and walk on water!), never assuming the worst about myself, others, or life circumstances. I tried to musically depict this return to childlikeness through a melodic/rhythmic playfulness emerging, not without struggle, from a more mournful setting.” The winner of the 2019 Ann H. Atkinson Prize in Electroacoustic Composition will be determined in early December, and the winning composition will be performed on the Karen Kieser Prize concert, along with chamber works by Hosokawa. (The 2018 Atkinson Prize winner was August Murphy-King for his work, Simul for viola, bassoon, piano and electronics, a work I found to be elegant and finely balanced.) Meanwhile … the previous week, American composer Terry Riley will be celebrated in three concerts at the RCM’s 21C Music Festival, including a concert on January 18, “Terry Riley: Live at 85!” Riley’s visit is dealt with at more length in “In with the New” elsewhere in the current edition of The WholeNote. But I do have a personal Terry Riley story to share, from 1993, when my CBC Radio Two network series, Two New Hours co-produced the Encounters series in Glenn Gould Studio (GGS), together with Soundstreams Canada. Kieser, the director of GGS at the time, had challenged Soundstreams artistic director Lawrence Cherney and me to come up with a marketable contemporary music series that would attract audiences to GGS. We quickly responded with Encounters, initially, a series of minimalist music. Terry Riley was one of the invited minimalist composers. Riley improvised on a nine-foot Steinway modified with his so-called Rosary tuning. It was a 19-toneto-the-octave tuning, and it took three tunings to get the Steinway to hold its pitch; and three tunings to get it back to tempered pitch afterwards. (The piano tuner’s bill was ,200 for those services.) The Arraymusic Ensemble participated too, in Riley’s Cactus Rosary, which they had commissioned. The late Michael J Baker conducted. Back to Winnipeg: And finally, as I promised at the outset of this story, there’s the impending trip to Winnipeg for the 2019 edition of the WSO’s New Music Festival. The 27th WNMF will embrace a variety of themes, including ice, metal, the new intersecting the old, and a spirit of collaboration. The opening event, on January 25, “Glacial Time,” takes place in a custom-designed ice amphitheatre situated in The Forks on the frozen Assiniboine River. A collaboration with architect Peter Hargraves (Warming Huts), this newly created space will capture the essence of WNMF as a cultural oasis within the heart of the extreme Manitoba winter. Norwegian artist and multi-instrumentalist Terje Isungset comes to Winnipeg to present a suite of his original music, featuring himself, vocalist Maria Skranes, and WSO musicians performing on Isungset’s ice instruments, freshly carved for the occasion of this performance. WSO resident conductor Julian Pellicano and percussionist Victoria Sparks will lead the University of Manitoba Percussion Ensemble in the Canadian premiere of Inuksuit, an expansive work by Pulitzer Prize-winning Alaskan composer John Luther Adams that continues his explorations in merging music, nature, and landscape. Norwegian composer Terje Isungset and ice instruments The January 26 concert welcomes back Bramwell Tovey, the WNMF founding music director who started it all. Tovey will conduct a program featuring San Francisco composer John Adams’ monumental work, Harmonielehre, together with music by three prominent Canadian composers: Jocelyn Morlock, Kelly-Marie Murphy and Harry Stafylakis. On January 30, the WSO’s newest music director, Daniel Raiskin takes the podium in his first full WNMF program. A noted advocate of contemporary music, Maestro Raiskin is joined by his longtime collaborator, Latvian composer Pēteris Vasks, who serves as this year’s WNMF Distinguished Guest Composer. WSO concertmaster Gwen Hoebig will perform Vasks’ meditative Lonely Angel and the Winnipeg Singers join the orchestra for his Dona Nobis Pacem, offering two pathos-laden aspects of Vasks’ musical vision. The WSO will also give the world premiere of a new work, A Child’s Dream of Toys, by Canadian composer Vivian Fung, as well as Michael Daugherty’s fierce Raise the Roof. Finally, WNMF doubles down on its collaboration with contemporary progressive metal pioneers Animals As Leaders, who join the WSO for the band’s orchestral debut, featuring a symphonic suite of some of their best known works arranged by WSO Composerin-Residence (and relentless metalhead) Harry Stafylakis. Consider an alternative winter destination, and join me in Winnipeg for my annual January pilgrimage of musical discovery at the WNMF! David Jaeger is a composer, producer and broadcaster based in Toronto. BJORN FURUSETH Animals as Leaders 16 | December 2018 - January 2019 thewholenote.com
2018-2019: The Colours of Early Music LOVE, REMIXED FEBRUARY 15 & 16 at 8pm Artistic Direction by David Fallis & Katherine Hill Join us as we reinterpret, remix, and rediscover our love of Early Music, featuring James Rolfe’s Juno-nominated Breathe. FOUR QUARTERS OF JERUSALEM MARCH 8 & 9 at 8pm Guest Artistic Director Nina Stern, with Rose of the Compass Celebrating the musical diversity of the City of Jerusalem. 416-964-6337 | TorontoConsort.org An agency of the Government of Ontario Un organisme du gouvernement de l’Ontario
Paul Davenport Theatre, Talbot Coll
Friday January 11 ●●12:30: Don
C. Music Theatre Shannon, piano. Ri
Kirk MacDonald and the bassist Geof
E. The ETCeteras Competitions ●
Classified Advertising | classad@th
Eventually, clients develop robust
DISCOVERIES | RECORDINGS REVIEWED D
STRINGS ATTACHED TERRY ROBBINS Viol
Keyed In ALEX BARAN Louis Lortie br
VOCAL Impermanence Lorelei Ensemble
Beethoven-ish recording by Anton Ku
in wartime Auschwitz. This symphony
that Ardelli has been a prominent m
Dream. Joining Yamanaka are drummer
multiplicity of moods ranging from
REAR VIEW MIRROR TSO: Crises Weathe
TWENTY-FIRST CENTURY MUSIC FESTIVAL
TS Toronto Symphony Orchestra TSO H
Loading...
Loading...