IN PARTNERSHIP WITH

SEASON PRESENTING SPONSOR

SEASON PATRON

IN HONOUR OF H. THOMAS BECK

JANUARY 18 & 20, 2017TELUS CENTRE FOR PERFORMANCE AND LEARNING, KOERNER HALL

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

1

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

Happy New Year! And welcome to 2017—Canada’s 150th

(sesquicentennial) year. 2017 will be an extraordinary year

for Canada and for the TSO. The weeks ahead promise

exciting music, new and familiar guest artists, alongside our

wonderful Orchestra and under the direction of our much-

loved Music Director, Peter Oundjian.

The TSO is devoted to creating musical performances that

nourish our hearts and explore the artistry and power of

classical music. We love sharing this journey of creativity with our audiences here in

Toronto. And in 2017, we have the opportunity to share the musical excellence of the TSO with the world.

From May 7 to 22, the TSO will embark on a historic tour of Israel and Europe. The TSO’s

2017 tour will be happening in a year when Canada is celebrating the country’s 150th

anniversary. During this special year, the TSO is honoured to be touring internationally,

acting as a global ambassador for Toronto and the country.

With performances in Tel Aviv and Jerusalem, the first leg of the tour will mark the TSO’s

first performances in Israel. The second leg of the tour will include performances in four

vibrant artistic centres: Vienna, Regensburg, Essen, and Prague. Only the best orchestras

in the world are invited to perform at these prestigious venues.

Representing Toronto on the world stage is a high privilege for the TSO. We owe a debt of

gratitude to the generous donors and sponsors who are funding the 2017 Tour alongside

their support for our core programming. And we invite you, our loyal friends, to consider

your own investment in support of the TSO. Please be counted among the many who

ensure the success of this great orchestra through your participation in the tour and

financial support of it. Please contact Marion York at myork@TSO.CA or call 416.593.7769

X 292 if you are interested in touring with the TSO or supporting this historic initiative.

Gary Hanson

Interim Chief Executive Officer

TSO 2017 TOUR OF ISRAEL & EUROPEMay 11, 2017Sherover Theatre, Jerusalem, Israel

May 13, 2017Charles Bronfman Auditorium,

Tel Aviv, Israel

May 16, 2017Konzerthaus, Vienna, Austria

May 17, 2017Audimax der Universtät Regensburg,

Regensburg, Germany

May 19 & 20, 2017Smetana Hall, Prague, Czech Republic

May 21, 2017Philharmonie Opernplatz, Essen, Germany

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3

News about your TSO, in and beyond the concert hall.

THE TSO TO TOUR ISRAEL AND EUROPE Over the course of this four-

country, seven-concert tour,

distinguished Israeli-Russian

violinist Maxim Vengerov,

celebrated Canadian pianist Jan

Lisiecki, and dazzling Canadian

soprano Carla Huhtanen will

join the Orchestra as featured

soloists. The repertoire will include

Brahms’s Violin Concerto (featuring

Vengerov), Schumann’s Piano

Concerto (featuring Lisiecki),

Boulez’s Le soleil des eaux

(featuring Huhtanen), as well as

Bartók’s Concerto for Orchestra,

Rimsky-Korsakov’s Sheherazade

(featuring TSO Concertmaster

Jonathan Crow), and Dvořák’s

Symphony No. 7. The TSO will also

perform On the Double by RBC

Affiliate Composer Jordan Pal as

well as other works. Performances

in Prague will be dedicated to

former TSO Music Director Karel

Ančerl. Born in Czechoslovakia,

Ančerl led the TSO from 1969

to 1973.

City of Toronto Mayor John Tory

commented, “By visiting Israel and

Europe, the Toronto Symphony

Orchestra will showcase the talent

and spirit that makes Toronto a

must-see cultural destination and

an artistic hotspot. The TSO is

one of Toronto’s most important

cultural assets, and I have no doubt

they will make us proud on the

world stage and will encourage

more people to visit our city.”•

A DAY IN THE LIFE OF…

Mark SkazinetskyTSO Associate Concertmaster

7:15am: The first thing I do when I wake up is stretch—

mostly my upper body. I read my morning paper over

breakfast: homemade cottage cheese and jam (both made

by my wife) on organic dark toast, and the mandatory

double espresso.

10:00am: Today we rehearse for the Mozart@261 Festival.

I love playing Mozart. A genius composer, his music is

clear, beautiful, and universal. Everybody relates to Mozart;

no musical background required!

Mozart’s music—from a violinist’s perspective, especially—

is like European architecture: there’s great clarity in

the structure, but it’s the ornamentation that makes it

exquisite. Mozart was also a great opera composer; even

his instrumental works are full of imagery. Through his

colourful music, one can easily picture action, drama,

even. He was a master storyteller.

2:00pm: After a quick lunch, I manage to squeeze in two

violin lessons. I enjoy teaching, and am grateful for my

U of T students’ willingness to accommodate my busy

schedule!

6:45pm: After a short rest and a light dinner at home, I

arrive at Koerner Hall for the first concert of the Mozart

Festival. I always arrive early for a performance. I need

time to focus, warm up, and make sure I’m in a positive

frame of mind before I walk onto the stage. Did I mention

I love Mozart? I always look forward to this festival. I’m also

excited to work again with Bernard Labadie—a fantastic

conductor, and a renowned Mozart specialist.

11:30pm: I’m home, relaxing and enjoying a glass of wine

with my wife. Tomorrow, more Mozart! •

TSO SCENE

MOZART PRAGUE SYMPHONY

Portrait of W.A. Mozart, c. 1770s

4

CONCERT PROGRAM

Peter OundjianMusic Director

Wolfgang Amadeus Mozart

Overture to Lucio Silla, K. 135

Violin Concerto No. 3 in G Major, K. 216I. Allegro

II. Adagio

III. Rondo: Allegro

Intermission

Violin Concerto No. 1 in B-flat Major, K. 207I. Allegro moderato

II. Adagio

III. Presto

Symphony No. 38 in D Major, K. 504 “Prague”I. Adagio – Allegro

II. Andante

III. Finale: Presto

Wednesday, January 18, 2017

8:00pm

Friday, January 20, 2017

7:30pm

Bernard Labadieconductor

Isabelle Faustviolin

Festival co-curator Bernard Labadie leads this final concert of this year’s Mozart celebration, featuring Isabelle Faust as violin soloist. The Overture to Lucio Silla is yet another one of those startling works written by Mozart when he was very young. There is a confidence in this sparkling music that clearly points the way to his later accomplishments. In the following years, he composed these two violin concertos. Hearing them side by side, it is possible to hear how rapidly he was developing. The First Concerto is a joyful work, filled with youthful enthusiasm and energy. By the Third Concerto, a slightly more serious tone has crept into the writing. The violin part is less deliberately showy, and the orchestration is somewhat more restrained. The final work on the program is the great “Prague” Symphony, written at the very peak of the composer’s abilities. This is the symphony just before the final great trilogy, and it shows much of the same genius as those masterworks.

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THE DETAILS

The supremely precocious Mozart was just

eleven when he was commissioned to compose

his first opera—or at least part of one: the first

act of a three-act, German-language singspiel

called Die Schuldigkeit des ersten Gebots (The

Obligation of the First Commandment).

Over the next six years, Mozart composed six

additional operas, all of them complete. Several

of them resulted from commissions received

during trips to Italy, such as Mitridate, Rè di Ponto

(1770), and Ascanio in Alba (1771). During a visit

to Milan, he received a commission for another

opera, to be premièred during the 1772 carnival

season. This was an extremely prestigious

commission. Mozart and his father Leopold

hoped that it would lead to Wolfgang’s securing

a permanent position in that city, one that would

display greater appreciation of his gifts than the

demeaning one he occupied in Salzburg. This,

alas, was not to be.

The libretto of the latest opera, the three-act

drama Lucio Silla, was written by the official

poet to the Milan Opera, Giovanni de Gamerra.

The opera premièred on December 26, 1772. It

won such success that it received an additional

twenty-five performances during that same

season, all of them to full houses. Subsequent

productions have been rare, due largely to the

weakness of Gamerra’s libretto. Nevertheless,

the opera represented clear progress over

its predecessors along Mozart’s path toward

mastery of opera.

The action takes place in Rome during the

first century BC and revolves around the title

character, a soldier and imperial dictator, known

in English as Lucius Sulla. He led wars on

behalf of Rome on several fronts, only to find it

necessary to march his army against his home

city in order to defeat his political opponents.

The opera’s libretto glossed over these

monumental events and replaced them with a

standard-issue love story.

Mozart introduced the opera with a suitably

grand overture whose orchestration includes

trumpets and timpani. He cast it in the fast-

slow-fast layout that was, at that time, the most

common form both for operatic overtures and

concert symphonies.

Program note by Don Anderson

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

9min

Overture to Lucio Silla, K. 135Composed: 1772

The opera is happily launched, although

on the first night various very distressing

incidents took place. The first problem

was that the opera...started three hours

after the Angelus, that is, about eight

o’clock German time and it went on until

two hours after midnight. [...] The anxious

singers, the orchestra, and the entire

public, many of them standing, had to wait

three hours, impatiently in the overheated

atmosphere, for the opera to begin.

—Leopold Mozart’s account of the

première of Lucio Silla, January 2, 1773

7

When Mozart composed four of his five violin

concertos at the age of nineteen, in a single

burst of creativity between April and December

of 1775, he was obviously having a love affair

with the instrument, for which he wrote with

uncommon insight. Ill-disposed toward self-

aggrandizing virtuosity, he singled out a beautiful

singing tone as the highest achievement of

a violinist; he was giving himself the ultimate

compliment when he said, in October 1777, after

a performance of his Violin Concerto No. 3 in

G Major, K. 216, that it “went like oil. Everyone

praised my beautiful, pure tone.”

K. 216, one of Mozart’s own favourite pieces,

is a locus classicus of the Arcadian serenade

style of Mozart’s later Salzburg works. In it he

made explicit the connection between violin

concerto and serenade: he borrowed the

opening theme of the first movement from

the shepherd-king Aminta’s noble aria “Aer

tranquillo e dì sereni” from Act I of Il rè pastore,

a “serenata”—a short pastoral opera—that he had

composed in Salzburg in April of 1775, the very

month in which he began writing the four violin

concertos. The aria speaks of “tranquil air and

serene days,” “fresh springs and green fields,” and

Mozart translated this mood of idyllic pastorale

into instrumental terms, transforming the violin

concerto from a pleasant entertainment into

a more poetic form of expression. There is a

new world of sonority and sentiment in the

dreamy, operatic Adagio, too. Mozart calls for

flutes here, and writes delicate melodic fioratura

for the violin supported by a serenade-like

accompaniment of murmuring muted strings

and pizzicato basses.

The jig-like Allegro finale unfolds as a perfectly

conventional rondo, but just where we would

expect the form to draw to a close, Mozart

interpolates two delightful episodes. The

first is a galant French gavotte in G minor

(Andante), with dainty trills and a light, pizzicato

accompaniment. The second interpolated

episode is a jolly contredanse in G major

(Allegretto), based on a popular tune of the

day known as the “Strassburger”. Having thus

indulged himself, to comic effect, Mozart brings

back the jig, resolves the original rondo, and

allows the concerto to close quietly, with a little

curtsey from the oboes and horns.

Program note by Kevin Bazzana

24min

Violin Concerto No. 3 in G Major, K. 216Composed: 1775

MOZART, THE VIOLINISTMozart was, of course, one of the great

pianists of his day, but he also had, briefly,

a flourishing career as a violinist. He played

as a child, and in November of 1769, just

thirteen, he became concertmaster of

the court orchestra of the Archbishop of

Salzburg. He was modest about his gifts

as a violinist, but his playing was widely

admired by audiences and fellow violinists,

one of whom remarked that Mozart could

“play anything” on the instrument.

8

THE DETAILS

Mozart, the greatest of all child prodigies in music,

received from his father Leopold a thorough

education in composition and performance, the

latter including piano, harpsichord, and violin. In

his maturity he focused his performing skills on

the piano. The young Wolfgang appeared most

often as a soloist on the violin, beginning with the

concert tours his family made during the 1760s.

His father once wrote to him that, “You yourself do

not know how well you play the violin…when you

play with energy and with your whole heart and

soul, yes indeed, it’s just as though you were the

finest violinist in all of Europe.” This was no small

compliment, coming from a renowned authority

on the instrument. He published his widely used

violin method in the year of Wolfgang’s birth.

Wolfgang also became a viola player of fully

professional skill. During his later years in Vienna,

the viola was the instrument he usually played in

a string quartet. It was in just such a situation that

he met Joseph Haydn, with whom he developed

a deep and mutually inspiring friendship.

In 1769, he was awarded the post of Honorary

Concertmaster in the Salzburg Court Orchestra.

His duties included leading it from the first

desk of violins (this being before the rise of the

conductor, as we know the role), playing solos,

and writing new music for it to perform. Three

years would pass before he began receiving a

salary for these considerable responsibilities.

Between April and December 1775, he

composed four of the five violin concertos that

can be unquestionably attributed to him. No. 1

fell outside this concentrated burst of attention,

predating its siblings by two years. His only

previous concertos were a series of piano pieces

based on themes by other composers.

Mozart at seventeen was already a highly

experienced (as well as brilliant) composer, with

seven operas and more than twenty symphonies

to his credit. This concerto therefore contains

nothing that suggests immaturity. Neither does

it demand virtuoso technique, but rather a pure,

singing tone, expressive warmth, and the finest

possible taste.

Program note by Don Anderson

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

20min

Violin Concerto No. 1 in B-flat Major, K. 207Composed: 1773

A TRUE PROFESSIONALMozart composed almost all of his

music for violin and orchestra in the

mid-1770s, when he was in his late teens

and early twenties and still in the employ

of the Archbishop of Salzburg. In his

violin concertos (like the other music

he churned out steadily at this time),

he was simply fulfilling his obligations

as a musical courtier, writing music

intended for immediate consumption

as social entertainment. Still, he applied

his spectacularly assured compositional

technique eagerly to the task.

9

In January 1787, Mozart traveled to Prague,

where his Marriage of Figaro was playing to

sensational acclaim. On the 19th, he gave a

successful concert at the National Theatre that

included his Symphony No. 38, which he had

completed on December 6, in Vienna, and

which made a tremendous impact. When he left

Prague in early February, he was elated, flush

with money, and had a contract in hand for a

new opera (it turned out to be Don Giovanni).

He would enjoy the affection of the people of

Prague for the rest of his life, and the symphony,

thenceforth known as the “Prague”, would be

often performed and much loved there.

Mozart wrote no symphony more ambitious or

original than the “Prague”. Though in just three

movements, it is a work of unusual density

and grandeur, challenging to both the ear and

the intellect. Some early listeners thought it

too clever, too complex, too “scholastic”, yet

Mozart harnesses his teeming imagination

with consummate skill, always putting it in the

service of heightening dramatic tension and

expressive power.

The first movement is massive and busy, its

rhetorical impact elevated by a weighty slow

introduction. The movement is harmonically

adventurous and rife with counterpoint, and in

the middle Mozart crafts a development section

of genuinely Beethovenian proportions—and

Beethovenian intensity.

The second and third movements, both in full

sonata form, are also unusually serious and

spacious, as though Mozart sought to make

up for the “missing” minuet. The Andante is a

gently rocking pastorale, delectably scored and

superficially graceful, yet there are shadows

here that hint at something deeper than

Arcadian beauty: galant melody gives way to

learned counterpoint; euphonious textures

are ruffled by piercing, lamenting dissonances.

Though the movement ends as serenely as it

began, it has been too much disturbed to be

remembered as merely idyllic. The playful

bustle with which the finale begins suggests

opera buffa, yet this movement, too, acquires

unexpected weight as it unfolds, through noisy

eruptions, digressions into minor keys, bursts

of counterpoint, serious-minded development.

The storm clouds always part; high comedy

always returns; but the result is a movement

both lighthearted and genuinely substantial.

Program note by Kevin Bazzana

23min

Symphony No. 38, in D Major, K. 504 “Prague”Composed: 1786

A NEW SERIOUSNESSMozart’s “Prague” Symphony marked a new

seriousness and complexity in the symphony

as a genre: it has longer movements

and increased contrapuntal textures and

chromaticism. It also exhibits a new style of

orchestration: the woodwinds have a more

prominent role in the presentation and

development of thematic materials, a result

of Mozart’s exposure to the superior wind

players in Vienna and Prague.

10

Bernard LabadieconductorBernard Labadie made his TSO début in November 2002.

Bernard Labadie has established himself worldwide as one

of the leading conductors of the Baroque and Classical

repertoire, a reputation that is closely tied into his work

with Les Violons du Roy (for which he served as Music

Director from its inception until 2016) and La Chapelle de

Québec. With these two ensembles, he regularly tours to major venues and festivals

in Canada, the US, and Europe. Labadie is also a regular presence on the podiums

of the major North American orchestras; international engagements in past seasons

have brought him to conduct orchestras in Europe and Australia.

Bernard Labadie’s extensive discography includes many critically acclaimed recordings

on Dorian, ATMA, and Virgin Classics labels. Recent recordings include C.P.E. Bach’s

complete cello concertos with Truls Mørk and Les Violons du Roy and J.S. Bach’s

complete piano concertos with Alexandre Tharaud, both by Virgin Classics, and

Haydn’s piano concertos with Marc-André Hamelin, released by Hyperion in April 2013.

The Canadian government has honoured Bernard Labadie with the appointment as

Officer of the Order of Canada in 2005. His home province named him a Chevalier

de l’Ordre National du Québec in 2006.

THE ARTISTS

Isabelle FaustviolinThese performances mark Isabelle Faust’s TSO début.

Isabelle Faust captivates her listeners through her

insightful and faithful interpretations, based on a thorough

knowledge of the historical context of the works as well

as her attention to current scholarship. At an early age,

Isabelle Faust won the prestigious Leopold Mozart and

Paganini competitions and soon appeared with the world’s leading orchestras. 2016

marks her first year as Artistic Partner with the Mahler Chamber Orchestra.

During recent years, Isabelle Faust developed a close relationship with the late Claudio

Abbado and performed and recorded under his baton. Their recording of Beethoven’s

and Berg’s violin concertos with Orchestra Mozart received a Diapason d’or Award

(France), an Echo Klassik Award (Germany), Gramophone Award 2012 (UK), as well as

a Record Academy Award (Japan). Her recording of Mozart’s violin concertos with Il

Giardino Armonico and Giovanni Antonini will be released in 2016/17.

Isabelle Faust plays the “Sleeping Beauty” Stradivarius (1704), kindly on loan by the

L-Bank Baden-Württemberg.

The TSO is a charity that is transforming lives through music. Charitable donations play a direct part in delivering beautiful musical experiences like the Mozart Festival.

Sustaining your Orchestra with a monthly donation is easy and affordable. Sign up now for as little as $10 per month,

and set up your charitable giving for the 2017 tax year.

Support your TSO today and enjoy a symphony of donor benefits all season long!

Visit the Patron Services desk at intermission, call 416.598.3375, or visit TSO.CA/Donate.

It takes you.It takes more than a great orchestra.

12

$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.

13

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.

15

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