Meeting Murray Adaskin

Growing up in a Jewish and Latvian household, Murray Adaskin was taught from a very early age to strive for excellence and persevere towards his passions. As a young man, Adaskin showed promise on the violin, and studied with Alexander Chuhaldin at the Toronto Conservatory of Music.

Using his talents to provide music for silent film presentations in Toronto, Adaskin dedicated himself to his work with the Toronto Symphony Orchestra from 1923 to 1936.

Two years after leaving the TSO, Adaskin played with the Royal York Hotel trio and continued to serve as a member of the group until 1952. Six years into playing with the Royal York Hotel Trio, Adaskin pushed himself to pursue education as a composer. He studied for seven years with John Weinzweig, Charles Jones, and Darius Milhaud of the influential French composer group known as “Les Six”. Particularly in Adaskin’s early compositional works, Igor Stravinsky was a major inspiration.

Attending the Music Academy of the West in 1950, Adaskin began his tenure as head of the Department of Music at the University of Saskatchewan in 1952 and remained in that position until 1966. He played an instrumental role in bringing the Amati Instruments to the University.

He then became the Composer-in-Residence until 1972. This was the first position of its type ever created at a Canadian university. His training as a violinist imbued his sense of melody with an abstract feel, and through his music one can feel the presence of landscapes, birdsongs and different local surrounding sounds.

During his time in Saskatoon, Adaskin served as the Music Director of the SSO from 1957 to 1961. His time with the SSO further cemented the orchestra during its artistic growth, and continued the organization’s passion for new music.

It was only after his decorated career as a musician and educator came to close that Adaskin fully committed himself to composing music. More than half of his output of 130 compositions were penned after his retirement to Victoria in 1972. In December of 1980, Adaskin was awarded the Order of Canada, and he was invested as an Officer of the Order of Canada the following year.

Despite losing his wife (the soprano Frances James) in 1988, Adaskin found love again with Dorothea Larsen, who was instrumental in helping him to record his final compositions: “Divertimento No.9” for string trio (1998), “Finki, Where Are You?” for 2 violas (2000) and “Musica Victoria” (2000).

Having lived a life rich in musical pursuits and achievements, one that spanned most of the 20th century, the renowned composer passed away surrounded by family at 96.

As he moved westward across the Prairies to his final resting place in British Columbia, Murray Adaskin left a legacy of musical passion whose vibrancy continues to burn bright at our University and in the hearts of all he taught.

We’re thrilled to feature Murray Adaskin’s Rondino for Nine Instruments as part of our concert Paris of the Prairies.

The Music of Jocelyn Morlock

Over the last few years, Jocelyn Morlock’s music has become an audience favourite at the SSO. We’ve been so fortunate to play a number of her works, most recently the March 7th performance of Oisieux Bleu et Sauvages. 

A couple of years ago, we performed her work Solace for string orchestra – it was an instant favourite. So we have been looking for the right time to bring it back. The work centres around the comfort need to regenerate after loss – its beautiful and sweet, warm and inviting.

Born in Saint Boniface, Manitoba, Jocelyn Morlock began her musical training under the piano tutelage of Robert Richardson, Sr. After completing her Bachelor of Music in piano performance at Brandon University in 1994, she pursued a master’s degree and a subsequent Doctorate of Musical Arts from the University of British Columbia. Studying with the likes of Stephen Chatman, Keith Hamel, and Nikolai Korndorf, she received international acclaim for her 1997 composition “Bird in the Tangled Sky” at the 1999 International Society for Contemporary Music’s World Music Days. 

Her composition “Amore” was written as an imposed work for the 2005 Montreal International Music Competition, and her “Involuntary Love Songs” was composed for the 2008 Eckhardt-Gramatté National Music Competition. After serving as inaugural Composer-in-Residence for Vancouver’s Music on Main, she became the first female Composer-in-Residence for the Vancouver Symphony Orchestra (2014-2019). Her tenure as the co-host of the ISCM World New Music Days 2017 was punctuated by her victory at the SOCAN Jan V. Matejcek New Classical Music Award one year later. 

In 2018, Morlock received a JUNO for Classical Composition of the Year for her powerful orchestral composition entitled “My Name Is Amanda Todd”.

Morlock’s music has been defined as “airy but rhythmic, tuneful but complex“ , and takes an eccentric approach to post-modernism. Her compositions are quirky, but always derived from a musical language that is deeply rooted in emotional experience. 

She describes her music as being inspired by “birds, insomnia, nature, fear, other people’s music and art, nocturnal wandering thoughts, lucid dreaming, death, and the liminal times and experiences before and after death.” In each of her compositions, her use of colouristic effects and extended techniques bring her incredibly specific musical vision to life. Her composition for cellist Rachel Mercer and violinist Akemi Mercer-Niewohner can be found on their 2019 album “Our Strength, Our Song”. 

Other recent premieres include “Stone’s Throw” for internationally renowned new music sextet Standing Wave, “Io, Io!” written in celebration of the Vancouver Cantata Singers’ 60th anniversary, and “Serpentine Paths” which celebrates sisterhood and music by Canadian women. 

You can hear Morlock’s Solace as part of our Paris of the Prairies.

A Picasso Suite for the SSO

Harry Somers’ “Picasso Suite” was commissioned by the SSO in 1964 and received its premiere performance in Saskatoon. Since that first performance, it has gone on to be one of Canada’s most loved orchestral suites, and an audience favourite across the country!

Harry Somers was one of the most influential and innovative contemporary Canadian composers of the past century. Possessing a charismatic attitude and rather dashing good-looks, as well as a genuine talent for his art, Somers earned the unofficial title of “Darling of Canadian Composition.”  A truly patriotic artist, Somers was engaged in many national projects over the course his lifetime.

Each of the movements in this suite provide musical interpretations of the many artistic phases which defined the life and art of Pablo Picasso. An invigorating blast of musical color begins the suite, recalling all the sights and fragrances of Paris at the turn of the 20th century.

Picasso has struck the Parisian art scene, a meteor of brilliance brimming with raw potential, and the world of classical art will never be the same. Just as suddenly as he arrives, the Spanish-born artist’s captivating colors are musically withdrawn into themselves.

What emerges from the silence are Somers’ sonic representations of the paintings which represent Picasso’s Blue Period. Somers utilizes the oboe’s potential for melancholy to full effect in this second movement. This is a movement that plays with the listener’s other senses, and which invites them to delve into the textures belonging to these paintings: the smooth pallid skin of his “Old Guitarist”, the warmth of the steam that is central to “La Soupe”, and the stale taste of dust that lingers in the air of his “La Vie”.

Transfixed by this rich introspection, we are caught off guard as the rolling thunder of percussion ushers in a new artistic phase: The Rose Period. Titled “Circus” by Somers, this movement conjures all the delight experienced by a child under the Big Top. This musical calliope spins us through the cheerful orange and pink hues of Picasso’s Rose Period, while broad-nosed figures from his African-Influenced Period dance vibrantly into focus. Somers uses this playful romp to tremendous effect, recalling the youthful vitality of Picasso’s painted women in “Les Demoiselles D’Avignon”.

One by one they strike a pose and skip away, as the musical calliope grinds slowly to a halt and a dissonant chord contorts the face of one lingering woman. Somers then begins to interpret the most iconic phase of Picasso’s life as an artist, one which owes a considerable debt to the stylized features of traditional African masks: his Cubist Periods. As we soar through the decade spanning 1909 to 1919, clusters of bent notes rain from the sky. Out of the mist, there seeps a sense of dread which culminates in a symphonic homage to one of the most prolific depictions of atrocity ever put to canvas: the infamous black and white mural “Guernica”.  

Left in silence once more, the fifth movement’s plaintiff melody explores Picasso in the years immediately following World War One. Picasso’s muse returns in a new form, voiced by a soothing oboe melody, and spurs his artistic mind onward to bathe in the clean bright light of the Neoclassical style. Excitement bubbles forth as Somers falls into a fascination with lyrical spins and flourishes, illustrating the more bizarre offerings of Picasso’s Surreal Period.

Riding on the crest of this wave, we feel Picasso grow introspective once more. Stirring in the listener a longing for the innocence of the third movement, the brass call out to echo the valor of those who lost their lives on the field of battle. A delicate voice from a music box lulls Picasso into a deep slumber, and he dreams of a project that will consume most of his waking moments for the next four years: The Vollard Suite.

Art historians believe that many of the figures depicted in the Vollard Suite’s 100 etchings were inspired by Honore de Balzac’s 1831 short story “The Unknown Masterpiece”. The story revolves around a painter who attempts to capture life itself on canvas through depictions of feminine beauty, and Somers tasks the erotic lilt of the flute alone with capturing the sensual and manic devotion of the artist rendering his muse.

As did the style of the etchings themselves, Picasso’s temperament shifted wildly over the period spanning 1933 to 1937, with the spread of fascism through Europe darkening those clouds that had been cast over the artist’s mind. The virtuosity of the sixth movement trickles away to reveal one of the final images in the series: the once virile minotaur, now blind and impotent, being led to safety by a young girl.

The seventh movement, oddly titled “Temple of Peace” may be musically comforting in its initial majesty, but a glance outside of its pristine chamber betrays the arching shapes of strange architecture peeking from an even stranger garden. Picasso is still troubled, still searching to reclaim his youthful innocence. Punctuated by an unsettling violin motif, Somers creates in this movement a sense of motion towards something important while utilizing precious little melody.

The return of the music box signals the arrival of the eighth movement, as well as an epiphany crystalizing in the mind of the aging Picasso. He abandons the cold safety of the temple for the warm rain of the lush garden. Pushing his way through ever-thickening foliage, the garden eventually gives way to jungle. Emerging into a clearing at last, Picasso meets his alter-ego: the faun. Playing his double-flute with unbridled ease, the faun guides Picasso deeper into the wild and teaches him how to find peace within himself. The melody of his Rose Period “Circus” days come back in flashes, and Picasso is finally at home with himself again after so many years.

In the final movement, Codetta, Pablo Picasso can finally revisit his first few bombastic years in Paris unencumbered. As Picasso once remarked, “It takes a long time to become young.” Unconventional and riveting to its core, Harry Somers’ “Picasso Suite” is among the finest of artistic tributes to a man whose life’s work birthed whole new possibilities of creation for artists worldwide.


Live Stream Tips & Tricks

So, you’ve bought your Digital Concert Stream subscription, or your one time Digital Ticket for the SSO live-streamed concert. You are settled in your favourite chair, snacks and drinks in hand and you are ready to enjoy the concert from the comfort of your own home.

But how do you watch the show? Great question! Here are some ways to watch and a few tips and tricks to help maximize your viewing experience.

Before the concert begins you will receive an email with the link to the live stream. You can click the link on any device and start watching as soon as the stream goes live at the concert start time. It will open a new window that will show either an image of the orchestra or an image from the concert you’re about to watch.

There will be a countdown in the bottom left corner of the video and it should automatically begin at the appointed time if you have the window open. If it does not begin at 7:30 push the play button. You can watch on any of your devices that have internet access, even your TV! We have some common ways to get the live stream on your TV below.

This video will be available for 24 hours!  If you aren’t able to watch at the concert start time, happen to miss the first few minutes, or even if you want to watch it again, you can do that for 24 hours.

You can press pause. Unlike real life you can pause a live stream! If you need to take a break for whatever reason you can pause or rewind the live stream when you need to. The system will keep recording and it won’t interrupt your feed if you press play five, or more, minutes later.

Lag happens. If the video is choppy or isn’t lined up with the audio that could be due to your internet connection. We recommend pressing pause to let the stream load a little. If that doesn’t work, sometimes hitting the refresh button is all you need. Don’t worry about missing anything as the live stream automatically converts to a recording and is available for 24 hours from the concert start time.

If you have any issues please contact us! Sometimes email inboxes filter out messages from us so if you know you should have a link coming your way and it hasn’t arrived contact stream(at) We have someone monitoring the email before, during, and after the concert and they will get back to you as quickly as possible so that you can get back to enjoying your at home (or wherever) concert experience.

For Digital Concert Stream subscribers there is a back up link available to you on the Digital Concert Stream Page found under “My Account”. Click here to log in.

How to watch YouTube videos and live streams on your TV!

If you have a smart TV you can:

1. Open the YouTube link from the email on your device and click the save button (next to the share button on the bottom right corner) to add the video to your “watch later” playlist. When you open the YouTube app on your smart TV you will be able to find the video in your playlist and bring it up on your TV Screen. (This does require you to be signed in to your YouTube account on the device and your Smart TV.)
2. Open the internet browser function on your TV and type in the private YouTube link you received in your email.

Some smart TVs will immediately recognize that you are playing a youtube video on your device and ask if you want to watch it on your TV. Every brand is different so often a quick google search will get you the answers you need!

If you have a Chromecast, Roku, Apple TV, or Amazon Fire you can:

1. Open the private YouTube link on your device and cast (or airplay) the video to your TV.

You can also click the link and click “Save” when the YouTube video has opened – then go to YouTube on your TV (through Roku, FireStick, etc), and you’ll find the saved video in your Library on the ride hand side menu.

If you do not have a smart TV or aren’t sure how to add apps to your TV you can:

1. Connect your laptop to the TV screen with an HDMI cable. This will allow you to use your TV as a mirrored screen or second screen. Push play on your laptop to start the video or live stream and it will show up on your TV.

Ravel’s Mother Goose

Ravel’s Mother Goose Suite is not unlike a thoughtfully assembled box of one’s favorite assorted chocolates: each has something unique to offer our tastebuds, and all should be savored. If one has the time, sampling each of them in one sitting is a real treat. Having been expelled from France’s prestigious Conservatoire, Ravel loosed his musical creativity on the well-known and beloved stories of Mother Goose as a gift to two piano students: Mimi and Jean Godebski. As Ravel would later remark, “the idea of evoking in these pieces the poetry of childhood naturally led me to simplify my style and to refine my means of expression”. And refine them he did… 

In the first movement of this programmatic work, Ravel descends into that delicate world of calm uncertainty we find between waking and dreaming. In his musical interpretation of Sleeping Beauty, the composer’s soft harmonies perfectly capture the stillness of an evening that has almost given way to dawn. The melancholic uncertainty in this introductory piece is not overdone, but gradually sprinkled over the listener like the fabled Sandman’s sleep dust.

The dream shifts once more as we begin the second movement, accompanying the miniscule figure of Tom Thumb on a fruitless quest. The poor fellow searches high and low for his home, while the birds that devour his poorly planned navigational system (breadcrumbs) taunt him with dissonant chirping from the uppermost tonal reaches of the piano. And just as the listener begins to grow weary of hills and valleys, we arrive at the sea.

The protagonists of the dynamic third movement, whose melody is grounded in a lively pentatonic sequence, are a sea-faring girl and her green serpentine companion. After the girl’s boat is scuppered on the rocks of an island inhabited by delicate doll-like denizens, she is named ruler of the so-called “pagodes and pagodines” and weds her companion. This marriage transforms them both into beautiful human royalty, and Ravel encourages us to delight in the pitter-patter of porcelain feet as we listen to the animate dolls zip swiftly from one scene of the story to the next. The meditative entrance of the giant green serpent is a winding and purposeful journey through the island’s flora, culminating in a reunion with the newly crowned princess and offering a pinch of romantic devotion to his character. While beauty is found in dreams and the journey home in previous movements, Ravel foreshadows in this bright collection of scenes the moral of the upcoming movement: that beauty can be found within.

The fourth movement is defined by the Beauty’s waltz, an introspective dance which gives way to the brooding dissonance of the Beast as slowly the two characters (and their melodies) grow closer to one another. The tension builds until their love for one another wins out, and the Beast is revealed to be a Prince. It is here, at the final precipice of the fourth movement, that Ravel tumbles into storytelling that is entirely his own, both thematically and musically.

The fifth movement brings everything full circle with the approach of a prince in Sleeping Beauty’s realm. A magical kiss brings everything into focus, and Sleeping Beauty opens her eyes to behold her true love. The pair venture forth from the drab room in which she slumbered and enter her fairy godmother’s garden to be wed. The themes of love and dreams and homecoming are beautifully brought together in a fitting fanfare that turns the final page of the storybook and score alike.

An Afternoon for a Faune

It can be said of beauty in the arts that the simpler something appears to a beholder, the greater were the creator’s efforts in cloaking the underlying complexity of their creation.

Subtlety, after all, requires a keen eye for detail. Such is the case with Claude Debussy’s Prelude a L’apres-midi d’une faune, a symphonic poem that some consider to be the definitive turning point in the evolution of modern music. Translated as “Prelude to the Afternoon of a Faun”, its enduring fame rests squarely on the piece’s ability to ebb and flow harmonically without losing the passionate purpose and endless curiosity of its flute-playing goat-legged protagonist.

Shying away from musical literalism, the layering of the orchestration and tickling lilt of the flute’s melodies imply a delicate balance between romantic discovery and cheeky flirtatiousness. This is done primarily as a tribute to the prelude’s inspiration, a poem by Stephan Mallarme of scandalously erotic proportions (at least, for the time in which it was written).

Depicting the musing mid-day sojourn of a fawn as he awakes after mingling with his very friendly nymph and nyad neighbors, the story drifts on a current of bubbling flute solos which deliver an intoxicating feeling of otherworldly calm. Punctuated by swelling ascending passages, the final product portrays a metaphor of the human psyche: a beacon of child-like wonder, part rationality and part instinct that lives to investigate and enjoy all that the external world has to offer.

The piece’s musical impact was astronomical, with daring compositional choices being pioneered from its very first performance at Paris’s Salle Harcourt in 1894. Repeating cells of

Stephane Mallarme

music with no real direction, flute solos beginning (unfingered) on the “bad note” of C# that flautists ordinarily stampede away from, and a chordal structure functioning as something of an afterthought in comparison to the unabashedly forward role of its principal soloist. Each of these bold decisions converged into a piece of music which cranked up the heat on a musical revolution that already started to brew, a way of interpreting music through the conviction that it can be so much more than a static phenomenon defined by timeless truths and classical principles.

At a time where social distancing, mask-wearing, and household bubbling have made us all increasingly wary of environmental interaction and exploration, Debussy’s Prelude a L’apres-midi d’une faune serves as a musical reminder of the scintillating pleasures that await us in this garden of life. All we need to do is awaken from our slumber and take it all in, one hoof-step at a time.

Hear the SSO perform this work as part of our Postcards from Paris!
Postcards from Paris


Piaf and La Vie en Rose

Imagine falling in love in Paris: a delicate series of scenes painted in soft pastels, where romance shines through every innocent moment of discovery in that bright and historic city. Do you hear the music? It is very likely that the melodies your mind instinctively conjures are a melodic throwback to a classic staple of French songwriting: “La Vie en rose”. The lyrics to this lush piece of Parisian music were penned by French singer-songwriter, cabaret performer, and film actress Edith Piaf.

Immortalized as France’s national chanteuse, Edith Piaf’s remarkable vocal stylings gave birth to a career peppered with high points, and the immediate commercial success of La Vie en rose was certainly one of them. It was the song that made Piaf internationally famous, with its lyrics expressing the joy of finding true love and appealing to those who had survived the difficult period of World War II.

Popularized in 1946, it was released as a single in 1947 to widespread acclaim, with seven versions of the song topping the Billboard charts in the United States alone. The song was popularly covered by Dean Martin, Louis Armstrong, Donna Summer, and Latin singer Thalia. Even Bing Crosby hopped on the musical appreciation train bound for France when he recorded his 1953 album “Le Bing: Song Hits of Paris”.

As is the case with most secret sauces, the harmony between distinct flavors (musical or otherwise) makes all the difference. Similarly, the success of La Vie en rose is owed not only to Piaf’s sparkling lyricism, but also to the subtlety of composer Louis Guglielmi’s musical design. His orchestration deepens our immersion into the musical imagery that makes Piaf’s performance so captivating. Known by his nom de plume “Louiguy”, Guglielmi was no stranger to delightful combinations (himself being a Spanish-born French musician of Italian descent).

Having studied at the Conservatoire de Paris alongside the likes of Maurice Baquet, Henri Dutilleux, and Paul Bonneau, Guglielmi was also responsible for penning the 1950 Latin Jazz hit “Cerisier rose et pommier blanc” (a popular song which would eventually be reconfigured as a mambo smash-hit for Perez Prado). Guglielmi created nearly three dozen film scores during his life, but the musical partnership he showcases with Piaf on “La Vie en rose” is a timeless sort of beauty that sets itself apart. Like Paris itself, this renowned ballad is in a class of its own.

The SSO is living La Vie en Rose and performing it as part of our Postcards from Paris

Chevalier and the Balloons

Audiences today don’t know enough Joseph Bolonge, the Chevalier de Saint-Georges, and we need to change that because he was an important figure in music history who’s music is making a major comeback.

Chevalier de Saint-Georges was a champion fencer, classical composer, virtuoso violinist, and conductor of the leading symphony orchestra in Paris. Born in the French colony of Guadeloupe, he was the son of George Bologne de Saint-Georges, a wealthy married planter, and Anne dite Nanon, his wife’s African slave.

His father took him to France when he was young, and he was educated there, also becoming a champion fencer. During the French Revolution, the younger Saint-Georges served as a colonel of the Légion St.-Georges, the first all-black regiment in Europe. He fought on the side of the Republic. Today the Chevalier de Saint-Georges is best remembered as the first known classical composer who was of African ancestry; he composed numerous string quartets and other instrumental music, and opera.

The Chevalier played a key role in the aristocratic life of Paris in late 1700s, with close ties to the Palace of Versailles. The Chevalier often found himself the guest at the private musicales salons of Marie Antoinette at Versailles…with Chevalier playing his violin sonatas, with the Queen accompanying on the forte-piano.

Etching of the September 19th air balloon flight at Versailles

In the fall of 1783, the Montgolfier brothers made a major step in human history – and it all happened in front of the court of Louis XVI at Versailles. The first ‘aerostatic’ flight in history was an experiment carried out by the Montgolfier brothers; at long last, man could leave the surface of the earth below.

On the day, crowds filled the gardens to watch the magical lift off. The balloon took off on a warm September 19th afternoon, with animals instead of humans as its first passengers – and it was a total success. Just two months later the first balloon flight with humans was also success. After that, there was no looking back. It was the first time that humans had been able to take to the skies, and proved that Da Vinci had been right…there would be a way to fly!

Hot air ballooning took off in France, and before long passenger balloon rides were filling the skies above Paris.

Chevalier de Saint-Georges’ music was the toast of Paris and Versailles. During the 1780s, Saint-Georges’ star continued to get brighter and brighter. His output during this time was swift – operas, concertos, sonatas – but he also shaped the music that Paris was hearing. We have Saint-Georges’ to thank for the commissioning of Haydn’s Paris Symphonies, which the Chevalier conducted upon their premieres.

Paris was a place filled with innovation, fascination, ambition, and pre-revolution tensions. Historians know that the Chevalier de Saint-Georges was at the Versailles court in September of 1873, but it remains unknown if he was there on the day that the Montgolfier brothers made everyone dream about flying!

Digital Concert Stream

A completely new way to experience the music. We are incredibly excited to launch our Digital Concert Stream.

What does this mean? It means your orchestra wherever you are. 

Log In to Digital Concert Stream

Live Stream Digital Ticket

Each concert will be live streamed from St John’s Cathedral in downtown Saskatoon. For a $20 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.

This could be you, enjoying the SSO from home!
You can watch all SSO concerts from home

When you purchase your Digital Ticket from the SSO you will receive an email with a direct link that gives you access to the streamed concert. Not able to make it for the start of the concert? The live stream video will convert to a recorded file and it will be available for 24 hours.

A Digital Ticket is $20 and gives you access to one concert for 24 hours.

Click Here to Buy Digital Tickets

Plan on watching 6 or more concerts? Wish you could watch them whenever you want and as many times as you want? A Digital Concert Stream Subscription is for you! 

Digital Concert Stream Subscription

Log In to Digital Concert Stream

For only $95  you can have access to all SSO live streamed concerts for the year. You will also have full access to SSO video 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 $95 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 $95.

No FOMO for these lake goers. They have a subscription to the SSO Digital Concert Stream.

Here’s how it works:

  1. Purchase your Digital Concert Stream subscription by clicking here (you can checkout as a guest)
    Purchase your Digital Concert Stream Subscription
  2. You’ll get a confirmation email for your purchase
  3. We will set you up with a unique login based on your email.
  4. Once the Digital Concert Stream is set up you’ll be able to login to watch videos.
  5. Ahead of a live stream, you’ll receive an email with links to watch through the Digital Concert Stream or through a private YouTube link.
  6. 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 in to the Digital Concert Stream. (there’ll be lots of bonus features and behind the scenes content to enjoy in the concert films!)
  7. 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 Digital Concert Stream Subscription, but you also get the benefits of video on demand all while supporting your orchestra. How can you go wrong?

Here’s the full live stream lineup:



See if you can spot our new billboards around Saskatoon! Let us know where you will be watching from by tagging us on social media –  @SSOyxe.

Musical Herstory

For centuries, the writers of musical textbooks (and the programmers of musical institutions) excluded women who composed.

Women have been writing and performing music for as long as men have; so how come we don’t know about very many women composers? In this class we’ll explore the socio-historical reasons behind the absence of women from textbooks while exploring their music and their lives.

With stories such as appealing to the vanity of Louis XIV in order to publish their music, or conducting from a prison cell with a toothbrush, the Herstory of Music shows the bravery and tenacity of women finding ways to create music in a world dominated by men. And the Herstory does not just live in the past – it is being made today by living and breathing women. How much has really changed?

Élisabeth-Claude Jacquet de la Guerre

The SSO is proud to present Saskatoon composer Kendra Harder in this six week course exploring the Herstory you need to know.

Classes take place Thursday’s at 7pm (Saskatchewan time) – each class is 60 minutes.

The first class takes place on September 17th, and will be available on video to those who aren’t able to attend the class live on Zoom.

Click to Register Now

How does it work?

Before the first class, you’ll receive an email that gives you access to the 6 weeks of scheduled Zoom classes.

If you can’t participate in the live Zoom class, you’ll have access to the video of the class on our YouTube channel

Week One – History of Feminist Musicology

Composers in focus – Élisabeth-Claude Jacquet de la Guerre and Marianna Martines

Week Two – The Education and Socialization of Women

Composers in focus – Fanny Hensel Mendelssohn and Clara Schumann

Week Three – The Suffrage Movement and Difficulties of Being a Female Musician or Musician of Colour in the 20thCentury

Composers in focus – Dame Ethel Smyth and Florence Beatrice Price

Week Four – Living Composers – The Advancement of Music Technology and the Avant-Garde

Composers in focus – Kaija Saariaho and Sofia Gubaidulina

Week Five – Living Composers – Composers in the Neighbourhood

Canadian composers in focus – Alexina Louie and Cris Derksen

Week Six – Living Composers – Music as a Living and Interacting Entity. Plus – what else do composers do besides write music?

Composers in focus – Kaley Lane Eaton and Niloufar Nourbakhsh