=

MEE

The

Esprit

Orchestra

Alex Pauk, Music Director anda Conductor

1987-88 Supersertes

Jane Mallett Theatre St. Lawrence Centre, Toronto.

Friday, October 23, 8:00 pm

Dream Rainbow Dream Thunder (1986) A. Murray Schafer (Canada)

The Chairman Dances (1985) (Foxtrot for Orchestra) John Adams (U. S.A.) Toward the Sea II (1981) Joru Jakemitsu (Japan)

Echo Spirit Isle (1983) A/ex Pauk (Canada)

Friday, December 4, 8:00 pm

Cortege (1979) A. Murray Schafer (Canada)

Concerto for Cello and Orchestra (1966) Gyérgi Ligeti (Germany) Lettre de Roxana a Décébal Hormuz (1987) Michel Longtin (Canada) Scherzo (1987) Bruce Mather (Canada)

Sunday, January 31, 8:00 pm SUPERSTRINGS

Purple Haze (1967) Jimi Hendrix (U.S.A.) Arr. (1987) hy Steve Riffkin (U.S.A.)

O Magnum Mysterium: In Memoriam Glenn Gould (1982) A/exina Louie (Canada) For the Whales (1982) /annis Xenakis (France)

From the Eye of the Wind (1987) Norman Symonds (Canada)

Tabuh - Tabuhan (1936) Co/in McPhee (Can./U.S.A.)

Wednesday, February 17, 8:00 pm THE OLYMPIC CONCERT

Alex Pauk (Canada) John Rea (Canada) John Burke (Canada) Walter Boudreau (Canada) Allan Bell (Canada)

Saturday, March 19, 8:00 pm A 75TH BIRTHDAY PARTY FOR JOHN WEINZWEIG

Divertimento No. 3 for Bassoon and String Orchestra (1960) John Weinzweig (Canada) SPARKSKRAPS (1988) /stvan Anhalt (Canada)

Zipangu (1980) C/aude Vivier (Canada)

Divertimento No. 8 for Tuba and Orchestra (1980) John Weinzweig (Canada)

the

ALEX PAUK orchestra conductor SUPERS ERIE S 1987/88 SUNDAY, JANUARY 31 Jane Mallett Theatre St. Lawrence Centre SUPERS TRING S QO MAGNUM MYSTERIUM: IN MEMORIAM GLENN GOULD for 44 strings Alexina Louie (1983 revised 1984)

FOR THE WHALES (1982) Iannis Xenakis

*PURPLE HAZE (1967)

Jimi Hendrix arranged by Steve Riffkin (1987)

intermission

oFROM THE EYE OF THE WIND (1987) Norman Symonds

TABUH-TABUHAN (1936) Colin McPhee

*Canadian premiere

World premiere

Tonight's performance is being broadcast live to air on TWO NEW HOURS CBC Stereo in Toronto, 94.1 on the FM dial.

PROGRAMME NOTES

O MAGNUM MYSTERIUM: | | IN MEMORIAM GLENN GOULD Ave naoule

Brilliant electronic images of the universe served as the initial inspiration, however, the news of Glenn Gould's death interrupted my focus, leaving me to reflect on mortality and the meaning of being an artist. Through this time I listened to those musical works most meaningful to me and consoled myself at the piano. I also attended

the memorial service where we, a group of 3,000 people, participated

in the singing of hymns and chorales, including the beautiful

Nun danket Alle Gott. The effect of that mass of people sharing a common grief was overwhelming. It was during this time that the focus of my string orchestra piece began to change, and quotes of these pieces appeared in my score in a rather fantasy-like reverie, some quite clear and untampered with, others quite distorted. Throughout the fabric of this piece are woven fragments of Bach: the chorale, the Allemande

from Suite francaise in G, the Air on a G String, as well as the Prelude and Fugue in b flat juxtaposed upon one another. It ends

with a quote from the last movement of Mahler's Das Lied von der Erde, “der Abschied - the Farewell".

Besides the use of these fragments as structural elements, I have also incorporated a rather other-worldly calm theme in artificial harmonics in the upper strings, a recurring motif of rapid repeated patterns, various permutations of large chord clusters, and a bi-tonal juxtaposition of a G major triad over and F sharp major triad. This piece is my expression of wonder at the mysteries of music, of the universe and of being an artist, as well as an expression of grief over the premature death of a great musician.

O Magnum Mysterium: In Memoriam Glenn Gould was commissioned by Ihe tostival of Contemporary Music at McGill University (1983) through

the assistance of The Canada Council.

GYORGY KURTAG

Messages of the Late Miss __R.V. Troussova, op. 17 scenes from a Novel, op. 19 Farewell for soprano and piano

These three compositions of Gyérgy Kurtag, all written to texts by the poet Rimma Dalos and all featuring the artistry of the soprano Adrienne Csengery, are brought together on a new Hungaroton record (SLPX 12776 stereo). In Messages of the Late Miss R. V. Troussova the Ensemble interContemporain is conducted by Pierre Boulez.

EDITIO MUSICA BUDAPEST

Boosey & Hawkes (Canada) Ltd. 279 Yorkiand Bouleverd,

Gi Willowdale, Ontario, M2J 187 Roose HAWKES Tel.: (416) 491-1900

FOR THE WHALES Iannis Xenakis

"The piece, For the Whales, is a "signature-cry"against the slaughter, extermination, and scientific genocide of our cousins, the whales, perpetrated by us,"superior beings"|

By way of complementary explanation, here is an extract of the letter addressed to my editor, Editions Salabert, by Greg Gatenby, editor in Toronto, true knight of this philowhalian cause.

August 17, 1981 Dear Sir:

I have the pleasure of writing you about an anthology of music, art, prose, and poetry for which I am the editor. The theme of this anthology is the whale and the dolphin, and the ensuing royalties will go to the Greenpeace Foundation to help it protect the whale-- "Save the Whales Campaign". The work will appear as a hardbound art volume in large format. The printing paper will be of highest quality, and the book will be in color and in black and white. Divers forms of art will appear in the book as well. For your information, the Greenpeace Foundation is a charitable organization recognized in France, Canada, Great Britain, the United States, Germany, The Netherlands, Australia, Denmark, as well as in other countries...

A number of original works has already been received for a unique publication in this volume. This anthology has been greeted well partly because Greenpeace will soon reach its aim and also because these royalties will suffice perhaps for Greenpeace to hinder the whale hunters to such an extent that it would appear to them vain to kill whales in such quantities as to exterminate them. And, some of the artists believe that through this book, they perhaps would be able to change the idea that we have of the environment and our way of treating it, and, consequently, of treating ourselves.

The fight for the right to live of the whales and the dolphins is part of the fight for human rights, trampled upon so much just about every- where today.”

GET 2 TICKETS FOR THE PRICE OF 1 FOR THE FEBRUARY 17th CONCERT!

Make a donation to The Esprit Orchestra and become a "Friend". For each $50 contribution you will be eligible to buy two

$18 tickets for the price of onefor the Olympic Tour Concert. (Donations must be received by February 12th in order to take advantage of this two-for-one offer.)

PURPLE HAZE : Jimi Hendrix

: arranged by Steve Riffkin A note from Alexina Louie: "One day, I was listening to the radio with Esprit's Music Director, Alex Pauk, when we happened to hear the Kronos Quartet play Steve Riffkin's exciting arrangement of Purple Haze (available on Nonesuch Digital Recording 9 7911-1F). We both immediately thought it would be great to have this Hendrix classic played by the orchestra's strings, just multiplying the parts. Alex spent several days tracking down Riffkin to get his OK on this. By the time he reached him, Alex had decided to ask Riffkin if he would rewrite the piece especially for our

January 31st concert which features Esprit's largest-ever string section (44 players).

Riffkin had not considered doing this before and got turned on to the idea. Finally he sent the score and parts to Alex on purple paper along with a note saying that David Bowie had decided to open his

"Glass Spider" world tour with the complete Kronos recording of Purple Haze (the audience sitting in the dark!).

This performance reflects Esprit's continuing interest in presenting the broadest possible range of 20th century art music including cross-over pieces such as Steve Riffkin's arrangement of Purple Haze."

THE ESPRIT ORCHESTRA gratefully acknowledges the generous support of the following:

PATRONS - Marek A. Hamerski

Magna International (Canada) Inc. P.A. Heiland

Hutchison Shandro Paul de Hueck

Techni Process Lettering Limited Mr. & Mrs. M. Hutcheon Yosh Inouye

DONORS - Greg James

Barbara Chilcott Joyce Kaplan

Austin & Beverly Clarkson Inta Kierans

Cheeseman Ink | Patrick F.K. Li

Martin P. Connell Alexina Louie

Ramsay Derry Raymond Luedeke

J.D. Elliott Lilian Ma

Arthur Gelber Andrew MacDonald

Erica Goodman | Joseph Macerollo

Hawker Siddeley Inc. David Novak

Scott Irvine David & Tibs Partridge

Franz Kraemer Joanne Pooley

Donna McPhail Patricia Rideout

Dorothy Robertson Or. J. De Vargas Mr. & Mrs. Stan Witkin

FRIENDS -

Mrs. M.H. Bindhardt — Jessie W. Bird Harriet Bunting Weld Robert Fulford Margaret Genovese Anne Godfrey

FROM THE EYE OF THE WIND Norman Symonds (Seven close impressions)

4. Wheels, Within Wheels, Within ------ 9. Both Sides of The Garden Wall.

3. Beyond The Shore --- Sails.

4. Through The City --- Stone.

5. Above The Hills --- Wings. 6. A Keyhole. 7. Into The Sun.

Notes:

To ride the wind. In my imagination a singular way to travel --- a magic carpet. All the panorama of life turning below. You spot a scene, tap on the wind's shoulder, nip down for a closer look --- lovely.

And that is, more or less, the way I imagined these views, these panoramic sketches. Stretched on the wind's back, leaning on an elbow, head in hand, toying with a wind cur] --- "ah, Pasha".

One more thing. Impressions #2 and #6 could benefit I feel, from a bit of plot:

No.2:

The "Wall" is what separates a pretty, little garden from the vulgar, stompin’ countryside. There is comparison, though, for the garden is home to a predatory cat, whilst sweet birds fly, just beyond the Wall. We see a

‘close call'; I did a bit of stompin’; and we blew on.

No.6:

The wind is in the attic,

I pace outside the door.

I stop, I stoop and 100k ---: bits and pieces of dusty, old curiosities and an antique mirror. In it I saw the reflection of my keyhole. Then, suddenly --- it winked at me! --- I made wind!

And hurried off across the floor.

That's as far as I was going anyway, for I burn easily. Fully intend, though, to take another ride one day, if she'll have me. I'11 let you know.

All the best, oe

TABUH-TABUHAN Colin McPhee

"Tabuh-Tabuhan was composed in Mexico in 1936, and performed before the ink was barely dry by Carlos Chavez and the National Orchestra

of Mexico City. It was written after I had already spent four years

in Bali engaged in musical research, and is largely inspired, especially in its orchestration, by the various methods I 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 per- cussion instrument, but extended to mean strike or beat - the drum,

a gong, xylophone, or metallophone. Tabuh-Tabuhan is thus a Balinese collective noun, meaning different drum rhythms, metric forms, gong punctuations, gamelans, and music essentially percussive. In a subtitle I call the work Toccata for Orchestra.

Although Tabuh-Tabuhan makes much use of Balinese musical material,

I 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, and this partly influenced me in planning the form of the work. Many of the syncopated rhythms of Balinese music have a close affinity whith 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 charm-like polyphonic figuration of the gamelan keyed instruments and gong-chimes, I have used a "nuclear- gamelan" composed of two pianos, celesta, xylophone, marimba and glockenspiel. These form the core of the orchestra. The various sounds produced by hand-beaten drums are produced by pizzicati cellos and basses, low harp and staccato piano tones. I have included two Balinese gongs of special pitch, and Balinese cymbals, to which are added gong tones further reproduced by pianos, horns, etc. Around these more exotic resonances, a more or less normal orchestra amplifies and extends the different timbres to their maximum resonance. For the rest, the per- cussion element is simple, including only large cymbal, triangle, sandpaper, and bass drum.

In form, Tabuh-Tabuhan is more or less that of the classical symphony

- there being three movements OSTINATOS, NOCTURNE, and FINALE. There is no place here to point out all the purely Balinese motifs. The flute melody in the NOCTURNE is an entirely Balinese flute melody, taken

down as played. The syncopated finale is based on the gay music of

a xylophone orchestra which accompanies a popular street dance. This is heard in its most authentic form at the beginning of the work and given the grand treatment at the end."

CONDUCTOR

‘ALEX PAUK (b. 1945, Toronto, Ont.)

Born and educated in Toronto, Alex Pauk undertook further studies in conducting in Japan. After settling in Vancouver and becoming a key figure in that city's new music scene, he returned to Toronto in 1979 to concentrate on composing concert and film music. Since founding THE ESPRIT ORCHESTRA in 1983, he has maintained a continuous creative output including orchestral works (Mirage and Echo Spirit Isle), chamber works (Water From the Moon and The Seventh Aura for

electric strings), and a radiophonic montage (Nomad). During the current season, Mr. Pauk will have major new pieces premiered by

the Orchestre symphonique du Quebec, THE ESPRIT ORCHESTRA, and the Vancouver New Music Society.

COMPOSERS

ALEXINA LOUIE (b.1949, Vancouver, B.C.)

Alexina Louie, composer of the year in 1986, has written Many major works including The Eternal Earth commissioned by the Toronto Symphony who then took it on tour to Europe in 1986, and The Ringing Earth for the Vancouver Symphony Orchestra, commissioned as the first work on the opening night gala concert of Expo 86. Subsequent interest in her work has resulted in major television profiles on CBC TV's Gzowski & Co., CTV's W5 as well as a half hour documentary by the NFB and Rhombus Media. Her work spans a wide variety of categories including solo, chamber, orchestra, electronic and film. Currently living in Toronto, she works as a free-lance composer and serves on the board of

The Esprit Orchestra. Besides a growing number of international performances and broadcasts, her works have been performed by all the major orchestras and new music organizations in the country and are widely broadcast on radio. Her first harp solo work, From The Eastern Gate, was the winning composition in the solo category of CAPAC's Micheline Coulombe Saint-Marcoux Award in 1986 and, more recently,

her work, Cadenzas, was a nominee in the 1987 Classical Junos in the first Best Classical Composition category.

TANNIS XENAKIS (b.1922, Rumania)

Greek composer, Iannis Xenakis was born May 29, 1922, of a wealthy business family in Rumania. During the war he fought in the Greek Resistance, at the same time attending the Athens Institute of Technology. Later, after several jailings as a result of political activities, he was made an exile from his country. Xenakis now resides in Paris, where he has taken out French citizenship.

In France he studied composition at the Ecole Normale de Musique with Arthur Honegger and Darius Milhaud, and at the Paris Conservatoire with Olivier Messiaen. He has also been active as an architect, collaborating with Le Corbusier in the design of the Pavillon Philips at the Brussels World's Fair of 1958. He designed the Polytype of the French Pavilion at the Montreal Expo 67.

Olivier Messiaen reportedly has called Xenakis “an architect, mathematician, logician, poet and, above all else, a musician." Not everyone would agree with this description, for Xenakis is a fugure whose work - all of it - is controversial, and his music not least

SO. Should Messiaen's assessment be accurate, Xenakis would represent

a remarkable - perhaps unique - embodiment of the traditional correlation of musical and mathematical abilities. In a day of musical journals that read like scientific treatises, he tends to make the mathematicizing of other composers seem innocent, if not totally inadequate and irrelevant. By comparison, the calculations of most neo-serial composers appear trivial in the extreme, and the notion of "chance" as exemplified in the work of many contemporary artists is simplistic indeed alongside the rigorously logical usage of Xenakis.

JIMI HENDRIX

; , Be pat , One of the most important figures of American “pop’ music. Hendrix was a rock guitarist extraordinaire and cult figure

of the 1960's.

STEVE RIFFKIN (arranger)

Mr. Riffkin is not only a composer of concert music but is intmately involved with the theatre and theatre music. He has, in fact, worked in Toronto with the Young People's Theatre. 7

He has had a continuing involvement with the Kronos Quartet and has made other special arrangements for them.

ALEX PAUK

music director orchestra THE OLYMPIC TOUR CONCERT WEDNESDAY, FEBRUARY 17, 1988 Jane Mallett Theatre 8:00 PM

_The Esprit Orchestra & Societe de musique contemporaine du Québec

present

Five new Canadian works commissioned especially for this tour:

FAR CALLS. COMING, FAR! (SMCQ) John Burke

VERSUS (SMCQ) Walter Boudreau

SPLIT SECONDS (ESPRIT) Alex Pauk

TIME AND AGAIN (ESPRIT) John Rea

CONCERTO FOR TWO ORCHESTRAS Allan Bell (ESPRIT/SMCQ) 3

Saturday, March 19, 8:00 pm - A 75th BIRTHDAY PARTY FOR JOHN WEINZWEIG

Single Tickets - $18.00 Student/Senior - $12.00

St. Lawrence Centre Box Office - 27 Front St. East Phone Orders - (416) 366-7723

NORMAN SYMONDS (b.192, Nelson, British Columbia)

I was born and grew in British Columbia. Mountains, the sea and Duke Ellington were, in that order, my first outside influences.

At 18, I became a warrior, (cook - naval). When that was done, a musician, (clarinet - dance band). Finally, though, I got smart and became a leader - a group of like-minded musicians, (composition - jazz), bent on adding yet another crease to the face of jazz. I doubt if we Caused anything more than a blink, but it helped to launch me. In 1957, Stratford, Ont. "Jazz at the Festival" - us and the Dave Brubeck

Quartet - success!

At the invitation of CBC Radio, a work for jazz and symphony, the result, my Concerto Grosso, featuring the Ron Collier Quintet with the, then,

CBC Symphony, Feldbrill, conductor - success!

I became a protaganist in the CBC arena, many projects, many techniques. I enjoyed the action in both their mediums and eventually came to | understand them, especially radio. A decade followed of work(s), love(s) and laughter - then I got restless.

Went for a drive in a camper; five months, 25,000 miles, up, down, through and around Canada. A haunted country and I found much inspiration - landscapes, legend, fact, fiction - and I'm still dipping into it. “

I have changed, of course, in 30-odd years of action. Mountains now give me headaches, the sea evokes nostalgia, and old Duke? - hell, he keeps comin' round and round.

Symonds has written major works for the Toronto Symphony Orchestra, the National Youth Orchestra and the National Arts Centre Orchestra. Also, numerous feature productions for both radio and TV (CBC). .

Presently at work on a music-play, urged on by Wayne Strongman and Co.

COLIN McPHEE (b.1901, Montreal, Quebec)

Colin McPhee was a native of Montreal, Canada, but he moved to the United States in 1926. Following initial musical studies in his home city, McPhee went to the Peabody Conservatory in Baltimore, where he

was graduated in 1921. Further studies, chiefly in piano and advanced composition, were subsequently carried on in Toronto and in Paris, and in 1926 McPhee settled in New York, achieving the first fruits of creative success with a Concerto for Piano and Wind Octet, a Sea Chant Suite for male chorus, two pianos and drums, and some experimental film music. In 1931 he heard recordings fo some of the then virtually unknown music of the virtuoso percussion orchestras of Java and Bali. He was so fascinated with the subtle interplay of rhythm and sonorities to be heard from these ensembles of gongs, gong-chimes, metallophones, drums and cymbals, that he determined to explore this treasure-trove of music for himself. What began as a preliminary exploration trip ended with the building of a house on the beautiful island of Bali and a stay which lasted until war threatened in 1939. After his permanent return to America, McPhee continued his creative work, as well as lecturing and writing - much of it under fellowships from the Guggenheim and Bollingen foundations. He also fulfilled composition commissions from the Koussevitzky Music Foundation in the Library of Congress and from the Louisville Orchestra.

i k you to our Volunteers: A special thank y se eniiadee

Nancy Bird Robin Roger Daniel Clarkson Jim Stone aaron etry Martha Warnes Micky Fraterman Gordon Way

Anne Godfrey Karen Louie

THE ESPRIT ORCHESTRA JANUARY 31ST, 1988

FLUTE: Douglas Stewart Christine Little Emily Rizner Douglas Miller

OBOE: Cynthia Steljes Clare Scholtz Lesley Young

CLARINET: Gwillym Williams Greg James Richard Thomson

BASSOON: Jerry Robinson Paul Buttemer Liz Brickenden

HORN: Robert McCosh Joan Watson Paul Kuchar Vincent Barbee

TRUMPET: James Spragg Ray Tizzard Robert Sutherland

TROMBONE: Robert Ferguson

Cam Walter

Herb Poole TUBA: Scott Irvine HARP: Dorothy White PIANO: Sharon Krause

Kevin FitzGerald CELESTE: George Brough

PERCUSSION: Michael Cote Beverley Johnston Richard Sacks Bob Becker Blair Mackay Mark Duggan

VIOLIN I:

VIOLIN IT:

VIOLA:

"CELLO:

BASS:

Fujiko Imajishi, Concertmistress Carol Fujino Marie-Paule Parcells Deborah Kirshner Anne Armstrong Michael Sproule Stephen Sitarski Jakov Lerner Ti Zhang Mark Wells Dexine Wal lbank Louise Pauls

Marie Berard

Diane Tait

Ron Mah

Paul Zevenhuizen Fiona Carnie

Janie Kim

Nicole Zarry Valerie Sylvester Elizabeth Macmillan Fiona Huggett

Douglas Perry Mary Carol Nugent Sylvia Lange

Bev Spotton

Ron Hay

Rhyll Peel

Art Jansons

Henry van der Sloot Paul Widner

Janet Kuschak Elaine Thompson Maurizio Baccante Marianne Pack

Susan Green

Peggy Lee

Janet Covington Andras Weber

Roberto Occhipinti Charles Elliott David Young

Robert Speer

Luc Michaud

ALEX PAUK

music director

orchestra

BOARD OF DIRECTORS

Barbara Chilcott Somers, PRESIDENT Constance Gilbert, VICE-PRESIDENT Peter Oliphant, SECRETARY

Joanne Pooley, TREASURER

Arthur Gelber, 0.C.

Alexina Louie

Lenard Bellam

John Peter Lee Roberts, C.M.

Joyce Kaplan

Eric Fraterman

THE ESPRIT ORCHESTRA Telephone: (416) 922-5675 20 St. Joseph Street Toronto, Ontario M4Y 109

Administrative Co-ordinator: Trixie Lederer

THE ESPRIT ORCHESTRA wishes to thank GEVALIA KAFFE for its generous donation of coffee which will be served at the post-concert reception.

Please join us in the lobby, after the concert, to meet ESPRIT artists.

The Esprit Orchestra gratefully acknowledges the generous support of the following:

Suncor Inc.

The Canada Council

The Province of Ontario through the Ontario Arts Council

The Government of Ontario through the Mumistry of Citizenship and Culture, the Honourable Lily Munro, Minister

Toronto Arts Council

Metropolitan Toronto Cultural Affairs Division

The Laidlaw Foundation

The McLean Foundation

The Samuel and Saidye Bronfman Family Foundation

The M.M. Webb Foundation

The Ivey Foundation

The Woodlawn Arts Foundation

Composers, Authors and Publishers Association of Canada

Rhombus Media

Carverlill Russell Design

Doug Forster

and many other friends

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The Composers, Authors & Publishers Association of Canada

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DEADLINE SEPTEMBER 30 : Winners to be announced in CAPAC’s CANADIAN COMPOSER magazine % APPLICATIONS OR INFORMATION

CAPAC: 7

1240 Bay Street, Toronto, Ontario, Canada M5R 2C2, (416) 924-4427

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