CMC Résonance Issue No. 3 | About Us

CMC RÉSONANCE

About Us

“Composers … have found their RIGHTFUL PLACE on the national and international stage…”

“Really appreciate the SENSE OF COMMUNITY through all the CMC communications.”

“…THE ARTISTIC COMMUNITY HAS THE ANSWERS, and our first job at CMC is to listen.”

“The support of the CMC was crucial to me…This was of INESTIMABLE VALUE.”

“The Centrediscs label has given CMC a means of capturing the legacy of THE GROWTH OF CANADIAN MUSIC.”

Issue No. 3

“…from a library service into a promotional force, with educational projects, concert presentations and community activism, SUPPORTING MUSIC OF OUR TIME.”

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CMC RÉSONANCE

CONTENTS 6

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44-46

CMC Support Crucial For Composers

Are We Creative?

What You're Letting Us Know…

New from Centrediscs & Centretracks

A message from the Chair of the CMC National Board of Directors

By George Laverock

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À PROPOS DE NOUS

Awards

Opportunities

Supporting Atlantic Composers.......................................24 Creating Magical Experiences on the Coast....................................26 Sharp Relief.....................................28 How to Get Through the Crisis During a Pandemic?....................30 Reflections on Working with Canada’s Creators........................32

↑ Photo credit: Holly Nimmons.

Sara Constant, flute and Amahl Arulanandam, cello (CMC Presents Concert Series)

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EDITORIAL EDITORIAL TEAM

ADVERTISING

COVER ART

Glenn Hodgins,

Send inquiries to: holly.

The photo was featured on

President & CEO

nimmons@cmccanada.org

the front cover of “Songs of

CONTACT

the Invisible Summer

Holly Nimmons,

For comments, questions,

Stars” by Carmen Braden

Director of Development

and concerns about

released last year on CMC

& Communications

CMC Résonance: info@

Centrediscs.

cmccanada.org

Photo credit: Bill Braden

Héloïse Amez-Droz, Development &

For all general inquiries about

Communications Assistant

the CMC and its mission: info@cmccanada.org

DESIGNER Aimée Rochard

If you wish to be featured in the next issue of CMC

CONTRIBUTORS

Résonance or want to

Glenn Hodgins

contribute: holly.nimmons@

David Jaeger, C.M.

cmccanada.org

George Laverock Peggy Walt Sean Bickerton Matthew Fava

@CMCNATIONAL

Claire Marchand

@CMCNATIONAL

John Reid

@CANADIANMUSIC TRANSLATOR

CMCCANADA.ORG

Sabrina Moella

REGIONAL OFFICES Atlantic | British Columbia | Ontario | Prairie | Québec

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CMC RÉSONANCE

LETTER FROM THE PRESIDENT AND CEO Welcome to the third edition of Résonance,

through the lock-down to keep the “lights on”

the electronic magazine of the Canadian

even though the doors are closed. Years ago

Music Centre. You might remember the

under the direction of Elizabeth Bihl we made

CMC Ontario magazine Notations which

a deep dive into the digital world converting

used to be a physical newsletter that became

much of the catalogue of scores to digital

a digital magazine under Regional Director

documents for perusal, loans and purchases.

Matthew Fava. In its digital format it was

Consequently, our organization has been able

an attractive e-magazine that was missed

to continue its service to the communities we

when it was discontinued a few years ago.

support because of this digital accessibility.

I realized that the CMC needed a unified,

The years of rebranding and repositioning

pan-Canadian voice and built this goal into

the CMC culminated with the launch of our

our communications plans in our Strategic

new website and the decommissioning of

Plan. When I started in 2014 it was with this

the old site just as we were about to go into

plan in hand that we went about an in-depth

lock down for the pandemic. This new site

re-branding and rebuilding project that has

gives you easier access to the works of CMC

been all-consuming for the past 3 or 4 years.

composers and will allow us to deliver on the commitment toward continuous innovation.

Fast forward to 2019 when Holly Nimmons

It is set up to be much more accessible both

joined us as Director of Development and

behind the scenes and the user interface.

Communications and embraced the notion

Again, I acknowledge the staff team for their

of a pan-Canadian digital magazine and CMC

commitment to seeing this through.

Résonance was born.

This month we had our first ever virtual This issue shares stories from and about the

“CD launch” of The Monkiest King on the

CMC as well as the communities we support:

CMC Centrediscs label organized in part by

composers, connectors, authorizers and

Director Nicole Blain. This is a new opera by

audiences.

composer Alice Ping Yee Ho, librettist Marjorie Chan and performed by Canadian Children’s

These are extremely challenging times as

Opera Company under the direction of Teri

we suffer through the difficulties of the

Dunn with a wonderful supporting orchestra.

COVID-19 pandemic. I want to acknowledge

Hundreds of viewers tuned in for the event

the staff team here at the CMC for working

that was masterfully hosted by Larry Beckwith.

ISSUE NO. 3

Also in the digital realm, for the past few months, CMC BC region has delivered a wonderful online concert series in partnership with Redshift Music Society.

“Unaccompanied” features video recordings of Canadian works written for solo instruments.

While it is marvelous to have the support of technology which has advanced to a point

HONOURING OUR HERITAGE, CREATING NEW LEGACIES MISSION The Canadian Music Centre is the catalyst that connects you to the everevolving world of musical creation in Canada through performance, education

that these kinds of things are possible and

and promotion.

most of us can work from home, I crave the

PURPOSE

ability to gather and celebrate the wonders of music in person.

The CMC provides unique resources for exploring, discovering, and performing

In closing, let me say, together we will get through this pandemic and we’ll be able to gather again before too long for the many concerts and events that we cherish so much. I wish you strength and good health as we progress.

Sincerely yours,

Canadian music. We are passionate about nurturing a musical community that honours our legacy and support the professional development of Canadian musicians and composers.

VISION The CMC inspires fresh perspectives, celebrates inventive composers, and provides transformative experiences.

Glenn Hodgins President & CEO

We champion artistic diversity and embrace Canada’s rich cultural heritage in creative centres across the country and internationally.

READ MORE →

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CMC RÉSONANCE

CMC SUPPORT CRUCIAL FOR COMPOSERS A message from the Chair of the CMC National Board of Directors.

BY DAVID JAEGER, C.M.

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CMC RÉSONANCE

“

The Centrediscs label has given CMC a means of capturing the legacy of the growth of Canadian music. And its own path as a label has been one of constant growth, as well.

“

My term as Chair of the CMC National Board

turned to the services of the CMC National

is coming to a close. I wanted to look back

Office for the preparation of all the scores of

over the period of time that I have held this

our budding young competitors. The CMC

responsibility, and share a few personal

section known then as “Composers' Services”

perspectives.

had highly skilled staff, who could be relied on to handle all the written materials for the jury,

First, however, I need to go quite far back

and eventually, for the performers who would

in this history: to 1973, the year I joined

play the finalists' works. The competition

the CMC as an Associate Composer.

ran until 2002, producing two generations of

I had completed my Master of Music

gifted emerging Canadian composers. These

(Composition) Degree at the University of

laureates, from Walter Boudreau to Chris Paul

Toronto and was at the beginning of my

Harman to Ana Sokolovič and Brian Current

career in music. The support of the CMC

and dozens more, are today's leading voices

was crucial to me at the time. Knowing that

in Canadian contemporary composition. They

there was a national agency to which I could

all have relied on the CMC for support of their

turn for professional support in my work as

growing careers.

a composer made a great difference to me.

It enabled me to focus on the critical steps

In 1978, I created the long running CBC

ahead in establishing a cannon of works. This

network radio series, Two New Hours, focused

was of inestimable value.

on placing Canadian contemporary music in both a Canadian and a global context.

1973 was also the year I joined the national

This series supported Canadian composers

music department of CBC Radio as a music

of all generations and, together with the

producer. Mixing composition with music

CMC, increased visibility to our composers

production seemed compatible for a time,

around the world. The affinities between our

and I was a regular visitor at CMC Toronto.

broadcast production and the work of the

In particular, in 1974, when CBC Radio

CMC were numerous. These affinities helped

established the CBC/Radio-Canada National

clarify the need for an in-house record label

Competition for Young Composers, CBC

at the CMC. In 1981, I worked with then CMC

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Executive Director John Miller and his CMC

itself, leading the way, artistically, to challenge

team to create Centrediscs, which launched

the nature of the content we create. And the

in 1982. The Centrediscs label has given CMC

CMC's response, as always, is to keep step with

a means of capturing the legacy of the growth

these new approaches.

of Canadian music. And its own path as a label has been one of constant growth, as well.

Fast forward to 2013: those formerly successful broadcast initiatives vanished, and I retired from CBC Radio. It didn't seem at all surprising that my life as a composer was instantly revived. And, as always, the CMC was

The idea of volunteering to serve an organization I believed in very deeply… made perfect sense.”

there for me, and the support I received felt like help from a familiar friend. Coincidentally, the CMC was just beginning a new phase of its development under the guidance of CMC President and CEO Glenn Hodgins, who brought me to the CMC National Board as a director at large. The idea of volunteering to serve an organization I believed in very deeply, one that had been my constant companion throughout my professional career, made perfect sense.

During the intervening seven years, much has changed at CMC. There have been important organizational changes such as clarification and renewal of the organization's governance, the creation of a key strategic plan and a major upgrading of development activities. A Digital Content Initiative, funded by the Canada Council for the Arts, assured that CMC will play an increased role in the new digital age.

And, as always, Canadian composers continue to advance the evolution of Canadian music

These initiatives require renewed and strengthened resourcing, which makes a clear case for increasing the level of CMC's development activities. CMC's support of composers and its innovative programs that promote Canadian music, make a more active development role a priority, to answer a growing need.

In the era of the pandemic, Canadian composers need the support of the CMC more than ever before. The drastic change in the way our society uses music in the current situation calls on our creators to be nimble and to adapt. CMC's staff and expertise are there to offer support and guidance in these challenging times.

David Jaeger, C.M. is an Associate Composer, producer of award-winning albums and broadcaster, notably “Two New Hours” on CBC Radio Two. He is also Chair of CMC Canada’s Board of Directors.

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ISSUE NO. 3

Are We Creative?

BY GEORGE LAVEROCK (former Chair of CMC BC Regional Advisory Council, former CMC Vice-President; current Chair of the CMC Development Committee)

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CMC RÉSONANCE

“When it appears that there are only two possible solutions to a problem, the creative person will try to come up with a third solution.” – R. MURRAY SCHAFER

I first got involved with the CMC way back

problem, the creative person will try to come

in 1976, when far-sighted pioneers like

up with a third solution.” That advice and his

Allen Clingman (Music Education Professor

sensitivity about the world sound landscape

at UBC), Phyllis Mailing (Mezzo-soprano),

stuck with me through the 50 years or so

Denis Tupman (School Music Supervisor for

that I have been involved with musical arts.

Vancouver), Robert Creech (French Horn

In those days, CBC Radio had a substantial

Player), and Jon Washburn (Conductor and

commissioning budget, and a small

Composer) put together a committee to

committee that decided which projects

establish a branch of the CMC in Vancouver.

would be approved, based on submissions or

At the time, I was a young Music Producer for

proposals from Radio Music Producers in all

CBC Radio, and it was part of my job to search

corners of the country.

for innovative and talented composers and to commission them to write new works.

So, over the years, I was in the enviable position of helping dozens of composers to

Through my work at the CBC, I had an

get compensated for writing new pieces.

opportunity to work on a number of projects

Later, when I became Program Director of

with R. Murray Schafer, who was teaching in

MusicFest Vancouver (a big summer music

the Communications Department of Simon

festival), we had a policy of commissioning

Fraser University. Since Murray did not

new works each year for local and visiting

drive, I often picked him up in my car for

ensembles (eg. Ramona Luengen wrote a

our meetings, and had long conversations

wonderful piece for Chanticleer - the 12

while driving, about some of his pet subjects.

voice professional men’s choir from San

I vividly remember his wise advice about

Francisco); and one year we had three

being creative. His attitude was that you

composers write choral pieces based on the

didn’t have to be a composer in order to be

text that Henry Purcell used in “Hear My

creative. Anyone could be creative in their

Prayer, O Lord” (Tobin Stokes; Bob Chilcott;

job, by exercising some imagination. For

and Jacques Hétu). In the concert we had

example, he would say: “When it appears that

the choir do the Purcell at the beginning and

there are only two possible solutions to a

again at the end.

ISSUE NO. 3

Over the years, I have watched the CMC in B.C.

so rewarding for those of us involved in this

thrive and grow, under succeeding Regional

organization. For me it has meant having

Directors Christine Callon, Colin Miles, Bob

an opportunity to meet and get to know so

Baker, and Sean Bickerton. It has always

many inspiring individuals – from P.E.I. to

enormously impressed me that, no matter

Montreal, from Hamilton to Victoria! I love

what contemporary concert one attended,

the openness of spirit of the composers,

these people were always in attendance! Real

performers, educators and arts leaders who

dedication to the creative world!

work on the board of the CMC to support artistic innovation.

It has been fascinating to watch the CMC morph from a library service into a promotional force, with educational projects, concert presentations and community activism, supporting music of our time.

When I retired from full-time arts administration, I volunteered to join the CMC BC Regional Advisory Council, and took over the Chairmanship for some years. Later I represented BC on the CMC National Board, and got involved in various committees, all working towards furthering the mission of the

I love the openness of spirit of the composers, performers, educators and arts leaders who work on the board of the CMC to support artistic innovation.

CMC. My most recent role has been to chair the CMC’s Development Committee, which

I’m very pleased to see how the CMC, in spite

meets every month (on-line) to share ideas

of the frustrations of the current pandemic,

about how to raise the funds that are crucial

has managed to connect its talented roster of

to the CMC’s future. I have certainly learned

composers with performers and audiences,

how closely a communications strategy is

both in Canada and internationally.

aligned with a successful fund development program. Our Director of Development and

George Laverock is Chair of CMC's

Communications (Holly Nimmons) has a keen

Development Committee and former Vice-

understanding of this connection, and is an

President of CMC Canada's Board of Directors.

expert in telling the story of the CMC and its

His career has included 30 years as a CBC

Associate Composers.

Radio Music Producer, and 10 years as the Program Director for Musicfest Vancouver. He

“Creativity Lives Here” is not just a slogan.

serves on several boards, including President of

It is the central theme that makes the work

the Vancouver Chamber Choir.

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CMC RÉSONANCE

AWARDS

THE HARRY FREEDMAN AWARD 2020 WINNER CMC Associate Composer Monica Pearce The Canadian Music Centre (CMC) and the Freedman family are pleased to announce that CMC Associate Composer Monica Pearce has won the 2020 Harry Freedman Recording Award, which includes a $3,000 prize, for her piece toile de jouy.

↑ Monica Pearce. Photo credit: Sean Gasser

ISSUE NO. 3

↑ Alcides Lanza, Montreal, Quebec.

Photo credit: Owen Egan

THE BECKWITH AWARD 2020

THE ORDER OF CANADA

CMC Ontario is thrilled to announce the five

Congratulations to our CMC Associate

winners of the inaugural Beckwith Award.

Composer Alcides Lanza for being

We want to congratulate music educators

appointed as Member of the Order of

Dan Austin and Danica Brokelman, ensembles

Canada! Appointed for his decades-long

the Hamilton Philharmonic Orchestra

contributions to the contemporary music

and the Thunder Bay Symphony

scene and for championing Canadian music

Orchestra, and the Open Ears Festival.

here and abroad.

GET THE LATEST UPDATES We’re delighted to share with you some of the awards that our talented Associate Composers have recently received. It is an honour to share their success. For more details, please visit our news page, which is regularly updated.

LEARN MORE →

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CMC RÉSONANCE

AWARDS

JUNOS 2020 The Canadian Music Centre is thrilled that our record label Centrediscs was nominated for a 2020 JUNO Award in the category of Classical Recording of the Year:

GOVERNOR GENERAL’S PERFORMING ARTS AWARDS

Vocal/Choral for the album Summer Night

Congratulations to our CMC Associate

by The Canadian Art Song Project. Also,

Composer Alexina Louie announced

works by Bekah Simms and Vincent Ho

as the recipient of the 2020 Governor

featured on Centrediscs, are nominated for

General’s Performing Arts Awards

Classical Composition of the Year.

for Lifetime Artistic Achievement!

The CMC congratulates its Associate

The awards recognize artists who have

Composers who were nominated for

made an indelible contribution to cultural

Classical Composition of the Year Award:

life in Canada and around the world. CMC

• Rose Bolton – The Coming of Sobs (New Focus*Naxos) • Vincent Ho – Kickin’ It 2.0 (Centrediscs*Naxos) • Jared Miller – Under Sea, Above Sky (Independent) • Bekah Simms– “Everything is…Distorted (Centrediscs*Naxos) • Ana Sokolović – Evta (Atma*Naxos) We hope to celebrate with you soon!

Associate Composer Alexina Louie was announced as the recipient thanks to her contribution to Classical Music.

Alexina Louie shared a video to respond to this announcement.

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CARMEN BRADEN’S “SONGS OF THE INVISIBLE SUMMER STARS” RECEIVES AN EAST COAST MUSIC AWARDS NOMINATION! “Songs of the Invisible Summer Stars” received an East Coast Music Awards nomination for Classical Recording of the Year! Congratulations to CMC Associate

↑ Adam Basanta. Photo credit: Emily Gan

Composer Carmen Braden and musicians Mark Adam, Norman Adams, Derek Charke, Nadia Francavilla, Suzanne Lemieux, Susan Sayle, David Parker & Gillian Smith.

CONGRATULATIONS TO OUR CMC ASSOCIATE COMPOSER ADAM BASANTA ON RECEIVING THE SOBEY ART AWARD! The Sobey Art Foundation and the National Gallery of Canada, which jointly administer the annual contemporary art prize, have decided, among other talented artists, to nominate our CMC Associate Composer Adam Basanta for the

BUY THE ALBUM →

representation of Québec.

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CMC RÉSONANCE

OPPORTUNITIES Here, we would like to share with you some opportunities for our Associate Composers. This is not a comprehensive list. For more details, please visit our Composers Opportunities page, which is regularly updated.

LEARN MORE →

WNMF COMPOSERS INSTITUTE 2021 CALL FOR APPLICATIONS Deadline: July 1, 2020

CMC PRAIRIE REGION EMERGING COMPOSER COMPETITION

Learn More →

LOW FLUTE PROJECT Deadline: July 1, 2020 Learn More →

Deadline: June 15, 2020 The CMC Prairie Region invites emerging composers to enter this annual competition produced in late January or early February with the Winnipeg Symphony Orchestra at its Winnipeg New Music Festival.

LEARN MORE →

ENSEMBLE DIVERTIMIENTO CALL FOR UNDER-40 FEMALE COMPOSERS Deadline: July 30, 2020 Learn More →

ISSUE NO. 3

COMPOSITION COMPETITION BEETHOVEN’S LEGACY Deadline: August 1, 2020

impuls COMPETITION Deadline: October 15, 2020 Learn More →

Learn More →

BECOME A COMPOSER The CMC represents composers working in a variety of areas including concert music, music for instrumental and vocal ensembles, electroacoustic music, improvised music, educational music, music with other disciplines, and music that crosses a variety of genres and responds to different cultural influences.

LEARN MORE →

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CMC RÉSONANCE

WHAT YOU'RE LETTING US KNOW

“

Music keeps me going! Nearly every waking moment I have is somehow connected to music.

I listen to music to gain insight and inspiration, and I write music to add value to my existence.

We asked our Associate Composers how they are experiencing this pandemic. We sent a brief survey to gather input. The responses help us to understand how to better serve Associate Composers.

Although responses are still coming in, we thought we would let you know what we’re learning so far: • Most respondents are creating new works, revising previous works and

“

available to access. So, check out

cmccanada.org for more information: Composer Opportunities CMC Library CMC Shop for sheet music and recordings Emergency Resources for links to resources across the country CMC Celebrates to submit an event to be shared and celebrated, or to discover an event to watch.

preparing for future concerts.

• Most respondents found the CMC helpful, while some didn’t know how we could help during these unusual times.

• Many are juggling online teaching with family.

• Some respondents are interested in sharing their stories through CMC Résonance. Stay tuned for future issues.

• Respondents are accessing CMC services, especially composer opportunities, the store and library.

Some are just discovering what is

We want to hear more from you. Here is what we are doing now: • We will continue providing information about composer opportunities, and communicating about CMC services.

• We have improved web access to our Library and Shop so we are better prepared to serve the public and our Associate Composers.

• We are creating products and digitizing works to be added to the Library and Shop on a weekly basis.

ISSUE NO. 3

• We will continue to promote livestreamed events through CMC

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“Really appreciate the sense of community through all the CMC communications.”

Celebrates – so send us your events through this form.

• We are researching practical

“I fully appreciate the CMC for what it has always been. In this difficult time, kudos to you

information that would be helpful

for reaching out to help composers in need. I

for composers (e.g. Focus: Audio

hope this turns into good things for people.”

Quality and Livestreaming) • CMC staff are continuously responding

“….I don’t even want to watch online

to Associate Composers to update

performances. It reminds me too much of the

Composer Showcase pages and

premiers and commissions I’ve already lost.”

engaging with the public to ensure access to composer works.

“If not composing now, then when?”

• We will ensure the voice of Associate Composers will have a place in CMC

“It's easy to see how only those who are

Résonance.

technically savvy have the upper edge. …I'd like

• While embracing new composers, we will not forget our legacy composers!

• We are actively engaged in strategies

to hear from a seasoned composer who can talk to surviving the SARS, the H1N1, avian influenza and swine flu - anyone at all. Has their music

to advocate for the future of music in

changed? Has anyone noticed? Or are those

Canada.

composers no longer performed - because they're too old?”

THANK YOU Thanks to everyone who sent in their input. Didn’t fill out a survey yet?

Let us know how you are experiencing this pandemic.

TAKE THE SURVEY →

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CMC RÉSONANCE

ABOUT US Reflections from CMC Regions

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CMC RÉSONANCE

“Composers … have found their rightful place on the national and international stage, and I’m proud to be backstage, supporting them.”

SUPPORTING ATLANTIC COMPOSERS

By Peggy Walt

hung out with lots of music students, before graduating and getting a job at the Atlantic Symphony (ASO) in Halifax.

When I worked for the ASO and later

Established in 1989, the Atlantic Regional

Symphony Nova Scotia, we sometimes would

Office first opened on the campus of Mount

receive a strange call at the office. Certain

Allison University in Sackville, NB. In 2012 the

subscribers would call and ask if there were

office was closed and re-opened in Halifax in

going to be any Canadian works played on an

2015 on the campus of Dalhousie University

upcoming concert. If we said “yes,” they would

with Peggy Walt as its Regional Director. The

ask how long approximately the piece was, and

Atlantic Regional Office actively participates

where it fell in the program. It took me a while

in the East Coast Music Awards, collaborating

to work out that they were asking this so that

on the presentation of the Classical Nominees

they could delay their arrival until after the

Showcase. As well, the office works closely with

performance of the Canadian work!

local music organizations to promote Canadian composers and Canadian music. We have 49

I didn’t really understand this lack of support

composers in the Atlantic region, in each of the

for our own Canadian music, since while I was

four provinces (Nova Scotia, New Brunswick,

expanding my own knowledge of the standard

Prince Edward Island and Newfoundland).

orchestral repertoire by attending tons of concerts, I was also learning about fascinating

Below, Atlantic Region Director Peggy Walt

Canadian composers like Srul Irving Glick, R.

shares some of her thoughts on the value of the

Murray Shafer, Jacques Hétu and others. I

CMC and why she got involved.

don’t remember a ton of works of Atlantic Canadian composers from our region, but I

I’ve been involved with classical music all my

know there were some, including composers

life, and almost went into piano studies at

like Steve Tittle, Bob Bauer and retired ASO

Mount Allison University for my undergrad.

conductor, Klaro Mizerit.

I switched gears to study English at the last minute, but sang in the Mt. A. Chorale and

Later, I worked for the provincial government,

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where I remember CMC Executive Director

more. It’s been wonderful to get to know our

Elisabeth Bihl meeting with me and my boss,

local composers better, and to promote and

talking about the importance of the CMC and

showcase their creative work, and to work with

its support of our regional composers. She

my national colleagues. And to see a change in

was making the case for financial support of a

that old attitude, where new Canadian works

pan-Canadian organization, reminding us that

have found new audiences, and continue

there are composers in all parts of Canada.

to entertain, challenge and inspire. I was so proud to stand on stage at the Rebecca Cohn

Fast forward a few more years, and I was

Auditorium with our CEO, Glenn Hodgins, and

working in a few freelance jobs in the arts,

present Maestro Bernhard Gueller with a plaque

including as a publicist in Halifax. I got a

recognizing his commitment to commissioning,

call about promoting a neat-sounding new

premiering and presenting Canadian music.

music series New Music in New Places, and

Composers such as Derek Charke, Fiona Ryan,

I loved letting media know about fantastic

Jerome Blais, Andrew Staniland and many

performances such as several organized by

others have found their rightful place on the

Halifax composer Sandy Moore. From the

national and international stage, and I’m proud

Fundy shore (literally, musicians in kayaks as the

to be backstage, supporting them.

tide came in) to the Halifax Harbour ferry to the window of a fancy-dress shop (Mill Brothers on

Peggy Walt is Director of CMC Atlantic.

Spring Garden Road), these creative projects

She is owner/President of Cultural Affairs

sometimes startled unsuspecting audiences,

Consulting & Promotion, and General Manager

but always delighted. I loved promoting these

of Halifax’s Camerata Singers. She has worked

projects, and was happy to find out that there

for over 30 years in the arts and culture field in

was a contract position opening up in Halifax

Nova Scotia, for Symphony Nova Scotia.

with the CMC as Regional Director. Following a few years hiatus after the office had closed in Sackville, a move to Halifax seemed logical, with help from Dalhousie University, where the Fountain School of Performing Arts provided us with a mailing address and other support.

I’ve been with the CMC now since 2015 as Atlantic Director, and while we do not yet have a storefront musical hub, we’ve done a lot of great things, from presenting concerts to classical music showcases to CD launches and

↑ L to R: Peggy Walt, Allegra Swanson & Mhiran Faraday. Photo Credit: Peggy Walt

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CMC RÉSONANCE

“I’ve spent my entire life working with great artists and I am happiest helping them connect with their audience and reaching their potential.”

CREATING MAGICAL EXPERIENCES ON THE COAST

By Sean Bickerton Established forty years ago in response to what was already a vibrant new music scene on the country’s West Coast, CMC BC began as a lending library; evolved into selling CDs; then began hosting ad hock performances; and up until the pandemic, was a vibrant hub for rehearsals, performances and meetings day and night.

While maintaining all of those services, we also offer educational programs in the schools, including Composer In the Classroom, based on R. Murray Schafer’s landmark book of the same name; and our unique Jean Coulthard String Quartet Readings, a two-month seminar in composition for emerging composers.

We have produced documentary films about the first generation of legacy composers to compose concert music here, far from the cultural centres of Europe and the eastern seaboard of North America. And we launched a unique concert series

focused on one composer per concert.

Organized generationally, that series has ended up offering a survey of the history of composition in the province.

I first joined the CMC in the fall of 2015, and was thrilled to reconnect with many of the extraordinary composers I met or studied music with at the University of Victoria — Owen Underhill, Christopher Butterfield, David McIntyre, Rodney Sharman — and others I knew well from UBC, the Vancouver Youth Orchestra or Courtenay Youth Music Camp — Alexina Louie and Alex Pauk, Frederick Schipitizky, Harry Freedman and his extraordinary daughter Lori, Jon Washburn, Elliott Weisgarber, Keith Hamel, and many others.

I’ve spent my entire life working with great artists and I am happiest helping them connect with their audience and reaching their potential. And I love our Murray Adaskin Salon, now completely wired with state of the art A/V recording and livestreaming capabilities, and our unique concert series.

But I’m most proud of Unaccompanied, which is described elsewhere in this issue

ISSUE NO. 3

of Resonance. Conceived in one phone call with Jordan Nobles, who has done a remarkable job of realizing our concept, we launched Unaccompanied the same day we were told to start isolating in our homes.

Unaccompanied represents the CMC at its very best — creative, innovative, celebrating great composers and their music — and the series connects me back to my own roots as a young violinist at UVic, where I also met Murray Adaskin after winning his scholarship one year.

Our goal now for CMC BC is to be the video recording and Live-streaming partner for the new music community in BC, so that we can continue creating magical experiences for our remarkably close-knit family of patrons throughout and despite (or maybe because of) this terrible pandemic.

Sean Bickerton is Director of CMC BC, and a

DON’T MISS A BEAT – STAY CONNECTED

Board member of BC Alliance for Arts + Culture and teaches at Capilano University. Formerly, he was Executive Director of the Vancouver Recital Society and Vice-President of Columbia Artists Management, Inc. in New York.

Sign up to get information about Centrediscs albums, events and special projects, and stay up to date on news from CMC Canada and CMC Regions.

LEARN MORE →

↑ Sean Bickerton

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CMC RÉSONANCE

“The CMC has a unique level of access to local and regional histories, networks within the music industry, as well as resources and funding opportunities.”

SHARP RELIEF

a unique level of access to local and regional

By Matthew Fava

as well as resources and funding opportunities.

In my early 20s I started listening to the music of Ann Southam, Norma Beecroft, and others through the Canadian Music Centre Composer Portraits series. I was drawn to the CMC in order to learn more about the tradition of contemporary music in Canada which I was largely unfamiliar with to that point.

I arrived at the Canadian Music Centre as a staff member at a unique moment of expansion. The Toronto location was renovated to include a performance facility.

Given my prior experience coordinating live music events and partnerships with artists, presenters, and organizations, I found myself pursuing similar responsibilities at the CMC. I also like to prioritize dialogue with community members, and creating opportunities for communities to access and animate CMC spaces and resources—this underlying tenet defines my contribution to the CMC. On a larger scale, when programming is implemented and evaluated by CMC Ontario, we are thinking about connecting geographies, generations, and communities. The CMC has

histories, networks within the music industry, How then might we reduce the multitude of barriers to a career in the arts, and enable a more meaningful connection to contemporary music? In my experience the artistic community has the answers, and our first job at CMC Ontario is to listen.

When the pandemic response began to rapidly unravel our expectations for the weeks and months ahead, we had a few immediate outlets for supporting our community. The situation was evolving rapidly, and we were able to actively share information around the emergency response, while also supporting advocacy initiatives that sought to quantify the impact of the pandemic on the music/cultural sector. In addition, we began collaborating with allied organizations around joint initiatives—the Music Gallery At Home series, and Archipelago presented by Of the Now, for example.

In the coming months we are going to revive the Generations/Conversations project, transcribing and sharing oral histories from elders in the Ontario composition community. Likewise, our media production residencies will be posting some illuminating

ISSUE NO. 3

I also like to prioritize dialogue with community members, and to create opportunities for communities to access and animate CMC spaces and resources.

29

↑ Matthew Fava. Photo credit:

podcasts and articles that will be available

hope that a broader and deeper solidarity is

through the on.cmccanada.org site.

fostered in the months and years ahead. That the conversations we begin now, in amongst

Through all of this I believe we have

these revelatory moments, are a spark for

a responsibility to acknowledge the

our shared actions that realize a more caring

systems (those that predate the pandemic)

and equitable society. I believe that our art

which have contributed to the greater

and the process by which we make/share

vulnerabilities during the pandemic

that art must be a part of this shift.

of workers, racialized and Indigenous communities, elders, disabled folks, and thus

Matthew Fava is Director of CMC Ontario.

the artists among them. One of the truths

He was a founding organizer of the Toronto

emerging more forcefully in this moment is

Creative Music Lab, a member of the 2016 TAC

that a lot of the essential work in our culture

Cultural Leaders Lab, and a recent participant

(the life saving/sustaining/affirming/

of the Artsbuild Ontario Cultural Spaces

defining work) is undervalued. So I offer my

Mentorship Network.

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CMC RÉSONANCE

“It is our mandate to promote the works of composers… and…to continue to support them in these uncertain times.”

HOW TO GET THROUGH THE CRISIS DURING A PANDEMIC?

Concert consumption via digital platforms and the free aspect of these concerts

By Claire Marchand

perform the works on stage and in front of an

We are all concerned about the current

can no longer go to concert venues. Of course,

situation regarding the future of music

the "virtual" or digital concerts exist, allowing the

performances in our concert venues. Since last

performers to stay present and active. We also

March, the Canadian Music Center in Quebec

understand that artists do not do this for money,

has been attending several committees and

but out of passion for the art, and to share the

has been involved in the challenge of finding

happiness that making music brings to them.

We all agree that the art of performance is the “sinews of war” since, without the musicians who audience, it is difficult to reach an audience that

viable solutions to think first about how to get through this crisis. It is our mandate to

However, creating a production to offer

promote the works of composers from Quebec

concerts on these networks requires a lot

and Canada, and we seek to continue to

of work, often months of development. We

support them in these uncertain times.

want to help artists find broadcasting and streaming media that could help them develop

The CMC Quebec is remaining very proactive

their practice instead of just being restricted

by getting involved in positive discussions to

to creating available "entertainment" on the

find solutions through virtual meetings with our

Net at all costs. The fact that Internet users

Board chair, Mrs. Barbara Scales, and several of

deem these video clips being free of charge as

our colleagues such as Le Vivier, Innovations en

"normal" should not be taken for granted.

concert, Paramirabo Ensemble, the Conseil des Arts de Montréal, Les Violons du Roy, La Salle

Therefore, it seems unconceivable to make

Bourgie (Arte Musica), the Conseil Québécois de

these videos available to such a large audience

la Musique (CQM), The Guild of Musicians and

without a fair compensation. It is a matter of

Musicians of Quebec and other partners such as

finding a long-term solution in order for the

composers and performers. Several topics and

public to participate and to financially support

solutions are currently being discussed.

the talent of the musicians who produce these concerts, maybe through paying platforms that

ISSUE NO. 3

31

could compensate the performers and distribute

virus - same goes for the musicians on stage, a

royalties to our composers fairly and accordingly.

soloist or perhaps a maximum of two to three

There are already a few platforms in place, but we

musicians - which is not yet easy to do given

haven't found the perfect one for our artists yet.

the current circumstances.

How to make performances profitable in our concert venues?

What about our composers?

Though we don’t know yet if the virus will

composers, a special incentive program, which

weaken, if a second wave is expecting us, or

would aim at generating more commissions

even if a vaccine will be found before several

during this time where we are to trying to

years, viable short-term solutions need to be

restart the indutry, could have long-term

considered regarding the process of reopening

positive repercussions on other collaborations

performance and rehearsals venues. Based on

between composers and organizations. Potential

the assumption that we are going to start easing

solutions are currently being evaluated.

In order to provide tangible work to our

the lockdown restrictions, physical distancing measures appear to be the main method that

In the meantime, the Canadian Music Center

will be used to stop the spread of COVID-19. We

in Quebec is always open to receive your

now need to imagine a healthy plan to allow for

thoughts and comments in order to tirelessly

audiences to be present at indoor venues and

support the creative music of our composers.

to be able to safely circulate in them (including

Our hearts go out to you!

wearing masks, disinfecting public spaces, handling entry, exits, toilets, etc.)

Claire Marchand is Director of CMC QuĂŠbec. Formerly a Music Officer with the

In our discussions with several organizations

Canada Council for the Arts, she is also an

working in music and culture (because this

acclaimed professional musician who is one of

issue also affects theater, dance, circus, and

the most sought-after flutists in Quebec.

opera for instance) the idea of organizing events with only 20% of the usual audience in attendance was deemed doable. In order to increase profitability, music concerts with a length of up to 45 minutes should be offered, without intermission, with two or three identical performances per day. This project is currently being reviewed and could be implemented, if the public is willing to go to venues without being afraid of contracting the

↑ Claire Marchand. Photo credit:

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CMC RÉSONANCE

“It has been gratifying to work directly with Canada’s creators…to promote and distribute their music, and to see senior Prairie composers receive [the] Order of Canada…”

REFLECTIONS ON WORKING WITH CANADA’S CREATORS

By John Reid I came to CMC in 1988 after a modest career as a professional musician (saxophone, flute, clarinet) and stints in government and university employment; I was intrigued by the idea of working for Canada’s only coast-to-coast music organization.

It has been gratifying to work directly with Canada’s creators in long-form music (Paul Cram’s term), to promote and distribute their music, and to see senior Prairie composers receive Order of Canada recognition: Violet Archer, Allan Bell, Malcolm Forsyth, Richard Johnston, and Robert Turner. Speaking of Malcolm Forsyth, this office worked with the University of Calgary last year to present a national symposium on he and his music in partnership with Calgary Philharmonic Orchestra and Luminous Voices.

Early on, the Prairie Sounds newsletter was revived and a CMC radio program was launched on CJSW 90.9 FM in Calgary and cjsw.com on the Internet, which continues to present. In the

‘90s, fund raiser/tribute events were presented featuring Prairie composers Violet Archer, Quenten Doolittle, Malcolm Forsyth, Richard Johnston, Kelly-Marie Murphy, Allan Rae, and Roberta Stephen.

In the early 2000s, then Executive Director Elisabeth Bihl gave the green light for the Prairie Region to embark on its own imprint within Centrediscs recording label. Conceived, juried, funded, produced in the Prairie Region, the Prairie sounds imprint generated fourteen titles over its twelve-year history garnering four WCMAs (Allan Bell, Pat Carrabré, Allan Gilliland, Elizabeth Raum, and one JUNO award (Allan Bell)!

Advocacy efforts with the Western Canadian Music Alliance resulted in the creation of an annual award for Classical Music Recording of the Year in 2002 and one for Composer of the Year in 2004. Both awards continue to be presented every year as part of the Western Canadian Music Awards.

In 2004, an anonymous donor conceived, and funded in perpetuity, the annual Emerging Composer Competition of CMC Prairie Region in partnership with the Winnipeg New Music Festival and Winnipeg Symphony Orchestra. Some of our winners have gone on to illustrious careers with Canadian orchestras,

ISSUE NO. 3

33

Some of our winners have gone on to illustrious careers with Canadian orchestras, universities, and beyond… ↑ John Reid. Photo credit:

universities, and beyond, such as Vincent Ho,

to over $1 million, and for the University of

Jocelyn Morlock, Abigail Richardson, Andrew

Calgary to guarantee long-term office space

Staniland, and Karen Sunabacka.

with a newly renovated, dedicated facility in Craigie Hall in the centre of the School for

It has been a pleasure to be in close contact

Creative and Performing Arts last year.

with the fine orchestras in our region; Edmonton and Winnipeg in particular have

In the present day, “what’s old is new again;”

demonstrated long-term commitment to

written-off CD inventory has been the basis

Canadian composers. By the way, orchestra

for CMC pop-up boutiques at concerts and

musicians tell me that new players coming

presentations across the region — 82 events in

in are of a very high standard and give the

2019 — generating over $15,000 in much needed

experienced old guard a run for their money!

“pay-as-you-can” revenue for our charitable organization, with the additional benefits of

A trip to Halifax as part of the Calgary JUNO

exposing Canadian music to wider audiences

Bid Committee in 2006 led to the creation

and meeting/greeting old and new friends at

of the JUNO and WCMA classical music

performances.

showcases. CMC partnership with those organizations continues to the present.

I look forward to seeing you again soon!

Financially, during my time, it has been

John Reid is Director of CMC Prairie and

rewarding to see the Prairie Region achieve

Artistic Director of the Jazz Society of Alberta.

an annual municipal operations grant and to

He is also a professional musician and host

increase its value over the years, to grow the

of CMC Prairie Region’s long-running radio

provincial grant, to qualify for casino funding,

program called Outside the Lines on CJSW 90.9

to see the endowment grow from $500,000

FM in Calgary.

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CMC RÉSONANCE

IN MEMORIAM Chamber Music for his String Quartet (1994). He also received a Chalmers Arts Fellowship.

Burke was intrigued by a world of sound, music, healing, and consciousness as a potential field of inquiry that could be informed and intensified by the sophisticated musical resources developed by the contemporary music avant-garde. Burke pursued his explorations into the relationship of sound and

JOHN BURKE 1951-2020

states of consciousness at the Monroe Institute in Virginia, and with numerous shamanic teachers.

The Canadian Music Centre sadly announces

In 1997 he received a commission from

the passing of Associate Composer John Burke.

Vancouver New Music and responded with

Born in Toronto, John’s musical journey began

Remember Your Power for piano and chamber

at an early age with an intensive involvement

ensemble. In 2000, Burke expanded Remember

with chant and scared choral music. He studied

Your Power into an hour-long work whose

composition at McGill University, privately

three movements modeled the three phases of

in France, and at the University of Michigan

the archetype of personal transformation that

where he earned a doctorate in composition.

mythologist Joseph Campbell called The Hero's

He taught at McGill University, McMaster

Journey. Burke’s interest in the transformative

University, and the University of Victoria. He

power of myth and ritual deepened through his

received many important commissions and

subsequent work with Jean Houston, one of the

performances from organizations, including

pioneers of the human potential movement. He

La Société de musique contemporaine du

explored the possibility of engaging the listener

Québec, Les Événements du neuf, New Music

at a far deeper level of awareness than the

Concerts, Vancouver New Music, the Esprit

conventional concert hall dynamic could offer,

Orchestra, the CBC Vancouver Orchestra and

through the contemplative practice of walking

the Manitoba Chamber Orchestra. In 1995, he

the labyrinth, in particular, the pattern found at

was awarded the Jules Léger Prize for New

Chartres cathedral in France.

ISSUE NO. 3

He was composer and project manager for a major labyrinth installation at the Sacred World Music Festival at the Plaza of Nations in Vancouver in November 2002.

Burke shared his insights into sound, music, and consciousness with those outside the concert music mainstream, presented to groups such as the Society for the Anthropology of Consciousness, and the Association for Music and Imagery.

THANK YOU FOR READING CMC RÉSONANCE!

For more information about John Burke, or to discover some of Burke’s compositions, please go to John Burke's Composer Showcase on cmccanada.org

We want to make sure that we are including what YOU want to read about, so please take a few minutes to fill out the form below.

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CMC RÉSONANCE

REGIONAL UPDATES

BRITISH COLUMBIA Unaccompanied On Tuesday, March 17, the same day Canadians were asked to begin what has now been more than fifty days in isolation, the Canadian Music Centre in BC launched Unaccompanied, a new online concert series of live performances of Canadian works written for solo instruments, videotaped in our Murray Adaskin Salon.

The genesis of the series, a new partnership with Redshift Music Society, grew out of our shared desire to help some of our province’s most brilliant musicians suffering from the sudden cancellation of so many public concerts while continuing to bring extraordinary Canadian works of beauty and passion to life The series also stems from my own experience as a violinist, having spent many late nights as a young man soaring through Bach’s magnificent works for unaccompanied violin in practice rooms, playing to the dark in glorious isolation, completely immersed in the beauty of the music.

The first seven performances, videotaped and recorded by Jordan Nobles, include: • Four Directions by Jennifer Butler performed by Mark Takeshi McGregor, flute (March 19, 2020); • Stone by Veronika Krausas performed by Mark Haney, double bass (March 26, 2020); • Postcard Pieces by Christopher Reiche performed by Dory Hayley, soprano (April 2, 2020); • Fifth Hour at the Dance Party by John Oliver performed by Colin MacDonald, baritone saxophone (April 9, 2020); • Vocalise No. 2 by Murray Adaskin performed by Katelin Coleman, bassoon (April 16, 2020); • Comb and a Glass by Lucas Oickle performed by Aaron Graham, marimba (April 24, 2020); • Requiem by Otto Joachim performed by Parmela Attariwala, violin (April 30, 2020).

Visit bc.cmccanada.org

→

ISSUE NO. 3

37

PRAIRIES The office moved across campus in 2019

The 17th Annual, 2020 CMC Prairie Region

and staff has consolidated operations in

Emerging Composer (ECC) Award was

the new quarters. Bulky out-of-date audio

presented to 15-year old Henry From at

gear was disposed of and a new five-year

the Winnipeg New Music Festival with the

lease has been signed! Library operations

Winnipeg Symphony Orchestra, January

continue to be a core function and during

27, 2020.

Covid 19, client requests have continued to be served, where possible.

On February 24, 2020 Associate Composers R. Duane Hendricks and Peter

CMC Prairie Region mounted 82 displays,

Janciewicz gave a composer roundtable

events, and pop-up CD boutiques in

hosted by Po Yeh, which was received very

2019, raising $15,650. These initiatives

well by U of C students, by all accounts.

addressed five important aspects of CMC life: programming, partnerships, revenue generation, contacts, and musical crossover.

Staff applied for annual operating grants from AFA and CADA, and submitted all documents for annual audit. Three Associate Comppser applications were

Regional Director continued to host

received at the recent deadline. The next

a radio program featuring Canadian

casino, originally scheduled for third

music, Outside the Lines Sundays at

quarter of 2020, has been postponed. Gifts

midnight on CJSW 90.9 FM and cjsw.com;

of sheet music and music books were

concentration is on Centrediscs releases

received in Q1, which will be disposed of

and Canadian jazz.

as a fund-raiser in a sheet music sale to students when appropriate.

Visit pr.cmccanada.org

→

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CMC RÉSONANCE

REGIONAL UPDATES

ONTARIO While conditions in 2020 continue to change,

Hildegard Westerkamp as part of “Being in

we have found comfort in reflecting on recent

the Weather”, a collaborative event with

activities. Two of our composition workshop

the University of Toronto. Moderator Sherry

collaborations got underway, including a

Lee invited Westerkamp along with Rachel

successful first entry in the Piano Lunaire

Kiyo Iwaasa and Daniel Grimley to reflect on

Composers’ Symposium. Pianists Adam

the role of musical and sonic practices in our

Sherkin and Stephanie Chua worked alongside

current cultural and political context.

composer mentor Chris Mayo to workshop new pieces from Paul Alexander, Dylann

Over the past year, the CMC Ontario advisory

Miller, Tom Weeks, Christopher McAteer, and

council had been in discussion with CMC

Eunseon Yu.

co-founder John Beckwith to develop the Beckwith Award which acknowledges the

Immediately after the state of emergency went

extraordinary contributions of Ontario-

into effect in Ontario, the Babԑl Choral

based organizations and individuals towards

Composition Program got underway—

connecting audiences and learners with

by Zoom meeting, naturally. Mentors Dr.

contemporary music and composers. We

Elaine Choi, Matthew Emery, and Stephanie

announced the inaugural Beckwith Award

Martin hosted a compelling session with the

winners in early May, and were excited to

participating composers: Sean Clarke, Emma

recognize educators Dan Austin and Danica

Moss, Qiushi Jiang, Del’Shawn Taylor, Chia

Brokelman alongside three stellar music

Yin Wu and Mari Alice Conrad. We anticipate

institutions in the province: The Hamilton

hearing the workshopped choral pieces in the

Philharmonic Orchestra, The Thunder Bay

future.

Symphony Orchestra, and The Open Ears Festival.

Among various activities from the first quarter of the year, we were honoured to host

Visit on.cmccanada.org

→

ISSUE NO. 3

39

ATLANTIC While Who could have predicted when

and SNS is one of a few Canadian orchestras

the last issue of Resonance appeared that

which paid its musicians for the remainder of

we would be facing a summer of cancelled

the season’s contract.

performances, shuttered theatres and silent choirs? And on top of COVID-19 our

Most summer festivals are not happening, but

community has suffered the terror attack in

many organizations are moving online where

rural Nova Scotia, the loss of Canadian Forces

possible in order to salvage what they can and

personnel and a missing toddler, all within

connect with audiences.

a few short months. Like everyone across Canada, the Atlantic musical community

Symphony Nova Scotia has launched an

is reeling from cancelled performances

Online Encores series each week of May

and tours. In January we were watching

and June, including a live post-concert

concerts at Upstream (celebrating their 30th

Q&A session via Facebook Live and

anniversary next season) where the first

YouTube live. June performances feature

Paul Cram Award was given out. Symphony

past concerts with Maestro Bernhard

Nova Scotia performed Kelly-Marie Murphy’s

Gueller and new Music Director Holly

Dragon, Unfolding on February 13 and Jocelyn

Mathieson, and a Pierre Boulez Gala from

Morlock’s My Name is Amanda Todd on

1991 (Scotia Festival) on June 7 at 7:30 p.m.

Thursday, March 12, which ended up being the final concert of the 2019-20 season.

The following day, musicians gathered for a Broadway Tonight! Pops rehearsal, be sent home with the balance of the season cancelled. Fortunately, strong audience support has meant that over 60% of sold tickets were donated back to the orchestra,

Scotia Festival is also going virtual with its 2020 Scotial Distancing Festival Halifax Camerata Singers whose performances with SNS and spring tour with tenor Ben Heppner were cancelled released a video in memory of

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CMC RÉSONANCE

REGIONAL UPDATES

ATLANTIC continued the twenty-two victims of the horrible shooting attack on April 18-19, the worst in Canadian history.

CMC Atlantic welcomes two new members to our Regional Council: Soprano and arts producer, Maureen Batt (Nova Scotia), and composer/educator, Bill Brennan (Newfoundland). We’ll be having our Annual General Meeting shortly, and looking back at the previous year in the region and looking ahead to future projects.

Some of our composers have launched virtual projects, including: • Derek Charke with multi-tracked improvised flute videos • Fiona Ryan shares her April Elegy • From LA, composer Tim Labor shares his COVID-19 creation, Musical Distancing, with the Theremin, without striking, blowing or touching an instrument!

Creativity reigns, and music is helping us all get through the current crisis. Sign up for our

Unfortunately due to the pandemic our

Atlantic newsletter, and keep listening and

plans to host the Classical Showcase at

watching. Stay well and strong.

this year’s East Coast Music Award in St. John’s at the end of April were cancelled.

No word yet on a 2021 location, and we will share the news of the winner of this year’s Best Classical Recording as soon as it’s announced. We’re looking ahead to more online events, and a pan-Atlantic project with composer Amy Brandon.

Visit atl.cmccanada.org

→

ISSUE NO. 3

HONOURING OUR HERITAGE CREATING NEW LEGACIES MISSION The Canadian Music Centre is the catalyst that connects you to the ever-evolving world of musical creation in Canada through performance, education and promotion.

PURPOSE The CMC provides unique resources for exploring, discovering, and performing Canadian music. We are passionate about nurturing a musical community that honours our legacy and support the professional development of Canadian musicians and composers.

VISION The CMC inspires fresh perspectives, celebrates inventive composers, and provides transformative experiences. We champion artistic diversity and embrace Canada’s rich cultural heritage in creative centres across the country and internationally.

VALUES Our values intentionally guide all aspects of the CMC’s activities.

Music plays a vital role in the lives of all Canadians and contributes to a more vibrant and engaged society.

We believe in • the value of musical creation • • investing in continuous innovation • • the pursuit of personal and organizational excellence • • actively embracing diversity and inclusion • • the health and well-being of creators and performers as they contribute to healthy communities •

WE ARE STRONGER TOGETHER.

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CMC RÉSONANCE

SOMETHING NEW ON ITS WAY JAZZ LEGACY AT THE CMC

By CMC Legacy daughters, Céline Peterson, daughter of Oscar Peterson, and Holly Nimmons, daughter of Phil Nimmons are working together to carry on the legacy of their fathers to promote jazz music in Canada by giving a home for jazz at the Canadian Music Centre, through a new CMC program – Jazz at the Centre.

Excerpt from an article in the next issue of CMC Résonance: “Something we had in common growing up in our respective homes was being exposed to the art of the ‘hang’. Pre-show, post-show, around the dinner table or in the living room, the epic storytelling that would happen for hours on end between our dads and their peers was never limited to just an elite group of close friends. The hang is for everyone who wants to participate.

So many young musicians do not have an opportunity to get to hear the stories that are passed down through generations because of the lack of accessibility to artists. Through Jazz At The Centre, the invaluable chance for students and fans to hang with the musicians who inspire you, ask your questions, take in the stories and absorb the wisdom being shared with you, can be a reality.” - Céline Peterson

↑ Celine Peterson (L) & Holly Nimmons (R) Photo credit:

ISSUE NO. 3

CMC MUSIC SERVICES

NEW FROM THE LIBRARY Looking for a score? Would you like to borrow an item from our Library?

18 new Solo Piano works 32 new Vocal works 26 new Choral works 37 new Orchestra works 107 new Solo + Chamber works

YOU CAN NOW SEARCH BY INSTRUMENT →

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CMC RÉSONANCE

NEW FROM CMC CENTREDISCS

LITTLE HEART

ROSE PETALS

Audio Opera

Canadian music for viola

Composer

Composers

Afarin Mansouri

Ana Sokolovic, Evelin Ramon, Howard Bashaw, Jacques Hétu, Jean

Arranger Bahar Ossareh

Performers

Coulthard, Laurie Duncan, Sean Clarke

Performers Margaret Carey, Roger Admiral

Alexander Dobson, Alice Malakhov, Bahar Ossareh, Vania Chan BUY NOW →

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ISSUE NO. 3

SARAH SLEAN & SYMPHONY NOVA SCOTIA

THE SPIRIT AND THE DUST

Composer

Composers

Christos Hatzis

Christos Hatzis, Dinuk Wijeratne, Norbert Palej, Richard Mascall

Performers Sarah Slean, Symphony Nova Scotia

Performers Amici Ensemble, Beverley Johnston,

Conductor

Marc Djokic

Bernhard Gueller

BUY NOW →

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CMC RÉSONANCE

NEW FROM CMC CENTREDISCS

NEW ON CENTRETRACKS

Centretracks is digital only which focuses on small recording projects.

THE MONKIEST KING

BREATHE & SPROUT

A Chinese-Canadian Opera

For string quartet

Composer

Composer

Alice Ping Yee Ho

Roydon Tse

Librettist

Performers

Marjorie Chan

Interro String Quartet

Performers Canadian Children's Opera Company

Conductor Teri Dunn

BUY NOW →

BUY NOW →

ISSUE NO. 3

ACKNOWLEDGEMENTS

We acknowledge the financial support of the Government of Canada through the Department of Canadian Heritage (Canadian Music Fund) and of Canada's Private radio broadcasters.

THANK YOU TO OUR SUPPORTERS! Join the community and support musical creation in Canada.

JOIN TODAY →

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