The renaissance of Marianna Martines

They say that brilliant minds touch the lives of all that surround them. This was especially true for Vienna-born composer Marianna Martines (sometimes referred to as Marianne von Martinez). Marianna was born in 1744 into a family of career soldiers. Her father Nicolo, who had grown up in Naples, served in Vienna as major-domo to the papal nuncio (the Pope’s embassy to the Austrian Empire). 

Marianna’s brothers both led distinguished military careers and, for their service to the Empire, their entire family was awarded a patent of nobility in 1774 (back then, you couldn’t have “von” in your  family name without this handy slip of paper). But Marianna (with her musical gifts both as a performer and composer) was the rising star of the family, and with the help of a family friend she would one day become a sensation throughout all of Europe.

During Marianna’s childhood, The Martines family lived in a large building on the Michaelerplatz in Vienna. Described by historians as “a stately building still standing in the Kohlmarkt”, the complex was arranged by the social class of its occupants: upper class members of society held soirees in palatial rooms on the bottom floors, while the lower classes lived in the cramped interiors of the building’s uppermost reaches. As an upper-middle class family, the Martines clan were privileged enough to live on the third floor. 

The neighbors of Marianna Martines included the dowager princess of the wealthy Esterházy family (1st Floor), the well-known Italian singing teacher and composer Nicola Porpora (who lived a few floors above Marianna), and Joseph Haydn (then a struggling composer and freelance musician who lived in the building’s attic). The figure who helped unite all these neighbors into a network of musical support for Marianna’s development was her father’s childhood friend Pietro Trapassi. Writing under the famous pen name “Metastasio”, Pietro lived with the Martines family for the rest of his life after being appointed Poet Laureate to the Austrian Empire in 1730. 

As the tutor responsible for Marianna’s practical and musical education in childhood, Pietro ensured that the education Marianna received was of a quality far superior to that of the “standard” provided to women of her social class at that time. Through her rigorous study of languages with Pietro, for example, Marianna became an incredibly well-versed quadrilingual of French, English, Italian, and German. Pietro arranged for Marianna to take keyboard lessons from Haydn (that brilliant young man from the attic) and encouraged her to take singing lessons at the age of ten. 

So it was that Marianna continued her musical training under Nicola Porpora, with Haydn serving as both her accompanist and assistant to her new teacher. Demonstrating potential as a gifted composer, Marianna was encouraged by her tutor Pietro to take lessons in composition from Johann Adolph Hasse and the Imperial court composer Giuseppe Bonno. She brought Haydn with her to meet both Hasse and Bonno, and the attic musician’s career flourished as a result.

Martines was a virtuosic player, even as a child, and regularly performed before the Imperial court. Her biographer Helene Wessely depicts the young Martines as having “attracted attention with her beautiful voice and [superb] keyboard playing”. Wessely also asserts that her compositions, particularly for voice, possess a “predilection for coloratura passages, leaps over wide intervals and trills indicat[ing] that she herself must have been an excellent singer.” As a rock star on the harpsichord, she developed such a reputation into adulthood that she was frequently requested to perform before the Empress Maria Theresa.

Despite being one of the most eligible bachelorettes in the Classical Viennese music scene, Marianna Martines never married. She never sought an appointed position at court either. There were barriers to women (as well as individuals of her social class) when it came to pursuing compositional employment that her friend Haydn simply did not have to contend with. Together with her sister (who also remained a lifelong bachelorette) she cared for her mentor Pietro until his death in 1782. That very year, Marianna’s Italian oratorio “Isacco figura del redentore” was premiered in a renowned concert series put on by the Tonkünstler-Societät. The librettist for this oratorio is credited to Pietro’s pen name of Metastasio.

The poet left his estate to the Martines family, and to his student Marianna he bequeathed 20,000 florins, his harpsichord, and his entire music library. Marianna used this money to fill the Martines home with her former tutor’s favorite music, hosting musical soirees with her sister that attracted distinguished guests (such as the Irish tenor Michael Kelly and Wolfgang Amadeus Mozart himself!). The latter was a frequent guest to these musical get-togethers and composed four-hand piano sonatas to perform with Marianne. Never too proud to forget his roots, Haydn would often pop in for a bit of harpsichord-tickling and merriment-making.

As a composer, Martines penned four masses, six motets, and three litanies for choir. She composed several works for solo voice and wrote several secular cantatas (as well as two oratorios) to Italian texts. In the definitive fashion of the early Classical period, particularly in Vienna, she composed in the Italian style. Her harpsichord playing was compared stylistically to that of C.P.E. Bach, and her compositions were so well-regarded that some scholars suggest Mozart modeled his 1768 Mass after the “Christe” of her Mass No. 1 in D major. 

As she rightly deserved, Martines’ name and music were lauded throughout Europe, but after her death in 1812 her musical legacy faced an incredible amount of erasure. It is only in recent years that her music has, rightly, been unearthed to the delight of the musical world. It is primarily thanks to the efforts made by publishers such as “Furore-Verlag” (a German publisher that specializes in works by female composers) that we can enjoy so many of her compositions today. 

Allison Miller, flute

Allison Miller, Saskatoon-born flutist, is thrilled to have joined the SSO in 2019. Having received tenure in 2020, Allison now holds the Randi Nelson Chair of Principal Flute with the Saskatoon Symphony Orchestra. In her short time with the SSO, Allison has been a highly featured musician, regularly presenting concerti and solo works for flute and orchestra. These works include Bach’s Brandenburg Concerti numbers 2 and 5, Vivaldi’s Concerto in F Major, Devienne’s Concerto for Flute and Orchestra, Debussy’s Prelude to the Afternoon of a Faun, and Sommers’ Picasso Suite.

Allison is thrilled to appear as guest soloist for the premier of Up to Her Waist in Lupins by Canadian Composer Christos Hatzis. This featured performance is scheduled for Fall 2022 in memory of the SSO’s beloved Principal Flute Emerita, Randi Nelson.

Allison completed a Diploma in Music at the Victoria Conservatory of Music, studying with Richard Volet. She went on to complete both a Bachelor of Music and a Master of Music, specializing in Music Performance, at the University of Ottawa, studying with Camille Churchfield.

Allison has appeared numerous times as both a flutist and piccoloist across Canada, including consistent appearances with the Victoria Symphony Orchestra since 2017. Allison was invited to participate in the 2022 Beethoven Festival under the baton of international conductor, Maestro Christian Kluxen. Throughout this festival, Allison performed in all 9 Beethoven symphonies, including sitting as guest principal for the celebratory 9th symphony.

Allison is the Sessional Lecturer in Flute at the University of Saskatchewan, Department of Music. Allison has also served as a Woodwind Sectional Instructor for the Saskatoon Youth Orchestra and frequently presents guest master classes for the Saskatchewan Band Association. In her teaching, Allison encourages both physical and mental health, a sense of community rather than competition, and a focused and efficient method of practice. Allison has been recognized for her passion and dedication to teaching, for which she has received the RCM Gold Medal award as a distinguished flute teacher. Her students perform at local festivals and have been accepted to artistic schools such as Ottawa’s Canterbury High School. They have performed in Canada’s many musical venues, including Toronto’s Royal Conservatory of Music. Outside of the U of S, Allison maintains a private studio of highly advanced high school students.

Allison strongly believes that orchestral musicians should be active in their orchestral community off the stage as well as on it. To this end, she is an active member on numerous orchestral committees, including the Occupational Health and Safety Committee, the Players Committee, and the Code of Conduct Committee.

Allison is a three-time NYO Canada alum and has participated in international tours to Portugal, Germany, and Scotland, as well as the Canadian Edges of Canada coast-to-coast tour. Allison spent three summers studying with William Bennet (WIBB) and Lorna McGhee at the PIFR international festival, off the coast of Vancouver. She has also attended the Domaine Forget International Music Academy and the Orford Music Academy.

Allison has been the recipient of numerous awards and scholarships, receiving The Payne-Lyon Prize for Excellence in Flute from NYO Canada, and the top flutist award at the National Music Festival. Allison has been heard on CBC and BBC Radio broadcasts as Principal Flute of NYO Canada. Allison can be seen in NYO Canada’s recent documentary, That Higher Level, produced by Johnny Spence Bolton, documenting the Edges of Canada tour in 2017.

Loud and Clear Podcast

The SSO is thrilled to present a podcast in collaboration with Saskatchewan’s very own Olivia Adams.

Olivia is a pianist, music clinician, and teacher. She holds a MA in Music and Feminist Studies from the University of Ottawa and a B.Mus. in Piano Performance from Western University. Olivia speaks and adjudicates across Canada and the US. She is a researcher on gender and music in Canadian music conservatories and is the author of the forthcoming book “Loud and Clear: Graded Piano Music by Women Composers” centering on the voices of female BIPOC composers comes out this October with Debra Wanless Music & 80 Days Publishing. She has written articles for the Canadian Music Teacher Magazine, Opus, and the book Hands On Piano. In 2020 received a Canadian Government SSHRC grant for her research on gender and race in the conservatory curriculum. Olivia works as a piano teacher and collaborative pianist in Ottawa, and a Music Director at St. Stephen’s Anglican Church. She is passionate about equity in the music studio, writing curriculum, and increasing inclusionary practices in classical music.

Olivia’s new podcast Loud and Clear, amplifies the voices of women in music. In conversation with composers, artists, and musical leaders, the podcast explores the experiences of women in all areas of music creation and production, including conducting, composing, producing, broadcasting, directing, teaching, performance, and research.

New episodes launch each Tuesday everywhere you get your podcasts.

Loud and Clear is also available for listening on ConcertStream.tv

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ConcertStream.tv

A completely new way to experience the music – get up close and personal with the sound – ConcertStream.tv

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

Log In to ConcertStream.tv

At the current time, purchases of tickets and subscription to the streaming must be made on the ConcertStream.tv website

Live Stream Digital Ticket

For as little as $19.99 per Digital Ticket you and your household can watch the concert as it happens from the comfort of your own home, or wherever you have internet access.

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

When you purchase live stream access you will need to sign in to or create an account. Once your account is set up you can log in any time to see what you have access to. There will be a countdown for the upcoming live stream and you can even add a calendar reminder! You will get an email alert when the concert begins, but you can log in and get ready to view the live stream at any time. Once the live stream is complete there will be a recording available for you for 24 hours. It may take an hour or two to appear in your library.

Digital Tickets start at $19.99 and gives you access to one concert for 24 hours. You can also purchase $35 and $50 Supporter Tickets – these still get you the same 24hr streaming, but give you a way to support the SSO at this time!

Click Here to See Upcoming Events

Tickets must be purchased on the ConcertStream.tv website – no in-app purchases are allowed at this time.

Plan on watching 6 or more concerts? Wish you could watch them whenever you want and as many times as you want? An SSO Streaming Subscription is for you! 


SSO Streaming Subscription

Log In to ConcertStream

For only $99.99 you can have access to all SSO live streamed concerts for the year. You will also have full access to the SSO’s concert videos on demand. This means you can watch all our concert and bonus content wherever you want, whenever you want, and as many times as you want.

Love our opening night concert and want to see it again? You could watch it every day and its all covered by your $99.99 subscription!

Have major FOMO because you missed one of the live streams? Have no fear! You can catch all our incredible concerts at a later date and it still only costs you $99.99.

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

Here’s how it works:

  1. Purchase your SSO Streaming Subscription by clicking here (you can checkout as a guest)
    Purchase your SSO Streaming Subscription
  2. You’ll be able to set up your account, with your own password, and you’ll get a confirmation email for your purchase.
  3. Once your subscription is set up you’ll be able to login to watch videos whenever you want!
  4. Live streamed performances are available for 24 hours – 7 days after all live streamed concerts you’ll be able to watch the concert film of that concert on demand by logging into ConcertStream.tv.
  5. Enjoy unprecedented access to the SSO for a year!

You not only get a fantastic discount for all the live-streamed concerts by getting the SSO Streaming Subscription, but you also get the benefits of video on demand all while supporting your orchestra. How can you go wrong?

Subscriptions must be purchased on the ConcertStream.tv website – no in-app purchases are allowed at this time. But once you’re logged in on the apps, you’ll stay logged to be able to enjoy concerts whenever you want!

 

 

A World First for Streaming

This past April, the SSO’s Simeon Taylor and Mark Turner had the chance to experience a world first.

The duo co-direct the live streaming of the SSO’s performances and are the creative team behind ConcertStream.tv – together they’ve filmed dozens of performances for live streaming and video-on-demand. Pairing Taylor’s background in film and Turner’s background in music, the two work in tandem to direct and capture a live performance that helps you see what they want you to hear.

When they started live streaming in fall of 2020, they didn’t dream that they’d end up flying to Sweden to experience the first ever gathering of directors of orchestral streaming…but in April they boarded a plane bound for Gothenburg and found themselves spending a week with peers from around the globe gathered together to explore the world of multi-camera orchestral filming.

Helmed by the IMZ International Music + Media Centre, the week was lead by renowned directors Peter Maniura and Kriss Russman, with Mons Per Fogelberg (head of streaming for the Gothenburg Symphony Orchestra) and the GSO’s entire streaming team. After days spent learning from the best, Taylor and Turner got to sit in the director’s seat and film a performance by superstar soprano Barbara Hannigan. A thrill to film this exceptional Canadian artist alongside the Gothenburg Symphony, the week lead to incredible opportunities to learn from the best, connect with colleagues around the globe, and be part of the creation of a network that allows for the filming of orchestral performances to grow and flourish!

The SSO is grateful to the support of SKArts for supporting Simeon Taylor’s participation in the IMZ Academy.

One Last Music Talk

Eric Paetkau conducting.

At the end of his 7 season, Maestro Eric Paetkau steps down from the role of Music Director. Ahead of his final concert as Music Director, Eric sat down with CEO Mark Turner for one final chance for a music talk.

Exploring the highlights, memorable moments, and special stories never told before the pair reminisce about performances spanning back to Eric’s SSO debut in 2014.

It’s a walk down memory lane and a chance acknowledge Eric’s considerable achievements at the helm of the SSO.

One Last Music Talk is available to view at ConcertStream.tv

A Fond Farewell

Eric’s last concert as Music Director is Mahler 4 on May 7th. While we hope you can join us there, we know it might not be possible to say goodbye in person. If you have a message or memory you wish to share with Eric, enter it in the form below! We will make sure he gets all your kind messages as we celebrate his incredible tenure here at the SSO.

Andrew Balfour, composer

Balfour is an accomplished artist and is also known for his beautiful choral works. It is no wonder that he also composes for strings in a way that often reminds us of the human voice.

Of Cree descent, Andrew Balfour is an innovative composer/conductor/singer/sound designer with a large body of choral, instrumental, electro-acoustic and orchestral works, including Take the Indian (a vocal reflection on missing children), Empire Étrange: The Death of Louis RielBawajigaywin (Vision Quest) and Manitou Sky, an orchestral tone poem. His new Indigenous opera, Mishaboozʼs Realm, was commissioned by LʼAtelier Lyrique de l’Opéra de Montréal and Highlands Opera Workshop.

Andrew is also the founder and Artistic Director of the vocal group Camerata Nova, now in its 22nd year of offering a concert series in Winnipeg. With Camerata Nova, Andrew specializes in creating “concept concerts”, many with Indigenous subject matter. These innovative offerings explore a theme through an eclectic array of music, including new works, arrangements and innovative inter-genre and interdisciplinary collaborations.

Andrew has become increasingly passionate about music education and outreach, particularly on northern reserves and in inner-city Winnipeg schools where he has worked on behalf of the National Arts Centre, Camerata Nova, the Winnipeg Symphony Orchestra and various Winnipeg school divisions.

In 2007 Andrew received the Mayor of Winnipegʼs Making a Mark Award, sponsored by the Winnipeg Arts Council to recognize the most promising midcareer artist in the City.

Lahni Russell named Cellist Emeritus

The SSO announces the retirement of Lahni Russell after more than three decades as Principal Cellist. 

Ms. Russell earned a Bachelor of Music and Master of Music (both with High Distinction) from Indiana University studying with world-renowned cellist, Janos Starker. Post-graduation she spent two years at the Banff Centre of the Arts and was the first ‘cellist to win the Regina Concerto Competition (1987) before winning the audition for Principal Cellist in Saskatoon in 1989. 

Performing Morlock’s Exaudi

During her tenure she captivated SSO audiences with many solo concerto performances  including Haydn D Major, Kabalevsky, Haydn C Major, Vivaldi and Piazzolla’s Four Seasons, and in 2018, Jocelyn Morlock’s remarkable ‘Exaudi’ with the Canadian Chamber Choir. In the wider community, Ms. Russell was a founding member of Prairie Virtuosi and the U of S Amati Quartet, she sat as first chair for the Saskatoon Opera and accompanied the Saskatoon Children’s Choir on many occasions. Across Canada, she performed as guest artist with the Calgary Philharmonic in Banff, as guest Principal Cello in Regina and in the Victoria and Vancouver Symphony sections. She was Solo cello for the Royal Winnipeg Ballet during  performances in Saskatoon and Victoria and was hired for that same position on the Ballet’s tours across the U.S. 

In addition to her orchestral performances, Ms. Russell teaches private lessons (in person and online), coaches string ensembles and has mentored advanced string students prior to  competitions and exams. 

Ms. Russell is also an accomplished luthier and bowmaker. She has provided stringed instrument and bow repair, restoration services, and appraisals to professional musicians and students province-wide and beyond. Her clients have included visiting guest artists and principal string players in professional orchestras. She has operated her own business, LJ Russell Violin and Bowmaker, since 1995. She will continue to teach and offer violin shop services. 

Ms. Russell is the longest serving Principal Cellist in the SSO. To recognize her contribution to the orchestra, we are happy to bestow upon her the honorary title of Principal Cellist Emeritus. We thank Lahni for her years of service and wish her well.

 

 

 

An Announcement from Music Director Eric Paetkau

It’s hard to believe that I’m enjoying my seventh season as Music Director of the SSO. I’ve had so many unforgettable experiences and memorable moments over the years. Not only has the organization as a whole been incredible (the musicians, Mark Turner and the whole staff, the Board) but the welcome and warmth Karen and I received from the audience, the city, and the community has been special. And that’s why it’s not easy to say that I’ve decided to move on from the SSO at the end of this season and hand over the musical reins of this wonderful orchestra

Eric Paetkau conducting. I’m proud of what we’ve accomplished as an organization over the years and how we’ve been an innovative force in the Canadian music scene. Some highlights have been the many Saskatchewan and Canadian musicians and music we’ve featured, our growing presence in the community, and simply daring to try new things and making them work. Part of this is creative momentum and I strongly believe new ideas and fresh perspectives are paramount to artistic growth. That’s why I’m very excited in passing the torch to new musical leaders and seeing how they contribute to the future of the SSO.

We’ve already been seeing fresh faces on the podium in the last year and I’m delighted to see many more this coming season. I’m making this announcement now to ensure a smooth transition and for everyone (orchestra, audience, and community) to experience what great things are in store for the orchestra moving forward. Thanks to all of the hard work from everyone involved, the SSO is in a prime position for an exciting future.

But I’m not done yet!  I’m excited for the Brahms Requiem this month and then officially saying goodbye in May. I look forward to my last season and continuing to experience not only this great orchestra but the wonderful city of Saskatoon and its incredibly warm and inviting people.

Thank you Saskatoon and see you soon!
Eric Paetkau