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LIFE ON THE EDGE
CAPAC, the Composers, Authors and Publishers Association of
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Life on the cutting edge of music is never easy. New Music Concerts has survived with distinction, presenting challenging, exciting, unusual and stimulating music to a growing audience.
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INJEW [IMIUSIC [CJONCERTS
5th Anniversary 1985-86 Season
MAGIC THUNDER Percussion Spectacular COSPONSORED
BY THE McLEAN FOUNDATION.
Alberto Ginastera. John Hawkins Steve Reich |
THE ICE HOUSE April 13,14,1986
fa JiNteW [Music (GjonceERTS
Board of Directors
NORMA BEECROFT, president
ROBERT AITKEN, artistic director JOSEPH MACEROLLO, vice-president MARY MORRISON,O.C., secretary AUSTIN CLARKSON
WILLIAM KILBOURN,F.R.S.C. MICHAEL KOERNER,C.M.
EDWARD LAUFER
Staff
JAMES MONTGOMERY, manager KATHRINE McMURDO, development officer
Acknowledgements
NEW MUSIC CONCERTS is generously supported by the Canada Council, the Ontario Arts Council, the Municipality of Metropolitan Toronto, and the Toronto Arts Council.
LISE SCHOFIELD, programme design
New trends in the art of music.
NB
TWO NEW HOURS
New music from Canada and around the world. . With David Grimes and Warren Davis.
SUNDAYS AT 9:05 PM CBC STEREO 94.1 FM
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_ This concert is being recorded for future broadcast on Two New Hours.
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NEW MUSIC CONCERTS MAGIC THUNDER April 13 & 14, 1986
BN hs
SUBSTANCE-OF-WE-FEELING * (1985) JOHN HAWKINS
BOB BECKER, RUSSELL HARTENBERGER, percussion JOANNE TOD, visuals
SEXTET ** (1985) STEVE REICH
BOB BECKER, ROBIN ENGELMAN, RUSSELL HARTENBERGER, JOHN WYRE, percussion BERNADENE BLAHA, MARC WIDNER, pianos
CANTATA PARA AMERICA MAGICA (1960) ALBERTO GINASTERA
ROBIN ENGELMAN, conductor
CLAUDETTE LEBLANC, soprano BOB BECKER, JOHN BROWNELL, BILL CAHN, DAVID CAMPION, KEN ERSKINE, RUSSELL HARTENBERGER, BEVERLEY JOHNSTON,
BLAIR McKAY, JERRY RONSON, JOHN THOMPSON, TREVOR TURESKI, JOHN WYRE, percussion BERNADENE BLAHA, MARC WIDNER, pianos KEVIN FITZGERALD, celeste
RON LYNCH, sound engineer Pianos: Steinway (Remenyi House of Music)
nen ee Ir UrTEEIET =r SEES SEIT SUS SCaSSInSIE as” ar TUS “GHEP SNES Sou UEP *World Premiere, New Music Concerts! commission with the assistance of the Ontario Arts Counci] **Canadian Premiere
. New Music Concerts gratefully acknowledges the cosponsorship by The McLean Foundation.
NEW!
uper, classical music.
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The sound of a different drummer
CT
JOHN HAWKINS
Born in Montreal in 1944, JOHN HAWKINS received his musical education at the Conservatoire de Musique et d'Art Dramatique and at McGill University. He studied piano with Lubka Kolessa and composition with Istvan Anhalt. He also attended summer courses at Tanglewood and in Basle, Switzerland.
While at McGill, HAWKINS held a Woodrow Wilson Fellowship and later received a Canada Council Senior Arts Grant enabling him to study for one year in New York City. He was awarded the prestigious Jules Leger Prize for new chamber music in 1983. Currently Professor of Theory and Composi- tion a tthe Faculty of Music, University of Toronto, he specializes in the teaching of twentieth century repertoire and is also active as a pianist and conductor.
HAWKINS' compositions, most of them com- missions, have been performed in the United States, Europe and in most Canadian
HEAR SOMETHING NEW!
centres. His recent compositions include Waves for soprano and piano, Etudes for
two pianos, Quintet for woodwinds, Prelude and Prayer for orchestra with tenor soloist Three Songs for tenor and harp, Dance, Improvisation and Song for clarinet and piano, Dance Variations for percussion
mae
quartet, Three Archetypes - Dance, Invo-
cation, Hymn for string quartet, and subs tance-of-we-feeling for percussion duo.
SUBSTANCE-OF-WE-FEELING
substance-of-we-feeling was commissioned
by New Music Concerts through the Ontario Arts Council and is dedicated to Bob Becker and Russell Hartenberger. It is the third piece in a trilogy of ''musical comedies''— all three involving percussion instruments —which includes Breaking Through (Jules
Leger Prize, 1983) and Dance Variations
(written for Nexus).
SUBSTANCE-OF-WE-FEELING (cont'd)
Shikasta, the first volume of Doris Lessing's visionary novel cycle Canopus in Argos: Archives, presents a brief but vivid history of the world as viewed from the special perspective of visiting. outsi- ders. Early in the novel, one of the "visitors'' describes ''a rich and vigorous air, which keeps everyone safe and healthy and above all, makes them love each other. This supply of finer air has a name. It is called the substance-of-we-feeling."'
In attempting to portray this mysterious ''substance'' in purely musical terms, | invented material modelled on popular song and dance and developed this material into a larger-scale form, exploiting musical
and spatial symmetries in a variety of ways.
Surely this century's popular music and theatre music is a manifestation of what might be termed the musical collective unconscious, a global musical intuiton which could happily be likened to Mrs. Lessing's ''substance-of-we-feeling''.
The work is scored for marimba, vibra- phone, drums, cymbals and xylophone (al]
_amp1ified) and was completed in August 1985. In one continuous sonata-like
movement, its seven overlapping sections form a palindromic or cyclic pattern — A, BC. D..BE A.
-JOHN HAWKINS (Excerpt from Shikasta published by Granada Publishing Ltd., London)
MUSIGCWORKS
Announcing our latest issue #33 STARTING ALL OBSERVATIONS FROM SCRATCH
Includes: Tasting the Blaze by Pauline Oliveros; Tensegrity Sound Sources by Andrew Culver; First Real Snake by David Rokeby; Music Language and Environment by David Dunn and other works in print and on cassette tape.
Also available: MW #31 Women Voicing pe MW #32 Atlas of Scores Subscriptions with Cassette: | Single Copies $20 (4 issues per year) $6 (with cassette) 1087 QUEEN ST. W. TORONTO, ONTARIO M6J 1H3 (416)533-0192
——
JOANNE TOD
Born in Montreal in 1953, JOANNE TOD studied at the Ontario College of Art.
Building a considerable reputation as a rising star among Canada's young artists, JOANNE TOD has participated in numerous solo and group exhibitions. In the past two years she has mounted solo shows for the Carmen Lamanna Gallery in Toronto, the Southern Alberta Art Gallery and the Art Gallery of Greater Victoria. Notable group shows include: Commentary 1982-83 exhibited at the 49th Parallel, Centre for Contemporary Canadian Art in New York and
the Carmen Lamanna Gallery (1983); Toronto
Painting at the Art Gallery of Ontario (1984): Late Capitalism at Harbourfront's Art Gallery (1985); Ecrans Politiques at
the Musée d'Art Contemporain in Montreal (1985); and Image/Object/Text at Ottawa's National Gallery
JOANNE TOD has attracted favourable responses from the media, academia and the
H
public. She has guest lectured across Canada, at such institutions as Queen's University and the Emily Carr College of Art and Design, and in Australia at the Art Gallery of Southern Australia and That Contemporary Art Space.
Presently JOANNE TOD is involved with YYZ Artists' Outlet and Visual Arts Ontario as Director. Her work is represented by the Carmen Lamanna Gallery.
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SUBSTANCE-OF-WE-FEELING: VISUALS
The dominant visual motif in my backdrop for substance-of-we-feeling is the businessman/business suit, for where else could this '"'rich and vigorous air which keeps everyone safe and healthy, and above all, makes them love each other'' find such apt expression in contemporary society? The symmetrical arrangement of the figures
in the painting is a visual equivalent to |
the palindromic structure of the music. By implication, the central figure coin- cides with the central, or fourth section of the score which is played entirely on drums. Finally, Carmen Miranda hovers in the shadowy depths of the boardroom, a reminder of the latin flavour which per- meates substance-of-we-feeling.
-JOANNE TOD
STEVE REICH
~~
Internationally recognized as one of the
‘world's foremost living composers, STEVE
REICH was born on October 3, 1936 in New York and was raised in New York and Cali- fornia. He studied piano briefly as a child and began studying Western rudimen- tal drumming at the age of 14 with Roland Kohloff, principal timpanist with the New York Philharmonic. In 1957 REICH gradu- ated with honors in philosophy from Cor- nell University. His teachers of compo- sition included Hall Overton, William Bergsma and Vincent Persichetti, and he received his M.A. in music from Mills College in 1963 under the tutelage of Darius Milhaud and Luciano Berio.
REICH pursued further studies from 1970- 1974 at the Institute for African Studies at the University of Ghana and at the American Society for Eastern Arts in Seattle and Berkeley (Balinese Gamelan Semar Pegulingan and Gamelan Gambang).
STEVE REICH (cont'd) SEXTET
In 1976-77, the traditional forms of Cantillation (chanting) of the Hebrew Scriptures captured his attention.
The work is in five movements played with- out pause. The relationship of the five movements is that of an arch form A-B-C-B-A. The first and last movements are fast, the second and fourth moderate, and the third, slow. Changes of tempo are made abruptly at the beginning of new movements by metric modulation to either get slower or faster. Movements are also organized harmonically with a chord cycle for the first and fifth, another for the second and fourth, and yet another for the third. The harmonies used are largely dominant chords with added tones creating a somewhat darker, chromatic
STEVE REICH's upcoming commissions include and more varied harmonic language than in the San Francisco Symphony in commemora- my earlier works. Both the cyclical move- tion of their 75th Anniversary (1986), the ment structure and the general harmonic Kronos Quartet (1988), the London Sinfo- language were suggested by my recently nietta (1989), the Los Angeles Philharmo- completed work, The Desert Music (1984). nic (1990), and the Ensemble Intercontem- porain, Paris (1991).
In 1966 he began his own ensemble with three musicians. Since that time, Steve Reich and Musicians, which presently numbers up to forty musicians, has perfor- med throughout the United States, Canada and Europe. In addition to performances by his own ensemble, Mr. REICH's music has been performed by major orchestras and ensembles throughout the United States and Europe.
Percussion instruments mostly produce sounds of relatively short duration. In this piece | was interested in overcoming
=
~ HEAR SOMETHING NEW!
SEXTET (cont'd)
that limitation. The use of the bowed vibraphone, not merely as a passing effect, but as a basic instrumental voice in the second movement was one means of getting long tones. The use of the synthesizer
as electric organ supplies the long con- tinuous sounds not possible with piano.
The mallet instruments (Marimba, vibra- phone, etc.) are basically instruments of high and middle register without a low range. To overcome this limit the bass drum was used doubling piano or synthesizer played in their lower registers, particu- larly in the second, third and fourth movements.
Compositional technique used include some
introduced in my music as early as Drumming
in 1971. In particular the substitution of beats for rests to ''build-up'' a canon bet- ween two or more identical instruments playing the same repeating pattern is used
extensively in the first and last movements.
Sudden change of rhythmic position (or
phase) of one voice in an overall repea- ting contrapuntal web first occurs*in my
Six Pianos of 1973 and occurs throughout
this work. Double canons, where one canon moves slowly (the bowed vibraphones) and the second moves quickly (the pianos), first appear in my music in Octet of 1979. Techniques influenced by African music, where the basic ambiguity in meters of 12 beats between 3 groups of 4 and 4 groups of 3, appear in the third and fifth move- ments. A rhythmically ambiguous pattern is played by the vibraphones in the third movement and accented sometimes in 4 and sometimes in 3 by the pianos. Similarly in the fifth movement, but at a much faster tempo. The result is to change the perception of what is in fact not changing. Another related, more recent, technique appearing near the end of the fourth move- ment is to gradually remove the melodic material in the synthesizers leaving the accompaniment of the 2 vibraphones to become the new melodic focus. Similarly, the accompaniment in the pianos in the second movement becomes the melody for the
SEXTET. (cont'd)
synthesizers in the fourth movement. The ambiguity here is between which is melody and which accompaniment. In music which uses a great deal of repetition | believe it is precisely these kinds of ambiguities that give vitality and life.
“STEVE REICR
STEVE.REICH
ALBERTO GINASTERA
ALBERTO GINASTERA was born in Buenos Aires on April 11, 1916. He came to composition in his early youth, and took a first prize from the musical society, El Unisono, for his Piezas infantiles for piano. He later withdrew a number of early works written before 1946, at which time he came: to the United States on a Guggenheim Fellowship. He returned to Argentina in 1948 and remained there, teaching and composing, until 1967, when he left the country to settle in Geneva, Switzerland, where he died on June 25, 1983.
GINASTERA, along with Villa-Lobos in Brazil and Chavez in Mexico, combined to focus considerable attention on Latin America in the mid-twentieth century.
They all shared a strong interest in the folk idioms of their respective countries, and all eventually evolved styles incor- porating more abstract techniques. In both the CANTATA and in his opera Bomarzo
HEAR SOMETHING NEW!
ALBERTO GINASTERA (cont'd)
(1966), GINASTERA developed quite complex and idiosyncratic serial methods. While his strongest impressions were made in the field of vocal music, in the last decade of his life he concentrated on chamber music and works for his second wife, the cellist Aurora Natala.
CANTATA PARA AMERICA MAGICA
The CANTATA PARA AMERICA MAGICA is based On ancient pre-Columbian texts. The word "magic'' is used here in its primitive, pre-Columbian sense. The first Christian missionaries in America were the affec- tionate compilers of the poems of the Mayan, Aztec and Inca civilizations. These are the collections from which the text for the CANTATA was drawn, a song in homage to America's primitive man..
One of the striking features of this work is the successful use of contemporary techniues to evoke an old and primitive
civilization with its moods and its music. The serial techniques employed include series of tones, intensity, dynamics, pitch, rhythm and orchestral density. The series is used in all its vertical and horizontal relations and with constant chromatic variations. The series is used not only in the so-called pitched instru- ments, such as the pianos; there is also a relationship of six different pitches between the six kettledrums, six tambours, three cymbals and three tam-tams.
The forms of each of the six sections of the cantata differ according to the struc- ture of the thematic material employed.
CKLN Radio Inc., 380 Victoria Street, Toronto, Ontario M5B 1W7
On-air: 416.595.1655 Office: 416.595.1477
jo a TS STE) Be
An archival approach to new music. Four hours of composed, experimental and electroacoustic trends in 20th century music. From Satie to Satyagraha with host David Olds, Mondays at 10 p.m.
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Saturday 7 a.m.-10 a.m.
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Wednesday 10 p.m.-11 p.m.
RAILS ING THE POWER BY RAIS IN G LTE TOWER
CANTATA PARA AMERICA MAGICA
TEATS
1. Prelude and Song of Dawn
Oh! You, Tzacol, Bitol, look at us, hear us! Do not leave us, forsake us not,
Heart of the Sky, Heart of the Earth! Protect our children, and our descendants, whilst the sun moves and light exists! That day should break, and dawn arrive! Grant us good friends, grant us peace! Oh! You, Huracan, Chipi-Caculha, Raxa-Caculha, Chipi-Nanavac, Raxa-Nanauac, Voc, Humahtupu,
Tepeu, Gucumatz, Alom, Qaholom, Ixpiyacoc, lxmucane,
Creator of the sun, creator of light!
That day should break, and dawn arrive.
2. Nocturne and Love Song Your love was like the fall of perfumed flowers.
And like the golden bird’s yours was a beautiful song.
Moon and sun shone on your forehead. You have gone. Long and sorrowful will be my lonely nights.
3. Song for the Warriors’ Departure
Earth trembles. i The warriors’ song commences. Eagles and tigers
will start to dance.
Up in the mountain
the beasts clamor:
down in the prairie
the drums call war.
Earth trembles.
Here! These are the warriors! Admire their courage.
Born they were in the fire. Rival spears
forged their courage.
Admire their ornaments. Feathers of forest birds
move in their helmets. Enemies’ teeth
adorn their breasts;
They will use bones for flutes and human skin stretch in their drums. Earth trembles.
Hear the outcry
of those who go to combat. Red like blood
will the warriors make
the sun rise.
4. Fantastic Interlude (Orchestra)
5. Song of Agony and Desolation
Goodby, O sky!
Goodby, O earth!
My value and courage
are good no more.
I searched my way
under the sky, upon the earth, through weeds and thorns. My anger and fierceness
are good no more.
Goodby, O sky!
Goodby, O earth!
I must die, and here disappear,
under the sun and upon the earth.
Oh, point of my spear! Oh, strength of my shield!
Go to our mountains, to our valleys. I only await my death,
under the sky, upon the earth. Goodby, O sky!
Goodby, O earth!
6. Song of Prophecy
Days will come without name,
when the sign of Kauil
will appear
in the eleventh Ahau,
when the brothers of the east will come.
The timbrel will sound, the kettledrum will play! At dawn earth shall burn;
fans will fall from the sky,
in the eleventh Ahau,
with the green rain of Yaxalchac.
The timbrel will sound! the kettledrum will play! In the katun that will come
all will change;
defeated will be those that sing,
in the eleventh Ahau.
Silent will be the timbrel and the kettle-drum!
CLAUDETTE LEBLANC
Canadian dramatic soprano CLAUDETTE LEBLANC returns to her Toronto audience with this performance of ALBERTO GINASTERA's CANTATA PARA AMERICA MAGICA.
In 1982, in collaboration with ALBERTO GINASTERA, Miss LEBLANC sang this work in concert at the Salle Arsement in Geneva, Switzerland. That presentation was broad- cast live by the Radio de la Suisse Romande.
Subsequently Miss LEBLANC appeared with the Canadian Opera Company in Mozart's The Magic Flute. She also performed the com-
plete Das Marienleben of Paul Hindemith
for broadcast on GCBU-FM.
In 1984, Miss LEBLANC sang the role of Catherine of Aragon in the series ''Opera in Concert''. Her interpretation received unanimous critical acclaim.
ROBIN ENGELMAN
ROBIN ENGELMAN, former principal pertus- sionist of the Toronto Symphony, has served in that capacity with four other orchestras in North America and has per- formed with numerous symphonies, the Marlboro Music Festival and the New Hamp- shire Music Festival. He studied percus- sion and composition with Warren Benson
at Ithaca College and has taught at Ithaca College, the Eastman School of Music, the University of Toronto and York University. Touring extensively with Nexus and New Music Concerts, ROBIN ENGELMAN has travel- led throughout the world.
Boosey & Hawkes Music Publishers Limited
STEVE REICH
The major output of Steve Reich is now available through Boosey & Hawkes
Drumming Six Pianos Music for Mallet Instruments, Voices, and Organ
Music for Eighteen Musicians Music for Large Ensemble Octet Sextet
Variations for Winds, Strings and Keyboards Tehillim
Vermont Counterpoint Eight Lines
Further information from the Promotion Department
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neta rs ~ Composers
In 1986 P.R.O. Canada will present $8,000 in prizes to Music Ensemble, as “the concert’s most alluring
the winners of its eighth annual Young Composers Competition. Composers under 30 are invited to submit works in categories tor orchestra, solo instrument or chamber ensemble, voice, and electronic and computer music.
Many works that have won P.R.O. Canada prizes in the past have since been acclaimed elsewhere and we are proud to have been able to bring recognition where it is due:
e GLENN BUHR’s Beren and Luthien (1984 winner) received its premiere September 11 in a performance by the Toronto Symphony.
© JOHN BURKE's A la Source d'Hypocréne (1981 winner) received its premiere by Montreal’s Societe de musique contemporaine ensemble (a performance later released on the RCI label), and was heard again in 1985 in a performance by Toronto’s New Music Concerts.
@ FRANCIS CHAN’s Yeh-Pan Yueh (1979 winner) was described by The New Yorker, following a 1981 New York performance by the University ot Indiana’s New
Oi taeraree
@ JAN JARVLEPP’s Time Zones (1982 winner) received its premiere by Toronto's New Music Concerts in 1984.
cS JOHN OLIVER’s Fall (1982 winner) received. its premiere by New Music Concerts in 1982.
@ JEAN PICHE’s Ange (1980. winner) recorded on Melbourne Records.
@ ROBERT ROSEN’s From Silence (1983 winner) received its premiere that same year by the Calgary Phil- harmonic Orchestra.
¢ DOUGLAS GARTH SCHMIDT’s Orenda (Dream Spirit} (1983 winner) also won him tirst prize in the 1983 Okanagan Music Festival tor Composers; his Music for Pennywhistle, Accordion and Mandolin (1984 winner) was heard during the Vancouver regional meeting of the American Society ot University Composers last year.
@ TIMOTHY SULLIVAN’s Scherzo Brillante (1979 honorable mention) has since been recorded by John Torcello on Calitornia’s Digital Audiophile label.
has since been
Deadline tor entries is April 30. Call or write us for an application:
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