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Peter A. Herrndorf President and Chief Executive Officer/Président et chef de la direction November 20–21 novembre 2013 Salle Southam Hall BARBER’S VIOLIN CONCERTO LE CONCERTO POUR VIOLON DE BARBER Carlo Rizzi conductor/chef d’orchestre Giora Schmidt violin/violon PINCHAS ZUKERMAN MUSIC DIRECTOR/DIRECTEUR MUSICAL ALEXANDER SHELLEY MUSIC DIRECTOR DESIGNATE/DIRECTEUR MUSICAL DÉSIGNÉ ALAIN TRUDEL PRINCIPAL YOUTH AND FAMILY CONDUCTOR/PREMIER CHEF DES CONCERTS JEUNESSE ET FAMILLE JACK EVERLY PRINCIPAL POPS CONDUCTOR/PREMIER CHEF DES CONCERTS POPS

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  • Peter A. Herrndorf President and Chief Executive Officer/Prsident et chef de la direction

    November 2021 novembre 2013 Salle Southam Hall

    BARBERS VIOLIN CONCERTOLE CONCERTO POUR VIOLON DE BARBER

    Carlo Rizzi conductor/chef dorchestreGiora Schmidt violin/violon

    PINCHAS ZUKERMANMUSIC DIRECTOR/DIRECTEUR MUSICAL

    ALEXANDER SHELLEYMUSIC DIRECTOR DESIGNATE/DIRECTEUR MUSICAL DSIGN

    ALAIN TRUDELPRINCIPAL YOUTH AND FAMILY CONDUCTOR/PREMIER CHEF DES CONCERTS JEUNESSE ET FAMILLE

    JACK EVERLYPRINCIPAL POPS CONDUCTOR/PREMIER CHEF DES CONCERTS POPS

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    Program/Programme WAGNER Siegfried Idyll 17 minutes LIdylle de Siegfried

    BARBER ViolinConcerto,Op.1425 minutes Concerto pour violon,opus14 I. Allegro II. Andante III.Prestoinmotoperpetuo Giora Schmidt,violin/violon

    INTERMISS ION/ ENTR AC TE

    SIBELIUS SymphonyNo.5inE-flatmajor,Op.8231 minutes Symphonie no 5 en mi bmol majeur,opus82 I. TempomoltomoderatoAllegromoderatoPresto II. Andantemosso,quasiallegretto III.AllegromoltoMisterioso

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    RICHARD WAGNERLeipzig,22mai1813Venise,13fvrier1883

    LIdylle de Siegfried

    Reinhard Beuth dcrit LIdylle de Siegfriedde Wagner comme lune des plus bellesdclarations damour jamais faite par uncompositeur . Cest lintention de sadeuxime pouse, Cosima, de 24 ans sacadette, que Wagner crivit, lautomne1870,cettecourtepicede15minutes, laseule uvre purement orchestrale issue desaproductiondgemr,silonexclutsafadeMarche du Centenaire(delindpendancedestats-Unis)datantde1876.Lecompositeursoulignait ainsi le 33e anniversaire de satendremoiti,nelaveilledeNol.Ilvoulaitque luvre, crite pour un ensemble dechambre dune quinzaine de musiciens, ftinterprte sur le pas de lescalier menantau deuxime tage de la villa des Wagnersurplombant le lac des Quatre-Cantons Triebschen en Suisse. (On entend souventcettepicedenosjoursavecunesectiondecordeslargie.)LasurprisefutcompltepourCosimaqui,ttlematindeNol,sveillaauson dune douce musique enveloppante etintime.Lapice fut interprtedeuxautresfoisdanslamatine.

    Lesamateursdeconcertsquiconnaissentle cycleduRing deWagner nemanquerontpasderemarquerquelessentieldumatriaumusical de LIdylle provient du dernier actedu troisime opra du cycle, Siegfried,

    RICHARD WAGNERBorninLeipzig,May22,1813DiedinVenice,February13,1883

    Siegfried Idyll

    One of the most beautiful declarations oflove any composer has ever made, is howReinhardBeuthdescribedWagnersSiegfried Idyll.Wagnerwrotethisshort,fifteen-minutework,theonlypurelyorchestralcompositionof his mature years aside from the feebleAmerican Centennial March (1876), in thefall of 1870 as a gift to his second wifeCosima, twenty-four years his junior. Theoccasionwasherthirty-thirdbirthday,whichhappened to be on Christmas Eve. It wasscored for a chamber ensemble of aboutfifteen players to perform on the staircaseleadingtothesecondflooroftheWagnersvilla at Tribschen overlooking Lake Lucerne,Switzerland. (The work is commonly heardtoday with expanded string sections.) Earlyon Christmas morning, Cosima, still in bed,was taken completely by surprise by thisgentle, warm, intimate music that greetedher ears. The work was played twice morethatmorning.

    ConcertgoersfamiliarwithWagnersRing cyclewillrecognizethatmostofthemusicalmaterialoftheIdyllcomesfromthefinalactof thecycles thirdopera,Siegfried, thoughsomeofthismusicwasborrowedfromstillearlier sources, including a projected stringquartetof1864(thesoftlyglowingopeningpages).Thegentlehorncall(heardnearthe

    MarioBernardidirectedtheNACOrchestrasfirstperformanceofWagnersSiegfried Idyll in1969,andAlainTrudelwasonthepodiumwhentheOrchestramostrecentlyplayedthiswork,inlastsummersMusicandBeyondFestival.

    Mario Bernardi dirigeait lOrchestre du CNA lors de la premire prestation par lensemble de LIdylle de Siegfried deWagneren1969.CestAlainTrudelquitaitaupupitrequandlOrchestreajoucetteuvreladernirefois,ltdernier,danslecadreduFestivalMusiqueetautresmondes.

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    end)hadcometoWagnerwhileinthemidstof composing Tristan und Isolde (he wiselywithhelditforuseinthelateropera,Siegfried,appropriately enough inasmuch as the Idyllwas intended as a sort of commemorativegesture for Wagners own infant sonSiegfried, youngest of his three children byCosima).Manyof the Idyllsmotifsarealsoemployedasmanifestationsof theoperaticheroSiegfriedspassionate,undyinglovefor

    encore quune partie de cette musique soitempruntedesuvresplusanciennesducompositeur, dont un projet de quatuor cordes de 1864 (reconnaissable dans lespages douverture chatoyantes). Lide dudouxappelducor(quonentendverslafin)taitvenueWagneralorsquiltravaillaitlacompositiondeTristan et Isolde (passagequilretintjudicieusementpourlutiliserplustarddansSiegfried,choixdautantplusappropri

    Sibelius, an enigmatic and fascinating composer, lyrical yet aggressive,

    immersed in the nature of his homeland and at the same time confronting

    himselfwiththemiddleEuropeanculture;sometimesavant-gardebutrefusing

    toembracethemoremodernmusicaltendenciesofhistime.Everyaspectof

    hismulti-facetedartisticpersonalityisintheFifthSymphony,regardedasone

    of the most important compositions of the period and certainly one of my

    favouritestoconductandperform.

    Together with the intensely beautiful Violin Concerto of Barber and the

    understated intimacy of the Siegfried Idyll, I believe that this program will

    touch,moveandinspiretheaudiencewithwhomIamgreatlylookingforward

    tosharingthisexperience.

    Sibelius tait un compositeur nigmatique et fascinant, la fois lyrique et

    fougueux,bercpar lanaturedesonpaysetenmmetempstournvers la

    cultureducentredelEurope;parfoisavant-gardiste,maisrefusantdpouser

    lestendancesdelamusiqueplusmodernedesonpoque.Chaquefacettede

    sapersonnalitartistiquecomplexeseretrouvedanssaCinquimeSymphonie,

    quiestconsidrecommelunedescompositionslesplusmarquantesdeson

    poqueetquicompteassurmentparmilesuvresquejaimeleplusdiriger.

    Enajoutant au programme le Concerto pour violon deBarber, dune intense

    beaut, et LIdylle de Siegfried, uvre dune intimit toute discrte, on est

    devantquelquechosequi,monsens,sauratoucher,mouvoiretinspirer;une

    expriencequejaitrshtedevivreaveclesauditoires.

    Carlo Rizzi

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    Brnnhilde, an analogy Wagner obviouslysaw in his personal, domestic life with hiswifeandson.

    SAMUEL BARBERBorninWestChester,Pennsylvania,March9,1910DiedinNewYorkCity,January23,1981

    Violin Concerto, Op. 14

    Few composers in the history of Americanmusic have commanded the respect andstature of Samuel Barber. Though he livedthrough the ages of dodecaphonic music,total serialism,musique concrte, electronicmusic, aleatoric music, microtonal music,spatial music, collage and the early stagesof minimalism, he followed none of thesefashionable movements or isms, remainingtrue to a romantic persuasion all his lifeand satisfied to work well in conservativeidioms.Hismusicbreatheslyricism,heartfeltemotions, nostalgia and, in some cases,highlydramaticgestures.Theresnoreasonwhymusicshouldbedifficultforanaudiencetounderstand,Barbersaid.Evenso,Idontparticularly address the audience whenI compose. I believe that if a piece is good

    que LIdylle devait faire uvre en quelquesorte de commmoration pour le jeuneSiegfried, plus jeune des trois enfants queWagneraeusavecCosima).BonnombredesmotifsdeLIdylle serventdemanifestationsde lamour imprissable et passionn duhro opratique Siegfried pour Brnnhilde,analogie que Wagner faisait manifestementavec sa propre relation avec sa femme etsonfils.

    SAMUEL BARBERWestChester(Pennsylvanie),9mars1910NewYork,23janvier1981

    Concerto pour violon, opus 14

    Peu de compositeurs dans lhistoire dela musique amricaine ont eu autant depanache et joui dautant destime queSamuelBarber.Bienquilaitvupasserdesonvivant les courants du dodcaphonisme, dusrialisme total, de la musique concrte, dellectroacoustique, de la musique alatoire,microtonale, spatiale, du collage musical etdespremiersgesduminimalisme,Barbernajamaisttentderejoindrecesmouvementsoucescoleslamode:ilestrestfidle,toutesaviedurant,lapprocheromantiquequilavaitfaitsienne,prfrantseconsacrerbienservirdesidiomesprouvs.Samusiqueesttoutempreintedelyrisme,denostalgieetdmotion,etoffreloccasiondesmomentsdramatiquesdunegrandeintensit.Ilnyapasderaisonpourquelamusiquesoitdifficile

    Lea Foli was the soloist for the NAC Orchestras first performance of Samuel Barbers Violin Concerto,givenin1972,underthedirectionofMarioBernardi.FortheOrchestrasmostrecentperformanceofthisconcerto,whichtookplacein2004,RumonGambawasonthepodiumwithJamesEhnesontheviolin.

    LeaFolitaitlasolistedanslapremireinterprtationquelOrchestreduCNAadonneduConcerto pour violondeSamuelBarberen1972,souslaconduitedeMarioBernardi.Pourlaplusrcenteprestationdececoncertoparlensemble,en2004,RumonGambataitaupodiumetJamesEhnes,auviolon.

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    enough,theaudiencewillappreciate it.Nordo I address the performers. Or posterity.WhenIcompose,Icomposeforthepresent,andIaddressmyself.

    The Violin Concerto had an interestinggenesis.Awealthymerchant inPhiladelphiacommissioned Barber (also a Philadelphian)to write a concerto for a young violinist ofexceptionaltalent.Becauseoftheconfusedand potentially embarrassing situation that

    saisir pour un auditoire, affirmait Barber.Cela dit, je ne madresse pas un auditoireen particulier quand je compose une pice.Je crois que si la pice est assez bonne,lauditoiresauralapprciersajustevaleur.Jenemadressepasnonplusauxinterprtes.Pasplusquejenemesouciedelapostrit.Je compose pour le prsent, et cest moi-mmequejinterpelle.

    LagensedeceConcerto pour violonest

    TheBarberViolinConcertohasbeenacornerstoneinmymusicallife.Ifirst

    performedthepiece formyCarnegieHalldebutandshortlyafter toured

    itwiththeIsraelPhilharmonic.Imexcitedtoreturntothisworknowwith

    amoreseasonedlensandvariedpalette.Thefirstmovementbeamswith

    Americanoptimismandbeginswithawonderfullysweetandlyricalmelody.

    The sombre, slow movement hints at the Great Depression, while the

    perpetualmotionfinaleisacompletechangeofcharacter.Youcanalmost

    feelandhearthemachineofindustrialPhiladelphiadrivingtherhythm.

    Itsasprintupanddownthefingerboardoftheviolin,anditsover inthe

    blinkofaneye.

    LeConcerto pour violon de Barberatunjalonmarquantdemonparcours

    musical. Jai jou cette uvre pour la premire fois loccasion de mes

    dbuts Carnegie Hall, et je lai reprise peu de temps aprs en tourne

    avec lOrchestre philharmonique dIsral. Je trouve fascinant de revenir

    aujourdhuiceconcertoauqueljapporteuneplusricheexprienceetune

    pluslargepalettedecouleurs.Lepremiermouvement,danslequelresplendit

    loptimismeamricain, samorcesurunemlodiemerveilleusementdouce

    etlyrique.Ledeuximemouvement,sombre,voquelagrandedpression,

    tandis que le finale au mouvement perptuel arbore un tout autre

    caractre.OnpeutpresquesentiretentendrelesmachinesdelaPhiladelphie

    industriellemarquerlerythme.

    Lesdoigtsduviolonistefontunsprintascendantetdescendantdanscette

    uvrequifilecommelclair.

    Giora Schmidt

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    developed, the names of both patron andviolinist were suppressed for over half acentury. But musicologist Barbara Heyman,in her book Samuel Barber: The Composer and His Music (1992),revealstheiridentitiesand sets the record straight on a numberof other points as well. The official worldpremiere took place on February 7, 1941,with Eugene Ormandy conducting thePhiladelphia Orchestra with Albert Spaldingas soloist. (The work earlier had had anunofficial read-through with the orchestraoftheCurtis InstituteofMusicwithsoloistHerbertBaumel.)

    The concerto opens with a long-breathed, genial melody played by thesoloistinBarbersmostlyricalvein.Thislongtheme (twenty-seven bars) leads directlyinto the second theme of this sonata-formmovement,a jaunty idea introducedby theclarinetaccompaniedbychordsinthepiano(amostunusualinstrumenttofindinaviolinconcerto). The romantic yearning of thefirst movement is intensified in the second,whichalsoopenswitha long, lyricaltheme,thisonesungbytheoboe.Thefinale iscutout of different musical cloth altogether.The virtuosity demanded from the soloistis only one of its distinguishing features. Inaddition,thismoto perpetuoisfullofangularlines,spikyharmonies,irregularrhythmsandperpetualagitation.BarbersearlybiographerNathan Broder viewed the music as if thecomposer had suddenly lost patience withcertainself-imposedstylisticrestrictions.

    pour le moins curieuse. Un riche marchandde Philadelphie avait command Barber(Philadelphienluiaussi)unconcertopourunjeune violoniste exceptionnellement dou. cause de la situation confuse qui sestsubsquemmentdveloppe,susceptibledejeterunpeutoutlemondedanslembarras,lesnomsducommanditaireetduviolonisteallaient tre gards secrets pendant plus de50ans.MaislamusicologueBarbaraHeyman,dans son ouvrage intitul Samuel Barber : The Composer and His Music (1992),rvleleur identit et lve le voile sur certainescirconstancesquiontentourlacrationdeluvre. La premire mondiale officielle futdonnele7fvrier1941parlOrchestredePhiladelphie, avecEugeneOrmandycommechef et Albert Spalding comme soliste.(Luvreavaitdjfait lobjetdune lectureofficieuseparlOrchestreduCurtisInstituteofMusic,avecHerbertBaumelauviolon.)

    Le concerto souvre sur une mlodieengageantequisedploielonguement,jouepar le soliste dans la veine la plus lyriquede Barber. Ce long thme (27 mesures)dbouchedirectementsur lesecondthmede ce mouvement de forme sonate, unmotifenjou introduitpar laclarinetteavecaccompagnement daccords du piano (unchoix dinstrument plutt inusit dans unconcertopourviolon).Lesouffleromantiquequi traverse le premier mouvementsintensifie dans le deuxime, galementintroduitparun long thme lyrique,exposcette fois par le hautbois. Le mouvementfinalestunesortedemontagequirassemblediffrentsmatriauxmusicaux.Lavirtuositexigedusolistenestquundesesnombreuxtraitsdistinctifs.Ce moto perpetuo,enoutre,estremplidelignesanguleuses,dharmoniespointues,derythmesirrguliers,etestanimduneperptuelleagitation.LundespremiersbiographesdeBarber,NathanBroder,anot

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    JEAN SIBELIUSBorninTavastehus(todayHmeenlinna),Finland,December8,1865DiedatJrvenp,September20,1957

    Symphony No. 5 in E-flat major, Op. 82

    In 1915, at the age of fifty, Sibelius wasnot only a cultural hero at home, endowedwith a guaranteed government stipend forlife so he could devote himself exclusivelyto composition; he was reportedly the onlyFinnwhosenamewasknownthroughouttheworld. His fiftieth birthday was celebratedin Finland as a national holiday. Part ofthesecelebrations includedaconcertofhismusic by the Helsinki Municipal Orchestra,conductedbyhimself,atwhichhisnewFifthSymphony was heard for the first time onDecember8,1915.

    It is always a little dangerous to try toequate the external events of an artistslife with the content of his work. SibeliusFifthSymphony isacase inpoint. In1915,the world was at war and Sibelius was cutoff from his German publisher and fromroyalties that should have accrued fromperformancesofhismusicoutsideofFinland.Yet this symphony exudes a positive, life-affirmingspirit.ItskeyofE-flatmajorfollowsin the tradition of other heroic works likeBeethovens Eroica Symphony and Emperor Concerto, Schumanns Rhenish Symphony,and Strauss Ein Heldenleben. Even itsopening horn call, the motto from whichmuch of the symphonys melodic materialderives,soundsstronglyreminiscentofthat

    que cette musique donnait limpressionque le compositeur avait brusquementperdu patience face certaines exigencesstylistiques trop contraignantes quil staitlui-mmeimposes.

    JEAN SIBELIUS Tavastehus(aujourdhuiHmeenlinna),Finlande,8dcembre1865Jrvenp,20septembre1957

    Symphonie no 5 en mi bmol majeur, opus 82

    En 1915, lge de 50 ans, Sibelius taitun hros de la culture dans son pays, etle gouvernement lui avait accord unepension vie pour quil puisse se consacrerexclusivement la composition. En outre,on a dit quil tait le seul Finlandais dont lenom tait connu dans le monde entier. Son50e anniversaire fut clbr en Finlandecomme une fte nationale. Au nombre desvnements organiss cette occasion, ilyeut, le8dcembredecetteanne1915,un concert donn par lOrchestre municipaldHelsinki sous la baguette de Sibelius lui-mme, mettant laffiche des uvres ducompositeur,dontsaCinquimeSymphonie,quitaitinterprtepourlapremirefois.

    Il est toujours un peu dangereuxdessayer dexpliquer une uvre dart parles vnements extrieurs de la vie deson crateur. La Cinquime Symphonie deSibelius en est la dmonstration. En 1915,laguerremondialefaisaitrage.Sibeliustaitsans nouvelles de son diteur allemand etne percevait plus les redevances quauraitd produire linterprtation de ses uvres lextrieur de la Finlande. Pourtant, lasymphonie quil a compose dans cescirconstances est anime dun esprit positifetrempliedefoienlavie.Satonalitdemi bmol majeur suit la tradition des uvres

  • Entrezdanslescoulissesaucna-nac.ca/histoires 9

    hroques telles que la Symphonie Hroque et leConcerto LEmpereur deBeethoven,laSymphonie Rhnane deSchumann et Ein Heldenleben de Strauss.Mme lappel de cor du dbut, motif doprovient la plus grande partie du matriaumlodique de la symphonie, rappellefortement le clbre appel de trompette,lethmedelanaturequidonnelecoupdenvoiAlso sprach ZarathustradeStrauss.

    Le retour de Sibelius la symphonieest aussi un signe de renouveau chez lecompositeur. Sa symphonie prcdente,compose quatre ans auparavant, tait uneuvre sombre, intensment introspective,trouble et mme morose. Depuis le dbutde la Premire Guerre mondiale, Sibeliusavait produit surtout des uvres brves etanodines qui ne laissent gure transparatreson gnie pour la composition duvresde plus grande envergure. Avec laSymphonie no 5, il offrait une de sescompositions les plus robustes et les plusaffirmes, alors que le monde en guerretraversaitunepriodenoire.

    Toute sa vie, Sibelius sest efforcde raffiner et de synthtiser la formulesymphonique, le dveloppement sur unelongueduredesidesetmotifsmusicauxenunearchitecturemusicalelogique,cohrenteetglobale.OnnesauraitdoncstonnerquesoncompositeurprfraittBeethoven.George H. L. Smith, qui rdigeait autrefoisles notes de programme de lOrchestrede Cleveland, a fait remarquer que, dansla Cinquime Symphonie de Sibelius, lesthmessontsuccincts,cristallinsetloquentscomme les motifs de Beethoven. Pourtant,chaque fragment contient en germe unefloraison inexplicable, une magnificencetonale inimaginable sinscrivant dans unelogiquequisembleinvitable.Avecunetellemagie, les thmes tirent leur importancede ce quils deviennent, plutt que de ce

    famousopeningtrumpetcallinStraussAlso sprach Zarathustra, the so-called Naturetheme.

    Sibelius return to the genre of thesymphony also represents an act of self-renewal. His previous symphony, writtenfour years before, was a dark, intenselyintrospective, troubled, even morose work.Since the outbreak of World War I, Sibeliushadturnedoutmostlyshort,inconsequentialworks that revealed little of the genius hehad for working in the larger forms. Now,inthedepressingdaysofaworldatwar,heofferedoneofhissturdiest,mostaffirmativecompositions.

    Sibelius strove all his life to refine andsynthesize the symphonic process, thedevelopment of musical ideas and motifsoverlongtimespansintoalogical,coherent,all-embracing musical architecture, and itis hardly accidental that the composer forme above all others is Beethoven. GeorgeH. L. Smith, a former program annotatorfor the Cleveland Orchestra, observed ofSibelius Fifth Symphony that the themesareterse,crystalline,pregnantasthemotifsof Beethoven. Yet each fragment containsthegermofsomeunaccountableflowering,some unimagined tonal magnificence thattakesshapebyaseemingly inevitable logic.Undersuchwizardry,thethemesdrawtheirsignificance from what they become ratherthanfromwhattheyare....Sibeliusplannedhissymphoniestobecumulative.Sothefinalmovementgathersthethreadsoftheentirework together [leading to] the noble finalpages where the swinging half-note themereturns in an orchestral tutti, resoundingand gorgeous, that crowns and affirms thewhole.

    A detailed account of how each theme,motifandmelodicfragmentofthesymphonyfits into the grand scheme would requiremany pages of description, and would

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    ultimatelymaketediousreading.SufficeittosaythatSibeliustransformshisideas(notablythe soft opening horn call) with amazingdiversityand imagination.Sibeliusoncesaidthat this symphonic process fascinates meinamysteriousway.AsifGodtheFatherhadhurled pieces of a mosaic pattern from hiscelestial dwelling and asked me to describehowthispatternhadbeen.

    The first movement was actually twoseparate ones in the original form of thissymphony.Themovementas itnowstandsobviously consists of two entirely differentparts, each with its own character, but thetransitionfromonetotheotherissogradualandseamlesslymanagedthatthe listener isscarcely aware of the process. In fact, thetempo remains the same for the playful,scherzo-like music; it is the nature of therhythmicactivitythatchanges(onebeatof12/8metrebecomesonemeasureof3/4).Themovementendswithacodaofsurging,Dionysianenergywhichbreaksoffwiththeabruptnessofafallingguillotineblade.

    The second movement, in G major, hasagentler cast, and isessentially a seriesofcontinuouslyevolvingvariationsonasimpleten-note figure of seemingly trivial import:five notes pause five notes, whosepatterncorrespondstoDoyoulikepeanuts?Yes,Ilikepeanuts.Butthesophisticationandresourcefulness with which Sibelius variesthis musical molecule is nothing short ofmiraculous.

    The finale is characterized by an almostconstant underlying scurrying effect in thestringsandbythetollingofbells,aneffect

    quils sont. [...] Sibelius considrait le genresymphoniquecommeunprocessuscumulatif.Ainsi, le dernier mouvement rassemble lesdiffrentslmentsdelensembledeluvrepour aboutir aux dernires pages dunegrande noblesse o le thme entranantcompos de blanches est repris dans untuttiorchestral retentissantetmagistralquicouronneldificesymphonique.

    Il faudrait de nombreuses pages pourdcrire en dtail comment chaque thme,chaquemotifetchaquefragmentmlodiquedelasymphoniesintgredanslensemble,etlexercice serait finalement fastidieux. NousnouscontenteronsdoncdedirequeSibeliustransforme ses ides (notamment le douxappel de cor du dbut) avec une diversitetuneimaginationquinecessentdtonner.Dcrivant un jour la cration symphonique,lecompositeuradit :Jesuistrangementfascin par ce processus. Cest comme siDieu le pre laissait tomber des cieux desmorceauxdemosaqueetmedemandaitdenreconstituerledessin.

    Lepremiermouvementregroupeenfaitdeuxmouvementsdiffrentsdelapremireversiondelasymphonie.Telquilseprsenteactuellement, le premier mouvement estvisiblement compos de deux partiesdiffrentesayantchacuneleurcaractre,maislatransitiondelunelautreestsigraduelleetsifluidequelauditeursenaperoitpeine.De fait, le tempo demeure le mme pourcettemusiquejoyeusedetypescherzo;cestla nature de lactivit rythmique qui volue(unebattuede12/8devientunemesure3/4).Lemouvementsachveavecunecoda

    TheNACOrchestrafirstperformedSibelius FifthSymphony in1970under thedirectionof Franz-PaulDecker,andmostrecentlyin2008,withThomasSndergrdconducting.

    LOrchestreduCNAainterprtpourlapremirefoisla Symphonie no 5 deSibeliusen1970souslabaguettedeFranz-PaulDecker,etladernirefoisen2008,avecThomasSndergrdcommechef.

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    simulated much of the time by the hornsand/or trumpets. A broad, heroic melodyis proudly proclaimed by the woodwinds,a theme that returns later in the darkercoloursofunison stringsand leads into thesymphonys magnificent apotheosis in theheroic key of E-flat major. The tensionmounts to the breaking point, writesJonathanKramer,formerprogramannotatorfor theCincinnati Symphony, and then themusicdoesjustthat:itbreaks.Amovementthat has been characterized by continuoussound, particularly during the final build,at last admits silence. Sustained sound hasbecome almost excessive. Several, isolated,full, short chords punctuate the silence, asthismostextraordinaryofsymphoniesendsinamostextraordinarymanner.

    By Robert Markow

    dont lnergie dionysiaque et bouillonnanteest brutalement interrompue comme par lecouperetduneguillotine.

    Le deuxime mouvement en sol majeurest moins heurt et se prsenteessentiellement comme une srie devariations en constante volution sur unesimple figure de dix notes de caractreapparemment banal compose de deuxgroupes de cinq notes spars par unepause, dont la structure correspond unchange anodin du type : Aimez-vous leth?Jaimebeaucoupleth.Cependant,leraffinementet limaginationaveclesquelsSibeliustransformecettemolculemusicalenesontriendemoinsquemiraculeux.

    Le finale est caractris par une quasiconstanteagitationsous-jacentedescordesetparuneffetdeclochessimul laplupartdutempspar lecoret (ou) les trompettes.Les bois noncent firement une mlodieampleethroque,unthmequiserareprisplustarddanslescouleursplussombresdescordeslunissonpourmenerlapothosemagnifiquede lasymphoniedans latonalit hroque de mi bmol majeur. Latension monte jusquau point de rupture,critJonathanKramer,lauteurdesnotesdeprogramme de lOrchestre symphonique deCincinnati, et cest justement une rupturemusicale qui se produit. Le mouvement quiatcaractrisparunecontinuitsonore,en particulier dans la monte finale, faitfinalement place au silence. Le son soutenuest devenu quasiment excessif. Plusieursaccords isols, pleins, brefs, ponctuent lesilence,tandisquecettesymphoniedesplusextraordinairessachvedelamanirelaplusextraordinaire.

    Traduit daprs Robert Markow

  • 12 Gobehindthesceneswithnac-cna.ca/stories

    Namedasoneoftheleadingconductorsofhisgeneration,CarloRizzihasappearedwiththegreatestorchestrasoftheworldincludingthe Vienna Philharmonic, the Los AngelesPhilharmonic, the London Philharmonic, theOrchestre National de France and the NHKSymphony Orchestra Tokyo. He is in greatdemand in the finest opera houses of theworld as well, and is a frequent conductoratTeatroLaScalaMilano, theMetropolitanOpera New York and Londons Royal OperaCoventGarden.

    Carlo Rizzi has held the post of MusicDirector of Welsh National Opera for 13years.RecentorchestralappearancesincludedateswiththetheIndianapolisSymphony,theHong Kong Philharmonic and the GrzenichOrchestra (Cologne). Operatically, MaestroRizzi has just conducted to great acclaimPuccinisLa Bohme at theCanadianOperaCompany(Toronto)andwillbeonthepodiumoftheOperaBastilleforLa fanciulla del West,Verdis Rigoletto at La Monnaie (Brussels)andDonizettis Lucia di LammermoorattheNetherlands Opera (Amsterdam). He madehisNACdebutin2011.

    Maestro Rizzi has recorded more thanten operas including La Traviata, Rigoletto,and La Cenerentola released both on CDand DVD. His latest symphonic recording isfeaturingthemajorworksofRavelwiththeNetherlands Philharmonic Orchestra on theTACETlabel.

    Carlo Rizzi, lun des chefs dorchestreles plus en vue de sa gnration , sestproduit avec les plus grands ensemblesorchestraux du monde, dont les orchestresphilharmoniquesdeVienneetdeLosAngeles,lOrchestreNationaldeFranceetlOrchestresymphoniqueNHKdeTokyo.Ilestaussitrssollicit par les plus prestigieuses maisonsdopra de la plante, agissant souventcommechefdorchestreLaScaladeMilan,au Metropolitan Opera de New York et lOpraroyaldeCoventGardenLondres.

    MaestroRizziaassurpendant13ansladirectionmusicaleduWelshNationalOpera.Enconcert,iladirigrcemmentlOrchestresymphonique dIndianapolis, lOrchestrephilharmoniquedeHongKongetlOrchestrede Grzenich de Cologne. lopra, il vientdediriger lesprestationstrsapplaudiesdeLa Bohme de Puccini donnes par laCanadianOperaCompany(Toronto),etseraaupodiumlOpraBastilledansLa Fiance de lOuest, La Monnaie (Bruxelles) dansRigolettodeVerdi,etlOpradesPays-Bas(Amsterdam) dans Lucia di Lammermoor de Donizetti. Il a fait ses dbuts au CNAen2011.

    Carlo Rizzi a enregistr au-del de dixopras dont La Traviata, Rigoletto etLa Cenerentola sur CD et DVD. Son plusrcent album symphonique, ralis aveclOrchestre philharmonique des Pays-BassousltiquetteTACET,contientdesuvresmajeuresdeRavel.

    Carlo Rizziconductor/chef dorchestre

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  • Entrezdanslescoulissesaucna-nac.ca/histoires 13

    Phot

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    Dav

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    Praised by the Cleveland Plain Dealer asimpossible to resist, captivating withlyricism, tonal warmth, and boundlessenthusiasm, violinist Giora Schmidt hasappeared with many prominent symphonyorchestras around the globe, includingCleveland,Philadelphia,Chicago,Vancouver,Toronto, and the Israel Philharmonic. HemadehisNACdebutin1999.

    Inrecitalandchambermusic,Mr.SchmidthasperformedatCarnegieHall,TheKennedyCenter, The Metropolitan Museum of Art,San Francisco Performances, the LouvreMuseum in Paris and Tokyos MusashinoCultural Hall. Festival appearances includethe Ravinia Festival, the Santa Fe andMontreal Chamber Music Festivals, BardMusicFestival,andScotiaFestivalofMusic.

    He has collaborated with eminentmusicians including Yefim Bronfman, ItzhakPerlman,PinchasZukerman,LynnHarrellandMichaelTree.

    Born in Philadelphia to professionalmusicians from Israel, Giora began playingthe violin at the age of four. A graduate ofTheJuilliardSchool,hewastherecipientofa2003AveryFisherCareerGrant,andin2005won the Classical Recording FoundationsSamuelSandersAward.

    Committedtoeducationandsharinghispassion for music, Giora regularly connectswith over 45,000 music lovers worldwideon his Facebook page (facebook.com/gioraschmidt).

    Salu par le Cleveland Plain Dealer commeun artiste irrsistible, captivant parson lyrisme, sa chaleur tonale et sonenthousiasme inpuisable , le violonisteGiora Schmidt a partag la scne avec denombreux ensembles prestigieux commeles orchestres symphoniques de Cleveland,Philadelphie,Chicago,VancouveretToronto,et lOrchestre philharmonique dIsral.IlafaitsesdbutsauCNAen1999.

    Ilaaussidonndesrcitalsetdesconcertsde musique de chambre Carnegie Hall, auKennedy Center, au Metropolitan Museumof Art, au San Francisco Performances, auLouvreParisetauCentreculturelMusashino Tokyo. Il sest par ailleurs produit dans denombreux vnements, dont le festival deRavinia,lesfestivalsdemusiquedechambrede Santa Fe et de Montral, le Bard MusicFestivaletleScotiaFestivalofMusic.

    Il a collabor avec dminents musicienstels Yefim Bronfman, Itzhak Perlman,PinchasZukerman,LynnHarrelletMichaelTree.

    N Philadelphie de parents musiciensprofessionnelsoriginairesdIsral,GioraSchmidtacommenc jouerduviolonquatreans.Diplm de la Juilliard School, il a remporten2003uneboursedecarrireAveryFisheret,en2005,leSamuelSandersAwarddelaClassicalRecordingFoundation.

    Engag dans la cause de lducationet soucieux de partager sa passion pourla musique, Giora Schmidt communiquergulirementavecles45000mlomanesetplusdumondeentierquilesuiventsursapageFacebook(facebook.com/gioraschmidt).

    Giora Schmidtviolin/violon

  • 14 Followusontwitter:twitter.com/CanadasNAC

    The NAC Institute for Orchestral Studies(IOS)isinitsseventhyear.EstablishedundertheguidanceofNACMusicDirectorPinchasZukerman, the IOS is an apprenticeshipprogramdesignedtopreparehighlytalentedyoung musicians for successful orchestralcareers, and is funded by the National ArtsCentre Foundation through the NationalYouth and Education Trust. During selectedmain series weeks of the 2013-2014season, IOS apprentices rehearse andperformwiththeNACOrchestra.

    BOOM 99.7 is proud to support theyoungartistsperforminginthisconcert.

    LInstitut de musique orchestrale (IMO)du CNA en est sa septime saison. Cr linstigation du directeur musical du CNAPinchasZukerman, lIMOestunprogrammede formation qui vise prparer de jeunesinterprtes trs talentueux une brillantecarrire de musiciens dorchestre. LInstitutest financ par la Fondation du CentrenationaldesArtsparlentremisedelaFiducienationalepourlajeunesseetlducation.Aucoursdesemainesprdterminesdessriesprincipales de la saison 2013-2014, lesparticipants rptent et se produisent aveclOrchestreduCNA.

    BOOM99.7estfiredappuyerlesjeunesartistesquisejoignentnosmusicienscesoir.

    NAC Institute for Orchestral StudiesInstitut de musique orchestrale du CNA

  • Suivez-noussurtwitter: twitter.com/CNAduCanada 15

    The National Arts Centre Orchestra Orchestre du Centre national des ArtsPinchas Zukerman Music Director/Directeur musicalAlexander Shelley Music Director Designate/Directeur musical dsignAlain Trudel Principal Youth and Family Conductor/Premier chef des concerts jeunesse et familleJack Everly Principal Pops Conductor/Premier chef des concerts Pops

    * Additional musicians/Musiciens surnumraires ** On Leave/En cong NAC Institute for Orchestral Studies mentors/Mentors pour lInstitut de musique orchestrale du CNA Apprentices of the Institute for Orchestral Studies/Apprentis de lInstitut de musique orchestrale

    The National Arts Centre Orchestra is a proud member of Orchestras Canada, the national association for Canadian orchestras./LOrchestre du Centre national des Arts est un fier membre dOrchestres Canada, lassociation nationale des orchestres canadiens.

    FIRST VIOLINS/PREMIERS VIOLONS **Yosuke Kawasaki (concertmaster/ violon solo) *Marie Berard (guest concertmaster/violon solo) **Jessica Linnebach (associate concertmaster/violon solo associe) *Jeremy Mastrangelo (guest associate concertmaster/violon solo associ invit) Manuela Milani Nomi Racine- Gaudreault Elaine Klimasko Leah Roseman Karoly Sziladi Lynne Hammond *Martine Dub *Emily Westell Sunny She SECOND VIOLINS/SECONDS VIOLONS Donnie Deacon (principal/solo) **Winston Webber (assistant principal/ assistant solo) Susan Rupp Mark Friedman Edvard Skerjanc Lev Berenshteyn Richard Green Brian Boychuk *Adam Nelson *JoAnna Farrer *Daniel Godin

    VIOLAS/ALTOS Jethro Marks (principal/solo) David Goldblatt (assistant principal/ assistant solo) David Thies- Thompson Nancy Sturdevant *Guylaine Lemaire *Paul Casey Kayleigh Miller CELLOS/VIOLONCELLES **Amanda Forsyth (principal/solo) *Rachel Mercer (guest principal/ solo invite) Leah Wyber Timothy McCoy Carole Sirois *Thaddeus Morden *Karen Kang Zhou Fang DOUBLE BASSES/ CONTREBASSES **Joel Quarrington (principal/solo) *Owen Lee (guest principal/ solo invit) Marjolaine Fournier (assistant principal/assistante solo) Murielle Bruneau Vincent Gendron Hilda Cowie Nathaniel Martin FLUTES/FLTESJoanna Gfroerer(principal/solo)Emily Marks

    OBOES/HAUTBOISCharles Hamann(principal/solo)Anna Petersen Stearns

    CLARINETS/CLARINETTESKimball Sykes(principal/solo)Sean Rice

    BASSOONS/BASSONSChristopher Millard(principal/solo)Vincent Parizeau

    HORNS/CORSLawrence Vine(principal/solo)Julie Fauteux(associate principal/ solo associe)Elizabeth SimpsonJill KirwanNicholas Hartman

    TRUMPETS/TROMPETTESKaren Donnelly(principal/solo)Steven van Gulik*Heather Zweifel

    TROMBONES Donald Renshaw (principal/solo) Colin Traquair BASS TROMBONE/TROMBONE BASSE Douglas Burden TUBA Nicholas Atkinson (principal/solo)

    TIMPANI/TIMBALES Feza Zweifel (principal/solo) PERCUSSIONS Jonathan Wade Kenneth Simpson HARP/HARPE Manon Le Comte (principal/solo)

    LIBRARIANS /MUSICOTHCAIRES Nancy Elbeck (principal librarian/musicothcaire principale)Corey Rempel(assistant librarian/musicothcaire adjoint) PERSONNEL MANAGER/ CHEF DU PERSONNEL Ryan Purchase ASSISTANT PERSONNEL MANAGER/CHEF ADJOINTE DU PERSONNEL Jane Levitt

  • Printed on Rolland Opaque50, which contains 50% post-consumer fibre, is EcoLogo and FSC certified

    Imprim sur du Rolland Opaque50 contenant 50 % de fibres postconsommation, certifi EcoLogo et FSC

    Music Department/Dpartement de musiqueChristopher Deacon ManagingDirector/DirecteuradministratifDaphne Burt ManagerofArtisticPlanning(on leave)/Gestionnairedelaplanificationartistique(en cong)Frank Dans InterimArtisticAdministrator/AdministrateurartistiqueparintrimLouise Rowe ManagerofFinanceandAdministration/GestionnairedesfinancesetdeladministrationNelson McDougall TourManager/GestionnairedetourneStefani Truant AssociateArtisticAdministrator/AdministratriceartistiqueassocieMeiko Taylor OrchestraOperationsAssociate&AssistantPersonnelManager(on leave)/ AssocieauxoprationsdelOrchestreetchefadjointedupersonnel(en cong)

    Ryan Purchase ActingPersonnelManager/ChefdupersonnelparintrimJane Levitt OrchestraOperationsAssociate/AssocieauxoprationsdelOrchestreRene Villemaire ArtisticCoordinator/Coordonnatriceartistique

    Genevive Cimon Director,MusicEducationandCommunityEngagement/ Directrice,ducationmusicaleetrayonnementdanslacollectivit

    Douglas Sturdevant ManagerofArtistTrainingandOutreach/ Gestionnaire,Formationdesartistesetmdiationculturelle

    Christy Harris Manager,SummerMusicInstitute/Gestionnaire,InstitutestivaldemusiqueKelly Abercrombie EducationAssociate,SchoolsandCommunity/Associe,ServicesauxcolesetlacollectivitNatasha Harwood NationalAdministrator,NACMusicAliveProgram/ Administratricenationale,ProgrammeVivelamusiqueduCNA

    Paul Vandenberg MusicEducationCoordinator,ArtistTrainingandShowcasing/ Coordonnateur,ducationmusicale,Formationetprsentationdesartistes

    Diane Landry DirectorofMarketing/DirectriceduMarketingNatalie Rumscheidt SeniorMarketingManager/GestionnaireprincipaleduMarketingKimberly Raycroft SeniorMarketingOfficer/AgenteprincipaledemarketingAndrea Hossack CommunicationsOfficer/AgentedecommunicationMelynda Szabototh AssociateMarketingOfficer/AgenteassociedemarketingCamille DuboisCrteau AssociateMarketingOfficer/AgenteassociedemarketingOdette Laurin CommunicationsCoordinator/Coordonnatricedescommunications

    Alex Gazal ProductionDirector/DirecteurdeproductionPasquale Cornacchia TechnicalDirector/Directeurtechnique

    Robert Lafleur President,FriendsoftheNACOrchestra/PrsidentdesAmisdelOrchestreduCNA

    JointheFriendsoftheNACOrchestrainsupportingmusiceducation.

    Telephone:613 947-7000 x590FriendsOfNACO.ca

    Joignez-vousauxAmisdelOrchestreduCNApourunebonnecause:lducationmusicale.

    Tlphone:613 947-7000 x590 AmisDOCNA.ca

    Audi,theofficialcaroftheNationalArtsCentreOrchestra/Audi,lavoitureofficielledelOrchestreduCentrenationaldesArts

  • Music Department/Dpartement de musiqueChristopher Deacon ManagingDirector/DirecteuradministratifDaphne Burt ManagerofArtisticPlanning(on leave)/Gestionnairedelaplanificationartistique(en cong)Frank Dans InterimArtisticAdministrator/AdministrateurartistiqueparintrimLouise Rowe ManagerofFinanceandAdministration/GestionnairedesfinancesetdeladministrationNelson McDougall TourManager/GestionnairedetourneStefani Truant AssociateArtisticAdministrator/AdministratriceartistiqueassocieMeiko Taylor OrchestraOperationsAssociate&AssistantPersonnelManager(on leave)/ AssocieauxoprationsdelOrchestreetchefadjointedupersonnel(en cong)

    Ryan Purchase ActingPersonnelManager/ChefdupersonnelparintrimJane Levitt OrchestraOperationsAssociate/AssocieauxoprationsdelOrchestreRene Villemaire ArtisticCoordinator/Coordonnatriceartistique

    Genevive Cimon Director,MusicEducationandCommunityEngagement/ Directrice,ducationmusicaleetrayonnementdanslacollectivit

    Douglas Sturdevant ManagerofArtistTrainingandOutreach/ Gestionnaire,Formationdesartistesetmdiationculturelle

    Christy Harris Manager,SummerMusicInstitute/Gestionnaire,InstitutestivaldemusiqueKelly Abercrombie EducationAssociate,SchoolsandCommunity/Associe,ServicesauxcolesetlacollectivitNatasha Harwood NationalAdministrator,NACMusicAliveProgram/ Administratricenationale,ProgrammeVivelamusiqueduCNA

    Paul Vandenberg MusicEducationCoordinator,ArtistTrainingandShowcasing/ Coordonnateur,ducationmusicale,Formationetprsentationdesartistes

    Diane Landry DirectorofMarketing/DirectriceduMarketingNatalie Rumscheidt SeniorMarketingManager/GestionnaireprincipaleduMarketingKimberly Raycroft SeniorMarketingOfficer/AgenteprincipaledemarketingAndrea Hossack CommunicationsOfficer/AgentedecommunicationMelynda Szabototh AssociateMarketingOfficer/AgenteassociedemarketingCamille DuboisCrteau AssociateMarketingOfficer/AgenteassociedemarketingOdette Laurin CommunicationsCoordinator/Coordonnatricedescommunications

    Alex Gazal ProductionDirector/DirecteurdeproductionPasquale Cornacchia TechnicalDirector/Directeurtechnique

    Robert Lafleur President,FriendsoftheNACOrchestra/PrsidentdesAmisdelOrchestreduCNA

    Champions Circle / Cercle du championRichard Li

    Leaders Circle / Cercle des leadersGail & David OBrienThe Slaight Family Fund for Emerging

    Artists/Le Fonds pour artistes mergents de la famille Slaight

    Gail Asper, O.C., O.M., LL.D. & Michael Patterson

    James & Emily HoThe Dianne & Irving Kipnes Foundation

    Presidents Circle / Cercle du prsidentJohn & Bonnie BuhlerAlice & Grant BurtonCommunity Foundation of Ottawa/

    Fondation communautaire dOttawaThe Craig FoundationJulia & Robert FosterMargaret & David FountainJeanne F. Fuller and Family

    Jerry & Joan LozinskiMr. / M. F.R. Matthews, C.M., Q.C. / c.r.The J. W. McConnell Family FoundationNew Play Development Supported by

    an Anonymous Donor / Soutien au dveloppement de nouvelles pices par un donateur anonyme

    Janice & Earle OBorn

    Presenters Circle / Cercle du diffuseur

    Producers Circle / Cercle du producteur

    Bigu - Tuli FoundationKimberley Bozak & Philip Deck Adrian Burns & Gregory Kane, Q.C.M.G. Campbell Zita CobbDaugherty and Verma Endowment

    for Young Musicians / Fonds de dotation Daugherty et Verma pour jeunes musiciens

    Amoryn Engel & Kevin Warn-Schindel

    Cynthia Baxter and Family / et familleThe Bernardi Family /

    La famille BernardiCecily & Robert BradshawJohn M. CassadayLiane & Robert Clasen Earlaine CollinsThe Harold Crabtree FoundationAnn F. Crain Mohammed & Yulanda FarisErdelyi Karpati Memorial FundFondation de Gasp Beaubien Friends of the National Arts Centre

    Orchestra/Les Amis de lOrchestre du CNA

    EQ3 Furniture for LifeFred & Elizabeth FountainJean Gauthier & Danielle FortinSusan Glass & Arni ThorsteinsonHarvey & Louise GlattStephen & Jocelyne GreenbergPaul & Carol HillPeter JessimanJames S. KinnearLeacross Foundation

    Gaetano Gagliano & FamilyElinor Gill Ratcliffe C.M., O.N.L.,

    LLD(hc)The Irving Harris FoundationSarah Jennings & Ian JohnsDonald K. Johnson

    & Anna McCowan JohnsonThe Michael and Sonja Koerner

    Charitable FoundationDavid & Susan LaisterJanet MatthewsM. Ann McCaig, C.M., A.O.E., LL.D.Hector McDonald

    & Philippa Ann McDonald

    The Vered Family / La famille VeredThe Honourable Hilary M. Weston &

    Mr. W. Galen Weston

    Stefan & Magdalena OpalskiMichael PotterWCPD FoundationThe Zed Family / La famille ZedAnonymous / Donateurs anonymes (2)

    Dr. Joy Maclaren, C.M., New SunDr. Kanta MarwahJane E. MooreAlvin Segal Family Foundation /

    Fondation de la famille Alvin SegalMr. & Mrs. Calvin A. SmithFrank & Debbi SobeyJayne WatsonPinchas Zukerman Anonymous / Donateurs anonymes (2)

    The McKinlays / La famille McKinlay : Kenneth, Ronald & Jill

    Guy & Mary PratteKaren Prentice, Q.C., & the

    Honourable Jim Prentice, P.C., Q.C.Eric & Lois RidgenMonsieur Franois R. RoyThe Ruby Family / La famille RubyWilliam & Jean TeronArnon & Elizabeth VeredThe Winnipeg Foundation James WolfensohnDavid Zussman & Sheridan ScottAnonymous / Donateur anonyme (1)

    La Fondation du Centre national des Arts

    DONORS CIRCLE / CERCLE DES DONATEURSThe National Arts Centre Foundation gratefully acknowledges the support of its many contributors. Below is the annual giving list which includes the Donors Circle, Corporate Club and Emeritus Circle. List complete as of September 18, 2013. Thank you!!

    La Fondation du Centre national des Arts remercie chaleureusement ses nombreux donateurs pour leur soutien. Voici la liste complte en date du 18 septembre 2013 des personnes et socits qui font partie du Cercle des donateurs, du Club des entreprises et du Cercle Emeritus. Merci!

    National Arts Centre Foundation

  • Frank & Inge BaloghMary B. BellSandra & Nelson BeveridgeCanimex Inc.Robert & Marian CummingChristopher Deacon

    & Gwen GoodierMr. Arthur Drache, C.M., Q.C.

    & Ms. Judy YoungMr. Larry FichtnerE.A. FlemingDavid Franklin & Lise ChartrandStephen & Raymonde HansonPeter Herrndorf & Eva CziglerKathleen & Anthony HydeRon & Elaine JohnsonDr. Frank A. JonesHuguette & Marcelle Jubinville

    Helen AndersonWladimir & Scheila AraujoPierre Aubry & Jane DudleyBarbara A. BainesColin & Jane BeaumontMichael Bell & Anne BurnettPaul & Rosemary BenderMarion & Robert BennettMargaret BloodworthBarry M. BloomFrits BosmanIn Memory of Donna Lee BouletPeter & Livia BrandonDr. Nick Busing & Madam Justice Catherine Aitken

    Julie Byczynski & Angus GrayChristina Cameron

    & Hugh WinsorCraig & Elizabeth CampbellLeo CardellaCheryl & Douglas CaseyRev. Gail & Robert ChristyChristopher & Saye ClementKaren ColbyMichel CollettePatricia CordingleyYves R. CousineauKaren Crozier & Grant CrozierCarlos & Maria DaSilvaDr. B. H. DavidsonFernand DryNadia Diakun-Thibault

    & Ron ThibaultThe Ann Diamond FundRoland Dimitriu & Diane Landry

    Diana & David KirkwoodJoyce LoweBrenda MacKenzieThe Honourable John Manley, P.C.,

    O.C. & Mrs. Judith ManleyGrant J. McDonald, FCPA, FCA

    & Carol DevennyJohn McPherson & Lise OuimetAndrea Mills & Michael NagyDavid Monaghan

    & Frances BuckleyWilliam & Hallie MurphyBarbara NewbeginCharles & Sheila NicholsonM. Ortolani & J. BergeronKeith Ray & Leslie GalesThe late Simon

    & Mrs. Constance Reisman

    Joyce DonovanRobert P DoyleYvon DuplessisTom Fagan & Kevin GrovesCarol FahieDr. David Finestone

    & Mrs. Josie FinestoneAnthony FosterDebra L. FrazerKaysa & Alfred FriedmanDouglas Frosst & Lori GadzalaPaul Fydenchuk

    & Elizabeth MacfiePierre GareauCarey & Nancy GarrettClaude GauvinDale Godsoe, C.M.Thomas Golem & Renee CarletonDavid Green, Daphne Wagner,

    Lita & Mikey GreenDavid & Rochelle GreenbergRobert Guindon

    & Diane DesrochersMs. Wendy HannaPeter HarderDr. John Hilborn

    & Ms. Elisabeth Van WagnerCatherine HollandsDorene HurtigIQ Bridge Inc./Claudio Rodrigues,

    CEOJackman FoundationMarilyn Jenkins & David SpeckBen Jones

    & Margaret McCullough

    Mr. & Mrs. Samuel SarickGo SatoMr. Peter SeguinRaymond & Fe SouwPhil & Eli TaylorRobert TennantVernon G. & Beryl TurnerThe Tyler Family Charitable

    FoundationDonald T. Walcot Dave & Megan WallerDonna & Henry WattPaul Wells & Lisa SamsonJames WhitridgeDon & Billy WilesAnonymous /

    Donateurs anonymes (2)

    Dr. David Jones & Mrs. Glenda Lechner

    Ms. Lynda JoyceJillian Keiley & Don EllisDenis LabrieDenis & Suzanne LamadeleineMarie Louise Lapointe

    & Bernard LeducWilliam LarsenGaston & Carol LauzonDr. & Mrs. Jack LehrerJean B. LibertyElizabeth McGowanMr. Tamas MihalikHeather MooreSylvie MorelThomas MorrisJacqueline M. NewtonSteven OliverEileen & Ralph OverendSunny & Nini PalMary Papadakis

    & Robert McCullochRussell Pastuch & Lynn SolvasonDre Rene PrinceJean-Pierre ProulxGreg Reed & Heather HoweChris & Lisa RichardsIn memory of Gloria RosemanKevin SampsonDaniel Senyk & Rosemary MenkeDr. Farid Shodjaee

    & Mrs. Laurie ZrudloEric & Carol Ann StewartK. Elizabeth Stewart

    Maestros Circle / Cercle du maestro

    Directors Circle / Cercle du metteur en scne

  • Dr. Matthew Suh & Dr. Susan Smith

    Hala TablAnthony & Sharleen TattersfieldElizabeth TaylorGordon & Annette Thiessen

    Daphne AbrahamCavaliere / Chevalier Pasqualina

    Pat AdamoMichael AllenMichael-John AlmonSheila AndrewsKelvin K. AuDaryl Banke & Mark HusseySheila BayneDr. Ruth M. Bell, C.M.Madame Llia D. BousquetBrenda BowmanHayden Brown & Tracy BrooksTom & Beth CharltonSpencer & Jocelyn ChengDr. Gretchen Conrad

    & Mr. Mark G. ShulistMichael & Beryl CorberMarie CouturierDuart & Donna CrabtreeRobert J. CraigTravis Croken & Kasia RoczniakKari Cullen & William BonnellPaul DangGladys & Andrew DencsRobert S. & Clarisse DoyleColonel Michel

    & Madame Nicole DrapeauWilliam FairweatherMark Fedosiewich and FamilyDenzil FeinbergSheila ForsythSylvia Gazsi-Gill & John GillLouis GirouxHarry GoldsmithAdam GooderhamLynn & Robert GouldJohn GrahamBeric & Elizabeth Graham-SmithPauline E. GravelToby Greenbaum & Joel RotsteinGenadi & Catherine GuntherJohn & Greta HansenMichael HarkinsJohn Alan Harvey

    & Sandra Harvey, Murphy Business Ottawa

    Janet ThorsteinsonMary TurnbullDr. Derek Turner

    & Mrs. Elaine TurnerPhil Waserman

    & Valerie Bishop-DeYoung

    David Holdsworth & Nicole Sencal

    Jacquelin Holzman & John Rutherford

    Margie & Jeff HooperDr. Brian & Alison IveyAnik G. JeanAnatol & Czeslawa KarkBeatrice Keleher-RaffoulDr. John Kershman

    & Ms. Sabina WasserlaufJohn Kingma & Hope FreebornChristine Langlois & Carl MartinFranois LapointeNicole LebufDaryl LeitchLouis & Sonia LemkowShannon & Giles LeoHelen & Ken ListerJack LoganTess MacleanDonald MacLeodJack & Hlne MajorMariannes LingerieRoberto & Lucia MartellaDoug & Claudia McKeenDorothy Milburn-SmithBruce R. MillerJ. David & Pamela MillerDavid MillikenWilliam G. MillsDavid Nahwegahbow

    & Lois JacobsIn memory of Trong Nguyen

    & Naomi SunCedric & Jill NowellFranz OhlerIn Memory of Jetje (Taty) Oltmans-Olberg

    John OsborneGiovanni & Siqin PariDre Odette PerronJustice Michael Phelan

    & Susan PhelanMrs. Dorothy PhillipsDr. Wendy Quinlan-GagnonMaura Ricketts & Laurence Head

    William & Phyllis WatersHans & Marianne WeidemannLinda WoodPaul Zendrowski & Cynthia KingAnonymous /

    Donateurs anonymes (5)

    David & Anne RobisonMarianne & Ferdinand RoelofsElizabeth RoscoeDr. & Mrs. Fred RossHope Ross-PapezikGeorge & Carmelanna RuggieroEsther P. & J David RunnallsPierre SabourinUrs & Mait SchenkMr. & Mrs. Brian Scott Fred Semerjian & Peggy SunCarolyn & Scott ShepherdJ. SinclairBrydon Smith & Ann ThomasJudith Spanglett

    & Michael R. HarrisPaul SparkesVictoria SteeleLiba & Paul StraznickyMr. & Mrs. Bruce TaylorKenneth & Margaret TorranceEric VandenbergThe Honourable George W. Vari,

    P.C., O.C. & Dr. Helen Vari, C.L.H.Nancy & Wallace VroomanMs. Frances A. WalshIn memory of

    Thomas Howard WestranShannon & Anna WhiddenAlexandra Wilson

    & Paul Andr BarilMaxwell & Janice YaldenAnonymous /

    Donateurs anonymes (6)

    Maestros Circle / Cercle du maestro

    Playwrights Circle / Cercle du dramaturge

  • Rob Marland, Royal Lepage Performance RealtyJulie Teskey Re/Max Metro City

    Jackie AdamoCavaliere / Chevalier Pasqualina Pat

    AdamoThe Estate of Dr. & Mrs. A.W. Adey Edward & Jane AndersonThe Bluma Appel National Arts

    Centre Trust / La Fiducie Bluma Appel du Centre national des Arts

    John ArnoldIn memory of Morris D. BakerDaryl M. Banke & P. Mark HusseyDavid BeattieMary B. BellDr. Ruth M. Bell, C.M.In memory of Bill BossM. G. CampbellBrenda CardilloRenate ChartrandThe Estate of Kate R. Clifford Michael & Beryl CorberPatricia CordingleyRobert & Marian CummingVicki CummingsDaugherty and Verma Endowment for

    Young Musicians/Fonds de dotation Daugherty et Verma pour jeunes musiciens

    Frances & John DawsonRita G. de Guire

    CorPorate SuPPorterS / SoutIeN eNtrePrISeS

    ThE EmERITUS CIRCLE / LE CERCLE EmERITUSThe Emeritus Cirlce pays tribute to those who have left a legacy through a bequest in their Will or gift of life insurance.

    Le Cercle Emeritus rend hommage ceux et celles qui ont prvu un don pour lavenir sous forme de legs testamentaire ou de don de police dassurance-vie.

    CORpORATE CLUb / CLUb DES ENTREpRISES Corporate Presenter / Diffuseur entreprises Corporate Producer / Producteur entreprises

    DNTW Ottawa LLP (Swindells & Wheatley)

    Farrow Dreessen Architects Inc.Finlayson & SinglehurstHomestead Land Holdings Ltd.Hoskins Restoration Services Inc.

    Johnny Farina Casual Italian Eatery Bar and Lounge

    L.W.I. Consulting Partners Inc.MHPM Project Managers Inc.

    Duncan Stewart & Rosemary DunneTartan Homes CorporationWall Space Gallery

    Corporate Directors / Metteur en scne entreprisesBulger YoungCanada Classic Car StorageCapital Gain Accounting ServicesConcentric Associates International

    Incorporated

    Corporate Maestro / Maestro entreprises

    Corporate Playwright / Dramaturge entreprises

    Acron Capability EngineeringAFS Consulting (Avoid False Steps)Alavida LifestylesAmbico Ltd.Anne Perrault & AssociatesArrowMight Canada LtdAuerbach Consulting ServicesAllan & Annette Bateman BBS Construction Ltd.Bouthillette Parizeau Inc.Cintec Canada Ltd.Conroy Optometric CentreConstruction Laurent Filion-Plates-

    formes lvatricesConstruction Lovail Inc.Coventry Connection/Capital Taxi

    and Airport LimousinesDeerpark Management LimitedDel Rosario Financial Services-

    Sun Life FinancialDmnagement OutaouaisDiffusart InternationalDufferin Research Inc.

    Abacus Chartered AccountantAdvantage Audio Visual RentalsBayer CropScience Inc.

    Flooring Canada OttawaFox Translations Ltd.Governance Network Inc.Green Thumb Garden CentreHalpenny Insurance Brokers Ltd.Lois & Don HarperHickling Arthurs Low CorporationBruce & Diane HillaryIBI Group ArchitectsInfusion Design CommunicationsInGenuity GroupIntegra NetworksITB Corp.Janet Wright & AssociatesKaszas Communications Inc.Katari ImagingKeller Engineering Associates Inc.Kessels Upholstering Ltd.Krista Construction Ltd.Marina Kun/Kun Shoulder RestDavid LacharityKen & Gail LaroseLaw Mediations

    BPL valuations Inc.Bradley, Hiscock, McCrackenEntrept du couvre-plancher G. Brunette

    Len Ward Architecture/ Arts & Architecture

    Liberty Tax Services - Montreal RoadMAGS and FAGS, Print MattersMediaplus AdvertisingMerovitz Potechin LLPMichael D. Segal Professional

    CorporationMills, Rosebrugh, Cappuccino/

    Royal LePage Performance RealtyMoneyvest Financial Services IncMoore Wrinn FinancialMultishred Inc.Natural Food PantryNortak Software Ltd.Ottawa Bagel ShopOttawa Dispute Resolution Group Inc.Oxford Learning CentrePaul Lewandowski Professional

    Corporation/ Criminal Law DefensePowell GriffithsPrime 360 - The Ultimate SteakhouseProject Services International

    Gabriel Mackinnon Lighting DesignImperial ElectricParis Motel

    Mr. Waleed G Qirbi & Mrs. Fatoom Qirbi

    REMISZ Consulting Engineers Ltd.Richmond NurseryRockland TextilesRockwell CollinsRonald G Guertin Barrister at LawSaniGLAZE of Ottawa/Merry MaidsSpectra FX Inc.Suzanne Robinson, Century 21 Action

    Power TeamSystematix IT Solutions Inc.Tivoli FloristTPG Technology Consulting LtdTraiteur picureThe Valley ConsultantsVintage Designing Co.Westboro Flooring & DcorWoodman Architect & Associate Ltd.Anonymous / Donateur anonyme (1)

    Amazon.caBHP BillitonCalian Technologies Ltd.Encana CorporationEYGiant Tiger Stores Limited

    Globalive / Wind MobileGreat-West Life, London Life and

    Canada Life Hotel Indigo OttawaMagna International Inc.McGarry Family Chapels

    MTS Allstream Inc.Quebecor Media Inc. / Qubecor

    Mdia inc.SasktelShangri-La HotelsSt-Laurent Volvo

    Suncor Energy Inc.TELUS Communications Company Wellington Financial LPAnonymous / Donateur anonyme (1)

    The Ann Diamond FundErdelyi Karpati Memorial FundRandall G. FillionClaire Watson FisherE.A. FlemingAudrey and Dennis Forster

    Endowment for the Development of Young Musicians from Ottawa/Fonds de dotation Audrey et Dennis Forster pour le dveloppement des jeunes musiciens dOttawa

    Paul Fydenchuk & Elizabeth MacfieSylvia Gazsi-Gill & John GillDavid A. GeorgeThe James Wilson Gill EstateEstate of Marjorie Goodrich Rebecca & Gerry GraceDarrell Howard Gregersen Choir Fund

    / Fonds pour choeurs Darrell-Howard-Gregersen

    Ms. Wendy R. HannaBill & Margaret HilbornDorothy M. HorwoodSarah Jennings & Ian JohnsHuguette JubinvilleMarcelle JubinvilleColette KletkeRosalind & Stanley LabowFrances Lazar

    Sonia & Louis LemkowPaul & Margaret MansonSuzanne Marineau Endowment

    for the Arts / Fonds de dotation Suzanne Marineau pour les arts

    Claire Marson - Performing Arts for All Endowment / Fonds de dotation Claire Marson pour les arts de la scne la porte de tous

    Dr. Kanta Marwah Endowment for the NAC English Theatre Company / Fonds de dotation Dre Kanta Marwah pour la Compagnie de thtre anglais du CNA

    Dr. Kanta Marwah Endowment for Music / Fonds de dotation Dre Kanta Marwah pour la musique

    Kenneth I. McKinlayJean E. McPhee and Sylvia M. McPhee

    Endowment for the Performing Arts / Fonds de dotation Jean E. McPhee et Sylvia M. McPhee pour les arts de la scne

    Samantha MichaelRobert & Sherissa MicroysHeather MooreJohan Frans OlbergA. PalmerThe Elizabeth L. Pitney Estate

    Samantha PlavinsMichael PotterAileen S. RennieThe Betty Riddell EstateMaryse F. RobillardPatricia M. RoyGunter & Inge E. ScherrerDaniel Senyk & Rosemary MenkeThe Late Mitchell Sharp, P.C., C.C.

    & Mme Jeanne dArc SharpSandra Lee SimpsonMarion & Hamilton SouthamVictoria SteeleNatalie & Raymond SternHala TablElizabeth (Cardoza) TaylorLinda J. ThomsonBruce Topping & Marva BlackKenneth & Margaret TorranceElaine K. TostevinVernon & Beryl TurnerTyler Family Charitable FoundationJayne WatsonIn memory of

    Thomas Howard WestranAnonymous /

    Donateurs anonymes (28)