque jingoism. Schoenberg continued,
Musicians would not accept (Pomp and Circumstance) for what it was a rattling good march.
Graduation ceremonies, too, have never been the
same since the works first appearance.
Program notes 2013 by D.T. Baker
From broadway
to Hollywood
Saturday, September 1, 7 pm
robert bernhardt, conductor

Mela dailey, soprano
robert uchida, violin
Strathcona Theatre company cast of
anything goes (Linette Smith, Artistic
anYThing goeS
(from anything goes )
Porter (arr. Gibson)
INTERMISSION II (15 minutes)
Director / Stephen Delano, Music Director)

featuring Sydney williams, soprano
The beST of bond
The Sound of MuSic
various (arr. Tyzik)
(from The Sound of Music )
Rodgers/Hammerstein (arr. Kostal)
over The rainbow

(from The wizard of oz )
Arlen/Harburg (arr. Wilcox)
big Movie SuiTe
gone with the wind / ben-hur /

Laura / doctor Zhivago /
Lawrence of arabia / rocky /
The Pink Panther / The way we were
James bond Theme /

nobody does it better / Live and Let die /
for Your eyes only / The Look of Love /
007 Theme / Thunderball
bLow, gabrieL, bLow

(from anything goes)
Porter (arr. Gibson)
for good (from wicked )

Schwartz (arr. Hamlisch/Zito)

Ms. Daileys bio can be found on page 15.
INTERMISSION I (20 minutes)

Selections from
LeS MiSrabLeS
at the end of the day /

i dreamed a dream /
Master of the house / on My own /
do You hear the People Sing?
Schnberg/Boublil (arr. Lowden)
Main theme from
LadieS in Lavender
Hess
Think of Me
(from The Phantom of the opera )

Lloyd Webber/Hart/Stilgoe
i couLd have danced

aLL nighT
(from My fair Lady )
Lerner/Loewe (arr. Green)
18 SYMPhonY under The SkY
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 worlds top conductors, including
Valery Gergiev, Kurt Masur, Edo de Waart and
Pinchas Zukerman.
In recent years he has been a featured soloist
with several of Canadas 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), Muziekgebouw (Amsterdam),
and the Glenn Gould Studio (Toronto). He has
been a guest violinist at a number of Canadian
festivals and chamber music series.
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. Robert has held teaching
positions at Acadia University, the Manhattan
School of Music Pre-College, and the National
Arts Centres 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 1810, bows by Peccatte and

Sartory, and a baroque bow by Max Kasper. He
currently lives in Edmonton with his wife Laura
and their two children.
Mr. Uchida last appeared as a soloist with the ESO
in November 2012.
hE StRathcona dEpaRtmEnt of
thEatRE is proud to offer a pre-professional
training program for high school aged performers.

Its goal is to provide students with the skills
they will need to move on to competitive college
programs as well as amateur theatre experiences.
It offers challenging and engaging courses for
actors at various levels of development. Under
the Artsitic Direction of Linette Smith and
Stephen Delano, classes are designed to encourage
students to create imaginative and compelling
characters, to regard their voices and bodies as
creative instruments, to expose them to theatrical
literature, and to instill in them a sense of respect
and professionalism for this art form that will stay
with them throughout their lives. Students have
been a part of many award winning Strathcona
productions and continue to be a part of theatre
programs while studying at the University of
Alberta, The National Theatre School, New York
University, Sheridan, and Ryerson.
The company last appeared with the ESO at Symphony Under the
Sky presented by ATB Financial 2012.
menagerie of muSic:
family matinee
Sunday, September 1, 2 pm
Lucas Waldin, conductor & host

with:
Michael Massey, piano
Jeremy Spurgeon, piano

Virginie Gagn, violin
Neda Yamach, violin
Clayton Leung, viola
Ronda Metszies, cello
Jan Urke, bass
Elizabeth Faulkner, flute
Julianne Scott, clarinet
Brian Jones, percussion
John McCormick, percussion
National Stiltwalkers
of Canada
Firefly Theatre
Acrobalance Duet
SO COmmunity AmbASSAdOr
Lucas Waldin leads friends from the Edmonton

Symphony through a colourful menagerie of music.
Including Saint-Sans Carnival of the Animals, this
matine for younger listeners will take a voyage
of discovery featuring exotic sounds and beautiful
melodies from a host of favourite tunes.
This one-hour concert is performed without intermission,
and is free.
or the 2013/14 season, LuCAS WALdin will

once again don the mantle of Community
Ambassador. In this capacity, he will continue to
establish strong ties with our community through
inventive outreach initiatives, in addition to
programming and presenting the ESOs education
and family concerts. During his time as Enbridge
Resident Conductor of the ESO, Mr. Waldin
collaborated with some of North Americas finest
musicians including Jens Lindemann, Angela
Cheng, and Sergei Babayan. 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 at Roy Thomson Hall.
Strongly dedicated to Canadian composers,
Lucas Waldin has performed over 25 Canadian
compositions including six world premieres, and
has collaborated closely with composers such
as John Estacio, Allan Gilliland, and Malcolm
Forsyth. In recognition of his valuable contribution
to artistic life in Canada, Lucas was awarded the
2012 Jean-Marie Beaudet Award in Orchestra
Conducting by the Canada Council for the
Arts. Lucas 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, Lucas conducted
both the Scottish Chamber Orchestra and the
BBC Scottish Symphony. Prior to his appointment
with the Edmonton Symphony, Lucas was a
Discovery Series Conductor at the Oregon Bach
Festival, and Assistant Conductor of Clevelands
contemporary orchestra {RED}. He has performed
with orchestras across Europe, including the
Jugendsinfonieorchester Kassel, Bachakademie
Stuttgart, and Staatstheater Cottbus.
London HandeL PLayers

Friday, october 4, 8 pm
convocation Hall
IsabeL bayrakdarIan, soPrano
Friday, october 25, 8 pm
mcdougall united cHurcH
2013 - 2014 season
anonymous 4
saturday, november 9, 7:30 pm
West end cHristian reFormed cHurcH
TrIo Jean PauL
Friday, January 31, 8 pm
convocation Hall
Jos mIgueL moreno, baroque guITar
saturday, marcH 22, 8 pm
convocation Hall
James eHnes, vIoLIn
Wednesday, april 2, 8 pm
mcdougall united cHurcH
TIckeTs from TIX on THe square,
THe gramoPHone and aT THe door
For details, visit
www.edmonToncHambermusIc.org
Finning Canada is proud to support The Edmonton

Symphony Orchestra
elliS Hall CelebrateS ray

CHarleS, motown & beyond
Sunday, September 1, 7 pm

ellis Hall, special guest
Hot Soul Medley
Reach out (Ill Be there) / My Girl /

I Heard it through the Grapevine /
touch Me in the Morning /
love Machine
AInt no MountAIn
HIGH enouGH
Ashford/Simpson
My CHeRIe AMouR
Wonder
CRedIt
Castillo/Kupka
SoMedAyS WeRe
MeAnt foR RAIn
Hall
I HeARd It tHRouGH
tHe GRApevIne
HIt tHe RoAd, JACk
GeoRGIA on My MInd
Whitfield/Strong
A fIftH of
BeetHoven
Murphy (arr. Burden)
AMAzInG GRACe
trad. (arr. Tyzik)
tHe SAInt louIS BlueS
Mayfield (arr. Catingaub)
Gorrell/Carmichael (arr. Catingaub)
GIRl, youRe not

In kAnSAS AnyMoRe
Hall (arr. Blumberg)
I CAnt Stop lovInG you

Gibson (arr. Catingaub)
Handy (arr. Wendel)
unCHAIn My HeARt
Sharp/Powell (arr. Catingaub)
22 SyMpHony undeR tHe Sky
o say that Ellis Hall is multitalented would presume some sort

of limitations. On the contrary!
Many people consider Mr. Hall to be
a prodigy on a number of instruments.
But it is his voice that is one of his
most incredible musical abilities. If you
listen very carefully, youll find he is in
remarkable command of a full five octaves,
and his vocal talent is capable of boggling
the mind.
Hailing from the small Georgia town
of Claxton, Ellis Hall moved to Boston,
where he embarked on becoming one
of the worlds most innovative souls.
Burdened to a degree by childhood
glaucoma that eventually would lead to
total sightlessness, he knew early on that
he must sequester himself away with
the lights off and hone his instrumental
talents without concern for the inevitable.
At 18 years old, he was finally rendered
completely blind. But his musicianship
was undeterred and he raced off into the
world of R&B and Soul. He created The
Ellis Hall Group in Boston, which led fans
and critics to laud him for his own brand of

hair-raising performances.
During this time, he was discovered by
East Bay Soul artists Tower Of Power, and
with the members of that group he spent a
few years performing, writing, and producing.
After many notable achievements in the
world of professional performance, Mr. Hall
moved to Los Angeles, where quickly he
became a First Call session player and the voice
of choice for many projects. While performing
in 2001, Ellis Hall was approached by Ray
Charles, who was instantly taken by what he
heard, and in 2002 Mr. Hall became the only
musician besides Charles himself to be signed as
a Featured Artist on his Record Label, Crossover
Records. During the months following Mr. Hall
and Mr. Charles produced an astounding work
called Straight Ahead.
Following Ray Charles passing, Ellis Hall
decided to create a show in his friends honour
called A Tribute To Ray Charles, Motown And
Beyond, and has since performed this show with
orchestras all over the world.
Mr. Ellis last appeared with the ESO in June 2012.
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LEXUS OF EDMONTON IS PROUD TO SUPPORT THE SYMPHONY UNDER THE SKY
Carnival of
the aniMalS
Monday, SepteMber 2, 2 pM
TCHAIKOVSKY

Michael Massey, piano
Jeremy Spurgeon, piano
William Dimmer, narrator
Ouverture solennelle, Op.49

1812 Overture
(14)*
*indicates approximate performance duration

J. STRAUSS II
Unter Donner und Blitz: Polka,

Op.324

(3)*
MOZART
Concerto No. 10
for Two Pianos in E-flat Major
3rd mvmt Rondo: Allegro
(7)*
SAINT-SANS
The Carnival of the Animals

(29)
Introduction
Hens and Cockerels
Wild Asses
Tortoises
The Elephant
Kangaroos
Aquarium
People with Long Ears
The Cuckoo in the Depths of the Woods
Aviary
Pianists
Fossils
The Swan
Finale
RIVAL
Whirlwind (2012 ESO commission)
(8)*
PLAMONDON
Flight (World Premiere of an

ESO commission through the
Young Composers Project)
BROOKER
(5)*
Procol Fantasy (2013 ESO-commissioned

arrangement by Gilliland)
(7)*
ritish-born JErEmy SpurgEon won

scholarships to study both piano accompaniment and organ at the Royal Northern College
of Music, Manchester and later studied organ
with Lionel Rogg at the Geneva Conservatoire
where he gained the Premier Prix de la Classe de
Virtuosit.
In 1980 he came to Edmonton as director
of music at All Saints Cathedral and has since
appeared in concert with many Canadian
and international ensembles, singers and
instrumentalists, including the Edmonton
Symphony Orchestra, Richard Eaton Singers,
Pro Coro Canada, and Edmonton Opera. Mr.
Spurgeon has performed as piano accompanist
and organist across Canada and Europe.
Mr. Spurgeon last appeared as a soloist with the ESO
in November 2011.
Bios & program notes continued on pages 26 - 29.
Carnival of
the aniMalS
contribution to the cultural life of the city, Mr.

Massey was inducted into the Edmonton Cultural
Hall of Fame as an ArtistBuilder, and he also
received the Queens Golden Jubilee Medal.
Mr. Massey last appeared as a soloist with the ESO in March 2010.
b
M
ichaEl MaSSEyS association with

the Edmonton Symphony Orchestra
began in 1970 when he became a member of the
cello section. Since 1976, he has been the ESOs
principal keyboard player, has worked as conductor
and arranger for education concerts, and has
frequently performed as soloist. He has been the
Music Director and Conductor of the Edmonton
Youth Orchestra since 1977. Numerous Canadian
professional musicians, including many current
ESO members, received their first orchestral
experiences under his direction. Mr. Massey
was born in London, England and emigrated to
Canada in 1957. His early piano studies with
Jean-Pierre Vetter in Edmonton were the prime
influence in his development as a musician. Later
studies at the University of Alberta earned him
a Bachelor of Music degree and the gold medal
in piano performance of the Western Board of
Music. Following his graduation he spent two
years studying at the Geneva Conservatory where
he was unanimously awarded the Premier Prix
de Virtuosit and performed as soloist with
LOrchestre de la Suisse Romande.
Mr. Masseys activities as a musician are many
and varied. He has performed as soloist, chamber
musician, accompanist, and conductor throughout
Canada, and has performed on numerous occasions
on CBC radio and television. In 2002, for his
illiaM DiMMEr has performed with

the Edmonton Symphony Orchestra since
1971. He is a graduate of the University of Calgary
and has studied in Denmark with members of the
Royal Danish Orchestra and in Chicago with members of the Chicago Symphony. He has performed
with the Tommy Banks Band and with several other
performing organizations as player and conductor,
including the Plumbers Union (a recorder group
that gave a Command Performance for the Queen
during the 1978 Summer Commonwealth Games).
He has also been active as an adjudicator and
conductor and is currently music director of Nova
Musica, a community orchestra in Edmonton.
Mr. Dimmer has been Executive Director
of MusiCamrose (a residential summer music
workshop) and has been on faculty at The
University of Alberta, Grant MacEwan College/
Alberta College Conservatory, Concordia College
and Augustana University. Bill Dimmer is also a
pilot and instructor for Civil Air Search and Rescue
Association (CASARA) Edmonton, he and teaches
ground school at the Edmonton Flying Club.
Mr. Dimmer last appeared as a soloist with the ESO

in September 2010.
PROGRAM NOTES
Unter Donner und Blitz: Polka, Op. 324
Johann StrauSS II
(b. Vienna, 1825 / d. Vienna, 1899)
trauSS waltzES wErE thE EpItomE
of Viennese refinement and elegance. But

the many, many balls at which Strauss orchestras
performed in the waning years of the 19th century were also occasions for merriment and fun.
Thats where Strauss polkas come in.
The many polkas Johann Strauss II wrote
provided contrast and energy. Unter Donner
und Blitz (Under Thunder and Lightning),
composed in 1868, earned its name from its
madcap overuse of percussion. Laid out in an
A-B-A format, the A section features loud
timpani rolls every four bars, with cymbal crashes
in between. The B section actually begins a
little more quietly, but that scarcely lasts a bar
before the cymbals and drums return. The first
section returns in a note-for-note repeat, and the
concluding chords are predictably boisterous.
Concerto No. 10 for Two Pianos in E-flat
Major: 3rd mvmt Rondo: Allegro
wolfgang amad mozart
(b. Salzburg, 1756 / d. Vienna, 1791)
hE obStaclES of Such a
cooperative concerto as Mozarts Concerto

No. 10 for Two Pianos are considerable. Though
not as strong or powerful as todays pianos, two
keyboards of Mozarts time would still be enough
to drown out the classical-sized orchestra. As well,
thought must be put to the virtuoso considerations of each piano part, so as to put them on
equal footing with each other. The word which
one reads time after time in descriptions of this
concerto is seamless. The piano parts intermingle and weave around each other with such utter
smoothness that it is nearly impossible to tell
which piano is playing exactly which part.
The concertos finale is a vigorous and excitable
Rondo, with the orchestra given the first say.

The music for the pianos is effervescent and
marvelously balanced, while the contrasting
sections in between restatements of the main
theme often take surprising twists and turns,
mostly stemming from the unusual chord which
finishes each statement of the main theme.
The Carnival of the Animals
camIllE SaInt-SanS
(b. Paris, 1835 / d. Algiers, 1921)
amIllE SaInt-SanS nEvEr mEant
for the general public to hear his Carnival of

the Animals. He wrote it for fun, dashed off in a few
days and reserved for private performances; scored
for a small instrumental force of two piano soloists,
a flute, a clarinet, two percussionists and strings.
It was only after Saint-Sans death that the public
first heard the work and it has eclipsed many of
the composers more serious pieces in the popular
pantheon (which may have been what he was afraid
of all along).
Yet, for all its frivolity, the charm of the work is
truly derived from touches of genius. The lion is
given appropriate swagger, clucking hens contrast
with cockerels mocking on the clarinet. The pianos
play the Wild Asses scattering about, while the
Tortoises plod along to a parody of Offenbachs
Can-Can slowed to a crawl. Similarly, The Elephant
lumbers on the double bass to a dragged-out quote
from Berlioz Dance of the Sylphs, while Kangaroos
spring up and down from the pianos.
You can hear the shimmer of the sun, depicted
on the pianos, as it shines through the water of the
Aquarium, while in less than a minute, Personages
with Long Ears stroll past, the violins depicting
their brays. They yield to the charming cuckoo,
chiming its two-note call from deep in the woods.
A full-scale Aviary is next, as birds twitter on the
flute, their wings fluttering on strings and piano.
The next animals are in fact piano students,
endlessly and slavishly practicing their scales with
Carnival of the
aniMalS
middling accuracy. The bones of Fossils clatter

their dance on the xylophone, with parodies of
nursery rhymes and even the composers own Danse
macabre thrown in. The most famous movement of
the work is The Swan, portrayed in a beautiful solo
for cello (Colin Ryan). Many of the animal themes
are recalled in the rousing finale.
Over the years the quirky, clever score has
attracted writers, who have crafted verses to
accompany Saint-Sans music. Likely the most
famous is Ogden Nashs 1949 set of poems, but
more recently Peter Schickele, the creator of
P.D.Q. Bach, wrote a set of verses with a more
contemporary sense of silliness.
Whirlwind (2012 ESO commission)
RobERt Rival
(b. Calgary, 1975)
Program note by the composer:
uRing my fiRSt wintER in Edmonton
I witnessed a remarkable natural phenomenon right outside my front door: a large flock
of Bohemian Waxwings hundreds! swirling
rapidly in the sky above. Henceforth, whenever
I heard the distinct whirring produced by their
collective chirping, I eagerly looked up to admire
the cloud of birds making razor-sharp turns in
near-perfect synchronicity.
This avian aerial dance inspired my works
opening gesture, a whirling effect built on a
progression of chords animated by rapid scales
that, like the birds flight patterns, abruptly
change directions. Two contrasting themes follow:
one lively, exuberant and syncopated, constructed
on fragments and variations of itself, the other
lyrical and expansive.
The three themes are continually recycled,
varied each time transposed, rhythmically
altered, reharmonized, reorchestrated, fragmented,
or some combination creating an impression
of cycling repeatedly through familiar material.
It is like observing changes in the scenery while
riding a merry-go-round: that man with the
straw hat stroking his goatee is now gone; in his

place a toddler throws a tantrum. The works title
alludes to the works spiraling structure, its almost
unrelentingly fast tempo, and to the tremendous
sweep of the waxwings in flight, the first theme.
As I worked out variations on my themes,
there was one in particular that stood out. By
flattening the rhythm of the chipper tune into
even quarter-notes while retaining pitch order,
it suddenly came to resemble strikingly the
closing number of Stravinskys ballet The Firebird.
So I had a choice to make: drop it (damn, its
been taken!) or play it up. I chose the latter by
borrowing some of Stravinskys own orchestration.
I dont think the Russian master, who said that a
good composer does not imitate, he steals, would
have minded one bit.
Flight (World Premiere of an ESO commission
through the Young Composers Project)
taRan Plamondon
(b. Edmonton, 1995)
uSic haS alwayS bEEn a PaRt
of Taran Plamondons life; he started to play

the horn when he was 12 and began composing
without any formal training one year later. He recently graduated from Archbishop MacDonald High
School where he played in concert band, honour
band, and jazz band. He will be attending the University of Alberta next year to study composition.
Of his work Flight, Mr. Plamondon writes:
Until the dawn of the 20th century, general
societal belief was that humans would never achieve
flight they said the skies were essentially an
unattainable world. But then Orville and Wilbur
Wright conducted the very first powered flight
in late 1903. Remarkably, in only a century since
their invention of the biplane, the spirit of human
innovation has led to the development of aircraft
technology over the years into a safe and efficient
mode of transport. Flight depicts just this; not only
the physical act of flying, but also the extraordinary
capacity for human drive and ingenuity to continue
to reach new heights. The bold fanfare introduction
represents this imposing mountain of a challenge,

and a brave leap out into the open air. The flight
takes unexpected hairpin turns through uneven
time signatures and the Lydian mode. The next
section presents the first main theme, stated in
the oboe. This portion represents the physical
and psychological obstacles which are inevitably
present in pursuit of a goal, and how, through
perseverance, they can be overcome. The third
segment, Cantabile, illustrates a feeling of blissful
satisfaction having achieved this personal goal. The
soaring melody portrays a smooth flight with a
breath-taking view. This is the sheer joy knowing
ones extraordinary efforts have finally paid off. Of
course, the pursuit does not end there, since bigger
challenges always lay ahead; the final section is a
recapitulation which presents the next daunting
task, and more possibilities to fly even higher. Such
is the cycle of human ingenuity.
Procol Fantasy (arr. Gilliland)
Gary BrookEr
(b. Hackney, East London, 1945)
Program note by Allan Gilliland:
hiS arranGEmEnt of Procol
Harum songs was commissioned by the

ESO for Late Night performance this past May.
The Edmonton Symphony Orchestra has been
linked with the prog-rock group Procol Harum
since their historic concert and resulting gold
album, released in 1972. This was one of the first
collaborations between a symphony orchestra
and a rock band. In recognition of the historic
concert, I was asked to compose a feature for the
orchestra that explores the themes from two of
their most famous pieces, Conquistador, and
A Whiter Shade of Pale. The first section of the
work explores the Spanish side of Conquistador,
giving the whole orchestra a chance to shine. Then
we slow down for A Whiter Shade of Pale. In
this section I play with the relationship between
this work and the music of Bach before returning
to the first section for the big finish.
Ouverture solennelle, Op.49 1812 Overture

Piotr ilyich tchaikovSky
(b. Kamsko-Votinsk, 1840 / d. St. Petersburg, 1893)
hE PErSon who waS tyPically
the least impressed by Tchaikovskys music

was Tchaikovsky himself. Constantly plagued
by self-doubt, he released his music to the world
almost with reluctance and, in the case of some
works, tinged with regret. While his celebratory
work that has come to be known as the 1812
Overture is one of his most-performed, most-loved
pieces, he disliked it almost from the outset.
The Overture will be very noisy, Tchaikovsky
wrote his patroness, Nadezhda von Meck. I wrote
it without much enthusiasm. It has no great artistic
value. This may seem overly self-critical, but to be
fair many a composer has chafed under commissions
which mandated a strict format. Tchaikovsky was
asked to create a work marking the 60th anniversary
of the Battle of Borodino in September 1812, at
which the army of Napoleon, which had penetrated
far into Russia, was at last beaten back. The
occasion of the 1872 celebration was the outdoor
consecration of the Church of Christ the Saviour in
Moscow, so a large, dynamic work was called for.
The work quotes liberally from Russian hymns
and folksongs. The hymn God Preserve Thy People
forms the trenchant opening, depicting the
peacefulness of the Russian people which is then
attacked by the army of Napoleon. Le Marseillaise,
the French national anthem, is quoted in snatches,
representing the strikes of the French attack.
While undoubtedly a pastiche work that underused Tchaikovskys immense gifts, the overture is
nonetheless a bracing and exciting orchestral tour
de force. As Russian tunes gradually overwhelm the
French, the victory is made clear in the pealing of
bells and the use of the Tsars Theme, the Russian
national anthem at the time. The triumphant
march theme, heard earlier on, returns as the grand
climax, complete with blazing cannons sealing the
victory for the Russian people, and bringing the
work to its utterly thrilling climax.
Program notes 2013 by D.T. Baker, except as noted
TickeT, Box office & fesTival informaTion

FESTIVAL TICKET PRICING
Weekend Pass
Adult
Child
Single Ticket Prices
Adult
Child
Family Matinee (Sunday 2 pm)
All seats
Reserved Seating
$149
$75
Reserved Seating
$40
$20
All Seats General Admission
free
Grass
$99
free
Grass
$25
free
*Ticket prices shown do not show applicable service charges

note that weekend passes will not be available for sale after friday, august 30.
The Box office opens on site near the Heritage amphitheatre entrance two hours prior to the first performance of each day of the
festival. amphitheatre gates open one hour prior to each performance. The amphitheatre is closed between matinee and evening
performances. Tickets are non-exchangeable and non-refundable. The Hawrelak Park amphitheatre Box office is casH onlY. an aTm
will be on site.
AVoId PARKING HASSLES! WEATHER

Park your vehicle for only $5 at the U of As
Stadium Car Park (116 Street & 89 Avenue), and
ride ETS buses for FREE directly to Hawrelak Park!
Free, supervised bike racks will be available on
site, courtesy of the Edmonton Bicycle Commuters
Society.
CoNNECT WITH US
Stay tuned to festival updates by connecting with

us on Facebook and Twitter:
Twitter: @edmsymphony (festival hashtag is
#yegSUTS)
Facebook: facebook.com/EdmontonSymphony
In case of inclement weather, venue changes will be

posted at EdmontonSymphony.com, and noted at
780-428-1414 or 1-800-563-5081.
PRoGRAm CHANGES
The ESO makes every effort to present the artists

and programs as advertised. On rare occasions,
due to unforeseeable circumstances, changes may
be made.
www.edmontonsymphony.com
University of Alberta | Department of Music

"! $60'-. 6%-,%&.00)%*&0/

#1#)+#$+&#02223&(+)1&%#
5
Sept. 20 at 8 pm | Convocation Hall
Faculty perform french melodies by Ravel, Faur,
Debussy and others

Sept. 28 at 8 pm | Convocation Hall
5SJP7PDFQFSGPSNT.P[BSU5SJPJO#BU
major, K. 502, Ravel Trio, and Dvorak Trio
No. 4 in e minor

"
!

Oct. 6 at 3 pm | Convocation Hall
Faculty perform new classics

"

6

Nov. 17 at 8 pm | Winspear Centre
The Madrigal Singers with the University
Symphony Orchestra and Concert Choir

Jan. 19 at 3 pm | Convocation Hall
Marnie Giesbrecht (organ) and Joseph F.
Patrouch (narrator)
Schlick, Hofhaimer, Boehm , Corelli and
Vivaldi
4

Oct. 18 at 8 pm | Convocation Hall
Jan. 24 at 8 pm | Convocation Hall
Guillaume Tardif (violin) and Roger Admiral

(piano) perform vocal pieces adapted for
strings & piano
Jacques Desprs (piano) and

Andrew Wan (violin)
"
"

Mar. 23 at 8 pm | Winspear Centre
" University Symphony Orchestra

Tchaikovskys Symphony No. 5, Mozarts
Feb. 9 at 3 pm | Winspear Centre
The Magic Flute Overture
Albertas most talented high school band

students and the University of Albertas
Symphonic Wind Ensemble

Feb. 12 at 8 pm | Convocation Hall
Faculty perform 20th century works by
Delerue, Ewazen, and Ewald

Mar. 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
Beethoven No. 3, 5 and 7

Apr. 4 at 8 pm | Winspear Centre

The Indian and West African Music
Ensembles perform traditional world music
with a special guest artist
Our stars shine

the brightest!
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ATB Investor Services is delighted to sponsor the Symphony Under
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Unit values of mutual funds will fluctuate and past performance may not be repeated. (08/13)

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GREAT MUSIC IN THE GREAT OUTDOORS

AUGUST 30 SEPTEMBER 2, 2013

Adults $25 - Seniors: $22 - Students: $15

the eDmonton symPhony orChestra

mozart, tChaikovsky & Dvork

Proms in the Park

Friday, august 30, 7 pm

saturday, august 31, 2 pm

From BroaDway to hollywooD

menagerie oF mUsiC Family matinee*

saturday, august 31, 7 pm

ellis hall CeleBrates ray Charles,

Carnival oF the animals

tiCket, Box oFFiCe & Festival inFormation

*This FREE, hour-long performance does not include the ESO.

ellis hall PerFormanCe sPonsor

green energy ProviDer

SYMPHONY UNDER THE SKY 

robert bernhardt, conductor

am so happy to be back For my eighth season as conDuctor

how do you get

Photo: Raffaella Loro

obErt bErnhardt served as Music

 SYMPHONY UNDER THE SKY

most of the standard canon and his commitment

  

  

the John & Barbara Poole

the stuart & Winona Davis

 SYMPHONY UNDER THE SKY

the steven &

In addition to our own concerts, the ESO

october 16, 2013

november 27, 2013

Zara Lawler, flute

Nola Shantz, soprano

Benjamin Butterfield, tenor

Rachel Mercer, cello

Edmonton Recital Society

New Orford String Quartet

For more information, please visit us at

Allene Hackleman, French horn

Were RV people too. We know

Where the rubber

the open road

the value of straight talk. So, if youre

Just off the QE2 Highway in Nisku

MOzaRT, TcHaiKOvSKY & DvORK

Robert Bernhardt, conductor

Serenade No. 13 in G Major, K.525

Romeo and Juliet Fantasy Overture

INTERMISSION (20 minutes)

Cello Concerto in B minor, Op.104

Program subject to change

Mr. Bernhardts bio can be found on page 6.

EniSE Djokic burst onto the international

music scene following her performance at

Ms. Djokics award-winning discography

10 SYMPHONY UNDER THE SKY

hilE thE tragic Story of thE

Veronese lovers Romeo and Juliet seems a

First performance: March 19, 1896 in London

Romeo and Juliet Fantasy-Overture

SYMPHONY UNDER THE SKY

SYMPHONY UNDER THE SKY

SYMPHONY UNDER THE SKY