Eternal Light

Sunday October 15, 2017

BMO 4 Financial Group

Alex Pauk Founding Music Director HJF HAL JACKMAN & Conductor FOUNDATION

Supporting great

contemporary music, locally.

MUSIC DIRECTOR’S MESSAGE CLEAR, STRONG VOICES

Recently, | was asked whether | defined “Canadian music” simply as music written by Canadians, or whether there is a deeper approach that characterizes the music of our country. | was further asked why Esprit’s leadership in tirelessly supporting Canadian composers is important to me. | remarked that proclaiming nationalism through music was not as interesting or important as having a clear, strong musical voice with something original or transformative to say.

In selecting repertoire to perform with Esprit I'd say that searching for such individual voices has been my guiding principal. Intelligent, passionate, imaginative voices, whether Canadian or not, reach people across international boundaries. What is important to me is creating an environment in which Canadian composers thrive in developing their craft, and have their music heard by informed, appreciative audiences. This is what | consider to be the important work of Esprit. It is the way "Canadian music” has a chance to surface and take flight.

Tonight’s concert, representing three generations, includes music by outstanding Canadians with unique voices. McPhee and Vivier have proven my contention about Canadians being able to reach beyond national boundaries. Goddard is also well on his way to doing so. The program reflects my desire to have a clear, strong voice

in programming. This evening my wish is for you to enjoy and be moved by some of the most exciting music written by Canadians for the entire world to hear.

Lie hn

Alex Pauk, C.M.

Eternal Light ESPRIT ORCHESTRA

ALEX PAUK, Music Director and Conductor

Sunday October 15, 2017 | Koerner Hall

7:15pm Pre-Concert Talk Hosted by Alexina Louie

8:00pm Concert

PROGRAM

Christopher Goddard Spacious Euphony (2016) (Canada) |

INTERMISSION

Claude Vivier Siddhartha (1976)

(Canada)

INTERMISSION

Colin McPhee Tabuh-Tabuhan

(Canada) Toccata for Orchestra and Two

Pianos (1936) | Ostinatos [1 Nocturne Ill Finale

Concert Sponsor:

HJ HAL JACKMAN

FOUNDATION

ESPRIT ORCHESTRA

Alex Pauk, Music Director and Conductor

VIOLIN | Stephen Sitarski,

concertmaster* CHAIR SPONSORED BY DAVID NOVAK

Parmela Attariwala Corey Gemmel Sandra Baron

Anne Armstrong Joanna Zabrowarna Jayne Maddison Elizabeth Johnston Renee London

Kate Unrau

Christine Chesebrough

Emily Kruspe Alexey Pankratov

VIOLIN Il

Bethany Bergman* Louise Pauls Michael Sproule Janet Horne Cozens Boris Kupesic Laurel Mascarenhas Clara Lee

Jennifer Burford Xiao Grabke

Kenin McKay

Erica Beston

Megan Jones

VIOLA

Douglas Perry*

Rhyll Peel

Nicholaos Papadakis

Anthony Rapoport Rory McLeod Laurence Schaufele Brandon Chui

Emily Eng

Brigitte LaMarche Alex McLeod

CELLO

Paul Widner*

CHAIR SPONSORED BY

BARBARA SUTHERLAND IN MEMORY OF JOHN SUTHERLAND

Marianne Pack

CHAIR SPONSORED BY

BARBARA SUTHERLAND IN MEMORY OF JOHN SUTHERLAND

Olga Laktionova

CHAIR SPONSORED BY

BARBARA SUTHERLAND IN MEMORY OF JOHN SUTHERLAND

Elaine Thompson Peter Cosbey Mary-Katherine Finch Amahl Arulanandam Naomi Barron Ashton Lim

Rachel Pomedli

Jill Vitols

BASS

Hans Preuss” Rob Wolanski Brian Baty Natalie Kemerer Nick Davis Calum MacLeod Eric Lee

FLUTE Douglas Stewart* Leslie Newman

Maria Pelletier, piccolo Tristan Durie, piccolo

OBOE

Lesley Young* SPONSORED BY

HELMUT REICHENBACHER &

JOHN STANLEY

Karen Rotenberg Adam Weinman Jasper Hitchcock, English horn

CLARINET

Colleen Cook* CHAIR SPONSORED BY DAVID SHERR

James Ormston Michele Verheul, E-flat clarinet Richard Thomson, bass clarinet

BASSOON Gerald Robinson” Stephen Mosher William Cannaway, contrabassoon Lisa Chisholm

HORN

Bardhyl Gjevori* Diane Doig

Garry Pattison Linda Bronicheski

TRUMPET Robert Venables* Anita McAlister Brendan Cassin Michelle Wylie

TROMBONE

David Archer*

lan Cowie

David Pell, bass trombone

TUBA Jennifer Stephen*

PIANO

Stephen Clarke* Talisa Blackman Ben Smith, ce/este

HARP Sanya Eng

PERCUSSION

Ryan Scott* CHAIR SPONSORED BY ROBERT MORASSUTTI

Mark Duggan Tim Francom Blair Mackay Kris Maddigan Ed Reifel Chung Ling Lo David Schotzko

*Denotes Principal Player

ALEX PAUK

Founding Music Director and Conductor

Alex Pauk was inducted into the Order of Canada on September 23", 2015. Through founding Esprit Orchestra in 1983 and devoting the organization to new music, Pauk has revitalized orchestral life for composers across Canada. Through building and sustaining Esprit’s high calibre performances, commissioning program, innovative programming (70% Canadian), recordings, outreach projects, national and international tours, and multimedia ventures, Pauk has been a leader in developing and promoting Canadian music at home and abroad.

As a conductor, he attains excellent performances on stage and in recordings. Pauk’s commissioning of Canadian composers of all ages and stylistic trends is central to his work. In 2007, Pauk was a recipient of the Canada Council for the Arts Molson Prize, awarded to those who contribute | to the cultural and intellectual heritage of Canada. Pauk’s commitment to the community through Esprit has also garnered SOCAN and Chalmers Awards, as well as three Lieutenant Governor’s Arts Awards. Under Pauk’s direction, Esprit was awarded the 2005 Vida Peene Award for excellent standards of performance and programming.

In addition to his work as a conductor, Alex Pauk has a prolific career as a composer, having written music for every kind of performing ensemble. Pauk has composed for and conducted more than sixty works for organizations such as the Société de Musique Contemporaine du Québec, CBC Vancouver Orchestra, New Music Concerts, Vancouver New Music Society, the Toronto Symphony Orchestra, and Esprit Orchestra.

Pauk graduated from the University of Toronto Faculty of Music in 1971. He currently resides in Toronto with his wife, Alexina Louie, who is his vital partner in the development of Esprit Orchestra.

STEPHEN SITARSKI

Concertmaster

Stephen Sitarski enjoys a varied career as a violinist and musician. He is concertmaster of both the Hamilton Philharmonic Orchestra and Esprit Orchestra, and held the same position with the Kitchener-Waterloo Symphony (KWS) for 15 seasons. During his tenure in K-W, Sitarski became Artistic Director of the KWS Baroque and Beyond. Stephen has also been guest concertmaster across North America. He has served as Associate Concertmaster of the Canadian Opera Company, the Winnipeg Symphony Orchestra, and was guest concertmaster and soloist with the National Ballet Orchestra for Eugene Onegin and Russian Seasons in March 2011.

Stephen frequently appears as soloist with many concertos in the standard repertoire as well as concertos written specially for him by Canadian composers such as Kelly- Marie Murphy (Blood Upon the Body, Ice Upon the Soul, 2006 premiere with Kitchener-Waterloo Symphony), and Glenn Buhr (Violin Concerto, 2000 premiere with Kitchener- Waterloo Symphony). Stephen is a founding member of Trio Laurier and is a regular participant in diverse chamber groups and festival events nationally and internationally with many of Canada’s finest musicians. He is also a frequent performer with Toronto’s acclaimed the Art of Time Ensemble and Soundstreams, with which Stephen completed a tour in May 2012 to Taiwan and China, performing works by Tan Dun and R. Murray Schafer.

Stephen has arranged music for the Emperor Quartet, Quartetto Gelato (Ocfosca) and the Kitchener-Waterloo Symphony. Stephen was awarded the Queen's Jubilee Medal. He is on the faculty of the National Youth Orchestra and Wilfrid Laurier University, as well as Toronto’s Glenn Gould School at the Royal Conservatory of Music. He maintains an active private studio.

CHRISTOPHER GODDARD Spacious Euphony (2016)

Composer's Note:

This work, written for the National Youth Orchestra of Canada and subtitled ‘Concerto for

Orchestra’, is in equal measure virtuosic and multivalent-nearly every instrument or instrumental grouping in the orchestra receives soloistic treatment over the course of the piece, with occasional mixed soloist combinations arising in the manner of a concerto grosso. The primary musical material is founded upon an array of triads in perpetual chromatic motion that | project across musical space over the course of the piece, which takes the shape of a vast arch spanning much of the work's duration and throughout which the triadic array appears in close-knit form, gradually expands to the outer reaches of instrumental register, and eventually contracts to its original spacing. This

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approach came to serve as a vehicle to explore the orchestral forces from within: what instruments are best suited to certain registers and voicings? How can instrumental blend be maximized across musical space? Can the orchestra itself serve as a form- bearing dimension? The name Spacious

Euphony alludes to the recent theoretical treatise of Richard Cohn, Audacious Euphony: Chromatic Harmony and the Triad’s Second Nature, which explores the unique voice- leading properties of triads — as exemplified in chromatic tonal music of the 19th century.

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CLAUDE VIVIER Siddhartha (1976)

Siddhartha, inspired by the book by Hermann Hesse depicting a spiritual journey of a young man in search of enlightenment, is one of Vivier’s few works for orchestra. An attention- grabbing opening settles to focus on chamber music combinations within the ensemble, featuring music of great intimacy and delicacy. Though an Asian influence is apparent in the score, Vivier composed this ambitious piece before his own spiritual and life- changing journey to Asia.

Program note courtesy of Boosey & Hawkes

COLIN MCPHEE Tabuh-Tabuhan (1936)

Composer's Note:

Tabuh-Tabuhan was composed in Mexico in 1936 and first performed by Carlos Chavez and the National Orchestra of Mexico City. It was written after | had spent four years in Bali engaged in musical research, and is largely inspired, especially in its

orchestration, by the various methods | had learned of Balinese gamelan technique. The title of the work derives from the Balinese word ‘tabuh’, originally meaning the mallet used for striking a percussion instrument. Tabuh-Tabuhan is a Balinese collective noun, meaning different drum rhythms, metric forms, gong punctuations, gamelans, and music essentially percussive. Ina subtitle, | call the

work Toccata for Orchestra and Two Pianos.

Although Tabuh-Tabuhan makes much use of Balinese musical material, | consider it a purely personal work in which Balinese and composed motifs, melodies, and rhythms have been fused to make a symphonic work. Balinese music never rises to an emotional climax, but at the same time has a terrific rhythmic drive and symphonic surge. Many of the syncopated rhythms of Balinese music have a close affinity with those of Latin-American popular music and American jazz — a history in itself — and

| these have formed the basic impulse of the work from start to finish.

To transfer the intricate, chime-like polyphonic figurations of the gamelan, keyed instruments, and gong-chillies, | have used a "nuclear gamelan" composed of two pianos, celesta, xylophone, marimba, and glockenspiel. This forms the core of the orchestra. The various sounds produced by hand- beaten drums are simulated by pizzicati in the cellos and basses, low harp, and staccato piano tones.

| have included two Balinese gongs of special pitch, and Balinese cymbals. Around these more exotic resonances, a comparatively normal orchestra amplifies and extends the different timbres to their maximum intensity.

There are three movements: Ostinatos, Nocturne, and Finale. The flute melody in the Nocturne is an entirely. Balinese flute tune, taken down as played.

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Musicians are Esprit’s most precious resource. Our players, the best in their field, are devoted to preparing and performing new music at the highest level.

Be directly involved with keeping our orchestra thriving by sponsoring one or more players.

Benefits of sponsoring a player include:

e Name recognition on Esprit’s website and in all concert programs for the season

e The opportunity to meet and interact with your sponsored musician

e A special invitation to a dress rehearsal in Koerner Hall

e A tax receipt for the full sponsorship amount

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was Double Bass

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Please designate your preferred Principal or Section Player as listed above.

Sponsorships can be named for you, in memory of a loved one or friend, or your company/organization.

For more information or additional sponsorship opportunities, contact:

Rachel Gauntlett - Operations Manager rachel@espritorchestra.com 416.815.7887

Charitable Number: 12258 4782 RROOO1

Ontario Resonance ‘Finale Concert

Thursday November 23, 2017 7:30pm

Jeanne Lamon Hall

Trinity St. Paul’s Centre

42/ Bloor Street West

Eugene Astapov - Conductor

Featuring Six World Premieres by Ontario Resonance Mentoring Composers

FREE ADMISSION “tel FOR THE GENERAL 3 PUBLIC!

Music by:

Eugene Astapov Adam Scime Mark Duggan Bekah Simms Chris Thornborrow — Christina Volpini

For more information visit espritorchestra.com

CHRISTOPHER GODDARD (b.1986)

Christopher Goddard is a Canadian composer and pianist based in Montreal. As a composer, Goddard has collaborated with NYO Canada, the Nouvel Ensemble Moderne, |’Orchestre de la Francophonie, TAK Ensemble, andPlay duo, No Exit New Music Ensemble, NOISE- BRIDGE, and the Larkin Singers.

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Recent commissions have come from the Royal Conservatory/Koerner Hall for the 21C Festival, and from the City of Reutlingen. Goddard's work has been recognized by the SOCAN Young Composer Awards, the Prix Collegien de Musique Contemporaine, and the Robert Avalon Competition for Young Composers. The Canadian League of Composers presented him with the 2015 Friends of Canadian Music Award to share with the

National Youth Orchestra of Canada, who would later select him as their 2016 RBC Foundation Emerging Composer-in- Residence. The resulting work received its premiere in Lisbon and was broadcast on CBC Radio 2 and BBC Radio 3.

As a performer and advocate of contemporary music, Goddard has presented dozens of premieres by his colleagues, appearing with new music groups such as Ensemble Moto Perpetuo, Columbia Composers, Penn Composers Guild, the Wet Ink Ensemble and others. He has participated in the Samos Young Artist Festival, the Avant Music Festival in New York and was a member of the Lucerne Festival Academy in 2013. He performed with TACTUS, the contemporary music ensemble at the Manhattan School of Music, while studying with pianists Christopher Oldfather and Anthony de Mare. He is presently pursuing a Doctorate in composition with Professor

John Rea at McGill University, and currently serves as Artistic Director of Ottawa New Music Creators.

Biography courtesy of composer

CLAUDE VIVIER (1948-1983)

The music of Claude Vivier is a reflection of his personal life. Both directly and indirectly, the themes of his compositions were inspired by his unknown family origins, his search for his mother, his religious vocation, his homosexuality, and even his premature death. The forty-nine works composed during his brief career comprise the impressive legacy of an individual as passionate about life as he was about music.

Born in Montreal of unknown parents, Vivier was adopted at the age of three. He discovered music at the seminary which he entered at sixteen. For a period of four years he studied at the Conservatoire de musique de Montreal;

composition with Gilles Tremblay and piano with Irving Heller.

In 1971, as a recipient of a Canada Arts Council award, Vivier left to study in Europe.

Back in Canada, his reputation as a composer began to take hold. He taught at the University of Ottawa and was granted several commissions, among others by The Canadian Music Awards (seven short, idiomatic pieces), the Société de musique contemporaine du Québec (Liebesgedichte) and the National Youth Orchestra of Canada (Siddhartha). |n the fall of 1976, Vivier undertook a long trip through Asia. It was during his stay on the island of Bali that his ideas concerning the role of the artist in society were solidified. This initiated a new period in the stylistic evolution of his music, a period characterized by affirmation and certainty. This was the period of his brilliant Shiraz, of Orion, of the opera Kopernikus.

Most importantly, it was in the cycle of pieces for voice and instrumental ensemble that the unique style of Vivier crystallized. This style is characterized by the voice, by words sung in a language invented by the composer, by striking melodies.

His outstanding development as a composer earned Vivier the title of "Composer of the Year" in 1981, awarded by the Canadian Music Council. Benefitting once again from a Canada Council grant, he settled in Paris.

In 1983, Vivier was the victim of a shocking murder. His last work is the unfinished G/aubst du an die Unsterblichkeit der Seele, whose thematic development converges in a dramatic way with the violent death of the composer. The interweaving of his personal and professional life, of the real and the imaginary, reveal an outstanding global awareness and define a possible future for

humankind, for whom Vivier was a messenger, an aerolite passing through our world.

Biography by Jaco Mijnheer, courtesy of the Canadian Music Centre |

COLIN MCPHEE (1900-1964)

Born in Montreal, McPhee grew up in Toronto. It was there that he premiered his first piano concerto with Toronto's New Symphony Orchestra.

McPhee made a notoriously characteristic decision not to study with Nadia Boulanger in Paris, as SO many composers of his generation had. He opted instead for New York, and the more avant- garde composer, Edgard Varese. In New York, he met the woman who would soon become his wife, Jane Belo. One night at an exotic dinner party on Manhattan's East Side, Colin and Jane heard the siren song of Balinese gamelan music, scratchily captured on primitive early cylinder recordings from Bali. Within a matter of

months, they were married, and steaming across the Indian Ocean to the island of their dreams.

Throughout the 1930s, Colin McPhee immersed himself in an intensive investigation of Balinese gamelan music. McPhee watched while craftsmen forged the metal gongs and brass bells that ultimately combine with wooden xylophones, skin drums and bamboo flutes to make up a gamelan ensemble. He painstakingly notated the melodic and percussive complexities of every gamelan piece he heard played. During the time that he lived there, he commissioned the formation or reconstitution of gamelan ensembles that were already dead or dying. He wrote a musicology masterpiece called Music in Bali which is still the standard textbook at the prestigious Conservatory of Music and Dance in Bali’s capital city, Den Pasar.

Tabuh-Tabuhan will always be McPhee's

signature piece. In the midst of its composition, in the middle of 1936, Colin wrote to Henry Cowell announcing the imminent arrival of a “concerto for two pianos and large orchestra using Bali, Jazz, and McPhee elements’. It would be difficult to come up with any more accurate explanation of the musical forces deployed. It received a standing ovation, but went without another performance for more than a decade | despite McPhee’s best efforts to bring it to the attention of a number of prominent conductors.

By 1949, McPhee was in the middle of a desperate drinking depression. He had never really recovered from the painful separation of actually leaving Bali — which coincided with the end of his marriage to Jane Belo. Theirs had been an unconventional relationship from the very beginning. He was openly gay; she was bisexual. Ball had allowed them to go their own ways.

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THANK YOU!

ESPRIT ORCHESTRA gratefully acknowledges the supporters below for making this season possible.

2017/18 SEASON SPONSOR

BMO EQ Financial Group

GOVERNMENT PARTNERS ONTARIO ARTS COUNCIL Canada Council Conseil des arts CONSEIL DES ARTS DE L‘ONTARIO cid for the Arts du Canada rn oo eee,

an Ontario government agency un organisme du gouvernement de l'Ontario

ONTARIO ARTS

ES ARTS DE L’ONTARIO

CORPORATE PARTNERS

Bft Vest

Business for the Arts » Le Monde des Affaires pour tes Arts

FOUNDATIONS FONDATION SOCAN HUF f:sssi FOUNDATION FOUNDATION

TORONTO FOUNDATION

THE KOERNER FOUNDATION

THE MARY-MARGARET WEBB FOUNDATION

THE MAX CLARKSON FAMILY FOUNDATION

THE MCLEAN FOUNDATION

THE CHARLES H. IVEY FOUNDATION

THE J.P. BICKELL FOUNDATION

THE HENRY WHITE KINNEAR FOUNDATION

PHILLIP & MAUREEN TINGLEY FUND AT TORONTO FOUNDATION

THANK YOU!

ESPRIT ORCHESTRA gratefully acknowledges the following donors for their generous support of Esprit’s

2017/18 season.

Music Director’s Circle $10,000+

Timothy & Frances Price

Sustaining Member $5,000-$9,999

Lorraine & Gordon Gibson David Novak Daniel Zbacnik

Member $1,000-$4,999 Edred Flak & Chantal Perrot Robert Morassutti

David Sherr

John Stanley & Helmut Reichenbacher

Barbara Sutherland in memory of John Sutherland Anonymous (1)

Patrons $500-$999

Helene Clarkson Cedric & Jacqui Franklin Michael & Linda Hutcheon

David Jeong

Pia Kleber

Alexina Louie

Kathleen McMorrow

Alex Pauk

David Pyper

Barbara Ritchie

Steven Salamon &

Karen Goos

R. Murray Schafer

Jill Taylor & Charles Hazell Alan Torok

Stanley & Rosalind Witkin

Friends $100-$499

Robert Aitken Carol Anderson Rick Archbold David Archer Richard J. Balfour John Beckwith John Brotman John Burge Diana Carradine Austin & Beverly Clarkson Kyra Clarkson Daniel Cooper Omar Daniel

Kerry Dean Barbara Devonshire

Patrick Dickinson & Leigh

Gravenor

Janusz Dukszta Eleanor Engelman Edward Mark Epstein Jose Evangelista Barbara Fallon

Paul Frehner

Keith & Mary Gauntlett Rachel Gauntlett Erica Goodman Catherine Graham Chris Paul Harman: Michael Heiber

Ruth Hood

Brian Imrie

Ronald Jewell Matthew Jocelyn Ellen Karp

John Kelly

Peter Kemerer

Welly Kurniawan John Lawson C.M. Marilyn Lightstone Margaret Logan Wailan Low

Jan & Brenda Matejcek Bruce Mather

Jane McWhinney Richard Mercer

Patricia Milne

Richard Moorhouse Julie & David Moos Roald Nasgaard, O.C. Phillip Nimmons Tammy Peterson

Sally Pitfield

Kathleen Roulston & John Snyder

Ryan Scott & Sanya Eng Robert Simpson

Jeffrey & Tomiko Smyth Audrey Stefanovich Denton Tovell

George & Rivi Ullman Nicola von Schroeter David Waterhouse

Fen Watkin

Mary Wellner Anonymous in memory of Joan Watson Anonymous (3)

This listing reflects our best efforts to publish current information as of September 29, 2017. Please contact the Esprit office with any amendments.

BOARD OF DIRECTORS

Margaret Logan President | ESPRIT - Daniel Zbacnik Treasurer | LA Kathy Li Secretary ORCHESTRA Cedric Franklin Director at Large | John Kelly Director at Large |

Amanda Klein Director at Large

Alexina Louie Director at Large

ARTISTIC STAFF

Alex Pauk, C.M. Music Director & Conductor ADMINISTRATIVE STAFF

Rachel Gauntlett Operations Manager

Amber Melhado Marketing & Outreach Coordinator

Christine Little Personnel Manager

Hayoung Ma Operations Assistant

Christopher Cerpnjak Production Intern

SPECIAL THANKS

David Jaeger, Dennis Patterson, Mary & Keith Gauntlett, Ryan Scott

511-174 Spadina Avenue Toronto, ON M5T 2C2 416.815.7887 info@espritorchestra.com

090009

espritorchestra.com

Emergence Sunday November 19, 2017

Daniel Bjarnason Emergence

Marc-André Dalbavie Concerto for Violin and Orchestra Douglas Schmidt Just a stranger here myself..:

Ana Sokolovic Ringelspiel

Alex Pauk - conductor

Véronique Mathieu - violin

Concert Sponsor

The Max Clarkson Family Foundation

Plug In Sunday February 11, 2018

Eugene Astapov Hear My Voice

Unsuk Chin Mannequin

Tan Dun Passacaglia: Secret of Wind and Birds Jose Evangelista Symphonie minute Matthew Ricketts Lilt

Alex Pauk - conductor Jennifer Nichols - choreographer/dancer

Taiko Plus! Sunday April 15, 2018

Chris Paul Harman New Work Maki Ishii Mono-Prism Fuhong Shi Concentric Circles Scott Wilson Dark Matter

Alex Pauk - conductor Shannon Mercer - soprano Nagata Shachu - Japanese taiko drummers

Esprit Orchestra gratefully acknowledges the following for their generous support

Season Sponsor

BMO Ee Financial Group

re) ONTARIO ARTS COUNCIL CONSEIL DES ARTS DE L'ONTARIO an Ontario government agency un organisme du gouvernement de |'Ontario

u TORONTO | FUNDED BY FONDATION oll ARTS | tHEcttvor SOGCA N

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Canada Council Conseil des arts cid for the Arts du Canada

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The Mary-Margaret Webb Foundation The Koerner Foundation

The Max Clarkson Family Foundation The Judy & Wilmot Matthews Foundation Timothy & Frances Price

ESPRIT ORCHESTRA

511-174 Spadina Ave. Toronto, ON M5T 2C2 416 815 7887

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