I will end on a very sad note. My long-time friend and colleague Daniel Foley died in December at the age of 73. I worked with Daniel at New Music Concerts for my entire 20-year tenure there, and he was also a frequent contributor to these pages with 285 reviews published since the inaugural edition of DISCoveries back in July 2001. Daniel, best known here for his astute assessment of practically every Mahler recording to grace our pages in recent years, was an extremely talented, multi-faceted individual active as a composer, music copyist, graphic designer, webmaster, programme annotator and photographer. All of this came in handy at NMC, where he wore many hats. He also served as the tour coordinator for NMC’s trip to China as the invited resident ensemble for the Beijing International Composition Workshop in 2016. Many-faceted indeed!
As mentioned, Daniel was an exceptional Mahler scholar – he owned scores of all the symphonies, which he would consult while preparing his reviews – but he was also partial to the music of Richard Strauss and Edgard Varèse, Paul Hindemith, Ferruccio Busoni, Charles Koechlin, and the Second Viennese School of Arnold Schoenberg and company. He was very discerning in his tastes, and particular in his views. He would only accept an assignment if he could properly praise the performance, all the while insisting on mentioning any flaws or shortcomings he found. He was steadfast in his integrity.
As a composer Daniel wrote for a wide range of instruments and occasions, making important contributions to the repertoire of some otherwise neglected instruments including double bass, bass clarinet, accordion, organ and flute ensemble. I received a note of condolence from renowned accordionist Joseph Petric saying “Dan wrote the first work I ever commissioned on an OAC grant (1979) followed by four other small chamber works, all of them strategic and innovative contributions to the canon. His St. George Blues for viola (Doug Perry) and accordion is a masterwork.”
I also knew Daniel Foley as a dear friend. In honour of my 50th birthday he composed the piano trio Chanterelle dedicated to “le Trio Poulet,” so-called because my amateur ensemble would get together on Sunday afternoons to play trios in my living room while a chicken roasted in the kitchen for our dinner. Fond memories! I also had the pleasure of making music with Daniel himself at the piano, as we explored the music of Arvo Pärt (Spiegel im Spiegel) and Olivier Messiaen (Louange à l’Eternité de Jésus). These were real milestones in my development as a cellist, getting to know some favourite pieces from the inside out, and with his vast understanding, Daniel was a truly inspired guide on that voyage.
In a Facebook posting flutist Nancy Nourse shared “Truly upsetting news! This fall we at Flute Street were honoured to receive a wonderful surprise-- a new major composition, Concertiina, that Daniel Foley had just completed for us. We have it scheduled to perform next season, but it will be so sad, not to have him there in person to hear it. Yes, we must continue to keep his music in the air. RIP Daniel.” It’s a consolation to know there is still more of his music to come, and players who will keep the music alive.
I will not be alone in missing him. He leaves behind a whole community of friends and admirers, as well as a legacy of scores at the Canadian Music Centre.
