Songs & Dances concert programme by Kamloops Symphony

A vibrant concert experience of folk tunes & moving melodies

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FROM THE EXECUTIVE DIRECTOR

Songs & Dances Happy New Year, and welcome to our first concert experience of 2021.

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While we of course continue to face major disruption to our operations, looking back to 2020, we cannot help but to also feel grateful for the period of learning and growth we have experienced as we have adapted to new formats of programming. In September, we were proud to be the first professional orchestra in the province to release a virtual ticketed event this Season, and productions since have been applauded by the music community. Winning Not-forProfit of the Year at the 2020 Kamloops Chamber Business Excellence Awards was also a welcome surprise. But of course, we must also look ahead, as there is still so much to learn and do. With news of vaccines that will keep our communities safe, the return to full in-person orchestra concerts seems closer than ever. Unfortunately, we still have some time before that is our reality, particularly as news of lockdowns spread across the country. However, even within our current circumstances and alternative formats, we are fully expecting to complete a regular season’s length of programming. This is truly a testament to the community support we have received, so thank you for sticking with us. And if you have not already contributed to one of our ongoing campaigns, we hope that you will consider, and help us get to the end of the year. Thank you so much for your continued support of classical music and we look forward to sharing further innovative projects with you in 2021.

With gratitude,

Daniel Mills

Executive Director

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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.

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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 film The Artist with the Orchestre symphonique de Montréal.

FIRST VIOLIN

VIOLA

Cvetozar Vutev | Concertmaster* Rachel Kristenson | Assistant Concertmaster++ Hannah Chung Susan Cosco Susan Cottrell

Ashley Kroecher* Jennifer Ho Erin MacDonald

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.

SECOND VIOLIN

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

Annette Dominik++ Jiten Beairsto Sandra Wilmot Narumi Higuchi * Principal

+ Acting Principal

CELLO

Martin Kratky* Laure Matiakh BASS

Michael Vaughan+

++ Substitute Principal

PROGRAM

Program

Songs & Dances Greetings! Welcome to the first Kamloops Symphony Concert of 2021. As we take our first steps into the New Year, Music Director Dina Gilbert and the orchestra have an inviting programme called Songs and Dances—contemplative works and songs that may invite us to reflect upon the year just ended, and dances that will surely unlock our enthusiasm and energy as we confront the year ahead.

Conductor: Dina Gilbert Soloists: Heather Beaty | flute Marea Chernoff | oboe Marjan Mozetich

Postcards from the Sky

I. Unfolding Sky II. Weeping Clouds III. A Message

John Burge

Forgotten Dreams

Bill Douglas

I. Bebop Jig II. Folk Song III. Afro-Cuban Baroque IV. Lament V. Celtic Waltz

Leó Weiner

Divertimento No. 1

Béla Bartók

Romanian Folk Dances

arr. Arthur Willner

Program made possible by:

Songs & Dances

Marjan Mozetich (1948)

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 Luciano Berio (1925-2003), the experimental Italian composer. From 1991 to 2010 he was on the staff at the School of Music of Queens University in Kingston. Now he is a freelance composer who has received numerous commissions, many from Canadian orchestras and musical groups, and 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 Mozsetich is one Canada’s most frequently performed composers. There are three Postcards from the Sky. The first is “Unfolding Sky,” in which a heartfelt but wistful melody in the strings emerges with increasing strength of feeling contrasted with a busy and repetitive string motif that starts, persists, and brings the piece to a quiet end. As with the coming year, the music sets something in motion that gradually “unfolds” its promise. But then come “Weeping Clouds.” Here the melody, moving between melancholy, and tentative passion, is permeated by the strings’ steady rain of pizzicato drops that cannot, it seems, altogether dissolve the melody’s prevailing sadness. At last comes “A Messenger.” Once again, the piece is set in motion by a steady repetitive string figure above which an intense melodic “message” is proclaimed—although brief, it seems full of the hope and resolve that all our new years require.

PROGRAM Proud to support

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Forgotten Dreams (1995)

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Canadian composer John Burge was born in Dryden Ontario in 1961 and grew up in Calgary where he began his piano studies. He holds degrees in Composition and Theory from the Universities of Toronto and British Columbia and, since 1987, has taught at Queen’s University in Kingston, where he is a full professor. For his outstanding work as a composer over the years, he was awarded in 2013 a Queen’s University Award for Excellence in Research and Scholarship. He has composed a large body of instrumental and vocal music in all genres, including concertos for piano, clarinet, and for trumpet, and two symphonies. Canadian landscape and culture are ongoing sources of inspiration to him. His Flanders Fields Reflections for string orchestra received the 2009 Juno Award for the Best Canadian Classical Composition. Burge remains a passionate advocate for Canadian music and the arts and was an executive member of the Canadian League of Composers from 1993-2007 (President from 1998-2006) and has been on the board of the SOCAN Foundation since 2009.

Forgotten Dreams is the title work of a recording of the same name by the Ottawa ensemble Thirteen Strings and was commissioned by them. The work is for solo flute and for a string orchestra of twelve divided into two sextets that accompany the flute soloist with great aural effect. The piece presents a wonderful opportunity for us to experience the impressive skills of the KSO’s principal flautist, Heather Beaty. The work opens with a slightly discordant, mysterious melody from the violin sextet playing in the high register. Then the flute enters above a steady string accompaniment and begins to weave fluid, exploratory phrases in a way that, by contrast, feels liberated, uninhibited, reaching outwards, faster in places and seemingly more urgent. Then gradually more restrained, then slow, but at the end stilled with a feeling of quiet contentment. Are these the unfulfilled “dreams” from last year— “forgotten” but now beguilingly revived for the coming year?

PROGRAM

Bill Douglas (1944)

Songs and Dances (2003) Bill Douglas is a Canadian composer, teacher, bassoonist and pianist born in London, Ontario. He studied at the University of Toronto, then at Yale, and from an early age was as interested in jazz as in classical music. His early classical compositions reflected influences of 20th Century avant-garde composers such as Webern. But he was also attracted to African, Indian and Brazilian music, influences which show in pieces such as his Concerto for African Percussion Ensemble and Orchestra. He has toured and recorded for many years as a jazz performer, often with clarinettist Richard Stolzman, and has taught for many years in California and now in Colorado. He continues to compose, chiefly on commission from classical performers. Are you ready to dance? Here is your opportunity—and the opportunity to relish the skilful playing of the KSO’s principal oboist, Marea Chernoff. Songs and Dances is really a concerto for oboe and strings which Bill Douglas wrote on commission. Douglas explains: “when [Peter Cooper, the oboist] told me that the oboe was especially good for ‘singing and dancing’ I immediately decided to write a suite of dances interspersed with song-like movements.”

There are five items in the suite, and because Douglas has eclectic musical interests the influences on the pieces are quite wide-ranging. The first movement, “Bebop Jig” Douglas explains, uses rhythms from both Irish and African music but harmonically and melodically its roots are in the bebop jazz idiom that emerged in the mid-1940’s, with the oboe in a kind of subdued conversation with the strings. The second movement, “Folk Song,” is a simple song inspired by British Isles folk music. The strings open in an almost hymn-like mode then joined by the oboe, meditative and quietly steady throughout. About the third piece, “Afro-Cuban Baroque,” Douglas explains, “it uses rhythms influenced by Afro-Cuban music, but the harmony and some of the melodic style come from the Baroque era.” The fourth piece, “Lament,” draws its melancholy quality in part from its musical scale, one which is commonly used in Arabic and Spanish music, and from a melody that the oboe shares with the strings. The concerto’s final movement is a Celticinspired waltz that also has a touch of African influence. It is unconventional as a waltz, but as listeners we are energized and led by the oboe’s irresistible fluency toward the decisive end.

Leó Weiner (1885–1960)

Divertimento No. 1 (1923) To many music lovers, the names of Hungarian composers, Bartók, Kodláy and Dohnányi are familiar. Hungarian Leó Weiner is of their same generation but much less well known. Early in his career he became a teacher at the Budapest Academy from which he had graduated in composition with a number of prizes, and although he composed throughout his life it was as a teacher, especially of chamber music that he is chiefly remembered. Among his pupils were figures such Antal Dorati, Eugene Ormandy, Fritz Reiner and Georg Solti, orchestra conductors whose careers shaped the reception of classical music in North America throughout the 20th Century. As a composer he was more influenced by the German and French masters in the era after Beethoven, yet he, like Bartók and Kodály, admired and drew inspiration from the rich heritage of folk music of his country and of the Balkan region. Some of his compositions, such as the Divertimento No.1 in this concert pay homage to that tradition.

The Divertimento No.1 (one of five Weiner wrote) is titled “Old Hungarian Dances.” Their sources are preserved only in old manuscripts, and Weiner has orchestrated them for strings with imagination and taste. The work (dedicated to conductor Fritz Reiner) consists of five dances. Their types may be familiar to you, as will the energy they impart and the inclination to get up and dance. The first is a Csárdás, a staple Hungarian folk dance. This is followed by Rókatánc or Fox Dance, a piece of absolutely irrepressible vivacity that, not surprisingly, achieved considerable popularity. Then comes Ronde of Marosszék, an amusing but delightful “hesitation” dance. Next, another staple of the Hungarian folk dance repertoire, a stately Verbunkos, traditionally performed by soldiers in villages or town squares as an encouragement to young men to join the army. Interesting marketing strategy. The final dance, marked presto, is Csürdöngölö which translated means “barn stamper” and is in the form of a rondo. Once you’ve heard it you will understand.

Béla Bartók (1881–1945)

Romanian Folk Dances (1915) Béla Bartók, along with Franz Liszt, is considered Hungary’s most pre-eminent composer of classical music. Like Liszt, Bartók was not only a groundbreaking composer but also an accomplished pianist who for a time earned his living as a concert player. His stature as a composer is tied in part to his detailed study of the folk music traditions of Hungary and countries of the Balkan region. From his work on the ancient musical language of the people he evolved a whole new perception of scale, harmony and rhythm which influenced the growth of his own distinctive musical style, and through him that of other 20th Century composers. Like Leó Weiner, he taught at the Budapest Academy and composed works that began to consolidate his own reputation and establish a sense of a Hungarian national musical culture. The turmoil in Europe in the 1930’s and the outbreak of World War 2 led him to move to America. He taught there for a while at Columbia and Harvard but composed little. His last major work was his exhilarating Concerto for Orchestra of 1943. Increasingly his health declined and after a year in hospital he died in 1945. Our concert’s final greeting of the new year is Romanian Folk Dances. These were originally written for solo piano

and were titled Transylvanian Dances. In 1920 after the end of World War 1 when Transylvania became part of Romania Bartók changed the title. As a musicologist he was a careful researcher who made precise note of the communities from which particular melodies came as a part of acknowledging their distinctiveness. Bartók himself did a version of the dances for small ensemble in 1917. This performance’s arrangement, however, is the well-known one for strings by Arthur Willner, which provides an occasion to highlight the skilfull violin playing of KSO Concertmaster, Cvetozar Vutev. In a lecture he gave in the 1930’s, Bartók explained that harmonizing folk melody for the concert hall “was nothing but placing a frame around the essential element, the peasant melody, which takes its place there like a jewel in its setting.” (He was thinking, no doubt, of popular, more showy works by Brahms and Liszt.) However, each of these six brief dances is like a miniature that showcases the distinctiveness of the original folk melody surrounded by just a tissue of harmony. The dances are Stick Dance, Sash Dance, One Spot Dance, Bucsum Dance, Polka, Maruntel (a fast dance in two parts that run together.) All in all, quite a way to launch us into a new year!

Guest Artist

PROGRAM

Heather Beaty FLUTE

Heather is a multi-faceted performing artist who resides in Vancouver, BC on the land of the Coast Salish peoples— Sḵwx̱wú7mesh (Squamish), Stó:lō and Səl̓ílwətaʔ/Selilwitulh (Tsleil-Waututh) and xʷməθkʷəy̓əm (Musqueam) Nations. She received her music performance degrees from the University of British Columbia (BMus ’10, MMus ’12), as well as an honours Advanced Certificate in Arts and Entertainment Management from Capilano University in ’17. She was awarded the Johann Strauss Foundation Lotte and John Hecht Memorial Scholarship upon graduation which supported her musical studies in Austria and the Czech Republic. The tour included performances of Mozart’s Magic Flute with the North Czech Philharmonic Orchestra in Prague’s Estates Theatre where Mozart’s opera Don Giovanni was premiered. Heather is currently the principal flute of the Kamloops Symphony Orchestra, and simultaneously acts as the KSO’s Orchestra Steward and chair of the Kamloops Symphony Players’ Association. Her freelance work includes performances with the Victoria Symphony Orchestra, Prince George Symphony Orchestra, Okanagan Symphony Orchestra, Vancouver Island Symphony Orchestra, Vancouver Symphony Orchestra, Plastic Acid Orchestra, and Aventa Ensemble. She is proud to be an alumna of the National Youth Orchestra of Canada as well. Heather is a devoted music teacher at the

Vancouver Academy of Music where she is Suzuki Flute Department Head and an RCM music theory and harmony teacher. In addition to an interest in music education and performance, Heather is passionate about welcoming the timeless traditions of classical music into new spaces for 21st Century audiences. In November 2018 Heather presented “Sounding the Sophia,” a performance inspired by the 1918 loss of the SS Princess Sophia steamship off the coast of Alaska. The concert was presented by Little Chamber Music in Vancouver’s Mountain View Cemetery where over 100 of the shipwreck victims were laid to rest. In 2019 Heather founded the Vancouver concert series Concerts on Tap with her artistic partner Molly MacKinnon; a performance concept which pairs a one-hour program of classical music with a flight of craft beer or craft cocktails in some of Vancouver’s best breweries and distilleries. The duo additionally founded a non-profit organization called Seagrass Music Society during the COVID-19 pandemic as a means to continue delivering creativity in concert curation for Vancouver audiences during challenging times. Heather looks forward to a future of more concerts that explore unique and compelling stories with meaningful and beautiful music. She believes that classical music has relevancy in the past, present, and future by means of curious and creative concert conceptualization, as well as expressive performance.

OBOE An active freelance musician based out of Vancouver, Marea is principal oboe with the Kamloops Symphony Orchestra and Lions Gate Sinfonia while also frequently playing with various groups in British Columbia. Marea has played with the Vancouver Symphony Orchestra, Vancouver Opera Orchestra, Broadway Across Canada, Ballet B.C., and the CBC Vancouver Radio Orchestra. She has been heard in chamber and orchestral concerts on CBC Radio. Marea is involved in early music and historical performance, playing Baroque and Classical oboes and recorder, regularly performing with the Victoria Baroque Players. She has performed with Early Music Vancouver, Early Music Alberta and several other groups. Marea is an avid chamber musician, involved in several chamber groups: Vancouver based Ad Mare Wind Quintet, Cascadia Reed Quintet and Ad Mare Reed Trio. She regularly performs in recitals and school shows in the lower mainland and around the province. As a dedicated educator, Marea is on the oboe and recorder faculty at several schools, including Douglas College and the Vancouver Symphony Orchestra School of Music where she is also the director of the Recorder Program. She is frequently called upon as a clinician and coach. Born and raised in Vancouver, Marea holds a Bachelor of Music degree from the University of British Columbia, an Artist Diploma from the Vancouver Academy of Music, and completed her formal education with a Master of Music degree in Performance from Boston University.

Guest Artist

Marea Chernoff

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$500+

DONORS Anonymous (3) Sue Adams Miki Andrejevic & Nena Jocic-Andrejevic Patricia K. Andrews Minori Arai Mary Aulin Darryl & Jeryl Auten Llowyn Ball Marg & Terry Bangen Jennifer Barrett Evelyn Baziuk Bill & Pierrette Beaton Pat & Tom Becker Nicole Befurt Lyse Biech Walter & Odell Black Richard & Fearon Balir Gordon & Joan Britton Janet & Bruce Brunsgaard Angela Burghard Rosalind Burnell Dr Jennifer Burton & John McKay Jo Butland Larry & Holly Campbell Patricia & John Capon Leah Card Jean Chacko Michelle Chitsaz Ken & Brenda Christian Margaret Chrumka Giovanni Cinel Franca Cinel Peter Clark Evelyn Claudepierre Pauline Claydon Shirley Clayton Norm & Lynn Cleveland Naomi & Ross Cloutier Maureen Coldicott Joslyn Conley Alexander Crane Janice Faye Crape Fred Cunningham Donna Daines Sandi Dalgleish Lloyd & Paula Darwent Roxanne Dauncey Wilma de Jong Susan Deering Donna DeMarni Anne Denbigh Ross & Judy Dickson Brenda Dley Mary Dobrovolny Mona Doney Peter Duda Beth Dye & Gerry Bond Sandy Eastwood Bianka Ede Jean Ethridge Ruth & Michael Fane Christine Fichter Alan Forseth Gillian Gaiser Sandy Gallup Cara Gates Anne Geernaert Michele Gieselman Yanni Giftakis David Gilmour James & Joy Gothard Linda Graham Wilma & Robert Graham Peter & Judy Gray

Ed Gundt Dyan Gunnlaugson James Harrison Bob & Kathleen Haywood-Farmer Peggy Heath Joyce Henderson Dian Henderson Kathleen Heron Lois Hill Michelle Hiscock Marylyne House Tivola Howe K. Humphreys Paul Imada Trent & Melissa Jakubec Cora Jones Linda Jontz Richard Klassen Helen Knight Jo Lange Darcy Latremouille Lani Laviolette Suzanne Legault Debbie and Lance Lehar Raymond LePage Margaret Lichtenegger Ryan Liebe Reg & Barbara Lucas Cindy Malinowski Jesse Malloy Marilyn Manderson Sylvia Rose Markowsky Shirley A. Martin Norm & Beverley Martin Ian Matthews & Shannon Ainslie Bev Maxwell Betty Anne McCallum Janet McChesney Maureen McCurdy Robert McDiarmid Janet McGregor Alison McKinnon Bonnie Michel K.A Michell Nonie Miles Gary & Sharon Mirtle Cheryl Monkman Kathy Moore Rudy Morelli Vic & Sally Mowbray Lynne Moyer Kathleen Nadler W. Russell Nakonesby Kimberley Naqvi Doug Neigel Linda Nickel Lisa Nielsen Joanne & Rol Nisbet Catherine Oakden Jean Obana Kyle & Shelley M. Okano Nadia Olafson Elizabeth Oneil Marian Owens Wilma Pagan Janet Paran Sheila Park Margaret Patten Deborah Pearen Jan Pedersson Jos Penner Robert & Carol Petrie Joan Phillips Edith Pletzer Tracey Pointer

Frith Powell Sheila Powell Thomqui Quigley Carmen Ranta Arne Raven Anna Redekop Judy Reid Shelley Reid Nicole & Steven Remesz Kelly Richard Charles & Agnes Rigby Carol Robb Jodi Lynne Roberts Pam & Tyler Robertson Barbara Robinson Terry & Susanne Rogers Chris & Gine Rose Chris Roskell Opal Roskell Brad Routledge Diane Russell Susan Safford Audrey Saigeon Irene Sansom Richard & Lisa Savage Gerry Schellenberg Elaine Sedgman Tricia Sellmer Donna Sharpe Linda Shwaylyk Jennifer Simcoe Terry Simpson Manju Singh Arjun Singh Carman Smith Jeff Sodowsky Patricia Spencer Donald & Sandra Staff Barbara Steinke Barbara Jean Steinke Janis Stertz Maureen & Sheila Stewart Susan Stokes Marijke & Al Stott Peggy Swanson Ed Takahashi Dawne Taylor Nadine Terziani Florence Thomson Bob & Jennifer Trudeau Linda Tully Dennis F. Tupman Susan Tyrrell Robert Ulevog Barbara Ulevog Shelley Utz Hendrik Van Capelle Steve & Nancy L. Van Wagoner Evelyn Vipond-Schmidt Allan Voykin Tom & Anise Wallace/Barton Donna Walsh Robert Walter Simon Walter Wendy Watters John Weins James & Barbara Wentworth Bonita Wiens Lois & David Williams Sheryl Willis Perry Wingenbach Harley Wright

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 your support

kamloopssymphony.com