Led by conductor Jamie Sommerville, the award-winning Hannaford Street Silver Band will perform Mussorgsky’s Pictures at an Exhibition alongside 15 original paintings by Toronto artist Paula Arciniega, creating an immersive gallery of sound and colour.
Concert Program
Welcome Message
Welcome, and thank you for joining us this afternoon.
On behalf of the Hannaford Street Silver Band, I am delighted to welcome you to a concert that expands what a brass band performance can be. Today’s program is an interdisciplinary collaboration with Toronto-based visual artist and classical vocalist Paula Arciniega, whose original paintings are presented alongside the music, turning the hall into a living gallery of sound and colour.
Hannaford’s mission is to honour the brass band tradition while placing it in a contemporary context through bold repertoire and meaningful partnerships. This project embodies that spirit, bringing musicians, collaborators, and audience into one shared experience.
Thank you to everyone who makes this possible: our artists, volunteers, board, partners and supporters, and most of all you, our audience. Your presence and belief in live performance sustains what we do.
We hope you enjoy this afternoon’s concert, and that you leave with the music in your ears and the images still glowing in your mind.
With gratitude,
Jen Stephen
Executive Director, Hannaford Street Silver Band
On behalf of the Hannaford Street Silver Band, I am delighted to welcome you to a concert that expands what a brass band performance can be. Today’s program is an interdisciplinary collaboration with Toronto-based visual artist and classical vocalist Paula Arciniega, whose original paintings are presented alongside the music, turning the hall into a living gallery of sound and colour.
Hannaford’s mission is to honour the brass band tradition while placing it in a contemporary context through bold repertoire and meaningful partnerships. This project embodies that spirit, bringing musicians, collaborators, and audience into one shared experience.
Thank you to everyone who makes this possible: our artists, volunteers, board, partners and supporters, and most of all you, our audience. Your presence and belief in live performance sustains what we do.
We hope you enjoy this afternoon’s concert, and that you leave with the music in your ears and the images still glowing in your mind.
With gratitude,
Jen Stephen
Executive Director, Hannaford Street Silver Band
Order of Performance
Leonard Bernstein (1918-1990)
Suite from West Side Story 1957
Arranged for brass ensemble by Huckridge & Wright
8 minutes
Suite from West Side Story 1957
Arranged for brass ensemble by Huckridge & Wright
8 minutes
George Gershwin (1898–1937)
Rhapsody in Blue 1924
Arranged for brass ensemble by Kenneth Wilkinson
16 minutes
Piano Soloist | James Parker
Rhapsody in Blue 1924
Arranged for brass ensemble by Kenneth Wilkinson
16 minutes
Piano Soloist | James Parker
INTERMISSION
20 minutes
During intermission, you are invited to move through the gallery and engage more closely with the paintings.
20 minutes
During intermission, you are invited to move through the gallery and engage more closely with the paintings.
Modest Mussorgsky (1839–1881)
Pictures at an Exhibition 1874
Arranged for brass ensemble by Elgar Howarth
35 minutes
Pictures at an Exhibition 1874
Arranged for brass ensemble by Elgar Howarth
35 minutes
i. Promenade I
ii. The Gnome (Gnomus)
iii. Promenade II
iv. The Old Castle (Il vecchio castello)
v. Promenade III
vi. Tuileries (Children’s Quarrel after Games)
vii. Bydło
viii. Promenade IV
ix. Ballet of the Unhatched Chicks
x. Samuel Goldenberg and Schmuÿle
xi. Promenade V
xii. The Market at Limoges (Limoges – Le marché)
xiii. Catacombs (Cum mortuis in lingua mortua)
xiv. Baba Yaga (The Hut on Fowl’s Legs)
xv. The Great Gate of Kiev
ii. The Gnome (Gnomus)
iii. Promenade II
iv. The Old Castle (Il vecchio castello)
v. Promenade III
vi. Tuileries (Children’s Quarrel after Games)
vii. Bydło
viii. Promenade IV
ix. Ballet of the Unhatched Chicks
x. Samuel Goldenberg and Schmuÿle
xi. Promenade V
xii. The Market at Limoges (Limoges – Le marché)
xiii. Catacombs (Cum mortuis in lingua mortua)
xiv. Baba Yaga (The Hut on Fowl’s Legs)
xv. The Great Gate of Kiev
Program Notes
These notes offer historical context and a window into how the Hannaford Street Silver Band’s performance meets Paula Arciniega’s painting cycle in real time.
Leonard Bernstein | Selections from West Side Story
Premiering on Broadway in 1957, West Side Story reshaped the sound of musical theatre, bringing symphonic scale into the street-lit world of mid-century New York. Bernstein’s score is urgent and luminous, charged with jazz harmony and Latin dance rhythms, where melody can feel like breathless hope and rhythm like a body in motion.
This short suite offers three snapshots from the larger arc. Prologue opens with tension and momentum, a city pulse etched in sharp accents and close-knit ensemble writing. Something’s Coming turns anticipation into song, bright and restless, always leaning toward the next beat. Mambo bursts into percussion-driven colour, all swagger and heat, where rhythm becomes choreography you can hear.
In this performance, the Hannaford Street Silver Band brings the music into the concert hall without losing its theatrical spark. Denis Wright’s arrangement sharpens Bernstein’s punch and colour for brass ensemble, letting the score’s quick turns and dance-driven energy speak with directness and flair.
This short suite offers three snapshots from the larger arc. Prologue opens with tension and momentum, a city pulse etched in sharp accents and close-knit ensemble writing. Something’s Coming turns anticipation into song, bright and restless, always leaning toward the next beat. Mambo bursts into percussion-driven colour, all swagger and heat, where rhythm becomes choreography you can hear.
In this performance, the Hannaford Street Silver Band brings the music into the concert hall without losing its theatrical spark. Denis Wright’s arrangement sharpens Bernstein’s punch and colour for brass ensemble, letting the score’s quick turns and dance-driven energy speak with directness and flair.
George Gershwin | Rhapsody in Blue
Premiered in 1924, Rhapsody in Blue announced a new voice in the concert hall. Written for bandleader Paul Whiteman and first heard in New York at a concert that aimed to showcase “modern” American music, Gershwin’s score bridges musical worlds, folding jazz, popular song, and urban rhythm into a single sweeping form. From its iconic opening clarinet glide to its big-hearted lyricism and quicksilver turns, the piece moves with the pace of a city: restless, bright, and unapologetically modern.
Gershwin traced its spark to a train ride to Boston, where the “steely rhythms” and “rattle-ty-bang” of travel seemed to set the whole work in motion. Paula Arciniega’s painting catches that kinetic pulse at the source, translating propulsion into luminous blues and electric accents. The Statue of Liberty surfaces through fractured city geometry, piano-like slivers, and sweeping lines that feel improvised rather than fixed, as if the image is being played in real time. Gershwin called the work “a musical kaleidoscope of America, our vast melting pot, our unduplicated national pep, our metropolitan madness.” Arciniega echoes that Jazz Age charge with a surface that shimmers, stacks, and breaks open, as if sound is turning into light mid-phrase.
In this performance, music and painting share the stage as equal storytellers. Together, they hold the optimism and the edge of early twentieth-century New York, where jazz and concert music collide, and where the familiar becomes newly strange, newly radiant, newly alive.
Gershwin traced its spark to a train ride to Boston, where the “steely rhythms” and “rattle-ty-bang” of travel seemed to set the whole work in motion. Paula Arciniega’s painting catches that kinetic pulse at the source, translating propulsion into luminous blues and electric accents. The Statue of Liberty surfaces through fractured city geometry, piano-like slivers, and sweeping lines that feel improvised rather than fixed, as if the image is being played in real time. Gershwin called the work “a musical kaleidoscope of America, our vast melting pot, our unduplicated national pep, our metropolitan madness.” Arciniega echoes that Jazz Age charge with a surface that shimmers, stacks, and breaks open, as if sound is turning into light mid-phrase.
In this performance, music and painting share the stage as equal storytellers. Together, they hold the optimism and the edge of early twentieth-century New York, where jazz and concert music collide, and where the familiar becomes newly strange, newly radiant, newly alive.
Modest Mussorgsky | Pictures at an Exhibition
Overview
Pictures at an Exhibition is built on a continuous act of reflection, and this afternoon’s performance extends that lineage into the room. Viktor Hartmann recorded the world he encountered through travel and observation. Modest Mussorgsky reflected Hartmann’s places and figures in music, holding contrast and character in a single frame. Paula Arciniega completes the cycle by reflecting the score back into image, creating fifteen large-scale paintings shaped by the emotional and sensory life within the music.
For the first time in this form, the award-winning Hannaford Street Silver Band becomes the living voice of that chain of response, carrying Mussorgsky’s suite forward through the expressive spectrum of brass and percussion. Each scene arrives with its own colour, weight, and momentum. The Promenades, composed as Mussorgsky’s own footsteps through the exhibition, become meditations on passage, holding the transitional spaces between movements and inviting audiences to bring their own journey into the work.
Presented alongside the performance, Arciniega’s canvases enter into conversation with the music, offering a parallel way of hearing and seeing. Together, painting and sound create a shared environment, concert and exhibition at once, a living gallery of sound and colour where each encounter changes the one that comes after.
Pictures at an Exhibition is built on a continuous act of reflection, and this afternoon’s performance extends that lineage into the room. Viktor Hartmann recorded the world he encountered through travel and observation. Modest Mussorgsky reflected Hartmann’s places and figures in music, holding contrast and character in a single frame. Paula Arciniega completes the cycle by reflecting the score back into image, creating fifteen large-scale paintings shaped by the emotional and sensory life within the music.
For the first time in this form, the award-winning Hannaford Street Silver Band becomes the living voice of that chain of response, carrying Mussorgsky’s suite forward through the expressive spectrum of brass and percussion. Each scene arrives with its own colour, weight, and momentum. The Promenades, composed as Mussorgsky’s own footsteps through the exhibition, become meditations on passage, holding the transitional spaces between movements and inviting audiences to bring their own journey into the work.
Presented alongside the performance, Arciniega’s canvases enter into conversation with the music, offering a parallel way of hearing and seeing. Together, painting and sound create a shared environment, concert and exhibition at once, a living gallery of sound and colour where each encounter changes the one that comes after.
Viktor Hartmann | Image as Origin
Viktor Hartmann was a Russian architect, painter, and designer working in the late Romantic era, closely associated with the Russian Revival and a growing cultural push to recover folk forms, historic motifs, and a distinctly national visual language. Orphaned at a young age, he was raised by an aunt in an architectural household, an early environment that sharpened his eye for structure, ornament, and design.
Through travel and observation, he sketched architecture, costumes, marketplaces, monuments, and imagined figures, drawing from a wide range of cultures, social settings, and everyday encounters. Many of Hartmann’s original sketches have been lost over time. What survives exists only in fragments, offering glimpses into a much broader body of work. These remaining images suggest an artist attentive not only to form and structure, but to people and places across borders, classes, and traditions.
Hartmann’s sketches were not conceived as a unified narrative. They functioned instead as collected impressions, moments gathered across geography and time. After his death, a memorial exhibition brought more than 400 works together at the Academy of Fine Arts in Saint Petersburg, allowing viewers to encounter a wide range of scenes and characters within a shared space.
That exhibition became the starting point for a creative cycle. Hartmann’s visual observations entered the imagination of Modest Mussorgsky and continue forward in Paula Arciniega’s contemporary response. Though many of Hartmann’s images no longer exist, their spirit endures through this lineage, carried forward as an evolving reflection of shared humanity.
Viktor Hartmann was a Russian architect, painter, and designer working in the late Romantic era, closely associated with the Russian Revival and a growing cultural push to recover folk forms, historic motifs, and a distinctly national visual language. Orphaned at a young age, he was raised by an aunt in an architectural household, an early environment that sharpened his eye for structure, ornament, and design.
Through travel and observation, he sketched architecture, costumes, marketplaces, monuments, and imagined figures, drawing from a wide range of cultures, social settings, and everyday encounters. Many of Hartmann’s original sketches have been lost over time. What survives exists only in fragments, offering glimpses into a much broader body of work. These remaining images suggest an artist attentive not only to form and structure, but to people and places across borders, classes, and traditions.
Hartmann’s sketches were not conceived as a unified narrative. They functioned instead as collected impressions, moments gathered across geography and time. After his death, a memorial exhibition brought more than 400 works together at the Academy of Fine Arts in Saint Petersburg, allowing viewers to encounter a wide range of scenes and characters within a shared space.
That exhibition became the starting point for a creative cycle. Hartmann’s visual observations entered the imagination of Modest Mussorgsky and continue forward in Paula Arciniega’s contemporary response. Though many of Hartmann’s images no longer exist, their spirit endures through this lineage, carried forward as an evolving reflection of shared humanity.
Modest Mussorgsky | Sound as Reflection
Modest Mussorgsky was shaped by the artistic ferment of 19th-century Russia, where music, literature, and painting were turning toward national identity and a new kind of truth-telling. In his own words, he wanted to capture life in all its aspects, “the hideous beside the beautiful,” allowing the raw and the radiant to stand side by side. Hartmann’s images stirred that impulse in him. They offered not a polite gallery of subjects, but a world of contrasts, and Mussorgsky responded with music that could hold caricature and tenderness, ritual and intimacy, weight and play.
Mussorgsky composed Pictures at an Exhibition in 1874 in response to Hartmann’s work and to the experience of moving among it. He described the individual movements as musical illustrations, translating what he saw into sound and allowing scenes, characters, and emotional states to take shape through music. Folk idioms, ceremonial gestures, intimate moments, and monumental forms coexist within the score, mirroring the diversity of subjects Hartmann had captured. Rather than illustrating the drawings literally, Mussorgsky reflected their imaginative and emotional core, creating a sound world that invites listeners to inhabit each scene.
The Promenades represent Mussorgsky himself in motion, walking between images and carrying impressions forward. They hold the space between movements, binding the work together and inviting listeners to experience the journey as their own. Through them, the score becomes a meeting place where different voices, places, and emotional states coexist, unified through the act of listening.
Elgar Howarth’s Orchestration (1977)
Although Pictures at an Exhibition was written for solo piano, it has inspired countless reimaginings for orchestra and many other ensembles. Elgar Howarth’s 1977 orchestration for brass band brings the suite into a vivid new palette, amplifying its weight and brilliance while preserving its intimacy, character, and wit. In Howarth’s hands, Mussorgsky’s scenes feel newly physical: the breadth of landscape, the bite of caricature, the individuality of each figure. Written at a moment of rapid evolution in brass playing and brass-band sound, the orchestration helped expand how audiences heard the expressive range of brass, and it remains one of the great cornerstones of the repertoire.
Modest Mussorgsky was shaped by the artistic ferment of 19th-century Russia, where music, literature, and painting were turning toward national identity and a new kind of truth-telling. In his own words, he wanted to capture life in all its aspects, “the hideous beside the beautiful,” allowing the raw and the radiant to stand side by side. Hartmann’s images stirred that impulse in him. They offered not a polite gallery of subjects, but a world of contrasts, and Mussorgsky responded with music that could hold caricature and tenderness, ritual and intimacy, weight and play.
Mussorgsky composed Pictures at an Exhibition in 1874 in response to Hartmann’s work and to the experience of moving among it. He described the individual movements as musical illustrations, translating what he saw into sound and allowing scenes, characters, and emotional states to take shape through music. Folk idioms, ceremonial gestures, intimate moments, and monumental forms coexist within the score, mirroring the diversity of subjects Hartmann had captured. Rather than illustrating the drawings literally, Mussorgsky reflected their imaginative and emotional core, creating a sound world that invites listeners to inhabit each scene.
The Promenades represent Mussorgsky himself in motion, walking between images and carrying impressions forward. They hold the space between movements, binding the work together and inviting listeners to experience the journey as their own. Through them, the score becomes a meeting place where different voices, places, and emotional states coexist, unified through the act of listening.
Elgar Howarth’s Orchestration (1977)
Although Pictures at an Exhibition was written for solo piano, it has inspired countless reimaginings for orchestra and many other ensembles. Elgar Howarth’s 1977 orchestration for brass band brings the suite into a vivid new palette, amplifying its weight and brilliance while preserving its intimacy, character, and wit. In Howarth’s hands, Mussorgsky’s scenes feel newly physical: the breadth of landscape, the bite of caricature, the individuality of each figure. Written at a moment of rapid evolution in brass playing and brass-band sound, the orchestration helped expand how audiences heard the expressive range of brass, and it remains one of the great cornerstones of the repertoire.
A Shared Human Journey
At its heart, Pictures at an Exhibition reflects how we move through the world and through one another’s stories. Viktor Hartmann drew what he encountered across cultures, communities, and imagined worlds, gathering a wide range of human experience into visual form. Modest Mussorgsky reflected those images through music, shaping them into a journey that embraces contrast, variety, and emotional breadth.
Paula Arciniega continues this lineage by reflecting the sound back into image. Her paintings function as contemporary visual illustrations shaped by music, translating Mussorgsky’s emotional interpretations into colour, gesture, and scale, while allowing each viewer to find a personal point of connection. The promenades recur as moments of passage, echoing the shared experience of moving between places, ideas, and states of feeling.
Taken together, this painting cycle completes a creative exchange across generations. Image becomes sound, sound becomes image, and each transformation opens the work to new perspectives.
This production makes that exchange visible in real time: painting and performance meeting as equal storytellers, each shaping how the other is heard and seen. What remains constant is the human impulse to observe, respond, and recognize ourselves in the experiences of others.
What began as observation became music, and now returns as image, carrying shared material forward through time and experience.
At its heart, Pictures at an Exhibition reflects how we move through the world and through one another’s stories. Viktor Hartmann drew what he encountered across cultures, communities, and imagined worlds, gathering a wide range of human experience into visual form. Modest Mussorgsky reflected those images through music, shaping them into a journey that embraces contrast, variety, and emotional breadth.
Paula Arciniega continues this lineage by reflecting the sound back into image. Her paintings function as contemporary visual illustrations shaped by music, translating Mussorgsky’s emotional interpretations into colour, gesture, and scale, while allowing each viewer to find a personal point of connection. The promenades recur as moments of passage, echoing the shared experience of moving between places, ideas, and states of feeling.
Taken together, this painting cycle completes a creative exchange across generations. Image becomes sound, sound becomes image, and each transformation opens the work to new perspectives.
This production makes that exchange visible in real time: painting and performance meeting as equal storytellers, each shaping how the other is heard and seen. What remains constant is the human impulse to observe, respond, and recognize ourselves in the experiences of others.
What began as observation became music, and now returns as image, carrying shared material forward through time and experience.
Artist Biographies
Paula Arciniega
Visual Artist
Paula Arciniega is a Toronto-based painter and classical vocalist who works where sound becomes colour. Her paintings begin with the instincts of performance, breath, pacing, and phrasing, then open into gesture and atmosphere. She holds a Master of Music from the San Francisco Conservatory of Music, and her visual practice is guided by synesthetic intuition and a lived relationship with musical structure. Moving between abstraction and realism, she returns again and again to what music can hold: contrast, tenderness, weight, play, and the charged silence between phrases.
Arciniega’s work has been presented in partnership with leading musical organizations and artists, including the Toronto Symphony Orchestra, the Hamilton Philharmonic, Opera Atelier, the New York Piano Quartet, and international trombone soloist Achilles Liarmakopoulos. Her artwork appears on the cover of Measha Brueggergosman-Lee’s Juno-nominated album Laureate. In 2024, she served as Artist in Residence for the National Youth Orchestra of Canada.
Across major series such as Pictures at an Exhibition | The Rite of Spring | The Mahler Project | Abstract Impressionism | Postpartum | Landscapes | Nudes, Arciniega invites viewers into a heightened attention, a way of seeing that listens.
Arciniega’s work has been presented in partnership with leading musical organizations and artists, including the Toronto Symphony Orchestra, the Hamilton Philharmonic, Opera Atelier, the New York Piano Quartet, and international trombone soloist Achilles Liarmakopoulos. Her artwork appears on the cover of Measha Brueggergosman-Lee’s Juno-nominated album Laureate. In 2024, she served as Artist in Residence for the National Youth Orchestra of Canada.
Across major series such as Pictures at an Exhibition | The Rite of Spring | The Mahler Project | Abstract Impressionism | Postpartum | Landscapes | Nudes, Arciniega invites viewers into a heightened attention, a way of seeing that listens.
James Sommerville
Conductor
As a conductor, French Horn soloist, and orchestral musician, James Sommerville’s multi-faceted career has graced the greatest stages of Canada and the world. He led the Hamilton Philharmonic Orchestra to great critical acclaim in his seven seasons as Music Director, and conducts regularly around the globe. Recent appearances include the Okanagan, Fort Wayne, Toronto, London (Ontario) and Québec Symphony Orchestras. Internationally, Mr Sommerville has been conductor of the US National Brass Ensemble in concert and on their award-winning CD of music of Gabrieli and John Williams.
James Sommerville retired as Principal Horn of the Boston Symphony Orchestra in 2022, after a glittering 25 year tenure, capping an orchestral career that included seasons with the Toronto and Montreal Symphony Orchestras, the COC Orchestra, Symphony Nova Scotia, and the Chamber Orchestra of Europe. The winner of the highest prizes at the Munich, Toulon and CBC solo competitions, Mr. Sommerville also pursued a glittering career as a soloist, and has brought immensely successful appearances with major orchestras throughout the Americas, Europe, and Asia. His disc of the Mozart Horn Concertos with the CBC Vancouver Orchestra won the JUNO Award for Best Classical Recording in Canada. He is heard regularly on the CBC network and has recorded all of the standard solo horn repertoire for broadcast. He has commissioned and premiered works from many young Canadian and international composers, including Kati Agócs, Vivian Fung, Nicole Lizée, Kelly-Marie Murphy, Abigail Richardson-Schulte, Christos Hatzis, and Eliott Carter.
Mr. Sommerville is currently Artistic Advisor to the Kitchener-Waterloo Symphony and the Windsor Symphony Orchestra.
James Sommerville retired as Principal Horn of the Boston Symphony Orchestra in 2022, after a glittering 25 year tenure, capping an orchestral career that included seasons with the Toronto and Montreal Symphony Orchestras, the COC Orchestra, Symphony Nova Scotia, and the Chamber Orchestra of Europe. The winner of the highest prizes at the Munich, Toulon and CBC solo competitions, Mr. Sommerville also pursued a glittering career as a soloist, and has brought immensely successful appearances with major orchestras throughout the Americas, Europe, and Asia. His disc of the Mozart Horn Concertos with the CBC Vancouver Orchestra won the JUNO Award for Best Classical Recording in Canada. He is heard regularly on the CBC network and has recorded all of the standard solo horn repertoire for broadcast. He has commissioned and premiered works from many young Canadian and international composers, including Kati Agócs, Vivian Fung, Nicole Lizée, Kelly-Marie Murphy, Abigail Richardson-Schulte, Christos Hatzis, and Eliott Carter.
Mr. Sommerville is currently Artistic Advisor to the Kitchener-Waterloo Symphony and the Windsor Symphony Orchestra.
James Parker
Steinway Artist | Piano Soloist
Accomplished, versatile, and brilliant are descriptors frequently linked to Canadian pianist James Parker, one of the country’s most sought-after artists. His musical roots include studies at the Vancouver Academy of Music and the University of British Columbia, followed by a Master of Music and Doctor of Musical Arts from The Juilliard School. Dr. Parker is the Rupert E. Edwards Chair in Piano Performance at the University of Toronto.
Awards came early, including first prize at the Eckhardt-Gramatté Competition, winner of the CBC National Competition for Young Performers, and the Virginia Parker Award. Celebrated as a soloist, chamber musician, and pianist of the Gryphon Trio, he has appeared widely across North America and Europe and performs regularly with major Canadian orchestras. Dr. Parker is also a three-time JUNO Award–winning recording artist.
Read more →
Awards came early, including first prize at the Eckhardt-Gramatté Competition, winner of the CBC National Competition for Young Performers, and the Virginia Parker Award. Celebrated as a soloist, chamber musician, and pianist of the Gryphon Trio, he has appeared widely across North America and Europe and performs regularly with major Canadian orchestras. Dr. Parker is also a three-time JUNO Award–winning recording artist.
Read more →
Musicians
The musicians of the Hannaford Street Silver Band reflect the city we call home. They are neighbours, fellow parents, and familiar faces in the rhythm of everyday Toronto. Connected to the wider brass community across the GTA and beyond, our players include orchestral and theatre professionals, opera and ballet musicians, and freelance and session artists.
Hannaford is a living ensemble. Because each program asks for something different, our roster shifts to match the repertoire, bringing together seasoned performers and rising artists who move fluidly across Toronto’s stages and studios.
Below are the musicians performing in this afternoon’s concert
Soprano cornet: Norman Engel
Solo cornets: Charlie Watson, Marcus Venables, Neal Andrews, Freddie Abu Sido
Repiano cornet: Brad Norton
2nd cornets: Erik Dubeau, Michelle Wylie
3rd cornets: Ira Zingraff, Charlotte McIntosh
Flugelhorn: Luise Heyerhoff
Solo Tenor Horn: Christine Passmore
1st Tenor Horn: Daniel Ho
2nd Tenor Horn: Tom Wade West
1st Baritone: Cathy Stone
2nd Baritone: Kevin Hayward
1st Tenor Trombone: Robert Conquer
2nd Tenor Trombone: Denis Jiron
Bass trombone: David Pell
Solo Euphonium: Carina Lam
Section Euphonium: Vincent Brossard
Solo E♭ bass: Robert Brown
Section E♭ bass: Noel Samuels
Solo B♭ bass: Jonathan Rowsell
Section B♭ bass: Masaru Lin
Timpani: Andrew Rasmus
Percussion Principal: Richard Moore
Percussion Section: Tim Francom
Hannaford is a living ensemble. Because each program asks for something different, our roster shifts to match the repertoire, bringing together seasoned performers and rising artists who move fluidly across Toronto’s stages and studios.
Below are the musicians performing in this afternoon’s concert
Soprano cornet: Norman Engel
Solo cornets: Charlie Watson, Marcus Venables, Neal Andrews, Freddie Abu Sido
Repiano cornet: Brad Norton
2nd cornets: Erik Dubeau, Michelle Wylie
3rd cornets: Ira Zingraff, Charlotte McIntosh
Flugelhorn: Luise Heyerhoff
Solo Tenor Horn: Christine Passmore
1st Tenor Horn: Daniel Ho
2nd Tenor Horn: Tom Wade West
1st Baritone: Cathy Stone
2nd Baritone: Kevin Hayward
1st Tenor Trombone: Robert Conquer
2nd Tenor Trombone: Denis Jiron
Bass trombone: David Pell
Solo Euphonium: Carina Lam
Section Euphonium: Vincent Brossard
Solo E♭ bass: Robert Brown
Section E♭ bass: Noel Samuels
Solo B♭ bass: Jonathan Rowsell
Section B♭ bass: Masaru Lin
Timpani: Andrew Rasmus
Percussion Principal: Richard Moore
Percussion Section: Tim Francom
About HSSB
Canada’s award-winning professional brass band, the Hannaford Street Silver Band (HSSB), was formed in 1983 by musicians united by a love of brass music and ensemble playing. Since then, Hannaford has helped reinvigorate the brass band tradition with a distinctly Canadian point of view, honouring the art form’s roots while placing it in a contemporary context through ambitious collaborations and innovative creative projects.
HSSB has facilitated more than 65 commissions and released thirteen recordings. Since 2020, the band has also produced classical music films, including Nine Daies Wonder by Bramwell Tovey with Mark Fewer, and Canadian Trilogy, featuring commissioned works by Kelly-Marie Murphy, Vivian Fung, and Barbara Assiginaak.
The band’s most recent recording, Zombie Blizzard (Leaf Music LM277), is a song cycle by Aaron Davis featuring soprano Measha Brueggergosman-Lee, setting poems by Margaret Atwood from her collection Dearly. HSSB has twice received Ontario’s Lieutenant Governor’s Award for the Arts, and in April 2024 was awarded the North American Brass Band Association’s President’s Award, recognizing the organization’s commitment to learning, experimentation, collaboration, and its impact on brass banding in North America and beyond.
An integral part of Hannaford for over thirty years, the Hannaford Youth Program supports young musicians and community builders with no barriers to entry, modest tuition, and instruments provided at no cost.
HSSB has facilitated more than 65 commissions and released thirteen recordings. Since 2020, the band has also produced classical music films, including Nine Daies Wonder by Bramwell Tovey with Mark Fewer, and Canadian Trilogy, featuring commissioned works by Kelly-Marie Murphy, Vivian Fung, and Barbara Assiginaak.
The band’s most recent recording, Zombie Blizzard (Leaf Music LM277), is a song cycle by Aaron Davis featuring soprano Measha Brueggergosman-Lee, setting poems by Margaret Atwood from her collection Dearly. HSSB has twice received Ontario’s Lieutenant Governor’s Award for the Arts, and in April 2024 was awarded the North American Brass Band Association’s President’s Award, recognizing the organization’s commitment to learning, experimentation, collaboration, and its impact on brass banding in North America and beyond.
An integral part of Hannaford for over thirty years, the Hannaford Youth Program supports young musicians and community builders with no barriers to entry, modest tuition, and instruments provided at no cost.
Book the Brass
Bring world-class brass to your stage, 12–28 musicians
HSSB Leadership
Executive Director | Jen Stephen
Jen Stephen is Principal Tuba of the Kitchener-Waterloo Symphony and an active freelance musician, arranger, and educator, performing widely across Canada.
Artistic Director |
Dave Pell
Dave Pell
Dave Pell is Principal Trombonist of the Hamilton Philharmonic Orchestra and Bass Trombonist of the National Ballet of Canada Orchestra, and a leading Canadian brass artist, educator, and collaborator.
Director, Hannaford Youth Program |
Anita McAlister
Anita McAlister
Anita McAlister is a trumpet artist and educator, Brass Area Chair at the University of Toronto, and Director of the Hannaford Youth Program, with an active performance career across Canada’s leading ensembles.
Board of Directors
Thank you to the HSSB Board of Directors for their leadership and stewardship.
Meet The Board >
Thank you to the HSSB Board of Directors for their leadership and stewardship.
Meet The Board >
Production Credits
Production & Operations
Production Manager: Sam Rosenthal
Lighting Designer: Melissa Joakim
HSSB Personnel Manager: David Archer
VIP Event Design: Jim Stone
Animated Video: Marcel Canzona | Lily Todorov
Exhibition & Visuals
Exhibition / Installation Lead: OHSO Studios Inc.
Framing / Mounting: Super Frame
Communications
Graphic Design / Web: Komposit Creative
Photography: Allan Cabral
Videography: Michael Fisher
Marketing / PR: Kat Cooper | katcoopr@gmail.com
Production Manager: Sam Rosenthal
Lighting Designer: Melissa Joakim
HSSB Personnel Manager: David Archer
VIP Event Design: Jim Stone
Animated Video: Marcel Canzona | Lily Todorov
Exhibition & Visuals
Exhibition / Installation Lead: OHSO Studios Inc.
Framing / Mounting: Super Frame
Communications
Graphic Design / Web: Komposit Creative
Photography: Allan Cabral
Videography: Michael Fisher
Marketing / PR: Kat Cooper | katcoopr@gmail.com
Sponsors + Donors
The Hannaford Street Silver Band is deeply grateful for the generous support of our corporate partners and the many individual donors who make our work possible. Your investment sustains the music we bring to the stage and the community we build around it.
HSSB Supporters & Donors >
Radio Sponsor | Classical 96.3 FM
Youth & Community Sponsor | New Canadians Lumber
Concert Venue Sponsor | Dundas Specialty Windows & Doors
Government Support | Canada Council for the Arts, Ontario Arts Council, Toronto Arts Council
HSSB Supporters & Donors >
Radio Sponsor | Classical 96.3 FM
Youth & Community Sponsor | New Canadians Lumber
Concert Venue Sponsor | Dundas Specialty Windows & Doors
Government Support | Canada Council for the Arts, Ontario Arts Council, Toronto Arts Council
Support HSSB
Your donation fuels live concerts and the Hannaford Youth Program
Acknowledgements
We gratefully acknowledge the many people and partners whose care, labour, and expertise made this performance possible.
Venue: Daniels Spectrum
Rehearsal support | St. Anne's Parish Hall
Instrument/gear support | Woodshed Percussion
Our Volunteers
Land acknowledgement
Venue: Daniels Spectrum
Rehearsal support | St. Anne's Parish Hall
Instrument/gear support | Woodshed Percussion
Our Volunteers
Land acknowledgement
Upcoming Events
Join us for Gabriel’s Sister, a bold season finale featuring trumpet virtuoso Karen Donnelly, Principal Trumpet of the National Arts Centre Orchestra. Conducted by Cynthia Johnston Turner.
Sunday, May 3, 3:00pm
Jane Mallett Theatre
Buy Tickets >
Sunday, May 3, 3:00pm
Jane Mallett Theatre
Buy Tickets >
Contact & Follow
OHSO Studios Inc.
ohsostudios.com
hello@ohsostudios.com
Media / Press Inquiries: Kat Cooper | katcoopr@gmail.com
ohsostudios.com
hello@ohsostudios.com
Media / Press Inquiries: Kat Cooper | katcoopr@gmail.com
TBD
Write stuff
