CAMMAC Symphony Orchestra
OSC@CAMMAC.CA
WINTER / SPRING 2014 SESSION

PDF • OSC WINTER-SPRING 2014

Weekly rehearsals will start on Thursday, January 30th and will take place every Thursday from 7:30 pm to 10:00 pm at l’Institut Universitaire Gériatrique de Montréal au 4565, Queen-Mary Road, Montreal, QC, H3W 1W5.

Fees for the session are as follows:

$80 for CAMMAC members                $95 for non-members
$30 for students (CAMMAC members)   $40 for students (non-members)

Please bring your cheque, payable to “CAMMAC – Montreal” to the first rehearsal.

Note :  Participants of a musical week at Lake McDonald last summer, or those who paid their membership to CAMMAC in the autumn session, do not need to pay it again as it is valid for a one year. Musicians may become members of CAMMAC at any time. The annual membership fee is $35 (discounts are available for students and seniors)

Our end-of-session concert is scheduled for Saturday May 3rd 2014 at 2:00 pm

CALENDAR

Thursday January 30rd:  session begins (at 7:00 pm for registration)
February 27th: sectionals (Winds and Strings separately)
April 3rd: sectionals (Winds and Strings separately)
March 6th: winter break – no rehearsal
March 13th: rehearsals restart
Thursday May 1st: last weekly rehearsal
Friday May 2nd: dress rehearsal
Saturday May 3rd 2:00 pm: concert


The orchestra is seeking musicians in all sections. We ask your involvement to complete this task successfully. Please speak with your musical acquaintances to help us flesh out the orchestra.

A registration form will be provided to you as soon as it becomes available.  It is, therefore, important to let us know if you intend to join us by sending us the following information:
name, telephone number, email address and instrument that you play at:  osc@cammac.ca

 

CAMMAC SYMPHONY ORCHESTRA
PROGRAMME
SATURDAY MAY 3, 2014, 2:00 p

Coriolan Overture     Ludwig van Beethoven
Opus 62 in C minor (1807)
(Listen here )

Concerto for Violin, 1st movement Allegro     Felix Mendelssohn
Opus 64 in E major (1844)
Guest Soloist: Fabrice Normandin
(Listen here )

Peer Gynt  Suite No. 1, Op. 46     Edvard Grieg
(1888)
1. Morning Mood
2. The Death of Åse
3. Anitra’s Dance
4. In the Hall of the Mountain King
(Listen here )

Symphony No. 4 (The Tragic)     Franz Schubert
D. 417 in C Minor (1816)
1. Adagio molto – Allegro vivace
2. Andante
3. Menuetto, allegretto vivace
4. Allegro
(Listen here )

SCORES

The scores are available by following the links below. 

Beethoven      Mendelssohn      Grieg      Schubert

Parts with marked bowing for string instruments
Schubert Violin 1
Schubert Violin 2

Schubert Alto Violin
Schubert Cello
Beethoven: Coriolanus Violin 1
Beethoven: Coriolanus Violin 2
Beethoven: Coriolanus Alto Violin
Beethoven: Coriolanus Cello
Grieg: Peer Gynt Violin 1
Grieg: Peer Gynt Violin 2
Grieg: Peer Gynt Alto Violin
Grieg: Peer Gynt Cello

To contact us :  osc@cammac.ca

Votre comité

Francine, Hélène, Suzanne, Bertrand et Jean-Pierre

 

The CAMMAC Symphony Orchestra is always in a recruiting mode, regardless of the time of year or the instrument you play. If you are a musician and you want to join a symphony orchestra, we will be happy to welcome you in our ensemble. We invite you to contact us at the following address: .(JavaScript must be enabled to view this email address)

Specific current needs:

bass
drummer
bassoonist
trombonist
trumpeter
Strings and more strings ( Violin, Viola , Cello)

 

60th Anniversary of CAMMAC - December 8, 2013

The concert on 8 December 2013 of the CAMMAC Symphony Orchestra - CSO -, celebrating the 60th Anniversary of CAMMAC, was a success. Under the direction of Jean -Pierre Brunet, the 42 musicians of the symphony orchestra performed brilliantly a program of high quality. Listeners were immersed from the beginning in the world of The Magic Flute by Mozart. The Overture of this opera in two acts is actually a summary of the story. Likewise, it is divided into two parts starting with a solemn adagio where you could feel all the drama of the work, followed by a lively allegro, light and triumphant. These two movements each start with an ascending sequence of three chords, interspersed with short silences, a reference to Freemasonry to which this work was closely linked . The CSO was able to express the simplicity at the same time the profound and the supernatural that emanates from the Overture to Mozart's opera .


The audience was next invited into the privacy of the Sunday concerts at the Mendelssohn family home in Berlin in 1823. Felix Mendelssohn, aged 14 years old, on the violin with his sister Fanny, four years his senior, at the piano, played the double concerto for violin, piano and string orchestra that young Felix had just composed. Geneviève Parent (violin) and Dana Andrea Nigrim (piano) gave with virtuosity and subtlety, a romantic interpretation of this work with the string section of the CSO.
 

Pelléas et Mélisande, opus 80, was at first, music written in 1898 by Gabriel Fauré for a London performance of the play of the same name written by the Belgian poet Maurice Maeterlinck. A love triangle with a romantic idyll that ends with an inevitable tragedy which Fauré's music supports with many emotions. Originally in 17 movements, Fauré retained three to create a suite for orchestra to which he, ten years later, added the famous Mouvement Sicilienne taken from an unfinished score for Le Bourgeois Gentilhomme by Molière. This resulted in a beautiful romantic work in four movements: Prélude (quasi adagio ) , Fileuse ( Andantino quasi allegretto ), Sicilienne ( allegretto molto moderato ) and La Mort de Mélisande ( molto adagio ). The musicians followed the moving direction of Jean -Pierre Brunet in each section where the instruments are heard sometimes with heartbreaking beauty and sometimes in a dance at once light and melancholy.


In dynamic, rhythmic and military style, the CSO offered in conclusion of this program, the Marche Écossaise sur un Thème Populaire by Claude Debussy. Commissioned by General Meredith Reid, an American diplomat and descendant of the Counts Ross from Scotland, the young Debussy composed first, in 1891, a work for piano 4 hands, which is based on a traditional Scottish melody of the Ross clan. It was not until 1908 that he composed an arrangement for orchestra.
 

The applause of the audience required an encore; a very short adaptation of the theme from New York New York by a member of the orchestra, Bertrand Gagnon, with bilingual lyrics highlighting the anniversary of CAMMAC. It was played by the whole orchestra and sung by the orchestra as well, together with part of the audience that had the distributed scores. A happy ending to an inspired concert!