Program: Dances Across Borders

Dances Across Borders 11 + 12 March 2022 / 7:30PM Jack Singer Concert Hall calgaryphil.com | 403.571.0849

program Luis Ramirez Dinuk Wijeratne

Chido Clarinet Concerto

5’ 27’

Part I. Prologue: Foretelling Part II. The Dance of Ancestral Ties Part III. Flux Part IV. Exile: The salt of bread and rhythm Part V. Cadenza: Solitary Traveller Part VI. Epilogue: Home in Motion

Intermission

20’

Johannes Brahms

Hungarian Dances, WoO1: No. 1 in G Minor (Allegro molto)

3’

Antonín Dvořák

Slavonic Dances, Op. 46, B. 83: No. 1 in C Major (Presto)

4’

Johannes Brahms

Hungarian Dances, WoO1: No. 6 in D Major (Vivace)

4’

Antonín Dvořák

Slavonic Dances, Op. 46, B. 83: No. 4 in F Major (Tempo di menuetto)

6’

Johannes Brahms

Hungarian Dances, WoO1: No. 5 in G Minor (Allegro)

3’

Antonín Dvořák

Slavonic Dances, Op. 72: No. 2 in E Minor (Allegretto grazioso)

6’

Johannes Brahms (arr. Dvořák)

Hungarian Dances, WoO1: No. 19 in B Minor (Allegretto)

2’

(arr. A. Parlow)

(arr. A. Parlow)

Karl Hirzer Associate Conductor

Kinan Azmeh Clarinet

Karl Hirzer, a conductor and pianist from New Westminster, British Columbia, has been Resident/ Associate Conductor with the Calgary Philharmonic Orchestra since 2016. Active internationally, Hirzer has led performances with ensembles such as the Sczcecin Philharmonic, Symphony Nova Scotia, Regina Symphony Orchestra, Gstaad Festival Orchestra, Orchestra Senzaspine, and the Orchestra Giovanile Italiana. He works regularly with new music titans Land’s End Ensemble, most recently in collaboration with American composer John Corigliano, who said: “Mr. Hirzer brought a combination of detailed accuracy and intense musical feeling to the work [Mr. Tambourine Man], resulting in an absolutely marvelous performance.” Hirzer previously acted as Assistant Conductor for the National Academy Orchestra of Canada, and the McGill Contemporary Music Ensemble.

He was a faculty member at the 22nd Morningside Music Bridge program in Warsaw. Hirzer has performed with renowned soloists including Evelyn Glennie, Chris Botti, Agata Szymczewska, Jonathan Crow, and Owen Pallett. A trained pianist, he holds bachelor’s (University of Victoria) and master’s (McGill University) degrees in performance, as well as an Associate of the Royal Conservatory of Toronto diploma.

Hailed as a “virtuoso, intensely soulful” by the New York Times and “spellbinding” by the New Yorker, Syrian-born, Brooklyn-based genrebending composer and clarinetist Kinan Azmeh has been touring the globe with great acclaim as a soloist, composer, and improviser. He has collaborated with Yo-Yo Ma, Daniel Barenboim, John McLaughlin, Aynur, and Djivan Gasparian, among others. He leads his own bands Hewar and the Kinan Azmeh CityBand. He is an artist with the Silkroad ensemble, with whom he won a Grammy in 2016. His recent orchestral album Uneven Sky with the Deutsches Symphony Orchestra Berlin won Germany’s OpusKlassik Award in 2019. Recent commissions include works for the Seattle Symphony, New York Philharmonic, and Saint Paul Chamber Orchestra.

Azmeh is a graduate of The Juilliard School, the Damascus High Institute of Music, and Damascus University’s School of Electrical Engineering, and holds a doctorate in music from the City University of New York. He is currently working on his first opera, Songs for Days to Come, which will premiere in June 2022 at The Osnabruck Theater, Germany. kinanazmeh.com

Luis Ramirez Composer

Dinuk Wijeratne Composer

Born and raised in Aguascalientes, Mexico, Luis Ramirez is a MexicanCanadian composer with an affinity towards rhythmically colourful textures and visually evocative sonic worlds, which often incorporate elements of Mexican folklore and a cinematographic approach to musical storytelling. He is currently pursuing doctoral studies in Composition at York University in Toronto with Randolph Peters, in which he is exploring the digital landscape for music-making and humanity’s often pernicious dynamics with the internet. His work Chido premiered with the Winnipeg Symphony Orchestra during the WNMF 2018 as winner of the CMC Prairie Region Emerging Composer Competition, and in 2019 was awarded the first prize of the Sir Ernest MacMillan Awards of the SOCAN Foundation. Other prestigious awards include the OAC Music Creation Projects Grant with Amarras Tango Quintet, and the Joseph-Armand Bombardier CGS Doctoral Award. An eclectic musician, Ramirez has toured as a classical pianist, conducted the Brandon Community Orchestra, presented his academic research at conferences around the world, and is the artistic director of the Amarras Tango Quintet.

Sri Lankan-born Canadian Dinuk Wijeratne is a Juno and multi-award-winning composer, conductor, and pianist who has been described by the New York Times as “exuberantly creative” and by the Toronto Star as “an artist who reflects a positive vision of our cultural future.” His boundarycrossing work sees him equally at home in collaborations with symphony orchestras and string quartets, tabla players and DJs, and takes him to international venues as poles apart as the Berlin Philharmonie and the North Sea Jazz Festival. Wijeratne has appeared at Carnegie Hall, Lincoln Center, the Kennedy Center (Washington DC), Opera Bastille (Paris), Teatro Colón (Buenos Aires), Sri Lanka, Japan, and across the Middle East.

He has shared the stage and/or composed for Yo-Yo Ma and the Silkroad Ensemble, James Ehnes, Zakir Hussain, Sandeep Das, Kinan Azmeh, Ed Thigpen, Eric Vloeimans, the Gryphon Trio, TorQ Percussion, the Afiara, Danel, and Cecilia String Quartets; and the symphony orchestras of Toronto, Vancouver, Calgary, Halifax, Winnipeg, Fresno, Buffalo, Illinois, and KwaZulu Natal (South Africa). He holds a doctorate from the University of Toronto and was recently appointed Assistant Professor to the Faculty of Music at the University of Ottawa.

Send a text and help support children in our communities PhilKids is an afterschool music program run by the Calgary Phil in the Forest Lawn area. Musicians who teach this program see the difference it makes in these children’s lives throughout the school year as they learn and grow as young people and musicians. This is an opportunity they likely wouldn’t have if it wasn’t for PhilKids, and it’s also an important step toward making music education and access to the arts available to all children.

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about the pieces Chido Luis Ramirez b. 1992 Chido - Luis Ramirez Program Notes In Mexican slang, the word ‘chido’ [chee-doh] is used to describe when something is cool, awesome, beautiful, interesting, attractive, or exciting. This is the story of a man who had everything figured out. He was ‘chido’ in every definition of the word. He strolled the city with obvious swagger. His words were magnetic. People flocked to hear him speak because he knew everything. His confidence radiated, and no person could even imagine being as interesting and amazing as him. He had the kind of appeal that commanded the attention and admiration of everyone around him. His life was perfect and he didn’t have a worry in the world. There wasn’t a thing he would change. And then he woke up.

Program Note by Luis Ramirez ©

Clarinet Concerto Dinuk Wijeratne b. 1978 This concerto for clarinet is part autobiographical immigrant story, part response to the Syrian conflict, and part exploration of the notion of ‘home.’

Kinan Azmeh and I have been close friends and musical travellers since our student days at both the Juilliard School and International House, New York City.

Our ‘Art of the Duo’ project — a recital of original music for clarinet and piano — continues to take us to concert venues around the world. For me personally, our 2009 Middle East tour left an indelible impression. Particularly memorable were the two concerts in Kinan’s native Syria, in the cities of Damascus and Aleppo.

It seemed natural to me that this piece would become my response to what has transpired in Syria since that time. At the time of writing, the Syrian conflict has claimed nearly 400,000 lives. Since the uprising began in 2011, over five million have fled their country as refugees, the Canadian government having resettled over 40,000 Syrians. At the heart of this music is the question of how one might define — or be forced to redefine - the meaning of ‘home.’ For example, is ‘home’

defined by place or person; is it a state of mind; is it somewhere to which you feel compelled to contribute; or is it an ephemeral ‘window in time’?

The solo clarinet represents ‘the traveller,’ an individual in turns either in line or at odds with his/her environment(s). The concerto has an approximate duration of 27 minutes, comprising six episodes which are designed to run into each other without interruption: Part I: ‘Prologue: Foretelling’ is a dark musical dream-sequence. The clarinet, beginning offstage, is heard in an anguished premonition of things to come.

Part II: ‘The Dance of Ancestral Ties’ celebrates a carefree childhood, with its essence deeply rooted ‘at home’ both geographically and socially.

Part III: ‘Flux’ destabilizes the traveller’s sense of security. There is a sense of dislocation.

Part IV: ‘Exile: The salt of bread and rhythm’ is a desolate response to the essay ‘Reflections on Exile’ by Edward Said, in which he quotes the poet Mahmoud Darwish. In Said’s words: “[Exile] is the unhealable rift forced between a human being and a native place, between the self and its true home: its essential sadness can never be surmounted.”

Part V: In ‘Cadenza: Solitary Traveller,’ the clarinet is left alone to play a cadenza, or solo passage.

Part VI: In ‘Epilogue: Home in Motion,’ the traveller learns to be ‘at home’ everywhere.

Program Note by Dinuk Wijeratne © 2018

Hungarian Dances, WoO1 Johannes Brahms 1833 to 1897 In 1853, a concert tour as piano accompanist to a Hungarian violinist gave Brahms his first taste of Hungarian/Gypsy/Romani music. It inspired him to use it to colour several works, including the Hungarian Dances. He created them between 1869 and 1880, 21 pieces in all, scored for piano duet. These novel, exotic works found a ready marked in the households of Europe. Later research has shown that some of the tunes are concert works by various minor composers — they merely sounded like folk tunes! Orchestral transcriptions of all the dances have been prepared. Brahms arranged three, and his good friend Antonín Dvořák, orchestrated Nos. 17 to 21 as a gesture of respect.

Slavonic Dances, Op. 46 + 72 Antonín Dvořák 1841 to 1904 Winning a grant from the Austrian government brought Dvořák into contact with Brahms. This launched a close friendship, one result of which was a recommendation to the senior composer’s publisher, Fritz Simrock. Simrock commissioned a set of eight Slavonic Dances for piano duet, to be patterned on Brahms’ Hungarian Dances. Published in 1878, they too found immediate popularity. Unlike Brahms’ dances, they are based on original melodies. Dvořák composed a second set in 1886. He orchestrated both sets himself.

Program Notes by Don Anderson © 2022

Alex Klein Oboe

Walker, Strauss + Sibelius 25 + 26 March 2022 / 7:30PM Jack Singer Concert Hall Calgary Phil Principal Oboist Alex Klein performs Richard Strauss’s virtuosic Oboe Concerto — a work that earned him a Grammy Award.

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Janina Fialkowska Piano

Janina Fialkowska performs Chopin 29 + 30 April 2022 / 7:30PM Jack Singer Concert Hall Acclaimed pianist and ‘born Chopin interpreter’ Janina Fialkowska takes centre stage for an enchanting evening of music.

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Orchestra First Violins Diana Cohen Concertmaster

John Lowry

Associate Concertmaster

Donovan Seidle

Assistant Concertmaster

Edmund Chung Hangyul Kim Olga Kotova Bonnie Louie Genevieve Micheletti Maria van der Sloot Hojean Yoo TBD TBD

Second Violins

Celli

Horns

Arnold Choi Josue Valdepenas Kathleen de Caen Thomas Megee David Morrissey Daniel Poceta TBD TBD

Robert McCosh Jennifer Frank-Umana TBD Maxwell Stein Heather Wootton

Basses Sam Loeck Kyle Sanborn Mathew Heller Trish Bereti-Reid Patrick Staples Jonathan Yeoh

Lorna Tsai Stephanie Soltice-Johnson Erin Burkholder Jeremy Gabbert Hyewon Grillet-Kim Craig Hutchenreuther Minnie Min Kyung Kwon Theresa Lane Adriana Lebedovich Steven J. Lubiarz

Flutes

Violas

David Sussman

Laurent Grillet-Kim Marcin Swoboda Arthur Bachmann Jeremy Bauman Peter Blake Michael Bursey Alisa Klebanov Jesse Morrison

principal associate principal assistant principal

Sara Hahn-Scinocco Gwen Klassen

Piccolo Gwen Klassen

Oboes Alex Klein David Sussman

English Horn Clarinets Slavko Popovic Jocelyn Colquhoun

Bassoons Antoine St-Onge Michael Hope

Trumpets Adam Zinatelli Miranda Cairns

Trombones James Scott TBD

Bass Trombone David Reid

Tuba Tom McCaslin

Timpani Alexander Cohen

Percussion TBD

Harp Tisha Murvihill

Librarian Rob Grewcock

Assistant Librarian TBD

Personnel Manager Michael Thomson

About the Calgary Phil The Calgary Philharmonic celebrated 65 years as a pillar of Calgary’s vibrant arts community in 2020 and has grown to be one of Canada’s most celebrated live music ensembles. Led by Music Director Rune Bergmann, the Calgary Phil presents classical standards, pop favourites, bold collaborations, and cutting-edge new works, and attracts world-renowned guest artists and conductors. In a typical Season, the Orchestra welcomes over 100,000 visitors to the concert hall and reaches audiences around the world through its free and accessible digital programming and live-stream initiative — an immersive, online concert experience that launched in 2017.

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