Beethoven & Tabla Concert Programme

F E AT U R I N G

Beethoven & Tabla

Magdalena How Soprano Philip Wing Baritone KSO Chorus

F E AT U R I N G

Bradley Thachuk

Hear soaring vocal lines that will lift your spirit and imbue you with peacefulness and serenity.

Guest Conductor

Gabriel Dionne Tabla

Sagebrush Theatre

APRIL 23 SATURDAY 7:30PM

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Message from the Board President Welcome to our final concert of the 2021-22 season. We are delighted to conclude our season with our program entitled Beethoven and Tabla, featuring a concerto for the traditional Indian percussion instrument and one of the best-known compositions in classical music, Beethoven’s Fifth Symphony which is widely considered to be one of the cornerstones of western music. This will also feature the reappearance of a full 46-piece orchestra on stage, which we are genuinely excited about.

Tonight’s programme will feature the fresh and engaging music of Sri Lankan-Canadian composer Dinuk Wiijeratne. We are also very pleased to have Maestro Bradley Thachuck with us this evening as our guest conductor.

As we close this season, I want to take this opportunity on behalf of the Board of Directors to express our profound gratitude to our amazing KSO leadership, Dina, and Daniel, as well as our wonderful musicians, staff and volunteers who made this season possible while successfully navigating the challenges of a pandemic. We thank them for their extraordinary efforts during unprecedented times.

Finally, to our audiences for your continued support and engagement, we sincerely appreciate you helping us to bring you live classical music.

Please enjoy tonight’s concert and we look forward to celebrating the world of beautiful music during our upcoming 2022-23 season.

John McDonald

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

FOUNDATIONS

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 GRANTS

Board President Kamloops Symphony

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Kamloops Symphony Society BOARD OF DIRECTORS

John McDonald | President Helen Newmarch | Secretary Tyler Klymchuk | Treasurer Kathy Collier Lucille Gnanasihamany Gabriele Klein Rod Michell Steve Powrie 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.

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 participative 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 + Llowyn Ball Meredith Bates Paul Chan Carol (Eunkyung) Hur Angela Ruthven Adora Wong

SECOND VIOLIN Boris Ulanowicz* Narumi Higuchi Sharon Ipe Haley Leach Sandra Wilmot Jeremy Ferland

VIOLA

CELLO

Martin Kratky* Doug Gorkoff Jake Klinkenborg Jennifer Moersch

BASS

Maggie Hasspacher* Sheila Garrett

FLUTE

Jeff Pelletier++ Satoko Nagashima

PICCOLO

Mailynn Jenkins

OBOE

Marea Chernoff* Lauris Davis

CLARINET Sally Arai Jack Liang

CONTRABASSOON Rebecca Norman

HORN

Sam McNally* Heather Walker

TRUMPET

Mark D’Angelo* Jeremy Vint

TROMBONE

Wade Dorsey++ Cindy Hogeveen Rod Simmons

TIMPANI

Brian Nesselroad++

PERCUSSION

Martin Fisk++ Gregory Samek

HARP

Naomi Cloutier* Ashley Kroecher* BASSOON Parmela Attariwala Olivia Martin* Jennifer Ho Karmen Doucette Jinhee Park Calvin Yang °On Leave *Principal +Acting Principal ++Substitute Principal

Chair Sponsors

Geoff & Judith Benson | concertmaster Rod Michell | assistant concertmaster Gabriele Klein | principal second violin June McClure | principal viola Anonymous | principal cello Eleanor Nicoll | principal flute Joyce Henderson | principal clarinet Kelvin & Roberta Barlow | principal bassoon Hugh & Marilyn Fallis | principal trumpet

PERFORMANCE SPONSORS

SEASON SPONSORS

SERIES SPONSORS

Sponsors

PROGRAMME

PERFORMANCE SPONSOR

Guest Conductor: Bradley Thachuk Tabla: Gabriel Dionne

Camille Pépin..........................

Avant les Clartés de l’Aurore

Dinuk Wijeratne......................

Concerto for Tabla and Orchestra

I. II.

Canons, Circles Folk song: “White in the mood the long road lies” III. Garland of Gems

INTERMISSION

Ludwig van Beethoven..........

Symphony No. 5 in C minor, Op. 67

I. II. III. IV.

Allegro con brio Andante con moto Scherzo: Allegro Allegro

#LOCALMATTERS

GUEST CONDUCTOR

Bradley Thachuk Canadian conductor, Bradley Thachuk, is the Music Director of the Niagara Symphony Orchestra, currently in his 11th season as their artistic leader and conductor. He is also the conductor for the Buffalo Philharmonic Orchestra’s BPO Rocks! series.

Previously, he held the positions of Music Director of the Erie Chamber Orchestra, Associate Conductor of the Fort Wayne Philharmonic, Interim Music Director of the Prince George Symphony Orchestra, Conducting Assistant of the Cincinnati Symphony and Pops Orchestras, Staff Conductor of the Opera Theatre of Lucca, and Music Director of the Brampton Symphony Orchestra.

As an in demand guest conductor in North America and Europe, Mr. Thachuk’s recent and upcoming guest engagements include appearances in the UK, Germany, the Czech Republic, and across North America.

A versatile and diverse musician, Mr. Thachuk has established himself globally as one of the handful of conductors who moves easily between the classical and rock worlds. He is a highly sought-after symphonic

arranger, but he also has the legitimacy and skills as a symphony conductor, which allows him to see a project through from inception to performance. He is quite uniquely positioned in this capacity and has worked with artists in many genres.

His work on Steve Hackett’s worldwide Blu-Ray/DVD/CD release “Genesis Revisited Band & Orchestra: Live at Royal Festival Hall”, and appearances in Europe with this project have been met with critical acclaim. Recent and upcoming projects include Blue Rodeo, Styx, Dave Mason of Fleetwood Mac and Traffic, Carl Palmer of Emerson, Lake and Palmer, Bahamas, ABC’s Dancing with the Stars franchise, Tony-Award winning Heather Headley, Sarah Slean, Chantal Kreviazuk, The Beach Boys, and Air Supply.

A native of Toronto, Mr. Thachuk started his music studies in classical guitar at the age of 5. Having established a performing career by the age of 9, he eventually began studies of the French horn and piano before entering the University of Toronto to pursue his Bachelor’s Degree in Music Performance as a guitarist.

Following graduation, his sights set on conducting and he began the Special Program for Conductors at the University of Toronto. Following studies at the Janacek Academy in Brno, Czech Republic he relocated to Cincinnati to pursue his Masters and Doctorate degrees at the University of Cincinnati College-Conservatory of Music and completed his studies with famed music director, Paavo Järvi.

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GUEST ARTIST

Gabriel Dionne TABLA

A native of Mont-Joli, Gabriel Dionne obtained a First Prize in percussion from the Conservatoire de Musique de Rimouski and a Master’s degree from the Shepherd School of Music at Rice University in Houston. A grant holder from the Arts Council and the FCAR (Research Training and Research Assistance Fund), he has taken part in numerous advanced training courses, including the “Grand Teton’s Orchestral Seminar” in Wyoming, and the “Los Angeles Orchestral Institute”. His training as an orchestral musician led him to be part of several professional ensembles, such as the “Houston Symphony Orchestra”, the “Houston Grand

Opera”, the “Texas Opera Theater”, as well as the “American Waterways Wind Orchestra”. with which he toured eleven European countries.

Seduced by the exoticism and richness of the music of North India, it was in 1992 that he began studying tabla with Bob Becker and Pandit Sharda Sahaï.

He then participated in an advanced training course with Pandit Swapan Chaudhuri at the Ali Akbar College of Music in San Rafael, California. He has performed on numerous occasions with the group Ragas & Talas, a finalist group for an Opus Prize “Concert of the Year - World Music” as part of the Concerts aux Iles du Bic. Insatiable, he is currently pursuing an improvement with Ojas Yogesh Adhiya, a “mentor” of inestimable artistic value who knows how to satisfy his curiosity and his need to improve.

Jazz is also part of his musical interests, both behind the drums and behind the vibraphone. He has participated in the Festi Jazz International de Rimouski on several occasions as well as the Jazz Festival in Vienne in France.

Timpanist with the Orchester Symphonique de l’Estuaire since its founding, Gabriel Dionne has been, since 1990, holder of the percussion class at the Conservatoire de Musique de Rimouski. He also teaches drums and vibraphone in the Jazz-Pop program at the CEGEP de Rimouski and holds the tabla class at the École de Musique du Bas-Saint-Laurent.

PROGRAMME NOTES

Camille Pépin (b. 1990)

Avant les Clartés de l’Aurore (“Before the Light of Dawn”) (2020) Camille Pépin is a prolific emerging, French composer whose works are becoming increasingly well-known and widely performed. She studied at the Paris Conservatory where her teachers included Thierry Escaich and Guillaume Connesson. She is a prize winner whose works, both for orchestra and for chamber groups, have won a number of notable competitions and have been performed by numerous ensembles in France and elsewhere in Europe, in the USA and now, for the first time in Canada, by the Kamloops Symphony.

As tonight’s work will reveal, Pépin is deeply intrigued by the possibilities of orchestral sound, the abundant variety of timbres and textures, and the endless potential of their combinations and transformations. As the successor to a line of great French orchestral colourists, Berlioz, Debussy and Ravel among them, she continues in a unique tradition. However, the influences on Pépin’s compositions are not just musical, but include the

visual arts and literature—the poems of American poet Robert Frost, for example, in her chamber work “The Road Not Taken.” In the case of “Avant les Clartés” it is a poem by Russian Romantic poet Alexander Pushkin that reads, in part, “So the moon on the rose/That the rain still weighs down/ Spreads its mystical glow/Before the dawn light.”

Of music that depicts sunrise, that of Ravel in his ballet Daphnis and Chloe is probably the most widely known.

Camille Pépin’s evocation of dawn’s arrival is quite wonderfully different.

The light grows, of course, but not with the sun-drenched orchestral climax of Ravel. Pépin’s instrumentation is intimate—2 violins, 2 cellos, clarinet and bass clarinet, 2 percussionists with vibraphone and marimba, and 2 horns and 2 trumpets placed at a distance from one another. Light and life emerge slowly and steadily, voiced by a range of instruments whose increasing weight and texture add a sense of warmth before

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PROGRAMME NOTES

withdrawing and then re-emerging.

The trumpets, for instance, add a distinctive brightness at one point, but it is only a momentary impetus in the sun’s more gradual elevation of light and heat, and the dormant

world’s tentative activity. This is a rich and imaginatively textured, but for the most part restrained and delicate, evocation of those solitary moments that we have all experienced “avant les clartés de l’aurore.”

Dinuk Wijeratne (1978)

Concerto for Tabla and Orchestra (2011) 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, and 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 his extremely active career is the eclectic nature of his creativity and experience. This is not surprising, perhaps, given the cross-cultural nature of his origins, his upbringing and education.

Significantly, his Carnegie Hall debut in 2004 was with Yo Yo Ma and the culturally diverse Silk Road Ensemble music collective. Since then he has performed with and composed for a range of orchestras, string quartets, DJs, tabla players, singers, and

PROGRAMME NOTES

Concerto for Tabla and Orchestra, continued… instrumentalists. No wonder the Toronto Star described him as “an artist who reflects a positive vision of our cultural future.” Clearly, his musical goals fit well with those of the Kamloops Symphony.

With this background and experience, the composition of a concerto for tabla and orchestra should also not be a surprise, especially given his 2009 collaboration with tabla playing legend, Zakir Hussain, at Carnegie Hall.

How better could eastern and western musical traditions meet than in the melding of the time-honoured, threemovement instrumental concerto form of western classical tradition with the virtuosic, rhythmical tradition of Indian music culture. In his own notes to the concerto, Wijeratne points to the richness of the tabla’s timbre and the rhythmic complexity of its repertoire, and he hopes that the aesthetic of each artistic entity (East and West) will be preserved in his composition, and that perhaps there will also be “some new discoveries.”

In the first movement, called Canons, Circles, Wijeratne chose, first, to place “the Tabla in a decidedly non-Indian context” because he is confident

of the tabla’s established cultural versatility and “global popularity.” He starts with “a quasi-Baroque canon in four parts,” but then “the music quickly turns into an evocation of one of [his] favourite genres of electronic music: ‘Drum-&-Bass’, characterised by rapid ‘breakbeat’ rhythms in the percussion.” “Of course,” Wijeratne says, “there are some North-Indian Classical musical elements present.

The whole makes for a rather bizarre stew that reflects globalisation… .”

Then there is a brief second movement that, Wijeratne explains, “becomes a short respite from the energy of the outer movements, and offers a perspective of the Tabla as accompanist in the lyrical world of Indian folk-song.” “Set in ‘dheepchandhi’, a rhythmic cycle of 14 beats, the gently lilting gait of the Tabla rhythm supports various melodic fragments that come together to form an ephemeral folk love-song: ‘White in the moon the long road lies (that leads me from my love).’”

In the concluding movement, Garland of Gems, Wijeratne describes how he is working from the traditional practices of tabla recitalists to conclude their

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PROGRAMME NOTES

solo concerts. First, “a sequence of non-improvised compositions. The traditional accompaniment would consist of a drone as well as a looping melody outlining the time cycle—a “nagma”—against which the soloist would weave rhythmically intricate patterns of tension and release.” “The orchestra,” he insists “is no bystander.”

In this movement, it is spurred on by the soloist to share in some of the rhythmic complexity. The whole movement is set in “teentaal”, or 16beat cycles, and, in another departure from the traditional norm, my nagma (melody) kaleidoscopically changes colour from start to finish.”

Ludwig van Beethoven (1776-1827)

Symphony No. 5 in C minor, Op.67 The opening bars of Beethoven’s Symphony No.5 must surely be among the most immediately and widely recognized in classical music. The rhythmic pattern is so distinctive it was adopted to introduce radio broadcasts from England into wartime Europe (echoing the Morse Code letter “V”—for Victory). It has been quoted in works by other classical composers and has been sampled time after time across many pop, disco and rock music genres. (It might be your cell phone’s ringtone right now!) Even Beethoven himself appears to have added to the hype when he (allegedly) said it was the sound of “Fate knocking at the door!” With the kind of international familiarity and global recognition the symphony has what more can be usefully said about it? Well, a few things maybe.

This Fifth symphony and also his Sixth (the “Pastoral”) are the product of Beethoven’s work in the years 18041808, and they were both given their first performances in December of 1808 in a massive, four-hour and more,

concert. Clearly, Beethoven worked on these two quite different symphonies simultaneously over a number of years.

(The earliest sketches for the Fifth are from 1803, the year of his Second symphony.) What this tells us is that we should set aside any notion that Beethoven wrote his symphonies in a neat and tidy order, one after the other.

He, like some other composers, had a number of substantial works on the go simultaneously: not just these two astounding symphonies but chamber and piano compositions as well. If that kind of creative energy is not enough to impress us, we should also remember that the years out of which the Fifth took shape were the years in which Beethoven’s emergent hearing difficulties moved inexorably onward into complete deafness. This defiant symphony (and the symphonies that followed) are reminders to us of his absolute determination to remain creative. For him deafness was not to be an impediment to art. It might be a social limitation, perhaps—but for his art it was clearly a spur to his imaginative power and originality.

PROGRAMME NOTES

Symphony No. 5 in C minor, continued…

The four-note “fate” motif with which the symphony opens creates immediate suspense and tension. Its repeated appearance in different forms drives the first movement forward.

A fanfare on the horns introduces a gentle second theme in the strings, although the tension remains voiced by mutterings from the cellos and basses. The movement’s unfolding does little to mitigate this tension and turbulence, and a plaintive oboe solo that rises out of the turmoil adds an element of pathos to our already deeply unsettled emotions. In the second movement, Beethoven seems to turn away from the agitation and intensity of the first movement—to start with, at least. Two contrasting themes, one from the violas and cellos, the other with clarinets and bassoons, provide the material for a set of variations.

Although this starts dolce (sweetly) all does not entirely remain that way, and the movement develops with episodes that are quietly reflective contrasted with more forceful assertions for full orchestra. However, we hear little if anything that foreshadows what is to come in the third movement Scherzo.

In the Scherzo, the rhythm of the earlier “Fate” motif returns, surging between eerily suggestive whisperings, and spectral, sinister evocations, all martialed by Beethoven into powerful orchestral outbursts. Fate has announced his arrival, but is it this grim, forbidding world that is the one to be permitted to prevail? Thus far the music has raised but not answered this question. When it comes, Beethoven’s answer is another of the memorable moments in an already memorable symphony. In a musical bridge constructed of quiet drum taps and sotto voce strings extended over many bars, Beethoven generates extraordinary suspense and sense of expectation. Thin echoes of the Scherzo theme drift and die away— and suddenly, in an impassioned crescendo, the music surges forward into the heroic sounding theme of the finale. Beethoven does not hold back— the music is unrestrained and joyful, self-assured, emphatic. The optimistic humanist belief in humankind espoused by Beethoven himself, and reflected in many later Nineteenth Century symphonies, finds its most direct and forceful expression in this justly esteemed work.

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Did you know, ticket sales and other earned revenues only cover about 30% of the costs to run Kamloops Symphony concerts? (and even less when our audiences sizes are restricted). More than ever, we rely on the generous support of individuals to ensure we can achieve our mandate of connecting to the community through music.

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