Out of the Silence Concert Programme by Kamloops Symphony

Out of the Silence

F E AT U R I N G

DINA GILBERT MUSIC DIRECTOR

JAEDEN IZIK-DZURKO PIANO

MARK D’ANGELO TRUMPET

Sagebrush Theatre

SEPTEMBER 25

SATURDAY • 1PM & 7:30PM

SEPTEMBER 26 SUNDAY • 1PM

kamloopssymphony.com 250.372.5000

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SEPTEMBER 25 –OCTOBER 24

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Out of the Silence Welcome to the Kamloops Symphony Orchestra’s season of 2021–2022 Our sincere and heartfelt thanks for your support for our previous season which, in the hands of our Music Director Dina Gilbert, our administrative team, and of course our orchestra musicians, was progressively “reimagined” in response to the onset of the pandemic and to the significant social adjustments that were required of everyone. There were opportunities for everyone to learn—we learned much about video staging and performance and online presentation —audiences learned that the “normal” in-person concert event we have become used to is only one way to encounter music, and that there is an intensity to the online experience that opens up the music to us in different, surprising and rewarding ways. The progress of the pandemic will determine whether in this upcoming season we will enjoy our music again in online mode or in the shared audience experience we missed last year. However, for the time being, we are thrilled to offer both options. Whichever you choose, we are so glad you are here with us. Thank you, and enjoy the show!

The Kamloops Symphony Team 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. GOVERNMENT FOUNDATIONS GRANTS

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

Proud Supporters of the

KAMLOOPS SYMPHONY ORCHESTRA ®

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

Kamloops Symphony Society BOARD OF DIRECTORS

Miki Andrejevic | President Claire Ann Brodie Kathy Collier Lucille Gnanasihamany Gabriele Klein Maureen McCurdy | Treasurer Rod Michell Helen Newmarch | Secretary Steve Powrie | Vice President 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 paticipative 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 FIRST VIOLIN

Cvetozar Vutev | concertmaster° + Elyse Jacobson | concertmaster + Molly MacKinnon | assistant concertmaster Meredith Bates Evelyn Creaser-Rumley Adora Wong

SECOND VIOLIN

VIOLA

CELLO

Annette Dominik Narumi Higuchi Sandra Wilmot

Erin Macdonald

Doug Gorkoff

Boris Ulanowicz*

°On Leave

Principal

Ashley Kroecher*

Martin Kratky*

BASS

Michael Vaughan+ Acting Principal

Chair Sponsors

Substitute Principal

Out of the Silence

Programme Conductor:

Dina Gilbert

Guest Artists: Jaeden Izik-Dzurko | piano Mark D’Angelo | trumpet

Fredrik Gran

Pictures of Fields without Fences

Airat Ichmouratov

Chamber Symphony No. 3 I. Moderato con allegrezza II. Scherzo III. Larghetto IV. Allegro con brio

William Grant Still Out of the Silence

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PERFORMANCE

Dmitri Shostakovich Concerto No. 1 for Piano, Trumpet, and String Orchestra Op. 35 I. Allegro Moderato II. Lento III. Moderato IV. Allegro con brio

Guest Artist

Jaeden Izik-Dzurko Born in Salmon Arm, British Columbia, 22-year-old Jaeden IzikDzurko is earning a reputation as a promising young artist. Jaeden has been recognized by audiences, conductors and composers alike for the exceptional communicative power and thoughtfulness of his interpretations. He is a Grand Prize winner at the Federation of Canadian Music Festivals’ National Competition, a winner of Juilliard’s prestigious Gina Bachauer Scholarship Competition, Third Prize and Peter Takács Classical Sonata award winner at the Hilton Head International Piano Competition, and most recently, a Laureate of the Cochran International Piano Competition. Jaeden graduated from Juilliard School in 2021, completing a Bachelor of Music with Prof. Veda Kaplinsky. Previously, his instructors were Ian Parker and Dr. Corey Hamm. An experienced recitalist, Jaeden has organized and presented numerous solo recitals to benefit both community projects and international

humanitarian organizations. He has collaborated with local and international instrumentalists, vocalists and chamber ensembles, and has performed with the Calgary Philharmonic Orchestra, the Hilton Head Symphony Orchestra, the Okanagan Symphony Orchestra, the Kamloops Symphony and the Lions Gate Sinfonia. Jaeden’s recordings have been presented nationally on CBC Radio, and in September 2019, his performance in Juilliard’s Paul Hall was broadcast live on WQXR in New York. Jaeden has earned a reputation as a passionate advocate for Canadian compositions, and has been recognized for his exciting and insightful interpretations. In 2017, in honour of Canada’s sesquicentennial, he presented a successful solo recital of works written solely by Canadian composers. As a recipient of the 2020 Sylva Gelber Music Foundation Award, Jaeden gratefully acknowledges the support of the Sylva Gelber Music Foundation and the Canada Council for the Arts.

Guest Artist

Mark D’Angelo Mark D’Angelo a native of North Vancouver, holds a Master of Music Degree from McGill University in Montreal. In addition to his studies in Montreal, Mark has studied across Canada, the United States, Europe, and Central America. As an accomplished Classical musician, Mark has performed in concert with the Vancouver Symphony Orchestra, the CBC Radio Orchestra, Thunder Bay Symphony, Vancouver Island Symphony, American Brass Quintet, Aspen Festival Orchestra, and both the 2006 and 2007 National Youth Orchestras of Canada. Mark has performed with Ben Hepner, Tony Award Winner Idina Menzel, Joshua Bell, and under conductors such as David Zinman, Jacques Lacombe, Yaov Talmi, Alain Trudel, David Robertson, and Marin Alsop.

In the summer of 2012 Mark was the recipient of a specialized travel grant from the Canada Council and studied trumpet technique in Valencia, Spain. Performances have included the Vancouver Olympic Games (2010), and the International Mariachi Festival in Guadalajara Mexico (20082010). In addition to classical music credits Mark has had multiple radio, television, commercial, and movie performances worldwide. Mark has recorded with “Rita Chiarelli” and the Thunder Bay Symphony, and on Hedley’s Juno Nominated Double Platinum album “The Show Must GO” (Universal Music Canada). Mark is currently the sessional Trumpet Instructor at Capilano University in the Music Transfer program, and plays on Stomvi brand instruments.

PROGRAMME NOTES

This first concert of the new season is called Out of the Silence. This is also the title of one of the compositions on the programme, and although the work is brief, it is intense, and its title resonates with meaning. In part it is a comment on last year’s KSO season: where there might have been “silence” there was music, and ways were found to mark the progress of our lives by keeping throughout the year to the familiar KSO concert signposts “reimagined” though they needed to be. The same hope and determination drive this year’s KSO season. Much else came Out of the Silence during the year, issues of race, identity, equality, voices (some of them very close to us) that insist on being heard, and that find their expression, in part, through music which acts like a soundtrack for aspects of our unfolding human condition. Just like the pieces chosen for this opening concert, all of them for string ensemble, with the addition of soloists for piano and for trumpet in the concerto.

Fredrik Gran (1977)

Pictures of fields without fences (2006) Award-winning Swedish composer Fredrik Gran, who earned a doctorate in composition at McGill University, is originally from the Stockholm region of Sweden, where he studied at the Swedish Royal Academy of Music. His compositions include orchestral, chamber and vocal works and have been performed widely on the international scene. However, his music and research also bring together acoustic sound and electroacoustic ideas, mechanical/robotic interactive units, amplified instruments and objects and other experimental musical elements. As well as occurring in live performance, Gran’s music appears with installations, in museums, for dance, and with digitaland visual art. Pictures of fields without fences won 1st prize for composition at the 2017 London Music Society competition and was later incorporated as a pas de deux into the ballet Atlantis. The title itself presents a striking image to our mind’s eye, of distance perhaps, that,

uninhibited, recedes gradually into indistinctness. The composer has his own image for this—of a photograph “which over time becomes faded and bleached by the sun.” The music, he says, offers a meditation on the inevitable transformation or obsolescence of things. In this work, he says, he aims to strip down the music to its essential parameters. He explains his technique is to peel off and remove until what is left is some kind of “skeleton music.” That is another startling and provocative image, which may explain to some degree his use of extremely soft dynamics in places (e.g. pppp), the use of sordini (mutes for strings), and his musical directive lontano (“from a distance”). All this invites our close attention to this intense almost hymn-like piece of music that may bring to mind the familiar Adagio of Samuel Barber. The music’s continuous, unresolved progress, with only one brief moment that reaches forte, enacts our own steady movement toward final erasure.

PROGRAMME NOTES

Airat Ichmouratov (1973)

Chamber Symphony No. 3, Op. 25a (2010) Airat Ichmouratov was born in the Republic of Tatarstan, Russia. He studied at the capital’s Kazan Music School (clarinet) and Kazan Conservatory. In 1998 he moved permanently to Montreal, and since then his careers as a composer, conductor (with Les Violons du Roy, and I Musici de Montréal among others) and as virtuoso clarinetist with the klezmer band Kleztory have all flourished. He is a prolific composer of orchestral music, including a symphony, several overtures, and many concertos for a variety of solo instruments. His compositions include numerous works for chamber groups including trios and string quartets. The Chamber Symphony No. 3 featured on today’s programme is the composer’s arrangement of one of those quartets, Quartet No. 3 in C major which was dedicated to the well-known Alcan Quartet. This version for chamber orchestra was first performed by I Musici de Montréal and conducted by the composer. The opening movement is Moderato con allegrezza with a bouncy, purposeful rhythm that prevails almost throughout, leading at one point to a fuller lyrical climax before returning to take us jauntily home. The second movement Scherzo is the briefest and resonates with the rhythms of folk dance and the sounds of fiddlers, energetic yet touched by melancholy.

The Larghetto, the longest movement, gives us ardent yet tender melodies that often soar above a restrained pizzicato bass line, reaching an emotional peak which then returns us to emotional equilibrium. In the final Allegro con brio we seem to be in the world of dance again, but this time it is more formal dance that impels the movement through to the work’s close. Ichmouratov is very open about the impact his music may have on listeners. “In this work you can find Happiness, Sadness or Tragedy, Folk Dances, and there is Life excitement and Nostalgia—everything that makes us to feel… feel emotions, whatever emotion suits you at the moment… makes us to think, think what’s black, what’s white, what’s good, what’s bad, but definitely doesn’t leave you careless… and I believe that is what Music should be about.” In the work you can hear the musical influences found frequently in Ichmouratov’s works—those of the prominent Russian composers such as Tchaikovsky, Mussorgsky and Shostakovich. When our KSO Music Director herself had an opportunity to ask the composer whether she was mistaken in hearing a little influence from Prokofiev in this Chamber Symphony, he told her, “Prokofiev and Shostakovich are always present in my music… I grew up surrounded by their music since I went to music school at the age of 7.”

PROGRAMME NOTES

William Grant Still (1895–1978)

“Out of the Silence” from Seven Traceries (1940) William Grant Still Jr. was born in Mississippi and grew up in Little Rock, Arkansas. He began violin lessons at age 14 but taught himself several other instruments including clarinet, oboe, cello, and viola. He went to Wilberforce University and then to the Oberlin Conservatory of Music. Still is often referred to as “the Dean of African American composers” and the list of his “firsts” as a composer certainly explains that title—his Afro-American Symphony was the first by an African American composer to be performed by a leading orchestra, and until 1950, the most often performed symphony by any American; he was the first African American to conduct a major orchestra, the first to have an opera performed by a major opera company, and the first to have one performed on television… and much more. Still’s musical output was considerable: including 25 works for large orchestra—five symphonies, nine operas, four ballets, more than twelve chamber works, piano compositions, art songs, and arrangements of music for films. His repertoire is still waiting to be more fully discovered and recorded. “Out of the Silence” is one of seven tonal poems for piano that together form the suite Seven Traceries that Still composed for his wife, Verna Arvey, in 1940. As we noted at the outset, the title is a potent image

that easily accumulates a wide range of meanings for listeners. However, according to his wife the Traceries were intensely personal music for him, spiritual even: “abstractions bearing the imprint of mysticism,” she called them. His daughter, Judith Anne Still, explained that they were “seven faces” of Divinity, seven musical portraits of God, each piece based on quite simple motifs and each one developed within the scope of its possibilities. The composer named each piece after it was composed, so the music did not emerge from the titles, rather each title attempts to capture in words aspects of the music already created. Verna Arvey provides descriptions for each piece. For “Out of the Silence” she explains, “Only in meditation does one discover delicate beauties remote from the problems of the world.” This arrangement of “Out of the Silence” is for strings and piano. At the start, the music has a wistful, bluesy quality to it (Still was one of the first American composers to combine jazz idiom with classical forms). However, dissonant chords seem to prevent that blues feeling from emerging fully. When the music does open up emotionally it has more of a hint of Romantic period piano music before it subsides into a meditative close, again more suggestive of the blues.

PROGRAMME NOTES

Dmitri Shostakovich (1906–1975)

Piano Concerto No. 1, for piano and trumpet (1933) When, in his recent biographical novel about Shostakovich, Julian Barnes has Shostakovich declare, “To be Russian is to be pessimistic,” Barnes is allowing him to tell only part of the story. It is true that Shostakovich’s life and relationship with the Soviet government were often deeply troubled, and there are many of his works that seem to reflect his pessimism about the possibility of artistic survival in the Soviet Union. Shostakovich’s ability to express through the sheer visceral power of his music some of the most primitive emotions—anger, fear, hate—that alone would seem to be evidence enough of pessimism. Happily, this concerto for piano and trumpet reveals several other sides of this Russian artist, his love of playfulness, experiment, ambiguity, and parody, as well as of the irony that unlocks deeper meanings beneath the music. This Piano Concerto No. 1 was composed in 1933, three years before the Pravda review that signalled Shostakovich’s serious falling-out with the Soviet government and, worse, with Stalin himself. Here we

see the composer with his instinctive sense of free play. His addition of the solo trumpet emerges not so much as an attempt to replicate a baroque concerto grosso such as Bach’s Brandenburg Concerto No. 2, as it is a parody of the well-established instrumental concerto of the tradition of Brahms or Rachmaninov. The chief troublemaker in all this turns out to be the trumpet, the irrelevance of whose light-hearted (even “popular”) contributions frequently seems to undercut the more serious nature of the piano part. Even the piano itself appears to contribute to the ambiguity of the piece by introducing a collage of both direct and indirect satirical allusions to well-respected composers. Perhaps montage is a more accurate term—to earn money while a student Shostakovich accompanied silent films on the piano at the local cinema. Is the swiftly moving sequence of screen images the source of the helterskelter mix of styles and references we find, for instance. in the opening Allegro Moderato. And we wonder, are they respectful acknowledgements or irreverent mimicry? To be taken seriously or laughed at?

PROGRAMME NOTES

About our emotional response to the second movement, Lento, there is no question. This heart-wrenching, sometimes even anguished music, reveals an altogether different side of Shostakovich’s feelings and experience. The movement develops in three parts: a melancholy waltz theme in the strings that is taken over by the piano builds to an emotional climax; the muted trumpet develops a variation of the theme, and then the piano and strings quietly bring the movement to a close. (Where is the Russian pessimist now?) In the Moderato third movement we encounter Shostakovich playing ironically with structure. It’s the third movement of a formal concerto—you are expecting the extravagant finale perhaps? Here is the opening solo piano declamation—that might lead somewhere. No? Then here is the serious-sounding melody in the strings—lots of potential there. No? Put piano and strings together? Still no! So, a minute and a half later we move on to movement 4, Allegro con brio. Here is

Shostakovich in parody heaven, with a kaleidoscope of styles from music-hall and jazz to allusions to Haydn (for the theme of the movement’s rondo), as well as several to himself (he likes to play fair). Then there’s the English folk song Poor Jenny, given to the trumpet, but in the manner of a popular tune (he didn’t really disrespect the work of reclaiming national folk music traditions). Rondo structures can go on indefinitely, but as listeners we are along for the ride, although never entirely sure when this crazy but ecstatic journey will end. No wonder Shostakovich obliged a friend’s request to add one more cadence, this time Beethoven’s rondo “Rage Over a Lost Penny.” Whereupon the already highly energized movement gallops furiously to its conclusion with a fanfare.

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Coming in October…

Windscapes F E AT U R I N G

DINA GILBERT MUSIC DIRECTOR

Sagebrush Theatre

OCTOBER 23

SATURDAY • 7:30PM

OCTOBER 24 SUNDAY • 2PM

Online Viewing available from

OCTOBER 23– NOVEMBER 21