Open Ears 2014 Program

OPEN 

STORIES 

#OE14

Welcome to the 2014 

OPEN EARS FESTIVAL 

OF MUSIC & SOUND 

citizens to participate in contemporary arts through the 

provision of free activities, as well as ticketed events. Their 

interest in collaboration, by running the festivals simultaneously, 

is beneficial to both the festivals and Kitchener. The addition of 

a third festival, Building Waterloo Region, which celebrates the 

architecture of our region, will further enhance their efforts. 

Some of you Thank heard you our to first all vibrations of the dedicated in artists, performers, volunteers, 

1998, and others and may friends be new who aficionados support Open Ears and CAFKA. Your 

or curious citizens commitment out for a to stroll. arts Even and culture is 

as I welcome you, commendable, I thank this community and has for a very positive 

welcoming me to impact my first on festival our city in my new 

position as artistic director. 

Sincerely, 

There is an amazing array of possibilities this 

year packed into eleven days! While I was 

programming, I thought about the way that 

stories bring us together, keep us together 

and sometimes tear Carl Zehr us apart. Narrative is 

equally essential ~Mayor~ to myths and media, love 

and understanding. City At of this Kitchener year’s festival, you 

will find stories about those who experience 

adversity and even triumph over it, stories of 

fantastical creatures and lonely hearts, silent 

stories, sung stories, stories that move in and 

out of sound, stories that come into being 

and stories that are told to us by bacteria 

and airwaves and etiquette books. 

City of 

The 

Waterloo 

Brenda Halloran, Mayor most 

abstract of stories - the buzzing of a “bzz” to the 

chirp of a “tsch”, and the most basic story - of 

Greetings from the Mayor 

going someplace and then coming back again. 

Of course, when you take a journey, you never 

come back exactly the same. 

On behalf of Council and the citizens of the City of 

Waterloo, it is a pleasure to welcome Open Ears Festival 

We are delighted that there will be 

significant programming in the core of our city this year 

programmed by a festival that is recognized 

internationally for the quality of its programming. 

I am so glad that you have joined to our me Uptown. for these 

stories. I look forward most especially to the 

story that we will discover together, here at the 

2014 Open Ears Festival. 

While in the Uptown, take some time to explore what our 

retailers have to offer. Enjoy the ambience; explore the 

restaurants; enjoy Open Ears. 

On behalf of members of council and the citizens of the City of 

Kitchener, The City welcome of Kitchener to the Open supports Ears Festival, both CAFKA taking place and 

June Open 5-15, Ears 2014. I as hope festivals you will enjoy of cultural both your significance time at the 

festival in our as well community. as in downtown They Kitchener. enliven our downtown 

core, providing opportunities for our citizens to 

The City of Kitchener supports both CAFKA and Open Ears 

as participate festivals of cultural in contemporary significance in our arts community. through They the 

enliven provision our downtown of free core, activities, providing as opportunities well as ticketed for our 

citizens events. to Their participate interest contemporary in collaboration, arts through by running the 

provision of free activities, as well as ticketed events. Their 

the festivals simultaneously, is beneficial to both 

interest in collaboration, by running the festivals simultaneously, 

is beneficial the festivals to both and the festivals Kitchener. and Kitchener. The addition The addition of of a 

a third festival, Building Building Waterloo Waterloo Region, which Region, celebrates which the 

architecture celebrates of our the region, architecture will further enhance of our their region, efforts. will 

further enhance their efforts. 

Thank City you to of all of Waterloo 

the dedicated artists, performers, volunteers, 

and friends who support Open Ears and CAFKA. Your 

Brenda Halloran, Mayor 

commitment The City of to Kitchener arts and welcomes culture is you to Open Ears 

commendable, and hopes and that has you a very enjoy positive both your time at the 

impact on our city 

festival and in downtown Kitchener. 

Sincerely, 

Carl Zehr 

Carl Zehr 

~Mayor~ 

City Mayor, of Kitchener City of Kitchener 

On behalf of Council and the citizens of the City of 

significant programming in the core of our city this year 

programmed The City of Waterloo by a welcomes festival Open that Ears is Festival recognized 

to our Uptown. We are delighted that there will be 

internationally significant programming for the quality in the of core its programming. 

of our city this 

year programmed by a festival that is recognized 

While 

internationally 

in the Uptown, 

for the 

take 

quality 

some 

of 

time 

its programming. 

to explore what our 

retailers While in have the Uptown, offer. take Enjoy some the ambience; time to explore the 

what our retailers have to offer. 

restaurants; enjoy Open Ears. 

Enjoy the ambiance; explore the restaurants;enjoy 

Sincerely, Open Ears. 

Gregory Oh 

Artistic Director, Open Ears 

Sincerely, 

Brenda Halloran 

1 Brenda Mayor, City Halloran, of Waterloo Mayor 

2 

City of Waterloo 

Brenda Halloran, Mayor 

City of Waterloo 

MESSAGE FROM THE MAYOR 

Greetings from the 

Waterloo, it is a pleasure to welcome Open Ears Festival 

to our Uptown. 

We are delighted that there will be

INDEX 

Welcome......................................... 1 

Opening Night................................. 5 

Rethink Keyboards......................... 7 

Spell to Bring Lost 

Creatures Home............................. 9 

Young Composer’s NewWorks 

Reading Session............................11 

Christian Bök..................................12 

White Rabbit, Red Rabbit..............13 

Friendly Rush.................................15 

Avant-Garde Poetry Tea...............17 

Song is Spirit Heard...................... 18 

Silents............................................ 23 

Veda Hille...................................... 24 

Rethink Viola Da Gamba & 

Hurdy Gurdy.................................. 25 

Four Quartets................................ 27 

MIRROR....................................... 29 

Blair McMillen.................................31 

Fawn Opera.................................. 32 

NEXUS Percussion 

& Sepideh Raissadat.................... 37 

Rethink Electro Accoustic............ 39 

Polka Dogs.................................... 40 

Steve Reich................................... 42 

Radio Wonderland 

+ Weird Canada............................ 43 

Ana Sokolovic............................... 46 

Bicycle Opera Project....................47 

Essential Opera............................ 49 

Sound Installations........................51 

David Jensenius........................... 52 

TreeOrgan..................................... 53 

Convergence Machine................. 55 

Intonarumori 

Noise Machines............................ 57 

It Should Always Be This Way..... 59 

Thank you to Sponsors................ 62 

TICKETS 

Tickets available at Ticketscene.ca - Search Open Ears 

or debit/credit accepted at venues one hour prior to performance 

Please go to our survey at 

https://www.surveymonkey.com/s/ 

FestsofArtArchitectureandSound 

Want a handy app that will contain the schedule, 

maps and info on the performances including the 

activities of CAKFA & Building Waterloo Region 

Download it at: http://bit.ly/aasfest 

3 4

OPENING NIGHT 

FESTIVAL LAUNCH & FUNDRAISER 

FEATURING GREX 

Eat, drink, and bid on some once-in-a-lifetime experiences. Life is too short 

to have closed ears—Open Ears is celebrating our 2014 festival launch 

with a silent auction, drinks, food and GREX. Don’t miss the exciting start 

to our fantastic festival. 

Thursday, June 5, 2014 

Victoria Park Pavilion 

8:00 pm 

Music for our opening night is performed by GREX. Led by Alex 

Samaras, GREX is a vocal octet that not only does everything, but does 

it extraordinarily well—Meredith Monk to medieval plainsong, Murray 

Schafer to Georgian folk singing to geographical fugues. Performing our 

opening night festival launch, a fundraising gala at Victoria Park pavilion. 

—Gregory Oh 

Bells—Christopher Willes 

Braid 2—Meredith Monk 

Loneliness/Time 

is Infinite Movement 

— Moondog/Tolstoy 

Hocket—Meredith Monk 

Masks—Meredith Monk 

Medieval Plainsong/excerpts from Mass 

—Reginald Libert 

Core Chant—Meredith Monk 

Knee Play 3—Phillip Glass 

Viderunt Omnes—Perotin 

Geographical Fugue—Ernst Toch 

Kviria (Georgian Folk Song)—Traditional 

Blooming Vale (Psalm 55)—Isaac Watts 

Holy Manna—George Atkin 

GREX is conducted by: Alex Samaras. 

Performed by: Robin Dann, Sarah Jerrom, Tova Kardonne, Ryan Brouwer, 

Will Reid, Ghislain Aucoin, Alex Samaras 

Founder and artistic director of GREX, Alex Samaras is quickly becoming one of Canada’s 

leading vocalists in the jazz and new music scene. Alex studied vocal performance in the 

jazz program at the University of Toronto and in New York City with contemporary-arts icon 

Meredith Monk and her vocal ensemble. In the jazz world he is currently performing with his 

own trio covering forgotten songs from Broadway. Samaras can be heard on a number of 

recordings including Toronto bands THOMAS, Marker Starling, YerYard (with Steve McKay) 

and his first recording project ninety-two with his experimental/folk/improv group Old Salt on 

PromNight Records Label. 

Are you as open as your ears Our silent auction items are curated 

for that “you only live once” feeling and include an autographed Venice 

Biennale “gift bag” from Shary Boyle, lessons in fight choreography from 

a stunt woman, a house concert by Steve Sitarski + David Hetherington 

(TSO), a print from “it” designer Alanna Cavanagh and more! 

Many Thanks to Our 

Silent Auction Donors 

• Alanna Cavanagh 

• Arthur Murray Waterloo & Cheryl Ewing 

• Block 3 Brewing 

• Caitlyn Derderian 

• Fluxible 

• Isabella Stefanescu 

• James Harley 

• Juliet Palmer 

• Long & McQuade 

• Music Gallery 

• NBPHOTOS & Co 

• Paul Pulford 

• Peter Hatch 

• Richard Burrows 

• Richard Marsella 

• Shary Boyle 

• Stephen Sitarski & David Hetherington 

• JM Drama & the Cast & Crew of Dracula the Musical 

5 6

Rethink Keyboards: 

junctQín 

Friday, June 6, 2014 

St. Andrews Presbyterian Church 

8:00 pm 

Five years ago on this exact date, June 6th, 2009, Joseph, Elaine and Stephanie 

came together to form junctQín. The program for RETHINK KEYBOARD 

showcases the ensemble’s wild imagination and virtuosic dexterity on the grand 

piano and a broad range of unusual instruments. Included are works that capture 

the essence of the collective’s interest in expansion and innovation of keyboard 

repertoire and keyboardism. 

Works that capitalize on the techniques typically demanded of contemporary classical 

pianists, and also represent junctQín’s interest in collaboration and premiering 

new music, include Aaron Gervais’ Snow White from Disney Princess Disasters 

and Elisha Denburg’s Welcome to Warp Zone! Both pieces, written especially for 

junctQín, represent an interest in connecting the serious with vernacular. Snow 

White combines demanding coordination of playing, squeaking, and narrating with 

a tongue-in-cheek alt version of a Disney fairytale. Welcome to Warp Zone! features 

three different keyboards within the context of re-imaginined video game music of 

Atari and Nintendo. They link in sound or theme to Tristan Perich’s qsqsqsqsqqqqq 

for three toy pianos and three channel 1-bit tones, and György Ligeti’s Etude no. 10 

for solo piano, “The Sorcerer’s Apprentice.” 

junctQín keyboard collective present a concert of their favourite works! This 

programme showcases the ensemble’s wild imagination and dexterity as they 

play everything from pianos to vintage Casio keyboards, from squeeze toys to toy 

monkeys and even the contact-miked kitchen table. 

—Gregory Oh 

The following program order is subject to change. 

Snow White from Disney Princess Disasters —Aaron Gervais 

Hommage to Stravinsky, Prokofiev & Shostakovich —Alfred Schnittke 

qsqsqsqsqqqqq for three toy pianos and three channel 1-bit tones —Tristan Perich 

Welcome to Warp Zone! —Elisha Denburg 

Musique de Tables —Thierry de Me 

Monkey Music —Matthew Hindson 

Etude No. 10 “The Sorcerer’s Apprentice” — Gyorgy Ligeti 

Expocisiones for toy piano and tape —Andrian Pertout 

As junctQín shows often feature the individual members in solos, two other solo 

keyboard works are included, Andrián Pertout’s Expocisiones for toy piano and CD, 

and Matthew Hindson’s Monkey Music for toy piano and cymbal monkey. Both 

works involve extra musical elements. Expocisiones involves a hypnotic chiming 

on CD playback around which the toy piano weaves highly complex rhythmic 

patterns; while Monkey Music requires the performer to ‘activate’ Charlie Chimp the 

cymbal monkey as a musical partner. The latter work is not the only piece involving 

“percussive” techniques that are integral to contemporary keyboard playing: 

in Thierry de Mey’s Musique de tables, all members of junctQín will be found 

synchronizing musical gestures and intricate sounds on specially created acoustic 

tables. In a tribute to tradition, both compositionally and pianistically, junctQín 

includes Alfred Schnittke’s Hommage à Stravinsky, Prokofiev & Shostakovich, 

where thematic simultaneity overtakes dialogue in an exciting way. 

Toronto-based junctQín (pronounced ‘junction’) consists of pianists Elaine Lau, Joseph Ferretti, and Stephanie Chua. The name of the collective 

is taken from junctio – the Latin word meaning to join, and from Qín – the Chinese character for keyboard instrument. Self-proclaimed keyboard 

geeks, the members of junctQín consider the group a vehicle to introduce audiences to contemporary keyboard repertoire. Through collaborations 

with living composers, innovative programming, interactive performances and outreach programs, junctQín’s goal is to break down the barriers 

of new music with one of the most accessible instruments—the piano. Since its recent inception, junctQín has been presented in performances 

by the Canadian Opera Company’s Four Seasons Centre, Scotiabank Nuit Blanche, Barrie’s Colours of Music Festival, and numerous others. 

Their engagement in many outreach events and activities include Cambridge Galleries, the spOtlight Festival of Ontario, and school workshops 

connected with music festivals. 

junctQín wishes to acknowledge the generous support of both the Toronto and Ontario Arts Councils. 

7 8

Spell to Bring Lost 

Creatures Home: 

Shary Boyle & 

Christine Fellows 


St. Andrews Presbyterian Church 

9:30 pm 

Spell to Bring Lost Creatures Home is an intimate duo performance that 

selects from Boyle’s and Fellows’ favourite works from their early repertoire, 

along with new, never-before-performed works-in-progress. Inspired by the 

Kathleen Raine poem of the same name, Spell to Bring Lost Creatures Home 

throws open a window to the frontiers of imagination. 

Songs created and performed by Christine Fellows. 

Artwork and overhead projections created and performed by Shary Boyle. 

Shary Boyle is a visual artist whose practice includes drawing, painting, sculpture and performance. Her work is exhibited and collected 

internationally. Boyle’s solo exhibition Flesh and Blood premiered at the Art Gallery of Ontario in 2010, and traveled nationally throughout 

2011. Artistically, she has always had a profound connection to music; in addition to her work with Christine, she has performed with musical 

collaborators throughout the world, from the Olympia Theatre in Paris to the Hammer Museum in Los Angeles. She represented Canada at 

the 55th Venice Biennale in 2013. She lives in Toronto. 

Christine Fellows is a songwriter and avid interdisciplinary collaborator; in addition to her work with Shary, she often works with 

choreographers, filmmakers, theatre artists and musicians to create performance works, scores and spectacles. Fellows has released five 

solo albums, tours internationally, and is a founding member of the Correction Line Ensemble, a six-piece group that bridges classical and 

contemporary music. In fall 2014, she’ll be releasing her sixth solo album, Burning Daylight, alongside her first collection of poetry (ARP 

Books). She lives in Winnipeg. 

9 

One of my favourite visual artists, Shary Boyle, with one of my favourite sound artists, the 

Winnipeg singer/songwriter Christine Fellows. Fellows’ music sounds alternately brainy and 

beautiful, full of unexpected twists and unrepentant turns. Using an overhead projector, 

a complex choreography of layered transparencies, paint, mirrors, and shadows, Boyle 

accompanies the stories that Fellows elegantly distills into each one of her songs. 

—Gregory Oh 

10

Young Composer’s 

NewWorks 

Reading Session 

Co-presentation with DaCapo Chamber Choir 

Saturday, June 7, 2014 

Church of St. John the Evangelist 

1:00 pm 

In 2011, the DaCapo Chamber Choir added the Young Composers 

Reading Sessions to their NewWorks national choral composition 

competition. Composers, aged 25 and younger, are invited to 

submit compositions that would be “read” by the choir in an interactive 

public workshop setting - giving emerging composers an invaluable 

opportunity to work through their compositions with a professional-calibre 

choir. Although initially intended to be a local program, the chance for this 

experience has drawn young composers from across Canada. 

Today, we present the works of 4 individuals: 

Matthew Emery (Vancouver, BC) — Lift Every Voice and Sing 

Stephanie Hamelin (Carignan, QC) — Louez l’éternel 

Douglas Price (Toronto, ON) — Forest 

Benjamin Sajo (Peace River, AB) — Dawn Song for Lovers 

Christian Bök 



7:30 pm 

This performance has been generously 

sponsored by Peter Hatch 

Winner of the Griffin Poetry Prize and author of Euonia, the 

bestselling Canadian poetry book of all time, Christian Bök is also 

one of North America’s great sound artists and improvisers. 

Bök will also be a guest artist/coach at our Avant-Garde Poetry Tea on Sunday, June 8. 

Christian Bök will perform material from his repertoire of sound-poems, featuring some 

recent conceptual literature from “The Xenotext.” 

“The Xenotext is my nine-year long attempt to create an example of “living poetry.” I have 

been striving to write a short verse about language and genetics, whereupon I use a “chemical 

alphabet” to translate this poem into a sequence of DNA for subsequent implantation into 

the genome of a bacterium (in this case, a microbe called Deinococcus radiodurans—an 

extremophile, capable of surviving, without mutation, in even the most hostile milieus, 

including the vacuum of outer space). When translated into a gene and then integrated into 

the cell, my poem is going to constitute a set of instructions, all of which cause the organism 

to manufacture a viable, benign protein in response—a protein that, according to my original, 

chemical alphabet, is itself yet another text. I am, in effect, engineering a life-form so that 

it becomes not only a durable archive for storing a poem, but also an operant machine for 

writing a poem—one that can persist on the planet until the sun itself explodes….” 

– Christian Bök 

Christian Bök is the author not only of Crystallography, a pataphysical encyclopedia nominated for the Gerald Lampert Memorial Award, but 

also Eunoia, a bestselling work of experimental literature, which has gone on to win the Griffin Prize for Poetic Excellence. Bök has created 

artificial languages for two television shows: Gene Roddenberry’s Earth: Final Conflict and Peter Benchley’s Amazon. Bök has also earned 

many accolades for his virtuoso performances of sound poetry (particularly Die Ursonate by Kurt Schwitters). His conceptual artworks, that 

include books built out of Rubik’s cubes and Lego bricks have appeared at the Marianne Boesky Gallery in New York City as part of the 

exhibit Poetry Plastique. The Utne Reader has recently included Bök in its list of “50 Visionaries Who Are Changing Your World.” Bök teaches 

English at the University of Calgary. 

11 12

Open Ears in association with Aurora Nova Productions, presents 

White Rabbit, Red Rabbit 

Nassim Soleimanpour is an independent multidisciplinary theatre maker from 

Tehran, Iran. His plays have been translated into more than 20 languages. Best 

known for his play White Rabbit Red Rabbit, written to travel the world when 

he couldn’t, his work has been awarded the Dublin Fringe Festival Best New 

Performance, Summerworks Outstanding New Performance Text Award and The 

Arches Brick Award (Edinburgh Fringe) as well as picking up nominations for a Total 

Theatre and Brighton Fringe Pick of Edinburgh Award. 

Nassim has facilitated workshops and panels in different countries including 

World Theatre Festival (Brisbane), Tolhuistuin (Amsterdam), SESC Vila Mariana 

(Sao Paulo), Schauspielhaus (Wien), DPAC (Kuala Lampur) and University of 

Bremen and etc. 

Currently developing his new play Blind Hamlet for the London based Actors Touring 

Company Nassim lives in Tehran. 

Four performances, four readers. 

An Aurora Nova Production 

WHITE RABBIT RED RABBIT 

By Nassim Soleimanpour 

Dramaturgy by Daniel Brooks and Ross Manson 

No rehearsals. No director. No set. 

A different actor reads the script cold for the first time at each performance. 

Will you participate Will you be manipulated Will you listen 

Will you really listen 

Saturday June 7 Church of St. John the Evangelist, 9:00 pm 

Read by Majdi Bou-Matar 

Monday June 9 The Registry Theatre, 9:00 pm 

Read by Mike Farwell 

Thursday June 12 The Registry Theatre, 9:00 pm 

Read by Grace Lynn Kung 

Saturday June 14 The Registry Theatre, 3:00 pm 

Read by Nora Young 

Keep up to date with White Rabbit Red Rabbit on the facebook page: 

facebook.com/whiterabbitredrabbit 

Majdi Bou-Matar holds a Master’s Degree in Drama from the University of Guelph. He founded MT Space, a renowned theatre company 

committed to cultural diversity. His work tours nationally and internationally. Majdi’s recent credits include: Body 13 and The Last 15 Seconds. 

Majdi is also the Artistic Director of IMPACT a biennial international theatre festival in the Waterloo Region. He recently received a Queen 

Elizabeth II Diamond Jubilee Medal. 

Mike Farwell caught the acting bug in high school when he took performing arts just to fulfill his credits. But once he hit the stage for “My Fair 

Lady,” he was hooked. Mike went on to perform in “Jesus Christ Superstar” where he even sang a small solo in his role as one of the apostles. 

Today, Mike only sings in the shower but he talks every day as the co-host of “Campbell and Farwell” on Country 106.7 and an analyst for 

Kitchener Rangers hockey on 570 News. 

A Gemini Award nominee for Best Leading Comedic Actress, Grace Lynn Kung has studied in Canada and the United Kingdom. She is a 

graduate of the Ottawa School of Speech and Drama (Chancellor’s Trophy), York University (two time recipient – Award for Acting) and holds 

two Certificates of Distinction from Trinity College London. 

Nora Young is a journalist specializing in technology and culture. She is particularly interested in technology and philosophy, technology and 

the body, and the use and abuse of data. Nora started with CBC as the founding host and a producer of Definitely Not the Opera, where she 

was a frequent commenter on technology and popular culture. Her radio show/podcast/blog, Spark, airs across Canada on CBC Radio One, 

and she also has an indie podcast called The Sniffer, about trends in technology, media and the arts, with Cathi Bond. Her book, The Virtual 

Self, is now available as a paperback, ebook, or hardback. 

Media Restraint 

URGENT: This play is NOT overtly political, and should not be portrayed as such. It operates on a deeper, metaphoric level, 

and very expressly avoids overt political comment. All media and press agents have to keep in mind that the playwright lives in 

Iran. We therefore ask the press to be judicious in their reportage. 

White Rabbit, Red Rabbit was originally produced by Volcano Theatre in 

13 association with Necessary Angel and Wolfgang Hoffmann. 

14

Friendly Rush: 

A Farewell to Kings 



10:30 pm 

This performance has been generously sponsored by the 

Edward LaMantia Co-op 

A Farewell To Kings (1977) 

Friendly Rich and his alt-vaudeville ten-piece ensemble The Lollipop People 

pay tribute to the “Great Canadian Rock Band”, RUSH, by recreating their 

iconic album A Farewell to Kings in their wonderfully imaginative voice. 

—Gregory Oh 

(All lyrics written by Neil Peart, except where noted, all music composed 

by Alex Lifeson and Geddy Lee, except where noted.) 

Side One 

A Farewell to Kings (Music: Lee, Lifeson, Peart) 

Xanadu 

Friendly Rich is a mad composer from Oakville, Canada. Mr. Rich 

composed background music for 3 seasons of MTV’s The Tom Green 

Show. Since 1994, he has recorded exclusively for his own eclectic record 

label, The Pumpkin Pie Corporation. Rich holds a Masters degree in music 

from the University of Toronto under the supervision of Dr. Lee Bartel and 

composer R. Murray Schafer. 

Friendly Rich and his modern music ensemble The Lollipop People have 

toured the world, sharing the stage alongside such artists as Of Montreal, 

The Tiger Lillies, and Amanda Palmer. Most recently, they have been 

featured on Conan O’Brien’s Team Coco and Funny or Die. 

Side Two 

Closer to the Heart (Lyrics: Peart, Peter Talbot) 

Cinderella Man (Lyrics: Lee) 

Madrigal 

Cygnus X-1 Book I: The Voyage (Music: Lee, Lifeson, Peart) 

Performed by Friendly Rich and The Lollipop People: 

Gregory Oh, harpsichord; Carli Quigg, harp; Julia Hambleton, clarinets; 

Tim Postgate, banjo; Tania Gill, pipe organ; Jeff Burke, bassoon; Joe 

Sorbara, percussion; Matt Fong, double bass; Kelsey McNulty, accordion; 

Steve Ward, trombone; Friendly Rich, voice 

15 16

Avant-Garde Poetry Tea 

Sunday, June 8, 2014 

Walper Hotel Art Gallery 

1:00 pm 

Song is Spirit Heard: 

Co-presentation with DaCapo Chamber Choir 



3:00 pm 

Sound poetry is fun to write and fun to perform! Working with local students in writing, 

interpreting, and reading modern poetry, Open Ears guest artist Christian Bök and Chris 

Tonelli from ICASP present the fruits of their labour over a lovely cup of complimentary tea 

and snacks at the historic Walper Hotel. —Gregory Oh 

In the sound poetry workshop, students are guided through the creation of their own sound 

poetry and through the performance of simple but moving works from the sound poetry canon. 

The students learn why sound poets wanted poetry to move from the page into performance 

and about what makes the delivery of sound poems compelling (dynamics, rhythm, pattern/ 

repetition/transformation, vocal timbre, imagery etc). The students then write their own sound 

poems (solo and group authored), some of which will be performed over tea. 

Sound poetry workshop lead by Chris Tonelli. 

Performed by students of the sound-poetry workshop. 

The award-winning DaCapo Chamber Choir performs choral music 

written within the past decade by veteran and emerging Canadian 

composers, including outstanding compositions selected from entries to 

the choir’s annual NewWorks choral composition competition. 

Gloria! (2012) —Tobin Stokes NewWorks Honorable Mention 

Song of Invocation (2012) —Sheldon RoseNewWorks Winner 

Tabula Rasa (2010) —Don MacdonaldNewWorks Winner 

When You are Old (2010) —Patrick Murray 

Deux Poèmes de Paul Verlaine (2000) 

—Robert Ingari , Chanson d’Automne, Soleils Couchants 

Christian Bök is the author not only of Crystallography, a pataphysical encyclopedia nominated for the Gerald Lampert Memorial Award, but 

also Eunoia a bestselling work of experimental literature, which has gone on to win the Griffin Prize for Poetic Excellence. Bök has created 

artificial languages for two television shows: Gene Roddenberry’s Earth: Final Conflict and Peter Benchley’s Amazon. Bök has also earned 

many accolades for his virtuoso performances of sound poetry (particularly Die Ursonate by Kurt Schwitters). His conceptual artworks, that 

include books built out of Rubik’s cubes and Lego bricks have appeared at the Marianne Boesky Gallery in New York City as part of the 

exhibit Poetry Plastique. The Utne Reader has recently included Bök in its list of “50 Visionaries Who Are Changing Your World.” Bök teaches 

English at the University of Calgary. 

Chris Tonelli completed his doctoral work in the Critical Studies and Experimental Practices in the music program at the University of 

California, San Diego. Before joining ICASP as a postdoctoral fellow for 2013–2014, he was Visiting Lecturer in Contemporary Music and 

Culture at the New Zealand School of Music at the Victoria University of Wellington and Visiting Assistant Professor of Ethnomusicology and 

Popular Music Studies at Memorial University of Newfoundland. He is an active vocal improviser who has performed internationally both solo 

and with a diverse range of collaborators. 

Le Pont Mirabeau (2011) —Jeff Enns NewWorks Honorable Mention 

intermission 

The Searching Sings (2008) — R. Murray Schaferrecorded 

on DaCapo’s ShadowLand CD 

Nocturne (2005) — Leonard EnnsJUNO-nominated composition; 

recorded on DaCapo’s ShadowLand CD 

Black Riders (2008) —Iman Habibi 

This Evening of Our Life (2011) —Matthew Emery 

17 18

Our concert title, Song is Spirit Heard, is the concluding line of the poem by Rae 

Crossman, set to music by Murray Schafer for the DaCapo Chamber Choir. That 

composition is called The Searching Sings. 

While it is thrilling for us to be performing music by Canada’s senior statesman 

of composition, we are equally proud of the fact that our concert today includes 

top-drawer works by some of our young and emerging composers. These works 

have come to us largely via DaCapo’s annual NewWorks choral composition 

competition. Our mission, as a choir championing the best of recent and 

contemporary choral music, is to encourage and unearth relevant, fresh, and 

high quality works for chamber choir. Today we bring you a clutch of these, all by 

Canadian composers. 

DaCapo Chamber Choir conducted by Leonard Enns. 

Choir Members: 

Soprano 

Laura Ashfield 

Corey 

Cotter Linforth 

Sara Martin 

Laura McConachie 

Laurel O’Gorman 

Jennie Wiebe 

Alto 

Theresa Bauer 

Emily Berg 

Christine Cousins 

Sarah Flatt, 

Susan 

Schwartzentruber 

Tenor 

Thomas Brown 

Curtis Dueck 

Marcus Kraemer 

Michael Lee-Poy 

Nathan Martin 

Bass 

Donny Cheung 

Keith Hagerman 

Stephen Horst 

Phil 

Klassen-Rempel 

Bill Labron 

Our performance season consists of three annual concerts in Kitchener- 

Waterloo: once in the fall around Remembrance Day, a mid-winter, and a 

spring concert. In addition, the choir performs on an ad hoc basis at other 

events. 

The choir has released two CDs, the award-winning ShadowLand (winner 

of the 2010 ACCC’s National Choral Recording of the Year award, 

including the Juno-nominated Nocturne by Leonard Enns) and STILL 

(2004). The choir has also appeared on several other recordings, including 

notes towards; DaCapo’s performance on that disc helped garner a Juno 

nomination for the title work, Notes Towards a Poem That Can Never Be 

Written, by Timothy Corlis. 

Conductor and composer Leonard Enns is the founding director of the 

DaCapo Chamber Choir, and Professor Emeritus in the Music Department 

at Conrad Grebel College, University of Waterloo. He has released six 

CDs with the Conrad Grebel Chapel Choir over the past fifteen years and 

two CDs with DaCapo – including the ACC Choral Recording of the Year, 

Shadowland. Also active as composer, Enns has been honoured with a 

2010 JUNO nomination for his Nocturne, as Classical Composition of the 

Year. Last month Newfoundland’s Quintessential Voices premiered his As 

on Wings, commissioned by the ensemble, at Carnegie Hall. 

19 20

Notes written by L. Enns 

Gloria! (2012) —Tobin Stokes (Victoria, BC) 

Stokes’ Gloria! came to us via the DaCapo NewWorks choral composition competition. While there 

are likely thousands of settings of the Mass texts (Kyrie, Gloria, Credo, Sanctus, Agnus), this one 

retains a freshness and vigour, fairly bursting through the bar lines with its asymmetrical rhythms. 

We are delighted to hear Stokes’ voice as part of an emerging group of very talented, young 

Canadian composers. 

Song of Invocation (2012) —Sheldon Rose (Toronto, ON) 

This is the winning work of our 2012 DaCapo NewWorks choral composition competition. Here we 

have a bittersweet expression of that tug between lament and hope – I will go, but I shall not go 

with pain, grief or sighs! One can’t help but also hear the countering voice of Dylan Thomas, to his 

father: Do not go gentle into that good night. / Rage, rage against the dying of the light. We have a 

choice. Rose’s composition presents a gentle posture for the most part, but ends, as he describes 

it, with “fervent rapture.” 

Tabula Rasa (2010) —Don Macdonald (Nelson, BC) 

This was the first NewWorks winner in 2010, the inaugural year of the program. Macdonald has 

given us this note: 

“Blank Slate” - This is the translation of the title. …Tabula Rasa was written immediately after a 

very intensive three-week period of writing music for film. In this calm after the storm I often just lay 

my fingers on the piano and try to remove all external stimuli from the creative process, to become 

a “blank slate”. This is music therapy for me. Each note, chord, rest is played purely for myself to 

enjoy the act of creation for creation’s sake. I wrote most of the notes for this piece before the text 

was written, which is the reverse order for the creation of most choral works. For some reason the 

first few chords to me evoked a simple image of a mother and child. A quiet moment when the 

mother sees, as she has never seen, the potential of the precious life she holds in her arms. A silent 

acknowledgment of her child and every child as a “blank slate” with seemingly limitless potential. 

My wife was able to put this vision into words in the most eloquent manner. The grace and fluidity 

of the Spanish language is a fitting choice for such a moment. 

When You are Old (2010) —Patrick Murray (Toronto, ON) 

Patrick Murray originally came to us as a composer through DaCapo’s NewWorks competition - 

winning in 2011 with The Echo. Having graduated with a music degree from University of Toronto, 

Murray is currently working as composer and conductor in Toronto. 

Chanson d’automne (2000) —Robert Ingari (Sherbrooke, QC) 

Robert Ingari is an associate professor and director of choral activities at Université de Sherbrooke, 

in Quebec. 

Le Pont Mirabeau (2011) —Jeff Enns (Elmira, ON) 

Local composer Jeff Enns is a long-time friend of DaCapo’s. The choir has performed a number 

of his works, has premiered his I carry your heart and Moonset, and recorded his The Call (on Still) 

and Moonset (on ShadowLand). 

to our musical art, it might be “listen to the land”. His works celebrate nature, are inspired by our 

environment, and at times lament its suffering at our hands. The titles of Schafer’s compositions 

themselves are instructive: Music for Wilderness Lake; And Wolf shall Inherit the Moon; The Star 

Princess and the Waterlilies; Epitaph for Moonlight; Snowforms; and on and on. The song is there 

in our world, the music is there, we need to attend to it! 

Crossman commissioned The Searching Sings for the DaCapo Chamber Choir. The premiere 

performance was in Kitchener in May 2009; it was also part of our 2009 award-winning ShadowLand 

recording. 

KW poet Rae Crossman, who has a long history of collaboration with Schafer, considers the 

majesty of nature as compared with human abilities (“how can lungs thunder”), and the sensitivity 

and generosity of nature toward humans (“yet the howl of a wolf will answer the howl of a man”). 

Within this reality, it is our searching that becomes the song, a song that is leap between man and 

bird. 

Nocturne (2005) —Leonard Enns (Waterloo, ON) 

If the night brings with it memories and premonitions of loss and lament, it also is the storehouse 

of wonder, concord and potential. Shakespeare’s text (below) points that way. His star-studded 

sky has been slightly re-interpreted in sound here, in the direction of a Canadian night filled with 

northern lights that flow, pulsate, and glow. Still, the age-old lament persists: such harmony is in us, 

but whilst we leave we can’t seem to hear it; this tone-deafness characterizes the many journeys 

into political, spiritual and cultural night that continue to mark and mar our world. 

Black Riders (2008) —Iman Habibi (Vancouver, BC) 

Iranian-Canadian Iman Habibi, born in the decade ushered in by the Iranian Revolution, writes 

of—and out of—a complex history. He appropriates the century-old words of the American 

author, Stephen Crane (known especially for The Red Badge of Courage) and turns them into an 

expression of the terror, fear and anxiety experienced in the nighttime of an invasion. The work is 

not specific, but the expression is true. 

Of Black Riders Habibi has written: The poem to which the music is set is part of a larger collection 

of 68 short poems by Stephen Crane written in 1895…this composition announces the arrival of 

black riders, portraying it by playing with the sound of the words. It has a dark and gloomy color, 

and holds extreme anxiety inside. 

This Evening of Our Life (2011) —Matthew Emery (Vancouver, BC) 

Matthew Emery, originally from London, Ontario, is currently studying composition at University of 

British Columbia with Stephen Chatman. This composition, though not the winner, was a highly 

ranked submission to the 2011 NewWorks competition. It is an exquisite work, evincing a nostalgia, 

poignant lament, and gentle sorrow through music that belies the youth of the composer. Also, 

though, and always, there is hope at the end of the evening song. 

The DaCapo Chamber Choir was founded in 1998 under the direction of Leonard Enns. The mission of the choir is to identify, study, 

rehearse, and present in public performance and recordings, the outstanding choral chamber works of the past 100 years and to champion 

music of Canadian and local composers. In 2011, DaCapo was awarded first place in the Association of Canadian Choral Communities’ 

(ACCC) National Competition for Canadian Amateur Choirs in the Contemporary Choral Music category. The choir also received 2nd place 

in the Chamber Choir category. 

The Searching Sings (2008) —R. Murray Schafer (Peterborough, ON) 

Schafer’s music prods us to find the mystery in the visible, and hear the magic in the seemingly 

21 “natural” world around us. If one word could capture the centre of Schafer’s unique contribution 

22

Silents: Andrew Downing and 

Melodeon 


Princess Cinema 

7:30 pm 

Veda Hille 


The Jazz Room 

9:30 pm 

Sit in the dark with us and watch silent movies as there were meant to be heard. Andrew 

Downing and Melodeon bring the images to life in Sous Le Soleil, Music for French Silent Films 

Impossible Voyage —film by Georges Méliès 

Alice In Wonderland —film by Cecil Hepworth and Percy Stow 

Anemic Cinema —film by Marcel Duchamp 

L’Étoile de Mer —film by Man Ray 

Le Méloman —film by Georges Méliès 

All compositions by Andrew Downing. Performed by Melodeon: Peter Lutek, clarinet; Kevin 

Turcotte, trumpet; William Carn, trombone; Joe Phillips, double bass; Andrew Downing, cello; 

and David Occhipinti, guitar. 

Veda Hille has a wonderful body of work, most notably her Songs for Emily Carr 

and her Craigslist Cantata—now a smash hit fresh off a Canadian tour and heading 

to the National Arts Centre. She appears this evening backed up by members of 

GREX. —Gregory Oh 

I write these notes as I sit here in Vancouver, assembling my set list. When Greg 

asked me to come to the festival he was interested in “story”. We talked about 

having me perform a complete song cycle from one of my many eccentric projects, 

but I’ve always been attracted to a buffet life. And so tonight you will hear various 

bits of many stories, including but not limited to: 

Stories of cannibalism at sea. 

Stories of songbird hook-up techniques. 

Stories of a flying boy who never ages and is obsessed with CSI Miami. 

Stories of longing on the internet. 

Stories of tragic Russian romance. 

I am so pleased to have the voices of GREX to help me out on this. That might be 

my favourite story of all: a night that ends with many people singing. 

Veda Hille - May 14, 2014 

A celebrated bassist and composer, Andrew Downing has won two junos, two west coast music awards, a SOCAN award and the grand 

prix de jazz from the Montreal Jazz Festival. 

Born August 11, 1968 into a nice family in Vancouver, Veda Hille, started playing piano in 1974. Childhood interests included plants, books, 

microscopes, science fiction, and psychiatry. Hille attended art college in the late 80’s and started writing music. She now makes records, 

writes musical theatre, scores films, teaches songwriting, tours, and generally keeps busy. 

Melodeon was formed by Andrew Downing in 2004 to play a new score for the horror classic Phantom of the Opera at the Jackson Triggs 

Winery in the Niagara Region of Ontario. Since then, the group has toured Canada extensively with the German horror classic The Cabinet 

of Dr. Caligari, performed the feature film score The Shock at the Music Gallery in 2009 in Toronto and was commissioned to perform with 

Artistic director of GREX, Alex Samaras is quickly becoming one of Canada’s leading vocalists in the jazz and new music scene. Alex 

studied vocal performance in the jazz program at the University of Toronto. Alex also spent time working in New York City with contemporaryarts 

icon Meredith Monk and her vocal ensemble performing in concert versions of Monks work and in multi-disciplinary performances. 

Maciste In Hell at the Toronto Silent Film Festival in 2011. Andrew also adapted his Phantom of the Opera score to include Vancouver’s Bach 

Choir for a performance at the Orpheum Theatre in Vancouver in 2013. 

Performing with Veda Hille: 

23 Subhiksha Rangarajan, Sarah Jerrom, Ryan Brouwer, Alex Samaras 

24

Rethink Viola Da Gamba & 

Hurdy Gurdy: 

Martel & Grossman 

Co-presented with Silence Guelph 

Monday, June 9, 2014 

The Registry Theatre 

7:30 pm 

Two eclectic performers, two eclectic instruments and a myriad of sounds 

and ways of making sound. Both Pierre-Yves Martel and Ben Grossman 

as performers are covered with labels from all traditions—from medieval 

music to Swedish folk, from musique actuelle to electroacoustic - and we 

invite you to experience their sound world. 

—Gregory Oh 

In the music for tonight’s programme, Martel and Grossman have drawn 

freely from the possibilities of their instruments and the traditions from 

which they come as well as from free improvisation, contemporary music 

practices, and experimentalism without being weighted down by any of it. 

To varying degrees the pieces in tonight’s programme are scored, mapped, 

and improvised but the aesthetic priority is always sound, texture, and 

moment-to-moment interaction. 

Following a unique artistic path, Pierre-Yves Martel is constantly renewing his musical identity and practice. Though an instrumentalist, he 

identifies himself first and foremost as a sound artist whose work oscillates between research and experimentation. It is in this spirit that he 

has revisited the viola da gamba, utilizing this traditional instrument in new contexts and thus reengaging it with the contemporary world. 

Having created an authentic musical language through non-conventional techniques and instrumental preparations, he also works outside of 

instrumental music altogether, using a variety of objects rife with new sonic possibilities, from contact-mics and speakers to motors, wheels, 

surfaces and textures. He lives in Montreal, Québec. 

Performed by: Pierre-Yves Martel, viola da gamba, violin, double bass, 

objects, feedback, and preparations; and Ben Grossman hurdy gurdy, 

percussion, and electronics. 

Ben Grossman is a busy musician: improviser, studio musician, composer, noisemaker and audio provocateur. He works in many 

fields, having played on over 80 CDs, soundtracks for film and television, sound design for theatre, installations, work designed for radio 

transmission, and live performances spanning early medieval music to experimental electronica. Ben’s tools of choice are electronics, 

percussion, and, especially, the hurdy gurdy (vielle à roue), a contemporary electroacoustic string instrument with roots in the European 

middle ages. He studied the instrument in Europe (with Valentin Clastrier, Matthias Loibner and Maxou Heintzan) and has also studied 

Turkish music in Istanbul. With an abiding interest in pushing the limits of his instruments and pushing the boundaries of whatever venue or 

medium in which he works, Ben’s solo CD, Macrophone was released in 2007 and features a unique two disc form for simultaneous, aleatoric 

playback. Ben is also the founder and artistic director of Silence: Guelph’s Portal for Experimental New Sound Events, a music series and 

space. He lives in Guelph, Ontario. 

25 26

Four Quartets: 

Penderecki String Quartet 

with Leslie Fagan 

Co-presentation with Quartetfest 

Tuesday, June 10, 2014 

Clay & Glass Gallery 

8:00 pm 

This concert takes its inspiration from T.S. Eliot’s famous collection of poems titled 

“Four Quartets.” The poems are interlinked meditations with the common theme 

being humanity’s relationship to time, the universe, and the divine. Two new works 

will be premiered on this theme by Toronto composer Norbert Palej and J. Mark 

Scearce from North Carolina. Palej’s new quartet assigns each of the movements 

to one of the four classical elements: air, earth, water, and fire. The lyrical third 

movement includes a vocalise for soprano solo. The quartet alludes to several 

motives of the European art tradition, such as Beethoven’s late quartets, Dante’s 

Divine Comedy and the plain chant ‘Veni Creator’. Scearce’s work is structured 

similarly to Palej’s but captures some of the more disparate sources of Eliot’s 

poetry from Buddhism to the Bhagavad-Gita. 

Leslie Fagan: 

“Singing is an integral part of my being, woven through 

layers from skin to soul. It is a teacher, a companion, 

and a lover who reminds me what it is to be human. 

I delight in the discovery of a character, through 

the composer’s notation and the poet’s words - it is 

like musical archeology with the chance to become 

someone new.” 

Leslie Fagan photo credit: Joris Van Daele 

Time present and time past 

Are both perhaps present in time future 

And time future contained in time past. 

If all time is eternally present 

- T. S. Eliot from The Four Quartets 

Four Quartets, String Quartet No.2 —Norbert Palej (2014, world première) 

Four Quartets, String Quartet No.3 —J. Mark Scearce (2014, world première) 

Ms. Fagan has delighted audiences and critics alike at Royal Albert Hall, Carnegie Hall, Lincoln Center, Bordeaux Opera House, Roy Thomson 

Hall and Massey Hall. She was invited by both the Oratorio Society of New York under the direction of Kent Tritle and Music Sacra under the 

baton of Richard Westenburg to sing their performances of Handel’s Messiah at Carnegie Hall in December. Leslie made her Lincoln Center 

Debut in May singing Carmina Burana with Musica Sacra and the world premier of Alessandro Cadario’s Cantata for Revival. Ms. Fagan can 

be heard frequently on CBC radio and has appeared on CBC television and both BBC radio and television and NPR. Leslie Fagan’s recordings 

include her debut solo album “le miroir de mon amour” and “A Song for all Seasons” with The Toronto Children’s Chorus. 

Approaching the third decade of an extraordinary career, the Penderecki String Quartet has become one of the most celebrated chamber 

ensembles of their generation. These four musicians from Poland, Canada, and the USA bring their varied yet collective experience to create 

performances that demonstrate their “remarkable range of technical excellence and emotional sweep” (Toronto, Globe and Mail). Their recent 

schedule has included concerts in New York (Weill Hall at Carnegie Hall), Amsterdam (Concertgebouw), Los Angeles (REDCAT at Disney 

Hall), St. Petersburg, Paris, Prague, Berlin, Rome, Belgrade, Zagreb, Atlanta, as well as appearances at international festivals in Poland, 

Lithuania, Italy, Venezuela, Brazil, and China. The PSQ champions music of our time, performing a wide range of repertoire from Haydn to 

Zappa as well as premiering over 100 new works to date. Described by Fanfare Magazine as “an ensemble of formidable power and keen 

musical sensitivity,” the PSQ’s diverse discography includes the chamber music of Brahms and Shostakovich (Eclectra and Marquis labels) 

and their recently released Bartok cycle. They enter their 20th year as Quartet-in-Residence at Wilfrid Laurier University in Waterloo, Ontario. 

Performed by Leslie Fagan, soprano; Penderecki String Quartet: Jeremy Bell, 

27 violin; Jerzy Kapłanek, violin; Christine Vlajk viola; and Katie Schlaikjer, cello. 

28

InterArts Matrix presents: 

MIRROR 

Wednesday, June 11, 2014 6:00 pm 

& Thursday, June 12, 2014 7:30 pm 


This performance is sponsored by Cheryl A. Ewing Consulting. 

A multi-media chamber opera for soprano and visual artist. How do you see yourself How 

do you hear yourself 

Mirror 2014 world première for soprano and visual artist, & euphonopen 

Isabella Stefanescu (artistic director, performer) is a painter, media artist, writer and producer. In 2007 Stefanescu received the K.M. Hunter 

award for interdisciplinary art and in 2008 she completed the interactive arts and entertainment residency at the Canadian Film Centre Media 

Lab. Stefanescu’s work has been exhibited in public and private galleries in Canada, France, and the U.S.A. The films she wrote, produced 

or designed have been shown at festivals in Canada, Germany, France and Italy. 

Helen Pridmore (soprano, performer) was born in England and grew up in Canada, where she began her musical studies. She obtained her 

B.Mus. in Voice from the University of Saskatchewan and the M.Mus. in Voice from the University of Toronto. She also holds the Licentiate 

Diploma in Piano from Trinity College of Music, UK. At the Eastman School of Music in Rochester, NY she earned the Doctor of Musical Arts 

degree. Helen Pridmore has performed across Canada and the U.S. as both soloist and chamber musician. In concert she has performed 

works ranging from Handel’s Messiah to Schoenberg’s Pierrot Lunaire. With a special interest in new music, she has premiered and sung 

many works by Canadian and American composers. 

Julia Aplin (director/coreographer) As a choreographer, Julia has worked with companies such as Tiger Princess Dance Productions, Urban 

Vessel, and Dusk Dances. Julia’s work often crosses the boundaries of genre. Recently she created the “Halo Ballet” choreographed for video 

game players in cyberspace performed with live music. She directed and choreographed for actors, singers and boxers to create the new 

opera “Voice Box”. Most recently she danced, sang, designed projections and played accordion in the production of “Heartsong” at the Arden 

Theatre, Alberta. As an independent artist she has performed at such venues as the Sound Symposium, Ottawa Chamber Music Festival, the 

AGO and the Young Centre. She has received choreographic commissions from companies as varied as Company Blonde to the Madawaska 

String Quartet. Her work has been presented across Canada and in Europe. 

Edward Cho (interface intern) joined the Euphonopen team for the second Mirror workshop in June 2012. He has studied engineering at 

the University of Waterloo for three years before transferring to the Wilfried Laurie University Music Faculty, where he is currently studying 

performance and composition. He recently won the student concerto competition in both piano and cello. 

Mirror, for visual artist and soprano, is a meditation on the risk each one of us takes 

when presenting a face to the public. Through the live performance of drawings 

and abstract vocal utterances, painter and singer explore complex, interwoven 

reflections of themselves and their art. If it is chamber opera, it is a hybrid of the 

form. There is no narrative, but rather a series of ephemeral contemplations and 

manifestations of being and seeing. 

Ian Crutchley (composer) divides his time as a composer between electro-acoustic and instrumental compositions. Some of his recent works 

explore the melding of the two, as well as improvisatory live electronics and multimedia collaborations. He received his first formal instruction 

in music and began composing at Douglas College and the University of British Columbia where he obtained his Bachelor (1988) and Master 

(1993) of Music. He then completed his PhD in Music Composition (1998) at the University of York in the UK. Recent commissions include 

works written for the Penderecki String Quartet, and a sound installation for the View Point Gallery in Halifax. 

Anne-Marie Donovan (producer) is the founding artistic director of Inter Arts Matrix www.interartsmatrix.com As a performer, director 

and producer, Anne-Marie’s primary interest is the development of new work. She has directed a wide range of performance events from 

performance installations and guerilla events to theatre and new opera. As a classical singer, Anne-Marie has acted as a vehicle for many 

composers, having premiered, recorded or commissioned over 50 works. In the last few years Anne-Marie has ventured into her own creative 

work. Her Sounding Rituals, a series of ‘creative disturbances’, premiered at the 2007 Open Ears Festival Sound and Music. 

Klaus Engel (interface / machine designer) is Staff Scientist at COM DEV Ltd. in Cambridge, Ontario. Over the past 35 years he has 

developed electromechanical systems for spacecraft supporting telecommunications, earth observation, and solar system exploration. His 

creations are represented on 800 flying spacecraft, several dozen in the Atlantic Ocean, and one inadvertently impaled into the Martian 

surface. More recently he has brought his craft down to earth to create or enable multimedia and kinetic art. He has collaborated on several 

interdisciplinary projects exhibited at Lennox Gallery in Toronto, Banff New Media Institute and the Contemporary Art Forum Kitchener and 

Area. 

Euphonopen & Mirror have been generously supported by: 

Performance credits: Isabella Stefanescu, painter; Helen Pridmore, soprano; Julia 

• Canada Council for the Arts 

Aplin, choreography; Scott Spidell, lighting design; Isabella Stefanescu, art director 

• Ontario Arts Council 

and set design; Selin Erkaya, stage manager; Anne-Marie Donovan, producer 

• Region of Waterloo Arts Fund 

• Felt Lab/REAP 

Created by: Isabella Stefanescu, artistic director and euphonopen sound; Ian 

• Musagetes Fund through Kitchener & Waterloo Community Foundation 

Crutchley co-creator; Helen Pridmore, soprano; Klaus Engel, machine design; and 

• Mount Allison University 

Edward Cho, software assistant. 

• Drama Department, University of Waterloo 

• Multicultural Cinema Club 

29 30

Blair McMillen 

Wednesday, June 11, 2014 

Kitchener-Waterloo Chamber Music Society, Music Room 

8:00 pm 

One of a handful of great North American pianists who excel at playing any repertoire, this is 

an opportunity to get to know new repertoire interpreted by a very special player, and really 

feel the sound in the intimate space of the Music Room. “When played by the formidable 

McMillen, anything sounds terrific.” —The New York Times 

Fawn Opera: 

l’homme et le ciel 

Thursday, June 12, 2014 


5:00 pm 

A classic tale of one man’s struggle to live righteously. 

“The Alcotts” from Concord Sonata (1912) - Charles Ives Study #23 (1914) (1874-1954) 

Extensions 3 (1952) - Morton Feldman (1926-1987) 

2 Etudes (2006) - Marc Mellits(b. 1966) 

Winnsboro Cottonmill Blues (1978) - Frederic Rzewski (b. 1938) 

Intermission 

In a Landscape (1948) - John Cage (1912-1992) 

3 Techno Etudes (2000) - Karen Tanaka (b. 1960) 

El Salon Mexico (1936) - A. Copland/Bernstein (1900-1990) 

Music by Adam Scime 

Libretto by Ian Koiter 

French Translation by Eric Démoré 

Scene 1 – At the River Tiber 

Scene 2 – Traveling to Cumae: First Vision 

Scene 3 – The Messenger 

Blair McMillen has been described by The New York Times as one of the piano world’s brilliant stars. In addition, McMillen, leads a 

multifarious musical life as a chamber musician, conductor, and improviser. Known for his imaginative and daring programming, Mr. McMillen 

has premiered hundreds of new works, both as soloist and with numerous ensembles. He frequently collaborates with composers and artists 

of other genres in commissioning works that stretch the boundaries of the piano and the traditional recital format. 

He is the pianist for the Naumburg Award-winning DaCapo Chamber Players, the American Modern Ensemble, Perspectives Ensemble, and 

the six-piano super-group Grand Band. Blair McMillen co-founded (and co-directs) the Rite of Summer Music Festival on Governors Island, 

an outdoor alt-classical festival that kicked off its third season in 2013. He resides in New York City and serves on the piano faculty at Bard 

College and Conservatory. 

Gregory Finney – Hermas 

Larissa Koniuk – Rhoda 

Adanya Dunn – Messenger 

Jialiang Zhu - Piano 

Amanda Smith – Artistic Director/Resident Stage Director 

Patrick Murray – Music Director/Conductor 

Production Design by Amanda Smith 

31 Lighting and Set Design by Holly Meyer-Dymny 

32 

Generously supported by Roger D. Moore

Gregory Finney is excited to debut with FAWN Opera. One of Toronto’s busiest singers, he garnered rave reviews as Antonio/Bartolo in Against 

The Grain Theatre’s hit Figaro’s Wedding. Seen in Canadian premieres: Jerry Springer: The Opera, Kate And The Devil and Knickerbocker 

Holiday, and world premieres of Kamouraska and Eric Idle’s Not The Messiah. 

Soprano Larissa Koniuk is a singer and actor whose artistic concentration is in the creation and collaboration of new opera works. Larissa 

is the founder and artistic director of the Bicycle Opera Project, producing and performing contemporary opera in venues across Ontario. 

Larissa’s current season includes engagements with Tapestry, Open Ears, FAWN, and the Westben and Stratford Summer Music festivals. 

About the Opera 

L’Homme et le Ciel takes its story from the 2nd century Christian literary text “The 

Shepherd of Hermas.” Although not considered part of canonical scripture, “The 

Shepherd” is preserved within several early New Testament codices, indicating 

its wide readership and popularity amongst 2nd and 3rd century Christian 

communities. 

The story concerns the life of Hermas, a Roman slave in the employ of a rich and 

beautiful woman, Rhoda. A pious and honourable man, Hermas is nonetheless 

confronted by a series of visions that force him to come to terms with his 

transgressions. In his first vision, Hermas’ true desires for Rhoda are made known, 

causing him question if his praise and admiration have fallen to covetousness. 

Scene 1 

Rhoda is bathing in the Tiber River. Hermas, attending to her, declares his 

devotion, saying “You have become as a sister to me.” Rhoda gently dismisses his 

attentions, while Hermas thinks to himself how wonderful it would be to have a wife 

as beautiful and praiseworthy as his master. 

Scene 2 

Some time later, Hermas is traveling alone along the road to Cumae and falls 

asleep. Rhoda appears to him in a vision, accusing him of impure thoughts. 

Distraught, Hermas cries out that he thought of nothing more than her beauty and 

grace. The heavens close, leaving Hermas alone with his grief. 

Scene 3 

Still asleep, Hermas sees a woman sitting in a chair up above, from which she 

descends to counsel him. She consoles Hermas, saying he is famous throughout 

creation for his self-control and virtue. She advises him to attend to his family and 

children, lest they succumb to the same temptations he has experienced. 

23-year old Toronto-born Canadian-Bulgarian soprano Adanya Dunn will be understudying the role of Frasquita in Bizet’s Carmen at Music 

Academy of the West this summer and singing Marzellina in Fidelio and Elvira in L’Italiana in Algeri in opera scenes. Ms. Dunn is the proud 

Producer of FAWN Opera & New Music, full member of ACTRA and CAEA, and one of 30 participants in the Stepping Stone Canadian 

Music Competition in May 2014. Ms. Dunn has been accepted into Dawn Upshaw’s Graduate Vocal Arts Program at Bard College and 

Conservatory for the fall and is currently fundraising so that she may attend. 

A native of China, Jialiang Zhu has been living in Toronto since 2007. Jialiang completed her Masters Degree under the tutelage of 

Marietta Orlov and Midori Koga at University of Toronto. Highly active as a performer, she has played concerts in various cities in Canada, 

Germany, China and U.S. She enjoys exploring various musical genres, including classical music, contemporary music, jazz, pop, new age, 

world music and improvisation. 

Conductor/Composer Patrick Murray is the music director of FAWN New Opera, Conductor’s Intern with the Toronto Children’s Chorus, 

and composer-in-residence with Univox Choir. A choral and new music specialist, Patrick has recently collaborated from the podium with 

the University of Toronto New Music Festival, Thin Edge New Music Collective, Princeton Festival Chorus, and Toy Piano Composers 

Ensemble. Patrick’s original compositions have been performed across Canada and the United States and he is the recipient of several 

awards for his work, including a SOCAN Young Composer Award and the DaCapo Chamber Choir’s NewWorks Competition. A proud 

native of Kitchener, Patrick received his Bachelor of Music at University of Toronto, and commences graduate study in conducting at Yale 

University in the fall of 2014. 

Amanda Smith is the Artistic Director and Resident Stage Director of FAWN Opera & New Music. A recent graduate of the University of 

Toronto Opera Division in stage directing, she also studied voice with Kimberly Barber at Wilfrid Laurier University. While at WLU, Amanda 

worked as a stage technician and cross-registered at the University of Waterloo for theatre, so to focus on the collaboration of music and 

stagecraft. In her last year, Amanda created a customized stage direction stream in the WLU opera program, giving her the opportunity to 

work as the Resident Assistant Director for all Opera Laurier productions. 

Adam Scime has been praised as “...a fantastic success...” (CBC) and “Astounding, the musical result was remarkable” (icareifyoulisten. 

com). Awards received for his work include The Socan Young Composer’s Competition, The Karen Keiser Prize in Canadian Music, Esprit’s 

Young Composer Competition, and the Electro-Acoustic Composer’s Competition. Recent notable performances include Nouvel Ensemble 

Moderne, New Music Concerts, The Esprit Orchestra, l’orchestre francophonie, The Continuum Ensemble, a feature in the Emergents 

Series at the Music Gallery, the Hamilton Philharmonic New Music Festival, the UofT New Music Festival, and broadcasts on CBC Radio. 

Future projects include a new Opera for FAWN and the Thin Edge Collective, commissions for The Esprit Orchestra, the Array Ensemble 

and New Music Concerts for upcoming seasons. 

Ian Koiter is a doctoral student in the Department of Religious Studies at McMaster University, where he studies Early Christianity. 

Before turning to religious studies, however, Ian studied music Theory & Composition at the University of Western Ontario (now Western 

University). In addition to his studies, Ian performs, records, and produces music with such Juno- and Polaris Prize-nominated artists as 

Shad, Basia Bulat, and Emmanuel Jal, among others. 

Possessing “a warm, friendly voice that had surprising power” 

- Schmopera.com 

FAWN is a collective of emerging artists based in Toronto, dedicated to presenting New Music and Opera. Each season, through our Opera 

Series, FAWN commissions and produces a world-premiere chamber opera, composed and performed by some of Canada’s most talented 

young musicians. FAWN’s Synesthesia Series showcases contemporary concert music alongside new art, in unique multi-disciplinary 

productions that are thematically linked to our operas. FAWN is in our second season led by Founding Artistic Director Amanda Smith. 

Thank you also to Velmon and Alexander Haag, Catherine and John 

Brothers, and, Mike Murray and Fran Turner. 

33 34

This unique collaboration of 272 artists, 

62 venues, dozens of parks and public 

spaces is one of the largest and most 

ambitious exhibition and performance 

series of its kind ever mounted in 

Waterloo Region. 

May 31 - June 29 

June 5 - June 15 

JOIN US 

May 31- Oct 31 

HotSummerGuide.GrandSocial.ca 

July 5 - October 31

NEXUS Percussion 

& Sepideh Raissadat 



7:30 pm 

This performance has been generously sponsored by James Harley. 

NEXUS is the group that started it all. Dubbed the “high priests of the percussion world” by the 

The New York Times, they have a now legendary body of work to call their own, working with 

luminaries from Steve Gadd to Steve Reich, Toru Takemitsu to Morton Feldman. They will appear 

with Sepideh Raissadat, a classically trained Persian singer and instrumentalist; she gave the first 

solo performance in Iran by a woman after the 1979 revolution. —Gregory Oh 

The Invisible Proverb 

- Russell Hartenberger 

1. Okarche 

2. Drumtalker 

3. Darkwater 

4. Sky Ghost 

Moondog Suite - Louis Hardin 

aka Moondog arr. R. Hartenberger 

1. Viking 1 (arr. Tosoff/Hartenberger) 

2. Snakebite Rattle 

3. In Vienna 

4. Wind River Powwow 

5. Pastoral 

6. I’m This, I’m That 

Intermission 

Persian Songs - Reza Ghassemi 

arr. R. Hartenberger 

1. Madadi Ke Chasme Mastat 

(A Cup of Wine to My Rescue – from your 

intoxicating glance) 

2. Vajd, Suivi De Ta Dami Bissayam 

(A Moment of Ease) 

3. Chant and Setar 

4. Eishe Modam 

(Endless Bliss) 

5. Chant and Setar 

6. Selselehye Mooye Doost 

(Locks of the Beloved’s Hair) 

7. Az In Marg Matarsid Suivi De Bouye Sharab 

(Be Not Afraid of Death; Scent of Wine) 

The Invisible Proverb uses elements of talking drum styles and the rhythm 

patterns of West African drumming ensembles. Okarche and Darkwater use 

atenteben flute melodies from Ghana and elements of the horn ensembles of 

Central Africa. Sky Ghost is based on some of the musical material from Small Sky 

by Toru Takemitsu. The Small Sky melody appears in the first section of the piece. 

In the second section, the talking drum melodies are heard against a backdrop 

of African bell patterns played on a xylophone. There are, in essence, two bell 

patterns heard at once. The left hand plays a five-note pattern while the right hand 

“ghosts” a seven-note pattern against it. The third section reverses this procedure 

while the melody reappears. 

Moondog Suite 

Louis Hardin, aka Moondog (1916-1999), was a blind, eccentric composer who 

became known as “The Viking of 6th Avenue” because of the Viking outfit he 

wore while he stood on the corner of 53rd Street and 6th Avenue in New York 

City talking to passersby about his music, poetry, and philosophy. Moondog was 

befriended by conductor Arthur Rodzinski who invited him to attend rehearsals of 

the New York Philharmonic in Carnegie Hall. Moondog was also friends with Philip 

Glass and Steve Reich and is sometimes credited with having some influence 

on the minimalist music movement. His compositions are tonal, rhythmic, often 

percussive, and make frequent use of canons. 

Persian Songs 

These Persian Songs are arrangements of compositions by Reza Ghassemi, a 

well-known Iranian novelist, theatre director, and musician who now lives in Paris. 

The compositions were originally written for the Moshtaq Ensemble and recorded 

by Sepideh Raissadat and the ensemble on a CD titled “14 Cheerful Pieces.” 

Sepideh is a Persian classical singer and instrumentalist who was the first female 

vocalist to have a solo public performance in Iran after the 1979 revolution. She is 

currently a Ph.D. student in ethnomusicology at the University of Toronto. 

As a Persian classical vocalist and musician, Sepideh Raissadat began her recording career at the age of 18 with an album with Master 

Parviz Meshkatian (Konj-e Saburi, 1999). She was the first female vocalist to have a solo public performance in Iran after the 1979 revolution 

(Niavaran concert hall, 1999). As a child, she began studying Persian classical music with the famous Iranian Diva Parissa and later 

with renowned masters Parviz Meshkatian and Mohammad-Reza Lotfi. Sepideh obtained a B.A. degree in painting in Iran and holds a 

B.Mus degree from the University of Bologna and an MA in Ethnomusicology from the University of Toronto. Sepideh has had numerous 

performances in Europe and North America and has garnered many invitations by prestigious institutions, including UNESCO, the Vatican 

and international media such as BBC and RAI. She is currently continuing her doctoral studies in Ethnomusicology at the University of 

Toronto. 

After more than three decades of continuous collaboration, the four master percussionists of NEXUS—Bob Becker, Bill Cahn, Russell 

Hartenberger, and Garry Kvistad—are internationally revered, not just for their virtuosity both as individual and group performers, and their 

innovation and creativity, but for their ability to create extraordinary music out of just about anything: Swiss cowbells; Chinese drums; Tibetan 

prayer bowls; Middle Eastern hand drums and Southeast Asian water buffalo bells, to name just a few. They create a staggering array of 

sounds and tones out of the broadest array of percussion instruments imaginable. With a repertoire ranging from military music to the novelty 

ragtime of the 1920s, from the haunting rhythms of Africa to the ground-breaking compositions of Japanese master Toru Takemitsu, John 

Cage and Steve Reich, NEXUS delivers a stunningly virtuosic spectacle of sound, rhythm and movement. 

NEXUS will be performing in Steve Reich’s Drumming tomorrow night, 

Performed by: Sepideh Raissadat, voice; and the members of NEXUS: Bob Becker; Bill 

37 Cahn; Russell Hartenberger; and Garry Kvistad. Technical Direction by Aaron Mariash 

Saturday, June 14 at 8:00 pm in The Registry Theatre. 

38

RETHINK electroACOUSTIC: 

Charlotte Mundy 



10:00 pm 

Polka Dogs 



1:30 pm 

New York soprano Charlotte Mundy presents music for solo voice and electronics—the 

rarely performed and eerily beautiful Morton Feldman’s Three Voices. —Gregory Oh 

Three Voices (1982) —Morton Feldman (1926-1987) 

For live solo voice and two pre-recorded solo voices 

“In 1981, I wrote to Morty from Berlin, while in residence there, and asked him to write 

me an orchestra piece. He wrote back, explaining the problems with getting orchestral 

performances, and that he had something else in mind. Not long after, he sent me “Three 

Voices”. In the letter that accompanied it, dated April 23, 1982, he wrote: 

Dear Joan, 

Well here it is. I’m somewhat shocked with the more sensuous if not “gorgeous” sound of 

most of it - never expecting it would go that way. The words are from the two opening lines of 

“Wind”, a poem Frank O’Hara dedicated to me. I think Frank had a lot to do with some of the 

“gorgeous” aspect of the piece .... 

The bottom system is what you sing “live”, the other two are layered in - where the two 

loudspeakers should be placed I have no idea - it is also one of the very few pieces where I 

didn’t indicate a metronome marking - feeling that your tone and how you breath should pace 

it - it sounds good both “slow” as well as a “fast” slowness (whatever that means). 

Of course you can always return it for whatever reason. 

All love to you and Mort 

from the other, 

Morty 

- Joan La Barbara 

Kitchener native John Millard brings his quick, quirky and outrageously catchy 

compositions to the festival with his nouveau polka band. Their fun is infectious, 

you can dance your heart out and you will hear some of the most creative music 

the region has produced! —Gregory Oh 

The Polka Dogs are another kettle of fish, so to speak. Their unique mix of 

trombone, tuba, accordion, banjo, drums and that sultry voice of Kitchener 

native John Millard, will make your heart leap and your imagination soar. 

Join them for a raucous and joyous afternoon of music 

Charlotte Mundy is a vocalist with exceptional stylistic range, known to produce “strikingly clear tones” (Oberon’s Grove) and “tart and gangly 

lines, well sung” (The New York Times). Most recently she appeared in the Salt Bay Chamberfest performing a work for two sopranos and 

percussion by Swedish composer Karin Rehnqvist, and with New Chamber Ballet singing Morton Feldman’s Voice, Violin and Piano while 

simultaneously dancing a duet with ballerina Amber Neff. Other recent projects included singing in Cynthia Hopkins’ This Clement World at St. 

Ann’s Warehouse, in Howard Fishman’s The Mysterious Case of Connie Converse at Joe’s Pub, in the Qubit Nonference, and with ensembles 

such as The Yehudim, Roomful of Teeth, Ensemble sans maître, Contemporaneous, and TAK. She is one half of an electro-pop band called 

The Euphemisms with Rich Woodson. Mundy holds a Masters degree in Contemporary Performance from the Manhattan School of Music, 

where she studied with Lucy Shelton. 

The Polka Dogs consists of John Millard (banjo, vocals), Tiina Kiik 

(accordion), Colin Couch (tuba), Ambrose Pottie (drums), and Tom Walsh 

(trombone). The band was formed in 1987 as the pit band for a Toronto 

musical (Kensington Sons et Lumières). They play a type of polka music 

with a banjo. —Chip Renner 

39 40

Steve Reich: Drumming 



8:00 pm 

Steve Reich’s most important composition, performed by an extraordinary 

ensemble of twelve including three original members of Steve Reich and 

Musicians. — Gregory Oh 

While first playing the drums during the process of composition, I found myself sometimes singing 

with them, using my voice to imitate the sounds they made. I began to understand that this might 

also be possible with the marimbas and glockenspiels as well. Thus the basic assumption about 

the voices in Drumming was that they would not sing words, but would precisely imitate the sound 

of the instruments. The women’s voices sing patterns resulting from the combination of two or 

more marimbas playing the identical repeating pattern one of more quarter notes out of phase with 

each other. By exactly imitating the sound of the instruments, and by gradually fading the patterns 

in and out, the singers cause them to slowly rise to the surface of the music and then fade back 

into it, allowing the listener to hear these patterns, along with many others, actually sounding in the 

instruments. For the marimbas, the female voice was needed, using consonants like “b” and “d” with 

a more or less “u” (as in “you”) vowel sound. In the case of the glockenspiels, the extremely high 

range of the instrument precluded any use of the voice and necessitated whistling. Even this form 

of vocal production proved impossible when the instrument was played in its higher ranges, and 

this created the need for a more sophisticated form of whistle: the piccolo. In the last section of the 

piece these techniques are combined simultaneously with each imitating its particular instrument. 

The sections are joined together by the new instruments doubling the exact pattern of the instruments 

already playing. At the end of the drum section three drummers play the same pattern two quarter 

notes out of phase with each other. Three marimba players enter softly with the same pattern 

also played two quarter notes out of phase. The drummers gradually fade out so that the same 

rhythm and pitches are maintained with a gradual change of timbre. At the end of the marimba by 

three glockenspiels in their lowest range so that the process of maintaining rhythm and pitch while 

gradually changing timbre is repeated. The sections are not set off from each other by changes in 

key, the traditional means of gaining extended length in Western music. Drumming shows that it is 

possible to keep going in the same key for quite a while if there are instead considerable rhythmic 

developments together with occasional, but complete, changes of timbre to supply variety. 

For one year, between the fall of 1970 and the fall of 1971, I worked on 

what turned out to be the longest piece I have ever composed. Drumming 

lasts from 55 to 75 minutes (depending on the number of repeats played) 

and is divided into four parts that are performed without pause. The first 

part is for four parts that are performed without pause. The first part is for 

four pairs of tuned bongo drums, stand-mounted and played with sticks; 

the second, for three marimbas played by nine players together with two 

women’s voices; the third, or three glockenspiels played by four players 

together with whistling and piccolo; and the fourth section is for all these 

instruments and voices combined. — Steve Reich 

Performed by: Russell Hartenberger, Bob Becker, Bill Cahn, Garry Kvistad, 

Richard Burrows, Adam Campbell, Jamie Drake, Dan Morphy, Brennan 

Connelly, Gillian Stone, Amy Gottung, Laura Chambers 

I am often asked what influence my visit of Africa in summer of 1970 had on Drumming. The 

answer is confirmation. It confirmed my intuition that acoustic instruments could be used to produce 

music that was genuinely richer in sound than that produced with electronic instruments, as well 

as confirming my natural inclination towards percussion (I became a drummer at the age of 14). 

The transition from glockenspiels to the last section of the piece, for all instruments and voices 

combined, is made by a new musical process I call build-up and reduction. Drumming begins with 

two drummers building up the basic rhythmic pattern of the entire piece from a single drum beat, 

played in a cycle of twelve beats with rests on all the other beats. Gradually additional drumbeats 

are substituted for the rests, one at a time, until the pattern is completed. The reduction process is 

simply the reverse where rests are gradually substituted for the beats, one at a time, until only a 

section leads to a build-up for the drums, marimbas, and glockenspiels simultaneously. 

There is, then, only one basic rhythmic pattern for all of Drumming. This pattern undergoes changes 

of phase position, pitch, and timbre, but all the performers play this pattern, or some part of it, 

throughout the entire piece. — Steve Reich 

Instruments: 

3 marimbas, 4 pairs of bongos, 3 glockenspiels, 2 voices and a piccolo 

41 42

RADIO WONDERLAND 

+ Weird Canada 



10:00 pm 

Radio Wonderland is DJ meets mashup meets sonic art with a sound that 

ranges from Negativland to Techno. Radio Wonderland samples local radio on 

his ghetto blaster and manipulates it using a series of purpose-built controllers, 

including a steering wheel and retrofitted old shoes. Weird Canada, national 

leaders and progenitors of creative and independent artistic expression, will 

follow with a curated evening of undanceable music. —Gregory Oh 

When I started creating RADIO WONDERLAND my dream was to construct 

spontaneous collages from a random source and make them actually danceable, 

not merely about dance music. I take mass media, shred with precision, transform 

with basic music theory, and control with household objects. It’s a sort of alchemy 

I originally wasn’t sure could even work. When you dance, you prove that it can. 

Unlike Cage who challenged us to open our ears wide, so wide that all sound is 

heard as music, I might be more conventional: I take any sound, contain it, and 

funnel it down to the width of the average ear, making it easy to hear just how richly 

musical any sound can be. 

I really do walk on stage with absolutely nothing pre-recorded, grab bits of radio 

from my boombox, and build those bits into patterns with my own computer 

algorithms and improvising skills. I don’t know what’s coming, and everyone is 

in on the setup. The danger/risk of flubbing, or getting nothing but static makes 

the room electric. Every show is different, because the source material is always 

different. Using an unpredictable source keeps RADIO WONDERLAND honest 

and verifies my techniques—for if my algorithms-plus-improv are fit for random 

radio, they’re fit indeed, primal and essential. — Joshawa Fried 

RADIO WONDERLAND is composer-performer Joshua Fried. Fried’s work spans experimental music, DJ culture, and live art. He has 

remixed They Might Be Giants, drummed on electric shoes, and put headphones on NYC’s most mercurial stars. Based in New York City, 

Fried has performed all around the world. His production credits include Chaka Khan, Ofra Haza, and avant drone-master David First. 

Fried’s awards include two New York Foundation for the Arts (NYFA) Fellowships, a National Endowment for the Arts (NEA) Fellowship, 

and residencies at MacDowell, Yaddo and Bellagio. Fried’s recordings have been released by free103point9, Trace Label, Hello Recording 

Club, Harvestworks and Atlantic Records. He is the youngest composer profiled in Schirmer Books’ American Music In the 20th Century. 

Fried emerged from New York’s downtown experimental music and East Village performance art scenes of the 1980s. He teaches music 

technology at NYU. 

Wyrd Arts Initiatives is a nonprofit dedicated to encouraging, documenting, and connecting creative expression across Canada, with a focus 

on do-it-yourself and emerging communities. Our website, weirdcanada.com, has been awarded “Best Music Website in Canada” by CBC R3, 

and is an advertisement-free, bilingual exploration of Canadian emerging music, literature, spaces, ideas, and art. 

In the last few years they have incorporated the organization as a national nonprofit, transitioned the site to bilingualism, obtained a 50K grant 

to build a nationwide store and distribution service, recruited over 350 new members (from Victoria to Nunavut), and sparked dialogue and 

change relating to organizational openness, accessibility, and inclusivity. 

43 44

THANK 

YOU 

TO OUR 

BOARD& 

BOARD 

MEMBERS 

VOLUNTEERS 

Anne-Marie 

Donovan, Chair 

Micheline Roi 

Mark Connolly 

James Harley 

Peter Hatch 

Geoff Hahn 

Colin Labadie 

STAFF 

Gregory Oh, 

Artistic Director 

Cheryl Ewing, 

General Manager 

Richard Burrows, 

Director of Outreach 

Allan Hoch, 

Technical Director 

Debbie Hind, 

Volunteer Coordinator 

Amanda Lowry, 

Box Office Manager 

VOLUNTEERS 

Alexander Reed 

Bonnie Sommers 

Caleb Bauman 

Canmanie 

Ponnambalam 

Chris Hussey 

Elijah Johnson 

Elijah Sommers 

Erica Shelley 

Irene Davidova 

Miriam Hewson 

Jackie LaRonde 

Marijana Vorkapic 

Marion Grousopoulos 

Marianne Leach Hoffer 

Samuel Morin 

Sebastian Sullivan 

Susan Draus 

Vidit Aneja 

Ana Sokolovic: 

LOVE SONGS 

Kristin Hoff 



1:30 pm 

a magnificent work . . .Sokolovic breathes new life into Canadian music theatre/opera” 

- The Globe and Mail 

Kristin Hoff, a rising star, recently made her Carnegie Hall debut with James Levine. 

She will perform a rarity – an opera one-hander, by Ana Sokolovic, one of Canada’s most 

celebrated composers. 

Love Songs is an opera-for-one, a spectacularly virtuosic tour-de-force for the singer. 

Drawing on love poems by Michael Hartnett, Paul Éluard, Émile Nelligan, Vasko Popa, 

Miroslav Antic, Laza Kostic, Elizabeth Barrett Browning, Shakespeare, Catullus, Walt 

Whitman and Amarusataka, Sokolovic carries us through romantic love, love for one’s 

mother, love between children, love for a daughter, love shattered by grief and love for a lost 

brother. Interspersed with the love songs are four movements that Sokolovic calls ‘doves’, 

in which the singer sings, whispers or speaks the phrase ‘I love you’ in 100 languages. 

Queen of Puddings Music Theatre created and premiered Love Songs in 2008. Since then 

the show has toured to Montreal, Paris, the prestigious Holland Festival, and the Zagreb 

International Contemporary Music Biennale where it created a sensation and was declared 

best production. 

Kristin Hoff recently debuted at Carnegie Hall with James Levine and the Met Chamber Ensemble. She has also performed as a soloist with 

the Boston Pops Orchestra, the Mark Morris Dance Company, the Tanglewood Orchestra, among others. Kristin was chosen as a Caramoor 

Vocal Rising Star for 2012 and is a recent 1st prize-winner in the NYCO Mozart Vocal Competition. Kristin’s many operatic experiences 

include Dryade at Tanglewood, Mrs. Herring at the Green Mountain Opera Festival, and Carmen with Jeunesses Musicales du Canada. 

This season Kristin joined Vancouver Opera as a young artist where she sang Tebaldo and covered Eboli in Don Carlo, sang Iphigénie in 

an opera excerpts concert and understudied the roles of Nancy, Mrs. Herring and Donna Elvira. Future appearances include concerts with 

the Vancouver Island Symphony Orchestra, Palm Court Light Orchestra, concerts of Messiaen’s Harawi and Ana Sokolovic’s solo a cappella 

opera Love Songs. 

Ana Sokolovic’s repertoire includes works for soloists, voice, orchestra and several pieces of chamber music. They have been performed 

all over her native Canada, and as far away as France, Germany, Italy, Iceland, Great Britain, USA, India and Serbia. Her many awards 

include three wins in SOCAN’s Competition for Young Composers, the Opus Prize, presented by the Quebec Music Council for composer of 

the year, and the 2009 National Arts Centre Award which includes residencies and commissions for the NAC Orchestra for the next 5 years. 

And all the others who joined us after we went to print! 

We can’t do this without you. 

45 46

Bicycle Opera Project 



3:30 pm 

Larissa Koniuk leads this wonderful project - an opera company that tours 

Canada on bicycles, and presents scenes from new Canadian operas. 

Performed by Wesley Shen, Music Director; Geoffrey Sirett, Baritone; Will 

Reid, Tenor; Stephanie Tritchew, Mezzo; Alexandra Beley, mezzo; Larissa 

Koniuk, Artistic Director, and soprano; Leslie Ting, violin; Katherine 

Watson, flute. 

Rosa by James Rolfe and Camyar Chai: This one-act opera, by one of 

Canada’s most prolific and acclaimed operatic composers, is about a 

couple who tries to salvage a broken marriage after the loss of their young 

daughter, Rosa. 

A little rain must fall by Chris Thornborrow and David Yee was written for 

Tapestry Opera’s LibLab. This dark and twisted comedic work is about 

Rain’s girlfriend, Simone, who may or may not be a serial killer. An instant 

hit at Tapestry’s Opera Briefs, Bicycle Opera was quick to snatch this 

piece up! 

Bianchi: A Bicycle Opera is an original miniature opera by Tobin Stokes 

written especially for the Bicycle Opera Project. Two characters race after 

a third, gearing up to pedal their way into her heart. 

(What rhymes with) Azimuth by Ivan Barbotin and Liza Balkan is another 

work created through Tapestry Opera’s LibLab. Set in Toronto’s distillery 

district, two strangers find a common point of interest through their 

observation of the universe: the immensity of the galaxies narrows to the 

discovery of a new pair of eyes, and the pursuit of a yet unexplored love. 

Staged works from 2013 summer tour: 

Cake — Monica Pearce 

Rosa — James Rolfe and Camyar Chai 

Little Miss All Canadian Semi Finals 

— Lembit Beecher and Liza Balkan 

Preview of 2014 summer tour works in concert: 

A little rain must fall — Chris Thornborrow and David Yee 

(What rhymes with) Azimth — Ivan Barbotin and Liza Balkan 

Bianchi: A five minute bicycle opera — Tobin Stokes 

We work to demythologize the idea of “the opera singer” (we get dirty 

too!) and operatic traditions (who says we can’t cycle), and provide a 

car-free alternative to touring. “As a touring company that gets around on 

two wheels, the Bicycle Opera Project is all about essentials — getting 

maximum dramatic impact with a minimum of means.” - John Terauds 

The Bicycle Opera Project brings Canadian contemporary opera to communities across Ontario by bicycle! We bring Canadian music to 

people who might otherwise have little opportunity to hear it, and work to close the distance between audiences and opera singers through 

performance in intimate spaces. The project focuses on operatic repertoire that deals with contemporary issues and is sung in English and 

French so that audiences can more readily relate to the material. 

In 2012, we launched the project by cycling to Peterborough, Port Hope, Belleville, Prince Edward County, Kingston, and Gananoque, 

bringing along two trailers full of our props, costumes, and instruments. In 2013, our tour brought us west of Toronto to Hamilton, Guelph, 

Elora, Fergus, Kitchener, Waterloo, Bayfield, London and Stratford Summer Music Festival. 

47 48

Essential Opera: 

New Works Triple-Bill 



7:30 pm 

Etiquette —Composed by Monica Pearce; Libretto by John Terauds 

Pitting politeness and perfection against the harsher facts of life. Etiquette is a 

character study of Emily Post, seen through the eyes of the acerbic, modern 

Dorothy Parker and supported by the traditional strength of Lady Nancy Astor. 

Presented in concert format with piano and clarinet. 

Regina —Composed by Elisha Denburg; Libretto by Maya Rabinovitch 

Traces the relatively recent discovery of the story of Regina Jonas, the first woman 

to be ordained a rabbi – in 1935 Berlin. Regina’s beautiful score takes place in two 

timelines - one as Regina seeks her life’s goal of ordination and helping others, 

then is taken away to a concentration camp, and one as student Anna unearths 

Regina’s records in a quest for redemption. 

Presented in concert format with piano, accordion, violin and clarinet. 

Heather (CINDY + MINDY = BFs 4EVER) —Composed by Christopher 

Thornborrow; Libretto by Julie Tepperman 

A hard-hitting introduction to the vicious reality of online bullying between girls 

and young women. CINDY + MINDY is a “before” snapshot, shining a light on the 

casually callous attitudes that lead to cruelty. 

Presented in concert format with piano and multimedia. 

**WARNING: Strong language** 

Performed by Musical Team: Cheryl Duvall, Music director; David Passmore, 

Conductor; Anthony Thompson, clarinet; Branko Dzinovic, accordion; Ilana 

Waniuk, violin 

Essential Opera was founded in the fall of 2010 by sopranos Erin Bardua and Maureen Batt to give audiences and singers a chance to 

experience opera at its most essential. We’ve always believed that includes new music and new innovations. 

They premiered these three new works by young Toronto composers on April 5, 2014, and are pleased and proud to be closing their fourth 

season with an additional performance of all three, with a cast of talented and passionate singers, a terrific ensemble, and an expert music 

Cast: Erin Bardua, soprano; Maureen Batt, soprano; Julia Morgan, mezzo; Keith 

director. 

O’Brien, baritone; Jesse Clark, baritone 

49 Dramaturge: Markus Howard 

50

Sound Installations 

Co-presented with THEMUSEUM. 

Thursday, June 5 to Sunday June 15, 2014 

THEMUSEUM 

David Jensenius: 

The Elora Piano 

May 17 to July 13, 2014 

Co-Presented with Elora Centre for the Arts, Elora 

Opening Reception: Saturday, May 24, 2pm - 4pm 

Open Ears and THEMUSEUM present three wonderfully hands on sound 

creation installations for you to create with, interact with, and explore. 

Wednesday ..................10am - 9pm 

Thursday ......................10am - 4pm 

Friday ...........................10am - 4pm 

Saturday........................10am - 5pm 

Sunday .........................10am - 5pm 

As the building moves, creaks and groans, and is activated by those who 

use it, the sounds are transformed into a score continuously played by 

a grand piano. The Elora Piano enables all who wander into the Elora 

Centre for the Arts to experience and effect the building’s composition. 

During his residency at ECFTA Jensenius explored the building (formerly 

the Elora Public School) and the various groups, organizations, artists, 

children and adults that occupy the physical, intellectual and energetic 

space of ECFTA. This residency set the stage for Jensenius’ solo exhibition 

The Elora Piano, an audio installation transforming the activity within the 

building into a live, ongoing, reactionary composition. 

Artist Talk 

Saturday, June 7, 2014 @ THE MUSEUM 2:30 pm 

Meet the artists behind our three Open Ears installations and listen to 

them speak about their personal sound worlds. 

A recording of the sound will also be made available through our website. 

David is blogging on his experiences while in Elora. Connect with The 

Elora Piano on Tumbler and Twitter. 

Curated by Tarin Hughes. 

David Jensenius is a composer who utilizes collage, phonography and electronics to create sonically challenging 

listening experiences. David is a member of SPURSE, a research and design collaborative that catalyzes critical issues 

into collective action, and a founder of the improvisational group Polish Club. Through playful transformation of conceptual 

and material systems, David develops problems worth having, engaging across scales and complexities both human and 

nonhuman. David’s work has been exhibited internationally including New York (Issue Project Room, Union Square 

Farmers Market, and Columbia University), Kansas City (Grand Arts), Cleveland (Inginuity Festival), London (Reonance 

FM), Poland (Galeria Arsenal Bialystok). Recently in Ontario, SPURSE created a mobile sound installation app for 

CAFKA 2011 called MATR. www.david.jensenius.org 

51 9 

52

The TreeOrgan was a collaboration between Max Streicher and Garnet Willis in 2012. Rather 

than simply adding speakers, the artists chose to try to make the air in piece power the 

sound organically. It quickly became apparent that the traditional pipe organ offered the most 

suitable instrumental technology to draw upon. The piece has 5 separate inflatable bodies 

with blowers inside them supplying air to organ pipes that then let that air back out again – 

controlled by solenoid valves cued by a computer. Each opening valve creates a leak and 

escaping air energizes pipe resonance, creating sound. The entire piece is then playable 

via midi keyboard. For previous installs, the Goldberg Variations by Bach were being played 

back via midi sequencer – having been previously played into the system by Garnet and 

edited to play over a range of Tempi. However the musical choice was discretionary, and 

music of any style could be utilized (or composed) changing the aesthetic experience of the 

piece. 

Max Streicher—Artist Statement 

Inflatables have had an important place in my work since 1989. In most of these sculptures 

and installations I have used industrial fans and simple valve mechanisms to animate sewn 

forms with lifelike gestures. Most of these works have been made of lightweight and papery 

fabrics such as Tyvek or nylon spinnaker. The weightlessness of these materials allows them 

to respond with surprising subtlety to the action of air within and around them. 

Generally inflatables are an expression of naive optimism. In an art context they signal 

popular culture, anti-art and irony. I play with and against these expectations. The movement 

of air within my forms recalls our own sensation of breath—of breathlessness, of holding 

our breath, etc. My work exists in moments of kinesthesia, when the movement of air within 

a form causes something to stir within the physical being of the viewer. This response is to 

more than just the obvious action of inflation and the robust occupation of space. What I feel 

is even more moving is the recognition of deflation, shrinking, vulnerability, silence and dying. 

My choice of extremely light and papery materials enhances this sense of absence and 

transience, of the nearly not there at all. Thus, the awakening comes more in our awareness 

of the tenuousness and fleeting nature of our existence. My work with the inflatable medium 

is about moving the viewer from a playful and ironic headspace toward a physical connection 

to his or her most vital forces. 

TreeOrgan 

Imagine an everyday organ. 

Then turn it inside out, upside down and filled with sensors and solenoids. 

A huge air-filled sculpture with organ pipes sticking out like a porcupine 

creating an incredible visual and sound experience. 

Max Streicher is a sculptor and installation artist from Alberta, now residing in Toronto. Since 1989 he has worked extensively with inflatable 

technology in kinetic sculptures and installation works. He has shown widely across Canada in solo exhibitions in museums such as The 

Art Gallery of Ontario, Edmonton Art Gallery and the Mendel Art Gallery in Saskatoon. He has completed several international site-related 

projects in such places as Taichung, Taiwan, Erfurt, Germany and Prague, Czech Republic. His inflatable works are in the collections of 

museums such as the ESSL Museum, Vienna, The Hara Museum, Tokyo and Beaverbrook Art Gallery, Fredericton. He was a founding 

member of the Nethermind collective of artists who organized four large exhibitions in alternative spaces in Toronto between 1991 and 1995. 

Garnet Willis is a Canadian composer, sculptor, audio-engineer, and instrument builder. He combines his disparate skills as artist, wood 

and metal - worker, engineer, designer and electronics geek to produce multivariate artworks – all of which orbit around sound in some form 

or other. He has written/built many commissioned works including the “flux” series of self-playing electromagnetic sound sculptures. He 

has garnered prestigious international awards for his compositions and has had his work exhibited and performed in the USA, UK, France, 

Germany, Mexico, the Netherlands, and Colombia. 

353 –Gregory Oh 

544

Convergence Machine 

If I’m walking along a street with someone whose legs are longer than 

mine, we will not often take our steps at the same time. Our legs need to 

move at different speeds so we can walk side by side. As we walk however, 

occasionally both our right legs will step down at the same instant. Our 

movements become momentarily aligned. 

Sandor Ajzenstat—Artist Statement 

“When I was young, my family and I would often visit the grandparents 

by bus. On rainy days, my attention would be drawn to the windshield 

wipers. On buses, each wiper is on a separate motor and they often 

don’t move together in synchronization. As a boy I was curious about the 

relationship between asynchronously moving objects. I loved to watch 

the wipers, sometimes seeming to be caught up with one another, and at 

other times seeming to by working independently. This fascination forms 

the conceptual basis behind my work.” 

Sandor Ajzenstat studied at the Ontario College of Art (1979–84) under Udo Kasemets, Norman White and Nobuo Kubota, developing an 

interest in sound sculpture and computer technology in art. He has exhibited works in Ontario, Quebec, and Newfoundland, as well as in 

New York City and Vienna. He has designed sound sculpture for radio, recorded and broadcast by CBC, 94.1 FM. His works have been 

written up in The Globe & Mail, Vanguard Magazine, Ear Magazine, Eye Magazine, Canadian Art Magazine, and Musicworks The Journal 

of Sound Exploration. 

Convergence Machine explores this idea of momentary alignment. It uses 

patterns of lights cycling at different speeds. The piece counts down, getting 

to zero at the moment of alignment. By pushing a button and turning 

a dial, you can adjust when the alignment will occur. 

Accreditation – Convergence Machine 

Sandor Ajzenstat (2005) 

fibreglass, plexiglas, vinyl, electronics. 29” X 29” X 36” 

Voice by Deborah Moss 

The term “convergence” in the title suggests that while the light patterns 

aren’t in phase with each other, they’re always on a trajectory toward the 

point in time when they’ll be in momentary alignment. It’s as though the 

This work was made possible with support from the Ontario Arts Council’s Chalmers Arts Fellowship, and from the 

patterns are always converging toward these moments. 

Government of Lower Austria Department for Culture & Science. 

55 566 

Sandor Ajzenstat

Intonarumori 

Noise Machines 

PLUCK, PEDAL, WHIP and DRUM your own composition of sounds in this 

fun installation suitable for all ages. –Gregory Oh 

In 1913, futurist painter and composer Luigi Russolo wrote L’arte dei 

Rumori, or “The Art of Noises”. Russolo built a famous set of mysterious 

noise machines, called Intonarumori to recreate the sounds of the Industrial 

Revolution. In honour of the 100 year anniversary of the The Art of Noises, 

urbanSTEW built their own futurist noise machines to recreate the sounds 

of our own Digital Revolution! This amazing project won the grand prize 

in the first Make Magazine Raspberry Pi contest in 2013, for artists and 

makers using the clever computer contraption known as Raspberry Pi. 

Project Inspiration: A Brief History of Intonarumori 

The Intonarumori came from a futurist art movement fathered by 

experimental painter and composer Luigi Russolo. Russolo was considered 

to be the first “noise artist.” In 1913 he wrote L’Arte dei Rumori, translated 

as The Art of Noises. In this Russolo stated that the industrial revolution 

had given modern men a greater capacity to appreciate more complex 

sounds. He found traditional melodic music confining and envisioned 

noise music as its future replacement. Russolo’s Art of Noises classified 

“noise-sound” into six general groups: 

Russolo built noise machines to recreate the sounds of the Industrial 

Revolution, so in honor of the 100 year anniversary of The Art of 

Noises, urbanSTEW built noise machines to recreate the sounds of our 

current Digital Revolution. The final installation is a set of six machines, 

one for each of the classified “noise-sounds” found in Russolo’s 

manifesto. By playing with simple buttons, cranks, and levers users can 

create and manipulate sounds that are a familiar to our current digital 

soundscape. Our six boxes are called: Bass Box, Bike Box, Blender 

Box, IR Drum Box, Theremin Box and Water Box. 

ur•ban•STEW [ur-buhn stoo] 

noun 

1. Safe Terrain for Experimental Work 

2. urbanSTEW is an arts collective dedicated to inspiring and expanding the relevance of digital arts in the community. Our commitment to 

education, artistic practice, and creative tool development grows out of immediate public needs and interests. We are passionate about 

helping people and engaging audiences through participation. We are dedicated to sharing our skills and knowledge with all who are 

interested. urbanSTEW.org 

3. urbanSTEW makes digital art, teaches people to make digital art and develops tools to create art. 

Can be confused with: rural soup, suburban porridge, urban,urbane recipes. 

• Roars 

• Whistles 

• Whispers 

• Screeches 

• Bangs 

• Voices of animals and people 

Intonarumori machines were designed to recreate the industrials sounds 

of the early 20th century. Shaped like a box with a speaker on the front 

face, performers could generate sounds by manipulating levers, knobs, 

and buttons. Futurist composers created symphonies for the machines, 

although early performances were often met with disapproval and even 

fist fights. Since the Italian Futurist movement, many people have created 

their own Intonarumori machines, often with an open or translucent side 

57 so that the internal workings of the device are visible. 

58

of personal possessions along King Street from Kitchener City Hall to Waterloo 

Public Square. Video showing elements of the sculptures will be presented on The 

Cube, Kitchener City Hall. May 31 to June 29, 9:00 PM to 11:00 PM, Kitchener 

City Hall - The Cube, 200 King St W, Kitchener, ON N2G 4G7. • Nova Jiang (Los 

Angeles), Ideogenetic Machine is a digital interactive installation that produces live 

comic book storyboarding. The software created by the artist incorporates portraits 

of the audience into an algorithmically generated comic book. May 31 to June 29. 

Locations to be announced. Please check the CAFKA website for details. 

It should always 

be this way 

May 31 - June 29, 2014 

Exhibition Projects 

Dagmara Genda (Guelph, ON), a really really big doodle! is a giant doodle printed 

on removable adhesive vinyl and installed on the windows of the Charles & Benton 

parkade in Kitchener. The inspiration for the doodle is drawn from the surrounding 

environment of the parkade. May 31 to June 29, Charles & Benton Street Parking 

Garage, 4 Charles St E, Kitchener, ON N2G 1V8. 

Jefferson Campbell-Cooper (Hillsburg, ON), Constricycles two tractor trailer 

replicas (a dumptruck and a front-end loader) constructed from salvaged bicycle 

parts. Vehicles are operated by pedal power to move modest amount of materials. 

On June 21, the artist will be animating the vehicles at Kitchener City Hall Civic 

Square and along King Street. May 31 to June 29, Kitchener City Hall, 200 King St 

W, Kitchener, ON N2G 4G7. 

Igloo: Bruno Martelli and Ruth Gibson (London, UK), In Search of Abandoned is 

an interactive computer generated world that allows viewers to view and experience 

a non-place nestled amongst the archipelago of the Arctic Circle. The work will be 

presented in the Communitech Hub’s Interactive Virtual Environment. May 31 to 

June 29, The Tannery, Communitech Hub, 151 Charles St W, Kitchener, ON N2G 

1H6. Please check the CAFKA website for times and dates open to the public. 

Laura Moore (Toronto), One Man’s Junk Three limestone computer components 

chiseled from limestone at a 1:1 scale. May 31 to June 29, Near The Firkin at the 

Tannery, 151 Charles St W, Kitchener, ON N2G 1H6. 

Steve Lambert (New York), Public Forum is a retro-inspired commercial sign that 

will display statements from members of the community; passerbys will be invited 

to vote whether statements are true or false. May 31 to June 29, Kitchener City 

Hall, 2nd floor, 200 King St W, Kitchener, ON N2G 4G7. 

Sara Graham (Vancouver), Pype Supersystem is three yellow pipe sculptures 

installed around Kitchener and Waterloo, made with the assistance of City of 

Kitchener hydro and gas department. May 31 to June 29, Waterloo Civic Square, 

Tannery Communitech Hub, and City of Kitchener sidewalk planter; King St. W and 

Water St, The Tannery, Communitech Hub, Atrium - 151 Charles St W, Kitchener, 

ON N2G 1H6; Waterloo Civic Square – 75 King St S, Waterloo, ON, N2T 2Z7; 

(TBD: King St W and Water St S, Kitchener, ON). 

Robert Hengeveld (Toronto), Ssspun is a rotating deciduous tree installed in the 

park. May 31 to June 29, Waterloo Park - Along train tracks near petting zoo, 50 

Young Street West, Waterloo, ON N2L 2Z4. 

Ann Marie Hadcock (Wiarton, ON), Dream of an Oasis A dead tree covered in 

chenille to create the illusion of a snow covered tree in June. May 31 to June 29, 

Victoria Park - Jubilee Dr. next to the Boathouse, 57 Jubilee Dr, Kitchener, ON 

N2G 7T6. Produced by CAFKA with the support of JCA Trees Inc. 

Darren Copeland & Andreas Kahre (Toronto and Vancouver), SITCOM is an 

interactive bench that plays locally recorded and edited sounds from nature and 

human interactions. Sounds are triggered by sitting on the surface of the bench. 

May 31 to June 29, Victoria Park Gazebo, Roos Island, Jubilee Dr, Kitchener, ON 

N2G 1J2. • Samuel Roy-Bois (Vancouver), The Tower is a car collision with a 21ft 

high rise building model. May 31 to June 29, Centre in the Square, 101 Queen St 

N, Kitchener, ON N2H 6P7. 

Mary Mattingly (New York), House and Universe: Sphere and Cube is two 

sculptures - a large sphere and a large cube, consisting of the artist’s personal 

possessions bound together with rope. On June 21st the artist will roll her boulder 

59 60

Don Miller (Shelburne, ON), Saturn and Cronus is a transformation of two 

abandoned houses on David Street in downtown Kitchener. May 31 to June 29, 

Victoria Park, 51-53 David Street, Kitchener, N2G 1K2. 

Seripop: Yannick Desranleau and Chloe Lum (Montreal), Exegi monumentum 

aere perennius is a large immersive paper installation that responds to existing 

architecture and public spaces within Kitchener. May 31 to June 29, Victoria Park 

Clock Tower, 53 Gaukel St, Kitchener, ON N2G 4P3. 

THANK YOU TO OUR 

SUPPORTERS 

José Luis Torres (Quebec City), La colección is a large scale, community driven 

installation. Developed for Cambridge this public artwork is comprised of found 

and donated personal efects reassembled into a monumental site specific collage 

of a collective memory. May 31 to through the summer. Produced by Cambridge 

Galleries/Ideas Exchange. 

an Ontario government agency 

un organisme du gouvernement de l’Ontario 

Sarah Peebles, Rebecca Diederichs (Toronto), Encounter: Rebecca Diederichs 

draws inspiration from the Australian Bower Bird, creating delicate sculptures that 

invite unexpected encounters between human cultivation and wilderness. Sarah 

Peebles’ Audio Bee Cabinet integrates with the natural environment as a home 

for local pollinating insects. Curated by Sally McKay. Produced by Cambridge 

Sculpture Garden – 47 Grand Ave S (between Main St and Concession/Cedar St), 

Cambridge, ON N1S 2L7), May 31 to Spring 2015. 

Dylan Riebling (Toronto), CITY HALL is a video projection on the Cube, high above 

the Kitchener City Hall. In the projection a familiar image stands prominently and 

gradually disappears. The process of erosion evokes the past - if not a memory. 

May 31 to June 29, 9:00 PM to 11:00 PM, Kitchener City Hall - The Cube, 200 King 

St W, Kitchener, ON N2G 4G7. 

SWINTAK (Toronto), The Gallows is a performance where the artist will sleep and 

do bedtime activities during the day in public spaces on a roaming bed that will roll 

and float throughout Kitchener and Waterloo. June 5 to June 29, Kitchener City 

Hall, Victoria Park, Waterloo Town Square, Kitchener Market Square, Kitchener 

City Hall - 200 King St W, Kitchener, ON N2G 4G7. Victoria Park - 200 King St W, 

Kitchener, ON N2G 4G7, Waterloo Town Square - 75 King St S, Waterloo, ON, 

N2T 2Z7, Kitchener Market Square – 25 Frederick St, Kitchener, ON. 

Robert Seidel (Berlin), Advection June 21, 9:00 PM to 2:00:00, Waterloo Park - 

Silver Lake, 50 Young Street West, Waterloo, ON N2L 2Z4. Produced by CAFKA 

and City of Waterloo. 

Cycle CAFKA June 21, 5:00 PM to 9:00 PM 

Kitchener City Hall, 200 King St W, Kitchener, ON N2G 4G7. 

Also thank you to: 

Andrew O’Connor 

Adam Thornton 

Brian Scott 

Building Waterloo Region 

CAFKA 

Createscape 

DaCapo Chamber Choir 

Don Bourgeois 

Elora Centre for the Arts 

Gord Hatt 

Heather Sinclair 

Hilary Abel 

Karie Liao 

KWMC 

Mary Misner 

Nancy Barbosa Alaimo 

Ontario Seed Home Hardware 

Quartetfest 

Rick Haldenby 

THEMUSEUM 

Wilfrid Laurier Music Faculty 

Our funders and donors: 

The City of Waterloo 

Ontario Seed Home Hardware 

Walper Hotel 

Waterloo Regional Arts Fund 

Anonymous 

Cheryl A Ewing Consulting 

Edward LaMantia Co-op 

Peter Hatch 

James Harley 

Roger D. Moore (FAWN Opera) 

Join CAFKA cyclists for a tour of the installations and events taking place in 

61 

Kitchener and Waterloo during Summer Lights. 

62

OPENEARS.CA

Open Ears 2014 Program

Create successful ePaper yourself

Delete template?

Save as template?