New music festival : Luciano Berio 1925-2003 : a retrospective : the complete sequenzas

8.7 MB·English

by  University of Toronto. Faculty of Music

Cd 2013--5/6¢/7

UNIVERSITY OF TORONTO 2012-13
gunmen ic season
Monday, January 21,2013,
630 pm. Walter Hall

NEW MUSIC FESTIVAL.
Luciano Berio 1925-2003,
‘A Retrospective - The Complete Sequenze

‘The First Performance ofthe Complete Sequenze in Canada, presented on the tenth Anniversary
of the Composers Death by Faculty Artists and Guests curated by Duo ConTempera

[Because ofthe theatrical aspect of this presentation the audience is requested to
‘hold its applause until the intermissions.

‘Sequenza X for trumpet and “silent” piano
GUY FEW
Cecilia Lee, piano

‘Sequenza VIII for violin
MARK FEWER

‘Sequenza IV for piano
ful ‘ADAM SHERKIN
ul

‘Sequenza V for trombone
JEAN-MICHEL MALOUF

Sequenza XI for guitar
JEFFREY MCFADDEN,
INTERMISSION - 10 Minutes
‘Sequenza II for female voice
‘XIN WANG

7.5%lq Sequenza 1X for clarinet
ANTHONY THOMPSON

fy Sequenza I for harp
® SANYA ENG

‘
60 lo sequenzaVitafor oboe
Terre ATKINSON

QO), Sequenza I for flute
ROBERT AITKEN
INTERMISSION - 10 Minutes

Sequenza XII for bassoon
NADINA MACKIE-JACKSON

Sequenza VI for viola
. DIANELEUNG
fal
Sequenza VII for soprano saxophone
‘WALLACE HALLADAY

‘Sequenza XIII for accordion, “Chansons”
JOSEPH PETRIC

Sequenza XIV for cello
DAVID HETHERINGTON,

Conception & Enlivened Staging: Joseph Petrc, David Hetherington and Graham Cozzubbo
Narrations: Guy Few
Lighting: Allan and Alex Hoch
‘Stage Logistics: Roger Psutka, Cecilia Lee and UofT house staff
‘Media: David Perlman and The WholeNote magazine
Publicsts: Liz Parker and Michaela Ottenbreit

‘The Artistic Directors wish to express deep gratitude to Mr. Roger D. Moore without
‘whose support the Berio Sequenze project would nat be possible.

‘Special thanks to U of T New Music Festival Coordinator Prof. Norbert Pale,
the University of Toronto Faculty of Music and the Italian Consulate for their support.

‘Special thanks to cellist and visual artist Hanna Williamson for her sketch of Luciano Berio
used in this evening's program.

‘The Faculty of Music gratefully acknowledges the generous support of ou presenting sponsors

UW Manulife Financial mbna D
PROGRAM NOTES

[Luciano Berio was bor in 1925 into a family with rch
sical tradition, although he originally had visions of
‘being sea captain he was tutored in the musical art by
his father and grandfather, both siled composers. With
this early training Berio manage to forego half ofthe eight
‘year course normally required atthe Milan Conservatory
‘when he began his studies therein 1945. In thelte 1940s
Ihe met American soprano Cathy Berberian and in 1951 he
attended Tanglewood. Here he worked with Dallapicola|
‘whose welve-tone music influenced Berio Inthe 1950s
Berio attended summer courses in Darmstadt where he
encountered the music of Pouseur, Boulez, Mader,

and Stockhausen, among others and by 1960, he had
‘returned to Tanglewood as Composer in Residence. He
later taught tthe Dartington International Summer School
snd the ullrd Schoo of Music. Asa teacher, Berio
‘enjoyed an international following ~ his stents included
Louis Andriessen, Canada Steven Gellman and Marjan
‘Mozetich, Steve Reich, and Phil Lesh ofthe Grateful Dead,
among others

‘One fascinating aspect of Berio’ work, and in particular
the monumental cycle of slo instrumental Sequence t0

‘be heard tonight, isthe sense that Berio’ composition is
informed by his unflagging confrontation of historical
‘complexity Beri work is continuously marked by a sense
‘of grappling with a musical and cultural past, such as sen
in hie Sonia with its contemplations of Mahler, Rectal

1 with Monteverdi, and Laborintus I with Dante and is
adaptations of folk songs. Witer Robert Kirzinger suggests
thatthe writing in the Sequenze is Berio approach a is
‘most refined. Appearing over 45 years throughout the
course ofis output, Kirzinger note that these diverse
Pieces expose many of Berio central artistic tenets in

the relationship of music past and present where all of

the Sequence confront, and in some instances refute, the
historical traditions of their respective instruments, while t
the same time offering enormous diversity complexity and
layerings. Tonights Sequenze performance willbe prefaced
by narrations of poetry created by ltalian poet Eduardo
Sanguinetti and read by Guy Fev.

Sequenca X for Trumpet in C asks the performer to play
<liecly into the strings ofa piano, causing sympathetic
resonance of particular chords (‘played by the silent”
pianist), which change throughout the piece: Rapid dynamic
‘Contrast and the said harmonic foundation that governs
‘the pitch material lead tothe buildup of melodic gesture as
the pice grows more complicated o encompass the entire
racial range ofthe instrument.

Sequenca VIII or that most history-laden of instruments,
the violin, isan homage to Back sol Partita in D minor.
“The work begins with varying timbral approaches tothe
pitch A (alone, unison on adjacent strings accented), joined
bythe pitch B to establish a harmonic center andi own
‘refutation. The violin Sequenza also ranges further in its
presentation of moods and styl, including a rapid repeating
‘igure punctuated by multistep chords. Betis work Corale
(1981) takes Seguenza VII asthe basis fora work for violin
and ensemble.

‘Sequenza IV for piano focuses on harmonic processes
that Berio had been developing since his experience with
Dallapiccol and srilsm inthe early 19505. Berio’ use
ofthe sustain pedal allows for a specific kind of two-level
chordal writing, with chords sometimes ringing through
rapid stacato progressions of diferent character. Highly
‘ietwostic with mercurial rhythms and improvisatory-
sounding gestures, silence also permeates the piece as yet
nother textual level

Sequenca V for trombone asks the soloist to assume eats
‘of quas-theatrical emotive performance. The piece is an
homage othe famous clown Grock, neighbour af the
‘Berio family when Luciano was a boy. Sequenza Vs theatre
‘of vocal and instrumental gesture invites the profound
absurdity of clowns, a questioning of the way things ar,
‘whether revealing or obscure, though always lighthearted.
“The soloist is required to sing and pay at the same time
‘throughout mach ofthe work. The multiphonic are precise
and not optional, with the numerous fast alterations of
‘dynamics and articulations guaranteeing an exceptionally
‘wide tmbral alee for the trombone

‘Sequenza XI for guitar like the Sequenza fr vilin
‘concerns itself with historical complexity in this case the
‘dul layers of famenco and traditional clasical practices.
“Techniques oftamburo (striking the strings withthe and)
and open and rapid strumming come from the former
tradition, while contrapuntal techniques come from the
later. The physial nature ofthe performances plays an
important isal role with flamenco strumming in dramatic
contrast othe more delicate pasagework a dance between
the wild and the controlled.

‘Sequenza I or ferale voice was writen for Cathy
Berberia. Inspired by her breadth of singing technique

and her extraordinary technical and expresive range isa
‘work very much ofits ra and parallels such experiments in
‘vocal music and textual meaning as Cages Aria and Lgetis
Aventures. I demands ofthe singer enormous range of vocal
‘exposition from muttering, to laughter, and traditional
singing. The “teat” consists of vocatives of lite semantic
value by Markus Katte and Berio exploits catalogue of
gestures encompassing the most mundane tothe most
stylized of approaches

Sequenca IX for clarinet was drawn from Berio’ time when
he was director of electro-acoustic research at IRCAM in
Paris, Despite its origin in the realm of computer sound, it
Is the most straightforardly melodic of ll he Sequense.
Behind the motivi suructures though, lies study ofthe
acoustic properties ofthe basi sound of the clarinet
considered and translated into songlike melody.

Sequenca I for slo harp began asa sketch fo apiece
forharp and orchestra in which the slo piece provides

A musical core around which orchestral textures expand
‘Asin the other Sequence, Bero challenges the rational
“lesa role ofthe harp of ely 200h entry French
Inpresionism by employing extremes of dynamics and
‘vied arculaton. This includes harmonics rapid remolo
‘dtanbura.

Sequenca Vila for oboe was writen fr Heinz Holliger
and expliats the “virtual polyphonic” aspect ofthe iste
Sequenza by incorporating the drone (taped or via an
ofstage instrument the pitch B in the middle ofthe treble
staff into the performance. The oboe intons the same

pitch in short bursts, above and below, sowing moving
further afield and more fc fom the center. I incorporates
extended possibilities with pitch bends, mcro-intervals,
alternate fingers and mult-phonics, all of which eventually
returns to B

Sequensa Ifo ute reflects a quest for counterpoint and
harmony through the means of a melodie line, While Bachs
flute works were the prototype for Berio, the particular
‘exploration of 20th century harmony required afresh
approach to this so called “virtual polyphony’ and one
that allowed forthe proliferation of differen Kinds of
‘musical drama concurrently allowing harmonic rles to
‘be invented and ply themselves out. Here Berio presents
linear closed chromatic structures, oetave displacement,
hythmic ambiguity, complexity of note collections and
sesturljutapositions into what canbe heard as blocks of
tes in counterpoint with other blocks. Berio harmonic
‘Thread together withthe interpreter’ sense of structure te
the work together.

Sequenza XII fr bassoon was inspired by French
assoonist Pascal Galois and his wide-ranging command
‘ofthe character and timbral and technical possibilies of
‘the instrument. The piece i strung along a backbone of
lisandi, with excursions into rapid melodic fragments and
complex articulated gestures

Sequenca VI for vol is more abstract work which gives
‘nod to Paganini Caprice fr solo violin. This furious
‘work stains bowed mult-stops articulating harmonic
fields where Berio e-define the vila as something more
than a nocturnal violin, Berio flamenco ike aggression
allows the composer to create a study in repetition and
‘transformation of relatively basic material. Berio used the
‘core material of the viola Sequenca forthe ensemble pieces
(Chemine I and Chemins I

Sequenca VIIb for soprano saxophone was included inthis
concert as Berio was particularily fond ofthe textures and.
‘resonances of this version (Beri respected adaptation:
Delangle de Saram and others re-created some of his
Sequenze modeled on earlier versions with permission.)
‘This adaptation by French saxophonist Claude Delangle

of Sequenca VII for oboe gives the original anew zest and
sonority with an offtage B playing throughout Iisa work
that confirms Berio respect for artistic creativity and sense
of collaboration,

Sequenza XIII “Chansons” fr accondion was described
by Berio as "a memory looking othe Future” Berio
confronts the accordion’ history by combining aspects
ofits vernacular tradition (which he heard in his Youth
<during trips othe country, jazz and nightclubs) and the
20th century concert accordion (appropriately patented in
Italy 1908), together with stylistic elements of Rameaus
‘unmeasured prelude ritornellos) with extended
techniques. The subtle Chansons ie a reflection of Berit
nent that this Sequenzais not an homage but a story

2 “spontaneous expression” of is relationship withthe
accordion,

Sequenca XIV for cello was writen for Sri Lankan cellist
Rohan de Saram and ends the monumental group of
Sequenze. Like Stockhausen, Berio was fascinated by the
Kandyan drum of Sr Lanka. Berio incorporated percussive
‘effect inspired by the Kandyan drum onthe body ofthe
«allo that blend naturally with pzzicato chords in aeration
‘with bowed melodic sections. An energetic mastery emerges
{hat sustains the work its understated yet questioning
lose

Notes by Joseph Petrie
ARTIST BIOGRAPHIES

Guy Few, trumpet, narration
Guy Few's instrumental veretity and fearless
interpretations have been noted bythe international press,
"outrageous.simply phenomenal” (Le Devoir, Montreal)
and sheer biliance” (L.A. Times). He has performed
‘with many Canadian and US symphonies a both trumpet
snd piano soloist, remains a committed chamber artist in
‘ensembles guy and nadina, Bellows and Brass and Project
‘Aria, and has been a gues at many summer festivals
{nclding The Festival ofthe Sound, The Otawa Chamber
Festival, Tanglewood, Takefu International Masi Festival
and The Oregon Bach Festival. A prolific recording artist,
‘Guy has released CDs on numerous labels including SNE,
Asis Classics, CBC Musica Viva, CBC'SM5000, Naxos,
[MSR Class and the Hinsler Classics labels. Recording
awards include a Grammy for Penderecki Credo (OBF/
Hinssler, and Best Clasieal Orchestral Album from

Just Plain Folks Masic Awards (guy and nadina/TCO/
Kevin Mallon/MSR). Guy has appeared on CBC-TY, CTV,
‘BRAVO, TVS and European television broadcasts and is
beard regularly on CBC Radio, and NPR. He isa sessional
lecturer at Wifi Laurier University where he coaches,
chamber masc and teaches trumpet. Guy Fev isa Yamaha
‘Artist.

‘Mark Fewer, violin
Described at "genre-bending” by the National Pos,
andintrepid”by the Globe and Mail, Mark Fewer has
performed around the world to critical aclaim. His
regular musical det includes performances from the ealy
‘baroque tothe avant-garde, with recent performances as
soloist with the Melbourne Symphony (Australi) the
Fodens Richardson Brass Band (UK), the Zapp Quartet
(Amsterdam), and the McGil Percussion Ensemble
(Canada) A dedicated chamber musician, jazz violins
tsi director and teacher, Mr Fewer hasbeen featured
‘on 8 nev recordings since 2010, the most recent of

‘which, Changing Seasons, won the 2012 Juno Award

for Best Contemporary Jazz Album. He also recently

‘made his conducting debut with I Masici de Montreal in
performances of his own arrangement of Miles Davis and
‘Duke Ellington standards. Asa chamber musician, Mr.
Fewer isa regular member ofthe Duke Piano Tro and the
‘Smithsonian Chamber Players ands Associate Professor of
‘Violin tthe Sehulich School of Music at MeGill Univers

‘Adam Sherkin, piano
Pianist and composer Adam Sherkin ia dynamic
‘musician who commands a mult-dimensional approach to
performance and composition. A native of Toronto, Sherkin
traduate from the Glenn Gould School ofthe Royal
Conservatory and the Royal Collegeof Music, London. He

hha appeared atthe St. Lawrence Centre forthe Arts the
Four Seasons Centre, the Toronto Centre forthe Arts, St
‘Marti-in-the-Filde, Covent Garden and the Royal Albert
Hall among others. Sherkins works have been premiered
‘throughout Canada, the United States and Britain
including Toronto, Ottawa, Washington, Philadephia,
‘Manchester and London (UK). Venues have included the
‘Laminato Festival, the Kings Lyn Festival (Norfolk), The
Bridgewater Hall (Manchester), The Warehouse andthe
National Portrait Gallery in London. Te National Youth
Orchestra of Canada performed Sherkins Terra Incognita
(2005) on tour this past summer under the baton of Alin
‘rude. An associat of the Canadian Music Centre, Adam
recently released his solo debut album, As a First om the
(Centredises label in November of 2012

Jean-Michel Malouf, trombone
Jean-Michel Maloufisa graduate ofthe Conservatoire

<de musique de Montréal, where he studied conducting,
‘trombone and chamber music He also studied at MeGil for
his Artist Diploma. In May 2008, Mr. Malouf was invited to
take over from the late Father Fernand Lyndsay as director
ofthe renowned Chanteurs de a Place Bourget choir. Sine’
then Jean-Michel as worked with the Serenade Chamber
(Orchestra, conducted I Musici de Montréal, Les Violons

«43 Roy, the Chorum ensemble, the Sinfonia de Lanaudiére
and the Scotia Festival of Masi Orchestra where he was
sistant to Alain Trudel and had the opportunity to work
‘wth the renowned Patricia Rosario, Hes currently the
rise director and conductor of Orchestre symphonique
es jeunes de Joliet, the Philharmonie jeunesse de
‘Montréal, and the profesional brass ensemble Chozur

‘de métal, Since 2004, he has assisted Veronique Lacroix,
‘conducting performance ofthe contemporary music
‘ensemble ofthe Montreal Conservatory. As trombonist,
Mr. Malou works regulary with Les Violons du Roy,

the Montreal Contemporary Ensemble and the McGill
Chamber Orchestra.

Jeffrey McFadden, guitar
‘Award winning guitarist efrey McFadden has performed
‘widely and recorded numerous acclaimed CDs soloist
tnd ata part of Duo Spirtoso since 1985, Comfortable in
All styles of art matic, he as applied a special focus to 19th
‘nd 20th century works. The Daily Telegraph of London
(UK) exclaimed “McFadden ability to make the guitar
sng is second to none: The Diario de Sevilla remarked on
“the precision of his execution and the amazing facility in
resolving the most ornamented and complex passages”

His groundbreaking book Fretboard Harmony: Common
Practice Harmony on the Guitar (OZ, 2010) has become
the standard text inthe subject As an Eaton Graduate
Fellow, Dr McFadden was the first Doctor of Musical Arts
‘degree graduate from the University of Toronto, where he is
now senior lecturer in the Faulty of Music. He s also the
founder and artistic director ofthe Sauble Beach Guitar
Festival

INTERMISSION

‘Xin Wang, female voice
Canadian soprano Xin Wang has distinguished herself
52 fearlessly dynamic and captivating performer of
‘contemporary musi, championing works by Canadian
and international composers Petar Klanac, Fu Hong Shi,
Jose Evangelista, Ana Sokolovic, Karin Rehnguist, Philip
Leroux among others. Ms. Wang has performed with many
of Canada best known contemporary music societies
including the Queen of Puddings Music Theatre, Tapestry
(Opera New Works, New Music Concert and Soundstreams
Canada. A2012 Dora Award winner for best performance,
Xin s thrled to be part ofthe complet Sequenze
srformance Her recent projects included world premiers
‘of operas by Erik Ross (February 2012) and Alice PinYee Ho
(May 2012); development ofa one woman song theatre in
collaboration with Jeff Ryan and learning of the recitations
by George Aperghis supported by the Ontario Arts Council
‘A native of China, Xin Wang completed her Bachelor
degree a the Univesity of Winnipeg before moving to
‘Toronto where she graduated from both the Opera Division
and the Artist Diploma Programme atthe University of
‘Toronto’ Faculty of Music

Anthony Thompson, clarinet
‘Toronto based clarinetist Anthony Thompson performs
frequently with the Toronto Symphony Orchestra and is

an active chamber musician appearing regulary at many
‘of Toronto musical and cultural venues. He has worked
‘with the Smithsonian Chamber Players, the Arizona Opera
(Orchestra, the New Mesio Symphony Orchestra, andthe
‘Santa Fe New Masic Ensemble, Anthony holds an Artis
Diploma from the Royal Conservatory of Masic in Toronto,
a Master of Music from the University of New Mexico,

and a Bachelor of Mascfrom California State University,
Northridge. Additionally, hes pursuing a Doctor of
“Musical Arts degree ftom Arizona Sate University. His
“achers include Dr. Julia Heinen, Keith Lemmons, Dr.
ober Spring, and Joaquin Valdepenas

Sanya Eng, harp
Sanya Eng is one of Canadss most sought-after harpists
other generation. A dynamic soloist, she has performed

‘hroughout Canada, the US, Switzerland, France, Germany,
Israel and Africa She has appeared asa gust soloist with
distinguished ensembles such asthe Toronto Symphony
Orchestra, Les Volons du Roy, andthe St Lawrence
Sing Quartet, nd has been a featured soloist in national
and international festivals. As an ative orchestral and
chamber musician, she performs regularly with ensembles
sach asthe Toronto Symphony Orchestra, the Canadian
Opera Company, The National Arts Centre Orchestra, The
Manitoba Chamber Orchestra, The Esprit Orchestra, New
Masi Concerts, Soundstream Canada, nd Continuum.
She has also worked extensively with the St. Michaels
Boys Choit, the Toronto Childrens Chorus, andthe
Canadian Childrens Opera Chorus, and has recorded for
(CBC Records, htaRT, ClassKdiss, and NAXOS labels
Highlight ofthe 2012-13 season include tours throughout
New York, the Berkshires and Teras with the Coleman
Lemieux Dance Company, aswel as tour of China with
Soundstreams Canada.

Keith Atkinson, oboe
Associate Principal Oboe ofthe Toronto Symphony
(Orchestra since 1985, Keith Atkinson isan ative recitalit
sand chamber musician He is founding member ofthe
‘Meridian Tio which has a CD featuring music fr ue,
‘oboe and piano He plays with the Bach Consort which
hha recorded two CDs of Bach aris and cantatas. He

also perform with New Music Concerts in Toronto. In
‘demand as a teacher, he ison the faculties ofthe University
‘of Toronto and the Glenn Gould School ofthe Royal
Conservatory of Music in Toronto, and has been on the
faculty ofthe National Youth Orchestra of Canada. He is
also the woodwind coach forthe Toronto Symphony Youth
Orchestra. Keith Atkinson earned a Bachelor of Musi with
High Distinction from Indiana University, studying with
Jerry Siucek, and a Master of Music from Northwestern
‘University with Ray Sil, While in graduate school, he was
Principal Oboe ofthe Civic Orchestra of Chicago played
extra withthe Chicago Sjmphony Orchestra, and upon
‘graduation in 198 joined the San Francisco Symphony as
Second Oboe.

Robert Aitken, fate
Renowned Canadian futis, composer and conductor
Robert Aitken has ben honoured with the Order of
(Canada and sa Chevalier de ordre des Arts et des Lettres
(ance). In 1970, after serving as principal fue for both
‘the Vancouver and Toronto Symphoay Orchestras, Aitken
‘embarked on an international slo carer. He has more
than 70 recordings to his credit and such notables as John
(Cage, George Crumb, Eliott Carter, Toru Takemits, Gills
“Tremblay, John Beckwith and Brace Mather have dedicated
‘works to him. In 2003 he was presented witha Lifetime
“Achievement Aveard from the National Flute Association
(USA). In 2004, he retired as Professor fr Fle a the
Staatliche Hochschule far Mask in Freiburg, Germany,
‘position he ad held for 16 years. In 2009 Aitken was
the recipient of Canada prestigious Walter Carsen Prize
for Excellence inthe Performing Arts. Asa composer, he
holds Bachelor and Masters degres from the University

of Toronto and ll his works are published by Univers
dition, Slabert, Ricordi and Peer Music Robert Aitken
was director ofthe Banff Centre Winter Program in Muse,
founder and artistic director of Music Today, Music at
‘Shawnigan and in 1971, wth Norma Beecroft co-founder
‘of New Musi Concerts which he has directed since its
Inception in 1971

INTERMISSION

‘Nadina Mackie Jackson, bassoon
[Nadina Mackie Jackson performs worldwide on both
‘modern and historical bassoons, has recorded 11 solo

Sand chamber music CDs, and can be heard on over 100
‘orchestral recordings with the Montreal Symphony and
other groups. Curent solo releases include Vivaldi Volume 1
‘with Nicholas McGegan, and the Canadian Concerto Project
with Guy Few andthe Group of 27 led by Eric Paetkas.
[Nadina has appeared as solos with the Group of 27, the
Prince George Symphony, TOrchestre Symphonique de
‘Monttél, Toronto Chamber Orchestra, Cayuga Chamber
‘Orchestra (Ithaca, New York) the Grand Rive Baroque
Festival Soloists and !Orchesre Symphonique de Tris:
ivitres. Winners of Best Classical Orchestral Album ofthe
‘Year with Guy Few and the Toronto Chamber Orchestra in
‘the 2009 Just Pain Folks Music Awards for BACCHANALE,
[Nadina Mackie Jackson and Guy Few often tour togethes
recitlists and concerto soloists, Principal basoonist ofthe
‘Group of Twenty-Seven the Toronto Chamber Orchestra,
the Atadia Baroque Ensemble anda regular guest with
‘Violons du Roy, Nadina teaches atthe University of Toronto
and the Glenn Gould Schoo of the Royal Conservatory of
Music.

Diane Leung viola
‘Violst Diane Leung has performed throughout Canada,
‘United States and Europe a soloist, recitals, chamber
‘musician, and orchestral musician. She as sppeared in
‘venues suchas Alice Tally Hall Paul Hall inthe Lincoln
‘Center forthe Performing Arts, and atthe Palau de les Arts
in Span, Asa soloist, Ms, Leung has appeared with the
Edmonton Orchestra performing Bartoks Vila Concert,
‘She is currently the newest member of the viola section
‘ofthe Toronto Symphony Orchestra, and the Assistant
Principal violist ofthe Palau de les Arts orchestra

‘Valencia Spain, under Lovin Maazel and Zubin Mehta,

She has also worked with conductors James DePriest, Oto
‘yon Mueller, Si Roger Norrington, and Sir Colin Davis.
‘devoted chamber musician, she ha also appeared at
festival in Sarasota, Domaine Forget Chamber Music, and
the Spoleto Italy festival Ms, Lean holde a Bachelor and
Master degrees from the juillird Schoo, where she studied
with Karen Tut, Misha Amory, Kim Kashkashian and
Carl Rodland. She also completed her Professional Studies
Certificate a full scholarship student at Manhattan School
‘of Music under the tutelage of Michael Tree and Karen
Dreyfus.

Wallace Halladay, soprano saxophone
‘Wallace Halladay captures the qualities ofthe modern
virtuoso, being at home in numerous styles, from

the traditional to janz and beyond. A specialist in

the performance of contemporary music he has
‘commissioned and premiered numerous works. A soloist
ith the Vancouver Symphony and Esprit Orchestras,

he also inaugurated the Kitchener. Waterloo Symphony's
“Intersections Series, and recently worked with Philippe
Leroux on the North American premiere of his sxophone
concerto in Montréal. This year, he wil premiere concerti
by Erk Ross and Vivian Fung with the Esprit Orchestra and.
the Hannaford SretSivr Band, and is the guest soloist
with the Canadian Wind Orchestra Wallace recorded

the two saxophone Sequenzas of Berio and the Colgras
concerto for NAXOS and sin demand ae a performer with
‘new musi groups across Canada and the US. Wallace holds
‘doctorate from the Eastman School of Musi, studied at
the Conservatorium van Amsterdam with Arno Bornkamp,
and is presently Assistant Professor of Saxophone a the
University of Toronto, Wallace was the 2009 recipient ofthe
‘prestigious Virginia Parker Prize from the Canada Council
for the Ars, being the first woodwind player tobe awarded
{in its 25-year history. Wallace is a Conn-Selmer Artist and
plays Selmer (Paris) saxophones.
-oseph Petric, accordion
‘A fares innovator, Joseph Petri has created a uniquely
Canadian accordion canon while creating and championing
new art forms fr the accordion. The fist accordionist to
offer an official concert debut on both sides ofthe Atlantic
(Condon, Washington), Petric has appeared at Londons
Southbank Centr, Blaesale(Brusels), Sei Ozawa

Hall (Tanglewood), Bridgewater Hall (Manchester, Tel,
Aviv Israeli Oper, Kennedy Centre Washington, and

the Hohenems Schubertiade (Austria). The dedicatee

‘of more than 230 commissions including 13 concertos,
Petic has been the accordionist of choice for international
festivals including Quebec Festival Domaine Forget, the
‘Ottawa Chamber Music Festival, Sijan Festival (Sweden),
Bournemouth Festival (UK), Agora Festival IRCAM
(Paris), and the Berlin Philharmonic Chamber Music
Series. AJUNO nominee and Prix Opus winner for best
‘concert and best recording in 2008 and 2008, his celebrated
recordings of more than 32 tes i arguably the most,
diverse contribution in the accordion discography. In 2012
Ihe completed a 500 page manuscript on the contemporary
accordion tobe published by Toronto’ TekstEdions, with
‘German edition to follow by Augems Press, Germany.

avid Hetherington, cello
David Hetherington received his musical training athe
Royal Conservatory of Music and the University of Toronto
and subsequently perfected his art with Claus Adam, André
Navarra and Paul Tortler. Assistant Principal Celis of
‘the TSO and a teacher at the Glenn Gould School, Me
Hetherington isa founding member ofthe Amici Chamber
Ensemble, He is also a founding member ofthe string
‘quartet Accordes whose recording of Harry Somer’ String
‘Quartets received Juno Award nomination in 2001. ther
recordings withthe Amici ensemble are found on Naxos,
‘CBC records and ATMA Classique among others. Accordes
thas also recorded works by several other Canadian
‘composers including Norma Beecroft, David Eagle, Harry
Freedman, Hope Le, Alexina Loue and Jean Papinea-
‘Couture. Mr Hetherington has appeared on several
recordings forthe CBC and for Centredises with whom he
‘made the Canadian premiere recording of Talivaldis Kenins!
prize-winning cll sonata. A champion of contemporary
‘music he hs recorded soo cello works by Alice Ho, Chan
‘KaNin (CBC Records) and Eliot Carter (Naxos), and

hhas undertaken notable collaborations with composers
Brian Cherney, Henri Duttlleus, Heinz Holliger, Helmet
‘Lachenman, Magnus Lindberg and Alexina Louie.

SUPPORTING ARTISTS

Cecilia Le, “lent piano” Sequenza X
Hye Won Cecilia Leesa feelance collaborative artist active
8 pant, harpsichordist and organist. Ms. Le as attended
‘numerous international festivals, including the Institute

and Festival for Contemporary Performance at Mannes
College (USA), Juilard~ Leipzig Summer Academy (USA-
Germany), Casalmaggiore International Music Festival
(aly) and the Pablo Casals Music Festival (France) among
others. She has attended al collaborative pianist internships
at the Bai Centee of Arts (2009). Ms. Lee studied with
Iynda Metesky (University of Toronto, BME, 2004), Jack
Winerock and Robert Koenig (University of Kansas, MMs,
2006). She studied organ and harpsichord with Douglas
Boal, Eugene Gates and Michael Bauer, and cavichord
with Gerhard Erber (Hochschule fr Musik Leipig). In
audition to performing, Ms. Le is active asa recording
engineer and producer, working with the Faculty of Muse,
University of Toronto.

Alyssa Ramsay, “conortes” Sequenza VII, “the listener”
Sequence XII Chansons
‘Alyssa Ramsay holds a Bachelor of Music from Univesity
of Calgary and a Master of Music degree from Université
de Montréal, and studied with Desmond Hoebig,
Stefan Kropfisch, Johanne Perron, and Ronald Leonard.
Recent highlights include placing a the Saskatchewan,
“Music Festival Association Concerto Competition, and
performing solo works with the University of Calgary Wind
Ensemble andthe University of Calgary Orchestra. Alyssa
‘member ofthe Crimson String Quartet, which recently
leased its fist album, Crimson Sunrise. Alyssa is pursuing
an Arist Diploma at The Glenn Gould School of Music
with John Kade.
UNIVERSITY OF TORONTO sexo

x New Music Festival 2013 iy

Norbert Pale Festival Coordinator

_.. —

Steven Mackey

www.music.utoronto.ca/events/nmf

P
Genreng mo NMF