It’s sometimes easy to forget that the iconic Joni Mitchell grew up here in Saskatoon – in fact, Saskatoon and the Canadian prairies make many appearances in Joni’s catalogue of songs. In Cherokee Louise we hear her talk about the Broadway Bridge, and Paprika Plains is a hymn about her love for the plains.
To coincide with the SSO’s performance of Joni’s music from her albums Both Sides Now and Travelogue, we partnered with DTNYXE for a photo display along 2nd and 3rd Aves downtown.
The photos bridge Joni’s more than fifty year career, and each is paired with a line from her legendary song Both Sides Now.
“The title of the concert, Don’t Give Yourself Away, comes from a line in Both Sides Now,” says SSO Executive Director Mark Turner. “There’s such an incredible passion in her eyes that is present no matter what year the photos were taken. And her orchestral jazz recording in 2000 of Both Sides Now show that, like her eyes, her search for art and life never faded in her music and lyrics either.”
The posters are on display until March 5th – take a walk all the way down 3rd Ave to read from the first lines, “Rows and flows of angel hair” to the end of the song.
“She deserves so much more celebration than we’re able to give her, but we felt so compelled to bring this music to life as her orchestral jazz albums are amongst the best the genre has ever offered.”
The concert features Vince Mendoza who arranged and conducted both albums for Joni. He’s joined by bassist Edwin Livingston, jazz legend Peter Erskine on drums, vocalist Sarah Slean, and the Saskatoon Symphony Orchestra.
“I am a Lonely Painter, I Live in a Box of Paints” – Denyse Klette
In 2017, artist Denyse Klette helped us celebrate our Mozart Festival with a one-of-a-kind portrait of Wolfgang – and when she found out that we had a concert celebrating the music of Joni Mitchell, a new idea was born.
Denyse is known for her remarkable ability to capture a moment in paint – her art is full of life and colour, and shows her absolute love of life. The painting’s title comes from a line in Joni’s classic A Case of You, and the painting references that Joni has often said she sings her sorrow and paints her joy.
PRINT GIVEAWAY
Anyone who purchases a ticket by March 1st at 12 noon will be entered into a draw to win a limited edition artist-enhanced canvas print of the painting (valued at $995). If you’ve already purchased a ticket for the show, don’t worry – you are already entered into the draw. Denyse will make the draw live on stage the night of the concert.
Don’t Give Yourself Away – the Music of Joni Mitchell features the SSO conducted by long-time Joni collaborator Vince Mendoza and features Sarah Slean on vocals – the concert marks the first ever live performance of the music from Joni’s albums Both Sides Now and Travelogue.
Tickets to the SSO make a perfect stocking stuffer, so we made it simple to know what the perfect gift for your loved ones.
The remainder of our season is jam-packed with incredible concerts, so this list was hard to widdle down!
#5 – A Musical Homecoming
Saskatchewan has produced some of the finest musicians Canada has to offer….so we thought it was high time to bring two of the brightest stars home!
Tania Miller grew up in Foam Lake, and did her first music degree at the University of Saskatchewan…she went on to become the first Maestra of a Canadian orchestra. She’s garnered herself a reputation for her bold artistic passion which has made her a favourite on the podium of orchestras like the Chicago Symphony and Toronto Symphony.
Trumpeter Guy Few has long been an audience favourite at the SSO – he’s been both trumpeter and pianist with the SSO. His fearless virtuosity never fails to blow the audience away!
With two hometown musical superstars, this concert is going to be one of the biggest nights of the year! Great gift for music lovers, people who love a great night out.
Welsh composer Karl Jenkins’ knows how to strike a chord. When his work The Armed Man premiered in 2000 the audience knew it was witnessing something very special. It is triumphant, heart breaking, emotional, and a universe call for peace….and the Benedictus has become one of the most popular pieces of music of the 21st century. The SSO is joined by the Canadian Chamber Choir and Greystone Singers for this Saskatchewan orchestral first.
With this gift, you’ll get a call the morning after our concert saying they couldn’t possibly thank you enough! Great gift for grand parents, people who love choral music, and first-time symphony goers.
We’re getting back to the silver screen, and this time we’re featuring the tramp. Charlie Chaplin’s films are iconic – his was a remarkable sensitivity for comedy and sincerity. This gift comers as a two-fer – we’ve got a double header featuring two Chaplin films for the price of one…”The Immigrant” followed by “The Adventurer”.
It’s the ultimate movie night – pair it with a gift certificate to one of Riversdale’s amazing restaurants and yours will be the best gift! Great gift for the film buff in your world, people who like a concert experience off the beaten path.
Tickets on sale December 8th.
#2 – You’re a wizard Harry!
To celebrate the 20th anniversary of the first Harry Potter novel, the SSO is bringing the music of Harry Potter to life on stage with full symphony orchestra. Hedwig’s Theme, Harry’s Wonderous World, Hogwarts Forever, and many many more! Dress up, because lets face it…everyone else will be too!
Plus getting the tickets now avoids being disappointed when it sells out! Great gift for the wizards in your world…no matter the age.
#1 – Don’t Give Yourself Away – the Music of Joni Mitchell
Joni Mitchell’s music is hard to quantify. It has influenced every musical generation after it; it has given inspiration to women singer-songwriters who call her role model; it was the voice of an era and a place in time, yet timeless. We’re featuring songs from Joni Mitchell’s orchestral albums Both Sides Now and Travelogue – her musical collaborator on the albums, Grammy winner Vince Mendoza, is coming to lead the SSO in the first concert performance ever of this music. We welcome back chanteuse Sarah Slean for this once-in-a-lifetime concert.
Both Sides Now, A Case of You, and many many more! Perfect gift for mom and dad, aunt and uncle, the amazing women in your life, and of course Joni fans!
Opening the Remai Modern is the most highly anticipated arts events of the decade in Saskatoon. And particularly exciting for Saskatoon to have a chance to finally see its remarkable new Picasso collection on display for the first time.
In 1964, the same year that the Mendel Art Gallery opened, the Saskatoon Symphony Orchestra commissioned a new work by Canada’s leading composer of the time, Harry Somers. Somers was paramount to the development of the identity of Canadian classical music, and was involved in the development of the Canada Council for the Arts and the Canadian Music Centre. Among his many notable compositions is his opera Louis Riel which was written to celebrate the 100th anniversary of the confederation of Canada.
The 1960s proved to be a pivotal decade in Somers’ career. He became more involved in diverse aspects of the Canadian music scene and his career as a composer finally took off. Although he had struggled to make a living on his compositions prior to this point in his career, this was the decade in which Somers no longer needed to hold a permanent position at any establishment and instead was able to live off of his commissions alone.
He began the decade by returning to Paris for more compositional studies, thanks to a Canada Council for the Arts fellowship. While there, he concentrated on Gregorian chant, particularly its revival by the Solesmes Abbey.
When he returned to Canada, Somers became interested in how young people were being exposed to and educated about Canadian music. He sought to improve upon their education via a number of different methods. In 1963, he became a member of the John Adaskin Project, which was an in-school initiative involving the teaching and performance of Canadian music in schools. Also in 1963, Somers began his part-time career with the Canadian Broadcasting Corporation by hosting televised youth concerts.
John Adaskin was the brother of Murray Adaskin who was the SSO’s 4th Music Director. Through the Adaskin connection, the SSO commissioned a new work for chamber orchestra from Somers.
In 1964, Somers wrote the SSO the “Picasso Suite”. It was adapted from music for a television program on the life of Picasso. The suite is nine movements long. The performing forces consist of: a flute, oboe, clarinet, horn, trumpet, strings, two percussionists, piano, and celesta. It’s jazz infused and captures the many artistic eras of Picasso’s life…the Blue period, Cubism, Neo-Classical, you get the idea!
The first movement, “Paris 1900 – Snapshot” is in B flat major. it is marked Allegro and is in 4/4 time. It opens with a trombone glissando, which leads directly into a snappy parody of a ragtime melody played by the trumpet and trombone. The piano and percussion parts are improvised over a pizzicato bass. The short, symmetrical phrases feature syncopated rhythms. A siren, whistle, and triangle add color. The final measures are marked accelerando.
The eighth movement, “Arcadia – Faun with Flute – Innocence” is in G major. The tempo is marked allegretto. It is in 3/4 time and is played in a delicate waltz style. The melody is derived from a simple Spanish folk song. The music box-like theme is played first on the solo glockenspiel. The solo flute repeats the melody to a simple pizzicato accompaniment. The enchanted mood is maintained by the celesta and glockenspiel in the closing measures.
I Lost My Talk is based on the poem by Mi’kmaw elder and poet Rita Joe, C.M. Rita Joe penned her poem to express not only the pain and suffering she experienced at Schubenacadie Residential School in Nova Scotia, but also her hope and conviction that her words could guide and inspire indigenous and non-indigenous peoples across Canada to journey to a place of strength and healing. NAC award composer John Estacio has created a lush musical score which is performed in synergy with a film by world-renowned director Barbara Willis Sweete.
The film, shot in High Definition on the shores of Georgian Bay, Ontario, features 10 First Nations dancers moving in choreography created by Santee Smith Tekaronhiáhkhwa, Artistic Director of Kaha:wi Dance Theatre. Rita Joe’s poem is narrated by Guna and Rappahannock actor Monique Mojica. Visual designers Normal bring the film to life on screens that immerse the orchestra and audience. (This work premiered January 14, 2016). Duration 20 minutes.
Commissioned for the National Arts Centre Orchestra to commemorate the 75th birthday of the Right Honourable Joe Clark, P.C., C.C., A.O.E. by his family.
I Lost My Talk by Rita Joe
I lost my talk
The talk you took away.
When I was a little girl
At Shubenacadie school.
You snatched it away:
I speak like you
I think like you
I create like you
The scrambled ballad, about my word.
Two ways I talk
Both ways I say,
Your way is more powerful.
So gently I offer my hand and ask,
Let me find my talk
So I can teach you about me.
Alexander Shelley reflects on the creation of I Lost My Talk
In a way, we spend our lives searching for our sense of self. For most of us it is a slow burn, an adventure explored on our own terms, in our own time. For others, the sense of self is challenged brutally and abruptly – violently even. We see it across the world on a daily basis – peoples torn away, displaced, their cultures threatened as they yearn for a home that no longer exists.
This powerful performance explores the themes of exile, resistance and displacement and ultimately celebrates the triumph of the human spirit over adversity.
The great Mi’kmaw elder and poet Rita Joe, C.M. – as with the other composers on our program – faced an insidious attack on her identity and did so with honour, wisdom, integrity and enormous compassion. Her powerful message of hope encourages peaceful reconciliation and was the inspiration behind this unique symphonic experience that combines music, motion and film.
As soon as I read “I Lost My Talk”, I knew that I wanted to engage with it, that I wanted it to be part of our creative lives, that I wanted us to carry her beautiful and dignified message to our audiences both nationally and internationally. Importantly and poignantly, her message also transcends its Canadian roots at a time when more and more people of different heritages are having to learn to listen and to understand
Donna Feore shares her experience with producing and directing I Lost My Talk
Rita Joe’s poem I Lost My Talk is mother to all the creative collaborations that make up this performance. It was my goal to unite each artist through their unique response to Rita Joe’s words — Rita’s language. No matter how disparate their disciplines, we would find ways to communicate, to inspire. Music is a language. Dance is a language. Film is a language. All three are universal. Rita’s is not. Rita’s is intensely personal and painful. And yet her story must be told and retold for it touches us, universally. Rita Joe is our Elder. I hope what follows proves with what devotion we have begun to listen.
John Estacio describes his composition I Lost My Talk
In fifteen lines of poetry, Rita Joe’s poem I Lost My Talk captures the discombobulating fear of being forced to leave one’s culture. Just as the poem is divided into four stanzas, the composition is divided into four uninterrupted movements.
A bucolic flute solo captures the narrator’s life prior to attending Shubenacadie Residential School. Strings play a hymn that suddenly transforms into a harsh musical environment; the flute melody is now fractured and lost within a foreign tonal soundscape.
Throughout the second movement, as shattered musical themes recover, the percussion and lower brass frequently interrupt, forcing the melody to regroup and move forward into an atmosphere that becomes relentlessly oppressive.
With the words “you snatched it away,” an aggressive third movement begins; the solo flute returns, swept up in frantic momentum. A percussion solo ushers the return of the hymn, now fraught and anguished. With the text “two ways I talk,” the hymn is played in two different keys simultaneously.
With “I offer my hand,” the noble fourth movement begins; here, an anthem for reconciliation soars as the narrator finds the courage to act as an ambassador, bringing peace and understanding to two different cultures as well as her own life.
The Saskatoon Symphony Orchestra is proud to announce that it will become the first orchestra in the country to host a Citizenship Ceremony on stage.
On May 13th before the final concert of our 86th season, the SSO will celebrate and welcome 20 new citizens to the country.
The concert celebrates the 150th anniversary of the confederation of Canada. The performance features Canadian music that celebrates the history before confederation and the future of our country. The SSO orchestra, led by Eric Paetkau, brings two world premieres to the stage: a new fanfare by leading composer Derek Charke, Elan, commissioned for the SSO by the Toronto Symphony Orchestra and Canada 150, and John Burge’s Four Seasons of the Canadian Flag.
Also featured that evening is actor Carol Greyeyes narrating the SSO’s performance of John Oliver’s The Raven Steals the Light, a work that explores the West Coast First Nation’s story of a Raven who brings light to the world. SSO Principal Percussionist and National Music 2015 winner Bryan Allen will perform Vincent Ho’s The Shaman – the work is inspired by Shamanism in many international indigenous cultures, which explores the idea of connection between Shamans’ healing spirit and soul and the role that orchestras can play through emotional and inspirational music making.
“Having the citizenship ceremony at this concert is some of the most important work the SSO has ever done,” said SSO Executive Director Mark Turner. “Regardless of anniversaries or festivities, this is a chance for the SSO to express our national identity. Canadian music is in a new golden age and we can’t wait to share this music at the concert. Welcoming new citizens to their home surrounded by an audience and an orchestra engaged in a collective sharing of their music is a very special thing.”
The first part of the citizenship ceremony will take place earlier in the evening, backstage. The final swearing in will take place on stage, and then new citizens and audience will join with the SSO to sing O Canada. Three of the four composers will be attending the performance and working with the orchestra during the rehearsals.
There was a time many years ago when the earth was covered in darkness. An inky pitch blanketed the world making it very difficult for anyone to hunt or fish or gather berries for food. An old man lived along the banks of a stream with his daughter who may have been very beautiful or possibly quite homely. This didn’t matter to the old man however because after all it was dark and who could tell.
The reason why the world was dark had to do with the old man who had a box that contained a box that held many other boxes. In the very last box was all the light in the universe and this was a treasure he selfishly kept to himself.
The mischievious Raven existed at that time because he always had. He was none too happy about the state of the world for he blundered about in the darkbumping into everything. His interfering nature peaked one day when he stumbled by the old man’s hut and overheard him muttering about his boxes. He instantly decided to steal the light but first had to find a way to get inside the hut.
Each day the young girl would go to the stream to fetch water so the Raven transformed himself into a tiny hemlock needle and floated into the girl’s bucket. Working a bit of his “trickster” magic, he made the girl thirsty and as she took a drink he slipped down her throat. Once down in her warm insides he changed again; this time into a small human being and took a very long nap.
The girl did not know what was happening to her and didn’t tell her father. One day the Raven emerged as a little boy child. If anyone could have seen him in the dark, they would have noticed that he was a peculiar looking child with a long beaklike nose, a few feathers here and there, and the unmistakably shining eyes of the Raven.
Both father and daughter were delighted with their new addition and played with him for hours on end. As the child explored his new surroundings he soon determined that the light must be kept in the big box in the corner. When he first tried to open the box, his grandfather scolded him profusely which in turn started a crying and squawking fit the likes of which the old man had never seen. As grandfathers have done since the beginning of time he caved in and gave the child the biggest box to play with. This brought peace to the hut for a brief time but it wasn’t long until the child pulled his scam again, and again, and again until finally only one box remained.
After much coaxing and wailing the old man at last agreed to let the child play with the light for only a moment. As he tossed the ball of light the child transformed into the Raven and snatching the light in his beak, flew through the smokehole and up into the sky.
The world was instantly changed forever. Mountains sprang into the bright sky and reflections danced on the rivers and oceans. Far away, the Eagle was awakened and launched skyward – his target now clearly in sight.
Raven was so caught up in all the excitement of the newly revealed world that he nearly didn’t see the Eagle bearing down on him. Swerving sharply to escape the outstretched talons, he dropped nearly half of the ball of light which fell to the earth. Shattering into one large and many small pieces on the rocky ground the bits of light bounced back up into the heavens where they remain to this day as the moon and the stars.
The Eagle pursued Raven beyond the rim of the world and exhausted by the long chase, Raven let go of what light still remained. Floating gracefully above the the clouds, the sun as we now know it started up over the mountains to the east.
The first rays of the morning sun brought light through the smokehole of the old man’s house. He was weeping in sorrow over his great loss and looking up, saw his daughter for the first time. She was very beautiful and smiling, he began to feel a little better.
At our upcoming concert featuring new Canadian music, we’re thrilled to present the narration premier of John Oliver’s the Raven Steals the Light. The work tells the story of a smart raven bringing the world from chaos into the light. The tale comes from the West Coast Indigenous tradition and will feature Saskatoon actor Carol Greyeyes.
John Oliver about his work:
My composition is a musical setting of the story as told and illustrated by Bill Reid in a book of Native American tales, which he co-wrote with Robert Bringhurst, titled The Raven Steals the Light. The music begins with the ‘inky pitchy blackness fugue’ (the world before light). Raven bumbles around in the dark. Then raven discovers a house with no windows or doors. Inside he hears an old man who says, ‘I have a box and inside the box is another box and inside it are many more boxes, and in the smallest box of all is all the light of the world.’ Raven decide he wants the light , but he can’t find a way into the house, so he goes upstream to make a plan. He decides to transform himself into a hemlock needle to travel downstream until he reaches the place where the old man’s daughter collects water. She will collect water at the moment Raven arrives (as hemlock needle). Then she will drink from the bucket and swallow Raven. Raven will go to her womb. The daughter will go home and Raven will be born inside the house as Raven-boy.
After much stumbling around (in the dark, remember), he will find the box of boxes with light in the smallest one. He will convince the old man to open the boxes, against his will, one by one, until a strange light is cast and then the last box is opened and the old man picks up the ball of light and tosses it like a toy to Raven-boy who, at that instant, transforms himself back into the big black Raven. In the newly found light, the old man barely glimpses his grandson as the boy’s mouth becomes a beak and catches the light and Raven flies up out of the house through the smoke-hole.
As Raven flies into the sky, everything below is lit up, but, as Raven can now see, so can his predator, Eagle. Eagle chases Raven., Raven swerves to avoid Eagle, and in doing so, drops half the light, which breaks on the rocks below into one big piece and thousands of tiny pieces that bounce back into the night sky to become today’s moon and stars. Finally, tired of the chase, Raven drops the last piece of light on the horizon, creating the sun. The eternal Raven escapes the jaws of the Eagle and goes on to find food and new adventures in his newly illuminated world. The composition ends with the transformation of the world by light.
The University of Saskatchewan (U of S) and the Saskatoon Symphony Orchestra (SSO) will sign a memorandum of understanding (MOU) on Jan. 28th to enhance and extend joint initiatives that benefit the cultural interests of the province of Saskatchewan and beyond.
“This partnership will advance the wonderful collaborations between two of the province’s most influential cultural institutions,” said Peter Stoicheff, U of S president and vice-chancellor. “It will build upon the longstanding connections between the community and our university’s diverse range of departments, colleges and schools.”
Stoicheff said that the agreement is intended to provide a starting point “for a variety of future research and artistic collaborations between the two institutions” that could include shared artist-in-residence programs, research chairs, and development of joint online programs, such as e-lectures, that would expand the reach and impact of music education locally and across the province.
SSO Executive Director Mark Turner noted that the U of S and the SSO are natural partners as they both have large impact upon the social, cultural and economic development of the province.
“We have a long, rich history of collaboration that dates back to 1931, the inaugural year of both the symphony and the U of S Department of Music, when Arthur Collingwood, the first head of the Department of Music, founded Saskatoon’s orchestra,” he said.
Turner noted the MOU will encourage wider community engagement through joint educational programs aimed at involving elementary and secondary-level students in music and orchestral training.
The partnership also promotes engagement with the U of S instrument collections, such as the Amati string instruments, a rare quartet of 17th century instruments, and the growing Kaplan Collection of Instruments, comprised of historical and indigenous instruments from around the world.
Initiatives featuring these collections, such as collaborations with other orchestras and visiting performer programs, will connect the U of S and the SSO to wider audiences locally, nationally and internationally through music.
“This partnership will allow us to build on our successful music-centered programming, while creating new opportunities to explore points of connection that extend throughout our campus and into the wider community,” said music department head Gregory Marion.
Marion noted that innovative collaborations are already well underway and that the MOU provides a framework for encouraging wider engagement among the SSO members, the university and the community.
The signing takes place at the SSO’s Masters Series concert, Saturday January 28th at 7:30pm at TCU Place.
