CLASSICS - Regina Symphony Orchestra
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
CLASSICS
Beethoven Five OPENING NIGHT!
POPS
Celeigh Cardinal
CLASSICS
Mahler Four
ENCORE 2
Photo: Chris Graham
WELCOME FROM THE MUSIC DIRECTOR
W elcome to the 2022-23 season!
I’m excited to begin another season with
this wonderful orchestra, and I know all
of us are glad you’ve joined us. It
continues to be a great privilege to be
able to share great music with you and
to create the story of our community
together.
In creating these programs for you, my
aim, as always, was to create compelling
experiences. This music tells rich and
colourful stories that will fire your
imagination, and it will undoubtedly take
us to unexpected places together. Some
of these programs include timeless
masterpieces, and some of them will be
occasions to discover new things. But all
of them will be opportunities to celebrate
who we are as a community and to
examine our own place in the world. I
hope our music may inspire you to look
at the things around you with a fresh
perspective and to share with the people
in your life what you discover.
I hope you will take every opportunity to
get to know these wonderful musicians
of the orchestra over the course of this
season. The magic they bring to this
place is invaluable, and we are all richer
Photo Credit: Chris Graham
for it. Thanks for joining me.
Sincerely,
Gordon Gerrard
Music Director
2 RSO Box Office (306) 586-9555 | reginasymphony.com | info@reginasymphony.com
RSO PATRONS, BOARD MEMBERS & TEAM
ROYAL PATRONS: HONORARY LIFE MEMBERS:
His Royal Highness The Prince of Wales Ken Azzopardi
KG, GCB, KT, OM, AK, QSO, SOM, CD, Brian Burrows
Royal Patron of the Regina Symphony Dave Hedlund
Orchestra Donna Lowe
Patricia Middleton
HONORARY PATRONS: Victor & Lesley Sawa
Their Honours the Honorable Mr. Russell Dale Scrivens
B. Mirasty and Donna Mirasty,
Lieutenant Governor of Saskatchewan INDIGENOUS ADVISORY COUNCIL
The Honourable Robert G. Richards, Audra Young
Chief Justice of Saskatchewan, and Elizabeth Cooper
Ms. Patricia Youzwa Cheryl McCallum
The Honourable Scott Moe, Premier of Larry Oakes
Saskatchewan and Mrs. Krista Moe Marion Newman
Her Worship Sandra Masters, Mayor of Merelda Fiddler Potter
Regina James Pratt
Kama Leier
BOARD OF DIRECTORS: Lana Gray
Samer Awadh David Hedlund
Elizabeth Cooper
Brittany Gogel ADMINISTRATIVE TEAM:
Alison Green Mike Forrester - Executive Director
Bryan Hillis Shawn Earle - Director of Artistic
Grant Karst Administration
Judy McCuskee Simon Fryer - Personnel Manager
Colleen Murphy Katie Gannon – Manager, Artistic &
Annette Revet General Administration
Bettina Schneider Dorianna Holowachuk – Chorus Director
Elaine Thompson Irina Ibragimov - Controller
Ian Yeates Megan McCormick - Director of
Audra Young Marketing & Development
Jeffrey Romanyk - Production Manager
Mart-Mari Swanevelder - Manager,
Patron/Donor Services and Community
Engagement
Follow the RSO @reginasymphony
3
WELCOME TO THE 2022-2023 SEASON!
He has held the posts of Associate Conductor
of the Vancouver Symphony Orchestra and
Resident Conductor of Calgary Opera. He has
returned to Calgary Opera to lead productions
of La Bohème, Roméo et Juliette, Die
Fledermaus, Lakmé and the Canadian
premiere of Mark Adamo’s Little Women,
which was recorded for national broadcast on
CBC’s Saturday Afternoon at the Opera.
Gordon made his debut with Edmonton Opera
Photo Credit: Chris Graham
leading the western Canadian premiere of
Rossini’s Le Comte Ory.
Gordon has made appearances with many of
Canada’s leading orchestras, including
Toronto, Québec, Kitchener-Waterloo and
Victoria. He has worked regularly with the
National Ballet of Canada, and in 2016, he
made his European debut at Kammeroper
Conductor Gordon Gerrard is among the
Schloss Rheinsburg in Germany.
exciting new generation of music directors
demonstrating new visions for orchestral
Gordon is a passionate and gifted educator.
leadership in Canada. Currently in his sixth
He demonstrates his commitment to
season leading the Regina Symphony
education through his regular work with the
Orchestra, Gordon has distinguished himself
young artists at Calgary Opera, the Atelier
as a leader in innovative and inclusionary
Lyrique de l’Opéra de Montréal and has spent
programming. Trained first as a pianist and
many seasons working with students at the
subsequently as a specialist in operatic
Banff Centre, Opera Nuova (Edmonton), UBC
repertoire, he brings a fresh perspective to
Opera (Vancouver), Opera McGill (Montréal)
the podium that endears him to audiences
and the Glenn Gould School (Toronto).
and musicians alike. After an international
search, Gordon was appointed Music Director
Learn More at www.gordongerrard.com
of the Regina Symphony Orchestra where he
has taken bold steps reimagining the
orchestra’s programming, including its
Forward Currents Festival dedicated to social
change and community engagement.
LAND ACKNOWLEDGEMENT
The Regina Symphony Orchestra acknowledges that we are on Treaty 4 Territory, which is the
traditional territory of the Cree, Saulteaux, Dakota, Nakoda, and Lakota Peoples, and the
homeland of the Métis. In the spirit of reconciliation and collaboration, we commit to moving
forward in partnership with the Indigenous people who live here and across Canada.
4 RSO Box Office (306) 586-9555 | reginasymphony.com | info@reginasymphony.com
RSO MUSICIANS
VIOLIN 1 FLUTE
Christian Robinson, ConcertmasterJ Marie-Noelle BertheletJF
Carmen Constantinescu, Assistant Tara Semple•
ConcertmasterJ David Popoff
Elizabeth Stirr
CLARINET
Hyon Suk KimJF
Carmelle Pretzlaw
Rudolf Sternadel
Timothy Yung•
Katie Gannon
Cathy Wood
Maria Guidos-Albert
Madison Engen
Karley Parovsky
Jeremy Buzash OBOE
Yeganeh Sotudehnia Tamsin JohnstonJF
Amanda Contreras Wing Lok Soo•
VIOLIN 2 BASSOON
Heng-Han HouJF Anna NorrisJF(on leave)
David Johnson• Jennifer Tenford•
Beatrice Hodgkins Katelin Coleman
Jeff Looysen Christopher Kostyshyn
David Hopkinson HORN
Adrian Casas Richard BurdickJF
Paulo Pallas Alison Cushway•
Karley Parovsky
TRUMPET
VIOLA Miles NewmanJF
Jonathan WardJF Natalie Fuller•
Megan Zak• Lyle Buddecke
Jonathan Achtzehner Abby Lynn Fuller
Erin Hillis
Jonathan Achtzehner TIMPANI
Margaret Carey Alex ArtaleF
Geena Salway TROMBONE
CELLO David DickF
Simon FryerJF Nathan Syrnick•
Amelia Borton• Jeremy Drotar
Catherine Folstad PERCUSSION
Joel MacDonald Darcy GingrasF
Christine Bootland
HARP
BASS
Christopher JonesJF
Samantha Spurrier
Curtis Scheschuk•
Brent Gelsinger
Ruslan Rusin
J Regina Symphony Chamber Player F Principal • Assistant Principal
5
CLASSICS
SERIES
C
CLASSICS AT
THE CATHEDRAL
Beethoven Five
OPENING NIGHT!
September 24, 2022
7:30 pm
Gordon Gerrard, conductor
Katherine Dowling, piano
Sponsored by Rod McDonald and the late, Maureen Hawley
PROGRAM
COLEMAN Seven O'clock Shout
STILL Wood Notes
I. Allegro moderato
II. Andante assai
III. Allegro; ben marcato
PRICE Piano Concerto in
One Movement
INTERMISSION
BEETHOVEN Symphony No.5
I. Allegro con brio
II. Andante con moto
III Allegro
IV. Allegro
6 RSO Box Office (306) 586-9555 | reginasymphony.com | info@reginasymphony.com
ARTIST BIO
Katherine Dowling, Canada, BBC (United Kingdom), and
piano National Radio 4 (Holland). Upcoming
projects include her Vienna debut; a
Praised by the recital tour with violinist Kerry DuWors
New York Times (Prairie Debut Inc.); and a recording of
for her “crystalline the complete piano works of Alice Ping-
performances, Yee Ho (Canada Council for the Arts).
gestural Katherine is Assistant Professor of Piano
expressiveness, and careful attention to at the University of Regina. She credits
color”, and by the Boston Globe for her her teacher, Gilbert Kalish, mentors
“effortless incisiveness”, award winning Henk Guittart and Oliver Knussen, and
Saskatchewan pianist Katherine Dowling her childhood mentor Janice Elliott-
performs across North America and Denike as the major influences in her
Europe as a soloist and chamber musical life. Under the realities of the
musician. Katherine is familiar to global pandemic, and their profound
audiences as a multi-year fellow of the effect on the world of music
Tanglewood Music Center, a New Fromm performance, Katherine wishes to
Fellow, a Britten-Pears Young Artist, an express gratitude for the following
International Musicians’ Seminar at projects: the National Arts
Prussia Cove artist; through extensive Centre/Facebook #CanadaPerforms
involvement and numerous positions at series (featured soloist), the duo526
The Banff Centre for Arts and Creativity, Sonata Seminar (Guest Mentor, Brandon
the Orlando Festival, and the Avaloch University), the weekly YouTube series
Farm Music Institute; and through Made at Avaloch (host and soloist), and
multiple national tours under the GoCompose North America, through
auspices of the Eckhardt-Gramatté which she has presented twenty-five
National Music Competition. She premieres by young composers.
treasures her many collaborative
relationships, most especially recital
partner Catherine Cosbey (Cavani String
Quartet), with whom she is co-director of
Photo Credit: Chris Graham
the Regina Chamber Music Festival. As
a soloist, and as a member of the
chamber ensemble Gruppo Montebello,
Katherine appears on seven critically-
acclaimed recordings on the Etcetera
label. Her performances have been
broadcast on the CBC (Canada), Radio-
7
BEETHOVEN FIVE
PROGRAM NOTES
COLEMAN, VALERIE (b. 1970) It was suggested that a short work for a
Seven O'clock Shout (2020) debut by multi-track recording could
account for the ensemble performing
Seven O’Clock Shout is an anthem together as if they were in the same
inspired by the tireless frontline workers room. One of the devices used to
during the Covid-19 pandemic, and the address this is the usage of Ostinato,
heartwarming ritual of evening serenades which is a rhythmic motif that repeats
that brings people together amidst itself to generate forward motion and in
isolation to celebrate life and the this case, groove. The ostinato patterns
sacrifices of heroes. The work begins here are laid down by the bass section,
with a distant and solitary solo between allowing the English horn and strings to
two trumpets in fanfare fashion to float over it, gradually building up to that
commemorate the isolation forced upon moment at 7pm, when cheers, claps,
humankind, and the need to reach out to clangings of pots and pans, and shouts
one another. The fanfare blossoms into a ring through the air of cities around the
lushly dense landscape of nature, world! The trumpets drive an infectious
symbolizing both the caregiving acts of rhythm, layered with a traditional Son
nurses and doctors as they try to save clave rhythm, while solo trombone boldly
lives, while nature is transforming and rings out an anthem within a traditional
healing herself during a time of self- African call and response style. The
isolation. entire orchestra ‘shouts’ back in
response and the entire ensemble rallies
When a composer has the rare into an anthem that embodies the
opportunity to create for musicians they struggles and triumph of humanity. The
have gotten to know, the act of work ends in a proud anthem moment
composing becomes an embrace tailored where we all come together with grateful
to the personality and capabilities of the hearts to acknowledge that we have
musicians with elements of both survived yet another day.
challenge and appreciation. One such
moment is dedicated to humanity and
grace, as a clarinet solo written for STILL, WILLIAM GRANT (1895-1978)
Ricardo Morales, followed by a flute solo Wood Notes (1948)
with both Jeffrey Khaner and Patrick
Williams in mind, providing a transition Called the “Dean of Afro-American
into a new upbeat segment. Later, to Composers” and considered part of the
continue tradition from the first Harlem Renaissance in the 1920s and
commission the composer received from 1930s, William Grant Still was a
the orchestra, a piccolo solo dedicated to conductor, orchestrator, performer, and
Erica Peel dances with joy. composer of nearly two hundred works.
8 RSO Box Office (306) 586-9555 | reginasymphony.com | info@reginasymphony.com
These included many large-scale American, was premiered by the
orchestral works, choral works and Rochester Philharmonic under the baton
songs, as well as solo pieces and of Howard Hanson, with whom Still
chamber music. Choosing to leave the enjoyed a lifelong friendship and close
undergraduate program in Science at professional association, and who
Wilberforce University, a historically- facilitated the premiere of many of Still’s
Black college in Ohio, Still used his works in Rochester.
inheritance from his father,
supplemented with part-time work, to Symphony No. 1 Afro-American was
pursue studying at the Oberlin extraordinarily successful. Not only was
Conservatory of Music. Already a it the first time the complete score of a
violinist, Still taught himself to play work by an African-American composer
several other instruments including was performed by a major Symphony
clarinet, saxophone, oboe, double bass, Orchestra, it also reached audiences in
cello, and viola. His promising early New York, Chicago, Los Angeles,
compositions caught the attention of London, Berlin, and Paris over the next
Oberlin’s composition faculty, even decade and a half. Until 1950 it was the
though he hadn’t been registered in the most popular and frequently-played
program. His composition training Symphonic work by an American.
eventually led him to study privately with
Edgar Varèse and George Whitefield Relocating to Los Angeles in 1934, Still
Chadwick. received a Guggenheim Fellowship. In
the years that followed, he achieved
Like many musicians of his era, Still’s many firsts, including being the first
musical life was interrupted by World African-American composer to conduct
War I. After serving in the United States a major symphony orchestra (LA
Navy, he moved from Tennessee where Philharmonic) performing his own
he had been working in a Blues Band to music, he was the first African-American
New York, while keeping his employment to conduct a major orchestra (New
with songwriter W.C. Handy. Living in Orleans Philharmonic) in the Deep
Harlem allowed Still to connect with South, and his opera Troubled Island
many influential Black artists, writers, was the first opera by an American
philosophers, and activists such as composer to be performed by the New
Langston Hughes and Alain LeRoy York City Opera, and the first opera by
Rocke, while playing in Broadway pit an African-American to performed by a
orchestras, arranging, and performing on major opera company.
various recordings. During this time, Still
continued to compose his own music, Wood Notes, written in 1947 and
and in 1931, his Symphony No. 1 Afro- premiered in 1948 by the Chicago
9
BEETHOVEN FIVE
PROGRAM NOTES continued
Symphony Orchestra, was inspired by American composer William Grant Still
the composer’s deep love and had been her classmate, and briefly in
appreciation of nature, and also by the Atlanta where she was head of the
poetry of writer and clergyman J. music department at Clark Atlanta
Mitchell Pilcher. A harmonically lush University, a historically-Black college.
four-movement pastoral suite for Price was an exceptional student in Little
orchestra, Wood Notes evokes the Rock, graduating at age fourteen as
natural world of the American South. valedictorian of her class, and going on
to study at New England Conservatory of
Music pursuing a double major in piano
PRICE, FLORENCE (1887-1953) and organ, where she convinced the
Piano Concerto in D minor in One admissions department that she was of
Movement (1934) Mexican heritage to sidestep racial
discrimination.
Florence Beatrice Price (née Smith), an
organist and pianist, composed over Being a thoroughly American
three hundred musical works, including symphonist, Price’s training and
about one hundred songs. Her classical style is rooted in Romanticism
compositions range from large-scale following in the footsteps of Liszt,
orchestral works, including four Mendelssohn, and in particular Dvorak.
symphonies and four concerti, to choral Her music is brimming with references
works, chamber and solo pieces. As a to her faith as an African-American
composer, she rose to prominence in her Christian, containing spirituals, gospel,
forties after winning a prize for her blues, and rhythms recalling African
Symphony No. 1 in E Minor, which was Dance. The opening of the second part
premiered by the Chicago Symphony of Piano Concerto in D Minor in One
under the baton of Frederick Stock in Movement is very reflective and hymn-
1932. This sudden success took place like; the work in fact features three
after years of teaching, playing organ for movements meant to be performed
silent films, and writing songs for radio without break. The version of the
ads while raising two children on her Concerto on this program is a re-
own after divorcing her abusive construction by Trevor Weston of the
husband. 1934 premiere in which Price was the
soloist, since the score and some of the
When living in the South during the Jim parts are lost.
Crow era became untenable, she moved
to Chicago in 1927 with her family. In fact, all of Price’s musical
Price had lived in Little Rock, her achievements were very nearly lost.
hometown where fellow African- Price knew better than anyone the
10 RSO Box Office (306) 586-9555 | reginasymphony.com | info@reginasymphony.combarriers her musical legacy faced. It’s “Victory” has been culturally entrenched
not known if her highly successful since World War II.
Symphony No. 1 was performed again
after its premiere, and in a letter to Serge Beethoven conceived the opening motif
Koussevitzky, conductor of the Boston in its rhythmic character as representing
Symphony in 1943, she wrote: “To begin Fate knocking at the door. Like
with, I have two handicaps — those of Symphony No. 3 (“Eroica”), and
sex and race. I am a woman; and I have Symphony No. 6 (“Pastorale”),
some Negro blood in my veins. I should Symphony No. 5 had a nickname,
like to be judged on merit alone.” (“Schicksals-Sinfonie”), meaning Fate-
However, in 2009, papers and works of Symphony in use for some time. Later
Price’s were found in an old house in Romantic-era compositions, including
Illinois during a renovation project. The Tchaikovsky’s Symphony No. 4, also use
house had once been the composer’s musical symbolism to evoke the
summer home, and restoring it is inevitability of Fate. It is believed that
rightfully restoring her reputation as a Beethoven’s choice of key, C Minor, was
composer belonging to the canon of linked to the theme of destiny, and a
respected American symphonists. recording of the first movement of
Symphony No. 5, along with the fifth
movement of Beethoven’s String Quartet
BEETHOVEN, LUDWIG VAN (1770-1827) No. 13, was included on the Voyager
Symphony No.5 in C Minor Op. 67 Golden Record, a disc sent into
interstellar space in 1977 as part of a
Opening with one of the most recognized broad sample of human language and
musical motifs in classical music history, culture.
Beethoven’s Symphony No. 5 is not only Unsurprisingly, Symphony No. 5, widely
the most frequently performed considered a masterpiece, took four
Beethoven symphony, it is one of the years to write between 1804 and 1808.
most frequently performed orchestral Beethoven was very busy with a number
works in the Western canon. The of other projects, including the three
famous four-note opening motifs has Razumovsky String Quartets,
transcended the symphonic oeuvre and commissioned by Beethoven’s patron,
found its way into other musical genres Russian diplomat, Count Razumovsky, to
and popular culture generally. Its whom Symphony No. 5 is also
association with the Morse code for dedicated. Symphony No. 5 was
Victory (dot-dot-dot-dash) is purely premiered at the same concert as
coincidental; the Morse code usage Symphony No. 6 in December 1808. In
came about decades after the symphony fact, Symphony No. 6 was the opening
was written, but the reference to work on a four-hour-long, not particularly
11BEETHOVEN FIVE
PROGRAM NOTES continued
successful performance of eight of succumbs, and only through this pain,
Beethoven’s works. which, while consuming but not
destroying love, hope, and joy, tries to
Following its publication in 1810, burst our breasts with full-voiced
appreciation for Symphony No. 5 harmonies of all the passions, we live
soared. In an ecstatic and breathlessly- on and are captivated beholders of the
reverential review by E.T.A. Hoffman, the spirits.
experience of hearing the work live is
described as follows: To his credit, E.T.A. Hoffman was a very
well-respected author, artist, and music
Radiant beams shoot through this critic who devoted the majority of the
region's deep night, and we become review to a critical analysis of the
aware of gigantic shadows which, symphony, once he had regained his
rocking back and forth, close in on us composure.
and destroy everything within us
except the pain of endless longing—a Program Notes by Tamsin Lorraine
longing in which every pleasure that Johnston
rose up in jubilant tones sinks and
DONATE SECURITIES & MUTUAL FUNDS
A tax-efficient way to support your orchestra,
especially if you have investments which have
grown a charity, neither you nor the charity
pay capital gains tax. Charitable tax receipt
will be for the transferred. Donate online
through CanadaHelps, or with the SSCF
through your broker.
12 RSO Box Office (306) 586-9555 | reginasymphony.com | info@reginasymphony.comFREE LIBRARY CONCERT SERIES
Sponsored by Dr. Roberta McKay and Mr. Elmer Brenner
2022-2023 SEASON · 2:00-3:00PM · CENTRAL LIBRARY
OCT 16, 2022
NOV 13, 2022
JAN 15, 2023
FEB 5, 2023
MAR 12, 2023
APR 23, 2023
13POPS
SERIES
PPOPS
CELEIGH CARDINAL
October 29, 2022
7:30 pm
Gordon Gerrard, conductor
Lucas Waldin, conductor
Celeigh Cardinal, vocalist
Program to be announced from the stage
14 RSO Box Office (306) 586-9555 | reginasymphony.com | info@reginasymphony.comARTIST BIOS
Lucas Waldin, Celeigh Cardinal,
conductor vocalist
LUCAS WALDIN is Discovery is the
a dynamic and beauty of music. It
versatile reveals itself in
conductor whose layers. Such is the
performances evolution of
have delighted audiences across North Celeigh Cardinal. With a confident voice
America. He has collaborated with some and boundless energy, Cardinal owns a
of today’s most exciting artists including stage, connecting deeply with her
Carly Rae Jepsen, The Barenaked audience through humour, passion and
Ladies, Crash Test Dummies, Ben Folds, love. In 2020, Cardinal achieved one of
The Canadian Brass, and Buffy Sainte- Canada’s highest musical accolades, a
Marie, in addition to conducting JUNO Award for Indigenous Artist of the
presentations such as Disney in Concert, Year. She also received two Western
Blue Planet Live, Cirque de la Canadian Music Awards nominations,
Symphony, and the groundbreaking including Indigenous Artist of the Year
symphonic debut of R&B duo Dvsn as and Songwriter of the Year. With two
part of the global Red Bull Music full-length albums completed and her
Festival. third release slated for Fall 2022,
Celeigh’s voice is quickly becoming one
Waldin has been a guest conductor for of the great Canadian voices that make
numerous orchestras in the U.S. and up the fabric of the Canadian roots
Canada, including the Cleveland music scene.
Orchestra, the St. Louis Symphony, the
Houston Symphony, the Dallas
Symphony, the Grant Park Festival
Orchestra, the Vancouver Symphony, the
Calgary Philharmonic, the Toronto
Symphony, and the National Arts Centre
Photo Credit: Chris Graham
Orchestra.
A native of Toronto, Ontario, Waldin
holds degrees in flute and conducting
from the Cleveland Institute of Music.
15CLASSICS
SERIES
C
CLASSICS AT
THE CATHEDRAL
MAHLER FOUR
November 26, 2022
7:30 pm
Gordon Gerrard, conductor
Couloir - Ariel Barnes, cello
& Heidi Krutzen, harp
Mariya Krywaniuk, soprano
Presented with the support of the Azrieli
Music Prizes Performance Fund
Gordon Gerrard, conductor
PROGRAM
MURPHY En el Escuro, es Todo Uno
INTERMISSION
MAHLER Symphony No.4
I Bedächtig; nicht eilen
II. In gemächlicher Bewegung; ohne Hast
III. Ruhevoll
IV. Sehr behaglich
16 RSO Box Office (306) 586-9555 | reginasymphony.com | info@reginasymphony.comARTIST BIOS
With a focus on developing original
repertoire through collaboration and
commissioning, COULOIR has thus far
had ten duo works and two double
concerti written for them by composers
Kelly-Marie Murphy, James Maxwell,
Baljinder Sekhon II, Jocelyn Morlock,
Jeffrey Ryan, Ana Sokolovic, Andrew
Staniland, Glenn Buhr, Caroline Lizotte,
Brad Turner and Richard Birchall.
Couloir - Ariel Barnes, cello & Heidi Passionate about sharing this music, the
Krutzen, harp Duo has programmed many of these
works while touring extensively
Known for being ”…deeply connected to throughout North America, including
the moment of creation both with their appearances at the Ottawa International
own instruments and each other” Ariel Chamber Music Festival, Music on
Barnes, 1st Solo Cellist of the Nürnberg Main’s “Modulus Festival” and world
Symphony, and Heidi Krutzen, Principal premiers featured in live broadcasts for
Harp of the Philharmonia Orchestra, CBC Radio. COULOIR have appeared as
London, form the duo COULOIR. concerto soloists with the Vancouver
Dedicated to 21st Century Art Music, Symphony Orchestra, Sinfonia Varsovia
COULOIR’s passion lies in creating fresh (Warsaw), Czech National Symphony
music with today’s leading composers Orchestra (Prague), and most recently
through the magical, kaleidoscopic given the world premiere of James
sound world of cello and harp. Both Maxwell’s new double concerto “The
Barnes and Krutzen have developed Razor Hiss of a Whisper “ with Canada’s
international presence as soloists, Turning Point Ensemble. Having
chamber musicians and orchestral released two studio recordings on
leaders, concertizing regularly in Europe, PARMA/Ravello Records; "Wine Dark
North America and Asia to critical Sea" (2013) and prize winning
acclaim. Described as “Music’s new rare "MAXWELL, MUHLY & COULOIR"
Photo Credit: Chris Graham
pair…” and “de facto Ambassadors of (2016), COULOIR’s newest recording of
Canadian Music” (The Georgia Straight) Kelly-Marie Murphy’s double concerto
COULOIR’s work in the realm of with Orchestre Classiques de Montrèal
contemporary music is a distillation of was released in the fall of 2019 on
their artistic personalities, providing a Analekta.
“corridor” for what they love most about
music making; story telling.
17Mariya Krywaniuk, enjoy Wagner’s operas, Mariya has now
soprano sung or covered the roles of Elisabeth
(Tannhäuser), Third Norn, Gutrune,
Mariya Krywaniuk Woglinde (Das Rheingold and
is a native of Götterdammerung), all soprano Valkyries
Vancouver, and Flower Maidens from Parsifal for
Canada and Longborough Festival Opera, Saffron
graduated with a Opera Group and Edinburgh Players
Masters in Music from the Manhattan Opera Group in the UK .
School of Music. While in New York,
Mariya was a prize-winner in the Recent role highlights include the role of
prestigious Gerda Lissner International Lulu (cover) in English National Opera’s
Vocal Competition and a New York production of Lulu, the role of Step-
district winner in the Metropolitan Opera mother in the UK premiere of Philip
National Council Auditions. Mariya has Glass and Robert Moran's The Juniper
sung on the opera stage and concert Tree in London. In September of 2018,
platform in the US, Canada, Italy, Czech Mariya made her debut in the role of
Republic, Israel and the UK. Past Salome in Strauss’ opera with the
performance highlights include singing Edinburgh Players Opera Group.
the role of Mamousha for American Mariya sang the title role in Donizetti's
Opera Projects world première of Jan Rita in March 2019 in Oborne, Dorset as
Hamer’s opera The Lost Childhood in Tel part of the Opera Cameratina Festival.
Aviv. Mariya made her Carnegie Hall solo Most recently, Mariya performed Berg’s
recital début in 2008 at Weill Hall. Lulu Symphonic Suite and Mahler's 4th
Symphony with the Westminster
Mariya has performed the roles of Mimi Philharmonic Orchestra in London in
(La bohème) and First Lady (The Magic March 2022.
Flute) with Co-Opera Co on tour
throughout the UK. She has sung the
role of Cio-Cio-San (Madam Butterfly)
with Opera Up Close, New Devon Opera $15 Tickets
and Opera Holland Park's Christine
Collins Young Artist Programme. In • Under the age of 30?
• The Soundcheck program offers low
2012, Mariya sang the role of Gerhilde price tickets to amazing RSO concerts.
(Die Walküre) at Royal Festival Hall for • The Soundcheck program offers
the Wagner 200 Anniversary Concert low price tickets to amazing RSO concerts.
with Sir Andrew Davis conducting the Use code SOUNDCHECK when you book
online or through the RSO Box Office
Philharmonia Orchestra. Continuing to reginasymphony.com
18 RSO Box Office (306) 586-9555 | reginasymphony.com | info@reginasymphony.comMAHLER FOUR
PROGRAM NOTES
Presented with the support of the Azrieli
Music Prizes Performance Fund
MURPHY, KELLY-MARIE (b. 1964) lyrical, says the composer. “The lyricism
En el Escuro, es Todo Uno (2018) is often interrupted by a loud, rhythmic,
jagged line. We register these
Murphy’s wide-ranging catalogue interruptions but carry on with the
includes concerted works for harp and progression of events. This illustrates
orchestra (And Then at Night I Paint the how we are able to acknowledge and
Stars, 2002) and for cello and orchestra turn away from brutality and sadness in
(This the Color of My Dreams, 1997). our own lives and history.” The opening
Now she combines these two solo words are “Mother, mother, rain falls
instruments in a single composition, her from the heavens. Tears fall from my
double concerto for harp and cello eyes.”
entitled En el Escuro es Todo Uno (In the
Darkness All Is One). There may not be “Si veriash a la rana is a Ladino
another concerto like it, but there does children’s song found in Turkey and the
exist a duo of these two instruments by Balkans,” continues Murphy. “It is a fast,
the name of Couloir, consisting of harpist rhythmic, and humorous, teaching song
Heidi Krutzen and cellist Ariel Barnes. that instructs girls how to enjoy the
Tonight’s performance marks the twenty- chores of the kitchen, reminding them
minute concerto’s world premiere. that they share those chores with their
sisters. Following a soloistic opening
The title, En el Escuro es Todo Uno (In based on prayer modes, the music
the Darkness All Is One), comes from a launches into a dance- like section that
Sephardic proverb that, in Murphy’s presents the folk song.”
words, “encourages us to understand
that we are all equal; once you remove The third movement (Yigdal No. 2) is a
the trappings of society and economy, cadenza for the two solo instruments
we are more similar than we are plus vibraphone. It is modal, but
different. Each of the four movements incorporates threads of the Yigdal as
uses music from the Sephardic tradition sung in Constantinople.
as its source; specifically, Ladino folk
songs. I chose songs that were somehow The final movement is based on two
related to women’s lives and the songs: Noches, noches, buenos noches
importance of ‘mother.’ The concept can (a romance, most likely from Sarajevo)
be as literal as mother to children, or as and Ven Chicka Nazlia (most likely from
broad as Israel as the mother of the Turkey). The movement arrives without
faith. pause, immediately following the
cadenza. The first part, slow and
The first movement uses a Lamenta from atmospheric, consists of a canonic
Bulgaria. It is “for the most part slow and presentation of the theme from Noches,
19MAHLER FOUR
PROGRAM NOTES continued
noches. The remainder of the movement unhurried), Neoclassical in structure,
is built on the fast and uplifting melody and Romantic in aesthetic, is evocative
from Ven Chicka Nazlia. of pastorale works by Schubert and
Beethoven, both early Romantic
Program Notes by Kelly-Marie Murphy, composers. The second movement, “In
composer gemächlicher Bewegung, ohne Hast” (in
measured tempo, without haste), is a
Scherzo and Trio that references a
MAHLER, GUSTAV (1860-1911) Ländler folk dance featuring a
Symphony No.4 scordatura, or deliberately mistuned
violin, which is representative of the
Written in 1901, Gustav Mahler’s Grim Reaper, grotesquely playing his
Symphony No. 4 occupies an unusual fiddle. The third movement, “Ruhevoll,
place in the composer’s symphonic poco adagio” (calm, somewhat slowly),
oeuvre due to its shorter length and was composed while Mahler meditated
smaller orchestration. For a listener who on "a vision of a tombstone on which
is new to Mahler’s musical palette, was carved an image of the departed,
Symphony No. 4 is an ideal gateway with folded arms, in eternal sleep”. The
symphony. The musical symbolism is final movement, “Sehr behaglich” (at
abundantly clear, although thematically ease), featuring the 1892 orchestral
dark; the final movement is a charming song "Das himmlische Leben” (heavenly
orchestral song for solo soprano voice life), a joyful yet elusive movement that
presenting a child’s view of what heaven ties Symphony No. 4 to its original plan
is like, and the overall structure is cyclic, of having six movements, including two
meaning there are references to the orchestral songs. Symphony No. 4 is
same musical elements in multiple also reminiscent of Symphony No. 2 and
movements, baking in coherence, Symphony No. 3, the other Wunderhorn
unification, and relatability. Symphonies. All three include thematic
material from Mahler’s orchestral song
Mahler is a storyteller in the sense that cycle, Das Knaben Wunderhorn (The
there is a narrative associated with his Boy’s Magic Horn). Further, there are
works that underpins the musical numerous musical devices in Symphony
images, metaphors, and influences, No. 3 that preface Symphony No. 4,
including of folklore and spirituality, and evidence that writing this work was
Symphony No. 4, despite its strong personally meaningful to Maher, and in
associations of youth, depicts the completing it, felt a real loss of purpose.
journey from the world of the living to the
great beyond. The first movement With this in mind, it is unfortunate that
“Bedächtig, nicht eilen” (deliberate, Munich premiere in 1901 was met with
20 RSO Box Office (306) 586-9555 | reginasymphony.com | info@reginasymphony.comhostility and condemnation from both the relative obscurity for nearly forty years,
audience and the critics, one describing including a ban on his works while the
Symphony No. 4 as a "succession of Nazis were in power, undoubtedly a
disjointed and heterogeneous response to his Jewish heritage.
atmospheres and expressions mixed with Although Leonard Bernstein claims credit
instrumental quirks and affectations", for single-handedly reviving interest in
that only intensified in every other city on Mahler’s work in 1960, many conductors
its German tour, including Vienna and of his era were already programming
Berlin. Only the audiences in Stuttgart Mahler for enthusiastic audiences in
appreciated Symphony No. 4. Mahler regions where his music had never
persisted in conducting the work, and it before been heard.
went through three revisions until the
composer’s death in 1911. Program Notes by Tamsin Lorraine
Johnston
COMING UP AT THE
Mahler’s music went through a period of
CONEXUS ARTS CENTRE
WINE IN WASCANA - SEPTEMBER 30
RELIVE THE MUSIC 50'S & 60'S ROCK N ROLL - OCTOBER 7
COME FROM AWAY - OCTOBER 12-16
SWINGING WITH THE STARS - OCTOBER 21
CHEREMOSH UKRAINIAN DANCE - OCTOBER 22
THE ROCKY HORROR SHOW - OCTOBER 26-28
INTERNATIONAL WHISKY NIGHT OF REGINA - NOVEMBER 4
BLUE RODEO - NOVEMBER 15
BONEY M - FEATURING LIZ MITCHELL - DECEMBER 4
DR. JORDAN B. PETERSON - MARCH 3
WWW.CONEXUSARTSCENTRE.CA
306-525-9999
1-800-667-8497
21THANK YOU TO OUR FUNDERS & SUPPORTERS
GRANTING AGENCIES
Regina
Symphony Chorus
PROGRAM SPONSORS Family Series: Know Before You Go:
Free Library Concert Series:
Dr Roberta McKay & Elmer Brenner Music Makers:
FOUNDATIONS G. Murray & Edna Forbes Foundation
Donald & Claire Kramer Foundation Melray Foundation
Doug & Gloria Archer Foundation Lyn Goldman Charitable Trust Fund
The Azrieli Foundation Lorne & Evelyn Johnson Foundation
Drs. Lewis & Elizabeth Brandt Trust Fund Ann & Roger Phillips Foundation
SERVICE PARTNERS
MEDIA PARTNERS
WE MEAN BUSINESS
Connect your brand with the Regina Symphony Orchestra. We have a variety of concert
types, performance times and locations. Prices are scalable, based on options chosen for
benefits and recognition. We also offer opportunities to support our Education, Community
Outreach and Audience Engagement programs. Contact us to build your custom package.
22 RSO Box Office (306) 586-9555 | reginasymphony.com | info@reginasymphony.com23
REGINA SYMPHONY ORCHESTRA SEASON SUBSCRIPTIONS ON SALE NOW! reginasymphony.com Photo: Chris Graham 24 RSO Box Office (306) 586-9555 | reginasymphony.com | info@reginasymphony.com
THANK YOU DONORS
Music by the Month Maestro's Circle Brett Waytuck &
$15+ per month $10,000+ Wes D. Pearce
Stephen Harold & Lucia Verda Petry
Mr. Ronald Angeles Harold Ken & Marybelle Powers
Elaine Bennett Fox Jack Bryan & Joanne Hillis Jane M. Sather
Boan - In Memory Bruce & Judy McCuskee F.H. George Smallshaw
of Jean Boan Jennifer Rod McDonald & the late, Gregory & Dianne
Brewin Maureen Hawley Swanson
Jan Campbell
Dr. & Mrs. W.W. Clarke Anonymous (1) Jennifer Tenford
Perry Gray Elsie Toupich
Erin Hillis Concertmaster's Circle Maureen Voss
Dr. Garth Huber $5000+
Mick Jones John Davies - in Memory Concerto $600+
Kama Leier of Jack Partridge Raymond & Michele
Samira B. McCarthy Kerry MacDonald & Arscott
Michelle McConkey Margaret Hnidy Dianne & Brian Burrows
Megan McCormick Mrs.
Jill McDougall Colleen Dr. & Mr. Danielle Cutts
Murphy Symphony $1000+ Mr. Michael Farrer
Ms. Angela M Pelly D. E. Andreas - In Al Fitzpatrick
Laura & Murray Popoff Memory of Victor Ms. Julie Graham
Gerhard & Doreen Andreas Dr. Danielle Gray Heather
Pretzlaw David Bishop & Kris Greenman Ruth Heinrichs
Jim and Cheryl Toth Magnus Robin Hughes
Brett Waytuck & Bradbury Brand + Design Janet & Bill Johnson
Wes D. Pearce Experts Dr. Andrea Lavoie
Mr. Sebastian Walrond Joyce Cudmore Pat Mackay in memory of
Anonymous (1)
Joan Eremko Ken Mackay
Sarah Gajadhar Gary Norris
Keep the music going by Gordon Gerrard Art & Mary Opseth
supporting the RSO Lloyd & Arden Hanna Christian Rueda-Clausen
community as a monthly Russell & Sheila Hart SG Mclaughlin Medical
donor. It's a set it & forget David & Marilyn Hedlund Prof Corp
it way to support our work Anne Hill Mrs. Dan & Sharon Spott
that really adds up. Simply Dr. Neil Kapoor Herbert & Alison Stoeck
select Monthly Gift on our Mr. Grant C. Karst Brianne Urzada
donation page or call our Greg Kraushaar
Box Office at Larry & Elva Kyle
306-586-9555 to set it up. Ken & Sue Linnen
Mr. & Mrs. Kerry & Todd
Lumbard
Ross Macnab
E. Magee
Elizabeth McHattie
Mr. Don J Meek
Merchant Law Group LLP
Marion Newman
25THANK YOU DONORS
Serenade $250+ Kathy & Garry Gable Heather Salloum
In memory of Kay Dr. Adriana Gourgaris Linda-Marie Straza
Achtzener Margaret A. Hammond Lily Stonehouse
Donna Grant & Phil Scott & Jean Henders Ms. Josephine Szumlak
Achtzehner Anne & Warren James In memory of Lyle Teskey
Kay Antrobus Angus & Devona Juckes Brenda Thomson
Ken & Isabel Azzopardi David & Treena Kohler Wayne Thrasher
Rosco Bell & Anne Cameron Louis & Mary Elizabeth Verrall & Mike
McLellan Blackstone Burns
Jeffrey Bugera David L. McIntyre Kathy & Bob Watt
T&G Caplette C.M Miller Marilyn Webb
Dr. Lynn Cavanagh Doug Moen Harold Weger
Dr. Sanaz Dehghani Ms. Helen C Molloy Ian Yeates
Glen Downton Bill & Kay Morton Elaine Yeomans
Dr. Doug & Mrs. Joanne Sharon Penner Celeste York
Durst Yvonne Petry & Gary In Honour of Erwin and
Mrs. Noreen C. Diver Margaret Ziolkowski
Edmondson Ms. Laura B Ross Anonymous (4)
Larry & Gail Fry Janice Routley
To learn more about how you can support the Regina Symphony, and to see the complete list of
our donors, including the Overture $100+ level, please visit reginasymphony.com.
Our list recognizes donations made between January 1, 2021 – August 5, 2022. While we take
the utmost care ensuring our list is accurate, we recognize that errors may occur. We appreciate
your understanding and encourage you to bring any errors to our attention.
A GREAT SOUNDING GIFT
Shopping is made easy with the gift of tickets to the symphony. A great option for weddings,
teachers, or any other music fans in your life. You choose your amount, and they can choose
the concert that works best for them.
Explore the season here: reginasymphony.com/concerts/
The Regina Symphony is a registered charity sharing orchestral music experiences in
Regina and beyond. Donations from our community are an important piece of our financial
stability. All gifts have a significant impact on our ability to continue to hire professional
musicians, to offer incredible live music experiences, and provide high-quality education
opportunities. Thank you for your support!
26 RSO Box Office (306) 586-9555 | reginasymphony.com | info@reginasymphony.comJOIN OUR COMMUNITY OF SUPPORT
Donors are an important part of the financial stability of our orchestra. All gifts have a
positive impact on our ability to continue to hire professional musicians, to offer
incredible live music experiences, and provide high-quality education opportunities.
Giving monthly or in a one-time amount is meaningful to our entire organization and
it also comes with benefits for you!
HOW TO DONATE:
ONLINE: reginasymphony.com/donate
IN PERSON OR BY MAIL:
Regina Symphony Orchestra
9:00 am to 4:30 pm Monday to Friday
2424 College Avenue
Regina, SK S4P 1C8
BY PHONE:
RSO Box Office
9:00 am to 4:30 pm Monday to Friday
(306) 586-9555
Follow the RSO @reginasymphony
www.reginasymphony.com
27MEGAN NASH
December 10, 2022
7:30 PM
Tickets and Info:
reginasymphony.com
RSO CHRISTMAS SPECIAL
REGINA SYMPHONY
ORCHESTRA
28 RSO Box Office (306) 586-9555 | reginasymphony.com | info@reginasymphony.comYou can also read
