Elf Week

Elf Week

It’s the most wonderful time of the year! And we hope that your days are filled with music as we get closer to the holidays. 

We’re busy preparing for our performances of ELF and Handel’s Messiah. And in the office we’re putting the finishing touches on next season’s programming…we cannot wait to share the details of our 95th season with you!

As a charity, this time of year is very important to us. December gives us a chance to receive donations that you can claim with your 2024 taxes. One of the great things about giving to the charities you love is that you ensure that your investment stays right here in your community.

This December, the SSO is purposefully focusing your support in a few key areas. Our work on our strategic plan Opus 100 is the most important work we can do. While we know that you love coming to our concerts, we are called to our purpose on stage and beyond. To ensure we’re valued in our community, we’re: 

  1. Investing in our orchestra.
    We’ve been working with our musicians on a new contract that sees us focus organizational resources on pay and pension contributions for our musicians. This is, in my opinion, the most important work the SSO can do at this time. We are so lucky to have such an incredible group of musicians calling Saskatoon home, but we need to ensure that we commit to long-term financial investment in our musicians. They do incredible work, and they deserve to be properly compensated. This investment is also needed to attract and retain high-calibre musicians. 
  2. Enlivening programming
    The SSO has been working on a bigger vision for the future of what we can do for our community. Making music accessible and engaging to as many people as possible is critical to ensuring that the SSO has a future. Your gift can support tickets for young people, support the Symphony in Schools programming, and help us develop new outreach programs for adults and seniors. We want to make sure that everyone can have the benefit of the increased well-being that comes with making music.
  3. One-of-a-kind experiencesThe SSO has become known for its innovative programming that highlights music from Bach to new music, Beethoven to rap. Concerts like next spring’s Metamorphosis showcase what’s possible when we dream big – giving our audiences experiences that can only be experienced right here in Saskatoon. Bringing concerts like Harry Potter and Disney films to life ensures that so many people who have never been to the SSO now feel deeply connected to why it’s important to ensure Saskatoon has a vibrant orchestra. 
  4. Supporting production
    Without a musical home, the SSO finds itself continually spending more and more each year on production costs. Moving concerts and rehearsals from venue to venue and place to place comes with growing expenses and a great deal of our staff’s time. As we continue to grow what the SSO does for its community, we need to keep supporting this work to financially manage that growth.

It feels incredible to hear your passion in the cheers during concerts. It’s literally the best feeling in the world. We can’t tell how much you appreciate the work we do. If it were possible, we’d be coming round to all of our donors’ houses to give you a giant cheer for each and every one of of your gifts this year. That’s how much we appreciate what you do for us!

And donating ahead of December 31st allows us to automatically double your gift. Once again, we’re humbled to have your gifts matched by the Frank and Ellen Remai Foundation. 

We are so grateful for your help in reaching our fundraising goal for this year’s matching campaign to ensure that the SSO doesn’t just thrive, but flourishes!

Thanks for supporting the SSO,

Mark Turner

Messiah Week

What is your favourite holiday music? 

For me, honestly, there are almost too many options! I love it all…from Sleigh Ride to All I Want for Christmas, music for Solstice and Hanukkah. But if I was forced to pick, it might be an easy choice as “Messiah Week” at the SSO is my favourite concert week of the year.

Regardless of how many times I experience Handel’s Messiah, whether as a pianist helping a singer practice this difficult music or as an audience member of a sing-along, it never fails to remind me that it is so magical. 

This music, nearly 300 years old, is evergreen. It somehow magically always feels fresh and brand new. It never gets “easier” for the performers. It never fails to lift the audience up out of their seats and throw their spirit around the room in drama and unabashed joy. 

And somehow, hundreds of years later Handel is still achieving what he always wanted to. Forget the drama, forget the spectacular music – it’s about community. 

If you’ve never been to our Sing-Along Messiah performance – I want you to join us this weekend. You don’t have to sing along…but I’d love it if you gave it a try. It’s hard! It’s a bit scary (even for those of us who know it well). But it is among the most incredible prescription for joy that you can experience. 

Sitting alongside friends and strangers, we all embark on this wild journey of music that is complex and challenging, and singing it together will fill you with joy. You’ll know things are going well, and you’ll know when things are not! You will find yourself deeply moved by being in harmony with the entire room around you, and you will likely find yourself laughing. Somehow, Handel is still binding us together. 

As an orchestra and a charity, coming together is what we do best. We’re called to find ways of connecting everyone, from musicians to audience, in something great. And just like an incredible piece of music, everything is at its greatest when we work together. 

In that goal of working together to great music, I’m asking you to make a donation to the SSO this holiday season. As a charity, these next few weeks are crucial to our continuing success. 

We have a few more weeks to receive gifts ahead of the end of the calendar year. And with our matching support from the Frank and Ellen Remai Foundation, making a gift is a bit like joining in for Sing-Along Messiah. It feels incredible to be part of something bigger that brings so much joy to all of us when we make music together.

Thank you so much for your incredible support,

Mark Turner

Composer Series Handel

In 2019, Denyse started to create famous composers into a series of colourful portraits in support of the SSO.
She is delighted to reveal ‘Handel’, her latest to the collection. These pieces are available in two sizes: 12 x 12 and 24 x24.

You can see the painting for yourself in the lobby at Elf in Concert!

To view and purchase prints from the full composer series visit Dervilia art + design.

Contemplating Clouds on a Prairie Sky

When you look at the cover of Contemplating Clouds on a Prairie Sky by composer Wayne Toews there is a note that says

Dedicated to Ellen Remai, who has enriched Saskatoon through support of the Arts community.

Not only did Toews dedicate the piece to Ms Remai, but he also donated the work to the Saskatoon Symphony Orchestra as a part of our Share in the Future fundraising campaign. His contribution was matched thanks to the generosity of Ms Remai through the Frank & Ellen Remai Foundation.

The donation of Toews’ piece helped us reach our goal of raising $500,000! It is incredibly special to have someone as gifted of a composer as Wayne Toews share his art with us. We are honoured to be giving the premiere of the piece at Controlled Burn. As a past member of the orchestra, it means a lot to us that he continues to support the SSO.

As a lifelong musician, educator, conductor, and part of the local music community, Toews understands the importance of live music in the heart of the prairies. He has also been a part of building local music organizations from the ground up.

There is something incredibly resilient about the prairie music community. It takes grassroots to heart with the number of organizations, large and small, creating incredible music on shoestring budgets and all is made possible through the hands of generous volunteers. There is a wealth of talent here in, and from, the prairies that is heard all over the world.

Wayne Toews is huge part of that legacy. 

On top of his work in the Saskatoon school system, Toews has been teaching students of all ages since his career began in 1969. He created the band program at City Park Collegiate and neighbourhood schools, expanded the music program at Aden Bowman Collegiate, founded the Saskatchewan Orchestral Association, founded the modern iteration of the Saskatoon Youth Orchestra and led it for 25 years alongside his colleague George Charpentier.

He organized the Jack Johnson Memorial Music Fund through the Saskatoon Community Foundation to provide annual grants in support of young Saskatoon orchestral musicians. Toews has given workshops around the world, on the Saito Conducting Method and is the principal instructor of the International Saito Conducting Workshop in Saskatoon each summer. In the fall of 2004, he became founding director of the University of Saskatchewan Chamber Orchestra.

Toews has created a number of resources for his fellow educators including an elementary music theory booklet, a clarinet resource book, a bass guitar book and several curriculum guides. He has also created several computer programs including Subjective Tones and An Introduction to the Saito Conducting Method.

On top of all his incredible work in the music community, numerous awards, and dedication to continued music education, Toews has made time to compose several works. He’s written music for soloists, small ensembles, and full orchestra. It is clear to all who know him that Toews does things with his full heart, and composing is no different.

When we sit back and listen to Contemplating Clouds on a Prairie Sky we can all close our eyes and picture the beautiful views that come to life in the music. What colours and shapes will open up in our mind’s eyes? From the shimmering opening created by the percussion section, until the very last note fills the air, we hope you join us in our gratitude to the man behind the music – Wayne Toews.

Michael Bridge, Digital Accordion

Michael Bridge

Michael Bridge is a 21st-century musical maverick—toppling popular expectations of what it is to be a professional accordionist.

He’s a virtuoso performer—a superstar on both acoustic accordion, and its 21st-century cousin, the digital accordion. He’s won a slew of competitions in Canada and abroad and offers lectures and masterclasses around the world.

He embraces a musical esthetic that is alternatively irreverent, deadly serious, meticulously prepared and completely in-the-moment. He’s at home with jazz, folk and classical music. He’s premiered 53 new works. If pushed, he’ll say he likes Baroque music best because of its unforgiving demand for clarity of intent and execution.

He began playing when he was 5 and growing up in Calgary. His mom bought an accordion at a garage sale for $5. A family friend started teaching him to play by ear. Formal lessons began at 7.

He spent weekends at prairie accordion competitions, playing polkas and learning to dance.

At 15 he attended the World Accordion Championships as a spectator. For the first time he heard classical accordion and fell in love with it. He started all over again, mastering a completely different kind of accordion and a whole new technique.

He was soon offering a hundred community concerts a year. As a soloist with orchestra or string quartet, with his two ensembles, he continues that pace, playing in concert halls all over the world. He received his doctorate in accordion performance from the University of Toronto with Joseph Macerollo (the first Canadian to do so) and is a Rebanks Fellow at the Glenn Gould School.

Bridge (along with his clarinet partner Kornel Wolak) performs on a digital accordion—essentially a computer housed in a conventional accordion case. This extraordinary piece of technological wizardry imitates the sound of just about any instrument you can imagine. He can single-handedly shake the rafters with a convincing “1812 Overture”, canons and bells included. Bridge & Wolak concerts capture the energy and panache of stadium rock with the discipline and finesse of chamber music. Think Bach on steroids.

He’s also mastered the more familiar acoustic accordion, a soulful, highly expressive instrument, essential to the music of Toronto-based Ladom Ensemble. Along with cello, piano and percussion, the Ladom quartet creates a sophisticated blend of everything from traditional Persian melodies, to Bach and Piazzolla, to Radiohead.

Bridge also gives back through an online Music Mentorship Program. After performing hundreds of concerts in schools—usually in the less-than-ideal setting of a packed gymnasium with a tight time limit—Bridge & Wolak determined to build more meaningful relationships with musically inclined teens. With help from composers, tech people and producers, they introduce emerging artists to the wide world of professional music.

When he’s not being a musical renaissance man, you’ll find Bridge salsa dancing, cooking vegan dishes and talking to smart people. He loves to travel and he’s trying to live a more minimal life—abandoning anything that isn’t essential to his life and work.

But what really matters for Michael Bridge is making your world more bearable, beautiful and human—even if only for the length of a concert.

He is grateful for the support of the Canada Council for the Arts, the Sylva Gelber Foundation, and the Women’s Musical Club of Toronto.

www.MichaelBridge.ca
IG: @michael_accordionist
FB: www.facebook.com/MichaelBridgeMusic
YT: www.youtube.com/@MichaelBridge

The Phantom of the Opera

The Phantom of the Opera is a 1925 American silent horror film adaptation of Gaston Leroux’s novel of the same name, directed by Rupert Julian and starring Lon Chaney. The plot centers on a mysterious, disfigured man who lives beneath the Paris Opera House, known as the Phantom. He falls in love with Christine Daaé, a beautiful young soprano, and developed an obsession. 

It is worth to note that the film is known for Chaney’s self-applied dramatic make-up, altering his appearance for the setting’s eerie atmosphere. 

In 1925, the president of Universal Pictures Carl Laemmle went on vacation in Paris and met the author Gaston Leroux. Leroux gave Laemmle his 1910 novel, and Laemmle read it all in one night and decided to buy the film rights as a vehicle for actor Lon Chaney. Soon later, the production was scheduled for late 1924 at Universal Studios.

The production began and it did not go smoothly. The ending of the film was revised for multiple times, and the star and crew did not have a great time with director Rupert Julian. A score was prepared by Joseph Carl Breil, “”Presented with augmented concert orchestra” according to Universal’s release, but not much more information were to be found. After the third and final version, the film was premiered in New York. It received a mix of reviews, and the public demanded for an improved version. 

Therefore, instead of making a sequel, Universal opted to reissue The Phantom of the Opera with a new synchronized score and sound effects track, with a few new dialog sequences on top. The sound version of Phantom opened on 15 December 1929 and achieved a financial success despite the controversial reviews. 

Brenda Moats, Flute & piccolo

Brenda Moats

Flute, Piccolo

Brenda Moats

Brenda received a Bachelor of Music degree from the University of Regina in 1975. She received a Master’s degree in flute performance from the University of Arizona in 1980, where she was a student of Jean-Louis Kashy. She has played flute and piccolo in the Regina Symphony and the Edmonton Wind Sinfonia, and performed as principal flutist with the Arizona Opera Orchestra and Young Audiences of Southern Arizona (YASA) woodwind quartet. As a soloist, Brenda has performed in numerous concerts and recitals and was featured soloist with the Regina Symphony Orchestra under the baton of guest conductor Arthur Fiedler in 1972.

Brenda Moats has been the recipient of numerous awards and scholarships in Saskatchewan Music Festivals. A highlight of this was receiving first prize at the Canadian National Competitive Festival of Music in 1974.

Mrs. Moats has had extensive teaching experience as a teaching assistant at the University of Arizona, as a faculty member of the Regina Conservatory, and as an instructor at the Saskatchewan Summer School of the Arts, the Saskatoon Summer Band workshop and the Saskatchewan Band Association Workshop in Saskatoon.

Brenda has regularly instructed at many flute clinics in the province including those conducted by the Saskatoon Board of Education and the Saskatoon Catholic School Division. She has also served as an examiner for the Western Board of Music (now called Conservatory Canada) and as an adjudicator for the Saskatchewan Festival of Music and Unifest at the University of Saskatchewan.

Currently Brenda lives in Saskatoon and is married with two grown children. In addition to performing in the Saskatoon Symphony Orchestra, she teaches many flute and piccolo students.

 

Up Next at the SSO

True North
7:30PM Sat, Nov 08, 2025
Sunday Chamber
2:00PM Sun, Nov 16, 2025
Secrets of the Whales
7:30PM Sat, Nov 22, 2025
YXE Divas Xmas
7:30PM Sat, Dec 06, 2025
Handel's Messiah
7:30PM Fri, Dec 12, 2025
Sing-Along Messiah
2:00PM Sat, Dec 13, 2025
Christmas Classics at the Cathedral
7:30PM Sun, Dec 21, 2025
Beauty and the Beast
7:30PM Sat, Jan 24, 2026

 

Find a Music Teacher

Michael Swan, Concertmaster

Michael Swan

Concertmaster

Supported by The Nasser Family.

Michael Swan was born in 1963 in Saskatoon. He began violin studies at age 5 with Dorothy Overholt, and also studied with Norma Lee Bisha, Mark Reedman and Robert Klose as he was growing up. In 1979, he was awarded the Gold Medal for the highest standing in Canada for Royal Conservatory of Toronto ARCT violin examinations.

Michael studied with Yuri Mazurkevich in the Faculty of Music at the University of Western Ontario, receiving the Hideo Saito Award for academic achievement in 1981 and 1982. Afterwards, he studied at the Curtis Institute of Music in Philadelphia with Aaron Rosand, receiving a Bachelor of Music degree in 1984.

Since September 1984, Michael has been concertmaster of the Saskatoon Symphony Orchestra and a member of the Saskatoon Symphony Chamber Players. He has been a soloist with the orchestra a number of times in the Master Series and with the Chamber Orchestra. He performs solo recitals regularly, and has several compositions to his credit. He has been featured on CBC radio as a solo violinist and as a composer.

Michael Swan premiered ‘Exultation,’ a work for the full orchestra, as part of the SSO’s Masters Series in October 2010.

Up Next at the SSO

True North
7:30PM Sat, Nov 08, 2025
Sunday Chamber
2:00PM Sun, Nov 16, 2025
Secrets of the Whales
7:30PM Sat, Nov 22, 2025
YXE Divas Xmas
7:30PM Sat, Dec 06, 2025
Handel's Messiah
7:30PM Fri, Dec 12, 2025
Sing-Along Messiah
2:00PM Sat, Dec 13, 2025
Christmas Classics at the Cathedral
7:30PM Sun, Dec 21, 2025
Beauty and the Beast
7:30PM Sat, Jan 24, 2026

 

Find a Music Teacher

Frenergy

The bulk of the musical material found in this piece comes from sketches for my Triple Concerto. These sketches were to be part of the proposed final movement for the concerto, a fast-paced scherzo to bring the piece to a wild close. However, for various reasons, this ending did not make it to the final draft. Not one to waste, I decided to mount this music on its own for orchestra.

The title comes from an amalgamation of the words “frenetic” and “energy” which were the two qualities I desired for the ending of the concerto. The tempo for this short concert opener is brisk and the pacing of melodic ideas is often a bit frantic as befitting the title.

It begins with a thunderous introduction by the percussion who establish the infectious 6/8 pulse. After an orchestral tutti, the winds introduce a chromatic melody that is quickly tossed back and forth from pairings of instruments. This quirky little melody often complements an ostentatious tune frequently performed by the brass. The third melody, introduced by a solo flute, is perhaps the most substantial tune of the piece and is strongly characterized by the 6/8 lilt of the piece.

A harmonically restless string passage leads into a return of the opening material and the piece concludes with a full force orchestral tutti along with the pounding drums of the opening.

John Estacio