Odyssey — a Wind Ensemble Concert

Silverthorn Symphonic Winds Presents Odyssey — a Wind Ensemble Concert
Featuring Artist in Residence Peter Stoll

Silverthorn Symphonic Winds (SSW), under the direction of Andrew Chung, presents “Odyssey — a Wind Ensemble Concert” featuring 2010/2011 Artist in Residence Peter Stoll, who will perform as soloist on clarinet and saxophone. Join us for a musical journey from the banks of Newfoundland to the streets of Harlem, from the rhythms of the Middle East to the melodies of Russia, from Celtic simplicity to Parisian sophistication. Featured soloist Peter Stoll will perform Rossini’s “Introduction, Theme and Variations for Clarinet and Band,” Hagen’s “Harlem Nocturne” for saxophone and band, and Morrissey’s “Interlude for Clarinet and Band.” Compositions by Copland, Hazo, Cable, Reed, and Ellerby will complete the programme.

The concert takes place on Sunday, December 5 at 2:00 p.m. at the Richmond Hill Centre for Performing Arts, 10268 Yonge Street, Richmond Hill, ON. Ticket prices are $25 for adults and $20 for students/seniors, and can be purchased online at www.rhcentre.ca or by phone at 905.787.8811.

The SSW Artist in Residence Program, established this year, offers an opportunity for ensemble members and the general public to benefit from the expertise of an established, professional musician. The 2010/2011 Artist in Residence, Peter Stoll, will be the featured soloist and host at the two Richmond Hill Centre for the Performing Arts concerts, and will offer a free public masterclass (date to be announced) for adult and high school aged clarinetists. Throughout the season, he will attend six SSW rehearsals to provide coaching for woodwinds and to offer general feedback to the ensemble as a whole. In addition to enhancing the skills and musicality of ensemble members, Peter’s solo performances and engaging manner will be a delight for audiences.

Known for his virtuoso energy on stage, Peter Stoll was a prizewinner in the International Clarinet Society Competition, Solo Clarinetist with the World Orchestra of Jeunesses Musicales in Berlin and Vienna, and has been a guest clarinet soloist with orchestras in Canada, the U.S., and Russia. He has performed as a saxophone soloist with the Toronto Philharmonia, the Orillia Wind Ensemble, and with choirs in the Toronto and Ottawa area. A frequent performer of new music, Peter has traveled to Germany, New York City, Finland, and Lithuania with the ERGO ensemble. He is a core member of the Talisker Players, Principal Clarinetist of the Toronto Philharmonia, and a member of the Faculty of Music, University of Toronto. More information can be found on his website at: www.peterstoll.ca.

Founded in September 2006, Silverthorn Symphonic Winds brings classical and contemporary repertoire for wind ensemble to audiences in Toronto and York Region. The all-volunteer ensemble is characterized by exceptional dedication and a commitment to the highest possible level of performance. The musicians, who are all chosen by audition, range from highly accomplished amateurs to semi-professional musicians. Silverthorn Symphonic Winds is supported by a generous grant from The Ontario Trillium Foundation. For more information, visit: www.silverthornsymphonicwinds.ca.

Bread and Roses Life, L. Rogers
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Canadian Classical Music Coalition inaugural meeting

(Rec’d from George Zukerman)

The newly formed Canadian Classical Music Coalition [Coalition Canadienne de musique classique] [CCMC] is hosting a round-table discussion on the problems of programming classical music, at 2 p.m. on Monday, Nov 8, in the Alberta Room at the Westin Hotel.

The Coalition hopes to speak with one voice on issues of urgent need and interest to all areas of classical music interest, and we expect to submit recommendations to the conference for future consideration.

Please join us to express common concerns for the future of classical music in Canada.

Here is the proposed agenda for the meeting:

Canadian Classical Music Coalition/ Coalition Canadienne de musique classique

CAPACOA Round-Table – a part of the 2010 CAPACOA conference

SUBJECT: Proposed advocacy for classical music within CAPACOA

Date: Monday, Nov. 08 Time: 2 p.m..

Place: Alberta room Westin Hotel, Ottawa

(1) Opening remarks: – a chance to lead in the revitalization of classical programming and touring . Background and reasons
(2) Creating a community of classical music from Coast to Coast to Coast.
(a) can the Coalition become a “membership” organization?
(i) staffing and funding
(ii) dues?
(iii) increasing membership
(b) what is the Coalition’s role in relation to other existing organizations?
(3) Starting with CAPACOA
(a) how can CAPACOA be encouraged to stimulate the inclusion of more classical music programmes in volunteer and facility-managed series across the nation?
(b) how can CAPACOA join in the national efforts to return CBC Radio to its mandated role as public broadcaster of classical music and otherwise encourage national broadcasting of classical content through CBC or other broadcast outlets?
(c) how can CAPACOA best support moves to maintain and strengthen the operating and touring funding needs of Canadian classical music arts organizations and artists, both at home and abroad?
(d) which organizations [national or Provincial] do we approach next?
(4) Resolutions re the above for submission to CAPACOA
(5) New business from the floor
(9) Next meeting plans and adjournment

gzuk@telus.net George Zukerman
rgambrel@hotmail.com Rick Gambrel
scalesb@aol.com Barbara Scales
rmissen@sympatico.ca Robert Missen

George Zukerman
2306 Harbourgreene Drive
Surrey, BC V4A 5J2
Fax (604)536-5037

Bread and Roses Life, L. Rogers
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Is it the product or the process that makes for good art?

One time my husband and I took our daughter-in-law, a Chinese electrical engineer to an art show and she was frankly puzzled by the paintings. She asked, “why would you paint a landscape when you can have a much more accurate picture with a camera?” Neither the idea of preserving an artistic practice, nor any theories about the value of an individual’s vision rendered in paint on canvas cut any ice with her. To her scientific mind, only the product was important, and the more efficient the process, the better.

That experience came back to me as I read an article by Ryan Blitzstein about software created by David Cope to compose music. David Cope has taken serial music to the next level, in which a computer program generates whole works based on the algorithms supplied. While there is a human factor deciding what to put in and what creations to save or accept, is this different than the decisions of a photographer? While we accept that photography can be an art, it is a very different art form from painting. Has David Cope developed a totally new art form with his “Emmy” software. Do we accept his contention that the impact of the composition on the listener is more important than the creative process of the composer; that it is “just dots on the page” and “there is no soul in the music” itself.

Is it the container or the thing contained that makes, art? Is Cope correct that a composition contains nothing but arithemetical progressions of notes and what is made of them is in the mind of the listener.

Bread and Roses Life, L. Rogers
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Tafelmusik launches "Sing-a-long Messiah Contest" on YouTube

The folks at Tafelmusik succeed year after year not only with great music (they are among the best that Toronto has to offer) but also with the novel ways that they come up with to connect the music of the past with what is happening here and now in our world. They have achieved this through collaborations with new composers; placing their work in the context of festivals of art like the Metamorphosis festival that draws from new and old works; and now with a fun contest that is powered by the popularity of YouTube and karaoke. Great marketing ideas like this should be celebrated. What makes this one great is that it isn’t just about getting bums in the seats for Tafelmusik’s Messiah this season (not that selling tickets isn’t important) but we are all tired and burned out by clever marketing that is just about “buy, buy, consume, consume”. This campaign is qualitatively different: it is about getting people singing and involved in the arts. That’s important at so many different levels.

If you love to sing and aren’t shy check out Tafelmusik’s website for all the information on the contest.

Bread and Roses Life, L. Rogers
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Peter Stoll, clarinet, Nov. 5 @ noon, free lunchtime concert

If you are going to be anywhere near the University of Toronto, ‘s Faculty of Music building (just south of the Royal Ontario Museum, behind the old planetarium) you might like to catch what promises to be a lively concert with one of Toronto’s most versatile and active clarinetest.

Peter writes in his email of today, “A quick email just for those in the T.O. area who might be interested, this Thursday November 5, I’m playing a free recital at UofT’s Faculty of Music, the Edward Johnson Building, in Walter Hall, noon-1pm. Fun stuff, some classical, some jazz, some klezmer, 3 different sizes of clarinets, hope you can make it!”

By the way, Peter has a new website. If you are a music-lover in Toronto, you’ll want to bookmark it.

Bread and Roses Life, L. Rogers
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Alain Trudel reaches out to young Canadian composers

I have thought for a long time that Alain Trudel is one of Canada’s greatest musical assets. He can conduct, he can sure play trombone, and he has great programming ideas. Isn’t it great that he also is concerned about the future of Canadian music? I just had to post this newsrelease that just came into my inbox.

The Toronto Symphony Youth Orchestra (TSYO) and TSYO Conductor Alain Trudel announce two opportunities for young Canadian musicians. Composers aged 30 or younger can submit their orchestral composition to the TSYO Open Call for Canadian Works, and musicians between the age of 12 and 22 can apply to audition for the 2009.2010 Toronto Symphony Youth Orchestra season.

TSYO Conductor Alain Trudel started the TSYO Open Call for Canadian Work as an opportunity for young composers to have their work performed by a full orchestra. “Winning this competition invites young composers to take the next step with their work,” says Alain Trudel. “Hearing your composition with full orchestration brings the work to life and allows the winner to receive feedback from professional conductors and coaches.”

The deadline to submit compositions to the TSYO Open Call for Canadian Works is September 18, 2009. For details on how to apply, visit http://www.tso.ca/season/youth/youth19.cfm

The Toronto Symphony Youth Orchestra is also now accepting applications for the 2009.2010 season. Musicians aged 12-22 are invited to apply to this high level training programme using the application form at http://www.tso.ca/season/youth/youth06.cfm. Application forms are due by August 7, 2009. Juried auditions for the TSYO 2009.2010 season will be held on September 11-13, 2009. The TSYO selection jury includes Alain Trudel (TSYO conductor) and TSO musicians Keith Atkinson (TSYO Woodwind Coach), Harcus Hennigar (TSYO Brass Coach), Young-Dae Park (TSYO Violin Coach), Daniel Blackman (TSYO Viola Coach) David Hetherington (TSYO Cello Coach), Paul Rogers (TSYO Double Bass Coach) and David Kent (TSYO Percussion Coach).

To learn more about the TSYO, please visit http://www.tso.ca/season/youth/youth02.cfm

Bread and Roses Life, L. Rogers
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Free Music Garden Concerts start June 28

One of the greatest things about Toronto is all the free live music and art around the city. If you are living on a tight budget, you can still enjoy the “roses” without forgoing your daily “bread”. The free concerts in the Yo Yo Ma inspired Music Garden in the City’s Harbourfront area is one of the nicest of these events.

At just an hour long in the family-friendly times of Thursdays at 7 pm and Sundays at 4 pm, these concerts are a great opportunity for parents to introduce younger people to serious music. They are not too long and it is an easy thing to take a fussy younger one away for a walk and return awhile later for another taste. Don’t forget the sunhats and sunscreen as this is a location near the water and very open to the sunny skies.

This year the line-up is a mixture of traditional chamber music, early music, and small ensemble worldbeat music.

Canadian cellist Shauna Rolston opens the 2009 Season Sunday June 28 at 4 pm. Click here for details for the rest of the season.

Bread and Roses Life, L. Rogers
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Music on the High Seas August 5

Enjoy your very own classical music concert in the most beautiful of settings

Join us for an intimate evening with members of the 2009 orchestra on board Kajama, Toronto’s only tall ship.

This is an opportunity to see and hear the remarkable talent of Canada’s future musical greats.

You will be treated to:

  • A private performance by members of the NYOC
  • A meet and greet session with NYOC students and conductor Alain Trudel
  • A leisurely sail through the scenic Toronto Islands and Harbourfront
  • A gourmet dinner and drinks
  • A silent auction

Call now to reserve your ticket!

August 5th, 2009
6:00pm – 9:30 pm, Toronto Harbourfront
Tickets $200 (Tax receipts issued for the maximum allowable amount)
Contact: Maggie Fairs
T: (416) 532-4470 ext. 233 E: mfairs@nyoc.org

Bread and Roses Life, L. Rogers
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Wanted! Musical Ensemble or Presenting Organization for Second Life Collaboration(s)

For two years I have been presenting concerts in the virtual world of Second Life developing my series of live concerts at Music Island into one of the virtual worlds’ hot spots and attracting attention of both online and traditional journalists.

Now, having recently stepped down from my position as Executive Director of the Toronto Philharmonia, I would like to find ways to make my avocation part of my vocation. I am actively looking for (preferably Canadian) ensemble(s) or presenters that would be interested in partnering with me for a series of concerts/audience development activities in virtual reality.

I would see this collaboration as involving me in developing a budget and proposal and seeking funding for an artistic project we would jointly develop. I am an experienced proposal and grantwriter. I would also be able to supply the inworld expertise in streaming, coordinating the event and promotion.

One model that has occured to me would be a series of concerts in a Toronto venue that would be streamed into Second Life with streaming video from both worlds. The Toronto live audience would see the virtual performance/audience on big screen and the international virtual audience would see the Toronto audience on an inworld media viewer. There are other ideas that might fit. I see this as being of interest to local ensembles & presenters, individual musicians and also with some appeal to a venue or destination wishing to promote itself to international tourism.

You can contact me via a comment left here, or inside of Second Life by IM’ing Kate Miranda.

Bread and Roses Life, L. Rogers
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The purpose of the Arts

As I conclude my three years with the Toronto Philharmonia, I am led to consider again the purpose of a live performing arts organization in this time of electronic media. Why have a professional orchestra performing in our community when we can listen to such great music on CD, on our televisions or via online podcasts?

Some will say that the social experience of sharing a live performance in a great hall is, in itself a reason to support our orchestras and chamber ensembles. I agree that it is one reason. But is it enough?

If we make our musical organizations simply museums for the display of works by composers long dead and gone, we have no one to blame but ourselves when other citizens find what we are doing irrelevant to their daily lives, or who feel that what we do can easily be replaced by electronic records of performances by a very few orchestras worldwide.

An art form is alive, growing, challenging our assumptions, involving us, and provoking debate or it is dying. Performing the best of music from the past should always be a part of what an orchestra does, but if it is not also encouraging students, new musicians, community artists, collaborating with living composers, creating opportunities for its own musicians to learn, grow, explore new collaborations then it is irrelevant to the artistic life of its own community. It is my view that this is at the core of the mission of any orchestra in today’s society, and not the after-thought, or add-on that so very many organizations regard the role of education and professional development.

Organizations that view contributions to music development, education and professional development as hoops they must jump through in order to succeed with funding applications are unlikely to priorize these activities. Unfortunately it is a common view. I would challenge them to put the musical life of their community at the core of their Mission and view concert presentation as but one way to contribute to that Mission.

Bread and Roses Life, L. Rogers
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