Voilà Viola concert programme

Voilà Viola!

See the symphony shine a light on the sometimes-forgotten member of the string section.

DINA GILBERT Music Director

MARINA THIBEAULT Viola

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SEASON SPONSORS

SERIES SPONSORS

Sponsors MESSAGE FROM THE EXECUTIVE DIRECTOR Thank you for joining us today for our eighth concert experience of the season, where we shine a light on the exquisitely beautiful but tragically under-utilized instrument, the viola!

Hopefully by now you will have seen the announcement of a remixed edition of our ever-popular fundraiser: Barb’s Used Book & Music Sale. Although we are not able to launch a full sale due to continuing event restrictions, we are eager to go ahead with this revised format, which we are calling the “Mixed Bag” Edition. Bags of pre-packaged books will be sold to adventurous book lovers according to genre. And of course, all proceeds will go directly to supporting the Symphony you know and love.

Although it may not be in the format you have come to know, we are excited to give this remixed version of the sale a shot.

Head to our website for more details, and please enjoy the show!

Daniel Mills | Executive Director

FOUNDATIONS

PERFORNMANCE SPONSORS

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

Kamloops Symphony Society Kamloops, BC • kag.bc.ca

Proud to support

Music & the Arts

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

Evan Ren

Librarian

Sally Arai

Orchestra Personnel Manager

Olivia Martin

Production Manager

Todd Stone, MLA

Peter Milobar, MLA

Kamloops | South Thompson

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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 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.

Orchestra FIRST VIOLIN

Elyse Jacobson | concertmaster++ Llowyn Ball | assistant concertmaster++ Meredith Bates Molly MacKinnon

Boris Ulanowicz* Hannah Chung Annette Dominik Narumi Higuchi Principal

Acting Principal

+

Chair Sponsors Dina Gilbert

Ashley Kroecher* Jennifer Ho Erin Macdonald

CELLO

Martin Kratky* Doug Gorkoff

SECOND VIOLIN

*

VIOLA

BASS

Michael Vaughan+ Substitute Principal

++

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

Program

Conductor:

Dina Gilbert

Guest Artist: Marina Thibeault | viola

Voilà Viola!

Edvard Grieg

From Holberg’s Time, Op. 40

Peteris Vasks

Concerto for Viola and String Orchestra

Nino Rota

Concerto per archi

I. Praeludium II. Sarabande III. Gavotte IV. Air V. Rigaurdon

I. Andante II. Allegro moderato III. Andante IV. Adagio I. II. III. IV.

Preludio. Allegro ben moderato Scherzo. Allegretto comodo Aria. Andante quasi adagio Finale. Allegrissimo

?

KAMLOOPS SYMPHONY

BARB’S USED BOOK & MUSIC SALE

The Mixed Bag Edition

General Fiction, Sci-Fi, Youth, Mystery, …and so much more!

10

$

20 books

20

$

may 12–15 wednesday–saturday

kamloopssymphony.com 250.372.5000

Pre-order your mixed bag online.

Donation drop off and pickup of books.

We will be announcing one more exciting concert experience this season, featuring the world premiere of a Kamloops Creation.

Stay tuned for the announcement!

Guest Artist

8 books

Marina Thibeault

Violist Marina Thibeault’s “plangent tone and expressive phrasing” (The Strad) foreground a great richness in her playing that is on display across various styles. Named Radio-Canada’s classical “Revelation” for 2016–2017, Marina has delighted audiences across Canada, the United States, and Europe with her elegant, spellbinding performances and engaging presence.

Foundation (2017), CBC’s “30 hot classical musicians under 30” (2016), and the Sylva Gelber Foundation (2016). She won first prize in the string category of Prix d’Europe (2015), the McGill Concerto Competition (2015), the Radio-Canada “Young Artist” prize (2007) as well as a special prize at the Beethoven Hradec International Viola Competition (2008).

An accomplished concerto soloist, Marina has performed with the North Czech Philharmonic, Mariánské Lázně Symphony Orchestra, the Santiago Chamber Orchestra, the Verbier festival, the Orchestre Métropolitain, and the Sinfonia Toronto, to mention a few.

Marina studied at the Curtis Institute of Music, the Conservatorio della Svizzera italiana, and at McGill University with André Roy where she received a Master’s degree. She is currently completing her doctoral degree with Women in Music as primary topic, and secondly, with Sports Psychology Applied to elite musicians. Marina Thibeault joinned the faculty of The UBC School of Music as Assistant Professor of Viola and Chamber Music, beginning in the 2019–20 academic year.

An avid chamber musician, Marina has collaborated with members of the Guarneri Quartet, the Cleveland Quartet, Charles-Richard Hamelin, Marie-Nicole Lemieux, and Johannes Moser, amongst other renowned chamber musicians. Her interest in new music has led her to work with composers such as John Corigliano, Joan Tower, and Krzysztof Penderecki.

Marina Thibeault holds numerous honours and distinctions, including prizes from the Père-Lindsay

A certified Sivananda yoga instructor, Marina integrates mindfulness techniques into her teaching. When not playing the viola or spending time with her children Lucien and Tabea, Marina keeps her hands busy knitting, spinning and sewing.

During the 2020-21 Season, our Executive Director Daniel Mills embarked on an epic journey: He ran every city street in Kamloops, and with your support raised over $24,000 for the orchestra! His journey is now complete!

Special thanks to the following people for their donations Anonymous

Annette Dominik

Matthew Macdonald

Colene Palmer

Randy Adams

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Jim McLaren Heather McLaren Marilyn McLean Daniel Mills Brian Mills Lauren Minuk Joan Moffat Christy Morris Jean Nelson

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PROGRAM

PROGRAM

Edvard Grieg (1843-1907)

From Holberg’s Time, Op. 40 (1884) Edvard Grieg is Norway’s most well-known composer of classical music and the person generally held responsible for establishing a national musical movement in Norway.

Born in Bergen, he was of Scots and Norwegian descent and as a young man studied music in Leipzig where he admired and was influenced by the music of Schumann. After Leipzig he lived and worked in Copenhagen for five years, and it was during that time that he evolved into a strongly national Norwegian composer with a particular awareness of his country’s folk heritage. His magnificent piano concerto in A minor is probably his best-known work; that or his beguiling and lyrical incidental music to the play Peer Gynt by fellow Norwegian, playwright Henrik Ibsen.

For the most part he was a composer of smaller works: piano pieces and songs. The work in today’s concert, the suite for string orchestra known as the Holberg Suite, was originally a piano composition that Grieg himself arranged for strings, and it too has become one his best-known works.

Ludwig Holberg (1684-1754) was a Norwegian poet, playwright and philosopher most of whose working life was spent in Denmark. Such was his European reputation that he was esteemed as the most significant writer of his time next to the French writer Voltaire, and, as a French-influenced comic and satiric playwright, he was known as “the Molière of the North.”

In Norway in 1884, for the celebration

of his 200th birthday, there were many artistic tributes offered. Grieg wrote a cantata and also the piano suite, “From Holberg’s Time,” later arranged for string orchestra. Since Holberg was a contemporary of Bach, Handel and Telemann, it was natural that Grieg should choose to write in the manner of a baroque dance suite along the lines of the keyboard suites of those baroque masters. As with the Concerto

by Rota in this same concert, the forms and structures of Grieg’s suite in many ways follow baroque style, but the composer’s musical voice is distinctly his own. In Grieg’s case it is the richness of the string writing and harmony, and the lyricism of the melodies that reflect his personal idiom.

There are five movements, all but one in G major, beginning with a Prelude, a miniature sonata movement in baroque toccata style, with a constant rhythmic undercurrent of energetic figures and scales. Then comes a slow, stately Sarabande of gentle, plangent beauty. The third movement is a graceful, charmingly pastoral Gavotte that contains a contrasting musette. French in origin, the musette was originally danced to bagpipe accompaniment, and we can hear the drone of the pipes in the second violins, cellos and basses. The fourth movement is not a dance but a song —an Air, in fact, of the same kind as Bach’s celebrated ‘Air’ from his Third Orchestral Suite to which Rota referred in his Concerto. Grieg’s movement, in G minor and marked Andante

religioso, is a mournful lament in which we hear most clearly the blend of Grieg’s personal, tender lyricism with the cultural manner and style of the baroque. For a finale he chose to write a cheerful, energetic Rigaudon, originally a Provençal dance—though this one also features violin and viola

soloists who imitate the vivacious folk style of the Norwegian Hardanger fiddle, though in a cultivated fashion.

There is a central section, slow and dignified, that precedes the return of the opening dance and the conclusion of the suite.

Peteris Vasks (1946)

Concerto for Viola and String Orchestra (2014–15) Peteris Vasks is a Latvian composer, born in Aizpute, Latvia, in 1946. As an instrumentalist he is a double bass player, graduating as a performer from the Lithuanian Conservatory in Vilnius in 1970, even then with experience as an orchestral player.

From there he went to the Latvian Conservatory in Riga in 1973 to study composition, already with considerable maturity and a distinct musical personality. Now, at this stage in his career he has an extensive body of orchestral compositions, symphonies and concertos, keyboard and chamber music, as well as many choral works. Much of his music combines traditional musical styles with contemporary techniques, and he acknowledges many musical influences. The models that affected his earlier, more experimental, style were Polish composers, especially Lutoslawski, Górecki and Penderecki, all of whom he still admires. Other composers who have affected his

style include Mahler, Sibelius and Messiaen.

Vasks describes himself as “a sad optimist.” He says, “When I think about contemporary life, it’s impossible not to realise that we are balanced on the edge of time’s end.

It is frighteningly close.” That and other aspects of contemporary life concern him deeply: the reciprocal links between the natural and human worlds, the threat of ecological and of moral destruction. Beneath it all he says, “[Latvia’s] roots are full of sadness and suffering, just as they are in many other eastern European countries.”

This what makes him “sad.” As for the “optimist,” Vasks asserts, “In artistic terms our tragic history has given us a terrific impulse to be creative, to express our emotions.” “…Every honest composer searches for a way out of the crises of his time—towards affirmation, towards faith.” continued…

PROGRAM

PROGRAM

Peteris Vasks (1946)

Nino Rota (1911–1979)

Concerto for Viola and String Orchestra (2014–15)

Concerto per archi (1964–65)

Vasks’ choice of the viola as the voice of his “sadness” and melancholy, so close in pitch and range to the human voice, is a powerful one. If, as Vasks says, music records his searching for a way out of crisis and towards affirmation and faith, then this concerto’s four movements reveal that the way there is hard. The opening Andante is an extended and deeply moving declamation, tentative to start as the viola finds its voice against the background of the accompanying strings. Beginning quite low the voice gradually rises in pitch and grows progressively more passionate toward the close. But then, a contrast—the second movement Allegro moderato brings us a sprightly dance, a folk-like and wistful melody reflecting Latvia’s origins, origins that are irrepressible.

The dance emerges into a prolonged,

assertive and powerfully feeling viola cadenza. The third movement, another Andante, begins without a break.

Again, the viola’s voice is unlocked and embarks on an increasingly urgent declamation, reaching, with the orchestra, its most agonized moments.

It is hard to feel that there will be any way out of this, yet the viola, launching into an extended contemplative cadenza, urges itself forward out of the darkness. In the concluding Adagio there is still more work remaining to be done. The viola begins in quiet melancholic meditation but becomes gradually more urgent and determined before descending into a mood of almost lyrical tenderness in the final moments, our optimism confirmed with just a hint of a major key to close.

Nino Rota (1911–1979)

Concerto per archi (1964–65) Nino Rota? What’s Rota doing here, in a concert of classical works for string orchestra? Didn’t he just write music for films? Lots of films? Yes, it is true, he did compose many, many film scores, over 150 in fact. But it is also true that Rota, who was born in Milan in 1911 into a musical family, was a classically trained musician, and an impressively prolific composer of orchestral works, concertos, operas, ballets, choral works both sacred and

secular, chamber and solo pieces and more. For a long time he has been chiefly known for his film scores, including for Zeffirelli’s Romeo and Juliet (1968), The Godfather I and II (1972, 1974) as well as for a host of movies by Italian avant-garde directors Fellini and Visconti and others for whom he was the go-to composer.

Yet his film music forms only a small portion of his total output.

Fortunately, in recent years, something of a Rota “renaissance” has emerged that has helped reveal his position in the development of 20th Century Italian music more accurately and has opened up performance of his concert music more frequently. His Concerto per archi on today’s programme is one of his non-cinematic works that has become more often played.It is a “concerto” not in the Romantic period sense of a soloist in three movements of musical competition with an orchestra, but in the Baroque sense of groups of instruments contrasted with each other in a multi movement work. This concerto is in four quite short movements: Prelude (Allegro ben moderato e cantabile), Scherzo (Allegretto comodo), Air (Andante quasi adagio), and Finale (Allegrissimo), with the feel of dance suites of the Baroque period and even occasional musical echoes from that era. The Prelude opens with a wistful melody in a swaying rhythm that almost evokes a feeling of uneasiness. This is interrupted by a contrasting section

that is more direct and energetic, and that may remind us a of Bartok. The opening section returns to conclude the Prelude. The Scherzo likewise has two contrasting elements both of them dance-like in different ways. Part of the Scherzo’s delight is the ingenuity we are aware of as Rota playfully combines different dance rhythms (3 beats with 2) in an unsettling way.

The Aria movement begins quiet and thoughtful but gradually increases in emotion and tension before returning to calmer feelings toward the close.

Early on, we can hear a descending figure in the bass that recalls Bach’s “Air” from his Orchestral Suite No.3.

It is a tribute from one composer to another of course, but more than that it is a musical reminder that helps define how far removed the emotion and tension expressed in Rota’s Air is from the serenity of the Baroque master. Then the Finale—designated Allegrissimo the term should prepare us for the wonderfully playful and unbridled spirit with which Rota concludes his concerto.

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