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DTSTART;TZID=Europe/Paris:20251211T190000
DTEND;TZID=Europe/Paris:20251211T210000
DTSTAMP:20260405T171154
CREATED:20251201T175059Z
LAST-MODIFIED:20251201T175823Z
UID:10000161-1765479600-1765486800@pr.cmccanada.org
SUMMARY:"Sonic Landscapes" Piano Music by Canadian Composers presented by pianist Brad Parker
DESCRIPTION: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.
URL:https://pr.cmccanada.org/event/sonic-landscapes-piano-music-by-canadian-composers-presented-by-pianist-brad-parker/
LOCATION:Maison des étudiants canadiens\, 31 Boulevard Jourdan\, Paris\, 75014\, France
ATTACH;FMTTYPE=image/jpeg:https://pr.cmccanada.org/wp-content/uploads/sites/5/2025/12/BradPhoto-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Regina:20260104T140000
DTEND;TZID=America/Regina:20260104T170000
DTSTAMP:20260405T171154
CREATED:20251209T173121Z
LAST-MODIFIED:20251209T204811Z
UID:10000164-1767535200-1767546000@pr.cmccanada.org
SUMMARY:I Ching Music Presents Free Afternoon Concert: Brass Trio Explores Hindemith\, Jazz\, and Original Works
DESCRIPTION:I Ching Music Presents Free Afternoon Concert: Brass Trio Explores Hindemith\, Jazz\, and Original Works \nI 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. \nThis 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. \nThe ensemble includes:\n• Carter Powley on saxophone\, bringing his signature jazz flair to the stage\n• Richard O. Burdick on horn\, composer and performer whose works draw from nature and introspection\n• Shaun Poisson-Fast on trombone\, adding depth and resonance to the trio’s sound \nAudiences 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. \n“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.” \nThe 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. \nAdmission is free\, with seating available on a first-come\, first-served basis. No tickets required. For more information\, visit I-ching-music.com. \nAbout 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. \nMedia Contact: Richard O. Burdick Phone: 306-949-9412 Email: rb@horn.pro Website: I-ching-music.com
URL:https://pr.cmccanada.org/event/i-ching-music-presents-free-afternoon-concert-brass-trio-explores-hindemith-jazz-and-original-works/
LOCATION:RP-1 Room at Regent Place Public Library\, 331 Albert Street\, Regina\, Saskatchewan\, S4R 2N6\, Canada
ATTACH;FMTTYPE=image/jpeg:https://pr.cmccanada.org/wp-content/uploads/sites/5/2025/12/Poster-Jan-4th.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Edmonton:20260109T130000
DTEND;TZID=America/Edmonton:20260109T140000
DTSTAMP:20260405T171154
CREATED:20251215T210054Z
LAST-MODIFIED:20251215T210122Z
UID:10000165-1767963600-1767967200@pr.cmccanada.org
SUMMARY:Dorico for Dummies (and everyone else)
DESCRIPTION:Are you a refugee of Finale or Sibelius? Does the thought of learning yet another software send a shiver down your spine? \nIf 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. \nAnton will do a side-by-side transcription of a work from our collection\, which you can follow along with at home! \nThere will be two sessions\, January 9th and 16th at 1 pm MST\, both on Zoom\, with full recordings published on our YouTube channel afterwards. \nREGISTER
URL:https://pr.cmccanada.org/event/dorico-for-dummies/2026-01-09/
ATTACH;FMTTYPE=image/png:https://pr.cmccanada.org/wp-content/uploads/sites/5/2025/12/Dorico-for-Dummies.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Edmonton:20260110T193000
DTEND;TZID=America/Edmonton:20260110T213000
DTSTAMP:20260405T171154
CREATED:20250929T171809Z
LAST-MODIFIED:20250929T171906Z
UID:10000152-1768073400-1768080600@pr.cmccanada.org
SUMMARY:Whimsical Dreams in partnership with MRU Conservatory
DESCRIPTION:Whimsical Dreams in partnership with MRU Conservatory\n\n\n\n\nJanuary 10\, 2026 7:30 pm\n\n\n\n\nLocation: Bella Concert Hall\, Mount Royal University\nPre-concert chat: 6:45pm\nConcert: 7:30pm\nFeaturing students of MRU Conservatory’s program \nWe 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! \nProgram\nOmar Daniel – Giuco delle coppie (violin duo)\nMichael van der Sloot – Lux Aeterna (cello ensemble)\nGity Raza – Strange Highway (cello ensemble)\nLera Auerbach – Piano Trio No. 2: Triptych (trio)\nVincent Ho – Celestial Garden (6-hand piano)\nFrank Ticheli/Vincent Ho – In C Dorian + Terry’s Whimsical Dream of Fanciful Birds…in C (mixed ensemble)
URL:https://pr.cmccanada.org/event/whimsical-dreams-in-partnership-with-mru-conservatory/
LOCATION:Bella Concert Hall\, 18 Mt Royal Cir SW\, Calgary\, Alberta\, T3E 7N5\, Canada
ATTACH;FMTTYPE=image/png:https://pr.cmccanada.org/wp-content/uploads/sites/5/2025/09/whimsical-dreams-january.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Edmonton:20260110T200000
DTEND;TZID=America/Edmonton:20260110T220000
DTSTAMP:20260405T171154
CREATED:20251203T192619Z
LAST-MODIFIED:20251203T192619Z
UID:10000162-1768075200-1768082400@pr.cmccanada.org
SUMMARY:What Brings You In By Leslie Ting Productions
DESCRIPTION:What Brings You In is a different kind of concert. \nViolinist 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. \nCreative Team\n\nConcept\, Artistic Director\, Producer\, Performer (Violin and Host)\nLeslie Ting\nPerformer (Percussion)\nGermaine Liu\nComposers\nLinda Catlin Smith\, Rose Bolton\, Julia Mermelstein\, Germaine Liu\, Leslie Ting\nSound Designer and Electronics\nMatt Smith\nBlind and Disability Dramaturg\nJessica Watkin\nOutside Eye and Dramaturgical Consultant\nLisa Cox\nLighting Designer\nTheodore Belc\nProducer\nLaura Philipps\nProduction Manager\nErik Richards\nStage Manager\nSara Constant\n\nFunders\nCanada Council for the Arts \nOntario Arts Council \nDeveloped with support from the National Arts Centre’s National Creation Fund \nDeveloped with support from Theatre Passe Muraille as part of the Buzz In-Development Series \nDeveloped and presented as part of Why Not Theatre’s RISER collaborative producing model
URL:https://pr.cmccanada.org/event/what-brings-you-in-by-leslie-ting-productions/2026-01-10/
LOCATION:cSPACE Marda Loop\, 1721 29 Ave SW\, Calgary\, Alberta\, T2T 6T7\, Canada
ATTACH;FMTTYPE=image/png:https://pr.cmccanada.org/wp-content/uploads/sites/5/2025/12/leslie-ting-show-NWC.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Edmonton:20260111T140000
DTEND;TZID=America/Edmonton:20260111T170000
DTSTAMP:20260405T171154
CREATED:20251203T192619Z
LAST-MODIFIED:20251203T192619Z
UID:10000163-1768140000-1768150800@pr.cmccanada.org
SUMMARY:What Brings You In By Leslie Ting Productions
DESCRIPTION:What Brings You In is a different kind of concert. \nViolinist 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. \nCreative Team\n\nConcept\, Artistic Director\, Producer\, Performer (Violin and Host)\nLeslie Ting\nPerformer (Percussion)\nGermaine Liu\nComposers\nLinda Catlin Smith\, Rose Bolton\, Julia Mermelstein\, Germaine Liu\, Leslie Ting\nSound Designer and Electronics\nMatt Smith\nBlind and Disability Dramaturg\nJessica Watkin\nOutside Eye and Dramaturgical Consultant\nLisa Cox\nLighting Designer\nTheodore Belc\nProducer\nLaura Philipps\nProduction Manager\nErik Richards\nStage Manager\nSara Constant\n\nFunders\nCanada Council for the Arts \nOntario Arts Council \nDeveloped with support from the National Arts Centre’s National Creation Fund \nDeveloped with support from Theatre Passe Muraille as part of the Buzz In-Development Series \nDeveloped and presented as part of Why Not Theatre’s RISER collaborative producing model
URL:https://pr.cmccanada.org/event/what-brings-you-in-by-leslie-ting-productions/2026-01-11/
LOCATION:cSPACE Marda Loop\, 1721 29 Ave SW\, Calgary\, Alberta\, T2T 6T7\, Canada
ATTACH;FMTTYPE=image/png:https://pr.cmccanada.org/wp-content/uploads/sites/5/2025/12/leslie-ting-show-NWC.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Edmonton:20260116T130000
DTEND;TZID=America/Edmonton:20260116T140000
DTSTAMP:20260405T171154
CREATED:20251215T210054Z
LAST-MODIFIED:20251215T210122Z
UID:10000166-1768568400-1768572000@pr.cmccanada.org
SUMMARY:Dorico for Dummies (and everyone else)
DESCRIPTION:Are you a refugee of Finale or Sibelius? Does the thought of learning yet another software send a shiver down your spine? \nIf 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. \nAnton will do a side-by-side transcription of a work from our collection\, which you can follow along with at home! \nThere will be two sessions\, January 9th and 16th at 1 pm MST\, both on Zoom\, with full recordings published on our YouTube channel afterwards. \nREGISTER
URL:https://pr.cmccanada.org/event/dorico-for-dummies/2026-01-16/
ATTACH;FMTTYPE=image/png:https://pr.cmccanada.org/wp-content/uploads/sites/5/2025/12/Dorico-for-Dummies.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Winnipeg:20260121T190000
DTEND;TZID=America/Winnipeg:20260121T210000
DTSTAMP:20260405T171154
CREATED:20251215T232040Z
LAST-MODIFIED:20251215T232040Z
UID:10000167-1769022000-1769029200@pr.cmccanada.org
SUMMARY:WNMF Showcase: Launchpad
DESCRIPTION: Dates \n\nWednesday\, January 21\, 2026 \, 7:00 pm \n Venue \n\nCentennial Concert Hall\n\n\n\n\n\n\n\nArtists\nDaniel Raiskin\, conductor\nMonica Chen\, conductor\nWinnipeg Symphony Orchestra\n\n\nWorks\nChris Byman: Scherzo Oscuro – World premiere\nLiam Berry: O My Heart\, the Wind – World premiere\nGabriella Canzani: Ode to Mourning Doves – World premiere\nMadeleine Ertel: Dance in Fragments – World premiere\nKevin Hayward: Fractured – World premiere\nAshton Latimer: Overflow – World premiere\n\n\n\n\n\n\n\n\n\nThis concert is FREE\, but tickets must be reserved. \n  \nThroughout 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. \nWSO’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. \n  \n\nPROGRAM NOTES\nChris Byman – Scherzo Oscuro (2025) [World premiere]\nWinner of the 2026 CMC Prairie Region Emerging Composer Competition \n“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. \nThe 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. \nFormally\, 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.” \n\nLiam Berry – O My Heart\, the Wind (2025) – [World premiere] \nIt’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. \nWeighing 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. \nUpstairs\, 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? \nAnd 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. \nO My Heart\, the Wind asks and answers a question:\n“Where does hope lead us?”\n“It is on the wind. \n\nGabriella Canzani – Ode to Mourning Doves (2025) – [World premiere] \nWhen 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. \nAll 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). \nWith 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. \n\nMadeleine Ertel – Dance in Fragments (2025) – [World premiere] \n“If we’re not supposed to dance\, why all this music?” – Gregory Orr \nDance 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. \n\nKevin Hayward – Fractured (2025) – [World premiere] \nFractured 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. \n\nAshton Latimer – Overflow (2025) – [World premiere] \nWhen 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.  \nIn 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. \nThis 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.
URL:https://pr.cmccanada.org/event/wnmf-showcase-launchpad/
LOCATION:Centennial Concert Hall\, 555 Main Street\, Winnipeg\, Manitoba\, R3B 1C3\, Canada
ATTACH;FMTTYPE=image/png:https://pr.cmccanada.org/wp-content/uploads/sites/5/2025/12/wnmf-launchpad.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Winnipeg:20260123T190000
DTEND;TZID=America/Winnipeg:20260123T210000
DTSTAMP:20260405T171154
CREATED:20251215T232259Z
LAST-MODIFIED:20251215T233027Z
UID:10000168-1769194800-1769202000@pr.cmccanada.org
SUMMARY:WNMF 1: Sunrise
DESCRIPTION: Dates \n\nFriday\, January 23\, 2026 \, 7:00 pm \n\n\n Venue \n\nCentennial Concert Hall \n\n\n\n\n\n\n\n\nArtists\nDaniel Raiskin\, conductor\nLisa Pegher\, percussion\nWinnipeg Symphony Orchestra\n\n\nWorks\nChristopher Theofanidis: Rainbow Body\nJennifer Higdon: Percussion Concerto\nPolina Nazaykinskaya: Reading the Wind – Canadian premiere\nJames MacMillan: Concerto for Orchestra: Ghosts – Canadian premiere\n\n\n\n\n\n\n\n\n\nThe 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. \nCelebrated 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. \nThe 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. \n  \n  \n  \n\nPROGRAM NOTES\nChristopher Theofanidis – Rainbow Body (2000) for orchestra \nIn 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). \nRainbow 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. \nAlthough 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. \nRainbow Body is dedicated to Glen Rosenbaum\, without whose support and encouragement I would not be composing. \n—Christopher Theofanidis \n\nJennifer Higdon – Percussion Concerto (2005)\nLisa Pegher\, percussion \nThe 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. \nMy “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. \nWhen 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. \nThis 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\nsoloist and the percussion section playing together\, without orchestra. \nEventually\, 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. \nWritten for Colin Currie\, this work is dedicated to him. \n“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. \n–Jennifer Higdon \n\nPolina Nazaykinskaya – Reading the Wind (2013) [Canadian premiere] \nI 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. \nRhythm 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. \nIn 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. \n—Polina Nazaykinskaya \n\n\nJames MacMillan – Concerto for Orchestra: Ghosts (2023/2024) [Canadian premiere] \nMy 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. \nVarious 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. \nTrios 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. \nThe 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. \nThe 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. \nThe 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. \nProgramme note © James MacMillan 2024
URL:https://pr.cmccanada.org/event/wnmf-1-sunrise/
LOCATION:Centennial Concert Hall\, 555 Main Street\, Winnipeg\, Manitoba\, R3B 1C3\, Canada
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DTSTART;TZID=America/Edmonton:20260123T193000
DTEND;TZID=America/Edmonton:20260123T213000
DTSTAMP:20260405T171154
CREATED:20250708T161048Z
LAST-MODIFIED:20250708T161048Z
UID:10000124-1769196600-1769203800@pr.cmccanada.org
SUMMARY:Jocelyn Morlock\, Edmonton Symphony Orchestra
DESCRIPTION:About The Concert\n\nThe 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.” \nWritten 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.” \nManitoba-born Jocelyn Morlock called her mesmerizing Strange Loop “whimsical and fun/frenetic” music where “despite movement\, one always ends up where one started.” \nThis concert will include an intermission. \n\nProgram to Include\n\n\n\n\nMENDELSSOHN\nSymphony No. 1\n\n\n\n\n\n\n\n\n\n\nMOZART\nSinfonia concertante for Violin and Viola\n\n\n\n\n\n\n\n\n\n\nJOCELYN MORLOCK\nStrange Loop\nESO Premiere\n\n\n\nProgram subject to change. \n\nFeatured Artists\n\nOtto Tausk\, Conductor\nESO Debut\nRobert Uchida\, ESO Violin\nKeith Hamm\, ESO Viola\n\n\n\n\n  \nAbout ESO Classics\n\nESO 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!
URL:https://pr.cmccanada.org/event/jocelyn-morlock-edmonton-symphony-orchestra/
LOCATION:Winspear Centre\, 4 Sir Winston Churchill Square NW\, Edmonton\, AB\, T5J 4X8\, Canada
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ORGANIZER;CN="Edmonton Symphony Orchestra":MAILTO:info@winspearcentre.com
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BEGIN:VEVENT
DTSTART;TZID=America/Winnipeg:20260124T190000
DTEND;TZID=America/Winnipeg:20260124T210000
DTSTAMP:20260405T171154
CREATED:20251215T232516Z
LAST-MODIFIED:20251215T233114Z
UID:10000169-1769281200-1769288400@pr.cmccanada.org
SUMMARY:WNMF 2: Lisa Pegher: A.I. Rhythm Evolution
DESCRIPTION: Dates \n\nSaturday\, January 24\, 2026 \, 7:00 pm \n\n\n Venue \n\nStudioLab xR \n\n\n\n\n\n\n\n\nArtists\nLisa Pegher\, percussion\nDrake Andersen\, live electronics\nVincent Zhu\, visuals\n\n\nWorks\nJessica Mays: B A O B A B\nMax Grafe: The Roots of Rhythm Remain\nDrake Andersen: Exchange\nLisa Pegher: Fate Amenable to Grace\nStephanie Ann Boyd: Sloane\nMagenta-Z: Out of Time\nHaralabos [Harry] Stafylakis: Therein Lies the Enemy\nVictor Baez: Kýklos Zoís [Life Cycles]\nAlex Burtzos: Re-//Signed\nDerek Cooper: IAM/AI\nYu-Chun Chien: Through the Night\n\n\n\n\n\n\n\n\n\nTaking 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. \nCrafted 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. \n  \nThis is a concert add-on. You can add it to your WNMF Pass at checkout. \n  \n  \n\nPROGRAM NOTES\nJessica Mays – B A O B A B \nThis 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. \n\nMax Grafe – The Roots of Rhythm Remain \nHis 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. \n\nDrake Andersen – Exchange \nExchange 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. \n\nLisa Pegher – Fate Amenable to Grace \nThe 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. \nThis 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. \n\nStephanie Ann Boyd – Sloane \nStephanie 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). \n\nMagenta-Z – Out of Time \nTime 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. \nMagenta-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. \n\nHaralabos [Harry] Stafylakis – Therein Lies the Enemy \nThis 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. \n\nVictor Baez – Kýklos Zoís [Life Cycles] \nThis 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. \n\nAlex Burtzos – Re-//Signed \nHis 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) \nDuring 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. \n\nDerek Cooper – IAM/AI \nIAM/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. \n\nYu-Chun Chien – Through the Night \nHis 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.
URL:https://pr.cmccanada.org/event/wnmf-2-lisa-pegher-a-i-rhythm-evolution/
LOCATION:StudioLab xR\, 201 Portage Ave c100\, Winnipeg\, Manitoba\, R3C 0B9\, Canada
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DTSTART;TZID=America/Winnipeg:20260127T190000
DTEND;TZID=America/Winnipeg:20260127T210000
DTSTAMP:20260405T171154
CREATED:20251215T232631Z
LAST-MODIFIED:20251215T233131Z
UID:10000170-1769540400-1769547600@pr.cmccanada.org
SUMMARY:WNMF 3: Beyond Horizons
DESCRIPTION: Dates \n\nTuesday\, January 27\, 2026 \, 7:00 pm \n\n\n Venue \n\nCentennial Concert Hall \n\n\n\n\n\n\n\n\nArtists\nDaniel Raiskin\, conductor\nWinnipeg Symphony Orchestra\n\n\nWorks\nChelsea Komschlies: A Hidden Sun Rises – Canadian premiere\nChristopher Theofanidis: A Thousand Cranes – Canadian premiere\nNeil Weisensel: Centuries of Hope: Variations + Theme for Orchestra – World Premiere / WSO Commision\nGabriela Ortiz: TZAM for orchestra\n\n\n\n\n\n\n\n\n\nReturning 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. \nChealse 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. \nThe 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. \nClosing 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. \n  \n  \n  \n\nPROGRAM NOTES\nChelsea Komschlies – A Hidden Sun Rises (2019) [Canadian premiere] \nA darkened orb\, long dormant\, and unseen by human eye \nBegins to stir and wake at last\, and glow within\, and rise: \nThis\, Of a great new dawn\, the turning of the age\, a sign. \n\nChristopher Theofanidis – A Thousand Cranes (2015) [Canadian premiere] \nA 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. \nAfter 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. \nA 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. \nThis 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. \nThe piece is approximately 25 minutes long. \n—Christopher Theofanidis \n\nNeil Weisensel – Centuries of Hope: Variations + Theme (2026) for orchestra [World premiere / WSO commission] \nAfter 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. \nAll 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. \nI 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. \n\nGabriela Ortiz – TZAM (2022) for orchestra \nDue 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. \nDedicated 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. \nParting 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. \n—Gabriela Ortiz
URL:https://pr.cmccanada.org/event/wnmf-3-beyond-horizons/
LOCATION:Centennial Concert Hall\, 555 Main Street\, Winnipeg\, Manitoba\, R3B 1C3\, Canada
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BEGIN:VEVENT
DTSTART;TZID=America/Winnipeg:20260128T190000
DTEND;TZID=America/Winnipeg:20260128T210000
DTSTAMP:20260405T171154
CREATED:20251215T232801Z
LAST-MODIFIED:20251215T232801Z
UID:10000171-1769626800-1769634000@pr.cmccanada.org
SUMMARY:WNMF 4: CC Duo: Hyperfocused
DESCRIPTION:WNMF 4: CC Duo: Hyperfocused\n\n\n\n Dates \n\nWednesday\, January 28\, 2026 \, 7:00 pm \n Venue \n\nDesautels Concert Hall\n\n\n\n\n\n\n\nArtists\nCC Duo\, guitars\nTBD\, live electronics\n\n\nWorks\nJacob Mühlrad & Olga Neuwirth: Alarm of the Soul\nAlex Burtzos: The Turing Test\nMax Grafe: Berceuse\nDerek Cooper: Insomnia Rain\nGordon Fitzell: Slight\nJason Noble: Shadow Prism\nAndrew Staniland: Choro: The Joyful Lament for Villa-Lobos\nGordon Fitzell: Sleight\nAmy Brandon: Intermountainous\nHaralabos [Harry] Stafylakis & Adam Pietrykowski: Focus\n(Van Tilberg Remix)\n\n\n\n\n\n\n\n\n\nPartnering 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. \nIn 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. \nEnjoy 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. \n  \n  \n  \n\nPROGRAM NOTES\nHaralabos [Harry] Stafylakis & Adam Pietrykowski – Focus (Van Tilberg Remix)\nI. Radial Glare\nII. Inward Gaze \n“Concentrate all your thoughts upon the work at hand. The sun’s rays do not burn until brought to a focus.” \n—Alexander Graham Bell \n“It is during our darkest moments that we must focus to see the light.” \n—Aristotle \nMy artistic persona is deeply informed by two musical lineages that are historically distinct: classical music and progressive metal. \nI 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. \nFocus 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. \nThe 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. \nFocus 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. \n—HS | www.hstafylakis.com \nThe 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. \nWhen 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. \n—Van Tilburg
URL:https://pr.cmccanada.org/event/wnmf-4-cc-duo-hyperfocused/
LOCATION:Desautels Concert Hall\, University of Manitoba\, 150 Dafoe Rd W\, Winnipeg\, Manitoba\, R3T 2N2\, Canada
ATTACH;FMTTYPE=image/png:https://pr.cmccanada.org/wp-content/uploads/sites/5/2025/12/wnmf-4.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Winnipeg:20260129T190000
DTEND;TZID=America/Winnipeg:20260129T210000
DTSTAMP:20260405T171154
CREATED:20250708T161756Z
LAST-MODIFIED:20251203T191517Z
UID:10000125-1769713200-1769720400@pr.cmccanada.org
SUMMARY:Cosmoi: Stafylakis & Theofanidis\, Winnipeg Symphony Orchestra
DESCRIPTION:Daniel Raiskin\, conductor\nStephen Williamson\, clarinet\nCC Duo\, guitars \nJacob Mühlrad: RESIL I for orchestra — Canadian premiere\nChristopher Theofanidis: Indigo Heaven for clarinet & orchestra — Canadian premiere\nKelly-Marie Murphy: The Confectioner’s Handbook for 2 guitars & strings\nHaralabos [Harry] Stafylakis: Symphony No. 3 — World premiere / WSO commission \nPhoto: Matthew Fried. \nSwedish 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. \nThe 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. \nGuest 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. \nThe 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.
URL:https://pr.cmccanada.org/event/cosmoi-stafylakis-theofanidis-winnipeg-symphony-orchestra/
LOCATION:Centennial Concert Hall\, 555 Main Street\, Winnipeg\, Manitoba\, R3B 1C3\, Canada
ATTACH;FMTTYPE=image/jpeg:https://pr.cmccanada.org/wp-content/uploads/sites/5/2025/07/0032784367_25-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Winnipeg:20260129T190000
DTEND;TZID=America/Winnipeg:20260129T210000
DTSTAMP:20260405T171154
CREATED:20251215T232935Z
LAST-MODIFIED:20251215T232935Z
UID:10000172-1769713200-1769720400@pr.cmccanada.org
SUMMARY:WNMF 5: Theofanidis & Stafylakis: Sunset
DESCRIPTION: Dates \n\nThursday\, January 29\, 2026 \, 7:00 pm \n Venue \n\nCentennial Concert Hall\n\n\n\n\n\n\n\nArtists\nDaniel Raiskin\, conductor\nStephen Williamson\, clarinet\nCC Duo\, guitars\nWinnipeg Symphony Orchestra\n\n\nWorks\nJacob Mühlrad: RESIL I for orchestra – Canadian premiere\nChristopher Theofanidis: Indigo Heaven for clarinet & orchestra – – Canadian premiere\nKelly-Marie Murphy: The Confectioner’s Handbook for 2 guitars & strings\nHaralabos [Harry] Stafylakis: Symphony No. 3: Beyond Horizon – World premiere / WSO commission\n\n\n\n\n\n\n\n\n\nFor this closing concert of WNMF 2026\, music director Daniel Raiskin and the Winnipeg Symphony Orchestra begin with two nature-inspired works. \nSwedish 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. \nThe 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. \nGuest 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. \nThe 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. \n  \n  \n  \n\nPROGRAM NOTES\nJacob Mühlrad – RESIL I (2024) for orchestra [Canadian premiere] \nWhen 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. \nPerhaps 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. \nAleksi Barrière\, November 2024 \n\nChristopher Theofanidis – Indigo Heaven (2025) for clarinet & orchestra [Canadian premiere]\nI. Hypnotic\, easy\nII. Vast\, patient\nSolo Cadenza\nIII. Brilliant\nStephen Williamson\, clarinet \nIndigo 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. \nThe concerto is approximately 27 minutes\, and is structured: \nI. Hypnotic\, easy\nII. Vast\, patient\nSolo Cadenza\nIII. Brilliant \nSteve 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. \n—Christopher Theofanidis \n\nKelly-Marie Murphy – The Confectioner’s Handbook (2022) for 2 guitars & strings\nCC Duo: Adam Cicchillitti & Steve Cowan\, guitars \nPublished 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. \nWhen 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. \n\nHaralabos [Harry] Stafylakis – Symphony No. 3: Beyond Horizon (2026) [World premiere / WSO commission] \nN/A
URL:https://pr.cmccanada.org/event/wnmf-5-theofanidis-stafylakis-sunset/
LOCATION:Centennial Concert Hall\, 555 Main Street\, Winnipeg\, Manitoba\, R3B 1C3\, Canada
ATTACH;FMTTYPE=image/png:https://pr.cmccanada.org/wp-content/uploads/sites/5/2025/12/wnmf-5.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Edmonton:20260131T193000
DTEND;TZID=America/Edmonton:20260131T213000
DTSTAMP:20260405T171154
CREATED:20250708T162221Z
LAST-MODIFIED:20260112T161529Z
UID:10000126-1769887800-1769895000@pr.cmccanada.org
SUMMARY:Donovan Seidle\, Jessica McMann\, Daniel Pelton\, and Arthur Bachmann\, Rocky Mountain Symphony Orchestra
DESCRIPTION:The Program\nCelebrate the land\, people\, and voices of Alberta through music that is familiar\, fresh\, and deeply rooted. \nThis program features works by four Alberta composers (Jessica McMann\, Donovan Seidle\, Daniel Pelton\, and Arthur Bachmann) alongside Beethoven’s pastoral masterpiece\, Symphony No. 6. \nFeatured Artists\nJANNA SAILOR Conductor
URL:https://pr.cmccanada.org/event/donovan-seidle-jessica-mcmann-and-ashley-seward-rocky-mountain-symphony-orchestra/
LOCATION:Bert Church LIVE Theatre\, 1000 East Lake Boulevard\, Airdrie\, Alberta\, T4A 1p6\, Canada
ATTACH;FMTTYPE=image/png:https://pr.cmccanada.org/wp-content/uploads/sites/5/2025/07/sounds-like-alberta.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Edmonton:20260208T190000
DTEND;TZID=America/Edmonton:20260208T203000
DTSTAMP:20260405T171154
CREATED:20260128T185559Z
LAST-MODIFIED:20260128T185559Z
UID:10000175-1770577200-1770582600@pr.cmccanada.org
SUMMARY:Pete Meechan\, Alberta Winds
DESCRIPTION:MUSIC for DARK SKIES\n\nBUY TICKETS\n\n\n8 February\, 2026 | 7:00PM\nChrist Church Calgary\n3602 8th Street SW\nCalgary\, AB \nTicket Prices\nAdult: $25.00\nStudent: $10 Advance / $15 Door \nALBERTA WINDS presents an evening of music inspired by the dark skies of winter and our world under them. From the excitement of exploring other worlds\, to contemplating the power of the nature we see everyday\, this musical program evokes an array of emotions with the assortment of instrumental colours available from the band. \nFeaturing music by acclaimed composers including: \nRossano GALANTE\nBrooke PIERSON\nViet CUONG\nMatthew EMERY \nPete MEECHAN \n**STUDENT GROUP RATE**\nFor groups of 10 or more students\, please email us at president@albertawinds.ca to inquire about a group rate. Let your band teachers know and gather up your friends!! \n\nBUY TICKETS
URL:https://pr.cmccanada.org/event/pete-meechan-alberta-winds/
LOCATION:Christ Church Calgary\, 3602 8th Street SW\, Calgary\, Alberta\, T2T3A7\, Canada
ATTACH;FMTTYPE=image/jpeg:https://pr.cmccanada.org/wp-content/uploads/sites/5/2026/01/Poster-2.jpeg
ORGANIZER;CN="Alberta Winds":MAILTO:hello@albertawinds.ca
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Winnipeg:20260218T193000
DTEND;TZID=America/Winnipeg:20260218T213000
DTSTAMP:20260405T171154
CREATED:20250708T162730Z
LAST-MODIFIED:20260128T190416Z
UID:10000128-1771443000-1771450200@pr.cmccanada.org
SUMMARY:Kati Agócs\, Manitoba Chamber Orchestra
DESCRIPTION:4 / DANCES OF DREAMS\n7.30pm\, Wednesday\, February 18\nCrescent Arts Centre\, 525 Wardlaw Ave.\nJeneba Kanneh-Mason\, piano\nJeri Lynne Johnson\, conductor \nA 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. \nPianist 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). \n–\nFrédéric Chopin \nPiano Concerto No. 2 (arr. for strings) \nKati Agócs\nNew commissioned work \nWilliam Grant Still\nDanzas de Panama \nProgram subject to change
URL:https://pr.cmccanada.org/event/kati-agocs-manitoba-chamber-orchestra/
LOCATION:Crescent Arts Centre\, 525 Wardlaw Ave\, Winnipeg\, Manitoba\, R3L 0L9\, Canada
ATTACH;FMTTYPE=image/png:https://pr.cmccanada.org/wp-content/uploads/sites/5/2025/07/MCO-4.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Edmonton:20260220T110000
DTEND;TZID=America/Edmonton:20260220T123000
DTSTAMP:20260405T171154
CREATED:20260128T191814Z
LAST-MODIFIED:20260202T180514Z
UID:10000173-1771585200-1771590600@pr.cmccanada.org
SUMMARY:Pro-D Sessions: Agency and Advocacy For Composers with Stefani Truant
DESCRIPTION:Session 1\, February 20: So you’ve been offered a commission — now what? \nBeyond the excitement of writing a new piece\, commissions often come with questions that many composers are left to navigate on their own. This session offers a composer-centered look at what typically happens after the offer: how commissioning agreements work\, what fees and rights usually cover\, how exclusivity and consortia function\, and how relationships and professional networks often play a role in opening these opportunities. Designed for composers at any stage\, the goal is to demystify the commissioning process\, normalize common questions\, and help composers move forward with clarity\, confidence\, and a stronger focus on the music. \nSession 2\, February 27: Ask Us Anything: Commissioning\, Relationships\, and the Realities In Between \nNot everything composers navigate fits neatly into a contract or a job description. This open conversation invites composers to bring their questions — big\, small\, and in-between — about commissioning\, networking and relationship-building\, and navigating professional situations that don’t always come with clear answers. In dialogue with CMC Prairie Region Director Janna Sailor\, this session creates space for honest discussion about what works\, what doesn’t\, and how composers can approach opportunities with clarity\, confidence\, and integrity. \nThis event is FREE for everyone to attend\, but requires pre-registration. \nWhere: ZOOM\nWhen: February 20 and 27 | 11:00am MST \n  \nREGISTER
URL:https://pr.cmccanada.org/event/pro-d-sessions-composer-agency-and-advocacy-with-stefani-truant/2026-02-20/
CATEGORIES:CMC Presents,Prairie
ATTACH;FMTTYPE=image/png:https://pr.cmccanada.org/wp-content/uploads/sites/5/2026/01/Stefani-Truant-Pro-D-Session-2646-x-1490-FINAL-scaled.png
ORGANIZER;CN="CMC Prairie":MAILTO:prairie@cmccanada.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Edmonton:20260227T110000
DTEND;TZID=America/Edmonton:20260227T123000
DTSTAMP:20260405T171154
CREATED:20260128T191814Z
LAST-MODIFIED:20260202T180514Z
UID:10000174-1772190000-1772195400@pr.cmccanada.org
SUMMARY:Pro-D Sessions: Agency and Advocacy For Composers with Stefani Truant
DESCRIPTION:Session 1\, February 20: So you’ve been offered a commission — now what? \nBeyond the excitement of writing a new piece\, commissions often come with questions that many composers are left to navigate on their own. This session offers a composer-centered look at what typically happens after the offer: how commissioning agreements work\, what fees and rights usually cover\, how exclusivity and consortia function\, and how relationships and professional networks often play a role in opening these opportunities. Designed for composers at any stage\, the goal is to demystify the commissioning process\, normalize common questions\, and help composers move forward with clarity\, confidence\, and a stronger focus on the music. \nSession 2\, February 27: Ask Us Anything: Commissioning\, Relationships\, and the Realities In Between \nNot everything composers navigate fits neatly into a contract or a job description. This open conversation invites composers to bring their questions — big\, small\, and in-between — about commissioning\, networking and relationship-building\, and navigating professional situations that don’t always come with clear answers. In dialogue with CMC Prairie Region Director Janna Sailor\, this session creates space for honest discussion about what works\, what doesn’t\, and how composers can approach opportunities with clarity\, confidence\, and integrity. \nThis event is FREE for everyone to attend\, but requires pre-registration. \nWhere: ZOOM\nWhen: February 20 and 27 | 11:00am MST \n  \nREGISTER
URL:https://pr.cmccanada.org/event/pro-d-sessions-composer-agency-and-advocacy-with-stefani-truant/2026-02-27/
CATEGORIES:CMC Presents,Prairie
ATTACH;FMTTYPE=image/png:https://pr.cmccanada.org/wp-content/uploads/sites/5/2026/01/Stefani-Truant-Pro-D-Session-2646-x-1490-FINAL-scaled.png
ORGANIZER;CN="CMC Prairie":MAILTO:prairie@cmccanada.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Edmonton:20260227T193000
DTEND;TZID=America/Edmonton:20260227T213000
DTSTAMP:20260405T171154
CREATED:20250708T163145Z
LAST-MODIFIED:20250708T163216Z
UID:10000129-1772220600-1772227800@pr.cmccanada.org
SUMMARY:Ian Cusson\, Calgary Philharmonic Orchestra
DESCRIPTION:Program\nCatch 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. \nIan Cusson 1Q84: Sinfonietta Metamoderna\nMax Bruch Violin Concerto No. 1\nDmitri Shostakovich Symphony No. 9 \n\n\n\n\n\nArtists\nJESSICA COTTIS conductor\nDIANA COHEN violin\nCALGARY PHILHARMONIC ORCHESTRA
URL:https://pr.cmccanada.org/event/ian-cusson-calgary-philharmonic-orchestra/2026-02-27/
LOCATION:Jack Singer Concert Hall\, 205 8 Ave SE\, Calgary\, AB\, T2G 0K9\, Canada
ATTACH;FMTTYPE=image/jpeg:https://pr.cmccanada.org/wp-content/uploads/sites/5/2025/07/ian.jpg
ORGANIZER;CN="Calgary Philharmonic Orchestra":MAILTO:info@calgaryphil.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Edmonton:20260227T193000
DTEND;TZID=America/Edmonton:20260227T213000
DTSTAMP:20260405T171154
CREATED:20250708T163516Z
LAST-MODIFIED:20250708T163516Z
UID:10000131-1772220600-1772227800@pr.cmccanada.org
SUMMARY:Malcolm Forsyth\, Edmonton Symphony Orchestra
DESCRIPTION:About The Concert\n\nCelebrated 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. \nAt 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.” \nMalcolm 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. \nThis concert will include an intermission. \n\nProgram to Include\n\n\n\n\nBRAHMS\nSymphony No. 4\n\n\nBRITTEN\nPiano Concerto\nESO Premiere\n\n\nMALCOLM FORSYTH\nJubilee Overture\n\n\n\nProgram subject to change. \n\nFeatured Artists\n\nAlain Trudel\, Conductor\nBenjamin Grosvenor\, Piano\n\n\n\n\n  \nAbout ESO Classics\n\nESO 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!
URL:https://pr.cmccanada.org/event/malcolm-forsyth-edmonton-symphony-orchestra/
LOCATION:Winspear Centre\, 4 Sir Winston Churchill Square NW\, Edmonton\, AB\, T5J 4X8\, Canada
ATTACH;FMTTYPE=image/jpeg:https://pr.cmccanada.org/wp-content/uploads/sites/5/2025/07/Malcolm-Forsyth-1600x900-1.jpg
ORGANIZER;CN="Edmonton Symphony Orchestra":MAILTO:info@winspearcentre.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Edmonton:20260228T193000
DTEND;TZID=America/Edmonton:20260228T213000
DTSTAMP:20260405T171154
CREATED:20250708T163145Z
LAST-MODIFIED:20250708T163216Z
UID:10000130-1772307000-1772314200@pr.cmccanada.org
SUMMARY:Ian Cusson\, Calgary Philharmonic Orchestra
DESCRIPTION:Program\nCatch 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. \nIan Cusson 1Q84: Sinfonietta Metamoderna\nMax Bruch Violin Concerto No. 1\nDmitri Shostakovich Symphony No. 9 \n\n\n\n\n\nArtists\nJESSICA COTTIS conductor\nDIANA COHEN violin\nCALGARY PHILHARMONIC ORCHESTRA
URL:https://pr.cmccanada.org/event/ian-cusson-calgary-philharmonic-orchestra/2026-02-28/
LOCATION:Jack Singer Concert Hall\, 205 8 Ave SE\, Calgary\, AB\, T2G 0K9\, Canada
ATTACH;FMTTYPE=image/jpeg:https://pr.cmccanada.org/wp-content/uploads/sites/5/2025/07/ian.jpg
ORGANIZER;CN="Calgary Philharmonic Orchestra":MAILTO:info@calgaryphil.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Edmonton:20260228T193000
DTEND;TZID=America/Edmonton:20260228T213000
DTSTAMP:20260405T171154
CREATED:20250708T164021Z
LAST-MODIFIED:20250708T164021Z
UID:10000132-1772307000-1772314200@pr.cmccanada.org
SUMMARY:Malcolm Forsyth\, Edmonton Symphony Orchestra
DESCRIPTION:About The Concert\n\nCelebrated 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. \nAt 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.” \nMalcolm 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. \nThis concert will include an intermission. \n\nProgram to Include\n\n\n\n\nBRAHMS\nSymphony No. 4\n\n\nBRITTEN\nPiano Concerto\nESO Premiere\n\n\nMALCOLM FORSYTH\nJubilee Overture\n\n\n\nProgram subject to change. \n\nFeatured Artists\n\nAlain Trudel\, Conductor\nBenjamin Grosvenor\, Piano\n\n\n\n\n  \nAbout ESO Classics\n\nESO 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!
URL:https://pr.cmccanada.org/event/malcolm-forsyth-edmonton-symphony-orchestra-2/
LOCATION:Winspear Centre\, 4 Sir Winston Churchill Square NW\, Edmonton\, AB\, T5J 4X8\, Canada
ATTACH;FMTTYPE=image/jpeg:https://pr.cmccanada.org/wp-content/uploads/sites/5/2025/07/Malcolm-Forsyth-1600x900-1.jpg
ORGANIZER;CN="Edmonton Symphony Orchestra":MAILTO:info@winspearcentre.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Winnipeg:20260307T193000
DTEND;TZID=America/Winnipeg:20260307T213000
DTSTAMP:20260405T171154
CREATED:20250708T164245Z
LAST-MODIFIED:20250708T164245Z
UID:10000133-1772911800-1772919000@pr.cmccanada.org
SUMMARY:Vincent Ho\, Winnipeg Symphony Orchestra
DESCRIPTION:Rune Bergmann\, conductor \nJean Sibelius: Finlandia\nVincent Ho: Earthbeat (Saturday only)\nEdvard Grieg: Norwegian Dances\nCarl Nielsen: Symphony No. 4 “The Inextinguishable” \nPhoto: Kristin Hoebermann. \nSometimes\, the guest artist dictates the program… and that is precisely the case in this concert of Scandinavian greats led by Norwegian conductor Rune Bergmann. \nJean Sibelius’ Finlandia is a symphonic mega-hit emblematic of the nationalism so often found in his music. \nThe Norwegian Dances by Edvard Grieg are athletic\, boisterous\, and charming folk-inspired numbers that will surely get everyone feeling the groove. \nLike his contemporary Gustav Mahler\, Carl Nielsen of Denmark was both a great symphonic conductor and a great symphonic composer. Written during the First World War and dubbed “The Inextinguishable\,” Nielsen’s Symphony No. 4 is a powerful and grand work\, expressive of the indomitable human spirit. \n(Saturday only) To round out the program\, a musical trip to Canada with the music of Vincent Ho\, with whom Rune Bergmann worked closely at the Calgary Philharmonic Orchestra. A name that may also be familiar to Winnipeggers\, Ho previously served as WSO’s Composer-in-Residence.
URL:https://pr.cmccanada.org/event/vincent-ho-winnipeg-symphony-orchestra/
LOCATION:Centennial Concert Hall\, 555 Main Street\, Winnipeg\, Manitoba\, R3B 1C3\, Canada
ATTACH;FMTTYPE=image/jpeg:https://pr.cmccanada.org/wp-content/uploads/sites/5/2025/01/Vincent-Ho-Inside-Story_photo-by-Bo-Huang.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Winnipeg:20260311T193000
DTEND;TZID=America/Winnipeg:20260311T213000
DTSTAMP:20260405T171154
CREATED:20250708T164539Z
LAST-MODIFIED:20250708T164539Z
UID:10000134-1773257400-1773264600@pr.cmccanada.org
SUMMARY:Keyan Emami\, Manitoba Chamber Orchestra
DESCRIPTION:5 / TEAL RAINBOWS\n7.30pm\, Wednesday\, March 11\nCrescent Arts Centre\, 525 Wardlaw Ave.\nMahan Esfahani\, harpsichord\nAnne Manson\, conductor \nWith glittering wit and playfulness\, this program celebrates the harpsichord as it creates vivid soundscapes and shimmering colours — a spectrum of forms\, textures\, and shades. \nSince making his London debut in 2009\, Mahan Esfahani has established himself as the first harpsichordist in a generation whose work spans virtually all the areas of classical music-making—from critically-acclaimed performances and recordings of the standard repertoire\, to working with leading composers\, to pioneering concerto appearances with major symphony orchestras on four continents\, and more. \n–\nJulian Grant \nVaudeville in Teal \nJ.S. Bach\nHarpsichord Concerto BWV 1054 in D Major \nKeyan Emami\nKian in Rainbows \nIgor Stravinsky\nPulcinella Suite \nProgram subject to change
URL:https://pr.cmccanada.org/event/keyan-emami-manitoba-chamber-orchestra/
LOCATION:Crescent Arts Centre\, 525 Wardlaw Ave\, Winnipeg\, Manitoba\, R3L 0L9\, Canada
ATTACH;FMTTYPE=image/jpeg:https://pr.cmccanada.org/wp-content/uploads/sites/5/2025/07/ArashSafavi-2828-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Winnipeg:20260321T120000
DTEND;TZID=America/Winnipeg:20260321T130000
DTSTAMP:20260405T171154
CREATED:20260316T153411Z
LAST-MODIFIED:20260316T153411Z
UID:10000177-1774094400-1774098000@pr.cmccanada.org
SUMMARY:2026 Canadian Jazz Composers Workshops: GIVING THE ESSENTIALS: WRITING EFFECTIVE DRUM PARTS
DESCRIPTION:2026 Canadian Jazz Composers Workshops:\n​\n​ March 21\, 2026 – with Allison Au \n April 25\, 2026 – with Chelsea McBride\n June 6\, 2026 – with Daniel Hersog\n\nGIVING THE ESSENTIALS: WRITING EFFECTIVE DRUM PARTS – Allison Au\nDuring this session\, Allison will share select scores from her 2024 Juno award-nominated album “Migrations”\, written and arranged for a ten-piece chamber jazz ensemble (vocals\, saxophone\, vibraphone\, piano\, bass\, drums\, and string quartet). Long-time bandmate and co-collaborator\, drummer Fabio Ragnelli\, will complement this discussion exploring the individual parts and what makes for effective drum parts in this context. \nHOW TO WRITE A MIDDLE SCHOOL BIG BAND CHART – Chelsea McBride\nOver the course of this workshop\, we will discuss the specific needs of middle and high school ensembles and the traits of effective big band arrangements – and how to marry those two concepts into music that is fun for the ensemble\, director\, and audience alike. We will discuss a general form outline\, instrumentation/alternate parts\, range considerations\, and how the writing process can influence rehearsal and performance. \nTRANSFORMING TRADITION: CRAFTING NEW STORIES FROM OLD MELODIES – Daniel Hersog\nDaniel Hersog explores how long-loved folk material can become the foundation for contemporary jazz orchestra writing. Attendees will follow the creative arc – from the moment a folk tune sparks an idea\, through the shaping of form and colour\, to the final ensemble score. Hersog will break down his approaches to reinterpreting source material\, including strategies in orchestration\, harmonic reframing\, and developing narrative intention. Participants will gain insight into how familiar melodies can be reshaped into expansive\, modern works while retaining their emotional core.  \nSponsors: Winnipeg Arts Council & the Winnipeg Jazz Orchestra \nThere is no charge for this event\, and we hope to keep it this way.\nDonations toward this project are welcomed and donations over $25 will receive a tax receipt. (https://www.winnipegjazzorchestra.com/donate.html) \nAn email with the link to the event will be sent to you the morning of the workshop.  \nThis session will be in English.\n​Thank you for your participation in the Canadian Jazz Composers Workshops. 
URL:https://pr.cmccanada.org/event/2026-canadian-jazz-composers-workshops-giving-the-essentials-writing-effective-drum-parts/
ATTACH;FMTTYPE=image/jpeg:https://pr.cmccanada.org/wp-content/uploads/sites/5/2026/03/0014546289_10.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Edmonton:20260321T193000
DTEND;TZID=America/Edmonton:20260321T213000
DTSTAMP:20260405T171154
CREATED:20250708T164730Z
LAST-MODIFIED:20250708T164730Z
UID:10000135-1774121400-1774128600@pr.cmccanada.org
SUMMARY:Vivian Fung\, Edmonton Symphony Orchestra
DESCRIPTION:About The Concert\n\nBeethoven’s beloved “Pastorale” Symphony is filled with imaginative musical depictions of birdsong\, a flowing stream\, a thunderstorm\, and other sounds of country life. \nEdmonton-born Vivian Fung’s Parade\, inspired by watching her 6-year old son in a parade following pandemic lockdowns\, is a “celebration of community that also explores the journey from solitude to togetherness.” \nCamille Saint-Saëns often said\, “form is the essence of art\,” a principle that is eloquently realized in his compact Cello Concerto No. 1\, featuring Montreal-born Jean-Guihen Queyras in his long overdue ESO debut. \nThis concert will include an intermission. \n\nProgram to Include\n\n\n\n\nBEETHOVEN\nSymphony No. 6 “Pastoral”\n\n\nFAURÉ\nÉlégie for Cello\n\n\nSAINT-SAËNS\nCello Concerto No. 1\n\n\nVIVIAN FUNG\nParade\nESO Premiere\n\n\n\nProgram subject to change. \n\nFeatured Artists\n\nJean-Marie Zeitouni\, Conductor & Music Director\nJean-Guihen Queyras\, Cello\nESO Debut\n\n\n\n\n  \nAbout ESO Classics\n\nESO 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!
URL:https://pr.cmccanada.org/event/vivian-fung-edmonton-symphony-orchestra/
LOCATION:Winspear Centre\, 4 Sir Winston Churchill Square NW\, Edmonton\, AB\, T5J 4X8\, Canada
ATTACH;FMTTYPE=image/jpeg:https://pr.cmccanada.org/wp-content/uploads/sites/5/2025/07/image-asset.jpeg
ORGANIZER;CN="Edmonton Symphony Orchestra":MAILTO:info@winspearcentre.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Edmonton:20260322T140000
DTEND;TZID=America/Edmonton:20260322T160000
DTSTAMP:20260405T171154
CREATED:20250708T164821Z
LAST-MODIFIED:20250708T164821Z
UID:10000136-1774188000-1774195200@pr.cmccanada.org
SUMMARY:Vivian Fung\, Edmonton Symphony Orchestra
DESCRIPTION:About The Concert\n\nBeethoven’s beloved “Pastorale” Symphony is filled with imaginative musical depictions of birdsong\, a flowing stream\, a thunderstorm\, and other sounds of country life. \nEdmonton-born Vivian Fung’s Parade\, inspired by watching her 6-year old son in a parade following pandemic lockdowns\, is a “celebration of community that also explores the journey from solitude to togetherness.” \nCamille Saint-Saëns often said\, “form is the essence of art\,” a principle that is eloquently realized in his compact Cello Concerto No. 1\, featuring Montreal-born Jean-Guihen Queyras in his long overdue ESO debut. \nThis concert will include an intermission. \n\nProgram to Include\n\n\n\n\nBEETHOVEN\nSymphony No. 6 “Pastoral”\n\n\nFAURÉ\nÉlégie for Cello\n\n\nSAINT-SAËNS\nCello Concerto No. 1\n\n\nVIVIAN FUNG\nParade\nESO Premiere\n\n\n\nProgram subject to change. \n\nFeatured Artists\n\nJean-Marie Zeitouni\, Conductor & Music Director\nJean-Guihen Queyras\, Cello\nESO Debut\n\n\n\n\n  \nAbout ESO Classics\n\nESO 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!
URL:https://pr.cmccanada.org/event/vivian-fung-edmonton-symphony-orchestra-2/
LOCATION:Winspear Centre\, 4 Sir Winston Churchill Square NW\, Edmonton\, AB\, T5J 4X8\, Canada
ATTACH;FMTTYPE=image/jpeg:https://pr.cmccanada.org/wp-content/uploads/sites/5/2025/07/image-asset.jpeg
ORGANIZER;CN="Edmonton Symphony Orchestra":MAILTO:info@winspearcentre.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Edmonton:20260322T150000
DTEND;TZID=America/Edmonton:20260322T163000
DTSTAMP:20260405T171154
CREATED:20260205T184252Z
LAST-MODIFIED:20260205T184309Z
UID:10000176-1774191600-1774197000@pr.cmccanada.org
SUMMARY:Jean Coulthard\, Colleen Athparia\, Rachel Laurin\, Liezel Kruger\, The Women with the Golden Flutes
DESCRIPTION:PROGRAM \nIn the month of International Women’s Day\, we present a concert to celebrate women musicians. Programmed by Calgary’s prominent flutists\, the afternoon concert will feature Canadian and American female composers who have shaped and enriched the contemporary music landscape: Jean Coultard\, Catherine McMichael\, Rachel Laurin\, Colleen Athparia\, and Amanda Harberg. The program will also feature the premiere of Calgary composer Liezel Kruger and their piece The Trees of Kortillion\, commissioned by Lucie Jones. \nARTISTS\nGwen Klassen\, Emily Phernambucq\, Sarah MacDonald\, Lucie Jones (flutes)\, Akiko Tominaga (piano) \nPROGRAM \nThe Trees of Kortillion by Liezel Kruger\nSonata for Flute and Piano\, op. 29\, Rachel Laurin\nAscending Ashes\, Colleen Athparia\nLyric Sonatina for Flute and Piano\, Jean Coultard\nCourt Dances Suite for flute and Piano\, Amanda Harberg\nGaelic Offering\, Catherine McMichael \nSUNDAY\, MARCH 22 2026\nDoors at 2:30 PM\nShow at 3:00 PM \nShow Duration: 70 minutes (with no intermission)\n\nLOCATION\nSt. Stephen’s Anglican Church\n1121 14 Ave SW\, Calgary\, AB T2R 0P2
URL:https://pr.cmccanada.org/event/jean-coulthard-colleen-athparia-rachel-laurin-liezel-kruger-the-women-with-the-golden-flutes/
LOCATION:St. Stephen’s Anglican Church\, 1121 14 Ave SW\, Calgary\, Alberta\, T2R 0P3\, Canada
ATTACH;FMTTYPE=image/png:https://pr.cmccanada.org/wp-content/uploads/sites/5/2026/02/isc-golden-flutes.png
END:VEVENT
END:VCALENDAR