New Music

A Big Year Ahead

Selecting highlights of the new-music season is a difficult task. There are so many great composers to discover, such great programming on offer, so many performers and ensembles to hear, and yet so little space to do them all justice. In September alone there are three major events across the space of a week that could easily take up all the words of this column. But in an effort to be helpful, I will dive in to my pile of press releases to help set a course for your concert-going.

So, let’s have a look at that action-packed opening week. It actually starts on Friday September 17 with “Red Brick,” a celebration of the artistic legacy of composer Michael J. Baker. Chartier Danse and Arraymusic, in association with Harbourfront Centre, are collaborating to revive some of Baker’s most outstanding works for both dance and the concert stage, ten years after his tragic passing. To do so, “Red Brick” brings together a roster of Baker’s close collaborators, including luminary dance artists Peggy Baker, Serge Bennathan, James Kudelka, Heidi Strauss and Jeremy Mimnagh. Toronto’s Arraymusic, led by artistic director/percussionist Rick Sacks, is joined by soprano Carla Huhtanen to provide the live music. Those unfamiliar with Baker’s legacy should definitely add this date to their calendar.

Quick on the heels of “Red Brick,” is New Music Concert’s season-opener, “Let’s Hear from Beckwith.” You’ve guessed it – this is a tribute to one of our country’s pioneering music creators, most diligent music historians and fiercest arts advocate. Now 83 years old, John Beckwith maintains an active writing and composing career. The concert on September 19 at Walter Hall will feature premieres of a number of his more recent, smaller chamber works for wind instruments. It will also prominently feature one of his many NMC commissions, namely his Eureka for woodwind quintet, two trumpets, trombone and tuba. The piece is classic Beckwith, complete with choreography. You can get a sonic peek at Eureka through the Canadian Music Centre’s online CentreStreams audio player.

The following Saturday, Contact Contemporary Music joins the national Culture Days movement with a return to Yonge-Dundas Square and their Toronto New Music Marathon. Starting at 2pm and holding strong until 10pm, Contact is going to turn Toronto’s top visitor destination into a hub of contemporary sound creation. A stream of remarkable performers – pianists Christina Petrowska Quilico and Alison Wiebe, saxophonist Wallace Halladay and guitartist Rob MacDonald – bring us music from a range of top-tier creators like Ann Southam, Steve Reich and Jordan Nobles. New Adventures in Sound Art will re-create their real-time Three Sided Square sound project, while sound sculptor Barry Prophet will showcase his interactive Rotary Mbira. Get there early to get a seat.

Passing over “Nuit Blanche” (which you really shouldn’t do, especially because Anthony Keindl is curating “Sound and Vision” in the Queen West neighbourhood, and the CMC is hosting projects by John Oswald and Chiyoko Szlavnics), we land on the Music Gallery’s “X Avant Festival,” which is packing in eleven events over nine days under the banner “What is Real?” Guest curator Gregory Oh has done an astounding job of assembling a remarkable range of talent in a series that questions theories of authenticity and the sanctity of new music. Quick highlights include “Will The Real Pierrot Please Stand Up?” featuring Schoenberg’s Pierrot Lunaire performed by Deep Dark United, RCM New Music Ensemble and Renaissance Madrigal Group on October 22; The 50 Minute Ring Cycle performed by Myra Davies on October 23; and a Plunderphonics 25th Anniversary Lecture by John Oswald on October 24. Be sure to check in with the Music Gallery website for full details (www.musicgallery.org).

In the new year, the University of Toronto New Music Festival starts up on January 23, playing host to Distinguished Visiting Composer Chen Yi and American new music pianist/composer Keith Kirchoff in a series of concerts, workshops and forums. Chen blends Chinese and Western traditions to form abstract canvases of sound that transcend cultural and musical boundaries, and her work will appear on no less than four festival concerts. The young Kirchoff (not yet 30) has already premiered some 100 new works, which he champions in concerts of unusual, neglected and new repertoire. During his stay in Toronto he’ll premiere winning works from the Kirchoff/U of T International Composition Competition.

We’ll intersect with Soundstreams’ season at the midpoint on February 24 when they invite Les Percussions de Strasbourg to Koerner Hall as part of the ensemble’s 50th anniversary tour. Co-founded in 1962, this sextet is the oldest Western percussion group. Their exceptional longevity, artistry and commitment to new music have inspired the creation of hundreds of works, including 250 world premieres. The anniversary programme includes Xenakis’ iconic Persephassa (written for the ensemble in 1969 to premiere at the historic Persepolis in Iran), a world premiere from innovative Canadian composer Andrew Staniland, who has a strong command of percussion writing, and John Cage’s seminal Credo in US.

The TSO returns with the seventh edition of its New Creations Festival March 2-10, focusing on cross-border exchanges with music by American composers John Adams and Jennifer Higdon, performed by top tier guest artists. I’m particularly looking forward to the festival finale concert with guest artists, eighth blackbird. This dynamic new music ensemble will join the orchestra in a freshly commissioned chamber concerto from Higdon, which will sit alongside the world premiere of our own R. Murray Schafer’s latest symphonic work.

On March 20, Continuum will reprise “Step, turn, kick,” a programme prepared for Montreal Nouvelles Musique that highlights the idea of “dancing in the mind.” Composers Cassandra Miller, Nicolas Gilbert, Linda C. Smith and Lori Freedman each contribute a movement to a larger work based on the form of a French baroque dance suite. Also featured is the premiere of Marc Sabat’s John Jenkins, a work inspired by the prolific 17th-century dance composer, and written for Continuum.

Music Toronto has coaxed violinist Julie Anne Derome away from her regular Trio Fibonacci project for a solo recital on March 24 at the Jane Mallett Theatre. A well known new music specialist, Derome has assembled a nicely mixed contemporary programme, ranging from strong selections by compatriot Quebec composers Jean Lesage and Yannick Plamondon to demanding works with live electronics and video by Pierre Boulez and Laurie Radford. Chan Ka Nin’s favourite Soulmate completes the mix. At $15, this recital is a sure bet.

Finally, we catch up with the Esprit Orchestra for their final concert of the season on May 15 at Koerner Hall. While all four concerts in their season present an intriguing offer, the new commission from Chris Paul Harman is a particular draw. The concert theme looks at the many forms of human inspiration, from cosmic and mythological to historical and purely musical, through works by Sofia Gubaidulina, Alex Paul and Denis Gougeon.

But this is by no means all there is to hear! As always, there is much more new music all season long, so be sure to get in with the new via the WholeNote concert listings here and online at www.thewholenote.com.

Jason van Eyk is the Ontario Regional Director of the Canadian Music Centre. He can be contacted at: newmusic@thewholenote.com.

A Tale of Two Cities

You’d do well to keep your frequent flyer card handy over the next two months. I know I will. We new-music seekers are going to be bouncing between Toronto and Ottawa a lot if we want to catch all the excellent programming promised by the mainstay festivals, as well as a few new offerings in a sizzling summer concert calendar.

We’ll start in Toronto with the 12th edition of New Adventures in Sound Art’s Sound Travels festival, which has a healthy run from June 26-September 26. Sound Travels takes a more grounded focus to sound and space than other NAISA festivals, bringing together a mix of interactive installations, performances, sound walks and workshops at their home in the Artscape Wychwood Barns. Featured artists include Toronto’s own Rose Bolton alongside Marcelle Deschênes, David Eagle, Ned Bouhalassa, D. Andrew Stewart, Satoshi Morita and Rob Cruickshank, among others. Full programming details are available at www.naisa.ca.

Next, we bounce over to Ottawa, where the adage seems to be “enough is never enough.” While our nation’s capital is already home to the world’s largest chamber music festival, it will welcome a new contender this summer, Music and Beyond. Running from July 5-14, Music and Beyond’s 85 concerts will forge links between music and other art forms in concerts featuring some of the greatest names in classical music. While new music from many countries can be found throughout the festival programming, those of us looking for a “bang for our buck” will want to pay attention to the mid-festival dates.

P18 On July 8, CBC Radio 2, the National Gallery of Canada and Music and Beyond will unveil the results of their Gallery Project – the culmination of a national contest to choose five works of art from the Gallery to inspire new compositions. The programme includes works by a cross-country collection of Canadian composers, including Jocelyn Morlock, Denis Bédard, Michael Conway Baker, Colin Mack, Scott Macmillan, Elizabeth Raum and Kelly-Marie Murphy. The following day, Music and Beyond partners with the Ottawa New Music Creators to celebrate local composers Gabor Finta, Steven Gellman and Patrick Cardy at the Church of St. John the Evangelist. Across both days, the National Arts Centre Orchestra will open its afternoon rehearsals to the public with two new music reading sessions. Conductor Gary Kulesha will lead the orchestra in explorations of new orchestral works by both emerging and established Canadian composers. For full Music and Beyond festival details, and to purchase passes, visit www.musicandbeyond.ca.

Back in Toronto, the lovely Queen of Puddings Music Theatre will unveil its latest project from July 29-31 at the Young Centre for the Performing Arts. Beauty Dissolves in a Brief Hour comprises three distinct chamber operas sung in three languages (Mandarin, English and medieval French), exploring three cultures and three historical periods within the music of three Canadian composers: Fuhong Shi, John Rea and Pierre Klanac. Written for soprano, mezzo-soprano and accordion, these three premiere pieces are connected by the universal theme of love, and will be presented as one fully staged opera work. Two Toronto new opera pros, soprano Xin Wang and mezzo Krisztina Szabo, share the stage with accordionist John Lettieri. Tickets to Beauty Dissolves in a Brief Hour can be purchased through www.youngcentre.ca or 416-866-8666. To learn more about Queen of Puddings visit www.queenofpuddingsmusictheatre.com.

Meanwhile, running parallel to Beauty Dissolves is the Ottawa premiere of Christos Hatzis’ wildly successful Constantinople, featuring the Gryphon Trio with the extremely talented cabaret/opera singer Patricia O’Callaghan and renowned world music vocalist Maryem Tollar. This multimedia, concert-length chamber work, which has been presented to sold-out audiences on two continents, is a feature presentation of the 17th Ottawa International Chamber Music Festival, on July 29.

While the Ottawa festival gets underway on July 24, the real new music activity starts up on August 2 with the annual New Music Marathon. This year’s version offers no less than six concerts under the New Music Dialogues banner, all housed at the handsome St. Brigid’s Centre for the Arts near Ottawa’s bustling Byward Market. Highlights include the world renowned Penderecki String Quartet performing new music by Canadian composer Marjan Mozetich; the world premiere of 9 Dances for Flute and Accordion by Toronto-based composer Juliet Palmer; Alexina Louie’s spellbinding Take the Dog Sled for two Inuit throat-singers and ensemble; and the Gryphon Trio performing works by Gary Kulesha. Adventurous listeners will want to explore the Late Night at St. Brigid’s series, where Montreal composer Nicole Lizée pushes musical boundaries with turntablist DJ P-LOVE and the maverick trio Toca Loca. Full festival details, tickets and passes are available through www.chamberfest.com.

Finally, we return to Toronto, where the Toronto Summer Music Festival will be underway July 20 – August 14. July 30 seems to be a very popular date in the festival calendar. This time, we get to hear the Penderecki String Quartet, strong champions of new music, in a programme of five new string quartets. Waterloo-based composer Glenn Buhr gets special attention in this year’s festival: the Pendereckis will perform his Quartet No. 4 and the composer himself will give a pre-concert talk on all five new works. (I was hoping that we would get an earful of the results from Toronto Summer Music’s Composer Workshop, but this young addition to their academy programming seems to have been inexplicably and sadly cancelled.) On August 7 at the University of Toronto’s MacMillan Theatre the festival will premiere Buhr’s Song of the Earth, a companion piece to the well known and loved Mahler song-cycle. Both will appear in versions for chamber ensemble with soloists Roxana Constantinescu and Gordon Gietz. For full festival details, and to purchase tickets, visit www.torontosummermusic.com.

After all of our city and concert-hopping, we can finally take advantage of the late summer weather and rest up for the concert season ahead. But not for too long! New music makes its return on September 26 with the Toronto New Music Marathon – eight hours of continuous and contemporary sounds from Toronto’s new music creators in the lively Yonge-Dundas Square.

Jason van Eyk is the Ontario Regional Director of the Canadian Music Centre. He can be contacted at: newmusic@thewholenote.com.

June Bouquet

Toronto is a city of constant musical discoveries. While the concert season is quickly coming to a close, the summer festival season starts to build, bringing with it a range of fresh new experiences. And for lovers of new music, June bursts open in a bouquet of new works and visiting artists.

First up is the Luminato Festival, which opens its 2010 music series to showcase new music that is resonant in both its celebratory nature and serious content.
In partnership with Soundstreams, and with the help of 684 public voters, Luminato has selected composer Robert Johnson’s Majestic Fanfare to serve as the festival’s official fanfare. This royal flourish will accompany the Rainbow King – the ruler of the world, created by Festival artists FriendsWithYou – throughout Luminato 2010. Keep an ear open for the Luminato brass quintet, appearing throughout the festival, in order to hear this fanfare live!

Soundstreams is certainly no stranger to this ceremonial and celebratory form, engrained in musical cultures throughout the world. In 2006, they presented new works by composers and quartets from Canada, Norway, Iceland, Finland, Denmark, and Sweden in the soaring Barbara Frum Atrium at the CBC Broadcasting Centre. Sixty-plus trumpet players positioned throughout the balconies premiered these short works to usher in the 2006 soundaXis Festival.

In 2009, Soundstreams commissioned James Rolfe for a new fanfare to celebrate the Toronto Arts Foundation Awards, which was also offered as a gift to Mayor David Miller. You can get an advance listen to their latest fanfare project at the Soundstreams’ Salon 21 event on June 7, starting at 7:30pm at the Gardiner Museum. The salon is free, but be sure to reserve your seat in advance. These events fill up fast. You can do so at salonfanfare.eventbrite.com.

On June 11 and 12, we will finally get to experience the world premiere of Dark Star Requiem – the concert-length project from much-in-demand composer Andrew Staniland (winner of the 2009 CBC National Composition Prize) and internationally recognized poet Jill Battson. Staniland and Battson met as participants in Tapestry New Opera Works’ highly successful Composer-Librettist Laboratory. Their early experiments in creating opera scenes sparked an exciting new partnership that led to numerous projects, including LinguaElastic (2006) – an exploration of the contemporary collisions of humanity and electronic media through live vocal performance (by Battson) and interactive electronics (by Staniland) – for the Canadian Music Centre’s New Music in New Places series.

Tapestry invited the duo back in 2006 to write Ashlike on the Cradle of the Wind, a poetic and elegiac mini-opera that reveals our attitudes towards sex and love in the shadow of AIDS. Even in those early days, Staniland and Battson had expressed the desire to collaborate on a much larger work – a secular oratorio that tackles the major issues of our times. The current commission from Tapestry and Luminato has given them the space to bring that desire to fruition.

Tapestry’s decision to re-mount Ashlike this spring for their very first Opera to Go Revival was a prescient move in light of Dark Star Requiem’s world premiere. This full-scale dramatic work traces the 25-year history of AIDS from its origins to the present day. The evocative, poetic content weaves in topics from ecology to myth, politics to family. While the libretto includes fragments from the traditional Latin requiem mass, the overall perspective remains humanistic rather than religious. By focusing on the intimate and personal face of AIDS, Staniland and Battson hope that Dark Star Requiem will resonate with a broad audience. Based on past experiences with this duo’s work, and the remarkable creative team behind this production (The Gryphon Trio and the Elmer Iseler Singers join a quartet of talented vocal soloists conducted by Wayne Strongman), the work should resound strongly. For more information visit www.tapestrynewopera.com. To reserve tickets visit www.luminato.com.

In between the Luminato events, Gallery 345’s concert calendar is really heating up. Here, the new music comes from Edmonton-based pianist Roger Admiral, who delivers a solo recital on June 11. Admiral is a true contemporary music aficionado. He studied piano with Helmut Brauss, Peter Smith and Virginia Blaha, and graduated with a doctorate from the University of Alberta, where he now coaches contemporary chamber music. From 1990 to 1993 he was a member of the unique two-piano/two-percussion Hammerhead Consort. And since 1997 he’s been part of Duo Kovalis with Montreal percussionist Philip Hornsey. For this Toronto performance, Admiral focuses primarily on music of the “Victoria School” of Canadian composition, including works by Alfred Fisher, Linda Catlin Smith, Christopher Butterfield and Howard Bashaw. For more details, visit www.gallery345.com.

Nestled amongst all of the above is the return of the Music Gallery’s Summer Courtyard Series, taking contemporary music out of the concert hall and into the intimate setting of St. George the Martyr’s open-air spaces. Presented in partnership with Wavelength and curated in affiliation with Montreal’s Suoni per il Popolo Festival, these four concerts feature international stars from the worlds of avant-pop and new composed music who have been selected especially to suit this unique setting.

New music lovers will want to take note of the series’ opening concert, which includes New York cellist Julia Kent. After years of playing cello with a myriad of artists and ensembles, from Antony and the Johnsons to the chamber-rock trio Rasputina, Kent retired to her Lower East Side apartment to make music inspired by touring and the disjunctions of travel. Incorporating multi-tracked cello, omnichord, and field recordings from airports around the world, her melancholy compositions ache with “romanticism and rich melodicism.” Much like our own Owen Pallet of Final Fantasy fame, Kent has perfected the art of using live looping and effects to create rich layers of melody and rhythm in her solo cello concerts throughout Europe and the UK. We’ll get to experience the full effect live on June 9.

Another treat will be the double bill featuring classically trained soundscape composer/multimedia artist William Basinski with Toronto-based audio contortionist and collaborative creator Neil Wiernik. Wiernik, who also works under the pseudonym “naw” is creatively concerned with various types of storytelling, using abstract environments and spaces as his tools. We’ll get to hear both composers’ tales on June 12. For more information and to buy tickets, visit www.musicgallery.org.

Jason van Eyk is the Ontario Regional Director of the Canadian Music Centre. He can be contacted at: newmusic@thewholenote.com.

Innovative Voices

With the wealth of choirs, opera companies and vocal music presenters that have a penchant for new music, we’re never at a loss for performances of contemporary repertoire. But this month there’s a visibly larger interest in the human voice, with several new-music presenters offering programs from the traditional to the unusual. Accompanying these concerts, summits and site-specific installations is an equally far-ranging exploration of themes concerning our place in the world and the state of humanity.

The Talisker Players, who are certainly no strangers to vocal music, close their 10th anniversary season on May 11 and 12 with “Illuminations” – a title that refers to the mystical and visionary texts that influence the selected pieces. The Taliskers depart from their usual chamber ensemble format to present Benjamin Britten’s stunning Illuminations, based on the fantastical poetry of Rimbaud, for soprano and string orchestra. Rising talent William Rowson conducts soprano Meredith Hall, who reaches beyond her renown in early music circles to also perform Harry Freedman’s Trois Poèmes de Jacques Prévert for soprano and string quartet. (It’s a shame that we won’t get to hear the Freedman in its original setting for soprano and string orchestra; he withdrew that version in 1981 and replaced it with the current setting.)

Also joining the Talisker’s is the much-in-demand tenor Lawrence Wiliford. Credited for his luminous projection, lyrical sensitivity and brilliant coloratura, Wiliford will perform Gerald Finzi’s Dies Natalis for tenor and strings, and Toronto-based Andrew Ager’s From the Rubáiyát for tenor and string quartet. A generation older but still a contemporary of Britten’s, Finzi may be lesser known, but certainly no less talented when it comes to lush writing, here inspired by metaphysical texts from Thomas Taherne. Ager’s rich and expressive piece, based on words from Persian philosopher Omar Khayyám, shows stylistic affinities with these British composers. It would have been lovely to hear the version for string trio and French horn, as it appears in the CentreStreams online audio service. Perhaps there is an opportunity to programme it with Britten’s Serenade for Tenor, Horn and Strings in the future?

Nonetheless, these two concerts at Trinity St. Paul’s Centre allow us to hear lush music in the capable hands of excellent performers. For more info visit www.taliskerplayers.ca. For tickets call 416-978-8849 or e-mail words.music@taliskerplayers.ca.

A few days later, we take a sharp turn towards the outer reaches of vocal exploration when a trifecta of adventurous vocalizers land at the Music Gallery and surrounding sites for the Voice Summit. Toronto’s Christine Duncan, Vancouver’s DB Boyko and New York City’s Shelley Hirsch show us why the world’s oldest and most democratic instrument has retained its power to create unbounded sonic experiences that also collapse social barriers.

At 8:00pm on May 16, Duncan and Boyko launch the Summit with a site-specific performance of Stall, a newly commissioned work by Victoria-based composer Christopher Butterfield, at the Harrison Baths and Swimming Pool. Stall, for voices and ambient sounds, explores the soundscape and social boundaries of the public washroom. The work is intended to cajole, disturb and at the same time demand restraint. Using a combination of absurd spoken word, humorous chant and a barrage of cut-up text, Stall examines the more subtle aspects of this particularly ubiquitous but often socially uncomfortable location.

Duncan and Boyko have a history of collaboration and over the years have developed a mesmerizing musical rapport that should make for a captivating world premiere performance. Back in the Gallery, the remarkably accomplished Shelley Hirsch will deliver a solo concert vocal improvisations at 9:00pm. Her practice encompasses story telling, staged performances, compositions, improvisations, collaborations (with a “who’s who” of contemporary music), installations and radio plays that have been presented on five continents. Those inspired by what they hear may want to attend Hirsch’s free vocal improvisation workshop on May 17. For more details visit www.musicgallery.org. For tickets call 416-204-1080 or visit www.ticketweb.ca.

Continuum’s 25th anniversary season closes on May 21 at the Music Gallery with “Wisdom of the Elders,” a concert that ambitiously seeks to ask questions about the human race and its place in the world. A cornerstone of the programme is a newly commissioned work by Toronto composer Juliet Palmer. How it Happened for ensemble and narrator re-examines an aboriginal creation myth in a setting of text taken from Thomas King’s Green Grass, Running Water. Renowned actor and activist RH Thomson joins Continuum as narrator for this world premiere.

Two works by American proto-minimalist Tom Johnson draw on diverse sociological inspirations. Narayana’s Cows uses the population explosion calculations of 14th-century Hindu mathematician Narayana as cumulative musical building blocks. Tortue de Mer for bass saxophone transcribes sand-drawing games and story-telling practices of the Vanuatu people of the Pacific islands. Soprano Carla Huhtanen returns to Continuum to perform British composer Geoff Hannan’s Where I Live is Shite/Where I Live is Posh, a politically satirical work that tackles the subject of contemporary population pressures that result in absurdity, irritation and unhappiness. The progamme is rounded out by a reprise of early-career Canadian composer Aaron Gervais’ Jackhammer Lullaby – a re-arrangement of his work Community-Normed, which was commissioned by Continuum in 2008. In writing about the piece, Gervais said “I’ve become increasingly interested in presenting pieces in multiple versions and combinations. Why multiple versions? Because music today is multiple. Everyone is exposed to music from multiple cultures, from multiple time periods and in multiple versions. Musically, Jackhammer Lullaby presents a humorous musical setting of trying to fall asleep with construction going on outside the window.” For more info visit www.continuummusic.org. For tickets, visit www.wisdom.eventbrite.com.

The month closes out with Urbanvessel’s remount of its Dora-nominated Stitch from May 26 to May 30 at the Theatre Centre. This production brings together the original creative team behind the sold-out, critically acclaimed production that premiered during the 2008 Free Fall festival. Stitch is an a cappella opera created by composer-librettist duo Juliet Palmer and Anna Chatterton. As they describe it, the opera is “hemmed in by the language of sewing and the inexorable rhythm of the machine, [where] three women fight to find space for imagination and individuality. Stitch gives voice to the unseen women who clothe us all.” Ruth Madoc-Jones directs a remarkable cast of vocalists: Christine Duncan, Patricia O’Callaghan and Neema Bickersteth. For more info, including details about the May 29 gala performance and links to sneak-peek videos, visit www.theatrecentre.org. For tickets, call 416-538-0988.

Jason van Eyk is the Ontario Regional Director of the Canadian Music Centre. He can be contacted at: newmusic@thewholenote.com.

Eye of the Storm

The term “perfect storm” has been used this season to describe the whirlwind of top-tier international composers gracing our stages, as well as the sheer density of concert activity in Toronto and nearby. If we continue the analogy, April might conceivably be the “eye of the storm,” at least in the new-music world. This is not to say that the quality of work and calibre of creativity is on the wane – quite the contrary. There are many exceptionally excellent concerts to be heard. Rather, we may get a little more breathing space between events this month, before we’re hit by the tempest of May concerts that traditionally close the season.

Continuing with the theme of celebrating leading composers, New Music Concerts hosts the Aventa Ensemble on April 10 at the Betty Oliphant Theatre in a Tremblay-heavy programme. The concert is part of the ensemble’s 2010 East Coast tour. Hailing from Victoria, Aventa is one of Canada’s younger yet larger new music ensembles, formed in 2003 from a regular roster of 15 players under artistic director Bill Linwood. Since that time, the musicians have completed almost 40 concerts, several tours (including to Europe and the USA), numerous commissions and at least 50 premieres.

Gilles Tremblay 1 For this tour, their second to land in Toronto, Aventa will connect to the season-long celebrations of Canadian composer Gilles Tremblay, initiated by the Société de musique contemporaine du Québec. Never one to keep things small, SMCQ artistic director Walter Boudreau has encouraged a nation-wide project to pay homage to one of our own musical heroes through a collaborative series of at least 30 different events. For their part, Aventa will perform two of Tremblay’s most distinctive works – Solstices for horn, flute, clarinet, double bass and percussion (which carries the subtitle “or how the days and the seasons turn”) and À quelle heure commence le temps? for baritone, piano and 15 musicians. Included in the programme are two recent Aventa commissions from BC composers, including the most recent addition to Dániel Péter Biró’s Mishpatim (Laws) series and Altus by the intriguing early-career composer Wolf Edwards. To learn more about Aventa, visit www.aventa.ca. To learn more about the Gilles Tremblay Homage series visit www.smcq.qc.ca. For tickets and venue information contact nmc@interlog.com or call 416-961-9594.

It’s a rare opportunity when an ensemble lets a composer curate a whole concert of works to frame a new commission. That’s why it’s remarkable that, when Arraymusic invited composer Linda Catlin Smith to compose a new work for them, she was also invited to set the entire programme for this April 18 concert at the Music Gallery. More specifically, she was asked to dig into Array’s score library, representing decades of commissioning and performing some of the world’s most adventurous composers, to create a programme from works already in the ensemble’s repertoire. Linda is one of the few people that Array could comfortably trust with such a project, given her history and familiarity with the ensemble: she is a past Array artistic director and co-creator of their Young Composers’ Workshop. As a result, the concert will feature works by two of Linda’s mentors: Canadian composer Rudolf Komorous (the short but haunting Sweet Queen for piano and percussion), and Japan’s Jo Kondo (his seminal work, Standing, for any three instruments of different families), alongside some new discoveries: Scott Godin’s internationally inspired Soccer (which can be heard on the Canadian Music Centre’s CentreStreams online audio service), Gerald Barry’s piano solo Sur les points and Italian composer Aldo Clementi’s Madrigale for piano four hands, glockenspiel and vibraphone. To learn more about Linda Catlin Smith and her music, visit the CMC website at www.musiccentre.ca or www.catlinsmith.com. To purchase tickets, visit www.musicgallery.org or call 416-204-1080.

Bringing us back to the “perfect storm,” Pulitzer Prize-winning composer Steve Reich returns to Toronto on April 29 for a concert featuring the Canadian premiere of his most recent work, Mallet Quartet for two marimba and two vibraphones. Mallet Quartet, which received its US premiere by So Percussion on January 9, is a co-commission of Soundstreams, the Nexus percussion ensemble and the Amadinda percussion group. The work will be a feature of Soundstreams’ “Cool Drummings” percussion festival, which kicks off mid-month.

This must-see concert at the Royal Conservatory’s Koerner Hall will also include Reich’s other newest work – the substantial 2 x 5 for five musicians and tape, or 10 live musicians – alongside Reich classics like Clapping Music and Music for Pieces of Wood as performed by talent like our local Nexus, whom the New York Times have hailed as “the high priests of the percussion world.”

As one of the instigators of the American minimalist style and a founder of New York City’s downtown music scene, Steve Reich is sometimes referred to as America’s greatest living composer and one of the greatest musical thinkers of our time. His musical creativity, which is credited with altering the path of music history, has embraced not only aspects of Western classical music, but the structures, harmonies, and rhythms of non-Western music, particularly African, and American vernacular music, particularly jazz. As a consequence, his work has been widely embraced by numerous artistic communities from high-art music to contemporary dance and DJ culture.

Leading up to this concert are a number of other performances and events that frame the Reich premiere and make up the bulk of “Cool Drummings.” On April 19, Soundstreams will extend its “Salon 21” series at the Gardiner Museum to celebrate Steven Reich with inspired dancers, DJs and musicians who recognize him as the “the father of DJ culture,” and “one of today’s most choreographed composers.” Then on April 27 and 28, the celebration will move over to the more laid-back Hugh’s Room for two marimba-heavy concerts titled “Virtuoso Vibrations.” On the programmes are commissioned world premieres from top-tier Canadian composers, including Andrew Staniland, Michael Oesterle, and Peter Hatch, performed by some of our best musical artists like percussionists Ryan Scott and Russell Hartenberger. The programme also features world-renowned koto virtuoso Kazue Sawai, who is coming from Japan for the occasion. Full “Cool Drummings” details, including venue and ticket information, can be found online at www.soundstreams.ca or by phone at 416-504-1282.