The Wild Orchestra by Kamloops Symphony

The Wild Orchestra

A fun, family-friendly introduction to the symphony

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

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Greetings from the Executive Director What a weekend! As we approach the winter months, we are thrilled to be launching not one, but two concert productions this weekend, with Van Django & KSO, and The Wild Orchestra. These mark the third and fourth programmes of the Kamloops Symphony’s hybrid 2021–22 in-person and digital Season. Although there are so many diﬀerent parties and partners that make all our productions possible, one particular group of people that sometimes gets overlooked in my pre-show announcements, is the hard-working administrative team at the Kamloops Symphony. Over the last 20 months of pandemic, Dina and I have been fortunate enough to have worked with an incredibly adaptable, perseverant, and cooperative group of individuals that have rolled with the punches, to make what we do actually happen. Going from in-person events pre-pandemic, to exclusively digital, and now mixing both has not been an easy feat, and we have been challenged in this way in all areas of our operations (not just our concert productions, but also our various other activities, including operating Kamloops Symphony Music School, our fundraising initiatives, and even running the oﬃce itself). I know Dina and I are so grateful for the team who has continuously risen to the occasion of delivering on our mission as an organization, however complex it has been. So please join me in giving a big thank to our administrative team, and please enjoy this Wild Weekend of music-making!

Daniel Mills

Executive Director Kamloops Symphony

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

GOVERNMENT FOUNDATIONS GRANTS

The Kamloops Symphony wishes to acknowledge that this concert is taking place on Tk’emlúps te Secwépemc territory within the traditional lands of the Secwépemc Nation.

Proud Supporters of the

KAMLOOPS SYMPHONY ORCHESTRA ®

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

Kamloops Symphony Society BOARD OF DIRECTORS

John McDonald | President Claire Ann Brodie | Vice President Helen Newmarch | Secretary 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. 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 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 CELLO

FIRST VIOLIN

—concertmaster°

Martin Kratky* Doug Gorkoff

—concertmaster*

BASS

Cvetozar Vutev

Elyse Jacobson

Molly MacKinnon

—assistant concertmaster Evelyn Creaser-Rumley

SECOND VIOLIN

Meaghan Williams++

FLUTE / PICCOLO Jeff Pelletier

Boris Ulanowicz* Llowyn Ball Sandra Wilmot

OBOE / ENGLISH HORN

VIOLA

CLARINET / Eb CLARINET / Bass CLARINET

Marea Chernoff*

Ashley Kroecher* Erin MacDonald

°On Leave

Principal

BASSOON

Olivia Martin*

HORN

Sam McNally*

TRUMPET

Mark D’Angelo*

PERCUSSION Martin Fisk++

PIANO

Naomi Cloutier

Sally Arai* +

Acting Principal

Chair Sponsors

Substitute Principal

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PROGRAMME

Conductor:

Dina Gilbert

Narrator:

Chris Bose

Illustrator:

Susan Mark

Ryan Noakes Kevin Mulligan Francis Poulenc

The Wild Orchestra (World Premiere)

How The Coyote Fed His Family

(World Premiere)

L’Histoire de Babar, le petit éléphant (arr. David Matthews)

Additional soundscapes ahead of the presentation created by Chris Bose.

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Peter Milobar, MLA

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GUEST ARTIST

Chris Bose Narrator

Chris Bose is a writer, multi-disciplinary artist, musician, curator and filmmaker. He is a founding member of the Arbour Collective, an Aboriginal arts collective based in Kamloops, with a national membership. He is also a workshop facilitator of community arts events, digital storytelling, art workshops with people of all ages and backgrounds. Bose performs curatorial work for First Nations art shows and projects, and research and writing for periodicals across Canada. He is also involved with project management and coordination, mixed-media productions, film, audio and video recording and editing, and is a music festival producer. Chris Bose is of the N’laka’pamux/Secwepemc Nation in BC, and currently spends his time in Kamloops, BC.

KAMLOOPS SYMPHONY

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I L L U S T R AT O R

Susan Mark Illustrator

Susan Mark is a local artist, musician, author/illustrator, and long-time Kamloops resident whose 27-year career in the Kamloops school district has led her to teach in the Education Department at Thompson Rivers University. Upon completing her Master’s degree in Education, she became the School District’s’ Fine Arts Coordinator for several years. Sue has written, illustrated and published a number of children’s books for various charities. She is an active Kamloops volunteer and her work, over the years, has supported charities including the Kamloops Food Bank, BCSPCA, and the Canadian Cancer Society. She is thrilled to be working with the Kamloops Symphony Orchestra to create the illustrations for Babar and the educational program to accompany it.

COMPOSER

Ryan Noakes Composer

Ryan Noakes was born in 1979 in Kamloops, British Columbia, where he grew up thinking life was a musical with his parents constantly playing and singing along with records. An accomplished singer, he has been a member of numerous choirs and vocal ensembles and performed in several musical theatre productions. Ryan received his BMus in composition from the University of Victoria in 2008. At UVic he was a two-time recipient of the Murray Adaskin Prize in Music Composition. Ryan also helped to establish two new vocal ensembles at the university. After graduating from UVic, he was instrumental in the creation of the Vancouver Island Chamber Choir; as a founding member, manager, and composer-in-residence. In 2010 Ryan relocated to Vancouver and received his MMus in composition from the University of British Columbia in 2012. He returned to his home town of Kamloops in 2017 where he formed the a cappella group Slow No Tempo and has recently become the Music Director of the Cantabile Singers.

Whose Stories? Curated by Makiko Hara Kamloops, BC • kag.bc.ca

October 2 to December 31, 2021

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

COMPOSER

Kevin Mulligan Composer

Kevin Mulligan is a Kamloops-born musician from British Columbia, currently based out of Toronto, Ontario. He is a versatile artist, working as a composer, pianist, tenor, educator, and accompanist. Kevin’s compositions have been performed across North America by many emerging professional artists and by professional ensembles, including Women on the Verge and chamber musicians from the Kamloops Symphony Orchestra. Notable commissions have included partnering as Composer-in-Residence with the students at the Kamloops Interior Summer School of Music for the world premiere of Call for mass band and choir and a commission of Fanfare from the University of Toronto Wind Symphony for the centennial year of the U of T Faculty of Music. In 2019, Kevin co-wrote a fully staged opera, Who Killed Adriana?, which was received with high praise for its production by the University of Toronto Opera Division. As well, Kevin was selected for the inaugural Sounds of Silence Initiative (SOSI), collaborating with contemporary Toronto-based poets and musicians for a program of new, Canadian art song, fully-funded by the Canada Council for the Arts. Kevin is the co-founder and Program Director for the Marigold Music Program, providing music education and outreach for marginalized youth in Toronto. As an educator, Kevin is proud to be on Faculty at the Kamloops Interior Summer School of Music where he teaches in areas of piano, choir, and musical theatre. Kevin holds a BMus. in Composition and Voice and a MMus. in Composition (specializing in Voice Pedagogy) from the University of Toronto Faculty of Music where he had the privilege of studying with composers Alexander Rapoport, Larysa Kuzmenko, and Norbert Palej, and baritone Mark Daboll.

PROGRAMME NOTES

Ryan Noakes

The Wild Orchestra (2021)

How many of you have had the thought that a group of musicians (either large like an orchestra, or small like a trio) is like a deeply sleeping creature. It may be slow to awaken, but once awake…who knows…what may happen! Neat idea, eh? As our composer explains it, “The Wild Orchestra was a title suggested by KSO Music Director Dina Gilbert in our conversations about me writing the piece.” He explains: “at the beginning of the piece, ‘the mighty beast’ slumbers—then (Oh! Oh!) the oboe and strings attempt to awaken the full orchestra, with varying responses from just a few reluctant instruments. Then, suddenly, we get a brief fanfare and (help!) the orchestra is fully awake. An energetic, driving rhythm depicts “the mighty beast” going out on a hunt. Then, just as suddenly (hey ho) it is time for a nap—and the piece ends.” Orchestra-beasts don’t always have a lot of stamina it seems!

Kevin Mulligan

How the coyote fed his family (2021)

About his musical collaboration with Chris Bose on this narrative venture, Kevin has this to say: “How the coyote fed his family” really feels like a musical accompaniment to an already fulfilled piece of art—Chris’ story. Collaboration was key, and the chance for a composer to work with a living storyteller is fantastic; I got to chat with Chris and hear him narrate this story, doing my best to understand it and hopefully complement it with musical ideas. Lots of listening! Unlike setting poetry to music, this story is living and breathing and always changing, and creating the active dialogue between storyteller and orchestra in performance was a fun challenge. I also got to have biased creativity with creating musical motifs that alluded to the T’kemlúps landscape: animal sounds, the mountains, the water. “

PROGRAMME NOTES

Francis Poulenc (1899—1963)

L’Histoire de Babar, le petit éléphant (arr. David Matthews) Born in 1899, Francis Poulenc was the only son of a wealthy industrialist, destined to follow his father into business. His intention to study music was forbidden with the result that he was largely self-taught, musically. However, the death, first, of his mother and, two years later, of his father, both while Poulenc was in his teens, meant that he could now pursue a career in music. An early influence was Eric Satie through whom he was introduced to those composers collectively known as Les Six (Milhaud, Auric, Taillferre among others). He became an accomplished pianist, and a sizeable body of his compositions are for piano, such as his Trois mouvements perpétuels. His love of poetry and his wide contact with French literary culture, both contemporary and historical, resulted in an extensive number of songs, some serious others lightweight. Among his stage works the best known is the tragic opera The Dialogue of the Carmelites; his orchestral compositions include the ballet Les Biches, and concertos for organ, piano, two pianos, and for harpsichord, and his chamber music includes several sonatas for woodwind instruments and a trio. Poulenc was an eclectic composer who drew on a wide range of sources including the popular and simple, even the gauche, and, the then current, Surreal. His work Le bal masqué performed by the Kamloops Symphony in May of this year is a good example of the breadth of his inspiration. His musical style follows in the French tradition of charm and delicacy and ironic and satiric wit. One result of this is that he was long considered an entertaining and inventive composer but a lightweight one; his more serious music (some of it growing from his rediscovery of his Catholic faith) such as his Mass, Stabat mater, and Gloria, was underestimated. In recent years however, a gradual reappraisal of his work has recognized the deeper, more personal and reflective side to his musical character.

PROGRAMME NOTES

L’Histoire de Babar, le petit éléphant, continued There are several diﬀerent versions of how Francis Poulenc’s musical setting of The Story of Babar the Little Elephant came to be written. One thing is for certain, though—in all of them it was the children that did it! It was 1940, Poulenc had recently been demobilized from the military and was visiting with cousins of his in Brive-la-Gaillarde in central France. One day, while improvising at the piano he was interrupted by one of his younger cousins who found Poulenc’s improvisations rather boring. She had a better idea!—she had recently received a copy of Jean de Brunhoﬀ ’s tale of Babar (1931); she placed the book on the piano in front of him and asked her older, musical cousin to “play” the story for her. Poulenc began at once, shaping the story with music, guided in part by the reactions of his young audience. Unfortunately, with Poulenc’s visit over, the music-making ceased, and there the tale ends…for the moment. Fast forward to 1945. The war is over, Poulenc is visiting Brive once more, and the not-quite-so-young cousin is still there. “What about Babar?” she asks. So, Poulenc goes back to work. This time, however, there are performance arrangements with the BBC and with His Master’s Voice records and, writing to a friend, Poulenc enthusiastically explains it as “an old project…It is the story of the little elephant Babar, set to music for narrator and piano, in the manner of Prokofiev’s Peter and the Wolf (1936), but with a much funnier text, with more surprises.” Far from disparaging this composition prompted by children’s musical tastes and based on a children’s book, Poulenc recognized the development that this special project had provoked in his own piano style, declaring that “it was more curious than my usual piano music” and that “from the point of view of piano writing I have definitely made great strides…” The work prompted one critic to write that it “perhaps contains Poulenc’s best keyboard music.”

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