2013/2014 CONCERT SERIES

NEW DIRECTIONS IN MUSIC

REIMAGINING NEW DIRECTIONS IN MUSIC SOUNDSTREAMS.CA 1

NEW DIRECTIONS IN MUSIC JOIN US FOR OUR 2013/2014 CONCERT SERIES Tickets on sale now! CANADIAN CHORAL CELEBRATION FEBRUARY 2, 2014, AT 3:00 PM KOERNER HALL, TELUS CENTRE Kaspars Putninš conducts Ontario’s Elmer Iseler Singers, the Vancouver Chamber Choir and Alberta’s Pro Coro Canada in a celebration of 60 years of choral singing in Canada. Featuring Górecki’s monumental Miserere and the world premiere of Hear the Sounds Go Round for 64 voices by R. Murray Schafer.

AIRLINE ICARUS: PASSION A NEW OPERA AFTER ST. MATTHEW Produced by Maniac Star APRIL 15, 2014, AT 8:00 PM JUNE 3–8, 2014, TRINITY-ST. PAUL’S CENTRE ADA SLAIGHT HALL, DANIELS SPECTRUM

For tickets call 416-408-0208 or visit soundstreams.ca ARTISTIC DIRECTOR’S WELCOME

How fortunate we are to be alive now! The internet has connected us in ways that our ancestors could never have imagined. It’s not all positive, of course — perhaps ignorance was bliss — the horrors of our world are on display 24/7 with a relentless and soul-destroying persistence if we can even bear to look.

And yet never have the world’s cultural heritages been so accessible to all, so available to be explored, appreciated and transformed. No culture or heritage can survive in a vacuum, preserved in a museum in splendid isolation. Cultures interact, they resonate with their surroundings. They’re in a constant state of evolution and revolution in direct relation to the ebb and flow of those surroundings.

The flamenco genre is no exception. Like the tango, samba, and jazz, flamenco is at the confluence of a number of cultures that keep evolving, never standing still long enough to be captured with any one “correct” image. Tonight’s program is living proof that while we may think we know what flamenco is, it will be forever re- interpreted and re-invented in front of our own eyes and ears.

This program would not have been possible without the imagination and talent of Serouj Kradjian, who is not only a great pianist, but who has played a significant role in choosing and creating the versions of works on the first half. It would also not be complete without stunning Spanish flamenco singer Antonia Contreras. And speaking of connecting cultures, we are pleased to welcome Russian/American flamenco virtuoso Grisha Goryachev. Enjoy!

Lawrence Cherney

SOUNDSTREAMS.CA 3 C06.CRE.024_96.3FM Classical Chartz AD for Soundstreams Program OCT issue 2013_DRA.pdf 1 13-09-10 11:09 AM

4 2013-2014 CONCERT SERIES C06.CRE.024_96.3FM Classical Chartz AD for Soundstreams Program OCT issue 2013_DRA.pdf 1 13-09-10 11:09 AM NEW DIRECTIONS IN MUSIC

ABOUT SOUNDSTREAMS

NEW DIRECTIONS IN MUSIC Soundstreams An International Centre for New Directions in Music

STAFF Led by Artistic Director Lawrence Cherney and Lawrence Cherney Executive Director Chris Lorway, Soundstreams is ARTISTIC DIRECTOR a Toronto-based music presenter that commissions, Chris Lorway develops, and showcases the work of contemporary EXECUTIVE DIRECTOR Canadian composers and their international counterparts. Jorge Ayala DIGITAL MEDIA MANAGER These innovative collaborations are performed by Sarah Baumann the finest artists from Canada and around the world, DIRECTOR OF MARKETING & PR and are presented in an annual concert series, our Kyle Brenders ARTISTIC ASSOCIATE monthly Salon 21 series at The Gardiner Museum, in national and international tours, and through a variety Ben Dietschi th METCALF FOUNDATION INTERN of education and outreach activities. To mark our 30 OUTREACH PROGRAMS MANAGER anniversary season in 2012/13, Soundstreams launched Caroline Hollway SoundMakers, an innovative website and iPad app PRODUCTION MANAGER that invites music lovers to explore Soundstreams’ Christina Niederwanger commissioned works, create new works of their own, DIRECTOR OF DEVELOPMENT and share them with the online community.

NEW DIRECTIONS IN MUSIC BOARD OF DIRECTORS Over the past three decades, Soundstreams Bernie Schiff, PRESIDENT commissions have added more than 150 works Daniel Weinzweig, VICE PRESIDENT to the musical repertoire worldwide, reflecting a Jim Doherty, FCIS, FSA, TREASURER diverse variety of genres and cultural traditions. John Ing Soundstreams has also presented a number of Katherine Smalley, SECRETARY Larry Smith, CA festivals and conferences such as the Northern Norman Woo Encounters Festival, University Voices, Toronto Fanfare Project, and the Cool Drummings ADVISORY COMITTEE percussion festival and conference, as well award- Andrea Alexander winning operas including Thomson Highway and Lois Lilienstien, C.M., D.H.L Melissa Hui’s Cree opera Pimooteewin: The Journey Elaine Gold and R. Murray Schafer’s site-specific opera Hy Sarick The Children’s Crusade. Alan Convery

SOUNDSTREAMS.CA 5 Proud to support SoundMakers.

We are working together with Soundstreams to make a difference in our communities.

M04198 (0610) REIMAGINING FLAMENCO

Antonia Contreras, singer Grisha Goryachev, guitar Serouj Kradjian, Chamber Orchestra

If you enjoyed tonight’s concert, tell your friends they can watch it at http://soundstreams.ca/reimagining-flamenco

Wednesday, November 13, 2013 at 8:00 pm Trinity-St. Paul’s Centre, 427 Bloor St W.

PROGRAM

Manuel de Falla Dance of the Miller, from The Three-Cornered Hat (1919) (1876-1946, ) Grisha Goryachev, Serouj Kradjian Isaac Albéniz El Albaicín (1908) (1860-1909, Spain) Grisha Goryachev, Serouj Kradjian

Federico La Tarara Garcia-Lorca Grisha Goryachev, Serouj Kradjian (1898-1936, Spain) Isaac Albéniz Asturias (1892) Grisha Goryachev, Serouj Kradjian Selections from Seven Spanish Folksongs (1914) The Moorish Cloth, Nana, Song, Pole Antonia Contreras, Grisha Goryachev, Serouj Kradjian Paco de Lucia Monasterio De Sal (1986) (b. 1947, Spain) Zyrab (1992) Grisha Goryachev, Serouj Kradjian, Jamie Drake, Annalee Patipatanakoon, Jeffrey Beecher

All works in the first half arranged by Serouj Kradjian and Grisha Goryachev.

INTERMISSION

André Ristic Boiling Song (2013)* (b. 1972, Canada) World Premiere Chamber Orchestra

Manuel de Falla El Amor Brujo, (Love, the Magician) (1915) Antonia Contreras, Chamber Orchestra

*Commissioned by Soundstreams with the generous support of the Canada Council for the Arts

SOUNDSTREAMS.CA 7 ENSEMBLES

Chamber Orchestra

Joaquin Valdepeñas conductor Leslie Newman, /piccolo Colin Maier, Neil Deland, horn James Gardiner, trumpet Jamie Drake, percussion Serouj Kradjian, piano Annalee Patipatanakoon, Carol Lynn Fujino, violin Douglas Perry, viola David Hetherington, cello Jeffrey Beecher, bass

LEARN MORE ABOUT TONIGHT’S FEATURED COMPOSER ANDRÉ RISTIC ON

• Read his bio and program notes • Stream his works commissioned by Soundstreams • Create your own music using samples from his pieces

Start exploring and creating now at SoundMakers.ca

8 2013-2014 CONCERT SERIES PROGRAM NOTES By David Jaeger

One of Soundstreams’ aspirations is to offer our within the flamenco tradition are widely diverse audiences a rich concert experience displaying and range from the well-known “Toque virtuoso” contrasting musical styles and cross-cultural with sensational ornaments to the “Toque creative connections, such as the Tango! arioso,” a graceful touch with a lively and presentation in 2011 or last season’s Music almost metallic timbre, or the “Toque gitano for China. Tonight, we are pleased to have o flamenco” a deep touch often using drones, the collaboration of Russian guitarist Grisha among other techniques. Guitarist Goryachev Goryachev, Armenian/Canadian pianist Serouj plays both the flamenco and the classical Kradjian, Spanish cantaora Antonia Contreras guitar repertoire and sees them both as parts and Canadian composer André Ristic with the of the larger guitar tradition. ensemble as we reimagine flamenco.

Flamenco originated in the late 18th century “TONIGHT’S RARE in the region of Andalusia in southern Spain. Essentially a manifestation of folk music, COLLABORATION OF there are several different styles, from light entertainment to deep, soulful expression, as FLAMENCO GUITAR well as other approaches that lie between. The AND PIANO TAKES THE usual elements are voice, guitar, handclaps, and dance, used separately, in combinations MUSIC OF MANUEL or all-together. The singing style of flamenco includes micro intervals (melodic steps smaller DE FALLA AND ISAAC than a semi-tone), slides or portamento, baroque ALBÉNIZ BACK TO ornamentation and melodic improvisation. There’s a tendency to stress certain expressive notes THEIR ROOTS” by alternating insistently between neighbouring chromatic notes to produce a sense of urgency. Flamenco melodies usually lie within a relatively Kradjian says that, “Tonight’s rare collaboration small tessitura or pitch range, and often use of flamenco guitar and piano takes the music scales commonly heard in Spanish, North of Manuel de Falla and Isaac Albeniz back to African and Arabic music. The guitar styles their roots, imaginatively reconstructing the

SOUNDSTREAMS.CA 9 route these composers took in composing their genre that alternates between spoken and sung masterpieces. For example, the piano-guitar scenes. This may have helped to plant the idea version of the famous Asturias of Albéniz of stringing together flamenco songs for the becomes a passionate, accentuated exchange sake of storytelling, as in El Amor Brujo. between the two instruments. And in the new arrangement of Falla’s Miller’s Dance, The 13 scenes that make up El Amor Brujo the rhythms of Fandango and Farruca are tell the story of Candela, a young Andalusian brought out with greater fervor and both styles gypsy girl, her lover Carmelo, and hauntings by (classical and flamenco) intermingle as equals.” the ghost of Candela’s deceased first husband. The ritual to purge the troublesome spirit As for reimagining flamenco, Andalusian culminates in the famous Ritual Fire Dance. composer Manuel de Falla (1876–1942) was, Tonight’s cantaora, Antonia Contreras, has in effect, already doing so with his 1915 composition performed El Amor Brujo more than 40 times El Amor Brujo. Falla grew up with flamenco around the world. in his surroundings and often drew inspiration from it for his classical compositions. He moved Canadian composer-pianist André Ristic to Madrid at age 20 and studied with Catalan has said that his very first engagement as composer Fillipe Pedrell, who also used popular a professional pianist was in a production Spanish music in his works. Pedrell encouraged of El Amor Brujo. Ristic acknowledges the Falla to embrace the popular music of his influence of both popular and folk music in his indigenous region, in spite of the prevalent classical compositions. His new work, Boiling attitude among the educated Spanish elite who Song, commissioned by Soundstreams with the looked down on flamenco. He had already begun support of the Canada Council for the Arts and collaborating with writers and composers in receiving its premiere on this concert, uses pop Madrid to create Zarzuellas, a lyric-dramatic and folk material as building blocks but also introduces “…clear reference to liquid heating, bubbles appearing, and the whole thing turning “TONIGHT’S CANTAORA, into vapour at the end.” His composition uses almost the same instrumentation as the original ANTONIA CONTRERAS, version of El Amor Brujo.

HAS PERFORMED EL David Jaeger is a composer, producer and AMOR BRUJO MORE broadcaster based in Toronto. He was the creator & Executive Producer of the long- THAN 40 TIMES AROUND running CBC Radio Two contemporary music THE WORLD.” series, Two New Hours.

JOIN THE CONVERSATION ONLINE

10 2013-2014 CONCERT SERIES COMPOSER BIOGRAPHIES

Isaac Manuel Paco Albéniz de Falla de Lucia

A pianist and composer, the Regarded as the greatest Paco de Lucia is one of the Spanish musician Albéniz was Spanish composer of the world’s greatest guitarists, as a leading figure in the creation twentieth century, Falla well as the most innovative of a national style of composition developed an interest in native and influential flamenco artist in Spain. Although he wrote Spanish music – in particular of the last thirty years. Since the operas (including a King Arthur Andalusian flamenco – while late 1960s his flamenco recordings to English words), songs and studying with Felipe Pedrell have had a revolutionary impact, orchestral music, he is best in Madrid in the late 1890s. infusing new life into the art known for his piano music, some From 1907 to 1914 he lived form and bringing it worldwide of which has been arranged by in Paris where he met, and was attention. His groundbreaking others for orchestra. Albéniz’s influenced by, Ravel, Debussy collaborations with jazz artists music for piano includes Iberia and Dukas. Works such as and his participation in notable (four books), two Suites españolas, the ballet El amor brujo and soundtracks have brought him 12 piezas características and the one-act opera La vida to the attention of a broad Recuerdos de viaje (Travel breve are notably nationalistic audience Memories). Orchestral in character, though a arrangements include pieces Stravinskian neo-classicism from the Suite Iberia, orchestrated can be heard in works such by Arbós. Other arrangements as the Harpsichord Concerto, have been for guitar, an instrument composed when he lived in to which much of the music of Granada from 1921 to 1939. Albéniz is well suited.

SOUNDSTREAMS.CA 11 COMPOSER BIOGRAPHIES

Federico André WE ARE GLAD Garcia-Lorca Ristic YOU’RE HERE! Welcome to all fi rst-time Ristic studied mathematics Federico García Lorca is Soundstreams possibly the most important at the Université du Québec Spanish poet and dramatist of in Montréal (UQAM) and concert-goers. the twentieth century. Much completed his musical studies of García Lorca’s work was at the conservatory in Montréal infused with popular themes where he received instruction Let us know what such as Flamenco and Gypsy in composition and piano. As you thought at culture. In 1922, García Lorca a music theorist his interests [email protected] organized the first “Cante include the mathematical Jondo” festival in which representation of sound and Stay in touch by Spain’s most famous “deep programming models, as well subscribing to our song” singers and guitarists as the musical applications of e-mail list at participated. The deep song signal theory and the analytical soundstreams.ca form permeated his poems of study of musical manuscripts. the early 1920s. During this He also performs as a pianist period, García Lorca became (Trio Fibonacci) and accordion part of a group of artists known player. An active and eclectic as Generación del 27, which musician, he has commissioned included Salvador Dalí and and premiered a number of Luis Buñuel. He is also known works from both Canadian for his three great tragedies, and international composers, Bodas de sangre (1933), especially those of his own Yerma (1934), and La Casa generation. de Bernarda Alba (1936).

12 2013-2014 CONCERT SERIES GUEST ARTIST BIOGRAPHIES

Antonia Grisha Serouj Contreras, Goryachev, Kradjian, singer guitar piano

Antonia Contreras, is a A native of St. Petersburg, Juno-winning and Grammy- flamenco singer (cantaora) Russia, Grisha Goryachev is nominated Canadian pianist from Malaga embodying all renowned for his extraordinary and composer Serouj Kradjian the essential elements of musical sensitivity and technical has appeared with the Vancouver, traditional flamenco culture. virtuosity in both classical and Edmonton, Madrid and She is renowned for her flamenco flamenco styles. Grisha is one Göttingen Symphonies, the performance gifts and also of very few guitarists in the Russian National Orchestra, performs frequently as a world who is reviving the the Armenian Philharmonic soloist with many orchestral tradition of solo flamenco and the Thailand Philharmonic. and choral ensembles. Antonia guitar in a concert setting that His discography includes Franz has performed Manuel de Falla’s was practiced by legendary Liszt’s Transcendental Etudes El Amor Brujo over 47 times flamenco masters such as and Piano Concertos on the around the world, and since Ramón Montoya and . Warner Music Spain label, 2008 she has toured the flamenco Grisha strives to keep alive Robert Schumann’s Sonatas version of Albéniz’s Iberia older flamenco masterpieces for Violin and Piano, and Suite. She tirelessly strives that now exist only on records, Armenian Chamber Music and to renew the lyrical nature of by performing them in concerts. Levant with Amici Chamber flamenco singing, adapting Instead of merely copying, he Ensemble, which won the Juno both the lyrics of new authors creates his own interpretations for Best Classical Recording and verses of Andalusia’s poets of these masterpieces, using in 2013. Works composed or to her repertoire. dynamics and tone colors arranged by Kradjian have usually associated with been performed by I Musici classical guitar. de Montreal, the Vancouver Symphony, Elmer Iseler Singers and the Manitoba Chamber Orchestra.

SOUNDSTREAMS.CA 13 TEXTS

Seven Spanish Folksongs

El Paño Moruno The Moorish Cloth Al paño fino, en la tienda, On the fine cloth in the store una mancha le cayó; a stain has fallen; Por menos precio se vende, It sells at a lesser price, Porque perdió su valor. because it has lost its value. ¡Ay! Alas!

Nana Nana Duérmete, niño, duerme, Go to sleep, Child, sleep, Duerme, mi alma, Sleep, my soul, Duérmete, lucerito Go to sleep, little star De la mañana. Of the morning. Nanita, nana, Lulla-lullaby, Nanita, nana. Lulla-lullaby, Duérmete, lucerito Sleep, little star De la mañana. of the morning.

Canción Song Por traidores, tus ojos, Because your eyes are traitors voy a enterrarlos; I will bury them away; No sabes lo que cuesta, You don’t know what it costs me, «Del aire» “of that look” Niña, el mirarlos. Little girl, to look at them. «Madre a la orilla “Mother, on the brink!” Madre.» “Mother!” Dicen que no me quieres, They say that you don’t love me any more Ya me has querido... But you’ve already loved me. Váyase lo ganado, Go away, all that was gained, «Del aire» “of that look” Por lo perdido, In exchange for all that which is lost, «Madre a la orilla “Mother, on the brink!” Madre.» “Mother!”

14 2013-2014 CONCERT SERIES Polo Pole ¡Ay! Ay! Guardo una, ¡Ay! I keep an “Ay!” Guardo una, ¡Ay! I keep an “Ay!” ¡Guardo una pena en mi pecho, I keep a pain in my breast, ¡Guardo una pena en mi pecho, I keep a pain in my breast, ¡Ay! AY! Que a nadie se la diré! Which I will not tell anyone! Malhaya el amor, malhaya, Cursed be love, cursed; Malhaya el amor, malhaya, Cursed be love, cursed; ¡Ay! AY! ¡Y quien me lo dió a entender! And the one that brought me to know it! ¡Ay! AY!

El Amor Brujo, synopsis Candela, a beautiful young woman, is prevented from returning the passionate love of Carmelo, a handsome, gallant man, by the ghost of a faithless wicked gypsy whom she once loved. Carmelo persuades Luciá, a friend of Candela, to act as decoy and distract the ghost while he convinces Candela of his true love and they exchange the kiss that breaks the evil spell.

The Literary Review of Canada is delighted to support Soundstreams and over 30 years of new directions in music.

SUBSCRIBE TODAY! < reviewcanada.ca/soundstreams >

SOUNDSTREAMS.CA 15 MEET GRISHA GORYACHEV

A native of St. Petersburg, Russia, Grisha Goryachev ​Since coming to the United States, Mr. Goryachev is renowned for his extraordinary musical sensitivity has continued his lifelong love affair with flamenco and technical virtuosity in both classical and while deepening his involvement with the classical flamenco styles. Grisha is one of very few guitarists style. His repertoire now includes classical solos, in the world who is reviving the tradition of solo chamber music and guitar concertos and more than flamenco guitar in a concert setting that was six hours of flamenco solos by such composers as practiced by legendary flamenco masters such Paco de Lucía, Vicente Amigo, Manolo Sanlucar, as Ramón Montoya and Sabicas.​ Rafael Riqueni, and others. As the flamenco repertoire is for the most part unpublished, Mr. Goryachev ​How did he get started? has performed the somewhat incredible feat of Grigory Goryachev began to play the guitar at transcribing entirely by ear from the recordings.​ the age of six, studying first with his father, Dmitry, an acknowledged master teacher of the instrument. How does he balance keeping tradition alive Following his debut at the age of nine, Mr. Goryachev while also playing with modern interpretations? enjoyed an extensive career as a child prodigy, ​Grisha strives to keep alive older flamenco performing regularly before large audiences in masterpieces that now exist only on records, by the most prestigious concert halls of St. Petersburg, performing them in concerts. Grisha exposes the Moscow, Minsk, Riga, and other major cities in the audiences to some of the best guitar compositions then Soviet Union. He also appeared regularly on flamenco has to offer. Instead of merely copying, he Soviet television and radio and was featured in creates his own interpretations of these master- numerous major newspapers and magazines. His pieces, using dynamics and tone colors usually participation at the age of 13 in the T.V. marathon, associated with . Revival of St. Petersburg, was transmitted live to more than one hundred countries worldwide. ​What role has the web played in his success? Grisha’s YouTube videos have collected over two When did he first move to North America million views and many notable comments. and how has this influenced his style? Following a tour of Spain, Goryachev was invited to What instruments does he play? play for flamenco legend, Paco de Lucía, who soon Grisha currently plays the following instruments: after personally intervened in support of his flamenco blanca and flamenco negra by Lester application for an American visa (subsequently DeVoe (Nipomo, California); 7-string flamenco awarded in the year 1997 on the basis of negra by Matthew Morello (Ogden, Utah); and Extraordinary Ability). classical guitar also by Matthew Morello.

16 2013-2014 CONCERT SERIES MEET GRISHA ARTIST Q&A GORYACHEV SEROUJ KRADJIAN

We have been developing our relationship with You have also explored tango and Armenian pianist Serouj Kradjian over the past four years, folk music in your work. How do you stay as a performer in Ashes in the Wind (2010) and true to the traditions of these styles while Piano Ecstasy (2013), as well as in Tango! (2011), keeping them relevant to modern audiences? for which he was also a featured composer with Do you find that audiences are fairly open his piece Tango Melancolio. We spoke to Serouj to new interpretations of work like this? via e-mail about his passion for flamenco music, I really have to immerse myself in the tradition, new interpretations of traditional music and whether physically being in the place where the what’s coming up this season for his own musical style originated, and/or doing a lot of company, Amici Chamber Ensemble. research and a lot of listening to numerous versions of each piece of music I am re-arranging. What draws you to flamenco music? I feel folk music will always be relevant to audiences Experiencing the unique atmosphere in flamenco because it speaks to them, it unites them. Innovation “tablao”s (where the flamenco shows are held), never escapes the criticism of a few, but you while living in Spain. The infectious rhythms achieve an immediate connection with the audience, played on the guitar, the percussion and palmas; when you have approached the folk roots of the unpredictable yet strictly organized. The dancing, the music you perform, with care and respect. singing of the tunes which really come from the deepest end of the soul, and the joy, the pain and Toronto audiences will also recognize you, the pride, which the combination of all this, represents. cellist David Hetherington and conductor/ clarinetist Joaquin Valdepeñas as the Piano is an unusual instrument for Artistic Directors of the Amici Chamber flamenco, how does your instrument Ensemble. In your opinion, what is your help this style of music come to life? biggest strength as an artistic director I really think both the percussive and lyrical/ triumvirate? singing character of the piano complements the In the last few years we have truly achieved a good guitar very well in flamenco and in a way they chemistry on and off stage, on both artistic and complete each other. It’s a combination rarely organizational matters, which has truly made Amici explored, (Paco de Lucia & Chick Corea collaboration have its distinct voice in innovative programming comes to mind), but it is no surprise that both and music-making. The very successful 25th Albéniz and Falla have chosen to write their Anniversary season , and our Juno for Best flamenco-influenced pieces for solo piano. Classical Album in 2013 attests to that.

SOUNDSTREAMS.CA 17 What are you most excited about in Amici’s 2013/14 season? I think this season we truly start a new chapter for Amici. We have moved our concerts to RCM’s intimate and wonderful Mazzoleni Hall. I am excited to play Schoenberg’s monumental Verklaerte Nacht in its excellent but rarely performed piano trio arrangement, to have the brilliant violinist Lara St. John join us for a program that stretches from a Bach Sonata for violin and harp, to Armenian folk songs; and you really can’t go wrong with a concert title like American Berserk!

LIGHTNING ROUND Favourite city: Barcelona Worst airport: Heathrow Guilty pleasure song: Bohemian Rhapsody (Queen) Best concert hall: Koerner Hall Favourite restaurant: Sushi on Bloor

WANT MORE SOUNDSTREAMS? Discover and engage with Soundstreams music and artists at our free monthly salon series (the third Friday of the month) at the Gardiner Museum.

November 15 January 17 Does Classical Music need New Directions in “Saving?” Choral Music UPCOMING

LEARN MORE AND REGISTER FOR UPCOMING SALONS AT SOUNDSTREAMS.CA

18 2013-2014 CONCERT SERIES SOUNDMAKERS SAMPLES & LIVE PERFORMANCE By John Kameel Farah, SoundMakers Composer in Residence

As part of my SoundMakers residency, on Staniland; and lastly Kelly-Marie Murphy's March 7, 2013 I performed a pre-concert set oboe concerto Indelible Lines, Invisible Surface. at Roy Thompson Hall, as part of the Toronto Symphony Orchestra's New Creations Festival. I loaded all of the samples into Ableton Live 9 Suite (courtesy of Ableton, many thanks) and It was important that my set be no longer than experimented with looping them in various 35 minutes in length, so the TSO could start on combinations. With some minor pitch manipulation time. At some point in my set I was to incorporate I moved them towards an E-minor tonality, so sounds from the SoundMakers sample database. that I could also do some light chordal improvisation I am used to playing much longer sets, in which on the piano, and route the piano sound through I can take my time developing ideas, exploring effects in Ableton to create a nice, thick, sonic soup. electronic textures, and transitioning to beat-driven pieces and of course, improvising. So I had to When I found combinations of samples that give it some careful thought—I wanted all of the worked, I took screenshots of them, and during elements of my music to be represented, but I the performance, I would quickly scroll to look didn't want it to be a random smorgasbord—one through them, and then scroll back to trigger the of my biggest focuses is crafting cohesive sets. next group of sound loops in Live, then go to the next screen shot, and so on, all the time interspersed I opened my set with a solo piano piece called with sparse piano, reverbs and delays. It worked Introitus, which employs (English-style) Renaissance out well as an ambient middle-movement, between counterpoint, set against an Arabic melody, moving the other more dramatic pieces. into an electronic, breakbeat-driven piece Mercurial which is in a fast 7/8 time. Then I set aside 6 I closed my set with Uprising, which is in a minutes for the SoundMakers improvisation. jazz/breakbeat piece in a blisteringly fast 10/8 time — a fun and boisterous way to end. I was I had spent the previous weeks slowly combing delighted that the TSO lobby had filled up so over the SoundMaker's database, fishing for quickly and the audience was so attentive throughout, ear-grabbing sounds, ones that I could imagine following the music in every direction it went. create interesting textures with. In the end the pieces I decided to sample were: Breathe for John Kameel Farah is a Toronto–based composer, orchestra by James Rolfe; Time Zones for marimba pianist and visual artist. Hear John’s piece at by Peter Hatch; Hex for percussion by Andrew soundmakers.ca.

SOUNDSTREAMS.CA 19 GRID AD

STREET-LEVEL IN TORONTO The Grid is proud to support Soundstreams’ 2013/14 season

thegridto.com 20 2013-2014 CONCERT SERIES @TheGridTO THANK YOU TO OUR DONORS*

Soundstreams donors play a vital role in every aspect of our work. We are deeply grateful for your generous support. For more information about the benefits of joining the Premiere or Friends Circles, please call 416-504-1282 ex 103 or e-mail [email protected] Soundstreams Premiere Circle members have made a minimum gift or pledge of $1000.

Major Donors $8,000 & up Tom Heinsoo Insurance Elaine Gold Walter & Florence Pitman James Baillie, Q.C. Mike Kedar & Eva Seidner Catherine Graham Patti Purves Michael & Sonja Koerner* Rita Leistner Willem Hart Lola Rasminsky Roger D. Moore* Murray Marchant & Claire Hopkinson Brenda Rolfe Susan Baumann Arda Ilgazli Ezra & Ann Schabas Be bold $5,000 to $7,999 Dan Perlitz & Meri Collier David Jaeger John Owen & Mohammad & Najla John & Esther Phillips Artom Komarov Mary E Singerland Al Zaibak James Renihan Yvette Lam Andrew & Tauna Staniland Phil Cowperthwaite & David Rothberg & Derek Lee Fred & Joyce Zemans Susan Hunter* Alicia Peres John Ing James Rottman Fine Arts Rebecca Leung Lois Lilienstein Salon 21 ($25+) Murray & Paul & Alison Schabas Toshiaki Aoyagi Marvelle Koffler* Ian Smith & Kate Lyons William Littler Peter Loewen Judith Baker Vahan & Susie Kololian Christina Niederwanger Sondra Bolton Joanne Morrow Hy & Judy Sarick Angela Stirpe Ben Dietschi Paula Knopf Bernard & Gissa Schiff Wodek Szemberg & Anne Dychtenberg Lawrence & Donna Smith Estera Bekier Barrie & Trevor Easton Paul Tichauer Stephanie MacLeod Mark Edelstein Be innovative $2,500 to UBS Bank John D. McKellar Geoff Foulds $4,999 Grace Westcott Yolles Morden Edmund Goehring Lawrence & Norman Woo Toshi Oikawa Monika Gurak Linda Cherney Alicia Perez Peter Hobbs Be engaged $250 to $499 Jim & Barbara Doherty Karen Rice Lorna Killam Robert & Julia Foster Anonymous (1) The Rotman Family Chi Law Jillian Aimis Foundation Victor Levin Be adventurous $1,000 to Andrea Alexander Sheraton Downtown Toronto Miron Liberman $2,499 Anne-Marie Applin Barbara J. Thompson Norma Lundberg Anonymous (1) Tricia Baldwin Jim Nielsen John van Driel Patricia Baranek Stephen & Jane Smith Gerry Thornton Shirley Neuman Ingrid Harms John Burge Kelly Okamura Vern & Frieda Heinrichs John & Sara Brotman Neill & Carolyn Turnbull Eric Turner Norman Reintamm Rudi & Erika Hofer Afonso & Solange Cardoso Susan Shecter Jason Wong John Lawson Rosario Cartagena Ieigh-Ann Tonon Chris Lorway & Erica Cherney Michael Troy John Austin Cartagena Medical Be connected $75 to $249 Anonymous (2) Jane Voll Katherine Smalley Corporation Helen Vosters Daniel Weinzweig Desiree Chan Neal Barkhurst John Beckwith & Ezelda Wear Stan & Ros Witkin Sunira Chaudhri Rigg Wesley Adrienne Clarkson Kathleen McMorrow Norman Woo Be inspired $500 to $999 Susan Cohen Iivi Campbell Debra Feldman Evelyn Aimis Robert Cram Aeroplan Miles Donors Sheila Goulet Burberry Scott Crocco Margaret Bryce Helen Burstyn Brian Current Ruth Hood Ruth Kenins Vern & Elfrieda Heinrichs Robert Carr & David De Launay Chris Lorway & Esther Leskinski Anne Douville Paula Knopf Mitchell Marcus John Austin Paul Caston Edward Epstein Hy and Judy Sarick Frank Delling & Karen Fejer Marta McCarthy Ulrich Menzefricke Anna Schiff Elisabeth Bihl Helena Fine Lawrence & Donna Smith Consulate General of the Signy Franklin David Olds & Republic of Estonia Paul Frehner Sharon Lovett Ellen Karp & Bill Johnston Richard Friedman James & Louisa O’Reilly Norman Hardie The Frum Foundation Cecelia Paolucci

*3 year commitment The above list reflects donations received from January 1, 2013 to October 21, 2013. Should a correction be required, please notify us at 416.504.1282 ext. 103. Thank you.

SOUNDSTREAMS.CA 21 THANK YOU TO OUR PARTNERS MATCHING GIFT Soundstreams gratefully acknowledges our public and private supporters. CHALLENGE Government & Foundations CANADIAN CHORAL CELEBRATION

Soundstreams is excited to bring some of the country’s best choral singers to Toronto next February to celebrate the legacy of choral music in Canada. Black

AN EVENT OF THIS MAGNITUDE NEEDS YOUR SUPPORT. With a goal of $50,000, a number of long-term Soundstreams supporters have generously agreed to match all donations up to $25,000.

DOUBLE THE POWER OF YOUR DONATION!

CMYK To support the matching gift challenge, call Christina Niederwanger, Director of Development at 416-504-1282 ext. 103 or send your cheque to Soundstreams, 57 Spadina Avenue, suite 200, Toronto, ON, M5V 2J2.

OPERA.CA THE CATHERINE AND MAXWELL THE MARY MARGARET WEBB FOUNDATION MEIGHEN FOUNDATION THE ERNST VON SIEMENS HAL JACKMAN FOUNDATION

MUSIC FOUNDATION PantoneJ.P. BICKELL FOUNDATION THE KOERNER FOUNDATION THE CHAWKERS FOUNDATION THE CHARLES H. IVEY FOUNDATION ONTARIO ARTS FOUNDATION

Corporate & Media

Concert Supporter

In-Kind

HARBORD BAKERY • ROBERT LOWREY PIANO EXPERTS • STEAM WHISTLE BREWERY

All contributions of $20 or higher will receive a charitable tax receipt. 22 2013-2014 CONCERT SERIES MATCHING GIFT CHALLENGE CANADIAN CHORAL CELEBRATION

Soundstreams is excited to bring some of the country’s best choral singers to Toronto next February to celebrate the legacy of choral music in Canada.

AN EVENT OF THIS MAGNITUDE NEEDS YOUR SUPPORT. With a goal of $50,000, a number of long-term Soundstreams supporters have generously agreed to match all donations up to $25,000.

DOUBLE THE POWER OF YOUR DONATION! To support the matching gift challenge, call Christina Niederwanger, Director of Development at 416-504-1282 ext. 103 or send your cheque to Soundstreams, 57 Spadina Avenue, suite 200, Toronto, ON, M5V 2J2.

All contributions of $20 or higher will receive a charitable tax receipt. SOUNDSTREAMS.CA 23 24 2013-2014 CONCERT SERIES