SUMMER ROSES

With Guest Conductor Martin MacDonald* and soloists Joël Cormier, Marimba, Christie Goodwin, English horn and Karin Aurell, Flute

George Paul, (arr Andrew Creeggan): Mi’kmaq Honour Song, Emmanuel Séjourné: Concerto for Marimba and Strings, Solo Marimba: Joël Cormier, Arthur Honegger: Concerto da Camera, H 196 for English horn, Flute and Strings: Solo English horn, Christie Goodwin; Solo Flute, Karin Aurell W. A. Mozart: Symphony # 29 in A Major K 201

October 2, 2020, 7:30 pm
Imperial Theatre, Saint John

October 3, 2020, 7:30pm
The Playhouse, Fredericton

October 4, 2020, 2pm
Capitol Theatre, Moncton

Program Notes

October Camerata Concert
Program Notes English

Summer Roses
With guest conductor/ chef invité: Martin MacDonald

George Paul: Mi’kmaq Honour Song arr. Andrew Creeggan

Arthur Honegger 1892-1955: Concerto da Camera pour flûte, cor anglais et
orchestre à cordes
solo English horn/ cor anglais: Christie Goodwin; solo flute/ flûte: Karin
Aurell

1.Allegretto amabile
2. Andante
3. Vivace

Emmanuel Séjourné(b. 1961): Concerto for Marimba and Strings, solo
Marimba Joël Cormier

l. Tempo Souple
lI. Rhythmique Energique
lll. Leggero piu Rapido

W. A. Mozart (1756 – 1791): Symphony/ symphonie # 29, K 201

Allegro moderato
Andante
Menuetto: Allegretto — Trio
Allegro con spirito

About George Paul and the Honour Song

Songwriter George Paul pinpoints the origin of his most well-known spiritual
song to a gathering of Indigenous communities back in 1980.
He was in Regina watching representatives from different First
Nations singing and dancing when it struck him that the Mi’kmaq didn’t have
a song.
That longing for something to share among his people planted the seed of
the Honour Song that came to Paul while he was taking part in a sweat lodge
ceremony years later.
George Paul, winner of an East Coast Music Award, is from Metepenagiag
First Nation in New Brunswick. (George Paul/Facebook)
“That’s what our people need to bring back together, to honour who we are,
the people who we are, which brings about respect and dignity and identity
for the people. It’s very important,” said Paul, who’s from Metepenagiag First
Nation in New Brunswick.
Thanks to Paul, who worked to revive traditional songs and gatherings in the
Maritimes, that song has become the national anthem of the Mi’kmaq, and is
now being used to teach elementary school students about Mi’kmaq culture
and traditions.
Last year, every elementary school music class in the province was given a
Mi’kmaq hand drum so teachers could share the song with students.
Honour and respect
The Honour Song is simple, said Paul, but it communicates the emotions he
felt while watching that gathering in Regina so many years ago.
The lyrics in English translate to: “Let us greatly respect our being L’nu. My
people let us gather. Let us greatly respect our native roots. My people let us
help one another. Let us help one another as Creator intended when he put
us on the earth.”
https://nikamowin.com/en/artist/george-paul
https://nikamowin.com/fr/artiste/george-paul
https://www.cbc.ca/news/canada/nova-scotia/mi-kmaq-honour-songgeorge-paul-nova-scotia-schools-1.4428912

Arthur Honegger: Concerto da camera (H 196)
is a concerto in three movements for the unusual
combination of flute, English horn, and string orchestra written by Arthur
Honegger late in his career in 1948.
While Honegger was on tour in the United States, the American art
patron Elizabeth Sprague Coolidge commissioned him in July 1947 to write a
piece, either a sonata or a chamber work, that would treat the English horn
as a soloist. As soloist she had in mind Louis Speyer, English horn player of
the Boston Symphony Orchestra, to whom the piece is dedicated. Honegger
accepted the commission in early August, preferring a concerto form.
However, just then he started to suffer for the first time from angina, a
condition that would eventually end his career. On August 21 the angina led
to coronary thrombosis, and his wife came over to the States to find him
incoherent. Honegger did recover, but had to cancel his tour, which also had
meant to include Latin America. In November, he returned to France,
necessarily by boat. Except for two orchestrations, he would not write music
until after a vacation with his and Paul Sacher’s family in Ireland in the
summer of 1948, immediately after which he started writing the Concerto da
Camera. He finished the bucolic first movement (Allegretto amabile) in
August, the second movement (Andante) in September and the finale
(Vivace) on October 28.

Emmanuel Séjourné: Concerto for Marimba and Strings (2004/2015)
“I confess: for a long time I
was a product of classical music. From the age of five I studied the piano,
playing the music of Debussy, Bartók, Schumann, Bach, Beethoven, etc.
Then, because of events too long to tell, I studied percussion at 16 years old
with Jean Batigne, founder and director of the Percussionist of Strasbourg. I
discovered a world completely unknown: jazz, pop, world, fusion,
contemporary, and improvisatory music. I delightedly dove into this
incredible universe with the help of the vibraphone and marimba. It’s funny
to write for instruments that have been around only briefly compared to the
piano. Everything is open to explore. I wrote this concerto for marimba and
strings upon the request of Bogdan Bacanu. For me, the music is not a
matter of instruments but of friendship and meetings. Bogdan is a verifiable
artist, fantastic and passionate. Since 2004, the concerto has become a
success in the marimba repertoire, with more than 300 performances
worldwide. Originally written in 2004 with only two movements, in 2015 I
added an opening movement, with a resulting Classical concerto form. The
first movement is a passionate dialogue between orchestra and soloist, who
can be felt with all the expressiveness and ardor of which he is capable.
Lyricism inspires the second movement, which is long and serious,
sometimes talkative, sometimes laconic, shortly exuberant, shortly
melancholic: in the image of the dedicatee. My culture of jazz-rock and
flamenco dominates the aggressive and rhythmic third movement. In its
middle is a soft portion where the soloist can practically improvise if he
wishes to do so.” Program Note for Concerto for Marimba and Strings
provided by Emmanuel Séjourné.

W. A. Mozart: Symphony #29

The first movement is in sonata form, with a graceful
principal theme characterized by an octave drop and ambitious horn
passages. The second movement is scored for muted strings with limited use
of the winds, and is also in sonata form. The third movement, a minuet, is
characterized by nervous dotted rhythms and staccato phrases; the trio
provides a more graceful contrast. The energetic last movement, another
sonata-form movement in 6/8time, connects back to the first movement with
its octave drop in the main theme.

Bios English

Martin MacDonald is one of Canada’s most dynamic and
outstanding young conductors and holds the Heinz Unger and
Jean-Marie Beaudet awards for orchestral conducting. Martin
has guest conducted extensively across Canada having
worked with the orchestras of Toronto, National Arts Centre,
Vancouver, Victoria, Kamloops, Edmonton, Calgary, Winnipeg,
Hamilton, Kingston, Kitchener-Waterloo, London, Niagara, Sudbury, Thunder
Bay, Windsor, Quebec, New Brunswick, and Newfoundland. He has worked
with the Minnesota Ballet, Atlantic Ballet Theatre, and recorded extensively
for the CBC and several commercial recordings. Additionally, he has served
as a Cover and Guest Conductor for the National Ballet of Canada for several
productions. Most notably, Martin has served as Resident Conductor,
Associate Conductor, and a regular guest conductor of Symphony Nova
Scotia since 2008 with over 200 performances in a diverse range of
programs and artists. Previously, Martin served as Associate Conductor of
the National Academy Orchestra of Canada, and has participated in several
international conducting workshops and competitions.
Martin has a Master’s in Orchestral Conducting from McGill, a Bachelor’s in
Cello from Memorial, and has studied conducting with Alexis Hauser,
Bernhard Gueller, Boris Brott, Michael Jinbo, Kenneth Kiesler, Gustav Meier,
Jorma Panula, and Johannes Schlaefli. Martin’s conducting activities have
been generously supported by the Canada Council for the Arts. Cape Breton
born, Martin is the youngest of twelve children and has a diverse musical
background with a strong Celtic music tradition including extensive touring
and performing with members of his family throughout Europe and North
America

Christie Goodwin
A relatively recent arrival to New Brunswick, Ms. Goodwin held
the position of Principal oboist of the Niagara Symphony until
2012, and has previously held principal positions with the
Kitchener-Waterloo Chamber Orchestra and Korean Canadian
Symphony Orchestra. She currently plays oboe and English horn
as a member of Symphony New Brunswick. Christie has been featured with
orchestras both as an oboe soloist and an English Horn soloist on multiple
occasions, including with Symphony New Brunswick in May 2013, and has
appeared as a freelance musician in ensembles throughout Southern Ontario
and the Maritimes. A dedicated chamber musician, Christie is the oboist of
both the Ventus Machina woodwind quintet and of the Niagara Winds
woodwind quintet.
Originally from small-town Alberta, Ms. Goodwin completed her Bachelor of
Music at the University of British Columbia with teacher Beth Orson of the
Vancouver Symphony, and the Artist’s Diploma program at the Glenn Gould
School of the Royal Conservatory with former Toronto Symphony Orchestra
principal, Richard Dorsey. Christie teaches oboe, piano and Music for Young
Children™ from her home studio in Dieppe, co-ordinates educational
outreach activities for both Symphony New Brunswick and the department
of music at l’Université de Moncton, administrates for Ventus Machina and
enjoys occasional music festival adjudication duties.

Flutist Karin Aurell spent more than 15 years as a full time
symphony orchestra musician in Sweden before moving to
Sackville in 2001, and has enjoyed life as a freelancing
musician in the Maritimes ever since. She plays regularly with
Symphony New Brunswick and in the Charlottetown Festival
Orchestra each summer.
An active chamber music performer, Karin is one of the founding members
of woodwind quintet Ventus Machina. Karin was a member of New
Brunswick new music collective Motion Ensemble, and she continues to
commission work from the region’s composers and to play new music
whenever the opportunity arises.
She has collaborated in several projects with her sister Gerd Aurell, a visual
artist based in Sweden, and the sisters’ work has toured in Sweden, Canada
and Iceland. Karin teaches flute at Mount Allison University and at Université
de Moncton.

Joël Cormier
Joel first studied at the Université de Moncton where he finished his BA. Mus
in music performance. Afterwards, studied percussion at the University of
Toronto where he finished his Masters in Music Performance and his
Doctorate in Musical Arts. Joel is an experienced orchestral percussionist
having played with the Kingston Symphony, Toronto Philharmonic
Orchestra, Brampton Symphony and the Esprit Orchestra and more recently
Symphony New Brunswick and Tutta Musica. He also collaborates on many
new music projects and especially enjoys experimental music. Joel released
his first solo percussion CD, “Les voiles blanches” in 2012. The album features
two well known New Brunswick composers: Richard Gibson and Christian
Hébert. Along with teaching percussion at Mount Allison, Joel is also
timpanist for Symphony New Brunswick