Light The Night Concert Program - Salmon Arm

Volunteers make it happen We couldn’t do it without you!

Cilla and Peter Budda

Wendy Charlebois

Barb Ennis

Jean Ethridge

Marline & Tibout Glazenburg

Donna Good

Dale Johnston

Gabrielle Klein

Tony & Judy Lewis

Lynne Wickett

Jan & Bob Wilkins

Dear Friends of the KSO,

We are delighted that you have joined us for this special performance, which celebrates the life and legacy of Alma Mahler-Werfel, one of the most fascinating and influential women in the history of music and art.

Alma was born in Vienna in 1879, into a world of culture and creativity. She was a talented composer, pianist, and singer in her own right, and was also a muse, wife, and mistress to some of the most brilliant and famous men of her time, including Gustav Mahler, Walter Gropius, Gustav Klimt, Alban Berg, and Franz Werfel. She inspired them with her beauty, intelligence, and passion, and influenced their artistic visions and expressions.

She was not only a lover of art, but also a creator who was stifled by the prejudices of the men around her. She was a survivor of two world wars, a refugee, and a citizen of the world. She was a writer, a socialite, and a philanthropist. She was a complex and contradictory figure, who left behind a rich and diverse legacy.

These Light the Night concerts are a tribute to Alma Mahler-Werfel and her contributions to the arts and humanity. They are also a celebration of the ongoing journey to equity and equality for women in music, who continue to break glass ceilings in their careers. We are proud to feature this concert which tells the story of Alma Mahler-Werfel's life and loves through live music paired with illustration.

We hope you are moved by this unique and inspiring performance, and we thank you for your support of the Kamloops Symphony Orchestra & KSO Music School. Together, we can light the night with music and art, and honour the legacy of Alma Mahler-Werfel and all women in music.

With heartfelt gratitude,

Christopher Young Executive Director KSO & KSO Music School

GOVERNMENT GRANTS

FOUNDATIONS

BC Interior Community Foundation

Kamloops Symphony Foundation

Shuswap Community Foundation

SOCAN Foundation

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.

Kamloops Symphony Society

BOARD OF DIRECTORS

John McDonald, ICD.D • President

Steve Powrie • Vice President

Tyler Klymchuk • Treasurer

Lisa Fuller

Christy Gauley

Lucille Gnanasihamany

Gabriele Klein

Sydney Takahashi

Simon Walter

HONOURARY LIFE MEMBERS

Bonnie Jetsen

Art Hooper

ADMINISTRATION

Executive Director

Christopher Young

Office Administrator

Sue Adams

Operations Coordinator

Sam Bregoliss

Marketing Coordinator

Ryan Noakes

Orchestra Personnel Manager

Olivia Martin

Production Assistant

Adrien Fillion

Proud Member of Orchestras Canada, the national association for Canadian orchestras

MUSIC DIRECTOR

Music Director Dina Gilbert is a Canadian conductor passionate about communicating with audiences of all ages to broaden their appreciation of orchestral music through innovative collaborations. This commitment, along with her extensive knowledge of the orchestra repertoire, has brought her to conduct orchestras across Canada as well as in France, Spain, the United States, Colombia and Japan. She has received critical acclaim for her energetic presence on the podium, her versatility, and her audacious programming.

In addition to conducting the Kamloops Symphony, highlights of the 20232024 season include return invitations with the Toronto Symphony, Orchestre symphonique de Montréal, the Orchestre symphonique de Québec, the Orchestre National des Pays de la Loire, as well as debuts with the Walla Walla Symphony and the Kingston Symphony. As the Principal Conductor of the Orchestre des Grands Ballets Canadiens de Montréal, Dina will perform Prokofiev’s Cinderella, as well as works of Lili Boulanger, Clara Schumann, Louise Farrenc and Kaija Saariaho in the ballet premiere of La Dame aux Camélias by choreographer Peter Quanz.

Her innate curiosity towards nonclassical musical genres and her willingness to democratize classical music has 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 film concert performances (The Red Violin, The Artist, E.T. the Extraterrestrial).

As the founder and artistic director of the Ensemble Arkea, a Montrealbased chamber orchestra, Dina has premiered over thirty works from emerging Canadian composers and has reached thousands of children with her interactive and participative Conducting 101 workshops. From 2013 to 2016, Dina Gilbert was the assistant conductor of the Orchestre symphonique de Montreal and Maestro Kent Nagano, also assisting notable guest conductors including Zubin Mehta and Sir Roger Norrington. 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. Featured in the recent documentary “Femmes symphoniques”, Dina Gilbert earned her doctorate from the Université de Montréal and 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.

Dina Gilbert

Meet the Orchestra

Music Director Dina Gilbert

Music Director Emeritus Bruce Dunn

FIRST VIOLIN

Elyse Jacobson concertmaster+

Geoff & Judith Benson Chair

SECOND VIOLIN

Boris Ulanowicz* Gabriele Klein Chair

VIOLA

Ashley Kroecher* June McClure Chair

CELLO

Martin Krátký*

Anonymous Chair

BASS

Maggie Hasspacher*

FLUTE/PICCOLO

Heather Beaty*

Eleanor Nicoll Chair

OBOE/ENGLISH HORN

Marea Chernoff*

CLARINET

Sally Arai*

John & Joyce Henderson Chair

BASS CLARINET

Julie Begg

BASSOON

Olivia Martin*

HORN

Sam McNally*

Dennis Colpitts

*Principal +Acting Principal ++Substitute Principal

KSO CHORUS—supported by the Kelson Group

Chorus Master Tomas Bijok

Collaborative Pianist Daniela O’Fee

Chorus Administrator Marnie Smith

TRUMPET

Mark D’Angelo*

Hugh & Marylin Fallis Chair

TIMPANI

Caroline Bucher*

PERCUSSION

François-Xavier Leroy*

Martin Fisk

HARP/PIANO

Naomi Cloutier

PIANO/HARMONIUM

Daniela O’Fee

LIBRARIAN

Sally Arai

PROGRAM

LIGHT THE NIGHT

Dina Gilbert; conductor Pauline Stive; illustrations

Heidi Muendel; soprano Catharine Varvaro; creator

Prologue: A gleam appeared in the valley

Alma Mahler Die stille Stadt arr. Kelly-Marie Murphy

Chapter 1: The wedding, March 1902

Gustav Mahler ...............................Symphony No. 5, mvt I

Chapter 2: Birth, November 1902

Gustav Mahler ...............................Symphony No. 5, mvt II

Chapter 3: Domestic bliss, June 1907

Gustav Mahler ...............................Symphony No. 5, mvt III

Chapter 4: Grief

Gustav Mahler ...............................Symphony No. 5, mvt IV

Chapter 5: La Grande Veuve 1908–1964

Gustav Mahler Symphony No. 5, mvt V

Epilogue: No one knows us thus

Alma Mahler Bei dir ist es traut arr. Kelly-Marie Murphy

PERFORMANCE SPONSOR

GUEST ARTIST

Heidi Muendel

Soprano

Dramatic soprano Heidi Muendel has recently returned to Canada after 10 years singing and teaching in Europe. Some of Heidi’s operatic credits include: the title roles of Turandot, Ariadne auf Naxos and Norma, Leonora from Fidelio, Amelia in Un Ballo in Maschera, and Santuzza from Cavalleria rusticana. Her concert credits include Verdi’s Requiem, Beethoven’s 9th Symphony and solo concerts with the Vancouver, Victoria, and Winnipeg Symphony orchestras. She is returning to performing after a break to raise her daughter. Heidi continues to teach both her European and Canadian students, conduct two local choirs, and offer vocal workshops internationally.

Heidi holds a Master’s in Music in Opera Performance from the University of British Columbia, was a regional finalist of the Metropolitan Opera Competition and recipient of the Canada Council Career Development Grant, and has benefited from studies at the Franz SchubertInstitute (Vienna) with a scholarship from the Johann Strauss Foundation, International Vocal Arts Institute, directed by Metropolitan Opera’s Joan Dornemann, and New York Opera Studio with Nico and Carol Castel and more recently participated in concerts and training in Spain with Janice Baird and Margaret Singer.

ILLUSTRATOR

Pauline Stive Illustrator

Storytelling is at the heart of Pauline’s work. Stunning and witty, her illustrations fill every inch of the page with meaning and symbolism. Pauline studied fine arts and illustration in France, where she was born. She has been living in Montreal for the last decade. After traveling for several years, she put aside her sketchbooks full of portraits to embark on a career as an editorial illustrator, creating one children’s book along the way. Still, portraits have remained central to her portfolio. For Pauline, they are a means of unveiling the qualities under the surface. Her caricature of Montréal mayor Valérie Plante even sits in the City Hall offices. She is always ready to tackle projects

that connect her to her core values: feminism, ecology and social justice. In more recent years, Pauline has kept busy creating illustrations for news articles, cider labels, album covers and more.

Light the Night is her biggest project to date. Diving into this creation, she most enjoyed exploring the complexity and beauty of a wordless narration, transforming Catherine Varvaro’s story into hundreds of images.

Pauline is also an amateur musician; she sings in the vocal quartet Tradiliada and plays piano and accordion in the Balkan-inspired band La Délégation. She is always keen to bring her passions together.

CREATOR

Catharine Varvaro Creator

Catherine’s career in music had been anything but a straight line, but with every twist, curiosity and persistence has guided her. As a kid, piano lessons gave way to the drum set because she was determined to learn to play In the Air Tonight. She wound up studying jazz drums and health sciences after high school before swerving left to pursue classical percussion performance at the Université de Montréal. Craving more knowledge about her craft, she lived for a year in Boston where she studied with the timpanist of the Boston Symphony Orchestra. Back in Montreal, she dove into a handful of challenges: fusing percussion and drum set in her eclectic electro trad group; performing and competing on the Highland snare with the Montreal Pipes and Drums; creating a sound design for Shakespeare in the park that earned her two META nominations; and completing her Master’s degree at the Conservatoire de Montréal.

Over the course of her freelance career in Greater Montreal’s orchestral scene, Catherine set out to specialize in timpani. She credits her approach to the instrument to the two summers she spent with the National Academy Orchestra and timpanist Jean Norman Iadeluca. Striving to embody his

smooth, relaxed movements and big sound, she felt at home behind the four drums. For the past five years, she has had the privilege of being the timpanist of the Orchestre symphonique de Drummondville. Though she has always been interested in music’s ability to tell stories, she has most recently become fascinated with history’s forgotten figures. She created Light the Night, a symphonic graphic novel, to shed light on the invisible labour behind the great masterpieces of the classical music canon.

Sponsors

SERIES SPONSORS

SEASON SPONSORS

PERFORMANCE SPONSORS

PROGRAM NOTES

The realm of classical music, both of performance and of composition, is a fruitful place in which to celebrate, but also, sadly, to lament, the achievements of women in the arts. It is the relationship between the sexes in society at large, as well as within the world of music itself, that has almost always intervened to shape the accomplishments of women in the world of music, both their actual productivity and their public reputations. Going back over eight centuries, to the time of Hildegard of Bingen in 12th Century Germany, the careers of women who wrote music have seldom been part of musical history. The infrequent exceptions to this historical absence, such as the prolific career of Austrian composer Marianna Martines (1744–1812), friend of both Haydn and Mozart, only serve to emphasize the inequity. Do we hear Martines’ music played today? Do we even have much of her music to play? Publication was the avenue to public acknowledgement of success as well as for dissemination of the music itself. Music that remains in manuscript gets neglected, then lost, as was almost the case with 20th Century American composer Florence Price (1887–1953) whose career flourished, then declined, but who left a cache of unpublished works discovered only after her death.

For many women musicians, the impediment to a fulfilling career was that they were required to surrender their own promise and ambition to the demands of domestic life and to motherhood, sometimes specifically in support of the composing careers of their male companions. Such was the case with Alma Schindler, whose story is recounted with such imagination, musically and graphically, in today’s concert.

PROGRAM NOTES

Kelly-Marie Murphy (b. 1964)

Today’s multidisciplinary evocation of struggles in the life of Alma SchindlerMahler begins and ends with songs from Alma’s early collection, Fünf Lieder for soprano and piano. In this symphonicgraphic novel however, the original piano accompaniments have been arranged for orchestra in keeping with the prevailing orchestral sound-world of the work. These orchestral arrangements are the work of Kelly-Marie Murphy one of Canada’s most productive composers.

Based in Ottawa Murphy’s works are commissioned and performed by some of the country’s leading artists and ensembles, including the Toronto and Vancouver Symphony Orchestras, The Gryphon Trio, clarinetist James Campbell, cellist Shauna Rolston, the Cecilia and Afiara String Quartets, and harpist Judy Loman. Her reputation is not just North American, as her music is performed around the world by outstanding soloists and ensembles and broadcast on radio in many countries.

Her music has been interpreted by eminent conductors such as Sir Andrew Davis, the late Bramwell Tovey and Mario Bernardi, and heard in renowned concert halls, such as New York’s Carnegie Hall, The Mozarteum in Salzburg, and The National Concert Hall in Dublin. The Kamloops Symphony also performed “In the Time of Our Disbelieving” as part of its recent 2022–2023 concert series. The impact of her compositions on contemporary music is evident in the regularity with which her work has been acknowledged with prizes. Kelly-Marie Murphy is committed to an art that confronts contemporary reality, both external and internal, light and dark: “Smoke Darkened Sky” for piano, “Rains of Ash and Embers” for strings, “For Fragile Personalities in Anxious Times” for quartet, as well as “In the Time of Our Disbelieving” which the Kamloops Symphony performed as a part of its recent 2022–2023 concert series.

PROGRAM NOTES

Alma Mahler-Werfel (neé Schindler) (1879–1964)

(Bei dir ist es traut / Die Stille Stadt)

Alma Schindler, daughter of the famous landscape painter Emil Schindler, was in every respect an exception in Vienna at the turn of the century. She had not only a remarkably good education, and a keen mind, but was also blessed with abundant artistic talent. Her external appearance, characterized by engaging beauty and an distinct also made her into the fascinating centre of any social event, the envy of her female rivals and the magnet of male desires.

The list of admirers that accumulated in the course of Alma’s following life reads like a ‘Who’s who’ of the intellectual life of the time. She took composition lessons from Alexander Zemlinsky, music teacher and composer. After a while their working relationship turned into an affair and they considered marriage. Zemlinsky however, was clear about marriage: “Either you compose or you go to parties, one of the two. But choose what is closer to you—go to parties.” Then on 7 November 1901, she met the forty-one-year-old Gustav Mahler, Director of the Vienna Court Opera, 20 years her senior. She had seen him as a conductor and was very taken with him—but with his own music, not so much. Their first meeting ended in an argument over music but, interestingly, Alma’s audacity and independence of thought piqued Mahler’s interest. He asked her to a rehearsal and she agreed to go. Mahler’s subsequent approaches became more obvious; he wrote her love letters, walked with her in the

winter snow and showed her some of his songs. She was enchanted by them, having previously only heard his First Symphony and judged it “a deafening nerve-wracking din.” They married in March of 1902.

When Gustav Mahler married Alma, she was not only a beautiful and well-known young woman in Vienna, she was also emerging as a promising, if somewhat impulsive composer. Alma did not yet suspect that Mahler (who was used to having his way) also had explicit views about marriage. Up to now, Mahler’s sister, Justine, had been his housekeeper. Now, Alma, as his bride, was to assume that role, take the load off his back for him, the artist and worker. When Alma ended one of her letters to him saying she had no more time to write him as she had to compose music, her husband replied with a letter giving his views on marriage at length. — A marriage between two rivalling composers was an absurdity, Alma was not to be a ‘colleague’, but nothing but his ‘wife’. ‘Does it imply for you a rupture in your life and do you think you will have to eschew an indispensable peak in your being, if you completely renounce your music in order to possess mine?’ Instead of writing music, she was now to devote herself entirely to him: ‘From now on, you will have only one profession: making me happy!’ With that, gone was any dream she may have had that their marriage would be a partnership of creative equals.

PROGRAM NOTES

Gustav Mahler (1860–1911)

In his lifetime, Mahler’s reputation was built to a great extent upon his career as a conductor, of both orchestral works and opera. He had appointments with several major European orchestras culminating at the Vienna State Opera for ten years and, when the increasing anti-Semitism of the early 1900s became oppressive, with the Metropolitan Opera in New York and the New York Philharmonic. With this demanding performance schedule it seems astounding that he ever found time to compose, let alone the colossal symphonic works that form a substantial part of his musical output. Mahler’s musical product was focused chiefly on the symphonic form as bequeathed

to him by Brahms and Bruckner. In his hands, the symphony grew even greater in length and complexity of musical utterance, and in richness of orchestral and vocal resources. But not much of his own work was performed in his lifetime. Then, after his death, his work remained relatively unknown, familiar only to a few champions, composers and music specialists until the 1960s, when recording technology helped build a wider familiarity with his work. Now Mahler is rightfully seen as one of the most significant composers of the late Nineteenth and early Twentieth centuries.

PROGRAM NOTES

Light the Night: A Symphonic Graphic Novel

Tonight’s performance is a highly original symphonic graphic novel created by Catherine Varvaro as an exploration of the struggles of a newly married woman confronting the competing urges of domesticity, motherhood and artistic expression to find self-fulfillment. It is the depiction of a period early in the married life of Alma Schindler-Mahler, but the experiences it presents are not unfamiliar to aspiring women artists across the centuries. Through more than 800 illustrations created by Pauline Stive,

we are living Alma’s story through her music and through her husband’s Fifth Symphony. With the sudden death of her first-born daughter, Maria Anna, at age five, the light is replaced by a shadow that exposes the divisions within her as she searches for her lost daughter in “a murky alternate reality.” Here Alma must confront her different griefs and disappointments in an attempt to reconcile her divided self and to find a way to restore the creativity forbidden by her husband.

PROGRAM NOTES

Gustav Mahler

Symphony No. 5 in C sharp minor

Between the two songs by Alma Schindler, orchestrated by Kelly-Marie Murphy, we listen to a performance of the fifth symphony by Alma’s husband Gustav. This substantial work is the musical “canvas” upon which the images of this graphic story unfold. For many of his symphonic works Mahler requires very considerable orchestral forces. As for the performance of Mahler’s Symphony No. 4 in March of 2022, the Kamloops Symphony will be performing one of the stellar orchestral reductions by Klaus Simon. The performance itself is complete and unbroken—all five movements—before ending with the second of Alma’s songs. It remains a broad musical palette enriching the wealth of projected images that also command our attention.

Mahler wrote his Symphony No. 5 between 1901 and 1903. It was the happiest time of his life: his conducting career was a success, his own compositions were increasing in popularity, and he had met and married Alma Schindler. This last event, which occurred between the two summers in which he composed the symphony, invite speculation about the role personal happiness might have played in its ongoing composition.

The symphony has five movements which Mahler has further organized into three groups: Movements 1 and 2; at the centre, Movement 3; and then

Movements 4 and 5. A trumpet fanfare opens the symphony. Mahler names it a Funeral March “in measured stride, Strictly.” Like a funeral procession. The second movement Mahler designates “Stormily turbulent. With great vehemence.” This turbulence turns into a section of quite complex development and the movement closes with a Chorale. The central movement (3) is an expansive Scherzo that Mahler labels “Powerful, not too fast.” It seems to have been the movement with which he started his work on this symphony. The Scherzo is followed by the movement that is probably the most well-known piece Mahler composed: the Adagietto for strings and harp. Its popularity springs in part from the use made of it by Luchino Visconti in his 1970 film of Thomas Mann’s novella Death in Venice. Another, rather sentimental, reason is people’s belief that the movement is a musical love letter to Alma: since it was composed at the same time as their courtship the idea is not implausible. Apparently, Gustav sent Alma the manuscript of the movement without any further words. For her part, she entirely understood and sent her answer: “You can come!!!” The symphony’s Finale is a Rondo. The instruments present themes and motifs in alternation, almost as if in energetic dialogue, many are developed in counterpoint. One final sparkling torrent of brass brings the symphony climactically to a close.

Thank you to our Donors

Donors

$2000+ CONDUCTOR’S CIRCLE

ANONYMOUS

Kelvin Barlow

Foundation

Beaulieu-Saucier

Gabriele Klein

June McClure

$1000+ BENEFACTORS

Lorene & Ben Anders

Geoff & Judith Benson

Holly Campbell

Geoff & Kathy Collier

Dina Gilbert

John & Joyce Henderson

Alan & Gwen Kerr

Delores Kroetch

Bruce Martin

$500+ OVATION

ANONYMOUS

William & Pierrette Beaton

Kim Buker

Tom Dickinson & Nancy Flood

Jessie & James Fedorak

Carol Howie

Bob & Jo-Mary Hunter

Marjorie King

Cindy Malinowski & Charles MacLennan

Rae Nixon

Tacey Ruffner

Sheila Stewart

Maureen Stewart

TELUS

John Watson

John & Joan McDonald

Elspeth McDougall

Rod Michell

Daniel Mills

Eleanor Nicoll

Colene Palmer

Terry Simpson

Jerry Stack

David & Alison McKinnon

Helen & Bruce Newmarch

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Stan Szpakowicz

Susie Safford & Carlos Tallent

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Gibraltar Law Group

$250+ ENCORE

ANONYMOUS

Patricia Akiyama

Peter & Debra Allik

Petersenn

Francis & Helen Barnett

Luciana Comparelli

Murray & Ann Crawford

Fred Cunningham & Helen Birdsall

$100+ BRAVO

ANONYMOUS (2)

Luisa Ahlstrom

Darryl & Jeryl Auten

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Michael Baker

Tom Barley

Joan Bernard

Karen Bernard

Maureen Boudreau

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Robin Bowolin

Pauline & Jack Braaksma

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Margaret Brown

Lori Bustin

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Margaret Chrumka & Paul Clark

Alexander Crane

Phil Crossley

Jean Dahl

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Jean Ethridge

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Wilma de Jong

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Christina & Reimar

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O’Della Grundy

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Ashley Kharboutli

Kats & June Kitamura

Jonathan Lartner

Mary Lester

Michelle Liebe

Teresa Lomax

Lynn Lyall

James MacDonald

Sylvia Rose Markowsky

Kristen McDougall

Phil McIntyre-Paul

Kait Methot

Dianne Miller

Brian Mills

Joan Moffat

Christy Morris

Candace Morrison

Heidi Muendel

Kathleen Nadler

DONORS

Kroecher Fund

Fred & Nancy Leake

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Margaret Pattern

Michael & Pamela Saul

Sue Tuner

Dave & Maryanne Whitting

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Joanne & Rol Nisbet

Daniela O’Fee

Chantal Oliver

Ron & Louise Oyler

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Jos Penner

Penny & Carl Pentilchuk

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Thomas Preston

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Chris & Gine Rose

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Debbie Rustand

Lynn Rotherford

Christopher Sage

Tricia Sellmer

Barbara & Carman Smith

Donald & Sandra Staff

Syd Takahashi

Ed Takahashi

Lynne Totten

Nicole Tougas

Evelyn Vipond-Schmidt

Mike Webber

James & Barbara Wentworth

Marylee Weski

Eric & Mary Wiebe

Judy Wiebe

Lois & David Williams

Sandra Wilmot

Michael Wisla

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 JOINING US THIS SEASON!

We’ll see you again for our 2024/25 Season