I am quite pleased at the positive feedback I’ve received about the Canadian Wind Repertoire database that I launched earlier this month! Many friends and colleagues have reached out to express their excitement at discovering works or composers they weren’t familiar with. I will be delivering a presentation about the database and also serving as a guide through the new concert and jazz repertoire for Long & McQuade Toronto’s annual reading session next week.
I have two other exciting bits of news to share. First, I have been selected as a finalist for the music director position with the Milton Philharmonic Orchestra, and will be conducting their season finale concert on Saturday, May 11, 2024, as part of my audition. Second, my contract with the University of Toronto has been renewed and I will be returning to direct the Wind Symphony again for the 2023-24 academic year!
I am thrilled to officially debut this labour of love which has taken me many months to pull together and is now finally ready to share: a database of Canadian Wind Repertoire from 2006 to 2021. My hope is that it will help band directors and students find, learn about, and perform some of the wonderful music for wind band that has been written by Canadian composers over the last little while. Please share with your networks!
(This project builds on a lot of previous work by my colleagues: full acknowledgements are on the front page of the website.)
The academic year draws to a close but musical activities are plentiful! Rouge River Winds just put on an excellent concert this past weekend, featuring 2020 Solo Competition winner Christopher Yeung, and the Ontario premiere of Robert Buckley’s Symphony No. 3, “Quebec Mosaic”. This follows upon a fourth successful appearance at the OBA Provincial Band Festival, achieving a gold standard with our performance of Jack Hughes’ After Rain and John Cheetham’s A.B.A. Symphonic March.
Rouge River Winds at OBA Provincial Band Festival 2023. Photo by Peppercorn Image Studio.
Over at the University of Toronto, we celebrated the illustrious career of Dr. Jeff Reynolds at his final concert on April 1. I got to conduct Kathryn Salfelder’s brilliant work Cathedrals and then joined the percussion section to clap along with the second movement of Omar Thomas’ Come Sunday. My own concert with the Wind Symphony the night before featured three world premieres of newly-commissioned works. We performed two new pieces of music by composers-in-residence, Beyond Stars by Stephen Morris and Mooyeh by Homa Samiei, and were also treated to a performance of a new spoken word piece by poet Hannah Flores, which was commissioned with funding assistance from the FMUA.
Our February concert was also quite special, featuring percussionist Hoi Tong Keung in a performance of the final movement of Christos Hatzis’ Tongues of Fire, as well as illustrations by a group of animation students from Sheridan College to accompany our performance of Julie Giroux’ Symphony of Fables. Composer Timothy Mahr shared the recording of our performance of his Imagine, If You Will…, calling it “stunning” and praising “the detailed care and sense of ownership” we demonstrated. The ensemble also delivered a beautiful rendition of Omar Thomas’ arrangement of “Shenandoah”, which you can view below:
It being festival season, I have also recently had the opportunity to work with a number of schools preparing for their own performances, including St. Joseph Morrow Park CSS, Our Lady Queen of the World Catholic Academy, Havergal College, and St. Michael CSS. Next month, MusicFest Canada’s national festival returns to an in-person format for its 2023 festival in Niagara Falls. I will continue to serve in my role as vice-chair of the concert band division and will also take some shifts adjudicating.
That same week, I will host a virtual panel discussion as part of the Dialogues International Music Research Congress, about the work of MusicFest Canada’s Repertoire Equity Committee in revising the concert band syllabus to be more inclusive. The panel will feature my committee co-chair, Dr. Mark Hopkins, as well as musicologist Dr. Michelle Boyd, and young scholars (and band nerds) Ikjyot Bharaj and Vanessa Ng.
