Romeo & Juliet Program

Fairfield by Marriott Kamloops Signature Series

ROMEO & JULIET

Saturday November 4, 2023 • 7:30pm

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 Valued Patrons and Supporters, As the Executive Director of the KSO & KSO Music School, I welcome you to an evening of musical enchantment that transcends time and genre. This performance goes beyond notes on a page, aiming to profoundly impact our hearts and minds.

Our journey begins with Ravel's Ma Mère L’Oye, a musical kaleidoscope that invites you to rediscover the magic of childhood. In a world filled with complexities, this piece serves as a gentle reminder of the importance of imagination and wonder —a universal experience that unites us all.

This suite from Prokofiev's passionate ballet Romeo & Juliet takes us to the heart of human emotion, exploring love, tragedy, and the timeless essence of Shakespeare's masterpiece. The relevance of this work lies in its ability to resonate with the human experience, capturing the depth of our emotions and connecting us across generations.

My favourite highlight of the evening is Anna Clyne's DANCE for cello and orchestra, featuring the KSO’s exceptionally talented Principal Cellist, Martin Krátký. Clyne's composition, with its fusion of tradition and innovation, speaks to the ever-evolving nature of our artistic landscape. Martin's performance adds a personal touch, making the music not just a performance but a shared journey between artist and audience.

In a world that often moves at an unrelenting pace, the impact of a shared musical experience is immeasurable. It serves as a respite, a moment of reflection, and a catalyst for connection. The power of music lies in its ability to evoke emotions, spark dialogue, and create a space where we can collectively experience the beauty of the human spirit.

I extend my sincere gratitude to each one of you—our patrons, sponsors, and supporters—for your continued belief in the transformative power of the arts.

Your presence at this concert is not just a celebration of exceptional music but a testament to the vitality of our cultural community.

Join us for an evening where the resonance of each note is matched only by the lasting memory it leaves. Thank you for being an integral part of the KSO community, as we share this moment of joy with you.

Executive Director KSO & KSO Music School

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.

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

GOVERNMENT FOUNDATIONS GRANTS

Yours in music, Christopher Young

®

®

®

—— 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 Kathy Collier Lisa Fuller Christy Gauley Lucille Gnanasihamany Gabriele Klein Rod Michell 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 energic 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 andpolished 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

CELLO

Dina Gilbert

TROMBONE

Wade Dorsey++

Martin Krátký* Doug Gorkoff Laure Matiakh Olivia Walsh

Music Director Emeritus

Bruce Dunn

TUBA

Anna Bosgra+ TIMPANI

BASS

Caroline Bucher*

FIRST VIOLIN

Meaghan Williams Yefeng Yin

concertmaster*

FLUTE

Brian Nesselboard+ Robin Reid

Elyse Jacobson,

Eleanor Nicoll Chair

HARP

OBOE

CELESTE

Marea Chernoff* Lauris Davis

Daniela O’Fee

CLARINET

KSO CHORUS

Cvetozar Vutev, Geoff & Judith Benson Chair assistant concertmaster*

Rod Michell Chair

Parmela Attariwala Susan Aylard Jiten Beairsto Carol Hur Molly MacKinnon Adora Wong SECOND VIOLIN

Boris Ulanowicz

*

Gabriele Klein Chair

Susan Cottrell Annette Dominik Narumi Higuchi Haley Leach Sandra Wilmot

Jeff Pelletier++ Samantha Fu

Sally Arai*

BASSOON

Tomas Bijok

Julie Begg

Dave Overgaard

++

Kelvin Barlow Chair CONTRABASSOON

Olivia Martin HORN

June McClure Chair

TRUMPET

Mark D'Angelo* Jeremy Vint

Principal +Acting Principal ++Substitute Principal

*

Madison Dartana++

—supported by the Kelson Group

VIOLA

Catherine Chen Caroline Olsen Wennie Wei Calvin Yang

PERCUSSION

John & Joyce Henderson Chair

Sam McNally* Dawn Haylett

Ashley Kroecher*

++

Chorus Master

Collaborative Pianist

Daniella O’Fee

Chorus Administrator

Marnie Smith

Orchestra Personnel Manager

Olivia Martin Librarian

Sally Arai

PERFORNMANCE SPONSORS

SEASON SPONSORS

SERIES SPONSORS

Sponsors

ROMEO & JULIET P R O G R A M

Dina Gilbert; Conductor Martin Krátký; Cello Maurice Ravel............ Ma Mère l’Oye (Mother Goose Suite) I. Pavane de la Belle au bois dormant

(Pavane of Sleeping Beauty) II. Petit Poucet

(Little Tom Thumb/Hop-o’-My-Thumb) III. Laideronnette, impératrice des pagodes

(Little Ugly Girl, Empress of the Pagodas) IV. Les entretiens de la belle et de la bête

(Conversation of Beauty and the Beast) V. Le jardin féerique

(The Fairy Garden)

Anna Clyne

DANCE for cello & orchestra I. II. III. IV. V.

when you’re broken open if you’ve torn the bandage off in the middle of the fighting in your blood when you’re perfectly free

INTERMISSION

Sergei Prokofiev

Selections from Romeo & Juliet

arr. François Vallière

I. Montagues & Capulets II. The Young Juliet III. Madirgal IV. Minuet V. Masks VI. Mercutio VII. Romeo & Juliet VIII. Love Dance

Proud Supporters of the

KAMLOOPS SYMPHONY ORCHESTRA

September 23 to December 30, 2023 Curated by Crystal Mowry Black Drones in the Hive is organized by the Kitchener-Waterloo Art Gallery and circulated in partnership with the MacKenzie Art Gallery.

Produced with the support of the City of Toronto through the Toronto Arts Council.

Deanna Bowen, installation view of Taps in Black Drones in the Hive, 2020, courtesy of the Artist and the Kitchener-Waterloo Art Gallery. Photo: Toni Hafkensheid

F E AT U R E D A RT I S T

MARTIN KRÁTKÝ Principal Cellist of the Kamloops Symphony since 2009, cellist Martin Krátký has been praised as an expressive and intuitive musician and caring teacher.

Martin began cello lessons at the age of 5 with the beloved teacher Anne Vallentyne. Graduating from the University of Toronto (Bac. Music Performance) and the Oberlin Conservatory of Music (M. Music) where he specialized in historical performance, Martin also received intensive one-on-one coaching with members of the St. Lawrence string quartet (including the late Geoff Nutall), and the Orford, Miró, and Colorado quartets.

Martin began his professional career as principal cellist of the Saskatoon Symphony Orchestra. Martin is also the founding cellist of the Sycamore String Quartet, and a core member of the Okanagan Symphony.

In the 2023/24 season, Martin will perform in the St. Albert Chamber Music Society concert series with pianist Paul Dykstra. Notable past solos include concertos with the Saskatoon Symphony (Beethoven Triple), Kamloops Symphony (Brahms Double), and Kamloops Baroque Orchestra (Haydn D major).

As a teacher, Martin is patient and attuned to his students’ needs and aspirations. He teaches over 40 private students, traveling between the Kamloops Symphony Music

School and the Kelowna Community Music School each week. He also leads a community ensemble through the KSMS, the Low Strings Project, and has been a guest teacher at the Strings the Thing summer string camp since 2017.

Passionate about human development and studying what’s in the way of our capacities for expression and empathy, Martin spent six months of his life training in a remote Zen monastery in Japan. In his spare time, Martin enjoys building and landscaping his off grid property into a permaculture oasis and haven for spiritual and artistic renewal.

#LOCALMATTERS

Proud to support the arts! enjoy the show!

PROGRAM NOTES

“Music begins where words end.” That was Finnish composer, Jean Sibelius’, conclusion, and he might have added “and when the words have ended and the music begins, then it is the time for our imaginations to start their work.” All of the pieces in tonight’s concert owe their origin to words—two of them to familiar fairy tales and folk motifs that many know well. The third piece, the most recent one, draws its overall structure as well as the urgency of its emotions from the words of a poem by Persian poet, Rumi. Either way, tonight we must be prepared to abandon the constraints of language and surrender our imaginations to the shaping power of the sounds that the words have inspired.

Maurice Ravel (1875–1937) Ma Mère l’Oye (Mother Goose) (1908-10) SThe French pianist and composer Maurice Ravel was the child of music loving parents, a Basque mother and a Swiss father who was an engineer.

He grew up in Paris and attended the Conservatoire from 1889 to 1904.

Among his several teachers there, was Gabriel Fauré. However, it is his older contemporary, Debussy, with whom Ravel is most associated in their development of “Impressionism,” a musical counterpart to the artistic impressionism that had become so popular in the late 19th Century. His well-known piece, Bolero, illustrates, however, that definition and clarity of structure were characteristic of his style too—Russian composer Stravinsky called him “the Swiss watchmaker.”

Ravel never married so he had no children of his own. Nonetheless, he was fond of children, especially Mimie and Jean, the children of his friends the Godebskis. He composed Cinq pièces enfantines for piano duet just for them, keeping it, accordingly, easy to play. He wrote the piano fantasy Sleeping Beauty for them in 1908 based on Charles Perrault’s fairy tale. Then, at the insistence of his publisher, he composed four more movements, likewise inspired

by Perrault’s collection Contes de ma mère l’oye, as well as stories by other authors. In 1911 he orchestrated that piano version to create the delicate and often sensuous Suite that we hear tonight. A year later, in 1912, Ravel added several more elements to form

PROGRAM NOTES

a ballet (with the same name) which was staged that year based on his own scenario.

The first “tale,” Pavane of the Sleeping Beauty, is just 20 bars long and provides a gentle yet stately introduction that is built around a flute theme. Then we meet Petit Poucet, or Tom Thumb as we know him. He is in the trackless forest trying to mark a trail so that abandoned children can follow him out of danger. But he’s using breadcrumbs which, as the piccolo lets us know, are quickly eaten by the birds. The Laideronette, or “Plain Jane,” is next. She is transported to the exotic orient where she becomes Empress of the Pagodas as we can clearly tell from the gamelansounding combination of gong, bells, xylophone and woodwinds.

The characters of the fourth “tale,” Les entretiens de la belle et de la bête, Beauty and the Beast, are both well-known to us. Ravel conceived their “conversation” as a slow waltz, each of these ill-matched characters represented by a different instrument — Beauty by a clarinet, the Beast by (of course) the rasping contrabassoon.

At the moment of Beast’s metamorphosis we are beyond the need for words—Ravel entrusts this pivotal transformation entirely to the tonal colours of the instruments. Listen for the moment when the Beast moves from droning contrabassoon, through a harp glissando, to an elegant violinplaying prince. Then the finale scene depicts The Fairy Garden with which Ravel closes his world of stories in a rich impressionistic scene grounded in steady and subdued bell-like tones.

Anna Clyne (1980) DANCE (2019) English composer, Anna Clyne, began her career early in life with her first work when she was only 7, and the first public performance of a work when she was 11. An honours Bachelor degree in Music from Edinburgh University followed later, and then a Masters degree from the Manhattan School of Music. Her teachers have included American composer Julia Wolfe and Canadian composer Marjan Mozetich. Her compositions are numerous and comprise electroacoustic pieces as well as acoustic works for orchestra, and chamber

ensemble, orchestra with soloist and choral compositions. She has acted as composer-in-residence for several major orchestras, the Chicago Symphony, Baltimore Symphony, and Orchestre national d’île-de-France.

In the coming year she will be with the Helsinki Philharmonic. Works commissioned from her by orchestras and soloists are many.

One of those commissions is the inspiring five-movement piece for cello and orchestra we hear tonight, commissioned by Israeli cellist Inbal

PROGRAM NOTES

Segev. About Anna’s music Segev says she “has an old-soul sensibility but is fresh and modern at the same time.”

And where Ravel gave us sound drawn from a few narrative clues for our imagination to work on, in this work Clyne responds to the whole structure of the poem for inspiration, line by line, “Dance” by “Dance.”

“Dance when you’re broken open.”

Clyne confesses she wanted a “tender and delicate” start rather than the more energetic openings many concertos have. She has focused her music on the “fragility of being shattered apart”—the cello soaring in its high register much of the time, subsiding reflectively at the close.

“Dance, if you’ve torn the bandage off.” Clyne marks this second section “Earthy and Fiery,” with her music’s focus on the physical sensation suggested by the words. The music is faster and more aggressive and the movement is “driven by” the cello (listen for the insistent doublestopping), with other orchestral instruments by turns interacting closely with the solo cello.

“Dance in the middle of the fighting.”

Clyne’s music unveils “a moment within the chaos—where time freezes…an opportunity to be still and to reflect.” It is built around a repeating orchestral element above which the cello plays a deeply felt and contemplative melody, in a higher register with each repetition.

“Dance in your blood.” Clyne’s instructions call for music that is “Regal and Expansive,” and, in contrast to the previous movement,

that is what we get. The solo cello begins with a steady ascending and descending line which is taken up by the double basses while the soloist begins a new line— and so it goes until all the strings are playing. It is a repetitive pattern that generates considerable intensity, but toward the end yields with gentility to what Clyne calls a “lullaby,” using melodic elements from earlier movements.

“Dance, when you’re perfectly free.”

Clyne admits that she composed this last movement first and that, like movement 2, it is “full of quite simple melodies.” She admits her admiration for Edward Elgar’s cello concerto and for the depth and simplicity of his melodies, keeping that in mind as she composed DANCE—not shy about writing a simple melody, not getting too caught up in complexity either.

So DANCE ends with a “very simple melody” and she finds “beauty in its simplicity.” That’s what can happen “when you’re perfectly free.”

PROGRAM NOTES

Sergei Prokofiev (1891–1953) Romeo and Juliet (1935) Generally considered one of the greatest composers of the Twentieth Century, Prokofiev was born in 1891 at Sontsovka Ukraine, the only child of of an agricultural engineer and his wife who was a cultured amateur pianist. Musically precocious, he was encouraged by his mother to develop his musical talents and at the age of five produced his first composition.

In 1904, he entered the St Petersburg Conservatory, where he studied as a pianist and as a composer until 1914, and where he was influenced more by senior fellow students such as Myaskovsky than by the older generation of Russian composers such as Rimsky‐Korsakov.

Prokofiev gained prominence as a composer early in his career, provoking both enthusiasm and hostility with works such as his ballet The Scythian Suite (1915).

After the Russian Revolution of 1917 he travelled abroad, first to the US, where he was successful as a pianist and as a composer, and then in 1920 to Paris where he spent much of the next 16 years, until he decided to return to Russia in 1936. The idea of a ballet on the subject of Shakespeare’s Romeo and Juliet was suggested to him as early as 1934. Moscow’s Bolshoi Company took on the production and Prokofiev completed the piano score in a relatively short time during the summer of 1935. In October he began the orchestration, but when he played the music to the dancers they proclaimed it to be undanceable. They did, however,

manage to persuade Prokofiev to abandon the idea of a “happy ending” in favour of Shakespeare’s original conclusion which Prokofiev had earlier considered impossible for a ballet.

In the end, Russian theatre politics meant that the first actual ballet production was in December 1938 in Brno, the capital of Moravia, and that music from Romeo and Juliet was given concert performance in Russia even before the ballet itself could be staged there, which it was, by the Kirov Company in The three orchestral suites that Prokofiev arranged from the complete ballet do not follow the order of events in the tragedy itself.

His concern was purely musical not dramatic. The same is true of this evening’s performance of a suite from Prokofiev’s ballet, commissioned by the KSO with reduced orchestration

by François Vallières. The music presents themes associated with the principal characters and with their actions, with their loves and their conflict.

Montagues and Capulets immediately expresses the rigidity of the family framework of Italian society. In The Young Juliet we are invited to imagine the restlessness of an adolescent girl on the verge of making the perilous transition to womanhood. In Madrigal the lovers meet for the first time at the Capulets’ ball. Is it Romeo’s astonishment that the strings capture, that then quietly hint at subdued passion, while the flute portrays just a touch of Juliet’s playfulness? The

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PROGRAM NOTES

Minuet that follows depicts the arrival of the imposing families of Verona.

With its stern formality it reminds us that, even at a ball, we are never far from the centres of power and control.

Masks is a march that accompanies the masked figures of Romeo, and Mercutio “crashing” the Capulets’ party. The music’s impudent quality makes it easy for us to imagine the sly swagger of the uninvited youth, though the gentle close hints briefly at other qualities. The complex and “mercurial” character of Mercutio is

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brilliantly embodied in music that openly depicts both duels and death and confirms our sense of how quickly life can shift between extremes. The suite closes with its focus clearly on the two principal characters, with music that is a powerful embodiment of the strength of love, unmistakably Russian in its lyrical intensity. Both The Balcony Scene and the Parting Scene provide superb expressions of the passionate and tender character of the “star-cross’d” lovers, Romeo and Juliet, and their Love Dance.

Thank you to our wonderful team of volunteers

Volunteers Nicholas Adams

Dina Haque

Rod Michell

Kathleen Alcock

Judy Hatch

Sharon Morrison

Wendy Allen

Roy Haugan

Davina Neve

Pierrette Beaton

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Linda McMillan

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Kait Methot

Join us in January for a…

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

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OVATION

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