The Lost Karaoke Tapes

2019/20 CONCERT SERIES Soundstreams Presents By David Jaeger The Lost Karaoke Tapes

Canadian composer Nicole Lizée credits opportunity to contort a song without Soundstreams’ founder and artistic director, completely losing all identification or traces Lawrence Cherney for her first introduction to of the original. the Austrailian Art Orchestra (AAO). This was in 2014, when Soundstreams commissioned “In 2005 I created my first volume of Karappo Lizée to create music for a visit by the Okesutura. The pieces were written with this Melbourne based AAO to Toronto. Lizée told scenario in mind: a karaoke singer takes to me, “My relationship with the AAO has proven the stage to perform an 80’s chart-topper to be one of the most rewarding thus far in my only to find that the karaoke machine is career. When we first worked together in 2014 behaving erratically. It begins jumping to we immediately connected; we shared a vision different sections of the track, rewinding and of what a modern music ensemble could be. stopping without warning. The karaoke tape We knew that we wanted to collaborate again itself is damaged and warped – the pitch and as soon as possible and have worked together speed are fluctuating, parts of the tape have almost every year ever since. Each project has been chewed by the machine. Yet the singer is been broader in scope and more rewarding still able to keep her composure; she follows than the last. And now bringing together some and keeps up with the machine, changing of my absolute favourite players from Canada tempo and pitch in tandem with the tape, with those from the AAO in this project is and finishes the song like a professional. very special.” “With in each subsequent volume I looked to AAO artistic director Peter Knight echoes further expand ways of ‘damaging’ the tapes Lizée’s thoughts. “The moment we first met and also expand the live performers’ ways of Nicky in Toronto in 2014 we all really liked her. interacting with them. While the malfunctioning In terms of her practice, I like the way she karaoke tape and/or machine is the centre of the works in the spaces between things: genres, project it’s the presence of the live ensemble disciplines, instrumental approaches. This is that transforms it.” very much aligned with the AAO and with my practice as a musician, which is also about the Volume 3, receiving its world premiere tonight, energy of the meeting points between things. places the focus on Canadian and Australian It also helps that she really is one of the most pop music and culture. Lizée says, “The two brilliant composers currently practising.” countries seem to share similar qualities borne perhaps of their physical realities as large land Lizée’s series of compositions, Karappo masses within the Commonwealth. In the 80s, Okesutura, volumes 1, 2 and 3 all derive from both countries produced pop music that was her manipulation of the elements of karaoke. identifiably not ‘American’ and perhaps the She says, “I was drawn to the obscured details resulting sounds came from the countries that are revealed once the primary identifiers being on the ‘outside looking in’ to more for a song (the lead melody and lyrics - often dominant global cultures. At any rate, I was the first thing that the listener’s ear gravitates completely drawn to Australian music as towards in a pop context) are removed. Hand much as Canadian pop.” claps, bass lines, synth textures and particularly the backing vocals, take on a surreal urgency Peter Knight adds, “It’s an interesting way and prominence. Once the less obvious details in to exploring the connections between our and colours are exposed these are woven two cultures, which have so much in common together to create a sonic landscape over which along with some very clear differences.” the karaoke singer performs the new version of the song. This skeletal rendition is a perfect

From the Artistic Director

I ﬁ rst heard the music of Nicole Lizée nearly 20 During these 20 years we’ve commissioned her years ago when Soundstreams produced a numerous times, including a project in 2014 that concert with Ensemble Contemporain de introduced her (and us!) to the legendary Montréal performing her Left Brain, Right Brain. Australian Art Orchestra. Tonight, as then, you’ll The piece really irritated me! Not because I hear members of the AAO together with didn’t connect with it - on the contrary – for exceptional Canadian guest artists in another days I simply couldn’t get it out of my head. Lizée world premiere.

Now I know why. Her work speaks to us of However, that 2014 concert came to an abrupt nostalgia - not the sentimental kind – the kind end two-thirds of the way through because of a that comes from listening to what outdated massive power outage in Toronto. Tonight we’ll analogue technologies have to tell us about the make history (ﬁ ngers crossed!) by featuring the human condition. They’re just like us: they’re Australian Art Orchestra and Canadian guests glitch-prone, they warp, they distort, and they’re in the debut of their ﬁ rst full and completed highly imperfect. But just like the Volkswagen evening concert in Canada! Beetle, they’re lovable. She’s the perfect antidote for the digital age.

She also brings new and intriguing ways of hearing the very music we thought we knew, whether ‘80’s pop or the classics. Lawrence Cherney By deconstructing familiar music down to its essentials, much in the way that Bartok did with traditional Hungarian folk music, Nicole offers us the luxury of feeling like we’re hearing it again for the ﬁ rst time when she reconstructs it.

Soundstreams wishes to acknowledge that this production is presented on the traditional land of the Wendat, Anishinabek, Haudenosaunee, and the Mississaugas of the Credit River First Nation. This land is the subject of the Dish with One Spoon Wampum Belt Covenant, and we encourage you to learn about your responsibilities to this treaty. Today, this meeting place is the home of many Indigenous people and Soundstreams is grateful to have the opportunity to collaborate and create alongside them.

Cover image: Photo by Cylla von Tiedemann

SOUNDSTREAMS.CA 3 About Soundstreams

A world leader among contemporary music They include Encounters, a free discovery companies, Soundstreams is the foremost series featuring performances, discussions, and global presenter of new Canadian music. audience participation; RBC Bridges, helping Lawrence Cherney, Artistic Director and Menon talented contemporary composers worldwide Dwarka, Executive Director are committed to launch their careers; BMO SoundWave provides showcasing the work of living Canadian and accessible tickets to young adults; and international composers with a focus on SoundMakers provides interactive learning innovative thematic and experiential program- experiences online, in the classroom, and in the ming. Soundstreams also serves a broad community. community of music lovers through free outreach and education programs.

Special Thanks

Karappo Okesutura Volume III was developed by the Australian Art Orchestra and Nicole Lizée in partnership with Banff Centre for Arts and Creativity and Soundstreams, and with ﬁ nancial support from the Canada Council for the Arts, Australia Council for the Arts, Creative Victoria and the Ian Potter Foundation.

This concert is presented with the generous support of Steinway & Sons

4 2019/20 CONCERT SERIES The Lost Karaoke Tapes

Program

Karappo Okesutura Volume 3 60’

Composer

Nicole Lizée

Australian Art Orchestra

Peter Knight, Artistic Director, Trumpet Quinsin Nachoff, Saxophone and Clarinet and Electronics Samuel Pankhurst, Bass Georgie Darvidis, Voice Steve Raegele, Guitar Andrea Keller, Piano Ben Reimer, Percussion Reuben Lewis, Trumpet and Electronics Joe Talia, Drums Nicole Lizée, Turntables Leanne Zacharias, Cello

Production Team

Caroline Hollway, Production Manager Brandon Wells, Sound Engineer, Production (Soundstreams) and Stage Manager Manager (AAO), and Recording Engineer

SOUNDSTREAMS.CA 5 Artist Biographies

Nicole Lizée traditional jazz styles as well Lauded for her music, Keller Composer/Turntables as free improvisation and cross has received three ARIA disciplinary compositional forms. Awards, six Australian Jazz Called a “brilliant musical This led to overseas study with ‘Bell’ Awards, two Art Music scientist” and lauded for acclaimed practitioners Shelley Awards, an APRA Professional “creating a stir with listeners Hirsch and Theo Bleckmann in Development Award, the for her breathless imagination 2013. Georgie has performed in Merlyn Myer Composing and ability to capture Gen-X acclaimed Chamber Made Women’s Commission, and and beyond generation”, Nicole productions Permission to fellowships from the MCA/ Lizée creates new music from Speak, Between 8 and 9and Freedman Foundation and the an eclectic mix of inﬂuences Diaspora. She has worked Australia Council. Andrea is a including the earliest MTV extensively with the Australian Yamaha artist and a represent- videos, turntablism, rave Art Orchestra, including ed artist of the Australian culture, Hitchcock, Kubrick, tours to London, Poland and Music Centre. 1960s psychedelia and 1960s JazzFest Berlin, as well as modernism. She is fascinated by featuring as a guest artist the glitches made by outmoded with the Rubiks Collective, and well-worn technology and the Australian Contemporary Peter Knight captures these glitches, notates Music Ensemble and the AAO Artistic Director, Trumpet, them and integrates them into Bennetts Lane Big Band. In and Electronics live performance. 2017 Georgie was nominated for the Freedman Jazz Perpetually curious, Peter Nicole was awarded the 2017 Fellowship, recognizing her Knight’s practice deﬁes SOCAN Jan. V. Matejcek Award interdisciplinary vocal practice. categorisation. Peter’s work as and received the Canada both performer and composer Council for the Arts Jules Léger is regularly featured in a range Prize for New Chamber Music Andrea Keller of ensemble settings, he also in 2013. She is a Civitella Ranieri Piano composes for theatre, creates Foundation Fellow and received sound installations, and is the a 2016 Lucas Artists Fellowship With a growing body of work Artistic Director of one of Award. This Will Not Be Televised, traversing styles, Andrea Keller Australia’s leading contempo- her seminal piece for chamber has been invited to compose rary music ensembles, the ensemble and turntables, placed and arrange music for Ensemble Australian Art Orchestra (AAO). in the 2008 UNESCO Interna- Offspring (2017), The Sydney tional Rostrum of Composers’ Women’s Jazz Collective Peter’s role with the Australian Top 10 Works. She is a Korg (2016), The Letter String Art Orchestra sees him touring Canada and Arturia artist. Quartet (2016), The Song regularly with the group both in Company (2015), Marshall Australia and abroad. He also McGuire (harp)(2015), Zephyr commissions new work for the Georgie Darvidis (string) Quartet (2015 & 2014), ensemble and curates a range Voice Black Arm Band (2012-current), of innovative programs for Genevieve Lacey & James large and small settings. Georgie Darvidis is one of Crabb Duo (2014), ‘Poetica’ Outside of the AAO Peter Melbourne’s most versatile and ABC Radio National (2013), performs regularly as a solo adventurous young artists. Early Genevieve Lacey (recorder) artist developing a distinctive musical study exploring theatre (2013), Four Winds Festival modality for trumpet and and classical vocal technique (2010), Claire Edwardes electronics under the moniker, led to major roles with The (percussionist) (2010), Allotrope. Other current projects Melbourne Theatre Company Melbourne Women’s Interna- include: Daughter’s Fever, and The Victorian Opera tional Jazz Festival (2010, featuring Melbourne alt folk Company. After completing a 2003, 2000), Seraphim Trio luminary, Paddy Mann (AKA Bachelor of Music at The (2009), Ten Part Invention Grand Salvo); his celebrated Victorian College of the Arts, (2009), Mike Nock (2002), cross-cultural sextet, Way Out she began to investigate more Australian Art Orchestra (2002). West, with koto virtuoso

6 2019/20 CONCERT SERIES

Satsuki Odamura, and his multi- Quinsin Nachoff and Nicole Lizée. Currently Sam award winning long-running Saxophone and Clarinet is busy with his experimental collaboration with theatre- studio pop project Magic Person, maker, Tamara Saulwick. NYC-based saxophonist and celebrated improv piano trio composer Quinsin Nachoff has The Wild with Erik Griswold and earned a reputation making Richard Daniell, post-hardcore “pure, bracing, thought- improv trio Porscha featuring Reuben Lewis provoking music” that is Stefano Roselli, and a telepathic Trumpet and Electronics “cliché-and convention-free” Vibraphone/Bass duo with (Ottawa Citizen). His music Vanessa Tomlinson. Pankhurst is Reuben Lewis’s practice is moves fluidly between jazz the owner/engineer at DILLIGAF both singular and eclectic. and classical worlds and is Studios (QLD) and tours UK/ As an active performer, soul-stirring yet intricately Europe/US extensively as a composer and bandleader, cerebral. His passions reach session bassist in various he has refined a unique into both arts and sciences, indie bands. electro-acoustic language, with physics or astronomy devised through trumpet with concepts sparking inspiration extended techniques and for exhilarating compositions. preparations alongside live Steve Raegele analogue processing with A state of constant Guitar pedals and amplifiers. The unpredictability is vividly 2018 release of the debut captured in Nachoff’s group Montreal guitarist Steve album Abstract Playgrounds Flux, which features the talents Raegele plays composed with his ensemble I Hold the of saxophonist David Binney, music and improvised music. Lion’s Paw gained both keyboardist Matt Mitchell, and His style has emerged from a national and international drummers Kenny Wollesen and love of jazz, psychedelia, rock acclaim – including a glowing Nate Wood. Their JUNO- and roll, archaic pop music and review in ‘The Wire’ magazine nominated second release, art music. His recording Last and a nomination for the Best Path of Totality, thrives in the Century was released in 2010 Ensemble at the Australian spaces between genres, styles on influential Vancouver label Jazz Bell Awards. In 2017, he and inspirations, and garnered Songlines Recordings to performed an 8-hour durational a 4.5 star review in DownBeat: critical acclaim. In 2013 he sleep concert with his co-led “Path of Totality is a stunning, performed Nicole Lizée’s 2012: ensemble, The Phonetic deep dive of an album, the sort Triple Concerto For Power Trio Orchestra at the Serralves of music in which one could and Orchestra as a featured Festival in Portugal. Other spend hours submersed.” soloist with the Kitchener- notable collaborations include Waterloo Symphony. He has performances with the performed with John Hollenbeck, ensemble ACME, which Drew Gress, Bendik Hofseth, premiered his multidisciplinary Samuel Pankhurst Christine and Ingrid Jensen, work i know that i know at the Bass Miles Perkin, Erik Hove, Emma 2017 Melbourne Festival. Frank, Nick Fraser, The Doxas Reuben has been appointed Samuel Pankhurst is a bassist, Brothers, L’Orchestre National to the role of Associate Artist multi-instrumentalist and de Jazz de Montreal, Ensemble for 2019/2020, as part of the producer. He is best known KORE, Architek Percussion, Australian Art Orchestra’s for his extensive work with TorQ Percussion, Nicole Lizée’s Pathfinders – Music the late Australian icon Allan SaskPower, Warhol Dervish Leadership Program. Vincent Browne OAM, as well String Quartet, The Australian as trumpet iconoclast Scott Art Orchestra and with indie Tinkler. As a long time member rock legends The Dears as of the Australian Art Orchestra well as Dears frontman he has premiered new commis- Murray A. Lightburn. sioned works by Alvin Lucier, Erik Griswold, Peter Knight,

SOUNDSTREAMS.CA 7 Artist Biographies

Ben Reimer burbling location atmospherics. Zero (conceived by architect Rick Percussion In live situations, Talia often Derksen) at the WSO New Music uses tape and effects to Festival and the Agassiz Chamber Ben Reimer has been called process and warp his own Music Festival, where Leanne a “genre-bending wiz” (PuSh) and others’ playing into presented Listening Booth: establishing himself as a uncanny chains of echoes twenty solo recitals for one leading figure in contemporary and spectral smears of sound. audience member at a time. drumset performance. He A virtuoso drummer, as a has spent the past fifteen percussionist Talia emerges years exploring a new role from the traditions of jazz and for drumset in the context of free improvisation and has through-composed music. developed a unique personal Ben has performed with the language of shifting accents, Winnipeg Symphony, Royal subtle virtuosity and discreet Winnipeg Ballet, Manitoba extended technique that he Theatre Centre and Thunder welds equally ably in jazz, rock, Bay Symphony. He has been new music and improvisational a guest soloist in the Bang contexts. Like his electronic On A Can Marathon, Brandon works, his drumming often University “Pro Series”, the demonstrates a keen attention Winnipeg International New to long-form structures, Music Festival, Edmonton dynamic development and New Music, Calgary New group interactions. Music, University of Toronto New Music, GroundSwell, Cluster New Music + Integrated Leanne Zacharias Arts Festival, The Little Cello Chamber Music Series That Could, Music on Main, PuSh Leanne Zacharias is a dynamic Festival, Innovations En cellist, educator and interdisci- Concert, live@CIRMMT and plinary artist known for Roulette NYC concert series. innovative collaborations with Ben is a member of Architek artists of all stripes, across Percussion and is a Sabian genres and geographies. Cymbals, Yamaha Canada and Vic Firth artist. Her project Music for Spaces re-imagines concerts, public and natural space with sound, Joe Talia and recent work includes an Drums immersive soundscape filling the Canadian Museum for Melbourne born and now Human Rights as part of the based in Tokyo, Joe Talia is an Winnipeg Symphony New improviser and composer who Music Festival, CityWide: works with percussion, tape simultaneous recitals by and electronics. Focussing on 50 cellists presented by the the use of Revox tape machine International Cello Festival and analogue synthesizers in of Canada, and Sonus Loci: combination with instruments a sound installation on ice, and field recordings, Talia’s selected by Winnipeg’s 2013 electronic works patiently build Warming Huts Art & Architecture up sparkling, detail-rich sound competition. Recent appearances worlds of gliding tones, include the Pressure Waves skittering percussion and New Music Workshop, Portal

8 2019/20 CONCERT SERIES Soundstreams Staff and Board of Directors

Lawrence Cherney, Artistic Director Daniel Weinzweig, President Menon Dwarka, Executive Director Lawrence Smith, Vice-President Tim Crouch, Director of Marketing Norman Woo, Treasurer & Patron Experience Janne Duncan, Secretary Emma Fowler, Director of Artistic Planning Kate Applin & Outreach Daniel Bernhard Zoe Lin, Manager of Advancement Katherine Smalley & Patron Engagement Carolyn Turnbull Felix Mills, Community Engagement Associate Lori Campbell, Volunteer Coordinator

Secrets April 23–24, 2020 Drake Underground

A musical exploration of the anonymous secrets of Torontonians.

Visit Soundstreams.ca or call (416) 408-0208 for tickets.

SOUNDSTREAMS.CA 9 Soundstreams Sponsors & Partners

Soundstreams gratefully acknowledges our public and private supporters.

Government

Corporate

Foundations

The Koerner Foundation The McLean Foundaton The Mary-Margaret Webb Foundation The McLean Smits Foundation The Catherine and Maxwell Meighen Foundation Lloyd Carr-Harris Foundation The Charles H. Ivey Foundation Ontario Arts Foundation The J.P. Bickell Foundation George Cedric Metcalf Charitable Foundation

A proud member of the Program sponosor Bloor Street Culture Corridor

10 2019/20 CONCERT SERIES 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.

Creator’s Fund Joaquin Valdepeñas Lawrence and Linda Cherney Norman and Amanda Woo Kristine Vikmanis and Denton Creighton Vern and Frieda Heinrichs Friends Circle $500 – $999 Michael and Linda Hutcheon Lloy Cook Michael and Sonja Koerner Peter Deroche Lawrence and Donna Smith (In found memory Elaine Gold of Bernard Schiff) Catherine Gordon Stanley H. Witkin Martin MacLachlan In fond memory of Bernard Schiff Premiere Circle $5,000 + Alison Girling and Paul Schabas Jim Baillie, Q.C. Kayla Seyler Janne Duncan Kristine Vikmanis and Denton Creighton $100 – $499 In memory of Jim Doherty Anonymous Vern and Frieda Heinrichs Anne-Marie Applin Philip Cowperthwaite and Susan Hunter Catharine Bamford Michael and Linda Hutcheon Ian Morrison and Pauline Couture Michael and Sonja Koerner Margaret Genovese Katherine Smalley John S Gray Lawrence and Donna Smith David Fisher Neil and Carolyn Turnbull Al and Doris Jantzi Stanley H. Witkin Jill Le Clair Peter Hamiwka Composers’ Circle S2,500 – $4,999 James Harley Paul Caston Willem Hart Joseph and Lynne DiStefano Ani Hotoyan-Joly Lawrence and Linda Cherney Melissa Hui Linda and Michael Hutcheon Ruth Manchee Kenins Gissa Schiff Karen and Fred Leitner Gavin Magrath Sound Circle $1,000 – $2,499 Matthew McCarthy Anonymous Ulrich Menzefricke Elisabeth Bihl and Frank Delling Elizabeth Mills Gabriel De Roche Janice Owen Ben Dietschi Margaret Procter David Fallis Peter & Lynne Raxlen Margaret Grottenthaler and Doug Harrison Richard Shallhorn Ellen Karp and Bill Johnston Jini Stolk Val Koziol Barbara Thompson Elizabeth Mitchell and Robert Mansell Michael Trent Kathleen McMorrow Liana Turrin Randall Howard and Judy McMullan Penelope Tyndale Daniel Weinzweig and Nancy Nightingale Morden Yolles Sandra Shaul Joyce Zemans Ronald and Margaret Slaght

This list reﬂects donations from July 1, 2018 to December 31, 2019. Every effort has been make to ensure it is correct. Should you notice an error, please contact (416) 504-1282 ext.104 For more information about the beneﬁts of joining the Creator’s Circle or Friend’s Circle, please call (416) 504-1282 or email [email protected]

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