Fantasia on Canadian Carols/Fantaisie sur des Airs de Noël canadiens

Instrumentation: 
  1. 2(2=picc).2(2=ehn).2.2./4.2.3.1./timp.3perc.hp./strings             (harp is optional, alternate version for 2 percussion)
  2. 2(2=picc).2(2=ehn).2.2./4.2.1.0./timp.1perc.hp./strings            (harp is optional)

Other Versions: Orchestra with SATB Choir or SA Children’s Choir; Chamber Orchestra with or without Choir or Children’s Choir; and String Orchestra with Choir or Children’s Choir

Composed: 2016

Duration: 10:00″

Notes:

I was interested in writing two orchestra works, one for Christmas and another to commemorate the 150th anniversary of Canada in 2017. Finally, I realized I might be able to combine both these ideas into a single work, a Fantasia on Canadian Carols. I realized that I only knew of the Huron Carol. In the summer of 2015, I started to research the history of Christmas carols in Canada, which took me on a fascinating discovery of Canadian holiday traditions. I found three categories: carols that travelled from Europe and remained the same; carols that travelled from Europe and evolved into a Canadian variant; and new carols composed in Canada. I also discovered some uniquely Canadian Christmas music, including “Santa Claw” songs, found in the Maritimes.

I started talking about my idea to friends who gave me the idea of writing two versions, one for orchestra and the other for choir and orchestra. I chose to base my Fantasia on a group of four older traditional carols representing three areas of Canada: Ontario, Quebec and the Maritimes. I decided to title this work in both our languages since two carols are sung in English and two in French.

The Huron Carol

The Huron Carol is considered to be the first Canadian Christmas carol, probably first sung in 1641 or 1642, and written by Jean de Brébeuf, a Jesuit missionary at Sainte-Marie among the Hurons in Ontario. Brébeuf wrote the lyrics in the native language of the Huron/Wendat people to a French folk song Une Jeune Pucelle (A Young Maiden). The lyrics of this carol combines the birth of Jesus with Huron religious concepts. Today, this carol is commonly heard with the English lyrics written by Jesse Edgar Middleton in 1926.

Il est né, le divin Enfant

Il est né, le divin Enfant (He is born, the divine Child), is originally a traditional French carol, but travelled to Canada to become part of French-Canadian Christmas celebrations. Ernest Gagnon, an important 19th century collector of French-Canadian folksongs, used this carol in his Cantiques populaires pour la fête de Noël (1909), a wonderful collection of French Canadian Christmas carols for choir and organ. The melody in this version is slightly different than the original French carol.

The chorus of this carol has strong musical connections, “He is born, the Heav’nly Child, Oboes play; set bagpipes sounding. He is born, the Heav’nly Child. Let all sing His nativity.”

The Cherry-Tree Carol

The Cheery-Tree Carol is an old traditional English carol from the early 15th century. There are different versions of this carol, so it is not surprising that it found a new melody and lyrics in Canada. The important collector of folksongs from the Maritimes, Helen Creighton, collected a beautiful version from William Riley, who lived in the aptly named Cherry Brook, Nova Scotia. The lyrics tell an apocryphal story of the Virgin Mary, occurring while traveling with Joseph to Bethlehem for the census.

La Guignolée

La Guignolée or La Guiannée, is a French medieval tradition that travelled to French Canada with the first French settlers. It became popular in Quebec, parts of the Maritimes (including New Brunswick), and a few French-Canadian communities in the United States. Occurring on either Christmas Eve or New Year’s Eve, the singing participants went door to door asking for food and drink, plus donations for the poor. The backside of the pig was considered a prize, and if not available, the group would ask to take the eldest daughter or even threaten to burn down the house. According to Marius Barbeau, the great 20th century collector of French folksongs, the rowdy group was followed by an old buggy (to contain the gifts), and all the dogs of the neighourhood. Ernest Gagnon discovered the catchy melody from the area around Montreal and Quebec.

Commissioning and First Performances

The Fantasia on Canadian Carols was commissioned and premiered by the International Symphony Orchestra (Douglas Bianchi, conductor) joined by the International Symphony Singers (Dr. David Troiano, conductor) on December 2, 2016 (Clyde Township, Michigan) and December 3 (Sarnia, Ontario); the Scarborough Philharmonic Orchestra (Ronald Royer, conductor) on December 3 (Scarborough, Ontario); Symphony New Brunswick (Michael Newnham, conductor) joined by the Louisbourg Choir (Monique Richard, conductor) on December 3 (Saint John, New Brunswick), December 5 (Moncton, NB) and December 6 (Fredericton, NB); and the Brantford Symphony Orchestra (Philip Sarabura conductor) on December 10, 2016 (Brantford, Ontario).

Rhapsody for Oboe, Horn and Orchestra

Instrumentation:

Solo ob.hn./2.2.2.2./4.2.3.1./timp.2perc./strings

Other Versions: Oboe, Horn and Wind Ensemble (14 players): Oboe, Horn and Piano

Date:   2013

Duration:  10:43

 

Notes:

Rhapsody was commissioned by principal oboist Sarah Jeffrey and hornist Gabriel Radford of the Toronto Symphony Orchestra. This husband and wife team wanted an addition to the limited repertoire for oboe and horn that would showcase this unique musical combination. Inspired by the 19th century rhapsodic form made famous by Liszt, Royer allows the oboe and horn to demonstrate their melodic expressiveness and technical prowess through a variety of musical styles and moods. In Rhapsody, Royer pays tribute to the 19th century tradition as well as 20th century rhapsodies by Bartok, Enescu, Debussy, Ravel and Rachmaninoff. As well, Royer was influenced by North and South American musical elements, combining them with Canadian connections. Composed in three continuous sections, Rhapsody starts with a slow section, featuring majestic and mysterious elements. The second section was written in an Eastern European playful dance-like style in a moderate speed, inspired by Bartok. The third section features virtuosic writing for the oboe and horn, including horn calls and fast passage work for the oboe.

The Rhapsody was originally written for Oboe, Horn and Orchestra, and was premiered by the Scarborough Philharmonic Orchestra with the composer conducting in 2013. The Rhapsody was then arranged in 2015 for Oboe, Horn and Wind Ensemble for the Scarborough Philharmonic Orchestra’s concert and recording project named Canadian Panorama.

Fantasy Variations on a Gregorian Chant for Trumpet, Flugelhorn and Chamber Orchestra

Instrumentation:

Solo trpt,fhn./1(1=picc).1.1.1./2.0.0.0./hp.1perc./strings

(string parts can be played by a section or a single player)

Other Version: Trumpet, Flugelhorn and Piano

Date:  2012

Duration:  16:45

 

Notes:

When Burnette Dillon asked me to write a concerto using a variety of different trumpets, I was intrigued. We began by making a plan to use three instruments: a piccolo trumpet in A, a flugelhorn and a trumpet in Bb. Both the piccolo trumpet and the flugelhorn were new territory for me as a composer. Luckily, Burnette was a commissioner who wanted to have an active part in the creation of a new work. His help in creating solo parts that were idiomatic was invaluable. Burnette has worked as both a symphonic and studio musician in Los Angeles, so I decided to make musical references to both worlds.

The opening Ouverture, for piccolo trumpet, is in a neo-baroque style, in homage to an instrument commonly associated with this era. The movement is basically in a French Ouverture form, with a slow majestic start followed by a fast, energetic, and virtuosic middle section, and ends with a return to the slow majestic music.  The musical material from the very opening is continually developed throughout the movement, using a variety of baroque (and more contemporary) techniques, including a fugato in the fast section.

The slow movement features the flugelhorn, an instrument rarely used in classical compositions, but commonly found in jazz ensembles. Being a Nocturne, the movement aims to suggest a night atmosphere with a quiet and meditative character. Starting with a slow plaintive melody, the movement switches to a more upbeat section with a slight jazz influence, suggesting a little night time frivolity.

The finale is for the Bb trumpet and is named Divertissement, a piece designed for the entertainment of the audience and the players. The movement is in a straight forward sonata allegro form, but sounds more like a musical potpourri, going through a variety of virtuosic episodes for the trumpet, the horn section and the rest of the ensemble. Film music is an influence, here paying tribute to Hollywood action/adventure films.

Duetto Amoroso, for Flute, English Horn and Orchestra

Instrumentation: 

Solo fl.Eh./2.2.2.2./4.3.3.1./timp.1perc.hp./strings

(harp and 3rd trumpet are optional)

Other versions: Cinema for Orchestra and Romance for Clarinet, String Orchestra, Piano and/or Harp

Date: 2011

Duration:  9:20

Notes:

Romance for Clarinet, String Orchestra, Piano and Harp (9:10)

The Romance for Clarinet, String Orchestra, Piano and Harp was rewritten in the fall of 2004 for clarinetist Jerome Summers based on a previously composed orchestral piece called Cinema, which had been written the previous winter.  Cinema was commissioned for a special 40th anniversary concert to celebrate the foundation of the Hamilton Philharmonic Youth Orchestra and Dr. Glenn Mallory’s directorship. I had asked Glenn to describe his dream composition for this project.  After some thought, Glenn said he would love a piece featuring a beautiful romantic melody.

Today, one of the fields of musical composition that most highly values sweeping romantic melody is music for film.  Having worked in Los Angeles for the motion picture and television industry during the 1980’s, I decided to draw on this experience to compose Cinema.  Combining both American and European influences, Cinema and therefore Romance was written in two sections.  In this version called Romance, the opening section has a “Magical” atmosphere created by the strings, piano and harp against a more improvisatory and melodic clarinet part ending with a solo clarinet cadenza.  In the second section, the main romantic melody is first heard in the clarinet.  This section also includes a darker “film noir” melody featuring a solo violin and cello with the clarinet.  Romance ends as it began, quietly and calmly.

Romance was first performed by clarinetist Jerome Summers and the Toronto Sinfonietta conducted by Ronald Royer at the Royal Ontario Museum in Toronto on January 23, 2005.

Commissioning and First Performance

Cinema for Orchestra was commissioned by the Hamilton Philharmonic Youth Orchestra, as part of an Ontario Trillium Grant project connected to the 40th anniversary of the orchestra.

First performance: May 22, 2004, Great Hall, Hamilton Place, Hamilton, Hamilton Philharmonic Youth Orchestra, Dr. Glenn A. Mallory conductor.

Concerto for Trumpets (1 player) and Chamber Orchestra

Instrumentation:

Solo trpts./2(2=picc).1.2(2=bcl.).1./3.0.0.0./hp.2perc./strings

(alternate part for 1 percussion)

Other Versions: Piano reduction by Sergei Kofman, assisted by the composer; 3rd movt., Divertissement, for Trumpet and Brass Ensemble

Date: 2011 

Duration:  18:42

  1. Ouverture, for Piccolo Trumpet (5:44)
  2. Nocturne, for Flugelhorn (6:11)
  3. Divertissement, for The Trumpet (6:47)

Echoes for Clarinet and Orchestra

Instrumentation:

Solo cl./2(2=picc).2(2=ehn).2.2./4.2.3.1./timp.2perc./strings

Other version: 2nd movt., Lest We Forget for Solo Violin, Piano, Percussion, and String Orchestra

Date: 2010

Duration:  21:10

Notes:

Echoes, a Concerto for Clarinet and Orchestra was composed to explore various meanings and ways an “echo” can be incorporated into a soloist-versus-orchestra structure.  This three-movement work utilizes musical ideas that can be echoed by different combinations of the soloist and various instruments of the orchestra, or sometimes, just by the soloist.  Echoes exploits the clarinet’s wide range of expressive possibilities and technical versatility, including the instrument’s huge dynamic range.  For the orchestration, Echoes uses several spatial and antiphonal effects, on stage as well as the placing of musicians in the auditorium and backstage.

Echoes was commissioned by the Brantford Symphony to commemorate the 30th anniversary of clarinetist Kaye Royer playing with the orchestra.  The composer writes, “I greatly appreciated the opportunity to compose this concerto for my wife.  She is a wonderful professional player, and we always enjoy working together.  The music was written in a neo-romantic style to represent the continued romance of our marriage.”

Commissioning and First Performance

This composition was commissioned by the Brantford Symphony Orchestra (BSO) supported by a music-commissioning grant from the Ontario Arts Council. The first performance was on April 18, 2010 with Kaye Royer playing clarinet, Philip Sarabura conducting the BSO and the composer playing in the cello section.

Exuberance (chamber orchestra)

Instrumentation:

2(2=picc).2.2.2./2.2.2.0./timp.1perc./strings

Other Version: Orchestra                                                                                                                                       

Date: 2010
Duration:  6:00

The Oxford dictionary defines exuberance as “the quality of being full of energy, excitement, and cheerfulness; ebullience.” I was excited when conductor Brian Jackson approached me with the idea of a short virtuosic overture for orchestra. After discussing what he was envisioning, I realized the word “exuberance” reflected his ideas well and could be used as the title. The process of composing this upbeat composition was a particularly enjoyable experience for me.

Exuberance starts with an introductory flourish, followed by the main theme played by a solo oboe. This theme is passed through the orchestra, often partially, but occasionally as the full theme. The music slows, becomes more serene and introduces a new theme played by a solo clarinet. After this second theme is played by the full orchestra, a short clarinet cadenza transitions the music back to the original exuberant theme and music. A final coda section leads to a triumphant brass led ending.

Commissioning and First Performances

Exuberance for Orchestra was commissioned by conductor Brian Jackson in connection with the Kitchener-Waterloo Symphony, Orchestra London, the Thunder Bay Symphony, and the Victoria Symphony and was supported by a Toronto Arts Council Music Creators and Composers Grant. The first performances occurred on January 13, 2011 at the River Run Centre, Guelph, and January 14 and 15, 2011, at the Centre in The Square, Kitchener, performed by the Kitchener-Waterloo Symphony, Brian Jackson, conductor. This was followed by performances by Orchestra London on Feb. 4 and 6; the Victoria Symphony on April 7, 8, 9 and 11; and the Thunder Bay on April 16, 2011, all conducted by Brian Jackson.

On Tour in China with the Ontario Festival Orchestra

The Ontario Festival Orchestra, Jerome Summers conductor, performed Exuberance in Suzhou, Yancheng, the Changshu District, Nanjing, and Hangzhou, all in the area surrounding Shanghai, China. A highlight of the tour was the New Year’s Eve concert in the Yancheng Theatre, which was also broadcast on Chinese television to millions of people in China and beyond (including Canada). Mr. Royer had the privilege to be the guest of honour for the mayor of Yancheng, sitting next to him during the concert.

The Ontario Festival Orchestra, New Year's Eve 2011, Yancheng, China
The Ontario Festival Orchestra, New Year's Eve 2011, Yancheng, China
Dr. Jeannie Pool, Brian Jackson, Kaye Royer, Ronald Royer & Louise DiTullio after a concert with the Niagara Symphony
The Ontario Festival Orchestra in rehearsal, Nanjing, China

Exuberance (orchestra)

Instrumentation:

2 Versions:                                                                                                                         

  1. 2(2=picc).2.2.2./4.2.3.1./timp.3perc./strings            (alternate parts for 2 percussion)
  2. 2(2=picc).2.2.2./2.2.2.0./timp.2perc./strings            (alternate part for 1 percussion)

Date: 2010
Duration:  6:00

 

The Oxford dictionary defines exuberance as “the quality of being full of energy, excitement, and cheerfulness; ebullience.” I was excited when conductor Brian Jackson approached me with the idea of a short virtuosic overture for orchestra. After discussing what he was envisioning, I realized the word “exuberance” reflected his ideas well and could be used as the title. The process of composing this upbeat composition was a particularly enjoyable experience for me.

Exuberance starts with an introductory flourish, followed by the main theme played by a solo oboe. This theme is passed through the orchestra, often partially, but occasionally as the full theme. The music slows, becomes more serene and introduces a new theme played by a solo clarinet. After this second theme is played by the full orchestra, a short clarinet cadenza transitions the music back to the original exuberant theme and music. A final coda section leads to a triumphant brass led ending.

Commissioning and First Performances

Exuberance for Orchestra was commissioned by conductor Brian Jackson in connection with the Kitchener-Waterloo Symphony, Orchestra London, the Thunder Bay Symphony, and the Victoria Symphony and was supported by a Toronto Arts Council Music Creators and Composers Grant. The first performances occurred on January 13, 2011 at the River Run Centre, Guelph, and January 14 and 15, 2011, at the Centre in The Square, Kitchener, performed by the Kitchener-Waterloo Symphony, Brian Jackson, conductor. This was followed by performances by Orchestra London on Feb. 4 and 6; the Victoria Symphony on April 7, 8, 9 and 11; and the Thunder Bay on April 16, 2011, all conducted by Brian Jackson.

On Tour in China with the Ontario Festival Orchestra

The Ontario Festival Orchestra, Jerome Summers conductor, performed Exuberance in Suzhou, Yancheng, the Changshu District, Nanjing, and Hangzhou, all in the area surrounding Shanghai, China. A highlight of the tour was the New Year’s Eve concert in the Yancheng Theatre, which was also broadcast on Chinese television to millions of people in China and beyond (including Canada). Mr. Royer had the privilege to be the guest of honour for the mayor of Yancheng, sitting next to him during the concert.

The Ontario Festival Orchestra, New Year's Eve 2011, Yancheng, China
The Ontario Festival Orchestra, New Year's Eve 2011, Yancheng, China
Dr. Jeannie Pool, Brian Jackson, Kaye Royer, Ronald Royer & Louise DiTullio after a concert with the Niagara Symphony
The Ontario Festival Orchestra in rehearsal, Nanjing, China

Lest We Forget

for Solo Violin, Piano, Percussion, and String Orchestra (piano and percussion parts are optional)

Date: 2009

Duration: 5:00

Other Version: 2nd movt. of Echoes for Clarinet and Orchestra