Gordon Gerrard Conducts Mozart's Requiem Concert Program

Sagebrush Theatre

Saturday April 27, 2024 • 7:30pm

Fairfield by Marriott Kamloops Signature Series Performance

Sunday April 28, 2024 • 2:00pm

Proud Sponsor

The City of Kamloops is a proud sponsor and wishes the symphony all the best during its 2022–2023 season.

Allen Douglas (from KSO files)

Message from the Executive Director

Dear Friends,

I thank you for joining us as we share in this heartfelt moment. Mozart's Requiem, one of history’s most momentous works of art, is one of those pieces of music that reminds us of the beauty and fragility of life and the power of hope.

On stage, the musicians of your Kamloops Symphony Orchestra will be joined by the KSO Chorus and our wonderful soloists from across BC, whose voices add a rich tapestry to the symphonic experience. Under the masterful leadership of our guest conductor, Gordon Gerrard, we will journey through moments of meditation, sadness, and joy. We are also grateful to host assistant conductor Monica Chen through the Women in Musical Leadership program, whose contributions have been invaluable.

Today, we also remember Rod "Little Sky" Bandura, who passed away in January, and was originally scheduled to perform at this concert with the Margit Sky Project. Through Mozetich’s “Unfolding Sky” from Postcards from the Sky, we will celebrate his life, his contributions to our community through his music, and the joy he brought to all. His spirit lives on in our hearts and in the music that will continue to be shared by all those touched by his love for his family, music, and the community.

As we now listen to Mozart's Requiem, let us find comfort in the melodies and strength in the harmonies. Let us be reminded of the resilience of the human spirit and the beauty of coming together through the power and joy of music.

Thank you for joining us for this special performance. May the music we share bring you peace, joy, and a renewed sense of hope.

Yours in music, 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.

Mary Putnam Photography

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

Audio Engineer

Doug Perry

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.

Meet the Orchestra

Music Director Dina Gilbert

Music Director Emeritus Bruce Dunn

FIRST VIOLIN

Cvetozar Vutev concertmaster*

Geoff & Judith Benson Chair

Carol Hur

assisstant concertmaster++

Rod Michell Chair

Susan Aylard

Meredith Bates

Adora Wong

David Lee

SECOND VIOLIN

Boris Ulanowicz*

Gabriele Klein Chair

Susan Cottrell

Annette Dominik

Narumi Higuchi

Haley Leach

Sandra Wilmot

VIOLA

Ashley Kroecher*

June McClure Chair

Jeffery (Po Ting) Ho

Caroline Olsen

Wennie Wei

CELLO

Martin Krátký*

Anonymous Chair

Doug Gorkoff

Yu Yu Liu

BASS

Evan Bates++

Lukas Schmidt

CLARINET

Sally Arai*

John & Joyce Henderson Chair

Julie Begg

*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

BASSOON

Karmen Doucette++

Dave Overgaard

TRUMPET

Audrey Patterson++

Hugh & Marylin Fallis Chair

Jeremy Vint

TROMBONE

Wade Dorsey+

Cindy Hogeveen

Rod Simmons

TIMPANI

François-Xavier Leroy++

ORGAN

Naomi Cloutier

LIBRARIAN

Sally Arai

Sponsors

SERIES SPONSORS

SEASON SPONSORS

PERFORMANCE SPONSORS

MOZART’S REQUIEM PROGRAM

Gordon Gerrard, conductor

Monica Chen, assistant conductor*

Melody Courage, soprano

Stephanie Tritchew, mezzo soprano Tomas Bijok, tenor

Dinuk Wijeratne

Neil Craghead, bass

KSO Chorus; Tomas Bijok, chorusmaster

Two Pop Songs on Antique Poems (arranged for string orchestra)

I. A letter from the After-life

II. I will not let thee go

Marjan Mozetich Postcards from the Sky

I. Unfolding Sky

Stéphanie Hamelin Tomala The Last Dance

INTERMISSION

Wolfgang Mozart

Requiem in D minor, K. 626

I. Introitus. Requiem aeternam

II. Kyrie

III. Sequentia

a. Dies Irae

b. Tuba mirum

c. Rex tremendae

d. Recordare

e. Confutatis

f. Lacrymosa

IV. Offertorium

a. Domine Jesu

b. Hostias

V. Sanctus

VI. Benedictus

VII. Agnus Dei

VIII. Communio. Lux aeterna

*Participation made possible by the Kamloops Symphony’s partnership with Tapestry Opera in the Women in Musical Leadership Program

Gordon Gerrard is a respected figure in the new generation of Canadian musicians. Trained first as a pianist and subsequently as a specialist in operatic repertoire, Gordon brings a fresh perspective to the podium. He is active in symphonic, operatic and ballet repertoire throughout Canada and internationally. His passion and dedication to producing thrilling musical experiences have endeared him to his fellow musicians and the public alike.

After an international search, Gordon was appointed the Music Director of the Regina Symphony Orchestra beginning in the 2016–2017 season. He was the Associate Conductor of the Vancouver Symphony Orchestra, a position which was created for him after two highly successful seasons there as Assistant Conductor. For four seasons Gordon held the positions of Resident Conductor and Repetiteur for Calgary Opera. He led many productions while in residence in Calgary, including LA BOHÈME, LAKMÈ, DIE FLEDERMAUS, and the Canadian premiere of Mark Adamo’s LITTLE WOMEN recorded for national broadcast on CBC’s Saturday Afternoon at the Opera. During his tenure at Calgary Opera, Gordon was honoured with the Mayor’s Award for

Emerging Artists for his contribution to the musical life of the city of Calgary. In December 2015, Gordon made his debut with The National Ballet of Canada; and in August 2016, Gordon made his European debut conducting TOSCA for Kammeroper Schloss Rheinsberg in Rheinsberg, Germany. Gordon has also conducted productions for Opera Hamilton to critical acclaim and was Assistant Conductor for several productions at Opera Lyra Ottawa. Gordon is also a regular guest conductor for Opera McGill.

A passionate and gifted educator, Gordon has been engaged as a conductor and lecturer by many institutions, including McGill University, the University of Manitoba and Iowa State University. He has served as conductor for Opera Nuova (Edmonton) since 2001 and has been part of the music staffs of the Opera as Theatre Programme at the Banff Centre for the Arts, the Canadian Vocal Arts Institute (Montreal), Halifax Summer Opera Workshop and the Undergraduate Opera Studio at the Manhattan School of Music. He has been a regular vocal coach for Calgary Opera’s Emerging Artist Program and l’Opéra de Montréal’s Atelier Lyrique.

Gordon Gerard, Guest Conductor

Melody Courage

Soprano

Métis soprano Melody Courage gained national attention as The Native Girl “...played with ethereal grace...” in the 2017 world premiere of Marie Clements and Brian Current’s opera Missing, co¬produced by City Opera Vancouver and Pacific Opera Victoria. Missing gives voice, in English and Gitxsan, to the story of Canada’s missing and murdered Indigenous women. Melody debuted with Anchorage Opera in the US premiere of Missing in 2023.

Highlights for Melody in 2023/24 season are First Lady in The Magic Flute with Vancouver Opera and performing opera hits with the newly created ensemble Indigidivas, with conductor Janna Sailor and Calgary Philharmonic. Melody joins mezzo soprano Marion Newman for Wreckonciliation, approaching opera repertoire through an Indigenous lens, with Opera Kelowna. In May, Melody is a guest artist with Vancouver’s Müzewest, performing the world premiere of a new composition by Jesse Plessis.

Recent performances for Melody include Chrisann in Calgary Opera’s production of The (R)evolution of Steve Jobs, and Messiah with Vancouver Bach Choir.

In Toronto, Melody starred in Two Odysseys: Pimooteewin/Gállábártnit, presented by Soundstreams Canada and Signal Theatre, directed by Michael Greyeyes/Cole Alvis, composed by Melissa Hui/Britta Byström. These two operas, sung in Cree and Sàmi, are rooted in traditional tales from Canada and Nordic countries.

During the pandemic, Melody performed Ian Cusson’s In Winter with the Canadian Opera Company in their digital concert series.

GUEST ARTIST

Stephanie Tritchew Mezzo Soprano

Canadian mezzo soprano Stephanie Tritchew (she/her) is a rising singer, at home in the realms of both contemporary and standard repertoire. She has performed leading roles with Vancouver Opera, Edmonton Opera, Calgary Opera, and Opera Kelowna in addition to her appearances on a variety of concert stages across Canada.

The 23/24 season saw Stephanie as Dorabella in Opera Kelowna’s

production of Così fan tutte, as Zweite Dame in Die Zauberflöte with Vancouver Opera and most recently, in a recital called The Longing Project which featured contemporary works by female composers including two world premiere commissions.

Stephanie is very excited to return to Kamloops Symphony to sing her first Mozart Requiem!

Tomas Bijok’s journey in music began at an early age. Having come from a musical family it was understood that music was to be a part of his life. Tomas began his formal vocal training under the instruction of Dr Wendoline Pazitka Munroe at Canadian University College. At the age of 22 Bijok began to study under the guidance of Lynn Vernon. He then studied for two Years at the University of British Columbia with Roelof Oostwoud after which he auditioned for the Prague Academy of Performing Arts. In Prague he completed his B.A and M.A. in Vocal Performance under the tutelage of Ivan Kusnjer and the guidance of Magdaléna Hajóssyová. Bijok made his Czech debut in Bohuslav Martinu’s comedy on the Bridge at the Northern Bohemian Theatre of Opera and Ballet and since has sung in theaters in the Czech Republic, Germany, Austria, Japan and France. In 2010 Bijok recorded the lead role of Lucas in the world premiere recording of Bohuslav Martinu’s “Le Jour de Bonte” under the Arco Diva label. Bijok has currently relocated to his home town of Kamloops. Dedicating more time to teaching, he presently acts as

choral instructor at Thompson Rivers University, and continues to spread the secrets of Bel Canto in his private studio. In 2015 Tomas founded the TRU Chamber Chorus which won third at the 2018 Provincial Festival of the Performing Arts in BC. Most recently Tomas has been acting as the conductor of the Kamloops Happy Choristers, Music Minister at Mount Paul United Church, and Chorus Master of the Kamloops Symphony. When not singing, Bijok can be found in the kitchen making a mess and exquisite food.

Tomas Bijok Tenor

Neil Craighead is a professional bass-baritone opera singer based in Vancouver, Canada. He has been a journeyman of the Canadian operatic scene since his time in the Canadian Opera Company’s prestigious Ensemble Studio. His deep, powerful voice has been heard from coast to coast in operatic and concert repertoire of all kinds. He continues to be in demand as both a performer and a pedagogue. Neil is a proud father and devoted husband who enjoys collecting vinyl records, fishing, and carpentry in his spare time.

Mr. Craighead has performed with many major Canadian opera companies and symphony orchestras. He has been featured in multiple season at the Canadian Opera Company as Ceprano in Rigoletto, Dr. Grenville in La Traviata, O’Donoghue and Osler in Louis Riel, Sciarrone in Tosca, Truffaldino in Ariadne auf Naxos, and the Oracle in Idomeneo. He is a frequent performer at Pacific Opera Victoria as well, appearing as Minskman in Flight, Don Fernando in Fidelio, and Pietro in Simon Boccanegra. 2019 saw Mr.

Craighead make house debuts with Vancouver Opera and Calgary Opera as Colline in La Boheme. He made his role debut as Baron Scarpia in Tosca with Opera on the Avalon in 2018 after performances with Opera de Quebec in Carmen and Die Zauberflote. He was nominated for a Dora Award for his portrayal of Leporello in #UncleJohn with Against the Grain Theatre in 2015.

In 2019

Mr. Craighead was offered a position as an Alumni Mentor at Opera NUOVA and sparked his passion for teaching other singers. Since then, he has joined the National Association of Teachers of Singing and returned to his Alma mater, UBC, as a doctoral candidate in opera performance in order to better his pedagogical techniques and understanding. He is frequently engaged as a clinician by private voice teachers and organizations. This summer, Neil returned to Opera NUOVA as a faculty member and joined the UBC Summer Opera Workshop as an instructor. Mr. Craighead continues to operate a private voice studio in Vancouver and online.

Neil Craighead Bass

Monica Chen Assistant Conductor

A native of Vancouver, Monica Chen is one of the conducting fellows at the Orchestre Métropolitain, assisting Yannick Nézet-Séguin since 2021. She will be the Assistant Conductor of the Winnipeg Symphony Orchestra and a conducting fellow with Tapestry Opera in the upcoming 2023-2024 season. She was also one of three finalists at Domaine Forget chosen to perform in concert with the Orchestre symphonique de Québec two years in a row. Recent conducting engagements include working with Astrolabe Musik Theatre, Allegra Chamber Orchestra, Opera Kelowna, Orchestre Symphonique de Québec and the Orchestre Métropolitain. She has participated in festivals including at the University of Oregon, the Eastman School of Music, Domaine Forget International Summer Academy, the UBC Chamber Music Festival, and the University of Oregon Conducting Institute, working closely with maestros Jonathan Girard, Neil Varon, Thomas Rösner, and the late Bramwell Tovey. She holds two Masters, one in Orchestral Conducting from UBC studying with Dr. Jonathan Girard and the other in violin performance from Indiana University studying with Mimi Zweig.

KSO Chorus

The KSO Chorus provides local singers with the opportunity to perform masterworks for choir and orchestra in concert with the Kamloops Symphony Orchestra.

Amanda Ahner

Nichole Annis

Guram Asatiani

Robin Bhattcharya

Rita Bittante

Amanda Bond

Nicole Bremner

Elise Bruno

Janet Brunsgaard

Alan Buchanan

Jingbi Cui

Lynn Eberts

Tom Eccleston

Ava Egli

Calder Faden

Kristine Faulds

Matt Fichter

Ethan Gelinas

Heather Gnoato

Marcia (Marcy) Gofsky

Grace Graham

Cam Grant

Shannon Gruen

Adrianne Hajdasz

Tracy Hajdasz

Megan Hanks

Alan Hodgson

Mary Hunter

George Johnson

Marcia Julian

Stacey Jyrkkanen

Elaine Karas

Lyndon Kinley

Kyla Liebe

Cindy Mao

Michelle Marginet

Sylvia Markowsky

Heather Martin

Diane McArthur

Dale Merretti

Paula Monoga

Candace Morrison

Peter Nieuwold

Chantal Oliver

Linda Oliver

Charene Perog

Marlene Peters

Bonnie Peterson

Tomas Bijok, chorus master

Daniela O’Fee, collaborative pianist

Elizabeth Reichenback

Janice Rutherford

Mia Sage

Phillip Sigalet

Marnie Smith

Samantha(Sam) Snucins

Patricia Spencer

Maatje Stamp-Vincent

Gisele Strodl

Jill Timko

Gordon Tisher

Evelyn Vipond-Schmidt

Florence Walde

Robert (Bob) Walter

Shaojun Wang

Keenan Wilcox

Gerad Wingerak

Viviane Wingerak

Natasha Winston

Cynthia Yaunish

Hayang Yoo

Marnie Smith, chorus Supported

Michelle Zwolak

Sally Zyrd

Proud Supporters of the KAMLOOPS SYMPHONY ORCHESTRA

Mozart’s Requiem

I. Requiem aeternam

Requiem aeternam dona eis, Domine, et lux perpetua luceat eis. Te decet hymnus, Deus, in Sion, et tibi reddetur votum in Jerusalem.

Exaudi orationem meam, ad te omnis care veniet.

Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

II. Kyrie

Kyrie, eleison. Christe, eleison. Kyrie, eleison.

III. Sequentia

a. Dies Irae

Dies irae, dies illa

Solvet saeclum in favilla, teste David cum Sibylla.

Quantus tremor est futurus, quando judex est venturus, cuncta stricte discussurus.

b. Tuba mirum

Tuba mirum spargens sonum per sepulcra regionum, coget omnes ante thronum. Mors stupebit et natura, cum resurget creatura, judicanti responsura.

Liber scriptus proferetur, in quo totum continetur, unde mundus judicetur.

Judex ergo cum sedebit, quidquid latet, apparebit, nil inultum remanebit.

Quid sum miser tunc dicturus, quem patronum rogaturus, um vix justus sit securus?

c. Rex tremendae

Rex tremendae majestatis, qui salvandos savas gratis, salve me, fons pietatis.

Eternal rest give to them, O Lord, And let perpetual light shine upon them. A hymn, O God, becometh Thee in Zion, and a vow shall be paid to Thee in Jerusalem. O Lord, hear my prayer, all flesh shall come to Thee. Eternal rest give to them, O Lord, and let perpetual light shine upon them.

Lord, have mercy upon us. Christ, have mercy upon us. Lord, have mercy upon us.

Day of wrath, that day will dissolve the Earth in ashes as David and the Sibyl bear witness. What dread there will be When the Judge shall come to judge all things strictly.

A trumpet, spreading a wondrous sound through the graves of all lands, will drive mankind before the throne. Death and Nature shall be astonished when all creation rises again to answer to the Judge. A book, written in, will be brought forth in which is contained everything that is out of which the world shall be judged. When therefore the Judge takes His seat Whatever is hidden will reveal itself. Nothing will remain unavenged.

What then shall I say, wretch that I am, what advocate entreat to speak for me, when even the righteous may hardly be secure?

King of awful majesty, who freely savest the redeemed, save me, O fount of goodness.

d. Recordare

Recordare, Jesu pie, quod sum causa tuae viae; ne me perdas illa die.

Quaerens me, sedisti lassus, redemisti crucem passu, tantus labor non sit cassus.

Juste judex ultionis, donum fac remissionis ante diem rationis.

Ingemisco, tamquam reus, culpa rubet vultus meus, supplicanti parce, Deus.

Qui Mariam absolvisti, et latronem exaudisti, mihi quoque spem dedisti. Preces meae non sunt dignae, sed tu bonus, fac benigne, ne perenni cremer igne.

Inter oves locum praesta, Et ab haedis me sequestra, Statuens in parte dextra.

e. Confutatis

Confutatis maledictis, flammis acribus addictis, voca me cum benedictus.

Oro supplex et acclinis, cor contritum quasi cinis, gere curam mei finis.

f. Lacrymosa

Lacrimosa dies illa, qua resurget ex favilla judicandus homo reus. Huic ergo parce, Deus, pie Jesu Domine, dona eis requiem. Amen.

IV. Offertorium

a. Domine Jesu

Domine Jesu Christe, Rex gloriae, libera animas omnium fidelium defunctorum de poenis inferni et de profundo lacu.

Libera cas de ore leonis, ne absorbeat eas Tartarus, ne cadant in obscurum.

Sed signifer Sanctus Michael, repraesentet eas in lucem sanctam. Quam olim Abrahae promisisti et semini ejus.

Remember, blessed Jesu, that I am the cause of Thy pilgrimage, do not forsake me on that day.

Seeking me Thou didst sit down weary, Thou didst redeem me, suffering death on the cross. Let not such toil be in vain.

Just and avenging Judge, grant remission before the day of reckoning. I groan like a guilty man, guilt reddens my face, spare a supplicant, O God. Thou who didst absolve Mary Magdalene and didst hearken to the thief, to me also hast Thou given hope. My prayers are not worthy, but Thou in Thy merciful goodness grant that I burn not in everlasting fire.

Place me among Thy sheep and separate me from the goats, setting me on Thy right hand.

When the accursed have been confounded and given over to the bitter flames, call me with the blessed.

I pray in supplication on my knees, my heart contrite as the dust, safeguard my fate.

Mournful that day when from the dust shall rise guilty man to be judged. Therefor spare him, O God, merciful Jesu, Lord grant them rest. Amen.

Lord Jesus Christ, King of glory, deliver the souls of all the faithful departed from the pains of hell and from the bottomless pit. Neither let them fall into darkness nor the black abyss swallow them up.

And let St. Michael, Thy standard-bearer, lead them into the holy light which once Thou didst promise to Abraham and his seed.

Mozart’s Requiem

IV. Offertorium, continued

b. Hostias

Hostias et preces tibi, Domine, laudis offerimus.

Tu sucipe pro animabus illis, quaram hodie memoriam facimus. Fac eas, Domine, de morte transire ad vitam, Quam olim Abrahae promisisti et semini ejus.

V. Sanctus

Sanctus, sanctus, sanctus Dominus Deus Sabaoth!

Pleni sunt coeli et terra gloria tua Hosanna in excelsis!

VI. Benedictus

Benedictus qui venit in nomine Domini. Hosanna in excelsis!

VII. Agnus Dei

Agnus Dei qui tollis peccata mundi, dona eis requiem.

Agnus Dei qui tollis peccata mundi, dona eis requiem sempiternam.

VIII. Lux aeterna

Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternum, quia pius es.

Requiem aeternum dona eis, Domine, et Lux perpetua luceat eis, cum sanctis tuis in aeternum, quia pius es.

We offer unto Thee this sacrifice of prayer and praise. Receive it for those souls whom today we commemorate. Allow them, O Lord, to cross from death in the life which once thou didst promise to Abraham and his seed.

Holy, holy holy, Lord God of Sabaoth!

Heaven and Earth are full of Thy glory. Hosanna in the highest!

Blessed is He who cometh in the name of the Lord. Hosanna in the highest.

Lamb of God, who takest away the sins of the world, Grant them rest.

Lamb of God, who takest away the sins of the world, Grant them everlasting rest.

May eternal light shine on them, O Lord, with Thy saints for ever, because Thou art merciful.

Grant the dead eternal rest, O Lord, and may perpetual light shine on them, with Thy saints for ever, because Thou art merciful.

Two Pop Songs on Antique Poems

I. A letter from the After-life

I sent my Soul through the Invisible, Some letter of that After-life to spell: And by and by my Soul return’d to me, And answer’d “I Myself am Heav’n and Hell” from the Rubáiyát of Omar Khayyám (1048–1131), trans. Edward Fitzgerald (1809–1883)

II. I will not let thee go

I will not let thee go.

Ends all our month-long love in this?

Can it be summed up so, Quit in a single kiss?

I will not let thee go. …

I have thee by the hands, And will not let thee go.

Excerpt from the poem by Robert Bridges (1844-1930)

BROCK MIDDLE SCHOOL

Have you ever wondered where Kamloops Symphony Orchestra musicians started from?

What age did they start playing their instruments?

Would you believe that some of these musicians were part of our local high school's music programs?

If you like what you hear this evening, please consider donating to Brocklehurst Middle School's Jazz Band program by scanning the QR Code. This small group of students are heading to Toronto on May 15-19, 2024 to compete at a National level and expanding their Jazz Band program at Brocklehurst Middle School. One day soon, you might even see some on stage here.

Dinuk Wijeratne (1978)

Two Pop Songs on Antique Poems (2015)

Dinuk Wijeratne is a Canadian composer, pianist and conductor. He was born in Sri-Lanka, grew up in Dubai, studied in the United Kingdom and then at the Julliard School in the United States with American composer John Corigliano. His conducting studies were at Mannes School of Music in New York, and this was followed by doctoral studies with composer Chris Hatzis at the University of Toronto. In addition to numerous other awards, Wijeratne was the Canada Council Jean-Marie Beaudet award winner in 2008 for conducting, is a JUNO and SOCAN award winner, and winner of a range of prizes and scholarships for composition and performance. His conducting experience is wide, and includes work with the National Arts Centre Orchestra, Winnipeg Orchestra, orchestras of Thunder Bay, Nova Scotia, and PEI among others.

A common thread in this extremely active career is the eclectic nature of Wijeratne’s creativity and experience. This is not surprising, perhaps, given the cross-cultural nature of his origins, upbringing and education. Significantly, his Carnegie Hall debut in 2004 was with Yo Yo Ma and the culturally diverse Silk Road Ensemble. Since then, he has performed with and composed for a range of orchestras, string quartets, DJs, tabla players, singers, and instrumentalists. No wonder the Toronto Star described him as “an artist who reflects a positive vision of our cultural future.” Clearly, with such an omnivorous musical appetite and with the capacity to focus all his interests into a distinct

and compelling musical voice, his musical goals fit well with those of the Kamloops Symphony and its audiences.

Two Pop Songs on Antique Poems was the result of a commission from the string quartet, Afiara, for new works for string quartet inspired by popular themes, to be elements of their latest recording project, Spin Cycle. The collaboration evolved in several stages involving remixes by renowned DJ Skratch Bastid in what emerged as an innovative dialogue between differing musical worlds. It is no surprise that Wijeratne admits, “I found the concept of this unique project to be irresistible: “Pop” influenced music for a classical string quartet.” So, he claims, “I sought to create for them my own kind of collision of old and new, where the beauty and meaning of vintage poems might inspire the kind of loops and grooves, and catchy tunes found in Pop.” The vehicles for this collision are two verses; No.1 (the more “antique”) is stanza 66 from Fitzgerald’s translation of Omar Khayyam’s Rubáiyát. No.2 is a stanza and two lines from English poet, Robert Bridges’ poem “I will not let thee go.” For him, the work’s melodies are settings of the poem texts “with the words stripped away.” Listeners may recognize two moments in Pop Song No.1, “A Letter from the After-life,” where Wijeratne quotes from Schubert’s Quartet No.14 “Death and the Maiden.” He says: ironically, they struck me as being Pop-like and so I allowed them to emerge as though improvised, then to be improvised upon.

Marjan Mozetich (1948)

“Unfolding Sky” from Postcards from the Sky (1998)

Marjan Mozetich was born in 1948 in the Italian city of Gorizia, to a Slovenian family that immigrated to Canada when he was only four years old. He began his musical training at age nine and is a graduate of the University of Toronto and the Royal Conservatory of Music. Assistance from the Canada Council provided him the opportunity to study in Italy with the experimental Italian composer, Luciano Berio (1925–2003). From 1991 to 2010 Mozetich was on staff at the School of Music of Queen’s University in Kingston. Now retired from teaching, he remains a freelance composer who has received numerous commissions, many from Canadian orchestras and musical groups, and won several awards including a Juno for best classical composition in 2010. He is a prolific composer (over 70 works including pieces for film, theatre and dance), with compositions for a wide range of musical ensembles: orchestras, chamber groups, choirs and solo voice. The evolution of his

music has taken him from the more modernist and atonal influences of the mid 20th century to a style that blends the modern with more classical Romantic tendencies—melodic and poetic. It is no wonder Mozetich is one Canada’s most frequently performed composers.

“Unfolding Sky” is the first of three lyrical and intense pieces for string orchestra that together make up a set of Postcards from the Sky. In Postcards as a whole, we would experience “Unfolding Sky” alongside its companion “postcards,” “Weeping Clouds” and “A Messenger.” In tonight’s concert, however, “Unfolding Sky” acts alone as one of the preludes to our evening of contemplative music —its heartfelt and plaintive melody emerges with increasing urgency and strength of feeling contrasted with a busy and repetitive string motif that starts, persists, and then gradually fades, drawing the piece to its quiet “unfolding.”

Stephanie Hamelin Tomala

“The Last Dance”

Stephanie Hamelin Tomala is an award-winning Canadian-American composer with Ecuadorian and Lebanese origins who is also a violinist, pianist and singer. Stephanie's music combines her classical violin background with creative use of her own singing voice and modern production techniques. She completed her Master’s degree in music composition at the University

of Montreal, and studied film scoring at the University of Quebec and at the Conservatoire National Supérieur de Musique et de Danse in Lyon, France. She has composed music for multiple productions with the National Film Board of Canada since 2020, including animations, “The Strip Chronicles”, “Terre Ferme”, and the documentary “Sometimes I wish I was on a Desert Island.” Stephanie's score

for the feature documentary “I Lost My Mom” was recently nominated for best documentary score at the Canadian Screen Music Awards. In fact, Stephanie has won many awards for her scores including 4 SOCAN Foundation awards for Best Original Music and a nomination in the contemporary/classical instrumental category from the Hollywood Music in Media Awards for her orchestral composition Ceremonial Tribute to Krakow.

As well as a concert music composer, Stephanie is active as an orchestrator and arranger, whose credits include two recent albums produced by famous Quebec singer Mario Pelchat,

orchestral arrangements for the HipHop artist Paul K.A.S.P, for Montreal pop singer Sebastien Corn and for Dan Luiten. She is no stranger to the Kamloops Symphony Orchestra and Kamloops audiences, who heard her arrangement of a medley of pieces by jazz clarinetist and composer, Phil Nimmons, when the orchestra celebrated Nimmons’ 100th birthday last September. Tonight, we hear her as a composer in a piece called “The Last Dance,” a single composition for strings, whose insistent forward movement gathers its melancholy melody into a quietly repeated closing utterance.

Wolfgang Amadeus Mozart (1756-1791)

Requiem in D minor (K626)

Towards the end of July 1791, a gravelooking messenger darkly dressed in grey, called at Mozart’s home in Vienna. He delivered an anonymous commission for Mozart to compose a Requiem Mass as soon as possible. Almost from that moment on (according to his wife Constanze), Mozart was convinced that the anonymous stranger’s commission was for him to write a Requiem for his own funeral. The messenger paid fifty percent of the fee in advance! Five months later, December 5, 1791, Mozart was dead. The real details of the commission are much more straight-forward, of course, but they illustrate the fact that it is impossible to write of Mozart’s sublime last masterpiece, his Requiem, without encountering a body of legends about the work, nourished in part by 19th-

century “romantic” ideas of the artist and propagated by narrative threads that extend down to our own time, as with Peter Schaeffer’s play, Amadeus

At the time of the Requiem commission Mozart was already extremely busy. Nonetheless, even though he was finishing up the score of his opera, The Magic Flute, he immediately set to work on the Requiem and drafted much of the “Introit” and the “Kyrie.” He had to interrupt this work, however, to embark on yet another urgent commission—his opera La Clemenza di Tito, to be performed at Emperor Leopold’s coronation as King of Bohemia, at Prague. It was already September when Mozart returned from this commitment in Prague, whereupon he finished The Magic Flute, which received its

successful premiere on September 30. Now would have been the time to return to work on the Requiem! But for some reason he preferred to write a Clarinet Concerto for his friend Anton Stadler. (Mozart-admirers love the concerto—and surely, no member of this audience would wish Mozart’s decision undone!) Although he could have returned to work on the Requiem toward the middle of October, there was still one more commitment to honour—a Masonic Cantata “Laut Verkünde unsre Freude”—which premiered on November 15.

By the end of November, overtaken now by the illness which would shortly lead to his death, and suffering from periodic delusions of persecution (among them that he had been poisoned!) Mozart took to his bed. He was never to get up again. He died on December 5 at the age of 35, leaving the Requiem unfinished. Only the “Introit” had been completed with voice parts and orchestration. The ninety-nine pages of Mozart’s incomplete Requiem manuscript included detailed drafts of the “Kyrie,” the “Sequentia” (as far as the start of the “Lacrymosa”), and of the “Offertorium” the vocal parts and bass, with the orchestral parts only sketched out. The family’s precarious financial situation, the fear of losing the remaining Requiem payment and even of having to return the sum already advanced, drove Constanze to seek for a way to have the work swiftly finished.

The task was taken on by some of Mozart’s pupils among whom Franz Xaver Süssmayr, Mozart’s pupil for most of 1791, did most of the work. He completed the “Lacrymosa” and

composed from scratch the missing “Sanctus,” “Benedictus,” and “Agnus Dei,” in addition to the concluding “Communio.” There are believable accounts of Sussmayr and other of Mozart’s pupils gathered around the delirious Mozart’s bed helping him to hoarsely sing some of the choral parts. It is also clear that Sussmayr individually received verbal directives and even manuscript sketches from Mozart for development of some of the remaining sections.

Over time, the nature and extent of Sussmayr’s contribution in interpreting Mozart’s indications for instrumentation and other details has been questioned and his “completion” reworked, but the inimitable voice of the master sounds out everywhere. Everything musical Mozart touched bears the stamp of his originality, and the Requiem is no exception. Although there are stylistic features that echo baroque traditions of sacred music in his own time, there is a new personal, dramatic force in much of the work that foreshadow the Requiems of Cherubini, and of Verdi and Berlioz.

A Requiem is a Roman Catholic mass for the dead. It includes sections that are part of the daily mass, such as the Kyrie and Sanctus, but includes other movements with texts of mourning and of remembrance. Mozart’s Requiem contains five main parts: Introitus, Sequence, Offertorium, Sanctus, Agnus Dei and Communio. The opening Introitus has two parts: “Requiem aeternam” and “Kyrie.” After the chorus and soprano soloist plead for “Eternal Rest” Mozart’s music for the “Kyrie” takes the form of a fugue, a form popular in Mozart’s time.

He makes his a “double fugue,” one that has two main themes. The Sequence that follows has several sections intended to depict God in the role of Judge of the damned. The text and music of the “Dies irae” (Day of Wrath) are dramatic and graphic, designed to convey the terror and panic of the wicked facing judgement. The “Tuba mirum” or “wondrous trumpet” (trombone actually) introduces the idea of God’s mercy, and the ”Rex Tremendae” (King of Wrath) that follows emphasises God’s power and humans’ need for pity and salvation. The “Recordare” (Remember) features the four soloists whose soothing words offer some respite from the intense atmosphere of the previous three sections, expressing confidence that salvation will indeed be ours. The “Confutatis” (The confounded) at once shatters that confidence, reasserting that “The wicked are confounded, doomed to flames.” Then the “Lacrimosa” (Day of Mourning) concludes the Sequence.

The Offertorium, like the Introitus, is divided into two sections, the “Domine Jesu Christe” and the “Hostias.” The mood of the “Domine Jesu” harks back to the “Dies irae” as it expresses “that hell may now

swallow them up.” In complete contrast, however, is the “Hostias,” its harmonious energy expressing the renewed confidence that pardon will be ours, given sufficient sacrifice and prayer. The remaining three sections, Sanctus (Holy), Agnus Dei (Lamb of God) and Communio are ones that Sussmayr claimed he wrote on his own. But there are too many traces of Mozart to be found for that to be entirely accurate. The brief Sanctus concludes with a fugue, the theme of which is almost certainly by Mozart. The Benedictus that follows sees the return of the soloists with the Chorus. Their main melody is one that Mozart had written into the lesson book of one of his women students. Sussmayr’s orchestration echoes that of the earlier “Recordare” with the same tender effect. The section closes with a brief reprise of the fugue from the Sanctus. In the Agnus Dei, the steady choral writing is contrasted with the more intense chromatic writing for the strings. This section merges gently into the “Lux Aeterna” (Eternal Light) for soprano and chorus of the Communio with which the work ends. Sussmayr follows Mozart’s instructions and reuses the music of the “Introitus” with which the Requiem began.

THEATRE CLASSES FOR YOUNG PEOPLE

CINDY MOCHIZUKI

ANCESTRAL DREAMS & OTHER PREMONITIONS

April 20 to July 6, 2024

Cindy Mochizuki, Autumn Strawberry (dance film), 2021. Photo: Malumi Photography

Thank you to our wonderful team of volunteers

Volunteers

Randy Adams

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And a special thank you to the Kamloops District Men’s Shed

$2000+ CONDUCTOR’S CIRCLE

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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.

Sagebrush Theatre

Friday May 17, 2024 • 7:30pm

Kelson Group Pops Performance

Saturday May 18, 2024 • 7:30pm

Fairfield by Marriott Kamloops Signature Series Performance