March 2017

It always amazes me how small and close our music world really is! Sit for an hour or two at Frankfurt International Airport, and try counting the number of violin and cello cases that go past you either to pick up baggage or to board planes to distant parts of the world! Often the culprits are good friends and colleagues. On other occasions you may see a parade of youngsters carrying an assortment of instruments to the boarding gates – probably an international youth orchestra on tour! Only the pianists pass by without instant identification. Not many of them anticipate taking their instrument on board a flight as "carry-on baggage".

And it is not so different here at Vancouver Airport. The number of artists on tour increases every year as more and more concert activity springs up across the province. Who said that classical music was dead? Count the cello cases, and be reassured.

Cellists, like their cousins the double bass players, suffer the most from airline regulations and restrictions on what may and may not be carried on board a commercial aircraft. In the "old days" [before airport security was an accepted reality of getting through an airport] most musical instruments were allowed on board flights as carry-on hand baggage. Flute and piccolo players had the least trouble! But even then, artists who carried cellos and double basses had to purchase a seat for the instrument. Initially it was at half price; then raised to 75% and latterly at full fare. Many a flight was delayed while cabin crew tried to figure out how to fasten a seat belt around a double bass. In those heady days when even economy class air-travel provided in-flight meals, passenger jokes abounded, asking whether the cello received a free meal.

The Russian cellist, Sasha Korchagin outsmarted airline authorities at a Tasmanian airport en-route to Melbourne where he had a concert to play on the same evening as his travel. A strike by baggage handlers had even restricted his ability to purchase a seat for his cello. The rest of the Shostakovich Quartet could board Ansett flight 505 with their instruments without any difficulty, but according to the agent at the check-in counter, while Mr. Korchagin was allowed to travel, his cello would have to remain behind! Clearly that did not bode well for the Melbourne concert that night.

Armed with the knowledge that airline staff were provided with a list of musical instruments that could be permitted in the cabin, Sasha marched boldly to the gate, carrying his cello, and very politely asked the boarding agent "is it alright if I carry my clarinet on board?" The young man withdrew the list from an inner pocket, moistened his finger and scrolled down the paper: "flute, oboe, clarinet.... why, yes, sir! That will be fine. Welcome on board."

Today, musical instruments are carefully scrutinized both for weight and bulk. Violins and bassoons are permitted on board, provided they fit in the overhead bins. French horns are manufactured, these days, with removable bells. Guitars can travel in solid cases, as excess baggage. Trombones fit on dreamliners but not on 737s. Tubas are condemned to the baggage hold regardless of aircraft. Cellos and basses still have to pay full-fares, still require secure seat belts to hold them in place, and still do not qualify for free meals – not even pretzels.

As to pianos...well, a word of advice: don’t try flying somewhere with a grand piano.

Mind you – it has been done. In 1961 the Eldorado Mining Company flew two pianos north to Uranium City on their ancient ore-carrier air-freighter. I remember standing, on a freezing February morning, at hanger #8 of the old Edmonton Municipal Airport, watching the two precious Steinway grands being hoisted aloft on forklifts, where - fifteen metres above the tarmac - they swayed precariously, while air-crew tried to figure out if the pachydermal shapes would really fit through the freight doors of the DC 4. The answer, at 25 below zero temperature was an absolute "no". The pianos swayed their way down to ground level while engineers removed the freight door from its hinges. Two hours later, they tried again. This time, the wind subsided, and the pianos were raised once again to the loading level, where they were finally set to rest inside the aircraft, on a bed of left-over yellow-cake. Doors were replaced, and pianos made their historic trip to the mining community, on the border of the Northwest Territories.

I wasn’t present for the return flight, but everything must have gone smoothly. The artists arrived on time to Medicine Hat, pianos and all, as scheduled for their next concert.

Now, I’ll bring this story up to the present day. Our Artistic Directors Elizabeth and Marcel Bergmann have taken a page from that era of musical history and have begun active touring with two grand pianos in tow. So far they are limiting their adventures to highways, but who knows – perhaps before too long somebody will come up with the idea of a duo-piano concert in one of the numerous northern communities that still have no easy road access.

I hear that Elizabeth may be studying for a pilot’s license.

Enjoy this month’s concert. Catherine’s piano will arrive unceremoniously from our friends at Showcase Pianos on West Broadway, but Kai Gleusteen’s violin will be undoubtedly spied passing through Barcelona’s ever busy international airport.


February 2017 - The Anatomy of a Concert Tour

I think that most of us who attended the January concert by the Canadian Guitar Quartet were captivated by their amazing vitality and virtuosity. It was a doubly significant event for me because our White Rock concert was also the opening night of a 23 concert tour of BC and Alberta which I had the unique pleasure of organizing for them.

I thought you might be interested in an insight into how a tour of such scope is put together – call it "the anatomy of a concert tour".

An old friend and colleague, Toronto-based concert manager, Richard Paul, introduced me to the Quartet. Now: it’s a manager’s job to represent his artists as forcefully as he can, and those of us on the “buying” side of the artistic fence sometimes view management hyperbole with a modicum of skepticism. So for years I resisted Richard’s entreaties about this particular group. And then I heard them in a short showcase at a conference in Vancouver. Suddenly something about them clicked.

Here was the perfect attraction for sophisticated audiences in larger centers and, at the same time - by the sheer popularity and ubiquity of the guitar – a group that was likely to appeal to smaller communities with less concert experience. Here too was a young, energetic, enthusiastic ensemble, in love with their instrument, determined to make music wherever they could, and willing to work hard to present the guitar in a new classical light. They were the right group for an extensive tour.

That of course, was just the beginning. The Gentlemen of the CGQ are from Ottawa. What would happen if, as a result of such a showcase, Kaslo – deep in the Kootenays – or Sechelt on the Sunshine Coast - were to request a date? A single, isolated engagement will barely pay the air travel cost, let alone a rental vehicle, hotels and meals as well as performance fees and commissions.

We have an old adage in the concert world. If you want to build a tour, then at some point you have to be willing to accept the first engagement that turns up!

But here is the traditional dilemma. Communities may show potential interest in a tour. On the other hand, managers and their artists from distant parts cannot risk undertaking huge travel expenses without assured results.

So, instead, they will offer a discounted fee in return for a commitment from somebody else to pay for a minimum number of engagements, regardless of the tour organizer’s success.

And that’s what I undertook to do for the Canadian Guitar Quartet. Over two years ago I committed to Richard Paul that I would guarantee to pay for a minimum of 12 engagements.

Filling such a commitment wasn’t easy. Like White Rock, many of the concert societies have fixed days of the week when they must hold their concerts. White Rock, West Vancouver, Coquitlam, Chilliwack, Kelowna and Kaslo all need Fridays. Sechelt could only take Sunday. Langley, Abbotsford and Nelson insist on Saturdays and Kamloops has to have a Thursday.

Help!! I am working on creating a nine day week with three Fridays and two Saturdays, designed especially for concert tours, but no matter how hard I try, I end up with the regular number of weekend dates in any given three week period.

In spite of that I somehow created an itinerary. Some communities didn’t get the night they wanted. Others weren’t able to take the attraction. Thank goodness for Parksville and Cranbrook where the Presenter will take any day of the week for their concerts.

In the end I reported back to Richard Paul in Toronto with a very neat tour: 17 engagements in 21 days of touring. Guarantee fulfilled. A risk-free tour for the Canadian Guitar Quartet.

That was six months ago. And then the complaints began arriving. What had I done? Too tight a schedule? Not enough time for relaxation? On the contrary. The complaint was that there was too much free time. “We want to play every day,” they insisted. Would I be kind enough to try to fill all those gaps in the tour!

It was back to the drawing board, and an arduous three months of additional booking.

Even when that was done, there still remained innumerable logistical hurdles to jump. With the airlines we soon learned that we would have to teach the guitars to fly. Each instrument either has to purchase a seat or pay a special excess over-size baggage charge. With the rental vehicle we needed to find a company that would provide snow tires, allow more than one driver on the contract, accept a drop of the vehicle in Calgary, and not insist on full payment in advance. With hotels. most communities proposed first class luxury accommodation. Some offered B&B, others private hospitality. All provided comfort, service, convenience and economy. With BC Ferries, some routes accepted reservations, but others required lengthy line-ups to be sure of space. High winds in December had caused numerous ferry cancellations. The CGQ was extraordinarily fortunate. In January all of their sailings were on time.

I had a management colleague in the early 70’s who quit the concert business and went into future sales of potatoes. [He owned property on PEI.] He once, very simply, described the difference between the two business models: “A sack of potatoes” he told me “will not talk back to you!”

This has always served as a reminder to me that the principal consideration in planning any tour has to be the needs and requests of the artists who are involved. Although in the case of the CGQ it was clear that I was dealing with dedicated workaholics, whose passion for their instrument was going to overcome many difficulties, there were still plenty of special requests from the four guitarists..

One of the performers had just become a new father six weeks before the tour began. He was understandably anxious to get home as soon as possible, to see whether his son would recognize him, anew. So I wasn’t surprised when he requested to fly home from Calgary on the red-eye at 1.30 a.m. after the final concert.

But then the other three members of the Quartet requested the same night flight!

It turned out that they all were due to start rehearsal for a guitar festival in the nation’s capital the very morning they arrived back in town!

Well, as you can see, putting a tour together is a bit like completing a gigantic jigsaw puzzle, with human beings as the moveable pieces instead of wooden cutouts!

In spite of all this, we ended up with 23 engagements! The artists would earn nearly double what they had anticipated. A collective audience of nearly 10000 BC and Alberta concertgoers would hear and enjoy the CGQ. And four young gentlemen from Ottawa would not only experience BC and Alberta’s remarkable audience enthusiasm and warm personal hospitality: they would also acquire an unequalled knowledge of Western Canadian geography.


January 2017

Greetings to all of our White Rock subscribers, and let me take this occasion to wish you all a wonderful New Year, full of great music.

We’re starting the New Year with a fascinating ensemble – the Canadian Guitar Quartet. Their manager, Richard Paul is an old friend of mine and he started talking to me about this ensemble almost three years ago. Not only did I end up recommending them to Elizabeth and Marcel for our White Rock Concerts series, but I also helped Richard and the Quartet by organizing an extensive B.C and Alberta tour for them. This segment alone has nineteen concerts in just 21 days. White Rock’s concert is the opening event of this grand tour.

Their programme, as you will hear, is widely varied, but most exciting of all they are playing the Rodrigo Concierto Andeluz, with the John Avison Chamber Orchestra, conducted today by VSO Associate conductor, Kenneth Hsieh. Most listeners are familiar with Rodrigo’s Concierto Arunjez¸which is written for just a single guitar solo and orchestra. The Concierto Andeluz was written in 1967 for the Romero Guitar Quartet, and although it was created nearly thirty years after the solo concerto, it is imbued with those same quintessential Andelusian rhythms. The spirit and style are unmistakeable!!

When I wrote this “blog” I had no way of knowing what the January 20th weather would be like. Let me just say that if – by chance - we are in the midst of another cold spell, the Concierto Andeluz will very happily succeed in warming everyone up!

Now, if I have space for a few more words, I would like to tell you about a fascinating concert development in a number of nearby rural BC communities. Stimulated by our remarkable success as a subscription audience here in White Rock, I have been able to encourage several new series to launch concert plans for the coming season. Of course, this is wonderfully beneficial to the communities, and to the artists who suddenly find additional places at which they can perform. But ultimately it also benefits White Rock Concerts, since new tours are established and fees are reduced as more concerts are added to existing tours. It’s a win-win for everyone.

New concert series are now active in Parksville, Port Alberni, Burnaby and Agassiz. All of them succeed because they follow White Rock’s basic guiding rules - quality artists, and subscriptions only with no single tickets at the door. It’s amazing how this method works, every time.

Parksville [Oceanside Classical Concerts] is headed by a former White Rock subscriber, David Douglas. Now in its third season, they are sold out with 300 subscribers at the Knox United Church. Port Alberni is just beginning, also sold out with 120 members at a converted church, Char’s Landing. Agassiz is approaching 125 members for their first season, and Burnaby – the tiniest of the lot – aims to fill an 85 seat chapel at Brentwood Presbyterian Church.That series is headed by the ever energetic Minister, Rev. Brian Fraser. I had the pleasure of meeting him and his charming wife, Jill, aboard our Danube trip last year. I guess I should invite you all to join in the next river cruise on the Douro in May of this year. Then if any of you retire to the interior or Vancouver Island, you’ll be primed to become Chairman of the next new concert audience in BC!


Nov 18, 2016

Hello, White Rock Concerts Friends -

I am back from my wanderings around Southern Europe, and looking forward immensely to attending the next concert with pianist André LaPlante and the John Avison Chamber Orchestra. You have probably noticed that you are going to enjoy the orchestra several more times this season - with the Canadian Guitar Quartet in January; with Kai Gleusteen and Catherine Ordronneau [violin and piano] in early March and with the UBC Opera Ensemble in their late March production of La Bohème.

The John Avison Chamber Orchestra consists of some of Vancouver’s finest free-lance players.....for years, many of them played with Avison’s distinguished CBC Vancouver Radio orchestra. When the CBC [foolishly, I suggest] terminated the orchestra’s regular broadcast schedule in 2005, the City of Vancouver was left without a unique musical gem.

It always struck me as ironic that Winnipeg [a city one third the size of Vancouver] could maintain both a full Symphony Orchestra and a Professional chamber orchestra. The City of Minneapolis, only half the size of metro Vancouver is home for both the Minnesota Orchestra and the St. Paul Chamber Orchestra. Why not Vancouver?

So, here’s a little bit of Vancouver’s lost musical history. The Orchestra was founded in 1938. John Avison was its conductor until 1980. I was a member of the orchestra in the 60’s when we broadcast as many as 39 one hour broadcasts a year, many of which were also public concerts. In its final years, it was the last remaining publicly funded radio orchestra anywhere in North America.

Avison’s band played a quintessential role in the development of Canadian music in the last century by performing and recording an endless list of contemporary Canadian works. It reached out to remote and smaller communities by a series of tours, which included Frobisher Bay [before it became Iqaluit], Whitehorse, Yellowknife and Inuvik. In the orchestra’s entire 70-year history, there were only three other conductors John Elliot Gardener, Mario Bernardi and Alain Trudel.

Any surprise, then, that I wanted to see a chamber orchestra in Vancouver named after its founder, innovator and earliest musical inspiration? Well, now that the Bergmanns are taking such splendid care of White Rock Concerts I can devote some of my time to the re-establishment of a chamber orchestra for metro Vancouver. And, in a way, White Rock Concerts will play a central role, and thereby take its own special place in Canadian music history by revisiting that long lost heyday of John Avison’s remarkable CBC Orchestra.....truly, the little orchestra that could.


Oct 21 Poulenc Trio

Hello, White Rock Concert friends!

Unfortunately, I am not able to be with you for this Oct 21 concert by the Poulenc Trio and friends.

I’m off on the River Rhone, somewhere between Avignon and the Spanish border, and I’ll miss the chance to hear this ensemble.

There’s a long history to this concert, and also an amazing musical coincidence, which as you will see, helps to assuage my temporary sadness at not having the chance to hear the great Poulenc sextet for winds and piano. First of all, you may ask, how can a Trio play a Sextet? Well that’s part of the fun of tonight’s concert - the Poulenc Trio is being joined by three of our Vancouver wind-playing colleagues.

But let’s return for a moment to the history. I met the manager of the Poulenc Trio approximately twenty-five years ago at a booking conference in Salt Lake City. Lisa Sapinkopf always had interesting groups on tour.

The St Petersburg String Quartet, which we presented twice over the years, was managed by her, and when she told me - about ten years ago - about the formation of the Poulenc Trio my ears pricked up because of the wonderful repertoire that this group offered. With the exception of the opening work by Alfred Schnitke, I have played all of these pieces at one time or another.

I would so much have enjoyed hearing these works again in the hands of these remarkable players, and for several seasons, I tried to fit the Poulenc Trio into our programme, but somehow there were always conflicts with dates or logistics that made it impossible. It took the Bergmanns to pin down a date for the Trio.

Well, that leads to today’s coincidence. While you are enjoying the Poulenc Sextet at the concert on Oct 21, I shall actually be listening to exactly the same work played on board the AMADAGIO as it is anchored in Arles, city of Vincent van Gogh. And there is even a further coincidence: The pianist, who will join with the Wind Virtuosi of Montpellier in the concert at Arles, will be Catherine Ordronneau, who will be appearing for you along with her husband Kai Gleusteen and the John Avison Chamber Orchestra on Friday, Mar. 10, 2017, right here in the White Rock Baptist Church. Small world, indeed!

Meantime, the Bergmanns asked me to write a few comments on the music, which the Poulenc Trio and friends will be playing at the Oct 21 concert. Here goes. Wind players like to believe that the repertoire speaks for itself. The occasions when winds are featured at concerts are sadly rare, but fortunately the composers who have written for us manage to display splendidly what these instruments are truly capable of doing.

When Mozart completed his wind quintet, he wrote to his father, saying, “this is the greatest work I have ever written”. It is truly a grand concerto for the four wind instruments and piano, concluding in the joyful Rondo finale with a brilliant cadenza for each of the players.

There is nothing particularly “Pathetique” about the Glinka trio, except. In spite of the choice of a sometime-sombre key of d minor, the entire Trio is a wonderful frolic for the three instruments. Originally written for clarinet, the adaptation for oboe opens up an entirely new sound spectrum. I particularly love the slow movement, where each instrument in turn displays its virtuosity and its multi-hued colours.

Finally, a short word about the Sextet of Poulenc - the grand ‘pièce de résistance’ of the programme. This piece was written and premiered with Poulenc at the piano along with distinguished colleagues from the Paris Conservatory orchestra. These players were all close friends of Poulenc, and you can sense in the writing, particularly in the way melodies and phrases are tossed around between the different instruments, that he is enjoying every moment in which he exploits the lyrical and rhythmic possibilities of each of the instruments. This is true “chamber music” - Music de Camera, or music for friends, and stands as one of the greatest 20th century works for winds. Listen, in particular, to the sheer joy of the Parisian street tune in the last movement. It took cheek to write something that in other hands might have become banal. Chutzpah!!


September 14, 2016

Hello, White Rock Concerts friends:

After 59 years at the helm of White Rock Concerts, I am honoured to be named your Artistic Director Emeritus. [ADE] Now the big problem for all of us is to figure out what an ADE is supposed to do!

Certainly I am happy to continue being actively involved, and at least to feel occasionally useful. One thing we have decided - I’m going to write a blog for each concert, with various matters of interest to White Rock Concerts...maybe some of the fascinating behind-the-scenes-activity that goes on in connection with every one of our concerts. So here goes, ADE Blog #1- Sept 30, 2016.

First of all I want to extend our best and fondest greetings to the new Artistic Director team - Elizabeth and Marcel Bergmann. The Bergmanns will have a busy year, both in their role as active performers on the international concert stage and as proud Artistic Directors of our series.

A very brief word, now, about the 16-17 series, which starts off September 30th with the Lafayette Quartet. The Bergmanns have put together a wonderful mix of concerts: instrumental, vocal, and piano and a full-fledged Opera to wrap things up. Underneath it all is a special kind of adhesive that holds everything together – the glue of orchestral accompaniment. Within a couple of seasons, our John Avison Chamber Orchestra may well become a permanent fixture of the lower mainland’s vibrant concert scene.

Behind the scenes: Val Marten, who is responsible for organizing pianos, chairs, music stands and other necessary equipment, won’t have much to do for the first concert. The Lafayette Quartet will even brought their own music stands! We provide the chairs. But is that quite enough? Cellists seem to need a special kind of seat...in this case, a piano bench. As to the Quartet, they arrive after a short ocean cruise [from Victoria] with BC Ferries. We understand that none of them become sea-sick. Calm seas and a smooth performance up ahead!

One of the things I am still taking care of, with the help of Jim Adams on our Board, is the advertising, which appears from time to time in our programme booklet. This season, we are very happy to greet two new advertisers – Haley Dodge, and the Langley Community Music School. Haley Dodge, a long time White Rock family business, [operating as White Rock Chrysler] undoubtedly hopes that all 800 of us rush out and purchase Dodge Rams sometime this year. The Langley Music School [where the Bergmanns are active teachers] schedules a series of concerts in their intimate 150 seat hall...some by national and international stars, some by their distinguished faculty members. Also on our advertising pages, a tip of the hat to our “regulars” – STI travel, with their wonderful European river cruises, and Crescent Gardens, one of South Surrey’s unique and splendid seniors’ homes.

Finally, a brief note on what else an ADE does, outside of White Rock Concerts. At first I thought I was going to suffer from terminal boredom. No such chance, dear friends! I am wonderfully occupied, helping out on the advertising for White Rock Concerts, and also as you can see from the STI ad in this and other programmes, also actively planning classical music programmes to accompany exciting cruises of Europe’s major rivers.

That’s enough blog until the next time. See you on the 30th, and again at the Oct 21 concert of the Poulenc Trio + Friends.


2016 AGM report

Comments by George Zukerman, O.C., O.B.C., Artistic Director of White Rock Concerts to the Annual General Meeting of the White Rock Concert Society, held on June 6, 2016

This is my final report to you, as Artistic Director.

It has indeed, been a remarkable 59 seasons. When it began sixty years ago, nobody had the faintest idea that it would become a text-book example of how an “organized audience” could flourish while all around us, others fought deficits, and ultimately succumbed to pressure to water-down their content.

We avoided both paths to self destruction: we have arrived at our present position debt free, grant free and – as a result – artistically free. We have allowed no deficits and we have relentlessly pursued quality in everything we presented.

My last season for you ended with a special surprise – the young Hungarian cellist, Istvan Vardai. I knew he was good, but I am not sure that even I recognized in advance just how good he was. Downtown Vancouver booked him immediately for next season and his career is now burgeoning in the world’s major musical capitals. There is muted talk in management circles that this young man is the Yo Yo Mah of the next generation.

My last season was also marked by something else of striking significance. On three occasions, we brought together the John Avison Chamber Orchestra….twice it was to accompany guest artists - the Bergmanns and Mr. Vardai, and on one occasion the orchestra took flight on its own under the baton of Les Dala. That concert with the glorious Mozart wind concertante, stood as an example of just what a polished professional chamber orchestra can contribute to any season - and, more significantly, to a community and a city. What we have started at White Rock Concerts may become the model for a permanent Chamber Orchestra for the city of Vancouver.

It has been a unique opportunity to serve the audience of White Rock and South Surrey. In the course of those 60 years, I would like to believe that I may have helped to shape public musical taste. If that is so, then it is really a tribute to you. After so many years of on-stage excellence, you – the membership of this Society - will settle for no less. Elizabeth and Marcel: that’s what I’ve burdened you with.

For once in my Annual Report I don’t have to talk about the future - but I will, anyhow.

Next season looks good – the programme is varied, colourful, a mix of celebrities and new groups, which I am sure will surprise and delight you. The orchestra is still there on three occasions, and Roger Phillips reports that we will again have a sell-out crowd. We must have been doing something right.

And behind it all stand not just Elizabeth and Marcel, responsible now for continuing to find and secure the kind of programme you want to hear, but also a remarkable Board of Directors, without which White Rock Concerts would not be where it stands today.

Erika – our president [and my president, too!] whose cool insistence on reality doesn’t allow us to dream recklessly, and keeps us all on a straight and honest path;

Emerson, who, like me, is retiring after this year…but not before he has made sure that his membership expertise is now firmly in Roger’s hands, and exercised his magic on one more occasion, to compile our nomination list for the forthcoming election of the Board;

Susan who now prepares our programmes and proofreads them with an eagles’ eye, and who will quite possibly be ready to move one day on to the Presidency;

Ed who controls the finances with simple clarity, cautious advice and fond attention so that we are in a sound financial position as we enter our 61st year;

Roger who succeeds Emerson’s 23 years with an equally determined sell-out success now looming;

Val without whom we would never see a piano on stage, let alone have one in tune;

Marguerite who rescues the artists from imminent starvation on concert night;

Lynne whose meticulous minutes as Secretary help us all on the board, to remember what we promised to do;

Konrad, ever courteous, who makes sure that everyone finds space in the pews;

Charles who maintains the website and prepares the Screen announcements;

Jim Adams who joined me on an advertising team appropriately labeled A to Z;

Joyce who braves the winter winds to greet subscribers with a smile and a programme;

John and Dorthe, new Board members, perhaps anticipating specific tasks which need doing;

Eldon, compelled by personal pressures to leave the board, but still helping by guiding artists on and off stage.

And behind the scenes at the Church – not on the board, but certainly deserving of our attention and affection – Ted Brandon, always there, always helpful, and an invaluable link between us and the Church.

What a team! Thank you all. Not just a Board, but also good, dear friends. And thank you to those new volunteers, and potential Board members who will be joining us, perhaps as soon as this coming season. Boards are fluid organisms, and it is quite reasonable that there should be regular and normal turnover. I know that the Executive is looking for a new Treasurer to replace Ed at the end of next season, and although it will no longer be of direct or specific concern to me, I certainly hope to see this, and other positions filled with that same boundless enthusiasm that has marked our growth and development of the past 60 years.

As I said at the start: It has been a fantastic 60 years – debt-free, grant-free and artistically unfettered. Thank you for giving me the opportunity to serve you and to serve the cause of good music in White Rock and South Surrey.

George Zukerman, O.C. O.B.C.