Table of Contents
FORUM 2014 – January 23 – 26, 2014
Language Facilitation at FORUM 2014
Membership Dues 2013–2014
Souvenirs of IAMA Montréal 2013: Showcasing Canadian New Music to the World
President’s Report 2013 – Tim Brady
Welcome New Members – December 2013
17th edition CNMN Bulletin – December 2013
FORUM 2014 – January 23–26, 2014
Get ready for the FORUM 2014 – our, biggest, best FORUM yet!
CNMN presents the 6th edition of the international new music conference, FORUM 2014, in Calgary, Alberta, at the gorgeous Rozsa Centre, in collaboration with the Music Division of the School of Creative and Performing Arts, University of Calgary. The theme for this year is Canadian Music, Canadian Audiences, and the goal is to help new music artists connect with the world – with other artists, with producers and presenters, with the web, with the media, with educators, and with the public.
To make these connections, we have organized an amazing series of meetings, presentations, discussions, and formal and informal networking sessions. Our 5 keynote guests represent some of the most important new music presenters on the planet: The Miller Theater (New York), The London Sinfonietta, The Berlin Philharmonic Digital Concert Hall, the Why Note Festival (Dijon, France), and Soundstreams (Toronto). This is your chance to meet these people, and learn how they have made connections with their audiences.
Panel discussions will feature topics such as Festival Programming (how and why the music is presented), New Music and the New Media Landscape (how to connect), Audience Development (strategies and ideas that work), Orchestral Programming (dealing with the big machine), and the eternal favourite, What is Canadian New Music (“The Unanswered Question”, to quote Charles Ives in another context).
Invited panellists include representatives from many of Canada’s main presenters and producers: SMCQ, Music Gallery, NEM, Continuum, Contact, Cluster Festival, Music On Main, Toronto Symphony, Orchestre métropolitain, Quatuor Bozzini, Western Front…the list goes on.
There will also be several open networking and community development sessions, where people can exchange ideas and experiences around topics such as the economics of new music, new music dissemination and music education. These open meetings were a great success in Vancouver at FORUM 2012. They are also a fantastic way to network your initiatives with new music practitioners from across Canada, as well as exploring larger issues in the community.
For the first time ever, the FORUM programming is also fuelled by an open call that attracted many great proposals, and 18 people were invited in response. Here’s a little taste: Punctual Production vs. Concert Season: A Few Issues (Simon Martin); Crossing Borders: The Composers Project and Canadian Music (Jen Blackwell & Mike Romaniak); Unsilencing: An Open Forum on Women and their Place in New Music and Sound Art (Tina Pearson & Jennifer Butler); Storytelling through sound, speech, and music (Carmen Braden); oh my golly! – a performance and introduction on incorporating contemporary music in high school (Scott Godin, Lael Johnston and the Chestermere High School Drumline.
To round things off, there is a concert of new music being presented each night (Jan, 23, 24 and 25), at the Eckhardt-Grammatté Concert Hall, one of Canada’s best chamber music halls, housed at the Rozsa Centre. FORUM registrants can purchase specially-priced $10 tickets to each concert, a substantial discount. Visit the concert page for more information.
REGISTRATION IS NOW OPEN, with a very affordable early bird rate available only to CNMN voting members – but only until January 3 – book now!
See you in Calgary!
Language Facilitation at FORUM 2014
The FORUM is providing language facilitation to support communication in both official languages. This peer-run programme is a flexible way for speakers of varying levels of French and English to communicate more easily with one another.
Would you consider being a language facilitator? It’s a wonderful opportunity to connect even more with FORUM participants. In exchange for their services, the first five people to volunteer as language facilitators will receive complementary registration to the FORUM.
To volunteer, please contact Stacey Brown, Language Facilitation Coordinator:
Membership Dues 2013–2014
We sent out membership invoices by email in October. Membership dues are still coming in via online (PayPal) and mail. For those who still haven’t paid: please try to send in outstanding invoices as soon as possible, so we can settle dues before the FORUM 2014 in January. It is greatly appreciated!
Souvenirs of IAMA Montréal 2013
Showcasing Canadian New Music to the World
Musicians, delegates, audience and more share their thoughts about the Canadian New Music at IAMA Montreal 2013 project, held in early November, 2013. Visit online for full programme, biographies and more. Thank you to everyone who shared this experience with us!
Sometimes, the best things in life are unplanned! In late August 2013 CNMN was contacted by Barbara Scales, chair of the prestigious International Arts Managers Association (IAMA) conference, planned for November 2013 in Montreal. She said this was going to be an amazing opportunity to put Canadian music on the international stage, but that nobody had thought to include Canadian music in this international event. Did CNMN want to organise some showcases, to be presented to some of the most important arts managers in the world? We said YES.
So — in a period of 3 weeks we put together a partnership with Le Vivier and the CMC-QC, found funding for the project from the Canada Council (thanks!), organised a call for proposals, held a jury, and put together 4 events that presented 9 Canadian artists and over 20 composers. We had over 50 applications, and the decisions were difficult. But the final project at IAMA showcased an amazing scope of performers and composers from across Canada, and across a wide stylistic range.
The reaction by the IAMA delegates was very strong and very positive. They loved the idea of new music at the event (this does not happen in Europe, it seems), and were very impressed by the work of Canadian artists. This project has lead to many new contacts, projects and ideas for the development of the CNMN and Canadian New Music.
It was quite insane, organising a major production in less than 3 months, including fundraising, selection and production. But the opportunity was too important to miss. Kudos to the entire team, especially our administrative director (Emily Hall), for pulling this off.
President of the Canadian New Music Network
The CNMN / IAMA concerts were a great opportunity to present something beyond one’s local environment, and the event offered a snapshot of Canadian performers performing Canadian music.
Roger Admiral, pianistThis is the first time the IAMA conference has come to North America, and it was a pleasure to be able to show a warm Canadian welcome by way of the Canadian New Music at IAMA Montreal 2013 project, which showcased Canadian performers and composers from Victoria, British Columbia all the way to Halifax, Nova Scotia.
This was a truly palpable celebration of the rich artistic diversity we have here in Canada. The concept might have risked feeling fragmented as each unique set took to the stage, but no. It was as if all these remarkable performers and composers had all grown up together in the same place rather than spanning a country that’s close to ten million square kilometres in size.
How? Perhaps it was the immense talent and depth of individual identity that was shared by everyone. In all that the artists were showing us, it was apparent at every turn that we aren’t, in fact, a frontier to be settled. Canadian artists have a fully-explored voice and an established new music community.
Taking it all in, I was proud to be a Canadian, proud to call these amazingly gifted artists Canadian, and proud to be part of a community so vibrant and diverse, worthy and ready for any world stage.
Canadian New Music Network
As an artist representative and former head of international marketing at Sony Classical, I am extremely pleased with the mandate of the Canadian New Music Network. The Canadian New Music Showcases at IAMA Montréal exemplified our artists’ extremely high performance level and further proved that our composers can become more widely known. While the new music world is often criticized for acting competitively, the performers collaborated in their usual fashion and proved that this is an open community which welcomes others. I look forward to our ongoing collaboration with the Canadian New Music Network as it helps to build opportunities for our performers and creators.
Real World Artist Management
Only Janice Jackson could make such a magnificent hall feel so intimate and special. Her showcase performance at the Maison Symphonique on November 8, 2013 was both chilling and electrifying, and her solo voice effortlessly filled the hall with sound and emotion.
Beginning with Marie Pelletier’s Han No.3, the audience was invited into a twisting world of vocal techniques and styles borrowed from different cultures. I found myself pleasantly lost in the textures of sound! Although neither piece had intelligible text or direct story, I was always interested and always had the sense that I was watching a real human event or experience far above a simple collection of sounds.
Her delivery of Alice Ping Yee Ho’s Angst, seated on the floor and carried out while ritualistically ripping apart a red-streaked newspaper, was equal parts performance art and music theatre, equal parts poised and bizarre. The hall was the perfect space for her powerful and versatile voice, and I was awestruck at the different effects that emerged as she turned her body to face other parts of the hall. At one point as she faced away from the audience, she muttered some percussive strings of consonants and I was sure I heard two voices as the echo ricocheted off the back wall. Janice stayed true to the essence of the piece until the very end– when she crawled offstage on her hands and knees!
Sarah Albu, audience member
No microphone amplification, just one woman, alone on the vast stage of the Maison Symphonique, I was fascinated by Janice Jackson’s fearlessness, the trust and the symbiosis she formed between herself and the hall at her solo showcase, Spotlight on Canadian Composers. From the softest murmur to the most intense outcry, the hall responded to every detail, transmitting her mesmerizing and transcendental vocals as if she was singing up close, to each and every one of us.
Emily Hall, audience memberThe two concerts at the “Off-IAMA” series [at the Red Roof Church] displayed a wide range of musical styles. Also, the variety of different groups and soloists that were featured was something I will remember.
Alasdair Money, cellist – Emily Carr String Quartet
ofNOW, orkestra futura performed .. on November 8, 2013 at the [showcase] at the Church of Saint John the Evangelist in Montreal. [It was] a wonderful opportunity to introduce Canadian new music to international programmers, producers and managers. There is a rich and varied new music scene in Canada and I am pleased that this Canadian music was introduced in an international conference of such high stature. [We were] proud to introduce portions of three new graphic scores: Onomatopoeia by Gary Wildeman, wise as serpents by Lisa Cay Miller and hhhmmm by Coat Cooke. I applaud the Canadian New Music Network in a well run, efficient showcase.
Lisa Cay Miller – Managing Artistic Director, ofNOW, orkestra futura
Taking-Off with Aplomb: Canadian New Music at IAMA-Montréal
“Aplomb” is the right descriptor for the opening Off-IAMA concert presented in the early evening of November 7, 2013– one of two Canadian New Music concerts presented at the “Red Roof Church,” a venue whose excellent acoustics serves New Chamber Music as well as it does Bach’s cantatas.
The concert included two ensembles – Fiolûtröniq from Montréal and the Emily Carr String Quartet from Victoria – plus the virtuoso flutist Mark Takeshi McGregor from Vanocuver, in a solo performance.
The members of Fiolûtröniq include the composer-performer Cléo Palacio-Quintin on flutes, Elin Söderström on viol de gamba, and Katelyn Clark on harpsichord. Parallel to the string quartet, this combination of instruments has been with us for several centuries, and is entirely appropriate to highlight what is new in New Music. When the last movement of a composition [by Stacey Brown] is entitled Stark Raving Lunatic Bitch, the listener has the right to expect sounds quite different from what one usually hears in chamber music. And that’s definitely the case, even if the piece finishes with a certain grace, rather than the frenetic madness implied by the term “stark raving.”
The four musicians from the Victoria Symphony Orchestra who make up the Emily Carr String Quartet devoted the core of their stage time to Ana Sokolovic’s Commedia dell’arte I, the commissioned test piece for the 2010 edition of the Banff International String Quartet Competition. Like all creations of this genre, composing this quartet is as much a challenge for the composer as for the musicians. Above and beyond the high technical demands imposed on the performers, there is also the composer’s goal of creating music that will last. After the smashing conclusion of Commedia dell’arte I, the applause was just as intense as one hears on the original 2010 performances. Both Sokolovic and the Emily Carr String Quartet deserve no less.
After the intensity of the first two parts of the concert, I had my doubts as to the audience’s capacity to devote the requisite attention to the third component of the program: compositions for solo flute. Those doubts disappeared the instant that flutist Mark Takeshi McGregor began the first work: Foundry by Paul Steenhuisen. We see a virtuoso whose movements during performances can almost be characterized as dance. This is not an artifice for the stage, but very evidently the way that McGregor lives his music.
-Full concert programme online.
-Watch a video sampling of Fiolûtröniq’s repertoire on Vimeo.
-Stacey Brown’s composition Five Stages of Insanity According to bzh April 10, 2008.
-Thanks to the generosity of the Banff Competition and CBC, we can hear the lasting qualities of Commedia dell’arte Ihere.
-Watch a video performance of Steenhuisen’s Foundry on McGregor’s web site.
Phil Ehrensaft, audience member
President’s Report 2013 – Tim Brady
CNMN is set to move to a new level of activity, broadening its impact within the community and within Canadian society – due to the work we have been doing over the past 8 years, and especially due to the work we have done in the past 12 months.
There are several key elements to the growth and success of CNMN. They are:
- Board renewal
- Infrastructure improvements
- Regional discussions
- Bigger and better partnerships – University of Calgary, CAPACOA, CSMDCI
- FORUM 2014 planning
- Long-term vision
All of these elements came together in 2012–2013, making for a very busy and eventful year.
(1) Board Renewal
The new board began work in June 2012. The new board includes several very experienced artists and arts managers, who bring a wealth of knowledge and connections to the CNMN board. This is helping with both the efficiency and effectiveness of the board in getting work done.
The board is also slowly moving from being a “working board” to a mixed “working/governance” board. In the long term, CNMN will be stronger if we have a better infrastructure (paid staff) and if the day-to-day workings of the organisation of the company is not handled by the board. The current board president has functioned as a volunteer CEO for the past 8 years and we are slowly trying to change that model. It is unsustainable, long-term.
(2) Infrastructure improvements
At the very end of our 2011–2012 season, we moved to a more standardized Word Press site. This resulted in adding the task of web site management and publishing to Emily Hall, and for this past season, she has been working well with the new web site that is constantly undergoing modifications and improvements.
We were also able to continue producing the thrice-yearly Bulletin, though it is now produced in a more online-friendly format.
(3) Regional Discussions/Members Meetings
With funding from the last round of Canadian Heritage Creator’s Assistance Programme, CNMN held a round of 6 regional meetings across Canada during the past season. Perhaps some of you attended these meetings. Events were held in Calgary, Montréal, Toronto, Winnipeg, Regina and Halifax. The meeting styles, content and structure were quite varied, reflecting the diverse regional nature of Canadian culture. Attendance at the meetings was very good, and the quality of the discussions was very informed. The meetings also helped raise CNMN profile in each community, which helped somewhat with membership renewals. There is a lot of information on the regional meetings on the Web site.
(4) Bigger and better partnerships
CNMN has lots of ideas and plans, but we can’t do it all on our own. Building effective partnerships is essential to achieving our goals. This year saw us create 3 great new partnerships.
- The University of Calgary: a full, committed partner to the FORUM 2014, they are investing both facilities and money in the project
- CAPACOA (Canadian Arts Presenting Association): we partnered for the CNMN Ontario Regional Meetings (hosting several panel discussions around the theme of new music), and we all agreed that CNMN and CAPACOA need to build more and closer connections. It is a potential gateway into the mainstream music presenters, which is a huge potential market to develop. Talks are ongoing, with a potential major project being discussed for 2015.
- CSMDDCI (Canadian Specialised Music Dissemination and Digital Content Initiative): this very complex and ambitious project is slowly evolving. It involves building a coalition of 11 major arts/music companies across Canada, and continuing discussion with Canadian Heritage about the role of “specialized music” in the Canadian musical ecology, with specific goals towards the renewal of the Canada Music Fund in 2015.
- It also involves serious arts representation and working with both bureaucrats and elected officials. CNMN has met Canadian Heritage twice, and continues to work with the Canadian Arts Coalition in its large scale arts representation work in Ottawa, including the “Day on the Hill” project, in which we participated last fall 2012.
(5) FORUM 2014 Planning
This FORUM will be our most impressive to date. We are really reaching out to the world, trying to bring Canadian new music to the public around the world. Funding for the event is going well, and I willl give more details on the FORUM and its finances in the update after this official report.
Two new features that have taken a lot of planning are the increased presence of high-level international guests, and the open call for proposals. We have a stupendous list of “A list” presenters confirmed as our invited guests: Soundstreams, The Berlin Philharmonic, Le Festival Why Note (Dijon), the London Sinfonietta (UK) and Miller Theatre (New York). This is a very impressive range of high-end producers to which Canadian new music artists will have face-to-face access for the first time.
This season also saw the inaugural open call for FORUM presentations, which was hugely successful. We received 43 applicants, of which, regrettably, only a few could be chosen for the event. But the quality of the proposals was very high, and it shows a huge need and desire from the community to get the music out there!
Other technical details advanced for FORUM planning last season such as budgets, hotel group rates, technical details, University of Calgary coordination, and of course, writing grant applications. I’d like to take a moment to thank the FORUM 2014 steering committee for their valuable work: John Ried (chair), Laurie Radford, David Eagle, and Bill Jordan and Rob Oxoby, vice dean at the U of C has also been very helpful.
New in the 2012–2013 season, CNMN took a chance and applied for FORUM funding for the first time through FACTOR’s Industry Events. But don’t give results – leave that for post-AGM news!
(6) Long-term vision
In 2012, CNMN articulated a bold vision for Canadian new music: to make new music mainstream. This is, perhaps, overstating the case, and even slightly unrealistic. However, after 8 years as the president, and having spoken to many artists, presenters, producers and educators about what new music is and can be in Canada, it seems very clear to me that Canadian new music has reached a critical point. We have amazing composers, fantastic performers, impressively professional producers and dedicated and imaginative educators.
What is needed is for all of us to work together to make sure that the Canadian public has access to the extraordinary work that our community is doing. What is needed is a way for us to work together to achieve that goal. I believe that CNMN is an important partner in making this happen, and we all need to support its mission.
Creative music making is a truly unique human experience, and every Canadian should know that they too can take part in both the thrill of discovery and the emotional experience that is new music at its best.
CNMN is there to help make it happen.
Tim Brady – Oct. 1, 2013
Welcome New Members – December 2013
Since late May 2013, CNMN’s membership has grown by 58 members. More members in our network means stronger representation and connection for our community. We warmly welcome all our new members, and we hope this marks the beginning of a long-lasting and fruitful collaboration.
The new members are listed below, many of which have web sites for further information. We also hope all our members get a chance to check each other out – you can access a full list of members on our web site, viewable by category, region or name.
Who will be the next new member?
New Voting Members
Astrolabe Musik Theatre BC http://www.astrolabemusiktheatre.com/ Jongleur Productions NS http://www.jeribrown.com/ Quatuor Molinari QC http://www.quatuormolinari.qc.ca/ Théâtre Centennial / Centennial Theatre QC http://www.centennialtheatre.ca/ Vocalypse Productions NS http://www.vocalypse.ca/ Jorge Ayala ON Marie-Hélène Breault QC Éric Champagne QC Bruno de Chénerilles France http://www.audiorama.org/ Frank Horvat ON http://www.frankhorvat.com/ Dimitar Pentchev ON http://www.soundconvincer.com/ Faye Perkins ON http://www.realworldartistmanagement.com/ Bruce Ruddell BC http://www.bruceruddell.com/ Rob Taylor AB
New Supporting Members
Eleanore Altman QC http://www.eleanorealtman.com/ Daniel Evan Amezcua AB Allison Balcetis AB Philippe Battikha QC http://www.philippebattikha.com/ Chris Blaber BC Virginia Bliss USA http://www.reverbnation.com/denderabloodbath Stephan Bonfield AB Marilyn Burgess QC Sadie Campbell BC Kayla Chambers ON Jane Chan QC Ann Denny NS Mark Helsten ON Véronique Jacques QC http://www.soundcloud.com/veronique‑j Mathew James USA https://soundcloud.com/mathewsjames Kevin Knelman ON http://www.knelmanmusic.com/ Michael LaCroix USA http://www.michaellacroix.com/ Alain Lalonde QC http://www.espacessonoresillimites.com/ Stephanie Loveless QC http://www.stephanieloveless.ca/ Lisa Lowry USA Luc Martin ON Kerilie McDowall BC http://www.rhythmaning.ca/ Pierre Michaud QC Brent Michaud QC Nils Monthe Cameroon Larysa Musick MB http://www.reverbnation.com/larysamusick Juan Olivares ON http://www.leslievillemusic.com/ John Osborne AB http://www.blacksplash.net/ Candace Patrick SK Alexa Pavao ON http://www.troveband.com/ Heather Pawsey BC http://www.heatherpawsey.com/ Ivan Reese AB http://www.ivanish.ca/ Martin Ritter BC http://www.martin-ritter.com/ Jean-Michel Rousseau QC JD Sage QC http://www.jdsage.com/ Brenda Santillan Mexico Lorne Shapiro ON Adam Sloan USA http://www.cdbaby.com/cd/mutron3k Rebecca Spour ON http://www.thesoulmovementmusic.com/ Isabella Stefanescu ON http://www.isabella-stefanescu.com/ Ananda Suddath QC Rich Taylor SK http://www.gladeyemusic.com/ Barry Taylor BC http://www.aleatora.org/ Pip ON http://metroPhilmusic.bandcamp.com/