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slippages - Concert Programme University of British Columbia. Symphony Orchestra 2018-05-10

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Jonathan Girard, Director of Orchestral Activities
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The Splendid Universe
Das Lied von der Erde
Katherine Ciesinski |
J. Patrick Raftery fe^
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October 4 &5,20181 12:00pm (MaMepMlyy $S||bM$
Chan Centre for the Performing Arts
o Jonathan Girard, conductor
V; The Chan Centre for the Performing Arts
Thursday, October 4,2018 ■ 12:00 PMI Friday, October 5,2018 ■ 7:30pm
Tsang-Houei Hsu
The Splendid Universe: Chinese Festival Overture (b.
(North American Premiere)
Deborah Carruthers
(b. 1960)
Slippages (WorldPremiere)
Gustav Mahler
Das lied von der Erde
I       Das Trinklied vom Jammer der Erde
The Drinking Song of the Sorrow of the Earth
II. Der Einsame im Herbst
The Lonely One in Autumn
III. VonderJugend
Of Youth
IV. Von der Schonheit
Of Beauty
V. DerTrunkene im Fruhling
The Drunkard in Spring
VI. DerAbschied
The Farewell
Katherine Ciesinski, mezzo-soprano
James Patrick Raftery, tenor
 We acknowledge that the UBC Point Grey Campus is situated on the traditional, ancestral,
and unceded territory of the Musqueam people.
Please turn off all camera, laptop, cell phone, and recording devices.
Their use is strictly prohibited during the performance.
 UBC Symphony Orchestra
Violin I
Daniel Tsui, concertmaster
Madelynn Erickson
Ayumi Yaesawa
Jeremy Ho
Sophia Cho
Alexander Knopp
Kurt Chen
Yiyi Hsu
Helen Koenig
Eleanor Yu
Nellicia Klop
William Paradine
Justine Lin
Robin Neuvoenen
Violin II
Jeongah Choi*
CJ Kanjilal
Rachel Kwok
Melody Chen
Catie Akune
Adrian Kwan
Log Lin
Victoria Rose
Virginia Cinelli
Bruce Lin
Xianhe Yan
Brandon Park
Nina Weber*
Caroline Olsen
Alexander Beggs
Christina Bailey
Denny Ho
Francesca Kohn
Katie Martin
Wren Liang
Yichen Cao
Emily Love
Susie Yoo*
Lyla Lee
Bronte Wagar
Adrian Pang
Kimberly Kistler
Zeta Gesme
Selina Lee
Michaela Moon
Alexander Wilde
Bruno Quezada
Mark Petrov
Yijia Fang
Sean McCarthy*
Hannah Rubia
Nathalie Sam
Emily Richardson
Thomas Law
Vicky Zhang*
Kelly Li
Emily Richardson
Thomas Law
Nimo Mendoza*
William Lin
Andrew Montgomery
Carlos Savall*
Victor Mangas
Jonathan Lopez
Bass Clarinet
Valerie Kim
Kyle Cleland*
Ingrid Chiang
Sarah Ellis
Kristin Ranshaw*
Anders Grasdal
Kevin Li
Ciaran De Groot
Janelle Julian
Matheus Moraes*
Silas Friesen
Spencer Service
Devon Atkinson*
Andrea Norman
Bass Trombone
Louis Lam*
Alan Li*
Hayley Farenholtz*
Noelle Kelbert
Aydan Con
Micki-Lee Smith
Adam Dopierala*
Michelle Panikkar
Adam Dopierala
Michelle Panikkar
Kristofer Siy
Jaelem Bhate
Assistant Conductors
Jaelem Bhate
Zane Kistner
* denotes principal player
 Jonathan Girard is one of the rising stars of his generation. A
passionate musician committed to engaging audiences with thrilling
performances, he enjoys a reputation as a musical force equally versed
in symphonic repertoire, opera, and new music.
As the Director of Orchestras at the University of British Columbia
School of Music, Girard dedicates himself to raising the standard of
orchestral training in Western Canada. Highlights of recent seasons of
the UBC Symphony Orchestra include Mussorgsky's Pictures at an
Exhibition, Hoist's Planets, Mozart's Requiem and Brahms' Symphony No.
2. Other landmark performances include two performances of Mahler's
Symphony No. 2 with 300 musicians onstage, and a performance of
Stravinsky's Le Sacre du printemps that marked the 100th anniversary of
the work's premiere.
A champion of new music, Girard is in the midst of a two-year project for the Centrediscs label, recording
concerti by British Columbia composers. He premiered Stephen Chatman's new opera, Choir Practice,
released by Centrediscs in May 2016. Girard has conducted world premieres of works by Ricardo Zohn
Muldoon, Elizabeth Kelly, JungSun Kang, and John Liberatore, and has conducted the North American
premieres of NONcerto for Trumpet and Orchestra by Richard Ayres and Saturnalia and Endre es Johanna by
Emmerich Kalman.
Girard has worked closely with Maestro Bramwell Tovey at the VSO Summer Institute as assistant
conductor and conducted the 2017 Marrowstone Festival Orchestra. He has also held a variety of
prestigious positions at the University of Northern Iowa School of Music, the New Eastman Outreach
Orchestra and Waltham Philharmonic (MA), the Brockton Symphony Orchestra (MA), and Portland (ME)
Opera Repertory Theatre. At the Eastman School of Music, he studied conducting with Neil Varon and
was the assistant conductor of the Eastman Symphony Orchestra, the Eastman Philharmonia, and the
Eastman Opera Theatre.
topic of i
distills a
A native of Montreal, Quebec, Deborah Carruthers was the inaugural 2017-
2018 Peter Wall Institute for Advanced Studies Artist-in-Residence. She was
invited to UBC while an artist in residence at the Banff Centre for Arts and
Creativity in 2017. Her inter-arts artistic practice has allowed her to pursue
several topics of particular interest: genetics, the environment, absence,
memorialization, and solastagia (the distress that may be experienced when
your environment changes, but you are unable to leave). Her explorations are
not unlike attempts to create involuntary memories. These memories may be
influenced by our genetics and our environments, akin to Jacques Derrida's
contention that the past can continue to haunt the present and are rich with
regard to the senses. The use of a variety of media allows her to examine her
nterest through engaging with touch, sight, sound, and occasionally taste. Carruthers typically
concept down into a title for a series, which then informs the direction of her investigations.
"More and more I find myself wanting to integrate the use of sound into my work and am excited by such
explorations. During my initial research, I often make extensive use of photography, which allows me to share
exactly what caught my eye at a given moment: textures, colour, and detail. Paintings let me process ideas over
time, and are not meant to be mimetic, but rather my lasting impressions. Sculpture allows me to create a
 memorial, literally expanding the idea into space. Finally, sound allows me to create a sense of place and
geography, defying boundaries."
This approach lends itself to the creation of series of works which individually present a facet of the idea
under consideration, and collectively seek to provoke deliberation.
J. Patrick Raftery's debut was with the San Diego Opera, singing
Schaunard in La Boheme, sharing the stage with Luciano Pavarotti. After
his years at the Boston Conservatory and The Juilliard School of Music, Mr.
Raftery was awarded the Richard Tucker Music Foundation Prize and made
his debut in New York's Carnegie Hall in the Tuker Winner's concert that
same year.
Rossini's Barber in the Washington Opera's The Barber of Seville drew
Mr. Raftery international attention, and Figaro was his debut with The Paris
Opera soon thereafter. Closely associated with the operas of Rossini,
including two summers with the Rossini Festival in Pesaro,
Mr. Raftery sang the role of Figaro over 200 times. Covent Garden's Count
in Le Nozze di Figaro and Guglielmo in Cosi fan tutte for the Festival of
Glyndebourne gave Mr. Raftery two prominent debuts in Great Britain in quick succession. Leading up to
his debut at New York's Metropolitan Opera with Mirella Freni in Manon Lescaut, Mr. Raftery was one of
North America's most prominent baritones.
Mr. Raftery made his tenor debut with New York's Mostly Mozart festival at Avery Fisher Hall (now David
Geffen Hall) leading to his debut at the world's most prestigious opera house, La Scala in Milan.
Mr. Raftery has subsequently been re-invited as a tenor to the stages of London's Covent Garden, The
Paris Opera, The Hamburg State Opera, The Canadian Opera Company, and numerous others.
Mr. Raftery has performed as recitalist/soloist with The Boston Philharmonic Orchestra, The Boston
Symphony Orchestra, The Cleveland Orchestra, Das Gewandhausorchester (Leipzig), The Philadelphia
Orchestra, L'Orchestre de la Suisse Romande ("SWR"), Symphony Orchestra Baden-Baden, and
Washington D.C.'s National Symphony Orchestra at the festivals of Tanglewood, Wolftrap, N.Y.'s Mostly
Mozart Festival, Salzburg Mozart Festival, and numerous others.
Teaching for over three decades. Professor Raftery has given Master Classes for the opera companies of
The Pacific Opera Victoria, The San Diego Opera, Oper Graz, L'Opera de Montpellier, and the Universities
of Western Ontario, Southern California, Lethbridge, Alberta, Toronto, and The Catholic University of
America. After his years as adjunct Professor at the University of Western Ontario and University of
Toronto, Professor Raftery joined the full time faculty at The University of British Columbia in
2014. Members of Professor Raftery's studio are now performing throughout the world in such theatres as
the Bavarian State Opera, the Zurich Opera, The Canadian Opera Company, and the Young Artist
Programs in Toronto, Vancouver, Calgary, Montreal, and Munich.
 The New York Times has called Katherine Ciesinski "a singer of rare
communicative presence, and a musician of discrimination and intelligence."
This accomplished American mezzo-soprano pursues a fully integrated
career, exploring the world of today's composers as well as the established
classics of the lyric stage.
Major operatic credits include three Metropolitan Opera productions:
Judith (Bluebeard's Castle) and Nicklausse (Les Contes d'Hoffmann) and
most recently Comtesse de Coigny (Andrea Chenier); Cassandre (Les
Troyens) at Covent Garden and Adalgisa (Norma) with Scottish Opera;
Laura (La Gioconda), Waltraute (Ring cycle), and Dulcinee (Don
Quichotte) with San Francisco Opera; Octavian (Der Rosenkavalier) and
Hansel (Hansel und Gretel) with Dallas Opera; Kabanicha (Katya Kabanova), Mere Marie (Carmelites),
Adelaide (Arabella), Marcellina (Le Nozze di Figaro), and Cornelia (Giulio Cesare) with Houston Grand
Opera; Xerxes (title role), Diana (La Calisto), Herodias (Salome), Ottavia (L'lncoronazione di Poppea),and
Countess Geschwitz in the American premiere of the completed three act version of Lulu with Santa Fe
Opera. World premieres of Mark Adamo's Little Women (Houston), Dominick Argento's The Aspern
Papers (Dallas), Maurice Ohana's LaCelestine (title role, Paris Opera), Girolamo Arrigo's II Ritorno di
Casanova (Geneva), Param Vir's Snatched by the Gods (Amsterdam and Munich) have been critically
acclaimed, as have her Giulietta in Brussels, Brangane in Toronto, Judith in Frankfurt and Stuttgart, Eboli in
Madrid and La Favorite in Paris.
In the recent seasons she has performed the world premiere of The End of the Affair by Jake Heggie with
Houston Grand Opera, which was broadcast nationally on NPR's World of Opera. She has also appeared
as Herodias in Salome (Fort Worth), Aunt Cecilia March in Mark Adamo's delightful Little
Women (Mexico City), as Effie Belle Tate in Carlisle Floyd's masterpiece Cold Sassy Tree (Opera
Omaha), and as the Principessa in Puccini's Suor Angelica (Opera Theater of Saint Louis and Hawaii
Opera Theater). She sang song cycles of Prokofiev and Shostakovich in a multi-media concert entitled The
St. Petersburg Legacy with Da Camera of Houston at the Bard Music Festival in New York and again in
New Haven. She made her opera directing debut in 2007 with Handel's Flavio for the Moores Opera
Center/ Ars Lyrica Houston and returned to direct Britten's The Turn of the Screw the following season.
Ms. Ciesinski has also performed with many of the world's leading orchestras, including the Cleveland,
Minnesota, and Philadelphia Orchestras, the Symphonies of Chicago, Boston, San Francisco, Houston and
Toronto; and in Europe, with the Berlin and Vienna Philharmonics, L'Orchestre de Paris, the London
Symphony Orchestra, the Dresden Staatskapelle, and L'Orchestre de la Suisse Romande. She has been
heard in recital across the United States and in Paris, Cologne, Zurich, Milan and at the Aix-en-Provence,
Geneva, Spoleto and Salzburg Festivals. Her contemporary chamber music activities have included
performances at the Caramoor Festival, New York; Musica Festival, Strasbourg; Ars Musica Festival,
Brussels; Festival d'Automne, Paris; Voix Nouvelles, Fondation Royaumont; Schlern International Festival
in Italy, and with the Ensemble Intercontemporain in Paris.
Katherine Ciesinski's opera recordings include the title roles in Ariane et Barbe-Bleue, conducted by
Armin Jordan (Erato), Regina, with John Mauceri (London/Decca), Sapho, conducted by Sylvain
Cambreling (Radio France), the role of Siegrune in Cleveland Orchestra's Die Walkure, conducted by
Christoph von Dohnanyi (London/Decca), and the role of Sonia in War and Peace, conducted by Msitislav
Rostropovich (Erato). She received a Grammy nomination for her Paulina in The Queen of Spades with
Seiji Ozawa and the Boston Symphony (BMG). Recent releases include Aunt Cecilia March in Mark
Adamo's Little Women (Ondine), Sofia Ivanova in Tod Machover's Resurrection (Albany) and Alt Solistin
 in Kurt Weill's Die Burgschaft (EMI). Les Noces with Robert Craft and Pribaoutki with the Orchestra of St.
Luke's (Music Masters), Carter's Syringa (Bridge), along with world premiere recordings of Brian
Ferneyhough's On Stellar Magnitudes and Antoine Bonnet's Nachtstrahl in Paris, number among her
choral and chamber music releases. Lieder recordings include Rorem's Women's Voices (CRI),
Ravel's Chansons Madecasses (Columbia), and songs of Dvorak, Alma Mahler and Clara Schumann
One of the few master performers to also become a master teacher, Ms. Ciesinski is a frequent clinician at
the annual International Symposium on Care of the Professional Voice in Philadelphia. She created the
Vocal Workshop for the annual International Composition Seminar at the Royaumont Foundation in
France, and the vocal chamber institute Close Encounters for the Texas Music Festival. She has lectured in
and served on the steering committee for the University of Texas School of Public Health's Healthcare and
the Arts Series and lectured for the Eastman/Cornell Music Cognition Symposium in Rochester. She
continues to act as a judge for the Metropolitan Opera National Council auditions and is currently on the
international faculty of the Artescenica Encuentro Operistico in Mexico. Her recent students have
achieved performing successes in Europe and South America, one as a Fulbright scholar in Cairo, as well
as in the apprentice programs of the Santa Fe, St Louis, Chicago Lyric, Seattle, Los Angeles, Central City,
San Francisco, Orlando, Fort Worth, and Des Moines Metro Operas and serve on the faculties of Michigan
State, Oklahoma State, Texas Tech, San Jose State, Sam Houston State, and Houston Baptist University.
Other students are also active in a wide range of repertoire from early music to world premieres, with the
Boston Early Music, Aspen, Tanglewood and Weimar Lyric Opera Festivals as recent examples. Formerly
Professor of Music and Chair of Voice Studies at the Moores School of Music, University of Houston, she
joined the faculty of the Eastman School of Music in August of 2008.
The Splendid Universe: Chinese Festival Overture
Tsang-Houei Hsu
Professor Hsu Tsang-Houei, born in Changhua, Taiwan in 1929, is a leading figure among Taiwanese
composers. Hsu graduated from the Department of Music at National Taiwan Normal University and then
went to Paris in 1954 to study composition with Andre Jolivet. His music was influenced by Claude
Debussy, Bela Bartok and Chinese composer Kwang-Chi Wang. In 1959, Hsu returned to Taiwan and
introduced the liberal thinking and twentieth-century composition techniques to Taiwan. He taught at
several music departments and introduced avant-garde ideas to the country. He also co-founded several
associations to promote contemporary music: the Chinese Composers' Forum (1961), the Waves Group
(1963), the Five (1965), the Chinese Society for Contemporary Music (1969) and the Asian Composers'
League (1971). In 2001, Hsu passed away at the age of seventy-two in Taipei.
He promoted and discovered different types of Taiwanese folk art and established the "Folk Music
Collection Movement", "Folk Music Investigation Team", and the "Chinese Folk Music Society". He took
Chinese music and transcribed it using Western methods. In 1973 he established the "Union of Asian
Composers" so that Taiwanese music could become available to the world. The Splendid Universe'
represents one of these endeavours.
Programme note compiled and edited by Jaelem Bhate
Deborah Carruthers
The Peter Wall Institute for Advanced Studies and the UBC School of Music are proud to present the
world premiere of slippages, an interdisciplinary work about climate change, slippages is the result of a
collaboration between Wall Scholar and Orchestra director Jonathan Girard and visual artist and past
PWIAS artist-in-residence Deborah Carruthers, features the UBCSO's performance of her landmark
graphic score. It is written in the language of glaciers, informed by their physics, chemistry, ecologies, and
philosophy. It is a structured improvisational sonic piece combined with a complementary video by
Edmonton-based artist Sydney Lancaster, and is informed by Carruther's visuals—27 paintings on
handmade paper.
"Seeing sound had become a preoccupation in the past years. This work will be used to bridge disciplines
and introduce both musicians and a public audience to the potential of visually and aurally integrated
works of art." explained Carruthers, who has been researching the graphic notation of sound even though
she has no formal musical training. Maestro Jonathan Girard is equally excited to conduct the premiere of
the work. "Deborah's gorgeous score presents a thrilling challenge. How do we, as musicians, interpret
visual art? We want the music to speak to the chilly beauty of the work but also the ideas behind it; of
flux, of change, of loss. Just as the natural world has a life of its own, a kind of agency apart from human
influence, we want the music, through improvisation, to have a life of its own that goes above and beyond
the performers."
The work is meant to evoke solastalgia—the distress experienced when the environment changes, but you
are unable to leave.
 Ms. Carruthers extends her thanks to the following collaborators:
Dr. Garry Clarke, Professor Emeritus, Department of Earth, Ocean, and Atmospheric Sciences, UBC
Dr. Julie Cruikshank, Professor Emerita, Department of Anthropology, UBC
Dr. Christian Schoof, Professor,
Department of Earth, Ocean, and Atmospheric Sciences, UBC
Dr. Michele Koppes, Associate Processor, Canada Research Chair in Landscapes of Climate, UBC
Sandeep Bhagwati, Associate Professor, Departments of Music and Theatre, Canada Research Chair in
Inter-X Art Practice and Theory, Matralab (Music/Movement/Media Art Theatre/Theory Research
Agency Laboratory), Concordia University (Montreal)
And especially
Dr. Jonathan Girard
Director, Orchestral Activities
Assistant Professor, Conducting and Ensembles, UBC, Peter Wall Scholar 2018-2019
UBCSO assistant conductors, Jaelem Bhate and Zane Kistner
UBC Department of Music
Banff Centre for Arts and Creativity
Peter Wall Institute for Advanced Studies
Deborah Carruthers' Assistant, John William
Sydney Lancaster, visual artist - video
The musicians of the UBC Symphony Orchestra
Francis Ewen and my family.
Programme note courtesy of Jonathan Girard and Deborah Carruthers
Das Lied von der Erde
Gustav Mahler
Das Lied von der Erde (The Song of the Earth) is a monumental work for two solo voices and orchestra
written by Gustav Mahler between 1907 and 1908, during what is considered the darkest period of his life.
He was cast out as the music director of the Vienna State Opera due to antisemitism, and soon after, his
daughter Maria passed away from scarlet fever. It was in despair, and in his efforts to escape it, that he
found the poetry that would spur his creative genius to pen what many consider his true ninth symphony.
The inspiration for Das Lied von der Erde came from a compilation of ancient Chinese poetry, translated
into German by Hans Begthe in his work die chinesische Flote. According to musicologist Arthur Wenk:
The poems which Mahler selected from Hans Begthe's die chinesische Flote reflect a dualistic
philosophy based on the interplay ofopposites. Mahler's song cycle, both in its textual revisions and in its
musical setting, focuses on two central themes: resignation in face of the transitory character of existence,
on the one hand, and celebration of the endless renewal of life, on the other.
-The Composer as Poet in Das Lied von der Erde
Wishing to avoid the so-called "curse of the ninth" that many former symphonists had suffered, Mahler
made a point of never assigning an opus number to this work. (Mahler did in fact meet the same fate as
his predecessors, as he passed away shortly after completing the work he titled his Ninth Symphony.
Unlike many of his other works, which underwent revisions in orchestration after the first performances,
 Das Lied was premiered posthumously with the score as he first imagined it. At one of his New York
Philharmonic Young People's Concerts, Leonard Bernstein called Das Lied von der Erde Mahler's "greatest
Das Lied von der Erde features two vocal soloists, who alternate during its six movements. Each
movement treats the text in a unique manner, with the outer movements serving as extended bookends to
the work. The pentatonic scale is of prime interest to Mahler in this piece, as he utilizes its tonal and
mirrored properties to represent the folk music of his Jewish roots and the Chinese poetry which inspired
Programme note by lane Kistner
Upcoming Performances
Villa-Lobos, Rimsky-Korsakov
Manfredo Schmiedt guest conductor
Villa-Lobos Bachianas Brasileiras, No. 2
Rimsky-Korsakov Scheherazade, Op. 35
Friday, November 2 | 7:30pm
Chan Centre for the Performing Arts
Tickets: $8
Poulenc, Vaughan Williams
University Singers, UBC Choral Union
UBC Symphony Orchestra
Jonathan Girard conductor
Soloists TBA
Poulenc Gloria
Vaughan Williams Dona Nobis Pacem
Saturday, December 11 7:30pm
Chan Centre for the Performing Arts
Tickets: $25 Adults | $15 Students
Beethoven, Tchaikovsky
Jaelem Bhate and Zane Kistner graduate student conductors
Beethoven Overture to Egmont, Op. 84
Tchaikovsky Romeo and Juliet Fantasy Overture
Beethoven Symphony No. 1 in C Major, Op. 21
Thursday, February 7 | 7:30pm
Chan Centre for the Performing Arts
Tickets: $8
Francaix, Debussy M A R15
Carlos Savail Guardiola clarinet (2nd place winner of the 2018 UBC Concerto Competition)
Francaix Concerto for Clarinet and Orchestra
Debussy La Mer Sunday, March 15 | 7:30pm
Chan Centre for the Performing Arts
Tickets: $8
Winner of the UBC Concerto Competition 2019
Berlioz Symphonie Fantastique, Op. 14
Saturday, April 6 | 7:30pm
Chan Centre for the Performing Arts
Tickets: $8
f    facebook.com/UBCSO
Tickets available from tickets.ubc.ca, by telephone (604) 822-2697, or in person at the Chan Centre ticket office.
Presented by the UBC School of Music www.music.ubc.ca 6361 Memorial Rd. Vancouver, BC


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