Story of the Raven Steals the Light

Story of the Raven Steals the Light

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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.

Oliver’s Raven Steals the Light

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.

 

 

 

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A New Era – SSO and U of S to sign partnership agreement

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.

The Happiest Birthday of All

Even though the days are finally getting longer, January is still a dark, cold time. Thankfully there is a special day a the end of the month to bring us all hope. That day is January 27th.

There are many fantastic figures born on this auspicious day, some notable people include actor Alan Cumming (1965), astronomer Beatrice Tinsley (1941), musician Hot Lips Page (1908), author Lewis Caroll (1832), and on a very cold day in 1989, our very own Director of Communications.

As wonderful as all of us Jan 27 babies are, the SSO is paying tribute to one in particular.

Wolfgang Amadeus Mozart was born on January 27th in 1756. Christened as Johannes Chrysostomus Wolfgangus Theopilus Mozart it’s understandable that this prolific composer went with the shortened name.

Having an incredibly musical family father Leopold, sister Nannerl (a nickname for young Maria Anna), and Wolfgang would tour across Europe.Composing and performing before european royalty by age 5, it is no surprise that young Mozart was engaged as a musician in the Salzburg court by age 17.

Sadly Mozart passed away at age 35, leaving behind his wife Constanze, two children, and an amazing amount of music. You can see a list of his works here. One can only image what masterful works Mozart would have created had he lived longer!

In honour of the 225th anniversary of Mozart’s death, and his 261st birthday, we have partnered with Saskatoon Opera and the University of Saskatchewan to present Mozart week.

Mozart Week events include:

Music of Mozart
Sunday Chamber
Sunday, January 22, 2pm
Delta Bessborough Hotel

The Genius of Mozart
Music Talk at McNally Robinson
With Guest Panellists
Tuesday, January 24, 7pm

Amadeus
Special one time screening
Wednesday, January 25, 7:30pm
Roxy Theatre

LovePlay
Saskatoon Opera Performance
January 26 & 27, 8pm
Saskatoonopera.ca

Mozart’s Violin
With the University of Saskatchewan
Friday, January 27, 12:30pm
Quance Theatre, UofS

Mozart Festival
With Timothy Chooi
Saturday, January 28, 7:30pm
TCU Place

Mozart Festival with Timothy Chooi is the jewel to top the crown of Mozart Week. Timothy is an incredibly talented (and young!) violinist who is swiftly carving out a career for himself that rivals older bother Nikki. Described as “Le miracle”, Timothy has performed with symphonies across North America. He makes a conscious effort to make music more accessible through social media and by promoting causes that further music education.

Timothy will treat us to Mozart’s Concerto for Violin No. 5 in A Major, and then Eric Paetkau will masterfully take the SSO on a wonderful musical journey to Mozart’s Jupiter.

After our Saturday concert for Mozart Festival please join us for a birthday party across the street at the Hub! There will be a chance to visit with other patrons, our guest artist, musicians, and best of all, birthday cake.

So come help us celebrate the life and sounds of Mozart (and all the other excellent people that happen to share his birthday).

 

 

A chat with Julia Wedman

When trying to write a short post about our guest artist baroque violinist Julia Wedman, we realized that it’s hard not to gush about this talented Saskatoon sweetheart. Julia’s bio is incredible. She has been a member of Tafelmusik Baroque Orchestra since 2005, she is a part of Eybler Quartet, and Julia a member of the innovative baroque ensemble I FURIOSI. She has travelled all over the world with the ensembles and as a solo artist. She is also a talented educator and coach having done residencies across North America. To top everything off, in 2011 Julia released her debut solo recording of Biber’s Mystery Sonatas (Sonoluminus) to rave reviews.

Amazing resume aside, we know that Julia is a wonderful person to work and chat with. Instead of parroting more of her bio to you (which you can read here), we asked her to answer a few questions.

SSO: What was your “aha” moment that made you realize you love baroque?

J: My first term at Indiana University, I was placed in one of the big symphony orchestras, with a conductor that was mediocre and music that I wasn’t interested in. One day at rehearsal the conductor accidentally threw his baton, and it hit me just under my eye. Two millimetres higher and it would have taken out my eye. I went home and complained bitterly to my best friend. He said “Come to the baroque orchestra concert tomorrow – you will love it!” So I went, and he was right! The director was the baroque violin guru, Stanley Ritchie, who was so graceful and elegant as he played, it was like he was dancing on stage. The whole orchestra was having such a great time, smiling and dancing together, playing so beautifully and joyfully that I was immediately smitten. I signed up for baroque orchestra and lessons with Stanley the next day. 

SSO: Favourite piece of music to play?

J: Bach C major Solo Violin Sonata. Well – that is my favourite piece to practice. I never get bored – which is good, because it is so difficult that I need to practice it a LOT! Also anything by Bach, Biber, Rameau or Mozart.

SSO: What is the best piece of advice you received early in your career that still holds true today?

J: Listen

SSO: Guilty pleasure?

J: Prince. 80s rock. I think I memorized every song played on CKOM in high school, and I still know them. Sometimes we do covers of the best ones for encores with my group I Furiosi. Last week we did Eye of the Tiger. 

SSO: Favourite SSO memory?

J: One of the first concerts I ever played with the SSO…Beethoven’s 9th Symphony! I was so thrilled to be part of such an incredible musical experience!

 This was also my most embarrassing moment. At the beginning of the Scherzo, Beethoven sets up a pattern of play-rest-play-rest but the third time he writes rest-play. And I played. Alone. When everyone else was resting. A study was done a few years ago on violinists who made mistakes in concerts, and they found that when they played accidental “solos” their heart rates would shoot up so high, it was like they were in a car accident. I know that feeling. 

SSO: How does it feel to be back in Saskatoon to perform?

J: It is so heart-warming to be here playing with dear friends, and having the honour of sitting beside a former (wonderful, inspirational) teacher. It is a real treat to be here playing with this wonderful orchestra. I feel so grateful to have had the support of such a fantastic musical community as a young person growing up here. 

SSO: Any other fun facts you would like people to know?

J: One of the best things we get to do in Tafelmusik is a residency with Opera Atelier at Versailles every 18 months or so. It is a magical week in Paris. I take the train into the city to see incredible art at the Louvre or Musee D’Orsay in the daytime, rehearse and perform Lully in the opera house at Versailles in the evenings, and explore the palace and gardens in my “downtime”. Being a musician isn’t always very glamourous. I love it, but it is a lot of sacrifice and a lot of hard work. Every once in a while I find myself in an experience so incredible that I have to pinch myself to see if I am dreaming, and being at Versailles is always one of those times. Last year November we were there just days after the terrorist attacks, and we were even more grateful than ever to be there supporting the French people. I think everyone should come with me to Paris some time. If you love music, art, history, and food, you will love it! 

We will be there again in May! 

Julia joins the SSO at 7:30pm, this Friday (October 28th) at Knox United Church.

Take a listen to the samples below and let Julia serenade you while you buy your tickets!

 

 

 

 

 

 

 

 

 

Board Governance Workshop with Simone Joyaux

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Do not miss a rare opportunity to learn about board governance and training from one of the exceptional voices in the field: Simone Joyaux, ACFRE.

Saturday, November 5, 2016 at TCU Place

What’s the workshop about?

Simone will begin with shock and awe then move into principles, practice, and body of knowledge around the serious business of boards and governance.  Sector credibility remains lower than it used to be which means less credibility with people in your communities, with your prospects, and potentially your donors, too.  Things do not seem to be improving.

Who should attend?

  • Executive directors NEED to know governance and enable it well.
  • Board members MUST learn about governance to improve function and sector credibility.
  • Fundraisers HAVE TO understand it.

Wanting to bring in someone of the caliber of Simone Joyaux to work with our board and staff, and realizing how much interest there was from other arts and nonprofit organizations, the SSO decided to spearhead this event for the benefit of all who want to participate. There is only room for 200 participants so be sure that you and your colleagues are fortunate to attend what is certain to be a dynamic and thought provoking workshop with Simone!
Register by October 7 for early-bird rate of $180 per person including meals and snacks.

CLICK HERE TO REGISTER and for more information.

Can you hear it?

The other day I was visiting with an SSO donor.  I thoroughly enjoy talking with people who have played a part in this new era of Saskatoon’s orchestra.  I always learn something about the SSO when I talk to our patrons – some come because they are passionate about classical music, some come because it’s a great social outing, others because they love live music, others still who want to be musically adventurous.

sso3On this particular day, I was asked an important question.  She asked me what my plans were.   

Since coming to the SSO nearly three years ago, I’m very proud to say that this is a different organization – and it has been an incredible collective effort: a dedicated board with ideas, a hard working staff, musicians who are doing incredible work, a great musical leader, and an audience who love coming along for the ride.  We have changed the way we operate, the way we program, the way we function, the way we budget, and the way we connect with the community.  We have a lot of things that still need to be changed, but it amazing how far we’ve come. 

 

But one thing has not changed.  The drive for artistic excellence. 

 

If you were at our first concert this season, you sat up in your seat for the last movement of the Beethoven.  I’m certain of it.  It was full of life.  It was why we have a symphony.

I’m proud to say that we’re not the only ones taking notice of this new era of the SSO.  A recent peer assessment from Canada Council noted the “energetic performances” that “demonstrated much emotional commitment”.  They noted our clear sense of direction.  At a recent meeting where Eric and I shared the peers’ comments with the board, Eric said something that summed it all up: “we’re just getting started.”

We have some big plans in the works, but like a good symphony they’ll take a team effort.  The reality is that the SSO is surviving, but it needs to flourish…and I believe that our audience wants us to flourish, and is ready to help with that. 

We are thrilled about this season – we have some incredible artistic projects and programs underway….but just wait to see what is in the works for the future!  We have some of world’s greatest musicians lined up to come to Saskatoon in the upcoming years…and we have a few remarkable community partnerships.  We want a vibrant musical community that looks to the SSO for inspiration. time-for-toddlers

We want to start a music literacy program – the future of our music community relies on planting the seed of musical interest in the minds of our youth.  We have a chance to bring Carnegie Hall’s Link Up program to Saskatoon, and we want to launch a new musical mentorship program Kitocikewin for students who presently don’t have access to any music education.  We are ready and waiting to launch these programs…but with our current situation of being under funded, we don’t have an Education Coordinator.  We need one. Soon. 

We want to record.  Nope, scratch that.  I think the SSO has the potential to produce an award winning record, and because I like to dream big I’m going to say I’d like us to win a JUNO.  We have some guest artists who are wanting and excited to work with us on recordings.  Recording creates more work for our musicians.  Recording allows people across this country to hear what is happening in Saskatoon.  

We want to do more to be an incubator in our music community – we want to encourage the development of young musicians, create opportunities for emerging artists, create opportunities for collaborations, performances, and ideas to come to life.  We want to create artistic bridges that enrich and inspire and close the gaps.  We want to be a space where the musical eco-system thrives and grows.  Big dreams are important. 

Artistic excellence takes time, and it takes hard work, and it takes passion, and we’re going to need your help.  The next steps of our artistic excellence are within reach, can you hear it?

 

See you at the symphony,
Mark Turner

After Dark – With Free Flow Dance

Classical music and dance have more in common than you think.

Aside from the obvious connections, both artistic mediums seem to constantly battle against the perception that they are passé. The misconception that it’s all been done, or that it isn’t relevant any more is one that seems to persist. This couldn’t be farther from the truth.

The SSO created After Dark to push boundaries. There is an abundance of contemporary music out there and our musicians are always excited to be able to explore works that don’t fit in our regular concert series.

Free Flow Dance Company is known for its innovative and modern choreography. They are constantly thinking outside the box when it comes to movement and performance spaces. Free flow brings dance to people who may not traditionally attend what we think of as a stereotypical dance performance.

This is why After Dark and Free Flow are a perfect fit. Joined by Free Flow dancers and choreographer Jackie Latendresse the concert features the music of living composers including Gyula Csapo, Don Sweete, Max Richter, and many more. After Dark will make you rethink what a concert should be. Think new music meets cocktail party.  Think contemporary dance meets sound experiment.  Think pub trivia meets concert.

After Dark tickets are available here. There are limited seats for each performance so make sure to save your spot!

Friday September 30th & October 1st at 8pm in the SSO office (408 20th St).

Beethoven’s 7th

The Seventh Symphony’s premiere concert [on December 8, 1813] was performed to benefit the soldiers wounded a few months earlier in the battle of Hanau. It was one of Beethoven’s most successful concerts.

Viennese audiences, miserable from Napoleon’s 1805 and 1809 occupations of Vienna and hopefully awaiting a victory over him, embraced the symphony’s energy and beauty.

Even today, the second movement remains extremely popular and is often performed separately.

Occasionally, Beethoven wrote something that was immediately recognized as both artistically great and hugely popular. An example is the second movement of his Seventh Symphony, a piece that was often performed separately from the complete Symphony and that may have been Beethoven’s most popular orchestral composition.

It also exerted extraordinary influence on later composers, as the slow movements of Schubert’s “Great” C-major Symphony and E-flat Piano Trio, Mendelssohn’s “Italian” Symphony, Berlioz’s Harold in Italy, and other works attest.

After its premiere, the Seventh Symphony was repeated three times in the following 10 weeks; at one of the performances the “applause rose to the point of ecstasy,” according to a newspaper account.

Orient Express 101

The SSO brings Quartetto Gelato to Saskatoon to take us for a musical ride on the Orient Express. We are very excited about this fantastic concert – where we get to sit back, sip some wine, and enjoy wherever the music takes us.

But where are we going? What is the Orient Express? Isn’t there a chance of murder I should be worried about?

Many are familiar with the Orient Express described in Agatha Christie’s 1934 novel Murder on the Orient Express, or perhaps their introduction came from the 1974 film by the same name.

[youtube https://www.youtube.com/watch?v=u0ykCP1AYlk]
The actual Orient Express began in 1883 as the Express d’Orient, a luxury sleeper car train run by Belgian company La Compagnie Internationale des Wagons-Lits. The initial route ran twice a week from Paris (Gare de L’Est) and then traveled to Constantinople (Istanbul) via Strasbourg – Munich – Vienna – Budapest – Bucharest – Giurgiu, with a short ferry ride across the Danube to Ruse, then back on a train to Varna. Once in Varna, passengers would take a steamer to their final destination.

In it’s heyday of the 1930s two more variations were added; the Simplon-Orient Express (which Christie’s novel is based on) and the Arlberg-Orient Express. These iconic trains were the epitome of class and high society. It’s no wonder this journey has been taken by many literary and film characters like Christie’s Hercule Poirot, James Bond, and Alfred Hitchcock’s vanishing Lady.

 

Our journey with Quartetto Gelato will take us on a slow train from London, under the skies of Paris, pass through Munich, take a heartfelt stop in Budapest, and then we will dance our way through Prague and Milan. The musical ride comes to a rousing finish in Bucharest.

[youtube https://www.youtube.com/watch?v=zAq7Sn8hJSU]

The last true Orient Express train ran in December of 2009. If you really feel like you missed the adventure of a lifetime there is a luxury vacation package based on the Simplon Orient Express route. The 1930’s art deco train voyages start at $3,200 Canadian (not including airfare), and can run upwards of $9,000! As beautiful as this looks, we’ll stick to enjoying the Orient Express route right here and Saskatoon with the SSO and Quartetto Gelato.

So join us for a night of fantastic music, mystery, romance, and perhaps a glass (or two) of wine. See you there!

 

Quartetto Gelato Travels the Orient Express
7:30pm, Thursday August 18
Remai Arts Centre
Tickets are available here, or contact the Persephone Theatre box office (306-384-7727)