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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CONTENTS 6
10
20
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
22-33
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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 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.
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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 →
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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.
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• 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
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I also like to prioritize dialogue with community members, and to create opportunities for communities to access and animate CMC spaces and resources.
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↑ 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
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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,
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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. SEND FEEDBACK →
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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
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ISSUE NO. 3
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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
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ISSUE NO. 3
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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
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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
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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
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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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