Karl Hirzer Conductor
Mozart’s Requiem 13 + 14 May 2022 / 7:30PM Jack Singer Concert Hall
calgaryphil.com | 403.571.0849
program Sonny-Ray Day Rider
The Blood Alchemist Wateraga: Matriakii of Magic
8’
(Commissioned by the Calgary Philharmonic — live premiere)
Gustav Mahler
Rückert Lieder
18’
Liebst du um Schönheit? Blicke mir nicht in die Lieder Ich atmet’ einen Linden Duft Ich bin der Welt abhanden gekommen Um Mitternacht
Intermission
20’
Wolfgang Amadeus Mozart
Requiem, K.626
46’
(completion by Robert Levin)
Requiem aeternam Kyrie Dies irae Tuba mirum Rex tremendae Recordare Confutatis Lacrimosa Domine Jesu Hostias Sanctus Benedictus Agnus Dei Lux aeterna Cum sanctis
Supertitles written and produced by John Sharpe
Karl Hirzer Associate Conductor
Hélène Brunet Soprano
Karl Hirzer, a conductor and pianist from New Westminster, British Columbia, has been Resident/ Associate Conductor with the Calgary Philharmonic Orchestra since 2016. Active internationally, Hirzer has led performances with ensembles such as the Sczcecin Philharmonic, Symphony Nova Scotia, Regina Symphony Orchestra, Gstaad Festival Orchestra, Orchestra Senzaspine, and the Orchestra Giovanile Italiana. He works regularly with new music titans Land’s End Ensemble, most recently in collaboration with American composer John Corigliano, who said: “Mr. Hirzer brought a combination of detailed accuracy and intense musical feeling to the work [Mr. Tambourine Man], resulting in an absolutely marvelous performance.” Hirzer previously acted as Assistant Conductor for the National Academy Orchestra of Canada, and the McGill Contemporary Music Ensemble. He was a faculty member at the 22nd Morningside Music Bridge program in Warsaw. Hirzer has performed with renowned soloists including Evelyn Glennie, Chris Botti, Agata Szymczewska, Jonathan Crow, and Owen Pallett. A trained pianist, he holds bachelor’s (University of Victoria) and master’s (McGill University) degrees in performance, as well as an Associate of the Royal Conservatory of Toronto diploma.
Soprano Hélène Brunet is hailed by the critics as “a singer of tremendous quality.” Recognized for her interpretations of the works of Bach, Handel, and Mozart, her repertoire extends from Baroque to the 21st century. In concert, she has performed with reputed orchestras and ensembles, notably at the Tage Alter Musik Regensburg, American Bach Soloists in San Francisco, American Classical Orchestra at the Lincoln Center in New York City, the Orchestre Métropolitain de Montréal under the baton of Yannick NézetSéguin, Seattle Baroque Orchestra, Eugene Symphony, Pacific Baroque Festival, Calgary Philharmonic, Newfoundland Symphony Orchestra, Symphony Nova Scotia, Toronto’s Tafelmusik Baroque Orchestra, Ensemble Caprice, Arion Baroque Orchestra, and I Musici de Montréal. In opera, Brunel was recently featured in the world premiere of Sleeping Rough by Roddy Ellias and Sandra Nicholls, at the Music and Beyond festival in Ottawa. Her debut solo album Solfeggio (ATMA Classique) recorded in collaboration with ensemble L’Harmonie des saisons, has been selected by the CBC as one of the top 20 classical albums of 2020. Other recordings include a Bach cantata album as well as the Juno Award-winning Las Ciudades de Oro. Brunet’s new album, Solfeggio, is nominated for a Juno Award at this year’s ceremony in the Classical Album of the Year (Large ensemble) category.
Andrea Hill Mezzo-soprano
Lawrence Wiliford Tenor
Calgary-born mezzo-soprano Andrea Hill balances engagements at New York’s Metropolitan Opera, London’s Covent Garden, across Canada, and on major stages in France. The 2021/2022 season sees Hill appearing as a soloist with the Calgary Philharmonic and Florida Orchestra, joining Opera Southwest in the titular role of Debussy’s Pelléas et Mélisande, and returning to Opera Dijon as Despina for Così fan tutte. A passionate concert and chamber singer, Hill has participated in various festivals worldwide, including La Grange de Meslay, Musique à l’Empéri, Festival Présences with Radio France, and the Ultima Contemporary Music Festival in Oslo, Norway. She has also performed as a soloist for Winnipeg and Victoria symphonies, in excerpts of Strauss’s Der Rosenkavalier at the Théâtre des Champs-Élysées with conductor Kurt Masur, and L’enfant et les sortilèges at Royal Festival Hall in London under the baton of Esa-Pekka Salonen. Hill’s upcoming projects include Mozart’s Mass in C Minor with the Firebird Symphony and Chorus, Vivaldi’s Gloria with the Kensington Sinfonia, and Ravel’s Shéhérazade.
Praised for his lyrical sensitivity, and brilliant coloratura, tenor Lawrence Wiliford is in high demand in concert, opera, and recital repertoire. Recent engagements include Mozart’s Requiem with Eugene Symphony and Seattle Symphony, Bach’s St. John Passion with Florida Orchestra and Grand Philharmonic Choir, Beethoven’s Mass in C Major with Quebec Symphony, Handel’s Messiah with Rochester Philharmonic and Philadelphia Orchestra, Vaughan Williams’ Serenade to Music with Toronto Symphony, Elgar’s The Apostles with Pax Christi Chorale, and Britten’s A Midsummer Night’s Dream with Aldeburgh Festival. Operatic highlights include his Canadian Opera Company debut in Così fan tutte and A Midsummer Night’s Dream, and appearances with Opera Atelier (Die Entführung aus dem Serail, Persée, and Don Giovanni); Opera Lyra Ottawa (Il Barbiere di Siviglia); Toronto Masque Theatre (title role in Acis and Galatea); Vancouver Opera (title role in Albert Herring); and Boston Baroque (title role in Rameau’s Pygmalion). Wiliford has collaborated with conductors Jane Glover, Yannick Nézet-Séguin, Matthew Halls, and John Nelson. His debut solo recording Divine Musick: The Late Works for Tenor and Harp by Benjamin Britten, was released on the ATMA Classique and NAXOS labels.
About the Orchestra
Jesse Blumberg Baritone Baritone Jesse Blumberg’s performances have included the world premiere of The Grapes of Wrath at Minnesota Opera, Bernstein’s MASS at London’s Royal Festival Hall, various productions with Boston Early Music Festival, and featured roles with Atlanta Opera, Pittsburgh Opera, Opera Atelier, and Boston Lyric Opera. He has made concert appearances with American Bach Soloists, Boston Baroque, Apollo’s Fire, Oratorio Society of New York, Montréal Baroque Festival, Arion Baroque, Early Music Vancouver, Pacific MusicWorks, and on Lincoln Center’s American Songbook series. His recital highlights include appearances with the Marilyn Horne Foundation and New York Festival of Song, and performances of Die Schöne Müllerin and Winterreise with pianist Martin Katz. During the busy 2021/2022 season, Blumberg debuts with Amsterdam Baroque Orchestra and Grand Rapids Symphony, and reappears with Boston Early Music Festival, Opera Atelier, and Mirror Visions Ensemble. He has been featured on over 20 recordings, including the 2015 Grammy-winning Charpentier Chamber Operas with BEMF.
The Calgary Philharmonic Orchestra celebrated 65 years as a pillar of Calgary’s vibrant arts community in 2020 and has grown to be one of Canada’s most celebrated live music ensembles. Led by Music Director Rune Bergmann, the Calgary Phil presents classical standards, pop favourites, bold collaborations, and cutting-edge new works, and attracts world-renowned guest artists and conductors. In a typical Season, the Orchestra welcomes over 100,000 visitors to the concert hall and reaches audiences around the world through its free and accessible digital programming and live-stream initiative —an immersive, online concert experience that launched in 2017. Learn more about our musicians at calgaryphil.com/musicians.
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About the Chorus Established in 1963, the Calgary Philharmonic Chorus is one of only two choruses in Canada that is part of a major professional symphony orchestra. The Chorus performs a wide variety of repertoire, including oratorio, opera, light classics, contemporary music, pops, and commissioned new works. In a typical Season, the acclaimed ensemble is featured in four to eight concerts with the Orchestra. The Calgary Philharmonic Chorus is made up of dedicated volunteer musicians from Calgary and surrounding communities who come from all walks of life. Together, they dedicate over 19,000 hours annually to rehearsals and performances.
about the pieces The Blood Alchemist Wateraga: Matriakii of Magic Sonny-Ray Day Rider (b. 1987) The Blood Alchemist Wateraga: Matriakii of Magic is a musical work where I explore the reification and source of magic, which I think encapsulates a whole range of human, natural, and super-natural phenomenon. It has become part of my current practice to carefully title my works with narratives that deify and anthropomorphize human emotions and relationship with spirituality and the natural world. I used the word Blood in the title (and other works) to allude to my Blackfoot Indigenous background, as I am from the Kainai “Blood” tribe, which is one of the 4 tribes that make up the Blackfoot confederacy. I also use the word Blood in the title to refer to a life force which connects us all. Wateraga is the name of a magic spell from a videogame series I grew up with and I use the Narrative connector Alchemist in the title to signify our complex bio-connection with water. Matriakii is a compound word derived from both the English word “matriarchy” and the Blackfoot word “akii”, which means woman. Program Note by Sonny-Ray Day Rider © 2022
The digital premiere of The Blood Alchemist Wateraga: Matriakii of Magic took place online on 20 February 2022 as part of The Bear and the Wild Rose, a free, four-part online series exploring themes of Love, Home, Dreams + Magic, and Resilience. This collaboration between much-loved Canadian musician and humanitarian Tom Jackson and the Calgary Philharmonic Orchestra aims to uplift communities everywhere through music, storytelling, dance, and visual art. You can listen again to The Blood Alchemist Wateraga: Matriakii of Magic at calgaryphil.com.
Rückert-Lieder (Rückert Songs) Gustav Mahler (1860 to 1911) In 1901 and 1902, Mahler composed 10 songs on poems by the German author, Friedrich Rückert (1788 to 1866). Five of them make up the cycle Kindertotenlieder (Songs on the Death of Children) and the other five form the miscellaneous collection you will hear at this concert. This was a time of transition in his composing style. He was moving away from the warm, gentle nostalgia of the fourth symphony — a quality generally maintained in these separate Rückert songs — towards the harsher tone and leaner sounds of the fifth. He didn’t conceive them as a cycle, but when heard together their strongly contrasted natures present a satisfying variety of mood, from poignant to playful. The orchestration, which is different for each song, convincingly demonstrates Mahler’s insight into matching words with tone colours. Many scholars consider the heart-breaking Ich bin der Welt abhanden gekommen (I have withdrawn from the world) the greatest of all his songs.
Requiem, K. 626 Wolfgang Amadeus Mozart (1756 to 1791) Completion by Robert D. Levin A great deal of romantic fiction has grown up regarding the creation of this work, including a dramatically compelling but almost totally fabricated episode in Peter Shaffer’s play and film, Amadeus. In 1964, a first-hand account of its creation came to light, after years of suppression. The publication of this document, written in 1839 by Anton Herzog, Director of the Information Centre in Neustadt, a town outside Vienna, swept away the speculation and mythology that had surrounded Mozart’s Requiem. In July 1791, a stranger offered Mozart a commission for a Requiem Mass. He stated that his employer wanted the piece to console himself for the death of his wife. Mozart was to have total freedom in writing it, but he was to keep the commission a secret and not retain a copy of the music. He set to work at once. The patron in question was Count Franz von Walsegg, a wealthy aristocrat with a taste for music. His dealings with Mozart followed a pattern he had previously established with other composers: he gave them commissions for new music, then attached his own name to the results. Mozart died on 5 December, before being able to complete the Requiem. His widow, Constanze, approached several composers to finish the score. Mozart’s assistant, Franz Xaver Süssmayr, did most of the work. Admirable as his efforts were (and his completion was the standard edition of the score for 200 years), his version contains numerous, often substantial elements that do not conform to the style that Mozart was practising at that time. The distinguished Harvard University Professor Robert D. Levin prepared the performing version (one of several that have appeared in recent decades) that you will hear at this concert. His intention, in his words, was “to observe the character, texture, voice leading, continuity, and structure of Mozart’s music. I have retained the traditional (Süssmayr) version insofar as it agrees with idiomatic Mozartean practice.” One of his major revisions was a thinning out of the orchestration, to bring it in line with Mozart’s other religious scores and to permit the vocal soloists and chorus to be heard clearly. He reduced some of the score’s louder dynamics, and added a fugal section, on the word Amen, to form a new conclusion of the Sequenz. He also substantially rewrote the Sanctus, and restructured the Benedictus that follows it. Program Notes by Don Anderson © 2022
Leadership Giving The Calgary Philharmonic expresses its deep gratitude to the passionate and dedicated supporters whose significant lifetime giving to the Calgary Philharmonic Society and Calgary Philharmonic Foundation helps us achieve our vision. $5,000,000 and above Mr. + Mrs. F. Richard Matthews $1,000,000 – $4,999,999 Walter + Irene DeBoni Dr. John Lacey Mr. Ted + Dr. Lola Rozsa Estate of Mario James Stella One Anonymous Donor $500,000 – $999,999 Marg + Paul Boëda Cenovus Energy Inc. CNOOC (formerly Nexen) Annie Freeze John + Ethelene Gareau Carol + Frank Gray Ms. Mary Rozsa de Coquet Robbin Shandel Taylor Family Foundation $250,000 – $499,999 Mr. Said Arrata William + Irene Bell Ms. Cheryl Bishop Leslie + David Bissett Heather + Ian Bourne Ms. Andrea Brussa Mrs. Norma Carroll Larry + Jan Fichtner Tony + Liz Fricke Judith Kilbourne KPMG LLP Estate of Murray Lipsey Letha MacLachlan, Q.C. The Palmer Family Foundation Repsol Oil & Gas Canada Inc Rozsa Foundation Mrs. Muriel A. Stewart TELUS Corporation $100,000 – $249,999 Aqueduct Foundation ARC Resources Ltd. Mr. Jeff Arsenych Marjory Barber Bellport Resources Ltd. Gerald + Beverly Berkhold Ellen + Allen Borak BP Petroleum Lori Caltagirone Canada Life Jeremy + Elaine Clark Estate of Evelyn Christine Kings Judith + Terence Dalgleish Mr. James Doleman +
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The Calgary Philharmonic expresses its deep gratitude to the following supporters who made generous gifts to the Calgary Philharmonic Society and the Calgary Philharmonic Foundation between 1 July 2020 and 30 June 2021. For complete listings, visit calgaryphil.com/support $500,000 and above Dr. John Lacey •• Robbin Shandel $100,000 – $499,999 Irene + Walt DeBoni • Ms. Letha MacLachlan, Q.C. • Rozsa Foundation • One anonymous donor $50,000 – $99,999 The Bob + Marie Baird Charity Foundation Jeremy + Elaine Clark • Honens Calgary Philharmonic
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Orchestra First Violins Diana Cohen Concertmaster
John Lowry
Associate Concertmaster
Donovan Seidle
Assistant Concertmaster
Edmund Chung Hangyul Kim Olga Kotova Bonnie Louie Genevieve Micheletti Maria van der Sloot Hojean Yoo TBD TBD
Second Violins
Celli
Horns
Arnold Choi Josué Valdepeñas Kathleen de Caen Thomas Megee David Morrissey Daniel Poceta TBD TBD
Robert McCosh Jennifer Frank-Umana TBD Maxwell Stein Heather Wootton
Basses Sam Loeck Kyle Sanborn Matthew Heller Trish Bereti-Reid Patrick Staples Jonathan Yeoh
Lorna Tsai Stephanie Soltice-Johnson Erin Burkholder Jeremy Gabbert Hyewon Grillet-Kim Craig Hutchenreuther Minnie Min Kyung Kwon Theresa Lane Adriana Lebedovich Steven J. Lubiarz
Flutes
Violas
David Sussman
Laurent Grillet-Kim Marcin Swoboda Arthur Bachmann Jeremy Bauman Peter Blake Michael Bursey Alisa Klebanov Jesse Morrison
principal associate principal assistant principal
Sara Hahn-Scinocco Gwen Klassen
Piccolo Gwen Klassen
Oboes Alex Klein David Sussman
English Horn Clarinets Slavko Popovic Jocelyn Colquhoun
Bassoons Antoine St-Onge Michael Hope
Trumpets Adam Zinatelli Miranda Cairns
Trombones James Scott TBD
Bass Trombone David Reid
Tuba Tom McCaslin
Timpani Alexander Cohen
Percussion TBD
Harp Tisha Murvihill
Librarian Rob Grewcock
Assistant Librarian TBD
Personnel Manager Michael Thomson
Chorus Chorus Master
Altos
Dr. Mark Bartel
Margaret Anderson Barbara Boland Indrani Chatterjee Tanya Chow Breanne Coady Bernie Constantin Carol Cooper Ruth Cross Shirley Cumming Gillian Forster Kay Harrison Pat Heitman Amanda Holt Helen Isaac Allison Johnson Heather Klassen Catherine Lasuita Lorrie Lipski Megan Lundrigan Barbara Mathies Julia Millen Cindy Neufeld Mara Osis Anastasiya Petruk Anne Rodger Anne Roggensack Kaitlin Walker Dayna Wiebe
Accompanist Evan Mounce
Sopranos Karin Baumgardner Lyndsay Bellemore Katherine Biggart Ellen Borak Michelle Bozynski Tricia Bray Carolyn Byers Christina Candra Twylla Conn Sheila Cook Laura Davis Ina Dobrinski Gail Feltham Sim Galloway Alison Gibson/Nelson Carolyn Hatt Robyn Hauck Gloria Hendry Dale Hensley Linda Janzen Amy Klintberg Hannah Pagenkopf Gillian Posey Colleen Potter Brier Reid Lisa Sears-Walsh Joan Simmins Barbara Soles Becky Standing Chantelle Stevenson Melissa Symanczyk Norma Webb Dianne Williams principal section representative
Tenors Timothy Ahrenholz Tim Bell Keevin Berg Tristram Chivers Pat Favaro Andrew Fraser Katt Hryciw Jason Ragan Peter Rilstone
Richard Seale Daniel Vandenbroek Dennis Voth
Basses Archibald Adams Nick Allen Odeniyi Ayo-Ajayi Bamzy Banwo Glenn Bontje Ian R. Charter Tim Cooke Kevin Di Filippo Arthur Dick Alan Dornian Mark Dumbrique Nana Essel John Ghitan Ian Gibson Allan Huber Eric Klaassen Martin Mobach Keith Odegard Dave Pattison Dana Salter David Schey Richard Wanner Max Webber Jim Weisert Keith Wyenberg
Chorus Manager Katt Hryciw
Associate Conductor Supporter
Mary Rozsa de Coquet
Chorus Supporter