Friday, May 4, 2018
Event Title: Salon Tokyo a Toronto I Art of the Piano: Satoko Inoue
  • Region: Ontario
  • Venue / Location: Gallery 345 345 Sorauren Avenue Toronto ON M6R 2G5
  • Time: 8:00pm
  • Price: $25/10
  • Genre: Keyboard
  • External Link: Official Website
Description:

Please reserve tickets at info@gallery345.com

Program
Takeo Hoshiya : Piano StudyVIII versionα (2011)
Yuka Shibuya : Clouds merging into the sea, Islands floating in the sky 2
Daryl Jamieson : new piece ~world premiere
Toshiya Watanabe : On A Winter Day (2018)
Jo Kondo
In Nomine (Berceuse a la Lesniewski) (2006)
Ritornello (2005)
Sight Rhythmics (1975)
Caccia Soave (2016)
Interlude (2017)

Thursday, May 3, 2018
Event Title: Salon Tokyo — II
  • Region: Québec
  • Venue / Location: Salle de récital — Conservatoire 4750, avenue Henri-Julien — Montréal, Québec
  • Time: 8:00pm
  • Price: $22/16
  • Genre: Mixed Chamber Ensembles (1-9 Performers)
  • External Link: Official website
Description:

During Salon Tokyo, Quatuor Bozzini will welcome performers Ko Ishikawa (shō) and Satoko Inoue (piano). Don’t miss this rare opportunity to attend a Montréal concert featuring contemporary music works written for both strings and shō, a traditional Asian wind instrument. A varied program of nine Canadian premieres of recent Japanese works, written for a variety of instrumental forces (quintets, quartets, duos and solos), in addition to mature pieces by major composer Jo Kondo (Japan).

Wednesday, May 2, 2018
Event Title: Salon Tokyo à Québec
  • Region: Québec
  • Venue / Location: Cathédrale de la Sainte-Trinité 31, rue des Jardins — Quebec City, Québec
  • Time: 8:00pm
  • Price: $free will donations
  • Genre: Mixed Chamber Ensembles (1-9 Performers)
  • External Link: Official Website
Description:

During Salon Tokyo, Quatuor Bozzini will welcome performers Ko Ishikawa (shō) and Satoko Inoue (piano). Don’t miss this rare opportunity to attend a Montréal concert featuring contemporary music works written for both strings and shō, a traditional Asian wind instrument. A varied program of nine Canadian premieres of recent Japanese works, written for a variety of instrumental forces (quintets, quartets, duos and solos), in addition to mature pieces by major composer Jo Kondo (Japan).

Monday, April 30, 2018
Event Title: Salon Tokyo — I
  • Region: Québec
  • Venue / Location: La Sala Rossa 4848, boulevard Saint-Laurent, 3e (près de l’angle Saint-Joseph) — Montréal, Québec
  • Time: 8:00pm
  • Price: $20/15
  • Genre: Mixed Chamber Ensembles (1-9 Performers)
  • External Link: Official website
Description:

During Salon Tokyo, Quatuor Bozzini will welcome performers Ko Ishikawa (shō) and Satoko Inoue (piano). Don’t miss this rare opportunity to attend a Montréal concert featuring contemporary music works written for both strings and shō, a traditional Asian wind instrument. A varied program of nine Canadian premieres of recent Japanese works, written for a variety of instrumental forces (quintets, quartets, duos and solos), in addition to mature pieces by major composer Jo Kondo (Japan).

Daryl Jamieson
Composition Date: 2013
Duration: 00:12:00
Genre: Solo Voice, With Chamber Ensemble, Woodwind(s), String(s) Bowed

Instrumentation:

Instrumentation Set Number 1:
  • 1 x Ethnic woodwind
  • 1 x Soprano
  • 1 x Violin
Click here to download full work (9.28 Mb - Not printable)

Programme Note:
Eiko Sadamatsu's 'dream story' is a poem filled with images of bitter coldness, emptiness, death, and nostalgia, but, for all that, remains a poem with beauty, life, and activity, not least in the speed of transitions between the images. In my setting of this poem, I attempt to capture the fragmentary nature of dream imagery with quick changes of texture and mood, and the cold emptiness with a focus on the high range of the shakuhachi and violin harmonics. The voice is often distant from the instruments, the dreamer moving through a disconnected world.

Premiere Information:
19 May 2013, Kujōkan (part of the Tokyo National Museum), Tokyo, Japan
Mika Kimula, voice; Christopher Yohmei Blasdel, shakuhachi; Shungo Mise, violin

CATALOGUE INFO:

  • Call Number:
  • MV 1213 J321dre
  • Genre:
  • Solo Voice, With Chamber Ensemble, Woodwind(s), String(s) Bowed
  • Date of Acquisition:
  • April 27, 2017
  • Type:
  • Print-music, Published by CMC
  • Physical Description:
  • Score
    18 Pages
    Height: 30 cm
    Width: 23 cm
  • Language Information
  • Main language: Japanese
  • Additional Information:
  • Text in Japanese, by Eiko Sadamastu (translation included with score, but score itself does not have romanized text).
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Click here to listen to dream story for voice, shakuhachi, and violin in Centrestreams.

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Daryl Jamieson
Composition Date: 2016
Duration: 00:53:00
Genre: Mixed Chamber Ensembles (1 to 9 Performers), Trios, Woodwind(s), Bowed String(s)

Instrumentation:

Instrumentation Set Number 1:
  • 2 x Ethnic woodwind
  • 1 x Viola
  • 1 x Violoncello
Programme Note:
fallings is cyclical. There are numerous cycles at work, some very short and easily recognisable as cycles, others repeat at longer intervals, and there is one 'cycle' which occurs only once. There are also overarching huge cycles which conceptually last for much longer than the piece, one of which is the ostensible theme of the work. That principal cycle is coming to its end, is in its period of decline. It is 'falling', dying out, sputtering. And, as a piece concerned with expressing this 'end of a cycle' period, even for the cycles which both rise and fall within the piece, there is an emphasis on the falling. Kenkō, in mappō-inflected Kamakura-era Japan, praised not the beauty of cherry blossoms on the tree, bursting out of their buds in a subtle revelation, but rather wrote of the beauty of the blossoms as they die, their short existence reminding us of the fragility of own lives. He wrote in a time of pessimism, but found beauty and comfort in the cycles of birth and death, even as he emphasised the ephemerality of all things. It is in the nature of the cyclical that after the fall, something new rises. Even though it focuses on falling, this is not a pessimistic piece. There is beauty in ruins, and hope in destruction: just look at the Colosseum in Rome, listen to the changing timbres of a plucked string as it disappears into silence, watch a cherry blossom as it falls.

Premiere Information:
19 October 2016, Ōmi Gakudō, Tokyo, Japan
Ko Ishikawa, shō and u; Mari Adachi, viola; Seiko Takemoto, cello

CATALOGUE INFO:

  • Call Number:
  • MI 8313 J321fal
  • Genre:
  • Mixed Chamber Ensembles (1 to 9 Performers), Trios, Woodwind(s), Bowed String(s)
  • Date of Acquisition:
  • April 26, 2017
  • Type:
  • Print-music, published
  • Physical Description:
  • Score
    22 Pages
    Height: 43 cm
    Width: 30 cm
  • Additional Information:
  • Commissioned by: atelier jaku
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Available For:

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  • Printed copies of this title are available from Da Vinci Publishing. Please contact the publisher directly.
    Published by Da Vinci Publishing



Daryl Jamieson
Composition Date: 2011
Duration: 00:03:20
Genre: Strings (bowed), Solo / Ensemble, Quartet (2 Violin / Viola / Cello)

Instrumentation:

Instrumentation Set Number 1:
  • 2 x Violin
  • 1 x Viola
  • 1 x Violoncello
Click here to download full work (7.48 Mb - Not printable)

Programme Note:
The inspiration for monkish fires is taken from the 17th century Japanese poetry anthology Wild Azaleas, specifically one of the longer narrative sections called ‘Sutras’. This story describing the love between a priest and a prince, focussing on the love poetry they exchanged throughout their short relationship. In a display of unedifying but very human jealousy and passion, the mysterious disappearance of the prince late in the story causes rival temples to make war on each other, resulting in the burning of several temples.This miniature work for string quartet presents, in quick succession and sometimes in counterpoint, several different musical portraits of fire: the passionate fires of love, the violent fires of war, the distant glow of flame that might signal destruction or warmth, the intimate light of a candle. On top of these poetic and pictorial ideas, the pitches of the piece are based on a serial matrix derived from the poems themselves, and the form is loosely based on the 5-7-5-7-7 structure of classical Japanese waka poetry.

Premiere Information:
21 April 2011, Chapelle historique du Bon-Pasteur, Montréal, Québec
Quatuor Bozzini

CATALOGUE INFO:

  • Call Number:
  • MI 3134 J321mon
  • Genre:
  • Strings (bowed), Solo / Ensemble, Quartet (2 Violin / Viola / Cello)
  • Date of Acquisition:
  • June 18, 2015
  • Type:
  • Print-music, Published by CMC
  • Physical Description:
  • 1 score (10 p.):
    10 Pages
    Height: 30 cm
    Width: 23 cm
    Parts page count: 8
  • Additional Information:
  • Commissioned by: Quatuor Bozzini
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monkish fires for string quartet by Daryl Jamieson (Score and Parts)
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Daryl Jamieson
Composition Date: 2014
Duration: 00:45:00
Genre: Staged Vocal Works, Operas, Complete Vocal Score

Instrumentation:

Instrumentation Set Number 1:
  • 1 x English horn
  • 1 x Piano
  • 1 x Soprano
  • 1 x Violoncello
Click here to download full work (11.57 Mb - Not printable)

Programme Note:
The celebration of the beauty of the ephemeral, while rare in western art, is perhaps the predominant characteristic of Japanese art. Matsumushi, the noh play on which my opera is based, is about the letting go (or not) of the beloved dead: the old man has suffered for decades, unable to forget his long-dead lover, while the ghost of the lover is locked in limbo, unable to proceed to either rebirth or the pure land. The intervention of the barkeeper gives peace to both, allowing the old man to accept the inevitably of death, and the ghost to be released. The pine crickets (matsumushi) of the title are the catalysts of the story, and, like most insects, their lives are short. For this, as well as their beautiful, ringing call, they are revered in Japan as harbingers of autumn almost as much as the cherry blossoms are of spring. I kept five of them in a terrarium so I could enjoy listening to them while I composed the opera. The high C# that my crickets consistently sang thus became a key note in the opera. I chose Matsumushi as the subject of my monoopera for a few reasons. One of which was the scope for a contemporary Zen-inspired interpretation of the material, wherein the diffuse temporal elements of past and future coalesce into the single instantaneous now. The way the barkeeper experiences time in the opera – past, present, and future simultaneously – comes from that idea. The five scenes are structured around the five Buddhist elements – the first four the same as the Ancient Grecian ones, but with a fifth – emptiness, or śūnyatā in Sanskrit – serving as the ground of the other four, the very opposite of Platonic ideal forms. The influence of the five elements are evident not only in the text of the scenes, but also affect the music, helping to give each scene an individual musical flavour. Emptiness, as mentioned above, has a positive connotation in Eastern thought but is wholly negative in the West; it is literally negative in that it is conceived of only as an absence or lack. I wanted to write a work in English which explored this positive, beautiful side of negation. But there is another concept, that of the wilderness, which I also wanted to highlight. This cultural difference goes the opposite way, in that wildness is not perceived nearly as positively in Japan as it is in Europe. The wild, as a concept, and as a destination, is a relatively recent idea, but it has taken hold of the European imagination, which cannot now conceive of mountains or moorlands as anything but beautiful and majestic natural embodiments of sublimity. At the heart of Matsumushi is the story of a teenager who dies on a moor, killed, in a way, by his attraction to nature. In explaining my concept in Japanese, I have run into the difficulty that the word 'moor' – suggestive of leisurely rambling through sun-drenched wilderness and rural pubs set in colourful scrubland – cannot be translated in a way that doesn't suggest something negative or frightening, along the lines of 'wasteland'. So in emphasising the beauty of the land, and the beauty of negation, while accepting the fear that stems from our inability to control either, I wanted to challenge both European and Japanese audiences to examine their respective cultural prejudices. Another cultural prejudice – this time resulting from the interaction of Christian culture and 19th century Japan – resulted in the relative obscurity of the noh play Matsumushi. As one of about ten noh plays based around a same-sex love story, though it has not been erased from modern (post-1868) performance, it has been relegated to an obscure part of the repertory. Homosexual behaviour was arguably more socially acceptable in pre-modern Japan than it is today. I think it is important to be aware of the deep history of non-heterosexual romantic narratives in cultures around the world. Based on my understanding of Buddhist-derived philosophy, but in English and for western classical instruments, my aim in writing and producing my version of Matsumushi is to advance an intercultural musical, dramatic, socio-political, and spiritual dialogue – but above all to create an intriguing and engaging evening of musical theatre.

Premiere Information:
20 November 2014, Istituto Italiano di Cultura, Tokyo, Japan.
Presented by Atelier Jaku. Masumi Yoshikawa, soprano; Yu Koresawa, cor anglais and oboe; Seiko Takemoto, violoncello; Kaori Ohsuga, piano

CATALOGUE INFO:

  • Call Number:
  • MV 7110 J321mat
  • Genre:
  • Staged Vocal Works, Operas, Complete Vocal Score
  • Date of Acquisition:
  • June 17, 2015
  • Type:
  • Print-music, Published by CMC
  • Physical Description:
  • 1 score (63 p.);
    63 Pages
    Height: 30 cm
    Width: 23 cm
    Parts page count: 34
  • Language Information
  • Main language: English
  • Additional Information:
  • Five scenes:
    Scene I. World/Square – through the holloway
    Scene II. Water/Sphere – on the moor
    Scene III. Fire/Triangle – the lovers' tale
    Scene IV. Wind/Crescent – the ghost appears
    Scene V. Śūnyatā/Lotus – the blessing
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Daryl Jamieson
Composition Date: 2015
Duration: 00:09:00
Genre: Strings (plectral), Ensemble, Mixed Ensembles, Duet

Instrumentation:

Instrumentation Set Number 1:
  • 1 x Guitar
  • 1 x Ethnic plucked strings
Programme Note:
shakkei is a term from Japanese gardening. It means ‘borrowed scenery’, and it describes the way that master gardeners use naturally occurring features – rivers, mountains, etc – to enhance their garden. By designing their garden to work in harmony with the surrounding environment, both the garden and the environment are enhanced. In this piece I treated the two instruments – koto and guitar, both 20th century versions of instruments millennia old – in a relationship akin to the garden and the mountain: their musical lines are independent to a certain extent, but they also complement each other and bring out a certain beauty that would not exist in each of the parts played on their own. The shakkei metaphor will also work another way: that of the immovable mountains of very different and very temporally distant traditions being used as a conceptual background to enhance the music I write today.

Premiere Information:
1 March 2015, Ausland, Berlin, Germany.
Dylan Lardelli, guitar; Miyama McQueen-Tokita, koto.

CATALOGUE INFO:

  • Call Number:
  • MI 4242 J321sha
  • Genre:
  • Strings (plectral), Ensemble, Mixed Ensembles, Duet
  • Date of Acquisition:
  • June 8, 2015
  • Type:
  • Print-music, published
  • Physical Description:
  • 1 score (9 p.); 23 x 30 cm
    9 Pages
    Height: 30 cm
    Width: 23 cm
  • Additional Information:
  • Commissioned by: Dylan Lardelli and Miyama McQueen-Tokita.
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Available For:

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  • Printed copies of this title are available from Da Vinci Publishing. Please contact the publisher directly.
    Published by Da Vinci Publishing



March 14 2013 Centrepulse: CMC BC Welcomes Robin MacLulich

March 26, 2013
British Columbia

Dear Friends,

The CMC BC Region is pleased to welcome Robin MacLulich to our team. Robin is taking over the position of Administrator while Cathleen Gingrich is on maternity leave. If you have a chance, please drop by and say hello!

Please let us know about your concerts and events featuring Canadian music for a future edition of Centrepulse. Please send all details, as well as a brief description, to bcregion@musiccentre.ca.

March 14 2013 Centrepulse:
https://www.musiccentre.ca/sites/www.musiccentre.ca/files/Centrepulse_Ma...

This newsletter includes: