La Vida Breve

La vida breve (Spanish Life is Short or The Brief Life) is an opera in two acts and four scenes by Manuel de Falla to an original Spanish libretto by Carlos Fernández-Shaw. Local (Andalusian) dialect is used. It was written between August 1904 and March 1905, but not produced until 1913. The first performance was given (in a French translation by Paul Millet) at the Casino Municipal in Nice on 1 April 1913. Paris and Madrid performances followed, later in 1913 and in 1914 respectively. Claude Debussy played a major role in influencing Falla to transform it from the number opera it was at its Nice premiere to an opera with a more continuous musical texture and more mature orchestration. This revision was first heard at the Paris premiere at the Opéra-Comique in December 1913, and is the standard version.

Only an hour long, the complete opera is seldom performed today, but its orchestral sections are, especially the act 2 music published as Interlude and Dance, which is popular at concerts of Spanish music. (Fritz Kreisler in 1926 arranged for violin and piano the dance from this pairing under the spurious title Danse espagnole.) Indeed the opera is unusual for having nearly as much instrumental music as vocal: act 1, scene 2 consists entirely of a short symphonic poem (with distant voices) called Intermedio, depicting sunset in Granada; act 2, Scene 1 includes the above-referenced Danza and Interludio, with the latter ending the scene, i.e. in the opposite sequence to the excerpted pairing; and act 2, scene 2 begins with a second and longer Danza (with vocal punctuation).

–  From Wikipedia 

Nights in the Gardens of Spain

MANUEL DE FALLA
NOCHES EN LOS JARDINS DE ESPAÑA                                                                 
NIGHTS IN THE GARDENS OF SPAIN
1876-1946

While composers of all periods of Western music have at times made use of popular or folk tunes in their music, the Spaniards seemed obsessed with the practice. The Italian import keyboard composer, Domenico Scarlatti (1685-1750), set the fashion for incorporating “street music” into his sonatas for the brilliant harpsichordist, Queen Maria Barbara. The practice continues to this day.

Born in Cadiz, Manuel de Falla received his first music lessons from his mother. He studied piano and composition in Madrid, where he became interested in Spanish music, especially Andalusian flamenco. But he realized early on that he was not good enough to make a career as pianist, and the symphonic institutions in Spain were too limited to make a living as a classical composer. In 1907, he left Spain in order to achieve international exposure for his music, settling in Paris where he came under the influence of Paul Dukas, Claude Debussy and Maurice Ravel. His music, however, even during the height of the French influence, remained solidly Spanish in style. With the outbreak of World War I, he returned to his native country.

A deeply religious – almost fanatic – Catholic, de Falla expressed his faith in a magnum opus, Atlántida, an epic based on what he regarded as the holy mission of his boyhood hero Christopher Columbus. The cantata, in which the Spanish nation, rising from the ruins of Atlantis, goes forth under the banner of Christ to the New World, remained incomplete at de Falla’s death. He actually submitted parts of it to Church authorities for approval.

De Falla began Noches en los Jardins de España in 1909 in Paris as a set of three nocturnes for piano. But friends, and especially the pianist Ricardo Viñes, advised him to transform it into a work for piano and orchestra. Instead, the composer put the work aside and did not return to it until 1915, after his return to Spain. He described the work as “Symphonic impressions,” insisting that it was not a piano concerto, and that the piano was an integral part of the orchestral fabric. Originally de Falla planned a fourth movement, based on a tango rhythm, but that movement ended up as the “Pantomime” movement of El amor brujo.

Nights is a purely atmospheric work, at times almost hypnotic in its simple melodies and understated orchestration. The first movement En el Generalife, describes the famous Palace garden of the Generalife (from the Arabic Jannat al-‘Arif – Architect’s Garden) on the Alhambra hill in Granada. It opens with what sounds like an accompaniment, but is actually the main theme that recalls Debussy. The theme has a Moorish flavor, first heard as if played on a guitar; the strings imitate the strumming sound, while the piano part is often a single line avoiding chords.

In the second movement, Danza lejana (Distant Dance), once again the themes are brief and simple, the rhythm and harmonies evoking the Flamenco style. The dance gradually increases in volume and tempo before receding again into the distance. The piano leads without interruption into the third movement, En los jardines de la Sierra de Córdoba (The gardens of the Sierra Cordoba mountains). In the middle, the piano takes the role of the singer of cante jondo, a vocal Flamenco style in which a florid melody in the high treble sings over a throbbing bass. The movement begins energetically but slows to a brooding conclusion.

Program notes by:
Joseph & Elizabeth Kahn
Wordpros@mindspring.com
www.wordprosmusic.com

Manuel de Falla

Manuel de Falla, (born November 23, 1876, Cádiz, Spain—died November 14, 1946, Alta Gracia, Argentina), was the most distinguished Spanish composer of the early 20th century. In his music, he achieved a fusion of poetry, asceticism, and ardour that represents the spirit of Spain at its purest.

Falla took piano lessons from his mother and later went to Madrid to continue studying piano under José Tragó and to study composition with Felipe Pedrell. Pedrell inspired Falla with his own enthusiasm for 16th-century Spanish church music, folk music, and native opera, or zarzuela. In 1905 Falla won two prizes, one for piano playing and the other for a national opera, La vida breve (first performed in Nice, France, 1913).

Zarazuelas are is a Spanish lyric-dramatic genre that alternates between spoken and sung scenes, the latter incorporating operatic and popular songs, as well as dance.

Falla moved to Paris in 1907, where he remained for seven years. There he met a number of composers who had an influence on his style, including Maurice Ravel, Claude Debussy, and Paul Dukas, as well as Igor Stravinsky. From Paris, he published his first piano pieces and songs. In 1914 he returned to Madrid, where he wrote the music for a ballet, El amor brujo (Love, the Magician; Madrid, 1915), remarkable for its distillation of Andalusian folk music. Falla followed this with El corregidor y la molinera (Madrid, 1917), which Diaghilev persuaded him to rescore for a ballet by Léonide Massine called El sombrero de tres picos (The Three-Cornered Hat; London, 1919). Noches en los jardines de España (Nights in the Gardens of Spain; Madrid, 1916), a suite of three impressions for piano and orchestra, evoked the Andalusian atmosphere through erotic and suggestive orchestration. All these works established Falla internationally as the leading Spanish composer.

Falla then retired to Granada, where in 1922 he organized a cante hondo festival and composed a puppet opera, El retablo de Maese Pedro. Like the subsequent Harpsichord Concerto (1926), containing echoes of Domenico Scarlatti, the Retablo shows Falla much influenced by Igor Stravinsky. Falla’s style was then Neoclassical instead of Romantic, still essentially Spanish, but Castilian rather than Andalusian.

Also in Granada, de Falla began work on the large-scale orchestral cantata Atlàntida (Atlantis) based on the Catalan text L’Atlàntida by Jacint Verdaguer, which he considered to be the most important of all his works. Verdaguer’s text gives a mythological account of how the submersion of Atlantis created the Atlantic ocean, thus separating Spain and Latin America, and how later the Spanish discovery of America reunited what had always belonged together. De Falla continued work on the cantata after moving to Argentina in 1939. The orchestration of the piece remained incomplete at his death and was completed posthumously by Ernesto Halffter.

De Falla tried but failed to prevent the murder of his close friend the poet Federico García Lorca in 1936. Following Francisco Franco’s victory in the Spanish Civil War, de Falla left Spain for Argentina. He died in Alta Gracia, in the Argentine province of Córdoba. In 1947 his remains were brought back to Spain and entombed in the cathedral at Cádiz. One of the lasting honors to his memory is the Manuel de Falla Chair of Music in the Faculty of Philosophy and Letters at Complutense University of Madrid.

“Sing Choir of Angels” by Saskatoon Children’s Choir

Saskatoon Children’s Choir presents their annual Christmas concert “Sing Choirs of Angels” on November 25 and 26, 2022 at 7:30 PM at Knox United Church.

Tickets are available at tickets.saskatoonchildrenschoir.org and at the door, $36 and $21 (limited sight-lines), plus online fees. Reserved seating.

When children sing beautifully, it speaks directly to the soul. The Saskatoon Children’s Choir has developed an international reputation for artistic excellence, creative performances and their commitment to initiatives that promote global understanding. Appearing on choral stages across Canada, in Europe, South Africa, the United Kingdom, Ireland and Asia, they return to the stage this month to perform their annual Christmas concert: Sing Choirs of Angels. Join us for an evening of choral repertoire that promises to inspire joy and offer hope.

Kevin Power

It began with a childhood dream growing up in Nova Scotia.  At the age of 18 months, Kevin’s first teacher was his mom.

Since then, he has gone on to an International career appearing in blockbuster Broadway musicals, film, television, jazz, new operatic works, and in concert with some of the best orchestras playing today.  Kevin has received critical acclaim from the Times of London, to Opera Canada and more.

He holds a Bachelor of Music degree in composition & performance and is a published composer and playwright.

Equally rewarding has been the chance to adjudicate thousands of young hopeful singer across Canada in music festivals and provincial competitions for 20 years. For Kevin, it has been a chance to pass on the wisdom handed down from teachers, directors, and mentors with whom he has worked throughout his career. An opportunity to witness the young creative spirit grow.

Kevin is also the producer and host of the podcast series SaskScapes which is downloaded around the world every day has been featured on CBC national radio, and CBC Saskatchewan.

Find out more on Kevin’s website.

Armand Birk, conductor

Armand Birk is a Bachelor of Music graduate from the University of Alberta, where he studied voice with Elizabeth Turnbull and Shannon Hiebert. Originally from Victoria, Armand’s initial experience as a musician was as a bassist for jazz and folk bands. Originally unable to read music and following a Bachelor of Science program, it was not until he began his vocal studies with Laurier Fagnan at Campus Saint-Jean in 2014 that he found his love and passion for classical music and conducting. As a chorister Armand has performed internationally in some of North America’s great concert halls such as the National Arts Centre and Carnegie Hall.

Recently named an RBC Emerging Conductor by the Winnipeg Symphony Orchestra, Armand is currently pursuing a career in orchestral conducting and recently began his graduate studies at the University of British Columbia. His primary teachers and mentors have been Petar Dundjerski and his current teacher Jonathan Girard. He has also had the privilege of studying with Yoav Talmi, Daniel Raiskin, Michael Massey, Leonard Ratzlaff, and Angela Schroeder. Armand has had the privilege of conducting in many of Canada’s great concert halls such as the Winspear Centre for the Arts, the Chan Centre for the Performing Arts, The Centennial Concert Hall, and the Domaine Forget concert hall. In July 2022, Armand was a conducting fellow at the Domaine Forget de Charlesvoix where he had the honour of learning from Yannick Nézet-Séguin and Thomas Rösner in masterclasses with the Orchestre Symphonique de Québec (OSQ) and the Orchestre Métropolitain. Armand was also one of the few chosen to lead the OSQ in a performance during the festival. Armand is currently the Assistant Conductor of the UBC Symphony Orchestra and UBC Opera.

Armand’s current and past work is varied including engagements with the UBC Symphony Orchestra, the UBC Opera, the Winnipeg Symphony Orchestra, the UofA Symphony Orchestra, the Edmonton Youth Orchestra, the UofA Opera, Contempo New Music Ensemble, and various choirs. In 2019, Armand founded a pre-professional chamber orchestra in Edmonton, the River City Chamber Orchestra, whose goal is to offer unique opportunities to budding young musicians. With an exciting and innovative approach to programming, Armand has developed inter-disciplinary performances that showcase live painting, dance, and poetry that have helped connect audiences with a wide variety of repertoire from Vivaldi to Schoenberg. Formerly the Artistic Director of the Centre d’arts visuels de l’Alberta, Armand’s passion for the arts knows no bounds and is dedicated to combining various art forms in innovative ways.

Armand believes that even a single performance has the possibility change someone’s life and has devoted his life to creating life-changing performances. This is Armand’s first time performing with the Saskatoon Symphony Orchestra, and he is excited to share this scary, spooktacular, and exciting program with you!

 

 

History of Halloween

Every year on October 31st we put on fun costumes and get our fill of Halloween candy. But how did it all begin?

The ancient Celts celebrated their new year on November 1st. They marked the end of harvest, and their new year’s eve with a festival called Samhain.

Believing that the boundary between the worlds of the living and the dead were blurred, on October 31st the Celtic people would commemorate this event with huge sacred bonfires. They would burn sacrifices to ehrie Celtic deities, wore costumes, and tried to predict each other’s futures.

Fastforward to 40 AD and the majority Celts have been conquered by the Roman Empire. Over time there was a blending of Celtic and Roman festivals including Feralia, a day in late October when the Romans traditionally commemorated the passing of the dead, and the day to honour Pomona, the Roman goddess of fruit and trees. Perhaps this is why we bob for apples?

By the 9th century christianity had spread amonst Celtic lands and blended with older Celtic rights. Christians celebrated All Souls’ Day, potentially in an attempt to replace Samhain and other non christian celebrations with a church approved holiday. The All Saints day was also known as All-Hallows or All-hallowmans, and the night before as All-Hallows Eve, which ultimately became Halloween.

As settlers moved to North America, they brought their Halloween traditions from all over europe. People started handing out candy in exchange for not being tricked, and the day became more secular and community focused.

These days Halloween is filled with fun costumes, tiny candies, and themed concerts!

We hope you have a wonderful, and fun filled Halloween!

Linsey Levendall

Our program cover art was created by Linsey Levendall

Linsey is a self-developed multidisciplinary creative originally from the Cape Flats of Cape Town, South Africa but now living with his wife and two dogs in a small town in rural Saskatchewan, Canada.

He works closely withThe Black Heart Gang and Shy The Sun as a conceptual designer on groundbreaking animation for both the local and international market. He also makes up one half of the duo Bison.

In his spare time, Linsey compulsively illustrates in various mediums for both business (on freelance projects) and pleasure. He says his intricately executed and seemingly disturbing work is driven by a need to be in sync with his subconscious thoughts and dreams. Linsey defines his work as being engaging decadence, mildly trippy and takes great joy in entertaining the viewer with obscure controlled chaotic worlds and strangely interesting and complex characters.

While his skill lies in his versatility and ability to adapt to various styles, he finds himself mostly drawn to Cubism, Surrealism and Pop Surrealism. In his work he aims to stay open to evolving and preserving unconventional thinking.

See more of Linsey’s work by following him on instagram. @linsey_levendall

Caroline Shaw, composer

Caroline Shaw is a musician who moves among roles, genres, and mediums, trying to imagine a world of sound that has never been heard before but has always existed. She works often in collaboration with others, as producer, composer, violinist, and vocalist.

Caroline is the recipient of the 2013 Pulitzer Prize in Music, several Grammy awards, an honorary doctorate from Yale, and a Thomas J. Watson Fellowship.

This year’s projects include the score to “Fleishman is in Trouble” (FX/Hulu), vocal work with Rosalía (MOTOMAMI), the score to Josephine Decker’s “The Sky Is Everywhere” (A24/Apple), music for the National Theatre’s production of “The Crucible” (dir. Lyndsey Turner), Justin Peck’s “Partita” with NY City Ballet, a new stage work “LIFE” (Gandini Juggling/Merce Cunningham Trust), the premiere of “Microfictions Vol. 3” for NY Philharmonic and Roomful of Teeth, a live orchestral score for Wu Tsang’s silent film “Moby Dick” co-composed with Andrew Yee, two albums on Nonesuch (“Evergreen” and “The Blue Hour”), the score for Helen Simoneau’s dance work “Delicate Power”, tours of Graveyards & Gardens (co-created immersive theatrical work with Vanessa Goodman), and tours with So Percussion featuring songs from “Let The Soil Play Its Simple Part” (Nonesuch), amid occasional chamber music appearances as violist (Chamber Music Society of Minnesota, La Jolla Music Society).

Caroline has written over 100 works in the last decade, for Anne Sofie von Otter, Davóne Tines, Yo Yo Ma, Renée Fleming, Dawn Upshaw, LA Phil, Philharmonia Baroque, Seattle Symphony, Cincinnati Symphony, Aizuri Quartet, The Crossing, Dover Quartet, Calidore Quartet, Brooklyn Rider, Miro Quartet, I Giardini, Ars Nova Copenhagen, Ariadne Greif, Brooklyn Youth Chorus, Britt Festival, and the Vail Dance Festival. She has produced for Rosalía, Nas, and Kanye West.

Her work as vocalist or composer has appeared in several films, tv series, and podcasts including The Humans, Bombshell, Yellowjackets, Maid, Dark, Beyonce’s Homecoming, Tár, Dolly Parton’s America, and More Perfect. Her favorite color is yellow, and her favorite smell is rosemary.

Evelin Ramón, composer

Ramón was born in Cuba and finished her doctoral studies in composition at l’Université de Montréal. She studied under the direction of composer Pierre Michaud.

She has had the honor of seeing her music played in Canada by famous ensembles like the Ensemble Transmission, Le Nouvel Ensemble Moderne, and UltraViolet Ensemble. Plus orchestras including the University of Montreal Symphonic Orchestra, as well as in Spain, Germany, Venezuela, France, Denmark, Colombie, Chile, Mexique, and Cuba.

She has presented her music as a performer and composer in Paris, Denmark, Canada, Cuba, and Mexico.

Ramón’s current work focuses on musical production, taking Cuban and Afro-Cuban music as the main inspiration and mixing it with electronic music.