Winter 2010 - Canadian Music Centre

notations
 
w int e r   1 0
Contents
02 LETTER FROM THE EDITOR
03 REGIONAL POSTCARDS
05ONTARIO REGION uPDATE
08NEW COMPOSER
10Technology: friend or foe?
12THE NATIONAL VIEW
14 HEAR THE MUSIC
18 HAIL: Canadian art song
20 INTERNATIONAL ACTIVITIES
22milestones & Congratulations
26NEW RECORDINGS
29 IN MEMORIAM
www.musiccentre.ca
Mission Statement
The Canadian Music Centre exists to promote
the music of its Associate Composers, to
encourage the performance and appreciation
of Canadian music, and to make this music
available throughout Canada and around the world.
photo: Andrea Ayotte
Letter from the
Editor
2009 was an exceptional year for Canadian
contemporary classical music.
Not only did the Canadian Music Centre celebrate its golden anniversary on a national
and international scale, but Tapestry New Opera Works feted 30 years in business and
the Canadian Contemporary Music Workshop marked their 25th. Even the St. Lawrence
String Quartet celebrated their Canadian roots for their 20th anniversary by commissioning
five new Canadian works, which they toured clear across the country.
In addition to the announcement of Robert Aitken winning the coveted Walter
Carsen Prize, and the National Arts Centre identifying their three new Award Composers,
the CMC named its first 50 CMC Ambassadors. Two new awards were launched in
memory of pioneering Canadian composers – the Harry Freedman Fund and the Oskar
Morawetz Award – and the CBC re-launched its National Composition Prize under
the “Evolution” banner.
As if this wasn’t enough, in 2009 Canadian composers took the artistic helm of
long-running orchestras and were hired as Composers-in-Residence on a larger scale than
in recent memory. Recordings of Canadian contemporary classical music gained greater
notoriety, making the top ten lists of influential international critics, while new festivals
for new music were launched and the number of Canadian music performances seemed
to grow at all levels, from regional recitals to international events. You just have to look
to our Regional Postcards, International Activities and Hear the Music calendar to see
how this is true.
And special birthdays keep cropping up. Joining Norman Sherman (85) and Udo
Kasemets (90) is Jack Behrens, who will turn 75 this spring. You can read more about
his accomplishments and recent achievements in the Milestones section.
But, much like any good party, the euphoria eventually gives way to reality: despite
all the past year’s gains, we are still met by some serious challenges. The current loss
of the Canadian Musical Diversity Program as part of the renewed Canada Music Fund
spells uncertainty for the recording and
distribution of Canadian composers’ music.
Meanwhile, the continuing expansion,
adaptation and usage of digital media by the
music world is still met with mixed reviews.
How do we harness the online environment
to build a larger audience while also
adequately compensating artists? Michael
Purves-Smith looks into this subject for
our lead article.
Overcoming resistances and working in
collaboration will continue to be essential
to discovering the solutions we need for a
successful future. Doreen Taylor-Claxton’s
HAIL project demonstrates how one artist’s
initiative can break down the barriers of
preconceived notions and renovate a whole
musical genre. You can read her story in
our centre article.
As Ontario Notations continues to grow
with the achievements of the composer
community, we hope to expand its role as
part of the complex, ongoing debate on the
state of Canadian music. Adding your voice
to the conversation is what allows this
publication the gain detail and perspective
it needs. Do you have a story you’d like to
contribute? An idea or issue you feel must
be addressed? Or a milestone event you’d
like to share? Call us, e-mail us, text us, drop
by the Centre, or join in on a discussion on
our Facebook fan page…we’re always keen
to hear from you!
Until next time,
Jason van Eyk, Ontario Regional Director
CA N A D I A N M U S I C C E N T R E
winter 2010, Vol. 16, No. 1
The Canadian Music Centre, Ontario Region, produces Ontario Notations and distributes it to supporters of Canadian music.
The opinions expressed herein are not necessarily the opinions of the Canadian Music Centre.
FSC LOGO
Regional Director: Jason van Eyk Design: Soapbox Design Communications Inc.
National Office
Chalmers House
20 St. Joseph St.
Toronto, ON M4Y 1J9
T 416.961.6601
F 416.961.7198
info@musiccentre.ca
Ontario Region
Chalmers House
20 St. Joseph St.
Toronto, ON M4Y 1J9
T 416.961.6601 ext. 207
F 416.961.7198
ontario@musiccentre.ca
COVER photo: Veronika von Volkova
 w int e r   1 0
Québec Region
416, rue McGill
Montréal, QC H2Y 2G1
T 514.866.3477
F 514.866.0456
quebec@centremusique.ca
Prairie Region
Violet Archer Library
911-2500 University Dr. NW
Calgary, AB T2N 1N4
T 403.220.7403
F 403.289.4877
prairie@musiccentre.ca
British Columbia
Region
837 Davie St.
Vancouver, BC V6Z 1B7
T 604.734.4622
F 604.734.4627
bcregion@musiccentre.ca
Atlantic Region
134 Main St.
Sackville, NB E4L 1A6
T 506.536.4263
atlantic@musiccentre.ca
Regional
Postcards
Ontario Outlook
In the previous issue of Ontario
Notations I wrote about the importance
of creating partnerships, relationships
and collaborations. The CMC Regional
Councils and the National Board
could easily write a manual on this
topic! One just has to look to our recent 50th anniversary
celebrations to see how this statement is true.
What a wonderful time we had in Ottawa on November
9 raising a glass to the CMC’s 50th anniversary. There were
national celebrities, there were prizes, there was music, there
was food and drink…but best of all, there was birthday cake!
The National Arts Centre and its orchestra, the Gryphon
Trio and pianist Christina Petrowksa Quilico all joined the
CMC to mark this milestone. Fifty outstanding Canadian
musicians representing all regions of the country were
honoured with the title of CMC Ambassador. Friends from
far and wide came to help us celebrate. It was amazing to
see a packed house of 2,200 individuals there to share in
celebrating Canadian composers and their music.
Despite what you may be thinking (“Don’t those Councilors
ever do any work?”), the party in Ottawa was flanked by two
days of meetings, where we tackled some serious considerations
of difficult issues. These same meetings also set the stage for
some exciting ideas and initiatives, particularly concerning
education and promotion. Watch for more details.
Congratulations to all those involved in the planning and
execution of another tremendously successful CMC celebration:
Executive Director Elisabeth Bihl and the national office staff;
Allan Bell, National Board President; the Regional Directors
and the regional staff; and all the Regional Councilors. It is
a pleasure to be involved with such a skillful, motivated and
eclectic group of people.
Victoria Warwick Chair, CMC Ontario Regional Council
Postcard from Hamilton
by David Ogborn
Hamilton is becoming a site for new music created by
composers from a wide range of backgrounds, as part of a
general rejuvenation of the city and its arts sector in particular!
The New Year will begin with the Hamilton Philharmonic’s
inaugural and ambitious What Next? festival, bringing together
composers and performers from across the country, across
the border and across the ocean for a series of concerts and
discussions. The festival will premiere pieces by John Burge,
Kelly-Marie Murphy and Sergio Barroso, and will feature the
work of American laptop virtuoso/DJ/composer Jeremy Flower.
Full details are available online at www.whatnextfestival.ca.
Then, as winter gives way to spring, the newly formed
Imaginary Landscapes ensemble will begin to present regular
concerts of acousmatic and live electronic music in a variety
of venues around the city, including as part of the monthly
and highly attended art crawl on James Street North.
So come, hear, enjoy!
notations 
Postcard from Kingston
by Marjan Mozetich
There has never been a lack of performances of Canadian music in
the Kingston area. 2009 has been no exception, nor will 2010. The
Kingston Symphony, in their permanent home at the Grand Theatre,
just performed John Estacio’s Borealis and my Postcards from the Sky
this past fall, and will be premiering a new work by Greg Runion
on January 31 along with Twilight Fire by Istvan Anhalt in a second
performance by popular demand. Other orchestral performances
Postcard from LONDON
will be given by Sinfonia Toronto, performing A Light Fantastic
Round by Juno Award-winning Kingston composer John Burge and
my Songline to Heaven & A Dance to Earth at Grant Hall, Queen’s
University on March 14 as part of the Faculty Artist Series.
Outside the orchestral world, the St. Lawrence Quartet brought
their 20th anniversary tour through town on November 19,
premiering Rounds by Brian Current and Table at the Bushwakker
by Elizabeth Raum. And the Queen’s Wind Ensemble, with clarinet
soloist Heather Henderson, premiered The Boundary of Disaster by
Christien Ledroit on November 26.
In the realm of choral music, the Kingston Chamber Choir just
premiered The Dew of Heaven by John Burge this past fall and will
perform Larry Nickel’s popular Four Strong Winds on February 28.
The award winning Cantabile Choirs will be premiering works by
Leonard Enns on March 6 and by Larysa Kuzmenko on April 10.
Also in this season Cantabile has and will perform an impressive
list of Canadian works by Harry Freedman, Bruce Sled, Donald
Patriquin, Keith Hamel, Ruth Watson Henderson and Larry Nickel.
Within the Kingston region, the Quinte Symphony in Bellville
has just recently performed A Christmas Overture by Clifford
Crawley and will be performing John Burge’s Canadian Shield
Overture on May 29.
by Paul Frehner
In early 2010 Londoners will be treated to some exciting and eclectic new
music. The Fridays at 12:30 Series in the Faculty of Music at the University of
Western Ontario will be featuring a number of concerts highlighting new music
throughout the season. On January 8 trumpeter James Thompson, from the
Eastman School, brought a recital of contemporary American music. February
26 will see the Attar Project, with their spirited fusion of Western contemporary
and Indian classical musics, perform a program including a number of Canadian
works. On March 12, the Gryphon Trio will be performing a mixture of
Canadian works as well as some trio music from the traditional repertoire.
On March 26 we will hear premieres of two new clarinet trios by CMC
Associates David Myska and Jack Behrens. The composers will be at the piano
in this concert and will be joined by Annette-Barbara Vogel on violin and
William Powell on clarinet. UWO students will also be involved in the action
as the faculty’s Contemporary Ensemble will be performing works by Rolfe,
Nono, Finnissy, Xenakis, Pärt, Eggert, Ligeti, Crumb and Blacher in their
January and April concerts.
In the downtown core, Orchestra London will perform, under the baton
of John Morris Russell, Oskar Morawetz’s early composition Overture to a Fairy
Tale for their April 17 concert in Centennial Hall.
It promises to be a dynamic start to the New Year for new music in London.
 w int e r   1 0
Region Updates
Ontario
Big Year for Norman Burgess Fund
The Norman Burgess Memorial Fund has had an extremely active
2009, commissioning, showcasing and celebrating the creation of
new music for young musicians.
The second edition of Ping! attracted a diverse audience of all
ages on October 18 to the beautifully redeveloped and recently
re-opened Royal Conservatory of Music. This annual event once
again succeeded in its aims to promote new works for young
players; to celebrate creativity; and to build community support
for the Fund’s vision.
Ping! launched two new Fund-commissioned works. Listeners
of all ages gathered in Mazzonleni Hall to hear Aris Carastathis’s
Encounters for viola and guitar performed by Alex McLeod and
guest artist Dimitris Kotronakis. Mr. Kotronakis, who made a
special visit to Toronto from Greece for Ping! also treated us to
the Canadian premiere of Aris’s Sojourn for solo guitar. The talented
young players of the Earl Haig Chamber Strings, under the baton
of Alan Torok, gave an energized performance of Kye Marshall’s
jazzy Bossa Antiqua. Special guests The Madawaska String Quartet
delivered a vibrant interpretation of Linda C. Smith’s Clay and
a crowd-pleasing rendition of Jose Evangelista’s Spanish Garland.
From the welcoming atmosphere and excellent reception arranged
by the RCM to the stunning performances, Ping! was an event
that truly celebrated creativity and cooperation.
Thanks to additional support from the Arts Education Partnership
Initiative, administered by the Ontario Arts Foundation, the Fund
had another exceptional year of commissioning, adding four new
works to the existing collection. These are: Dance Set for two cellos
by James Harley, Schumann Scenes for string orchestra by Chris
Paul Harman, Suite for Strings by Jan Jarvlepp and Two for Strings
by Christopher Mayo. All of these new works, which range from
beginner to advanced levels, are now available for teacher review
and will receive their world premiere at future Fund showcases.
We are grateful as well to our
collaborating educators, who
provided invaluable advice
to this year’s commissioned
composers: Amber Ghent,
Jean McRae, Peggy McCombe
and Vince Siprell.
Alongside commissioning,
the Fund has been actively
showcasing past commissioned works.
In partnership with the Ontario Registered Music Teachers
Association (ORMTA), the Fund showcased its four works for solo
instruments for a full house during the 2009 ORMTA provincial
competitions. This past July 18, Alex McLeod (viola), Emily Rho
(piano), Jing Liu (violin) and Daniel Lee (guitar) generated a huge
buzz for these new additions to Canadian educational music written
by Aris Carastathis, Rose Bolton, Christien Ledroit and Andrew
Staniland. And we were very excited by the Fund showcase of
string orchestra works by Abigail Richardson and Kye Marshall on
November 7 as part of the Ontario Music Educators Association
(OMEA) 2009 Con Brio! conference. We extend thanks to Alan
Torok and his Earl Haig Chamber Strings, who were our showcase
performers for the evening. Together, these showcase performances
have brought new Canadian music for young musicians to over
500 private and public school teachers throughout the province.
The CMC extends its thanks to all of its generous donors for the
occasion to administer this important Fund, building an enduring
collection of Canadian music, enriching the education of Canada’s
talented young musicians, and providing a lasting legacy to the
work of Dr. Norman Burgess. For more information about future
Fund events, commissions, and how to get involved, please contact
the CMC Ontario office.
Rolfe Trumpets Toronto Arts Awards
Composer James Rolfe must have been in a celebratory mood for a recent commission from the Toronto Arts Awards Foundation – a
trumpet fanfare for the Toronto Arts Awards presentation lunch, which also served as a dedication to Mayor David Miller, a great supporter
of the arts. Soundstreams was very proud to have produced the fanfares for performance at the Mayor’s Arts Lunch on October 15, the
suggestion for which had come from the Toronto Arts Council’s Executive Director, Claire Hopkinson.
On that day, there were three fanfares played from the balconies of the elegant Arcadian Court. Beyond Rolfe’s new creation, a lively
intertwining of traditional form and contemporary creation, two other fanfares by Canadian Kelly-Marie Murphy and Norwegian Rolf
Wallin were heard, both previous Soundstreams commissions premiered as part of the 2006 Toronto Fanfare Project. Soundstreams believes
strongly in fostering emerging talent, and so was pleased to present the fanfares in performances by four musicians from the Glenn Gould
School. A video of the performance can be found on the Soundstreams website at www.soundstreams.ca in the “Behind the Scenes” section.
notations 
The CMC’s long-running New Music in New Places series has
been attracting even larger audiences this season to unique events
created by Canadian composers that get their music out of the
concert hall and into the community.
In Ontario, the series launched with cave_music, an intriguing
multimedia performance installation by composer Erik Ross and
the Contemporary Keyboard Society of Montréal, created
specifically for the Bonnechere caves near Eganville. Local residents,
who rarely have the opportunity to attend contemporary music
concerts, let alone one featuring toy pianos and electroacoustics,
expressed enthusiasm for what was for them a transformative
experience. As Ross observed, “The experiences of the owners
and employees, who have spent so much time in the cave, made
them see the environment in a completely new light. In the same
vein, not a single person I talked to had ever been to a concert
with a Canadian composer on the program, so I feel that the
aspirations of New Music in New Places were successfully met.”
On October 3 the nature theme continued for CMC’s
annual contribution to Scotiabank Nuit Blanche – Toronto’s
overwhelmingly successful, all-night contemporary art festival.
Two environmentally-informed sound installations attracted close
to 1,000 visitors over Nuit Blanche’s twelve-hour stretch.
Sky Harp Ghost Tree by Kingston-based Kristi Allik and Rob
Mulder occupied the CMC’s front garden. The Sky Harp series
creates virtual sound environments triggered by movements of
trees. Ghost Tree, the series’ final installment, melded together
electronic sound and video footage to document the effects of the
disastrous 1998 ice storm on one of Sky Harp’s star “performers”
– a 90-year old elm. Recorded improvisations by dancer Holly
Small overlapped as a simultaneous interpretation of both the
wounded tree and the ice storm’s impact. The combination created
an eerily mesmerizing, almost nightmarish effect, perfectly themed
to Nuit Blanche and appealing to the large crowds who experienced
it. Allik and Mulder were clearly pleased with the results: “In many
ways, this became one of the most interesting versions of Sky Harp
and we are thrilled that it had such impact.”
Inside Chalmers House, Juliet Palmer and Josh Lacey’s
Miasma sound installation talked about the weather. Overheard
conversations reflected the unpredictability of our relationship
to the elements and to each other. The Great Lakes Storm of 1913
was depicted on the embroidered tablecloth of a ghostly tea party,
its slow pace of creation matching that of the early weather
reports that contributed to the storm’s deadliness. Live musical
performances, which took place twice throughout the evening,
were inspired by German weather houses (wetterhaüschen), small
folk art chalets which predict the weather: a male figurine emerges
from one doorway with an umbrella when rain is expected and
a summery woman appears in the other door when sunshine is
A FULL HOUSE GATHERS FOR PING!
 w int e r   1 0
forecast. Violinist Sarah Fraser-Raff and guitarist Ron MacDonald
played their roles of the “man and woman that never meet” with
great skill. The diverse crowd was drawn to the unusual image of
talking teacups and often stayed for long periods of time, listening to
the conversations and to the music – both live and recorded – filling
the space. As one visitor said “This one was a little out of the way,
but I’m so thankful we got to it – very haunting and beautiful.”
Still to come in March 2010 is the LoK8Tr project, inspired by
and written directly for performance using internet media and
social networking tools. Vocal music, poetry, graphics and video
will merge and disperse via the Internet on a set performance date
to those who sign up to receive the Twitter, Facebook, email and
Skype messages that will make up the piece. The artists for the
LoK8Tr project will not be announced until after the conclusion
of the performance to emphasize the project themes of identity/self,
location, loneliness/facelessness and virtual interconnections that
can be amplified or obscured by online relations.
New Music in New Places is a nation-wide CMC initiative
which provides Associate Composers with the opportunity to
take their music out of the concert hall and into communities
throughout Canada. New Music in New Places is made possible
through the generous support of the SOCAN Foundation and the
Department of Canadian Heritage through the Canada Music
Fund. All New Music in New Places events are free and open to
the public. For more details please visit the CMC website.
photo: Veronika von Volkova
Larger Crowds for
New Music in New Places
Beckwith on
Weinzweig and Anhalt
Composer John Beckwith has been busy more with words
than music this past while. But his subjects are still firmly
Canadian. He is the co-editor with Brian Cherney of
A Weinzweig Collection, a volume of essays on the late John
Weinzweig’s life and music by fifteen Canadian authors,
to be published in 2010 by Wilfrid Laurier University
Press. He is also a contributor to Centre and Periphery,
Roots and Exile: Interpreting the Music of Istvan Anhalt and
photo: andré leduc
György Kurtág, the proceedings of a 2008 conference at the University of Calgary
(edited by Friedemann Sallis, Robin Elliott, and Kenneth DeLong) and to Music
Traditions, Cultures, and Contexts, a set of essays honoring the ethomusicologist Beverley
Diamond (edited by Robin Elliott and Gordon E. Smith). Both are also due in 2010.
For the first, Beckwith has written a character sketch of Istvan Anhalt, and for the
second an account of two music-theatre pieces produced in Montréal during World
War II, whose unlikely heroes are two early Canadian composers, Joseph Quesnel
and Calixa Lavallée. In addition, the libretto of Beckwith’s 2007 choral documentary
Derailed, a “found poem” about the Mississauga train disaster of 1979, appeared in the
November 2009 issue of the Literary Review of Canada.
photo: giulio muratori
Juliet Palmer Makes a First Impression
Inspired by Toronto’s successful “Poetry on the Way” project, the Toronto Arts Council
and Heritage Toronto have partnered to launch First Impressions – a series of eighteen
posters that feature historical and contemporary artists and their impressions of Toronto.
Among those who will be profiled is CMC Associate Composer Juliet Palmer. Her
poster can be found on Toronto Transit Commission subway cars, streetcars and buses
throughout the year.
First Impressions celebrates Toronto’s diverse heritage through the arts community,
past and present. The project highlights how different waves of immigration have
built this city, and reveals the artists’ stories in an engaging and public way. It also
recognizes Toronto’s 175th birthday, the Toronto Art Council’s 35th anniversary and the
importance of arts and heritage to Toronto. To learn more about the First Impressions
project, visit www.torontoartsfoundation.org/First-Impressions.
Hamilton Philharmonic
Asks “What’s Next?”
From January 22-24 the Hamilton
Philharmonic Orchestra presents What
Next? Hamilton’s first and only new music
festival. The creation of HPO music director
James Sommerville, What Next? will feature
a dynamic range of innovative performances,
lectures and cross-media presentations across
three days and three venues. “The HPO
is fiercely dedicated to shining a light on
living composers,” said Sommerville at the
Festival’s launch announcement. What Next?
confirms this commitment and offers a dose
of new music in a city ready to receive it.
The festival opens at the Art Gallery
of Hamilton Pavillion with the What Next?
lecture series. Composers John Burge and
Kelly-Marie Murphy join electronic artist
Jeremy Flower and music director James
Sommerville for a panel discussion on
the risks and rewards of working in the
21st-century artistic environment. The
opening concert features a world premiere
from John Burge alongside contemporary
classics by Kurtag and Schnittke.
Day Two focuses on orchestral works,
with a world premiere from Murphy and
a repeat of Andrew Staniland’s CBC
Evolution Prize-winning Devolution, followed
by a late-night electroacoustic set by Flower
at Pearl Company, which includes works
by Steve Reich and Sergio Barroso. The
Festival closes at Pearl Company the next day
with a discussion about music and the mind
with McMaster researcher Laurel Trainor,
composer David Ogborn and director
James Sommerville. A chamber concert
featuring works by Elma Miller, Scott Good
and Gary Kulesha closes out the festivities.
What Next? festival passes and full
event details are available at
www.whatnextfestival.com or by phone
at 905-526-7756.
notations 
Welcome
to our New Ontario Associate Composers
Constantine Caravasillis
Born in Toronto, Constantine was raised in a musical family
in Pythagorion, a culturally vibrant township of Samos Island.
At age six, he was presented with a violin and a first lesson as
a birthday gift. So began his path towards a musical career.
Hailed as one of “the most important Hellenic-descent
composers of his generation,” commanding “beyond the ordinary
sense of musicality,” Constantine’s music has been defined as
“constantly charged with emotion and energy in a profoundly
individual style.” He is a laureate of the 4th Volvo International
Composition Competition with three gold medals, the highest
honour ever awarded by this competition’s jury. Among other
achievements, he has served as Composer-in-Residence for the
Contemporary Opera Lab (Winnipeg), Cantabile Chamber
Singers (Toronto), the Open Strings Festival (Denmark) and
The London Song Festival (UK).
Constantine’s formal training has involved studies at the
Royal Conservatory of Music, and degrees from the University
of Toronto (B.Mus) and the University of Manitoba (M.Mus).
He is currently completing doctoral studies at the University
of Toronto, where his mentors include composer Christos Hatzis,
conductor Raffi Armenian and pianist Christina Petrowska Quilico.
Regarded as one of the more prolific young composers in
Canada, Constantine’s catalogue contains work in almost every
genre, including commissions from soloists, ensembles and
organizations around the world. His music has been performed
in over fifteen countries and has been broadcast in Canada,
Japan, the UK and the USA. His music and arrangements also
appear on the Marquis recording label.
 w int e r   1 0
Brian Harman
Brian Harman is a Montréal and Ottawa-based composer, teacher,
pianist, conductor and arts promoter. His music, which has
received performance across Canada, the USA and Europe, has
been described as “effective and chilling,” “three-dimensional,
maybe four-dimensional” with “good use of textural contrasts and
skillful combinations of instruments.” Brian has written works for
numerous genres, both acoustic and electronic, which have been
performed by many distinguished ensembles and artists, such as
VivaVoce of Montréal, the Ensemble Contemporain de Montréal+,
the Nouvel Ensemble Moderne, l’Orchestre de la Francophonie
Canadienne, violinist Scott St. John and pianist Lydia Wong.
He has also written music for film, theatre and modern dance.
Brian has received multiple awards and recognitions for his work.
In 2004, he was a finalist in the Toronto Symphony Orchestra’s
New Creations competition. In 2007, he was selected to take part
in a six-city Canadian tour with the Ensemble Contemporain de
Montréal+ as part of its Génération 2008 program. The resulting
ECM+ commissioned work for electric guitar and ensemble was
later broadcast on CBC Radio 2. In addition, Brian has received a
2007 SOCAN Foundation award, the 2007 Composition Award
from the Canadian Universities Music Society and the Glenn Gould
Composition Award.
Brian’s formal training has included studies at the University
of Toronto (B.Mus) and McGill University (M.Mus). Brian is
currently completing doctoral studies in Music Composition at
McGill University with Denys Bouliane. Advanced studies have
included the Rencontres de Nouvelle Musique at Domaine Forget
and the National Arts Centre Composers Programme.
Beyond creating and teaching music, Brian works for the Latitude
45 Arts agency, where he promotes musicians from Canada and abroad.
Erling Patrick Horn
Patrick works as a violinist, violist, teacher, composer and arranger.
He completed his Bachelor of Music at Rice University studying
violin with Camilla Wicks, viola with Csaba Erdelyi and composition
with Paul Cooper, Samuel Jones and George Burt. He earned his
Master of Music in Viola Performance and Pedagogy under
Peter Slowik at Northwestern University.
Patrick’s compositions have been performed by The Thunder
Bay Symphony Orchestra, California’s Gold Coast Chamber Players,
Chicago’s Orion Ensemble, Tango Classico, the Metro String Quartet
and the Metropolitan String Quartet. He has received numerous
commissions from performers such as Peter Slowik (Oberlin Conservatory), Erin Brophey (Thunder Bay Symphony), Andrea Lysack
(Windsor Symphony), Lyle Dockendorff, Dr. Larry Wells (Methodist
University), and most recently the Halcyon Trio Oregon.
Patrick is a private violin and viola instructor and has taught at
several schools in Chicago. He is currently a member of the music
faculty at Young Musicians and Artists in Salem, Oregon as well as
maintaining a private studio in Thunder Bay, where he plays viola
with the Thunder Bay Symphony Orchestra. He also performs
with the Britt Festival Orchestra in Jacksonville, Oregon.
Patrick and his wife E-Chen Hsu currently make their home on
the shores of Lake Superior in Thunder Bay.
Gordon Williamson
The recipient of several awards and prizes, Gordon Williamson
was most recently selected as one of five finalists for the 2009
CBC/Radio-Canada Evolution National Young Composers Prize.
Previous awards and recognition include an Artist Stipend from
the Ministry of Science and Culture of Lower Saxony (Germany),
a Professional Musicians Grant from the Canada Council for
the Arts, a Susan and Ford Schumann Fellowship at the Aspen
Music Festival, and young composer awards from both SOCAN
and ASCAP. His work Two Inuit Folk Songs was also recently
selected for the 2009 ISCM Festival and performed in Visby,
Sweden by the Swedish Radio Choir.
Gordon holds degrees from the Hochschule für Musik und
Theater Hannover, the Royal Danish Academy of Music, the
Indiana University Jacobs School of Music (M.Mus) and Dalhousie
University (B.Mus). His composition teachers have been Johannes
Schöllhorn, Sven-David Sandström, Bent Sørensen, Hans
Abrahamsen, Eugene O’Brien, David Dzubay, and Dennis Farrell.
He is currently completing doctoral studies at Indiana University.
Gordon’s recent activities include performances by Ars Nova
Copenhagen and the International Ensemble Modern Academy,
commissions by Ensemble Contemporain de Montréal and Trio
Alpha, and residencies at the Banff Centre for the Arts, Académie
Musicale de Villecroze in France and the Atlantic Center for the
Arts in Florida.
notations 
by michael purves-smith
technology:
Friend or Foe of Concert Music?
At the beginning of June I attended the Toronto section of
“The Changing Landscape of Music: Thriving in a New World,”
the 2009 International Association of Music Information Centres
conference. I enjoyed interesting presentations supported by
excellent handouts, good food and stimulating conversation in an
exceptionally friendly and welcoming atmosphere. Thanks to the
Internet, I have been able to revisit that day and visit, as a virtual
attendee, the other section that was held in Vancouver. As
with all CMC-organized events, I was struck by the intelligence
of the planning and with how well digital technology was
used to package and disseminate information in an easily
understandable fashion.
For all that, the conference left me somewhat unsatisfied. This
is probably because, despite the marked emphasis on digits (not
the sort that play a piano), I found that the presenters were either
baffled by how to build the audience for concert music in the
digital age or were firmly committed to doggedly staying abreast
of digital technology without considering its suitability to the
circumstances. As a result, one could conclude that the conference
was about technology and the music industry; not about the making
of music, nor its nature and quality. Consequently, I was reminded
once again how wound up we are as a society with technology.
Of the presentations that I attended in person, most used the
 w int e r   1 0
ubiquitous PowerPoint presentation. If they did not, they were
diffident about not using either it or some other presentation
technology. Interestingly, some of the presenters were confused
and distracted by their use of technology. Of the videos I watched,
many were interrupted from time to time by a glitch, often
resolved by an omnipresent techie who, upon walking up to the
podium, had the same effect as someone walking through the midst
of a string quartet performance. In the case of Paul Steenhuisen’s
presentation, the failings of his technology reduced it to bathos.
Since he was representing the artist/composer, I would have very
much liked to have heard a note or two of his music, which he had
intended to share. As it is, I must be content with imagining his
piccolo telephone ringtone, which he assured me is “really pretty.”
Some of the keynote speakers, such as Garry Neill, were of course
fully in command of their material and presentation technology. It is
good to see that Canadian thinking on inte sllectual property policy
in a digital environment is being guided by such capable thinkers.
Lawrence Cherney’s thoughtful case study presentation was
suggestive of much of what I have said and will say, because his
great project – Soundstreams – is so thoroughly rooted in the
magic of live music, whether it makes good use of Internet
resources (which it does) or not.
While it might seem surperfluous to dwell on the technological
difficulties of conference presenters, there are several reasons to
mention them. First, they have become so common that presenters
are permitted to act as though these challenges make no difference.
Second, ours is a techno-driven civilization and, given that
technology such as PowerPoint has been around long enough, it is
surprising and possibly significant that we are still having difficulties
using it. Perhaps we are dealing with a classic example of the tail
(digital technology) wagging the dog (you and me). Maybe we are
far less comfortable with the evolution of digital technology than we
would like to admit. We have, of course, created a new domain of
specialization that holds economic value. However, almost no one
(specialized or not) is able to fully keep up with the pace of change.
Consequently, the consumers for whom the CMC makes available
Canadian concert music constantly move deeper into the virtual
world, whether they like it or not.
It is hard to disagree with the contention that, in the near future,
more and more of our musical needs will be met by the Internet.
It will very likely be an absolute for that type of music that fills the
empty space in our “mind-time.” By this, I am referring to such
moments as running on the treadmill or driving to and from work. I
am referring also to all those many spaces where music is background
to another foreground activity, such as eating or shopping. However,
if it is our intention to persuade a larger audience to pay attention
to concert music, then are we perhaps going about it in the wrong
way by placing our bets one-sidedly on digital technology?
There are four parts to almost any musical equation that gives
rise to performance: creators (both composers and performers),
learners, listeners and technologists. Apart from using our voices for
music-making, technology has played an increasingly important role
– from the creation of the first drum to today’s most sophisticated
electronic devices. There have always been an abundance of
composers, improvisers and performers; an abundance of those who
want to learn music; an abundance of builders of lutes and music
software; and there will be for a long time to come. What is often
missing in abundance is the listener, or a committed audience for
concert music.
The audience is the Achilles heel of the whole human equation
of music making, at least wherever the music might be said to have
anything esoteric about it; and the moment we actually listen to
music that is new to us there is always something esoteric about it.
If we had no need of an audience, or if we had enough of an
audience willing to engage with the esoteric side of concert music,
I doubt that the IAMIC conference would have taken place. Perhaps
the potential audience for concert music has already been fully
exploited? Or maybe it will not increase without some dramatic
changes that are not likely to come along any time soon. However,
if we believe that music has vital, life-enhancing qualities, we should
direct our attention away from the passive audiences that are found
behind iPods and computer screens, and maybe even away from
the seats at a live performance.
Many of the presenters at the IAMIC conference spoke of the
vast new audiences that are accessible through the Internet; others
spoke of how we might capture that audience and of the problems
of ensuring creators are compensated for digital dissemination of
their music. I would argue that we should be skeptical of the notion
of this “vast new audience.” Information technology has made the
listening part of the equation effortless. It follows that listening to
music has been discounted for the better part of the audience, thus
rendering the effort required to listen to a complex piece of music,
on a CD for example, a seemingly uneconomical use of time,
made even more so when one is required to leave home to hear
the music in a concert hall. That which is disseminated on the
Internet as music is mostly appreciated as magic, in which the
technology is more important than the art. Even when we think
of a streamed performance of an entire symphony by the Berlin
Philharmonic, it is safe to say that we think first of the magic
of the media and only then about the magic of the music. We
experience this music through a veil of technology that actually
serves to trivialize the listener’s role in the musical equation.
This is reception theory writ large.
In my mind, it is this degradation of reception that really poses
the problem for the presenters, producers and distributors of new
concert music. A perfect example of this degradation of reception
was supplied by Paul Hoffert, from minute 4:33 to minute 6:53
of his Toronto keynote address. The musically horrible video clip
was brought to a merciful end by the failure of the technology.
This particular video apparently went “viral” and as of June 6, 2009
it had received something over a million viewings. Why? The
answer certainly does not lie with the music, but rather with the
“neat” idea – a musical mash up performed at Carnegie Hall by
the YouTube Symphony. It turned out that Mr. Hoffert introduced
the YouTube example because it provided an opportunity for
various symphony orchestras to advertise in the sidebars and banners
surrounding the online video player, presumably in hopes of
winning an alleged audience for their product. This video demeaned
that product for the sake of a specific audience – the early teen
demographic. I can only hope that the symphonies didn’t invest
too much in that particular bit of advertising. I note that Love Story
as of November, 23, 2009 has reached over 19 million viewings
on YouTube. That’s going viral. Composers of contemporary
concert music, whose work demands intellectual engagement in
creation and reception, have about as much relevance to the
YouTube audience as calculus in the kindergarten.
I am arguing that before we jump on the technology bandwagon
we need to take one more look at the traditional audience for
contemporary concert music. As we do so, we should keep in mind
that music is magic too, and that it provides its devotees with an
alternative technology that is valued in part because it helps us to
express ourselves creatively away from the technology of
contemporary science. I think there is a potentially vast audience
that wants to perform contemporary music and perhaps, before we
composers pander to the virtual audience, we should give some
thought to the needs and wishes of the performing audience.
Michael Purves-Smith is an active composer and conductor in the KitchenerWaterloo region. He is currently Associate Professor of Music in the Faculty
of Music at Wilfrid Laurier University and the Artistic Director of the
Wellington Winds in Kitchener Waterloo.
n o t a t i o n s 
The
National View
2009 was simply amazing –
a landmark year for the Canadian
Music Centre, celebrating its 50th
anniversary. Over fifty soloists,
ensembles, choirs, orchestras,
partners and supporters from right
across Canada helped mark this
important milestone. For example,
the renowned St. Lawrence String
Quartet commissioned five new
works from CMC Associates
photo: SUsie yen
(also in honour of their own 20th anniversary) and performed them
right across the country. Internationally, CMC was proud to
host the 2009 IAMIC Conference, which attracted 35 delegates
from 22 countries to Canada in June 2009. To crown it all, on
November 9 the CMC partnered with the National Arts Centre
and its renowned orchestra to celebrate its 50th birthday with
plenty of fanfare. The Celebrating Canadian Composers concert
was presented to a full house of some 2,200 enthusiastic listeners,
a major highlight of which was honouring fifty CMC Ambassadors
– performers and conductors who have dedicated their careers to
the music of Canada’s composers.
With such an impactful year behind us, we now turn our
This past December we celebrated
the one year anniversary of our
CentreStreams archival audio player –
it’s growing up so fast! In fact, like all
young ones, it’s barely given us any rest
over the past year. While we’ve been
adding hundreds of new audio tracks to
the playlist and attracting hundreds of subscribers, we’ve also been
hard at work renovating CentreStream’s look, feel and overall
capabilities. This new version, launching in early 2010, will be much
sleeker and more aesthetically-pleasing than the last. Not to worry,
though; we’re not all flash and no substance! The new version also
improves upon the links between the audio player and the metadata
about the music. This means that you’ll be able to learn more
about the composer who wrote the piece you’re listening to and
who’s performing it, read program notes and identify any alternate
performances in the archive. You’ll also be able to quickly link to
 w int e r   1 0
attention back to the future. In 2010, our primary focus will be
the marketing and promotion of CMC’s extensive catalogue of close
to 20,000 works. To help support this effort are two new team
members, Paul Kehayas, Licensing Manger and Anne Marie Page,
Repertoire Promotions Consultant. They have the important task
of working in partnership with the CMC staff to proactively
communicate with ensembles, performers, choirs, orchestras as
well as the film, TV and digital music industry to promote Associate
Composers’ music.
Efforts also need to be expanded in the CMC’s longstanding
Distribution Service to ensure our relationships with NAXOS and
IODA allow over 200 specialized music labels to sustain their
international presence. The funding that has supported this service
for the past 26 years was recently cut last August with the loss of
Canada Council’s Musical Diversity Program, part of the changes
made to a renewed Canada Music Fund.
Last, but not least, CMC said farewell in November to B.C.
Regional Director Colin Miles after a remarkable 31 years of
service. I am very pleased to welcome Bob Baker as our new
and energetic B.C. Regional Director.
All the best in the New Year and stay tuned for more…
Elisabeth Bihl Executive Director
items that we have available for purchase by that composer.
Altogether, we hope that these renovations greatly improve your
CentreStreams experience and open worlds of new music to you.
On a more serious note, I would like to reflect upon the recent
passing of our dear friend and colleague John Fodi. As a composer
and librarian, John came through the CMC fairly regularly. Earlier
this year, he sat with me for an afternoon while we updated his
catalogue of works in the CMC collections. He had a precise and
exacting manner that I admired, and frequently notice among
technical librarians. Working along happily, and seemingly tireless,
we were able to update and correct each and every one of his works
that day. Thank you, John, for your experience and your wisdom.
My thoughts and condolences are with the Fodi family. I hope they
take comfort in the knowledge that John affected so many people
during his time with us.
Michelle Arbuckle National Librarian
photo: susie yen
Happy New Year! It’s hard to believe that I have already
completed my first year at the CMC. It has been an eventful
one, with the IAMIC Conference and our overwhelmingly
successful 50th Anniversary Celebration at the National Arts
Centre. Consequently, I’ve had the opportunity to meet many
Associate Composers, performers and other supporters, and
to learn an enormous amount about what makes the CMC an
important organization. As I look forward to the year ahead, my
focus changes dramatically; and what stands out are some of the
uncertainties facing our community. Most prominent are those
caused by the elimination of the Canadian Musical Diversity
component of the Canada Music Fund. Not only does this cut
threaten performers’ ability to record the music of Canadian
composers, but it also challenges the solidity of the CMC’s
Distribution Service. While we continue to work with our
partners at Canadian Heritage and FACTOR to find a solution
that will give the Distribution Service the stability that it needs,
these funding priority shifts remind us of the importance that
our individual donors and stakeholders play in sustaining the
CMC, both now and through its next fifty years. It is only with
the support of individual donors and private foundations that
we can reduce the impact of these larger funding shifts. As a
result, you can count on hearing more from Jason and me over
the coming months. I hope that you will give to the CMC so
that we can continue to sustain and improve upon the vital
services we offer to Canada’s composers, performers, teachers,
students and music lovers across Canada and around the world.
Angel a Nelson-Heesch,
Development & Communications Manager
n o t a t i o n s 
Hear
the Music
Where to hear the works of Ontario Associate Composers
Date
ComposerEvent Information
January 22, 2010
John BurgeNew Work (premiere) – Hamilton Philharmonic Orchestra, James Sommerville (conductor) – AGH Pavillion, 8 pm – part of the What Next? Festival
Location
Hamilton, ON
January 22, 2010
Aris Carastathis
January 22, 2010
Gary Kulesha
“Traces” – Yoko Hirota (piano) – St. Peter’s United Church, 8 pmSudbury, ON
“Two Pieces for Piano” – Yoko Hirota (piano) – St. Peter’s United Church, 8 pmSudbury, ON
January 22, 2010
Robert Lemay
“Tanze vor Angst…hommage à Paul Klee” – Yoko Hirota (piano) – St. Peter’s United Church, 8 pmSudbury, ON
January 22, 2010
Harry Somers
“North Country” – Sinfonia Toronto, Nurhan Arman (conductor) – Glenn Gould Studio, 8 pmToronto, ON
January 22, 2010
John Weinzweig
“Can On Stride” – Yoko Hirota (piano) – St. Peter’s United Church, 8 pmSudbury, ON
January 23, 2010Kelly-Marie Murphy “Black Sand” (premiere) – Hamilton Philharmonic Orchestra, James Sommerville (conductor)
– Studio Theatre, 8 pm – part of the What Next? Festival
Hamilton, ON
January 23, 2010
Andrew Staniland “Devolution” – Hamilton Philharmonic Orchestra, James Sommerville (conductor) – Studio Theatre, 8 pm – part of the What Next? Festival
Hamilton, ON
January 24, 2010
John Burge
“Concerto for Trumpet” (premiere) – Hannaford Street Silver Band, Curtis Metcalf (conductor) Toronto, ON
– Jane Mallett Theatre, 3 pm
January 24, 2010Elma Miller
“La Nuit S’Ouvre” – Players of the Hamilton Philharmonic Orchestra – Pearl Company, 3 pm – part of the What Next? Festival
Hamilton, ON
January 24, 2010
Gary Kulesha
“Horn Trio” Players of the Hamilton Philharmonic Orchestra – Pearl Company, 3 pm – part of the What Next? Festival
Hamilton, ON
January 29, 2010
R. Murray Schafer “The Falconer’s Trumpet” – Stuart Laughton (trumpet), Esprit Orchestra, Alex Pauk (conductor) Toronto, ON
– Koerner Hall, Royal Conservatory of Music, 8 pm
January 31, 2010
Istvan Anhalt
“Twilight Fire” – Kingston Symphony, Glen Fast (conductor) – Grand Theatre, 2:30 pmKingston, ON
February 2, 2010
Christos Hatzis
“Tongues of Fire” (arr. Kevin Lau for wind ensemble) – Rod Squance (percussion), The University of Calgary Wind Ensemble, Glenn Price (conductor) – Eckhardt-Gramatté Hall,
Rozsa Centre, 8 pm
Calgary, AB
February 5, 2010
Robert Lemay
“On the Road” (premiere) – Windsor Symphony Orchestra, John Morris Russell (conductor) – Assumption University Chapel – part of the Windsor Canadian Music Festival
Windsor, ON
February 5, 2010
Robert Rival
“Elegy for Strings” (premiere) – Windsor Symphony Orchestra, John Morris Russell (conductor) – Assumption University Chapel – part of the Windsor Canadian Music Festival
Windsor, ON
February 9, 2010
Hamburg, GERMANY
Christos Hatzis
“Eternity’s Heartbeat”– Dame Evelyn Glennie (piano), Philip Smith (piano) – Venue TBA
February 10,11&13,
Christos Hatzis
“Arabesque” – Angèle Dubeau (violin), La Pièta ensemble – St. Lawrence Centre for the Performing ArtsToronto, Kingston
2010 (February 10), Grand Theatre (February 11), Convocation Hall at McMaster University (February 13)
& Hamilton, ON
February 11, 2010
Gary Kulesha
“Symphony No. 3” – Katherine Chi (piano), Thunder Bay Symphony Orchestra, Scott Speck (conductor) Thunder Bay, ON
– Thunder Bay Community Auditorium
February 12, 2010
Aris Carastathis
“Traces” – Yoko Hirota (piano) – Jean McNulty Recital HallThunder Bay, ON
February 12, 2010
Gary Kulesha
“Two Pieces for Piano” – Yoko Hirota (piano) – Jean McNulty Recital HallThunder Bay, ON
February 12, 2010
Robert Lemay
“Tanze vor Angst… homage à Paul Klee” – Yoko Hirota (piano) – Jean McNulty Recital HallThunder Bay, ON
February 12, 2010
John Weinzweig
“Can On Stride” – Yoko Hirota (piano) – Jean McNulty Recital HallThunder Bay, ON
February 14, 2010
Christos Hatzis
“In the Fire of Conflict” – Beverley Johnston (marimba) – Betty Oliphant Theatre, 8 pmToronto, ON
February 14, 2010
Alice Ping Yee Ho “Dance Concerto” – William Lau (dancer), Robert Aitken (flute), New Music Concerts Ensemble, Toronto, ON
Robert Aitken (conductor) – Betty Oliphant Theatre, 8 pm
February 14, 2010
Chan Ka Nin
“The Consequential Web of Life” (premiere) – Beverley Johnston (percussion), Chan Ka NinToronto, ON
(electric guitar & parlour), New Music Concerts Ensemble, Robert Aitken (conductor)
– Betty Oliphant Theatre, 8 pm
February 23, 2010
Marjan Mozetich “Concerto for Bassoon and String Orchestra with Marimba” – Karine Breton (bassoon), Thunder Bay, ON
Thunder Bay Symphony Orchestra, Stéphane Potvin (conductor) – Thunder Bay Community Auditorium
February 25, 2010Kelly-Marie Murphy “Through the unknown, unremembered gate” – Toronto Symphony Orchestra, Toronto, ON
Miguel Harth-Bedoya (conductor) – Roy Thompson Hall, 8 pm – part of the New Creations Festival
 w int e r   1 0
2010
Date
ComposerEvent Information
Location
February 27, 2010
Christos Hatzis
“Arabesque” – Angèle Dubeau (violin), La Pièta ensemble – Diffusions de la Coulisse, Beloeil, QC
Centre Culturel de Beloeil
February 28, 2010Scott Good
“Music for Oboe, String Quartet, and Double Bass” – Saskatoon Symphony Orchestra, Saskatoon, SK
Earl Stafford (conductor) – Delta Bessborough, 2:30 pm
February 28, 2010
James Rolfe A Rolfe Retrospective – Carla Huhtanen (soprano), Angela Rudden (viola), Continuum Ensemble Toronto, ON
– Mazzoleni Hall, Royal Conservatory of Music, 8 pm
March 3, 2010
Carol Ann Weaver “Paraguay,” “Primeval North of Centre” – Rebecca Campbell (vocals), Carol Ann Weaver (piano)
– Conrad Grebel University College Chapel, University of Waterloo, 12:30 pm
Waterloo, ON
March 6, 2010
Leonard Enns
“This Day” – Cantabile Choirs, Bob Chilcott (conductor) – Grand Theatre, 7:30 pmKingston, ON
March 6, 2010
Richard Mascall
“Manitoulin” – Georgian Bay Symphony Orchestra, John Barnum (conductor) – OSCI Auditorium, 7:30 pmOwen Sound, ON
March 13, 2010
John Burge “A Light Fantastic Round” – Sinfonia Toronto, Nurham Arman (conductor) Kingston, ON
– Dunning Auditorium, Queen’s University, 2:30 pm
March 13, 2010
Christos Hatzis
“Dance of the Dictators” – Karen Shinozaki Sor (violin) Gianna Abondolo (cello), Aileen Chanco (piano) – Old Mission San Jose, 7:30 pm
Fremont, CA
March 13, 2010
Christos Hatzis
“Tongues of Fire” (arr. Kevin Lau for wind ensemble) – Mark Grant Adam (percussion), Acadia University Wind Ensemble, Frank L. Battisti (conductor) – West Chester University,
part of the College Band Directors National Association Conference
West Chester, PA
March 13, 2010
Marjan Mozetich “Songline to Heaven & A Dance to Earth” – Sinfonia Toronto, Nurham Arman (conductor) Kingston, ON
– Dunning Auditorium Queen’s University, 2:30 pm
March 17,18&19, 2010 Christos Hatzis
“Fertility Rites” – Peter Prommel (marimba), The Nederlands Blazers Ensemble Groningen & Amsterdam,
– De Oosterpoort (March 17), Muziekgebouw aan ‘t IJ (March 18&19), 8:15 pmTHE NETHERLANDS
March 20, 2010
Christos Hatzis
“Tongues of Fire” (arr. Kevin Lau for wind ensemble) – Mark Grant Adam (percussion), Acadia University Wind Ensemble, Mark Hopkins (conductor) – Festival Theatre Building Auditorium, Acadia University, 8 pm
Wolfville, NS
March 23, 2010Brian Current
“For the Time Being” – Thunder Bay Symphony Orchestra, Stéphane Potvin (conductor) Thunder Bay, ON
– Thunder Bay Community Auditorium
March 25&27, 2010
Christos Hatzis
“Arabesque” – Angèle Dubeau (violin), La Pièta ensemble – Centre Culturel, Université de SherbrookeSherbrooke & (March 25), Centre Culturel de Drummondville (March 27), 8 pm
Drummondville, QC
March 26, 2010
David Myska
“On the Steps of Mariyinsky Palace” (premiere), “Tricolored Trio” (premiere) – Annette-Barbara Vogel (violin), William E. Powell (clarinet), David Myska (piano) – von Kuster Hall, Music Building,
University of Western Ontario, 12:30 pm
London, ON
March 27, 2010
Robert Lemay
“Et une porte d’ombre se referme”(premiere) – Christian Robinson (violin), Sudbury Symphony Orchestra, Sudbury, ON
Victor Sawa (conductor) – Glad Tidings Auditorium, 8 pm
March 28, 2010
Ruth Watson
Henderson
“Paths of a Luminous Earth” – Elmer Iseler Singers – Our Lady of Perpetual Help Church, 7 pm Toronto, ON
March 31, 2010Omar Daniel
“Violin Concerto” (premiere) – Erika Raum (violin), Esprit Orchestra, Alex Pauk (conductor) Toronto, ON
– Jane Mallett Theatre, 8 pm
March 31, 2010
R. Murray Schafer “Flute Concerto” – Robert Aitken (flute), Esprit Orchestra, Alex Pauk (conductor) – Jane Mallett Theatre, 8 pmToronto, ON
March 31, 2010
Christos Hatzis
“Sephulcher of Life” – Hara Kefala (mezzo-soprano), Anna Staicu (soprano), The Camerata Orchestra
of Athens, The ERT Choir, Alexander Myrat (conductor) – Megaron Moussikis (Athens Concert Hall)
Athens, GREECE
April 2, 2010
R. Murray Schafer “The Love That Moves the Universe” – Vancouver Chamber Choir, Vancouver Chamber Orchestra, Jon Washburn (conductor) – The Orpheum, 8 pm
Vancouver, BC
April 7,8,10&11, 2010
Christos Hatzis
“Arabesque” – Angèle Dubeau (violin), La Pièta ensemble – Venue TBA (April 7,8&10), Saltspring Island Matsqui Centennial Auditorium (April 11)
& Nanaimo, BC
Whitehorse, YT
Abbotsford, BC
April 10, 2010
Larysa KuzmenkoNew Work (premiere) – Ottawa Regional Youth Choir, Kevin Reeves (director) – Grand Theatre, 7:30 pmKingston, ON
April 10, 2010
Harry Somers
“Picasso Suite” – Karen Donnelly (trumpet), Saskatoon Symphony Orchestra, Earl Stafford (conductor) Saskatoon, SK
– TCU Place, 7:30 pm
n o t a t i o n s 
Hear
the Music
2010
Where to hear the works of Ontario Associate Composers ... continued
Date
ComposerEvent Information
Location
April 10&11, 2010Srul Irving Glick
“The Hour Has Come” – Elektra Women’s Choir, Chor Leoni Men’s Choir – Ryerson United Church, 7:30 pm (April 10), 3 pm (April 11)
Vancouver, BC
April 14, 2010
R. Murray Schafer “Train” – Winnipeg Youth Symphony Orchestra, Daniel Scholz (conductor) – Westminster United Church, 7:30 pm
Winnipeg, MB
April 17, 2010Oskar Morawetz
London, ON
“Overture to a Fairy Tale” – Orchestra London, John Morris Russell (conductor) – Centennial Hall, 8 pm
April 18, 2010
Ronald Royer
“Echoes” (premiere) – Kate Royer (clarinet), Brantford Symphony Orchestra, Philip Sarabura (conductor) Brantford, ON
– Sanderson Centre for the Performing Arts, 7:30 pm
April 20, 2010
R. Murray Schafer “The Crown of Ariadne” – The Rubbing Stone Ensemble – Eckhardt-Gramatté Hall, Rozsa Centre, University of Calgary, 8 pm
Calgary, AB
April 20, 2010
Linda C. Smith
“Gondola (String Quartet No. 4)”, “Among the Tarnished Stars” – François Houle (clarinet), Pamela Reimer (piano), Quatuor Bozzini – Venue TBA, 8 pm
Montréal, QC
April 22, 2010
Vancouver, BC
Peter HatchNew Work (premiere) – Mei Han (zheng), Bich Hoang – Scotiabank Dance Centre, 8 pm
April 22, 2010
Abigail Richardson “The Sleeping Giant” – Yegor Dyachkov (cello), Thunder Bay Symphony Orchestra, Thunder Bay, ON
Stéphane Potvin (conductor) – Thunder Bay Community Auditorium
April 23, 2010
Linda C. Smith
“Dirt Road” – François Houle (clarinet), Rick Sacks (percussion), Quatuor Bozzini – Chapelle historique du Bon-Pasteur, 8 pm
Montréal, QC
April 30, 2010
Christos Hatzis
“Cruel Elegance” – The Atlantic String Quartet – Cook Recital Hall, 8 pmSt. John’s, NL
April 30 & May 1, 2010
Juliet Palmer
“Stitch” – Neema Bickersteth, Christine Duncan, Patricia O’Callaghan (vocalists) – EDAM Studio
Vancouver, BC
May 1, 2010
Leonard Enns
“Wie sind die Tage schwer” (premiere) – DaCapo Chamber Choir, Leonard Enns (conductor) Kitchener, ON
– St. John the Evangelist Church
May 1, 2010
Robert Lemay
“Structure / paysage – hommage à Eli Bornstein” – Molinari String Quartet Sudbury, ON
– St. Peter’s United Church, 8 pm
May 1, 2010
R. Murray Schafer “String Quartet No. 11” – Molinari String Quartet – St. Peter’s United Church, 8 pmSudbury, ON
May 5 – 9, 2010
Dean Burry
“The Secret World of OG” – Canadian Children’s Opera Company – Enwave Theatre, Harbourfront CentreToronto, ON
May 7&8, 2010
Dean Burry
“The Brothers Grimm” – The Little Opera Company – Salle Martial Caron Theatre
May 15, 2010Tony K.T. LeungNew Work (premiere) – Toronto Chinese Orchestra – Markham Theatre
Winnipeg, MB
Markham, ON
May 15, 2010
Ronald Royer
“Sinfonia Concertante” – Gryphon Trio, Scarborough Philharmonic, Ronald Royer (conductor) Toronto, ON
– Birchmount Park C.I., 8 pm
May 16, 2010
An-Lun Huang
“Seven Canadian Folksongs in Chinese Style” – Saskatoon Symphony Orchestra, Earl Stafford (conductor) Saskatoon, SK
– Delta Bessborough, 2:30 pm
May 16, 2010
R. Murray Schafer “Gitanjali” – Donna Brown (soprano), Esprit Orchestra, Alex Pauk (conductor) – Jane Mallett Theatre, 8 pmToronto, ON
May 21, 2010
Juliet PalmerNew Work (premiere) – Wallace Halladay (saxophone), Carla Huhtanen (soprano), RH Thomson (narrator), Toronto, ON
Continuum Ensemble – Music Gallery, 8 pm
May 22, 2010
Robert Lemay
“Metaesquema – hommage à Hélio Oiticica” (premiere) – Ensemble Le Balcon, Maxime Pascal (conductor) – Eglise St. Merry
Paris, FRANCE
May 22, 2010Erik Ross
“Catharsis” – Vancouver Symphony Orchestra, Evan Mitchell (conductor) – Roundhouse Community Centre, 8 pm
Vancouver, BC
May 25, 2010
Peter Hatch
“Blunt Music” – The New Art Quartet – Theatre Auditorium, Wilfred Laurier University, 8 pm
Waterloo, ON
May 26, 2010
Christos Hatzis
“Eternity’s Heartbeat”– Dame Evelyn Glennie (percussion), Philip Smith (piano) – Venue TBA
Zurich, SWITZERLAND
May 28, 2010Brian Current
“Faster Still” – New Music Concerts Ensemble, Brian Current (conductor) – Music Gallery, 8 pmToronto, ON
May 28, 2010
Richard Mascall
“Psalms” – Georgian Bay Concert Choir, Henriette Blom (conductor) – Division Street United ChurchOwen Sound, ON
May 29, 2010
John Burge
“Canadian Shield Overture” – Quinte Symphony, Gordon Craig (conductor) – 7:30 pm
June 2010
Andrew Staniland “Dark Star Requiem” (premiere) – Elmer Iseler Singers, Tapestry New Opera Works – Venue & Dates TBAToronto, ON
July 24, 2010
Ronald Royer
“In Memoriam Fryderyk Chopin”, “Fantaisie Impromptu” – iPalpiti Orchestral Ensemble of
International Laureates, Eduard Schmieder (conductor) – Walt Disney Concert Hall, 8:00 pm
 w int e r   1 09
Quinte, ON
Los Angeles, CA
by Doreen Taylor-Claxton
SONG: The joint art
of words and music,
two arts under emotional
pressure coalescing in
a third. The relation
and balance of the two
arts is a problem to be
resolved anew in
every song composed.
Encyclopedia Britannica.
I
Hail:
n February 2002, I was preparing a program to pitch to
the Ottawa CBC Radio program Artscape. I was looking for
Canadian content, not because I was an avid new music
specialist; quite the opposite. My experience with new music
during my studies had been unsettling. It had been enough of a
challenge for me to bring my music literacy up to par while tackling
foreign language diction. Besides, music that seemed unmelodic or
that used musical ideas that were disconnected from the text did not
offer me enough gratification to compensate for their challenges.
Rather, my reason for including Canadian content for this program
pitch was pragmatic: to improve the chance of having it accepted.
As a result, I found myself wading through the CMC’s online
catalogue, where it seemed that all the songs I found were based
on American or British poetry. While my perception has since
changed, that initial impression prompted a series of questions.
The first question was “Why aren’t more Canadian composers
setting the texts of Canadian poets?” I put this question to the
composers in my acquaintance. Some simply had no interest in
writing for voice, perceiving it as a decidedly Romantic instrument.
One commented, “Well, we can’t out-Schubert Schubert.”
Among those who were interested in writing for voice, six of the
nine mentioned that their efforts to set Canadian poetry had been
thwarted by copyright problems. One composer stated that he
steered his students away from contemporary poetry because of
the “copyright issue” and encouraged them instead to use their
own texts or texts in the public domain.
I knew it was similarly difficult for living poets to gain exposure
for their work as it was for living composers. My parents had
been readers for The Antigonish Review selection committee. Any
number of good poems crossed our kitchen table, the majority
 w int e r   1 0
of which received a written note explaining how the publication’s
mandate left limited room for poetry and, therefore, could only
include those poems that extended the form. Learning that
composers were discouraged from setting new poems seemed to
me to add frustration to the creative process on both sides.
Consequently, the second question was “What can I do to foster
collaborations that will create the songs I’m looking for?” I’m not
sure what I expected might happen. However, I knew I was less
interested in pushing the edges of form than I was in finding songs
that would speak to my audiences. I wanted songs with melodies.
I wanted texts in English that created funny or dramatic situations,
painted pictures with imagery and metaphor, and played with
rhythm and rhyme. I asked poets for copies of their work that
I could then bring to composers. I asked composers what they
wanted in a song text: “What makes a text ‘sing’ for you?”
One of the first collaborations I helped develop formed between
Dr. John Armstrong and Dr. Seymour Mayne at the University of
Ottawa. Armstrong chose to write a song cycle based on the word
sonnets in Mayne’s collection titled Hail. The word sonnet is a
variation of the traditional form in which the fourteen lines have
been pared down to one word per line and presented as a column
of words. The result in Mayne’s writing is a streamlined and graceful
text in which each word carries tremendous weight. Armstrong has
long had an interest in musical miniatures, so this compact form of
poetry appealed to him. He envisioned a series of diads that used
every diatonic interval, from minor second through to major
seventh, and then used the two notes of each interval as the basis of
each setting in the cycle. The result is an appealingly dramatic series
of “moments.”
Shortly afterwards, composer Fredéric Lacroix showed an interest
in the poetry of Effie MacIsaac-Taylor. Lacroix was drawn to the
lyricism in her poetry and the opportunities for musical colouration.
He was looking for a medium between the ultra-dissonant language
of the more ‘intellectual’ composers of the twentieth-century and
the romantic harmonies that communicate more effectively to the
public. His musical structure used strains of Allistair MacGillivary’s
Song for the Mira to unify the cycle.
Dr. James Wright set “Quilled Sonnet” and began work on two
other poems by Steven Michael Berzensky. When I followed up to
see what he liked in the poetry, he responded by saying “I was
interested to see Berzensky’s letter describing his combination of
“visual and sensual imagery” with what he calls “soundfullness.”
overall effect is bleak, and yet not without hope, as Mick intended.”
Thus far, the answer to my third question “What makes a text
‘sing’ for a composer?” revealed a preference for lyric poetry.
However, I began to realize that the word “lyric” was just as loaded
in the world of creative writing as the word “tonal” is in the world
of music composition. Ironically, lyric poetry and tonal music have
this in common, they are both often considered bankrupt structures
in the academic world. More questions arise: “Must everything be
difficult before it is considered intelligent?”, “Have we been on
another pendulum swing of the continued prima/seconda pratica
debate?” Certainly, from a performer’s view, being in one’s head
can be a pitfall rather than an aid. We need music that is easily
Canadian Art Song –
A Marriage of Muses
These are precisely the qualities I seek in poetry…some of these
qualities that I find in Berzensky’s poetry are less highly valued
amongst modernist and postmodernist poets, and therein lies the
reason, I think, that so much twentieth-century poetry has resisted
musical setting… [It] may have some appeal to me intellectually
and aesthetically, but less so musically.”
In 2004, Colin Mack set three poems by Sharon Singer. Mack
felt an “immediate resonance” with Singer’s poetry. The resulting
cycle, The Names of Water, is based on three poems, “Mist,”
“Becalmed” and “Destiny,” all of which use imagery of water
in its various forms. Musically, the songs are closely linked by a
haunting dramatic quality. Mack’s fluid and melodic writing is
both a beautiful response to the poetry and gratifying to sing.
The harmonies provide a broad range of expressive colour while
still providing support to the singer. Meditative, vulnerable,
despairing and hopeful, this group performs like a mini-drama.
In 2006, Phil McConnell wrote Through the Roof of My Heart
it Rains, a song cycle for soprano and chamber orchestra based on
the story of a child in a concentration camp. The cycle was
premiered at the Royal Ontario Museum in Toronto during
Holocaust Remembrance Week 2008. McConnell felt an immediate
connection with Stephen Michael Berzensky’s vivid imagery.
“I have visited Auschwitz, so when he recited “Through the
Roof of My Heart It Rains” to me, a multitude of memories and
emotions gripped me... I had to set the poem to music. A recurring
motive referring to the title connects the disturbing images, and is
varied in each appearance. However, the variations do not detract
from the interminable monotony of a child’s incarceration in that
horrific place. The intervening episodes portray daily events and
experiences as they are recorded in the child’s young mind. The
absorbed into our bodies so we can move on to the work of
interpretation. To this end, supportive harmonic structures, rhyme
schemes and melody are extremely helpful. Rhythmic structures
that follow the natural rhythm of language are not only helpful,
they have, in many musical cultures, been a defining characteristic
of national style. And why not follow language’s lead, at least for
a swing of the pendulum? It might be a fun ride.
“Among the creative arts, English-language literature
has made a larger impression on the world than anything
else Canadians have produced in recent times. Filmmakers,
playwrights, musicians and visual artists have had some
successes, but nothing to compare with the acclaim that
has been given to our most ambitious, imaginative fiction.”
– Robert Fulford, National Post, June 6, 2001
The colourful mosaic of Canada’s peoples carries the influences
of many cultures, languages and musical genres. The marriage
of our language and music may be an important factor in the
development of a distinctively Canadian genre of art song. Seeing
these collaborations develop has been tremendously rewarding.
It has been my privilege to bring these songs to life as both a
performer and recording artist.
Doreen Taylor-Claxton is an award-winning soprano who makes her home
in Ottawa. She has been heard in recital for the French and English s
ervices of CBC. As director of In Need of Song Collaborations she
promotes collaborations between active Canadian composers and poets leading
to the creation of new Canadian art song. She released her debut CD,
The Spinning Wheel in 2004 and HAIL, a critically acclaimed recording
of new Canadian art song in 2006. HAIL is available through the CMC.
n o t a t i o n s 
International
Activities
Kee Yong Kam
in Singapore
Alice Ho in Serbia
Alice Ping Yee Ho’s orchestral work Dark Elements was selected and performed in
Belgrade, Serbia this past November as part of the 2009 International Review of
Composers. The theme of this year’s review was “The Echoes of Space.”
Ho’s Dark Elements evokes images of the mythological forces Lumina (light),
Undina (water), and Flamma (fire) – three imaginary sprits of nature that exist in
both ancient folklore and modern science fiction. Each of the three movements is
constructed with a distinct musical subject that carries a unique sound, mood and
orchestral colour. Virtuosity and energy are displayed throughout by showcasing solo
instruments or instrumental groups. The rich and rapidly changing musical events
form a kaleidoscope of audio images, giving rise to a journey into an underworld of
magic and fantasy. Dark Elements received its world premiere on January 31, 2009 in
Victoria as part of the Victoria Symphony Orchestra’s New Currents Festival of Music.
The 2009 International Review of Composers marks the 18th annual edition of
this particular festival that brings together Serbian and foreign musicians to perform
more than 50 pieces by composers from all over the world. The Review is organized
by the Composers’ Association of Serbia, a centre for contemporary music practice
that will celebrate its 55th anniversary in 2010. More information can be found online
at http://www.serbcompo.org.rs/htm/abouteng.htm.
 w int e r   1 0
On November 12, 2010 Kee Yong Kam
will receive the international premiere of
six new orchestral works thanks to a 2009
Cultural Medallion Grant – an award
specially designed to enable recipients of
Singapore’s highest artistic honour to embark
on new major projects. Kee Yong Kam
received Singapore’s Cultural Medallion
for Music in 1984, which made him eligible
for this particular grant competition.
The Cultural Medallion Grant, which
was established in 2000, has enabled the
execution of innovative artistic ideas that
have helped elevate the global standing of
Singaporean arts, as well as bringing art closer
to the Singapore community. The 41 major
projects supported through the granting
program to date help encourage the growth
of the arts by pushing boundaries and raising
the bar within Singapore’s artistic heritage.
To learn more about Kee Yong Kam
and his music visit the CMC website or
www.kamkeeyong.com.
Canadian Composers
Down South
Evelyn Stroobach
in Central Asia
On November 6, the Missouri Southern State University Institute
of International Studies and the Department of Music presented
the Southern Symphony Orchestra, under direction of Dr. Kexi
Liu, in an all-Canadian concert at the Taylor Performing Arts
Center. The program included the Fantasy on Scottish Melodies by
Sir Ernest MacMillan, Temple Steps by Jim Hiscott and Rhapsody
Thessaloniki by Stefanos Karabekos. Rounding out the concert was
Allan Gordon Bell’s Concerto for percussion and orchestra, featuring
MSSU’s new percussion professor Dr. Greg Haynes as soloist.
The program was designed to show the range of cultural influences
that find their home in Canada, from Scottish melodies to Greek
folk songs, and from Balinese Hinduism to a purely musical
celebration of melody, musical colour and excuberance. The concert
was offered as part of the Canada Semester at MSSU, designed to
explore and illuminate the cultural affinities between these two
countries that share the world’s longest border.
Evelyn Stroobach’s Aria for Strings recently received its Central
Asian premiere. The work was performed in Kazakhstan by
the Karaganda State Symphony Orchestra on January 10.
Previously, Aria for Strings has been performed in Europe
by both the Ukrainian State Symphony Orchestra and the
Kharkov Philharmonic Orchestra of the Ukraine. The work
has also been performed by the Thirteen Strings of Ottawa
under the baton of Winston Webber and broadcast numerous
times in North America.
Stroobach’s string writing is noted as being some of her
most heartfelt. Here, she finds her voice through the use of
angular harmony and dissonant counterpoint, two qualities
ideally suited to stringed instruments. Her Aria for Strings
can be found in the CMC’s collections, and heard on her
solo CD Aurora Borealis, available for purchase through the
CMC Boutique.
Elma Miller in
Switzerland
Elma Miller recently received
a long-awaited world premiere
of her French horn quartet
Things are not what they appear,
which was given by the DaupratHornquartett on September 26
in Basel.
The original work, which was revised in part for this premiere
performance, was written in England for an Oxford quartet that
disbanded before it could be performed. The title is inspired by
Lewis Carroll’s books. Miller visited the very same areas from the
Looking Glass, including the Old Tea Shop, where she saw the
stained glass windows featuring Alice and sat very probably in same
seat Carroll did when looking into the garden at Christ Church.
Things are not what they appear is a theatrical work in that all
four performers do not start on stage at once, but appear one after
another in different manners. Each presents a different aspect of
horn performance: the heroic, the hunter, the Wagernian announcer
and the pastoral.
The Quartet was so pleased with the work, as was the audience
at its world premiere performance, that it has decided to include it
as part of the regular concert repertoire.
n o t a t i o n s 
Milestones
& Congratulations
Jack
Behrens
at 75
Teacher and composer
Jack Behrens will celebrate
his 75th birthday on
March 25, 2010. Born in
Lancaster, Pennsylvania
in 1935, Behrens moved
to New York City in his
youth to pursue studies
in music composition at the Juilliard School, where his teachers
were William Bergsma, Vincent Persichetti and Peter Mennin.
Studies continued at Harvard University with Leon Kirchner and
Roger Sessions, from where Behrens graduates with a PhD in 1973.
He also received instruction from Darius Milhaud at the Aspen
Music Festival in 1962 and from Stefan Wolpe and John Cage at
the Emma Lake Composers-Artists Workshop in 1964 and 1965
in Saskatchewan.
Behrens taught at the University of Saskatchewan from 1962-66
and was head of the theory department at the affiliated conservatory.
He subsequently held positions at Simon Fraser University (196670) and at California State College (1970-76). He joined the Faculty
of Music at the University of Western Ontario in 1976, here he
was chair of the theory and composition department until 1980,
then promoted to dean (1980-86) and named Professor Emeritus in
1998. More recently, he has served as Director of Academic Studies
at the Glenn Gould Professional School of the Royal Conservatory
of Music. Behrens is currently Dean of Advanced Studies at the
Pennsylvania Academy of Music in his hometown of Lancaster,
where he joined the faculty in 2007.
As a composer, Behrens’ idiom is thoroughly modern.
He is not fettered by any single approach, ranging from serial to
indeterminate. Much of his music reflects the individual talents
of the particular performer for whom it was composed. He has
received commissions from such organizations as the American
Dance Festival, the Canada Council, the Ontario Arts Council and
the Canadian Broadcasting Corporation, and has been awarded
residencies at centers such as the Wolf Trap Farm Park for the
Performing Arts, the Helene Wurlitzer Foundation of New Mexico,
the Virginia Center for the Creative Arts, Northwood University’s
Alden B. Dow Creativity Center, the Banff Centre and the Eduard
van Beinum Foundation in Holland.
His orchestral work The Sound of Milo won first prize in the New
Orleans Symphony contest in 1970 and in the same year he was
awarded the Francis Boott Prize at Harvard University for his choral
work, How Beautiful is the Night. A friend of the author Margaret
Laurence, Behrens composed music to accompany her reading of
A Fable – For the Whaling Fleets. Thematic material from this work
was used again in his Landmarks, which uses sentences from three
of Laurence’s books as guides, or ‘landmarks,’ for the listener.
Behrens is represented as composer and/or pianist on several
record labels and has had his music broadcast across North America.
Current publishers include The Avondale Press, Mayfair Music
and the Canadian National Conservatory of Music. Currently,
Dr. Karin Di Bella of Brock University is preparing a catalog of his
compositions.
Happy Birthday, Jack! Best wishes for many more creative years
to come.
Robert Cram Takes Inaugural Oskar Morawetz Award
Flutist, teacher, CMC Ambassador and Voting Member Robert Cram has been named the first recipient of the Ontario Arts Council’s Oskar
Morawetz Award for Excellence in Music Performance. The award was publicly presented on October 16 during the opening concert of the
University of Ottawa Orchestra’s 2009-10 season, where Cram is on faculty at the School of Music.
The selection panel, which included artistic director Lawrence Cherney, broadcaster David Jaeger, historian Elaine Keillor and composer
Michael Parker, said of their selection “Robert Cram is a role model for Canadian performers – one whose artistic gifts are balanced by a
very true and noble purpose in seeing that the best of Canadian repertoire is kept alive through performance and teaching.”
The Oskar Morawetz Award for Excellence in Music, named in honour of the pioneering Canadian composer, recognizes an outstanding
Canadian performer, including conductors, in the field of classical music. Nominees must have proven musicianship or conducting skills;
contributed to the musical life of Canada; and have demonstrated a commitment to Canadian music and a knowledge of Oskar Morawetz’s
contribution to Canadian music. The Award is offered on a biannual basis. For more details, please visit www.arts.on.ca.
 w int e r   1 0
Robert Aitken Wins Walter Carsen Prize
Renowned flutist, conductor and CMC Associate Composer Robert Aitken has won
the 2009 Walter Carsen Prize for Excellence in the Performing Arts. The $50,000 prize,
administered and presented by the Canada Council for the Arts, recognizes the highest
level of artistic excellence and distinguished career achievement by Canadian artists who
have spent the major part of their career in Canada working in the fields of theatre,
dance or music.
In awarding the prize to Mr. Aitken, the selection committee said, “A masterly force
in the world of contemporary Canadian music, Robert Aitken has demonstrated
for over half a century a tireless commitment to its development, performance and
promotion in every corner of the globe. As a flutist, composer, interpreter and teacher,
he is a distinguished innovator and continues to exert a strong influence on upcoming
generations.”
First presented in 2001, the Walter Carsen Prize was created as a result of the generosity
of Toronto businessman and philanthropist Walter Carsen, O.C. The prize is awarded
annually on a four year cycle between dance, theatre and music, with dance receiving the
award’s attention on a biannual basis. Previous prize winners include a cadre of Canada’s
premier artists, including dancer/choreographer Margie Gillis, playwright Judith Thomson,
choreographer David Earle, composer R. Murray Schafer and dancer/producer-director
Veronica Tennant.
This recent announcement adds to Aitken’s already sizable list of honours, which
include the Order of Canada and the Chevalier de l’Ordre des Arts et des Lettres (France).
To learn more about Robert Aitken, please visit his profile page on the CMC website.
Tony K.T. Leung Joins
Toronto Chinese Orchestra
Tony K.T. Leung has been appointed Composer-in-Residence with the Toronto
Chinese Orchestra, a full scale orchestra that performs using traditional instruments
such as the erhu, pipa and yangqin. The Orchestra is led by Music Director and
Chief Conductor Karl Pang.
Tony’s first project for the Orchestra will be a piece for percussion ensemble
to be premiered on May 15. Besides composing for the orchestra, he will
also be involved in the organization’s outreach, development and training.
For more information about the Toronto Chinese Orchestra, please visit
www.TorontoChineseOrchestra.com
Peter Paul
Koprowski Named
NAC Award Composer
Ontario Associate Peter Paul Koprowski
joins composers Ana Sokolovic (CMCQuebec) and John Estacio (CMC-Prairies)
as recipients of the prestigious NAC Award.
The award carries a value of $75,000.
Each composer will be commissioned to
create three new works for the National
Arts Centre Orchestra over the next five
years and will take turns teaching music
composition students through the NAC’s
education programs.
This announcement marks the second
phase of the NAC’s New Music Program.
Estacio, Koprowski and Sokolovic succeed
Denys Bouliane, Gary Kulesha and Alexina
Louie, who were named the inaugural
NAC Award Composers in 2002. It also
underscores the National Arts Centre’s
ongoing commitment to Canadian
composers and their work. Building on
the program’s existing groundwork, which
is now entering its ninth year, the Award
Composers will be given the opportunity
to think big and create works of lasting
importance to the Canadian orchestral
repertoire. They will also support the
development of the next generation of
Canada’s professional composers by joining
the high-calibre faculty of the Summer
Music Institute. As Christopher Deacon,
Managing Director of the NAC Orchestra
stated at the Award’s public announcement
on November 30, “In our view, these three
composers are brilliant and we’re delighted
to be able to support their work.”
To learn more about the NAC’s New
Music Program, visit the NAC Orchestra
website. To learn more about the Award
Composers, visit the CMC website.
n o t a t i o n s 
Simple Lines Makes
New Yorker Top Ten
Burry Baby Opera
Becomes CBC
Radio Series
In a rare project opportunity in today’s
media climate, early career composer
Dean Burry was asked by CBC Radio
Commissions to envision an episodic
telling of the story of Baby Kintyre, the
mummified infant discovered in 2007 by
a construction crew in the attic of a Toronto
home. The commission offered Burry the
unique prospect of envisioning an opera
exactly as he had imagined it – from libretto
and score, right down to the cast – presented
as clearly as possible without the foibles and
follies of live performance. However, what
any radio project lacks is the visual power
of opera, a challenge that Burry had to
surmount through the strength of the work
and skillful production. Lucky for him, he
had access to an excellent production team,
including director Dáirine Ní Mheadhra,
repetiteur John Hess, sound effect technician
Anton Szabo, radio producer David Jaeger
and recording engineer Steve Sweeney.
Baby Kintyre, which was aired over
five episodes of CBC Radio 2’s Saturday
Afternoon at the Opera this past fall, can
now be found online at www.cbc.ca/
radiocommissions.
New Book for
Michael Colgrass
Composer Michael Colgrass will release
his most recent book, Michael Colgrass:
Adventures of an American Composer, with
publisher Meredith Music in February 2010.
Although the title of the book references
Colgrass’s American roots, he has made his
home in Canada for many years and has
been a long-standing Associate Composer
of the Canadian Music Centre.
The book is a delightful collection of
anectodes from Colgrass’s career, including
his encounters with musical luminaries
such as Igor Stravinsky, Aaron Copland,
Leonard Bernstein and Dizzy Gillespie.
Colourful tales of personal and professional
conquests also abound, including how
Colgrass completed a Joffrey Ballet score
in one night, romanced a Cold War spy,
and accepted a gig playing percussion for a
stripper in New York City that landed him
a job in the pit for the Broadway debut of
West Side Story. All said and told, Collgrass’s
stories – in turns humorous and profound
– bring a unique perspective to a pivotal
period in American music history.
Michael Colgrass: Adventures of an
American Composer is available for pre-order
through Amazon.
The early days of the New Year always
bring a slew of assessments of the year just
past, often in the form of Top Ten lists.
Alex Ross, arguably today’s most prominent
and influential American writer on classical
music, offered his own selections in his
“Ten Exceptional Recordings” of 2009, to
be found on his New Yorker blog. Among
the CDs of Mozart, Schubert and Ravel
that struck a chord with Ross last year were
two lone Canadians – pianist Even Egoyan
in a recording of Ann Southam’s Simple
Lines of Enquiry for the Centrediscs label.
As Ross said “The test of a great
recording is whether you find yourself
temporarily unable to live without it. For
certain periods this year I couldn’t stop
listening to…Ann Southam’s immense,
mysterious piano piece…” This isn’t the
first rave for Southam’s concert-length
masterpiece of twelve-tone minimalism.
The Toronto Star’s John Teraud wrote
glowingly about the disc closer to its 2009
release date; and more recently Paul Wells
of Macleans magazine relinquished his
reluctance to review Simple Lines of Enquiry,
calling it “one of the most prominent
Canadian compositions of the last 30 years…
I can’t recommend Southam’s piece highly
enough.” Simple Lines of Enquiry may be
auditioned and purchased through the CMC
boutique, Amazon and iTunes.
Ron Royer Directs Scarborough Philharmonic Orchestra
CMC Associate Ronald Royer has been appointed the Music Director of the Scarborough Philharmonic Orchestra. The 2009-2010
season is his first on the podium, where he will be joined by guest conductors Howard Cable, John Barnum, Geoffrey Butler,
Christopher Kitts, Véronique Lacroix and Jerome Summers.
Now in its 30th season, the SPO continues to offer affordable and accessible concerts with innovative programming. The five-concert
anniversary season is full of new Canadian works by local emerging composers like Alex Eddington and Kevin Lau, as well as repeat
performances of music by Michael Conway Baker and Royer’s own Sinfonia Concertante for piano trio and orchestra, featuring the
Gryphon Trio. Royer promises that this tradition of regularly programming Canadian contemporary music will continue under his direction.
For more information about the Scarborough Philharmonic Orchestra, visit www.spo.ca. To learn more about Ronal Royer, visit
the CMC website.
 w int e r   1 0
Mary Gardiner Wins
with Spider’s Story
Wayne Strongman
Joins Order of Canada
Voting Member, past Ontario Regional Councilor and past member of the CMC
National Board of Directors, Wayne Strongman was named a Member of the
Order of Canada this past December. Established in 1967 by Her Majesty Queen
Elizabeth II, the Order of Canada is the centrepiece of Canada’s honours system and
recognizes a lifetime of outstanding achievement, dedication to the community and
service to the nation.
Strongman was named to the Order by Governor General Michaëlle Jean along
with 57 other Canadians working in the fields of arts, education, music, politics,
public service and health. Other musicians who have joined the Order this past year
include pianist Patricia Parr and conductor Raoul Sosa. Only 5,000 Canadians may
lay claim to the honour, among them composers Robert Aitken, John Beckwith
and Alexina Louie, not to mention several CMC Ambassadors.
One of Canada’s most distinguished music directors, Strongman received his
membership in the Order thanks to his indefatigable championship of Canadian
writers and composers. As Managing Artistic Director of Tapestry New Opera Works,
he has commissioned and premiered over 30 new Canadian operas including Iron
Road, Facing South, the Dora-Award winning Sanctuary Song and Nigredo Hotel, the
latter of which is the most frequently produced opera in Canadian history. As Music
Director/Dramaturge of Tapestry’s Composer-Librettist Laboratory, Mr. Strongman
has created a truly collaborative environment for an international roster of composers
and writers. In 2007, he established the Tapestry New Work Studio Company as
a performing resource for the new work creation process, which has become
Tapestry’s unique calling. Mr. Strongman is also extremely giving of his time to
develop the next generation of musicians and music lovers. His commitment as the
choral conductor for the Regent Park School of Music is just one small example
of this generosity.
Strongman’s investiture into the Order of Canada follows closely on another
national honour – being named a CMC Ambassador. On November 9, he became
one of only 50 individuals recognized for a commitment to Canadian Music.
CMC-Ontario extends its deepest congratulations to Wayne on both of these
most deserved honours.
Mary Gardiner has been selected as one
of four award winners in the inaugural
Calgary Canadian Art Song Competition
for her Spider’s Story, based on a poem
by Janet Windeler Ryan. Other winners
of the competition include CMC Associates
Martha Hill Duncan and Roberta Stephen,
as well as composer Georgina Craig.
The awards were presented this past
November during the Calgary Contemporary
Showcase. The four songs went on to be
premiered on December 5 in Calgary, and
have since been published by Alberta Keys
in a collection titled Canadian Reflections.
2009 marked the inaugural year for the
Calgary Canadian Art Song Competition,
which is offered by the Calgary chapter
of the National Association of Teachers
of Singing in partnership with Alberta
Keys Publishing, Contemporary Showcase
Calgary, the Alberta Music Education
Foundation and the Canadian Music
Centre – Prairie Region. The purpose of
the award is to celebrate, encourage and
increase the amount of Canadian art song
repertoire available to young performers.
The competition, which was open to
Canadian citizens, requested works written
within the last five years that used poetry
in English or French (Canada’s official
languages) and set musically for voice
and piano for the earliest grade levels
(grades 1- 5 of the Royal Conservatory
vocal syllabus.)
“We received a wide variety of music,
all of which fit our art song category,”
said Christine Ernst, one of the award’s
organizers. “The judges were most impressed
with the songs in which the composers
had used contemporary vocal techniques.”
And given that they were charged with
selecting four equal winning works, they
could pick a set of pieces that explored a
range of current contemporary music.
Congratulations to Mary on her recent
accolade! And also to Martha and Roberta
on their excellent showing in this inaugural
award competition.
n o t a t i o n s 
g
NewRecordings
New Releases Span the Breadth
of Canadian Music
2009 closed out with a slightly slimmer but farther ranging collection of new CD releases showcasing
the work of Ontario Associate Composers. With the Centrediscs label ready to release some more exciting
projects featuring Ontario Associates, 2010 is off to a good start for Canadian composers’ music on disc
and online. All the recordings below are available for audition and sale through the CMC Boutique at
www.musiccentre.ca or through your nearest CMC regional office, unless otherwise noted.
Beowulf
Composer Victor Davies’ 1974 epic setting
of this age-old tale (in an adaptation by
librettist Betty Jane Wylie) fills this doubleCD independent release. A cast of thirteen,
including four different narrators, is supported
by the Players of the Winnipeg Symphony
Orchestra, conducted by Davies himself,
and the Holiday Festival Singers directed by William Baerg.
For the Moment
Victor Davies’ original soundtrack to the
1994 John Aaron film supports a powerful
romantic drama set in the Prairies during
the 1940’s – a time when the British
Commonwealth Air Training Plan brought
dashing men from nearly a dozen countries
to airbases across Canada. The Czech
Symphony Orchestra and the Prague Big Band, conducted by
Mario Klemens, perform Davies’ score to this film starring Russell
Crowe and Christianne Hirt.
Images
Toronto-based guitarist Rob MacDonald,
who is also known as one half of ChromaDuo
and a member of the CONTACT Ensemble,
partners with the Madawaska String Quartet
and double bassist Peter Pavlovsky for this
independent release. The disc of world
premiere recordings opens with an effective
set of solo works from CMC Associate Andrew Staniland, and also
contains Omar Daniels’ Nocturne for guitar, viola and cello, which
was commissioned by the CBC in 1994 to celebrate British composer
Sir Michael Tippet’s birthday. Larger works by USA-based composer
Christopher Williams Pierce and Australian Peter Sculthorpe round
out the disc. Images is available through
robmac92@hotmail.com.
  w int e r   1 0
Invisible Cities
Composer and guitarist William Beauvais
presents the listener with an eclectic
anthology of his works for guitar. In turns
passionate, other-worldly and intensely
lyrical, Invisible Cities is a virtuosic journey
from jazz-influenced ensemble pieces
to more serious works for solo guitar.
Beauvais takes us from the stately elegance of ragtime through
the spirited rush of atonal moto perpetuos with the confidence
of a mature and masterful performer.
night Chill
Percussionist Catherine Meunier debuts
on the Centrediscs label with a collection
of new Canadian works for the instrument
she regards as the most fascinating:
the marimba. Through her collaborations
with a range of contrasting composers,
from Christien Ledroit to Paul Frehner,
a truly contemporary Canadian repertoire for this instrument is
given an excellent introduction. Meunier is joined by guest artists
Louis-Philippe Marsolais (French horn) and D’Arcy Philip Gray
(vibraphone / marimba) in works by Nicolas Gilbert, Frehner and
Andrew Paul MacDonald. The disc is completed with a work
by Alcides Lanza, for marimba and tape, the only one not written
specifically for Ms. Meunier.
P*P
The often irreverent and always excellent
Toca Loca ensemble drops their critically
acclaimed debut on the Centrediscs
label, finally putting the cutting edge P*P
project on disc. P*P examines the fierce
and fearsome taxonomy that historically
has made some composers soulfully
classical, and others just plain popular. The cutting-edge of
Canada’s composers , including Andrew Staniland, Juliet Palmer,
Bob Stevenson and Erik Ross, write P*P-length, P*P-inspired
works. Alongside them are the jazz All-Stars and some of Canada’s
most interesting indie-rockers, all flexing their contemporary
music muscles.
Shadowland
Kitchener-Waterloo’s Da Capo Chamber
Choir, directed by CMC Associate
Leonard Enns, offers up their second
solo release. Shadowland features an
almost-entirely Canadian repertoire,
including Leonard Enns’ beautiful Nocturne,
which was commissioned by the Guelph
Spring Festival, and his I Saw Eternity, which was commissioned
by the Esoterics Chamber Choir of Seattle. Rounding out the
disc’s CanCon are Imant Raminsh’s O ignis spiritus and R.
Murray Schafer’s The searching sings, the latter of which was
commissioned for the Choir by poet Rae Crossman. Shadowland
can be purchased online via www.indiepool.com or through the
DaCapo Chamber Choir website at www.dacapochamberchoir.ca.
Small is Beautiful:
Miniature Piano Pieces
This Phoenix Records release features
pianist Yoko Hirota in a wide variety of
contemporary miniature works for solo
piano, ranging from Schoenberg, Ligeti
and Berio to living Canadian composers
like Beckwith, Kulesha and Mather.
Based in Sudbury, Hirota shows loyalty to her northern Ontario
composers, featuring works by Aris Carastathis and Robert
Lemay. Having been praised by the press as “precise and keenly
projective” and demonstrating “the highest level of proficiency,”
Hirota is considered one of the leading interpreters of
contemporary piano music of her generation. She is currently
touring this miniatures program and can be heard live in
concert on January 22 in Sudbury. For more information,
visit www.yokohirota.com.
n o t a t i o n s 
 w int e r   1 0
In Memoriam
FRC Clarke
1931-2009
FRC Clarke, Composer, performer, music scholar, conductor,
teacher, administrator and an integral part of the Kingston music
community passed away on November 18. He was 78 years old.
Born in Vancouver on August 7, 1931, Frederick Robert
Charles Clarke moved to Toronto at age 18 to study at the
Royal Conservatory of Music, where he completed Associate
diplomas in piano and organ. He then joined the Faculty of
Music at the University of Toronto, from where he received the
Bachelor of Music degree in 1951. Among his teachers in Toronto
were Healey Willan (composition) and Eric Rollinson (organ).
From there, he quickly progressed. In 1951, he received the
Royal Conservatory Gold Medal in Organ; in 1952 he became
a fellow of the Royal Canadian College of Organists; and in
1954 he received the Doctor of Music degree from the University
of Toronto.
Clarke served as organist/choirmaster for several churches in
Toronto and St. Catharines from 1950-1958. While living in
St. Catharines from 1954-1958, he pursued a career as a church
organist, composer, teacher and conductor of the St. Catharines
Symphony (for the 1957-58 season). During this time, he also
taught at the Hamilton Conservatory of Music (1956-58).
Dr. Clarke moved to Kingston in 1958 to become organist/
choirmaster at Sydenham Street United Church (a post he held
for nearly 40 years) and conductor of the Kingston Choral Society.
From 1959-1969 he was Lecturer in Church Music at Queen’s
Theological College and in 1964 he joined the faculty of the
Queen’s University Music Department. He was appointed head of
the department (1981-1988) and after it was renamed the School
of Music in 1988 he served as director (1988-91). Upon retirement
in 1991, he stayed on at the University as Professor Emeritus.
Dr. Clarke was chairman of the music committee for the
production of the joint Anglican/United Church Hymnbook of
1971, to which he contributed seven of his own tunes and 18
arrangements. In 1983, his book, Healey Willan: Life and Music was
published by the U of T Press. His interest in Willan continued
with the subsequent completion and orchestration of several of
the composer’s unfinished works, notably the Requiem Mass for
chorus and orchestra, which was published by Oxford University
Press in 1992; and the Introduction and Allegro for string quartet,
which was premiered in 1984 by the Vághy String Quartet.
Of Clarke’s numerous compositions, hallmarks include Sing a
New Song to the Lord (1960), which was composed for the United
Church of Canada in commemoration of the 400th anniversary
of the Scottish Reformation, and Psalm 145 (1966), which won
the CBC Choral Composition Prize in 1967. His Festival Te
Deum (1972) and Reginae (1991) were written for the Kingston
Symphony Association to celebrate the tercentennial of the
founding of Kingston and the sesquicentennial of the founding
of Queen’s University respectively.
FRC Clarke’s occasionally gruff demeanour belied an intelligent
man of a generous and loyal nature. His quiet, thoughtful
personality was the hallmark of one who humbly excelled at his
life’s work.
The Kingston Symphony remembered FRC Clarke by
performing two of his works for their 2009 holiday concert
and intends to keep his legacy alive by making sure his music
continues to be performed with the Symphony.
n o t a t i o n s 
by Marjan Mozetich
John Fodi
1944-2009
as their organizer, advisor and artistic director. During this
period, he was a prolific composer. John’s music was performed
extensively by ensembles across Canada, the U.S. and Europe.
Of particular note, his orchestral work Dragon Days received
critical acclaim. He was also an inf luential mentor to other
young composers.
By the 1980s, John Fodi began to devote more time to music
librarianship at the University of Toronto’s Faculty of Music.
He started work there in 1974, became supervisor in 1981 and
head librarian of the Sniderman Recordings Archive in 1991.
In this final role, from which he retired in 2007, he made a
significant contribution to the cataloguing and organizing of the
vast collection. Throughout this period, John remained privately
active as a composer. He did maintain contact with colleagues
and particularly an active interest in young composers. Although
performances of his works decreased, John continued to write
substantial works of intelligence and rigor. In his last years, he
regained some recognition with performances of his Time’s Fell
Hand Defac’d by the National Arts Centre Orchestra and Little
Guy with Duo Ahlert & Schwab in Munich, Germany.
John’s presence in the musical community will be sorely
missed, but his music remains and waits to be performed again.
Clare Mazzoleni Piller
The Canadian Music Centre is sad to say goodbye to Clare
Mazzoleni Piller. A beautiful memorial at the Royal Conservatory
Music on October 27 celebrated her life in images, words
and music.
Clare was a very warm, positive and compassionate soul who
worked diligently and devotedly on behalf of the Arts in Canada.
She gave the benefits of her sharp mind, clear thinking and wise
counsel to The Canadian Conference of the Arts and the National
Ballet School, among others. Her energy, intelligence and
generosity benefited all of us at the CMC greatly, not only
through her service as an Ontario Regional Councilor, a National
Board member and a longstanding Voting Member, but also in
her hard work securing the naming of the Ettore Mazzoleni
Library, which now houses over 20,000 pieces of Canadian
 w int e r   1 0
gh
John Fodi, composer and music librarian, died suddenly and
unexpectedly on Nov 2 in his Toronto home. He was born on
March 22, 1944 in Nagyteval, Hungary of German extraction
and emigrated to Canada in 1951, making his home first in
Hamilton and then Toronto.
John started composing on his own at a young age. In 1964-65
he studied theory with composer Lorne Betts and by the time he
entered the University of Toronto he had the stamp of a self-made
composer with a considerable knowledge of contemporary music.
This precociousness and seriousness was ref lected in John’s need
to form the Contemporary Music Group within the Faculty of
Music in 1967, which had considerable inf luence on future
student composers.
While at the U of T, John furthered his compositional studies
with John Weinzweig and John Beckwith, and in electronic music
with Gustav Ciamaga. Upon graduation in 1970, he went on to
study with Istvan Anhalt at McGill University, where he formed
another ensemble called the New Music Group. While completing
his Master’s degree back at the University of Toronto in 1971,
John cofounded ARRAY (currently Arraymusic) with Alex Pauk,
which has gone on to premiere, perform and record hundreds of
Canadian works. John remained active with ARRAY until 1979
composers’ music and serves thousands of patrons around the
world every year. Undoubtedly numerous others with whom
Clare came in contact, whether through her more recent role as
a valued and respected member of the film industry, or through
her positions with the MacMillan Foundation and the C.H Ivey
Foundation, were as blessed with the same benefits of her self less
work and positive demeanour. The results of all these excellent
qualities, expressed through such great actions, create an
undeniable legacy upon which we all can continue to f lourish.
Now, it is our responsibility not only to remember all that was
good about Clare, but to carry forward her hopes in all that we
do. In this way we can ensure that her life’s work continues to
be felt by future generations.
ontario regional council
Trevor Clark
James Harley, CLC Rep.
Christien Ledroit
Donald Pounsett
Micheline Roi, Vice-Chair
Ulla Colgrass
Alice Ho
Brent Lee
Andy Radhakant
Victoria Warwick, Chair
Craig Galbraith
Larry Lake, Past Chair
Jim Montgomery
Darlene Chepil Reid
ontario region voting members
Lydia Adams
Dorith Cooper
Dean Jobin-Bevans
Gary Mosoff
Patricia Shand
Robert Aitken CM
Robert Cram
Kay Kanbayashi
Geoffrey Moull
Linda C. Smith
Bernard W. Andrews
Omar Daniel
Elaine Keillor
Kelly-Marie Murphy
Andrew Stanbridge
Julian Armour
Michael Doleschell
Eileen Keown
Herb Naylor
Robert Stevenson
Maya Badian
Janne Duncan
Keith Kinder
David Olds
Peter Stoll
John Barnum
Gwen Ebbett
Andrew Kwan
Laurence Packer
Wayne Strongman CM
Rodger Beatty
Robin Elliot
Larry Lake
Juliet Palmer
Timothy Sullivan
Jack Behrens
Chris Foley
Christien Ledroit
Christina Petrowska Quilico
Ann Summers
Jeremy Bell
Paul Frehner
Alexandra Lee
Walter Pitman
David Visentin
Don Bolton
Craig Galbraith
Brent Lee
Trevor Pittman
Gerald Vreman
Allison Cameron
Mary Gardiner
Sherry Lee
Donald Pounsett
Victoria Warwick
Aris Carastathis
Tony Gomes
Robert Lemay
Allan Pulker
Lee Willingham
Lawrence Cherney CM
Amy Hamilton
Erhei Liang
Andy Radhakant
Stan Witkin
Kevin Chocorlan
Susan Haig
Alexina Louie OC, O.Ont
Darlene Chepil Reid
Gayle Young
Trevor Clark
James Harley
Gillian MacKay
Micheline Roi
David Zafer
Austin Clarkson
Peter Hatch
Cam McKittrick
James Rolfe
Ulla Colgrass
Alice Ho
Elma Miller
Shauna Rolston
Gilles Comeau
Glenn Hodgins
Jim Montgomery
Particia Sauerbrei
“The Canadian Music Centre is now the major resource in the country for the promotion and dissemination
of concert and staged works by Canadian composers. The CMC offers a full range of services to the music
community that must be consolidated and strengthened now more than ever. I became a CMC Voting Member
not only to support this vital work on behalf of composers, but to help the CMC to develop strategies that
truly reflect the needs and aspirations of the entire community. The CMC’s continued prosperity depends
on the active involvement of its Voting Membership. How will you get involved in the future of Canadian
composers’ music?” – Lawrence Cherney, Artistic Director, Soundstreams.
Donors and Supporters Of the CMC Ontario Region
IN GOOD STANDING AS OF December 31, 2009
Composer’s Circle ($5,000 +)
Ann Southam
SUSTAINERS
($250 – 499)
Kristi Allik & Robert Mulder
John Beckwith
Robert Cram
Elaine Keillor
Larry Lake
Sherry Lee
Phil Nimmons OC
Christian Perry
Clare Mazzoleni Piller
CONTRIBUTORS
($100 – 249)
John Beckwith CM
John Burge
Lawrence Cherney CM
Daniel Cooper
Keith Kinder
Michael Doleschell
Judy Loman
Glenn Mallory
Boyd McDonald
Carl Morey
Mary Morrison Freedman
Kate Morris
David Mott
Herb Naylor
David Olds
Ezra Schabas CM
Gerald Vreman
Daniel Weinzweig
Stan Witkin
Jean Anderson Wuensch
FRIENDS
(UP TO $99)
Julian Armour
Gage Averill
John Barnum
Gwen Beamish
Rodger Beatty
Jack Behrens
Arden Broadhurst
Austin Clarkson
Ulla Colgrass
Sandra A Cooke
Gwen Ebbett
Kim Echlin
Robin Elliott
Susan Haig
Christine Hansen
Ruth Watson Henderson
Karen Holmes
Caroline Hughey
Kay Kanbayashi
Stefanos Karabekos
Nancy Leavitt
Alexandra Lee
Joseph Lipson
Gillian MacKay
Cam McKittrick
Daniel McConnachie
Colin Mack
Edite Mogensen
James Montgomery
Geoffrey Moull
David Ogborn
Christina Petrowska Quilico
Walter Pitman
Eric Robertson
Shauna Rolston
Doreen Ryan
Patricia Sauerbrei
Patricia Shand
Bill Skolnick
Eugene Stasiuk
Peter Stoll
David Visentin
Victoria Warwick
NORMAN BURGESS
FUND DONORS
Founding Patrons
Joan & Gordon Barrett
Supporter
($250 – 499)
Mary Burgess
Lawrence Cherney CM
Chris Paul Harman
DONORS
($100 – 249)
John Burge
John S Gray
David Jaeger
Ann Laplante
Ezra Schabas CM
ARTISTS
(up to $99)
Bernard W Andrews
Susan Beniston
Linda Briskin
John Brotman
Austin Clarkson
James Harley
Derek Holman
Frank Horvat
Caroline Hughey
Christien Ledroit
Alicia Murlender
Angela Nelson-Heesch
Rick Phillips
Andy Radhakant
Colin Ripley
Micheline Roi
Elizabeth Senra
Jason van Eyk
VOLUNTEERS
Joan Barrett
Craig Galbraith
Earl Haig Chamber Strings
Alice Ho
Richard Hyung
Dimitris Kotronakis
Yoon Kwon
Peggy Lau
The Madawaska
String Quartet
Kye Marshall
Alexander McLeod
James Montgomery
Juliet Palmer
Donald Pounsett
Colleen Renihan
Abigail Richardson
Piera Savage
Tetiana Senyshyn
Alan Torok