Hi there, and welcome to Notes from the Stage,
a show from the musicians of the Calgary Philharmonic.
We're the people playing our hearts out every
week of the orchestra season. I'm Adams Innatelli.
Usually I play first trumpet in the Calgary Phil,
but today I'm your host and I'm here with Jocelyn
Calhoun, Assistant Principal Clarinet of the
Calgary Philharmonic. Hi, Jocelyn! Good morning.
It's great to be sitting down with you. Thanks
for having me. Oh, a pleasure as always. Now
we usually... sit about this close together,
but usually you're facing the other way and I'm
seeing the back of your head. Yes. So it's nice
to see your face. Absolutely. I hear every note
you play. And the good news is that after 37
years with your orchestra, after having my hearing
test, I don't have any hearing loss. It's miraculous.
It is miraculous, but great. I love sitting in
front of you. Your rhythm is so exact. I can
just fit in there. Oh, thank you. It's a wonderful
compliment. I mean, just to sidetrack on this
a little bit, like hearing, taking care of our
hearing is a really important thing in our job,
because not only is it a critical tool, but it's
also something that can really take a beating
over the years. Absolutely. I know a lot of us
use musicians earplugs on stage sometimes, especially
in amplified concerts. I think every one of us
sort of has an emergency regular squishy pair
of earplugs in our case, just in case. There
are often plexiglass shields on stage. You know,
that's just a reality of playing in an orchestra
and especially in the setup that we're in now
where the brass are in a row right behind the
woodwinds. You know, there's there's very often
some shields right in front of us to protect
your hearing. I'm glad they're doing their job.
Yeah, absolutely. I've tried all the above. I
have the squishy ones. I have the custom made
ones, some expensive, some less expensive. I
do find it's very hard to play with earplugs
because you feel like you're plugging your nose
sound -wise. For a really loud pops concert,
it's okay to not get every detail of the violin
players. Most playing you really want to be able
to hear well So I do find that the screens behind
my head seems to be the best for me because it
just takes the the point off Yeah, the sound
you can hear extremely well, but it just doesn't
nothing hurts. Yeah. Yeah, that's great and I
think the most effective way to use them is like
what we're doing. It's right behind your head
to give you the most protection. It's not right
in front of my bell. Right. And then as we do,
you can always say, you know, can we move left
or right? And because you don't want to be playing
into a piece of plastic either. You want your
sound to go out. Yeah. Yeah. You know, we we're
all looking out for each other and we're trying
to make it as easy as possible for us to do a
great job every day that we're at work. and for
years to come. So that means things like this
are good. It's a good thing to be able to take
care of your hearing and not try and be so tough
that you don't need a shield. Well, my husband
couldn't believe that I don't have hearing loss.
Playing E -flat clarinet all those years and
sitting in front of the trumpet, so we were telling
our friend that neither of us had hearing loss.
He goes, oh, so it's a listening problem. Boy
oh boy, I have no comment. I can't relate to
that at all. Well Jocelyn, this year you have
been playing a lot of first clarinet in the orchestra,
and that's part of your job as assistant principal,
right? Usually you're playing second clarinet,
but sometimes it's your job to step up and play
first. And not only have you been in the first
chair a lot, this is also your last year with
the orchestra. You're retiring at the end of
the year. Yeah, I was kind of thinking of sailing
off into the sunset, taking it easy, you know,
doing my job well. But I am on the hot seat.
I've been asked to step up and play principal
this year. So assistant principal, you do just
about everything. There's a principal and assistant
principal. So I play a lot of second clarinet.
I also am responsible for the E flat clarinet
parts, which are always I like to think of them
as the icing on the cake. You know, we just played
Symphonie Fantastique and the E flat clarinet
is the witchiest witch you can make it. Then
if the second part doubles on bass, I also play
some bass clarinet. If the first player is sick,
I can step up into that role. And if the first
player wants to take a break from one of the
pieces, say one of the concertos, then I will
do that. Also, if the principal clarinet is on
leave, I'm asked to play principal for that.
And I did that a couple of years when Steve Amsel
took transition to retirement. I've also in my
role done announcements and danced the tango.
Yeah, I was going to ask you about the tango.
So now's the time, Jocelyn. That was right before
I joined the orchestra. Oh, so you didn't see
me in mine. No, I've only heard the legends of
Jocelyn dancing the tango. Tell us about it.
Well, one of the things that I have loved to
do is do some ballroom dancing. And in my early
days, before I was married, it was Arthur Murray,
believe it or not, I had just moved to Calgary
from the Edmonton Symphony. And I had the greatest,
greatest time learning, you know, all kinds of
different dances, foxtrot, waltz, whatever. And
tango did a little bit of that. So I used to
tell Tim Rawlings, our personnel manager, you
know, I really love dancing. And yes, I went
dancing last night. And so one day, like, and
this is after 30 years of being here, I think
I just turned 50. And Tim said, Jocelyn, you
do some ballroom dancing. You do the tango. We
need a tango for our upcoming concert in a few
weeks. Would you like to do it? I said, yes,
before I even thought of it, I said yes. And
then I thought, what the heck did I just do?
Anyway. I contacted my old ballroom dance teacher,
his name was Randy, and I practiced a couple
of times a week with him for months. And it was
the old style tango where your head is back,
so I got a slinky dress made, and Randy comes
out with a rose, and I come out, and oh my gosh.
And then a few years later, Tim said again, hey,
that went well, let's do it again. So this time
I had up my game. I had a new, an expert tango
teacher. His name is Leo Sato. And this is the
Argentinian style tango. So there's a lot more
leg wrapping, a lot more intimate. So I would
go out with him in a more intense way and go
out to a place that played tango music. So, so
funny. Oh, it's Wednesday night, Alec, I got
to go to my tango lesson. He goes, oh, I know
you're just out with your boyfriend again. And
so he, he was very supportive except when he
saw the concert and he came back after he goes,
you didn't tell me the guy was going to put your
hand up your leg for us. It's just part of the
Argentinian style. So anyway, it was actually
a real thrill for me to do it. The second one,
I had my. black long jacket over my red dress.
And Leo comes on and looks at the orchestra,
who amongst you, he was saying would like to
come. And I just got up, threw my jacket off
and came out. Oh, so dramatic. Oh, it's very
dramatic. And it was so much fun. I'm not a professional
dancer and it was probably one of the scariest
things I did, but so fun. And you know what is
so funny? Like I'm thinking that when I retire,
in a few months. I've had people come up to me
in a shopping mall, never mind the 41 years as
a professional clarinetist, you're the one that
did the tango. Oh, really? So people remember
that. I think I'll be remember that for probably
more or just as much as playing the clarinet.
Oh, that's so funny. Boy, oh boy. Well, Jocelyn,
one of the things that I really admire about
you is that you have so many interests. And I
don't think it's, you know, as musicians, we
get so focused on our job and playing our instrument
and learning the music and all those things.
And I'm a big believer that other interests don't
necessarily have to detract from our qualities
as musicians. In fact, they can make us better
and more rounded musicians. And one thing I've
always admired about you is that you have so
many interests outside of music. Yeah, I really
like to be active. I really like to push myself
to new things. I did yoga for 30 years and did
a yoga teacher training course. I more recently,
well, I guess in the last 15 years, met some
friends and they were really into road biking.
So I started training, you know, casually, but
ended up doing 100K or 120K fondos. More recently,
probably. it feels like 60 or 80 is probably
enough. I could do, it's 80. So in Drumheller
or in Banff or Kelowna, I'm not winning any prizes
here, but just to finish is really fun. And a
few years ago, I think it was a couple of years
before COVID, a friend of mine said, hey, we're
going mountain biking in Morocco. You want to
come? And I thought, well, no. How could I think
of going mountain biking in Morocco? And I said
to my husband, I said, well, this is this invite.
He goes, go for it. I said, are you kidding?
Anyway, I ended up going and it was the most
amazing thing. We rented mountain bikes. There
was a 13 of us. We had guides. We had these old
dilapidated vans and they followed us around.
We were through the desert. Uh, uh, like, you
know, it's more like Rocky desert, uh, when we
weren't on. like loose sand, but they would find
the one, you know, shaded area in the desert
and spread out a blanket and had this wonderful
lunch for us. We'd stay in these amazing places,
wonderful bed and breakfast places where you're
sitting with the family and really remote places.
Going to the old, old world places, markets,
you feel like, you know, there's the goats in
the little trailers and the little. Shopping
stands and it was just, it was magical. And we
would do, I don't know, 50, 80 K most days. We
did that for a week. So that sounds like a heck
of a trip. It was, it was really like, who would
ever have thought that I was going to be going
to Morocco biking, but you have to have friends
that say, let's do it. So. That's so wonderful,
Jocelyn. Talking about these once -in -a -lifetime
experiences, it makes me wonder, in your time,
in your orchestral career, which has been in
Calgary mostly, but like you said, also in Edmonton,
of all the music you've played, I'm sure there
are some things that you've played a million
times by now, what are some things that are once
-in -a -career pieces that you've really enjoyed?
I have to say that... I now have played every
single solo I've ever wanted to play, which is
amazing because as an assistant, you don't always
get to play the big ones. But this year, there's
actually been three solos, huge solos in orchestral
and a clarinet's life where it feels like the
whole orchestra drops off the stage. It feels
like a spotlight's on you and you are alone.
Sibelius one. starts with the clarinet and all
it is is a murmuring of the timpani in the distance
and you get that full minute. Just the ability
to sit there and play at your best in such a
controlled manner. I feel someone came up to
me afterwards and said, wow, I feel like you've
played, you've just put your whole life through
your clarinet, which is a great compliment. you
know, 41 years and to feel that I can do that
and it comes out as you want. Also Francesca
Derimini, the whole orchestra stops and there's
a few little plinking of a, and Runa said, hey,
listen, you're the boss. You're the boss. You
could take 15 minutes with the solo. It's, you
know, like one minute, but you said, but there's
just one note I'd like you to hang over a little
bit longer. I said, okay. So again, really feeling
that I can, expand and take the time and not
be afraid to take the time. Sometimes it's an
assistant principle. You feel like I'm just filling
in. I've got to play my notes. I've got to get
it right. I can't make a mistake. And also Scheherazade,
where again, there's just plinking and you've
got three little cadenzas and daring to take
enough time. That was what I learned through
this year is that you can make people wait an
extra second or two. It feels like 15 seconds.
but an extra second or two can really cause some
drama, I think. Yeah, I absolutely agree. This
is actually something that I have a hard time
relaying to students, you know, who are just
sort of finding their feet in terms of being
expressive on their instruments. If they're playing
a cadenza or something like that, say, no, no,
no, you have the time. Take that second. Have
a good breath. It'll feel organic. It'll feel
correct. It'll feel musical. It takes time. And
a lot of reassurance for that student to start
feeling like, oh, this is actually okay. You
know, that there can be this space in the music
that makes it better and makes it more natural.
Absolutely. You know, it's funny that I've been
thinking about this year. There was a former
conductor that said to us, I am not striving
merely for excellence. I'm striving for perfection.
We try to play perfectly in that it really is
our job to play the right notes. But I heard
a quote not too long ago, I think it was Brene
Brown and it was something like, it's a privilege
to strive for perfection. So take it easy with
yourself. If you reach perfection, it means you're
done. We're never done. Enjoy the journey. You
know, if ever I've thought, oh my God, I think
I'm going to go through this whole concert with
one mistake and then you know what? Three bars
before the end, I'll do something. So as soon
as you think about being perfect, it takes your
attention away from what you're doing. Totally.
So striving for the best you can possibly do
and allowing yourself to be maybe a little spontaneous
in the solos in the moment is more important
than thinking about how can I be perfect? So
that's. How I've tried to think about it. Yeah,
I think that's so healthy. I think that's so
healthy. You know, all we can do is our best.
And if we try to if we make our goals about outcomes
rather than about our own process, I don't think
it's a useful goal. I don't think it's healthy
to to frame success or however you want to say
it in terms of outcomes like, I'm going to play
a note perfect concert. I think it's more interesting
and more useful and you end up with a better
product by saying, I'm going to be really well
prepared. I'm going to show up. I'm going to
be in the moment and I'm going to take the risks
where I should take the risks and I get what
I get. And that's why conductors make such a
huge difference in how you approach your playing.
Yeah, that's a great point. So we've had conductors
that insist on perfection. And if you make a
mistake, they're glaring at you. And so come
a concert, I've been glared at because I'd made
a mistake previously. And then you have to put
every single bit of your fiber and you have to
look at that conductor and you have to play your
best. And so you're thinking about how I'm going
to make sure. And then there's other conductors.
like Hans Graf perhaps, that we would give our
souls for him and all that he expected of us
is that we would do our best and play for him.
I have one story I like to tell is that was the
Dvorak New World Symphony. I really imagined
I'm on this ship in the middle of the ocean,
I'm going to the New World and the waves are
big and I see the horizon and the sunset and
And so I just got up after the concert and said
to Graf, I said, oh Hans, that was so magical,
so amazing. I saw the purple of the horizon.
And he looked at me like, well, he goes, well,
yes, I was there too. And it's like, it was obvious.
Yeah, everybody saw the sunset. But anyway, so
it's those moments where You you give your heart
and soul to the conductor that it because they
inspire you and you're not afraid to take chances.
Yeah Yeah be feeling Enabled to be vulnerable.
Mm -hmm as a player I think is sort of I think
it's sort of the greatest gift that a conductor
can give us Yeah, because we all want it to be
good We don't want to miss notes when someone
makes a mistake. They're not making it at the
conductor right, right like We're the one who
looks like a dope. That's right. You make a mistake.
Yeah, but there's no there's no better way to
guarantee a mistake than Say don't make a mistake.
You know what I mean? Yeah So as assistant principal,
you really are the jack -of -all -trades. You've
got to do everything, ranging from being the
consummate section player to stepping up to play
principal. You've even been featured with the
orchestra as a soloist. Mm -hmm. Yeah, I've been
really lucky to step out in front of the orchestra
four different times. One of the first times
is playing the Mozart's Sinfonia Constantin.
Oh, great. With Bernardi, actually. And it's
clarinet, bassoon, oboe, and French horn. so
you're kind of four soloists. Bernard, you like
to call us the B team. I mean, he really liked
our playing, but we're all assistants, so he
called us up the B team. Oh, so the soloists
for the Sinfonia Concertante were the assistant
principals of the section? Yes. Oh, that's lovely.
Yeah, I think he had a lot of confidence in us
and we were all thrilled to do it. I love Mozart
anyway. He loved the clarinet. The lines are
so lyrical and beautiful. So that was a lovely
experience. I did a duet with Steve Amsel. We
had fun playing together, and so we did the chromer
duet. So lots of noodles, kind of earlier classical
music, and that was a ton of fun. So Steve Amsel
is our now retired principal clarinet. Yes, we
played together for 30 years, at least 30 years.
So that was fun for us to do that. I played a
Canadian piece by Patrick Cardy who has passed
away quite a while ago now, but it's called Virili.
It's a contemporary Canadian piece, very warm
and lyrical as well. That was really fun to play.
We have done concerts in Drum Heller. That was
Beethoven in the Badlands. That's right. I played
a piece by Steve Chapman called Prairie Dawn.
It's very Copland -esque. It's very reminiscent.
It's funny, I knew Steve Chapman because he was
one of my professors at U of C when I was there
getting my master's. We played some music of
his in the CPO in my time as well. Yes. He's
very accessible writing. I remember we played
a cantata piece called Earth Songs. choir and
I think with soloists and orchestra. There's
a Vancouver Symphony recording. So that was always
really a privilege to do that. Well, speaking
of Steve Ansell, among your many interests outside
of music, when you arrived here today, you showed
me something that I had never seen before. I
didn't know that you've been getting into art,
visual art. You've been doing some drawing. And
specifically, you showed me a caricature that
you drew of Steve Ansell that was lovely. Well,
you know, it's funny, I've taken different painting
classes, different art classes and drawing, and
I really don't have a super natural talent for
drawing, but it gives me pleasure just to be
funny if I think of a funny circumstance to be
able to get the idea across. So I actually drew
the whole woodwind section. This was I have a
few updates to make but and one of Steve was
He he could be a little bit irritated when the
sounds got loud shall we say so I I drew a picture
of him with his clarinet and a loud opera singer
behind him in the in the caption of Of the opera
singer says oh am I loud enough and then Steve's
caption is Shut up. Because it is painful when
an opera singer under rehearsal is sitting right
behind your stage and right into your head. Yeah,
on stage with a jazz singer, if we're doing something
with singers, they're at the front of the stage,
in front of the orchestra. In the pit, they're
up on stage and we're down below. But sometimes
when we're doing rehearsals for opera in a rehearsal
hall situation, sometimes singers will show up.
And they'll sort of stand behind the orchestra
and sing and that's a real surprise for us sometimes
Because boy they put a lot of sound they use
a diaphragm. Well, you know, it's like yeah Yeah,
I do like different cartoons. I you know I was
thinking about maybe putting them on Instagram
whatever and just calling it notes from the third
act and as probably I'm in my third act in life,
but Sometimes just things silly things you'll
think One cartoon I drew of myself with my hands
wide thinking, why don't my adult children call
me on the phone and just have a chat? Why does
it always have to be texting or emailing? And
then the other one is a devil figure and he's
saying, he's calling me on the phone. Hello,
this is Samuel calling you from the cafe and
your reservation is ready and it says cafe and
crematorium. It's a little bit dark. It's a bit
dark, but I amuse myself. Yeah. So I wanted to
ask you, like you've been a professional artist
for your whole career. I think it's easy for
us professional artists to kind of forget that
feeling of being an amateur, right? It's so different.
I mean, we take a lot of joy in. implying our
craft at the highest possible level we can as
musicians, but to approach cartooning as an amateur
without aspirations of cartooning at the highest
level, it's a totally different experience. Can
you tell us a little bit about what is the same
and what is different about those? Well, I've
always liked doing... things with my hands like
sewing, crafty things. I've gotten into quilting
and made many quilts the last few years. And
drawing is like the other day I just sat down
and two or three hours went by just getting lost
in what you're doing. I think they call it being
in the zone. And you know, when I'm practicing
the clarinet, it still is my job. It still is
my work. I have something to do that I don't
choose on a weekly basis that someone else has
chosen. Sometimes it's really challenging, so
I have to concentrate. But when you're doing
something that you're not getting paid for, you
could just be free to make mistakes. And the
good thing about drawing is that you have an
eraser. When you're playing, you don't get an
eraser in a concert, right? And so there's definitely
that pressure. There's no pressure when you're
doing art or sewing. And so it really is a rest
from the rest of life kind of thing. And I love
playing with color. One of my favorite parts
of quilting is going to a store and putting the
colors together. It's like the stars are aligned
when the colors are right. You know, you have
this tone and that tone, and I don't know the
science. I mean, I've studied the color wheel
a bit, but when the colors are there, it's like
the universe is aligned. It's like hearing wonderful
choirs like Luminous Voices when it's so in tune.
Or the orchestra's in tune. It's just like everything
lines up. I will never reach perfection in any
of my stuff that I do, but striving towards enjoyment
of the moment. This is great. Yeah, that's the
point. is thinking about colors. Also, Jocelyn,
you're a very stylish dresser. You always have
been. And it's the same sort of thing, right?
When you put together an outfit that really works,
the colors, the textures, all these things. That's
a very familiar sort of vibe from what you're
talking about at the quilt store. I do like to
go out of the house. I don't spend a lot of time,
but I like color. I like feeling that I've put
myself together. I can start the day. Yeah. Yeah,
that's great. Through all these years in the
orchestra, I really am very appreciative that
I've had a great husband and two great kids.
You do give up a lot when you play in an orchestra.
You give up a lot of social things when everybody's
home or putting their feet up is when you go
to work. My family's been very accommodating
and very supportive. I think my husband is certainly
my biggest fan and he wants to sit right up in
the choir loft. I saw him in a concert recently.
He was sitting in the choir loft and the usher
was like, you can't sit there. I know. He says,
you don't get it. My wife is right there and
she's been playing this orchestra for 37 years.
For one reason, he's 6 '10 and likes the leg
room, but he really likes sitting right there.
I think he's the only person that I would be
OK sitting there. I just I just know he's got
he's got my back 100 percent and I appreciate
that. Yeah. And my kids, you can do it, mom,
go for it. So I think it's it's really lucky
when we have a good family to be in our corner.
Yeah, we need all the help we can get. So you've
heard a lot of great playing. at the CPO over
your years, Jocelyn. I want to ask you, and usually
I ask this to everyone, but as someone retiring,
I don't want to try and limit you to just one
person. Who are the people over the years, past
and present, who have really inspired you with
their playing on stage at the CPO? I am very
proud of our orchestra. I think every year with
new people, the level keeps raising, but I also
think there's some long -term colleagues that
I I'm so proud to have played with all these
years. People like Dave Reed, he's got such a
great sense of intonation and beat and he can
play jazz or any kind of classical music. And
as often the bottom part of the orchestra, I
think he's just a natural musician. I would say
that too about Heather Wooten. She's just always
the musicality. You can't always teach musicality,
right? You know, I guess I'm thinking about the
assistant principals too, you know, David Sussman
and Mike Hope. The three of us have had to step
up this year into principal roles and I'd like
to pat them all on the back for all the work
and dedication. Every week I'm proud of someone
in the orchestra as they step up, right? And
I think... and not just because you're interviewing
me, but I think your playing keeps getting better
every year. It's always been great. But you really,
I know that you, because I've talked to you before,
you very purposely plan your sessions of practice
and you are always striving, if not for perfection,
then close to it. And I really appreciate that.
I think so many musicians on stage, Diana played
a wonderful concerto. Absolutely wonderful. Even
the memory alone is amazing. If I had to just
choose one superstar that has played with us,
I'd have to choose Yo -Yo Ma. Listening to postings
and recordings of him, he's such a free and natural
musician. I think as a human, he is very humble.
So when he plays with us on stage, I'm just mesmerized
by the liquidity and the facility and the generosity
that he brings his music. And then after he plays
the solo, he'll sit in the section. He's not
a prima donna. He loves music so much. I remember
hearing him do an interview and he talks about
playing like you're part of a brook. and that
you just get into the flow of the music of the
time and put yourself in the middle of it. And
I just thought that was a beautiful way to express
playing music. That sounds lovely. And you know,
it reminds me of what you were talking about,
cartooning. It's almost as if he has this magical
way of being a professional at the highest level
while also managing to capture that spirit of
an amateur in terms of discovery and ease. Absolutely.
Which reminds me of how I am still learning how
to breathe better and tongue better, just technically.
Like I thought, okay, well, I've played for 41
years. So you kind of get out of the habit of
learning new things. Well, recently I've been
thinking, you know, my tonguing could be a little
bit better. And so actually during COVID, I thought
I should learn how to double tongue. You don't
normally double tongue on clarinet because you've
got the read in the way. But some of my colleagues
do, and I was asking people how to do it. So
very slowly and agonizingly, like I could practice
it for about 30 minutes or 30 seconds a day because
it sounds so terrible, but eventually I could
do it. So now I can double tongue, uh, not the
full range, but three quarters of the range.
And it makes a huge difference. Like, you know,
sometimes when I've been trying to double tongue
with the flutes or try to tongue with the flutes
or the trumpets, you're not quite. sinking because
they're using double tongue and I was using single
tongue. But with double tongue, you can actually
sink in a little bit better on some of those
passages, which is cool. And also breathing like,
you know, I did yoga for years. I've done aerobics
classes and isometric classes with isometrics
classes has been amazingly good help for me lately.
But Breathing like I always was teaching my students
diaphragm might blow your belly button off expand
and then you know, you're making sure that you're
breathing from the lower average and upper abdomen
but talking to Lucy Jones who just a flute player
who just did a PhD in wearable technology where
she put a band around your upper chest and Her
PhD was showing the correlation between proper
breathing and sound production and quality of
sound So I was just thinking that like a few
months ago and thinking, wow, I don't think I'm
laterally breathing in my upper, upper ribs.
And then suddenly the last few months, it's like,
I have no problem sustaining long phrases. It's
like, why haven't I been thinking about that?
Like you forget unless you, unless you intentionally
go back and go to the basics, you just go on
automatic. Yeah. I remember years ago. I saw
Mike Hope in rehearsal take like a TheraBand
like a physiotherapy like a stretchy elastic
band and and tied around his ribs and I was so
fascinated to see that and I asked him about
it and he was telling me why and how we can help
him kind of check in with his breathing and I
went home and I still do that in the practice
room sometimes it's such a useful tool and I
think that so much of what you're saying is that
when we are surrounded by people who are learning.
We're surrounded by colleagues who are getting
better and figuring things out and being curious
You know that inspires us to be curious and learn
through our whole careers, you know I think you're
a lifelong learner and that's like one of the
best things you can be I think so yeah, we hear
lots of great playing on stage, but the inspiration
to always be learning and Find joy and figuring
things out is one of the best things that can
happen for us. Yeah, you're never done You're
never gonna reach perfection and you don't want
to Well, Jocelyn, this has been such a treat
to sit down with you. We're really going to miss
you in the orchestra. You're beautiful playing
and you're such a great colleague that, you know,
it won't be the same without you. Thank you,
Adam. It's my pleasure to be here and I'll miss
you all too. Notes from the stage is an independent
production of the Calgary Philharmonic Players
Association. The opinions expressed here are
our own and do not reflect those of the Calgary
Philharmonic Orchestra. Our thanks to Nathan
Chandler for his technical expertise. The music
you heard on this episode was The Burlesque by
Elizabeth Rahm, performed by Janis Waite, Olga
Kotova, and Jocelyn Cohean. On our next episode
in two weeks, I'll be talking with principal
percussionist Chris Sighs. Talk to you soon!