Christmas with the KSO Concert Programme

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Message from the Executive Director

The end of the calendar year and holiday season has always been a great time for reflection. We here at the Symphony are contemplating all that we are grateful for. After all the disruption we have faced, we are thankful that this Season we have filled four concert weekends, and showcased a variety of musical styles. We are grateful for the the musicians, artists and production crews who have made them possible.

We are appreciative of all of our supporters, particular BCLC, who has allowed us to invite several deserving community groups to this concert free of charge. And of course, Ron & Rae Fawcett, the Kelson Group and The City of Kamloops for supporting us in our new home at Kelson Hall —our office is (mostly) packed up and ready for our move next week! And above all, we are grateful for all of you—our audiences—who continue to support what we do. We truly wouldn’t be here with you. So on behalf of all of us at the Kamloops Symphony, thank you. Wishing you all a joyous holiday Season.

Mills Executive Director

The Kamloops Symphony wishes to acknowledge that this concert is taking place on Tk’emlúps te Secwépemc territory within the traditional lands of the Secwépemc Nation.

BC Interior Community Foundation

Kamloops Symphony Foundation Shuswap Community Foundation SOCAN Foundation

Daniel

Kamloops Symphony

Kamloops Symphony Society

BOARD OF DIRECTORS

John McDonald, ICD.D | President

Steve Powrie | Vice President

Tyler Klymchuk | Treasurer

Kait Methot | Secretary Kathy Collier Lisa Fuller

Christy Gauley Lucille Gnanasihamany Gabriele Klein Rod Michell

Sydney Takahashi Simon Walter

HONOURARY LIFE MEMBERS

Bonnie Jetsen Art Hooper

Proud Member of Orchestras Canada, the national association for Canadian orchestras

ADMINISTRATION

Executive Director Daniel Mills

Music Director Dina Gilbert Office Administrator Sue Adams

Operations Coordinator Sam Bregoliss Marketing Coordinator Ryan Noakes Librarian

Sally Arai

Orchestra Personnel Manager Olivia Martin

Production Assistant Adrien Fillion

Chorus Master Tomas Bijok

Collaborative Pianist Daniela O’Fee Chorus Administrator Marnie Smith

Music Director Emeritus Bruce Dunn

Ron & Rae Fawcett

2022 IN REVIEW

MUSIC DIRECTOR

Music Director Dina Gilbert is a Canadian conductor passionate about educating audiences of all ages and broadening their appreciation of orchestral music through innovative collaborations. This commitment, as well as Dina Gilbert’s extensive repertoire—often highlighting Canadian and women composers—have shaped her career and the orchestras she has worked with over the years. Regularly invited to conduct in Canada and overseas, Dina Gilbert attracts critical acclaim for her energy, precision and versatility.

In addition to conducting the Kamloops Symphony, highlights of the 2022-2023 season include debuts with the Orchestre national des Pays de la Loire and a tour with the Orchestre national de Metz in France and return invitations with the Orchestre symphonique de Montréal and the Orchestre symphonique de Québec. As the Principal Conductor of the Orchestre des Grands Ballets Canadiens de Montréal, she will perform Stravinsky’s Rite of Spring and Prokofiev’s Cinderella.

Over the years, Dina has been invited by leading Canadian orchestras including the Orchestre symphonique de Montréal, the Orchestre Métropolitain, the Toronto Symphony Orchestra, the Hamilton Philharmonic and the Orchestre symphonique de Québec. She also conducted performances in Oregon and North-Carolina, in Colombia, Spain, France, and in Niigata and Tokyo.

Her innate curiosity towards nonclassical musical genres and her willingness to democratize classical music have brought her to conduct the Orchestre Philharmonique de Radio France and the Orchestre national de Lyon in several Hip Hop Symphonic

programs featuring renowned Hip hop artists I AM, MC Solaar, Youssoupha and Bigflo & Oli. Dina is also renowned for her expertise in conducting multidisciplinary projects such as cineconcerts performances (The Red Violin, The Artist, E.T. the Extraterrestrial) as well as Video Game soundtracks (The Montreal Video Game Symphony, Outlast, The Amazing Spiderman 2).

As the Music Director of the Orchestre symphonique de l’Estuaire (20172022), Dina expanded the symphonic repertoire and has reached thousands of children with her interactive and participative Conducting 101 workshops As the founder and artistic director of the Ensemble Arkea, a Montreal-based chamber orchestra, she premiered over thirty works from emerging Canadian composers. From 2013 to 2016, Dina Gilbert was the assistant conductor of the Orchestre symphonique de Montreal and Maestro Kent Nagano, also assisting guest conductors including Zubin Mehta, Sir Roger Norrington and Lawrence Foster.

Dina Gilbert earned her doctorate from the Université de Montréal and she polished her skills in masterclasses with Kenneth Kiesler, Pinchas Zukerman, Neeme Järvi and the musicians from the Kritische Orchester in Berlin. Awarded the Opus Prize of “Découverte de l’année” in 2017, Dina Gilbert was also named as one of the “50 personnalités créant l’extraordinaire au Québec” in 2018 by the Urbania Magazine. She has also received support from the Canada Arts Council, the Conseil des arts et des lettres du Québec and from the PèreLindsay Foundation.

Dina Gilbert

Orchestra

FIRST VIOLIN

Cvetozar Vutev concertmaster * Elyse Jacobson assistant concertmaster *

Carol Hur Molly MacKinnon

SECOND VIOLIN

Boris Ulanowicz* Francisco Barradas Samantha Kung Haley Leach

VIOLA

Tony Kastelic++ Jennifer Ho Caroline Olsen

CELLO Doug Gorkoff++ Laure Matiakh

BASS Yefeng Yin++ FLUTE Paolo Bortolussi++ OBOE Akane Setiawan++

CLARINET Sally Arai* Krystal Morrison BASSOON Olivia Martin* HORN Heather Walker++ Maddie Davis TRUMPET Chris Mitchell++ Jeremy Vint

TROMBONE Greg Farrugia++

TIMPANI Caroline Bucher* PERCUSSION Brian Nesselroad++ HARP Naomi Cloutier* CELESTA Daniela O’Fee

Chair Sponsors

*Principal +Acting Principal ++Substitute Principal

Geoff & Judith Benson | concertmaster

Rod Michell | assistant concertmaster

Gabriele Klein | principal second violin June McClure | principal viola

Anonymous | principal cello Eleanor Nicoll | principal flute John & Joyce Henderson | principal clarinet Kelvin Barlow | principal bassoon Hugh & Marilyn Fallis | principal trumpet

CHRISTMAS WITH THE KSO PROGRAMME

Benjamin Britten A Ceremony of Carols, Op. 28

I. Procession “Hodie Christus natus est”

II. Wolcum Yole!

III. There is no rose IV. That yongë child

V. Balulalow

VI. As Dew in Aprille VII. This Little Babe VIII. Interlude

IX. In Freezing Winter Night

X. Spring Carol XI. Deo gracias — Adam lay i-bounden XII. Recession “Hodie Christus natus est”

INTERMISSION

I. Overture, Allegro giusto

II. No. 2 — Tempo di marcia viva

III. No. 6 — Scène

IV. No. 8 — La forêt de sapins

V. No. 10 — Scène

VI. No. 14 — Fée Dragée Variation II

VII. No. 12 a) — Le Chocolat

VIII. No. 12 b) — Le Café

IX. No. 12 c) — Le Thé

X. No. 12 d) — Trepak

XI. No. 12 e) — Les Mirlitons

XII. No. 12 f) — La mère Gigogne et les polichinelles

XIII. No. 13 — La Valse des fleurs

XIV. No. 14 — Pas de deux

XV. Coda, Vivace Assai

XVI. No. 15 — Valse finale et apothéose

Pyotr Ilyich Tchaikovsky The Nutcracker (excerpts from the ballet) arr. David Itkin

George Frideric Handel For unto us a Child is born (from The Messiah)

George Frideric Handel Hallelujah Chorus (from The Messiah)

Antonio Delgado, Guest Conductor | Naomi Cloutier, Harp

KSO Chorus, Tomas Bijok Chorusmaster

Last year, $394,800 of Community Gaming Grant funding from the Province of B.C. supported 10 non-profit and charitable organizations enriching arts and culture in Kamloops.

BCLC is proud to once again support Christmas with the KSO!

Did you know?

Antonio Delgado

Antonio Delgado got all his early musical education in the world-renowned El Sistema program (National System of Youth and Children’s Orchestras of Venezuela) in his home town of Caracas. Though Delgado began his musical life on the violin, he soon discovered his love and talent for conducting. Maestro Delgado began his conducting studies with Maestro Rodolfo Saglimbeni and pursued further training at the Canford School of Music in Wimborne, England where he learned from Maestro George Hurst, among others. From 2005 to 2010 Delgado was Musical Director of the 2nd largest South American theatre, Teresa Carreño, where he conducted a diverse range of music, garnering particular acclaim for his interpretations of ballet and opera. Though he has conducted every major orchestra in Venezuela, Delgado has not hoarded his talents, as performance dates in Ecuador, Puerto Rico, Canada clearly attest. Since July 2010, Delgado has been Musical Director and teacher in residence of Sistema New Brunswick, as well as Musical Director and Conductor of the New Brunswick Youth Orchestra, which he led to win at the Summa Cum Laude competition held in Vienna.

Since his arrival to New Brunswick, he has founded and conducted the “Moncton Youth Orchestra”, the “Sistema Children Orchestra and the Professional “Tutta Musica Orchestra” while serving as orchestra conductor for 6 years to the Universite de Moncton Opera productions such as: “Marriage of Figaro”, La Clemenza de Tito”, :Dido and Eneas” and “Les Mousquetaires au couvent”, among others. In 2019 he returned to Caracas, Venezuela to conduct the production of Verdi’s “Rigoletto” at the Municipal Theatre.

In 2016, together with actor/director Marshall Button and The Capitol Theatre, he helped create a series of annual musicals combining local and national talent with great success.

Maestro Delgado has always been compelled to work with local and Canadian renowned artists and bands like 1755, Chris Colepaugh, Kevin Lau, David Myles, Measha Brueggergosman, Troiselle, James Hill & Anne Janelle and as part of the “Canada 150” celebrations premiered Howard Shore’s work “Sea to Sea” at the NAC in Ottawa.

ARTIST

Naomi Cloutier

Mesmerized at the age of five by Schubert’s Impromptu in B flat major, Naomi asked her mom to show her how to play the family’s old pump organ. The obvious operational challenges were soon overcome by a loudly whirring, battery-operated Sunrise Toy Electric Organ, with its 16 multi-coloured keys. To the surprise of the school music teacher, she began to play the songs of her primary school class, and a phone call to home resulted in her dad acquiring and beautifully refinishing an abandoned turn-ofthe-century Mason & Risch piano which became the voice of her musicality.

During her elementary and secondary school years, the prominent presence of music in the Saskatoon community gave ample opportunity for musical experiences. As one of her Saskatoon colleagues recently said, “We were recipients of a great musical education for youth within our community, and we didn’t even know it.” Among her piano teachers during this time was Dr. Lyall Gustin, and after her family relocated to Alberta, Naomi continued piano performance studies with Dr. Ted Isenor in Red Deer, Gloria Saarinen in Calgary, and Dr. Robin Wood at the University of Victoria.

While balancing private piano teaching and family life in the North Thompson, Naomi joined the Kamloops Symphony Orchestra as triangle-ist (once, but memorable) and pianist, frequently performing orchestral harp repertoire on a keyboard (sans coloured keys). After many years feeling dissatisfied with this situation, the possibility of learning the pedal harp became acute. Thanks to Maestro Bruce Dunn (“Just do it!”), Naomi’s husband, Ross (“You’re not getting any younger!”), Vancouver harpist Elizabeth Volpé-Bligh (“Do it like this!”), and a friend (“Harps are big—buy my van!”), a new chapter about forty-seven vertical strings and seven pedals, began.

Naomi is the principal harpist and pianist of the KSO and has played in the Prince George and Okanagan Symphony Orchestras. She is a chamber musician, accompanist, adjudicator, and teacher who supports music students throughout the BC Interior. She is also a Certified Music Practitioner who shares the therapeutic, transformative sounds of the harp with people on their journeys toward wellbeing in hospital, hospice, and other care-giving settings.

KSO Chorus

Tomas Bijok, Chorusmaster | Daniela O’Fee, Collaborative Pianist

Marnie Smith, Chorus Administrator

The KSO Chorus provides local singers with the opportunity to perform masterworks for choir and orchestra in concert with the Kamloops Symphony Orchestra. The Chorus has joined the Orchestra for a wide variety of Pops and Masterworks performances.

Mykhailo Ababin

Amanda Ahner

Nichole Annis

Douglas Bayers

Rita Bittante

Amanda Bond Bill Brown

Janet Brunsgaard

Alan Buchanan

Rena Denis

Jordan Devuyst

Shannon Dunn

Lynn Eberts

Tom Eccleston

Wilfred Epp

Charene Eprog

Kristine Faulds

Christine Fichter

Linda Fortier

Ethan Gelinas

Heather Gnoato

Marcia Gofsky

Angela Gruen

Shannon Gruen

Adrianne Hajdasz

Grant Hanson

Frances Higginson

Laura Hsu

June Jahn

Claire Jones

Elaine Karas

Lyndon Kinley

Morgan Lacusta

Jamey Lee

Kennedy Love Michelle Marginet

Sylvia Markowsky

Heather Martin

Janet Maskell

Diane McArthur

Cecile McVittie

Candace Morrison

Peter Nieuwold

Kayla Oerlemans

Linda Oliver

Chantal Oliver

Louise Oyler

Tracey Pointer

Roberta Power

Elizabeth Reichenback

Peter Rennie

Jason Richard

Janice Rutherford

Mia Sage

Amanjot Saini

Marnie Smith

Patricia Spencer

Maatje Stamp-Vincent Gisele Strodl

Jill Timko

Kevin Turner

Evelyn Vipond-Schmidt

Sophia Wadowska

Robert Walter

Viviane Wingerak

Natasha Winston Cynthia Yaunish

Alana Yeung

Hayang Yoo Michelle Zwolak

Sally Zyrd

PROGRAMME NOTES

Benjamin Britten (1913–1976)

A Ceremony of Carols (1942)

Benjamin Britten was the most significant English composer of the post-World War 2 period. He produced a range of works in many different genres, but it seems that almost from the start of his career vocal music was his natural means of expression. One of his earliest compositions, A Boy is Born (1932), written at age nineteen while still a student, is a choral theme and variations on religious texts for the Nativity. Ten years later he composed the work we hear tonight, A Ceremony of Carols (1942), settings of carols for soloists, treble voices and harp. In it, Britten pays tribute to early English Christmas songs, setting the old texts to new music while taking care to respect the ancient tradition.

A small Canadian backstory to the work concerns the source of the texts. In the months leading up to World War 2 Britten and his life partner, the tenor Peter Pears, like other conscientious objectors, moved to the United States to continue their careers. By 1942, Britten felt the urge to return to England, and the passenger ship they were on stopped briefly at Halifax. In a bookshop there Britten purchased an anthology of English poetry, some of it from the medieval period. During the voyage Britten developed the idea for

this work and composed music for at least seven of the poems.

There are nine carols in all, flanked at beginning and end by the Latin Christmas antiphon, Hodie Christus natus est (“Today Christ is born”) in its original plainsong version. In performance, the opening and closing antiphons often accompany the ceremonial entrance and exit of the singers. The texts are partly medieval anonymous poems, for example ”Wolcum Yole,” “There is no rose,” “Adam lay ybounden,” and partly by known 16th Century poets such as Robert Southwell in “This little babe,” and “In freezing winter night,” and “Spring Carol” by William Cornysh. Britten’s choice of texts and his settings embody a range of responses to the Nativity events. The exuberance of “Wolcum yole’ for instance, and of “Deo gracias” are offset with more reflective and inward-looking settings such as “That Yongë child. Throughout it all runs the enriching sound of the harp adding another, entirely distinctive voice to the carols and, nestled at the heart of the ceremony, the passionate beauty its own solo Interlude.

Pyotr Tchaikovsky (1840–1893)

The Nutcracker (1891) Excerpts arr. David Itkin

Tchaikovsky completed three ballets: Swan Lake (1877), Sleeping Beauty (1890), and The Nutcracker (1891).

Of the three The Nutcracker is the shortest, only just over half the length of either of the other two. And the

PROGRAMME NOTES

story…? You do remember the story, don’t you? No? Well, it is based on a rather sinister tale by German author E.T.A.Hoffman whose wonderful (and weird) stories inspired such masterpieces as Delibes’ ballet Coppélia, Offenbach’s opera The Tales of Hoffmann, even Schumann’s piano pieces Kreisleriana. Hoffman’s The Nutcracker and the Mouse King in its original version is quite macabre and disturbing; however, the libretto created for Tchaikovsky was based on a charming adaptation made for children by Alexandre Dumas, in which most of these darker aspects were removed, and only one character, Drosselmeyer, retains an element of dangerous eccentricity.

Most of the ballet’s narrative action occurs in Act I, when this character arrives on Christmas Eve with presents for young Clara and her brother, among them a peculiar nutcracker carved in the form of a prince. Clara falls in love with the object instantly and is heartbroken when her brother carelessly breaks it. The fantasy begins when Clara comes downstairs during the night to check on the ‘health’ of her new toy. She hears strange scuttling noises around her and suddenly finds herself surrounded by the Mouse King and his evil cohorts. At once all the dolls, toy soldiers and gingerbread men come to life, and the Nutcracker himself leads the battle against the mice. At the climax of the conflict Clara hurls her shoe at the Mouse King, who immediately takes flight with his army, and the Nutcracker is transformed into a handsome young prince. As the Act ends a snowstorm arises, the room is

transformed into a winter landscape, and the Nutcracker Prince prepares to guide Clara to Confiturenburg, the Kingdom of Sweets.

In Act II they arrive in Confiturenburg, where the Prince introduces Clara to the Sugar Plum Fairy who gives orders that festivities should begin, and Clara is treated to a series of “confectionery” entertainments as a reward for her bravery. While the scenario of Act I gave Tchaikovsky ample scope to exercise his dramatic gifts, the absence of any real action in Act II represented a challenge for both composer and audience. It is all the more remarkable, then, that despite his usual doubts about his creative powers (and some initial reservations about the project itself) Tchaikovsky actually produced some of his most enduring and delightful music in The Nutcracker as tonight’s selections will surely remind us. There is remarkable ingenuity in some of his characterisations (most notably perhaps in the portrait of the grotesque Drosselmeyer in Act 1). The most celebrated of all (of course) is the delicate music he created for the Sugar Plum Fairy. He was initially unable to find the right sound for this character, but on a trip to Paris was excited to discover a newly developed keyboard instrument—the celeste—which was duly imported into the score and which has been associated with fairies and magic ever since. Indeed, Tchaikovsky was so concerned that another composer might beat him to this instrumental coup that he kept the instrument a close secret until the first performance. But that’s a story for another evening’s concert….

PROGRAMME NOTES

George Frideric Handel (1685–1759)

“For unto us a Child is born” from Messiah Pt. 1 “Hallelujah” Chorus from Messiah Pt. 2

Handel’s acclaimed masterpiece Messiah is an oratorio in three parts, first performed at Easter time in 1742. Handel himself never intended the work to be associated with the Christmas season in particular, yet in the centuries since its composition that is what it seems to have happened. Of course, performances of Messiah at Christmas time are perfectly natural, as Part 1 tells of God’s promise of salvation for humanity and ends with the appearance of an angel to shepherds in the hills outside Bethlehem, the announcement to them of Jesus’ birth (the Incarnation) and of his healing ministry. The Chorus, For Unto Us a Child Is Born, provides a decisive close to the opening segment of the oratorio, using words from the prophet Isaiah to emphatically summarize the impact of this long-foretold birth. Structured as a fugue, the chorus opens with the delicate voices of sopranos, then answered by tenors; both parts are given many bars of melisma, groups of notes sung to just one syllable, that emphasize the joyful and steady forward movement of the music towards its climax. This occurs when all the voices combine jubilantly in a series of emphatic chords that declaim

the significance of this triumphant event—this ”Wonderful” Son will be “Counsellor…the Prince of Peace.” These final unison proclamations from the choir are then reflected by the orchestra which repeats the chorus’ main melody and brings the piece to a joyful close.

Part 2 of Messiah presents the tribulations of His ministry that lead ultimately to His Passion and Crucifixion, but it ends in His triumph over death and the establishment of God’s power on earth. It is this triumph that provides the context for the “Hallelujah” Chorus, the final element in Part 2, and that makes it the emotional and doctrinal heart of the whole oratorio: that “The Kingdom of this world is become the Kingdom of our Lord and of his Christ.” Such is the significance of the text, and so great the uplifting power of the music, that it is easy to believe the reports from Handel’s servant: that upon Handel’s completion of the Chorus the servant found him at his desk, weeping and exclaiming, “I did think I did see all Heaven before me, and the great God Himself seated on His throne with His company of Angels.”

CERMONY OF CAROL TEXTS

1. Procession

“Hodie Christus natus est”

Hodie Christus natus est: hodie Salvator apparuit: hodie in terra canunt angeli: laetantur archangeli: hodie exsultant justi, dicentes: Gloria in excelsis Deo. Alleluia!

2. Wolcum Yole!

Wolcum, Wolcum, Wolcum be thou hevenè king, Wolcum Yole!

Wolcum, born in one morning, Wolcum for whom we sall sing!

Wolcum be ye, Stevene and Jon, Wolcum, Innocentes every one, Wolcum, Thomas marter one, Wolcum be ye, good Newe Yere, Wolcum, Twelfthe Day both in fere, Wolcum, seintes lefe and dare, Wolcum Yole, Wolcum Yole, Wolcum!

Candelmesse, Quene of Bliss, Wolcum bothe to more and lesse. Wolcum, Wolcum, Wolcum be ye that are here, Wolcum Yole, Wolcum alle and make good cheer. Wolcum alle another yere, Wolcum Yole. Wolcum!

3. There is no rose

There is no rose of such vertu As is the rose that bare Jesu. Alleluia, Alleluia, For in this rose conteinèd was Heaven and earth in litel space, Res miranda, Res miranda.

By that rose we may well see There be one God in persons three, Pares forma, pares forma.

The aungels sungen the shepherds to: Gloria in excelsis, gloria in excelsis Deo! Gaudeamus, gaudeamus.

Leave we all this werldly mirth, and follow we this joyful birth. Transeamus, Transeamus, Transeamus. Alleluia, Res miranda, Pares forma, Gaudeamus, Transeamus.

4. That yongë child

That yongë child when it gan weep With song she lulled him asleep: That was so sweet a melody It passèd alle minstrelsy.

The nightingalë sang also: Her song is hoarse and nought thereto: Whose attendeth to her song And leaveth the first then doth he wrong.

5. Balulalow

O my deare hert, young Jesu sweit, Prepare thy creddil in my spreit, And I sall rock thee to my hert, And never mair from thee depart.

But I sall praise thee evermoir with sangës sweit unto thy gloir; The knees of my hert sall I bow, And sing that richt Balulalow!

6. As Dew in Aprille

I sing of a maiden That is makèles: King of all kings To her son she ches.

He came al so stille There his moder was, As dew in Aprille That falleth on the grass. He came al so stille. To his moder’s bour, As dew in Aprille That falleth on the flour. He came al so stille There his moder lay, As dew in Aprille That falleth on the spray.

Moder and mayden was never none but she; Well may such a lady Goddes mother be.

CERMONY OF CAROL TEXTS

7. This Little Babe

This little Babe so few days old, Is come to rifle Satan’s fold; All hell doth at his presence quake, Though he himself for cold do shake; For in this weak unarmèd wise The gates of hell he will surprise.

With tears he fights and wins the field, His naked breast stands for a shield; His battering shot are babish cries, His arrows looks of weeping eyes, His martial ensigns Cold and Need, And feeble Flesh his warrior’s steed.

His camp is pitchèd in a stall, His bulwark but a broken wall; The crib his trench, haystalks his stakes; Of shepherds he his muster makes; And thus, as sure his foe to wound, The angels’ trumps alarum sound.

My soul, with Christ join thou in fight; Stick to the tents that he hath pight. Within his crib is surest ward; This little Babe will be thy guard. If thou wilt foil thy foes with joy; Then flit not from this heavenly Boy! 8. Interlude (Instrumental)

9. In Freezing Winter Night

Behold, a silly tender babe, in freezing winter night, In homely manger trembling lies Alas, a piteous sight!

The inns are full; no man will yield This little pilgrim bed. But forced he is with silly beasts In crib to shroud his head.

This stable is a Prince’s court, This crib his chair of State; The beasts are parcel of his pomp, The wooden dish his plate.

The persons in that poor attire

His royal liveries wear; The Prince himself is come from heav’n; This pomp is prizèd there.

With joy approach, O Christian wight, Do homage to thy King, And highly praise his humble pomp, wich he from Heav’n doth bring.

10. Spring Carol

Pleasure it is to hear iwis the Birdès sing, The deer in the dale, the sheep in the vale, the corn springing.

God’s purvayance For sustenance. It is for man.

Then we always to him give praise, And thank him than.

11. Deo gracias —Adam lay i-bounden Deo gracias! Deo gracias! Adam lay i-bounden, bounden in a bond; Four thousand winter thought he not too long. Deo gracias! Deo gracias! And all was for an appil, an appil that he tok, As clerkès finden written in their book. Deo gracias! Deo gracias! Ne had the appil takè ben, the appil takè ben Ne haddè never our lady a ben hevenè quene.

Blessèd be the time that appil takè was. Therefore we moun singen. Deo gracias!

12. Recession

“Hodie Christus natus est” Hodie Christus natus est, hodie Salvator apparuit, hodie in terra canunt angeli, laetantur archangeli: hodie exsultant justi, dicentes: Gloria in excelsis Deo. Alleluia!

Thank you to our wonderful team of volunteers

Volunteers

Nicholas Adams

Kathleen Alcock

Wendy Allen

Leianne Anderson

Mary Aulin

Pierrette Beaton

Joan Benard

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Geoff Collier

John Corbishley

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Jean Crowe

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Cathy Hall Patch

Diana Haque Judy Hatch Roy Haugen Marylyne House Carol Howie Barb Humphrey George Humphrey Kathy Humphreys Patricia Kaatz June Kitamura Gabriele Klein

Tyler Klymchuk Mary Lester Maureen Light

Joan McDonald John McDonald

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Alison McKinnon David Mckinnon Wendy McLean Rod Michell Dianne Miller

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Jane Osterloh Bess and Kaytee Ovington

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Wilma Scheer

Margaret Sharon Sharlene Sharp Tom Stone

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Simon Walter Mary Ann Whiting Dave Whiting Judy Wiebe

Donors Donors

$2000+

$1000+

Margaret Carlson

Dina Gilbert

Gabriele Klein

June McClure

Sandy McDonald

Rae Nixon

CONDUCTOR’S CIRCLE BENEFACTORS & CHAIR SPONSORS

Anonymous (2)

Sharleen Anderson

Kelvin Barlow

Geoff & Judith Benson

Geoff & Kathy Collier

Hugh & Marilyn Fallis

Murray Foubister

John & Joyce Henderson Bo & Jo-Mary Hunter

Alan & Geri Kerr

$500+ OVATION

Anonymous (3)

Sharleen Anderson

Evelyn Baziuk

Kim Buker

Jean Chako

Jessie & James Fedorak

Tom Dickinson & Nancy Flood

Roy & Helen Haugen

Rick & Carol Howie

Marjorie King

Cindy Malinowski & Charles MacLennan

Sheila Stewart Maureen Stewart

John Watson

Kamloops Choristers

Catherine Kroetch

John & Joan McDonald

David & Alison McKinnon

Rod Michell

Daniel Mills

Eleanor Nicoll

Colene Palmer

Tacey Ruffner

Maureen McCurdy

Helen & Bruce Newmarch

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Stan Szpakowicz

Jolana Tamajka

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$250+ ENCORE

Anonymous

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Allik-Petersenn

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Francis & Helen Barnett

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John Corbishley

Murray & Ann Crawford

Fred Cunningham & Helen Birdsall

Joan Denton

Joyce Dorey

Dan & Denise Douglas

Beverly Forseth

George Fowlie

Lois K. Hollstedt

Cora Jones

Kats & June Kitamura Fred & Nancy Leake Allan McCurrach

Kirsten McDougall Elspeth McDougall Chris & Mary Parfitt

$100+ BRAVO

Anonymous

Luisa Ahlstrom

Patricia Akiyama

Darryl & Jeryl Auten

Wendy Bainbridge

Llowyn Ball

Anna Barton

William Beaton

Percy & Bernice Brackett

Pamela Bradley Margaret Brown Sue Buzash

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Kenneth Lorne Christian Margaret Chrumka

Rochelle Collins

Sharon Cotter

Pamela Dalgleish

Wilma de Jong

Roxanne Dauncey

Joanne Dennstedt

Philip Durell

Jean Ethridge

Ruth & Michael Fane

Bill Fonseca

Judith Fowles

Louella Garner

Joyce & Rusty Gibbons

David Gilmour

Sheila Gorkoff

Lucille Gnanasihamany

Peter & Judy Gray

Alan Grimes

Cathy Hall-Patch

Frances Higginson

Claire Johnson

Joan Keay

Christina & Reimar Kroecher

Mary Lester Ellen & John McCurrach

James MacDonald

Richard Mann

Sylvia Rose Markowsky Shirley Martin

Marilyn McLean Kaitlin Methot

Betty Anne McCallum

Robert & Marian McLaren Jack & Verna Miller

Dianne Miller

Brian Mills

George & Gloria Moore

Christy Morris

Vic & Sally Mowbray

Peter & Ann Marie Mumby Kathleen Nadler

Trudy Nagurski

W. Russell Nakonesby

Angi & Russ Noakes

Marian Owens

Sheila Pierson

Jane Reid

Salmon Arm Supporters Ray & Sue Sewell

Barbara & Carman Smith

Jerry Stack

Chris & Laurie Stabler

Carlos Tallent Nicole Tougas Judy Wiebe

Ron & Louise Oyler

Janice Pedersson

Jan Pedersson

Penny & Carl Pentilchuk Reg & Tracey Pointer Steve Powrie

Anna Redekop Amy Regen Nicole & Steven Remesz Terry & Susanne Rogers Chris & Gine Rose Ron & June Routledge Kathy Sinclair Donald & Sandra Staff Ian & Margaret Stewart Elizabeth Templeman Peter ter Weeme

David Todd

Lynne Totten Susan Tyrrell Barbara Ulevog

Lynne Van Hamme Evelyn Vipond-Schmidt

Nels Vollo

Sharon Warren

Dave & Maryanne Whiting Eric & Mary Wiebe

Lois & David Williams Jayne Wilson

The above represents the individuals and corporations who have donated to the Kamloops Symphony Society in the last twelve months. For any errors or omissions, please do let us know at 250.372.5000 or info@kamloopssymphony.com.

WE’RE MOVING!

Our offices and Music School are moving to 330 St. Paul Street …into the newly renovated Kelson Hall Centre for Arts & Education

This new location features new administrative spaces, new studios for music lessons, and the 1,800 sq.ft. “Bruce Dunn Hall” which will be a space for Orchestra and Chorus rehearsals, Music School recitals, and more.

We want to thank RON & RAE FAWCETT and the KELSON GROUP for their incredible generosity in renovating the building to be a new space for the arts in Kamloops.

We look forward to seeing you in our new location in the New Year