CMC Prairie Region

MCO 2 / BETWEEN EARTH & SKY - Alexina Louie & Jacques Hétu
2025-10-28 19:30 - 21:30 (America/Winnipeg) | Crescent Arts Centre, 525 Wardlaw Ave, Winnipeg, Manitoba, R3L 0L9, Canada
2 / BETWEEN EARTH & SKY
7.30pm, Tuesday, October 28
Crescent Arts Centre, 525 Wardlaw Ave.
International Cello Festival of Canada Opening Concert
Colin Carr, Denise Djokic, Santiago Cañón-Valencia, Matthias Bartolomey, Cameron Crozman, Inbal Segev, cellos
Anne Manson, conductor
The cello’s rich, expressive voice takes centre stage in this powerful opening to the Cello Festival, reflecting the instrument’s dual nature — rooted in the depths of the earth yet simultaneously reaching skyward.
Since 2011, the International Cello Festival of Canada has been bringing renowned cellists and artists from around the world to Winnipeg for an unforgettable celebration of music. Here, we’re pleased to present the immense talents of Colin Carr, Denise Djokic, Santiago Cañón-Valencia, Matthias Bartolomey, Cameron Crozman, and Inbal Segev to celebrate the opening of the Festival.
–
Antonio Vivaldi
Concerto for Two Cellos
Joseph Haydn
Concerto in D
Alexina Louie
Bringing the Tiger Down from the Mountain
Jacques Hétu
Rondo for Cello and Strings
C.P.E. Bach
Cello Concerto in A
Joseph Haydn
Cello Concerto in C
Program subject to change

Richard O. Burdick’s Music and Video from Summer Vacations
2025-11-02 14:00 - 17:00 (America/Regina) | RPL Film Theatre Regina Public Library Central Branch, 2311 12th Ave, Regina, Saskatchewan, S4P 0N3, Canada
A Multisensory Journey of Music and Visuals
Regina, SK – Join acclaimed composer and hornist Richard O. Burdick for a unique concert experience, Music and Video from Summer Vacations, on Sunday, November 2, 2025, at 2:00 p.m. at RPL Film Theatre Regina Public Library Central Branch (2311 12th Ave, Regina, SK S4P 0N3).
This captivating performance features an ensemble of French horn, English horn, cello, and videotape, blending evocative music with stunning visuals. The program includes:

Palisade Falls- video & chamber orchestra, Opus 248*Across to Pompeys
Across to Pompeys Pillar, Op. 261: A solo horn journey with immersive visuals.
Snap Shots, Op. 326 and Snap Shorts, Op. 345: Vivid musical vignettes.
Plus, highlights like the triumphant Bear Valley Fanfare and a soulful Ockeghem arrangement

Burdick’s innovative compositions and masterful performance create a multisensory adventure, capturing the essence of summer’s beauty and exploration.
Tickets: Choose-your-price tickets are available at https://i-ching-music.com/. A suggested offering of $15 is appreciated at the door, but no one will be turned away for lack of funds.
For more information, visit https://i-ching-music.com/.
About the performers
Richard O. Burdick is a renowned composer and hornist known for his innovative blending of music and visuals, creating immersive experiences that resonate with audiences worldwide.
Wing Lok Soo, English horn, and Amy Borton, cello, bring their exceptional artistry to this unforgettable performance

True North, An All-Canadian Program with the Saskatoon Symphony Orchestra
2025-11-08 19:30 - 21:30 (America/Regina) | TCU Place, Sid Buckwold Theatre, 35 – 22nd Street East, Saskatoon, SK, S7K 0C8, Canada
7:30PM, Saturday, November 8, 2025
TCU Place, Sid Buckwold Theatre

35 – 22nd Street East
Saskatoon, SK S7K 0C8
Google Maps Directions

Save Your Seats

Karl Hirzerconductor
Bede Hanleyoboe

Lineage – Zosha di Castri*
Oboe Concerto – Gary Kulesha*
The Grief Eater Firaga – Sonny Ray Day Rider*
Endymion – Jean Coulthard*
Elysium – Samy Moussa*

Karl Hirzer returns to the podium for a night worthy of glowing hearts. This celebration of the exceptional music that Canada has to offer is going to have you beaming with pride.
Renowned oboist Bede Hanley returns home to Saskatoon for his SSO debut in a new concerto by Gary Kulesha. Vibrant and exciting, this new work written just for Hanley is an exhilarating showcase for this hometown artist to make his return!
We’ve been itching to bring you the music of Sonny Ray Day Rider for a few seasons now – his work Grief Eater Firaga is a must-hear musical experience.
*Denotes Canadian composer.

Peter Ferry with Land’s End Ensemble, A Night of Percussion
2025-11-08 19:30 - 21:30 (America/Edmonton) | Eckhardt-Gramatté Hall, 2500 University Drive NW, Calgary, AB, T2N 1N4, Canada
Peter Ferry with Land’s End Ensemble, A Night of Percussion

November 8, 2025 7:30 pm

Location: Rosza Centre, University of CalgaryTickets: $35 General, $10 Students
Pre-Concert Chat: 6:45pm
Pre-Concert Performance: 7:10pm
Concert: 7:30pm
Featured Guest Artist & co-curator: Peter Ferry (percussion)
Buy tickets
Land’s End and Mr. Peter Ferry joyfully invite audiences to discover an expansive and unexpected view of percussion in contemporary music. As a member and Assistant Director of NYC’s Alarm Will Sound, Mr. Peter Ferry has established himself as a force in today’s contemporary music scene and is both guest artist and co-curator of this concert. You’ll hear a dynamic program of works by many of the most exciting living composers from around the world: Salina Fisher (NZD), John Psathas (NZD), Osvaldo Golijov (ARG), Gabriella Smith (US), Nicholas Bonaccio (US), Emmanuel Sejourne (FR), Elliot Cole (US), Vincent Ho (CAN), and and Marc Mellits (US).
Program
John Psathas – Angelus (trio)
Nicholas Bonaccio – Variations on a Balkan Rhythm (perc.)
Emmanuel Sejourne – Vibraphone Concerto, Mvt. I (vibraphon & piano)
Salina Fisher – Komorebi (violin & vibraphone)
Osvaldo Golijov – Mariel (cello, perc, and video)
Marc Mellits – Black (marimba)
[INTERMISSION]
Vincent Ho – Gryphonsong (trio)
Elliot Cole – The Future is Bright (perc)
Gabriella Smith – Anthozoa (trio & perc)
Plus…a post-concert album release reception!

After the concert, we will be celebrating the album release of Vincent Ho’s The Twelve Chinese Zodiac Animals, Books 1 & 2 recorded by pianist Tony Yike Yang (Grand Piano Records).

Robert Ingari, Luminous Voices
2025-11-09 15:00 - 17:00 (America/Edmonton) | Bella Concert Hall, 18 Mt Royal Cir SW, Calgary, Alberta, T3E 7N5, Canada
Sunday, November 9, 2025 at 3:00pm
Bella Concert Hall, Mount Royal University
with
Luminous Strings
Laura Brandt, soprano
Adam Brousseau, baritone

Figure Humaine by Francis Poulenc headlines this program built on themes of war, peace and freedom. Famously one of the most virtuosic and demanding works for unaccompanied choir, Figure Humaine was composed during the German occupation of France in WWII. With text by poet Paul Éluard, the final movement served as a rallying cry for the French resistance, as the poem was air-dropped by the Royal Air Force in 1943. Only six years earlier, Ralph Vaughan Williams composed his Dona nobis pacem as a plea for peace in a world growing increasingly fearful of another war. The orchestration features strings, piano and percussion, along with the choir and local stars, Laura Brandt and Adam Brousseau. The program will also feature a new work by Quebec-based composer-conductor Robert Ingari.

University of Lethbridge Music at Noon
2025-11-18 12:00 - 13:00 (America/Edmonton) | University of Lethbridge Recital Hall, 4401 University Dr W, Lethbridge, AB, T1K 6T5, Canada
Music at Noon concerts series presents Brad Parker, piano
Sonic Landscapes – solo piano works by Canadian composers
November 18 | 12:15 p.m. | University Recital Hall
Free admission, everyone welcome
Canadian pianist Brad Parker has performed extensively as a soloist and collaborative artist across North America and Europe. In the 2025–2026 season, he will tour widely, including stops in Canada, the US, and France featuring works by Canadian living composers. A founding member of the FOURtitude Piano Ensemble, he regularly performs and leads masterclasses in Southern Alberta. Dr. Parker is on faculty at the University of Lethbridge and co-founded the Lethbridge Piano Intensive, a national summer program for pianists. Brad earned his DMA and Master’s in Piano Performance from the Eastman School of Music, with further graduate study at the Paris Conservatory, and holds a Bachelor of Music with Distinction from Wilfrid Laurier University. His principal teachers include Rebecca Penneys, Dr. Heather Dawn Taves, and Jean Koerner.

ArcherFest 2025
2025-11-22 12:30 - 16:00 (America/Edmonton) | National Music Centre, 850 4 St SE, Calgary, Alberta, T2G 1R1, Canada
Canadian Music Centre Prairie Region Presents:
ArcherFest, November 22 & 23
Celebrating the Life and Legacy of Violet Archer
The Canadian Music Centre Prairie Region is proud to present: ArcherFest, a celebration dedicated to the life and legacy of visionary Canadian composer Violet Archer! Also recognizing CMC Prairie’s 45th anniversary, this two-day festival brings together artists from across Canada to honour Archer and her contribution to the Canadian classical landscape.

Day 1 – November 22
Join Us for Family Friendly Events!

Time
Event
Location
Admission Information

11:45am
Kimball Theatre Organ Demonstration – Catch the live demonstration of Kimball Theatre Organ! Used to soundtrack movies during the silent film era of the 1920s, the Kimball Theatre Organ is one of the most popular items in the National Music Centre collection.
Level 3, Sound Affects
Admission required to access this demonstration

12:30pm
Violet’s Path: a free storytelling event for the whole family!
Level 1, Drop-in Zone
FREE Admission, pre-registration required

1:30pm
Composer Reading Session with the Kensington Sinfonia
Level 1, Drop-in Zone
FREE Admission, pre-registration required

This interactive storytelling event is written and performed by Léa Plourde-Archer, grandniece of Violet Archer, and features pianist Sandra Joy Friesen. All ages welcome!
“I knew in my soul that I needed to play music every day for the rest of my life. Music brought me so much joy that I didn’t want to think about how hard life could be at the time for a woman trying to make a name for herself in the musical industry.” – Léa Plourde-Archer, Violet’s Path: the melodious life of Violet Balestreri Archer
Violet Archer (1913-2000) earned high honours as a classical music composer beginning in the 1930s. This was a rare career choice, especially for women at the time, so Violet faced many obstacles. Through passion and perseverance, she earned much respect from her peers and built up a catalogue comprising over 300 compositions.
This year marks the 25th anniversary of Violet’s death, and her work and life story are as relevant as ever. Inspired by her great-aunt’s legacy, drive, and enthusiasm, writer Léa Plourde-Archer presents a picture book manuscript that will bring Violet’s story to new eyes and ears. Meant to be enjoyed by children and adults alike, this story is one of a great Canadian artist who didn’t set out to be a trailblazer, but became a role model to many simply by following her instincts.
The author will read the full manuscript, which will be accompanied by drawings and photographs illustrating Violet Archer’s life. The reading will also be punctuated with short musical interludes played by live musicians.

About Léa Plourde-Archer:
Léa Plourde-Archer is an experienced content writer and emerging literary voice. Recently, her creative focus has turned toward the life and legacy of her great aunt, celebrated Canadian composer Violet Archer. Fueled by a deep curiosity and a vibrant imagination, Léa is currently developing two manuscripts about Violet’s life: one crafted for young readers and the other intended for adults. She hopes to bring this remarkable musical figure to new audiences through storytelling and research.

The Canadian Music Centre Prairie Region presents Composer’s Reading Session, featuring the Kensington Sinfonia. This interactive session brings selected works by local contemporary composers to life, giving each piece a live reading and immediate response from the musicians. Composers can hear their music performed, experiment with ideas, and work directly with the ensemble to explore nuances of orchestration and interpretation. As a rare live workshop experience, this session provides invaluable feedback from professional musicians.
About Kensington Sinfonia:
The Kensington Sinfonia has been sharing intimate, inspiring chamber music with Calgary since 1988. From timeless Baroque favorites to bold new works, the ensemble creates programs that celebrate both tradition and innovation. With a strong focus on local composers and collaborations, the Sinfonia brings fresh energy to every performance. Now in its fourth decade, Kensington Sinfonia continues to make classical music welcoming, creative, and community-driven — inviting audiences of all ages to connect with the joy of live performance in new and meaningful ways.

This festival is presented in partnership with the National Music Centre and the Alberta Registered Music Teachers Association (ARMTA)

ArcherFest 2025
2025-11-23 13:30 - 16:00 (America/Edmonton) | National Music Centre, 850 4 St SE, Calgary, Alberta, T2G 1R1, Canada
Canadian Music Centre Prairie Region Presents:
ArcherFest, November 22 & 23
Celebrating the Life and Legacy of Violet Archer
The Canadian Music Centre Prairie Region is proud to present: ArcherFest, a celebration dedicated to the life and legacy of visionary Canadian composer Violet Archer! Also recognizing CMC Prairie’s 45th anniversary, this two-day festival brings together artists from across Canada to honour Archer and her contribution to the Canadian classical landscape.

Day 2 – November 23 – Ticketed

Time
Event
Location
Admission Information

1:30pm
Pre-concert Chat with Janna Sailor and Anton Lindenblatt – As part of an ongoing initiative to promote the works of Violet Archer, Canadian Music Centre (CMC) Prairie Region Director Janna Sailor sits down with CMC Prairie Library Assistant Anton Lindenblatt to discuss the Violet Archer Digital Engraving Project.
Level 2, Performance Hall
Tickets Required

2:00pm
In Violet Light: Celebration Concert of Violet Archer
Level 2, Performance Hall
Tickets Required

This concert celebrates the luminous legacy of Violet Archer (1913-2000), whose music reflects a vibrant blend of intellect, lyricism, and national identity. Archer’s musical palette is deeply evocative, and this program brings to life her extraordinary concepts of tonality, phrasing, counterpoint, structure, and texture that shaped and solidified her mastery.
In Violet Light invites listeners to trace the pathways of Archer’s creative journey and her lifelong advocacy for new music. Featuring renowned Canadian artists Camryn Dewar (soprano) and Sandra Joy Friesen (piano), experience how her works continue to resonate through solo piano pieces elegantly complemented with songs for mezzo soprano.

About Camryn Dewar
Fulbright scholar and multi-instrumentalist Camryn Dewar is a champion of vocal versatility and accomplished Métis musician, known for her dynamic range across musical genres including contemporary classical, opera, musical theatre, and jazz. Hailed as an “incredible performer and instrument” (Jeffrey Gall), Camryn is passionate about presenting works of living and Indigenous composers, and is committed to using her artistry as a catalyst to uplift and amplify Indigenous voices. After successfully completing a highly-acclaimed tour of her lecture recital on Indigenous female representation in Canadian opera in New Jersey, she is now touring this innovative and unique lecture recital series across Canada.
Recent operatic engagements include: Blind Injustice at Jazz at Lincoln Centre, The Grapes of Wrath at Carnegie Hall with Tony Award winning music director Ted Sperling, Indians on Vacation at the Banff Centre for Arts and Creativity, Hansel and Gretel at Montclair State University, Li Keur: Riel’s Heart of the North at Manitoba Opera, and Living Music at the Canadian Museum for Human Rights.
Camryn has received numerous awards and fellowships, earning her Bachelor of Music (Vocal Performance) from the University of Manitoba, and her Master of Music (Performance) at Montclair State University with Metropolitan Opera mezzo-soprano Barbara Dever.

About Dr. Sandra Joy Friesen
In the early stage of her performing career, Sandra Joy Friesen became intrigued by music that took her beyond the familiar conventions of structure and style, music that required alternative approaches to interpretation and practice, and heightened sensitivity towards musical expressions. As she welcome opportunities that fulfill the creative process, Sandra Joy played a broad range of repertoire from traditional to contemporary, to interpretation of pictorial scores and interdisciplinary collaboration.
In 2009, Sandra Joy’s studies in improvisation and free-interpretation with pianist Douglas Finch (London, England) became a turning point in her musical artistry and this practice continues to feed her inspiration and motivation as a musical artist. Sandra Joy havs promoted the music of Canadian composers since the early 90s and was invited by the Association for Canadian Studies in Mexico and in Brazil to represent the University of Alberta and Canadian composers in solo piano recitals.
Generous awards from the Alberta Foundation for the Arts and Edmonton Arts Council allowed Sandra Joy to complete the recording Sound Reflections, Volume 1: Off the Shelf; a project of audio plus video recordings that provide interpretive context and address various challenges in contemporary music. Among her musical passions, the elegantly refined and picturesque style of the French masters features regularly in her solo piano programs. Sandra Joy has always felt a special sensitivity for art song and choir collaborations, performing this vast repertoire throughout her career and, currently, she enjoys being the pianist for the Cantaré Children’s Choir.
This festival is presented in partnership with the National Music Centre and the Alberta Registered Music Teachers Association (ARMTA)

New Music Edmonton presents Through Closed Doors – Ukrainian New Music
2025-12-05 19:30 - 21:30 (America/Edmonton) | Mile Zero Dance, 9931- 78 Avenue NW, Edmonton, Alberta, T6E 1N6, Canada
New Music Edmonton presents Through Closed Doors – Ukrainian New Music – a portrait of some of the incredible new work being created by composers of the Ukrainian descent diaspora. Zoltan Almashi is still in Ukraine. In one way or another, their works reflect on, or are influenced by, the current and past history of Ukraine, and of Ukrainian culture. They suggest that art and creativity are a central, crucial voice in ensuring an ongoing, robust identity. Led by violinist Viktoria Grynenko, this all-star ensemble of some of our city’s finest string players will interpret these amazing works for various strings configurations, including electronics. Based around reactions to invasion and war, reflections on the Revolution of Dignity, this will be a profoundly moving, absorbing look at what it can mean to create art with intense resolve and belief.
Viktoria Grynenko and Vladimir Rufino (violin), Fabiola Amorim (viola), Amy Nicholson (cello), Guillaume Tardif (violin). Compositions by Anna Pidgorna, Boris Loginov, Zoltan Almashi.
Content warning – sleep during insomnia has sounds of air raids and explosions.
Through Closed Doors is a clandestine dialogue between two people trapped on opposite sides of a closed door. The definitive version of the score is inscribed on a restored antique door, which was once hacked with a hatchet, leaving a jagged hole. This disturbingly fascinating wound inspired the dramatic conception of this piece and some of its musical gestures. The phrasing draws loosely on speech and song patterns, while the work’s structure grows around the door, guided by its various panels and defects. The graphic notation, designed specifically for this piece, eliminates accents, dynamics, and bow pressure markings by incorporating them directly into the staff lines. The wavering staves resemble natural wood patterns and invite the performers to approach the score intuitively. The layout of the musical lines on the door guides the physical manifestation of the drama being played out in the music. This work was commissioned by Thin Edge New Music Collective and premiered by Ilana Waniuk and Suhashini Arulanandam in 2014, in Toronto, Canada.
Duo for Two Violins, No. 1 – Composed in 2007 and revisited in 2022, this work was commissioned by Anna Savytska and Jakub Dzialak, a violin duo known for their performances of experimental music. Almashi knew the musicians, however, as virtuoso violinists with great richness of sound, which inspired him to write Duo for Two Violins, No. 1. He aspired to create a piece that allowed the duo to exploit the violin’s conventional range of sound: “I was sure that deep inside, they [Anna Savytska and Jakub Dzialak] wish for a contemporary piece where one can simply play with a beautiful sound, play sincerely and expressively”.
sleep during insomnia – The impulse to create sleep during insomnia originated in the composer’s need to “do something” at the beginning of the full-scale Russian invasion of Ukraine. This piece for string quartet and electronics is inspired by various forms of sleep and insomnia.
According to Loginov, at the start of the all-out war, everyone was “… sleeping and awake at the same time, we [Ukrainians] could sleep very little, or not sleep at all, or sleep but wake up several times, night or day, constantly waiting for bad news, or even worse news”. His creative process began by experimenting with sounds recorded prior to the Russian invasion, such as his wife’s breathing, the rumblings of an old garage door, and stones clashing or falling. The piece unfolds around the funeral song referred to as “eternal sleep” from Sergei Ta
Through Closed Doors (2014) – Anna Pidgorna
Duo for Two Violins No. 1 (2007-2022) – Zoltan Almashi
sleep during insomnia (2022) – Boris Loginov
Green Sonata – Zoltan Almashi

Underneath the Stars, presented by Aurora Choral Lethbridge
2025-12-07 19:00 - 21:00 (America/Edmonton) | Southminster United Church, 1011 4 Ave S, Lethbridge, Alberta, T1J 0P7, Canada
“Underneath the Stars” presented by Aurora Choral Lethbridge, director Dr. Janet Youngdahl, pianist Dr. Brad Parker with special guests, “Bella Storia,” Holly Bhattacharya, violin and Chellan Hoffman, organ. Music by Hildegard von Bingen, J.S. Bach, Craig Hella Johnson, Lavinia Kell Parker and more…

Aurora Choral Lethbridge, director Dr. Janet Youngdahl, pianist Dr. Brad Parker with special guests, “Bella Storia,” Holly Bhattacharya, violin and Chellan Hoffman, organ

Tickets at the door: $20 regular; $15 students/seniors

"Sonic Landscapes" Piano Music by Canadian Composers presented by pianist Brad Parker
2025-12-11 19:00 - 21:00 (Europe/Paris) | Maison des étudiants canadiens, 31 Boulevard Jourdan, Paris, 75014, France
Piano music by Canadian composers including works by Prairie Associate Composers Mari Alice Conrad and Lavinia Kell Parker as well as composers Georg Boenn, John Burge, Christine Donkin and Martha Hill Duncan.

I Ching Music Presents Free Afternoon Concert: Brass Trio Explores Hindemith, Jazz, and Original Works
2026-01-04 14:00 - 17:00 (America/Regina) | RP-1 Room at Regent Place Public Library, 331 Albert Street, Regina, Saskatchewan, S4R 2N6, Canada
I Ching Music Presents Free Afternoon Concert: Brass Trio Explores Hindemith, Jazz, and Original Works
I Ching Music invites the public to a captivating free concert on Sunday, January 4, 2026, at 2:00 p.m. in the RP-1 room at Regent Place located at 331 Albert Street, Regina, SK, S4R 2N6.
This intimate performance features a dynamic brass trio delivering a blend of classical trios by Paul Hindemith, innovative jazz by saxophonist Carter Powley, and evocative original compositions by hornist Richard O. Burdick.
The ensemble includes:
• Carter Powley on saxophone, bringing his signature jazz flair to the stage
• Richard O. Burdick on horn, composer and performer whose works draw from nature and introspection
• Shaun Poisson-Fast on trombone, adding depth and resonance to the trio’s sound
Audiences will enjoy two iconic trios by Paul Hindemith, known for their rhythmic vitality and modernist edge, alongside Powley’s contemporary jazz selections that infuse the program with spontaneity and groove. Rounding out the set are Burdick’s original pieces, including Electrum Fanfare, Op. 165; A Short Mindset Trio, Op. 242; The Best Squeak Ever, Op. 358; Lundbreck Falls, Op. 363; and Castel Falls, Op. 361, which evoke cascading waterfalls and metallic echoes through intricate brass interplay.
“This concert is a celebration of brass music’s versatility—from Hindemith’s structured elegance to the raw energy of jazz and the personal storytelling in my compositions,” said Richard O. Burdick. “We’re thrilled to share this program for free, making high-caliber music accessible to everyone in Regina.”
The event is generously supported by the MPTF (Musicians’ Union Performance Trust Fund), underscoring I Ching Music’s commitment to fostering live performances and community engagement.
Admission is free, with seating available on a first-come, first-served basis. No tickets required. For more information, visit I-ching-music.com.
About I Ching Music I Ching Music is a Regina-based ensemble dedicated to innovative erformances of contemporary and classical brass music, inspired by the ancient wisdom of the I Ching. Through concerts, commissions, and educational outreach, the group explores the intersections of tradition and modernity.
Media Contact: Richard O. Burdick Phone: 306-949-9412 Email: rb@horn.pro Website: I-ching-music.com

Dorico for Dummies (and everyone else)
2026-01-09 13:00 - 14:00, 2026-01-16 13:00 - 14:00 (America/Edmonton) | Alberta
Are you a refugee of Finale or Sibelius? Does the thought of learning yet another software send a shiver down your spine?
If you’ve ever been interested in learning Dorico, but don’t know where to start, or you get overwhelmed, you’ve come to the right place. Join CMC Prairie library assistant and music engraver Anton Lindenblatt, as he introduces Dorico music notation software in a two-part series. You’ll learn the basic functions, including interface navigation, note entry, adding articulations and markings, and utilizing popovers for everything from adding metre to clefs and ornaments, (session 1) in addition to more advanced features such as page/layout and condensing (session 2). A reference card including shortcuts will also be included.
Anton will do a side-by-side transcription of a work from our collection, which you can follow along with at home!
There will be two sessions, January 9th and 16th at 1 pm MST, both on Zoom, with full recordings published on our YouTube channel afterwards.
REGISTER

Whimsical Dreams in partnership with MRU Conservatory
2026-01-10 19:30 - 21:30 (America/Edmonton) | Bella Concert Hall, 18 Mt Royal Cir SW, Calgary, Alberta, T3E 7N5, Canada
Whimsical Dreams in partnership with MRU Conservatory

January 10, 2026 7:30 pm

Location: Bella Concert Hall, Mount Royal University
Pre-concert chat: 6:45pm
Concert: 7:30pm
Featuring students of MRU Conservatory’s program
We bring you works that push the boundaries of today’s performance practices and sonic experiences as we embark on the third year of our residency with MRU. This concert will feature students of the MRU Conservatory music program and include: Omar Daniel’s Giuco delle coppie, Gity Raza’s Strange Highway, Lera Auerbach’s Piano Trio No. 2, Michael van der Sloot’s Lux Aeterna, and Vincent Ho’s Celestial Garden. Then, experience the stereophonic effects of the Bella Concert Hall through spatialized (separated) ensembles: one performs Frank Ticheli’s In C Dorian on stage while another performs Vincent Ho’s Terry’s Whimsical Dream of Fanciful Birds…in C from the balconies, AT THE SAME TIME!
Program
Omar Daniel – Giuco delle coppie (violin duo)
Michael van der Sloot – Lux Aeterna (cello ensemble)
Gity Raza – Strange Highway (cello ensemble)
Lera Auerbach – Piano Trio No. 2: Triptych (trio)
Vincent Ho – Celestial Garden (6-hand piano)
Frank Ticheli/Vincent Ho – In C Dorian + Terry’s Whimsical Dream of Fanciful Birds…in C (mixed ensemble)

What Brings You In By Leslie Ting Productions
2026-01-10 20:00 - 22:00, 2026-01-11 14:00 - 17:00 (America/Edmonton) | cSPACE Marda Loop, 1721 29 Ave SW, Calgary, Alberta, T2T 6T7, Canada
What Brings You In is a different kind of concert.
Violinist Leslie Ting invites you into an intimate performance exploring parallel relationships to her instrument, therapy, and the audience. She will try to play the perfect concert for you, but knows it’s not possible. What emerges instead is something more honest. Based on interview research and lived experiences of talk therapy, hypnotherapy, dreamwork, reiki, sandplay therapy, and somatics, What Brings You In is an exploration of when and where our truest selves emerge. Featuring 5 experimental new music compositions by Rose Bolton, Germaine Liu, Julia Mermelstein, Linda Catlin Smith and Leslie Ting. In this boundary-blurring experience, your listening is the transformative act.
Creative Team

Concept, Artistic Director, Producer, Performer (Violin and Host)
Leslie Ting
Performer (Percussion)
Germaine Liu
Composers
Linda Catlin Smith, Rose Bolton, Julia Mermelstein, Germaine Liu, Leslie Ting
Sound Designer and Electronics
Matt Smith
Blind and Disability Dramaturg
Jessica Watkin
Outside Eye and Dramaturgical Consultant
Lisa Cox
Lighting Designer
Theodore Belc
Producer
Laura Philipps
Production Manager
Erik Richards
Stage Manager
Sara Constant

Funders
Canada Council for the Arts
Ontario Arts Council
Developed with support from the National Arts Centre’s National Creation Fund
Developed with support from Theatre Passe Muraille as part of the Buzz In-Development Series
Developed and presented as part of Why Not Theatre’s RISER collaborative producing model

WNMF Showcase: Launchpad
2026-01-21 19:00 - 21:00 (America/Winnipeg) | Centennial Concert Hall, 555 Main Street, Winnipeg, Manitoba, R3B 1C3, Canada
Dates

Wednesday, January 21, 2026 , 7:00 pm
Venue

Centennial Concert Hall

Artists
Daniel Raiskin, conductor
Monica Chen, conductor
Winnipeg Symphony Orchestra

Works
Chris Byman: Scherzo Oscuro – World premiere
Liam Berry: O My Heart, the Wind – World premiere
Gabriella Canzani: Ode to Mourning Doves – World premiere
Madeleine Ertel: Dance in Fragments – World premiere
Kevin Hayward: Fractured – World premiere
Ashton Latimer: Overflow – World premiere

This concert is FREE, but tickets must be reserved.

Throughout its history, the Winnipeg Symphony Orchestra has played a leading role in supporting the creation of new music in Canada, most notably through its now 35-years-young Winnipeg New Music Festival. Building on this tradition of fostering the voices of the future, the (newly renamed) Michael Nesbitt Composers Institute now enters its seventh year, gathering emerging talents from across the nation to work with the WSO in bringing to life an exciting program of fresh ink orchestral music.
WSO’s Music Director Daniel Raiskin and RBC Assistant Conductor Monica Chen lead your WSO through a set of world premieres of new works by six gifted composers, including the winner of the Canadian Music Centre (Prairie Region)’s annual Emerging Composer Competition. Mentor composers Christopher Theodanidis and Kelly-Marie Murphy join WSO composer-in-residence Haralabos [Harry] Stafylakis in introducing this year’s featured young artists as the 2026 Winnipeg New Music Festival lifts off in this free symphonic concert celebrating Winnipeg’s musical community.

PROGRAM NOTES
Chris Byman – Scherzo Oscuro (2025) [World premiere]
Winner of the 2026 CMC Prairie Region Emerging Composer Competition
“Scherzo Oscuro takes the idea of a scherzo – traditionally light and witty – and twists it into something darker. The work draws inspiration from Charles Ives’ provocative orchestral experiments and Bernard Hermann’s vivid cinematic language, but also from Carl Jung’s concept of “shadow-work”: the integration of subconscious darkness into conscious thought.
The music is built on dualities: left brain versus right brain, hero versus anti-hero, sobriety versus intoxication, order versus chaos. These tensions appear most clearly in the use of bitonality and in a rhythmic motive derived from the mantra “one day at a time” (or more bluntly, “one day at a f****** time”). Introduced by the strings in the opening, this obsessive figure re-emerges throughout the piece in various guises, often hammered out as a stubborn, recurring thought.
Formally, the scherzo tipsily bends the rules of Sonata and Rondo, never settling neatly into either. The result is a humorous and layered musical joke: a piece that laughs at the dark while grappling with serious undercurrents of addiction, duality, struggle, and persistence.”

Liam Berry – O My Heart, the Wind (2025) – [World premiere]
It’s close to the end of winter and you’re standing on the back porch of your new house in the West End. The inescapable road dust that coats everything has tinged the yard grey-brown. A siren wails along Portage. Your wife is getting the baby to bed upstairs and you really don’t have the energy to carry the bag of garbage in your hand out into the alley.
Weighing down your mind is an anger and a disappointment so deep it seeps into everything. The sea levels you were told were rising when you were six years old have only gotten higher. The wildfires have become seasonal. Systemic change does not seem as inevitable as structural failure. All any of your friends want is an inkling that they might one day live in a home they own.
Upstairs, your baby is still crying and the wind starts blowing and your heart is wrenched out of your mouth because when the future bends towards certain catastrophe of one kind or another, what hope can there be?
And yet, the wind is blowing, and the trees off your back porch are beautiful even before their leaves have come in, and what a wondrous thing it will be when your baby first sees leaves. So hope is really the only possible thing to do.
O My Heart, the Wind asks and answers a question:
“Where does hope lead us?”
“It is on the wind.

Gabriella Canzani – Ode to Mourning Doves (2025) – [World premiere]
When I was in the initial stages of writing Ode to Mourning Doves, it became clear that the melodic lines I was creating evoked birdcall. Once this idea of birds had gotten into my head, it began to overtake the project; I couldn’t help but conceptualize this piece as a plethora of birds, singing and flying around together. Throughout the piece, you might catch the moments when the birds emerge at sunrise, sing from the treetops, fly by the oceanside, and engage in several other escapades until the sunset quiets them.
All of the birdcalls in Ode to Mourning Doves are fictional, with the exception of one: the mourning dove’s. This bird’s beautiful song, which I used to imitate with my sister when we were kids, first appears in its entirety after the first complete silence of the piece (mm. 24-25). The flutter-tongue and pitch-bending used on the flute to imitate the mourning dove’s call create a beautiful, but lonely sound. As the piece progresses, certain aspects of this call, such as the subtle downward slide (pitch-bending) at the end of notes, are transferred from the flute to the strings, who eventually play the full melody at the climax of the piece (mm. 64-65).
With this work, I hope to have captured the beauty of a spring morning, and the tranquillity that washes over us as we let nature become our escape.

Madeleine Ertel – Dance in Fragments (2025) – [World premiere]
“If we’re not supposed to dance, why all this music?” – Gregory Orr
Dance in Fragments is the journey of one theme through the prisms of rhythm, counterpoint, and melodic variation to create an uneasy, disjointed dance – a dance for a clumsy, self-conscious dancer. As a composer, Ertel is concerned with preserving music’s relationship to dance/movement through rhythm as a way to strengthen the performer-audience relationship. The constant referencing and reshaping of musical material in this piece creates a feeling of indecision, like the dancer cannot stop going back and rehashing past decisions. In this piece, listeners may experience moments of vulnerability, reactivity, and longing, and are encouraged to think about how these themes come up in their own lives.

Kevin Hayward – Fractured (2025) – [World premiere]
Fractured speaks about broken things and broken people. Its broad textures are partially inspired by the view of the St. Lawrence from Domaine Forget, in Saint-Irénée, Québec.

Ashton Latimer – Overflow (2025) – [World premiere]
When starting this orchestral piece, I had many ideas in mind. I composed sketch after sketch, trying to shape a sense of story in what I was writing. One thing I noticed across all these sketches was their strong connection to texture, timbre, and the coloristic properties of the orchestra. With that in mind, I wove together material from each to create Overflow.
In my mind, Overflow doesn’t follow a set story or programmatic narrative. Instead, its title serves as a literal reflection of how I envisioned the piece. The opening section features flourishes from various instruments alongside a melodic line in the violoncello and bassoon. As the layering develops, the music grows increasingly unstable, leading into the second section—where the overflow begins.
This section is driven by a rising and descending line in the strings and woodwinds, which continuously expands in length and speed, creating the effect of the orchestra spilling over itself in a chaotic surge. The final section revisits and reflects on the textures explored earlier, incorporating an altered version of the opening melody.

WNMF 1: Sunrise
2026-01-23 19:00 - 21:00 (America/Winnipeg) | Centennial Concert Hall, 555 Main Street, Winnipeg, Manitoba, R3B 1C3, Canada
Dates

Friday, January 23, 2026 , 7:00 pm

Venue

Centennial Concert Hall

Artists
Daniel Raiskin, conductor
Lisa Pegher, percussion
Winnipeg Symphony Orchestra

Works
Christopher Theofanidis: Rainbow Body
Jennifer Higdon: Percussion Concerto
Polina Nazaykinskaya: Reading the Wind – Canadian premiere
James MacMillan: Concerto for Orchestra: Ghosts – Canadian premiere

The WSO is proud to present this year’s WNMF distinguished guest composer, Christopher Theofanidis. The festival opens with his celebrated orchestral work Rainbow Body, which draws inspiration from medieval lyricism and mysticism to trace a colorful and dramatic sonic journey.
Celebrated percussionist Lisa Pegher joins us for her WSO debut in a performance of the fiery Percussion Concerto by Pulitzer Prize-winning composer Jennifer Higdon, a work that seeks to flaunt the rich tonal and technical possibilities of the world of orchestral percussion. Polina Nazaykinskaya’s Reading the Wind follows, taking inspiration from Stravinsky’s legendary Rite of Spring in its celebration of music, dance, nature, and ritual.
The evening culminates in James MacMillan’s symphonic tour de force Concerto for Orchestra, a work that channels haunting memories of music from the past to showcase each section of the symphony orchestra, both in focused isolation and in flavorful combinations with each other.

PROGRAM NOTES
Christopher Theofanidis – Rainbow Body (2000) for orchestra
In the past few years I have been listening to the music of medieval mystic Hildegard von Bingen a great deal, and as simple and direct as this music is, I am constantly amazed by its staying power. Hildegard’s melodies have very memorable contours which set them apart from other chants of the period. They are wonderfully sensual and set up a very intimate communication with the divine. This work is based on one of her chants, ‘Ave Maria, o auctrix vite’ (Hail Mary, source of life).
Rainbow Body begins in an understated, mysterious manner, calling attention to some of the key intervals and motives of the piece. When the primary melody enters for the first time about a minute into the work, I present it very directly in the strings without accompaniment. In the orchestration, I try to capture a halo around this melody, creating a wet acoustic by emphasizing the lingering reverberations one might hear in an old cathedral.
Although the piece is built essentially around fragments of the melody, I also return to the tune in its entirety several times throughout the work, as a kind of plateau of stability and peace within an otherwise turbulent environment. Rainbow Body has a very different sensibility from the Hildegard chant, with a structure that is dramatic and developmental, but I hope that it conveys at least a little of my love for the beauty and grace of her work.
Rainbow Body is dedicated to Glen Rosenbaum, without whose support and encouragement I would not be composing.
—Christopher Theofanidis

Jennifer Higdon – Percussion Concerto (2005)
Lisa Pegher, percussion
The 20th century saw the development of the percussion section grow as no other section in the orchestra. Both the music and the performers grew in visibility as well as in capability. And while the form of the concerto wasn’t the least bit new in the century, the appearance and growth of the percussion concerto as a genre exploded during the later half of the century.
My “Percussion Concerto” follows the normal relationship of a dialogue between soloist and orchestra. In this work, however, there is an additional relationship with the soloist interacting extensively with the percussion section. The ability of performers has grown to such an extent that it has become possible to have sections within the orchestra interact at the same level as the soloist.
When writing a concerto I think of two things: the particular soloist for whom I am writing and the nature of the solo instrument. In the case of percussion, this means a large battery of instruments, from vibraphone and marimba (the favorite instrument of soloist Colin Currie), to non-pitched smaller instruments (brake drum, wood blocks, Peking Opera gong), and to the drums themselves. Not only does a percussionist have to perfect playing all of these instruments, but he must make hundreds of decisions regarding the use of sticks and mallets, as there is an infinite variety of possibilities from which to choose. Not to mention the choreography of the movement of the player; where most performers do not have to concern themselves with movement across the stage during a performance, a percussion soloist must have every move memorized. No other instrumentalist has such a large number of variables to challenge and master.
This work begins with the sound of the marimba, as Colin early on informed me that he has a fondness for this instrument. I wanted the opening to be exquisitely quiet and serene, with the focus on the soloist. Then the percussion section enters, mimicking the gestures of the soloist. Only after this dialogue is established does the orchestra enter. There is significant interplay between the soloist and the orchestra with a fairly beefy accompaniment in the orchestral part, but at various times the music comes back down to the sound of the
soloist and the percussion section playing together, without orchestra.
Eventually, the music moves through a slow lyrical section, which requires simultaneous bowing and mallet playing by the soloist, and then a return to the fast section, where a cadenza ensues with both the soloist and the percussion section. A dramatic close to the cadenza leads back to the orchestra’s opening material and the eventual conclusion of the work.
Written for Colin Currie, this work is dedicated to him.
“Percussion Concerto” was commissioned by The Philadelphia Orchestra, The Indianapolis Symphony Orchestra, and The Dallas Symphony Orchestra. This commission was made possible with support from The Philadelphia Music Project (an artistic initiative of The Pew Charitable Trusts, administered by The University of the Arts), and by a generous gift from LDI, Ltd. and the Lacy Foundation.
–Jennifer Higdon

Polina Nazaykinskaya – Reading the Wind (2013) [Canadian premiere]
I composed Reading the Wind in 2013 as part of a program honoring the centenary of Stravinsky’s Rite of Spring. Reflecting on Stravinsky’s masterpiece, I was struck by the profound connections between music, dance, nature, and ancient ritual—forces that, when intertwined, can awaken a mystical experience.
Rhythm and sound can unveil the power of the invisible world. In turning the pages of nature’s unwritten book, we rediscover mystery as an essential part of our existence. Learning to interpret the symbols that lie beyond language sharpens our perception of light and shadow, allowing us to sense the shifting Winds of Change.
In this way, the artist does not so much invent as reveal—like a sculptor who releases form from stone by clearing away what is superfluous. By seeking truth through communion with nature, even the wind itself can become a guide, dissolving boundaries between past and future and uncovering hidden patterns that bind them together.
—Polina Nazaykinskaya

James MacMillan – Concerto for Orchestra: Ghosts (2023/2024) [Canadian premiere]
My Concerto for Orchestra was written in 2023/24 and is in one continuous, through-composed movement, lasting about 25 minutes. It has a subtitle – Ghosts – as the music seems to be haunted by other, earlier musical spirits and memories. Right from the start of the opening section we can hear allusions to folk-dance forms, an eastern European hymn and Scottish traditional music.
Various chamber groups emerge from within the orchestral fabric and there is much deliberate focus on soloistic playing throughout. Duets and trios are important – the work opens with an eleven-note theme being thrown between two trombones, and later there are other duos for clarinets, piccolo and tuba, and two violas.
Trios are also prominent – three bassoons at one point, as well as a quotation from Beethoven’s Ghost Trio (which gives this work its subtitle), and allusions to the famous Debussy trio of flute, viola and harp. Also in the spotlight at various points is a string quartet, a wind quintet and a brass sextet.
The work has four main interlocking sections. The first is fast and presents most of the initially important materials. The second section is slow and elegiac, and operates like a two-part canon, presenting many different combinations of the two lines, sometimes fully orchestral, other times soloistic and in chamber dimensions.
The third section, a scherzo, is marked presto. Its main “refrain” is an energetic, rhythmic theme based on my memories of the dance forms my children used to listen to when they were teenagers… The episodes between these focus on some of the chamber groups mentioned above. Eventually we hear a brief moment from the Beethoven Ghost Trio, but the piano is replaced by a celeste. This is then smudged into the Debussy memory and finally a new trio (cor anglais, bass clarinet and vibraphone) joins, all forming a trio of trios.
The Concerto culminates in an Allegro finale, based on an unsettled and compulsive compound rhythm, containing nasal fanfares on horns and counter-rhythmic interjections on trumpets, piccolo and xylophone. The music eventually subsides to a more serene conclusion, where the hymnic theme (which has haunted the music throughout) is given its final statement.
Programme note © James MacMillan 2024

Jocelyn Morlock, Edmonton Symphony Orchestra
2026-01-23 19:30 - 21:30 (America/Edmonton) | Winspear Centre, 4 Sir Winston Churchill Square NW, Edmonton, AB, T5J 4X8, Canada
About The Concert

The Vancouver Symphony’s Music Director Otto Tausk makes his Edmonton debut conducting a Mozart masterpiece, his Sinfonia concertante. Featuring ESO Concertmaster Robert Uchida and Principal Viola Keith Hamm, the music in this piece has been described by historian Alfred Einstein as “dropped from heaven.”
Written when Mendelssohn was just 15 years old, his First Symphony is filled with energy and youthful passion, reflecting his ideal that “the essence of beauty is unity in variety.”
Manitoba-born Jocelyn Morlock called her mesmerizing Strange Loop “whimsical and fun/frenetic” music where “despite movement, one always ends up where one started.”
This concert will include an intermission.

Program to Include

MENDELSSOHN
Symphony No. 1

MOZART
Sinfonia concertante for Violin and Viola

JOCELYN MORLOCK
Strange Loop
ESO Premiere

Program subject to change.

Featured Artists

Otto Tausk, Conductor
ESO Debut
Robert Uchida, ESO Violin
Keith Hamm, ESO Viola

About ESO Classics

ESO Classics are dynamic and engaging concerts that feature the most memorable orchestral pieces. This masterworks series is our flagship and showcases the greatest symphonic masterpieces in classical music. From Bach and Handel in the Baroque period and Mozart and Beethoven in the 18th century Classical period, all the way to 21st century contemporary composers, this series encompasses the best of classical music. Our world-class musicians are joined by some of the most talented soloists from around the world, delivering unparalleled performances of these illustrious works. Let the timeless beauty of live classical music enrich and transport you!

WNMF 2: Lisa Pegher: A.I. Rhythm Evolution
2026-01-24 19:00 - 21:00 (America/Winnipeg) | StudioLab xR, 201 Portage Ave c100, Winnipeg, Manitoba, R3C 0B9, Canada
Dates

Saturday, January 24, 2026 , 7:00 pm

Venue

StudioLab xR

Artists
Lisa Pegher, percussion
Drake Andersen, live electronics
Vincent Zhu, visuals

Works
Jessica Mays: B A O B A B
Max Grafe: The Roots of Rhythm Remain
Drake Andersen: Exchange
Lisa Pegher: Fate Amenable to Grace
Stephanie Ann Boyd: Sloane
Magenta-Z: Out of Time
Haralabos [Harry] Stafylakis: Therein Lies the Enemy
Victor Baez: Kýklos Zoís [Life Cycles]
Alex Burtzos: Re-//Signed
Derek Cooper: IAM/AI
Yu-Chun Chien: Through the Night

Taking a timely thematic turn, WNMF follows guest percussionist Lisa Pegher to the StudioLab xR, where she presents a program that explores the relationship between music, creativity, and technology.
Crafted in collaboration with New York City-based composer collective ICEBERG New Music, A.I.RE integrates instrumental performance, electronics, multimedia elements, and generative artificial intelligence into a musical narrative that is at once conceptually fascinating and viscerally impactful.

This is a concert add-on. You can add it to your WNMF Pass at checkout.

PROGRAM NOTES
Jessica Mays – B A O B A B
This composition evolved to be improvisational and atmospheric. It evokes the origins of percussion and the relationship it holds to human expression in different cultures. A baobab is a type of tree and, in this context, it represents the roots of percussion.

Max Grafe – The Roots of Rhythm Remain
His piece evokes early percussion compositions. The roots of rhythm ethnic drumming and percussion remain in place, but are becoming more distant and synthesizing with other types of percussion. It’s performed on a standard multi-percussion setup with moments of improvisational drumming.

Drake Andersen – Exchange
Exchange i s an interactive electronic work that serves as a transition throughout the program. It is generated from a bank of resonating filters that gradually takes on the musical qualities of whatever lisa is playing. After collecting enough material, a machine learning algorithm leads the piece beyond what has been played, suggesting new paths and confluences between human and machine.

Lisa Pegher – Fate Amenable to Grace
The title of this introspective piece is a play on words inspired by elon musk’s use of author iain bank’s ship names from his culture series novels. Most notably, “of course | still love you” in naming some of his spacex rocket landing sites.
This particular ship’s name was “fate amenable to change” and i renamed i t “fate amenable to grace.” while both are fitting creatively, I like to think that the higher power’s grace is a constant, always there to support me through the uncharted change and growth that ultimately leads to our fate. The work is dedicated to someone with whom i crossed paths for only a brief time, but whose presence resulted in my overcoming of a major creative block i had been experiencing. This piece is the result of that overcoming.

Stephanie Ann Boyd – Sloane
Stephanie wrote this piece during the beginning of lockdown in 2020, and with it i got a soundtrack for a summer spent in a very empty Manhattan. It’s a piece meant to be enjoyed and grooved to. A piece to throw all cares away to. (this work sits in a space of pop music where drums are beginning to become integrated with backing tracks, and is a fun part of the evolution that we still live in).

Magenta-Z – Out of Time
Time is a concept i often contemplate, and have a different stance on than our modern-day society. We’ve created a world where everyone feels like they’re constantly running out of time. But in reality, time is unlimited, and nothing can be created nor destroyed. Yet we seek adhere to a confined structure that humans have essentially made up.
Magenta-z is an alter ego, meant to portray the creative world where there are no set names, rules or concepts. Many artists have different stage names, and I’ve often struggled with the idea of being confined to a single name or mission in life. Einstein once said “imagination is more important than knowledge. For knowledge is limited, whereas imagination embraces the entire world, and all there ever will be to know and understand.” this piece represents a reinvention and evolution in the program, from acoustic drums to electronic drums, and an evolution in myself as well.

Haralabos [Harry] Stafylakis – Therein Lies the Enemy
This piece, for drum set and electronics, utilizes an excerpt from Stephen fry’s 7 deadly sins podcast (season 2, episode 1, 1:19-7:50). The work explores political elements online, and how social media, computers, and the internet have influenced our daily lives. By excerpting a controversial podcast and setting it to a ballistic prog rock electronic backtrack. Stafylakis forces the listener to contemplate some of the ways computers have helped – and hurt – our society, and how that has been projected onto our governmental systems as well.

Victor Baez – Kýklos Zoís [Life Cycles]
This piece is for a percussion soloist and electronics. The entire content of the piece is generated live by the performers). The electronics component consists of a patch comprising a two-tape delay and a harmonizer. The percussionist starts without electronics, and the piece is built as the execution of the score unfolds, with the electronics operator reacting and adjusting to their partner’s actions.

Alex Burtzos – Re-//Signed
His work utilizes sound excerpts from the commentary which accompanied Garry Kasparov’s chess match against the IBM supercomputer deep blue in 1996. The score is prefaced by a quote: “the real problem is not whether machines think, but whether men do” – b.f. skinner (1904-90)
During the work I represent the human portion of the match, improvising based on a graphic score and “battling” the electronics. The groovy, trap-inspired music changes based on my choices during the performance.

Derek Cooper – IAM/AI
IAM/AI is a call and response between the performer and computer, where my choices as the human are listened to by the computer and the output varies based on what the computer hears. My choices also determine, to some extent, how the computer responds. This piece has complex MAX MXP mappings and is one of the more interactive computer to human compositions in the program.

Yu-Chun Chien – Through the Night
His work explores computers’ ability to detect movements and is largely driven by expressive motions from the performer. The audience and see and feel the music becoming more hybrid and mostly captured within the computer in the live visuals.

WNMF 3: Beyond Horizons
2026-01-27 19:00 - 21:00 (America/Winnipeg) | Centennial Concert Hall, 555 Main Street, Winnipeg, Manitoba, R3B 1C3, Canada
Dates

Tuesday, January 27, 2026 , 7:00 pm

Venue

Centennial Concert Hall

Artists
Daniel Raiskin, conductor
Winnipeg Symphony Orchestra

Works
Chelsea Komschlies: A Hidden Sun Rises – Canadian premiere
Christopher Theofanidis: A Thousand Cranes – Canadian premiere
Neil Weisensel: Centuries of Hope: Variations + Theme for Orchestra – World Premiere / WSO Commision
Gabriela Ortiz: TZAM for orchestra

Returning to our familiar concert hall, music director Daniel Raiskin leads the Winnipeg Symphony Orchestra in a series of works that raise the spirit, evoking a sense of hope even in the face of great turmoil and tragedy.
Chealse Komschlies’s A Hidden Sun Rises offers a luminous and poetic symphonic opening to the concert. Distinguished guest composer Christopher Theofanidis then returns with A Thousand Cranes, a lyrical and contemplative work that features the WSO’s string section in nuanced dialogue with the harp.
The WSO is pleased to present the world premiere of Centuries of Hope: Variations + Theme by Winnipeg composer Neil Weisensel. Created for WNMF 2026 as a statement of perseverance and triumph over oppressive forces, this powerful new work carries a strain of strident resistance as it responds to world events.
Closing out the evening is Grammy-winning composer Gabriela Ortiz’s shimmering work TZAM, an epic orchestral statement that sees the composer taking a metaphorical step back to contemplate the Earth — and humanity’s place within it.

PROGRAM NOTES
Chelsea Komschlies – A Hidden Sun Rises (2019) [Canadian premiere]
A darkened orb, long dormant, and unseen by human eye
Begins to stir and wake at last, and glow within, and rise:
This, Of a great new dawn, the turning of the age, a sign.

Christopher Theofanidis – A Thousand Cranes (2015) [Canadian premiere]
A Thousand Cranes (2015) has been a piece I have long wanted to write. Many years ago on a visit to Japan, I encountered the story of Sadako Sasaki, a young girl who was affected by the radiation of the atomic blast in Hiroshima during World War II. There have been many artistic efforts written in response to that terrible event, most of which have had an understandably intense and dark impulse. The story of Sadako seemed to me to have a different focus- her short life met the unspeakable with the only response that can reflect true good- hope and faith in the future, and a belief in beauty.
After Sadako became sick, she followed an old custom that said that said that if she folded 1000 origami cranes, her deepest wish would come true. In an effort to heal herself, she folded the 1000 cranes, and then when she didn’t get better, the story goes that she still believed in the creative gesture so much that she started to fold another 1000 cranes. This hope and belief in a better future, even in response to such a tragedy, is what attracted me to the subject, and it is what underpins the impulse of my piece.
A Thousand Cranes is also in some ways a fulfillment of a promise that I made to my friend, Masakazu Hoshima, who hosted me and many others in Hiroshima, and took us to the memorial museum there, introduced us to a survivor who shared his story with us, and showed us many other facets of life in that remarkable city.
This work was facilitated by the Yellow Barn festival and was originally written for the East Coast Chamber Orchestra (ECCO) with Sivan Magen on harp and premiered in December of 2015 at the Nasher Museum in Dallas, Texas. It is commissioned by Charles and Jessie Price and dedicated to Nash and Marion.
The piece is approximately 25 minutes long.
—Christopher Theofanidis

Neil Weisensel – Centuries of Hope: Variations + Theme (2026) for orchestra [World premiere / WSO commission]
After Harry Stafylakis called and offered me a place on tonight’s programme, I started thinking first about what I would create, and then, given current world events, about the role of the artist in society. Why do artists create art? In 1991, I had the good fortune to meet the esteemed French-Romanian writer George Astalos (1933-2014) in Paris. We had a shared interest in opera, as he had produced a libretto (opera script) in 1979 entitled “Coup de Sifflet”, about the rise and fall of a dictator. M. Astalos wrote this piece while living in exile in Paris during the Ceausescu regime’s reign of terror in his homeland of Romania, and in fact predicted the fall of the Iron Curtain. I have always felt that this story, with its compelling dramatic arc of Glory/Diversion/Revolt/Downfall, needed to be told one way or another.
All would-be or actual dictators have a few things in common in my view: they are all men; they are megalomaniacs; they are delusional, with highly inflated sense of self-worth; they see themselves as messianic figures; they create a false enemy in order to garner support; they use fear and ignorance as a weapon; and, most importantly, their dictatorship always eventually crumbles. For centuries, humans have suffered under dictators, but against difficult and seemingly insurmountable odds and intractable situations, the people have always persevered, so I came up with the title “Centuries of Hope”, as a tribute to the people’s strength and resilience.
I have based this new composition on a musical idea (the “Theme” of the Variations and Theme subtitle) that I created for one of the scenes of Astalos’ opera “Coup de Sifflet”. I’m inspired in this work by the great 20th century German composer Karlheinz Stockhausen (1928-2007), who I once heard deliver a speech at the Paris Conservatory of Music about how his piece “Michael’s Journey Around the Earth” uses an original theme, from which he built an entire orchestral composition of variations. Other musical and extra-musical inspiration comes from Frederick Rzewski’s monumental set of variations “The People United Shall Never Be Defeated” , based on the Chilean song “El pueblo unido jamás será vendico!” by Sergio Ortega and the Chilean folk group Quilapayún. Rzewski’s work was composed in 1975 as a tribute to the struggle of the Chilean people against the repressive regime of Augusto Pinochet. In fact, Rzewski’s work contains musical allusions to other European leftist struggles in Italy and Germany. However, because the timing of the inevitable downfall of every dictatorship is always hard to foretell, the Theme I will be using will only appear in its entirety as the conclusion of the piece. The subtitle of this work is therefore “Variations + Theme”, for which I take some of my inspiration in form, language and musical concepts from Claude Debussy’s “Preludes for Piano”, where the titles of individual pieces only appear at the end of the score.

Gabriela Ortiz – TZAM (2022) for orchestra
Due to circumstances that are entirely personal, heartfelt emotivity is conveyed in TZAM through a musical discourse that is, in turn, deeply rooted in the experiences life has to offer. Over the past two years, I have lost my father and two dear friends who were fundamental not only to me, but to musical development in Latin America: Carmen Helena Téllez, an orchestra conductor and tireless promoter of contemporary Latin American music, and Mario Lavista, my mentor and professor of musical composition. Somehow, as I began to compose TZAM, I found it impossible to defer what I felt was a pressing need to express my gratitude toward all of them through music.
Dedicated to the memory of Mario Lavista, TZAM means “dialogue” in Ayapaneco, one of more than 60 indigenous languages found in Mexico today although, with fewer than ten speakers, it is lamentably on the verge of extinction. I chose TZAM as a title not only for its attractive sound, but also because implicit in its meaning is our ability to converse and dialogue, not only with all that surrounds us and nourishes us as human beings within this secret, timeless space, but also and above all with what it means to be a human being on this Earth.
Parting from the action of dialogue as a primal concept, I decided to position the brass section differently, dividing it into two instrumental groups situated across from one another in a circular fashion, so that a stereophonic exchange of ideas could arise among them. Parting from this unusual instrumental placement of the brass, I thought it would be congruent to start out with a fanfare. This material acts as a leitmotiv or recurring idée fixe. Immediately afterwards, I carefully chose the main axes of harmony and textured timbre for each of the sections. I then tried to emulate the idea of representing an ocean of sounds —its rising and ebbing tides, acting time and again as a colorful harmonic and instrumental surprise. The central portion of TZAM includes the introduction of new musical material as a personal tribute to remind us of the intimate, delicate realm of Lavista’s music. Its development features a surprising and contrasting adagio for strings that, beyond a shadow of a doubt, originated in a genuine attempt to dialogue with Carmen, with Mario and with my father, perhaps for the last time. Finally, a brief epilogue appears in which I revisit the beginning of the work, thus reviving the primal concept that sparked its development.
—Gabriela Ortiz

WNMF 4: CC Duo: Hyperfocused
2026-01-28 19:00 - 21:00 (America/Winnipeg) | Desautels Concert Hall, University of Manitoba, 150 Dafoe Rd W, Winnipeg, Manitoba, R3T 2N2, Canada
WNMF 4: CC Duo: Hyperfocused

Dates

Wednesday, January 28, 2026 , 7:00 pm
Venue

Desautels Concert Hall

Artists
CC Duo, guitars
TBD, live electronics

Works
Jacob Mühlrad & Olga Neuwirth: Alarm of the Soul
Alex Burtzos: The Turing Test
Max Grafe: Berceuse
Derek Cooper: Insomnia Rain
Gordon Fitzell: Slight
Jason Noble: Shadow Prism
Andrew Staniland: Choro: The Joyful Lament for Villa-Lobos
Gordon Fitzell: Sleight
Amy Brandon: Intermountainous
Haralabos [Harry] Stafylakis & Adam Pietrykowski: Focus
(Van Tilberg Remix)

Partnering with the Winnipeg Classical Guitar Society, WNMF heads for the second time to the beautiful Marcel Desautels Concert Hall to present award-winning Canadian ensemble CC Duo.
In recent years, guitarists Adam Cicchillitti and Steve Cowan have undertaken numerous projects that have explored new sounds and possibilities in the classical guitar. Together and individually, they have commissioned works from Canadian and international composers like Kelly-Marie Murphy, ICEBERG New Music, and WSO’s own Haralabos [Harry] Stafylakis, together developing a corpus that blends an appreciation for tradition and a fascination with innovation.
Enjoy an evening of music that ranges from delicate sonorities and intimate expressions to grandiose and bombastic interjections, tied together by electronic soundscapes that will fill the University of Manitoba’s resonant new concert hall.

PROGRAM NOTES
Haralabos [Harry] Stafylakis & Adam Pietrykowski – Focus (Van Tilberg Remix)
I. Radial Glare
II. Inward Gaze
“Concentrate all your thoughts upon the work at hand. The sun’s rays do not burn until brought to a focus.”
—Alexander Graham Bell
“It is during our darkest moments that we must focus to see the light.”
—Aristotle
My artistic persona is deeply informed by two musical lineages that are historically distinct: classical music and progressive metal.
I first began developing my compositional voice as a metal songwriter. Later in life, switching lanes to the world of (“classical”) concert music, there was a pervasive sense in my new milieu that one must hide or subsume such “popular” influences in order to be taken seriously. Naturally, then, my artistic output over a dozen years of composing concert music has largely been concerned with both fusing and highlighting these two lineages explicitly and unabashedly.
Focus is an ode to my love of both metal and classical musics – passions I share with my friends Steve Cowan and Adam Cicchillitti, the two guitarists to whom it is dedicated.
The piece is set in two movements. The first, Radial Glare, leans heavily on the metal end of the spectrum, deploying both classical and electric guitar idioms in an unrelentingly virtuosic, ferociously extroverted stream of sound and tight ensemble work. The second, Inward Gaze, shifts over to the classical domain, exploring the more delicate and coloristic qualities of the nylon-string guitar, while building on a thematic foundation drawn from one of the most beautiful works in Western music history: the second movement of Beethoven’s Seventh Symphony.
Focus was commissioned by the Cowan-Cicchillitti Duo with the support of the Canada Council for the Arts. The Van Tilburg Remix was created for the 21st Century Guitar conference in Ottawa, Canada.
—HS | www.hstafylakis.com
The sun burns bright only because of its own self-destruction. It is a sea of fire in a vast nothingness, violently burning its own essence. Harry’s piece captures this disarray and directs this fervor into a focused beam. Still, the tension of such a process is not alleviated. The fire is still unwieldy, the filament still burns hot, and the noise is present in our light whether we notice it or not.
When dealing with music like Focus, I prefer not to remix in overtly destructive ways. The piece is already there for me to decorate and pull from. Think of this remix as a photograph of a familiar subject, but captured on different wavelengths. My interpretation adds nothing that wasn’t already there, it merely makes that spectra visible.
—Van Tilburg

Cosmoi: Stafylakis & Theofanidis, Winnipeg Symphony Orchestra
2026-01-29 19:00 - 21:00 (America/Winnipeg) | Centennial Concert Hall, 555 Main Street, Winnipeg, Manitoba, R3B 1C3, Canada
Daniel Raiskin, conductor
Stephen Williamson, clarinet
CC Duo, guitars
Jacob Mühlrad: RESIL I for orchestra — Canadian premiere
Christopher Theofanidis: Indigo Heaven for clarinet & orchestra — Canadian premiere
Kelly-Marie Murphy: The Confectioner’s Handbook for 2 guitars & strings
Haralabos [Harry] Stafylakis: Symphony No. 3 — World premiere / WSO commission
Photo: Matthew Fried.
Swedish composer Jacob Mühlrad comes to Winnipeg for the first time to present the Canadian premiere of his RESIL I, a sonorous work that considers humanity’s role within Earth’s complex natural systems.
The WSO then welcomes guest soloist Stephen Williamson – principal clarinetist of the Chicago Symphony – to give the Canadian premiere of distinguished guest composer Christopher Theofanidis’s Indigo Heaven. Composed for Williamson, the work evokes the majesty we experience as we navigate between epic natural landscapes.
Guest ensemble CC Duo joins the WSO in a performance of Kelly-Marie Murphy’s characteristically energetic, playful, and virtuosic The Confectioner’s Handbook, one of a series of concerti for two guitars commissioned by the ensemble for their 2025 album – a collaboration with string ensemble Collectif9 – Re/String.
The concert comes to a resounding end with the Third Symphony of Haralabos [Harry] Stafylakis, his last major work composed for the WSO as part of his historic 10-year tenure as the orchestra’s composer-in-residence and co-curator of the Winnipeg New Music Festival.

WNMF 5: Theofanidis & Stafylakis: Sunset
2026-01-29 19:00 - 21:00 (America/Winnipeg) | Centennial Concert Hall, 555 Main Street, Winnipeg, Manitoba, R3B 1C3, Canada
Dates

Thursday, January 29, 2026 , 7:00 pm
Venue

Centennial Concert Hall

Artists
Daniel Raiskin, conductor
Stephen Williamson, clarinet
CC Duo, guitars
Winnipeg Symphony Orchestra

Works
Jacob Mühlrad: RESIL I for orchestra – Canadian premiere
Christopher Theofanidis: Indigo Heaven for clarinet & orchestra – – Canadian premiere
Kelly-Marie Murphy: The Confectioner’s Handbook for 2 guitars & strings
Haralabos [Harry] Stafylakis: Symphony No. 3: Beyond Horizon – World premiere / WSO commission

For this closing concert of WNMF 2026, music director Daniel Raiskin and the Winnipeg Symphony Orchestra begin with two nature-inspired works.
Swedish composer Jacob Mühlrad comes to Winnipeg for the first time to present the Canadian premiere of his RESIL I, a sonorous work that considers humanity’s role within Earth’s complex natural systems.
The WSO then welcomes guest soloist Stephen Williamson – principal clarinetist of the Chicago Symphony – to give the Canadian premiere of distinguished guest composer Christopher Theofanidis’s Indigo Heaven. Composed for Williamson, the work evokes the majesty we experience as we navigate between epic natural landscapes.
Guest ensemble CC Duo then returns, joining the WSO in a performance of Kelly-Marie Murphy’s characteristically energetic, playful, and virtuosic The Confectioner’s Handbook, one of a series of concerti for two guitars commissioned by the ensemble for their 2025 album – a collaboration with string ensemble Collectif9 – Re/String.
The festival comes to a resounding end with the Third Symphony of Haralabos [Harry] Stafylakis, his last major work composed for the WSO as part of his historic 10-year tenure as the orchestra’s composer-in-residence and co-curator of the Winnipeg New Music Festival.

PROGRAM NOTES
Jacob Mühlrad – RESIL I (2024) for orchestra [Canadian premiere]
When the lights are dimmed, in the silence that follows the applause, you hear something – you are not sure what: a collection of quiet sounds drowned in excessive air, vibration, and resonance, some of them very low, others uncomfortably shrill, some actually inaudible to the human ear. Noise, out of which anything could appear. As we are drawn to listen intently, tensions appear towards pitches, chords, like a camera lens trying to focus on an object, found and lost again in a colorful blur. We are beginning to enjoy the cinematic effect, but intervals emerge, stretching on individual instruments into scales and simple rhythmical cells. Instruments start collaborating, based on timbral affinities, structures get more complex, something larger forms, that has a pulse. Seamlessly melodies appear, and you start following them, only to get lost in a factory of mechanical pounding that overcomes the heartfelt tunes. As we seem to have anticlimactically returned to shapeless noise, something unexpected happens: these different components start overlapping, assisting each other, in a motley combination of musical worlds that shouldn’t belong together, both epic in breadth and full to the brim with heterogeneous fragments and ideas. The sound masses grow leaner, settle around the fundamental overtone series, like iron dust under the influence of an invisible magnet. The piece ends in almost liturgical recollection, as we process the whirlwind of these dense ten minutes that feel like a fast forward, or maybe a rewind.
Perhaps all of this should be experienced by the listener before reading in this program note that the composer Jacob Mühlrad was inspired by the writings of environmental scientist Carl Folke and his concept of panarchy: the idea that, understood as a whole, our Earth is an aggregate of systems (biological and social, among others) nested in each other, bound by complex relationships of mutual influence. Then we understand RESIL I not just as a symphonic movement, but a symphonic poem that presents us with an accelerated history of life on our planet, from its humble beginnings to the incredible diversity of biological forms spawned by the Cambrian Explosion, and the many complications that followed, in which our species has come to leave its controversial mark. Knowing all this in advance, the listener might be tempted to try to read the events of this chronology in the details of the music, looking to decipher them as a story; and in doing so one might miss out on the fact that the work does not simply deliver an encrypted message on what Professor Folke calls resilience, meaning our planet’s systems’ ability to transform by adaptation and integration, to constantly reinvent themselves – rather, we are offered an opportunity to experience resilience for ourselves. Jacob Mühlrad doesn’t challenge our ability to understand meanings hidden in music, but the very ways in which we listen, by repeatedly switching between styles and techniques, therefore demanding continuous refocusing of our ears and attention. Our recent history shows that comprehending such a process of resilience intellectually is insufficient: if we are to invent sustainable ways of living on Earth, it has to be a skill that we train actively. In making that experience in a controlled environment, more concentrated in space and time than any natural scenery, we might actually get a glimpse of a humbling realization: the deeper under-standing of ourselves as a fleeting state of an ever-changing system, bound to the lives, speeds, and accidents of other ever-changing systems.
Aleksi Barrière, November 2024

Christopher Theofanidis – Indigo Heaven (2025) for clarinet & orchestra [Canadian premiere]
I. Hypnotic, easy
II. Vast, patient
Solo Cadenza
III. Brilliant
Stephen Williamson, clarinet
Indigo Heaven is a title taken (with permission) from author Mark Warren’s wonderful post-civil war era novel of the same name. In an affecting scene, the protagonist, a former soldier named Clayt, sees a work of art and finds a deep truth in the representation of nature in it, as if there is no barrier between the landscape’s depiction and reality he knows. In our case, the story’s setting of Colorado and Wyoming is personal here, as clarinetist Stephen Williamson spent most of his early life between those two states, and I spend time in both places each year myself. The description of the sky at dusk, an indigo heaven, is haunting and tied to the beauty of the end of the protaganist’s life. Each of the movements in my work take their affect from imagery from the novel.
The concerto is approximately 27 minutes, and is structured:
I. Hypnotic, easy
II. Vast, patient
Solo Cadenza
III. Brilliant
Steve and I met at the Eastman School of Music in Rochester, New York, in 1990, and it has been a dream long in the making for us to do a concerto together. I am grateful to the Chicago Symphony for the opportunity to bring this work to life, and for the Albany Symphony for making the recording of the work.
—Christopher Theofanidis

Kelly-Marie Murphy – The Confectioner’s Handbook (2022) for 2 guitars & strings
CC Duo: Adam Cicchillitti & Steve Cowan, guitars
Published in 1883, The Confectioner’s Handbook, is a practical guide to the art of sugar boiling. A successful sugar boil requires the right equipment, and very precise temperatures. It can go horribly wrong if the confectioner is not careful, and in that case, must be discarded.
When commissioned by the Cowan-Cicchillitti Duo for a concerto with string orchestra, I decided to reflect on these processes and draw a parallel with music-making. The heat, the bubbling mixture, the precise temperatures; long strands, threads, and fractures. There is an element of danger and a risk of failure at all times. But there are also moments of beauty and indeed, sweetness. Over its 9 minutes, the concerto touches on all these images.

Haralabos [Harry] Stafylakis – Symphony No. 3: Beyond Horizon (2026) [World premiere / WSO commission]
N/A

Donovan Seidle, Jessica McMann, and Ashley Seward, Rocky Mountain Symphony Orchestra
2026-01-31 19:30 - 21:30 (America/Edmonton) | The Polaris Centre for the Performing Arts, 7-261051 Wagon Wheel View, Rocky View County, Alberta, T4A 0E2, Canada
The Program
Celebrate the land, people, and voices of Alberta through music that is familiar, fresh, and deeply rooted.
This program features works by three Alberta composers, Ashley Seward, Donovan Seidle and Jessica McMann, alongside Beethoven’s pastoral masterpiece, Symphony No. 6.
Featured Artists
JANNA SAILOR Conductor

Donovan Seidle, Jessica McMann, and Ashley Seward, Rocky Mountain Symphony Orchestra
2026-02-01 15:00 - 17:00 (America/Edmonton) | RockPointe Church Bearspaw, 255024 Lochend Rd, Calgary, Alberta, T4C 2H2, Canada

Kati Agócs, Manitoba Chamber Orchestra
2026-02-18 19:30 - 21:30 (America/Edmonton) | Crescent Arts Centre, 525 Wardlaw Ave, Winnipeg, Manitoba, R3L 0L9, Canada
4 / DANCES OF DREAMS
7.30pm, Wednesday, February 18
Crescent Arts Centre, 525 Wardlaw Ave.
Jeneba Kanneh-Mason, piano
Jeri Lynne Johnson, conductor
A vibrant celebration of fantasy and rhythm featuring prodigy British pianist Jeneba Kanneh-Mason and conductor Jeri Lynne Johnson — both returning to the MCO stage since last appearing in spring 2024 — this program is a tapestry of dance and reverie; a place where memory, motion, and music intertwine.
Pianist Jeneba Kanneh-Mason is already captivating audiences with her “maturity in performance and interpretation […], the former an uncanny phenomenon” (Fraser). The third of the Kanneh-Mason clan to establish herself as a soloist, Jeneba recently made her BBC Proms debut with the Chineke! Orchestra, performing the Florence Price Concerto and was heralded by the press as “demonstrating musical insight, technical acuity, and an engaging performing persona” (Music OMH).
–
Frédéric Chopin
Piano Concerto No. 2 (arr. for strings)
Kati Agócs
New commissioned work
William Grant Still
Danzas de Panama
Program subject to change

Ian Cusson, Calgary Philharmonic Orchestra
2026-02-27 19:30 - 21:30 (America/Edmonton) | Jack Singer Concert Hall, 205 8 Ave SE, Calgary, AB, T2G 0K9, Canada
Program
Catch the brilliance of Shostakovich’s Ninth Symphony as conductor Jessica Cottis leads the Orchestra in revealing the complexities behind the work’s seemingly lighthearted façade. The Orchestra’s own concertmaster Diana Cohen takes the spotlight in Max Bruch’s riveting and romantic First Violin Concerto — voted the #1 violin concerto of all time by Classic FM.
Ian Cusson 1Q84: Sinfonietta Metamoderna
Max Bruch Violin Concerto No. 1
Dmitri Shostakovich Symphony No. 9

Artists
JESSICA COTTIS conductor
DIANA COHEN violin
CALGARY PHILHARMONIC ORCHESTRA

Malcolm Forsyth, Edmonton Symphony Orchestra
2026-02-27 19:30 - 21:30 (America/Edmonton) | Winspear Centre, 4 Sir Winston Churchill Square NW, Edmonton, AB, T5J 4X8, Canada
About The Concert

Celebrated British pianist Benjamin Grosvenor returns after a 12-year absence to perform Benjamin Britten’s energetic Piano Concerto, written when the composer was 24 and known for its rhythmic drive and inventive orchestration.
At its premiere, a critic wrote cryptically of Brahms’ final symphony, “It is like a dark well; the longer we look into it, the more brightly the stars shine back.”
Malcolm Forsyth wrote his celebratory Jubilee Overture in 1964 when he was 28, four years before he moved to Edmonton and became a member of the ESO. Don’t miss this intriguing concert juxtaposing music of youthful exuberance and wise experience.
This concert will include an intermission.

Program to Include

BRAHMS
Symphony No. 4

BRITTEN
Piano Concerto
ESO Premiere

MALCOLM FORSYTH
Jubilee Overture

Program subject to change.

Featured Artists

Alain Trudel, Conductor
Benjamin Grosvenor, Piano

About ESO Classics

ESO Classics are dynamic and engaging concerts that feature the most memorable orchestral pieces. This masterworks series is our flagship and showcases the greatest symphonic masterpieces in classical music. From Bach and Handel in the Baroque period and Mozart and Beethoven in the 18th century Classical period, all the way to 21st century contemporary composers, this series encompasses the best of classical music. Our world-class musicians are joined by some of the most talented soloists from around the world, delivering unparalleled performances of these illustrious works. Let the timeless beauty of live classical music enrich and transport you!
