Windsor Canadian Music Festival 2012

• Mon, 02/06/2012 - 4:00pm - Sat, 02/11/2012 - 10:00pm

    February 6 thru 11, 2012 Windsor Canadian Music Festival   Schedule:
Monday, February 6, 4:00 pm WCMF – Welcome & Overview Recital Hall, Rm 139,
School of Music Artistic advisor Brent Lee discusses this year’s Festival.
Free event   Wednesday, February 8, 4:00 pm WCMF – Composers’ Roundtable
Recital Hall, Rm 139, School of Music Composers featured at this year’s
Festival David Eagle, James Harley, Christien Ledroit, Keith Hamel and Brent
Lee discuss their work and inspiration. Free event   Wednesday, February 8,
10:00 pm WCMF – Phog Phunk Phest VI Phog Lounge, 157 University Ave. W. An
annual jam session at Phog Lounge, featuring University of Windsor students
and guests.   Thursday, February 9, 7:30 pm WCMF – in/fuse 15: LEAP Studio
A, Lambton Tower LEAP is a collaborative performance featuring students
enrolled in Sigi Torinus’ Digital Media and Interactivity class and Brent
Lee’s Diverse Music and Practices class. The performance will feature
several improvisational works that combine acoustic and electronic
instruments, live audio processing, and live video mixing. LEAP is presented
as part of the in/fuse series of multimedia performances at the University of
Windsor. Special guests Nicolas de Cosson, James Harley, Riaz Mehmoud, Martin
Schiller, and Eric Owen Wood. FREE event   Friday, February 10, 7:30 pm WCMF
– Windsor Symphony Orchestra Concert Assumption University Chapel Windsor
Symphony Orchestra, John Morris Russell, conductor Program: James
Harley     Caged David Eagle        Two Forms of Intuition Brent
Lee            Knob and Tube Keith Hamel        Les Cloches
This performance is being recorded by CBC Radio 2 for future broadcast. The
Windsor Symphony Orchestra under the direction of John Morris Russell will
present a program of commissioned works for chamber orchestra and interactive
electronics by David Eagle, Keith Hamel, Jim Harley and Brent Lee. Each
composer will create a work that takes advantage of 14 individually amplified
instruments whose sound is processed in real time  using Max MSP software
and diffused through a multichannel sound system. Tickets: Adults/Seniors
$20; Students $10 Contact the WSO for tickets, (519) 973-1238     Saturday,
February 11, 7:30 pm    Festival Finale WCMF – School of Music Faculty
Concert Chamber Ensembles and Electronics Assumption University Chapel  
Program: David Eagle – Fluctuare for flute and electronics Jaimie Wagner,
flute David Eagle, electronics   James Harley - Here The Bird  (1993)
Nicholas Penny, viola Philip Adamson, piano   Christien Ledroit - Night
Chill for marimba & electronics  (2004) Nicholas Papador, marimba   Patrick
Carrabré - Orpheus Drones for piano and electronics (2012) Megumi Masaki,
piano   Keith Hamel - WindoW for alto saxophone w/ interactive electronics
(1990) Jeffrey Price, alto saxophone Keith Hamel, electronics Brent Lee -
Braga for chamber ensemble and electronics  (2011) Jessica Pistor, soprano
Megumi Masaki, piano Trevor Pittman, bass clarinet   While the genre of
interactive music has grown steadily over the last several years, most
existing works involving live electronics are scored for a single instrument
or small ensemble. This performance is being recorded by CBC Radio 2 for
future broadcast. CONCERT TICKETS:  Adults/Seniors $15;  Students (with ID)
$5. Order by phone at 519-253-3000 ext. 4212; Tickets also available at the
door. Or, purchase tickets online: Buy Tickets   Assumption University
Chapel is located on the 2nd floor of the Assumption University building
located at 400 Huron Church Rd. on the west side of the university campus. 
Parking is available along Huron Church Rd., in pay-n’display parking lots
located off University Ave., north of the building, and south of the building
accessed off Huron Church Rd.   Composer Profiles:   T. Patrick Carrabré
Composer: Orpheus Drones Composer, Artistic Director, Radio Host,
Administrator and Professor, are just some of the “hats” that have been
worn by T. Patrick Carrabré. For well over a decade he worked closely with
the Winnipeg Symphony Orchestra, including six seasons as
composer-in-residence and co-curator of the orchestra’s wildly successful
New Music Festival. Also active in the media, Carrabré has just completed a
two-season run as the weekend host of CBC Radio 2’s contemporary music show
The Signal. Carrabré’s best known compositions include Inuit Games, for
throat singers (katajjak) and orchestra, which was a recommended work at the
International Rostrum of Composers (2003), Sonata No. 1, The Penitent, for
violin and piano, and From the Dark Reaches, which were nominated for JUNO
awards (in the category of Best Classical Composition), and A Hammer For Your
Thoughts… which was nominated for a Western Canadian Music Award.
Commissioners have included pianists Janina Fialkowska and Alexander
Tselyakov, The Winnipeg Singers, the Gryphon Trio, the Winnipeg Chamber Music
Society, choreographer Ruth Cansfield and cellist Shauna Rolston, as well as
the Manitoba Chamber Orchestra and the Eckhardt-Gramatté National Music
Competition.   In 2005, Carrabré’s collaborative work Creation Stories
was premiered to great acclaim at the Centara Corporation New Music Festival.
Uniting music and musicians from many cultures and styles, it weaves together
alternate accounts of how our world came into being, celebrating both our
common memories and our differences. Carrabré’s early compositional
studies were with Dr. Robert Turner at the University of Manitoba and with
Jules Léger Prize winning composer Peter Paul Koprowski at the University of
Western Ontario. He later went on to work closely with Pulitzer Prize winner
George Perle, completing a Ph.D. at the City University of New York. Besides
his teaching at Brandon University, Carrabré has served terms as Dean of
Music and Vice-President (Academic and Research).   David Eagle Composer:
Two forms of intuition, Fluctuare David Eagle composes chamber, orchestral
and electroacoustic music, and explores interactive computer applications in
composition, improvisation, multimedia and sound spatialization. A Professor
at the University of Calgary, he teaches composition and electroacoustic
music, and directs the Sonic Arts Lab and Happening New Music Festival. He
studied music at McGill University, at the Institut für Neue Musik,
Staatliche Hochschule für Musik, Freiburg, Germany, and at the University
of California, Berkeley (PhD 1992).   David Eagle performs the aXiO, a new
digital instrument designed to allow greater expression in interactive
electroacoustic music. A major project was “one thousand curves, ten
thousand colours”, a collaborative multimedia concert with composer Hope
Lee and Ensemble Resonance, integrating live acoustic and electroacoustic
music with computer-generated images. In August 2001, Ensemble Resonance
performed the work again, this time with choreography at the Cantai Festival
in Taipei, Taiwan. He has also been composer/performer in residence with
Toronto’s New Adventures in Sound Art at the summer Sound Travels Festivals
on Toronto Island and has performed at electroacoustic festivals in Denmark
(MIX.01 International Festival for Electronic Music, Dansk Institut for
Elektroakustisk Musik, Musikhuset Aarhus) and Rome (Musica Scienza 2001,
Centro Ricerche Musicali).   Eagle’s work can be heard on New Concert
Discs, Clef, UNICAL, isidorart recording, ARKTOS Recordings, MAPL, New Works
Calgary and Centrediscs labels, and a new release on light blue records of
selected interactive and electroacoustic works.   Keith Hamel Composer: Les
Cloches, WindoW Dr. Keith Hamel is a Professor in the School of Music, an
Associate Researcher at the Institute for Computing, Information and
Cognitive Systems (ICICS), a Researcher at the Media and Graphics
Interdisciplinary Centre (MAGIC) and Director of the Computer Music Studio at
the University of British Columbia. Dr. Hamel has been on the Faculty at UBC
since 1987, and has been a Full Professor since 1997. He holds a B.Mus. from
Queen’s University (1981) and A.M. and Ph.D degrees from Harvard University
(1984, 1985). He also studied Computer Music under the supervision of Barry
Vercoe at the Massachusetts Institute of Technology between 1981 and 1984.
Dr. Hamel has written both acoustic and electroacoustic music and has been
awarded many prizes in both media. His works have been performed by many of
the finest soloists and ensembles both in Canada and abroad. He has received
commissions from IRCAM (Paris), the Ensemble Intercontemporain, Vancouver
Symphony Orchestra, Vancouver New Music Ensemble, the Elektra Women’s
Choir, musica intima, Hammerhead Consort, Standing Wave, Hard Rubber
Orchestra, as well as from outstanding performers such as flutist Robert
Cram, bassoonist Jesse Read, clarinetist Jean-Guy Boisvert, saxophonist Julia
Nolan, and pianist Douglas Finch. Many of his recent compositions focus on
interaction between live performers and computer-controlled electronics.  
As a computer music researcher, Hamel is recognized as one of the foremost
authorities on music notation software. He is author of the NoteWriter and
NoteAbilityPro software programs which are used around the world for
professional music engraving and publishing, and he has developed interactive
environments for live performer and computer interaction. His research has
been funded by the Canada Council, the SSHRC, a Killam Research Fellowship,
and UBC Arts-IT.   Dr. Hamel is the former Vice-President of the
International Society for Contemporary Music (ISCM), a former President of
the Canadian Music Centre, and a former board member of the Canadian League
of Composers. His music is published by Editions Musicales Européennes of
Paris and by Cypress Press of Vancouver, and several of his compositions are
available on commercial recordings.   James Harley Composer: Here the Bird,
Caged James Harley is a Canadian composer presently based at the University
of Guelph, where he teaches digital music, composition, and related courses.
He obtained his doctorate in composition at McGill University in 1994, after
spending six years composing and studying music in Europe (London, Paris,
Warsaw). His music has been awarded prizes in competitions in Canada (CBC,
New Music Concerts, SOCAN), USA (McKnight Foundation), UK (Holland Prize,
Huddersfield Festival), France (Bourges, MC2), Poland (Lutoslawski, Serocki),
Japan (Irino), and has been performed and broadcast around the world. Some of
Harley’s compositions are available on disc (Artifact, ATMA, Kappa, McGill,
Musicworks, PeP, Soundprints) and his scores are primarily available through
the Canadian Music Centre. He has been commissioned by, among others, Codes
d’Accs, Continuum, Ensemble contemporain de Montral, Hammerhead Consort,
Kappa, Kore, Kovalis Duo, New Music Concerts, NUMUS, Oshawa-Durham Symphony,
Open Ears Festival, Polish Society for New Music, SMCQ, Transit
FestivalBelgium, Trio Phoenix, Vancouver Bach Choir. He composes music for
acoustic forces as well as electroacoustic media, with a particular interest
in multi-channel audio. According to Marc Couroux (Musicworks 69), Harley’s
music “resides at the intersection of a network of influences rather than
proliferating from a central ideology Harley accepts that the complexity of
nature requires a more artistically imaginative interpretation than the
simple extension of an Arcadian, placid contemplation Harley consequently
oriented himself towards the theory of chaos, which derives its principles
from a much more global study of natural mechanisms than was previously
allowed due to hyperspecialization James Harley defends on the highest level
the great Canadian creative tradition, rooted in the natural world, a
metaphor for the irreducible complexity of Canada and, by extension, of
universal humanity.”   Christien Ledroit Composer: Night Chill In school I
learned to appreciate the beauty of the creation and inner machinations of
music.   Outside of school I learned to appreciate the beauty of sound and
passion. I grew up in the 80s and early 90s, so that should tell you
something about what kind of pop culture influences me. My favourite music to
listen to is punk rock, Beethoven, Debussy, Ligeti, George Crumb, Murray
Schafer and Philip Glass. I can’t stand Mozart, with the exception of his
two symphonies in G minor. I’m married to a wonderful woman and soul-mate,
and we have two amazing young daughters. Because of that, I also listen to a
lot of kid’s music (not always by choice!). Through that I’ve also
discovered a wealth of really great film music, particularly historical
Disney stuff; I’d be lying to myself if I said that hadn’t had at least
some influence on me. I’m a lousy performer. I grew up playing violin, and
picked up guitar and drums along the way. I play drums in a rock band. I’m
a bit of a foodie, and have an appreciation (if not always a budget) for good
wines and single-malt scotch. I’m also very passionate about cars. I own a
1972 Porsche 911, which I maintain myself in my garage. There’s a direct
correlation somewhere in there between the very fine inner workings of an
internal combustion engine and the various notes, figurings and nuances of a
composed piece of music, as well as the raw power and speed of a performance
car, and the visceral emotions found in a lot of my music.   If you ‘wants
just the facts’, I was born in 1975 in London, Ontario. I have a Bachelor
of Music from Queen’s University in Kinston, Ontario, and a Master of Music
in Composition from McGill University in Montreal, Quebec. I now live in
Hamilton, Ontario, just outside Toronto.   Brent Lee WCMF Artistic Advisor;
Composer Knob and Tube, Braga Brent Lee is a Canadian musician, scholar, and
educator. He studied at McGill University and later the University of British
Columbia, where he completed his doctoral degree in 1999. His compositions
range from orchestral music to electroacoustic pieces, and include jazz and
incidental music. He has received awards and commissions from CAPAC, SOCAN,
the Canada Council, the Ontario Arts Council, the Alberta Foundation for the
Arts, The Gaudeamus Foundation (The Netherlands), and the Bourges
International Electroacoustic Music Competition (France). In addition to
performances and broadcasts in many countries, several of his works have been
commercially recorded.   His compositions and improvisations often explore
the relationship between acoustic instruments and digital sound processing;
this interest has extended to his work as a performing member of a number of
improvising ensembles including Gems, Strictly Plutonic, Modus Vivendi, and
the Electric Improv Lab. Most recently, he served as composer-in-residence
with the Windsor Symphony Orchestra from 2003 to 2006.   He has been an
associate composer of the Canadian Music Centre since 1991 and Artistic
Advisor for the Windsor Canadian Music Festival since 2003.