New music festival opening concert

0.35 MB·English

by  University of Toronto. Faculty of Music

2014 NEW MUSIC FESTIVAL OPENING CONCERT
University of Toronto Symphony Orchestra
David Briskin, Director of Orchestral Studies and Conductor
UNIVERSITY OF TORONTO SYMPHONY ORCHESTRA
PROGRAM
Selections from Cinderella Sergei Prokofiev
I Introduction (1891-1953)
II Cinderella at the Ball
III Three Oranges
IV Cinderella Waltz
V Midnight
Matthew Poon, graduate student conductor
Concerto for Turntables and Orchestra Gabriel Prokofiev
I GrimEye (b. 1975)
II Irreguluv
III Malmo
IV Meditnow
V Snow Time
DJ Madhatter, Turntables
David Briskin, conductor
INTERMISSION
Spheres for violin and string orchestra Gabriel Prokofiev
Rebecca MacLeod, violin
Maziar Heidari, graduate student conductor
Selections from Romeo and Juliet Sergei Prokofiev
I Folk Dance Arr. David Briskin
II Scene
III Madrigal
IV Minuet
V Montagues and Capulets
VI Death of Tybalt
VII Romeo at Juliet’s Tomb
David Briskin, conductor
The photographing, sound recording, or videotaping of this performance without the
written permission of the Faculty of Music is strictly prohibited.
We kindly request that you switch off your cellular phones, pagers, watch beepers,
and any other electronic devices that could emit a potentially unwelcomed sound.
Program Notes
SERGEI PROKOFIEV(1891-1953) found in this score.
Sergei Prokofiev was a Russian composer The ballet opens with an Introduction,
whose life spanned the waning days of the presenting the two most important
Tsarist regime and the rise of the Bolsheviks. aspects of the story. The first is Cinderella’s
His early days were marked by a rebellious theme, pathetic and plaintive due of her
musical streak; his professors at the Saint circumstances. Cinderella’s plea is answered
Petersburg Conservatory (where he was by her Fairy Godmother, whose theme is
admitted at the age of thirteen) complained hopeful, played over shimmering strings and
that as a composer he was “talented, but harp. Through the spirits of the four seasons
completely immature.” He later gained the Fairy Godmother grants Cinderella’s
recognition through his collaboration with wish of going to the royal ball. After having
Diaghilev’s Ballet Russes as well as tours of received gifts of a dress, a carriage with a
the United States, leaving Soviet Russia with retinue of footmen (transformed from a
the blessing of the Provisional Government. pumpkin and grasshoppers respectively),
Remaining in favour upon his return nearly and slippers, the excited Cinderella is
two decades later, Prokofiev would live whisked away to the ball. The Fairy
nearly unaffected by the disastrous five-year Godmother gives her one condition,
plans and Stalinist purges that marked the however – Cinderella must return by
years immediately preceding the Second midnight.
World War. Unfortunately he did not stay in The ball is well underway as Cinderella
favour forever; the Zhadnov Decree in 1948 arrives, but the prince has yet to dance with
denounced his music as formalist. When anyone. However, when he sees Cinderella
Prokofiev died in 1953 (coincidentally the he immediately asks her for a dance. He then
same day as Josef Stalin), he had not yet offers her the kingdom’s highest delicacy
been re-habilitated. Prokofiev’s music after – three succulent oranges, presented by
his return was often according to the style exotically-dressed servants.
favoured by the Party. This included sing- It soon becomes apparent that the
able melodies, tonal harmonies and a spirit Prince and Cinderella have fallen in love
of optimism for the Revolution. Nonetheless, with each other, as they have scarcely left
musicologist Thomas Schipperges noted that each others’ arms. As the skies continue
although some of his post-return music was to darken, Prokofiev presents some of the
upheld as a model of social realism in music, most expressive music written for the ballet
it also enjoyed uninterrupted favour with – Cinderella’s Waltz. The introspective
Western audiences. These works included melodies seem to suggest that the two
the educational Peter and the Wolf, the lovers have become lost in their own world.
cantata Alexander Nevsky, and his music to Unfortunately, all good things must come to
the ballets Cinderella and Romeo and Juliet. an end; as midnight approaches, grotesque
dwarves spring out to remind Cinderella of
Cinderella Suite (1943) her condition. Cinderella promptly flees as
Prokofiev began writing the music to bells call out – eleven times. On the twelfth
Cinderella in 1940, but the outbreak of stroke of the bell the Fairy Godmother’s
the Second World War interrupted the theme is heard one final time as the magic
process. Upon its premiere, Prokofiev’s begins to unravel, leaving Cinderella in her
colleague Dmitri Shostakovich remarked previous rags and causing the carriage and
that Cinderella was written “in the shining footmen to revert to their original state.
tradition of Russian ballet”. Others agree Only the slippers remain.
that some of Prokofiev’s richest melodies are
Romeo and Juliet Suite (1935) when the hot-headed Capulet kills Romeo’s
Despite now being one of Prokofiev’s most friend Mercutio the next day, Romeo takes
popular scores, it was originally derided up his sword. The whirling swords are
as “undanceable”. Its troubled beginnings depicted by some of the most virtuosic
included rejection first by the Kirov Ballet string writing in the ballet, and only ends
in Leningrad (now Saint Petersburg), when Romeo slays Tybalt. A funeral march
even before Prokofiev had begun writing. accompanies Tybalt’s death, both for
After its completion, the Bolshoi Ballet in Tybalt and also foreshadowing Romeo’s
Moscow similarly rejected it. Undaunted, consequences.
Prokofiev wove two suites out of the ballet The final selection depicts the Tomb
score, premiering them in 1936. Even after Scene, where Romeo has discovered Juliet’s
the ballet’s premiere in Leningrad in 1940, tomb. Despite the solemn situation, the
Prokofiev continued to revise the score, music begins by creating a halo around
saying that he had “taken special pains to Juliet’s deathbed. Unable to cope with Juliet’s
achieve a simplicity which will, I hope, reach death, Romeo kills himself. As the lovers
the hearts of all listeners. If people find no are united in death, a final C major chord
melody and no emotion in this work, I shall sounds, bringing resolution to the feuding
be very sorry—but I feel sure that sooner or families.
later they will.”
Combining music from both orchestral GABRIEL PROKOFIEV (b. 1975) is a
suites, the program begins with the Folk London-based composer, producer, DJ and
Dance, which in the ballet opens the second founder of the NONCLASSICAL record
act. Four chords played by full orchestra label & club night.
introduces the merry-making, characterized Composing music that both embraces
by a jaunty tune. The merry-making serves and challenges western classical traditions,
as an ironic prelude to tragic events, as will Gabriel has emerged at the forefront of a
soon be revealed. Similarly, the scene in Act new approach to classical music in the UK
1 of the street awakening presents a jovial at the beginning of the 21st century. His
morning bustle as the town prepares to face Concerto for Turntables was performed at
a new day – however this too is but a prelude the BBC Proms in August 2011 to critical
to conflict. acclaim, conducted by Vladimir Jurowski
The Madrigal, Minuet and Montagues with world champion DJ Switch as soloist,
and Capulets both occur in the second and broadcast on BBC2 television. Other
scene of Act 1, and revolve around a ball recent works include a poly-stylistic
held in the Capulets’ domain. The Minuet ‘orchestral remix’ of Beethoven’s Ninth
accompanies the guests as they enter; each Symphony commissioned by John Axelrod
iteration of the main theme features a and the Orchestre National des Pays de
new entry by a prominent member of the la Loire, France, performed in sold-out
Capulet family. Curiously, three uninvited concert halls in Angers and Nantes in June
guests – Romeo and his friends – have also 2011; a 3rd String Quartet premiered by the
come in disguise. The ominous Montagues Ruysdael Kwartet at the Wigmore Hall in
and Capulets (properly known as Dance of 2010; ‘import/export/’ - a percussion suite
the Knights) commences when all the guests for Global Junk, toured in the UK & USA
have arrived; proud in character, it has more by Joby Burgess’ Powerplant; and a book for
in common with a slow march than a dance. Solo Piano recorded by Russian virtuoso
Juliet’s Madrigal features her love-struck GéNIA.
dance as she first meets Romeo. Prokofiev’s own distinctive sound is
Tybalt eventually discovers Romeo informed by his background as a producer of
beneath his disguise and threatens to kill hip-hop, grime, and electro records, as well
him. Conflict is momentarily averted, but as his earlier involvement in electroacoustic
music at York and Birmingham universities, night” – a description with which Prokofiev
which saw him win a Residency prize enthusiastically agreed.
at the prestigious Bourges International - Program notes by Matthew Poon
Electroacoustic Music Competition in 1998.
Latest works include new music for Concerto for Turntables and Orchestra
a ballet production of ‘A Midsummer (2007)
Night’s Dream’ with choreographer Cathy When Will Dutta first approached me with
Marston for Bern Ballet’s winter season the idea of composing a ‘concerto’ for DJ, my
in Switzerland, and a Concerto for Bass immediate reaction was negative. Though
Drum & Orchestra which was premiered by I had composed a classical piece which
Princeton Symphony, February 9 2012, and incorporated a DJ for the Bath festival one
had it’s UK premier with the LCO @ The year earlier (3 Dances for Bass Clarinet,
Roundhouse, March 3rd 2012. String Trio & DJ, 2004), the idea of an actual
Gabriel lives in Hackney, London, with DJ concerto sounded too grandiose and
his partner and their two young children gimmicky to me: I was concerned it would
and toddler. seem like another PR exercise in trying to
make modern classical music ‘cool’ and
Spheres (2012) ‘trendy’, but Mr. Dutta insisted that there
Spheres had its beginnings as a movement was serious artistic potential to the project
of a discarded violin concerto. Despite this, and as it was inevitable that a concerto for
Prokofiev had envisioned the piece as a turntable would emerge sooner or a later,
stand-alone work. He revived the movement why not let us be the team to do it right. Will
when Christian Badzura approached him, explained that we would have the highly
asking for a piece that was “atmospheric”. skilled Turntablist, DJ Yoda as the soloist,
Spheres is the namesake for Badzura and and once I properly considered the musical
Daniel Hope’s album, which focuses on the possibilities of such a project, I soon found
celestial. myself sketching out different concepts for
Prokofiev stressed the spatial quality each of the movements, and was keen to get
of the piece, from the creation of the solo started.
line (“not a typical Romantic melody, What makes the turntable different
but something much more sensitive and to any other instrument is that it uses
light”), to the orchestration (“[envisioned] pre-recorded sounds, but that is actually
originally with clarinet and flute and some nothing new to classical music. From the
percussion,… but just strings keeps it Musique Concrète of Pierre Schaeffer’s
more open”). The rhythm too, lends itself studios and the Poème électronique of Varèse
to a more open feeling, as the constant in the 1950s, which used reel to reel tape,
displacement of the main beat creates a through to the current digital world of
sense of open-endedness. electro-acoustic music; classical composers
True to its name, Spheres conveys a sense were manipulating recorded sounds long
of timelessness, as if the piece has neither a before Grandmaster Flash made his first
beginning nor an end. Prokofiev describes scratch using a record. However, once
the piece as containing a “recurring circular hip-hop culture discovered that a DJ can
theme that keeps coming around. Even just do so much more than just ‘play records’
the pulsing nature of the accompaniment with a turntable, their DIY approach led
has a circular feeling to it.” Keeping with the to the evolution of a very exciting new
celestial theme, conductor Simon Halsey instrument. That instrument has somehow
compared the character of Spheres to the stayed within the world of hip-hop and
stars – they always in transit, flitting in and dance, never venturing into the classical
out of existence. Halsey then added that it world, despite the incredible, expressive
was like looking up at the stars on a “hot potential it has. Having previously composed
and studied electro-acoustic music, I am extremely expressive and musical. DJ
aware of the search for more expressive Yoda showed me a wide range of scratch
ways of performing electronic music, as techniques that include Scribbling, Planing,
unfortunately many concerts just consist of Hydraplaning, The Transformer, Echoes, The
the playback of DAT tape or CD. So could Crab and The Baby. Once we had started
it be possible that this instrument, that first rehearsing I think Yoda even came up with
came to life at block parties in the Bronx, some new scratch techniques, inspired by
bring that expressivity? the left-field flavour of the work.
But, seeing as it was developed for hip- 4. Playing a melody with the turntable.
hop music, would it work in the context of Perhaps surprisingly, melodic playing is
a classical form such as a concerto? Well, possible, as the Technics 1200 turntable
hip-hop music has frequently sampled that all DJs use has a slider and button for
orchestral sounds and textures with great altering the playback speed (and therefore
success, so why not the other way round? pitch) of a record. DJ Yoda explained that
Plus, an experienced DJ can produce such a one particular DJ from San Francisco often
wide range of sounds that it must be possible plays nursery rhymes using a test-tone as
for them to sit within the orchestra in some a joke in his DJ-set. Yoda explained that
way. Furthermore, as a composer I have a there were 6 notes that could quite easily
genuine interest in contemporary urban be played on the turntable (3 positions of
music styles such as hip-hop, so I knew the pitch control, in 33 or 45 rpm), and it
that I can incorporate certain rhythms and turned out these pitches make up the first 6
musical ideas into the work that can bring notes of a minor scale, but some of the notes
the world of the DJ and the world of the are very tricky to play after one another, so
orchestra closer together. (In this concerto the turntable is not at its most flexible as a
you can hear traces of hip-hop drum melody instrument.
patterns, a Reggaeton beat, Grime, and The final and most defining choice for
even disco-house.) The central inspiration the piece was the subject of what sounds
guiding the composition of this work was of the DJ should use. Yoda explained that for
course the instrument itself, the Turntable. scratching there are certain classic samples
After a meeting with DJ Yoda, where he that work best, such as a gasping “ahhh”
demonstrated the range of techniques on sampled from Change The Beat by Fab
offer, I decided that the concerto would aim Freddy Five. He also showed me drum hits
to explore all the main DJing techniques, and patterns that are good for scratching.
with each movement focusing on a certain However, if we put these classic ‘DJ sounds’
technique. The concerto would explore over a live orchestra I had a feeling that
1. The most basic DJ technique of all: the concerto would sound forced and not
just playing back a bit of music, and the the organic composition I was striving for.
progressions from that; stopping the record, What seemed the most natural solution was
interrupting it, reversing it, slowing it down, that the DJ should scratch and play with
and cutting it up. sounds that were generated by the chamber
2. The earliest DJ technique; ‘mixing’. orchestra themselves so that no foreign
One of the most interesting mixing sounds would ever enter the piece. For the
techniques is Beat juggling. It is when a DJ necessary gasping sounds I could record the
‘juggles’ with two identical records, placing woodwind players and for the drum sounds
them slightly out of time with each other, record the orchestral percussion section
to create interesting new rhythms. This is playing passages from the concerto itself.
usually done with two records, but in this Instead of the test-tone we would sample a
case we have one record and an orchestra. flute note for the melodic.
3. Scratching is the most famous DJ Apart from composing the score, the final
technique and in the right hands can be challenge was how to notate the DJ part.
We found that simplicity was the key, as DJs piece to give a nod to the early days of the
are not used to following scores. I prepared concerto when soloists were given a lot more
skeleton guide parts for Yoda but most was freedom to improvise. So in one way, this
learnt during rehearsals, and a lot of the new instrument is bringing the concerto
detail & ornamentation is improvised. This back to its roots. - Note by Gabriel Prokofiev,
characteristic of the instrument allowed the 2007
Biographies
JORDAN “MADHATTER” LEE began the world. In demand as a guest conductor,
deejaying since 1997 . As a child he played Mr. Briskin appears regularly with such
drums and percussion, and began making companies as The Royal Ballet, Covent
his own music before the age of ten. His Garden, San Francisco Ballet and Houston
father (also a drummer) set Jordan’s musical Ballet among many others. He served as
foundation deeply in soul, funk and rhythm Conductor for The Juilliard School’s Dance
and blues. His teenage years were filled with Division from 1993 to 2005 and as Seasonal
reggae, rock, hip hop and techno. Jordan’s Guest Conductor with New York City Ballet
roots in drumming and years of voice and for three years. In addition to his work in
theater training made the progression into dance, Mr. Briskin has appeared with the
working as a DJ a smooth one. The art of Pittsburgh, Detroit, Baltimore, Indianapolis,
Turntablism (scratching and moving records Windsor, Cincinnati Pops and Singapore
to manipulate sound) became a passion early Symphony Orchestras, the Hong Kong
in his DJ career, and his primary focus for Philharmonic, and the National Symphony
several years of his adult life. Orchestra of Costa Rica, among others. Mr.
Jordan has performed in Milwaukee, Briskin was appointed Assistant Professor
Wisconsin for over a decade under the and Director of Orchestral Studies at the
moniker DJ MADHATTER. His work with University of Toronto Faculty of Music in
groups like the Rusty Ps, Fader Grimmlins 2008.
and Kung Fusion, helped lay the ground
work for a successful solo DJ career. As a MATTHEW POON is currently assistant
producer and musician, Jordan dabbles in conductor of the Kindred Spirits Orchestra
Jazz, Rap, Dance and Electronic music. His in Markham, and conductor of the chamber
musical tastes vary from week to week and orchestra and youth choir at Scarborough
month to month, which is reflected in his Chinese Baptist Church. During his time
DJing style. He has performed Prokofiev’s at McMaster University he served as
Concerto For Turntables in Chicago, assistant conductor of the university choir
Milwaukee, Seattle, and now ...Toronto. and women’s vocal ensemble, and guest
conducted the concert band. Matthew is a
One of the foremost ballet conductors at master’s student in orchestral conducting at
work today, DAVID BRISKIN is renowned the University of Toronto. Initial studies in
for the scope of his repertoire and the depth piano from the age of 5 led to an associate’s
and beauty of his interpretations. Before diploma in piano performance from the
joining The National Ballet of Canada Royal Conservatory of Music followed by a
in 2006 as Music Director and Principal bachelor’s degree in music from McMaster
Conductor, Mr. Briskin served as conductor University. Previous conducting teachers
with American Ballet Theatre in New York include Dr. Keith Kinder (McMaster)
City for seven years, directing performances and Kristian Alexander (Kindred Spirits
at the Metropolitan Opera House, City Orchestra).
Center and numerous opera houses around
Violinist REBECCA MACLEOD is MAZIAR HEIDARI began his musical
enjoying a diverse career as a soloist, studies at the age of five, with Ardeshir
chamber musician and orchestral performer. Rohani. He graduated with a bachelor’s
Currently a student of Jonathan Crow in the degree in Industrial Engineering and
Master of Music program, Ms. MacLeod completed composition lessons with Farhad
has been featured many times with the Fakhreddini. In 2003, Maziar was admitted
Carnegie Mellon Baroque Ensemble and to Art University of Tehran, as a top student
has also been invited to perform concerti in master of music in composition. He was
with The Symphony of the Kootenays. A a piano and orchestration tutor for the Art
recent prizewinner of the Glenn Gould University of Tehran for 6 years and served
School’s Chamber Music Competition, as composer, assistant conductor and pianist
Rebecca is an active chamber musician. She for the Iran National Music Orchestra for
is currently a member of Duo 51, a harp more than 10 years. In the summer of 2011,
and violin duo that was recently featured in he won the Tirgan Festival trophy for his
recital at St. Stephen’s in the Field Church, conducting of the Pardis Orchestra for their
The Canadian Opera Company’s Richard Opening Ceremony at Harbourfront Center
Bradshaw Amphitheatre, Christ Church in Toronto. He is also one of the co-founders
Deer Park and toured British Columbia of the Iranian classical music group, ICOT
and Washington State in August. Rebecca (Iranian-Canadian Composers of Toronto).
has attended the Domaine Forget Chamber Maziar is a Master of Music candidate in
Music Program, the Aspen Music Festival, Conducting at the University of Toronto. He
the International Music Academy Plzen, the works as a pianist for Orchestra Toronto, as
National Repertory Orchestra, the National music director and conductor for the ICOT
Arts Centre’s Young Artists Programme, and Symphony Orchestra and as a freelance
the Morningside Music Bridge. Rebecca is educator, pianist, composer and conductor
a graduate of Carnegie Mellon University in Canada.
and of the Glenn Gould School in Toronto.
Her primary teachers have been Paul Kantor,
Barry Shiffman, Andrés Cárdenes and Bill
van der Sloot.
UNIVERSITY OF TORONTO SYMPHONY ORCHESTRA
VIOLIN DOUBLE BASS TROMBONE
Adelaide Beach Doug Ohashi** Emma Metzger
Wesley Bells Wesley Brenneis Alex Redman
Andrew Chan Connor Crone** Ryan Broughton, bass
Tania Cheng Matteo Ferrero-Wong
Samuel Choi Matthew Girolami TUBA
Alessia Disimino Alanna Gunn Teddy Toulis
Danielle Girard Peter Klaassen
Cassandra Leshchyshyn Chantel Leung TIMPANI
David Lin Alexander Artale
Rebecca MacLeod** FLUTE Jacob Mannion
Charna Matsushige* Tristan Durie, Nathan Petitpas
Matthew Mifflin and alto flute, piccolo
Ivy Pan Katharine Hao, and piccolo PERCUSSION
Vivian Peng Jessica Leung, and piccolo Alexander Artale
Meghan Ruel Robin Meiksins Anna Karpazis
Sebastian Sallans Andy McNeilly
Jason Shiu OBOE Jacob Mannion
Amy Spurr** Boris Chang Morgan O’Leary
Johnson Chung Shing Tam Cherie Yuen Yu Fu Nathan Petitpas
Eros Tang* ** William Tran
Meagan Turner* ENGLISH HORN
Georgia Vogeli Eric Chow HARP
Erick Wawrzkiewicz Karen Koh
Calvin Wan CLARINET
Kathryn Wiebe* Omar Ho PIANO
Amos Wong Anoush Hosseini-Tabatabaei Maziar Heidari
Justina Wong Petra Nikolaou, and bass
Ruth-Anne Yiu Katie Steadman, and bass * Concertmaster
Jimmy Zhang ** Principal
BASSOON/CONTRA
VIOLA BASSOON
Maxim Despax** Bianca Chambul COACHES
Cole Canaday Eric Mohr Young Dae Park,
Carolyn Farnad** Iraj Tamadon-Nejad principal string coach
Gabriella Kertesz David Bourque,
Emilie Gelinas-Noble** TENOR SAX principal wind coach
Madeleine Spence David Zucchi
Chris Wong MACMILLAN THEATRE
HORN Fred Perruzza,
CELLO Chris Going Director of Operations
Brenton Chan** Ryan Garbett Ian Albright,
Alice Cho Eric Szabo Technical Assistant
Sally He Hannah Terminsky Bob Dunkin,
Kevin He Natalie Worden Production Assistant
Evan Lamberton
Jun Kyu Park** TRUMPET LIBRARIAN, PERFORMANCE
Dayoung Seo** Kathryn Clarke, and cornet COLLECTION
Enya Shi Marianne Greene Karen Wiseman
Rosy Zhang** Patricia Riddell
NEW MUSIC FESTIVAL 2014
Gabriel Prokofiev, Roger D. Moore Distinguished Visitor in Composition
Paul Chihara, Louis Applebaum Distinguished Visitor in Film Composition
Norbert Palej, Festival Coordinator
Saturday, January 25, 2014 Monday, January 27, 2014
Festival Opening Concert Guest Lecture by Roberto Turrin:
University of Toronto Symphony “Humor in 20th century music”
Orchestra 12:10 pm. Walter Hall. Free
The Music of Sergei and Gabriel
Prokofiev Monday, January 27, 2014
7:30 pm. MacMillan Theatre. Guest Recital: Roberto Turrin,
piano
Sunday, January 26, 2014 7:30 pm. Walter Hall. Free
Walter Buczynski Birthday
Concert Tuesday, January 28, 2014
Celebrating the 80th birthday of Conversation with Paul Chihara
Canadian composer and Professor Louis Applebaum Distinguished
Emeritus Walter Buczynski, the Visitor in Film Composition
concert features his violin sonata, 5:00 – 7:00 pm. Walter Hall. Free
Suite 1;2;3, vocal works and the
premieres of his piano sonatas Tuesday, January 28, 2014
nos. 8 and 9. Performers: William Composers Forum with Gabriel
Aide, piano, Walter Buczynski, Prokofiev
piano, Richard Herriott, piano, Ilya 8:00 pm. Canadian Music Centre, 20
Poletaev, piano, Gregory Oh, piano, St. Joseph Street. Free
Melanie Conly, soprano, Jesse
Clark, baritone, Joseph Macerollo, Tuesday, January 28, 2014
accordion, Joe Phillips, double bass, NONCLASSICAL Night with
Talisker Quartet, Mark Fewer, violin, Gabriel Prokofiev
Peter Longworth, piano. Presented by the Canadian Music
2:30 pm. Walter Hall. Free Centre. Powered by Audio Blood.
9:00 pm. Canadian Music Centre
Sunday, January 26, 2014 Performance Space, 20 St. Joseph
Strange Matter Street. Free
A concert presented by Esprit
Orchestra in collaboration with the Wednesday, January 29, 2014
New Music Festival featuring music New Music for Bassoon and
by Gabriel Prokofiev and others. Pre- Percussion
concert talk at 7:15 pm. Featuring Nadina Mackie Jackson
8:00 pm. Koerner Hall. For tickets and Beverley Johnston in works
call 416-408-0208 by Theodor Burkall, Alexandre
For further information: Ouzounoff, David Lang and others.
http://www.espritorchestra.com/ 12:10 pm. Walter Hall. Free