Windscapes Concert Programme

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DINA GILBERT MUSIC DIRECTOR

Windscapes Sagebrush Theatre

OCTOBER 23

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Message from the New President On behalf of the Board of Directors and the entire KSO Team, welcome to all our loyal and enthusiastic patrons as well as anyone new to the Symphony to the second performance of our 2021–2022 Season. As the new President of the Board of Directors I am delighted to have joined the KSO at such an exciting time in our organization’s evolution. It is indeed a privilege to be working with such a cornerstone arts organization in Kamloops. Since its founding in 1976, the Kamloops Symphony Orchestra has continuously brought the excitement and joy of classical music to the music lovers of the greater Kamloops region. I am extremely impressed by how the orchestra has grown and evolved over its history to become one of the most prominent and innovative mid-sized symphony orchestras in BC, and the country.

Kamloops Symphony Orchestra clearly demonstrates impressive creativity, adaptability, technological prowess and resourcefulness as it fulfills its mission to uplift the human condition during the time of an unprecedented pandemic and an ever-changing regulatory environment. KSO was a leader transitioning our traditional and much-loved live performances by leveraging technology to offer livestream inspiring and evocative musical programming. This challenge was met with an unwavering amount of dedication and a commitment to the pursuit of excellence from all members of the KSO family. Special acknowledgement is due to our audiences for being open to experiencing incredible music in a new and different way. We thank you for your support and look forward to providing you with more exceptional musical experiences in the future.

We recently had two retirements from our Board, our former President Miki Andrejevic and our past Treasurer Maureen McCurdy. We sincerely thank them for their contributions and wish them every success in the future.

John J. McDonald III

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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John McDonald | President Claire Ann Brodie | Vice President Helen Newmarch | Secretary Kathy Collier Lucille Gnanasihamany Gabriele Klein Rod Michell Steve Powrie Simon Walter

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Music Director

Dina Gilbert

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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 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.

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Windscapes

PROGRAMME

Conductor:

Dina Gilbert

Samuel Coleridge-Taylor Nonet in F minor, Op. 2

I. Allegro energico

II. Andante con moto

III. Allegro

IV. Allegro vivace Ruth Gipps

Seascapes

Johannes Brahms

Serenade No. 2 in A major, Op. 16 I. Allegro II. Scherzo III. Adagio IV. Quasi Menuetto V. Rondo Allegro

PROGRAMME NOTES

Samuel Coleridge-Taylor (1875–1912)

Nonet in F minor, Op. 2 (1893–4) Samuel Coleridge-Taylor (1875–1912) was born in London to a father from Sierra Leone and a mother from England, who raised him as a single parent after the father returned to Africa. In 1890, at age 15, he entered the Royal College of Music as a violinist, and in the same year wrote an impressive setting of the Te Deum.

From that point on he composed prolifically, at first producing a stream of chamber music, some of it reminiscent of Brahms. In the 1890’s he became deeply affected by the music of Dvorak whose work was becoming widely known and performed. It was in part Dvorak’s influence that inspired Coleridge-Taylor to explore American and (as a mixed-race man) AfricanAmerican music.

By the early 1900’s he had completed several accomplished works for orchestra, chorus, and the stage, including what is probably his bestknown piece, the cantata The Song of Hiawatha, based on the poem by Henry Longfellow. Coleridge-Taylor also became a respected conductor— on his tours of the United States in the 1900’s the New York orchestral players respectfully dubbed him “the African Mahler,” (in comparison to the renowned Austrian conductor and composer). He was a teacher also, teaching composition at Trinity College of Music (London) and the Guildhall School of Music.

In the 1890’s Coleridge-Taylor’s focus for composition was chamber music, much of it composed while still a student: a piano trio, piano quintet, string quartet (now lost) and clarinet quintet, and the Nonet (1893–4) in tonight’s concert. It seems these youthful pieces were not widely played, some not even published, so several have only recently been “rediscovered” and recorded. There is an interesting though tenuous link between Coleridge-Taylor and Johannes Brahms, whose Serenade No. 2 closes tonight’s concert. Brahms was the presiding figure among classical composers in Europe, and in 1891 composed his last work, his Clarinet Quintet. Inspired by that work Coleridge-Taylor composed his own Clarinet Quintet and gave it to his teacher, Charles Villiers Stanford, who took it with him on a visit to Berlin in 1897. Stanford showed the work to Joseph Joachim the violinist and close friend of Brahms. Joachim, played it with some fellow musicians and was very approving of it.

There are many works composed for nonet—groups of nine different instruments. One of the most successful combinations was that of Louis Spohr in 1813, later used also

by French composers Farrenc and Onslow, and the Czech composer Martinu. The instrumental group Coleridge-Taylor chose for this Nonet

PROGRAMME NOTES

Samuel Coleridge-Taylor, continued consists of strings: violin, viola, cello and bass; winds: oboe, clarinet, bassoon, horn, but he replaces the flute that completes Spohr’s nonet group, with a piano. Whatever the composer’s instrument choice, one special attribute of the nonet is that it affords the composer opportunity to balance an almost orchestral richness of sound with moments of greater intimacy that are more typical of chamber groups. The work is in four movements. The first movement, Allegro moderato, opens with an expansive, swaying melody on the clarinet followed by a second, more sprightly theme from the piano. The

rhythmic energy of both propels us through the movement. The songlike second movement, Andante con moto, presents a wistful melody that is handed between the instrumental groups: strings, winds and piano.

The Scherzo: Allegro third movement is characteristically brisk, driven by pizzicato strings, with the horn supplying a relaxed melody in the trio section before the pizzicato strings return. Then an emphatic opening statement from the piano sets in motion the often rich sounding Finale: Allegro vivace, which brings the work to a conclusion with bustling, energy.

Ruth Gipps (1927–1999)

Seascapes (1958) Ruth Gipps was born in Bexhill-onSea on the south coast of England. As a child she studied with her mother, who was a music teacher, and then, as her prodigious abilities revealed themselves, at age 16 she entered the Royal College of Music where she studied piano, oboe and composition.

Her studies led to a very full and varied professional career—as a concert pianist, as a highly respected orchestral oboist, as conductor, teacher and

as composer. When a hand injury compromised her performing career she concentrated on composition and conducting, and on the development of professional orchestras of which she founded and directed several, making her arguably the most notable British female conductor of her time.

As a composer she was not prolific, but along with her numerous other musical activities she produced

PROGRAMME NOTES

Ruth Gipps, continued an impressive body of work that includes five symphonies, a tone poem, individual concertos for oboe, clarinet, horn, violin, piano, and a double concerto for violin and viola.

There are cantatas and other choral works, and in the field of chamber and instrumental music there is a string quartet, a trio, and sonatas for a variety of different instruments.

Her music is exceptionally approachable, expressive and with considerable depth and weight.

Yet, for the most part her work was neglected in her own lifetime. Being a woman in a predominantly maledirected occupation was clearly one reason for this, as it had been for Ethel Smyth a generation earlier, although a few eminent conductors did recognize her abilities as both performer and composer. The other main reasons for her neglect were the British musical culture wars of the 50’s and 60’s, especially with the BBC and its modernizing agenda for classical music. Gipp’s music is very much in a traditional idiom, one which quickly became “unfashionable” with the emergence of avant-garde styles such as Serialism and composers such as Stockhausen and Boulez.

There is nowhere in England that is more than an hour’s drive from the sea (except on holiday weekends when

it takes twice as long). Knowing that, and that she was born in a seaside town it is no surprise that Gipps should record her experience of the sea in music. Seascapes (1958) is a single-movement work written for double wind quintet. The opening of the work with its flowing arpeggios from the clarinets and flutes is at once evocative of gentle but persistent waves. Hers is not a dramatic portrait of the sea such as one finds in Britten’s Peter Grimes. It is, instead, a more intimate depiction of the contrasts in some the sea’s quieter moods. The oboe’s calm introduction of a melody is followed by contrasting statements from the horns and first bassoon that evoke more distant views. Then Gipps gradually integrates the woodwind arpeggios into the oboe’s melody and the sea reveals different features. The central part of the work showcases several solos all inspired by the initial expressive English horn passage. In such moments, it sounds as if the musicians are having a dialogue (or we might even say, an argument) and these are followed by transitions depicting the sea in a more sprightly and playful mood. With the return of the melody the mood turns quietly reflective once more. For a last glimpse of the sea, Seascapes returns with the wave-like motifs with which it opened.

Whose Stories?

Curated by Makiko Hara October 2 to December 31, 2021

Kamloops, BC • kag.bc.ca

PROGRAMME NOTES

Johannes Brahms (1833–1897)

Serenade No. 2 in A major, Op.16 (1858–59) The story of Brahms’ relationship with the composer Robert Schumann (1810–1856) and his family is well known to many music lovers—his emotional support of Schumann as he declined into insanity and death, and his lifelong devotion to Schumann’s wife Clara, to her children and to her career as pianist in the years that followed. Sometimes forgotten is the artistic burden Schumann laid on Brahms when the twentyyear-old visited the Schumanns for the first time in 1853. After hearing Brahms play some of his own piano compositions, Schumann (who was an astute music critic) declared that he heard in those piano pieces “veiled symphonies of sound” and in that moment recognized Brahms’ potential as an orchestral composer, even perhaps as the long-awaited successor to Beethoven (d.1827) as a symphonist—capable of expressing the highest artistic ideals in music.

Brahms, no doubt overwhelmed by the long shadow cast by Beethoven, took a long time to “unveil” the symphonic potential that Schumann had heard. The high expectations of others made him diffident of his own abilities, distrustful even. Certainly, he developed to be careful and self-critical in his work. So before undertaking the composition of his first symphony (1876) as others expected he would,

he prepared for the challenge by writing for the orchestra in smaller forms. His two Serenades, Opus 11, and Opus 16 are both important parts of this self-imposed apprenticeship, and both clearly reveal his potential to be Beethoven’s successor. They were composed during Brahms’ brief but productive tenure at the court at Detmold (Westphalia) from 1857 to 1859 where he had the opportunity to work with the small court orchestra.

It is Serenade No. 2 in A major we hear tonight.

Brahms’ choice of instrumentation for this work is interesting—in the strings, the violins (almost always the centre of orchestral activity) are gone. (I don’t think you will miss them after the first five minutes.) Naturally, the remaining violas, cellos and bass present a slightly darker shade to the music. The winds make up the rest—two each of flutes, oboes, clarinets, bassoons and horns, with the piccolo making an appearance in the finale. No trumpet, no trombone, no timpani. Brahms, it seems, is trying out different orchestral colours for future symphonies.

The serenade is in five movements.

The first movement is a gentle, warm-hearted Allegro moderato that develops a carefree mood we hear again in several places in this work.

The opening themes (sounding

PROGRAMME NOTES

Johannes Brahms, continued rather like a chorale) are given to the clarinets and bassoons accompanied by delicate pizzicato strings. A brief but robust and rhythmically ingenious Scherzo is next, that acts like an ironic preface to the A minor Adagio non troppo that follows, which with steadily rising yearning, becomes both passionate and intimate by turns, and is clearly the emotional centre of the Serenade. Interestingly, Clara Schumann, Brahms’ supportive and ever-watchful critic, heard something more religious in it—a quality of “liturgical solemnity.” In the fourth movement, Quasi Menuetto, we can expect to hear echoes of the frequently cheerful minuets that populate the symphonies of Mozart and Haydn.

That said, however, the Trio section of the movement contains a much more mysterious tone—created by the rhythmic ostinato of the violas who act as a “spinning wheel” in support

of the timid and subdued woodwinds melody—and thus we understand the wisdom of Brahms’ use of the term “quasi” (“as if ”).

The restraint of the Menuetto sets up, by contrast, the more relaxed and playful liveliness of the Finale: Rondo Allegro.

As an 18th Century musical form, in the hands of a Mozart or Haydn, the “Serenade” was music for aristocratic entertainment and diversion— nothing too serious. With the cheerful spirit of this Rondo (punctuated by occasional decorative comments from the piccolo) we hear echoes of that earlier age as well as glimpses of a musical age emerging. Brahms’ own comment on his Serenade No.2 contains a note of thoughtful contentment: “Altogether it sounds very pleasant and really delightful.

I have seldom written music with such great pleasure.”

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