February – Dreams

February 22nd, 2026 • 3:00pm
Hotel Leo

TICKETS:

Adam Billings
New BCMS Commission – World Premier (2025) ~8 min.

Jennifer Weeks, Oboe Erika Block, Clarinet Pat Nelson, Bassoon

Thomas Adam Billings grew up in Everson, WA and attended Bellingham High school. He is celebrated for his ability to weave the intricate beauty of the natural world into captivating musical narratives. His education at the acclaimed Juilliard School and Mannes College of Music, alongside his doctoral studies at Boston University, underscores his commitment to musical excellence. Influenced by his upbringing in Washington State, Adam’s compositions reflect the complexity and phenomena of the natural world. He has completed several works for BCMS performing artists: Metamorphosis for solo oboe (2017); Musicia Ricercata (2020), an arrangement that extends Gyorgi Ligeti’s classic Six Bagatelle’s for wind quintet to the eleven movements of his original piano work. Impromptu for Birds (2021), Modular Miniatures (2021); Filigree, a trio for oboe clarinet, and bassoon; and Arcadia, a wind and string sextet.

We are excited to again collaborate with Adam on a work inspired by the Orchard Mason Bee!

In the composer’s own words:
“I am inspired by the fragile perfection of ecosystems – plants and animals coexisting in a space where all life is dependent on the interactions between one another.”

Jenni Brandon
Osmia: Dream of the Mason Bees – World Premier (2025) ~15 min.

Jennifer Weeks, Oboe Erika Block, Clarinet Pat Nelson, Bassoon Lenelle Morse, Violin Eric Kean, Viola Sam Sinai, Cello Patrick Roulet, Marimba

Jenni Brandon stands out as a distinguished composer and conductor, weaving memorable melodies inspired by the stories of her collaborators, nature, and poetry. Her extensive catalogue of over 100- plus works spans solo pieces, chamber music, concertos, operas, and orchestral compositions, and over two dozen albums feature her music. Her compositions are required repertoire for international music competitions and university auditions. Brandon also champions music education and collaboration, presenting workshops on composition and the business of music.

Listen to some of Jenni’s compositions here.

BCMS is extremely excited to share this new commission with you!

In the composer’s own words:
“As a composer I create music that is beautiful and lyrical. Whether I am writing for soloists or larger ensembles, I believe in the power of storytelling and memorable lines.”

Srul Irving Glick
An Evening at Heaven’s Gate – A Klezmer Rhapsody (2000) ~ 12min.

Kim Breilein, Flute
Pat Nelson, Bassoon
Patrick Roulet, Marimba

Srul Irving Glick is among Canada’s most prolific and prominent composers. He explored varied genres throughout his career and was bestowed many awards including the Yuvel Award and Kavod Award , presented by The Cantor’s Assembly of America, for his “lifelong commitment to the composition of music that captures the heart and touches the soul” and “his lifelong dedication to the music of the synagogue, to cantorial chant and to cantors”. In 1994 Glick was appointed a Member of the Order of Canada. Rooted in Jewish musical traditions from his early life (his father was a Cantor) he weaved the richness of this traditional music into works full of depth and lyricism. The work presented on this concert, A Night at Heaven’s Gate, is a wonderful example of this.

In the composer’s own words:

“When you compose music, do not be afraid of Beauty.”

Antonin Dvořák
String Quartet No. 12 ‘The American Quartet’ in F major, Op. 96 (1893) ~25 min

Erin Furbee & Shu-Hsin Ko, Violins Lisa Humphrey, Viola Christine Lee, Cello

The ‘American’ String Quartet was written during Dvořák’s 3 year sojourn to the USA, in the summer of 1893 when he was vacationing in Spillville, IA, a farm village of Czech-speaking immigrants. The first reading in Spillville had Dvorak himself on violin with his host Josef Jan Kovařík and his family reading with him.

The Kneisel Quartet gave the premier on New Year’s Day 1894 in Boston. It was extremely well received and the Quartet went on to perform the work fifty times at various music venues that same year.

In the composer’s own words:
“When I wrote this quartet …. I wanted to write something for once that was very melodious and straightforward, and dear Papa Haydn kept appearing before my eyes, and that is why it all turned out so simply. And it’s good that it did.”