Shanghai Symphony Hall. c Arata Isozaki AssociatesIt was all of 40 years ago that Andrew Davis sat down at a Hero baby grand piano in a Shanghai department store, puzzling shoppers with his rendition of Henry Mancini’s Moon River. All the conductor of the Toronto Symphony Orchestra had to do during that brief visit was stop to look at something and a crowd would gather to look at him.

Westerners were a curiosity in those days following the Cultural Revolution, with people still wearing Mao suits and black bicycles crowding the streets. Today’s Shanghai is a different place, a forest of gleaming skyscrapers with shops peddling Gucci, Versace and Prada and streets on which a cyclist can find himself sandwiched between a Lexus and a Mercedes.

No one who has visited China during the intervening years can fail to be impressed by the country’s rate of modernization. In the countryside the pace is understandably slower. In the cities it is sometimes breathtaking and not least in the realm of the arts. A few years ago in Beijing’s state-of-the-art performing arts centre I witnessed a production of Verdi’s Nabucco superior in quality to the one I had witnessed months earlier at the Mariinsky Theatre in St. Petersburg. Both starred Placido Domingo. A few weeks ago I witnessed a production of Wagner’s The Flying Dutchman imported from Erfurt, home of one of Germany’s most modern opera houses, that looked entirely uncompromised on the stage of Shanghai’s elegant Grand Theatre.

All this is by way of saying that – Rodgers and Hammerstein notwithstanding – it is not only in Kansas City that everything is up to date. Shanghai (population 13 million) has set itself the task of becoming one of the world’s top tier international metropolises.

Its music conservatory, China’s oldest (vintage 1927), is just as clearly determined not to be left behind. Host to an annual Shanghai New Music Week, it brings to China’s largest city the sounds of today, inviting major interpreters from far afield to collaborate with native musicians in its performance.

That is where Toronto’s Soundstreams comes in. At last month’s 11th Shanghai New Music Week the conservatory’s concert halls welcomed performers from Amsterdam, Athens and Paris, in addition to Ontario’s capital city, to join their Chinese counterparts in a series of afternoon and evening concerts. Additional off-campus orchestral concerts featured the Zhejiang Symphony Orchestra in Shanghai Symphony Hall, a handsomely modernist venue architecturally inspired by the Philharmonie, home of the Berlin Philharmonic.

It would be an exaggeration to claim that these concerts reached a wide audience. Like those of Beijing’s comparable festival they are conservatory-sponsored projects, aimed primarily at the open ears of the young. Tickets are kept cheap; lectures and concerts are T-shirt-and-shorts informal.

In his introduction to this year’s New Music Week, artistic director Wen Deqing identified as its theme “the fusion of tradition and modernity, of the Eastern and Western, and of China and the rest of the world.” He might almost have borrowed the title of a once-famous book by Wendell Willkie, One World.

The September 14 official opening concert by the Zhejiang Symphony Orchestra featured the world premiere of a new work by Ye Guohui, head of the composition department of the Shanghai Conservatory, but it also included the Chinese première of Quatre Instants by the celebrated Finnish composer Kaija Saariaho. Indeed, Saariaho was even the subject of a Concert Portrait, as were her French colleagues Frédéric Pattar and Gérard Pesson and her Japanese colleague Toshio Hosokawa. There was also an entire recital by the Greek pianist Ermis Theodorakis devoted to the cerebral music of the German composer Claus-Steffen Mahnkopf.

To Soundstreams fell the distinction of presenting a program of new music from North America, relatively little of which has been performed at this week-long event over the years – a reflection, its artistic director admits, of his background. His own advanced training as a composer took place mostly in Europe.

Soundstreams brought over an ensemble of two pianists (Midori Koga and Greg Oh) and two percussionists (Dan Morphy and Ryan Scott), together with mezzo-soprano Andrea Ludwig for this program, which comprised a pair of American works by John Cage and Steve Reich along with three from Canada – R. Murray Schafer’s Tantrika, Juliette Palmer’s Five (Hand in my Pocket) and Nicole Lizée’s Promises, Promises.

Mezzo soprano Andrea Ludwig and percussionist Ryan Scott of Ensemble Soundstreams performing R. Murray Schafer’s "Tantrika" in the “Music of North America” concert at the Shanghai New Music Week. Lizée accompanied the musicians to Shanghai to give a lecture on her musical ideas as well as take part in an “International Composers Masterclass Concert” for which Soundstreams provided the players. Although four of the participating composers were Chinese, the jury also heard music by a composer from Germany as well as Paulo Brito, a Brazilian-born American currently pursuing a doctorate at the University of Toronto, who played his own piano music with a virtuoso flair. What all these emerging composers brought to the masterclass was an awareness of current trends as well as a professional level of craftsmanship.

Clearly, much has changed in Chinese musical culture since the Cultural Revolution, when Western music was regarded as decadent and modern Chinese music was sometimes composed by committee. Not that Soundstreams was unaware of the change, having performed five years earlier at the modern music festival in Beijing. Artistic director Lawrence Cherney has made a point of cultivating links between Canada and China and has even lectured on Canadian music at the Shanghai Conservatory

“Canadian governments have talked a lot about cultural contacts over the years,” he explained over coffee and a croissant at a shop across the street from the conservatory, “but the current government actually has an active policy. Shanghai is one of 13 cities internationally in which the government is pouring resources into enhanced contacts. Culture really is important now.”

As evidence of the change, Cherney cites recent government approval for a forthcoming Soundstreams European tour of a program of music theatre by Claude Vivier, the Quebec composer murdered in a Paris hotel room in 1983, who has become far better known abroad in death than in life.

“It is an incredible time to be telling Canadian stories abroad,” he says. “Until now we have been more successful in film, literature and maybe the visual arts. We are not trying to prove anything. We hope to give a flavour of what Canadian music has to offer. And I feel very proud that we now have a pool of musicians who can perform virtually anything. It has been made clear to me here that they want us back.”

Mere hours after consuming his croissant Cherney found himself aboard a train bound for Beijing, with Hong Kong to follow and then Tokyo, as he continued a 36-year career as Canadian music’s unofficial ambassador. “There is nothing like meeting people in person,” he smiles.

William Littler is a Toronto-based writer focusing on music.

Linda BouchardToronto concertgoers will have a rare opportunity on Saturday, October 6 at 8pm at the Betty Oliphant Theatre on Jarvis Street. Quebec-born composer Linda Bouchard isn’t often found in Toronto and performances here of major works by this significant Canadian composer are rare. New Music Concerts’ artistic director Robert Aitken decided to address this by mounting a production of her 2011 multimedia work, Murderous Little World.

Bouchard, based in San Francisco for more than 20 years, has had an international career in her multiple roles as composer, conductor, artistic director and all-around artistic instigator and visionary. The list of her awards and prizes is a long one, with recognition coming from Canada, the USA and Europe. Given her impressive credentials, it’s a bit surprising that her work is not presented here more often.

Murderous Little World was commissioned in 2004, developed over many years and finally premiered in 2011 by Bellows and Brass, a Toronto-based trio comprised of Guy Few (trumpet and piano), Joseph Petric (accordion) and Eric Vaillancourt (trombone) at a concert in the NUMUS series in Kitchener-Waterloo. Organized around poetry by the internationally recognized Canadian poet, Anne Carson, the work, in the words of the composer, “brings together gifted artists from different experiences to create a new evening-length multimedia performance that fuses music, poetry, theatre, video art and lighting.”

In her program note, Bouchard says that the poems of Carson, “conjure up a textured universe of ‘little worlds’ that span continents and ages of human existence. Carson’s phrases seem to be made up of fragments or artifacts and point to individuals’ searching for truth against waves of corruption and cruelty.” And as often happens when two creative artists intersect, the meeting of poetry and music creates a synthesis. Bouchard says: “The musical and dramatic response to each poem is unique, with each selection having an individual voice expressed through specific vocals – i.e. whispered, slow recitation, fully voiced, in a range of emotional pitches and vocal styles. At the same time, the three musicians/actors play live and move around the stage creating different dramatic interplay with the visuals.”

New Music Concerts’ October 6 performance of Murderous Little World will be the tenth time the work has been staged. I have witnessed it in an earlier performance, and found it to be a truly remarkable experience, unique and unforgettable. I cannot emphasize enough what a great opportunity this is for people to hear and see such an incomparable work.

Bouchard’s return to Toronto for this presentation reminds me that she and I both made life- and career-shaping moves back in the year 1977. This is when Bouchard decided to attend Bennington College in Vermont, USA to study with another Canadian ex-pat, the highly original, one-of-a-kind composer, Henry Brant (1913–2008). He would shape her artistic approach so deeply, his influence continues to the present. Bouchard said of her work with Brant: “Henry’s influence on me was very profound. He was a true mentor. I cannot tell how much his aesthetic rubbed on mine, but his sense of ethics, his commitment to the craft of being a composer, his professionalism was very much part of his teaching. He had a strong opinion on absolutely everything. Sometimes it was very disconcerting, because it seemed to make the world black or white, and then one day, in the composition class, out of the blue, we’d spend the entire class discussing the difficulty of knowing what is right when you write music.

Henry Brant with Chinese oboe, ca. 1974“I remember being acutely aware that I was in the presence of a very special, unique individual. He was powerful and at times very difficult; it was all worth the work though. For example, for a private lesson, you needed to show up with a score copied in ink. He wanted you to be very committed to what you showed him. Nothing just sketched out quickly and half conceived; he wanted none of this. I remember a few years after having studied with him realizing that I was just starting to understand his orchestration concept. I had kept my notes and kept reading them … It took a while for his true teaching to be absorbed I think... I had gone to Bennington College to study with him, I had heard about him and it was a complete random decision in a way. Amazing how these things happen.”

For my part, 1977 was the year that I decided to propose to CBC Radio that we should create a national network contemporary music program that would bring Canadian listeners a weekly overview of the world of contemporary music. The program that resulted from this pitch was called Two New Hours, and it ran from 1978 to 2007 on CBC Radio Two, producing original Canadian musical content, broadcasting world premieres from concerts from across Canada as well as important premieres by international composers from the major international contemporary music festivals.

By the time Bouchard completed her work at Bennington and had moved to New York, where she based her composing and conducting activities for 11 years, our Two New Hours broadcasts had gained a large listenership for such specialized programming, and a corresponding increase of support from CBC Radio. Broadcasts of concerts presented by the many new music groups around Canada formed a large part of our programming, and Toronto’s New Music Concerts was well represented. Other groups, such as Vancouver New Music, New Works Calgary, Groundswell in Winnipeg, Esprit Orchestra and Soundstreams in Toronto, the Newfoundland Sound Symposium and of course the Société de musique contemporaine du Québec (SMCQ) and the Ensemble contemporaine de Montréal (ECM) also appeared regularly, and many others, as more organizations were created. By the time I first met Bouchard, in the early 1990s, she was already a mature composer with a strong, individual artistic personality.

The music of both Henry Brant and Linda Bouchard was included in the mix of programming we presented. One notable example was in 1990, when we broadcast New Music Concerts’ performance of the Canadian premiere of Brant’s Inside Track, a so-called “spatial piano concerto,” in which the 16 players accompanying the onstage piano soloist (Ivar Mikhashoff) were positioned around the concert hall. Among those spatially deployed performers was a very young soprano, Barbara Hannigan, who was still in school at the time. Our broadcast would be her CBC network radio debut. Needless to say, Ms. Hannigan, now an international celebrity, has come a long way since then. Incidentally, in 2008 this recording was leased by an American label, Innova Recordings, and included in Volume 8 (Innova catalog # 415) of its nine-volume Henry Brant Collection.

Bouchard served as composer-in-residence with the National Arts Centre Orchestra (NACO) from 1992 to 1995. During this time, she arranged for the NACO to invite Brant to Ottawa for performances of several of his works. Among these was the world premiere of his Concord Symphony (1994), an orchestration of Charles Ives’ Concord Sonata. The performance was recorded by CBC Ottawa and broadcast on Two New Hours.

The last time Brant visited Toronto was in 2002, when New Music Concerts gave the world premiere of a work they commissioned, Ghosts and Gargoyles, for multiple, spatially disposed flutes and drum kit. In the interview for the Two New Hours broadcast, Brant emphasized two points: the first was to stress the importance of the music of Ives, not only to his own training and formation, but to the understanding of 20th-century music as a whole. The second point was that he had always considered himself a Canadian composer, even though he and his family left Canada to live in the USA when he was just
16 years of age.

I asked Bouchard to compare her own history to Brant’s. She said, “I am a Canadian composer. I never called myself an American composer, I believe people always perceive me as a Canadian composer, my resume always says that I am a Canadian composer. I actually left as a Quebec composer in my teens but as the years passed, I started to refer to myself as ‘Canadian.’ I did live most of my life in the US, it is true, but as a Canadian composer. It is different –despite the fact that Henry considered himself a Canadian composer – probably because he was proud of his origins – he was considered an American composer.”

David Jaeger is a composer, producer and broadcaster based in Toronto.

Nurhan Arman conducting the Belgrade Philharmonic. CREDIT Belgrade PhilharmonicJust over 19 years ago, The WholeNote’s Allan Pulker interviewed conductor Nurhan Arman about the impending launch of chamber orchestra Sinfonia Toronto – an event that Arman described at the time as “the fulfillment of a dream.” Now, as Sinfonia Toronto’s 20th-anniversary season begins, we revisited with Arman to chat about a two-decade journey which has seen Sinfonia Toronto’s world expand from the GTA across Ontario and the globe, culminating in a historic South American tour in April 2018.

The WholeNote Vol. 05 #2, October 1999.WN: Congratulations on your 20th anniversary. It’s quite an accomplishment.

NA: Thank you, Paul. We are very proud of our accomplishments to date with Sinfonia Toronto. Our goal was to create a chamber orchestra with a specific repertoire that was missing in Toronto. Toronto had Baroque ensembles, symphony orchestras, opera and chamber music, but it was missing an ensemble that could play the string orchestra repertoire by 19th- and 20th-century composers as well as contemporary music. We achieved this goal as we have been performing this repertoire for Torontonians. Many remarkable compositions received their première performances in Toronto by Sinfonia Toronto. Just to name a few, I can mention major works by Kapralova, Vasks, Górecki, Mirzoyan, Hindson, McLean, and of course world premières of works by Canadian composers like Burge, Chan Ka Nin, Mozetich, Schmidt and many others.

And we have taken this repertoire to many schools, community centres, retirement homes. My most cherished memory of an outreach performance is from our concert at SickKids (The Hospital for Sick Children).

Every season we have performed in other Ontario cities. We have played from Sarnia to Sault Ste-Marie and from Welland to Brockville. We have proudly carried the name of our city and our beautiful repertoire abroad in tours to Germany, Spain, USA, Argentina, Peru and Uruguay.

And looking ahead?

As music director my goal for the future is to keep building the orchestra, enriching the repertoire and making the orchestra even better known in Canada and abroad.

Nineteen years ago, you told Allan [Pulker] how much you like the repertoire for string orchestra, calling it “pure music, like a string quartet except bigger and with a double bass.” I attended your concert last April in the Glenn Gould Studio, featuring Beethoven’s Piano Concerto No. 5 “Emperor” with Stewart Goodyear as soloist. I can attest to the orchestra’s vigour. The piano was much more exposed in the chamber version and there was textural depth and beauty to Goodyear’s playing.

Thank you for your kind words! Yes. There is an amazing amount of shading in the format. The dynamic range is incredible. It is truly a new way for audiences to appreciate familiar works.

So, what we can look forward to in your October 20 concert at the Toronto Centre for the Arts. How will you approach Mozart’s Horn Concerto No.4? Will it be performed on the trumpet?

On our season-opening concert on October 20, Mozart’s Horn Concerto No.4 will be performed by the incredible Sergei Nakariakov. Sergei plays this work beautifully on flügelhorn, an instrument that looks like a trumpet but is larger, with a wider bore. It works well for the horn concerti. As well, Sergei uses it for cello concerti that he plays! He also plays violin works on regular trumpet; he is amazing!

In terms of the other works on the program, the Shostakovich Concerto for Piano, Trumpet and Orchestra is delightfully witty. What will the version for strings unearth? And what can we expect from Beethoven’s iconic Kreutzer Sonata?

The Shostakovich was written for a string orchestra, so we’ll play it in its original version. For Beethoven’s Kreutzer Sonata, I started with a string quintet version that was made early in the 19th century, possibly by Beethoven’s student, friend and secretary, Ferdinand Ries. I have added a double bass part and made certain changes to the arrangement so that it works better for a string orchestra. Beethoven’s Kreutzer Sonata is one of the greatest works of the repertoire. As is the case with all masterpieces, the magical message comes across if it is performed well, whether it is played by a quintet, octet or just two musicians. I have been working on this score since May and I am sure my colleagues in Sinfonia Toronto will give their best efforts to perform this magnificent work in this version.

Are there other of your own arrangements in this concert?

Mozart’s 4th Horn Concerto is also my own arrangement.

Can you point to any other works in the upcoming season which you think will particularly benefit from the string orchestra format?

Many chamber music compositions like trios, quartets, quintets, sextets are enriched when they are arranged for a string orchestra. Great chamber works’ architecture and emotional depth make them good candidates for performance on a larger scale. The rich sonorities of a virtuoso string orchestra bring out the symphonic proportions of those compositions. And some works originally composed for larger instrumentation also sound new and wonderful when played with the great range of tones and textures that can be created by a highly skilled string orchestra.

Any particular examples?

Consider our November 16 concert which includes Rachmaninoff’s Rhapsody on a Theme by Paganini. We will play the North American premiere of a transcription by the French composer Louis Sauter. On the same concert we’ll play Bruckner’s Adagio from his String Quintet. In Rachmaninoff the transcription reduces the work to its basic elements; Rachmaninoff’s dialogue and thematic ideas are now taken into a more intimate setting. Performing this gorgeous work with an ideal collaborative pianist like Anne Louise-Turgeon will be an exciting new experience for the audience. In Bruckner’s Adagio we will stretch its dimensions. This work has already been transcribed for string orchestra several times, and has been recorded by many string orchestras.

It seems that transcription is vital for an ensemble of this type.

Transcriptions were very common practice until the mid-20th century when suddenly everyone became purists. All the major composers before then often transcribed their works for other combinations. Beethoven’s violin concerto was considered the “concerto of all concertos,” yet Beethoven himself made a version as a piano concerto! Fortunately times have changed again. I am proud of the many transcriptions that I have made and performed with Sinfonia Toronto. Many of them have also been played by other orchestras around the world, 24 orchestras in ten countries, at last count.

Almost 20 years ago you mentioned to Allan Pulker that Canadian programming was a goal. Can you give us an idea of the number of Canadian compositions Sinfonia Toronto has played over the years?

We have worked very energetically to serve and grow Canadian music. Considering the size of our season and the fact that we don’t specialize in contemporary music, our record is impressive. To date we have given 19 world premières of works by Ontario composers, as well as one by a Quebec composer, along with 11 Ontario or Toronto premières of works by Canadian composers; and we have performed 30 other works by Canadian composers, many more than once, including nine by Ontario composers and 13 by female composers.

During our international tours, we also featured Canadian composers at every performance. We played Sir Ernest MacMillan in Germany, in Spain Ontario composer Kevork Andonian, and in South America works by Chan Ka Nin, Alexander Levkovich and Marjan Mozetich.

How many works have you commissioned?

By Canadian composers: Kevork Andonian, John Burge, Scott Good, Chan Ka Nin, Christos Hatzis, Marjan Mozetich, Norbert Palej, Ronald Royer, Heather Schmidt, Petros Shoujounian and Rob Teehan. In addition, as music director with my other Canadian orchestras I have commissioned and premièred another 20 works.

I have also conducted several world premières abroad commissioned by orchestras that I guest conducted. I have premièred new works in Italy, Germany, Poland, the US and Armenia.

You were born to Armenian parents in Istanbul, where you gave your first violin recital at 13. How old were you when you started playing?

I started violin at age nine.

Please describe the musical atmosphere in your home growing up?

My mother was a concert violinist, but she gave up her solo career when I was born. When she began teaching me she resumed playing herself, but limited her performances to chamber music. My father had a good voice and was a choir member at Casa d’Italia.

Besides lessons with my mother and then other wonderful teachers, the greatest influence in my development was attending concerts by the Istanbul Symphony Orchestra and many recitals and chamber music concerts. In addition, I loved going to live theatre performances, movies and reading great literature. In a typical week I attended at least four or five events and sometimes two a day... I admit, I don’t sleep much in general!

This is one thing sorely missing in today’s music education – both students and parents are so busy with everyday life they can’t find time to attend concerts. To me this is a must, but how to implement it is the big question. Internet and social media also are time-consuming, but at least one plus for today’s music students is the convenience of being able to watch and hear great classical music with just a few clicks.

Did you have any musical idols in your youth?

Of course! Violinist David Oistrakh.

And when did your passion for conducting take root?

I began conducting as a side activity. Back in the 70s, I had an active career as concertmaster, soloist and chamber musician. In 1980, I was the concertmaster of the Florida Chamber Orchestra, based in South Florida. They sponsored the Florida Youth Symphony, an excellent orchestra, with membership from throughout the state. When their conductor departed in mid-contract, I was asked to take over. The management had seen me doing string sectionals and must have liked what they saw. After two seasons with the FYS, in 1982 I came to join my parents in Canada when they immigrated to Montreal. I thought I should look for a concertmaster position but the first opening within easy enough travel to be with them happened to be the music directorship of the North Bay Symphony. I auditioned and was offered a contract. Shortly after that I began guest conducting in Europe, and the more I conducted the more I fell in love with it.

Sinfonia Toronto rehearsing in Buenos Aires April 2018What led to the birth of Sinfonia Toronto?

In 1998 I moved to Toronto. At the time I was guest conducting five weeks or more in Europe every year and serving as music director of Symphony New Brunswick. The Chamber Players of Toronto had folded not long before, and colleagues and friends who love this repertoire formed a board to support my try at building a new group to fill the gap. We began with a six-concert subscription season in 1999-2000, and were able to move to seven the very next season. In 2002 I left Symphony New Brunswick to give all my attention to Sinfonia Toronto plus continuing guest conducting.

Have you discerned any changes in your audience over the years?

Definitely yes and happily so. When I first started doing some new compositions with Sinfonia Toronto there were a few subscribers who barely tolerated them. There were also a few presenters in other cities who were initially suspicious of unknown works and composers. It’s been truly rewarding to see how our audiences have come to trust our programming over the years. I see my role as music director not only as an orchestra builder but just as importantly in developing the audience and pushing the boundaries. Artistic organizations must lead their communities, not only produce what is safe and sells most easily.

What do you find most rewarding and most challenging in your professional life?

Performers love to experience the magical moments of complete communication and unity among themselves and with their listeners. I am always happy when we can achieve that a few times per concert.

I have conducted more than 90 orchestras around the world. It is always challenging but also very intriguing and exciting to meet a new orchestra and from the first moment of the rehearsal start developing this very special relationship.

Sinfonia Toronto’s first concert of their 20th-anniversary season takes place at the Toronto Centre for the Arts on October 20 at 8pm.

Paul Ennis is the managing editor of The WholeNote.

The WholeNote’s seventh annual guide to the Toronto International Film Festival (TIFF) takes a look at 17 films (in which music plays a notable role) out of the 255 features from 74 countries that comprise the festival’s 43rd edition. This year’s guide is anchored by my conversation with Ron Mann about his enchanting new documentary, Carmine Street Guitars. And there is considerable space devoted to two award-winning films I saw at the Cannes Film Festival, Pawel Pawlikowski’s Cold War and Gaspar Noé’s Climax. Music is indispensable to all three and they are highly recommended. The rest (some of which I have yet to screen) represent a cross-section of films where music, in one way or another, plays a significant part.

Carmine Street GuitarsCarmine Street Guitars, Ron Mann’s tenth feature-length documentary, is the latest in a distinguished career that began impressively with the free jazz doc Imagine the Sound in 1981 – when Mann was barely into his 20s.

Carmine Street Guitars will have its world premiere September 3 at the prestigious Venice Film Festival, where it is the only Canadian film. Next stop is TIFF, September 9 and 13, followed by the New York Film Festival a few weeks later. Mann and I talked by phone in mid-August – his first interview since completing the movie. The Toronto-based filmmaker, who was winding up a vacation in Woodstock, NY, seemed genuinely surprised by the love his film has engendered in festival programmers. (Reykjavik and Warsaw film festivals will also be screening it this fall, with the likelihood of many more to come).

The conceit of the film is appealingly simple. Five days in the life of Rick Kelly, a luthier in a Greenwich Village guitar shop, his assistant Cindy Hulej, and his mother Dorothy (92 at the time) – with a supporting cast of visitors, a dozen or so musicians of varying fame and fortune, from Dallas and Travis Good of The Sadies to Lenny Kaye. It’s a minimalist concept that paints a rich portrait of the shop’s proprietor and produces an intimate, eclectic house concert of guitar music as a bonus.

“It’s a modest movie,” Mann says. “Not layered like most of my films. The only thing I can think of is – there’s so much noise in movies and this is quiet. There’s a guitar movie called It Might Get Loud; this is It Might Get Soft.”

In the 1960s, Carmine Street was the place you would go for guitars, Mann told me. John Sebastian lived across the street; Jimi Hendrix lived around the corner. It was the crossroads of music – Lenny Kaye actually worked at nearby Bleecker Bob’s record store. “I guess over time my perspective is that I see people and places and values disappear before my eyes,” he says. “The movie’s a look at Greenwich Village and an all-too-quickly vanishing way of life.”

To Mann the shop represents a safe place where a lot of musicians feel at home. Marc Ribot, who’s played with everyone from the Lounge Lizards to John Zorn, drops by and tells Kelly about all the people and places he’s seen vanish over the years: “I’m glad you’re still here,” he says.

During the film shoot, the building next door went up for sale for $6.5 million. And in a jarring, awkward minute, the real estate agent walked into the store. “You couldn’t write this stuff,” Mann said. “That’s what can happen when you do these kinds of movies.”

“Rick reminds me a lot of Robert Crumb, by the way,” Mann mused. “Who I interviewed for Comic Book Confidential. Robert is someone who’s out of time. Rick is more comfortable in the 1940s. In the case of Robert Crumb, Haight-Ashbury in the 60s. Rick is like Crumb’s character Mr. Natural. Rick doesn’t have a cellphone; he doesn’t know how to work a computer. It’s so great, so fantastic.”

Thinking about what attracted him to Kelly, Mann says: “Rick has made guitars for Bob Dylan and Patti Smith and Lou Reed. You know, Rick has this Zen-like philosophy. At three o’clock he usually breaks out a bottle of Irish whiskey and musicians would just come and shoot the breeze. I love that barbershop quality of Carmine Street. When you walk in there, it’s like going back into time. Rick’s an artisan in the great tradition of guitar makers, in the Bohemian culture of Greenwich Village.

“It’s something that I needed to capture. I’m a guitar player – you can’t pull me out of a guitar store (or a bookstore) – they’re works of art. I just love sharing the experience of spending a week in that shop and hanging out with Rick. And I love that there’s this tradition that’s being carried on with his 25-year-old assistant, Cindy, who represents a new generation. Those machines they work on, you can’t even get parts for them anymore; there’s one guy in NYC they call who still knows how to fix those machines. It’s an old school way of making those guitars.”

I asked how Mann and Kelly met and Mann’s answer explained filmmaker-musician Jim Jarmusch’s mysterious “Instigator” credit in Carmine Street Guitars. Mann was at the Big Ears Music Festival in Knoxville, TN in March 2015, to hear Jarmusch’s band SQÜRL play a live soundtrack to four short 1930s silent films by Man Ray. After the performance, Mann, Jarmusch and Jarmusch’s producer (and SQÜRL drummer) Carter Logan moved on to Nashville where Jarmusch was doing a live recording for Jack White’s Third Man Records. “When we were all out to dinner,” Mann said. “Jim told me about Carmine Street Guitars.” How ten years earlier, when his Bowery Street loft was being renovated, Jarmusch asked Kelly to make him a guitar using a piece of old lumber from the loft. It was the first time Kelly used the old New York City wood that he is now famous for. Over the years, as the old wood had dried up, the pores in the wood opened, creating the opportunity for a more resonant sound.

After Nashville, Mann went to Carmine Street and met Kelly, his mother and his assistant and realized what a special place it is. Filming took two and a half weeks during the rainy summer of 2017. Mann turned to Robert Altman’s Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean for guidance in filming in such a small space. (Mann’s doc Altman also premiered at the Venice Film Festival. Full Disclosure: my son Simon Ennis has a cinematography credit on Altman and an editing credit on Know Your Mushrooms; and Mann was the executive producer of Simon’s doc, Lunarcy!)

There are many moments to relish in the film. Lou Reed’s friend and guitar tech Stewart Hurwood drops by and demonstrates how Reed used to tune all of his guitar strings to the same note to produce a drone, and how Reed once told Hurwood that he “felt healed in the drones.”

Nels Cline, of Wilco, buying a guitar for Jeff Tweedy’s 50th birthday, came as a complete surprise to Mann. Christine Bougie, of Bahamas, whose mellow lapsteel guitar playing was a highlight for me, was on tour in NYC, so she dropped by.

One of my favourites was Bill Frisell playing Surfer Girl as he reminisced about his first relationship with the Fender Telecaster, listening to a surfing band in Denver where he grew up.

“Bill is so sweet,” Mann said. “He just played it, magically played it. And we just let it go; we didn’t edit it.”

Kelly fell in love with the Fender Telecaster at an early age and he’s been making his version of it for years. He understood that the wood made a difference in electric guitars. During the shoot Kelly got a call from McSorley’s, one of the oldest bars in New York, offering old floorboards. “We were fortunate that happened,” Mann said.

“I had a blueprint of what I wanted, vignettes with musicians,” Mann said. “Rick is shy and one of the things Carter suggested at that Nashville dinner was, ‘What if you had musicians come in and talk to him and that will get him going?’ That device was something that worked in [Jarmusch’s] Coffee and Cigarettes – which was dramatically scripted of course.”

The concept evolved into a rare behind-the-scenes look at who these musicians really are. “I keep going back to Marc Ribot talking about how the film is an invisible history of music that includes the rarely seen relationship of the musician to the instrument maker. It’s like Thirty Feet from Stardom. These are the guys – Charlie Sexton played with David Bowie and tours with Bob Dylan,” Mann said, his voice trailing off.

At the end of the film, Sexton plays a wistful, light-fingered, country blues tune on the McSorley’s Old Ale House instrument that Kelly had crafted out of wood from the legendary Greenwich Village bar. “I love this guitar, Rick; it’s got a great vibe,” he says. It’s an apt description for the documentary itself.

THE CANNES CONNECTION

Of all the films I viewed at this year’s Cannes film festival that were intrinsically bound up in their musical subjects or subtexts, Pawel Pawlikowski’s epochal love story Cold War, which won Best Director, stood out for its cinematic artistry and fervour. Cold War begins and ends in Poland, with stops in Paris, East Berlin and Split, Yugoslavia as it journeys from 1949 to 1964. Wiktor and Zula’s love is deep and true but subject to the political vagaries of the era it inhabits. Both are musicians who meet through music (of which there is a wide variety, from traditional Polish folk to 1950s jazz). Pawlikowski depicts it with rigorous attention to detail. Filmed in stylish, enhanced black and white, with compelling performances by Joanna Kulig and Tomasz Kot, Cold War succeeds at every level.

Zula joins the fictional Mazurek folk ensemble to escape her impoverished background; her talent, charm and drive make her a star. Wiktor, the conductor of the ensemble, is grounded in high culture, a classically trained pianist whose passion is jazz. Once the Stalinist regime uses the ensemble for political ends, Wiktor realizes his only option is to defect to Paris and follow his musical passion.

Pawlikowski based the Mazurek troupe on the famed Mazowsze ensemble, which was founded in 1949 to collect folk songs which were re-worked and performed by singers and dancers dressed in costumes inspired by traditional peasant outfits. And just as the Mazurek ensemble was co-opted by the Polish regime, so too was the Mazowsze, which the authorities saw as a useful weapon against jazz and atonal music.

Pawlikowski cleverly re-fashioned some of the music to give the film a subtle through line. The Mazowsze standard Two Hearts is first heard as a simple country tune sung by a young peasant girl; later it morphs into a jazz number sung in French by Zula in 1950s Paris. The bebop tune Wiktor’s jazz quintet plays in a Paris nightclub is based on a traditional dance melody (oberek) first played by a woman on an accordion and then by the Mazurek company. Later in Paris at the piano, Wiktor reworks the oberek and turns it back into Two Hearts. (All the jazz numbers were arranged – and the piano parts performed – by Marcin Masecki.)

The music credits for Cold War are a treasure trove of traditional Polish folk music with almost two dozen excerpts; the jazz side features Coleman Hawkins, Miles Davis, Clifford Brown, Billie Holiday, Ella Fitzgerald and Kulig and Kot doing Gershwin’s I Loves You, Porgy. What wraps up this musical odyssey? A few moments of Glenn Gould playing Bach’s Goldberg Variations. It’s all a not-to-be-missed cinematic experience, due in large part to its crucial musical component.

ClimaxGaspar Noé’s exhilarating new film set in 1996, Climax, won top prize in the Directors’ Fortnight sidebar. Filmed in 15 days with a troupe of dancers, it’s 45 minutes of exuberance and technical brilliance, shot in long takes, followed by a descent into hell at a party, once the sangria spiked with LSD kicks in. Noé has admitted to always having been fascinated by situations where chaos and anarchy suddenly spread. “My greatest pleasures lie in having written and prepared nothing in advance,” he said. “And as much as possible allowing situations to happen in front of me, as in a documentary. And whenever chaos sets in, I’m even happier, knowing that it will generate images of real power, closer to reality than to theatre.”

Since you can’t have dance without music, choosing it was pivotal. Noé chose music from no later than the mid-1990s, concentrating on tracks that would speak to the widest audience. From Gary Numan’s bent take on Satie’s Gymnopedies to music by Chris Carter, Cerrone, Patrick Hernandez, Lil Louis, Dopplereffekt, Neon, Suburban Knights, Daft Punk, Aphex Twin, Soft Cell, Giorgio Moroder, The Rolling Stones, Cosey Fanni Tutti and Coh, among others, Climax is an elemental shot of joyous filmmaking.

CapernaumNadine Labaki’s emotionally potent film, Capernaum, about a 12-year-old Lebanese boy who sues his parents for giving him life, won the Jury Prize at Cannes. Her husband Khaled Mouzanar produced the film and composed the score. To fit what Mouzanar called “the poverty and rawness of the subject,” he wrote a “less melodic score than usual using dissonant choral melodies that seem to disappear before they can be grasped, as well as synth-based electronic sonorities.” Crucially, he chose not to “underline or highlight emotions that were already sufficiently intense.”

Birds of Passage, by the filmmaking team behind the remarkable Embrace of the Serpent, is a compulsively watchable saga inspired by true events in the Guajira region of Colombia during the rise of the marijuana export industry (1960-1980). It’s a carefully constructed epic where chapters are presented as song titles and stunning music – a combination of traditional instrumentals and contemporaneous pop – contributes in kind.

Ali Abbasi’s Border, a Swedish film which deservedly won the top prize in the Un Certain Regard sidebar, benefits from an atmospheric score by Martin Dirkov that moves discreetly from dreamy electronica to joyful swells. Strikingly original, Border follows a female customs officer who can smell what people are feeling, making it easy for her to spot deception of any kind. Her life broadens when she meets a man with similar characteristics who shares her uncanny ability. Then this film about societal outsiders takes a page from Norse mythology and leaps into unseen territory.

In Icelandic director Benedikt Erlingsson’s genre-bending dramatic comedy, Woman at War, a middle-aged female choirmaster (with a twin sister) whose adoption request for a Ukrainian four-year-old has just been accepted, is also an eco-terrorist who shoots down power lines with a bow and arrow. And because it’s an upbeat movie, she’s followed around by a kind of musical Greek chorus consisting of sousaphone, accordion, drums and three Ukrainian singers in traditional costumes.

FILMS WITH A PEDIGREE

Maria by CallasTom Volf’s documentary, Maria by Callas, narrated by Joyce DiDonato, promises fresh insights into La Divina through recently rediscovered writings and interviews with the legendary Greek-American soprano.

Quincy follows 85-year-old legend Quincy Jones as he puts together a star-studded concert for the opening of the National Museum of African American History and Culture in Washington, DC, giving him ample time to reflect on his life and work with such icons as Count Basie, Herbie Hancock, Chick Corea, Dinah Washington, Frank Sinatra, Dizzy Gillespie and Michael Jackson.

For Damien Chazelle’s First Man, about Neil Armstrong’s moon landing, Chazelle’s longtime composer Justin Hurwitz has revealed he’s getting away from jazz and old-fashioned orchestral sounds and experimenting with electronic music.

NOT YET VIEWED BUT INTRIGUING CANADIAN FILMS

Falls Around HerIn Darlene Naponse’s Falls Around Her, a renowned Anishinaabe musician (the always watchable Tantoo Cardinal) comes home to Atikameksheng Anishnawbek First Nation in Northern Ontario to restore herself after many exhausting years on the road. But it can be tricky to hide from the demands of the outside world. Said to be inspired by Buffy Sainte-Marie.

Gwaai Edenshaw and Helen Haig-Brown’s debut feature, Edge of the Knife, the first feature made entirely in the two dialects of the Haida language, uses traditional music to add a note of authenticity to its story. In 19th-century Haida Gwaii, an accident prompts a tormented man to retreat deep into the forest where he becomes Gaagiixiid/Gaagiid (“the wildman”).

Igor Drljaca, fondly remembered for his cinematic eye and musical ear in Krivina, has made his first documentary, The Stone Speakers, that looks at the intersection of tourism and ideology in four post-war towns in Bosnia and Herzegovina and features traditional music on the soundtrack.

A tiny section of Part 2 of his Symphony No. 8, that Mahler wrote in relation to the final scene of Goethe’s Faust, adds to the fascination of Andrea Bussmann’s first feature, Fausto, which she calls “quite experimental.” On the Oaxacan coast, tales of shapeshifting, telepathy and dealings with the devil are embedded within the colonization and enslavement of the Americas. Through literature, myth, and local entanglements, the veil between reality and fiction, and the seen and unseen, is lifted, according the film’s press kit.

THREE LOTTERY PICKS

Fresh from the Venice Film Festival and featuring a soundtrack full of new music by Australian pop star Sia, Brady Corbet’s Vox Lux is an original musical that follows a pop star (Natalie Portman), from her rise to fame after surviving a major school shooting in 1999, to her scandal-plagued, present-day, all-too-public private life.

Vasan Bala’s Bollywood genre mashup, The Man Who Feels No Pain, screening in the Midnight Madness section, has a kinetic trailer filled with action and humour set to a rollicking riff on Superfly that demands attention.

DiamantinoThese words by Guy Lodge in Variety about Gabriel Abrantes and Daniel Schmidt’s Diamantino are quite a recommendation: “Part loopily queer sci-fi thriller, part faux-naive political rallying cry, glued together with candyfloss clouds of romantic reverie, it’s a film best seen with as little forewarning as possible. ... Only in the up-is-down world of Diamantino could Donna Lewis’ cream-cheese slab of mid-90s dreampop I Love You Always Forever briefly seem a soaring anthem of the heart. ‘Love has reasons that even reason can’t understand,’ muses Diamantino in voiceover at one point; so does this lovably ludicrous film.”

The Toronto International Film Festival runs from September 6 to 16. Check tiff.net for further information.

Paul Ennis is the managing editor of The WholeNote.

banner webI received a memorable phone call early this past June – one that surprised and delighted me. It was from the Chancellery of Honours, informing me of my appointment as a Member of the Order of Canada.

The citation that came with the appointment spoke to the decades of commissioning, producing and broadcasting the work of Canada’s composers during my 40 years as a member of CBC Radio Music. Regular readers of The WholeNote will know that I have recounted various important episodes of this history in these pages over the past two years. But the honour of being formally recognized for this work now has me looking back through a slightly different lens, focusing
on the circumstances that made possible a mission as seemingly rarefied as supporting composition in Canada.

The answer? Public broadcasting.

At rock bottom, the difference between public radio and commercial radio is that commercial radio delivers audiences to advertisers, while public radio, on the contrary, enriches the audience with content of value. This basic difference remains today, even with the encroachment of the internet and social media. This difference was already clear in my mind when I arrived at the CBC Radio Music department in 1973, ready and eager to produce original musical content for the network. John Peter Lee Roberts, the man who hired me after I finished my Master of Music degree in composition and electronic music at the University of Toronto, had already laid the groundwork. He had been the head of the national radio music department of the CBC since 1965 and had built a strong music department that was content-driven, always focused on delivering an enriched, high-quality music service to Canadian listeners. He believed that commissioning original Canadian works was at the core of the CBC’s mission: in his ten years as Head of Music at CBC Radio, he commissioned about 150 works, many now recognized as Canadian classics, such as Harry Somers’ famous Gloria. Such creative leadership could only be undertaken under the mandate of public broadcasting.

1973, the year of my arrival, was also the year Roberts, together with the Canada Council, created the National Radio Competition for Young Composers – a scheme to identify emerging Canadian composers and to highlight their work in broadcasts for Canadian listeners. It was also a way of encouraging and eventually developing young composers into mature artists, whose works would form the content of future contemporary music programming. Roberts turned the administration of the competition over to me in 1975, as he was leaving the Radio Music department. The CBC/Radio-Canada National Competition for Young Composers ran every second year until 2003, and introduced some 165 winning composers to Canadian audiences.

The responsibility of organizing this national competition was the first of three opportunities in the period from 1975 to 1978 that enabled me to begin my work developing Canadian composers at CBC Radio. The second was when I was named CBC Radio’s delegate to the International Rostrum of Composers (IRC) in 1977. The IRC is a new music meet-up that takes place every year, organized by the International Music Council, with the participating public radio services of some 35 countries. Serving as CBC’s delegate gave me an outlet to present the works of Canadian composers we had produced at CBC, as well as providing access to new works from around the world for broadcast in Canada. And the third key opportunity was the creation of a new CBC network program that would serve as the platform for the original content we were about to begin producing in earnest. This program was Two New Hours, which launched on New Year’s Day, 1978.

January 1978 was a new beginning: for the next nearly 30 years, we had a national network program that brought Canadians a window on new music creation by Canadian and international composers. The IRC, together with another international exchange mechanism, the European Broadcasting Union (EBU), gave us the means to exchange high quality productions of the most fascinating new works being created around the world, and a means of telling the rest of the world about Canadian music. And the National Radio Competition for Young Composers provided a means to invest in the development of emerging young Canadian composers, creating the newest of new music for current and future broadcasts.

Chris Paul Harman, 1998The clearest example for me of how all these initiatives worked together successfully is the case of composer Chris Paul Harman. In 1990, the 19-year-old Harman became the only teenaged Grand Prize winner of the CBC/Radio-Canada young composers competition. Our recording of his winning composition, Iridescence for string orchestra, was submitted to the IRC the following year. The international delegates of the IRC voted Harman’s Iridescence the best work by a composer under the age of 30. The work was broadcast in 35 countries as a result. Iridescence was subsequently performed the following year by the CBC Radio Orchestra, the Esprit Orchestra and the Winnipeg Symphony Orchestra, and broadcast on Two New Hours as well as other CBC Radio music programs. By 1992, Harman was already an internationally recognized composer, not to mention a celebrity within the Canadian music community.

As his career grew, CBC Radio continued to follow and assist Harman’s development with commissions and broadcasts. Most of the major musical institutions in Canada have now performed his works; he has taken his place among the most respected composers in Canada. Along the way, he won the Jules Léger Prize twice: once (2001) for his work Amerika, which was also shortlisted for the Fondation Prince Pierre de Monaco Prize; and a second time (2007) for his work Postludio a rovescio, commissioned by the Nieuw Ensemble of Amsterdam. Harman is currently Associate Professor of composition at the Schulich School of Music at McGill University; more about that a little further on.)

Chris Paul Harman. © Marco Giugliarelli for Civitella Ranieri Foundation, 2018The list of emerging Canadian composers who also benefited in a similar way from the coupling and coordination of these three initiatives is considerable: it includes Brian Current, Paul Frehner, Analia Llugdar, Kelly-Marie Murphy, Ana Sokolović, Andrew Staniland and many, many others. The opportunities provided through CBC Radio to encourage these composers over several decades helped Canadian composition to flourish; it was certainly a key factor in my recent Order of Canada citation.

That being said, my focus over 40 years at CBC Radio Music was not exclusively on the development of emerging composers. Established composers played an enormous role in the creation of original content for our broadcasts. Norma Beecroft, Brian Cherney, Murray Schafer and John Weinzweig were among the first composers commissioned for Two New Hours. And I presented Cherney and Schafer at the IRC during my earliest years as CBC’s delegate. Harry Freedman, Harry Somers and Ann Southam also figured prominently in our program mix. Some of these composers’ most well-known, perhaps even iconic works, were commissions produced for our broadcasts. These include Beecroft’s Piece for Bob, Freedman’s Borealis, Schafer’s Third String Quartet and Dance of the Blind by Marjan Mozetich. Speaking about the commission of his String Trio, Cherney says: “I knew the piece had to be damn good and interesting but it sort of developed more sophistication and complexity as it went along in the creative process. I think that one could say that the commission itself made me feel that I had to be as creative and imaginative as possible, so I tried to be just that.” He then went one step further: “I should say that all of my CBC commissions inspired me to write what I consider to be my best pieces – the String Trio, the Third String Quartet, Illuminations, La Princesse lointaine.”

Over the course of nearly 30 years of producing Two New Hours broadcasts, I commissioned about 250 new Canadian compositions. Several of these works served as vehicles for emerging young performers, like Alexina Louie’s Refuge, written for the young percussionist Beverley Johnston, or Ann Southam’s Qualities of Consonance for the emerging young piano soloist, Eve Egoyan. Mozetich’s Dance of the Blind was commissioned as a showcase for the emerging accordion virtuoso Joseph Petric. The last of these was seminal for Mozetich: with it came his decision to write in an accessible, tonal style, counter to the modernist trend at the time. This stylistic pivot made Mozetich one of the most successful of Canadian composers. Best of all, these sorts of radio commissions initiated collaborations between Canada’s best composing talent and the best performers. In the context of our nationwide network broadcasts, these collaborations helped to shape the musical community and the sound of Canada’s new music.

1991 saw the birth of another significant creative collaboration. Winnipeg Symphony Orchestra music director Bramwell Tovey, composer-in-residence Glenn Buhr and the late executive director Max Tapper contacted me to ask whether Two New Hours would broadcast music from the contemporary music festival they were planning. I saw this as an exciting opportunity and immediately promised that, not only would we broadcast as many concerts from their festival as the Two New Hours budget could afford, but would also contribute an event which we would create, produce and broadcast live, to show our support for the WSO’s innovative programming approach.

As a result, on Sunday night, January 19, 1992, Two New Hours presented a contemporary piano recital by Christina Petrowska Quilico, live on CBC Radio Two, from the Centennial Concert Hall in Winnipeg. The recital included music by Canadians Omar Daniel, Steven Gellman, Peter Paul Koprowski, Sid Robinovitch and Ann Southam, plus acclaimed international composers Frederic Rzewski and Toru Takemitsu. The WSO’s production team, not sure how best to market a recitalist in their 2,500-seat hall, decided to put up risers on the stage, as the main seating area, in case the attendance was small. Those 700 riser seats filled quickly, and the WSO’s management team watched in amazement as another 1,000 people then took “overflow” seats in the main section of the hall. It was clear from that moment that the New Music Festival would be a great success. By the next year, the WSO’s New Music Festival could already call itself an international festival, thanks to the worldwide distribution of our CBC Radio broadcasts over the program exchange protocol managed by the European Broadcasting Union. The WSO’s New Music Festival was copied soon after by orchestras in Vancouver, Toronto, Montreal, Edmonton and other communities, many of which were also heard on Two New Hours broadcasts.

The success of these various new music festivals in turn helped to swell the audience numbers for Two New Hours. By the time the program was cancelled, in March of 2007, the show had grown to an audience share of four percent as measured by the Bureau of Broadcast Measurement (BBM), an unthinkable figure for this sort of contemporary music show. To put the number in context, in 1980, when Two New Hours reached a one percent share, network senior managers had crowed about the achievement when defending the CBC Radio broadcast licence.

The CBC/Radio-Canada National Competition for Young Composers ended in 2003, but was revived, briefly, as the Evolution Young Composers Competition in 2006. After that CBC/Radio-Canada withdrew from this sort of activity, despite its proven effectiveness to develop emerging Canadian composers.

It was not the only area in which the CBC’s public radio mandate was drastically redefined. But that was, and remains, little consolation.

Before his death in 2016, the late Graham Sommer, a distinguished Canadian radiologist and medical researcher who believed in the transformative power of music, chose to endow the Schulich School of Music at McGill University to create a national competition for young Canadian composers. I was asked to consult on the project, based on my experience with the CBC/Radio-Canada competition. The finals of the Inaugural Graham Sommer Competition for Young Composers will be held at Pollack Hall in the Schulich School of Music on Saturday, September 29, 2018. The performances of the works of five young Canadian composers will be heard in concert and webcast. The webcast will be available on the Schulich school’s YouTube page: youtube.com/user/schulichmusic.

The five young Canadian composers who have written piano quintets for the Graham Sommer competition are: Ashkan Behzadi, Taylor Brook, Christopher Goddard, Alison Yun-Fei Jiang and Thierry Tidrow. Prizes totalling $45,000 will be determined by an international jury.

Canada is as rich in composing talent, as it was in January 1978. Continuing to develop these young composers is an ongoing investment in the nation’s musical future. The question is, what exists today to fill the role CBC Radio played in supplying a context for this to happen?

David Jaeger is a composer, producer and broadcaster based in Toronto.

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