Sibelius’ First Symphony

Jean Sibelius’s Symphony No. 1 in E minor, Op. 39, is a landmark work in the history of classical music and a testament to the composer’s skill and artistic vision. Composed between 1895 and 1899, the symphony is a masterpiece of Romantic orchestral music and is widely regarded as one of Sibelius’s greatest works.

The first movement of the symphony is marked by its sweeping melodies and dramatic contrasts, with the orchestral sections alternating between lush and powerful moments and more introspective and lyrical passages. The second movement is a scherzo, characterized by its playful and energetic rhythm, with the strings and woodwinds weaving intricate patterns over a driving rhythm in the percussion section.

The third movement is a slow and contemplative adagio, characterized by its beautiful and expressive melodies. Sibelius creates a sense of stillness and introspection with delicate, sustained strings, and soft, atmospheric woodwinds. The movement builds to a climax before resolving in a peaceful and serene coda.

The final movement is a triumphant and celebratory allegro, with the full orchestra building to a rousing conclusion. Sibelius creates a sense of excitement and energy with driving rhythms and powerful brass and percussion, culminating in a triumphant and joyful finish that leaves a lasting impression on the listener.

Throughout the symphony, Sibelius demonstrates his mastery of orchestration, creating a rich and vibrant sound that is uniquely his own. He also draws on the musical traditions of his native Finland, incorporating folk melodies and rhythms into his music to create a distinctive and personal style.

Sibelius’s Symphony No. 1 is a landmark work that continues to be widely performed and recorded to this day. Its sweeping melodies, dynamic contrasts, and emotional depth make it one of the greatest symphonies of the Romantic era, and a testament to Sibelius’s skill as a composer and his contribution to music. Whether you are a seasoned classical music aficionado or a newcomer to the genre, this symphony is sure to leave a lasting impression and is highly recommended for anyone looking to deepen their appreciation of music.

 

*image at the top of the page an internal photograph of the Sibelius Wind Pipe Organ

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 17th 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 Valdes 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!

 

 

McKenzie Warriner, soprano

McKenzie Warriner is a Saskatchewan born and raised soprano bringing
music and text to life in works ranging from 17 th century opera to the
cutting-edge. In the 22/23 season, McKenzie is honoured to be a
Yulanda M. Faris Young Artist with Vancouver Opera, where she will
sing the role of Aurore in Le portrait de Manon, as well as understudy
Leïla in Les pêcheurs de perles and Tytania in A Midsummer Night’s
Dream. She is also excited to make her United Kingdom debut at the
2023 Aldeburgh Festival premiering new works as a Britten Pears
Young Artist. Recent credits include Abigail Richardson-Schulte’s
Alligator Pie with the Regina Symphony Orchestra, Bessie Brent in The
Shop Girl (COSA Canada), Madame Herz in Der Schauspieldirektor
(Eastman Opera Theatre), and Gretel in Hansel and Gretel (University
of Manitoba). Passionate about contemporary music, McKenzie co-
founded Slow Rise Music in 2021, a concert series devoted to creating
bold new vocal works. McKenzie earned her Master of Music degree
from the Eastman School of Music and her Bachelor of Music degree
from the University of Manitoba.

Brenden Friesen, bass

Saskatchewan born bass Brenden Friesen has captured audiences with his powerful resonance, exceptional diction, enormous comedic presence, and incredible interpretation of text (Opera Canada). Brenden is a recent graduate of the esteemed L’Atelier lyrique young artist program at l’Opéra de Montréal. His studies include a Bachelor of Arts in Voice Performance from  Briercrest College while studying with Dr. Ron de Jager, followed by completing University of Toronto’s MMus Opera degree while studying with Professor Lorna MacDonald. Brenden is now a current student of Ariane Girard in Montréal, Québec.

After debuting with Opéra de Montréal in 2018 with Verdi’s Rigoletto as Count Ceprano under the baton of Maestro Carlo Montanaro, he has since performed notable roles such as Colline in Puccini’s La bohème with both Saskatoon Opera (2018) and Highlands Opera Studio (2018), Ernest Hemingway in Ricky Ian Gordon’s Canadian debut of 27 (2019), Truffaldino in Strauss’ Ariadne auf Naxos (HOS2019), and Zaretski in Tchaikovsky’s masterpiece Eugene Onegin (Opéra de Montréal 2019). Brenden has also undertaken such roles as Sarastro in Mozart’s Die Zauberflöte (2018), Leporello and Il Commendatore (UofT Opera), and Masetto (Saskatoon Opera 2017) in Mozart’s Don Giovanni.

Duff Warkentin, conductor

Duff Warkentin has been a choral conductor and clinician for many years. His formal post-
secondary education was at Canadian Mennonite Bible College in Winnipeg, the University of
Waterloo, and the University of Regina. He has conducted children’s choirs, high school choirs,
church choirs, university choirs, and community choirs. He has sung under the direction of
noted conductors such as Robert Shaw, George Wiebe, Helmut Rilling, John Martens, Elmer
Iseler, Wayne Riddell, Jon Washburn, and Bramwell Tovey. He has prepared and conducted
many of the Requiems, Masses, oratorios, and other larger works in the standard repertoire. Two
particular choral experiences stand out for him. He conducted the Station Singers of Rosthern, a
non-auditioned community choir, since its inception in 2000. That choir discontinued at the
beginning of the Covid 19 pandemic, and this summer the decision was made to end the choir. It
was a difficult decision, arrived at after considering a number of factors. He was honoured to
conduct this wonderful choir. He also conducted a Warkentin family choir at their triennial
family reunion. This experience too is one that is tremendously important and meaningful to
him. The commonality between these two experiences is that both groups were, and are, amateur
choirs, in the truest sense of the word. Singing for the sheer love of music and singing together,
creating together what we cannot create alone, recognizing that the whole is greater than the sum
of the parts, building community through music, through singing together – this is what inspires
and energizes Duff Warkentin, and he is thrilled to be able to participate in Handel’s Messiah
again!

Martin MacDonald, conductor

Martin MacDonald is one of Canada’s most dynamic and outstanding young conductors and has been awarded both the Heinz Unger Award and the Jean-Marie Beaudet Award for orchestral conducting. Martin has guest conducted extensively across Canada having worked with the orchestras of Toronto, National Arts Centre, Vancouver, Victoria, Kamloops, Edmonton, Calgary, Winnipeg, Hamilton, Kingston, Kitchener-Waterloo, London, Niagara, Sudbury, Thunder Bay, Windsor, Quebec, New Brunswick, and Newfoundland. He has served as a Cover and Guest Conductor for the National Ballet of Canada for several productions, and has worked with the Minnesota Ballet, Atlantic Ballet, and Halifax Dance. Martin has recorded extensively for the CBC and for several commercial recordings. Most notably, Martin has served as Resident Conductor, Associate Conductor, and a regular guest conductor of Symphony Nova Scotia since 2008 with over 200 performances in a diverse range of programs and artists. Previously, Martin served as Associate Conductor of the National Academy Orchestra of Canada, and has participated in several international conducting workshops and competitions.

Martin has a Master’s in Orchestral Conducting from McGill, a Bachelor’s in Cello from Memorial, and has studied conducting with Alexis Hauser, Bernhard Gueller, Boris Brott, Michael Jinbo, Kenneth Kiesler, Gustav Meier, Jorma Panula, and Johannes Schlaefli. Martin’s conducting activities have been generously supported by the Canada Council for the Arts. Cape Breton born, Martin is the youngest of twelve children and has a diverse musical background with a strong Celtic music tradition including extensive touring and performing with members of his family throughout Europe and North America.

Martin resides in Toronto, Ontario with his wife, Kristen and their daughter, Frances.

 

https://www.martinmacdonald.ca/

Judith Yan, conductor

Equally adept at conducting symphony, opera, and ballet, Judith Yan’s career has taken her internationally, conducting for major companies in Europe, Asia, Australia, and North America. She has held Staff Conductor positions at San Francisco Opera, Canadian Opera Company, and National Ballet of Canada.

Her recent debuts were celebrated with critical acclaim: “In her Vancouver Opera debut, Canadian Conductor Judith Yan really shone in the pit, bringing extraordinarily lyrical and expressive playing from the Vancouver Opera Orchestra.” (Vancouver Opera, La Boheme, Opera Canada 2018). “Under the direction of Canadian conductor Judith Yan, the West Australian Symphony Orchestra is simply wonderful.” (West Australian Ballet, Don Quixote, Greg Ross, 2018). “Judith Yan, her Seattle Opera debut, conducted the orchestra with vigour and deep sympathy for the score.” (Seattle Opera, An American Dream, Classical Voice America, 2017). “Under the baton of Judith Yan, the music just came to life.” (Kentucky Opera, Orfeo , Arts-Louisville Reviews). “The Edmonton Symphony played splendidly under Judith Yan…coaxed many vivid, dramatically transparent moments from the players.” (Edmonton Opera, La Traviata, Opera Canada 2019).

While with the San Francisco Opera, she served as Staff Conductor, assistant to Maestro Sir Donald Runnicles, where her performances of Stravinsky’s The Rake’s Progress for San Francisco Opera was included in the San Francisco Chronicle’s Top Ten Classical Performances of the Year. Prior to San Francisco Opera, she served as the first Conductor-in-Residence of the Canadian Opera Company, where she made her debut with Britten’s Rape of Lucretia. As the Principal Conductor of Opera on the Avalon since 2010, she has lead numerous productions including Ours, Shawnadithit, Tosca, La Boheme, Tosca, Suor Angelica, Gianni Schicchi, La Traviata, Albert Herring, and Dead Man Walking.

As a conductor of symphony, she served as the Artistic Director of Guelph Symphony Orchestra for 8 seasons, where she expanded the orchestra’s symphonic and operatic repertoire with works by composers Richard Strauss, Igor Stravinsky, Philip Glass, Francis Poulenc, Leonard Bernstein. As a guest conductor, she has collaborated with orchestras such as Auckland Philharmonia in New Zealand, Hong Kong Philharmonic, Manitoba Chamber Orchestra and Saskatoon Symphony.

As a conductor of ballet, she has conducted over 90 performances at the Four Season’s Centre for the National Ballet of Canada, working with the world’s foremost choreographers. She has been a frequent guest conductor with West Australian Ballet, Hong Kong Ballet, and Korean National Ballet.

Recent performances include 3 critically acclaimed world-premieres: Jack Perla’s An American Dream for Seattle Opera and John Estacio’s Ours for Opera on the Avalon, Krzysztof Pastor’s Dracula for West Australian Ballet; company debuts with Vancouver Opera with La Boheme, Kentucky Opera for Orfeo, National Arts Centre Orchestra for Cynthia Harvey’s Sleeping Beauty, Teatr Wielki in Warsaw for Cranko’s The Taming of the Shrew; and a return to West Australian Ballet and West Australian Symphony for La Bayadere, Hong Kong Ballet for Don Quixote  and Korean National Ballet for Swan Lake.

2022/23 includes Jake Heggie’s Three Decembers with Opera on the Avalon, a return to San Francisco Opera Merola (production TBA), a debut with Opera Omaha with Suor Angelica, Madama Butterfly with New Orleans Opera, and a return to Saskatoon Symphony for 3 programmes, opening its 92nd season with a Canadian premiere of Gipps’s Symphony No. 2, Forsyth’s Viola Concerto, and a world-premiere of an SSO commission by Christos Hatzis, followed by two programmes of De Falla and Ravel, and Copland and Wagner, and the much anticipated world-premiere of Laura Kaminsky’s February for Opera on the Avalon.

https://judithyan.com/

Angela Cheng, pianist

Consistently praised for her brilliant technique, tonal beauty, and superb musicianship, Canadian pianist Angela Cheng is one of her country’s national treasures. In addition to regular guest appearances with virtually every orchestra in Canada, she has performed with the symphonies of Saint Louis, Houston, Indianapolis, Colorado, Utah, San Diego and Jacksonville, as well as the philharmonic orchestras of Buffalo, Louisiana, Rhode Island, London, Israel and Minas Gerais in Brazil.

Recent performances include a debut with the Fort Worth Symphony, performing Rachmaninoff’s “Variations on a Theme of Paganini,” under the baton of Robert Spano, and a return to the Vancouver Symphony, performing Ravel’s Concerto in G with Otto Tausk. Next season will include the Boulder Philharmonic, Newfoundland Symphony, Okanagan Symphony, Saskatoon Symphony, Saguenay Symphony and the Symphony of Northwest Arkansas.

Angela Cheng has performed recitals and concertos at Carnegie Hall, Kennedy Center/Washington, D.C., the 92nd Street Y/New York and Wigmore Hall in London. As a member of the Zukerman Trio and Chamber Players, she has also appeared at the Musikverein/Vienna, the Concertgebouw/Amsterdam, Teatro Colon/Buenos Aires, Mariinsky Concert Hall/St. Petersburg and the Sydney Opera House. Festival appearances include Verbier, Edinburgh, Miyazaki, Stars of the White Nights/St. Petersburg and the George Enescu Festival in Romania.

Angela Cheng also appears regularly on recital series throughout the United States and Canada and has collaborated with the Takács, Colorado, and Vogler quartets. North American festival performances include Banff, Chautauqua, Colorado, Great Lakes Chamber Music, Vancouver, Toronto and the Festival International de Lanaudière in Quebec.

Ms. Cheng has been invited to give masterclasses throughout North America and in Asia, including the Royal Conservatory of Music in Toronto, Hong Kong Academy for the Performing Arts, Taichung University in Taiwan, Indiana University, University of Michigan and the University of Texas. She has also served on the jury of many competitions, including the Cleveland International Piano Competition, Esther Honens International Piano Competition, Montreal International Piano Competition, and the Gina Bachauer International Piano Competition, among others.

Angela Cheng has been Gold Medalist of the Arthur Rubinstein International Piano Masters Competition, as well as the first Canadian to win the prestigious Montreal International Piano Competition. Other awards include the Canada Council’s coveted Career Development Grant and the Medal of Excellence for outstanding interpretations of Mozart from the Mozarteum in Salzburg, Austria.
PLEASE DISCARD ALL PREVIOUS BIOGRAPHIES (April 2022)

A native of Hong Kong, Ms. Cheng studied extensively with Menahem Pressler at Indiana University and with Sascha Gorodnitzki at The Juilliard School. She is currently on the artist faculty of the Oberlin Conservatory of Music, where she was honored with the 2011-12 Excellence in Teaching Award.

www.pianistangelacheng.com

“Cheng unspooled songlike melodies with melting lyricism, flew through rhapsodic flourishes with sparkling clarity, and unleashed fiery sounds when needed. In playful passages, she relished off-beat accents and ‘wrong’ notes. She also paid close attention to the orchestra, which skillfully complemented her style [Rachmaninoff Rhapsody on a Theme of Paganini].”
THE DALLAS MORNING NEWS

Costume Ideas

Looking for some last-minute costume ideas?

Here are a few ideas we thought you might like!

Bach

Need a powdered wig in a pinch for your composer costume? Try using some printer paper!

Wear a black coat and pants with a white top, and carry some sheet music. Just keep telling people “you’ll be Bach” for the extra pun factor.

 

Looking for other composer costume inspiration? Check out @NormalComposers on Twitter!

Leonard Bernstein partying with Patti Smith.
Béla Bartók having a miserable time with some lady friends.

Record

Want to set the record straight? Dress up as some vinyl for Halloween!

Once you have your cardboard box: Cut 2 large circles from the cardboard box. Spray paint both sides of the circles with black spray paint and let dry completely. While this dries, print out 2 copies of the record label template provided. Cut out the label and glue it to the center of the black cardboard circles. To create shoulder and chest straps, measure the length needed and place 2 strips of duct tape sticky side together. Tape to the cardboard front and back, so you can easily slip it over your head. *Optional: use the paint pen to draw on record grooves.

Here’s the template.

 

SSO Musician

Have a favourite member of the orchestra? Put on your concert-worthy outfit and fashion yourself after one of our musicians!

Or, if you know them outside the orchestra you could dress up like they do when not on the stage.

A few years ago, principal bassoon Stephanie Unverricht dressed up as our principal oboe Erin Brophey (who was pregnant at the time)!

 

Pick a great song title and dress up according to the title.

The Devil with a Blue Dress is an easy one to do! Some horns and a pitchfork, plus a blue dress and you’re ready to go.

 

If you’re really in a pinch try this random costume generator:

Can’t wait to see those musically minded costumes!