WELCOME TO THE OPENING CONCERT OF OUR 31st SEASON!

In launching Esprit’s next 30 years, we are embarking on new

ventures as well as reprising repertoire worthy of being heard
again by Esprit audiences. Music new to our scene is especially
important in our programming, keeping audiences and musicians
up to date with the latest trends in orchestral music.
By popular demand the spectacular violist Teng Li joins us this
evening for a repeat performance of Alfred Schnittke’s Viola
Concerto. Esprit's performance of R. Murray Schafer's No
Longer than Ten (10) Minutes is a tribute to the composer in his
80th birthday year.
Vivier has become a major figure and an international sensation
in new music and his music continues to stimulate interest in
Esprit audiences, both new and established. Tonight we perform
his mystical and mysterious Zipangu.

NEW ERA LAUNCH

Throughout this season, we’ll focus special attention on three
young Canadian composers having great success living and
working abroad. All three have been commissioned to compose
new pieces. One of these is composer/conductor Samy Moussa,
winner of the 2013 Siemens Composition Prize and a fast-rising
star living in Berlin, whose music opens our season. He will also
conduct the premiere of his new work in January.
ESPRIT ORCHESTRA
Alex Pauk, Music Director and Conductor
Teng Li, Viola

Flute Trombone Violin II

Christine Little David Archer Bethany Bergman
Maria Pelletier, David Pell Hiroko Kagawa
piccolo, alto Herb Poole, Louise Pauls
Shelley Brown, piccolo bass trombone Michael Sproule
Dianne Aitken Ian Cowie Janet Horne
Erica Beston
Oboe Tuba Xiao Grabke
Lesley Young Sasha Johnson Alexa Wilks
Karen Rotenberg,
English horn Piano Viola
Jasper Hitchcock Stephen Clarke Douglas Perry
Paul Jenkins, harpsichord Rhyll Peel
Clarinet Jeanie Chung, celeste Katherine Rapoport
Colleen Cook Nicholas Papadakis
James Shields, Harp Ivan Ivanovich
E flat clarinet Sanya Eng Karen Moffatt
Richard Thomson, Rory McLeod
bass clarinet Percussion Mary McGeer
Greg James Ryan Scott
Mark Duggan Cello
Bassoon Trevor Tureski Paul Widner
Jerry Robinson Blair Mackay Marianne Pack
Stephen Mosher John Wong Olga Laktionova
William Cannaway, Elaine Thompson
contrabassoon Violin I Peter Cosbey
Stephen Sitarski, Mary-Katherine Finch
Horn concertmaster Mary Stein
Bardhyl Gjevori Sandra Baron Orly Bitov
Christine Passmore Corey Gemmell
Diane Doig Anne Armstrong Bass
Linda Bronicheski Joanna Zabrowarna Hans Preuss
Elizabeth Johnston Eric Lee
Trumpet Renee London Robert Wolanski
Robert Venables Laurel Mascarenhas Natalie Kemerer
Anita McAlister Robert Speer
Michael Fedyshyn Sherri Preuss
Brendan Cassin Roberto Occhipinti
Erin Rose Macleod
NEW ERA LAUNCH
Thursday October 24th, 2013
Alex Pauk, Music Director and Conductor

7:15 pm Pre-Concert Talk

Composers Alexina Louie and R. Murray Schafer

8:00 pm Concert

PROGRAMME

R. Murray Schafer No Longer than (10) Ten Minutes (1970)

Claude Vivier Zipangu (1980)

Samy Moussa Gegenschein, study #3 for large orchestra

and Zodiakallicht, study #4 for large orchestra
(2009)

INTERMISSION

Alfred Schnittke Viola Concerto (1985)

Teng Li – viola
ALEX PAUK
Music Director, Conductor and Composer

Alex Pauk, composer, conductor and educator, revitalized orchestral life

for composers across Canada in 1983 by founding Esprit Orchestra as
Canada’s only orchestra devoted to new music. Esprit, with a core of 70
top instrumentalists, Canada’s best soloists, and an annual subscription
series in Toronto, encourages composers to take bold new directions.
Through building and sustaining Esprit’s high calibre performances,
commissioning programme, innovative programming (80% Canadian),
recordings, performing arts videos and DVDs, outreach projects, tours,
and interdisciplinary arts and media ventures, Pauk has been a leader in
developing and promoting Canadian music at home and abroad.

As a conductor he attains excellent performances on stage and in

recordings. His innovative programming and commitment to the
community through Esprit have garnered SOCAN and Chalmers Awards
as well as three Lieutenant Governor’s Arts Awards. He was named
Musician of the Year (1999) by peers at the Toronto Musicians’
Association, was a recipient of Canada Council for the Arts Molson Prize
(2007) and has helped many composers advance their careers through
commissions, high profile performances, recordings and broadcasts.
Pauk’s commissioning, of Canadian composers of all ages and stylistic
trends, is central to his work. He has been a leader in taking new music
out of the concert hall and to people in their communities. Under Pauk’s
direction, Esprit was awarded the 2005 Vida Peene Award for excellent
standards of performance and innovative programming.

Alex Pauk has a very wide range of experience as a composer with

works for every kind of performing ensemble, the theatre as well as
dance companies. Revealing this depth of experience, his most notable
compositions include Touch Piece, a multimedia work for full orchestra,
16 channel surround sound with digital sound track, sounds of nature
and altered orchestral sound projected from loudspeakers, multi-screen
video environment and fabric sculptures with special theatrical lighting;
Farewell to Heaven, a full length work for the Menaka Thakkar Indian
Dance Company; three works involving important Canadian virtuosos:
Concerto for Harp and Orchestra, Concerto for Two Pianos and
Orchestra and Flute Quintet.

His newest work, Musiques immergées, for chamber orchestra and audio
playback, received its world premiere in Montréal with the SMCQ in
2011.
TENG LI
Viola
It was 2004 when Teng Li made a splash in the Toronto music scene by
landing the Toronto Symphony Orchestra Principal Viola position at the
astonishing age of 21. TSO Music Director Peter Oundjian describes her
as “an extraordinary talent that everyone recognizes, and the Orchestra
enjoys the wonderful experience of performing with this talent both as a
section leader and as soloist.” Highlight performance repertoire include
Takemitsu’s A String Around Autumn, Bartok’s Viola Concerto, Berlioz’s
Harold in Italy, Mozart’s Sinfonia Concertante, and Strauss’ Don Quixote.

Teng has given recitals in Toronto, Philadelphia, Chicago, Washington

DC, and New York. Along with her TSO solo appearances, Ms Li has
performed with the National Chamber Orchestra, the Santa Rosa
Symphony, the Munich Chamber Orchestra, the Haddonfield Symphony,
Shanghai Opera Orchestra, and the Canadian Sinfonietta. Her
performances have been broadcast on CBC Radio 2, National Public
Radio, WQXR (New York), WHYY (Pennsylvania), WFMT (Chicago), and
Bavarian Radio (Munich).

An accomplished chamber musician, Teng has participated in the

festivals of Marlboro, Santa Fe, Mostly Mozart, Music from Angel Fire,
Rome, Moritzburg (Germany) and the Rising Stars Festival in Caramoor.
She has performed with the Guarneri Quartet in New York, at Carnegie
Hall and with the 92nd St. “Y” Chamber Music Society. Teng was
featured in concert with the Guarneri Quartet in their last season at the
Philadelphia Chamber Music Society, and she is also a member of the
prestigious Lincoln Center Chamber Music Society Two.

A recipient of numerous awards, Teng has won top Prizes at the

Johanson International and the Holland-America Music Society
competitions, the Primrose International Viola Competition, the Irving M.
Klein International String Competition and the ARD International Music
Competition in Munich Germany. She was also a winner of the Astral
Artistic Services 2003 National Auditions.

Teng began the violin at age 5 in her native China. She entered the
Central Conservatory in Beijing in 1992, and at age 16 was accepted to
study at the Curtis Institute of Music in Philadelphia, where her teachers
were Michael Tree and Joseph DePasquale. Teng currently serves on
the faculties at the University of Toronto and Conservatoire De Musique
De Montreal.
STEPHEN SITARSKI
Concertmaster
An Oakville native, Stephen Sitarski enjoys an incredibly varied career as
a violinist and musician. Acclaimed nationally in performances of
Baroque music through to contemporary and jazz, he is also a
recognized conductor, adjudicator, teacher and music administrator.
Currently Concertmaster of the Kitchener-Waterloo Symphony, he has
also led many other Canadian orchestras including the Vancouver
Symphony and Ottawa’s National Arts Centre Orchestra, as well as
orchestras in the United States and Europe.

He frequently appears as soloist with orchestra and, along with much of

the standard repertoire, performs concertos written especially for him by
Canadian composers. In April, 2009, as part of the Open Ears Festival,
Stephen performed R. Murray Schafer’s violin concerto ‘The Darkly
Splendid Earth: The Lonely Traveller’. In March, 2011, he was guest
concertmaster and featured soloist for the National Ballet Orchestra's
programs Eugene Onegin and Russian Seasons.

He is 1st Violin of the Canadian Chamber Ensemble, a founding member

of Trio Laurier, and is a regular participant in diverse chamber groups
and festival events both nationally and internationally with many of
Canada’s finest musicians. He is also a frequent performer with
Toronto's acclaimed Art of Time ensemble as well as Soundstreams.

Routinely heard throughout Canada on disc and on live radio broadcasts,

Sitarski has also performed countless television and film scores,
including the violin solos in the Hollywood film ‘Being Julia’. A dedicated
educator, Stephen is a faculty member of the National Youth Orchestra
of Canada, Wilfrid Laurier University and Glenn Gould School.
In recognition of his outstanding artistic contribution to the Kitchener-
Waterloo community, he is a recipient of the Kitchener-Waterloo Arts
Award for Music.
 `
PROGRAMME NOTES
R. MURRAY SCHAFER numerous preliminary ideas, and
No Longer than (10) Ten the quiet middle section of the
Minutes (1970) piece is certainly his.
The influences in this piece
are various and they may as Next there is my friend the artist
well be recorded. First, there Iain Baxter, who, not knowing
was the TSO contract, a much about music, has for a long
phrase of which gave the while tried to persuade me to write
piece its title, and the general an “extensions” to Beethoven’s
tone of which did much to Fifth, that composition always
inspire the composer. Then there having seemed to Baxter to be
was that memorable supper in rather boring. To Iain I owe the
Ottawa with the conductor Victor idea of blurring the edges of a
Feldbrill – casier à homard and work of art, perhaps even the
dry Chablis – where certain arrogance of trying to improve or
logistical problems were at any rate infect another’s art-
discussed, then evaporated as the work.
evening wore on.
And finally there is my other friend
Next, turning to more serious “mouche”, but that is perhaps a
point, there was the influence of story for another time … .
my friend Ken Barron, of the
Vancouver firm of Barron and — R. Murray Schafer
Strachan, Acoustical Engineers.
Ken and I have worked together a
good deal in confronting matters CLAUDE VIVIER
of noise pollution over the past Zipangu (1980)
couple of years. One day we Commissioned by New Music
made a recording of some traffic Concerts, Zipangu was written in
noise in front of the Vancouver 1980 and first performed in
Hotel and Ken did a spectrum Toronto under the direction of
analysis of the sound, producing Robert Aitken. The piece is written
innumerable charts with curvy for two groups of strings: on the
lines showing the sound intensity one hand, six violins and on the
of the various band-widths of the other, one violin, three violas, two
sound. These graphs were cellos and one double bass.
studied intensively throughout the
composition of this work and no Claude Vivier wrote: “Zipangu was
doubt they helped provide various the name given to Japan during
the time of Marco Polo. Building
sonorous felicities.
around melody, I explore different
Then there is my friend Eugene aspects of “colour” in this piece. I
Rittich, first horn player in the TSO have tried to veil my harmonic
– to whom the work is dedicated – structures by using different bow
who once worked out for me a techniques. A colorful sound is
quarter-tone fingering system for obtained by applying exaggerated
the horn. With Eugene I discussed bow pressure on the strings as
opposed to pure harmonics when characterizes several
returning to normal technique. In compositions by Samy Moussa is
this way melody becomes “color” the anacrusis, that engine of the
(chords), grows lighter and slowly musical phrase and of its prosodic
returns as tough purified and approach (that is to say its
solitary”. language). It is this concept that,
when raised to the level of musical
The melody the composer is
virtuosity, gives the étude-like
speaking of is always present in
character (rare in orchestral
this work. It is clearly expressed
works) to this new cycle of pieces
both at the beginning and the end
(including Gegenschein and
of the work, but undergoes all
Zodiakallicht).
sorts of transformations
throughout the rest of the piece. In
one of the most beautiful The virtuosity, but most of all the
passages we hear a solo violin balance of the sound designs, the
playing a very fanciful air against mixture of timbres, amount to real
a texture made up entirely of orchestral studies, at once both
harmonics and in which we instrumental and musical; In their
recognize the basic harmony and approach, these are works that
its harmonization. It is a work
leave no respite from the rigors
which towards its end achieves a
deeply moving lyricism in a grave required of the musicians and
and somber passage. which push them, at every
moment, to their maximum
— Serge Garant
degrees of concentration. These
two studies, commissioned by the
Montreal Symphony Orchestra
SAMY MOUSSA and dedicated to Kent Nagano,
Gegenschein, study #3 for large have common leitmotifs -
orchestra & Zodiakallicht, study
#4 for large orchestra (2009) ascending and descending scales,
sudden accents etc. Nevertheless,
French music is heir to a long, whereas the third study, strong in
amazingly continuing tradition, a contrasts (roaring versus
tradition which is chiefly of meditation, anacrusis versus
sensuality. As with music from apodosis) adds, mid-way, a
Rameau to Boulez, it is essentially
dancing rhythm that becomes
music of sounds, of timbres. It is
in succeeding Rameau that Samy increasingly present and affirms
Moussa has created some of his the starting material, the fourth
works - music of sensual energy maintains itself, and undulates to
and immediate access despite its its tempo, with its decelerations
sophistication in construction and sometimes disrupted by brief
in instrumental technique. It owes bursts of noise, its delicate
its energy to a very precise
pianissimo and its timbres
musical instinct for, what
intimating fine celestial reflections, above playing a plaintive,
barely visible in the utterly black passionate melody, full of
night, before ending with a huge melancholic beauty. Here and
crescendo. there the use of military side-
drums is very effective at adding
— Translation of a note by to the anguish already present.
Matthieu Stepec, 2009 The mood of the final Largo
movement is more relaxed,
although still gloomy and
ALFRED SCHNITTKE desolate, and the last few drawn
Viola Concerto (1985) out notes on the viola seem to
Alfred Schnittke wrote this represent life passing away.
concerto in 1985, the year that
Gorbachev came to power in the Viola Concerto was composed for
Soviet Union, ended the Cold War the Russian violist Yuri Bashmet.
and allowed Russians once again The work is based on a musical
to enjoy the freedom of travel. motif that spells Bashmet’s name:
Schnittke left Russia and settled in in a mix of French and German
Hamburg. Things were looking up notation, B – A – Es – C – H - Mi
so why is the music in this great or, in Anglo-Saxon, B flat – A - E
work so terrifying. flat – C - B natural - E natural. In
The opening movement, the first three movements and scored for
Largo, begins with solo viola very an orchestra without violins, the
slowly and quietly peering through Viola Concerto makes great
the darkness. Very so gradually a demands on the soloist, who plays
fear, a sense of horrific dread almost without interruption
slowly takes hold of the music, throughout the work’s roughly 30-
and just after 3 minutes in, what minute duration and whose music
was being feared rears its ugly features several virtuoso sections.
head and the full orchestra
unleashes a massive, terrifying The first movement is a slow
chord that will make you look over introduction. It begins with an
your shoulder and feel cold down anxious declamation from the
your spine. The atmosphere of viola. This leads into music in
most of the work is full of which the Bashmet motif is heard
threatening shadows, massive harmonized by the strings and
outbursts, frantic viola passages then into a return of the
and demonic cries of pain from declamation that terminates in a
the bowels of the orchestra. Now brutal full orchestra chord, a chord
and then though, some beautiful, which is built from the notes of the
soaring lyricism takes over and Bashmet theme. A softer music
calms the fears. One fine arrives in the wake of this chord,
example, is when the piano within ending the movement.
the orchestra plays what sounds The second movement, marked
like the bass line to Schubert's Allegro molto, is a kaleidoscopic
Ave Maria, with the viola high jumble of different musics and it
exemplifies Schnittke’s famous
“polystylism,” his technique of
juxtaposing music from varied
sources, high and low. (He wrote:
“The goal of my life is to unify
serious music and light music,
even if I break my neck in doing
so.”) Film music, dance music,
music for brass band, Soviet
military marches—all of this and
more is combined with hectic
arpeggios in the solo part to
create a swirling mix of styles.

The Viola Concerto’s final

movement, its longest, is, as
Gerard McBurney has written, “a
spacious and desolate lament” in
which “through a dreadfully blank
musical landscape, the viola
soloist wanders as though
searching for some echo or
answer from the orchestra.” In the
end, the Bashmet motif returns,
with the A minor triad it contains
held by the orchestra’s strings, the
viola crying in its lower register
against the sustained harmony.

Esprit Orchestra acknowledges the support of the Ontario Arts

Council (OAC), an agency of the Government of Ontario, which last
year funded 1,681 individual artists and 1,125 organizations in 216
communities across Ontario for a total of $52.8 million.
 `
BIOGRAPHIES
R. Murray Schafer (b.1933) (1975), Ezra Pound and his Music
Composer (1977), On Canadian Music
Born in Sarnia, Ontario in (1984), Voices of Tyranny:
1 1933, Murray Schafer has Temples of Silence (1993), and
w won national and The Thinking Ear: On Music
international acclaim not only Education (1986). He has
for his achievement as a received commissions from
composer but also as an numerous organizations as well
environmentalist, educator, literary as several prizes. He was the first
scholar, visual artist and winner of the Glenn Gould Prize
provocateur. After receiving a for Music and Communication as
Licentiate in piano through the well as the Molson Award for the
Royal Schools of Music (England) arts. In 2005 he was awarded the
in 1952, he pursued further Walter Carsen Prize, by the
studies at the Royal Conservatory Canada Council for the Arts, one
of Music and the University of of the top honours for lifetime
Toronto, followed by periods of achievement by a Canadian artist.
autodidactic study in Austria and
England which encompassed
literature, philosophy, music and Claude Vivier (1948 – 1983)
journalism. A prolific composer, he Composer
has written works ranging from Many consider Claude Vivier the
orchestral composi-tions to choral greatest composer Canada has
music as well as musical theatre yet produced. At the age of 34, he
and multi-media ritual. was the victim of a shocking
His diversity of interests is murder, leaving behind some 49
reflected by the enormous range compositions in a wide range of
and depth of such works as genres, including opera,
Loving (1965), Lustro (1972), orchestral works, and chamber
Music for Wilderness Lake (1979), pieces. György Ligeti once called
Flute Concerto (1984), and the Vivier "the finest French composer
World Soundscape Project, as of his generation."
well as his 12-part Patria music
theatre cycle. His most important Born in Montréal of unknown
book, The Tuning of the World parents, Vivier was adopted at the
(1977), documents the findings of age of three. After being expelled
his World Soundscape Project, from a seminary at sixteen for
which united the social, scientific "immature behavior"—from an
and artistic aspects of sound and early age, Vivier was open about
introduced the concept of acoustic his homosexuality—he studied at
ecology. The concept of the Conservatoire de Musique in
soundscape unifies most of his Montréal. In 1971, Vivier left
musical work, as well as his Canada for Europe, studying
educational and cultural theories. electroacoustic music in Utrecht,
and composition with Karlheinz
His other major books include Stockhausen in Cologne.
E.T.A. Hoffmann and Music Although Vivier was influenced by
the latter, he nonetheless National Prize for the best work by
developed a highly personal a Canadian composer.
language. Chants, composed
during this period, represented for — April 2010
him "the first moment of my Reprinted by kind permission of
existence as a composer." Boosey & Hawkes.

In the fall of 1976, Vivier took a

long trip through Asia. A visit to Samy Moussa (b. 1984)
Bali caused him to reevaluate his Composer
ideas concerning the role of the Conductor and composer, Samy
artist in society, initiating a new Moussa has collaborated regularly
period in his stylistic evolution. In with a number of orchestras and
the wake of this journey he ensembles, among them the
wrote Shiraz (1977) for Vienna Radio Symphony
piano, Orion (1979) for orchestra, Orchestra, the Frankfurt Radio
and his opera Kopernikus (1978– Symphony Orchestra, the
79). Above all, it was in his cycle Orchestre symphonique de
of pieces for voice and Montréal, the Vancouver CBC
instrumental ensemble, Radio Orchestra and the
particularly Lonely Child (1980) Vancouver Symphony Orchestra.
and Prologue pour un Marco
Polo (1981) that Vivier's unique Born in Montreal in 1984, Samy
style crystallized. Moussa studied composition and
conducting at the Université de
Vivier spent the last months of his Montréal where his principal
life in Paris. On March 12, 1983, teacher was José Evangelista. He
Vivier was found stabbed to death was then invited to study in
in his apartment. His murderer, a Finland with Magnus Lindberg.
19-year-old man who may have In 2007, Samy Moussa settled in
been a prospective lover, was Germany where he was enrolled
later caught and sentenced. at the Hochschule für Musik und
Theater München. In 2010, Samy
Vivier advocates include Mauricio Moussa became Music Director of
Kagel, Kent Nagano, Reinbert de the INDEX Ensemble in Munich.
Leeuw, David Robertson, and
Dawn Upshaw. Vivier's music Moussa’s music is known for its
featured prominently in Holland clarity and power as well as
Festival 2005, and the St. Louis refined orchestration and has
Symphony Orchestra opened its been championed by world
2005–06 season with Lonely renowned artists such as Kent
Child, with David Robertson Nagano who commissioned
conducting and Dawn Upshaw as Gegenschein and Zodiakallicht for
the soprano soloist. In 2005, the large orchestra for the Orchestre
Montréal Symphony Orchestra symphonique de Montréal in
inaugurated the Claude Vivier 2009. Pierre Boulez
commissioned a new orchestral
work for the Lucerne Festival to serialism and other advanced
be premiered in 2015. techniques. This period did not
last long, though, and by the end
Samy Moussa was awarded the of the decade Schnittke had
Composers’ Prize 2013 from the already developed his
Ernst von Siemens Music characteristic polystylistic
Foundation. approach, in which different styles
and forms of music—past and
Alfred Schnittke (1934 – 1998) present, high and low—are
Composer combined in gripping ways.
Alfred Schnittke was born in 1934 Sometimes the effect is joyous, at
in the USSR. His father was from other times comic, at yet other
a Russian-Jewish family in times savagely ironic and even
Frankfurt and had settled in the disturbing. Early on, Schnittke had
Soviet Union in 1926; his mother difficulties with the Soviet
was a Volga German born in authorities and the Composers’
Russia. Schnittke’s father was Union; at one point he was even
stationed in Vienna for a time, and banned from travelling outside of
it was there where Schnittke the USSR. Nevertheless, by the
began, in 1946, his musical 1980s a band of passionately
training. Schnittke later remarked devoted high-profile performers,
of his time in Vienna that “I felt including was bringing his music
every moment there to be a link of before the public to great acclaim.
the historical chain: all was multi-
dimensional; the past represented Schnittke composed a
a world of ever-present ghosts, tremendous amount of material in
and I was not a barbarian without all of the major musical forms,
any connections, but the including 9 symphonies,
conscious bearer of the task in my numerous concerti and concerti
life.” grossi, 4 string quartets, ballet
scores, and 3 operas. And though
Schnittke’s family returned to plagued by ill health in his later
Russia in 1948, moving to years—a series of strokes
Moscow where Schnittke studied beginning in 1985 left him
at the Moscow Conservatory. physically diminished—his
From 1962 until 1972 Schnittke musical energies remained
himself taught at the Moscow unchecked. From 1990 until his
Conservatory. But after his tenure death in 1998, Schnittke lived in
there had ended he engaged on a Hamburg, where he held dual
long career as a film composer, German-Russian citizenship.
ultimately scoring almost 70 films.
Shostakovich’s music was an
important influence on the young
Schnittke, though a visit to the
Soviet Union in the early sixties by
Luigi Nono led him to take up
JOIN US FOR THESE UPCOMING SPECIAL EVENTS

FLAVOURS AND SOUNDS OF INDONESIA

Friday November 8, 2013, 6:30 – 9 pm
Gardiner Museum Bistro & Terrace Room (111 Queen’s Park, Toronto)

Featuring members of the Esprit Orchestra

& Evergreen Club Contemporary Gamelan

$60 General | $55 Gardiner Members | Cash Bar

Drinks and gratuity not included.

Tickets: gardinermuseum.com/events or 416-586-8080

Get a taste of Indonesia’s exotic flavours and music! Chef Simon Kattar,
Esprit Orchestra and Evergreen Club Contemporary Gamelan will
transport you to Southeast Asia with a sumptuous three-course dinner
and a performance of traditional Indonesian music and modern
adaptations.

ESPRIT ORCHESTRA’s FUNDRAISER

Monday February 10, 2014, 6:00 pm
th
68 Floor of the BMO Tower
First Canadian Place, 100 King St West

Reception in the art gallery | Sit-down dinner | Entertainment

For event details and ticket information, please call our office at 416-815-
7887 or e-mail [email protected]
THANK YOU
The Esprit Orchestra gratefully acknowledges our individual donors

Alice Adelkind Peter Hunt Jenny Pauk

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The Esprit Orchestra gratefully acknowledges the following
supporters that have made Esprit’s 2013-14 season possible.

SEASON SPONSOR

FOUNDATIONS
The Hal Jackman Foundation, The Koerner Foundation,
The Mary-Margaret Webb Foundation, The Max Clarkson Family
Foundation, The Henry White Kinnear Foundation, The William and
Nona Heaslip Foundation, The Sharp Foundation.

MAJOR INDIVIDUAL SUPPORTERS

Rosalie and Isadore Sharp, Nona Heaslip, John B. Lawson, Judy and
Wilmot Matthews, Roger D. Moore, David J. Novak, Chantal Perrot,
David Pyper, David Sherr, Taylor Hazell Architects, Nicola von Schroeter
and one anonymous donor.

SPECIAL THANKS TO

for producing and donating promotional videos

David Jaeger
for volunteering his services as recording engineer and advisor

George Stimpson
for providing his services in support of Esprit’s May 2013 fundraiser
ESPRIT ORCHESTRA
BOARD OF DIRECTORS
Helene Clarkson, President – Neat
Nicola von Schroeter, Secretary – Nvons Consulting Limited
Dan Zbachnik, Treasurer – ZF Management Inc.
Alexina Louie – Composer
Mary Wellner – Wellner Capital Advisors Ltd.
John Kelly – Youth Climate Report
Susan Carter Smith – SCS Consulting
Alex Pauk – Ex-officio

STAFF
ARTISTIC
Alex Pauk – Music Director & Conductor

ADMINISTRATIVE
Elena Koneva – Operations Manager
Francine Labelle – Public Relations, flINK
Christine Little – Personnel Manager and Music Librarian
Chris Mustard – Bookkeeper

VOLUNTEERS
Annabel Hoyt, patron communications
Jasmine Pauk, social media
Joannie Ing, patron services

CONTACT
www.espritorchestra.com
174 Spadina Avenue, Suite 511, Toronto, ON M5T 2C2
416.815.7887
[email protected]

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