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Volume 24 Issue 3 - November 2018

  • Text
  • November
  • Toronto
  • Jazz
  • Theatre
  • Musical
  • Arts
  • Orchestra
  • Performing
  • Symphony
  • Bloor
Reluctant arranger! National Ballet Orchestra percussionist Kris Maddigan on creating the JUNO and BAFTA award-winning smash hit Cuphead video game soundtrack; Evergreen by name and by nature, quintessentially Canadian gamelan (Andrew Timar explains); violinist Angèle Dubeau on 20 years and 60 million streams; two children’s choirs where this month remembrance and living history must intersect. And much more, online in our kiosk now, and on the street commencing Thursday November 1.

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as soloists. By contrast, her first work for the LRC, Saline (2006) is a quiet, delicate, introspective piece containing much subtle detail. At the November 17 concert, the choir will sing Chu Dal (2009), which won her a Copyright’s Infinity Award in 2011. Ratniece first came to worldwide attention in 2004 when Latvian Radio presented one of her works to the international delegates at the International Rostrum of Composers (IRC) in Paris. The IRC describes itself as “An international forum of representatives of broadcasting organizations who come together for the purpose of exchanging and broadcasting contemporary art music.” Think of it as a contemporary music meet-up sponsored by public broadcasters from some 35 countries and organized by the International Music Council. Latvian Radio presented works by Ratniece to the IRC three times between 2004 and 2012, including her choral music as performed by the LRC. Each time her music was presented there, the international delegates voted her works to the top ten list of the best works heard. By the end of this period she had become quite well known on the international scene, and I had the pleasure of witnessing this progression. In 2002, I had been elected president of the IRC, after having served as the official delegate for CBC Radio for 25 years. Over that time, I had seen the benefits of exchanging original productions of new compositions from around the globe, benefits that accrued not only to the composers whose music was being made available, but also to the broadcasters themselves, in the form of fresh, high-quality content for use in their programs. Latvian Radio also presented the music of Ēriks Ešenvalds at the IRC in 2006; a choral composition, in a Top to bottom: Eriks Ešenvalds, Santa Ratniece and Peteris Vasks production with the LRC. Like Ratniece, Ešenvalds’ piece was voted as the top selected work by a young composer, and his name spread to all the countries participating in the IRC, resulting in dozens of international broadcasts, a tribute to how effective Latvian Radio, together with their world-famous choir, have been in bringing the story of emerging Latvian composers to international public view. Ešenvalds’ two choral works on the Soundstreams program are Stars (2011) with poetry by Sarah Teasdale (1884–1933), and A Drop in the Ocean (2006) which includes biblical texts, a prayer of St. Francis of Assisi and words of Mother Theresa. The November 17 concert will also include a world premiere by Canadian composer Omar Daniel (b. 1960). The work was commissioned by Soundstreams Canada, with the financial assistance of the Canada Council for the Arts, to create the work for another choir, the Estonian Philharmonic Chamber Choir. The Estonian choir has yet to perform the work in its entirety. Daniel, who is an Estonian- Canadian, chose to set a poem by the world-renowned Estonian poet Marie Under (1883–1980), Sõduri ema (The Soldier’s Mother). Daniel told me that he had always wanted to set the poetry of Under, perhaps Estonia’s most famous poet. “There is only a vague narrative to the three sections of the poem: the son arrives for a visit, stays for a brief time, and then leaves to once again join the war. But nothing really occurs in the poem; only fleeting images of hands in prayer, snow, the visage of the son. The images appear as if emerging ever so briefly out of the shadows of the mother’s sadness. The essence of the poem, and I hope my composition, is in its intimacy, in its soft dynamics and use of silence to express quiet grief of the woman who must quietly come to terms with her son’s brief presence and impending departure. It is a highly spiritual poem as it embraces the ideas of hope, faith and sacrifice.” Like Ratniece and Ešenvalds, Daniel enjoyed the support of his country’s national broadcaster in the development of his career as an emerging composer. Daniel wrote: “It is not an exaggeration to say that CBC radio’s commitment to broadcasting contemporary music in the 1980s and 1990s shaped the musical culture of Canada. Simply put, I would not have become the composer that I am had it not been for the broadcast opportunities that I was privileged to be part of through CBC radio. I remember in my early professional days as a graduate student at U of T, mounting concerts at the old Music Gallery with the then fledgling Continuum; David Jaeger offered to record our concerts for broadcast on CBC’s Two New Hours. We were shocked and ecstatic: They took a risk on an upstart group like ours, and gave the composers, performers and organization a profile boost that we could never have obtained otherwise – national radio exposure. I have the fond memory of, after the soundcheck, all of us (including the iconic David Quinney) having dinner at the Elvis restaurant on Queen Street.” Daniel goes on to reflect on how throughout the last two decades of the 20th century, he became friends with many of us at CBC in those days: “Radio producers, hosts and engineers who were true believers in the value of homegrown contemporary classical music. Another one of my favourite memories is an episode from one of the many years I spent attending the Winnipeg New Music Festival during the 1990s and early 2000s. It was a live-to-air national show, and there was a rather extensive set change between two pieces on the stage of Centennial Hall in Winnipeg. The legendary Larry Lake, microphone in hand, called me quickly to the stage and conducted an interview with me while stage hands, engineers and musicians were charging across the stage all around us. All broadcast live across Canada.” He also recalls the 1990 CBC Radio Competition for Young Composers, held in Quebec City that year, as another highlight. “It was my first real experience being part of an event that was of national significance, one that was given national press exposure. I remember 16 | November 2018 thewholenote.com

They took a risk on an upstart group like ours, and gave the composers, performers and organization a profile boost that we could never have obtained otherwise – national radio exposure. —Omar Daniel being quite overwhelmed by the high level of music-making, impeccable organizing, and respect that my composition colleagues and I were afforded. And having some success at the competition, the CBC immediately commissioned me to write a work for Toronto’s Amici trio. I felt at that time as if there was a true living art form of contemporary music in Canada, with CBC radio as one of the most significant contributors.” Tālivaldis Ķeniņš (1919–2008) was born in Latvia and emigrated to Canada in 1951. His career as a prolific composer, teacher, organist and music director has been celebrated not only in this country, but also in his native Latvia, where he is remembered and respected. Ķeniņš himself was the recipient of numerous commissions from the CBC’s Radio Music department throughout his creative life. The LRC will sing his Alleluia for choir and organ, composed in 1981. The LRC’s recording of Sergei Rachmaninoff’s (1873–1943) All-Night Vigil, composed in 1915, gained a Grammy nomination in 2013, and has become a sort of a signature work for the choir. The countless reviews of this recording are all complete raves. The Soundstreams Omar Daniel concert will include several movements of this Romantic Russian showstopper. Latvian Radio has achieved a sustainable strategy for the development of its talented artists, a model that could serve broadcasters, composers, performers and listeners around the world. David Jaeger is a composer, producer and broadcaster based in Toronto. YORKMINSTER PARK BAPTIST CHURCH PRESENTS REQUIEM A NEW WORK BY DAWN KING WORSHIP SERVICE SUNDAY, NOVEMBER 25, 11:00 AM PERFORMED BY THE YORKMINSTER PARK MINSTER SINGERS CONDUCTED BY DAWN KING Yorkminster Park Baptist Church 1585 Yonge St. (1 block north of St. Clair Ave.) YORKMINSTERPARK.COM thewholenote.com November 2018 | 17

Volumes 21-24 (2015-2018)

Volume 24 Issue 3 - November 2018
Volume 24 Issue 2 - October 2018
Volume 24 Issue 1 - September 2018
Volume 23 Issue 9 - June / July / August 2018
Volume 23 Issue 8 - May 2018
Volume 23 Issue 7 - April 2018
Volume 23 Issue 6 - March 2018
Volume 23 Issue 4 - December 2017 / January 2018
Volume 23 Issue 3 - November 2017
Volume 23 Issue 2 - October 2017
Volume 23 Issue 1 - September 2017
Volume 22 Issue 9 - Summer 2017
Volume 22 Issue 8 - May 2017
Volume 22 Issue 7 - April 2017
Volume 22 Issue 6 - March 2017
Volume 22 Issue 5 - February 2017
Volume 22 Issue 4 - December 2016/January 2017
Volume 22 Issue 2 - October 2016
Volume 22 Issue 1 - September 2016
Volume 21 Issue 9 - Summer 2016
Volume 21 Issue 8 - May 2016
Volume 21 Issue 6 - March 2016
Volume 21 Issue 5 - February 2016
Volume 21 Issue 4 - December 2015/January 2016
Volume 21 Issue 3 - November 2015
Volume 21 Issue 2 - October 2015
Volume 21 Issue 1 - September 2015

Volumes 16-20 (2010-2015)

Volumes 11-15 (2004-2010)

Volumes 6 - 10 (2000 - 2006)

Volumes 1-5 (1994-2000)