CMC Résonance Issue No. 5, Creating New Legacies by cmccanada7

CMC RÉSONANCE

Creating New Legacies Issue No. 5

CMC RÉSONANCE

CONTENT 22

Reciprocal Understanding: IndigenousColonial Cultural Resonance as A New Legacy in Canadian Music

Music Education and the Next Generation of Composers and Performers

An Interview with emerging composer Maria-Eduarda Mendes Martins

News

Celebrating CMC Associate Composers

Awards

Opportunities

Reflections

Regional Updates

CMC Music Services

New From Centrediscs

ISSUE NO. 5

EDITORIAL EDITORIAL TEAM

TRANSLATOR

COVER ART

Glenn Hodgins,

Sabrina Moella

Aimée Rochard, Graphic Designer

President & CEO Holly Nimmons, Director of Development & Communications Ashley Boychuk, Communications & Development Manager DESIGNER Aimée Rochard CONTRIBUTORS Sean Bickerton Ashley Boychuk Matthew Fava Dr. Eric Favaro Joseph Glaser Glenn Hodgins David Jaeger Claire Marchand Heather Pawsey John Reid

ADVERTISING Send inquiries to: holly.nimmons @cmccanada.org CONTACT For comments, questions, and concerns about CMC Résonance: info@cmccanada.org For all general inquiries about the CMC and its mission: info@cmccanada.org If you wish to be featured in the next issue of CMC Résonance or want to contribute: holly.nimmons @cmccanada.org

@CMCNATIONAL @CMCNATIONAL @CANADIANMUSIC

Peggy Walt J. Alex. Young

CMCCANADA.ORG

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

CMC RÉSONANCE

LETTER FROM THE PRESIDENT AND CEO “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.” CMC Vision Statement As we emerge from a lock-down world into a new spring of possibilities, we cannot overstate the essential value of transformative music experiences from all communities and generations across Canada. The CMC has always been passionate about nurturing a musical community that honours the legacies of contemporary composers in Canada. We acknowledge that we have ignored and overlooked Indigenous composers and been active in supporting the misappropriation of their culture. At this time, we are listening, learning, acknowledging, and taking action

“Each cultural and artistic voice within Canada evokes a response in others. When one cultural group is silenced by another, the action deafens the sympathetic resonations of our humanity-based similarities. Thus, the only way for us to understand who we are as Canadian music creators is to task ourselves to recognize all music created by the people living in Canada.” – J. Alex Young

as we give space for new voices and stories. Our work is to ensure that all legacies have a nurtured place to resonate in Canadian society as we meaningfully renew our commitment to champion artistic diversity.

In his article, Reciprocal Understanding: Indigenous-Colonial Cultural Resonance as a new Legacy in Canadian Music, composer J. Alex Young inspires us to consider the incorporation of Indigenous knowledge and its expression to the body of Canadian work. I am grateful that Alex shares his insight and wisdom with CMC as a member of CMC’s Accountability for Change Council. Articles in this issue focus on “Creating New Legacies”. Learn about the experience of

↑ J. Alex Young

ISSUE NO. 5

emerging composer Maria-Eduarda Mendes Martins who just participated in the Hamilton Philharmonic Orchestra Composer Fellowship program. Maria-Eduarda is also co-recipient of the 2021 Friends of Canadian Music Awards. Picanto.ca is a digital platform for discovering new legacies. Read about the 7x Festival, hosted by artists Sarah Albu and Maxime Daigneault that showcased works by Patrick Giguère, Curtis Andrews, Jesse Stewart, Andrew Balfour and more.

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

The link between music education and creating new music legacies is undeniable. Music programs are fostering the next generation of

Canada through performance, education and promotion.

composers. In his article, Dr. Eric Favaro

PURPOSE

notes, “the future of Canadian music is in good

The CMC provides unique resources for

hands thanks to the support for quality music

exploring, discovering, and performing

education across Canada.”

Canadian music. We are passionate about nurturing a musical community

We honour the centenary of CMC

that honours our legacy and support the

heritage composer, Harry Freedman

professional development of Canadian

who strongly believed in the importance of

musicians and composers.

“listening”. CMC Canada’s Board chair, Heather Pawsey says, “Deep listening is something we aspire to, especially as musicians.” J. Alex Young notes that, “there is a strength that forms within people from the act of listening and hearing.” CMC is actively listening and moving forward in new ways. Thank you for your ongoing support for musical creativity in Canada.

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.

Glenn Hodgins President & CEO

CMC RÉSONANCE

THE ACCOUNTABILITY FOR CHANGE COUNCIL Resources The CMC is committed to carrying out the process of decolonization. We are in the process of changing the way we’re thinking and laying the groundwork for that change. We encourage you to engage in a process of discovery, accountability and understanding in new ways. If you are interested in learning, in developing new understanding and in change, this is a place for you to begin your journey. Rather than asking for direction from Indigenous artists, we urge you to first do your own research; and then from that point, enter discussion. References and resources on this webpage have been vetted by the Accountability for Change Council. We endeavour to cross-reference to the resources and information by other organizations so you can feel the breadth of the knowledge forest. Click here to find out more. These resources are updated on a regular basis. Please send us your suggestions.

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FROM THE LAND OF THE SALISH SEA I am writing this missive on the edge of the

all spaces, the liminal — that space between

Coast Salish Sea on the land of its peoples,

‘what was’ and the ‘next,’ a place of transition,

who created such a thriving and vibrant

according to Franciscan friar Richard Rohr.

culture here in completely balanced harmony with their environment.

So my call to myself, and to all of us, in fact, is to set aside our lament of this monotony and

As I write these words, looking out at those

instead seize this precious time, this season of

seemingly endless waters, though, blanketed

not knowing, this limbo, this liminal space, to

this morning in a light mist, I cannot help but

savour this place of transition, and to create

feeling trapped to some extent. Trapped in

and find meaning and purpose and inspiration

time, certainly, our days endlessly much the

in that striving in spite of — despite — our

same. Trapped in our homes, too, those of us

endless wait, just as every plant and tree

‘lucky’ enough to be able to work from them.

in the Northern Hemisphere is doing right

(And we are lucky, I readily admit.) Trapped, in

now, awakening themselves, surging with

fact, in limbo. After two years of day and night

new creative energy, bringing us more into

unmarked by any boundary save what small

harmony with our natural world, in some

ceremony we employ to demarcate work from

small emulation of the wisdom and vibrancy

personal life, home from office, professional

of those First Nations who long preceded us.

from personal time, this continual, endless endlessness is wearing. It’s that lack of boundary that defines limbo, which is shapeless and gormless, without edge or definition — an infinite and seemingly eternal sameness, the word stemming from the Latin word limbus, which relates to edge or boundary. Yet limbo also descends from the Latin word limen, meaning a place of entering or beginning, a threshold, which can open a door for us into that most beautiful and creative of

Sean Bickerton CMC BC Director (he/him/his)

CMC RÉSONANCE

INTERVIEW SEAN BICKERTON AND HEATHER PAWSEY “Deep listening is something we aspire to, especially as musicians.” - Heather Pawsey, Board Chair, CMC Canada CMC BC Regional Director Sean Bickerton interviews acclaimed Canadian soprano Heather Pawsey, who has premiered more than 40 roles, is the founding artistic director of Astrolabe Musik Theatre, and chairs the Canadian Music Centre’s National Board of Directors. With a focus on this magazine’s central theme, Sean discusses what ‘creating new legacies’ means to Heather, and how she embodies this meaning in her everyday life as an artist, producer, filmmaker, and teacher. "The legacy that I would like to leave as a performer, as a producer, and as the chair of the National Board of the Canadian Music Centre is a legacy of listening. By that I mean not only listening to the music ... A legacy of

the people who are still outside, and are clamouring to be heard, and it will enable us to listen. I really believe that we are taking incredible steps toward this with the phenomenal work that is being done by the Accountability for Change Council and the Indigenous Advisory Council.” “My legacy would be if something that I do as a performer strikes a chord in someone else … as a teacher, I would hope to empower my students to find their own voice and not just listen to what I have to say to them … to facilitate them being able to listen to themselves.” Listen to the interview as Sean and Heather discuss creativity, the world premiere of the film The Lake / n’-ha-a-itk, co-produced by Astrolabe Musik Theatre and Turning Point Ensemble in collaboration with Westbank First Nation, and the over twenty-year journey to creation of the true-life Canadian opera of Barbara Pentland. Visit our website: cmccanada.org

listening means listening to ourselves and identifying those things that are really, truly important to us and honouring that in a very noisy world …. and truly listening to each other.” “Moving to different ways of being, so that as we start to listen to each other within the CMC, we become more responsive to

↑ Sean Bickerton & Heather Pawsey

ISSUE NO. 5

NEWS ARTISTIC DIRECTOR OF THE SMCQ Ana Sokolović appointed Artistic Director of the Quebec Contemporary Music Society (SMCQ). Ana Sokolović is the fourth most performed opera composer in the world, a major figure in contemporary music and a multiple award winner. She is also distinguished by her numerous collaborations on the artistic scene as well as by her great involvement in the academic and research-creation world. ↑ Andrew MacDonald (L) & John Estacio (R)

ORDER OF CANADA CMC Associate Composers Andrew Paul MacDonald and John Estacio are recipients of the Order of Canada! •

Andrew MacDonald: for his contribution to contemporary Canadian music in the classical, jazz and electronic genres as a teacher, composer and performer.

•

John Estacio: for his expertise as a composer and for his contribution to Canadian opera.

↑ Ana Sokolovic. Photo by: Jérôme Bertrand

CMC RÉSONANCE

CELEBRATING CMC ASSOCIATE COMPOSERS WELCOME NEW ASSOCIATE COMPOSERS We are pleased to welcome 17 new AC members to the CMC community. We look forward to celebrating and supporting these composers, as well as featuring them within the Composer Showcase pages on our website. To discover more about the CMC’s Associate Composers click here.

British Columbia

Ontario

Quebec

•

Arvin Fekri

•

Cait Nishimura

•

Isak Goldschneider

•

Holly Winter

•

Coreen Morsink

•

Marie-Claire Saindon

•

Joseph Chiu

•

Olivier Larue

•

Juro Kim Feliz

•

Kento Stratford

•

Quinn Jacobs

•

Sergei Kofman

Prairies •

Jessica McMann

•

John Melnyk

Atlantic •

Gavin Fraser

•

Amy Brandon

•

Hsiu-Ping Wu

Do you have something for us to celebrate? Let us know by filling out this form!

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 →

ISSUE NO. 5

REMEMBERING HARRY FREEDMAN AT 100

↑ David Jaeger (L) & Harry Freedman (R)

Harry Freedman (1922–2005), one of Canada's

was also an experienced broadcaster, painter,

most prolific composers, was born on April

author, educator and a mentor to those gifted

5th, 1922. This year we're celebrating the

individuals he met whom he felt merited

centennial of this remarkably creative artist,

encouragement.

who was also my friend and colleague. Freedman was engaged with the musical

My first of many opportunities to commission

community, writing more than two hundred

Harry was in 1976. His good friend, Gerry

works in virtually every known musical genre

Mulligan (1927–1995), the great American jazz

of classical music and beyond. Besides his

saxophonist, would turn fifty years of age in

symphonic, vocal, chamber and choral works,

1977, and Harry argued that this was a fine

he wrote ballets and incidental music for film

occasion to write a concerto for baritone

and television. He also embraced jazz, music

sax and orchestra, especially for his famous

for the stage, as well as music for school

friend. Early in my own career as a music

choirs and bands. A true polymath, Freedman

producer at CBC Radio, I convinced our

CMC RÉSONANCE

Radio Music Department to support the

the commission through CBC Radio Music,

project with funds from its commissioning

and the completed work had its premiere

budget. Harry was contracted to compose

performance in the Barbara Frum Atrium

his concerto for baritone sax and orchestra,

of the Canadian Broadcasting Centre in

Celebration and the following year, on Gerry

Toronto the following year, during the

Mulligan's birthday, we produced a broadcast

Northern Encounters Festival. The concert

from Hamilton Place with the Hamilton

was presented twice, in a special surround-

Philharmonic Orchestra and conductor

sound staging, with the choirs singing

Howard Cable for the premiere performance.

from the balconies. Our production was

The Gerry Mulligan New Sextet joined in to

broadcast on several CBC network programs,

fill out the balance of the program. It was a

and we then presented the work at the

great way to learn that working with Harry

International Rostrum of Composers in Paris,

Freedman was no ordinary business. The

where the delegates voted to recommend

recording of Freedman's Celebration was

it for broadcast around the world. Borealis

released in 2002 as part of a compilation of

is included in a currently available CMC

his works in the CBC Records Ovation series,

Centrediscs recording, titled Harry

volume I, and is available from the CMC.

Freedman: the Concert Recordings, released in 2017.

The last work by Freedman I commissioned through CBC Radio was his Borealis, one

In January 2006 CBC Radio, Soundstreams

of his most important and distinctive

and the Canadian Music Centre produced

compositions. Harry contacted me in 1996 to

a Harry Freedman memorial concert

let me know he had been approached about

at Glenn Gould Studio in Toronto. All

composing a large scale work for multiple

segments of Toronto's music community

choirs and orchestra by Soundstreams, as

were represented in a program of music

part of their Northern Encounters initiative,

and memories. In the concert program,

the following year. He was very keen to

Freedman biographer Walter Pitman wrote,

write the piece, particularly because of

“Harry was a composer guided by the belief

the forces he would have at his disposal:

that all cultures should espouse the finest

three world famous choirs – The Danish

aspirations of all people. Canadians are

National Radio Choir, the Elmer Iseler

fortunate that Harry left such a wealth of

Singers and the Swedish Radio Choir; the

musical expression.”

Toronto Children's Chorus and the Toronto Symphony Orchestra, all conducted by

David Jaeger is a composer, producer and

Jukka-Pekka Saraste. I was able to fund

broadcaster based in Toronto.

ISSUE NO. 5

CMC supports you as you establish your career and build audiences for your work Composer opportunities – commissions, awards, workshops and programs “As the director of a contemporary music collective in Toronto. The CMC’s support through partnership in residencies sharing of resources, mentorship, and guidance, has allowed my group to successfully navigate the difficult first few years of existence.” Paolo Griffin, Composer, Freesound Artistic Director

“The CMC is a national treasure.” Rosemary Thomson, Music Director, Okanagan Symphony Orchestra

Join the largest library of Canadian works in the world Deposit your works in CMC’s Music Library Distribute your music via CMC Receive discounts on print-and-bind and venue rentals “When I’m looking for Canadian music, I go to the CMC. Quite simply, it’s unique: thousands of works by Canadian composers, easy to search, and scores loaned and mailed to you free of charge! For composers and performers, it’s a stunning resource!” Simon Docking, Pianist, Managing and Artistic Director, Scotia Festival of Music

Record your music on CMC Centrediscs – the only 100% Canadian record label in the world Benefit from CMC marketing and outreach within Canada and abroad “CMC lies at the heart of the Canadian musical experience.” Bramwell Tovey, former Music Director, Vancouver Symphony Orchestra

cmccanada.org

CMC RÉSONANCE

AWARDS 2022 E-GRÉ WINNER David Potvin wins 45th EckhardtGramatté National Music Competition in Piano and for the City of Brandon prize for the Best Performance of the Commissioned work by Indigenous composer cris derksen.

↑ Bekah Simms

HARRY FREEDMAN AWARD The Canadian Music Centre (CMC) and the Freedman family are pleased to announce that CMC Associate Composer Bekah Simms has won the 2022 Harry Freedman Recording Award for her piece metamold. Offered every other year, the Award is the primary activity of the Harry Freedman Fund, a permanent endowment administered by the Canadian Music Centre and managed by the Ontario Arts Foundation. The Award supports creative costs associated with making audio recordings for a selected Canadian composer’s music. Click here to read ↑ David Potvin

the press release.

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OPUS AWARDS The Conseil québécois de la musique (CQM) has presented its 25th Opus Awards during a pre-recorded ceremony at Bourgie Hall that was broadcast on the web. Concert music artists were honored there for the 2020-2021 season. Three Quebec-based Associate Composers were recognized for their artistic achievements: • •

• •

AZRIELI PRIZES The Azrieli Foundation has announced the three laureates of their 2022 Azrieli Music Prizes (AMP) including two CMC Associate Composer. Iman Habibi wins the Azrieli Commission for Jewish Music and will compose a 20-minute song cycle based on texts by Judeo-Persian poet Shahin Shirazi, sung in Farsi by a Persian soloist singing

Keiko Devaux won the Composer of

in a Persian style. Rita Ueda has won the

the Year award ($10,000);

Azrieli Commission for Canadian Music

Joane Hétu won Electroacoustic

and will write a 25-minute double concerto

Album of the Year award with

for suona (Chinese double-reed horn), sho

Commutation

(Japanese mouth organ) and orchestra,

François Bourassa won Jazz album of

incorporating birdsongs from among the

the year

450+ different bird species in Canada. Each

Alissa Cheung won the CQM's Opus

Laureate receives a total prize package

Awards Mention of Excellence for her

valued at over $200,000 CAD and will be

piece du Nord as well as the Quatuor

featured in a world-premiere performance

Bozzini

of their prize-winning work in Montréal

FRIENDS OF CANADIAN MUSIC AWARD

by the Orchestre Métropolitain at the AMP Gala Concert on October 20, 2022. Congratulations!

A message of congratulations for the 2021 Friends of Canadian Music Award (FCMA) recipient Mark Takeshi McGregor, from Canadian League of Composers President Sophie Dupuis, CLC Council Member Rodney Sharman, and CMC BC Director Sean Bickerton.

↑ Iman Habibi (L) & Rita Ueda (R)

CMC RÉSONANCE

OPPORTUNITIES THE AZRIELI MUSIC PRIZES Deadline: June 30, 2022 The Azrieli Music Prizes – AMP is currently accepting proposals for support from its Performance Fund. Ensembles may request support in amounts between $5,000 CAD and $25,000 CAD to help cover the costs of: score and parts rental; soloist fees; additional rehearsal time to prepare the AMP-winning works; augmented concert promotions; and attendance of AMP Laureates at the rehearsals and the concert of their winning work.

CMC PRAIRIE REGION EMERGING COMPOSER COMPETITION Deadline: July 1, 2022 Emerging Composers with a connection to Canada’s Prairie Region are invited to submit their orchestral works to the 20th edition of the CMC Prairie Region Emerging Composer Competition for Orchestra with a cash prize of $1,000 and performance by the Winnipeg Symphony Orchestra (WSO) during the 2023 edition of the Winnipeg New Music Festival (WNMF). Emerging composers of any age who are current residents of, were born in, or have completed a substantial portion of their musical education in Alberta, Saskatchewan, Manitoba, The Northwest Territories, or

Visit CMCcanada.org for more details and opportunities. LEARN MORE →

Nunavut, may enter.

ISSUE NO. 5

Discover. Listen. Play.

CMC RÉSONANCE

7x PICANTO FESTIVAL Providing a place for musical discovery, the 7X Picanto Festival was a delightful wash over musical ears from February 4 – 11 within its digital landscape full of innovative music by Canadian contemporary composers and artists. The concept targeted seven unique video experiences for viewers over the period of a week, to unmask new music within each of Picanto’s creative musical areas: jazz, chamber music, electroacoustics, Indigenous music, opera, musique actuelle, Intercultural music, and orchestral music. Hosted by artists Sarah Albu and Maxime Diagneault, the successful festival applicants were tasked with creating a dynamic and visually engaging video presentation of newly composed works, interpreted by internationally-renowned performers. This panCanadian festival uncovered one new video each day, alongside an interview with the composers and performers about the creative process and discussion of the work. The week dawned with a work by CMC Québec Associate Composer Patrick Giguère’s work titled ‘émettre un son, vérifier sa propre existence’, featuring a small chamber ensemble in a dimly lit space who explore sounds while a harp ostinato propels the discovery forward. Giguère reveals in his interview that the creative process was a collaborative one which evolved over a period of months, further impacting his own compositional approach to developing new works. Alternatively, the Montreal-based group Ensemble Paramirabo developed the concept

for their offering ‘Si le temp …, l’espace’ by conceptualising a set group of four compositions for an interactive presentation including new sonorities, imitation and making full use of the resonant performance space. The festival has a full-scale range of dynamic works, showering the audience with sounds from South India with percussionist and composer Curtis Andrews, to another point on the scale with neon illuminated improvisational music featuring the emerging artist of NUMUS Concerts, guided by artistic director Kathryn Ladano. The 7X Picanto festival has provided groups with the opportunity to make new collaborative connections, even when we are apart. Ottawa’s SHHH! Ensemble used this opportunity to their benefit by commissioning composer Jesse Stewart to create ‘In Sea’ and connect the duo with the Ottawa New Music Creators, where the two musical groups together build a ‘rhythmic vocabulary’ from an ostinato while also maintaining a connection to the original form. CMC Associate Composer Nick Veltmeyer reshapes musical forms with the reinstituted folk opera ‘Jimmy and Rosalia’ by using a historical work by Handel, fused with fresh direction and the aural tradition of Canada’s East Coast music. The festival concluded with a satisfactory opportunity to hear a large ensemble; something we’ve all missed over these past couple of years.

ISSUE NO. 5

The Winnipeg Jazz Orchestra’s musicians

The 7X Picanto Festival can still be viewed at

deliver that big sound expected of a jazz

www.picanto.ca for a limited time.

orchestra and equally effective wonder with Indigenous composer Andrew Balfour’s

Ashley Boychuk, Communications and

‘Ishpiming: Epiogue’, drawing viewers into this

Development Manager

special moment of the video.

CMC RÉSONANCE

CREATING NEW LEGACIES

ISSUE NO. 5

CMC RÉSONANCE

RECIPROCAL UNDERSTANDING: INDIGENOUS-COLONIAL CULTURAL RESONANCE AS A NEW LEGACY IN CANADIAN MUSIC

we need to further our definition of

By J. Alex. Young

knowing that are valid and equally important.

‘acknowledge’ to go beyond empty sentiments to indicate that we truly understand, and that consideration informs our actions manifesting what we truly know. In terms of colonial approach to reconciliation, this requires an acceptance that Western-European approaches are not definitive and that there are other systems of

When asked to write this article and to

Understanding specific Indigenous cultural

consider the subject of new legacies, I felt

practices is only one step towards truly

this was largely tied to acknowledging

understanding the people. To understand

pre-existing yet ignored legacies; I

a culture, you must understand their

am referring to the lack of Indigenous

preservations; this is often tied to the words

knowledge, expression and incorporation

they use for objects and concepts through

in contemporary music. There are working

enculturation. Learning the language of

Indigenous composers and musicians

people provides a window to understanding

contributing to the body of Canadian

who they are wholly; through words what

music; however, in comparison these

has and remains to be historically significant

numbers are quite small compared to

and important to their culture is defined.

their colonial counterparts. Therefore, the

The manner in which a cultural group both

question ‘what does the incorporation of

creates and views music is an extension

Indigenous knowledge and its expression

of their language and their enculturation.

mean?’ requires some examination. For me

Therefore, understanding the music based

this means giving Indigenous people the

cultural practices of a group provides

opportunities and voice to share and express

another means of truly hearing their voice.

their culture on their own terms and in their

If learning the language of a group grants us

own language.

the knowledge of what they find culturally meaningful, then listening to the music of

Acknowledgement is a powerful concept

a group of people grants a window to their

when it comes to Indigenous knowledge.

spirituality and brings understanding of what

Today this concept has been reduced to a

drives them and for what their inner fire

demonstration of recognition. However,

burns.

ISSUE NO. 5

Through this thought I found the answer

larger musical tapestry. To remain with the

to my initial consideration to be analogous

analogy of resonance, this substantiates that

with the moniker of this magazine and

Indigenous thought and approaches to music

how this strongly reflects the concept

are essential to Canada’s national sound and

and definition of resonance. Each cultural

promote richness in our musical output.

and artistic voice within Canada evokes a response in others. When one cultural group

The art of a nation is a resonation of all

is silenced by another, the action deafens the

who create, and with music each composer

sympathetic resonations of our humanity-

in Canada contributes from the vibrating

based similarities. Thus, the only way for us

chambers of artistic expression to create the

to understand who we are as Canadian music

national musical voice; for Canadians, this

creators is to task ourselves to recognize all

is a synergetic reflection of life in northern

music created by the people living in Canada.

Turtle Island. Making room for Indigenous

With the vastness of our multiculturalism

voices to contribute to the supplementary

this undertaking is often viewed as

vibration of Canadian musical expression

impossible. However, it is only inaccessible

provides a truer perspective of life in

as many cultural voices have been hindered

Canada. Indigenous expression enriches

or silenced. As a Cree-Métis person, for

our national artistic identity through their

me this is subjectively those of Indigenous

lived experiences and generational historic

cultural leaders, musicians and composers.

associations with our landscape and its narrative. Indigenous people have existed on,

The sharing of Indigenous cultural

cared for and loved this land for countless

knowledge requires unshackling of

generations before colonization. Without

Indigenous voice. There is strength that

freedom and support of cultural and personal

forms within people from the act of listening

expression for Indigenous people, the artistic

and hearing. Hearkening these two voices,

reflection of life and music in Canada pales.

we can observe that colonial thought is to integrate while Indigenous thought

J. Alex. Young is a Cree-Métis Composer from

is to share. The discernible difference is

Northern Ontario and a University of Calgary

integration requires the concept of taking

Ph.D. Candidate specializing in Composition.

ownership where sharing is contributive and

He holds a Bachelor of Music (Honours)

developmental. However, the Indigenous

from Carleton University and a Masters in

voice is bolstered by our own view as musical

Composition from the University of Ottawa.

creations as pieces; we acknowledge that

He is currently operating as an Indigenous

our creative works are only a thread in the

student advisor for the University of Calgary

CMC RÉSONANCE

Equity Diversity Inclusion and Decolonization Committee and the Canadian Music Centre’s Accountability for Change and Indigenous Advisory Councils. In 2019 he was awarded the SSHRC Doctoral Fellowship for his research on Indigenous culture which encompasses aspects of Cree storytelling, ceremony and song as inspiration for a new creative work. J. Alex Young feels to reflect a musical unity between his Indigenous Cree and Western heritage that a unity of self, community, land and spirit must be maintained. His compositions are combinatory sonic and narrative explorations of his personal connection to home, family, story and spirituality.

MUSIC EDUCATION AND THE NEXT GENERATION OF COMPOSERS AND PERFORMERS By Dr. Eric Favaro Dr. Eric Favaro is a passionate education advocate who has devoted his entire career to helping teachers gain a better understanding of the importance of an education in and through the arts. Trained as a music educator, he is respected nationally and internationally as an innovator for effective programs in Arts Education and is considered to be a leader in his field. In this article he writes about the future of music education and creation. When we reflect on the positive and negative impacts of the COVID-19 pandemic on public school music programs, we realize that the recovery from limitations placed on group music-making will be challenging. After two years of uncertainty that included the “backand-forth” between in-person and virtual learning, restrictions on singing and playing wind instruments, and no large ensemble performances, finding the silver lining will be difficult for music educators as they attempt to recover some semblance of their pre-COVID programs. As someone who has just marked fifty years in music education, I tend to promote an optimistic view of the possibilities for reimagining and innovating

ISSUE NO. 5

music programs that truly are more relevant

Through sound and symbol, students will be

for 21st century learners.

required to solve problems and express and

communicate imaginatively their developing The Coalition for Music Education in Canada

understanding of self, others, and the

has heard from several music teachers across

environment."

the country who describe the creativity that their students displayed as they discovered

While the implementation of that document

ways to make music while complying with

was curtailed when schools went to online

public health guidelines. Not only did they

learning, the curriculum became a valuable

organize and perform in virtual ensembles,

resource for those high school music

they also began to compose their own music,

educators in Nova Scotia who found in it a

demonstrating their passion for a range of

treasure of activities that students could do

musical genres while meeting curriculum

virtually with limited guidance.

outcomes. This has highlighted the need for a total review of music programs as they existed

The findings of Everything is Connected: A

before the pandemic, and to find new ways to

Landscape of Music Education in Canada

meet curriculum outcomes in collaborative

(2021), a national study led by the Coalition

settings using a more creative approach to

for Music Education, indicate the inequalities

learning, teaching, and assessment.

in music education curriculum requirements across the country, inconsistent access to

In 2019, just prior to the pandemic, the Nova

music education and resources including

Scotia Department of Education and Early

relevant and current curriculum, and

Childhood Development updated its Music

discrepancies in programming based on

12 curriculum. In describing the nature of

urban vs rural access. As we rebuild music

Music 12, it stated: "Music is rooted in creative

programs in schools across Canada, Ministries

exploration and problem solving using a range

of Education, with guidance and support from

of experiential processes including rehearsing,

music education leaders, must review their

performing, composing, and arranging,

curriculum based on the challenges of the past

listening and responding, improvising,

two years while focusing on a resource that

and linking music to other arts disciplines

builds the creative capacity of music learners.

and areas of study. Music 12 emphasizes a holistic learning process that involves

In keeping with the theme of this edition of

the understanding of contexts and critical

CMC Résonance – “Creating New Legacies” – I

reflection, in addition to the development

invite you to check out the Coalition for Music

of and synthesizing of music-making skills.

Education website: coalitioncanada.ca

CMC RÉSONANCE

On May 2, the Coalition guided the country in its annual national celebration of music in schools and communities across Canada. This year’s Music Monday song is a collaborative composition project between two Youth4Music ambassadors with lyrics by Mimi O’Bonsawin, a 26-year-old Indigenous singer songwriter from Ontario, and music by Nicholas Ma, a 22-year-old undergrad majoring in composition and piano performance at McGill Schulich School of Music. The song and more than 20 arrangements all done by Nicolas, demonstrate the importance of music education to the next generation of musical creators in Canada. With an optimistic perspective, the future of Canadian music is in good hands thanks to the support for quality music education across Canada. Dr. Eric Favaro, Past Chair Coalition for Music Education in Canada

RECIPROCAL AN INTERVIEW WITH EMERGING COMPOSER MARIA-EDUARDA MENDES MARTINS By Joseph Glaser CMC Ontario Regional Director Joseph Glaser sat down with emerging composer and co-recipient of the 2021 Friends of Canadian Music Award, Maria-Eduarda Mendes Martins to discuss her participation in the Hamilton Philharmonic Orchestra Composer Fellowship program. The program was launched in collaboration with the Ontario Region of the Canadian Music Centre in our 18-19 Season. The program is aimed at connecting early career composers with professionals in the orchestral world to nurture and develop new skills through mentorship and the creation of a new work. On March 19th, 2022, the Hamilton Philharmonic Premiered Maria Eduarda’s work Echoing Mendelssohn conducted by Gemma New as the culmination of Maria Eduarda’s fellowship with the orchestra. Joseph Glaser: Tell me a little bit about yourself, you grew up in Brazil and then moved to Canada. When did you move and what is your perception of the scene here in

ISSUE NO. 5

comparison?

work on some of my personal projects and

Maria Eduarda Mendes Martins: Yes, I grew

compositions at my own pace. I’m definitely

up in Brazil (I spent my childhood in Rio de

learning to compose more quickly this year.

Janeiro and my adolescence in Porto Alegre), but my contact with the local music scene

JG: Can you tell me a bit about the piece?

there was a bit brief. I started music late, at 16,

How does it relate to Mendelssohn?

and just did my undergraduate before moving

MEMM: So, when I first got the fellowship,

to Victoria for my Master’s (also in music

[composer mentor] Abigail [Richardson-

composition). I felt very welcome by the

Schulte] told me that my work would be

scene in Victoria, so much so, that I decided

on a concert called Gemma Conducts

to stay there once I finished my degree. The

Mendelssohn. Abigail suggested that it would

University of Victoria doesn’t have a PhD

be a good idea to link my piece to this theme

program so I really had to make the decision

in some way. I had written this one work for

of do I stay here or do I move right away to

orchestra before [Vortex Cantabilis] where

continue my studies. In the end, I was really

I took a 13th century melody and created a

glad I stayed because I was able to start my

“vortex” of the melody by having it passed

career in Canada and to have a number of life

from instrument to instrument and layered

experiences that made me grow as a person.

on itself in different time scales. I really liked

I immigrated, I got married to the composer

the result of that piece so I decided to try

Alex Jang, who inspires me every day and who

that technique again, but this time using the

supports me more than I could ever ask for,

melody from Mendelssohn’s Violin Concerto

and I had my first jobs in music. Because of

that was on the same program.

all these personal and musical experiences, now that I’m back in school I feel as though

JG: Aside from these two pieces, does your

I’m not only a student, but I’m also doing a lot

work often reference other music?

of work outside my studies.

MEMM: Yes, for a lot of my music, the underlying impulse is melodic, and a lot of

JG: Since moving to Toronto, do you feel

times those melodies are borrowed from

there’s a real difference in culture here than

other works or are suggestive of older music

in Victoria?

in some way (particularly of music from the

MEMM: I feel they’re really similar! Both

Middle Ages). A lot of what I want to do in

cities’ new music scenes are very open and

my music, by using unaccompanied melodies

welcoming. I think the big difference is

in conjunction with extended techniques,

that in Toronto I have more deadlines at

abstractions and other obscurations , is

the same time, whereas in Victoria I could

to say ‘Yes you can be both modern and

CMC RÉSONANCE

important points in the score and gestures to be highlighted in the next rehearsals She communicated these points at the beginning of the second rehearsal and the piece came together in 15 minutes! The concert experience was also truly magic: the piece sounded incredible and the musicians played with so much drive, energy and passion! In addition to the rich performance and rehearsal experiences, I also had constant support from Abigail (HPO’s composer in residence), who guided me through an intense process of score and parts editing, who made sure I had a lot of experience with public speaking – through giving interviews, introducing my work from the stage, participating in big outreach events organized by the HPO, and who ensured that I had the space to talk about my piece and myself as a composer. JG: What are some takeaways you have from this experience? MEMM: One big takeaway is my sense of gratitude and good memories of the whole experience: I am really grateful for the incorporate the past at the same time’. JG: What was the experience like working with the HPO? MEMM: The HPO was great and [HPO music director] Gemma [New] is a fantastic collaborator! The orchestra was able to put the piece together in quite a short amount of time, after Gemma New and I discussed a few

amazing support that the HPO team gives to young composers who are part of their fellowship programs. I am so impressed with how their marketing team took the time to interview me and create such a complete profile of my compositional work for the community and concert goers. I have never felt so heard before, and I truly hope to be

ISSUE NO. 5

able to work with them again in the future. In terms of learning experiences, I gained so much insight about livestreaming processes (which is becoming an increasingly important skill for composers). I learned new details about rehearsal procedures, etiquette and logistics, and I also became more aware of idiomatic differences between composing for orchestras and other ensembles, understanding that orchestral writing is a language on its own. Joseph Glaser, CMC Ontario Interim Regional Director

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ASSOCIATE COMPOSER REFLECTIONS The CMC joins with the Canadian music community to celebrate these CMC Associate Composers. We remember their dedication and contributions to Canadian music creation.

ROBERT FLEMING

WEISGARBER

“We are pleased

“As the old,

to honour Robert

serrated-edged

Fleming on the

computer

occasion of his

paper pumped

100th birthday

through

commemoration.

the printer

Some of his

the day my father died, I watched with

pieces have

amazement as his life reappeared in front

become standard

of me, his memoirs and correspondence

repertoire in the

now filling stacks of pages on his desk. As

canon of Canadian music; I am especially

it turned out, they were just the beginning

reminded of hearing his “Confession

of a string of posthumous gifts that have

Stone” as one of the required works in the

kept my Dad close to me these past twenty

Eckhardt-Gramatté vocal competition,

years. That last day of December, 2001

a beautiful work. I wish to send along

was the day I embarked, well into middle

my greetings to his family as they fondly

age, on my own life’s work, the cataloguing

remember their father.”

of Elliot Weisgarber’s huge output of

- John Ried, Director, CMC Prairie Region

musical compositions, transcription of his

Click here to read more

manuscripts into printed format, finishing his unpublished book Shakuhachi: the Voice of Nature, editing his memoirs and, just in this past year, beginning work on a biography.” Read more about Karen Suzanne (Weisgarber) Smithson’s discoveries here

ISSUE NO. 5

HARRY FREEDMAN This year we celebrate the 100th birthday of CMC Associate Composer Harry Freedman! Harry Freedman is one of Canada’s most frequently performed composers and founding member of the Canadian League of Composers. His over 200 compositions for a vast array of ensembles, voices, and genres, are performed internationally and has been commissioned by some of the most

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prolific Canadian arts organizations. Named an Officer of the Order of Canada, Freedman was awarded the Lynch-Staunton Award in 1998 by the Canada Council for outstanding achievement by a Canadian artist. As a dear friend and colleague, educator and jazz icon Phil Nimmons remembers Harry’s

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passion for Canadian music; “We both felt that we wanted to have more Canadian music, more Canadian music played by symphony orchestras. Harry was dedicated and committed to Canadian music. He is an important legacy for music in Canada.” The CMC houses over 175 compositions by Freedman and highlighted his recorded compositions in a 2017 Composers Portrait highlight available on Centrediscs. We celebrate the legacy Harry Freedman left behind for Canadian music and beyond.

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REGIONAL UPDATES

BRITISH COLUMBIA Greetings from Coast Salish Territory! CMC BC is excited to announce our first live concert in two years! A belated but nonetheless joyful 70th Birthday Celebration of Stephen Chatman at the Chan Centre on Sunday, March 6, 2022, a co-presentation with the Chan Centre, the UBC School of Music, Vancouver Chamber Choir, and CMC BC. The concert featured the Vancouver Chamber Choir and Vetta Chamber Players and has been twice delayed, so we’re extremely excited for it to have taken place. In other news we are producing another fifty (50) animated score videos this year, building on the fifty produced in 2021. And just to advise we are transitioning away from our existing BC Website musiccentrebc. ca to bc.cmccanada.org/ Our deepest thanks go to all the composers and patrons who showed such strong support for CMC BC last year despite such difficult times, donating $20,000 in addition to an extraordinarily generous anonymous donation of $50,000. We are profoundly grateful. Thank you! Visit bc.cmccanada.org

→

↑ Stephen Chatman

ISSUE NO. 5

PRAIRIES CMC Prairie Region has embarked on a

“Noobie Blues” (homage to saxophonist

project to raise funds to create professionally

Gib Monks), “Calabash Cha Cha’ (homage

copied/computer-engraved digital copies for

to Calgary's now defunct Café Calabash),”

legacy preservation, of the compositional life’s

Ronnie's Gone” (homage to saxophonist Ron

work of 90-year-old Associate Composer Bob

Park), “Good Old Jack S.” (homage to Winnipeg

Erlendson (the legendary 61 Bob Erlendson

arts promoter Jack Shapira), etc.

Jazz Octets). Once completed, these 61 works will enter the community of Canadian

Bob Erlendson has lived and performed in

composers' works digitally preserved by

Toronto, Montreal, Vancouver, Chicago,

the Canadian Music Centre, and available

and Newfoundland, and has been residing

for perusal and distribution in perpetuity

in Calgary since the mid 1980s. He's played

through the CMC's website. Currently, after

with important Canadian jazz musicians Ed

multiple performances, the octets are well-

Bickert and P.J Perry, and has recorded with

used, performer-pencil-marked-up, and

George Koller, Big Miller, and Shirley Eikhard.

“dog-eared” — not in proper condition to be

He has released four albums (CDs) featuring

submitted to the CMC Library, hence the

his own bebop compositions arranged for

need for the project.

octet. Highly respected in jazz circles, Bob has played piano professionally for over 50 years

Held in high esteem in the Canadian jazz

and is perhaps best known for educating the

community, these important pieces have

legendary jazz guitarist Lenny Breau in jazz

been recorded and performed nationally

theory. Erlendson’s original composition

and played in the media internationally.

“Lullaby” was published in “Guitar Player

They represent a Canadian landscape of

Magazine” in 1983 as part of an article by Mr.

memories and geographic jazz mementos

Breau. Mr. Erlendson was featured in the

with titles like: “Winnipeg at Night,” “Fred-

documentary “The Genius of Lenny Breau”

Town” (Fredericton), “A Row for Eric” (homage

(1999) and was a consultant on the book “One

to Calgary jazz musician Eric Friedenberg),

Long Tune: The Life and Music of Lenny

CMC RÉSONANCE

REGIONAL UPDATES

PRAIRIES continued

ONTARIO

Breau” published in 2006 by University of

In spring of 2021 April Aliermo was selected

North Texas Press, written by Ron Forbes-

as the CMC Ontario Media Production

Roberts.

Residency Artist. Initially, April worked remotely to review digitized material that

The jazz performing community is aware of

we share through the CMC site. Over time,

these octets and is clamouring for access —

she directed her residency towards the gaps

not possible prior to the onset of this project,

in our collection and membership—that

as only the poor-quality original manuscripts

electronics and sound art are not featured

were extant.

as prominently as notated scores, and recognizing the omission of Black, Indigenous,

Grants have been received from Calgary

Queer, and Female artists among others.

Arts Development Authority, Harry and Martha Cohen Foundation, and the Calgary

In connection to April’s own electronic

Foundation so far for the project. A member

and sound art practice and interests, her

of the CMC Associate Composer community,

residency drew our attention to folks working

John Abram, has taken on the engraving/

with field recordings, samplers, turntables,

digitization chores.

and other hardware/software in order to compose meaningful works. April visited with

Visit pr.cmccanada.org

→

artists Pursuit Grooves, Kat Estacio, seth cardinal dodginghorse, and Emissive in order to see them working in their spaces. The media production residency culminated in PUSH IT, a four-part zine series that includes photo essays, artist interviews, and reflections from April herself—you can view

↑ Bob Erlendson

each issue on the CMC Ontario blog.

ISSUE NO. 5

↑ Experimental artist seth cardinal dodginghorse on their home in Tsuut'ina (photo by April Aliermo)

Importantly, April’s residency work provokes

build supportive and trusting relationships

important questions for the CMC: what is the

with artistic communities beyond our historic

role of an archive for sound-based practices

membership?

outside of Western European systems of notation? Who defines artistic excellence, and

We look forward to connecting these

how do we move away from the primacy of

deliberations to our programming and

one notion of compositional virtuosity? What

services.

and how must we give and share in order to

Visit on.cmccanada.org

→

CMC RÉSONANCE

REGIONAL UPDATES

QUEBEC The CMC Quebec is launching the ninth

diversity of Lionel Daunais' writing styles:

edition of the CMC Quebec Music

French melodies, pop songs, folk-inspired

Competition, presented by Quebecor.

humorous songs and songs for young

Young pianists are invited to enter the

people. The lyrics are by French and

competition and to present pieces chosen

Quebec poets, including Lionel Daunais

from a set repertoire of works by Quebec

himself. Link for purchase.

composers to a jury. The jury competition and the award ceremony will be held on

Visit qc.cmccanada.org

Sunday, June 5, 2022 at 1:30 p.m. at the Chapelle historique du Bon Pasteur in Montreal. Registration deadline: May 20, 2022 For more information, click here To commemorate the 40th anniversary of the death of this Montreal composer, this new album is the only one where his ravishing melodies and songs are interpreted by 5 formidable classical musicians from Canada and Switzerland: Jacqueline Woodley, soprano; Annina Haug, mezzo-soprano; Pierre Rancourt, baritone; Michel Bellevance, flute; and Marc Bourdeau, piano and arrangements. The program consists of 27 works – sung in solo, duo and trio – that reflect the

↑ Lionel Daunais

→

ISSUE NO. 5

ATLANTIC Spring is coming to Atlantic Canada, and the days are getting longer. While we are all in various stages of re-emergence as the pandemic continues, it’s great to see so many concerts happening or planned for the spring and summer. We are pleased with a return of the CMC/Debut Atlantic/ECMA Classical Showcase, on Saturday, May 7 at The Playhouse. It was a great celebration of our East Coast composers and performers. The event was hosted by Allegra Swanson, Executive Director of Music Nova Scotia and include music from Soprano Maureen Batt & Grej, pianist Jennifer King, the Saint John String Quartet, guitarist Adam Cicchillitti, cellist Catherine Little and pianist Greg Myra. Congratulations to this year's ECMA nominees and winners! Our partnership with podcast New Musings on New Music continues to provide rich and interesting perspectives from composers. Hear cellist Norm Adams and pianist Barbara Pritchard converse with the latest episode with CMC Associate Composer Andrew Staniland. Visit atl.cmccanada.org

→

↑ Lighthouse Water Greg&Maureen

CMC RÉSONANCE

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.

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.

ISSUE NO. 5

CMC MUSIC SERVICES

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

40 new works for Solo Piano 28 new works of Vocal Music 22 new works of Choral Music 14 new works of Orchestral Music 67 new works of Solo and Chamber Music YOU CAN NOW SEARCH BY INSTRUMENT →

CMC RÉSONANCE

NEW FROM CMC CENTREDISCS

FLUTE IN THE WILD

À SES DERNIERS PAS, ENTRANT DANS LA BOUE Canadian music for viola

Composers

Diane Berry, Elizabeth Raum,

Aleks Schürmer, Grégoire Blanc

Richard Herriott, Richard Mascall

Performer

Performer Aleks Schürmer

Jaye Marsh

BUY NOW →

ISSUE NO. 5

CHASING LIGHT AND SOUND The Tube Music of Elizabeth Raum

LIONEL DAUNAIS: MÉLODIES - SONGS

Composer

Elizabeth Raum

Lionel Daunais

Performer

Performers

Akiko Tominaga

Jacqueline Woodley, Annina Haug, Pierre Rancourt, Marc Bourdeau

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CMC RÉSONANCE

NEW FROM CMC CENTREDISCS

FOUND FROZEN

MUSIC OF THE CITY AND THE STARS

Songs of Jeffrey Ryan

Composer

Andrew Paul MacDonald

Jeffrey Ryan

Performer

Quator Saguenay

Steven Philcox, Danika Lorèn, Krisztina Szabó, Dion Mazerolle

BUY NOW →

ISSUE NO. 5

BODY IN MOTION

CANADIAN SOUNDSCAPES

Composer

Composers

Daniel Janke

Murray Schafer, Ernst Schneider,

Performers

Imant Raminsh

Aaron Schwebel, Adele Armin,

Conductor

Allan Hetherington,

Rosemary Thomson

Amahl Arulanandam, Daniel Janke, Mark Fewer, Richard Armin, Rory McLeod

Performers Carmen Harris, Eeva-Maria Kop, Guy Few, Jaeden Izik-Dzurko, Melissa Williams, Okanagan Symphony Orchestra

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CMC RÉSONANCE

NEW ON CENTRETRACKS

LA TOURTIÈRE

LE VOYAGE DE NOCES

Composer

Lionel Daunais

Performer

Jacqueline Woodley, Annina Haug,

Marc Bourdeau, Pierre Rancourt

Pierre Rancourt, Marc Bourdeau

BUY NOW →

ISSUE NO. 5

CHANSON DES AMOURS PERDUES

Silver Angels Sing Among the Gold Stars

Composer

Lionel Daunais

Alice Ping Yee Ho

Performer

Jacqueline Woodley, Marc Bourdeau

Teresa Suen-Campbell

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BEYOND THE ERUPTING SKIES

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CMC RÉSONANCE

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 →

ISSUE NO. 5

CMC Résonance Issue No. 5, Creating New Legacies

Articles inside