JANUARY 11 & 12, 2017TELUS CENTRE FOR PERFORMANCE AND LEARNING, KOERNER HALL

IN PARTNERSHIP WITH

SEASON PRESENTING SPONSOR

SEASON PATRON

IN HONOUR OF H. THOMAS BECK

MozartFestival@261

CO-CURATED BY BERNARD LABADIE & PETER OUNDJIAN

BOARD OF DIRECTORSCatherine Beck, Chair

Rags Davloor, Vice-Chair & Treasurer

Eileen Jurczak, MBA, CFA, Secretary

Pat Baker

Joanne Colbourne, TSVC Co-President

Robert W. Corcoran

Sharon Groom

Councillor Norm Kelly

Vahan Kololian

Noelle Richardson

Luke Seabrook

Brian Shaw

Tom Smee

Debra Walker, TSVC Co-President

TORONTO SYMPHONY FOUNDATION TRUSTEESLawrence A. Ward, FCPA, FCA, Chair

Richard Balfour

Thomas Bogart

Ira Gluskin

Noelle Grace

Thomas C. MacMillan

Sheila Murray

John Nagel

John Sherrington

MAESTRO’S CLUB AMBASSADORSDavid G. Hallman, Chair

Judy Dunn, Vice-Chair

Olga Fershaloff

Michael Gnat

Donna Goldman

Bryan Graham

Maymar Naman

YOUNG LEADERSHIP COUNCILDustin Cohen, Co-Chair

Danielle Ryterband, Co-Chair

James Bertrand, Communications Chair

Tricia Black

Natalie D’Aoust

Nicole D’Aoust

Scott Darling

Theodora Ferrant

Jesse Goldman

Adrian Ishak, Nominations Chair

Robert Karrass, Philanthropy Chair

Lawrence Kim, Impresarios Club Chair

Andrew Kwong

Pippa Leslie

Jelena Rakovac

Rachel Spiar

Brocke Weir, Secretary

HONORARY MUSICIANS

These extraordinary individuals have been selected by the Orchestra for their extraordinary commitment and service to the TSO.

Tom Beck

Renette Berman

Robert Corcoran

Sheryl L. Kerr

Judith (Billie) R. Wilder

Peter Oundjian, Music DirectorCatherine Beck, Chair | Gary Hanson, Interim Chief Executive Officer

TORONTO SYMPHONY ORCHESTRA

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ORCHESTRA MEMBERS

Peter Oundjian MUSIC DIRECTOR

Sir Andrew Davis CONDUCTOR LAUREATE

Steven Reineke PRINCIPAL POPS CONDUCTOR

Earl LeeRBC RESIDENT CONDUCTOR & TSYO CONDUCTOR

Gary Kulesha COMPOSER ADVISOR

Jordan PalRBC AFFILIATE COMPOSER

ViolinsJonathan CrowCONCERTMASTER

TOM BECK CONCERTMASTER CHAIR

Mark SkazinetskyASSOCIATE CONCERTMASTER

Marc-André SavoieASSISTANT CONCERTMASTER

Etsuko KimuraASSISTANT CONCERTMASTER

Paul MeyerPRINCIPAL,

SECOND VIOLIN

Wendy Rose*ASSOCIATE PRINCIPAL,

SECOND VIOLIN

Eri KosakaASSISTANT PRINCIPAL,

SECOND VIOLIN

Atis Bankas*Sydney ChunCarol Lynn FujinoAmanda GoodburnTerry HolowachBridget HuntAmalia Joanou-CanzoneriMi Hyon KimShane KimLeslie Dawn KnowlesSergei NikonovHyung-Sun PaikYoung Dae ParkSemyon PertsovskyPeter SeminovsJennifer ThompsonAngelique ToewsJames WallenbergVirginia Chen WellsArkady Yanivker

ViolasTeng LiPRINCIPAL

PRINCIPAL VIOLA

FUNDED BY DAVID AND

RENETTE BERMAN

Eric Nowlin+

ASSOCIATE PRINCIPAL

Theresa RudolphASSISTANT PRINCIPAL

Daniel BlackmanIvan IvanovichGary LabovitzDiane LeungCharmain LouisMary Carol NugentChristopher RedfieldKent Teeple

CellosJoseph JohnsonPRINCIPAL

PRINCIPAL CELLO CHAIR

FUNDED BY

DR. ARMAND HAMMER

Emmanuelle Beaulieu Bergeron

ASSOCIATE PRINCIPAL

Winona ZelenkaASSISTANT PRINCIPAL

Igor GefterMarie GelinasRoberta JanzenBritton Riley Kirk Worthington

Double BassesJeffrey BeecherPRINCIPAL

PRINCIPAL DOUBLE BASS

CHAIR ANNUALLY FUNDED BY

THE SAUNDERSON FAMILY

Theodore ChanTimothy DawsonChas ElliottDavid LongeneckerPaul Rogers

FlutesNora ShulmanPRINCIPAL

TORONTO SYMPHONY

VOLUNTEER COMMITTEE

PRINCIPAL FLUTE CHAIR

Julie RantiASSOCIATE PRINCIPAL

Leonie WallCamille Watts

PiccoloCamille Watts

OboesSarah JeffreyPRINCIPAL

PRINCIPAL OBOE

FUNDED BY PAM AND

CHRIS HODGSON

Keith AtkinsonASSOCIATE PRINCIPAL

Cary EbliSarah Lewis

English HornCary Ebli

ClarinetsJoaquin ValdepeñasPRINCIPAL

SHERYL L. AND

DAVID W. KERR PRINCIPAL

CLARINET CHAIR

Yao Guang Zhai+

ASSOCIATE PRINCIPAL

Joseph OrlowskiAmy Zoloto+

E-flat ClarinetYao Guang Zhai+

Bass ClarinetAmy Zoloto+

BassoonsMichael SweeneyPRINCIPAL

Samuel BanksFraser Jackson

ContrabassoonFraser Jackson

HornsNeil DelandPRINCIPAL

DR. MICHAEL BRAUDO

PRINCIPAL HORN CHAIR

Christopher GongosASSOCIATE PRINCIPAL

Audrey GoodNicholas HartmanGabriel Radford

TrumpetsAndrew McCandlessPRINCIPAL

TORONTO SYMPHONY

VOLUNTEER COMMITTEE

PRINCIPAL TRUMPET CHAIR

Steven WoomertASSOCIATE PRINCIPAL

James GardinerJames Spragg

TrombonesGordon WolfePRINCIPAL

Vanessa FralickASSOCIATE PRINCIPAL

Bass TromboneJeffrey Hall

TubaMark TetreaultPRINCIPAL

TimpaniDavid KentPRINCIPAL

PercussionJohn RudolphPRINCIPAL

Patricia Krueger

HarpHeidi Van Hoesen GortonPRINCIPAL

PRINCIPAL HARP FUNDED

BY RICHARD ROONEY AND

LAURA DINNER

KeyboardPatricia KruegerPRINCIPAL

PRINCIPAL KEYBOARD

FUNDED BY HANS AND

SUSAN BRENNINKMEYER

LibrariansGary Corrin PRINCIPAL

PRINCIPAL LIBRARIAN FUNDED BY BOB AND ANN CORCORANKim Gilmore

PersonnelDavid KentMANAGER

*On sabbatical+On leave

2

THE TSO CHAMBER SOLOISTS CONCERT PROGRAM

Wolfgang Amadeus MozartString Quintet No. 3 in C Major, K. 515I. Allegro

II. Andante

III. Menuetto: Allegretto

IV. Allegro

Wednesday, January 11, 2017

6:45pm

Jonathan Crowviolin

Theresa Rudolphviola

Joseph Johnsoncello

with guest artists

Kerson Leongviolin

Madlen Breckbillviola

3

In 1787, Mozart was concentrating his efforts

into what would become his next operatic

masterpiece, Don Giovanni. Midway through its

creation, he took a break to compose two string

quintets, K. 515 in C major and K. 516 in G minor.

Both are considered today to be among his most

significant chamber music works.

The exact purpose or occasion for which Mozart

composed these quintets is unknown; in the

view of noted scholar H.C. Robbins Landon,

Mozart probably wrote them on speculation,

“hoping to sell manuscript copies to amateurs by

subscription.” However, the technical demands

of the quintets were such that few amateurs

would have sought to play them. Meanwhile,

Mozart was no longer in the favour of Vienna’s

aristocratic patrons (though nor was he

intentionally catering to them); in 1788, he was

obliged to sell outright the scores of the quintets

to the publisher Artaria and Co. for a trifle.

At 35 minutes in duration, Mozart’s Third

String Quintet is the longest of his chamber

works for strings. The first movement is in a

sonata form of remarkable proportions, with

a substantial exposition and a recapitulation

rich in development. Particularly striking is the

way Mozart creatively exploits all the various

permutations of the instruments within the

ensemble, creating novel textures through

emphasizing the inner voices.

The Andante is, as Robbins Landon aptly puts it,

“a civilized and highly intellectual conversation

between two friends, first violin and first viola,”

the operatic qualities of which are unmistakably

Mozartian. The Minuet, featuring a call and

response between the violins and lower strings,

frames a chromatically tinged trio of unusually

grand proportions. The elegant finale, in which

once again Mozart makes the most of the

ensemble’s rich variety of sonorities, concludes

the work on a bold and jubilant note.

Program note by Hannah Chan-Hartley

Founded in 2014, The Toronto Symphony

Orchestra Chamber Soloists came together

with a mission to create programming featuring

a diverse and varied range of instruments.

Acclaimed as an ensemble of distinguished

virtuosi, the Chamber Soloists’ unique

combination of winds, strings, keyboard, and

percussion gives it the flexibility to present a wide

range of unusual and infrequently performed

repertoire, along with some of the best-loved

works in the chamber music literature.

Comprising principal players from the Toronto

Symphony Orchestra, The TSO Chamber

Soloists have already performed around the

world, from Roy Thomson Hall to the iconic

Harpa Hall in Iceland, with such distinguished

guest artists as Emanuel Ax, James Ehnes,

Barbara Hannigan, and John Storgårds. Curated

by TSO Concertmaster Jonathan Crow, the

Chamber Soloists seek to bring audiences closer

to the musicians of the Orchestra—personally

and musically. As the chamber ensemble could

be seen as a microcosm of the symphony

orchestra, the intimate nature of chamber music

invites the audience to a close encounter with

the distinct personalities and talents of the TSO’s

individual musicians, while the works performed

offer a different perspective into a particular

composer’s craft.

THE DETAILS THE TSO CHAMBER SOLOISTS

4

MAGNIFICENT MOZART

Portrait of W.A. Mozart, Barbara Krafft, 1819

5

CONCERT PROGRAM

Peter OundjianMusic Director

Wolfgang Amadeus Mozart Rondo in C Major for Violin and Orchestra, K. 373

Piano Concerto No. 27 in B-flat Major, K. 595I. AllegroII. LarghettoIII. Allegro

Intermission Symphony No. 40 in G Minor, K. 550I. Molto allegroII. AndanteIII. Menuetto: AllegrettoIV. Allegro assai

Wednesday, January 11, 2017

8:00pm

Thursday, January 12, 2017

8:00pm

Peter Oundjianconductor

Kerson Leongviolin

Leonid Nediakpiano

Magnificent Mozart! Violinist Kerson Leong and pianist Leonid Nediak join us to open another celebration of the music of this most timeless of composers. Mozart was a singularity, the ideal talent in the ideal time and place, the final and greatest Classicist, the last composer who worked at perfecting a style rather than changing it. Symphony No. 40 in G minor is one of his most fascinating and appealing works. He rarely used the minor key, and when he did, the effect is striking—turbulence mixed with lyricism. This is an extremely dramatic and atmospheric work. Mozart himself considered the Piano Concerto in B-flat to be quite difficult, but this is truly a giant at the height of his powers. If you hear him foreshadowing Beethoven in this great concerto, you are not imagining it. In contrast, the lovely Rondo in C for violin is one of his most gracious and polished works, a perfect example of everything we associate with his style.

MASTERWORKS (ENCORE) SERIES PRESENTED BY

6

THE DETAILS

In 1769, Mozart became concertmaster of his

home city’s court orchestra. He remained a

member of the ensemble (although not always

as concertmaster) for a dozen years. Between

April and December of 1775, he composed

four of his five violin concertos. They bear no

dedications, probably indicating that he had

either written them to perform himself, or

wished to encourage future performances by

not tying them to particular soloists. Some of

them may also have been played by Antonio

Brunetti, who was first his assistant, then his

successor as concertmaster in Salzburg. Mozart

found him slow-witted and boorish.

This graceful Rondo was premièred in Vienna,

on April 2, 1781, six days after Mozart completed

it, and with Brunetti as soloist. One possible

reason for its creation was the temperamental

Brunetti’s request for a substitute finale for a

concerto by another composer. Six years earlier,

he had made the same demand regarding the

slow movement of Mozart’s Concerto No. 5.

The première was given under the auspices of

Prince Rudolph Joseph Colleredo, the father of

Mozart’s unappreciative and despised employer

in Salzburg, Prince-Archbishop Hieronymous

Colleredo. Mozart composed two other works

for the occasion: a Sonata for violin and piano

in G major, K. 379, and a concert aria, “A questo

seno deh vieni” (Come to my arms), K. 374. Being

a salaried member of the Prince-Archbishop’s

retinue, he received no additional payment for

any of these pieces. He and Brunetti performed

the sonata, and the renowned castrato, Francesco

Ceccarelli, sang the aria—to great acclaim.

Mozart’s happiness at the success of the event

was tempered by the fact that his lowly but

iron-clad station in the Prince-Archbishop’s

household meant that he had to bypass the

opportunity to perform at another function

that was taking place at the same time. It was

attended by the Emperor, who would likely

have awarded him a handsome fee and taken

notice of his magnificent talent. Two months

later, Mozart was dismissed from the Prince-

Archbishop’s service. He relocated to Vienna and

happily took up the life of a freelance musician.

The next few years were the most successful of

his life.

Program note by Don Anderson

Wolfgang Amadeus MozartBorn: Salzburg, Austria, Jan 27, 1756 Died: Vienna, Austria, Dec 5, 1791

5min

Rondo in C Major for Violin and Orchestra, K. 373Composed: 1781

A DIFFICULT EMPLOYERIn at least three letters to his father in

1781, Mozart mentioned the Archbishop’s

concerts in which this Rondo was

performed, complaining of the

Archbishop’s treatment of him. On June

13, he wrote that the “last time, after the

program was over, I played for a whole

hour variations on a theme given to me

by the Archbishop, and I earned so much

applause that...if he had the least bit of

Humanity in his heart, should have felt

great joy; but instead...[he] tells me to my

face I should clear out....”

7

Among Mozart’s many talents, Viennese

audiences loved his piano playing above all. One

way in which he responded to this preference

was to compose twelve superlative piano

concertos—Nos. 14 to 25, between February

1784 and December 1786. They offer more in

terms of emotion, breadth, and colour than

any composer’s concertos written prior to that

time. They would serve as models of their kind,

ones to which Beethoven, Brahms, and other

similarly high-minded composers would turn for

inspiration.

Two further piano concertos followed. Mozart

completed No. 26 in D major, K. 537, in February

1788. It earned the nickname “Coronation”

through the unconfirmed possibility that it

was premièred at an all-Mozart concert that

formed part of (or shortly followed) the festivities

marking the coronation of Leopold II, Emperor

of Austria, as Holy Roman Emperor in 1790.

Then came this final concerto. By 1791, Mozart’s

popularity with the fickle Viennese public had

largely evaporated. As a result, the première

of the new concerto did not take place at one

of his own subscription concerts, as many of

the earlier pieces had, but at an event whose

featured performer was clarinetist Joseph Bahr.

Mozart’s health was failing badly, too. These

unhappy developments show themselves

to varying degrees in much of the music he

composed during that last year of his life. In

some pieces, such as the Clarinet Concerto and

the unfinished Requiem, a sense of resignation

is clearly detectable. In others, this Concerto

included, the poignancy makes itself felt more

indirectly, but no less profoundly.

Its restraint is evident from the opening

measures. The first movement deftly balances

brilliance and humour with mellowness.

Throughout, Mozart allows us glimpses of the

heartbreak lurking behind the music’s graceful

surface. A gentle slow movement follows,

angelic in its tenderness and artless simplicity.

The solo piano launches the Finale, a rondo. In

keeping with the Concerto’s overall conception,

the celebrations are more elevated than rustic.

Program note by Don Anderson

31min

Piano Concerto No. 27 in B-flat Major, K. 595Composed: 1791

LONGING FOR SPRINGMozart completed K. 595 in January

1791, and its première was his final public

appearance at the keyboard in Vienna.

(For this Concerto, he left cadenzas for

the first two movements as well as two of

three lead-ins for the finale). He later used

the folk-like tune of the Concerto’s finale

in a song entitled “Sehnsucht nach dem

Frühlinge” (Longing for spring), K. 596, for

which the text begins “Come, dear May,

and clothe the trees in green once more,

and let the little violets bloom for me by

the brook.” It would be the last spring of

Mozart’s life.

8

THE DETAILS

Mozart could not have known that the three

symphonies he composed between June 26 and

August 10, 1788, would be his last. It is fitting that

he should conclude his career as a symphonist

with three such masterpieces. They are quite

different from each other: Symphony No. 39 is

one of his most elegant creations, its successor

among his most dramatic, full of pathos. And

appropriately, No. 41 is the grandest and most

joyous of all his symphonies.

A number of mysteries surround these works.

No commission that would have inspired

Mozart to compose them has survived. Some

writers speculate that he wrote them strictly

for his own pleasure. Others, such as noted

scholar Neal Zaslaw, feel differently: “The very

idea that Mozart would have written three

such symphonies, unprecedented in length,

complexity, and seriousness, merely to please

himself or because he was ‘inspired’, flies in

the face of his known attitudes to music and

life and the financial straits in which he then

found himself.”

Uncertainty also surrounds their performance

during Mozart’s lifetime. It has long been

assumed that none of them were played before

his death. Circumstantial evidence points to one

or more of them being performed on several

occasions, such as during the tours he made of

Germany in 1788 and 1789.

In the opening movement of Symphony No. 40,

an overriding mood of resignation undercuts

the music’s plentiful energy. The second theme

resembles nothing so much as a series of sighs.

The Symphony’s sole oasis of repose arrives

in the placid second movement. Even here,

passages of troubled feelings crop up from time

to time.

The ensuing Minuet lies as far from the ballroom

as may be imagined. Its almost menacing outer

panels make it perhaps the most disturbing

example of its kind. The central Trio section

offers the barest glimpse of happier times. The

forward drive of the first movement returns in

the finale, with a more insistent edge added.

Considerable momentum is generated, but the

atmosphere of gloomy defiance persists to the

very last bar, without winning through to any

kind of emotional victory.

Program note by Don Anderson

35min

Symphony No. 40 in G Minor, K. 550Composed: 1788

TWO VERSIONSMozart created two versions of K. 550—one

without and one with clarinets. According

to musicologist Neal Zaslaw, this “strongly

suggests that both versions of the work

were performed, for Mozart would hardly

have gone to the trouble to make these

rescorings if he had not had specific

performances in view.” The second version

of K. 550 may have been performed at the

Society of Musicians annual benefit concert

in April 1791; the orchestra, under Antonio

Salieri’s direction, included Mozart’s friends,

clarinetists Johann and Anton Stadler.

Wolfgang Amadeus MozartBorn: Salzburg, Austria, Jan 27, 1756 Died: Vienna, Austria, Dec 5, 1791

For a Visual Listening Guide to Mozart Symphony

No. 40, K. 550, visit TSO.CA/Mozart40.

9

THE ARTISTSPeter Oundjianconductor

A dynamic presence in the conducting world,

Toronto-born conductor Peter Oundjian is renowned for

his probing musicality, collaborative spirit, and engaging

personality. Oundjian’s appointment as Music Director of

the Toronto Symphony Orchestra in 2004 reinvigorated

the Orchestra with numerous recordings, tours, and

acclaimed innovative programming as well as extensive audience growth, thereby

significantly strengthening the ensemble’s presence in the world. In 2014, he led the

TSO on a tour of Europe which included a sold-out performance at Amsterdam’s

Concertgebouw and the first performance of a North American orchestra at

Reykjavik’s Harpa Hall. In May 2017, Oundjian will lead the TSO in its first-ever touring

appearances in Israel, with performances in Jerusalem and Tel Aviv, before travelling

to Europe and appearing in Vienna, Prague, Regensburg, and Essen.

Oundjian was appointed Music Director of the Royal Scottish National Orchestra

(RSNO) in 2012. Under his baton, the orchestra has enjoyed several successful tours

including one to China, and has continued its relationship with Chandos Records.

Last season, Oundjian and the RSNO opened the Edinburgh Festival with the

innovative Harmonium Project to great critical and audience acclaim.

Few conductors bring such musicianship and engagement to the world’s great

podiums—from Berlin, Amsterdam, and Tel Aviv, to New York, Chicago, and Sydney.

He has also appeared at some of the great annual gatherings of music and music-

lovers: from the BBC Proms and the Prague Spring Festival, to the Edinburgh Festival

and The Philadelphia Orchestra’s Mozart Festival where he was Artistic Director from

2003 to 2005.

Oundjian was Principal Guest Conductor of the Detroit Symphony Orchestra from

2006 to 2010 and Artistic Director of the Caramoor International Music Festival

in New York between 1997 and 2007. Since 1981, he has been a visiting professor

at the Yale School of Music, and was awarded the university’s Sanford Medal for

distinguished service to music in 2013.

10

Kerson LeongviolinKerson Leong made his TSO début in June 2013.

Acclaimed by musicians and audiences alike for his

commanding stage presence, magnificent tone, and

musical integrity, Canadian violinist Kerson Leong is quickly

establishing himself at the forefront of his generation since

gaining international recognition by winning Junior First Prize

at the Menuhin Competition in 2010. He has performed at such venues as Wigmore Hall

and l’Auditorium du Louvre, as well as with such ensembles as the Oslo Philharmonic,

Vienna Chamber Orchestra, the Gulbenkian Orchestra, I Solisti Veneti, Toronto

Symphony Orchestra, Orchestre symphonique de Montréal, Orchestre symphonique

de Québec, Orchestre Métropolitain, and the National Arts Centre Orchestra of Canada.

Notable highlights in 2016 were his world and Australian premières and subsequent CD

recording of Visions, a new work for violin, boys choir, and string orchestra written for

him by John Rutter.

Kerson is currently an Artist-in-Residence at the Queen Elisabeth Music Chapel in Belgium,

mentored by Augustin Dumay. He gratefully acknowledges the support received

from the Sylva Gelber Music Foundation Award 2016. He performs on a c. 1728–1730

Guarneri del Gesù, courtesy of Canimex Inc., Drummondville (Québec), Canada.

Leonid NediakpianoThese performances mark Leonid Nediak’s TSO début.

Known for his originality and captivating playing, 13-year-old

pianist Leonid Nediak has been awarded many prestigious

awards, including the Grand Prize in the Canadian National

Composition Competition (CFMTA 2016), second place

and the audience prize in the Cleveland International Piano

Competition 2015, and the Grand Prize twice at the Canadian Music Competition in

2013 and 2014. In 2015, Leonid was selected as the youngest of the “30 Hot Canadian

Classical Musicians under 30”. Leonid has performed with orchestras such as the

Orchestre symphonique de Montréal, Orchestre symphonique de Québec, and the

Canton Symphony Orchestra in the US, and he has given numerous solo recitals in Canada,

the US, and Russia.

Leonid has studied piano with Michael Berkovsky and Ilya Itin. He is currently a full

scholarship student at The Royal Conservatory’s Taylor Young Artists Academy in Toronto

under the tutelage of James Anagnoson. He has been studying composition with John

Burge since 2013. Leonid also enjoys computer science and math and he has won

numerous prizes in national math and computer science competitions.

THE ARTISTS

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TAKE YOUR SEAT FOR THE NEXT PERFORMANCEWe are delighted to feature music from the Toronto Symphony Orchestra on our fl ights.

PROUD SPONSOR OF EIGHT MAJOR CANADIAN SYMPHONY ORCHESTRAS

1143458_AC_IFE_TSO_6.6875x9.0625_4C_EN_Sept.indd 1 10/6/16 2:13 PM

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$7,500,000+H. Thomas & Mary Beck

$5,000,000–$7,499,999Judith (Billie) R. Wilder

$2,000,000–$4,999,999BMO Financial GroupRobert & Ann CorcoranSheryl L. & David W. KerrToronto Symphony Volunteer

CommitteePhyllis & William R. WatersAnonymous (1)

$500,000–$1,999,999The Renette & David Berman

Family FoundationThe late Dr. Michael BraudoHans & Susan BrenninkmeyerThe Catherine and Maxwell Meighen

FoundationCIBCIndra & Rags DavloorDesjardins GroupThe late R. Fraser ElliottEnbridge Gas Distribution Inc.The Gerard & Earlaine Collins

FoundationBlake C. Goldring

James & Joyce GutmannMrs. Ethel HarrisWilliam & Nona HeaslipPam & Chris HodgsonImperial Oil FoundationInvesco Ltd.Ira Gluskin & Maxine Granovsky

Gluskin Charitable FoundationJoseph E. Seagram & Sons Ltd.Mr. Allan Kimberley &

Ms. Pam SpackmanKPMGM. George & Leanne LewisThe McLean FoundationMr. Richard PhillipsPwC

RBC FoundationRBC Wealth ManagementRichard Rooney & Laura DinnerBarrie D. Rose and FamilyWilliam & Meredith SaundersonScotiabankThe Estate of James Drewry StewartThe late Leslie StibingerPhil & Eli TaylorTD Bank GroupTippet-Richardson LimitedThe late Isabel Carey WarneMrs. Gert WhartonThe late Lillian Gail WrightAnonymous (2)

BENEFACTORS’ CIRCLEThe Benefactors’ Circle recognizes the extraordinary philanthropic commitment of our donors whose cumulative giving totals $500,000 or more since 1985.

$1,000,000+H. Thomas Beck+*Phyllis & William R. Waters*

$300,000–$999,999Robert & Ann Corcoran*Sheryl L. & David W. Kerr+The Estate of James Drewry StewartAnonymous (1)

$100,000–$299,999Dean & Sonia Baxendale*The Renette & David Berman

Family Foundation*Hans & Susan Brenninkmeyer*Indra & Rags DavloorBlake C. Goldring*Mrs. Ethel Harris*

Pam & Chris HodgsonIra Gluskin & Maxine Granovsky

Gluskin Charitable Foundation*Margie & Peter Kelk*Mr. Thomas C. MacMillan*Mr. Richard PhillipsRBC Foundation*Scotiabank Group*

Toronto Symphony Volunteer Committee*

The William R. and Shirley Beatty Charitable Foundation

Anonymous (1)

FOUNDERS CLUBThe Founders Club recognizes the visionary leadership of those who are making annual gifts of $100,000 or more. Founders Club donors are key investors in the TSO’s current and future success.

$50,000–$99,999BMO Financial GroupDavid G. Broadhurst* The Catherine and Maxwell Meighen

Foundation*CIBC*Mr. Luke SeabrookSymmetrica Inc.

$20,000–$49,999Mr. & Mrs. Peter W. &

Brigitte AndersonMs. Pat Baker & Mr. Duff Scott

Francine & Bob Barrett*Dr. Thomas Beechy*Mrs. Earlaine Collins+*Dorne & Angela Collison*George A. Fierheller*James & Joyce Gutmann*The Hal Jackman FoundationWilliam & Nona Heaslip*Holdbest FoundationIan Ihnatowycz Family FoundationJ.P. Bickell Foundation*Mr. Allan Kimberley &

Ms. Pam Spackman*

Vahan & Susie KololianPeter Levitt & Mai Why+*M. George & Leanne Lewis*The McLean Foundation*The Minto Foundation Inc.Mr. & Mrs. William & Sally MorrisPeter NaylorMarianne Oundjian*Peter & Nadine Oundjian* RioCan REITRichard Rooney & Laura Dinner*Robert T. & Francine Ruggles*Esther & Sam Sarick*

William & Meredith Saunderson*Dr. Marianne Seger*Tom & Ellen SmeeMr. Howard SokolowskiThe Temerty Family*Bill & Bronwen Thomas*Luc & Pamela Vanneste*Xerox Canada Ltd.*Mrs. Sharon Zuckerman*Anonymous (3)

MUSIC DIRECTOR’S CIRCLEThe Music Director’s Circle recognizes the generosity of our donors who are making significant and loyal annual contributions to the TSO’s operations and activities.

For more information on the Music Director’s Circle, please contact Marion York, Director of Philanthropy, at 416.593.7769 X 292.

*10 years or more of support+Includes gift to the Toronto Symphony FoundationList reflects donations received from July 1, 2015–December 1, 2016 at the level receipted.

THANK YOU

Funds Supporting General OperationsJudith (Billie) R. Wilder

Endowment FundOntario Arts Endowment FundGeneral FundMinister of Canadian Heritage

Grant FundFuture Support FundGeneral Endowment Fund

Orchestra Chair Endowment FundsTom Beck Concertmaster ChairSheryl L. & David W. Kerr

Principal Clarinet ChairToronto Symphony Volunteer

Committee Principal Flute ChairToronto Symphony Volunteer

Committee Principal Trumpet ChairDr. Armand Hammer Principal Cello

Special Purpose Endowment FundsGert Wharton Endowment FundRae and Perry Dellio FundSheryl L. & David W. Kerr

Special Initiatives FundScholarship Fund

TORONTO SYMPHONY FOUNDATION Donors to the Toronto Symphony Foundation play an important role in securing the future of the TSO. These Funds have been established by significant gifts that provide an ongoing stream of income to the TSO ensuring that the vitality and artistic excellence of the Orchestra will continue for future generations.

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MAESTRO’S CLUB Platinum Baton ($12,000–$19,999)Ann H. Atkinson*Burgundy Asset Management Ltd.*Margaret & Jim Fleck*Sandra Forbes & Stephen Grant*Mr. & Mrs. John G. Harrison*Cecile & Fred Metrick*Barrie D. Rose & Family*Gerald & Marion Soloway*Maureen & Wayne Squibb*Jack Whiteside*Mr. & Mrs. Harold Wolfe and

Mr. & Mrs. Ab Flatt*Judy & Larry Ward+*

Gold Baton ($7,500–$11,999)American Express Canada Inc.Tony & Anne Arrell*The Bennett Family Foundation*Dr. Jane E. Brissenden &

Dr. Janet M. Roscoe*Valerie & David Christie*The Dalglish Family FoundationLeslie & Anna Dan*Buddy & Leigh Eisenberg*Bob & Irene Gillespie*Jim & Pat GlionnaDr. Noelle Grace &

the Shohet Family*Guild Electric Charitable Foundation*The Hunt Family*Richard Isaac & Brian Sambourne*W. Matheson*John & Esther McNeil*Earl & Janice O’Born*Oxford Properties Group Inc.*Park Property Management Inc.Jeannie Tanenbaum*Ken & Joan Taylor*Tom’s PlaceWentworth Technologies LimitedJudith (Billie) R. Wilder+*G.E. Wilson*

Silver Baton ($3,500–$7,499)Judith Adams & Robert Black*Mr. & Mrs. Gregory James AzizHoward A. Back*Bill & Karen Barnett*David P. Barrett*Mrs. Marion G. Bassett*John M. Beck & Diane FrancisLawrence & Frances BloombergDouglas Bodley*Bruce Burgess*Ms. Reny Burrows*Margaret Harriett Cameron*John & Margaret Casey*Crinoline FoundationRae Dellio+*Mrs. Judy Dunn*E-L Financial CorporationBarbara C. EastmanThe Thor E. and Nicole Eaton Family

Charitable FoundationRobert & Ellen Eisenberg*Philip & Joyce Epstein*Sheldon & Carol Esbin*Fabricland*Graham Farquharson*Thomas & Judy Fekete*John & Encarnita Gardner*Ms. Susan GerhardDonna & Cal Goldman*Mary & Bryan Graham*John & Judith Grant*

Denis & Florence Hall*David G. HallmanDr. Ronald M. Haynes+*Mr. & Mrs. David & Mariella HolmesThe Hope Charitable Foundation*The Norman & Margaret Jewison

Charitable Foundation*Eileen JurczakMrs. Lorraine Kaake*Patrick & Barbara Keenan*Mr. Hans KlugeJudy Korthals & Peter Irwin*Robert Korthals & Janet Charlton*Allan & Nora Lever*Myrna Lo*Mr. Vincent Lobraico*Eunice Lumsden & Peter Luit*Leslie & Susan MacMillanPatricia L. Martin*June McLean*Paul & Martha McLean*Noel MowatDr. Jan Narveson*Michael & Shelley Obal*The Olzhych FoundationRobin B. PitcherAlan & Gwendoline PyattShirley H. Reid*Lawrence & Darlene Rosen*Lorraine & Tom Ryan*David Service*Mr. & Mrs. Barry & Honey ShermanMr. & Mrs. John L. &

Amanda Sherrington*Sleeman Breweries Ltd.*Steinway Piano GallerySteve & Sally Stavro Family FoundationStronach Consulting Corp.Mr. & Mrs. William Switzer*Neil Tait & Susan Zorzi*Therese Thackray*Mr. Ronald Till*Philip & Nanci Turk*Margaret & Don Walter*Mrs. Ruth Watts-Gransden*Stan & Ros Witkin*Tuan YeapWilf & Helen Ziegler*Anonymous (4)

Conductor’s Baton ($2,000–$3,499)Hilary J. ApfelstadtMr. Noel ArchardJudy Arrowood*Ron Atkey P.C., Q.C.*The BLG FoundationRichard J. Balfour*Joyce BarrassLaurie BarrettHelen Barron*Dan Bereskin & Rhoda Gryfe*Erika Biro in memory of George Biro*Joan C. Bismillah*Walter & Anneliese Blackwell*Ellen & Murray Blankstein*The Boiler Inspection & Insurance

Company of Canada*Mr. George Brady & Dr. Teresa Brady*Dr. & Mrs. T. D. R. Briant*Bill & Arden Broadhurst*Peter & Anne Brymer*David & Lois BucksteinDr. Christopher BullerAnita & Douglas BurkeMs. M. Burkhard*Maureen Callahan & Douglas Gray*Ellen & Brian Carr*Margaret J. Catto*

Mr. & Mrs. Robert & Andrea ChisholmMrs. Marina CholakisMatina Chrones & Steve SimonFrank Ciccolini Sr.*Classical FM 96.3*Mr. & Mrs. Russell Cleverdon*Judi & Mickey CohenTerence & Maria Collier*Brian Collins & Amanda Demers*Sharon L. ConwayMurray & Katherine Corlett*Ninalee CraigJohn & Mary Crocker*Dianne & Bill Cross*Greg CummingAlbert de Goias*Morris Dorosh & Merle Kriss*Reinhard & Marlene DotzlawMarc & Vreni DucommunDr. Alicia Dunlop-Devaux*Katharine Mary ElderWendy & Elliott Eisen*Mr. Seymour Epstein &

Madam Justice Gloria Epstein*Roberta & Jon Fidler*Dr. Erica Fischer &

Mr. David Harrison*Lloyd and Gladys Fogler*Roy Forrester & Ed CabellDr. & Mrs. Steven & Sonia Fried*Ruth Frisch*Mr. Adrian FungDr. Mark M. Garner*Diane & Stan Gasner in memory

of Isidor Desser*Bronwen Gates*Nance Gelber & Dan Bjarnason*Dr. Abraham J. Gelbloom &

Mrs. Miriam Gelbloom*Marika & William Glied*Mr. Michael Gnat*Mrs. C. Warren Goldring*Paul Gooch & Pauline ThompsonJohn Goodhew & Jeffrey AxelrodDr. Michael Gordon &

Ms. Gilda Berger*Mrs. Mary GoreMr. Bryan GrantSue & Harvey Griggs*Mr. & Mrs. William Gruber*Douglas Gubitz & Diana Soloway*Ellen & Simon Gulden*Pinchas GutterRuth & John HanniganRon Hay & Hilaire St-Pierre*Mary & Arthur Heinmaa*Hon. & Mrs. Paul Hellyer*Nigel & Bridget HodgesFrances Hogg*John & Daisy Hort*David E. & Beth Howard*Roberta & Richard Innes*Edmund J. InnissJackman Foundation*Laura JantekJarvis & Associates*Elizabeth Kady in memory

of Dr. Michael Kady*Ms. Miriam KaganEvelyn Kai & Francis LiPeter KalenMarcia & Paul Kavanagh*Jessie KaziWilliam & Hiroko Keith*Ross & Ann Kennedy*Sarah & Ross KerrFlorence KingstonMr. Gordon KirkeScott Kowaleski

Valarie KoziolDr. Milos J. Krajny*Harriette LaingGeorge W. Lange*John B. Lawson*Ms. Debra Le Bleu*Connie Lee*Cathie Leak & Paul Palmer*Tin LeungAnthony J. Lisanti*Long & McQuade Musical

Instruments*Karen Rice & Douglas Ludwig*Mr. Sanjay Luthra &

Ms. Jane Ann Hendricks*Bruce & Barbara MacGowan*M.L. Maher & V. HatchetteCatherine Mahoney*Kamlan Makhan & Gary ClewleyMr. Keith MartinJohn & Dorothy McCombMr. John M. McCulloch*Kenneth & Lois McFarquhar*David & Patty McKnight*Peter & Virginia McLaughlin*Donald & Lindsay McLeanCaryl & Dennis McManus*Julie Medland*The Menkes Family*Dr. Alan C. Middleton*Barbara & Frank Milligan*Judith Mills*David Milovanovic & Cinda DyerBill Mitchell & Diana Chant*Mitrebox User Experience Design Inc.Mrs. Elizabeth MooreJay & Walter Morris*Mr. & Mrs. L.E. Muniak*Steve Munro*John & Sarah Nagel*Mr. Maymar NamanKeith Nash & Cindy ForbesEmil & Dorothy Nenniger*Carol & Jerry Nesker*Mr. & Mrs. Eric & Sandra NeuvilleDavid NicholsMrs. Natalie Obal*Michael O’Bee & Lorraine LeeJean O’Grady*Myrna & Martin Ossip*Dr. & Mrs. N. Pairaudeau*Gloria Pelchovitz*Norbert & Elizabeth Perera*Victor & Esther Peters*John & Sue PitfieldDr. Paul & Ruth Pitt*Brayton Polka*Mr. David PostillCharles PriceThe Pottruff Family Foundation*Quadrangle Architects Limited*John & Maria Radford*The Carol & Morton Rapp FoundationMs. Jean Read*Kenneth F. Read*Panni Relle*Mr. Mark RittingerIain & Cristina Ronald*Mr. & Mrs. Gordon Rosenberg*Dr. & Mrs. Mark & Jacqueline RotherDr. & Mrs. Robert Rottapel*Mrs. Marjorie Rowe*Marjorie Rowe*Ingrid Rowoldt*Ms. Betty RozendaalWendy Sanford*Beverly & Fred Schaeffer*Charles & Cathy Scott*Colleen Sexsmith*

ANNUAL SUPPORTThrough their generous gifts, Maestro’s Club donors and corporate and foundation partners provide a critically important base of funding support.

14

Wendy Setterington & Gerald Swinkin*

Edward & Sheila Sharp*Mrs. Margaret Shaw*Dorothy Cohen Shoichet*Stanley & Shirley Shortt*Mrs. Judy Simmonds*Mrs. Roberta SmithStephen & Jane Smith*Dr. Harley Smyth &

Mrs. Carolyn McIntire SmythMr. Philip SomervilleLois Spencer & Per Voldner*Mr. Carl Spiess

Mrs. Gunhilde A. Stahl*Mrs. Doreen L. Stanton*C.A. SteeleRonald Steinberg & Nancy Prussky*Mr. & Mrs. Rudolf & Elisabeth StodtPaul Straatman & Shane TolandFrancoise Sutton*Maria & Paul Szasz*Peter TamDoug & Gail Todgham*Mr. & Mrs. John A. Tory*Toronto Symphony Orchestra

Players AssociationAlex Tosheff

Bettie & Mark TullisMr. & Mrs. Harold WolfeDr. Penny Turner &

Dr. Anthony WoodsMr. Stefan Varga & Dr. Marica Varga*Tony & Nancy VetteseMr. & Mrs. Christoph von Krafft*Angela & Michael VuchnichDebra & Jack WalkerRobert & Menna Weese*Christopher & Susie WeinGerry & June WeinbergThe Henry White Kinnear

Foundation*

June & Gerry WeinbergFrank Whittaker*Joan Williams*Stephen Williamson &

Margot Hallman+*Nan & Jack Wiseman*Mrs. Joan Wood*Jane Wright*The Marjorie and Joseph Wright

Memorial FoundationTakahiro YamanakaJoyce & Fred Zemans*Anonymous (10)

For more information on the Maestro’s Club, please contact Adam Bailey, Manager of Annual Giving, at 416.593.7769 X 257.

LEGACY CIRCLEThe TSO honours Legacy Circle donors who, through their estate plans, are ensuring a living tradition of outstanding live symphonic music.

Ellen AmigoCallie ArcherAnn H. AtkinsonA. Phelps BellMs. Ruth BentleyMs. Barbara BloomerBrenda BoyesMarnie BrachtTina BreckenridgeFreda & Allan BrenderMr. Charles R. BrownMs. Reny BurrowsMrs. Ann E. ChristieEarlaine CollinsDianne & Bill CrossVera DounaevskaiaMarion DowdsJudy DunnFraser & Margot FellOlga FershaloffIngrid FoldesLorraine & Gordon ForrestRoy Forrester & Ed Cabell

Rev. Ivars & Rev. Dr. Anita GaideSylvia GarrattDr. & Mrs. Allan C. GoldJames & Joyce GutmannCharlotte Davis & Richard HaighG. Michael HaleDavid G. HallmanC. HaranyMrs. Joan L. HarrisMr. & Mrs. John G. HarrisonDr. Ronald M. HaynesMs. Karen HendersonJames HewsonLauri & Jean HiivalaChristopher E. Horne, Esq.Mr. Geoffrey HuckMr. Michael HudsonRoger Johnson / Matt Hughes / the

late Gary F. VellekThe Hyer FamilyMr. Charles JacobsenStephen JohnsonMr. & Mrs. Richard W. Johnston

William & Hiroko KeithAllan Kimberley & Pam SpackmanMiss M. June KnudsenGurney KranzPeggy LauPeter Levitt & Mai WhyMr. Tom C. LoganRobert & Patricia MartinMr. Ron McCallumMrs. B. McKenneySylvia M. McPheeMrs. Stephanie MeredithDr. Alan C. MiddletonGeorge & Judith MillsSigmund & Elaine MintzJoan & Hugh PaisleyMichael Lawrence Parker

“In Memoriam”Mr. & Mrs. Jim PattersonThomas A. Patterson, MDDiane W. PettetRobin B. PitcherMs. Anna Prodanou

Kenneth F. ReadIain & Cristina RonaldMarie Angela SampsonMr. J.C. ScarfeShauna & Andrew R. ShawDorothy Cohen ShoichetMr. & Mrs. Bruce & Louise SleminAlan & Geraldine SperlingGordon & Joan StevensonFrances StrettonNancy SutherlandAnn D. SuttonLillian S. TanizakiJ. Kenneth ScottH. van der SchaafJoanne WaddingtonEstate of Christianne WardaLeonard WillschickJudith H. Winston & Andrew S. WinstonDenny YoungAlicia ZavitzWilf & Helen ZieglerAnonymous (42)

ESTATESThe TSO regrets the passing of several cherished supporters who have made significant contributions in their lifetime and/or through their Estate.

INSTRUMENTS

Estate of Mrs. Gladys Veronica ArmourEstate of Judith Harriet Peterson DukeEstate of Jocelyn FullertonEstate of Thomas Michael Hammond Hall

Estate of Donna Kathleen Louise LunauEstate of Jocelyn FullertonEstate of Judith Harriet Peterson DukeEstate of Zia Nemes

Estate of Jon Robert PearceCanada Council for the Arts

– Veda PeeneEstate of Gabriella SchmidtEstate of Alice Mary Sidgwick

Estate of Helen Allen StaceyEstate of James Drewry StewartEstate of Miss Dorothy Anne WalterEstate of Lillian Gail WrightAnonymous (3)

• Hans and Susan Brenninkmeyer are patrons of the TSO’s New York Steinway Concert Grand Piano.• The Lyon & Healy harp is a gift of the Toronto Symphony Volunteer Committee.• The Amati viola dated 1703 is made available to Principal Viola, Teng Li, thanks to the generosity of Phyllis & William R. Waters.• The Steinway grand piano in Peter Oundjian’s home is made available thanks to the generosity of Steinway Piano Gallery Toronto,

the official piano of the TSO.• The Steinway piano in the Music Director’s Studio is a gift of the Toronto Symphony Volunteer Committee.

For more information on the Legacy Circle or Estates, please contact Marion York, Director of Philanthropy, at 416.593.7769 X 292.

*10 years or more of support+Includes gift to the Toronto Symphony FoundationList reflects donations received from July 1, 2015–December 1, 2016.

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TORONTO SYMPHONY VOLUNTEER COMMITTEE

SEASON PRESENTING SPONSOR

GOLD PARTNERS

SILVER PARTNERS

CORPORATE SUPPORT

MEDIA & GOVERNMENT SUPPORT

Barclays Capital Canada Inc

Bennett Jones LLP

Blake, Cassels & Graydon LLP

BMO Capital Markets

Canadian Tire

CBC Radio 2

CIBC

Deloitte Foundation Canada

Divine Furniture Rental

EY

Grano

HSBC Bank Canada

Intact Financial Corporation

IFDS (International Financial Data Services)

John Novak

Manulife

Maroline Distributing Inc

Quince Flowers

RBC Capital Markets

Scotiabank

TD Securities Inc.

The Corporation of Massey Hall & Roy Thomson Hall

Torys LLP

PLATINUM PARTNERS

OFFICIAL AIRLINE

*List reflects sponsors as of July 1, 2015–December 1, 2016.

BRAVO TO OUR PARTNERS

POPS SERIES PRESENTING PARTNER

16

CONCERT ETIQUETTE• We want all of our patrons to enjoy our performances.

Please be courteous to others by refraining from quiet conversations, whispers, talking, singing, coughing, humming, tapping to the music, turning pages, leaning forward in your seat, and unwrapping cellophane-wrapped candies; this disturbs the performers as well as other audience members.

• We share the air. Go scent free. Please be considerate of those in the audience who may have allergies and/or multiple chemical sensitivities and refrain from wearing cologne and perfume or other scented products.

• Please turn off your cell phones, BlackBerrys, iPhones or other smart phones, pagers, and watch alarms before entering the auditorium. Please refrain from referring to them during the concert. This is a basic courtesy to the musicians and fellow patrons.

• Video- and audio-recording devices and cameras with flash are strictly prohibited in the auditorium. Please leave any such devices at the coat check.

LATECOMERS• We suggest that you plan to arrive 45 minutes before the

scheduled start time. This will allow time to find your seat, relax, and read the program notes.

• Check your tickets carefully for concert times and venue information. When coming to a concert, please remember that traffic, parking, and weather can affect your arrival time, so leave early to make sure you’re not late.

• Out of respect for all patrons and performers and to maintain musical continuity, latecomers and patrons who leave the auditorium during the performance will be readmitted only if there is a suitable break in the performance. This “late call” is determined by the conductor and guest artists.

CHILDREN• Children 5 years of age and older may attend most

TSO concerts with ticket purchase. We suggest that children be 10 years of age or older for Masterworks, Casual, and Special Concerts. We regret we cannot allow children under 2 years of age into any TSO concert, with the exception of our YPC Concerts.

• Young People’s Concerts and the Family Christmas Concert are created especially for audience members ages 5 to 12. While children under the age of 5 are welcome to attend these concerts, 5 years is considered an appropriate lower age limit. Children under 5 may attend the Young People’s Concerts and the Family Christmas Concert with ticket purchase. Young people under the age of 12 will not be admitted into the hall without an adult in attendance.

BOX OFFICE• The TSO/Roy Thomson Hall Box Office at

60 Simcoe Street is open weekdays from 10am to 6pm, Saturdays from noon to 5pm, and two hours before each performance. Hours may vary.

• You may access our 24-hour information lines or place telephone orders by calling 416.593.1285. There is a service charge on all telephone and online orders.

• Artists, prices, programs, dates, and broadcasts are subject to change without notice.

• There will be no refunds, credits, or adjustments made to your ticket price in the event of a concert change.

SPECIAL NEEDS SERVICES• The Toronto Symphony Orchestra is committed

to providing accessible services to persons with disabilities that are consistent with the core principles of independence, dignity, integration, and equality of opportunity, as set out in the AODA for Customer Service. Please call 416.598.3375 for more information on the services offered at our performance venues.

PARKING• For information on each of our performance venues,

please visit TSO.CA/Planyourvisit.

USEFUL PHONE NUMBERS

For ticket sales, subscriptions, and patron service: TSO Patron Services Centre 416.598.3375

For group tickets call: 416.598.5338

TSO Administration Offices: 416.593.7769

Roy Thomson Hall Offices: 416.593.4822

TSO’s Privacy Policy: TSO.CA or 416.598.3375

PATRON SERVICES & INFORMATION

BMO is proud to be the 2016/2017 Season Presenting Sponsor of the Toronto Symphony Orchestra.

Great music lives here.

16-2066_BMO_TSO_Season_Sponsorship-Ev1.indd 1 8/29/16 3:59 PM

To explore the connections between music and visual art, and to celebrate other artists in the community, the TSO continues its Music & Art Series this season by featuring the work of Toronto artists on the cover of the program.

This cover features detail from ANSER’s Mozart (36" x 48", acrylic ink on canvas).

MUSIC & ARTTHE TSO

SERIES

Anser’s Mysterious Date, created in early 2007, is an attempt to create a more publicly inclusive form of graffiti. Through the use of traditional graffiti mark–making methods, “the face” was developed to engage a typically ignored public. Instead of stylized letters which Anser had done for years prior, a face was created in the same methods as taggers and bombers. Anser felt traditional letter-based graffiti perpetuated an insular community, “since graffiti was in the public realm, why not involve the rest of the public.” The moniker “Mysterious Date” was coined by a photographer, Michael D’Amico, who, for a CONTACT photography exhibit, took photos of this painted face and dubbed the series, “Mystery Date”. The adoption of this name is a testimony to this public engagement.

ANSER