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

AGENDA
(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

Mail:
George Zukerman
2306 Harbourgreene Drive
Surrey, BC V4A 5J2
(604)538-5057
Fax (604)536-5037

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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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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