WEBVTT 00:00:10.160 --> 00:00:12.039 Hi there, and welcome to Notes from the Stage, 00:00:12.140 --> 00:00:14.140 a show from the musicians of the Calgary Philharmonic. 00:00:14.380 --> 00:00:15.900 We're the people playing our hearts out every 00:00:15.900 --> 00:00:18.679 week of the orchestra season. I'm Adams Innatelli. 00:00:18.859 --> 00:00:20.879 Usually I play first trumpet in the Calgary Philharmonic 00:00:20.879 --> 00:00:22.719 Orchestra, but today I'm your host, and I'm here 00:00:22.719 --> 00:00:24.940 with Jim Scott, principal trombone of the CPO. 00:00:24.940 --> 00:00:27.500 Hi, Jim. Hi, Adam. How you doing? Very well, 00:00:27.500 --> 00:00:29.820 thanks. So we've been back at work for a few 00:00:29.820 --> 00:00:32.359 weeks now, back in the swing of things. I know 00:00:32.359 --> 00:00:35.439 that I'm starting to feel more adjusted to being 00:00:35.439 --> 00:00:37.820 back in the orchestra season. It's a big... change 00:00:37.820 --> 00:00:41.619 of pace for us going from summertime, summertime 00:00:41.619 --> 00:00:44.439 unemployment, and whatever we make of that into 00:00:44.439 --> 00:00:46.899 the grind of the orchestra season. How are things 00:00:46.899 --> 00:00:50.299 going for you? Good. I try and stay in shape 00:00:50.299 --> 00:00:53.280 for the most part during the summer. So that's, 00:00:53.280 --> 00:00:55.420 that's helpful. Still, there's always little 00:00:55.420 --> 00:00:58.700 things that you haven't kept up on. And I do 00:00:58.700 --> 00:01:01.780 try and take a little bit of a break, but not 00:01:01.780 --> 00:01:04.299 a total break from the instrument. Yeah, for 00:01:04.299 --> 00:01:06.260 sure. You know, taking some time off is great, 00:01:06.260 --> 00:01:08.340 but then there's this sort of wall to climb back 00:01:08.340 --> 00:01:10.700 up to get back in shape and be presentable again. 00:01:11.140 --> 00:01:13.079 Yeah, every summer I feel like it's going to 00:01:13.079 --> 00:01:16.359 be OK, but then when I'm in it, it feels it feels 00:01:16.359 --> 00:01:18.500 a little bit overwhelming. But then you get back 00:01:18.500 --> 00:01:21.079 to it and your body remembers. I always find 00:01:21.079 --> 00:01:23.500 things like maybe haven't touched the alto trombone 00:01:23.500 --> 00:01:26.439 too much or things like that. Yeah, there's no 00:01:26.439 --> 00:01:28.579 substitute for really being in the orchestra, 00:01:28.799 --> 00:01:32.739 playing with the people in the hall, it's really 00:01:32.739 --> 00:01:34.260 different from anything we can do in the practice 00:01:34.260 --> 00:01:38.579 room. So Jim, one of the perks of your job or 00:01:38.579 --> 00:01:40.439 one of the hazards of your job is that you get 00:01:40.439 --> 00:01:44.480 to sit next to me all the time. Oh, it's a pleasure. 00:01:44.700 --> 00:01:46.840 Oh, thanks, Jim. If it wasn't, would you tell 00:01:46.840 --> 00:01:50.219 me? No, we have a lot of fun in the back row 00:01:50.219 --> 00:01:52.200 where we are, that's for sure. Jim, you've been 00:01:52.200 --> 00:01:56.109 in the CPO for how many years now? This is the 00:01:56.109 --> 00:01:59.349 start of year 44. Year 44. That's an incredible 00:01:59.349 --> 00:02:01.969 achievement. I think, you know, I obviously wasn't 00:02:01.969 --> 00:02:03.989 around when you started here, but I think you're 00:02:03.989 --> 00:02:06.549 still sounding just phenomenal. And I can only 00:02:06.549 --> 00:02:08.889 hope that when I'm nearing that length of service 00:02:08.889 --> 00:02:11.830 in the orchestra that I'm still, you know, delivering 00:02:11.830 --> 00:02:13.810 to the level that you are, because it's really 00:02:13.810 --> 00:02:16.409 impressive. Well, this is when I get to say, 00:02:17.710 --> 00:02:22.590 would you really tell me if I wasn't? You know, 00:02:22.590 --> 00:02:25.870 Jim, I wanted to ask you, like, So much has changed 00:02:25.870 --> 00:02:28.729 in the orchestra in my 15 years in the orchestra. 00:02:29.110 --> 00:02:32.169 But for you, looking back to when you arrived, 00:02:32.530 --> 00:02:34.150 so much will have changed in this orchestra. 00:02:34.250 --> 00:02:35.830 Can you tell us a little bit about what things 00:02:35.830 --> 00:02:38.569 were like in your early days in the CPO? Sure. 00:02:39.009 --> 00:02:42.389 The orchestra was smaller. It's the same size 00:02:42.389 --> 00:02:45.830 that Edmonton is now. Interestingly, both orchestras 00:02:45.830 --> 00:02:49.419 were the same size. They both played in... Carbon 00:02:49.419 --> 00:02:52.819 copy Jubilee auditoriums. The first thing that 00:02:52.819 --> 00:02:56.840 really changed was when they hired Mario Bernardi 00:02:56.840 --> 00:03:00.500 as the music director. One of the things he insisted 00:03:00.500 --> 00:03:05.099 upon as part of his being hired was expansion 00:03:05.099 --> 00:03:08.060 of the orchestra. He had spent all those years 00:03:08.060 --> 00:03:10.879 in the National Arts Center, which, by the way, 00:03:10.979 --> 00:03:13.319 has also expanded since then, but they were sort 00:03:13.319 --> 00:03:16.939 of government regulated to be a chamber orchestra. 00:03:17.240 --> 00:03:21.659 And so he was hoping to do more of that literature 00:03:21.659 --> 00:03:25.199 he really wasn't able to do there. And so we 00:03:25.199 --> 00:03:29.219 saw some major growth. During that time, we also 00:03:29.219 --> 00:03:31.900 started recording and we started touring. You 00:03:31.900 --> 00:03:34.479 know, those recordings include that set of Schumann 00:03:34.479 --> 00:03:36.659 symphonies, right? Boy, I love those recordings. 00:03:36.919 --> 00:03:40.039 I still, you know, I'll be, you know, cooking 00:03:40.039 --> 00:03:42.520 dinner or driving along and I'll have CBC radio 00:03:42.520 --> 00:03:45.340 on and I'll hear this. oh this is great Schumann 00:03:45.340 --> 00:03:47.099 sounds great what great music what a great performance 00:03:47.099 --> 00:03:50.240 and I always then hear that was the Calgary Philharmonic 00:03:50.240 --> 00:03:53.349 with Mario Bernardi conducting and boy It's always 00:03:53.349 --> 00:03:55.870 a treat to hear those recordings. There's a few 00:03:55.870 --> 00:03:59.810 little unusual things there. He was very taken 00:03:59.810 --> 00:04:02.870 with George Zell and everything that Zell did. 00:04:03.330 --> 00:04:05.650 And he spent some time in the Cleveland Orchestra 00:04:05.650 --> 00:04:08.650 Library going through Zell's scores. So there's 00:04:08.650 --> 00:04:11.990 some re -orchestrations in there that it keeps 00:04:11.990 --> 00:04:14.009 coming up when we play Schumann symphonies that 00:04:14.009 --> 00:04:15.969 they're still in the parts and people are always 00:04:15.969 --> 00:04:19.180 asking the conductor. And the connector always, 00:04:19.540 --> 00:04:21.000 you know, of course, it's not Mario anymore. 00:04:21.959 --> 00:04:25.579 I've never seen that before. So there's a few 00:04:25.579 --> 00:04:29.139 things in there that are a little unusual. Yeah. 00:04:29.420 --> 00:04:31.980 Just for the layperson, can you just tell us 00:04:31.980 --> 00:04:35.379 who George Zell was? George Zell was the music 00:04:35.379 --> 00:04:38.560 director of Cleveland Orchestra for a long period 00:04:38.560 --> 00:04:41.470 of time. Yeah, a really iconic conductor of the 00:04:41.470 --> 00:04:44.170 stage. Yeah, major, you know, along with people 00:04:44.170 --> 00:04:47.829 like Toscanini and Fritz Reiner and, you know, 00:04:48.329 --> 00:04:50.310 those are names that are still sort of household 00:04:50.310 --> 00:04:53.870 names in the classical music field. Von Karajan, 00:04:54.009 --> 00:04:56.189 people like that. Yeah. So you were talking about 00:04:56.189 --> 00:05:00.170 touring as well. Yes. We started off small. They 00:05:00.170 --> 00:05:03.310 tried to do some practice tours. So we went out 00:05:03.310 --> 00:05:06.480 to the interior of British Columbia. Which ended 00:05:06.480 --> 00:05:08.699 up being almost more of a bit of a vacation. 00:05:09.019 --> 00:05:11.680 Cause things, some of the concerts got canceled 00:05:11.680 --> 00:05:14.819 and then flights got delayed. And so it was too 00:05:14.819 --> 00:05:17.600 bad except that we, we ended up with days off 00:05:17.600 --> 00:05:21.560 right near some of the nice BC ski hills. So 00:05:21.560 --> 00:05:24.740 some of us had, had, uh, got some ski days. It 00:05:24.740 --> 00:05:26.420 was a winter tour, like weather cancellations 00:05:26.420 --> 00:05:28.540 and things like that. Oh man, that's too bad. 00:05:28.620 --> 00:05:31.439 But you know what? Like better to learn that 00:05:31.439 --> 00:05:34.160 lesson on a, on a tour close to home than being 00:05:34.160 --> 00:05:37.540 abroad. Right. And then of course, the next two 00:05:37.540 --> 00:05:42.180 tours were, there was one that went to Toronto. 00:05:42.220 --> 00:05:44.759 We actually couldn't get into the hall in Montreal 00:05:44.759 --> 00:05:48.120 just with the timing. So we played in Joliet, 00:05:48.339 --> 00:05:50.980 which is not that far. Then we hit a couple of 00:05:50.980 --> 00:05:54.420 the smaller centers, Kitchener, St. Catharines. 00:05:54.720 --> 00:05:56.459 I'm trying to remember. I think Thunder Bay was 00:05:56.459 --> 00:05:58.360 on that tour, too. OK. That was a little bit 00:05:58.360 --> 00:06:01.279 out of the way, you know, obviously. It was interesting 00:06:01.279 --> 00:06:04.680 because actually Kitchener and Thunder Bay have 00:06:04.680 --> 00:06:06.379 halls that are very similar to ours because they 00:06:06.379 --> 00:06:08.740 were designed by the same person. Yeah, Artek, 00:06:08.860 --> 00:06:11.600 right? Yeah. So that was it felt like home, you 00:06:11.600 --> 00:06:16.139 know? Yeah. Oh, that's nice. And then a few years 00:06:16.139 --> 00:06:19.279 later, we did a tour that included a couple of 00:06:19.279 --> 00:06:22.360 stops in the US so that we again, we hit Toronto. 00:06:23.000 --> 00:06:28.000 and Montreal proper this time, and Kennedy Center, 00:06:28.439 --> 00:06:31.939 Carnegie, and Boston Symphony Hall. Oh, that's 00:06:31.939 --> 00:06:33.500 great. And this was all with Bernardi. That was 00:06:33.500 --> 00:06:35.980 with Bernardi. Although, interestingly, in Boston, 00:06:36.139 --> 00:06:39.399 we also, because our Pops conductor was Richard 00:06:39.399 --> 00:06:42.579 Heyman, had a long association with Boston Pops. 00:06:43.019 --> 00:06:45.319 So we actually did a Pops concert at the end 00:06:45.319 --> 00:06:48.459 of the tour with him. Oh, that's fun. Kind of 00:06:48.459 --> 00:06:52.740 a fundraiser. thing and it was in a hotel ballroom. 00:06:52.860 --> 00:06:54.620 In fact, it might have even been our hotel. I 00:06:54.620 --> 00:06:58.399 don't remember that for fact. Oh, that's neat. 00:06:58.699 --> 00:07:00.740 Of course, everyone in the orchestra, whether 00:07:00.740 --> 00:07:02.600 they were there or not, knows all the stories 00:07:02.600 --> 00:07:06.160 about Richard Heyman, who was a master of orchestra 00:07:06.160 --> 00:07:10.519 pops. Not a great conductor in the sort of classical 00:07:10.519 --> 00:07:14.100 sense of it. But a good, really good musician 00:07:14.100 --> 00:07:16.439 and he stayed out of the way with the conducting, 00:07:16.439 --> 00:07:20.019 you know, he was just very matter of fact about 00:07:20.019 --> 00:07:23.579 his, his technique being just, just so, so. But 00:07:23.579 --> 00:07:25.839 you know, I think you told me a story about his 00:07:25.839 --> 00:07:29.000 ability to hear an arrangement and make adjustments 00:07:29.000 --> 00:07:31.740 on the fly and turn something mediocre into something 00:07:31.740 --> 00:07:34.980 spectacular. Yeah. That fact, that was exactly 00:07:34.980 --> 00:07:37.019 where I was just going to go. He would. Just 00:07:37.019 --> 00:07:38.920 realize that things needed a cut sometimes, you 00:07:38.920 --> 00:07:41.639 know, like we weren't going to play a full symphony 00:07:41.639 --> 00:07:44.519 or whatever. Although we did, we did actually 00:07:44.519 --> 00:07:46.860 do the scherzo from Bruckner four with him once 00:07:46.860 --> 00:07:49.899 at a pop show. Wow. Either to start the concert 00:07:49.899 --> 00:07:52.519 or start the second half. I don't remember. No, 00:07:52.519 --> 00:07:54.639 he would look at something like whether it was 00:07:54.639 --> 00:07:57.360 a new arrangement from somebody or maybe it would 00:07:57.360 --> 00:07:59.639 be a classical overture or something. And he'd 00:07:59.639 --> 00:08:02.180 just say, it's a bit too long for what we need. 00:08:02.660 --> 00:08:05.639 And he could just look at a score. And usually, 00:08:05.680 --> 00:08:07.600 of course, it was like something literally he 00:08:07.600 --> 00:08:11.300 was just being handed and just say, OK, this 00:08:11.300 --> 00:08:14.459 will work if we go from letter A to the third 00:08:14.459 --> 00:08:16.800 bar of letter C. And it would be just perfect 00:08:16.800 --> 00:08:20.379 harmonically, even form wise, you know, like 00:08:20.379 --> 00:08:23.459 just sort of basic form of the piece of music. 00:08:23.680 --> 00:08:26.019 Yeah. He just had that that sense of how it was 00:08:26.019 --> 00:08:29.000 built and where he could adjust it. The other 00:08:29.000 --> 00:08:30.779 thing that was kind of unusual with Richard, 00:08:30.839 --> 00:08:35.250 his instrument was the harmonica. And he was 00:08:35.250 --> 00:08:39.409 actually quite good. I get a funny sort of style, 00:08:39.690 --> 00:08:42.070 you know, like very stylized, something that 00:08:42.070 --> 00:08:45.730 you would have heard in the 30s, 40s, 50s, maybe. 00:08:46.370 --> 00:08:48.750 But he could get a lot of sounds out of that 00:08:48.750 --> 00:08:51.190 instrument. That was quite surprising, actually. 00:08:51.190 --> 00:08:54.450 Oh, wonderful. That's wonderful. But Tours, I 00:08:54.450 --> 00:08:56.889 know that after Bernardi, the next music director 00:08:56.889 --> 00:08:59.590 of the orchestra was Hans Graf. Exactly. And 00:08:59.590 --> 00:09:05.440 Hans took us to Europe. which was just, it was 00:09:05.440 --> 00:09:08.899 sort of his going away present to the orchestra, 00:09:09.080 --> 00:09:13.980 if you may. He did a lot at that end to make 00:09:13.980 --> 00:09:17.320 it happen. His manager, I think, had something 00:09:17.320 --> 00:09:21.620 to do with a lot of the managing on the European 00:09:21.620 --> 00:09:25.840 side of things. Yeah, it was to Austria, Switzerland, 00:09:26.720 --> 00:09:30.200 one stop each in France and Germany. Fantastic. 00:09:30.519 --> 00:09:32.159 I heard a lot of my colleagues who were on that 00:09:32.159 --> 00:09:35.639 tour speak extremely fondly of that experience, 00:09:35.659 --> 00:09:38.320 that it was very special. It was in so many ways. 00:09:38.500 --> 00:09:42.159 I mean, playing the Schumann, speaking of Schumann 00:09:42.159 --> 00:09:45.100 symphonies, I mean, the Schumann symphonies are 00:09:45.100 --> 00:09:48.440 like a bad penny for this orchestra. They follow 00:09:48.440 --> 00:09:51.460 us around all the time because because in addition 00:09:51.460 --> 00:09:53.379 to recording those symphonies with Bernardi, 00:09:53.379 --> 00:09:56.779 we took them on on some of those tours, particularly 00:09:56.779 --> 00:10:01.950 the he did the second. on tour and he actually 00:10:01.950 --> 00:10:04.289 did the third I think on a little tour within 00:10:04.289 --> 00:10:07.549 the province. And of course Hans took the third 00:10:07.549 --> 00:10:10.750 symphony on the European tour along with I believe 00:10:10.750 --> 00:10:13.750 the other program was Tchaikovsky fourth. There 00:10:13.750 --> 00:10:15.990 were two different concertos sort of mix and 00:10:15.990 --> 00:10:19.070 match depending on availability of the soloists 00:10:19.070 --> 00:10:23.450 and then a Canadian piece that opened. And so 00:10:23.450 --> 00:10:26.629 playing the Schumann third, the Renish which 00:10:26.809 --> 00:10:30.710 as you know, sitting next to me is a pretty big 00:10:30.710 --> 00:10:33.149 deal if you're a first trombone player. And playing 00:10:33.149 --> 00:10:36.830 that in the Musikverein in Vienna, it's like 00:10:36.830 --> 00:10:39.610 a career highlight. Absolutely. Yeah, that's 00:10:39.610 --> 00:10:41.409 a very special symphony. And it's five movements. 00:10:41.990 --> 00:10:43.909 Most symphonies tend to be four movements, generally 00:10:43.909 --> 00:10:46.850 speaking. This one's five. And it sort of has 00:10:46.850 --> 00:10:50.409 the standard two sort of larger outside movements. 00:10:50.429 --> 00:10:52.149 And then you have a scherzo and a slow movement. 00:10:52.570 --> 00:10:55.509 But it has this magical fourth movement, this 00:10:55.509 --> 00:10:58.730 beautiful chorale that starts with this very 00:10:58.730 --> 00:11:02.309 solemn, extremely special statement of this soaring 00:11:02.309 --> 00:11:06.110 melody with the first trombone, the alto trombone, 00:11:06.269 --> 00:11:09.110 singing this beautiful melody. And it's an incredibly 00:11:09.110 --> 00:11:12.730 special moment. And I love sitting next to you 00:11:12.730 --> 00:11:13.990 and hearing you play it and hearing the whole 00:11:13.990 --> 00:11:15.570 trombone section play this beautiful chorale. 00:11:15.669 --> 00:11:17.110 That's something that the trombone just does 00:11:17.110 --> 00:11:20.909 so well. That's kind of part of our history, 00:11:21.070 --> 00:11:23.950 although I will tell you that that one, yeah, 00:11:23.970 --> 00:11:29.169 that takes years off your life. That's actually 00:11:29.169 --> 00:11:30.970 the piece, especially when I knew we were going 00:11:30.970 --> 00:11:34.730 to record it, that no one played alto trombone 00:11:34.730 --> 00:11:38.070 back when I was a student, and it was extremely 00:11:38.070 --> 00:11:42.350 rare. But it was slowly starting to make a comeback, 00:11:43.110 --> 00:11:45.669 and people were still somewhat resistant to it. 00:11:46.580 --> 00:11:49.799 and I got over any resistance to it when I realized 00:11:49.799 --> 00:11:53.480 I had to record that and had to learn the instrument. 00:11:56.399 --> 00:12:00.419 That required a bunch of practicing in very different 00:12:00.419 --> 00:12:03.940 ways to learn another instrument and another 00:12:03.940 --> 00:12:06.659 set of slide positions in the whole nine yards, 00:12:06.720 --> 00:12:09.799 but it does make that a little bit more doable. 00:12:11.139 --> 00:12:13.500 As far as the corrals go, yeah, it's funny that 00:12:13.500 --> 00:12:15.690 you mention that, because that was something 00:12:15.690 --> 00:12:18.230 I was thinking about when we talked about doing 00:12:18.230 --> 00:12:22.750 this, that that's so much a part of what the 00:12:22.750 --> 00:12:25.529 instrument does. I mean, the instrument, the 00:12:25.529 --> 00:12:28.230 trombone's a pretty old instrument and, you know, 00:12:28.409 --> 00:12:33.350 really came into very near its present form a 00:12:33.350 --> 00:12:35.450 long time ago in the Renaissance, really, you 00:12:35.450 --> 00:12:38.590 know, broke. I mean, slight differences for sure. 00:12:39.539 --> 00:12:41.639 like the Baroque Renaissance trombone. It had 00:12:41.639 --> 00:12:44.120 a bell, it had a slide. Yeah. And basically the 00:12:44.120 --> 00:12:45.779 modern form of the instrument and it was refined. 00:12:46.159 --> 00:12:47.960 An instrument like the trumpet, of course, didn't 00:12:47.960 --> 00:12:49.679 have valves back then. It's changed greatly. 00:12:49.740 --> 00:12:51.620 An instrument like the tuba didn't exist at all 00:12:51.620 --> 00:12:53.559 back then. Right. You know, it had predecessors 00:12:53.559 --> 00:12:55.620 that were wildly different from the modern instruments. 00:12:55.740 --> 00:12:57.600 But yeah, the trombone is really a time capsule. 00:12:58.000 --> 00:13:01.059 But it also wasn't really a part of the symphony 00:13:01.059 --> 00:13:03.799 orchestra. It was in opera a little bit and certainly 00:13:03.799 --> 00:13:06.360 in oratorios. And it was really an instrument 00:13:06.360 --> 00:13:08.620 of the church. You know, we were the first fully 00:13:08.620 --> 00:13:11.320 chromatic brass instrument, like you say, with 00:13:11.320 --> 00:13:14.240 the slide. So that meant we could play the white 00:13:14.240 --> 00:13:16.720 and black notes on the piano keyboard. You know, 00:13:16.799 --> 00:13:19.840 whereas you'd have to be a Baroque version of 00:13:19.840 --> 00:13:22.519 Maynard Ferguson to get to the point where you 00:13:22.519 --> 00:13:25.679 get to the half steps on a Baroque trumpet. Just 00:13:25.679 --> 00:13:27.620 thinking about the use of the trombone as a church 00:13:27.620 --> 00:13:30.200 instrument, this very sort of serious, solemn 00:13:30.200 --> 00:13:32.039 instrument. We're playing Don Giovanni at the 00:13:32.039 --> 00:13:34.190 opera. And you know, that's, you know, a two, 00:13:34.269 --> 00:13:36.809 three hour opera. How much do the trombones play? 00:13:37.570 --> 00:13:40.789 About 10, 15 minutes of that, all near the end. 00:13:41.009 --> 00:13:43.789 Yeah. And it's at the end when, you know, the 00:13:43.789 --> 00:13:47.210 stone guest comes to life and, you know, Don 00:13:47.210 --> 00:13:50.350 Giovanni is doomed for his sins, right? It's 00:13:50.350 --> 00:13:53.289 really used to evoke this traditional sense of 00:13:53.289 --> 00:13:54.789 the instrument that you've been talking about. 00:13:54.929 --> 00:13:57.990 Sure. Since it was a church instrument and they 00:13:57.990 --> 00:14:00.899 were fully chromatic. And if you hear a choir 00:14:00.899 --> 00:14:05.080 of trombones play, it's very reminiscent of an 00:14:05.080 --> 00:14:07.759 organ. That's how composers used us, and partly 00:14:07.759 --> 00:14:10.320 because that was the job in the church. I mean, 00:14:10.360 --> 00:14:15.519 let's face it, before all kinds of heating and 00:14:15.519 --> 00:14:18.639 things to deal with temperature, you could take 00:14:18.639 --> 00:14:21.460 a set of trombones outside to play a funeral 00:14:21.460 --> 00:14:24.279 up until the worst... possible weather, which 00:14:24.279 --> 00:14:26.340 of course, worst possible weather, you weren't 00:14:26.340 --> 00:14:28.299 burying that person until the spring anyway. 00:14:28.679 --> 00:14:31.159 So, you know, in all but the worst weather, you 00:14:31.159 --> 00:14:35.299 know, whereas sure the woodwinds were fully chromatic, 00:14:35.539 --> 00:14:37.340 but nobody's going to take an oboe or bassoon 00:14:37.340 --> 00:14:41.179 out on a rainy day. And, you know, with the variance 00:14:41.179 --> 00:14:42.980 of pitches of organs and things like that, the 00:14:42.980 --> 00:14:45.639 trombone could always accommodate a little bit 00:14:45.639 --> 00:14:49.850 as well. Yeah. Because of that blended quality, 00:14:50.269 --> 00:14:54.389 they became associated a lot with being able 00:14:54.389 --> 00:14:58.350 to accompany singers. So the alto trombone, for 00:14:58.350 --> 00:15:01.169 instance, often doubles the altos in the chorus. 00:15:01.549 --> 00:15:03.409 Yeah, just before we press record on this episode, 00:15:03.409 --> 00:15:06.309 we were talking about the Mozart C major mass 00:15:06.309 --> 00:15:08.690 that we're playing in January. That's going to 00:15:08.690 --> 00:15:11.009 be lots of fun. But yeah, the trombone parts 00:15:11.009 --> 00:15:13.669 like in that and in the Mozart Requiem are very 00:15:13.669 --> 00:15:16.399 virtuosic. Honestly, I think sometimes in the 00:15:16.399 --> 00:15:20.440 Requiem, it might be because Mozart himself didn't 00:15:20.440 --> 00:15:23.100 really write all of that. Sure. Yeah. And so 00:15:23.100 --> 00:15:25.740 we have a lot of a lot of different versions 00:15:25.740 --> 00:15:28.340 out there. We don't really know because he died 00:15:28.340 --> 00:15:30.019 before completing it, obviously. And there's 00:15:30.019 --> 00:15:32.679 a few things that are in the sketches, like there's 00:15:32.679 --> 00:15:37.000 a famous solo, by the way, of audience interest. 00:15:37.500 --> 00:15:39.980 It's a famous solo that's in the second trombone 00:15:39.980 --> 00:15:43.860 part because the instruments that were being 00:15:43.860 --> 00:15:48.080 used at that time and then again we we do that 00:15:48.080 --> 00:15:50.960 nowadays in modern performances were in different 00:15:50.960 --> 00:15:53.289 keys. The instrument is in the second trombone 00:15:53.289 --> 00:15:55.169 part because it was the tenor trombone part and 00:15:55.169 --> 00:15:57.210 it wanted something in that register, that kind 00:15:57.210 --> 00:16:00.129 of sound. So there's actually a little bit of 00:16:00.129 --> 00:16:03.090 a history of some of the best solos in the literature, 00:16:03.230 --> 00:16:05.509 unfortunately for me, showing up in the second 00:16:05.509 --> 00:16:07.210 trombone part. Yeah, we're playing Scheherazade 00:16:07.210 --> 00:16:09.049 this season as well. And, you know, again, those 00:16:09.049 --> 00:16:11.110 solos are in the second trombone, Rysky -Korsakov 00:16:11.110 --> 00:16:13.289 always did that. Yeah, Russian Easter as well. 00:16:13.309 --> 00:16:16.269 Yeah, that's right. Beautiful solo. You were 00:16:16.269 --> 00:16:18.330 talking about the trombone section being used 00:16:18.330 --> 00:16:22.210 like an organ. It's no surprise. that the trombone 00:16:22.210 --> 00:16:24.529 section is one of the favorite parts of the orchestra 00:16:24.529 --> 00:16:27.289 for the composer Anton Bruckner. And we are playing 00:16:27.289 --> 00:16:30.230 his eighth symphony on Friday, October 18th and 00:16:30.230 --> 00:16:32.950 Saturday, October 19th, 730 at the Jack Singer 00:16:32.950 --> 00:16:35.169 Concert Hall with Rune Bergman, our music director, 00:16:35.370 --> 00:16:37.450 conducting. And boy, I know I'm looking forward 00:16:37.450 --> 00:16:39.990 to these concerts. I'm looking forward to that 00:16:39.990 --> 00:16:41.929 one a lot, too. I've never really had a chance 00:16:41.929 --> 00:16:44.669 to perform that in my whole career. So I haven't 00:16:44.669 --> 00:16:46.289 played it either. It's kind of a bucket list 00:16:46.289 --> 00:16:48.750 piece. Absolutely. This always feels like You 00:16:48.750 --> 00:16:50.669 know, all the Bruckner symphonies have their 00:16:50.669 --> 00:16:54.730 own their own character. But this one to me really 00:16:54.730 --> 00:16:56.870 feels sort of like the big mountain to climb, 00:16:56.870 --> 00:16:59.629 you know? Well, you know, I was looking at a 00:16:59.629 --> 00:17:03.210 little bit about Bruckner sort of thinking about 00:17:03.210 --> 00:17:06.150 preparing to talk to you about some of this stuff. 00:17:06.150 --> 00:17:08.809 And I was seeing that, I mean, first of all, 00:17:08.809 --> 00:17:13.910 he was a choir boy at the St. Florian Monastery 00:17:13.910 --> 00:17:17.869 and the cathedral outside of Linz, Austria. You 00:17:17.869 --> 00:17:19.950 know, that was sort of his early musical training 00:17:19.950 --> 00:17:22.849 there. A couple things struck me. One is I saw 00:17:22.849 --> 00:17:26.670 that much of the music that was being performed 00:17:26.670 --> 00:17:30.369 when he was a young, young boy, they listed off 00:17:30.369 --> 00:17:33.309 the composers and a couple of them, Al Brecksberger 00:17:33.309 --> 00:17:36.930 and Wagensleil wrote trombone concertos for the 00:17:36.930 --> 00:17:39.410 alto trombone back then. Which was a bit of a 00:17:39.410 --> 00:17:42.190 rarity, right? Exactly. Yeah. They're very, so 00:17:42.190 --> 00:17:45.140 I found that interesting. He was playing music 00:17:45.140 --> 00:17:46.599 and singing music as a child that was written 00:17:46.599 --> 00:17:49.539 by these composers who had been advocates for 00:17:49.539 --> 00:17:52.720 the trombone. Yeah, and they probably had trombonists 00:17:52.720 --> 00:17:56.460 on staff at that cathedral playing along. It 00:17:56.460 --> 00:17:59.740 was quite common back then. They weren't part 00:17:59.740 --> 00:18:03.240 of the symphony orchestra. And when they started 00:18:03.240 --> 00:18:05.299 to show up in the symphony orchestra, I mean, 00:18:05.339 --> 00:18:07.440 it's always credited to Beethoven. He used them 00:18:07.440 --> 00:18:11.079 in the last movement of the Fifth Symphony. I 00:18:11.079 --> 00:18:14.079 found out, though, usually that, you know, Beethoven's 00:18:14.079 --> 00:18:16.440 credited with it, but there were probably some 00:18:16.440 --> 00:18:19.220 people ahead of him that just, you know, their 00:18:19.220 --> 00:18:22.500 music didn't survive so much, you know. He was 00:18:22.500 --> 00:18:24.819 the first sort of major composer to think of 00:18:24.819 --> 00:18:27.279 that. But sure enough, I mean, when you hear 00:18:27.279 --> 00:18:29.400 the music, the last movement of the Beethoven 00:18:29.400 --> 00:18:34.740 Fifth, it's very hymn -like. It's like a hymn 00:18:34.740 --> 00:18:38.500 of joy, kind of Beethoven snapshot of what was 00:18:38.500 --> 00:18:42.619 going to happen in the Beethoven 9th. That association 00:18:42.619 --> 00:18:46.660 with chorales and religious themes followed the 00:18:46.660 --> 00:18:50.240 instrument around all the way through in Brahms. 00:18:51.000 --> 00:18:56.180 uses that so much as well. And Wagner uses chorales 00:18:56.180 --> 00:18:58.960 and things like that, even though he's not writing 00:18:58.960 --> 00:19:02.579 particularly religious music, but sort of spiritual. 00:19:02.900 --> 00:19:04.940 Yeah, Parsifal is very religious, but other than 00:19:04.940 --> 00:19:08.460 that. Yeah. And then so for Bruckner, Bruckner 00:19:08.460 --> 00:19:11.480 was very, a very religious man. Extremely Catholic. 00:19:12.259 --> 00:19:14.500 Extremely Catholic. I mean, you know, raised 00:19:14.500 --> 00:19:18.220 in the monastery for much of his life and, you 00:19:18.220 --> 00:19:22.660 know, very cloistered life. He uses that chorale 00:19:22.660 --> 00:19:25.700 kind of thing. Even the opening of the last movement 00:19:25.700 --> 00:19:28.720 of the Bruckner 8th, which is very aggressive, 00:19:29.259 --> 00:19:34.559 has this sense of the harmony of the three trombones 00:19:34.559 --> 00:19:37.140 together, sort of laying out the theme and the 00:19:37.140 --> 00:19:42.400 trumpets answer with these wild fanfares. Yeah, 00:19:42.599 --> 00:19:45.059 but like the beginning of that last movement 00:19:45.059 --> 00:19:49.259 is marked feierlich, solemn. song, but not too 00:19:49.259 --> 00:19:52.920 fast, is the marking in that movement. And if 00:19:52.920 --> 00:19:55.460 you just hear the trombones play on their own, 00:19:55.839 --> 00:19:58.200 it sounds like a chorale. You know, it's this 00:19:58.200 --> 00:20:01.920 incredible upward line, and it's very, very beautiful. 00:20:02.319 --> 00:20:05.940 The energy, the pulsating heartbeat of that is 00:20:05.940 --> 00:20:07.339 coming from the rest of the orchestra, especially 00:20:07.339 --> 00:20:11.940 the violins with this... It's an incredible moment. 00:20:12.059 --> 00:20:14.339 And Bruckner does this a lot, where there's this 00:20:14.339 --> 00:20:18.059 contrast between... characters of different parts 00:20:18.059 --> 00:20:20.660 of the orchestra that make for this beautiful 00:20:20.660 --> 00:20:23.880 compound effect. Although it is a chorale that's 00:20:23.880 --> 00:20:27.579 marked fortissimo. The people that sit in front 00:20:27.579 --> 00:20:30.980 are well aware of that, but it's got energy. 00:20:31.400 --> 00:20:33.559 Yeah, absolutely. For me, the best part of the 00:20:33.559 --> 00:20:37.519 symphony is just before the last sort of loud 00:20:37.519 --> 00:20:39.359 section at the end of the movement, the big climax, 00:20:39.900 --> 00:20:43.140 the first two chords of that chorale at the beginning 00:20:43.140 --> 00:20:48.829 of the last movement come back. You know, and 00:20:48.829 --> 00:20:50.490 it's stated all through the orchestra and different 00:20:50.490 --> 00:20:52.190 groups of instruments and it builds and it builds 00:20:52.190 --> 00:20:54.890 and the harmony changes. That's the most magical 00:20:54.890 --> 00:20:57.410 part of this symphony for me. Yeah, it's not 00:20:57.410 --> 00:20:59.190 the big arrival at the end. It's leading into 00:20:59.190 --> 00:21:01.990 the big arrival at the end. I think it's interesting 00:21:01.990 --> 00:21:04.150 too that, I mean, it definitely happened with 00:21:04.150 --> 00:21:08.009 Bruckner to some degree. Verdi, Berlioz, all 00:21:08.009 --> 00:21:11.150 these other composers followed up on the idea 00:21:11.150 --> 00:21:15.470 of a chorale, but they also, no surprise, started 00:21:15.470 --> 00:21:18.480 to add. trumpets and horns and and of course 00:21:18.480 --> 00:21:22.160 tuba into that as well because it makes perfect 00:21:22.160 --> 00:21:25.079 sense once you once those instruments became 00:21:25.079 --> 00:21:28.460 chromatic to use them in that way too. Like in 00:21:28.460 --> 00:21:31.799 Brahms four right there's the beautiful trombone 00:21:31.799 --> 00:21:34.500 chorale and the horn takes the line the trumpets 00:21:34.500 --> 00:21:37.200 just play a note here and there is punctuation 00:21:37.200 --> 00:21:39.779 to add some color but it's also just because 00:21:39.779 --> 00:21:42.299 the instruments at the time didn't have all the 00:21:42.299 --> 00:21:44.619 notes. Right. You just reminded me of something 00:21:44.619 --> 00:21:48.519 I saw just the other day. It was a quote from 00:21:48.519 --> 00:21:51.599 Barbara Butler, famous trumpet teacher. She and 00:21:51.599 --> 00:21:53.220 her husband, Charlie, who just unfortunately 00:21:53.220 --> 00:21:56.160 passed away recently, produced a lot of great 00:21:56.160 --> 00:21:58.480 players, including your former teacher. Yeah. 00:21:58.660 --> 00:22:01.440 Yeah. Miranda and I both studied with a student 00:22:01.440 --> 00:22:03.799 of Barbara and Charlie. Exactly. So it's like 00:22:03.799 --> 00:22:06.200 you're like grand students of her now. Yeah. 00:22:06.619 --> 00:22:10.660 Yeah. But, uh, she mentions, you feel different 00:22:10.660 --> 00:22:13.400 elements of music in different ways. And rhythmic 00:22:13.400 --> 00:22:16.279 music, you feel it in your body and your feet. 00:22:17.079 --> 00:22:20.599 Great melodies you feel in your heart. And then 00:22:20.599 --> 00:22:23.599 when something is just beautiful chords and beautiful 00:22:23.599 --> 00:22:26.539 harmonies, you feel that in your soul. Yeah, 00:22:27.480 --> 00:22:29.019 I think that's wonderful. Yeah, it's a great 00:22:29.019 --> 00:22:32.819 quote. And I think that that is the appeal of 00:22:32.819 --> 00:22:36.480 Bruckner, his harmony. It was groundbreaking 00:22:36.480 --> 00:22:39.430 at the time. Not that people didn't have beautiful 00:22:39.430 --> 00:22:42.950 harmonies in their symphonies and it's not dissonant 00:22:42.950 --> 00:22:45.630 so much. I mean there's some dissonances of course 00:22:45.630 --> 00:22:50.049 in anything from the romantic era on, but it's 00:22:50.049 --> 00:22:53.230 not dissonant music as much as it doesn't settle 00:22:53.230 --> 00:22:56.970 in one place. Okay Jim, now that we've talked 00:22:56.970 --> 00:23:00.109 so much about work, about music and all these 00:23:00.109 --> 00:23:02.109 things, it's time to get to the truly important 00:23:02.109 --> 00:23:07.859 stuff. Please tell us about your dog. You know, 00:23:07.859 --> 00:23:10.240 when you were talking about practicing, you know, 00:23:10.240 --> 00:23:12.200 in the summer and coming back into the season, 00:23:12.420 --> 00:23:14.619 what one of the best things about coming back 00:23:14.619 --> 00:23:16.839 in the season is I can have more opportunities 00:23:16.839 --> 00:23:21.299 to play my horn all by myself without my dog 00:23:21.299 --> 00:23:25.759 joining in. Everyone's a critic. So yes, I have 00:23:25.759 --> 00:23:28.759 a great Pyrenees or she might be a mix. We're 00:23:28.759 --> 00:23:31.440 not, not really sure because she was a rescue 00:23:31.440 --> 00:23:35.009 named Chloe, about a hundred pounds or so. Yeah, 00:23:35.069 --> 00:23:39.210 she loves to sing along and I'm yet to figure 00:23:39.210 --> 00:23:43.269 out if she's upset or or if she just thinks it's 00:23:43.269 --> 00:23:46.849 a really great game. But either way, it's something 00:23:46.849 --> 00:23:50.509 you notice, particularly when you're working 00:23:50.509 --> 00:23:52.250 on something that's a little bit difficult and 00:23:52.250 --> 00:23:55.049 going through it over and over again. And there's 00:23:55.049 --> 00:23:59.589 some howling at Fortissimo. eight feet away yeah 00:23:59.589 --> 00:24:01.349 that's right i remember at some point you told 00:24:01.349 --> 00:24:03.930 me you were listening to the Hindemith sonatas 00:24:03.930 --> 00:24:06.690 for all the brass instruments and you know she 00:24:06.690 --> 00:24:08.349 was fine she was fine she was fine and then as 00:24:08.349 --> 00:24:10.410 soon as the piano accompaniment started for the 00:24:10.410 --> 00:24:12.410 trombone sonata she started freaking out am i 00:24:12.410 --> 00:24:15.690 getting that right actually wrong dog oh earlier 00:24:15.690 --> 00:24:19.650 dog i've unfortunately had this is my third dog 00:24:19.650 --> 00:24:25.619 and all of them have been uh The first one, not 00:24:25.619 --> 00:24:29.460 as bad as the next two. So he broke me in. So 00:24:29.460 --> 00:24:32.500 I thought it wasn't going to be that bad. But 00:24:32.500 --> 00:24:35.700 yeah, Chloe is, uh, she's a lot of fun. She's 00:24:35.700 --> 00:24:39.599 a very, very beautiful dog. And she's sweetheart. 00:24:39.859 --> 00:24:41.660 Yeah. And she's a sweetheart mostly, you know, 00:24:41.700 --> 00:24:44.420 once in a while we ran into a coyote the other 00:24:44.420 --> 00:24:48.880 day, right in our back alley. And, uh, she was 00:24:48.880 --> 00:24:52.150 ready to stand her ground. I had to kind of gently 00:24:52.150 --> 00:24:55.130 coax her back into the yard and then she barked 00:24:55.130 --> 00:24:58.490 hysterically as he walked on past our property. 00:24:58.869 --> 00:25:00.869 Yeah, yeah, yeah. You know, I think just about 00:25:00.869 --> 00:25:03.410 any dog would be on the losing end of that. Although 00:25:03.410 --> 00:25:07.490 Chloe, I feel like... Yeah, and actually those 00:25:07.490 --> 00:25:10.630 Pyrenees... That's their job. They actually do 00:25:10.630 --> 00:25:13.250 go after coyotes and bears and things like that 00:25:13.250 --> 00:25:16.309 and basically keep them away from livestock, 00:25:17.069 --> 00:25:20.089 sheep, goats. Sometimes they're used to protect 00:25:20.089 --> 00:25:23.319 children of royalty in Europe. They would very, 00:25:23.359 --> 00:25:26.140 they would bond with the kids and just wouldn't 00:25:26.140 --> 00:25:28.619 let anybody, any strangers get that close. Yeah. 00:25:28.759 --> 00:25:31.279 Yeah. And I know, um, not too long ago, you were 00:25:31.279 --> 00:25:32.839 telling me, Jim, that you were thinking about 00:25:32.839 --> 00:25:35.140 getting more into working, working with dogs 00:25:35.140 --> 00:25:38.559 and training of dogs. Yeah, it's, you know, retirement 00:25:38.559 --> 00:25:42.079 beckons, you know, fairly soon. And, uh, with 00:25:42.079 --> 00:25:45.539 Chloe, I took her to a certain amount of training 00:25:45.539 --> 00:25:50.609 cause, uh, that Pyrenees, uh, Yeah. You have 00:25:50.609 --> 00:25:52.890 to make sure that you train a dog like that. 00:25:52.970 --> 00:25:55.529 Yeah. She, she had a bit of an attitude with 00:25:55.529 --> 00:25:58.029 other dogs a lot of times. She still does sometimes. 00:25:58.369 --> 00:26:02.470 Uh, she's much better, but, uh, that gave me 00:26:02.470 --> 00:26:05.410 a little insight into the training process with, 00:26:05.410 --> 00:26:09.910 um, what they call reactive dogs. And, you know, 00:26:10.130 --> 00:26:12.670 they're dogs that need a home too. So I was thinking, 00:26:13.009 --> 00:26:17.470 obviously I'm not set up to be a trainer personally, 00:26:17.470 --> 00:26:20.250 but maybe, you know, reach out to some of the 00:26:20.250 --> 00:26:24.430 people that I trained with and see if they need, 00:26:24.450 --> 00:26:27.410 you know, just a gopher, somebody that helps 00:26:27.410 --> 00:26:30.809 them out a little bit and learns that process 00:26:30.809 --> 00:26:33.630 a little bit. And just something to do maybe 00:26:33.630 --> 00:26:36.109 in retirement. Yeah, no, that's great. That's 00:26:36.109 --> 00:26:38.890 wonderful, Jim. Well, just one last question 00:26:38.890 --> 00:26:40.930 for you, Jim. You know, one of the great things 00:26:40.930 --> 00:26:43.789 about playing in the CPO is that we have so many 00:26:43.789 --> 00:26:46.849 wonderful colleagues who we get to hear play 00:26:46.849 --> 00:26:49.150 and perform week in and week out. Who's someone 00:26:49.150 --> 00:26:53.210 in the orchestra who's playing you admire? Oh. 00:26:54.950 --> 00:26:58.930 There's a lot, actually. Sounds like pandering, 00:26:58.930 --> 00:27:01.829 but you're one of them, for sure. We sit near 00:27:01.829 --> 00:27:04.549 the bassoons now and I'm really enjoying hearing 00:27:04.549 --> 00:27:08.690 Antoine. Yeah, absolutely. when I hear Arnold 00:27:08.690 --> 00:27:13.390 play a solo, the principal cello, it's, it's, 00:27:13.390 --> 00:27:15.809 that's wonderful. You know, the problem that's 00:27:15.809 --> 00:27:18.869 starting down this road is like, it sounds trite, 00:27:18.869 --> 00:27:21.190 but it's, it's, it's really everyone to some 00:27:21.190 --> 00:27:25.869 degree. I mean, I've the sort of one upside to 00:27:25.869 --> 00:27:30.589 COVID was hearing a lot of your colleagues play 00:27:30.589 --> 00:27:33.730 in, in sort of a different setting than they 00:27:33.730 --> 00:27:36.910 had done before. And hearing so many people rise 00:27:36.910 --> 00:27:40.069 to the occasion and discovering that, you know, 00:27:40.450 --> 00:27:43.670 someone that toils away in the back of the violin 00:27:43.670 --> 00:27:47.390 section is really quite a terrific player, you 00:27:47.390 --> 00:27:49.150 know, and you just never get the chance to hear 00:27:49.150 --> 00:27:52.109 them as an individual. And like Miranda, for 00:27:52.109 --> 00:27:54.589 instance, stepped into first trumpet a bit when 00:27:54.589 --> 00:27:57.549 you, when you were out sick and played most of 00:27:57.549 --> 00:28:00.450 the season and really she sounded good to begin 00:28:00.450 --> 00:28:03.369 with, but especially by the end of the season, 00:28:03.630 --> 00:28:05.710 she, you know, she just kept getting more and 00:28:05.710 --> 00:28:09.210 more comfortable and everything. Tom, every day. 00:28:09.289 --> 00:28:12.009 Yeah, Tom McCaslin. Yeah. To hear Tom play the 00:28:12.009 --> 00:28:15.329 tuba, plays it like it's, uh, you know, like 00:28:15.329 --> 00:28:18.829 it's a harmonic, like it's something, something 00:28:18.829 --> 00:28:25.009 easy. I mean, just, just virtue, virtuosity just, 00:28:25.009 --> 00:28:28.420 just like flows out of it. And Dave. Uh, and 00:28:28.420 --> 00:28:30.339 Chris, Dave and Chris are both Dave Reed and 00:28:30.339 --> 00:28:32.220 Chris Leslie. Exactly. Our bass trombone and 00:28:32.220 --> 00:28:34.619 second trombone. Exactly. Sorry. You have to 00:28:34.619 --> 00:28:37.420 fill in for here, but they're, they're wonderful 00:28:37.420 --> 00:28:40.660 players. And just to, to play with the four of 00:28:40.660 --> 00:28:43.279 us together, the, you know, the trombones and 00:28:43.279 --> 00:28:45.460 tuba. Yeah. The section is sounding really, really 00:28:45.460 --> 00:28:48.140 great. It is just a pleasure every day. You know, 00:28:48.140 --> 00:28:51.660 like I come to work and, you know, you can be 00:28:51.660 --> 00:28:55.039 having a bad day about something else, like trying 00:28:55.039 --> 00:28:56.660 to figure out how to make your computer do what 00:28:56.660 --> 00:29:00.759 it. doesn't want to do or or You know the bill 00:29:00.759 --> 00:29:02.799 you just got for something that like I thought 00:29:02.799 --> 00:29:05.640 I had taken care of this thing and you get to 00:29:05.640 --> 00:29:09.180 work and That's all gone For the next two and 00:29:09.180 --> 00:29:11.740 a half hours. It's playing with great players 00:29:11.740 --> 00:29:14.420 Wonderful. Well, thanks so much Jim. This has 00:29:14.420 --> 00:29:16.140 been really fun to sit down with you and talk. 00:29:16.599 --> 00:29:19.980 It's a it's a pleasure Notes from the stage is 00:29:19.980 --> 00:29:21.920 an independent production of the Calgary Philharmonic 00:29:21.920 --> 00:29:24.339 Players Association The opinions expressed here 00:29:24.339 --> 00:29:26.519 are our own and do not reflect those of the Calgary 00:29:26.519 --> 00:29:28.900 Philharmonic Orchestra. Our thanks to Nathan 00:29:28.900 --> 00:29:31.640 Chandler for his technical expertise. Let us 00:29:31.640 --> 00:29:32.960 know what you think of the show and check out 00:29:32.960 --> 00:29:35.339 our concert calendar at calgaryfilmusicians .ca 00:29:35.339 --> 00:29:37.220 to see what we're all up to outside of our regular 00:29:37.220 --> 00:29:39.759 performances at the CPO. The music you heard 00:29:39.759 --> 00:29:42.400 on this episode is from the Divertimento by Boris 00:29:42.400 --> 00:29:45.519 Blocker performed by Jim and me at a recital, 00:29:45.559 --> 00:29:49.170 oh, almost 10 years ago now. On our next episode 00:29:49.170 --> 00:29:51.369 in two weeks, I'll be talking with the CPO's 00:29:51.369 --> 00:29:54.109 new principal harpist, Emily Melendez. Talk to 00:29:54.109 --> 00:29:54.509 you soon!