MARIE-JOSÉE LORD AT THE OCM

  • This concert will last approximately 94 minutes, including a 20-minute intermission.
  • Prices include service fees and taxes.
  • Artists and program are subject to change without notice.
  • Ticket purchases are non-refundable and non-exchangeable.
  • Please note that each children’s free ticket must be accompanied by a purchased adult ticket.
  • Berri-UQAM metro station and Salle Pierre-Mercure are accessible to persons with reduced mobility.

The Concert:

As part of Black History Month, the OCM will bring together Haïtian-born Canadian Marie-Josée Lord and African American and Hispanic conductor Kalena Bovell for a moving program of works by composers of African descent, including William Grant Still and Florence Price.

The second half of the concert will present Honey and Rue, a poignant song cycle by André Previn with lyrics by Toni Morrison, exploring “the bitter and the sweet” that comes with the African American experience in life and love.

Presented by:

In collaboration with:

Repertoire

Boulogne, J. Chevalier de St-George – Symphony concertante in C major, op. 9 no 1
Grant Still, W. – Mother & Child
Price, F. – Symphony for strings in G major
Previn, A. – Honey and Rue song cycle (texts by Toni Morrison)

Artists

Marie-Josée Lord, soprano
Kalena Bovell, conductor

Program notes:

Written by Olivier Bergeron

Born in Guadeloupe to an African mother and a French aristocrat, Joseph Bologne, Chevalier de Saint-Georges, was one of the most celebrated musicians in late-18th-century Paris. His Symphonie concertante in C major exemplifies a popular French genre combining symphonic scope with concerto-like brilliance. Written for two soloists and orchestra, the work features lively dialogue and balanced textures. The opening movement is confident and rhythmically vital, while the slow movement offers expressive lyricism and warmth. A spirited finale highlights wit and virtuosity. Throughout the piece, Saint-Georges demonstrates complete command of Classical style, recalling Haydn and Mozart, yet maintaining a distinctive voice marked by elegance, clarity, and charm.

William Grant Still, often called the “Dean of African American Composers,” was a pioneering figure whose career spanned concert music, opera, film, and radio. Mother and Child is a brief, intimate orchestral work that highlights his lyrical gift and emotional restraint. Rather than narrative drama, the piece evokes a universal bond through gentle textures and warm harmonies. Song-like melodies and transparent orchestration convey tenderness and quiet strength. Subtle harmonic shifts add depth and poignancy without sentimentality. The modest scale of the work enhances its impact, inviting listeners into a reflective, contemplative space shaped by balance, clarity, and sincerity.

Florence Price was the first African American woman to have a symphony performed by a major American orchestra. The String Symphony in G major showcases her mastery of string writing and her ability to combine formal clarity with expressive warmth. Cast in multiple movements, the work balances Classical proportions with a personal voice. Lyrical themes unfold easily, supported by rich yet transparent textures. Rhythmic vitality is central to the faster movements, while slower sections emphasize melodic breadth and harmonic color. Throughout the symphony, Price’s orchestration reveals a keen sense of balance, allowing each section of the ensemble to shine without excess.

André Previn enjoyed a wide-ranging career as a composer, conductor, and pianist, moving fluidly between classical music, jazz, and film. Honey and Rue, a song cycle for voice and orchestra with texts by Toni Morrison, reflects his sensitivity to language and lyric expression. The cycle explores memory, love, identity, and longing through music that is intimate and text-driven. Vocal lines are speech-like yet melodic, while the orchestration provides atmosphere rather than dramatic weight. Shifts between tonal warmth and gentle harmonic ambiguity enrich the emotional nuance, with subtle jazz influences lending a contemporary voice to this introspective and expressive work.

Texts by Toni Morrison: HONEY AND RUE

1. First I’ll try love.

Although I’ve never heard the word referred to,

even whispered to me, first I’ll try love.

When winter comes and sundown becomes my time of day,

if anybody asks, I can say: first, I tried love.

2. Whose house is this?

Whose night keeps out the light in here?

Say, who owns this house?

It’s not mine.

I had another sweeter, brighter,

with a view of lakes crossed in painted boats;

of fields wide as arms opened for me.

This house is strange. Its shadows lie.

Say, tell me, why does its lock fit my key?

3. The town is lit.

The players begin to make music in all the cafés.

Clowns on wheels linger to steal

foxes that click on the curb.

Lovers expecting the night to protect them,

the moon too far to disturb.

Trees in the park dance after dark

to music in all the cafés.

4. Do you know him?

Easy, easy.

He’s easy to take, to mistake.

So easy.

Do you know him?

He lasts.

How long? So long, so long.

I know him.

5. I am not seaworthy.

Look how the fish mistake my hair for home.

I had a life like you.

I shouldn’t be riding the sea.

I am not seaworthy.

Let me be earthbound, star-fixed,

mixed with sun and smacking air.

Give me the smile, the magic kiss

to trick little-boy death out of my hand.

6. Take my mother home.

Take my mother on home.

I ain’t free; never mind about me.

Take my father home.

Let my father see his home.

Don’t worry about me.

Take my sister home.

Take my brother home.

I ain’t free; it don’t matter about me.

I wish I had me a fast-footed horse,

a veil to wrap my mind.

Take my baby home.

Home. Home.

1. D’abord, j’essaierai l’amour.

Bien que je n’aie jamais entendu ce mot prononcé, ni même murmuré pour moi, d’abord j’essaierai l’amour.

Quand l’hiver viendra et que le crépuscule

deviendra mon heure du jour, si quelqu’un demande, je pourrai dire : d’abord, j’ai essayé l’amour.

2. À qui est cette maison ?

Quelle nuit y tient la lumière à distance ?

Dis-moi, à qui appartient cette maison ?

Elle n’est pas à moi.

J’en avais une autre, plus douce, plus lumineuse,

avec vue sur des lacs sillonnés de barques peintes, sur des champs larges comme des bras ouverts pour moi.

Cette maison est étrange. Ses ombres s’étendent.

Dis-moi, pourquoi sa serrure accepte-t-elle ma clé ?

3. La ville est illuminée.

Les musiciens commencent à jouer

dans tous les cafés.

Des clowns à roulettes s’attardent pour voler

des regards qui claquent sur le trottoir.

Des amants attendant que la nuit les protège,

la lune trop lointaine pour troubler.

Les arbres du parc dansent après la nuit tombée

au rythme de la musique dans tous les cafés.

4. Le connais-tu ?

Doucement, doucement.

Il est facile à aimer, facile à confondre.

Si facile.

Le connais-tu ?

Il demeure.

Combien de temps ? Si longtemps, si longtemps.

Je le connais.

5. Je ne suis pas faite pour la mer.

Regarde comme les poissons

prennent mes cheveux pour un refuge.

J’avais une vie, comme toi.

Je ne devrais pas naviguer sur la mer.

Je ne suis pas faite pour la mer.

Laisse-moi rester liée à la terre, fixée aux étoiles, mêlée au soleil et à l’air vif.

Donne-moi le sourire, le baiser magique

pour tromper la mort enfantine hors de ma main.

6. Ramène ma mère à la maison.

Ramène ma mère chez elle.

Je ne suis pas libre ; ne t’inquiète pas pour moi.

Ramène mon père à la maison.

Laisse mon père revoir sa maison.

Ne t’inquiète pas pour moi.

Ramène ma sœur à la maison.

Ramène mon frère à la maison.

Je ne suis pas libre ; cela n’a pas d’importance pour moi.

Je voudrais avoir un cheval rapide,

un voile pour envelopper mon esprit.

Ramène mon bébé à la maison.

Maison. Maison.

Musicians:

First Violins
Marc Djokic*, Concertmaster
Ana Drobac1, Associate Concertmaster
Tara-Louise Montour
Simon Alexandre
Valérie Belzile

Second Violons
Marianne Di Tomaso2, Principal
Isabelle Bouchard3, Assistant Principal
Nourit Lacroix
Béatrice Dénommée

Violas
Thierry Lavoie-Ladouceur, Principal
Samuel Hogue, Assistant Principal
Nayiri Piloyan

Cellos
Chloé Dominguez, Principal
Marieve Bock4, Assistant Principal
Thomas Beard

Double Bass
Étienne Lafrance

Flute
Jocelyne Roy

Oboe
Élise Poulin

Clarinet
Jean-François Normand

Bassoon
Carmelle Prefontaine

French Horn
Laurence Latreille-Gagné

Trumpet
Samuel Heverton Martins

Trombone
Yori Lang 

Drums
Sebastien Lamontagne

Harp
Elena Anger

* Sponsored by Marie-Christine Tremblay and Jacques Marchand.

  1. Ana Drobac plays on a 1766 violin by Jean Baptiste Lefebvre and a bow by Charles Louis Bazin made for Granier, c. 1930, branded “GRANIER,” both generously loaned by the Canimex Group Inc. of Drummondville, Quebec.
  2. Marianne Di Tomaso plays a violin by Nicolas Lupot, Orléans, ca. 1788. And a violin bow by Georges-Frédéric Schwartz ca.1835-40 branded STRASBOURG, graciously provided to her by the company CANIMEX INC. from Drummondville (Québec)
  3. Isabelle Bouchard plays a violin by Paolo Castello of 1772  and a violin bow by Gustave Bernardel, graciously provided to her by the company CANIMEX INC. of Drummondville (Québec), Canada.
  4. Mariève Bock plays a cello by Charles Adolphe Maucotel, Paris, 1849, “Ex-Pierre Fournier” and a cello bow by Claude Thomassin made for Caressa & Français, Paris, ca. 1910, graciously provided to her by the company CANIMEX INC. from Drummondville (Québec).
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