Virtual Concert 42020-11-24T11:51:27-07:00

Sextet + Septet

Sextet + Septet

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Violins — Donovan Seidle (Assistant Concertmaster), Edmund Chung, Erica Hudson, Steven J. Lubiarz
Violas — Michael Bursey, Alisa Klebanov
Cellos — Arnold Choi (Principal), Josué Valdepeñas (Assistant Principal)
Bass — Patrick Staples
Flute — Sara Hahn-Scinocco (Principal)
Oboe — Alex Klein (Principal)
Clarinet — Jocelyn Colquhoun (Assistant Principal)
Bass Clarinet — Stan Climie
Bassoon — Antoine St-Onge (Principal)
Horns — Robert McCosh (Principal), Jennifer Frank-Umana (Associate Principal), Heather Wootton (Assistant Principal)
Trumpet — Miranda Cairns (Assistant Principal)
Piano — Susanne Ruberg-Gordon

Edmund Chung, Erica Hudson, Alisa Klebanov, Josué Valdepeñas, Rob McCosh, Heather Wootton
Beethoven Sextet in E-flat Major for Two Horns and String Quartet
I. Allegro con brio
II. Adagio
III. Rondo: Allegro
Donovan Seidle, Steve Lubiarz, Michael Bursey, Arnold Choi, Patrick Staples, Susanne Ruberg-Gordon
Vincent Ho Four Paintings by Leestemaker
I.
II.
III.
IV.
Sara Hahn-Scinocco, Alex Klein, Jocelyn Colquhoun, Stan Climie, Antoine St.-Onge, Miranda Cairns, Jennifer Frank-Umana
Hindemith Septet for Winds
I. Lebhaft
II. Intermezzo. Sehr langsam
III. Variationen. Mässig schnell
IV. Intermezzo. Sehr langsam
V. Fuge. Alter Berner Marsch

I first came across Luc Leestemaker’s works in 2002 while visiting my girlfriend in Edmonton, Alberta. While walking around the university area, we went into a framing store that sold prints of various paintings. One series of prints that had caught my eye were by Luc Leestemaker. With his name written on the store’s business card, I left with the intention of exploring more of Luc’s works. Unfortunately, I never had the opportunity to pursue it until much later on.

In the fall of 2005, when I had completed my doctoral studies and was living in Los Angeles, I was commissioned to write a work for the ARC Ensemble (Artists of the Royal Conservatory of Music) for their 2006 tour in China. Now with more time on my hands, I decided to finally take a look into Luc Leestemaker’s works. To my delight, I discovered he was living in the Los Angeles area as well. I quickly gave him a call to inform him of my interest in composing a work inspired by his paintings. He was very enthusiastic about the idea and wanted meet to discuss it further. During our meeting I was introduced to more of his works and got to know him as an artist and as a person. I left his home with 3 books and a CD compilation of his entire collection of paintings.

During the week that followed, I poured over his hundreds of paintings and found four that struck me in a musical way. Each of them warranted differing musical interpretations.

I. The first painting struck me as an ideal candidate for the first movement: colorfully animated, immediately striking, and very inviting. It looked as if it was created in one grand gesture, capturing a sudden moment of inspiration. For the music, I wanted to convey the same sentiment – having it immediately unfold in one breath and in a colorfully animated language. The musical textures echo the visual textures of the painting (active background with a distinct foreground).

II. The second painting had a rather somber tone, almost severe. Its unsettling quality felt as if it emerged from a deep subconscious realm. The music conveys the same character. It begins very hazily with the piano drifting in and out with ambiguous harmonies. During which the strings gradually coalesce into a unified entity. The music builds with great intensity until it finally unleashes in one big kinetic release. As the dust settles, the music returns to the hazy, ambiguous character it began with and drifts away into oblivion

III. I found the third painting to be very spiritual and reflective, almost “Zen” in character. For this movement, I decided to make the musical language as simple as possible in order to capture the painting’s essence.

IV. The last painting, titled Birdsong No. 9, had a youthful optimism to it that is full of energetic lyricism colored by tastefully seasoned dissonances. To me, I saw the summation of one journey and the re-awakening of an inner-child – like the end of one phase and the re-embracement of long-lost one. As well, there is a folkloric quality that adds to its rustic character. For the music, I responded in a similar vein. The piece is fast and energetic, built on Chinese folk rhythms and sonorities, and seasoned with delicious dissonances. It expresses a youthful energetic quality that harkens an earlier period of mine; a period when I still viewed music with a child-like sense of wonder and excitement.

Vince Ho, New Music AdvisorVincent Ho is a multi-award winning composer of orchestral, chamber, vocal, and theatre music. His works have been described as “brilliant and compelling” by The New York Times and hailed for their profound expressiveness and textural beauty, leaving audiences talking about them with great enthusiasm. His many awards and recognitions have included three Juno Award nominations, Harvard University’s Fromm Music Commission, The Canada Council for the Arts’ “Robert Fleming Prize”, ASCAP’s “Morton Gould Young Composer Award”, four SOCAN Young Composers Awards, and CBC Radio’s Audience Choice Award (2009 Young Composers’ Competition).

During the period of 2007-2014, Dr. Ho has served as the Winnipeg Symphony Orchestra’s composer-in-residence and had presented a number of large-scale works that have generated much excitement and critical praise. His Arctic Symphony has been described “as a beautiful work that evokes the Far North in a very special way” (John Corigliano), and “a mature and atmospheric work that firmly establishes Ho among North American composers of note” (Winnipeg Free Press). His percussion concerto, titled The Shaman, composed for Dame Evelyn Glennie was hailed as a triumph, receiving unanimous acclaim and declared by critics as “Spectacular” (The New York Classical Review), “A powerhouse work” (The Winnipeg Free Press), and “Rocking/mesmerizing…downright gorgeous” (The Pittsburgh Gazette). His second concerto for Glennie titled From Darkness To Light, Ho’s musical response to the cancer illness, was lauded as “a lasting masterpiece of sensitivity and perception” (Winnipeg Free Press). His cello concerto, City Suite, composed for Canadian cellist Shauna Rolston, has received similar praise with critics calling it “Thrilling” (Windsor Star) and “Overflowing with striking ideas…The most successful piece heard at this year’s Festival” (Classical Voice America).

Born in Ottawa, Ontario in 1975, Vincent Ho began his musical training through Canada’s Royal Conservatory of Music where he received his Associate Diploma in Piano Performance. He gained his Bachelor of Music from the University of Calgary, his Master of Music from the University of Toronto, and his Doctor of Musical Arts from the University of Southern California. While still an undergraduate student, Ho was awarded a scholarship to attend the Schola Cantorum Summer Composition Program in Paris, France, where he received tuition from Juilliard School of Music and the Paris Conservatoire tutors. His mentors have included Allan Bell, David Eagle, Christos Hatzis, Walter Buczynski, and Stephen Hartke. In 1997, he was awarded a scholarship to attend the Schola Cantorum Summer Composition Program in Paris, where he received further training in analysis, composition, counterpoint, and harmony, supervised by David Diamond, Philip Lasser, and Narcis Bonet.

In his free time, he enjoys running, reading, traveling, dancing, hiking, playing chess, and learning the keyboard works of Bach, Beethoven, Ravel, and Ligeti (among many others). He is also an enthusiast of old-time radio shows, photography, crime noir, Zen art, jazz, Jimi Hendrix, graphic novels, and Stanley Kubrick films.

Dr. Ho has taught at the University of Calgary and currently serves as Artistic Director to Land’s End Ensemble and New Music Advisor to the Calgary Philharmonic Orchestra. His works are published and managed by Promethean Editions Ltd and Peters Edition.

Awards and Honours
• 2020 – Juno Award nomination,”Classical Composition of the Year” for Kickin’ It 2.0.
• 2020 – Western Canadian Music Award nomination, Composer of the Year.
• SOCAN’s “Jan V. Matejcek Award” (2019).
• 2019 – Juno Award nomination,”Classical Composition of the Year” for Arctic Symphony.
• 2018 – Western Canadian Music Award nomination, Composer of the Year.
• 2018 – Western Canadian Music Award (winner – Winnipeg Symphony Orchestra), “Classical Artist/Ensemble of the Year” for the CD “Orchestral Music of Vincent Ho”.
• 2018 – Juno Award nomination, “Classical Album of the Year” (Large Ensemble) for the CD “Orchestral Music of Vincent Ho”.
• 2018 – Juno Award nomination, “Classical Composition of the Year” for The Shaman: Concerto for Percussion and Orchestra.
• The University of Calgary, Faculty of the Arts’ 2017 Alumni Award.
• The Manitoba Arts Council’s 2015 “Major Arts Grant” – $30,000.00CAN.
• Finalist in the 2009 CBC/Radio-Canada’s EVOLUTION – National Composition Prize. “Nature whispers…”was awarded The People’s Choice Award based on the online votes of listeners from across the country.
• 2008 – Western Canadian Music Award nomination, “Best Classical Composition of the Year” for String Quartet No.1.
• 2007 – Western Canadian Music Award nomination, “Best Classical Composition of the Year” for Nighthawks.
• Harvard University’s prestigious “Fromm Music Commission” (2006) for the creation of Sonata for Violin and Piano for Gwen Hoebig (violin) and David Moroz (piano).
• The Portland Chamber Music Festival’s “2006 Composers’ Competition Prize” for Shattering the Ethereal Resonance.
• The 2006 Canadian Music Centre’s “Emerging Composer Prize” for Stigmata.
• The Canada Council for the Arts’ Robert Fleming Prize for most talented young composer of the year (2006).
• Finalist in the 2005 Hultgren Solo Cello Works Biennial for Stigmata.
• The ASCAP Foundation’s “2004 Morton Gould Young Composer Award” for Dragon Realms.
• Second Prize in the SOCAN Foundation’s 2004 Awards for Young Composers for Dragon Realms (Sir Ernest MacMillan Awards – works for 13 performers or more).
• Second Prize in the SOCAN Foundation’s 2004 Awards for Young Composers for Stigmata (Pierre Mercure Awards – solo/duet category).
• The University of Southern California’s “Sadye J. Moss Composition Prize” for Dragon Realms (2004).
• EARPLAY’s “2004 Donald Aird Memorial Composition Award” for Stigmata.
• Third Prize in the SOCAN Foundation’s 2000 Awards for Young Composers for Concerto for Violoncello and Orchestra (Sir Ernest MacMillan Awards – works for 13 performers or more).
• Second Prize in the SOCAN Foundation’s 1999 Awards for Young Composers for String Quartet No. 1(Serge Garant Awards – works for 3-12 performers).
• First Prize in the 1999 Peel Music Festival for Three Scenes of Childhood (Toronto, Ontario).
• The Audience Prize in the 1999 Toronto New Music Festival for Three Scenes of Childhood.

A trip to an Edmonton art gallery led to a meeting between composer Vincent Ho and painter Luc Leestemaker that would result in a new friendship and inspire the creation of Ho’s Four Paintings by Leestemaker. DTR Modern in Boston is hosting a one-month virtual gallery exhibition featuring paintings by the Dutch-American artist to coincide with the performance. The virtual exhibition opens Thursday 22 October here.

In 2002, a young composer named Vincent Ho was inspired by paintings he saw in a small gallery in Edmonton. That day, Ho took the gallery’s business card and wrote the artist’s name on it. Years later, during his post-doctoral studies, Ho found himself in Los Angeles, where the Dutch-American artist, Luc Leestemaker, happened to be living. Ho looked Leestemaker up and reached out to him, and the two of them went out for dinner. At this first meeting, they discovered a mutual love for music and art, and discussed how they could collaborate.

Read the full article here.

Artist Bios

Donovan Seidle is a versatile musician: equally comfortable performing in the concertmaster chair or in the soloist spotlight. He is a violinist, teacher, coach, and composer/arranger for film, large-scale spectacle shows, fireworks, and video games.

Since 2003 he has served as Assistant Concertmaster of the Calgary Philharmonic. He is an active participant in the city’s artistic community in a plethora of styles, working regularly in chamber ensembles and multi-disciplinary projects outside of the orchestra. He travels to perform with ensembles in other cities.

Seidle is a commissioned composer/arranger writing for various media — from the concert stage to interactive media (games and VR) — and was Associate Music Director for the Emmy Award-winning ceremonies of the Vancouver 2010 Olympic Winter Games. Since then, he has written for numerous other production shows and projects.

Seidle has performed across Canada, the United States, and Europe. Over the course of the pandemic, he has produced distanced-collaboration performance content and live-streams for professional ensembles and agencies around North America (as well as tutorials to allow people to produce it themselves), and will continue with these endeavours through the coming season.

Edmund Chung first began his violin studies at the age of four in Hong Kong. He began his studies with Shirley Givens at The Juilliard School in the pre-college division when he was seven years old. In 2008, at the age of 18, he was the grand prize winner of the Canadian Music Competition. Chung completed his bachelor’s degree (2015) and master’s degree (2017) on scholarship at the University of British Columbia, where he studied with Professor David Gillham. He then spent a year in Bergen, Norway, studying with David Stewart (2017/2018), the Concertmaster of the Bergen Philharmonic Orchestra.

Chung attended music festivals such as the Heifetz Institute, Orford Music, Greenwood, and Le Domaine Forget. He was also a fellow at Tanglewood Music Center for two summers (2017 and 2018), where he served as Concertmaster and Assistant Concertmaster. Before coming to Calgary to join the Calgary Philharmonic Orchestra, he was a regular substitute for the Bergen Philharmonic Orchestra and the Vancouver Symphony Orchestra.

Erica Hudson, a native of Chicago, Illinois, first started playing the violin at the age of three. She completed her undergraduate degree at Carnegie Mellon University where she studied with Cyrus Forough and completed a Performance Diploma in Orchestral Studies at Indiana University’s Jacobs School of Music with Alexander Kerr.

During her time at Indiana University, Hudson was selected to be an Assistant Instructor of Violin as well as the Concertmaster of the IU Philharmonic Orchestra. Erica has participated in the New York String Orchestra Seminar and been a fellow at the Tanglewood Music Center, where she served both as Principal Second Violin and Concertmaster. Hudson was also awarded a fellowship at the Aspen Music Festival and School through the Talented Students in the Arts Initiative, where she was a mentor of the Aspen Philharmonic Orchestra.

Before joining the Calgary Philharmonic, Hudson was in the Dallas Symphony Orchestra and Jaap van Zweden Scholars Program, where she had the unique opportunity to rehearse and perform with the symphony as well as take lessons with many of its members.

Steven Lubiarz headshotSteven J. Lubiarz, a native of Troy, Michigan, joined the second violin section of the Calgary Philharmonic Orchestra in 2003. He began his musical studies at the age of five and received a bachelor of music from DePauw University where he was a student of Dan Rizner, Stephen Boe as well as Sebastian Gürtler during his semester study in Vienna, Austria. While completing his master of music in Violin Performance and Orchestral Studies at Roosevelt University’s Chicago College of Performing Arts, Lubiarz was a student of Cyrus Forough and Joseph Golan as well as a member of the Civic Orchestra of Chicago. 

Prior to moving to Canada he was a member of the New World Symphony Orchestra under the direction of Michael Tilson Thomas in Miami Beach, Florida.

As an avid chamber musician and soloist, Lubiarz has performed in the Czech Republic, Austria, and throughout Japan. In addition to performing with Ensemble Resonance, he has been the managing member of Bell’arte Strings. He performs yearly at the Arizona Musicfest and was the founder of the Port Elizabeth Chamber Music Festival in Caseville, Michigan.

Lubiarz has also been an active teacher for over a decade in New York, Florida, Indiana, Michigan, Illinois, Arizona and continues his love of teaching today at the Mount Royal University Conservatory in Calgary, Alberta, Canada. 

Lubiarz performs on an 1897 Leandro Bisiach, which was a gift from his first teacher, the late Anne Dodge. He also volunteers as a mentor with Big Brothers, Big Sisters of Calgary, and when not onstage, you’ll find him helping his clients buy or sell real estate as a licensed Realtor and Residential & Certified Condo Specialist within the city of Calgary as well as Phoenix, Arizona.

Born and raised in Saskatchewan, Michael Bursey started playing the violin at an early age. He later switched to the viola after breaking his thumb and fingers playing football. He studied at the Conservatoire de Musique de Quebec. At the Conservatoire, he obtained his master’s degree in Viola Performance, studying viola with Francois Paradis and chamber music with Darren Lowe. He also had the opportunity to study with Pinchas Zuckerman and Steven Dann at the National Arts Centre in Ottawa as well as Roberto Diaz and Bruno Giuranna at Domaine Forget in Quebec. He is a former member of the National Youth Orchestra of Canada.

While in Quebec, he played regularly with the Quebec Symphony Orchestra, the Orchestre de Sherbrooke, Orchestre Symphonique du Saguenay Lac St. Jean and Orchestre symphonique de L’Estuaire. Shortly after graduating in Quebec, he obtained his position with the Calgary Philharmonic Orchestra. As a chamber musician he has collaborated with such artists as Anton Kuerti, Jonathan Crow, Joseph Johnson, Charles Foreman, Kathleen Van Mourik and much of the Quebec City, Regina and Calgary musical communities.

In his free time he enjoys playing with his kids: hockey, basketball, body-slam tag, body-slam soccer, body-slam hide-and-go seek and unfortunately, body-slam ping pong are all family favorites. He also enjoys reading, thinking about life, staying away from negative people, and eating BLT sandwiches.

Alisa KlebanovIsraeli born Canadian/Russian violist Alisa Klebanov has been rapidly building her career as an orchestral musician since the summer of 2018, when she made the full switch to the viola from violin. Through winning an orchestral fellowship at the Aspen Music Festival in 2018, she had the opportunity to study with Professors James Dunham and Masao Kawasaki, as well as to take part in the Aspen Chamber Symphony for the full summer session. In addition to her orchestral studies in Aspen, Klebanov took full advantage of the education program within Canada’s National Arts Centre in Ottawa, Ontario. In 2017, she completed the NACO Institute of Orchestral Studies. Taking part in this program launched her career into the orchestral world on viola. Recently, Klebanov has completed the National Arts Centre’s Young Artist Program, where she studied with Pinchas Zukerman and performed in his masterclass. Other summer music programs in which she has taken part in include the National Youth Orchestra of Canada, and the Orford Music Festival where she completed a string quartet program, coached by the Kuss String Quartet and the Fine Arts String Quartet. At Orford, she also participated in masterclass programs with professors William van der Sloot and Michael Frischenshlager.

As the former principal violist of the Ottawa Symphony Orchestra, Klebanov has taken many solo opportunities within Ottawa and its orchestra, such as appearing as soloist with the Ottawa Symphony premiering Harry Stafylakis’s “Singularity” for 3D printed solo instruments. In December 2018, she appeared as guest soloist with the National Arts Centre Orchestra as a result of winning the first prize at the National Arts Centre Bursary Competition. Following a successful audition, Klebanov joined the Calgary Philharmonic Orchestra’s viola section in the 2019/2020 Season.

As a passionate collaborator, Klebanov has performed in many chamber music concerts. This led to collaborations with internationally acclaimed musicians including Robert McDuffie, Yehonatan Berick, Joel Quarrington, Jessica Linnebach, Paul Marleyn, etc.

In the spring of 2019, she completed her undergraduate studies in her home town at the University of Ottawa, majoring in violin and viola studying with Yehonatan Berick and Michael van der Sloot. As a result of winning the concerto competition at her alma mater, she returned to perform with the University of Ottawa Orchestra in October 2019. Her hobbies include cooking, exploring new places, and most of all, wine tasting.

Described by the New York Times as having a “rich tone, and muscular style,” Canadian cellist Arnold Choi has performed to great acclaim throughout North America, Europe, and Asia. He is a prize-winner of Korea’s Gyeongnam (Isang Yun) International Cello Competition, and Mexico’s Carlos Prieto International cello competition. Choi has also won the grand prize at numerous competitions throughout North America including the Montreal Symphony Orchestra Competition, the Kingsville International String Competition, the Canadian National Music Festival, the CMC Stepping Stone Competition, and the Shean Competition, among others.

Choi has performed as soloist with several orchestras around the world including the Calgary Philharmonic Orchestra, Montreal Symphony Orchestra, the Okanagan Symphony, Edmonton Symphony, Calgary Civic Symphony, the Quebec Symphony Orchestra, the Shanghai Opera House Orchestra, the Schleswig-Holstein Festival Orchestra, and the Banff Festival Orchestra. At the age of 14, he gave his first solo recital tour in Mexico. Since then, he has given several recital tours throughout North America as a soloist and chamber musician.

As a former member of the Janaki String Trio, Choi received the Grand Prize at the prestigious Coleman Chamber Music Competition and the Concert Artists Guild International Competition in 2006. The trio has performed and toured extensively throughout the United States, playing in major chamber music venues including Carnegie Hall’s Weill Recital Hall, Lincoln Centre, and the Kennedy Centre. They also toured Australia with celebrated Australian pianist Kathy Selby and played at the American Academy in Rome.

Choi’s discography includes two Janaki Trio albums with Naxos and Yarlung Records, and most recently, six volumes of cello repertoire with pianist Peter Longworth for the Royal Conservatory of Music books published by Frederick Harris Music. These recordings are used as pedagogical tools for young beginners to advanced cellists nationwide.

Choi began his cello studies with John Kadz at Mount Royal College Conservatory in Calgary before receiving his Bachelor of Music degree from Colburn Conservatory in Los Angeles in 2009, studying with Ronald Leonard. Following that he received his Master of Music degree and Artist Diploma from Yale School of Music as a student of Aldo Parisot. In 2017 he received his Doctorate of Musical Arts degree from Stony Brook University in New York, where he was under the tutelage of Colin Carr. Choi serves as the principal cellist of the Calgary Philharmonic Orchestra and is on the cello faculty at Mount Royal University. He currently performs on a cello by an unknown maker, ca. 1880, from the School of Caussin in France.

Josué Valdepeñas is a Canadian cellist who is currently a member of the Calgary Philharmonic Orchestra cello section. He has appeared as soloist with the Koffler Chamber Orchestra, the Colburn Orchestra, the Indiana University Chamber Symphony, and the Toronto Symphony Orchestra. He has also collaborated with such notable artists as Sylvia Rosenberg, Martin Beaver, James Dunham, Atar Arad, Kim Kashkashian, and James Conlon.

Valdepeñas has participated numerous music festivals including the Banff Chamber Music Residency, the Aspen Music Festival and School, the New York String Orchestra Seminar, and the Ravinia Festival’s Steans Institute for Piano and Strings. He worked with Eric Kim at Indiana University, where he earned his bachelor’s degree and won the cello competition with Tchaikovsky’s Rococo variations. He then went to complete his Professional Studies Certificate with Clive Greensmith at the Colburn School.

A native Calgarian, Patrick Staples began studying the double bass at the age of 12 with Sheila Garrett, former Assistant Principal Bass of the Calgary Philharmonic. He holds a bachelor’s degree from the Colburn Conservatory in Los Angeles where he studied with David Moore and Paul Ellison, and a master’s degree from Rice University in Houston where he studied with Timothy Pitts.

A three-time national finalist in the Canadian Music Competition, Staples has been awarded fellowships to attend numerous summer music festivals, including Music Academy of the West, Sarasota, Tanglewood, and Aspen.

Prior to joining the Calgary Philharmonic in 2013, he was a member of the Winnipeg Symphony Orchestra.

Hailed by the Calgary Herald as “outstanding,” Sara Hahn-Scinocco is currently the Principal Flutist for the Calgary Philharmonic Orchestra. Prior to accepting her post with the Calgary Philharmonic in 2006, she performed professionally in the position of Assistant Principal Flute/Piccolo with the Vancouver Symphony Orchestra and completed a three-week tour of Japan and Hong Kong with the National Youth Orchestra of Canada in 2002.

As a soloist, Hahn-Scinocco has also performed throughout Canada, the United States, and Brazil as a guest of the Campos do Jordao International Winter Festival in 2007. In 2015, she performed the Chaminade Concertino with the Calgary Philharmonic to critical acclaim. In April 2016, she performed the world premiere of “The Daughter of Elysium” by Canadian composer Arthur Bachmann, again with the Calgary Phil. In 2018 she performed another world premiere, this time written by Canadian composer Peter Togni, with fellow flutist Sarah Gieck and local choral phenom Luminous Voices under the direction of Timothy Shantz.

Awards for Hahn-Scinocco’s solo flute performances include the University of Toronto concerto competition, first place in the National Finals of the Canadian Music Competitions, and the Junior Musical Club Concerto Competition in Winnipeg, which gave her a debut performance as a soloist in front of an orchestra at age 17. In 2005, she was awarded first prize of $10,000 as the winner of the Women’s Musical Club of Winnipeg Doris McLellan Competition for Solo Performance with Orchestra.

Hahn-Scinocco has been quite active as a flute teacher and coach across Canada for more than two decades. Her enthusiastic approach to sharing musical ideas and techniques have ensured that several of her private students have been accepted into both Undergraduate and Graduate programs across the country. She has been invited to teach and perform at universities throughout Canada, including Lethbridge, Calgary, and Winnipeg and was the guest artist for the Syrinx Flute Festival in 2015. Hahn-Scinocco is proud to be a co-founder and active member of the Green Banana Flute Studios, an innovative teaching and performing collaboration. See www.gbflutes.com for more details.

She graduated with honours from the University of Toronto, receiving a bachelor in music performance under internationally renowned flutist Susan Hoeppner.

One of the world’s leading oboists, Alex Klein is to date the only solo oboist to be bestowed a Grammy Award, for his recording of the Richard Strauss Oboe Concerto with Daniel Barenboim and the Chicago Symphony. Klein was Principal Oboe with the Chicago Symphony under Daniel Barenboim, being awarded the position of ‘Principal Oboe Emeritus’ by Riccardo Muti in 2017. Klein won the First Prizes in the Geneva, New York, and Fernand Gillet International Oboe Competitions, the top prize in the Tokyo International Oboe Competition, and other awards in the Czech Republic and Brazil. Klein has taught at Northwestern University and at his alma mater, Oberlin Conservatory of Music, as well as master classes in leading music schools around the world, such as the main Conservatories in Beijing, Geneva, Paris, Lyon, Moscow, Toronto, Saint Petersburg, and Manchester, and at the Juilliard School. Klein has been a member of the judging panel for the international competitions in Geneva, Isle of Man/England, Tchaikovsky Conserva- tory/Moscow, Fernand Gillet Competition, and the Japan International Oboe Competition.

After leaving the Chicago Symphony, Klein devoted his career to the advancement of talented young players from Latin America and from disadvantaged communities. As founder and Artistic Director of FEMUSC – Santa Catarina Music Festival, Klein created what would become the largest music festival-school in Latin America, bringing together thousands of young musicians from 40 countries, and putting them in contact with instructors of renowned music institutions. As a conductor, Klein led Brazil’s top symphony orchestras and directed ensembles in the U.S., Mexico, Costa Rica, Europe and China.

Klein founded and was General Director of the El Sistema-inspired PRIMA, Program of Social Inclusion though Music and the Arts in the State of Paraiba in Brazil, establishing youth and children’s orchestras in the public school system beginning with the areas hardest hit by social instability.

Klein is Principal Oboe of the Calgary Philharmonic, Adjunct Professor of Oboe at DePaul University, a member of the Chicago Pro-Musica Reed Trio, a teacher and performer at the Aspen Music Festival, a regular instructor at the New World Symphony, and a regular recording artist with over 25 CDs released as a soloist and chamber musician.

Jocelyn Colquhoun, Assistant Principal Clarinetist, has been enjoying her varied career with the Calgary Philharmonic Orchestra since 1988.

She has been known to play first, second, E flat, and bass clarinet, host concerts and even dance the tango! Originally from Sydney, N.S. and growing up in Halifax, Colquhoun graduated in 1982 from Acadia University with a bachelor of music education degree. She spent several summers as a student at the Banff School of Fine Arts, fell in love with the mountains, and played in the Canadian Chamber and National Youth Orchestras. In 1984, after receiving a master’s degree in Music Performance from UBC, she joined the Edmonton Symphony for four years.

A winner of the CBC radio competition and semi-finalist in the CBC Talent Competition, she was awarded an Alberta Foundation for the Arts grant to compete in an international clarinet competition in Rome in 1985.

Colquhoun has been an extra clarinetist with the Atlantic Symphony, National Arts Centre Orchestra, Vancouver Opera, and Vancouver Symphony Orchestras. Happy to be living in Calgary, she is an active chamber musician and has been a member of the Mount Royal Quintet, Rosa Selvatica, and Aubade, and is often heard on CBC.

She also enjoys her students and coaching chamber music at Mount Royal College.

Colquhoun has a happy family life with husband Alec and two children, Lachlan and Madelyne, and dog Daisy. She enjoys sharing fine wine and good food with great friends and keeping fit with running and yoga classes.

Stan Climie is regarded as one of the foremost performers of the modern bass clarinet repertoire. He has championed works by composers from around the world and is especially known for premiering new works written for solo bass clarinet.

Climie has earned distinction as one of Calgary’s most versatile musicians. For over 30 years he has been bass clarinetist with the Calgary Philharmonic Orchestra. He has also performed with the Red Deer Symphony, the Royal Winnipeg Ballet Orchestra, the Banff Festival Orchestra, the Edmonton Symphony, and the Regina Symphony.

Known for his gregarious spirit, Climie is highly acclaimed as a chamber musician and plays a wide spectrum of music for a variety of combinations of instruments and performance venues. In his work as a founding member of Ensemble Resonance, he explores his passion for the unique and the unusual with performances/masterclasses throughout western Canada and at the Cantai Festival of the Arts in Taipei, Taiwan.

A dedicated teacher, Climie inspires students of all levels at the University of Calgary, Mount Royal University, and as a clinician in area schools.

Antoine St-Onge joined the Calgary Philarmonic Orchestra as Principal Bassoonist in June 2018 at the age of 23.

A native of Morin-Heights, Québec, he earned his Bachelor’s in Music from the Montreal Music Conservatory and then graduated from McGill University, under the guidance of Montreal Symphony Orchestra members Mathieu Harel and Stéphane Lévesque. He also spent a semester studying with Carlo Colombo at the CNSMDP in Lyon, France. Before his appointment to the Calgary Phil, St-Onge performed with the Montreal Contemporary Ensemble (ECM+), and was a substitute for the Montreal Symphony Orchestra, Drummondville Symphony Orchestra, l’Orchestre des Pays de Savoie, and Les Violons du Roy.

St-Onge was featured as a soloist with the Montreal Music Conservatory and with the McGill Symphony Orchestra, in G. Rossini’s and André Jolivet’s bassoon concerto.

St-Onge has an unconditional love for animals, and the outdoors — especially biking and snowboarding. He plays on a Benson Bell bassoon made in Ontario, Canada.

Robert McCosh was born in Melfort, Saskatchewan. After completing his bachelor of music with a gold medal at Brandon University, he studied with Erich Penzel in Cologne, Germany for two years, courtesy of a German Academic Exchange Scholarship. He then spent a year at the Banff Centre taking master classes with Philip Farkas and Froydis Ree Wekre, among others.

McCosh started his professional career with the woodwind quintet York Winds in 1986, fleshing out his work in the Toronto area by freelancing with all the major orchestras and musicals such as Cats, Wizard of Oz and Les Miserables. As well, he performed with the Hannaford Street Silver Band and various new music groups, such as the Esprit Orchestra.

In 1990, McCosh won the Principal Horn position with Symphony Nova Scotia. While in Halifax, he performed as soloist with the orchestra on several occasions, including playing the Canadian premiere of Peter Lieberson’s Horn Concerto. He was a guest artist at various music festivals, including the Scotia Festival and the New Brunswick Summer Music Festival.

McCosh joined the Calgary Philharmonic Orchestra as Associate Principal Horn in 2000 and was acting Principal in 2002/2003. He was a guest artist at the IHS Banff Horn Summit, Call of the Wild Horn Festival and has been active as a private teacher, coach of the Calgary Youth Orchestra, and chamber musician. In 2003 he was appointed to Principal Horn.

Jennifer Frank-UmanaAssociate Principal horn Jennifer Frank-Umana joined the Calgary Philharmonic Orchestra in 2007. Before coming to the Calgary Phil, she was a member of the Portland Symphony Orchestra, and an active freelance musician in the Greater Boston and New England Area, where she was also finishing her graduate studies. She has performed with the Dallas Symphony, Fort Worth Symphony, Portland Symphony, and the Rhode Island Philharmonic, and has participated in several music festivals, including the National Repertory Orchestra, and the National Orchestral Institute.

Frank-Umana grew up in Dallas, Texas, and began playing the horn when she was 12. Frank-Umana received her bachelor of music degree from Southern Methodist University and her master of music degree from the New England Conservatory. Her principal teachers include Gregory Hustis, former Principal horn of the Dallas Symphony Orchestra, and James Sommerville, Principal horn of the Boston Symphony Orchestra. Other influential teachers include William VerMeulen, Richard Sebring, Julie Landsman, Michelle Baker, and Jennifer Montone.

She is a mom to two wonderful boys and enjoys getting outside, walking her dog Wrigley, and spending time with her family.

Heather Wootton has been a member of the horn section of the Calgary Philharmonic since 1993.

Before coming to Calgary, she was a member the Kitchener-Waterloo Symphony Orchestra, the Stratford Festival Orchestra, and maintained an active and varied freelance career about southern Ontario.

Born in Provost, Alberta and raised largely in Ottawa, Ontario, Wootton received a bachelor of musical arts and an artists’ diploma in performance from the University of Western Ontario, and continued her studies with the Orchestral Training Program of the Royal Conservatory and the National Youth Orchestra of Canada. Her main teachers at that time included Robert Creech and Eugene Rittich.

Further studies included summers at the Keystone Brass Institute in Colorado, the Kent/Blossom Festival in Ohio, and the Festival Orchestra of the American Institute of Musical Studies in Graz, Austria.  Wootton enjoyed studying with such artists as Richard Solis, Gail Williams, Bill Klingelhoffer, and Phillip Farkas.

From 2001 to 2008, she was guest soloist and horn instructor at the Summer Music on the Shannon music festival then based in Limerick, Ireland.

Wootton is an avid chamber musician and was a founding member of the chamber ensembles Rosa Selvatica, and Altius Brass. She loves to teach, is a sought after clinician, and finds great joy in helping students of all ages discover music and the horn.

In January of 2016, Wootton helped launch the Calgary Philharmonic’s Sistema-inspired PhilKids after-school music program. In the role of Lead Teaching Artist, she continues to lead a team helping children, who wouldn’t otherwise have the opportunity, learn to play an instrument and explore all the benefits that music can add to our lives.

She is Mum to Liam, a busy teenager, and enjoys being involved in her close-knit community of Wildwood, gardening, walking the family’s two border collies, and spending time at the family cottage in Ontario, her “little piece of heaven.”

Assistant Principal Trumpet player Miranda Cairns joined the Calgary Philharmonic Orchestra in 2016. Cairns holds an Artist Diploma from the Glenn Gould School of the Royal Conservatory of Music in Toronto, Ontario, where she studied with Andrew McCandless. Prior to attending the conservatory she completed an undergraduate degree at Sir Wilfrid Laurier University in Waterloo, Ontario with Anita McAlister.

As an active freelance musician in Toronto, Cairns has performed with the Toronto Symphony Orchestra, Kitchener-Waterloo Symphony Orchestra, and the Niagara Symphony Orchestra. Chamber music holds a special place in her heart and she has performed with the True North Brass Quintet, as well as the Toronto Brass Quintet. She is also no stranger to the ballet and orchestra pit, having performed with the world-renowned Bolshoi Ballet company on a recent tour to Toronto.

Cairns is from Courtice, Ontario, a small community an hour east of Toronto. She began playing trumpet at the age of 11 and started private lessons when she was 15 years old. She is now happy to pass on all she has learned and enjoys teaching.

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 [email protected] 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 [email protected] 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.

More Virtual Concerts

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