≈ 90 minutes · No intermission
Last updated: September 2, 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
Canada’s National Arts Centre (NAC) Orchestra is praised for the passion and clarity of its performances, its visionary learning and engagement programs, and its unwavering support of Canadian creativity. The NAC Orchestra is based in Ottawa, Canada’s national capital, and has grown into one of the country’s most acclaimed and dynamic ensembles since its founding in 1969. Under the leadership of Music Director Alexander Shelley, the NAC Orchestra reflects the fabric and values of Canada, engaging communities from coast to coast to coast through inclusive programming, compelling storytelling, and innovative partnerships.
Since taking the helm in 2015, Shelley has shaped the Orchestra’s artistic vision, building on the legacy of his predecessor, Pinchas Zukerman, who led the ensemble for 16 seasons. Shelley’s influence extends beyond the NAC. He serves as Principal Associate Conductor of the Royal Philharmonic Orchestra in the U.K. and Artistic and Music Director of Artis—Naples and the Naples Philharmonic in the U.S. Shelley’s leadership is complemented by Principal Guest Conductor John Storgårds and Principal Youth Conductor Daniel Bartholomew-Poyser. In 2024, the Orchestra marked a new chapter with the appointment of Henry Kennedy as its first-ever Resident Conductor.
The Orchestra has a rich history of partnerships with renowned artists such as James Ehnes, Angela Hewitt, Renée Fleming, Hilary Hahn, Jeremy Dutcher, Jan Lisiecki, Ray Chen, and Yeol Eum Son, underscoring its reputation as a destination for world-class talent. 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.
A hallmark of the NAC Orchestra is its national and international tours. The Orchestra has performed concerts in every Canadian province and territory and earned frequent invitations to perform abroad. These tours spotlight Canadian composers and artists, bringing their voices to stages across North America, the United Kingdom, Europe, and Asia.
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“A natural communicator, both on and off the podium” (The Telegraph), Alexander Shelley performs across six continents with the world’s finest orchestras and soloists.
With a conducting technique described as “immaculate” (Yorkshire Post) and a “precision, distinction and beauty of gesture not seen since Lorin Maazel” (Le Devoir), Shelley is known for the clarity and integrity of his interpretations and the creativity and vision of his programming. To date, he has spearheaded over 40 major world premieres, highly praised cycles of Beethoven, Schumann and Brahms symphonies, operas, ballets, and innovative multi-media productions.
Since 2015, he has served as Music Director of Canada’s National Arts Centre Orchestra and Principal Associate Conductor of London’s Royal Philharmonic Orchestra. In April 2023, he was appointed Artistic and Music Director of Artis–Naples in Florida, providing artistic leadership for the Naples Philharmonic and the entire multidisciplinary arts organization. The 2024-2025 season is Shelley’s inaugural season in this position.
In addition to his other conducting roles, the Pacific Symphony in Los Angeles’s Orange County announced Shelley’s appointment as its next Artistic and Music Director. The initial five-year term begins in the 2026-2027 season, with Shelley serving as Music Director-Designate from September 2025.
Additional 2024-2025 season highlights include performances with the City of Birmingham Symphony Orchestra, the Colorado Symphony, the Warsaw Philharmonic, the Seattle Symphony, the Chicago Civic Orchestra, and the National Symphony of Ireland. Shelley is a regular guest with some of the finest orchestras of Europe, the Americas, Asia, and Australasia, including Leipzig’s Gewandhaus Orchestra, the Konzerthausorchester Berlin, the Orchestre de la Suisse Romande, the Helsinki, Hong Kong, Luxembourg, Malaysian, Oslo, Rotterdam and Stockholm philharmonic orchestras, and the Sao Paulo, Houston, Seattle, Baltimore, Indianapolis, Montreal, Toronto, Munich, Singapore, Melbourne, Sydney, and New Zealand symphony orchestras.
In September 2015, Shelley succeeded Pinchas Zukerman as Music Director of Canada’s National Arts Centre Orchestra, the youngest in its history. The ensemble has since been praised as “an orchestra transformed ... hungry, bold, and unleashed” (Ottawa Citizen), and his programming is credited for turning the orchestra “almost overnight ... into one of the more audacious orchestras in North America” (Maclean’s). Together, they have undertaken major tours of Canada, Europe, and Carnegie Hall, where they premiered Philip Glass’s Symphony No. 13.
They have commissioned ground-breaking projects such as Life Reflected and Encount3rs, released multiple JUNO-nominated albums and, most recently, responded to the pandemic and social justice issues of the era with the NACO Live and Undisrupted video series.
In August 2017, Shelley concluded his eight-year tenure as Chief Conductor of the Nurnberger Symphoniker, a period hailed by press and audiences alike as a golden era for the orchestra.
Shelley’s operatic engagements have included The Merry Widow and Gounod’s Romeo and Juliet (Royal Danish Opera), La bohème (Opera Lyra/National Arts Centre), Louis Riel (Canadian Opera Company/National Arts Centre), lolanta (Deutsche Kammerphilharmonie Bremen), Così fan tutte (Opera National de Montpellier), The Marriage of Figaro (Opera North), Tosca (Innsbruck), and both Le nozze di Figaro and Don Giovanni in semi-staged productions at the NAC.
Winner of the ECHO Music Prize and the Deutsche Grunderpreis, Shelley was conferred with the Cross of the Federal Order of Merit by German President Frank-Walter Steinmeier in April 2023 in recognition of his services to music and culture.
Through his work as Founder and Artistic Director of the Schumann Camerata and their pioneering “440Hz” series in Dusseldorf, as founding Artistic Director of the Deutsche Kammerphilharmonie Bremen’s “Zukunftslabor” and through his regular tours leading Germany’s National Youth Orchestra, inspiring future generations of classical musicians and listeners has always been central to Shelley’s work.
He regularly gives informed and passionate pre- and post-concert talks on his programs, as well as numerous interviews and podcasts on the role of classical music in society. In Nuremberg alone, over nine years, he hosted over half a million people at the annual Klassik Open Air concert, Europe’s largest classical music event.
Born in London in October 1979 to celebrated concert pianists, Shelley studied cello and conducting in Germany and first gained widespread attention when he was unanimously awarded first prize at the 2005 Leeds Conductors’ Competition, with the press describing him as “the most exciting and gifted young conductor to have taken this highly prestigious award.”
The Music Director role is supported by Elinor Gill Ratcliffe, C.M., ONL, LL.D. (hc).
Karen Donnelly was unanimously appointed Principal Trumpet of Canada’s National Arts Centre Orchestra in October 1999, following three successful seasons (1996-1999) as acting principal trumpet and continues to enjoy each year with this wonderful ensemble.
Before joining the NAC Orchestra, Karen was a freelancer in Montreal, where she performed with most ensembles in the area, including the Orchestre symphonique de Montréal. Karen was the principal trumpet with Orchestra London (Canada) from 1994 to 1996. She has been guest principal trumpet with the Toronto Symphony Orchestra, the St. Louis Symphony Orchestra, Les Violons du Roy, the Calgary Philharmonic Orchestra, and the Vancouver Symphony Orchestra, and currently enjoys playing Associate Principal Trumpet with the Sun Valley Music Festival Orchestra.
Karen has been a featured soloist with many professional and community-based groups. These include the NAC Orchestra, Thirteen Strings, the Kingston Symphony, the Saskatoon Symphony Orchestra, Orchestra London, the McGill Symphony Orchestra, the Hannaford Silver Street Band, the National Honour Band of Canada, the Parkdale Orchestra, the University of Regina Wind Ensemble, and many high school bands in the region.
In 2019, Karen spearheaded a new initiative, the Canadian Women’s Brass Collective, to shine a light on female brass players and provide visibility and mentoring for all students.
Music education has always been very close to Karen’s heart. Her work with the True North Brass Quintet creates opportunities for educational concerts and workshops in schools. Through the NAC’s learning and engagement programs, Karen has given masterclasses in Switzerland, Mexico, China, the United States, the United Kingdom, Sweden, and Canada.
Karen joined the teaching staff at the University of Ottawa in 2002, and she is an honorary teaching artist and mentor for the OrKidstra program, providing music to kids in equity-deserving communities in Ottawa.
Karen studied at the University of Regina and McGill University, where she completed a Master of Music. She wouldn’t be a musician, however, without her school band program in her hometown of Regina, Saskatchewan.
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).
Studio de musique ancienne de Montréal Choir Roster
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
International Alliance of Theatrical Stage Employees