≈ 90 minutes · No intermission
Last updated: September 10, 2021
Repertoire
To Rise
Throughout the centuries, the trumpet has provided a clarion call to humanity—to fight, to worship, to acclaim, or to celebrate. Principal Trumpet Karen Donnelly has composed a moving hymn for solo trumpet.
Ashes
In the haunting sound world of Ashes (2002), a work for a capella choir, Trevor Weston sought to convey the “profound images resulting from the destruction of the World Trade Towers” on September 11, 2001. Among them, he notes, was a scene, shown on various news programs, of “individuals running toward a camera on a sunny New York street chased by a cloud of ashes and rubble. The cloud eventually envelops the street, the sky, and all in its way creating a haunting nuclear winter-like stillness.” “Sorrow itself,” he observes, “overtakes our being, leaving us frozen and still in disbelief.”
The text of Ashes consists of verses selected from Psalm 102 (see below). For Weston, “they present in a very poignant way the loneliness and isolation associated with suffering that is common to all humans. These verses at the same time combat loneliness by connecting our human emotional experiences with animal and natural imagery. ‘Misery loves company’ because sorrow is best dissipated when we no longer feel alone.”
I have watched, and am even as it were a sparrow, that sitteth alone upon the housetop.
I am become like a pelican in the wilderness,
and like an owl that is in the desert.
Hear my prayer, O Lord, and let my crying come unto thee. My days are gone like a shadow, and I am withered like grass. For I have eaten ashes as it were bread,
and mingled my drink with weeping;
Hear my prayer, O Lord, and let my crying come unto thee.
Weston describes the unfolding of his piece as follows: “In an attempt to represent a universal expression of human sorrow, Ashes opens with chant-like material because unaccompanied vocal music is common to all cultures. The semi-chorus represents the direct inner thoughts of isolation that are amplified by the larger chorus. Within the drama of this work, the chorus builds a “tall” chord consisting of two notes for each part, symbolically the two towers, and then dissolves them with individual expressions of sorrow.”
Program notes by Dr. Hannah Chan-Hartley
Prayer
Composed in just a few days in June 2020, Prayer, Vivian Fung describes, is “in essence, an aberration, for under no other circumstance in the past (or probably in the future) have I worn my heart on my sleeve as transparently as I have with this piece. In times of crisis and peril, we have but the reliance of faith—from the profound faith in humanity, faith in love, and faith that we will persevere and get through this with dignity, to the mundane faith that I would complete the piece within the extraordinary conditions that faced me—with a young child at home 24/7, a bronchial infection, and a very tight timeline (ultimately, a matter of days) to complete the piece in a manner feasible for COVID remote performance requirements.” It was premiered online on June 22, 2020, by the CBC Virtual Orchestra representing 28 orchestras from 10 Canadian provinces, conducted by Yannick Nézet-Séguin.
Prayer (2020) begins with long static notes intoned by the lower instruments of the string, woodwind, and brass sections. Gradually, they—and as other instruments join in—unveil the main theme that is the inspiration and basis for the work: the chant melody “O pastor animarum” (“O Shepherd of our souls”) by 12th century composer Hildegard of Bingen, whom Fung calls her “composer heroine.” The original text is as follows:
O Shepherd of our souls, O primal voice, whose call created all of us;
Now hear our plea to thee, to thee, and deign to free us from our miseries and feebleness.
As the chant unfolds, rapidly oscillating motives are added to the texture, creating a shimmering effect. They gradually amass into a subtly vibrating entity that swells and subsides, like a sigh. The woodwinds and strings then take up an ascending motive, which becomes the backdrop to a brass chorale with the chant theme. A full orchestral scale leads to a massive climax, a mass plea, after which the strings release an anguished cry. Prayer concludes with final statements of the chant’s opening notes, subdued but hopeful.
Program notes by Dr. Hannah Chan-Hartley
Ninaivanjali
Gabriel Dharmoo’s Ninaivanjali was originally composed in 2012 for 10 instruments, but the version performed tonight is for orchestra, which was completed in 2015. As Dharmoo explains, the title of the work is “a Tamil expression meaning ‘In memory of’, used to pay tribute after someone’s death. This piece is dedicated to ghatam virtuoso N. Govindarajan, my Indian rhythm teacher, who passed away in May 2012. In addition to being an excellent teacher, fully devoted to sharing his knowledge, Govind was an endearing and admirable man, full of goodness and joie de vivre.”
For Ninaivanjali, Dharmoo notes, “I was inspired by the three main sound sources of South Indian Carnatic music: melody—flexible, sophisticated, and ornate; rhythm—complex and subdivided; and drone—stable harmonic reference point in the background.” Throughout the work, these elements are combined, often playfully, with various techniques and avant-garde sound effects of contemporary Western art music.
Dharmoo is particularly fascinated by the expressive qualities of melody, and all of those in Ninaivanjali, he explains, “with the exception of the last, are freely inspired from the behaviour of the lines in Carnatic music. The final melody is directly based on the section in Sree raga from Patnam Subramaniam Iyer’s Navaragamalika, a work that has marked my last trip to India in 2011.” On the same trip, he also learned many rhythmic formulas from his teacher Govind, to whom he pays homage by creating “rhythmic drones” built on these patterns in camouflage, to form the backdrop for the melodies of Ninaivanjali.
Program notes by Dr. Hannah Chan-Hartley
Symphony No. 4
I. Andante sostenuto – Moderato con anima
II. Andante in modo di canzona
III. Scherzo: Pizzicato ostinato
IV. Finale: Allegro con fuoco
Tchaikovsky composed his Fourth Symphony in 1877, amidst a major turning point in his life. The movements were sketched in May and June, but their completion was interrupted by his disastrous marriage to Antonina Milyukova; the composer, who was homosexual, suffered a nervous breakdown. He eventually emerged out of the crisis, no doubt helped by Nadezhda von Meck, an extremely wealthy widow and an enthusiast for Tchaikovsky’s music, who began to provide him with an annual allowance that enabled him to focus entirely on composing without financial concerns. Under this arrangement, Tchaikovsky completed his Symphony No. 4 in January 1878.
The work follows an emotional journey of “darkness to light” or “victory over struggle”, not unlike Beethoven’s Symphony No. 5; indeed, Tchaikovsky admitted, in a letter to composer Sergei Taneyev, that his Fourth was obviously “a reflection” of Beethoven’s C minor symphony. It opens with an ominous brass fanfare (“Fate”, as Tchaikovsky described it to von Meck), which becomes a recurring “motto” in the work. Notably, in the first movement, it returns dramatically at key moments; listen throughout for its brutal intrusion, just when the music seems to become more optimistic and overcome its nervous anxiety. The second movement begins as if resigned over what has come before—a melancholy melody first presented by the oboe. But all does not seem to be lost, as a hopeful new theme in the middle section develops into a passionate orchestral outpouring.
The Scherzo, plucked entirely by the strings, offers a playful respite. It frames a central Trio, featuring an elegant dance for the woodwinds that becomes awkwardly fast when it is humorously interrupted by the brass playing the Scherzo’s theme as a march. The finale starts with a full-orchestra crash (cymbals and bass drum included!); a running whoosh of a theme follows, and then a naïve though somewhat sombre tune, based on the Russian folksong “In the field a little birch tree stood”. Alternating with returns of the first theme, the folk tune is developed in extended episodes, the second of which breaks into the menacing motto fanfare of the first movement. This time, however, it poses no more threat, and the symphony rushes, unfettered, to an exuberant close.
Program notes by Dr. Hannah Chan-Hartley
Artists
Since its debut in 1969, the National Arts Centre (NAC) Orchestra has been praised for the passion and clarity of its performances, its visionary educational programs, and its prominent role in nurturing Canadian creativity. Under the leadership of Music Director Alexander Shelley, the NAC Orchestra reflects the fabric and values of Canada, reaching and representing the diverse communities we live in with daring programming, powerful storytelling, inspiring artistry, and innovative partnerships.
Alexander Shelley began his tenure as Music Director in 2015, following Pinchas Zukerman’s 16 seasons at the helm. Principal Associate Conductor of the Royal Philharmonic Orchestra, and former Chief Conductor of the Nuremberg Symphony Orchestra (2009–2017), he has been in demand around the world, conducting the Rotterdam Philharmonic, DSO Berlin, Leipzig Gewandhaus, and Stockholm Philharmonic, among others, and maintains a regular relationship with the Deutsche Kammerphilharmonie and the German National Youth Orchestra.
Each season, the NAC Orchestra features world-class artists such as the newly appointed Artist-in-Residence James Ehnes, Angela Hewitt, Joshua Bell, Xian Zhang, Gabriela Montero, Stewart Goodyear, Jan Lisiecki, and Principal Guest Conductor John Storgårds. As one of the most accessible, inclusive, and collaborative orchestras in the world, the NAC Orchestra uses music as a universal language to communicate the deepest of human emotions and connect people through shared experiences.
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Alexander Shelley succeeded Pinchas Zukerman as Music Director of Canada’s NAC Orchestra in September 2015. The ensemble has since been praised as being “transformed... hungry, bold, and unleashed” (Ottawa Citizen) and Shelley’s programming credited for turning the orchestra into “one of the more audacious in North America” (Maclean’s).
Shelley is a champion of Canadian creation; recent hallmarks include the multimedia projects Life Reflected and UNDISRUPTED,and three major new ballets in partnership with NAC Dance for Encount3rs. He is passionate about arts education and nurturing the next generation of musicians. He is an Ambassador for Ottawa’s OrKidstra, a charitable social development program that teaches children life skills through making music together.
Alexander Shelley is also the Principal Associate Conductor of London’s Royal Philharmonic Orchestra and, starting with the 2024–2025 season, Artistic and Music Director of Artis-Naples and the Naples Philharmonic in Florida, USA. In the spring of 2019, he led the NAC Orchestra on its critically acclaimed 50th Anniversary European tour, and in 2017, he led the Orchestra in a tour across Canada, celebrating Canada’s 150th anniversary. Most recently, he led the Orchestra in its first performance at New York’s Carnegie Hall in 30 years.
He has made eight recordings with the NAC Orchestra, including the JUNO-nominated New Worlds, Life Reflected, ENCOUNT3RS, The Bounds of Our Dreams, and the acclaimed Clara, Robert, Johannes four-album series, all with Canadian label Analekta.
The Music Director role is supported by Elinor Gill Ratcliffe, C.M., O.N.L., LL.D. (hc)
Following three successful seasons (1996-1999) as Acting Principal Trumpet of the National Arts Centre Orchestra, Karen Donnelly was unanimously appointed Principal Trumpet in October 1999, and continues to enjoy each year with this wonderful ensemble.
A native of Regina, Saskatchewan, Karen picked up a trumpet for the first time in her elementary school band program and she was hooked. Her formal training includes a Bachelor of Arts in Music program at the University of Regina and later a Master's of Music from McGill University.
Karen held the position of Principal Trumpet with Orchestra London (Canada) from 1994-1996, and performed with many ensembles in southwestern Ontario during her time there.
Since she burst on the Ottawa scene in 1996, Ms. Donnelly has done concerts and interviews for CBC (French and English), performances with the Ottawa Chamber Music Festival, Rideau Lakes Brass Quintet, and the large ensemble, Capital BrassWorks. In 2008, Capital Brass Works released its third album, Gabriel’s Sister featuring Ms. Donnelly as soloist.
Karen has been featured with professional orchestras, community amateur orchestras, and many local school bands. These include the National Arts Centre Orchestra, Thirteen Strings Chamber Orchestra, Kington Symphony, Saskatoon Symphony Orchestra, Orchestra London, Hannaford Silver Street Band, Maple Leaf Brass Band, Parkdale Orchestra and the Regina Catholic Schools Honour Band.
Music education has always been, and continues to be, very close to Karen’s heart. Her work with the Rideau Lakes Brass Quintet and Capital BrassWorks creates opportunities for educational concerts and workshops in schools. Through the NAC Music Education programs, Karen has given master classes in Switzerland, Mexico, China, United States, United Kingdom and Canada from coast to coast. Ms. Donnelly joined the teaching staff at the University of Ottawa in 2002, and since 2009, Karen has been assisting with the Leadingnote OrKidstra program.
Studio de musique ancienne de Montréal, choir
Founded in 1974 by Christopher Jackson, Réjean Poirier, and Hélène Dugal, the mission of the Studio de musique ancienne de Montréal (SMAM) is to perform sacred and secular early music, with a particular focus on choral works composed before 1750, to share the vitality, sensuality, and emotional depth of early music. Directed by Andrew McAnerney since 2015, SMAM is composed of 12 to 18 singers chosen for the remarkable clarity and purity of their voices. For over half a century, SMAM has produced a remarkable discography. Its new recording L’Homme armé is devoted to the early masters of Franco-Flemish polyphony, and was released on the ATMA Classique label (February 2021).
Choir roster: Studio de musique ancienne de Montréal
Soprano 1
Stephanie Manias*
Megan Chartrand
Soprano 2
Marie Magistry
Geneviève Gates-Panneton
Alto 1
Marie-Andrée Mathieu
Alexandra Asher
Alto 2
Josée Lalonde*
Elizabeth Ekholm
Tenor 1
Michiel Schrey*
Kerry Bursey
Tenor 2
Jean-Sébastien Allaire
Justin Jaela
Bass 1
Normand Richard*
Alain Duguay
Bass 2
John Giffen
François-Nicolas Guertin
*Chorus soloist
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Official Car of the NAC Orchestra
