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DTSTART;TZID=America/Winnipeg:20260307T193000
DTEND;TZID=America/Winnipeg:20260307T213000
DTSTAMP:20260413T140538
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:20260129T190000
DTEND;TZID=America/Winnipeg:20260129T210000
DTSTAMP:20260413T140538
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/Winnipeg:20260129T190000
DTEND;TZID=America/Winnipeg:20260129T210000
DTSTAMP:20260413T140538
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:20260127T190000
DTEND;TZID=America/Winnipeg:20260127T210000
DTSTAMP:20260413T140538
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
ATTACH;FMTTYPE=image/png:https://pr.cmccanada.org/wp-content/uploads/sites/5/2025/12/wnmf-3.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Winnipeg:20260123T190000
DTEND;TZID=America/Winnipeg:20260123T210000
DTSTAMP:20260413T140538
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
ATTACH;FMTTYPE=image/png:https://pr.cmccanada.org/wp-content/uploads/sites/5/2025/12/wnmf-1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Winnipeg:20260121T190000
DTEND;TZID=America/Winnipeg:20260121T210000
DTSTAMP:20260413T140538
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
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BEGIN:VEVENT
DTSTART;TZID=America/Winnipeg:20250927T193000
DTEND;TZID=America/Winnipeg:20250927T213000
DTSTAMP:20260413T140538
CREATED:20250626T211020Z
LAST-MODIFIED:20250902T161525Z
UID:10000109-1759001400-1759008600@pr.cmccanada.org
SUMMARY:Samy Moussa\, Winnipeg Symphony Orchestra
DESCRIPTION:Daniel Raiskin\, conductor\nAlexei Volodin\, piano  \nSamy Moussa: Elysium\nPyotr Ilyich Tchaikovsky: Piano Concerto No. 1\nJohannes Brahms: Symphony No. 4 \nPhoto: Marco Borggreve. \nOur season begins in spectacular fashion. Blending melody and emotion with technical wizardry\, Tchaikovsky’s Piano Concerto No. 1 is the most popular piano concerto of all time. No one wears their heart on the sleeve like Tchaikovsky; each bar is on fire with emotional chaos\, honesty\, turmoil\, and jubilation. \nAt the keyboard is returning guest artist Alexei Volodin. This time round\, Volodin tackles the first Tchaikovsky concerto in our season opener before presenting the less famous second at our first Sunday matinée. \nAlso on the program is the final formal symphonic composition by Johannes Brahms — a composer who struggled with the pressures of writing a first symphony. This last work presents an assured composer writing with clear\, powerful emotion that is compelling and complex. \nThe evening begins with a work inspired by the everlasting paradise of the ancient Greeks. Penned by Canadian Samy Mousa\, Elysium is a monumental work that has become his musical calling card.
URL:https://pr.cmccanada.org/event/samy-moussa-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/5/2025/06/191204-Mosaique-Samy-Moussa-091.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Edmonton:20250315T193000
DTEND;TZID=America/Edmonton:20250315T213000
DTSTAMP:20260413T140538
CREATED:20250128T191151Z
LAST-MODIFIED:20250128T191151Z
UID:10000055-1742067000-1742074200@pr.cmccanada.org
SUMMARY:Oscar Morawetz\, Winnipeg Symphony Orchestra
DESCRIPTION:Oscar Morawetz: Carnival Overture\nRobert Schumann: Cello Concerto\nGustav Mahler: Symphony No. 4 \nRevel in the vibrant contrasts of Oscar Morawetz’s lively overture\, Robert Schumann’s lyrical cello concerto\, and Gustav Mahler’s celestial fourth symphony\, featuring the exquisite talents of cellist Bryan Cheng and soprano Lara Ciekiewicz. \nJoin us for an evening of contrasts and connections with music that ranges from the festive to the sublime. The concert begins with Oscar Morawetz’s “Carnival Overture\,” a lively piece that captures the spirited festivities of a carnival. This overture is packed with energy and charm\, setting the stage for a delightful evening. \nNext\, Canadian-born\, Berlin-based cellist Bryan Cheng returns to perform Robert Schumann’s Cello Concerto\, a piece known for its lyrical beauty and innovative structure. Cheng’s previous performances with the WSO have been met with enthusiastic acclaim\, and his interpretation of Schumann’s concerto is sure to be a highlight of the season. \nKnown for his sold-out Carnegie Hall debut at 14 and performances with renowned orchestras worldwide\, Cheng continues to captivate audiences with his dynamic interpretations\, extensive recital highlights\, and critically acclaimed albums\, showcasing his exceptional talent and dedication to his craft. \nThe concert concludes with Mahler’s Symphony No. 4\, a work that combines the classical charm of Haydn with the emotional depth of Beethoven. Winnipeg’s own soprano star Lara Ciekiewicz joins the orchestra for the symphony’s final movement\, singing of a child’s vision of heaven—a serene and joyful conclusion to the evening. \nAcclaimed for her “tour-de-force performance” in Manitoba Opera’s Susannah\, Ciekiewicz is celebrated for her dynamic and moving portrayals across genres\, earning her the reputation of an artistic chameleon. Her versatility and transformative ability shine through in her captivating performances on stage. \nFun Fact: Mahler’s Fourth Symphony includes sleigh bells in the first movement\, adding a whimsical touch that evokes a wintry landscape.
URL:https://pr.cmccanada.org/event/oscar-morawetz-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/Oskarcomposing.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Edmonton:20250227T190000
DTEND;TZID=America/Edmonton:20250227T210000
DTSTAMP:20260413T140538
CREATED:20250128T183746Z
LAST-MODIFIED:20250128T183746Z
UID:10000049-1740682800-1740690000@pr.cmccanada.org
SUMMARY:Dvořák & Stafylakis
DESCRIPTION:Hanna Havrylets: Chorale for strings\nHaralabos [Harry] Stafylakis: Violin Concerto — World Premiere\nAntonin Dvořák: Symphonic Variations \nExperience the world premiere of Harry Stafylakis’s genre-defying Violin Concerto\, alongside Antonín Dvorák’s rarely performed symphonic gem! \nExperience a world of musical contrasts with Dvorák & Stafylakis\, a concert that bridges the past and present with powerful compositions. The evening begins with Hanna Havrylets’s Chorale for Strings\, a poignant tribute to the late Ukrainian composer. Havrylets\, who passed away shortly after the Russian invasion of Ukraine in 2022\, composed this piece to transmit both lament and hope through its beautiful melodies and rich harmonies. \nNext\, prepare for the world premiere of Harry Stafylakis’s Violin Concerto\, performed by the electrifying and renowned violinist Rachel Barton Pine. Known for her love of heavy metal and classical music\, Pine brings a unique intensity to this groundbreaking piece. Stafylakis\, the WSO’s Composer in Residence\, draws from his background in progressive metal to create a concerto that defies classical music conventions and resonates with contemporary audiences. \nThe concert concludes with Dvorák’s Symphonic Variations\, a masterpiece of melodic invention and orchestral color. This piece showcases Dvorák’s ability to transform a simple theme into a series of intricate and beautiful variations while demonstrating the versatility and skill of the WSO. \nFun Fact: Rachel Barton Pine is not only a classical virtuoso but also a passionate metalhead\, often blending her performances with the intensity of heavy metal music. \n  \nMusicians in the Making\nPre-Concert Performance\nSelections will be announced during the performance. \nWestgate Mennonite Collegiate Senior String Orchestra
URL:https://pr.cmccanada.org/event/dvorak-stafylakis/
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/Stafylakis-composer-headshot11-2019-hr.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190330
DTEND;VALUE=DATE:20190331
DTSTAMP:20260413T140538
CREATED:20180228T171535Z
LAST-MODIFIED:20180323T234453Z
UID:10000033-1553976000-1553983200@pr.cmccanada.org
SUMMARY:WSO18/19: Holst: The Planets\, with Imagery from NASA’s Great Observatories
DESCRIPTION:This special program pairs Holst’s The Planets with John Estacio’s effervescent Borealis trilogy. Guest host astronomer José Francisco Salgado brings his fantastic collection of imagery from NASA’s great observatories.
URL:https://pr.cmccanada.org/event/wso18-19-holst-planets-imagery-nasas-great-observatories/2019-03-30/
LOCATION:Centennial Concert Hall\, 555 Main Street\, Winnipeg\, Manitoba\, R3B 1C3\, Canada
CATEGORIES:CMC Presents,Prairie,Region
ATTACH;FMTTYPE=image/jpeg:https://pr.cmccanada.org/wp-content/uploads/sites/5/2018/02/CB5-large-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190329
DTEND;VALUE=DATE:20190330
DTSTAMP:20260413T140538
CREATED:20180228T171535Z
LAST-MODIFIED:20180323T234453Z
UID:10000032-1553889600-1553896800@pr.cmccanada.org
SUMMARY:WSO18/19: Holst: The Planets\, with Imagery from NASA’s Great Observatories
DESCRIPTION:This special program pairs Holst’s The Planets with John Estacio’s effervescent Borealis trilogy. Guest host astronomer José Francisco Salgado brings his fantastic collection of imagery from NASA’s great observatories.
URL:https://pr.cmccanada.org/event/wso18-19-holst-planets-imagery-nasas-great-observatories/2019-03-29/3/
LOCATION:Centennial Concert Hall\, 555 Main Street\, Winnipeg\, Manitoba\, R3B 1C3\, Canada
CATEGORIES:CMC Presents,Prairie,Region
ATTACH;FMTTYPE=image/jpeg:https://pr.cmccanada.org/wp-content/uploads/sites/5/2018/02/CB5-large-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190329
DTEND;VALUE=DATE:20190330
DTSTAMP:20260413T140538
CREATED:20180228T171535Z
LAST-MODIFIED:20180323T234453Z
UID:10000031-1553855400-1553862600@pr.cmccanada.org
SUMMARY:WSO18/19: Holst: The Planets\, with Imagery from NASA’s Great Observatories
DESCRIPTION:This special program pairs Holst’s The Planets with John Estacio’s effervescent Borealis trilogy. Guest host astronomer José Francisco Salgado brings his fantastic collection of imagery from NASA’s great observatories.
URL:https://pr.cmccanada.org/event/wso18-19-holst-planets-imagery-nasas-great-observatories/2019-03-29/2/
LOCATION:Centennial Concert Hall\, 555 Main Street\, Winnipeg\, Manitoba\, R3B 1C3\, Canada
CATEGORIES:CMC Presents,Prairie,Region
ATTACH;FMTTYPE=image/jpeg:https://pr.cmccanada.org/wp-content/uploads/sites/5/2018/02/CB5-large-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190329
DTEND;VALUE=DATE:20190331
DTSTAMP:20260413T140538
CREATED:20180228T171535Z
LAST-MODIFIED:20180323T234453Z
UID:10000030-1553817600-1553990399@pr.cmccanada.org
SUMMARY:WSO18/19: Holst: The Planets\, with Imagery from NASA’s Great Observatories
DESCRIPTION:This special program pairs Holst’s The Planets with John Estacio’s effervescent Borealis trilogy. Guest host astronomer José Francisco Salgado brings his fantastic collection of imagery from NASA’s great observatories.
URL:https://pr.cmccanada.org/event/wso18-19-holst-planets-imagery-nasas-great-observatories/2019-03-29/1/
LOCATION:Centennial Concert Hall\, 555 Main Street\, Winnipeg\, Manitoba\, R3B 1C3\, Canada
CATEGORIES:CMC Presents,Prairie,Region
ATTACH;FMTTYPE=image/jpeg:https://pr.cmccanada.org/wp-content/uploads/sites/5/2018/02/CB5-large-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Edmonton:20190201T200000
DTEND;TZID=America/Edmonton:20190201T220000
DTSTAMP:20260413T140538
CREATED:20180228T170957Z
LAST-MODIFIED:20180323T234146Z
UID:10000029-1549051200-1549058400@pr.cmccanada.org
SUMMARY:WNMF 2019: Roomful of Teeth
DESCRIPTION:Winnipeg New Music Festival 2019: Friday subscribers enjoy Pulitzer Prize-winner Caroline Shaw’s sophomore appearance at WNMF and this time she brings her astounding ensemble\, Roomful of Teeth!
URL:https://pr.cmccanada.org/event/wnmf-2019-roomful-teeth/
LOCATION:Centennial Concert Hall\, 555 Main Street\, Winnipeg\, Manitoba\, R3B 1C3\, Canada
CATEGORIES:CMC Presents,Prairie,Region
ATTACH;FMTTYPE=image/jpeg:https://pr.cmccanada.org/wp-content/uploads/sites/5/2018/02/Teeth-large.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Edmonton:20190126T200000
DTEND;TZID=America/Edmonton:20190126T220000
DTSTAMP:20260413T140538
CREATED:20180228T170639Z
LAST-MODIFIED:20180323T234155Z
UID:10000028-1548532800-1548540000@pr.cmccanada.org
SUMMARY:WNMF 2019: Bramwell Tovey conducts John Adams
DESCRIPTION:Winnipeg New Music Festival 2019: Saturday subscribers take in the opening night of the festival with Bramwell Tovey conducting John Adams’ Harmonielehre – the work that first opened the festival in 1991.
URL:https://pr.cmccanada.org/event/wnmf-2019-bramwell-tovey-conducts-john-adams/
LOCATION:Centennial Concert Hall\, 555 Main Street\, Winnipeg\, Manitoba\, R3B 1C3\, Canada
CATEGORIES:CMC Presents,Prairie,Region
ATTACH;FMTTYPE=image/jpeg:https://pr.cmccanada.org/wp-content/uploads/sites/5/2018/02/Tovey-large.jpg
END:VEVENT
END:VCALENDAR