New Music Festival - Winnipeg Symphony Orchestra

More documents

Recommendations

Info

WINNIPEG SYMPHONY ORCHESTRA GREETINGS Vincent Ho, Composer-in-Residence 4 OVERTURE I January – February 2012 Welcome to another exciting New Music Festival! This year we take you on a musical journey to the Nordic regions. Throughout the week you will hear many new works by some of Iceland’s most celebrated composers, including Kjartan Sveinsson (of Sigur Rós), Daníel Bjarnason, Valgeir Sigurdsson, Atli Heimir Sveinsson and Jóhann Jóhannsson. You will experience works from a nation few ever get to hear outside of Iceland. As our distinguished guest, we are proud to have with us one of the world’s foremost composers Kaija Saariaho. Returning to our event this year is one Canada’s greatest performers, cellist Shauna Rolston, featured in two special performances on her carbon-fiber cello: the world premiere of my own cello concerto City Suites, and the North American premiere of Daníel Bjarnason’s Bow to String (for cello and orchestra). Also featured are the works of some of the most celebrated composers of today: Alexina Louie, Tim Hecker and Nico Muhly. Finally, international dance sensation La La La Human Steps makes their New Music Festival debut here with their latest show, New Work, featuring the music of Gavin Bryars. Grab your tickets and join us in another week long musical extravaganza as we bring you 2012’s New Music Festival: The Nordic Edition. Vincent Ho, DMA
NEW MUSIC FESTIVAL GREETINGS Matthew Patton, Artistic Associate I first heard Sigur Rós over ten years ago (in 2000) with their album Agaetis Byrjun. Actually, I heard a live version of Fyrsta, which never made that record and was recorded at Gaukur á Stöng, the now defunct club on the corner of Tryggvagata in Reykjavík. Listening, I felt I had been searching for this music my whole life and I knew it within a few seconds. A music where beauty and simplicity co-existed with absence and imperfection and an ecstatic emotional quality swept over everything and absolutely nothing else in the world mattered or ever mattered. I started going to Iceland every year, spending a few months there each time at a loft in Kópavogur. I met with various musicians that I admired regarding various music projects I was developing with Guy Maddin and others, hoping somebody might be interested. I went to Sigur Ros' Sundlaugin recording studio in Mosfellsbaer to meet with engineer Biggi as he told me about his ocean canoe. I went to Sigur Rós' tour rehearsals at the Austerbaer, the old cinema on Snorribraut with John and Dean in again from London to help with everything while Jonsi, Kjartan Sveinsson and Solrun set off the confetti machine at the end of rehearsal. A few hours later, at 3:46 pm, walking back on Laugevegur, I experienced a 6.3 earthquake while at Tíu Dropar, which cut the road between Hveragerdi and Selfoss. I went to the Greenhouse studio near Mjodd to have some tea and talk about marionettes with Valgeir Sigurdsson, to speak with Daniel Bjarnason about not reading Stanislaw Lem while he, Daniel, was making new instrumental arrangements for a Bedroom Community concert in Moscow, and while engineer Paul Evans fried some bacon for the soup he was making. I sat across the table from Ben Frost while he told me about his new "Solaris" project with the Krakow Sinfonietta, which he and Daniel composed using Melodyne software programmed in a war against itself. I met with Jóhann Jóhannsson at Kaffitar while he extolled the virtues of our mutual heroes of failed science Nikola Tesla and David Reimer. And there were other artists like Nico Muhly and Tim Hecker who I spoke with about "The Rings of Saturn" by author W.G. Sebald during a break at soundcheck near a graveyard of overturned chairs. Tim knew all of Sebald's work. None of this has anything at all to do with music and that's precisely the point I wish to make: interesting people make interesting music. There are big problems in the classical music world, at least what is left of it. A paradigm shift is taking place. These are a few of the composers that are bringing it back to life and giving it a deeper, more profound emotional narrative. People forget that music is first and foremost an experience - there is never anything to "get." Stop reading now and go and listen. Matthew Patton January – February 2012 I OVERTURE 5
Page 1: WINNIPEG SYMPHONY ORCHESTRA January
Page 4 and 5: GOVERNMENT GREETINGS Minister of Ca
Page 8 and 9: CONDUCTORS & COMPOSERS Alexander Mi
Page 10 and 11: PRE-CONCERT EVENTS & PERFORMANCES A
Page 12 and 13: POST-CONCERT EVENTS & PERFORMANCES
Page 14 and 15: NMF ESSAY - SIGFRÍDUR BJÖRNSDÓTT
Page 17 and 18: CONCERT TWO Sunday, January 29 I 7:
Page 19 and 20: CONCERT THREE Monday, January 30 I
Page 21 and 22: CONCERT FOUR Tuesday, January 31 I
Page 23 and 24: CONCERT FIVE Wednesday, February 1
Page 25 and 26: CONCERT SIX Thursday, February 2 I
Page 27 and 28: CONCERT SEVEN Friday, February 3 I
Page 29 and 30: Elation Pauls Instrument: Violin Jo
Page 31 and 32: PERFORMER/ARTIST BIOS Jurriaan Andr
Page 33 and 34: PERFORMER/ARTIST BIOS Gudbergur Ber
Page 35 and 36: PERFORMER/ARTIST BIOS troupe has be
Page 37 and 38: PERFORMER/ARTIST BIOS Michael Matth
Page 39 and 40: PERFORMER/ARTIST BIOS 1982. Her stu
Page 41 and 42: 1948-51 Hon. Mr. Justice J. T. Beau

New Music Festival - Winnipeg Symphony Orchestra

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?