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DTSTART;TZID=America/Winnipeg:20260127T190000
DTEND;TZID=America/Winnipeg:20260127T210000
DTSTAMP:20260504T043737
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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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Winnipeg:20260128T190000
DTEND;TZID=America/Winnipeg:20260128T210000
DTSTAMP:20260504T043737
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
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Winnipeg:20260129T190000
DTEND;TZID=America/Winnipeg:20260129T210000
DTSTAMP:20260504T043737
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:20260504T043737
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:20260504T043737
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
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END:VEVENT
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