Music Talks are back and in a new format!
Maestra Tania Miller sat down with SSO CEO & Creative Producer Mark Turner to talk about the upcoming season 94 opener Enigma.
Thank you to Black Fox Farm & Distillery for letting us film in their space.
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
Controlled Burn
While raging forest fires made headlines all summer and will likely increase in the coming years due to climate change, Cree composer Cris Derksen’s work is about controlled burns, a traditional Indigenous practice used to manage wildfires. This practice involves burning certain parts of the forest in the spring, before temperatures rise and while the ground is still wet, to keep flames from burning out of control. Indigenous peoples determine where to intervene based on centuries of observation. By clearing out the twigs, dead trees and pine needles covering the forest floor, they protect their land and help preserve the ecosystem. As a result, flames are transformed from threat to tool—two aspects of fire that Cris Derksen explores in her work.
Tchaikovsky Piano Concerto No.1
The Piano Concerto No.1 in Bb minor, Op. 23 was composed between 1874-1875 and revised three times until 1888. The premiere of this concerto would mark ten years after Tchaikovsky’s first public performance, so he was determined to make this work a big hit. However, after he showed the work to his desired pianist, Nikolai Rubinstein, Tchaikovsky received much criticism from his friend that he turnt his head away and reached out to Hans von Bülow, who adored Tchaikovsky and this work very much.
The premiere took place in 1875 in Boston, and it was so successful with the audience that Bülow was obliged to repeat the Finale. Although it was not initially welcomed, Rubinstein later had a change of heart and became a fan of the work. Now, this piano concerto is one of the most popular of Tchaikovsky’s works.
Fans of Monty Python’s Flying Circus will recognize the piano concerto’s iconic opening from a sketch featuring Terry Jones as world-famous soloist Sviatoslav Richter. It is announced that “during the performance, he will escape from a sack, three padlocks, and a pair of handcuffs.”
Here’s a breakdown of all of the movements.
The concerto follows the traditional form of three movements:
- Allegro non troppo e molto maestoso – Allegro con spirito (B♭ minor – B♭ major)
- Andantino semplice – Prestissimo – Tempo I (D♭ major)
- Allegro con fuoco – Molto meno mosso – Allegro vivo (B♭ minor – B♭major)
The first movement introduction starts with a short theme in french horn’s and the following accompaniment suggests a “wrong” key of Db major. The exposition begins in the tonic minor, with a Ukrainian folk theme, followed by a call and response section between tutti and the piano. The second subject consists of two alternating themes, one has a melodic contour from the introduction, the other is more gentle and sets the subtonic key. The woodwind and piano arpeggios together builds a stormy climax in C minor, and closes the exposition in Ab major with a variation on the second subject. The upper register twinkling in the piano seems to foreshadow Tchaikovsky’s The Nutcracker ballet which will come in later in his career.
The development contains snapshots of the first subject material: first in Eb major after a flurry of piano octaves, followed by a second repeat in G minor. Then the piano and strings play it in E major for the third repetition. The recapitulation builds excitement with reapperance of a powerful orchestral build from the exposition in Bb major, but was quickly cut short. The piano cadenza soon appears, followed with snatches of the first theme and led to a triumphant coda with the full orchestra.
The second movement begins with the flute singing over strings’ pizzacato, which becomes the main motif for the rest of the movement. The melody is past onto the piano with a modulation to F major, echoed by instruments from different spot in the orchestra, then later cello and oboe return with it in Db. The second section becomes more active and contrasting with light and bouncy piano passages demonstrating the soloist’s virtuosity. Following glides in the piano, the music return to the opening melody again, and this time it resolved in Db in a conversation between the piano and oboe. The final movement is in rondo form with a brief introduction, followed by two themes with one being uplifting and the other being more lyrical. A third theme later appears with modulation through different keys with dotted rhythm. Finally, the orchestra and pianist respond and challenge each other, and build towards a heroic ending.
The Drama of the Johannes Passion
Johann Sebastian Bach’s St John Passion stands as a testament to the power of music to convey profound emotion and drama. Written in the early 18th century, this sacred oratorio continues to captivate audiences with its rich harmonies, intricate melodies, and poignant text. In exploring why this masterpiece remains deeply moving, we uncover Bach’s genius in capturing the essence of the dramatic narrative through music.
At the heart of the St John Passion lies the retelling of the crucifixion of Jesus Christ, as depicted in the Gospel of John. Bach masterfully weaves together scripture passages, poetry, and chorales to create a compelling musical narrative that transports listeners to the heart of the Passion story. Through his intricate composition, Bach captures the range of emotions experienced by the characters, from the anguish of Jesus in the Garden of Gethsemane to the despair of Peter after his denial.
One of the most striking aspects of Bach’s St John Passion is its ability to evoke a visceral response from listeners. The music is imbued with a sense of urgency and intensity, mirroring the emotional turmoil of the events unfolding. In the opening chorus, “Herr, unser Herrscher” (Lord, our Ruler), the dissonant harmonies and driving rhythms set the stage for the impending drama, drawing listeners into the story from the outset.
Throughout the oratorio, Bach employs a variety of musical techniques to underscore the emotional depth of the text. The use of chromaticism, sudden dynamic shifts, and dramatic pauses all serve to heighten the tension and convey the sense of conflict inherent in the Passion narrative. In the aria “Es ist vollbracht” (It is accomplished), for example, the hauntingly beautiful melody and sparse accompaniment convey both the solemnity of Jesus’ sacrifice and the profound sense of fulfillment.
One of the most moving moments in the St John Passion is the chorale “Ruht wohl, ihr heiligen Gebeine” (Rest well, you holy limbs), which concludes the work. As the choir sings this tender farewell to Jesus, Bach’s music offers a sense of solace and consolation, providing a glimmer of hope amidst the darkness of the crucifixion. It is a moment of profound beauty and reflection, inviting listeners to contemplate the deeper meaning of Christ’s sacrifice.
While listening to a recording of Bach’s St John Passion can be a transformative experience in itself, there is truly nothing quite like witnessing a live performance. The immediacy of the music, combined with the energy and emotion of the performers, creates an immersive experience that is unmatched by any recording. In a live performance, the audience becomes an integral part of the drama, swept up in the ebb and flow of the music as it unfolds before them.
Moreover, attending a live performance of the St John Passion allows listeners to connect with a centuries-old tradition of sacred music. Bach’s oratorio has been performed countless times since its composition, yet each performance offers a fresh interpretation, breathing new life into the timeless story it tells. Whether performed in a grand concert hall or a humble church setting, the St John Passion continues to resonate with audiences of all backgrounds and beliefs, transcending the boundaries of time and culture.
Bach’s St John Passion remains a masterpiece of sacred music, moving listeners with its profound emotional depth and dramatic intensity. Through his inspired composition, Bach captures the essence of the Passion narrative, inviting audiences to experience the timeless drama of Christ’s sacrifice in a profoundly personal way. To witness a live performance of the St John Passion is to embark on a journey of musical and spiritual discovery, one that promises to leave a lasting impression on the heart and soul.
Sing-Along Messiah FAQ
Messiah time is almost here! We love putting together and performing Handel’s Messiah each year. If it were possible we would fit everyone from Saskatoon’s large choral community on stage with us for one amazing choir. Since there isn’t nearly enough room up front (and scheduling rehearsals would be a nightmare) we have the Sing-Along Messiah the afternoon after the Messiah performance. Choral professionals and enthusiasts alike join in singing beloved Messiah choruses as one huge choir.
Always wondered about the Sing-Along but you’ve never taken the leap? Have no fear! Here are some answers to the frequently asked Messiah Sing-Along questions.
Where and when is the Sing-Along?
Sing-Along Messiah is Saturday, December 16th at 2:30 pm in Knox United Church. This is the same location for the Friday night performance. Doors open at 1:45 pm so come early to get your seat (and perhaps do a warmup or two)!
How do I get tickets?
Tickets are available online and at the door. Singers tickets are just $20 and our Scotiabank 25Below is in effect at the door! ($15 for anyone 25 and under with ID at the ticket table)
Do I have to sing?
No! We do not force everyone to sing. If you want to come enjoy our soloists, and an incredibly large choir, come watch and listen. We recommend you sit in one of the balconies at Knox to have the full experience.
Where do the singers sit?
We divide the main floor into sections (Soprano, Alto, Tenor, Bass) so you can sit with your voice type (your people!). This way it is easier for those sight reading or experiencing their first Sing-Along. Confidence in numbers!
How do I know when to sing?
Our Saskatoon Symphony Chorus Conductor Duff Warkentin and Maestra Cosette Justso Valdés will be there to lead the charge! Keep your eyes on the baton as there are changes in tempi. All sing-along portions are bolded in the program with title numbers.
Can I sing the soloists part?
We invite you to sing along with our Saskatoon Symphony Chorus. Our soloists will be there for the recits and arias. In this relaxed setting, they might try out a few new ornaments! So sit back, relax, and enjoy the beautiful sounds of our special guests.
What if I don’t have a messiah score?
Not to worry. We will have several copies that we lend out for the performance. Please make sure to return them after as they belong to the University of Saskatchewan Music Department!
Or you may want to put it on your tablet!
Sergei Rachmaninoff, composer
Legendary Russian-American composer and pianist Sergei Rachmaninoff left Russia after the Communist revolution of 1917. He was born on April 2, 1873, on a big estate near Novgorod, Russia. From the age of four, Rachmaninoff studied music with his mother; he continued his studies at the St. Petersburg Conservatory and the Moscow Conservatory under the guidance of professors Arensky, Taneyev, and Tchaikovsky.
Rachmaninoff’s concert performances were legendary, and he was recognized as a great pianist with unmatched power, emotion and technical excellence. He could reach a twelfth, or an octave and a half, or, for example, from middle C to high G, thanks to his huge hands. Rachmaninoff frequently used musical references from folk ballads, jazz, oriental music, and more into his own pieces. He wrote music with unusually wide chords and intensely romantic melody lines.
Rhapsody on a theme of Paganini
In 1934, Sergey Rachmaninoff performed the solo part for the world premiere of his Rhapsody on a Theme of Paganini, Op. 43, in Baltimore, Maryland. With its virtuosity, emotional range, and creative twists on Niccol Paganini’s classic theme, this enduring composition continues to be a favourite of the piano concerto repertoire.
The “Rhapsody on a Theme of Paganini” is written for piano solo and orchestral accompaniment. However, Rachmaninoff personalizes this piece with creative twists by using a pre-existing theme from Paganini’s Violin Caprice No. 24 as the foundation of this composition. This provides thematic material for a hauntingly beautiful melody, that serves as the musical backbone of the entire work.
The piece is based on the hauntingly beautiful 24th Caprice from Niccolò Paganini’s Caprices for Solo Violin, which provides the thematic material for the variations that follow. Rachmaninoff’s Rhapsody is a stunning display of technical brilliance, emotional depth, and musical ingenuity, making it one of the most beloved works in the piano repertoire.
Rachmaninoff’s skill in transforming a musical idea into a variety of moods and emotions, from fun and whimsical to somber and dramatic, is demonstrated by his clever use of the Paganini theme throughout the variations.
Dvorak’s Symphony no. 7
Rachmaninoff writes cryptically on the first page of the manuscript, “This main theme occurred to me upon the arrival at the station of the ceremonial train from Pest in 1884.” Czechs were travelling from Hungary to Prague for a performance at the National Theatre, which was followed by a pro-Czech political demonstration.
The immediate issues of the 1880s had long-standing causes; for centuries, the Czech territories had been governed by the Austrian Hapsburg monarchy, and the Czech people were frequently treated as inferiors within the empire.
Over a low rumbling from the basses, timpani, and horns, the cellos and violas introduce the theme. A brief pastoral horn solo follows. A beautiful theme for flute and clarinets follows, and as it is passed to the violins, it becomes more intense. The opening theme makes a strong comeback at the movement’s climax. Following a dramatic coda, the movement comes to an end with one more appearance of the opening theme.
A calm, hymn-like chorale serves as the opening to the quiet second movement. A lyrical horn melody appears before taking an abruptly dramatic turn. The primary theme returns in the cellos after a series of powerful, contemplative developments, setting up the violins to lead an emotional passage. The hymn-like chorale from the beginning returns on the oboe over pianissimo, tremolo strings as the movement comes to a close.
The violins begin the third movement with a Czech furiant as the cellos and bassoons simultaneously play a Viennese waltz underneath it. This uneasy dance of two themes sets the tone for the whole work. This could be interpreted as a metaphor for Dvořák’s pursuit of great Czech music employing traditional Austro-German forms.
A furiant is a rapid and fiery Bohemian dance in alternating 2/4 and 3/4 time, with frequently shifting accents; or, in “art music”, in 3/4 time “with strong accents forming pairs of beats”
The finale opens with an ominous melody full of chromatic inflections that give it a Slavic character. This main melody develops into a number of increasingly frenzied march-like themes until a contrasting, lyrical melody appears.The music hurtles toward a rafter-shaking plagal cadence, the chords traditionally used for the word “Amen,” and ends with a resplendent D major chord, offering a glimmer of hope at the end of this intense musical journey.
ConcertStream.tv
A completely new way to experience the music – get up close and personal with the sound – ConcertStream.tv
What does this mean? It means your orchestra wherever you are.
At the current time, purchases of tickets and subscription to the streaming must be made on the ConcertStream.tv website
Live Streaming Ticket
For as little as $21 per Digital Ticket you and your household can watch the concert as it happens from the comfort of your own home, or wherever you have internet access.
When you purchase live stream access you will need to sign in to or create an account. Once your account is set up you can log in any time to see what you have access to. There will be a countdown for the upcoming live stream and you can even add a calendar reminder! You will get an email alert when the concert begins, but you can log in and get ready to view the live stream at any time. Once the live stream is complete there will be a recording available for you for 24 hours. It may take an hour or two to appear in your library.
Digital Tickets start at $19.99 and gives you access to one concert for 24 hours. You can also purchase $39 Supporter Tickets – these still get you the same 24hr streaming, but give you a way to support the SSO at this time!
Click Here to See Upcoming Events
Tickets must be purchased on the ConcertStream.tv website – no in-app purchases are allowed at this time.
Plan on watching 6 or more concerts? Wish you could watch them whenever you want and as many times as you want? An SSO Streaming Subscription is for you!
SSO Streaming Subscription
For only $99.99 you can have access to all SSO live streamed concerts for the year. You will also have full access to the SSO’s concert videos on demand. This means you can watch all our concert and bonus content wherever you want, whenever you want, and as many times as you want.
Love our opening night concert and want to see it again? You could watch it every day and its all covered by your $99.99 subscription!
Have major FOMO because you missed one of the live streams? Have no fear! You can catch all our incredible concerts at a later date and it still only costs you $99.99.
Here’s how it works:
- Purchase your SSO Streaming Subscription by clicking here (you can checkout as a guest)
Purchase your SSO Streaming Subscription - You’ll be able to set up your account, with your own password, and you’ll get a confirmation email for your purchase.
- Once your subscription is set up you’ll be able to login to watch videos whenever you want!
- Live streamed performances are available for 24 hours – 7 days after all live streamed concerts you’ll be able to watch the concert film of that concert on demand by logging into ConcertStream.tv.
- Enjoy unprecedented access to the SSO for a year!
You not only get a fantastic discount for all the live-streamed concerts by getting the SSO Streaming Subscription, but you also get the benefits of video on demand all while supporting your orchestra. How can you go wrong?
Subscriptions must be purchased on the ConcertStream.tv website – no in-app purchases are allowed at this time. But once you’re logged in on the apps, you’ll stay logged to be able to enjoy concerts whenever you want!
