Virtual Concert 32020-10-17T19:28:04-06:00

Quintets

Quintets

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Learn more about the Program

John Lowry Associate Concertmaster
Hangyul Kim First Violin
Lorna Tsai Principal, Second Violin
Adriana Lebedovich Second Violin
Marcin Swoboda Assistant Principal, Viola
Jesse Morrison Viola
Thomas Megee Cello
David Morrissey Cello
Akiko Tominaga Piano
Susanne Ruberg-Gordon Piano

John Lowry, Adriana Lebedovich, Marcin Swoboda, Tom Megee, Susanne Ruberg-Gordon
Alexina Louie Falling Through Time
I. Cascade
II. Intermezzo – Elegy for Marina Geringas
III. Falling Through Time
Lorna Tsai, Hangyul Kim, Jesse Morrison, David Morrissey, Akiko Tominaga
Brahms Piano Quintet in F Minor, Op. 34
I. Allegro non troppo
II. Andante, un poco Adagio
III. Scherzo. Allegro – Trio
IV. Finale. Poco sostenuto – Allegro non troppo – Presto, non troppo

Falling Through Time (2016)

I. Cascade
II. Intermezzo – Elegy For Marina Geringas
III. Falling Through Time

When The Clearwater Quartet performed my composition, Pursuit for String Quartet and Orchestra so brilliantly at the Winnipeg New Music Festival in 2012, I took note of their skill and dedication to contemporary music. In the same Festival, pianist David Moroz performed my Fastforward with amazing energy and bravado. It was a wonderful inspiration to compose a new piece for their combined talents.

Descending gestures are prevalent throughout the composition. As well, the interval of a third takes on a significance that is revealed in the second movement.

In Cascade, the first movement, the interval of a third becomes clearly apparent about half way through. Here the piano part develops into triadic chords. These chords, transformed into rippling passages built on the interval, eventually become sequences of falling thirds in all the instruments.

My friend, Marina Geringas, who taught piano to my daughters, was arguably the most important teacher of young piano students in Toronto. At her memorial concert in the summer of 2016, a select handful of friends and former students revealed her influence on them through their touching personal recollections and expressive performances. They played with such unusual, exquisite tenderness and musicality, each phrase lovingly shaped by their early training with her. The first piece on that celebration of her life was the beautifully introspective Brahms Intermezzo in B minor Opus 119, which is based on falling thirds. I had played this piece as a student and had come to love it. As an homage to Marina, I worked this piece into the fabric of my second movement.

The third movement, Falling Through Time, begins almost imperceptibly with the strings muted. Eventually the music transforms into a very fast string passage in parallel octaves. When this passage recurs later in the piece, the piano joins them. A reprise of the sequential falling thirds passage from Cascade concludes the piece, but this time all the musicians play with full force.

Falling Through Time was commissioned by The Clearwater Quartet and pianist David Moroz with the assistance of the Ontario Arts Council.

Program notes provided by Alexina Louie O.C.

Alexina Louie, one of Canada’s most acclaimed composers, will be in the spotlight this week for Quintets, a free online performance premiering Saturday 17 October at 7:30PM (MDT) as part of the Calgary Philharmonic’s virtual fall concert series.

“Alexina Louie is a towering figure in the contemporary music world whose works have been performed by many of the most celebrated artists, ensembles, and orchestras,” says composer Vincent Ho, Calgary Phil’s New Music Advisor. “She is nothing short of a national treasure.”

Louie has written for many of the countryʼs leading soloists, chamber ensembles, new music groups, and orchestras. Her numerous awards include two Junos for Best Classical Composition and a 2019 Canada Council for the Arts’ Molson Prize, among others. She’s also an Officer of the Order of Canada, and earlier this year she was named the recipient of the 2020 Governor General’s Performing Arts Awards for Lifetime Artistic Achievement.

In addition to her activities as a classical contemporary composer, Louie has scored music to international award-winning films, including Don McKellar’s Last Night (starring Sandra Oh and David Cronenberg) and Jeremy Podeswa’s Five Senses (starring Mary-Louie Parker and Molly Parker).

Quintets opens with Louie’s Falling Through Time (2016), a work for piano and string quartet with a repeating theme of falling thirds. The piece was partially inspired by another acclaimed composer, Brahms, and is paired with his Piano Quintet in F Minor.

The virtual concert is the third in the Calgary Phil’s online fall performances, a new initiative that launched after live concerts were cancelled due to COVID-19. The series started small with Solo + Duet, and gradually builds toward the day when all 66 musicians can return to the stage.

Artist Bios

John Lowry has been Associate Concertmaster of the Calgary Philharmonic Orchestra since 1987 and has also served as guest concertmaster of orchestras in Edmonton, Halifax, Winnipeg, Kitchener-Waterloo, and Red Deer, as well as the Adelaide Symphony of South Australia. He was formerly Concertmaster of the New Hampshire Philharmonic, Opera New England, and Yale Philharmonia, and has performed extensively with the Toronto Symphony, National Arts Centre Orchestra, Boston Pops, Canadian Opera Company, Opera Company of Boston, Amadeus Ensemble, National Ballet, Esprit, and New Haven Symphony.

Lowry was the founder and first artistic director of the Kensington Sinfonia in Calgary, and has appeared as soloist with orchestras in Calgary, Edmonton, Toronto, Halifax, and Red Deer, with such conductors as Hans Graf, Mario Bernardi, James Judd, Jean-François Rivest, Timothy Vernon, Ivars Taurins, Pierre Hétu, and Claude Lapalme.

A native of Edmonton, Lowry began his studies with Ranald Shean, going on to graduate with a bachelor’s degree in music from the University of Toronto and a master’s in music from Yale University. His principal teachers included George Neikrug, David Zafer, and Oscar Shumsky. He also participated in master classes and received extensive coaching from Steven Staryk, Orford Quartet, Tokyo Quartet, Rafael Hillyer, Joseph Silverstein, Szymon Goldberg, Lorand Fenyves, Sidney Harth, Zoltan Székely, Gábor Magyar, Anthony Newman, Jose Luis Garcia, Henri Temianka, and Shmuel Ashkenazi.

Lowry is a founding member of Calgary’s Land’s End Ensemble, which specializes in 20th and 21st century music, and its recordings have won the Western Canadian Music Award for Outstanding Classical Recording in 2005 and 2006, as well as the Juno Award for Classical Composition of the Year in 2014. The ensemble has performed at important festivals throughout Canada, most recently at the International Society for Contemporary Music World Music Days in Vancouver, and has premiered works by many landmark Canadian composers, including R. Murray Schafer, Alexina Louie, Allan Gordon Bell, Vincent Ho, and Omar Daniel.

As a chamber musician, Lowry has collaborated with such luminaries as James Campbell, Evelyn Glennie, Barry Shiffman, Robert Aitken, Jeff Nelson, Joel Sachs, Bernadene Blaha, Rivka Golani, Kevin Fitz-Gerald, Eliot Fisk, Robert Silverman, Angela Cheng, and Miriam Fried, and has performed with Aventa Ensemble, the Athabasca String Quartet, Rosa Selvatica, Trio Haydn de Montréal, and Yale Contemporary Ensemble.

Lowry is an instructor at MRU Conservatory, and was previously on the faculty of the University of Manitoba and University of Lowell, Massachusetts, and has also taught at the University of Calgary, as well as through summer programs at the Banff Centre, Comox Valley Youth Music Centre, Langley Community Music School, SUNY Potsdam, JVL Summer School for the Performing Arts, and Spencer Brook String Program in Concord, Massachusetts. He is an expert in the Dounis violin method and a frequent audition coach. Several recipients of his coaching have won positions in professional orchestras, and his students have earned top prizes in local and national festivals and competitions.

Lowry’s violins were made by Christopher Sandvoss in 2015, and Carlo Ferdinando Landolfi in 1769.

Hangyul Kim started the violin at the age of nine under the tutelage of Professor Wendy Sharp of Yale University. She has been a member of the Calgary Philharmonic Orchestra since the 2018/2019 season. Prior to her position in Calgary, Kim was the acting Associate Concertmaster of the Tucson Symphony Orchestra for the 2014/2015 season, as well as the Concertmaster of the Opera in the Ozarks.

Kim has studied and performed at the Kennedy Center Summer Music Institute in Washington DC; and at the Eastern Music Festival, where she was a member of the faculty orchestra under the direction of Maestro Gerard Schwarz. She was a two-year recipient of the orchestral fellowship at the Aspen Summer Music Festival, and has also performed overseas as a member of the Schleswig-Holstein Festival Orchestra in Germany and in the first violin section with the Sydney Symphony Orchestra in Australia. While in Sydney, she had the privilege of performing with YouTube viral sensation TwoSet Violin.

Kim earned her doctorate from the Indiana University Jacobs School of Music where she studied with the late Ik-Hwan Bae and was the recipient of the Linda and Jack Gill scholarship, as well as the Dean’s Artistic Award. In addition to Bae, Kim has studied with other prizewinners of the 1985 Queen Elisabeth Competition, including Nai-Yuan Hu and Dene Olding. Her commitment to her studies has enabled her to earn special recognition of highest distinction on her doctoral exams, and has also earned her minors in music history and opera stage management.

Kim’s dissertation, titled Erasing the Color Line: The Violin Concerto of Samuel-Coleridge Taylor, traces the life and achievements of coloured composer Coleridge-Taylor and makes a case for how racial and financial privilege is still very much alive in today’s music world.

Outside of music, Kim is an avid writer and has been the recipient of several prizes, including publication in the literary magazine Labyrinth, the grand prize winner of the Asian American Heritage essay competition, and the grand prize winner of the Martin Luther King Jr. essay competition at Indiana University.

In her free time, she enjoys reading poems to her cat, Nico.

A native of Massachusetts, Lorna Tsai began her studies at the New England Conservatory Preparatory School in Boston at the age of five. Tsai has received recognition for her work, among them from the National Foundation for Advancement in the Arts, the New England String Ensemble, the Concord Symphony, and the New England Conservatory Preparatory School. Upon receiving her bachelor degree in violin performance from Northwestern University, she continued her studies at Yale University School of Music, where she earned her masters in violin performance. Previous teachers include Magdalena Richter, Marylou Speaker Churchill, Roland and Almita Vamos, and Ani Kavafian.

Tsai is currently the Principal Second Violinist of the Calgary Philharmonic Orchestra, serving in the position since Fall of 2011. Prior to joining the Calgary Phil, she performed with ensembles such as the New World Symphony and Louisville Orchestra. Tsai has also performed as soloist with various orchestras including the New England String Ensemble, the Concord Symphony, Symphony Pro Musica, and the Calgary Philharmonic Orchestra.

During the summers, Tsai participates in music festivals, which in the past have included the Verbier Festival Chamber Orchestra, Verbier Festival Orchestra, Artosphere Music Festival, Spoleto Festival USA, Tanglewood Music Center, Pacific Music Festival, and Aspen Music Festival. She is a co-founder and co-director of Manchester Summer Chamber Music, a chamber music series dedicated to presenting classical concerts to Cape Ann, north of Boston.

Adriana Lebedovich HeadshotAdriana Lebedovich joined the second violin section after successfully winning the audition in May 2007. She convocated from the University of Calgary in June 2009, with a bachelor of music, in performance, with distinction. She began playing the violin at age three and has studied with Katherine Grigoriu, Elaine Henchell, Theresa and Jeff Plotnick, John Lowry, and Edmond Agopian.

Lebedovich won the University of Calgary Concerto Competition in April 2006 and played the first movement of the Tchaikovsky Violin Concerto with the Calgary Philharmonic Orchestra. Following her debut, she substituted regularly with the Calgary Phil until winning her present position. Lebedovich is a former member of the UCalgary String Quartet and toured Portugal with the quartet in May 2008. The quartet has recorded a CD of Eastern European Folk Music which was nominated for a Canadian Folk Music Award as well as a Western Canadian Music Award. She has studied at various summer programs including the Académie Musicale Internationale “Barbara Krakauer” program in Vaison-la-Romaine, France, the ARIA International Summer Music Academy in Muncie, Indiana, and the Banff Centre for Fine Arts. In July 2009 and 2010, she had the pleasure of traveling to Brazil for the Festival Internacional de Inverno de Campos do Jordão, under the artistic direction of Roberto Minczuk.

Lebedovich enjoyed playing the first violin concerto by Mozart with the Sunshine Coast Symphony Orchestra in June 2012, as well as the Beethoven Violin Concerto with the Timmins Symphony Orchestra in March 2014. When she is not playing the violin, she can be found spending as much time as she can outside, and riding her horse, Taima.

Dr. Marcin Swoboda has enjoyed a career as a soloist, chamber musician, and orchestral player in North and South America as well as Europe. He began his musical journey at the ripe age of three, under the tutelage of his father. This was perhaps the reason he decided to quit music at the age of 17 to pursue his interest in math. After a humbling first year in the math department of the University of Toronto, he picked up his viola, moved down the road to the music building, and never looked back.

Swoboda studied under Scott St. John for three years, then moved to Montreal to study with Andre Roy for another three. After a brief stint as Principal violist of the Orquestra Sinfônica do Estado de São Paulo, he decided to pursue his doctorate in performance studies at McGill University, which he completed in 2013.

Highlights of Swoboda’s career include a European tour with the Ensemble Intercontemporain of Paris, under the direction of Pierre Boulez, and a recording of the first Fauré piano quartet completed with his family’s chamber group, The Swoboda Piano Quartet.

Swoboda is currently the Assistant Principal violist of the Calgary Philharmonic and a continuously rising star in the Calgary chamber music scene (and beyond!). In his spare time he enjoys climbing rock and ice, writing genre fiction, and playing with his two delightful, if sometimes infuriating, young children.

Jesse Morrison ViolaJesse Morrison joined the Calgary Philharmonic Orchestra for the 2019/2020 Season. He was recently living in Toronto where he was frequently playing with the Toronto Symphony Orchestra, as well as playing with the St. Paul Chamber Orchestra in Minnesota. He graduated in May 2017 with a master’s degree in music from the New England Conservatory (NEC) in Boston, studying with Kim Kashkashian. Morrison had his solo debut in Jordan Hall when performing as the winner of the Chamber Orchestra Competition at NEC in 2016 and again in 2017 with the Symphony Orchestra.

Recipient of the 2016 Sylva Gelber Award, Morrison is an avid chamber musician and is an alumnus of festivals such as Yellow Barn, Kneisel Hall, the New York String Seminar, the Banff Centre, and Domaine Forget. He has also participated as artist in residence at the Flatirons Chamber Music Festival in Boulder, Colorado, “Concerts in the Barn” in Quilcene, Washington, Sunset Chamber Music Festival in Los Angeles, and NEXUS Chamber Music in Chicago. He was a member of the Neruda String Quartet in 2015/2016 in Boston, and from 2011 to 2015, he was the violist in the Arkadas String Quartet based in Toronto.

A native of Toronto, Ontario, Jesse received a bachelor of music from the University of Toronto under Teng Li, and an artist diploma from the Glenn Gould School under Steven Dann.

Thomas Megee is currently a member of the Calgary Philharmonic Orchestra and Zabaglione String Quartet in addition to being a private instructor of the cello. He also retains his position with the Oregon Coast Music Festival each summer as Principal Cellist and featured chamber artist.

Born in Indiana, Megee graduated from the Interlochen Arts Academy and received a bachelor of music performance degree from the University of Michigan where he studied with Oliver Edel and Samuel Mayes. His further studies include postgraduate work with Frank Miller in Chicago and a year with Andre Navarra at both the Accademia Musicale Chigiana in Siena, Italy, and the Hochschule Fur Musik und Darst Kunst in Vienna.

Before joining the Calgary Phil in 1990, Megee was an instructor at Oregon State University, Principal Cellist of the Portland Opera Orchestra, and a founding member of the Metolius Quartet. He has been a featured soloist with numerous orchestras in the United States and Canada and can often be heard on CBC Radio in chamber performances as well as with the Calgary Philharmonic Orchestra.

David Morrissey is a California native from Los Angeles. In 2008, he won the International Audition for the Calgary Philharmonic Orchestra. He began playing the cello at the age of eight, and while in high school, started taking lessons with Ronald Leonard at the University of Southern California while enrolled in two high schools, Long Beach Polytechnic and The Orange County High School for the Arts. He received his bachelor’s degree from Indiana University, Bloomington, where he studied with Tsuyoshi Tsutsumi and Janos Starker, and his master’s degree in cello from Manhattan School of Music as a student of former Associate Principal Cellist of the New York Philharmonic, Alan Stepansky.

Morrissey continued his orchestral studies in Miami Beach, Florida, with the New World Symphony, an Orchestral Academy, under the musical direction of Michael Tilson Thomas. In 2001, the Leipziger Volkszeitung called him “a cellist with a bright future,” and his performance of the David Ott Double Cello Concerto with the Evansville Philharmonic in 2003 was praised by the Evansville Courier Press as “exemplifying the purest sound and musical taste.” His performances have taken him all over the U.S., as well as Rome, Montepulciano, Leipzig, Berlin, and Tokyo, just to name a few, and he is one of the founding members of the Young Janacek String Quartet. In 2017 he started instructing young cellists at the Phil Kids after school program. He also teaches his own students in his cello studio, and is a cello instructor at the Mount Royal Music Academy.

In his spare time Morrissey enjoys swimming and yoga-ing and he is an avid outdoor enthusiast with a passion for exploration. He spends his summers performing with the Colorado Music Festival in Boulder, Colorado, and climbing 14ers (mountains that exceed the 14,000 ft mark).

Born in Japan and raised in the United States, pianist Akiko Tominaga has been hailed by critiques and audiences across North America, Europe, and Japan. “An amazing assurance and strength… and most of all, the maturity and the imagination of a true interpreter.” (Gingras, La Presse) “Her sound is captivating, delicate, crystalline; her phrasing elegant and intelligent. Above all, one appreciates the humility and sobriety of her artistry….” (Gauthier, Ottawa Citizen)

Tominaga began her studies at the age of four, and made her solo debut in 1992, playing the Rachmaninoff Rhapsody on a Theme of Paganini. Her solo and chamber performances have been broadcasted on CBC. and Radio-Canada. She has performed with the Bridgeport Symphony, Reading Symphony, Interschool Orchestra of New York, as well as Calgary Philharmonic Orchestra. Her solo recital entitled Postcards from Afar received much acclaim in Ottawa in the Master Piano Recital Series in 2015.

An avid chamber musician, Tominaga has collaborated with notable musicians as Diana Cohen, Franklin Cohen, Anne-Julie Caron, Elbjorg Hemsing, Michael Foyle, Amanda Forsyth, Teng Li, Roberto Diaz, Benjamin Butterfield, Tyler Duncan, and Norman Fischer. She is a founding member of the piano trio Trio Lajoie (violinist Ariane Lajoie, cellist Julie Hereish) based in Montreal. In 2014, the trio gave numerous concerts throughout the Maritime provinces with the Debut Atlantic. Their debut CD has been nominated for the Prix Opus Award in 2014. In Calgary, she has appeared in numerous concerts with the Instrumental Society of Calgary and the Faculty and Friends series at the Eckhardt Gramatté hall. She has also collaborated on projects with Land’s End Ensemble.

Tominaga holds a bachelor of music degree from the prestigious Curtis Institute of Music, where she studied with Eleanor Sokoloff, an Artist Diploma from the Royal Conservatory of Music, studying with John Perry, and a doctorate of music from the Université de Montréal under the guidance of Marc Durand. She has been invited to give master classes abd lectures, and to adjudicate festivals in Alberta and B.C., and was on the faculty of University of Lethbridge. She currently teaches at the Mount Royal Conservatory in Calgary, where she is a faculty member of the Academy for the Gifted Youth Program.

Quoted by the Chronicle Herald as “A superb musician”, Swedish-born pianist Susanne Ruberg-Gordon is a highly regarded chamber musician and collaborative artist. She has performed with artists such as Andres Cardenes, Andres Diaz, Ron Leonard, Nikki Chooi, James Campbell, Desmond Hoebig, Frans Helmerson, Ian Swensen, Jens Lindemann and Catherine Manoukian. Susanne is the pianist and core member of the Juno-nominated contemporary classical music trio, Land’s End Ensemble.

Ms. Ruberg-Gordon has been on faculty at the Mount Royal University Conservatory since 1991 where she is the coordinator of Collaborative Pianists, works extensively with senior string students and teaches chamber music. She has also been a Collaborative Artist for the acclaimed Morningside Music Bridge program in Canada, China, and Poland since 2001.

Virtual Concert FAQ

Our virtual concerts are free to watch, but first you have to register at calgaryphil.com/virtual-concerts.

You can view the concert on any device, including smartphone, tablet, laptop, desktop computer, or a television connected to the internet. Ensure your device is fully charged, powered on or plugged-in, and double check your sound is on.

Just before the performance begins, and using your selected viewing device:

  1. Open the PDF e-tickets attached to your email.
  2. Click the link on your PDF, or enter the URL in the search/address bar or of your internet browser. The concert viewing page will open.
  3. Copy or type your Unique Access Code (the code is case sensitive) into the password box and press play.
  4. Each performance will start at 7:30PM on the date of the premiere. Enjoy the music!

The video will be available starting at 7:30PM on the day of the concert premiere, and then will remain available for 30 days. If your video doesn’t start right at 7:30PM, you may need to refresh your web browser or click the link again — don’t worry, the concert will start from the beginning when you hit play, so even if you’re late, you won’t miss anything.

For the optimal listening experience, we recommend listening through high-quality headphones or stream through your home stereo. Our video was captured in High Definition (1080p) and will look great on any screen you choose — to watch the concert in full-screen mode, click the four arrows in the bottom right-hand corner of the video to maximize your screen.

Here are some articles we think you might find helpful for setup:

These concerts are about 60 minutes, although each performance will be different.

Don’t worry! The video will be available for 30 days starting at 7:30PM on the day of the concert premiere. You can watch the performance as many times as you’d like using your concert link and access code. After 30 days, the video will no longer be available.

Yes, you can register at calgaryphil.com/virtual-concerts anytime within 30 days of the concert premiere.

It’s easy! You can register online at calgaryphil.com/virtual-concerts. First, choose the concert you want to watch and follow the prompts. You can continue to select other upcoming concerts, one at a time, by clicking the titles in the basket. Then click the Checkout button and enter your email.

If you have an account with us, you’ll be asked for your password (if you can’t remember it, just click Forgotten Password? and we’ll email you a link to reset it). If you don’t have an existing account, you can provide your name and a password to create one.

At this stage, you can choose to set a password, or continue without setting a password. Once you’ve confirmed your order, check your email. You should receive an order confirmation followed by an email with your e-tickets attached as a PDF. Your e-ticket has the link and the Unique Access Code you’ll need to watch the concert.

If you have any problems registering, please contact us at info@calgaryphil.com and we’re happy to help. We’re also available by phone on weekdays from 9AM to 5PM and concert days from 6PM to 8PM at 403.571.0849.

If you’re watching together on one device, you only need to register one person.

Yes, if you prefer to register by phone, you can call our Box Office at 403.571.0849 (Monday to Friday 9AM to 5PM and concert days from 6PM to 8PM) and our sales team will be happy to help you. You’ll need to provide an email address so they can send you an e-ticket, which will include the link for the concert and the Unique Access Code you need to watch it.

You do need to register for each concert you want to watch because every concert will have its own concert link and Unique Access Code.

Yes, absolutely! You can register for as many virtual concerts as you want. During the registration process, once you’ve selected the number of tickets you want for an individual concert, a list of the other available concerts will be visible — simply click the title of the next concert you want to watch, then repeat the process until they’re all in your basket. You will receive a separate e-ticket with a different link and Unique Access Code for each concert. Keep in mind that the performances will be available for 30 days starting at the listed date and time of the premiere.

Check your email junk and/or spam folder. If it’s not there, login to your account at calgaryphil.com/account. Under Details, click the e-tickets link and from there you can download the ticket for the concert link and Unique Access Code.

If you’re still having problems, contact us at info@calgaryphil.com and we’re happy to help. We’re also available by phone on weekdays from 9AM to 5PM and concert days from 6PM to 8PM at 403.571.0849.

These concerts are part of our new fall series running from October to December 2020 and were specifically created to provide an online viewing experience during this period when we aren’t able to have a live audience in our concert hall. The performances will premiere online, and then they will be available to view on our website for 30 days. The concerts on our All Access page are from our archive of live-stream recordings in previous seasons.

For the health and safety of our musicians, staff, and the public, we are carefully following the COVID-19 guidelines set out by Alberta Health Services. At this time indoor gatherings of more than 50 people are not allowed, and provincial and municipal protocols require everyone to physically distance and wear masks. We have 66 full-time musicians in our Orchestra, and live concerts also involve several people behind the scenes to monitor the sound, move equipment, assist the artists, etc. As a result, it is not feasible to invite a live audience into the concert hall at this time.

Although you only see our musicians onscreen during the performance, we also have a small production crew and a few camera operators who help make sure the concert and the video recording process runs smoothly. Everybody wears masks to help protect each other and to comply with city bylaws. In future concerts involving wind and brass instruments, some musicians will remove their masks when it’s time to play.

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