The Canadian Music Centre in BC Presents

The Salon Concert Series

CMCBC GALA FUNDRAISER

Ow?/Wo CMC Gala Fundraiser Concert and Lifetime Achievement Award Wednesday, March 8, 2017 • 7:00pm As a courtesy…

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Red and white wine from Show your ticket and get Chaberton Estate Winery, a 10% off all hot beverages at local vineyard in Langley, BC, Breka Bakery next door at is available at the lobby bar. 855 Davie Street. Letter from the BC Director

Tonight’s concert is full of connections and meaning for me. I first heard Avan Yu play the piano when he was fifteen, playing Chopin so beautifully it made me cry.

I first heard Timothy when he was fourteen. He played unaccompanied Bach for me in a cold classroom at the Victoria Conservatory without even warming up. It was so profoundly beautiful and musically so far beyond his years, played with such a gorgeous, round sound, that I was incredulous.

My entire life has been spent involved in music, much of it trying to find and help develop extraordinary artistry. But even so, I have rarely encountered the innate musicality and ability that I first encountered in these two extraordinary young artists. They have gone on to become the most internationally celebrated young soloists that BC has produced in a generation.

I have long imagined them playing together and I’m particularly pleased we are bringing these two great BC artists together to make music with each other for the very first time here in our Adaskin Salon. The Canadian Music Centre is extremely grateful to the artists for donating their time and coordinating complex touring itineraries to be here to perform for us this evening.

Avan and Timothy are joined this evening by our own Stefan Hintersteininger, the very heart of the CMC in BC. Stefan is a remarkably talented cellist, as you will hear tonight in the Adaskin Trio. But he is also our prized Librarian — not every region has their own. He is also one of the most knowledgeable experts on Canadian repertoire in the country, as well as being an Associate Composer of the CMC. To be able to hear him bring this knowledge and background to Murray Adaskin’s Trio in collaboration with these extraordinary artists is something quite rare and special.

– 1 – Murray Adaskin was particularly devoted to teaching and developing young artists. I played for him once myself many years ago. And we have one of his star pupils in the audience tonight — Andy Dawes, one of ’s best-known violinists and founder of the Orford String Quartet. I know how much Murray would have loved to hear Timothy Chooi play the violin, to hear Avan Yu play his piano, and to hear these three remarkable young artists play his piano trio.

Tonight we’ll also hear two works from the new Harry Adaskin Special Collection of our Barbara Pentland Library, scores of works that have not been performed publicly for many decades, if at all. They are hand-marked with bowings, fingerings and annotations made by Harry and Frances Adaskin themselves, who would have known and worked directly with the composers they were such great champions of.

To have these insights and this remarkable BC heritage brought to life by these outstanding BC artists on Murray Adaskin’s Piano in his new 21st-century Salon is truly remarkable! I hope you enjoy tonight’s concert as much as I know I will, and I hope you will take as much pleasure in all of the connections and meaning that make this performance so uniquely special.

Sean Bickerton, BC Director Canadian Music Centre / Centre de musique canadienne

– 2 – Program

J.S. Bach (1685-1750) from Sonata No.2 in A minor, BWV 1003 III. Andante IV. Allegro Timothy Chooi, violin

Hector Gratton (1900-1970) Chanson & Danse, op.9, no.1 & 2 (Harry & Frances Adaskin Special Collection) Timothy Chooi, violin; Avan Yu, piano

Barbara Pentland (1912-2000) Arioso (Harry & Frances Adaskin Special Collection) Timothy Chooi, violin; Avan Yu, piano

Murray Adaskin (1906-2002) Trio for Violin, Cello and Piano I. Allegro moderato II. Lento III. Allegro giusto Timothy Chooi, violin; Stefan Hintersteininger, cello; Avan Yu, piano

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Lifetime Achievement Award Presented to Owen Underhill (see page 8)

César Franck (1822-1890) Sonata in A major I. Allegretto ben moderato II. Allegro III. Ben moderato: Recitativo-Fantasia IV. Allegretto poco mosso Timothy Chooi, violin; Avan Yu, piano

– 3 – J.S. Bach

Sonata for Violin Solo no.2 in A minor, BMV 1003

Bach’s set of six unaccompanied sonatas and partitas for the violin represent the unchallenged peak in solo violin music, both in technique and in expressive variety. The three sonatas follow the four-movement sonata da chiesa pattern, while the three partitas include dance forms. Each sonata has a fugue as its second movement, and in each case this is not only a tour de force, since fugal writing presupposes the participation of three or more voices, but also the dramatic and emotional core of the sonata. All these works require extraordinary skill in double-, triple-, and quadruple-stopping, as if the violin were an instrument with the same potential for chords and harmony as a harpsichord or an organ.

The Andante offers a flowing melody over a steady bass line (unbroken eighth-notes) in the manner of a Vivaldi concerto. A third and a fourth voice enter from time to time to enrich the harmony. The Allegro finale leaves chords behind and adopts the conceit of perpetual motion, with some considerable use of echo effects.

Bach was not the only composer of his time to write for solo violin, but he far outstrips his contemporaries in this domain, as in so many others. It is likely that he wrote them during his time in Cöthen around 1720 and that he had a particular violinist in mind. Although celebrated as an organist, Bach could also play the violin; it’s a fair guess that he could play these pieces pretty competently himself.

— Hugh Macdonald

Hector Gratton

Chanson and Danse, Op. 9, no. 1 & 2

Composed: unknown (late 1920s or early 1930s) Duration: c. 5:00

Joseph Thomas Hector Gratton was a Canadian composer, arranger, conductor, pianist and music educator. As a composer his music is written in an essentially folkloric and popular style which avoids harmonic sophistication. This delightful pair of miniatures, in an original pen-and-ink manuscript, was discovered in Harry and Frances Adaskin’s personal performance library. The Adaskins were among the greatest champions of Canadian composers of their day, and it is likely that Gratton arranged this piece expressly for them.

– 4 – The violin part, as with other scores from this collection, is heavily annotated with Harry Adaskin’s bowings and fingerings.

The work seems also to exist in a version for piano, harp and string orchestra (under the title of Troisième danse canadienne) under the Hector Gratton Fonds at Library & Archives Canada, but the present arrangement for violin and piano has almost certainly not been heard since the Adaskins performed it so many decades ago.

Barbara Pentland

Arioso

Original version for orchestra composed 1941 at Tanglewood, Boston, MA. Version for violin and piano transcribed by composer (, BC; 1950s or 60s). Duration: 5:00

Barbara Pentland’s Arioso & Rondo is among her earliest mature orchestral works, composed during a summer spent at the Berkshire Music Center, where she studied with Aaron Copland. Pentland was struck by the textural transparency and rhythmic vitality of Copland’s music, and the time she spent with him put her on a path to the neoclassicism which pervaded her work until the mid-1950s. Pentland’s Arioso & Rondo, scored for large orchestra, is essentially a partial symphony (like Schumann’s Overture, Scherzo and Finale) that could easily have been joined by a first movement and a scherzo to make a traditional four-movement work. The Arioso achieves rhythmic interest through the juxtaposition of 3/4 and 6/8 meters, and melodic interest through long, lyrical lines over slowly rocking figures.

In 1949, Barbara Pentland was invited to join the newly-formed Faculty of Music at the University of by its first department head Harry Adaskin, elder brother of Murray, and a distinguished violinist with a passion for Canadian music. Harry Adaskin, along with his wife, pianist Frances Marr Adaskin, gave the premiere performances of many new works by Healey Willan, Hector Gratton, Robert Turner, John Weinzweig, Murray Adaskin, and others. The Adaskins also commissioned a number of works from Barbara Pentland, with whom they maintained a close, life-long friendship. The composer’s transcription of Arioso for violin and piano was unknown to Pentland’s catalogue until it recently resurfaced in the Adaskins’ private performing library, much of which is now in the collection of the Canadian Music Centre in Vancouver.

– 5 – Murray Adaskin

Trio for Violin, Cello and Piano

Original version composed 1970 in Canoe Lake, SK. Version for piano trio transcribed 1999 by composer in Victoria, BC. Duration: c. 17:00

The Trio in its original version for flute, cello and piano was commissioned by the Chamber Trio through a grant from the Canada Council. The premiere performance was given in 1971 by that ensemble, which consisted of pianist Gloria Saarinen, flautist Werner van Zweeden and cellist Talmon Herz during their concert tour for the Jeunesses Musicales of Canada.

As with a number of other compositions, Murray Adaskin returned to this work late in life (in 1999, at the age of 93), transcribing it for violin, cello and piano, and dedicating the new version to his and Dorothea’s friends Gunner Møller Rasmussen and Roma Engmann of Roskilde, Denmark.

During a performance of this work at the University of Western Ontario, Lenore Crawford of the Free Press reported, on January 31, 1971, that the work “breathes Canada, perhaps of landscape infrequently seen or experienced by today’s city dwellers...” She refers to the “spaciousness, sound of birds, wind, bells, trees, blowing along the shores of Canoe Lake” and feels that it “has newness” within a traditional style of playing. The first movement, with its wide intervals and unhurried pace, does indeed seem to illustrate the wide-open spaces of Murray Adaskin’s prairie home.

The second movement begins with a slowly unfolding, lamenting, and heartbreakingly lyrical duet between cello and violin, which is eventually overtaken by a dramatic piano solo that at times extends over three staves. The strings eventually rejoin the musical discussion with rapid interjections and contrapuntal material, before concluding the movement quietly in F major — albeit with the pianist mischievously placing the fifth of the chord in the bass and interjecting an entirely dissonant B-natural in the high register.

The playful third movement fairly brims over with Murray Adaskin’s characteristic cheerfulness and good humour. The march-like first theme, which for a measure or two hints at John Philip Sousa, soon gives way to a lyrical second theme played by the cello, with a pulsating piano accompaniment. After a brief return to the opening material, the work ends softly and serenely with a smile, and a pianissimo chord that tries to be — but isn’t quite — E-flat major.

– 6 – César Franck

Sonata for Violin and Piano in A major

By the summer of 1886, the 63-year-old César Franck was at the height of his fame as organist, composer and pedagogue. In the previous few years he had completed two oratorios, his Piano Quintet and the Symphonic Variations, as well as the magnificent Prelude, Chorale and Fugue for piano. In all these he was working out — instinctively and without manifesto — a grand synthesis of Wagnerian harmony, Lisztian cyclic structure (whereby themes are transformed not only within movements but also across whole multi- movement structures) and Beethovenian dramaturgy. With sensuality, intellectual calculation and ethical high-mindedness thus all stirred in together, the results to some ways of thinking are uniquely thrilling, to others largely indigestible. But the finest of his instrumental works have triumphantly stood the test of time.

Nothing Franck composed stands higher in general esteem than the A major Violin Sonata of 1886 (whose origins may go back to a promise to Cosima von Bülow for such a piece in 1858). The work carries a dedication to the great Belgian violinist Eugène Ysaÿe, who gave the premiere later that year at a festival of Franck’s music in (the room apparently became so dark that he had to play largely from memory). The original presentation of the score to Ysaÿe on the eve of his marriage lends support to the idea that parts of the finale may mimic the pealing of wedding bells.

In the hands of Ysaÿe and pianist Raoul Pugno, the sonata became virtually a calling-card for French chamber music as a whole. At the same time the thoroughness, yet natural unfolding of its cyclic design was a benchmark for countless composers, both within Franck’s circle of pupils and beyond, while the idea of a moderately paced, floatingly provisional first movement followed by a turbulent scherzo/sonata fusion, left a trail of influence at least as far as Shostakovich (notably in a number of his string quartets and concertos).

Franck’s innovative large-scale design continues through a rhapsodic slow movement that muses over ideas from the first movement and then has premonitions, as it were, of two ideas that will flower more fully in the finale. The main finale theme is entirely new, however, and it is a revelation both of melodic beauty and of contrapuntal ingenuity, as it is heard in canon (i.e. strict repeat-after-me dialogue) between the instruments. It is hard to resist reading this as a musical symbol of married bliss, especially when the dialogue is placed even closer together, at a distance of half a bar rather than a full bar, on the deliriously happy closing page.

— David Fanning

– 7 – – 8 – Canadian Music Centre in BC 2017 Lifetime Achievement Award: Owen Underhill

It is impossible to overstate Owen Underhill’s contribution to the musical life of Vancouver, to the province of BC, and to the cultural fabric of the nation itself.

He is a prize-winning, Juno-nominated Associate Composer of the Canadian Music Centre; a celebrated and highly innovative Artistic Director of Turning Point Ensemble, renowned for deeply-researched and visionary programs; as a conductor he is acclaimed by the musicians he works with, having conducted well over 150 premieres by Canadian composers; and he is a highly respected professor of composition at , where he currently serves as Director of the School for the Contemporary Arts, and was recently Dean Pro Tem of the Faculty of Communication, Art & Technology.

Few individuals have done as much for the Canadian Music Centre, both locally here in BC, and nationally. He has served on the BC Regional Advisory Council for nearly twenty years, six of those as Chair. He is currently a Past Chair of the Regional Council and the Past Chair of the national Board of Directors on which he served for nineteen years. On the national board he was both Vice President for two terms and President from 2010–2014. Under his leadership as Chair of the Strategic Planning Process and Search Committee, the Canadian Music Centre brought in Glenn Hodgins, our new President and CEO, who has completely reinvigorated the organization, implementing the CMC’s new Mission, Vision and Values.

In short, Owen Underhill personifies everything that the Canadian Music Centre exists to champion and we are honoured to recognize his lifetime of dedication to creativity and composition.

Yet what may define him most may be his humility and devotion to his family. Owen is also an avid fan of sports and good wine!

– 9 – Owen Underhill

Awards • Canzone di Petra (2004), a piece for flute and harp commissioned by Heidi Krutzen and Lorna McGhee, was the winner of the 2007 Western Canadian Music Outstanding Composition Award.

• Owen Underhill’s orchestral work Lines of Memory won first prize in the 1994 du Maurier Canadian Composers’ Competition.

• Love Songs was nominated for a Juno Award in 2002.

Recordings • Music of Gavin Bryars with the CBC Radio Orchestra (CBC Records).

• Four recordings with Turning Point Ensemble, including Liquid on the ATMA label; Strange Sphere: Music of Rudolf Komorous on the Artifact label; Disasters of the Sun: Music of Barbara Pentland on Centrediscs; The Lake, Barbara Pentland’s opera on Centrediscs.

• Two discs with Vancouver New Music Ensemble (Centrediscs and CBC Records).

owenunderhill.ca

– 10 – Timothy Chooi, Violin

Described as a “miracle” by Montreal’s La Presse, Canadian Violinist Timothy Chooi is one of Canada’s most promising and exciting young artists. He was Grand Prize Winner of the Montreal Symphony Manulife Competition, won the Bronze Medal at the 2015 Michael Hill International Violin Competition, and is a recipient of the 2013 Vadim Repin International Scholarship and the Sylva Gelber Award.

Timothy was recently featured at the Ravinia Festival in Chicago, appeared as soloist with the National Arts Centre Orchestra conducted by Pinchas Zukerman, recorded his debut album and completed an extensive recital tour for Jeunesse Musicales Canada. He plays a 1717 Windsor-Weinstein Stradivarius violin awarded on loan to him by the Canada Council for the Arts Musical Instrument Bank. Timothy also continues to have an engaging role in the promotion of arts and education for youth in communities across Canada and the USA, helping raise over one million dollars in the past two years.

Timothy has performed with most major orchestras in Canada and highlights of past seasons include making his debut as Soloist with the Vancouver Symphony Orchestra, Malaysian Philharmonic, Santa Barbara Symphony, National Arts Centre Orchestra, Newfoundland Symphony, and the Symphony, in addition to his Carnegie Hall Debut. He regularly appears with his brother, Nikki, in the violin duo The Chooi Brothers where they perform themed-based programs which have proven to be successful with audiences around the world.

He looks to expand the classical music audience by increasing its appeal to the younger generation via all available social media platforms. In particular his series of self-made online videos in non-traditional locations is broadening the reach of classical music through videography.

Timothy was born in 1993 in Victoria, British Columbia. He began his studies at the Victoria Conservatory of Music at age 3. He is a graduate of the Mount Royal Conservatory and received his undergraduate degree at the Curtis Institute of Music. Timothy gratefully acknowledges the support of the Canada Council for the Arts, CBC Radio, the Sylva Gelber Foundation, and the Victoria Foundation.

– 11 – Avan Yu, Piano

One of Canada’s most exciting young pianists, Avan Yu achieved international recognition when he triumphed at the Sydney International Piano Competition in 2012, winning First Prize along with nine special awards. Avan decided to pursue a life in music shortly before winning his first international piano competition at the age of fourteen. Although initially aspiring to be an astronaut while growing up in Canada, his ideas changed after opportune meetings with several important musical mentors. He was first noticed by Pinchas Zukerman and Bramwell Tovey who invited him to perform with their respective orchestras, the National Arts Centre Orchestra and the Vancouver Symphony. Yo-Yo Ma, after hearing Avan play at the age of sixteen, invited him to perform with him in a few years later. Since then, he has appeared with conductors and musicians such as Rafael Fruehbeck de Burgos, Christian Arming, Juanjo Mena, Johannes Moser, and the Armida Quartet. He has performed extensively throughout Europe, North America, Asia and Australia and at venues such as the Weill Recital Hall in Carnegie Hall, Concertgebouw in Amsterdam, the Philharmonie in Berlin, the Salle Cortot in Paris, and the Sydney Opera House.

Avan Yu became front page news as the youngest competitor ever to win the Canadian Chopin Competition at the age of 17. On the world stage, he went on to win the Silver Medal and Audience Prize at the Santander International Piano Competition. Following his First Prize at the Sydney International Piano Competition, the newspaper West Australian wrote: “But while he is second to few in the glittering virtuosity of which he is capable at the keyboard, there is also — and this is far more important — an ability to probe and reveal the inner depths of whatever he plays which is far more suggestive of the real McCoy than the surface prestidigitation that too often is all that many a young, hotshot piano player aspires to.”

His teachers have included Kut Kau Sum, Kenneth Broadway and Ralph Markham in Vancouver, and Klaus Hellwig in Berlin, where he studied at the Berlin University of the Arts. There he also studied chamber music with the Artemis Quartet and Art Song accompaniment with Eric Schneider. In Germany, he has performed at festivals such as the Rheingau Music Festival, Heidelberger Fruehling, Kissinger Sommer, and Ruhr Klavierfestival, and for the President and the Bundestag President of Germany. His latest recording of Liszt’s Transcriptions of Schubert’s Winterreise and Schwanengesang, released by Naxos, won positive reviews from critics at Gramophone Magazine, American Record Guide, Fono Forum, among others.

– 12 – Stefan Hintersteininger, Cello

Stefan Hintersteininger is a Vancouver-based cellist, teacher, composer and arranger, equally at home in a vast range of different musical styles. Stefan plays regularly with the Vancouver Symphony Orchestra, and is a member of Erato Ensemble, Vancouver Inter-Cultural Orchestra, and a founding member of Vancouver’s cutting-edge, improvisational new music sextet, the Ethos Collective.

Recently, Stefan has worked extensively with Vancouver New Music and Turning Point Ensemble, as well as in commercial recording studios. Stefan is increasingly becoming known as a composer, having written works for many of Vancouver’s foremost ensembles. Stefan is also a member of the cello faculty at the Vancouver Academy of Music. When not playing, composing or teaching, Stefan can be found at the Canadian Music Centre, where he holds the position of BC Head Librarian.

– 13 – BC Associate Composers

Murray Adaskin* Arne Eigenfeldt Colin MacDonald Rodney Sharman Kathleen Allan Jean Ethridge Don Macdonald Evgeny Shcherbakov Peter Allen Itamar Erez David K. MacIntyre Jon Siddall Mark Armanini Nicholas Fairbank Miklos Massey Chris Sivak Edward Arteaga Dennis Farrell James Maxwell Bruce Sled John L. Baker Douglas Finch Ian McDougall Anita Sleeman* Michael Conway Hugh Fraser Robert George Douglas Gwynn Smith Baker Nathan Friedman McKenzie Judy Specht Sergio Barroso William George Lisa Cay Miller Paul Steenhuisen Martin Bartlett* Stephen R. Gibson Jared Miller Tobin Stokes Hal Beckett Yvonne Gillespie John Mills-Cockell Brent Straughan Marcel Bergmann Marcus Goddard Diane Morgan Morley* Fred Stride Peter Berring Theo Goldberg* Glen Morley* Glenn Sutherland Diane Berry Martin Gotfrit Jocelyn Morlock Brian Tate Wallace Berry* Iman Habibi Bernard Naylor* Scott Andrew Taylor Adil Bestybaev Jaap Hamburger Larry Nickel Keith Tedman Keon Birney Keith Hamel Christopher Tyler Michael Tenzer Dániel Péter Biró Mark Hand Nickel Steve Tittle Dean Blair Ronald Hannah Jordan Nobles Edward Top Daniel Brandes Peter Hannan John Oliver Bramwell Tovey Frank Brickle Joan Hansen Dubravko Pajalic Jill Townsend Taylor Brook Hubert Klyne Headley* Michael Park Michael Trew Stephen Brown Edward Henderson Alexander Pechenyuk Barry Truax Robert Buckley Adam Hill Barbara Pentland* Rita Ueda Liova Bueno Stefan Anita Perry Owen Underhill Lloyd Burritt Hintersteininger Katya Pine Catalin Ursu Michael Bushnell François Houle Arthur Polson* Leslie Uyeda Jennifer Butler Peter Huse Robert Pritchard Sean Varah Christopher Butterfield John-Paul Christopher Randy Raine-Reusch Jon Washburn Patrick Carpenter Jackson Imant Raminsh Eugene Weigel* John Celona Alex Jang Jan Randall Neil Weisensel Dorothy Chang Daniel Janke Christopher Reiche Elliot Weisgarber* Stephen Chatman Euphrosyne Keefer* Dale Reubart* Hildegard Justin Christensen Elizabeth Knudson Sylvia Rickard Westerkamp Timothy Corlis Rudolf Komorous Dave Riedstra Charles M. Wilson * John Korsrud Jeffrey Ryan Wes R. D. Wraggett Paul Crawford Christopher Kovarik Farshid Samandari Ryszard Wrzaskala Andrew Czink Rupert Lang Alfredo Santa Ana Xiao-ou Hu Janet Danielson Grace Jong Eun Lee Daniel Scheidt Jin Zhang Bruce Davis Jacqueline Leggatt Frederick Schipizky Rui Shi Zhuo Moshe Denburg Frank Levin Douglas Schmidt Paul M. Douglas* Christopher Ludwig Ernst Schneider * Deceased David Gordon Duke Ramona Luengen Duncan Schouten Wolf Edwards Leila Lustig Sabrina Schroeder

– 14 – Thank You!

COMPOSERS CIRCLE Don James Jocelyn Morlock CMC BC TEAM Dorothea & Murray Janet & Derwyn Lea Ellie O’Day Sean Bickerton, BC Adaskin Virginia Lowrie Dubravko Pajalic Director Jane Coop & George Keith & Jennifer Peter Rohloff David McLaughlin, Laverock Macleod Jeffrey Ryan Operations Colin Miles Janet Summers Manager PERFORMERS CIRCLE John Pauls Sigrid-Ann Thors Stefan Anonymous Sharon Riches Edward Top Hintersteininger, BC Rudy Bootsma Sylvia Rickard Owen Underhill Head Librarian Martha Lou Henley Cliff Ridley Hildegard Christopher Reiche, Susan Wong Lim Sylvia Roberts Westerkamp Victoria Jane Poulsson Harley Rothstein James Wright Engagement Leader Bruce Munro Wright Edward & Ingrid Jin Zhang William Orr, Curator Suderman of Digital Archive BENEFACTORS SPECIAL THANKS Glenn Sutherland Greg Soone, Archive Sean Bickerton & Barry Truax Maestro! Tour Information Tom Hudock Karen Wilson Management Architect Ian Hampton Kevin Zakresky PUBLIC SUPPORT BC REGIONAL Thomas Heintzman George Zukerman City of Vancouver ADVISORY COUNCIL Heather Pawsey CONTRIBUTORS Dr. Robert Pritchard Province of BC George Laverock, Ernst Schneider Dennis & Rita Araki BC Arts Council Chair Eric Wilson Michael Atkinson Government of Dr. Keith Hamel, Marcel Bergmann Canada Vice Chair PATRONS Peter Berring Canada Council Rudy Bootsma, James & Karen Bray Sandra Bower Heritage Canada Hon. Treasurer Polly Carnsew BCRMTA Regions & FOUNDATION SUPPORT Dr. Robert Pritchard, Student Auxiliary Wayne & Margery Past Chair Michael Bushnell Close Deux Mille Kara Gibbs Jane Gardiner Christine Dahlberg Foundation Edward Henderson David Owen Antoinette Dorrepaal FACTOR François Houle Jesse Read Lori Elder Martha Lou Henley Dr. Rachel Iwaasa Karen Smithson Joseph Elworthy Foundation Sharman King Jon Washburn Karin Fehlauer SOCAN Foundation Sasha Koerbler Ken Gracie Vancouver Catherine Fern Lewis MEMBERS Rachel Iwaasa Foundation Susan Wong Lim Lars Kaario Jeremy Berkman CORPORATE SUPPORT Mark McGregor Kathleen Bjorseth Dianne Kennedy Dr. William Orr Paul Boughen Robert M. Knudson The Avondale Press David Owen Patrick Carpenter Elizabeth Lane CBC Vancouver Heather Pawsey Kara Gibbs Frank Levin C-PAC Dr. Robert Pritchard Jonathan Girard Catherine Fern Lewis KultureShock.Net Jesse Read Corey Hamm Leila Lustig Peak Products Nancy Macdonald

– 15 –

Special Thanks to Maestro! Tour Management for providing air travel for tonight’s soloists

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Tickets for both concerts only $42.50 (regularly $50.00). Go to musiccentrebc.ca to purchase tickets online or call 604-734-4622.

Sylvia Rickard Celebration Documentary Film

Sylvia Rickard, Artistic Advisor Festival Concert 7:00 pm, Friday, May 19, 2017 7:00 pm, Friday, May 26, 2017 Murray Adaskin Salon Murray Adaskin Salon

Three Late Period Yeats Songs 5 Films Belle-Mère 5 Works For Piano Anywhen 5 Legacy BC Composers Song for the Earth Estival A Wedding Toast: Murray Adaskin Three Cabaret Songs The Lake: Barbara Pentland Buttercup Fields Thirteen Preludes for Thirteen Ancient Existo in Animo by Featured Emerging Instruments: Rudolf Komorous Composer Lynne Penhale The Pines of Emily Carr: Jean Coulthard Aki-No-Hinode: Elliot Weisgarber Upcoming CMC BC Concerts

Elliot Weisgarber Celebration Karen Smithson, Artistic Advisor 7:00 pm, Friday, April 7, 2017

Murray Adaskin Salon

Sylvia Rickard Celebration Sylvia Rickard, Artistic Advisor 7:00 pm, Friday, May 19, 2017 Murray Adaskin Salon

Documentary Film Festival Concert John Bolton, Producer and Director 7:00 pm, Friday, May 26, 2017 Murray Adaskin Salon

To order tickets or for more information, please visit our website: musiccentrebc.ca