JANUARY, 1969, VOLUME 4 WINTERTIME — AND THE NYO
Warm thought for a January night: For the National Youth Orchestra of Canada it is perpetually summer. This unique (on the continent) or chestra based on talent and youth only really exists in July and the first half of August, when its 14 to 24-year-old members come together to study, re hearse and perform. They come from the cities and towns and isolated reaches of the nation, and this musical happening is a summertime thing. But their short summer of music is the visible and audi ble result of long winter months of work and planning by executive officers and board members of the National Youth Orchestra Association. So it was that last month, the NYO office in Toronto sent out an adjudicator to hear some 300 young applicants in a series of auditions in major centres across the country. Violist Stephen Kondaks, a member of the NYO faculty, since 1963, A section of the Orchestra during a and of the McGill University faculty of performance at Chicoutimi, Quebec, in music, was this year’s adjudicator. Based August, 1968. on assessment of the applicants, the re sults of these auditions will shortly be to Quebec City for the four-week training announced, the 100-odd successful can session, a step that broadened the base didates named, and the 1969 season will of a National music organization which be that much closer to its summer reality. heretofore had confined its training ses Conductor of the NYO for its up sions to Ontario with the exception of coming season will be Victor Feldbrill, a Christmas session in Montreal. former music director and conductor of This summer of ’69, NYO will expand the Winnipeg Symphony Orchestra, its training session to give additional whose most recent Toronto engagement students an opportunity to benefit from was last fall conducting the Toronto the top-notch coaching and teaching Symphony for the Canadian Opera Com Faculty. pany performances of Riel at the O’Keefe The NYO moves into its 10th season Centre. Mr. Feldbrill’s very early associa with the applause of last summer’s suc tion with the National Youth Orchestra cessful tour still ringing in its ears. Under was in the year of its inception, 1960, the baton of Franz-Paul Decker, the 108 when he shared the podium with Wilfred members of the 1968 orchestra made Pelletier. their triumphal way from Quebec City The NYO, living up to its youthful to Chicoutimi, Montreal, Ottawa, Sud- image, is branching out again this sea son. Last year’s innovation was its move Continued on page 5 3 WINTERTIME — AND THE NYO bury, London and finally Toronto where, at the O’Keefe Centre last August 14, an audience of 3,200 stood and cheered. The reaction was fairly typical of the entire two-week tour. “The National Youth Orchestra is a finely-tooled instrument,” commented William Littler in the Toronto Star. The Orchestra “fully lived up to ex pectations despite a program which would have taxed many professional orchestras,” wrote John Kraglund in The Globe and Mail. The Telegram’s Ken Winters detected in the ’68 NYO “a new sori of National Youth Orchestra, painting the town less HAVE YOU PUT YOUR red, putting more skills in the bank for the rainy days of a professional future.” "DROP" IN OUR BUCKET? All of which may suggest that plans (contribution payable to for the NYO are on the right track, and "Toronto Symphony" to be sent that Canada’s symphony orchestras of to 215 Victoria St., Toronto 2) the future will be all the better for it. MANY THANKS!
THIS MONTH’S COVER Anne Grotrian, who did the wonderful conducting Santa Claus for our December ion is issue, has once again contributed her talent to create the Rubinstein montage for the January cover. our business
SECONDARY SCHOOL CONCERTS
JAN. 11, FEB. 1, FEB. 28 — 7:30 p.m. CHILDREN’S SATURDAY SYMPHONY DEC. 14, JAN. 18, FEB. 15 — 2:30 p.m. ADMISSION: $1.00 MASSEY HALL BOX OFFICE “WHATEVER YOU DON’T NEED WE DO!!” Call:. 483-1757 — Miss Parnum for FREE PICK-UP 781 YONGE STREET and . . . TORONTO THANK YOU 921-8281 Signed: Toronto Symphony Rummage Sale Committee 5 IT’S HAPPENING WITH MARY MORRISON
Have you ever wondered about avant cluded performances with the major Ca garde music? About how it could be so nadian Symphony Orchestras, the C.B.C. appealing to a performing artist that she and Canadian Opera Companies, Festival would take three months from a busy Singers of Toronto, the Lyric Arts Trio, schedule to tour Europe with the express in concerts, radio, T.V., films, and re purpose of listening to and studying it? cordings. In 1961 she was invited to tour Well — your Editor did wonder and with the Montreal Bach Choir in Japan. the result was an enlightening interview As her experience grew, so did her with Miss Mary Morrison, well known conviction that her main interest was Canadian Soprano who sings “Coral in contemporary works, especially those Island” by Toro Takemitsu with the To composed by Canadians. She began to ronto Symphony on January 14-15. immerse herself in that field as much as The idea of contemporary music is possible, and became even more involved an expression of our times — what is when she married a Canadian Composer, happening to-day — the chaos, the con Mr. Harry Freedman, the attractive Cor fusion, or, perchance, even (would you Anglais with the Toronto Symphony! believe?), as Miss Morrison believes, Three musical daughters are the result the beauty! In “Coral Island”, which is of this union. her first experience with a Japanese com Since then, there have been several position, she finds a most appealing tex Canadian compositions created especially ture. “Texture” includes sound, imagery, for Miss Morrison’s voice — sometimes feel and color. This is its beauty for her. even in combination with various types Mary Morrison grew up and studied of sound on tape or otherwise. piano and voice in Winnipeg until 1944 A keen, ever-expanding interest in when she won the two highest Manitoba modern works aroused in Miss Morri Music Festival vocal awards in the same son an eagerness to hear this type of year, a feat never achieved in the history music performed in other countries. To of the festival. She continued her studies hear and see live concerts is infinitely in Toronto on scholarships and graduated superior to merely listening to tapes. She cum laude with an Artist diploma from applied for and xyas awarded a Canada the Senior School of the Royal Conserv Council grant this fall to study and at- atory of Music. Her professional career since has in Continued on page 9
Fine Orientals and Broadlooms
I qykDOURJANSRUG GALLERIES
Draperies • Furnishings 89 KING EAST, TORONTO 1 Appraisals 3S2-6713 Renovations
7 IT’S HAPPENING . . . tend the International Festivals of Con temporary Music in France, Germany, Sweden, and Poland. From this trip Miss Morrison feels she acquired new ideas and insights into this complex art. “My exposure to so many new works, the diversity in the approach to them, and such variety in their effect acted as a stimulus to expand my own scope.” She thinks that Cana dian contemporary music compares most favourably with that from across the Atlantic. She was amazed at the almost non-existant knowledge people in Europe have of Canadian music. As a result of her visit, she hopes this situation will improve and that very soon there will be exchange of tapes and scores between Canadian and European organizations which sponsor avant garde music festivals. The honesty of European audiences impressed Miss Morrison. Uninhibited • HAIR STYLING boos and hisses but (more often!) cheers and bravos were a common response to • TINTS the performances she attended. Young • BLEACHES people, particularly, flock to these con certs in droves, and, naturally so — for • EYE LASH & BROW TINTS this is the music of their time. • BODY MASSAGE & EXERCISE “Can you explain to me what, espe cially, it is in avant garde music that • FACE TREATMENTS attracts you?”, was the next question • PEDICURES posed to Miss Morrison. “There is a clarity and honesty about • MANICURES it for me,” she thoughtfully replied. • FRENCH COSMETICS “Most of the works I have heard and BY N. G. PAYOT participated in are not cluttered up. I like the way modern composers are ex ploiting the voice and using it instru mentally. It is refreshing and challenging, both vocally and musically. The classics PETER one has performed many times before, but in the contemporary idiom you are EDELMAYER usually pioneering and sometimes even experimenting! A good first performance SALON can often make a work.” P.S. If there is any performing artist 836 YONGE STREET who has made and can make a contem TELEPHONE 924-1141 porary “work” work, she must most cer tainly by Mary Morrison! 9 MUSIC CALENDAR — JANUARY
MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY | SATURDAY 9 10 11 STUDENT CONCERT KAZUYOSHI AKIYAMA, Conductor ARTHUR OZOLINS, Pianist FREEDMAN — Tangents RACHMANINOFF — Piano Concerto No. 3 MENDELSSOHN — Symphony 4 No. 3 “Scotch" $1.00 on day of performance
14 15 17 18 SEIJI OZAWA, Conductor CHILDREN’S SATURDAY MARY MORRISON, Soprano YUJI TAKAHASHI, Pianist SYMPHONY GERARD KANTARJIAN, Violinist PETER SCHENKMAN, Cellist KAZUYOSHI AKIYAMA, Conductor TAKEMITSU — Coral Island for Soprano & Orchestra (North American LLOYD BRADSHAW, Narrator Première) TAKEMITSU — Asterism for Piano and Orchestra (World Première) $1.00 on day of performance BRAHMS — "Tragic” Overture BRAHMS — Double Concerto in a minor $2.50, $4, $5, $6 — Massey Hall Box Office Open ’a 10 23 25 20 21 22 SEIJI OZAWA, Conductor JAZZ AT THE SYMPHONY "CANNONBALL” ADDERLEY PETER SERKIN, Pianist QUINTET SCHULLER — Seven Studies on Themes of Paul Klee (1959) $2.50, $4, $5, $6 — Massey Hall BEETHOVEN — Concerto No. 2 Box Office Opens Sat., Jan. 18 SCHUMANN — Symphony No. 3 “Rhenish”
$2.50, $4, $5, $6 — Massey Hall Box Office Opens Mon., Jan. 13
28 29 31 JOSEF KRIPS, Guest Conductor ZINO FRANCESCATTI, Violinist ALL BRAHMS PROGRAM BRAHMS — Variations on a Theme of Haydn BRAHMS — Concerto in D Major lk8| BRAHMS — Symphony No. 2 $2.50, $4, $5, $6 — Massey Hall Box Office Opens Mon., Jan. 20
MUSIC CALENDAR — FEBRUARY
SATURDAY SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY 4 5 1 3 STUDENT CONCERT KAZUYOSHI AKIYAMA, Conductor KAZUYOSHI AKIYAMA, Conductor 4 ANDRE WATTS, Pianist PETER SCHENKMAN, Cellist CHAUSSON — Symphony in B flat Major WEBER — "Oberon” Overture DEBUSSY — Iberia SCHUMANN — Cello Concerto in RACHMANINOV — Concerto No. 3 a minor BRAHMS — Symphony No. 2 $3, $4.50, $5, $6 — Massey Hall Box Office Opens Mon., Jan. 27 $1.00 at the door
11 THE TORONTO SYMPHONY SEIJI OZAWA, Music Director & Conductor Kazuyoshi Akiyama, Assistant Conductor
PENSION FUND CONCERT THURSDAY, JANUARY 9
Guest Artist: ARTUR RUBINSTEIN, Pianist
PROGRAM
FREEDMAN Tangents
CHOPIN Piano Concerto No. 2 in f minor, Opus 21 Maestoso Larghetto Allegro vivace ARTUR RUBINSTEIN, Pianist Intermission
BEETHOVEN Piano Concerto No. 5 in E Flat Major, Opus 73 “Emperor” Allegro Adagio un poco mosso Rondo: allegro ma non tanto ARTUR RUBINSTEIN, Pianist
THE TORONTO SYMPHONY ASSOCIATION wishes to express its sincere appreciation to THE CANADA COUNCIL THE PROVINCE OF ONTARIO COUNCIL FOR THE ARTS and THE MUNICIPALITY OF METROPOLITAN TORONTO for their generous financial support of THE TORONTO SYMPHONY I TONIGHT’S GUEST ARTIST ARTUR RUBINSTEIN, Pianist
Arthur Rubinstein was born January 28, 1889 in Lodz, Poland, the youngest of seven children. He displayed musical talent at the age of three. His uncle wrote to Joseph Joachim, the great Hungarian violinist and friend of Brahms, who pronounced the child’s talent ex traordinary. Later, in Germany, the young Rubin stein continued his studies with Prof. Heinrich Barth, a pupil of Bulow, Tausig and Liszt. At eleven he made his formal début in Berlin and by the time he had reached fifteen he had spread his talents to encompass most of Germany and Poland. Rubinstein first came to America at sixteen and in three months gave forty- four concerts all of them serving to establish his name. After that he devoted several years to incessant study and, in his own words, “to hurdling the greatest he divides his time between the two obstacle in the path of a prodigy, that continents, spending winters in New of shedding my immaturity.” York and summers in Paris. In subsequent visits to these shores Contemporary audiences recognize Ru he did indeed demonstrate to his listen binstein as the inheritor of the grand ers that he had become a musician of pianistic tradition as established in the great maturity and insight. 19th century by such figures as Chopin, At the outbreak of World War Two Liszt, Rubinstein (Anton) and Hans von the pianist moved with his family to Bulow. But few would deny that he is the United States, temporarily closing equally at home in much of the modern the European chapter of his life. Today, repertoire.
MUSICIANS’ PENSION FUND The Musicians’ Pension Fund was started in 1946 when a private foundation donated $10,000 to the Toronto Symphony. Since its inception, it has given more than $85,000 to retired musicians whose years with the Orchestra have been long and distinguished. At present, ten such former orchestra members, are recipients of monthly incomes from the fund. Until recently, the Pension Fund was supported by the Orchestra Association and the Christmas Box Concerts, so popular in the days of Sir Ernest MacMillan. Today, with continued income from the Pension Fund Concerts, this valuable fund is able to carry on its good work. At all of these concerts Maestro Ozawa and the players of the Toronto Symphony donate their services. Ill TS ENJOYS SUCCESS ON AUTUMN TOUR
On Saturday evening, November 30, wrote: 1968, the members of the Toronto Sym “Ozawa has an impressive musical phony assembled at Toronto Internation mind and knows how to extract from an al Airport and boarded a plane bound orchestra its best effort. The Toronto for Boston. Symphony does possess the not insubstan This was the first leg of a journey tial merit of musicianship that is always that took the Orchestra to four different solid and never less than acceptable." locations on the first tour of the 1968- In Burlington, Vermont, the Orchestra 1969 season. was obliged to appear in an auditorium A near-capacity Boston audience turn so badly insulated against outside noises ed up at famed Symphony Hall for the that Maestro Ozawa was forced to stop concert on Sunday, December 1 at 3 in the middle of the opening movement p.m. The program opened with the Bach- of the Beethoven Symphony. But after Stokowski Toccata and Fugue in D all doors and windows were firmly bolted Minor, then went on to Toru Takemitsu’s the program continued with no further “Green” for Orchestra, Beethoven’s First mishaps. The enthusiastic audience called Symphony and the Concerto for Orches for two encores and the TS obliged with tra by Bartók. It was only after the con “Girl On A Roller Coaster” by Johnny cert that someone observed that the Cowell and LeRoy Anderson’s “Sleigh Bartók work had received its world pre Ride”. mière 24 years before in the same hall, The Tuesday and Wednesday Concerts on the same date. (December 3 and 4) took place in the On December 2, as a convoy of four luxurious Salle Wilfrid Pelletier of Mont buses carried the Orchestra to Burling real’s Place des Arts. It was a tremendous ton, Vermont, the Boston reviews were pleasure for the Orchestra to work in read with great interest. such an atmosphere. Audiences on both McLaren Harris of the Boston Herald nights were wonderfully welcoming and Traveler wrote: warm in their reception, particularly of “The Toronto Symphony is a fine mu the Orchestra’s interpretation of Strauss’s sical aggregation in all respects. It is a “Don Juan” and Stravinsky’s “Fire Bird” highly responsive ensemble, forever alert Suite. and without an ounce of dead weight in The Montreal Gazette’s Jacob Siskind either execution or overall sound.” wrote: The Boston Globe’s Harry Neville Continued on page 17
15 TS EMOYS SUCCESS . . .
“It was a pleasure to see the orchestra playing with such enthusiasm and dedica tion and such obvious love and respect for its conductor. That alone was worth the price of admission." And the Star’s Eric McLean said: “A full-blooded and beautifully de tailed performance of Strauss’s ‘Don Juan’ . . . and an animated reading of Stravinsky’s ‘Fire Bird’. The upper strings of the Toronto Symphony are first rate . . . They have some fine brass, includ ing a good trumpeter and their oboist has a beautiful tone and a wide dynamic range.” Following the Wednesday night per formance, M. Leon Lortie, President of TELEPHONE 921-5191 the Arts Council of Metropolitan Mont real greeted Maestro Ozawa and the Or 1510 YONGE STREET chestra at a special reception in the foyer TORONTO of Salle Wilfrid Pelletier. The final concert of the tour was per formed at the Capitol Theatre in Ottawa on Friday, December 6. While this old building makes a less than perfect con Compliments of cert hall, it was an SRO occasion. The audience called Maestro Ozawa back THE CORK ROOM time and again to the platform and Lunches & Dinners served daily wouldn’t let go until the Orchestra had in our beautiful air-conditioned played two encores. dining room Following the concert, the Orchestra rushed off to waiting buses and headed Bay and Wellington Streets for the Airport to take a midnight flight 364-3000 back to Toronto. habitat sells everything to brighten your home — it’s quite a new way to furnish
^277 Victoria St Toronto 2
17 AWARDS
The Toronto Symphony wishes to an cuise nounce that the Souvenir Programme which made its first appearance near the close of last season has won the Gold Medal for Design from the Toronto Art Wise Travel Bureau Director’s Club. 85 Richmond Street West The Souvenir Programme and the Phone 363-2093 1968-1969 Season Brochure have won Hugh Bearg — President awards for excellence in design from the Society of Graphic Designers of Canada. Both publications were designed by AN EXCITING MUSICAL EVENING Mr. Michael Bowness. PARTNERS IN HARMONY The Souvenir Programme and a Poster adapted from the brochure may be ob at the Royal Bank Building 20 King tained in the Massey Hall Foyer from Street West, Friday evening, January Mr. Larry Sloan prior to concerts and at 24th, 1969. intermissions. Henry Cuesta — Clarinet Souvenir Programme $1.00, Poster 50 TORONTO SYMPHONY NEWS EDITORS: Mrs. Monty M. Simmonds — Mr. Douglas Hughes ADVERTISING: Mrs. Monty M. Simmonds PUBLISHED BY: The Women's Committee in co-operation with the Toronto Symphony Office, 215 Victoria St. Printed in Canada January, 1969 OVST€R BUR the RCSTAVWNT MH.RVS and the FVU.V klCCNSCX RESERVE OUR INTIMATE CÆRP€NT€R ROOM AT THE BACK WITH 136 CVMBCRL^NDSr THE CORNER FIREPLACE TORONTO 921-4-744- FOR YOUR PRIVATE PARTIES 19 THE TORONTO SYMPHONY SEASON 1968-69 Under the distinguished patronage of Their Excellencies the Governor General of Canada and Mrs. Roland Michener HONORARY PATRONS His Honour the Lieutenant-Governor of Ontario. W. Ross Macdonald. P.C., C.D., Q.C., LL.D. The Honourable Gerard Pelletier, Secretary of State The Honourable Minister of Education of the Province of Ontario, William G. Davis Chairman of the Municipality of Metropolitan Toronto, William R. Allen, Q.C. His Worship the Mayor of the City of Toronto, William Dennison HONORARY PRESIDENT: trevor moore PAST PRESIDENT: edward a. Pickering PRESIDENT: Robert f. chisholm VICE-PRESIDENTS: John e. langdon, j. e. brent, f. f. mceachren, Robert e. peel BOARD OF DIRECTORS David B. Archer Robert V. Hicks David Perlmutter M. F. Auden Oakah L. Jones Edward A. Pickering, F. P. Baines M. K. Kenny, Past President and Chairma K. L. Barths, Chairman, Endowment Nominations Committee Chairman, Programme Committee Fund Committee Rabbi W. Gunther Plaut Philip E. Beekman James W. Kerr Most Rev. Philip F. Pocock Mrs. R. W. Billingsley, Michael M. Koerner Mrs. Kenneth Pratt Chairman, Junior Women's Murray B. Koffler, David Raitblat. Committee Chairman, Business Mrs. Donald G. Ross E. C. Bovey Sponsorship Committee John C. Rykert, .1. E. Brent, John E. Langdon, Chairman, Ticket Sales V ice-Presiden t V ice-President Committee Mrs. A. R. Carr-Harris, Mrs. Benjamin Luxenberg Gordon R. Sharwood, Kenneth LeM. Carter Alan R. Marchment, G. H. Sheppard Robert F. Chisholm, Hon. Treasurer and Chairman, Samuel Shopsowitz President Finance Committee Rt. Rev. G. B. Snell J. A. Cogan Mills L. Marrs F. R. Stone Prof. J. J. Conway Frank F. McEachren, J. P. Walwyn Jack Craine Vice-President and Chairman, T. A. Wardrop, W. C. T. Cran Sustaining Fund Committee Chairman, Planning Mrs. Jos. de Pencier Paul Newell Committee Fredrik S. Eaton, Dr. William E. Ortved D. C. Webster Chairman, Pension Fund Mrs. William E. Ortved Bruce West Concerts Committee John C. Parkin J. W. Westaway R. W. Finlayson, Mrs. Arnot Parrett Jos. A. Whitmore, Marvin Gelber Robert E. Peel, Chairman, Public Relations W. B. Harris Vice-President Committee Mrs. W. D. Heintzman, J. H. Ÿocom President Women’s Committee WOMEN’S COMMITTEE EXECUTIVE Mrs. W. D. Heintzman, Mrs. Lawrence Brenzel Mrs. J. R. Mahoney President Mrs. Pierre Genest Mrs. W. S. McLeese Mrs. Donald G. Ross, Mrs. Gordon Glasscock Mrs. John Morrow Past President Mrs. G. L. Gordon Mrs. E. M. Saunders Mrs. Arnot Parrett, Mrs. George T. Heintzman Mrs. Peter Schoeffler Mrs. Kenneth Pratt, Mrs. David E. Howard Mrs. M. M. Simmonds Mrs. W. E. Ortved Mrs. David Kinnear Mrs. J. A. Stevens Vice-Presidents Mrs. Murray B. Koffler Mrs. F. D. Turville Mrs. Philip Ambrose Mrs. J. Alex Langford Mrs. T. A. Wardrop Mrs. R. W. Billingsley Mrs. Beniamin Luxenberg Mrs. B. A. Wilson Mrs. John Brady Mrs. Walter Martin JUNIOR W MEN’S COMMITTEE EXECUTIVE Mrs. Robert W. Billingsley, Mrs. William A. Buik Mrs. Philip Rudson Chairman Mrs. John D. Brownlie Mrs. J. A. Ryder Mrs. John W. Digby, Mrs. J. P. Fingold Mrs. L. S. Samuels Past Chairman Mrs. John G. Goodwin Mrs. Philip Wade Mrs. David Des Lauriers Mrs. Michael Hale Mrs. Norman Williams Vice-Chairman Mrs. C. P. Ind Mrs. Bruce Alexander Mrs. A. M. Patterson ADMINISTRATION MANAGING DIRECTOR: Walter homburger ASSISTANT MANAGING DIRECTOR: f.-denis langelier Gerald Corner, E. Douglas Hughes, Ina Rossberg, Office Manager Public Relations Secretary to Mrs. Verda M. Savage, Mrs. Helen Parr, Assist. Managing Director Campaign Secretary Secretary to the Board Cheryl Takarabe, Barbara Van Luven, and Managing Director Advertising & Promotion Subscriptions Mrs. Zena Kossar, Accountant TORONTO SYMPHONY OFFICES, 215 Victoria Street, 5th floor 363-0374 21 PERSONNEL THE TORONTO SYMPHONY SEASON 1968-69 FIRST VIOLINS: BASSES: HORNS: Gerard Kantarjian Thomas Monohan Eugene Rittich Concertmaster Sam Davis Kenneth Godwin Isidor Desser R. H. Wood Barbara Bloomer Asst. Concertmaster Nancicarole Monohan Fredrick Rizner Vera Tarnowsky Sam Levine Clifford Spearing Corol McCartney Ruth Budd Arthur Burgin Berul Sugarman Leon Biloshysky Pearl Palmason Leslie Obercian TRUMPETS: Francesco Fusco Jane McAdam Charles Dobias Joseph Umbrieo Morris Biniowsky Ronald Neal Julian Kolkowski FLUTES: John Cowell Victoria Polley Robert Aitken George Anderson Jacob Groob Nicholas Fiore Peter Daminoff Keith Girard TROMBONES: Myron Moskalyk Anthony Antonacci Sigmund Steinberg Ralph Sauer Agnes Roberts Frank Reynolds PICCOLO: Murray Ginsberg SECOND VIOLINS: Anthony Antonacci Clifford Evens BASS TROMBONE: Josef Sera OBOES: Harold Sumberg Murray Ginsberg David Wulkan Perry Bauman Teresa Obercian Stanley Wood TUBA: Jan Whyte Roy Cox Erica Davidson Harry Freedman Hubert Meyer Betty Ann Fischer-Byfield Harry Bergart TIMPANI: Jean Wulkan ENGLISH HORN: Lorna Glover Harry Freedman John Wyre Stanley Kolt Isadore Dubinsky CLARINETS: PERCUSSION: John Engelman VIOLAS: Avrahm Galper Donald Wherry Stanley Solomon Stanley McCartney Raymond Reilly Robert Warburton John Fetherston Eugene Hudson Bernard Temoin Macey Cadesky HARP: Harold Carter Judy Loman Marilyn Meyer E FLAT CLARINET: Sidney Levy Stanley McCartney Nathan Green LIBRARIAN: Victor Züchter James Harper Stephanie Chomyk BASS CLARINET: Bernard Temoin CELLOS: STAGE LIBRARIAN: Peter Schenkman Ronald Neal Mary Evens BASSOONS: Ronald Laurie Christopher Weait George Horvath Nicholas Kilburn PERSONNEL MANAGER: Rosalind Sartori Norman Tobias Hubert Meyer Marcel Ray Wayland Mosher Wolfgang Grunsky Richard Armin STAGE MANAGERS: Georgina Roberts DOUBLE BASSOON: Thomas Taylor Robert Spergel Wayland Mosher Reginald Taylor Heintzman is the official piano of The Toronto Symphony 22