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TPE
Carnival
HyperEnsemble
PLAYFUL • BRILLIANT • UNIQUE • ICONIC
presented with
Presented with
Season Sponsors
Concert Sponsors
May 2 & 4, 2014 @ 8pm
Simon Fraser University
Goldcorp Centre for the Arts
Fri Mar 13 & Sat Mar 14
TurningPointEnsemble.ca
sfuwoodwards.ca
Welcome
Turning Point Ensemble Members
Performing for this Concert
Flute, Alto Flute, Piccolo: Brenda Fedoruk
Oboe, English Horn:David Owen
Clarinet, Eb Clarinet: François Houle
Bassoon: Ingrid Chiang
French Horn: Steve Denroche
Trumpet: Tom Shorthouse
Trombone: Jeremy Berkman
Piano: Jane Hayes
Chris Morano
Percussion: Jonathan Bernard
Violins: Viola: Cello: Bass: Harp:
Domagoj Ivanovic
Ken Lin
Marcus Takizawa
Ariel Barnes
Rebecca Wenham
Meaghan Williams
Janelle Nadeau
Conductor:
Narrator:
Owen Underhill
George Zukerman
Welcome to Carnival, our second show in the 2014/2015 season and we are
thrilled to welcome the incomparable George Zukerman as our narrator who will be
reading verses by Ogden Nash tonight. With the help of George, the Ensemble is doing
a mini tour of the Lower Mainland with performances for White Rock Concerts, Valley
Concert Society in Abbotsford and Artspring on Salt Spring Island later this month.
Upcoming events for Turning Point Ensemble include our Masque concert at the Chan
Centre April 17 & 19, our second annual fundraiser, Tasting Notes in May and our third
annual Scotiabank Charity Challenge on June 28. We hope you will join us at one or
all of these events!
- Adrianne Wurz, President
The 2014/2015 Season is supported by the following:
Government Funders:
Season Supporters:
Concert Sponsors:
Production Partners
Chan Centre for the Performing Arts
SFU Woodward’s
Creating Composers Funders & What’s
the Score Education Program Funders
BC Arts Council
TELUS Vancouver Community Board
SOCAN Foundation
Vancouver Pro Musica
Project Funders
The Vancouver Foundation
Ambache Foundation
The Hamber Foundation
Deux Mille Foundation
The Leon and Thea Koerner Foundation
Canadian Music Centre
BC Arts Council
Quails Gate Winery
University of Alberta
A UBC Ensemble-in-Residence
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Ogden Nash:
Verses for Camille Saint-Saëns’ Carnival of the Animals
with a few revisions for the 21st Century
Friday, March 13th, 2015/Saturday, March 14 2015
Introduction
Tortoises
Fei and Milton Wong Experimental Theatre
Goldcorp Centre for the Arts, Simon Fraser University
Camille Saint-Saëns
Was wracked with pains,
When people addressed him,
As Saint Sanes.
Come crown my brow with leaves of myrtle,
Vez (2005) Ana Sokolović
Solo cello - Ariel Barnes
7’
He held the human race to blame,
Because it could not pronounce his name.
Prélude à l’après midi d’un faune (1891-95) Claude Debussy (1862 - 1918)
Arranged by Benno Sachs 1920
Solo flute – Brenda Fedoruk
10’
Kammermusik No. 3 with solo cello (1925) Paul Hindemith (1895-1963)
I
Majestätisch und stark. Mäßig schnelle Achtel
II Lebhaft und lustig
III Sehr ruhige und gemessen schreitende Viertel
IV Mäßig bewegte Halbe. Munter, aber immer gemächlich.
Solo cello – Ariel Barnes
17’
Jocelyn Morlock (b. 1969)
Carnival of the Animals (1886) Camille Saint-Saëns (1835-1921)
I Introduction and Royal March of the Lion
II Hens and Roosters
III Wild Asses: Swift Animals
IV Tortoises
V The Elephant
VI Kangaroos
VII Aquarium
VIII Personages with Long Ears
IX The Cuckoo in the Depths of the Woods
X Aviary
XI Pianists
XII Fossils
XIII The Swan
XIV Finale
Piano duo - Jane Hayes and Chris Morano
Narrator: George Zukerman
* World premiere, commissioned by Turning Point Ensemble
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Royal March of the Lion
The lion is the king of beasts,
And husband of the lioness.
Gazelles and things on which he feasts
Address him as your highoness.
Some admire that roar of his,
In the African jungles and velds,
Intermission
Luft Suite* (2015) So, he turned with metronome and fife,
To glorify other kinds of life.
Be quiet please - for here begins
His salute to feathers, fur, and fins.
10’
30’
I know the tortoise is a turtle,
Come carve my name in stone immortal,
I know the turtoise is a tortle.
One day, I bet on one to beat a hare.
Imagine my profound despair.
It showed its languid turtley, torper.
It lost, I lost. I’m now a pauper.
The Elephant
Elephants are useful friends,
Equipped with handles at both ends.
They have a wrinkled moth-proof hide.
Their teeth are upside down, outside.
You think the elephant is preposterous?
You’ve probably never seen a rhinosterous.
Kangaroos
But,I think that wherever the lion is,
I’d rather be somewhere else.
The kangaroo can leap incredible,
He has to jump because he’s edible.
Hens and Roosters
His kids hide in Marsupial sacs
Thus saved from predators seeking snacks
The rooster is a roistering hoodlum,
His battle cry is “cock-a-doodlum”.
Hands in pockets, cap over eye,
He whistles at pullets, passing by.
But since Misogamy dictates his ways.
He doesn’t really want their gaze
Mind you, I could not eat a kangaroo,
But many fine Australians do.
[To them, I say:]
Beware that recipe you found
Your boomerang may not rebound!
Wild Asses
If you’ve ever heard a jackass laugh
As he lumbers through tall grasses
You’ve probably guessed he’s on a path
On the look out for young lasses.
So do not sneer at the jackass wild,
There is a method in his heehaw.
With maidenly blush and accent mild
The jenny-ass answers: shee-haw.
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Aquarium
Pianists
The Swan
Finale
Some fish are minnows,some are whales.
All have fins, and most have scales,
Some claim that pianists are quite human,
And quote the case of Robert Schumann.
The swan can swim while sitting down,
For pure conceit he takes the crown,
Now we’ve reached the grand finale,
Animale carnivale.
Some fish are slim,and some are round,
They don’t get cold, They’re never drowned.
Saint Saëns, whether right or not Considered
them a scurvy lot
He looks in the mirror over and over,
And claims he never met Pavlova.
Noises new to sea and land,
Issue from the skillful band.
Some fish have armour, some have frills
Some have jaws and all have gills
Pisces is their solar sign
They still go best with good white wine
They practice scales in each direction
As if their pieces need dissection
Fossils
All the strings contort their features
Imitating crawly creatures.
Now, steel yourself for cruel shock:
That well known creature on the rock
Whose siren call of ancient lore
Drew mariners to fatal shore
No longer mermaid, what a row!
Instead we call her merfish now!
People With Long Ears
In the world of mules
There are no rules.
Even when they’re mildly tame
It’s like a FIFA winning game
One bangs an upright, one a grand
Each dreams he is a one-man band.
Or
We wonder where they found those grands?
They bang them like two one man bands!
A blight they are, Camille was quoted:
And everywhere they go, he noted
Their manner is indeed quite simian,
Not like normal men and womian.
At midnight in the museum hall,
The fossils gathered for a ball.
There were no drums or saxophones,
But just the clatter of their bones,
A rolling, rattling carefree circus,
Of mammoth polkas and mazurkas.
Pterodactyls and brontosauruses
Sang ghostly prehistoric choruses.
Away from creatures so colossal
I caught the eye of one small fossil,
Woodwinds huff and puff away
On reeds that vibrate every way
Drums and mallets sound their greeting
Despite their daily masochistic beating
All the brasses look like mumps
From blowing umpah, umpah, umps.
In outdoing Barnum Bailey,and even Ringling,
Saint-Saëns has done a miraculous thingling.
“Cheer up sad world,” he said and winked,
“It’s kind of fun to be extinct.”
You bite whoever passes by
And never really question why.
Besides, if you can kick the furthest
You’ll doubtless get what you deservest.
The Cuckoo in the Middle of the Wood
Cuckoos lead bohemian lives,
They fail as husbands and as wives,
Therefore, they cynically disparage
Everybody else’s marriage.
Aviary
Puccini was Latin, Wagner Teutonic,
And birds are incurably philharmonic,
Suburban yards and rural vistas
Are filled with avian Andrew Sisters.
The skylark sings an arietta
The crow croaks rusty operetta
Join musica intima for a
Renaissance celebration of works by
Adriano Banchieri, Orazio Vecchi,
Giovani Gabrieli and Claudio Monteverdi
Friday April 24 @ 7:30pm
Saturday April 25 @ 2:30pm
Tickets online or by phone
musicaintima.org | 604.731.6618
The nightingale sing lullabies,
And sea gulls manage gullabies
That’s what shepherds in Arcadia Heard
before they invented the radia.
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CARNIVAL
Program Notes
Vez – Ana Sokolović
Vez in Serbian means embroidery, needlework. The piece is inspired by traditional Balkan
music. Repeated notes, irregular rhythms and tiny “embroidery” between accented
structural pitches are in the main features of this piece.
Vez is a commission from the CBC for Yegor Dyachkov to whom it is dedicated.
Ana Sokolović
Please note that Ariel Barnes’ performance of Vez along with other works by
Ana Sokolović and Julia Wolfe will shortly be released on our joint CD with
musica intima – Thirst (Redshift Music).
Prélude à l’après midi d’un faune - Claude Debussy
The sensuous Prélude à l’après-midi d’un faune is based on a poem by Stéphane Mallarmé,
a close colleague of the composer. The 1920 arrangement by Benno Sachs sounds
surprisingly luxurious. It was made for Schoenberg’s Private Society for Musical
Performance, where modern works for orchestra were often played in chamber
arrangements.
Carnival of the Animals/ Le carnaval des animaux - Camille Saint-Saëns
Now one of Saint-Saëns most popular and beloved works, the musical suite in fourteen
movements was composed on holiday in Austria in 1886 in a few days as a private
divertissement for some of his friends including the pianist and composer Franz Liszt.
The composer was supposed to be working on pressing larger projects such as the
’Organ’ Symphony, but instead enjoyed working on the Carnival. As he said, “... mais
c’est si amusant!”. Except for the publishing of the famous cello movement The Swan,
Saint-Saëns forbade public performance of the work during his life time as he felt it too
frivolous. He did agree to the work being published posthumously, and the first public
performance was given in 1922, only one year after his death. The thèmes follow
zoological subjects as suggested by the titles, and in addition there are clever references
in various movements to works by Rameau, Offenbach, Berlioz, Mendelssohn, Rossini,
Saint- Saëns himself, and popular tunes.
Tonight’s performance presents the original version for eleven instruments. In 1949, the
poet Ogden Nash wrote a series of verses to accompany the music. Our performance
includes the Ogden Nash narration with a few revisions for the 21st century provided by
our narrator George Zukerman.
Kammermusik No. 3 - Paul Hindemith
Paul Hindemith wrote seven pieces entitled Kammermusik (meaning chamber music)
for different combinations of instruments in the 1920’s, all but the first featuring solo
instruments in a multi-movement concerto format. These pieces reveal a brilliant and
inventive young Hindemith with an original and fresh approach to neoclassicism. The
Kammermusik No. 3 was composed for Hindemith’s brother, the cellist Rudolf Hindemith,
and an accompanying ensemble of ten ‘solo’ instruments. The four movements follow
a slow-fast-slow-fast model – the first a rhapsodic and majestic introduction beginning
with solo cello, the second a rollicking scherzo, the third an expanded hyperexpressive
movement that begins seriously and progressively builds in intensity and intricacy, and
the fourth a short and exuberant finale.
Luft Suite – Jocelyn Morlock
The music for Luft was originally written as a 35-minute ballet, choreographed by Simone
Orlando and danced by Josh Beamish and his MOVE: The Company. Luft was inspired by
the enduring theme of quest within Firebird folklore. This short suite from Luft adapts music
from three of the original six sections. The music of the prologue starts with a gently surreal,
delicate ticking like a tripwired music-box waiting, perhaps, to explode. In the second section
dizzy chromatic motion evokes energy, flight, and attempts at escape which ultimately end
in failure. The final section builds from nervousness into a panicked, wild battle...at its
conclusion, the music becomes more relaxed and buoyant.
Jocelyn Morlock
“We must let go of the life we have planned, so as to accept the one that is waiting for us.”
– Joseph Campbell, quoted by choreographer Simone Orlando as the note for Luft’s
premiere.
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Biographies
Ariel Barnes, Cello
Described as creating a “mesmerizing musical experience” by combining his “deep
personal connection” (Toronto Live Music Report), “luscious tone and technical prowess”
(The Vancouver Sun), cellist Ariel Barnes is internationally recognized for his unique tone
and passionate performances. Equally comfortable in musical languages from the Baroque
to music of our modern times, his performances range from evenings of unaccompanied
Bach to world premiers of contemporary art music. He has been hailed as a “rising star”
by the Georgia Straight, “a musician of real stature” by the Vancouver Sun and his solo
and chamber music recordings have been nominated for a Juno Award and two Western
Canadian Music Awards. One half of the contemporary music duo Couloir, Ariel is actively
involved in the development of 21st Century Art Music. Couloir recently released their
debut CD “Wine Dark Sea” on Ravello Records, showcasing world premier recordings of
original compositions, written especially for this beautiful and rare combination of cello
and harp (www.couloir.ca). As a winner of the 2012 Canada Council Instrument Bank
Competition, he has been awarded the use of the 1730 Newland Johannes Franciscus
Celoniatus cello, built in Turin, Italy, for the next 3 years. In January 2013, Ariel was
appointed Principal Cello of the Vancouver Symphony Orchestra.
Claude Debussy, Composer
Claude Debussy was one of the most inventive and original composers of the late
nineteenth and early twentieth centuries. His harmonic innovations made a decisive break
with Wagnerism and influenced a generation of composers. His intuitive approach to form
and uncontrived and concise way of presenting musical ideas continues to be an inspiration
to present-day composers working in many different stylistic idioms.
Claude Debussy was born in St-Germain-en-Laye, France. His family was of modest
peasant background; his father Manuel-Achille Debussy ran a china shop. In 1884 the
young Debussy won the Prix de Rome, a competition for composers. This led to two
years in Rome where he met Liszt,Verdi, and Boito. Upon his return to Paris, he frequented
the literary and artistic cafés where the symbolists gathered. He often attended the salon
of poet Stéphane Mallarmé.The links which Debussy maintained with the visual arts were
just as significant. Louis Laloy, his first French biographer, revealed in 1909 that ‘He received
his most profitable lessons from poets and painters, not from musicians’, while he himself
told Varèse in 1911 ‘I love pictures almost as much as music’. Debussy was also strongly
affected by the Japanese gamelan, which he saw performed at the Paris World Exposition
of 1889.
In 1893 Debussy began work on an opera based on Maeterlinck’s play Pelléas et Mélisande,
a task that was to occupy him for nearly 10 years. In addition to this opera, Debussy left
behind an extraordinary legacy of piano music, small chamber works, and a number of
masterpieces for large orchestra including La Mer and Trois Nocturnes. Debussy was well
loved by his contemporaries including composers such as Satie, although his life and
interactions with others was often volatile. He developed cancer in 1910, and until
his death in 1918, his health was precarious.
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Brenda Fedoruk, Flute
Brenda Fedoruk is currently Principal Flute of the Vancouver Opera Orchestra, a position
she has held for more than 20 years, and a core member of Vancouver’s esteemed Turning
Point Ensemble. As a long time member (Flute and Piccolo) of the CBC Radio Orchestra,
she was also the Musicians’ Contractor until the orchestra’s disbanding in 2008. A busy
free-lance player, she has performed often with the Vancouver Symphony Orchestra, has
been Guest Principal Flutist with the Victoria Symphony Orchestra, and has played with the
touring orchestras of the Royal Winnipeg Ballet and the National Ballet. Ms. Fedoruk has
performed in many major musical productions including the Vancouver productions of
Les Miserables, Showboat, Sunset Boulevard, Ragtime, Phantom of the Opera and Mary Poppins.
In addition to her performing career, Ms. Fedoruk is a dedicated and busy teacher. She is
currently a member of the faculty of the School of Music at the University of BC where
she teaches flute and chamber music. In addition to her teaching duties at UBC,
Ms. Fedoruk is a faculty member of Vancouver Community College, Capilano
University, Douglas College, and the Vancouver Academy of Music.
Paul Hindemith, Composer
Paul Hindemith (1895-1963) was one of the principal German composers of the first
half of the 20th century and a leading musical theorist. He sought to revitalize tonality—
the traditional harmonic system that was being challenged by many other composers—
and also pioneered in the writing of Gebrauchsmusik, or “utility music,” compositions for
everyday occasions. He regarded the composer as a craftsman (turning out music to
meet social needs) rather than as an artist (composing to satisfy his own soul). As a
teacher of composition he probably exerted an influence on most of the composers
of the generation that followed him.
Paul Hindemith had become one of the leading figures of German music during the
twenties and early thirties. From 1927 he had taught composition at the Berliner
Hochschule für Musik in Berlin. In 1933 half his repertoire was banned by the Nazis
as exhibiting “cultural Bolshevism.” In 1937, Hindemith resigned from the Berlin Hochschule
and travelled to the USA for the first time. In 1938, he immigrated to Switzerland. At the
Düsseldorf Third Reich Music Days in the same year, he was identified as a “standard-bearer
of musical decay.” By 1940, he had come to the United States where he was active for the
next decade, including teaching at Yale University. In 1953, he moved to Zurich, and spent
his final years composing and conducting throughout Europe and around the world.
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Jocelyn Morlock, Composer
Juno-nominated composer Jocelyn Morlock is one of Canada’s most distinctive voices. She
is currently the Vancouver Symphony Orchestra’s Composer in Residence and recently
completed a term as inaugural Composer in Residence for Vancouver’s innovative concert
series, Music on Main concert series. Morlock’s music has received numerous accolades,
including: Top 10 at the 2002 International Rostrum of Composers; Winner of the 2003
CMC Prairie Region Emerging Composers competition; winner of the Mayor’s Arts Awards
in Vancouver (2008); two nominations for Best Classical Composition at the Western
Canadian Music Awards (2006, 2010) and a Juno Nomination for Classical Composition
of the Year (2011, Exaudi.) Her first full-length CD release, Cobalt, wa nominated for two
Western Canadian Music Awards, for Classical Composition (Oiseaux bleus et sauvages)
and Classical Recording of the Year.
Jocelyn Morlock completed a Bachelor of Music in piano performance at Brandon
University, studying with pianist Robert Richardson. She received both a Master’s degree
and a Doctorate of Musical Arts from the University of British Columbia. Among her
teachers were Gerhard Ginader, Pat Carrabré, Stephen Chatman, Keith Hamel, and the
late Russian-Canadian composer Nikolai Korndorf.
Camille Saint-Saëns, Composer
Camille Saint-Saëns, (1835-1921) is a composer chiefly remembered for his symphonic
poems—the first of that genre to be written by a Frenchman—and for his opera Samson
et Dalila. Saint-Saëns was notable for his pioneering efforts on behalf of French music, and
he was a gifted pianist and organist as well as a writer of criticism, poetry, essays, and plays.
Of his concerti and symphonies, in which he adapted the virtuosity of Franz Liszt’s style
to French traditions of harmony and form, his Symphony No. 3 (Organ) is most often
performed.
A child prodigy on the piano, Saint-Saëns gave his first recital in 1846. He studied organ
and composition at the Paris Conservatory, and in 1855 his Symphony No. 1 was performed.
He became organist at the famed Church of the Madeleine in Paris in 1857, an association
that lasted for 20 years. Liszt, whom he met about this time and with whom he formed an
enduring friendship, described him as the finest organist in the world. From 1861 to 1865
he was professor of piano at the Niedermeyer School, where his pupils included Gabriel
Fauré and André Messager.
Though he lived through the period of Wagner’s influence, Saint-Saëns remained unaffected
by it and adhered to the classical models, upholding a conservative ideal of French music
that emphasized polished craftsmanship and a sense of form. In his essays and memoirs,
he described the contemporary musical scene in a shrewd and often ironic manner.
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Ana Sokolović, Composer
Serbian-born, Montreal based composer Ana Sokolović, studied composition at university
under Dusan Radić in Novi Sad and Zoran Erić in Belgrade, then completed a master’s
degree under the supervision of José Evangelista at the Université de Montréal in
the mid-1990s. Her work is suffused with her fascination for different forms of artistic
expression. Both rich and playful, her compositions draw the listener into a vividly
imagined world, often inspired by Balkan folk music and its asymmetrical festive
rhythms. She is recognized as a national treasure by Quebec’s Ministère de la Culture, des
Communications et de la Condition féminine. She is a three-time recipient of the SOCAN
Foundation Award for Young Composers; grand prize winner of CBC Young Composers;
recipient of the Joseph S. Stauffer Prize (Canada Council for the Arts), and the Conseil
québécois de la musique Prix Opus for composer of the year. In 2008, she won the Jan
V. Matejcek Award presented by SOCAN; in 2012, she was a repeat winner of the same
award. In 2009, she won the prestigious National Arts Centre Award, which included
commissions, residencies and teaching positions over a five-year period. In the summer
of 2012, her opera Svadba-Wedding, received six nominations for the Dora Mavor Moore
Awards and won for Outstanding New Musical/Opera. Ana Sokolovi teaches composition
at the Université de Montréal.
Owen Underhill, Artistic Director and Conductor
Owen Underhill is a composer, conductor and faculty member in the School for the
Contemporary Arts at Simon Fraser University. Owen was one of the co-founders of
the Turning Point Ensemble. From 1987 - 2000, he was the Artistic Director of Vancouver
New Music. In addition to serving as the conductor of the TPE, Owen has conducted with
groups such as the CBC Radio Orchestra, Vancouver Symphony, and the National Arts
Centre Orchestra. Underhill has a special commitment to Canadian music and innovative
interdisciplinary collaboration, and was honoured as one of 50 special ambassadors for
Canadian music as part of the Canadian Music Centre’s 50th birthday celebrations. As
a composer, Underhill writes for diverse combinations including orchestra, voice and
choir and music for dance. This year he is composing commissions for the Novo Ensemble,
Vancouver New Music, and the clarinet and piano duo of Jane Hayes and Francois Houle.
His Canzone di Petra (2004), a piece for flute and harp commissioned by Heidi Krutzen
and Lorna McGhee, was the winner of the Western Canadian Music Outstanding
Composition Award. In the fall of 2013, Owen was elected as a new fellow to the
Academy of Arts of the Royal Society of Canada (RSC).
George Zukerman, Narrator
Solo bassoonist, George Zukerman retired from the international concert stage in 2012,
but during his lengthy career, he was celebrated as one of the few artists to achieve
recognition on his instrument outside the ranks of the Symphony Orchestra.
Proclaimed by his colleagues as the “High Priest” of the bassoon, he was the first soloist
on his instrument ever invited to tour in the former Soviet Union, Australia, New Zealand,
South Africa, and China. He has recorded the major bassoon concerto repertoire for the
Vox-Turnabout label. As an active impresario he specialized in bringing concerts to smaller
communities throughout the West, and was awarded the Order of Canada and the Order
of British Columbia for his lifetime contributions to music and touring throughout the
nation. Mr. Zukerman is Artistic Director of the highly successful White Rock Concerts
series.
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About Turning Point Ensemble
Turning Point Ensemble was founded in 2002 by its musician members. Dedicated to
bringing to the stage extraordinary music for large chamber ensemble written from the
early twentieth century through to the present day, the ensemble draws audiences to this
music through outstanding performances and intelligent programming. Our audiences
have had the opportunity to enjoy premiere or once in a generation performances
including the live professional premiere of Barbara Pentland/Dorothy Livesay’s 1954
opera, The Lake both in Vancouver and an outdoor production in West Kelowna at
Quails’ Gate Winery in an extended program which included members of the Westbank
First Nation. Winners of the 2011 Rio Tinto Alcan Performing Arts Award (Music) and
recently named one of Vancouver’s best classical music ensembles by Georgia Straight
and West Ender readers. The Ensemble’s four CDs, recorded with musica intima,
will be released later this spring on the Redshift label. Plans for Fall 2015 include a
Canadian tour and the World Premiere of air india: [redacted] as part of Simon
Fraser University’s 50th Anniversary and in recognition of the 30th Anniversary of the
Air India Flight 182 bombing off the coast of Ireland.
Turning Point Ensemble Board of Directors
Adrianne Wurz, President
Connie Ekelund, Vice President
Alfredo Santa Ana, Treasurer
Ann Byczko, Secretary
Sharman King
Heather Wood
William Worrall
Production Staff
Artistic Director: General Manager: Director of Education
& Community Outreach: Artistic Coordinator: Personnel Manager: Production Manager:
Production Assistant: Box Office: Publicity: Accounting: Website Design & Maintenance: Graphic Design:
Owen Underhill
Karen Pledger
Jeremy Berkman
Cathleen Gingrich
Brenda Fedoruk
Josef Chung
David McLaughlin
Victoria Thieu
Bridge Communications
Pace Accounting
Sparkjoy Studios
gazely DESIGN
& James Glen Design
Thank you to our volunteers:
Norma Boutillier, Brigitte Relova, Alexander Daughty, Rita Lal,
Karen Shimokura, Heather Molloy
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Update from Jeremy Berkman:
Director of Education and Community Engagement
Turning Point Ensemble’s season is not only full of performances from the stage, but behind
the stage the ensemble’s education programming is in full throttle! For many years, TPE has
engaged professional composers to join ensemble members in facilitating a program titled
“Creating Composers: Nurturing Life-Long Creating Expression Through Composition”.
Now that’s a mouthful, and yes, a title of a number of successful grant applications...but
what it really means is that TPE shines a needed light on the truth that composing music
is something that an expressive person can find meaning by exploring in grade one, in
grade twelve, in graduate school, as a professional, and even in a newly creative post
retirement life! TPE has been working in schools for nearly a decade and also has served
as ensemble-in-residence for Vancouver Pro Musica’s Sonic Boom Festival for several
years. We are currently working with young composers at St. James Music Academy in
Vancouver’s Downtown East Side, West Point Grey Academy on Vancouver’s West Side,
Seycove Secondary in North Vancouver, and with our wonderful professional composer
partners Dorothy Chang, Mark Haney, and Remy Siu. Remy is also TPE’s Emerging Composer
in Residence, and has been active with both composer and administrator hats on, helping
Turning Point manage our expanded educational programs!
This season “Creating Composers” expanded geographically, but with a slightly more
focused educational goal. With a program entitled “What’s The Score?” - ensemble
members and our professional composer partners have been travelling North to work
with young composers in the Prince George and Terrace communities, and locally at the
Langley Community Music School. By expanding our ensemble through the addition of
wonderful local musicians in the communities where we are working - we decided to focus
our sessions on orchestration; examining with the larger ensemble how our particular
instrumental sounds work together, appreciating the specific attributes of instrumental
families both as they are similar and as they differ. We have been so impressed with
what our young composers have written, and grateful for the guidance and expertise of
our internationally renowned professional composer partners Rodney Sharman, Jeffrey
Ryan, and TPE’s Owen Underhill, as well as local host organization partners The Prince
George Symphony Orchestra and the Pacific Northwest Music Festival in Terrace. In
November, TPE members performed works of fantastic young resident Prince George
composers on the Vanier Hall stage to a large audience as a prelude to the Prince George
Symphony’s performance of Handel’s Messiah! In April our Terrace young composers’
work will be featured on a concert within the Pacific Northwest Music Festival!
We will also be announcing later this month the selection of several young composers
from the over 30 composers who applied to our Young Emerging Composers Competition
and with whom TPE will develop new work over the next couple years. They will have the
opportunity to work with Turning Point Ensemble members individually and collectively as
mentors and partners. We are very pleased to be able to offer these opportunities - and
thank the British Columbia Arts Council, Telus Community Board, the SOCAN Foundation,
and the Government of British Columbia through their Access to Gaming for their
extraordinary financial support for these efforts.
www.turningpointensemble .ca
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Scotiabank Charity Challenge – Join our Team!
Last year we raised a record $5,500 for our programs walking and running 5km around
the beautiful seawall in Stanley Park. Join Team Turning Point on Sunday June 28 2015 to
raise money for our music education program for kids and our exciting concert season.
If you can’t join us for the run, please support our team with a charitable donation!
Our goal this year to have 20 team members and raise $8,000!
Call Karen at 604 313 0346 or email karen@turningpointensemble for more
information on how to join our team or make your donation!
Membership in the Turning Point Ensemble Society is open to the public with a donation of $50 or
more, with all donations eligible for a tax receipt. Charitable Registration No. 85659 2936 RR0001
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www.tur ningpointensemble .ca
www.turningpointensemble .ca
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Turning Point Ensemble has a growing number of individual donors
who are vital to our continued activity.
WE THANK YOU!
Bess Albrecht
Ian Alexander
Allan, Bonnie
Anonymous
Atkinson, Wendy
Avrech, Norman
Baird, Matthew
Baker, John
Ballantyne, Sarah
Bassett, David
Bejo, Branimir
Bell, Alan & Elizabeth
Benjamin, William
Bennett, Joel
Berkman, Jeremy
Berkman, Leonard & Joyce
Berkman, Sondra
Boucher, Michael
Bourke, Karie
Boutillier, Norma
Bozzo, Elisa
Bruneau, William
Buchan, Leah
Buckoll, Doug
Burr, Lawrence & Maggie
Bushnell, Michael
Byaruhanga, Andrea
Byczko, Ann
Carpenter, Patrick
Chang, Dorothy
Chapman, Andrea
Cherry, Gordon
Chiasson, Ted & Dorothy
Chow, Alexandra
Clark, Marylin P.
Cohen, Reesa
Cox, Greg
Crowe, Tom
Dalzell, Marilyn
Dawes, Andrew & Karen
Destrube, Marc
Doig, Rhonda
Doughty, Jeff & Ethel
Dundas, Joanna
Eigenfeldt, Arne
Emmerson, Sally
Eutsler, Leo
Fedoruk, Brenda
Fisher, Alexander
Fontaine, Duane
Forster, Teo & Stacy
Gelmon, Karen
Gibbs, Kara
Glen, Christopher M.
Glougie, Jennifer
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www.tur ningpointensemble .ca
Golka, Tereasa
Gorrie, Linda
Grey, Alexandra
Hamel, Keith & Liz
Hampton, Ian
Hannam, Wendy
Henderson, Hannah
Henley, Martha Lou
Heyes, Jane
Hinton, Joyce
Hnatiuk, Gail
Hopson, Jim
Hutchinson, Gail
Jang, Howard
Jeffries, Bill
Jepsen, Brady
Johnston, Will
Jonas, Patty
Kennedy, Diane
Kerr, Kim
King, Sharman
Kinney, Linda
Kremer, Paula
Krutzen, Hans & Coco
Kugler, DD
Lancaster, Emma
Laverock, George
Lea, Janet
Leggatt, Jacqueline
Lim, Rob
Lower, Stephen & Marlene
Lowry, Rachel
Lum, Estella
Magnusson, Susan
Matthews, Karen
McCutcheon, George
McGuire, Michael
McKenzie, Alana
McQuarrie, Andrea
Miles, Colin
Miles, Tony
Miller, Trish
Milojevic, Jelena
Moddle, Craig
Molnar, Emily
Morlock, Jocelyn
Munn, Sheila
Murray, Laura
Nelson, Ardis
Ng, Karen
Nordal, Laurie
Ocasio, David
O’Sullivan, Liam
Owen, David
Pay, David
www.turningpointensemble .ca
Penberthy, Jenny
Phillips, Cheryl & Peter
Pledger, Karen
Pledger, Ray
Pleger, Scott
Pratt, Elspeth
Prem, Nicole
Pritchard, Bob
Rathbun, Elizabeth
Rent It Furnished Realty
Rhead, Ronald & Laura
Ritchie, Neil
Ruth, Kathleen
Ryan, Jeffrey
Sal, Vera
Santa Ana, Alfredo
Sator, Andrea
Schellenberg, Wanda
Schick, Donald And Elizabeth
Shannte, Celeste
Shaw, David
Simons, Paris
Skolaude, Katherine
Smith, Doug
Sokolovic, Ana
Somers, Diane
Strang, Al
Strang, Elspeth
Suderman, Edward & Ingrid
Sun, Bonnie
Sutherland, Glenn & Jean
Thompson, Richard
Tones, Daniel
Townsend, Laurie
Tressel, Chad
Truax, Barry
Tsang, Melissa
Tyson, Harry
Underhill, Karen
Underhill, Owen
Van Brunt, Jodi
Vickers, Barrie & Margaret
Walker, Betty
Whitney, Linda
Wilson, Eric
Wilson, Karen
Wood, Andrew
Wood, Enid
Wood, Heather
Worrall, William
Wurz, Adrianne
Wurz, Joe & Kathleen
Yesaki, Arthur
Yoon, Jin-Me
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