Solemn Contemplation concert programme by Kamloops Symphony

Solemn Contemplation An introspective concert experience that will soothe your soul.

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Don Bennett In Memoriam, Don Bennett (1960–2020) Written by Daniel Mills, Executive Director

Thank you kindly for tuning in to our concert presentation, one which we hope will bring you a sense of peace, and a moment to reflect on the complex times we find ourselves.

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PERFORMANCE SPONSORS

As many in the Kamloops community are aware, we recently lost a pivotal and motivating figure in our local music scene. Don Bennett was a beloved music educator and performer, who touched the lives of many. No stranger to us here at the Kamloops Symphony, he served as our Principal Trombone for 26 years, but his community involvement went much beyond our concerts. Don was also a very active music educator, which he did full time in addition to his symphony involvement. For 35 years, he taught in the school system here in Kamloops, and he was also vital to many other community-led ensembles, including the Thompson Valley Orchestra and the Kamloops Community Band. Don leaves an incredible legacy of former students and colleagues, many who work now as musicians and educators in Kamloops and beyond. Each member of the music community has their own personal story as to what Don meant to them. As a newcomer, mine is quite recent: I had the privilege of playing in a few very informal driveway concerts over the summer. Little did I know at the time that I was one of the last musicians who was lucky enough to perform with him. In each rehearsal and performance, Don had such a positive outlook, and was so generous with his affirmations. I couldn’t help but feel gratified after spending a rehearsal with him. Although my interactions with him may have been brief, there are so many other musicians who share similar if not more profound recollections of him, and with great respect, we wish to honour those memories here.

In contemplation of all of Don’s contributions to music communities close and far, the Kamloops Symphony would like to dedicate this concert to his memory. May his generous spirit and passion for music education live on.

Daniel Mills Executive Director

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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. In 2017, she made debut performances in the United States with the Eugene Symphony and the Fayetteville Symphony Orchestra as well as in Asia conducting a series of five concerts with the Sinfonia Varsovia in Niigata and Tokyo. 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 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 paticipative 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

Musicians FIR ST VIOL IN Cvetozar Vutev | Concertmaster* Elyse Jacobson | Assistant Concertmaster* Llowyn Ball Hannah Chung Rachel Kristenson SE COND VIOL IN Annette Dominik++ Narumi Higuchi Molly MacKinnon Sandra Wilmot * Principal

+ Acting Principal

VIOL A Ashley Kroecher* Jennifer Ho Erin MacDonald CEL LO Martin Kratky* Doug Gorkoff BAS S Michael Vaughan+ KEYB OARD Naomi Cloutier

++ Substitute Principal

COUNTERTENOR

SOPRANO Irish-born soprano Sinéad White maintains an active performing and teaching schedule in North America. She was recently a young artist at the Boston Early Music Festival where she sang the role of Angelica in Handel’s Orlando and performed in the ensemble of the North American premiere of Agostino Steffani’s Orlando generoso. She performs regularly in Toronto with ensembles such as Tafelmusik Orchestra & Chamber Choir, Theatre of Early Music and Opera Atelier. Other highlights as a soloist include Buxtehude’s Membra Jesu Nostri with Early Music Vancouver and Pergolesi’s Stabat Mater as part of EMV’s Bach Festival. She was the soprano soloist in Bach’s Christmas Oratorio in Kelowna, BC with the Okanagan Festival Singers alongside members of the Okanagan Symphony as well as in Bach’s Mass in B Minor at St. Andrew’s-Wesley.

Guest Artist

Sinéad White

She looks forward to performing as the soprano soloist once again in Handel’s Messiah with the Chilliwack Symphony this year. Sinéad has received further artistic training at the Ton Koopman Academy, the Toronto Summer Music Festival as an Art of Song Fellow and at the Victoria Conservatory of Music. Sinéad took part in the Canadian Vocal Arts Academy in Montreal and was a fellow at the Sibelius Academy’s Creative Dialogues Program in Santa Fe, NM where she worked on contemporary repertoire with Canadian soprano/conductor Barbara Hannigan. Sinéad obtained both her Bachelor and Masters’ degrees in Voice/Opera at McGill University and is currently pursuing a Doctorate at the University of Toronto.

Guest Artist

Shane Hansen

Canadian countertenor Shane Hanson has performed with the Theatre of Early Music, Vancouver Bach Choir, Okanagan Symphony, UBC Opera Ensemble, Against the Grain Theatre, Vancouver Symphony, Early Music Vancouver, and Chilliwack Symphony. Most recent engagements include alto soloist in Handel’s Messiah with both the Chilliwack and Okanagan symphonies and various Bach Cantatas with Daniel Taylor’s Theatre of Early Music in Toronto. Although he has mostly performed concert works, he is also very accomplished on the operatic stage. Notable roles include Britten’s Oberon, Handel’s Guilio Cesare, and Gluck’s Orfeo. When off the stage, Shane enjoys discovering late eighteenth century opera arias and creating piano reductions of them to then record or perform. His most notable collection of reductions includes select alto arias of Anfossi, Jomelli, and Myslivecek. Shane holds a bachelor’s degree in opera performance from the University of British Columbia. Through the guidance of Nancy Hermiston, Dale Throness, and Daniel Taylor, Shane continues to master his craft and find a deep passion for all forms of music.

Program Congratulations to the Kamloops Symphony on your valuable contribution to the quality of life we all enjoy. The proud sponsor sponsor and andwishes wishesthe the The City City of Kamloops is aa proud symphony 2020–2021 season. season. symphony all all the the best during its 2019–2020

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Conductor:

Dina Gilbert

Soloists: Sinéad White | soprano Shane Hanson | countertenor Thériault

Selections from Projections

I. Mirage

II.

III. Mutation plutonique

IV. Isthme de l’être

Kuzmenko

A Prayer

Pergolesi

Stabat Mater

Fleur de peau

Stabat mater dolorosa

II.

Cujus animam gementem

III. O quam tristis et affflicta

IV. Quae moerebat et dolebat

VI. Vidit suum dulcem natum

VII. Eja mater fons amoris

VIII. Fac ut ardeat cor meum

IX. Sancta mater, istud agas

XI. Inflammatus et accensus

XII. Quando corpus morietur

Quis est homo

Fac ut portem Christi mortem

Solemn Contemplation Welcome to an evening of music for a time of sorrow—music for a time of Solemn Contemplation. Dina Gilbert, the Kamloops Symphony’s Music Director, is firm in her belief in the healing power of music, in its ability to help us express our griefs, especially when words fail us. The Kamloops Symphony Wellness Lab, which she established this fall, is designed to help spread the healing power of music throughout the community as a response to the dislocation and disorientation of this time of pandemic. Likewise, her choices for this evening’s concert were made with this thought of healing in mind, and as a gateway to the annual act of remembrance in which we acknowledge and celebrate the sacrifice made by those who served and fell in many wars. In this year of COVID-19, those who have succumbed to the virus as well as those who have worked tirelessly to protect them are also central to our thoughts. In this evening’s programme Dina’s choices range from the beauty and simplicity of works by two contemporary Canadian composers, Julie Thériault and Larysa Kuzmenko, to a “classic” of western church music, the Stabat Mater by Giovanni Pergolesi. Julie Thériault (19--)

Four Selections from “Projections”: Mirage, Fleur de peau, Mutation plutonique, Isthme de l’être (15min) (2019) To usher in this evening of Solemn Contemplation Dina has chosen a collection of four pieces from the recent work, Projections, by Montreal composer Julie Thériault. The choices clearly reflect Dina’s belief that out of music of fundamental beauty and simplicity— music of simple harmony, delicate contrasts and changes of tone—quiet introspection can occur, emotional release can emerge and consolation can be gained.

Julie Thériault is a Montreal musician, a composer, a pianist, and also a painter. She has won prizes for her film music as well as her orchestral compositions. Her work as a painter is important: Thériault credits painting with helping her unlock aspects of her musical creativity. For her, the visual imagery of the painter and the aural imagery of the musician are interchangeable: colours can be related to music and likewise vibrations to painting. The pieces in Projection

Solemn Contemplation, are for combinations of piano, string orchestra and solo violin. Each one is a small and introspective emotional world into which we enter, to emerge reshaped by each piece’s distinct arrangement of elements. “Mirage” is for violin solo and the string orchestra, with the strings providing a steady and calming orchestral base allowing the solo violin to float contemplatively above. In “Fleur de peau,” it is the piano, in subtle contrast to the strings, that provides the delicate rhythmic pulse that liberates the

continued

solo violin and then the lower strings. “Mutation plutonique,” as the title suggests, is a little more dramatic. The low strings sound slightly ominous and uneasy, but above them the solo violin soars with passion and tenderness. In “Isthme de l’être” the piano and solo violin together start us quietly, gently but purposefully, on a journey that quickly becomes more urgent, only to resolve itself, suffused with resignation, with just the violin and piano to close.

Larysa Kuzmenko (1956) A Prayer for String Orchestra (1993) (7min) Larysa Kuzmenko is a Toronto-based composer and pianist. She is currently on staff at the University of Toronto’s Faculty of Music, where she teaches piano, harmony, and composition. Across a long composing career she has written concertos for piano, cello, organ and accordion, chamber music and music for solo piano and organ, and much choral music including songs and an oratorio. Next in this evening of Solemn Contemplation Dina has fittingly chosen a musical “prayer,” Kuzmenko’s A Prayer for String Orchestra. It was inspired by the memory of the composer’s father and premiered by the Mississauga Sinfonia Chamber Orchestra in February 1993. Kuzmenko herself describes its “melodic and liturgical quality” and its

“lyrical one-movement form.” Prayer is an attempt at intimate dialogue with the Creator that often moves through a variety of emotional phases. So, this one-movement Prayer develops in several sections in which the alternation of moods and speeds and the contrasts between high and lower strings helps frame the evolving feelings. It begins with a slow, plaintive, occasionally dissonant melody that evolves into a faster section more fervent and urgent (it is a prayer after all) that subsides into a mood of pensive and quiet intensity before building to an anguished climax. Then silence—and the gentle return of the opening melody brings the prayer to a resigned but peaceful end.

Giovanni Battista Pergolesi (1710-1736) Stabat Mater (1736) (42min) [Latin text and translation on the following pages] The Italian composer Pergolesi was born at Jesi near Naples and educated at the Conservatorio in Naples. He was a delicate child and seems to have suffered from tubercular problems throughout

his life. However, he was precociously talented receiving his first commission (for an opera) when only 21. At age 22 he was appointed maestro di cappella to the Viceroy of Naples and from that

point on was always busy, composing operas (both serious and comic) as well as church music. He was unable, though, to overcome the illnesses that plagued him and he died at age 26—a career of only five years. His Stabat Mater was a commissioned work which he barely completed only in the last weeks of his life. The tragedy of his early death made him something of a romantic figure in the following years and increased the popularity of his works, both secular and religious. At the same time the distinctive skill and artistry of Pergolesi’s style led unscrupulous music printers to publish works by less talented composers under his name. One element of Pergolesi’s skill is his development of a more emotional musical language than that of other composers who continued to employ the more formal, prescribed forms that had evolved in earlier decades in both opera and church music. This greater emotional expressiveness can be heard in many places in Stabat Mater, along with passages in more traditional style. In seeking music in aid of remembrance and emotional healing Dina has gone to the centre of the tradition of classical church music, choosing this setting of the Stabat Mater by Pergolesi. Contemplation is at the heart of the Christian tradition especially in relation to an understanding of Christ’s passion. Most church music across the centuries has been written for the liturgy of the church (services like the Mass, Matins, Evensong, the Requiem) or from biblical texts (the Te Deum, Magnificat, or the Psalms). The text of Stabat Mater, however, is distinct in being a poem in rhyming Latin stanzas, written in the 13th

Century, reputedly by Jacopone da Todi, an Italian Franciscan monk. It quickly became so popular that it was adopted into the liturgy of the Catholic Church. It is also distinct in being a text frequently chosen by composers over the centuries from the time of its composition up to the present day—over 200 different settings exist, including ones by Palestrina in the late Renaissance through Schubert, Rossini and Dvorak, to Welsh composer Karl Jenkins in our own time. Throughout the poem, the speaker watches Mary the mother of Jesus keeping vigil as her son dies on the cross. It is the power of music to embody this experience of Mary suffering while her son suffers, a mother and a dying son, that epitomizes Dina’s trust in the emotionally liberating qualities of music. As the poem proceeds, however, the poem’s speaker (male or female) shifts from merely describing Mary’s intense grief to actually experiencing that same grief, and through that empathic experience coming to understand the Passion of Jesus himself and its purpose for humankind. Just as Mary’s experience becomes the source for the speaker’s emotional awakening, so for us as readers and listeners the speaker’s experience provides our epiphany. We too are invited to share in the message of human salvation. Such emotional release and understanding are the goals of contemplation. By putting the words into the voices of two soloists rather than just one, a soprano and an alto (in this performance a countertenor), Pergolesi not only enriches his musical resources but also broadens the symbolic relevance of the poem’s experience. Program Notes by Rod Michel

Latin Text & Translation DUET 1. S tabat mater dolorósa juxta Crucem lacrimósa, dum pendébat Fílius.

ARIA (Soprano) 2. C uius ánimam geméntem, contristátam et doléntem pertransívit gládius.

DUET 3. O quam tristis et afflícta fuit illa benedícta, mater Unigéniti!

ARIA (Countertenor) 4. Q uae mœrébat et dolébat, et tremebat dum vidébat nati pœnas íncliti.

DUET 5. Quis est homo qui non fleret, Christi matrem si vidéret in tanto supplício? 6. Q uis non posset contristári Christi Matrem contemplári doléntem cum Fílio? 7. P ro peccátis suæ gentis vidit Iésum in torméntis, et flagéllis súbditum.

The sorrowful Mother stood Beside the cross weeping Where her Son was hanging

Through whose soul weeping Compassionate and grieving Passed a sword

O how sad and afflicted Was that blessed Mother Of the Only-begotten!

Who mourned and grieved And trembled when she saw The torment of her glorious child

Who is the person who would not weep Seeing the Mother of Christ In such agony?

Who could not grieve With the Mother of Christ Seeing her suffering with her Son?

For the sins of the people She saw Jesus in torment And to torture subjected

ARIA (Soprano) 8. Vidit suum dulcem Natum moriéndo desolátum, dum emísit spíritum.

ARIA (Countertenor) 9. E ja, Mater, fons amóris me sentíre vim dolóris fac, ut tecum lúgeam.

O Mother, fountain of love Make me feel the power of sorrow Make it that I may grieve with you

DUET 10. Fac, ut árdeat cor meum in amándo Christum Deum ut sibi compláceam.

Make that which burns my heart Burn in loving Christ God That Him I may please

She saw her sweet child Dying abandoned as He gave up His spirit

Latin Text & Translation DUET 11. S ancta Mater, istud agas, crucifíxi fige plagas cordi meo válide.

Holy Mother, do this Of the Crucified one fix The wounds in my heart securely

12. T ui Nati vulneráti, tam dignáti pro me pati, pœnas mecum dívide.

Of your wounded child Who thus deigned for me To suffer, the pain may I share

13. F ac me vere tecum flere, crucifíxo condolére, donec ego víxero.

Make me truly with you weep With the Crucified Sorrow as long as I live

14. Juxta Crucem tecum stare, et me tibi sociáre in planctu desídero.

Beside the Cross with you to stand And accompany you In your weeping, I desire

15. V irgo vírginum præclára, mihi iam non sis amára, fac me tecum plángere.

Virgin of virgins chosen With me be not bitter: Make it that I with you weep

ARIA (Countertenor) 16. Fac, ut portem Christi mortem,> passiónis fac consórtem, et plagas recólere.

Let me carry Christ’s death And suffering, share His Passion And His wounds remember

17. F ac me plagis vulnerári, Crucem hac inebriári, ob amorem Fílii.

Let me be wounded with his words Inspired by this cross Because of the love of the Son

Inflamed and afire By you, Virgin, let me be defended By you on the day of judgement

Let me be guarded by the cross By Christ’s death armed And cherished by His grace

When the body dies Grant that to my soul is given The glory of paradise

DUET 18. Inflammatus et accénsus, per te, Virgo, sim defénsus in die iudícii 19. F ac me cruce custodiri, Morte Christi praemuniri, Confoveri gratia. DUET 20. Q uando corpus moriétur, fac, ut ánimæ donétur paradísi glória. Amen.

Amen

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During the 2020-21 Season, our Executive Director Daniel Mills will embark on an epic journey: Running every city street in Kamloops, while raising funds for the symphony

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