Luminous Voices Programme by Kamloops Symphony

F E AT U R I N G

Bruce Dunn

Music Director Emeritus

Magdalena How Soprano

Philip Wing Baritone

KSO Chorus

Luminous Voices

Hear soaring vocal lines that will lift your spirit and imbue you with peacefulness and serenity.

Oasis Church

APRIL 16 SATURDAY 7:30PM

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Together Again! Congratulations to Kamloops Symphony for your resiliency during these unprecedented times. The City of Kamloops is a proud sponsor and wishes the symphony all the best during its 2021–2022 season.

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Message from the Executive Director At long last, tonight we get to hear Fauré’s Requiem, a piece originally programmed by our Music Director Dina Gilbert two years ago for a concert in April 2020. I remember how hard the KSO Chorus, led by Chorus Master Tomas Bijok and joined by collaborative pianist Daniela O’Fee had worked on this piece two years ago, when we ultimately made the announcement that we would have to cancel the original production. We always wanted to reschedule; we just did not think it would take two whole years! Tonight, we are so grateful to be finally able to perform this stunning work along with other equally beautiful pieces for you, and we’re so glad that both of our original soloists, Magdalena How and Philip Wing, can join us for this new date two years later. Although of course we are sad that our Music Director Dina Gilbert is not able to be here to conduct, we are thrilled that Music Director Emeritus Bruce Dunn was able to take her place on the podium. It is fitting he conducts the Kamloops Symphony one last time, before moving to Vancouver Island, so Bruce: thank you for all your contributions to the Kamloops Symphony! And to our audiences: thank you for continuing to celebrate and support live classical music, and please enjoy tonight’s concert. With sincere appreciation,

Daniel Mills

Executive Director Kamloops Symphony

GOVERNMENT GRANTS

BC Interior Community Foundation Kamloops Symphony Foundation TELUS Community Foundation Hamber Foundation SOCAN Foundation

FOUNDATIONS

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.

Proud Supporters of the

KAMLOOPS SYMPHONY ORCHESTRA ®

Proud Sponsor of the Kamloops Symphony Ron & Rae Fawcett k e lsong roup.c om 2

Kamloops Symphony Society BOARD OF DIRECTORS

John McDonald | President Helen Newmarch | Secretary Tyler Klymchuk | Treasurer Kathy Collier Lucille Gnanasihamany Gabriele Klein Rod Michell Steve Powrie Simon Walter

HONOURARY LIFE MEMBERS Bonnie Jetsen Art Hooper

ADMINISTRATION Executive Director

Daniel Mills

Music Director

Dina Gilbert

Office Administrator

Sue Adams

Marketing Coordinator

Ryan Noakes

Operations Coordinator

Sam Bregoliss Librarian

Sally Arai

Orchestra Personnel Manager

Olivia Martin

Production Assistant

Adrien Fillion

Chorus Master

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

Collaborative Pianist

Daniela O’Fee

Music Director Emeritus

Bruce Dunn

MUSIC DIRECTOR Regularly invited to conduct in Canada and overseas, Dina Gilbert attracts critical acclaim for her energy, precision and versatility. Currently Music Director of the Kamloops Symphony and of the Orchestre symphonique de l’Estuaire (Québec), she is known for her contagious dynamism and her audacious programming. Dina Gilbert is regularly invited by leading Canadian orchestras including the Orchestre symphonique de Montréal, Orchestre métropolitain, Toronto Symphony Orchestra, Hamilton Philharmonic and the Orchestre symphonique de Québec. Passionate about expanding classical audiences and with an innate curiosity towards non-classical musical genres, Dina has conducted the Orchestre Philharmonique de Radio France and the Orchestre national de Lyon in several Hip-Hop Symphonic programmes collaborating with renowned Hip hop artists. She has also conducted the world premiere of the film The Red Violin with orchestra at the Festival de Lanaudière and has conducted the North American premiere of the film The Artist with the Orchestre symphonique de Montréal. As the founder and artistic director of the Ensemble Arkea, a Montreal-based chamber orchestra, Dina premiered over thirty works from emerging young Canadian composers. Committed to music education, she has reached thousands of children’s in Canada with her interactive and participative Conducting 101 workshop. From 2013 to 2016, Dina Gilbert was assistant conductor of the Orchestre symphonique de Montréal and Maestro Kent Nagano, also assisting guest conductors including Zubin Mehta, Sir Roger Norrington, Lawrence Foster and Giancarlo Guerrero. In April 2016, she received great acclaim for stepping in to replace Maestro Alain Altinoglu with the OSM in a program showcasing Gustav Holst’s The Planets. Dina Gilbert earned her doctorate from the Université de Montréal, where she studied with Jean-François Rivest and Paolo Bellomia. Awarded the Opus Prize of “Découverte de l’année” in 2017, Dina Gilbert was also named as one of the 50 personalities creating the extraordinary in Québec in 2018 by the Urbania Magazine.

Dina Gilbert

Orchestra FIRST VIOLIN Cvetozar Vutev

VIOLA Ashley Kroecher* Erin MacDonald Elyse Jacobson Llowyn Ball Samantha Kung Larisa Lebeda

—concertmaster° Elyse Jacobson

—concertmaster

Molly MacKinnon

— assistant concertmaster + Llowyn Ball

CELLO Martin Kratky* Doug Gorkoff Jake Klinkenborg Olivia Walsh

SECOND VIOLIN Boris Ulanowicz* Samantha Kung Larisa Lebeda

°On Leave

Principal

Acting Principal

Chair Sponsors

BASS Maggie Hasspacher* BASSOON Olivia Martin* HORN Sally McNally* Heather Walker HARP Naomi Cloutier* ORGAN Daniela O’Fee*

Substitute Principal

PERFORMANCE SPONSORS

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SERIES SPONSORS

Sponsors

KSO Chorus Chorus Master: Tomas Bijok

Collaborative Pianist: Daniela O’Fee 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 symphony for a wide variety of Pops and Masterworks performances, including numerous Christmas concerts and performances of like Mozart’s Requiem, Haydn’s Lord Nelson Mass, Britten’s Ceremony of Carols, and Orff’s Carmina Burana. Michael Ababin Rita Bittante Amanda Bond Kevin Bronnimann Janet Brunsgaard Al Buchanan Fred Cunningham Tony Denbigh Lynn Eberts Tom Eccleston Loretta Ellison Marina Fish Heather Gnoato Marcia Gofsky Luccock

Elaine Karas Chris Kempling Morgan Lacusta Mariko Lintott Sylvia Markowsky Heather Martin Diane McArthur Leanna McBurnie Peter Nieuwold Linda Oliver Chantal Oliver Louise Oyler Elizabeth Reichenback Jason Richard

Patricia Spencer Maatje Stamp-Vincent Barbara Steinke Gisele Strodl Julie Threinen Jill Timko Evelyn Vipond-Schmidt Robert Walter Lois Williams Viviane Wingerak Michelle Zwolak Sally Zyrd

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PROGRAMME

Guest Conductor: Bruce Dunn, Music Director Emeritus Soprano: Magdalena How Baritone: Philip Wing

KSO Chorus: Tomas Bijok, Chorus Master Maurice Ravel..........................

Pavane pour une infante défunte

Lili Boulanger..........................

Pie Jesu

Wolfgang Amadeus Mozart....

Ave Verum Corpus, K. 618

(arr. Dunn)

INTERMISSION

Gabriel Fauré...........................

Requiem, Op. 48 I. II. III. IV. V. VI. VII.

Introit et Kyrie Offertory Sanctus Pie Jesu Agnus Dei Libera me In Paradisum

Gabriel Fauré............................... Cantique de Jean Racine, Op. 11

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GUEST ARTIST

Magdalena How SOPRANO

Coloratura soprano Magdalena How has just begun her Doctorate in Musical Arts (Voice/Opera) at the University of British Columbia under the tutelage of Nancy Hermiston. Born in Victoria, Magdalena spent her early childhood in Ontario before her family returned to the West Coast. She has loved music all her life, enthusiastically participating in community and school choirs and enjoying performing in musical theatre as a teenager, particularly when touring musicals to Lower Mainland elementary schools as part of the Arts Umbrella PreProfessional Musical Theatre Troupe. At the age of 16, Magdalena began to study classical voice at the Vancouver Symphony Orchestra School of Music and has loved it ever since! As part of her studies Magdalena has been fortunate enough to portray a wide variety of operatic roles, both in Vancouver and in the Czech Republic, with some of her favourites including: Susanna (Le Nozze di Figaro), Olympia (Les Contes d’Hoffmann), Queen of the Night (Die Zauberflöte), Zerlina (Don Giovanni), Anna Sørensen (Silent Night), and Clorinda (La Cenerentola). In addition to opera, Magdalena has performed extensively across the Lower Mainland, singing as a guest soloist with the Vancouver Welsh Men’s Choir and Amabilis Singers as well as participating in numerous local concerts and other events. Recently, Magdalena toured to Europe with UBC Opera to sing in a series of concerts in Plzen, Czech Republic and Nürnberg, Germany.

She is honoured to have received numerous awards, most notably: A Four-Year Doctoral Fellowship (2021), The University of BC Medal in Music (2019), the Edwina Heller Memorial Award in Opera (2018), the Vancouver Opera Guild Young Talent in Opera Grant (2018), the Phyllis and Bernard Shapiro Scholarship (2016), and the Hélène Gombay Memorial Prize (2015). Magdalena also enjoys joining the backstage crew, having worked as the Surtitles Designer and Operator for UBC Opera and Vancouver Opera. When Magdalena is not singing she can frequently be found knitting, baking, or enjoying a fantasy novel. Magdalena is thrilled to have this opportunity to perform Fauré’s Requiem with the Kamloops Symphony Orchestra and sincerely hopes you enjoy the concert!

GUEST ARTIST

Philip Wing BARITONE

Philip Wing is a bass-baritone from Vancouver, British Columbia. Born in 1998, Philip began his musical journey with youth choirs and school ensembles (including the Vancouver Youth Choir under Carrie Tennant), before entering the Undergraduate Voice program at the University of British Columbia. After two years in UBC’s Voice program, Philip transferred to the Opera program, under the direction of Nancy Hermiston. During his entire undergraduate and graduate education, Philip has studied with the acclaimed baritone Peter Barcza. Philip’s first role at UBC Opera was the dead body in the 2018 production of Puccini’s Gianni Schicchi. In the fall of 2018, Philip sang the role of French

General in the Kevin Puts opera Silent Night. In 2019, Philip understudied the role of Sarastro in UBC’s production of Die Zauberflöte, then sang the role of Masetto in Don Giovanni. During the summer of 2019, Philip travelled to Czechia with the UBC Opera Ensemble to perform the role of Sarastro. In the fall of 2019, Philip sang the role of Crespel in The Tales of Hoffman. Philip’s final role before the COVID-19 pandemic was as SS Guard 1 in The Passenger. In 2020, Philip sang the role of Lord Sydney in a socially distanced and masked production of Il viaggio a Reims. Philip sang his first title role in UBC’s production of Le nozze di Figaro, which was first broadcast in 2021, then remounted and performed with a live audience in late January of 2022. Philip’s most recent role was as the Police officer in Shadow Catch, an opera about the various populations that have inhabited Vancouver’s Oppenheimer Park. Gabriel Fauré’s Requiem is a piece of significance to Philip—the first time he performed the requiem was in 2015 with the Vancouver Youth Choir, under the direction of Jon Washburn and alongside the Vancouver Chamber Choir. Though at that time he sung in the chorus, he is looking forward to performing the baritone solo part, and hopes you enjoy!

GUEST CONDUCTOR

Bruce Dunn Bruce Dunn was Conductor and Music Director of the Kamloops Symphony from 1990 to 2017 and is now the Music Director Laureate. Under his direction the orchestra garnered a national reputation as a professional orchestra with innovative programming and a policy of presenting the programmes in an informal and inclusive manner. Bruce grew up in Victoria where he studied piano and French horn with some singing when the opportunity

presented itself. He was a student member of the Victoria Symphony for one season and then moved on to the newly established UBC School of Music in Vancouver. In 1963 he joined the Vancouver Symphony horn section and, excepting a three-year stint in Toronto with the National Ballet Orchestra and other organisations —including the Boss Brass—he performed exclusively in Vancouver until he moved to Kamloops in 1996. An opportunity to study conducting in 1974 led to further studies with Kazuyoshi Akiyama in Vancouver, Morihiro Okabe in Ontario, Norman Del Mar in England and, in the Czech Republic with a number of renowned faculty members. Music education is extremely important in Bruce’s view of things. He was instrumental in the formation of the Kamloops Symphony Music School, taught conducting at the UBC School of Music for sixteen years, directed the chorus at UCC/TRU for a few years and travelled to Ireland for many years to participate in Summer Music on the Shannon. Bruce was also Music Director of Symphony of the Kootenays for fourteen years. Since retiring from the Music Director position, Bruce has attended and enjoyed the programmes presented by the current music and administrative team. He is happy to see the orchestra doing well and is pleased with the continued support from the City.

CHORUS MASTER

Tomas Bijok Tomas Bijok’s journey in music began at an early age. Having come from a musical family it was understood that music was to be a part of his life. Tomas began his formal vocal training under the instruction of Dr Wendoline Pazitka Munroe at Canadian University College. At the age of 22 Bijok began to study under the guidance of Lynn Vernon. He then studied for two Years at the University of British Columbia with Roelof Oostwoud after which he auditioned for the Prague Academy of Performing Arts. In Prague he completed his B.A and M.A. in Vocal Performance under the tutelage of Ivan Kusnjer and the guidance of Magdaléna Hajóssyová. Bijok made his Czech debut in Bohuslav Martinu’s comedy on the Bridge at the Northern Bohemian Theatre of Opera and Ballet and since has sung in theaters in the Czech Republic, Germany, Austria, Japan and France. In 2010 Bijok recorded the lead role of Lucas in the world premiere recording of Bohuslav Martinu’s “Le Jour de Bonte” under the Arco Diva label. Bijok has currently relocated to his home town of Kamloops. Dedicating more time

to teaching, he presently acts as choral instructor at Thompson Rivers University, and continues to spread the secrets of Bel Canto in his private studio. In 2015 Tomas founded the TRU Chamber Chorus which won third at the 2018 Provincial Festival of the Performing Arts in BC. Most recently Tomas has been acting as the conductor of the Kamloops Happy Choristers, Music Minister at Mount Paul United Church, and Chorus Master of the Kamloops Symphony. When not singing, Bijok can be found in the kitchen making a mess and exquisite food.

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PROGRAMME NOTES

Maurice Ravel (1875-1937)

Pavane pour une infante défunte (orch. Bruce Dunn) Maurice Ravel was one of the most original musical voices in the remarkable world of French music of the late 19th and early 20th Century. Although known most widely today for his ballet piece Boléro, his repertoire is, of course, much wider than that, and includes solo piano music, songs, chamber works, piano concertos, operas as well as ballets. He studied at the Paris Conservatoire where one of his teachers was Fauré, whose Requiem is featured in tonight’s concert. Part of Ravel’s particular skill and originality lay with his exploitation of orchestral sound, and he made orchestral arrangements of piano works by a number of other composers, the best-known being Mussorgsky’s Pictures at an Exhibition. Several of Ravel’s own most familiar works also exist in two versions: first as a piano piece, then, later, in an orchestrated version. This mournful Pavane is one of them. He composed the piano version in 1899 on a commission from Princess Edmond de Polignac (formerly Winnaretta Singer, heiress to the American sewing machine corporation) who was a significant patron of the arts. The piece received considerable play at her frequent salons and helped establish Ravel’s growing reputation. The work’s stately rhythm and the pathos of its expressive and delicate main theme and often plaintive episodes, carry associations of mourning, and incline us to think the title refers to a dead princess (infante/ infanta being the Spanish term for a princess of royal blood). Not so according to Ravel, who suggested that the music was not a funeral lament for a dead child but the representation of a courtly pavane such as might have been danced by a young princess in an earlier time. If you are planning to perform the piano version yourself, be warned—Ravel himself cautioned plodding would-be performers to remember, “it is the infanta that is dead, not the pavane!” Lili Boulanger (1893-1918)

Pie Jesu When we explore the brilliant galaxy of fin de siècle and early 20th Century French classical musicians —composers such as Chausson, Saint-Saëns, Debussy, along with Ravel and many others, we will likely encounter the name Boulanger. That would be Nadia Boulanger (1887-1979)—a composer but also much better known as a teacher of composition. (It seems there is no prominent 20th Century European or North American composer who was not one of her pupils.) Lili was her younger and, according to Nadia, her much more talented sister. A student at the Conservatoire, Lili became, at age 19, the first woman to win the Prix de Rome, French music’s most prestigious composition prize. Sadly the immense

PROGRAMME NOTES

potential of her career was swiftly eroded by disease, to which she succumbed at age 24 in 1918. Yet her knowledge of her condition and its inevitable outcome clearly spurred her creative energies, and she composed a great deal in a short time, much of it sacred music and much of it coloured by her experiences in caring for wounded French soldiers from the Great War. The Pie Jesu (Merciful Jesus) is the final two lines of the Dies Irae section of the Catholic Requiem Mass. Lili Boulanger’s poignant setting of it for voice, harp, organ and string quartet was her last composition, dictated to Nadia on her deathbed. The opening ascending interval is a deliberate echo of Fauré’s setting of the Pie Jesu which you will hear later in the concert. Fauré used to visit the Boulangers’ home when Lili was still quite young, for her to perform his latest songs. However, Boulanger’s own musical voice, though sweet at times, is not quite like Fauré’s, but is more dissonant and modernist sounding. As for Nadia, her sister’s early death was a crushing blow and became a turning point in her own career. From about 1920 she abandoned composition to devote herself to the teaching career for which she is justly so well known. Tonight we glimpse her potential and originality through a brief chamber composition, yet her works for full orchestra, such as D’un Matin de printemps, and for voice and orchestra, such as her Prix de Rome winning, Faust et Hélène, also reveal the remarkable range of gifts that make hers a voice ahead of its time.” Mozart (1756-1791)

Ave Verum Corpus “Luminous” is precisely the right word to describe the quality of this brief motet by Mozart, composed in June 1791 in what turned out to be the last few months of his life. That, and “serene.” The text, which begins “Hail true body,” is a medieval poem that meditates on the suffering of Christ and on the Catholic belief that He is truly present in the sacramental bread of the communion service. Although it is not a regular part of the Communion liturgy, it is sometimes sung at either the Consecration or the Benediction of the bread, and over the centuries has been set to music by composers such as Lassus, Byrd and, closer to home and to our own time, Imant Raminsh. If the following explanation for Mozart’s version is accurate, one might justly label this piece “a gift from Mozart.” It seems that Constanze, Mozart’s wife, had been unwell, and though they were (as usual) short of money Mozart arranged for Constanze to take a course of treatments at the spa in nearby Baden bei Wien. She had to go on her own as work commitments required Mozart to remain in Vienna. However, his friend Anton Stoll was teacher and choirmaster in Baden and Mozart asked Anton to assist Constanze, if needed, during her stay there—which he did. Some time after Constanze

PROGRAMME NOTES

had returned home to Vienna, Stoll was surprised to receive a package in the mail—the manuscript of a four-part chorus with strings and organ of “Ave Verum Corpus” just in time for the festival of Corpus Christi: the gift of this musical jewel as unlooked-for recompense. Gabriel Fauré (1845-1924)

Gabriel Fauré was the youngest child in a family that was cultured but not especially musical. Once his musical talent emerged, however, it was encouraged, and, starting at age nine, he attended the École Niedermeyer in Paris where the musical training prepared him for a career as a choirmaster and organist. After graduating in 1865, Fauré found employment, first in the provinces, but a while later in more prestigious positions in Paris, first at St. Sulpice and then at L’Eglise de la Madeleine where he succeeded Saint-Saëns. Eventually he became Director of the Paris Conservatoire. Commitments of this kind did not leave him much time for composing, so despite the fact that he remained productive through to the end of his life his output is relatively small. And even though his best known work is the luminous Requiem that we hear tonight, his concentration was, like Ravel, more on small-scale forms such as piano pieces, chamber works (piano quartets, piano quintets, piano trio among others), and his three highly regarded collections of songs.

Requiem Op.48 (1888) This much-admired sacred work evolved over several years and through several different versions. Originally, in 1888, it was a setting of five components of the Mass for the Dead for soloists, small choir and organ. Then Fauré reworked it in 1893 for small instrumental ensemble and added the Libera me and Offertoire for baritone soloist. A version with full orchestration followed a few years later in 1900 that may or may not have been done by Fauré. For many decades it was this more substantial version that was typically performed, even though it might not have reflected Fauré’s original intentions. Tonight, however, we hear Fauré’s own version from 1893 with the smaller ensemble that more clearly embodies his original purpose. This story illustrates why respecting Fauré’s initial conception is essential. At the Requiem’s first performance at L’Eglise de la Madeleine in January 1888 the officiating priest asked the choirmaster, “What was that Mass for the dead you’ve just conducted?” The choirmaster replied that it was a little something of his own that he had put together. “Ah, Monsieur Fauré,” the priest replied, “we don’t need all these novelties, the Madeleine’s repertoire is quite rich enough….” However, the texts and music the priest took to be mere “novelty” were in fact firmly

PROGRAMME NOTES

grounded in Fauré’s personal but non-traditional view of death, which he viewed not as a painful experience but as a joyful deliverance, offered by a merciful God, leading to happiness beyond the grave. The prevailing ethereal quality that listeners experience in this requiem is a deliberate contrast to the tradition of requiems heard in Fauré’s time, from Mozart to Berlioz to Verdi, with their often dramatic musical evocations of damnation or the horrors of purgatorial suffering in the Dies Irae (Day of Wrath), that are intended to emphasize an altogether different view of death. The modest orchestral forces Fauré uses match the purity and lucidity of his vocal writing with its occasional echoes of older church music. The result is a work of great serenity, as in the famous Pie Jesu for soprano solo, and of profound tranquillity, as in the concluding In Paradisum, with the organ weaving its own delicate song above that of the choir’s angelic soprano line. Fauré’s only acknowledgement of the Day of Judgement is a brief Dies Irae nestled into the Libera me. This is truly a “luminous” choral work of great intimacy that holds deep appeal, and whose popularity has never waned. In his own words his Requiem “is of a sweet nature, like that of the composer himself.”

Cantique de Jean Racine Op. 11 (1865) The serene and deeply moving choral writing of Fauré’s 1888 Requiem did not emerge without a lengthy period of apprenticeship. This setting of a liturgical hymn translated by French playwright Jean Racine is a youthful work Fauré composed in 1865 at age 20 while still a student at École Niedermeyer. It gives us a foretaste of the distinctive qualities of melody and harmony, both vocal and instrumental that characterize his songs and later choral works. The text is in three stanzas, with a brief orchestral introduction to the first stanza and an orchestral interlude that separates the first from the second; the second stanza flows directly into the third where gradually diminishing repetitions of the last line bring the Cantique to a peaceful close. Fauré had submitted pieces for the annual Composition Prize since 1861. This time his teachers were impressed. The Cantique won him first prize.

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T E X T & T R A N S L AT I O N

Pie Jesu

Ave verum corpus

Hail, true body

Pie Jesu Domine, dona eis requiem. Dona eis requiem sempiternam.

Blessed Jesus, Lord, give them rest. Give them eternal rest.

In mortis examine

Hail, true body born of the Virgin Mary, who having truly suffered, was sacrificed on the cross for mankind, whose pierced side flowed with water and blood: May it be with us a foretaste [of the Heavenly banquet] in the trial of death.

Requiem

Requiem aeternam dona eis Domine Et lux perpetua luceat eis.

Grant them eternal rest, o Lord, And may perpetual light shine upon them.

Ave, verum corpus Natum de Maria Virgine, Vere passum immolatum In Cruce pro himine, Cujus latus perforatum Unda fluxit et sanguine, Esto nobis praegustatum

Introitus – Kyrie

Te decet hymnus, Deus in Sion Et tibi reddetur votum in Jerusalem

Thou, o God, art praised in Sion, and unto Thee Shall the vow be performed in Jerusalem.

Exaudi orationem meam Ad te omnis caro veniet

Hear my prayer, unto Thee shall all flesh come.

Kyrie eleison, Christe eleison Kyrie eleison

Lord have mercy, Christ have mercy, Lord have mercy

II. Offertorium

Hostias et preces tibi Domine, laudis offerimus

We offer unto Thee this sacrifice of prayer and praise Receive it for those souls whom today we commemorate. Allow them, o Lord, to cross from death into the life which once Thou didst promise to Abraham and his seed.

O Domine, Jesu Christe, Rex Gloriae Libera animas defunctorum De poenis inferni et de profundo lacu O Domine, Jesu Christe, Rex Gloriae Libera animas defunctorum de ore leonis Ne absorbeat eus Tartarus ne cadant in obscurum

Tu suscipe pro animabus illis Quarum hodie memoriam facimus Fac eas, Domine, de morte transire ad vitam Quam olim Abrahae promissisti et semini eus. O Domine, Jesu Christe, Rex Gloriae Libera animas defunctorum De poenis inferni et de profundo lacu Ne cadant in obscurum. Amen.

Lord Jesus Christ, Kin of glory, deliver the souls of all the faithful departed from the pains of hell and from the bottomless pit. Lord Jesus Christ, King of glory, Deliver them from the lion’s mouth, nor let them fall into darkness, neither the black abyss swallow them up.

Lord Jesus Christ, King of glory, deliver the souls of all the faithful departed from the pains of hell and from the bottomless pit nor let them fall into darkness. Amen.

III. Sanctus

IV. Pie Jesu

V. Agnus Dei

Lux aeterna luceat eis, Domine Cum sanctis tuis in aeternum, Quia pius es

May eternal light shine on them, o Lord, with Thy saints forever, because Thou are merciful.

Requiem aeternam dona eis Domine, Et lux perpetua luceat eis

Grant them eternal rest, o Lord, and may perpetual light shine on them.

VI. Libera me

Tremens factus sum ego et timeo Dum discussion venerit atque ventura ira

I quake with fear and I tremble awaiting the day of account and the wrath to come.

Dies illa dies irae Calamitatis et miseriae Dies illa, dies magna Et amara valde

That day, the day of anger, of calamity, of misery, that day, the great day, and most bitter.

Requiem aeternam dona eis Domine Et lux perpetua luceat eis

Grant them eternal rest, o Lrd, and may perpetual light shine upon them.

Libera me, Domine, de morte aeterna In die illa tremenda Quando coeli movendi sunt et terra Drum veneris judicare saeculum per ignem

Deliver me, o Lord, from everlasting death on that dreadful day when the heavens and the earth shall be moved when thou shalt come to judge the world by fire.

VII. In Paradisum

Chorus Angelorum te suscipiat Et cum Lazaro Quondam paupere Aeternam habeas requiem

There may the chorus of angels receive thee, and with Lazarus, once a beggar, may thou have eternal rest.

Cantique de Jean Racine

Chant by Jean Racine

Répands sur nous le feu de ta grâce puissante; Que tout l’enfer fuie au son de ta voix; Dissipe le sommeil d’une âme languissante Qui la conduit à l’oubli de tes lois!

Pour on us the fire of your powerful grace, That all hell may flee at the sound of your voice; Banish the slumber of a weary soul, That brings forgetfulness of your laws!

Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth Pleni sunt coeli et terra gloria tua Hosanna in excelsis. Pie Jesu, Domine, dona eis requiem. Dona eis requiem sempiternam requiem. Agnus Dei, qui tollis peccata mundi dona eis requiem, semiternam requiem

Libera me, Domine, de morte aeterna In die illa tremenda Quando coeli movendi sunt et terra Dum veneris judicare saeculum per ignem

In Paradisum deducant Angeli in tuo Adventu suscipiant te Martyres Et perducant te in civitatem sanctam Jerusalem

Verbe égal au Très-Haut, notre unique espérance, Jour éternel de la terre et des cieux, De la paisible nuit nous rompons le silence: Divin Sauveur, jette sur nous les yeux.

Ô Christ! Sois favorable à ce peuple fidèle, Pour te bénir maintenant rassemblé; Reçois les chants qu’il offre à ta gloire immortelle, Et de tes dons qu’il retourne comblé.

Holy, holy, holy, Lord God of Sabaoth heaven and earth are full of Thy glory Hosanna in the highest Blessed Jesus, Lord, grant them rest. Grant them rest, eternal rest. O Lamb of God, that takest away the sins of the world, grant them rest

Deliver me, o Lord, from everlasting death on that dreadful day when the heavens and the earth shall be moved when thou shalt come to judge the world by fire

May the angels receive them in Paradise, at the coming may the martyrs receive thee and bring thee into the holy city Jerusalem.

Word of the Highest, our only hope, Eternal day of earth and the heavens, We break the silence of the peaceful night; Saviour Divine, cast your eyes upon us!

O Christ, look with favour upon your faithful people Now gathered here to praise you; Receive their hymns offered to your immortal glory; May they go forth filled with your gifts.

Presenting Partner

CREATED BY KRYSTLE DOS SANTOS and TRACEY POWER

Courage Series Sponsor

A MUSICAL CELEBRATION OF A CIVIL RIGHTS HERO. A Western Canada Theatre Production in association with Musical TheatreWorks

April 21 - May 07, 2022 | PAVILION THEATRE Tickets from $20 at wctlive.ca | 250.374.5483

Book Direct FOR THE BEST RATES GUARANTEED! 5 0 + H OT ELS AC ROSS C A NA DA S A NDM A NH OT E LS .CO M

Donors

$2000+

CO NDUCTOR’ S CI RCLE Margaret Carlson Annette Dominik Joyce Henderson Gabriele Klein June McClure

$1000+

BENEFACTORS & CHAIR SPONSORS Anonymous (2) Kelvin Barlow Geoff & Judith Benson Geoff & Kathy Collier Hugh & Marilyn Fallis Murray Foubister Karen Gerke Joyce Henderson

$750+

PRESIDENT ’S CLUB

Anonymous Jessie & James Fedorak Dina Gilbert Marjorie King $500+

Sandy McDonald Rae Nixon Sheila Stewart Maureen Stewart John Watson

OVATION

Kamloops Choristers Gabriele Klein Rod Michell Daniel Mills Eleanor Nicoll Edith Pletzer Tacey Ruffner

John & Joan McDonald David & Alison McKinnon David & Rosemarie Stoltze

Anonymous (3)

Helen & Bruce Newmarch

Evelyn Baziuk

Terry Simpson

Kim Buker

Jerry Stack

Holly Campbell

Stan Szpakowicz

Dina Gilbert

Don & Margaret Waldon

Roy & Helen Haugen

Tom Wallace & Anise Barton

Rick & Carol Howie

Robert Walter & Jill Calder

Bob & Jo-Mary Hunter

Judy Wiebe

Maureen McCurdy

$250+

Peter & Debra Allik-Petersenn Sally Arai Darryl & Jeryl Auten Francis & Helen Barnett Pauline & Jack Braaksma Pamela Bradley John Corbishley Murray & Ann Crawford Joan Denton Dan & Denise Douglas Jean Ethridge Beverly Forseth

$100+

DONORS

ENCORE George Fowlie Lois K. Hollstedt Cora Jones Kats & June Kitamura Christina & Reimar Kroecher Karen Krout Fred & Nancy Leake Allan McCurrach Elspeth McDougall David & Alison McKinnon Sheila Pierson Pauline Pollock

Jane Reid Susie Safford Salmon Arm Supporters Bryan Salsbury Michael & Pamela Saul Ray & Sue Sewell Barbara & Carman Smith Laura Soles M. Colleen Stainton James & Barbara Wentworth

BRAVO

Anonymous

Lucille Gnanasihamany

Marian Owens

Wendy Bainbridge

Peter & Judy Gray

Janice Pedersson

Luisa Ahlstrom Llowyn Ball

Anna Barton

William Beaton Joan Bernard Mary Bianco

Percy & Bernice Brackett Margaret Brown Hugh Burton

Wendy Charlebois

Kenneth Lorne Christian Rochelle Collins Alan Corbishley Sharon Cotter

Fred Cunningham Pamela Dalgleish Wilma de Jong

Joanne Dennstedt Joyce Dorey

Ruth & Michael Fane Judith Fowles

Louella Garner David Gilmour

Christine Goodman Alan Grimes Sue Holmes

Margot Holmes Claire Johnson Joan Keay

Mary Lester Wally Mah

Heather Martin

Betty Anne McCallum Kirsten McDougall

Robert & Marian McLaren Kaitlin Methot

Jack & Verna Miller Dianne Miller

Janet Pangman Jan Pedersson

Penny & Carl Pentilchuk Steve Powrie

Anna Redekop Amy Regen

Terry & Susanne Rogers Chris & Gine Rose

Ron & June Routledge Kathy Sinclair

Donald & Sandra Staff

Ian & Margaret Stewart Lynne Totten

Nicole Tougas

George & Gloria Moore

Susan Tyrrell & Brian Mills

Vic & Sally Mowbray

Robert Ulevog

Kathleen Nadler

Nels Vollo

Angi & Russ Noakes

Eric & Mary Wiebe

Christy Morris

Barbara Ulevog

Peter & Ann Marie Mumby

Evelyn Vipond-Schmidt

Trudy Nagurski

Dave & Maryanne Whiting

Nu Master Chapter of Beta Sigma Phi

Lois & David Williams

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.

Volunteers Nicholas Adams

Deb Fransen

Alison McKinnon

Kathleen Alcock

Lucille Gnanasihamany

David McKinnon

Wendy Allen

Diana Haque

Wendy McLean

Mary Aulin

Roy Haugen

Rod Michell

Pierrette Beaton

Marylyne House

Davina Neve

Pam Bradley

Carol Howie

Helen Newmarch

Claire Ann Brodie

Barb Humphrey

Jane Osterloh

Faye Burles

George Humphrey

Bess and Kaytee Ovington

Jo Chipperfield

Kathy Humphreys

Louise Oyler

Kathy Collier

Patricia Kaatz

Carol Paulsen

Geoff Collier

June Kitamura

Steve Powrie

John Corbishley

Gabriele Klein

Bonnie Pryce

Jean Crow

Tyler Klymchuk

Wilma Scheer

Libby Denbigh

Sie Koopman

Margaret Sharon

Kathrine Dominik

Mary Lester

Simon Walter

Denise Douglas

Maureen Light

Mary Ann Whiting

Bruce Dunn

Joan McDonald

Dave Whiting

Sandy Eastwood

John J. McDonald

Judy Wiebe

Jill Field

Deb McKeown

Beethoven & Tabla

Luminous Voices Hear soaring vocal lines that will lift your spirit and imbue you with peacefulness and serenity. Sagebrush Theatre

F E AT U R I N G

Enjoy an engaging, Magdalena How Soprano cross-cultural experience when we pair the music Philip Wing of Canadian composer Baritone Dinuk Wijeratne’s KSO with Chorus Tabla Concerto the immortal beauty of Beethoven.

F E AT U R I N G

Bradley Thachuk Guest Conductor

Gabriel Dionne Tabla

APRIL 23 SATURDAY 7:30PM

BOX OFFICE: 250.374.5483

kamloopssymphony.com