8 years ago

Volume 7 Issue 4 - December 2001/January 2002

  • Text
  • Toronto
  • December
  • Theatre
  • January
  • Choir
  • Symphony
  • Jazz
  • Musical
  • Singers
  • Wholenote
  • Stuffers
  • Dvds
  • Discs


ONES TO WATCH By Paul Steenhuisen "Composer to Composer" will return to its usual form in February with a full-length interview of Linda Catlin Smith (whose recently released CD Memory Forms is reviewed ,by Brian McMilla,n in DISCOVER­ IES this issue (see page 56). In keeping with this issue's seasonal theme, here instead are short statements about their ideas, aesthetics, and current seven people we are likely to hear more from in the coming year: Erik Ross, Yannick Plamondon, Bongani Ndodana, Victoria Maidanik, Christien Ledroit, Brian Current, and Rose Bolton. I . NEW Music ·:· c MPOSER TO COMPOSER . Opera Works' presentation at the Opera America Conference nlxt April. Yannick PLAMONDON -gaspar/ Upcoming: NUMUFEST broadcast of new wor:k for - Continuum, Dec 16, 2 New Hours, CBC Radio 2 Music 1s FOR ME a poetic field, where I construct sound metaphors according to my experience of the world (nature/Humans etc ...) I think that one of the most imponant challenges for composers now is to cross the massculture barrier - I mean to do it! Keeping in mind that complexity/ sophistication and musical individualism (coming from our aristocratic historical background) is a very good argument, there are a lot of people out there looking for non-wmmercial musical Erik ROSS experiences, to express their Studies: U of T /Christos Hatzis, individuality as a listener. Gary Kulesha, DMA in progress. I believe that there is an I HA VE RECENTLY developed an unlimited amount of anistic interest in working with the more success available. An4 I ruk to be dramatic an forms; the collabora- su"ounded by beauty, and tive process is one that in my excellence. According to that, our current state /find quite appeal- future success (as contemporary ing. But I purposefully focus on music composer/performers etc ...) c;hamber writing every few years, is directly connected' to the as /find it to be the most personal possibility of creating a sane and developmental - the most community of cri,tical exchanges. logical way to expand one's The traditional concen hall compositional palette. Thus, the event needs to reach another level. alternation of these endeavors The social-political field of the gives me immense satisfaction, as I · concen is still caught in its 17th am appealing to both my intro- century solution, but sustained by Vf!ned and e.xtrovened desires. 19th century anists for a 21st I am cu"ently working on an centu')' public. Who's listening~ oboe conceno for Joseph Salvalaggio, which will hopefully Bongani NDODANA take me to Memphis next season, < > and my fut.ure projects include an opera 'shon' for Tapestry New Composer, Artistic Director of Ensemble Noir 16 wholenote DECEMBER 1, 2001 - JANUARY 31, 2002 I'VE ALWAYS BEEN fascinated by the idea of music being able to bring people together, communicate across linguistic and cultural barriers. I'm drawn to African music; · it's a great and ancient resource. I'm an African and the music and people of that continent, the rhythms, and the way musical material evolves or is manipulated . and the "hidden" messages of the ·music are in my blood. My training is in the western tradition but in my warped mind, African music fits in perfectly in the great continuum that stretches from Machaut to Ligeti. My piece African Kaddish · (for large orchestra) touches on everything from Xhosa and Venda music ending with a grand sweep 'of lush Hollywood music. In February, African Heritage Month, Ensemble Noir will perfonn concens featuring music ihiu draws from the music of Africa and its Diaspora as pan of oµr Diversity Project. Victoria MAIDANIK Currently working on a project for the Sylvestrov Group, a new Tornnto chamber ensemble. For:biographical information, see the CMC website at IT IS VERY IMPORTANT that each of my;pieces has its own individual Con

very gestural, very goal-oriented, very overt, and now I'm incorporating it into the opera, while thinking abouJ pacing, both musically and dramatically. I've also just finished a revision for the Oakland Symphony of a 1998 piece This /sn 't Silence. The idea is that background textures will sometimes form a 'kind of silence' or canvass upon which other material is placed. Eventually this 'silence' overwhelms and inundates the piece. And it's loud and wild. Rose BOLTON for j?iographical information, see the CMC website HA YING SPENT MANY summers camping in the Canadian Shield regions, the natural sounds of the forests have become the subject matter for much of my music, where/ strive to.replicate the experience of being immersed in a "soundscape ". , lWzen one sits still in the wilderness, the sense of passing time is sd slow that it is barely perceivable; buJ it is formed gradµally by thousands of tiny quic:k"changes. /like to compare some of my recent works to suspensions in water, where events and motives seem to float, and I think this expresses ari escape from our urban surroundings. I hope that my music can cause the listener to feel transported. In my · cu"entprojects I am also inspired by the possibilities of creating music which depicts unknown and imaginary microcosms. · ' NEw Music •:• HEAR & Now · HEAR & NOW New Music by Paul Steenhuisen CHEAPSEATS & COMPOSER COMPANIONS REDUCED TICKET PRICES & HEIGHTENED APPRECIATION If you're reading this column, you likely already know something about new music. If you want to know more, or have friends/colleagues who are interested in exploring contemporary music, the Canadian Music Centre has two programs that will be of interest. The first is called CHEAPSEATS. Fifteen of Toronto's contemporary music organizations have introduced a new student pass that entitles its holders to a flat rate of .00 for concert tickets duri11g the 2001102 season. Participating organizations include: Arraymusic Ensemble, Canadian Opera Company, Continuum, Esprit Orchestra, Evergreen Club Gamelan, Music Gallery, Hannafor,d Street Silver Band, Music Toronto, New Music ·Concerts, Royal Conservatory of Music, Sinfonia Toronto; Soundstreams/Encounters 2001/ 02, toneART Ensemble, the TSO, and the Toronto Wind Orchestra. High school and university students can acquire a CHEAPSEATS pass for .00, which will remain valid through until the end of July 2002. · Students simply present the pass at the respective box offices in order to receive the .00 special price (GST is included). Tickets are subject to availability on the day of performance. W,henever the pass is used it is stamped ;md recorded, but tl1ere is no upper limit on the number of events students can attend using the r~ The New Guitar Concerts 2001-2002 ·December 2 -2001 Brown Fugue • Dodgson Follow The Star • Takemitsu A Boy Named Hiroshima • Wingfield Teyata Michael Bracken • Stephen Wingfield William Beauvais • James Brown • John Gzowski guitars Edward Day Gallery 33 Hazelton 2 PM February 22 2002 Brown • Katz James Brown "The Home Fields" CD release concert Also featuring Ernie Tollar and Jim ,Vivian Brian Katz performs original compositions Heliconian Hall 35 Hazelton 8 PM March 22 2002 Gismonti New Piece • Senoir Momentary Follies • Dufour Garam masa/a The Montreal Guitar Trio Heliconian Hall 35 Hazelton 8 PM Tickets for all concerts / The SOCAN Foundation' 416 252-4792 / to rontda rt sbou n ci I Ao a1m·s length body of Iha City ol Toronto $ New Musie for the New Year® Sunday January 6, 2002 • 8:00 pm Co-presented with THE MUSIC GALLERY Church of St. George the Martyr • 416-204-1080 ~~ woobw1nb aa1ncec New Sounds from Slovenia Answers** (1974) Primoz Ramovs (1922-1999) Celo** (1999) Larisa Vrhunc (1967) Ottoki** (1990/91) Uros Rojko (1954) Discours VIII** (1990) Vinko Globokar (1934) .. Canadian premiere Admission / Introductions@ 7=15 pm NMC info 416-961-9594 Tut~Couitc11. / l""Co1U11Loas.A11.n Jlll1't1IUU 1>11('.J.X,uu llNQt,,, ucni~il"7 Sunday January 20, 2002 • 8:00 pm in association with TWO NEW HOURS on CBC Stereo Two Glenn Gould Studio • 416-205-5555 ~ ffilWJ~ featuring] oseph Macerollo, the Accord es , String Quartet and Patricia Green fei Yang* (2001) Hope Lee (b.1953) accordion, string quartet (CBC I NMC co.mrl)ission) Earth Cycles (1987) Alexina Louie (b,1949) accordion, tape Sing, Ariel Op.51** (1989-90) Alexander Goehr (b.1932) for principal mezzo soprano, five players and two_ _sopranos *World premiere I **Canadian-premiere ~ torontdartsbouncil ONTAIUO AR'TS COUNCIL CONSEIL DES AR.TS DE L"ONTA.RJO An er"m':t length body of the City of Toronto 17

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