Vincent Ho is a multi-award winning composer of orchestral, chamber, vocal, and theatre music. His works have been described as “brilliant and compelling” by The New York Times and hailed for their profound expressiveness and textural beauty, leaving audiences talking about them with great enthusiasm. His many awards and recognitions have included four Juno Award nominations, Harvard University’s Fromm Music Commission, The Canada Council for the Arts’ “Robert Fleming Prize”, ASCAP’s “Morton Gould Young Composer Award”, four SOCAN Young Composers Awards, and CBC Radio’s Audience Choice Award (2009 Young Composers’ Competition).
During the period of 2007-2014, Dr. Ho has served as the Winnipeg Symphony Orchestra’s composer-in-residence and had presented a number of large-scale works that have generated much excitement and critical praise. His Arctic Symphony has been described “as a beautiful work that evokes the Far North in a very special way” (John Corigliano), and “a mature and atmospheric work that firmly establishes Ho among North American composers of note” (Winnipeg Free Press). His percussion concerto, titled The Shaman, composed for Dame Evelyn Glennie was hailed as a triumph, receiving unanimous acclaim and declared by critics as “Spectacular” (The New York Classical Review), “A powerhouse work” (The Winnipeg Free Press), and “Rocking/mesmerizing…downright gorgeous” (The Pittsburgh Gazette). His second concerto for Glennie titled From Darkness To Light, Ho’s musical response to the cancer illness, was lauded as “a lasting masterpiece of sensitivity and perception” (Winnipeg Free Press). His cello concerto, City Suite, composed for Canadian cellist Shauna Rolston, has received similar praise with critics calling it “Thrilling” (Windsor Star) and “Overflowing with striking ideas…The most successful piece heard at this year’s Festival” (Classical Voice America).
Born in Ottawa, Ontario in 1975, Vincent Ho began his musical training through Canada’s Royal Conservatory of Music where he earned his Associate Diploma in Piano Performance. He gained his Bachelor of Music from the University of Calgary, his Master of Music from the University of Toronto, and his Doctor of Musical Arts from the University of Southern California. His mentors have included Allan Bell, David Eagle, Christos Hatzis, Walter Buczynski, and Stephen Hartke. In 1997, he was awarded a scholarship to attend the Schola Cantorum Summer Composition Program in Paris, where he received further training in analysis, composition, counterpoint, and harmony, supervised by David Diamond, Philip Lasser, and Narcis Bonet.
In his free time, he enjoys running, reading, traveling, dancing, hiking, playing chess, and learning the keyboard works of Bach, Beethoven, Ravel, and Ligeti (among many others). He is also an enthusiast of old-time radio shows, photography, crime noir, Zen art, jazz, Jimi Hendrix, graphic novels, and Stanley Kubrick films.
Dr. Ho has taught at the University of Calgary and currently serves as Artistic Director to Land’s End Ensemble. His works are published and managed by Promethean Editions Ltd and Theodore Presser Company.
The basis of the 2nd movement of Vincent Ho’s concerto Whimsical Concerto of Fanciful Birds is a piece called The Angel and the Mockingbird.
Ho sent us a recording created by Jeremy Brown (saxophone) and Lana Henchell (piano). Take a listen before and after the concert to see what similarities and differences you notice between the piece and the second movement of the concerto (Angels and Mockingbirds).
Whimsical Concerto of Fanciful Birds:
I. Enchanted Migrations
II. Angels and Mockingbirds
III. Urban Birds
This concerto represents the culmination of my years of writing for saxophone, namely in the series “Whimsical Sketches of Fanciful Birds, Books 1-3” for alto saxophone and piano. This series are a collection of fifteen works that explore various bird-like or bird-inspired sounds that could be created on the saxophone instrument. After writing this collection (with the possibility of more to come), the inevitable next step was to adapt many of these musical ideas into a large-scale concerto. To fully capture the spirit of the avian world I envisioned, I decided to score it for solo alto saxophone, orchestra, AND spatialized saxophone ensemble – a collective of saxophonists placed in various areas of the concert hall surrounding the audience (eg. loges, balconies, aisles, etc) to serve as the “flock of birds” accompanying the soloist and orchestra while creating an immersive sonic experience.
This work was commissioned by The Saskatoon Symphony Orchestra with support from The Alberta Foundation of the Arts and Calgary Arts Development, and was written for my close saxophone colleagues Dr. Timothy McAllister and Dr. Jeremy Brown. I thank the following people who contributed to my creative process with their invaluable input:
– Mark Turner
– Louise Bernice Halfe
– Dr. Christy Morrissey
– Walt DeBoni
– Trevor Herriott
– Bob McGuire
– Gerhard Westphalen
– The graduate students of University of Saskatchewan’s Environmental Science and Biology Departments:
o Jory Litt-Jukes
o Shuqi Ren
o Ana Maria Diaz
o Kayla Caruso
o Biyao Han
o Sonia Cabezas
Acclaimed conductor Robert Franz, recognized as “an outstanding musician with profound intelligence,” has held to three core principles throughout his career; a commitment to the highest artistic standards, to creating alliances and building bridges in each community he serves, and a dedication to being a strong force in music education. As Music Director of the Windsor Symphony Orchestra, Artistic Director of the Boise Baroque Orchestra, Resident Guest Conductor of the University of Nort Carolina School of the arts Symphony Orchestra and as the former Associate Conductor of the Houston Symphony, he has achieved success through his focus on each of these values.
His appeal as a first-rate conductor and enthusiastic award-winning educator is acclaimed by critics, composers, and audiences of all ages. Composer Bright Sheng praised Franz for his “extremely musical and passionate approach towards music making” and critics hail his “masterly pace, emphasis and technical control” calling his conducting “viscerally thrilling.” Franz is in increasing demand as a guest conductor, having collaborated with the Cleveland Orchestra, Baltimore Symphony, St. Louis Symphony, Detroit Symphony, Rochester Philharmonic, Buffalo Philharmonic, North Carolina Symphony, Reno Chamber Orchestra, Austin Symphony Orchestra, Winston-Salem Symphony, Phoenix Symphony, and Italy’s Orchestra da Camera Fiorentina, among others. 2022 marked his debut with the Fort Worth Symphony as well as Abridged Opera in a performance of Benjamin Britten’s The Turn of the Screw. His versatility has led to performances with a wide array of artists, including James Galway, Joshua Bell, Rachel Barton Pine, Karim Sulayman, Idina Menzel and Judy Collins on stage, as well as his work with composers such as Aaron Jay Kernis, Michael Daugherty, John Harbison, Jordan Pal and Jennifer Higdon.
Music Director of the Windsor Symphony Orchestra since 2013, Franz is a leader in a vibrant arts community. 2022 marked the release of the WSO’s first commercial recording in 15 years, “Christmas, eh.” The partnerships he has developed and fostered throughout the community as well as his versatility in programming led to being recognized by The Windsor Endowment for the Arts with its Arts Leadership Award. Faced with the challenge of maintaining an active and successful arts organization in the face of a pandemic, the past two seasons have included two curated digital concert series that he led and hosted. Both series include his trademark music introductions, interviews with guest artists and composers, and a celebration of multiple works by composers of under-represented populations. Recent collaborations include the Windsor International Film Festival, Art Windsor Essex, Canadian Historical Aviation Association, Windsor Public Library, St, Clair College and the University of Windsor. In 2017 he led the first bi-annual Conductor’s Guild Workshop with the Windsor Symphony Orchestra to train conductors in the art of creating and presenting effective student concerts. Through his work the WSO has become a catalyst for a wide variety of artists in multiple genres and disciplines
Franz’ serves as Artistic Director of the Boise Baroque Orchestra where he successfully launched an outdoor summer concert series at the Chateau des Fleurs in Eagle, Idaho. Curated digital concert series, partnerships with Opera Idaho and the Boise Philharmonic Master Chorale as well as with various educational institutions have been a hallmark of his time at BBO.
Franz just concluded his fourteen-year tenure as Associate Conductor of the Houston Symphony where he was recently honored with the Raphael Fliegel Award for Visionary Leadership. It was presented to him in recognition of his immense success in advancing the organization’s education and community engagement activities. The 2020-2021 season featured Franz leading the North American premiere of Author Dan Brown’s musical children’s book, “Wild Symphony.” A tireless ambassador for music education, he positively impacted student concert attendance during his tenure and has led the Symphony in a broad range of creative, education and engaging family concerts including its summer neighborhood concert series and outreach programs dedicated to bringing music to all of Houston’s communities.
Franz is committed to mentoring the next generation of conductors. His Art of Conducting workshops at the Fairbanks Summer Arts Festival have resulted in numerous practicing conductors from across North America deepening their awareness of their craft. Under his leadership, the Boise Baroque Orchestra will host their third annual Conducting Workshop in June 2023.
As Co-founder and Conductor of the Idaho Orchestra Institute, now in its seventh year, Franz takes young musicians on an exploration of major orchestral repertoire in a program that explores the complete musician.
Committed to music education for students of all ages, Franz maintains a comprehensive schedule of concerts and events each season in theaters, schools and at home that delivers on his passion for sharing live music.
Developing a deeper connection with music making is at the center of his work with young musicians. His work with the acclaimed
Bolton Research Project led the way to developing his commitment to the art of active listening. Under his direction, both the Buffalo Philharmonic Orchestra, where he received the BPO/ECMEA Music Award for Excellence and the Louisville Orchestra were awarded ASCAP’s Leonard Bernstein Award for Educational Programming. Franz has also created highly respected arts education programs for the Carolina Chamber Symphony, Buffalo Philharmonic, West End Chamber Ensemble, the Winston-Salem Piedmont Triad Symphony, and the Louisville Orchestra. The Louisville Orchestra’s award led to the creation of an education program for Kentucky Educational Television entitled Creating Music and Stories.
An eloquent speaker, Franz recently presented a TedX Talk entitled Active Listening and Our Perception of Time. The Idaho Legislature recognized his expertise when he was invited to speak to their education committee, and he spoke on broadening audiences through new music opportunities to the League of American Orchestra’s conference. While in Louisville, he co-hosted In a Different Key, a weekly contemporary classical music radio program on WUOL.
In addition to his current posts, Franz served as Associate Conductor of the Houston Symphony (2008-2022), Music Director of the Boise Philharmonic (2008-2016), and the Mansfield Symphony in Ohio (2003-2010). He has held staff positions with orchestras in Buffalo, Louisville, and Winston-Salem, as well as led youth orchestras in Louisville and Winston-Salem. He is Music Director Emeritus of the Carolina Chamber Symphony, an orchestra he founded. Franz has participated in a number of conducting workshops in the Czech Republic, St. Petersburg (Russia), Nashville, the Festival at Sandpoint and was a participant in the Bruno Walter National Conductor Preview.
Franz received his Master of Music degree in conducting and his Bachelor of Music degree in oboe performance from the North Carolina School of the Arts.
When not on the podium he can be found on the slopes, skiing slowly and carefully, stretching in a yoga class, and non-competitively trying his hardest to win at a game of cards with his family.
His Youtube channel robertfranzconductor, features him reading dozens of children’s books that have garnered over 40,000 views.
Today’s most celebrated classical saxophonist, TIMOTHY McALLISTER is hailed as “a virtuoso…one of the foremost saxophonists of his generation” (The New York Times), an “exemplary soloist” (Gramophone Magazine), and “a titan of contemporary music and the instrument, in general” (The Cleveland Plain Dealer). Since his solo debut at age sixteen with the Houston Civic Symphony, his career has taken him to over 20 countries, with solo performances in many of the world’s most prestigious venues including Prince Royal Albert Hall in London, the Sydney Opera House, Carnegie Hall and Amsterdam’s Concertgebouw.
As both soloist and as soprano chair of the renowned PRISM Quartet, McAllister’s critically acclaimed, internationally released recordings can be heard on the Nonesuch, Stradivarius, XAS/Symphonic, Summit, OMM, Einstein, NAXOS, AUR, New Dynamic, Albany, Equilibrium, New Focus, Centaur, G.I.A. Publications, Parma, and Innova labels. He has been featured on three grammy-winning albums, and his distinguished discography of over 50 albums has been recognized by Mark Stryker of the Detroit Free Press as the top classical saxophone recordings in the industry.
McAllister has premiered over 200 new works by today’s most eminent and emerging composers ranging from solo compositions by Gunther Schuller, Caleb Burhans, Jennifer Higdon, Kati Agocs, Nina Shekhar, Mischa Zupko, Matthew Evan Taylor, Roshanne Etezady, Kristin Kuster to saxophone quartets and chamber works by William Bolcom, Martin Bresnick, Viet Cuong, Juri Seo, George Lewis, Emma O’Halloran, Fang Man, Erik Santos, Steven Mackey, Lee Hyla, Libby Larsen, Lei Liang, Huang Ruo, Bright Sheng, David Rakowski, Zhou Long, Chen Yi, Joel Puckett, Ken Ueno, Donnacha Dennehy, AND David T. Little among many others.
In October 2009, he appeared as saxophonist with the Los Angeles Philharmonic for Gustavo Dudamel’s Inaugural Gala concert performing the world premiere of Pulitzer Prize and GRAMMY Award-winning composer John Adams’ major new work, City Noir (released on DVD by Deutsche Grammophon), and performed the work with the orchestra throughout its 2010 U.S. Tour, culminating in an appearance in New York City’s Lincoln Center. In March 2015, he reprised his *City Noir* role with the LAPhil and Dudamel for an acclaimed Asian Tour, including concerts in Hong Kong, Beijing, Seoul and Tokyo. He reunited with Dudamel in June 2017 to perform the work with the legendary Berlin Philharmonic, which currently appears on the orchestra’s Digital Concert Hall and was recorded for the Berlin Philharmonic’s 2019 GRAMMY-Nominated “John Adams Edition” anthology.
In August 2013, he gave the World Premiere of John Adams’ Saxophone Concerto – described by The Sydney Morning Herald as “an astonishing performance” – with the Sydney Symphony Orchestra under the baton of the composer in the Sydney Opera House. Subsequent United States premieres and international performances followed throughout 2013
and 2014 with Marin Alsop and the Baltimore and Sao Paulo State (Brazil) symphonies, along with a recording of the Concerto and City Noir for Nonesuch Records with David Robertson and the St. Louis Symphony, which won the 2015 GRAMMY Award for “Best Orchestral Performance.” Other engagements with the Concerto have included the BBC Proms with the BBC Symphony Orchestra, Royal Liverpool Philharmonic, Milwaukee Symphony Orchestra, New World Symphony, Hong Kong Philharmonic, Croatian Radiotelevision Symphony, and the Cabrillo Festival Orchestra. As part of the 70th Birthday celebrations worldwide honoring Adams in 2017, he performed the Concerto with the Houston Symphony Orchestra, Netherlands Radio Philharmonic Orchestra, Orchestre National de Lyon, Indianapolis Symphony, along with other performances of the composer’s music with the Los Angeles Philharmonic, San Diego Symphony, and the Berlin Philharmonic.
Other recent performances as soloist and recording artist include the London Symphony Orchestra, Brussels Philharmonic, Sinfonia of London, Strasbourg Philharmonic Orchestra, CityMusic Cleveland Chamber Orchestra, Reno Philharmonic, the Hot Springs Festival Orchestra, Texas Festival Orchestra at Round Top, Dallas Wind Symphony, United States Navy Band, Hong Kong Wind Philharmonia, Tokyo Wind Symphony, and the Detroit Chamber Winds and Strings, of which he serves as a core member. In great demand as an orchestral saxophonist, he has appeared in the wind sections of the Chicago Symphony Orchestra, Cleveland Orchestra, Detroit Symphony Orchestra, National Symphony, Toronto Symphony, Oregon Symphony, Houston Symphony, Milwaukee Symphony, Phoenix Symphony, New World Symphony, Grand Rapids Symphony, Seattle Symphony, St. Louis Symphony Orchestra, and the Melbourne Symphony Orchestra.
During the 2021-2022 season, he gave the World Premiere of American icon John Corigliano’s “Triathlon for Saxophonist and Orchestra” with the San Francisco Symphony, under the baton of GRAMMY-winning conductor Giancarlo Guerrero, and was featured in Adagio (For Wadada Leo Smith) for alto saxophone and orchestra by the virtuoso performer/composer and MacArthur Fellow Tyshawn Sorey at the historic Lucerne Festival in Switzerland.
As a member of the PRISM Quartet, he has collaborated with The Crossing, Pacific Symphony, Boston Modern Orchestra Project, Opera Colorado, Columbus Symphony, Jacksonville Symphony, Ocean City Pops (NJ), Augusta Symphony, Cantori New York, Talujon Percussion Quartet, SO Percussion, Partch Ensemble, and the Nashville Symphony, in addition to numerous chamber music engagements and festivals nationwide such as the SONIC Festival, Bang On A Can Marathon and the Big Ears Festival. He has been a featured soloist at the national/international conferences of SEAMUS, the North American Saxophone Alliance Biennial meetings, the New England Saxophone Symposium, and the U.S Navy Band International Saxophone Symposium. Additionally, he has appeared as a concerto soloist at three World Saxophone Congresses in Minneapolis, Strasbourg, and Zagreb.
Recent seasons have involved innovative crossover collaborations between the PRISM Quartet and major jazz artists/composers including Melissa Aldana, Arturo O’Farrill, Greg Osby, Tim Ries, Tim Berne, Ben Monder, Anthony Pinciotti, Joe Lovano, Dave Liebman, Steve Lehman,
Rudresh Mahanthappa, and Miguel Zenon. Upcoming collaborations, commissions, and recordings include Hannah Kendall, Marcos Balter, Flannery Cunningham, Arturo O’Farrill, Michael Gordon, Melissa Aldana, Martin Bresnick, Juri Seo, Bright Sheng, Roberto Sierra, Adam Silverman, George Lewis, Jungyoon Wie, James Aikman, Susie Ibarra, Tyshawn Sorey, Ravi Coltrane, Chris Potter, Nina C. Young, Emily Cooley, Terell Stafford, & Robert Capanna.
A dedicated teacher, McAllister is Professor of Saxophone at The University of Michigan School of Music, Theatre and Dance, following the legacies of Larry Teal and Donald Sinta. This followed the same post at Northwestern University, succeeding the legendary Frederick Hemke, where he also served as Co-Director of the inaugural Institute for New Music from 2012-2015. Other faculty positions have included Arizona State University’s Herberger Institute School of Music, The University of Arizona Fred Fox School of Music, and SUNY Potsdam’s Crane School of Music. He spends his summers as a distinguished Valade Fellow/Instructor of Saxophone for the Interlochen Center for the Arts. He has given clinics and recitals at many of the nation’s elite universities and conservatories, and in 2003, he was invited by French virtuoso Claude Delangle to serve as a Guest Professor at the famed Conservatoire National Superieur de Musique in Paris. In 2013, he was a co-founding faculty member of the annual American Saxophone Academy first convened at the Eastman School of Music, and he is the first American saxophonist to serve as an instructor at the European University for Saxophone in Gap, France in 2015. He holds regular summer workshops at the Arosa (Switzerland) and Orford (Quebec, Canada) Music Academies and for the University of Michigan MPulse Program. In 2018, he was appointed to the Royal Northern College of Music (RNCM), Manchester UK, as International Visiting Tutor in Saxophone.
He holds the Doctor of Musical Arts and other degrees in music education, conducting and performance from The University of Michigan where he studied saxophone with Donald Sinta and conducting with H. Robert Reynolds. He is the only saxophonist to ever receive the School of Music’s most distinguished performance award—the Albert A. Stanley Medal. Alongside composer Derek Bermel, acclaimed tenor Nicholas Phan and New York Metropolitan Opera coach Howard Watkins, McAllister has been honored with the Paul C. Boylan Award from the Michigan School of Music Alumni Society for his significant contributions to the field of music. He and his PRISM colleagues received the inaugural Christopher Kendall Alumni Award, bestowed upon chamber groups or individuals who have demonstrated great achievement in performance, outreach, innovation and entrepreneurship. As a student, he was the featured soloist for the University of Michigan Symphony Band Centennial Anniversary Tour in 1997 and soprano chair of the Ninth Circle Saxophone Quartet, the first of its kind to be awarded the Grand Prize at the 2001 Fischoff Chamber Music Competition.
Timothy McAllister is on the artist roster of Jonathan Wentworth Associates, Ltd. Additionally, he is a Conn-Selmer artist/clinician, while also serving as a Backun Woodwind Artist, assisting with research and mouthpiece design. He endorses Key Leaves and Peak Performance Woodwind products.
The gifted young Canadian conductor Karl Hirzer can’t remember a time when he didn’t want to be a musician.
Karl grew up in Vancouver, BC, in a household filled with music. His parents had Glenn Gould and Louis Armstrong on the CD player; he and his mother sang along with Irish folk songs on the radio (and he’d let her know if she hit a wrong note).
He was “composing” at the family’s upright piano at age four. Formal piano lessons began at six. At twelve he started playing guitar in heavy metal bands and dreamed of becoming a rock star, while simultaneously perfecting Chopin Études and Beethoven Sonatas. He earned his ARCT at seventeen.
Today he can be found on the podium internationally, having led orchestras from Vancouver to Boston, from the Gstaad Festival to educational programs in Warsaw. He is the 2022 recipient of the Heinz Unger Award, presented biennially by the Ontario Arts Council to Canada’s most promising emerging conductor, and in 2023 completed a seven-year tenure as Associate Conductor with the Calgary Philharmonic.
Karl was a prodigious pianist and studied to become a soloist at the University of Victoria before getting his master’s at McGill University in Montreal.
He got his first taste of conducting an orchestra during his undergrad and basked in the wondrous experience of sharing his musical ideas with a big band of musicians and an audience, through simple gestures. Imagine – hundreds of people in the concert hall, each having a unique experience of a shared moment, something communal and intimate at the same time, forging a personal relationship with a composer who may be long dead – or sitting in the front row.
He believes music plays an essential role in our lives.It touches us viscerally, even though we can’t really explain why or how.
Karl is especially committed to exploring music by living composers and believes that modern music defines what the classical idiom is today. He’s also heavily invested in bringing music to young audiences, helping them discover a sound world that’s completely captivating. His contributions to the arts, community and education were recognized with his inclusion in Avenue Magazine’s Top 40 under 40 list for 2022.
He continues to perform as an instrumentalist and also composes his own music, blending genres while mixing acoustic and electronic instruments. Heads up – his first album of original material will be released in fall of 2023.
Signed to Atlantic/Warner Records at the tender age of 19, four-time Juno nominee and modern-day Renaissance woman Sarah Slean has since released 11 albums in over 10 countries worldwide – but perhaps the most astonishing aspect of her artistry is its breadth. Over her 25-year career, Slean has published two volumes of poetry, starred in short films and a movie musical (spawning two Gemini Award nominations), penned two string quartets and other chamber works, held numerous exhibitions of her paintings, and shared the stage with 10 of the country’s professional orchestras. Classically trained from the age of 5, she routinely collaborates with cutting-edge contemporary classical ensembles like The Art of Time, and has been invited to sing world premieres by Canada’s leading living composers. She composes orchestral arrangements for her own music as well as for her pop colleagues (Dan Mangan, Hawksley Workman) and her recent collaborative recording with the Symphony Nova Scotia was just nominated for both an East Coast Music Award and a Juno Award in the Classical Album category (2021). Sarah is also a recent alumna of the prestigious Canadian Film Centre’s screen composing residency (2017-8) and just earned her first Canadian Screen Award (2021).
Citing such diverse influences as Leonard Bernstein, philosophy, Joni Mitchell, Buddhism and Bach, her music borrows aspects of cabaret, pop, and orchestral: all knit together by the startling poetry of her lyrics, unique arranging and piano-playing, and that voice, described by the CBC as “a 19th century Kate Bush”. In addition to headlining theatres across Canada, Sarah has also toured Europe, the US and Scandinavia and has opened internationally for such artists as Bryan Ferry, Rufus Wainwright, Alanis Morissette, Andrew Bird, Feist, Ron Sexsmith, and Chris Isaak. Her 11th solo recording “Metaphysics”, released in 2017, is described as a “breathtaking amalgamation of Slean’s dramatic orchestral arranging and her signature take on songwriting”. In 2021-2022, Sarah will be composing the music for the stage musical adaptation of the award-winning film “Maudie”.
We love the iconic painting of Joni Mitchell created by our friend Denyse Klette and we know you do too!
Did you know you can have a copy for yourself? We’ve got prints for sale! Stop by our info table in the lobby for an order form, or you can order online.
While you’re perusing the Dervilia art + design website you can also get your copy of the works from the composer series. All created by Denyse Klette, these beautiful works of art feature some of our favourite composers and as a bonus, a portion of the sale proceeds support your orchestra!
For Saskatchewan’s Centennial in 2005, Joni Mitchell created an album called Songs of a Praire Girl. To quote Mitchell:
“I rounded up from my whole repertoire the songs that made references to Saskatchewan.”
The album includes 13 tracks that were influenced by her time in Maidstone, North Battleford, and her hometown of Saskatoon. Having moved to Saskatoon at age 11, Mitchell spent many of her formative years here. It was at Queen Elizabeth School that her teacher, Arthur Kratzmann, told her “If you can paint with a brush, you can paint with words.” He was a great influence on Mitchell, and in the credits for her first album, Joni wrote: “This album is dedicated to Mr. Kratzman, who taught me to love words.”
Mitchell is an incredible painter of words, and we’ve selected some of our favourite prairie references in her lyrics from Songs of a Prarie Girl.
Urge for Going
Mitchell introduced Urge for Going as “a song that was inspired by the part of the country that I come from, a place called Saskatoon, Saskatchewan”
“In Saskatoon or in Saskatchewan – or on the prairies for that matter, that includes the American prairies – the winters and the summers are very radical, with the temperature varying as much as 150 degrees in a season. So when the winter sets in, it really sets in, and drops down to about 50 below and all the people sit around and complain a lot, but they never really do anything about it.”
He got the urge for going
When the meadow grass was turning brown
And summertime was falling down and winter was closing in
Now the warriors of winter give a cold triumphant shout
And all that stays is dying all that lives is gettin’ out
See the geese in chevron flight
Flapping and racing on before the snow…
They’ve got the urge for going
And they’ve got the wings to go
All Saskatchewan residents know the “urge for going” when the seasons change from fall to winter.
The Tea Leaf Prophecy (Lay Down Your Arms)
Several of the songs chosen for this album include how Mitchell felt about prairie winters.
She plants her garden in the spring
He does the winter shovelling
But summer’s just a sneeze
In a long long bad winter cold
She says “I’m leavin’ here” but she don’t go
Cherokee Louise
Mitchell references Saskatoon’s iconic Broadway Bridge in her heartbreaking song Cherokee Louise.
Cherokee Louise is hiding in this tunnel
In the Broadway bridge
We’re crawling on our knees
We’ve got flashlights and batteries
We’ve got cold cuts from the fridge
Ray’s Dad’s Cadillac
Not only does this song describe memories of rolling around in her friend’s dad’s care, but Mitchell references some of her difficulties in school which caused her to drop out. She did go back and finish high school at Aden Bowman.
Ray’s Dad’s Cadillac
Rollin’ past the rink
Past the record shack
Pink fins in the falling rain
Rollin’
To the blue lights past the water mains
Let the Wind Carry Me
Mitchell wrote about the different relationships she had with each of her parents, and her urge to settle and start a family of her own. But as she writes, that urge doesn’t last long.
But it passes like the summer
I’m a wild seed again
Let the wind carry me
Don Juan’s Reckless Daughter
Mitchell considers Saskatoon to be her home time and often describes herself as coming from an “open prairie”.
I come from open prairie
Given some wisdom and a lot of jive
Last night the ghosts of my old ideals
Reran on channel five
Raised on Robbery
Mitchell opens this tune with a line about the Empire which used to sit on the corner of 2nd Avenue and 20th Street.
He was sitting in the lounge of the Empire Hotel
Paprika Plains
The title comes from the lyrics where Mitchell describes dreaming about “paprika plains” and “a turquoise river snaking”. Mitchell goes on to describe the people from the land of the living skies during a thunderstorm.
Back in my hometown
They would have cleared the floor
Just to watch the rain come down
They’re such sky oriented people
Geared to changing weather
Song for Sharon
Sharon in 2020
Mitchell’s Song for Sharon reads like a letter to an old friend. It’s dedicated to Joni’s best friend when she was growing up in Maidstone, Saskatchewan, in the 1950s, and it references the fact that Sharon had been planning a career as a professional singer, while Joni hoped to be a farm wife — but in adulthood, each realized the other’s ambition.
When we were kids in Maidstone, Sharon
I went to every wedding in that little town
To see the tears and the kisses
And the pretty lady in the white lace wedding gown
And walking home on the railroad tracks
Or swinging on the playground swing
Love stimulated my illusions
More than anything
River
In the early 70s, Mitchell was living in Los Angeles. During that time she wrote and released her album Blue.
Coming from Saskatchewan December in California is a very different experience. In River, she writes about how Christmas holiday preparations make her long for a river to skate away on.
Oh, I wish I had a river so long
I would teach my feet to fly
I wish I had a river
I could skate away on
Chinese Café/Unchained Melody
In another lyrical letter to a childhood friend, Mitchell reminisces over how childhood hangouts. She writes of how time has passed – Saskatoon is changing thanks to “uranium money”, Carol’s kids are grown, they look like their mothers, and she wishes she could have been there for her own daughter’s growing up.
Down at the Chinese Cafe
We’d be dreaming on our dimes
We’d be playing “You give your love, so sweetly”
One more time
Harlem in Havana
Mitchell writes about a late-night show at the Saskatoon Exhibition in Harlem in Havana that Auntie Ruthie would not have approved of.
At the far end of the midway
by the double ferris wheel
There’s a band that plays so snakey
You can’t help how you feel
Come In from the Cold
Mitchell was living in Saskatoon and turned 14 in 1957. Her lyrics evoke memories of school dances, and the awkward years of being a young teen just discovering the spark of attraction found in young love.
Back in 1957
We had to dance a foot apart
And they hawk-eyed us from the sidelines
Holding their rulers without a heart
And so with just a touch of our fingers
oh we could make our circuitry explode
All we ever wanted
Was just to come in from the cold
While there are so many incredible Mitchell tunes to choose from, our concert A Case of You includes Sarah Slean singing River. You can watch the whole concert by subscribing on ConcertStream.tv