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the most successful new work, I believe, was Freedman's moving<br />
new string quartet, Phoenix.<br />
But if the concert was rather uneven, the post-concert reception<br />
was an unqualified success: a festive birthday celebration with<br />
two kinds of cake and a merciful absence of speeches. The "usual<br />
suspects" were in attendance, but also a few notables from beyond<br />
the confines of the new-music world: writer/producer Mavor<br />
Moore and visual artist Charles Pachter, whose recent portrait of<br />
the three featured composers was on display. I chatted with a<br />
composer who is currently writing an opera about a Jewish artist<br />
killed in the Holocaust. And I joined a group of people discussing<br />
the politics of the complimentary ticket list. (It turned out that only<br />
one person in that small group had actually purchased a ticket for<br />
this concert - the others had managed to get themselves invited.)<br />
HSBC ~x~<br />
2002 1<strong>2003</strong> SEASON<br />
lnternationa1oPOcaCRecitals<br />
Attending a contemporary music concert is much like panning for<br />
gold: listeners should be prepared for lots of mud and just a little<br />
gold. For the adventurous, the nuggets of gold make the whole<br />
experience worthwhile: new-music devotee and arts patron Roger<br />
Moore - a presence at almost every new-music concert in the city<br />
- seems to fall into this category. But even on those dark nights<br />
when a concert offers only a few bleak hours of luckless<br />
prospecting, there's always a chance that a good post-concert<br />
reception with the colourful new-music cognoscenti will raise the<br />
spirits ancJ make the evening·worthwhile.<br />
Colin Eatock (eatock@thewholenote.com) is a composer and<br />
writer in Toronto who contributes to the Globe and Mail<br />
and other publications. His T. 0. Musical Diary is a<br />
regular monthly feature of WholeNote magazine.<br />
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