CELEBRATING CANADIAN COMPOSERS Janet Danielson …

C E L E B R A T I N G C A N A D I A N C O M P O S E R S

Janet Danielson Celebration F O R W O M E N ’ S H I S T O R Y M O N T H

Monday • October 15, 2018 • 7∶00pm

Janet Danielson at CalArts, 1974

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‘ Program Editor • Stefan Hintersteininger

Program Designer • Tom Hudock Paper generously provided by C-PAC

The Murray Adaskin Piano is maintained by Scott Harker of Harker Piano Services

Letter from the BC Director We have embarked together on an epic voyage of discovery over the past three years — an exploration of worlds both familiar and strange, some both. Our magical little Murray Adaskin Salon has transported us back to a time of ancient legend explored vividly through Heather Pawsey’s brilliant one-woman show, perfectly expressed through Jeffrey Ryan’s Unheard, right up into the frozen, snow-drenched mountaintops of the Andes, through Lloyd Burritt’s powerful opera Miracle Flight 571.

We have sailed with the salmon down BC’s mighty rivers in Murray Adaskin’s A Wedding Toast, and flown through the soaring Pines of Emily Carr so beautifully illustrated through the lyrics of Dorothy Davies — “from root to sky, no twist, no deviation”— and evoked so magisterially by Jean Coulthard’s elegiac music.

We have assayed the avant-garde through Barbara Pentland’s intense serialism and Rudolf Komorous’ penchant for the unlikely; frolicked with frisky, lascivious vegetables in the unruly gardens of Leslie Uyeda; and walked through time, history and place, listening through the mystical ears and mind of Hildegard Westerkamp. We have even explored the quantum through Barry Truax’s evocative and brilliantly original granular synthesis. And through our Jean Coulthard String Quartet Readings, we have limned 2,200 years of western musical traditions, exploring the roots of polyphony and harmony itself.

All of this is encapsulated in Janet Danielson’s personal musical journey spanning post-war modernist serialism, the origins of harmony, explorations of the music and traditions of other cultures, and more. All of which makes this Celebration of her music so perfect to hear at this stage of our journey as it marks an inflection point, an opportunity to reflect on the music we’ve heard and the extraordinarily diverse worlds we’ve visited along the way.

Janet enthusiastically agreed to dedicate this concert to Women’s History Month in Canada. We are at an exciting time in history and in our own cultural evolution to realize the more enlightened society envisaged by those brave women who fought over the past century for a more equal, just, and better world. Looking ahead to the future, the concert also includes Cedar, a new work by Featured Emerging Composer Maren Lisac, inspired by another iconic tree so emblematic of the Canadian West Coast. This is a journey, too, that we are all embarked on together, and it may be the most exciting and rewarding yet!

Sean Bickerton, BC Director Canadian Music Centre / Centre de musique canadienne

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Janet Danielson: My Philosophy In Music

My career had its beginnings in the rarified atmosphere of post-WWII modernism in which a composer’s mandate was to create music that was authentic manifestation of contemporary culture. I managed two compositions in a post-serial style before being confronted by my teacher Cornelius Cardew’s fairly compelling Marxist-Leninist critique of the European avant-garde. A more cogent neo-Calvinist critique sensitized me to the hollowness of the absolutist claims of historicism, whether Marxist and modernist. I became agnostic as regards ‘contemporary culture’: not my monkey, not my circus. Convinced that music had a reality and value that transcended cultural and stylistic categories, I focused my research efforts on the phenomenon of harmony: why was “Western” music so distinctive in its directionality, use of harmonic organization, and capacity for mobilizing large forces? Drawing on the work of James Tenney, Bruno Latour, and Giorgio Agamben, I concluded that harmony was a technique exploiting an organizing principle of physical reality, rather than merely a culturally-bound style. I also recognized that the harmonic practice of the western “classical music” tradition was not compatible with some of the rich and complex practices from elsewhere in the world. I therefore wrote a number of pieces combining Western and Chinese instruments so I could incorporate the purer tunings and more highly refined systems of ornamentation of Chinese music into my music; while in other pieces, including my opera, experimented with the profound effects of semitone shifts within the tetrachord.

I am profoundly grateful to the many individuals who have sustained my career as a composer over the years. I am deeply grateful to those who have commissioned me: June Goldsmith, the late Ann Southam, Scott and Susan Eddlemon, Sherrill Grace, the Orchid Ensemble, and Elizabeth Carmack. Their support, artistic vision, and guidance has been of inestimable value to me. I was also privileged to be associated with Contemporary Arts at Simon Fraser University for more than twenty years and owe much to the kindness of my colleagues David MacIntyre, Martin Gotfrit, and Owen Underhill. I am grateful for the ongoing support of Sean Bickerton, Stefan Hintersteininger, and Dave McLaughlin of the Canadian Music Centre in BC, and particularly for the care and effort they have put into this concert. My biggest debt of gratitude, however, is to my parents, my children, and particularly to my husband Dennis. They have shown patient understanding of the solitude and intense focus required by the creative process.

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Program

Still Waters AK Coope, clarinet; Daniel Tones, marimba; Molly MacKinnon, violin;

Christine Lin, violin; Luke Kim, cello

Mary Songs I. To John, at the Cross

II. To the Gardener III. Soliloquy

Robyn Driedger-Klassen, soprano; Marguerite Witvoet, piano

Two Movements for String Quartet I. Let Us Wake from This Dream

II. Keening Molly MacKinnon, violin; Christine Lin, violin; Tawnya Popoff, viola; Luke Kim, cello

Ow I N T E R M I S S I O N Wo

FEATURED EMERGING COMPOSER

Cedar (2018) Composed by Maren Lisac

AK Coope, clarinet; Daniel Tones, percussion

Borromean Rings I. Looping

II. Torsion (Devil’s Staircase) III. Unbinding

AK Coope, clarinet; Daniel Tones, marimba; Marguerite Witvoet, piano

from The Marvelous History of Mariken of Nimmegen I. End of Act II: Ode to Rhetoric

II. Beginning of Act III: What Happened Robyn Driedger-Klassen, soprano; Molly MacKinnon, violin; Christine Lin, violin; Tawnya Popoff, viola; Luke Kim, cello

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Still Waters Still Waters is an elaboration of the 1562 Genevan Psalter setting of Psalm 23. Genevan Psalter melodies were somewhat notorious in their day, their unique rhythm scheme precisely reflecting the emphases of late Medieval French. Long notes were used for accented syllables and short notes for unaccented syllables, resulting in lively syncopations, repeating patterns, and directional phrases marked by cadences — an earthy contrast to the ethereal flowing lines of Gregorian chant.

Nonetheless, Genevan tunes have a remarkable coherence which Still Waters explores by means of phase-shifting, prolations, and ‘fractal’ ornamentation, using condensed fragments of the original melody. The middle section of the piece is a spare, extended cantilena formed from the arching contours of the first and last notes of each phrase of the original tune, and played by the clarinet in high register surrounded by an unpredictable aura of bowed vibraphone tones. A contrapuntal closing section gradually winds its way down to a recapitulation of the original material.

Still Waters was composed in 1980 and first performed at Pioneer Music Camp, Quadra Island, BC by violinists Susan Eddlemon and Adele Pierre, cellist Lawrence Skaggs, clarinetist Stephen Pierre, and percussionist Scott Eddlemon.

Mary Songs Mary Songs (1995) are based on the Trier Easter Play, dating from the early fifteenth century. Medieval vernacular dramas arose out of the emphasis in Franciscan spirituality on remorse inspired by compassion. And who cannot feel compassion at the grief of a mother over the unjust death of her innocent child? The fierce confrontation of maternity and mortality is invoked in Julia Kristeva’s proposal of her-ethics which “makes life’s bonds bearable … ‘Herethics’ is a-mort, amour. Eia mater, fons amoris. Let us listen again, therefore, to the Stabat Mater, and to music, all music. It swallows goddesses and strips them of necessity.”

I. To John, at the Cross

Ah, woe! my Maker is dead, and I in utter need. Great grows my lamentation, crushing my heart with desolation.

II. To the Gardener

Good sir, if you have carried him out of here, I beg you tell me where you have laid his body and I will take him away.

III. Soliloquy

I have truly seen the living Lord, my Lord. He did not permit me to touch his feet; my living Lord, I dared not touch his feet. The disciples’ faith will be restored. Christ will depart again, his Father to meet.

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Let Us Wake from This Dream Let Us Wake from This Dream was commissioned by Dr. Sherrill Grace for the 2010 Royal Societies of Canada Conference, Cultures of War and Peace. It was inspired by a poem, Nijmegen, Holland – February 1945 written by my uncle shortly before his death from a wound just near the end of World War II. Nijmegen, Holland – February 1945 opens with a narration in my uncle’s voice in four six-line stanzas. He is having “peaceful thoughts”: an enemy attack catches him in a daydream world in which the war has ended. His immediate response to the attack is denial - the artillery blasts are just a thunderstorm. But when the groaning of the wounded brings him to full consciousness, his self-deception turns into anger and “wicked thoughts.” A shell narrowly misses him, only to hit “Joe,” a soldier who will leave a widow and baby behind. The narrative part of the poem closes, not with acceptance, but with dark speculation that the triumphant news of “only one” casualty may not translate into justice for Joe’s wife and baby once the war is over.

The second part of the poem is in shorter four-line stanzas, underscoring a sense of urgency. In these stanzas my uncle outlines his internal turmoil in aftermath of the incident. In the simplest possible language, he credits the “deep gentle memories of love, peace and home” with preserving his sanity: “That’s all that saves you from going clear nuts. It’s worth more than training, or whisky, or guts.” The poem closes with the hope that the horrendous realities of the front may be a “nightmare in passing — let us wake from this dream.”

Keening Keening was written for a lecture I was invited to give at Regent College on the theme of composers’ responses to the great tragedies of the past century. I chose works such as Schoenberg’s A Survivor from Warsaw, Penderecki’s Threnody for the Victims of Hiroshima, Reich’s Different Trains, and Adams’ On the Transmigration of Souls, but thought I would add a brief work of my own. Keening is the Irish word for women’s wailing, so for this quartet I imagined a grieving woman being consoled by her friends, combining the technique of semitone adjustments within the tetrachord with the structure of call-and-response.

Cedar (2018)

By Featured Emerging Composer: Maren Lisac

Thuja Plicata (known as the Western red cedar, Pacific red cedar, or giant cedar) is the iconic tree of the West Coast temperate rainforests. Besides playing an essential role in its ecosystem, it is a “cultural keystone species” in West Coast indigenous cultures, and was traditionally used as material for a wide array of items.

Western red cedars are adapted to a moist climate with rocky soil, and thus have a shallow root system, making them especially susceptible to drought. Unable to tolerate the increasingly hot and dry summers in coastal British Columbia, they are gradually dying out.

Borromean Rings Borromean rings are linked so if one of them is severed, all three become separated. Borromean Rings is in three movements, Looping, Torsion, and Unbinding, sonically modelling the much-

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neglected temporal dimension of knot theory. Borromean rings have a long and diverse history of representing sublime metaphysical concepts, from as the interconnectedness of heaven, earth and the underworld in Japanese Shintoism, to the Holy Trinity.

On another level entirely, the three movements piece allude to the experience of time before, during and after a long run: the slow, stretching period just before a long race in which in which time seems suspended, the arduous process of going through the run itself involving a constant shifting of mental states, and at last the exuberance of completion including, of course, the untying of shoes. Borromean Rings is also a tribute to two dear friends who were my running partners for many years. Borromean Rings was in 2003 written for Winnipeg’s GroundSwell New Music series.

The Marvelous History of Mariken of Nimmegen The Marvelous History of Mariken of Nimmegen, between 1500 and 1515 by an unknown playwright, was brought to my attention by my friend Richard TerMaat. It seemed an ideal source for a libretto. It weaves together issues of women and knowledge, personal authenticity, the transmission and abuse of knowledge. In Mariken we see the performing arts newly recognized as critical in the struggle for the soul and the enhancement of civil life: through artistic performance the familiar virtues and vices take on a vivid and compelling realism. And finally, Mariken’s heroine defies stereotypes. She is a modest orphan endowed with Faust-like supernatural intellectual powers; an obedient housekeeper who successfully takes the struggle for her soul into her own hands; and a lover of the arts who chooses a life of severe penance over one of wealth and pleasure but also, she eventually realizes, a life which results in murder and mayhem wherever she and her fiendish consort go.

The opera was commissioned by June Goldsmith for Music in the Morning, and was presented in a semi-staged form over three years 2003-2003 as each act was written. Leslie Uyeda kindly and brilliantly took on the job of directing it. The translation from middle Dutch into the current libretto is my own.

Mariken becomes the devil’s consort and is endowed with supernatural knowledge, which she displays to some churl in a pub:

End of Act II: Ode to Rhetoric

Don’t make me say that one! In Rhetoric, I rank right down amongst the slackest scholars. Although I dearly wish to hone my rhetorical skill, And thereby to increase my abilities in all the seven liberal arts, Rhetoric is an art not to be mastered by sheer effort. It is an art that by itself alone must come. All the other arts can be mastered through careful observation, good teaching And diligent application. But Rhetoric is an art esteemed above all others, A gift of the Holy Ghost. And it is of great concern to all of us who love Rhetoric That ignorant fools demean it!

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Oh Rhetoric! Art ever-lovely, discourse most authentic! Deep grief for those who nurtured you pervades my panegyric. For many now deride and chide practitioners of the lyric. What offence to cultured senses, lovers of oration, For whom disdain brings bitter pain: friends, never be mistaken! Art through benighted ignorance is readily forsaken.

“Good art brings fame and fortune” — states the common dictum, But I maintain this old refrain is but a pretty fiction: See how, when artists genuine present their finest diction, Out come blaring base imposters stealing public adulation! The worthy ones are brought to penury by crass ingratiation. Art through prevailing ignorance is thus again forsaken.

I denounce those dull and blighted sensibilities For whom Art is mere pretense, a prop for their prestige. Let Art be treasured rightly: its transforming properties Turn pleasant lands to realms of rare delight. So bring libation To all Art’s loyal guardians, who hail her Queen unshaken, Who check the spread of ignorance that leaves great Art forsaken. In noble fashion now towards the Arts I gladly turn, Devoting all my strength of mind, true discipline I’ll learn, For no one to the Arts is born. Yet poets all the more, When Art such paltry honour gains, must ignorance deplore.

Beginning of Act III: Mariken is hurled from a steeple and miraculously recovers:

What happened? What happened? Oh, where have I been? Where am I now?

Oh God, can I yet stay in your grace? May I come to you for mercy? Oh, yes! Because had you not sheltered me in your Almighty custody,

I’d now be in eternal, dread pain; body and soul, and outcast forever.

Oh good uncle, can it be you? Oh, I would have thought I was damned.

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AK Coope Clarinet Clarinettist AK Coope performs with an eclectic array of ensembles, including the Vancouver

Symphony Orchestra, Turning Point, and Vancouver New Music, among many others. She is a

member of Victoria’s Aventa Ensemble with whom she has toured across Canada and in the U.S., and

for over 10 years has been a member of Standing Wave, one of Canada’s premier contemporary

chamber ensembles. AK can also be heard on countless CD recordings and film sound tracks, from

Disney to Dan Mangan. AK began her musical career as a Suzuki violinist and also played piano and

double bass before starting the clarinet. She holds a BMus from UBC and an Mmus from

Northwestern University, Chicago, where she studied with late greats, Robert Marcellus and Clark

Brody. As a composer, she has written songs, collaborated with members of Vancouver’s Dance and

Theatre communities, and, in 2006, had her first musical produced.

Janet Danielson Composer Janet Danielson is a composer and music theorist who has taught at Simon Fraser University’s

School for the Contemporary Arts and at Regent College in Vancouver. She holds degrees in music

composition from the University of Victoria and California Institute of the Arts, and pursued

additional studies with Cornelius Cardew in London. Former chair and present treasurer of the

Association of Canadian Women Composers, Danielson has also served on the executive council of

the Canadian League of Composers and was Composer-in-Residence of Vancouver’s 2010 Sonic Boom

Festival. Her commissions include an opera, The Marvelous History of Mariken of Nimmegen; In the

Very Highest Place for choir and the Orchid Ensemble, which has toured multiple times throughout

the US; several chamber works for the Cambridge Music Conference; and Six Pieces of a Reverberant

Cosmos, a 40-minute work for piano trio plus two percussionists commissioned by the Oak Ridge

Civic Music Association in Tennessee, and performed in Tennessee, New York, and Vancouver.

Danielson has lectured at numerous conferences from Slovenia to the Philippines. Her publications

include a music fundamentals textbook, Basic Organization of Music, and a number of articles on

women in music. Drawing on the perspectives of Herman Dooyeweerd, Bruno Latour, and Giorgio

Agamben, she has also published articles on music, philosophy, and the history of technology.

Luke Kim Cello Originally from South Korea, Luke Wook-Young Kim completed his undergraduate studies at UBC,

where he received the Catherine-Cooke Topping Memorial Medal for musical excellence. Then, he

finished his Master of Music degree as a full scholarship student at UCLA. His teachers include

Antonio Lysy, Joseph Elworthy, Eric Wilson, John Friesen, and Kenneth Friedman. Luke participated

in masterclasses with renowned cellists such as Lynn Harrell, Janos Starker, Aldo Parisot, Raphael

Wallfisch, Paul Katz, and Desmond Hoebig. In the past summers, he attended the Incontri in Terra di

Siena Festival, the Aspen Music Festival, and the Early Music Vancouver Programme in which he

studied baroque cello under Jaap ter Linden and Tulio Rondon. Luke has won various competitions

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and performed as a soloist with the Seoul Symphony Orchestra, the Vancouver Youth Symphony

Orchestra, the Vancouver Symphony Orchestra, the UBC Symphony Orchestra, and the UCLA

Philharmonia. He also performed as a guest soloist for the Polish Czestochowa Philharmonic

Orchestra, the West Coast Symphony, the Vancouver Metropolitan Orchestra, the Busan

Metropolitan Pops Orchestra, and the Busan Neo Philharmonic (Korea). Luke appeared as a soloist

with the West Coast Symphony during the 2015/16 season. In March 2015, he was featured as a

soloist for Friedrich Gulda’s Cello Concerto, an eclectic work, with the UCLA Wind Ensemble. In

addition, Luke has performed chamber music for the Vancouver Winter Chamber Music Festival and

the Bridge Musicians International.

Christine Lin Violin Christine Lin started piano at the age of four and violin at the age of five. She achieved both her

ARCT in Piano and Violin for the Royal Conservatory of Music and had received the RCMT Alumni

Associations Scholarship for Violin in earning the highest marks of the year for ARCT Violin.

Christine completed her Bachelor’s of Music and Master’s degree in Violin Performance at the

University of British Columbia where she performed in Master Classes for Charles Castleman, Scott

St. John, Ian Swensen, and Vadim Gluzman. She currently teaches violin, piano, and theory.

Christine has experience playing in ensembles, bands, and orchestras such as Vancouver

Metropolitan Orchestra, Vancouver Island Symphony Orchestra, Kamloops Symphony Orchestra,

and Willingdon Church Orchestra.

Maren Lisac Composer Maren Lisac grew up in Edmonton, lived in Vancouver for ten years, and currently lives in Montreal.

She is a composer, music teacher, and multi-instrumentalist playing both popular genres and

experimental music. She holds a BFA in music from Simon Fraser University.

Molly MacKinnon Violin Molly MacKinnon is a professional freelance violinist based out of Vancouver, BC. Fortunate to grow

up in the thriving arts community of Nelson, BC, Molly studied with former Vancouver Opera

Orchestra and CBC Radio Orchestra violinist Wendy Herbison before moving to the coast in 2008 for

the Bachelor of Music Performance program at the University of British Columbia. Since completing

her degree in 2012, Molly has developed a strong passion for theatre and has been featured as a

violinist in a number of productions including The Idiot (Neworld Theatre/VMT), Jessie Award

nominated musical STATIONARY: A Recession-Era Musical (Delinquent Theatre), The Tempest

(Bard on the Beach), The Night’s Mare (Caravan Farm Theatre), Elbow Room Cafe: The Musical (Zee

Zee Theatre), and Les Filles Du Roi (Urban Ink). Along with playwright Christine Quintana, she

created and performed in Never The Last, a theatre piece based around the life and work of 20th

century Canadian composer Sophie-Carmen Eckhardt-Gramatté. Molly is an Artistic Associate of

The Little Chamber Music Series That Could, an innovative music series that highlights new works

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by Vancouver artists with a focus on multi-arts pollination, community engagement, and local

history. Molly’s extensive orchestral experience includes playing with the Vancouver Symphony

Orchestra, the Vancouver Island Symphony, the Plastic Acid Orchestra, the Vancouver Film

Orchestra, and most recently, Allegra Chamber Orchestra, an all female ensemble dedicated to

celebrating women composers and performers.

Tawnya Popoff Viola Canadian violist Tawnya Popoff enjoys an exciting and versatile international career. In addition to

being principal violist with the Vancouver Opera since 2007, she is continuously sought after for

diverse chamber music collaborations and recitals. She is a founding member of both Microcosmos {a

string quartet}, and the Driftwood Duo (viola/cello), a member of the River Oaks Chamber Orchestra

(TX), the Walden School Players (NH) and has ongoing collaborations with Cedar Lake

Contemporary Ballet and Cherylyn Lavagnino Dance and VisionIntoArt in New York City. As an

enthusiastic supporter of works by living composers, Ms. Popoff has commissioned and premiered

dozens of pieces and has recorded for the Koch, Albany, Nonsuch, CRI, SHSK’H (web label), Columbia

Composers and other independent labels both as a member of the Cassatt Quartet and individually.

She was a prizewinner in the 2000 Lionel Tertis International Viola Competition, has received two

consecutive Canada Council individual artist grants and has served on the faculties of the Perlman

Music Program, University of Pennsylvania, Syracuse University, SUNY Buffalo, the Bowdoin

International Music Festival and Artes no Camiño (Spain). Tawnya Popoff studied with Gerald

Stanick (Fine Arts Quartet) in Vancouver, BC and Martha Katz (Cleveland Quartet) at Rice

University.

Daniel Tones Percussion Daniel Tones is an award-winning percussionist equally committed to fostering creative development

in aspiring musicians. He has given concerts across Canada, the United States, Asia, and the United

Kingdom, performed with internationally recognized percussionists Bob Becker, Aiyun Huang,

Morris Palter, and Steve Schick, and been broadcast nationally on radio and television. Daniel

studied with Salvador Ferreras, Russell Hartenberger, and John Rudolph, and was the first person to

receive a doctorate in percussion performance from a Canadian university. Daniel is widely

recognized for his work as a contemporary percussionist in the fields of solo and chamber-ensemble

performance. Recent highlights include solo tours in Canada, the United Kingdom, and the United

States; performances at Birmingham’s BEAST FEaST, the Vancouver New Music Festival, the Ojai

Festival, and the Banff Summer Arts Festival; recitals in major international venues such as the

Barbican’s Milton Court Concert Hall in London, England; and guest appearances with the TorQ

percussion quartet. Daniel teaches at Kwantlen Polytechnic University and leads Vancouver’s

Contemporary Percussion Intensive. He is a Yamaha artist-educator and Sabian endorser, and

provides workshops regularly to students across Canada and abroad. In recent years he was the

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Percussion Coach for the Canadian Wind Orchestra, the National Youth Band of Canada, and the

Prairie Music Residency.

Marguerite Witvoet Piano With a rich musical palette and an adventurous spirit, Marguerite Witvoet lays claim to a diverse

range of musical territories. As a pianist, vocalist, composer, sound designer, music director/conductor

and vocal coach, Marguerite has gained a reputation across Canada as a versatile and creative

musician. An active player in the development of new opera and musical theatre, Marguerite has

conducted the world premieres of several new Canadian operas and assisted in the development of

numerous others, with companies such as Autumn Leaf Performance, The Banff Centre, Modern

Baroque Opera Company, Pro Musica, Restless Productions, Tapestry New Music Theatre, The

Vancouver Playhouse and Vancouver New Music. No stranger to theatre, she has also worked with

the Arts Club, Belfry Theatre, Canadian Stage, Chemainus Theatre, Shaw Festival and Toronto

Operetta Theatre. Ms. Witvoet regularly performs as a solo and chamber artist, and has made

numerous recordings with CBC, frequently interpreting works by established contemporary

composers such as John Cage and Georges Aperghis, commissioning new works by Canadian and

international composers and performing works of her own composition.

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BC Associate Composers

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Murray Adaskin* Kathleen Allan Peter Allen Mark Armanini Edward Arteaga John L. Baker Michael Conway

Baker Sergio Barroso Martin Bartlett* Hal Beckett Thomas Beckman Marcel Bergmann Peter Berring Diane Berry Wallace Berry* Adil Bestybaev Keon Birney Dániel Péter Biró Dean Blair Daniel Brandes Frank Brickle Taylor Brook Stephen Brown Robert Buckley Liova Bueno Lloyd Burritt Michael Bushnell Jennifer Butler Christopher

Butterfield Patrick Carpenter John Celona Dorothy Chang Stephen Chatman Justin Christensen Timothy Corlis Jean Coulthard* Paul Crawford Andrew Czink Janet Danielson Bruce Davis Moshe Denburg Paul M. Douglas* David Gordon Duke Wolf Edwards Arne Eigenfeldt Jean Ethridge Itamar Erez Nicholas Fairbank

Dennis Farrell Douglas Finch Hugh Fraser Nathan Friedman Craig Galbraith William George Stephen R. Gibson Yvonne Gillespie Katerina Gimon Marcus Goddard Theo Goldberg* Martin Gotfrit Iman Habibi Jaap Hamburger Keith Hamel Mark Hand Ronald Hannah Peter Hannan Joan Hansen Hubert Klyne

Headley* Edward Henderson Adam Hill Stefan

Hintersteininger François Houle Peter Huse John-Paul Christopher

Jackson Alex Jang Daniel Janke Euphrosyne Keefer* Elizabeth Knudson Rudolf Komorous John Korsrud Christopher Kovarik Rupert Lang Catherine Laub Grace Jong Eun Lee Jacqueline Leggatt Frank Levin Christopher Ludwig Ramona Luengen Leila Lustig Colin MacDonald Don Macdonald David K. MacIntyre Réjean Marois Miklos Massey James Maxwell

Ian McDougall Robert George

McKenzie Lisa Cay Miller Jared Miller John Mills-Cockell Diane Morgan

Morley* Glen Morley* Jocelyn Morlock Bernard Naylor* Larry Nickel Christopher Tyler

Nickel Jordan Nobles John Oliver Dubravko Pajalic Michael Park Tina Pearson Alexander Pechenyuk Lynne Penhale Barbara Pentland* Anita Perry Katya Pine Arthur Polson* Robert Pritchard Randy Raine-Reusch Imant Raminsh Jan Randall Christopher Reiche Dale Reubart* Sylvia Rickard Dave Riedstra Jeffrey Ryan Farshid Samandari Alfredo Santa Ana Daniel Scheidt Frederick Schipizky Douglas Schmidt Ernst Schneider Duncan Schouten Sabrina Schroeder Rodney Sharman Evgeny Shcherbakov Jon Siddall Chris Sivak Bruce Sled Anita Sleeman* Douglas Gwynn Smith Judy Specht

Paul Steenhuisen Tobin Stokes Brent Straughan Fred Stride Deborah Sumner Glenn Sutherland Brian Tate Scott Andrew Taylor Keith Tedman Michael Tenzer Steve Tittle Edward Top Brian Topp Catherine Toren Bramwell Tovey Jill Townsend Michael Trew Barry Truax Rita Ueda Owen Underhill Catalin Ursu Leslie Uyeda Sean Varah Jon Washburn Eugene Weigel* Neil Weisensel Elliot Weisgarber* Hildegard

Westerkamp Garth Williams Charles M. Wilson Wes R. D. Wraggett Ryszard Wrzaskala Xiao-ou Hu Jin Zhang Rui Shi Zhuo

* Deceased

Thank You!

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COMPOSERS CIRCLE Michael Conway Baker Jane Coop & George

Laverock Constance Headley

PERFORMERS CIRCLE David Gordon Duke Keith Hamel Geoffrey Newman Jane Poulsson Ernst Schneider Bramwell Tovey Susan Wong Lim

BENEFACTORS Lloyd Burritt Estate of Jean

Coulthard William & Lorna Orr Heather Pawsey Robert Pritchard Sylvia Rickard Karen Smithson Kathleen Speakman Owen Underhill Eric Wilson Bruce Wright

PATRONS Jeremy Berkman Sean Bickerton

& Tom Hudock Bulkley Valley

Classical Strings Society

John Burge Janet Danielson Jean Ethridge Jane Gardiner Ian Hampton Keith & Elizabeth

Hamel Doug Jamieson

David Owen Michael Bushnell Tania Miller Jocelyn Pritchard Jesse Read Frederick Schipizky Laurie Townsend Ron & Wendy Stuart Glenn Sutherland Gwen & Oliver

Thompson-Robineau Barry Truax

Owen Underhill Jon Washburn Graeme Wilkinson Karen Wilson

MEMBERS BCRMTA North Shore

Branch BCRMTA Vernon

Branch Rudy Bootsma Patrick Carpenter Kathryn Cernauskas Heath Chamberlain Stephen Chatman Roger Cole Paul Crawford Terence Dawson Janet & Derwin Lea Erato Ensemble Jean Ethridge Kara Gibbs Jonathan Girard Arlene Gladstone Edward Henderson Jean Hodgins Stan Holman Doug Jamieson Robert Knudson Sasha Koerbler

Catherine Fern Lewis Keith & Jennifer

Macleod Mark McGregor Kathleen McMorrow &

John Beckwith Colin Miles Lindsay Miles John Oliver Imant Raminsh Sharon Riches Harley Rothstein James Wright

PUBLIC SUPPORT City of Vancouver Province of BC BC Arts Council Government of Canada Canada Council Heritage Canada

FOUNDATION SUPPORT BC Music Fund Deux Mille Foundation

CORPORATE SUPPORT The Avondale Press CBC Vancouver C-PAC KultureShock.Net Royal Bank of Canada

And many other individuals who generously support the work of CMC BC

TO DONATE: (604) 734-4622 musiccentrebc.ca

CMC BC TEAM Sean Bickerton,

BC Director David McLaughlin,

Operations Manager Stefan Hintersteininger,

BC Head Librarian Christopher Reiche,

Victoria Engage-ment Leader

William Orr, Curator of Digital Archive

Greg Soone, Archive Information Architect

BC ADVISORY COUNCIL

Dr. Keith Hamel, Chair

Ms. Heather Pawsey, Vice-Chair

Mr. George Laverock, Honorary Past Chair

Dr. Jennifer Butler Dr. Dorothy Chang Dr. Stephen Chatman Ms. Kara Gibbs Ms. Katerina Gimon Mr. Edward

Henderson Dr. Rachel Iwaasa Mr. Sharman King, Ms. Catherine Fern

Lewis Ms. Susan Wong Lim Dr. William F. Orr Mr. David Owen Mr. Jesse Read Dr. Sabrina Schroeder Ms. Carrie Tennant Ms. Leslie Uyeda

2018•19 SEASON 3

Imani Raminsh Celebration Season Opener 7:00pm • September 17, 2018 Murray Adaskin Salon

Owen Underhill Celebration 7:00pm • January 21, 2019 Murray Adaskin Salon

Janet Danielson Celebration Women’s History Month 7:00pm • October 15, 2018 Murray Adaskin Salon

Leila Lustig Celebration 7:00pm • April 29, 2019 Robin and Winifred Wood Recital Hall (Victoria)

Michael Conway Baker Celebration 7:00pm • November 26, 2018 Murray Adaskin Salon

Alexina Louie Celebration 7:00pm • May 27, 2019 Murray Adaskin Salon

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TO BUY TICKETS: (604) 734-4622 musiccentrebc.ca

The Canadian Music Centre in BC gratefully acknowledges that this event takes place on the unceded territory of the Coast Salish peoples, including the territories of the xʷməθkʷəyə̓m (Musqueam),

Skwxwú7mesh (Squamish), and səli̓lwətaɁɬ (Tseil-Waututh) Nations.