New World Festival Programme

Proud Sponsor

The City of Kamloops is a proud sponsor and wishes the symphony all the best during its 2022–2023 season.

Message from the Board President

Welcome to the opening weekend of our very exciting 2022-23 Season. I know I speak for the entire KSO team when I say we are thrilled to be back on this stage bringing you—our subscribers, donors and supporters— the amazing and spell-binding experience of live music in Kamloops.

For many of us as we navigated the labyrinth of a pandemic over the past few years, our hearts and ears were missing the sensory experience of a full season of live performances. As one subscriber said to me jubilantly, “it is the highlight of life to attend KSO’s concerts.” And it is with great joy and enthusiasm that we launch our magnificent new season. We sincerely hope that the musical programme developed for our entire season will bring you much enjoyment and pleasure.

Most of you will not know that I am a student of Russian literature and I cannot resist sharing a quote from Leo Tolstoy—one of my favourite authors: “Music is the shorthand of emotions.” May our performances this weekend and throughout the whole season unleash the power of your emotions and bring you great joy.

This year, we begin our season with our New World Festival: an exciting blend of the old and the new, and a showcase of the timeless works of Antonin Dvořák—with some modern twists. During this multi-day event, you will have had the opportunity to experience a wide variety of music: from a live Mariachi band to Maggie and her Bass for younger audiences, to demonstrations of the iconic Swiss instrument—the Alphorn—and even an open rehearsal for the KSO Chorus. It is our fervent hope that you will come to see that the KSO is alive and back in full swing to entertain, inspire and move you in traditional and new ways. Sit back, relax and enjoy what we have in store for you tonight. We are so honoured to perform for you this evening.

John J. McDonald III Board President Kamloops Symphony

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

TELUS Community Foundation

Hamber Foundation

SOCAN Foundation

Ron & Rae Fawcett

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

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

Music Director Emeritus Bruce Dunn

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 * Parmela Attariwala Paul Chan Evelyn Creaser-Rumley Jeremy Ferland Carol (Eunkyung) Hur Samantha Kung

SECOND VIOLIN

Boris Ulanowicz* Francisco Barradas Majka Demcak Haley Leach Shee Ling Sandra Wilmot VIOLA Ashley Kroecher* Erin MacDonald Fahlon Palm Jinhee Park Calvin Yang

Chair Sponsors

CELLO

Martin Kratky* Doug Gorkoff Laure Matiakh Olivia Walsh BASS Maggie Hasspacher* Michael Vaughan Yefeng Yin

FLUTE Heather Beaty* Jeff Pelletier

OBOE Marea Chernoff* Lauris Davis

CLARINET Sally Arai* Julie Begg BASSOON Olivia Martin* Dave Overgaard

HORN Sam McNally* Dennis Colpitts

Maddie Davis

Heather Walker

TRUMPET Mark D’Angelo* Jeremy Vint

TROMBONE Angus Armstrong++ Cindy Hogeveen

BASS TROMBONE Rod Simmons

TUBA Richard Cane++

TIMPANI Martin Fisk++

PERCUSSION Brian Nesselroad++

*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 Joyce Henderson | principal clarinet Kelvin Barlow | principal bassoon Hugh & Marilyn Fallis | principal trumpet

DVOŘÁK & JAM

Friday SEPTEMBER 30

Dina Gilbert, Conductor

Stéphane Tétreault, Cello

Pre-concert blessing by Tim Edwards

Antonin Dvořák ........... Slavonic Dances op. 46 Nos. 1–7

Antonin Dvořák ........... Cello Concerto in B minor, Op. 104

I. Allegro II. Adagio

III. Finale: Allegro moderato —Andante—Allegro vivo

INTERMISSION

During intermission we invite you to join us in the lobby for some light refreshments courtesy of Save-On Foods and a wine tasting provided by Celista Estate Winery, while our amateur musicians rehearse on stage with the orchestra.

Antonin Dvořák Slavonic Dances op. 46 Nos. 3, 4, 8

NEW WORLD / NEW BEATS PROGRAMME

Saturday

Dina Gilbert, Conductor

K.A.S.P., Brandon Peters, K–9, J. Thorn, DJ MV

Pre-concert blessing by Tim Edwards

Antonin Dvořák ........... Slavonic Dances op. 26 No. 8

Antonin Dvořák ........... Symphony No. 9 in E minor, Op. 95

“From The New World”

I. Allegro—Allegro molto

II. Largo III. Molto vivace

IV. Allegro con fuoco

PROGRAMME NOTES

Antonin Dvořák (1841–1904)

Dvořák was born near Prague in 1841 and died in that city in 1904 at age sixtytwo. His father was a village pork butcher and also an innkeeper. These do not sound like promising origins for a future composer of international renown. However, his father was also a musician—a zither player—in a country, Bohemia, where music making was an instinctual activity for almost everyone. Later in life Dvořák described that “in Bohemia every child must learn music, and if possible sing in church … after church the people revel in music and dancing, sometimes until early morning.” Young Dvořák, who quickly learned to play a variety of instruments, was part of these musical activities from an early age. Then, later, when he moved to Prague, he became a violist in the recently founded National Opera. Although he lacked much formal training in composition he began to compose prolifically, songs, and orchestral and chamber works, in the German classical style of Mozart, Beethoven and Schumann. Gradually, however, the distinctive Bohemian voice of his music began to assert itself, the voice that makes Dvořák, for most music-lovers, the best known of the leaders of the various “nationalist” movements in music that emerged in the 19th Century. Unfortunately, lacking a music publisher, Dvořák’s reputation was for some time limited and based chiefly on his operas. However, in 1875, he drew the attention of no less a musical figure than Brahms who, as a competition adjudicator, saw work that Dvořák had submitted in a competition for a government grant. The most important result was that, in addition to giving Dvořák generous artistic encouragement, Brahms put Dvořák in touch with his own music publisher, Simroc.

Slavonic Dances (Op.42 orchestrated version Op.46)

It was the publisher Simroc who in 1875 requested that Dvořák compose a set of Slavonic Dances for piano duet (Opus 42). Some years earlier, in 1869, Brahms had composed a set of Hungarian Dances that had become widely popular through various orchestrations and arrangements. It seems clear that Dvořák too intended his set of eight piano-duet pieces for orchestra since he appears to have begun orchestrating them even before he had finished the piano version. The Dances were an immediate success in both piano and orchestral formats (a second set of eight, Op. 72, followed

in 1887). In short order, Dvořák acquired a European more than just a Bohemian/Czech reputation. The dances are filled with the spirit, energy and melodic charm of Slavonic folk music. Yet they are all original works. Unlike Brahms in his Hungarian Dances, Dvořák does not transcribe existing folk melodies but instead makes use of the characteristic folkdance styles and rhythms to stimulate his own musical imagination. Dance No. 1 is an exuberant and frequently syncopated furiant. No. 2 alternates melancholy sections with livelier ones, major with minor, much in the

manner of a dumka. Dance No. 3 is basically a polka, and No. 4 a Moravian sousedska, a kind of minuet, favoured by the elderly no longer able to meet the demands of the faster dances. No. 5 is a Skocna with an strikingly fast

NOTES

coda, and No. 6 is another sousedska and No. 7 another Skocna with some delightful passages for the trumpets. The set ends with No. 8, in the furiant style heard in the opening dance.

Symphony No. 9 in E minor, Op. 95, From the New World

Dvořák’s Symphony No. 9, “From the New World,” is his best-known symphony, possibly his best-known orchestral work. He wrote it in 1893 while on a three-year appointment in the United States as artistic director of the recently established National Conservatory of Music in New York. He had been hired in the expectation that as a now well known European “nationalist” composer he would show the burgeoning American musical community how to create a new national style of classical music for the United States. Based on his own experiences, Dvořák believed that a genuinely national music could emerge only from folk traditions, so he looked to the music of American Indians and African Americans for inspiration. He explored Indian melodies, listened to plantation songs and spirituals, studied their unique musical idiom, and adapted them to his symphony. The result was an immediate success.

1st Movement Adagio—Allegro molto

The symphony opens pianissimo, with a slow introduction for strings. The melancholy tone it expresses colours all of the symphony’s four movements. The Allegro that follows is turbulent and exciting, a reflection perhaps of this dynamic and restless “new world”

that Dvořák had suddenly come to know. The movement’s main theme becomes a motto, a repeated element appearing in each movement of the symphony. Listeners will not fail to recognize the prominent flute tune reminiscent of the Negro spiritual “Swing Low, Sweet Chariot”.

2nd Movement—Largo

Dvořák appears to have been unsure about the tempo of this movement until he heard the New York Philharmonic rehearsing it under conductor Anton Seidl. Dvořák’s original thought had been Andante or Larghetto. Both are tempos faster than the slower one that Dvořák heard Seidl use in rehearsal, and it was the slower Largo that Dvořák decided on. The movement contains some of Dvořák’s most evocative music. Most notable is the fervent cor anglais melody that we know now as “Goin’ Home” because of the words later composed by William Arms Fisher. It was not (as some have claimed) an already existing negro tune that Dvořák copied, but his own work as a composer sensitive to the distinctive idiom of different melodic traditions. Other elements of the movement were inspired by American Henry Longfellow’s poem, Song of Hiawatha, about the Indian hero, a work already familiar to Dvořák from a

NOTES

translation into Czech. Precisely which episodes from the poem the music embodies is not clear however: the funeral of Minnehaha in the forest, or a morning scene blessing the cornfields. Listen for return of the motto theme, this time in the trombones, but the movement ends with quietness.

3rd Movement Scherzo: Molto vivace

In the third movement’s opening some listeners hear Dvořák tipping his hat to Beethoven, specifically the timpanipunctuated Scherzo of Beethoven’s 9th. For much of the rest of the movement Dvořák swings into lively dance mode, with three different dance varieties. These too are said to have a link to the “New World” associations in the symphony, and again the link is to Longfellow’s Hiawatha. This time the music evokes “Hiawatha’s Wedding Feast,“ in particular the “Whirling, spinning round in circles,/ Leaping o’er the guests assembled” and other spectacular feats of the tribal dancer, Pau-Puk-Keewis. Again, listen for the motto theme from the first movement

which is announced close to the movement’s end on the horns. They are silenced decisively by a single emphatic chord.

4th Movement Allegro con fuoco

In the symphony’s Finale, Dvořák masterfully combines themes from the previous three movements to form an integrated symphonic whole. Added to these earlier melodies are new ones: a lively Bohemian dance (a furiant as in his Slavonic Dances), a nostalgic clarinet melody, a polka and the first six notes of “Three Blind Mice.” All of this Dvořák builds to a massive, climactic conclusion. We are left to wonder whether this musical message “From the New World” is intended as a colourful set of impressions for those back home of the dynamic culture Dvořák found in North America. Or is it the work of a Bohemian composer homesick for his own country, whose sympathy for the plight of the oppressed coloured and Indian peoples is suffused with his own nostalgia?

Cello Concerto in B minor, Op. 104

The Concerto for Cello and Orchestra is the other significant composition that resulted from Dvořák’s three-year appointment in the United States. The stimulus for its creation is reputed to have been a performance Dvořák attended in spring of 1894 of Victor Herbert’s Second Cello Concerto (with Herbert himself as soloist). (Yes, that Herbert, later the composer of operettas such as Naughty Marietta.) Inspired by Herbert’s new work and

recalling the commitment he had made to his Czech colleague, the cellist Hanus Wihan, for a substantial composition for cello, Dvořák began work on his concerto in November 1894. Within three months it was finished. Almost. While at work on the concerto Dvořák heard that his sister-in-law, Josefina, in Bohemia was very ill, and this news prompted him to include a melody of which he knew she was especially fond

into the slow movement. She died in 1895 soon after Dvořák returned home, so the concerto was completed back in Prague with the addition of some final references to her favourite song in the third movement and suggestions from cellist Wihan for the solo part. Wihan was especially keen that there be a cadenza at the end of the finale (normally an important showpiece for a soloist). Dvořák disagreed—he felt that to draw attention to the virtuosity of the soloist at the close would defeat the point of his tribute to his sister-inlaw. There is no cadenza.

The composer Brahms, who provided both encouragement and practical support earlier in Dvořák’s career, is credited with this (mock)-grudging but good-natured praise of the concerto: “Why didn’t I know that it was possible to write a cello concerto like this? If I’d known, I’d have written one myself a long time ago!” With its solo part closely interwoven with the orchestral texture, Dvořák’s three-movement concerto is almost symphonic in character, with the solo part quite closely interwoven into the orchestral texture.

1st Movement Allegro

An orchestral introduction begins the first movement with a theme from the clarinets followed by an expressive horn melody. These lead to the entry of the solo cello which from that point on plays a prominent role in the exposition, development, and recapitulation of the thematic material through to the movement’s triumphant-sounding close.

2nd Movement Adagio ma non troppo

The second movement is leisurely and relaxed, pastoral in character, Slavonic in feeling, allowing the solo instrument’s noblest qualities full expression. There is a dramatic middle section based on the melody (one of Dvořák’s own songs) that was beloved by his now dead sister-inlaw. There is a short section for the soloist accompanied by woodwinds, a quasi-cadenza perhaps, a concession to cellist Wihan. The movement dies away in pastoral serenity.

3rd Movement Allegro moderato

Introduced by a march-like opening theme, the Finale is in rondo form and is notable for the wealth of its melodic content, for its rhythmical variety and its brilliant instrumentation. The contribution of the solo cello becomes gradually more prominent. Toward the end it seems as if Dvořák is reluctant to part company from his musical creation, developing an extended series of quiet, thoughtful passages seemingly by way of postponement. Then, quite unexpectedly, he briefly includes the clarinets with their opening theme from the concerto’s first movement. For just a moment it may seem the concerto will end quietly—not a common practice in Romantic concertos. However, from that point on Dvořák quickly gathers his musical forces together and closes the concerto with decisive energy.

Pro-Am Jam Participants

VIOLIN

Tomas Bijok

Julie Hendriks

Tim Whitehead

VIOLA

Annette Toop

CELLO

Michael Powell

BASS

Tracy Clarke

Tom Eccleston

Jake Walter

FLUTE

Shauna Fadden

OBOE

Haylie Lundgren

BASSOON

Jill Calder

HORN

Catherine McNeil

TROMBONE

Robert Walter

Stéphane Tétreault

In addition to numerous awards and honours, Stéphane Tétreault is the recipient of the prestigious 2019 Virginia Parker Prize from the Canada Council for the Arts and was a nominee for the Oscar Morawetz Award for Excellence in Music Performance from the Ontario Arts Council. He is also the laureate of the 2022 Prix Opus for “Performer of the Year”, awarded by the Conseil Québécois de la musique and accompanied by a Canada Council grant. In 2018, he received the Maureen Forrester Next Generation Award in recognition of his sensitivities with music, his enviable technique, and his considerable communication skills. In 2015, he was selected as laureate of the Classe d’Excellence de violoncelle Gautier Capuçon from the Fondation Louis Vuitton, and received the Women’s Musical Club of Toronto Career Development Award. Stéphane was the very first recipient of the $50,000 Fernand-Lindsay Career Award as well as the Choquette-Symcox Award laureate in 2013. First Prize winner at the 2007 Standard Life-Montreal Symphony Orchestra Competition, he was named “Révélation” RadioCanada in classical music, was chosen as Personality of the Week by La Presse newspaper, and awarded the Prix Opus New Artist of the Year.

Chosen as the first ever Soloistin-Residence of the Orchestre Métropolitain, he performed alongside Yannick Nézet-Séguin during the 2014-2015 season. In 2016, Stéphane made his debut with the Philadelphia Orchestra under the direction of

Maestro Nézet-Séguin and performed at the prestigious Gstaad Menuhin Festival in Switzerland. During the 2017-2018 season, he took part in the Orchestre Métropolitain’s first European tour with Maestro NézetSéguin and made his debut with the London Philharmonic Orchestra.

Stéphane has performed with violinist and conductor Maxim Vengerov and pianists Alexandre Tharaud, Jan Lisiecki, Louis Lortie, Roger Vignoles, Marc-André Hamelin, Charles Richard-Hamelin and John Lenehan and has worked with conductors Michael Tilson Thomas, Paul McCreesh, John Storgårds, Rune Bergmann, Kensho Watanabe and Tung-Chieh Chuang amongst many others. He has participated in a number of masterclasses, notably with cellists Gautier Capuçon and Frans Helmerson.

K.A.S.P.

K.A.S.P is a multiple award winning Aboriginal HipHop Artist and has collaborated on songs with DMC of The Legendary RUN DMC, Moka Only, Choclair, & Chino XL. He is the 2020 winner for Entertainer Of The Year at the International Indigenous Arts and Fashion Awards, the 2016 Winner for Aboriginal Excellence In The Arts, and the 2015 winner for West Coast Rap Album of the Year at the Canadian HipHop Awards.

His album #Livingthagoodlife won the 2015 Canadian HipHop Award for West Coast Rap Album Of The Year,

and Interbribal stayed on the Native American Aboriginal Music Count Down for 15 weeks.

K.A.S.P. has been featured on APTN, Global TV, Much Music, CBC, TED Talks, CBC Radio, CBC Radio North, and more for his inspiring and uplifting motivational talks and empowering workshops! K.A.S.P has committed himself to serving aboriginal youth. His inspirational keynotes have now intertwined the story telling of his life, growing, persevering, and expressing his life through his music which he also shares with the audience.

GUEST ARTIST

Brandon Peters

Brandon Peters is a First Nations Canadian entertainer hailing from Lillooet, British Columbia. His creative writing, recording, and performing came naturally to him at a young age and since then he has made positive changes in his life to further his career. He has opened the stage for big names and new artists like Snak The Ripper and Dax and has also performed at Music Festivals throughout BC. In 2019 he released his first EP “WAVES” featuring AZ-85 on all streaming platforms and then started his own clothing brand CULTURE&RHTYHMS which has given him more opportunities and opened new doors. Brandon also shoots music videos and works on designs for other artists in his free time. His confidence in his art and culture allows him to stand proud in crowds and he’s out to inspire and encourage the younger generation to chase their dreams.

Kelvin Ternoir, better known by his stage name as K9, is an American Independent hip hop artist from Chicago, Illinois.

He has released two mixtapes. K9 released his debut mix tape titled K9 Presents: Spare Of The Moment in May 2012 currently available on Datpiff. com for free download, followed by December 2012 release of K9 Presents: Industry Invasion also available for free download on Datpiff.com.

Growing up in Chicago wasn’t half bad coming up as a kid, you see things and hear things, but continued with what you were doing as a kid. Most memorable times for Kelvin “K9” Ternoir, was growing up in the Jeffery Manor Projects on 106th and Oglesby alone with his three cousins, and at the time four other siblings.

Attending Orville T. Bright School, K9 was always the funny child in the family, with a great sense of humor, but then again very quiet. His older cousin Tyrone “L7” Ternoir mentored K9 (who was then known as K-Dog) into writing songs and free styling. That was back in the early 90’s. As time went by and different opportunities came outside of music, K9 drifted away with music due to the life styles he and his family faced, until that calling came back in 2002.

Posing as a solo artist he now guides up and coming artists such as A.T. Dollo, and producers to follow his vision to form an empire. The vision is still in effect.

GUEST ARTIST

Photo credit: # Hashmark Photography

ARTIST

J-THORN

J-Thorn is the owner and founder of Paranoyd Records Inc. and Paranoyd Sound Studios, and has over 15 years of recording and production experience with over 300 artists in multiple genres, working on over 3,000 song and projects. He was the First Place winner in the Indie International Songwriting Contest for the Pop category, First Place winner in the 100% Music Songwriting

Contest in the Hop Hop category, and semi-finalist in the International Songwriting Competition.

In addition to working on Top 10 charting songs in both commercial and campus Canadian radio, he is also a Royal Conservatory of Music classically trained pianist and a guest lecturer at the Nimbus School of Recording & Media.

DJ MV is making his mark on the music industry and aspiring to become a wellknown music producer. Born in Haiti in 1976, Marving showed a love for music at a very young age. His mom would listen to traditional Haitian music daily while his sister had an interest in classical. These women influenced him while in the home. This alternate home life was brought to light when Marving and his family moved to Canada in 1983 shortly after the loss of his little brother.

By the time Marving hit high school, he started learning how to be a DJ. His older brother worked hard to buy a set of turntables and whenever he went out, Marving would sneak into his room to play with them. When Marving finally got caught, his brother was so impressed with his self-taught skills, he gave his brother the turntables. From there Marving practiced for hours every single day and eventually created his DJ Name MV.

In 2000, Marving wanted to a change. He had adapted to every change in his life so far so he was keen to try living on the beautiful West Coast. He moved to British Columbia where he DJ’d in night clubs, special events and bars for years. He even formed part of a few different Rap Groups, and went on cross country tours.

By 2012 another change was needed, and Marving moved to Veneto, Italy where he worked as the resident Disc Jockey for Princeville Nightclub.

2016 was a new year form Marving. He became a father and a husband for the first time.

GUEST ARTIST

DJ MV

Stephanie Hamelin Tomala is a Canadian composer, with a dual citizenship (American-Canadian), violinist, pianist and singer with Ecuadorian and Lebanese roots. In January 2019 and 2020, she won twice the first prize from the composition competition SmackDown string quartet held in Texas. She also won 2 first prizes for her music score of the American film Final Curtain, directed by Jonathan Chiarle; with the SOCAN Foundation and with the Burbank International Film Festival, held in California. Stéphanie has written music for over 80 short films, 4 documentary feature films as well as the series L’industrie de la Vieillesse, directed by Denys Desjardins and in 2020-2022, she composed music on films produced by the National Film Board

of Canada. She was nominated in the contemporary/classical instrumental composition category for her orchestral piece Ceremonial Tribute to Krakow at the 2021 ceremony awards of the Hollywood Music in Media Awards. In fall 2021, she got nominated for a Prix Gémeaux award (Gemini Award) as an emerging artist in cinema for her overall work as a composer. She also received an honorable mention at the 2022 HER MUSIC AWARDS and won the emergent culture Télé-Québec prize in 2022. Some of her arrangements and compositions have been featured on network television such as CRAVE, SUPER ÉCRAN, RadioCanada/CBC, IciTou.tv, Canal Savoir, Illico, and Unis Tv.

STEPHANIE HAMELIN TOMALA

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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

Bill Fonseca

Judith Fowles

Louella Garner

Joyce & Rusty Gibbons

David Gilmour

Lucille Gnanasihamany

Christine Goodman

Peter & Judy Gray

Alan Grimes Sue Holmes Margot Holmes Claire Johnson Joan Keay Mary Lester Wally Mah Heather Martin Betty Anne McCallum Kirsten McDougall Sylvia Markowsky Robert & Marian McLaren Kaitlin Methot Jack & Verna Miller

Dianne Miller George & Gloria Moore

Christy Morris Vic & Sally Mowbray Peter & Ann Marie Mumby Kathleen Nadler

Trudy Nagurski Angi & Russ Noakes Nu Master Chapter of Beta Sigma Phi

Marian Owens

Janet Pangman Janice Pedersson 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 Peter ter Weeme Lynne Totten Nicole Tougas Susan Tyrrell & Brian Mills Barbara Ulevog

Robert Ulevog

Evelyn Vipond-Schmidt Nels Vollo Sharron Warren Dave & Maryanne Whiting Eric & Mary Wiebe Judy 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.