Sounds in Sand concert programme

Sounds inSand

DINA GILBERT Music Director

MARINA & EVA SOSNINA Sand Artists

Watch sand artists craft elegant artwork in sync with the symphony in a unique, intercontinental collaboration.

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MESSAGE FROM THE EXECUTIVE DIRECTOR

Sounds in Sand

PERFORMANCE SPONSORS

Thank you so much for tuning in to Sounds in Sand, the first of three productions in the Kamloops Symphony’s Spring Series, and for continuing to support our new programming.

One of the advantages of our digital experiences are that we are no longer constrained to expensive travel to bring the work of high quality artists from around the world right to you. For this visually stimulating production, we are thrilled to be partnering with artists across the country, and even from the other side of the globe. We hope you enjoy what we have come up with.

And if you like what you see today, please be sure to join us for our next two projects, Charlie Parker w/ Strings, running April 9–May 8, and Voilà Viola!, from April 23–May 22.

More information about both can be found on our website.

Enjoy the show!

Daniel Mills

Executive Director

Kamloops Symphony Society Kamloops, BC • kag.bc.ca Scott Massey, Transit (viewed through unexposed processed transparency film), 2012 (detail)

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Collaborative Pianist Music Director Emeritus

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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.

Orchestra Elyse Jacobson

| violin 1

Olivia Martin

| bassoon / contrabassoon

Boris Ulanowicz

| violin 2

Sam McNally

| horn

Ashley Kroecher

| viola

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.

Martin Kratky

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.

Marea Chernoff

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

| cello

Michael Vaughan Heather Beaty

Sally Arai

Mark D’Angelo Jim Hopson

| bass

| trombone

Danny Tones

| flute / piccolo / alto flute | oboe / English horn

| clarinet / bass clarinet

Martin Fisk

| trumpet

| percussion 1

| percussion 2

Naomi Cloutier Bonita Wiens

| piano / harp

| piano / celeste

Chair Sponsors 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

Program Conductor: Dina Gilbert Sand Artists: Marina and Eva Sosnina Sergei Prokofiev

Overture on Hebrew Themes

Iman Habibi

Radiant Light

Modest Mussorgsky Pictures at an Exhibition (arr. Julian Yu) Promenade The Gnome Promenade The Old Castle Promenade Tuileries (Children’s Quarrel after Games) Bydlo Promenade Ballet of Unhatched Chicks Samuel Goldenberg and Schmuyle Promenade Limoges. The Market (Astounding News) The Catacombs (Roman Sepulchre) The Hut on Hen’s Legs (Baba Yaga) The Great Gate of Kiev

PROGRAM

Sounds in Sand

Charlie Parker Web Experience FRIDAY

APRIL 9

to SATURDAY

MAY 8

Consider this idea for a moment. As we listen to music, the sound engenders images and then, feeling, the tactile. We hear, we see, we touch. Such is the power of music. But can the reverse be true, can image generate the sound, can the visual so impress the composer that sound will inevitably flow, that music will be born? Works in this concert will affirm it is so. After an Overture that, itself, stirs both strong visual and sensual appeal, we are presented with two musical works firmly connected to the sense of sight, both for their composers and for us when we listen. But what is yet more exciting about this concert is that the deep links we will experience between sound and image will be transformed yet again through—sand. Yes, while the sound of Radiant Light floods into our hearing/vision its power will in turn be shaped and transformed yet again through the fluidity of sand. While our ears capture the images in Mussorgsky’s gallery of Pictures, our sonic impressions of Hartmann’s paintings will take on yet another life through creative hands shaping images from the sand, momentarily intense, ultimately ephemeral — like the music’s sound.

Cross genres with the symphony as

they cover The Bird’s original jazz tunes.

DINA GILBERT

Music Director THE CORY WEEDS QUARTET

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Sergei Prokofiev (1891-1953)

Overture on Hebrew Themes (1919) Have you heard the engaging Russian folk tale of Peter and the Wolf, with the resourceful Peter and his animal companions, his Grandfather, the hunters, and the capture of the intimidating wolf? Then you know Prokofiev. Or at least one aspect of his music making. The music for the often-heard ballets, Romeo and Juliet and Cinderella, and for films such as Lieutenant Kije and Alexander Nevsky, are also the work of Prokofiev.

And then there are the symphonies, concertos, and much piano music—

he himself was a brilliant concert pianist as well as a composer in many different genres.

Most works of art have stories. This little Overture on Hebrew Themes is musically appealing but also interesting, written at an important juncture in Prokofiev’s life. He had left Russia in 1919 in the aftermath of the Revolution, as had many others, fearing curtailment of artistic and intellectual freedom. In New York he encountered a small group of Ashkenazi Russian continued…

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musicians, the Zimro Ensemble, whom he had recently known at the St. Petersburg Academy and who were on a world tour. It was they who commissioned Prokofiev to write a piece for their group which consisted of a string quartet, piano and clarinet. There was little (if any) repertoire for that combination of six instruments, so this may be the first composition of its kind, a natural reason for their commission. That is Prokofiev’s version of the Overture’s origin. Interestingly, the group’s leader records things differently: that it was Prokofiev, newly arrived and looking to establish himself in America both as performer and composer, who offered to write them a piece for their entire ensemble, thereby taking advantage of the popularity the Ensemble had begun to acquire to help launch his own career.

Alternate versions of history have their interest, but it is the music, the Hebrew Themes, that is important.

What is certain is that the musicians lent Prokofiev a collection of Jewish melodies as a source. Although Prokofiev’s normal practice was to create his own melodies and to avoid folk tunes, he selected two from the collection and it is those two that form the structure of the piece. The

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first is a sprightly wedding dance in the Klezmer tradition introduced by the clarinet, and the second, more passionate and lyrical, is a Yiddish song, Zayt gezunterheyt mayne libe eltern, in which a departing bride bids farewell to her parents and her childhood home, introduced by the cello. Although the clarinet and cello are often prominent, Prokofiev brings all the other elements of the ensemble to the fore in careful balance as the two themes are developed, beautiful combinations of violin and cello for example, while the piano remains supportive throughout without dominating the other instruments.

Music in this folk Jewish tradition was not well known in the USA at that time. The klezmer musical tradition that we are familiar with today was only gradually introduced to America in the first two decades of the 20th Century as political developments in Europe triggered the Jewish diaspora.

So, it is perhaps no surprise that the Overture quickly became quite popular. Prokofiev himself later claimed he did not think highly of the work, that it was done quickly and was really quite conventional. There’s just no pleasing some people, composers included!

continued…

Iman Habibi (b. 1985)

Radiant Light (2019) The young Iranian Canadian composer and pianist Iman Habibi, a graduate of the UBC music programme, among other institutions, is already an extremely productive, award winning composer and pianist who is really only at the start of his career. His works include compositions for orchestra, brass and wind ensembles, concertos, pieces for solo piano, songs, choral and operatic works, music for film, and pieces for chamber groups. As well as solo work, his performing career includes collaboration with pianist Deborah Grimmett in the international prize-winning piano duo called Piano Pinnacle.

Radiant Light, Habibi says, is a work for chamber group of no fewer than six musicians in almost any combination of instruments, acoustic or electronic, and/or voices. In this concert the instruments are flute, oboe, clarinet, bassoon, trumpet, string quartet and piano. As the music’s title, Radiant Light, suggests, sight is central to our experience of sound in this piece.

Quiet, delicate, almost tentative beginnings become gradually more insistent, progressively enveloping our sight until the sound’s full effulgence is released in an irresistible experience of image and feeling, reaching resolution only as it dies away.

The visual and tactile impact of Radiant Light has clear origins. As Habibi explains it, the music was inspired both by a painting and by a poem that was a response to the painting. The woman in the painting (Easter Morning: Portrait at a New York Window, by Frederick Hassam, 1921) stands at a window and draws back the curtain to look out into the Easter morning light. She is pensive.

For the poet observing this painting the light is “radiant,” “deliciously sweet,” “fragrant,” “soft, smooth,” “crying light,” and more. These visual and sensory responses lie waiting to be experienced when we hear the music—sound will multiply its effects through sight and feeling.

PROGRAM

PROGRAM

Modest Mussorgsky (1839-1881)

Pictures at an Exhibition (1874) arranged by Julian Yu (2001) Mussorgsky was a member of the group of nationalist Russian composers known as “The Mighty Handful” who along with Balakirev and Rimsky-Korsakov among others, sought to revive the artistic history and traditions of their native land in the last half of the 19th century. He was regarded as a strikingly innovative and original composer, but had not had extensive formal musical training and for that reason, perhaps, his compositional techniques were derided by his colleagues as often as they were acknowledged. His life was also made more complicated by his alcoholism, a condition which eventually proved fatal.

Pictures at an Exhibition is probably Mussorgsky’s best-known work.

Originally, the pictures were a brilliant set of solo piano pieces composed in response to the sudden death of his artist friend, Viktor Hartmann, in 1873, and the commemorative exhibition of Hartmann’s works that followed.

In the piano Pictures Mussorgsky captures in a remarkable way the visual and sensory world in a selection of Hartmann’s paintings. Today, the Pictures are more widely known in orchestrated versions, or in other instrumental arrangements (including ones for organ, guitar and rock band) of which there have been a great many. The most frequently performed orchestration is by the French composer Ravel in 1922. But not in today’s concert. Although you may find your musical memory anticipating

the (sometimes overpowering) sound of Ravel’s orchestration, prepare to be surprised: this chamber orchestra version by Australian composer Julian Yu is absolutely distinctive— both subtle and richly evocative. “Reflected and Refracted” he calls it.

In Yu’s chamber version the number of players is of course comparatively small but his sound resources are extremely varied. They include a full range of woodwinds (several kinds of flutes, oboes, clarinets, bassoons), brass (horn, trumpet, trombone), harp, celeste and piano, and at least ten percussion instruments—too many to list, but including tubular bells, woodblocks, vibraphone and glockenspiel.

As listeners it helps to know the pictures we are invited to hear/see.

In Mussorgsky’s musical conception we are “At An Exhibition,” we (he too) are walking the galleries in respect for the departed artist, stopping every now and then to contemplate and enter the visual/sound world of one of Hartmann’s creations. The music invites us into the viewing process by means of sections titled Promenade that recur from time to time throughout. The march-like tune is the same each time and, unlike some other versions, Yu uses the viola to help convey the eager but respectful character of the viewer. Here briefly are the paintings that our “ear” is invited to “see” and “feel”—separated at intervals by the occasional Promenade. continued…

Gnomus was Hartmann’s design for a Christmas toy nutcracker in the shape of a hunchback gnome, but it brings out the macabre from Mussorgsky, something twitchy and hobbling. We move on to The Old Castle: Hartmann did architectural sketches medieval in style. Perhaps that is why we hear a medieval minstrel singing a melody.

On again to Tuileries where we encounter quarrelsome children at play in the famous Paris park. Then we turn to view the oxen pulling a heavy Polish cart with large wheels, Bydlo.

On once more, and there is The Ballet of the Unhatched Chicks, Hartmann’s costume design for a ballet. Here he depicts child dancers scurrying about portraying new-hatched chicks.

Beside it there are the portraits of two Jews, Samuel Goldenberg and Schmuÿle, one is wealthy and well-fed, the other quite destitute. Mussorgsky’s music makes it easy for us to see that the poor is importuning the rich, but ends being soundly rejected.

We move on to view Limoges: in the market square women excitedly exchange the latest news with one another. Then, close to it, an eerie painting, The Catacombs, with the figure of the artist and two others by lamplight in the ancient Roman burial caves beneath Paris. The music

that follows this is a version of the Promenade theme in Mussorgsky’s spectral “creepy” mode, titled With the Dead, Speaking in the Tongue of the Dead. Put together with the Catacombs painting this piece embodies Mussorgsky’s reverence for Hartmann as a now departed artistic guide. In the manuscript’s margin he wrote: “Hartmann’s creative spirit leads me towards the skulls; he addresses them and gradually they glow from within.” This brings us to The Hut on Fowl’s Legs, not a painting but a bronze- enamelled clock in the shape of a cottage on four chicken legs. It is the dwelling of Baba Yaga, the Russian witch whose diet is principally human bones. In his music Mussorgsky portrays her flying through the air on a pestle which she uses to grind her victims’ bones. The music flows without a break into the stirring evocation of the final painting, The Great Gate of Kiev, Hartmann’s design for a grand entrance to the city of Kiev commemorating Tsar Alexander II’s escape from assassination. With its stately hymn tune and pealing bells we hear, see and feel the grandeur and solemnity as Mussorgsky celebrates the importance of the Russian Orthodox tradition.

Guest Artists

Marina & Eva Sosnina

Marina & Eva Sosnina

SAND ARTISTS Marina

Sosnina, born in Saint Petersburg in 1980, started her creative journey in 1996 at the Fine Arts Academy, where she studied painting and sculpture. Her interest in psychology brought her to a form of art therapy where the principal tool is drawing on sand. Keen on pursuing her passion, she puts her heart and soul into the development of “sand art” in Europe.

Amoyal and Camerata de Lausanne (Les Sérénades et les contes éphémères, Vichy, 2017), a Russian comedian Anatoly Beliy and Moscow Virtuosi chamber orchestra (The Little Prince, Moscow, Saint Petersburg, 2015-2017).

She also created sand illustrations for Bach’s St Mathew Passion in April 2016 in Alsace (The Dominicans) with Strasbourg philharmonic orchestra conducted by Paul Goodwin.

Currently, she is one of the most demanded sand artists in Europe.

Her artworks invariably fascinate the spectator by their intricate beauty, profound spirituality, and delicate technique. The sand under her hands transforms into a sequence of unbelievable images with each one elaborated into a true magic spectacle of visual poetry.

Since 2016 Marina, accompanied by her daughter Eva Sosnina, has been collaborating on a permanent basis with Saint Petersburg philharmonic orchestra under the lead of maestro Yuriy Temirkanov and with Saint Petersburg Northern Symphony orchestra, conducted by Maestro Fabio Mastrangelo. Over the last 3 years Marina has created over a dozen performances aimed at family audiences based on such famous stories, as Cinderella, The Nutcracker, The Snow Queen, Pinocchio, and many others. On September the 13th at Cathédrale de Chartres (France) Marina will be presenting her new musical project Sky and Sand, created in collaboration with the opera singer Emilie Cousin and the composer Denis Ramos. October 2020 will see Marina’s debut in the United Kingdom with Tchaikovsky’s Nutcracker accompanied by London Royal Philharmonic Orchestra under the lead of Maestro Vasily Petrenko.

In her performances, Marina Sosnina skillfully uses a large range of artistic techniques. Having studied Chinese sand art, she is also familiar with ebru technique (drawing on water), bas-relief, pastel and water colour painting, which allows her to create her unique personal genre within this art form.

Since 2007, Marina has been participating in music concerts, collaborating with great Russian and European musicians, including contre-tenor Gérard Lesne (Tempus Fugit, Paris, 2015), violinist Pierre

Eva Sosnina was born in 2001 in St.

Petersburg. From an early age she has been engaged in sand painting and animation under the guidance of her mother Marina Sosnina. Despite her young age, Eva takes an active part as an author and performer in various projects in Russia and abroad. Since

Marina Sosnina

2016, Eva has been creating sandy images and illustrations for musical fairy tales on the stages of the Music Hall Theater and the St. Petersburg Academic Philharmonic named after D.D. Shostakovich.

Voilà Viola!

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DINA GILBERT Music Director

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MARINA THIBEAULT Viola

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Florence Johnson

Chris Roskell

Darryl & Jeryl Auten Jennifer Barrett Pat & Tom Becker Nicole Befurt Lori Bonertz Gordon & Joan Britton Janet & Bruce Brunsgaard Angela Burghard Rosalind Burnell Jo Butland Giovanni Cinel Franca Cinel Evelyn Claudepierre Pauline Claydon Maureen Coldicott Joslyn Conley Peter Coxon Janice Faye Crape Donna Daines Lloyd & Paula Darwent Susan Deering Donna DeMarni Brenda Dley Mona Doney Peter Duda Sandy Eastwood Bianka Ede Jean Ethridge Christine Fichter Edwin Fockler Alan Forseth Gillian Gaiser Sandy Gallup Anne Geernaert Yanni Giftakis James & Joy Gothard Peter & Judy Gray Dyan Gunnlaugson

Cora Jones Linda Jontz Richard Klassen Helen Knight Christina & Reimar Kroecher Jo Lange Lani Laviolette Suzanne Legault Debbie & Lance Lehar Margaret Lichtenegger Ryan Liebe Reg & Barbara Lucas Cindy Malinowski Sylvia Rose Markowsky Bev Maxwell Janet McChesney Allen McCurrach Heather McLaren K.A Michell Nonie Miles Cheryl Monkman Kathy Moore Kathleen Nadler W. Russell Nakonesby Kimberley Naqvi

Pam & Tyler Robertson Opal Roskell Diane Russell Audrey Saigeon Irene Sansom Gerry Schellenberg Elaine Sedgman Tricia Sellmer Donna Sharpe Linda Shwaylyk Jennifer Simcoe Manju Singh Arjun Singh Patricia Spencer Linda Stender Janis Stertz Dawne Taylor Nadine Terziani Florence Thomson Dennis F. Tupman Shelley Utz Steve & Nancy L. Van Wagoner Michael Vaughan Evelyn Vipond-Schmidt Allan Voykin

Catherine Oakden

Tom & Anise Wallace/Barton

Kyle & Shelley M. Okano

Donna Walsh

Sheila Park

Robert Walter

Deborah Pearen

Wendy Watters

Robert & Carol Petrie

James & Barbara Wentworth

Joan Phillips Tracey Pointer Pauline Pollock Frith Powell Sheila Powell Thomqui Quigley

John West Lois & David Williams Sheryl Willis Perry Wingenbach Harley Wright

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

Thank you for your support