! ! ORCHESTRAL MUSIC OF THE! CANADIAN CENTENNIAL ! ! ! ! ! ! Isaac !Page ! ! ! ! ! ! ! ! Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF! MUSIC

May 2020 !

Committee:

Emily Freeman Brown, Advisor

Per Broman

! !ii !

ABSTRACT !

Emily Freeman Brown, Advisor !

In 1967, Canada celebrated its centennial anniversary of confederation. Celebrations were marked with many significant events in the decade leading up to the centennial, notably the adoption of a new Canadian flag, the construction of many cultural landmarks across the country, and Expo 67 in Montreal. In addition to these major cultural celebrations, there was a noticeable push to create and promote Canadian art. Approximately 130 compositions were written for the centennial year, with many commissions coming from Centennial Commission grants as well as the Canadian Broadcasting Corporation (CBC). Of those works, 51 were orchestral compositions that were intended to be performed by orchestras across the country. These works form an important collection that is ripe for study into compositional trends of the time.

I believe that composers, writing for such a significant cultural event in Canada, attempted, consciously or not, to codify a Canadian musical identity. I will look into whether shared compositional traits could be considered signifiers of a general Canadian style by looking at previous scholarship on Canadian identity and how it can relate to music. Specific works will be analyzed by Applebaum, Eckhardt-Gramatté, Freedman, Glick, Hétu, Morel, Surdin, and

Weinzweig. !iii !

ACKNOWLEDGMENTS !

Thank you to my parents, Carolyn Ricketts and Steven Page. I am very aware that I would likely not be where I am, and able to write a document like this, if both of my parents had not been musicians and had not continued to encourage me through my education. To my mother for her constant encouragement and support, and for setting the academic example that I can hope to achieve. To my dad, I would like to thank you for your encouragement and support, and also for your unique perspective on Canadian identity and art.

Thank you to my advisors on this thesis, Dr. Emily Freeman Brown and Dr. Per Broman, for their help organizing my rambling thoughts into a cohesive form, as well as for their constant encouragement and generosity.

Thank you to my composition teachers, Gregory Lee Newsome and Linda Catlin Smith, for their encouragement in my own artistic growth and fostering of my passion for Canadian music. They have both significantly broadened my knowledge and awareness of music in

Canada.

Thank you to Matthew Fava and the Canadian Music Centre for their assistance throughout this thesis; allowing me to use their writers room, access to scores, establishing contact and introducing me to many composers and performers whose input was invaluable.

Thank you to the many people that agreed to speak with me and lend their perspective and experience to this document: Norma Beecroft, Mary Morrison, Brian Cherney, and Bruce

Mather. Without them, this thesis would not nearly be the same document that it is. !iv

Finally, I would like to thank Mark Hopkins. When I was in my third year of my undergraduate degree, I participated in an Ontario Band Association conducting symposium where he was the clinician. During the morning, he talked about his work with the Canadian

Wind Repertoire Project. I was amazed by the scope of the project, and was not at all aware of any similar project for Canadian orchestral music. After the symposium, I sent Dr. Hopkins a list of questions about Canadian music, and specifically about Canadian orchestral music. His answers were very helpful and set me on the path of trying to rediscover Canadian orchestral works. In the summer of 2018, I had the opportunity to work with him as a conducting fellow for the Dennis Wick Wind Orchestra, where we had more opportunities to discuss Canadian music and out passions for it. I hope that this thesis will be my contribution and continuation of those conversations. !v !

TABLE OF CONTENTS

Page

INTRODUCTION ...... 1

Literature review of the Canadian centennial ...... 2

History of Canadian orchestral music ...... 2

Canadian culture before the centennial ...... 4

Context of orchestral music and Canadian culture within the centennial ...... 4

CHAPTER I. ORCHESTRAL WORKS OF THE CANADIAN CENTENNIAL ...... 7

1.1 Organization of centennial orchestral works ...... 9

1.2 Issues of compiling centennial orchestral works ...... 11

1.3 Composer demographics of centennial orchestral works ...... 11

1.4 Issues of composer diversity in centennial orchestral works ...... 12

CHAPTER II. ELEMENTS OF CANADIAN IDENTITY ...... 15

2.1 National vs. Nationalist music ...... 16

2.2 Influence of indigenous and immigrant cultures ...... 16

2.3 Humour and irony in Canadian identity ...... 18

2.4 North and its place in Canadian mythology and identity ...... 19

CHAPTER III. ANALYSIS OF CENTENNIAL COMMISSIONS AND TOWARDS A THEORY OF CANADIAN IDENTITY ...... 22

3.1 Introduction of musemes ...... 22

3.2 North musemes and examples ...... 23 !vi

3.3 Indigenous musemes and examples ...... 33

3.4 Rubbaboo examples ...... 43

3.5 Musical irony and humour ...... 48

3.6 Form as national signifier ...... 55

3.7 Conclusion ...... 58

BIBLIOGRAPHY ...... 60

DISCOGRAPHY ...... 65

APPENDIX A. FURTHER INFORMATION ABOUT CENTENNIAL ORCHESTRAL WORKS ...... 67 ! !vii !

LIST OF MUSICAL EXAMPLES !

Example Page

1 Surdin, Concerto for Accordion and String Orchestra, I, mm. 1-15 ...... 25

2 Surdin, Concerto for Accordion and String Orchestra, II, Rehearsal 28+2 ...... 26

3a Hétu, Double concerto pour violon, piano, et orchestre de chambre, Op. 12, I, mm. 1-2 ...... 27

3b Hétu, Double concerto pour violon, piano, et orchestre de chambre, Op. 12, I, mm. 8-11 ...... 27

4 Hétu, Double concerto pour violon, piano, et orchestre de chambre, Op. 12, I, mm. 35-39 ...... 29

5 Weinzweig, Concerto for Piano and Orchestra, mm. 178-187 ...... 30

6a Freedman, Tangents, mm.1-6 ...... 31

6b Freedman, Tangents, Rehearsal 23+2 ...... 32

7a Applebaum, Concertante for Small Orchestra, I, mm. 5-9 ...... 37

7b Applebaum, Concertante for Small Orchestra, I, mm. 5-14 ...... 37

8 Applebaum, Concertante for Small Orchestra, I, mm. 55-59 ...... 38

9a Weinzweig, Concerto for Harp and Chamber Orchestra, Cadenza I ...... 39

9b Weinzweig, Concerto for Harp and Chamber Orchestra, Cadenza II ...... 39

9c Weinzweig, Concerto for Harp and Chamber Orchestra, Cadenza III ...... 40

9d Weinzweig, Concerto for Harp and Chamber Orchestra, Cadenza IV ...... 40

9e Weinzweig, Concerto for Harp and Chamber Orchestra, Cadenza V ...... 41 !viii

10 Freedman, Tangents, Rehearsal 13+9 ...... 42

11a Applebaum, Concertante for Small Orchestra, I, mm. 33-35 ...... 43

11b Applebaum, Concertante for Small Orchestra, I, mm. 77-83 ...... 43

12 Eckhardt-Gramatté, Symphony-Concerto for Piano and Orchestra, III, mm. 183-186 ...... 44

13a Freedman, Armana, Rehearsal 6+14 ...... 45

13b Freedman, Armana, Rehearsal 11+4 ...... 46

14 Glick, Symphony No.2, II, mm. 31-38 ...... 47

15 Freedman, Tangents, Rehearsal 35 ...... 53

16a Freedman, A Little Symphony, Rehearsal 14 ...... 56

16b Freedman, A Little Symphony, Rehearsal 17 ...... 57 ! !ix !

LIST OF TABLES

Table Page

1.1 Orchestral Works of the Canadian Centennial ...... 7

3.1 Musemes with PMFC of North ...... 24

3.2 Musemes with Indigenous IOCM ...... 36 ! !1 !

INTRODUCTION !

In 1967, Canada celebrated its centennial anniversary of confederation. Celebrations were marked with many significant events in the decade leading up to the centennial, notably the adoption of a new Canadian flag, the construction of many cultural landmarks across the country, and Expo 67 in Montreal. In addition to these major cultural celebrations, there was a noticeable push to create and promote Canadian art. Approximately 130 compositions were written for the centennial year, with many commissions coming from Centennial Commission grants as well as the Canadian Broadcasting Corporation (CBC). Of those works, 51 were orchestral compositions that were intended to be performed by orchestras across the country.

These works form an important collection that is ripe for study into compositional trends of the time. I believe that composers, writing for such a significant cultural event in Canada, attempted, consciously or not, to codify a Canadian musical identity. My primary goal in this thesis is to observe and document examples of that Canadian identity. I will look into whether shared compositional traits could be considered signifiers of a general Canadian style. Many people have written about Canadian identity in music, including the composers Shafer and

Beckwith, and musicologists Diamond, Keillor, and Proctor, among others. To further synthesize the observations of Canadian identity in music, I will look at current Canadian literary and cultural theory in some detail. I will use themes and tropes of Canadian identity from other disciplines—such as literary criticism, history, and cultural studies—to inform what may or may not be considered a Canadian musical identity. Additionally, I hope that this thesis will serve as a !2 resource in establishing a Canadian orchestral canon, as there are currently very few Canadian compositions that get played with any frequency by orchestras in or outside of Canada.

Literature review of the Canadian centennial

The Canadian centennial is remembered fondly by many Canadians, but very little has been written about it or its impact outside of “personal reflections, anecdotal in nature, written by official participants.”1 The most significant writing on the music of the Canadian centennial appears in George Proctor’s “Canadian Music of the Twentieth Century,” where he dedicates an entire chapter to the centennial. Most of the other writing on Canadian music, such as Elaine

Keillor’s “Music in Canada” and Timothy J McGee’s “The Music of Canada,” contains very little mention of the centennial though its significance is acknowledged. I would argue that the events of the centennial, with its “plentiful and generous”2 commissions and nationalist fervour, was a turning point towards the artistic maturity of Canadian composers. The works produced during the centennial were able to capture and display different aspects of Canadian identity, and should be considered as part of a Canadian orchestral canon.

History of Canadian orchestral music

Canadian orchestral pieces were rarely longer than twelve minutes for most of the early twentieth century.3 In 1980, George Proctor wrote, “it is only in the last thirty-five years that extended musical compositions have been created in any quality in Canada.”4 There is no

1 Helen Davies, The Politics of Participation, 29.

2 Gail Dixon, The Music of Harry Freedman, 60.

3 George Proctor, Canadian Music of the Twentieth Century, 25.

4 Ibid, ix. !3 evidence of any symphonies or concerti written by Canadian composers being performed in

Canada before the First World War.5 By the time of the centennial, orchestral music in Canada had just established its significance in the Canadian musical world. One of the major turning points of Canadian orchestral music, and Canadian music in general, was the centennial celebrations of 1967. The large quantity of orchestral works written for the centennial was

“indicative of the social nature of most of the music written for the coming together of Canada’s peoples during centennial year.”6

Two problems in reception become apparent when studying Canadian orchestral music; the “Première-Dernière Syndrome” and the “Canadian Overture Syndrome.”7 The “Première-

Dernière Syndrome” is when a composition is not performed again after its premier. If a piece does receive repeat performances, it usually falls victim to the “Canadian Overture Syndrome,” where it is only programmed in the overture slot on an orchestra’s program. Very few of the centennial works have been performed in recent decades, with most of the pieces only receiving one or two performances during the centennial and never again. It is worth noting that, as of

2019, Anhalt’s Symphony of Modules has not been performed.8 Reexamining these works reveals traits of Canadian musical identity and lays the groundwork for further studies in Canadian orchestral music and musical identity. !

5 Ibid, 5.

6 Ibid, 151.

7 Robert John Fraser, The Programming of Canadian Orchestral Music, 35-38.

8 Robin Elliott, “Neglected Canadian Orchestral Music” Intersections 33/2, 134. !4

Canadian culture before the centennial

The Massey Report, released in 1951, gave “credence to the view that Canada was lagging behind in the arts, and that substantial government support was required in order to catch up.”9 This led to the establishment of the Canada Council in 1957, a government agency tasked with providing financial support to arts institutions such as orchestras like the Toronto

Symphony. The promotion of Canadian art was incredibly important as many wanted to prevent

American cultural products from being the dominant force. As Walter Pitman writes:

One could look abroad and see that Canada was far behind other jurisdictions in providing government support to the work of artists and the organizations that nourished their efforts. For a nation preoccupied with its identity in the shadow of the “elephant” of American cultural expression, this was a reasonable defensive measure that the “mouse” 10 !could take to survive. The findings of the Massey Report were echoed in 1965 by Canada’s Secretary of State Maurice

Lamontagne, who advocated for a campaign against Canada’s “cultural poverty.”11 Lamontagne argued that the state had a particular responsibility “to ensure not only that cultural institutions existed and were safeguarded, but that a supportive environment allowed them to flourish.”12

Context of orchestral music and Canadian culture within the centennial

This mission for cultural improvement was a cornerstone of the plans for the centennial celebrations. The federal government committed to spend approximately one hundred million dollars on the centennial, creating many programs and projects to distribute the money, including

9 Ibid, 33.

10 Walter Pitman, Louis Applebaum: A Passion for Culture. 171.

11 Meaghan Beaton, The Centennial Cure. 3.

12 Ibid, 4. !5

$25 million allocated to the Centennial Grants program, and an additional $20 million designated for “programs of national significance not geographically fixed […] designed to bring the centennial to the people.”13 It is difficult to determine how much total money was spent on commissioning music, but we do know that the Canadian Music Centre (CMC) was given approximately $50,000 to commission works under the Centennial Commission.14

The attempts during the centennial to create and promote Canadian culture were incredibly successful. John Beckwith, quoting Northrop Frye, writes that what the centennial was celebrating “the Canada we had yet to create.”15 As Meaghan Beaton writes, “Canada’s centennial celebrations are revered in popular memory and many retrospectives as a time of overwhelming optimism about the country’s future” and that “centennial programming constructed, perpetuated, and legitimized particular versions of Canadian history and a national identity.”16 Organizers of the centennial believed it was impotent to frame the occasion in a way that was accessible and meaningful for Canadians who may have felt removed from a distant historical event, and that “rather than provoke discord and entrench regionalism, centennial served as a platform for Canadians to appreciate that there was not one, singular, ‘authentic’

Canadian experience.”17 This approach to the events of the centennial was successful because they were not “overly directive and did not impose a particular expectation of how people should

13 Davies, 51-52.

14 Keith MacMillan, “The Canadian Music Centre: activites in 1967” Musicanada 11, 12.

15 John Beckwith, Unheard Of, 282.

16 Beaton, 7.

17 Davies, 8-9. !6 get involved,”18 while also promoting a “common vision of national identity rooted in the notion of unity over diversity.”19 It also allowed every Canadian to participate in any way they wanted, including in disagreement and conflict with the federal government’s view of Canadian identity by Quebecois and Indigenous communities.20

The push to promote Canadian culture has fizzled since the Centennial. In 1995, a UN survey of ninety countries ranked Canada last in the presentation and promotion of its own culture.21 The failure of Canada to continue to promote its unique arts and culture after the events of the centennial is part of the reason why the music written for the centennial has become more obscure and very few of the pieces have been performed in recent decades. That large arts organizations, such as major symphony orchestras, are usually uninterested or antipathetic in

Canadian music, has led to the gradual disappearance of the Centennial compositions. ! !

18 Ibid, 11.

19 Beaton, 7.

20 Ibid, 9.

21 Keillor, Music in Canada, 4. !7 !

CHAPTER I. ORCHESTRAL WORKS OF THE CANADIAN CENTENNIAL

Table 1.1: Orchestral Works of the Canadian Centennial Composer Title Duration Anhalt, István Symphony of Modules 25’ # Applebaum, Louis Concertante for Small Orchestra 16’ # Barnes, Milton Pinocchio; a symphonic poem 16' #~ Beckwith, John Place of Meeting 31’ *# Betts, Lorne A Cycle of the Earth 12’ * Kanadario; music for a festival occasion 13’ Bissell, Keith A Bluebird in March 7’10” * Bottenberg, Wolfgang Fantasia for solo trumpet and small 10’ orchestra Brassard, François-Joseph Poème d’amour et de joie 12' *#~ Brott, Alexander Centennial Cerebration 22’ *^ Paraphrase in Polyphony 22' Cherney, Brian Variations for Orchestra 18’ Clements, Peter J. The Cloud of Unknowing 15’40” * Coulthard, Jean This Land 40’ *# Dela, Maurice Projection 12' # Dolin, Samuel Fantasy for Piano and Chamber Orchestra 14’ Eckhardt-Gramatté, Sophie-Carmen Symphony-Concerto for Piano and 35’ ^ Orchestra Fleming, Robert Four Fantasias on Canadian Folk Themes 15’30” #~ Freedman, Harry Armana 8’^ A Little Symphony 17’ # Tangents 17' # Glick, Srul Irving Symphony No. 2 23’ # !8

Goldberg, Theo Sinfonia Concertante N/A Hétu, Jacques L’Apocalypse, Op. 14 15’ ^ Double Concerto pour violon, piano et 16’ # orchestra de chambre, Op. 12 Joachim, Otto Contrastes 16’ # Kalnins, Janis A New Brunswick Rhapsody 14’ # Kenins, Talivaldis Second Symphony (Sinfonia Concertante) 18’ Kunz, Alfred The Big Land 70’ * Laufer, Edward Variations 14' # Mather, Bruce Ombres 6’ Orchestra Piece 1967 15' ^ Matton, Roger Te Deum 18’ * Morel, François Couleurs formes 18' # Trajectoire 11’ ^ Naylor, Bernard Missa da camera 9’ *# Pannell, Raymond Concerto for Piano and Orchestra 20’ Pépin, Clermont Quasars (Symphonie no. 3) 25’ Perrault, Michel Centennial Homage 14’ # Polgar, Tibor The Last Words of Louis Riel 17' *# Prévost, André Terre des hommes 46’ * Ridout, Godfrey Folk Songs of Eastern Canada 9' *^ When Age and Youth Unite 8’ *~ Saint-Marcoux, Micheline Modulaire 12’ Coulombe Schafer, R. Murray Threnody 17’45” *~ Surdin, Morris Concerto for Accordion and String 13’ # Orchestra Symonds, Norman Democratic Concerto 35' # !9

The Nameless Hour 9' ^ Weinzweig, John Concerto for Harp and Chamber Orchestra 15' # Concerto for Piano and Orchestra 18’20” ^ Willan, Healey Centennial March 5’

1.1 Organization of centennial orchestral works

There were a total of 51 works written by 41 composers for the centennial and during the centennial year.22 Of those works, 14 include voice(s) and/or choir. For purposes of this thesis, I

* indicates a work with voice(s) # indicates a commission with funds from the Centennial Commission ^ indicates a CBC commission ~ indicates a piece intended for school/youth/community/amateur ensembles and musicians will include only works that use a full string section, and I will not include stage works (such as

Somers’ Louis Riel or Freedman’s Rose Latulippe). When looking at works commissioned with a

Centennial grant or commissioned by the CBC, the numbers diminish, but not by much. Of those commissions, there are 33 compositions, only five of which include voices. Centennial grants and CBC commissions for orchestral pieces were given to 27 composers, with a handful of those receiving multiple commissions.

Of the complete orchestral pieces, relatively few of them are either significantly short or long. Twelve pieces are under twelve minutes in duration, while only six compositions are longer than twenty-five minutes. A significant majority of the pieces, 36 in total, are between twelve and

22 This number does not include stage works or concert adaptations thereof, such as Godfrey Ridout’s La Prima Ballerina, which was adapted into two concert suites. There are other works that were written after the centennial, but are tied to the products of the centennial, such as Violet Archer’s Sinfonietta, which was commissioned by the Saskatoon Symphony for their first season in the Saskatoon Centennial Auditorium (now TCU Place). However, since these compositions are tied to stage works and were written after the centennial respectively, they will not be a part of this document. !10 twenty-five pieces.23 However, only five of those 37 are between twenty and twenty-five minutes.24

Some of the works written for the centennial contain explicit reference to either the centennial or to Canada. Works such as Centennial Homage, Centennial March, and Centennial

Cerebration mention the centennial in their title. Bruce Mather’s Orchestra Piece 1967, although not deliberately titled to connote the centennial, still evokes the connection through the inclusion of the centennial year in the title. Works with voices are usually about Canada in a fairly explicit way. Place of Meeting is a cynical depiction of “the commercial sleaze of the modern city and wonders if human dignity can survive in such surroundings.”25 This Land and The Big Land are both massive choral-orchestral works with text that describe Canada and Canadian history respectively.

The purely orchestral works are generally of a much more abstract nature, with their mentions of Canada and the centennial—if any mention at all—being more subdued. Paraphrase in Polyphony is based on a canon by Beethoven that was written as a gift to T.F. Molt, a

Canadian musician.26 Morel’s Trajectoire took as inspiration the text “Man and His World,” the

23 It should be noted that there is no extant score or recording of Goldberg Sinfonia Concertante.

24 There are discrepancies between some of the scores and the available recordings to determine duration. For example, Place of Meeting is listed as 25 minutes in Musicanada 7, Dec 1967, but the recording of the premier lasts 31 minutes. Similarly, Glick’s Symphony No. 2 is listed as 18 minutes, but performances average 23 minutes.

25 Beckwith, Unheard Of. 282.

26 Betty Nygaard King and Gilles Potvin, “Alexander Brott”. In The Canadian Encyclopedia !11 theme of Expo.27 Kanadario is subtitled “music for a festival occassion,” and because it was a centennial commission the audience is led to assume that the festival at the time of its premier was the centennial. Many of the other pieces do not contain any explicit mention of Canada or the centennial, but express Canadian identity in purely musical ways.

1.2 Issues of compiling centennial orchestral works

One of the issues I found while creating this catalogue was realizing that scores have gone missing or been withdrawn. The CMC has no scores for the Goldberg Sinfonia

Concertante. The only evidence that this piece exists is in the catalogue published in

Musicanada 7, December 1967. It is possible that it could be found in libraries across the country, as other works are. For example, the work by Clements is not held by the CMC, but can be found in the library of the University of Western Ontario. Additionally, the piece Couleur

Formes by Morel is not catalogued by the CMC. Curiously, Morel wrote an orchestra piece titled

Formes-couleurs for the 1976 Montreal Summer Olympics, and the cover page of the score has the inscription “a work in progress.” I wonder if this work is a revision of his centennial commission, but so far I have not found any indication that this is the case.

1.3 Composer demographics of centennial orchestral works

The geographical representation of composers in the Centennial orchestral works is a reflection of the cultural reality of the time. Based on where the composers were living: 18 composers were from Ontario, 13 from Quebec, five from the western provinces, two from the

Maritimes, and one composer (Laufer) living abroad. This list represents the populations of the

27 Francois Morel “Trajectoire” Montreal Symphony Orchestra conducted by Franz-Paul Decker; CBC broadcast December 1970. !12 regions, as well as indicates the cultural capitals of the country, Toronto and Montreal, which also served as the major centres for music education.

A significant quantity of the composers who wrote for the Centennial were immigrants, with some having lived in Canada for many years or grown up in Canada, such as Willan and

Freedman, while others had only been living in Canada for a handful of years. One of the

Centennial’s goals was to celebrate the idea that anyone can be a Canadian, reflecting an embrace of immigrant composers, as well as the role and influence that immigrants have held in

Canadian music education. For example, Willan taught at the Royal Convservatory of Music and the University of Toronto,28 and Joachim at the Conservatoire de musique de Montréal.29 It should be noted that all of the immigrant composers were from European countries and

Caucasian.

1.4 Issues of composer diversity in centennial orchestral works

As important as it is to celebrate who was included in the centennial orchestral works, it is also crucial to take note of who was absent: Only three orchestral works were written by women.30 Prominent composers, such as Violet Archer, Norma Beecroft, and Barbara Pentland, did not receive any orchestral commissions, although they received commissions and grants for other genres such as chamber music and vocal music. Additionally, people of colour and indigenous people were not included in the orchestral music of the centennial. Canada has always had a strained relationship with people of colour as well as the indigenous population.

28 Timothy J. McGee, The Music of Canada, 97

29 Paul Helmer, Growing with Canada, 262-263.

30 These three composers were Coulthard, Eckhardt-Gramatté, & Saint-Marcoux. !13

Throughout the twentieth century, Canada had imposed many strict and discriminatory immigration policies that affected many non-white racial groups that came to Canada for work.31

During the Second World War, Canada also had a very restrictive immigration policy for Jews.32

The programming of the centennial “was often framed by Canada’s colonial and settler legacy, as many 1967 activities effectively expunged indigenous histories from the larger narrative of the year’s events.”33 The exclusion of indigenous voices from the orchestral music of the centennial is an indication of larger issues within Canada that are still being dealt with. In recent years, the Truth and Reconciliation Commission has revealed the systematic oppression and abuse indigenous communities experienced through the actions of the Canadian government and other institutions. For the first half of the twentieth century, the cultural practices of indigenous communities were either prohibited or severely restricted.34 This oppression is even more noticeable when we take note of how much influence indigenous culture had on settler composers.

As Canada continues to grapple with its past treatment of indigenous communities, the musical community needs to reevaluate the debt that is owed to indigenous culture and how best to reconcile. This conversation is an ongoing process, and a recent example of this conversation was in reaction to the Canadian Opera Company’s 2017 production of Harry Somers’s opera

Louis Riel. In the opera, Harry Somers opens the third act with a previous composition, “Kuyas,”

31 Anjali Gera Roy, “Dream of a World Without Borders” Social and Legal Studies 27(2), 223.

32 Helmer, Growing With Canada, 10-12.

33 Beaton, 7.

34 Keillor, Music in Canada, 238. !14 which is based on a Nisga’a funeral dirge recorded and transcribed in the early twentieth century.

This song was collected during the Indian Act’s potlatch ban, which lasted from 1885-1951 and prohibited First Nations on the northwest coast from gathering to practice their cultural traditions.35 The influence of colonialism is still being felt today, and it is vital to acknowledge that in order to contextualize the art and music created in Canada. ! !

35 Dave Rideout. “Setting the Stage for the Artistic Repatriation of Indigenous Music.” !15 !

CHAPTER II. ELEMENTS OF CANADIAN IDENTITY !

Canada is an incredibly large country, and it has been said that there are as many unique musical styles and genres as there are Canadians. Asked if there is a distinctive Canadian music, the composer Godfrey Ridout responded curtly “show me a distinctive Canadian!”36. That being said, there are notable aspects that make Canadian music unique. As Keillor writes:

“When Canadian music is performed abroad, audiences recognize a quality that differs from the structure and logic of German music, the colour and sensuality of French, or the 37 !rhythm and conceptualism of America.” Musical elements that stand out the most in Canadian music are: the influence of Indigenous music, rubaboo,38 the use of humour and/or irony, and the “Idea of North.” These elements are apparent in Canadian music, as well as other media such as film, visual art, and literature. It should be stated that all music written by a Canadian, in or outside Canada, is a Canadian piece of music. Elements of musical Canadian identity can be observed in varying degrees of presence and absence in all Canadian pieces.

36 “Godfrey Ridout: A Portrait” Musicanada No. 12, Jun-Jul 1968.

37 Keillor, Music in Canada. 252.

38 Rubbaboo is the transfer of musical ideas between different immigrant communities through sustained exposure. This term is frequently used by Keillor in her book, Music in Canada. The name is “borrowed from a soup made from pemmican, water, and a flavoring in the Northern Plains area” Keillor, Music in Canada. 364. See 2.2. !16

2.1 National vs. Nationalist music

It is worth differentiating between nationalist music and national music. Nationalist music is overtly political, whereas national music displays musical qualities that reflect elements of a nation’s culture without a political message.39 The national, as opposed to the nationalist,

“serves to lend definition to abstract […] ideas of the nation.”40 The orchestral music of the

Canadian centennial shows a mixture of pieces that were overtly political, or nationalist, and others that do not have an overt message, but still display Canadian identity in the form of a national music.

2.2 Influence of indigenous and immigrant cultures

The influence of indigenous communities is evident in Canadian identity. Many Canadian composers have used indigenous melodies to insist on a Canadian identity in their music. This approach, however, is often received as nationalist as opposed to national.41 Indigenous culture has influenced Canadian identity in abstract ways. Keillor writes that in a comparative sample of

American and Canadian pieces, Canadian composers more frequently use titles with indigenous languages or evoke indigenous culture.42 This can be seen in some of the centennial pieces.

Works such as Place of Meeting, Kanadario, and Armana all take their titles from indigenous languages, even if specifically indigenous music does not play a part in those compositions.43

39 Matthew Riley and Anthony D. Smith, Nation and Classical Music. 6-10.

40 Ibid, 9.

41 Refer back to the previous discussion of Somers’s Louis Riel.

42 Elaine Keillor, “Indigenous Music as a Compositional Source: Parallels and Contrast in Canadian and American Music” Taking a Stand: Essays in Honour of John Beckwith 213-218.

43 “Place of meeting” is the English translation of Toronto, which is a Huron word. !17

Additionally, abstract elements of indigenous music have influenced the musical language of

Canadian composers. The pitch and contour of indigenous melodies differ greatly from the

European norms of classical music.44 These melodies were employed by many composers, but the melodic contours and gestures have also entered the classical musical language of these composers through the use of intervallic motifs.45 The rhythmic variety of indigenous music has also influenced Canadian classical composers. Indigenous music often has a steady pulse, given by the drums, that contrasts with the rhythmically complex melodic line.46 This rhythmic complexity has been adapted, but it has also been abstracted by some composers through the use of multiple simultaneous tempos to allude to the differing layers of tempo between melody and accompaniment often found in indigenous music.47

In addition to her observations about the influence of indigenous culture on Canadian identity, Keillor also writes about the influence of immigration, which can be observed in music as “rubbaboo.” Rubbaboo is the transfer of musical ideas between different immigrant communities through sustained exposure.48 In her book, Keillor primarily applies rubbaboo concepts to popular music, but rubbaboo appears in different forms in the classical music of

Canadian composers, either in overt references or abstract allusions to other cultures and traditions. By the time of the centennial, immigrants predominately came from Europe, and

44 Keillor, “Indigenous Music as a Compositional Source” 194.

45 Ibid, 197.

46 Ibid, 194.

47 Ibid, 198.

48 Keillor, Music in Canada, 12. !18 brought with them a variety of folk music from across the continent. However, there are other notable immigrant and ethnic communities that resided in Canada during the centennial. For example, the first Afro-Caribbean migrants arriving in Canada settled in Halifax in 1796, and throughout the early twentieth century more Afro-Caribbean migrants entered Canada for various jobs, including mining, domestic service, and nursing.49 As a part of the centennial activities, the

Afro-Caribbean community in Toronto established Caribana, a festival celebrating their own cultural expression50. The blending of different cultural elements between communities is what creates rubbaboo, and the demographic situation in Canada facilitates this.

2.3 Humour and irony in Canadian identity

Humour and irony are not exclusively used by Canadians, but their prevalence in the culture is an essential element of Canadian identity. Proctor writes “perhaps more significant than any other [development]” in Canadian music is the “increase in the number of works of a humorous nature.”51 Humour in music is very closely linked to irony, and as Hutcheon says,

“Canadian culture is not alone in deploying the creative tension between differences that I am calling postmodern irony, it does seem to be a particularly fertile ground for the cultivating of doubleness.”52 Canadian history and geography provides many binary opposites that contribute

49 Peter Jackson, “The Politics of the Streets: A Geography of Caribana.” 132.

50 Ibid, 133.

51 Proctor, 181.

52 Linda Hutcheon, Splitting Images, 15. !19 to the deeply ingrained irony of Canadian culture: native/colonial, federal/provincial, English/

French, empty northern tundra/dense southern urbanization.53

2.4 North and its place in Canadian mythology and identity

Arguably, the most significant aspect of Canadian identity is the “North,” both as a physical geographical space, and also as a cultural mythology. The idea of North as a significant cultural foundation ties all of the previously mentioned aspects together. As Grace writes, “North

[…] is fundamental to who we are, to that “imagined community” […] of Canada, with all its contradictions, failures, compromises, and successes.”54 The North has been a major influence the output of Canadian literature and art. Northrop Frye’s Bush Garden theory, which is in essence about the individual or a small group surviving against the wilderness or any symbol thereof, “has given rise to descriptions of our literary landscape as a haunted wilderness and of our writers as having a Northern Imagination.”55

Frye’s North is not the only depiction in Canadian literature. French Canadian writing produces heroic figures that combat the north, such as the coureur de bois and the voyageur, two figures from the early French-Canadian settler era.56 Pulling from the ironic influence of

Canadian identity, Atwood’s North is “much more malevolent, it is parodic, tricky, alluring,

53 Ibid, 15-16.

54 Sherrill Grace, Canada and the Idea of North, 23.

55 Ibid, 32-33.

56 Ibid, 34.

57 Ibid, 35. !20 hungry, inescapably part of who are as Canadians, and fun.”57 The North is a great example of the ironic doubleness of Canadian identity. Grace writes that one likely story of the North is

the narrative of courageous men battling a dangerous, hostile, female terra incognita to prove their masculinity and the superior force of their technology, or to die nobly in the struggle, or to map, claim name, and control unstructured space, even if only on paper. But of course this construction of North necessarily contains its opposite, a friendly North of sublime beauty, abundance, natural resources waiting to be exploited, and of 58 !great spiritual power; this North is God’s country. In her book, Grace talks extensively about representations of North by Canadian composers. She discusses three styles of composition: vocal, programmatic, and absolute. Grace says “verbal text and the human voice can represent northern experience far more directly than can instrumental music, especially if it is non-programmatic.”59 However, in her discussion of non-programmatic works, Grace, pulling from the writings of David Parsons and Brian Cherney, acknowledges that when wishing to represent North, composers will include long, high string lines, wide register spacing, delicate orchestration, and thin textures.60 These musical textures contribute to the feeling of North in abstract musical ways.

It should be mentioned that the non-programmatic music discussed by Grace still contain extra-musical connotations of North through the use of indigenous languages or geographical and weather references in the title of the piece. By including these references, the audience anticipates the Northern quality of the music. In the following section, I will be showing how the

58 Ibid, 16-17.

59 Ibid, 125.

60 Ibis, 132. !21 abstract qualities of indigenous music, rubbaboo, humour and irony, and North are incorporated into various orchestral works from the Canadian centennial. !22 !

CHAPTER III. ANALYSIS OF CENTENNIAL COMMISSIONS AND TOWARDS A

THEORY OF CANADIAN IDENTITY !

As stated previously, it is easier to identify elements of Canadian identity in music when there are either text or extramusical connections (such as use of folk-songs or a program). In this section, I will analyze multiple abstract works in order to examine how different aspects of

Canadian identity appear in the music and the similarities and differences in how composers approach the material. I will specifically look at works commissioned by the CBC or through the funding of a Centennial grant, including works by Applebaum, Eckhardt-Gramatté, Freedman,

Glick, Hétu, Morel, Surdin, and Weinzweig.

3.1 Introduction of musemes

To show how elements of Canadian identity are present in abstract orchestral works, it is necessary to discuss the different musemes present within the works themselves. Musemes are small musical cells, identified by any musical quality, that convey meaning and connections to other works. Identifying musemes is a process of “identifying structural differences between the piece’s constituent elements and of observing those individual elements, and their uses, in other pieces of music.”61 By identifying musemes in Canadian music, the use of indigenous culture and appearances of musical rubaboo will become more apparent. Musemes will also make more abstract concepts, like depictions of North, more identifiable in its various forms across the output of Canadian composers.

61 Philip Tagg, Fernando the Flute, 67. !23

It is important to identify the “paramusical field of connotation” (PMFC) and the

“interobjective comparison model” (IOCM) of each museme. PMFC is the “connotatively identifiable semantic field relating to identifiable (sets of) musical structure(s),”62 indicating how the music relates to an abstract or non-musical symbol. An IOCM is “music other than the analysis object, that contain a sound or sounds resembling that/those of the analysis object,”63 a source of musical intertextuality. In the context of my analysis, identifying the PMFCs and

IOCMs will make examining musical qualities, such as indigenous influence and rubaboo, and abstract ideas, such as depictions of North, more apparent in their uses as markers of Canadian identity.

3.2 North musemes and examples

As discussed earlier, North is represented in music through the use of long, high string lines, wide register spacing, delicate orchestration, and thin textures. Additionally, it is common to find examples of harmonic and textural stasis used in music to connote “plains and other large, empty, motionless spaces,”64 such as in Borodin’s On the Steppes of Central Asia and “On the

Prairie” from Copland’s Billy The Kid Suite. This view of emptiness or barrenness, through stasis, is important in how Canadian composers establish North. When any two or more “North” musemes are used in conjunction with each other, the North qualities are more easily identified. !

62 Ibid, 391.

63 Ibid, 386.

64 Ibid, 77. !24

Table 3.1: Musemes with PMFC of North 1) Long, high (string) lines 4) Thin textures 2) Wide register spacing 5) Harmonic stasis 3) Delicate orchestration North can be indicated through long phrases in the upper register of an instrument, commonly violins, but other instruments can be used. North Country, a work for string orchestra written Harry Somers in 1948, is one of the best-known examples of this musical depiction of

North. In North Country, the “taut, lean textures” and “spare, thin melodic lines,” specifically of the high register—as in the first movement—suggest “certain qualities one associates with the vast semi-wilderness of northern Ontario—bleakness, ruggedness, and loneliness.”65 Examples of North depicted through this way are found in other Canadian works, and especially in those of the centennial.

Morris Surdin’s Concerto for Accordion and String Orchestra showcases many moments of thin textures and spare melodic lines in upper registers of the instruments. The first identifiable moment of this is at the very opening of the piece. After a vigorous, two bar opening gesture played by the whole orchestra in rhythmic unison, the texture changes to an eighth note ostinato played by the second violins, a staccato bass line in the violas, and a legato melody in the first violins. In m. 7, the solo first violin emerges from the section and ascends to restate the melody from mm. 4-5 up the octave. The solo violin in its high register accentuates the thinness of the orchestral texture at that moment, and the slow rhythmic values of the melody in contrast

65 Brian Cherney, Harry Somers. 35. !25

Example 1: Surdin, Concerto for Accordion and String Orchestra, I, mm. 1-15. with the ostinato highlights the melody’s longer phrasing, creating a sense of North in the music

(Ex. 1).

Surdin later employs the same technique at the end of the second movement. At

Rehearsal 28, the accordion, violas, cellos, and basses all maintain a drone on A, while the violins play triads in parallel motion. Over the course of two measures, the first violins arppegiate an A minor triad up one octave, putting the instrument into the extremes of its upper !26

Example 2: Surdin, Concerto for Accordion and String Orchestra, II, Rehearsal 28+2. register. The wide spacing of the violins, as well as the parallel fifths in the second violins, further speaks to the openness and thin quality of the texture. In the second movement’s final measure, a first violin soloist plays an artificial harmonic, sounding one octave above the rest of the first violins, having the range of the ensemble at this moment span from A1 to A7. The wide spacing, extremes of register, harmonic stasis through the drone, and thin texture all contribute to the representation of North (Ex. 2).

Wide register spacing, as seen in the second movement of Surdin’s Concerto, is another aspect of North conveyed through music, with many examples from other composers. In Jacques

Hétu’s Double concerto pour violon, piano, et orchestre de chambre, wide register spacing is found frequently in the first movement. The opening gesture in the piano extends from D1 to Ab6 !27

Example 3a: Hétu, Double concerto pour violon, piano, et orchestre de chambre, Op. 12, I, mm. 1-2.

Example 3b: Hétu, Double concerto pour violon, piano, et orchestre de chambre, Op. 12, I, mm. 8-11.

(Ex. 3a), which is then echoed by the strings during their first entrance at m. 8 (Ex. 3b). Unlike the opening piano gesture, the upper strings start as soft thirty-second notes, with a three beat canonic figure repeated between the upper strings, each voice separated by an octave. The crescendo in the orchestra at m. 10 is incredibly quick, lasting only two beats, and ends with a short, violent gesture. The busy texture of the upper strings and the abrupt interruption of the piano gesture creates a sense of conflict between soloists and orchestra, playing into the !28 dangerous, hostile, noble struggle of North.66 This sense of hostility is further emphasized by the registral spacing of the strings, evoking a sense of open, barren North.

The gestures from these excerpts are further expanded during the first orchestral tutti, beginning at m. 17. Syncopated phrases in the winds are punctuated by rising figures in the strings, both groups using quick, violent crescendos as the texture builds, and then dropping to a soft dynamic to begin the gestures again. From mm. 25-30, the phrases in the clarinets and first bassoon become more and more overwhelmed by the strings, with the melody in the winds diminishing from a two-measure phrase, to a two beat phrase, to a gesture of a single beat. The rising string figure expands its registral spacing, alluding to the same hostile North from earlier.

At m. 30, the winds join the strings, for a final, grotesque, ascending gesture which reaches its loudest dynamic and widest registral point before abruptly shrinking the orchestral forces and playing a subito pianissimo at m. 34, where a canon, similar to the one heard during mm. 8-11, is played in four parts between the violins, violas, and cellos. In mm.38-39, the winds join the strings with a rhythmically accelerating gesture as the full orchestra crescendos, which is then interrupted by the return of the soloists (Ex. 4). Hétu, through the use of registral extremes and dynamic contrast, conveys a sense of struggle within the orchestra and also between the orchestra and soloists, as if the orchestra was a chaotic, harsh suggestion of North.

The Surdin and Hétu examples both display characteristics of an austere and hostile

North, but other depictions of North can be found. As Grace writes, North can also exhibit traits of “sublime beauty, abundance, […] and of great spiritual power.”67 Additionally, a sense of fun

66 Grace, Canada and the Idea of North. 16.

67 Ibid, 17. !29

Example 4 Hétu: Double concerto pour violon, piano, et orchestre de chambre, Op. 12, I, mm. 35-39. and playfulness can appear within North.68 Composers evoke this sublime beauty, as well as the sense of fun, through delicate orchestration, specifically involving percussion. In John

Weinzweig’s Concerto for Piano and Orchestra, there is an extended section from mm. 178-235

68 Ibid, 35. !30

Example 5: Weinzweig, Concerto for Piano and Orchestra, mm. 178-187.

scored for piano and percussion alone (Ex. 5). This section alternates percussion groupings of

metallic, membrane, wood, and then returning to metallic. The sparse, pointillistic writing of this

section gives the impression of falling snow. The metallic percussion, played softly throughout,

begins to sound like an icy wind, painting the aural landscape. The three percussionists are

instructed to set up at the rear and sides of the stage in order to create an antiphonal effect. By

exploiting physical space, the percussion further immerses the audience in the stark, snowy

landscape of the music. The piano, with its eighth note groupings and dynamic contrast, projects

the image of somebody carefully walking through the accumulation of snow. Additionally, the !31 piano gestures employ wide registral spacing, such as in mm. 183-185, further calling to mind images of North.

A similar use of delicate orchestration can be found in Harry Freedman’s Tangents. The work opens with muted violin playing an eighth note drone on A, alternating between the stopped D string and the open A string. This is then followed by the glockenspiel playing the first statement of the work’s twelve-tone row in its entirety (Ex. 6a). The use of a drone, timbral variation between a stopped and open string, the timbre of metallic percussion, the small orchestral forces, and the wide register spacing between the violins and the glockenspiel all create musematic69 impressions of open spaces and of North. Freedman further exploits this northern evocation through the use of rhythmic dissonance between the glockenspiel and violins, losing metric stability and creating a sense of wandering and isolation, further exacerbated by the twelve-tone theme. This depiction of North is similar to an earlier work by Freedman, Tableau,70

Example 6a: Freedman, Tangents, mm. 1-6.

69 Musematic - adj. (of musical structure) carrying musical meaning; having the characteristics of a MUSEME, MUSEME STACK or MUSEME STRING (Tagg, Fernando the Flute, 389.)

70 Grace, Canada and the Idea of North, 127. !32 but unlike that work, the sense of openness and isolation at the beginning of Tangents alludes to its opposite: a fertile North of abundance. The rest of the work is a series of variations on the twelve-tone theme introduced at the beginning, and the delicate orchestration of the beginning is found at multiple points within the work, no longer evoking isolation, but rather a point of safety and shelter in the context of more rhythmically violent, harmonically dissonant, and timbrally dense variations. One such occurrence is at Rehearsal 23, where the harp and glockenspiel play a hocking pattern dividing up the [459t] tetrachord. This duet between the glockenspiel and harp is accompanied by a solo bass playing a drone on A in an extreme register of the instrument, as well as unpitched metallic percussion of finger cymbals and a small triangle (Ex. 6b). The texture is incredibly sparse at the beginning of this section, but the rhythmic activity increases throughout, thickening the texture. However, the thin timbre of the harp and bass harmonics as

Example 6b: Freedman, Tangents, Rehearsal 23+2. !33

well as the bright metallic percussion, all played in high registers, gives a more playful character

to the section. In Tangents, Freedman is able to display multitudes of North. The opening

contains a sense of North that is austere and isolated, where later it is changed: playful and safe.

3.3 Indigenous musemes and examples

There are eight geographical regions of Canada where different indigenous cultures developed: Northwest Coast, Western Subarctic, Plateau, Plains, Eastern Sedentary, Eastern

Nomadic, Maritime, and Arctic.71 Each region is home to many different cultures, but they are

grouped together by geography and shared characteristics.72 Although each region and culture is

home to a number of unique musical expressions, there are a few traits shared by many

indigenous communities.

The music of indigenous communities consists mostly of song. Some express a specific

thought or prayer, tell a story, or describe an emotion, while others use only vocables rather than

words, or a combination of vocables and words.73 Meaning is expressed through vocables in a

number of ways, including the timbre of the voice, melodic-rhythmic characteristics, or through

the occasion of its performance.74 Instruments primarily appear as accompaniment, especially in

dance music. Common instruments include whistles, drums, and rattles, which are used to define

rhythm and mood.75 Addressing shared melodic qualities, Keillor writes that “melodies from all

71 Keillor, Music in Canada, 15.

72 Ibid, 15.

73 McGee, Music of Canada, 142.

74 Ibid, 142.

75 Ibid, 142. !34 regions usually begin on or leap up to a high point and then gradually descend to a tonal centre.”76

The whistle is a common instrument in indigenous communities, and it should be noted that the terms whistle and flute are used somewhat indiscriminately in most literature, although whistles usually do not have finger holes.77 Flutes and whistles are found throughout indigenous communities, and are significant cultural symbols. Indigenous flute players often try to imitate the sounds of birds, characterized by the fact the that the “most important sound quality was the strong warble produced by the lowest fundamental pitch of the instrument” as well as the use of ornaments such as glissandi, turns, and trills.78 In terms of melodic qualities, Keillor writes that indigenous flute melodies are often “based on pentatonic or hexatonic scales with contours of descending undulations through small intervals to the lowest tone of the instrument.”79

Rhythmically, for the most part, indigenous flute music is free and unmetered.80

Although there are many shared musical qualities from indigenous communities across

Canada, there are also specific stylistic elements that are tied to specific regions. The music of the Kwakwaka’wakw peoples of the Northwest Coast is lyrical in nature.81 Songs of love and mourning are sung in high falsetto to imitate crying, while the songs sung during rituals and

76 Keillor, Music in Canada, 46.

77 Ibid, 33.

78 Ibid, 33-4.

79 Ibid, 34.

80 Ibid, 34.

81 Ibid, 19. !35 potlatches are in a “recitative-like declamatory style with elevated language.”82 In group settings, there is a chanting line, centered on a single pitch, and a chorus, singing a lower, undulating melody.83 The most common melodic intervals are minor seconds and major thirds.84 The rhythmic organization of the songs is notably complex, often using three or fourth durational values and varying rhythmic layers.85

In the music of the Plains, and especially in the music of the Cree peoples, the music is monophonic, with the men and women singing in octaves.86 Unlike the music of the Northwest

Coast, the music of the Plains is marked melodically by the common occurrence of the major second and the minor third.87 Within the rhythmic variety of the music of the Plains, accompaniment occurs most often in three different ways: unaccented steady beats, accented one-two beats, or tremolo.88

Other regions also have distinct musical styles. In the Western Subarctic, “some dance songs are sung in a pulsating, nasal tone in a medium to high register.”89 Songs of the Eastern

Sedentary region contain one to three sections, with each section usually being repeated with

82 Ibid, 19.

83 Ibid, 19.

84 Ibid, 19.

85 Ibid, 19.

86 Ibid, 29.

87 Ibid, 29.

88 Ibid, 29.

89 Ibid, 25. !36 variations.90 In addition, some of the sections “are largely based on one pitch used in a recitative- like manner, while other sections are more lyrical with undulating lines descending toward the end of the phrase.”91 Most melodies from the Arctic are based on one of two scales, either (A-G-

E-D-C) or (E-D-C-B-A-G), with the final pitch resting on the tonal centre.92

Table 3.2: Musemes with Indigenous IOCM 1) Flute 6) Varying simultaneous rhythmic layers and different simultaneous tempos 2) Birdcall (low warble, glissandi, turns, trills) 7) Rhythmic ostinato (unaccented steady beats, accented one-two beats, or a tremolo) 3) Free, unmetered melodies 8) Minor second, major third (Northwest Coast) 4) Recitative-like melodies 9) Major second, minor third (Plains) 5) Chanting solo line against lower undulating 10) Melodic final pitch on lowest note chorus In Louis Applebaum’s Concertante for Small Orchestra, we observe some of the melodic and accompanimental characteristics listed above. The first movement opens with a forceful unison gesture, which becomes more rhythmically dense in the following measures. In m. 5, a group of solo string instruments play the hexachord [4589te], starting incredibly soft and followed by a crescendo to forte, and then restating the hexachord in a piano dynamic, which introduces a melody in the oboe. The strings pulsate the chord, glissando away from a neighbour note, and then diminuendo to nothing (Ex. 7a). This undulating accompaniment rests underneath the oboe melody, the first complete statement of the composition’s twelve-tone row. The melody

90 Ibid, 35.

91 Ibid, 35.

92 Ibid, 40. !37

Example 7a: Applebaum, Concertante for Small Orchestra, I, mm. 5-9.

Example 7b: Applebaum, Concertante for Small Orchestra, I, mm. 5-14.

starts on D5, restates the note with various durations, almost like a chant, and then begins to descend. Although there are large leaps in the melody, the descending chromatic stepwise motion of the implied upper voice is heard moving from D-C#-C-B-Bb-A, and then leaping down a fifth to D4, which is heard as a cadence from dominant to tonic (Ex. 7b). The combination of the chant-like introduction of the melody, the melody’s descent from its highest to its lowest pitch, and the undulating accompaniment bring together musematic connections to indigenous music.

The first movement of Applebaum’s Concertante also incorporates a driving rhythmic ostinato. At m. 53, the tempo becomes quicker, and the cellos play a driving rhythmic figure. The short, staccato articulation in the low register of the cello creates a percussive effect, which is !38

Example 8: Applebaum, Concertante for Small Orchestra, I, mm. 55-59. further developed by the addition of pizzicato in the bass. Although the changing meters affect the perception of pulse, the musematic connection to indigenous percussion is clear (Ex. 8).

The influence of indigenous melodic contour and gesture is additionally found in

Weinzweig’s Concerto for Harp and Chamber Orchestra. Near the end of the work, a series of cadenzas are played, beginning with a solo from the wind instruments of the orchestra introducing a motivic idea, followed then by the harp, which elaborates on the previously stated material. The first of these cadenzas starts with the flute, which begins high in its register, and repeats the note in a declamatory manner, accelerating and crescendoing throughout until being played with flutter-tongue and released with a quick descending gesture (Ex. 9a). The register and timbre of the flute evokes the sound of birdcalls as well certain styles of indigenous singing, a connotation continued by the following wind instruments. The second cadenza begins with the oboe, starting in its upper register and descending nearly two octaves by large melodic intervals, notably the major seventh and minor ninth. Grace notes at the beginning and end of the phrase !39

Example 9a: Weinzweig, Concerto for Harp and Chamber Orchestra, Cadenza I.

Example 9b: Weinzweig, Concerto for Harp and Chamber Orchestra, Cadenza II. imitate birdcalls, while the melodic contour towards the lowest pitch recall musematic connections to indigenous melodies (Ex. 9b).

Whereas the first two cadenzas begin in the upper registers of the instruments, the third cadenza begins with the clarinet in the lowest part of its register. The clarinet begins by trilling between its E and F while also swelling from ppp to fff and then back down dynamically, followed by a subito forte, quick, ascending gesture (Ex. 9c).93 This low register trill evokes the warble associated with indigenous instrumental imitations of birdsong. This gesture is immediately followed by short, marked attacks; rapidly leaping across the registers of the clarinet, notably with the interval content of major and minor sevenths, occasionally displaced by an additional octave, and closing with a descending major tenth and minor ninth. Collapsing the octave displacement of this measure reveals a simple melodic outline, using modal mixture between major and minor in the key of A. The closing Db and C continues the modal mixture.

93 The clarinet and horn are both transposing instruments in Bb and F respectively. For the simplicity of referencing the score, I will be referring to the written pitches for both of these instruments, and not the sounding pitches. !40

Example 9c: Weinzweig, Concerto for Harp and Chamber Orchestra, Cadenza III.

Example 9d: Weinzweig, Concerto for Harp and Chamber Orchestra, Cadenza IV.

The final measure of the clarinet material restates the low, semitone trill of the beginning of the phrase, and diminuendos to a brief ascending gesture of C to Db, recalling the modal disagreement of the previous measure. The exchange of minor and major seconds and thirds are reminiscent of indigenous melodic content. When the registers are simplified, this clarinet phrase reveals a more simple diatonic tonality that uses modal mixture and a relationship of dominant to tonic between E and A.

The horn phrase at the beginning of the fourth cadenza, Example 9d, primarily moves between F and Gb, with the ascending fourth between C and F only occurring as an opening gesture of each phrase. The low, semitone undulation appears in multiple, different rhythmic grouping, providing the illusion of metric freedom. This semitone gesture is punctuated by a glissando up a major seventh at the end of the first phrase, which, along with the semitone motion, relates the phrase to the methods of birdsong imitation used in indigenous music. !41

Example 9e: Weinzweig, Concerto for Harp and Chamber Orchestra, Cadenza V.

The fifth and final cadenza begins with bassoon, which leaps acrobatically between registers (Ex. 9e). Each measure begins with an Alberti bass-like figure in the upper register, alternating between E, F#, and G, which is then followed by an ascending gesture in the lower register, punctuated by an ascending minor second. The closing gesture of the final phrase descends an octave, and ends with a falling minor second, contrasting with the intervalic punctuation of the previous phrases. The major second, minor third pattern of the upper register motif recalls intervallic content of indigenous melodies, which is aided by the contour of the phrase, moving from the highest point to the lowest. Additionally, the upper register motif suggests the warbling of birdcalls.

Following each of these solos, the harp cadenza elaborates on the motivic gestures introduced by each instrument. Whereas the introductions imitate birdcalls with differing degrees of abstraction, the harp imitates the instruments, creating a meta layer of reference. In indigenous music, instruments are often used in a solo capacity to imitate birdcalls. By imitating the abstract representation of birdcalls, the harp evokes the relationship between indigenous music and its broader uses. Weinzweig creates further indigenous musematic connections through the melodic gestures, rhythmic organization, and intervallic content of the Concerto for Harp. !42

One notable element of indigenous music is the prominence of simultaneous, varied rhythmic layers, used in many different ways. Sometimes, composers adapt this technique by having members of a single ensemble play in multiple tempos at the same time. There are a few occasions in Freedman’s Tangents where this is observed. One measure before Rehearsal 14,

Freedman instructs the conductor to stop conducting for a measure, while a sextet of percussion, harp, viola, and cello play a series of independent gestures over a Bb drone in the clarinets. The intention behind this section is for each instrument to play unsynchronized from the others, so that the sense of rhythmic ambiguity is aided by the varying groupings of triple and duple note values (Ex. 10). Additionally, in this example the tambourine is played in such a way that it produces a rattle, drawing another musematic connection to indigenous music, specifically indigenous percussion.

Example 10: Freedman, Tangents, Rehearsal 13+9. !43

3.4 Rubbaboo examples

Rubbaboo commonly occurs within Canadian music. Due to the scope and variety of cultures within Canada, I will not be generating a list of musemes ahead of analysis, but rather identify individual examples blending settler/immigrant musical influences. One such example is

Applebaum’s frequent use of the Scotch Snap, a rhythmic figure of a sixteenth note and dotted eighth note with the sixteenth falling on the beat, commonly found in English and Scottish vocal music.94 The first movement of Applebaum’s Concertante uses Scotch Snaps prominently, with the first notable use being the horn solo in mm. 30-35 (Ex. 11a). This excerpt recalls the texture of the oboe solo of Example 7b, but the horn solo’s chant-like opening gives way to the Scotch

Snap. The secondary theme of the movement, mm. 78-84, elaborates on the Scotch Snap motif.

Whereas when the Scotch Snap was initially heard in the horn solo the intervals were minor thirds, the melody is now composed of planing minor thirds, transposing up and down a minor

Example 11a: Applebaum, Concertante for Small Orchestra, I, mm. 33-35.

Example 11b: Applebaum, Concertante for Small Orchestra, I, mm. 77-83.

94 Nicholas Temperley and David Temperley. “Music-Language Correlations and the “Scotch Snap,” 53. !44 second (Ex. 11b). This melody is accompanied by a variation on the cello ostinato of Example

8, thus displaying here a fusion of settler and indigenous influences.

Another example of a composer using gestures from another culture in their compositions is found in Sophie-Carmen Eckhardt-Gramatté’s Symphony-Concerto for Piano and Orchestra.

During the third movement, marked “vivo, tempo di toccata,” the composer instructs the soloist to play an excerpt “like a balaïlaika” (sic). This section, written in a 5/8 meter, suggests a folk dance. The folk character is further implied through the use of open fifths and fourths by the piano (Ex. 12).

The use of jazz idioms in Canadian orchestral compositions is another example of rubbaboo.95 The music of Norman Symonds is closely associated with Third Stream, a term

Example 12: Eckhardt-Gramatté, Symphony-Concerto for Piano and Orchestra, III, mm. 183-186.

95 Keillor, Music in Canada. 221. !45 coined by American composer and author Gunther Schuller. Symonds was considered to be the leading composer of the style in Canada during the centennial.96 This stylistic fusion between jazz and classical idioms is clearly felt in Symonds’s two centennial orchestral commissions: the

Democratic Concerto for jazz quartet and orchestra, and The Nameless Hour for jazz soloist and string orchestra. Symonds was not the only Canadian composer to employ jazz idioms in orchestral works; jazz influences appear in other Canadian works, such as Freedman’s Armana and Srul Irving Glick’s Symphony No.2.

Armana is a work in two contrasting sections: the first creating a sense of stasis and suspension through a variety of textures including cadenzas in free time; dense, overlapping polyphony; and large dynamic swells. The second section is lively, using elements of Latin

Example 13a: Freedman, Armana, Rehearsal 6+14.

96 Proctor, 193. !46 percussion, jazz rhythms and melodic gestures, and polyrhythms. At the end of the first section, the strings sustain a chord containing all twelve pitch classes of the chromatic scale at a ppp dynamic, while the percussion softly begin playing an ostinato that begins to rise in dynamic as more instruments are added. The percussion, with the exception of the timpani, are all frequently found in Latin music. Freedman gives license to the percussionists to improvise the pitches and timbral contrasts in order to more accurately recreate the playing style of Latin jazz. When the timpani enters, it is playing a variation on a clave rhythm (Ex. 13a). The following melody, played by all three trumpets in unison and followed by a series of scales and arpeggios played by the clarinets, is reminiscent of the timbre and texture of big band music. Another big band gesture that Freedman uses occurs seven bars after Rehearsal 11; the end of a crescendo is punctuated by a shot in the brass and percussion. The brass then fall off the pitch instead of cutting off cleanly, a gesture commonly found in big band music, while the bongos are instructed

Example 13b: Freedman, Armana, Rehearsal 11+4. !47 to “wail” and improvise for four measures. The inclusion of improvisation is rarely found in orchestral music and clearly evokes jazz (Ex. 13b).

Glick’s Symphony No.2 contains many allusions to and stylistic borrowings from jazz.

The work is closer to a concerto grosso than a symphony, as the flute, vibraphone, percussion, and bass often function as a kind of jazz quartet concertino against the ripieno of the rest of the strings. The unpitched percussion, consisting of only suspended cymbal and snare drum played by one player, creates the impression of a drum kit that would be used in a jazz combo. In the second movement, the harmonic, melodic, rhythmic, and textural influences of jazz are most clearly observed. At Rehearsal B, the melody from the opening of the movement is played by the

Example 14: Glick, Symphony No.2, II, mm. 31-38. !48 flute with a written-out swing rhythm. This is accompanied by the percussion running wire brushes in a circular motion on the head of a snare drum while emphasizing the swung triplets with the suspended cymbal. The bass plays pizzicato throughout this section, and functions as a jazz bass part—rather than an orchestral bass part—as evidenced by the use of a walking bass- line in mm. 38-39 (Ex. 14). Throughout this section, from Rehearsal B until m.51, the strings primarily move in stepwise motion, only occasionally using intervals larger than a major second.

The parsimonious voice-leading of the strings is reminiscent of the kind of chordal accompaniment often found in traditional jazz combos.

3.5 Musical irony and humour

As irony and humour are significant factors of Canadian identity, it is easily assumed that these qualities appear in music. Delineating and defining irony in music is a difficult task, but listeners do seem to recognize the existence of irony and respond to it.97 According to Tamara

Balter, there are six forms of irony that occur within music: verbal, situational, dramatic, general, parody, and romantic irony. Both verbal and dramatic irony rarely appear in instrumental music, as the ironic perception relies on text.98

Situational irony is not often discussed in music theory literature, but two “central, communally accepted, characteristics of music make it highly amenable to situational irony.”99

Balter writes, “First, classical music raises expectations: competent listeners project situations

97 Jennifer Gerstel, “Irony, Deception, and Political Culture in the Works of Dmitri Shostakovich.”

98 Tamara Balter. A Theory of Irony in Music: Types of Irony in the String Quartets of Haydn and Beethoven. 24, 37.

99 Ibid, 31. !49 they consider right for the (musical) conditions at hand. Second, listeners compare and contrast the anticipated situation (a musical event) with the one that occurs in the work.”100 In a musical context, situational irony can emerge when expectations about proper location of musical material is denied, for example, when a closing gesture is used at the beginning of a work.101

This kind of situational irony, the “closing-beginning” of a work, is found in works of Haydn and others. Specific examples are Haydn’s String Quartet Op. 33 and Beethoven’s Op. 21 and Op.

135.102 In addition to creating situational irony through denying expectations, it can be expressed by “frustrating a meticulously prepared expectation for harmonic resolution or a key area.”103

Although Canadian composers of the mid-twentieth century do not rely on the same techniques as the composers of the classical period discussed by Balter, similar examples of situational irony are displayed in works of the Canadian centennial.

In Freedman’s Armana, the elision between the first and second sections of the work constitutes situational irony. The first five minutes of the piece, nearly half of the total composition, establishes a compositional world of stasis and stillness. After a full five minutes of establishing compositional stasis, the beginning of the second section abruptly disrupts and changes the existing tone of the piece. By introducing new stylistic ideas, Freedman denies the expectation of the listener.

100 Ibid, 31.

101 Ibid, 31-32.

102 Ibid, 32.

103 Ibid, 34. !50

General irony, an irony centered on the rejection of all realities, is another form of irony often found in music. Whereas in other ironic forms the “projected situation was considered better than the real situation, general irony implies that no alternative to the real situation can make any difference; all possibilities are equally flawed.”104 When employing general irony, a musical work may take the listener “to several worlds, each of which is simultaneously or consecutively rejected,” often through the simultaneous presentation of “diverse levels, style, and topics.”105 General irony is also created when the generally accepted role of an ensemble or performer is defied. Balter points to the first of Stravinsky’s Three Pieces for String Quartet as an example of this. While “Conversation and communication between partners is, perhaps, the commonest metaphor for the string quartet genre,”106 Stravinsky employs extreme stratification between the layers of the string quartet as a way to defy the expectation of traditional role of a string quartet.

Examples of general irony are found throughout Canadian music. One such example is

Surdin’s Concerto for Accordion. The accordion is not often found in classical or orchestral settings, instead appearing more frequently in folk and popular music. Whereas accordions appear in modernistic works throughout the twentieth century in other countries, accordion concertos were extremely rare in Canada at the time of the centennial. By elevating the accordion to the role of a virtuoso soloist, Surdin defies the traditional expectation of how an accordion should appear or behave. Much like Surdin, concertos are used by Canadian composers as a

104 Ibid, 45.

105 Ibid, 45.

106 Ibid, 47-49. !51 means to defy expectations of the traditional role of a soloist. When Weinzweig composed his

Concerto for Harp, he not only gave the harp the neglected role of soloist, but also incorporated many contemporary extended techniques throughout the work.107 At that time, harp repertoire rarely used any extended techniques.108 Weinzweig went so far as to use 22 extended techniques that the soloist performs throughout the work. In Symond’s The Nameless Hour, the soloist’s part is almost entirely improvised, removing the expectation of virtuosity from both composer and soloist. At certain points in the piece, specifically m. 65 and m. 86, the soloist is instructed to contrast the written music played by the strings, either through harmony or musical character.

Another form of irony that appears in music is parody. Musical parody uses a piece of music, style, genre, or mannerism that “suggests that another real object, being its counterpart, also has its manifest drawbacks.”109 Balter writes:

Not every musical borrowing is a parody, but almost every musical parody is a borrowing— one that sheds unfavorable light on its source. It may be a mere irreverent joke that entertains by casting aspersions on a venerated predecessor, or a serious attempt to reform our taste by 110 !exposing the older model. There is also a distinction between satirical parody and non-satirical parody. Satirical parody points to one of its layers as preferred, often through its placement in a contrasting context, while non-satirical parody is the use of another musical text purely for ridicule.111 Parody can be employed in a variety of ways in music, and theme and variations is well suited to employ

107 Keillor, Music in Canada, 257.

108 Keillor, John Weinzweig and His Music: the Radical Romantic of Canada, 195.

109 Balter, 50.

110 Ibid, 50.

111 Ibid, 50-51. !52 parody. By the very nature of variations, the theme will be commented on by subsequent variations, and “the variations, functioning as explicit quotations, have an obvious external counterpart which they paraphrase and may ridicule,” especially if the theme is by another composer.112 Parody, in both satirical and non-satirical forms, appears with frequency in

Canadian works.

Freedman’s Tangents ends with a parody of rock music. Beginning at Rehearsal 30, the music begins to accelerate, with the groups of the orchestra playing either quiet, syncopated chords, or a loud, furious stream of eighth notes, sounding almost Stravinsky-like in this changing texture. At Rehearsal 33, the goal tempo is reached while the percussion continues driving the rhythm forward with an eighth note ostinato. The trumpets and trombones play short motifs in octaves, and each motif is followed by a chord played by the full orchestra. After five statements, the dynamic decreases and the texture is thinned out to just brass and percussion as they begin to build back up. Three more tutti chords are heard, followed by three unison notes in the brass. The horns crescendo through the fermata, which moves into Rehearsal 35. The Bb in the horns moves down a semitone as the rest of the orchestra enters in a mocking D major. The strings are all played pizzicato, strumming full chords as if playing a guitar. The percussion, with the constant eighth notes played by the suspended cymbal and the emphasis on beats 2 and 4 played by the snare and deep drum, sounds like a drum kit playing rock music. The melody played by the trumpets is imitates a child-like taunt (Ex. 15). Freedman “fully intended the section to exemplify rock and roll, and that the childhood taunt is introduced as a snide comment

112 Ibid, 51. !53 on the childish, elementary nature of rock.”113 This section ends with the flutes and trumpets stepping up a semitone to the chordal seventh of G7, and then playing an exaggerated, slow glissando down before a moment of silence. The rock and roll parody started by having the horns moving down a semitone, so it is worth noting that when the conclusion of the phrase ascends—

Example 15: Freedman, Tangents, Rehearsal 35.

113 Dixon, 169. !54 as a point of phrasal symmetry—it abruptly ends, as if Freedman would not allow rock and roll to be a musically legitimate part of the composition.

Similar to parody, romantic irony expects the listener to “project a deformed version of some aspect of it, mocking the latter.”114 However, unlike parody, a romantic ironic composition

“mocks some of its own features, such as its style, motives, and emotive content.”115 Romantic irony relies on self-ridicule. It has been noted by Hutcheon that Canadians, and especially

English-speaking Canadians, are known to specialize in self-deprecating irony.116 As such, it is easily understood that romantic irony would be used by Canadian composers.

Freedman’s Tangents expresses romantic irony after the parody of rock music. When the rock section ends, the composition quietly—and somewhat shyly—moves forward into a section with sparse, Klangfarbenmelodie gestures. This section seems to lack any sense of pulse, and thus is reminiscent of earlier sections of the piece. Immediately following, as if the piece suddenly remembers where it was going before it was interrupted by the rock and roll section, the orchestra resumes the dissonant chordal material from Rehearsal 33 for four bars, before the percussion completely takes over with a driving ostinato towards the final measure. This very brief coda is where the work best represents its title, as if realizing that it was on a tangent, and stops to ask “where was I?” before very quickly wrapping up.

114 Balter, 54.

115 Ibid, 54.

116 Hutcheon, Splitting Images, 6. !55

3.6 Form as national signifier

Discussing how national music can be detected through the abstract, Riley & Smith propose the “commemorative cycle.” The commemorative cycle emulates large displays of national pride, often in the form of pageants and parades, in an abstract way through the evocation of a chorale, funeral, and march.117 The most successful of these pieces are incomplete,

allusive, or partially ironized in their depiction of the commemoration cycle. Pieces that display a

more complete or concrete understanding of the commemorative cycle are nationalist, not

national, and are considered a form of propaganda.118 Canadian musical identity is informed by

national music, and some of the orchestral works of the Canadian centennial reflect the

“commemorative cycle.” This formal organization is found in works such as Betts’s Kanadario

and Kalnins’s New Brunswick Rhapsody, but because of the explicit Canadian references of the

titles,119 the use of the commemorative cycle by these works borders on the nationalist as well as

national interpretation. A more allusive and abstract use of the commemorative cycle is displayed

in Freedman’s A Little Symphony.

A Little Symphony is a work in one movement, but divided into three sub-movements, a

formal technique used in other single movement symphonies such as Schoenberg’s Chamber

Symphony No. 1 and Sibelius’s Symphony No. 7. The first section of the piece, ostensibly the first

movement, concludes with a brass chorale (Ex. 16a). This begins at rehearsal 14 of the work,

117 Riley & Smith, Nation and Classical Music, 178.

118 Ibid, 191.

119 Kanadario is a variation on the Huron word for Lake Ontario, and New Brunswick is one of the Maritime provinces. Although both of the pieces are without a programme, the titles convey something outside of the abstract. !56 and the chorale is played against a cascade across the winds and strings, starting at the high register of the orchestra and quickly descending while the ensemble diminuendos from fortissimo to mezzo-piano over the course of two bars. This leads to the second section of the work, with a much slower metronome marking of quarter=44. At Rehearsal 16, a new brass chorale emerges, before leading into soft, staccato string gestures at Rehearsal 17. These string gestures evoke the feeling of a funeral march (Ex. 16b). The final section of the piece features

“what amounts to a musical battleground”120 between the different groups of the orchestra. This musical battle is felt beginning at Rehearsal 21+6, while at Rehearsal 25+1 “common ground is located: several previously heard motives emerge as the victors, to be tossed quickly back and forth between combatants.”121 Although this may not be the march that Riley & Smith would

Example 16a: Freedman, A Little Symphony, Rehearsal 14.

120 Dixon, The Music of Harry Freedman, 58.

121 Ibid, 59. !57 include as part of the commemorative cycle, the militaristic evocations of a march are clearly felt in the battleground of the third section of Freedman’s A Little Symphony. Through the examples of a chorale, funeral march, and battle found in A Little Symphony, Freedman evokes the commemorative cycle, creating a work that synthesizes typical displays of national celebrations and pageantry with an abstract musical language.

The commemorative cycle expresses abstract ideas of national music, but does not highlight specifically Canadian elements of form. Canadian identity can be expressed formally through theme and variations and other sectional forms. In both Morel’s Trajectoire and

Freedman’s Tangents, the work is divided into eleven sections. Tangents is a set of theme and variations, where the theme is followed by eleven variations, while Trajectoire is made up of eleven contrasting sections, not necessarily variations. The number eleven is significant because that was the number of provinces and territories that were in Canada at the time of the

Example 16b: Freedman, A Little Symphony, Rehearsal 17. !58 centennial.122 This symbolism was broadcast throughout Canada by the use of the Centennial

Symbol, “a stylized maple leaf made up of eleven equilateral triangles representing the ten provinces and the Canadian north” that was adopted by the Centennial Commission in 1965.123

Through the abstract reference and representation of the different regions of Canada, form can express Canadian identity.

3.7 Conclusion

The centennial was an incredibly productive time for many Canadian composers, and many orchestral works were written for the occasion. It is unfortunate that practically all of these works have received only a handful of performances following their premiers, if any at all. The centennial marked a turning point for Canada as a country, and as such it also marked a turning point for its culture and music, creating more defined ideas of a national identity. One of the aims of the centennial was to have Canadians celebrate what it means to be a Canadian in as many ways as possible. To respond to Godfrey Ridout: there is no distinctive Canadian. Instead, we have many different views of what it means to be Canadian, and there are many ways that

Canadian identity can be expressed. Only by examining the works of the past and the present can we have a dialogue about what Canadian identity is. The orchestral works of the Canadian centennial are a great place to start.

122 Anecdotally, I wrote a choral piece in 2016 that used a similar process. The work was explicitly Canadian, through the use of the national motto “a mari usque ad mare” as the text and the bilingual setting, but also used the implied Canadian symbolism of dividing the work into thirteen sections (the current number of provinces and territories). It is interesting to observe that this symbolism is present before I was aware of either of these centennial works, and also that this choral piece of mine was awarded a SOCAN award, which makes it entirely possible that the implied Canadian identity resonated with others.

123 Davies, 48. !59

My hope for this document is twofold: first, that it acts as a programming resource for conductors and orchestras. There are lots of high-quality orchestral works written by Canadians that deserve more attention, and the orchestral works of the centennial are a great place to start.

Secondly, I hope that this document provides a lens through which Canadian music and identity can be viewed and analyzed. The centennial produced a large volume of orchestral music, but there are many great Canadian orchestral works written before and after that demonstrate elements of North, Indigenous influence, rubbaboo, and irony. !60 !

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Helmer, Paul. Growing with Canada: The Emigré Tradition in Canadian Music. Vol. 6. !Montreal; Ithaca; McGill-Queen's University Press, 2009. Hétu, Jacques. Double concerto pour violon, piano et orchestra de chambre, Op. 12. Toronto: !Canadian Music Centre, 1967. Hutcheon, Linda. A Poetics of Postmodernism: History, Theory, Fiction. New York: Routledge, !1988. !————. The Politics of Postmodernism. New York: Routledge, 1989. ————. Splitting Images: Contemporary Canadian Ironies. New York; Toronto: Oxford !University Press, 1991. Jackson, Peter. "The Politics of the Streets: A Geography of Caribana." Political Geography 11, !no. 2 (1992): 130-151. !Joachim, Otto. Contrastes. Toronto: Ricordi, 1967. Kallmann, Helmut, John Beckwith, and Frederick Albert Hall. Musical Canada: Words and !Music Honouring Helmut Kallmann. Toronto: University of Toronto Press, 1988. ————, Antoine Dessane, Guillaume Couture, Joseph Vézina, W. O. Forsyth, Clarence Lucas, Rodolphe Mathieu, and Ernest MacMillan. 1990. Music for orchestra I. Musique pour ochestre I. !Ottawa: Canadian Musical Heritage Society. !Kalnins, Janis. A New Brunswick Rhapsody. Toronto: Canadian Music Centre, 1972. Keillor, Elaine. John Weinzweig and His Music: the Radical Romantic of Canada. Metuchen, NJ: !Scarecrow Press, 1994. ————. Music in Canada Capturing Landscape and Diversity. 1st Pbk. ed. Montreal [Que.]: !McGill-Queen's University Press, 2008. ————, "Orchestral Composition". In The Canadian Encyclopedia. Historica Canada. Article published February 07, 2006; last modified January 21, 2014. !https://www.thecanadianencyclopedia.ca/en/article/orchestral-composition-emc ————, Calixa Lavallée, Guillaume Couture, Claude Champagne, Georges-Emile Tanguay, J.- J. Gagnier, and Healey Willan. 1994. Music for orchestra II. Musique pour orchestre II. Ottawa, !Ont: Canadian Musical Heritage Society. !63

————, Murray Adaskin, Colin McPhee, Hector Gratton, Gabriel Cusson, Godfrey Ridout, and Violet Archer. 1995. Music for orchestra III. Musique pour orchestre III. Ottawa, Ont: !Canadian Musical Heritage Society. Keiser, Karen, and Mark Hand. "The Canadian Music Centre: A History." Fontes Artis Musicae !34, no. 4 (1987): 216-23. King, Betty Nygaard, and Gilles Potvin, "Alexander Brott". In The Canadian Encyclopedia. Historica Canada. Article published January 22, 2008; Last Edited March 04, 2015. !https://www.thecanadianencyclopedia.ca/en/article/alexander-brott-emc Lee, Sherry D. "Radical Modernism, Operatic Failure, and Louis Riel’s Challenge to !Reconciliation." University of Toronto Quarterly 87, no. 4 (2018): 22-28. Levy, Alan Howard. Musical Nationalism: American Composers' Search for Identity. Vol. no. 66. !Westport, Conn: Greenwood Press, 1983. MacMillan, Keith. “Comprehensive Catalogue of New Canadian Music Written in Honour of !Canada’s Centennial Year, 1967” Musicanada, December 1967, 7. !————. “The Canadian Music Centre: activities in 1967” Musicanada, April 1968, 5-12. ————, and John Beckwith. Contemporary Canadian Composers. Toronto; New York: !Oxford University Press, 1975. !McGee, Timothy J. The Music of Canada. 1st Ed. ed. New York: W.W. Norton, 1985. !Morel, François. Trajectoire. Toronto: Canadian Music Centre, 1967. !Pitman, Walter. 2002. Louis Applebaum: a passion for culture. Toronto: Dundurn Group Proctor, George Alfred. Canadian Music of the Twentieth Century. Toronto: University of !Toronto Press, 1980 Rideout, Dave. “Setting the Stage for the Artistic Repatriation of Indigenous Music.” Queen's Gazette. Queen's University, June 3, 2019. https://www.queensu.ca/gazette/stories/setting-stage- !artistic-repatriation-indigenous-music. Riley, Matthew, and Anthony D. Smith. Nation and Classical Music: From Handel to Copland. !Woodbridge, Suffolk, UK: The Boydell Press, 2016. Storring, Nick. “Nameless Hour - Norman Symonds.” Canadian Music Centre | Centre De Musique Canadienne, 30 Mar. 2016, https://www.musiccentre.ca/node/138587. !64 ! ————. “Radical Liminality: Reflections on Another Timbre’s Canadian Series” Canadian Music Centre | Centre De Musique Canadienne, 19 Apr. 2017, https://www.musiccentre.ca/node/ !146185 Surdin, Morris. Concerto for Accordion and String Orchestra. Toronto: Canadian Music Centre, !1967. !Symonds, Norman. The Nameless Hour. Toronto: Canadian Music Centre, 1966. Tagg, Philip. Fernando the Flute: Analysis of Musical Meaning in an Abba Mega-Hit. New !York: Mass Media Music Scholars Press, 2001. Temperley, Nicholas, and David Temperley. "Music-Language Correlations and the “Scotch !Snap.”" Music Perception: An Interdisciplinary Journal 29, no. 1 (2011): 51-63. Weinzweig, John. Concerto for Harp and Chamber Orchestra. Toronto: Canadian Music Centre, !1967. ————. Concerto for Piano and Orchestra. Toronto: Canadian Music Centre, 1966. !65 ! DISCOGRAPHY !

Applebaum, Louis. “Concertante.” Toronto Symphony Orchestra; Victor Felbrill, conductor. !CBC broadcast 1976. Brassard, François-Joseph. “Poeme d’amour et de joie.” CBC Orchestra conducted by George !Little; Bruno Laplante, baritone; CBC broadcast 1970 Eckhardt-Gramatté, Sophie-Carmen. “Symphony-Concerto.” Toronto Symphony Orchestra !conducted by Otto-Werner Muller; Anton Kuerti, soloist; CBC broadcast January 12 1968. Freedman, Harry. “Armana.” CBC Festival Orchestra conducted by Pierre Hetu; CBC broadcast !January 1968. ————. Canadian Composers Portraits: Harry Freedman. Centrediscs / Centredisques !CD-CMCCD 8402, 2002, 2 compact discs. ————. “A Little Symphony.” Saskatoon Symphony Orchestra conducted by David Kaplan; !Archival recording, Feburary 1967. Glick, Srul Irving. “Symphony No.2.” Toronto Repertory Orchestra conducted by Milton Barnes; !CBC broadcast, Jan. 24, 1969. !Gray, John S. “Episode 25: Bruce Mather” Composer’s Chair. Podcast audio, September 2012 !————. “Episode 12: Istvan Anhalt” Composer’s Chair. Podcast audio, August 3 2010 Hétu, Jacques. “Double concerto pour violon, piano et orchestre de chambre.” Victoria Symphony Orchestra conducted by Glen Fast; Devy Deane, violin; Mary Lou Davies, piano; !Archival recording, March 7, 1983. Joachim, Otto. “Contrastes.” Toronto Symphony Orchestra conducted by Mario Bernardi; CBC !broadcast August 7, 1969. Mather, Bruce. “Orchestra Piece 1967.” Toronto Symphony conducted by Jean Deslauriers; CBC !broadcast January 1967. Mayer, Uri, cond. Great Orchestral Marches. Edmonton Symphony Orchestra. CBC Records 5093, 1990, compact disc. !66 ! Morel, Francois. “Trajectoire.” Montreal Symphony Orchestra conducted by Franz-Paul Decker; !CBC broadcast December 1970. Perrault, Michel. “Centennial Hommage.” CBC Montreal Orchestra, conducted by the composer; !CBC broadcast March 11 1967. Surdin, Morris. “Concerto for Accordion and String Orchestra.” CBC Vancouver Chamber Orchestra conducted by John Avison; Joseph Macerollo, accordion; CBC broadcast May 31, !1970. Symonds, Norman. “Democratic Concerto.” Fred Stone Quartet with the Winnipeg Symphony !Orchestra conducted by Victor Feldbrill; CBC broadcast December 1967. ————. “The Nameless Hour.” Toronto Symphony conducted by Victor Feldbrill; Fred Stone, !flugelhorn; December 1966. Weinzweig, John. Canadian Composers Portraits: John Weinzweig. Centrediscs / Centredisques !CD-CMCCD 8002, 1992, 3 compact discs. !————. Wine of Peace. Furiant Records CD-FMDC 4602-2, 1998, compact disc. ! !67 ! APPENDIX A. FURTHER INFORMATION ABOUT

CENTENNIAL ORCHESTRAL WORKS ! ! Instrumentation, commission, premier, and publisher information # indicates a commission with funds from the Centennial Commission ^ indicates a CBC commission !~ indicates a piece intended for school/youth/community/amateur ensembles and musicians Anhalt, István Symphony of Modules 25’

4(alto fl, sop recorder (2))3(corA)4(eb.cl, b.cl)4(cbsn)/ 6432/ timp(2)+6/ harp, gtr, accordion, cel, hpd, piano/ strings/tape ——— Commissioned by Simon Fraser University ——— Has not been premiered as of March 2020 ——— ! Available through the Canadian Music Centre ! #

Applebaum, Louis Concertante for Small Orchestra 16’

2222/2(2 opt)00/(1 perc opt)/strings ——— Commissioned by the Edmonton Symphony Orchestra, in collaboration with the Canadian Music Centre ——— Nov. 9, 1967; Edmonton Symphony Orchestra, Brian Priestman, cond. ——— ! Available through the Canadian Music Centre # !68 !

Barnes, Milton Pinocchio; a symphonic poem 16’

3(picc)222/4231/timp+3/strings ——— Commissioned by the Ontario Federation of Symphony Orchestras through the Centennial Commission for premiere during Canada's Centennial year, 1967. ——— January 29, 1967; St. Catherines Symphony, under the direction of the composer. ——— ! Available through the Canadian Music Centre ! #~

Beckwith, John Place of Meeting 31’

Tenor, male blues singer with guitar, male speaker/SATB chorus/ 3(picc)3(corA)3(b.cl, eb.cl)3(cbsn)/6331/ timp+3, harp, piano (cel)/strings ——— Commissioned by the Toronto Mendelssohn Choir with the collaboration of the Canadian Music Centre through the Centennial Commission for premiere during Canada's centennial year, 1967. ——— Nov. 15, 1967. Toronto Mendelssohn Choir and Toronto Symphony Orchestra, Elmer Iseler and John Beckwith, conductors; Jacob Barkin, tenor; Phil Maude, blues singer; Al Harris, guitar; Colin Fox, speaker ——— ! Available through the Canadian Music Centre # ! ! !69 !

Betts, Lorne A Cycle of the Earth 12’

Soprano/2222/2000/perc, harp/strings ——— Commission and premier information unavailable ——— ! Available through the Canadian Music Centre

Kanadario; music for a festival occasion 13’

3(picc)223(cbsn)/4231/3 perc, cel/strings ——— Commissioned by the Ontario Federation of Symphony Orchestras through the Centennial Commission for premiere during Canada’s centennial. ——— February 26, 1967; Hamilton Philharmonic Orchestra, conducted by Lee Hepner ——— ! Available through the Canadian Music Centre ! #

Bissell, Keith A Bluebird in March 7’10”

SATB/2222/4331/timp/strings ——— Commissioned by St. Catharines Symphony Orchestra and Choir ——— April 9, 1967; St. Catharines, conducted by Milton Barnes ——— ! Available through the Canadian Music Centre ! !70 !

Bottenberg, Fantasia for solo trumpet and small orchestra 10’

Wolfgang 2021/0000/strings ——— Commissioned by Acadia University ——— April 6, 1967; Ian McKinnon, trumpet, Janis Kalejs, conductor ——— ! Available through the Canadian Music Centre

Brassard, Poème d’amour et de joie 12’

François-Joseph Solo baritone/2222/2200/timp, harp/strings ——— Commissioned by CAMMAC (Canadian Amateur Musicians/ Musiciens amateurs du Canada) in collaboration with the Canadian Music Centre ——— Premier information not available124 ——— ! Available through the Canadian Music Centre ! # ~

Brott, Alexander Centennial Cerebration 22’

SSAA+narrator/strings ——— Commissioned by the McGill Chamber Orchestra ——— April 17, 1967 ——— ! Available through the Canadian Music Centre ! ^

124 Recording exists of CBC Orchestra conducted by George Little; Bruno Laplante, baritone; recorded 1970. No indication if this is the premier. !71 !

Paraphrase in Polyphony 22’

3(picc)3(corA)3(b.cl)3(cbsn)/4331/timp, perc, piano/strings ———- Commissioned by Lawrence Lande ——— November 3, 1967; Montreal, conducted by the composer ——— ! Available through the Canadian Music Centre

Cherney, Brian Variations for Orchestra 18’

3(picc)3(corA)3(b.cl)2/4331/ timp+3, harp, cel/strings. ——— Commission and premier information unavailable ——— ! Available through the Canadian Music Centre

Clements, Peter J. The Cloud of Unknowing 15’40”

SATB, 2 narrators/2131/4(or2)221/timp+3/strings/tape ——— Commissioned by the Sunday Nine O’Clock Committee, University of Western Ontario ——— December 17, 1967; University of Western Ontario Choir and Orchestra ——— ! Rental information unavailable ! !72 !

Coulthard, Jean This Land 40’

Soprano, contralto, tenor, baritone, SATB chorus, verse chorus (ie. speaking)/ 3(picc)3(corA)23(cbsn)/4230/ timp+1, 1 or 2 harps/strings/prepared tape. ——— Commissioned by the Centennial Committee for the Vancouver Symphony Orchestra and Chorus. ——— Premier information not available ——— ! Available through the Canadian Music Centre ! #

Dela, Maurice Projection 12’

3(picc)3(corA)3(b.cl)3(cbsn)/4331/ timp+3, harp, piano (cel)/strings ——— Commissioned by the Montreal Symphony Orchestra ——— January 18, 1967; Montreal Symphony Orchestra, conducted by Pierre Hétu ——— ! Available through the Canadian Music Centre ! #

Dolin, Samuel Fantasy for Piano and Chamber Orchestra 14’

1111/1000/solo pno/strings ——— Commissioned by the Toronto Repertory Ensemble ——— February 26, 1967; Toronto Repertory Ensemble conducted by Milton Barnes; Dorothy Glick, piano ——— Available through the Canadian Music Centre !73 !

Eckhardt- Symphony-Concerto for Piano and Orchestra 35’

Gramatté, S.C 3(picc)222/4331/timp+3, harp/solo piano/strings ——— Commissioned by the Canadian Broadcasting Corporation for Canada's centennial year, 1967. ——— January 12, 1968; Toronto Symphony conducted by Otto-Werner Muller; Anton Kuerti, soloist ——— ! Available through the Canadian Music Centre ! ^

Fleming, Robert Four Fantasias on Canadian Folk Themes 15’30”

3(picc)13(bcl)alto, tenor and bar saxophones1/3230/ timp+1/strings. Also in a version for band. ——— Commissioned by the Canadian Music Educators Association through the Canadian Centennial Commission for premiere in 1967. ——— March 28, 1967; London, Ont.; Lawrence Park Collegiate Orchestra, conducted by John McDougall and the Manitoba All- Province Concert Band, conducted by Fred Merrett ——— Available through the Canadian Music Centre

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Freedman, Harry Armana 8’

3(picc)3(corA)3(bcl)3(cbsn)/4331/ timp+3, harp, cel/strings. ——— Commissioned by the Canadian Broadcasting Corp. for performance during Canada's centennial year 1967. ——— July 27, 1967; Toronto Symphony Orchestra conducted by Pierre Hétu ——— Available through the Canadian Music Centre ! ^

A Little Symphony 17’

3(picc)23(b.cl)2/4331/timp+3/strings ——— Commissioned by the Saskatoon Symphony through the Centennial Commission for premiere during Canada's centennial year, 1967. ——— February 26, 1967; Saskatoon Symphony conducted by David Kaplan ——— Available through the Canadian Music Centre ! #

Tangents 17’

3(picc)3(corA)3(bcl)3(cbsn)/4331/timp+3, harp/strings ——— Commissioned by the National Youth Orchestra Association of Canada through the Centennial Commission for premiere in 1967. ——— July 21, 1967; Montreal, National Youth Orchestra conducted by Brian Priestman ——— Available through the Canadian Music Centre ! # !75

Glick, Srul Irving Symphony No.2 23’

1000/0000/2 perc/strings ——— Commissioned by the Toronto Chamber Orchestra through the Centennial Commission for premiere in Canada's centennial year, 1967. ——— January 24, 1969; Toronto Repertory Orchestra conducted by Milton Barnes ——— Available through the Canadian Music Centre ! #

Goldberg, Theo Sinfonia Concertante N/A

for flute, clarinet, trumpet, violin and cello soloists with orchestra125 ——— Commissioned by the Vancouver Symphony Orchestra ——— December 2, 1967; Vancouver Symphony Orchestra, conducted by Meredith Davies ——— Rental information unavailable ! #~

Hétu, Jacques L’Apocalypse, Op. 14 15’

Fresque symphonique d'après l'Apocalypse de Saint Jean.

3(picc)3(corA)3(bcl)4(cbsn)/4331/timp+1, harp, cel/strings ——— Commissioned by the Canadian Broadcasting Corporation ——— May 1968; Toronto Festival, Toronto Symphony Orchestra conducted by Pierre Hétu ——— Available through the Canadian Music Centre

125 Score and instrumentation cannot be located !76 !

Double Concerto pour violon, piano 16’

et orchestra de chambre, Op. 12

2222/2000/solo vln, solo pno/strings ——— Commissioned by the Pach Duo ——— July 23, 1967; Charlottetown; conducted by John Fenwick, Arlene Pach, piano, Joseph Pach, violin ——— Available through the Canadian Music Centre ! #

Joachim, Otto Contrastes 16’

3(picc)3(corA)3(bcl)2/4331/timp+2, harp, piano/strings. ——— Commissioned by the Toronto Symphony on the occasion of the Canadian Centennial year ——— May 6, 1967; Montreal, Toronto Symphony Orchestra, conducted by Seiji Ozawa ——— Available through Counterpoint Music Library Services ! #

Kalnins, Janis A New Brunswick Rhapsody 14’

3(picc)222/4331/timp+1, harp, cel/strings ——— Commissioned by the New Brunswick Symphony Orchestra ——— October 17, 1967; Fredericton, conducted by the composer ——— Available through the Canadian Music Centre # !77 ! Kenins, Talivaldis Second Symphony (Sinfonia Concertante) 18’

2(picc)222/2222/timp+2/solo fl, ob, cl/strings ——— Commissioned by the Cosmopolitan Club, for the Saskatoon Symphony Orchestra ——— March 3, 1968; Saskatoon Symphony Orchestra conducted by David Kaplan ——— Available through the Canadian Music Centre

Kunz, Alfred The Big Land 70’

SATBar soli/SSA children’s choir/SATB/ 2222/4331/timp+1/piano/strings ——— Commissioned by the University of Waterloo ——— December 1, 1967; University of Waterloo Chorus, Junior Choir and Orchestra. Conducted by the composer ——— ! Available through the Canadian Music Centre

Laufer, Edward Variations 14’

2(picc)2(corA)22/2100/timp+1, harp/strings ——— Commissioned by the Halifax Symphony Orchestra ——— March 12, 1967; Halifax Symphony Orchestra, John Fenwick conducting ——— Available through the Canadian Music Centre ! # ! !78 !

Mather, Bruce Ombres 6’

2(picc)222/4221/2 perc, harp, piano/strings ——— Commissioned by Pierre Hétu for the Matinées Symphoniques de Montréal. ——— Premier information unavailable ——— ! Available through the Canadian Music Centre

Orchestra Piece 1967 15’

3(picc)3(corA)4(bcl, ebcl)3(cbsn)/4331/ timp+4, harp, mandolin, piano/strings ——— Commissioned by the Canadian Broadcasting Corporation ——— January 11, 1967; Toronto Symphony Orchestra conducted by Jean Deslauriers ——— Available through the Canadian Music Centre ! ^

Matton, Roger Te Deum 18’

Baritone/SATB/3(picc)23(bcl)3(cbsn)/4331/ timp+1, piano (cel), harp/strings/tape ——— Commissioned with a grant from the Ministère des Affaires Culturelles du Québec ——— November 27, 1967; Québec, conducted by Françoys Bernier, Gaston Germain, Baritone ——— ! Available through the Canadian Music Centre ! !79 !

Morel, François Couleurs formes 18’

Instrumentation information unavailable ——— Commissioned by the Toronto Symphony Orchestra ——— Premier information unavailable ——— Rental information unavailable ! #

Trajectoire 11’

3(picc)2(corA)3(bcl)2(cbsn)/4441/ timp+2, harp, piano (cel)/strings ——— Commissioned by the Canadian Broadcasting Corporation ——— Premier information unavailable ——— Available through the Canadian Music Centre ! ^

Naylor, Bernard Missa da camera 9’

Solo SATB/SATB/0122/1000/strings ——— Commissioned by the Winnipeg Choristers ——— November 23, 1967; Winnipeg, conducted by Filmer Hubble ——— Published by Novello #

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Pannell, Raymond Concerto for Piano and Orchestra 20’

223(bcl)2/3230/timp/solo piano/strings ——— Commissioned by the London (Ontario) Symphony Orchestra ——— January 24, 1967; London (Ontario) Symphony Orchestra, conducted by Martin Boundy, with the composer at the piano ——— ! Available through the Canadian Music Centre

Pépin, Clermont Quasars (Symphonie no. 3) 25’

4(picc)(alto fl)3(corA)3(bcl)3(cbsn)/4331/ timp+4, harp, piano, ondes martenot (optional)/strings ——— Commissioned by the Montreal Symphony Orchestra ——— February 7, 1967; Montreal Symphony Orchestra conducted by Franz-Paul Decker ——— ! Available through the Canadian Music Centre

Perrault, Michel Centennial Homage 14’

22(corA)22/4231/strings ——— Commissioned by the Victoria Symphony Orchestra ——— February 26, 1967; Abridged version, Victoria, conducted by Harold Farberman March 11, 1967; Complete version, broadcast CBC from Montreal, conducted by the composer ——— Available through Editions Consonance ! # ! !81 !

Polgar, Tibor The Last Words of Louis Riel 17’

Contralto, baritone, SATB/2(picc)2(corA)2(bcl)2(cbsn)/ 4331/timp+3, harp, piano (cel)/strings ——— Composed as a Centennial Project while on a Senior Arts Fellowship from the Canada Council ——— Premier information unavailable ——— Available through the Canadian Music Centre ! #

Prévost, André!! Terre des hommes 46’

2 speakers, triple SATB/444(eb.cl)5/442(2 tpt in D)31/ timp+1, ondes Martenot, cel/double string orchestra ——— Commissioned for Expo 67 ——— April 29, 1967; conducted by Pierre Hétu ——— ! Rental information unavailable

Ridout, Godfrey Folk Songs of Eastern Canada 9’

High voice/2222/2200/perc/strings ——— Commissioned by the Canadian Broadcasting Corporation for Lois Marshall ——— July 11, 1967; Toronto, conducted by Mario Bernardi, Lois Marshall, voice ——— Published by Gordon V. Thompson ! ^

!82 ! When Age and Youth Unite 8’ SATB/2121/4331/timp+1, harp/strings ——— Commissioned by the Canadian Music Educators’ Association ——— March 28, 1967; London, Ont, CMEA biennial convention, school choir and orchestra conducted by J. L McDowell ——— Available through the Canadian Music Centre ! ~

Saint-Marcoux, Modulaire 12’ Micheline 3(picc, alto fl)3(corA)3(bcl)3/4431/ Coulombe timp+3, ondes Martenot, harp, piano/strings ——— Awarded the Premier prix in composition from the Conservatoire de musique du Québec ——— ! Available through the Canadian Music Centre

Schafer, R. Murray Threnody 17’45” 5 narrators/SATB/4(picc)3(corA)33/4431/ timp+1, harp, piano/strings/tape ——— Commissioned by the Alumnae of the Royal Conservatory of Music for the Vancouver Junior Symphony Orchestra ——— Premiered in Vancouver, conducted by Simon Streatfield ——— Published by Berandol Music Ltd. and distributed by the Canadian Music Centre ! ~ ! ! !83

Surdin, Morris Concerto for Accordion and String Orchestra 13’ solo accordion/strings ——— Commissioned by the Hart House Orchestra with the collaboration of the Canadian Music Centre under a grant from the Centennial Commission for premiere performance during Canada’s centennial year, 1967 ——— January 29, 1967; conducted by Boyd Neel, Joseph Marcello, accordion ——— Available through the Canadian Music Centre ! #

Symonds, Norman Democratic Concerto 35’ Solo jazz quartet: trumpet or alto saxophone or tenor saxophone (trumpet optional dbl flügelhorn), piano, double bass, drums/ 3(picc)3(corA)22/4331/timp+2/strings ——— Commissioned by the Winnipeg Symphony Orchestra, on a grant from the Centennial Commission ——— December 14, 1967; conducted by Victor Feldbrill ——— Available through the Canadian Music Centre ! #

The Nameless Hour 9’ jazz soloist126/strings ———- Commissioned by the Canadian Broadcasting Corporation ———- December 19, 1966; broadcast from Toronto, conducted by Victor Feldbrill; solo flugelhorn, Fred Stone ! ^

126 “A jazz soloist is indicated for the simple reason that today the best improvisers come from jazz. However this indication does not exclude symphonic or classically-oriented musicians. The prime requisite for the soloist is first-rate improvising ability. Style is secondary” Norman Symonds, The Nameless Hour !84

Weinzweig, John Concerto for Harp and Chamber Orchestra 15’ 1111/1000/solo harp/str ——— Commissioned by Judy Loman and the Toronto Repertory Ensemble ——— April 30, 1967; Toronto Repertory Ensemble, conducted by Milton Barnes; Judy Loman, harp ——— Available through the Canadian Music Centre ! #

Concerto for Piano and Orchestra 18’20” 3(picc)3(corA)3(bcl)3(cbsn)/4331/timp+3/solo pno/strings ——— Commissioned by the Canadian Broadcasting Corporation ——— December 19, 1966; Toronto Symphony Orchestra, conducted by Victor Feldbrill; Paul Helmer, piano ———- Available through the Canadian Music Centre ! ^

Willan, Healy Centennial March 5’ 2222/4331/timp+1, harp/strings ——— Commissioned by BMI Canada ——— Premier information unavailable ———- Published by Berandol Music Ltd.

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