The Essence of Mahler Programme (Kamloops Performance)

F E AT U R I N G

Nadège Foofat Conductor

Kimy Mc Laren Soprano

The Essence of Mahler Be charmed by Mahler’s heavenly Symphony No. 4 in this enlightening concert.

Sagebrush Theatre

MARCH 12 SATURDAY 7:30PM

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Words from the Executive Director At long last, tonight we get to hear Yoon Jae Lee’s arrangement of Mahler’s Symphony No. 4, a piece originally programmed by our Music Director Dina Gilbert before I had even started in this role, almost three years ago.

We had grand intentions of finishing our original 2019–20 Season with a concert featuring this delightful work, but for various reasons… it just took us a little bit longer to get to it than planned.

Although I don’t weigh in on our musical choices too often (as that is certainly Dina’s domain when it comes to the Kamloops Symphony!)

I will say Mahler is one of my all-time favourite orchestral composers.

The melodies, the emotion, and in this case…even sleigh bells… his writing truly has it all. We are pleased to have conductor Nadège Foofat, and soprano Kimy Mc Laren join us in Kamloops and Salmon Arm this weekend for this wonderful work.

Programming aside, we continue to be so grateful for the community who has been so understanding, as we have dealt with unexpected circumstance after the other…this production being no exception.

So from all of us, thank you for continuing to celebrate and support live classical music, and I hope you enjoy this evening’s performance as much as I surely will.

With sincere appreciation,

Daniel Mills

Executive Director Kamloops Symphony

GOVERNMENT GRANTS

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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.

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KAMLOOPS SYMPHONY ORCHESTRA ®

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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

CELLO Martin Kratky* Doug Gorkoff

—concertmaster° Elyse Jacobson

—concertmaster *+

Molly MacKinnon

— assistant concertmaster + Evelyn Creaser-Rumley Carol (Eunkyung) Hur Adora Wong SECOND VIOLIN Boris Ulanowicz* Narumi Higuchi Haley Leach Sandra Wilmot VIOLA Ashley Kroecher* Jennifer Ho Erin MacDonald

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BASSOON Olivia Martin* HORN Sam McNally* Heather Walker TRUMPET Mark D’Angelo* PERCUSSION Martin Fisk++ Gregory Samek HARP/PIANO Naomi Cloutier*

BASS CLARINET Krystal Morrison °On Leave

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Principal

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Substitute Principal

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Geoff & Judith Benson | concertmaster Rod Michell | assistant concertmaster Gabriele Klein | principal second violin June McClure | principal viola Anonymous | principal cello Eleanor Nicoll | principal flute Joyce Henderson | principal clarinet Kelvin & Roberta Barlow | principal bassoon Hugh & Marilyn Fallis | principal trumpet

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PROGRAMME

Guest Conductor: Soprano:

Nadège Foofat

Kimy Mc Laren

Ernest Chausson...........

Chanson perpétuelle Op. 37

Gustav Mahler...............

Symphony No. 4

(arr. Yoon Jae Lee)

I.

Bedächtig, nicht eilen

II. In gemächlicher Bewegung, ohne Hast III. Ruhevoll, poco adagio IV. Sehr behaglich

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GUEST CONDUCTOR

Nadège Foofat Nadège Foofat is a conductor, violinist, violist, and advocate for innovation in thought, action, music, and culture.

In 2018, Nadège was one of six conductors selected for the Bruno Walter National Conductor Preview for her “experience, talent, leadership potential, and commitment to a career in service to American orchestras” by the League of American Orchestras.

During the 2019-2020 season, Nadège made her debuts with the Lima Symphony Orchestra, South Bend Symphony Orchestra, Savannah Philharmonic Orchestra and Chorus in the United States, and Symphony New Brunswick in Canada in a series of distanced concerts. Other recent performances include appearances with Symphony Nova Scotia, the Toledo Symphony Orchestra, and the Nashville Symphony Orchestra.

Nadège will be a guest conductor in the 2022-2023 season with the Spartanburg Philharmonic Orchestra as part of their Music Director search.

A champion of equal representation for women in orchestral programming, Nadège’s concerts have included works

by Amy Beach, Jennifer Higdon, Mary Howe, Vítězslava Kaprálová, Missy

Mazzoli, Leslie Opatril, Florence Price, Joan Tower, and Gwyneth Walker. She is a leading expert of the orchestral works of the early romantic French composer, Louise Farrenc. Nadège is also a member of the Executive Council of the Institute for Composer Diversity.

From 2009-2014, Nadège was the Founder and Music Director of the Esopus Chamber Orchestra, a twenty-five-member award-winning professional chamber orchestra based in the Hudson Valley, New York.

She holds a Doctor of Music degree in orchestral conducting from the Université de Montréal, a Diplôme de perfectionnement in contemporary orchestral conducting from the Conservatorio della Svizzera italiana, (Switzerland) a Master of Music degree from the Yale University School of Music, and Bachelor of Music degree from The Juilliard School in viola performance.

Born in Canada, Nadège is also a citizen of the United Kingdom and the United States. She is based out of Virginia, where she resides with her husband, composer Jonathan Newman, and their two children.

GUEST ARTIST

Kimy Mc Laren Shortly after making her professional debut at the Opéra National du Rhin, Montreal’s Kimy Mc Laren performed throughout the world and amassed a formidable and diverse repertoire that spans opera, concert, recital and musical theatre.

Philharmony, Wiener Kammer Orchester and many more throughout Europe and across Canada—having collaborated with such internationally acclaimed conductors as Charles Dutoit, Kent Nagano and Yannick Nézet-Séguin.

She has performed more than thirty operatic roles—Marguerite (Faust), Leïla (Les pêcheurs de perles), Juliette (Roméo et Juliette), Donna Elvira (Don Giovanni), Marie (Wozzeck), Governess (The Turn of the Screw) to name a few—not only in France (Lille, Strasbourg, Marseille, Toulon, Metz, Bordeaux, Reims, etc.) but also in Latin America, Asia and Canada.

Théâtre du Châtelet in Paris cast her as Julie for an widely successful run of the musical Carousel and immediately invited her to return in the role of Cinderella in Sondheim’s Into the Woods. Additionally, she has appeared as a soloist with many symphony orchestras, including Orchestre symphonique de Montréal, Orchestre Métropolitain, Malaysian

Prize winner in the International Mozart Competition in Salzburg and Mario Lanza Competition in Italy, Kimy is charismatic and very much at home on the operatic stage— nevertheless, she also enjoys performing in chamber works and recital. Her vast repertoire reflects a true affinity and genuine passion for all aspects of the vocal art.

Most recently, Kimy appeared in the musical Marry Me a Little (Elle) at the Théâtre Marigny in Paris and the opera Flight (Stewardess) at Pacific Opera Victoria. She also performed as a soloist in Les Grands Ballets Canadiens’ Stabat Mater and in the Mass in B minor with the Orchestre Métropolitain (Montreal).

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PROGRAMME NOTES

Ernest Chausson (1855–1899)

“Do I still have ten years left to live? Then, for a moment I feel fear, not of death, but of dying without having done what I was called to do…” These are the words of French composer Ernest Chausson at age 35. The anxiety he expresses were not the result of his material circumstances: he was a member of a wealthy bourgeois family whose father had prospered by assisting in the great redevelopment of Paris in the 1850s. It was more an element of his personality, not morbid but uncertain. His friend, the Belgian violinist Eugène Ysaÿe, described him as “A sincere and melancholic poet.” At his father’s request he first trained as a lawyer but being independently wealthy he had no need to practice law. With gifts as a writer, as a painter and in music, he had choices. In August of 1879 he went to Munich to hear Wagner conduct The Flying Dutchman and The Ring. Within the month he had enrolled in the Paris Conservatoire, taking classes in composition from Jules Massenet and from César Franck.

Chausson’s artistic temperament was much closer to Franck’s than to Massenet’s, and for several years he remained part of Franck’s artistic circle, absorbing elements of his compositional preferences and style, and (as Chausson’s words above suggest) Franck’s sense of composition as a moral obligation. Like many other composers he joined the Société Nationale de Musique, and became its secretary in 1886 through until his death. It was through this organization as well as through his own compositions that Chausson was influential in shaping the distinctive quality of French music at the end of the 19th Century, as it struggled with the allure of Wagner and German Romanticism.

Unlike Debussy, Ravel, Saint-Saëns and other French composers, Chausson is a composer not so widely known among music lovers. His works tend to use modest forces, such as his Concert for violin, piano and string quartet, and his Poème for violin and orchestra, written for his violinist friend Ysaÿe. Oddly, the one detail many people do seem to know about Chausson is the manner of his premature death—a fatal bicycle accident while he was out for a ride in the countryside.

Given a longer span of years to work his musical voice would unquestionably have developed still greater distinctiveness.

PROGRAMME NOTES

Chanson perpétuelle Op. 37 (1898)

One genre of music that appealed to Chausson from early in his career is the mélodie, that is, the French art song, the French equivalent to the German lied of Schubert and others. His own literary inclinations as well as his love for, and knowledge of, contemporary literature made Chausson a sensitive interpreter of poetry, with the skill to respond in music to the emotional nuances of poetic text. In particular, he immersed himself in French Symbolist poetry such as the works of Verlaine, Rimbaud, and Charles Cros. He selected the poem Nocturne

by Cros for this mélodie (which he retitled “Chanson perpétuelle”) most likely because the poem’s images elicited a musical response in him rather than because he identified with the complete despair of the protagonist (see text below). He composed “Chanson perpétuelle” in December 1898 for soprano Jeanne Raunay who gave its premiere on January 28, 1899, to an enthusiastic reception. It is one the last works he composed. There are three versions: one with piano accompaniment, one with orchestra, and one with piano and string quartet accompaniment, which is the version for tonight’s performance.

In the poem an abandoned lover laments her desertion. She recalls her former ecstasy, and then (like Hamlet’s Ophelia perhaps) prepares to drown herself, indulging in the morbid fantasy of being enfolded and caressed by the green rushes of the pond. Her imagined preparations for death in the embrace of the “caressing” foliage are clearly a replay of their earlier sexual encounters, and the music reaches an appropriately ecstatic climax at that point, before the piano and strings die quietly away. Chausson gives the performance direction “in the manner of a popular song,” which brings an element of simplicity and additional poignance to the protagonist’s despair over her abandonment. In his adaptation of Cros’ poem, Chausson omittted four of the poem’s tercets, most significantly the last two so that the song ends with the despairing lover’s focus on “l’absent” (the absent one).

PROGRAMME NOTES

Gustav Mahler (1860–1911)

In his lifetime, Mahler’s reputation was built to a great extent upon his career as a conductor, of both orchestral works and opera. He had appointments with several major European orchestras culminating in Vienna for ten years and, when the increasing anti-Semitism of the early 1900s became oppressive, with the Metropolitan Opera in New York and the New York Philharmonic. Given this demanding performance schedule it has always seemed astounding that he ever found time to compose, let alone the colossal symphonic works that form a substantial part of his musical output. Unlike Chausson, who completed one symphony (but started a second), Mahler’s musical output was focused chiefly on the symphonic form as bequeathed to him by Brahms and Bruckner. In his hands, the symphony grew even greater in length and complexity of musical utterance, and in richness of orchestral and vocal resources. But not much of his own work was performed in his lifetime. Then, after his death, his work remained relatively unknown, only to a few champions, composers and music specialists until the 1960s, when recording technology helped build a wider familiarity with his work. Now Mahler is rightfully seen as one of the most significant composers of the late Nineteenth and early Twentieth centuries.

The frequently epic and often dramatic quality of Mahler in his symphonies is, however, only half of the picture of his work. There is, also, an intimate and delicate element in his music, most often expressed through his works for the human voice. Mahler recognized that this inner and more personal quality is an essential complement to the epic, and that it is through the medium of music these two aspects of human experience can be expressed and reconciled. From this his artistic goal seems to have emerged: to explore though music the nature of the human condition in all its contradictory forms—the tragic, the joyful, the turbulent, the serene, the tormented and the beatific. Almost all Mahler’s musical output is either symphony (numbers 1 through 9 and an incomplete 10th), or song and song-cycle (sometimes with orchestra as in Das Lied von der Erde).

Four of his symphonies contain a vocal element including the one we hear today, works that bring together the two chief modes of Mahler’s musical expression.

Symphony No. 4 Mahler composed his Symphony No.4 soon after his appointment to the Vienna Court Opera in 1897, and presented it in Munich in November of 1901. Audiences might have been wondering what they were in for, considering Symphony No.2 was huge and Symphony No.3 was larger still. There was no doubt some relief at what they heard: a different, more accessible Mahler was on display. Indeed, this Symphony No.4 became the most popular of his symphonies in his lifetime, and

PROGRAMME NOTES

likely has remained so since. Like Chausson, Mahler was a keen reader of poetry, and one poetry anthology in particular had obsessed him over the years: Des Knaben Wunderhorn (The Youth’s Magic Horn), a collection of German folk poetry from the early 1800s. He set many of the poems with orchestral accompaniment in a song cycle of the same name, and instrumental movements inspired by poems from this collection appear in other works, such as his second and third symphonies.

In the fourth symphony, the fourth and final movement is a setting of a poem from this Wunderhorn anthology. In the anthology the poem is titled Der Himmel hängt voller Geigen (Heaven Hangs Full of Fiddles). Mahler, however, renamed it Das himmlische Leben (The Heavenly Life). This renaming helps clarify his focus for the symphony. The poem is a child’s vision of heaven (much of it imagined as an abundance of food!). The whole symphony is the search of a childlike mind through experience to regain lost innocence, once heaven is finally revealed.

Several of Mahler’s symphonies have “programmes” of this kind although he progressively discouraged audiences from experiencing his music in that way.

In this fourth symphony there are some “programmatic” annotations in the composer’s manuscript, but other of his programme details were explained privately in a letter to his wife.

This focus on the innocent experience may help explain aspects of the character of the first three movements. There is a simplicity in the feel of the first movement (Bedächtig “placidly”), although the various themes are developed with considerable subtlety. The second movement (In gemächlicher Bewegung “with a leisurely motion”) is like “a dance of Death”: showcasing the serio-comical character of Death as in a morality play one might have seen in the streets of a medieval town. Mahler’s instructions to the solo violinist to tune the instrument a whole tone higher than normal helps create a suitably sinister effect. The slow third movement (Ruhevoll “restful”) is a set of variations: at times profoundly calm and, at others, deeply intense. Towards the third movement’s end the orchestra unleashes an astounding outburst of joy which, if one is following Mahler’s programme of the search for lost innocence, might be construed as the child’s longed-for glimpse of the Heavenly City. The form of the final movement is shaped by the text, the verses separated by orchestral passages whose material recalls elements from the first movement. Towards the end, the child sings to us: “No music on earth Can ever compare with ours,” and the skillful simplicity of Mahler’s music captures perfectly the authenticity of that heavenly vision, as the music fades gently away—nothing remaining except the gentle and softly repeated notes of the harp.

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

Chanson perpétuelle

Everlasting Song

Bois frissonnants, ciel étoilé, Mon bien-aimé s’en est allé, Emportant mon cœur désolé!

Shivering trees, starry sky, my beloved has gone away, bearing away my desolate heart.

Vents, que vos plaintives rumeurs, Que vos chants, rossignols charmeurs, Aillent lui dire que je meurs.

Winds, let your plaintive noises, let your songs, charming nightingales, tell him that I am dying.

Le premier soir qu’il vint ici Mon âme fut à sa merci.

De fierté je n’eus plus souci.

The first night he came here my soul was at his mercy.

I no longer cared about pride.

Mes regards étaient pleins d’aveux.

Il me prit dans ses bras nerveux Et me baisa près des cheveux.

My glances confessed my love.

He took me into his strong arms and kissed my brow.

J’en eus un grand frémissement; Et puis, je ne sais plus comment Il est devenu mon amant.

I felt a great quivering; and then, I don’t know how he became my lover.

Je lui disais: “Tu m’aimeras Aussi longtemps que tu pourras.”

Je ne dormais bien qu’en ses bras.

I said to him: “You will love me as long as you can.”

I slept well only in his arms.

Mais lui, sentant son cœur éteint, S’en est allé l’autre matin, Sans moi, dans un pays lointain.

But he, feeling his heart extinguished, went away the other morning, without me, into a distant land.

Puisque je n’ai plus mon ami, Je mourrai dans l’étang, parmi Les fleurs, sous le flot endormi.

Since I no longer have my lover, I will die in the pond, among the flowers, under the sleeping current.

Sur le bord arrêtée, au vent Je dirai son nom, en rêvant Que là je l’attendis souvent.

Once I’ve arrived at the bank, to the wind I will speak his name, dreaming that there I awaited him often.

Et comme en un linceul doré, Dans mes cheveux défaits, au gré Du vent je m’abandonnerai.

And as in a golden shroud, surrounded by my unbound hair, to the will of the wind I will surrender myself.

Les bonheurs passés verseront Leur douce lueur sur mon front Et les joncs verts m’enlaceront

Past happinesses will shed their soft glow on my face and the green rushes will entangle me

Et mon sein croira, frémissant Sous l’enlacement caressant, Subir l’étreinte de l’absent.

and my breast will believe, quivering under the caressing entanglement, that I submit to the embrace of the absent one

—Charles Cros

Das himmlische Leben

Heavenly Life

Wir genießen die himmlischen Freuden, D’rum tun wir das Irdische meiden, Kein weltlich Getümmel Hört man nicht im Himmel, Lebt alles in sanftester Ruh;

We revel in heavenly pleasures, So we shun all that is earthly, No worldly turmoil is heard in Heaven, Everyone lives in sweetest peace;

Wir führen ein englisches Leben, Sind dennoch ganz lustig daneben, Wir tanzen und springen, Wir hüpfen und singen, Sankt Peter im Himmel sieht zu.

We lead an angelic existence, And yet we are perfectly happy, We dance and leap, We skip and sing, Saint Peter in Heaven looks on.

Johannes das Lämmlein auslasset, Der Metzger Herodes drauf passet, Wir führen ein geduldigs, Unschuldigs, geduldigs, Ein liebliches Lämmlein zu Tod.

Saint John has lost his little lamb, And Herod the butcher is lurking, We lead a patient, innocent, patient, Darling little lamb to death.

Sankt Lukas den Ochsen tät schlachten Ohn einigs Bedenken und Achten, Der Wein kost’t kein Heller Im himmlischen Keller, Die Englein, die backen das Brot.

Saint Luke would slay the oxen Without the slightest hesitation, The wine doesn’t cost a penny in the cellars of Heaven, The angels, they bake the bread.

Gut Kräuter von allerhand Arten, Die wachsen im himmlischen Garten, Gut Spargel, Fisolen, Und was wir nur wollen, Ganze Schüsseln voll sind uns bereit.

Fine herbs of every description Are growing in heaven’s garden, Fine asparagus, green beans and everything we desire Platefuls of food all ready for us,

Gut Äpfel, gut Birn und gut Trauben, Die Gärtner, die alles erlauben!

Willst Rehbock, willst Hasen?

Auf offener Straßen, Sie laufen herbei.

Fine apples, fine pears and fine grapes, The gardeners let us pick everything.

If you want venison and hare— In the open streets They come running up.

Sollt’ ein Festtag etwa kommen, Alle Fische gleich mit Freuden angeschwommen!

Dort läuft schon Sankt Peter Mit Netz und mit Köder, Zum himmlischen Weiher hinein.

Sankt Martha die Köchin muß sein.

And when there’s a holiday, All the fish swim gleefully up, And off runs Saint Peter With net and with bait, Into the pond of Heaven; Saint Martha will have to be cook.

Kein’ Musik ist ja nicht auf Erden, Die unsrer verglichen kann werden.

Elftausend Jungfrauen Zu tanzen sich trauen, Sankt Ursula selbst dazu lacht,

No music on earth Can ever compare with ours, Eleven thousand virgins Venture to dance, Saint Ursula herself laughs to see it,

Cäcilie mit ihren Verwandten Sind treffliche Hofmusikanten, Die englischen Stimmen Ermuntern die Sinnen, Daß Alles für Freuden erwacht!

Saint Cecilia with her companions Are splendid court musicians.

The angelic voices So delight the senses, That all creatures awake with joy!

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F E AT U R I N G

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

BOX OFFICE: 250.374.5483

kamloopssymphony.com