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Volume 22 Issue 9 - Summer 2017

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CBC Radio's Lost Horizon; Pinocchio as Po-Mo Operatic Poster Boy; Meet the Curators (Crow, Bernstein, Ridge); a Global Music Orchestra is born; and festivals, festivals, festivals in our 13th annual summer music Green Pages. All this and more in our three-month June-through August summer special issue, now available in flipthrough HERE and on the stands commencing Thursday June 1.

CBC Radio Two: The

CBC Radio Two: The Living Legacy How CBC Radio Used To Share Canadian Music with the World DAVID JAEGER The creation of original Canadian compositions, for use in its music programs, was at the core of the mandate of CBC Radio from its beginning. And while this content creation was intended for its CBC network broadcasts in Canada, it was also a way in which Chris Paul Harman the CBC could share newly-created Canadian music with public broadcasters around the world. In 1945, CBC’s International Service, The Voice of Canada, went on commissioned me on the spot for an orchestral piece, Symphony air via shortwave transmissions. Canadian music was included in the in 2 Movements, and followed it up later with two more works, service, although the limitations the shortwave medium had for music Symphony 2 and Chori, my first very large orchestral work. I am transmission were well recognized. By 1947, though, the International very grateful to John for giving me such great opportunities in my Service began releasing Canadian music via a transcription service, early career!” on discs. These discs were made available to other public broadcasters, Over the next three decades, the CBC would help Canada’s young and those companies, the BBC in particular, returned the favour. A and emerging composers make a significant mark at the IRC. system of international program exchanges soon evolved. In a 1960 My own first visit to the IRC was in 1977, as the producer of Music of Dominion Day Voice of Canada broadcast, it was announced that Today, but also as the person who was actively working on a proposal over 500 Canadian compositions had been distributed in this way to to CBC Radio Music for the creation of a new national network radio broadcasters outside of the country. In 1970 the service was renamed series devoted to contemporary music that would exceed the objectives of Music of Today. The CBC senior managers who had invited Radio Canada International. International program exchanges quickly became a regular means me to make the proposal for what would become Two New Hours of acquiring low- or non-cost programming, with which public the following year knew all too well that the new program would broadcasters could balance their offerings of domestic on-air content. need plenty of fresh content. We would certainly produce Canadian The European Broadcasting Union (EBU) was established in 1950 to repertoire with our modest production budget. But to keep the facilitate this process, and the CBC immediately became an associate programming balanced, and to place Canadian composition in a member. Associate members had access to EBU program exchanges, worldwide context, we would also need international repertoire. but were not involved in the operation of the organization itself. The IRC was clearly the best source of high-quality productions of The European broadcasters who were full members created an EBU the latest contemporary works for the many participating countries. Concert Season, a full season of classical music concerts produced by Fortunately, the exchange of these compositions was quid pro quo: the respective member broadcasters, and distributed this to all full we provided Canadian works and the other participating countries and associate members. exchanged theirs for ours. All were available free of charge. In 1954, four European public networks, Radio France, Frankfurt For that first visit as CBC Radio delegate to the IRC in May of 1977, Radio, Belgian Radio and Television and Swiss Radio, together with I brought a work that I had commissioned the previous year through the International Music Council, initiated the International Rostrum of the Radio Music department’s commissioning program, the String Composers (IRC). The IRC describes itself as “an international forum Trio by the 35-year-old Brian Cherney. It remains one of the most of representatives of broadcasting organizations who come together remarkable works in Cherney’s canon, and it made a strong impression on the IRC delegates. However, 1977 was also the year that the for the purpose of exchanging and broadcasting contemporary art music.” By 1970 the scheme had grown to include the public broadcasting systems of 33 countries, including CBC Radio and Radio- De Staat, by the 38-year-old Louis Andriessen, the work that was delegates all returned home with a striking new Dutch submission, Canada. The IRC had become an international program exchange with voted as the selected composition at that year’s IRC. This was the work a very specific focus and purpose. that essentially proclaimed to the world that Louis Andriessen was In 1970, CBC Radio submitted a work by the 23-year-old Steven to become the newest international star among living composers. It Gellman to the IRC. Gellman’s Mythos II for flute and string quartet was history in the making, and with the national radio networks all had been commissioned by the Stratford Music Festival in 1968, and sharing this work with their respective listeners, the news spread fast. was recorded for broadcast by CBC Radio Music on the series Music Two New Hours took to the airwaves as a regular weekly contemporary music series in January of 1978, on what was then called the of Today, with host Norma Beecroft. The international delegates to the 1970 IRC, at UNESCO headquarters in Paris, were so impressed with CBC FM Network, and there was plenty of contemporary Canadian Gellman’s composition that they voted the work the best composition by a composer under the age of 25. In fact, the IRC delegates felt repertoire, as well. Much of the international content that year came music. But there was also an appropriate amount of international obliged to create the “young composer” category, in order to vote for from the recordings I brought back with me from the IRC session in Gellman’s piece, as there was previously no such category. Gellman Paris. We made it a priority not to lose sight of where contemporary remembers it this way: music was heading in as many parts of the world as possible. “It was 1970. I was travelling through Europe. When I arrived I remained the CBC delegate to the IRC for 25 years, and in due in Paris I was informed that I had won the award from the IRC. course, Canadian submissions enjoyed great success. One of the Unbeknownst to me, the CBC had submitted my piece Mythos II. most remarkable stories is that of Paul Steenhuisen, who recounts This event positively helped to launch my career as a composer. that his CBC commissioned composition, Wonder, for soprano, electronic sounds and orchestra, was “presented at the 1997 IRC, and When I got back to Canada I was warmly welcomed by John Roberts, the legendary head of CBC Radio Music. John, who was so instrumental in launching the careers of many of us composers at the time, continues on page 92 8 | June 1, 2017 - September 7, 2017 ERIC LINDALA

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