Odyssey — a Wind Ensemble Concert

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


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

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

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

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

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

Canadian Classical Music Coalition inaugural meeting

(Rec'd from George Zukerman)

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

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

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

Here is the proposed agenda for the meeting:

Canadian Classical Music Coalition/ Coalition Canadienne de musique classique

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

SUBJECT: Proposed advocacy for classical music within CAPACOA

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

Place: Alberta room Westin Hotel, Ottawa

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

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

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

Is it the product or the process that makes for good art?

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

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

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

Tafelmusik launches "Sing-a-long Messiah Contest" on YouTube

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

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

Peter Stoll, clarinet, Nov. 5 @ noon, free lunchtime concert

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

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

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

Alain Trudel reaches out to young Canadian composers

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

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

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

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

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

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

Free Music Garden Concerts start June 28

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

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

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

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

Music on the High Seas August 5

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

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

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

You will be treated to:

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

Call now to reserve your ticket!

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

Wanted! Musical Ensemble or Presenting Organization for Second Life Collaboration(s)

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

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

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

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

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

The purpose of the Arts

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

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

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

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

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

Virtual Praxis: A Conference on Women's Community in Second Life

(yours truly will be a presenter at the Ohio State University Conference, as detailed below, November 15, 2008)

Saturday, November 15, 2008
To be held on Minerva, the teaching and research space in Second Life maintained by The Department of Women's Studies, Ohio State University.

http://people.cohums.ohio-state.edu/collingwood7/minerva/conference.html

As teachers, librarians, artists, health care workers, and as volunteers in the many charitable and activist organizations of Second Life, women are a very visible element of our virtual community. The number of women's groups and community centers is increasing, supported by an informal network of committed individuals. Those who come here out of curiosity often find themselves involved in these community activities, and those who came for professional reasons often find that their interests have widened and diversified as they have come into contact with Second Life society. Is what we do here just relaxation, a metaphor for what we do in real life, or do our Second Life activities have importance for our home communities and for society in general?

Virtual Concerts in the Park
Linda Rogers (Second Life: Kate Miranda)

Executive Director, Toronto Philharmonia

There was a time when orchestras wanted to reach out to new audiences, they would go out and play in public parks or shopping malls. These days people are increasingly gathering on the internet and in virtual reality to play and shop. As an arts administrator I have been curious about the possibilities of audience development within Second Life. Who are the musicians that are active in Second Life? Why are they performing there? And who makes up the audience?

Virtual Praxis: In the Director's Chair
Phylis Johnson, Ph.D. (SL: Sonicity Fitzroy)Associate Professor & Interim Chair, Department of Radio-Television

Southern Illinois University

This paper looks at women involved in the creation, production, and distribution of news and entertainment content, and provides a wide scan of their contributions in-world. This content is created for and distributed to radio streams and news and entertainment cable services, and printed in magazines and newspapers in Second Life. The discussion specifically investigates the role of "media" women in SL content creation, and the potential impact on the larger media industry. SL users, internationally, are becoming notable media makers, and HBO featured the first documentary produced inside this digital community in early 2008. This paper attempts to create a portrait of an emerging woman producer who resides in this hall of media mirrors, and subsequently considers how much originality is realistically possible during construction in this parallel mediated universe.
The Women of Chilbo
Chris Collins (Second Life: Fleep Tuque)Instructional & Research Computing, University of Cincinnati

Chilbo is a community of artists, architects, educators, musicians, parents, hobbyists, students, and people from around the world who share a common vision that our interactions and experiences in virtual worlds can have a positive impact on our real world and our real lives. The Chilbo sim in Second Life is the cultural center of our community, but neither physical nor virtual location limits our ability to collaborate and share resources with one another.

A Village of our Own

Leta Hendricks, MA, MS (Second Life: Tamu Oh)

Librarian, The Ohio State University

"A Village of our Own" is a discussion of womanist resources available in Second Life. The Discussion will include a review of Second Life contacts, landmarks, and other womanist sources.

Gender and Race in Ultra-Conservative Groups in Second Life

Randolph Hollingsworth, Ph.D. (Second Life: Bella Yan)

Assistant Provost, University of Kentucky
My presentation will focus on the role of female avatars in racist right-wing groups in Second Life. Why would a right-wing group choose to use Second Life for communication and outreach - and especially in regards to women? Katherine Blee's Inside Organized Racism (2002) states that women are heavily sought after by American hate groups, making up half of all new recruits. Second Life is ideal for imagining and practicing gender and race, and ultra-conservative groups have found land, groups and events in Second Life that match their needs. There is a clear connection between some white power, nationalist websites and groups in Second Life. Individuals identified in fascist discussion groups and MySpace profiles sometimes post their Second Life avatar names. Portraits of female avatars participating in right-wing groups in SL will be described. Attendees will be given a party favors bag with hyperlinks to important rightwing groups' websites and SL landmarks to interesting sites. Attendees may wish to be teleported to one particular site to see and discuss the symbolic structures present. In this session, as Ingeborg Reichle wrote in her 2004 essay "Remaking Eden," (Cyberfeminism. Next Protocols): "the observer is no longer merely an observer, but rather becomes a participant." The presenter will facilitate a short discussion on the role of gender and race in rightwing groups in Second Life.

Performing Virtual Women's Community

Lea Popielinski (Second Life: Lette Ponnier / Laertes Parx)

Ph.D. Candidate, Department of Women's Studies

The Ohio State University

This paper will explore the ways in which the concept of "women" in Second Life shapes the building of women's homosocial environments within SL through an examination of the concept in terms of gender performance. The facility of constructing an SL avatar that is, by conventional definitions of sex and gender, incongruent with one's physical body, is enough to place such concepts as "women's community" in tension. This paper will explore the meaning of the phrase "women's community" through the concept of performativity as it is understood through the work of Judith Butler. I will argue that the physical sex of SL users is filtered through the SL medium to obligate avatars in presumptively all-female spaces to perform "women's community." The creation of "women's communities" in SL is a practice in referentiality wherein tropes that take their meaning in users' understanding of women's community come to be recognized and reiterated in the virtual context, but with a latent awareness that gender performance takes precedence over physical sex in the creation of such spaces. One SL space I particularly wish to examine is the Joyous Harmonious Park, formerly known as the Baths of Sisterhood, a women-only relaxation park with a history that seems to involve several characteristics stereotypically associated with the creation and dissolution of women's spaces.

Panel discussion: Is Second Life a welcoming space for women?

As educators, business people, community activists, artists and musicians, women make a strong contribution to Second Life society. According to the last published metrics from Linden Lab, 40% of user hours in Second Life are spent by people who self-report as female. While their achievements are to be seen everywhere in our virtual world, the energy and creativity of women in our community may face obstacles. Although no formal studies have been published, there is anecdotal evidence of harassment and intimidation. This panel will be one of the first attempts to assess the problem, beginning with a discussion our own personal experiences.

Benito Flores; another real musician in Second Life!

Benito Flores in Second Life, known as Alessandro Marangoni, here in real life, has been generously sharing his time and talents with SL audiences over the past few months.

The real life pianist can be viewed here, performing with the Malaga Philharmonic:

YouTube - Malaga Phil. Orchestra - Aldo Ceccato, Alessandro Marangoni

Benito Flores was recently was interviewed and performed on the Second Life cable networks, Music Academy Online program on his life and work as both a real and virtual musician.

Benito also has a blog!

Classical Music in Second Life

Pictured above, is a "live" concert by British community orchestra Sinfonia Leeds in the virtual world of Second Life. The concert appeared in virtual reality within an open-learning community Cedar Island, where I reside in my Second Life identity as Kate Miranda. Organizing and presenting concerts Music Island is part of my work and play within Second Life.

People unfamiliar with virtual reality usually have a few main questions:

1. How does it work?
2. Why present classical music in Second Life?
3. Who is performing in Second Life and what is there motivation?

How it works:

The performer or ensemble use microphones or instrument pickups to capture a live performance. That performance is encoded as an MP3 stream (usually using one of three popular programs Winamp, Simplecast, or SAM) and uploaded to a ShoutCast server on the Web. Meanwhile in Second Life, a venue owner tunes the media channel the URL to the streamed music.

At the same time the performers are using their computers to position their Second Life avatars to "play" virtual instruments, in fact triggering animations. Performers also can use the stream to introduce their works by speaking into a computer head set microphone or by using their avatars to text introductions.

Why present classical music in Second Life?

Well first let's deal with the principal objections. The sound is no better than any podcast on the internet and the animations are not really linked with sound production in any way--something some consider a bit of a sham.

Both true.

The principal reason for presenting classical music in Second Life, for me, revolves around the quality of the audience experience. Listening to a podcast or recording is a solitary experience. By contrast, concerts in Second Life are joyfully social, audience members are joyfully celebratory in their anticipation and appreciation of the music in a way rarely matched in real life orchestras. Unique to the medium, listeners silently text appreciative comments, hurrahs, and questions that they hope someone more informed will be able to answer. Sometimes Second Life avatars even decide to dance to the music in the manner of small children at a summer concert at the park.

Conversations quickly reveal that many of those attending classical concerts in Second Life have little or no experience of live classical music. While classical music series are having trouble attracting new audiences to conventional concert stages, it seems that the internet virtual audience is open to the experience of art music. It seems worth it to step into the virtual world to reach out to this new audience.

The other unique element to the SL live concert experience is the accessibility of artists. Performers can view texted messages and questions. They usually engage the audience before and after concerts and sometimes at breaks in the program. This accessibility is as rewarding to the performer as to the audience.

Not to be minimized is the "fun" factor. Even audience members and performers who are regulars in the real world concert hall are amused, engaged and refreshed by the experience of classical music in the context of virtual reality.

Who is performing in Second Life and what is their motivation?
Classical performers in second life range from competent amateurs, music students, music educators, plus emerging and mid-career professional musicians.

Love of the music and interest in virtual reality is common to everyone performing in second life. You have to think it's just a gas to be bothered. Those without a sense of humour will not be amused.

Some performers find it is a good way to work up new material and play it before a live audience before facing an audience in the concert hall. For students it is a way to get more live concert experience. For educators, a way to keep performance skills sharp.

Performers are warmed by the appreciation of the audience and the sense that they are reaching new audiences.

While some hope to promote real life careers and boost earnings, this last goal is more difficult. The requirement to have a pseudonym in Second Life hobbles name recognition. As Second Life evolves into a serious platform for art, corporations, and learning, this role-play with fictional names seem more and more out-dated.

On Music Island we have been getting around the name recognition issue with posters, T-shirts and even virtual CD stands with links to performers' real world websites.

Anyone interested in learning more about classical music in Second Life should join the Classical Group in-world. Please contact me--Kate Miranda--if I can help you or answer your questions.

The Purpose of Music

An acquaintance recently stumbled across some old musings of mine on the Arts Journal site. It brought memories flooding back of memorable conversations with enigmatic, deep, controversial composer John Tavener.

originally posted @ August 6, 2004 10:46 am as a comment on Arts Journal

During two years as General Manager of Soundstreams Canada, a new music concert presenter in Toronto, Canada--the conversation we hosted that most animated the music community here was a lecture given by Sir John Tavener. He was in town at our invitation for a concert we were presenting of his music. It might be added that unlike the small attendance at most new music concerts, this was an SRO concert. We crowded about 1200 into an 1100 seat cathedral and had to send hundreds home in disappointment. Clearly this is a voice that is reaching people musically.

Prior to John's arrival, he and I had discussed by phone, the fact that both the music community and the theological community wanted to sponsor a lecture and there was insufficient time in the schedule for two such events. At his suggestion, and with the cooperation of the two sponsoring faculties, we had combined the two into a lecture entitled, "The vocation of the sacred artist".

In the lecture Tavener presented the view that music had a purpose and that purpose was to reach the soul of individuals in an uplifting, encouraging and enobling way. The purpose of music was fulfilled when the audience left the concert hall feeling troubles lifted and with a desire for a better world, filled with beauty. He continued in voicing the opinion that music had lost its way when composers began to use music as a way to express their personal tragedy and turmoil, unloading that depression and tortured visions on the audience. In so doing, he continued, the composer was contributing to a negative world-view and the entropy of a corrupted civilization.

Although I found myself uncomfortable with a certain black-and-white nature to his arguments, I found myself fundamentally agreeing. The idea that "if the world is to be saved, it will be saved by beauty"-- a Tavener quote that so struck me that I made it the featured quotes in our marketing campaign--was certainly the central theme to my own love of music and what I want to achieve in music and also what is at the root of my own assessment of "good music" and "bad music". I don't necessarily want music to make me "feel good" but I want to leave the concert hall with the sense that my soul has been touched and nourished.

Tags: Music, Spirituality, Arts Arts Management, Tavener, Truth New Music

Rostropovich, the world loses an authentic artist

Mstislav Rostropovich, dead at 80, fulfilled in life--not just some--but all of the functions that great artists play in our society. First and foremost he was a virtuouso master of his instrument, but that alone did not make him an important force in our society or in the living life of music.

He not only requested, he demanded that the composers of his own time created new works for his instrument and his virtuosity and style of playing was a living part of the creation of new music. In premiering 245 new works for cello, he took risks and played some works that audiences never wanted to hear again, but also gave birth to some wonderful music that are already standards in the cello repertoire.

He embraced the role of artist as truth-teller, independent of political pressure. Russian poet Yevgeny Yevtushenko, said of Rostropovich in 1990 that "he took a stand … for the basic truths of life, and he did not compromise." He not only spoke out against political suppression and control of the arts in the Soviet Union but took great personal risk in sheltering dissident novelist and Nobel Prize winner Alexander Solzhenitsyn. Retaliation for this act of courage led to the great cellist being ostracized by the Soviet arts establishment at the time.

Celebrated as both a hero and an artist, Rostropovich could have dedicated himself to a few concert appearances and recordings but instead he kept pioneering new music but also was dedicated to the development of young musicians as a mentor, conducting and working with a number of youth orchestras and presiding over a great number of masterclasses.

It is interesting that Rostropovich's father was a student of Pablo Casals, because he was definitely a cellist in the Casal's mold. Brave and uncompromising, Rostropovich spoke truth to power in words, deeds and music.

The challenge is there for all of us in the arts to have the courage to follow in his footsteps.

See also: The LA Times, The Washington Times, Robert Amsterdam's blog on Russian Politics,, The Guardian

Tags: Music, Leadership, Arts Arts Management, Rostropovich, Freedom New Music

CBC changes--Letter from the President of the Canadian League of Composers

published with permission of the author:

Dear members of the Standing Committee on Canadian Heritage,

I am writing to you as President of the Canadian League of Composers, and request that you enforce the Broadcast Act of 1991 with regard to CBC radio.

Recent changes in CBC's broadcasts diminish the long-standing working relationship between Canadian composers of concert music and the CBC, as well as their required commitment as public broadcaster to provide rich, original content that reflects the diversity of Canada.

You may refer to my report on the meeting I had with CBC Senior Management <http://www.stopcbcpop.ca/CBC_New%20Music_Dec05.htm>.

Please note the lack of commitment to the Canadian Music composed by our membership of 400 composers (which, when added with the Canadian Music Centre's Associate Composers equals 1000 artists).

Most importantly, recent changes at CBC Radio Two meant the cancellation of Two New Hours, the only program dedicated to Canadian Art Music. It had a devoted and plentiful following, and its loss is devastating to our field. Moving more closely to the commercial broadcasting category of "Adult Contemporary". the CBC begins to emulate commercial radio, counter to its mandate as a culture-driven--not numbers-driven broadcaster. Radio One's programs Freestyle and The National Playlist are two recent examples of the move to commercialism prior to the recent changes at Radio Two.

Significantly, Canada was instrumental in formulating and signing a recent UNESCO act pledging to support and respect diversity of creation in all its forms. In making the current changes, we feel that the CBC is, by including content available on commercial radio, reducing the diversity of public broadcasting. Canadian poets, scientists, writers, composers, etc. are losing their place on Canadian Public Radio, and we request that the Standing Committee on Canadian Heritage carefully review and enforce the CBC mandated role in our culture.

Unfortunately, as stakeholders in the CBC, we were not informed of this meeting, and are therefore unable to arrange our presence on such short notice, but as president of the organization representing Canadian Composers, I represent to you the collective views and concerns of our membership.

Sincerely,

Dr. Paul Steenhuisen

Tags: CBC, New Music, Public Radio