Fall 2021

Conductor Melissa Doiron
with Guest Artist Susan Kulik, flute

Proof of vaccination is required to attend the concert.

Click here to view the concert program [PDF, 704 kb]


Festival Fanfare

Elizabeth Raum (1945–)

Elizabeth Raum was born in Berlin, New Hampshire in 1945, but became a Canadian citizen in 1985. She studied oboe performance with Robert Sprenkle at the Eastman School of Music, graduating in 1966. In 1985, she received a master's degree in composition from the University of Regina after studying with Thomas Schudel. She played principal oboe for the Atlantic Symphony Orchestra in Halifax for seven years and later for the Regina Symphony Orchestra. In 2004, she received an honorary doctorate from Mount St. Vincent University. In November 2010, she received the Saskatchewan Order of Merit for her work as a musician and composer.

Elizabeth Raum's works have been performed internationally and broadcast on national media. An extremely prolific composer, her works include 4 operas, over 90 chamber pieces, 18 vocal works, choral works including an oratorio, several ballets, concerti and major orchestral works. She enjoys a reputation of being one of Canada’s most ‘accessible’ composers, writing for varied mediums and in remarkably diverse styles.

The Festival Fanfare was composed in 1998. It was commissioned by the Saskatchewan Festival Association to celebrate their 90th anniversary and it was premiered by the Regina Symphony Orchestra on May 2, 1998.

Concertino for Flute, Op. 107

Cécile Chaminade (1857–1944)

Cécile Louise Stéphanie Chaminade was a French composer and pianist. In 1913, she was awarded the Légion d'Honneur, a first for a female composer. Born in Paris, Cécile studied piano, violin and music composition, but not officially, since her father disapproved of her musical education.

Her first experiments in composition started when she was very young; when she was only 8 she played some of her music to Georges Bizet, who was impressed with her talents. She gave her first concert when she was eighteen and from that time on her work as a composer gained steadily in favor. She wrote mostly character pieces for piano, and salon songs, almost all of which were published. Her Flute Concertino, Op. 107, is an important part of the flute repertoire.

In 1908, Chaminade visited the United States, where her compositions were tremendous favorites with the American public, especially her popular piano music. She composed a Konzertstück for piano and orchestra, the ballet music to Callirhoé and other orchestral works. Her songs, such as The Silver Ring and Ritournelle, were also great favorites. Ambroise Thomas once said of Chaminade: "This is not a woman who composes, but a composer who is a woman."

Chaminade's Flute Concertino in D major, Op. 107, was composed in 1902 for flute and piano and later arranged for flute and orchestra. The Concertino was commissioned by the Paris Conservatoire, presumably as an examination piece for flute students, where the celebrated French flautist and teacher Paul Taffanel, to whom the Concertino was dedicated, taught. Not long after composing it, Chaminade orchestrated it for a London concert played by her friend, flautist Marguerite de Forest Anderson.

The piece remains a standard and popular part of the flute repertoire. Chaminade was relegated to obscurity for the second half of the 20th century, her piano pieces and songs mostly forgotten, with the Flute Concertino in D major her most popular piece today.

Symphony in E minor, Op.32 Gaelic

Amy Marcy Beach (1867-1944)

Amy Beach was an American composer and pianist. She was the first successful American female composer of large-scale art music.

Her Symphony in E Minor, the "Gaelic" Symphony, premiered by the Boston Symphony Orchestra in 1896, was the first symphony composed and published by an American woman. She was one of the first American composers to succeed without the benefit of European training, and one of the most respected and acclaimed American composers of her era. As a pianist, she was acclaimed for concerts she gave featuring her own music in the United States and in Germany.

Beach began composing the symphony in November 1894. Although she would later become more accepting of music from North American traditions - such as Native American themes - Beach chose to incorporate songs of the European influence into her early works. One such Celtic tune was her song entitled "Dark Is the Night!" which she set to the words of the English poet William Ernest Henley. She borrowed this song for her symphony.

Beach was heavily influenced by her contemporary Antonín Dvořák. Though Dvořák's nationality was Czech, he was in the United States for much of 1892–1895 as head of the National Conservatory in New York. He represented American art music in the late nineteenth century -specifically through his New World Symphony and American String Quartet. Dvořák wove pentatonic scales from Native-American and African-American music and rhythms of slavic dances along with his European romantic style to create works unique to America—the melting pot. The "native" elements were not as readily embraced by Beach. Upon hearing of the derivations of Dvořák's New World Symphony, Beach heartily responded, "[w]e of the North should be far more likely to be influenced by old English, Scotch or Irish songs, inherited with our literature from our ancestors." When her symphony premiered, Beach was barely 30 years old and in the throes of forming her own compositional style; in contrast, her later years brought maturity and an openness to infuse Native-American, specifically Inuit, and African-American songs into her music.

The work was published by Schmidt in 1897, and was dedicated to "herrn Capellmeister Emil Paur."

7:30 pm, Faith Tabernacle Church, 6225 Summit Street, Halifax, NS

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