Hypnotic Journey Concert Program

Join us for our next concert…

HYPNOTIC JOURNEY Sagebrush Theatre

Friday January 12, 2024 • 7:30pm Kelson Group Pops Series

Saturday January 13, 2024 • 7:30pm

Fairfield by Marriott Kamloops Signature Series

KamloopsSymphony.com 250.372.5000

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

Kamloops.ca

Allen Douglas (from KSO files)

Proud Sponsor

Dear Friends of the KSO, I extend the warmest of welcomes to our first concert of 2024!

As we embark on this new year of musical exploration, let's take a moment to reflect on the harmonies and memories that resonated with us in 2023. Your unwavering support and enthusiastic presence have been the heartbeat of our musical endeavors, and it is with deep gratitude that we continue this journey together.

Looking ahead, our excitement builds as we anticipate our upcoming performances this year including those by two exceptional artists, Lara St. John and Jeremy Dutcher. Yet, this evening is dedicated to the extraordinary works of our guest artist, Julie Thériault.

Her artistry, expressed here through music, will invite you to embark on a profound and unforgettable musical journey. Prepare to be enveloped in an evening of minimalism, as we delve into the sublime beauty of simplicity: a shared meditation on the power of music.

Our talented musicians, guided by our music director Dina Gilbert, will lead you into the realm of minimalistic compositions. As the brilliance of Philip Glass and Arvo Pärt is woven seamlessly into Thériault’s own compositions, each note resonates with the soulstirring reflection that only minimalism can evoke.

Your presence in the audience is what transforms a concert into a shared celebration of the beautiful connections music creates.

Thank you for being an integral part of our musical family, and we can't wait to share this welcoming and harmonious space with you.

Here's to an evening of the exquisite works of Julie Thériault and year filled with warm camaraderie and captivating live music.

With heartfelt gratitude,

Christopher Young Executive Director KSO & KSO Music School

GOVERNMENT GRANTS

FOUNDATIONS BC Interior Community Foundation Kamloops Symphony Foundation Shuswap Community Foundation SOCAN Foundation

The Kamloops Symphony wishes to acknowledge that this concert is taking place on Tk’emlúps te Secwépemc territory within the traditional lands of the Secwépemc Nation.

®

®

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—— Proud to be the Kamloops Symphony Signature Series Sponsor ——

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

Kamloops Symphony Society BOARD OF DIRECTORS

John McDonald, ICD.D • President Steve Powrie • Vice President Tyler Klymchuk • Treasurer Kait Methot • Secretary Lisa Fuller Christy Gauley Lucille Gnanasihamany Gabriele Klein Daleen Millard Sydney Takahashi Simon Walter

ADMINISTRATION Executive Director

Christopher Young

Office Administrator

Sue Adams

Operations Coordinator

Sam Bregoliss

Marketing Coordinator

Ryan Noakes

Production Assistant

Adrien Fillion

HONOURARY LIFE MEMBERS Bonnie Jetsen Art Hooper

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

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

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

Her innate curiosity towards nonclassical musical genres and her willingness to democratize classical music has brought her to conduct the Orchestre Philharmonique de Radio France and the Orchestre national de Lyon in several Hip Hop Symphonic

programs featuring renowned Hip hop artists I AM, MC Solaar, Youssoupha and Bigflo & Oli. Dina is also renowned for her expertise in conducting multidisciplinary projects such as film concert performances (The Red Violin, The Artist, E.T. the Extraterrestrial).

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

In April 2016, she received great acclaim for stepping in to replace Maestro Alain Altinoglu with the OSM in a program showcasing Gustav Holst’s The Planets.

Featured in the recent documentary “Femmes symphoniques”, Dina Gilbert earned her doctorate from the Université de Montréal and polished her skills in masterclasses with Kenneth Kiesler, Pinchas Zukerman, Neeme Järvi and the musicians from the Kritische Orchester in Berlin. Awarded the Opus Prize of “Découverte de l’année” in 2017, Dina Gilbert was also named as one of the “50 personnalités créant l’extraordinaire au Québec” in 2018 by the Urbania Magazine.

Dina Gilbert

Meet the Orchestra Music Director Dina Gilbert Music Director Emeritus Bruce Dunn FIRST VIOLIN

VIOLA

concertmaster* Geoff & Judith Benson Chair

June McClure Chair

Cvetozar Vutev Elyse Jacobson

assistant concertmaster Rod Michell Chair

*

Carol Hur SECOND VIOLIN

Boris Ulanowicz* Gabriele Klein Chair

Annette Dominik Narumi Higuchi Sandra Wilmot

Ashley Kroecher* Caroline Olsen Calvin Young CELLO

Martin Krátký*

Anonymous Chair

Yu Yu Liu BASS

Yefeng Yin++ OBOE

Marea Chernoff*

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

Orchestra Personnel Manager Olivia Martin Librarian Sally Arai

PERFORMANCE SPONSORS

SEASON SPONSORS

SERIES SPONSORS

Sponsors

HYPNOTIC JOURNEY P R O G R A M

Dina Gilbert; conductor

Julie Thériault; pianist & composer

Phillip Glass.......................................Quartet No. 2 “Company” I. q = 96 II. q = 160

Julie Thériault.....................................Pied de vent Thériault.............................................Aura Thériault.............................................Transmutation Thériault.............................................Magma Max Richter........................................Nature of Daylight Thériault.............................................Istheme de l’etre Thériault.............................................Fleur de Peau Thériault.............................................Mirage Thériault.............................................Lune Thériault.............................................Pulsar Arvo Pärt.............................................Spiegel im Spiegel Thériault.............................................Incandescence Thériault.............................................On My Own Thériault.............................................Red Snow Thériault.............................................Apnée du Soliel Thériault.............................................Libre Orbite With great appreciation to Foundation Beaulieu-Saucier for directly supporting Julie Thériault, artist Tonight’s performance will be presented without an intermission

Our next sale will be taking place in St. Andrew’s on the Square 159 Seymour Street

April 6–20, 2024

Donations will be gratefully accepted April 1–3 from 9 am to noon.

As you may know, we have a new home at St. Andrews on the Square for our twice-yearly sale. It was a sudden move to this space, and we are extremely grateful to be in such a beautiful location for both the sales and the storage of the books.

However, this does mean we are extremely limited on space. We will be putting plans in place over the next few months to ensure you still get the great selection with easy access so please watch for this!

One thing that we have been trying to eliminate through education is taking in books that cannot be sold and we

must discard, which has a huge cost and impact on our environment. We are extremely excited that the City has now introduced book recycling in two locations: Tournament Capital Centre and the North Kamloops Library. These un-sellable items can be dropped in their carts at either of those locations. We will not be accepting encyclopedias, textbooks, spiral-bound books, manuals, or outdated publications. Please ensure that you do not include them in your drop off and use the City’s book recycling bins instead. Magazines can go into your recycling bin.

KamloopsSymphony.com/barbs-book-sale

GUEST ARTIST

Julie Thériault Pianist & Composer

A classically trained pianist, Julie Thériault works in the fields of musical composition and interpretation, pictorial creation and piano teaching.

A graduate in performance from the University of Montreal, in 1996 she founded the Music School of Collège Jean-de-Brébeuf, which she directed until 2001. Over the years that followed, she participated in various training courses, notably to improvisation workshops in Philadelphia with the Music for People organization. She also gives private piano lessons and works as an accompanist pianist.

At the same time, she decided to explore painting and quickly found a new means of expression to unleash her creativity. For her, painting and music are two complementary “vibrational worlds” that enrich each other. Julie Thériault's pictorial and musical works were presented simultaneously for the first time at the Le Méridien Versailles hotel in 2008.

Her paintings are today exhibited in a gallery in Moulins, France, and at the Angers gallery, in Le Vieux -Montreal.

In 2010, Julie Thériault decided to return to school and obtained a master's degree in composition— film music and multimedia from the

University of Montreal, under the direction of Ana Sokolovic. During her studies, she received the Jean-MarieBenoit prize (best film music) and the composition prize for orchestra.

She subsequently wrote the music for several documentaries and produced arrangements for various artists.

He can be heard on the piano on the soundtrack of the film The Lady in Number 6: Music Saved My Life, winner of the Academy Award for Best Documentary Short Film in 2014.

Julie Thériault also composed an original piece entitled Cendres for the European trio Benzaiten, which brings together a pianist and two mandolinists. The composition will appear on the band's next album dedicated to Schubert.

In 2015 she released her first album on the Audiogram label, Ablaze, as part of the duo Julie and the Wolf.

This paved the way for Subduction, an instrumental album released in November 2017 bringing together 11 captivating and gripping pieces.

Her third album, titled Projections, brings together 31 instrumentalists, presenting a finesse and fragility, with expressiveness and interiority versus extreme virtuosity.

ᑕᑯᒃᓴᐅᔪᒻᒪᕆᒃ

DOUBLE VISION

Jessie Oonark, Janet Kigusiuq, and Victoria Mamnguqsualuk

January 20 to April 6, 2024 Curated by Candice Hopkins in partnership with the Toronto Biennial of Art, with project advisor Krista Ulujuk Zawadski.

This exhibition is organized and circulated by the Textile Museum of Canada with the support of the Museums Assistance Program of the Department of Canadian Heritage.

Jessie Oonark, Untitled (Beautiful Woman), c. 1972–1973, wool felt appliqué and cotton embroidery thread on wool duffel, 125.5 x 84 cm, Government of Nunavut Fine Art Collection, On long-term loan to the Winnipeg Art Gallery, 2.76.2, Public Trustee for Nunavut, Estate of Jessie Oonark

Jan 25 to Feb 03, 2024 SAGEBRUSH THEATRE PRESENTING PARTNER

TICKETS FROM $22 AT WCTLIVE.CA | 250.374.5483

Registration

November 10 – December 10, 2023

The Festival

February 25 to March 17, 2024 The COMMITMENT to Practise The OPPORTUNITY to Participate The PASSION to Perform

Week 1- Speech, Piano, Harp Week 2 – Choral, Voice, Instrumental Week 3 – Dance, Strings, Guitar

Honours Concert

Sunday, March 17, 2023 For general information, registration, and Festival program visit www.kfpa.ca Follow us on Instagram and Facebook

Thank you

to our amazing audience for a wonderful 2023!

Wishing you all the best as we begin 2024!

Proud to support

Music & the Arts

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Peter Milobar, MLA

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Kamloops | North Thompson

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Todd.Stone.MLA@leg.bc.ca

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PeterMilobarKNT @petermilobar

admin@kamloopssymphony.com

PROGRAM NOTES

JULIE THÉRIAULT Creating with Color and Sound Multitalented performer, composer and painter, Julie Thériault, did not start out that way. Her path to artistic success and self-fulfillment was both long and varied. Trained as a classical pianist by acclaimed teacher Marc Durand, Julie at first had to choose between a career in engineering or in music. The appeal of the mathematical elements she found in music and the visual arts directed her towards music. Yet she felt stuck in the classical track and, as she herself explains, "I was desperately searching for a way to liberate myself from the rational aspects of academic music and creativity." She realised she had to make a drastic move in order to unlock her musical creativity and find her own raw expression.

So she took some painting classes, and was surprised at what emerged from her work. Chiefly abstract, they were somewhat simple, contemplative, yet, very deep with layers and layers of translucent colors, quite the opposite of the music she used to love playing as a pianist which was mostly intense Russian music.

The experience, however, allowed her to interchange aural and visual imagery to describe her work: to relate colours to music and vibrations to colour. At an exhibition at Le Meridien Versailles in Montreal in 2008 Julie's paintings and her music were presented simultaneously for the first time—a creative pathway was slowly revealing itself—a way was opened for future musical growth. Then, twenty three years after her degree in performance (and now in her forties), she returned to school and completed a degree in composition under internationally known, Juno award winning Ana Sokolovic, and won top prizes for both Music for Film and for Composition for Orchestra.

A Career Begins You might call Julie a late bloomer Canadian song writer CBC's Jim as a composer. She is, however a Corcoran as a masterpiece. Influential very prolific bloomer, releasing an producer Michel Bélanger then signed astounding 4 original albums in her as a solo artist. She released her 9 years. first solo album, Subduction (2018), Her first album, Ablaze (2015) was for piano, string orchestra and male voice choir and then, a year later, the result of the unlikely fusion of her Projections (2019) for piano, string classical heritage with a heavy metal singer, a duo called Julie and the Wolf. orchestra and solo violin. Both albums This led her to sign with Quebec’s were nominated for best instrumental album at l’ADISQ. She considers that biggest record company, Audiogram, and the album was proclaimed by these two albums really mark the

PROGRAM NOTES

beginning of her personal musical language—even the album covers are two of her paintings.

Working on the last album of Quebec’s monumental poet Gilles Vigneault (aged 93), doing all the arrangements and artistic direction, she returned to a collaboration arrangement for her own fourth album. Confident in her own musical voice, and wanting to move on out of her comfort zone, she worked with Pierre-Luc Cérat, electronic wiz from the Canadian group BRAN VAN 3000, creators of world hit, “Drinking in LA”. They

actually met because Pierre-Luc had taken a piano piece from her first album, and put a rap beat on it.

When Julie heard about that she was intrigued! She felt that collaborating with a musician with such different musical horizons must be a very slow process—like making mayonnaise!!

And it was!!! The result, Sublimation was released in 2023. For Julie, one goal with this album was that it should be about the creative process; she wanted to start with improvised raw material, that was directly inspired from the chosen electronic sound, rather than from written notes.

Hypnotic Journey Tonight’s concert, titled Hypnotic Journey, is an illuminating retrospective of Thériault’s four albums, revisited in a special arrangement for the Kamloops Symphony. The pieces were chosen

by Dina Gilbert and Julie Thériault and woven together with compositions by American and European minimalist composers, Philip Glass, Arvo Pärt, and Max Richter, important among Julie’s musical influences in addition to her long classical training.

This hypnotic journey will be divided into two main sections… First, excerpts from Subduction (pieces that are very introverted, almost spiritual), and from Projections (with solo violin).

These are Julie’s second and third albums, and they are very personal to her because she composed them entirely on her own after her earlier collaborator, the Wolf, had separated.

As the “black sheep” of her record

company she felt a lot of pressure creating these albums. However, her producer told her to write the music she wanted to write and provided the conditions for her to do that.

So she did—with great success. In this section one of the works we will hear is “Transmutation,” a piece that has been recorded by acclaimed Canadian violinist Angèle Dubeau and her ensemble La Pieta on their prize-winning album “Elle.”

In the second part we will hear excerpts from Julie's first and from her most recent albums: collaborations with a metal singer and an electronic master. This part will start with her latest video, “Pulsar” produced by the talented Jean-Charle Labarre, and, to close, pieces from Sublimation (2023) “Apnée du soleil” and “Libre orbite” will be played with the original electronic tracks.

Bon voyage! Let the journey begin.

PROGRAM NOTES

Arvo Pärt (1935) Composer Arvo Pärt was born in Paide, Estonia, in 1935. He studied at the Conservatory in the Estonian capital, Tallinn, and while still a student began work at the State radio station, and composed music for at least 50 films. Some of his early music relied on techniques of “serialism,” the somewhat rigid compositional style popular with some Western European and other composers.

At the time Estonia was still under Soviet control and even though some of his compositions won prizes, the state authorities disapproved of his work. Pärt withdrew from composing and began to study church music: Gregorian chant, music of the Renaissance and of the Russian Orthodox Church. In 1980 he and his family emigrated to Germany.

When he returned to composing, the music he produced was notably diferent from anything he had produced before. Pärt says, “I have discovered that it is enough when a single note is beautifully played. This one note, or a moment of silence, comforts me. I work with very few elements—with one voice, with two voices. I build with primitive materials —with the triad, with one specific tonality. The three notes of a triad are like bells. And that is why I call [this style] ‘tintinnabulation’.”

Music of this kind may seem relatively undramatic, even superficially uneventful, yet nonetheless it is characterized by an intense purity

and a radiant beauty. Pärt reveals to us that the simplest musical utterances, stripped of all inessentials can still be deeply expressive. These characteristics of his music have often led to Pärt being grouped with contemporary composers of the “minimalist” school, such as Steve Reich, John Adams, and Philip Glass. However, there is a profound spiritual tranquility in Pärt’s music, not always present in the work of the “minimalists,” that sets him apart from them. It is not surprising, then, that many of his compositions since his creative rebirth have been religious works that reveal deep devotional or contemplative qualities. Nor is it surprising that Pärt should be among Thériault's acknowledged influences, and among the voices we hear on tonight's programme.

Spiegel im Spiegel, (Mirror within a Mirror) (1978), for violin and piano, is made from the most basic elements.

Over a piano accompaniment which combines broken chords with bell-like notes in varying registers, the violin intones a sustained melody in which phrases of increasing length and range always return to the note A. Tonight, in variation from the original violin/ piano scoring, the performance will distribute the violin part between solo violin, viola, cello and oboe successively. The overall effect of the music—one of childlike innocence— remains the same.

PROGRAM NOTES

Max Richter (1966) Is a German-born British composer and pianist, classically trained at the University of Edinburgh and at the Royal Academy of Music in London.

“On the Nature of Daylight” is an important track from Max Richter's ground-breaking album The Blue Notebooks (2003), now seen as a pioneering composition that has helped pave the way for generation of successful young composers. His work is a mixture of different influences and styles, which has its genesis in his thorough classical training merged with a fascination for electronics.

In one critic's judgement the result could be defined as “an album of pure meditative loveliness.”

The dominant instrumentation of “On the Nature of Daylight,” and of

The Blue Notebooks as a whole suggest that it was conceived in classical form into which Richter included electronic elements in an entirely new way. Richter admits that “I come from a high-modernist classical music training where maximum complexity, extreme dissonance, asymmetry and impenetrability were badges of honour.

If you wrote a single tonal cord even by accident people would mock you … I wrote a lot in that tradition, but came to feel that for all its technical sophistication, this language was basically inert. It reached almost nobody … I deliberately set out to be as plainspoken as possible.” Similarities to the arc of Julie Thériault's artistic growth can surely be seen here.

Philip Glass (1937) Philip Glass is one of the most successful serious American composers today. He commands a wide audience at home and internationally, across a range of admirers, those who love pop music, jazz, ballet, as well as classical music. Some of his most admired compositions are his operas such as Satyagraha, about Ghandi, and Akhnaten, based on ancient Egyptian texts. His name is the one most associated with “minimalism,” the musical style that was a reaction against “serialism” and the avantgarde music of the mid-20th Century —the same musical trends that both Pärt and Richter abandoned in favour of reduced musical structures.

The essence of much minimalist music is a series of repeating patterns, usually based on the traditional harmonic triad, that undergo changes by the addition or subtraction of different instrumental colours, sharply contrasting dynamics, changes in speed and “gear-shifts” in harmonic patterns. The effect of such techniques can often be mesmerizingly atmospheric. The two brief movements by Glass on today’s programme are from his Second quartet (1983), music orginally written to accompany a theatrical adaptation of Company, a novella by Samuel Beckett, the text of which is a melancholic and somewhat fatalistic meditation on memory, solitude and mortality.

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Join us for our next concert…

THE RED VIOLIN Sagebrush Theatre

Saturday February 10, 2024 • 7:30pm Fairfield by Marriott Kamloops Signature Series

BOX OFFICE: 250.374.5483

KamloopsSymphony.com