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Volume 23 Issue 6 - March 2018

  • Text
  • Toronto
  • Jazz
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  • Faculty
  • Theatre
  • Musical
  • Symphony
  • Orchestra
  • Quartet
  • Performing
In this issue: Canadian Stage, Tapestry Opera and Vancouver Opera collaborate to take Gogol’s short story The Overcoat to the operatic stage; Montreal-based Sam Shalabi brings his ensemble Land of Kush, and his newest composition, to Toronto; Five Canadian composers, each with a different CBC connection, are nominated for JUNOs; and The WholeNote team presents its annual Summer Music Education Directory, a directory of summer music camps, programs and courses across the province and beyond.

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continued from page 84 Andrew Staniland (b.1977) was the second winner of the Karen Kieser Prize in Canadian Music at the U of T Faculty of Music in 2003 for his composition for clarinet, cello and electronic sounds, titled Tapestry. From its inception in 2002, a component of the Kieser prize (for the first ten years it was awarded) was a broadcast of the winning work on CBC Radio Two. This was how I met Andrew. Just a few years later, in 2009, he became the Grand Prize winner in the first and only CBC/Radio- Canada Evolution Young Composers Competition at the Banff Centre. Last year, Staniland’s Dark Star Requiem (with librettist Jill Battson) was nominated in two JUNO categories: Best Classical Album, Vocal or Choral; and Classical Composition of the Year. This year he’s once again nominated in that latter category for his ballet score, Phi Caelestis. The ballet was commissioned by the National Arts Centre for Alberta Ballet and choreographer Jean Grand-Maître. It’s one of three new ballets created through an initiative called Encount3rs that paired three composers, three choreographers and three ballet companies. All three ballets have been recorded on an Analekta CD titled Encount3rs Rencontr3s. Staniland had this to say about the nomination: “Phi Caelestis is a work that is very dear to my heart, as it represents one of the most rewarding collaborations I have ever experienced involving choreographer Jean Grand-Maître, conductor and artistic director Alexander Shelley and the National Arts Centre Orchestra. Further, I have much admiration and respect for each and every one of my fellow nominees, which makes this nomination extra special. We have wonderful composers in Canada!” Staniland told me his next project is “to compose a new piece for five choirs! The premiere is at Podium in St. John’s on Canada Day 2018. But this month I am extra excited about the upcoming Newfoundland and Labrador tourism campaign, a part of which I wrote the music for. The video, featuring the Newfoundland Symphony Orchestra, will be released in March and it looks absolutely superb. I can’t wait to share it.” Jocelyn Morlock (b.1969) came to prominence in 2002 when we submitted her Lacrimosa as CBC Radio’s entry to the International Rostrum of Composers in Paris. Lacrimosa was voted one of the top ten works presented that year, and it was subsequently broadcast in over 20 countries. In 2003 she received the Canadian Music Centre Prairie Region Emerging Composer Award at the WSO New Music Festival. In 2004, the Vancouver vocal group Musica Intima commissioned her work, Exaudi for solo cello and voices, for performance with the renowned British cello soloist, Steven Isserlis. The recording of the work on the ATMA label garnered a JUNO nomination for Classical Composition of the Year in 2011. In 2014 Morlock became composer-in-residence with the Vancouver Symphony Orchestra (VSO). This year, Jocelyn’s JUNO nomination for Classical Composition of the Year is for a recording with the National Arts Centre Orchestra (NACO) on the Analekta label on a disc called Life Reflected. Her work is titled My Name is Amanda Todd. Morlock told me, “My Name is Amanda Todd is very different from my other work in some ways. It is a very specific piece about the strength and power of a young woman in the face of cyberbullying, and it is a collaboration with maestro Alexander Shelley and the NACO and with Amanda’s mother, Carol Todd. It was my intent to write music that could show how bright and wonderful a person Amanda was, rather than only focus on the idea that she was just a victim, because she was so much more than that. Amanda, and her mother Carol (who founded the Amanda Todd Legacy and works tirelessly to promote awareness around cyberbullying, internet safety and mental wellness), are heroes.” The work was commissioned by NACO as part of a full program of multimedia works reflecting on the lives of four heroic Canadian women and their journeys to find their individual voices. Morlock said: “What My Name is Amanda Todd has in common with my other work is my desire to connect with listeners on an emotional level.” Morlock is currently completing two commissions, one from the Vancouver Cantata Singers and the other for the VSO. The latter work, O Rose, will celebrate Bramwell Tovey’s final concert as VSO music director this June, and will share that concert with the Mahler Resurrection Symphony. Vincent Ho (b.1975) was studying for his master’s degree at the University of Toronto Faculty of Music, when his String Quartet No.1 was presented at the Massey Hall New Music Festival and broadcast on CBC Radio Two in the year 2000. The recording we made for that broadcast on the CBC Radio Two network program, Two New Hours, was leased by Skylark Music and became part of Ho’s debut CD in 2007. This was the same year that Ho became composer-in-residence for the WSO. He held that post for seven years, a prolific time for him, as he produced several important works, including his Arctic Symphony and The Shaman, a concerto for the acclaimed Scottish percussionist Dame Evelyn Glennie, and orchestra. In 2009 he won the Audience Prize in the CBC/Radio-Canada Evolution Competition for Young Composers for his work Nature Whispers. The WSO, conductor Alexander Mickelthwate, Dame Evelyn Glennie and the Nunavut Sivuniksavut Performers recorded the Arctic Symphony and The Shaman for broadcasts on CBC Radio Two. Those broadcasts were leased by the WSO, remastered for Centrediscs, and released last year. That release is nominated in the category of Classical Album of the Year: Large Ensemble, and Ho himself is nominated in The JUNO jury will select one Classical Composition of the Year for 2018; all five of these Canadian composers have done the work to be worthy of the accolade. the Classical Composition of the Year category for The Shaman. Ho says, “Being nominated for a JUNO is a tremendous honour for any Canadian musician. It means I am being recognized for my work. For me, there are two kinds of recognition: external and internal. This upcoming JUNO event is an external recognition, and for that I am extremely honoured. When something like this happens it makes me stop and reflect on the long journey that brought me here. This is where the internal recognition comes in. As an artist I am very processoriented, meaning that my creative work is an ongoing journey of selfdiscovery and growth manifested in musical form.” Ho comments about the work itself, “The Shaman was written seven years ago and it was the product of my musical thinking and circumstances surrounding my life at the time – I was in my third year as the WSO’s composer-in-residence, it was my first concerto for an internationally recognized artist, and my career was just starting off. Due to the importance of the commission, I put my heart and soul into the creation of the work, aiming to deliver the best possible product I could create.” Ho is currently the new music advisor to the Calgary Philharmonic Orchestra and the Artistic Director of Land’s End Ensemble. He continues to be busy with numerous commissions. David Jaeger is a composer, producer and broadcaster based in Toronto. 86 | March 2018 thewholenote.com

Geoffrey Geoffrey Sirett, Sirett, photo: photo Dahlia by Katz Dahlia Katz the overcoat: a musical tailoring MUSIC BY JAMES ROLFE MORRIS PANYCH Adapted from The Overcoat Music by by Nikolai Gogol James Rolfe A co-production with Libretto + Direction by “A must-see of the opera season”- THE WHOLENOTE 2017-2018 Season Sponsor Media Sponsors 17.18 Season Media Sponsors Sponsor A SPECTACULAR NEW MUSICAL PRODUCTION OF GOGOL’S BELOVED STORY THE OVERCOAT: A MUSICAL TAILORING IF CLOTHES MAKE THE MAN, LIBRETTO + DIRECTED BY THEY CAN UNDO HIM. Morris Panych MARCH 27 - APRIL 14, 2018 BLUMA APPEL THEATRE A world premiere co-production with tapestryopera.com | 416.368.3110 canadianstage.com | 416.368.3110 SAVE 30% with promo code WHOLENOTE

Volumes 21-25 (2015-2020)

Volume 25 Issue 8 - May / June 2020
Volume 25 Issue 7 - April 2020
Volume 25 Issue 6 - March 2020
Volume 25 Issue 5 - February 2020
Volume 25 Issue 4 - December 2019 / January 2020
Volume 25 Issue 3 - November 2019
Volume 25 Issue 2 - October 2019
Volume 25 Issue 1 - September 2019
Volume 24 Issue 8 - May 2019
Volume 24 Issue 7 - April 2019
Volume 24 Issue 6 - March 2019
Volume 24 Issue 5 - February 2019
Volume 24 Issue 4 - December 2018 / January 2019
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
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Volume 22 Issue 6 - March 2017
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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

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