Canadian sentiments
programme notes
SUNDAY AUGUST 17: COUNTING FOR CANADA (7:30PM)
Dmitri Shostakovich (1906-1975)
String Quartet No. 8 in C Minor, Op. 110
In the summer of 1960, Dmitri Shostakovich traveled to Dresden to work on a film score and was moved by the city’s devastation from the 1945 Allied firebombing. In just three days, from July 12-14 1960, he composed his Eighth String Quartet, inscribed “In memory of victims of fascism and war.” The quartet is known for its somber, intense tone, featuring a wide range of emotional expression—from mournful melodies to moments of anguish. It heavily quotes from Shostakovich’s earlier works, creating a layered, self-referential texture. The motif DSCH (D-E♭-C-B in German notation) is prominent, serving as a musical signature and a symbol of the composer’s identity, leading many to interpret it as autobiographical. This interpretation gained traction with the publication of Testimony, a controversial book attributed to Shostakovich through the journalist Solomon Volkov, which provided a different dedication: “Dedicated to the memory of the composer of this quartet”. The work remains one of classical music’s most powerful tomes of all time.
David Braid (1975)
Liminal Bells (2024)
Prior to writing this piece, a string of misfortunes imposed on me several months of emergency construction work. Although a frustrating setback for my musical activities, at least I was working outdoors atop a scaffold above a coastal town in Northern Portugal.
Having no time for music felt like a slow starvation for my inner musical explorer, so after a few weeks, I began to notice how my construction tools began to sound musical while resonating with their own pitches and rhythms. Moreover, the vibrant culture of the town became its own little symphony around me, especially during frequent weekend “processãos”. These slow, religious processions on cobblestone streets adorned in rose petals, are accompanied by old melodies and drumming patterns. At their conclusion, church bells ring from every direction, in every rhythm and in every key, creating a compelling musical cacophony.
Weekdays offer a different soundscape with church bells marking the workday every 15 minutes, screeching seagulls dive-bombing me, and one amateur guitarist singing strange fado while strumming indiscernible chords just below my perch on the scaffolding.
All of these experiences have culminated somewhat in my latest musical offering, "Liminal Bells." In this piece, I've employed a technique known as "prepared piano" to channel the sounds that enveloped me during those months. The unconventional “piano preparation” I used - borrowed from techniques I developed over a decade ago during solo improvised concerts in East Asia - involve inserting bamboo and rubber between some piano strings to evoke resonances of drums and bells. I also incorporate a small piece of plastic as a plectrum, enabling me to play the piano strings like a strange guitar.
Commissioned by Elation Pauls and sponsored in part by the Socan Foundation. In memory of Toshiro Tokunaga (1999-2024).
David Braid (1975)
Five Kazakh Impressions (2022)
"5 Kazakh Impressions," was written to commemorate three decades of diplomatic relations between Canada and Kazakhstan following the dissolution of the USSR. This five-movement piece for the Kazakh State String Quartet is not merely a tribute but a musical dialogue between two distant lands, weaving together cultural motifs and a shared love for the canon of string quartet music.
A Musical Journey Through the Steppe: The opening movement, "Eagle and Sky," takes its inspiration directly from the Kazakh flag, with soaring glissandi and fluid melodic lines that capture the flight and power of the Steppe Eagle, a national symbol of freedom and strength. It's a stately beginning, painting a vivid soundscape of the country's vast skies. This is followed by "Kazakh Horse," a movement that honours the animal so central to the nation’s history. The music here reflects the horse’s significance in nomadic life, embodying its strength and nobility. The third movement, "Vistas," provides a moment of simple themes, a musical sketch of the shared landscapes that can be found in both Kazakhstan and Canada.
Echoes of the Dombra: The final two movements delve into the heart of Kazakh musical tradition, inspired by the versatile dombra, a two-stringed instrument. "Black Dombra," the fourth movement, explores the instrument's darker, percussive qualities, a surprising and rhythmic departure from the preceding movements. The concluding movement, "Bright Dombra," is a brilliant flourish based on a well-known folk melody. It's an imaginative and playful piece, born from a thought experiment: what if Mozart had traveled to Kazakhstan? The result is a spirited blend of Western classical structure and Kazakh musical essence.
For the Kazakh State String Quartet in honour of 30 years of diplomatic relations between Kazakhstan and Canada. Thank you to the Canada Council for the Arts, The Kazakh State String Quartet, The Canadian Embassies in Moscow and Astana, Elina Kulevas, and Alan Hamson, Ambassador of Canada to Kazakhstan.
David Braid (1975)
Semi (2010)
In this melancholy work, "Semi," the title itself becomes a portal to the piece's intricate emotional and rhythmic landscape. Pronounced "Sem-ai," the name alludes to a Turkish 10-beat rhythm that pulses at various times within the composition, giving it a subtle yet persistent undercurrent. When pronounced "Sem-mee," however, the title reveals its more sorrowful meaning: the feeling of defeat or loss. This duality is key to understanding the work's emotional arc.
I weave improvisation into the fabric of the piece, creating three distinct improvisational moments that perhaps mirror a journey through grief. The opening improvisation is a meditation on the initial experience of loss, an introspective and disturbing moment. The second, positioned in the middle, expresses the raw emotional turmoil and torment that accompany grief. The final improvisation, a climactic effort by the piano, attempts to represent a slow and incomplete process of transformation. It's a musical representation of letting go—an act that is only ever partial, never absolute. Through this musical narrative, I attempt to capture the complex, lingering nature of sorrow but with a grace that is both personal and universal.
David Braid (1975)
Great Bear River Blues (2018)
Located in the Sahtu Region of the Northwest Territories, the Great Bear River flows into the Mackenzie River at the hamlet of Tulita (formerly known as Fort Norman).
The core elements of this composition—its harmony, melody, rhythm, and structure—are derived from the geographical data of this waterway. The river’s 113-kilometer length provides the primary melodic motif: "1,1,3," or "Doe-Doe-Mi." Meanwhile, Tulita’s coordinates, 64°54’21” North and 125°36’12” West, create some harmonic and rhythmic building blocks. The piece's shifting energy reflects the river’s unique meandering pattern, and various aerial views of the river are depicted by asymmetrical arpeggios that span the entire keyboard.
Beyond geography, the composition's use of syncopation and forward momentum is also found in the folk music of the local Dene people. This music has historical ties to the Great Bear River region, as "Yatsule," one of the earliest known Dene musicians, was born in Tulita in 1879. Contemporary Dene folk music features "blue notes" (reminiscent of blues vocals), glissandos (continuous slides in pitch), rhythmic syncopation, and a driving pulse. As a composer very familiar with jazz, I found these features compatible and chose to incorporate them, blending aspects of this shared musical language into my piece.
Commissioned by “Ensemble Made in Canada” for the Mosaique Project.
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TUESDAY AUGUST 19: RAUM² (7:00pm)
Felix Mendelssohn (1809-1847) arr. Arne-Christian Pelz
Lied ohne Worte in Eb Major Op. 30 No. 7
Felix Mendelssohn composed his Lied ohne Worte (Song Without Words) in E-flat major, Op. 30 No. 7, as part of a larger collection published in the early 1830s. These pieces were among the first to popularize the genre of short, lyrical piano works intended to express song-like melodies without text. Today, you will hear a cello and piano version arranged by our own Arne-Christian Pelz created in collaboration with choreographer Andreas Heise for the Tokyo Ballet. While an earlier arrangement of this work by Friedrich Grützmacher exists, Pelz chose to transcribe it himself in order to retain the work’s original key and the emotional character of Mendelssohn’s music, even though it is far more challenging to play. The fragile yet dense expressiveness of this work, which speaks volumes without words, leaves space for each listener to respond with their own narrative.
Kelly-Marie Murphy (b. 1964)
FIRE-AND-ICE-BODIED-DOUBLED-UP-WITHDRAWAL-ANXIETY (2023)
I was commissioned by Elation Pauls to write a piece for the SUSTENANCE project. Sustenance means to nourish; something which is needed to live. With my piece, FIRE-AND-ICE-BODIED-DOUBLED-UP-WITHDRAWAL-ANXIETY, I wanted to explore what happens when we go too far with what we consider necessary for existence. We are a society addicted to things (like smart phones) as well as substances and even people. When these elements are removed, we experience sadness, anger and fear that actually affects our ability to sustain ourselves. My piece has two movements. The first explores sadness, distance, and disbelief. The second explores fear.
~ Kelly-Marie Murphy
Elizabeth Raum (b. 1945)
Violin Sonata
Elizabeth Raum is a renowned Canadian oboist and composer whose career spans over 55 years. After beginning as principal oboe with the Atlantic Symphony Orchestra, she joined the Regina Symphony Orchestra, serving as principal oboe until her retirement in 2010. Among her many compositions, her violin sonata stands out as a significant and frequently performed work, praised for its lyrical beauty, emotional depth, and strong connection with performers and audiences alike. We are very fortunate to hear her Violin Sonata performed by her own daughter, Erika Raum. Elizabeth Raum has written six operas and over 90 chamber pieces, with her music performed internationally and admired for its accessibility and stylistic range. Her numerous honors include the Saskatchewan Order of Merit, Queen’s Platinum Jubilee Medal, and several national music awards.
Felix Mendelssohn (1809-1847)
Piano Trio No. 1 in D Minor, Op. 49
Felix Mendelssohn composed his Piano Trio No. 1 in D minor, Op. 49, in 1839, during a highly productive period of his career. This work quickly became one of his most celebrated chamber pieces and helped establish the piano trio as a significant genre in the Romantic era. Mendelssohn wrote the trio while living in Leipzig, a city where he was deeply involved in its musical life as a conductor and educator. The trio was dedicated to the violinist Ferdinand David, Mendelssohn’s close friend and concertmaster of the Leipzig Gewandhaus Orchestra. Its immediate success solidified Mendelssohn’s reputation beyond his well-known symphonies and oratorios, influencing many later composers in their approach to chamber music.
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THURSDAY AUGUST 21: SERENADE FOR SUMMER (7:00PM)
Josef Haydn (1732-1809)
Trio No. 3 in G Major Hob.IV: 3 (from "London Trios")
Joseph Haydn’s Trio No. 3 in G major, Hob. IV:3, is part of a set commonly known as the London Trios, composed during his visits to London in the early 1790s. These works reflect Haydn’s response to the growing popularity of chamber music in England and were written for amateur and professional musicians alike. The London Trios helped establish Haydn’s reputation in England beyond his well-known symphonies and string quartets, showcasing his ability to write accessible yet sophisticated music for smaller ensembles. This trio, along with the others in the set, played a key role in spreading Haydn’s influence and shaping the development of piano trio repertoire in the Classical era.
Eugène-Auguste Ysaÿe (1858-1931)
Sonata for Solo Violin in E Minor Op 27 No. 4
Eugène Ysaÿe composed his Six Solo Violin Sonatas in 1923, each dedicated to a prominent violinist of his time, with Sonata No. 4 honoring the legendary Fritz Kreisler. Written during a period when violin music was evolving rapidly, these sonatas reflect Ysaÿe’s deep understanding of the instrument and his desire to push its technical and expressive boundaries. Sonata No. 4 stands out for its blend of intense virtuosity and elegant lyricism, capturing Kreisler’s unique style. The set as a whole marked a turning point in solo violin repertoire, influencing generations of violinists by combining Romantic expressiveness with emerging modernist elements, and showcasing Ysaÿe’s role as both a performer and innovator.
Sophie Carmen Eckhardt-Gramatté
Duo for Two Violins E108
Dr. Sophie-Carmen Eckhardt-Gramatté (1899–1974) was a Russian-born composer, pianist, and violinist known for her intense, late-Romantic style and technical mastery. Trained in Paris and Berlin, she performed internationally on both violin and piano before turning primarily to composition in the 1930s. Her music, characterized by emotional intensity and complex polyphony, reflects a modern take on post-Wagnerian dissonance. After moving to Winnipeg in 1954, she remained an active composer, received numerous honors—including an honorary doctorate and the Diplôme d'Honneur—and was the subject of a CBC documentary shortly before her death.
This performance features a unique collaboration between the Winnipeg Symphony Orchestra’s past and current concertmasters!
Ernst von Dohnányi (1877-1960)
Serenade in C Major for String Trio Op. 10
Ernst von Dohnányi composed his Serenade in C major for String Trio, Op. 10, in the early 1900s while he was still a young composer and pianist in Budapest. This work reflects the influence of late Romantic and early 20th-century Hungarian musical traditions, blending lyrical melodies with classical forms. The Serenade was one of Dohnányi’s early successes and helped establish his reputation as a composer who balanced rich harmonic language with clear structural design. Written for violin, viola, and cello, the piece showcases Dohnányi’s skill in chamber music and his ability to create intimate, expressive dialogue among the instruments, setting the stage for his later, larger-scale compositions.
