New Music Concerts

programme OCT 1 7 1976

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1976-77 Concert Series 6th Season

Next time you see the word CAPAC, you'll know what it means

CAPAC stands for the Composers, Authors and Pub- lishers Association of Canada. The name pretty well says it all, but there are still a few people around who don’t know what CAPAC does.

Our main job is to collect licence fees from all the orga- nizations in Canada who use music, and distribute it to the composers, writers, and publishers who write and publish it. That’s the way composers get paid for their work.

CAPAC is owned by its own members—it’s the only organization in Canada that’s run by an elected board of directors made up solely of active publishers and com- posers. There are more than 5,000 members, and the organization also represents the interests of more than a quarter of a million foreign composers and publishers when their works are played in this country.

But there’s more to CAPAC than that: The organization publishes The Canadian Composer 10 times a year (ask us for a sample copy); presents the annual CAPAC-Sir Ernest MacMillan lectures; sponsors two annual $2500 fellowships to encourage student composers to take on post-graduate studies; and puts financial muscle behind a variety of Canadian recording projects.

CAPAC’s been around for more than 50 years—but it’s an energetic, active, and busy organization with the very best interests of composers and music publishers at heart. If you need to know more about CAPAC, call Dr. Jan Matejcek at (416) 924-4427. He’ll be pleased to talk with you.

The Canadian performing rights organization

capac

1240 Bay Street, Toronto, Ontario M5R 2C2 1245 ouest, rue Sherbrooke, Montreal, Qué. H3G 1G2 1 Alexander Street, Vancouver, B.C. V6A 1B2

Sunday, October 17, 1976 3:00 p.m.

ALL-CANADIAN PROGRAMME

performed by members of:

LA SOCIETE DE MUSIQUE CONTEMPORAINE DU QUEBEC

& NEW MUSIC CONCERTS

conductor:

SERGE GARANT

Art Gallery of Ontario

New Music Concerts

v Sunday, October 17, 1976, 3:00 p.m.

ALL CANADIAN PROGRAMME

Serge Garant - conductor

OFFRANDE ITI(1971) - SERGE GARANT

Bruce Mather - piano Marie Lorcini - harp Manon Le Compte - harp Robert Leroux - percussion Jean-Guy Plante - percussion Guy Fouquet - cello Therese Motard - cello Christina Melnyck - cello

MADRIGAL III(1971) - BRUCE MATHER

Patricia Rideout - mezzo-soprano Marie Lorcini - harp Robin Engelman - percussion Bruce Mather - piano

LALITA(1972) - ROBERT AITKEN

Robert Aitken - flute Marie Lorcini - harp Manon Le Compte - harp Robert Leroux - percussion Jean-Guy Plante - percussion Guy Fouquet - cello Therése Motard - cello Christina Melnyck - cello

INTERMISSION

..le sifflement des vents porteurs de l'amour..."(1971) - GILLES TREMBLAY

Robert Aitken - flute Robert Leroux - percussion

ARCANA( 1973) Chamber version

Mary Morrison Robert Aitken James Campbel] Guy Archambault Emil Subirana Bruce Mather Marie Lorcini Robin Engelman

Victor Martin -

Guy Fouquet Jacques Beaudoin

- R. MURRAY SCHAFER

soprano flute clarinet trumpet trombone piano(organ) harp percussion violin cello

bass

This concert of Canadian music is a first collab- oration between Montreal's Société de Musique Contempor- aine du Québec and Toronto's New Music Concerts, with musicians from both organizations participating. It is also the first concert of a specially organized tour that will take this ensemble of French and English performers to many centres throughout Ontario, Quebec and Nova Scotia, with two concerts in Boston ~ on October 24th and 25th at the 1976 International Society for Contemporary Music Festival(ISCM).

The tour is being sponsored by the Canadian Music Council, the Touring Office of the Canada Council,.the Department of External Affairs, and the ISCM Festival (U.S. Section) in conjunction with the New England Conservatory of Music.

PROGRAMME NOTES

SERGE GARANT

Born in Quebec City in 1929, Serge Garant studied composition with Claude Champagne in Montreal and with Olivier Messiaen and Mme. Honneger in Paris. One of the leading forces behind contemporary music in Quebec, he is musical director of the Société de Musique Con- temporaine du Québec and professor of theory and composition at the University of Montreal.

As a result of his work, Mr. Garant was recently honoured by the Canada Council and the Italian govern- ment in being chosen to spend a year in Italy as part _ of a cultural exchange between the two countries.

OFFRANDE ITI

Mr. Garant has furnished the following note on his work: “Composed in 1971 and first performed by the Société de Musique Contemporaine du Québec the same year, this work is the third of five scores - "Offrande I, II, and III", "Circuit I and II" -which exploit a vast network of proportions drawn from the theme of Bach's "Musical Offering". In "Offrande I", Bach was extensively quoted, less so in "Offrande II", and no longer in this third work of the same title. However, one sound, around which gravitates all the events of the work, performs a real thematic function in this latter "Offrande": the B flat, the only note absent from the original theme, is used eleven times. It is this absence which fascinated me more and more since "Offrande I", and this quotation by default is one way of expressing my admiration for the pinnacle of the human spirit which is the "Musical Offering".

In "Offrande III", macro and micro-structures rigorously comply with the series of proportions, inasmuch as they can be freely applied - according to the sequences - whether to the events and to the harmonic fields, or to different parameters: range, register, duration, intensity, time.

The symmetry of the instrumentation - 3 violins, 2 harps, and 1 piano, enclosed by 2 percussion - and the strict form, make it a 'classical' work. Yet "Offrande III" above all seems to me an expressive work: in any case, I wrote it in that spirit. I wanted the material to sing, and in such a manner I wish one to listen."

BRUCE MATHER

Born in Toronto, Ontario in 1939, Bruce Mather has earned degrees in music from Stanford University in California and the University of Toronto. He studied composition with Darius Milhaud and Olivier Messiaen in Paris; in piano he worked principally with Alberto Guerrero and Alexander Uninsky in Toronto and with Lazare Levy in Paris and appears regularly as a performer for the Société de Musique Contemporaine du Québec concert series, as well as in duo recitals with pianist Pierrette Le Page.

Since 1966 he has taught composition at McGill University in Montreal.

MADRIGAL ITI

Written in 1971, "Madrigal III" is for contral,to, marimba, harp and piano. It is one of a series of works based on the poems of St. Denys Garneau, a Quebec poet who died in 1942 at the age of 33.

ROBERT AITKEN

Born in Kentville,Nova Scotia in 1939, Robert Aitken holds a Master's degree in composition from the University of Toronto. For five years, until 19/70, he was principal flutist with the Toronto Symphony. He has appeared as soloist with many Canadian orches- tras, and has concertized throughout Europe, Japan and Canada. In 1971 he was a prize winner at the Concours International de Flute de Paris and in 1972, won le Prix de la Recherche Artistique in Royan, France.

An advocate of contemporary music, Mr. Aitken is musical director of New Music Concerts and-for his :out- standing dedication to Canadian music, was recipient of the Canada Music Citation, an award given annually by the Canadian League of Composers.

LALITA(Shadows IT) Commissioned by the Sociéte de Musique Contempor-

aine du Québec, "Lalita" received its premiere perform- ance in Belgium at the Brussel's festival "Reconnais-

Sance des musiques modernes V" in 1973.

Subtitled 'Shadows II', it is the second of a four part series of derivative pieces which found their basic inspiration in the music of other cultures.

Mr. Aitken writes the following: "The material in "Lalita" is derived from the early morning North Indian raga of the same name. However, the form, harmony and construction in no way resembles that of a raga and only occasionally before the very end of the movement are we shown glimpses of the original, which ‘peeks' through the generally turbulent textures. Rhythmic aspects of North Indian music are also only Subtly apparent with the one exception of an outburst of the percussion in Tala Tivra. The instruments them- selves are treated as sonority groups with the three cellj working together and the two harps and two percus- sion doing likewise. The flute has the solo role."

"Lalita, young and fair, and garlanded with seven-fold flowers. Her long eyes-like the petal of a lotus. Sighing, overwhelmed by fate, still at dawn, dressed for a lovers' meeting.

A vind and a book in her hands, Lalita appears, the Goddess of music. Charmingly playful, she talks lightly, her eyes like red lotuses.

Lalita, charming in her innocence, is bright like gold, while she holds a lute, a cuckoo perches

on her lotus hand. She is seated beneath the Wishing-tree, her breasts all unadorned, a thousand times desirable."

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GILLES TREMBLAY

Gilles Tremblay was born in Arvida, Quebec in 1982. He studied piano with Germaine Malepart and composition with Claude Champagne at the Montreal Conservatoire where he won first prize for piano in 1953. While still a student, he met Edgard Varese in New York, which had a significant and lasting influence on his music. From 1954 to 1961, he continued his education in Europe, where he studied with Olivier Messiaen, Yvonne Loriod, Andrée Vaurabourg-Honneger and Maurice Martenot - the inventor of the ondes-Martenot - becoming the first Canadian specialist on that instru- ment. During this seven year period he spent time with the Groupe de Recherches Musicales de 1'ORTF in Paris, with the composer Iannis Xenakis, and took summer courses in Darmstadt with Boulez, Stockhausen and Pousseur.

Mr. Tremblay is currently a professor at the Conservatoire de Musique de la Province de Québec in Montreal.

"..eLE SIFFLEMENT DES VENTS PORTEURS DE L'AMOUR..."

About his work, the composer writes the following: "The title, "...the whistling of the winds - bearers of love..." is a quotation from the Spiritual Canticle XIV by St. John of the Cross. The theme of this is wind, physically and spiritually (pneuma, spiritus). Its presence forms the music - breath, throuch the pureness of silence: frozen states, fringes of exis- tence, warmth that melts and fertilizes in multiplied and endless plays and possibilities ("...bearers of love..."). In addition to this verse, two ‘presences ' must be mentioned - the "winter" (moment of composi- tion) and the fascinating idea of the "First moment of the Resurrection".

R. MURRAY SCHAFER

Born in Sarnia, Ontario in 1933, R. Murray Schafer first studied composition with John Weinzweig at the Royal Conservatory of Music in Toronto. From 1956 until 1962, he studied, travelled and worked in Europe, finally settling in England to continue composing under a Canada Council grant. In 1962 he founded and presided over the "Ten Centuries Concerts" in Toronto, an annual series of rarely performed music of all per- iods. From 1963-65 he was Artist-in-Residence at Memorial University of Newfoundland and until 1975 was professor of communication studies at Simon Fraser University in British Columbia, where he was director of the "World Soundscape Project".

In 1966, CBC-TV premiered his opera "Loving", and Since then he has received commissions from the Fromm and Koussevitsky Music Foundations. He is also in- volved in new approaches to music education, particu- larly creative music making which incorporates environ- mental sounds, and these concepts are fully illustrated in both his educational books and experimental pieces for young players.

ARCANA

"Arcana" derives its name from its text, which is in Middle Egyptian hieroglyphs, and was discovered near Memphis by the Arabian explorer Al Mamun at the beginning of the Ninth Century. The fragmentary text is remarkable because it bears little relationship to any other surviving hieroglyphs of the period; but it seems to possess a religious significance and perhaps relates to the secret initiation ceremonies of the labyrinth conducted by the Egyptian priests. It was translated for the composer by Professor D.B.Redford of the Department of Near Eastern Studies at the University of Toronto.

The compositional method was as follows: each phoneme of the text was given two notes within a range of two octaves, including a few quartertones. Thus each phonemic element always has the same note or notes associated with it. Often the singer sinas one of these notes while the instruments play the other.

The frequency with which each phoneme recurs in the text thus gives the melodic line its character, even a sense Of tonality. Motives result from frequently repeated digraphs and trigraphs. This helps to give the songs a melodic and harmonic unity which can be easily sensed, even if it cannot be followed analy- tically. The accompaniment is never free but forms ‘words' on its own. And in such places as where the Singer sings texts like "I search for the formula of six words",(Song 4), the instruments scurry about try- ing various combinations of letters which may provide the formula the singer is seeking. In the song en- titled "When the labyrinth is deciphered it will disappear",(Song 12) the orchestra elucidates the compositional method by singing or speaking the phonemes and playing the appropriate notes simultane- ously.

The total text in English is given as the titles of the songs, as follows:

1. I have become an enchantress(enchanter) 2. The poison of the serpent spreads throughout my body 3. I purify my God with my tongue 4. I search for the formula of six words 5. I have closed the passage of the lips and opened the secret way 6. One of us is a phantom. I do not know which of uS 1S a phantom.. . You will eat no opium tonight . Questions for midnight . I am dreaming the world away to escape the four dimensions 10. The more the seekers, the fewer the finders

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Whomsoever deciphers the labyrinth will be my friend

12. When the labyrinth is deciphered it will disappear 13. Many sacred fires are profane 14. He comes with a sword and dismembers me according to the laws of harmony. His eyes are as blood. He tears my flesh with his teeth. I am transfigured. - R.Murray Schafer - | CANADIAN PUBLICATIONS "MICHAEL BAKER Elegy for Flute and Organ Capriccio for Two Pianos RICHARD BAKER Three Short Introits for Choir Choral Prelude on ‘Christe Sanctorum’ Organ GABRIEL KISH Classical Studies for Guitar "MIECZYSLAW KOLINSKI Little Suite for Violin and Piano GODFREY RIDOUT Cantiones Mysticae no. 2, The Ascension Soprano, Trumpet and String Orchestra OSKAR MORAWETZ Scherzino for Piano "CHRISTOPHER WEAIT Variations for Solo Bassoon

"HARMUSE PUBLICATIONS a division of

me SIC |

1976-77 Concert Series

Series Prices: Adults $20.00, Students $14.00

November 8, 8:30 p.m., Edward Johnson Building guest composers: MARIO BERTONCINI(Italy) BETSY JOLAS(France) performers: NEXUS, VICTOR MARTIN-violin, CANADIAN ELECTRONIC ENSEMBLE November 22, 8:30 p.m. York University PETER MAXWELL DAVIES - composer/director & THE FIRES OF LONDON(Great Britain) December 6, 8:30 p.m., Edward Johnson Buildina

guest composers: IANNIS XENAKIS(Greece-France) DENIS SMALLEY(New Zealand)

January 15, 8:30 p.m. St. Lawrence Centre

guest composer: NIKOS MAMANGAKIS (Greece)

guest ensemble: PURCELL STRING QUARTET February 19, 8:30 p.m. St. Lawrence Centre

guest composer/zitherist: ATTILA BOZAY (Hungary) March 18, 8:30 p.m. St. Lawrence Centre TRIO EXVOCO from the schola cantorum stuttgart April 23, 8:30 p.m. St. Lawrence Centre guest composer: ELLIOTT CARTER(U.S.A.)

LECTURE WORKSHOP SERIES

The Music Gallery, 30 St. Patrick Street free admission

Sunday, November 7, 3:00 p.m.- Bertoncini/Jolas Sunday, November 21, 3:00 p.m. - Maxwell Davies Saturday, December 4, 3:00 p.m. - Xenakis

for tickets and information call (416) 967-5257

EDGARD VARESE

AMERIQUES for Orchestra

ARCANA for Orchestra

DESERTS for 15 Instruments, Percussion and Magnetic Tape

ECUATORIAL for Voice, 4 Trumpets, 4 Trombones, Piano, Organ, Ondes Martenot and Percussion

HYPERPRISM for 9 Wind Instruments and Percussion

INTEGRALES for 11 Wind Instruments and Percussion

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IONISATION for Percussion Ensemble of 13 Players

PRopuc\ NOCTURNAL for Soprano, Chorus of Bass Voices e. C. kerby Itd. and Orchestra

music publishers OCTANDRE for 8 Instruments

198 davenportroad = OFFRANDES for Soprano and Chamber Orchestra toronto mdr 1j2

tel.: (416) 922-9934

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WE PUBLISH AND RECORD CANADIAN MUSIC

NEW PUBLICATIONS IN PREPARATION THE CANADIAN COMPOSERS FASCIMILE SERIES: HARRY SOMERS:

works b, Robert Bauer, Graham Coles and Doug Virgin Complete Piano Sonatas R. MURRAY SCHAFER: In Search of Zoraster; Psalm: ISTVAN ANHOLT:

Three Contemporaries; Sonatina for flute and La Tourangelle harpsichord R. MURRAY SCHAFER: HAROLD CLAYTON: Sonata for guitar Canzoni for Prisoners; No

; Longer than Ten Minutes; FRANCOIS MOREL Soe Untitled Compositions JACQUES HETU: Piano Concerto for Orchestra, #1 & #2

NEW RECORDINGS IN PREPARATION

THE BERANDOL CANADIAN ARTIST SERIES The New Chamber The Toronto Baroque Trio Orchestra of Canada The Toronto Consort

Harold Clayton

Peter Walden—lute

Berandol Music Limited, 11 St. Joseph St., Toronto, Ontario M4Y 1J8 (416) 924-8121 Ralph Cruickshank—president Graham Coles—general manager

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New Music Concerts

BOARD OF DIRECTORS Norma Beecroft—President Robert Aitken—Artistic Director John Beckwith C. Laughton Bird Edward Laufer Dave Nicholds CONCERT COORDINATOR

Laraine Herzog

New Music Concerts gratefully acknowledges the generous support of the Canada Council, the Ontario Arts Council, the Municipality of Metropolitan Toronto and the Canadian Broadcasting Corporation.

2 Carlton Street, Suite 916, Toronto, Ontario M5B 1J3, (416) 967-5257