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The Proliferation of String Quartets in Canada 1991-2014

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The Proliferation of String Quartets in Canada 1991-2014 The Proliferation of String Quartets in Canada 1991-2014 by Min-Jeong Koh A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Faculty of Music University of Toronto © Copyright by Min-Jeong Koh 2014 The Proliferation of String Quartets in Canada 1991-2014 Min-Jeong Koh Doctor of Musical Arts Faculty of Music University of Toronto 2014 Abstract This paper examines the proliferation of string quartets in Canada between 1991 and 2014. The year 1991 is a pivotal one: it was the end of a Golden Age of string quartet performance in Canada with the conclusion of the activities of the Orford, Vághy, and Purcell Quartets. It marked, also, the beginning of a New Golden Age of string quartet performance in Canada. Similar to their predecessors, the quartets of this new era have different levels of international success, but one could call it a New Golden Age from the sheer number of professional ensembles active in Canada from 1991 onward. The thesis begins with biographies of leading ensembles of this period: the Alcan, Arthur Leblanc, Claudel-Canimex, St. Lawrence, Lafayette, Penderecki, Molinari, Bozzini, Borealis, Tokai, Silverbirch, Cecilia, Afiara, and the New Orford Quartets. The fourth chapter researches the opportunities available to string quartets in Canada, including the Banff International String Quartet Competition. To supplement the biographies and to gain additional insight on the available resources, eight quartet players participated in interviews. Findings emphasize the need to create more support for Canadian musicians, including both professional ensembles and also young aspiring quartet ensembles, to stay in Canada. While the support from Canada Council and provincial art councils is unique to Canada, the number of residencies available in Canada is ii far behind what is on offer in the USA. The need to promote these ensembles on a greater level is reaffirmed. The proliferation of ensembles has resulted in an abundance of Canadian string quartet compositions. This thesis is supplemented by an appendix that lists over 280 Canadian string quartet compositions written after 1990. Together with Elliott’s original list of over 370 works up to 1990, this complete list serves as a guide to promote Canadian string quartet compositions. iii Acknowledgments My journey as a violinist in a Canadian quartet started as a fluke. I was on a set course to finish my graduate studies at New England Conservatory when I received a call to audition for the then newly formed Cecilia Quartet. They had recently accepted a residency in California and wanted to know if I was interested. Without hesitation, I immediately asked for a leave of absence from my studies, gave up my beautiful apartment near school, one I had spent months hunting for, and moved out west. Seven years later I am still with the quartet, which I consider to be a privilege. I would like to thank Sarah, Caitlin, Rachel, and Becky for it has been one of the most exhilarating rides and definitely one of the best decisions I ever made. I thank them for giving me the chance to discover the four-headed monster that we all love (and hate). I am forever indebted to Dr. Robin Elliott, whose course on chamber music was one of the most memorable classes out of the eleven years I spent in university, and for whose support I cannot thank enough. His thesis on Canadian string quartets was the main inspiration for my study and his editing and expertise were crucial to this project. I owe my sincere gratitude to Professor André Roy for his dedication in helping young quartets shoot for the stars. He moved mountains to create opportunities for my quartet and for that I am forever grateful. I would like to thank Dr. Paul Rapoport, of www.quartetweb.org, who went above and beyond to help me with this thesis despite having no obligation to do so, in addition to Professors Annalee Patipatanakoon and John Kruspe for their patience, support, and editing work. Also, I would like to thank Professor Cameron Walter for his thought-provoking questions and for his kindness towards my quartet from day one. Thank you for believing in us. I owe a big thanks to the eight interviewees who made time in their busy schedules to contribute to this project. Your responses were invaluable and also highly entertaining! I am incredibly lucky to have embarked on this DMA journey alongside my sister, Boyon, who is truly the best sister one could have. She is a brilliant researcher and I am so proud of her for iv introducing Solution-Focused Brief Therapy to musicians at University of Toronto. I also thank her for her support and late nights commiserating with one another! A special thank you goes to my husband, Adrian, for his endless support and encouragement throughout every big project I impose on myself. He has patiently waited for me to complete this paper for what feels like eternity and has taken over all chores for the past four years. You are the best teammate one could ever wish for. I would also like to thank Bailey, my thesis guardian angel, whose love and zest for life kept me buoyant throughout this project. Your father and I will miss you very much. Finally, I thank my parents, Kyung Chul and Ki Bong Koh, for their unending love and support. They have made many sacrifices for me to have opportunities that they never had and I am grateful to them for their selfless decisions. But more importantly, I thank them for giving me the violin, freeing me from the piano at age seven. v Table of Contents ACKNOWLEDGMENTS ........................................................................................................................ IV TABLE OF CONTENTS ......................................................................................................................... VI LIST OF TABLES ................................................................................................................................... VII APPENDICES ........................................................................................................................................ VIII 1 INTRODUCTION ................................................................................................................................. 1 1.1 LITERATURE REVIEW .......................................................................................................... 6 2 THE STRING QUARTET IN CANADA ......................................................................................... 28 2.1 RISE OF THE PROFESSIONAL STRING QUARTET ................................................................. 28 2.2 THE GOLDEN AGE OF THE STRING QUARTET .................................................................... 33 3 THE NEW GOLDEN AGE ................................................................................................................ 49 3.1 BIOGRAPHIES .................................................................................................................... 49 3.2 INTERVIEWS ...................................................................................................................... 93 4 OPPORTUNITIES FOR STRING QUARTETS IN CANADA ................................................... 111 4.1 RESIDENCIES ................................................................................................................... 115 4.2 CANADA COUNCIL AND PROVINCIAL ARTS ORGANIZATIONS ......................................... 117 4.3 STRING QUARTET TRAINING ........................................................................................... 120 4.4 BANFF INTERNATIONAL STRING QUARTET COMPETITION ............................................... 124 4.5 INTERVIEWS .................................................................................................................... 133 5 CONCLUSION .................................................................................................................................. 139 APPENDIX A ........................................................................................................................................... 149 APPENDIX B ........................................................................................................................................... 195 APPENDIX C ........................................................................................................................................... 198 APPENDIX D ........................................................................................................................................... 200 BIBLIOGRAPHY .................................................................................................................................... 207 vi List of Tables Table 1. List of Professional String Quartet Residencies in the USA Created since 1940 Table 2. List of Professional String Quartet Residencies in Canada Created since 1961 Table 3. List of Graduate String Quartet Programs in the USA Table 4. Sources of Revenue for Canadian String Quartet Ensembles vii Appendices Appendix A: Chronological list of Canadian string quartet compositions 1990-2014 Appendix B: Consent Form Appendix C: Interview Questions Appendix D: Recruiting Email Text viii 1 1 Introduction Chamber music is one of the few lasting interests of life … Unlike most arts, whose devotees are alone in their pursuit, unlike most sports, which imply some rivalry of skill, chamber music is a social enterprise, the nucleus of sympathetic gatherings wherein the
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