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Leslie Uyeda Celebration for INTERNATIONAL WOMEN’S DAY

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Leslie Uyeda Celebration for INTERNATIONAL WOMEN’S DAY CELEBRATING CANADIAN COMPOSERS Leslie Uyeda Celebration FOR INTERNATIONAL WOMEN’S DAY Friday • March 9, 2018 • 7∶00pm As a courtesy… Please turn off the sound for all phones and other electronic devices. You are welcome to take non-flash photos during applause between pieces, but please refrain from taking photos during a performance and between movements, thank you. We encourage you to post your photos and share your experience on social media using the hashtag #CMCBC CMC BC on Twitter: @MusicCentreBC CMC BC on Facebook: facebook.com/CanadianMusicCentreBC Website: musiccentrebc.ca CMC National on Twitter: @CMCnational CMC National on Facebook: facebook.com/CanadianMusic Website: musiccentre.ca Enjoy a glass of pink Prosecco or Show your ticket and get 10% off a San Pellegrino sparkling all hot beverages at Breka Bakery beverage at the Lobby Bar. next door at 855 Davie Street. ‘ Program Editor • Stefan Hintersteininger Program Designer • Tom Hudock Paper generously provided by C-PAC The Murray Adaskin Piano is maintained by Scott Harker of Harker Piano Services Letter from the BC Director With Leslie’s enthusiastic agreement, we are dedicating tonight’s Celebration to International Women’s Day, which was established by the UN to celebrate the social, economic, cultural, and political achievements of women around the world. For too long women in Canada have not been treated equally by the very nation they helped build, earning less than men for equal work, having to fight for the right to vote, to own property, and for equal opportunity. The lack of affordable child care still remains a barrier preventing many women from reaching their potential. Yet we have also made great progress as a nation, and the Canadian Music Centre is trying to do our part. I’m pleased to announce tonight that our BC Advisory Council will achieve gender parity this year for the very first time. International Women’s Day is a gift; a moment to reflect upon the extraordinary women who have contributed so much to our lives, and to the success and vibrancy of our nation. And it provides us an opportunity to recognize those women who have made such monumental contributions to Canadian music — such distinguished composers as Barbara Pentland, Jean Coulthard, Violet Archer, and Sophie-Carmen Eckhardt-Gramatté. One of the great joys of the Murray Adaskin Salon Concert Series has been exploring the remarkable body of music created by these extraordinary women composers, and tonight we celebrate the music of their contemporary colleague, Leslie Uyeda. In the words of Kathryn Cernauskas, founder of The Avondale Press and flutist extraordinaire: “Leslie Uyeda is a composer with that rare combination of clear-eyed intelligence and deeply- felt emotion. Although her music can be demanding it is always rewarding because its intention is purely musical, never just for effect. I love to play Leslie’s music because it engages my head, heart and hands equally. Even her instrumental music sings!” ⇨ – 1 – In order to fully capture Leslie’s unique and remarkable contribution to Canadian music I’ve asked Leslie’s colleague and fellow composer Janet Danielson, former Chair of the Association of Canadian Women Composers and a Lecturer at the SFU School for the Contemporary Arts and at Regent College, to contribute an article about Leslie’s music. I hope you read her article in this program (available online at musiccentrebc.ca). It’s fascinating and fully captures exactly why and how Leslie’s music is so important, so original, and so evocative. We are also pleased to showcase on tonight’s program a work titled Miscast, a setting by Nova Pon of an Amy Lowell poem. Nova is a recent Associate Composer of the CMC. I hope you enjoy tonight’s program. And I hope you enjoy thinking about the women in your life, and take a moment tonight to be grateful for everything they’ve done to enrich our lives and the life of the entire nation. Sean Bickerton, BC Director Canadian Music Centre / Centre de musique canadienne – 2 – Leslie Uyeda In Her Own Words Photo taken by Tim Pawsey on December 9, 2017, after the in-house presentation of Your Breath My Breath: Dialogue for a Mother and Daughter. L to R: Yawen Wang, piano; Megan Latham, mezzo-soprano; Lorna Crozier OC, poet; Leslie Uyeda, composer; Heather Pawsey, soprano. Yesterday was International Women’s Day. Sean wanted to mark this day by having my Celebration Concert as close to March 8th as possible. Thank you, Sean. I am very pleased to be associated with a day that means so much to me as a woman and as a composer. As a woman, I understand and support the need for a day to be set aside to recognize women, and girls — all women and all girls — around the world, though I await the time in our society when it will no longer be necessary. Music is my expression — as a composer, pianist, and conductor. Last summer when I was conducting Cor Flammae — the classically-trained LGBTQ choir, I realized — again, how essential, how visceral, is the need to be heard. To conduct a choir dedicated to singing we are here was both thrilling and empowering for me. – 3 – As a composer, I have made a deliberate choice to work with poetry by women. This decision has to do with voice — women’s voices, my voice, and I choose only those poems and texts that resonate deeply with me. I am very happy for the opportunity to share some of this expression with you tonight. Most of my répertoire is vocal music. Growing up in Montréal, I heard great operatic voices as well as many of the world’s best lieder and art song interpreters. These singers (and pianists!) sparked a love of the human voice in my young ears, and I have loved singers and their collaborative art ever since. I consider myself extremely fortunate to be a musician. It is a blessing in life to have one’s journey filled with beauty. I want to thank the four artists performing with me tonight. It has been a joy to work with all of you. Heather Pawsey has commissioned, premièred and performed, with her particular insight and gift, a lot of my music through the years. The only way I know to thank her adequately is to continue to write more songs for her. Kathryn Cernauskas, fabulous flutist, has promoted me and my music tirelessly. Thank you Kathryn, for your beautiful playing, and for all your kindness and generosity to me as publisher of The Avondale Press. AK Coope — what a whiz of a clarinettist! For all you bring to music, to my music, and to new music in Vancouver — thank you. Rebecca Wenham — a cellist who can play anything, a “fearless multitasker” as Alexander Varty described Becky in the Georgia Strait — thank you for bringing your fresh, dramatic and eloquent playing to this concert. Thank you to Colin Miles, the former Director of the CMC BC Region, who first urged me to apply to become an Associate Composer. We worked together for years in the orchestra pit at Vancouver Opera, and it has always meant a great deal to me that it was Colin who expressed belief and confidence in my music. Thank you, Sean Bickerton, Stefan Hintersteininger, and Dave McLaughlin for all your support. You’re all really great guys, and you’ve made the CMC a happ’nin’ place! And thank you, Kathleen Speakman, my beloved, for all your love and encouragement throughout our years together. You are the sine qua non … — Leslie Uyeda – 4 – Leslie Uyeda, Composer as if everything she has ever been begins, inside, to sing. — Lorna Crozier, from “A Summer’s Singing,” in Everything Arrives At The Light (McClelland and Stewart, 1995) Leslie Uyeda has made an enormous contribution to the musical life of Vancouver as pianist, vocal coach, conductor, artistic director, and composer. Her musical versatility, her uncompromising commitment to excellence, and her skilled interpretations command the respect of musicians and audiences alike. At McGill, Uyeda studied piano with Dorothy Morton, who herself studied composition under Violet Archer, so Uyeda’s distinguished woman-composer pedigree stretches back two generations. After Montreal, Uyeda went to Winnipeg where she launched her career as producer for the CBC, chamber music pianist, opera rehearsal pianist, and eventually Chorus Music Director at Manitoba Opera. Moving to CBC Toronto, she later joined the music staff of the Canadian Opera Company. By the time Uyeda arrived in Vancouver she had worked not only with Manitoba Opera and the Canadian Opera Company, but also L’Opéra de Montréal, Opera Hamilton, the Banff Centre, and the Chautauqua Institute of Music in New York. From 1992 to 2004, she directed the Vancouver Opera Chorus. Uyeda’s arrival in Vancouver coincided with a burgeoning of interest in new opera. Her unflinching approach to challenges made her a sought-after new opera director. She knew how to run a rehearsal, how to get the best out of performers, and, with unerring musical midwifery, how to deliver new music, alive and kicking, to thrilled composers and their audiences. She conducted David MacIntyre’s The Architect, my own The Marvelous History of Mariken of Nimmegen, and Ramona Luengen’s Naomi’s Road. Always on the forefront, Uyeda wrote Canada’s first hockey opera, Game Misconduct, a year 2000 collaboration with the late Tom Cone; and the first lesbian-themed opera, When the Sun Comes Out, a collaboration with poet Rachel Rose, commissioned by the Queer Arts Festival and premièred in Vancouver in 2013. Uyeda is lauded for her ability to write for singers.
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