Thursday, May 30, 2019
Event Title: Regent Park Song Book Premieres
  • Region: Ontario
  • Venue / Location: Toronto, Daniel Spectrum Hall (585 Dundas E)
  • Time: 5:30pm
  • Price: $Free
  • Genre: Solo Voice
  • External Link: http://rpmusic.org/
Description:

New Premieres of Art Songs written for and performed by young performers from the Regent Park Song Interpretation Program! Come hear works by composers Shelley Marwood, Leslie Uyeda, Tova Kardonne and Roydon Tse at the Regent Park School of Music on May 30, 2019. Free Admission.

William George
Composition Date: 2016
Duration: 00:06:34

Instrumentation:

Instrumentation Set Number 1:
  • 1 x Flute
  • 1 x Bass clarinet
  • 1 x Piano
  • 1 x Baritone
  • 1 x Violoncello
Programme Note:
Words by: Robert Sund

Premiere Information:
26 Nov 2016, Orpheum Annex, Vancouver, BC
Erato Ensemble: Vaughn Chauvin, baritone; Jeff Pelletier, bass flute; Julie Begg, bass clarinet; Stefan Hintersteininger, cello; Caroyn Shiau, piano

CATALOGUE INFO:

  • Call Number:
  • AR3341
  • Date of Acquisition:
  • March 29, 2018
  • Type:
  • Sound recording, archival
  • Physical Description:
  • 1 streaming audio file ; (6:34)
    This is a streaming audio track, part of the CentreStreams project. CentreStreams is made possible through the support of the Department of Canadian Heritage and CBC Radio 2.
    Ceci est une piste de son en continu, du projet Musiflots. Musiflots a été mis sur pied grâce au soutien du ministère du Patrimoine canadien, et de CBC Radio 2.
  • Additional Information:
  • For Baritone, Flute, Bass clarinet, Piano, and Violoncello. Performers: Erato Ensemble. From a concert 26 November 2017 in Orpheum Annex, Vancouver.

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Centrestreams:

Click here to listen to Running into the sea for baritone or tenor, bass flute, bass clarinet, cello, and piano in Centrestreams.







Composition Date: 2002
Duration: 00:06:30
Genre: Solo Voice, With Chamber Ensemble, Woodwind(s), Keyboards

Instrumentation:

Instrumentation Set Number 1:
  • 1 x Bass clarinet
  • 1 x Piano
  • 1 x Tenor
Click here to download full work (7.27 Mb - Not printable)

Programme Note:
'The Brain' was written for tenor voice, bass clarinet, and piano, with text based on a poem of the same name, by American poet, Emily Dickinson. It was premiered at Simon Fraser University Theatre (Burnaby, British Columbia, Canada), in March 2003.

The Brain—is wider than the Sky—
For—put them side by side—
The one the other will contain
With ease—and You—beside—
The Brain is deeper than the sea—
For—hold them—Blue to Blue—
The one the other will absorb—
As Sponges—Buckets—do—
The Brain is just the weight of God—
For—Heft them—Pound for Pound—
And they will differ—if they do—
As Syllable from Sound—

Emily Dickinson (1830-1886)

Premiere Information:
March 2003, Simon Fraser University Theatre, Burnaby, British Columbia

CATALOGUE INFO:

  • Call Number:
  • MV 1211 K741bra
  • Genre:
  • Solo Voice, With Chamber Ensemble, Woodwind(s), Keyboards
  • Date of Acquisition:
  • April 27, 2017
  • Type:
  • Print-music, Published by CMC
  • Physical Description:
  • Score
    10 Pages
    Height: 30 cm
    Width: 23 cm
    Parts page count: 4
    Bass Clarinet part
    4 Pages
    Height: 30 cm
    Width: 23 cm
  • Language Information
  • Main language: English
  • Additional Information:
  • Text by Emily Dickinson
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Tawnie Olson
Composer
Tawnie Olson
Composition Date: 2016
Duration: 00:15:30
Genre: Solo Voice, With Solo Instrument, , Keyboards

Instrumentation:

Instrumentation Set Number 1:
  • 1 x Piano
  • 1 x Soprano
Programme Note:
This song cycle is about the experience of time. The first movement, "Dusk", is ostensibly about looking over the day just past, but is clearly about much more. "Hubbards Cove" is about a particular kind of joyful being-in-the-moment. "Daybreak" is an unsentimental look back at early childhood from maturity.

Premiere Information:
3 November 2016, Maureen Forrester Recital Hall, Wildrid Laurier University, Waterloo, Ontario
Magali Simard-Galdès, soprano; Olivier Hébert-Bouchard, piano

CATALOGUE INFO:

  • Call Number:
  • MV 1101 O52th
  • Genre:
  • Solo Voice, With Solo Instrument, , Keyboards
  • Date of Acquisition:
  • April 13, 2017
  • Type:
  • Print-music, published
  • Physical Description:
  • Score
    38 Pages
    Height: 28 cm
    Width: 22 cm
  • Language Information
  • Main language: English
  • Additional Information:
  • 1. Dusk
    2. Hubbards Cove
    3. Daybreak

    Text: Lorri Neilsen Glenn
    Commissioned by: Canadian Art Song Project
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    Printed copies of this title are available from E.C. Schirmer Music Company. Please contact the publisher directly.
    Published by E.C. Schirmer Music Company
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Three Songs on Poems by Lorri Neilsen Glenn for soprano and piano
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Composition Date: 2016
Duration: 00:04:30
Genre: Solo Voice, With Solo Instrument, , Keyboards

Instrumentation:

Instrumentation Set Number 1:
  • 1 x Piano
  • 1 x Tenor
Click here to download full work (7.70 Mb - Not printable)

Programme Note:
The “Arrow of Time” is the belief that statements about physical processes at the microscopic level remain true even if time were reversed, but at the macroscopic level it is obvious that time only runs in one direction. This idea moved Mary: she described it as “the passion of the universe”. Premiered June 25, 2016 in Vancouver, B.C. by Will George (tenor) and Corey Hamm (piano) as part of Art Song Lab’s SongLaunch concert. After a short battle with cancer, Mary Aitken passed away a few weeks before the premiere

Premiere Information:
25 June 2016, Roundhouse Community Centre, Vancouver British Columbia
Will George, tenor; Corey Hamm, piano

CATALOGUE INFO:

  • Call Number:
  • MV 1101 S963ar
  • Genre:
  • Solo Voice, With Solo Instrument, , Keyboards
  • Date of Acquisition:
  • April 12, 2017
  • Type:
  • Print-music, Published by CMC
  • Physical Description:
  • Score
    10 Pages
    Height: 28 cm
    Width: 22 cm
  • Language Information
  • Main language: English
  • Additional Information:

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Arrow of Time for tenor and piano: Score
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Arrow of Time for tenor and piano by Glenn Sutherland (Score)
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Arrow of Time for tenor and pianoYou can obtain a paper copy of this work for:
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Tyler Versluis
Composition Date: 2015
Duration: 00:20:00
Genre: Two Voices, With Chamber Ensemble, , Plectral String / String Bowed

Instrumentation:

Instrumentation Set Number 1:
  • 1 x Harp
  • 1 x Soprano
  • 2 x Violoncello
Click here to download full work (7.33 Mb - Not printable)

Programme Note:
This song cycle was composed as part of a collaboration between writer Lindsay Mason and visual artist Timothy Goertzen. Mason penned the text which was to be used in the cycle, five poems in total, and Goertzen produced five paintings to accompany each of the poems. The cycle is a dispassionate and frequently austere observation on solitude and stasis; the poem’s winter imagery mirrors the emotional qualities of the writer, a type of suspended living as nature sleeps silently under the banks of snow. But something living stirs under the surface…

Premiere Information:
5 June 2016, Gallery 345, Toronto, Ontario
Maeve Palmer, soprano; Angela Schwarzkopf, harp; Amahl Arulandalam, violoncello; Amina Holloway, violoncello; Tyler Versluis, direction

CATALOGUE INFO:

  • Call Number:
  • MV 2206 V561fiv
  • Genre:
  • Two Voices, With Chamber Ensemble, , Plectral String / String Bowed
  • Date of Acquisition:
  • April 11, 2017
  • Type:
  • Print-music, Published by CMC
  • Physical Description:
  • Score
    26 Pages
    Height: 30 cm
    Width: 23 cm
    Parts page count: 30
    3 Parts
    30 Pages
    Height: 30 cm
    Width: 23 cm
  • Language Information
  • Main language: English
  • Additional Information:
  • I. Reading Late
    II. Wintering
    III. Salt
    IV. Sleeping Along
    V. Intuition
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Composition Date: 2015
Duration: 00:05:45
Genre: Solo Voice, With Solo Instrument, , Keyboards

Instrumentation:

Instrumentation Set Number 1:
  • 1 x Piano
  • 1 x Soprano
Click here to download full work (7.16 Mb - Not printable)

Programme Note:
This piece imagines a scene in which a woman puts herself and her words between a mob and its victim. And she too is thus cornered by the crowd and, surrounded, she turns on them. There are many such scenes of bitter lament and condemnation in literature, and many such Jeremiads in plays and films: in court-rooms, at executions, in public squares. There's plenty of polemic in the world but in our own century the media often reports it to us; it's rarely so in-the-face. The music here is stark. Almost all the singer's phrases sink chromatically from a starting peak, and the piano's interjections are sharp staccato barks or a low, roiling counterpoint which now and again breaks out into strange chords. There's some sort of slow dance in this piece, some sort of tango of tension between the woman and her attackers.She calls the crowd on its hypocrisy, its herd-like thoughtlessness, its animal instincts, its stupid, hysterical cruelty. Her anger here is not a hot, hysterical rage or some sort of melodramatic chest-beating; instead, it's vicious, ruthless, ice-cold. Whatever has transpired, she's going to give as good as she got before they close in on her. And then, one imagines, brute strength will overcome whatever words echo in the air.

Premiere Information:
13 May 2016, American Opera Projects, Brooklyn, NY, U.S.A.
Jennifer Goode Cooper, soprano; Kelly Horsted, piano.

CATALOGUE INFO:

  • Call Number:
  • MV 1101 L782mer
  • Genre:
  • Solo Voice, With Solo Instrument, , Keyboards
  • Date of Acquisition:
  • October 6, 2016
  • Type:
  • Print-music, Published by CMC
  • Physical Description:
  • Score
    6 Pages
    Height: 30 cm
    Width: 23 cm
  • Language Information
  • Main language: English
  • Additional Information:
  • Text by Duncan McFarlane
    Commissioned by: American Opera Projects
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Mercy for soprano and piano by Cecilia Livingston (Score)
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Composition Date: 2015
Duration: 00:07:00
Genre: Solo Voice, With Solo Instrument, , Keyboards

Instrumentation:

Instrumentation Set Number 1:
  • 1 x Piano
  • 1 x Mezzo Soprano
Click here to download full work (7.25 Mb - Not printable)

Programme Note:
The famous sleepwalking scene in Shakespeare’s Macbeth is the context for this piece, and a similar night is imagined here in song. Macbeth's wife is a strange character: she's a dominant force in the play, but then vanishes from the action long before the end. There's such strength of personality there, such commanding ambition, and yet her death is unseen, almost unnoticed. How did her day-to-day life unfold? What of her children, in an age when that defined her role? We hear that she was physically small, slight, and yet her ruthlessness drives the action, the history around her. Did she love her husband? What mix of selfishness, fear, ego, and worry drove her to act as she did?This scene is generally remembered for Lady Macbeth’s compulsive hand-washing – “Out, damned spot!” and “all the perfumes of Arabia” – but how much more poignant the mention of her nightly letters to her absent husband: written, sealed, and apparently forgotten in her somnambulance, scribbled in the light she now demands at all times. A rich imaginative business – not least because, of course, it is her reading of Macbeth’s earlier letter which fuels her imagination and ambition, driving the mortal engine of the plot. After this famous scene, we never see or hear from her again.Like the most human characters, she's parodixical, ambiguous: a luminous, tender fragility in her, and yet always a thread of steel. The vocal line should be intensely legato, with the freedom and flexibility of plainchant. Rhythms are only a guide. The sound should be limpid, transclucent, hypnotic: somewhere between chant, lullaby (to whom? herself? her husband? some imagined child?) and lament. Each phrase should find chant's push-and-pull of time; let the voice bloom into the resonance of the piano's strange plucked notes – they are, of course, the twinkling candlelight, and the stars. The night is long, and cold, and in her fear she has ordered lights around her always. But in sleep, her eyes closed, she walks in the dark.

Premiere Information:
13 May 2016, American Opera Projects, Brooklyn, NY, U.S.A.
Blythe Gaissert, mezzo-soprano; Kelly Horsted, piano.

CATALOGUE INFO:

  • Call Number:
  • MV 1101 L782giv
  • Genre:
  • Solo Voice, With Solo Instrument, , Keyboards
  • Date of Acquisition:
  • October 6, 2016
  • Type:
  • Print-music, Published by CMC
  • Physical Description:
  • Score
    8 Pages
    Height: 30 cm
    Width: 23 cm
  • Language Information
  • Main language: English
  • Additional Information:
  • Text by Duncan McFarlane
    Commissioned by: American Opera Projects

    Additional People:
    Duncan McFarlane
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Give Me Your Hand for mezzo-soprano and piano by Cecilia Livingston (Score)
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Composition Date: 2016
Duration: 00:02:00
Genre: Solo Voice, With Solo Instrument, , Keyboards

Instrumentation:

Instrumentation Set Number 1:
  • 1 x Piano
  • 1 x Baritone
Click here to download full work (7.10 Mb - Not printable)

Programme Note:
This piece makes use of the apocryphal sayings of Yogi Berra: remarkable admixtures of tautology, paradox, paronym, malapropism, outright contradiction, and simple, glorious confusion. It is not "found text" in the strictest sense, since these quotations only appear together in already artificial collections, and have been reordered here, but the spirit of using the non-poetic words of another in a poetic form is very much at work. Much as with the Reverend Spooner, the provenance and exact formulation of Berra’s utterances are often uncertain.Berra was an 18-time All-Star and 10-time World Series Champion with the New York Yankees through a 19-year playing career in Major League Baseball, continuing as a manager and coach for both the Yankees and Mets for another two decades. In 1972, he was inducted into the Baseball Hall of Fame in Cooperstown, New York. In 1999, he was honoured with the opening of the Yogi Berra Museum and Learning Center at Montclair State University in New Jersey, but was not offered a lectureship in rhetoric. The Economist named him "The Wisest Fool of the Past 50 Years" in 2005.Berra died on 22 September 2015, 69 years to the day after his debut with the Yankees. The following day, in tribute, the Empire State Building was lit with Yankee pinstripes, the City of New York ordered all flags flown at half-mast, and moments of silence were observed by hundreds of thousands of spectators in cities from Los Angeles to Toronto, all across North America. On 24 November, he was posthumously awarded the Presidential Medal of Freedom – for his military service in World War II and his athletic accomplishments – by Barack Obama, who concluded his valediction by paraphrasing "one thing [that] we know for sure: if you can't imitate him, don't copy him." Peter Baker reported in The New York Times that "the audience laughed – eventually. ‘It took everybody a while,’" observed Obama with a smile. Steven Sondheim was a fellow recipient. (NYT 25/11/2015, New York Edition, A21)

CATALOGUE INFO:

  • Call Number:
  • MV 1101 L782ber
  • Genre:
  • Solo Voice, With Solo Instrument, , Keyboards
  • Date of Acquisition:
  • October 6, 2016
  • Type:
  • Print-music, Published by CMC
  • Physical Description:
  • Score
    4 Pages
    Height: 30 cm
    Width: 23 cm
  • Language Information
  • Main language: English
  • Additional Information:
  • Text by Duncan McFarlane
    Commissioned by: American Opera Projects


    Additional People:
    Duncan McFarlane
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The Berra Upanishad: The Wisdom of Yogi Berra for bartione and piano by Cecilia Livingston (Score)
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The Berra Upanishad: The Wisdom of Yogi Berra for bartione and piano: Score
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Composition Date: 2016
Duration: 00:04:00
Genre: Solo Voice, With Solo Instrument, , Keyboards

Instrumentation:

Instrumentation Set Number 1:
  • 1 x Piano
  • 1 x Tenor
Click here to download full work (7.05 Mb - Not printable)

Programme Note:
Here Whitman's short poem is set as though it were a part of a libretto, a speech-aria the tenor-character makes to those around him. The music is tense, still – like a held breath. The singer's melismatic lines can be very free; the pianist's gestures should be sudden bursts of colour, startling, like a bird taking flight from the still lagoon.

Premiere Information:
13 May 2016, American Opera Projects, Brooklyn, NY., U.S.A.
Blake Friedman, tenor; Mila Henry, piano.

CATALOGUE INFO:

  • Call Number:
  • MV 1101 L782dis
  • Genre:
  • Solo Voice, With Solo Instrument, , Keyboards
  • Date of Acquisition:
  • October 6, 2016
  • Type:
  • Print-music, Published by CMC
  • Physical Description:
  • Score
    4 Pages
    Height: 30 cm
    Width: 23 cm
  • Language Information
  • Main language: English
  • Additional Information:
  • Text by Walt Whitman
    Commissioned by: American Opera Projects

    Additional People:
    Walt Whitman
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The Dismantled Ship for tenor and piano: Score
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The Dismantled Ship for tenor and piano
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