Notations Fall 2016

notations FALL 2016

» It’s Playback Time, Tam Gets Temporal » My process, Behzadi on making plastic sounds » Album reviews, project updates and the rest!

in this issue

Artists from the first edition of the Toronto Creative Music Lab hanging out on the lawn at the CMC. See more images on page 33.

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The Nameless Hour

“The dominant "movement" (if you could call it that) of today that has supplanted prior -isms, is an earnest eclecticism…”

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Generations/ Conversations

" The important thing about my quote… is to have a lot of respect for the role of the performer, to truly understand that they are the ones producing those tones, making the sounds in time.”

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This is Why We Playback

“Derrida’s commentary on archives… relates easily to the complexities and contradictions of the CMC: an organization that is simultaneously public and private, that is at once traditional and revolutionary.”

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Album Reviews

“The intimacy is evident sonically, in the composition and in Egoyan’s careful performance, but it feels textually like much more is at stake here than simple affection and closeness.”

table of contents

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Letter from the Editors

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Ontario Project Updates

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This is Why We Playback

42 Generations/Conversations 47

Album Reviews

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Plastic Sounds

62 Noteworthy 72 Memorials

FALL 2016, VOL. 23, NO. 2 The Canadian Music Centre, Ontario Region.

The opinions expressed herein are not necessarily those of the Canadian Music Centre.

Editorial Collective Matthew Fava, Jeremy Strachan, Alexa Woloshyn

Design Jennifer Chan

Contributors Patrick Arteaga, John Burge, Sarah Clavadetscher, Matthew Fava, Cecilia Livingston, Chris Lortie, Ashkan Behzadi, Patrick Nickleson, Ron Royer, Michael Schulman, Gordon Smith, Nancy Tam

Mission and Purpose The Canadian Music Centre is the catalyst that connects you to the ever-evolving world of Canadian musical creation through performance, education, and promotion.

The Canadian Music Centre provides unique resources for exploring, discovering, and performing Canadian music. We are passionate about nurturing a musical community that honours our legacy and supports the professional development of Canadian musicians and composers.

CANADIAN MUSIC CENTRE --ONTARIO REGION 20 St. Joseph Street, Toronto ON, M4Y 1J9 416.961.6601 x 207 ontario@musiccentre.ca www.musiccentre.ca

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· Letter from the Editors · If we didn’t like endings, we wouldn’t begin anything.

We don’t always agree on an ending. On occasion we will judge the entirety of something based on its ending.

So we will preempt all of this by saying that Notations is about to change.

Over the past five years we have been treating Notations as a platform to discuss various issues in contemporary music, and explore neglected histories in Canadian composition. We have reached an ending, as the current issue of Notations will be the last of the current iteration, and ongoing written content will appear in different formats.

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letter from the editors

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n many ways, recent issues of Notations have reflected this shift: increasing coverage of CMC residency programs, documenting the creative process for composers and performers, and an ongoing look at the abundance of workshop activity animating the CMC space in Toronto. We will continue to create spaces through blogs, recordings, and more so that community members can share their experiences, and noise making!

With that, we embark on the Fall 2016 issue.

We have two features on recent projects that took place at the CMC. Composer Nancy Tam discusses her recent project, Playback, a site-specific installation that explored the history of the CMC and set the audience experience within the CMC building (Chalmers House).

We also share words with Ashkan Behzadi, who visited the CMC in May as part of his collaboration with FrenchAmerican pianist Julia Den Boer. Behzadi’s

piece employed intriguing live processing of the piano, and we hear from him about his approach to electronics.

2016 has been a busy year for CMC projects in Ontario, and we have a summary of a fraction of that activity! We look back at partnerships with the Ontario Band Association, Soundstreams, Musica Reflecta, and more. We also look back at the first edition of the EQ workshop, which is a mentorship and communitybuilding program focused on women in electronic music.

Our reviews section digs into a couple of releases from the recent past.

Contributor Patrick Nickleson offers a glimpse into pianist Eve Egoyan’s performance of the music of Linda Catlin Smith from the album Thought and Desire.

We also get a look at Movement, featuring the music of Samuel Andreyev performed by ensemble proton bern. Both discs provide for stellar listening!

Lastly, this issue includes reflections on two Associate Composers who passed

away in 2016: Clifford Crawley, and Howard Cable. Gordon Smith and John Burge share a history of, and reflection on, Crawley’s life and work, while composerconductor Ron Royer offers thoughts on his friend and colleague Howard Cable.

Both Cable and Crawley had an especially strong connection to Ontario, and shaped communities, institutions, and individuals who continue to make music in this province.

As always, we invite your feedback, and we hope that you consider sharing your ideas with the CMC. Notations Editorial Collective Matthew Fava Jeremy Strachan Alexa Woloshyn

L to R: Jeremy Strachan, Alexa Woloshyn, Matthew Fava 5

CMC Ontario Projects A summary of some of the projects underway in Ontario Region! Contact the regional office to find out how you can connect with our programs.

CMC Ontario Projects

Opus Testing – TorQ The most recent instalment of Opus: Testing, presented by Musica Reflecta and the CMC, featured TorQ Percussion Quartet. Each member of the quartet prepared a table-top of percussion instruments to be at the disposal of participating composers.

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Eight composers developed a variety of works that explored graphic and instructional scores, improvisation, and games. Having played together for more than a decade, the members of TorQ provided thoughtful feedback regarding notation and intention to support each composer’s experimentation. Following

the workshop, TorQ performed all eight pieces in concert on March 22 at the CMC. In classic Opus: Testing fashion, a regionally diverse group of composers joined the workshop remotely including artists from Vancouver, London, Ottawa, Kitchener-Waterloo, and Toronto.

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1. Adam Campbell in a thoughtful stare during the workshop.

2. Richard Burrows stands in the midst of the table tops.

3. Dan Morphy displays one part of Patrick Arteaga’s piece, Music for Small Spaces 4. J amie Drake chatting with Alex Mah joining from Vancouver for his piece assembling (one) ego.

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5. C omposer Maria Atallah joined the workshop from Ottawa while TorQ prepared her piece C + P. Photos: Matthew Fava

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FALL 2016

Images by Sarah Clavadetscher.

Opus Testing – TorQ (CONT'D) One of the pieces developed as part of the workshop was Patrick Arteaga’s Music for Small Spaces which included his collaboration with Switzerland-based 8

artist Sarah Clavadetscher. Arteaga produced a series of substrates featuring notated parts for two musicians. The other two musicians in the piece would select from a series of images

(photographic and illustrative) produced

by Clavadetscher that would serve as inspiration for improvisations. You can see some samples of what they produced in the following pages.

CMC Ontario Projects

Images by Sarah Clavadetscher.

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FALL 2016

Images by Sarah Clavadetscher.

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CMC Ontario Projects

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FALL 2016

Images by Sarah Clavadetscher.

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CMC Ontario Projects

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CMC Ontario Projects

Harry Freedman Award Presentation The CMC was in attendance at the Blythwood Winds concert on Sunday, June 12 to present the Harry Freedman Award for Recording to CMC Associate Composer Jason Doell.

Doell won the award for his piece Arbitrage which has been recorded by the Thin Edge New Music Collective for inclusion on a forthcoming album of chamber works.

This will be the first collection of Jason’s chamber compositions to be released

commercially, and the Harry Freedman Award was able to support creative costs related to the project such that Doell was able to devote time to refining the piece while involving Thin Edge.

L to R: Karen Freedman (Harry’s daughter), Jason Doell, and Mary Morrison-Freedman pictured at Heliconian Hall following the Blythwood Winds concert, and the presentation of the Harry Freedman Award for Recording. Photos: Matthew Fava

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FALL 2016

OBA project The CMC collaborated with the Ontario Band Association and Encore The Concert Band to present the third instalment of the wind reading project in London, Ontario.

The reading session connects composers, conductors and musicians. The workshop featured 11 pieces written for beginner and intermediate level ensemble, and the composers had an opportunity to hear their pieces and chat with the conductors and musicians.

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1. G wyn Beynon conducts Encore when he is not serving as trumpet player extraordinaire 2. C larinettist-conductor Bob Kennedy (left) chats with composer Wesley Cheang before conducting Cheang’s piece.

3. C onductor Linda Wharton leads Encore during the OBA workshop. Wharton is a recently retired Music Department Head at Central Secondary School in London, Ontario.

Photos: Matthew Fava

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CMC Ontario Projects

Harp reading session The CMC worked with Harpists Hope Wilk and Phoebe Powell to record solo harp pieces by Canadian composers.

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CMC Associates Christine Donkin, Rodney Sharman, and Nick Storring collaborated with Hope to rehearse their pieces, and then went into the studio with sound engineer Paul Talbott to generate high quality recordings to support the promotion of the pieces, while also adding to the archival collection at the CMC.

The harp is a source of compelling and beautiful sounds, but often requires a thorough exploration of notation strategies. The insights of one (or two!) harp players will offer a composer many practical options to consider when writing and revising.

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1. While rehearsing Four Harp Pieces, Hope (Left) and Phoebe are joined by composer Christine Donkin by video conference.

2. Hope Wilk (Left) with Phoebe Powell at the Royal Conservatory during rehearsals for the Harp reading workshop.

Photos: Matthew Fava

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FALL 2016

Cecilia String Quartet commissioning project Over the past year, the Cecilia String Quartet has been spending time at the CMC in Toronto developing new works as part of a commissioning project. The project will generate four new pieces for string quartet by Canadian women composers.

During the group’s staggered residency, they workshopped new pieces by Kati Agócs (Tantric Variations) and Nicole Lizée (Isabella Blow at Somerset House). These two pieces, along with a third that was written by Katarina Curcin (String Quartet No. 3), were premiered at separate concerts in the 2015–16 season. The CMC was pleased to host as part of our

concert series a performance of the three completed pieces, along with an open rehearsal of passages from the fourth piece in the project that is currently being written by CMC Associate Composer Emilie LeBel. Emilie joined the event remotely from Montana, and shared some of the concepts and inspirations guiding her process.

Members of the Cecilia String Quartet preparing for their concert at the CMC. L to R: Min-Jeong Koh, Sarah Nematallah, Rachel Desoer, and Caitlin Boyle. Photo: Matthew Fava

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CMC Ontario Projects

Soundstreams Emerging Composer Workshop The fourth annual Soundstreams Emerging Composer Workshop took place in April, giving 6 early career artists the opportunity to work closely with mentor composers and Toronto-based artists to develop a new piece and share insights into their creative process and career goals. The CMC was able to host rehearsals, discussions, and listening sessions for the participating composers in the Chalmers Performance Space.

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CMC Associate Composers Colin Labadie and Cecilia Livingston took part alongside composers Fjola Evans, Andrew Israelson, Nicole Murphy, and Mark Wolf. The six composers worked closely with CMC Associate Composer Peter Hatch who was present as a local mentor composer.

Steve Reich, a guest of Soundstreams in recognition of his 80th birthday, was the visiting mentor composer during the workshop. We hear more about this unique experience from Cecilia Livingston.

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1. W hitney Mather (centre) during an early rehearsal with the composers.

2. D an Morphy explains the logistics of mallet juggling.

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Soundstreams Emerging Composer Workshop (CONT'D) “Over two weeks in April, six composers from three countries met, worked, discussed, rehearsed, revised, ate, argued, listened, laughed, stayed up late, got up early, went for long walks, and lived and breathed the newest music. Led by “local” composer-mentor Peter Hatch and our guest composer-mentor, Steve Reich, Soundstreams’ Emerging Composer Workshop offered us the rare and precious immersion that allows for complete focus and real creativity – and it also allows real composer-friendships to grow, which is the best antidote for our lonely, lonely hours at computers.

The CMC was our new home away from home. Each day started with a listening session and the rest of the day was spent in masterclasses, seminars, and rehearsals.

Each of us had written for soprano, piano, and percussion, and over two weeks

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we heard each other’s pieces grow and coalesce: our intrepid ensemble was tireless in their generosity, with hours of experimentation, suggestions, and fine-tuning. Peter Hatch’s thoughtful leadership helped blend workshoprehearsal-masterclass with plenty of experimentation, “what if’s” and new sounds. A huge thank you to Zorana Sadiq and Whitney Mather (sopranos), Wesley Shen (piano) and Daniel Morphy (percussion) for saying “yes” to everything we asked you to try, even when you probably thought we were nuts!

Our seminar sessions with Hatch and Reich were amazing: casual, open dialogues about everything from building a sustainable daily composingschedule (including healthy exercise!) to appreciations of counterpoint in contemporary music. We chatted over sushi about software upgrades, shared

our music with one another, and watched night fall from Integral House: what should have been a series of terribly intimidating meetings with Reich instead became the best kind of collegial conversation. The two weeks came together in our own composer-concert and Soundstreams’ tremendous Reich At 80 concert, the beautiful, pulsing waves of Music for 18 Musicians bringing our two intimate, fascinating, collaborative weeks to a perfect conclusion.

Thank you to Peter Hatch, Steve Reich, Lawrence Cherney, Ben Dietschi, and Kyle Brenders for everything they drew together and shared with us, and to Matthew Fava and everyone at the CMC for making sure we had the peace and quiet (and coffee!) for real musical discovery.”

Cecilia Livingston

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3. W esley Shen (left) learning how to operate tiny robots for Andrew Israelson’s (right) piece.

4. L to R in front: Mark Wolf, Nicole Murphy, Peter Hatch, Fjola Evans, Whitney Mather, Cecilia Livingston. In back, Colin Labadie enters through the looking glass.

Photo: Matthew Fava 20

CMC Ontario Projects

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5. O ne of Andrew’s robots pictured with fragments of his score.

6. L to R: Lawrence Cherney, Mark Wolf, Colin Labadie, Steve Reich, Zorana Sadiq, and Cecilia.

7. A group photo after the concert. Left to Right: Ben Dietschi, Peter Hatch, Wesley Shen, Zorana Sadiq, Kyle Brenders, Dan Morphy, Whitney Mather, Mark Wolf, Andrew Israelson, Fjola Evans, Colin Labadie, Steve Reich, Cecilia Livingston, Nicole Murphy.

8. Dan Morphy (left) and Wesley Shen warming up for the ECW concert.

9. S teve Reich (Left) shares a laugh with Cecilia after the concert.

Photo: Matthew Fava

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FALL 2016

Vocal Workshop with CLC The Canadian League of Composers hosted a highly informative workshop in collaboration with the CMC called Composing Your Voice.

The two-day workshop was facilitated by soprano and supreme ally of contemporary music Carla Huhtanen. Composers got in-depth insights into the mechanics of the voice, the treatment of texts, and approaches to notation. Carla had participating composers generate short passages for voice and piano from assembled texts, and workshopped the passages with the composers.

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1. Carla Huhtanen (L) and pianist Stephanie Chua reading through sketches by workshop participants.

2. Traces of notation. Photos: Matthew Fava

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CMC Ontario Projects

Quasar Workshop The Quasar Saxophone Quartet visited Toronto to participate in a New Music Concert presentation in March, and during their visit offered a workshop for local saxophone quartets in the Chalmers Performance Space at the CMC.

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Quasar performed excerpts from their repertoire including Jimmie LeBlanc’s Fil Rouge, before workshopping a piece with sax players from the University of Toronto. We were also delighted to have CMC Associate Composer Pierre Alexandre Tremblay, winner of the Jules Leger Prize, present at the workshop to discuss his winning piece, Les pâleurs de la lune (2014), which was presented on the New Music Concerts Program.

1. Marie-Chantal discusses interpretation with saxophone students from the University of Toronto.

2. Pierre Alexandre Tremblay discussing his work with Quasar during a presentation at the CMC. 3. Marie-Chantal Leclair (Left) and André Leroux preparing to play.

Photos: Matthew Fava

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FALL 2016

Luke talks Cluster, Tomi talks Finland Building an arts organization can be one of the most challenging undertakings in a career, and the organizers from Cluster New Music and Integrated Arts Festival in Winnipeg have served as an inspiration for many emerging organizers in Canada.

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Luke Nickel, one of the founders of Cluster, was in Toronto to discuss a new piece he created for the Thin Edge New Music Collective, and took the opportunity to discuss his work as artist and administrator with members of the Toronto New Music Alliance.

Toronto-based saxophonist Olivia Shortt moderated the discussion and got Luke to share some of the successes and

challenges of organizing Cluster. Luke reflected on the unique opportunities for Cluster to connect with music communities outside of contemporary classical music in Winnipeg, as well as the barriers that exist for small-sized independent organizations in the arts in Canada to receive sustainable funding.

You can hear excerpts from the talk here!

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1. Olivia Shortt chats with Luke Nickel during a session of the Toronto New Music Alliance at the CMC. Photo: Matthew Fava 2. The TNMA also collaborated with junctQín keyboard collective to host a discussion with Finnish composer Tomi Räisänen on Saturday, May 14 as part of his collaboration with junctQín throughout that week. Photo: Elisha Denburg

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CMC Ontario Projects

• Library Residency, Nick Storring • As part of the library residency program, CMC Associate Composer Nick Storring took a deep look at the legacy of Canadian composer Norman Symonds, and his piece, The Nameless Hour. As a composer Symonds is often categorized as Third Stream—fusing classical and jazz musics. Presented here is an excerpt from Storring’s article wherein he discusses the relative defiance, submission, and perception thereof to compositional schools of thought. Symonds becomes a compelling figure, and The Nameless Hour a fascinating piece, to consider within this discussion. We join the article about two-thirds in...

Even in 2016 when we reflect upon works that never sound the same in performance, especially ones from the 1960's, we're often referring to pieces that employ chance operations, graphic scores or even something like Riley's In C. It's seldom the case that something with fragile quasi-impressionistic orchestration and lyrical jazz-informed improvisation enters the discussion, but perhaps it's not a question of their compositional quality.

Instead, it's arguably due to a tendency we have to foreground work that makes conspicuous use of radical uncertainty, pieces that neatly fit the narrative of musical innovation that was propagated through the 20th century.

The Nameless Hour strikes me as a fine starting point for a wholesale reexamination and critique of this historical proclivity, even though there are definitely countless other works of equal merit and uniqueness that could be used to stimulate this discussion.

Many have re-calibrated their critical barometers to account for the climate of 21st century concert music—at least when it comes to current work. Nowadays, only a shrinking few would blink at unconventional mixtures of approaches and styles. Ideas that were once novel concepts to postmodernism are almost taken for granted now thanks, in part, to the Internet—

fragmentation, plurality, wariness and disregard for "high" and "low" conceptions of art, hare-brained conceptualism, peculiar uses of dissonance or, conversely, flagrant tunefulness. It's all fair game, but it’s also no longer in reaction to modernism. It just is.

Consequently, with compositions of the last 15 to 20 years, the general consensus it to accept them on their own terms, regardless of their constituent ingredients.

On the creative end of things, we're seeing a decrease in emerging composers enrolling themselves in major schools of thought. Scenes or groups of people with shared ideas pop up, but they’re not the sorts that brandish manifestos anymore.

A passage from the instructions for The Nameless Hour by Norman Symonds.

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Most artists of this generation recognize that connecting themselves so explicitly to an established aesthetic pedigree ends up working more like a Ponzi scheme than a familial lineage. Under that paradigm, rather than being recipients of a cultural inheritance, the value of one's individual artistic contributions ascends to benefit whomever is at the top of the pyramid.

This has a lot to do with the prevalent historical outlook. Despite our artistic agnosticism, when we think retrospectively, our unprejudiced thinking tends to lapse into kneeling before the altar of so-called progress and innovation.

Looking back, we celebrate brandname artistic movements: Serialism©, Spectralism®, Minimalism™, and revere the heroes (the bringers of Big Change) at the expense of a big nebulous 'everything else'. The fact is however, that vast 'everything else' truly does encompasses everything— from genuinely subpar work to truly mind-altering creations whose beauty and uniqueness simply elude written language (and thus, the history books).

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Applying this 20th Century logic to Symonds, he ends up cast unfairly as a mere ancillary Third Streamer— at best one of the movement's Canadian ambassadors. Shoehorning him into the received canonical configuration, though, only hampers our abilities to see his work for what it was, and to appraise its relevance. He may not exhibit the hallmark traits of an innovator, but his outlook is strangely prophetic of the current milieu. The dominant "movement" (if you could call it that) of today that has supplanted prior -isms, is an earnest eclecticism— a residue that's leftover after postmodernism and its cynicism have evaporated. Symonds' work may not have called into question the fundamental tenets of music itself, like his most noted contemporaries. Instead it's a manifestation of utopian longing: for intuitively-devised, hitherto-unheard hybrids, for permeability, and for plasticity both in terms of material and in terms of composer-performer dynamics.

Insight into The Nameless Hour's imagistic and literary connections provides another angle from which one can scrutinize his sentiment further. On its surface, it presents itself as an homage to that span of time that hangs on the cusp between night and day. Introducing the radio broadcast of the premiere he states "The opening section of the score establishes this kind of atmosphere, but as the work develops, the implication is more with the possible mental and emotional reaction to this time of day. In other words, the score is not a musical painting of twilight but is rather an interpretation of a mood of introspection which I have always found this time of day encourages in me." This image of a liminal temporal zone serves as a sort of metaphor for Symonds' developing artistic outlook and fascination with modes of expression that defy classification, existing between boundaries.

You can read the full blog post by clicking here, and check the community page on the CMC website for future instalments!

CMC Ontario Projects

Score excerpts from The Nameless Hour copyright Norman Symonds.

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CMC Ontario Projects

Score excerpts from The Nameless Hour copyright Norman Symonds.

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FALL 2016

Score excerpts from The Nameless Hour copyright Norman Symonds.

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CMC Ontario Projects

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FALL 2016

EQ! The first edition of EQ has wrapped up!

Established by CMC Associate Composer Rose Bolton, EQ is a mentorship program for women (trans, cis, non-binary) in electronic music. Participants learn from from Rose, and also from each other, as each person brought a wealth of experience to group and one-onone lessons. Information about future editions of EQ will be online soon!

Here are a few thoughts about EQ that participants shared with us...

“ I definitely want to collaborate musically with other women more, to pass on the knowledge I'm learning to other new musicians. It was such a good experience that I want to create it again for myself and others.”

“ I learned a lot from the other participants and created lasting connections. I feel that I have a network of artists that I can reach out to if I need help or just someone to listen to something with fresh ears.”

“ ...my music changed drastically in learning the new techniques presented in the session. Lots of burning questions I'd had for years and wasn't able to finds answers for, finally had answers.”

EQ Participants together at the CMC in May: L to R Maggie McLean, Emily Milling, CMC Associate Composer Rose Bolton, Laura Dickens, and Amanda Lowry. Photo: Matthew Fava

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CMC Ontario Projects

Images from the Toronto Creative Music Lab The CMC was a sponsor of the 2016 Toronto Creative Music Lab, a week long peer-mentored workshop for early-career composers and musicians. Taking place at 918 Bathurst and the CMC between June 19 and 24, the workshop created spaces for collaboration and discussion with 30 artists from across North America. We decided to share a selection of images from the week.

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1. Olivia Shortt leads TCML participants in a performance of Germaine Liu’s Playground at the CMC. 2. Guitarist An-Laurence Higgins tunes up for her working group at 918 Bathurst.

3. Allison Clendaniel performs with Nick Fraser (drums) at the Holy Oak as part of a concert organized by TCML participant Tova Kardonne.

Photos: Matthew Fava, Anastasia Tchernikova

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Images from the Toronto Creative Music Lab (CONT'D)

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4. L to R: Ange Loft, Rosina Kazi, and Izzie Colpitts-Campbell take part in a panel discussion regarding accessibility and artistic practice.

Matthew Fava (R) moderates.

5. In the great hall at 918 Bathurst, participants huddle around the ensemble performing Nolan Krell’s piece that skirted the edges of audibility.

Jonny Smith, percussion, and Aysel Taghi-Zada, violin, are pictured on stage.

6. TCML participant Mehdi Rezania tuning his santur at Ratio before performing a solo set 7. Branko Džinovicć, accordion, alongside Grace Scheele (pedal harp) rehearsing a piece by Janet Sit in the aptly named Sun Room at 918 Bathurst 8. Anoush Moazzeni (Fender Rhodes) assembles a score in the common area at 918 Bathurst while Will Callaghan’s Disco Kitchen is in full effect in the background.Photos: Matthew Fava, Anastasia Tchernikova

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CMC Ontario Projects

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This is Why We

Playback Memory, Identity, AND Performing Remains

Dozens of people are standing or moving along invisible paths at the CMC. No one is speaking.

They are all listening through headphones, and taking directions from the disembodied voice of composer Nancy Tam.

FALL 2016

Nancy spent two weeks at the Canadian Music Centre in Toronto in March and April of 2016, delving into the history of the organization and our building (Chalmers House). She quite literally uncovered neglected and forgotten stories from Associate Composers and staff, and then assembled an immersive piece that looks at the unique role that the CMC plays in contemporary Canadian music.

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o the staff or visitor catching a glimpse of Nancy during her stay at the CMC, her behaviour might not have suggested the workings of a compositional process; however, the pacing, retracing of steps, whisperings into an audio recorder, and stoic ruminations were all feeding into the lattice-like structure that became Playback.

Playback explores many themes including culture, identity, and accessibility. The CMC did not emerge unscathed. Tam focused our attention on the history of exclusion that was experienced by many artists who were rejected by the CMC, including those with extensive training in the Western European tradition of composition—to say nothing of those artists whose work springs from other traditions. From its inception, the CMC has served primarily as an archive of Canadian composition, privileging the composer and their score. Central to the CMC’s current transformation is an interrogation of this history, and the dramatically different reality of music making in 2016.

With this in mind, Notations invited Nancy Tam to share some reflections on the piece and her process.

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F r om Nancy: Playback is a 45-minute guided audio tour of Chalmers House—the location of the CMC offices—experienced through headphones. Constructed as a piece of site-responsive work using original compositions, field recordings, interviews, and instructions, Playback invites listeners to explore Chalmers House and the Canadian Music Centre, contemplate its

history, its function, and its significance to both Canadian music and Canadian society.

Throughout my MFA studies, I experimented with mediated listening as part of various projects culminating in my MFA thesis project Some Hallways Lead To Other Hallways And Some Lead To Dead Ends (Hallways). Hallways is an hour-long synchronized interactive guided

The pages that follow feature several images from the interior of the CMC in Toronto. Photos: Jennifer Chan, Matthew Fava

CMC Ontario Projects

audio tour for ten individuals throughout six floors of Woodwards at Simon Fraser University (a 120,000 square foot facility in downtown Vancouver). I adopted this approach with Playback.

When I make sited work, the site becomes the integral element guiding the content, the movements, and interactions within the piece. Situated at Chalmers House, Playback made use of the site’s strong association to the Canadian Music Centre: at one point early in the piece I mention that I cannot imagine the CMC and Chalmers House existing separately. Through that association, I pose several questions: What is “Canadian”?

What is “Music”? And what does the CMC represent as a centre?

Playback addresses these issues: at times seriously with in-yourface commentary, at times with cheeky humour when prodding around the organization’s history.

When I first approached Chalmers House I was struck by the grandeur of its Victorian turrets, the brick work, and stained glass.

To me, the façade conveyed a strict tradition that I felt outside of—it was architecturally from a different time, and it conveyed an artistic community that was closed to me. On the inside, Chalmers House is a muted space with a mix of the present and the past, the domestic and the commercial; an archive of not only music, but history, under change in that we are adding to it every day, and our analysis of that history evolves. This struck my collaborator, Andy Houston, and I. In preparing Playback, we

" On the inside, Chalmers House is a muted space with a mix of the present and the past, the domestic and the commercial; an archive of not only music, but history, under change in that we are adding to it every day, and our analysis of that history evolves."

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This is Why We Playback

began our research with Jacques Derrida’s Archive Fever (1995) to help unpack the notion of an archive. A central element in Derrida’s commentary on archives—and the act of archiving— relates easily to the complexities and contradictions of the CMC: an organization that is simultaneously public and private, that is at once traditional and revolutionary.

Our reading led us to Rebecca Schneider’s article "Performing Remains" (2011) in which she made a strong case that the supposed ephemerality of performance is as much a testament of an experience as a more permanent archived document such as a score. This is especially the case when we consider artistic practices from a variety of cultural traditions. Schneider’s article cracked open the form and content of Playback, such that it seemed important for me to situate the narratives and the retelling of history through the choreography of the participants/ audience in and around Chalmers House. For example, the piece

guides and misguides the participant around the central stairwell of the building as I comment on the underrepresentation of women in the field of composition.

Another part of our research involved interviewing roughly 40 Canadian composers from across the country. All together, I collected approximately 50 hours of recorded interviews. These interviews became a crucial part of Playback. Though I had a set of questions for each composer, the conversations often drifted depending on the person I was talking to. The themes that stood out from these conversations related closely to composition and listening. As a composer, I was thrilled to be talking to so many generous composers who showed themselves through their politics and philosophies. For example, I spoke to John Mark Sherlock about our mutual penchant for failure, and at another point I listened to Hildegard Westerkamp talk about how her femininity and personality inform the work that she makes, which

sometimes doors become instruments, courtesy of Camille Belair

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Memory, Identity, and Performing Remains

directly influence her thinking around listening and composition.

In each interview, I asked the composer to talk me through a tour of their CMC regional office (Chalmers House serves as the regional office for Ontario-based composers, but there are also regional offices with library and workshop spaces elsewhere in the country). In their responses I found a trove of interesting, seemingly mundane details that became little secrets in Playback. Interestingly, many composers lamented the loss of listening rooms as part of the most recent renovations at Chalmers House. Additionally, many composers first found the CMC at Chalmers House because of the free manuscript paper that used to be offered. By compiling the interviews and gaining my own familiarity with the space, Playback accentuates the tensions and stories that exist at Chalmers House, but are not readily shared.

As an interdisciplinary artist, I take on various processes to creating work. The kind of sound-driven theatre (or contemporary performance) pieces I make are developed out of a devising process not unlike making a piece of devised theatre—wherein scripted material is generated through the collaborative, often improvisatory, work of a team of people. In the case of Playback, my primary collaborator was Andy Houston. Later in the process, Nivan El Seweify, Alex Porter, and Brooke Barnes were brought in as collaborating performing bodies.

Andy’s role evolved in the piece. From the beginning, he was a research partner. Later on, Andy worked with the performers to choreograph a set of gestures to be performed during Playback in coordination with the timed movement of participants. These gestures served to emphasize emotional and thematic content.

Most importantly, Andy was a steadfast dramaturge throughout the entire process.

Following the public presentation of Playback on April 6 and 7, I was grateful for the warm response I got from audience members.

I think I have a good first draft that can be further developed—40 interviews offer a lot of inspiring material.

Particularly, I will be writing other themes into the piece and looking for presentation opportunities for a remount.

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Generations/ Conversations

Generations/Conversations is an intergenerational interview series that documents personal stories, micro-histories, and the inner workings of Canadian composition.

a conversation with

Scott Good

By Michael Schulman

generations/conversations

Scott Good (b. 1972, Toronto) has composed orchestral, chamber, performance art and vocal works that have been performed in North America, Europe and Asia; he is also active as a trombonist, conductor and concert curator. From 2008 to 2011, he was Composer-in-Residence with the Vancouver Symphony Orchestra, having previously worked as curator for the Esprit Orchestra. He was also Artistic Director of earShot concerts (9702) and the Morpheus Contemporary Music Ensemble (92-95).

Scott has served as a trombonist in many orchestras, including the Kitchener-Waterloo Symphony Orchestra, the National Ballet Orchestra and Esprit. As well, he has performed with contemporary music ensembles like Patria Music Projects, Array Music, New Music Concerts and Contact.

solo parts for two soloists as well, a soprano and a pianist. It ended up being a massive project.

MS: How did it go?

SG: It went fabulous, it was incredible! I couldn’t be happier.

Scott was interviewed in November 2015 by music journalist Michael Schulman.

MS: I’m planning to introduce this interview article with an abridged version of your bio on the CMC website [see above]. Is there anything more recent that you’d like to add?

SG: Since I wrote this bio, most of my work has been freelance, so in a way it’s still up to date.

MS: In an email you sent me when we were scheduling this interview, you wrote that this past weekend’s performances of The Hands of Orlac (Nov. 20 & 21) by the Kitchener-Waterloo Symphony would be your “biggest premiere to date.” That surprised me, because you’ve had works performed by the Vancouver Symphony, Montreal Symphony and National Arts Centre Orchestra. What made this your “biggest premiere”?

SG: First, in terms of scale – it’s a two hour commission, a huge score. It accompanied a film, so I had to design an entire score that would align itself with the movie and write some intricate 44

MS: Are you now planning to use the music in a way independent from the film, the way Prokofieff arranged his film score for Alexander Nevsky into a concert piece?

SG: For sure, absolutely. I already have two works sketched from it – one for each of the soloists. What I’m going to do is take all the soprano bits – the text comes from the Latin Mass – so it’s going to turn into a Mass for soprano and orchestra. Then I want to take the piano part – the pianist actually plays on two pianos, a grand piano and a prepared upright piano – I thought it would be really interesting to turn it into a mini piano concerto, with both pianos – that’s where the magic is. But I hope that other orchestras will be interested in presenting the music with the film. Since I’ve worked with orchestras a lot, as a composer and as a performer, I know that orchestras are in the market for a complete package, an entire concert. So I’ll have promotional material so orchestras can rent the whole package.

MS: I’ve met many composers, but as far as I know, you’re only the second trombonist-composer – Vinko Globokar was the first,

and that was at a New Music Concert rehearsal in April 1972, just a few days after you were born.

wife has her own career, which helps out a lot. Together we do OK. We have two kids.

It’s been very modest but we’ve been able to make it so far.

SG: Malcolm Forsyth was a trombonist.

MS: I didn’t know that. So that makes you at least the third trombonist-composer I’ve met. How did you and the trombone get together?

SG: It’s a funny story. When I was in grade 4, my school was offering music programs.

Our first choice was whether we wanted to go into band or strings. I definitely wanted to be a band player and I had in mind the French horn, because a family friend played the horn and I thought that was pretty cool. The teacher had us try each instrument and then we wrote on a list our top three choices, so he could put together a balanced group. Of course, my top choice was horn, my second choice was tuba—they were so big and shiny— and my third choice was trombone. I had assumed I’d be getting the horn so it didn’t matter what my third choice was. Anyway, the next week the teacher handed out assignments and gave me the trombone.

I was quite disappointed so I asked him why he’d given me the trombone and he told me I was the only person who’d put trombone anywhere on the list! But I now love my instrument and wouldn’t give it up for anything.

MS: There’s an interview with you that was done in Vancouver in 2010 – it’s online – in which you said composers “actually do not create music, because music is sound” and that what composers “are doing is creating a set of instructions for people to make musical sounds.” So if you aren’t creating a piece by notating a score, who gets credit for its creation? The performer is following “instructions,” not “creating.”

SG: It’s a collaboration. It’s important to remember that most music, traditionally, is aural and not written down. The important thing about my quote, at least thinking this way to myself, is to have a lot of respect for the role of the performer, to truly understand that they are the ones producing those tones, making the sounds in time. That’s what music ultimately is, sounds in time. I feel that my music, my sheet music, is supporting their role, making it a more rewarding experience for everybody.

MS: As a freelancer, unlike many composers with full-time academic jobs, are you able to make a decent living, never knowing where your next gig is coming from?

MS: In preparing for this interview, I listened to a fair bit of your music – your sheet music being performed – on the CMC website. I was particularly taken with Deuil engoisseux (Anguished Grief) for strings, a solemn but very beautiful piece in the vein of Vaughan Williams’s Tallis Fantasia and Barber’s Adagio. This piece started out as a vocal work for the Baroque ensemble I Furiosi. How did it expand into the version for strings?

SG: It can be really difficult. There are leaner years than others. For me, it’s very up and down, like a roller-coaster, but my

SG: As are so many of my compositions, the result of circumstance and opportunity. My good friend, violinist

Phoebe Tsang, approached me. She was going to be playing a Haydn concerto with the Toronto Sinfonia and she wanted a Canadian piece to complement it. She asked if I could turn my violin-and-piano piece, And Dreams Rush Forth to Greet the Distance, into a work for violin and strings.

It’s my most-performed piece, it gets performed all over the world, which is kind of neat, but I told her I couldn’t possibly see a string orchestra realizing the piano part. So I thought that the very simple vocal melody of the Furiosi piece could transform into a really interesting solo part and the accompaniment, originally a string quartet, would obviously translate very nicely for string orchestra.

MS: And it did! Finally, what’s coming up for you as a composer and/or as a performer?

SG: I have one work in progress – a work for the Gryphon Trio and a jazz trio. I want to combine the two trios to make a sextet in which the jazz trio will have a context to engage with the classical players and the classical players will also feel comfortable and maybe add some improvisation. I’ve got a few playing gigs here and there but to be honest, I’ve been on a treadmill for many months, with a commission from Esprit performed last March and this massive project that was premiered this past weekend. So once I finish the sextet I’m going to take a little bit of a break and go camping!

Click here to learn more about Scott Good!

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CMC PRESENTS BRIDGING WORLDS: Allison Cameron | Kristel Aubrey Jax

OCTOBER 6, 2016 | 5:30 PM

CD REVIEWS

Moving

Samuel Andreyev, composer ensemble proton bern

By Chris Lortie

CMC Associate Composer Samuel Andreyev’s newest release, Moving, is an entrancing collection of his chamber works performed by the talents of ensemble proton bern.

Encompassing over a decade of Andreyev’s artistic life, expressed in about an hour of music, the album never falls short on its diversity of color and drama alike. Drama in particular appears at the forefront of Andreyev’s output; the narrative structure of his chamber writing is methodically arranged and insists on logical transitions from scene to scene.

This mentality can especially be observed in Flex I-III, three Webern-esque miniatures for violin and piano. Each of the three miniatures—which, in total, comprise less than four minutes of music—are constructed using fewer than 100 notes. The brevity of these movements allows Andreyev a focused, intense energy to his figures, characterized as what he terms “sonic microcosms.”

This theme of a hyperfocused, transparent material seems to pervade each work on the disc.

A secondary theme of lush microtonal spaces along with the use of esoteric instruments (such as the lupophone, oboe d’amour, and basset horn) is exemplified through La pendule de profile, an orchestrational achievement scored for quintet. The 11-minute track—employing a wonderfully unique combination of basset horn, bassoon, viola, cello, and contrabass—dwells in the low-mid range by default; Andreyev exploits this to carve out a space for the viola and basset horn’s higher tessitura. The piece is marked by an unusual formal organization, described in its program note as a “polyphonic interweaving of lines which densify the sonic space without sacrificing its transparency, projecting a sort of ‘cubist object.’” This disjunctive assembly of

time alludes to a note written by Marcel Duchamp for his Large Glass, which also serves as inspiration for the piece’s title: “A clock seen in profile in such a way that time disappears, while accepting the idea of a time other than linear.”

PLP, the oldest work on the album, gets its title from the work’s instrumentation and spatial layout (piano, lupophone, piano).

The instruments are antiphonally spaced to satisfy two functions: first, to allow the lupophone’s rich but delicate timbre to speak clearly while residing in the same register as the two pianos; second, to provide a stereophonic image for the audience, offering Andreyev another dimension to apply his nuanced logic.

Here, motivic ideas are “passed” from one instrument to another in a spatial manner, an effective and satisfying technique. One cannot ignore Martin Bliggenstorfer’s brilliant lupophone playing, which underpins the extraordinary musicality of this track.

Bliggenstorfer also serves as a star player for Moving, a trio for musette, viola, and piano. To quote the liner notes, “[…] Andreyev delays the entry of the musette which, if it is not strictly speaking the soloist within a highly interconnected trio, is nevertheless the work’s emotional focal point. Indeed, the musette is given the score’s first solo, whose cursive, refined writing reveals an art of the arabesque.” Andreyev makes a point to utilize the musette’s distinctive low range as a means to reinforce the piece’s violent ending, the result of a carefully subtle growth from its fragile beginning to a final, terrifying tutta la forza.

Click here for information and to purchase the album.

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CD REVIEWS

Thought and Desire

Linda Catlin Smith, Composer Eve Egoyan, Piano

By Patrick Nickleson

Writings about Linda Catlin Smith’s compositions are heavy with references to influences. Beyond her teachers—Martin Bartlett (British-born, himself a student of Terry Riley), Japanese composer Jo Kondo, Morton Feldman—her official biography also mentions artists from other media: authors Marguerite Duras and Cormac McCarthy; painters Giorgio Morandi, Agnes Martin and Mark Rothko. The liner notes to her 2015 album Thought and Desire similarly call upon not only Chopin, Satie and Michael Finnissy, but also Shakespeare, the text of whose 45th sonnet is placed in pianist Eve Egoyan’s mouth, “to be sung quietly as though to oneself or someone close by.”

This is not to suggest that these influences are necessary to understand her music, or that there is a singularly audible debt to any one of them. Rather, reference to these artists—whether they work with text, sound, or paint—recalls the vibrant materiality that a nearby much-loved book or image can have in the process of creation. Networks of influences seem always to open up in other directions for readers and listeners. While she does not directly mention them, two other artists come to my mind.

In his incredible book on Francis Bacon, Gilles Delueze writes (positively) of the accumulated influences that “the painter has in her head, or around her, or in her studio.” For Deleuze, these words and images and sounds animate a background which must be both embraced and rejected: “Now everything she has in her head or around her is already in the work, more or less virtually, more or less actually, before she begins her work. They are all present in the canvas as so many images, actual or virtual, so that the artist does not have to cover a blank surface, but rather would have to empty it out, clear it, clean it.”

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Eve Egoyan and Linda Catlin Smith are surely in each other’s heads and studios. The two have a long and much-remarked relationship that feels uniquely intimate as Shakespeare’s text arrives half-way through Thought and Desire (2007), which the composer describes as “an intimate love song.” This second half repeats the first, as the voice gets attached to the inner lines of the piano’s resonances, which decay in long silences. Egoyan’s delicate singing, entering only momentarily forty-five minutes into the recording, feels illusory by the time the final high pitches have finished ringing.

The intimacy is evident sonically, in the composition and in Egoyan’s careful performance, but it feels textually like much more is at stake here than simple affection and closeness.

Shakespeare’s text discusses the transmission of messages at a distance and the brief joy gained in hearing that the loved one is well, before sadness returns at the renewed realization of absence. Egoyan’s voice returns to a pianist’s customary silence with the words, “I send them back again and straight grow sad.”

The intimacy being focused on is thus a rather complex one: it plays on the “present-absent” of Shakespeare’s text, the kind of intimacy-at-a-distance that potentially provides both the most difficulty and the most reward.

While the album’s title piece is by far the most striking, two longer pieces bookend it beautifully. Nocturnes and Chorales (2013) alternates slowly expanding and contracting melodic lines with chordal sections which focus on the spacious ringing produced by unexpected inner voice movement (not unlike those picked out by Egoyan’s voice in Thought and Desire). Across

CD REVIEWS

the two alternating forms, Egoyan’s nuanced playing draws an astonishing range of colours out of the piano’s often grey resonance.

Describing the piece, Smith—again championing the heteronomy of the arts—writes of “the way melody and arpeggiation can create a landscape.” While it is not made explicit, on first read it seems clear that this landscape references painting, and not the actual outdoors. This is perhaps confirmed when she writes of the album’s closing piece, The Underfolding (2001), that she wanted to “thicken the texture of my compositional world.” For Smith, thoughts of thickness and texture, and the search for means to create them, lead again to analogies in painting as the resonances of the piano are tied to “the undertones of painting where many colours can be superimposed.”

Intimacy is on display across this entire album, in the close quiet of the recording, the ideas behind the music, and the long collaborative relationship between composer and performer.

This music is uniquely of the space of artistic work, depicting with great attention the subtlety of creation rather than the glorification of great images. Nevertheless, this is the intimacy of the present-absent, as each piece deals in its own way with sets of enabling contrasts: the interiority of thought with the externality of desire, the privacy of the nocturne with the publicness of the chorale, and the supposed autonomy of the arts with the obvious heteronomy that is so central to Smith’s actual practice.

Click here for information and to purchase the album!

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Plastic Ashkan

Sounds

Behzadi

Plastic Sounds

Composer Ashkan Behzadi following along in his score and triggering a sequence of events in Max/Msp during a rehearsal Photo: Matthew Fava ///////////////////

F

rench-American pianist Julia Den Boer took part in the CMC Presents concert series in May 2016. Den Boer is currently based in the US and, having studied at McGill University, has a strong connection to a number of Canadian composers. Her program included works by Zosha Di Castri, Ana Sokolovic, Geof Holbrook, and a premiere by Chris Paul Harman.

In addition, Den Boer collaborated with composer Ashkan Behzadi on Cronistoria Plastica, for piano and live electronics. The piece was written for Den Boer in 2014. As Behzadi mentioned to us at Notations, writing with a specific performer in mind “is a really important factor when I’m composing.” He goes on to say that “the image of the performer on the stage, her gestures or the sound she creates in her instrument are important forces in my composition.” His searching for a sound quality that is specific to his collaborators (whether it is a more aggressive, and percussive sound compared to a more sensitive lyrical style, for instance), is an important part of his process. We caught up with Behzadi

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after the concert to find out about his writing, and some of the distinguishing qualities of Cronistoria Plastica.

Notations: When did you start to incorporate live electronics in this piece? How does your process change when you use electronics?

Ashkan Behzadi: Whether I write acoustic music or electronic music, the process of composition is quite similar. Within Cronistoria Plastica I decided to involve electronics from the beginning, and they figured in the sketching process. I started with sketching some ideas for the piano and then at the same time I started sketching for the electronics on Max/Msp, a familiar software to many artists using live processing in their music.

At that point I had a vague idea of the sound I wanted: I’d say something rough, not refined and a sound belonging to early electronic music such that you could hear the scratches of the electronic processing in the timbre of the electronics.

Ashkan Behzadi

If we imagine the electronics as a plastic or wood surface, there are certain expectations that my process includes polishing or shaving for that surface to be finished and presentable, yet I like the unpolished sound with the scratches or the bumps. The early processing available to electronic music composers were basically delays, and that is the prominent processing that is used in Cronistoria Plastica as well.

The relationship between the electronics and the piano was the most prominent force in my thinking: how the two interact with each other and how this interaction will change through the course of the piece. Then it was the trial-and-error of the sketching process that shapes the piece. The only difference that comes to my mind is that when I work with electronics I feel I have a much more direct interaction with the sound as a plastic material.

N: Did you have specific compositional goals?

AB: I have avoided working with concepts for a long time now.

I much prefer to imagine myself as a sculptor working directly with the material, having that vague idea of the shape of the sculpture, and then carving it gradually out of the rough material or assembling it piece by piece. I have a global artistic project though, but not concepts for each piece.

N: What aspects of the piano interested you while writing?

AB: I imagined the piano as a vast desert-like landscape—you can walk into this landscape and constantly discover tiny micro-shapes on the ground or a tiny plant or a tiny track of a small lizard on the sand. In particular, working with electronics helped to highlight some of the hidden sides of this fascinating landscape.

Pianist Julia Den Boer during a soundcheck for her CMC Presents concert. Photo: Matthew Fava ///////////////////////////////////////////////////////

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Plastic Sounds

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Ashkan Behzadi

“The electronics in Cronistoria Plastica are liveelectronics, meaning everything is processed in real time and there are no sound files. The electronics are created by combining 6 modules (seen here in screenshot of Ashkan’s patch).These six modules are mainly delays with various time lapses and on occasion the real-time alternation of the time lapses, which generates an additional processing to the delays. Besides delay Ashkan also applied a frequency shifter and flanger (also a kind of delay with micro time-lapse to alter the timbre). These combinations are organized into 58 events in total.

Through the course of the performance, these events can be triggered by Ashkan, Julia, or a technician.”

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Plastic Sounds

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Ashkan Behzadi

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Plastic Sounds

58

Ashkan Behzadi

Excerpt from Ashkan Behzadi's Cronistoria Plastica 59

Plastic Sounds

The percussive side of the piano is the prominent aspect featured in Cronistoria Plastica—these same qualities fascinated me when I composed my early pieces for piano, and that fascination has not diminished. For example, in the very last section of the piece I was seeking to grasp and heighten the dry percussive sound of the hammers on the highest register of the piano. By adding the processes in the electronics I discovered a sound that almost summons the image of bricks breaking into pieces; this section is still one of my favorite moments in the piece.

To elaborate on the process I described earlier, I created the breaking sound through a delay module (consisting of four different delay processings) that is fed by the direct piano sound and the sound from a frequency-shift module (glissandi going up and down) and the flanger module. The time lapses of these sources are altered through the course of the section and the shift of time lapses of receiving these different sound sources also creates a timbre alternation in the final electronic sound. Each of these modules are created with simple patches in Max/Msp and I believe the simplicity of these patches has contributed to creation of the coarseness of timbre.

N: Your piece offers contrasting passages, sometimes dense and layered, and at other times sparse. At some points the electronics and piano create an indistinguishable swarm, while the distinction

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is clearer elsewhere. Tell us about the general structure of the piece, and how it progresses.

AB: Earlier I used the metaphor of a sculptor carving the piece out of a rough material or assembling it from tiny pieces. Both additive and subtractive processes take place in this piece, and are apparent in the relationship between the electronics and the piano. When listening, the relationship will suggest stark contrasting material, yet in the background there is a closer relationship. I consider the different relationships as my material, and in the course of the piece each material develops individually. The form of the piece works through jump-cuts between the different stages of these processes. Therefore the development is not perceived linearly but it goes backwards and forward in time. Simultaneously, the transfiguration or deformation of material into one another is the other side of the form—this is more subtle and mostly hidden in the electronics.

In some sections of Cronistoria Plastica (for example the opening section), the piano part stays completely intact throughout, and this recurs at different points in the piece. In these sections, the electronic transformations carry the weight of the development.

In other sections this relationship is inverted. At the end, similar to all my music, the electronics and the piano are one intertwined material.

The Music Gallery and Canadian Music Centre present

Music Gallery History Series: Jeremy Strachan

Saturday, September 17 Canadian Music Centre, 20 St. Joseph St. Event: 5pm

Free

Musicgallery.org

MEMORIAL

Noteworthy

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MEMORIAL

brian harman The six winners were honoured by the K.M. Hunter Charitable Foundation at an event at the Gladstone event at the Gladstone Hotel in Toronto later in May. CMC Associate Composer Brian Harman was one of several recipients of the 2016 K.M. Hunter Artist Awards. The annual awards are given to Ontario residents

to support mid-career, professional artists with a sizable body of work and who have made an impact in their chosen field.

Harman was recognized for his artistic achievements in the classical music tradition.

Allan bevan On March 7, 2016 Allan Bevan’s Passion Oratorio, Nou Goth Sonne Under Wode, was performed at Carnegie Hall. Soprano Jolaine Kerley, actor Timothy Anderson, a chorus of two hundred Canadian and American singers, and an instrumental ensemble that included the composer were conducted by Dr. Richard Sparks. Nou Goth Sonne Under Wode was first performed in Edmonton on February 22 in a performance by the Edmonton Metropolitan Singers, and I Coristi Chamber Choir, with Rob Curtis, conductor, and on March 18/19 in greater Vancouver by the Trinity Western Concert Choir directed by Dr. Joel Tranquilla.

In addition, No Mortal Business, a musical fantasy by Allan Bevan based upon text by Shakespeare, was given its Western Canadian premiere on March 13 at the Winspear Centre for Music, Edmonton.

Soloists Sarah Schaub and Timothy Anderson, the Richard Eaton Singers, and the Richard Eaton Singers Chamber Orchestra were conducted by Leonard Ratzlaff. The Toronto Orpheus Choir, Talisker Players, and Stratford Festival luminary Geraint Wyn-Davies were conducted by Robert Cooper in a performance from Trinity-St. Paul’s, Toronto, on April 23—the 400th anniversary of the death of the Bard.

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noteworthy

Frank brickle Frank Brickle has been spending a lot of time with plucked strings and voices. On October 3, 2015 his Notes for a Concerto Grosso for guitar orchestra, commissioned by the New York Classical Guitar Society, was played at the Universidad Veracruzana under the direction of Emil Awad.

On December 8, 2015 at the Morgan Library and Museum in New York his arrangements of excerpts of two legendary early 20thcentury operas—Ezra Pound’s Le Testament de Villon and George Antheil’s Transatlantic—were performed by soprano Elizabeth Farnum and the Cygnus Ensemble. An extended version of Le Testament has been commissioned for performance in March 2017.

Three news songs for mezzo and guitar—City of Orgies (Walt Whitman), Piazza Piece (John Crowe Ransom), and Ab nou cor et ab nou talen (Raimbaut d’Aurenga)—received two performances in May by the Bowers-Fader duo, at the Ellington Room on May 7, and at the Milton Babbitt Centenary concert at Symphony Space on May 19. It will also be performed on October 7 at the Ellington Room, May 19 at the Milton Babbitt Centenary concert at Symphony Space, and an upcoming performance on October 7 at the Tenri Cultural Institute.

On May 22 selections from his suite for mandolin and guitar, Genius Loci, including the new piece Loose Strife, were part of the Queens New Music Festival on the Secret Theatre Main Stage in New York.

Gayle YOUNg Gayle Young’s Departure for multiple violas was premiered by the ten violists of the Flexible Orchestra in New York on March 31.

The Flexible Orchestra has established a tradition of performing pieces for instruments in groups of ten, with optional solo players such as clarinet and/or percussion. Beginning in 2017 they will present works for ten bassoons.

Victor Herbiet 2016 has been quite an exciting year for Victor Herbiet’s works involving theremin. The Netherlands based group Duo Jørgensen-de Leuw’s (Thorwald Jørgensen, theremin; Renske de Leuw, harp) performance of Sirenum Scopuli received attention for its high quality, as well its unique use of a Harmonist guitar pedal with the theremin (which creates a choral effect). Thorwald Jørgensen also performed the concerto version of Herbiet’s Sirenum Scopuli with the Cyprus Symphony Orchestra in Limassol and Nicosia in January.

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On this side of the Atlantic, Herbiet was invited to the 38th U.S. Navy International Saxophone Symposium in Winchester, Virginia to perform his cycle for solo alto saxophone, The Four Elements, and his work for solo saxophonist-thereminist, Through the Ethereal Gate. Herbiet’s newest works for theremin and harp, Cerberus, Nymphae arborum and Pegasus, were premiered by Duo Jørgensen-de Leuw this spring at the Rio XI Harp Festival in Brazil. In May, they reprised Herbiet’s works for theremin and harp in Middelburg, Netherlands where they were accompanied by the Zeeuws Kamerorkest.

noteworthy

FRANK HORVAT CMC Associate Composer Frank Horvat is splitting his year between premieres and the recording studio. In April, clarinetist, Michael Westwood, and pianist Gregory Millar premiered Horvat’s monster clarinet work, Thirty Minutes of a Three Million Minute Journey, in Toronto. While the piece depicts the minimalist drudgery and grief of fleeing refugees, it held the audience’s attention and just didn’t let go until well after the last notes faded. In May, the Milton Philharmonic Orchestra premiered a very different type of piece entitled A Thing of Beauty.

Next year will mark the 10th anniversary of Horvat’s first album and in preparation he will be releasing four brand new recordings.

These include two albums about love, one a contemporary chamber cycle and the other a pop-hybrid. He’s also preparing his next solo piano album which has been anticipated since 2010.

These projects will find Horvat in the recording studio all year preparing.

The biggest project is no doubt his upcoming contemporary classical chamber album titled The Current Agenda. He is back working with producer Jean Martin (known for his Polaris Prize-winning work on Tanya Tagaq’s 2014 release, Animism), and it promises to include his unique brand of chamber works combined with electronics, while exploring social justice issues.

Horvat received funding through the Ontario Arts Council and FACTOR to support these recordings.

Photo: Photography by Anita Zvonar

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noteworthy

Burge and Mozetich The 2016 Royal Canadian College of Organists Conference in Kingston, Ontario this summer commissioned John Burge and Marjan Mozetich, two local Kingston composers and CMC Associate Composers, to write solo organ works. The conference was titled "I Feel the Winds" and took place from July 11–14, 2016 in locations in and around Kingston. John Burge's Prelude

and Toccata No. 1 was premiered by Patrick Wedd at St. George's Anglican Cathedral and Descent-Ascent by Marjan Mozetich was premiered by Isabelle Demers also at St. George's.

John Burge (L) and Marjan Mozetich

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noteworthy

Samuel Andreyev Klarthe Records / Harmonia Mundi Distribution have recently released Moving, a CD spanning 12 years of Samuel Andreyev’s compositions, beautifully performed with characteristic verve and precision by Switzerland’s ensemble proton bern. Moving gives an excellent overview of Andreyev’s distinctive sound world. The result of an intensive collaboration between the composer and the ensemble spanning nearly 5 years, Moving was produced and recorded by Radio France in Paris. The CD has already received considerable critical acclaim, and was recently selected by New Yorker critic Alex Ross for his Nightafternight playlist. Moving is available from Klarthe Records (www.klarthe.com), and from iTunes. You can read the Notations review of Moving on page 47.

Afarin Mansouri CMC Associate Composer Afarin Mansouri serves as Artistic Director of the Iranian Canadian Composers of Toronto, and this past season she curated a three concert series with ICOT and North York Arts which took place at the Toronto Centre for the Arts.

The first concert took place in Fall 2015 featuring the ICOT orchestra. The second concert called "The Thirtieth Act", held in February 2016, was in fact the 20th performance from ICOT since they began producing concerts in 2011. Mansouri had five of her pieces featured on this concert including two premieres.

The final concert, titled “Land of Four Seasons,” featured the Ladom Ensemble and took place on May 26. The program included a piece by Mansouri along with three other works by ICOT members.

Mansouri’s main summer project has been to record an album of her vocal pieces that she herself will sing as soprano.

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noteworthy

Monica Pearce On April 1st and 2nd at the Arts and Letters Club, the Bicycle Opera Project premiered Monica Pearce's April as part of an evening of one-acts entitled "Travelogue". Performed by Larissa Koniuk, Marjorie Maltais and Christopher Enns, April tells the story of a young woman biking home on the Don Valley Trail, grappling with a decision she can no longer put off. "Travelogue", which

Photo: Claire Harvie. From left: Larissa Koniuk, Christopher Enns, August Murphy-King, Elisha Denburg, Monica Pearce

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also included works by August Murphy-King, Elisha Denburg and Tobin Stokes, was the first concert in the Toy Piano Composers' Curiosity Festival, which ran from April 1–9. Monica was also pleased to be included on the most recent icareifyoulisten.com Spring 2016 mixtape for her percussion quartet chain maille.

noteworthy

Evelyn Stroobach

Evelyn Stroobach received a request from Anna Rijk, Senior Advisor Public Diplomacy, Press & Cultural Affairs of the Embassy of the Kingdom of the Netherlands, to be the Dutch representative at a concert entitled “Women of Note,” a concert by European female composers presented by the European Union Delegation to Canada. Stroobach attended alongside representatives from the embassies and cultural institutes of Austria, Bulgaria, Ireland, Poland, Portugal, Romania, Slovakia, and Spain as well as the Netherlands. The concert took place at the Shenkman Arts Centre in Ottawa on March 19, 2016. Two of Stroobach's works, Into the Wind and Fire Dance, were performed.

Stroobach gave a brief talk in both Dutch and English thanking the embassy.

Stroobach had another prominent, and personal, performance recently.

Her piece Bereft was performed in Paramaribo, Suriname on March 18, 2016 during a ceremony of the “Unveiling of the Memorial Monument,” which was created “In Loving Memory of Those who Perished in the Holocaust” to honour and remember the 105 Surinamese Jews who

were killed in the Shoah during World War II. This ceremony took place at the Neve Shalom Synagogue in Paramaribo.

The stone monument features the names of all 105 Surinamese Jews. The Jewish community of Suriname, South America is the oldest continuous Jewish community in the Americas. During the Inquisition in Portugal and Spain in the late 15th century, many Jews fled to Holland and the Dutch colonies to escape torture and condemnation. Many of the Jews who went to Holland departed later for the Dutch colony of Suriname, arriving as early as the 1630s. Bereft was performed by the string section of the Eddy Snijders Orchestra of Suriname. Stroobach wrote the piece to commemorate her greatuncle Abraham (Bram) Fernandes, a resistance fighter and a member of the Geuzen resistance group who was arrested by the Germans and tortured to death at the Oranjehotel, a German prison in Scheveningen in March 1941.

Fire Dance is to be included on a CD entitled Reverberations of Aboriginal Inspirations. Ron Korb (whose CD Asia Beauty was nominated for a Grammy Award) performed the flute, Ralitsa Tcholakova performed the viola, and Dominique Moreau performed the drum part.

Photo: Anna Rijk (R) with Evelyn Stroobach.

On April 12, 2016 Stroobach travelled from Ottawa to Toronto to record her composition Fire Dance at Kuhl Muzik Studio.

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noteworthy

W. Mark Sutherland CMC Associate W. Mark Sutherland continues to remain active internationally. His videopoems Nihilism and Chorale were screened as part of WRIT LARGE, a Festival of Text, on The Great Wall, Oakland, California in December 2015. Both videopoems were screened again, as part of WRIT LARGE, at the Media Theatre, University of California Santa Cruz, California, in May 2016.

Sutherland also performed and guest lectured at the Poesia En Voz Alta 2016 festival in Mexico City in April. For those visiting the UK in November, Sutherland will be performing at the Colour Out Of

1

Space festival in Brighton, England (November 18 to 20, 2016).

Locally, Sutherland will be presenting a solo gallery exhibition entitled Time Signatures at the Visual Arts Centre in Clarington, Ontario from August 28 to September 25, 2016. This exhibition features eight sound poems in a variety of time-based media and includes Time Signatures for Gyorgy Ligeti, Sutherland's 100 digital metronome homage to Gyorgy Ligeti. A small catalogue will be published for the Time Signatures exhibition in the late autumn of 2016.

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3

Images 1. Time Signatures for Gyorgy Ligeti, Kassel Germany, 2006 2., 3., 5. W. Mark Sutherland, Poesia en Viz Alta festival, Mexico City, 2016 4. videopoem Nihilism, WRIT LARGE festival, Oakland California, 2015

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noteworthy

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MEMORIAL

MEMORIALS

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MEMORIAL

C liffor d Crawley 1929- 2016

By Gordon E. Smith

M

usician, educator, and CMC Associate Composer Clifford Crawley died on February, 11, 2016 in St. John’s Newfoundland following an illness. A prolific artist, Crawley had an incredible impact on musical activities in Ontario region.

Born in Dagenham (on the outskirts) of London, England, in 1929, he studied piano, music theory and composition on a scholarship at the Guildhall School of Music in London, during which time he composed some of his first musical pieces. Following two years in the army with the National Service, he returned to professional training in music and education, which led to an appointment as an instructor in the prestigious school system in Crediton, north of Exeter in

Devon, a position he held for ten years.

This was followed by a teaching position at the College of Education in Clacton, Essex, an institution that was affiliated with the Cambridge University College of Education. During this period he established a college orchestra, and his teaching focussed on the then-new music educational pedagogies of Carl Orff and Zoltán Kodály, as well as incorporating innovative musical pedagogical techniques such as improvisation. It was during this period that Crawley earned a Bachelor of Music degree in composition from Durham University, and Master’s degree in contemporary music, also from Durham.

Music education was the original motivation for Crawley being hired at Queen’s University in Kingston, Ontario, in 1973 by the Head of the Music Department, István Anhalt. Music education was the

focus of the music program at Queen’s at that time, as it was in university music programs across the province and the country, and Anhalt wanted to bring an individual with knowledge of the innovative dimensions of the British style of music education. Crawley’s background as a music educator, especially in developing novel curricula and classroom experience, ended up being formative in his work at Queen’s. During the nineteen years he spent at Queen’s, he was also active in the community as a conductor, including stints as conductor of the Kingston Youth Orchestra, the Eastern Ontario Symphony Orchestra, and the Kingston Choral Society. In addition to his university teaching, he participated in local school music programs, working with music teachers and composing music for young children. Crawley also extended 73

MEMORIAL

his reputation through his professional work with the Ontario Arts Council Creative Artists programs, and the Canadian Music Centre’s Composer in the Classroom program. Other outreach activities included adjudicating at music festivals across Canada, and serving as an examiner for the Royal Conservatory of Music.

Crawley was a prolific composer, and the Kingston period was especially productive. The range of his work is extensive, encompassing children’s songs and piano pieces, operas and musicals, vocal works, chamber music, orchestral works, piano and other solo pieces, and arrangements. His musical voice embraces multiple styles, drawing on the British tradition of Benjamin Britten and Malcolm Arnold, as well as French music with its emphasis on wit, rhythmic originality and strong connections to dance.

Crawley was a formative influence on the development of music at Queen’s in the 1970s and 1980s. With colleagues István Anhalt, F.R.C. Clarke, David Keane, and John Burge, Crawley played a key role in the establishment of music composition as an integrated part of the music curriculum, and he also pressed for gender balance in the composition area, which led to the appointment of electroacoustic composer Kristi Allik in 1988.

Crawley also championed the cause to change the name of the Department of Music to the School of Music in the mid-1980s and would, no doubt, view the new School of Drama and Music, and the innovative curricular modelling and program development associated with the new School, as a wonderful next step.

For Crawley, the musical pathways of composition, performance, and education are not only integrated, they depend on each other. He brought this vision to Queen’s, along with a rich imagination, captivating creative instincts, and an invaluable capacity to persuade faculty and students that change can be a good thing. He also brought his wide-ranging knowledge, good judgement, quick wit, humour, and great conversation.

Crawley retired from Queen’s in 1992, and moved to Toronto to be with his partner, ethnomusicologist, Beverley Diamond— Diamond had taken up a position at York University in 1988, following a period of twelve years at Queen’s. In 2000, Crawley moved to St. John’s, Newfoundland with Diamond, who was appointed a Canada Research Chair in ethnomusicology at Memorial University. During the Toronto period Crawley continued to compose and adjudicate, and he especially flourished creatively in St. John’s, a place that came to remind him of his English heritage.

Crawley will be remembered as a fine musician, composer and teacher, as well as a stimulating colleague and devoted friend, husband, father, and grandfather. Ever linked, his life story and musical career stand for what distinguishes the best in the history of the Canadian musical landscape. He leaves his wife and partner, Beverley Diamond, his children Allison and John and their family members. Our hearts are with his family members, and we thank Clifford Crawley for all of his contributions to music in Canada.

————————————————————F u rt h er re f lec t io n s ———————————————————— From John Burge

I was so fortunate to have Cliff as a fellow composer and colleague in the Composition and Theory area at Queen’s during my formative years of teaching at a university. Indeed Cliff was Acting Director when I was hired for my first (and only) appointment and he chaired the Appointments Committee at the time. We both shared the same vision that often the best approach to education in music involved bringing together composition, theory, performance and history as much as possible instead of treating the subjects in separate silos. Many of the courses that I was first assigned to 74

teach had obviously been designed by Cliff and I certainly modelled my course curriculum and class content with the goal of maintaining his standards.

Here I am thinking of a course like the wonderful full-year REQUIRED composition class for all BMUS students that taught 20th-century composition techniques by having students not only analyze the music but also compose short pieces in the same style. These pieces were often performed in class. A great course that sadly no longer exists on our curriculum. On a more specific level I was fortunate to hear many orchestral works of Cliff’s performed by the Kingston Symphony

and his orchestration always had wonderfully imaginatively scored moments, particularly in the way he could get lots of percussion colour out of just a few percussionists. I clearly remember talking to Cliff after one such performance and remarking on how effective it was to have the crescendo of a suspended cymbal roll marked by also having a pair of crash cymbals added on the moment of climax. I have used this effect in countless other works of my own since then and I always think of Cliff when I do this.

MEMORIAL

Howar d C able 1920- 2016

By Ronald Royer, Music Director and Conductor, Scarborough Philharmonic Orchestra

A

s Music Director of the Scarborough Philharmonic Orchestra (SPO), I was fortunate to get to know Howard Cable. Besides discussing his work with the SPO, I had many interesting, helpful and enjoyable conversations with Howard. He was an inspiration on how to live a productive and happy life in music.

Since there have been several excellent articles centering on his career since he passed away on March 30, 2016, I would like to focus on the man and his musical philosophy.

For a little background, Howard was born in Toronto in 1920. As a student he studied clarinet, piano and oboe. In 1939, he completed a music degree at

the Toronto Conservatory studying with Ernest MacMillan, Healey Willan and Ettore Mazzoleni. In 1945, he studied with John Weinzweig. Howard had an impressive career, including work for CBC radio and television, the National Film Board, Toronto's Canadian National Exhibition, the Canadian Brass and so much more.

For these reasons and more, in 1999 he was appointed a Member of the Order of Canada by the Governor General.

It is important to note that in the mid'60s, Howard worked in New York as a studio conductor and as an arranger on Broadway. Howard could have spent years working in the US, but instead he returned home. He loved his country, and Canada was better for it. This was reflected in many ways in his music. For example, a number of his compositions were inspired

by Canadian folk music, including the

Newfoundland Rhapsody, Quebec Folk Fantasy and McIntyre Ranch Country (Alberta).

Howard Cable first joined the SPO as a guest conductor for the Kings of Swing in 1995. The concert was a hit with the audience and Howard was appointed Principal Pops Conductor in 1996, a relationship that continued until 2014.

He continued working with the SPO as a composer and arranger until his passing.

Howard’s relationship with the orchestra was much more than conducting one concert a year. He became a member of our community and developed friendships with our music directors, executive directors, players and board members including a very close relationship with the present president of the board, Paul Bolton. Howard was great at charming audiences and was a wonderful dinner 75

MEMORIAL

guest, delighting with stories of his work with stars like Marlene Dietrich, Bob Hope, Danny Kaye, Victor Borge, Ella Fitzgerald and Tony Bennett. His passion and enthusiasm for life, people and music was an inspiration.

While the community surrounding the SPO seems so distant from the celebrity of the 60s New York scene, Howard’s attitude towards them did not differ. Howard loved music, and gave 110% for each project he worked on as a conductor or composer.

He felt that all levels of music making were important, from youth to community and professional groups. It didn’t matter if a professional or a youth group commissioned him, he would make the ensemble sound its best. Howard wrote, “I am so happy to work with committed individuals, those who ask the question ‘What if’? They are not afraid to dream, to envision, to hope, to persevere, to work hard and to pursue musical excellence.” If an ensemble shared Howard’s philosophy but couldn’t afford his fee, he would often waive it and just charge for the music preparation, done by his assistant Martin Loomer.

Martin writes: “I worked for Howard Cable as his musical assistant for about thirty years. He was my favourite composer

76

to work for. Whether he wanted a transcription or music copying or research, he trusted one to do one’s best, and so of course you did.” Loomer goes on to recognize Cable’s adaptiveness to various artistic settings:

“ He was a consummate professional, comfortable in all genres. His symphonic pops arrangements were of the highest quality. His music for brass band and concert band is second to none. He was equally at home orchestrating a musical as he was with the classics, and understood the nuances of performing live as well as for recording for film and television.

He scored by hand, in pen and ink no less, and seldom did I ever find a wrong note among the many thousands I saw over the years. He composed quickly and assuredly, and never missed a deadline.

Through it all, he was kind, considerate, and positive, and

offered opportunities, assistance and mentorship to a huge number of grateful musicians of all stripes.

His kind is unlikely to be seen again, and Canadian culture will sorely miss this great man.”

Howard’s passion for life and music never diminished. He finished a big project the day before he passed away and had more projects on the go.

I will end with a quick anecdote: in October 2013, Howard was invited to conduct the Stratford Symphony Orchestra. A board member of the orchestra arranged for him to stay over in a retirement home the week he was in Stratford. When asked how it was going, he joked that he wasn’t happy because “there were too many old people”. Howard had a point; he was driving at the seeming disconnect between the limitless effort he poured into his music, and the expectation that he would wind down in his nineties.

Those of us who knew him understand that he would never relent. Ultimately, he was a shining example of how a Canadian composer can live a fulfilling life and enrich their country.

MEMORIAL

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